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Course : Music Theory III

Course Number
MUSC 3603
Section Number
Fall 2022
Days & Times
Final Exam Day/Time

The curriculum for all four music theory courses are developed from the same five themes. Student Learning Outcomes (SLO) for Music Theory I are listed under each theme. SLOs are also aligned with the Texas Examinations of Educator Standards (TExES) State Board of Educator Certification (SBEC) EC-12 music standards.

Theme 1

Technical terminology allows musicians to communicate efficiently and accurately in order to enhance the creation and performance of music. 

SLO 1: (SBEC 001:A-C, SBEC 003:B, D; SBEC 004:A-E; SBEC 008: A,E; SBEC 009:D-E; SBEC 010:A-B; SBEC 011:C-G) Students who successfully complete Music Theory III will demonstrate fluency with technical terminology through the identification and/or construction of the following music fundamentals:

  • Pitch-reading on treble, alto, tenor, and bass clef
  • Counting systems (Kodaly, Eastman, 1-e-&-a)
  • Solmization systems (fixed do, moveable do, la-based minor, do-based minor, scale degree numbers)
  • Major, natural (pure) minor, harmonic minor, and melodic minor scales
  • Major and minor key signatures
  • Major, minor, diminished, and augmented triads
  • Major-minor, minor-minor, half-diminished, and fully-diminished seventh chords
  • Secondary dominant and leading-tone chords
  • Borrowed chords (modal mixture)
  • Neapolitan chords
  • Augmented-sixth chords

Theme 2

Music is an aural art form that can be visually captured through music notation in order to improve its longevity and performance accuracy.

SLO2: (SBEC 004:A; SBEC 005:A) Students who successfully complete Music Theory I will strengthen their written communication skills by demonstrating proficiency in the construction of the following musical notation fundamentals:

  • standard placement of notepads, stems, and accidentals
  • standard placement of staff elements such as time signatures and key signatures
  • standard placement of expressive elements such as articulation and dynamic markings
  • style-specific spacing and placement used in Common Practice Period chorale-style and keyboard-style 4-part writing 
  • style-specific notation systems for use in studio and praise band settings (Nashville number system) 

Theme 3 

Musical genres and eras are defined by shared expectations of composers, performers, and listeners across a variety of musical elements (melody, harmony, rhythm, texture, orchestration, form, etc.). The interaction of these elements create a distinctive sound for a piece of music or music of a particular composer, era, region, or genre. 

SLO3: (SBEC 001:A, SBEC 002:A,C; SBEC 003:A,C; SBEC 004:A-E; SBEC 005:B,D) Students who successfully complete Music Theory I will strengthen their cultural awareness and analytical and critical thinking skills by summarizing basic stylistic characteristics of various styles of Western music through the analysis of musical scores and performances. 

Theme 4 

The theory of music is based upon a set of expectations that composers and performers can meet, exceed, and thwart to elicit emotional response from their listeners.

SLO4: (SBEC 001:A-E, SBEC 003:A,C; SBEC 004:A-E; SBEC 005:B,D; 007:B-C, 009:D-E) Students who successfully complete Music Theory I will strengthen their analytical and critical thinking skills by analyzing how the following musical elements elicit emotional response by comparing these characteristics to oral communication and motion principles in the physical world:

  • Tendency tones
  • Treatment of dissonance
  • Embellishing tones
  • Modulation
  • Chromatic voice-leading chords
  • Structural elements

Theme 5 

Musicians must develop a “hearing eye” and a “seeing ear” through essential aural and performance skills in order to convey and understand meaning in musical contexts.

SLO5: (SBEC 005:A-D) Students who successfully complete Music Theory I will strengthen their written, technological, and analytical and thinking skills by composing the following musical structures:

  • 8-measure piano composition incorporating secondary dominant chords 
  • double period for solo instrument with piano accompaniment incorporating modulation to closely-related keys
  • reharmonization of a jazz chart using tritone substitutions

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