Theory IV
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Week 1

Jan 11-15

Retention/Success issues



Secondary chords


Secondary chord review

 Construct secondary chords (boardwork)

Use WS36 in notebook

Secondary dominant Wksheet Side A

Secondary dominant Wksheet Side B



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.


Music theory:  observations used to analyze and to understand music

Week 2

Jan 18-22







Borrowed chords


Mode mixture


Examples:  Benward Chapter 4


Construct borrowed chords and resolutions (boardwork)

Use Chapter 4 Borrowed Chords worksheet

Due Fri

Assignment #1:  Create borrowed chords assignment (handout)




Borrowed chords

Print this!

Week 3

Jan 25-29




Neapolitan 6ths (Teoria)


Practice constructing N6's



Moonlight Sonata Excerpt



Construct Neapolitan chords at board




Augmented 6ths (Teoria)


Augmented 6ths - simple explanation


Board work:  Construct Neapolitan 6th and Aug 6th

No Assignment Due Friday




Neapolitan 6th

Print this


Week 4

Feb 1-5


OK - here's your song parody

to the tune of "The Addams Family"


Augmented sixths

Augmented sixths

These are the tricks so we won’t mix

Augmented sixths.


Italian, French and German

Now here’s how to determine

The 3rd, we’ll be affirmin’

Just check the 4th and 5th.


Italian is completed,

A third is all that’s needed

And that note is repeated

In this augmented sixth.


The French one sounds so scary

The tritone’s customary

The tension’s temporary

In this augmented sixth.


The German is a jazz chord

Has 3 and 5, but not 4

It moves to tonic 6/4

In this augmented sixth.


The key to understanding:

The 6th will be expanding,

By half step will be landing,

It's easy to predict.


Mon/Wed Seat work:  Beethoven Piano Sonata and String Quartet



Due Friday

Assignment #2:  Augmented 6th Chords & Neapolitans




Augmented 6th

Print this

Week 5

Feb 8-12


Extended Tertian Harmony

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




Play examples from Benward 8th ed. p. 194-195


Seat work in pairs: Duke Ellington "I Got It Bad"


Review for Mid-term Exam (Friday)



Due Friday

Assignment #3:  Extended Chords



Extended Harmony

Print this

Week 6

Feb 15-19


Modulation by diminished 7ths

Modulation by Neapolitan 6

Modulation by augmented 6ths


Types of Modulation





Mid-term exam

Due Friday
Assignment #4: Altered Dominants

Week 7

Feb 22-26



Theme & Variations Assignment specifics   

Click here for grading rubric


Chromatic harmony review sheet

Board work


Due Friday

Assignment #5:  Chromatic Modulation




Week 8

Feb 29-Mar 4


Excellent intro to form



Binary form

Example of binary form

Example of rounded binary form


Ternary form

Example of ternary form

Example of ternary form



Example of rondo form


Analysis by Listening


YouTube Shostakovich Largo and Led Zeppelin You Shook Me for Pandora-type analysis

Due Friday:

Assignment #6:  Variation composition plan

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


Email your Finale file to me by 8:30 am so we can play them in class.  Bring a hard copy for me to keep.


Go over Theme & Variations Assignment specifics  (one variation must be Classical, one must be chromatic)


Week 9

Mar 14-18


Finish review of composition plans


Wednesday in piano lab

Friday peer evaluation of Composition #1


Assign redo of chromatic variation if necessary

Due Friday 

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.mus (or .musx)

Week 10

Mar 21-25

Text me a picture of you in costume for extra credit



Finish peer evaluation of Composition #1

Redo chromatic variation if necessary





The Evolution of Sonata Form


As demonstrated by screen beans

Eine Kleine Nachtmusik


Sonata-Allegro Form Powerpoint

Example of sonata form


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



Week 11

Mar 28-Apr 1

Seat work:  Sonata K. 280 Analysis

Please use this  SonataAnalysisForm


Listen to the Sonata.


Friday in Piano Lab to begin Composition #2



Week 12

Apr 4-8




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.  





 Due Friday:

Assignment #7:  Sonata Analysis

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

Note:  Print only the first movement!


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 13

Apr 11-15



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 (hard copy due in class - Finale file must be e-mailed by 8:30am Friday)

Review this page before submission:  Character Piece Assignment




Week 14

Apr 18-22




Week 15

Apr 25-27

Review for Final exam  

Use this grade calculator to estimate your final grade

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: 

Tuesday, December 8, 8:00 - 10:30

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.





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