This course is rigorous in content assuming that students in the class have the ability to be challenged on topics of music theory not regularly presented in the normal visual and performing arts course. The course content will take students from a basic knowledge to an advanced knowledge in music. Students will also spend time on ear training, sight singing, composition, and keyboard skills – which will aid in their ability to comprehend what the text is trying to present and eventually pass the AP test.
The objectives below have been adapted from the Expanded Course Specifications posted on the AP
Music Theory Home Page on AP Central®.
Outcome A: explore, learn and master all western music theory concepts, formulas and curricula.
In this course, students explore, learn and master theory concepts through rigorous text study, ear training, sight singing, composition, keyboard skill, and analization/ dissection of western music.
Outcome B: use knowledge learned/ gained to interpret music on an advanced level.
In this course, students will use the knowledge they can gain to interpret musical works in a more advanced process than a “regular” student in performing arts would do as they perform various selections of music from all historical times/ genres.
Outcome C: use skills and expertise to take the AP music theory exam.
In this course, students will spend time preparing to take the AP Music Theory exam, which is a direct reflection of all the materials, skill and expertise the class will have covered.
Benward, Bruce, and Marilyn Saker. Music in theory and practice . 7 th ed. New York:
McGraw-Hill, 2003. (volumes I and II)
Benward, Bruce, and Marilyn Saker. Music in theory and practice workbook . 7 th ed. Dubuque, IA:
McGraw-Hill, 2003.
Forney, Kristine. The Norton Scores. 7 th ed. New York: W.W. Norton & Company, 1995.
(volumes I and II including CD set)
Berkowitz, Sol, Gabriel Fontrier, and Leo Kraft. A New Approach to Sight-singing . 4 th ed. New York:
W.W. Norton, 1997.
Practica Music – web student addition
Ricci Adams’ Music Theory Web site: http://www.musictheory.net
Gilbert DeBenedetti ’s G Major Music Theory: http://www.gmajormusictheory.org
20 Yamaha PSR-E303 Keyboards

The syllabus is organized month by month, following the design of the text. Students will complete part of the Text Assignments along with part of the Workbook Assignments. Tests/ Quizzes will be given at then end of every chapter. Most tests/quizzes will come directly from the text book. Some tests/ quizzes will be designed by the instructor, rather than the text. Monday, Wednesday and Friday will be lecture and written theory days. Tuesday and Thursday will be sight singing, keyboard skills, and dictation.
 Preface: Developing the “hearing eye” and “seeing ear”

Introduction: Sound, vibration, properties of sound, overtones.

Ch. 1: NOTATION and RHYTHM
Basic notation, letter names, clefs – treble, bass, alto, tenor moveable, accidentals, enharmonic equivalents, simple/compound meter signatures, grand staff, Rhythm
– basic to complex, Irregular Divisions of beat, Dynamic
Markings

Ch. 2: SCALES, TONALITY, KEY MODES
Major and minor, relative keys, parallel keys, tonality, circle of fifths, Diatonic Scales, Transposition, Tonality, Key
Signatures

Ch. 3: INTERVALS and TRANSPOSITION
Intervals and Interval Numbers, Perfect, Major and Minor Intervals, Consonance and Dissonance, Augmented and Diminished Intervals, Enharmonic Intervals, Inversion of intervals, Compound Intervals and Simple Intervals

Ch. 4: CHORDS
Harmony, Chords, Triad, Triad Roots, Major-Minor-Diminished-Augmented Triad, Triad Inversion, Root Position,
First Inversion, Second Inversion, Organum, Figured Bass, Triads on Scale Degrees, Primary Triads, Harmonic
Analysis
– Roman Numeral, Triad Position Symbol, Seventh Chords, Seventh Chords Analysis Symbols,
Figured Bass Symbols, Macro Analysis, Popular Music Symbols, Lead Sheet/ Fake Sheet, Added Sixth Chord
 *Introduction to Practicing for AP Test. “What will you need to know”
Ear Training: Practica Music: intervals within one octave ascending and descending
Dictation: Students compose simple melodies – Jeopardy Theme, Mary Had a Little Lamb. Students dictate simple melodies played by instructor from the Sight Singing Book – A New Approach To Sight
Singing
Sight Singing: Intro of moveable solfe system. “Solfeggio Syllables”, Sing Major and Minor Scale and intervals. Ch. 1 #1-24
Keyboard Skills: Learning and executing all notes on the piano
Listening: Major, Minor, Diminished, Augmented Qualities


Ch. 5: CADENCES and NONHARMONIC TONES
Phrase, Harmonic Cadence, Perfect Authentic Cadence, Imperfect Authentic Cadence, Half Cadence, Phrygian
Half Cadence, Plagal Cadence, Deceptive Cadence, Rhythmic Cadence, Nonharmonic Tones, Unaccented
Nonharmonic Tones, Unaccented Passing Tone, Unaccented Neighboring Tone, Escape Tone, Anticipation,
Accented Nonharmonic Tones, Accented Passing Tone, Accented Neighboring Tone, Suspension, Retardation,
Appoggiatura, Successive Passing Tones, Changing Tones, Double Neighboring Tones, Neighbor Group, Pedal
Tone, Inverted Pedal Tone

Ch. 8: VOICE LEADING in TWO VOICES
Voice Leading, Voices, Species Counterpoint, Cantus Firmus, Counterpoint, Parallel/Contrary/Oblique/Similar
Motion, Musica Ficta, Horn Fifth, and Introduction of composing a bass line for a given melody.

Ch. 9: VOICE LEADING in FOUR VOICES
Four-Voice Texture, Chorale, Stylistic Practices, Root Position, Exception to Stylistic Practices, First-Inversion
Triads. 6/4 Chords, Second-Inversion Triads, Standard Voice-Leading Guidelines, Unstylistic Departures, Voice
Ranges, Realization of Figured Bass, Realization of Roman Numeral Progression
*Note: Listening for melodic and harmonic development
Ear Training: Practica Musica: intervals within over an octave ascending and descending
Dictation: Dictate simple melodies played by instructor from the Sight Singing Book – A New Approach
To Sight Singing. Will focus on Rhythmic Dictation . Composition of Figured Bass
Sight Singing: Sing Major and Minor Scale and intervals. Ch. 1 #25-46 Ch. 1 Part II #142-147 melodies
Keyboard Skills: Major and Chromatic Scales with I, IV, V7, I chord progression in every key
Listening: Scales – Diatonic, Chromatic, Pentatonic, Whole Tone, etc.

Ch. 10: HARMONIC PROGRESSION and HARMONIC RHYTHM
Root Relationships, Chord Progression, Circle Progression, Ascending Fifths, Ascending Seconds, Descending
Thirds, Harmonic Rhythm, Changes, Style, Listening to repertoire for study of motive

Ch 11: THE DOMINANT SEVENTH CHORD
Inversions, Macro Analysis Symbols, Resolution, Circle Resolution, Noncircle resolution, Nonresolution of the 7 th factor.
Ear Training: Practica Musica: simple chord progressions
Dictation: Students transcribe simple solo from rock or jazz chart, continue simple melodic dic tation…add second voice.
Sight Singing: Sing Major and Minor Scale and seventh chords d Ch. 1 #47-72 Ch. 2 Duets #1-10
Keyboard Skills: Play Simple melodies
Listening: Jazz Excerpts for Dominant Seventh Chord and Harmonic Progressions in 12 bar blues format. Listen to popular music that students bring in – analyze as a class.


Ch 12: THE LEADING-TONE SEVENTH CHORDS
Half-Diminished Seventh Chord, Fully Diminished Seventh Chord, Resolution of Tritones, Resolution of Root and
Seventh Factors, Macro Analysis Symbols

Ch 13: NON DOMINANT SEVENTH CHORDS
Analysis Symbols, Dominant and Nondominant Functions, Macro Analysis Symbols, Nondominant Seventh
Chords in Circle Progressions, Noncircle Treatment, Resolution of the Seventh Factor
Ear Training: Practica Music: 4 voice chord progressions
Dictation: compound meter melodic and rhythmic dictation
Sight Singing: Sing Major and Minor Scale and seventh chords d Ch. 1 #73-99 Ch. 2 Duets #11-15
Keyboard Skills: NA
Listening: Renaissance Examples Compositions from W.W. Norton Anthology

Ch 6: MELODIC ORGANIZATION
Motive
– Rhythmic and Melodic, Sequence – Segment, Real, Tonal, Modified, False, Phrase – Phrase Member,
Period, Antecedent-Consequent, Parallel Period, Contrasting Period, Three-Phrase Period, Double Period,
Repeated Phrases, Extended Phrase, Change of Mode, Climax Tone, Ascent, Descent.

Ch 7: TEXTURE and TEXTURAL REDUCTION
Texture, Density, Range, Texture Types, Monophonic Texture, Polyphonic Texture, Homophonic Texture,
Homorhythmic Texture, Primary Melody, Secondary Melody, Parallel Supporting Melody, Static Support,
Harmonic and Rhythmic Support, Harmonic Support, Rhythmic Support, Textural Reduction

Comprehensive midterm-exam review including all ear training, dictation, sight-singing materials studied.
Ear Training: Practica Music: review for ear training mid-term
Dictation: Creating a bass line, review for mid-term dictation exam – major and minor simple melody
Sight Singing: Review for sight singing mid-term on all material covered
Keyboard Skills: NA
Listening: Baroque and Classical Compositions from W.W. Norton Anthology

Ch 14: MODULATION
Modulations, Closely Related Keys, Common Chords, Pivot Chord, Common Chord Modulation, Phrase
Modulation, Direct Modulation, Chromatic Modulation.

Ch 15: SECONDARY DOMINANTS and LEADING-TONE CHORDS
Secondary Dominants, Altered Chords, Primary Dominants, Tonicized Chord, Secondary Leading-Tone Chords,
Macro Analysis, Nondiatonic Tone, Four-Chord Formulas, Tritone Substitution

Ch 16: TWO-PART (Binary) FORM
Formal Divisions, Closed Form, Open Form, Simple Forms, Binary Form, Ternary Form, Compound Forms, Bar
Form

Ch. 17: THREE-PART (Ternary) FORM
Ternary Form, Expanded Ternary Form, Rounded Binary (Incipient Three-Part) Form, Refrain, Bridge (Release),
Quaternary Form
Ear Training: Practica Music: review and master parts of program students failed on during mid-term
Dictation: Dic tating Chord Progressions. Use Ricci’s website!
Sight Singing: Review Supplementary Exercises pg 300-313
Keyboard Skills: Sing and Play from Sight Singing Book Pg. 142 #1-5
Listening: Continue Baroque, Classical compositions CD from W.W. Norton Anthology


Volume II: Ch. 3 THE FUGUE
Subject, Exposition, Answer
– Real, Tonal, Modulating Subject, Countersubject, Invertible counterpoint, inversion at the octave, Link, Bridge, Episode, Entry, Stretto, Augmentation, Diminution, Retrograde, Melodic inversion,
Coda

Volume II: Ch. 7 VARIATION TECHNIQUE
Variation, Continuous variation, Ground Bass, Basso Ostinato, Chaconne, Passacaglia, Theme and Variation,
Embellished melodic line, Unique rhythmic figure, Change of meter, Change of mode, Alberti Bass Figure,

Change of harmony, Change of tempo, extended pitch range, harmonic motive, repeated motive, change of voice.
Volume II: Ch. 8 SONATA FORM
Sonata form, Exposition, First theme, Theme group, transition, Second theme, Third theme (closing theme),
Codetta, Development, Retransition, Recapitulation, Coda

Volume II: Ch. 9 RONDO FORM
Refrain, Episode, Transition, Retransition, Three-part rondo, Five-part rondo, Seven-part rondo, and Sonata rondo
*Note: Lots of listening done this month to illustrate and hear form, motive, rhythmic and melodic treatment, harmonic analysis.
Ear Training: Practica Music: students can stop using program if they have mastered. If not, they will continue on with the segments they struggle with
Dictation: Students will write 2 melodies and 1 chord progression which will be used to quiz the rest of the class.
Sight Singing: Sing Major and Minor Scale and seventh chords d Ch. 1 #100 -128 Ch. 2 Duets #16-20
Keyboard Skills: Sing and Play from Sight Singing Book Pg. 143 #6-10
Listening: Continue Baroque, Classical compositions CD from W.W. Norton Anthology

Volume II: Ch. 4 BORROWED CHORDS
In Major Keys: iidim6, iihalfdim7, iv, bVI, viidim7
In Minor Keys: I (picardy 3 rd )
Modal Mixture

Volume II: Ch. 5 NEAPLITAN 6 th CHORDS
N6

Volume II: Ch. 6 AUGMENTED 6 th CHORDS
Italian 6 th : It6
French 6 th : Fr6
German 6 th : Gr6
Ear Training: Practica Music: students can stop using program if they have mastered. If not, they will continue on with the segments they struggle with
Dictation: 4 part voice leading. As constructed by instructor. Students will fill in alto, tenor voice
Sight Singing: Sing Major and Minor Scale and seventh chords d Ch. 1 #129-133 Ch. 1 #148-163
Keyboard Skills: Sing and Play from Sight Singing Book Pg. 143 #11-13
Listening: Romantic, Neo-Classical compositions CD from W.W. Norton Anthology


*AP exam review

*AP EXAM

Introduction of Class Projects: Arranging and Composing
Dictation: AP Practice Test
Sight Singing: AP Practice Test
Dictation: 4 part voice leading. As constructed by instructor. Students will fill in alto, tenor voice. Practice quizzes using major and minor tonality – melodies in simple and compound meters used from the sight singing book.
Keyboard Skills: NA
Listening: Romantic, Neo-Classical compositions CD from W.W. Norton Anthology. Jazz and Popular song will also be used in listening this month.

Volume II: Ch 15 THE CONTMEPORARY PERIOD
Primitivism, Neoclassicism, Pandiatonicism, Polytonality, Dual modality, Shifted tonality, Free tonality,
Polychords, Quartal chords, Clusters, Changing meter, Additive rhythm, Asymmetric meters, nonaccentual rhythms, Set theory, pitch class, Set, Set types, Inversions, Normal order, Best Normal Order

Volume II: Ch. 16 TWELVE-TONE TECHNIQUE
Prime, Retrograde, Inversion, Retrograde inversion, Row, Series, Pitch Class, The Matrix, Segments

Arrange the Star Spangle Banner for four instruments

Compose an original composition for piano in the style of the classical genre.
In order to provide students with a chance to enhance their learning and musical skill through creative exercises that combine both writing and analyzing – we compose a melody that later becomes the basis of the original composition in June. Students start to learn what it takes to properly compose a melody as we complete each chapter. Every month students submit their melodies for approval. We start with four measures and work to a minimum of 48. At first it is just a melody. Then we add a bass line and later the inner voices until we have 4 point counterpoint. This melody is composed for piano. As students complete their 48 measures, copies are made of each student’s composition and then analyzed by their classmates. Students then play each others melodies on their major instrument or record it to CD.
Grading Rubric
Dicatation/ Ear Training: 20%
Homework: 10%
Quizzes: 10%
Sight Singing: 20%
Written Tests/ Projects: 40%