MADISON PUBLIC SCHOOLS
Advanced Placement Music Theory
Authored by: Michael Silvestri
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. OVERVIEW
Advanced Placement Music Theory will develop students’ aural, analytical, performance and
compositional skills. Areas of study will include terminology, notation, history, four-part harmony, counterpoint,
dictation, improvisation, ear training and score study. In addition, students will utilize current music technology
including Finale, Band in a Box and midi-synthesizers in class. The course is intended for junior and senior level
music students and it will prepare students to take the AP Music Theory Exam.
II. RATIONALE
A. The rationale for the AP Music Theory course is to:
1. Develop and utilize the skills of musicianship encompassing the areas of theory, history and performance
2. Develop students’ ability to recognize, understand and describe the elements of music present in a piece of
music
3. Develop a comprehensive understanding of music theory
4. Introduce and develop ear-training skills including sight-singing and dictation
5. Develop critical listening skills
6. Demonstrate an awareness of music history and style
7. Develop and utilize performance skills in correlation with theoretical and/or historical concepts
8. Develop musical creativity via the skills of arranging, composition and improvisation
9. Utilize electronic and traditional means in order to express oneself musically
10. Synthesize and translate this knowledge during the study and performance of music in students’ daily lives
including activities both in and out of school
B. All information and skills are cumulative and will continue to be utilized and developed as the course
progresses.
C. Skills Utilized and Developed Throughout the Course:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Notation
Listening
Sight-Singing
Dictation
Critique
Arranging
Composition
Performance
Keyboard Technique
Improvisation
Score Study
Conducting
III. STUDENT OUTCOMES (Link to New Jersey Core Curriculum Standards)
A.
The students will:
1. Demonstrate and utilize knowledge of major, minor, chromatic, pentatonic and whole tone scales, modes,
intervals, chords, chord progressions, cadences, SATB part writing, rhythm, meter and music terminology.
Standard 1.1.12
2. Analyze musical compositions on the basis of melodic procedures, form and harmonic structure. Standard
1.4.
3. Notate melodic phrases, harmonic progressions and rhythmic patterns during dictation. Standard 1.3
4. Arrange short pieces of music for voices and for various instrumental groups. Standard 1.2.
5. Compose short pieces for traditional instruments, voices and/or electronic instruments. Standards 1.2 and
1.3
6. Improvise melodic ideas corresponding to given harmonic progressions. Standard 1.2
7. Perform arrangements and compositions of students with traditional instruments and/or by electronic
means. Standard 1.2
8. Utilize computer software in the scripting and performance of student arrangements and compositions
including Finale, Band in a Box and midi-synthesizers. Standard 1.2
9. Sight-sing appropriate musical examples utilizing solfeggio syllables and scale degree numbers. Standard
1.2.
10. Listen, analyze, perform and critique musical examples from various historical periods and genres.
Standards 1.1, 1.2, 1.2.12B.2, 1.3, 1.4
IV. ESSENTIAL QUESTIONS AND CONTENT
A. MUSIC THEORY
Questions:
1. What are major and minor keys and modes and how are they developed?
2. What types of scales, other than the major and minor scales and modes, exist?
3. What are the different types of intervals and how do they invert?
4. How do diatonic triads function in major and minor keys?
5. What are the different types of cadences and when do they occur?
6. What are the general rules of harmony and which voice leading techniques should be utilized in order to
follow these rules?
7. What are the differences between piano type harmony and SATB/chorale type?
8. What are the inversions of triads and seventh chords and how should they be utilized?
9. What are the different types of non-chord tones and how do they affect the melody and/or harmony of a
piece?
10. What is species counterpoint and how is it different from SATB/chorale harmony?
11. Where are secondary functions derived and how are they used in a piece?
12. How do chords function diatonically and chromatically?
13. What are the essential parts of form and what are the most common formal designs?
14. What is the difference between traditional theory chord and formal designs and jazz/lead sheet chord and
formal designs?
15. What is modulation, how should it be notated and when does it usually occur?
16. What are the neapolitan, augmented sixth and high numbered chords and how are they used?
17. What are some of the general principles of arranging?
18. What are some of the general principles of composition?
19. What is transposition and how are parts transposed for various instruments?
20. What skills and knowledge are utilized when reading a score and how do they correlate to performance?
Key Ideas:
1. Explain how the structure of the major scale affects the major keys and transfer this knowledge to relative
and parallel minor keys and modes.
2. Recognize, notate and analyze chromatic, whole tone and pentatonic scales in various examples. Discuss
when they are used and how they differ from major and minor scales and modes.
3. Recognize, notate and perform intervals and compound intervals including major, minor, diminished and
augmented types and invert them in examples.
4. Recognize and notate common chord progressions and demonstrate how they function in major and minor
tonalities.
5. Recognize and notate the cadence types, both perfect and imperfect, during authentic and plagal cadences,
in addition to half and deceptive types.
6. Harmonize examples by utilizing appropriate motion from voice to voice to achieve desirable parallelisms
including thirds and sixths and avoid undesirable parallelisms including fifths and octaves.
7. Explain how the arrangement of pitches in a piano score differs from the arrangement and selection of
pitches in SATB score and notate each accordingly.
8. Identify and notate inversions of triads and seventh chords, utilize them in harmonic examples and analyze
how they are used.
9. Analyze, recognize and compose melodic phrases using non-chord or non-harmonic tones and explain how
they modify a melodic and/or harmonic line.
10. Notate species counterpoint utilizing a cantus firmus and discuss how the texture of contrapuntal music
differs from the chorale type.
11. Notate, analyze and explain where the chromatic aspects of secondary functions are derived and determine
when they should be utilized.
12. Recognize, arrange and compose examples and short pieces that utilize diatonic and chromatic harmony.
13. Recognize, analyze and discuss the primary units of form and overall design types and how they affect a
piece.
14. Explain and notate traditional chord labels and forms and interchange with lead sheet chord symbols and
forms when appropriate.
15. Analyze and notate when a modulation occurs and discuss how it relates to the original key or tonality.
16. Notate, analyze and utilize chromatic chords and high numbered chords in figured bass harmonization.
17. Analyze and notate music for instruments and voices in appropriate ranges with necessary transpositions
when appropriate.
18. Analyze and compose soprano melodic lines, bass lines and short compositions while utilizing melodic and
harmonic procedures that develop a melodic part.
19. Explain the difference from a selection written for a concert instrument and a transposing instrument and
utilize the appropriate process to transpose a part.
20. Explain and demonstrate how the information in a score determines the style, phrasing, articulation and
dynamics during the performance.
B. MUSIC HISTORY
Questions:
1. What are the major style periods, when did they occur and how they are similar and different?
2. Who are the major composers of each period?
3. How do the elements of music change from style to style?
Key Ideas:
1. Explain the similarities and differences of music from the Medieval, Renaissance, Baroque, Classical,
Romantic, Twentieth Century, Contemporary and World Music styles.
2. Discuss the music of the most important composers of each period and the significant changes and/or
contributions that occurred.
3. Explain how melody, harmony, dynamics, articulation, orchestration, form and texture affect a piece of
music.
C. EAR-TRAINING
Questions:
1. What are the diatonic solfeggio syllables and scale degrees and how do they help the hearing of intervals,
chords and musical lines?
2. How does moveable “Do” function when changing major and minor keys?
3. What are the chromatic solfeggio syllables?
4. How does singing help when notating a musical line during dictation?
5. How are errors detected in the performance of music?
6. What processes and elements are present in music?
7. What types of cadences occur in a harmonic progression and when do they occur?
Key Ideas:
1. Sing, recognize and describe intervals and melodies in major and minor tonalities using appropriate
syllables and scale degrees in examples and scores.
2. Assign solfeggio syllables/scale degree numbers when singing and notating syllables in various keys and
cleffs.
3. Analyze and sing examples using chromatic scales or passages.
4. Notate a melodic line using the syllables/scale degree numbers while singing the line quietly.
5. Listen and critique when and where specifically written musical examples differ from a performance and
determine how to correct the rhythm and/or pitch in a chord progression, cadence or melody.
6. Listen and analyze selections of various genres and styles in terms of their rhythm, melody, harmony,
dynamics, texture and articulation.
7. Listen and determine when a cadence occurs in a composition and identify the type.
D. PERFORMANCE
Questions:
1. What theoretical concepts are present in a score and in an instrumental/vocal part and how can they
influence the performance?
2. What historical and stylistic concepts are present in a score and in an instrumental/vocal part and how can
they influence the performance?
3. What are the basic conducting patterns and how are dynamics and articulation communicated when
conducting?
Key Ideas:
1. Analyze a score and instrumental/vocal part and determine how the elements of music are represented.
Translate and synthesize this knowledge to provide a clearer coherence and deeper aesthetic response to a
piece.
2. Analyze a score and instrumental/vocal part, determine how the notation dictates the style and perform
these within the appropriate style.
3. Analyze a short score of ensemble music and conduct the piece using correct meter patterns in the correct
tempo using appropriate articulation and dynamic movements.
E. CREATIVITY
Questions:
1. How do composers develop a piece melodically and harmonically?
2. How do tonality and form influence a piece?
3. How should pitches be distributed in an arrangement?
4. What compositional techniques can be used to develop a melodic line or harmony?
Key Ideas:
1. Analyze, discuss and compose examples and short pieces that incorporate melodic, harmonic and formal
processes.
2. Listen, analyze, arrange and discuss examples in a variety of genres and styles in major and minor tonalities
and in various formal designs.
3. Analyze, listen and determine the appropriate range and tessitura of instruments/voices.
4. Analyze and utilize motivic development and theme and variation techniques in addition to chromatic and
substitute chords to add development to a piece.
V. INSTRUCTIONAL STRATEGIES
A.
B.
C.
D.
E.
F.
G.
H.
I.
J.
Reading of textbook
Keeping an organized notebook
Completion of workbook examples with/without recordings
Completion of daily ear-training examples including sight-singing and dictation
Completion of critical listening and performance examples with score study
Performing in a group and/or solo
Improvising
Participation in class discussions, individual and group harmonization of SATB examples
Completion of arranging and composition projects using Finale, Band in a Box and/or midi-synthesizers
Completion and performance of SATB examples in class
VI. EVALUATION
A.
B.
C.
D.
E.
F.
G.
H.
I.
Participation in class discussions and group performance activities
Homework assignments
Notebook checks
Written theory tests
Written analysis of performance and listening
Sight-singing & dictation quizzes
Written theory quizzes
Written listening and performance critiques
Composition and arranging projects
VII. REQUIRED RESOURCES
Recommended text:
Kostka, Stefan, and Payne, Dorothy. Tonal Harmony 5th Edition. (2004) McGraw-Hill.
Kostka, Stefan, and Payne, Dorothy. Workbook for Tonal Harmony 5th Edition. (2004) McGraw-Hill.
Supplemental resources:
Adler, Alfred, Adler, Samuel. Sight Singing. (1997) W.W. Norton and Company.
Burkholder, J. Peter, Grout, Donald, Palisca, Claude. A History of Western Music. (2005) W.W. Norton
and Company.
Burkholder, J. Peter, Palisca, Claude. Norton Anthology of Western Music. (2005) Volume 1.
W.W. Norton and Company.
Burkholder, J. Peter, Palisca, Claude. Norton Anthology of Western Music. (2005) Volume 2.
W.W. Norton and Company.
Fux, Joseph. The Study of Counterpoint. (1971) Edited and translated by Alfred Mann. W.W.
Norton and Company.
Norton Recorded Anthology of Music. (2005) CD’s. W.W. Norton and Company.
Ottman, Robert. Music For Sight-Singing. (1967) Prentice Hall Inc.
Sight-singing texts available in MHS Music Department.
Orchestral and vocal scores and parts available in MHS Music Department.
VIII. SCOPE AND SEQUENCE
A. FIRST SEMESTER
1. INTRODUCTION AND REVIEW OF SUMMER ASSIGNMENT- One Week
a. Course overview and expectations
b. Discussion of AP examination
c. Major key signatures and the structure of the major scale
d. Circle of fifths/fourths
e. Accidentals
f. Relative minor key signatures and natural minor scales
g. Intervals
i. major
ii. minor
iii. diminished
iv. augmented
h. Inversion of intervals
2. EAR-TRAINING (SIGHT-SINGING & DICTATION) Should occur daily throughout the semester
progressing in difficulty as ability and knowledge progress
a. Solfeggio syllables and/or scale degree numbers in major keys in treble and bass cleffs
b. Singing with group and alone
c. Rhythmic dictation in quarter notes and eighth notes in common meter signatures
d. Intervallic identification and dictation
e. Detection of errors in the performance of given melodic examples
f. Harmonic dictation of chord progressions in various major and minor keys with focus on cadences
3. LISTENING
a. Examples from various genres with a focus upon Medieval, Renaissance, Baroque and Classical styles,
with scores when available, should occur at least 2-3 times per week throughout the semester.
b. Examples should correspond to theoretical, historical and performance areas whenever possible.
c. Critique of melody, harmony, dynamics, articulation, style, form and texture
d. A written analysis sheet should be completed for each example.
4. MUSIC THEORY
a. Rhythm, minor, chromatic, pentatonic, whole tone scales and modes – One Week
b. Triads, seventh chords, figured bass notation and lead sheet symbols – One Week
c. Diatonic triads major and relative minor – One Week
d. Cadences, principles of voice leading and types of motion – One Week
e. SATB rules, vocal ranges and root position part writing – Two Weeks
f. Part writing error detection – One Week
g. Instrumental ranges and transpositions – One Week
h. Harmonic progressions – One Week
i. Tonic (I) and Dominant (V) triad
ii. Supertonic (ii) triad
iii. Submediant (vi) triad
iv. Mediant (iii) triad
i.
j.
k.
l.
m.
n.
o.
v. Leading tone (viio) triad
vi. Sub-dominant (IV) triad
Melody harmonization – One Week
Inversion of triads – One Week
Passing six-four, pedal six four and cadential six four triads – One Week
Dominant seventh chord – One Week
Non-chord tones – One Week
Inversions of seventh chords – One Week
Secondary dominant seventh chords –Two Weeks
5. PERFORMANCE
a. Basic piano keyboard technique including the performance of scales and chords in separate
hands or played together
b. Performance of selected pieces for study should occur throughout the semester one time per week.
c. Performances can be of ensemble and/or solo literature.
d. Discussion of pieces shall focus upon but not be limited to:
i. style
ii. key centers
iii. meter and rhythm
iv. cadences
v. phrasing
vi. modulation
vii. melodic structure
viii. harmonic structure
ix. texture
x. form
e. Written performance sheet including items discussed to be handed in following performance or
completed for homework by the next day.
6. ARRANGING PROJECT –To be completed by the end of the first semester - Two Weeks
a. Arrange a Bach chorale or short piano selection for a standard instrumental quartet
b. Should be completed in Finale and handed in with printed score and parts
c. Must utilize appropriate range of each instrument
d. Must include appropriate tempo, articulation and dynamic markings
e. Must be performed in class with traditional instruments or by computer
B. SECOND SEMESTER
1. MUSIC THEORY
a. Figured bass harmonization – Two Weeks
b. Secondary functions – One Week
c. Modulation – Two Weeks
d. Counterpoint – Two Weeks
e. Cadences, phrases and periods – One Week
f. Binary, rounded binary and ternary forms, minuet & trio - One Week
g. Sonata allegro and rondo forms – One Week
h. Neapolitan chord – One Week
i. Augmented sixth chords – One Week
j. High numbered chords – One Week
k. Jazz harmony and improvisation – One Week
l. Techniques of composition – One Week
2. EAR-TRAINING (SIGHT-SINGING & DICTATION) Should occur every day throughout
the semester progressing in difficulty as ability and knowledge progress
a. Solfeggio syllables and /or scale degree numbers in major and minor keys in treble and bass cleffs
b.
c.
d.
e.
f.
g.
Singing with group and alone
Rhythmic dictation including eighth notes and sixteenth notes in various meters
Melodic dictation in major and minor keys
Chromatic solfeggio
Detection of errors in the performance given melodic examples
Harmonic dictation chord progressions in various major and minor keys with focus on cadences
3. LISTENING
a. Examples from various genres with a focus upon Classical, Romantic, Twentieth Century,
Contemporary and World Music listening examples, with scores when available, should occur at least
2-3 times per week throughout the semester.
b. Examples should correspond to theoretical, historical information and/or performance areas whenever
possible.
c. Critique of melody, harmony, dynamics, articulation, style, form and texture
d. A written analysis sheet should be completed for each example.
4. PERFORMANCE
a. Performance of selected pieces for study should occur throughout the semester one time per week
b. Performances can be of ensemble and/or solo literature
c. Discussion of pieces shall focus upon but not be limited to:
i. style
ii. key centers
iii. meter and rhythm
iv. cadences
v. phrasing
vi. modulation
vii. melodic structure
viii. harmonic structure
ix. texture
x. form
d. Improvisation
e. Performance of student arrangements will occur when applicable
f. Written analysis sheet including items discussed to be handed in following performance or completed
for homework by the next day
5. COMPOSITION PROJECT – To be completed by the end of the second semester – Three Weeks
a. Compose a short piece for a standard instrumental quartet or for SATB Chorus
b. Text for choral piece can be student composed or set to a pre-written text
c. Piece should be a minimum of 24-36 measures
d. Must have a clearly defined melody, tonal center, key, form, rhythm and harmonic structure
e. Should be completed in Finale and handed in with printed score and parts
f. Must include appropriate tempo, articulation and dynamic markings
g. Must be performed in class with traditional instruments, voices or by computer