The course was planned with consideration of ensuring that all topics were covered in-depth and extensively. The textbook that was used in the development of the course outline and syllabus was The Workbook for Tonal Harmony with an Introduction to Twentieth-Century Music by Stefan Kostka and Dorothy Payne, which covers Theory I, II and III of music fundamentals. Planning the lessons was highly effective in affirming the delicate nature of instructing students in music theory.

The first week focused on introducing the course to the class, which was centered on the basics of voice leading aspects. In discussing the principles of voice leading, the class covered the basic vocabularies associated with tonal harmony, which include seventh chords, and triads. In addition, the grammar usually involves the manners in which such chords utilize voice leading and harmonic progression. In the first lesson, there was a discussion of strategies utilized by composers in deliberation of the succession of chords in performances. Furthermore, the discussion also included the basic rules utilized in voice leading namely rhythm, harmony, contour, leaps and tendency tones that are primary voice leading rules.

The students were provided with assignments, which enabled them to explore a number of activities and issues such as aural effects and spacing. Spacing emerged as an important factor in voicing chords, given that the space existing between tenor and soprano parts influenced the chords structural definition as either open or closed. Furthermore, the class was also tasked with provision of two simple conventions related to spacing of chords such as crossed voices and spacing. Students were also provided with the opportunity to ask questions as the discussion proceeded to studies of the parallel motions. In parallel motion, it was evident of the need for avoiding 8ves and 5ths through contrary motions, unequal and direct 5ths and 8ves in a majority of contexts within tonal music.

The second week covered chapter six of the identified text, which encompassed root position part writing. The main theme was the reduction of the total number of varied intervals, which separate the roots of any selected two chords. The lesson also discussed root position part writing within repeated chords within two situations namely four-part and three-part textures. The lesson was critical towards enabling the students understand root position part writing with respect to root movement, which are identical to ones in the descending P4 and ascending P5. Furthermore, the elements demand to adhere to appropriate spacing, resolutions of 7 to 1 and parallelism. Moreover, the lesson also covered common tones and stepwise while retaining similar voices in the tone, which is common in both chords as well as the two support parts moving by step and in a similar direction.

In addition, chapter six was an extensive and critical area that covered repeated roots, whereby writing is usually in four parts. In addition, the four parts include root, third and fifth that are usually present. In addition, the final tonic chord is at times incomplete and the root is usually doubled. Furthermore, writing in three parts is characterized by the fifth of the chord being omitted (one third, double the root) and the final tonic chord may at times contain tripled roots (no fifth or third). In addition, the lesson relating to root position discussed instrumental transpositions, which enable writing of instrumental music and reading of instrumental scores.  There was also an introduction of the three methods utilized in writing ensembles.

In chapter seven, the lessons were centered on harmonic progression, which is a critical element of composition. The importance was to provide students with appropriate skills and knowledge relating to harmonic progression by using examples of work that that adhered to rules of composition and another that consisted of chords that were composed randomly. The students were tasked with identifying differences in composition between the two types of works to illustrate their capacity to adhere to rules of harmonic progression. The students were able to learn about sequences whereby patterns, which are repeated immediately in similar voices but on different, pitch classes.

In discussing harmonic progression and sequences, the lesions covered circle of firths progression, which is made up of a series of roots that are related through descending or ascending 5ths and 4ths respectively. The circle of firths progression was an important harmonic sequence covered in the weekly lesions and provided exposure to major and minor progressions such as Major: iii—-vi—–IV,   vii—–I, ii    V——I and Minor: VII—III—-VI—–iv   vii—–I, ii    V——i. In addition, the lesions also covered I, II, III, IV, V, VI, and VII chords. In addition, the lesson also covered strategies towards harmonization of simple melodies, which involves selection of chords, developing possibilities for the remnant chords and composition of the remaining segment of the bass line.

Chapter 8 was covered in the fourth week and featured discussions on the triad in the first inversion. The lessons covered included strategies used in making music appealing such as triad in first inversion, which is utilized in enhancing the contour present in the bass line as a means of providing enhanced variety of pitches within the bass line and lessening the weight of the I, and V chords that do not provide harmonic notion. In the fifth week, the lessons covered triads within the second inversion whereby two means used in the production of six-four chords via bass arpeggiation. In addition, the lessons introduced the students to the three forms of six four chords which precede root position triads.

The sixth week covered cadence, phrases and periods in understanding music form. The lessons discussed cadence types namely authentic, imperfect authentic, perfect authentic, deceptive, half, Phrygian half, plagal, inverted, rhythmic and jazz. The seventh week covered chapter eleven, which focused on non-chord tones. Non-chord tones take various types such as passing, neighboring, suspension, retardation, appoggiatura, neighbor, escape, neighbor group, pedal point and anticipation. In addition, there was also coverage of other non-chord suspensions namely preparation, suspension and resolution.

Weeks eight and nine covered diatonic seventh chords which were present in chapters thirteen, fourteen and fifteen respectively of the identified text it was a critical segment of the text. The text that was used as effective in providing both simple and complex terms and theoretical models applicable to the elements of music composition as discussed through the lessons covered in the identified weeks. The nine weeks provided adequate time to covered critical areas that will provide students with skills and knowledge to undertake effective composition and analysis of music works.

My primary approach towards instruction of musical theory is providing students with the opportunity of sharing their ideas, knowledge and skills with the rest of the class as a means of improving their understanding of theories and practical knowledge of music. In addition, place an emphasis on providing them with practical and theoretical assignments aimed at enhancing their musical knowledge and skills for future success in the musical world. In addition, I think ensuring an interactive platform during instruction is core to instruction of musical theories as student are able to share their insights with other students and in the process becoming better musical students and professionals.

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