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Music 233

Chromatic Harmony–Fall Semester 2021

 

Section 01: MWF 9:00-9:50a, CA 136

Section 02: MW 12:30-1:45p, online

 

Instructor: Jono Kornfeld

 

Office Hours (CA 166F): M, 11:00a-12:30p & 1:45-2:15p by appointment;

W, 12:00p-12:30p (by appointment); and other times by appointment

 

email link

 

Remote Learning Procedures

(applicable mainly, but not exclusively to the online section)

 

STAFF PAPER PDF

 

LINK TO MUS 232 NOTES

 

 

Health & Safety Commitments

 

Everyone’s health and safety is our paramount concern at SF State. We ask every member of our campus community to join a pledge to make and follow plans to keep fellow students, faculty, and staff safe and well. Feeling confident, safe and well will help you focus on your academic success. To participate in this class, all students are expected to: 

  • stay informed on the most up-to-date information related to SF State’s COVID-19 response and Campus Comeback plan
  • plan ahead for possible class disruptions due to COVID-19 or other unexpected events, such as unhealthy air quality caused by smoke
  • take care of yourself and others by staying home when you aren’t feeling well or believe you have been exposed to COVID-19, and 
  • follow all required health and safety guidelines, including verifying your proof of vaccination or exemption status before coming to class; and wearing a multilayered mask over your nose and mouth at all times when indoors on campus; and wash your hands as often as possible (i.e. soap and water, hand sanitizer). 

For more information about SF State’s response to COVID-19 and how you can keep yourself and others safe and well, visit the Campus Comeback Website. To plan for how you will maintain your academic success when unexpected events disrupt regular teaching and learning activities, follow the information on the course syllabus and consult the Keep Learning guide.

Resilient Teaching & Learning Plan

 

Our campus community is often called to demonstrate compassionate resiliency by adapting and responding to a number of unexpected events, or disruptions, such as personal illness or injury, the COVID-19 pandemic, or unhealthy air quality and power outages due to wildfires. A disruption is a situation that will prevent you, me, or the entire class from participating in 'class as usual' for a reason we could not have predicted at the beginning of the semester.  Our goal as a learning community is to do our best to keep teaching and learning with as little interruption as possible.

 

If something along these lines happens, we should be able: to maintain communication and send assignments via email; use the web syllabus and iLearn to access assignments; possibly adjust the curriculum; use SFSU’s Zoom app to hold live meetings and/or view recorded lectures.

 

Most importantly, I am committed to supporting students when they are affected by uncontrollable circumstances in order to keep our in-person and virtual learning environments nurturing and inviting places.

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 focuses on the chromatic aspects of harmony, voice leading and forms of music associated mainly with Western Europe, studying solo piano, chamber, orchestral, and melody-based textures.  The main source material is from the 18th and 19th centuries, but also included is jazz, rock, folk and pop. We examine how counterpoint and harmony are interrelated, and how they inform larger structural aspects of many music styles. By the end of this course, you should be able to compose and/or analyze a short chromatic piece in the above-mentioned styles, and have a command of all associated vocabulary. In parallel with the above curriculum, we will address notation, score formatting/presentation, and general terminology pertinent to many styles of music.

 

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: 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.

 

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: 5%

[modified on 10/4/21] There will be two quizzes. They will be announced in advance. Quizzes should take between 10-15 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 or redone. Quizzes must be submitted via email by 11:59pm on the due date.

 

Homework: 60%

[modified on 10/4/21] 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 two grades 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 the classroom or a remote 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

Assignments, and items to print (or just download)

for that week with specific due day

(1)

Aug 23

Class organization, introduction to chromaticism

Overview and review

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

(2)

Aug 30

Overview and review continued

(3)

Sept 6

No Class, Labor Day (M)

Review continued

 

(4)

Sept 13

Ch. 16: Tonicization I: secondary dominants

Secondary dominants examples

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

(M) Submit: review assignment (2 pages)

Mozart K. 377 excerpt (audio)

(5)

Sept 20

Ch. 16 continued

 

Beethoven worksheet

Audio of Beethoven excerpt (MIDI version)

Audio of Beethoven (actual excerpt)

(6)

Sept 27

Secondary dominants in a jazz context

Ch. 17: Tonicization II: other secondary functions

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

Summary of secondary functions

(M) Submit: Ch. 16  assignment

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

(7)

Oct 4

Ch. 18: Modulation I: Diatonic common chords

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

(M) Print/Download: Modulation Practice

(W) Submit: Ch. 17 Assignment

(8)

Oct 11

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

Monophonic modulation: Handel Gavotte (score) (audio)

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

 

Common Tone Modulation & Chromatic Mediant Relationships Examples   (audio)

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

(9)

Oct 18

Ch. 20, part 1: Form: binary & ternary

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

 

Form II: Sonatina/Sonata Form

Clementi Sonatina Op. 36, No. 1, i

Clementi Sonatina No. 1 Audio

Clementi Sonatina Op. 36, No. 2, i

Download (don’t print): J.S. Bach G Major Cello Suite Mvts. (binary form examples)

 

(W) Submit: Ch. 19 Assignment

Beethoven sonata excerpt

Mozart aria excerpt

Miles Davis: Tune Up

(10)

Oct 25

Sonatina continued

Sonata (Sonata Allegro) Form

Beethoven: Op. 49, No. 1, i   (audio)

(W) 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

(11)

Nov 1

Sonata Form continued

Form III: other forms

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

 

Discuss Sonatina Assignment

(M) Keyboard Harmony Demonstration

(12)

Nov 8

Ch. 21, part I: Mode mixture

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 on modulation     (audio)

(13)

Nov 15

Mode Mixture continued

Ch. 21, part II: Neapolitan harmony

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

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

 

Discuss Final Project (audio)

(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 22-26: Fall Recess, No Classes

 

(14)

Nov 29

Neapolitan harmony continued

Ch. 22: Augmented 6th chords

Ch. 22 Reading Sheet

Print/Download: Mozart K.284 Example

(W) Submit: Ch. 21 Assignment  (Audio)

 

(15)

Dec 6

Ch. 23: Enharmonicism & Reinterpretation

Ch. 23 Reading Sheet

Wrap up

LAST DAY OF CLASSES (F)

(M) Submit: Ch. 22 Assignment (Audio)

(F) Submit: Final Project Draft (optional)

(16)

Dec 13

Final Composition Drafts returned (M)

(F, December 17) Submit:

Final Project  (audio)

EXTRA CREDIT ASSIGNMENT

Due by Friday, December 17

Bach C Major Prelude Score