Harmony Courses

HR-112

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: All
Electable by: All
Prerequisites: PW-111
Department: HARM

Continued exploration of major key harmony: secondary and extended dominant relationships. Continued study of melodic construction and motif development. Principles of linear harmonic continuity and guide tone lines. Minor key harmony; introduction to subdominant minor. Blues theory and chord progressions. Melodic rhythm, form, and melody/harmony relationship.

HR-211

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: All
Electable by: All
Prerequisites: HR-112
Department: HARM

Continued analysis and application of major and minor key harmony; continued elaboration of subdominant minor and modal interchange; chord scale theory. Review of melodic construction and melody/harmony relationship; individual note analysis of melodies. Substitute dominant and related II-7 chords; diminished chord patterns; modulation.

HR-212

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: All
Electable by: All
Prerequisites: HR-211
Department: HARM

Continuation of principles of modern chord progression: deceptive resolutions of secondary dominants; dominant seventh chords without dominant function; contiguous dominant motion. Review of melodic construction, form, and melody/harmony relationship; modal interchange; pedal point and ostinato; modal harmony and modal composition; compound chords; constant structures.

HR-231

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: HR-211
Department: HARM

Identification and analysis of rock harmonies and melodies. Examples from the mid-1950s to the present day will be studied. Pentatonic and diatonic harmony, linear/open harmony, modulation, and classic rock chord patterns will be included. Emphasis will be placed on harmonic dictation.

HR-241

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: HR-211
Department: HARM

A study of how harmony interacts with melody, lyric, rhythm, style, and form in Brazilian popular song, accomplished through examining the works of the principal songwriters of three major styles of Brazilian popular music: samba, bossa nova, and MPB (musica popular Brasiliera).

HR-251

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: HR-211
Department: HARM

A study of the evolution of the blues, combined with compositional application of various blues styles. Historical study focusing on the blues as a complete and complex form as well as the basic foundation for other styles. Analysis includes examination of harmonic movement, rhythmic and melodic construction, and lyric content.

HR-261

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: HR-212
Department: HARM

Songs written and recorded by the Beatles, as well as songs written by the Beatles and recorded by other artists, will be analyzed for their harmonic content, melodic construction, modal focus, rhythmic phrasing, and lyrical construction. The course will be structured around the 10-year rule for composers and the three stages they move through in their career, from being engaged in others' music, to development of the current style, to innovation. In addition, an understanding of each member's personal history will be presented as a means of understanding the group's music. Also addressed will be the social environment from which the group emerged and developed and consideration given to its effect on their musical development and progress.

HR-325

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: JCMP majors
Electable by: All
Prerequisites: HR-212
Department: HARM

Functional, extended, and bass line reharmonization. Incomplete chord structures and reharmonization of diminished chords. Application of the above techniques for writing turnarounds, introductions, interludes, modulations, and extended endings. Corrections of faulty lead sheets.

HR-335

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: HR-212
Department: HARM

Emphasis on newer harmonic concepts to enable students to write and analyze tunes in the style of Mike Gibbs, Chick Corea, and others. Discussion and use of nonfunctional harmonic techniques including multitonic systems, constant cycles, and patterned material. Analysis of representative tunes.

HR-345

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: HR-212
Department: HARM

Modal chord progression and melody using traditional, synthetic, and other modes. Analysis of modal jazz compositions. Modal voicings using characteristic tones and spacing considerations. Use of polytonal and polymodal relationships in original compositions.

HR-355

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: HR-212
Department: HARM

A study of the music of this popular jazz fusion ensemble. Students will analyze original manuscripts and transcribed scores to discover the variety of harmonic, melodic, and rhythmic concepts used that make the music unique, and will write tunes that demonstrate their understanding of these elements. Selected compositions will be performed by the Yellowjackets Ensemble, ENFF-325.

HR-361

2 credit(s)
Course Chair: Joe Mulholland
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: HR-212
Department: HARM

An introduction to the musical elements of several non-Western musical systems will provide alternative approaches to contemporary composition and improvisation. Topics explored will include melody, mode, improvisation, form, rhythmic organization, and preferences of timbre in the music of India, Africa, the Middle East, Latin America, and Japan. Contemporary world beat styles from these regions will be discussed in relation to underlying traditional genres.

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