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Music 233

Chromatic Analysis and Synthesis–Spring 2019

MWF 10:00-10:50a, CA 136


Instructor: Jono Kornfeld

Office: CA 166F

Office Hours: M, W, F, 9-10a; and by appointment

Phone: 415-338-6013, email












Required Text 1

Required Text 2

Recommended Text

Tonal Harmony – Textbook, 7th Edition


McGraw Hill, ISBN 0-07-285260-7

Tonal Harmony – Workbook, 7th Ed.


McGraw Hill, ISBN 0-07-282561-5

A College-Level Music Dictionary:

Oxford, Harvard, etc.


A Music Notation Manual: Norton, Alfred, etc.

Course Objectives

The prerequisite for this course is MUS 232.


This course will focus on the chromatic aspects of harmony, voice leading and forms of the common practice eras, with an emphasis on studying the four-part texture style of the Bach Chorale.  Other textures for study will include solo piano, chamber and orchestral, as well as other single-line instruments.  We will strive to understand how counterpoint and harmony are interrelated, and how the smaller mechanics of harmony and voice leading inform larger structural aspects of common practice music–as well as other styles. By the end of this course you should be able to compose and analyze a short diatonic piece in the keyboard and/or 4-part styles of the common practice era, and have a command of all associated vocabulary.


Your written work will consist of a mixture between homework and in-class assignments from the Tonal Harmony workbook (and elsewhere), and separate composition/analysis projects.

Grading:  All grades will be given as a percentage.  Only your final grade will be a letter grade.

Each assignment and exam will have its own grade. You can also look up your grades to date through this link—grades are listed via an alias to protect your privacy.


Class Participation/Communication: 5%

Students are expected to attend all classes and participate.  Participation means arriving on time, being fully present and engaged, and not behaving in a distracted or distracting manner.  Use of cell phones and/or electronic devices for non-emergency, or non-class-related purposes will be considered disruptive, and will count against your participation credit—they should be put away during class. Students should practice professional-level communication in class, and in written correspondence.


Keyboard Performance Demonstration: 5% (audio example)


Sonatina midterm composition assignment: 10%

Details will be announced.


Final composition assignment: 10%

Details will be announced.


Quizzes: 10%

There will be approximately 5 (they will be announced in advance).  The quizzes will use questions drawn from the text and syllabus reading sheets (all downloadable in advance) and will be open-note/book.  You should have a pencil and staff paper available for all quizzes.  Missed quizzes cannot be made up.  The lowest grade will be dropped.


Homework: 40%

Homework (workbook and small composition assignments) is due on the day announced in class unless otherwise specified.  For most homework, there will be preparatory in-class work (different from quizzes) that you must do to receive full credit on your homework. You will get feedback on this preparatory work before handing in the actual assignment. You should expect to do this in-class work one to two classes a week. For that reason, BRING YOUR WORKBOOK TO CLASS. Late assignments will not be accepted.  The lowest grade will be dropped. Putting an assignment into the in folder after its due date without any explanation will result in a grade of 0 for that assignment.


Exams (2 @ 20% total): Midterm (10%), Final (10%)


Redo Policy: Unless otherwise specified, you can redo any homework assignment that gets less than a 93%.  The score of the redone version of the assignment will be averaged with the original score for a final assignment grade, with a maximum possible grade of 93%.  Redone assignments are due two class periods after the original assignment is handed back. Redoing an assignment means that you either make clear corrections on the original assignment, or that you hand in a copied-over, corrected version of the original assignment on a separate piece of paper. For the latter, you MUST staple the redone assignment to the original marked-up version; you don't have to copy over portions of the original assignment that were done correctly. This does NOT apply to quizzes or exams.


**Please note: the above percentages are subject to redistribution**


Missed assignments, quizzes or exams: in the event of an unforeseen absence, make-up exams/quizzes or assignment-extensions may be granted for extenuating circumstances, and only on a case-by-case basis.  Such circumstances must be documented when possible (i.e. a doctor's note, etc.) and I must be notified as soon as possible.


Extra credit assignments (optional): may be assigned and will be announced in class.


Plagiarism: While some collaboration is expected and productive, the bulk of your assignments and definitely any compositions must be done individually unless otherwise specified.  Violations will be subject to the University's Code of Conduct as it relates to such matters.


Please note the following from the SFSU Bulletin: To receive credit toward completion of the degree requirements, a grade of C (a C- does NOT count) or better is required for all music courses in the Bachelor of Arts in Music major...To receive credit toward completion of the degree requirements, a grade of C or better is required for all music courses in the Bachelor of Music major.


Disability access

Students with disabilities who need reasonable accommodations are encouraged to contact the instructor.  The Disability Programs and Resource Center (DPRC) is available to facilitate the reasonable accommodations process. The DPRC is located in the Student Service Building and can be reached by telephone (voice/415-338-2472, video phone/415-335-7210) or by email (


Student disclosures of sexual violence

SF State fosters a campus free of sexual violence including sexual harassment, domestic violence, dating violence, stalking, and/or any form of sex or gender discrimination.  If you disclose a personal experience as an SF State student, the course instructor is required to notify the Title IX Coordinator by completing the report form available at, emailing or calling 338-2032.


To disclose any such violence confidentially, contact:

*The SAFE Place - (415) 338-2208;

*Counseling and Psychological Services Center - (415) 338-2208;

*For more information on your rights and available resources:

Attendance and Classroom Guidelines

It is your responsibility to get notes from any class you miss.  Do not send emails or request appointments regarding material covered during an unexcused absence.  Disruptive or distracting behavior will not be tolerated and may result in you being asked to leave or have an assigned seat.  Such behavior includes: inappropriate talking with classmates, using cell phones or other electronic devices, repeatedly arriving late, and/or engaging in distracting behavior.  BRING YOUR TEXTBOOK AND WORKBOOK TO CLASS.


There may be instances where we need to make individual, special arrangements.  In these cases, it is best that we do so in person.  However, it will also be necessary to follow up such face-to-face communications with confirmation emails.  In the event that we have made a special arrangement, please make sure we have at least done so in writing.  If you write to me, please communicate as clearly as possible.  While this is a music class, you are expected to practice college-level, professional communication standards in your written and oral communication. Make sure your SFSU email is set up to forward to your regular/personal email.

Revisions to this Syllabus

The syllabus (including assignments, exam and grade distributions) and downloads are subject to revisions as the semester progresses.  Check the syllabus web page often and listen for announcements in class.  Do not download the lecture notes all at once in case revisions are made as the semester progresses.


In an ongoing effort to nurture your notation skills, all work handed in must be written in pencil; computer-notated assignments will not be accepted. When using staff paper for any assignment, the paper should have no left- or right-side bar lines and have no clefs printed on it. Notation is a factor in grading. Notation errors, cross-outs, sloppy notation or analyses may lower assignment grades and/or will be handled on a discretionary basis.

Printing Materials for Class

The Music Office is requiring as little photocopying as possible.  You should plan to be able to print supplemental, required materials for class on a regular basis.  All materials will be available through the web syllabus and will be PDF files.



(Week No.)

Week of

Class Topics ,Downloadable Notes and Links

(day covered–"M, W, F")

Assignments and items to print

for that week with specific due day

from the K/P workbook unless otherwise specified


Jan 28

Class organization, introduction to chromaticism (MW)

Overview and review  (W)


Feb 4

Overview and review continued (MWF)

(M) Print: review pages (3 pages), Note stacking


Feb 11

Ch. 16: Tonicization I: secondary dominants (MWF)

Secondary dominants examples

Ch. 16 Reading Sheet (same sheet for ch. 17 & 18)

(M) Hand in: review assignment (2 pages)

Mozart K. 377 excerpt (audio)


Feb 18

Ch. 16 continued (MW)

Secondary dominants in a jazz context

Ch. 17: Tonicization II: other secondary functions (F)

Ch. 17 Reading Sheet (same sheet for ch. 16 & 18)

Summary of secondary functions


Feb 25

Ch. 17 continued (MWF)

(M) Hand In: Ch. 16 Assignment: Beethoven assignment

AND WB pages (16-1: A 1-3; 16-2: B 1-3)

Audio of Beethoven excerpt (MIDI version)

Audio of Beethoven (actual excerpt)

(M) Print: Schubert, An die Musik (D547) [audio link]


March 4

Ch. 18: Modulation I: Diatonic common chords (MWF)

Ch. 18 Reading Sheet (same sheet for ch. 16 & 17)


(M) Print: Modulation Practice

(W) Hand In: Ch. 17 Assignment

(WB pages 17-1: A 1-5; 17-2: B 1-3; C1 & C2: analysis only—do the realization of either one for extra credit)


March 11

Ch. 19: Modulation II Further modulation techniques (same lecture notes as Modulation I) (MWF)

Monophonic modulation: Handel Gavotte (score) (audio)

Ch. 19 Reading Sheet (same for ch. 20)


Common Tone Modulation & Chromatic Mediant Relationships Examples   (audio)

(W) Hand In: Ch. 18 Assignment (WB pages 18-2: B [do this first]; 18-2: A7, read the instructions and listen to the example; measure 47 is a secondary chord)




March 18

Ch. 20, part 1: Form: binary & ternary (MW)

Ch. 20 Reading Sheet (same for ch. 19)


Form II: Sonatina/Sonata Form (F)

Clementi Sonatina Op. 36, No. 1, i

Clementi Sonatina No. 1 Audio

Clementi Sonatina Op. 36, No. 2, i



(M) Print: J.S. Bach G Major Cello Suite Mvts. (binary form examples)

(W) Hand In: Ch. 19 Assignment (WB pages 19-1: A 1 ["a" & "b" only, and analyze the harmonies and NCTs, the 1st key is not Eb]; A3 [just identify the keys and modulation technique, and show the analysis of the modulation technique – the modulation occurs about half way through the example]; A5 [just identify the 2nd key (which is not F-minor; there is no modulation to F-minor) and analyze/label the modulation technique – there are two ways the modulation could be described]



March 25 - 29: Spring Recess, No Class



April 1

No Class, Cesar Chavez Day (M)

Midterm Exam Review (W)

Review Sheet

Form practice question

Midterm Exam:

chapters 16-20 (F)

(W) Hand In: Ch. 20 Assignment: (WB pages 20-1: A, answer questions 1-3, make a diagram of the whole example, name the form and its components; 20-1: B, just name the form and its components; 20-1: D, just name the form and its components, and answer question 1 by marking the score appropriately.)


April 8

Sonata (Sonata Allegro) Form (MW)

Beethoven: Op. 49, No. 1, i   (audio)

Form III: other forms (F)

Rondo form: Beethoven, Op. 13, ii * (audio)

(M) Extra credit on modulation     (audio)


April 15

Other forms continued (M)

Discuss Sonatina Assignment (W)

Ch. 21, part I: Mode mixture (WF)

Ch. 21, I Reading Sheet (same for ch. 22)

Chopin Nocturne, Op. 9, No. 2 (Eb Maj) Excerpt

(see m. 10)  (full audio and score)

(M) Extra credit assignment on form. (WB 20-1, E: identify the form and its components, and diagram down to the phrase level mm 1-28 only; name the small form of mm. 1-8; be sure to indicate all keys on the diagram)


April 22

Ch. 21, part II: Neapolitan harmony (MWF)

Ch. 21, II Reading Sheet (same for ch. 21)

Chopin fm nocturne example (Op. 55, No. 1)   (audio)

(W) Keyboard Harmony Demonstration



April 29

Ch. 22: Augmented 6th chords (MWF)

Ch. 22 Reading Sheet

Print: Mozart K.284 Example

(M) Hand In: Sonatina Assignment

Example by JK     (Audio)

Clementi Sonatina Op. 36, No. 1, i  (Audio)

Clementi Sonatina Op. 36, No. 2, i (good for piano accompaniment examples)

Sonatina score page

(W) Hand In: Ch. 21 Assignment (WB pages 21-1: B 1-10; D 1-4


May 6

Discuss Final Composition Project (M)

Ch. 23: Enharmonicism & Reinterpretation (MW)

Ch. 23 Reading Sheet

(W) Hand In: Ch. 22 Assignment (WB pages 22-1: B 1-5; C 1,3, 4, 6 & 10; E 1-3)

(F) Bring in workbook page 23-1 A


May 13

Ch. 24: Further chromatic embellishments (M)

Ch. 24 Reading Sheet The section on the common-tone diminished 7th chord

Common tone diminished 7th example (Joplin)


Final Exam review (W – last day of classes)

Practice exam (audio example)

Practice exam answer key


(F) Final Exam: May 17, 8:00-10:00a


(M) Bring in workbook page 24-1 A & C2

(W) Hand In: Final Composition, Part I (optional & for 3 extra credit points: a draft of just the soprano, bass and roman numeral analysis ONLY; due in class, not later)

Final Composition score page

Example Score; Audio Version

2nd example; Audio


May 20


(W, May22, 11am or earlier) Hand In:

Final Composition, or Part II based on feedback (only applies to those who did part I)

Final Composition score page



Due by Wednesday, May 22, 11am

Chopin Waltz, B. 133

Chopin Waltz, B. 133 audio