Theory II

Room 118

 

Instructor:  Dr. Vicky V. Johnson 

Office 122

Office hours posted on office door

E-mail:  vjohnson@tarleton.edu

Phone:  Ext. 9238

 

MM

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.

                

Skip to current Week #

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Lab Quiz Study Guides

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

Aural Skills     Blooms

SyllabusLinksBlackboardSitemapFinale

Song ListClickersKostka drillsCompositionsStaff paper

Week 1

Aug 27 - Aug 31

 

Review Final Exam from Theory I

 

Non chord tones

Non-harmonic tones in Flash

Non-harmonic tones

http://www.tonalityguide.com/tkembellishing.php

Decorative pitches (melodic embellishments)

 

Phrases and cadences

Phrases and cadences II

Flash Lessons

 

 

 

Exercises:

Suspensions:  textbook p. 106

  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 Inversions

 

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

Assignments due:

Wed

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

Wed

Print 5 sheets of staff paper from link above

or with keyboard on top here 
 

Wed

Blackboard setup

  1. Log on to Blackboard

  2. Choose your course

  3. Click “My Settings” in the upper right portion of the screen.

  4. Select “My profile” tab and edit the profile to include the email address you actually check.

  5. Click Save.

  6. Now click on “My Tool Option” tab and scroll to the Mail portion of the screen.

  7. Select the box “Forward all mail messages to the e-mail address in my profile.” 

  8. Click Save.

Wed

CPS setup

 Clickers

Class Key: i69379t85

 

Click on the link above for instructions to activate the clicker

 

Thu

Print Solfege Daily Routine

 

Print Quick Facts Sheet

Error on QFS:  IAC can also be a viio

 

Thu

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.

 

Fri

Quiz #1

Cadences, Non-chord Tones, Inversions

 

7th Chords Practice Sheet

Week 2

Sept 3 - 7

Note:  No class on Monday (Labor Day)

 

 

Application to real excerpts

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

 

 

Triads in 1st Inversion

Triads in 2nd Inversion

2nd Inversion Chords

We try harder!

 

7th Chord Construction

7th Chord Identification

7th Chord Ear-training

 

 

Public domain hymns

Away in a Manger

Jesus Loves Me

For the Beauty of the Earth

My Faith Looks Up to Thee

Nearer My God to Thee

Silent Night

The First Noel

 

All intervals

 

Assignments due:

Fri

Assignment #1

7th Chord Construction

 

Fri

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.

Assignment deadline is 5pm.

 

 

 

Lab Groups

 

  1. Choose a leader

  2. Choose a name

 

   

Week 3

Sept 10 - 14

 

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:

Mon

Reading

Chapter 9, p. 191-203

Make 3 Lists

  1. Stylistic practices

  2. Never (or rarely broken)

  3. Occasionally broken

Articulate these in your own words.  Do not copy from the textbook.

Fri

Assignment 2

Workbook p. 80, 81

In preparation for Assignment 1, go over figured bass on p. 81

 

Fri

Computer Lab #2

Assignment deadline is 5pm.

 

Fri

Cadence assignment

Bring one sheet of music from your performance group or private lesson (accompaniment part if necessary) with all cadences marked.

 

 

 

Week 4

Sept 17 - 21

 

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:

Tues

ET Quiz #1

Lab Group exam #1

SS Quiz #1 (begin with volunteers)

 

Thu

SS Quiz #1

 

Fri

Assignment 3

Workbook p. 83, 84

 

Fri

Computer Lab #3

Assignment deadline is 5pm. 

 

 

Week 5

Sept 24 - Sept 28

 

Chapter 10:  Harmonic Rhythm, p. 213 (review)

Harmonic rhythm in classical music: Workbook, p. 95

Harmonic rhythm in popular music: p. 219

More practice:  Workbook p. 110

 

(Skip Blues and folk songs until next week)

 

Practice:  Textbook p. 228 - 230

 

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

 

Intervals Aural Recognition

Illustrated in real music

 

 

Assignments due:

Fri

Assignment 4

Workbook p. 93, 94

   

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

Oct 1 - Oct 5

 

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

History: p. 220

 

Practice part-writing with given melody:

Sight-singing book 6.3

 

Review:  Chapter 11 p. 243 boardwork

4 parts, resolve to I

 

Chord keyboard, major

 

Chord keyboard, minor

 

 

Group composition:  Blues song

Assignments due:

Fri

Assignment 5

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

 

Part-writingTemplate

 

Fri

Computer Lab #4

Assignment deadline is 5pm. 

Fri

Blues Performance

 

   

 

Week 7

Oct 8 - 12

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:

   

Thu

Midterm Exam

Midterm Study Guide

 

Fri

Song Parody Performance

 

Fri

Computer Lab #5

Assignment deadline is 5pm.  

 

 

Waiting for Assignment 4

Clint Sherman

 

Week 8

Oct 15 - 19

 

Secondary dominants

Textbook p. 288 Figure 14.4

 

Aura Lee (Love Me Tender) example

Take Me Out to the Ballgame

Video keyboard example

 

Practice identifying secondary dominants

Practice constructing secondary dominants

 

Practice:  Workbook p. 101

Textbook p. 303

 

Other secondary functions

 

Practice identifying secondary leading tone chords

Practice constructing secondary leading tone chords

 

Practice: textbook p. 263 

 

 

Bach:  Prelude and Fugue in C

Audio file

 

Secondary dominants

Aural recognition in real music

 

 

Assignments due:

Tue

ET Quiz #2

Lab Group exam #2

SS Quiz #2 (begin with volunteers)

 

 

Thurs

SS Quiz #2

 

Fri

Assignment #6

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

Fri

Computer Lab #6

Assignment deadline is 5pm. 

 

Pachelbel Rant

Schenker analysis

 

Week 9

Oct 22 - 26

 

Practice: textbook p. 279 

textbook p. 303

textbook p. 305-306

 

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

 

 

 

 

 

 

  

Assignments due:

 

  

 

Fri

Assignment #7

Workbook p. 140 - 142

 

 
Fri

Computer Lab #7

Assignment deadline is 5pm. 

 

No class on Friday, Oct. 26.

Week 10

Oct 29 - Nov 2

Chapter 18

NATS

Extra credit if you wear a costume on Halloween

 

 

Composition Assignments

Poems

More Poems

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

PublicDomainpoems.com

Even more poems

 

How to divide words.

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

 

  

Assignments due:

 

Mon

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

 

Wed

Melody in progress

To be continued in piano lab during class

 

Fri

Computer Lab #8

Assignment deadline is 5pm. 

   

 

Week 11

Nov 5 - 9

Assignments due:

Mon

Composition melody due

Include the lyrics in the score

Submit your melody in Blackboard under the Assignments tab by midnight on Sunday Nov. 4.

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.

 

   

Fri

Computer Lab #9

Assignment deadline is 5pm. 

   

 

Week 12

Nov 12 - 16

 

Assignments due:

Tue

ET Quiz #3

Lab Group exam #3

SS Quiz #3 (begin with volunteers)

 

 

Wed

Composition in 4 parts first draft due

Submit your song draft in Blackboard under the Assignments tab before class.

Bring a hard copy to class on which to make notes

 

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

 

Thurs

SS Quiz #3

 

 

Fri

Computer Lab #10

Assignment deadline is 5pm. 

   

 

Week 13

Nov 19 - 23

 

No class on Thursday or Friday:  Thanksgiving holiday

 

Assignments due:

Wed

Composition due

Submit your song in Blackboard under the Assignments tab by midnight on Sunday Nov. 18.

Bring a hard copy to turn in at the beginning of class stapled to a copy of your poem

Please review Requirements for Final Version here

   

 

Week 14

Nov 26 - Nov 30

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

 

Chromatic

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

 

Practice:  Textbook p. 326, 335-336

 

Phrase (direct or shift)

Key changes after cadence with no transition

Sequential

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

Chain

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

Parallel key

Ex:  C major to C minor

Enharmonic

Stay tuned in Theory IV

 

 

Assignments due:

Fri

Assignment #8

Textbook p. 329, 330

 

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 15

Dec 3 - Dec 5 (last class day)

 

Review for final exam

Use this grade calculator to estimate your final grade

Assignments due:

Tue

SS & ET Quiz #4

 

   
 

 

 

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

 

 

 

 

 

 

 

Harmonic Progressions

 

 

Love Me Tender (Aura Lee)

        
F

I

I

A7

III7

V7/vi

Dm

vi

vi

F7

I7

V7/IV

BbM7

IV7

IV7

Bbm

iv

iv

F

I

I

F

I

I

        
F

I

I

D7

VI7

V7/ii

G7

II7

V7/V

G7

II7

V7/V

C7

V7

V7

C7

V7

V7

F

I

I

F

I

I

        

Seating chart

 

        
        
        
        

 

  Theory II LAB 

 

Benward/Kolosick textbook Ear Training Exercises

 

Solfege Daily Routine

Solfege Chromatic Chart

SSSequence (Major)

SSSequence (minor)

 

 

Lab Groups

 

XXBach in ActionJohannThe MonotonesThe WafflesHandel
 CaitlinAshley D.Ashley C.BradleyTanner
 RebekahEmilyMatt D.RachelSarah
 LeaMatt N.ZachLanae Clint
 JonathanMarissaSierraSamAllison
      

 

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 do the following:

 

·         Prepare a brief written document outlining issues and present to Professor at the earliest possible time

·         Set up a formal meeting with Professor and entire group and be prepared to discuss issues brought forth in earlier group meeting

·         Professor will moderate meeting

·         Professor will determine if group member should be dismissed from the group or work to guide reconciliation

·         If TEAM member is dismissed, alternative options may be required including:

o   Independent project work and/or testing

o   Additional work as alternative to group activities

o   Assigned grade of “zero”

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

 

Earplane

 

Created and maintained by Vicky V. Johnson