Dr. Kelly Savage performs frequently on harpsichord as a continuo player and chamber musician.
She is an Associate Professor at
Berklee College of Music,
where she teaches ear training.
Previously, from 2014 to 2021, she was on the faculty at the
San Francisco Conservatory of Music,
where she taught theory, musicianship, keyboard harmony, score reading,
and a survey course on Baroque keyboard literature.
She founded and directed the Stanford Community Chorus,
and was the music director at Noe Valley Ministry in San Francisco.
Dr. Savage is artistic director of the chamber group
and is a founding member of the New York opera company Opera Feroce.
The New York Times praised Dr. Savage’s “deft accompaniment”
in the pasticcio opera Amor & Psyche,
and highlighted her playing in Morningside Opera’s production
of The Judgment of Paris.
She holds a doctorate from Stony Brook University, where she studied with Arthur Haas,
and also holds graduate degrees from the Oberlin Conservatory
and the University of Wisconsin—Madison.
Dr. Savage is a co-creator of Partifi,
an online tool for musicians.
Highlights of her 2020-21 season include several collaborations focusing on music of Baroque women composers.
With Ars Minerva on their Cocktails & Chit-Chat series,
Dr. Savage helped create a series of
online lecture performances highlighting the work of Antonia Bembo,
Elisabeth Jacquet de la Guerre, and Francesca Caccini. With the Cleveland-based
Dr. Savage was part of SalonEra 13: Women in Music. Finally, Dr. Savage is continuing a
collaboration with soprano Brett Umlauf and cellist Anneke Anneke Schaul-Yoder exploring
music of Baroque Italian nuns that will culminate in a recording project in the summer of 2021.
Trio Sonata No. 2 in b Minor, Elisabeth Jacquet de La Guerre (1665-1729) SIREN Baroque,
with Antonia Nelson, Liv Heym & Anneke Schaul-Yoder
Les Goûts Réunis, François Couperin (1668-1733) The Soul’s Delight, with Joan Plana, Graham St-Laurent, Andrew Arceci & Stephanie Corwin
Air Noblement Air
L’Amante Segreto, Barbara Strozzi (1619-1677) SIREN Baroque,
with Brett Umlauf & Anneke Schaul-Yoder
Magdalene's Dilemma, Giovanni Bononcini (1670–1747) Opera Feroce, with
Beth Anne Hatton, Hayden DeWitt, Alan Dornak, Vita Wallace & Motomi Igarashi
Goderò, Piangerò Cor Imbelle Vio del Tartaro
Passacaglia Ungherese, György Ligeti (1923-2006)
SIREN Baroque is an all-female baroque ensemble from New York City.
Presenting passionate and historically informed performances
throughout the States and overseas, the women of SIREN are
committed to infusing spirited historical accuracy with a tinge
of modern dynamism. Critics praise SIREN Baroque’s “unusual freshness”
(Seen and Heard International) and “stylish accompaniment”
(New York Times). SIREN Baroque was featured in Chamber Music America.
is a miniature Baroque opera company. We are a collaborative ensemble
of singers and instrumentalists who, in addition to performing the music,
act as our own costume designers, edition makers, lighting designers,
librettists and administrators. Our works are lively explorations of the Baroque ethos —
we make what can be perceived as an arcane and elitist art form entirely accessible
and fun for audiences of all ages and backgrounds —
while remaining grounded in serious music making.
About an Opera Feroce production,
The New York Times wrote,
“a successful pastiche opera requires a creative chef to
blend disparate ingredients into a satisfying whole, like Amor & Psyche.”
The Stanford Community Chorus,
directed by Kelly Savage, is a choral ensemble open to the entire Bay Area community,
including Stanford students, faculty and staff, and all our neighbors. The group is an
opportunity to engage in communal singing in a fun and supportive environment.
Chorus members explore many different types of music and singing,
including folk, spirituals, popular songs, and traditional choral music.
Selected Past Courses
MMT 112-113: First-year Music Theory San Francisco Conservatory of Music
MMT 112 covers diatonic harmony and elementary structural analysis;
we will study triads, seventh chords and their inversions, harmonic function,
part-writing, and harmonization of melodic lines. At the end of this course
students will be able to harmonize melodies using triads and dominant-sevenths,
identify simple motivic constructions and cadences, and analyze the form of a
short composition written in simple four-measure phrases.
MMT 113 continues coverage of diatonic harmony
and elementary structural analysis; we move onwards into general
uses of chords, diatonic modulation, melodic and rhythmic figuration,
as well as phrase extensions and periods. By the end of the semester
you should be comfortable with both writing and analyzing harmony
including diatonic modulation, figuration, and basic chromaticism,
as well as analyzing compositions with irregular phrases and periodic structures.
MMT 114-115: Second-year Music Theory San Francisco Conservatory of Music
In the third semester of Music Theory, MMT 114, we finish the Aldwell-Schachter text,
including modulation and chromatic harmony. In analysis we cover
expansions of periods, two- and three-part song forms, and compound song forms.
MMT 115 helps students develop a sense of the overall
architecture of a composition through the analysis of the large forms
of Western music. Analysis of these forms should ultimately allow
students to grasp by ear the entirety of a piece of music after
having internalized their particular structures. In the fourth semester of
Music Theory, we focus exclusively on the analysis of the larger homophonic
forms of Western music. These forms include: First, Second and Third Rondos,
Sonata Form, Concerto forms (Ritornello and Double-Exposition), Contrapuntal
Forms (Fugue, Canon), Vocal Forms (Aria) and Ostinato and Variation Forms.
MMT 100 Fundamentals of Musicianship San Francisco Conservatory of Music
Fundamentals of Musicianship is the preparatory course
for Musicianship 102-105 and Music Theory 112-115. In the
course we cover: basic notation of pitch and rhythm;
basic music theory (meter, rhythmic figures, scales, keys, intervals,
triads, seventh chords; aural recognition of the above; basics of
sight singing and dictation; keyboard work to reinforce these skills.
MMT 102-103: First-year Musicianship San Francisco Conservatory of Music
MMT 102 is the first of a four-semester course designed to
introduce students to the fundamentals of musicianship and
give them the tools necessary for being an active professional
musician. The first semester of Musicianship concentrates on
building a strong foundation and practice techniques in the
following areas: intervals (writing, recognizing and hearing
diatonic intervals), chords (basic chords and harmonic functions are covered),
rhythm (rhythmic competence, including the dictation of one and
two-part rhythmic exercises), sightsinging (both prepared and
unprepared sightsinging of melodic material), dictation
(the dictation of melodies and simple harmonic progressions), and
basic conducting patterns.
MMT 103 is the second of a four-semester course designed to
introduce students to the fundamentals of musicianship and
give them the tools necessary for being an active professional musician.
The second semester of Musicianship concentrates on building a strong
foundation and practice techniques in the following areas: intervals
(writing, recognizing and hearing diatonic intervals), chords
(basic chords and harmonic functions are covered), rhythm
(rhythmic competence, including the dictation of one and two-part
rhythmic exercises), sightsinging (both prepared and unprepared
sightsinging of melodic material), dictation (the dictation of
melodies and simple harmonic progressions), and basic conducting patterns.
MMT 104-105: Second-year Musicianship San Francisco Conservatory of Music
MMT 104 and MMT 105 concentrate on building a
strong foundation and practice techniques in the following areas:
Solfege incorporating new clefs, various modulations, and melodies outlining chromatic harmonies;
rhythm including more advanced polyrhythms and metric changes; dictation
skills with an increasing emphasis on modulation and chromaticism; Use of conducting patterns.
MMT 106-107: Third-year Musicianship San Francisco Conservatory of Music
MMT 106 and MMT 107 concentrate on building
a strong foundation and practice techniques in the following areas:
Solfege incorporating chromaticism, medieval music, and 20th century techniques;
rhythm up through tempo modulation; Dictation skills with an increasing emphasis on
modulation, chromaticism, and chorales; performing choral sections.
MMT 232-233: Keyboard Harmony San Francisco Conservatory of Music
MMT 232 is the first semester of a two-semester course,
which teaches basic harmonic skills at the keyboard. Upon completing the
first semester of Keyboard Harmony, students will build proficiency in playing
chord progressions, realizing figured bass, clef reading, harmonizing melodies,
transposing, playing comfortably in many keys, and other related skills.
MMT 233 is the second semester of a two-semester course which
teaches harmonic skills at the keyboard, including playing chord progressions,
realizing figured bass, clef reading, harmonizing melodies, transposing,
playing comfortably in many keys, and other related skills. This semester
focuses on reading four-part Bach chorales in c clefs, more complex figured
bass exercises, chord progressions and harmonizing Schubert songs.
MUSIC 24K: Keyboard Harmony Stanford University
In this practical introduction to keyboard harmony,
students learn to play, analyze and improvise chord progressions
at the keyboard. Students will deepen their understanding of tonal
theory as well as improve their keyboard and improvisational skills.
The course covers reading figured bass, playing common chord progressions
in all major and minor keys and harmonizing simple melodies at sight.
Students also analyze and perform solo repertoire that progresses through
the semester from simple pieces to the level of a Bach chorale.
MMT 230-231: Score Reading at the Piano San Francisco Conservatory of Music
MMT 230 is the first semester of a two-semester course that teaches score reading
at the keyboard. The first semester focuses on building fluency with clef reading
at the keyboard and getting comfortable with reading scores in up to four parts,
both in modern and traditional clefs. The class progresses from works in two parts,
to Bach Chorales in four parts, in open score.
MMT 231 is the second semester of a two-semester course that teaches score
reading at the keyboard. Upon completing the second semester of Score Reading,
students build proficiency in reading transposing parts in scores and playing
larger scores at the piano. The class progresses from works in two parts,
through String Quartets to full Symphonic scores.
MHL 312-1: Keyboard Literature: Baroque San Francisco Conservatory of Music
In this course we examine the solo baroque keyboard literature with a special emphasis
on the music of J.S. Bach. We study various national styles and genres through representative
compositions beginning with the English virginal school and the Italianate toccata style
of Frescobaldi and his southern German disciple Froberger. We then examine the transmission
of this style to France and Germany. We also learn about the three major figures of
seventeenth—century French harpsichord music: Chambonnières, Louis Couperin, and d’Angelbert
as well as later French masters François Couperin, Élizabeth Jacquet de la Guerre and Rameau.
In the second half of the class, our main focus is the music of Bach, in an attempt to put
his music in context and to understand the various national styles he utilized in his keyboard
compositions. The class will also include a survey of the keyboards works of Scarlatti and Handel.
Each week we also touch on important performance practice topics relating to the repertoire covered.