| 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: I will not accept assignments done in ink. Please do not use miniscule notes or printing. 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. 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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Week 1 Aug 27 - Aug 31 Review Final Exam from Theory I Non chord tones Non-harmonic tones in Flash Non-harmonic toneshttp://www.tonalityguide.com/tkembellishing.php Decorative pitches (melodic embellishments) Phrases and cadences Phrases and cadences II Flash Lessons Exercises: Suspensions: textbook p. 106 preparation (chord tone of previous chord) suspension (always dissonant) resolution (consonant)
Numbers are assigned to the suspension based upon the interval of the suspended note and 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
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| Wed | Print 5 sheets of staff paper from link above or with keyboard on top here
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| Wed | Blackboard setupLog on to Blackboard Choose your course Click “My Settings” in the upper right portion of the screen. Select “My profile” tab and edit the profile to include the email address you actually check. Click Save. Now click on “My Tool Option” tab and scroll to the Mail portion of the screen. Select the box “Forward all mail messages to the e-mail address in my profile.” Click Save.
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| Wed | CPS setup Clickers Class Key: i6 9379t85 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 excerptsPerfect 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. |
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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 Stylistic practices Never (or rarely broken) 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. |
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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. |
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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 Go to link above for info on blues form Write at least 3 verses 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 | | | | |
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Week 7 Oct 8 - 12 Group composition: Song Parody (ignore the assignment information on the link page) Choose a song from the Song List or any song that most of the class would know. Don't choose "Twinkle, Twinkle, Little Star" or "Mary Had a Little Lamb," etc. Songs should be accompanied 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 |
| 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.
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| 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. | | | | |
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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. | | | | |
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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. | | | | |
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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 | | | | |
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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 
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"): - 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.
- 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.
- 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 | | | | |
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Final Exam: Monday, December 10 8:00am - 10:30am | |
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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 
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Theory II LAB 
Benward/Kolosick textbook Ear Training Exercises Solfege Daily Routine Solfege Chromatic Chart SSSequence (Major) SSSequence (minor) Lab Groups | XX | Bach in Action | Johann | The Monotones | The Waffles | Handel | | | Caitlin | Ashley D. | Ashley C. | Bradley | Tanner | | | Rebekah | Emily | Matt D. | Rachel | Sarah | | | Lea | Matt N. | Zach | Lanae | Clint | | | Jonathan | Marissa | Sierra | Sam | Allison | | | | | | | |
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”
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Sight-singing Resources Practice interval recognition here Songs to remember the intervals | Ear-training resources Interval drill |
Lab Exam #1 |
SS Exam #1 - An alto-clef melody, with hand signs (examples begin on p. 101)
- Two intervals selected from M2, M3, P4, P5, M6, M7, P8
- Solfege Daily Routine #5
| ET Exam #1 6 intervals from M2, M3, P4, P5, M6, M7, P8 Interval Ear Trainer Identification of non-harmonic tones from H2C Identification of cadences from H3C 3 chords to identify (M, m, A, d)
Triad Ear-training Triad Trainer 2 4-chord progressions, one major and one minor, using I, ii, IV and V (from H4A) A rhythm pattern with syncopation from R4A
| Lab Group Exam #1 - Chapter 6, Section 5;
- Solfege Daily Routine #3 @ sixteenth note = 100
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Lab Exam #2 |
SS Exam #2 - A melody comparable to Ottman, Chapter 8
- Two intervals selected from m2, m3, TT, m6 and m7
- Solfege Daily Routine #6
| ET Exam #2 - A melodic dictation from Benward M6A
- 6 intervals from m2, m3, m6, TT, and m7 (M7D)
- 6 chords to identify (M, m; plus inversions)
- 2 4-chord progressions from Benward H5A and H5B (including inversions)
- A soprano/bass Roman Numeral dictation from Benward H5D
- A rhythm pattern with quarter beat syncopation, like R5A
| Lab Group Exam #2 - Chapter 8, Section 3 (I choose the parts you sing)
- Solfege Daily Routine #5 @ sixteenth note = 100
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Lab Exam #3 |
SS Exam #3 - A melody comparable to Ottman, Chapter 9
- Two intervals - any
- Star Spangled Banner with solfege and hand signs
| ET Exam #3 - 7-note pitch pattern (starting on do; any diatonic leap possible)
- 6 intervals (all M, m and TT), like M8D
- 6 chords to identify (M, m, A, d; plus inversions for M, m)
- 3 4-chord progressions, from H7A
- A soprano/bass Roman numeral dictation from H7D. (This will include labeling non-harmonic tones in the soprano and bass lines.)
- A rhythm pattern with syncopation, like R8A
| Lab Group Exam #3 - Chapter 9, Section 4
- Solfege Daily Routine #6@ eighth note = 80
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Lab Exam #4 (Optional) |
SS Exam #4 - A melody comparable to Ottman, Chapter 9
- A tenor-clef melody, comparable to Ottman, Chapter 7
| ET Exam #4 - 7-note pitch pattern (starting on do; any diatonic leap possible)
- 6 intervals (any)
- 6 chords to identify (M, m, plus inversions)
- 3 4-chord progressions (I, ii, IV, and V only plus inversions)
- 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.)
- A rhythm pattern with syncopation, like R8A
| Lab Group Exam #4 No Lab Group make-up |
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Earplane 
Created and maintained by Vicky V. Johnson |