|Instructor Info:||Martin Ehrlich|
Office Extension x5365
|TA Info:||Trey Jones|
This class will continue the work done in Tonal Theory I. We will be studying part writing and voice leading, as well as continuing the process of understanding and using basic chromatic harmony. Within this study, we will begin to look at large scale forms and structures. Some composition assignments will be included along the way as we assimilate new theoretical knowledge. Topics and repertoire for study are drawn from European classical traditions as well as jazz, popular, and non-western musics. Prerequisite: Tonal Theory I or 5 College equivalent.
Our goal's are:
To expand our harmonic knowledge from its diatonic foundation on into its Chromatic expansion. We will look at this in both the Classical and Jazz continuums that engage fully with this musical language and syntax.
The core of our work will be our theory study. Our goal is to
Get through Chapter 19.20,21,22,23,25,26,29, and 30 in the Clendinning book.
We will do a parallel study of the basic ideas of George Russell's Lydian Chromatic Concept of Tonal Organization
Our main work will be the workbook assignments. We will supplement this with an ongoing chorale writing practice that incorporates the new harmonic information. And we will do short composition assignments as the semester goes along, in preparation for our final pieces.
Criteria for Evaluation: Your evaluation will be based on classroom involvement, successful completion of all assignments, and your final project.
“The Musicians Guide to Theory and Analysis
Jane Piper Clendinning/Elizabeth West Marvin
(Textbook and workbook)
Archive Music Manuscript Book (B12S-48)
Mechanical pencil #9 and 6 inch clear ruler
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