This page is a repository of materials assembled during the Summer 2020 Session of TI:ME 2B with Dr. Steve Estrella. I will be documenting my participation in this class on this page. You can see a list of my hardware, software, and peripherals on my Tech Tools page.
Day 1 – Digital Media Review, Intro to Camtasia
This is the beginning of a project exploring the features in the Camtasia platform.
Day 2 – Building virtual instruments in Camtasia
Day 3 – Building Listening Guides
Listening Map for Bach’s Menuet in G
Here is a simple application to help you navigate the sections of Bach’s Menuet in G.
Day 4 - Complete and Present Project
Intellectually, I know that I could/should put together an MVP (minimum viable product), and not get distracted by the content. It's fair to say that this knowledge has never stopped me.
I have watched at least one opera every day for at least 100 days now, and out of all of that, this one particular aria I heard last weekend has been driving me crazy. "Trà sospetti," from Handel's Rodelinda, explodes with unexpected chromaticism right from the get go. This virtuosic angst fest highlights the anxious fears of Grimoaldo with chromatic passing tones, chained suspensions, and seemingly endless melismas. To add insult to injury, the rhythm of the melody propels itself by mostly avoiding notes of any consequence on the downbeat. I've been analyzing this aria for my own amusement, so I thought I would build my project around it. It has afforded me an opportunity to dig a little deeper and put my findings in some sort of shareable form. I've been having fun with it, and hope to complete a sizable chunk of it to present.
UPDATE: As usual, I got completely taken away from reality creating assets, but got a really good start on getting a reasonable demo put together. This will eventually become a deep exploration of this Handel aria looking at chromaticism, figured bass, and non-chord tones. I'm looking forward to spending more time expanding this project.
This first draft has extremely limited interactivity at this time. In the event I do not purchase Camtasia, the assets I created will be used in multiple other projects and lessons.
Jazz Credit: Rolf Zielke - piano; Stephan Abel - sax; Stephan Braun - cello; Mustafa Boztüy - oriental percussion; Friedhelm May - timpani live at the orangelab, Berlin 2013
I used StaffPad on the iPad to enter the music from the public domain score in IMSLP, and transcribed the soprano sax interpretation.
I will probably export the manuscript to Finale to write in the figured bass figures along with a full realization and harmonic analysis. Would like to expand this to bridge into reharmonizing and reframing existing melodies.