FROM THEORY TO PRACTICE A draft competition in musical theory for the final classes of children’s music schools and children’s music schools
Is there such a teacher of theoretical disciplines in the world that a student would not ask at one fine moment: “why do I need this” – meaning solfeggio classes? I suspect not. The meaning of any work becomes obvious if its result is visible. In the specialty classes, each half-year the student reaps the material result in the form of a mastered repertoire. In order to achieve this result, the child is more or less ready to perform his little feats. What results can a student learn of solfeggio? If you think about it, it’s quite tangible and significant: for example, he will be able to record his favorite melody and pick up accompaniment to it, arrange the composition, write a song for his mother’s birthday or for graduation, and finally help younger comrades with homework.
This article proposes a draft musical theory competition for graduation classes. Of the many types of tasks that are usually performed in solfeggio lessons, those that are most related to practice were selected for the competition. All tasks are divided into three blocks, each of which emphasizes a certain type of activity: “Mentor”, “Scientist”, “Composer”. Thus, the competition will allow the student to reflect on their professional specialization.
1. Here is the dictation of a 4th grade student. Find and correct errors in music notation and other errors.
A melody with errors is given, for example: incorrect alteration signs when increasing the VI and VII steps in the melodic minor, incorrect ratio of the beat and the last note, spelling of the calm (up-down, left-right of the note head), incorrect connection of the eighth calm after the fourth with a dot in the amount of ¾ and 4/4, inaccuracies in the spelling of key characters). You can specify the number of errors that the contestant should see.
2. Crossword “vice versa.”
Seven to eight concepts are proposed, they should be defined and encrypted in a crossword puzzle. It is advisable to give definitions in your own words, even if the student remembers the rule by heart.
3. Find and correct errors in the chromatic range.
A melody of 6/8 is given, in which there is no breakdown into measures, with incorrect calm connections or no connection at all, with a recording of large durations that does not fit the size (for example, half instead of a quarter with a dot lined with the eighth), etc. The student should set up measures and correctly group durations, correcting errors.
5. Restore the chord with one sound.
A chord is indicated (D7 or its appeal, mind.VII7 or its appeal, BB7, BM7, Bouv.7, MM7, Mum.7) and one of its tones is given, designated as prima, third, fifth and septima. It is required to “calculate” the remaining sounds of the chord. In D7 chords with appeals, mind VII7 with appeals and Mum. 7, the tonality should be determined and resolved.
6. One of the keys lacks one. Enter it.
Five keys of I degree of kinship are given. It is necessary to guess the principle connecting these five keys and indicate the sixth.
7. Identify the tune of the melody.
Two or three melodies written in frets are given: pentatonic, parallel-variable, Lydian, Mixolidian, Phrygian, Dorian.
8. Chord mind VII7 with the help of an anharmonic replacement to turn into VII65, VII43, VII2 and allow. And / or SW. 53 in the same way.
9. Change in harmonic arrangement.
The student is offered one chord. It is required:
a) determine the chord itself;
b) its tonality;
d) rewrite (together with resolution) in a wide arrangement in all melodic positions.
10. Reading scores and harmonic analysis.
The student is offered a fragment of the score, painted for the string quartet (8 measures in the choral texture), containing functional modulation, deviations in the key of the first degree of kinship. It is necessary to rewrite this fragment for piano performance (put it on the clavier on two lines in the treble and bass keys) and sign a digital sign.
In the given melodic period, change the last two measures in such a way as to obtain:
a) modulation in the key of the dominant;
b) modulation in parallel tonality.
To add missed measures to the melody (for example, the 2nd, 5th and 7th in an eight-beat). To complete this task, it is better to offer the student an authorial melody, so that later it will be possible to compare the student’s version with the author’s version.
13. To assemble an integral melody from disparate measures, focusing on the laws of melodic and rhythmic development of the period.
A melody is used, which is a period of re-structure (8 measures) with a typical question-answer relation of sentences (DT), rhythmic stops in cadences, summation structure, culmination in the 3rd quarter of the period, etc.
The entire melody (period) and scattered accompaniment measures are given. It is desirable to select a musical fragment from music familiar to the student. When executing, the following options are possible:
a) to let you listen to this fragment in the recording;
b) say what kind of work it is, but do not put an audio recording;
c) do not name the composition and ask the student to guess it, intoning the melody with an inner ear.
A melody with accompaniment of the choral warehouse is given. It is desirable that the genre nature is well felt in the melody. One or two harmonic errors were made in the accompaniment. The student should:
a) find and correct errors in harmony;
b) determine the genre of the melody;
c) to write accompaniment in the invoice corresponding to this genre.
16. Canonical imitation.
Write a canon (10-12 measures) at a given beginning. Two or three versions of the initial chant are given (2 measures).
At the end of the competition, the student is invited to note the five most interesting tasks for him in order of preference.
The winners of the competition are determined either by the total number of points, or by each of the three nominations separately – at the discretion of the teacher.