Harmony & Theory II

Kutztown University of Pennsylvania
Department of Music
MUS 202
Harmony & Theory II
Approved by Department: November 4, 2003
Course Description
This course is designed to follow the foundation course in harmony and music theory, extending to
chromatic harmony and modulation. The study of secondary dominants and seventh chords and their inversions
will begin the study of modulation, along with harmonic sequences, pivot chords, direct change of key, borrowed
chords, and other elements of chromatic harmony. This course should be taken with MUS 201, Aural Skills II.
Prerequisite:Harmony and Theory I (MUS 102); Aural Skills I (MUS 101)
Three credit hours, three clock hours
Course Rationale
To understand the complex harmonic, melodic and formal structures on which much music is based, students
need to study musical masterpieces, analyze them, and compose their own musical patterns based on these
Course Objectives
The student will demonstrate knowledge of chromatic chords, secondary triads,
seventh chords including secondary dominants, pivot chord modulation,
direct modulation, and borrowed chords.
The student will demonstrate knowledge of and be able to utilize compositional
techniques of the 17th through the 19th centuries.
The student will be able to demonstrate advanced part-writing skills and
The student will be able to analyze harmonic, melodic and rhythmic material.
The student will create several original compositions using the techniques above.
Course Outline
I. Fundamentals of Part-writing: Review
A. Ranges, doubling, voicing
B. Use of inversions
II. Modulation
A. Secondary dominant chords
B. Pivot chord modulation
C. Harmonic sequence
D. Direct change of key
III. Further Dominant Relationships: the Leading Tone Chords
A. Secondary leading tone triads
B. Diminished seventh chords
C. Modulation with diminished seventh chords
IV. Binary and Ternary Forms
VI. Less Common Chord Progressions
A. Review of standard progressions and exceptions to common practice
B. Extended part-writing procedures
VII. Application of Part-writing to Instrumental Writing
A. Realizing a figured bass
VIII. Diatonic Seventh Chords
A. Construction of major-major, minor-minor and other seventh chords
B. Use singly and in sequence
IX. Borrowed Chords
A. Temporary change of mode
B. Neapolitan sixth chord
C. Augmented triads
Assessment of each student’s level of accomplishment with reference to the course objectives will be based upon
the following:
A. Regular assignments in analysis, part-writing, and short, guided composition
B. Creative projects including composition, in-class student presentations and
C. Examinations and quizzes
Robert Ottman: Elementary Harmony, fifth edition. Englewood Cliffs, NJ: Prentice Hall, Inc., 1998
Instructional Resources:
Arlin, Mary, et al. Music Sources, second edition. Englewood Cliffs, NJ: Prentice Hall, 1989.
Benward, Bruce. Music in Theory and Practice, sixth edition. Dubuque, Iowa: William
C. Brown Publishers, 1997.
Gauldin, Robert. Harmonic Practice in Tonal Music. New York: W.W. Norton and Company, Inc., 1997.
Kostka, Stefan, and Dorothy Payne. Tonal Harmony. New York: McGraw Hill, 2004.
Levy, Ernst. A Theory of Harmony. Albany, NY: Sate University of New York Press, 1985.
Rumery, Kenneth R. Introduction to Musical Design. Dubuque, Iowa: Wm. C. Brown,
Piston, Walter. Harmony, fifth edition. New York: W. W. Norton, 1987.
Spencer, Peter. The Practice of Harmony, third edition. Upper Saddle River, NJ: Prentice-Hall, Inc., 1996.
Turek, Ralph: The Elements of Music, second edition. New York: McGraw-Hill, 1996.