Theory II: Harmony and Voice Leading

Theory II picks up where the diatonic groundwork left off and pushes you into the chromatic territory that gives common-practice tonality most of its expressive weight: seventh chords resolving in real voice-leading contexts, secondary functions that tonicize without committing, and the modulations that actually move you between keys. Expect a steady diet of Bach chorale analysis, four-voice bass and soprano harmonizations, and ear-training drills, with two open-book midterms and an open-book final that test whether you can spell, recognize, and write these progressions under time pressure. It is the spring half of the freshman theory spine, and everything later — form, counterpoint, analysis of larger repertoire — assumes you can hear and notate this vocabulary fluently.