Hafta 114–20 Eyl
Müziğin temelleri: ses yüksekliği ögeleri
Fundamentals / Elements of Pitch: Octave registers • Notation on the staff • Scales and key signatures • Scale degree names • Intervals • Inversion of intervals • Consonance and dissonance of harmonic intervals • Ear-Training (ET)
octave registerscales and key signaturesintervalsear-training
Hafta 221–27 Eyl
Ritim öğeleri: ölçü, tempo ve aksak
Elements of Rhythm: Definitions of Rhythm, beat, tempo • Durational symbols • Meter • Simple and compound beats • Simple and compound time signatures • Irregular time signatures, i.e. "aksak" meter • Rhythmic grouping with respect to meter • ET
beattempometeraksak ölçü
Hafta 328 Eyl – 4 Eki
Triad ve yedili akorlar, çevrimler
Triads and Seventh Chords: Triads • Seventh chords • Inversions of chords • Inversion symbols and figured bass • Alteration of the fifth • Chords with omitted fifth and/or root • Some chords comprising diminished third, i.e., augmented sixth, as an intervallic chord member • ET
triadseventh chordinversionfigured bass
Hafta 45–11 Eki
Majör ve minör tonlarda diatonik akorlar
Diatonic Chords in Major and Minor Keys | Introduction to Chord-labeling: Diatonic triads in major • Diatonic triads in minor • Diatonic seventh chords in major scale • Diatonic seventh chords in minor scales • Special situations and labeling exceptions pertaining to seventh scale degree in the minor mode • Altered chords in major and minor keys : Alteration of root and/or any other chord member, especially that of fifth • ET • Review of hitherto covered subject matter for MdT1
diatonic triaddiatonic seventh chordaltered chordchord-labeling
Hafta 512–18 Eki
MdT1: triads, seventh chords ve chord-labeling
MdT1: triads and seventh-chords, diatonic and altered chords in major and minor keys, chord-labeling; ET; 30 pts. • Aftermath of MdT1
triadsseventh chordsaltered chordschord-labeling
Hafta 619–25 Eki
Voice leading ilkeleri ve bas harmonizasyonu
Consonant harmony / Principles of Voice Leading: The melodic line and notating chords • Voicing a single triad • Similar and parallel motion, parallel, unequal, contrary and direct (hidden) 5ths and 8ves • Triads in root: Bass harmonization with simple melodic lines (1) • ET
voice leadingparalel 5'li ve 8'litriad voicingbass harmonization
Hafta 726 Eki – 1 Kas
Kök konumunda dört ses yazımı ve armonik işlev
Root Position Part Writing: Repeated roots • Some general strategies: Handling of common tones, considerations of voice leading (of the leading tone and other tendency tones, etc.) • Roots a 4th (5th) apart • Roots a 3rd (6th) • Roots a 2nd (7th) apart • Some special situations and their recommended handling • Harmonic functions and the harmonic progression: tonic, dominant, sub- or predominant, and their respective harmonic regions, the mediants • Triads in root: Bass harmonization (2) • ET
root position part writingvoice leadingharmonic functionbass harmonization
Hafta 82–8 Kas
Harmonic progression, sequence ve melodi armonizasyonu
Harmonic Progression and the Sequence / The Problem of Harmonizing a Melodic Line: Introducing some general perspectives and analytical approaches: Elements of form, perspective of a main functional region, tonic prolongation, dominant prolongation and standing on the dominant, circle of 5ths progression, descending 3rds progression, harmonic goal and cadences, etc. • Sequences • The I and V chords • The II chord • The VI chord • The III chord • The VII chord • The IV chord • Common exceptions • Differences in the minor mode • The relative major and minor • More about harmonic sequences • Triads in root: Soprano harmonization with simple melodic lines (1) • ET
harmonic progressionsequencetonic ve dominant prolongationcadence
Hafta 99–15 Kas
Harmonik ilerlemeler ve soprano harmonizasyonu
Considerations of the harmonic progressions supporting tight-knit thematic units or looser formal regions • Triads in root: Soprano harmonization (2) • ET • Review of hitherto covered subject matter for MdT2
harmonic progressiontriads in rootsoprano harmonizationMdT2 tekrarı
Hafta 1016–22 Kas
MdT2: chord-labeling ve bass-soprano harmonization
MdT2: triads and seventh-chords, diatonic and altered chords in major and minor keys, chord-labeling; bass and soprano harmonization with triads in root; ET; 20 pts. • Aftermath of MdT2
triadsseventh chordschord-labelingharmonization
Hafta 1123–29 Kas
Birinci çevrim triadlar (1): armonizasyon ve part writing
Triads in First Inversion (1): Bass and soprano harmonization with triads in root and first inversion • Some special aspects of first inversion triads and their use • Part writing • Considering soprano-bass counterpoint • ET
first inversionbas-soprano armonizasyonpart writingear training
Hafta 1230 Kas – 6 Ara
Birinci çevrim triadlar (2): ileri örnekler
Triads in First Inversion (2): Bass and soprano harmonization with more elaborate examples • Formal considerations • ET
first inversionarmonizasyonbiçimsel değerlendirmeear training
Hafta 137–13 Ara
İkinci çevrim triadlar (1): six-four kullanımları
Triads in Second Inversion (1): Bass and soprano harmonization with triads in root, first and second inversions • Bass arpeggiation and the melodic bass • Three common usages of the second inversion triad: The cadential, the passing, and the neighbor or pedal six-four • Considerations of part writing • ET
second inversioncadential six-fourpassing ve pedal six-fourpart writing
Hafta 1414–20 Ara
İkinci çevrim triadlar (2): cümle yapısı ve form
Triads in Second Inversion (2): Phrase structure, cadence, and harmonic rhythm • Tonic and dominant prolongational progressions • Phrases without cadential closure • A general view on musical form (phrases, theme, tight-knit and looser formal regions, etc.) • Some ideas on motive, phrase, period, sentence, hybrid and compound themes, small binary and small ternary • Bass and soprano harmonization with longer and more difficult examples • ET • Review of hitherto covered subject matter for Fnl
harmonic rhythmperiod ve sentencebinary ve ternary formfinal tekrarı