A Survey of Music Theory for the College Classroom: Chromatic Harmony 1

Introduction

A Survey of Music Theory for the College Classroom is a concise, practical, and readable text and workbook for use in the freshman and sophomore music theory curriculum. The text is divided into four parts which are linked by a table of contents, allowing for a seamless transition between them.

A Survey of Music Theory for the College Classroom: Fundamentals

A Survey of Music Theory for the College Classroom: Diatonic Harmony

A Survey of Music Theory for the College Classroom: Chromatic Harmony I

A Survey of Music Theory for the College Classroom: Chromatic Harmony II and 20th Century Music

Most chapters include PDFs of exercises and excerpts for analysis. I encourage the instructor to supplement the course materials through the analysis of lengthy excerpts or complete pieces of music, especially during the sophomore year. I also highly recommend the use of Rising Software’s Musition (theory) and Auralia (aural skills) software. The Musition and Auralia software package is robust, customizable, and can be used to reinforce most concepts covered in freshman and sophomore theory. I have also written a comprehensive set of exams as well as about 1100 objectives questions for use in Blackboard. Please email me at semmons@angelo.edu from a valid faculty email address if you would like to access these tests or Blackboard pools.

In addition to the extensive excerpts for analysis, the reader will note the prevalence given to part-writing, especially in the books Diatonic Harmony and Chromaticism I. In my experience, part-writing is the laboratory in which the student can learn many of the fundamentals of music theory. Additionally, I have found that students enjoy and even prize the time spent at the boards actively learning through part-writing and the completion of similar in class exercises.

The examples from the literature in the text and workbook were taken from the IMSLP that are public domain in the United States. I wrote all the part-writing and short examples in the text, all the exercises for the workbook, and a few pieces for analysis that demonstrate various techniques.

I dedicate this book to the late Dr. Edward Pearsall and the late Dr. Mary Jeanne van Appledorn. I studied Schenkerian analysis and 20th century theory with Ed during my doctorate at Texas Tech. Through these classes and as a member of my dissertation committee, he had a profound influence on my understanding of music and on my writing. Dr. Van was one of a kind. I studied composition and theory with her during my doctorate, and she was a master teacher of composition, the use of scales, and the music of Debussy. I have happy memories of sitting with her at the piano banging through my music or analyzing various 20th century works. She taught with great care and with humor. I shall always be in her debt.

Stephen D. Emmons, Ph.D.