assignment 4 7 music theory

Introduction to Music Theory

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Chapter 1: Pitch

1.1 – Notes on the staff 1.2 – The treble clef  and supplemental worksheet 1.3 – The bass clef and supplemental worksheet 1.4 – Staff systems 1.5 – Octave registers 1.6 – Notes on the keyboard ( part 1 ) ( part 2 ) ( part 3 ) 1.7 – Accidentals 1.8 – Review and Exam 1 1.9 – Appendix 1: Alto and tenor clefs

Chapter 2: Rhythm and meter

2.1 – Introduction to rhythm 2.2 – Pulse, meter, and measures 2.3 – Common time 2.4 – 8th notes and 16th notes 2.5 – Dotted rhythms 2.6 – Ties 2.7 – Rests 2.8 – Dynamics 2.9 – Articulations 2.10 – 2/4 and 3/4 meter 2.11 – Different beat units 2.12 – 6/8 meter 2.13 – More compound meters 2.14 – Review and Exam 2 2.15 – Appendix 2: Asymmetrical meters

Chapter 3: Scales and keys

3.1 – The C major scale 3.2 – Other major scales 3.3 – Diatonic functions of the scale 3.4 – The circle of 5ths 3.5 – Major key signatures 3.6 – The natural minor scale 3.7 – Harmonic and melodic minor scales 3.8 – Major or minor? 3.9 – Modes 3.10 – Review and Exam 3

Chapter 4: Intervals

4.1 – Basic intervals 4.2 – Seconds and thirds ( Part 1 , Part 2 ) 4.3 – Perfect intervals and inversions 4.4 – 6ths, 7ths, and all inversions 4.5 – Intervals in the major scale 4.6 – Intervals in the minor scale 4.7 – Review and Exam 4 4.8 – Appendix 3: Frequency and consonance

Chapter 5: Chords

5.1 – Triads 5.2 – Triad alterations 5.3 – Triads in a key context 5.4 – Inversions and doubling 5.5 – 7th chords in the major key 5.6 – 7th chords in the minor key 5.7 – 7th chord inversions 5.8 – Analyzing arpeggios and doubled notes 5.9 – Non-chord tones 5.10 – Split-bass chords 5.11 – Review and Exam 5 5.12 – Appendix 4: Introduction to jazz chords

Chapter 6: Chord paradigms and song structure

6.1 – From chords to context 6.2 – Keyboard style and part-writing 6.3 – The tonic-dominant relationship 6.4 – The cadential 6/4 6.5 – The pre-dominant 6.6 – Tonic expansion 6.7 – Cadences 6.8 – Introduction to structure 6.9 – Song structure in contemporary music 6.10 – Review and Exam 6

Hopkins Middle School Instrumental Music Department

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Practice Sheets/Theory Assignments

Browse and download from the below.

Hopkins (all 7th/8th Grade classes)

September 2020 Practice Sheet

October 2020 Practice Sheet October 2020 Theory Assignment

November 2020 Practice Sheet November 2020 Theory Assignment

December 2020 Practice Sheet December 2020 Theory Assignment

January 2021 Practice Sheet January 2021 Theory Assignment

February 2021 Practice Sheet February 2021 Theory Assignment

March 2021 Practice Sheet March 2021 Theory Assignment

April 2021 Practice Sheet April 2021 Theory Assignment

May 2021 Practice Sheet May 2021 Theory Assignment

Elementary (All 4th-6th Grade Band/Orchestra classes)

• For educators

Music in Theory and Practice (8th Edition) Edit edition …

Corresponding textbook.

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Integrated Music Theory an open, interactive, online textbook for college music theory

CC BY-NC-SA 2018.

Integrated Music Theory 2018-19

Integrated musicianship: theory.

Integrated Musicianship: Theory is an open-source , interactive, online textbook for college-level music theory courses written by Sean Butterfield. A companion text Integrated Musicianship: Aural Skills provides a parallel ear training course. It was developed with support of the Think Open Fellowship and Evan Williamson from the University of Idaho Library .

• Table of contents
• Assignments & Forum
• ABC Playground
• IntMus: Aural Skills
• IntMus Home

The textbook is designed to maximize flexibility and support an inquiry-based model of instruction. For a simple explanation of this model as well as how to best utilize this textbook’s structure, please view About this textbook .

If you are already familiar with the inquiry-based model, you can begin exploring the textbook using the side bar navigation or by browsing the Table of contents .

Integrated Musicianship makes use of abcjs to present interactive musical examples throughout the text. Checkout the ABC Tutorial to get started with ABC Notation. Note: the full functionality of abcjs works best on up-to-date Chrome or Firefox browsers.

If you have questions about this textbook or curriculum, please feel free to contact Sean Butterfield via email:

Sean Butterfield

Getting Details...

Enrollment for Sept semester closes at 5:00 PM ET. Limited seats available! Choose Your Course

1-866-berklee, int'l +1-617-747-2146, [email protected], searching..., or check out these faqs:.

• CHANGE CERTIFICATE: When a student wants to change their lower-level certificate to a higher-level certificate (or vice versa) prior to the completion of the program. There are no additional fees for this option other than the cost of additional courses, and you will only earn one certificate upon completion.
• STARTING A NEW CERTIFICATE: When a student wants to earn more than one certificate by having the courses from their lower-level certificate waived into a higher-level certificate. In this case, an additional $175 registration fee is required.

Financial Aid

• Attained at least a 2.70 cumulative GPA in concentrate courses
• Have a minimum cumulative GPA of 2.00
• Fulfilled all program requirements AND completed a minimum of 120 credits for a single major or 165 for a dual major
• Completed a minimum of 60 institutional credits for a single major or 105 institutional credits for a dual major
• Fulfilled all financial obligations to the college

Transfer Credits

Online undergraduate-level course, music theory and composition 4.

Authored by Kari Juusela , Tom Hojnacki

Course Code: OCOMP-211

starts January 13--> Next semester starts Jan 13, 2025

3-credit tuition, non-credit tuition.

This core music theory course is the fourth of a four-semester curriculum that continues to build a foundation for your musical development. The materials covered here will help you express your musical ideas as applied to composition for film, TV, and video games.

• Identify and apply minor and major modal melodic writing concepts with contemporary and classical approaches
• Identify and apply advanced rhythmic and melodic concepts of nested tuplets, Fibonacci Series, metric modulation, hemiola, and Jahlas
• Identify and apply advanced scales types of Lydian augmented, Lydian b7, Spanish Phrygian, Super Locrian of contemporary music and the whole tone and octatonic scale in classical music
• Differentiate and analyze alternative progressions that include deceptive resolutions of the Dominant 7th chord and symmetrical divisions of the octave
• Identify and apply advanced harmony concepts of non-tertian voicings, hybrids and Inversions, polytonal harmony, musical parallelism, and serial technique
• Understand and apply the process for re-harmonizing a given melody in both contemporary and classical styles
• Recognize and differentiate the musical elements various styles of world music

Need guidance?

Call ,  Text ,  or  Email us

Lesson 1: Review Topics

• This Over That—Revisited: A Review of Polychord Voicings
• Review, Non-Chord Tones: A Review of Non-Chord Tones in Triadically Based Music 
• Review: Approach Tones in Jazz and Popular Music  
• Review of Classical/Contemporary Harmonic Analysis Techniques 
• Rhythm Jam 1: A Review of Rhythmic Grooves in Indian, African, and Latin Music 
• Assignment 1: “Buster and Billie” Composition Film Clip

Lesson 2: Modal 1

• Minor Modal Melodic Writing 
• Minor Modal Harmony 
• Minor Modes in Medieval, Renaissance, and Early Baroque music 
• Minor Modes in Early Twentieth Century Classical Music 
• Rhythm Jam 2: Nested Tuplets 
• Assignment 2: Phrygian and Dorian Modes Composition 

Lesson 3: Modal 2

• Major Modal Melody 
• Major Modal Harmony 
• Major Modes in Classical Music 
• Review: Sixteenth Note Syncopation Notational Practice 
• Rhythm Jam 3: Fibonacci Series 
• Assignment 3: Lydian and Mixolydian Modes Composition 

Lesson 4: Scales, Scales, Scales  

• Scale Types 1 
• Scale Types 2 
• Scale Types 3 
• Scale Types 4 
• Rhythm Jam 4: Metric Modulation 
• Assignment 4: Exotic Scales Composition 

Lesson 5: Deceptive Resolutions of the Dominant 7th Chord

• Review of the Standard Deceptive Resolutions of V7 
• Deceptive Resolutions of Secondary Dominant Chords 
• Deceptive Resolutions of Substitute Dominant Chords 
• Symmetrical Divisions of the Octave 
• Rhythm Jam 5: Advanced Drum Grooves 1
• Assignment 5: Scoring “Grave of the Vampire” using Chromatic 3rd 

Lesson 6: Non-tertian Voicings

• Pandiatonic Modal Voicings 
• Layered Ostinato 
• Modal Interchange in a Modal Tonic System
• Quartal and Quintal Harmony in Classical Music
• Rhythm Jam 6: Hemiola
• Assignment 6: Harmony Voiced in 4ths Composition   

Lesson 7: This Over That 

• Review of V7(sus4) Hybrid Voicings 
• More Hybrid Voicings 
• Hybrids and Inversions 
• A Brief Exploration of Polytonal Harmony 
• Rhythm Jam 7: Phase 
• Assignment 7: Hybrid Voicings and Inversions Composition 

Lesson 8: Reharmonization

• Reharmonizing a Melody 1 
• Reharmonizing a Melody 2 
• Reharmonizing a Melody 3 
• Reharmonizing a Melody using twentieth Century Classical Techniques
• Rhythm Jam 8: Advanced Drum Grooves 2
• Assignment 8: Reharmonization and Arrangement 

Lesson 9: Musical Parallelism  

• Parallel 7th Chords 
• Contiguous Dominants and Related IIs 
• Constant Structure 
• Debussy’s Use of Parallelism 
• Rhythm Jam 9: Jahlas 
• Assignment 9: Parallel and Constant Structure Composition

Lesson 10: Serial Technique 

• Serialism 1 
• Serialism 2 
• Serialism 3
• Serialism 4
• Rhythm Jam 10: Serial Rhythm 
• Assignment 10: Serial Techniques Composition 

Lesson 11: Modal Interchange  

• Overview of Modal Interchange 
• Unusual Modal Interchange 
• Overview of Special Function Dominants 
• Minimalism 
• Rhythm Jam 11: Additive Rhythm 
• Assignment 11: Final Project Sketch 

Lesson 12: World Music Week 

• Music of Indonesia 
• Music of China 
• Music of  Japan 
• Music of Korea 
• Rhythm Jam 12: Asian Rhythms 
• Assignment 12: Final Projects

Requirements

Prerequisites and course-specific requirements .

Prerequisite Courses, Knowledge, and/or Skills Completion of  Music Theory and Composition 3  or equivalent knowledge and experience is required. In addition:

• Ability to read notated music 
• Ability to record MIDI in a Digital Audio Workstation (DAW)
• Ability to sync your compositions with various short video clips and export as MP4 file

Textbook(s)

• No textbooks required
• Digital Audio Workstation (DAW) software, such as GarageBand (Mac), Mixcraft (PC),  Cakewalk by BandLab  (PC), etc.
• Scanner or digital camera to convert handwritten notation into PDF format
• Recommended: MIDI keyboard controller
• Studio monitors (pair), such as JBL 305Ps or better, as well as an audio interface and necessary cables
• Over-ear studio headphones, such as Sennheiser HD 600, Sony MDR-7506, Philips SHP9500, Audio-Technica ATH-M50x, etc.
• Manuscript paper with 8 or 9 staves per page (printable template provided in the course)

Student Deals After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact [email protected] with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

• macOS Big Sur 11.0 or later
• Windows 10 or later
• Latest version of Google Chrome
• Zoom meeting software
• Speakers or headphones
• External or internal microphone
• Broadband Internet connection

Instructors

Author & Instructor

Kari Henrik Juusela is a Finnish-American composer, performer, and educator who presently serves as dean of the Professional Writing and Music Technology Division at Berklee College of Music in Boston, Massachusetts. In addition to writing music in styles ranging from pop to contemporary classical, he enjoys playing and recording the cello, bass, guitar, piano, table, and the Finnish Kantele. 

Tom Hojnacki enjoys an unusually varied musical career. As a keyboard player, Tom has worked with the national touring productions of the Big Apple Circus, A Chorus Line ,  Altar Boyz ,  Beautiful! ,  Matilda , and Finding Neverland . He has appeared with the Prague Radio, the Claflin Hill, the Plymouth Philharmonic and the New Bedford Symphony Orchestras and as a chamber musician in performances of the music of Beethoven, Brahms, Schubert, Bartok, Messiaen, and Shostakovich. 

Internationally touring musician, Mark Zaleski, has distinguished himself as a uniquely dynamic soloist, multi-instrumentalist, and band leader.He has performed with a diverse group of notable artists including Dave Brubeck, Christian McBride, Ian Anderson, Connie Francis, Mahmoud Ahmed, Rakalam Bob Moses, the Either/Orchestra, Jason Palmer, and Matt Savage.  At the young age of 33, he has established faculty positions at Berklee College of Music, New England Conservatory of Music, and Longy School of Music at Bard College.

What's Next?

When taken for credit, Music Theory and Composition 4 can be applied towards the completion of these related programs:

Related Certificate Programs

• Music Theory and Composition Professional Certificate
• General Music Studies Professional Certificate
• General Music Studies Advanced Professional Certificate

Related Degree Majors

• Bachelor's Degree in Electronic Music Production and Sound Design
• Bachelor's Degree in Guitar Performance
• Bachelor's Degree in Interdisciplinary Music Studies (Create Your Own Major)
• Bachelor's Degree in Music Business
• Bachelor's Degree in Music Composition for Film, TV, and Games
• Bachelor's Degree in Songwriting
• Bachelor's Degree in Songwriting and Producing Music
• Bachelor's Degree in Music Production
• (Pre-Degree) Undeclared Option
• Bachelor's Degree in Piano Performance
• Bachelor's Degree in Voice Performance

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at [email protected] .

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