|Assessment Type||Unit of Assessment||Weighting %|
|Coursework||Standard Jazz Portfolio||30|
|Coursework||Contemporary Jazz And Pop Portfolio||40|
A weighted aggregate mark of 40% is required to pass the module.
This module provides an opportunity for advanced study of harmony within the context of Anglo-American popular music of the past century from the standard jazz repertoire to progressive pop, rock, fusion and contemporary jazz.
MUS1028 (Harmony 1) is a pre-requisite for this module
To instill the theoretical principles and practical deployment of advanced harmony relevant across a range of popular music genres.
On completion of this module, you should be able to:
- Create convincing pastiches in lead sheet form of advanced examples from the main styles of popular music in terms of harmony, melody and form; T P K
- Adequately incorporate more advanced harmonic, melodic, and formal elements of popular songs into different styles; T P K
- Functionally analyse the harmony of any given example of music; T C K
- Adopt advanced harmonic theoretical and practical knowledge in wider creative practice. T P C
- Identify harmonic characteristics in a range of popular music styles. C K T P
- Prepare accurate and useful lead sheets K T P
Key: C-Cognitive/Analytical; K-Subject Knowledge; T-Transferable Skills; P- Professional/ Practical skills
This module covers the main tonal principles of popular music harmony found in styles such as rock, pop, blues and standard jazz, as well as an introduction to more advanced concepts of contemporary jazz, progressive rock, pop and fusion. Indicative content includes:
- Chord construction (Triad, 7th, 9th, 11th and 13th chords)
- Diatonic chords of the major scale and minor scale.
- Borrowing from the parallel minor scale
- The diatonic cycle of 5ths
- The major and minor ii-V
- Secondary dominants (and related IIs)
- Tritone substituted dominants (and related IIs)
- Blues I7 IV7 and blues scales
- ii-Vs in motion
- Motif and melody chord relationship
- Types of Modulations and Bridges
- Contrapuntally Embellished Static Harmony (CESH)
- The minor descending line Cm Cm/Bb Aø
- I – bVI7(bIIIm7)
- Types of Parallelism
- Chromatic and other 2 Chord Vamps
- Slash, upper-structure and poly-chords
- Open, closed, Drop-II and Drop-III voicings
- Non-tertial harmony
- Intervallic structures (e.g. Zappa structures, µ chords etc.)
- Chord sequences and modal ‘islands’
Methods of Teaching/Learning
The module consists of eleven two-hour lectures. The lectures will include theoretical and practical demonstrations of harmonic theory. Students will be expected to complete weekly aural, written, and/or compositional tasks.
The assessment strategy is designed to provide students with the opportunity to explore and develop new theoretical concepts and practical skills.
The summative assessment for this module consists of:
Two compositional portfolios and commentaries demonstrating the theoretical and practical understanding of the module concepts in idiomatic creative practice.
Coursework 1 (30% of final grade): A portfolio of 2 pieces in a standard jazz style, each with a commentary (no more than 500 words), lead sheet and audio realisation. This is assessed on the basis of theoretical understanding and idiomatic application of the relevant module concepts, as well as quality of score production. (Learning outcomes 1-6).
Coursework 2 (40% of final grade): A portfolio of 2 pieces in a contemporary jazz or pop style, and one piece in any style. Each piece is to include a commentary (no more than 500 words), lead sheet and audio realisation. This portfolio is assessed on the basis of theoretical understanding and idiomatic application of the relevant module concepts, as well as quality of score production. (Learning outcomes 1-6).
Exam (30%). A 90 minute exam focusing on the harmonic analysis of previously unseen material from a wide range popular and contemporary music styles.
Formative assessment and feedback
Students will be given a series of weekly compositional exercises. These are not assessed but will provide students with formative feedback via Surreylearn and in class. These exercises can also be used as foundations for the summative assessments.
03 October 2016 by GODFREY L Miss (Qual. Enh. & S)