- MUTH 1500 Theory II Fall 2010
- Recital Hall (MU 301)
- Tuesdays and Thursdays 8:00 to 8:50
- Instructor: Dr. David Bard-Schwarz
- Office: MU 104
- E-mail: david.schwarz@unt.edu
- Office Hours: Tuesdays and Thursdays 11 to noon
In this course we will work on diatonic harmony and form in eighteenth- and nineteenth-century pieces. The purpose of the course is to give you mastery of the harmonic language and formal principles of common-practice music. To that end, we will analyze pieces to discover their principles of organization, and you will do regular, part-writing assignments. You should think of part-writing a concentrated form of music composition.
Coming to class regularly and punctually is very important. There will be frequent quizzes which will be used to monitor attendance. You will be excused from class due to natural disasters, medical emergencies (concerning you or members of your immediate family), and official UNT musical activities.
All of the audio for the course is present in the form of mp3 files found below; you may listen to these by clicking on the link; these files cannot be downloaded. All of the scores you need will found below as pdf files that you may download.
Plagiarism will result in an F for the course.
You must pass the final in order to pass the course. In order to move on to Theory III, you must receive a grade of C or higher.
ALSO: laptops may be used for note-taking only. If we see that laptops are being used for any other purpose, you will receive a "O" for the day. Cell phones must be turned off or put in silent mode during class.
Our SI (supplemental instructors) will be Susan Curtice at SusanCurtice@my.unt.edu; also Andy Thompson at AndrewThompson@my.unt.edu .
NEW ITEM
- Graders are Chris Viens:
- ChrisViens@my.unt.edu
- Devin Iler:
- dai0004@unt.edu
- Matt Jefferson:
- matt.jefferson@telus.net
All assignments will be from the Aldwell / Schachter Harmony and Voice-Leading Fourth Edition.
The Student Evaluation of Teaching Effectiveness (SETE) is a requirement for all organized classes at UNT. This short survey will be made available to you at the end of the semester, providing you a chance to comment on how this class is taught. I am very interested in the feedback I get from students, as I work to continually improve my teaching. I consider the SETE to be an important part of your participation in this class.
Grades will be determined as follows:
- Daily work = 25%
- Midterm = 25% (on extended part-writing and analysis)
- Final Exam (cumulative) = 50% (on extended part-writing, analysis, and form)
Our graders will be announced shortly.
Daily work missed due to an excused absence can be made up if it is handed in within a week of your return to school. Otherwise there will be no late work accepted. Graded work can be revised and corrected at the discretion of the graders. Initial grades will remain; re-doing work will, however, give you added confidence for future assignments.
- 08.26.2010
Here is Paganini's Caprice no. 24 for Solo Violin, Michael Rabin performing
Be sure to understand:
triads, seventh chords, part-writing (layout and the numbers), principles of voice-leading.
- 08.31.2010
Bach, Well-Tempered Clavier, Book I, Prelude in C major: mp3
Introduction to part writing: pdf
Introduction to figured Bass: pdf
- 09.02.2010
Realization of Last Time's In-class work: pdf
In-class Part Writing
- Realize a figured bass: 1 point per note
- Provide full and complete Roman Numerals beneath the figures (not just added to the figures): 3 points per Roman Numeral
- Prepare all chord member sevenths and show with arrows: 4 points each note; one point per arrow
- Resolve all sevenths and leading tones properly and show with arrows: 4 points each note; one point per arrow
- Use proper spacing: 5 points each (10 points maximum infraction). No more than two octaves between bass and tenor; no more than one octave between tenor and alto, and alto and soprano)
- Don't part-write parallel perfect unisons, fifths, or octaves: 10 points each
- 09.07.2010
Chapter 10.
Pay particular attention to four things that I'll illustrate with part-writing:
- section 11, page 172
- section 12, page 173
- section 16, page 177
The three special cases for resolving the leading tone triad: pdf
- 09.09.2010
Bach, Well-Tempered Clavier, Book I, Prelude in C major: mp3
Bach, Well-Tempered Clavier, Book I, Prelude in C major: pdf
- 09.14.2010
Chapter 13: read one section carefully: 13-21 of Chapter 13. Be ready to answer the following question in class: what happens when you transpose Schachter's example to minor?
We will review the three special cases on resolving the fully-diminished triad for in class work (graded)
Practice Figured Bass (not realized): pdf
- 09.16.2010
Haydn, String Quartet Opus 74, no. 2, minuet: mp3
Review of Tritones and (3 and 4) Tendency Tone Resolutions of Fully-Diminished Seventh Chords.
- 09.21.2010
Schubert, Erlkoenig: mp3
Read Schachter page 250, no. 7 for an explanation of pivot chords in context. Play the first phrase of the Bach and hear the pivot Schachter mentions.
Schubert, Erlkoenig (work on the first two pages): pdf
- 09.23.2010
For Today, think about how Schubert modulates from C minor (measure 40) to to B-flat (measure 54) and how. Do you hear B-flat ma]or before measure 54? Where? Why?
- 09.28.2010
Chapter 26:sections 1 and 2 page 469-470 Applied Chords (aka secondary chords) and Cross Relations. Regressive and Progressive Harmonic Motion
- 09.30.2010
Practice Midterm (graded but not for a recorded grade) during class.
- 10.05.2010
Modulation by Pivot
Modulation Practice Bass Lines: pdf
Preparing and Resolving Sevenths
- 10.07.2010
Midterm Review
- 10.12.2010
Midterm Review:
PART I
be able to do the following in a figured bass progression that begins in a key of up to and including three accidentals (four measures):
- Realize a figured bass with notes that have stems and correct rhythmic values
- Provide full and complete roman numerals beneath the figures (not just added to the figures)
- Prepare all chord member sevenths (except the seventh of a root position dominant seventh)
- Resolve all sevenths and leading tones properly
- Show modulation by pivot
- Show the key with which the passage begins and ends
- Part-write the dominant complexes perfectly
- Use proper spacing
- Use proper melodic intervals: 3 points each
- Be ready to illustrate the three special cases of the resolution of leading tone diminished triads
- Part-write the 5-6 progression
- Part write the IV 8-7 V 8-7 progression as shown by Schachter to avoid parallel fifths
- Part-write and identify cadences
- Be ready to illustrate both the three and four tendency tone resolution of a fully-diminished seventh chord
- Don't part-write parallel perfect unisons, fifths, or octaves
- Illustrate proper cross-relations
- Part-write and identify cadences
- Write only consonant melodic intervals (major and minor seconds, major and minor thirds, perfect fourths, perfect fifths, major and minor sixths, octaves)
- Don't part-write parallel perfect unisons, fifths, or octaves
- This is obviously a lot more than will be in the midterm, but the part-writing you will need to do during the midterm will come from this list of procedures.
PART TWO
Answer five questions about either the Bach (WTC Prelude no. 1 in C major), Schubert, "Erlkoening" (page one) or Haydn, String Quartet Opus 74 no. 2 (mm. 1-8) Minuet
You will need to know:
- how pitches function within triads and seventh chords in a key
- the non-chord tones (passing "p", neighbor "n", suspensions "sus", suspension figures "sus. fig")
- how chord member sevenths are prepared and resolved
- how leading tones are resolved
- all triads and seventh chords in major and minor
- all secondary dominant seventh chords
- the common keys to which pieces in minor and major modulate
- the potential pivot chords for modulating from a minor key to its relative major
- the potential pivot chords for modulating from a major key to its dominant
- cadences
- dominant complexes
- 10.14.2010
Midterm Exam:
PART ONE: a four-measure part-writing assignment that begins in a key with up to three sharps or flats; it will have some but perhaps not all of the materials for which you are responsible as listed above.
PART TWO: there will be five questions on either the Bach (WTC Prelude no. 1 in C major), Schubert's "Erlkoenig" (page 1) or the first 8 measures of Haydn's String Quartet Opu 74, no. 2 Minuet.
- 10.19.2010
Midterms back + review
- 10.21.2010
Chapter 18: Read especially closely pp. 302-305 for four different models of sequences.
- 10.26.2010
Haydn, String Quartet Opus 76, 1 Minuet: mp3
Haydn, String Quartet Opus 76 no. 1 Minuet: pdf"
Definition of a Sequence: a musical structure in which an element (usually two or more chords) is transposed according to a certain principle with, or without, a jumping off point.
Review of Non-Chord Tones: Suspensions
- 10.28.2010
For today, do a complete analysis of the first 10 measures of the Haydn below. Include all non-chord tones in parentheses (p = passing; sus = suspension; sus.fig = suspension figure; app = appoggiatura; ant = anticipation; n = neighbor note). Include roman numerals, pivots, keys (old and new).
Haydn, String Quartet Opus 74 no. 2 Minuet: pdf
For today, find and mark all suspensions; do they obey all three rules of weak, consonant preparation, strong dissonant suspension, weak consonant resolution? Also, which sequence does Bach use? What is its element? What is its principle of transposition? Does it have a jumping off point? If so where?
Bach, Little Prelude in C: pdf
Haydn String Quartet Opus 74 no. 2 Minuet (analysis done in class): pdf
-
Haydn, String Quartet Opus 74, no. 2 Minuet: mp3
- 11.02.2010
Haydn, String Quartet Opus 74, no. 1 Minuet and Trio: mp3
There will be a short in-class quiz on suspensions at the beginning of class (no late comers can take it); it's on page 1 of the Allegri Miserere below.
Terms:
- phrase: music that concludes with some degree of melodic and / or harmonic closure (cadence)
- harmonic motion / harmonic cadence: cadences are subsets of motions. A harmonic motion occurs inside a phrase--somewhere between the first chord and a cadence; a cadence concludes a phrase.
- period: two or more phrases in which the second (or last) is more final than the first (or next to last)
- antecedent / consequent: antecedent phrases point forward (like a question mark); consequent phrases point backward (like an exclamation point). A typical antecedent phrase ends on a half cadence; a typical consequent ends on an authentic cadence.
- parallel / contrasting: phrases are parallel if they begin similarly; phrases are contrasting if they do not begin similarly.
- modulating / non-modulating: a period modulates if it modulates; a period is non-modulating if it doesn't modulate (very circular definitions, but I hope these definitions are obvious).
-
Allegri Miserere: mp3
- 11.04.2010
Allegri: take a look at and figure out the structure of all the suspensions on page 2 of the Miserere (see above).
Figure out the cadences, phrase, and period structure of the last two Haydn Minuet pieces we have studied (Opus 74 no. 1 and no. 2).
- 11.09.2010
Finish Chapter 18 and be ready to illustrate and analyze examples of the sequence models we discussed (descending fifth, ascending fifth, ascending 5-6, descending 5-6) in addition to the variants (see summary on pages 327-328).
- 11.11.2010
Non Chord Tone Review: non chord tones are tones that do not belong to triads or seventh chords. NCTs can be consonant (thirds, sixths, perfect fifths) or dissonant (seconds, fourths, augmented / diminished intervals, sevenths); consonance and dissonance are always figured in relation to the bass. We have studied suspensions, passing tones, neighbor notes, and appoggiaturas. Be on the look out for dissonant and consonant varieties of each of these. For today listen and work further into the Allegri and be ready to discuss consonant and dissonant non-chord tones.
- 11.16.2010
No Class
- 11.18.2010
Haydn, Symphony no. 97 Minuet: mp3
Sequences Continued: Practice the variants of the ascending 5-6 sequence on page 326 of the text. Assignment incorporating either the 10-10 in the soprano or the 5/3 variant to be posted by 6 p.m. today (due: 11/23).
More work on non-chord tones (consonant and dissonant).
More work on antecedent / consequent phrases:
- 11.23.2010
Haydn, Symphony no. 94 Minuet: mp3
- 11.30.2010
Haydn, Symphony no. 93 Minuet: mp3
- 12.02.2010
Bach, Partita no. II for solo violin, allemanda: mp3
Simple Binary Form
Haydn, Symphony no. 93 Minuet (done in class): pdf
- 12.07.2010
Haydn, String Quartet Opus 76, 1 Minuet: mp3
Rounded Binary
Haydn, String Quartet Opus 76 no. 1 Minuet: pdf"
All evaluations are on line this semester. Go to my.unt.edu or sete.unt.edu between April 19 May 14; log on with your EUID and password.
- 12.09.2010
Beethoven, Piano Sonata Opus 2, no. 1 Minuet: mp3
Final Exam Review I will hold a review session on 12/13 from 1 to 2 in 258
You should know the following pieces (up to the first double bar). You will need to know the function of every pitch in context, the non-chord tones (p, n, sus, sus.fig, app), harmonies, harmonic rhythm, cadences (HC (interruption and non-interrupting) DC, IAC, PAC, PC PHC), preparation and resolution of dissonances, sequences, voice-exchanges, dominant complexes, secondary dominants, pivot chords, etc.:
- Haydn, String Quartet Opus 76 no. 1 Minuet: pdf"
- Bach, Partita no. II for solo violin: pdf
- Beethoven Piano Sonata Opus 2, no. 1 Minuet: pdf
- Beethoven Piano Sonata Opus 10, no. 3 Minuet: pdf
- Schubert, Gute Nacht (page one): pdf
- Chopin, Prelude no. 1: pdf
- Schubert, Symphony no. 5 Minuet: pdf
The final exam will consist of two parts: Part 1 = part-writing; Part II = analysis.
Terms to be able to define and recognize in music:
- sequence: a musical structure in which an element (usually two or more chords) is transposed according to a certain principle (diatonically up or down a scale, for example).
- interruption: a type of Half Cadence after which tonic is re-initialized and the dominant "left hanging" at the interruption comes back at the end of the second phrase and resolves there.
- suspensions, suspension figures, passing tones, neighbor notes, appoggiaturas
- antecedent and consequent phrases
- periods (parallel, contrasting, modulating, non modulating)
- form
Part writing will include dominant seventh chords, fully-diminished seventh chords (3 and 4 TT), secondary dominant and leading-tone triads, three special cases of the resolution of leading tone diminished triads, the 5-6 progression , cadences, voice exchanges, dominant complexes, tonicization, modulation by pivot
Part-Writing Practice Exam: pdf
Part-Writing Practice Exam, second version: pdf
Sample Questions for Final Exam on Haydn, String Quartet Op. 74 no. 1 Minuet: pdf
-
Beethoven, Piano Sonata Opus 10, no. 3 Minuet: mp3
-
Bach, Partita No. 2 Allemanda: mp3
-
Chopin, Prelude no. 1 in C major: mp3
-
Schubert, Gute Nacht: mp3
-
Haydn, String Quartet Opus 76, no. 1 Minuet: mp3
-
Schubert, Symphony no. 5 Minuet: mp3
- 12.16.2010
Final Exam from 8 to 103>