Course Outline for Music Literature 2C
Harmony and Musicianship III

Effective: Fall 2024
SLO Rev:
Catalog Description:

MUSL 2C - Harmony and Musicianship III

4.00 Units

This course is a study of harmony and voice-leading in the Western Common Practice. It addresses sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, applied dominants and modulation, four-part voice leading, large formal structures, harmonic and formal analysis, and musicianship skills including sight singing, rhythmic training, ear training, dictation, conducting, and keyboard realization.
Prerequisite: MUSL 2B.
1004.00 - Music
Letter Grade Only
Type Units Inside of Class Hours Outside of Class Hours Total Student Learning Hours
Lecture 3.00 54.00 108.00 162.00
Laboratory 1.00 54.00 0.00 54.00
Total 4.00 108.00 108.00 216.00
Measurable Objectives:
Upon completion of this course, the student should be able to:
  1. explain the use of 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation;
  2. conduct harmonic analyses of musical examples that contain 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation;
  3. describe binary, ternary, and larger musical forms such as sonata allegro form;
  4. realize figured bass lines that indicate the use of 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation;
  5. harmonize melodies utilizing 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation;
  6. compose music that employs larger musical forms such as sonata allegro form, 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation;
  7. demonstrate musicianship skills including sight singing, rhythm reading, aural recognition, dictation, and keyboard realization using materials that include 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, diatonic applied dominants, and diatonic modulation.
Course Content:
 
  1. Review of Diatonic Harmony
  2. 5/3, 6/3, and 6/4 Techniques
  3. Sequences
  4. Figuration
    1. Melodic
    2. Rhythmic
  5. Introduction to Chromatic Harmony
    1. Leading-tone 7th chords
    2. Simple and Secondary Mixtures
    3. Diatonic Applied Dominates
    4. Diatonic Modulation
  6. Musical Forms
    1. Binary
    2. Ternary
    3. Rondo
    4. Sonata Allegro
  7. Realization of figured bass lines that indicate the use of 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading tone 7th chords, mixture, diatonic tonicization, and diatonic modulation.
  8. Harmonization of melodies using 5/3, 6/3, and 6/4 techniques, sequences, melodic and rhythmic figuration, leading tone 7th chords, mixture, diatonic tonicization, and diatonic modulation.
  9. Musicianship Skills
    1. Exercises with rhythmic patterns featuring triplets/duplets and syncopation in simple and compound meters at various tempos.
    2. Dictation of rhythms with triplets/duplets and syncopation in simple and compound meters at various tempos
    3. Preparation of sight singing, and transposition of melodies featuring chromatic alterations and modulation to closely related keys
    4. Melodic dictation in a variety of major and minor keys, tempos, and meter signatures featuring triplets/duplets, syncopation, chromatic alterations, and modulation to closely-related keys
    5. Melodic dictation including secondary/applied chords and modulation to closely-related keys
    6. Sight singing and performance of music in multiple parts (canons, duets, chorales, etc) appropriate to the topics studied
    7. Performance of rhythm and sight singing excerises while conducting.
    8. Exercises in various conducting styles (legato, marcato, staccato, etc) and cueing.
    9. Exercises to detect errors in rhythm, pitch, harmony, and/or solfeggio
    10. Exercises at the piano keyboard, such as playing chord progressions while singing any part or arpeggiations of the chords

 

Methods of Instruction:
  1. In-class written demonstration of concepts by students
  2. Lecture/Discussion
  3. Demonstration/Exercise
  4. Studio
  5. Individual Performance
  6. Distance Education
  7. Solfeggio, ear training, dictation and conducting
  8. Written exercises
Assignments and Methods of Evaluating Student Progress:
  1. Reading 1: Read the chapter on modulation to closely related keys. Be ready to discuss pivot chord and chromatic modulations.
  2. Reading 2: Read the chapter on simple mixture. Memorize the harmonies in the major and minor modes respectively, to which simple mixture is typically applied.
  3. Writing, problem solving, performance 1: Write a chord progression employing simple mixture in 4-part chorale style based on Pachelbel’s Canon in D (root position variant of a descending 6/3 sequence).
  4. Writing, problem solving, performance 2: Spontaneously devise and perform a modulation from any major key to its relative minor key in keyboard style at the keyboard.
  5. Lab, field activity, product or report: Harmonize the given melody, incorporating a tonicization of the supertonic harmony.
  1. Written exercises
  2. Compositional assignments
  3. In-class sight singing and dictation drills
  4. In-class drills in rhythmic accuracy, conducting, and/or keyboard
  5. Directed listening activities/exams
  6. Individual sight singing examinations
  7. Rhythmic, melodic, and harmonic dictation exercises/exams
  8. Self-paced individual laboratory work
  9. Final Project/Examination
Upon the completion of this course, the student should be able to:
  1. Compose music using fundamental Western theoretical concepts.
  2. Demonstrate basic musicianship skills including sight singing, rhythmn reading, aural recognition, dictation, and keyboard realization.
  3. Examine and executed the material and structures of western Art Music from 1450-present.
  4. Understand and use the modern, Western system of notating music.
  5. Understand the historical aspects of the development of the theoretical concepts discussed throughout the course.
  6. Understand, recognize, and apply fundamental Western theoretical concepts.
Textbooks (Typical):
  1. Kostka, Stefan and Dorothy Payne (2024). Tonal Harmony (texbook & workbook) (9th). McGraw Hill.
  2. Ottman, Robert (2021). Music for Sight Singing (10th). Pearson.
Abbreviated Class Schedule Description:
This course is a continuation of study from MUSL 2B and presents the study of harmony and voice-leading in the Western Common Practice. Topics include sequences, melodic and rhythmic figuration, leading-tone 7th chords, mixture, applied dominants and modulation, four-part voice leading, large formal structures, harmonic and formal analysis, and musicianship skills including sight singing, rhythmic training, ear training, dictation, and keyboard realization.
Prerequisite: MUSL 2B.
Discipline:
Music*