BAND COURSE OUTLINE
Summer
I.
Marching Band
A. Two week program
1. Individual or small group lessons
2. Beginning band
a. for students new to program
b. for students who “switch” instruments to attain better
marching sound in the band
3. Marching Fundamentals for Freshmen and other new students
4. Full band rehearsal on marching music
a. one evening rehearsal
b. one afternoon rehearsal
5. Auxiliary rehearsals
a. flags
b. drum majors
6. Marching percussion rehearsal
B. One week Marching Band Workshop
1. Marching fundamentals
2. Warm-up exercises
a. physical
b. instrumental
3. Learning of Pre-Game and competitive marching show
a. music
b. instrumental
4. Parade marching and music
5. Sectional rehearsals
6. Issue uniforms and care/upkeep information
7. Distribute schedule for the school year
C. Additional practices throughout summer as needed
1. Flags
2. Drum Majors
3. Marching percussion
4. Beginners and “switch” instruments
D. Rehearsal on Thursday night before school starts
II.
Concert Band
A. Three week program
1. Beginning band
a. for students new to program
b. for students who “switch” instruments to attain better concert band
instrumentation
2. Distribution of music and scales for All-District/All-State auditions
B. One week Marching Band Workshop
1. Issue uniforms and care/upkeep information
2. Distribute schedule for the school year
III.
Jazz Band
Rehearsals during the two week program
Fall
I.
II.
III.
IV.
Marching Band
A. Rehearsals
1. First Monday night of school
2. Each Thursday night of marching season
3. 8:00 a.m. start for band period as needed
B. Performances
1. Pre-game and half-time show at home football games-4 or 5 games each year
2. Parades
a. Local Community
b. Invitations
c. Competitive
3. Competitive Field Shows - Regional
4. Pep rallies and school assemblies
5. Recruitment programs for “feeder” schools
C. Marching music “check-offs”
D. Fund raising projects
1. Annual Music Department candy sales
2. Extra Projects as needed
Concert Band
A. All-District/All-State auditions-Columbus Day
B. Prepare for auditions for band seating and part assignment
C. Group Lessons - Heterogeneous Groupings
1. Study Hall
2. Before School
Special Ensembles
A. Madrigal Brass rehearsals one night per week
B. Madrigal Recorder rehearsal one night per week
Jazz Band
A. All-dist./All-State auditions-Columbus Day
B. Rehearsals (if Fall or early Winter performance)
Winter
I.
Concert Band
A. Auditions for part assignment and seating
B. Christmas concert music “check-offs”
C. Concerts
1. Christmas Concert with Choruses
a. Second Sunday in December
b. Rehearsals are the two Thursday nights before concert
D. Solo/Ensemble Contest Preparation
1. Select music
2. Select accompanists
3. Set practice schedule
a. Two practices per week
b. One in school, one out
4. Entry cards due in contest office third week in January
5. Begin practice schedule 2nd Semester
E. Organization Contest preparation
1. Select music for contest
II.
III.
IV.
V.
2. Sight-reading
3. Select music for Spring Concert as sight-reading is practiced
F. All-District Festival
1. Third Saturday in November
2. Students selected through October auditions
3. Special auditions for seating
4. Rehearsals
5. Evening concert
G. Individual lessons
Pep Band
A. Pre-game and half-time music at home boys basketball games-9 or 10 games each
year
B. Pep assemblies
C. Play for “feeder” school basketball games
Jazz Band
A. Rehearsals each Thursday night after end of Marching season
B. Performances
1. Pops Concert
2. Special request performances
3. University or High School Jazz Festival
4. Special School appearances
C. All-District Jazz Festival
1. Students selected through October audition
2. Rehearsal
3. Concert
Special Ensembles
A. Court Singer Brass and Records
1. Rehearsals one night each week and dress rehearsal the Saturday before
Court Singer Dinners
2. Performances
a. Madrigal Dinners-first Monday and Tuesday in December
b. Community & school performances as scheduled
Marching Band
Veteran’s Day Parade downtown Pontiac
Spring
I.
II.
Concert Band
A. Solo/Ensemble Contest
B. Check-offs for Organization Contest
C. Organization Contest-fourth Saturday in April (varies)
D. Individual lessons
E. Spring Concert
1. Alternates first or second Thursday in May
2. Night rehearsals Monday and Tuesday nights before concert
F. Baccalaureate
1. Sunday night before Memorial Day
2. Usually an ensemble such as clarinet choir
G. Commencement
1. First Friday night in June
2. Seniors do not play
Jazz Band
III.
A. Organization Contest
B. Spring Concert
C. Civic programs
1. Evenglow “prom”
2. Women’s Club
Marching Band
A. Memorial Day Parade and Ceremony
B. Uniforms turned in for cleaning
Auxiliary Organizations
I.
Tri-M Music Honorary Society
A. Fall meeting
B. Spring audition of prospective members
1. Voting
2. Initiation-third Sunday in March
C. May trip to Dinner Theater
D. Awards Banquet installation of officers-Third Monday night in May
II.
Music Boosters
A. Ongoing committees
1. Chaperone calling for all trips
2. Refreshments for marching band trips
3. Band uniform fitting & repair
4. Music Department Candy Sales
B. Fall meeting
1. Sign up for Court Singer Dinner committees
2. Marching Workshop budget
C. Spring meeting
1. Sign up for Awards Banquet Committees
2. Review budget
D. Awards Banquet-third Monday night in May
1. Officers installed
2. Ongoing committee chairmen
Assessment
I.
II.
Auditions
A. Part assignment-marching & concert band
B. Seating-concert band
Check-offs/Taped Exams
A. Individualized evaluation of these areas of performance
1. Tone quality
2. Intonation
3. Rhythm
4. Technique
5. Articulation
6. Body & instrument posture
7. Phrasing & style
8. Dynamics
9. Memory (marching band)
CHORUS COURSE OUTLINE
I.
Concert Choir (MPO’s A 1,2,3, B3) (Sept. - May)
A. Music selection
B. Auditions
C. Rehearsals daily
D. Performances at school concerts and contest
II.
Court Singers (Sept. - Dec.) (MPO’s A 1,2,3, D1)
A. Music selection
B. Auditions for singers and jesters
C. Rehearsals weekly
D. Extra rehearsals and dress rehearsal
E. Script preparation
F. Scenery construction
G. Programs and reservations
H. Community performances
III.
Fall Concert (Sept. - Nov.) (MPO’s A 1,2,3,)
A. Music selection
B. Daily rehearsals with varsity Chorus, Male Ensemble, Female Ensemble and
Freshman Chorus
C. Committee preparation: Publicity, Decoration, Staging, Light and Sound
D. Tickets and programs
IV.
All-District/All-State (Sept.-Jan.) (MPO;s A 1,2,3, B 1,2)
A. Daily rehearsals with candidates along with regular groups
B. All-district/All-State competition auditions at host school
C. All-District festival for selected members
D. All-State activities for selected members at Peoria for 3 days
V.
Christmas Concert (Oct.-Dec.) (MPO’s A 1,2,3)
A. Daily rehearsals with Varsity Chorus, Male Ensemble, Female Ensemble and
Freshman Chorus
B. Music selection
C. Committee preparation: Publicity, Decoration, Staging, Light and Sound
D. Tickets and programs
E. Dress rehearsals with band
VI.
Theory (1st semester) (MPO’s C 1,2,3)
A. Book I - All classes 1998
B. Book II- Concert Choir only - 2nd semester 1998-99
C. Book III - All classes 1997
D. Book IV - All classes 1996
VII.
Swing Choir (Jan. - May) (MPO’s A 1,2,3, B3)
A. Auditions
B. Music selection
C. Weekly rehearsals
D. Choreography
E. Performances at concerts, contest and for the community
VIII.
Tri-Music Honor Society (Sept. - May) (MPO’s E 1,2)
A. Selection of apprentices
B. Meetings as scheduled
C. Initiation ceremony
D. Tri-M cultural trip
IX.
Solo & Ensemble Contest (Jan. - March) (MPO’s 1,2,3)
A. Personnel selection
B. Music Selection
C. Rehearsals weekly with accompanists
D. Competition at host schools
X.
Organization Contest (Feb. - April)
A. Music Selection
B. Daily rehearsals with Male Ensemble, Female Ensemble, Concert Choir and
Freshmen Chorus
C. Competition at host schools
XI.
Spring Concert (Feb. - May) (MPO’s A 1,2,3)
A. Music Selection
B. Daily rehearsals with Varsity Chorus, Male Ensemble, Female Ensemble, and
Freshman Chorus
C. Committee preparation: Publicity, Decoration, Staging, Light and Sound
D. Tickets and programs
E. Dress Rehearsals
XII.
Ear Training and Sight-reading (2nd Sem) (MPO’s B 1,2,3)
A. Weekly music practice and exercises
B. Musical dictation
XIII.
National Honor Society, Baccalaureate, Graduation (MPO’s A 1,2,3)
A. Music Selection
B. Daily rehearsals with select groups
C. Performance
THEORY I COURSE OUTLINE
Unit I Basic Materials in Music (text by Harder) (Theory I Students)
A. Unit Objectives
1. To understand the basic materials of music; time and sound
2. To develop new and deeper insight to the parts of music
3. To seek out the physical aspects of music in preparation for reading and interpreting the
score.
B. Basic Materials of Music
1. Properties of Sound
a. Pitch
b. Intensity
c. Timbre
d. Duration
2. The natural harmonic series
a. Partials
b. Overtones
3. The Notation of Pitch
a. The Staff
b. Notes
c. Basic Scale
d. Clefs
e. LidgerLines
f. Grand Staff
g. Half and Whole Steps
h. Accidentals
I. Enharmonic
j. Chromatic Scales
k. Pitch Designations
4. Time Classifications
a. The beat
b. Meter
1) Simple time
2) Compound time
c. Borrowed division
d. Subdivision of the beat
5. Note and Rest Values
a. The value of notes and rests
b. The dot
c. Division of dotted and undotted notes and rests
d. Subdivision of dotted and undotted notes and rests
e. The unit in simple and compound time
f. Metronome indications
g. Terms which express tempo
6. Time Signatures
a. Time signatures in simple and compound time
b. The relation of time signatures to time classification
c. Common time
d. Alla breve
e. The tie
f. Rhythmic patterns
g. Syncopation
7. Intervals
a. Distinction between harmonic and melodic intervals
b. The numerical classification of intervals
c. Compound intervals
d. The classification of intervals by quality
e. The inversion of intervals
f. Enharmonic intervals
8. The Basic Scale
a. The structure of the basic scale
b. Modes
c. The keynote
9. The Major Scale
a. Structure of the major scale
b. Using accidentals to form major scales on any note
10. The minor scale
a. The natural minor scale
b. The harmonic minor scale
c. The melodic minor scale
d. Diatonic and chromatic intervals
11. Key Signatures
a. Key and tonality
b. Major and minor key signatures
c. Relative keys
d. The use of accidentals to form the various minor scales
e. The circles of fifths
f. Enharmonic keys
g. Parallel keys
12. Triads
a. The tertian system
b. Basic triads
c. Major triads
d. Diminished triads
e. Diminished triads
f. Augmented triads
13. Musical terms
a. The words which are basic to musicianship
b. 100 terms to be memorized (from a list of 330)
Unit II. Creative Writing (an introduction to the structure of music)
A. Unit Objectives
1. To develop the skills needed in Writing Music
2. To learn about form in music
B. Basic chords in one tonality. Simple progressions
1. The I and V chords in C major - phrase, period, imperfect, perfect, authentic
cadences
2. The V 7 chord, review of intervals, various ways to accompany
3. The IV chord - nonharmonic tone, neighboring and passing tones, Aba form,
plagal cadence
4. The ii6 chord - suspension (retardation)
5. The cadential I 6/4 chord - inversion
6. The I6 chord
7. The vi chord - interval perfect 5th major and minor thirds, anticipation - extension
by evaded or imperfect cadences.
8. The ii and iii chords, the sequence
Unit III - Ear Training
A. Unit Objectives
1. To develop skill in the area of dictation
2. To aid the student in analyzing pitch relationships
3. How to change pitches (perceived sounds) into notes (on the printed page)
B. Interval dictation unit
C. Rhythm dictation units
D. Melodic dictation
E. Triad identification
F. Scale and mode identification
Unit IV - Sight Singing
A. Unit Objectives
1. To develop or improve the students’ skills in reading music at first sight
2. To translate notes into correct vocalized pitches
B. To read at sight simple songs
1. Melody
a. With repeated tones
b. Step-wise movement
c. Intervals in the tonic (I) triad
2. Rhythm
a. Simple time
b. The beat and its division into 2 parts
C. To read at sight more advanced songs
1. Melody
a. With repeated tones
b. Step-wise movement
c. Intervals in the tonic (I) and dominant (V)
d. Major and minor keys
2. Rhythm
a. Compound time
b. The beat and its division into 3 parts
D. To read at sight complex songs
1. Melody
a. Repeated tones
b. Step-wise movement
c. Intervals in 3rds, 4ths, 5ths, 6ths
d. Intervals in the dominant (V) and (v7)
2. Rhythm
a. Simple time - difficult patterns
b. Compound time-difficult patterns
Unit V - Music History
A. Unit Objectives
1. To learn the names of the various periods of music from the beginning of
music to today.
a. Antiquity to Romantic
b. Romantic to present day
c. Presented on all alternating basis - one half the first year and the other half
the next year.
2. To listen and identify music from each period
3. To investigate each period with this outline as a guide:
I. Name of period and any key word defining the period
II. Span of years of each period
III. Countries with greatest musical activity during the period
IV. Historical notes of the period
A. Political events
B. Economic conditions
C. Artistic development
D. Social classes which enjoyed the music
V. Information about composers
A. Name
B. Country
C. Dates
D. Vocal or instrumental
E. Greatest contribution
VI. Types of music of the period
A. Religious
B. Secular
C. Avant-grade
VII. Contribution of the period to the elements of music
A. Melody
B. Harmony
C. Rhythm
VIII. Instruments of the period
A. Monadic music to about 1300 A.D.
B. The Polyphonic Period (800-1600)
C. The Baroque Period (1600 -1750)
D. The Classical Period (1750-1820)
E. The Romantic Period (1820-1900)
F. The twentieth Century (1900-the present)
1. Neo-schools of composition
a. Neo - impressionism
b. Neo - classicism
c. Neo - romanticism
d. Expressionism
2. American popular music
3. Electronic music
4. Aleatoric music
Unit VI - Conducting
A. Unit Objectives
1. To fortify the conducting student with a definite technical knowledge and an
adequately developed manual skill to build his confidence in himself as a leader
of the musical organization and his control of the performance.
B. To learn what it means to be a conductor
1. Knowledge
2. Training
3. Natural endowments
4. Practice
C. To master the baton - knowledge and skill
1. Ease with the baton
2. Grip of the baton
3. Poor hand posture andits effect
4. Concept of straight line motion
D. Time beating - knowledge and skill
1. The time-beating gesture
a. The preparatory beat
b. The ictus
c. The reflex
2. The traditional beat patterns of one, two, three, four, five, six, divided beats,
nine, and twelve
3. Cutting off the sound
E. Expressive gestures - knowledge and skill
1. Active gestures
a. Legatto
b. Staccato
c. Tenuto
d. Gesture of synopation
2. Passive gestures
a. Dead gestures
b. Preparatory beats
3. Ending gestures
F. Cues and the development of the left hand - knowledge and skill
1. Why cues are given
2. When cues are given
3. How cues are given
G. The fermata - knowledge and skill
1. Definition
2. Classification as to length
3. Classification with or without caesura
H. Score study - knowledge and skill
1. Types of scores
a. Condensed
b. Full
2. Clefs, instrumental transpositions and ranges
I. Podium techniques - knowledge and skill
1. Organization to begin
2. Bow
3. Acknowledging soloists
Unit VII - Music Occupations
A. Unit Objectives
1. To survey the many occupations in music with special attention to the training
needed, the supply and demand factor, and income ranges in each. Also to
survey the possibilities of music as an avocation.
B. Performing musicians
C. Technology in music
D. Arts management
E. The music business
F. Music education
AP MUSIC THEORY COURSE OUTLINE
Course Outline
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Tests,
Quizzes,
Chapter 1
Step-wise
and
Projects,
SHMRG
project
Class Examples
Quart
er 1
Week
1
Quart
er 1
Week 2
Intro to Class
*Syllabus
*Procedures
*Books & Materials
Fundamentals of
Music
Music Theory I
Review
*Chapter 2 concepts
-Keys, M/m scales,
terms
*Chapter 3 concepts
-Intervals,
transposition
*Chapter 4 concepts
-Chord types,
construction,
inversions,
analysis
symbols
Continued Music
Theory I Review as
needed
*Chapter 2 concepts
-Keys, M/m scales,
terms
*Chapter 3 concepts
-Intervals,
transposition
SHMRG
technique
(Handout)
Read/Review
Text
Workbook
exercises as
needed –
chapters 2, 3, 4
Review Units 12
Melody/Rhythm
SHMRG piece (H)Harmony 3E,
of your choice 4E – Chord ID
in personal
library of CD’s.
Share with
class.
Simple
meter
Lefkoff: pp. 8, 12
Lefkoff: pp. 24,28
Spencer: pp. 109,
117
Read/Review
Text
Workbook
exercises as
needed –
chapters 2, 3, 4
Lefkoff: pp. 8, 12
Lefkoff: pp. 24,28
Smetana:
Moldau
Read article
on Moldau.
Listen to entire
piece.
Listen &
discuss:
Form (events),
Nationalistic
Review Units 3
Melody/Rhythm
Chapter 1
Step-wise
(H)Harmony 3E,
4E
- Chord ID
Simple
meter
Harmony 9A –
Six four chords
Chapter 3,4
Test
*Chapter 4 concepts
-Chord types,
construction,
inversions,
analysis
symbols
flavor, tone
colors, other
musical
elements
Quart
er 1
Week 3
Structural
Elements
Chapter 5 Cadences
Phrase, Harmonic
Cadence Types,
Rhythmic Cadence
Unit
Read Text, pp.
89-91
Discuss 4 types
and designation
of
perfect/imperfect
on authentic
cadences
5.1, 2
Assignments &
Theory &
Composition
Smetana:
Review Unit 4
Moldau
Melody/Rhythm
Prior
knowledge
Harmony 3C from reading.
cadence ID
Stress the
importance/val
ue of knowing
about the
piece before
listening for
appreciation.
Music
Ear Training
Analysis
Chapter 1
Step-wise
Simple
meter
Sight
Singing
Class Examples
Quart
er 1
Week 4
Quart
er 1
Week
5,6,7
Chapter 5 Nonharmonic
Tones
*Approach &
resolution
*Labeling
Finding & labeling
NH tones
Chapter 6: Melodic
Organization
Terminology:
Motive
(melodic/rhythmic),
Sequence
(segments,
real[exact intervals],
tonal[diatonic],
Read Text, pp.
91-100
5.3, 5B
Read Text, pp.
109-120
6.1 - 6A,B
Tests,
Quizzes,
and
Projects,
Ch. 5 Quiz –
cadences &
NHT
Listen text –
Cadence
Examples –
Listen
Anthology
Review Unit 5
Melody/Rhythm
Chapter 1
Step-wise
(H) Harmony2C,
4C –NHT ID
Simple
meter
Writing
assignment on
melodic
organization
terms
Review Unit 6
Melody/Rhythm
Chapter 2
Step wise
Tonic Triad
Melody
Composition
Project
Compound
meter
Chapter 6
Test
Unit 1 Harmony
A &D
6.2,3 – 6C
6F
Power Point:
*Tutorial
utilizing
students’
SHRMG
Listen text
CD’s
Melody 5C, 6C,
7C – Melodic
devices
modified), False
Sequence (includes
some repetition),
Phrase
(segments=member
s), Period (3 criteria,
p. 114) (typesparallel, contrasting,
3 phrase, double),
Repeated phrases
Application of
knowledge: Motive
(melodic/rhythmic),
Sequence
(segments,
real[exact intervals],
tonal[diatonic],
modified), False
Sequence (includes
some repetition),
Phrase
(segments=member
s), Period (3 criteria,
p. 114) (typesparallel, contrasting,
3 phrase, double),
Repeated phrases
Phrases & Periods
Sequence
construction
Modification of
Phrase - Extension
“Harmony in
Context”, exercise
7.2 worksheet in
class -
Melodic
Structures and
DevicesMelody 8C Listen
Phrase
Anthology
relationships
– beg. Middle, end.
–
Other Melodic
Organizationchange of mode
M>m and vice versa
Melodic Structure –
climax,
ascent&descent,
tonic triad tones, 32-1, 5-4-3-2-1, 8-1
structural tones
Melodic Analysis
(motives, phrases,
phrase members,
periods, climax,
structural tones)
vs. harmonic
analysis (chords,
cadences,
progressions)
Quart
er 1
Week 8,
9
Chapter 7:
Texture, Textural
Analysis &
Textural Reduction
*Definitions and
descriptions
*Types
*Textural Analysis
defined
*Textural elements
*Textural reduction
Read Chapter 7
Outline chapter
7.1, 2
7B, C, D, E, F
Textural analysis
of Holst 2nd Suite
excerpts
Listening
examples from
text CD, tracks
63-79
Listening
excerpts
From Listen
text &
CD’s to
demonstrate
types of
texture
Listening
excerpts from
band
recordings –
Holst Suites
Unit 2 Harmony
A &D
Chapter 2
Step wise
Tonic Triad
Melody 8C Phrase
relationships
Compound
meter
Chapter 7
Test
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Tests,
Quizzes,
and
Projects,
AP Music
Theory
Practice
Exam
Class Examples
Quart
er 2
Week 1
Quart
er 2
Week 2
AP Music Theory
Practice Exam –
1998 Exam
AP Music
Theory Practice
Exam
AP Music
Theory
Practice
Exam
AP Music
Theory Practice
Exam
AP Music
Theory
Practice
Exam
Chapter 8: Voice
Leading to Two
Voices
Terms – from topics
list
Motion Types –
parallel, contrarhy,
oblique, similar
Characteristics of a
Good Melody
Principles for Voice
leading–four basic,
p152
Restrictions
Summary of
Principles, p. 155156 related to
inversions
*use of
inversions(smooth
bass line, harmonic
variety)
Voice leading
principles
*1st inv.-double
Read Ch. 8 –
outline
Tonic/dominan Unit 3 Harmony
t
A &D
Harmonies
BHN:12,14,15
*Beethoven:
Melody 9C,
Fur Elise
10C – Two part
*Weber:
dictation
Euryanthe
*Beethoven:
Symphony No.
5
Chapter 2
After lecture, on
overhead, as a
class:
a. write and
identify types
of motion
b. write frist
species
counterpoint
(8.1
exercise)
8.1 #2
In class work on
8.1 & 8.2
examples
8.2, 2 - overhead
8.2, 3 – overhead
Ch. 8 Melody
analysis written
worksheet
Listen
Anthology
Verdi: Aida
CD4 - 9
Step wise
Tonic Triad
Compound
meter
Chapter 8
Quiz on
reading/outli
ne
soprano
*2nd inv.-double
bass
-four types of
second
inversion chords
used
(summary &
handout)
Quart
er 2
Week
3,4
Chapter 9: Voice
Leading in four
parts
Root position, 1st
inversion
9.1-9.5
Workbook 9A, B,
D, E as
accomodations
for review and
reinforcement as
needed
Unit 4 Harmony
A &D
Chapter 3
3rds, 4ths,
5ths, 6ths
Dominant
Triad
Simple
meter
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Class Examples
Quart
er 2
Week 5
Quart
er 2
Week
6,7,8
Chapter 9: Voice
Leading in four
parts
Root position, 1st
inversion, 2nd
inversion
Chapter 10:
Introduce
harmonic
progressions –
circle
progressions
*Root relationships
- not affected by
inversions
*
Chapter 10:
Harmonizing a
chorale melody
Mozart:
Symphony in
G minor, 1st
mvt.
- Listen
Anthology
Text pp. 177-178,
play examples,
patterns of circle
progressions
10.1, #4&5; 10.2;
10.3
Text pp. 179-188
10.1, cover
inversions for
smooth voice
leading in bass
10.3 M&m
10.4 #1, 10.5 #1,
10.6 #1
10.4, 5, 6 #2 of
all
10.8
10.9 #2, 10A
odds
Haydn:
Symphony in
G – Listen
Anthology
Unit 5 Harmony
A &D
Chapter 4
Dominant
and
Dominant
Seventh
Chords
Unit 6 Harmony
A &D
Compound
meter
Chapter 4
Dominant
and
AP Practice
Dominant
Exam dictations Seventh
Chords
Compound
meter
Tests,
Quizzes,
and
Projects,
Chapter 9
Test
10B Corelli & C,
#6
10F, beg.meas.28
Read text, pp.
187, 189-190
10.7, #2
Review 10.10 –
do #2 together on
OH
Quart
er 2
Week 9
First Semester
Final Exam Review
First Semester
Final Exam
Review
First
Semester
Final Exam
Review
First Semester
Final Exam
Review
First
Semester
Final Exam
Review
First
Semester
Final Exam
Review
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Class Examples
Quart
er 3
Weeks
1&2
Quart
er 3
Week
3&4
Quart
Chapter 11:
Dominant 7th
chords
*Writing 7th chords
*Resolving 7th
chords
*harmonic analysis
*figured bass
symbols
*NH tone ID
*Identify the
Dominant 7th
chord in every key
Approaches to the
7th (4 types) from.
Chapter : 12
Leading Tone 7th
chords
*progressions to
tonic and dominant,
p. 218
*resolution of tritone
and 7th factors, p.
218
*voice leading, p.
222
*pitfalls to avoid, p.
222
11.1
11.2
11.3
11.4
11.5-8
11.B, C, D, E
Chapter 13:
13.1, 13.2, 13.3
BHN: 16, 17
Chapter 6
Harmony 10A,
10D – Dominant
7th chords
Subdomina
nt Chord
Simple
meter
Tests,
Quizzes,
and
Projects,
– Popular
Music
Project –1.
Text
2. Melody
3. Harmony
(block then
pattern)
Kostka/Payne, ch.
13. on overhead
and practice
sheets
12. 1, 2
BHN: 142-147
Project – Text
and Melody and
harmony, block
only, due
Monday – turn
in. Must include
at least one
dominant 7th
chord.
Harmony 11A,
11B – Dimiished
7th chords
Chapter 7
Subdomina
nt Chord
Popular
Music
Project,
continued
Compound
meter
BHN: 155-159
Chapter 8
Chapter 13
er 3
Week 5
Nondominant 7th
chords
*analysis symbols,
p. 229
*chord function
*voice leading
principles, p. 232234
13.5
13.6 #1
13.6 #2 – write
for brass or
saxophone
quartet
Test
Harmony 12A,
12E –
Nondominant 7th
chords
13.7
13.7 one each
student
Secondary
Chords
Chromatic
tones not
implying
modulation
13.6 #2 –
write for
brass or
saxophone
quartet
Simple &
Compound
meter
13.2, 13D
13D #3, 13E #1
13F
13G #1 & 3
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Class Examples
Quart
er 3
Week 6
20th Century
techiques
*Scales – whole
tone, octatonic,
pentatonic
*Study of Debussy
music
- Parallelism
- Tone colors
- New scales
Tests,
Quizzes,
and
Projects,
Koska-Payne –
Tonal
Harmonies, ch.
Unit 7 Harmony
A &D
Spencer:
Listen, ch. 20-21
SCALE ID –
New scale types,
with review of
major/minor
Debussy –
Clouds
Chapter 8
Secondary
Chords
Chromatic
tones not
implying
modulation
Simple &
Compound
meter
Quart
er 3
Week 7,
8
Quart
er 3
Week 9
20th century
techniques,
continued
*Study of
Schoenberg music
- Serialisim
20th century
techniques,
continued
*Study of Stravinsky
music
- New rhythms
Unit 8 Harmony
A &D
Listen, ch. 20-21
Schoenberg
Chapter 9
Review
Tone Row
Dictation  
Use of
syncopation
Chapter 9
Listen, ch. 20-21
Stravinsky –
Rite of Spring
SCALE ID –
New scale types,
with review of
major/minor
Review
Use of
syncopation
New scale
test
- write and
identify
aurally
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Class Examples
Quart
er 4
Weeks
1&2
Quart
er 4
Weeks
3&4
and
Projects,
Chapter 14:
Modulation
*definition, p. 243
*closely related
keys, p. 243
*3 common types, p.
243-45
*Analysis symbols
*Harmonizing
melodies that
modulate, p. 248
Read pp. 243Harmony
246, 14.1-all,
12C, 13C,
14.2 #1-4, 14.3
#1
14.4, #1
Read pp. 247248, 14.3 #2, 14.4
#2
14.5
14.6 – graded
Read pp. 248-251
14.7 #1
14.7 – choose
one
14.8 – in class
14A & 14C, 2 ex.
Unit 11
Harmony D
Chapter 15:
Secondary
Dominants and
Leading-Tone
chords
*definitions &
concepts, p. 267
*analysis symbols
*altered tones
*Voice leading
principles
Read ch, pp.
267-272
15.1, #1-10
15.2, #1-9
15.3, #1-4
15.4, #1,2 & 3
Harmony 13A,
14A, 15A –
Secondary
dominants
15B – odds
15C – all
15D – 1-3
15F - #4
15G #1
15.9 in class
Tests,
Quizzes,
Harmony
12C, 13C,
Melody 11, 12A
– modulation to
closely related
keys
Chapter 10
Modulation
to Closely
related keys
Simple &
Compound
meter
Melody
13A,14Amodulation in 2
phrase excerpts
14D take
home test
Chapter 10
Modulation
to Closely
related keys
Simple &
Compound
meter
Project 15K
– do all (1-3)
one page
paper
Unit
Assignments &
Theory &
Composition
Music
Analysis
Ear Training
Sight
Singing
Class Examples
Quart
er 4
Weeks
5&6
Quart
er 4
SIMPLE FORMS
Chapter 16: TwoPart (Binary) Form
*concepts &
definitions, p. 295
*formal divisions
*open vs. closed
formal divisions
*simple vs.
compound forms
*two part form, p.
295
Chapter 17: ThreePart (Ternary)
Form
*concepts &
definitions
*three part form
*expanded ternary
form
*rounded binary
form
Review for AP
Theory Exam
16.1, 1
16.1. 2
16.4
and
Projects,
Harmony
12C, 13C,
14C, 15C,
16C – Aural
analysis binary &
ternary forms
Harmony 12C,
13C, 14C, 15C,
16C – Aural
analysis - binary
& ternary forms
Figure 17.2
17.1, #1
17.1, #2
17.2 take
home
1998 Exam &
5-year examples
1998 Exam &
5-year examples
Review
1998 Exam
&
5-year
examples
Week 7
Quart
er 4
Tests,
Quizzes,
Powerpoint projects
on pieces from 19th
Prepare projects
As per project
Organize
Formal
Analysis:
Week
8&9
or 20th century
Power Point