Music 201: Harmony I
Los Angeles City College
Fall 2011: Mondays and Wednesdays, 10:35-12:00; DaVinci Hall 309
Dr. Kevin J. Kelly
Office: DaVinci Hall 312A
Office Phone: 323-953-4000 x2889 • E-mail: kellykj@lacitycollege.edu
Office Hours: M,W,Th: 1:30-3:00; F: 12:30-1:30
Objectives: This course is an introduction to the vocabulary and grammar of tonal music. We
will study the basic “building blocks” of tonal harmony and how these elements are used by
composers. We will cover melody and melodic organization, diatonic triads and the dominant
seventh chord, cadences and small forms, non-chord tones, as well as some common rhythmic
devices. We will explore these areas through analysis of representative works from the Classical
period and short, focused composition assignments and harmony exercises. As a result of
completing this course, the student will be able to:
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Write, recognize, and demonstrate the uses of primary and secondary triads in root position and
first inversion in all major and minor keys.
Write, recognize, and demonstrate the uses of the dominant seventh chord, its inversions, and its
resolutions in all major and minor keys.
Write, recognize, and demonstrate the uses of the cadential, passing, and neighboring 6/4 chords
in all major and minor keys.
Write, recognize, and demonstrate the uses of non-harmonic tones (passing, neighboring,
anticipation, appoggiatura, suspension) and cadences (authentic, half, plagal, and deceptive).
Solve harmonization problems of figured and non-figured basses and melodies.
Create short original compositions using skills 1,2,3,and 4 above.
Use skills 1,2,3, and 4 above to analyze a wide range of common practice period (ca. 1600-1900)
compositions using figured bass and commercial chord systems.
Student Learning Outcome: Upon successful completion of this course, the student will be able
to demonstrate competence in the following Student Learning Outcome: Realize a four-measure
figured bass at the Harmony I level, including primary and secondary diatonic triads and the
dominant seventh chord in four-voice choral spacing. Elaborate appropriately with non-chord
tones.
Required Materials: Bring these to every class meeting.
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Techniques and Materials of Music. Benjamin/Horvit/Nelson. Sixth edition. ThomsonSchirmer, publishers. (TM)
Music for Analysis. Benjamin/Horvit/Nelson. Sixth Edition.Oxford, publishers. (MA)
Harmony and Musicianship with Solfege. Cser. (HM)
Pencils (not pens!) and erasers.
Music manuscript (staff) paper.
Lined notebook paper
Attendance: It is important that you attend every meeting of this class. Missing even one class
could cause you to fall behind in your work, and it can be very difficult to catch up. If you are ill
or have a personal emergency and cannot attend a class, please call or e-mail me as soon as
possible to let me know. If you miss more than two class meetings over the course of the
semester you may be dropped from the class. If you stop attending class it is your responsibility
to withdraw.
Grading: Your grade in this course will be determined by your performance on the following:
Assignments:
Quizzes:
Midterm Exam:
Final Exam:
30 %
10%
30 %
30 %
Assignments: Assignments will include analyses of excerpts from MA and written exercises
from TM and HM. All assignments must be completed in pencil. Assignments in pen will not
be accepted.
Keeping up with your homework is the most important aspect of this class. Therefore, late
assignments will not be accepted. If you miss a class, you are still expected to turn in the
assignment the day it is due. If you must miss a class because of an emergency, please contact
me and we will discuss the situation.
Quizzes: There will be frequent short quizzes that will check your progress on the acquisition of
fundamental skills. They may be announced or unannounced. There will be no makeup
quizzes.
Midterm and Final Exam: These exams must be taken when scheduled. Make-ups will rarely
be allowed. Please consult the syllabus for the dates of each of the exams.
Students with Disabilities: It is the policy of LACC that students with a verified disability who
may need a reasonable accommodation for this class are encouraged to notify the instructor and
contact the Office of Special Services (x2270) as soon as possible. All information will remain
confidential.
Note on Classroom Conduct: I promise to treat you fairly and with respect, and I ask that you
do the same for me and for your fellow classmates. Cell phones must be turned off before
entering the classroom! They are extremely disruptive in a classroom environment.
Syllabus:
8/29- Introduction and syllabus. Review of pitch and notation.
HW- Purchase course materials. Read TM pgs. 1-5 and 229-230.
8/31- Review of intervals.
HW- Read TM pgs. 6-9. Complete TM pgs. 9-10, ex. 1a, 2b, 3c.
9/5-
No class- Labor Day
9/7-
Review of major and minor scales and key signatures.
HW- Read TM pgs. 13-16. Complete TM pg. 16, ex. 1 and 3.
9/12- Review of triads.
HW- Read TM pg. 16. Complete TM pg. 18, ex. 2 and 3.
9/14- Review of rhythm and meter.
HW- Read TM pgs. 19-25. Complete TM pg. 28, ex. 3.
9/19- Melody, phrase and motive. Melodic cadences. Introduction to analysis.
HW- Read TM pgs. 252-261, 270-274, and 291-295.
9/21- Overview of primary triads and part-writing conventions. The tonic triad in root position.
HW- Read TM pgs. 33-37, 231, and 234-238. Read HM pg. 11. Complete HM pg. 12.
9/26- Connection of tonic and dominant triads in root position.
HW- Read TM pgs. 39-41. Analyze Mozart Rondo and Kuhnau Sonata, MA pg. 8.
9/28- Connection of I and V (cont.). Figured bass.
HW- Read TM pgs. 242-243. Complete TM pg. 42, ex. 1 and pg. 43, ex. 4.
10/3- The dominant seventh chord in root position.
HW- Read TM pgs. 46-48. Read HM pgs. 16-17. Complete TM pg. 50, ex. 3.
10/5- Connection of tonic and subdominant triads in root position.
HW- Read TM pg. 56. Analyze Scheidt Bergamasca, MA pg. 18.
10/10- Connection of I and IV (cont.)
HW- Complete TM pg. 57, ex. 3.
10/12- Connection of subdominant and dominant triads in root position.
HW- Read TM pg. 59. Complete HM pg. 15, ex. 1, 3, and 5.
10/17- Connection of IV and V (cont.).
HW- Complete TM pg. 61, ex. 4.
10/19- Review for midterm exam.
10/24- Midterm exam
10/26- Harmonic cadences. The cadential tonic six-four chord. Figured bass realization.
HW- Read TM pgs. 63-64, 68-69, and 244-245. Complete TM pg. 70, ex. 2 (first two
systems only).
10/31- Non-chord tones. Melody harmonization.
HW- Read TM pgs. 232-233 and 246-249. Complete TM pg. 70, ex. 3a.
11/2- Primary triads in first inversion.
HW- Read TM pgs. 73-77. Review TM pgs. 235-237. Analyze Bach Lobt Gott, ihr
Christen, allzugleich, MA pg. 27, and Couperin Le Petit Rien, MA pg. 31.
11/7- Primary triads in first inversion (cont.).
HW- Complete TM pg. 80, ex. 6b and 6d.
11/9- Primary triads in first inversion (cont.)
HW- Complete TM pg. 80, ex. 5c.
11/14- The supertonic triad.
HW- Read TM pgs. 82-84. Analyze Chopin Mazurka, MA pg. 37.
11/16- The supertonic triad (cont.).
HW- Complete TM pg. 85 ex. 2d.
11/21- Inversions of the dominant seventh chord.
HW- Read TM pgs. 88-90 and HM pgs. 33-34. Analyze Haydn Sonata, MA pg. 38.
11/23- Inversions of the dominant seventh chord (cont.).
HW- Complete TM pg. 92, ex. 4a and pg. 93 ex. 5a.
11/28- Linear chords.
HW- Read TM pgs. 96-97 and 106. Analyze Schumann Soldatenmarsch, MA pg. 65.
11/30- Linear chords (cont.).
HW- Read HM pg. 41. Complete HM pg. 42 (first system only).
12/5- Harmonic sequence. The mediant and submediant triads.
HW- Read TM pgs. 100-102 and 262-265. Write circle-of-fifths progressions in F major
and B minor (4-voice choral spacing). Read HM pg. 39. Complete HM pg. 40 ex. 1-2.
12/7- Review for final exam.
HW- Prepare for final.
Final Exam: Monday, December 12; 9:30-11:30am.