MUST 112 Fall 13

This is an archived page of my first attempt at using flipped pedagogy back in November 2013. Back to Music Theory Resources.
MUST 112 (Fall 2013)

“Flipped” Class Experiment

UPDATE Tuesday (11/26/13): Here are the two links (review and exercises) to each powerpoint I showed you in class today to use as study material for the final on Wednesday 12/4 at 11:30am. Remember I am also doing a study session from 3pm to 5pm the previous day (Tuesday 12/3), come to my office (104) to find where we will be.
Thank you for answers to the questionnaire about this different teaching approach. I will take your answers into account as I move forward. Good luck on the Final!See you next Wednesday (if not Tuesday)!From Tuesday (11/19/13): Here is a link to the powerpoint with practice examples for the test on Thursday. It also includes information how to write secondary dominants in inversion. Remember:
1. With harmonic sequences, follow the correct chord pattern, use the correct voice-leading pattern, and follow it through the end of the sequence.
2. For secondary dominants in inversion, still follow the process described in the video, but now the root will be in a different voice. Make sure you resolve both tendency tones, which may determine the bass note for the resolution chord.From Thursday (11/14/13): Thank you for taking the online quiz. You all came up with some wonderful, insightful answers to the long-form questions. I have added, with your permission, your long-question answers here so you read your colleagues’ thoughts.

Here are some things to remember as a follow-up to the Beethoven activity, online videos, and quiz.

1. Secondary leading-tone refers only to the upward resolving tendency tone that mimics Ti-Do: Fi-Sol and Mi-Fa. The other tendency tone is the chordal 7th and acts accordingly by resolving down by step. Later in your theory career you will build chords with this secondary leading-tone as a root.
2. As to why we can only tonicize major and minor triads, one thing no one mentioned is the relationships between chords and keys. Composers tonicize major and minor chords almost as if they were new keys themselves in the midst of the original key. We don’t really have diminished keys, because they would be unstable like diminished triads are. Tonicization and            modulation are about creating tension and then stability in new places.
3. Part writing secondary dominants uses all of the skills you gained when we wrote dominant seventh chords back in Chapter 8 (p. 227).
a. Root position to root position will alternate complete and incomplete chords. Complete V7/V will resolve to an incomplete V chord and vice versa.
b. Inversions require both chords to be complete, and that all voice-leading be by common tone or step while resolving both tendency tones. Notice that a tendency tone is in the bass in first-inversion and third-inversion secondary dominants.
c. Use the directions I created in the powerpoint called “How to Write Secondary Dominants.”

Here is a link to the homework that is due Tuesday (11/19/13). The second part of the assignment is meant to be fun, so don’t get bogged down with it if you are having trouble. Also here is that Beethoven reduction with analysis that was on the back to use as a model. You can work in groups to create the short compositions, if you like.

We will play through your compositions in class on Tuesday. Come with questions about the homework, and then we will study for the test that is next Thursday over Chapter 16 (Harmonic Sequences) and Chapter 17 (Secondary Dominants).

See you on Tuesday!

The answers to the short form questions were: (Chromatic pitches needing an accidental in italics).
1. What are the notes in a V7/V chord? Re Fi La Do
2. What is the secondary leading-tone in a V7/V chord? To what does it resolve? Fi-Sol
3. What are the notes in a V7/IV chord? Do Mi Sol Te [notice this one is in a major key.]
4. What is the secondary leading-tone in a V7/iv chord? To what does it resolve? Mi-Fa [notice this one is in a minor key.]
5. What is the label for the chord labeled (1) in the musical example? V7/IV
6. What is the label for the chord labeled (2) in the musical example? V7/V
(Right-click on the image to see a clearer version in another window.)
You've seen this before!

Previous information:

You have just finished looking at the introduction to Beethoven’s First Symphony in class today (Tuesday 11/12/13). Please watch the videos and complete the quiz sometime today. (If you would like to see that silly PowerPoint I used at the beginning of class, go here.)

Here is the Google Doc of the notes we made on the board.

If you would like to see the whole score on, go here. (pp. 7-8)
If you would like the PDF of a reduction that you will see in Video 2, go here.

Now it is time to watch three short videos on those UHOs (unidentified harmonic objects). As you will learn they are called secondary dominants. It will take you less than 15 minutes to watch the videos. (If you are short on time, skip the last one.)

Video 1
Video 2
Video 3

(These videos are unlisted on YouTube, meaning you cannot find them by searching in YouTube. You must have the link to watch them.)

If you would like to use the PowerPoint (really Google Presentation) from the videos as study material, go here.


Do you want another way into this information? I have uploaded a supplemental chapter from the theory textbook I coauthored.

Once you have watched the videos, please take the quiz by going here. I will grade this as Quiz No. 7 in place of a final in-class quiz. It is due by class time on Thursday morning, but please complete it on Tuesday. If you do, I can use your responses to help me gear how we spend some of our class time together.

Please keep in mind that this experiment all depends on your participation, and that next week I will give you some time to reflect on what you thought about this different teaching method. You will help me decide if I continue to teach this way, or not. Thank you for your patience.

See you on Thursday!