Upon completion of this course, 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. Compare and contrast the harmonic and textural characteristics of music
from various styles and historical eras.
I. 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. Homorhythic (chorale) texture
II. Introduction to Species Counterpoint
A. Overview of the species
B. Exercises in first species
1. Melodic design - restrictions on interval leaps
2. Consonant and dissonant harmonic intervals - restrictions
3. Contrapuntal motion between voices - restrictions
4. Formulaic openings and endings
III. Four-Part Writings Basics
A. SATB (Soprano/Alto/Tenor/Bass) notation
B. Vocal and instrumental arranging
C. Arranging for piano
D. Range, spacing, and doubling
E. Voice crossing and overlapping
F. Open and close voiced triads
G. Complete and incomplete chords
H. Restrictions on melodic and harmonic motion
I. Treatment of the leading tone
IV. 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
V. 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 7th - strict and free resolution
VI. Principles of Harmonic Motion and Chord Progressions
A. Tonal function of the primary chords (I, IV, V)
B. Use of secondary chords by chord substitution
C. Chord progressions and harmonic rhythm
1. The "circle progression"
2. Progression and retrogression
3. Other types of harmonic motion
VII. Triad Inversions
A. First Inversion (6) Triads
2. Voicing and doubling
3. Particulars of various 6 chords
B. Second Inversion (6/4) Triads
2. Voicing and doubling
VIII. 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. Two "golden rules" of NHT usage
1. A NHT may not cause a part writing error
2. A NHT cannot repair a part writing error
IX. Melody Harmonization
A. Choice of chords
B. Composition of bass line
1. Melodic contour
2. Counterpoint w/ soprano melody
3. Implies a strong functional progression
C. Writing inner parts
D. Usage of NHT
Benward, Bruce and Marilyn Saker. Music In Theory and Practice, Vol.1.
8th ed. McGraw Hill, 2008.
Kostka, Steven and Dorothy Payne. Tonal Harmony. 6th ed. McGraw Hill, 2009.