Music Theory Help
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Week /Chapter/Topic
1/9 Voice Leading in Four Voices (1/9-1/13)
four-voice texture, the chorale, stylistic practices, root position, exceptions to
stylistic practices, first inversion triads, second inversion triads, standard
voice-leading guidelines, unstylistic departures, voice ranges
2/9 Continuation of Writing and Analysis of Four Voice Texture (1-17-1/20)
3/10 Harmonic Progression and Harmonic Rhythm (1/23-1/27)
root relationships, chord progressions, harmonic rhythm
How to Harmonize a Tonal Melody
composition of a bass line for a given melody implying appropriate harmony
4/11 The Dominant Seventh Chord (1/30-2/3)
inversions of the V7, resolution of the V7, circle progression, circle resolution of the V7, noncircle resolution of the V7, nonresolution of the seventh factor
5/12 The Leading-Tone Seventh Chords 2/6-2/10)
half-diminished seventh chord, fully diminished seventh chord, resolution of tritones, root and seventh factors, progressions from vii°7 and viiØ7
6/13 Nondominant Seventh Chords (2/3-2/16)
analysis symbols, dominant and nondominant functions, nondominant seventh chords in major and minor keys, nondominant seventh chords in circle progressions, noncircle treatment, resolution of the seventh factor
7/14 Modulation (2/21-2/24)
closely related keys, common chord (pivot chord), modulation, phrase (direct) modulation, chromatic modulation, other modulation types, modulations in
period construction, analytical symbols for modulations
8/15 Secondary Dominants and Leading Tone Chords (2/27-3/2)
review secondary dominants, altered chords, primary dominants, tonicized chords, part writing secondary dominant chords, secondary leading-tone chords
9/16 Two Part (Binary) Form (3/5-3/8)
open vs. closed formal divisions, simple vs. compound forms, two-part forms
10/17 Three Part (Ternary) Form (3/12-3/16)
expanded ternary form, rounded binary form
listening examples of forms, analysis with letters and primes
11/*** REVIEW Review material
and TEST 3rd Quarter Written Exam (Thursday, March 15)
Week /Chapter/Topic
1/9 Voice Leading in Four Voices (1/9-1/13)
four-voice texture, the chorale, stylistic practices, root position, exceptions to
stylistic practices, first inversion triads, second inversion triads, standard
voice-leading guidelines, unstylistic departures, voice ranges
2/9 Continuation of Writing and Analysis of Four Voice Texture (1-17-1/20)
3/10 Harmonic Progression and Harmonic Rhythm (1/23-1/27)
root relationships, chord progressions, harmonic rhythm
How to Harmonize a Tonal Melody
composition of a bass line for a given melody implying appropriate harmony
4/11 The Dominant Seventh Chord (1/30-2/3)
inversions of the V7, resolution of the V7, circle progression, circle resolution of the V7, noncircle resolution of the V7, nonresolution of the seventh factor
5/12 The Leading-Tone Seventh Chords 2/6-2/10)
half-diminished seventh chord, fully diminished seventh chord, resolution of tritones, root and seventh factors, progressions from vii°7 and viiØ7
6/13 Nondominant Seventh Chords (2/3-2/16)
analysis symbols, dominant and nondominant functions, nondominant seventh chords in major and minor keys, nondominant seventh chords in circle progressions, noncircle treatment, resolution of the seventh factor
7/14 Modulation (2/21-2/24)
closely related keys, common chord (pivot chord), modulation, phrase (direct) modulation, chromatic modulation, other modulation types, modulations in
period construction, analytical symbols for modulations
8/15 Secondary Dominants and Leading Tone Chords (2/27-3/2)
review secondary dominants, altered chords, primary dominants, tonicized chords, part writing secondary dominant chords, secondary leading-tone chords
9/16 Two Part (Binary) Form (3/5-3/8)
open vs. closed formal divisions, simple vs. compound forms, two-part forms
10/17 Three Part (Ternary) Form (3/12-3/16)
expanded ternary form, rounded binary form
listening examples of forms, analysis with letters and primes
11/*** REVIEW Review material
and TEST 3rd Quarter Written Exam (Thursday, March 15)