Information Package & Course Catalogue
| 1 | Course Title: | MAJOR INSTRUMENT TRAINING II |
| 2 | Course Code: | MUZ1210 |
| 3 | Type of Course: | Compulsory |
| 4 | Level of Course: | First Cycle |
| 5 | Year of Study: | 1 |
| 6 | Semester: | 2 |
| 7 | ECTS Credits Allocated: | 1 |
| 8 | Theoretical (hour/week): | 1 |
| 9 | Practice (hour/week) : | 0 |
| 10 | Laboratory (hour/week) : | 0 |
| 11 | Prerequisites: | None |
| 12 | Recommended optional programme components: | None |
| 13 | Language: | Turkish |
| 14 | Mode of Delivery: | Face to face |
| 15 | Course Coordinator: | Öğr.Gör. LALE NECEF |
| 16 | Course Lecturers: |
Dr. Öğretim Üyesi Nesrin BİBER ÖZ (Keman) Öğr. Gör. Özgür EĞİLMEZ (Keman) ÖĞr. Gör. Yusuf HASANOV (Viola) Doç Dr. R Erol DEMİRBATIR (Çello) Öğr. Gör. Elhan NECEF (Çello) Öğr. Gör. Nilüer ÖZER ( Kontrbas) Öğr. Gör. Murat CEMİL (Gitar) Öğr. Gör. V. Özgür SAĞLAM (Gitar) Doç. Sezin ALICI (Flüt) Doç. Dr. Ajda ŞENOL SAKİN ( Flüt) Öğr. Gör. Dr. Z. Ezgi KARA (Flüt) Doç. Dr. Gülnihal GÜL (Şan) Öğr. Gör. Dr. Çiğdem YİĞİT (Şan) Öğr. Gör. Z. G. YILDIZ (Şan) |
| 17 | Contactinformation of the Course Coordinator: |
Öğr. Gör. Lale NECEF Bursa Uludağ Üniversitesi Eğitim Fakültesi Güzel Sanatlar Eğitimi Bölümü Müzik Eğitimi ABD Görükle Kampüsü Nilüfer/BURSA lalenecef@uludag.edu.tr (0224)2940949 |
| 18 | Website: | |
| 19 | Objective of the Course: | Violin: In the first position using four strings with right and left hand techniques skills and knowlage related. Finger-bow transitions on same and different strings, be able to use detache and legato bow techniques correctly, basic double tonne practices, different array tonnes covering four strings, covering technical and musical talents and playing appropriate national and universal pieces. VİOLA: Through technical studies and etudes in viola teaching, this course aims to provide students with skills to perform works by Turkish and international composers, learn how to play the viola in accordance with individual development, enable performance in viola literature, and promote activity in music education by use of this instrument. Cello:In the first position, the knowledge and skills related to the use of four wires, right and left hand techniques, finger-spring transitions on the same and different wires, detache and legato spring techniques are correct. As application, simple double voice studies, four-string series of various tones, works in accordance with the level covering technical and musical skills, national and universal works dubbing. Double Bass: Performing works and studies on the first position; Finger-bow shifts on the same and different strings; Detache and legato bowing technique; Simple two-string studies; Scale studies involving four strings Gitar: The purpose of the individual instrumental guitar training; progressive technicalexercises and studies, development of individual samples in accordance with the Turkish and world composers and school music education, learning and teachingactivities çalgıya includes specific literature. Flute: The aim of this course is to get to know the elements of the flute, to acquire basic knowledge and skills about playing the flute; to teach proper posture and correct position to play the flute; to be able to perform basic flute techniques through diaphragm, sonority, interval, scale and etudes; to be able to perform a Romantic era work and a work from a Turkish composer which is appropriate for the level; to give students the ability to perform in the field of music education with the flute. Clarinet:The aim of this course is to acquire the elements of the clarinet, the basic knowledge and skills related to playing the clarinet, to take the proper position and proper position for playing the clarinet. To be able to perform basic clarinet techniques. To give examples from the works of Turkish and world composers suitable for their level. To give students the ability to perform activities in the field of music education with a clarinet instrument. Vocal Training:By using the tongue correctly, developing knowledge and skills in the vocalization of different works of art which are appropriate for the techniques in voice training. Bağlama:To provide the student to comprehend the positions I, III, IV, V, and VI, which form the basis of baglama education. |
| 20 | Contribution of the Course to Professional Development | Being able to use the major instrument effectively in the field of teaching profession. |
| 21 | Learning Outcomes: |
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| 22 | Course Content: |
| Week | Theoretical | Practical |
| 1 | Violin: Studying ascending and descending scale in major tonnes covering 1 or 2 sharps Viola: Positions of the Left Hand in Viola Performances and Practice in the First Position Cello:Open and Close positions in the 1st position Finger patterns Double Bass:Specifying the position in the bow’s different parts. Gitar: A review of studies in the previous period, and information about the work of the new term. The aim of the course discusses the content and target behaviors with students. Flute:Tone exercises. M. Moyse La Sonarite Clarinet:Clarinet Care: Curtain and chamois care of clarinet. Voice Training:Quinary arpeggio staccato- legato exercises and model works. Bağlama:Slur half and quarter rhythm pattern | |
| 2 | Violin: Medium speed scale study in G major and D major tonnes when using lower half, top half and whole bow Viola: Use of Different String Parts Cello:Identifying positions according to musical signs of change Position exercises Using different parts of the bow Double Bass: Doing finger exercises Gitar: Leaving legatos Flute:Scales and arpeggios within one octave, choosing the repertoire for the semester Clarinet:Studying Sol, Fa and Do Major tones by including altissimo zone. Voice Training:Senary musical octave staccato- legato exercises and model works. Bağlama:Fa note and IV. position | |
| 3 | Violin: Scale study in different bow techniques and Etudes in tonnes learned Viola: Coordination of Hands, and Exercises on Fingering and Strings Cello:Cordination of two hands Finger and Bow Exercises Double Bass: Coordination of two hands detection Gitar: Half bare and guitar technique. Flute:Tone and technique exercises from the Gammes and Arpeggios book of Marcel Moyse. Practising etudes which involve various playing techniques. Flute music of the romantic period. Clarinet:Studying Sol, Fa and Do Major tones by including altissimo zone. Voice Training:Quinary, senary arpeggio and musical octave staccato- legato exercises and model works. Bağlama:Sol note and V. position | |
| 4 | Violin: Playing F major scale in one octave with clear sounds by usage whole bow, 2 and 4 legato samples Viola: Detache Bow Stroke and Its Practice Cello:Detache Bow Technique Double Bass: Detache bow technique information Gitar: Terms of musical expression on the development of the stolen parts. Flute:Practising pieces with the stylistic features of Romantic period. Clarinet:Chromatic sounds of the chalumeau zone. Voice Training:Voice registers. Bağlama:Fa #3 note | |
| 5 | Violin: Ascending and descending F major scale study for different periods, works with etude samples written in the same tone and different bow techniques. Viola: Legato Bow Stroke and Its Practice Cello:Legato Bow Technique Double Bass: Legato bow technique information Gitar: Consolidation of the two-octave scales and legato work. Flute:Scale exercises; chromatic scales and interval exercises. Performing the selected piece. Clarinet:Chromatic sounds of the klarion zone. Voice Training:Resonator areas. Bağlama:La note ve VI. Pozisyon | |
| 6 | Violin: Practice works to drop the fingers to the right places on the fingerboard in C major scale study, one octave ascending and descending C major scale study with the bow techniques learned Viola: Reading Notation on Do Clef and Practice in Do Major Cello:Mixed Bow Techniques Double Bass: Staccato bow technique information Gitar:Works from the Renaissance and other periods, and listening to guitar music. Flute:Practising the basic flute technique by use of scales and etudes Practising pieces with the stylistic features of Romantic period. Clarinet:Chromatic sounds of the altissimo zone. Voice Training:Studies of the voice. Bağlama:Teke Style | |
| 7 | Violin: Practice Works for small pieces from Turkish and Western Music in G, D, C, F majors tonned Viola: Study and Practice on Do Major Tonality Cello:General Evaluation Double Bass: 1 octave A major and scale and arpeggio information in E major tones. Gitar: Dolce and Ponticello regions with regions of guitar effects. Flute:Scale exercises in two octaves. Practicing the techniques which are involved in the selected study. Practicing on the selected piece. Clarinet:Chromatic sounds with staccato, detached and legato and variations in all octaves. Voice Training:Articulation in voice training. Bağlama:Teke Style technical practises | |
| 8 | Violin: Nuance terms (Forte, piano), practice works for these nuances in the etude samples Viola: Double sound studies using empty string Cello:Nuance and Speed terms in violoncello pieces Double Bass: 1 octave E major and scale and arpeggio information in B major tones. Gitar: Two octave single sound studies and Decrypt studies. Flute:Scale exercises with different articulations, Practicing the playing techniques in the selected etüde. Turkish piece and 5/8, 7/8, 9/8 rhythmic patterns Clarinet:Mi minor, Re minor and la minor scales. Voice Training:Articulation in voice training. Bağlama:Right hand technical practises | |
| 9 | Violin: A minor scale study, melodic A minor ascending and natural descending scale study Viola: Dynamics and Tempo Marks in Viola Works Cello:G major tonality G major exercises Double Bass: 1 octave B flat minor and scale and arpeggio information in A flat major tones. Gitar: Thump exercises and rests. Flute:Scales; practicing the seleceted etude involving various techniques (chromatic scales, intervals) and practising the Turkish piece. Clarinet:Transition Chalumeau to Klarion zone. Transition from la to si. Voice Training:The production of sound with the right intonation, the strengthening of the sound in the resonance areas. Bağlama:Right hand technical practises | |
| 10 | Violin: A minor scale study, samples in two octaves with detache and legato bow techniques Viola: Study and Practice on Re Minor Tonality Cello:E minor tonality E minor exercises Double Bass: Information about transitive etude between the first position scale I and II. Gitar: Arpeggio and scale studies in different tones. Flute:Scale exercises with various articulations, various rhythmic patterns and etudes involving flute techniques. Performing the selected pieces by paying attention to the stylistc features of the period. Clarinet:Articulation studies such as Sforzando, accent, legato, staccato, marcato. Voice Training:Period and style features in vocalized works of art. Bağlama:Dottet quaver semi quaver | |
| 11 | Violin: Keep studying with the etudes and samples from small works in the tones worked before. Viola: Study and Practice on Fa Major Tonality Cello:D major tonality D major exercises Double Bass: Information about transitive pieces between the first position scale I and II. Gitar: Performing etudes and musical pieces appropriate to the level including the learned guitar techniques Flute:Trevor Wye articulation exercises Clarinet:Working on easy etutes and exercises in Mi, Re, la Minor tunes. Voice Training:Period and style features in vocalized works of art. Bağlama:Semi quaver dottet quaver | |
| 12 | Violin: D Minor scale study in one octave with the bow techniques learned before Viola: National and universal solo or accompanied small-scale works to perform works. Cello:General Evaluation Double Bass: Vocalising the studied etude and work in a musical way in accord with the technique. Gitar: Compulsory studies of the period are required. For technical and narrative options of the work Flute:Practising D Major, b minor, Bflat Major, g minor scales, arpeggios, triads and chromatic scales in various articulations within the whole range of the instrument. Clarinet:Working on easy etutes and exercises in Mi, Re, la Minor tunes. Voice Training:Technical and musical analysis in works of art. Bağlama:Karadeniz Style | |
| 13 | Violin: Study sample etudes in D minor tone with detache and legato mixed bow techniques Viola: Study and Practice on Re Major Tonality Cello: B minor tonality B minor exercises Double Bass: Vocalising the studied etude and work in a musical way in accord with the technique. Gitar: Deciphering music and bare exercises Flute:Practising the etude and the selected piece to be performed in the exam in accordance with the stylistic features of the pierod. Clarinet:Scale, arpeggio and interval studies with staccato, legato, detached technicques. Voice Training:Technical and musical analysis in works of art. Bağlama:Karadeniz Style technical practises | |
| 14 | Violin: Study with small scale works and etudes in tone learned before. Viola: Study and Practice on Sol Minor Tonality Cello:4th position, Playing in the 4th position Double Bass: Preparation for the end of mid-year exam. Gitar: Musical and solution of technical problems and the general again. Flute:Performing the scales, studies and works to be played in the exam in an appropriate speed. Clarinet: Performing exam scales, etudes and works at the speed. Voice Training:Correpetition. Bağlama:Melody exercises in all positions |
| 23 | Textbooks, References and/or Other Materials: |
Violin: -Günay Edip/Uçan Ali, Çevreden Evrene Keman Eğitimi 1 Dağarcık Yayınları 1980 - Can Ömer, Keman Eğitimi I, Agraf, Ankara, 2000. - Crickboom Mathieu, Violinschule il Violino I, II, Brüxelles-Schott, Freses 1929. -Auer Leopold, Graded Course of Violin Playing Book 1-2 -Cohen Eta, Violin Method, Book 1-2 Viola: M. REYTIH Etüt Kitabı (Etudes) KREISLER Op. 55 TARTINI Küçük Piyesler (Plays) CORELLI Küçük Parçalar (Works) Double Bass: 1- L.Rakov Starting method 2-E.Nanny Band I. Gitar: 1- AYDINTAN,Ziya.Gitar Metodu I II Evrensel Müzikevi, 1999 2– CEMİL,Murat. Klasik Gitar Metodu Alfa Akademi 2005 3-GÖTZE,WalterLeıchtes Gıtarrenspıel 4- KÜÇÜKAY,Bekir. Gitar Eğitimi I, II KESİKLİ,Melih SÖKMEN,Erdem İ.Ü.Konservatuarı 5- NOAD,Frederic.SoloGuitar PlayingI I Omnibus Press 1976, 6- La Guitara Enchantee , Doberman Yppan 1982 7- MİLLS,John . Gitar Metodu , Alkım Yayınevi 8- The guıtar Musıc of Spaın Volume Flute:The Complete Flute Scale Book, Boosey & Hawkes. P. Bernold – La Technique d’embouchure – Vocalise no.1-2 M. Moyse – Gammes and Arpeggios (pp . 1-6) M. Moyse – La Sonarite Trevor Wye – Articulation – Artikulation Vol.III (pp.105-108) Gariboldi Op. 132 – No.7-11 Köhler Op. 33 Book I – No.10-12 Necdet Levent – “Kızların Dansı” Donizetti Flute Sonata Clarinet:David Pino “The Clarinet and Clarinet Playing” Aurello Magnanı “Methode Complete de Clarinette” C. Baerman “Complete Method for Clarinet” Voice Training: Davran, K., Öztürk,F.G. (2009).Şan İçin Piyano Eşlikli Şarkılar I(1.b),[ Songs Accompanied by the Piano for Singing I], Müzik Eğitimi Yayınları, Ankara. Egüz, S. (b.y.y) Piyano Eşlikli Okul Şarkıları, Gazi Eğitim Enstitüsü Müzik Bölümü Yayınları No.1, Ankara. Larsen, L.R.(ed.). (1991). Arias for Baritones, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Bass, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Mezzo- Soprano, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Soprano, G. Schırmer: New York. Larsen, L.R.(ed.). (1991). Arias for Tenor, G. Schırmer: New York. Şimşek, G. (1997). Şan İçin Piyano Eşlikli Albüm, Ankara. Tuğcular, E. (2011). Şan İçin Piyano Eşlikli Türküler, Müzik Eğitimi Yayınları, Ankara. Cello:J.Werner Praktische Violoncell Schule, S.Lee Etudes, J.Dotzauer Band I. Bağlama: ALİM Yaşar Kemal- Aydın Atalay “Bağlama Metodu 1” , Aktüel Editions, 2004, İstanbul ALTUĞ, Nevzat,Teknik Bağlama Eğitimi ve Usuller, Anadolu Matbaacılık, İzmir,1999 TURHAN, Salih,Türk Halk Musikisinde Çeşitli Görüşler, Kültür Bakanlığı Editions, Ankara, 1992 ÖZGÜL, Mustafa, TURHAN, Salih, DÖKMETAŞ, Kubilay, Notalarıyla Uzun Havalarımız, Kültür Bakanlığı Editions, Ankara, 1996 TAPTIK, Güray, Notaları ve Tavırları ile Türküler, Çaba Edition, Ankara, 1972 SARISÖZEN, Muzaffer, Türk Halk Müziğinde Usuller, Mifad Editions, Ankara, 1970 YENER, Sabri, Bağlama Öğretim Metodu, Erhan Ofset Matbaacılık, Trabzon, 1991 PARLAK, Erol, Şelpe Tekniği Metodu, Ekin Editions, İstanbul, 2001 BİRDOĞAN, Nejat, Notalarıyla Türkülerimiz, Özgür Edition, İstanbul, 1988 TURAN, Bahattin, Notalarıyla Samahlarımız, Ekol Editions, İzmir, 2000 |
| 24 | Assesment |
| TERM LEARNING ACTIVITIES | NUMBER | PERCENT |
| Midterm Exam | 1 | 40 |
| Quiz | 0 | 0 |
| Homeworks, Performances | 0 | 0 |
| Final Exam | 1 | 60 |
| Total | 2 | 100 |
| Contribution of Term (Year) Learning Activities to Success Grade | 40 | |
| Contribution of Final Exam to Success Grade | 60 | |
| Total | 100 | |
| Measurement and Evaluation Techniques Used in the Course | Student performance is evaluated with the instrument evaluation form (grading scale) by the instructor in the midterm exam, and is evaluated by the commission members with the same form at the end of the semester. | |
| Information | Major instrument training courses are evaluated in absolute terms on the basis of Bursa Uludağ University Associate Degree-Undergraduate Regulations in line with the decisions of the academic board. | |
| 25 | ECTS / WORK LOAD TABLE |
| Activites | NUMBER | TIME [Hour] | Total WorkLoad [Hour] |
| Theoretical | 14 | 1 | 14 |
| Practicals/Labs | 0 | 0 | 0 |
| Self Study and Preparation | 14 | 1 | 14 |
| Homeworks, Performances | 0 | 0 | 0 |
| Projects | 0 | 0 | 0 |
| Field Studies | 0 | 0 | 0 |
| Midtermexams | 1 | 1 | 1 |
| Others | 0 | 0 | 0 |
| Final Exams | 1 | 1 | 1 |
| Total WorkLoad | 30 | ||
| Total workload/ 30 hr | 1 | ||
| ECTS Credit of the Course | 1 |
| 26 | CONTRIBUTION OF LEARNING OUTCOMES TO PROGRAMME QUALIFICATIONS | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| LO: Learning Objectives | PQ: Program Qualifications |
| Contribution Level: | 1 Very Low | 2 Low | 3 Medium | 4 High | 5 Very High |