instructor

Jerry Kerlin, PhD
Associate Professor
Department of Music
Room 28
voice mail: (914) 323-5256
fax: (914) 323-5383
email: kerlinj@mville.edu

office hours

Tuesday, 1:30–3:30 PM
Thursday, 7:00–9:00 PM
Friday. 1:30–3:30 PM

class meeting times
and location

Tuesday and Friday, 12:10–1:25 PM
Room 7

MUT 1035: Basic Music Theory I (3 credits)
This course provides preparation in music theory for pre-professional students as well as other students. The course is designed for non-majors interested in acquiring basic skills in music reading, sight-reading, and ear-training. Compositional projects. Suggested: An elementary reading knowledge of music. (Fall)

MUT 1036: Basic Music Theory II (3 credits)
This is a continuation of Basic Music Theory I. Prerequisite: MUT 1035 or equivalent. (Spring)

course content by week

(subject to adjustment)

1. Review of macrobeat, microbeat, subdivision, meter, and rhythm classes. Review of grand staff pitch notation and octave classification. Orientation to movable tonic solfege. Review of diatonic major scales, major key signatures, and intervals from the diatonic major scale.  Composition project. Dictation examination.

2. Diatonic minor scales: the natural minor. Relative minor and homotonic minor. The circle of fifths and key signatures for relative minor scales. Dictation examination. 

3. Diatonic minor scales: the harmonic minor. Dictation examination.

4. Diatonic minor scales: the melodic minor. Dictation examination.

5. Micro scale systems. chord scales: bichord, trichord, tetrachord, pentachord, hexachord, heptachord. Gapped scales: bitonic, tritonic, tetratonic, pentatonic. Dictation examination. 

6. Historical and cultural scale systems. Modes: aeolian, locrian, ionian, dorian, phrygian, lydian, mixolydian. Blues scales. Octatonic scale. Dictation examination.

7. Midterm examination: written theory examination, dictation examination, sight-singing examination.

8. Root tone singing using tonic and dominant in preparation for an understanding of Western common practice harmony. Dictation examination.

9. Vocal chording using tonic and dominant as an experiential approach to Western common practice harmony. Inversions and voice leading. Dictation examination.

10. Triads and seventh chords in a major context. Chord progressions: I, IV, and V in major. Authentic, plagal, half, and deceptive cadences in a major context. Dictation examination.

11. Triads and seventh chords in a minor context. Chord progressions:

i, iv, and V in minor. Authentic, plagal, half, and deceptive cadences in a minor context. Dictation examination.

12. Musical form. Microform (phrase form) revisited. Macroform: binary form (AB), ternary form (ABA), 32-bar song form (AABA), rondo form (ABACABA). Dictation examination.

13. Use of chord progressions in composition of a tune in a major key. Dictation examination.  

14. Use of chord progression in composition of a tune in a minor key.

15. Final examination: written examination and dictation examination.

course activities

and goals:

▪ Ongoing development of the body as the primary instrument for musicing—movement and song.

▪ Ongoing development of use of rhythm syllables and movable tonic solfege as tools for sight-singing and the understanding of music. 

▪ Further exploration of horizontal and vertical systems in Western musics.

▪ Facility with horizontal systems (scales as a basis for melody, form as a basis for syntax).

▪ Facility with vertical systems (harmonic progressions using triads and seventh chords).

▪ Understanding harmony first through the use of chord roots.

▪ Improvisation using basic rhythm and melody structures.

▪ Rhythm compositions.

▪ Composing melody with harmony.

▪ Structured listening and description of horizontal and vertical systems

assessment

20% ▪ regular, on-time attendance and participation

20% ▪ daily assignments and dictations

20% ▪ weekly examinations

20% ▪ midterm examination

20% ▪ final examination

(same as MUT 1035)

Duckworth, William. 2007. A Creative Approach to Music Fundamentals. 9^th ed. Belmont, CA: Thomson Schirmer. Interactive CD-ROM included. ISBN 0-495-09093-X.

supplementary texts (not required) and readings

▪ Bolkovac, Edward, and Judith Johnson. 1996. 150 Rounds for Singing and Teaching. New York: Boosey and Hawkes.

▪ Erdei, Peter, ed. 1974. 150 American Folk Songs to Sing, Read, and Play. New York: Boosey and Hawkes.

▪ Johnston, Richard. 1986. Folk Songs North American Sings. Toronto: Maclellan and Stewart.

▪ Kodály, Zoltán. 1941/1972. Choral Method: 333 Reading Exercises. Rev. English ed. Taken from the 1966 Hungarian ed. London: Boosey and Hawkes.

▪ Locke, Elearnor G., ed. 1982. Sail Away: 155 American Folk Songs to Sing, Read, and Play. New York: Boosey and Hawkes.