Music for Grade 7
1 **Musicianship**
1-1 Sight-reading
1-2 Aural tests
1-3 General musicianship
2 **Performance**
2-1 Solo performance
2-1 1 One piece from List A
2-1 2 One piece from List B
2-1 3 One piece from List C
2-2 Ensemble performance
2-2 1 One piece from List A
2-2 2 One piece from List B
2-2 3 One piece from List C
3 **Theory of Music**
3-1 Harmony
3-1 1 Chord construction
3-1 2 Chord progressions
3-1 3 Cadences
3-2 Counterpoint
3-2 1 Two-part writing
3-2 2 Three-part writing
3-3 Form and Structure
3-3 1 Binary form
3-3 2 Ternary form
3-3 3 Rondo form
3-4 Analysis
3-4 1 Analyze a piece from List A
3-4 2 Analyze a piece from List B
3-4 3 Analyze a piece from List C
4 **History of Music**
4-1 Baroque Period
4-1 1 Key composers
4-1 2 Characteristics
4-1 3 Representative works
4-2 Classical Period
4-2 1 Key composers
4-2 2 Characteristics
4-2 3 Representative works
4-3 Romantic Period
4-3 1 Key composers
4-3 2 Characteristics
4-3 3 Representative works
4-4 Twentieth Century
4-4 1 Key composers
4-4 2 Characteristics
4-4 3 Representative works
5 **Composition**
5-1 Composition task
5-1 1 Compose a piece in a specified form
5-1 2 Compose a piece using given guidelines
5-2 Analysis of own composition
5-2 1 Discuss the form and structure
5-2 2 Discuss the use of harmony and melody
6 **Improvisation**
6-1 Improvisation task
6-1 1 Improvise a short piece in a given style
6-1 2 Improvise a piece using given chords
6-2 Analysis of improvisation
6-2 1 Discuss the use of scales and modes
6-2 2 Discuss the use of rhythm and dynamics
7 **Technology in Music**
7-1 Use of music technology
7-1 1 Recording techniques
7-1 2 Digital audio workstations (DAWs)
7-2 Music production
7-2 1 Mixing and mastering
7-2 2 Sound design
8 **Recital**
8-1 Preparation for recital
8-1 1 Repertoire selection
8-1 2 Practice and rehearsal techniques
8-2 Performance of recital
8-2 1 Solo performance
8-2 2 Ensemble performance
9 **Professional Development**
9-1 Career planning
9-1 1 Setting goals
9-1 2 Networking
9-2 Marketing oneself as a musician
9-2 1 Creating a portfolio
9-2 2 Social media presence
10 **Ethics in Music**
10-1 Copyright and intellectual property
10-1 1 Understanding copyright laws
10-1 2 Ethical use of music
10-2 Professional conduct
10-2 1 Respect for colleagues
10-2 2 Ethical behavior in performance
3-2 Counterpoint Explained

3-2 Counterpoint Explained

Key Concepts

  1. Counterpoint Basics
  2. Voice Leading
  3. Interval Relationships

Counterpoint Basics

Counterpoint is a musical technique involving the simultaneous sounding of separate melodies. In 3-2 Counterpoint, three independent voices interact with two voices, creating a rich and complex texture. This technique is often used in polyphonic compositions to add depth and complexity.

Example: In a fugue, multiple voices enter one after another, each playing a similar but distinct melody. The interaction between these voices creates a complex and engaging musical texture.

Voice Leading

Voice leading refers to the smooth and logical movement of individual voices within a polyphonic texture. In 3-2 Counterpoint, each voice must move in a way that maintains clarity and coherence. This involves careful consideration of intervals and the direction of motion for each voice.

Example: If one voice moves up by a third, another voice might move down by a third to maintain balance and avoid dissonance. This creates a smooth and logical progression of notes.

Interval Relationships

Interval relationships are crucial in 3-2 Counterpoint. The intervals between each pair of voices must be carefully chosen to avoid dissonance and create a pleasing harmonic effect. Common intervals include thirds, sixths, and octaves, which are considered consonant and harmonious.

Example: A third interval between two voices creates a warm and consonant sound, while a second interval might create tension and dissonance. Choosing the right intervals helps in creating a balanced and harmonious texture.

Examples and Analogies

Think of 3-2 Counterpoint as a conversation between three people and two people. Each group has its own topic, but they occasionally interact and respond to each other. This interaction creates a dynamic and engaging dialogue.

Another analogy could be a dance performance with three dancers and two dancers. Each group has its own choreography, but they occasionally join together to create a unified and synchronized performance.