2MA Practical Harmony (B-LUCA-L41158)

This is a translated version. Original version in Dutch.
6 ECTSDutch20 Both termsBoth terms
Deckers Marc (coordinator) |  Appermont Bert |  Deckers Marc |  N.
LUCA POC GRADUATE (OC instr/zang, jazz, muziekpedagogie, muziektherapie Leuven)

Aims

1. The following objectives apply to the major woodwind, brass, early music, percussion, saxophone, strings, singing and chamber music:

  • By the end of this course, you will be able to discover the correct latent harmony under a melody or theme and complement this soprano line with a stylistically appropriate second voice.
  • You can decode melodies with letter chords and thus creatively accompany these melodies on a piano.
  • You can also improvise above a given bass line or harmonic scheme or continue improvising based on a given motif.

2. The following objectives apply to the major accordion, carillon, composition, conducting, guitar, harp, harpsichord and piano: You choose 3 components from the list below in which you complete:

  • transpose, for example, existing (vocal) accompaniments;
  • harmonising chorale melodies in Bach style;
  • perform basso continuo parts;
  • reduce classical orchestral scores (Haydn, Mozart, Beethoven);
  • reducing choral, hafabra or other more complex scores (accompaniments);
  • reproduce orchestral scores exactly on the piano; 
  • improvise accompaniments to modal songs;
  • making variations on a song or theme;
  • performing transcriptions (arrangements for own instrument or piano);
  • realisation of partimenti;
  • improvising simple classical forms such as minuet, invention, sonatina, etc.;
  • perform jazz standards with intro, improvisation, reharmonisation, etc.;
  • free improvisation in the style of a composer or contemporary;
  • playing a prima vista.

3. The following objectives apply to the major organ:

  • You can provide church and folk songs with stylistically appropriate accompaniment.
  • You are able to support Gregorian chant with accompaniment.
  • You can improvise a prelude and interludes as well as variations, 2nd versions and other settings.

4. The following objectives apply to the major music pedagogy:

• harmonize a melody or theme;
• play different forms of accompaniment to a song;
• apply functional harmony, modality, alternations and modulations at the keyboard;
• editing and transposing, for example, existing (singing) accompaniments;
• dealing exploratively and creatively with various musical parameters at the keyboard;
• can provide songs in different genres and styles with appropriate accompaniment;
• create and play an accompaniment for a song, pop song or jazz standard from a lead sheet;
• be able to improvise from a lead sheet or chord progression.

5. The following objectives apply to the jazz major:

· harmonize a melody or jazz standard;
· play different forms of accompaniment to a song;
· apply functional harmony, modality, alternations and modulations at the keyboard;
· edit and transpose jazz standards;
· dealing investigative and creatively with various musical parameters at the keyboard in relation to the subjects of arrangement and composition;
· provide songs in different genres and styles with appropriate accompaniment;
· create and play an accompaniment for a song, pop song or jazz standard from a lead sheet;
· improvise from a lead sheet or chord progression.

Previous knowledge

This course is open to students from the majors (with corresponding specialisations) of Music who obtained the Bachelor of Music degree.

Is included in these courses of study

Activities

6 ects. 2MA Practical Harmony (B-LUCA-L52798)

6 ECTSDutchFormat: Practical-assignment20 Both termsBoth terms
Appermont Bert |  Deckers Marc |  N.
LUCA POC GRADUATE (OC instr/zang, jazz, muziekpedagogie, muziektherapie Leuven)

Content

1. For the major woodwind, brass, early music, percussion, saxophone, strings, singing and chamber music:

  • In a sytematic and engaging way, you will discover the basic principles of tonal-functional harmony and learn to apply them yourself using carefully selected practice materials.
  • Not only triads in root position, but also sixth chords, the cadential quarter sixth chord, the dominant seventh chord, performing sequences and simple modulations (fifth right/left and to the relative key) are covered.
  • However, the practice material also leads immediately to comparison and application of what has been learned in lighter music (pop, dance forms, blues, jazz, etc.) and in rather modal-harmonic music (folk, church song, etc.).
  • If possible, every lesson will focus on training patterns, transposition, aural and visual analysis, scoring systems, accompaniment forms and improvisation.

However, if you have taken a form of practical harmony before, a follow-up course can be arranged in consultation with the teacher.

2. For the major accordion, carillon, guitar, harp, harpsichord and piano:

  • You first complete the Basic Practical Harmony course. This covers sequences with seventh chords, chromatics, alterations and ornamentation in detail.
  • You then delve into the 3 chosen parts (see objectives) and lift them into creatively engaging performances with their own style. Perhaps you have a proposal of a new component which is certainly negotiable with your teacher. 

3. The following content description applies to the major organ:

  • You first complete the Basic Practical Harmony course. This covers sequences with seventh chords, chromatics, alterations and ornamentation in detail.
  • Then you perfect yourself in performing accompaniments to both church and folk songs.You support Gregorian with appropriate guidance.You improvise a functional prelude, interludes and variations, 2nd versions and other settings.

4. For the major composition and conducting:

  • You immerse yourself in the 3 chosen parts (see objectives) and lift them up into creatively engaging performances with their own style. Perhaps you have a proposal of a new component which is certainly negotiable with your teacher. 

5. The following content description applies to the major music pedagogy:

The student creates a portfolio of at least 10 works. He chooses them himself and submits them to the teacher for approval (in terms of suitability according to level and content).
The following topics are discussed:
• harmonize melodies yourself;
• edit and transpose accompaniments;
• dealing creatively with different musical parameters;
• applying various guidance patterns;
• apply theoretical (harmonic) concepts to the keyboard;
• devise and play a suitable accompaniment to a song, pop song or jazz standard from lead sheets;
• play a chordal and/or melodic improvisation from a lead sheet or chord progression.

6. The following content description applies to the jazz major:

The student creates a portfolio of at least 10 works. He chooses them himself and submits them to the teacher for approval (in terms of suitability according to level and content).
The following topics are discussed:
· Own compositions, arrangements, piano accompaniments in the jazz genre;
· Reharmonize and transpose chord progressions;
· dealing creatively with different musical parameters;
· applying various guidance patterns;
· apply theoretical (harmonic) concepts to the keyboard;
· devise and play a suitable accompaniment to a song, pop song or jazz standard from lead sheets;
· play a chordal and/or melodic improvisation from a lead sheet or chord progression.

 

Course material

For the major Music composition, Music Conducting and  Instrumental/Vocal Studies:

  • Basic Practical Harmony Course. Part I + II
  • Morris, R. O.: Figured harmony at the keyboard. Part I + II
  • Basso Continuo scores
  • Morris / Ferguson: Preparatory exercises in score reading
  • Taylor: An Introduction to Score Playing
  • Creuzburg: Partiturspiel in vier Bänden
  • Orchestral hafabra and choral scores
  • Boyd, B.: Exploring Jazz Scales for Keyboard
  • Haerle, D.: Jazz Improvisation for Keyboard Players; Basic Concepts; Book One
  • Linden, R. v. d.: Practical harmony and chord theory of Jazz and related musical forms for piano
  • Richards, T: Exploring jazz piano I and II
  • The Real Book of Jazz Standards and other Jazz scores
  • Fenaroli: The rules of Partimenti
  • Sanguinetti, G: The art of Partimenti; translation and summary by Marc Deckers
  • Herrmann, K.: Vom Blatt. Primavista-Lehrgang für Klavierspieler + 4 Spielhefte; translation and summary by Marc Deckers

For the major organ: Bundles of church songs (e.g. Zingt Jubilate), full songs (e.g. Lied om lied) and Gregorian Gradual, Liber Usualis, ...

For the major music pedagogy: own sheet music, possibly supplemented by material from the teacher.

Format: more information

1. For the major woodwind, brass, early music, percussion, saxophone, strings, singing and chamber music:
•    During the weekly lesson, new items are introduced and exercised using carefully selected practice materials. 
•    Furthermore, students play the given assignments and are discussed by the teacher, as well as by fellow students.
•    The teacher encourages peer coaching both during class and during the students' daily training moments. Above all, however, he guards a positive learning climate full of musician's joy.
•    The teacher challenges students to increasingly creative realisations and musical performances both in solo and ensemble playing.

2. For the major accordion, carillon, guitar, harp, harpsichord and piano:
•    The coaching by your tutor is more individual as it focuses on the 3 components you have chosen. 

3. For the major organ, music composition and music conducting
•    Individual coaching by your tutor.

4. For the major music pedagogy:
•    During the weekly lesson, the realisations of the given assignments are played and discussed.
•    During the lessons, students are expected to contribute actively. Students are expected to prepare for each lesson by working out the assignments and learning to play.

5. For the jazz major:
•    During the weekly lesson, the realisations of the given assignments are played and discussed.
•    An active contribution is expected from the students during the lessons. Students are expected to prepare for each lesson by working on the assignments and learning to play.

 

Evaluation

2MA Practical Harmony (B-LUCA-L81158)

Type : Partial or continuous assessment with (final) exam during the examination period
Description of evaluation : Practical exam, Portfolio
Learning material : Course material, Music scores

Explanation

AssessmentGrading scale
TOTAL1-20/20 scale

1. For the major woodwind, brass, early music, percussion, saxophone, strings, singing and chamber music:

In case of entry level 0:

For the partial examination in January, the following applies:

•    Level of the partial examination: basic practical harmony course up to item 6.
•    For the partial exam (10 minutes per student), you will receive 3 assignments as sight-reading (of type c, e and f from the basic course). In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the partial examination, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs chosen in consultation with the teacher.

For the exam:
•    Level of examination: basic course to item 12.
•    For the exam (10 minutes per student), you will receive 3 assignments as sight-reading (of type c, e and f from the basic course). In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the exam, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs chosen in consultation with the teacher.
The examination result is a weighted average determined as follows: the partial examination in the first examination period is counted 20% (assessed by a jury of which 75% sight reading and 25% repertoire), and the examination in the second examination period is counted 80% (assessed by a jury of which 75% sight reading and 25% repertoire). 

In case of entry level 1:

For the partial examination in January, the following applies:
•    Level of the partial examination: basic practical harmony course up to item 19.
•    For the partial exam (10 minutes per student), you will be given 3 assignments as sight-reading (of type c, e and f from the basic course). In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the partial examination, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs chosen in consultation with the teacher.

For the exam:
•    Level of examination: basic course up to item 26.
•    For the exam (10 minutes per student), you will receive 3 assignments as sight-reading (of type c, e and f from the basic course). In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the exam, the jury also chooses 3 songs from a repertoire list built up over the year. This repertoire list contains a minimum of 30 songs chosen in consultation with the teacher....
The examination result is a weighted average determined as follows: the partial examination in the first examination period is counted for 20% (assessed by a jury of which 75% sight reading and 25% repertoire), and the examination in the second examination period is counted for 80% (assessed by a jury of which 75% sight reading and 25% repertoire). 

In case of entry level 2:

For the partial examination in January, the following applies:
•    Level of the partial examination: basic practical harmony course up to item 29.
•    For the partial exam (15 minutes per student), you will be given 3 assignments as sight-reading: an exercise of type e, f and g. In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the partial examination, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs from the basic course from Item 27 onwards, chosen in consultation with the teacher.

For the exam:
•    Level of examination: specialisation in 3 chosen components (choice list: see objectives).
•    For the exam (20 minutes per student), you will be given 3 assignments regarding the specifically chosen parts as sight-reading. In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the exam, the jury also chooses 3 songs from a repertoire list built up during the second semester. This repertoire list contains 4 songs from each of the 3 self-chosen specific parts referred to in the objectives.
•    You present this repertoire list and the elaborated songs of the specific parts in a neat portfolio. At the exam, you will deliver 2 copies of this portfolio to the jury.
The examination result is a weighted average determined as follows: the partial examination in the first examination period is counted for 20% (assessed by a jury of which 75% sight reading and 25% repertoire), and the examination in the second examination period is counted for 80% (assessed by a jury of which 50% sight reading and 50% repertoire).

2. For the major accordion, carillon, guitar, harp, harpsichord, piano:
For the partial examination in January, the following applies:
•    Level of the partial examination: basic practical harmony course up to item 29.
•    For the partial exam (15 minutes per student), you will be given 3 assignments as sight-reading: an exercise of type e, f and g. In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the partial examination, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs from the basic course from Item 27 onwards, chosen in consultation with the teacher.

For the exam:
•    Level of examination: specialisation in 3 chosen components (choice list: see objectives).
•    For the exam (20 minutes per student), you will be given 3 assignments regarding the specifically chosen parts as sight-reading. In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the exam, the jury will also choose 3 songs from a repertoire list built up during the second semester. This repertoire list contains 4 songs from each of the 3 self-chosen specific parts referred to in the objectives.
•    You present this repertoire list and the elaborated songs of the specific parts in a well-kept portfolio. At the exam, you provide 2 copies of this portfolio to the jury.
The examination result is a weighted average determined as follows: the partial examination in the first examination period is counted for 20% (assessed by a jury of which 75% sight reading and 25% repertoire), and the examination in the second examination period is counted for 80% (assessed by a jury of which 50% sight reading and 50% repertoire).

3. For the major organ:
For the partial examination in January, the following applies:
•    Level of the partial examination: basic practical harmony course up to item 29.
•    For the partial exam (15 minutes per student), you will be given 3 assignments as sight-reading: an exercise of type e, f and g. In a separate studio with piano, you can prepare these assignments for 45 minutes.
•    At the partial examination, the jury also chooses 3 songs from a repertoire list built up during the year. This repertoire list contains a minimum of 30 songs from the basic course from Item 27 onwards, chosen in consultation with the teacher.

For the exam:
•    For the exam (20 minutes per student), the student is given a church song and a folk song as sight-reading exercises, which he provides with an appropriate accompaniment and a prelude and also an improvisation. In a separate studio with organ, he can prepare these assignments for 45 minutes.
•    At the exam, the jury also chooses a number of songs from a repertoire list built up over the year. This repertoire list contains 15 student-written accompaniments or variations, 2nd versions or other settings of church and folk songs as well as Gregorian chant. 
•    You present this repertoire list and the elaborated songs of the specific parts in a well-kept portfolio.At the exam, you provide 2 copies of this portfolio to the jury.
The examination result is a weighted average determined as follows: the partial examination in the first examination period is counted for 20% (assessed by a jury of which 75% sight reading and 25% repertoire), and the examination in the second examination period is counted for 80% (assessed by a jury of which 50% sight reading and 50% repertoire).

4. For the major music composition and music conducting:
•    Level of examination: specialisation in the 3 chosen components (choice list: see objectives).
•    On the exam (20 minutes per student), you will be given at least 1 assignment concerning the 3 specifically chosen parts as sight-reading. In a separate studio with piano, you can spend 30 minutes (or multiples) preparing these assignment(s). 
•    At the exam, the jury also chooses a number of songs from a repertoire list built up over the year. This repertoire list contains 7 songs from each of the 3 self-chosen specific parts referred to in the objectives. For the transcriptions part, 3 songs will suffice, for the variations part, 3 sets of at least 5 variations will suffice and for the a prima vista playing and improvisation parts, no repertoire list is required (of course, you will receive a sight reading of this part). You present this repertoire list and the worked out numbers of the specific parts in a carefully prepared portfolio. At the examination, you submit 2 copies of this portfolio to the jury.
For the calculation of the examination result, the 3 parts chosen have equal weighting in the assessment. The proportion of sight-reading and repertoire depends on the 3 parts chosen.

5. For the major music pedagogy:The exam result is a weighted average determined as follows:
• the process evaluation is counted for 20% (assessed by the teacher)
• the exam in the second examination period counts for 80% (assessed by a jury).
The exam consists of a sight reading that is rehearsed with half an hour of preparation time. In this sight reading, the student must come up with an appropriate accompaniment, find some harmonization and play the correct chords from chord symbols. 
In addition, the student presents three realizations from the repertoire that has been collected in a portfolio.  This repertoire consists of a minimum of 14 songs or songs, of which the student plays the melody in 4 songs, sings the vocal line in 4 songs while accompanying and 6 songs are accompanied with chords. An improvisation, choral score or music theory lesson can be added to the repertoire instead of a chord accompaniment.
Evaluation criteria:
1) Process evaluation:
• Regular attendance
• Following up on agreements regarding memory work and weekly assignments
• Evolution of the creative and harmonious level
• Pianistic skills such as coordination, phrasing, pedal use, L-R balance, technical control
• Evolution of style and genre-oriented playing and accompaniment
2) Exams:
• Be able to fill in the missing harmonization of the visual reading.
• Being able to play the sight reading with appropriate accompaniment in a stable meter.
• Being able to play and sing the work or improvisation as a whole with a stable and clear meter.
• The accompaniments play with a thorough sense of finishing.
• Exude musical joy and musicianship.
• Create an aesthetic performance.
• Guiding a singing group or singer in an activating, functional and tasteful manner.

Participation in the exam is only possible if the student can submit a portfolio with at least five completed works per semester.

---

6. For the jazz major:


The exam result is a weighted average determined as follows:
· the process evaluation is counted for 50% (assessed by the teacher)
· the exam in the second examination period is counted for 50% (assessed by a jury)
During the exam, the jury chooses three realizations from the repertoire collected in a portfolio. The student may perform one song or improvisation of his or her choice.
The student presents several works in which he/she provides the melody himself/herself. The student ensures that the melodies that he/she does not sing or play are sung or played by a fellow student.

Evaluation criteria:
1) Process evaluation:
· Regular attendance
· Following up on agreements regarding memory work and weekly assignments
· Evolution of the creative and harmonious level
· Pianistic skills such as coordination, phrasing, pedal use, L-R balance, technical control
· Evolution of style and genre-oriented playing and accompaniment
2) Exams:
· Being able to play and sing the work or improvisation in one whole with a stable and clear meter.
· With a thorough sense of finishing.
· Exude musical joy and musicianship.
· Create an aesthetic performance.
· Guiding a singing group or singer in an activating, functional and tasteful manner.

Participation in the exam is only possible if the student can submit a portfolio with at least five completed works per semester.

 

 

Information about retaking exams

1. For the major woodwind, brass, early music, percussion, saxophone, strings, singing and chamber music:
The same modalities apply, except that the weighted average of the examination result is now determined as follows: 75% for sight reading and 25% for repertoire.

2. For the major accordion, carillon, composition, conducting, guitar, harp, harpsichord, organ and piano:
The same modalities apply, except that the weighted average of the examination result is now determined as follows: 50% for sight-reading and 50% for repertoire.

3. For the major music pedagogy:
The second examination opportunity has the same modalities as the first examination opportunity.
The result of the process evaluation is retained and counted for 20%.
The student takes another examination based on an identical or modified portfolio of 10 works, and this examination is counted for 80% (assessed by a jury).

4. For the jazz major:
The second exam opportunity has the same modalities as the first exam opportunity.
The result of the process evaluation is retained and is counted for 50%.
The student takes another exam based on an identical or modified portfolio of 10 works, and this exam is counted for 50% (assessed by a jury).