Required materials:

• Spring, Glenn and Jere Hutcheson. Musical Form and Analysis. Dubuque, IA: Brown & Benchmark Publishers, 1995.
• Kostka and Payne. Tonal Harmony, 4th edition. Textbook and Workbook. Boston: McGraw-Hill, 2000.
• Kraft, Leo. A New Approach to Ear Training, 2 ed. with accompanying CD's
• Stiff music-writing paper, soft lead pencils, erasers, zip disks.

Class goals:

• to understand principles of voice-leading and chord progression for chromatic harmony, including Neapolitan 6th and Augmented 6th chords
• to develop the ability to analyze and make interpretive decisions about music of the common practice period with a sensitivity to large-scale shape, form, motivic relationships, harmonic organization, proportion, the musical function of different parts, and their expressive and cultural implications
• to understand the characteristics of the major musical forms and be able to identify and articulate formal elements in music of the common practice period
• to be able to compose music modeled on one of the larger musical forms of the common practice period
• to improve aural facility with harmony, melody, and musical forms of the common practice period

Grade breakdown:

Ear training	25%
Rondo composition	10%
Homework, preparation, and participation (incl attendance)	20%
Quiz (5%) and exams (10% and 15%)	30%
Haydn quartet project (5% presentation and 10% notes/outline/essay)	15%

Policies:

Homework is due on the date indicated in the syllabus and is highly cumulative and crucial to your success in this course. Count on spending about 2-3 hours on homework for each hour you spend in class. Let me know if homework is routinely taking you longer than three hours.

Except in cases of medical or other problems confirmed by a note from Health Services or Student Affairs, work missed because of absences or lateness may be made up only upon arrangement with the instructor prior to the class missed. For the rondo composition, students may request a 1-class-session extension by submitting a typed, 1-page request for extension and progress report or e-mail of comparable length explaining why the extension is required, verifying and describing significant progress towards completion of the assignment, and indicating what remains to be done.

Absences or lateness, unless cleared in advance with the instructor or excused by a note from Health Services or Student Affairs, will reduce your participation or ear training (in the case of absences from the ear training sessions) grade by whatever proportion of class sessions you miss.

Date	Assignment due

JANUARY

21	In-class introduction to chromatic harmony.
23	Read Kostka & Payne, ch. 21. Complete exercises 21-1A (even). 21-1B (even), 21-3, and 21-6 in the Workbook.
24	Ear training from Kraft • melodic dictation C, p. 65 (dotted 8th-16th rhythm) • harmonic dictation E, p. 237 (V vs V7 in T-->P-->D-->T progressions, incl. modal mixture/Picardy 3rd)
25	Read Kostka & Payne, ch. 22. Complete exercises 22-1A (not all are Neapolitans!), 22-1B (odd), and 22-1C (1 & 2 on p. 209) in the Workbook.
28	Complete exercises 22-1C (4 on p. 211, 5 & 6 on pp. 212-213) and 22-1E (1 on p. 215, 3 on p. 216) in the Workbook.
30	Read Kostka & Payne, ch. 23. Complete exercises 23-1A (not all are Augmented 6th chords), 23-1B (even), and 23-1C (1 on pp. 221-222, 2 on pp. 223-224) in the Workbook.
31	Ear training from Kraft • melodic dictation D & E, pp. 69 & 73 (IV chord outlined & four-16th-note rhythm with P and N tones) • harmonic dictation F, p. 243 (extensions of harmonic functions)

FEBRUARY

1	Complete exercises 23-1C (4 on p. 225, 5 on p. 226), 23-1D (3 on p. 229), and 23-1G (p. 230) in Workbook.
4	Prepare for quiz today on chromatic harmony and read Kostka & Payne, ch. 26.
6	Read Spring & Hutcheson, ch. 1. Complete exercise 1 on pp. 22 and the top half of p. 23 for melodies A, B, and C.
7	Ear-training set 1-EX1/2/3: progressions involving Neapolitan 6th chords.
8	Complete exercises 2 and 4 on pp. 23-24 in Spring & Hutcheson.
11	Read Spring & Hutcheson, ch. 2. Complete exercises 2 and 3 on p. 50 for all four excerpts: A, B, C, and D.
13	View animated analysis of the motivic relationships in Bach's Invention in a minor or this slow motion version with no sound. Listen to and study Brahms's Rhapsody, Op. 119/4, focussing on the first 2 pages (pp. 278-279.) Analyze the motivic structure as specified by ex. 4 on p. 51 (warning: where the text refers to Ex. 5-2, it should refer to 5-10 on pp. 123-124 instead.) Also, analyze the phrases in the first 40 measures as follows: Identify cadences and describe their degree of finality and rhythmic strength. How do harmonic, rhythmic, and melodic factors contribute to the sense of cadence? How long are the phrases? Are they regular or irregular? Are any of them extended or elided (the end of one phrase becoming the beginning of the next?) Are there any semiphrase constructions? What harmonic organizational plan prevails in each phrase (see ex. 3 on p. 50)?
14	Ear-training set 2-EX1/2/3: progressions involving augmented 6th chords.
15	Read Spring & Hutcheson, ch. 3. Complete exercise 1A and 1C on p. 73.
18	Complete exercises 2B (ending at m. 18, not m. 19 as the text says) and 2C on p. 73. Compose an eight-measure melody consisting of two phrases that make a period, with a half cadence on the downbeat of m. 4 and an authentic cadence on the downbeat of m. 8.
20	Read Spring & Hutcheson, ch. 4. Complete exercises 1 & 2 on pp. 99-100 (warning: where ex. 2 refers to Ex. 4-3, 4-4, and 4-5, it should refer to 4-2, 4-3, and 4-4 instead.)
21	Ear training quiz
22	Complete exercises 4 & 5 on pp. 100-101 (# in l.h. on m. 14 of ex. 4 should be on F, not A). Compose a melody in rounded binary form at least 20 measures long (e.g. section A, 8 measures, and section B, 12 measures.)
25	Complete exercise 6 on p. 101.
27	Read Spring & Hutcheson, Interlude on pp. 102-110. Complete exercises 1-3 on pp. 109-110 for the 3rd movement of Beethoven's Quartet, op. 18/1 on pp. 268-273. Think of the Allegro Molto (pp. 268-270) and the Trio (pp. 271-273) as two independent pieces. Together they make up a composite ternary form, a concept we will cover in chapter 5. You'll note that the Trio doesn't cadence conclusively and leads smoothly back to the Allegro Molto.
28	Ear-training set 3-EX1/2/3: progressions involving Neapolitan 6th chords, augmented 6th chords, and secondary (applied) dominants

MARCH

1	Complete exercises 1-2 on p. 109 for the second movement "Menuetto" of Haydn's Quartet, op. 77/2 in the Dover edition of Haydn's Eleven Late String Quartets on pp. 286-288. To review for the mid-sem, identify the harmony in the following passages (key and analysis): mm. 13-20, mm. 50-67. Also, identify cadences, phrases, periods, and parts. Analyze the derivation of motives in mm. 24 beat 3 to m. 44 beat 2.
4	Mid-sem exam: chromatic harmony, phrases, motivic structure, part forms, auxiliary members
6	Read Spring & Hutcheson, ch. 5. Complete exercise 1 on p. 127.
7	Ear-training set 4-EX1/2/3: progressions involving ii(7) and V(7) of V
8	Complete exercise 3 on p. 128.
11	Analyze the 3rd movement Menuetto and Trio from Mozart's Symphony #40 in g minor, K550 (score, soundfile). Mark the beginnings of parts with capital letters; indicate the forms of the main sections; indicate the keys of parts and sections, and note which endings are hamonically open/closed; identify transitions, links, codettas, etc. Identify at least one principal motive in each section (menuetto and trio), and trace its development through the section. Note the following concerning instruments in this score: "Clarinetti in B" means "Clarinets in Bb", so each note sounds a whole step lower than written "Corni in G" means "Horns in G", so each note sounds a P4 lower than written. Horns in this era were always written without a key signature, so that will help you find the horn part on each page. "Faggotti" means "Bassoons".
13	Read Spring & Hutcheson, ch. 6. Complete exercises 1 (written) and 2 (for discussion) on pp. 146-147.
14	Ear-training set 5-EX1/2/3: progressions involving V7 of ii and V7 of IV
15	Compose two different opening periods for a rondo form movement in tonal style for piano, modelled on the Mozart Rondo from Sonata K. 545 on pp 286-87 in Spring & Hutcheson. Use a quick tempo, a major key, and 2/4 or 6/8 meter.
16- 31	SPRING BREAK

APRIL

3	Submit draft of rondo composition.
4	Ear-training set 6-EX1/2: progressions involving tonicizations of ii, iv, or V using diminished 7th chords (viio7/___)
5	Rondo composition private lessons.
8	Rondo composition due: compose a complete movement of at least 45 measures for piano in tonal style in the form of a rondo of five or seven parts. Use common practice voice-leading and chord progressions, and include auxiliary elements as desired. B grades will recognize compositions that demonstrate the rondo form effectively and fulfill the basic assignment. Higher grades will go to successful rondo compositions that are unusually ambitious, sophisticated, carefully crafted, motivically unified, or compelling in character. In-class introduction to variation forms.
10	Read Spring & Hutcheson, ch. 7. Analyze Beethoven's String Quartet Op. 18, No. 5, movement 3 "Andante cantabile" (score, soundfile) Identify the phrase structure, form, and harmonic analysis of the theme; the fixed elements in each variation; the techniques used in each variation; how, if at all, the last variation is distinguished from the others; ways in which the variations are grouped; and how the movement is shaped as a whole.
11	Ear-training set 7-EX1: progression involving modulation to the dominant key and less common uses of viio7 chords (viio7/vi, common tone resolution of o7 chord, etc.)
12	Complete exercise 1 on p. 175 of Spring & Hutcheson.
15	Read Spring & Hutcheson, ch. 9. Analyze the first movement of Mozart's Eine kleine Nachtmusik on pp. 380-382 according to the analytical approach given on p. 223.
17	Analyze the exposition of the first movement of Haydn's Octet for Winds on pp. 347-349 according to the analytical approach given on p. 223.
18	Ear training evaluation: practice notating any of the progressions from ear-training sets 1 to 7.
19	Analyze the development and recapitulation of the first movement of Haydn's Octet for Winds on pp. 350-355 according to the analytical approach given on p. 223.
22	Analyze the exposition and development of the last movement of Mozart's Symphony No. 40 on pp. 356-370 according to the analytical approach given on p. 223. Include a harmonic analysis of particularly interesting passages. Mark formal structures and cadence types above the staff systems, harmony below the staff systems, and motivic analysis by circling and labeling prominent motives and their major recurrences and transformations, Use this marked up score for Haydn's Quartet Op. 76/5, mvt. 1 as a model.
24	Finish the marked up score of the last movement of Mozart's Symphony No. 40 by analyzing the recapitulation (including coda) on pp. 370-377according to the analytical approach given on p. 223, refining your notations from last class, and adding any other observations.
25	Ear-training set 8-EX1: progression modulating to the supertonic key using o7 and +6 chords.
26	Read Spring & Hutcheson, ch. 10. Complete assignment I on p. 235 for Mozart's Eine kleine Nachtmusik on pp. 380-390. Movements: 1, 2, 3, and 4.
29	Compose a draft of a minuet (see assignment for next class).

MAY

1	Compose a minuet in ternary or rounded binary form and at least 16 measures long. In-class discussion of considerations for analysis of a movement whose form you don't know in advance.
	Assignment for presentations to be given next week: You will be in charge of a particular movement from a Haydn Op. 76 String Quartet. You are to study that movement in detail, analyzing its basic thematic material, harmony, key relationships (transient and substantial), form, motivic structure, dramatic shape, etc. During the final week of the semester, you will give a 10-minute presentation covering the following: -- the form of the movement with reference to a graphic or table that you've made on an overhead transparency -- a few significant observations about your movement that your analysis revealed to you (proportions, balance, dramatic shape, interesting motivic relationships, overall tonal plan, relationship between character and form, distinctive aspects, etc.) -- your movement's relationship to other movements from the same quartet On the day of the presentation, submit an outline of your main points together with the graphic or table summarizing the form, (major sections, periods and other phrase groupings, and auxiliary members with reference to specific measure numbers) and a marked up copy of the score of the movement (sample) showing its cadences (type and key), articulation into sections, parts, periods, and other phrase groupings, and principal motives (circled and labelled at significant appearances.)
2	Ear-training set 9.
3	Listen to Haydn's String Quartet Op. 76, No. 4, in Bb Major ("Sunrise") movements 1, 2, 3, and 4. Study, in detail, the movement assigned to you, and be prepared to discuss your observations today with others in the class.
6	Group presentation on Haydn String Quartet Op. 76, No. 4, in Bb Major ("Sunrise") movements 1, 2, 3, and 4.
8	Read Howard Boatwright's "A Motivic-Harmonic Approach" to Mozart's Menuetto K.V. 355, pp. 110-120 from Murray Yeston's Readings in Schenker Analysis and Other Approaches. End-of-course evaluations.
9	Final ear training evaluation.
10	Read Ernest Oster's "A Schenkerian View" of Mozart's Menuetto K.V. 355, pp. 121-131 (up to the heading 'The Middle Section') from Murray Yeston's Readings in Schenker Analysis and Other Approaches.
14	Tuesday, 9 a..m. -- Final Exam due: write a three- to five-page essay summarizing the results of your analysis of elements of balance and coherence in Haydn's "Sunrise" quartet. Write for a general, musically-interested audience seeking insight that will enhance their listening to the quartet. Comment on such things as the form, character , dramatic weight, and distinctive aspects of its individual movements; motivic relationships among its movements if you find any; the tonal organization of the work as a whole; and other elements of balance that give unity and variety to the work. An example of such an essay is found in the text's summary of the Brahms Symphony #1 found on pp. 253-254.