Music Theory IV


SyllabusMTIV8– Required Download


  1. Due 1/11/18
    • Workbook p. 367 ( most recent edition)  CTo7 chords only
    • Notate by groups, as was demonstrated in lecture on Tuesday, all the diatonic and chromatic mediant chords for the keys of B minor and Eb Major.  Are any chords between the two keys common chords?  Consider all enharmonic possibilities.
  2. Due 1/16/18
    • Read Chapter 31 pay close attention to enharmonic modulation with diminished seventh chords and relate to the equal divisions of the octave presented in lecture
    • Workbook 31.3 I.A. , 31.3 II. A. (1), (2) and D. (1), (2)
    • Compose a 24-32 bar etude for harp or piano or mallet instrument that is primarily diatonic and chromatic mediant and submediant chords with two CTo7 chords inserted into the etude.  The etude is in a major/minor key (C or a not permitted) and has a functional progression to open the work and to close the work.  The middle is all 3rd relationships and CTo7 chords all framed with the formula X  3rd Relationship chord X or X  CTo7 X.  Use Finale.  Upload to Dropbox.
  3. Due 1/18/18
    • Accept Dropbox invite.  If there is a problem write the professor.  Upload work there.
    • Read Chapter 32
    • Print out from the internet-find a reliable source- a diagram of typical Sonata-Allegro form, often just called Sonata form.
    • Find out how this form is related to the Baroque binary form.  Hint, note the double bar.
    • Listen to:
      • Clementi Sonatina in C Major-first movement
      • Beethoven Sonata in C Major, Op. 53, first movement
      • Mozart, Piano Sonat in G Major, first movement (K. 283)
  4. Due 1/23/18-Chart with analysis
    • Connor, Mary Kate, Natalie F,  Brian, Amelia:  download a copy of the Clementi Sonatina in C Major, first movement.  Each person analyze the work. Create a chart of the form of the work, include measure numbers for the themes including closing themes if present, sections, double bar units, keys,
    • Christian, Violet, Natalie M, Alex, Maria  download a copy of the Mozart Piano Sonata in G Major , K. 283 first movement.  Each person analyze the work. Create a chart of the form of the work, include measure numbers for the themes including closing themes if present, sections, double bar units, keys,
    • Time will be given in class to each group to share and finish the chart/anaysis. These will then be presented to the class.
  5. Due 1/25/18
    • Chart with analysis.  All students are to download a score of the first movement of the Beethoven Sonata in C major, Op. 53.  Bring an analyzed printed score to class.
    • Find an analysis of this work.  Hint check the library periodicals on line, music and you will find then entire work analyzed.  Download the analysis, read it and understand the basic points.  Bring the article to class.
  6. Due 1/30/18  Organize your notes on Clementi, Mozart, Beethoven.  Make three charts that outline the form of these works.  Show these charts to the instructor on Tuesday.  You will not turn them in yet.
  7. Due 1/30/18  Read Chapter33 pp. 699 to the end of the chapter.  In the second edition read the section on Large Ternary Form.  Download a copy of the Brahms, Intermezzo in A Major, Op.118 No.2.  Research Brahms, Intermezzo, Three-part form in the Romantic era and see if you can find an analysis of the work in the Library data base.  Bring the print out of the work to class.  Analyze the beginning of each section of the work.  Assignment 33.6 in the Workbook provides some help in analyzing this work.
  8. Due 1/2/18  Ch. 34 Read.  Workbook 34.1 and 34.2
  9. Due 1/2/18:  Present a 3 min. summary of the theoretical analysis you researched on the Brahms Intermezzo. Turn in a photocopy of the article with some key sections highlighted with a marker after you present.
  10. Due 2/6/18  Submit to dropbox your charts, summaries and article as one pdf with your name on it to the Folder marked Form and Analysis
  11. Continue Reading in Chapter 34.  We will work in the Workbook and finish most of Ch. 34 in the workbook during class.
  12. Listen to:  Ravel “Aoua!”
  13. Workbook:  Chapter 34.3 and 34.4
  14. Due Feb 13, using Finale:  In one file write  2 and 3 measure examples in free composition of the following techniques:
    • bimodal’
    • bitonal
    • centric music
    • diminished scale
    • Locrain mode on Ab
    • Lydian-Mixolydian mode on D
    •  octatonic scale
    • multiple simultaneous ostinatos plus planing
    • pentatonic  on Bb
    • split-third chord
    • whole tones music
    • hexatonic scale
    • Using the text tool write 3-5 sentences that explains how symmetry and palindromes might be an important design feature in a piece of music
    • Post your file to Dropbox
  15. Due Feb 15  Read Chapter 35.  Make a list of all terms, write out definitions of all terms.  Each person in class will be called upon to teach any one of the terms.  Underline/note in the text where the term  is discussed and which musical example goes with the term.
  16. Due Feb 20 Sketch a work for voice and 2 or 3 instruments that use at least three of the 20th century techniques that were covered in Chapter 34.  Bring to class your text ( it must be on a serious theme related to contemporary issues in our world today), the techniques you will use, a preliminary sketch of the work, a written discussion of how the techniques will be related to the text and the musical plan for the work.  Length is about 1-2 minutes, no more.
  17. Due Feb 20 Workbook Chapter 35.1
  18. Due Feb 20  Download a score to Debussy’s “La cathedral engloutie.”  Listen to the work several times.  Analyze the meter and rhythm, pitch centers and the mode/scale used in the first 43 measures.  Identify any important motives.  How is this work different from the music of the common practice period (look this term up if you are not familiar with it).
  19. Including the current chapter on meter and rhythm create 10 questions that review the material studied this far.  Omit the material on Form and Analysis.  Upload your questions to Dropbox/Midterm.
  20. Midterm Exam Chapters 30-31 and 34-35.  Be sure to submit your questions (see above)  Any one of the submitted question could appear on the midterm.
  21. Download the assignment Music Theory IV Mid.Exam 2018.  Complete before arriving in class as homework.  Allow as much time as you want. You are to work on the honor system to complete the assignment.  Open book.  You will receive you Tuesday in class exam back and be able to add to it, complete it, or correct it.
  22. Due March 13:  Allow 2.5 hrs.  Workbook 36.1-3 all.  Terms to know:  integer notation, compact form = normal form, orders pitch and pitch-class internals, transposing pitch and pitch-class sets, transposing pesetas, inverting pitch and pitch-class sets, interval-class vectors.  Look up and study the last two terms as these are new and were not covered in lecture.  Study these terms specifically in the textbook.
  23. Due March 15:  Read all of Chapters 36 and 37. Complete Workbook 36.1-3 and 37.1-3.  We will  go over these in class.  How are these problems similar, how are they different?
  24. Due March 20-make significant progress on your 29th century song.  See requirements above.  Submit the draft Finale file to Dropbox.  You will present your draft in class.
  25. Due March 22-Set theory assignment emailed to each student.
  26. Due March 27 -Final composition with annotations submitted to Dropbox
  27. Due March 29- Chapter 36-Workbook 36.1-36.5
  28. Due After Easter Break:  Workbook Ch 37.1-37.4  Read Chapter 37.  Submit your Proposal for a set theory/contemporary rhythm & meter work.  Include the assignment description at the top followed by your proposal.  Be specific.  Use the lecture notes from Tuesday’s lecture as your guide.
  29. Due April 5:  2 min explanation of your chosen sets and set transformations for your composition.  Workbook Ch. 37.1-37.4-review selected questions in class, each student will present a different part of the assignment. Read Chapter 38 and complete all TryIt exercises in the textbook.
  30. PCS composition due April 17, no late work accepted.  Use high quality instruments, mark all articulations, slurs, dynamics, hairpins, tempo markings.  Balance the mixture, adjust pan, check reverb setting.  Fully annotate the score with text boxes. Tie text boxes to the specific measure it describes (required).  No extra measures at the end of the work,  Layout the work so that it can be easily read.  Check all note spacing-use the note spacing command.
  31. Due April 10 .  Read Chapter 38  Ordered Segments and Serialism.  Complete the Workbook Exercise 38.1 all and 38.2  all.  Read the there pages emailed on Schoenberg and composition.  See your email.
  32. Due April 10 Read the following writings of Arnold Schoenberg:  To be posted soon.
  33. April 12: Continue work on your composition.  Workbook Exercises from Ch 38- complete your assigned components as stated in class. Listen to the compositions.  Share your answers with your group.  Each group will have 20 minutes ( 10 minutes per project) to organize a presentation of the answers.   Also, during your group meeting review the vocabulary at the end of Chapter 38 and apply that vocabulary to appropriate segments of your presentation.
  34. April 17  Your PC set composition is due, no late work accepted.  Group II will present in class after the compositions are reviewed.  Be able to use these calculators:
  35. April 19:  Workbook 38.5 and 38.6  Use the calculator No. 2 above  for 38.5 C and D..  This will make your work much easier.  Save a screen shot of the calculator solution or copy it down.  Using the calculator you should be able to do these in less than 30 minutes.  Read this 2013 Guardian story regarding the Webern Symphony and listen the Webern Symphony Op. 21 three times.  Allow 30 min. or less.  Total assignment 1 hr.
  36. April 23:  Create a list of terms, bring to class, cover all concepts from the 20th century forward.  Complete a composition of your choice.  Due date changed to the last day of class.
  37. Last week  of class Tuesday and Thursday WorkbookAssignments (Third Edition-photocopy from someone’s workbook if necessary):
    1. Connor  39.1
    2. Brian 29.2
    3. Mary Kate 39.3
    4. Natalie F 39.4
    5. Amelia 39.5
    6. Christian 40.1
    7. Violet 40.2
    8. Natalie M 40.3
    9. Alex 40.4
    10. Maria 40.5

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