Singing

Sightsing Page 1-4 (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

·      Blue Bossa (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Joe Henderson with Kenny Dorham Blue Bossa.This is  Bobby mcferrin’s version, singing bassnotes of the song together with the amazing Chick Corea

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to guidetone 1, guidetone 2  and mixed guidetones, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10. Extra: sing the tune, alternating melody and bassline, like this:

11. Play chordvoicings of Blue Bossa

12. Extra Standard line exercises:

Scales, 

chords and patterns

The Octave and anchor intervals

Melodic

dictation and 

transposition

1.     Look at the  the melody of Blue bossa and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 37

Artusi

Identifying pitches in treble and bass clef

(All levels)

·Rhythm dictation

(Level 1-6)

Rhythm 

Blue Bossa rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. Use the playalong as your audio guide.

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 5-6, (‘Traplopen en Springstof’)

Choir singing (‘There’ll never be another you’)

Auditory analysis

with audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

More melodic dictations week 38

Artusi

Rhythm 

tapping

·      Primeira Serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Scat songs

Moody’s Mood - George Benson / Rachel Ferrell, George benson Spotify, James moody Spotify

Licks Available on Moodle with leon Mennen

Singing

Sightsing Page 7-8, (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

·      There’ll never be another you (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Jimmy Raney or Chet Baker Baker, 

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a Latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

There’ll never be another you 

is________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute note names

7.     Listen to guidetone 1 and guidetone 2, with notes, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10. Extra: sing the tune, alternating melody and bassline, like this:

11. Extra Standard line exercises:

http://leonmennen.nl/d09d9216-6c9c-4034-a208-25e9c51b7a55" width="333" height="201" />

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Review Scatsong Moody’s Mood

Available on Moodle with leon Mennen

Melodic

dictation and 

transposition

1.     Look at the  the leadsheet  of the SOTW and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 39

Theory/

Berklee 

Rhythm 

There’ll never be another you rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. Use the playalong as your audio guide.

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 9-10, (‘Traplopen en Springstof’)

Choir singing: ‘Indiana’

Auditory analysis

With audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

More melodic dictations week 40

Artusi

·       Identifying harmonic intervals (All levels)

·       Melodic mistake recognition (Level 1-4)

Rhythm 

tapping

Segunda serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Scat songs

It could Happen to you – Chet Baker, Spotify, only the scatsolo

Also available on Moodle with Leon Mennen

Singing

Sightsing Page 11-12 (the triad as a skeleton), (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

·      Satin Doll (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Art Farmer with Lee Konitz and Gerry Mulligan or 

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a Latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Satin Doll is____________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10. Extra: sing the tune, alternating melody and bassline, like this:

11. Extra Standard line exercises:

http://leonmennen.nl/d334f928-c306-4135-9b32-b7218b6f2fbf" width="288" height="114" />

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Review It could Happen to you,  Spotify, only the scatsolo

Available on Moodle with leon Mennen

Melodic

dictation and 

transposition

1.     Look at the  the melody and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied played by Wes Montgomery.

4.     More melodic dictations week 41

Artusi/theory

Figured bass / Inversion exercises in class (handouts)

Rhythm 

Satin Doll rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. Use the playalong as your audio guide.

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 13-14, (‘Traplopen en Springstof’)

Choir singing: ‘Bach Choral 1’

Standard of the week

(SOTW)

·      Misty (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Errol Garner or Wes Montgomery

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a Latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Misty is ________________________________________________  ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody with notes, only audio, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone,, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10.   Extra Line exercises on Misty

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 43

Theory berklee

page 13 - 19,  Key signatures, Interval recognition (Harmony 1 Workbook)

Homework: page 16 - 23 (Study Supplement Harmony 1 & 2) 

Rhythm 

tapping

Terceira serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Mist rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. Use the playalong as your audio guide.

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 15-16, (‘Traplopen en Springstof’) 

Auditory analysis

with audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

More melodic dictations week 44

Artusi

·       Writing harmonic intervals (all levels)

http://leonmennen.nl/6da07c72-6408-441d-8e03-2fc3a6e743a2" width="41" height="27" />

·       Identifying written scales (all levels)

Rhythm 

tapping

Page

Scat songs

Do it the hard way – Chet Baker, Spotify, only the solo

Available on Moodle with leon Mennen

Singing

Standard of the week

(SOTW)

·      Yardbird suite (Charlie parker) (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Charlie Parker or Carmen McRae (vocals version)

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a Latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Yardbird suite is _________________________________________ _______________________________________________________ _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10. Extra: sing the tune, alternating melody and bassline, like this:

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 45

Artusi

Artusi Formative test

Content:

·      Identifying pitches in treble and bass clef

·      Identifying harmonic intervals

·      Writing harmonic intervals

·      Identifying triads, close and in inversion, only quality

·      Identifying triads, close and in inversion, quality and position

·      Building triads, root position and inversion

·      Building seventh chords from 3,5,7

·      Building chords on degrees

·      Rhythm dictation

·      Melodic mistake recognition

·      Identifying written scales

·      Writing scales

·      Scale identification

·      Placing barlines

Rhythm 

tapping

Singing

Sightsing Page 17-19, (‘Traplopen en Springstof’)

Choir singing: ‘I thought about you’

Auditory analysis

with audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

More melodic dictations week 46

Artusi

·       Identifying triads, close and in inversion, only quality (level 1-7)

http://leonmennen.nl/8ffad3d5-c4c0-45b8-aac0-a65ce3cde2e2" width="40" height="34" />

Rhythm 

tapping

Quarta series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Scat songs

Review Do it the hard way – Chet Baker

Spotify, only the solo

Available on Moodle with leon Mennen

Singing

Sightsing Page 20-22 (triad skeleton + jumps), (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

·      Darn that dream (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Dianne Reeves, Benny Goodman or Dexter Gordon

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a Latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Darn that dream  is_______________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10.   Extra: line exercises

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 47

Theory/ Berklee

page 20 - 27,  Inversion of intervals, Chord construction - Triads (Harmony 1 Workbook)

Homework: page 24 - 31  (Study Supplement Harmony 1 & 2) 

Rhythm 

Darn that dream rhythm exercises (Use metronome, band playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 23-24, (‘Traplopen en Springstof’)

Choir singing (‘All the things you are’)

Auditory analysis

with audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

More melodic dictations week 48

Artusi

·       Identifying triads, close and in inversion, quality and position (level 1-2)

http://leonmennen.nl/eab48396-179d-401d-8527-cf213c0e983e" width="36" height="41" />

Rhythm 

tapping

Quinta series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Scatsongs

Review 2: Moody’s Mood - George Benson / Rachel Ferrell

George benson Spotify, James moody Spotify

Available on Moodle with leon Mennen

Singing

Sightsing Page 25-26, (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

·      All the things you are (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Ella Fitzgerald with The famous Nelson Riddle arrangement  or Pat Metheny’s version

2.     Analyse the tune (Composer, players, label? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars (Form: A) in C minor with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

All the things you are is ___________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong  or slow versionversion

10.   Extra: Line exercises

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Review 2: It could Happen to you – Chet Baker

Available on Moodle with leon Mennen

Melodic

dictation and 

transposition

1.     Look at the  the melody  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, lots of syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied. Analysis of the Pat Metheny solo

4.     More melodic dictations week 49

Theory/ Berklee

Rhythm 

All the things you are rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 27-28, (‘Traplopen en Springstof’)

Choir singing: ‘The nearness of you’

Auditory analysis

with audacity

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

Review 2: Do it the hard way – Chet Baker

Available on Moodle with leon Mennen

More melodic dictations week 50

Artusi

Building triads, root position and inversion (level 1-8)

http://leonmennen.nl/08e2c391-eb12-463f-aa6a-91daec010c8c" width="40" height="22" />

Rhythm 

tapping

Sexta series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Theory/

Berklee

Topics:  page 34 - 43,  Chord Voicings, Non Chordtones, Scales - Modes (Harmony 1 Workbook)

Homework: page 42 - 53  (Study Supplement Harmony 1 & 2)

Deadline Homework (page 1 - 53)

Singing

Sightsing Pg. 29-30 (triad skeleton with passing tones), (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

Artusi

Building seventh chords from 3,5,7

Building chords on degrees

(level 1)

Rhythm 

tapping

Setima series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Sightsing Page 31-32, (‘Traplopen en Springstof’)

Choir singing: ‘Bach chorale 2’

Standard of the week

(SOTW)

Scales, 

chords and patterns

Modal patterns

Triadic patterns

Melodic

dictation and 

transposition

Artusi

Rhythm 

tapping

Singing

Sightsing Page 35-37, (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

• The end of a love affair (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Billie Holiday, Chaka Kahn or Dexter Gordon Wynton Marsalis

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

The end of a love affair is  -------------------------------------------------_______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, with band, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, only bass, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10.  Tap the rhythm of the comping of Wes Montgomery on this tune or play it

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody of and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 8

Artusi

Rhythm 

tapping

Nona series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3)

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

The end of a love affair rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Page 38-39 (passing tones first in steps, later in jumps)

(‘Traplopen en Springstof’)

Standard of the week

(SOTW)

• Everything happens to me (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Frank Sinatra with the Tommy Dorsey orchestra (Original) or Chet Baker

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Everyything happens to me is ______________________________  _______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet. 

8.     Sing or play the guidetone while tapping clave: 

               Everything happens to me pdf, (Bb), (Eb), audio, video, playalong

9.     Now try to play the bassline on the piano and sing the melody in the original key

10. The chords on the leadsheet are those used in the playalong version

11. Extra: sing the tune, alternating melody and bassline, like this: Everything happens to me (pdf), (Bb), (Eb),  audio, video

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 10

Artusi

Rhythm 

tapping

Everything happens to me rhythm exercises (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Sightsing Pg. 40, (‘Traplopen en Springstof’)

Choir singing: ‘Just friends’

Scat songs

Freddie the freeloader – Wes Montgomery 

Freddie the freeloader – Miles Davis

Scales, 

chords and patterns

Melodic

dictation and 

transposition

More melodic dictations week 11

Artusi

Rhythm 

tapping

Decima series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Sightsing Recap Book 1 pg. 1-4, (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

• All of me (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Paul Whiteman (original)

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

All of me  is _____________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     Sing these arpeggio etudes on All of me:

All of me, arps in 4 pdf, (C) (Bb) (Eb), audio, video

All of me, arps in 4 with anticipation, pdf (C)pdf (C) (Bb) (Eb), audio, video

10. The chords on the leadsheet are those used in the playalong version

11.   Extra: sing the tune, alternating melody and bassline, like this: All of me (pdf), (Bb), (Eb), audio, video

Scales, 

chords and patterns

Review : Freddie the freeloader – Wes Montgomery 

Freddie the freeloader – Miles Davis

Barry Harris scale exercise on All of me:

All of me, scales after Barry Harris, pdf (C) (Bb) (Eb), audio, 

video (Rhythm 1), (Rhythm 2)

Melodic

dictation and 

transposition

1.     Look at the  the leadsheet  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     Minitest  week 12

Artusi

Rhythm 

tapping

All of me (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Recap Book 1

Page 5-6

(‘Traplopen en Springstof’)

Choir singing: ‘My shining hour’

Scat songs

Review 2: ‘last train home’ - Pat Metheny

Also available on Moodle with Leon Mennen

Scales, 

chords and patterns

Melodic

dictation and 

transposition

More melodic dictations week 13

Artusi

Rhythm 

tapping

Decima Primeira serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Recap Book 1, Page 7-8

(‘Traplopen en Springstof’)

Standard of the week

(SOTW)

• Black Orpheus (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Luis Bonfa (original)

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Black orpheus is_________________________________________  _______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline and melody, only bass, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10.   Some line exercises:

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the leadsheet and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 14

Artusi

Rhythm 

tapping

Black Orpheus  (Use metronome,  playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Recap Book 1, Page 9-10 (‘Traplopen en Springstof’)

Choir singing: ‘In a sentimental mood’

Scat songs

Review 2: Freddie the freeloader – Wes Montgomery 

Freddie the freeloader – Miles Davis

Scales, 

chords and patterns

Melodic

dictation and 

transposition

More melodic dictations week 15

Artusi

Rhythm 

tapping

Decima segunda series

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Recap Book 1, Page 11-12 (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

Here’s that rainy day (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Dolores Gray (original) or the Stan Getz version

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Here’s that rainy day is ___________________________________  _______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody,, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10.   Some line exercises:

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the the leadsheet  and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 16

Artusi

Rhythm 

tapping

Here’s that rainy day  (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Recap Book 1, Page 13-14 (‘Traplopen en Springstof’)

Choir singing: ‘When sunny gets blue’

Scales, 

chords and patterns

Melodic

dictation and 

transposition

More melodic melodic dictations week 17

Artusi

Rhythm 

tapping

Decima Terceira serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Recap Book 1, Page 15-16 (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

How insensitive (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Antonio Carlos Jobim

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

How insensitive  is _______________________________________  _______________________________________________________ _______________________________________________________ _______________________________________________________ ______________________________________________________________________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to guidetone 1  and guidetone 2, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10. Extra: sing the tune, alternating melody and bassline, like this:

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the  the leadsheet   and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 19

Artusi

Rhythm 

tapping

How insensitive  (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Recap Book 1, Page 17-19 (‘Traplopen en Springstof’)

Choir singing: ‘Chelsea’

Scales, 

chords and patterns

Melodic

dictation and 

transposition

Artusi

Rhythm 

tapping

Decima Quarta serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm

Singing

Recap Book 1, Page 20-22 (‘Traplopen en Springstof’)

Standard of the week

(SOTW)

• Like someone in love (Wikipedia)

Activities:

1.     Listen at least two versions of the song, including the original. For instance: Chet Baker’s version Bjork or Rob van Bavel

2.     Analyse the tune (Composer? Name the harmonic degrees, check melodic/harmony sequences, modulations)

3.     Summarize the standard in a couple of sentences;

For instance: ‘Blue Bossa is a latin  tune of 16 bars in C minor (Form: A) with one modulation a semitone up, prepared by a II-V, no pivot chord, ending with a II – V - I in the main key. 

Harmonic overview: [Cm: I - IV - II - V - I] [Db: II – V – I] 

[Cm: II – V – I]’

Like someone in love  is____________________________________ _______________________________________________________  _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

4.     Listen to the melody, sing it  and learn it by heart without looking at the leadsheet

5.     Listen to the bassline, sing it and learn it by heart without looking at the leadsheet

6.     Sing that same bassline, but now on absolute notenames

7.     Listen to the guidetone, sing it  and learn it by heart without looking at the leadsheet

8.     Now try to play the bassline on the piano and sing the melody in the original key

9.     The chords on the leadsheet are those used in the playalong version

10    Some extra line exercises:

Scales, 

chords and patterns

Melodic

dictation and 

transposition

1.     Look at the  the melody and discover the architecture of the melody. Scalar, build on arpeggios, lots of chordtones, any specific intervals, syncopation, any repetition, sequenses?

2.     Try to write down each separate motif (sort) or phrase (longer), starting on different starting notes (now you are transposing the melody)

3.     Extra: Some licks of the song you just studied.

4.     More melodic dictations week 21

Artusi

Rhythm 

tapping

Like someone in love  (Use metronome, playalong or rhythm loop)

·      Listen to different versions of the same tune and listen to the phrasing of the melody

·      Improvise another version of the same melody, starting on every beat of the bar the different phrases of the melody starts on. Snap on 2 and 4, snap on 1 and 3 or clap clave. 

·      Do the same thing beginning on the offbeats of 1, 2, 3 and 4.

·      Improvise the melody in 3/4

·      Anticipate the first note of every melody phrase

·      Delay the first note of every melody phrase

·      Start the melody on the original starting point but anticipate the end of the phrase. (harmonic resolution comes later), play the bassline when singing this or use the  playalong  as your audio guide

·      Start the melody on the original starting point but delay the end of the phrase. (harmonic resolution comes earlier), play the bassline when singing this

·      Sing melodies rubato and find logical phrasing, as if you were singing an intro of the song. Accompany yourself and find the spots where you can fill in with your instrument

·      Sing or Play the melody and make a logical accelerando / ritenuto. Do the same when studying scales

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Follow the conductor! Try to play the melody while a fellow student is conducting. Change places.

·      Finish melody phrase with same melodical content, but different rhythm

Singing

Recap Book 1, Page 23-24 (‘Traplopen en Springstof’)

Choir singing: ‘Triste’

Scales, 

chords and patterns

Melodic

dictation and 

transposition

Artusi

Rhythm 

tapping

Decima Quinta

serie

Workflow:

·      Sing the rhythms with the metronome on every pulse/beat (vary the tempo)

·      Put the metronome on every other beat (1 & 3

·      Put the metronome only on the first beat

·      Put the metronome only on beat 2/3/4

·      Put the metronome on the 1 and, 2 and, 3 and, 4 and

·      Sing the rhythms straight and in swing

·      Conduct while singing the exercises (conducting patterns at the bottom of the reader)

·      Clap the clave and sing the rhythm