T215 Music Theory and Practice (AY12/13)
Module Outline
Module Approach: 4 hours contact time
Duration Mode
30 min
Revision
Annotations
Week 1: 30 min Module briefing and Facilitator introduction to class
Week 2 to 15: Revision on previous lesson /return graded worksheets (by faci) to students for
corrections/further clarifications
30 min
Aural Training
Students to transcript on manuscript paper and exchange with buddy for immediate grading and
reflection once the Facilitator releases the answers in the weekly PowerPoint slides
Exercises includes rhythmic/melodic/interval/harmony/music analysis
1 hour
Interactive Seminar
Lecture on assigned topic of the day using piano/white board/Sibelius whilst getting students
responses on the topics discussed
Facilitators are encouraged to facilitate responses from students where appropriate/ indicated on the
slides
2 hour
Practice
Time allocated for each individual student to work on Worksheet 1 and submit before class ends.
Facilitator to constantly engage student on their progress and to offer extra help in his/her walkabout
or hold small group training for students who needed more assistance.
Worksheet 2 is for students to relate music theory awareness to music technology practice under two
main components:
 Enhances music theory knowledge by translating theoretical skills to soft based skills in
typesetting professional musical scores/notation
 Putting music theory knowledge into practice via building essential music sequencing skills with
the use of Pro Tools, digital audio workstation
Worksheet 2 is employed by student upon finishing Worksheet 1. Worksheet 2 also addresses the
need to challenge students with higher music theory background during the course of the day.
Facilitator to grade all worksheets and assign grades to individual student based on Worksheet 1 and RJ responses.
Important: Worksheet 1 must be returned to student on the next lesson therefore mistakes must be highlighted for student to
review on for progress.
All worksheets questions to follow a marking scheme like a typical UT question. Total score of the worksheet will determine the
Grade to be indicated in LEO. Grade A B C D F
T215 DG
Calculator_worksheet.xlsx
<< Facilitator to utilize this DG calculator for ease of translating student’s worksheet responses to daily grade
Grades
A
B
C
D
F
Score in %
80 & above
70 - 79
60 - 69
50 - 59
49 & below
Resources:
Notation software, Sibelius in Vista C, Vista D & Synthesis Lab
Pro Tools LE8 on student’s laptop and Pro Tools v9 v10 in Vista C & D
Free notation software, Finale Notepad http://www.finalemusic.com/NotePad MuseScore http://musescore.org/ or Noteflight
http://www.noteflight.com/login
MIDI Controllers (Keyboard interface) M Audio 88keys & Axiom 25 available in Vista C & D suites
Online resources:
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Ricci Adams Music theory.net http://www.musictheory.net/
Teoría Music Theory Web http://www.teoria.com/tutorials/index.php
Free lessons and resources in Music Theory http://music-theory.ascensionsounds.com/
Chord House http://www.looknohands.com/
Music Theory Online 1000+ Scales http://www.dolmetsch.com/pianochords.htm
Virtual Keyboard http://www.bgfl.org/bgfl/custom/resources_ftp/client_ftp/ks2/music/piano/index.htm
Vienna Symphonic Library Instruments Online http://www.vsl.co.at/en/70/149/150/46.vsl
Module Outcome:
1. Students able to understand music theory which in turn they are able to produce & typeset professional formatted score using
Sibelius.
2. Students able to relate music theory to practical application in Pro Tools for Music Production/ Music Sequencing
3. Students able to create and formulate original compositions realised in modules like Music Composition & Sonic Art Studio.
4. Students understand the terms musicians use and is able communicate in terms of musical directions.
No
1
Problem
Title
Revision
Learning Objectives/ Learning
Outcomes

Revision of Music Theory
and Keyboard Skills
module covering the
following topics: beats,
rests, clefs, key signature,
time signature, dotted
rhythm, meter, scales as
such
Learning Issues




Understand the various
notation terms and
symbols in music
Students to apply
notation language in
music composition and
arranging
Basic conducting skills
2/4, 3/4, 4/4 & 5/4 useful
for vital music
communications
Equipped with
fundamentals to further
explore progression of
music theory
Problem Statement/Trigger
Feedback
(Compiled by
previous MC)
Increase the level
of difficulty of
worksheet
questions
Display various professional
formatted score and quiz
students on how much they
know and able to derive from it.
This sets the tone and a vision for
students to visualise the outcome Place RJ question
of the module.
on final slide of
Interactive
Seminar.
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Status & Why


This week’s aural
exercise: Rhythmic
dictation (2 bars rhythm)
Next week’s aural
exercise: Rhythmic
dictation (2 bars rhythm
with rests)
Student to view tutorial videos
on operating Sibelius. Videos can
be found in Quick Start dialogue
window
RJ: Do a sharepoint survey to list
your musical experiences and
background for the facilitator to
understand you better.
Use this link:
List your musical experiences and
background for the facilitator to
understand you better.
Student name & ID
i.e. Competent in XX instruments;
Years of experience (range);
Current music group; Previous
music group; Join the school
wind band or orchestra/ XX
music ensemble/group; local
performances/
overseas
performances. Interested in
composing music in XX genre.
ABRSM/TRINITY certificates? If
YES, list the certification type and
grade of certificate
Area of interest (you may choose
more
than
one):
music
composition, sound design, live
sound, studio recording, sonic
artist,
*Create Sharepoint survey
*Create Worksheet 1 on topics
covered in learning objectives
*Download
video
2
Meanings of
Symbols
and Lines in
Music
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3
Irregular
Time

Performance Directions:
Phrases, slurs &
articulation marks
(tremolos)
Tempo Directions (Rit.)
Dynamics
Double flats and sharps
Slur & Phrase, Tenuto &
Staccato, Variety of
Accents
Articulation on Stringed
Instruments
Pedalling on the Piano,
Table of Dynamic
Markings, Table of
General Musical Markings
Ornamentation
Translating music theory
awareness to music
technology practice

Understand the use of
Irregular Time Signatures

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
Typesetting Skills: Using
Sibelius Notation
Software to notate
Performance Directions
and other various musical
symbols common in music
typesetting
Sequencing Skills: Using
Pro Tools DAW to
sequence the change in
tempo, volume,
staccato/detached notes
via MIDI sequencing
Next week’s aural
exercise: Rhythmic
dictation with
syncopation
Sibelius
Tutorial
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Increase the level
of difficulty of
worksheet
questions
Every student will be given a
unique musical excerpt to
typeset
on
Sibelius
as
assignment. Excerpts will be
short as students will be sharing
resources in Vista C. While taking
turns to use Sibelius, students
may go thru Worksheet 2 which
covers sequencing in Pro Tools.
*Create
Worksheet
1,
instructions on how to use
Sibelius to typeset assigned
music
excerpt,
individual
assignment.
Understand the musical
outcome from known
music works with
Increase the level
Interactive Seminar |
Practice based on the Learning of difficulty of
Signature &
Time
Divisions

and Irregular Time
Divisions
Translating music theory
awareness to music
technology practice



Irregular Time Signatures
and Irregular Time
Division via audio
examples to be played in
class
Typesetting Skills: Using
Sibelius Notation
Software to notate
Irregular Time Signatures
and Irregular Time
Division irregular
Sequencing Skills: Using
Pro Tools DAW to notate
Irregular Time Signatures
(metronome) and
Irregular Time Division
irregular
Next week’s aural
exercise: Rhythmic
dictation with Irregular
Time Signatures and
Irregular Time Division
Objectives & Issues (view worksheet
PowerPoint slides for more questions
information)
Add Aural exercise
on identifying
Audio examples:
Song America from West Side Time Signature in
Story by the American composer Week 4
Leonard Bernstein, which is an
excellent example of a tune in Possible RJ
mixed time (or mixed meter), question: Provide
namely (6/8 + 3/4) where the an example of a
song with
value of the quaver (eighth-note)
odd/irregular
remains constant.
time signature.
Theme from Mission Impossible
"Theme
from
Mission:
Impossible" was the theme tune
of the TV series Mission:
Impossible (1966–1973). The
theme
was
written
and
composed by Lalo Schifrin and
has since gone on to appear in
several other works of the
Mission: Impossible franchise,
including the 1988 TV series, the
film series and the video game
series. The theme is somewhat
unusual in that it is written with a
5/4 time signature.
Pictures at the Exhibition: Mvt I
Promenade
Key: B-flat major
Meter: originally 11/4. Published
Include a
Youtube link to
that song.
(Note: Ensure
the copied link
works and only
list songs that
has not been
covered in
class)
editions alternate 5/4 and 6/4.
The
melody
and
rhythm
resemble Russian folk songs. The
piece has simple, strong rhythms
in asymmetrical meter.
*Create Worksheet 1, on
irregular Time Signatures and
Time Division
*Create Worksheet 2, covering
sequencing techniques in Sibelius
and Pro Tools relating to lesson
4
Major &
Minor Keys


Construct Major & Minor
scales with key signatures
up to 6 sharps and 6 flats
Extending the scales to
realise its Diatonic
harmony


Next week’s aural
exercise: Describe the
quality of scales: Major,
Natural Minor, Harmonic
Minor, Melodic Minor
Next week’s aural
exercise: Identify the
Scale quality
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Resources for students on more
scales which will assist in
composition and improvisation
http://www.dolmetsch.com/pian
ochords.htm
*Create Worksheet 1, on Major
and Minor keys up to 6 sharps
and 6 flats
*Create Worksheet 2, covering
sequencing techniques in Sibelius
and Pro Tools relating to lesson
Increase the level
of difficulty of
worksheet
questions
5
Intervals

Melodic & Harmonic
Interval, Compound
Interval, Chromatic
Interval, Diatonic Interval,
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6
Transpositio
n
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Student to learn how to
transpose a melody up or
down any one of the
following intervals: an
octave; a major 2nd; a
minor 3rd; a perfect 5th
Concepts on Transposing
Instruments
Translating music theory
awareness to music
technology practice
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Students to recognise the
system of intervals and
hence able to apply this
knowledge in building
harmony and
constructing melodies
Increasing students’ aural
awareness in music
analysis and transcription
Next week’s aural
exercise: Diatonic
Intervals (Major, Minor,
Perfect)Melodic Interval
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Transposition skills
directly assist students in
music development as
such a particular
theme/motive are
presented in another
musical key
Importing MIDI in Pro
Tools (Quantization)
Understanding music
arranging concepts where
acoustic instruments of
transposing nature are
utilized
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Student to analyse intervals of
known melodies to realise its
melodic structures
*Create Worksheet 1, on
Intervals, and intervals within
chords also include melodies for
students to dictate the quality of
interval based on the opening
two notes. This will be further
emphasized in next lesson’s aural
training on dictating interval
quality.
*Create Worksheet 1, on
transposing familiar melodies.
This will aid in student’s ability to
develop musical themes as such
*Create
Worksheet
2,
on
7
Identify
Chords
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Next week’s aural
exercise: Diatonic
Intervals (Major, Minor,
Perfect)Harmonic Interval
transposing given MIDI file to be
imported into Sibelius and Pro
Tools.
Sibelius: Import MIDI, repeat
selection, Transposition with key
signature
Pro Tools: Import MIDI, placing
Virtual Instrument, Duplicate
region, Transposition

Student to be able to
identify chords which
relies on their knowledge
on scales and key
signatures
Constructing chords based 
on intervals (major, minor,
diminished, augmented)
Relating to Chord Symbols 
in Popular/Jazz Music
Theory (Slash Chords)
Students to realise chords
are basically made up of
various intervallic
qualities such as a major
3rd + a perfect 5th = major
triad
Able to derive various
degrees of chords within
a given key centre
Knowledge of scales are
also revisited as students
will able to realise various
chords in various musical
keys
Next week’s aural
exercise: Identify Chord
Quality(Major, Minor)
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)

The identification of the
5
3
6
3 and
6
4 forms of the tonic, supertonic,
subdominant and dominant
chords in any of the keys set for
this grade. The identification of
the progression
6
4
5
3 (Ic-V) on the
dominant note in any of the keys
set for this grade. The choice of
suitable chords, using any
Possible RJ
question: In the
key of D# and
Bb major scales,
list the Major
chords (quality)
found in both its
DIATONIC
chords. Example
C major: C maj
- F maj - G maj
are major
chords (Primary
triads) Eb
major: Eb - Ab Bb are major
chords (primary
triads)
recognized method of notation,
at cadential points of a simple
melody in the major key of C, G,
D or F.
8
Cadences
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9
Harmony is
music on its
own
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Understanding the various
Cadences and how to use
them with the support of
listening examples
Perfect; Imperfect; Plagal;
Interrupted
Application of cadence in
known music
Extra: Sus 2 and Sus 4
Get students to create
chord progression and
explore the use of
inversions
Comparing block chords
to the usage of inversions
with the use of voice
leading
Translating music theory
awareness to music
technology practice

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
Students to ‘hear’ and
identify cadence in music
Students able to identify
cadences from given
music excerpts
Next week’s aural
exercise: Identify the
cadence
Interactive Seminar |
Practice based on the Learning
Objectives & Issues (view
PowerPoint slides for more
information)
Bach cello suite
Bach Prelude no.1 in C
major
Label Chord Symbols on
Pro Tools Edit Window
Ruler
Use Pro Tools – Xpand!2 –
Arpeggiator mode to
realise a more polished
work based on block
chords.
Next week’s aural
exercise: Identify the
chord progression I
Interactive Seminar

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Present examples of music with
harmony as the main musical
element presented in various
interesting patterns like Bach
Cello Suite and Prelude no.1 in C.
After getting students attention
on how harmony alone can be
represented as music on its own,
facilitator to cover slides on
harmonization
followed
by
individual assignment.
Trigger: Construct a chord
progression to harmonise the
given melody in Pro Tools
session.
Include
cadence(s)
where appropriate. After which,
enable Arpeggiator mode on the
harmony track.
Increase the level
of difficulty of
worksheet
questions
In your presentation, explain
your harmonization method and
highlight
cadence(s)
where
appropriate.
10
Instrument
in Focus
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Get students to share
their research findings of a
chosen instrument
Images of instrument
Topics to cover relating
Clefs
Transposing Instrument
(written vs actual
sounding)
Family Grouping
(String/Woodwind/Brass/
Percussion)
Special techniques unique
to instrument (written vs
actual sounding)
Facilitator to show various
instrument from STA store
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Orchestra Instruments in
focus
Differentiate between
transposing and nontransposing instruments
relation to music scores
and actual sounding pitch
Instrument and their
common Clef(s)
Understand why the
instrument is being
grouped in a particular
family
Instrument’s effective
pitch range
Sequencing techniques
Discuss with musical
examples (audio/video)
on the instrument’s
Special
techniques(performance)
Next week’s aural
exercise: Two Parts
Worksheet to provide details on
how to import MIDI in Pro Tools.
Working with MIDI Editor and
assigning Arpeggiator mode on
Harmony track to realise how this
feature can bring augmentations
to block chords.
Research-based problem
Within a team of 5, you are to
research on ONE acoustic
instrument of choice within the
instrumental
section/family
assigned.
Team 1: Strings section
Team 2: Woodwind section
Team 3: Brass section
Team 4: Percussion section
(Definite Pitch)
Team 5: Percussion section
(Indefinite Pitch)
Team must cover all points
mentioned below.
1. Instrument: Name
2. Family:
Strings/Woodwinds/Bras
s/Percussion(definite
Move problem to
Week 15 to allow
other Problems
with worksheet to
be corrected and
pass back to
students on the
next lesson
Possible RJ
question: Listen
to a demo track
from
http://www.nati
veinstruments.co
m/#/en/product
s/producer/pow
ered-bykontakt/session
-stringspro/?content=1
Dictation
pitch/indefinite pitch)
3. Clef: State the Clef(s)
common
to
the
instrument
4. Transposing Instrument:
Yes/No
5. Key: State the key of
Instrument (C key for
non-transposing
instruments)
6. Range: State the musical
range/pitch
of
Instrument (Example in
Notation form)
7. Playing
Techniques:
State the common &/
advance
playing
technique(s)
8. Video Example: Short
performance clip of any
repertoire,
which
showcase/highlight
instrument’s capabilities
and character
Presentation will start at 3:30pm
otherwise stated by your
facilitator.
RESOURCES:
Vienna
Symphonic
Library
Instruments online
http://www.vsl.co.at/en/70/149/150/46
.vsl
Ranges of Orchestral Instruments
http://www.orchestralibrary.com/refta
577 and discuss
specific
knowledge
needed in order
to
sequence/create
this
bles/rang.html
Instruments
http://www.dolmetsch.com/musictheo
ry26.htm
Drums & Drumming
http://www.dolmetsch.com/musictheo
ry34.htm
11
Basic VoiceLeading 1
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12
Basic Voice
Leading 2
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Students will draw from
understanding of
definitive tones and
cadence to undertsand
the concept of voice
leading;
Students will review and
strengthen the concepts
of harmonic inversions
with application to 7th
chords;
Student will study classical
voice leading through
study of Bach Chorales.
Students will draw from
understanding of
definitive tones and
cadence to undertsand
the concept of voice
leading;
Students will review and
strengthen the concepts
of harmonic inversions
with application to 7th
chords;
Student will explore more
classical voice leading
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Ability in consolidating
chord tones to realise an
implied harmony;
Ability to exercise
judgement in chord
classification;
Ability in understanding
chord voicing in classical
literature;
Ability to present music in
various formats.
Next week’s aural
exercise: Two Parts
Dictation
(Individual Assignment) Trigger:
Ability to translate chord
symbol to standard music
notation;
Ability to exercise
aesthetic judgement in
chord voicing;
Ability to create smooth
and sing-able melodic
lines
Ability to write in a
chosen style of music;
Ability to function as a
music arranger in a small
popular music ensemble;
Ability to create a MIDI
(Individual Assignment) Trigger:
(1)To analyse a piece of Bach’s
Chorale using roman numerals;
and
(2) To create a MIDI mock up of
the chosen Bach Chorale.
(1) Referring to the lead sheet
provided, nominate a musical
style to accomplish this
assignment;
(2) Create a voice leading
passage based on the given chord
progression (presented in a lead
sheet style);
(3) Based on the style chosen,

13
Chord
Classificatio
n



through further study of
Bach Chorales;
Students to acquire
undertanding on melodic
and harmonic suspension
and its implication on
voice leading.
Students to acquire the
understanding of
definitive tones within a
diatonic system;
Students to be introduce
to 4 part chord structure;
To use the definitive tones
to classify diatonic 7th
chord into various chord
family.

mock up using DAW.
Next week’s aural
exercise: Two Parts
Dictation
compose the bassline and drum
groove to complement the
harmonic passage.
(4) To recreate the music in open
score style.




Understanding the
definitive tones with in
the diatonic key;
Inquiry on the
qualification of a
definitive tone
Understanding on the
tertial and quartal
harmonic extension.
Next week’s aural
exercise: Two Parts
Dictation
Interactive Seminar
- Review of diatonic scales and
co-relating triadic system;
- To introduce the scale tone
tendencies within a diatonic
system;
- To introduce 4-part 7th Chord
system;
- To use definitive pitch as
criterion in chord family
classification.
Assessment: Worksheet
assignment will be provided and
student will attempt this
individually.
14
Chord
Analysis
and
Common
Chord
Progression
in
Contempor
ary Music



Students to draw on prior
knowledge on cadence
and chord classification;
Students to acquire
understanding on
commonly used chord
progression;
Students to understand
the effect of chord
classification on the



Understanding the effect
of chord classification on
harmonic analysis of
popular music
Acquisition of aural
impression of popular and
commonly used chord
progressions;
Cataloguing of commonly
used harmonic
progressions.
Research-based Problem
In team of 5, students will choose
5 tunes and research on the song
form and chord progression.
Students will inquire the “musical
logic” behind chord sequence.
They will then catalogue
commonly used chord
progression through their
findings.
15
Modulation
&
Reharmonis
ation





sequencing of harmonic
materials.

Next week’s aural
exercise: Two Parts
Dictation
Students will acquire
different approaches to
modulation in tonal music;
Students will draw on
prior knowledge on
cadence and chord
classification to determine
various approaches to
modulation;
Students will inquire the
effectiveness modulation
presented in scores
provided and present
workable alternatives;
Students will acquire the
understanding on plurality
in contemporary music;
Students will acquire the
understanding on
harmonic
interchangeability drawing
from the understanding of
chord classification.

Understanding on the
effect of cadence on
modulation;
Understanding the
importance of harmonic
rhythm on modulation;
Acquiring skills in
establishing a harmonic
modulation;
Understanding the
simialrity of chord buildup and hence the concept
of plurality;
Understanding the upper
extension of triads and
implication on chordal
reharmonisation




Interactive Seminar
- To review of harmonic system
within a tonal center;
- To review diatonic triad system
co-relating to a major key center;
- To emphasize on the definitive
pitches in each of the tonal
center and its co-relating key
centers;
- To realise the theory of chordal
interchangeability through
inquiry of chordal formation;
- To provide examples of
modulation and reharmonisation
in classical and popular music.
Assessment: Worksheet
assignment will be provided and
student will attempt this
individually.