Advanced Placement Music Theory Course Overview AP Music Theory is a full year course designed for students who are advanced musicians planning on going into a career field that involves music and for those interested in expanding their knowledge of music beyond the basic fundamentals. Students must have permission of the instructor and/or a recommendation from their primary ensemble director in order to be eligible for this course. Upon entering this course students should have: 1. Strong understanding of reading/notating pitches in the bass and treble clefs; a basic understanding of reading/notating pitches in the alto and tenor clefs. 2. Strong understanding of rhythmic notation (notes and rests) and an understanding of the differences between simple and compound meters. 3. A familiarity with writing major, natural minor, harmonic minor, and melodic minor scales. 4. Ability to identify both the major and minor keys represented by key signatures up to 7 flats and 7 sharps; knowledge of the circle of 5ths. 5. An understanding that everyone is expected to sing. Prepared and unprepared sight singing tests and quizzes are an integral part of this class. 10% of the AP exam is dedicated to sight singing. You are not graded on the quality of your voice, but will be assessed on pitch and interval accuracy. 6. Basic knowledge of the piano – be able to name all the keys in relationship to pitches in the bass and treble clefs. Course Objectives Upon completion of this course students should be able to: I. Notational Skills & Terminology: 1. Notate and identify pitch in four clefs: treble, bass, alto, and tenor 2. Notate, hear, and identify simple and compound meters 3. Notate and identify all major and minor key signatures 4. Notate, hear, and identify the following scales: chromatic, major, the three forms of minor, whole tone, pentatonic, and octatonic 5. Name and recognize scale degree terms 6. Notate, hear, and transpose church modes 7. Notate, hear, and identify all major, minor, diminished, and augmented intervals 8. Notate, hear, and identify all types of triads and seventh chords including inversions 9. Define and identify common tempo and expression markings II. Compositional Skills: 1. Compose a bass line for a given melody to create simple two-part counterpoint in 17th and 18th century style; analyze implied harmonies 2. Realize a figured bass according to the rules of 18th century chorale style in a major or minor key using any or all of the following devices; diatonic triads and seventh chords, inversions, non-harmonic tones, secondary dominants, and dominant seventh chords 3. Realize a four-part chorale style progression from Roman numerals III. Score Analysis: 1. Notate, hear, and identify perfect authentic, imperfect authentic, plagal, half, Phrygian half, and deceptive cadences in major and minor keys 2. Identify within a score the following non-harmonic tones: passing tone, (accented and unaccented), neighbor tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (echapee and cambiata), and pedal tone. 3. Small-scale and large-scale harmonic procedures, including A. Identification of cadence types B. Roman numeral and figured bass analysis, including non-harmonic tones, seventh chords, and secondary dominants C. Identification of key centers and key relationships; recognition of modulation to closely related keys 4. Melodic organization and developmental procedures: A. Scale types; modes B. Melodic patterning C. Motivic development and relationships (ie:inversion, sequence, retrograde, imitation) 5. Rhythmic/Metric Organization A. Meter type and beat type (ie: duple, triple, compound, irregular) B. Rhythmic devices and procedures (ie: augmentation, diminution, hemiola) 6. Texture A. Types: monophonic, homophonic, polyphonic, heterophonic, melody w/accompaniment B. Devices: textural inversion, imitation 7. Form A. Binary, Ternary, Rounded Binary, Rondo, Theme and Variation, Sonata IV. Aural Skills: 1. Detect pitch and rhythm errors in written music from given aural stimulus 2. Notate a melody from dictation, 6 to 8 bars, major key, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings 3. Notate a melody from dictation, 6 to 8 bars, minor key, chromatic alteration from harmonic/melodic minor scales, simple or compound time, treble or bass clef, 3 to 4 playings 4. Sight sing a melody, 4 to 8 bars, major or minor key, duple or triple meter, simple or compound time, treble or bass clef, using solfege, pitch names, numbers, or any comfortable vocal syllable 5. Hear the following non-harmonic tones: passing tone, neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone, and pedal tone 6. Notate the soprano and bass pitches in Roman numeral analysis of a harmonic dictation in 18th century style to include 7th chords, secondary dominants, major or minor key, 3 to 4 playings 7. Identify processes and materials in the context of music literature representing a broad spectrum of genres, media, and styles: A. Melodic organization (scale-degree function of specified tones, scale types, modes, melodic patterning, sequences, motivic development) B. Harmonic organization (chord function, quality, inversion) C. Tonal organization (cadence types, key relationships) D. Meter and rhythmic patterns E. Instrumentation (identification of timbre) F. Texture (number and position of voices, amount of independence, presence of imitation, density) G. Formal procedures (phrase structure, distinctions among literal repetition, varied repetition, and contrast; small forms) Keyboard Skills: The students will develop and demonstrate the following keyboard skills: Major Scales Minor Scales (Three Forms) Modes Triads (M, m, o, +) with Inversions Seventh Chords; MM, Mm, mm, om, oo with inversions Chord Progression: I – IV – V7 – I in all keys Major and minor Text: Clendinning, Jane Piper and Elizabeth West Marvin, The Musician’s Guide To Theory and Analysis, W.W. Norton & Company, Inc. Ottman, Robert and Nancy Rogers, Music for Sight Singing, 7th edition, Pearson Prentice Hall In addition to the use of the text books listed above, the following sources will be utilized; 1. Recordings of musical performances 2. Online resources, i.e. www.music theory.net, www.teoria.com etc. 3. Self-generated materials: a. Original worksheets on staff paper b. Worksheets from Finale c. Supplementary materials provided by David Lockart, instructor of AP Music Theory Teacher’s Training Course d. Musical examples and compositions i. From a variety of sources, including Norton Anthology, Burkhardt Anthology e. Aural Skills stimuli i. From a variety of sources, including self generated, and resources by David Lockart 4. Worksheets available on line from sites such as the DiBenedietti web site 5. Various musical scores, including those from anthologies (see 3. c. above) and repertoire from hymnal, choral library, and variety of vocal and instrumental scores. Grading Policy: Grades will be determined with the following categories and weighting: Tests/Quizzes Homework/Projects Participation 40% 40% 20% Homework must be shown to be completed on the day it is due. Late assignments will be penalized 10% for each day late. If a student is not in class the day an assignment is due, it will be expected at the beginning of the next class period. Tests and Quizzes missed due to an excused absence must be made up by the student within a week on the student’s own time. It is the responsibility of the student to arrange this with the teacher. Tests, quizzes and homework missed due to an unexcused absence will receive no credit. A grade on participation will be given each term based on the student’s daily engagement in classroom activities. Adherence to basic classroom rules and basic rules of etiquette must be followed to maximize this portion of a student’s grade. Syllabus Advanced Placement Music Theory ***Readings are from Musician’s Guide To Theory and Analysis by Jane Piper Clendinning and Elizabeth West Marvin. ***It should understood that dictation skills are cumulative and that exercises listed in the corresponding column below are listed at the point that they are added to the process. ***Sightreading will be practiced daily from Music for Sight Singing by Robert Ottman and Nancy Rogers from the Chapters listed below. Month/ Week September Week 1 Week 2 Week 3 Week 4 Key Concepts Reading Analysis & Aural Analysis Notation, Rhythm and Meter, Scales and Key Signatures, Intervals, Dynamics, Tempo Staff, Grand Staff, Clef (Treble, Bass, C), Keyboard, Chromatic Signs, Enharmonic Equivalents, Leger Lines, Octave ID. Chapter 1 Assessments Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Sightreading (Daily from Ottman) Chapter 1 Lennon/McCartney, “Eleanor Rigby” from Revolver Beat, Simple/Compound/Irregular Meter, Note anatomy, Ties, Dots, Slurs, Triplets, Duplets, Rules of Musical Notation, Syncopation, Rests, Tempo terms grave to presto and Dynamic markings ppp ~ fff. Accents and other articulate markings. Chapters 2, 5, 10 Whole/Half step intervals, Major and Minor scales and related key signatures, Natural, Harmonic and Melodic minor scales. Parallel and Relative Keys, Circle of Fifths, Modal Scales, Pentatonic Scale, Whole Tone Scale. Solfege. Chapters 3 and 4 Intervals: Perfect, Major, Minor, Augmented, Diminished. Interval inversions, Compound Intervals Bach, Brandenburg Concerto No. 4, second movement. Homework/ Projects Sousa, “The Stars and Stripes Forever” Joplin, “Pine Apple Rag” “Greensleeves” (folk tune) Webern, Variations for Piano, Op. 27, second movement. Mozart, Piano Sonata in C Major, K. 545, first movement. Creation of an original 3-Part Rhythmic Composition – 8 Measures Quiz on Dynamic markings Unit Test on chapters 1,2,5,10 Chapter 1 Chapter 2 Chapter 2 Chapter 6 Gershwin, “S’Wonderful!” Handel, Chacone in G Major, from Trois Lecons. Quiz on Key Signatures/Circl e of Fifths. Dictation (Daily, Instructor Generated) Introduction of basic rhythmic patterns in simple and compound meters Two measure rhythmic examples in simple and compound meter Pitch patterns of three and four diatonic pitches in major and harmonic minor keys Pitch patterns of three and four pitches not associated with a specific tonal center. Month/ Week Key Concepts October Chords (Triads: M, m, +, 0; Seventh chords: MM, Mm, mm, 0m, oo), Chord Inversions, Figured Bass intro, Scale degree names, Roman numeral analysis I. Beginning Melody writing. Transposition Week 1 Chords: Triads and Inversions of Triads. Seventh chords and Inversions. Reading Week 3 Week 4 Roman numeral analysis of Triads and Seventh chords (Root Position and Inversion) Beginning Melody writing and Transposition. Assessments Sightreading (Daily from Ottman) Dictation (Daily, Instructor Generated) Chapter 7 Lead Sheet and Popular Music Symbols/Lead Sheets. Chord charts for major and minor keys. Introduction to Figured Bass and Scale Degree names. Homework/ Projects Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Chapter 7 Week 2 Analysis & Aural Analysis Mozart, “Voi, che sapete,” from The Marriage of Figaro” Analysis of Popular Music excerpt Van Heusen and Burke, “Here’s That Rainy Day,” from Carnival in Flanders. pp. 244-249; review pp. 5051 pp. 188-195, p.321 Bach, “Ach Gott, vom Himmel sieh’ darein” (Chorale No. 253) Bach, Cantata No. 140, (“Wachet auf”), second movement. Bach, “O Haupt voll Blut und Wunden” (Chorale No. 74) Unit Test on chapters 3,4,6 Quiz on Triad Spelling Analysis of Bach Chorale Sightreading Quiz #1 Chapter 3 Chapter 3 Chapter 4 Creation of original melodies for given figured bass lines Realization of Figured bass lines. Quiz on Chord Charts/Scale Degree names Chapter 4 Two measure melodies. Major keys/simple meter. Root position triads Two measure melodies. Major keys/compound meter. Triads in inversions Two measure melodies. Minor keys/simple meter. Seventh Chords Root position. Two measure melodies. Minor keys/compound meter. Seventh Chords in inversions. Month/ Week Key Concepts November Voice Leading, Dominant Seventh Chord, The 6/4 Chord, Cadences, Non Harmonic Tones. Week 1 Rules of four part voice leading based in common-practice tonality. Chord Doubling. Smooth voice leading techniques. Conjunct and Disjunct Motion Week 2 Week 4 The Dominant Seventh Chord. Voicing and Resolution. The 6/4 Chord and its use Reading Analysis & Aural Analysis Homework/ Projects Assessments Sightreading (Daily from Ottman) Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Chapter 14 pp 204 – 210, pp. 260-275 Bach, Various Chorales. Mozart, Piano Sonata in D Major, K. 284, third movement. Composition: Root position SATB writing on given Roman Numeral progressions Project: Identify and submit examples of each of the textures from students own listening library. Unit test on Chapter 7, Figured bass, Roman numeral analysis and transposition Quiz on rules of voice leading Chapter 5 pp 536-538 and pp 211214. pp 299308 Bach, Various Chorales. Purcell, “Music for a While” Bach, Invention in D minor. Creation of an original 16 bar homophonic composition Moderate four measure melodic examples. Scale and Mode identification. Two Part (Soprano/Bass) in Major keys Chapter 5 Sightreading Quiz #2 Chapter 6 Texture (Monophonic, Homophonic, Polyphonic, Heterphonic) Cadences (Authentic, Plagal, Half, Deceptive, Phrygian Half) Non Harmonic Tones (Passing, Neighboring, Anticipation, Appoggiatura, Pedal, Double Neighboring/Changing, Escape, Suspension, Retardation.) Dictation (Daily, Instructor Generated) Unit Test on Voice Leading, The Dominant Seventh Chord Texture and Non Harmonic Tones. Two Part (Soprano/Bass) in Minor keys Month/ Week December Week 1 Week 2 Week 3 Week 4 Key Concepts Reading Analysis & Aural Analysis Assessments Sightreading (Daily from Ottman) Dictation (Daily, Instructor Generated) Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Chromaticism/Secondary Dominant/Leading Tone Chords. Harmonic Progression. Chord Substitution. Species Counterpoint, Cantus Firmus Chromaticism. Secondary Dominant/Leading Tone Chords (Mm 7th chords and Diminshed 7th Chords) in Major and Minor Keys. Chapter 21 Chord Substitution. Altered Chords. Harmonic Progression (Pre-dominant, Dominant and Tonic) Chapter 16 Species I and II Counterpoint Cantus Firmus Chapter 8 Four-part realization of Cadences in SATB from Roman numerals Homework/ Projects Bach, “Es ist gewisslich an der Zeit” (Chorale No. 260) Hensel, “Neue Liebe, neues Leben” Creation of an original SATB style composition using inversions of chords Quiz on Secondary Dominant/ Leading Tone Chord Spelling Chapter 6 Recognition of chord quality. Cadences. (Roman numeral) Chapter 7 Harmonic Progressions focused on Cadences from both Keyboard and Recordings. (Primary Chords - Roman numeral) Sightreading Quiz #3 Mozart, Variations on “Ah, vous diraije, Maman,” Theme Bach, “Ein feste Burg ist unser Gott” Bach, Various Chorales Creation of an original Cantus Firmus followed by Species I and II counterpoint Quiz on Species I and II counterpoint rules Chapter 8 Unit Test on Chapters 8, 16, 21. Chapter 8 Month/ Week Key Concepts January Melody: Phrase Forms, Period, Antecedent/Conseque nt, Motive. Sequence. Melodic Composition, Harmonization of melodies. Week 1 Week 2 Week 3 Week 4 Reading Harmonization of given and original melodies Realization of Four Part Roman Numeral Progression. Homework/ Projects Assessments Sightreading (Daily from Ottman) Dictation (Daily, Instructor Generated) Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Phrase Forms, Motive, pp308-349 Period(Parallel/Contras ting/Double), Phrase Shape Antecedent/Consequent , Sequence Melodic Composition. Compositional devices (ornamentation, inversion, augmentation, diminution) Analysis & Aural Analysis Supplementary Handouts Willson, “Till There Was You” from The Music Man” Foster, “Oh! Susanna” Aural analysis of musical example identifying melodic devices and structure. Chapter 9 Mozart, Piano Sonata in C Major, K. 545, first movement. Bach, Invention in D minor Bach, Various Chorales Creation of original Homophonic Composition featuring phrase development and Secondary Chord(s) Sightreading Quiz #4 Chapter 9 Unit Test on Melodic devices. Chapter 10 Chapter 11 Harmonic Progressions with increasing difficulty including Secondary function chords Month/ Week February Week 1 Week 2 Week 4 March Key Concepts Analysis & Aural Analysis Modulation (Phrase/Direct, Pivot, Common Chord, Chromatic, Enharmonic) Binary Form/Rounded Binary Ternary Form, Strophic Chapter 22 Week 2 Theme and Variations Week 3 Sonata Form/Sonantina (Repeat, Da Capo, Segno, Fine) Ground Bass and Through Composed Clementi, Sonatina in C Major, Op. 36, No. 1, first movement. Assessments Quiz on Modulation Schubert, “Nur wer die Sehnsucht kennt” Creation of original pp.441-451 pp. 452 – 456 Larger Forms: Rondo, Theme and Variations, Sonata Form, Sonatina. Ground Bass. Through Composed Rondo Homework/ Projects Sightreading (Daily from Ottman) Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Modulation, Small Forms (Binary,Rounded Binary, Ternary, Strophic) Week 1 Week 4 Reading Mozart, Piano Sonata in D Major, K. 284, third movement Beethoven, piano Sonata in C minor, Op. 13, second movement. Chapter 27 Chapter 28 pp. 527-528 Short Melodic Compositions in each of the small forms Schubert, “Erlkonig” Purcell, Dido’s Lament Sightreading Quiz #5 Preparation for the AP Examination using examples from past FR 1 and 2 Questions Harmonic Chord Progression examples with increasing difficulty. Unit Test on Small Forms Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Mozart, Variations on “Ah, vous diraije, Maman,” Clement, Sonatina Op. 36, No. 3 Chapter 12 Dictation (Daily, Instructor Generated) Sightreading Quiz #6 Creation of original Short Melodic Compositions in each of the large forms Unit Test on Large Forms Chapter 13 Preparation for the AP Examination using examples from past FR 3 and 4 Questions Harmonic Chord Progression examples with increasing difficulty. Month/ Week Key Concepts April 18th Century Counterpoint (Imitation, Canon, Invention, Fugue) 20th Century scales, chordal structures and compositional techniques. Exam Preparation. Week 1 Imitation, Canon, Invention, Fugue Week 2 Sets, Set Classes, Serialism, Twelve Tone Rows Week 4 May Week 1 Reading Analysis & Aural Analysis Homework/ Projects Sample Test Questions Week 3 Film Scoring Week 4 Film Scoring Sightreading (Daily from Ottman) Dictation (Daily, Instructor Generated) Nightly homework will be assigned from instructor generated handouts and use of the “Try It” sections of the text. In addition, the projects in this column will be assigned. Chapter 32,33,34 Bach, Passacaglia and Fugue in d minor Schoenberg, Three Piano Pieces Webern, String Quartet, Op. 5, third movement Creation of original matrix and twelve tone row composition. Analysis of a Bach Invention. Chapter 14 Chapter 15 Study of musical score from the movie “Glory” Study of the art of Film Scoring, followed by creation of an original score to accompany a scene from a movie. Preparation for the AP Examination using examples from past FR 1-4 Questions Harmonic Chord Progression examples with increasing difficulty. Sightreading Quiz #7 AP Free Response Preparation Exam Preparation, Post-Test Compositional Projects Free Response Questions Week 2 Assessments Month/ Week June Week 1 Week 2 Key Concepts Reading Analysis & Aural Analysis Homework/ Projects Assessments Sightreading (Daily from Ottman) Post-test Compositional Projects Continued work on and presentation of film score. Chapter 16 Dictation (Daily, Instructor Generated)