Mus214 PDF

Kutztown University of Pennsylvania
Department of Music
MUS 214
Harmony & Theory III
Approved by Department: November 4, 2003
Course Description
This course is designed as a continuation of Harmony and Theory II. It emphasizes the study of advanced
chromatic harmony, with borrowed chords, augmented sixth chords, ninth/eleventh/thirteenth chords, and
other late nineteenth century harmonic devices.
Prerequisite: Harmony and Theory II (MUS 202); Aural Skills II (MUS 201)
three semester hours, three clock hours. To be taken concurrently with Aural Skills III (MUS 213).
Course Rationale
In order to understand the complex art of music, students need to study selected musical masterworks,
analyze them, and compose brief studies based on their harmonic, melodic and formal structures.
Course Objectives
The student will demonstrate knowledge of Neapolitan sixth

chords, augmented sixth chords, and ninth/eleventh/thirteenth chords.
The student will demonstrate knowledge of and be able to utilize
compositional techniques of the nineteenth and early twentieth centuries.
The student will be able to demonstrate advanced part-writing skills and
techniques, including chromatic harmony.
The student will be able to analyze advanced harmonic, melodic and rhythmic
material.
The student will create several original compositions using the techniques
above.
Course Outline
I. Augmented Sixth Chords

A. Types
B. Uses in minor and major keys
C. Augmented minor seventh chords
D. The German sixth chord as pivot
II. Chords of the Ninth, Eleventh and Thirteenth
III. Composition Project: Advanced Harmony

A. Composition using borrowed chords, Neapolitan sixths, and augmented
sixth chords
IV. Unclassified Chord Structures and Complex Progressions

A. Altered chords
B. Chord functions produced by sequence and enharmonicism
C. Chords produced by change of mode
V. The Close of the Nineteenth Century

A. Review of traditional harmony
B. Triads in chromatic third relationship
C. Root movement by tritone
D. Evasion of tonic
E. Unconventional root movement
VI. Advanced Musical Analysis

A. Harmonic usage in late nineteenth century music
B. Melodic materials
C. Rhythmic materials
VII. Debussy and Impressionism

A. Tonality and cadence structure
B. Whole tone pentatonic scales
C. Medieval modes
D. Harmonic progressions
E. Quartal and quintal harmony; added tone chords
VII. Introduction to Twentieth Century Music

A. Melody
B. Meter and rhythm
C. Harmony
D. Analysis
Assessment:
Assessment of each student’s level of accomplishment with reference to the course objectives will be based
upon the following:
I. Regular assignments in analysis and part-writing of chromatic harmony and

in twentieth-century compositional styles
II. Creative projects and in-class presentations
III. Examinations and quizzes
Textbook
Ottman, Robert W. Advanced Harmony, 5th edition. Upper Saddle River,

NJ: Prentice-Hall, 2000.
Instructional Resources
Benward, Bruce. Music in Theory and Practice, sixth edition. Dubuque, Iowa: William C. Brown
Publishers, 1997.
DeVoto, Mark, ed. Mostly Short Pieces: an Anthology for Harmonic Analysis. New York:
W.W. Norton, 1992.
Dorr, Joyce. Introductory Music Theory. Belmont, CA: Wadsworth Publishing Co., 1995.
Duckworth, William. A Creative Approach to Music Fundamentals. Belmont, CA:
Wadsworth Publishing Co., 1995.
Gauldin, Robert. Harmonic Practice in Tonal Music. New York: W.W. Norton and Company, Inc., 1997.
Henry, Earl. Fundamentals of Music, second edition. Englewood Cliffs, NJ: Prentice Hall, 1993.
Herrold, Rebecca M. Mastering the Fundamentals of Music. Upper Saddle River, NJ:
Prentice Hall, 1997.
Kamien, Roger, ed. The Norton Scores, fifth edition. New York: W. W. Norton, 1990.
Kostka, Stefan and Dorothy Payne. Tonal Harmony, 5th edition. New York: McGraw
Hill, 2004.
Levy, Ernst. A Theory of Harmony. Albany, NY: Sate University of New York Press, 1985.
Manoff, Tom. The Music Kit, third edition. New York: W.W. Norton, 1994.
Ottman, Robert W. and Frank D. Mainous. Rudiments of Music. Englewood Cliffs, NJ:
Prentice Hall, 1995.
Ottman, Robert W. Elementary Harmony, sixth edition. Englewood Cliffs, NJ: Prentice
Hall, 1998.
Rumery, Kenneth R. Introduction to Musical Design. Dubuque, Iowa: Wm. C. Brown,

1992.
Piston, Walter. Harmony, fifth edition. New York: W. W. Norton, 1987.
Spencer, Peter. The Practice of Harmony, third edition. Upper Saddle River, NJ: Prentice-Hall, Inc., 1996.
Turek, Ralph: Analytical Anthology of Music. New York: McGraw Hill, 1992.
White, Gary. Music First, second edition. Dubuque, Iowa: W. C. Brown, 1993.

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Kutztown University of Pennsylvania

The student will demonstrate knowledge of Neapolitan sixth

I. Augmented Sixth Chords

II. Chords of the Ninth, Eleventh and Thirteenth

III. Composition Project: Advanced Harmony

IV. Unclassified Chord Structures and Complex Progressions

V. The Close of the Nineteenth Century

VI. Advanced Musical Analysis

VII. Debussy and Impressionism

VII. Introduction to Twentieth Century Music

I. Regular assignments in analysis and part-writing of chromatic harmony and

Ottman, Robert W. Advanced Harmony, 5th edition. Upper Saddle River,

Rumery, Kenneth R. Introduction to Musical Design. Dubuque, Iowa: Wm. C. Brown,

Piston, Walter. Harmony, fifth edition. New York: W. W. Norton, 1987.

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