Hafta 1
Fundamentals / Elements of Pitch: Octave registers • Notation on the staff • Scales and key signatures • Scale degree names • Intervals • Inversion of intervals • Consonance and dissonance of harmonic intervals • Ear-Training (ET)
Hafta 2
Elements of Rhythm: Definitions of Rhythm, beat, tempo • Durational symbols • Meter • Simple and compound beats • Simple and compound time signatures • Irregular time signatures, i.e. "aksak" meter • Rhythmic grouping with respect to meter • ET
Hafta 3
Triads and Seventh Chords: Triads • Seventh chords • Inversions of chords • Inversion symbols and figured bass • Alteration of the fifth • Chords with omitted fifth and/or root • Some chords comprising diminished third, i.e., augmented sixth, as an intervallic chord member • ET
Hafta 4
Diatonic Chords in Major and Minor Keys | Introduction to Chord-labeling: Diatonic triads in major • Diatonic triads in minor • Diatonic seventh chords in major scale • Diatonic seventh chords in minor scales • Special situations and labeling exceptions pertaining to seventh scale degree in the minor mode • Altered chords in major and minor keys : Alteration of root and/or any other chord member, especially that of fifth • ET • Review of hitherto covered subject matter for MdT1
Hafta 5
MdT1: triads and seventh-chords, diatonic and altered chords in major and minor keys, chord-labeling; ET; 30 pts. • Aftermath of MdT1
Hafta 6
Consonant harmony / Principles of Voice Leading: The melodic line and notating chords • Voicing a single triad • Similar and parallel motion – parallel, unequal, contrary and direct (hidden) 5ths and 8ves • Triads in root: Bass harmonization with simple melodic lines (1) • ET
Hafta 7
Root Position Part Writing: Repeated roots • Some general strategies: Handling of common tones, considerations of voice leading (of the leading tone and other tendency tones, etc.) • Roots a 4th (5th) apart • Roots a 3rd (6th) • Roots a 2nd (7th) apart • Some special situations and their recommended handling • Harmonic functions and the harmonic progression: tonic, dominant, sub- or predominant, and their respective harmonic regions, the mediants • Triads in root: Bass harmonization (2) • ET
Hafta 8
Harmonic Progression and the Sequence / The Problem of Harmonizing a Melodic Line: Introducing some general perspectives and analytical approaches: Elements of form, perspective of a main functional region, tonic prolongation, dominant prolongation and standing on the dominant, circle of 5ths progression, descending 3rds progression, harmonic goal and cadences, etc. • Sequences • The I and V chords • The II chord • The VI chord • The III chord • The VII chord • The IV chord • Common exceptions • Differences in the minor mode • The relative major and minor • More about harmonic sequences • Triads in root: Soprano harmonization with simple melodic lines (1) • ET
Hafta 9
Considerations of the harmonic progressions supporting tight-knit thematic units or looser formal regions • Triads in root: Soprano harmonization (2) • ET • Review of hitherto covered subject matter for MdT2
Hafta 10
MdT2: triads and seventh-chords, diatonic and altered chords in major and minor keys, chord-labeling; bass and soprano harmonization with triads in root; ET; 20 pts. • Aftermath of MdT2
Hafta 11
Triads in First Inversion (1): Bass and soprano harmonization with triads in root and first inversion • Some special aspects of first inversion triads and their use • Part writing • Considering soprano-bass counterpoint • ET
Hafta 12
Triads in First Inversion (2): Bass and soprano harmonization with more elaborate examples • Formal considerations • ET
Hafta 13
Triads in Second Inversion (1): Bass and soprano harmonization with triads in root, first and second inversions • Bass arpeggiation and the melodic bass • Three common usages of the second inversion triad: The cadential, the passing, and the neighbor or pedal six-four • Considerations of part writing • ET
Hafta 14
Triads in Second Inversion (2): Phrase structure, cadence, and harmonic rhythm • Tonic and dominant prolongational progressions • Phrases without cadential closure • A general view on musical form (phrases, theme, tight-knit and looser formal regions, etc.) • Some ideas on motive, phrase, period, sentence, hybrid and compound themes, small binary and small ternary • Bass and soprano harmonization with longer and more difficult examples • ET • Review of hitherto covered subject matter for Fnl