Music Theory, rm 174
Instructor: Mr. Bersh
Office: Room 179
email: brian.bersh@apsva.us
Phone: 703-228-5370
Course Description (As provided in the Program of Studies)
Music Theory (29225)
Full year, one credit
Grades 9 - 12
Prerequisite: Some background in vocal or instrumental music
Music Theory is a course designed to study the structure of music. It includes ear training, sight
singing, and voice leading. Emphasis is placed on practical application of theory and student
creativity in original musical compositions.
This class also serves to prepare students for success in AP Music Theory. The course will
include:
I.
Musical Terminology
A.
Terms for intervals, triads, seventh chords, scales and modes.
B.
Terms pertaining to rhythm and meter, melodic construction and variation,
harmonic function, cadences and phrase structure, texture small forms and
musical performance.
II.
Notational Skills
A.
Rhythms and meters.
B.
Clefs and pitches.
C.
Key signatures, scales and modes.
D.
Intervals and chords.
E.
Melodic transposition.
III.
Basic Compositional Skills
A.
Four-voice realization of figured-bass symbols and Roman numerals.
B.
Composition of a bass line (with chord symbols) for a given melody.
IV.
Score Analysis (with or without aural stimulus)
A.
Small-scale and large-scale harmonic procedures, including:
1.
Identification of cadence types.
2.
Roman-numeral and figured-bass analysis, including nonharmonic
tones, seventh chords and secondary-dominant chords.
3.
Identification of key centers and key relationships; recognition of
modulation to closely related keys.
B.
Melodic organization and developmental procedures
1.
scales (e.g., major, minor, pentatonic, whole-tone, modal).
2.
motivic development and relationships (e.g., inversion, retrograde,
sequence, imitation).
C.
Rhythmic/metric organization
1.
meter type (e.g., duple, triple, quadruple, irregular) and beat type
(e.g., simple, compound).
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2.
E.
V.
rhythmic devices and procedures (e.g., augmentation, diminution,
hemiola).
Traditional American Song Forms
Aural Skills
A.
Sight-singing (major and minor modes, treble and bass clefs, diatonic and
chromatic melodies, simple and compound meters).
B.
Melodic dictation (major and minor modes, treble and bass clefs, diatonic
and chromatic melodies, simple and compound meters).
C.
Harmonic dictation (notation of soprano and bass lines and harmonic analysis in a
four-voice texture).
D.
Identification of isolated pitch and rhythmic patterns.
E.
Detection of errors in pitch and rhythm in one- and two-voice examples.
Course Objectives:
At the end of this course, students should be able to:
1. Notate pitch and rhythm in accordance with standard notation practices.
2. Read melodies in treble, bass, and movable C clefs.
3. Write, audiate, and sing melodies, bass lines, and scales in each mode and all three forms
of minor.
4. Recognize by ear and by sight all intervals within an octave.
5. Use the basic rules that govern music composition.
6. Harmonize a melody with appropriate chords using good voice leading.
7. Analyze the chords of a musical composition by number and letter name.
8. Transpose a composition from one key to another.
9. Express musical ideas by composing and arranging.
10. Understand and recognize basic song forms.
11. Write simple rhythmic, melodic, and harmonic dictation.
12. Read conventional scores and jazz lead sheets.
Expectations of Students
1. Students will participate in all classroom discussions and activities, including singing.
2. Students will complete all assigned exercises and readings.
3. Students will keep and maintain a Music Theory notebook, which will include class
notes, handouts, and assignments.
4. Students will respect all equipment and peers. Students are responsible for replacing any
equipment they are found to have damaged as a result of neglect/inappropriate behavior.
Materials that Students Are Expected to Provide
• Notebook & Pencil(s)
•
Manuscript paper
•
Smart Music Subscription. http://www.smartmusic.com. A 1-year subscription costs
$40/year. For students who are unable to purchase their own copy, they will be able to use
the software on school computers. However, they will need to schedule time to use the
software before/after school or during lunches. Extensions will not be provided for
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assignments, and passes will not be provided for students to miss other classes to complete
coursework for Music Theory.
Texts Used in Class
Benward, B., Carr, M., & Kolosick, T.J. (1998). Introduction to Sightseeing and Ear
Training (2nd ed.). Boston, MA: McGraw-Hill Companies, Inc.
Cook, F.D. (2012). Pro Tools 101. Boston, MA: Cengage Learning.
Huber, D.M., & Runstein, R.E. (2010). Modern Recording Techniques (7th ed.). Burlington,
MA: Focal Press.
Kostka, S., & Payne, D. (2008). Tonal Harmony: with an Introduction to Twentieth-Century
Music (6th ed.). New York, NY: McGraw-Hill.
Kostka, S., & Payne, D. (2008). Workbook for Tonal Harmony: with an Introduction to
Twentieth-Century Music (6th ed.). New York, NY: McGraw-Hill.
Smithers, B. (2010). Mixing in Pro Tools (2nd ed.). Boston, MA: Cengage Learning.
Smart Music Texts - smartmusic.com
• 90 Days to Sight Reading Success, A Singer’s Resource for Competitive Sight Singing
• Sing at First Sight
Students will be held accountable for damage to/misplacement of texts.
Resources
www.musictheory.net
www.mhhe.com/tonalharmony6
Assignments
• All assignments will be given a due date.
•
Students are expected to take notes on all readings for class discussions unless otherwise
specified. Information from all readings/assignments may be present on the final exam.
•
For all assessments (sight singing/dictation/composition assignments), students will receive a
rubric in advance so that they understand exactly how they will be graded. The instructor will
also prepare students for each test format they will encounter.
Under all circumstances, students will be provided with clear guidelines for how to achieve
an “A.”
•
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Late Policy
Homework can be turned in for half-credit within one week of the original due date. Unless
specifically indicated by the instructor, any homework turned in later than one week from the
original due date will not be accepted.
If a student misses an in-class assignment due to absence, they must contact the instructor
immediately (in advance if possible) to make up the work. In-class assignments must be made up
within one week of the original due date. Unless specifically indicated by the instructor, any
assignment not completed within one week from the original due date will not be accepted.
Zeroes will be assigned for work assignments or tests missed during an unexcused absence, not
as punishment, but as an accurate evaluation of the student's performance on that
day. Disciplinary action (e.g., detention) or additional work assignments may be assigned to
students who are tardy. Teachers are not required to assume added duties in order to permit
students with elected absences to make up tests or other work.
Course Calendar
Note: The instructor reserves the right to make changes. Course progress will reflect the growth
and development of the students. All exams will be announced. All units include listening,
written, creative and sight singing components related to the unit topic.
First Quarter 9/2-11/3
Weeks 1-2. 9/2-9/12 *Labor Day 9/1
Written skills: Notation of the staff, Major Scale, Major Key Signatures. (Kostka & Payne Ch. 1)
Oral/Aural Skills: Immersion in Major Tonality, Singing major tonal patterns with and without
solfege.
DAW: Edit Tool Functions & Midi Control Features
Weeks 3-4. 9/15-9/26 *Back to School Night 9/23
Written skills: Minor Scale, Minor Key Signatures, Scale Degree Names, Intervals & their
inversions. (Kostka & Payne Ch.1)
Oral/Aural Skills: Chanting duple & triple rhythm patterns
Recording: Dynamic Mics,
DAW: Creating A Session, Making Your First Audio Recording.
Weeks 5-6. 9/29-10/10
Written skills: Rhythm, Beat, Tempo, Meter, Simple & Compound Time Signatures, Rests.
(Kostka & Payne Ch. 2)
Oral/Aural Skills: Immersion in Minor Tonality, Singing minor tonal patterns with and without
solfege. Singing harmonic and melodic intervals, ascending. Singing and recognizing major and
augmented triads and major seventh chords.
Recording: Condenser Mics
DAW: Importing Audio & Making Midi Recordings.
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Weeks 7-9. 10/13-10/31 *10/13 Columbus Day, 10/24 Early Release
Written skills: Triads, Seventh Chords & their inversions, Figured Bass, Roman Numeral
Analysis, Lead Sheet Symbols. Transposing simple melodies using solfege. (Kostka & Payne
Ch.3)
Oral/Aural Skills: Dictation of duple & triple rhythm patterns, singing and recognizing minor &
diminished triads and minor seventh chords.
Recording: Ribbon Mics
DAW: Selecting/Editing/Navigating Techniques. Mixing Techniques & Bouncing Files.
Second Quarter 11/5-1/16
Weeks 10-11. 11/5-11/14. *Veterans Day Holiday 11/11
Written skills: Diatonic chords in major & minor keys, Principles of voice leading, including
objectionable parallels and understanding foundations of the melodic line. (Kostka & Payne
Ch.4-5)
Oral/Aural Skills: Applying solfege to folk songs in major and minor tonality. Identifying
ascending and descending intervals by ear.
DAW: Polar Patterns & EQ
Weeks 12-13. 11/17-11/28. *Thanksgiving Holiday 11/26-11/28
Written skills: Continuation of understanding the principles of voice leading - incorporating
review of all information to this point, with a focus on understanding figured bass and lead sheet
symbols for harmonic analysis. (Kostka & Payne Ch. 5)
Oral/Aural Skills: Dictation of major and minor folk songs
Recording: Live Sound vs. Recorded Sound
DAW: Time-Based Effects (Delay, Reverb) & Dynamics (Compression, Limiting, Expansion,
Gating)
Weeks 14-16. 12/1-12/23.
Written skills: Root Position Part writing in 3- & 4-part textures for repeated roots and chords a
4th and 5th apart. (Kostka & Payne Ch. 6)
Oral/Aural Skills: Immersion in Dorian and Mixolydian tonality.
Recording: General Miking Techniques
DAW: Special Effects (Chorus, Flanging, De-Essing)
Winter Break
Weeks 17-18. 1/5-1/16.
Written skills: Root Position Part writing in 3- & 4-part textures for chords a 3rd & 6th apart, and
a 2nd & 7th apart. Harmonization of a given melody in four parts. (Kostka & Payne Ch. 6)
Oral/Aural Skills: Singing of Mixolydian and Dorian tonal patterns and Tune up on solfege.
Begin sight reading (Benward, Carr, & Kolosick).
Recording: Instrument Specific Miking Techniques
DAW: Organizing a Mix
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Third Quarter 1/21-3/27
Weeks 19-21. 1/19-2/6. *MLK Holiday 1/19, Teacher Planning Day 1/20
Written skills: Understanding Instrumental Ranges & transpositions. Realizing Figured Bass in
four parts. (Kostka & Payne Ch. 6)
Oral/Aural Skills: Singing of Mixolydian and Dorian tune up without solfege.
Recording: Advanced Signal Flow
DAW: Bouncing your Mix and Doubling Parts
Weeks 22-23. 2/9-2/20. *Early Release 2/13 *Presidents Day Holiday 2/16
Written skills: Introduction to harmonic progressions, understanding sequences and the Circle of
5ths. Begin Harmonizing simple melodies. Realize a figured bass and write out four part
harmonies. Arrange small instrumental ensemble pieces to figured bass and lead sheet symbols.
(Kostka & Payne Ch. 7)
Oral/Aural Skills: Review of Major, Minor, Dorian, and Mixolydian tonalities. Sight reading in
those tonalities. Foundations of improvisation through singing in major and minor tonality.
DAW: Automation, Stems & Submixes.
Weeks 24-25. 2/23-3/6.
Written skills: Introducing harmonic progressions utilizing first-inversion triads. Introduction of
harmonic progressions that incorporate triads in second inversion. (Kostka & Payne Ch. 8-9)
Oral/Aural Skills: Review of interval identification and recognition of chord qualities by ear.
DAW: Side-Chain Processing.
Weeks 26-28. 3/9-3/27.
Written skills: Introduction of Musical form, Cadences, motives, phrases, and periods. Also,
binary and ternary forms & the 12 bar blues. Melodic construction, including motives, cadences,
antecedent and consequent phrases are discussed. Analyze repertoire for previously stated
elements using Anthology text (Kostka & Graybill). Understanding non-chord tones
(appoggiaturas, escape tones, neighboring tones, etc). (Kostka & Payne Ch. 10-13, & 20)
Oral/Aural Skills: Begin Immersion in Lydian and Phrygian tonalities, continue sight reading
work.
DAW: Multi-Track Sessions.
Spring Break
Fourth Quarter 4/6-6/18
Weeks 29-30. 4/6-4/17. *Grade Preparation Day 4/6
Written skills: Diatonic Seventh Chords - voice leading considerations and resolutions. (Kostka
& Payne Ch. 13-15)
Introduction of whole tone and pentatonic scales.
Oral/Aural Skills: Recognizing cadences and form by ear.
DAW: Multi-Track Sessions continued . . .
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Weeks 30-31. 4/20-5/1
Oral/Aural Skills: Singing tune ups with and without solfege for Lydian and Phrygian tonality.
DAW: Multi-Track Sessions continued . . .
Weeks 32-33. 5/4-5/15.
Basic Studio/ DAW Set-up
Interface, Computer, Software, Input/Output Devices, Analog vs. Digital Audio.
DAW: Multi-Track Sessions continued . . .
Weeks 34-38. 5/18 – 6/18 *Memorial Day Holiday 5/25
Final Project: End of year composition. Utilizing the composition skills and DAW skills. Project
must be approved by instructor. Example of acceptable project: students will find a piano piece,
analyze it with lead sheet symbols and/or Roman Numeral analysis, and create an arrangement
using Sibelius 7 music writing notation software. Students can also create an original song.
These songs will be recorded by the students using techniques learned during the course. These
arrangements can be worked on with partners.
*Last day of school 6/18
Presentation/Performance of Final Projects.
Determination of Quarterly Grades
Determination of Final Grade
15% Homework
20% Sight-Singing
20% Dictation
20% Unit Tests/Quizzes
5% Class Participation
20% Compositions
25% First Quarter Grade
25% Second Quarter Grade
25% Third Quarter Grade
25% Fourth Quarter Grade
Final Project will count for 10% of the 4th quarter grade.
Homework: Includes any assignment that is provided to be submitted in its complete form. Most
homework assignments will come from the texts, including the workbook.
Sight-Singing: The act of singing standard notation without having previously seen the music.
Ex: Singing selections at first sight from the Benward, Carr, & Kolosic text.
Dictation: The act of notating music in standard notation “by ear.”
Ex: Students will listen to excerpts from the canon of western classical music and be asked to
write down what they hear as being the main melodic line using standard notation.
Unit Tests/Quizzes: Will address units of study, and will always be given with prior notice and in
a format that is familiar.
Class Participation: Based on a 3-point scale for each class.
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1 point: Student has materials ready for class (manuscript paper, pencil . . .) Students will always
be given advanced notice of what materials are necessary.
1 point: Student has texts/appropriate pre-assigned materials for the day.
1 point: Student participates in class discussion/performances.
These points reflect what has been deemed necessary by the instructor to be successful in the
course of a class period.
Compositions: Projects that will enable students to demonstrate their understanding of music
concepts through creative compositional exercises.
Ex: In SATB style, students will write and resolve the following secondary dominants: V7/V in
C, V/IV in F, and V/vi in Eb.
Students will also complete larger projects consisting of realizations of figured bass in four parts,
and arrangements for small ensembles.
GRADING SCALE
Letter Grade
Percentages
Quality Points
A
90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100
4.0
AP & IB
Quality Points
5.0
B+
87, 88, 89
3.5
4.5
B
80, 81, 82, 83, 84, 85, 86
3.0
4.0
C+
77, 78, 79
2.5
3.5
C
70, 71, 72, 73, 74, 75, 76
2.0
3.0
D+
67, 68, 69
1.5
2.5
D
60, 61, 62, 63, 64, 65, 66
1.0
2.0
E
0-59
0.0
0.0
Student grades reflect student achievement and not student behavior.
Quarterly grades will round up when the percentage is .5 or higher.
In addition to achievement, work habits as noted in the report card comments will be evaluated
for each course using the following symbols:
+
#
^
N
-
Surpasses Expectations
Meets Expectations
Approaching Expectations
Needs Improvement
The final grade is required to be calculated using the quality points and not percentages, letter
grades, number or point systems.
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Please sign and return by 9/23 to signify that you have read and understand the content of this
document.
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Music Theory Syllabus 2014-2015