COURSE OVERVIEW - Southington High School
AP MUSIC THEORY
COURSE OVERVIEW
AP Music Theory is a full year college-level music course that prepares students for the College Board AP Exam. Skills ranging from sight-singing and aural recognition to visual analysis and composition form the curriculum. Students in this course work to develop a “seeing ear” and a “hearing eye”. The main emphasis is placed on music of the Common Practice Period, although other styles of music from other periods are also studied.
COURSE OBJECTIVES
To provide advanced placement college-level study of music theory to qualified students and preparation of the advanced placement music theory exam.
To develop the techniques of functional hearing and strategies for sight-singing.
To develop skills through written figured bass and melodic harmonization in four-part style and through listening and analysis of a wide variety of vocal and instrumental musical literature.
To develop aural skills through the performance of rhythmic patterns in simple and compound meter, sight-singing and recognition of rhythmic, melodic, and harmonic dictation.
Realization of a Roman numeral progression and to study formal procedures of the Common Practice Period.
To provide opportunities to gain new insight into melody, harmony, and structure.
To develop harmonic analysis utilizing figured bass symbols and emphasizing the principals of voice leading in tonal harmony,
To develop independent musicianship and quality intonation through diligent practice over a period of time.
To develop an extensive knowledge of the technical vocabulary of music.
Advanced Placement Music Theory Syllabus
SEPTEMBER
Fundamentals of Music
Rhythmic Elements
Time Signatures
Meter, Meter Patterns
Rhythmic Patterns; Simple / Compound
Related Vocabulary
Basic Notation
Musical Alphabet, Staff, Leger Lines
Grand Staff, Clefs, Letter Names
Keyboard Familiarity
Signs, Symbols, Abbreviations
Scales
Whole and Half Steps
Accidentals
Pentatonic. Whole Tone, Chromatic Scales
Major Scales
Key Signatures, Circle of Fifths
Minor Scales
Natural, Harmonic, Melodic Minor
Key Signatures
Relative / Parallel Relationships
Intervals
Major, Minor, Perfect, diminished, augmented
Consonant, Dissonant, Dissonant Resolution
OCTOBER
Harmonic Elements
Triads: Major, minor, diminished, augmented
Cadences
Authentic, half, plagal, Deceptive, Phrygian Half
Chapter Tonal Harmony Kostka/Payne Listening Examples Chapter 10
Triads in Major Mode
I, ii, iii, IV, V, vi, vii
Triads in Minor Mode
Natural / Harmonic
i, iv, V, VI, vii
Chord Chart
Chapter 4 Tonal Harmony Kostka/Payne
Listening example /test
Brahms, “Ach lieber Herre Jesu Christ”
Seventh Chords in Major and Minor Modes
Inversion Symbols and Figured Bass
Realization of a Roman numeral progression
Chapter 3 Tonal Harmony kostka/Payne
Example 3-8 Bach, Easter Oratorio, II
Inversions of Triads
Listening examples Chapter 8 Tonal Harmony Kostka/Payne
Example 8-2 Haydn, Sonata No. 33, III
Example 8-3 Haydn, Sonata No. 43, I
Example 8-4 Haydn, Sonata No. 45, I
Example 8-5 Bach, “Schmucke dich, o liebe Seele”
Example 8-8 Haydn, Symphony No. 104, I
Of 7th Chords
Realization of a Roman numeral progression
Figured Bass Part I
Species Counterpoint
Species I, II
NOVEMBER
Voice Leading / Four-Part Writing
Chord Doubling
Voice Leading Errors
Parallel 5, 8
Hidden / Direct 5, 8
Spacing
Resolution of Leading Tone
Resolution of Chordal 7th
Cross / Overlapping Voices
Dominant Seventh Chord
Voicing, Resolution of the 7th
Root Position and Inversions
Non-Harmonic Tones
Passing / Neighboring Tones
Anticipation, Appoggiatura, Pedal Point, Cambiata, Escape Tone, Suspension
Composition and Analysis
Secondary Dominants and Dim. 7th Chords
Tonal Harmony Kostka/Payne Listening Examples Chapter 16
Example 16-1 Haydn, Quartet Op. 64, No. 3, I
Example 16-2 Haydn, symphony No. 94, II
Example 16-8 Schumann, Noveletten, Op. 21, No.1
Example 16-9 chopin, Mazurka Op. 68, No. 1
Example 16-10 Schumann, Eintritt, Op. 82, No. 1
Example 16-11 Tchaikovsky, Trio Op. 50, II
Example 16-12 Haydn, Quartet Op. 20, No. 4, I
Other diatonic 7th chords
Secondary Triads in Major and Minor
Chord Substitutions; Altered Chords
DECEMBER
Melodic Structure
Cadences Shape, Phrase, Melody Writing
Chapter 10 Kostka/Payne Tonal Harmony
Listening to:
Example 10-1 and 10-2 Bach, Well-Tempered Clavier, Book II, Preludes 10 and12
Examples 10-5, 10-6, and 10-10 Haydn, Sonata No. 4, 44 and 15
Example 10-7Schumann, “Folk Song” Op. 68, No.9
Example 10-14 Beethoven, Violin Sonata Op. 12, No 1, III
Example 10-11, Mozart, “An die Freude”. K. 53, and The Marriage of Figaro, K.492 “Voi, che sapete.”
Structure and Form Part I
Phrase, Period, Parallel / Contrasting / Double Period
Antecedent, Consequent
Chapter 10 Tonal Harmony Kostka/Payne
Continue listening examples
Listening to: Beethoven, Sonata Op. 26, I; Sonata Op. 10, No. 3, III
Mozart, Sonata K. 284, II
Chopin, Mazurka Op. 33, No.2
Composition Project I
16 measure double period (a a’ b c) SATB Homophony
Modes and Other Scales
Ecclesiastical Modes, Blues Scale
JANUARY
Figured Bass Part II
Chromatics
Secondary Dominants, Non-Harmonic Tones, Melodic Devices
Accidentals, Symbols, Chromatic Alterations
Realization of Figured Bass
A Motive and Its Variations
Sequence, Inversion, Ornamentation, Augmentation, Diminution, Retrograde, Contraction
Structure and Form Part II
Binary, Ternary, Rounded Binary, Fugue, Theme and Variation
Listening examples Chapter 20 Tonal Harmony Kostka/Payne
Example 20-2 Bach, French Suite No. 1, Minuet I
Example 20-3 Haydn, Sonanta No. 11, III, Minuet
Example 20-5 Schumann, “Melody,” Op. 68, No. 1
Example 20-7 Mozart, Sonata, K. 331, I
Schumann, Album Leaf, Op. 99, No. 1
FEBRUARY/MARCH
Modulation
Phrase / Direct, Common Tone, Pivot Chord, Chromatic
Chapter 18 Listening examples from Tonal Harmony Kostka/Payne
Example 18-4 Mozart, Viennese Sonatina No. 6 II
Example 18-6 Tchaikovsky, Mazurka Op. 39, No. 10
Example 18-7 Dvorak, Quartet Op. 51, IV
Structure and Form Part 3
Canon, Invention, Fugue, Sonata / Sonatina, Theme and Variation
Common Abbreviations, Symbols
Terminology
Preparation for the A. P. Examination
APRIL
Structure and Form Part 4
Ground Bass, Through Composed, Pop Form, Blues Form
MAY/JUNE
Preparation for the Advanced Placement Music Theory Examination
Original Composition Project II
Concept, Form
Final Manuscript
Orchestration
Overview of Twentieth Century Composition
Approaches to pitch, rhythm, and form.
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|AURAL SKILLS DEVELOPMENT |
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|RHYTHMIC DICTATION |
|BEGINNING LISTENING AND SIGHT-SINGING PRACTICE |
|MELODIC DICTATION |
|1-4 MEASURE SCALE PATTERNS |
|METER RECOGNITION |
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|SIGHT SINGING |
|MELODIC DICTATION 4/4, 6/8, 2/4, ¾ EASY TO MODERATE IN MAJOR AND MINOR |
|DICTATION FROM KNOWN MELODIES |
|RECOGNITION OF CHORD TYPES |
|CHORD INVERSIONS |
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|CHORD PROGRESSIONS |
|CADENCE, FROM KEYBOARD, FROM RECORDINGS |
|MELODIC DICTATIONS – MODERATE TO ADVANCED |
|HARMONIC PROGRESSIONS IN MINOR |
|HARMONIC PROGRESSIONS, PRIMARY CHORDS |
|TWO PART DICTATION IN MAJOR AND MINOR |
|LISTENING AND ANALYSIS FROM AURAL LITERATURE |
|PHRASES, CADENCES, MODES |
|HARMONIC DICTATION – ALL DIATONIC TRIADS AND COMMON SECONDARY DOMINANTS |
|PREPARATION FOR A.P. EXAMINATION USING EXAMPLES FROM PAST FREE RESPONSE QUESTIONS. |
|FR 1, 2 MELODIC DICTATIONS |
|ANALYSIS OF COMMONALITIES |
|DEVELOPING EXPECTATIONS |
|TEACHING INTELLIGENT GUESSING |
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KEYBOARD SKILLS
Students will develop the following keyboard skills:
Major Scales
Minor Scales, Three Forms
Triads in Major, minor, O and +
Triad Inversions
Seventh Chords; MM, Mm, mm, om, oo
Seventh Chord Inversions
I – IV – V7 – I
TEACHING STRATEGIES
The typical AP Music Theory class has three main elements. First, the class practices its aural skills which may include the following: sight-singing; melodic, harmonic and rhythmic dictation; and score analysis. Then follows a review of homework materials assigned in the previous class. This will include discussion of correct answers, clarification of areas of concern, and individual attention and comments based on the student’s homework performance. A grade is assigned to each student for homework.
Secondly, the class is given group instruction on new material. New concepts and techniques are demonstrated by the instructor. Students are frequently checked for understanding and given time to practice the new material.
Finally, overall comprehension is checked by the instructor through a series of music theory drills. Homework is assigned for the next class.
The AP Music Theory classroom is filled with higher level learning. The class and instructor work out problems together on the board, or in small groups, or individually. Students are encouraged to visit the AP music websites to perform drill and practice in areas of weakness. Tests and quizzes are given every Friday, based on the materials covered that week. In addition, all homework is graded.
The biggest challenge is in developing the inner hearing (aural skills) necessary to be successful with the course content. Students need lots of time (in and out of class) to develop and master dictation and aural analysis skills. Sight-singing is taught with solfege (moveable do), numbers (1 3 5), and neutral syllable “la”. Each student finds the method that fits their style of learning.
Our school has a small music technology lab where the AP music theory students can practice and develop keyboard skills. We also use Finale 2007 for larger composition and orchestration projects.
The Kostka-Payne textbook and workbook are used in conjunction with the course syllabus and is the primary resource for homework assignments, quizzes and tests. Robert Ottman’s Music For Sight Singing is covered extensively and serves as a valuable tool in introducing the diatonic modes and Twentieth Century aural examples. Listening to a wide variety of musical literature reinforces theoretical concepts and provides a vehicle for the application of knowledge. Time is also spent practicing the free response questions from released AP exams. The scoring guide to these questions are used for discussion and discovery. Other supplemental text are used on an as-need-basis depending on the makeup/needs of the present class.
Prior to teaching AP music theory, I took a week long summer AP prep course at the Taft School. This course provided a strong connection to the College Board process and resources available to AP teachers. I visit the College Board website often to get current information.
STUDENT EVALUATION
Daily homework assignments provide the basis of the grading process. These assignments can be lengthy and require the student to prepare both written and performance material. Quizzes and Tests occur frequently throughout the school year as an opportunity to show the skills mastered. Students are expected to use AP theory websites to tutor themselves in any area of skill deficiency. The class pace is quick and students must be continually preparing, presenting, and reviewing major theory concepts to keep in line with the course syllabus. Extra help is available after school and before mid-term, AP, and final exams.
Homework: 25%
Quizzes and Tests: 25%
Sight-Singing 25%
Dictation 25%
PRIMARY TEXTS
Kostka, Stephan, and Dorothy Payne. 2004. Tonal Harmony With An Introduction To Twentieth-Century Music, 5th Edition. New York: McGraw-Hill.
Kostka, Stephan, and Dorothy Payne. 2004. Workbook For Tonal Harmony with an Introduction To Twentieth-Century Music, 5th Edition. New York: McGraw-Hill.
Ottman, Robert W., and Nancy Rogers. 2007. Music For Sight Singing, 7th Edition. Upper Saddle River, New Jersey: Prentice Hall.
TECHNOLOGY TOOLS
A.P. Music Theory Websites
College Board Website
Ricci Adams’s Music Theory
Java Music Theory
Finale Notation Software
Music Theory for Ear Training
Classical Music Archives Website
Online Metronome and Pitch Tool
Bach Invention Website
TEACHER RESOURCES
Benward, Bruce, and Marilyn Saker. 2003. Music In Theory And Practice, Volume I, 7th ed. New York: McGraw-Hill.
Clendinning, Jane Piper and Elizabeth West Marvin. 2005. The Musician’s Guide To Theory and Analysis 1st ed. New York: W. W. Norton & Company.
Phillips, Joel, and Jane Piper Clendinning and Elizabeth West Marvin. 2005. The Musician’s Guide To Aural Skills Volume I. New York: W. W. Norton & Company.
Ottman, Robert. 1998. Elementary Harmony: Theory and Practice, 5th ed. Upper Saddle River, N.J.: Prentice Hall.
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