Creative Arts Department

Topical Syllabus

Course Title:

MUSC 1313, Commercial Music Theory I, (3:3:0), Prerequisite: MUSI 1301

Instructor:

Ed Marsh

Office:

CB 110 Office Hours: As posted Office Telephone: (806) 894-9611, ext. 2274 - voice-mail configured. E-mail: emarsh@spc.cc.tx.us

Office Hours:

As posted

South Plains College Improves Each Student's Life

The final examination in this course is cumulative. This text is a unit-by-unit study guide, and uses actual test questions from previous final exams. The sections in this document correspond to the testing units in the course. The student is encouraged to follow this study guide during each class (with assurance that it constitutes the bulk if not totality of the course content).

UNIT ONE: THE DIATONIC SYSTEM

I. Key Signatures

 On the staff below, write and clearly label the key signatures for the following keys: Db, D, E, Eb, A, and C.

II. Diatonic Scales and Triads

On the staves provided, write the major scales and diatonic triads in the following keys: B and Ab. Be sure to label each triad with the proper number and sign (min., dim., etc.).

III. Relative And Parallel Minor Keys

On the staves provided, write the relative and parallel minor scales and all diatonic triads of the following major keys: A, D, and Bb. Be sure to label each triad with the proper number and sign (where applicable).

IV. Modes

Write the requested scales on the staves below; be sure to provide the proper key signature for each.

A. "A" as a "seven" scale (Locrian)

B. "A" as a "six" scale (Aeolian)

C. "B" as a "three" scale (Phrygian)

D. "Two" scale in the key of A major

E. "Four" scale in the key of Eb major

F. "Five" scale in the key of Ab major

V. Intervals

NOTE: Interval study is critical to understanding the subtle differences between scales, and chords.

Make a chart showing how many and what kind (major, minor, augmented,and diminished) of seconds, thirds, fourths, fifths, sixths, and sevenths exist within a standard key signature (the chart below is an example).

Interval #

How many of each quality

2nds

5:M, 2:m

3rds

3:M, 4:m

4ths

6:P, 1:A

5ths

6:p, 1:d

6ths

4:M, 3:m

7ths

5:m, 2:M

UNIT TWO: CLOSE HARMONY

NOTE: This unit centers on the process of 3-part, diatonic, close harmony.

I. Short Answers

A. What are the harmony parts above and below the Lead called?

B. What are pitches that are not in the chord called?

C. In the related triad strategy, to what are these triads related?

D. Circle the pitches not in the triad and draw arrows to the chord note that each replaces.

 1 2 3 4 5 6 7 1

II. Non-Harmonic Tone Integration

The staff below contains a melody with standard chord symbols. You are to harmonize it with standard tenor and baritone harmony parts. All harmonic tones should be harmonized in the standard way The non-harmonic tones should be harmonized according to their "function" (2, 4, 6, and 7) in the chord. Label the 6th chord, 7th chord or suspended chord substitution. Each non-harmonic tone should be circled and numbered (below the staff please) according to its function in the chord.

III. 3-Part Harmony, Using "Related Triads" -- All-Major or All-Minor Diatonic-Non-Harmonic-Tone Substitution

In the following melodic example use the 3-part close harmony style. Harmonize the melody according to the chords shown above the staff and use the Related Triads method for notes which are not in the chord. Be sure to circle the non-chord notes and label the related triad you choose. Circle and number the non-harmonic tones, and harmonize them with diatonic major triads or diatonic minor triads. Make sure to label the substitute chord you selected (above the staff in parentheses.)

UNIT THREE: HARMONIC (CHORD) PROGRESSION

Note: There are two ideas of chord progression "floating" around among musicians. The technical term is more narrow than the common one. In the common definition, several chords in a row form a chord progression (with no further qualification). In the technical sense, which chords follow which determines the exact nature (or type) of progression.

I. Chord progression by Voice-Leading

Harmonize the following progression by moving the "voices" the least distance possible.

A. Write a 3-voice chordal harmonization using as little movement as possible from chord to chord.

B. Write a 3-voice chordal harmonization where each movement has a net downward movement.

C. Write a 3-voice chordal harmonization where each movement has a net upward movement.

II. Definitions

Write a concise explanation of the following.

A. Dominant progression (give no. order 1 through 1)

B. Relative progression (give no. order 1 through 1)

C. Parallel progression (give no. order 1 through 1)

D. What is retrograde?           

III. Analyzing the chords in a progression

Analyze the chords in the following progression and put the chord number and symbol (maj., min., dim.) above each.

IV. Analyzing Chord Progressions

A. Fill in the blanks with the type of progression and order (plain or retrograde).

1. 1_______3_______6________2________4

2. 1_______5_______3________4________7

3. 4_______2_______5________1________6

B. Write the chord that comes next according to the function listed.

1. Relative from 4 _____

2. Retro. dominant from 2- _____

3. Parallel from 5 _____

4. Retro. relative from 1 _____

5. Dominant from 3- _____

6. Retro. parallel from 6- _____

UNIT FOUR: CHORD SUBSTITUTION

I. Modern Chord Symbols and Upper-Structure

Make a chart that shows the five categories of modern chord symbols, and fill in the triad built on each degree of the chord with the proper chord symbol (the chart below is an example).

Chord Degree

Augmented

Major

Dominant

Minor

Diminished

9th

 

D-

D-

D-

 

7th

 

Bdim

Bb

Bb

 

5th

G+*

G

G-

G-

G-*

3rd

E+*

E-

Edim

Eb

Eb*

Root

C+

C

C

C-

Cdim

Mode

?

Ionian

Mixolydian

Dorian

?

*These chords are questionable for reasons discussed in class.

Question: What are the three types of 13th chords; and, on which modes are they based?

II. Three-Part Harmony: Upper Structure Ninth Chords

Using 3-part close harmony (lead w/tenor and baritone), substitute appropriate upper-structure triads to achieve a "ninth-chord" harmonization of the melody. Write the chord symbol of each "substitute" chord in parentheses below the actual chord symbol. Circle the non-harmonic tones and number them below the staff. (Reminder: number them as they relate to the "new" chord, not the original.) When you have completed the harmonization, write the symbol of the chord the singers will actually sing above the original chord symbol.