7/11/16
To 2014-’15 Mountain View H.S. A.P. Music Theory Students and Parents:
Welcome back from your summer break! I hope you’ve enjoyed your time away
working, playing, and spending time with your families.
Welcome to A.P. Music Theory, a class that examines advanced music theory and ear
training. Mark your calendars now. The AP Music Theory Exam is Monday, May
11th, 2015, 8 A.M. I want you to enjoy Music Theory. You can help yourself with this
by following several guidelines:
AP Music Theory Policies and Procedures
Course Overview
1. Course Objectives
At the completion of the AP Music Theory course, students will:
A. Notate pitch and rhythm in accordance with standard notations practices
B. Read melodies in treble, bass, and movable C clefs
C. Write, sing, and play major scales and all three forms of minor scales
D. Recognize by ear and by sight all intervals within an octave
E. Use the basic rules that govern traditional music composition
F. Harmonize a melody with appropriate chords using good voice leading
G. Analyze the chords of a musical composition with Roman and Arabic
numerals and also with lead sheet symbols
H. Transpose a composition from one key to another
I. Express musical ideas by composing and arranging
J. Understand and recognize basic musical forms: ternary, binary, rondo, etc.
K. Write simple rhythmic, melodic, and harmonic dictation
2. A.P. Curricular Requirements
These are requirements the College Board requires every AP Music Theory course to
include in their curriculum.
 The teacher has read the most recent AP Music Theory Course description,
available as a free download at apcentral.collegeboard.com/music.

The course first helps students master the rudiments and terminology of
music, including: notational skills, intervals, scales and keys, chords, metric
organization, and rhythmic patterns.

The course progresses to include more sophisticated and creative tasks:
 Composition of a bass line for a given melody, implying appropriate
harmony
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Realization of a figured bass
Realization of a Roman numeral progression
Analysis of repertoire, including study of motivic treatment,
examination of rhythmic and melodic interaction between individual
voices of a composition, and harmonic analysis of functional tonal
passages
The course incorporates a brief introduction to twentieth-century scales,
chordal structures, and compositional procedures, either through analysis or
original composition.
The course teaches the following procedures based in common-practice
tonality:
 Functional triadic harmony in traditional four-voice texture (with
vocabulary including nonharmonic tones, seventh chords, and
secondary dominants)
 Tonal relationships
 Modulation to closely related keys
The course also teaches:
 Standard rhythms/meters
 Phrase structure
 Small forms (e.g., rounded binary, simple ternary, theme and variation,
strophic)
Musical skills are developed through the following types of musical exercises
(both conducted in class and assigned as homework):
 Listening (discrete intervals, scales, etc.; dictations; excerpts from
literature)
 Sight-singing
 Written exercises
 Creative exercises
 Analytical exercises
The course includes, but is not limited to, study of a wide variety of vocal and
instrumental music from the standard Western tonal repertoires.
3. Course Planner
Each week students will have a lesson based on the Kotska-Payne text. Coinciding
worksheets will be assigned from the Kotska-Payne workbook. Students will also receive
a lesson and daily exercises from the Ottman sight-singing text. Also, ear training and
appropriate drills will be assigned from the Practica Musica and Auralia software. The
following is an estimation of the yearly curriculum.
Note:
Practica Musica is abbreviated as PM
Auralia is abbreviated as A
2
Week 1
Elements of Pitch
•Entry exam and class
selection
•The keyboard and octave
registers
•Notation of the staff
•The Major scale
•The Major key signatures
Sight Singing (Ottman)
1-Rhythm
 Simple meters: the
Beat and its division
into two parts
Practica Musica/Auralia
PM: 5. Scales and Key Signatures

9. Scales
o
Level 1
PM: 5. Scales and Key Signatures

Key Sigs.
o Maj. Keys 1.1-1.6
A: Rhythm Elements: Levels 1-2
Week 2
Elements of Rhythm
•Rhythm
•Durational symbols
•Beat and tempo
•Meter
•Divisions of beat
•Simple time signatures
Sight Singing (Ottman)
1-Rhythm
 Simple meters; the
Beat and its division
into two parts
Practica Musica/Auralia
PM: 11. Rhythm SightReading
 4. Rhythm Reading
levels 1-4
A: Rhythm Elements: Levels
3-4
Week 3
Elements of Pitch
•minor scales
•minor key signatures
•Scale degree names
•Whole tone, pentatonic,
chromatic scales and church
modes.
Sight Singing (Ottman)
2-Melody
 Stepwise melodies,
major keys
2-Rhythm
 Simple meters; the
beat and its division
into two parts
3
Practica Musica/Auralia
PM: 5. Scales and Key Signatures

9. Scales
o
Level 2, 3 and 4
PM: 5. Scales and Key Signatures

Key Sigs.
o
Minor. Keys 2.1-2.6
PM: 5. Scales and Key Signatures

Degrees
o Major and minor
A: Rhythm Elements: Level 5
A: Element Dictation: Level 1
Week 4
Elements of Pitch
•Intervals
•Perfect, Major, and minor
intervals
•Augmented and diminished
intervals
•Inversion of intervals
•Consonant and dissonant
intervals
Sight Singing (Ottman)
2-Melody
 Stepwise melodies,
major keys
2-Rhythm
 Simple meters; the
beat and its division
into two parts
Practica Musica/Auralia
PM: 3. Interval Names
 5.3 Building Intervals
 7. Interval Spelling
levels 1-4
A: Element Dictation: Levels 23
A: Interval Recognition: Levels
1-2
Week 5
Introduction to Triads and 7th
Chords
•Triads
•Seventh chords
Sight Singing (Ottman)
3-Melody
 Intervals from the
tonic triad, Major
keys
3-Rhythm
 Simple meters
Practica Musica/Auralia
PM: 6. Chord names and functions

7.1 Recognizing Triads

7.2 Building Triads

8.1 Recognizing 7th chords
 8.2 Building 7th chords
A: Element Dictation: Levels 4-5
A: Interval Recognition: Levels 3-4
Week 6
Introduction to Triads and 7th
Chords
•Inversions of chords
•Inversion symbols and
figured bass
•Lead sheet symbols
Sight Singing (Ottman)
3-Melody
 Intervals from the
tonic triad, Major
keys
3-Rhythm
 Simple meters
4
Practica Musica/Auralia
PM: 6. Chord Names and Functions
 11. Chord Spelling levels
1-4
A: Rhythm Dictation: Levels 1-2
A: Interval Recognition: Level 5
Week 7
Introduction to Triads and 7th
Chords
•Recognizing chords in
various textures
Sight Singing (Ottman)
4-Melody
 Intervals from the tonic
triad, Major keys
4-Rhythm
 Compound meters; the
beat and its division into
three parts
Auralia
A: Rhythm Dictation: Levels
3-4
A: Interval Recognition:
Levels 6-7
Week 8
Diatonic Chords in Major and
Sight Singing
minor Keys
4-Melody
•The minor scale
 Intervals from the tonic
•Diatonic triads in Major
triad, Major keys
•Diatonic triads in minor
4-Rhythm
th
•Diatonic 7 chords in Major
 Compound meters; the
•Diatonic 7th chords in minor
beat and its division into
Practica Musica
PM: 6. Chord Names and Functions
 Chord Playing in Context
levels 1-4
A: Rhythm Dictation: Levels 5-6
A: Interval Recognition: Level 8
three parts
Week 9
Cadences, Phrases and
Periods
•Musical form
•Cadences
•Cadences and harmonic
rhythm
Sight Singing (Ottman)
4-Melody
 Intervals from the tonic
triad, Major keys
4-Rhythm
 Compound meters; the
beat and its division into
three parts
Auralia
A: Rhythm Dictation: Levels
7-8
A: Cadences: Levels 1-4
Week 10
Harmonic Progression
•Sequences and the circle of
5ths
•The I and V chords
•The II chord
•The VI chord
•The III chord
•The VII chord
•The IV chord
Sight Singing (Ottman)
Auralia
5-Melody
 Minor keys; intervals from
the tonic triad
5-Rhythm
 Simple and compound
meters
A: Rhythm Dictation: Levels
9-10
A: Cadences: Levels 5-8
5
Week 11
Harmonic Progression and
Sight Singing (Ottman)
Auralia
5-Melody
 Minor keys; intervals from
the tonic triad
5-Rhythm
 Simple and compound
meters
A: Melodic Dictation: Level 1
A: Chord Recognition: Level
1
Non-Chord Tones
Sight Singing (Ottman)
Practica Musica/Auralia
•Classification of non-chord
tones
•Passing tones
•Neighboring tones
•Suspensions and retardations
•Figured bass and lead sheet
symbols
•Embellishing a simple
texture
•Appoggiaturas
•Escape tones
•The Neighbor Group
•Anticipations
•The Pedal Point
6-Melody
 Intervals from the
dominant triad; Major and
minor keys
6-Rhythm
 Simple and compound
meters
PM: 15. Dictation with
Analysis
Identifying Nonharmonic
Tones ex. 1 and 2
A: Melodic Dictation: Level 2
A: Chord Recognition: Level
2
Sight Singing (Ottman)
Auralia
6-Melody
 Intervals from the
dominant triad; Major and
minor keys
6-Rhythm
 Simple and compound
meters
A: Melodic Dictation: Level 3
A: Chord Recognition: Level
3
Cadences, Phrases and Periods
•Common exceptions
•Differences in the minor
mode
•Progressions involving 7th
chords
•Motives and Phrases
Period Forms
Week 12
Week 13
Non-Chord Tones
•NCT project
6
Week 14
Principals of Voice Leading
•The melodic line
•Notating chords
•Voicing a single triad
•Parallel motion
Sight Singing (Ottman)
8-Melody
 Further use of diatonic
intervals
8-Rhythm
 Simple and compound
meters
Auralia
A: Melodic Dictation: Level 4
A: Chord Recognition: Level
4
Week 15
Principals of Voice Leading
Ditto week 14
Sight Singing (Ottman)
8-Melody
 Further use of diatonic
intervals
8-Rhythm
 Simple and compound
meters
Auralia
A: Melodic Dictation: Level 5
A: Chord Recognition: Level
5
Week 16-18
Root Position Part Writing
Sight Singing (Ottman)
•Root position part writing
with repeated notes
-four part textures
-three part textures
•Root position part writing
with roots a 4th (5th) apart
-four part textures
-three part textures
•Root position part writing
with roots a 3rd (6th) apart
-four part textures
-three part textures
•Root position part writing
with roots a 2nd (7th) apart
-four part textures
-three parts textures
8-Melody
 Further use of diatonic
intervals
8-Rhythm
 Simple and compound
meters
9-Melody
 Intervals from the
dominant seventh chord;
other diatonic intervals of
the seventh
9-Rhythm
Simple and compound meters
7
Practica Musica/Auralia
Week 16
A: Melodic Dictation: Level 6
A: Chord Progressions: Level 1
Week 17
A: Melodic Dictation: Level 7
A: Chord Progressions: Level 2
Week 18
PM: 16. Voice Leading
 Realizing Harmonies with
Roman Numerals
o Level1: Ex. 1, 3,
5, 7
A: Melodic Dictation: Level 8
A: Chord Progressions: Level 3
Week 19
First Semester Exam
Review and Exam
Sight Singing (Ottman)
None
Practica Musica
None
Week 20
Root Position Part Writing
•Instrumental ranges and
transpositions
Sight Singing (Ottman)
10-Rhythm
 The subdivision of the
beat: the simple beat into
four parts, the compound
beat into six parts
Practica Musica/Auralia
PM: 14. Transposition
 Transposing
Instruments
A: Chord Progressions: Level
4
Week 21
Triads In First Inversion
•Bass arpeggiation
•Substituted first inversion
triads
•Parallel sixth chords
•Part writing first inversion
triads
-four part textures
-three part textures
Sight Singing (Ottman)
10-Rhythm
 The subdivision of the
beat: the simple beat into
four parts, the compound
beat into six parts
Auralia
A: Chord Progressions: Level
5
Week 22
Root Position Part Writing
•Soprano-Bass counterpoint
Sight Singing (Ottman)
11-Melody
 Intervals from the tonic
and dominant triads
11-Rhythm
 Subdivision in simple and
compound meters
8
Practica Musica/Auralia
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
6
Week 23
Triads In Second Inversion
•Bass arpeggiation and the
melodic bass
•The cadential 6/4
•The passing 6/4
Sight Singing (Ottman)
11-Melody
 Intervals from the tonic
and dominant triads
11-Rhythm
 Subdivision in simple and
compound meters
Practica Musica/Auralia
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
7
Week 24
Triads In Second Inversion
•The pedal 6/4
•Part writing for second
inversion triads
Sight Singing (Ottman)
11-Melody
 Intervals from the tonic
and dominant triads
11-Rhythm
 Subdivision in simple and
compound meters
Practica Musica/Auralia
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
8
Week 25
The V7 Chord
•General voice leading
considerations
•The V7 in root position
•Other resolutions of the V7
•The inverted V7 chord
Sight Singing (Ottman)
12-Melody
 Further use of diatonic
intervals
12-Rhythm
 Subdivision in simple and
compound meters
Practica Musica
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
9
Week 26
The V7 Chord
•The V6/5 chord
•The V4/3 chord
•The V4/2 chord
•The approach to the 7th
Sight Singing (Ottman)
12-Melody
 Further use of diatonic
intervals
12-Rhythm
 Subdivision in simple and
compound meters
9
Practica Musica/Auralia
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
10
Week 27
Secondary Functions Part
One
•Chromaticism and altered
chords
•Secondary functions
•Secondary dominant chords
•Spelling secondary
dominants
•Recognizing secondary
dominants
•Secondary dominants in
context
Sight Singing (Ottman)
Practica Musica/Auralia
13-Melody
 Chromaticism (I):
chromatic nonharmonic
tones; the dominant of the
dominant (V/V) harmony;
modulation to the key of
the dominant
PM: 6. Chord Names and
Functions
 Secondary Dominant
7ths, Major and minor
Sight Singing (Ottman)
Practica Musica
A: Chord Progressions: Level
11
Week 28
Secondary Functions Part
Two
•Secondary leading-tone
chords
•Spelling secondary leadingtone chords
•Recognizing secondary
leading-tone chords
•Secondary leading-tone
chords in context
•Sequences involving
secondary functions
•Descriptive resolutions of
secondary functions
13-Melody
 Chromaticism (I):
chromatic nonharmonic
tones; the dominant of the
dominant (V/V) harmony;
modulation to the key of
the dominant
10
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
12
Week 29-30
Modulations Using Diatonic
Common Chords
•Modulation and change of
key
•Modulation and tonicization
•Key relationships
•Common-chord modulation
•Analyzing common chord
modulation
Sight Singing (Ottman)
13-Melody
 Chromaticism (I):
chromatic nonharmonic
tones; the dominant of the
dominant (V/V) harmony;
modulation to the key of
the dominant
Practica Musica/Auralia
PM: TBA (probably PM 16:
Voice Leading)
A: Chord Progressions: Level
13
Week 31
Binary and Ternary Forms
•Formal terminology
•Binary forms
•Ternary forms
•Rounded binary forms
•12 bar blues
•Other formal designs
•Lead Sheet Symbols (?)
Sight Singing (Ottman)
13-Melody
Chromaticism (I): chromatic
nonharmonic tones; the dominant of
the dominant (V/V) harmony;
modulation to the key of the
dominant
Practica Musica
None
Weeks 32-36
Review and AP Test
Preparation
Administer released exams
Sight Singing (Ottman)
Practica Musica
AP Test Prep Materials
Weeks 37-38
Develop and Present Final
Project
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4. Textbooks and Software
Auralia: ear training software created by Sibelius
Kotska, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to
Twentieth-Century Music. 5th ed. New York: McGraw-Hill, 2004.
Ottman, Robert. Music for Sight-Singing. 5th ed. Upper Saddle River, N.J.: Prentice
Hall, 2001.
Practica Musica: theory and ear training software created by Ars Nova
Sibelius: notation software created by Sibelius
Policies and Procedures
1. Theory Room Guidelines
A. Because there are classes in the theory room every period, you may be in the
theory room for class business only.
B. Students must have the instructor’s permission to be in the office or use the
phone EVERY time. Do not allow “familiarity” to imply privileges that
aren’t yours.
C. Absolutely NO gum chewing, food or drinks (except bottled water) will be
allowed.
D. Each student must do his/her part to maintain a neat and clean appearance of
the room. Please remember it’s not your personal locker.
E. Please remove your hat upon entering the choir room.
F. Students desiring to use the restroom must take the appropriate pass hung
near the door. Only one student is allowed to use the restroom at a time.
G. Mobile phones, PDA’s , electronic music devices and similar items should
not be visible or audible. They will be confiscated otherwise.
H. Classroom set-up procedures:
a. Each student will be assigned a seat, laptop, MIDI keyboard and mouse
b. Each student is responsible for set up and take down of their electronic
equipment. Mr. Schreiber will not wait for a late student nor will write a
pass for a student to their next class due to technological hindrances.
I. Computer Usage
a. Computers are only to be used for AP Theory coursework.
b. Computers are not to leave the classroom.
c. Downloads of any type are forbidden.
d. Internet usage is only allowed for students who have parent approval
through the school-mandated policy. Internet usage will only occur with
Mr. Schreiber’s approval.
2. Attendance
Be on time for class. No assignment due will be accepted from a tardy student nor may
the student take any scheduled quiz. “Tardy” means not in the classroom when the final
bell rings. On unit test days, late students will take the essay version of the test. If a
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student is more than ten minutes late for a major test, he or she will not have the
opportunity to take the test at all.
A. Tardy Policy
First Tardy: Warning - student is responsible for
writing their name on the tardy clipboard near the
entrance door. Five
responsibility points will be removed from the
student’s grade.
Following Tardies: Each student will be dealt with
on an individual
Basis. All tardies will result in loss of responsibility
Points. Excessive tardies will result in: Parent
Notification, Lunch Detention, Recommendation
For Saturday School and Removal from class
If necessary.
Tardy is defined as: the student must be within the door
thresholds of the classroom by the time the tardy bell is
finished ringing.
3. Personal Responsibilities
A. Bring plenty of supplies so that you will not have to borrow from another
student. The following is a recommended list of supplies:
a. Three ringed binder with regular lined paper and notation paper
b. Pencil and eraser
c. Pen
d. Headphones
B. Be a good listener and take careful notes. Much of the information consists of
terms and other technical information. If it’s not covered in class, however,
it’s not on the test.
C. Please understand on due dates for projects or on test days that unless you
have an excused absence, you may not makeup the project or test. If you are
excused only for this class and one or two others but are in school even one
hour, your project is due that day: before or upon your return to school. In the
case of a test, you must make arrangements for a make-up that same day. If
you are only absent for this class and it is for illness or a doctor’s
appointment, you must turn in the project or make arrangements for the test
that same day or receive no credit. If you are absent only for this class and it
is not excused, you will receive neither credit for a project nor the
opportunity for a make-up test.
D. Computer work is due Friday at 3:30 P.M. of the week it is assigned unless
otherwise noted.
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4. Evaluation of Students
The grading scale is as follows: 90-100% = A, 80-89% = B, 70-79% = C, 60-69% = D,
and any score 59% or below = F. Although work will be evaluated according to this
scale, mastery is expected from students on all assignments. Class grades will based on
the following assignments and point values:
Dictation
2 points per measure
Sightsinging
1 point per measure
Homework
1 point per question
Weekly Quiz/Computer
25 points (every Friday)
Responsibility Point
5 points per day
Chapter Quiz
1 points per question
Mid Term
50 points
Final
100 points
Final Project
100 points
Attached is a Student Information Form. Please read these and sign them in the
appropriate place. Your son/daughter should return these to Mr. Schreiber August 7th.
I am looking forward to meeting all of the parents at Mountain View’s open house on the
12th of August at 6:00 PM. If you have any questions at all, please feel free to call me.
Thank You,
Mason B. Schreiber
472-7156
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Student Information
Name:______________________________
Birth Date:______________
Address:____________________________________________________
City:__________________________
AZ
Home Phone:____________________
Zip Code:________________
email: ________________
Mother’s Full Name:___________________________________________
Mother’s Employer:______________________Mother’s Work #:__________
Father Full Name:_____________________________________________
Father’s Employer:_______________________Father’s Work #:__________
First Semester
Second Semester
Hour Class Teacher
1
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1
Hour Class Teacher
____ __________
2
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__________
2
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__________
3
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__________
3
____
__________
4
____
__________
4
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__________
5
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5
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6
____ __________ 6
____ __________
____________________________(parent/guardian name) have read and understand the
Mountain View High School A.P. Music Theory packet of class procedures, grading
policy and syllabus.
Date:
Student Signature
Parent Signature
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Student/Parent Record
Date
Time Reason
Result
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