Theory IV
COURSE OUTLINE
 
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PART I: CHROMATIC HARMONY

Competency-Based Model

Week 1

Jan 11-15

Retention/Success issues

 

REVIEW

Bach's chord changes

 

SECONDARY CHORDS

 

 

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

 

Assignment:  Secondary Chords

 

 

Week 3

Jan 25-29

 

NEAPOLITAN 6th CHORDS

 

 

Assessment:  Borrowed Chords

 

 

Week 4

Feb 1-5

AUGMENTED 6th CHORDS

 

 

Assessment:  Augmented 6th Chords & Neapolitans

 

 

Week 5

Feb 8-12

 

 

 

Assessment: Catch up

  

 

Week 6

Feb 15-19

ALTERED DOMINANTS

 

 

  
Assessment: Altered Dominants
 

Week 7

Feb 22-26

 

CHROMATIC MODULATION

 

 

 

Week 8

Feb 29-Mar 4

 

Review for mid-term exam on Monday and Wednesday

Wednesday

Last day to take an assessment

Thursday

Last day to turn in a composition

Friday

Mid-term exam

  SPRING BREAK 
 

PART II: FORM AND ANALYSIS

Week 9

Mar 14-18

 

 

Excellent intro to form

 

 

Binary form

 

Example of binary form

More examples:  Bach Suite

 

Ternary form

Example of ternary form

 

 

 

Rondo form

 

Example of rondo form

Analysis

Analysis by Listening

 

 

 

 

VARIATION TECHNIQUE

Theme & Variations Assignment specifics   

Click here for grading rubric

 

 

 

Theme and Variation form

 

 

 

Friday:  Melody selected; work in Computer Lab

Week 10

Mar 21-25

 

Monday

Review of composition plans

 

Wednesday in piano lab

 

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 and send to me at least 30 minutes before classtime

 

 

 

Week 11

Mar 28-Apr 1

 

Monday

Computer Lab

 

Wednesday/Friday

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

Use the Theme & Variations Checklist before turning in your assignment.

Week 12

Apr 4-8

 

SONATA FORM

 

 

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

 

 

Seat work:  Sonata K. 280 Analysis

Please use this  SonataAnalysisForm

 

Listen to the Sonata.

 

Friday in Piano Lab to begin Composition #2

 

Due Friday 

Last day to turn in revised Theme and Variations to improve your grade. Hard copy due in class.

List the revisions you made in a Word document attached to the score.  You will only receive credit for changes made that are listed.

Week 13

Apr 11-15

THE ROMANTIC PERIOD

 

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 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!

 

K283K284K332
CesarCaseyNathan
JohnAkiraRon
CadeGrantTristan
KaileyKenyaChad
TimLydiaMaddie
CalebCassieLeeann
TyLashondaSte'fon
Tember  

 

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 18-22

REVIEW:  MODULATION

 

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 at least 30 minutes before class on Friday)

Review this page before submission:  Character Piece Assignment

 

 

 

Week 15

Apr 25-27

Review for Final exam  

Use this grade calculator to estimate your final grade

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 2   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.

 

 

     Cade
TristanCesarCalebEnriqueKenyaRon
CaseySte'FonNathanLashondaTemberAkira
GrantMaddieKennethTyLeeannTim
ChadJohnLydiaCassieKailey 

 

Created and Maintained by Vicky V. Johnson

EXTENDED HARMONY

Extended Tertian Harmony

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

Extended Harmony

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