Theory 2 Syllabus

Prerequisites: Completion of Fundamentals of Musicianship with a “B” average or better and/or teacher recommendation.

1. Elements of Pitch a. Keyboard and octave registers b. Notation on the Staff c. Major Scales d. Key Signatures e. Minor Scales f. Minor Key Signatures g. Scale degrees h. Intervals i. Inversions of intervals 2. Elements of Rhythm a. Rhythm b. Duration Symbols c. Beat and Tempo d. Meter e. Simple and Compound Time 3. Triads and Seventh Chords a. Triads b. Seventh chords c. Inversions of chords d. Symbols and figured bass e. Lead Sheet Symbols 4. Diatonic Chords in Major and Minor Keys a. Diatonic Triads in Major b. Diatonic Triads in Minor c. Diatonic seventh chords in Major d. Diatonic seventh chords in Minor 5. Principles of Voice Leading a. The Melodic Line b. Notating Chords c. Voicing a single triad d. Parallel motion 6. Root position Part writing a. Repeated roots b. Four part texture c. Three part texture d. Roots a second apart e. Instrumental ranges and transposition 7. Harmonic Progression a. Circle of fifths b. I and V chords c. II chord d. VI chord e. III chord f. VII chord g. IV chord h. Exceptions i. Minor mode j. Seventh Chords k. Harmonizing melodies 8. Triads in first inversion a. Bass arpeggiation b. Substituted first inversion triads c. Parallel sixth chords d. Four part textures e. Three part textures f. Soprano Bass Counterpoint 9. Triads in second inversion a. Bass arpeggiation and melodic bass b. Cadential six-four c. Passing six-four d. Pedal six-four e. Part Writing for second inversion 10. Cadences and Phrases a. Musical Form b. Cadences c. Cadences and  harmonic rhythm d. Motives and Phrases

11. Non Chord Tones a. Classification b. Passing tones c. Neighbor tones d. Suspensions and retardations e. Figured bass and lead sheet symbols f. Embellishing a simple texture g. Appoggiatura h. Escape tones i. Neighbor group j. Anticipation k. Pedal tones 12. Sight singing a. Introduction to good vocal techinique b. Sung intervals c. Solfege d. Stepwise melodies in major and minor keys Spring 1. The V7 Chord a. Voice leading considerations b. V7 in root position c. V7 in 3 parts d. Inverted V7 Chords 2. II7 and VII7 a. II7 b. VII7 in major c. VII7 in minor 3. Other Diatonic Seventh Chords a. IV7 b. VI7 c. I7 d. III7 e. Seventh chords and circle of fifths progression 4. Secondary Functions a. Chromaticism and Altered chords b. Secondary Functions c. Secondary Dominat chords d. Spelling secondary Dominants e. Recognizing Secondary Dominants f. Secondary Dominants in context g. Secondary Leading tone chords h. Sequences involving secondary functions i. Deceptive resolutions of secondary functions j. Other secondary functions 5. Modulation Using Diatonic Common Chords a. Modulation and Change of Key b. Modulation and Tonicization c. Key relationships d. Common Chord Modualtion 6. Other Modulatory Techniques a. Altered chords b. Sequential Modulation c. Modulation by common tone d. Monophonic Modulation e. Direct Modulation 7. Binary and Ternary Forms a. Formal Terminology b. Binary Forms c. Ternary Forms d. 12 Bar Blues e. Other Formal Designs

8. Mode Mixture a. Borrow Chords in Minor b. Use of b6 in Minor c. Other Borrowed Chords in Minor d. Modulations involving Mode Mixture 9. The Neapolitan Chord a. Conventional Use b. Other Use 10. Augmented Sixth Chords a. Interval of the Augmented Sixth b. Italian Augmented Sixth c. French Augmented Sixth d. German Augmented Sixth e. Bass Positions f. Resolutions to Tonic g. Resolutions to Other Scale Degrees h. Resolutions to Other Chord Members 11. Enharmonic Spelling and Modulation a. Enharmonic Spellings b. Enharmonic Reinterpretation c. Enharmonic Modulations using the Major-Minor Seventh Sonority d. Enharmonic Modulations using The Diminished Seventh 12. Further Elements of Harmonic Vocabulary a. Dominant with Substituted 6th b. Dominant with a Raised 5th c. Ninth, Eleventh, and Thirteenth Chords d. Common-Tone Diminished Seventh Chord 13. Tonal Harmony in the Late 19th Century a. Counterpoint b. Dominant Harmony c. Sequence d. Expanded Tonality 14. Twentieth Century Practices a. Impressionism b. Scales c. Chord Structure d. Parallelism e. Pandiatonicism f. Rhythm and Meter g. Set Theory h. Twelve-Tone Technique i. Total Serialization j. Aleatory or Chance Music k. Texture and Expanded Instrumental Resources l. Electronic Music 15. Ear Training and Sight Singing a. Melodic and Hamonic Dictation b. Stepwise melodies c. Melodies with skips and leaps

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