Theory II

Room 118


Instructor:  Dr. Vicky V. Johnson 

Office 122

Office hours posted on office door


Phone:  Ext. 9238



Assignment Notes:

  1. I will not accept assignments done in ink.

  2. Please do not use miniscule notes or printing. 

  3. Be prepared to write in your theory workbook and ear-training book.  These books are not meant to be resold.   I will not accept assignments from these books which are copied onto staff paper.

  4. If something is not clear to you, ASK ME.  My schedule is on my door (122) or use the email hyperlink at the bottom of the page.



Rules are made for rule breakers, not for rule followers. 

Those who live by principles do not need rules.


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Lab Quiz Study Guides

Lab #1         Lab #2        Lab #3        Lab #4

Aural Skills     Blooms    OttmanRhythm     Help     Public domain hymns     Grade Calculator


Song ListClickersKostka drillsCompositionsStaff paper

Week 1

Aug 26 - Aug 30


Review Final Exam from Theory I

If you are uncertain about any of the review concepts, refer to Theory I notes or to Help

  • Cadences

  • Non-harmonic tones

Remember that suspensions require 3 steps:

  1. preparation (chord tone of previous chord)

  2. suspension (always dissonant)

  3. resolution (consonant)

Numbers are assigned to the suspension based upon

  1. the interval of the suspended note and

  2. the lowest sounding note of the chord

Practice NHTones p. 113 textbook


Intro to 7th Chords

Diatonic 7th Chords


7th Chord Construction

7th Chord Identification

7th Chord Ear-training




Exercise:  board work - construct 7th chords

Exercise:  workbook p. 30, K and L



"That'll Be the Day"   Buddy Holly

"Every Breath You Take"  The Police

"Up Against the Wall Red-Neck Mother"  Jerry Jeff Walker


Tuesday:  no lab (I have to give theory placement tests to the freshmen)

Thursday: in piano lab

  1. Log into Blackboard

  2. Set up Aurelia

  3. Register Clicker

  4. Begin CL #1


Assignments due:


Place a link to this page on your desktop
On the top of this page, File - Send - Shortcut to desktop


Print 5 sheets of staff paper from link above

or with keyboard on top here 


Print Solfege Daily Routine


Print Quick Facts Sheet

Error on QFS:  IAC can also be a viio



Demonstrate song using handsigns:  Have major AND minor melodies prepared. 


You may use songs from the Song List or choose others.  Do not choose songs that are too simple, or that were used last semester (if you can remember!)  Have more than one ready in case you are randomly chosen more than once or in case someone else uses your melody.  If you are not here when randomly chosen, and the absence is unexcused, you will receive a zero.



CPS setup


Class Key: F75108M588


Click on the link above for instructions to activate the clicker

Bring your credit card on Tuesday to the lab in class

Attendance will be taken with clickers beginning on Tuesday



Quiz #1

Cadences, Non-chord Tones, Inversions



Assignment #1

7th Chord Assignment page 1

7th Chord Assignment page 2




Week 2

Sept 2 - 6

Note:  No class on Monday (Labor Day)



Secondary dominants



Aura Lee (Love Me Tender) example

Take Me Out to the Ballgame

Video keyboard example


Practice identifying secondary dominants

Practice constructing secondary dominants



Other secondary functions


Practice identifying secondary leading tone chords

Practice constructing secondary leading tone chords


Practice at the board: Secondary chord construction practice




All intervals

Cadences in real excerpts

[turn off screen first]

Perfect Authentic Cadence

PAC with Cadential 6/4 Ex.#1

PAC with Cadential 6/4 Ex.#2

Imperfect Authentic Cadence

Half Cadence

Plagal Cadence Ex.#1

Plagal Cadence Ex. 2

Deceptive Cadence


Secondary dominants

Aural recognition in real music


Assignments due:

FriAssignment #2

Secondary -chord identification



Computer Lab #1

Note:  You will have to re-enter your password information in Aurelia and join the class "Theory II" to access the material. 


Use your real name (in the format of Lastname, Firstname) as log-in because reports will be printed according to log-in name.

Use your student ID# as your password (that way, you can't forget it)

Assignment deadline is 5pm.




Lab Groups


  1. Choose a leader

  2. Choose a name






Week 3

Sept 9 - 13


Triads in 1st Inversion

Triads in 2nd Inversion

2nd Inversion Chords

We try harder!



Procedures of Four-Part Writing

23Errors Practice sheet


Principles of voice-leading


Principles of part-writing

Motion Exercise


Examples of good and bad part-writing

Textbook p. 191 explanation

Textbook p. 205 practice

Cadence Exercise

work for speed


"Away in a Manger" (from hymns above) harmonic progression


"Forget About It"  Allison Kraus dictation of bass line

Assignments due:


Assignment #3

1.  Analyze "Prelude and Fugue" in C by Bach

  • Use both Roman numeral analysis (below) and lead sheet symbols (above)

  • Circle non-harmonic tones and label

Bach:  Prelude and Fugue in C

Audio file



Computer Lab #2

Assignment deadline is 5pm.




7th Chords and Secondary chords



Week 4

Sept 16 - 20


Review bottom of p. 201 and 202

Partners:  textbook p. 209



Errors in part-writing: Workbook, p. 75

Part-writing errors


Test Yourself:  Workbook p. 86 (#1)


Cadence Part-writing Worksheet

review of cadences/realizing figured bass




Assignments due:


ET Quiz #1

Lab Group exam #1

SS Quiz #1



SS Quiz #1




Part-writing root position



Computer Lab #3

Assignment deadline is 5pm. 



Week 5

Sept 23 - Sept 27


Practice:  Textbook p. 228 - 230

Workbook p. 93, 94


Harmonization of short melodic line

Provide harmonic progression and all three parts


Tune "America":  dictation from audiation and harmonize in 4 parts

Public domain hymns




Assignments due:


No assignment



Note:  Next week's assignment will be scored in Finale.  If you are unfamiliar with the program, or need to review it, allow sufficient time!

Week 6

Sep 30 - Oct 4


12-Bar Blues, p. 221

Group composition:  Blues song

  1. Go to link above for info on blues form

  2. Write at least 3 verses

  3. Perform with your group on Friday;  must be accompanied



Practice part-writing with given melody:

Sight-singing book 6.3


Smooth bass line examples:

"Hit the Road, Jack"

"Mr. Bojangles"

"My Funny Valentine"


Review:  Chapter 11 p. 243 boardwork

4 parts, resolve to I


Chord keyboard, major


Chord keyboard, minor



Group composition:  Blues song

Assignments due:


Assignment 4

Score the following melody in chorale style using standard part-writing.  Include a Roman numeral analysis (use the Lyrics tool for this).



I'll Be Bach



Computer Lab #4

Assignment deadline is 5pm. 


Blues Performance




Week 7

Oct 7 - 11

Group composition:  Song Parody (ignore the assignment information on the link page)

  1. Choose a song from the Song List or any song that most of the class would know.

  2. Don't choose "Twinkle, Twinkle, Little Star" or "Mary Had a Little Lamb," etc.

  3. Songs should be accompanied

  4. Pay particular attention to syllabic emphasis and rhyme schemes




End of the week is MIDTERM!

Midterm Evaluation

Assignments due:



Midterm Exam

Midterm Study Guide



Song Parody Performance



Computer Lab #5

Assignment deadline is 5pm.  




Week 8

Oct 14 - 18


Composition Assignments


More Poems

(If poems 'disappear,' try a different browser)

Even more poems


How to divide words.

When to show slurs when using one syllable with multiple notes.






Public domain hymns

with secondary dominants

Angels from the Realms of Glory

God Rest Ye Merry Gentlemen

Joyful, Joyful, We Adore Thee

How Firm a Foundation

O Come, All Ye Faithful

We Gather Together


Wednesday:  piano lab working on melodies


Music theory SI!!


Assignments due:


Choose 2 poems that would be appropriate for your composition

Copy to a Word document and bring to class

     Note:  Do not "Print Screen" or hand write the page

Have a form in mind for each one (binary, ternary, strophic, etc.)

Remember that the poem MUST be in public domain



ET Quiz #2

Lab Group exam #2

SS Quiz #2




SS Quiz #2



Computer Lab #6

Assignment deadline is 5pm. 


Pachelbel Rant

Week 9

Oct 21 - 25


Practice: textbook p. 279 

textbook p. 303

textbook p. 305-306


Wednesday:  Composition in piano lab


Assignments due:



Composition melody

Include the lyrics in the score

Submit your melody in Blackboard under the Assignments tab by 8:30AM.

Bring a hard copy to class on which to make notes.  Do not wait to print it right before class.  There is a class in the piano lab.



Computer Lab #7

Assignment deadline is 5pm. 



Week 10

Oct 28 - Nov 1



Tuesday, Wednesday, Thursday and Friday of this week will be in the piano lab.

Those who finish their Composition assignment may complete Computer Lab #8.

Any who would like to work on an extra composition for extra credit may do so.  We will listen to those (no critiques) after going over the composition assignments.  There will be no restrictions on the composition.  Be creative!


Extra credit if you wear a costume on Halloween.

Take a picture (you must be in the FA building).

Post on Facebook and tag me





Assignments due:




To be continued in piano lab during class



Computer Lab #8

Assignment deadline is 5pm. 



Week 11

Nov 4 - 8


Composition Checklist


For fun:  Bach - Crab Canon on a Mobius Strip

Assignments due:


Composition in 4 parts first draft due

Submit in Blackboard under the Assignments tab by 8:30AM.

Name your file:  YourName_CompositionDraft

Bring a hard copy to class on which to make notes.

Please review the composition requirements  here


Remember:  Do NOT use "voices" - use "piano" for playback


Note:  The "draft" should be totally finished and perfectly formatted in Finale.  These will be critiqued and you will have the opportunity to make revisions one more time for your final composition grade.  However, incomplete compositions will not be critiqued.



Computer Lab #9

Assignment deadline is 5pm. 



Extra Credit Compositions

No criteria EXCEPT

1.  It must be long enough

2.  It must be deliberate


Submit in Blackboard under the Assignments tab by 8:30AM.

Name your file:  YourName_XtraComposition


Week 12

Nov 11 - 15




Closely Related Keys

Neighbors on the circle of 5ths

Keys that only differ by a single accidental

The chord of the new key exists in the old key



Modulation explanation


Modulation Types Explained

Modulation to V



Common chord (pivot chord)

Chord exists in both keys, next chord does not exist in the old key

Video of keyboard demonstration

Two examples of common chord modulation




Practice:  Workbook p. 162


Common tone

Uses sustained or repeated pitch as a bridge

pivotal note



Look for chromaticism in one part, C to C#, for example


Another example - notice on this one that the chromaticism occurs between two different voices


Practice:  Textbook p. 326, 335-336


Phrase (direct or shift)

Key changes after cadence with no transition


Sequence may end in a new key (particularly real sequence)


Ex: C to G to D, or C to C minor to Eb major

Parallel key

Ex:  C major to C minor


Stay tuned in Theory IV





Assignments due:


ET Quiz #3

Lab Group exam #3

SS Quiz #3



SS Quiz #3




Computer Lab #10

Assignment deadline is 5pm. 



Modulation:  establishing a new key or tonal center

or a mid-phrase change of key confirmed by a cadence


A modulation (change of key) can be seen as a tripartite process (the following scheme is from Schönberg's "Harmonielehre"):
  1. A neutral phase where the old key is weakened, e.g. by using ambiguous chords (chords that are common in both keys), or by entering quickly into the new key and coming back at once.
  2. A fundamental step to mark the turning point where the old key is left. This is typically done by using chords from the new key that do not belong to the old key.
  3. A cadence to establish the new key.

Modulation vs. tonicization




In traditional harmony:


To destroy the old key, take away its leading tone

To establish a new key, establish a new leading tone


Shift (Phrase/Direct) Modulation examples:

Shift modulation

And I Love Her (The Beatles)

Fever (Peggy Lee)

Soul Man (Sam & Dave)

   Above three are found on the link below


Five Feet High and Rising (Johnny Cash)


I Walk the Line (Johnny Cash)

This one is interesting:  The second time Cash sings the tune in F, he sings the melody a full octave lower than the first time in F. The words are identical in the two F-key verses, creating a striking contrast. Within this song, Cash’s singing range is two octaves plus a major second.

The Truck Driver's Gear Change Hall of Shame

Modulation to relative minor

Lovesick Blues (Hank Williams, Jr.)

Modulation down

I'd Love to Lay You Down (Kenny Chesney)

Bach:  Endlessly Rising Modulation Canon



Week 13

Nov 18 - 22


Modulations in a Bach chorale


Exercise:  Practice analyzing modulations

The Music Theory Song


Note:  modulations including pdf, mp3 and swf from this link


Test yourself on modulations


Assignments due:


Final 4-part Composition due

Submit your song in Blackboard under the Assignments tab by 8:30AM.

Name your file:  YourName_FinalComposition


Bring the following to class to turn in.  Staple them in this order:


1.  a hard copy of your final composition

2.  a copy of your poem

3.  your composition draft containing all markings of both graders


Please review the composition requirements  here



Week 14

Nov 25 - Nov 29

No class on Thursday or Friday:  Thanksgiving holiday

Assignments due:





Interval Blaster

Beta test this game for me!

Week 15

Dec 2 - Dec 4 (last class day)


Review for final exam

Use this grade calculator to estimate your final grade

Assignments due:


SS & ET Quiz #4





Final Exam:  Monday, December 9 8:00am - 10:30am








Harmonic Progressions



Love Me Tender (Aura Lee)


















































Seating chart





  Theory II LAB 


Benward/Kolosick textbook Ear Training Exercises


Solfege Daily Routine

Solfege Chromatic Chart

SSSequence (Major)

SSSequence (minor)




Lab Groups


Hashtag Swag BabiesChristian & the LionsD#Purple ButterfliesIntimidators


Lab Group Info

Individual members are responsible for:


·         Completing all individual preparations for Lab Group meetings

·         Attending all Lab Group meetings and scheduled events with full participation

·         Working with Lab Group peers to set appropriate meeting times that accommodate all members – even if it means occasional personal sacrifice

·         Do all of the above with a generous spirit and with the goal of academic excellence


If a Lab Group member of the group does not fulfill the four requirements listed above, all members of the group should meet to reconcile issues. If unsuccessful, remaining group members should contact me.

Sight-singing Resources

Practice interval recognition here

Songs to remember the intervals

Ear-training resources

Interval drill

Lab Exam #1

SS Exam #1


  1. An alto-clef melody, with hand signs (examples begin on p. 101)
  2. Two intervals selected from M2, M3, P4, P5, M6, M7, P8
  3. Solfege Daily Routine #5


ET Exam #1

  1. 6 intervals from M2, M3, P4, P5, M6, M7, P8           Interval Ear Trainer

  2. Identification of non-harmonic tones from H2C

  3. Identification of cadences from H3C

  4. 3 chords to identify (M, m, A, d)

Triad Ear-training   Triad Trainer

  1. 2 4-chord progressions, one major and one minor, using I, ii, IV and V (from H4A)

  2. A rhythm pattern with syncopation from R4A


Lab Group Exam #1

  1. Chapter 6, Section 5;
  2. Solfege Daily Routine #3 @ sixteenth note = 100


Lab Exam #2

SS Exam #2


  1. A melody comparable to Ottman, Chapter 8
  2. Two intervals selected from m2, m3, TT, m6 and m7
  3. Solfege Daily Routine #6


ET Exam #2

  1. A melodic dictation from Benward M6A
  2. 6 intervals from m2, m3, m6, TT, and m7 (M7D)
  3. 6 chords to identify (M, m; plus inversions)
  4. 2 4-chord progressions from Benward H5A and H5B (including inversions)
  5. A soprano/bass Roman Numeral dictation from Benward H5D
  6. A rhythm pattern with quarter beat syncopation, like R5A


Lab Group Exam #2

  1. Chapter 8, Section 3 (I choose the parts you sing)
  2. Solfege Daily Routine #5 @ sixteenth note = 100


Lab Exam #3

SS Exam #3


  1. A melody comparable to Ottman, Chapter 9
  2. Two intervals - any
  3. Star Spangled Banner with solfege and hand signs


ET Exam #3

  1. 7-note pitch pattern (starting on do; any diatonic leap possible)
  2. 6 intervals (all M, m and TT), like M8D
  3. 6 chords to identify (M, m, A, d; plus inversions for M, m)
  4. 3 4-chord progressions, from H7A
  5. A soprano/bass Roman numeral dictation from H7D.  (This will include labeling non-harmonic tones in the soprano and bass lines.)
  6. A rhythm pattern with syncopation, like R8A


Lab Group Exam #3

  1. Chapter 9, Section 4
  2. Solfege Daily Routine #6@ eighth note = 80

Lab Exam #4 (Optional)

SS Exam #4


  1. A melody comparable to Ottman, Chapter 9
  2. A tenor-clef melody, comparable to Ottman, Chapter 7



ET Exam #4

  1. 7-note pitch pattern (starting on do; any diatonic leap possible)
  2. 6 intervals (any)
  3. 6 chords to identify (M, m, plus inversions)
  4. 3 4-chord progressions (I, ii, IV, and V only plus inversions)
  5. A soprano/bass Roman numeral dictation.  This will include I, ii, IV, and V root position chords as well as non-harmonic tones in the soprano and bass lines.)
  6. A rhythm pattern with syncopation, like R8A


Lab Group Exam #4

No Lab Group make-up




Created and maintained by Vicky V. Johnson