Creative Arts Department
 

TOPICAL SYLABUS

Course Title:

MUSC 2313, Commercial Music Theory II, (3:3:0), Prerequisite: MUSI 1313

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: TRANSCRIPTION/MODULATION

NOTE: Transcription, modulation, and harmonic (chord) substitution are so intertwined that their separate study is difficult. However, by considering the distinctions, we can learn a great deal.

I. Review of 3-part Close Harmony

Harmonize the following melody using:

Non-Harmonic tone integration

Major Related Triads

Minor Related Triads

Diatonic 9th Chord Substitution

II. Review of Keys Signatures, Diatonic Scales and Modes

Construct various key signatures (major & minor), scales, and modes.

III. Short Answers

A. What do we call keys that share a key signature
B. What do we call keys that share a half-step?
C. Name two keys that share two "common" chords.
D. Name two keys that share four "common" chords.
E. What is meant by the term "closely-related keys" ?

IV. Saxophone Transcription
Using the harmonization you did in the previous section, write a 4-part sax arrangement (Eb Altos 1 & 2 and Bb Tenors 1 & 2). Put the lead in octaves with the harmony between. I've given you an extra staff so (if you want to) you can make a score on this sheet.

NOTE: In the following examples, you will: 1] copy the example in the original key; 2] transposed the example into a new key; 3] provide any additional chords required by the modulation method; and 4] label the original and new key in the proper manner.

V. Surprise Modulation

Using the example above, demonstrate a surprise modulation to a key of your choice. Label the keys in the proper manner.

VI. 5 And Go Modulation
Using the example above, demonstrate a V and go modulation to a key of your choice (other than one you already used). Place the appropriate modulation chord in the measure prior to the double bar; then, rewrite the entire melodic example and chord symbols in the new key. Label the original and the new key properly.

VII. Pivot-Chord Modulation
Using the example above, demonstrate a pivot-chord modulation to a key of your choice (other than the ones you have already used). Write in the appropriate chord symbols for the sections of melody you use and the modulation. Label the keys in the proper manner.

VIII. Prepared Modulation

Compose a prepared modulation to the key of B. Construct a melodic bridge that modulates progressively through each intermediate key in order. Label the keys in the proper manner.

UNIT TWO: HARMONIC (CHORD) SUBSTITUTION

NOTE: Historically, the first signs of chord "substitution" appear as the "trading in" or "borrowing" of a chord in the key for the one belonging to the parallel minor key. Naturally, this is a good place for us to start.

I. Parallel Keys
On the staves provided, write the parallel major and minor key signatures of D. Write all the diatonic triads in each key and number each triad using the proper sign (when applicable).


II. Borrowed Chord Substitution (Note: Chord type depends on key)
A. Borrowed 5
B. Borrowed 7
C. Borrowed 2, 5 of Target Chord
D. Borrowed 4, 7

III. Harmonic and Melodic Minor

On the staves provided, write the parallel major and minor key signatures for the following keys: G, A, and E. Circle the accidental(s) in the major key signatures that are used to create the harmonic and melodic minor scales. Label clearly which are used in which.

IV. Dominant Chord Progression

On the staves below, write a 57 to 1 progression in all twelve keys. In the bass, use root movement up a perfect fourth. In the right hand, voice the 57 chord in "close" voicing (with the seventh on the bottom) resolving to a "perfect" voicing of the 1 chord. This will result in a five pitch voicing on the 57 and a four pitch voicing on the 1. Label each key and number the chords in each progression.

NOTE: Subdominant progression is the same (another term for) retrograde dominant progression.

V. Dominant and Subdominant Substitution
A. Subdominant Substitution - List the subdominant substitutes (numbers and chord symbols) for the following chords.

1. 4 of G minor
2. 4 of F major
3. 4 of Ab major
4. 4 of B minor

B. Dominant Substitution - List the dominant substitutes (numbers and symbols) for the following chords.
1. 5 of B major
2. 5 of Eb major
3. 5 of C minor
4. 5 of A minor

V. Neapolitan and Tritone Substitution
NOTE: This type probably springs from the b6, 5, 1 progression transposed to the b2 chord.

List the Neapolitan substitutes for the following chords.

1. G
2. Bb
3. A
4. Db
List the tritone substitutes for the following chords.
1. C
2. D
3. B
4. Eb
Dominant 7(flat 5) - Spell the following chords and tell what other dom.7(flat 5) chord it is.
1. C 7(b 5)
2. B 7(b 5)
3. G 7(b 5)
4. E 7(b 5)

VI. Chord Function & Progression
A. What is the difference in "labeling" and telling the "function" of a chord ?
B. 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.

C. On the staves below, write and label the three 13th chords requested and their five upper structure triads. For each, list the triad that originates from its 3rd, 5th, 7th, and 9th and label each triad with the appropriate chord symbol; FM13th, Gm13th, or CDom.13th

UNIT THREE: MELODIC STUDIES

       I.      Melodic Mirrors

A.                             What do we call the bit of melody used to create a sequence?

B.                             What is Sequencing?

C.                             What is Inversion?

D.                            What is a tonal sequence/inversion?

E.                             What is a real sequence/inversion?

F.                             What does retrograde mean?

    II.      Writing Sequences, Inversions and Retrogrades

In the staves below, write an example of the requested operation.

A.     Tonal sequence ascending by thirds

B.     Real sequence descending by major seconds

C.     Retrograde

D.     Real inversion

E.      Tonal inversion


III. Finding sequences, inversions and retrograde

In the staves below, mark all the example of these operations you can find

 III.      Augmentation and Diminution
Below, use augmentation in the first measure and diminution in the second.


V. Counter-Point

A.     Using the example below, invent and notate a counter-melody whose timing and pitch direction contrasts the example.

B.     Using the given melodies, write a counter-rhythm for each.

C.     Use the counter-rhythm to harmonize the melodies.
C. Design a counter-rhythm to use with "punch" chords.

Back to class materials