Mr. Wiser kennethw@provo.edu (801) 373-­‐6550 Ext. 3317 AP Music Theory Disclosure 2014-­‐2015 Course Overview Students in AP Music will be introduced to the elements of music theory and composition, and will learn how these elements are used in music. The emphasis will be on rules of theory and composition, ear training, sight singing, analysis, and keyboard skills. The course is designed both for students who desire to prepare for music as a career as well as those who desire it for personal enrichment. While the main emphasis is placed on music of the Common Practice Period (1600-­‐1750), music of other stylistic periods will also be studied. Students will be prepared for, and encouraged to take the AP Music Theory Exam in May. Course Objectives The objectives below are derived from the 2012 AP Music Theory Course Description provided on the AP Central website. At the end of the course, students will be able to: 1.
Use correct music theory terminology and vocabulary. 2.
Notate rhythm and pitch in accordance with standard notation practices in any key and meter. 3.
Sing, write, play at the keyboard, and recognize by sight and sound major, minor, modal, pentatonic, and whole tone scales. 4.
Sing, write, play at the keyboard, and recognize by sight and sound all simple and compound intervals. 5.
Sing, write, play at the keyboard, and recognize by sight and sound all triads and 7th chords in all positions and inversions. 6.
Write a bass line for a given melody, implying appropriate four-­‐part harmonization. 7.
Realize (write out in four parts) figured bass and Roman numeral progressions following the principles of voice leading. 8.
Analyze the harmonic movement in a piece of music. 9.
Write original melodies that are organized around a recognizable melodic or rhythmic motive. 10.
Write functional triadic harmony in four-­‐voice texture, based on common practice tonality. This writing has a tonal center, is based on the major or minor scale, and uses chords built in thirds that are heard as related to one another in various and specific ways (e.g. tonic, dominant, subdominant, or predominant). 11.
Write music using non-­‐chord tones, seventh chords, and secondary dominants. 12.
Write modulations to closely related keys. 13.
Identify musical forms such as phrase structures and small forms through a variety of standard Western tonal repertoire. 1
14.
Recognize melodies, rhythms, and harmonic movement through listening examples of standard Western tonal repertoire. Express their own musical ideas through creative exercises like compositions, arrangements, and improvisations. 15.
Primary Textbook Kostka, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to Twentieth-­‐
Century Music. 5th ed. New York: McGraw-­‐Hill, 2004. Other Resources Anderson, Richard Paul. Ensemble – Keyboard Proficiency for the Music Major. Prospect Heights, Illinois: Waveland Press, Inc. 2002. Benjamin, Thomas, Michael Horvit, and Robert Nelson. Music for Analysis – Examples from the Common Practice Period and the Twentieth Century. 6th ed. New York: Oxford University Press. 2007 Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Mateials of Music. 7th ed. Belmont, CA: Thomson Schirmer. 2008. Durham, Thomas L. Advanced Tonal Dictation. Long Grove, Illinois: Waveland Press, Inc. 2005. Durham, Thomas L. Beginning Tonal Dictation. 2nd ed. Long Grove, Illionois: Waveland Press, Inc. 2004. Berkowitz, Sol, Gabriel Fontrier, and Leo Kraft. A New Approach to Sight Singing. 4th ed. New York: W.W. Norton & Co. 1997. Needed Materials •
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Pencil Tonal Harmony Textbook (provided) Blank manuscript paper (can be printed off at http://www.blanksheetmusic.net) Notebook Homework There will be an average of about 1 hour of homework/practice for each class period. Depending on the student’s grasp of the material, this may vary. Intervention Time I am available during intervention time Tuesday – Friday, 7am – 8 am for students who need help with the homework, understanding a difficult concept, need extra practice, and making up quizzes/tests. My most successful students are those that do homework on time AND ask questions when they are struggling. 2
Class Fees There is no class fee this year for AP Music Theory. Take care of your textbook as there is a $100 replacement fee if it is lost or damaged. There is a fee for the AP test at the end of the year. Please visit www.collegeboard.org for exact fee information. NOTE: Reduced test fees are available for those that qualify with College Board. Attendance Policy Students are expected to be on time and come to class every day. A student will be considered tardy if they are not inside the classroom when the tardy bell rings. Students who are tardy are expected to sign in on the “Tardy Roll”. If a student has a check-­‐in slip or any note from a teacher regarding the tardy, this should be placed on the clipboard after signing in. Do not clip parent notes to the clipboard to excuse a tardy. Grading Policy Grades in my class are weighted. Each category listed below will make up 25% of the students’ final grade. With this system, it is important for you to maintain a high level of achievement in all areas. Grades will be determined by the following percentages: A 100– 94% B 86 – 83% C 76 – 73% A-­‐ 93 – 90% B-­‐ 82 – 80% C-­‐ 72 – 70% B+ 89 – 87% C+ 79 – 77% F 69% and below Daily Participation: Students earn 10 points for being in class on time and participating each day. Any type of misconduct throughout the class period will result in the loss of participation points at Mr. Wiser’s discretion. Tardies: Unexcused tardies will result in a loss of 5 participation points. No points are lost for teacher excused tardies (must have a note from the teacher/counselor and leave it with the tardy roll). Parent excused tardies should be cleared through the attendance office per PHS Attendance Policy. Absences: All absences will result in a 0 for daily participation. If the absence was parent/school excused, students may make up those points by attending intervention to complete whatever was done in class on the day of the absence. Students will have one week from the time they returned to school to make up these points. Participation points may not be made up for unexcused absences. All school excused absences (i.e. games, tours, assemblies, etc.) should be discussed with Mr. Wiser prior to the event to arrange for assignments and work that will be covered in your absence. Parent Excused Tardies/Absences: Please follow the PHS attendance guidelines. If you would like to make up participation points for a parent excused tardy or absence, be sure that it is recorded in Power School before coming to make up 3
points during intervention. NOTE: If you do not tell Mr. Wiser that you are coming to make up participation points as you arrive, you will not get credit for that make up day. Homework: Each homework assignment will be worth 10 points. If you miss a homework assignment due to an absence, you may still turn it in within 1 weeks of the absence for full credit. If it is a parent/school excused absence, you may turn it in for full credit. If it is an unexcused absence, you will receive half credit. After 1 week, no late homework will be accepted. Quizzes: Frequent, unannounced quizzes will be administered throughout each term. Quizzes missed due to an absence/tardy may be made up during intervention time. Exams: Each term, there will be one scheduled exam. Missed exams due to excused absences must be made up the first day back in class. Tests cannot be made up for an unexcused absence. All late/make-­‐up work should be turned in by the last day of the term. Any work turned in after that day will not be accepted. All grades are final at the end of the term and will reflect the grade that you have earned. If you want the “A”, work for it and earn it during the entire term, not just the last couple of days. Observe the deadline for work to be turned in each term. The deadlines will not be adjusted for any reason. Reward!!! Students who have no absences or tardies (excused or unexcused) and have not lost participation points for any reason will be awarded 30 bonus points to be added to their exam grade for the term. AP Test Students are encouraged to take the AP Music Theory test in May, however it is not required. It is a great way to earn college credit, even if you are not planning to pursue a degree in music. For more information about the test and study materials visit www.collegeboard.org. 4
Course Outline * Written skills are assigned in every chapter studied throughout the course through the Workbook Exercises and Self Tests found in the “Tonal Harmony” textbook and workbook. The workbook exercises provide extensive written practice, opportunities for creative expression, and abbreviated examples for analysis. In addition, numerous creative exercises are provided through the workbook exercises. Each term exam will also include opportunities for students to demonstrate their creativity through composition within certain parameters that match the material that has been covered that term. Term 1: Date 8/21 8/25 8/27 8/29 9/3 9/5 9/9 9/11 – Assembly 9/15 9/17 9/19 9/23 9/25 – Assembly 9/29 10/1, 10/3 Unit Textbook Self-­‐Tests Elements of Pitch 1.1 – The Keyboard and Octave Registers 1.2 – Notation on the Staff 20.1 – Scales: Modal, Pentatonic, Whole Tone 1.3 – The Major Scale 1.4 – The Major Key Signatures 1.5 – Minor Scales 1.6 – Minor Key Signatures 1.7 – Scale Degree Names 1.8 – Intervals 1.12 – Consonant and Dissonant Intervals 1.9 – Perfect, Major, and Minor Intervals 1.10 – Augmented and Diminished Intervals 1.11 – Inversion of Intervals Summary Elements of Rhythm 2.1 – Rhythm 2.2 – Durational Symbols 2.3 – Beat and Tempo 2.4 – Meter 2.5 – Division of the Beat 2.6 – Simple Time Signatures 2.7 – Compound Time Signatures 2.8 – Time Signatures Summarized 2.9 – More on Durational Symbols Summary Introduction to Triads and Seventh Chords 3.1 – Triads/Lead Sheet Symbols 1-­‐1 3.2 – Seventh Chords/Lead Sheet Symbols 3-­‐2 5
28-­‐1 1-­‐2 1-­‐3 1-­‐4 1-­‐6 1-­‐5 1-­‐6 1-­‐6 2-­‐1 2-­‐1 2-­‐1 2-­‐2 2-­‐3 2-­‐4 3-­‐1 Date 10/7 10/9 10/13 10/15 – Assembly 10/22 10/24 Unit 3.3 – Inversions of Chords/Lead Sheet Symbols 3.6 – Recognizing Chords in Various Textures Summary Term 1 Review Textbook Self-­‐Tests 3-­‐3 3-­‐4 Term 1 Exam Composition day Term 2: Date Unit 10/28, 10/30 11/3 Roman Numerals & Figured Bass Symbols 3. 4 – Inversion Symbols and Figured Bass Diatonic Chords in Major and Minor Keys 4.2 – Diatonic Triads in Major 4.4 – Diatonic Seventh Chords in Major 11/5 4.1 – The Minor Scale 4.3 – Diatonic Triads in Minor 4.5 – Diatonic Seventh Chords in Minor 11/7 Summary Principles of Voice Leading 11/11, 11/13 5.1 – The Melodic Line 11/17, 11/19 5.2 – Notating Chords 5.3 – Voicing a Single Triad 11/21 – 5.4 – Parallel Motion Assembly 11/25 12/2 Summary Root Position Part Writing 12/4 6.1 – Root Position Part Writing with Repeated Roots 12/8 6.2 – Root Position Part Writing with Roots a 4th (5th) Apart 12/10 6.3 – Root Position Part Writing with Roots a 3rd (6th) Apart 12/12 6.4 – Root Position Part Writing with Roots a 2nd (7th) Apart 12/16 Summary 12/18, 1/5 Term 2 Review 1/7 Term 2 Exam 1/9 Composition day 6
Textbook Self-­‐Tests 3-­‐3 4-­‐1 4-­‐2 4-­‐1 4-­‐2 5-­‐1 5-­‐2 5-­‐3 6-­‐1 6-­‐2 6-­‐3 6-­‐4 Term 3: Date 1/13, 1/15 1/20 1/22 1/26 1/28 1/30 2/3 2/5 -­‐ Sub 2/9 2/11 2/13 – Assembly 2/18 Unit Harmonic Progression 7.1 – Sequences and the Circle of Fifths 7.2 – The I and V Chords 7.3 – The II Chord 7.4 – The VI Chord 7.5 – The III Chord 7.6 – The VII Chord 7.7 – The IV Chord 7.8 – Common Exceptions 7.9 – Differences in the Minor Mode 7.10 – Progressions Involving Seventh Chords 7.11 – Harmonizing a Simple Melody Summary Triads in First Inversion 8.1 – Bass Arpeggiation 8.2 – Substituted First Inversion Triads 8.3 – Parallel Sixth Chords 8.4 – Part Writing First Inversion Triads 8.5 – Soprano-­‐Bass Counterpoint Summary Triads in Second Inversion 9.1 – Bass Arpeggiation and the Melodic Bass 9.2 – The Cadential Six-­‐Four 9.3 – The Passing Six-­‐Four 9.4 – The Pedal Six-­‐Four 9.5 – Part Writing for Second Inversion Triads Summary Cadences, Phrases, and Periods 10.1 – Cadences 10.2 – Cadences and Harmonic Rhythm 10.3 – Motives and Phrases 10.4 – Mozart: “An die Freude” 10.5 – Period Forms Summary The V7 Chord 7
Textbook Self-­‐Tests 7-­‐1 7-­‐1 7-­‐1 8-­‐1 8-­‐1 8-­‐1 9-­‐1 9-­‐1 10-­‐1 10-­‐1 2/20 2/24 2/26 -­‐ Sub 3/2 3/5 3/9 3/11 3/13 13.1 – General Voice-­‐Leading Considerations 13.2 – The V7 in Root Position 13.3 – Other Resolutions of the V7 13.4 – The Inverted V7 Chord 13.5 – The V 6/5 Chord 13.6 – The V 4/3 Chord 13.7 – The V 4/2 Chord 13.8 – The Approach to the 7th Non-­‐Chord Tones 1 11.1 – Classification of Non-­‐Chord Tones 11.2 – Passing Tones 11.3 – Neighboring Tones 11.4 – Suspensions and Retardations 11.5 – Figured Bass and Lead Sheet Symbols 13-­‐1 11.6 – Embellishing a Simple Texture Term 3 Review Term 3 Exam Composition day 11-­‐1 13-­‐2 13-­‐2 11-­‐1 Term 4: Date Unit Textbook Self-­‐Tests 3/17 Non-­‐Chord Tones 2 12.1 – Appoggiaturas 12.2 – Escape Tones 12.3 – The Neighbor Group 12.4 – Anticipations 12.5 – The Pedal Point 12-­‐1 3/19 12.6 – Special Problems in the Analysis of Non-­‐Chord Tones Summary Other Diatonic 7th Chords 4.4 – Diatonic Seventh Chords in Major 4.5 – Diatonic Seventh Chords in Minor 15.5 – Seventh Chords and the Circle of Fifths Sequence Summary 12-­‐1 3/23 3/25 3/27 8
4-­‐2 15-­‐1 3/31 Secondary Functions 1 16.1 – Chromaticism and Altered Chords 16.2 – Secondary Functions 16.3 – Secondary Dominant Chords 16.4 – Spelling Secondary Dominants 4/2 16.5 – Recognizing Secondary Dominants 16.6 – Secondary Dominants in Context Modulations Using Diatonic Common Chords 4/13 18.1 – Modulation and Change of Key 18.2 – Modulation and Tonicization 18.3 – Key Relationships 4/15 18.4 – Common-­‐Chord Modulation 18.5 – Analyzing Common-­‐Chord Modulation Some Other Modulatory Techniques 4/17 19.1 – Altered Chords as Common Chords 19.2 – Sequential Modulation 4/21 19.3 – Modulation by Common Tone 19.4 – Monophonic Modulation 19.5 – Direct Modulation 4/23 Summary Binary and Ternary Forms 4/27 20.1 – Formal Terminology 20.2 – Binary Forms 20.3 – Ternary Forms 20.4 – Rounded Binary Forms 4/29 20.5 – The 12-­‐Bar Blues 20.6 – Other Formal Designs Review for AP Test/Final Project 5/1, 5/5, 5/7 Practice AP Test 5/11 AP Exam 5/13, 5/15, Work on Final Project 5/19 5/21 **Final Project 16-­‐1 16-­‐1 16-­‐2 18-­‐1 18-­‐2 19-­‐1 19-­‐1 20-­‐1 20-­‐1 ** The final project is an extended composition where students will be given basic parameters and requirements. It is due after the AP exam. All compositions will be performed in class. 9