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Music 233

Chromatic Harmony–Spring 2020

MWF 9:00-9:50a

 

Instructor: Jono Kornfeld

 

** PLEASE NOTE: I WILL NOT BE ON CAMPUS THIS SEMESTER;

CLASSES AND OFFICE HOURS WILL BE CONDUCTED REMOTELY  **

 

Online Office Hours: M & W, 11:30a-12:30p; and by appointment

email link

 

Graduate Assistant: TBD

 

Remote Learning Procedures

 

 

PRINTABLE VERSION OF THIS SYLLABUS: (Rules & Regs)  (Topics & HW)

 

STAFF PAPER PDF

 

LINK TO MUS 232 NOTES

 

 

Required Text

Recommended Books

Tonal Harmony – Textbook, 7th Edition (other editions are fine)

Kostka/Payne

McGraw Hill, ISBN 0-07-285260-7

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/or analyze a short chromatic 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, quizzes, 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 quiz will have its own grade. You can also look up your grades to date on iLearn, where information will be posted periodically in a spreadsheet. Grades are listed via an assigned alias to protect your privacy.

 

Class Participation/Communication/Meeting: 5%

Students are expected to attend all classes and participate, but attendance is not required.  Participation means joining on time, being fully present and engaged, not behaving in a distracted or distracting manner, and very-importantly, treating others with respect. Students should practice professional-level communication during class, and in written correspondence. There is also one required one-to-one meeting you will have with me (via Zoom) so I can learn more about you and your musical goals. This will be scheduled early in the semester.

 

Keyboard Performance Demonstration: 5% (audio example)

This will be submitted/emailed as a video file (or two separate files). Submitting a link to a file is fine.

 

Sonatina midterm composition assignment: 10%

Details will be announced.

 

Final Analysis/Composition Project: 15%

Details will be announced.

 

Quizzes: 25%

In lieu of midterm and final exams, there will be approximately 12 quizzes. They will be announced in advance, but can be expected on a near weekly basis.  Quizzes should take between 10 -20 minutes to complete, and will use questions drawn from the text, lecture notes, 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 two grades will be dropped. Quizzes must be submitted via email by 11:59pm on the due date. Quizzes cannot be redone.

 

Homework: 40%

Homework (mainly small analysis and composition-style exercises) is due on the day announced, via email by 11:59pm. Unexcused late assignments will not be accepted, but reasonable excuses are ok in some cases.  The lowest grade will be dropped. Emailing an assignment late without any explanation will result in a grade of 0 for that assignment. Homework collaboration option.

 

 

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 returned. Redoing an assignment means that you either make clear corrections on the original assignment, or that you submit a copied-over, corrected version of the original assignment on a separate piece of paper. For the latter, you MUST include the original assignment along with the redo; you don't have to copy over portions of the original assignment that were done correctly. This does NOT apply to quizzes, which cannot be redone.

 

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

 

Missed assignments, quizzes or exams: in the event of extenuating circumstances, make-up quizzes or assignment-extensions may be granted 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 (dprc@sfsu.edu).

 

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 http://titleix.sfsu.edu, emailing vpsaem@sfsu.edu or calling 338-2032.

 

To disclose any such violence confidentially, contact:

*The SAFE Place - (415) 338-2208; http://www.sfsu.edu/~safe_plc/

*Counseling and Psychological Services Center - (415) 338-2208; http://psyservs.sfsu.edu/

*For more information on your rights and available resources: http://titleix.sfsu.edu

Attendance and Remote Classroom Guidelines

Attendance is not required, but strongly encouraged. All Zoom meetings will be recorded and made available ASAP. 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, distracting, or disrespectful behavior will not be tolerated and may result in you being asked to leave a meeting. BRING YOUR TEXTBOOK TO CLASS MEETINGS.

Communication

There may be instances where we need to make individual, special arrangements.  In these cases, it is best that we do so 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 and professionally 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 address.

Revisions to this Syllabus

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

Notation

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. Use this link to print staff paper. 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

You should plan to be able to print required materials/assignments/quizzes for class on a regular basis. However, it is understandable that printing could be a hardship for some, in which case we will work out an alternative so that everyone can access what they need. You should also be able to photograph or scan assignments for email submission. All materials will be available through the web syllabus (and occasionally iLearn & emails) and will be PDF files.

 

MUS 233 – APPROXIMATE SCHEDULE OF CLASS TOPICS AND HOMEWORK

(Week No.)

Week of

Class Topics ,Downloadable Notes and Links

(day covered–"M, W, F")

Assignments, and items to print (or just download)

for that week with specific due day

(1)

Aug 24

Class organization, introduction to chromaticism (MW)

Overview and review  (F)

(F) Print/Download: review pages (3 pages), Note stacking tutorial, Chromaticism in Figured Bass

(2)

Aug 31

Overview and review continued (MWF)

(3)

Sept 7

No Class, Labor Day (M)

 

Review continued (W)

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

Secondary dominants examples

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

(F) Submit: review assignment (2 pages)

Mozart K. 377 excerpt (audio)

(4)

Sept 14

Ch. 16 continued (MWF)

Secondary dominants in a jazz context

(5)

Sept 21

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

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

Summary of secondary functions

 

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

(W) Submit: Ch. 16 Assignment: Beethoven/ch. 16  assignment

Audio of Beethoven excerpt (MIDI version)

Audio of Beethoven (actual excerpt)

(6)

Sept 28

Ch. 17 continued (M)

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

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

 

(M) Print/Download: Modulation Practice

(W) Submit: Ch. 17 Assignment

(7)

Oct 5

Ch. 18 continued (M)

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

Monophonic modulation: Handel Gavotte (score) (audio)

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

 

Common Tone Modulation & Chromatic Mediant Relationships Examples   (audio)

(F) Submit: Ch. 18 Assignment  (uns ist ein kindlein heut – audio)

 

 

(8)

Oct 12

Ch. 19 continued (M)

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

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

 

 

 

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

(F) Submit: Ch. 19 Assignment

Beethoven sonata excerpt

Mozart aria excerpt

Miles Davis: Tune Up

(9)

Oct 19

Ch. 20, part 1 continued (MW)

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

(F) Quiz

(10)

Oct 26

Sonatina continued (M)

Sonata (Sonata Allegro) Form (WF)

Beethoven: Op. 49, No. 1, i   (audio)

(M) Submit: Ch. 20 Assignment (Small Forms)

Mozart: Eine kleine nacht music, III

Bach: French Suite V, Allemande

Mozart: KV 15mm

Ellington/Strayhorn: Take The A Train

 

(W) Extra credit on modulation     (audio)

(11)

Nov 2

Sonata Form continued (M)

Form III: other forms (WF)

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

 

Discuss Sonatina Assignment (F)

(M) Keyboard Harmony Demonstration

(12)

Nov 9

No Class, Veterans Day (W)

Ch. 21, part I: Mode mixture (M, F)

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)

 

 

(13)

Nov 16

Mode Mixture continued (M)

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

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

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

 

Discuss Final Project (F)

(F) Submit: 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

 

November 23-27: Fall Recess, No Classes

 

(14)

Nov 30

Neapolitan harmony continued (M)

Ch. 22: Augmented 6th chords (WF)

Ch. 22 Reading Sheet

Print/Download: Mozart K.284 Example

 

(W) Submit: Ch. 21 Assignment

 

(15)

Dec 7

Ch. 23: Enharmonicism & Reinterpretation (MWF)

Ch. 23 Reading Sheet

 

Wrap up (F)

LAST DAY OF CLASSES (F)

(M) Submit: Ch. 22 Assignment

(F) Submit: Final Project Draft (optional)

(16)

Dec 14

Final Composition Drafts returned (M)

(F, December 18) Submit:

Final Project

EXTRA CREDIT ASSIGNMENT

Due by Friday, December 18

Bach C Major Prelude Score