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MUS 211 3
(Music Theory III)
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6. (Pre-requisite)
MUS 112
7. (Co-requisites)
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1 - The overtone series; the derivation of the major 6 Lecture, analysis of Dr. Jiradej
scale and the major triad from the overtone series; musical excerpts, Setabundhu
triads in major and minor modes; four-part writing listening, exercise
concept; doubling; spacing; figured bass for triads
in root position.
- Consonance: chord connection of triads in root
position with one common tone, two common
tones, and no common tone.
2-3 - Primary triads: Tonic, Dominant and 12 Lecture, analysis of Dr. Jiradej
Subdominant; harmonic functions of the diatonic musical excerpts, Setabundhu
triads; harmonic progression; the circle of fifth. listening, exercise
- Dissonance: strict treatment of dissonance by
means of preparation and resolution; voice-leading;
diminished triads: ii - V (minor mode), vii - iii
(major mode).
4-5 - Melody and its effect on chord connection, 12 Lecture, analysis of Dr. Jiradej
especially on the use of common tone. musical excerpts, Setabundhu
- Nonchord tones (passing tone, neighboring tone, listening, exercise
free neighboring tone, escape tone, appoggiatura,
anticipation and suspension); cadences (perfect
authentic cadence, imperfect authentic cadence, half
cadence, plagal cadence.)
- Triads in 1st inversion; figured bass for triads in 1st
inversion; doubling of the fifth and the third; the
application of triads in 1st inversion for a variety of
harmonic shading and a more melodic bass line.
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7-8 - Dominant seventh chord: treatments of 12 Lecture, analysis of Dr. Jiradej
dissonances and voice-leading; figured bass; strict musical excerpts, Setabundhu
and free resolutions of the seventh and the third listening, exercise
(leading tone) of the dominant seventh chord.
- Dominant seventh chord: first, second, and third
inversions; deceptive progression (or cadence.)
9 - The vii - I progression; strict and free resolutions 6 Lecture, analysis of Dr. Jiradej
of the fifth and the root (leading tone) of vii; the musical excerpts, Setabundhu
differences and similarities in the treatment of listening, exercise
dissonances and voice-leading in the V7 - I and vii
- I progression.
10 - Triads in 2nd inversion; figured bass for and the 6 Lecture, analysis of Dr. Jiradej
instability of triads in 2nd inversion; the fourth as a musical excerpts, Setabundhu
dissonance; strict treatment of dissonance by means listening, exercise
of preparation and resolution; other application of
triads in 2nd inversion arpeggio, neighboring
chord, passing chord, suspension chord and
appoggiatura chord.
11 - viio7, vii7 ii7 and ii7: treatments of dissonances 6 Lecture, analysis of Dr. Jiradej
and voice-leading. musical excerpts, Setabundhu
- Other seventh chords and their inversions. listening, exercise

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1.2, 3.2 Attendance / class participation 1-11 10%
1.2, 2.1, 2.2, 3.2 Homework / assignment / quizzes 2-5, 7-11 30%
1.2, 2.1, 2.2, 3.1 Midterm examination 6 30%
1.2, 2.1, 2.2, 3.1 Final examination 12 30%

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1.
(2010). www.rsu.ac.th/music/elearning.html
2.
Benjamin, T., Horvit, M., & Nelson, R. (2003). Techniques and Materials of Music (6th ed.). California:
Wadsworth Publishing Company.
Hindemith, P. (1943) A Concentrate Course in Traditional Harmony. New York: Schott & Co, Ltd.
Piston, W., & Devoto, M. (1987). Harmony (Revised edition). London: St Edmundsbury Press Ltd.
Schoenberg, A. (1983). Theory of Harmony. Berkeley: University of California Press.
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