Discipline: Music Degree Credit  [X]
Non Credit  [ ]
Nondegree Credit  [ ]
Comm Service  [ ]
 

Riverside Community College District
Integrated Course Outline of Record

Music 6


COURSE DESCRIPTION
6 Music Theory III Units: 4.00
 
Prerequisite(s): MUS 5: Music Theory II and MUS 32: Class Piano

Co-Requisite(s): MUS 32 or MUS 53 Other:
  • Recommendation: Concurrent enrollment in a music performance course.
Principles of voice leading in chromatic harmony in classical music of the 19th century. Begins with mode mixture and borrowed chords. Study of the Neapolitan chord and augmented sixth chords and their resolutions. Emphasis on analysis, melody harmonization, and expansions of tonal harmony to include enharmonic spellings and enharmonic modulation to include ninth, eleventh, and thirteenth chords. Lab includes sightsinging and ear training involving seventh chords, chromatic, and modulating melodies. Keyboard requirements include playing modulating chord progressions using secondary triads and secondary functions and melody harmonization. 54 hours lecture and 54 hours laboratory.
 
SHORT DESCRIPTION FOR CLASS SCHEDULE
Incorporates and extends concepts from MUS 5. Includes study of the Neapolitan chord, augmented sixth chords, enharmonic modulation, and altered dominant chords.
 
ADVISORY ENTRY SKILLS
Before entering the course, students will be able to:
  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. Analyze binary, ternary and 12-bar blues 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. Analyze 18th century counterpoint.

  8. Demonstrate skills in complex rhythmic performance using simple and compound meters.

  9. 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.
STUDENT LEARNING OUTCOMES
 Upon successful completion of the course, students should be able to:

Illustrate correct voice leading in four-part chorale style chromatic harmony using the augmented sixth chords and inversions.

Study of 9th, 11th, 13th, Neapolitan, augmented 6th, altered dominants, and common-tone diminished 7th chords. Analyze musical scores containing chromatic harmony and modulations. Analyze less traditional chords and progressions in musical scores. Sing at sight chromatic, modulating, and atonal melodies. Transcribe complex melodies and harmonic progressions from aurally dictated examples through correct notation of pitches, rhythms, and chord structures in major and minor keys. Demonstrate skills in complex rhythmic performance using simple and compound meters. Demonstrate at the keyboard the principles of modulation and melody harmonization using secondary triads and secondary functions.
 
COURSE CONTENT
  TOPICS
 
  1. Review of secondary functions in part-writing and analysis.
  2. Review of the types of modulations.
  3. Review of binary and ternary forms and 12-bar Blues in analysis.
  4. Part-writing for all seventh chords and their inversions.
  5. Mode mixture in major and minor keys, especially the alterations of the sixth, third, and seventh scale degrees.
  6. The function of mode mixture in modulation.
  7. Neapolitan chord
  8. Augmented sixth chords
  9. The resolutions of augmented sixth chords in their usual positions with the flat 6 in the bass and the raised 4 in some upper part.
  10. Augmented sixth chords with other bass positions.
  11. Enharmonic spellings of chords to make the direction of a line more apparent.
  12. Enharmonic reinterpretations as part of a modulation.
  13. The dominant with a substituted 6th or raised 5th.
  14. Extended tertian harmonies, including ninth, eleventh, and thirteenth chords.
  15. The Common-tone diminished seventh chord.
  16. Non-traditional use of traditional sonorities and their analysis.
  17. Counterpoint and chromaticism in Wagner’s Prelude to Tristan and Isolde.
 
METHODS OF INSTRUCTION
 Methods of instruction used to achieve student learning outcomes may include, but are not limited to:

  • Present class lectures/discussions/demonstrations in order to illustrate the principles of voice leading in diatonic and chromatic harmony of music from the 19th and 20th centuries
  • Engage audio recordings and live performances on piano and other instruments to enhance the understanding of harmony involving augmented sixth chords and 20th century harmonic systems
  • 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
 
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:

  • 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
ASSIGNMENTS

Required Reading Assignments


Required Writing Assignments


Other Outside-of-Class Assignments
 
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:

  • Kosta, Stephen, and Dorothy Payne. Tonal Harmony (Chapters 21-26) . 5th ed. McGraw-Hill, 2000.
  • Kosta, Stephen, and Dorothy Payne. Workbook for Tonal Harmony. 5th ed. McGraw-Hill, 2000.
  • Kraft, Leo. A New Approach to Ear Training. 2nd ed. W.W. Norton, 1999.
  • Practica Musica software, version 4.05. Ars Nova Software, 2000 (Level 4) ed.
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