Week 12 — Studio · "Where does it land"

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 12 of 16 (Week 12) · two sessions per week
Objectives: SLO 5 · SLO 7 (the spine: hear the landing → predict it → name it)
Studio 12 · 20 points · Studios group · In session, Week 12's second session · async make-up path below, full credit, submit by the end of Week 12
Format: a prediction game that becomes a performance. Professor Hemsworth plays progressions and stops one chord early; you vote, sing the landing, then label what actually happens — and by the end, your own group builds and performs endings the room must identify blind. Nothing to buy or download; prediction sheets are provided, and bring your instrument — Round 4 wants it.

Every content unit has a the second session studio. It's the week's payoff enacted: this week, the payoff is landing together — predicting the cadence before it arrives, and building an ending your band actually nails.

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Part 1 — The Big Picture

Session 1 named the landings: PAC, IAC, half, deceptive, plagal, and the six-four that decorates the strongest of them. Today the names go into your ears and hands at gig speed. Every round runs the ear-first direction — hear it → predict it → name it → (finally) play it — because that's the bandstand direction: the music is moving, the ending is coming, and the players who hear it a beat early are the ones who land it together.

By the end of the session your group will have performed three different endings on real instruments — and the room will have identified every one of them blind.

Part 2 — The Task

The guiding question: Can you hear where a progression is going before it gets there — and can you use the names to make a group of musicians arrive at the same place at the same time?

Before Round 1, jot your honest guess on the sheet: out of six landings played cold, how many do you think you can predict before they sound? You'll check that guess against your Round 2 tally at the end.

Part 3 — Procedure (the five rounds)

You'll work on the prediction sheet. Groups of 3–4 at the tables; the rounds also run fine solo, and every played prompt has a self-serve path in the make-up list. Instruments out from Round 4 on.

Round 1 — Ears only: full stop, comma, or swerve (≈8 min).
Professor Hemsworth plays six short phrase endings at the piano. For each one, circle exactly one mark on your sheet: period (finished — full stop), comma (paused — more coming), or ! (swerved — promised home, went elsewhere). No chord names, no Roman numerals in this round — punctuation only, ears only. This is the vote your ear has been casting your whole life; today it goes on paper.

Round 2 — Stop one chord early (≈14 min).
Six progressions. For each: Professor Hemsworth names the key, plays the progression, and stops one chord before the end. You: (1) sing the bass note you expect next (the room singing do together is the sound of this unit working); (2) write your prediction in Table 1 — the chord you expect and the cadence you expect; (3) listen as the real final chord lands; (4) write what actually happened and label the cadence. Surprises are the point: at least one landing will not be the one the room sings. Check with a neighbor after every second prompt; settle disagreements by naming the bass motion out loud (sol–do? sol–la? stopped on sol?).

Round 3 — The hymn hunt (≈14 min).
Three out-of-copyright tunes, played phrase by phrase: Old Hundredth (the Doxology tune), Nettleton (Come Thou Fount of Every Blessing), and Joy to the World. For each tune: count the phrases on your fingers as it plays, raise your hand at every breath, and in Table 2 record: how many phrases you heard, and — for each phrase ending — whether it landed closed (authentic — full stop), open (half — comma), or tagged (a gentle IV–I after the real close, if you hear one). These tunes have carried congregations for centuries precisely because their landings are so clear; your job is to catch the architecture your ear already trusts.

Round 4 — Land the ending (≈13 min) — instruments out.
Groups of 3–4. Each group gets a key card (C, G, or F major) and builds three endings on its instruments and voices:

1. The full stop: a PAC — root-position V to root-position I, melody on do. Assign parts: lowest instrument or voice takes the bass (sol → do), someone takes the melody's arrival on do, everyone else fills the chords.
2. The swerve: the same setup, but the bass steps up from sol to la and the group lands on vi — a deceptive cadence.
3. The tag: after a full stop, add the Amen — IV to I, gentle, no dominant.

Rehearse for a few minutes, then each group performs its three endings in a scrambled order of its choosing while the rest of the room writes down which was which. The room's ears grade the clarity: if the room can't tell your swerve from your full stop, the swerve wasn't committed enough — that's arranging feedback, live.

Round 5 — The six-four spot + the period diagram (≈10 min).
Two quick closers. First: Professor Hemsworth plays a big, slow gospel-style ending in D major — tonic notes over a sol bass, then V7, then home — twice. On your sheet: write the bass line in scale degrees, name the decorated chord, and answer the honesty question (tonic or dominant area?). Second: the whole room sings Ode to Joy once, hands raised at each breath, and fills in the period diagram on the sheet — which phrase asks, which answers, which cadence at bar 4, which at bar 8, and the name of the whole shape.

Fallback (no piano hearing needed): if you can't hear the piano well from your seat, or you're doing the make-up path, every round works with a free keyboard app or your own instrument — the make-up section below prints every prompt so you can produce the sounds yourself.

Part 4 — The Scaffold (complete during the rounds)

Table 1 captures Round 2 — your prediction, then the truth.

Prompt	Key (given aloud)	Bass note you sang	Cadence you predicted	What actually happened	Cadence label
1	______	______	______	______	______
2	______	______	______	______	______
3	______	______	______	______	______
4	______	______	______	______	______
5	______	______	______	______	______
6	______	______	______	______	______

Table 2 captures Round 3 — the hymn hunt.

Tune	Phrases counted	Phrase endings, in order (closed / open / tagged)
Old Hundredth	______	______
Nettleton	______	______
Joy to the World	______	______

Round 5 record: bass line in degrees: ___ – ___ – ___ · the decorated chord's name: __ · tonic or dominant area? _ · Ode to Joy: bar-4 cadence · bar-8 cadence · the eight-bar shape is a ___

Round 1 tally: correct punctuation votes ___ /6 · my pre-round guess from Part 2: ______

Part 5 — Analysis Questions (short answers on the sheet, ≈5 min)

1. Round 2: which landing surprised you, and what had your ear already noticed before the last chord sounded? One honest sentence.
2. Your group's deceptive cadence in Round 4: what exactly did the bass player do differently from the PAC version — name the two bass notes in each ending.
3. A bandmate says the six-four chord in Round 5 "was the ending — it's the tonic chord, I heard it." Set them straight in two sentences: what's in the bass, and where's the real arrival?
4. In the hymn hunt, the phrases almost all came in the same length — yet the chapter says a phrase is not defined by its bar count. What actually told you a phrase had ended?
5. Name one place in your own repertoire — a song you play or sing regularly — where you now suspect a deceptive cadence or a plagal tag lives. What will you listen for to confirm it?

Part 6 — AI-Critique Moment (≈3 min, phones out — or on the projector if the room prefers)

Type three facts from today into your chatbot and ask it to check them — for example: "Check these: (1) in C major, root-position G7 to root-position C with the melody ending on E is an IAC, not a PAC; (2) in A minor a deceptive cadence is E major to F major; (3) the chord D/A in the progression D/A – A7 – D functions in the dominant area, not as a tonic arrival." Then judge its reply against your own sheet. The classic failures to hunt: it calls any V–I "a perfect cadence" without checking the melody note, it spells A minor's dominant as E–G–B (minor v), or it calls the D/A "tonic function" because of its spelling. Write 2–3 sentences on your sheet: what it got right, and at least one thing you corrected or verified. The habit all term: the tool drafts, you judge.

Part 7 — What to Submit

Hand in before you leave: the prediction sheet (Round 1 tally + Tables 1–2 + the Round 5 record + analysis answers + AI-critique sentences). Round 4 is graded live as your group performs. 20 points, graded on the rubric below.

Async make-up path — full credit, submit by the end of Week 12. Life happens; missing the studio costs you nothing but the room. Do the same tasks alone: (1) play each Round 2 progression yourself from the printed make-up list below (keyboard app or your instrument), honestly stopping before the last chord to sing your predicted bass note, then finishing and labeling; (2) play or sing the three hymn tunes (any hymnal or your own memory of the melodies) and complete Table 2; (3) record your own Round 4 — you (or you plus a friend) performing the PAC, the deceptive swerve, and the plagal tag in your assigned key of C; (4) complete Round 5 from the printed prompt and do the AI-critique step. Submit: phone photos of your completed sheet, plus a short recording (a minute is plenty — voice memo or video) of your three endings, announced by name as you play them. Same rubric, same 20 points, no penalty.

Make-up prompt list (so no hearing partner is needed): Round 2 — (1) C major: C – F – G – C · (2) G major: G – C – D, stop there · (3) F major: F – C7 – Dm · (4) C major: G – C, then F – C · (5) A minor: Am – Dm – E – F · (6) D major: D/A – A7 – D. Round 5 — play D/A – A7 – D slowly twice. Round 4 key: C major.

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Instructor key — REMOVE BEFORE PUBLISHING TO STUDENTS

Round 1 endings (play deliberately; repeat each once). Reuse the Round 2 progressions' final two chords, played as bare landings, in this order: (1) C major V7→I with do on top — period · (2) G major …ii→V stop — comma · (3) F major V7→vi — ! · (4) C major IV→I tag — period (gentle; accept "period" only) · (5) A minor V→VI — ! · (6) D major I6/4→V7→I — period (the hold before it is the lesson for Round 5). Expect and praise fast, confident votes — this round is pure ear.

Round 2 progressions and vetted answers (name the key aloud; stop where marked, take the room's sung bass, then finish):

#	Key	Play, stopping before the bracketed chord	Expected sung bass	Actual ending	Vetted label
1	C major	C – F – G7 – [C], melody ending on C5	C (do)	as expected	PAC (root position, do on top)
2	G major	G – C – [D] — then STOP; the D is the ending	most sing G — the trap	phrase ends ON V	HC (the phrase parks on V; nothing follows)
3	F major	F – C7 – [Dm]	F (do)	bass steps UP to D	Deceptive (V7→vi)
4	C major	G7 – C, then F – [C]	C (do)	as expected	Plagal tag (IV→I after the authentic close)
5	A minor	Am – Dm – E – [F]	A (do)	bass steps up to F	Deceptive in minor (V→VI; E–G♯–B to F–A–C)
6	D major	D/A – A7 – [D], melody ending on F♯4	D (do)	as expected, but melody on mi	IAC (root position, mi on top — one lock)

The reference progressions, notated for the piano bench:

KEY: C major    METER: 4/4    CLEF: treble
| <C4,E4,G4>/h <F3,A3,C4>/h | <G3,B3,D4,F4>/h <C4,E4,G4,C5>/h |

Prompt 1: I – IV – V7 – I in C major, the tonic arriving with C5 (do) on top: the PAC everyone predicts correctly. Play it honestly; this one seeds trust before the traps.

KEY: G major    METER: 4/4    CLEF: treble
| <G3,B3,D4>/h <C4,E4,G4>/h | <D4,F#4,A4>/w |

Prompt 2: I – IV – V in G major, ending on a whole-note V (D–F♯–A). The room sings G; the music never goes there. That collective wrongness IS the half cadence lesson — say so.

KEY: F major    METER: 4/4    CLEF: treble
| <F3,A3,C4>/h <C4,E4,G4,Bb4>/h | <D4,F4,A4>/w |

Prompt 3: I – V7 – vi in F major: the V7 (C–E–G–B♭) swerving to D minor (D–F–A). Bass sol up to la.

KEY: C major    METER: 4/4    CLEF: bass
| <G2,B2,D3>/h <C3,E3,G3>/h | <F2,A2,C3>/h <C3,E3,G3>/h |

Prompt 4: V – I, then IV – I in the bass register: the authentic close and its Amen tag. Ask the room which pair was the "real" ending — the answer (the first) tells you they've got it.

KEY: a minor    METER: 4/4    CLEF: treble
| <A3,C4,E4>/h <D4,F4,A4>/h | <E4,G#4,B4>/h <F4,A4,C5>/h |

Prompt 5: i – iv – V – VI in A minor: E major (E–G♯–B — harmonic minor's raised leading tone) swerving to F major (F–A–C). If anyone asks why the G♯: Week 11's rule, live.

KEY: D major    METER: 4/4    CLEF: treble
| <A3,D4,F#4>/h <A3,C#4,E4,G4>/h | <D4,F#4,A4>/w |

Prompt 6: I6/4 – V7 – I in D major, the melody ending on F♯ (mi). Two lessons in one: the six-four's sol–sol–do bass (Round 5 preview) and the IAC (root position but mi on top — the room will call it PAC; run the two checks out loud).

Round 3 — hymn hunt expectations. Play each tune straight through once, then phrase by phrase (piano, or sing — the melodies carry it). Vetted expectations for the sheet: Old Hundredth — 4 phrases; standard harmonizations close phrases 1–3 with a mix of open and closed landings and end phrase 4 closed with a firm V–I (full stop); accept any honest open/closed pattern for the middle phrases that matches how you actually play them, but the final phrase must be marked closed. Nettleton — 4 phrases (the tune rhymes AABA-style); phrases 1, 2, and 4 land closed on do; phrase 3 (the "Here I raise my Ebenezer" strain) lands open — it's the question the last phrase answers. Joy to the World — the opening phrase (the full descending major scale, Week 7's old friend) lands closed on do melodically; later phrase boundaries are freer — grade the first phrase call and the final closed landing, and grade phrase counts for honesty, not for one canonical number. The point of this round is hands going up at breaths, not hymnological precision.

Round 4 — performance keys (what each group's three endings must contain):

Key card	PAC	Deceptive	Plagal tag
C major	G (G–B–D) → C (C–E–G), bass G→C, melody ends C	G → Am (A–C–E), bass G→A	F (F–A–C) → C, after a close
G major	D (D–F♯–A) → G (G–B–D), bass D→G, melody ends G	D → Em (E–G–B), bass D→E	C (C–E–G) → G, after a close
F major	C (C–E–G) → F (F–A–C), bass C→F, melody ends F	C → Dm (D–F–A), bass C→D	B♭ (B♭–D–F) → F, after a close

Grade the commitment, not the polish: the bass motion must be audible (sol→do vs. sol→la), the PAC's melody must land on do, and the room must be able to identify all three blind. A group whose swerve fools nobody re-runs it once with the bass louder — that's the teaching moment, not a deduction.

Round 5 vetted answers: bass line sol – sol – do (A – A – D in D major) · the decorated chord: the cadential six-four, I6/4 (D/A: tonic notes over sol) · function: dominant area — looks like tonic, behaves like dominant; the real arrival is the final D. Ode to Joy: bar 4 = half cadence (held re over V) · bar 8 = PAC (do on top, root position) · the shape = a period (antecedent asks, consequent answers).

AI-critique full credit: names a specific claim checked, with either a caught error (most common: "any V–I is perfect," the E–G–B minor-v misspelling, or "D/A is tonic function") or a real verification ("it agreed, and I re-ran both PAC checks myself before believing it"). "The AI said it was all correct" with no checking shown earns the partial band.

Where students collect their own responses (Round 1 votes, predictions, phrase counts, the Part 2 guess), grade the method — honest marks, bass notes named, both PAC conditions cited where relevant — never agreement with one "right" prediction. A wrong prediction honestly recorded and correctly re-labeled after the truth lands is full-credit work; that's what the sheet is for.

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Grading rubric — 20 points

The rubric below maps the studio's parts to points; bands are full / partial / none. The async make-up path uses the identical rubric.

Criterion	Full	Partial	None
Round 1 — punctuation votes: all six marked honestly, tally recorded (2)	2	1	0
Round 2 — predictions: all six rows complete (sung bass + prediction + actual + label), ≥4 of 6 final labels correct (5)	5	3–4 (rows complete but labels shaky, or labels right with predictions skipped)	0–2
Round 3 — hymn hunt: all three tunes counted, endings marked, final landings correctly closed (4)	4	2–3	0–1
Round 4 — land the ending: all three endings performed with audible bass motion; room identified them blind (3)	3	2 (endings performed but one indistinct)	0–1
Round 5 — six-four + period: bass degrees, chord name, function call, and the Ode diagram all correct (2)	2	1	0
Analysis questions: honest, specific answers to all five (2)	2	1	0
AI-critique: 2–3 sentences with a specific catch or a real verification (2)	2	1	0

Quality gate (self-checked): every Round 2 progression and Round 4 ending re-verified against the course theory reference (V7 in C = G–B–D–F; vi in F = D–F–A; V in A minor = E–G♯–B and VI = F–A–C; I6/4 in D = D–F♯–A over an A bass; both PAC conditions stated wherever "PAC" appears); all six key fences parse and sum to their meters; rubric sums 2+5+4+3+2+2+2 = 20; no purchased or downloaded materials; hymn expectations graded for method, not hymnological precision. ✓

Canvas placement block

canvas_object    = Assignment
title            = "Week 12 Studio — Where does it land"
assignment_group = "Studios"
points_possible  = 20
grading_type     = points
submission_types = [on_paper]        # in session; async make-up: online_upload (photos + short recording)
due              = in session, Week 12's second session; make-up by the end of Week 12
published        = true

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