Theory IV
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Week 1

Aug 25-29

Retention/Success issues



Figured Bass


Part-writing review to be completed in class

Benward vol. I, p. 212


Secondary chord review

 Construct secondary chords (boardwork)

Use WS36 in notebook

Secondary dominant Wksheet Side A

Secondary dominant Wksheet Side B



Bach's chord changes



Link to Course Outline

On the top of this page, File - Send - Shortcut to desktop


Print 5 sheets of staff paper

See links above.  Keep a supply with you at all times.  You should NEVER have to borrow staff paper.


Music theory:  observations used to analyze and to understand music

Week 2

Sep 1-5


No class on Monday

Labor Day





Borrowed chords


Mode mixture


Examples:  Benward Chapter 4


Construct borrowed chords and resolutions (boardwork)

Use Chapter 4 Borrowed Chords worksheet

Due Fri

Assignment #1:  Create borrowed chords assignment (handout)




Borrowed chords

Print this!

Week 3

Sep 8-12



Neapolitan 6ths (Teoria)

N6s with examples

Practice constructing N6's



Moonlight Sonata Excerpt



Construct Neapolitan chords at board




Augmented 6ths (Teoria)

Aug 6ths with examples

Augmented 6ths - simple explanation


Board work:  Construct Neapolitan 6th and Aug 6th

No Assignment Due Friday




Neapolitan 6th

Print this


Week 4

Sep 15-19


OK - here's your song parody

to the tune of "The Addams Family"


Augmented sixths

Augmented sixths

These are the tricks so we won’t mix

Augmented sixths.


Italian, French and German

Now here’s how to determine

The 3rd, we’ll be affirmin’

Just check the 4th and 5th.


Italian is completed,

A third is all that’s needed

And that note is repeated

In this augmented sixth.


The French one sounds so scary

The tritone’s customary

The tension’s temporary

In this augmented sixth.


The German is a jazz chord

Has 3 and 5, but not 4

It moves to tonic 6/4

In this augmented sixth.


The key to understanding:

The 6th will be expanding,

By half step will be landing,

It's easy to predict.


Mon/Wed Seat work:  Beethoven Piano Sonata and String Quartet



Due Friday

Assignment #2:  Augmented 6th Chords & Neapolitans




Augmented 6th

Print this

Week 5

Sep 22-26


Extended Tertian Harmony

Play examples from Benward 8th ed. p. 180-183




Play examples from Benward 8th ed. p. 194-195


Seat work in pairs: Duke Ellington "I Got It Bad"


Review for Mid-term Exam (Friday)



Due Friday

Assignment #3:  Extended Chords



Extended Harmony

Print this

Week 6

Sep 29-Oct 3


Modulation by diminished 7ths

Modulation by Neapolitan 6

Modulation by augmented 6ths


Types of Modulation





Mid-term exam

Due Friday
Assignment #4: Altered Dominants

Week 7

Oct 6-10



Theme & Variations Assignment specifics   

Click here for grading rubric


Chromatic harmony review sheet

Board work


Due Friday

Assignment #5:  Chromatic Modulation




Week 8

Oct 13-17


Excellent intro to form



Binary form

Example of binary form

Example of rounded binary form


Ternary form

Example of ternary form

Example of ternary form



Example of rondo form


Analysis by Listening


YouTube Shostakovich Largo and Led Zeppelin You Shook Me for Pandora-type analysis

Due Friday:

Assignment #6:  Variation composition plan

Tune selected; 5 methods of variation chosen; 2 measures of each composed


Email your Finale file to me by 8:30 am so we can play them in class.  Bring a hard copy for me to keep.


Go over Theme & Variations Assignment specifics  (one variation must be Classical, one must be chromatic)

Week 9

Oct 20-24




The Evolution of Sonata Form


As demonstrated by screen beans

Eine Kleine Nachtmusik


Sonata-Allegro Form Powerpoint

Example of sonata form


Written work completed in class:  Diagram of first movement structure. 


Class discussion:

Mozart’s Sonata, K. 283, No. 5, first movement (hand-out)

Mozart’s Sonata, K. 280, No. 2, first movement (hand-out)


Class discussion:

Mozart’s Sonata, K. 545, No. 16, III, (hand-out)

Haydn’s Sonata, No. 5, movement III (in textbook, Assignment 9.1, pp. 167-70) 



Beethoven’s Sonata No. 1 in F Minor, Op. 21, No. 1,mvmt.I



Due Friday 

Composition #1:  Theme and Variations complete composition (hard copy due in class - Finale file must be e-mailed by 8:30am)

Week 10

Oct 27-31

No class on Friday!

Text me a picture of you in costume for extra credit


Week 11

Nov 3-7

Seat work:  Sonata K283 Analysis

Please use this  SonataAnalysisForm


Listen to the Sonata.



Week 12

Nov 10-14




Write a short composition of 16 to 30 measures in the style of a romantic character piece for piano.  Click here to go to the Character Piece Assignment page for more specific guidelines.  





 Due Friday:

Assignment #7:  Sonata Analysis

Print a copy of the Sonata assigned to you:    K280   K284   K332

Note:  Print only page 1-4!



Listen to your assigned Sonata below:

Sonata K. 280

Sonata K. 284

Sonata K. 332

Answer the  on the



Don't forget the Roman numeral analysis of  the development section and to label the sections, themes and keys on the score




Week 13

Nov 17-21



Class discussion:

Chopin’s Prelude, Op. 28, No. 7 (hand-out)

Chopin’s Prelude, Op. 28, No. 20 (hand-out)


Listen to 

Prelude, Op. 28, No. 20.




Due Friday 

Composition #2:  Character Piece (hard copy due in class - Finale file must be e-mailed by 8:30am Monday)



Week 14

Nov 24-28

No class on Thurs or Fri





Week 15

Dec 1-3

CHAPTER 13: Continued

Class discussion:

  1. Schubert’s Death and the Maiden, D. 531

  2. Schumann’s “Waldesgespräch” from Liederkreis, Op. 39                   

  3. Schumann’s “Ich grolle nicht” from Dichterliebe, Op. 48           



Final Exam: