Semester Plans using

The Musician’s Guide to Theory and Analysis

Textbook, Workbook, and Anthology

How to Use these Semester Plans

These Semester Plans are intended to provide a starting point for those who are using this book

for the first time, and to ease the transition for those who have been teaching from previous editions. For

those considering adopting this book, these Semester Plans can help you consider how the third edition of

The Musician’s Guide to Theory and Analysis could work in your own classes. These Semester Plans

show how the entire “written theory” course can be taught using only materials included in The

Musician’s Guide to Theory and Analysis textbook, workbook, anthology, and Total Access online

materials.

Starting with the Semester Plan that seems closest to your typical plan for your courses, you can

adapt the materials to your school’s semester schedule, and shape these semester plans to suit your needs

and those of your students. Each Semester Plan is based on a 15-week semester, with the class meeting

three times a week for 50 minutes; if your courses are on the quarter or trimester system, or if your class

meets two days a week instead of three, you will need to distribute the materials in a slightly different

way. Use these Semester Plans to get you started on sequencing and distributing the materials for those

term lengths as well by starting with the Semester Plan (schedule and assignments) that includes the

materials you normally cover, adapt it to the specifics of this year’s academic calendar, then incorporate

any changes you want to make to the topics or assignments. Having a pre-prepared starting point for a

course saves a lot of time!

The Semester Plans provide coverage of all essential topics, but the materials provided in The

Musician’s Guide to Theory and Analysis package can be used in a variety of ways beyond those shown

in these sample Semester Plans to meet student needs and teacher expectations for first- and second-year
music theory courses. Experienced teachers may wish to incorporate their own favorite teaching pieces,

assignments, or other special course materials that they have developed, if they are not already included in

The Musician’s Guide Workbook or Anthology. If you wish to emphasize composition-based

assignments, see the Assignments for Creative or Composition Activities section after the Semester

Plans that includes a list by chapter of assignments appropriate for this emphasis. There are also many

composition and improvisation assignments included in The Musician’s Guide to Aural Skills. If your

program has an intensive writing or “Writing across the Curriculum” emphasis, see the Assignments for

Writing Intensive or Writing Across the Curriculum section after the Semester Plans, listing by

chapter assignments from The Musician’s Guide to Theory and Analysis that are particularly appropriate

for those emphases.

The following types of Semester Plans are included:

 First Year, First Semester for Intensive Fundamentals: This plan sticks with fundamentals

and two-part counterpoint for the entire first semester, covering Chapters 1–10. Students may

have weak or uneven backgrounds in music rudiments; this plan’s pacing allows for students to

learn these rudiments for the first time and to review and gain mastery of concepts. For those

selecting this plan who wish to complete the full two-year sequence: for Second Semester, start

with Unit 3 (Chapters 11–13) from the First Year, First Semester Plan, then proceed to the first

two units of First Year, Second Semester (Chapters 14–17 and Chapters 18–21), or end with

Chapter 20. For Second Year, include Chapter 22 in the first unit and continue with the Semester

Plans as shown through Second Year. If you finish freshman year on Chapter 20, then start

Second Year with a unit on Chapters 21–22 and continue as indicated in the Semester Plans,

ending Second Semester with only one unit of twentieth-century materials, or, if a fifth semester

is available for twentieth-century techniques, the tonal music materials may be presented at a

slower pace.
 First Year, First Semester (with a pre-semester Fundamentals placement test): This plan

briefly reviews fundamentals for the first six weeks to make sure all students understand all of the

essential concepts, then proceeds to two-part counterpoint in species and eighteenth-century

styles, and continues to beginning steps in diatonic harmony, covering Chapters 1–13. Those

wishing to have an abbreviated treatment of fundamentals (three to four weeks) can pull forward

a unit from the First Year, Second Semester and Second Year, First Semester plans to end with a

full semester of twentieth-century techniques (see the last Semester Plan below).

 First Year, Second Semester: This semester continues with study of diatonic harmony,

including phrase analysis and diatonic sequences, then introduces secondary (applied) dominants

and leading-tone chords and modulation to closely-related keys, prior to concluding with binary

form. This term covers Chapters 14–23.

 Second Year, First Semester: Starting with a review of binary form and modulation, the topics

in this term include chromatic harmony and form, covering Chapters 23–31. This Semester Plan

and the one that follows are based on the ways I have used the The Musician’s Guide to Theory

and Analysis materials in my own classes and those I supervise at Florida State University. They

do not exactly match what we have done in previous years but are my revision of those semester

plans to incorporate new third edition materials, many of which have been field-tested in my

classes for the last several years.

 Second Year, Second Semester: This term begins with variation, rondo, and sonata forms, then

includes two units of twentieth-century techniques, covering Chapters 32–40.

 The Musician’s Guide to Theory and Analysis, Third Edition—Semester Plan
Semester 1 (Intensive Fundamentals) 15-week semester, class meets three times a week, separate aural skills course
Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–5

Music Fundamentals: Pitch Notation, Simple Meter, Compound Meter, and Major Scales

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

1 M Introduction to the course; review
Syllabus, Schedule, and other materials;
start on Chapter 1 concepts.
W Review pitch and pitch class, piano
keyboard, whole and half steps, flats
and sharps, clefs, staff notation, ASA
octave designations.
F Introduce simple meters: the beat and
its divisions, conducting patterns,
notation of durations.
2 M Meter signatures, counting systems.
W Beat subdivisions, rhythm notation,
syncopation, hemiola, and beat units
other than the quarter note.
F Introduction to diatonic and chromatic
collections, and major scales.
3 M No Class—Labor Day Holiday
W Key signatures and scale degrees.
F Major scales and the major pentatonic.
4 M Introduction to compound meters:
meter signatures, notation, counting.
W Notes and rests in compound meters.
F Syncopation in compound meters,
mixing beat divisions.
MGTA 2e Due from MGTA WB
Can start with the example at the beginning of
Chapter 1 to introduce the topic of letter names.
Chapter 1 Assignment 1.1 and 1.2 Focus on accuracy and speed in reading pitches
(InQuizitive) from musical scores and writing pitches with correct
notation. Review Assignment 1.2 in class (and 1.1
if needed).
Chapter 2 Assignment 1.3 and 1.4 Timed (5–10 minute) in-class mastery quiz on
(InQuizitive) reading pitches (with octave designations, treble,
and bass clefs).
Assignment 1.5 Focus on correct notation, including stems and
placement of flags and beams.
Assignment 2.1 and 2.2 Review Assignment 2.6, Part I in class, and
compose rhythmic canons as described in
Assignment 2.6, Part II
Chapter 3 Assignment 2.3 and 2.4
(InQuizitive)
Assignment 2.5 and 3.1
Assignment 3.2 and 3.3 Timed (5–10 minute) in-class mastery quiz on major
scales.
Chapter 4 Assignment 3.4 and 3.5
(InQuizitive)
Assignment 4.1
Assignment 4.2 and 4.3 Review Assignment 4.6 in class.
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
5 M Completion of Chapter 4. Assignment 4.4 and 4.5 Timed (5–10 minute) in-class mastery quiz on
simple and compound meter signatures and basic
rhythmic notation.
W Review for Unit 1 Exam. Review Complete Practice Exam Review and completion of topics using Practice
Chapters 1–4 Exam.
F Exam Unit 1 Exam covers Chapters 1–4.

Unit 2—Weeks 6–10

Music Fundamentals: Minor Scales, Compound Meter, Intervals, Triads, Seventh Chords

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

6 M Introduction to minor scales: parallel
and relative minor.
W Key signatures, three “forms” of minor,
scale degrees.
F Continuation of Chapter 5, including
minor pentatonic and diatonic modes.
7 M Introduction to interval labeling
systems; identifying and writing
intervals.
W Diminished and augmented intervals;
inversion; enharmonic intervals and
interval class.
F Concluding topics in Chapter 6.
8 M Introduction to triads.
W Triads in a key context, including
Roman numerals and inversion.
F Chord symbols and figured bass for
triads.
MGTA 2e Due from MGTA WB
Chapter 5
(InQuizitive)
Assignment 5.1 Review Assignment 5.3 in class.
Assignment 5.2 and Timed (5–10 minute) in-class mastery quiz on key
Assignment 5.4, Parts I signatures and major and minor scales.
and II
Chapter 6 Assignment 5.5 and 5.6 Emphasize interval size and quality. Focus on the
(InQuizitive) various ways to spell intervals. Complete
Assignment 6.1 in class.
Assignment 6.2 and 6.3
Assignment 6.4 and 6.5 Timed (5–10 minute) in-class mastery quiz on
interval writing and identification.
Chapter 7 Assignment 6.6 Writing triads above scales.
(InQuizitive)
Assignment 7.1 Focus on the various ways to spell triads.
Assignment 7.2 and 7.3 Timed (5–10 minute) in-class mastery quiz on
triads.
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
9 M Introduction to seventh chords. Writing Chapter 8 Assignment 7.4 and 7.5 Review Assignment 7.1 and start Assignment 8.1,
seventh chords above scales, quality, (InQuizitive) Part 1 in class.
inversion, and Roman numerals.
W Identifying and writing seventh chords. Assignment 8.1 and 8.2 Focus on the various ways to spell seventh chords.
F Roman numerals for seventh chords, Assignment 8.3 and 8.5
inversion, popular music chord
symbols.
10 M Conclude triads and seventh chords. Assignment 8.4 and 8.6 Timed (5–10 minute) in-class mastery quiz on
seventh chords.
W Review for Unit 2 Exam. Review Complete Practice Test
Chapters 5–8
F Exam Unit 2 Exam covers Chapters 5–8.

Unit 3—Weeks 11–15

Introduction to Species Counterpoint

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
11 M Introduction to first-species (note-to- Chapter 9 Assignment 9.1 Introduce first species and review Assignment 9.1 in
note) counterpoint. (InQuizitive) class.
W First-species counterpoint. Assignment 9.2 and 9.3 Look over assignments and answer questions;
examine Assignment 9.4 in class.
F First-species counterpoint. Assignment 9.5 Review student counterpoints in class; show
students how to use Chapter 9 Summary Checklist.
12 M Introduction to second-species Chapter 10 Assignment 9.6 Opening and closing a second-species counterpoint.
counterpoint. (InQuizitive)
W Second-species counterpoint. Assignment 10.1 Review student solutions for assignment; show
them how to write a complete counterpoint.
F Second-species counterpoint. Assignment 10.2 Review student counterpoints in class; show
students how to use Chapter 10 Summary Checklist.
13 M Introduction to fourth species Assignment 10.3 Review Assignment 10.4 in class; prepare students
counterpoint. to write a fourth-species counterpoint.
W Fourth-species counterpoint. Assignment 10.5 Review student counterpoints in class.
F No Class—Thanksgiving Holiday
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
14 M Third- and fifth-species counterpoint. Assignment 10.6 and 10.7 Review student homework and discuss Assignment
10.8 in class.
W Review for Unit 3 Exam. Review Complete Practice Test Review practice test in class.
Chapters 9–
10
F Exam Unit 3 Exam covers Chapters 9–10.
15 Comprehensive Final Exam Comprehensive Final Covers Chapters 1–10.

NB: From this point, you can follow the Semester Plans for the curriculum without Intensive Fundamentals by units to complete the two -
year sequence.
 For Second Semester, start with Unit 3 (Chapters 11–13) from the First Year, First Semester Plan, then proceed to the first two
units of First Year, Second Semester (Chapters 14–17 and Chapters 18-21), or end with Chapter 20.
 For Second Year, include Chapter 22 in the first unit and continue with the Semester Plans as shown through Second Year. If you
finish freshman year on Chapter 20, then start Second Year with a unit on Chapters 21–22 and continue as indicated in the
Semester Plans, ending Second Semester with only one unit of twentieth-century materials.
 The Musician’s Guide to Theory and Analysis, Third Edition—Semester Plan
Semester 1 (First Year, Fall Term) 15-week semester, class meets three times a week, separate aural skills course
[Students must pass a timed Fundamentals Test to enter at this level]
Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–6

Music Fundamentals Review

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

1 M Introduction to the course; review
Syllabus, Schedule, and other materials;
overview of materials to be reviewed in
this unit.
W Review pitch and pitch class, piano
keyboard, flats and sharps, half and
whole steps, clefs, staff notation, ASA
octave designations.
F Review simple meters: the beat and its
divisions, conducting patterns, notation
of durations of sound and silence, meter
signatures, counting systems.
2 M Continuation of review of Chapter 2
materials, including beat subdivisions,
notation of rhythmic elements,
syncopation, hemiola, and beat units
other than the quarter note.
W Review compound meters: hearing
compound meters, meter signatures,
notation, counting.
F Syncopation in compound meters,
mixing beat divisions, and other
Chapter 4 topics.
3 M No Class—Labor Day
MGTA 2e Due from MGTA WB
Not all students will have had all terminology and
concepts in these chapters. Move quickly through
all chapter contents to be sure all students are
familiar with them.
Chapter 1 Optional: Focus on accuracy and speed in reading pitches
(InQuizitive) Assignment 1.1 and 1.2 from musical scores and writing pitches with correct
notation. Review Assignment 1.2 in class (and
Assignment 1.1 if needed).
Chapter 2 Assignment 1.3 and 1.4 Timed (5–10 minute) mastery quiz on reading
(InQuizitive) pitches (with octave designations, treble and bass
clefs).
Assignment 2.1 and 2.2 Focus on correct notation, including stems and
placement of flags and beams. Review Assignment
2.5, Part I and Assignment 2.6, Part I in class.
Chapter 4 Assignment 2.3 and 2.4 Review parts of Assignment 4.1 and 4.6 in class.
(InQuizitive)
Assignment 2.5, Part II, Timed (5–10 minute) mastery quiz on simple and
4.2, and 4.3 compound meter signatures and basic rhythmic
notation.
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
W Review the diatonic and chromatic Chapter 3 Assignment 4.4 and 4.5 Not all students will have studied collections and the
collections, and major scales. (InQuizitive) major pentatonic. Review parts of Assignment 3.1
in class.
F Review key signatures, solfège or scale Assignment 3.2 and 3.3
degree numbers, and major pentatonic.
4 M Review minor scales: parallel and Chapter 5 Assignment 3.4 and 3.5 Review parts of Assignment 5.1 and 5.3 in class.
relative minor, key signatures, three (InQuizitive)
“forms” of minor.
W Continuation of Chapter 5, including Assignment 5.2 and 5.4 Timed (5–10 minute) mastery quiz on key
minor pentatonic and diatonic modes. signatures and major and minor scales. Not all
students will have studied minor pentatonic or the
diatonic modes.
F Review interval labeling systems. Chapter 6 Assignment 5.5 and 5.6 Review parts of Assignment 6.1, 6.2, and 6.5 in
(InQuizitive) class.
5 M Review triad and seventh chord Chapters 7 Assignment 6.3 and 6.4 Use Assignment 6.6, Parts I and II as a timed (5–10
locations within a scale context, quality, and 8 minute) in-class mastery quiz on interval writing
spelling, and labeling. (InQuizitive) and identification. Review Assignment 7.1 and
Assignment 8.1, Parts I and II in class.
W Focus on triads, including Roman Assignment 7.2 and 7.3 Review assignments in class.
numerals, inversion, figured bass,
popular music chord symbols.
F Focus on seventh chords, including Assignment 7.4 and 7.5 Review Assignment 8.1, Part II and 8.2 in class.
Roman numerals, inversion, popular
music chord symbols.
6 M Review of triads and seventh chords. Assignment 8.3 and 8.5 Review assignments in class.
W Review for Unit 1 Exam. Review Complete Practice Exam Practice Exam is identical to the Unit Exam in
Chapters 1–8 instructions, tasks, overall content, and length;
usually slightly more challenging in difficulty.
Allows students to practice reading the instructions
and helps students review for the test. Review
Practice Exam with students in class; address any
remaining questions.
F Exam Unit 1 Exam covers all fundamentals topics.
 Unit 2—Weeks 7–10
Two-Part Counterpoint

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
7 M Introduction to first-species (note-to- Chapter 9 Assignment 9.1 Introduce first species and review Assignment 9.1 in
note) counterpoint. (InQuizitive) class.
W First-species counterpoint. Assignment 9.2 and 9.3 Look over assignments and answer questions;
examine Assignment 9.4 in class.
F First-species counterpoint. Assignment 9.5 Review student counterpoints in class; show
students how to use Chapter 9 Summary Checklist.
8 M Introduction to second-species Chapter 10 Assignment 9.6 Opening and closing a second-species counterpoint.
counterpoint. (InQuizitive)
W Second-species counterpoint. Assignment 10.1 Review student solutions for assignment; show
them how to write a complete counterpoint.
F Second-species counterpoint. Assignment 10.2 Review student counterpoints in class; show
students how to use Chapter 10 Summary Checklist.
9 M Introduction to fourth-species Assignment 10.3 Review Assignment 10.4 in class; prepare students
counterpoint. to write a fourth-species counterpoint.
W Fourth-species counterpoint. Assignment 10.5 Review student homework.
F Third- and fifth-species counterpoint. Assignment 10.6 Overview of third and fifth species.
10 M Review all species. Assignment 10.7, 10.8
W Review for Unit 2 Exam. Review Complete Practice Test Review Practice Test in class.
Chapters 9–
10
F Exam Unit 2 Exam covers Chapters 9–10
 Unit 3—Weeks 11–15
The Basic Phrase (SATB), Dominant Sevenths, and the Predominant Area

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
11 M Introduction to soprano and bass lines Chapter 11 (reading assignment only)Examine Assignment 11.1, Part I, some of
in eighteenth-century style. (InQuizitive) Assignment 11.1, Part II, and 11.2 in class to
compare eighteenth-century style counterpoint with
first-species settings.
W Soprano and bass lines in eighteenth- Complete Assignment Examine Assignment 11.4 in class; passing and
century style. 11.1 and 11.2 neighbor tones and suspensions in eighteenth-
century style.
F Melodic embellishments in eighteenth- Assignment 11.3 and 11.5 Chorale-style soprano- and bass-line writing.
century style.
12 M Introduction to SATB writing; spelling Chapter 12 Assignment 11.6 Spacing, voicing, doubling in SATB style.
chords in four voices. (InQuizitive)
W Figured bass; the basic phrase. Assignment 12.1 Identifying chords in an SATB context, realizing
figured bass.
F Connecting tonic and dominant Assignment 12.2 and 12.3 Writing and identifying HC, IAC, and PAC.
harmonies; cadence types. Complete Assignment 12.6, Part I in class.
13 M Introduction to V7 and its inversions; Chapter 13 Assignment 12.4 and Complete Assignment 13.1 in class; V7 and
the predominant area. (InQuizitive) 12.5, part I predominants.

W Expanding the basic phrase. Assignment 13.2 and 13.3 Connecting predominant and dominant harmonies.
F No Class—Thanksgiving Holiday
14 M Harmonizing chorale melodies. Assignment 13.4 and 13.5 Complete Assignment 13.6, Part II, A and B in
class.
W Completion of topics. Assignment 13.6, Part I, Analysis of basic phrases and chorale melody
and Part II C, D harmonization.
F Review for Final Exam. Review Complete Practice Test Review Practice Test in class.
Chapters 1–
13
15 Comprehensive Final Exam
 The Musician’s Guide to Theory and Analysis, Third Edition—Semester Plan
Semester 2 (First Year, Spring Term) 15-week semester, class meets three times a week, separate aural skills course
Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–5

Expanding the Tonic and Dominant Areas, Diatonic Harmonies, Embellishing Tones, Leading-Tone Chords

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

1 M Introduction to the course;
cadential 6/4s.
W Neighboring (or pedal), arpeggiating,
and passing 6/4s.
F Analysis of 6/4s.
2 M Completion of chapter topics.
W Introduction to deceptive, plagal, and
Phrygian cadences.
F Root progressions and the basic phrase.
3 M No Class—MLK Holiday
W Embellishing tones in four voices.
F Reduction of embellished textures.
4 M Completion of chapter topics.
W Introduction to leading-tone chords.
F Leading-tone seventh chords; passing
and neighboring chords.
5 M Setting scalar melody and bass lines.
W Review for Unit 1 Exam.
F Exam Unit 1
MGTA 2e Due from MGTA WB
Chapter 14 Use pieces from the textbook to introduce
(InQuizitive) expansions of the tonic and dominant areas.
Assignment 14.1 and 14.2 Introduce the other common 6/4 progressions.
Assignment 14.3 and 14.4 Emphasize the two-level Roman numeral and
contextual analysis system.
Assignment 14.5 Perform some of the students’ harmonizations of the
Assignment 14.6 melodies in class.
Chapter 15 Assignment 14.6 Emphasize part-writing details and where each type
(InQuizitive) of cadence is typically used.
Assignment 15.1 and 15.2 Emphasize part-writing details and where each type
of chord progression is typically used.
Chapter 16 Assignment 15.3 and 15.4 Examine Assignment 16.1 in class; refer back to
(InQuizitive) embellishing tones in two-voice counterpoint.
Assignment 16.2 and 16.3 Show students how to “reduce out” embellishments.
Assignment 16.4 and 16.5
Chapter 17 Assignment 16.6 Emphasize resolution of tendency tones.
(InQuizitive)
Assignment 17.1 and 17.2 Emphasize where these chords appear in the basic
phrase.
Assignment 17.3 and 17.4 Examine Assignment 17.5 in class.
Review Complete Practice Test Expansions of tonic and dominant, cadences, root
Chapters 14– progressions, embellishing tones, and leading-tone
17 chords.
Exam covers Chapters 14–17.
 Unit 2—Weeks 6–10
Phrase Analysis, Diatonic Sequences, Secondary Dominants

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
6 M Introduction to phrase analysis and Chapter 18 (reading assignment only)Work with musical examples to help students learn
motivic transformation. (InQuizitive) phrase analysis terminology.
W Writing phrases. Assignment 18.1 and 18.2 Examine parallel and contrasting consequent
phrases.
F Analyzing phrases and periods; Assignment 18.3 and 18.4 If possible, perform student parallel periods in class.
hypermeter.
7 M Introduction to diatonic sequences. Chapter 19 Assignment 18.5 and 18.6 Emphasize sequence frameworks—how to write and
(InQuizitive) identify them.
W Diatonic sequences. Assignment 19.1 and 19.2 Recognizing sequences in figured bass.
F Analyzing diatonic sequences. Assignment 19.3 Identifying sequences visually and aurally in
analysis.
8 M Introduction to secondary dominants Chapter 20 Assignment 19.4 and 19.5 If students can write V7–I correctly in various
(applied dominants). (InQuizitive) inversions, they can voice-lead secondary
dominants! Must watch for quality and add
accidental to V7/V, though!
W Secondary dominants and leading-tone Assignment 20.1 Emphasize that V7/V goes where ii does in the basic
chords to V. phrase; introduce secondary leading-tone chords.
F Analysis of secondary dominants to V. Assignment 20.2 and 20.3 More practice spelling, resolving, and analyzing
secondary dominants.
9 M Tonicizing scale degrees other than V. Chapter 21 Assignment 20.4 and 20.5 Review Assignment 21.1 in class as an introduction
(InQuizitive) to the topics.
W Part-writing and analysis of secondary Assignment 21.2 and 21.3 Expand concepts of Chapter 20 to tonicize chords
dominants. other than V.
F Chromatic sequences. Assignment 21.4 Show how diatonic sequences can be chromaticized.
10 M Completion of topics. Assignment 21.5 and 21.6 More practice spelling, resolving, and analyzing
secondary dominants.
W Review for Unit 2 Exam. Review Complete Practice Test Phrase analysis, diatonic and chromatic sequences,
Chapters 18– secondary dominants.
21
F Exam Unit 2 Exam covers Chapters 18–21.
Unit 3—Weeks 11–15
 Modulation to Closely Related Keys and Binary Form

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
11 M Introduction to modulation to closely Chapter 22 (reading assignment only) Examine pieces discussed in the chapter (or
related keys; pivot chords. (InQuizitive) examples of teacher’s choice).
W Modulation to closely related keys. Assignment 22.1 Work with students on identifying possible pivots
chords.
F Modulation to closely related keys. Assignment 22.2
12 M Modulation to closely related keys. Assignment 22.3 Assignment 22.3 Part I will be combined with
Assignment 23.3 Part I to make a little binary-form
composition.
W Modulation to closely related keys. Assignment 22.4 Assignment 22.4, Part I is challenging—may want
to work on it in class. Perform student settings of
Part B in class.
F Modulation to closely related keys. Assignment 22.5
13 M Introduction to binary form. Chapter 23 Assignment 22.6 Examine pieces discussed in the chapter (or
(to p. 478) examples of teacher’s choice).
(InQuizitive)
W Binary form. Assignment 23.1 Examine pieces discussed in the chapter (or
examples of teacher’s choice).
F Binary form. Assignment 23.2 Perform Assignment 23.2 in class with violin (or
flute or oboe) and continuo (piano and cello or
bassoon).
14 M Binary form. Assignment 23.3 Give students corrections on Assignment 22.3 and
23.3 to prepare for their completed binary
composition.
W Binary-form compositions. Assignment 23.3, Part II Perform compositions in class.
F Review for Final Exam. Review Complete Practice Test Modulation to closely related keys and binary form.
Chapters 14–
23
15 Final Exam Can be a Unit 3 Exam on Chapters 22–23 or a
Comprehensive Exam.
 The Musician’s Guide to Theory and Analysis, Third Edition—Semester Plan
Semester 3 (Second Year, Fall Term) 15-week semester, class meets three times a week, separate aural skills class
Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–5

Binary and Ternary Forms; Invention, Fugue, and other Contrapuntal Genres; Variation

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
1 M Introduction to the course; review [Students were introduced to Chapter 23 at the end
Syllabus, Schedule, and other materials. of First Year, Spring Semester.]
W Review binary form, Roman numeral Chapter 23 (reading assignment only; In-class quiz on reading; examine pieces discussed
analysis, modulation, and figured bass. (InQuizitive) may start on Assignment in the chapter (or examples of teacher’s choice).
23.4)
F Review binary form and figured bass; Assignment 23.4
review simple ternary form.
2 M Review binary and simple ternary form. Assignment 23.5
W Composite forms in marches and Assignment 23.6
ragtime.
F Introduction to contrapuntal genres; Chapter 24 (reading assignment only) In-class quiz on reading.
Baroque melody, subject and imitation. (InQuizitive)
3 M Labor Day
W Invention and fugue—subjects, Assignment 24.1 Bach, Prelude, from Cello Suite No. 2 in D Minor;
countersubjects and the exposition. Work with Assignment 24.2 in class and compare to
invention subject (typically answered down an
octave).
F Invention and fugue—episodes and Assignment 24.3 and 24.4 Bach, Invention in F Major; also Fugue in G Minor.
later expositions.
4 M Invention and fugue—special features. Assignment 24.5 and 24.6 Bach, Fugue in D# Major; other favorite fugues
chosen by teacher.
W Introduction to variations. Chapter 25 Prepare Assignment 25.3 In-class quiz on reading.
(InQuizitive) for class discussion
F Sectional and continuous variations. Assignment 25.1 and 25.2
5 M Sectional and continuous variations. Assignment 25.4 and 25.5 Start work on Model Composition 2 (Variation)
using Assignment 25.6 Part I for guidance.
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
W Review for Unit 1 Exam. Review Complete Practice Test
Chapters 23–
25
F Exam Unit 1 Covers Chapters 23–25.

Unit 2—Weeks 6–10

Modal Mixture, Augmented Sixth Chords and Neapolitan Chords, Vocal Forms

Week Day Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
6 M Introduction to modal mixture; spelling Chapter 26 Assignment 26.1 Work with students on Assignment 26.1.
and identifying mixture chords. (InQuizitive)
W Part-writing and analysis of mixture Assignment 26.2 Review students’ part-writing homework in class;
chords. view YouTube video of Bernstein’s “One Hand,
One Heart” and discuss analysis.
F Part-writing and analysis of mixture Assignment 26.3 and 26.4 Review students’ part-writing homework in class.
chords.
7 M Introduction to Neapolitan sixth and Chapter 27 Assignment 26.5 (Part I Examine pieces discussed in the chapter (or
augmented-sixth chords. (InQuizitive) or Part II or both) examples of teacher’s choice).
W N6 chords. Assignment 27.1 Work with students on spelling and resolution.
F N6 chords. Assignment 27.2 Examine pieces discussed in the chapter (or
examples of teacher’s choice).
8 M Introduction to A6 chords. Assignment 27.3 Examine pieces discussed in the chapter (or
examples of teacher’s choice).
W A6 chords. Assignment 27.4 and 27.5 Work with students on spelling and resolution.
F Complete N6 and A6 chords. Assignment 27.6 Examine pieces discussed in the chapter (or
examples of teacher’s choice).
9 M Introduction to vocal forms; Chapter 28 Assignment 27.7 Discuss Assignment 28.2 in class.
text analysis and form. (InQuizitive)
W Baroque song forms. Assignment 28.1
F Romantic song forms. Assignment 28.3 and 28.4
Week Day Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
10 M Complete song forms. Assignment 28.5 and 28.6 Discuss Assignment 28.6, Part II in class.
Part I
W Review for Unit 2 Exam. Review Complete Practice Test
Chapters 26–
28
F Exam Unit 2 Covers Chapters 26–28.

Unit 3—Weeks 11–15

Popular Music, Chromatic Harmony, Chromatic Modulation

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
11 M Introduction to popular music analysis; Chapter 29 (reading assignment only)Look over pieces from chapter or Assignment 29.1
quaternary song form and the blues. (InQuizitive) in class.
W Blues. Assignment 29.2 and 29.3 View the video for “Cruella de Vil” from 101
Dalmatians on YouTube.
F Blues and post-1950s popular song. Assignment 29.4 Perform students’ blues compositions in class.
12 M Recent popular songs. Assignment 29.5
W Introduction to chromatic harmony and Chapter 30 Assignment 29.6 Review Assignment 30.1 and 30.2 in class.
voice-leading; chromatic sequences and (InQuizitive)
voice exchanges.
F Analysis of chromatic voice-leading; Assignment 30.3 and 30.4 Examine the homework pieces in class; if desired,
chromatic embellishments. review Assignment 30.5 in class.
13 M Chromatic modulatory procedures; Chapter 31 Assignment 30.6 Review Assignment 31.2 in class.
chromatic chords as pivots. (InQuizitive)
W Modulations to distant keys. Assignment 31.3 Students will likely need assistance to complete
Assignment 31.3, Part II—can review in class.
F Modulations to distant keys. Assignment 31.1 Examine the excerpts in the context of the entire
song.
14 M Chromaticism and form. Assignment 31.4 Examine the excerpts in the context of the entire
song.
W Chromaticism and form; intentional Assignment 31.6 Discuss Assignment 31.6 in class.
harmonic ambiguity.
Week Day Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
F Review for Final Exam. Review Complete Practice Test Can use Assignment 31.5 as test material or model
Chapters 23– for test format.
31
15 Final Exam Can be a Unit 3 Exam or Comprehensive Exam.
 The Musician’s Guide to Theory and Analysis, Third Edition—Semester Plan
Semester 4 (Second Year, Spring Term) 15-week semester, class meets three times a week, separate aural skills class
Three Units—One Unit of Form and Chromatic Harmony; Two Units of Twentieth-Century Techniques
Prepared by Jane Piper Clendinning

Unit 1—Weeks 1–5

Sonata, Sonatina, and Concerto Forms; Rondo, Sonata-Rondo, and Large Ternary

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
1 M Introduction to the course; introduction Chapter 32 (reading assignment only) Look at Assignment 32.1 in class.
to sonata form. (InQuizitive)
W Sonata form in the Classical era. Assignment 32.2
F Sonata form in the Classical era. Assignment 32.3
2 M Sonata form in the Classical era. Assignment 32.5
W Sonatina and Concerto. Assignment 32.4
F Rondo, sonata-rondo and large ternary Chapter 33 Assignment 32.6
forms. (InQuizitive)
3 M Rondo, sonata-rondo and large ternary Assignment 33.1 and 33.3
forms.
W Rondo, sonata-rondo and large ternary Assignment 33.2 and 33.4
forms.
F Rondo, sonata-rondo and large ternary Assignment 33.5
forms.
4 M Complete classical sonata; introduce Assignment 33.6
sonata form in the Romantic era.
W Review for Unit 1 Exam. Review Complete Practice Test Test on sonata, sonatina, concerto, rondo, sonata-
Chapters 32– rondo, and large ternary.
33
F Exam Unit 1 Covers Chapters 32–33.
 Unit 2—Weeks 5–10
Modes, Scales, and Sets; Rhythm, meter, and form in music since 1900; Music analysis with sets

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
5 M Introduction to listening to twentieth- Chapter 34 (reading assignment only) Introduce chromatic, whole-tone, octatonic
century music; introduction to scales (InQuizitive) collections, pc integers, and review diatonic modes.
and modes.
W Scales and modes in music analysis; Assignment 34.1 and 34.2
using pitch-class integer notation.
F Analysis—scales, pitch and pitch-class Assignment 34.3
centers, form.
6 M Analysis—scales, pitch and pitch-class Assignment 34.4 and 34.5 In-class timed quiz on reading pc integers.
centers, form. Part I
W Introduction to Rhythm, meter, and Chapter 35 Assignment 34.6 Discuss Assignment 35.2 Part II in class.
form in music after 1900. (InQuizitive)
F Rhythm, meter, and form. Assignment 35.1 and 35.3
7 M Using pitch-time graphs. Assignment 35.5 and
Assignment 35.6, Part A
W Music Analysis with Sets; Pc intervals Chapter 36 Assignment 35.4, Part I
and the interval vector. (InQuizitive) and Assignment 35.6,
Part B
F Inverting pitch and pitch-class sets; Tn Assignment 36.1 and 36.2
and TnI relationships.
8 M Transposing pcsets. Assignment 36.3 and Go over homework carefully in class—students find
Assignment 36.4, Part I inverting sets somewhat challenging!
W Analysis with pitch-class sets. Assignment 36.5
F Introduction to set classes and Chapter 37 Assignment 36.6 Discuss Assignment 36.6 in class; use it to talk
segmentation; normal order and prime (InQuizitive) about segmentation.
form.
9 M Analysis with pitch-class sets. Assignment 37.1 and 37.2
W Analysis with pitch-class sets. Assignment 37.3 and 37.4
F Analysis with pitch-class sets. Assignment 37.5 Part I,
and 37.6
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
10 M Prepare Assignment 37.5
Part II for class
discussion.
W Review for Unit 2 Exam. Review Complete Practice Test Include a short atonal piece to analyze, or could
Chapters 34– focus on specific tasks (making an interval vector,
37 normal order, prime form).
F Exam Unit 2 Covers Chapters 34–37.

Unit 3—Weeks 11–15

Ordered Segments and Serialism, Rhythmic Procedures and Form, Recent Trends

Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes

MGTA 2e Due from MGTA WB
11 M Introduction to ordered segments and Chapter 38 (reading assignment only)Examine Tavener “The Lamb” or pieces discussed
serialism; pitch and pc segments. (InQuizitive) in the chapter (or examples of teacher’s choice).
W Operations (T, R, I, and RI) on pitch Assignment 38.1 and 38.2 Use Assignment 38.3 to illustrate the operations.
and pitch-class segments
F Analysis with pitch and pc segments; Assignment 38.4
12-tone rows and the row matrix.
12 M Analysis of serial compositions using a Assignment 38.5 and 38.6 Discussion of combinatoriality using Assignment
row matrix. 38.8 is optional.
W Introduction to rhythm, meter, and form Chapter 39 Assignment 38.7
after 1945. (InQuizitive)
F Rhythm, meter, and form after 1945. Assignment 39.1 and 39.2
13 M Rhythm, meter, and form after 1945. Assignment 39.3 Work on Assignment 39.6 in class.
W Recent trends. Chapter 40 Assignment 39.4, Part I
(InQuizitive) and Assignment 39.5
F Recent trends. Assignment 40.1 and 40.2
14 M Recent trends. Assignment 40.3
W Recent trends. Assignment 40.4, Part I
and Assignment 40.5
F Review for Final Exam. Review Complete Practice Test
Chapters 32–
40
Week Day Class Discussion Topic Reading Written Assignment Repertoire/Notes
MGTA 2e Due from MGTA WB
15 Final Exam Can be a Unit 3 Exam or Comprehensive Exam.