Due Monday, April 7, 1997
Hand in a printed proposal for the instrumentation and personnel of your composition project.
Due Wednesday, April 9
Sing an arpeggiation of the chord progression I - V7/V - V - I in the keys of C, F, and G major. The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, 6, 8, 6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.
Sing an arpeggiation of the chord progression i - V7/V - V - i in the keys of a, d, and e minor. The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, #6, 8, #6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.
Play a four-voice I-V-I progression on the piano, with any of the possible notes in the soprano voice, in the keys of C, F, G, a minor, d minor, and e minor.
Due Friday, April 11
Read Chapter 10 of Tonal Harmony. Learn the definition of the terms, "authentic cadence" (imperfect and perfect), "plagal cadence", "half cadence" (and "Phrygian cadence"), "deceptive cadence", and "antecedent-consequent phrases".
Listen to Bach Two-Part Inventions 4 and 6, the Prelude of the Violin Partita in E major, and the overture of Brandenburg Concerto No. 4.
Prepare a single-paragraph listening guide for a Bach piece of your choosing, accompanied by a harmonic annalysis of the first five measures.
Due Monday, April 14, 1997
Compose the primary theme of your composition (complete with accompanying instruments) in the tonic key, containing an antecedent-consequent phrase pair.
Due Wednesday, April 16, 1997
Review the discussion of the viio triad on page 115 of Tonal Harmony, then read Chapter 14 paying particular attention to the discussion of the viio7 chord in minor on pp. 230-233. Read also pp. 275-282 on the secondary leading tone chord.
Due Friday, April 18, 1997
Analyze the Minuet in D minor from the notebook of Anna Magdalena Bach discussed in class. Indicate the harmonies, noting the pivot points at which the music changes key. Analyze all the vertical intervals between the bass and treble melodies, and circle and identify the non-chord tones.
Read Chapter 18 of Tonal Harmony, playing all the examples to be sure you understand the modulation in each one.
Extra credit: Hand in a chord analysis of page 301 of Tonal Harmony.
More extra credit: Analyze the Minuet in G minor from the notebook of Anna Magdalena Bach on page 12 of the Burkhart Anthology for Musical Analysis in the same manner as described for the other minuet, above.
Due Monday, April 21, 1997
Compose a second theme for your composition (complete with accompanying instruments) in a key closely related to the tonic key, contrasting in some way with the primary theme you wrote last week.
Due Wednesday, April 23, 1997
Analyze the chords in the Bach motet "Jesu, Meine Freude" on page 65 of the Burkhart Anthology for Musical Analysis. Mark the places where you feel the music changes keys, and analyze the pivot chords in both the keys to which they belong. (For comparison to your own composition, pay attention to his voice leading, and his voicing of first inversion chords. Notice how rarely he used second inversion chords--only on the tonic chord, preceding an authentic cadence. And notice how he consistently uses the same progression for many of the cadences.)
Due Friday, April 25, 1997
Sing an arpeggiation of the chord progression i-viio7-i in the harmonic minor keys of a, d, e, g, and b, saying the note names as you sing. The scale degrees are: 1-3-5-8-5-3-1, #7-2-4-6-4-2-#7, 1-3-5-8-5-3-1. Also play those progressions in four-voice harmony on the keyboard, with different voicings and inversions, to get used to how the voices move within the chord progression.
Due Monday, April 28, 1997
Compose a modulatory passage to make a transition from your first theme to your second theme, and also compose a modulatory passage to lead from your second theme back to the tonic key.
Due Friday, May 2, 1997
Read Chapter 17 of Tonal Harmony, with particular attention to the sections on sequences of secondary chords, and deceptive resolutions of secondary chords. Analyze (at least) the first example in the "self-test" at the end of the chapter.
Complete pages 147-148 of the Tonal Harmony workbook. After providing or identifying the indicated leading tone diminished seventh chord, write the chord to which it should resolve, using the best possible voice leading.
MIDTERM EXAM
Wednesday, May 7 and Friday, May 9, 1997
You will be asked to analyze the chords and formal structure of existing music, and to compose four-part realizations of specific chord progressions.
You will be asked to play the progressions I-V-I, I-V7-I, i-V-i, and i-V7-i in four parts in root-position on the keyboard in any key, starting with any note (root, 3rd, or 5th) in the soprano.
You will be asked to sing an arpeggiation of the chord progression I - V7/V - V - I in the key of C, F, G, B-flat, or D major, saying the note names as you sing. (The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, 6, 8, 6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.)
You will be asked to sing an arpeggiation of the chord progression i - V7/V - V - i in the key of a, d, e, g, or b minor, saying the note names as you sing. (The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, #6, 8, #6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.)
You will be asked to sing an arpeggiation of the chord progression i - viio7 - i in the harmonic minor keys of a, d, e, g, and b, saying the note names as you sing. (The scale degrees are: 1-3-5-8-5-3-1, #7-2-4-6-4-2-#7, 1-3-5-8-5-3-1.)
Due Friday, May 9, 1997
Completed composition in full score, consisting of introduction (optional), "A" theme including an antecedent-consequent phrase pair, modulation to a closely related key, contrasting "B" theme in the related key, modulation back to the tonic key, repeat of "A" theme--or some other appropriate closing material--in the tonic key, coda (optional).
Due Monday, May 19, 1997
Write a four-part harmonization of the chord progression i - viio7/V - V7 - i in d-minor and g-minor, and I - viio7/V - V7 - I in F#-major.
Due Wednesday, May 21, 1997
Present your completed (and revised) composition to your performers. If your piece requires rehearsal (most do), arrange to rehearse the work outside of class so that you will be ready to work on it in class the following week at a sophisticated musical level.
Due Wednesday, May 28 and Friday, May 30, 1997
Come prepared to rehearse your piece in class. All players should know their parts thoroughly (so that time is not spent learning them in class), so that the rehearsals can focus on issues of interpretation.
Due Monday, June 2, 1997
Complete the harmonic analysis and part-writing exercises handed out in class on Friday. If you need help, there is a lengthy sheet of hints online.
FINAL EXAM
Wednesday, June 4 and Friday, June 6, 1997
You will be asked to analyze the chords and formal structure of existing music, and to compose four-part realizations of specific chord progressions.
You will be asked to play the progressions I-V-I, I-V7-I, i-V-i, and i-V7-i in four parts in root-position on the keyboard in any key, starting with any note (root, 3rd, or 5th) in the soprano.
You will be asked to sing an arpeggiation of the chord progression I - V7/V - V - I in in any major key up to 4 sharps or flats, saying the note names as you sing. (The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, 6, 8, 6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.)
You will be asked to sing an arpeggiation of the chord progression i - V7/V - V - i in the any minor key up to 4 sharps or flats, saying the note names as you sing. (The scale degree pattern is 1, 3, 5, 8, 5, 3, 1; 2, #4, #6, 8, #6, #4, 2; 5, 7, 2, 5, 2, 7, 5; 1, 3, 5, 8, 5, 3, 1.)
You will be asked to sing an arpeggiation of the chord progression i - viio7 - i in any minor key up to 4 sharps or flats, saying the note names as you sing. (The scale degrees are: 1-3-5-8-5-3-1, #7-2-4-6-4-2-#7, 1-3-5-8-5-3-1.)
FINAL PERFORMANCE EXAM
Wednesday, June 11, 8:00-10:00 AM
You will be evaluated on how well you have coached the players in the performance of your own piece, and on your performance of the compositions of others. This is considered the "final version" of your composition. The final copy of the score should be handed in at this time.