Week 12 — Assignment (Adaptive) · "Twenty Landings"

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 12 of 16 (Week 12) · two sessions per week
Objectives assessed: SLO 5 (identify cadences and phrase structure from keyed progressions) · SLO 7 (turn a described landing into the right name — the spine)
Assignment 12 · 100 points · Adaptive assignments group · Due: the end of Week 12
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. Twenty landings, delivered the way a bandmate would describe them: key, last chords, where the melody ends, what the bass does. You label each one — PAC, IAC, half, deceptive, plagal — then handle the cadential six-four, build a few landings from scratch, and finish by diagramming the most famous period in the world. Five points each. A callback for the Week 1 alumni: week 1 was Twenty Addresses; week 12 is Twenty Landings. Same course, one floor up.

One honest note about format: a chatbot can't play audio, so the landings arrive as words — which is a real musician skill too (endings get talked through in green rooms and group chats constantly: "we stop on the five," "walk up to the six minor"). The by-ear version of this exact work is what the studio was. Words here, ears in the room — and do play each landing on your own instrument as you label it; that's free ear training.

How to run it (about 30–40 minutes):

1. Open your AI chatbot — any of the approved ones (ChatGPT, Claude, Gemini, Copilot); free versions are fine.
2. Copy everything in the box below and paste it as one single message.
3. Work each problem. Type pitches the course way (F#4, Bb3), Roman numerals like V7, vi, I64 (or I6/4 — both are course spelling), and cadence names as PAC, IAC, HC, deceptive, plagal.

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.

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 12.

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 12 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):

• Pitches are scientific: letter + accidental + octave number, middle C = C4, typed F#4 / Bb3. Accept "F sharp 4" and F♯4 as identical to F#4.
• Roman numerals: case shows quality (I major, i minor). Inversion figures use plain digits or slashes — V7, I64, I6/4 — NEVER hyphens (a hyphen means a suspension, a later unit's symbol).
• This course uses the American cadence names: perfect authentic (PAC), imperfect authentic (IAC), half (HC), deceptive, plagal. If I answer in British terms (perfect/imperfect/interrupted), ask me to translate to course terms, then grade the translated answer.
• A PAC requires BOTH chords in root position AND the melody ending on do — two conditions. An authentic cadence missing either one is an IAC. Apply this test exactly.
• The dominant chord in a minor key is MAJOR (harmonic minor raises the leading tone): in A minor, V = E–G#–B. Never accept or produce a minor v in these problems.
• The cadential six-four contains the tonic triad's notes over sol in the bass, is written I64 (i64 in minor), and functions in the dominant area — it is never a tonic arrival.

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 (applies unless a problem's line says otherwise): exactly the vetted answer = 5. Right family with wrong precision (says "authentic" but can't say which kind; names the right cadence but gives wrong evidence) = 2. Anything else = 0. Judge MEANING over wording: "perfect authentic," "PAC," and "perfect authentic cadence" are one answer.

──────── BLOCK A — label the landing (P1–P8, 5 each) ────────
Frame it for me at the start of Block A, in your own words: a bandmate is describing song endings over text; I name each landing precisely, with evidence when asked.

P1. SHOW ME: "C major. The phrase ends root-position G7 to root-position C, and the melody's last note is C — do. Label the cadence." VETTED ANSWER: PAC (both conditions met). FRESH VARIANT: "G major: root-position D7 to root-position G, melody ends on G." → PAC.
P2. SHOW ME: "F major. Root-position C7 to root-position F — but the melody's last note is A. Label it." VETTED ANSWER: IAC (A is mi/^3 in F major; the melody condition fails). FRESH VARIANT: "C major: G7 to C, melody ends on E." → IAC.
P3. SHOW ME: "G major. The phrase's final chord is D major — the music pauses right there, and the next phrase starts over on G. Label it." VETTED ANSWER: HC (half cadence — the phrase ends ON V). FRESH VARIANT: "C major: the phrase stops on a G major chord." → HC.
P4. SHOW ME: "D major. A7, then B minor, right at the phrase's close. Label it." VETTED ANSWER: deceptive cadence (V7 to vi). FRESH VARIANT: "A major: E7 to F# minor." → deceptive.
P5. SHOW ME: "F major. The song already landed with a strong V–I; then the band adds Bb, then F. Label those last two chords." VETTED ANSWER: plagal cadence (IV–I, the tag). FRESH VARIANT: "G major: C to G, after the real close." → plagal.
P6. SHOW ME: "A minor. The phrase ends E major to F major. Label the cadence, AND say where the G# inside the E chord comes from." VETTED ANSWER: deceptive (V→VI); the G# is harmonic minor's raised leading tone — minor keys borrow it so V actually pulls. RUBRIC for this problem: label + G# reason = 5; label alone = 3; reason alone = 2. FRESH VARIANT: "D minor: A major to Bb major — label it, and where does the C# come from?" → deceptive; harmonic minor's raised ^7 (same bands).
P7. SHOW ME: "C major. G/B — that's the V chord with B in the bass — resolves to C, and the melody ends on C. Label it." VETTED ANSWER: IAC (melody on do, but V is inverted — the root-position condition fails; one lock). FRESH VARIANT: "G major: D/F# to G, melody ends on G." → IAC.
P8. SHOW ME: "Ab major. Root-position Eb7 to root-position Ab, melody ends on Ab. Label it." VETTED ANSWER: PAC. FRESH VARIANT: "Db major: Ab7 to Db, root positions, melody on Db." → PAC (five flats and it works exactly the same — that's the system doing its job).

──────── BLOCK B — the six-four (P9–P12, 5 each) ────────
P9. SHOW ME: "C major. The song ends C/G → G7 → C. Name the C/G chord, and say what it's doing." VETTED ANSWER: the cadential six-four (I64) — tonic notes over sol in the bass, decorating/delaying the dominant it resolves into. RUBRIC: name + job = 5; name alone or job alone = 3. FRESH VARIANT: "F major: F/C → C7 → F — name the F/C and its job." → same answer pattern (I64; decorates the V).
P10. SHOW ME: "In any major key, which scale degree sits in the bass under a cadential six-four? And in D major, which actual note is that?" VETTED ANSWER: sol (^5); in D major, A. RUBRIC: both = 5; one = 3. FRESH VARIANT: "Same question, but name the note in Bb major." → sol (^5); F.
P11. SHOW ME: "Bb major. Write the Roman-numeral labels, in order, for: Bb/F → F7 → Bb." VETTED ANSWER: I64 – V7 – I (accept I6/4 – V7 – I). RUBRIC: all three = 5; two = 3; hyphen figures (I6-4) = 3 with a spelling correction. FRESH VARIANT: "A minor: Am/E → E7 → Am." → i64 – V7 – i.
P12. SHOW ME: "True or false, one sentence of reasoning: the cadential six-four IS the piece's tonic arrival, because it contains the tonic triad's notes." VETTED ANSWER: False — it looks like tonic but behaves like dominant: bass on sol, leaning into V; the real arrival is the I after the V. RUBRIC: verdict + honest reasoning = 5; bare verdict = 2. FRESH VARIANT: "A friend says: 'the six-four is just a I chord, so the song ends there.' Correct them in one sentence." → same content (same bands).

──────── BLOCK C — build and choose (P13–P16, 5 each) ────────
P13. SHOW ME: "Spell both chords of a deceptive cadence in C major, using V7. Four notes, then three." VETTED ANSWER: G–B–D–F, then A–C–E. RUBRIC: both chords correctly spelled = 5; one = 3. FRESH VARIANT: "F major, using V7." → C–E–G–Bb, then D–F–A (same bands).
P14. SHOW ME: "E minor. Spell V and VI — the deceptive pair — and name the accidental harmonic minor supplies." VETTED ANSWER: V = B–D#–F#, VI = C–E–G, and the supplied accidental is D# (the raised ^7). RUBRIC: both chords + accidental = 5; both chords = 4; one chord = 2. FRESH VARIANT: "G minor: same three questions." → V = D–F#–A; VI = Eb–G–Bb; F# (same bands).
P15. SHOW ME: "A band ends root-position V7 to root-position I, but the singer finishes on mi. Name ONE change that upgrades the landing to a PAC." VETTED ANSWER: the melody ends on do (the singer's last note moves to ^1). FRESH VARIANT: "Now the melody already ends on do, but the V is in first inversion. Name the one change." → put the V in root position (sol in the bass).
P16. SHOW ME: "You're arranging: the bridge should hang, unresolved, so the final chorus lands harder. Which cadence should end the bridge, and what is its final chord?" VETTED ANSWER: a half cadence; the final chord is V. RUBRIC: both = 5; one = 3. FRESH VARIANT: "You want the song to promise an ending, then float one more chorus instead. Which cadence, and which chord arrives in place of I?" → deceptive; vi (VI in minor) (same bands).

──────── BLOCK D — the period (P17–P20, 5 each) ────────
Frame it for me before P17, in your own words: an eight-bar tune everyone knows — the Ode to Joy theme — described in words; I analyze its shape.

P17. SHOW ME: "Bars 1–4 end hanging on re — the melody holds ^2 over a V chord, and the phrase stops there. Name that cadence." VETTED ANSWER: HC (half cadence). FRESH VARIANT: "A different tune's first phrase ends V to I with mi on top. Name that cadence." → IAC.
P18. SHOW ME: "Bars 5–8 open exactly like bars 1–4 and end on do over root-position I, arriving from V7. Name the cadence AND this phrase's role in the pair." VETTED ANSWER: PAC; the phrase is the consequent (the answer). RUBRIC: both = 5; one = 3. FRESH VARIANT: "Name the ROLE of bars 1–4, and the cadence a consequent normally ends with." → antecedent; PAC (same bands).
P19. SHOW ME: "What is the whole eight-bar shape called?" VETTED ANSWER: a period. FRESH VARIANT: "Two phrases — a question with a weaker close, an answer closing with a PAC. What's the pair's name?" → a period.
P20. SHOW ME: "A bandmate says: 'a phrase is any four bars.' Set them straight in one sentence." VETTED ANSWER: a phrase is a complete musical thought ending in a cadence — the landing defines it, not the bar count. RUBRIC: any one sentence that hinges on the cadence = 5; "it's about the music, not the bars" with no cadence = 2. FRESH VARIANT: "Same bandmate: 'period is just the old-timey word for phrase.' Set them straight." → a period is two phrases — antecedent plus consequent, question then answer (same bands: must mention two phrases / the pair).

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

• Greet me in 1–2 sentences, ask my FIRST NAME, then set up Block A's text-from-a-bandmate 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 — right label, but I need the evidence").
• Say specifically what I did right, then TEACH the gap — walk the two PAC conditions with me, spell the chords out loud, name the bass motion (sol to do? sol up to la?), 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.
• Move on when I'm satisfied.
• Judge MEANING, not formatting; but where a problem asks for evidence or a second part, ask once if it's missing, then grade what I give.
• 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; 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).

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 12 ASSIGNMENT — Twenty Landings
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
Strongest block: ___
Worth another look: ___
(The twenty scores must add up to the number on line 1 — re-add them before printing.) 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.
• Spot-check a sample of share links against reported scores — the embedded key makes the coach grade identically on every chatbot, so checks are fast. Watch specifically for P2 and P7 (the two-condition hinge from both sides: a coach that calls either one a PAC has failed the unit's own test), P6 and P14 (a coach that spells A minor's V as E–G–B or E minor's V as B–D–F♯ has made the classic minor-v error — a student who flags it deserves praise and a manual re-score), and P9/P12 (any coach language like "the six-four is tonic function" is the named failure mode).
• Every answer in the embedded key is pre-verified against the course theory reference (the diatonic chords of every key used; the harmonic-minor dominants E–G♯–B, B–D♯–F♯, D–F♯–A, A–C♯–E; the six-four bass notes; both PAC conditions). The key is the authority; the coach is the delivery mechanism.
• The Block D tune, for your reference, is the Ode to Joy period exactly as printed in the Week 12 chapter (antecedent ending HC on re; consequent ending PAC on do). Students who sing it while answering are doing it right.
• 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 skills cold.

Canvas placement block

canvas_object    = Assignment
title            = "Week 12 Assignment — Twenty Landings (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 12
published        = true