AP Music Theory Audit information



AP Music Theory Syllabus

Course Overview (C1)

• Year-long Course

• 55 minutes a day, five times a week.

• Expands upon the skills learned in Theory 1

• Emphasis on expanded aural skills

• Expanded notational skills with an emphasis on 4-part writing skills

• Use of notation software

• Expanded Critical listening (C14)

• Expanded Analytical Exercises

• Expanded Written Exercises

Primary Textbooks Listing:

Kostka, Stefan, Dorothy Payne. Tonal Harmony (With an Introduction to Twentieth Century Music) , 5th ed. New York: McGraw Hill, 2004.

Kostka, Stefan, Dorothy Payne. Workbook for Tonal Harmony (With an Introduction to Twentieth Century Music) , 5th ed. Boston: McGraw Hill, 1984.

Benjamin, Thomas, Michael Horvitt, Robert Nelson. Music For Analysis, 4th ed. Belmont, California: Wadsworth Publishing Co, 1996 (C13)

Crowe, Edgar, Annie Lawton, W. Giles Whitaker. The Folk Song Sight Singing Series (Books 1 – 3), New York: Oxford University Press, 1961.

Other Resources:

tonalharmony.5

Finale 2005b Software, MakeMusic, Inc. 2004

Evans, Jeffrey. Practica Music, 2002.

Objectives of the Course (C19)

• Students will have a thorough understanding of the musical mechanics as it relates to composition.

• Students will be prepared to take the AP exam

• Student will study a wide variety of vocal and instrumental music of western tonality.

• Students who are planning to continue in music are provided with stronger foundation for first year college level theory course.

The course objectives and content have been adapted from the Expanded Course Specification posted on the AP Music Theory homepage on APCentral. (C1)

Course Content

• Intervals

• Scales

• Notation in all clefs-treble, alto, tenor, and bass

• Meter

• Rhythm

• Triads

• 7th chords

• Figured bass

• Roman numeral analysis

• Key relationships-Circle of Fifths

• Rules of progression

• Sight singing (C15)

• Ear training

• Form

• Dictation – melodic, harmonic, rhythmic

• Four-part harmonization

• Creative excersises and Composition

• Non chord tones

• Modulation

• Secondary chords

• Borrowed chords

• Altered chords

• Critical listening (C19), (C14)

First Marking Period-

Weeks 1 through 3- Chapter 1, pp. 3-24.

Chapter 3, pp. 39-55

Chapter 4, pp. 57-67

• Intervals (C2)

o Written – review of all primary and secondary intervals (C16)

▪ Perfect, major, and minor intervals-Interval Chart

▪ Rule of nines – the inversion chart for intervals

o Listening – all primary and secondary intervals both melodically and harmonically

• Scales/keys (C9)

o Review of all majors and all forms of minor keys, key signatures, scales-Circle of Fifths Handout

▪ Listening and written

• Modes

o Major

o Minor

o Church Modes

• Triads

o All major, minor, augmented, diminished triads

▪ Aural ID

▪ Notated

• Simple Melodic Dictation

o Simple, diatonic, scalar passages-“A Little Sightsinging” Handout

• Review of Musical Terminology (C2)

o Tempo indications

o Scales, Keys, Triadic Qualities, Key Relationships

o Dynamic Marking, Rhythmic Indicators, clefs

• Review of knowledge and comprehension of Figured Bass and Roman Numeral analysis-Txt. Chapters 3 & 4

o Aural and Written-Self-Test 4-1

• Seventh Chords

o Maj7, Min7, dim, Dom7, half dim

▪ Aural and written-Txt. Ch. 3 p. 43, 48. ST 4-2.

• Sight Singing (C15)

o Review of diatonic major solfege syllables

o Scales, patterns, arpeggios, simple melodies

EXAM 1.1.

Weeks 4 & 5- Chapter 2, pp. 25-38.

• Rhythm (C11)

o Beat and meter type-Txt. Pp. 26-32. ST 2-4. p. 33.

o Review of simple rhythmic notation in note and rest form

o Meter signature

▪ Compound and simple meter

o Measure organization

o All forms of simple and corresponding compound meters-Txt. P. 33.

o Metric Transposition-ST 2-4, Pt. B, WB 2-2, p. 13 (simple, and p. 2-3, p. 14 (compound).

o

o Given a meter signature, insert bar lines or rests to correctly reflect the meter signature in a musical passage- ST 2-5, p. 36 Part B.

o Provide best time signature for corresponding meter (multiple answers)-ST 2-5 Pt. C, p. 36.

o Asymmetric meter, changing meter

o Generating creative rhythmic patterns for dictation exercises (C17)

o Augmentation

o Diminution

o Hemiola

EXAM 1.2

Weeks 6-9- Chapter 5, pp. 71-84

• Composition of melody (C12)

o Good Melody writing: Rhythm, Harmony, Contour, Leaps, Tendency tones- Txt. P. 71-72.

o Melodic Critique- ST 5-1, p. 73.

• Motion types

o Introduction to static, oblique, similar, parallel, contrary

o Counterpoint defined

• Voicing triads, Doubling- Txt. P. 74.

• Open/Close structures- Txt. P. 75. ST 5-2, Pt. A & B, p. 76-77. Pt. C Nos. 5-8 for Homework.

• Principals of 4-part voice leading (C8)

o Voice crossing/overlap-Txt. P. 75.

o Spacing- Txt. P. 76.

o Voice Ranges- Txt. P. 76.

o Objectionable Parallels- Txt. P. 78.

o Unequal Fifths- Txt. P. 80.

o Direct 5ths & octaves- Txt. P. 81. ST 5-3, All. WB 5-3, Pts. A & B. Student Learning Center (SLC) Ex. 5-9.

EXAM 1.3

SECOND MARKING PERIOD

Weeks 1 & 2 Chapter 6, pp. 85-98

• Root position 4-part writing (C8)

o Movement by 4th & 5th –ST 6-2, p. 89. WB p. 43

o 3rd (or 6th) –ST 6-3, p. 91. WB p. 45.

o 2nd (or 7th)- ST 6-4, p. 94. WB p. 97.

• Realization of a root position bass line (C4)

o Good melody composition, fill in middle voices- ST 6-4

Pt. C, p. 95. WB p. 99, Pt. C. Complete 3 of 4 examples.

Exam 2.1

Weeks 3 – 5 Chapter 7, pp. 99-116

• Rules of progression (C9)

o Sequences-Tonal, Real, Modified Pp. 99-102

o Circle of 5th progression including exceptions

▪ Tonic, Dominant, and Pre Dominant

o Chord progression charts-ST 7-1, Pt. A p.112, WB 7-1, Pt. A p. 55.

o Voice leading implications for Deceptive Progression

o Error detection

▪ Retrogressions

▪ Weak resolutions

o Given a melody, realize a bass line from given roman numeral analysis (C5) ST 7-1 Pt. D p. 114, WB 7-1 Pt. D p. 57.

o Given a melody, compose a bass line with good harmonic progression (C3) ST 7-1 Pt. F p. 114 , WB 7-1, Pt. G p. 59.

o Create viable melody and chord progression, four measures in length in minor mode. Must include deceptive progression. WB 7-1 Pt. H p. 60.

Weeks 6 & 7 Chapter 8, pp. 117-134

Chapter 9, pp. 135-146

• Inversions

o 1st & 2nd inversion

o Full implementations of figured bass

▪ 6(3), 64

o Proper doubling for specific inversions in 4 parts

o Parallel sixth chords

▪ e.g: V6, IV6, iii6, ii6, V, I

o Second inversion functions

▪ Cadential, passing, pedal

o Realization of figured bass (C4)

o Given a melody, compose a bass line that incorporates chords in 1st & 2nd inversion

o Given a bass line, recognize the opportunities for inversions

o Analysis of a given figured bass (C18)

o Continued content-relevant listening excersises

Weeks 8 & 9 Chapter 10, pp. 147-166

• Cadences

o Visual and aural ID of all six cadence types-Txt. P. 147-152. Classification as Conclusive or Progressive

o Conditions for perfect/imperfect cadences- Txt. P. 149

o Voice leading implications- WB p. 77 A1

• Melodic Structure

o Period forms – parallel, contrasting, 3-phrase (phrase group), repeated. Txt. P. 152-160. WB 10-1 B1-4

o Double, parallel and contrasting.

o Bracketing and labeling phrases and cadences. P. 153.

o Composing melodies in period structure, both parallel and contrasting. Comp Project: Compose contrasting period, use it as basis for double parallel period.

o Analyzing Packet Melodies- WB p. 149-150(1-6), p. 58-59(7-12).

o Recognizing Decorated Phrases- Worksheet

o Analyzing full score melodies- WB p. 27 (41-42), p. 40 (65).

THIRD MARKING PERIOD

Weeks 1-3 Chapter 11, pp. 167-181

Chapter 12, pp. 183-194

• Non Chord Tones

o By Step or Leap

▪ Passing, Neighboring, Suspensions, Retardation

• Diatonic or chromatic- Txt p. 167-178. ST 11-1 p. 179-180, WB Ex. 11-1.

▪ Appoggiaturas, Escape tones, Neighbor groups, anticipations, pedal point

▪ Assignment - Given a four part harmonization, add non chord tones as implementation from above (C17)

▪ Application, analysis, and synthesis of above.

▪ Listening activities to coincide

▪ Special problems with non-chord tones

• Analysis of chords over pedal point

• Suspension is not part of the chord

▪ Melodic analysis with and without non-chords

Weeks 5-7 Chapter 16, pp. 245-261

Chapter 17, pp. 263-287

• Secondary chords

o Dominants and their inversions

o Leading tone chords

▪ Tonicization

▪ Implementation of chromatic solfege

▪ Application, analysis, and synthesis of above material

▪ Given the figured and a bass line, realize into 4-parts, including non chord tones and secondary chords

Weeks 8-9 Chapter 18, pp. 289-303

Chapter 19, pp. 305-321

• Modulations (C10)

o Parallel keys

o Relative keys

o Closely related keys

o Common or pivot chord modulations

o Application, analysis, and synthesis of above material

FOURTH MARKING PERIOD

Weeks 1-3 Chapter 20, pp. 323-339

• Form (C13)

o Small Forms

▪ Binary

▪ Ternary

▪ Rondo

▪ Sonata Allegro

▪ Application, analysis, and synthesis of above material

• Textures

o Monophony

o Homophony

o Polyphony

o Counterpoint

▪ Listening of the above material

▪ Application, analysis, and synthesis of above material

Weeks 4 & 5

• Preparation of the AP exam

o Review sample questions

o Review free response sections

o Preparation for sight singing portion

o

Weeks 6 & 7 Chapter 27, pp. 447-469

Chapter 28, pp. 471-552

• Introduction to 20th century tonality (C7)

o Free atonality

o Impressionism

▪ Whole Tone Scales

o Late romantic

▪ Chromaticicsm

o Serialism

▪ Matrix Construction

o Tone row

• Listening Project (C6)

o presentation on composer/artist

Weeks 8 & 9

• Preparation for the final exam

• Implementation of Final Exam

Citation Key

-----------------------

C13 – The course teaches small forms.

C1 – The Teacher Has read the recent AP Theory Course Description.

C2 – The Course helps Students master the rudiments and terminology of Music.

C1 – The Teacher has read the recent AP Theory Course Description.

C3 – The course includes composition of a bass line.

C4 – The course includes realization of a figured bass.

C5 – The course includes realization of a roman numeral progression.

C6 – The course includes analysis of repertoire.

C7 – The course incorporates a brief introduction to 20th century scales, chordal structures and compositional procedures.

C8 – The course teaches functional triadic harmony in traditional 4-voice texture.

C9 – The course teaches tonal relationships.

C10 – The course teaches modulation to closely related keys.

C11 – The course teaches standard rhythm and meters.

C12 – The course teaches phrase structure.

C13 – The course teaches small forms.

C14 – Musical skills are developed through listening.

C16 – Musical skills are developed through written exercises.

C17 – Musical skills are developed through creative exercises.

C18 – Musical skills through analytical exercises.

C19 – The Course includes study of a wide variety of vocal and instrumental music from standard Western Tonal Repertoires.

C1 – The Teacher has read the recent AP Theory Course Description.

C19 – The Course includes study of a wide variety of vocal and instrumental music from standard Western Tonal Repertoires.

C2 – The Course helps Students master the rudiments and terminology of Music.

C16 – Musical skills are developed through written exercises.

C9 – The course teaches tonal relationships.

C15 – Musical skills are developed through Sight Singing

C15 – Musical skills are developed through Sight Singing

C11 – The course teaches standard rhythm and meters.

C17 – Musical skills are developed through creative exercises.

C12 – The course teaches phrase structure.

C8 – The course teaches functional triadic harmony in traditional 4-voice texture.

C4 – The course includes realization of a figured bass.

C5 – The course includes realization of a roman numeral progression.

C10 – The course teaches modulation to closely related keys.

C13 – The course teaches small forms.

C7 – The course incorporates a brief introduction to 20th century scales, chordal structures and compositional procedures.

C6 – The course includes analysis of repertoire.

C14 – Musical skills are developed through listening.

C18 – Musical skills through analytical exercises.

C17 – Musical skills are developed through creative exercises.

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