Theory IV
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Competency-Based Model

Week 1

Jan 16-19

Retention/Success issues



Bach's chord changes





Link to Course Outline

On the top of this page, File - Send - Shortcut to desktop


Print 5 sheets of staff paper

See links above.  Keep a supply with you at all times.  You should NEVER have to borrow staff paper.


Quiz #1

Must be completed at 100% before taking Assessment #1

Music theory:  observations used to analyze and to understand music

Week 2

Jan 22-26




Assignment:  Secondary Chords



Week 3

Jan 29-Feb 2





Assessment:  Borrowed Chords



Week 4

Feb 5-9




Assessment:  Augmented 6th Chords & Neapolitans



Week 5

Feb 12-16


No class on Friday because of TMEA!


Assessment: Catch up



Week 6

Feb 19-23




Assessment: Altered Dominants

Week 7

Feb 26-Mar 2






Week 8

Mar 5-9


Review for mid-term exam on Monday and Wednesday


Last day to take an assessment


Mid-term exam



Week 9

Mar 19-23






Binary form


Example of binary form

More examples:  Bach Suite


Ternary form

Example of ternary form




Rondo form


Example of rondo form


Examples to identify


Analysis by Listening






Theme & Variations Assignment specifics   

Click here for grading rubric




Theme and Variation form




Monday:  Survey, Composition instructions

Wednesday:  Introduction to form

Friday:  Melody selected; work in Computer Lab

Week 10

Mar 26-30



Critique of composition plans


Wednesday in piano lab


No class on Friday

Due Monday:

Assignment #6:  Variation composition plan

Tune selected; 5 methods of variation chosen; 2 measures of each composed

The 2 measures should be complete in both clefs, not just melodic material (even in the theme)

Name your file YourNameVariations

Hard copy due in class - Finale file must be e-mailed by 8:30am




Week 11

Apr 2-6



Computer Lab



Peer evaluation of Composition #1




Due Wednesday 

Composition #1:  Theme and Variations complete composition

Hard copy due in class - Finale file must be e-mailed by 8:30am 

Name your file YourNameVariations

Theme & Variations Checklist must be stapled to your composition

Week 12

Apr 9-13





The Evolution of Sonata Form


As demonstrated by screen beans

Eine Kleine Nachtmusik


Sonata-Allegro Form Powerpoint

Example of sonata form


Beethoven Sonata example


Written work completed in class:  Diagram of first movement structure. 


Class discussion:

Mozart’s Sonata, K. 283, No. 5, first movement (hand-out)

Mozart’s Sonata, K. 280, No. 2, first movement (hand-out)


Class discussion:

Mozart’s Sonata, K. 545, No. 16, III, (hand-out)

Haydn’s Sonata, No. 5, movement III (in textbook, Assignment 9.1, pp. 167-70) 



Beethoven’s Sonata No. 1 in F Minor, Op. 21, No. 1,mvmt.I



Seat work:  Sonata K. 280 Analysis

Please use this  SonataAnalysisForm


Listen to the Sonata.



Due Friday 

Turn in revised Theme and Variations. Hard copy due in class.  Finale file due at 10:00am


Staple together:

1.  Checklist

2.  Composition


Week 13

Apr 16-20



Chromatic modulation


Write a short composition of 16 to 30 measures in the style of a romantic character piece for piano.  Click here to go to the Character Piece Assignment page for more specific guidelines.  



Piano Lab to begin Composition #2


 Monday:  Guest lecture


Due Wednesday:

Plan for Character Piece:  Describe the image or feeling you intend to evoke including a complete title for your piece


 Due Friday:

Assignment #7:  Sonata Analysis


Print a copy of the Sonata assigned to you:    K283   K284   K332

Note:  Print only the first movement!


Lena AvilaXavier BakerZach Baker
Justin BartlettJacob BrowningJordan Echols
Matt EdwardsSavanna EsseA.J. Haayer
Ayla HarrellKervin HernandezChloe Kozak
Kyle LaneJohn MiskeLora Patterson
Andrew PippinRosa PortilloReagan Raffaele
Kenny ReidAdrian RodriguezSarah Sines
Johnathen StandiferWill TimmermanTory Vilches
Hayes WatermanZach Zagrocki 


Listen to your assigned Sonata.  Find it on YouTube or on the Classical Music database link from the library.


Answer the questions on the SonataAnalysisForm


Don't forget the Roman numeral analysis of  the development section and to label the sections, themes and keys on the score.




Week 14

Apr 23-27



Class discussion:

Chopin’s Prelude, Op. 28, No. 7 (hand-out)

Chopin’s Prelude, Op. 28, No. 20 (hand-out)


Listen to 

Prelude, Op. 28, No. 20.


Analyze Barber's Adagio (hand-out)


Due Friday 

Composition #2:  Character Piece (Finale file must be e-mailed by 8:30 on Friday)

Review this page before submission:  Character Piece Assignment

Attach this Character Piece Checklist to your composition (use it first!)




Week 15

Apr 30-May 2

Review for Final exam  

Use this grade calculator to estimate your final grade


More review materials

Print the practice sheet and analyze examples.  There will be one of each of these on your exam!!


Enharmonic modulation using fully diminished 7th chords Practice Sheet and Answer Key

Enharmonic modulation using German 6th chords Practice Sheet and Answer Key


Due Monday 

Xtra Composition for extra credit


Summary and review of Form


Construct chords in 4 parts and resolve them to the most likely chord. 

Extended chords should be constructed using only 4 notes (know which notes to omit).



Final Exam: 

Monday, May 7   3:00 - 5:30

Class discussion:

  1. Schubert’s Death and the Maiden, D. 531

  2. Schumann’s “Waldesgespräch” from Liederkreis, Op. 39                   

  3. Schumann’s “Ich grolle nicht” from Dichterliebe, Op. 48     


Music Theory Books

Note:  any of these textbooks are a good resource.  They do not have to be the latest edition, so find a good used one.

Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. Belmont, CA: Cengage Learning.

Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Materials of Tonal Music: From the Common Practice Period Through the Twentieth Century. Belmont, CA: Wadsworth, Cengage Learning.

Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. New York: McGraw-Hill.

Clendinning, Jane Piper, Elizabeth West Marvin, and Joel Phillips. The Musician's Guide to Fundamentals. New York: W. W. Norton.

Gauldin, Robert. Harmonic Practice in Tonal Music. New York: W. W. Norton.

Henry, Earl, and Michael Rogers. Tonality and Design in Music Theory Vols. 1 & 2. Upper Saddle River, NJ: Pearson,.

Kostka, Stefan, Dorothy Payne, and Byron Almen. Tonal Harmony. New York: McGraw-Hill.

Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press.

Mayfield, Connie. Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Keyboard Skills Vols 1 & 2. Belmont, CA: Cengage Learning.

Roig-Francoli, Miguel. Harmony in Context. New York: McGraw-Hill. 

Spencer, Peter, and Barbara Bennett. The Practice of Harmony. Upper Saddle River, NJ: Pearson.

Steinke, Greg A. Harmonic Materials in Tonal Music: A Programmed Course, Parts 1 and 2. Upper Saddle River, NJ: Pearson.

Straus, Joseph N. Elements of Music. Upper Saddle River, NJ: Pearson.

Turek, Ralph. The Elements of Music: Concepts and Applications, Vols. 1 & 2. New York: McGraw-Hill.





Created and Maintained by Vicky V. Johnson


Extended Tertian Harmony

Play examples from Benward 8th ed. p. 180-183

Extended Harmony

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