Seattle Central Community College
Humanities/Social Sciences Division
Music Department
Music 141 (Music Theory I)
Fall 2012
Professor Brian Kirk, M.A. Music
Website: http://seattlecentral.edu/faculty/bkirk/
Primary email
Assignment email
brian.kirk@seattlecolleges.edu
bkirksccc@yahoo.com
Office: 206 934 – 6338
Broadway Performance Hall Room 204.
Hours: By appointment only
Music Theory I
Syllabus
This course is intended to provide students with the skills and information necessary
for advanced study in music. This course is designed for all students including those
with no previous knowledge of music fundamentals or musical training.
All instrumentalist and vocalist will benefit from the knowledge of music
fundamentals studied in this course.
The course teaches Music Fundamentals.
THIS IS A BEGINNING MUSIC THEORY COURSE
An approach that is used in the instruction of this course will provide students with:
1) Exercises in written musical concepts, terminology, and the nomenclature of
music notation; including the opportunity to compose original music works
2) Exercises in music reading, sight-singing, and ear training to develop the
“musical ear” (aural listening skills) and scale fingering exercises for piano
3) Drills (in class and online) in rhythm and melodic notation reading, plus some that
incorporate clapping rhythmic patterns and melodic singing simultaneously
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Class Participation
Students are expected to be at every class session barring highly unusual conflicts or
illness. It is not likely that you will successfully complete the work required unless
you attend class regularly, including the lab sessions. If you must miss a class, or a
lab session notify the instructor in advance by email or call the instructor’s office. It
is the responsibility of the student to ask the instructor for assignments which were
missed due to an absence. Excessive absence may result in lowering of the
student’s grade.
WHY IS ATTENDANCE SO IMPORTANT?
We practice together everything that is taught in this class, EVERYDAY. Concepts
such as rhythmic training, common music theoretical methodology, SCALES,
KEYS, KEY SIGNATURES, TONALITY, SIGHT-SINGING, RHYTHMIC
DICTATION, and MELODIC DICTATION must be practiced in REAL TIME,
under performance conditions.
REASON #2
ATTENDANCE TO THE COMPUTER LAB =100 POINTS (ENTIRE
QUARTER) = 1/5 OF THE TOTAL ASSIGNMENT GRADE
10 Reasons why Scales are important!

Articles
02/06/2009 - 10:51 by Mike Saville
Scales are boring - WRONG!!
You can get ahead of the music practice game by taking your scales
seriously and realizing that they are far from boring. In fact there is a huge
range of possibilities when you begin to think about it. Those that think
scales are boring are on the track to slow progression. Realize the
potential that scales have to improve your music practice and you will be
in the fast lane. Not convinced? Here are 10 reasons why scales should be an integral part of
your practice diet.
1. Timing - to play together with other people you need to have good time, good internal time. One
of the best ways to develop this is to practice scales. Slowly at first, with a metronome if needed
until you are placing each and every note exactly where it needs to be, not too soon or too late - just
right.
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2. Intonation - for most instruments (piano aside) there is a need to make sure we are playing in
tune. This does not end when you have tuned a single note or string on your instrument - that only
tells you that note is in tune. Scales are a great way to check the tuning of each and every note. The
distance between each should be just right. Careful listening is very important here.
3. Co-ordination - during music practice we have lots of things to remember and the really
difficult thing is to remember to do them all at the same time (breathe, sit up straight, bend those
fingers, 4th finger, etc.) Scales give you an opportunity to focus on bringing all of those elements
together. Once you have learned the notes of a scale you can make sure that everything else
happens just at the right moment to make the scale sound perfect.
4. Dexterity - one part of learning an instrument involves training parts of the body to do new
things, to repeat them and then do them very quickly. Scales are a great training partner. They will
help you refine and improve your speed. Slow careful practice of scales at the outset will have you
whizzing up and down in no time.
5. Muscle Memory - this is a really big benefit of practicing scales. When you have practiced a
scale for a while you will begin to 'just get it' and the scale will flow naturally from your
instrument. What you have done is to begin to develop muscular memory. This is a very useful
thing to have. When you see this scale again or indeed a similar one you will be able to rely
partially on this muscle memory to help you play the scale. This also applies to snippets of scales,
of which there are a lot in music.
6. Ears - if you can't hear what is wrong you can't correct it. This is true of all of your music
practice. Learn to listen very, very carefully when you practice your scales and you will start to
hear areas where you can improve your other playing; pay attention to tuning, articulation, tone
quality, consistency etc. Imagine what a perfect scale would sound like in every way and try to
make each of your scales sound like that.
7. Sight Reading - if you can translate the notes you see on the page quickly into sounds on your
instrument you can develop good sight reading. If those notes form patterns that you are familiar
with then you will be able to do this even quicker. Knowing your scales will give your sight
reading a boost as you will frequently come across patterns and groups of notes with which your
are familiar.
8. Theory - key signatures, chords, modulations, modes and many other areas of music theory are
much easier to understand if you know your scales.
9. Exams & Auditions - most musicians do these at some point and they invariably involve scales.
If you already practice scales regularly you will have a head start on those that don't. You'll also
ease the workload in the long run up to the event.
10. Building Blocks of all music - If you hadn't realized it, scales are the things from which most
music is made. Just look at the pieces you are currently learning and you will see scales or parts of
scales all over it. Their importance cannot be underestimated, be good at scales and you are likely
to be good at your instrument.
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Students with Exceptional Learning Abilities
If you need course adaptations or accommodations due to a disability, or if you have
emergency medical information to share, or require special arrangements in case of
emergency evacuation; please make an appointment to discuss your needs.
Course materials:
Text: Introductory Musicianship (8th Edition)
Author: Lynn, Theodore A. Cengage Advantage Books
Music notation paper: (binder form or notation book 10 or 12 Staves) #2 pencil.
http://linkwaregraphics.com/music/manuscript/
Grading Policy for Music 141
Assignments
500
Midterm
Exam
200
Quiz #1
Quiz #2
50
50
Point Total
971 - 1000
941 - 970
911 - 940
881 - 910
851 - 880
821 - 850
791 - 820
761 -790
731 -760
701 -730
671 -700
641 - 670
611 - 640
600 - 610
571 - 599
499 - 570
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Final
Exam
200
Decimal Grade
3.9 – 4.0
3.7 – 3.8
3.5 – 3.6
3.3 – 3.4
3.1 – 3.2
2.9 – 3.0
2.7 – 2.8
2.5 – 2.6
2.3 – 2.4
2.1 – 2.2
1.9 – 2.0
1.7 – 1.8
1.5 – 1.6
1.3 – 1.4
1.1 – 1.2
1.0 - .07
Total
1000
Grading Policy Based on 1000 points
Assignment Point Totals
Textbook Worksheets
Computer Classroom Lab Work
Ear Training/ emusictheory.com
Total Points (3 categories per
assignment)
25 points
10 points (Required 2 days per week)
15 points (all work must be completed)
50 points
Course Objectives:
Provide understanding of music fundamentals which will prepare the student for
further experience in music as well as further study in music history, form and
analysis, music education and performance.
Provide instruction in sight-reading and aural skills which will prepare the student
for further experiences music performance and composition.
Provide instruction in basic keyboard/piano skills including knowledge in sight
reading, scales, fingerings, and the understanding of the grand staff.
Provide instruction in computer composition and software notation skills which will
prepare the student for further experiences in music as well as further study in music
performance, composition and audio production.
Student Outcomes
The student will learn how to read and write music. Students learn how to practice
music and develop the discipline to practice intelligently.
The student will be able to recognize and sing simple melodies written on
manuscript paper.
The student will write melodies and explore creative composition.
Students will understand the piano keyboard arrangement through scales, simple
melodies and intervals.
The student will have the ability to understand simple musical forms both written
and auditory.
The student will be able to sight-sing beginning level diatonic musical examples
using scale degree numbers, and to notate rhythms in both simple and compound
meters.
The student will learn the use of music notation software, and electronic music
sequencing software to compose short pieces using the music fundamentals learned
in this course.
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Assessment:
Students will demonstrate their level of competence in understanding and mastery of
these outcomes through their regular homework assignments, mastery quizzes,
online music theory drills and exercises (of sight-singing and rhythm reading
assignments) and examinations. Homework assignments are based on a
completion grade policy.
WITH THIS TYPE GRADING POLICY, ON TIME SUBMISSION IS
PARAMOUNT TO RECEIVING A GOOD GRADE ON EVERY
ASSIGNMENT.
Completing every exercise and all sections, of each assignment, insures each
student a successful 25 point completion grade, regardless of the number of
incorrect answers.
QUIZZES, EXAMS - Must be submitted by the due date without exception
emusictheory.com – ALL FIVE EXERCISES MUST BE COMPLETED AND
SUBMITTED BY THE DUE DATE. NO PARTIAL CREDIT GIVEN.
Late Assignment Policy
Assignments must be submitted on or before the due date for full credit.
Students who (due to absence on the due date) do not turn in assignments at the
beginning of the class on the day it is due, can submit their work until the
beginning of class the following day for half credit.
One day late = 50%
Note: If you have attended the class on the due date and did not finish the
homework due to incomprehension of the material, you can turn in the
homework for full credit the next day. You give notification that more time is
needed.
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Required Work Outside of Class:
In addition to class time, the minimum amount of time required to complete the
assignments in each of the following areas is:
WRITTEN WORKSHEETS
Ear Training Website
(emusictheory.com)
Teacher Code: 419 username, password
Angel Learning Portal (online testing)
seatttlecentral.org – distance learning –
angel learning
5 HOURS WEEKLY
2 Hours Weekly
4 Quarter Hours (see examination
schedule)
Week 1
Unit 1 Page 1-18. (Essential Music Fundamentals)
Read and study all concepts in this chapter
Unit 2 Rhythmic Training
(page 29-36 – Week 1 Lecture material for rhythmic training)
Assignment #1
Worksheet 1-1 through Worksheet 1-6. Page 19-24.
Complete Week 1 emusictheory.com assignments
Week 2
Unit 2 Rhythms Page 37 – 46 (practice the rhythms)
Assignment #2
UNIT 1
Worksheet page 25 – 28 1-7, 1-8, 1-9, 1-10
Complete Week 2 emusictheory.com assignments
Week 3
Quiz #1 (online)
Chapter 1
Date
Points Possible
50
Unit 3 Scales, Keys and Modes (Page 61)
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RHYTHMIC TRAINING
Unit 2c: Rhythmic Studies Page 38 – 42 (practice the rhythms)
Unit 2d: Melodic Exercises Page 45-48
Assignment #3
UNIT 3
3-1 through 3-2 (page 81-82 worksheets for Major keys only)
Complete Week 3 emusictheory.com assignments
Week 4
Melodic Singing Exercises Unit 2e Page 49-52
UNIT 3
Assignment #4
Page 83-84 Worksheet 3-3 - 3-4
Complete week 4 emusictheory.com assignments
Week 5
Minor Keys (Circle of fifths) Page 67-74
UNIT 3
Assignment #5
Worksheet 3-5 - 3-6 Page 85-86
Complete week 5 emusictheory.com assignments
RHYTHMIC TRAINING
Unit 5 Intermediate Rhythmic and Melodic Exercises
Page 119-122 (Practice the rhythms)
Week 6
Unit 3
Practice page 123 – 126 (3) coordinated-skill exercises
Assignment #6
Page 87- 92 Worksheets 3-8 - 3-13
Complete Week 6 emusictheory.com assignments
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MIDTERM EXAMINATION IS ON ANGEL PORTAL – NO MAKEUPS
Week 7
Midterm Exam
Date
All course material
covered to date
(no intervals)
Points Possible
200
Assignment #7
Unit 4 Intervals Pg. 95-106
UNIT 4
Worksheet 4-1 through 4-5. Page 107 – 112
MELODIC SIGHT-SINGING
Unit 2f Melodic Exercises page 57 – 60 (practice the singing of each example)
Complete Week 7 emusictheory.com assignments
Week 8 (Two part Assignment)
Assignment 8 Part 1
Original Composition 1 – Finale Notepad 2011
Compose a short rhythm and or melodic composition of a minimum 32
measures.
This is a creative assignment of which there are no restrictions.
The composition must have the following:
1) Title
2) Composer’s Name
3) Metronome marking (tempo) Example: Quarter note = 132
4) Double bar at the end of the composition
Bar lines at the ends of each measure (except bar number 1)
This is part one. Both parts must be completed for credit.
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UNIT 4
Assignment #8 Part 2
Worksheet 4-6 - 4-7 – 4-8 – 4-9 Page 113-116
Complete Week 8 emusictheory.com assignments
Rhythms - NEW MATERIAL (7) 127 – 134
(2/2, 3/2, 4/2 time signatures and The Triplet) practice the rhythms
Week 9
Intervals continued
Assignment #9
Worksheets 4-10 and 4-12 page 117 -118
Complete Week 9 emusictheory.com assignments
Tuesday and Thursday- Listen to extra credit compositions from Student
Composers
Quiz #2
(online)
Intervals
Scales
Date
Points Possible
50
Week 10
Assignment #10 Composition #2 is your last assignment
Complete Week 10 emusictheory.com assignments
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MUSICAL COMPOSITION (Comp. 1 and 2)
Option 1
Compose a music composition for piano using Finale Notepad. You must use the
Grand Staff. Use a whole rest for any clef where there are no notes to be played in a
given measure. The music should be at least 16 measures in length. (Repeat signs are
fine) The scales that you have learned must be used as the basis for your melody.
On a separate sheet of paper (or email message attachment to the composition)
describe the scale from which your melody is derived.
Note: Your piece must contain a melody for full assignment credit.
(Written Composition Requirements)
The composition must have the following information:
1) Composers name
2) Music Title
3) Tempo marking
4) Measure numbers
5) Bar lines at the end of each measure throughout the entire composition, with a
Double Bar at the end of the composition.
6) Correct rhythmic values within each measure
Option 2 (Comp 2 Only)
Students will create an original musical composition using Reason software. Using
the devices, effects and rack synthesizers that you have learned to use in this course,
create your own song. (32 measures minimum)
Written analysis is required for all Reason Compositions and a instructional handout
is provided for students.
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Week 11
Review of all Music Fundamentals Unit 1 – Unit 5.
Listen to Extra Credit compositions from Student Composers
Finish Compositions in Computer Lab
Prepare for Final Examination –
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Planning Calendar Spring 2012
Week
Monday
Tuesday
Wednesday
Friday
Thursday
April
1
2
Quarter begins
3
4
5
6
2
9
Assign #1
emusictheory_1
10
11
12
14
3
16
Assign #2
emusictheory_2
17
18
19
20
4
23
Assign #3
emusictheory_3
24
25
26
27
5
30
Assign #4
emusictheory_4
May 1
2
3
4
6
7
Assign #5
emusictheory_5
8
10
11
7
14
Assign #6
emusictheory_6
15
16
17
18
Midterm Examination
IN ANGEL PORTAL
NO MAKEUP EXAMS
8
21
Assign #7
emusictheory_7
22
23
24
25
9
28
29
30
QUIZ #1
(Angel)
9
31
June 1
Quiz #2 (Angel)
Assign #8
emusictheory_8
HOLIDAY
7
10
4
Assign #9
emusictheory_9
5
6
11
11
Assign #10
emusictheory_10
12
Last Day of Class
In computer lab
13
Final Examination
Opens at 9am
Angel Portal
Available
June 13-15
14
Final Available
15
Assign #10
emusictheory_10
All course work Due
Final Exam Closes
11:00pm
20
21
22
12
18
13
19
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Music Theory 141
Contract – Instructor and Student
STUDENT RIGHTS AND RESPONSIBILITIES:
In this course, Students have the right to an Instructor who will:
• help students to learn the material presented in this course
• be organized, and share that organization with students
• establish realistic goals
• pay attention to students’ needs
• be aware of different learning styles
• attend and participate consistently
• maintain open lines of communication
• be a good resource for students
• share knowledge
• offer constructive criticism
• maintain an open mind
• treat the course and all its participants with dignity and respect
In this course, the Students are responsible for:
• practicing and learning the material presented in this course
• attending class consistently
• coming to class prepared to work
• completing all assigned readings and assignments on time
• submitting all assignments on time
• participating in all activities of the course
• seeking assistance when it’s needed
• maintaining open minds
• giving the course and all its work their best effort
• taking control of their own attitude, time, and performance
• participating in effective and useful groups
• treating the course and all its participants with dignity and respect
Student Signature ______________________________
Professor Brian Kirk ____________________________
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