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# MUSI 1314

Course Schedule
Spring 2016
Wednesday, January 20, 2016 Class 01
Topics: Review of Tones of Figuration, Suspensions
Class Activities: Exercises from Chapter 10
Friday, January 22, 2016 Class 02
Topics: Review of Suspensions, Six-Four Chords
Class Activities: Exercises from Chapter 11 (other than 11.7)
Monday, January 25, 2016 Class 03
Topic: Six-Four Chords, Revisiting the Subdominant (EC and PC)
Class Activities: Exercises from Chapter 11 (other than 11.7)
Wednesday, January 27, 2016 Class 04
Topics: Nondominant Seventh Chords, Embedded Phrase Model
Class Activities: Exercises from Chapter 12 (other than 12.9)
Friday, January 29, 2016 Class 05
Class Activities: Exercises from Chapter 12 (other than 12.9)
Assignment 1 due:
Part 1: Laitz W & A workbook Ex. 11.7 (p. 179).
Analysis: At level 1, identify the key and analyze the harmonies,
including figures for the suspensions and six-four chords. At level 2A,
identify the N, P, Pw, Arpw, Pedw, and Cadw chords. Leave level 2B
unanalyzed: we will discuss it in class. Label the cadence.
Writing: Fill in the inner voices and check your voice leading. The F#
and A in the soprano in m. 2 are unharmonized passing tones. Remember
to double the bass of the six-four chords. Sample voicings of the six-four
chords are shown in Ex. 11.14 on p. 238 of the Laitz text. You may need
to review the bass suspension, which is explained and illustrated on pp.
214-7 of the Laitz text. The voice leading for the passing IV6 needs to be
constructed carefully. Review pp. 154-5 of the Laitz text.
Part 2 (handout): Write the following progression in a major key of your
choice, in chorale style: K Lw K^ KL(_* Lwyq K.

Analysis: At level 1, write the key and the harmonic analysis below the
staff. At level 2A, label the Pw and Cadw chords. At level 2 B, show the
phrase model (T-PD-D-T). Label the cadence.
Writing: You may begin with scale degree 1, 3, or 5 in the soprano. Use
proper chord spacing and doubling. Conclude the exercise with a PAC.
Check your work for voice leading errors and correct any errors you find.
Monday, February 1, 2016 Class 06
Topic: Submediant
Class Activities: Exercises from Chapter 13
Wednesday, February 3, 2016 Class 07
Topics: Contextual Analysis, Step-Descent Bass
Class Activities: Exercises from Chapter 13
Friday, February 5, 2016 Class 08
Topic: Submediant, cont.
Class Activities: Exercises from Chapter 13
Quiz 01: Suspensions, Six-Four Chords and EC
Monday, February 8, 2016 Class 09
Topic: Mediant
Class Activities: Exercises from Chapter 14
Assignment 02 due:
Part 1: Laitz W & A workbook Ex. 12.9 (p. 201).
Analysis: At level 1, identify the key and analyze the harmonies. At level
2A, identify the CS, N, IN, Arp, and Cadw chords, and bracket and label
the EPM. Above the staff, bracket and label the subphrases. (The last
subphrase begins on beat 4 of measure 4.) At level 2B, identify the
components of the phrase model (T-PD-D-T). Label the cadence.
Writing: Write the upper voices and check your voice leading. Be sure to
prepare the suspensions by common tone and to resolve them in the
same voice.
Part 2 (handout): Write the following progression in A major, in a meter of
K Le K kk^ K^ kk Lwyq K.
Analysis: At level 1, write the key and the harmonic analysis below the
staff. At level 2A, label the N, P, and Cadw chords, and bracket and label
the expanded pre-dominant (EPD). At level 2B, show the phrase model (TPD-D-T). Label the cadence.

Writing: You may begin with scale degree 1, 3, or 5 in the soprano. Use
proper chord spacing and doubling. Voicing for the expanded PD can be
challenging. A workable voicing is shown in Example 12.10 on p. 256 of
the Laitz text, but you will need to reverse the order of the chords given
there in order to write the progression for this exercise. Conclude the
exercise with a PAC. Check your work for voice leading errors and
correct any errors you find.
Wednesday, February 10, 2016 Class 10
Topic: Back-relating Dominant (BRD)
Class Activities: Exercises from Chapter 14
Friday, February 12, 2016 Class 11
Topic: Writing Harmonic Progressions
Class Activities: Exercises from Chapter 14
Monday, February 15, 2016 Class 12
Topic: Intro to Sentence and Period
Reading: Theme Types handout, pp. 1-2
Class Activities: Handout and exercises from Chapters 15 and 16
Assignment 03 due:
Part 1: Realize the given figured-bass exercise in chorale style.
Analysis: At level 1, identify the key and analyze the harmonies. For the
analysis of the chord on beat 2 of m. 2, see the Laitz text, pp. 288-9. For
the analysis of the six-four chords in mm. 3-4, review the Laitz text,
chapter 11, especially Ex. 11.14 on p. 238. At level 2A, identify the P
chord. At level 2B, identify the components of the phrase model (T-PD-DT). Label the cadence.
Part 2: Write the following progression in F# minor, in a meter of your
choice:
k L/KKK KKK kko^ L LK
Analysis: At level 1, identify the key and copy the harmonic analysis
below the staff. At level 2B, identify the components of the phrase model
(T-PD-D-T). Note that this is a subphrase and not a complete phrase. It
ends with a deceptive motion in which the submediant acts as tonic
substitute (T). Review the use of the submediant and tonic substitute in
the Laitz text, pp. 271-2.
Wednesday, February 17, 2016 Class 13
Topic: Period

## Class Activities: Handout and exercises from Chapters 15 and 16

Friday, February 19, 2016 Class 14
Topic: Period, cont.
Reading: Theme Types handout, pp. 1-4 (up to Hybrid Themes sections);
Laitz text, pp. 297-309
Class Activities: Handout and exercises from Chapters 15 and 16
Quiz 02: Expanded PD and EPM, Submediant
Monday, February 22, 2016 Class 15
Topic: Sentence
Class Activities: Handout and exercises from Chapters 15 and 16
Assignment 04 due: Thematic analysis of Haydn, Piano Sonata in F, Hob.
XVI:9, mvt. 3, mm. 1-8
Harmonic Analysis: Identify the key. Change roman numerals when the
harmony changes. (That is, dont feel that you need to assign a roman
numeral to every bass note.) Be sure to distinguish between cases in
which the note in the accompaniment is likely to be the bass note and
cases in which the apparent bass note is more likely to be part of an
arpeggiation within a chord. At level 2, identify the components of the
phrase models (T-D-T). (Note: the simple harmony in this theme does not
make use of pre-dominants.) Label the cadences.
Phrase Analysis: Bracket and label the b.i. and c.i. within each phrase.
Above those labels, bracket and label the antecedent and consequent
phrases.
Wednesday, February 24, 2016 Class 16
Topic: Sentence, cont.
Class Activities: Handout and exercises from Chapters 15 and 16
Friday, February 25, 2016 Class 17
Topic: Catch-Up Day
Reading: review Laitz text, pp. 297-316
Class Activities: Handout and exercises from Chapters 15 and 16
Monday, February 29, 2016 Class 18
Topic: Extensions and Compressions
Class Activities: Handout and exercises from Chapters 15 and 16
Assignment 05 due: Thematic analysis of Beethoven [?], Piano Sonatina in
G, mvt. 1, mm. 1-8
Harmonic Analysis: Identify the key. Change roman numerals when the
harmony changes. (There is an EPM over a tonic pedal in mm. 5-6. This
has been analyzed for you.) At level 2, identify the components of the

## phrase model (T-PD-D-T). The initial tonic is prolonged from the

beginning until the start of the cadential progression in m. 7. (The
dominant harmony in mm. 3-4 acts as an embellishing chord [EC],
expanding the initial tonic harmony.) Label the cadence.
Phrase Analysis: Bracket and label the b.i.s, frag.s, and cad. within the
presentation and continuation. Above those labels, bracket and label the
presentation and continuation.
Wednesday, March 2, 2016 Class 19
Topic: Diatonic Sequences
Class Activities: Handout and exercises from Chapters 15 and 16
Friday, March 4, 2016 Class 20
Topic: Diatonic Sequences
Class Activities: Exercises from Chapter 17
Quiz 03: Submediant, Mediant, BRD, Phrase organization, small
forms
Monday, March 7, 2016 Class 21
Topic: Diatonic Sequences
Class Activities: Exercises from Chapter 17
Assignment 06 due (potentially cancelled): Thematic analysis of
Mozart, String Quartet in A, K. 464, mvt. 1, mm. 1-16
Harmonic Analysis: Identify the key. Change roman numerals when the
harmony changes. In mm. 9-12, the instruments double a melody in
octaves. It is still possible to infer a likely harmonic progression here.
Hint: it is incorrect to label the harmony in mm. 11-12 as ii. At level 2,
identify the components of the phrase model(s) (T-PD-D-T). The initial
tonic is prolonged from the beginning until the start of the cadential
progression in m. 13. (The dominant harmony in mm. 5-7 acts as an
embellishing chord [EC], expanding the initial tonic harmony.) Label the
Phrase Analysis: You will need to decide whether the theme is a
compound period or a compound sentence. Your choice should be
consistent with the number of cadences that you find in the theme. Once
you decide on a theme type, use the Introduction to Theme Types
document to help you determine how to label the components of the
theme.
Wednesday, March 09, 2016 Class 22
Topic: Diatonic Sequences with Seventh Chords

## Class Activities: Exercises from Chapter 17

Friday, March 11, 2016 Class 23
Midterm Exam on Chapters 11-17
Week of March 14, 2016: Spring Break
Monday, March 21, 2016 Class 24
Topic: Applied Dominant Chords
Class Activities: Exercises from Chapter 17
Assignment 07 due:
Part 1: Identify key and analyze at the 1st level. Regarding the analysis
of chord pairs whose figured bass is indicated by 5-6, see Laitz text
Example 13.14 on p. 279. (Note that, in Chapter 17, Laitz omits analysis
at level 1 during sequences. The majority of theorists include romannumeral analysis within sequences. Laitzs omission of the roman
numerals is an extreme position, and should be avoided. The proper
place in which to show which harmony is being extended by the
sequence is at level 2.) Bracket and identify sequences by type (D5, A5,
D3, A3, D2, A2) and specify outer-voice interval pattern (5-10, 6-6, etc.).
Fill in inner voices, using proper doubling, and using patterned voiceleading in sequences. There is an elided PAC and a final PAC. Identify
both cadences. At level 2, show the phrase models (T-PD-D-T). Keep in
mind that the second T from the first phrase model also serves as the
first T of the second phrase model. You should have seven symbols in all.
Part 2: Write two sequences (in keys of your choice) based on types that
are different from those used in Part 1. Each sequence must contain at
least four chords. Use patterned voice leading in all voices within the
sequence. Bracket and label each sequence by type (D5, A5, D3, A3, D2,
A2) and specify outer-voice interval pattern (5-10, 6-6, etc.).
Wednesday, March 23, 2016 Class 25
Topic: Applied Dominant Chords
Activity: Exercises from Chapter 18 (other than 18.7 or 18.18)
Friday, March 25, 2016 Class 26
Topics: Applied Dominant Chords, cont.; Incorporating Applied Chords
within Phrases
Activity: Exercises from Chapter 18 (other than 18.7 or 18.18)
Monday, March 28, 2016 Class 27
Topic: Sequences with Applied Chords

## Reading: Laitz Text, pp. 362-7

Activity: Exercises from Chapter 18 (other than 18.7 or 18.18)
Assignment 08 due: Laitz W & A Workbook Exercise 18.7 (pp. 277-8)
Where indicated by the arrows, use applied dominant chords (triads or
7th chords), in root position or inverted. The applied leading tones and
applied 7ths (if any) are tendency tones: be careful to avoid doubling
them, and to prepare and resolve them properly.
Wednesday, March 30, 2016 Class 28
Topics: Sequences with Applied Chords, cont.; Summary of Diatonic and
Applied-Chord Sequences
Activity: Exercises from Chapter 18 (other than 18.7 or 18.18)
Friday, April 1, 2016 Class 29
Topic: Extended Tonicization
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Quiz 04: Diatonic Sequences, Applied Chords
Monday, April 4, 2016 Class 30
Topic: Extended Tonicization, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Assignment 09 due: Laitz W & A Workbook Exercise 18.18 (pp. 289-90)
Write sequences using diatonic and/or applied triads or seventh chords,
in root position or inverted, as suggested by the given bass lines. Make
sure that the voice leading is patterned throughout the sequences.
Analyze, using roman numerals and, as needed, figured-bass symbols.
Label the sequences by type (e.g. D5, A5, etc.) and by outer-voice
interval pattern (e.g. 10-5, 7-10, etc.).
Wednesday, April 6, 2016 Class 31
Topic: Modulation
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Friday, April 8, 2016 Class 32
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Monday, April 11, 2016 Class 33
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)

## Assignment 10 due: Laitz W & A Workbook Exercise 19.5 (p. 299)

Realize the figured basses and analyze. Label the cadences. In Exercise
19.5 B, bracket and label the EPM.
Wednesday, April 13, 2016 Class 34
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Friday, April 15, 2016 Class 35
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10)
Quiz 05: Sequences with Diatonic and Applied Chords, Applied Chord
Spelling
Monday, April 18, 2016 Class 36
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10) and
excerpts (handout) for analysis
Assignment 11 due: Laitz W & A Workbook Exercise 19.10 (p. 305)
Realize the figured basses and analyze. Label the cadences. In Exercise
19.10 B, bracket and label the EPM.
Wednesday, April 20, 2016 Class 37
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10) and
excerpts (handout) for analysis
Friday, April 22, 2016 Class 38
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10) and
excerpts (handout) for analysis
Monday, April 25, 2016 Class 39
Topic: Modulation, cont.
Activity: Exercises from Chapter 19 (other than 19.5, 19.8, or 19.10) and
excerpts (handout) for analysis
Assignment 12 due: Laitz W & A Workbook Exercise 19.8 (p. 302)
For each example, specify the key and provide a harmonic analysis,
including change of key and pivot chord. In a two-voice texture it is often

## necessary to infer the identity of the harmony. Use your knowledge of

harmonic progressions to guide your interpretation. A few bass notes
may be melodic embellishing tones rather than members of chords.
Compare the bass with the upper part and use your knowledge of
phrases and specify whether each example is a period, sentence, or
hybrid theme type (e.g. antecedent + continuation, etc.).
Wednesday, April 27, 2016 Class 40
Topic: Modulation, cont.