PART I: CHROMATIC HARMONY

Week 1

Jan. 17-20

REVIEW

Figured Bass

Worksheet on figured bass to be completed in class

Bach's chord changes

Song list

Keyboard

Principles of part-writing

Week 2

Jan. 23-27

REVIEW

Bach's version of Assignment #1

Secondary Dominants

Leading-Tone Chords

Worksheet on secondary dominants & LT chords to be completed in class

Week 3

Jan. 30-Feb. 3

CHAPTER 4

Borrowed Chords

Borrowed chords with examples

Mode mixing

Assignments 4.1 and 4.2 , pp. 75-76

Week 4

Feb. 6-10

CHAPTER 5

NEAPOLITAN 6th CHORDS

Neapolitan 6ths (Teoria)

N6s with examples

Practice constructing N6's

Building Neapolitans

Using Neapolitans

Moonlight Sonata Excerpt

Week 5

Feb. 13-17

CHAPTER 6

AUGMENTED 6th CHORDS

Augmented 6ths (Teoria)

Aug 6ths with examples

Augmented 6ths - simple explanation

OK - here's your song parody

to the tune of "The Addams Family"

Augmented sixths

Augmented sixths

These are the tricks so we won’t mix

Augmented sixths.

Italian, French and German

Now here’s how to determine

The 3^rd, we’ll be affirmin’

Just check the 4^th and 5^th.

Italian, is completed,

A third is all that’s needed

And that note is repeated

In this augmented sixth.

The French one sounds so scary

The tritone’s customary

The tension’s temporary

In this augmented sixth.

The German is a jazz chord

Has 3 and 5, but not 4

It moves to tonic 6/4

In this augmented sixth.

The key to understanding:

The 6th will be expanding,

By half step will be landing,

It's easy to predict.

Week 6

Feb. 20-24

CHAPTER 6: (continued)

Week 7

Feb. 27-Mar. 3

CHAPTER 10

EXTENDED HARMONY

Extended Tertian Harmony

CHAPTER 11

ALTERED DOMINANTS

Week 8

Mar. 6-10

Review and Pretest.

Secondary dominant Wksheet Side A

Secondary dominant Wksheet Side B

  SPRING BREAK 

Week 9

Mar. 20-24

CHROMATIC MODULATION

Types of Modulation

Modulation Review

Modulation by diminished 7ths

Modulation by Neapolitan 6

Modulation by augmented 6ths

Composition Introduction

PART II: FORM AND ANALYSIS

Week 10

Mar. 27-31

Excellent intro to form

CHAPTER 7

VARIATION TECHNIQUE

Week 11

Apr. 3-7

CHAPTER 8

SONATA FORM

Rounded Binary Form

Ternary Form

Compound Ternary Form

The Evolution of Sonata Form

Eine Kleine Nachtmusik

Written work completed in class:  Diagram of first movement structure.  You may use the analysis on p. 144 as a model. 

Class discussion:

Mozart’s Sonata, K. 283, No. 5, first movement (hand-out)

Mozart’s Sonata, K. 280, No. 2, first movement (hand-out)

Week 12

Apr. 10-14

Friday:

No class

CHAPTER 8

Continued

CHAPTER 9

RONDO FORMS

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) 

Week 13

Apr. 17-21

CHAPTER 9

Continued

CHAPTER 13

THE ROMANTIC PERIOD

Week 14

Apr. 24-28

REVIEW:  MODULATION

 

Class discussion:

Chopin’s Prelude, Op. 28, No. 7 (hand-out)

Chopin’s Prelude, Op. 28, No. 20 (hand-out)

 

Week 15

May 1-3

CHAPTER 13: Continued

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           

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Final Exam for Theory IV will be a take-home final, an analysis of a Mozart Sonata.

1. Print a copy of the Sonata assigned to you:    K280   K284   K332

   Note:  Print only page 1-4!

    

2. Print a copy of the Final Exam Form

    

3. Listen to your assigned Sonata below:

Sonata K. 280

Sonata K. 284

Sonata K. 332

1. Answer the questions on the

   Final Exam Form

    

2. Don't forget the Roman numeral analysis of  the development section and to label the sections, themes and keys on the score

    

3. Turn in your Final Exam on Wednesday, May 10 at 11:30 (points deducted if late)

Final Exam Sonata Assignments

	K280	K284	K332

LAB

Clicker instructions

Class key:  F48224B467

The following represents basic expectations for the lab component of Music 2484.  As you know, developing aural skills will require continuous practice and drill throughout the semester.  Because class lab meets only twice a week, it will not provide you with all the practice you need, simply the specific goals to accomplish during each week.  Thus, you must practice on your own or with others in the class right from the start of the semester.

Grading on SS Quizzes will be as follows:

• -3 points for each incorrect pitch

• -2 points for each incorrect rhythm

• -1 point for each incorrect syllable

• -1 point for each incorrect handsign

SS QUIZ #1

Quiz consists of two items:

1. Sing "The Star Spangled Banner" using solfege syllables (memorized)

2. An at-sight melody from sources unknown to you but similar to Ottman, Chapter 13: #12.44-46,  12.48-50, 12.55-56, 12.58.  This melody will contain

a few leaps, and chromatic neighbor or passing tones.

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SS QUIZ #2

Quiz consists of two items:

1. Solfege Daily Routine #7 (memorized).

2. An at-sight melody from sources unknown to you but similar to Ottman, Chapters 13 and 14:  #13.1-3, 13.6-7, 13.13-16, 13.22, 13.51.  This melody will contain a few chromatic neighbor or passing tones and a modulation to and from a closely related key.

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SS QUIZ #3

Quiz consists of two items:

1. An at-sight melody in one of the church modes, similar to Ottman, Chapter 20:  #18.26-33, 19.5, 19.9, 19.15.

2. Solfege Daily Routine #9 (memorized).

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SS QUIZ #4

The quiz will consist of one item selected by me from previous sightsinging quizzes:

1. An at-sight melody from sources unknown to you but similar to Ottman, Chapter 13.  This  melody will contain a few chromatic neighbor or passing tones.

2. An at-sight melody in one of the church modes, similar to Ottman, Chapter 20.

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ET QUIZ #1

Quiz consists of six items:

1. 1 melodic dictation from Benward M15A (with chromatics)

2. 2 melodic sequences from M10A

3. 6 harmonic intervals (any interval possible), like M11D

     Click here for some online drill on all intervals

   2-Note practice

   2-Note Game

    

4. 5 seventh chords to identify (MM, Mm, mm, dd and dm only)

     Click here for some online drill of these 7th chords

    

5. 3 4-chord progressions, like Benward H13A and H13B

   (secondary dominants and leading tones of V and ii)

   Click here for online drill on harmonic progressions. (The answers are given, so you will need to cover up part of your screen!)

    

6. A rhythm pattern with triplet subdivision from R10A

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ET QUIZ #2

Quiz consists of five items:

1. 1 melodic dictation with modulation to a closely related key, from Benward M11A

2. Identifying the correct sonority from 4 series of triads and seventh chords

3. 5 seventh chords in inversions (selected from MM, mm, Mm, dd, dm)

     Click here for online drill of these 7th chords (turn inversions on)

    

4. 3 4-chord progressions containing French and German  augmented sixth chords and/or Neapolitan sixth chords from H16A and H16B

   Click here for online drill of chord progressions (scroll down and there are progressions in each ear-training exam on the page; the answers are given, so you will need to cover that part of the screen!)

5. A rhythm pattern with eighth-beat values, from R12A

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ET QUIZ #3

Quiz consists of five items:

1.         Identification of 5 modes, from M14C    Scale Ear Trainer

2.         4 sets of 2 intervals in succession, from M12D   Click here for drill on this skill.      

Three-note Game          

3.         Identifying the correct sonority from 4 series of triads and

            seventh chords in all positions  Chord Ear Trainer   Be sure to turn Inversions "ON"

4.         2 aural analyses involving binary, rounded binary,

            and ternary form, like M12C and M13C

Form Demo I

Form Demo 2

5.         A rhythm pattern involving subtriplets in either simple or

            compound meters, from R14A

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ET QUIZ #4

 It will consist of six items, similar to material from the three previous quizzes:

1.         1 melodic dictation from Benward M15A (with chromatics)                                                                                               

2.         Identification of 4 modes, from M14C      Scale Ear Trainer

3.         6 harmonic intervals, like M11D    Inverval drill

4.         Identifying the correct sonority from 4 series of triads and seventh chords   Chord Ear Trainer

5.         3 4-chord progressions containing French and German

            augmented sixth chords and/or Neapolitan sixth chords

             from H16A and H16B

6.         A rhythm pattern with subtriplets, like R14A      

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Instructions for 1st time use of Aurelia or Musition software:

1. In the "login" screen, enter your TSU login data (Ex:  st_jsmith)

2. Enter your student ID # as your password

3. Choose "Theory IV" as your class

4. Click "Start"

5. Then follow the directions given for the individual Computer Lab assignments

6. Your results can be viewed by clicking on the File menu at the top of the page and choosing "Check your results".  Be sure to choose the topic you were working on.  This is the information I will have on my report.

Tuning Drill: Level 9 (20 questions)

Chord Progression I: Root position (8 questions)

Scales: Major, 3 minors, pentatonic, whole tone, chromatic, modes (15 questions)

Intervals:  all intervals, played melodically (20 questions)

Due Friday, Feb. 27

Intervals:  all intervals, played harmonically (20 questions)

Due Friday, March 6

Chord recognition:  M and m in all inversions (20 questions)

Due Friday, March 20

Melody comparison:  find altered pitches in the second melody (12 questions)

Due Friday, March 27

Melodic dictation:  2 measures each (10 questions)

Due Friday, April 3

Advanced Harmonic Progressions: 4 bars, mixed chords (4 questions)

Due Friday, April 10

Form: Binary, Ternary, Rondo, Theme and Variation, AABA  (8 questions)

Due Friday, April 17