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    Practice 8a, Part 1 AND Part 2 (Due Thursday, Week 9) :: Unit 8

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    The document provides instructions for two music theory assignments related to analyzing Brazilian music styles. Students are asked to analyze and label keys and Roman numerals for an example, and to compose a melody and countermelody in a specific style and provide chord symbols and analysis.

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    Practice 8a, Part 1 AND Part 2 (Due Thursday, Week 9) :: Unit 8

    Uploaded by

    easleyw13
    24 views3 pages
    The document provides instructions for two music theory assignments related to analyzing Brazilian music styles. Students are asked to analyze and label keys and Roman numerals for an example, and to compose a melody and countermelody in a specific style and provide chord symbols and analysis.

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    Practice 8b Options

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    Practice 8b Options

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    The document provides instructions for two music theory assignments related to analyzing Brazilian music styles. Students are asked to analyze and label keys and Roman numerals for an example, and to compose a melody and countermelody in a specific style and provide chord symbols and analysis.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    24 views3 pages

    Practice 8a, Part 1 AND Part 2 (Due Thursday, Week 9) :: Unit 8

    Uploaded by

    easleyw13
    The document provides instructions for two music theory assignments related to analyzing Brazilian music styles. Students are asked to analyze and label keys and Roman numerals for an example, and to compose a melody and countermelody in a specific style and provide chord symbols and analysis.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Dr. Capital's Music Theory for Pop Musicians, 7th Ed.

    Unit 8

    Practice 8a, part 1 AND part 2 (due Thursday, Week 9):


    Part 1
    Label the keys and perform full Roman numeral analysis of Ex. 8.16 Cuidado, Colega.

    Part 2
    • Compose an 8-bar choro melody for flute using continuous 16th notes (ala Ex. 8.11)
    and/or syncopation/anticipation (ala Ex. 8.10).
    o Your melody should express the harmony by emphasizing chord tones
    connected with arpeggios, stepwise scalar and chromatic motion.
    o Stay within the range of B3-E6 for the flute.
    • Compose a bass countermelody for 7-string guitar that is a combination of quarter notes
    and syncopated/16th note fills and chord connecting lines.
    • Your countermelody should land on chord tones every beat and have smooth voice
    leading through inversions.
    • Stay within the range of C2-C4 for the 7-string guitar.
    • Adjust the inversions of the chord symbols above the staff to match your guitar line.
    • Label the key and perform Roman numeral analysis (one Roman numeral per chord
    symbol) below the staff.

    63
    Dr. Capital's Music Theory for Pop Musicians, 7th Ed. Unit 8

    Answer: Feminina is on the up side.


    ● Even if the tamborim pattern is felt on the up side for a song, longer phrases and section
    beginnings often start on the beat and play eighth notes until the second measure.
    ● When you’re trying to figure out the side of a tamborim pattern from looking at sheet
    music, don’t look at measure 1. Look at measures 3, 5 and 7. If they all have notes on
    their downbeats then the song is probably on the down side. If measures 3, 5 and 7 all
    have 16th note anticipations tied into them, the song is probably on the up side.

    Practice 8b (due Tuesday, Week 10):


    ● Select any four bar chord progression with one chord per measure.
    ● 2/4 time signature
    ● Write an up side repeating 4-bar comping pattern for guitar/piano. The rhythm of mm. 1-
    2 should be identical to the rhythm of mm. 3-4.
    ● Write in the actual notes (not rhythmic/slash notation).
    ● If writing for guitar, place your example in one treble clef staff with the bass notes as a
    separate voice (stems down). See Ex. 8.18 for a model.
    ● If writing for piano, place your example in a grand staff with the bass notes in the bass
    cleff.

    Bonus Northeastern Rhythms: Frevo and Baião


    Ex. 8.22

    Ex. 8.23

    67
    Dr. Capital's Music Theory for Pop Musicians, 7th Ed. Unit 8

    Rhythmic Device: Samba Tamborim Direction:


    “Down/Up” = “Forward/Reverse” = “Front side/Back side” = ”On/Off” = ??/??
    (Similar to ”2-3”/“3-2” concept for clave but no standard name)

    Ex. 8.17 Forward/front pattern starting on the down side

    Notice how the bass note goes to a lower pitch (the 5th a 4th down or the root an octave down)
    on beat 2. This is to mimic the sound of the surdo drum. It is also normal to stay on the same
    bass note for beats 1 and 2. It is not common for the bass note to be higher on beat 2.

    Ex. 8.18 Reverse/back pattern starting on the up side

    On what beat or subdivision do the chords change?

    ⬣ Make some music:


    • Rewrite the up side example (8.18) in the key of Eb.

    64

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