|
Dec 12, 2024
|
|
|
|
2024-2025 College Catalog
|
MUS 125 - Structure of Music I 3 Credits, 3 Contact Hours 3 lecture periods 0 lab periods Review of music fundamentals. Includes form and analysis, non-harmonic tones and harmonic analysis, simple keyboard-style harmony, figured bass, chord functions, voicing chords, voice leading, part-writing, and seventh chords. Also includes cadences, chords in second inversion, harmonic progression, secondary dominants, and chorale harmonizations.
Corequisite(s): MUS 127 Information: Required for all other music structure courses. Music majors must also concurrently enroll in the appropriate level of studio instruction course. Gen-Ed: Meets AGEC - FA; Meets - CTE - A&H.
Course Learning Outcomes
- Demonstrate basic reading and writing of music notation.
- Compose and part-write four independent voices.
- Demonstrate harmonization of melodies using diatonic chords, including seventh chords.
- Identify and use intervals, keys, chords, notation, tonality, and forms.
- Analyze diatonic music for its structure, keys, chords and cadence type.
- Demonstrate the ability to voice chords and lead properly.
- Write diatonic harmonic progressions.
Outline:
- Review
- Intervals
- Scales
- Meter
- Keys
- Key signatures
- Chords
- Chords in a key
- Related subjects
- Form and Analysis
- Cadences
- Authentic
- Half
- Deceptive
- Plagal
- Perfect
- Imperfect
- Phrases
- The four-bar phrase
- Question and answer
- Periods
- Parallel
- Contrasting
- Introduction to motives and variations
- Introduction to simple forms
- Binary
- Rounded-binary
- Ternary
- Strophic (song)
- Demarcations of form
- Slurs
- Cadences
- Double bars
- Repeat signs
- Da capo
- Textures
- Monophony
- Homophony
- Counterpoint
- Non-Harmonic Tones and Harmonic Analysis
- Harmonic rhythm
- Chord recognition
- Non-harmonic tones
- Passing
- Neighbor
- Suspension
- Appoggiatura
- Escape
- Pedal
- Retardations
- Simple Keyboard-Style Harmony
- How to harmonize a diatonic melody
- Melodic analysis
- Phrase structure
- Cadences
- Form
- Harmonic background
- Choosing chords and outlining the harmony
- Chord voicing/positions doubling
- Smoothing chord motions
- Chord figurations
- Non-harmonic tones
- Alto line
- Figured Bass
- Chord inversions
- Symbols for tertian trichords and tetrachords (seventh chords)
- Chromatic alterations
- Chord Functions
- Grammatical analogues
- Primary and secondary chords
- Composite chord symbols
- Voicing Chords
- Voice ranges
- Crossed voices
- Spacing: closed and open positions
- Doubling
- Voice Leading
- Motion types
- No motion
- Step motion
- Small leaps
- Large leaps
- Rules of voice leading
- Part-Writing
- Types of relative motion
- Parallel
- Similar
- Oblique
- Contrary
- Goal – independence of parts
- Parallel and consecutive octaves/fifths
- Awkward leaps – a2 and tritone
- Smooth voice leading
- Direct octaves and fifths
- Overlapping and crossed voices
- Common tones and smooth part-writing procedures
- Cross relations
- Part-Writing Seventh Chords
- Diatonic seventh chord types
- Resolution of seventh
- Seventh chords in a key
- Seventh chord functions
- Cadences
- Authentic
- Perfect and imperfect
- Half
- Deceptive
- Plagal
- Chords in Second Inversion
- Figured bass
- Doubling
- Cadential 6-4
- Passing 6-4
- Pedal 6-4
- Arpeggio 6-4
- Harmonic Progression
- Definitions of progression and retrogression
- Root movement determination interval class
- Rules governing harmonic progression: strong and weak
- Introduction to Secondary Dominants and Sevenths
- Chorale Harmonizations
- Melodic and phrase analysis
- Harmonic rhythm
- Choosing chords from melody notes
- Writing the bass line
- Voice leading
- Part-writing four voices
- Non-harmonic tones
- Using chord inversions
- Step-by-step procedure for harmonization
Effective Term: Fall 2013
|
|