Mahidol University ■ College of Music

Syllabus: MSTC 152 Western Music Theory II

Groups: 4, 5
Instructor: Nalin Komentrakarn
Office: PC 405.03
Phone/Email: 0891776550 / Nalin_mahidol@yahoo.com

Course Description:
Western Music Theory II is a continuation and expansion of concepts and techniques begun in Western
Music Theory I. Through harmonisation of melodies and figured basses, harmonic analysis of music,
and composing phrases and periods we will investigate the following material: The Dominant Seventh
Chord in Root Position, Inversions of the Dominant Seventh Chord, Other Diatonic Chords of Major
and Minor, The Supertonic Triad, The Submediant Triad. The Deceptive Cadence, The Supertonic
Seventh Chord, The Leading Tone Seventh Chord, The Dominant Ninth Chord. The Supertonic Ninth
Chord, Other Dominant Chords, Modal Borrowing, Descending Melodic Minor. Phrygian Progression,
and Sequence. Other Seventh Chords. Students should learn and practice how to talk and write about
music. Besides writing exercises, before analysing music, the teacher would let students listen to the
music they have to analyse. Active class discussion is expected, as it is an important aspect of being a
professional musician. The course will prepare students for success in Western Music Theory III.

Texts:
Rizayev, Valeriy. A Practical Course of Tonal Harmony. Bangkok: Mahidol University, 2020.
Kostka, Stefan and Dorothy Payne. Tonal Harmony: With an Introduction to Twentieth-Century Music.
6th ed. Boston: McGraw-Hill, 2009.
Benjamin, Thomas, Michael Horvit and Robert Nelson. Techniques and Materials of Tonal Music. 5th
ed. Belmont, CA: Wadsworth, 1998.

Grading:
Class attendance 20%
Homework 20%
Midterm exam 20%
Final exam 20%
Project 20%

Attendance:
Students must have an attendance record of 80% (at least 24 classes) for the whole course
otherwise they will not be allowed to sit for the final exam. It is the student’s responsibility to
notify the instructor of any foreseeable absences in advance of class meetings (at least one hour before
class). This notification must appear in person, by phone, or in the form of electronic (e-mail)
communication. Whether or not prior notice is submitted to the instructor, these absences will be
considered unexcused unless a written excuse from the appropriate medical, legal, or university
authority is submitted. Unexcused absences coinciding with an in-class activity (exam, project, etc.)
will earn a zero grade (FAIL) for that activity. In the event of an excused absence, it is the student’s
responsibility to arrange a meeting with other members of the class or the instructor to discuss the
relevant materials.

Tardiness:
Students who arrive after roll is called will be considered absent.

Homework/ Exams/ Daily Work:

Students must hand in all assignments ON TIME. Other than due to emergency or excused
absence, assignments will not be accepted after four intervening class meetings.
There will be one Midterm Exam and one Final Exam plus one final project. Throughout the semester,
students may be given quizzes testing their knowledge of concepts and terms presented in class.
Students MUST bring music paper, the textbook, and a notebook to class. Students are expected to
take notes in class. Students are responsible for everything the instructor writes on the board.
Students are expected to use the resources put on reserve in the library for this course.
The use of cellular phones, electronic devices, and outside reading/coursework materials will not be
permitted during class time.
Policy on Academic Integrity:
Any student caught cheating on an exam, assignment, or other project will receive a zero grade for
that project. Plagiarism in any form is a serious infraction and will be treated accordingly.

Weekly overview
Week Materials

Review of Theory I; Other Diatonic Chords of Major and Minor (106-110)

1
The Dominant Seventh Chord in Root Position (111-119): Analysis, exercises

The Dominant Seventh Chord in Root Position (cont.): Analysis, exercises

2
The Dominant Seventh Chord in Root Position (cont.): Analysis, exercises

The Dominant Seventh Chord in Root Position (cont.): Analysis, exercises

3
Inversions of the Dominant Seventh Chord (120-129): Analysis, exercises

Inversions of the Dominant Seventh Chord (cont.): Analysis, exercises

4
The Supertonic Triad (130-138): Analysis, exercises

The Supertonic Triad (Cont.): Analysis, exercises

5
The Submediant Triad. The Deceptive Cadence (139-149): Analysis, exercises

The Submediant Triad. The Deceptive Cadence (Cont.): Analysis, exercises

6
Review

7 Midterm

The Supertonic Seventh Chord (150-158): Analysis, exercises

8
The Supertonic Seventh Chord (Cont.): Analysis, exercises

The Leading Tone Seventh Chord (159-167): Analysis, exercises

9
The Leading Tone Seventh Chord (Cont.): Analysis, exercises

The Dominant Ninth Chord (168-175): Analysis, exercises

10
The Supertonic Ninth Chord (175-178): Analysis, exercises

The Leading Tone Triad (179-183): Analysis, exercises

11 The Mediant Triad. Dominant Chords with the Substituted Sixth (184-191): Analysis,
exercises

Modal Borrowing (192-199): Analysis, exercises

12
Modal Borrowing (Cont.): Analysis, exercises

Descending Melodic Minor. Phrygian Progression (200-206): Analysis, exercises

13
Descending Melodic Minor. Phrygian Progression (Cont.): Analysis, exercises

Sequence. Other Seventh Chords (207-223): Analysis, exercises

14
Sequence. Other Seventh Chords (Cont.): Analysis, exercises

15 Review