Patrick S. Barnett, Instructor
Period 2, Room E213
pbarnett@maine207.org
847-803-5908
Office Hours by Appointment through the Fine Arts Office
Maine Township High School West
Advanced Placement Music Theory Syllabus
School Context
Our school has a long tradition of providing its students with a
comprehensive musical education. As part of its commitment to this goal
the school offers preparatory and advanced instruction in music theory with
the end result being that a student will successfully complete the Advanced
Placement Exam in Music Theory with a score of a four or five.
The current Music Theory program is comprised of three year-long courses:
Music Theory (7530)
Advanced Music Theory (7540)
Music Theory AP (7547).
Music Theory AP is taught concurrently with the other two levels of music
theory, and is open to mature music students who aspire to master a rigorous
course of study representing college credit. Interest in the AP course may be
teacher- or student-generated, and enrollment requires permission of the
instructor as well as successful completion of at least one of the previous
music theory courses. Students may be enrolled as members of school
performance ensembles or have extensive experience with music reading
through participation in the two-year guitar program or keyboard program.
The class is taught in an fully-operational MIDI lab, complete with music
notation programs, MIBAC music software, and an LCD projector.
Instruction is provided by a faculty member with a graduate degree in music
education.
Text and Materials
Benward, Bruce & Saker, Marilyn. (2003). Music in theory and practice ,
Vol. I (7th ed.). New York: McGraw-Hill.
Benward, Bruce & Saker, Marilyn. (2003). Workbook in music in theory
and practice , Vol. I (7th ed.). New York: McGraw-Hill.
Grout, Donald & Palisca, Claude (1996). A History of western music, (5th
ed.) New York: W.W. Norton & Company Ltd.
Palisca, Claude (ed). (2001) Norton anthology of western music, Vol. I, (4th
ed.). New York: W.W Norton & Company Ltd
Palisca, Claude (ed). (2001) Norton anthology of western music, Vol. II,
(4th ed.). New York: W.W Norton & Company Ltd
Supplementary materials for sight-singing are teacher-generated.
Computer software:
Music Lessons I v. 4.04 Mibac.
Musica Practica v 3
Musition v3.03 Sibelius
Aurelia v. 2 Sibelius
Sibelius v 4
Cakewalk Pro Audio v 8.0 Twelve Tone Systems
Music CDs containing a range of musical examples.
SCHEDULE OF TOPICS
QUARTER 1
QUARTER 1
Weeks 1-4
A. Review of key signatures, clefs, major and minor scales.
1. Transpose melodies from one wind/string instrument to another.
Sightreading/Ear Training
1. Write and perform 2 – 4 part rhythm pieces.
2. Distinguish between duple and triple meters.
3. Conduct composed pieces.
4. Review of moveable do solfege.
A. Review of church modes, historical background.
1. Identification in musical excerpts
2. Transposition from major and minor to church modes.
 Completion of exercises from Benward & Saker, vol. 1, chapters 1-3.
 Completion of additional teacher-generated exercises transposing
from major/minor to modes.
B. Review of interval quality: perfect, major, minor, augmented/diminished,
compound, enharmonic, inversion.
 Supplemental reading from Siegmeister, vol. I, pp. 17-30, 42-51.
Excerpts played in class.
Sightreading/Ear Training
Sight-sing stepwise melodies of 8 measures in 4/4 or ¾ time.
Melodic dictation of simple two-part exercises.
On-going ear training in MIDI lab.
QUARTER 2
Weeks 9-12
A. Review of primary triads:
1. Review of primary triads: structure.
2. Review of triad quality: major, minor, augmented, diminished.
3. Review and extension of Roman numeral analysis.
4. Review of triad inversion.
5. Review of triad position symbols.
 Supplemental reading from Siegmeister, vol. I, pp. 31-41, 43-78.
Excerpts played in class.
 Completion of exercises from Benward & Saker, vol. 1, chapter 4.
 Completion of additional teacher-generated exercises focused on
quality of melody, connection of melody to triads, variety of
accompaniment styles.
 Application of understanding of triads and accompaniment to
composition, using styles found in Siegmeister, pp. 371-382.
B. Introduction to four-part chorale style.
1. Voice ranges.
2. Rules of doubling.
3. Voice spacing.
4. Types of melodic motion: similar, parallel, contrary, oblique.
 Supplemental reading from Siegmeister vol. I, pp. 64-78, 92-104, 150170. Performance and discussion of excerpts in class.
 Completion of exercises in Benward and Saker, vol. I, ch. 8 and 9.
Sightreading/Ear Training
Identify melodic intervals, sight-sing step-wise melodies, sight-sing simple
two-part exercises.
Sightsing 4-part choral arrangements in a variety of styles.
Individual sight singing
Weeks 13-16
A. Extensive review of figured bass.
1. Historical background.
2. Rules of doubling.
3. Use of sixth chords.
4. First and second inversion primary triads: structure and function.
5. Harmonic uses for 6/4 chords.
 Supplemental reading from Siegmeister, vol. I, pp. 195-208, 247-258.
Excerpts played and discussed in class.
 Exercises include writing bass lines, realizing a figured bass, and
comparison of possible harmonization choices.
C. Cadences:
1. Types: authentic, half, deceptive, plagal.
2. Function in relation to progression/retrogression from tonal center.
 Exercises from Benward and Saker, Ch. 5.
 Supplemental reading from Siegmeister, vol. I, pp. 105-117. Excerpts
played and discussed in class.
 Discussion of role of cadences in establishing harmonic rhythm.
D. Seventh chords: dominant seventh
1. History
2. Structure
3. Preparation/resolution
4. Functions
5. Voice leading
6. Inversions
 Exercises from Benward and Saker, Ch. 11.
 Supplemental reading from Siegmeister, vol. I, pp. 337-362. Excerpts
played and discussed in class.
 Analysis of orchestral scores with goal of synthesizing the various
elements contributing to form.
Sightreading/Ear Training
Dictation of step-wise melodies, sight-sing melodies with leaps of 3rds, 5ths,
octaves
Ear training emphasizing triads in all inversions.
Weeks 17-20
1. Review of non-harmonic tones: passing, neighbor, escape, cambiata.
 Benward and Saker, Ch. 5, exercises.
 Supplemental reading from Siegmeister, vol. I, pp. 135-149. Excerpts
played and discussed in class.
 Composition of two- and four-part exercises using non-harmonic
tones to be analyzed by classmates.
1. Additions: appoggiatura, suspension, anticipation, pedal point.
 Siegmeister, vol. I, pp. 391-409.
2. Review of two and four part voice leading.
3. Review: melodic organization: motive, phrase, period.
 Siegmeister, pp. 184-194; motive variation, pp. 209-224, 239-246.
 Benward and Saker, Ch. 6. Completion of exercises, analysis of music
from a range of musical periods.
 Composition of examples of motives varied using sequence,
fragmentation, extension, augmentation, diminution, inversion, and
retrograde.
4. Review: binary, ternary form.
 Exercises from Benward and Saker, Ch. 16 and 17.
5. Review: monophonic, homophonic, polyphonic textures.
 Listening examples across periods.
 Review of Benward and Saker, Ch. 7.
6. Medieval and Renaissance periods: culture, style, composer overview
 Connection to world events.
 Benward and Saker, vol. II, Ch. 1.
Sightreading/Ear Training
Melodic dictation of melodies with steps and leaps, sight-sing melodies with
leaps within the octave. Ear training: triads (major and minor), chords (root
position, major and minor).
QUARTER THREE
Weeks 21-24
1. Review harmonic progressions: root movement, cycle of fifths, substitute
chords.
2. Review harmonization of melodies.
1. History and characteristics of four part writing.
2. Harmonic rhythm.
a. aspects across genres.
b. relation between chord changes and meter.
3. Contrapuntal movement and harmony.
4. Process for harmonizing a melody.
3. Baroque period: culture, style, composer overview.
 Benward and Saker, Vol. II, Ch. 2 and 3. Completion of exercises.
 Extensive musical listening.
Sightreading/Ear Training
Melodic dictation of two-part melodic exercises, sight-sing melodies with
leaps within the octave. Ear training: triads (major and minor), chords (root
position, first inversion, major and minor).
Weeks 25-28
1. Modulation
A. Functions
B. Role of dominant
C. Closely related keys
D. Review of function of accidentals
E. Stages of modulation, beginning with modulation to the dominant
1. Pivot chord/common chord: identification and function
2. Role of cadences
 Siegmeister, Vol. II, Ch. 2. Functions and stages of modulation.
 Benward and Saker, Vol. I, Ch. 14.
 Modulation to other keys, Siegmeister, Vol. II, Ch. 3.
F. Chromatic
2. Secondary seventh chord: structure and function.
 Benward and Saker I, Ch. 12 and 13.
3. Bach chorale analysis.
 Examples from Riemenschneider.
4. Piano harmonization styles.
5. Classical period: culture, style, composer overview
A. rondo, sonata form
B. Theme and variation
 Benward and Saker, Vol. II, Ch. 7-9. Exercises.
 Extensive listening experiences.
Sightreading/Ear Training
Melodic dictation of two-part melodic exercises, sight-sing melodies with
leaps within the octave. Ear training: triads (major and minor), chords (root
position, first and second inversion, major and minor).
QUARTER FOUR
Weeks 29-31
1. Romantic period: culture, style, composer overview
 Review Benward and Saker, Ch. 13.
2. Contemporary period: culture, style, composer overview
 Review Benward and Saker, Ch. 261.
 Examples of contemporary harmony and melody, Siegmeister, Ch. 12.
 ear training using Cakewalk Pro Audio.
3. Popular song and jazz chord symbols
 Examination and comparison of pop and jazz symbols and connection
to figured bass and common practice period harmonization practices.
Sightreading/Ear Training
Melodic dictation of two-part melodic exercises, sight-sing melodies with
leaps within the octave. Ear training: triads (major and minor), chords (root
position, first and second inversion, major and minor).
Weeks 32-34
Exam review
Weeks 32-38
1. Techniques of arranging from a pre-recorded melody.
 Creation of a sketch score: bass line, cadences.
 Instrumentation, practical playing ranges.
 Use of instrumental timbres in arranging.
2. Techniques of basic orchestration
 Performance completed arrangement.
ASSESSMENT
1. Students complete a series of instructional packets focused on each topic.
Packets represent a compilation of information from at least four college
music theory texts. Students are required to read independently, apply
information, and extend information to unfamiliar musical contexts.
These packets are introduced and supplemented by direct experience of
musical examples, provided by live performance by instructor/students at the
piano and recorded excerpts.
2. Students achieve a level of proficiency on the MiBAC ear training
program that is at least 90% mastery on each interval, scale, triad or chord.
Records are kept on the software, which is provided to the instructor.
3. Students compose musical examples that represent a synthesis of their
understanding of a given musical concept or element. These examples may
be performed by the class, by the individual, or handed in as an individual
assignment.
4. Students successfully complete quizzes, tests, and semester exams. These
exams include performance (sightreading), aural identification of formal
elements, written work, and dictation.
5. Students work with others in the class, Music Theory and Advanced
Music Theory, to provide information about the concepts being studied. AP
students will have a deeper understanding of the information if they are
required to teach it to others.
6. Students create rhythmic and melodic dictation examples for themselves,
their peers, and for the three levels in the class.
7. Students are required to reflect upon their personal growth as a student of
music theory. The are encouraged to list their strengths and weaknesses and
work to improve these deficiencies.