UIUC MUS 102 Notes

Course Overview

MUS 102 introduces the grammar of tonal music and phrase design. The class centers on functional harmony (T–PD–D), cadences, embellishing tones/chords, dominant-function chords (V, V7, vii°/vii°7), inversional uses (6, 6⁵, 4², etc.), the cadential six–four, and formal phrase types (motive, sentence, periods, and double periods). Emphasis is on voice leading, bass-line fluency, and hearing/analysis of common-practice repertoire.

Learning Outcomes

By the end of the course, students should be able to:

Identify and apply harmonic functions (Tonic, Predominant, Dominant) in analysis and part-writing.
Recognize and write cadence types and explain their voice-leading implications.
Employ embellishing tones (PT, NT, CT, APT, ANT, APP, escape, changing tones, pedal) and embellishing chords (esp. 6³/6⁴ uses) in metrically appropriate contexts.
Construct and resolve dominant structures (V, V7) and leading-tone substitutes (vii°/vii°7) with correct treatment of tendency tones.
Use inversions of V (V⁶, V⁶⁵, V⁴³, V⁴²) and vii°⁶ in tonic and dominant expansions.
Analyze and write phrase designs: motives, sentences (A–A′–B), periods (parallel/contrasting), double periods, and embedded phrase models.
Diagnose, write, and resolve suspensions (7–6, 4–3, 9–8, 2–3) and cadential 6–4 progressions with historically consistent doubling/resolution.

Syllabus (Topic Modules)

1) Functional Harmony & Cadences

Functions:
- Tonic (T): stability (I/i, vi/VI, iii ∗rare).
- Predominant (PD): away from tonic (ii, ii°/ii⁶⁵, iv/IV, VI; iii ∗rare).
- Dominant (D): toward tonic (V, V7, vii°/vii°7).
Cadences: common authentic/half/contrary-motion variants; stylistic plagal motion (IV–I); recognition of inconclusive endings (e.g., V→vi).

2) Embellishing Chords & Bass-Line Fluency

Purpose: prolong structural harmonies; maintain melodic and bass motion.
Typical traits: metrically weak in the bass; often 1st/2nd inversion to keep the bass singing.
6³ (first-inversion) usage:
- Weaker than root position; often PT/NT in bass.
- Voice-leading rules: keep common tones; prefer doubling the root; avoid doubling the leading tone.

3) Dominant Structures: V7 and Leading-Tone

V7: dissonant seventh resolves down by step (4̂→3̂); 2̂→1̂, 5̂→1̂ patterns; options to omit the 5th and double the root.
vii° / vii°7: functional substitutes for V/V7; special voice-leading care (never double the leading tone); common in first inversion (vii°⁶) for smoother bass.

4) Tonic & Dominant Expansions (Passing/Neighbor Uses)

V⁶ as incomplete neighbor (I⁶ ↗ V⁶ ↘ I).
vii°⁶ as passing between I and I⁶ (fills the chordal leap).
Neighbor V⁶⁵ (7̂ in bass) and Passing V⁴³ (2̂ in bass) to connect I ↔ I⁶.
V⁴² as passing or incomplete neighbor between V and I⁶.

5) Accented & Chromatic Embellishing Tones

Accented (on strong beats) vs unaccented dissonances. Intervallic identity is relative to the bass.
PT/NT (diatonic & chromatic), APT, CPT, ANT, APP (AIN vs APP directionality), escape tones, changing tones (double neighbors), and pedal points for I or V prolongation.

6) Suspensions (Upper Voice & Bass)

Definition: accented dissonance prepared by repetition and resolved down by step.
Standard types: 7–6, 4–3, 9–8, 2–3 (bass sus).
Preparation (P) → Suspension (S) → Resolution (R); S stronger than P and R; align with harmonic rhythm.

7) Six–Four Chords (6⁴)

Unstable/dissonant in classical syntax; functions by context:
- Pedal 6⁴ (neighbors above an underlying 5³).
- Passing 6⁴ (bass stepwise motion R.P.→1st inv. or vice versa; double the bass).
- Arpeggiated 6⁴ (within a single harmony).
Cadential 6⁴ → V (→ V7): double the bass (5̂); voice-leading targets 3̂←4̂ and 1̂←2̂.

8) Phrase Design & Formal Syntax

Motive and figure (sub-phrase building blocks).
Composite phrase (often 4 mm, but flexible).
Sentence: Statement → Repetition/Variation (A/A′) → Continuation (B).
Period: antecedent (weaker cadence) → consequent (stronger cadence).
- Parallel (A→A/A′) vs Contrasting (A→B).
- Double period: two antecedent-like phrases followed by two consequent-like phrases with the final cadence strongest.
Embedded phrase model: lighter, tonic-prolonging mini-phrase nested within a larger model; avoids strong cadences; uses inversions.

Skills & Practice

Four-part writing with function-first planning (T–PD–D–T).
Bass-line design: smooth stepwise motion; use of 6³/6⁴ to preserve fluency.
Accurate tendency-tone treatment (leading tone, chordal seventh).
Diagnosis and correction of doubling errors (esp. avoid doubling 7̂).
Hearing/labeling embellishments and cadential behaviors in repertoire.

Assessment & Study Guide

Written analysis: label functions, cadences, embellishments, suspensions, and six–four types.
Part-writing: complete progressions with correct doublings and resolutions.
Form/phrase: identify motive, sentence, period, and double period structures from excerpts.
Preparation tips:
- Practice turning I ↔ I⁶ with passing/neighbor dominants and vii°⁶.
- Drill V7 resolutions in all inversions; memorize permitted omissions/doublings.
- Classify every 6⁴ you encounter (pedal, passing, arpeggiated, cadential) by metric position and voice-leading.

Music Theory Notes