AP Music Theory
2013-2014
Course Description
Classical-based music theory course. Students will learn basic theoretical understanding of
music along with compositional concepts, and ear training. Students will learn a broad range of
written music theory concepts including: scales, key signatures, modes, transposition, and
principles of orchestration. In addition, students will learn basic aural theory concepts
including: scale/chord identification, rhythmic, melodic, and harmonic dictation. As a final
project, students will compose a piece for vocal, or instrumental small ensemble. Prior music
experience is required. Students must be able to read notation fluently in either treble or bass
clef.
Primary Texts
Benward,Bruce, and Marilyn Saker. Music: In Theory and Practice 8th ed.
New York: McGraw-Hill, 2009.
Ottman, Robert. Music for Sightsinging, 6th ed. Englewood Cliffs, NJ: Prentice Hall, 2004.
Scoggin, Nancy. AP Music Theory. New York: Barron's Educational Series, 2010.
Turek, Ralph. Analytical Anthology of Music, 2nd ed. New York: McGraw-Hill, 1992.
Grading Scale
Homework & Participation 50%
Quizzes 20%
Exams 30%
Materials
 Staff paper (http://www.blanksheetmusic.net/ )
 Folder/Binder
Technology Aides
Alvira, Jose R. Teoria:Music Theory Web. Np. 2011
Composition Project
The composition project will be a culmination of everything that you have learned in this class.
In the composition project you will demonstrate knowledge of scales, key signatures,
modulations, melodic variations and more. This will be a portion of your final exam grade.
This course is designed for the music student who wants to gain a deeper understanding of the
music that they play or sing. Students who do well in this course will be prepared to take the AP
Music Theory exam. This course builds on previous concepts. If at ANY point you do not
understand something ASK ME. I want everyone to do well in this class. The AP exam focuses
mainly on listening skills. We will have an ear-training component built into this class. However,
it is crucial that you understand how to create and analyze music.
First Nine Weeks “Music Theory Basics”
Concepts
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Placement Exam
Alto/Tenor Clef
Rhythm/Meter
o Simple
o Compound
o Asymmetrical
Key Signatures
o Major
o Minor
Intervals
o Melodic
o Harmonic
Triads
o Major
o Minor
o Augmented
o Diminished
Scales
o Major
o Minor
Written Theory Assignments
******Placement Exam*********
1. Half Steps and Whole Steps
Worksheet
2. Alto and Tenor Clefs Handout
a. Name Pitches V-Alto
Staff
b. Name Pitches VI-Tenor
Staff
3. Count Rhythms with Notes III
4. Count Rhythms with Notes IV
5. Meter Signatures Handout
6. Basic Musical Terms Handout
a. Simple
b. Compound
c. Asymmetrical( Make up
examples)
7. WS 3 Meter Signatures
8. Key Signatures
a. Key Signature Practice
b. Identify Key Signatures I
c. Identify Key Signatures II
d. Identify Key Signatures
III
e. Identify Key Signatures
IV
f. Identify Key Signatures V
g. Circle of Fifths (Tonics)
h. Circle of Fifths (Key
Signatures)
i.
Key Signatures
Worksheet
j.
WS 15 Key Signatures in
Minor
k. Minor Key Signatures
9. Intervals Handout
a. Name Intervals I
b. Write Intervals I
c. Write Intervals II
d. Interval I.D.
10. Building Intervals
11. Chord Types Handout
a. Major Triads, Treble
b. Major Triads, Bass
c. Minor Triads, Treble
d. Major, Minor,
Diminished &
Augmented Triads
e. Write Major Triads,
Treble
f. Linear Pitch Linear
Theory #10
Aural Theory
Assignments
Listening Assignments
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Intervals
o
Melodic
o
Harmonic
Chords
o
Major
o
Minor
o
Augmented
o
Diminished
Scales (Aural/ Piano)
o
Major
o
Minor
Rhythmic Dictation
Pitch Patterns
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My Bonnie Lass She Smileth
Thomas Morley
Eine Kliene Nachtmusik I.
Allegro W.A. Mozart
Hungarian Dance no.5 Brahms
The Ash Grove
12. Scales
a.
b.
c.
d.
e.
Linear Theory 2
WS 10 Major Scales I
WS 14 Minor Scales I
Linear Theory 4
Linear Theory 5
Second Nine Weeks “Building Blocks for Analysis”
Concept
Written Theory Assignments
Aural Theory
Assignments
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1.
2.
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Scale Degrees
Chord Inversions
Figured Bass
Chord Progressions
Cadences
o Perfect Authentic
o Imperfect
Authentic
o Half

Phrygian Half
o Plagal
o Deceptive
3.
4.
5.
6.
7.
8.
9.
Scale Degrees Handout
Diatonic Chords Handout
a. Scale Degree Names WS 1-1
b. WS 13 Scale Degrees in Major
c. WS 17 Scale Degrees in Minor
Chord Inversions Handout
Chord Inversions and the Figured
Bass Numbers Handout
a. Chord Inversions
Guidelines for Four-Part Vocal
Writing Handout
Figured Bass Reference Chart
a. Figured Bass #1
b. Figured Bass #3
c. Find The Mistakes
Refer to Chord Types Handout
(Seventh Chords)
a. WS 32 Seventh Chords I
b. WS 33 Seventh Chords II
c. WS 34 Seventh Chords III
d. Voicing Seventh Chords
Worksheet
e. Topic: viio, V6/4, V4/3
worksheet
Chord Progression Flow Chart
Cadences Handout
a. Name Cadences
b. Match Cadences
c. Write Cadences
Solfege Syllables
Chord Inversions
Seventh Chord
Identification
o Major
o Minor
o Half Diminished
o Fully Diminished
o V7
 Cadences
o Perfect Authentic
o Imperfect
Authentic
o Half

Phrygian Half
o Plagal
o Deceptive
Listening Assignments
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Horn Concerto no.3 W.A.
Mozart
Syrinx Claude Debussy
Concertino Carl Maria Von
Weber
Bluebells of Scotland
Arthur Pryor
Concerto for Trumpet III.
Rondo Hummel
Scaramouche Darius
Milhaud
Oboe Concerto in C W.A.
Mozart
Tuba Concerto Edward
Gregson
Whirlwind David R.
Gillingham
Third Nine Weeks “Analysis, Modulation, and Part Writing”
Concept
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Secondary Chords
Non-Chord Tones
Chorale Analysis
6/4 Chords
o Cadential
o Passing
o Pedal
o Arpeggiating
Modulation
Motion
o Contrary
o Oblique
o Similar
o Parallel
Part Writing Four Voices
Score Analysis
Written Theory Assignments
Aural Theory
Assignments
Listening Assignments
1.
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2.
3.
4.
5.
6.
7.
8.
Secondary Chords
a. WS 35 Secondarychord Identification
b. WS 36 Secondarychord construction
Classification of Non-Chord
Tones Handout
The Chorale Styles (Handout/
Worksheet)
a. Old Hundredth
b. A Mighty Fortress
c. AP Theory HW 14
Non- Harmonic Tones
d. Chapter 9, 1st
inversion #3
6/4 Chords Handout
Supplemental Information
About 6/4 Chords
a. Cadential 6/4 chords
worksheet
b. Other 6/4 chords
patterns worksheet
Modulations (Handout/
Worksheet)
a. Worksheet: “WellTempered Clavier”
b. Examples of
Modulations to
Closely-Related Keys
WS
c. Modulation Analysis
Exercise 1
Refer to Part Writing Handout
a. Four Part
Counterpoint I
i. Motion
1. Contrary
2. Oblique
3. Similar
4. Parallel
b. Four Part
Counterpoint II
c. Four Part
Counterpoint III
d. Counterpoint (Add
alto/tenor)
e. V/V and viio/V Partwriting
f. HW 7
Music Theory and Practice
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Sight Singing
Melodic Dictation
Harmonic Dictation
Error Dectection
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Violin Concerto in A Antonio
Vivaldi
Viola Concerto in G Major
Telemann
Cello Suite no.1 J.S. Bach
Double Bass Concerto in A
Domenico Dragonetti
Let the Bright Seraphim G.F.
Handel
He Was Despised G.F. Handel
Nessun Dorma Giacamo
Puccini
Der Erlkoing Franz Shubert
The Trumpet Shall Sound G.F
Handel
a.
Pg 248-250
Fourth Nine Weeks “Form, Melody, and Transposition”
Concept
Written Theory Assignments
Aural Theory
Assignments
Listening
Assignments
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Chorales
1. Austria Franz Joseph Haydn
2. Ellacombe William H. Monk
3. Ein’ fest Burg ist unser Gott J.S. Bach
4. Eventide William H. Monk
5. BWV 414
6. BWV 1.6
7. BWV 253
8. BWV 360
9. BWV 271
10. BWV 436
Modes, Melodic Variations, Transposition
1. Church Modes Handout
a. Church Modes Worksheet I
b. Church Modes Worksheet II
c. Name Church Modes
d. Complete Church Modes
e. WS 43 Modes I
f. WS 44: Modes II
g. WS 45: Modes III
h. Identify Modal Key Signatures V
2. Melody Handout
a. MHIS 135
b. Weg, mein Herz, mit den Gedanken
c. Chorales to Harmonize
3. Melodic Variations Handout
a. Melodic Variations I
b. Augmentation
c. Diminution
d. Fragmentation
e. Retrograde
f. Inversion
g. Sequence
h. Octave Displacement
i.
Rhythmic Transformation
j.
Ostinato
k. Tessitura
4. Form
1. 378-380 (AP Music Theory Book)
a. Strophic – Joy To the World
b. Binary Form-Pagent Vincent Percichetti
c. Ternary Form- Glacier Express Larry Neeck
d. Rounded Binary- Franz Shubert
Originaltanze Op.9 No.3 pg. 309 Turek
Anthology
e. Sonata Form-Haydn Piano Sonata H.
XVI:37 p.187 Turek Anthology
f. Rondo Beethoven Piano Sonata Op. 13 II
p. 263 Turek Anthology
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Chorales
Church Modes
o Ionian
o Dorian
o Phrygian
o Lydian
o Mixolydian
o Aeolian
o Locrian
Scales
o Pentatonic
o Octatonic
o Whole Tone
Melody
o Structure
o Harmonization
techniques
Form
o Strophic
o Binary
o Rounded Binary
o Ternary
o Sonata Form
o Rondo
o Through Composed
Phrase
o Period
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Parallel

Contrasting
 Double
Transposition
TEST PREP
Church Modes
Two Voice
Melodic
Dictation
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Hunting Wabbits
Gordon Goodwin
First Suite in Eb
Gustav Holst
Ruslan and Ludmilla
Overture Glinka
Cannon in D Johann
Pachelbel
Bolero Maurice
Ravel
Piano Sonata in C
K545 W.A. Mozart
Variations on a
Korean Folksong
John Barnes Chance
2.
3.
Phrase Handout
Phrase Period
a. Parallel Period
i. Mozart KV Anh 109b Nr.2 (15b) m
1-8
ii. Bach Minuet in G m 1-16
iii. Haydn Trumpet Concerto mov III
b. Contrasting Period
i. Mozart KV Anh 109b Nr.2 (15b) m
9-16
ii. Bach Minuet in G m 17-end
iii. W.A. Mozart Arie “Al desio di chi
t’adire” KV 577
4. Assignment #21
5. Transposition Handout
a. WS 37 Melodies for Transposition I
b. WS 38 Melodies for Transposition II
6. Instrument Transposition Handout
a. WS 40 Transposing Instruments I
b. WS 41 Transposing Instruments II
c. WS 42 Transposing Instruments III