Curriculum Area Project.

Teaching Music Theory In The Computer LabPart 2: Lesson Plans

Grades 9-12

2009-2010

East Meadow School DistrictPrincipals Richard Howard, Tim Voels

Supervisor of Music: Abby Behr

AuthorsWilliam Kinslow

Robin Hall

ABSTRACT

Students will study and explore music fundamentals and theory based on the classical

concepts of tonal systems and organization. The implementation of this course of study

will take place in a modern digital computer lab, enabling students to work at their own

pace applying differentiated instruction, and also receive immediate feedback by

experiencing the results of their own work. This course of study incorporates theoretical

learning and creative composition, and focuses on grade levels 9-12. Students will

address state standards by creating, performing, and participating in music by learning

and using materials and programs in the digital lab. This section of the curriculum project

deals only with a collection of lesson plans to implement the concepts of Part 1 of this

course of study.

RATIONALEThe development of music technology has become an integral part of music

education and has enhanced the music curriculum. Music technology contributes to

students’ cross-curricular activities as it relates to software operation, computer keyboard

skills and standardized and creative ways of applying computer techniques. Music

technology enhances music intelligence in both theoretical and creative performance

application. Creativity and learning occur simultaneously as a result of immediate

feedback in the form of a musical product created in the music lab.

Table Of ContentsForwardPhilosophy of Teaching Music with Technology

I. Lesson Plans1. Recognizing and identifying notes associated with the treble staff2. Major/minor key relationships3. Making of drum tracks/ Rhythm Dictation4. Creative music composition 15. Writing melody to a rhythm pattern6. Analysis and practical approach to preparing a jazz solo7. Shencker system of melodic analysis.8. Cross curriculum study: Social Studies, Music from Long Island9. Music from various cultures10. Diatonic chord scales11. First species counterpoint 12. Melody writing: part 1-sketching13. An approach to learning a song.14. Experiencing the fugue as a verbal parody15. Develop skills in hearing and writing species counterpoint16. I-V7 harmony: Hadyn’s Surprise Symphony #94

II. AppendixI. Internet ResourcesII. Suggested List of Computer Music ProgramsIII. Bibliography

STRUCTURED CURRICULUM LESSON PLANLesson: 002 Subject: Music Grade Level: 9-12Unit Focus/fociTreble StaffInstructional Focus/FociRecognizing and identifying notes associated with the treble staffMaterialsMusical symbols flashcardsMusic folders and notesPencilsCardboard or construction paperPaste or school glueEducational Strategies/Instructional ProceduresNumber of Days: 1-2Activity 1: Review with the students the signs and symbols introduced in the previouslesson. Remind the students that the staff has five lines and four spaces. Ask them tocount the lines and spaces aloud from bottom to top. Tell the students that the lines andspaces of the treble staff are given letter names to make them easier to read andunderstand. The letters are A, B, C, D, E, F, and G. Explain that this is called themusical alphabet. Tell the students that the lines are counted from the bottom of the staffto the top. To name the lines, students should start with line 1, which is E. Ask thestudents to move to the second line or G, then line 3 or B, line 4 or D, and line 5, which isF. Say: There is a simple way to remember the names of the notes on the lines. Use thesentence, Every Good Boy Does Fine. Ask: What does this sentence have in commonwith the letter names of the lines on the staff? (The letter name of each line is the firstletter of each word in the sentence, in order from bottom to top.)Activity 2: Tell the students that the spaces are also counted from bottom to top. Toname the spaces, have students start with space 1, which is F. Ask the students to moveto the second space or A, the third space or C, and the fourth space or E. Explain to thestudents that there is a simple way to remember the names of the notes in the spaces.Ask: When you get ready for school in the morning, and you go to the washroom toclean up, what do you see when you look in the mirror? (FACE) Ask: What does thisword have in common with the names of the notes in the spaces? (The letter name ofeach space is the same as the letters in the word FACE, in order from bottom to top.)10Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in contextMA: Understanding number systemsSC: Analyzing and interpreting dataSS: Reading and interpreting maps, charts, graphs, and cartoonsConnection(s)Enrichment: Have each student practice naming the notes orally. Use the flashcards from the previous lesson, or write the notes on different lines of the staff.Home:Remediation: Review with the students the information which was introduced in the

previous lesson concerning musical symbols.Technology: To get more information concerning musical symbols, tell students to usethe Internet to access notationstation.AssessmentDraw three treble staffs on the chalkboard. Assess the students’ knowledge of the treblestaff by having students go to the chalkboard one or two at a time, and draw on the staffthe notes which have been named aloud.HomeworkTell the students to review the placement and names of the notes on the treble staff.Teacher NotesDuring the next class session, the students will make more musical symbol flashcards.They will need cardboard, construction paper, paste or glue.11These are musical symbol flash cards. Cut out and paste them on a piece of cardboard.Cut the flash cards out of the cardboard. Write the name of the symbol on the back ofeach flash card.1. line 1 E2. line 2 G

_ ______ _ _ _ _______123. line 3 B4. line 4 D

_ ______ _ _ ______ _ 135. line 5 F6. space 1 F

_ ______ _

_ _ ______ 147. space 2 A8. space 3 C

_ ______ _ _ ______ _ 159. space 4 E.

_ ______ _

STRUCTURED CURRICULUM LESSON PLANLesson: 201 Subject: Music Theory Lab 1 Grade Level: 9-12

Unit Focus/fociInternalizing the major/minor key relationships.Instructional Focus/FociRecognizing and identifying and composing in Major and relative minor modes.MaterialsComputers, Logic Express software.Educational Strategies/Instructional ProceduresNumber of Days: 1-2Activity 1: Review with students the familiar key signatures in the major modes.Activity 2: Describe method for recognizing Major Key signatures, both flats and sharps. Quiz students on various signatures. Have students write and label several.Sharps order: FCGDAEB Flats order: BEADGCFActivity 3: Discuss relation between Major and relative minor. Introduce natural minor mode. Practice C major, Eb major, then C minor. Discuss fingering.Have students write a short melody using numbers in major, then transpose to minor. Share with class.Activity 3. Have students drill themselves in Major and minor with Practica Musica software.Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in context simple scores, or charts.MA: Understanding number systemsSC: Analyzing and interpreting dataSS: Reading and interpreting maps, charts, graphs, and cartoonsConnection(s)Home: AssessmentStudents will identify on paper various key signatures as requested by teacher. Students will compose simple melodies in several minor keys.HomeworkWrite out F major, D minor. G major and E minor. On regular note paper.Teacher Notes

STRUCTURED CURRICULUM LESSON PLANLesson: 002 Subject: Music Grade Level: 9-12Correlations: Unit Focus/fociMaking of drum tracks.Instructional Focus/FociRhythm DictationMaterialsComputersGospel sequenceReason softwareEducational Strategies/Instructional ProceduresNumber of Days: 1-2Activity 1: Students will listen to gospel recording, and identify what the hi hat cymbals are playing. After some time, the students will be asked to clap the rhythm, then input figure to Logic software.Activity 2: Students will listen to recording again, this time trying to identify bass drum pattern. Students will be asked to clap the rhythm, then input figure to Logic software.Activity 3: Repeat steps 1 and for snare and fill patterns.Activity 4. Share results with the class.Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in contextMA: Understanding number systemsSC: Analyzing and interpreting dataSS: Reading and interpreting maps, charts, graphs, and cartoonsConnection(s)Enrichment: Home:Remediation: TechnologyAssessment

Homework

Teacher Notes

Teacher: William Kinslow

Lesson Plan: 106

Subject: Creative music compositionObjective: Students will compose simple melodies and compositions by usingSpecific guidelines to creative thinking.

Procedure

Step 1. Define melody: Essence or DNA of a composition. All other elements,i.e. rhythm and harmony are derived from melody. (Number system shown below)

Each pitch gets a number.

C (1) D (2) E (3) F (4) G (5) A (6) B (7) C (8)

2. Select 4 random numbers from 1 to 8. I.e.: 4752.

That relates to F< B<G<D.

Step 2. Create template for composition. Students will open last Logic file that they worked with, delete all midi info> and begin with a blank sequence. Prepare at least 3 tracks for recording. Sounds to used should be orchestral. (i.e.: strings, winds, or brass).

Step 3. Students will be given 10 minutes to record a melody using the previous chosen 4 notes. Play them in any style that comes to mind.

Step 4. Students will share ideas with the class. Some discussion will take place on how to extend these ideas to a larger form.

Make several 4 or 5 note pitch sets and string them together. Do not labor over this. It’s just an exercise to get creativity working. Goal: students will understand basic methods of composition and obtain some tools for creating music.

STRUCTURED CURRICULUM LESSON PLAN An approach to learning a song.

Lesson: 223: Subject: Music theory 2

Unit Focus/fociWriting melody to a rhythm patternInstructional Focus/FociUnderstanding the elements of a song composition by manipulating scale degreesMaterialsIndividual computers.Logic Software

Step 1. Explain to students how rhythm and harmony are derived from melody.

Step 2. Create template for composition. Composition exercise #2

Each pitch gets a number.

C(1) D(2) E(3) F(4) G(5) A(6) B(7) C (8)

2. select 4 random numbers from 1 to 8. ie: 4752.

That relates to F< B<G<D.

3. Play a melody using these notes. Use whatever rhythm you want. Make it a bass line, or a flute or a string part on your keyboard. Piano works just fine also. Try putting a beat and fitting into a groove, or just use as an orchestral idea. If a change in rhythm or adding notes comes to mind, then go with it. Try notating lines on paper, or recording into your software.

Make several 4 or 5 note pitch sets and string them together. Do not labor over this. It is just an exercise to get creativity working. If when you get a good idea, drop all rules and follow the idea where it takes you.

4. Have fun with this exercise. Do not criticize your work. Just move forward. Create something.

-------------------------------------------------------------------------Scale review.

Demonstrate your knowledge of the following scales.

1. G major( G A B C D E F# G)

2. D Major (D E F# G A B C# D)

3. F Major (F G A Bb C D E F)

4. Create a sequence of chords using: C<F<G<A minor<D minor

4. Have fun with this exercise. Do not criticize your work. Just move forward. Create something.

-------------------------------------------------------------------------

STRUCTURED CURRICULUM LESSON PLAN An approach to learning a song.

Lesson: 020 Subject: Jazz Improvisation Grade Level: 9-12

Unit Focus/fociAnatomy of a song/ Analysis and practical approach to preparing a jazz solo.Instructional Focus/FociUnderstanding the elements of a song composition and applying the knowledge to improvisation and arranging.MaterialsIndividual computers.Logic SoftwarePrepared compositions teacher (Blue Bossa)Marker board.Sheet musicMusic LabEducational Strategies/Instructional ProceduresNumber of Days: 1-3Activity 1: Discuss approaches to learning and analyzing a song. Teacher elaborates on methods and practices of great improvisers.Points of discussion:

1. Analysis2. Practice of fundamentals.3. Repetition4. Memorization5. Total immersion6. Wisdom of creating a track for practice7. Playing parallel harmony to melody and guide tone lines in a song

Activity 2: Handout teacher prepared music sheet of Blue Bossa (Kenny Dorham).Brief talk about composer.Discuss layout and purpose of the arrangement.Play through prepared exercises. Allow time for ensemble playing and individual improvisation.

Connection(s).Technology: General and specific computer literacy.AssessmentStudents will be guided through the thought process and methodology of preparing to play a jazz solo.Homework Continue practicing in the manner described above.

Teacher Notes

STRUCTURED CURRICULUM LESSON PLAN Shenkerian Analysis.

Lesson: 15 Subject: Music Theory Studio Grade Level: 9-12

Correlations: Unit Focus/fociShenker system of melodic analysis.Instructional Focus/FociShenker analysis: How to write a hit melody(and earn millions)MaterialsIndividual computers.Reason SoftwareFinalePrepared sequence by teacher.Marker Board.Educational Strategies/Instructional ProceduresNumber of Days: 1-2Activity 1: Write descending F major scale on screen. Have a student perform. Discuss how the melody sounds. Explain how major scale, the raw material is like a slab of marble to a sculptor. Activity 2 Make first rhythmic improvements to the melody.Make second improvement to the melody. Discuss. Activity 3. Put final touches on the melody. Show lead sheet. Introduce the chords. Tell students about Harold Arlen and Wizard of OZ.Discuss longevity aspect of great melodies and inherent versatility.Activity 4 Note following concepts:

Period design Two four measure parallel phrases Weak cadence at the end of antecedent Strong cadence at the end of the consequent Tonal sequence in measures six and seven

Activity 4Play prepared sequence of the song with chords and rhythm.Improvise over melody. Discuss the aspect of lyrics. Point out that the text may have been created first. Point out how unlimited development can be extracted from a major scale.Activity 5Discuss the three Shenkerian patterns. 87654321, 54321, 321.Twinkle Little Star, Mary Had a Little Lamb.Technology: General and specific computer literacy.AssessmentStudents will use Shenkerian concepts to approach a composition of their own.HomeworkDiscover melodies that have Shenkerian patterns.Teacher Notes

Long Island Studies II: Lesson Plan

STRUCTURED CURRICULUM LESSON PLANLesson: 002 Subject: Music Theory Grade Level: 9-12Unit Focus/fociMusic from Long Island Instructional Focus/FociAwareness and first hand knowledge of Long Island culture and musicMaterials Internet, computers, Logic software, CD player, speaker systemEducational Strategies/Instructional ProceduresNumber of Days: 4Activity 1: Have a discussion in class about music from various composers. Encourage students to discuss some particular musical experiences that they have had to share with class.Activity 2: Discuss and describe with examples, music from Colonial period to modern timesActivity 3: Discuss what compositional devices these pieces might employ.Activity 4: Assign research project, by having students pick a period, and explore that period’s music via Internet and library recordings. Assignments can be shared among students.Activity 5: Have students analyze and find 5 elements in Rhythm, timbre, harmony, that make their chosen music unique in the style of music. Report on which social elements have influenced the sound.Activity 6: Have students create a short 3-minute piece that reflects the above elements and influences, using sampled and synthesized versions of world instruments.Activity 7: Share compositions and research with the class.Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in contextMA: Understanding number systemsSC: Analyzing and interpreting dataAssessmentStudents will be assessed on quality of research and effort in composition.HomeworkFollow up on other student research on the Internet.Follow up.Discuss and find examples of cross-cultural influences on what we call “American Music”. Discuss, share examples with class.

Music Theory Lab

STRUCTURED CURRICULUM LESSON PLANLesson: 002 Subject: Music Theory Grade Level: 9-12Unit Focus/fociMusic from various culturesInstructional Focus/FociAwareness and first hand knowledge of another culture’s musicMaterials Internet, computers, Logic software, CD player, speaker systemEducational Strategies/Instructional ProceduresNumber of Days: 4Activity 1: Have a discussion in class about music from various cultures. Encourage students to discuss some particular musical experiences that they have had to share with class.Activity 2: Discuss and describe with examples, music from India, China, Japan, Pacific Cultures, and European. Activity 3: Discuss what compositional devices these pieces might employ.Activity 4: Assign research project, by having students pick a culture, and explore that culture’s music via Internet and library recordings. Assignments can be made by lottery system, and then traded or shared among students.Activity 5: Have students analyze and find 5 elements in Rhythm, timbre, harmony, that make their chosen music unique in the world of music. Report on which social elements have influenced the sound.Activity 6: Have students create a short 3-minute piece that reflects the above elements and influences, using sampled and synthesized versions of world instruments.Activity 7: Share compositions and research with the class.Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in contextMA: Understanding number systemsSC: Analyzing and interpreting dataAssessmentStudents will be assessed on quality of research and effort in composition.HomeworkFollow up on other student research on the Internet.Follow up.Discuss and find examples of cross-cultural influences on what we call “American Music”. Discuss, share examples with class.

STRUCTURED CURRICULUM LESSON PLANLesson: 006 Subject: Music Theory Grade Level: 9-12Unit Focus/fociDiatonic chord scalesInstructional Focus/FociWriting chords related to a specific key centerMaterials computers, Logic software, Educational Strategies/Instructional ProceduresStudents will gain facility in writing and playing diatonic chord scales

Scale and chord study

1. Hand out manuscript paper2. Students will write out the diatonic chords, in the keys of C,G,D,

and F Major, from scale degrees 1 through 8 as practiced in class.3. The root should be in the bass clef and the three parts of the triad

will be in the treble clef.4. The rhythm unit should be whole notes in 4/4.5. Please have students hand in work with names on paper.

AssessmentStudents will produce a document displaying chord scales. Follow up.Students will play above chords on piano, and apply chords to a simple song.

Period 8, Theory 2

STRUCTURED CURRICULUM LESSON PLANLesson: 006 Subject: Music Theory Grade Level: 9-12Unit Focus/fociFirst species counterpoint Materials computers, Logic software, Educational Strategies/Instructional ProceduresStudents will gain facility in writing a counter-line in the Fuchs style of first species counterpoint

Lesson Plan

First species counterpoint exercise.

Hand out a piece of manuscript to each student.

1. Have students write a simple melody using mostly quarter notes and few skips, not more than a third in each direction.

2. Piece should start and end on the chosen tonic of the key.3. After finishing above, students should write a counter line below,

with mixed motions, (parallel, similar, contrary, and mixed)include only using thirds, sixths, fifths and octaves.

4.This exercise should take students at least 40 minutes. If they don’t complete the assignment, then they should bring it to the next session.

Follow up: Students will enter a third line to the above counterpoint.

STRUCTURED CURRICULUM LESSON PLANLesson: 215 Subject: Music Theory Grade Level: 9-12Unit Focus/fociMelody writing: part 1-sketchingInstructional Focus/FociMaterials computers, Logic software, Educational Strategies/Instructional ProceduresStudents will gain facility in writing a counterline in the Fucs style of first species counterpoint

Theory 3

Lesson Plan

Primary chord composition.

Students are to continue with the primary chord composition started from previous day.

The chords to be used are:

C /G7 / C / F /C /F G/ C F/C G//

Variations on this progression are acceptable.

A “B” section is to be added based on the dominant scale tone.

This exercise should take at least 40 minutes to complete.

Have students share ideas in the last ten minutes of the period.

STRUCTURED CURRICULUM LESSON PLAN An approach to learning a song.

Lesson: 020 Subject: Jazz Improvisation Grade Level: 9-12

Unit Focus/fociAnatomy of a song/ Analysis and practical approach to preparing a jazz solo.Instructional Focus/FociUnderstanding the elements of a song composition and applying the knowledge to improvisation and arranging.MaterialsIndividual computers.Logic SoftwarePrepared compositions teacher (Gregory is here)Marker board.Sheet musicMusic LabEducational Strategies/Instructional ProceduresNumber of Days: 1-3Activity 1: Discuss approaches to learning and analyzing a song. Teacher elaborates on methods and practices of great improvisers.Points of discussion:

1. Analysis2. Practice of fundamentals.3. Repetition4. Memorization5. Total immersion6. Wisdom of creating a track for practice7. Playing parallel harmony to melody and guide tone lines in a song

Activity 2: Handout teacher prepared music sheet ( “Gregory Is Here”)Brief talk about composer.Discuss layout and purpose of the arrangement.Play through prepared exercises. Allow time for ensemble playing and individual improvisation.

Integration with Core Subject(s)LA: Understanding explicit, factual informationUnderstanding the meaning of words in contextMA: Understanding number systems and tonal systems.SC: Analyzing and interpreting dataSS: Reading and interpreting maps, charts, graphs,

Connection(s).Technology: General and specific computer literacy.AssessmentStudents will be guided through the thought process and methodology of preparing to play a jazz solo.Homework Continue practicing in the manner described above.

Teacher NotesThe Fugue

STRUCTURED CURRICULUM LESSON PLAN An approach to learning a song.

Lesson: 220 Subject: Jazz Improvisation Grade Level: 9-12

Unit Focus/fociThe fugueInstructional Focus/FociExperiencing the fugue with a verbal parodyMaterialsHandout, pencilsEducational Strategies/Instructional Procedures

1. Explain fugue concepts of independent but related lines2. Discuss the concept of voices in a fugue3. Explain the concept of telling a story in the music4. Have students fill out below sheet5. Students will perform their “story” at the same time6. Discuss results7. Listen to Bach’s D minor Fugue

I got up this morning at____________________. The first thing I did today

was______________________________________________________________. I left

for work at______________. First I walked down the steps, down _____________avenue.

I jumped on the bus and went to_____________________. Then I took a train

to____________________. After getting out of the station I went

to_______________________. I spent ____________hours there. What I did at that

location was________________________________________________________.

Next, at ____________ o’clock, I walked out, and traveled

by_________________________ to get to Monroe College. My travel route included the

following:________________________________________________________________

After taking my courses, I arrived home by (list travel route)

________________________________________________________.My courses at

Monroe were:____________________________________________________________.

And now, here I am, sitting on my couch, thinking about the long day. I was a good day.

STRUCTURED CURRICULUM LESSON PLANLesson: 0223 Subject: Music Grade Level: 10-12Unit Focus/fociCounterpointInstructional Focus/FociDevelop skills in hearing and writing species counterpointMaterialsEducational Strategies/Instructional ProceduresNumber of Days: 3Activity 1: Review Textbook pages 151-152 on second species CP. Discuss rules. In workbook, discuss pages 86-87. Discuss various motions and locate examples in text.

Activity 2. Pass out Bach invention in C. Discuss the format of the piece.

Activity 3. Instruct students to label various motions on the sheet. Then ask students to Analyze and label the harmonies.

Activity 4. Students will enter piece into Logic software, transcription.

Activity 5. Play versions for the class.

Lesson 301 301: I-V7 harmony Theory 1

Goal: Demonstrate the I-V7 progression and show how it works in a piece of music.

Main point: The IV7 progression is the basis of tonal harmony. The V7 chord points to and helps to define the “feeling” of key.Secondary point: Understanding and identifying Sonata Allegro form.

Teacher will demonstrate the uses of V7 to I. Give both tonal and atonal examples.

Step 1. Instruct students how to play I , V7 progression at their stations.

Ask students to compose a brief melody on those chords.

Step 2. Give out sheet music. Ask students to play they Hadyn melody at their stations.

Step 3. Discuss simplicity of the melody and its construction.

Step 4. Ask students to perform i minor, V7,i.

Step 5. Explain the basic form of Haydn’s Symphony #94. Sonata-Allegro form. Give a brief description of his role as a composer.

Step 6: Demonstrate basic themes of the piece.

Step 8: Talk about the formal layout of the piece. Answer: Sonata Allegro form. AA, B, A.

Step 9: Play piece. Tell students to pay particular attention to the bass part.

While listening, students are to look for answers to these questions:

1. How does the composer make the piece interesting? How does he develop his melody? 2. What does he do to embellish the melody?

3. Look for a key change? What is it?

4.How does he “fill out” the chords?

5. How does the form of this piece compare to the C sonata we recently wrote?

Step 11: Discuss observations of the piece. Ask students to discuss above questions.

Materials used:

Computers, Logic software, white board, CD player, piano keyboards

II. Appendix

I. Internet resourceshttp://pianoeducation.org/index.htmlhttp://www.educational-freeware.com/online/sfskids.aspxhttp://www.people.vcu.edu/~bhammel/theory/new_menu/worksheets.htmhttp://www.music.sc.edu/ea/keyboard/PPF/1.3/1.3.PPFgp.htmlhttp://www.musictheory.net/http://www.gmajormusictheory.org/index.htmlhttp://www.gmajormusictheory.org/Freebies/freebies.htmlhttp://www.emusictheory.com/http://www.emusictheory.com/practice.htmlhttp://www.dolmetsch.com/theoryintro.htmhttp://linkwaregraphics.com/music/flashcards/Next Site Includes more than 50 Linkshttp://www.dmoz.org/Arts/Music/Theory/ http://ababasoft.com/music/http://www.apple.com/findouthow/mac/ - tutorial=anatomyhttp://www.yokewong.net/pianoscales.htmlhttp://www.google.com/search?client=safari&rls=en-us&q=major+scales+piano&ie=UTF-8&oe=UTF-8

II. Suggested List of Computer Music Programs

Software

AuraliaBand In The BoxDigidesign Pro Tools 8Final Cut ProFinale 2010Garritan Jazz and Big BandGuitar Rig 3Kontact 3Logic ProMelodyne 3.2Music Lessons II SLPractica MusicaReasonRemote DesktopSibelius 6Sibelius CompassSmartmusicT-Racks, IK Multimedia

Vienna Instruments: Vienna Special EditionVirtual Drum Line

III. Bibliography

Clendenning, J. P.; Marvin, E. (2005). The Musician’s Guide to Theory and Analysis, New York: W.W. Norton & Co.

Evans, J (1999.), Exploring Theory with Practica Musica; United States: Ars Nova

Brimhall, J (1969), John Brimhall’s Theory Notebook Complete, New York: Hansen Press

Software Resources

Practica Musica, Ars Nova Software

Auralia , Rising Software

Sibelius Compass, Avid Technologies

Logic Pro 8, Apple Software

Reason, Propellerhead Software