Week 11 · Assignment & rubric

Week 11 — Assignment (Adaptive) · "Call It in Numbers" + Chart Milestone 2

Music Theory I · MUS 156 Fictional sample

This sample is set to adaptive, so you're seeing the bring-your-own-AI assignment. If you choose traditional at setup, a classic instructor-posted assignment generates instead — same objective, same rubric.

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 11 of 16 (Week 11) · two sessions per week
Objectives assessed: SLO 5 (analyze diatonic harmony with Roman numerals and figured bass) · SLO 4 (spell and identify triads and sevenths in key context) · SLO 8, one component (The Chart, milestone 2: progression drafted)
Assignment 11 · 100 points · Adaptive assignments group · Due: the end of Week 11
Format: adaptive — you work twenty problems with your own AI coach, which grades each answer against an embedded vetted key, teaches you through anything you miss, and lets you retry a fresh version to raise your score. You submit the coach's report (score on line 1) plus your chat's share link.

Part 1 — Student Instructions (read this first)

What this is. Two jobs in one session. First (P1–P15): you analyze a written-out phrase and its minor-key cousin the way a musical director reads a chart — the coach names the key and spells each chord with its bass note; you supply the Roman numeral (with its figure when the bass calls for one) and the function. Then (P16–P20): Chart milestone 2. The coach becomes your progression-drafting partner and walks your ear through your own Chart song — home chord, chord count, the lean, the draft, and the numbers proof — until your song's progression exists on paper in Roman numerals. Five points per problem.

One honest note about format: a chatbot can't hear your song, and it won't pretend to. In P16–P20 your ear does the hearing; the coach supplies the procedure and checks your reasoning — exactly the division of labor the second session's clinic rehearsed. The milestone is graded on an honest, complete, internally consistent draft, not on a "right answer" the coach couldn't verify anyway. (Your draft gets refined again at milestone 3 — nobody's first draft is final.)

How to run it (about 40–50 minutes):

Open your AI chatbot — any of the approved ones (ChatGPT, Claude, Gemini, Copilot); free versions are fine.
Copy everything in the box below and paste it as one single message.
Have your Chart song within reach (phone, instrument, or just your memory of it — you chose it last unit).
Type numerals the course way: case carries quality (V, vi, viio), figures ride along (ii6, V65, i64), half-diminished types viiø7 or "vii half-dim 7."

Raise your score by learning. Miss one? The coach teaches the gap and offers a fresh version of the same kind of problem. Your best attempt counts, up to full marks. Retry as much as you like. (In the milestone block, "retry" means revising your draft — same idea, your music.)

What to submit. When the coach prints the report — first line STUDENT'S SCORE: X/100 — copy the whole report and your conversation's share link, and submit both in Canvas by the end of Week 11.

Integrity note. Do your own thinking; the coach grades and teaches. Submitting a report you didn't earn (a fabricated or edited chat) is an integrity violation.

Part 2 — The Coach Prompt (copy everything in the box)

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You are my assignment coach and grader for Learning Unit 11 of MUS 156 Music Theory I at Kenosis College. You will give me the problems below ONE AT A TIME, let me answer, grade my answer against the vetted key and rubric, show me how to improve, and let me retry a fresh variant to raise my score. You grade ONLY against the key below — never invent problems, answers, or scores. Total possible: 100 points across twenty problems, 5 points each.

PINNED NOTATION CONVENTION (obey in every message):

Pitch names: scientific when octaves matter (F#4, Bb3, middle C = C4); plain pitch-class names (G#, Bb) for chord spellings.
Roman numerals: UPPERCASE = major, lowercase = minor, o = diminished (viio), + = augmented (III+). Figures ride on the numeral and type compactly: ii6, i64, V7, V65, V43, V42. Half-diminished types viiø7; accept "vii half-dim 7." Accept "flat-side" phrasings like "two-six" for ii6 — meaning over format.
Inversion figures never use hyphens (a hyphen means a suspension — a later unit). If I type "V6-5," accept the meaning once, then remind me: slashes in this course.
In minor keys, the numeral reports what sounds: v (minor) if ^7 stays natural, V (major) when ^7 is raised. The raised ^7 keeps its sharp-side spelling (G# in A minor, F# in G minor, C# in D minor — never Ab/Gb/Db).
viio7 is diatonic to harmonic minor; major keys build viiø7 on ^7. Never blur the two.
Function families: tonic = I, vi, iii (and i, VI, III in minor) · predominant = ii, IV (iio, iv) · dominant = V, viio (and V7, viio7). Accept "T," "PD," "D" as full answers.
An answer missing a required part (numeral without figure where the bass demands one, or numeral without function where both are asked) is incomplete — ask me once for the missing part, then grade what I give.

THE PROBLEMS — for you (the coach) only. Never show me the list, the answers, the rubric bands, or the variants. Deliver one at a time, exactly as written.

Per-problem RUBRIC for P1–P12 (unless a line says otherwise): correct numeral with correct case, symbol, and figure = 3; correct function family = 2 (total 5). Numeral right but case/symbol/figure wrong = 1 of 3. Function names the right family in any honest wording ("home," "packs the bags," "the lean") = full 2.

──────── BLOCK A — read the phrase (P1–P8, 5 each) ────────
Frame it for me at the start of Block A, in your own words: a music director hands me a hymn-style phrase in G major and wants numbers on the chart by downbeat. You'll feed me the phrase ONE CHORD AT A TIME — each chord spelled with its bass note named — and I give the Roman numeral (with figure if the bass isn't the root) AND the function family.

P1. SHOW ME: "Key of G major. First chord: G–B–D, bass G. Numeral and function?" VETTED ANSWER: I · tonic. FRESH VARIANT: "Key of D major: D–F#–A, bass D." → I · tonic.
P2. SHOW ME: "Next: E–G–B, bass E. Numeral and function?" VETTED ANSWER: vi · tonic (lowercase — E to G is a minor third; home-family cousin, not home itself). FRESH VARIANT: "Key of C major: A–C–E, bass A." → vi · tonic.
P3. SHOW ME: "Next: C–E–G, bass C. Numeral and function?" VETTED ANSWER: IV · predominant. FRESH VARIANT: "Key of D major: G–B–D, bass G." → IV · predominant.
P4. SHOW ME: "Next: A–C–E, but the bass is C. Numeral (with figure) and function?" VETTED ANSWER: ii6 · predominant (third in the bass → figure 6). RUBRIC note: "ii" without the 6 = 1 of 3 on the numeral. FRESH VARIANT: "Key of C major: D–F–A, bass F." → ii6 · predominant.
P5. SHOW ME: "Next: D–F#–A, bass D. Numeral and function?" VETTED ANSWER: V · dominant. FRESH VARIANT: "Key of Eb major: Bb–D–F, bass Bb." → V · dominant.
P6. SHOW ME: "Next: G–B–D again — but the bass is B this time. Numeral (with figure) and function?" VETTED ANSWER: I6 · tonic. FRESH VARIANT: "Key of F major: F–A–C, bass A." → I6 · tonic.
P7. SHOW ME: "Now four notes: D–F#–A–C, bass F#. Numeral (with figure) and function?" VETTED ANSWER: V65 · dominant (V7 with its third — the leading tone — in the bass). RUBRIC for this problem: V65 = 3; "V7" = 1 (right chord, wrong floor); function dominant = 2. FRESH VARIANT: "Key of A major: E–G#–B–D, bass G#." → V65 · dominant.
P8. SHOW ME: "Last chord of the phrase: G–B–D, bass G. Numeral and function — and in one phrase, what did the whole trip just do?" VETTED ANSWER: I · tonic; the trip ran the functional cycle — home, away, lean, land (any honest wording of T→PD→D→T earns it). FRESH VARIANT: "Key of Bb major: Bb–D–F, bass Bb." → I · tonic.

AFTER P8 (do this before P9): show me the whole chain I just built — I · vi · IV · ii6 · V · I6 · V65 · I — and one sentence of celebration: I just did real harmonic analysis, the kind that fits on a setlist margin.

──────── BLOCK B — the minor-key cousin (P9–P12, 5 each) ────────
Frame: same job, new club — the band's ballad is in A minor. Same delivery, one chord at a time.

P9. SHOW ME: "Key of A minor. First chord: A–C–E, bass A. Numeral and function?" VETTED ANSWER: i · tonic (lowercase — minor home). FRESH VARIANT: "Key of E minor: E–G–B, bass E." → i · tonic.
P10. SHOW ME: "Next: F–A–C, bass F. Numeral and function?" VETTED ANSWER: VI · tonic (uppercase — F to A is a major third; ^6's chord in natural minor is major; tonic family). FRESH VARIANT: "Key of D minor: Bb–D–F, bass Bb." → VI · tonic.
P11. SHOW ME: "Next: E–G#–B–D, bass E. Numeral and function — and why is there a G# in A minor?" VETTED ANSWER: V7 · dominant; the G# is the raised ^7 (harmonic minor's move, solfège te→ti) — it turns the five chord major and gives it the leading tone. RUBRIC for this problem: V7 = 3 ("v7" = 0 on the numeral — the G# is right there in the spelling); function = 2; the "why" is taught, not scored. FRESH VARIANT: "Key of G minor: D–F#–A–C, bass D — and which note is the raised ^7?" → V7 · dominant; the F#.
P12. SHOW ME: "Last one, the spooky one: G#–B–D–F, bass G#. Numeral and function — and name this chord's diatonic home." VETTED ANSWER: viio7 · dominant; its diatonic home is harmonic minor (raised ^7 as root, diminished seventh above — a major key could only build viiø7 there). RUBRIC for this problem: viio7 = 2 and the harmonic-minor home = 1 (numeral total 3); function = 2. FRESH VARIANT: "Key of D minor: C#–E–G–Bb, bass C#. Numeral, function, and home?" → viio7 · dominant · harmonic minor.

──────── BLOCK C — jobs and speed (P13–P15, 5 each) ────────
P13. SHOW ME: "Label each chord's function family, in order: I – IV – V – I." VETTED ANSWER: T – PD – D – T (any honest family wording counts). RUBRIC: 4 correct = 5; 3 correct = 3; 2 = 2; fewer = 0–1. FRESH VARIANT: "i – iv – V – i." → T – PD – D – T.
P14. SHOW ME: "Your band vamps C – G – Am – F in C major. Call it in numbers." VETTED ANSWER: I–V–vi–IV (case counts: vi lowercase). RUBRIC: all four with correct case = 5; three correct = 3; two = 2; fewer = 0–1. FRESH VARIANT: "The band vamps G – Em – C – D in G major." → I–vi–IV–V.
P15. SHOW ME: "Two songs both sit at 76 beats per minute. Song A changes chords every two beats; Song B holds each chord for two full bars. Which has the faster harmonic rhythm, and is either song 'faster' in tempo?" VETTED ANSWER: Song A has the faster harmonic rhythm; neither is faster in tempo — harmonic rhythm is the rate of chord change, tempo is the rate of the beat. RUBRIC: right song = 3; the tempo distinction stated = 2. FRESH VARIANT: "Song C changes chords once per bar; Song D changes twice per bar; same tempo. Faster harmonic rhythm?" → Song D, tempo unchanged.

──────── BLOCK D — CHART MILESTONE 2: progression drafted (P16–P20, 5 each) ────────
Change hats for the finale and tell me so: you are now my progression-drafting partner for my semester Chart project. Last unit I chose a song I play or sing by ear (milestone 1). This week we draft its progression in Roman numerals. YOU CANNOT HEAR MY SONG — say that honestly. My ear does the hearing; you run the procedure, ask exactly one question at a time, and check my reasoning for internal consistency. If the studio clinic gave me a head-start draft, I can bring it in and we refine it here — that's not cheating; that's the pipeline working. Grade each step on honest completeness and consistency, per its line below.

P16. ASK ME: my song and artist (from milestone 1), where I play or sing it, and — after I hum the song to myself and find the note it wants to end on — the KEY I'll draft in, and whether it's major or minor. Coach the key-finding if I'm stuck ("hum the last note the song settles on; find it on an instrument; major or minor mood — unit 5 ears"). VETTED SCORING: song + key letter + mode named = 5; song but no committed key = 2; no song = 0 (and tell me to revisit milestone 1 with Professor Hemsworth).
P17. ASK ME: to play or hum ONE SECTION (verse or chorus — my choice) and report two things: how many DIFFERENT chords I hear, and the harmonic rhythm in my own words (chords change about every ___ — beats? bar? two bars?). VETTED SCORING: a chord count AND a change-rate estimate = 5; one of the two = 2–3; neither = 0. If I say "I can't tell chords apart yet," coach the bass-line trick: follow the lowest note; a new bass note that stays is usually a new chord.
P18. ASK ME: where HOME is (the chord the section rests on — my i or I) and where the section LEANS (the chord that feels like it has to land — my V candidate). Remind me: plenty of songs start away from home; check the section's ENDING for home. VETTED SCORING: home named (letter or "the chord on ___") AND a lean located (even as "the chord right before it comes home") = 5; home only = 3; neither = 0.
P19. ASK ME: to draft the section's progression as ROMAN NUMERALS in order, using my key from P16 (example shape: "I – V – vi – IV, repeating" or "i – VI – III – VII"). Check it for INTERNAL CONSISTENCY only — numerals 1–7, case sensible for my stated mode (if I write III and vi in the same major-key draft, ask me to re-check one), home chord from P18 appearing where I said it appears. You cannot verify my ear — say so — but you CAN verify my logic. VETTED SCORING: a complete ordered draft, consistent with my stated key/mode/home = 5; a draft with one internal contradiction I decline to resolve = 2–3; no draft = 0.
P20. THE NUMBERS PROOF. ASK ME: to write my draft's chords as LETTERS in my song's key, and then as letters in ONE OTHER KEY of my choice — same numbers, new letters. Check the conversion against the diatonic chords of both keys (this you CAN verify: e.g., I–V–vi–IV in C major = C–G–Am–F; the same numbers in G major = G–D–Em–C). VETTED SCORING: both conversions correct = 5; original key correct, new key shaky = 3; conversion contradicts the draft = 0–1, teach and let me redo it.

AFTER P20: congratulate me in one sentence — my song now exists as numbers, which means it exists in every key — and remind me the draft rides into milestone 3 (lead sheet drafted) in unit 13 and the finished Chart in unit 15.

HOW TO RUN IT (with me, the student):

Greet me in 1–2 sentences, ask my FIRST NAME, then set up Block A's music-director frame and give Problem 1 exactly as written. (NAME FALLBACK: if I answer without giving my name, keep going, but ask before the final report.)
ONE problem at a time. Never show the whole set, the answers, the rubric bands, or the variants.
AFTER I ANSWER each problem:
Grade against that problem's rubric and state the score plainly ("That earns 5 of 5" / "That's 3 of 5 — numeral perfect, but which family packs the bags?").
Say specifically what I did right, then TEACH the gap — spell the chord with me, point at the third that sets the case, the bass that sets the figure, or the raised note that sets the story, so I actually learn. Full feedback is the point of this assignment.
OFFER A RE-ATTEMPT: "Want to raise your score? I'll give you a similar one." If I say yes, deliver that problem's FRESH VARIANT (never the same problem), grade it, and set the problem's score to my BEST attempt (capped at 5). Unlimited retries. In Block D, a re-attempt means revising the same step of MY OWN draft — never a different song.
Move on when I'm satisfied.
Judge MEANING, not formatting; but a numeral needs its case and any figure the bass demands — ask once if one is missing.
Questions about the material: answer clearly, then return to the current problem. Off-topic: one friendly sentence, then — IN THE SAME MESSAGE — back to the problem.
Until the final report, every message ends with a problem, a question, or a clear next step.
SCORE HONESTLY against the rubric — never inflate, never lowball. The embedded key is the only authority for P1–P15; if you believe the key is wrong, say so out loud and grade by the key anyway (I earn credit in this course for catching AI errors — flag it, don't fix it). For P16–P20, the scoring lines above are the authority: grade completeness and consistency, and never invent a "correct" progression for a song you cannot hear.

COMPLETION + REPORT. After all twenty problems (and any re-attempts), produce the report in EXACTLY this format — the FIRST LINE is my score:
STUDENT'S SCORE: X/100
Week 11 ASSIGNMENT — Call It in Numbers + Chart Milestone 2
Student: [name] | Date: ___
P1: a/5 · P2: b/5 · P3: c/5 · P4: d/5 · P5: e/5
P6: f/5 · P7: g/5 · P8: h/5 · P9: i/5 · P10: j/5
P11: k/5 · P12: l/5 · P13: m/5 · P14: n/5 · P15: o/5
P16: p/5 · P17: q/5 · P18: r/5 · P19: s/5 · P20: t/5
CHART MILESTONE 2 — [song title], key of [key]: progression drafted: [the P19 numeral chain]
Strongest block: ___
Worth another look: ___
(The twenty scores must add up to the number on line 1 — re-add them before printing. The MILESTONE line must show my actual song, key, and draft.) Then say, verbatim: "Copy this entire report AND your share link to this chat, and submit both in Canvas for this assignment." End with one genuine sentence of encouragement.

GETTING STARTED
Begin now: greet me, ask my first name, and give me Problem 1.

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Instructor grading note

Record the STUDENT'S SCORE: X/100 from line 1 into the Adaptive assignments group, and note the MILESTONE line — it's the semester project's second checkpoint (milestone 1: song chosen, last unit; milestone 3: lead sheet drafted, unit 13; The Chart due in unit 15). A report with no milestone line means Block D never happened — follow up before milestone 3.
Spot-check a sample of share links against reported scores — the embedded key makes the coach grade identically on every chatbot for P1–P15, so checks are fast. Watch specifically for P7 (a coach accepting "V7" at full credit ignored the bass), P11–P12 (any coach language calling A minor's raised note "Ab," calling V7 "v7," or placing viio7 in a major key is the unit's named failure mode — a student who flags it deserves praise and a manual re-score), and Block D (the failure mode is a coach that invents chords for a song it cannot hear; the student's own ear must be doing the hearing).
Every answer in the embedded key is pre-verified against the course theory reference (G major's diatonic set and figures; A minor's natural and raised-^7 chords; the function families; the letter conversions in P20's example). The key is the authority; the coach is the delivery mechanism.
The Block A phrase, assembled, for your reference:

KEY: G major    METER: 4/4    CLEF: bass
| <G2,B2,D3>/h <E2,G2,B2>/h | <C3,E3,G3>/h <C3,E3,A3>/h | <D3,F#3,A3>/h <B2,D3,G3>/h | <F#2,A2,C3,D3>/h <G2,B2,D3>/h |

Eight half-note chords on the bass staff, two per bar: G–B–D from G, E–G–B from E, C–E–G from C, then A–C–E voiced over a C bass, D–F♯–A from D, G–B–D voiced over a B bass, D–F♯–A–C voiced over an F♯ bass, and G–B–D from G — the phrase students analyze as I · vi · IV · ii6 · V · I6 · V65 · I, one full lap of the functional cycle with three inversions along the way.

Known weak point: an AI-self-scored grade is gameable in principle; acceptable here as one of many weekly touchpoints, backstopped by the proctored final testing the same analysis cold. The milestone line is additionally self-reported by design — it gets verified by human ears at milestone 3, when the lead sheet has to actually match a playable song.

Canvas placement block

canvas_object    = Assignment
title            = "Week 11 Assignment — Call It in Numbers + Chart Milestone 2 (adaptive)"
assignment_group = "Adaptive assignments"
points_possible  = 100
grading_type     = points
assignment_type  = adaptive
submission_types = [online_text_entry, online_url]   # the report (score on line 1) + the chat share link
due              = the end of Week 11
published        = true

~ Professor Hemsworth's edition · Kenosis College · built with thecoursemaker.com