The student will be able to:
1. Write four-part (SATB) arrangements using diatonic triads in root position and inversion.
2. Construct and utilize dominant seventh chords in root position.
3. Compose a soprano melody and realize a complete four-part arrangement
from a given figured bass line.
4. Harmonize a given melody by composing a bass line and creating a
complete four-part arrangement.
5. Identify and utilize non-harmonic tones.
6. Demonstrate and utilize the principles of species counterpoint.
7. Analyze and explain the harmonic and melodic devices found in common-practice music.
8. Compare and contrast the harmonic and textural characteristics of music
from various styles and historical eras.
9. Use industry-standard software for music notation, editing, and publication.
I. Music for Study and Analysis
Musical examples for this course will be drawn from the common-practice literature of the
Western (European) tradition. After a survey of the development of harmony in Western
music, the focus shall be on the 17th- and early 18th-century Baroque style, particularly
the chorales of Johann Sebastian Bach.
II. The Historical Development of Harmony and Musical Texture
A. The style periods of Western music
1. Medieval (500-1450)
2. Renaissance (1450-1600)
3. Baroque (1600-1750)
4. Classic (1750-1825)
5. Romantic (1825-1900)
6. Post-Romantic/Impressionist (1875-1920)
7. Modern (1900-present)
8. Jazz and popular music (1900-present)
B. Musical texture
1. Monophony and heterophony
3. Monody and homophony
4. Homorhythmic (chorale) texture
III. Introduction to Species Counterpoint
A. Overview of the species
B. Exercises in the first species
1. Melodic design-restrictions on interval leaps
2. Consonant and dissonant harmonic intervals-definition and usage
3. Contrapuntal motion between voices (parallel/similar/contrary/oblique)
4. Formulaic openings and endings
IV. Four-Part Writings Basics
A. SATB (Soprano/Alto/Tenor/Bass) notation
B. Vocal and instrumental ensemble arranging
C. Arranging for piano
D. Range, spacing, and doubling
E. Voice crossing and overlapping
F. Open- and close-spaced triads
G. Complete and incomplete chords
H. Restrictions on melodic and harmonic motion
I. Treatment of the leading tone
V. Root Position Part Writing
A. Piston's "Rules of Thumb"
B. Working in close and open spacing
C. Changing voicing on repeated chords
D. The Noncommon-tone (NCT) connection
E. The V-VI deceptive progression (VI with a doubled third)
F. Writing in minor keys (avoiding the A2)
G. Using free voice leading
VI. Dominant Seventh Chords and the Perfect Authentic Cadence (PAC)
A. The dominant seventh chord (spelling and voicing)
B. Strict and free resolution of the leading tone
C. Treatment of the chord seventh: strict and free resolution
VII. Principles of Harmonic Motion and Chord Progressions
A. Tonal function of the primary chords (I, IV, V)
B. Use of secondary chords and chord substitution
C. Chord progressions and harmonic rhythm
1. The "circle progression"
2. Progression and retrogression
3. Other types of harmonic motion
VIII. First Inversion (6) Triads
B. Voicing and doubling
C. Particulars of various 6 chords
IX. Non-Harmonic Tones (NHT)
A. Second species NHT
1. Passing tones (PT) and neighbor tones (NT)
2. The appoggiatura (APP) and escape tone (ET)
3. Anticipation (ANT)
B. Third species: the cambiata (changing tones)
C. Fourth species: suspensions and retardations
D. Pedal point and other NHTs
E. General guidelines for NHT usage
X. Second Inversion (6/4) Triads
A. Four types: cadential, passing, neighbor/pedal, arpeggiated
B. Voicing and doubling
XI. Melody Harmonization
A. Choice of chords
B. Composition of the bass line
1. Melodic contour
2. Counterpoint w/ the soprano melody
3. Outlining functional progressions
C. Writing inner parts
D. Usage of NHTs
XII. Introduction to Chromatic Harmony (secondary dominants and modulation)
XIII. Use of Industry-Standard Software for Music Notation, Editing, and Publication