Graduate Music Theory Review with Paul Dell Aquila • Semester Topics

Assigned Reading, Homework Schedule, and Class Agenda


Carl Maria von Weber

College-Conservatory of Music THRY 7001 Semester Topics

Triads and Seventh Chords

Chords
Triads
Seventh Chords


Labeling Chords; Musical Texture

Harmonic Function
Roman Numerals
Figured Bass
Musical Texture


The Connection of Chords

Harmonic Progression
Notating, Voicing, and Spacing Chords
The Principles of Part-writing
Voice-leading Guidelines for the Three Basic Types of Progressions
Melodic Style
Voice Independence


The Tonic and Dominant Triads in Root Position

The Tonic Triad
The Dominant Triad
The I-V-I Progression
Characteristic Soprano-Bass Patterns
The I-V-I Progression as a Form-generating Structure
Pitch Patterns


Harmonic Function; the Subdominant Triad in Root Position

The Basic Harmonic Functions
The Subdominant Triad
Voice-Leading Guidelines
Characteristic Soprano-Bass Patterns
A Model to Elaborate the Fundamental Progression
Pitch Patterns


Triads in First Inversion

The Triad in First Inversion: Uses and Function
The Neighbor V6
Elaborating the I-V-I Progression
Voice-Leading Guidelines
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


The Supertonic; Melody Harmonization

The Supertonic in Root Position
The Supertonic in First Inversion
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Harmonizing a Melody
Pitch Patterns


Nonchord Tones

The Passing Tone
The Neighbor Note
The Anticipation
Incomplete Neighbors
Voice-Leading Guidelines
Suspensions
Pedal Point


Six-Four Chords

Consonant 6/4 Chords: The Arpeggiated 6/4
Dissonant 6/4 Chords
The Neighbor 6/4
The Passing 6/4
The Cadential 6/4
Voice-Leading Guidelines
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


The Dominant Seventh and Its Inversions

V7 in root position
Inversions of the Dominant Seventh
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


The Leading-Tone Triad

Doubling and Voice Leading
The Passing viio6
viio6 as a Dominant Substitute
The Leading-Tone Cadence
Voice-Leading Guidelines
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


Cadences

Authentic Cadences
The Half Cadence
The Plagal Cadence
The Deceptive Cadence
Cadences: Summary and Voice Leading
Pitch Patterns


Phrase Structure

Motive
Phrase
Period Structure
Form Diagrams
More on Period Structure
Phrase Group


Thematic Development; Phrase Extension

Development
Phrase Extension
Melodic Developmental Techniques
Phrase Extension


Harmonic Rhythm; Metric Reduction

Harmonic Rhythm
Metric Reduction
Metric Reduction and Performance
Compound Melody
Writing Your Own Progresisons


The Mediant, Submediant, and Subtonic Triads

The Mediant and Submediant Triads as Prolongations of the Tonic
Other Uses of the Mediant and Submediant
Voice-Leading Guidelines
The Subtonic
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Harmonizing a Melody with Keyboard Figuration
Pitch Patterns


Other Diatonic Seventh Chords

General Doubling and Voice-Leading Guidelines
The Leading-Tone Sevenths
The Half-Diminished Seventh
The Fully-Diminished Seventh
The Supertonic Seventh
The Subdominant Seventh
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


Harmonic Sequences

The Descending Circle-of-5ths Sequence
The Ascending Circle-of-5ths Sequence
Sequences by Descending 3rds
Sequences by Descending and Ascending Steps
A Summary of Harmonic Sequences: Elaborating the I-V-I Progression
Pitch Patterns


Secondary Dominants

Chromatic Harmony
Tonicization: Secondary Dominants
Spelling Secondary Dominants
V7 of V
Voice-Leading Guidelines
V7 of IV (iv)
Characteristic Soprano-Bass Patterns
Elaborating the I-V-I Progression
Pitch Patterns


Secondary Leading-Tone Chords

Secondary Leading-tone Seventh Chords
Secondary viio7 Chords in Inversion
The viio7 Over a Pedal Point
Elaborating the I-V-I Progression
A Chromatic Harmonization of a Diatonic Tune: Bach, Chorale 21
Secondary Functions in Context: Two Songs by Mozart Pitch Patterns


Modulation to Closely-Related Keys

Key Relationships: Closely-Related Keys
Diatonic Pivot-Chord Modulation
Modulation to V
Modulation to the Relative Major and Minor Keys
Writing Pivot Chord Modulations
Chromatic Modulation: Chromatic Pivot Chords
Writing Chromatic Modulations
Modulation and Phrase Structure: Sequential and Phrase Modulation
Modulating Periods
Harmonizing Modulating Melodies
Pitch Patterns


Carl Philipp Emanuel Bach

Binary and Ternary Forms

The Binary Principle
Binary Tonal Types
Binary Formal Designs
The Ternary Principle
Variation Forms
Continuous Variations
Sectional Variations


Modal Mixture

Borrowing Chords from the Minor Mode in a Major Key
Borrowing Chords from the Major Mode in a Minor Key
Change of mode
Characteristic Soprano-Bass Patterns and Elaborations of the I-V-I Progression
Pitch Patterns


The Neapolitan Chord

The Neapolitan Sixth
Tonicization of the Neapolitan
The Neapolitan in Root Position
Tritone Substitution: The Neapolitan as a Substitute for V7
Pitch Patterns


Augmented Sixth Chords

General Features and Types of +6 Chords
The Italian +6
The German +6
The French +6
Other Types of +6 Chords
Tonal Relationship Between the Neapolitan and the +6 Chords
Pitch Patterns


Chromatic Modulatory Techniques

Modulation to Distantly-Related Keys I
Chromatic Pivot Chords
Writing Chromatic Pivot Chord Modulations
Modulation by Enharmonic Reinterpretation of the Gr +6
Writing Modulations with +6 Chords
Modulation by enharmonic reinterpretation of viio7
Writing Modulation with viio7 Chords
Pitch Patterns


Modulation to Distantly-Related Keys II

Chromatic Third Relationships
Triads Related by Chromatic Third
Keys related by Chromatic Third: Common Tone Modulation


Linear Chromaticism

Linear Chromatic Chords
Altered triads
Augmented Sixth Chords with Dominant and Embellishing Functions
The Common-Tone Diminished Seventh Chord
Pitch Patterns


Extended Tertian Chords


Assigned Reading, Homework Schedule, and Class Agenda


E-Mail Instructor Paul Dell Aquila