12 Weeks
Level 2
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290Explore the rich repertoire within the Romantic and post-Romantic genres, diving into Impressionist and other tonal modernist styles that shaped the music of the late nineteenth and early twentieth centuries. Engage with a diverse range of source materials, deepening your understanding through guided analyses, workshops and interactive quizzes.
Diving into discussions, sharing pertinent musical examples, and actively participating in small group activities will be integral components of the learning experience. Drawing inspiration from the studied styles, you will craft four original compositions, employing industry best practices for creating professionally notated scores. This hands-on approach will not only enhance your compositional skills, but also provide a practical application of the theoretical knowledge that you gain throughout the course.
By the end of the course, you will be able to:
- Analyze, using appropriate musical terms and structures, the elements and form of tonal music in a variety of repertoire from the common practice period and early modernist styles.
- Apply the elements of effective tonal writing including melody, rhythm, harmony, tonality, voicings and orchestration, and texture.
- Apply the forms of tonal writing including phrases, periods, sentences, binary, ternary, variations, strophic, through-composed, and single-movement sonata.
- Utilize diatonic and chromatic functional harmonic grammar of tonal writing to your compositions.
Syllabus
Lesson 1: Melody, Harmony, Form, and Writing for Piano
- Melody, Harmony, and Cadences
- Introduction to Musical Forms
- Frederic Chopin (1810-1849), Mazurka in G Minor, Op. 67, No. 2
- Repertoire Examples of the Double Period
- Piano Textures in the Common Practice Period
- Assignment 1: Writing a Double Period in 16 Measures
Lesson 2: Romantic Character Pieces, Project 1
- Introduction to Romantic Pieces
- Felix Mendelssohn (1809-1847), Song Without Words, Op. 62, No. 25
- Tchaikovsky (1840-1893), ‘October Song’ from the Seasons, Op. 37a
- Robert Schumann (1810-1856), Eusebius, ASCH, Chiarina from Carnaval, Op. 9
- Maria Agata Szymanowsk (née Wołowska) (1789-1831), Nocturne in Bb
- Assignment 2: Romantic Character Piece, Project 1
Lesson 3: Introduction to the Theme and Variations Form
- What Is the Same and What Is Different?
- Theme and Variation Forms: Two Types
- From Spain to France and Beyond: Sors’ Les Folies d’Espagne, Op. 15(a)
- Mozart, 12 Variations on Ah! Vous Dirai-Ji, Maman KV 265
- Farrenc, Air Russe Varié, Op. 17 (1835)
- Assignment 3: Theme and Variations: The Theme
Lesson 4: Theme and Variations, Analysis and Writing: Variation Techniques
- Continuous Variation Technique
- Brahms, Variations on a Theme and Fugue by Handel, Op. 24
- Rachmaninoff, Variations on a Theme of Chopin, Op. 22
- Developing Your Own Variations
- Assignment 4: Sectional Variations
Lesson 5: Theme and Variations, Project 2
- Reflections and Updates
- Peer Review
- Revisions
- Assignment 5: Theme and Variations, Project 2
Lesson 6: Introduction to the Sonata Form, Analysis and Writing: Exposition
- Introduction to the Sonata
- Binary Form and the Sonata
- The Sentence
- Types of Modulation: Review
- Exposition I: Contrasting Themes and the Bridge Between Them
- Exposition II: Concluding Section
- Analysis I: Haydn, Sonata No. 27 in G Major, Hob. XVI:27, Allegro con Brio
- Assignment 6: Sonata, Part 1: Writing an Exposition
Lesson 7: Sonata, Analysis and Writing: Development and Recapitulation
- Introduction to Sonata Development
- Motivic Manipulations: Review
- Beethoven, Sonata No. 1, Op. 2 No. 1, Allegro
- Retransition: from the Development to the Recapitulation
- Recapitulation
- Mozart, Sonata in C Minor, K457, I. Molto Allegro
- Assignment 7: Sonata, Part 2: Writing the Development and Recapitulation
Lesson 8: Sonata, Analysis and Writing, Project 3
- Price, Sonata in E Minor, I. Andante (1932)
- Listening and Score Reading
- Reflections on the Process
- Assignment 8: Sonata, Project 3
Lesson 9: Art Songs, Introduction and Analysis
- Introduction to Art Songs
- Historic Overview
- Amy Beach (1867-1944), Elle et Moi (1893)
- Schubert (1797-1828), Krieger’s Ahnung from Schwanengesang (1828)
- Brahms, Gestillte Sehnsucht from Zwei Gesange, Op. 91
- Assignment 9: Berlioz, Villanelle from Les nuits d’été (1841)
Lesson 10: Introduction to Early Modernist Styles, Analysis and Sketches
- What is Impressionism and Expressionism in Music?
- William Grant Still (1895-1978), Yaravi from Miniatures for Flute, Oboe, and Piano
- Ostinatos
- Debussy, II. Voiles from Préludes, Book 1
- Margaret Bonds (1913-1972), 1. Minstrel Man from Three Dream Portraits
- Assignment 10: Sketches, Project 4
Lesson 11: Early Modernist Styles, Rough Draft
- Expressionist Music
- Béla Bartók (1881-1945), Bulgarian Rhythm, No. 115, Vol. IV from Mikrokosmos
- Scriabin (1872-1915), Prélude Op. 59, No. 2 (Sauvage, Belliqueux)
- John Alden Carpenter (1876-1951), ‘I Am Like a Remnant of a Cloud in Autumn,’ from Gitanjali: Song Offerings
- Assignment 11: Rough Draft, Project 4
Lesson 12: Early Modernist Styles, Project 4 (Final Copy)
- Reflections and Updates
- Peer Review
- Revisions
- Assignment 12: Final Copy, Project 4
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Completion of Music Theory and Composition 2, Counterpoint, Music Notation and Score Preparation Using Sibelius Ultimate or equivalent knowledge and experience is required.
Students should be comfortable using their notation software of choice.
Software
- Notation software with orchestral sound library, such as Dorico Pro or Sibelius Ultimate (MuseScore or NoteFlight not sufficient)
Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.
Mac Users
PC Users
All Users
- Latest version of Google Chrome
- Zoom meeting software
- Webcam
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Instructors
Author & Instructor
Beth Denisch is a Professor in the Composition department at Berklee College of Music. Her music has been performed throughout the U.S. and in Canada, Mexico, Greece, Ukraine, Russia, China, and Thailand and recorded by Juxtab, Albany, and Interval record labels.
She has received awards and grants from ASCAP, Meet the Composer, PatsyLu Fund, American Composers Forum, and American Music Center. Her music has been commissioned by the Handel and Haydn Society, St. Louis Historical Society, Equinox Chamber Players, Philadelphia Classical Symphony, and Chamber Orchestra Kremlin. Denisch is active in the Feminist Theory and Music, Gender Research in Music and Education, and Women's Philharmonic Advocacy organizations. She holds a bachelor of music degree from North Texas State University and master and doctoral degrees in music from Boston University. Read Less
What's Next?
When taken for credit, Tonal Writing and Analysis can be applied towards the completion of these related programs:
Related Certificate Programs
Related Degree Major
Questions?
Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.
