Week 15 — Drill Studio · Cumulative: The Movable Frame

Course: MUS 155 Aural Skills I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 15 of 15 (Week 15) · two sessions per week
Objectives: SLO 1 · SLO 2 · SLO 3 · SLO 4 · SLO 5
Drill Studio 15 · Drill-studio group · In session, both meetings (session 1 and session 2) — no separate studio points this week; the studio's work flows straight into the final, described on its own page
Format: the highest-energy studio of the term — by design. Welcome back from the break; the room will bring your ear up to speed faster than you expect.

Named in Music Theory I: transposition by interval, by key, for instruments and for singers; lead-sheet reading; chord-symbol realization; Nashville numbers; the chart roadmap. An hour later, your voice does what the morning's charts do on paper.

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Part 1 — The week, said plainly

Fifteen weeks ago this course made you a promise: you already hear this. This week collects on it. Session 1 opens with the loudest, fastest studio of the term, then the final begins — its response part session 1, its hearings running through both sessions on the posted order. Nothing in the final is a new kind of task; every item is a drill you have made weekly since week 1.

And about the break: however much of the ten-minutes-a-day protocol you kept, walk in and sing. Bring your two-line log session 1 — honor system, received with thanks. The prepared set has been in your hands since Unit 13; the break was study time, and now we polish.

Part 2 — session 1's drills

The do ritual opens, as always — and today it opens three times, because today the door itself moves.

The three-dos game. One tune, printed below at three different front doors. We sing it in C, then in D, then in F — a fresh ritual before each, so the new do is planted before the first note. Look at the three versions and notice the trick before you hear it: the solfège line is printed once, because it fits all three. Do travels; the tune survives. That is transposition — not arithmetic on a page, but a thing your voice has now done. This is exactly what this morning's charts do when a song changes key: new clothes, same body.

The frame tune, from its C door — do climbs its oldest shape, reaches for la, and walks home:

KEY: C major    METER: 4/4    CLEF: treble
| C4/q E4/q G4/h | A4/q G4/q E4/q D4/q | E4/q. F4/e G4/q E4/q | D4/q D4/q C4/h |

The same tune from its D door — every letter is new, the F sharp arrives from the key signature, and the syllables have not moved at all:

KEY: D major    METER: 4/4    CLEF: treble
| D4/q F#4/q A4/h | B4/q A4/q F#4/q E4/q | F#4/q. G4/e A4/q F#4/q | E4/q E4/q D4/h |

And from its F door — the highest of the three, topping out on D5; the B flat belongs to the key, and the solfège line is still the same fourteen syllables:

KEY: F major    METER: 4/4    CLEF: treble
| F4/q A4/q C5/h | D5/q C5/q A4/q G4/q | A4/q. Bb4/e C5/q A4/q | G4/q G4/q F4/h |

The singer's move. After the F version, someone plays lead vocalist and says what lead vocalists say: too high. Watch which way the frame moves: down — from F to D, a minor third toward the voice. Not "sing louder," not "we'll fix it in the mix." The whole frame drops, do and all its furniture together, and the tune fits the singer. That direction matters; a transposition that serves the singer moves toward the voice.

The Nashville singalong. Professor Hemsworth plays four-chord loops; you sing the bass roots as numbers — 1, 4, 5, and the one that wears the minor color, 6m. In Unit 11 you learned to store progressions as numbers instead of letters; this morning's chart page told you why: letters die at the key change, numbers transpose for free. Sing the loop in one key, then again in another — the numbers never flinch.

Mock hearings. In pairs, at full final discipline: your partner names their prepared melody, you give do (hum it), they sing it, then they read one mock at-sight card cold — thirty silent seconds, then sing. Coach with the rubric's own lens, timbre-neutral, kindly and concretely: what did the ear catch (did do stay planted, did the leaps arrive the right size)? what did the voice deliver (in tune, in time, in any octave that fits)? did the labels match the sounds? Then swap. Walk out knowing exactly what your three minutes will feel like.

Part 3 — The final, and your two jobs

The final's full description — parts, points, rubric, make-ups — is on the final page of this module. Your studio jobs are two: choose your prepared melody (any of the four from the Unit 13 studio page — you have had them since before the break) and trust the thirty seconds on the at-sight card: find do from the signature, scan for the widest leap and name it, hear bar one in your head. Sing second, always.

The rotation, in numbers: hearings run both sessions — at a full section of 36, roughly fourteen in session 1 and twenty-two in session 2, about two and a half minutes each, on the posted order, with the next singer audiating on the on-deck chair while the current one finishes — the overlap is what keeps the line moving. Anyone still unheard at the cap is heard in office hours before grades close, scheduled that day, never skipped. In a small section, everyone is heard in session 1, and session 2 becomes celebration and polish. While the line runs, everyone else works the silent prep sheet; the silence is part of the gift you give each singer.

Part 4 — Before session 1 (the prep step)

Run Tutorial 15 first — its conversion circuits are the exact arithmetic session 1 leans on (new-key spelling, the singer's direction, Nashville translation), and its audiation strategy is the thirty seconds, rehearsed. Have your two-line break log ready to hand in. And note the standing boundary one last time: the AI helped you practice all term; on the final itself, every AI tool is closed.

Part 5 — The lens, one last time

The standing lens of the whole course, unchanged since Unit 1 — and the lens of session 2's rubric:

Criterion weights: perception 50 · realization 35 · labeling 15

A student who sings the right pitches with the wrong syllables loses only the labeling points. A student who sings the right syllables on the wrong pitches fails the item.

Any octave that fits your voice earns full credit, sung or played; timbre is never graded — this week or ever.

Listen for	In the mock hearing, praise or flag
Perception — do planted from the ritual; leaps sized before sung; the thirty seconds actually used	"Your do never moved" / "the sixth landed as a fifth — name it before you sing it"
Realization — in tune, in time, any octave that fits; recoveries re-anchor do instead of restarting	"You slipped and re-landed — that's the skill"
Labeling — syllables and counts matching what sounded	"Right notes, one wrong syllable — cheap fix"

Part 6 — Missed a session?

The final has its own make-up path, described on the final page — message Professor Hemsworth the same day and a hearing goes on the calendar. The studio itself carries no separate points this week, so there is nothing else to make up: come to the session you can, sing hard, and be heard.

Why this makes you a better musician

This unit is the payoff, and it says so out loud. Fifteen weeks ago you could hear it. Now you can hear it, name it, sing it from the page, and write it down — in any key, because do travels and you travel with it. The band says "take it down a step"; you hand them the same numbers and sing the same syllables from a lower door. That is the whole literacy, owned.

Canvas placement block

canvas_object    = Page
title            = "Unit 15 Drill Studio — The Movable Frame"
published        = true
module_position  = after the Unit 15 overview page
# No assignment shell: the drill-studio group closed at Unit 14 (14 artifacts);
# this week's in-session work is assessed by the final's two gradebook rows.

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