Student Learning Outcomes

• MUS 3C students will be able to analyze a short passage of Classical or Romantic era piano repertoire for harmony and non-chord tones. This passage may incorporate secondary chromaticism, common chord modulation, enharmonic modulation, mode mixture and chromatic "voice leading" chords such as the Neapolitan, augmented sixth and common tone diminished chord.
• Analyze for harmony, using Roman numerals and bass position figures, any chromatic figured bass.
• Analyze for harmony, using Roman numerals and bass position figures, any music or musical excerpt from the common practice period, including solo music, keyboard music and ensemble music.
• Identify by ear sonata form sections and subsections for pieces from an assigned listening list.
• Locate and identify on a printed musical score the sections and subsections of sonata form.
• Describe the location and function of each section and subsection of Darcy-Hepokoski Type 3 sonata form.
• MUS 3C students will, upon hearing 10 one-minute excerpts of pre-assigned sonata form repertoire, be able to identify the composer, composition and formal section or sections (slow introduction, exposition, development, recapitulation or coda) spanned by each excerpt.
• Realize in three or four parts a figured bass that employs mode mixture, the Neapolitan, augmented sixth chords, common tone diminished chords and advanced techniques of modulation.
• Harmonize in three or four parts a chorale tune using advanced chromatic techniques, including mode mixture, the Neapolitan, augmented sixth chords, the common tone diminished seventh chord, altered dominants, extended dominants and advanced techniques of modulation.
• Compose music in three or four parts from Roman numerals, outer voices with Roman numerals, basses with Roman numerals, sopranos with Roman numerals and unfigured outer voices using advanced chromatic techniques, including mode mixture, the Neapolitan, augmented sixth chords, the common tone diminished seventh chord, altered dominants, extended dominants and advanced techniques of modulation.
• Compose phrases in unembellished SAB or SATB format that modulate to foreign keys using chromatic chords and advanced techniques of modulation.
• Construct mode mixture chords, the Neapolitan, augmented sixth chords and altered dominants in music notation from Roman numerals and bass position figures.
• Construct church modes and modes of limited transposition in music notation.