Pitch Reading, one of the original 17 activities, has 4 levels of difficulty: melodies built of naturals only with no key Reading Accidentals, from the textbook course, gives you practice in reading melodies that include accidentals (sharps or flats notįound in the key signature). Lets you either make up a melody to practice with, or open a music file that was created earlier. Keys, another textbook activity, deals specifically with reading melodies that have no accidentals but do have key signatures. Youįind the notes on the screen piano, fretboard, an external keyboard, or by singing them into a microphone (rhythm isn't counted in this type of exercise). In the textbook course, Reading Treble Clef and Reading Bass Clef give you simple melodies instead of single pitches. It can also be used with keyboard input, in which case it's a simple keyboard The program: a correct answer means hitting that same note clearly on the first attempt. This is a good one for singers using a microphone as input to Repeat Pitches is a very basic activity that focuses on simply repeating a pitch that is played by the computer. This time there's a balloon drop to provide time pressure, which adds fun. Single Pitches presents one pitch at a time in the clef of your choice (any clef at all) and asks you toįind that pitch on the screen piano or fretboard orĮxternal instrument or again, to sing it.
The pitches are displayed on a staff and you must find them on the screen piano or fretboard or an external instrument.
In level 1 you practice melodic pitches found in the spaces of the treble G clef in level 2 the pitches found on Starting Pitch Notation, in Course 1, presents one pitch at a time in the treble clef, together with explanations. Dictation activities are described on the Here we will list activities that deal primarily with reading.
#Practica musica realizing roman numerals full
Scales and Key Signatures, Rhythm and Meter Signatures, Full Sightreading, Intervals, Single Chords, andĬhord Progression, Melodic Development, Voice Leading, and These can be divided into activities dealing with Reading Pitch Notation, Practica Musica contains a large number ofĪctivities whose focus is primarily on theory. Some of the Activities in Practica Musica blend both theory and ear training and some are specifically one or the other. You can't progress very far even in Theory without In order to tell the scale degree of a melodic note (Ear Training) you must know the scales (Theory). In order to identify an interval by ear, for example (Ear Training) you must first know what the intervalsĪre (Theory). It's not really possible to isolate the one task completely from the other. These two are sometimes handled by entirely separate programs, but we think that You'll be following the "Bach vocal" style rules, which are similar to those of 5th species but with movement in all voices and a few additional freedoms.Practica Musica is a complete tutor for both Ear Training and Music Theory. It will mark places where the counterpoint needs work or where you have not provided the harmony requested. You can frequently press the Evaluate button in Counterpointer to get the program's opinion of how you're doing.
Make use of the suggestions in the next section concerning the addition of passing and neighboring tones and suspensions. It's OK to change the initial notes that have been provided as a guide. It will be easiest if you don't do an entire voice at once, but go beat-by-beat in all voices together. You'll find 30 or more of them in the online Music Library at Ars Nova, and you can open them from within Counterpointer or Practica Musica or Songworks, listen to them, and study their part-writing before you attempt doing some yourself.Ī good practice is to begin by sketching in the notes of each harmony needed without regard for counterpoint, then start adjusting for good counterpoint, filling in, etc. Bach, whose harmonizations are widely available for study. Your guide in this as in much of life is J.S. While following the rules of good counterpoint you can add "in between" notes to fill in between chords, and you can introduce dissonances that resolve to a note of the requested chord. The next thing you need to know about realizing Roman numeral harmony is that you are not limited to just the tones specified by the numerals. If one of these numbers has a flat or sharp by it that means the pitch corresponding to that number is to be raised or lowered from what it would normally be in the key signature.
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