Riverside Community College District
Integrated Course Outline of Record
Music 5
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COURSE DESCRIPTION
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5 Music Theory II
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Units: 4.00
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Prerequisite(s):
MUS 4: Music Theory I
Co-Requisite(s):
MUS 32
or
MUS 53
Advisory: Concurrent enrollment in a music performance course
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Principles of voice leading in diatonic and chromatic harmony in classical music of the 18th and 19th centuries. Begins with part-writing of diatonic seventh chords and continues with chromatic harmony for voicing secondary function chords. Emphasis on changing keys using diatonic common chords, sequence, common tone, monophonic, and direct modulation. Includes study of binary and ternary forms and 12-bar blues. Lab includes advanced sightsinging and ear training. Keyboard requirements include playing chord progressions using secondary triads and two-octave scales in all major and minor keys. 54 hours lecture and 54 hours laboratory.
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SHORT DESCRIPTION FOR CLASS SCHEDULE
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Principles of voice leading in diatonic and chromatic harmony in classical music including secondary functions and modulation.
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ADVISORY ENTRY SKILLS
Before entering the course, students will be able to:
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Illustrate correct voice leading in four-part chorale style diatonic harmony of the common
practice period.
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Analyze chord progressions in tonal, diatonic harmony.
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Compose original works using techniques of smooth voice leading and doublings found in the
common practice period.
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Sing non-modulating melodies at sight using solfeggio syllables.
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Transcribe melodies and harmonic progressions from aurally dictated examples through correct
notation of pitches, rhythms, and chord structures in major and minor keys.
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Demonstrate skills in rhythmic performance using simple and compound meters.
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Apply principles of 1st and 2nd species counterpoint.
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Demonstrate at the keyboard the principles of common practice period harmony, including all
major and minor scales, modes, and chord progressions using primary triads.
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STUDENT LEARNING OUTCOMES
Upon successful completion of the course, students should be able to:
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1. Illustrate correct voice leading in four-part chorale style diatonic
and chromatic harmony using complex chords and inversions.
2. Study chord progressions in tonal/chromatic harmony, including
modulations.
3. Anaylze binary, ternary and 12-bar bludes forms in musical
scores.
4. Compose original works using techniques of smooth voice leading
and doublings found in chromatic harmony.
5. Sing at sight modulating and non-modulating melodies using
solfeggio syllables.
6. Transcribe complex melodies and harmonic progressions from
aurally dictated examples through correct notation of pitches,
rhythms, and chord structures in major and minor keys.
7. Demonstrate skills in complex rhythmic performance using
simple and compound meters.
8. Exhibit at the keyboard the principles of common practice period
harmony, including all major and minor scales two octaves and
chord progressions using primary and secondary triads.
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COURSE CONTENT
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TOPICS
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- Review of principles of voice leading, including melodies, voicing triads, and parallel motion.
- Review of part writing root position triads and inversions.
- Review of harmonic progressions used in the common practice period style.
- Review of classification and analysis of non-chord tones.
- Part-writing for all seventh chords and their inversions.
- Chromaticism and altered chords including secondary dominants and secondary leading tone chords.
- Analysis of secondary chords and secondary leading tone chords.
- Sequences involving secondary functions.
- Deceptive resolutions of secondary functions.
- Modulation types and part-writing requirements.
- Analysis of modulating passages.
- Form in music, including binary and ternary forms and 12-bar blues and their harmonic implications.
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METHODS OF INSTRUCTION
Methods of instruction used to achieve student learning outcomes may include, but are not limited to:
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- Present class lectures/discussions/demonstrations in order to illustrate the principles of voice leading in diatonic and chromatic harmony in classical music
- Engage audio recordings and live performances on piano and other instruments to enhance the understanding of harmony involving secondary functions and modulation
- Create small group activities/discussion in order to promote cooperative learning skills
- Distribute handouts in order to assess student learning progress
- Furnish keyboard drills, sightsinging drills, aural dictation/ear training drills in order to develop and advance respective skills
- Assign laboratory assignments and exercises in order to maintain advancing learning progress
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METHODS OF EVALUATION
Students will be evaluated for progress in and/or mastery of learning outcomes by methods of evaluation which may include, but are not limited to:
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- Written examples and individual projects designed to demonstrate comprehension of topics
- Quizzes/examinations to assess level of improvement
- Class participation, regular class and laboratory attendance designed to demonstrate consistency on learning effort
- Sightsinging, keyboard, and ear training examinations designed to evaluate learning progress
- Final written examination and final laboratory examinations designed to assess comprehensive knowledge of presented harmonic material
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ASSIGNMENTS
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Required Reading Assignments
Required Writing Assignments
Other Outside-of-Class Assignments
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COURSE MATERIALS
All materials used in this course will be periodically reviewed to ensure that they are appropriate for college level instruction. Possible texts include:
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Kosta, Stephen, and Dorothy Payne. Tonal Harmony (Chapters 13-20). 5th ed.
McGraw-Hill, 2000.
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Kosta, Stephen, and Dorothy Payne. Workbook for Tonal Harmony. 5th ed.
McGraw-Hill, 2000.
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Kraft, Leo. A New Approach to Ear Training. 2nd ed.
W.W. Norton, 1999.
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Practica Musica software, version 4.05.. Ars Nova Software, 2000 (Level 3) ed.
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| 06/05 |
| 1389 |