Kari Juusela, Tom Hojnacki - Music Theory and Composition 3

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3 digital download.

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Kari Juusela, Tom Hojnacki - Music Theory and Composition 3

Type: Digital download

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3

The third of a four-semester curriculum, in Music Composition and Theory 3 you’ll explore everything from the rhythmic elements of Jamaican and Cuban music to the connection between South American guitar music and Bach. This course is designed to take you from a strong review of Music Theory and Composition 1 & 2 topics, including major key, minor key, blues, modal interchange, secondary dominants, approach notes, non-harmonic tones, voice leading, guide tone lines, hybrid chords, bass and drum grooves, and traditional harmony concepts. The course will then move into extended dominants, related II chords, substitute dominant chords, Neapolitan and augmented sixth chords, diminished seventh chords, modal minor, and a thorough look at modulation.

This music composition course will continue to blend and explore both traditional and contemporary harmony in order to give you a historical understanding of current topics. Music Theory and Composition 3 features a topic called “Composers on Composing” that includes interviews with composers and other creative artists discussing their work and working methods. You and your classmates will use these interviews as a starting point for discussions about musical creativity, craft, and inspiration.

Each week, you will be asked to engage with your classmates and instructor as you work your way through the topics. Enclosed in each topic are a number of activities and exercises designed to help you more thoroughly experience and understand the material presented. Each week there will be a composition assignment, many of which will give you the opportunity to practice writing to short film cues.

By the end of this course, you will be able to:

  • Identify the basic vocabulary of polychord voicings and employ voicings in the context of a short arrangement
  • Understand the concept of the extended dominant series and be able to apply that in a composition and analyze it correctly
  • Understand the concept of substitute dominant chords and be able to apply them within the context of an arrangement or original composition
  • Differentiate between different non-chord tones in harmonic and melodic use and be able to analyze them in the context of a short piece
  • Identify and apply different approach tone patterns in jazz and popular music and be able to analyze them in a short piece
  • Understand the concept of modulation in short form compositions and be able to employ pivot, direct or transitional modulations in a composition
  • Differentiate between classical figured bass and contemporary lead sheet analysis techniques
  • Write variations in a standard theme and variations form in Classical style
  • Differentiate the rhythmic grooves between different Indian, African and Latin rhythmic grooves


Lesson 1: Review of Material from Music Theory and Composition 2

Lesson 2: Extended Dominant Series, Deceptive Resolution of Secondary Dominants, and Voice Leading

Lesson 3: The Substitute Dominant, Related IIs, and Extended Substitute Dominants

Lesson 4: Deceptive Resolution - Primary and Secondary Dominants

Lesson 5: The Diminished 7th Chord in a Diatonic Context

Lesson 6: Non-Chord Tones and Approach Tones

Lesson 7: Upper Structure Triads and Poly-chord Voicings

Lesson 8: Modulation

Lesson 9: World Music Concepts Music of South America and the Caribbean

Lesson 10: Musical Forms 3

Lesson 11: Minor Key Revisited

Lesson 12: Blues III


Prerequisites and Course-Specific Requirements

Completion of Music Theory and Composition 2 or equivalent knowledge and experience is required. In addition:

  • Ability to read notated music
  • Ability to record MIDI in a Digital Audio Workstation (DAW)
  • Ability to sync your compositions with various short video clips and export as MP4 file

Required Textbook(s)

  • None required

Software Requirements

  • DAW software such as GarageBand (Mac), Mixcraft (PC), Cakewalk by Bandlab (PC) etc.

Hardware Requirements

  • MIDI keyboard highly recommended
  • Audio interface highly recommended
  • A printer so that you can print out music examples used in the course
  • Scanner/phone camera to copy and export handwritten materials
  • Manuscript paper with 8 or 9 staves per page


Kari Juusela, Tom Hojnacki - Music Theory and Composition 3
Kari Juusela

Author & Instructor

Kari Henrik Juusela is a Finnish-American composer, performer, and educator who presently serves as dean of the Professional Writing and Music Technology Division at Berklee College of Music in Boston, Massachusetts. In addition to writing music in styles ranging from pop to contemporary classical, he enjoys playing and recording the cello, bass, guitar, piano, table, and the Finnish Kantele.

His compositions have won numerous awards from such organizations as the Vienna State Opera, the International Trumpet Guild, the London Chamber Music Society, the Composer’s Guild, GASTA, and ASCAP. He has also won the International Red Stick Composition Competition, the American Songwriting Awards Contest, the San Francisco Art Song Competition, and the Aliénor Harpsichord Composition Contest. His works have been performed at many important venues including Carnegie and Tchaikovsky Hall by internationally acclaimed ensembles and performers, as well as by numerous rock, pop, and jazz groups. He is the author of over 20 college-level courses and is the author of the Berklee Contemporary Dictionary of Music.

Dr. Juusela holds degrees from the University of Maryland, Georgia State University, and Berklee College of Music. His music is published by ISG Publications, MuusJuus Music, and Yelton Rhodes Music, and is recorded on ERM, Beauport Classical, Lakeside Records, Capstone Records, and MuusJuus Music.

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3
Tom Hojnacki


Tom Hojnacki enjoys an unusually varied musical career. As a keyboard player, Tom has worked with the national touring productions of the Big Apple Circus, A Chorus Line, Altar Boyz, Beautiful!, Matilda, and Finding Neverland. He has appeared with the Prague Radio, the Claflin Hill, the Plymouth Philharmonic and the New Bedford Symphony Orchestras and as a chamber musician in performances of the music of Beethoven, Brahms, Schubert, Bartok, Messiaen, and Shostakovich.

As a jazz pianist, he has performed with Billy Pierce, Joe Lovano, Jimmy Giuffre, George Garzone, Larry Coryell, the John Allmark Jazz Orchestra, the Kenny Hadley Big Band, the Cab Calloway Orchestra, and the Jazz Composers Alliance Orchestra and with the singer Aretha Franklin. As a conductor, he has led numerous performances of ballet, opera, musical theater, and symphonic repertoire. An award winning composer (GEMA, Telly), Tom has written works for musical theater, orchestra, band, jazz orchestra, chorus and various chamber ensembles. He has made a number of recordings, most notably, his Symphony No. 1 with the Prague Dvorak Orchestra and Julius Williams, conductor, on Albany Records. Tom has taught at Dean College and the New England Conservatory of Music. He is currently the assistant chair of the Harmony Department at Berklee College of Music where he teaches theory, composition, piano, and conducting. He is co-author of The Berklee Book of Jazz Harmony, with Joe Mulholland (Berklee Press/Hal Leonard, 2013).

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3
Rick McLaughlin


Rick McLaughlin’s work has been heard all over the world. A band leader, side-man, and member of the Grammy-nominated jazz group Either/Orchestra, he has performed on stages and in recording studios in places ranging from greater Boston, MA to Los Angeles, CA; from Barcelona, Spain to Rome, Italy; and from Phuket, Thailand to Addis Ababa, Ethiopia. Dozens of CDs feature Rick McLaughlin, including his own debut as a leader, Study of Light, which garnered critical acclaim (“…illuminates your aural universe with singleness and sincerity.” - Marcel Polgar, Double Bassist Magazine). He has shared the stage with a wide range of musicians, from jazz luminaries such as Don Byron, Steve Lacy, John Medeski, Danilo Perez, and John Zorn, to rock musicians Willie “Loco” Alexander, Morphine and Peter Wolf, and country music star Roger Miller. A frequent collaborator with musicians from all over the globe, McLaughlin has also performed with Ethiopia’s great singers Mahmoud Ahmed and Alemayhu Eshete, as well as the innovator behind Ethio-Jazz, Mulatu Astatke.

Although primarily known as a bassist, McLaughlin is a highly regarded teacher, most notably as Associate Professor of Harmony at Berklee College of Music, but formerly in a variety of faculty, administrative, and clinician positions at other music schools as well. These positions capitalize on the work McLaughlin has done in addition to his bass playing, as a published author, composer, and arranger.

McLaughlin graduated from the New England Conservatory of Music in Boston, MA with both B.M. and M.M. degrees, the latter he received with Academic Honors and Distinction in Performance. Former endorsements include AlterEGO instruments, Gallien-Krueger amplifiers, and Hohner Melodicas. For more information please visit Rickmclaughlin.com

Kari Juusela, Tom Hojnacki - Music Theory and Composition 3
Mark Zaleski


Internationally touring musician, Mark Zaleski, has distinguished himself as a uniquely dynamic soloist, multi-instrumentalist, and band leader.He has performed with a diverse group of notable artists including Dave Brubeck, Christian McBride, Ian Anderson, Connie Francis, Mahmoud Ahmed, Rakalam Bob Moses, the Either/Orchestra, Jason Palmer, and Matt Savage. At the young age of 33, he has established faculty positions at Berklee College of Music, New England Conservatory of Music, and Longy School of Music at Bard College.

In 2017, Zaleski released his second record, “Days, Months, Years”, a record where Zaleski performs on alto saxophone, soprano saxophone, and double bass; one of the first of its kind in the jazz genre.

Additionally, Zaleski is active in many musical projects including the Omar Thomas Large Ensemble, The Brighton Beat, the Either/Orchestra, Nyota Road, a duo project with Glenn Zaleski, Chris Hersch and the Moonraiders, The Ayn Inserto Jazz Orchestra, Mehmet Sanlikol and WhatsNext, and plays bass in a popular Boston-area soul band he founded called Planet Radio.

What’s Next?

When taken for credit, Music Theory and Composition 3 can be applied towards these associated programs:

Associated Certificate Programs

  • General Music Studies Professional Certificate
  • General Music Studies Advanced Professional Certificate
  • Music Theory and Composition Professional Certificate

Associated Degree Majors

  • Bachelor’s Degree in Music Composition for Film, TV, and Games
  • Bachelor’s Degree in Electronic Music Production and Sound Design
  • Bachelor’s Degree in Guitar
  • Bachelor’s Degree in Interdisciplinary Music Studies (Create Your Own Major)
  • Bachelor’s Degree in Music Business
  • Bachelor’s Degree in Songwriting
  • Bachelor’s Degree in Songwriting and Producing Music
  • Bachelor’s Degree in Music Production
  • (Pre-Degree) Undeclared Option