No suitable text has been found. Much of the material presented in the class has been developed over the years and is drawn from a variety of sources. Some of it is presented orally while other parts are given as handouts. However, once the students have advanced sufficiently in Comprehensive Musicianship, a number of the exercises will be drawn from texts used in that class.
There are four sections in this class, each of which is geared to students of different musicianship and keyboard skills. Students are screened at the beginning of each semester to determine which level best suits their particular needs and assigned appropriately. Section 1 of the first semester is designed for students with no prior keyboard experience and little training in music theory. Intermediate students are placed according to the level of their skills into sections 2 or 3 in compatible groups. Section 4 is for advanced pianists with a basic understanding of music theory. While much of the material is compiled from existing sources, at times it is necessary to design new exercises to match a particular group or student's deficiencies. Course content is flexible within the goals designated as necessary for the student to meet the basic requirements of the Music Department.
This course aims to improve musicianship through application of the keyboard as a learning tool. Non-pianists will develop reading and coordination skills while pianists will be challenged to improve and expand existing skills. An immediate goal will be to help students improve their ability to play the musical examples in the Comprehensive Musicianship text (thus reinforcing that material) while long-term goals will be improved sight-reading skills and the ability to harmonize simple tunes.
Learning Objectives: Classes in Keyboard Harmony emphasize the development of keyboard skills necessary to utilize this instrument as a tool for better understanding of music theory. The sequence of courses will introduce students to the following Music Department Learning Objectives:
Objective II: Critical Thinking and Aural Analysis
 | By developing skills integrating aural perception, analysis and rhythm for the development of musical material into improvisation, new musical arrangements and original composition. |
Objective III: Breadth of Knowledge
| By learning basic terminology associated with the construction of music. |
Assessment: Grades will be based on class participation and preparation, mid-term and final exams. Exams will be given at the keyboard. The student will be expected to demonstrate improved skills. Attendance is important as the body of the course will not be found in any one text. Flexibility in course content will be maintained to better accommodate the Comprehensive Musicianship curriculum. Because the class meets only once a week absences must be limited to a maximum of one per semester before the student's grade is effected.
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Introduction to the keyboard. |
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Basic scales and arpeggios, their performance and fingering patterns. |
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Tonal magnetism/tendency tones, exploring possibilities for melodic combinations of the tones of a triad. |
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"C" as 1, as 2, as 3, etc. |
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Melodic construction. Melodic cadences, complete/incomplete. |
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The I IV6/4 V6/5 I progression played by the left hand as a basis for harmonization of simple tunes and its counterpart I IV V7 I in two hands as a preparation for the realization of figured bass. |
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Period structure. |
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Nonharmonic tones (search for the basic pitches). How to x-ray the melodic skeleton. |
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Harmony selection. |
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Blocked chords, piano vs. vocal style. |
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Accompaniment patterns. |
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Voicing, root position, 6/3 and 6/4 inversions. |
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Complete diatonic triad vocabulary, some 7th chords. |
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Chord function -- chord progressions. |
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Harmonic cadences. |
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Realizing figured bass with concern for voice leading. |
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Standard twelve-bar blues progression. |
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Introduction to improvisation. |
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The final exam includes the performance of "America" at the keyboard in a simple, vocal-style arrangement. |