Theory II

MUSI 1312

 

 

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.

                

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Week 1

Aug 25-29

 

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

(p. 106)

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

Friday: 

 

"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 
 

Thu

Print Quick Facts Sheet

Error on QFS:  IAC can also be a viio

 

Fri

Quiz #1

Cadences, Non-chord Tones, Inversions

 

Fri

Assignment

Bring these worksheets to class - we will work on them in class

 

7th Chord Practice

 

 

 

Week 2

Sep 1-5

Note:  No class on Monday (Labor Day)

 

 

 

Secondary dominants

 

 

 

 

Aura Lee (Love Me Tender) example

Take Me Out to the Ballgame

Video keyboard example

 

Example of secondary dominant

 

Practice identifying secondary dominants

Practice constructing secondary dominants

 

 

Other secondary functions

 

Practice identifying secondary leading tone chords

Practice constructing secondary leading tone chords

 

 Practice secondary chords

 

 

 

Assignments due:

Fri

Assignment #1

7th Chords Assignment

 

 

 

Groups

 

  1. Choose a leader

  2. Choose a name

 

   

 

Secondary Dominants

print this

 

Week 3

Sep 8-12

 

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

 

 

Assignments due:

Fri

Assignment #2

Secondary chord Assignment

 

 

Week 4

Sep 15-19

 

 

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:

Fri

Assignment #3

Part-writing root position

 

 

Week 5

Sep 22-26

 

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:

Fri

Assignment #4

Part-writing with inversions

 

   

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 29-Oct 3

 

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:

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

I'll Be Bach

 

Fri

Blues Performance

 

   

 

Week 7

Oct 6-10

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:

   

Wed

Midterm Exam

Midterm Study Guide

 

Fri

Song Parody Performance

 

 

 

Week 8

Oct 13-17

 

Composition Assignments

Poems

More Poems

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

PublicDomainpoems.com

Even more poems

 

 

Syllable dictionary

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:

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

 

 

Pachelbel Rant

Week 9

Oct 20-24

 

Practice: textbook p. 279 

textbook p. 303

textbook p. 305-306

 

Wednesday:  Composition in piano lab

Use peer correction in pairs on Friday

 

Assignments due:

 

Mon

Composition melody

Include the lyrics in the score

Email your melody to me by 8:30AM.  Hide the bass clef (see Finale instructions)

Bring a hard copy to class to turn in.  You may want to print another hard copy for you to make notes in class for revision.

 

 

 

Week 10

Oct 27-31

 

 

Monday and Wednesday of this week will be in the piano lab. 

Peer correction on Friday in pairs

 

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:

None - continue to work on Composition in 4 parts

 

Week 11

Nov 3-7

 

Composition Checklist

 

For fun:  Bach - Crab Canon on a Mobius Strip

Assignments due:

Mon

Composition in 4 parts first draft due

Send your composition to me as an attachment to vjohnson@tarleton.edu  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.

 

Fri

Extra Credit Compositions

No criteria EXCEPT

1.  It must be long enough

2.  It must be deliberate

 

Send the file as an attachment to vjohnson@tarleton.edu

 by 8:30AM.

Name your file:  YourName_XtraComposition

 

Week 12

Nov 10-14

 

 

 

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

 

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

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

 

Friday peer correction of 4 part composition in pairs

Assignments due:

   

 

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 17-21

 

Modulations in a Bach chorale

 

Exercise:  Practice analyzing modulations

The Music Theory Song

 

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

http://www.musictheoryexamples.com/22MT.html

 

Analysis of Bach Prelude in C

 

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

 

 

 

 

Assignments due:

Mon

Final 4-part Composition due

Send the file as an attachment to vjohnson@tarleton.edu

 by 8:30AM.

 

Name your file:  YourName_FinalComposition

 

Bring a hard copy to class to turn in.

 

Please review the composition requirements  here

 

   

Week 14

Nov 24-28

No class on Thursday or Friday:  Thanksgiving holiday

 

Review part-writing (Theory 106, p. 12)

 

 

Interval Blaster

Beta test this game for me!

Week 15

Dec 1-3 (last class day)

 

Review for final exam

Use this grade calculator to estimate your final grade

 

Final Exam:  Wednesday, 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

 

        
        
        
        


 

 

Groups

Chocolate ChipsAllegro vivaci rhythmicoVictorsJohn Pollock ExperienceSolfege Express
RicoTDubTiffanyFabianRoy
JadynOliviaVictorKatieRebekah
MorganNathanAustenRonTailore
DanielJoeAlyssaCordellHelen
   John 

 

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.

 

 

 

Created and maintained by Vicky V. Johnson