Typepad



Walton AP InstituteJuly 11-14, 2011Advanced Placement Music TheoryMelissa Cox, Department of Music,Emory Universitymcox5@emory.eduTable of ContentsWorkshop Overview4-6General TopicsContent and Coverage7-8Important Resources 9Example Textbook List10-12AP Readers’ Favorite Web Sites13-15Common ChallengesTendency Tones: Leading Tones16-17Other Tendency Tone Treatment: Resolving Dominant Seventh Chords17-19Chord Use20Voice Leading Challenges21Ascending stepwise bass lines22-23Approaching S-B perfect intervals 24Creative Exercises: Composition25-30Creative Exercises: Transcription (Ear Training)31Nuts and BoltsCadence Formulas32-33Common Melodic Formulas (“Chunks”)34Rhythm Patterns (“Chunks”)35Easily Confused Progressions: Aural Practice36Creating a Keyboard Accompaniment37-38Melodic Tags for Interval Identification39-42Appendix2011 AP Exam Free Response Questions43-512006 AP Exam Free Response Questions52-58Walton-APSI 2011 Workshop OverviewGOALS & OBJECTIVESThe overall goal of this workshop is to familiarize participants with the AP Music Theory course and examination, and to share effective pedagogical and classroom strategies for the course, specifically:To offer an overview of the current content expectations of an AP Music Theory courseTo gain or deepen familiarity with the current format and grading of the AP Music Theory examinationTo examine various course structures, including issues of prerequisites, schedules, pacing, and the integration of aural and written theory skillsTo examine and discuss available printed and electronic teaching/learning resources.To share teaching techniques, lesson plans, and other means for more effective teaching/learningTo review specific aspects of music theory covered in the examination, as suggested by the participantsTo discuss practical matters relating to starting and sustaining an AP Music Theory classTo foster a mutually helpful network of experienced and newer AP Music Theory teachers.Note: Although we will cover all the topics below, the actual schedule is flexible, depending on the participants’ needs and logistical considerations.Monday 7/11Morning Session (9:30-12:30)1. Introductions, survey of participants’ workshop goals.2. Workshop overview and review of packets.3. Building an AP* Music Theory Program: rationale and recruitment, accessibility and prerequisites, the one-year vs. the two-year sequence, block vs. daily classes4. Course overview: the College Board, the role of the AP? exam in course planning, "teaching to the exam", and the challenges of an external curriculum5. The AP Course Audit: Preparing a Syllabus6. Scope and Sequence: planning the course7. Introduction to effective teaching demonstration assignment; groupsAfternoon Session (1:30-4:30)1. Written Theory, or “Items without aural stimulus”, from basics to advanced concepts2. Score analysis, from basics to advanced concepts: a. Single items - basicsb. Analysis from scores c. Sources for complete scores and excerpts; spiral packetsd. Fundamentals to advanced: writing practice questions 3. Using the Teachers Guide as a benchmark 4. Effective pedagogy for basics 5. The multiple choice non-aural part of the AP exam and its gradingTuesday 7/12Morning Session (8-12)1. Sight singing: Basic skills/knowledge needed for competence a. Sight singing methodsb. Integration of sight singing and aural skills c. The 2010 exam and student samples; grading procedures d. Previous exams and reader comments/recommendations2. Melodic dictation: Basic skills/knowledge needed for competencea. Integration of dictation, sight singing and other aural skillsb. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations3. Pedagogy: what works for successful AP teachers.4. Composing good practice exercisesAfternoon Session (1-4:30)1. Written skills: Part-writing; basic skills/knowledge needed for competence. a. Chord construction and voice leading reviewb. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations2. Written skills: figured bass realization; basic skills/knowledge needed for competence.a. Review of figuresb. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations3. Pedagogy: methods and strategies for building skills4. Integration of written and aural skills5. Using student composition as a tool; promoting creativity within the common-practice style6. Planning for group teaching demonstrationsWednesday 7/13Morning Session (8-12)1. Textbooks and other resourcesa. Using electronic and online resources effectivelyb. Online resources, including the AP* Music Theory Web sitec. Other technology resources, including CD-ROM programs, theory fundamentals programs, and notation programs2. Listening and analysisa. Methods and strategies for building skills: using anthologies effectively; incorporating a variety of genres, styles, and periodsb. Sample questions; skills/knowledge needed for competencec. Writing practice questions2. 10:30-12:00 Computer lab; planning for group presentations(Wednesday, 6/29)Afternoon Session (1-4:30)1. Harmonic dictation: skills/knowledge needed for competence; relationship to melodic harmonization.a. Review of chord grammarb. Chunks and common gesturesc. The 2011 exam and student samples; grading procedures d. Previous exams and reader comments/recommendations2. Melody harmonization: skills/knowledge needed for competencea. Review of chord grammar continuedThursday 7/14Morning Session (8-12)1. Melody Harmonization continuesa. Chunks and melodic fragmentsb. The 2010 exam and student samples; gradingc. Previous exams and reader comments/recommendationsd. More sample questions; knowledge/skills needed for competenceAfternoon Session Session (1-4:30) 1. Overflow: topics not completed above; covering or expansion of topics as requested by participants.2. Effective teaching methods demonstrations by participants3. Distribution of textbooks and other materials.4. Evaluations Content and Coverage in AP Music TheoryNote: You and your textbook may choose to organize these topics differently and cover them in a different order. There are many ways of teaching theory that work well, as long as the material below is covered.Fundamentals 1Writtenstaff, treble, bass and c clefs, note names, major and minor key signatures, circle of fifthsintervals, major and minor scales (diatonic modes)note values, simple meter and metric patterns in simple meterAuralsight singing and dictation using stepwise and triad outline major and minor melodiessight singing and dictation using simple-meter metric patternsidentifying major/minor and simple meter types in music literature Fundamentals 2Writtentriads and inversions, inc. figured bass notationseventh chords and inversions, inc. figured bass notation6/4 chord useembellishing tonescadencesscale degree names and diatonic chord vocabularycompound meters and metric patterns in compound metersAuralaural recognition of MmAd triadsaural recognition of root position or inversion positions; finding the rootaural recognition of cadencesmelodic dictation and sight singing with triadic and seventh chord outlinesmelodic dictation and sight singing using compound meter metric patternsIntermediate 1Writtentonic/dominant progressionsvii0(7) as a dominant function chordthe cadential 6/4chord voicing and spacingSATB tonic-dominant voice leadingmelodic structure/establishing a key melodicallymelody harmonization using V and I and their inversions Auralharmonic dictation of tonic/dominant progressionssight singing/melodic dictation using longer melodies, tonic/dominant outlines, simple and compound meter(Continued on next page)aural analysis of literature excerpts including finding tonic, identifying cadences, simple and compound metersmelodic/harmonic analysis of literature excerptsIntermediate 2Writtenpredominant harmonies (ii and IV)SATB voice leading procedures (I, ii, IV and V(7))melody harmonization using I, ii, IV, V(7) and vii0(7) and their inversionsfigured bass realization (SATB)phrase/period structuremotivetonal melody compositionmelodic/harmonic analysis of literature excerpts including phrase structure and motive identificationAuralharmonic dictation including predominant-dominant-(tonic) progressionssight singing/melodic dictation using longer melodies, expanded chord vocabulary (ii and IV outlines)aural analysis of literature excerpts including hearing phrase structureAdvancedWrittenproper use of iii and vimelodic and harmonic sequencesV/V and vii0(7)/Vsecondary chords to areas other than Vrecognition of simple modulationmelody harmonization with all diatonic chords as possibilitiesadvanced SATB figured bass realization – correct chords and voice leadinganalysis of literature excerpts that include all harmony studied, phrase structure, cadences, sequences, embellishing tones, and modulation recognitionAuralharmonic dictation including all chords coveredmelodic and harmonic dictation of sequence patternssight singing of longer melodies, including chromaticismaural analysis of literature excerpts including motivic structure, phrase structure, cadences, modulation recognition, etc.Important Resources for the AP Music Theory TeacherMust-haves:General1. A quality current music theory textbook, preferably with chapter exercises or a workbook.2. A source of materials for sight singing and dictation. Possibilities include:the aural skills book that accompanies the textbookan independent aural skills (sight singing/dictation) bookan online sourceteacher-generated materials3. A source of written and audio musical excerpts for analysis. Possibilities include:the musical examples in the textbookan anthology, either independent or the one that accompanies the textbookan online sourceteacher-generated materialsFrom the College Board4. The AP Music Theory Teacher’s Guide5. The AP Music Theory Course Description6. The 2008 and 2003 Released AP Music Theory ExaminationsHelpful and recommended:7. From the AP Music Theory Home Page>Examination information: free response questions (with audio files, student samples and question evaluations) from 1999-2009.8. The AP Music Theory EDG (Electronic Discussion Group)9. (New) Barron’s AP Music TheoryExample Textbook List for AP Music TheoryNote to teachers: As the AP Music Theory course includes written theory, score study, and aural skills, the course materials for the class should include either a textbook from each category below, or approved instructor-generated materials that substitute for a textbook for each category. Written Theory: Harmony and Comprehensive TextsThe textbooks below are normally used for college or university first- and second-year core music theory courses. Unless otherwise indicated, the texts include diatonic and chromatic harmony, part-writing, analysis, and some coverage of tonal forms and twentieth-century repertoire. Books in this classification are appropriate for AP Music Theory courses, though any individual book may not cover all topics taught within a specific university's curriculum or those tested in the AP Music Theory Exam. Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading, 3rd ed. Belmont, CA:???????Schirmer, 2002. Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Materials of Tonal??????? Music: From the Common Practice Period to the Twentieth Century, 6th ed. Belmont, CA:???????Thomson-Wadsworth, 2003. Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, 7th ed. New York:???????McGraw-Hill, 2003 Clendinning, Jane Piper, and Elizabeth West Marvin. The Musician's Guide to Theory and???????Analysis. New York: W. W. Norton, 2004. Clough, John, and Joyce Conley. Basic Harmonic Progressions: A Self-Instruction Program,???????1st ed. New York: W. W. Norton, 1984. Gauldin, Robert. Harmonic Practice in Tonal Music, 2nd ed. New York: W. W. Norton, 2005. Henry, Earl, and Michael Rogers. Tonality and Design in Music Theory, 1st ed. Vols. 1 & 2.???????Englewood Cliffs, NJ: Prentice Hall, 2005. Kostka, Stefan, and Dorothy Payne. Tonal Harmony, 5th ed. New York: McGraw-Hill, 2003. Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and???????Listening. New York: Oxford University Press, 2003. Mayfield, Connie. Theory Essentials: An Integrated Approach to Harmony, Ear Training, and??????? Keyboard Skills. Vols. 1 & 2. Belmont, CA: Schirmer, 2003. Merryman, Marjorie. The Music Theory Handbook, 1st ed. Belmont, CA: Schirmer, 1996. Ottman, Robert W. Elementary Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ:??????? Prentice Hall, 1998. Ottman, Robert W. Advanced Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ:??????? Prentice Hall, 2000. Roig-Francoli, Miguel. Harmony in Context. New York: McGraw-Hill, 2002. Russell, Armand, and Allen Trubitt. The Shaping of Musical Elements, 1st ed. New York:???????Schirmer, 1992. Spencer, Peter. The Practice of Harmony, 5th ed. Englewood Cliffs, NJ: Prentice Hall, 2003. Steinke, Greg A., and Paul O. Harder. Harmonic Materials in Tonal Music: A Programmed???????Course, 9th ed. Parts 1 and 2. Boston: Prentice Hall, 2001. Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2008. Turek, Ralph. The Elements of Music: Concepts and Applications, 2nd ed. Vols. 1 & 2. New??????? York: McGraw-Hill, 1995. Anthologies for Music Analysis and StudyThe anthologies included here are commonly used for music theory and analysis classes at colleges and universities. For anthologies, any edition of the texts listed below is acceptable as their content is composed of musical scores, which would remain appropriate for classroom use. Arlin, Mary I. Music Source: A Collection of Excerpts and Complete Movements, 2nd ed.???????Englewood Cliffs, NJ: Prentice Hall, 1997. Benjamin, Thomas E., Michael E. Horvit, and Robert Nelson. Music for Analysis: From the???????Common Practice Period to the Twentieth Century, 5th ed. New York: Oxford University???????Press, 2000. Briscoe, James. New Historical Anthology of Music by Women, 2nd ed. Bloomington, IN:???????Indiana University Press, 2004. Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Belmont, CA: Schirmer, 2003. Clendinning, Jane Piper, and Elizabeth West Marvin. Anthology to Accompany The Musician's???????Guide to Theory and Analysis. New York: W. W. Norton, 2005. Kostka, Stefan, and Roger Graybill. Anthology of Music for Analysis. Englewood Cliffs, NJ:???????Prentice-Hall, 2002. Melcher, Robert A., Willard F. Warch, and Paul B. Mast. Music for Study, 3rd ed. Englewood???????Cliffs, NJ: Prentice Hall, 1988. Turek, Ralph. Analytical Anthology of Music, 2nd ed. New York: McGraw-Hill, 1992. Aural Skills: Sight Singing, Ear Training, Keyboard, and Rhythmic Reading TextsThe textbooks included here are used in college and university aural skills programs and are suitable for use in AP Music Theory curricula. Some texts only include specific skills -- for example, rhythm only or sight-singing only -- and would be used in combination with other materials to cover the sight-singing, melodic and harmonic dictation, and contextual listening (listening to music literature) elements of the AP Music Theory exam. For aural skills, any edition of the texts listed below is acceptable. Benjamin, Thomas E., Michael Horvit, and Robert S. Nelson. Music for Sight Singing, 4th ed.???????Belmont, CA: Schirmer, 2004. Benward, Bruce, and Maureen A.Carr. Sightsinging Complete, 6th ed. New York: McGraw-Hill,???????1998. Benward, Bruce, and J. Timothy Kolosick. Ear Training: A Technique for Listening, 7th ed. New York: McGraw-Hill, 2004. Berkowitz, Sol, Gabriel Fontrier, and Leo Kraft. A New Approach to Sightsinging, 4th ed. New???????York: W. W. Norton, 1997. Brings, Allen, Charles Burkhart, Roger Kamien, Leo Kraft, and Flora Pershing. A New Approach???????to Keyboard Harmony, 1st ed. New York: W. W. Norton, 1979. Damschroder, David A. Listen and Sing: Lessons in Ear Training and Sight-singing, 1st ed.???????Belmont, CA: Schirmer, 1995. Hall, Anne Carothers. Studying Rhythm, 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 2004. Horvit, Michael, Robert Nelson and Timothy Koozin,. Music for Ear Training, 3rd ed. Cengage Learning, 2008.Kazez, Daniel. Rhythmic Reading: Elementary Through Advanced Training, 2nd ed. New York:??????? W. W. Norton, 1997. Karpinski, Gary, and Richard Kram. Sight Singing and Ear Training: Anthology and Sight???????Singing and Ear Training: Manual with CD ROM. New York: W. W. Norton, 2005. Kraft, Leo. A New Approach to Ear Training: A Programmed Course in Melodic and Harmonic???????Dictation. 2nd ed. New York: WW Norton, 1999 Krueger, Carol. Progressive Sight Singing, 1st ed. New York: Oxford University Press, 2006. Ottman, Robert, and Nancy Rogers. Music for Sightsinging, 7th ed. Englewood Cliffs, NJ:???????Prentice Hall, 2007. Ottman, Robert. Music for Sightsinging, 6th ed. Englewood Cliffs, NJ: Prentice Hall, 2004. Ottman, Robert, and Paul E. Dworak. Basic Ear Training Skills, 1st ed. Englewood Cliffs, NJ:???????Prentice Hall, 1991. Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide to???????Aural Skills. Vols. 1 & 2. New York: W. W. Norton, 2005. Yasui, Byron K., and Allen R. Trubitt. Basic Sight Singing. 1st ed. New York, NY: McGraw-Hill,???????1988.Revised 2011 from the 2008AP Readers’ Favorite Music Theory Websites!General AP Music Theory Examination and Course Informationapcentral.Access to useful articles, the Course Description, the Teachers’ Guide, sample syllabi, free response questions from previous AP exams, an electronic discussion group for AP Music Theory teachers, and many other resources. Available from the College Board store: released exams, the AP Vertical Teams Guide, and other resources.Fundamentals to intermediate/advanced topics(For these purposes, fundamentals = note names, key signatures, rhythm values and meter, scales, basic triads and seventh chords; intermediate adds cadences, voice leading, phrase structure, etc.)Tutorials and exercises (fundamentals, harmonic dictation, contextual listening) with downloadable workbooks, by a long-time AP Music Theory instructor. Very useful! Lessons and trainers for introductory theory skills, and a quick source of staff papergood- Aural exercises identifying intervals, chords, scales, cadences – with a few ads thrown inpractice/ Drill on a variety of fundamentals. “Chord functions” will provide chord spelling practice, but the IV-V-I that establishes the key practice uses terrible voice leading.index.htmWorksheets and explanatory handouts on basic and intermediate topics, sight singing and dictation exercises Building and identifying intervals, triads, scales, and modes. A European fixed “do” option is offered in identifications, so if your students use moveable “do” for sight singing, you’ll need to explain the difference. to intermediate tutorials HYPERLINK "" \t "_blank" to intermediate tutorials HYPERLINK "" \t "_blank" cards for fundamentals drills HYPERLINK "" \t "_blank" for fundamentals drills, plus a staff paper generator. Content is the same as for Ricci Adams’ above, plus ads. HYPERLINK "" \t "_blank" spoken explanations of topics from intervals to chords, voice motion types, etc., illustrated with a keyboard. HYPERLINK "" \t "_blank" on key signatures and circle of fifths only. HYPERLINK "" \t "_blank" and exercises on circle of fifths and key signatures. HYPERLINK "" \t "_blank" skills; requires registration and Shockwave HYPERLINK "" \t "_blank" on very basic topics HYPERLINK "" \t "_blank" complete lesson series, fundamentals to intermediate HYPERLINK "" \t "_blank" on fundamentals (including pentatonic scales) from a guitar/bass perspective. HYPERLINK "" \t "_blank" checking of very basic fundamentals resources, including downloadable rhythm dictation traineranalysis_lectures/analysis_lectures.htmNotes and score/audio examples on intermediate topics: motives, phrases, periods, formsmusic.vt.edu/musicdictionaryVir. Tech. dictionary of terms with audio illustrations; also quizzes, etc.Teaching Resources Primarily for Instructors Compilation of score examples listed by topic. Very useful!wiki/Main_pagePublic domain music scores HYPERLINK "" \t "_blank" music scores with audio and web commentary. Requires Shockwave. HYPERLINK "" \t "_blank" Mozart Ausgabe online as PDF files. Directions in German. HYPERLINK "" \t "_blank" A web journal of recent research; most is not directly applicable to AP Theory. HYPERLINK "" \t "_blank" annotated listing of theory sites, with links. HYPERLINK "" \t "_blank" “First aid” for theory concepts; links to useful sites. HYPERLINK "" \t "_blank" theory games for simple aural skills. HYPERLINK "" \t "_blank" “Theory Courses” has links to various college theory course sites. HYPERLINK "" \t "_blank" theory quizzes and gamesTheory/Aural Skills Programs for Purchase (complete aural/written skills, fundamentals to advanced)theory.html (complete aural/written skills, fundamentals to advanced) (ear training) and Musition (theory)- (complete aural/written skills, fundamentals to advanced) HYPERLINK "" \t "_blank" Links to various sites, including an inexpensive sight singing site. Computer animations that help in fundamentals; requires subscriptionmusic-Independent online study of fundamentals Sites that either have downloads or rate ear training software. HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" ChallengesThis next section assumes that students have learned the basics of each topic: - keys, intervals, chord construction, voice leading, etc. – but covers some of the most common ways many show that they are still “works in progress” as far as mastery is concerned. 1. Tendency Tones: Awareness and HandlingLeading Tones. The leading tone is the most common tendency tone that students encounter. In any key, be aware of which pitch is the leading tone!Pedagogical suggestion: Before students do work in any key, have them identify the leading tone and write it prominently at the top of the page. In minor keys, include the accidental that turns scale degree 7 into the LT. It can be helpful to have them draw an arrow that indicates the direction of resolution.Other tendency tones: Scale degree 4 and the LT in Dominant Seventh ChordsResolving Dominant Seventh ChordsDominant seventh chords have two tendency tones, the leading tone of the key and the chordal seventh of the V7. In this example, the V7 in the key of C contains the leading tone, B, and the chordal seventh (root-third-fifth-seventh) of the V7 chord. Both tendency tones need to resolve correctly, the leading tone stepwise up and the chordal seventh stepwise down (scale degrees 7→8 and 4→3).Note that if you resolve a root position V7 to I using the usual procedure given above, you will end up with a I containing three roots and a third and no fifth. This nonstandard doubling is correct in this context. Identify and resolve the two tendency tones in a V7 correctly, no matter what the chord position is. In these examples F (the chordal seventh) always resolves to E (scale degree 4→3) and B always resolves to C (scale degree 7→8), no matter what the inversion or which voice the tendency tone is in.NOTE: The resolution of the chordal seventh down stepwise (scale degree 4→3) is non-negotiable; it is heard as an extremely strong tendency tone. This is why a V4/2 chord will always resolve to a I6, as the chordal seventh is in the bass and must go to the third of the tonic chord. However an exception may occur in the case of the leading tone in a root position V7; if the LT is in an inner voice (alto or tenor), you may frustrate its upward tendency and have it jump down to scale degree 5, making a complete tonic chord.Anytime you write a harmonic progression that includes a dominant seventh chord, immediately identify its two tendency tones, mark them with arrows, and resolve them properly before completing the rest of the chord and the progression.WorksheetIn the exercises below, identify the tendency tones, mark them with arrows, and resolve the dominant seventh chords, using good voice leading procedures.All seventh chords, not just V7 chords, have a chordal seventh (root-3rd-5th-7th) which is supposed to resolve downward; the exceptions to this normally come in advanced theory, beyond the scope of the AP course. Students should be aware that any time they see an indication for a seventh chord (ii7, 6/5 as a figured bass symbol, etc.), there is a chordal seventh to resolve properly (= down).Pedagogocal suggestion: As soon as students encounter any seventh chord, have them identify the tendncy tones and mark them with arrows that indicate the direction of resolution.Chord mon-practice harmony is functional harmony; i.e., chords have functions that lead them to other chords, the whole providing a very potent direction and structure to music. These progressions make up the grammar of this very important musical style. There are other, equally valid grammars in other music styles. A major task of the student is this course to understand the common practice harmonic language and use it competently. Ideally, along with this he/she will develop the ability to discriminate between the harmonic languages of this and other styles.Instructors and textbooks present harmonic progression in various ways, and most of them are sound. In spite of this, and instructors’ best efforts, chord progression is complicated and students don’t always assimilate the processes in the time we have. The list below represents the most common student misapprehensions, as seen on the AP mon Errors in Chord Use(To be avoided in figured bass and harmonization exercises)Retrogressive chord movement: V to IV, ii to I, iii to ii, etc.Any use of iii6 and vi6 (unless in a sequence).Most uses of iii (acceptable if followed by vi or by iv in a descending thirds progression)Any second inversion triad unless the student can name the use and knows the proper context.Any cadence ending on a 6/4 chord.V/V followed by I. A diminished triad in root position (except in a sequence).Voice Leading ChallengesVoice Leading ChecklistTextbooks have various approaches to teaching common-practice voice leading, and the methods presented in any standard textbook will be sound. The suggestions below are supplementary and are meant to provide students with several strategies for (a) becoming alert to common voice-leading perils, and (b) checking their work.Did I keep a common tone in moving from chord to chord? If not, why not?Did I scan the exercise for good chord spacing?Did I scan each voice for steps and skips? Are there melodic intervals within a voice greater than a 4th? If so, why? Did the bass line move up stepwise anywhere? If so, do the other voicesstay on the common tone,move in contrary motion, ormove in parallel sixths or tenths with the bass? (See examples/exercises on p. ) If not, why not?Did I check my soprano and bass for perfect intervals and how they are approached? (See guidelines on p. )Ascending stepwise bass lines.Bass lines that ascend stepwise are extremely common and are also one of the situations that most commonly lead to voice-leading bloopers. The patterns below will also recur in the “chunks” section later in these pages as part of aural skills development.Strategies: common tone, contrary motion, parallel 6ths and 10ths.(Voice exchange: C-D –E in bass, (Note acceptable d5-P5 E-D-C on soprano) between S and A) A longer stepwise ascending bass line following the procedures described above. Try part-writing this bass line in different ways, for instance with a different initial chord voicing or a different soprano line. If you have to depart from the strategies above, have a good reason!Deceptive (V-vi) movement is one of the most common places to find this type of bass motion. Part-write these progressions following the procedures above:Approaching Perfect Intervals between Soprano and BassStudents tend to do their best to avoid parallel perfect intervals, but many are unaware of a refinement of this avoidance, so-called “direct” perfect intervals. These have to do with approaching perfect intervals between soprano and bass only; there is no problem if one voices involved is an inner voice.Approach P5 and P8 preferably by contrary or oblique motion. Avoid approaches by parallel or similar motion. Exception: If the soprano line is moving stepwise. Creative Projects to Reinforce Concepts: CompositionComposition assignments can be used as homework or assessments to demonstrate understanding of common practice concepts. Below are some examples, ranging from the very simple to the more sophisticated. Embellishing tones. Rewrite the soprano-bass frameworks below adding consonant skips, passing and neighbor tones to the soprano line. Label each added tone with its interval number against the bass Indicate whether each added tone is a passing tone (P), neighbor tone (N), or a consonant skip (CS). Remember that any dissonance (2nd, 4th, 7th) must resolve stepwise to a consonance.#1 D minor, 4/4 Use note values ranging from quarter to eighth notes. #2 Eb major, 6/8 Use note values ranging from dotted half to 16th notes.Melody composition 1. E minor, 6/8Do a RN analysis of the progression below and then compose a melody to go with it. Label each added tone with its interval number against the bass. Remember that any dissonant interval (2nd, 4th, 7th) must resolve stepwise to a consonance.Melody composition 2. Re-write the composition above, changing the block chord accompaniment to a piano accompaniment: arpeggiations, Alberti bass, oom-pa-pa, etc. (See “Creating a Keyboard Accompaniment” under “Nuts and Bolts”)Melody composition 3Compose a melody that the class can use for sight singing or dictation practice. Criteria:Use stepwise motion and outlines of the tonic triad.In 2/4, 3/4 or 4/4, use note values ranging from half to eighth notesIn 6/8, 9/8 or 12/8, use note values from dotted half to 16th pose the melody in two four-measure segments, with the first segment ending on a pitch that suggests a half cadence and the second segment ending on a pitch that suggests a PAC.Keep the range within a 12th.orHarmonization. Using the chords we have been studying: Provide the Roman numerals that indicate a good harmonization of the melody below. The harmonic rhythm is one chord per measure, except at the final cadence.Indicate functional areas (T, PD, D) under the score.Transform your RNs into a piano accompaniment (arpeggiations, Alberti bass, oom-pa-pa, etc.)Final composition project (large version example)The project described on the next pagse is designed to assess the knowledge and skills we expect from students at the end of two semesters of college theory, which exceed those covered in most AP Music Theory courses. The requirements can be altered to assess whatever has been covered in a particular AP course, but it is important that the criteria be very specific if the exercise is to be a useful assessment in common-practice theory, as contrasted with free composition. Final Composition ProjectThe assignment is to compose an original piece for piano that demonstrates your understanding of the concepts covered in music theory.CriteriaAny meter or key is fine except for 2/4, 2/8, etc. and C major.The piece will be in ABA form. Section 1 (A) at least 16 measures long*; 8* (HC) + 8* (PAC) in parallel period structure with a defining motive. Section 2 (B) at least 16 measures long* in a contrasting key (V, IV or relative major or minor) with a contrasting motive (8* (HC) + 8* (PAC) .Section 3 (A) = Section 1 repeated* If you use compound meter, the number of measures in the sections and subsections can be halved.The genre/style will be appropriate to the piano.The primary melody in Section A should be in the right hand, with the left hand providing a characteristic accompaniment figure: Alberti bass, arpeggiation, broken chord, etc.Section B may offer a textural contrast if desired: melody in left hand, chordal texture, etc.The piece should exemplify the phrase structure, harmonic progression, functional area expansions, embellishing tone, voice leading and contrapuntal practices of common practice music. In other words, write like Mozart.ContentThe piece will include at least one example in either the A or B section of each of the following:Cadential 6/4 Passing or neighbor 6/4Deceptive motion or cadenceSequenceSecondary dominant or leading tone chord to VSuspensionExtra credit will be given for correct use of any of the following:Sentence structureA secondary dominant or leading tone chord to a key other than VArea expansions with voice exchangeTransformation of motives (inversion, augmentation, diminution)The piece will be notated in Sibelius; a list of the required components is included in the project schedule below. (Note: this can be done as easily with hand-notated scores; a notation program is not necessary.)Project schedule (Example drafts will be provided)Friday 4/1. Draft 1a due. Sibelius score laid out in piano format with key and meter for both A and B sections; first measure notated and harmonic progression of cadences of both A and B sections notated. Wednesday 4/6. Draft 1b due (you may either do this on Sibelius or print out Draft 1a and add the information by hand). Provide the Roman numerals that indicate the harmonic progressions in sections A and B.Friday 4/8. Draft 1c due (you may either do this on Sibelius or print out Draft 1b and add the information by hand). Provide the structural notes in soprano and bass (1:1, 2:1 or 3/4:1) that indicate the basic contrapuntal structure on which you will build the composition.Wednesday 4/13. Draft 2 due. Complete the A section, print out the draft and label by hand the following:Phrases with lower case letters (a, b, c, etc.) and phrase arcsSubphrases if applicable with lower case lettersCadencesMotives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or descriptive names and bracketsWednesday, 4/20. Draft 2a due. Complete the B section, print out the draft and label by hand the following:Phrases with lower case letters (a, b, c, etc.) and phrase arcsSubphrases if applicable with lower case letters and subphrase arcsCadencesMotives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or descriptive names and bracketsAt or before your final written theory exam. Finished composition due. This is a clean Sibelius version for performance; it should not include any of the analytical elements from the previous drafts or any handwritten elements, but should include:Title and composerDynamic markingsTempo indication(s)In a separate document (template will be provided) indicate in which measure/beats the required components appear.Criteria Grading Rubric for Composition Project All drafts were turned in or checked /2 Clean final copy turned in when due. /5 (As stated before, this is a clean Sibelius version for performance; it should not include any of the analytical elements from the previous drafts or any handwritten elements, but should include:Title and composerDynamic markingsTempo indication(s) Sibelius file emailed to instructor /3General Criteria (18 points)ABA form /3Sections required length /3A section parallel period with proper cadences /3B section contrasting in motive and key /3A section repeated (or varied) after B section /3A section primary melody in RH with piano accompaniment figuration in LH /3Harmonic progressions congruent with Common Practice /14Dissonance use, etc. congruent with Common Practice /14Contrapuntal outline congruent with Common Practice /14Content (30 points)Cadential 6/4(measure # _______________) /5Passing or neighbor 6/4 (measure # _______________) /5Deceptive motion or cadence (measure # _______________) /5Sequence (measure # _______________) /5Secondary dominant or leading tone chord to V (measure # _______________) /5Suspension (measure # _______________) /5Extra credit components (list with measure numbers)7. Transcription Assignment (Ear Training/Dictation Exercise)Transcription Assignment GuidelinesThis is a combination transcription/composition project. NO outside sources may be used!1.. Listen on YouTube to the audio file of the song you chose to use. 2. Count out the number of measures in the excerpt, and lay out a treble/bass staff template to accommodate your transcription. 3. All the chords used in the song are indicated by popular music chord symbol below the title (note they may repeat in different order!). As you lay out your template, mark the chord changes in the song by writing the popular music chord symbols above the treble clef in the appropriate measures. 4. Write the notes of these chords in the bass clef, using the duration of the harmonic rhythm (how long the same chord/harmony lasts – for example, if the chord lasts an entire measure of 4/4 time, use a whole note). Do not try to notate the actual rhythm of the accompaniment!5. Finally, notate the melody on the treble clef staff. The pitches of these melodies are quite straightforward, but you may find the syncopated rhythms challenging; do your best to approximate them, but realize that in these popular styles the performed rhythms may vary from the notated versions in any case.Eleanor Rigby (Lennon/McCartney) 0:00 – 0:45 , Em, Em7, Em6, C/EBegin the Beguine (Cole Porter) 0:06 – 1:00 , D6, DMaj7, A7, GHint: the bass line follows a “walking bass” pattern in this performance, which often jumps from the root to the 5th of the chord as it marks the beat. Fix You (Cold Play) 0:22 – 1:40Eb, Gm, Cm7, Bb, Ab, Eb/GNote: The template (chords along with treble/bass staves) may be used as the basis for a composition exercise also, with the student creating his/her own melody. Cadence Formulas: Some Useful ChunksCadence formulas. The ones given below consist of either a dominant* and a resolution, or a pre-dominant, dominant and resolution. These occur often both at cadence points (especially final cadences) and as progressions inside a phrase. The treble staff notes are scale degrees; on the bass staff are the bass lines and chord progressions that accompany them. Students can use them either to harmonize cadences or other segments of a given melody (by knowing that scale degrees 3-2-1, for instance, can effectively be harmonized by the options below) or to provide a melody to a bass line segment or chord progression. Variations: These work in major or minor, and with a V7 chord as well as a plain V. The dominant can be followed by a deceptive resolution (V-vi, but watch out for voice leading problems), and the first two chords in each progression work for a half-cadence. The final chord can be in a first inversion, if the cadence is not the final one. *As many textbooks do today, I have analyzed the cadential 6/4 as V6/4, making a two-chord group with a dominant function. Others may prefer to analyze the cadential 6/4 as I6/4. Suggestions for AP use are below.In the AP class and for the AP exam:Use these chunks for ear training for harmonic dictation; if students can identify the scale degrees in the top voice, they will have a leg up in determining the accompanying progression.Sing the soprano and bass lines of these progressions using Roman numeral names, scale degree numbers, solfège syllables, and/or pitch names in various keys.In the final harmonization exercise teach students to write the cadences first, then go back and lead into them.Melodic Formulas: Some Useful ChunksMost tonal melodies begin with variations on a few formulas that effectively delineate the key. These include:1. An outline of the tonic triad, sometimes with skips filled in. The variations on this are almost endless. But here are a few: 2. A lower dominant to tonic skip of a fourth (often followed by one of the patterns above). In this formula, the dominant is an upbeat and the tonic is on the downbeat. The skip can be filled in, but the basic pattern is the same.3. The “NBC” pattern – up a sixth and down a third, from scale degree 5 up to degree 3 down to degree 1. This opening skip can be daunting, unless students recognize the pattern and remember that neither “N” nor “B” is the tonic, but “C” is. Degree 1 may be delayed by fill-in notes, but the pattern usually remains clear. All of the above are variants of the emphasized tonic harmony – arpeggiations of the tonic chord.AP: Aural recognition and singing of these patterns can help in melodic dictation, in sight singing, and in aural analysis. Rhythm Patterns (“Chunks”)It can be useful to drill rhythm patterns that recur in various meters, so that students hear them as patterns, not as individual beats they have to figure out anew each time. This is especially needed for dotted rhythms, and especially in compound meter. The examples below are of characteristic patterns in a few meters; since most rhythm is made up of these patterns, being familiar with them can speed up recognition, performance and notation of them. You can have students clap or vocalize straight through, and you can also point to measures out of order so that they have to go back and forth quickly between patterns. There are lots of dotted rhythms in the 9/8 exercise for added drill.#1#2#3AP: Recognition of patterns is useful in melodic dictation and aural analysis.Aural Skills Practice Examples for Easily Confused Progressions. Work on:1. Identifying scale degrees in bass and/or soprano.2. Hearing the chord quality (M m d, seventh chord or triad?) of intervening chords 3. Identifying the progression.Enlivening a Basic Progression(Spacing and doubling still count!)Melodic Tags for Interval Identification If you care to use them, melodic tags can be useful for interval identification. Here is the most complete list I know. Since a lot of this list reveals its age, there is space to add more current items.m2 ↑ Others?_____________________White Christmas (“I’m Dreaming…)_____________________What’s New_____________________“Jaws” theme_____________________Isn’t It Romantic_____________________Raindrops Keep Fallin’ on my Head_____________________The Long and Winding Road_____________________As Time Goes By_____________________I Left my Heart in San Francisco_____________________Stormy Weather (“Don’t Know Why…”)_____________________Strawberry Fields Forever_____________________m2↓Hernando’s Hideaway_____________________Smoke Gets in Your Eyes_____________________O Little Town of Bethlehem_____________________Chicago_____________________Mood Indigo (“You Ain’t Been Blue…”)_____________________Joy to the World_____________________Sophisticated Lady_____________________I’m in the Mood for Love_____________________M2↑ Happy Birthday_____________________Silent Night_____________________Doe, A Deer…_____________________Climb Every Mountain_____________________Wouldn’t it be Loverly_____________________Rudolph, The Red Nosed Reindeer_____________________My Funny Valentine_____________________Falling in Love with Love_____________________If Ever I Would Leave You_____________________People_____________________My Country ‘tis of Thee_____________________M2↓ Do You Know the Way to San Jose_____________________The Way We Were (“Mem-ries…”)_____________________Volare_____________________The First Noel_____________________We Three Kings_____________________Don’t Get Around Much Anymore_____________________Satin Doll_____________________Yesterday_____________________Three Blind Mice_____________________Cheek to Cheek (“Heaven…I’m in Heaven…”)_____________________Mary Had a Little Lamb_____________________Hooray for Hollywood_____________________Merrily We roll Along_____________________Deck the Halls_____________________m3 ↑ A Foggy Day in London Town_____________________Georgia on my Mind_____________________Hello Dolly_____________________Supercallifragilisticexpialidocious_____________________When You’re Smiling_____________________Are You Lonesome tonight_____________________Brahms’ Lullaby_____________________Angels We Have Heard on High_____________________So Long, Farewell, Auf Wiedersehen, Goodbye_____________________The Impossible Dream_____________________I’m Popeye the Sailor Man_____________________Oh Where, oh Where Has My Little Dog Gone?____________________Let Me Call You Sweetheart_____________________Greensleeves_____________________Light My Fire (“You know that it would be….”)_____________________I Love Rock and Roll_____________________Havah Nagilah_____________________m3 ↓When Irish Eyes are Smiling_____________________Daisy_____________________Girl from Ipanema_____________________Bewitched, Bothered and Bewildered_____________________I Whistle a Happy tune_____________________Santa Claus is Coming to Town (“You better watch out…”)_____________________Who’s Afraid of the Big Bad Wolf_____________________Hey Jude_____________________Frosty the Snowman_____________________Silver Bells (“City sidewalks…”)_____________________O What a Beautiful Morning_____________________M3 ↑Kumbayah_____________________Bess, You is my Woman Now_____________________Oh When the Saints Go Marching In_____________________Anchors Aweigh_____________________I Could Have Danced All Night_____________________Michael Row the Boat Ashore_____________________Have Yourself a Merry Little Christmas_____________________M3 ↓Good Night Ladies_____________________Song Sung Blue_____________________Shoo Fly, Don’t Bother Me_____________________Summertime_____________________In a Mellow tone_____________________A Fine Romance_____________________P4 ↑ Here Comes the Bride_____________________We Wish You a Merry Christmas_____________________Hark the Herald Angels Sing_____________________Love Me Tender_____________________We’re Off to See the Wizard_____________________A Hunting We Will Go_____________________“Jeopardy” theme_____________________Twelve Days of Christmas (“On the first day…”)_____________________My Boyfriend’s Back_____________________Auld Lang Syne_____________________Amazing Grace_____________________Oh Christmas Tree_____________________Lush Life_____________________Matchmaker_____________________When Johnny Comes Marching Home Again_____________________Shenandoah_____________________Tonight (West Side Story)_____________________P4 ↓Born Free_____________________We’re Not Gonna Take It_____________________I’ve Been Working on the Railroad_____________________A Mighty Fortress is Our God_____________________Eli’s Coming_____________________Oh Come, All Ye Faithful_____________________Every Little Thing She Does is Magic (Police)_____________________Wilkommen (Cabaret)_____________________Tritone (+4, o5) Maria_____________________Cool (Boy, Boy, Crazy Boy…”)_____________________Simpsons’ Theme_____________________P5 ↑ Twinkle, Twinkle Little Star_____________________My Favorite Things (“Raindrops on roses…”)_____________________“Star Wars” theme_____________________“Superman” theme_____________________Moon River_____________________God Rest Ye Merry, Gentlemen_____________________P5 ↓“Flintstones” theme_____________________Bring a torch, Jeannette, Isabella_____________________Feelings_____________________It Don’t Mean a Thing if It Ain’t Got that Swing_____________________m6 ↑A Day in the Life of a Fool_____________________Sunrise, Sunset (1st to 3rd notes, “Is this the little girl…”)_____________________m6 ↓“Love Story” theme (“Where do I begin…”)_____________________M6 ↑ Take the A Train_____________________Jingle Bells (“Dashing through the snow…”)_____________________Hey, Look Me Over_____________________1999 (Prince: “I was dreamin’ when I…”)_____________________My Bonnie Lies Over the Ocean_____________________NBC_____________________Hush Little Baby_____________________It Came Upon a Midnight Clear_____________________My Wild Irish Rose_____________________If I Ruled the World_____________________The Days of Wine and Roses_____________________Everybody Loves Somebody Sometime_____________________M6 ↓Nobody Knows the Trouble I’ve Seen_____________________Over There_____________________Good Night Ladies (1st to 3rd notes)_____________________Crazy (Willie Nelson)_____________________m7 ↑Somewhere (“There’s a place for us…”)_____________________Have You Driven a Ford Lately_____________________Close to You (1st to 3rd notes: “Why do birds…”)_____________________Edelweiss (1st to 3rd notes)_____________________Old TV Star Trek theme_____________________m7 ↓ Watermelon Man_____________________Something Wonderful_____________________None But the Lonely Heart_____________________Honeysuckle Rose (1st to 3rd notes)_____________________M7 ↑ Bali Hai (1st to 3rd notes)_____________________Lara’s theme (Dr. Zhivago: 1st to 3rd notes)_____________________P8 (octave) ↑ Take Me Out to the Ballgame_____________________Somewhere Over the Rainbow_____________________Let It Snow (“Oh the weather outside…”)_____________________The Rain in Spain_____________________“Night Court” theme_____________________Chestnuts roasting on an Open Fire_____________________Blue Bossa_____________________Camelot_____________________American Pie (So bye, bye, Miss…”)_____________________P8 ↓ Willow Weep for Me_______________ ................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download