Music Theory II

Course Description

MUT1112C – Music Theory II is a 3- or 4-credit (varies by institution), integrated lecture-and-laboratory course providing the second semester of the foundational four-semester music theory sequence required for all music majors at Florida public colleges and universities. The course is the direct continuation of MUT1111C (Music Theory I) and assumes fluency with the diatonic harmonic vocabulary, four-part voice leading, and basic aural skills developed in the first semester. MUT1112C extends the harmonic vocabulary into chromaticism within the tonal system: secondary dominants and leading-tone chords; introductory modulation (closely related keys); the Neapolitan sixth and augmented-sixth chords (introductory); part-writing in minor keys at greater depth; and analysis of binary and ternary forms in Classical-era repertoire. The aural-skills component extends to harmonic dictation involving secondary dominants, modulating melodies, and more rhythmically and intervallically demanding sight-singing.

The course sits within the Florida Statewide Course Numbering System (SCNS) under Music > Music Theory and is offered at approximately 30 Florida public institutions — required at every Florida public institution offering a music degree. MUT1112C is the second of a four-semester sequence:

• MUT1111C — Music Theory I (diatonic harmony, voice leading, basic forms; prerequisite for this course)
• MUT1112C — Music Theory II (this course; secondary dominants, modulation, basic chromaticism, binary/ternary forms)
• MUT2116C — Music Theory III (chromatic harmony in greater depth; sonata form; advanced part writing)
• MUT2117C — Music Theory IV (post-tonal music; 20th- and 21st-century techniques; advanced analysis)

Successful completion of all four semesters with a grade of C or higher is typically required for transfer to upper-division music coursework at SUS institutions. Music majors must take MUT1112C concurrently with applied lessons, ensemble participation, and the class-piano sequence — the analytical work in MUT1112C should connect directly to the repertoire students perform in lessons and ensembles.

Learning Outcomes

Required Outcomes

Upon successful completion of MUT1112C, students will be able to:

• Apply principles of diatonic harmony in greater depth: voice-leading and part-writing in major and minor keys with all diatonic triads and seventh chords; introduction to specific progressions (circle of fifths, sequences); the Phrase Model (tonic — predominant — dominant — tonic) as analytical framework.
• Apply principles of secondary dominant chords: V/V, V/IV, V/vi, V/iii, V/ii in major; their counterparts in minor; identifying secondary dominants in score; constructing and resolving secondary dominants in part-writing; the chromatic alteration introducing tonicization.
• Apply principles of secondary leading-tone chords: vii°/V, vii°/IV, etc.; identifying in score; constructing and resolving in part-writing; the relationship between secondary dominants and secondary leading-tone chords.
• Apply principles of tonicization vs. modulation: distinguish tonicization (brief assertion of secondary key without full establishment) from modulation (full establishment of new key); identify in score.
• Apply principles of modulation to closely related keys: identify the five closely related keys for any given major or minor key; analyze modulations to dominant, subdominant, relative major/minor, and other closely related keys; pivot-chord modulation analysis; common-tone modulation at introductory level.
• Apply principles of chromatic mediants at introductory level (where included): chord relationships between major and minor third-related chords; identification in repertoire.
• Apply principles of introductory chromatic harmony: Neapolitan sixth (♭II⁶) chord at introductory level; augmented-sixth chords (Italian, French, German) at introductory level; mode mixture (borrowed chords from parallel minor in major-key context).
• Apply principles of part-writing in minor keys: handling the leading-tone in minor (raised in dominant, natural form descending); use of harmonic, melodic, and natural minor; minor-key cadences; minor-key modulation considerations.
• Identify, analyze, and notate simple binary form (AB): rounded binary, simple binary, balanced binary; cadence patterns delineating each section; tonal trajectory across the form.
• Identify, analyze, and notate simple ternary form (ABA): contrasting middle section (B); thematic and tonal organization; literal vs. modified return.
• Apply principles of introductory phrase analysis: phrase, period, phrase group, double period; antecedent and consequent phrases; sentence structure; phrase elision and extension.
• Apply principles of introductory species counterpoint (where included by the institution): first species (note-against-note); second species (2:1); third species (4:1) at introductory level; the principles of consonant counterpoint.
• Demonstrate competency in sight-singing: sing diatonic and chromatic-passing melodies in major and minor keys; sing modulating melodies (tonal departure and return) at introductory level; sight-sing 2-part counterpoint exercises (where included).
• Demonstrate competency in aural identification (ear training): identify all simple intervals (and most compound) by ear; identify triad and seventh-chord qualities by ear; identify cadence types by ear; recognize secondary dominants and modulations to dominant by ear.
• Take melodic and rhythmic dictation at intermediate level: melodies in major and minor keys including chromatic non-chord tones; melodies modulating to dominant or relative key; rhythmic dictation in compound meter and with syncopation.
• Take harmonic dictation at introductory level: 4-bar chorale-style progressions in major or minor keys; identifying triads and seventh chords; identifying secondary dominants in chorale progressions.
• Apply principles of music analysis at increased depth: complete analyses of Bach chorales (or similar chorale-style repertoire); brief analyses of Classical-era piano works (sonatinas, simple variations) integrating Roman-numeral analysis with formal analysis.
• Use music notation software at intermediate level for assignments.

Optional Outcomes

Depending on instructor selection:

• Engage with introductory composition: writing original chorale-style harmonizations; composing simple binary or ternary pieces applying course principles.
• Engage with introductory popular-music harmonic analysis (where included by institution): pop, rock, jazz, and contemporary tonal music using Roman-numeral and chord-symbol analysis.
• Engage with more advanced species counterpoint: fourth and fifth species; introduction to invertible counterpoint at the octave.
• Engage with introductory keyboard application: realizing figured bass progressions including secondary dominants at the keyboard.
• Engage with analysis of larger Classical-era works: complete movement analyses of theme-and-variations, simple sonata-allegro, or rondo.

Major Topics

Required Topics

• Review of Diatonic Harmony: Triads and seventh chords in major and minor keys; Roman-numeral analysis; figured bass; basic part-writing; the Phrase Model.
• Diatonic Sequences: Falling-fifths sequence (vi-ii-V-I and extended forms); ascending stepwise sequences; descending stepwise sequences; the role of sequences in tonal music.
• Secondary Dominants: V of V, V of IV, V of vi, V of iii, V of ii in major keys; secondary dominants in minor keys; identification in score; construction and resolution in part-writing; relationship to tonicization.
• Secondary Leading-Tone Chords: Diminished and half-diminished leading-tone chords; vii°/V, vii°/IV, etc.; identification in score; construction and resolution in part-writing.
• Tonicization vs. Modulation: Distinguishing brief tonicization from full modulation; the criteria establishing modulation; analytical practice.
• Modulation to Closely Related Keys: The five closely related keys for major and minor; pivot-chord modulation; common-tone modulation; phrase modulation; modulating-sequence techniques.
• Mode Mixture (Borrowed Chords): Borrowing chords from the parallel minor in major-key contexts (♭III, ♭VI, ♭VII, iv); resulting expressive effects; identification in score.
• Introductory Chromatic Harmony — Neapolitan Sixth: The Neapolitan-sixth chord (♭II⁶); its typical voice leading; identification in repertoire; resolution patterns.
• Introductory Chromatic Harmony — Augmented Sixth Chords: Italian, French, and German augmented-sixth chords at introductory level; their typical voice leading; their role in approaching the dominant.
• Part-Writing in Minor Keys at Depth: The leading-tone in minor; appropriate use of harmonic vs. melodic minor scales in melodic lines; minor-key cadences; minor-key modulation considerations.
• Phrase Analysis: Phrase definition; period structure (parallel and contrasting); antecedent and consequent phrases; phrase group and double period; sentence structure; phrase elision; phrase extension.
• Simple Binary Form: Simple binary; rounded binary; balanced binary; cadence patterns delineating sections; tonal trajectory.
• Simple Ternary Form: ABA structure; contrasting B section; literal vs. modified return; thematic and tonal organization.
• Species Counterpoint (Introductory): First species (note-against-note); second species (2:1); third species (4:1) at introductory level; principles of consonant melodic and harmonic motion.
• Sight-Singing (Aural Skills Lab): Diatonic and chromatic-passing melodies in major and minor keys; modulating melodies at introductory level; 2-part counterpoint exercises (where included).
• Ear Training (Aural Skills Lab): Interval identification (all simple, most compound); triad and seventh-chord quality identification; cadence-type identification; recognition of secondary dominants and modulations.
• Melodic and Rhythmic Dictation (Aural Skills Lab): Major- and minor-key melodies including chromatic non-chord tones; modulating melodies; rhythmic dictation in compound meter and with syncopation.
• Harmonic Dictation (Aural Skills Lab): 4-bar chorale-style progressions in major or minor keys; identifying triads, seventh chords, and secondary dominants by ear in chorale contexts.
• Repertoire Analysis: Bach chorales (or similar); short Classical-era piano works (sonatinas, theme-and-variations); integration of Roman-numeral and formal analysis.
• Music Notation Software (Continued): Continued use of Finale, Sibelius, MuseScore, or Dorico at intermediate level.

Optional Topics

• Introductory Composition: Original chorale-style harmonizations; simple binary or ternary pieces applying course principles.
• Introductory Popular-Music Harmonic Analysis: Pop, rock, jazz, and contemporary tonal music; Roman numerals and chord symbols.
• More Advanced Species Counterpoint: Fourth and fifth species; introduction to invertible counterpoint at the octave.
• Introductory Keyboard Application: Realizing figured bass progressions including secondary dominants at the keyboard.
• Analysis of Larger Classical-Era Works: Complete movement analyses of theme-and-variations, simple sonata-allegro, or rondo.

Resources & Tools

• Most-adopted textbooks at Florida institutions: Continuation of the Theory I textbook is standard practice. Tonal Harmony with an Introduction to Twentieth-Century Music by Kostka, Payne, Almén (McGraw-Hill) — the most widely-adopted; Music in Theory and Practice Volume I by Benward and Saker (McGraw-Hill); The Musician's Guide to Theory and Analysis by Clendinning, Marvin (Norton); Harmony in Context by Roig-Francolí (McGraw-Hill); Concise Introduction to Tonal Harmony by Burstein and Straus (Norton).
• Open-access alternatives: Open Music Theory (free, viva.pressbooks.pub/openmusictheory); Fundamentals, Function, and Form by Hutchinson (free); LibreTexts music materials.
• Workbooks (typically required alongside textbook): Continuation of the Theory I workbook in the same series.
• Music notation software: Continued use of MuseScore (free), Finale, Sibelius, or Dorico (commercial).
• Ear-training and sight-singing software: Continued use of Auralia (commercial), Musition (commercial), Tenuto (free for iOS), Teoria.com (free).
• Sight-singing texts: Continued use of Music for Sight Singing by Ottman, Rogers (Pearson); A New Approach to Sight Singing by Berkowitz et al. (Norton).
• Score-study repertoire: Bach chorale collections (Riemenschneider, Frances Dawnay; widely available); the Anthology for Sight Singing Volume 1 by Ottman; the Norton Anthology of Western Music; IMSLP (imslp.org — free public-domain scores).
• Online resources for theory: teoria.com (free, comprehensive); musictheory.net (free); 8notes.com; YouTube channels (Inside the Score, 12tone, Adam Neely, David Bennett Piano).
• Tutoring and support: Institution music-department tutoring (peer-led by upper-division music majors); music faculty office hours; institution piano labs; music-major peer study groups; institutional Music Theory Society chapters where active.

Career Pathways

MUT1112C continues the foundational preparation for the entire Florida music-major curriculum. Career pathways are essentially the same as those for MUT1111C, with the understanding that all four semesters of theory plus applied lessons, ensemble, and class piano are required for transfer to upper-division music coursework. See the MUT1111C guide for the comprehensive career-pathway summary including:

• Performer (Florida Orchestra, Sarasota Orchestra, New World Symphony Miami Beach, Florida Grand Opera, Walt Disney World Entertainment, Universal Orlando, etc.)
• Music Educator (BME pathway, Florida K-12 music certification)
• Studio Teacher / Private Music Instructor
• Composer / Arranger (entertainment, theme-park, film, advertising)
• Music Technologist / Audio Engineer (FullSail in Winter Park, recording studios, theme-park audio)
• Music Therapist (MT-BC pathway with Florida healthcare partners)
• Music Business / Music Industry Professional
• Religious Musician / Worship Leader
• Theater / Musical Theater Professional
• Articulation to BM, BA-Music, or BME at Florida SUS institutions (UF, FSU, USF, UM Frost School, UCF, FIU)

Special Information

Articulation and Transfer

MUT1112C articulates broadly within the Florida public-college system. The course is required at every Florida public institution offering a music degree. Successful completion of all four semesters of the music theory sequence with a grade of C or higher is typically required for transfer to upper-division music coursework at SUS institutions; many SUS institutions also require placement examinations upon transfer.

Music-Major Co-Requisites

MUT1112C is normally taken concurrently with:

• Applied lessons in the student's principal instrument or voice (continued from semester 1)
• Ensemble participation (continued)
• Class piano (MVK1112C, the second semester of the class-piano sequence)
• Sight-singing/Ear Training II as separate course (where MUT1112C is offered as lecture-only)

The integrated approach across these courses is essential — theory should connect to lesson and ensemble repertoire, and keyboard skills should support theoretical work.

Prerequisites

Standard prerequisites include:

• MUT1111C (Music Theory I) with a minimum grade of C — non-negotiable; the material directly builds on Theory I fluency
• Continued enrollment in applied lessons, ensemble, and class piano (typical music-major co-requisites)

Students who earned below C in MUT1111C should retake before attempting MUT1112C; the gap quickly becomes overwhelming if foundational fluency is weak.

Course Format and Workload

MUT1112C is typically a 3-credit integrated lecture-and-lab course meeting 4-5 hours per week (lecture plus aural-skills lab), or a 4-credit course meeting 5-6 hours per week. Where institutions split theory and aural skills, students typically take 3-credit MUT1112 lecture (3 hours per week) plus 1-credit MUT1242 aural skills (2-3 hours per week). Expect: daily theory and aural-skills practice; weekly written assignments; weekly aural-skills quizzes (often more demanding than Theory I); 3-4 unit exams; a comprehensive final exam often including modulation analysis and harmonic dictation. Out-of-class workload typically runs 8-12 hours per week — Theory II is widely regarded as more demanding than Theory I, particularly in the aural-skills component. Sight-singing modulating melodies requires considerable practice; harmonic dictation is conceptually demanding. Students should establish daily ear-training drill habits if they have not already.

Common Difficulty Areas

Students often find specific topics in MUT1112C challenging:

• Secondary dominants in part-writing — the chromatic alteration and tendency-tone resolution requirements often produce errors
• Modulation analysis — distinguishing tonicization from modulation; identifying pivot chords; tracking the harmonic logic of modulating passages
• Harmonic dictation — the leap from melodic dictation to chord-progression dictation is conceptually demanding and requires substantial drill
• Modulating sight-singing — adjusting solfege as the tonic shifts requires consistent practice

Students experiencing difficulty should seek support promptly — the four-semester sequence builds aggressively, and Theory II material is foundational for Theory III chromatic-harmony work.

Course Code Variations

Florida institutions consistently use MUT1112C for the integrated theory-and-aural-skills course. Some institutions use the lecture-only variant MUT1112 with separate MUT1242 (Aural Skills II). Course titles include "Music Theory II," "Theory of Music II," "Music Theory and Aural Skills II." Both formats cover the same material.