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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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