4/26/2024 8:00:45 AM	MUSC 2C Course Outline as of Fall 2009	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  MUSC 2C	Title:  CHROMATIC HARMONY 1
Full Title:  Chromatic Harmony 1
Last Reviewed:4/22/2019

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	3.00		17.5 max.	Lecture Scheduled	52.50
Minimum	3.00	Lab Scheduled	0		17.5 min.	Lab Scheduled	0
		Contact DHR	0			Contact DHR	0
		Contact Total	3.00			Contact Total	52.50
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  105.00

Total Student Learning Hours: 157.50

Title 5 Category:  AA Degree Applicable
Grading:  Grade Only
Repeatability:  00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As: 
Formerly:  MUS 2C

Catalog Description:

First semester of a two-part study of chromaticism in common-practice harmony. Topics include: dominant and non-dominant seventh chords, secondary dominant and leading-tone chords, tonicization, modulation, and binary and ternary forms.  

Prerequisites/Corequisites:
Course Completion of MUSC 2B ( or MUS 2B)

Recommended Preparation:
Concurrent enrollment in MUSC 3C AND concurrent private or classroom piano study as recommended.

Limits on Enrollment:

Schedule of Classes Information
Description:

First semester of a two-part study of chromaticism in common-practice harmony. Topics include: dominant and non-dominant seventh chords, secondary dominant and leading-tone chords, tonicization, modulation and binary and ternary forms.  

(Grade Only)
Prerequisites:Course Completion of MUSC 2B ( or MUS 2B)
Recommended:Concurrent enrollment in MUSC 3C AND concurrent private or classroom piano study as recommended.
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:
CID Descriptor: MUS 140	Music Theory III	SRJC Equivalent Course(s): MUSC2C

Certificate/Major Applicable: Major Applicable Course

COURSE CONTENT

Outcomes and Objectives:
At the conclusion of this course, the student should be able to:

Upon completion of this course, the student will be able to:

1.  Identify, construct, and utilize dominant and non-dominant seventh

   chords in root position and inversion.

2.  Identify, construct, and utilize secondary dominant and leading-tone-

   seventh chords.

3.  Analyze and explain tonicization, common-chord modulation, and other

   modulatory techniques.

4.  Analyze a figured bass line into a complete four-part arrangement

   utilizing these harmonic devices.

5.  Harmonize a given melody in four parts utilizing these harmonic

   devices.

6.  Analyze, compare, and contrast musical forms including binary,

   ternary, rounded binary, and other formal designs.  

Topics and Scope

I.   The Dominant Seventh Chord

    A. General voice-leading considerations

    B. The V7 in root position and inversions

    C. The V7 in three parts

    D. Other resolutions of the V7

    E. The approach to the 7th

II.  Non-Dominant Seventh Chords

    A. The II7 chord

    B. The VII7 chord

    C. The IV7 chord

    D. The VI7 chord

    E. The I7 chord

    F. The III7 chord

    G. Seventh chords and the circle-of fifths progression

III. Secondary Dominants

    A. Chromaticism and altered chords

    B. Spelling secondary dominant chords

    C. Recognizing secondary dominants in context

IV.  Secondary Leading-Tone Chords

    A. Spelling secondary leading-tone chords

    B. Recognizing secondary leading-tone chords in context

    C. Sequences involving secondary functions

    D. Deceptive resolutions of secondary functions

    E. Other secondary functions

V.   Modulations Using Diatonic Common Chords

    A. Modulation and change of key

    B. Modulation and tonicization

    C. Key relationships

    D. Common-chord modulation

VI.  Other Modulatory Techniques

    A. Altered chords as common chords

    B. Sequential modulation

    C. Modulation by common tone

    D. Monophonic modulation

    E. Direct modulation

VII. Binary and Ternary Forms

    A. Formal terminology

    B. Binary forms

    C. Ternary forms

    D. Rounded binary forms

    E. 12-bar blues

    F. Other formal designs  

Assignments:

1.  Workbook assignments in part writing and harmonization (3-5 pp. per

   week).

2.  Harmonic and formal analysis of excerpts from compositions of the

   common-practice era (2-3 per week).

3.  6-8 chapter quizzes.

4.  2 major composition projects that utilize concepts learned in class.

5.  Comprehensive midterm and final exams.  

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 0 - 0%
None
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 25 - 40%
Homework problems
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 0 - 0%
None
Exams: All forms of formal testing, other than skill performance exams.		Exams 40 - 60%
Music notation, arranging, and composition
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 10 - 20%
Attendance and participation

Representative Textbooks and Materials:

Kostka, Steven and Dorothy Payne. Tonal Harmony. 6th ed. McGraw Hill, 2009.  

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