Download AP Music Theory Syllabus

AP Music Theory Syllabus
Virginia A. Wagner – Instructor
[email protected]
704-799-8555 ext 1287 - school
Course Overview
Students may enroll in AP Music Theory if they read music well in both pitch and rhythm in at least one clef. Students should seek a
recommendation from their primary music teacher prior to registering for the AP Music Theory Course. The AP Music Theory class meets during
“0” period 5 days per week for two semesters. Because of the limitations of a four period day, this schedule allows students in all performing
ensembles, as well as others who are taking a full course load, to enroll in a fifth class for credit without the need to restrict participation in the
performance ensembles.
“ The ultimate goal of an AP Music Theory course is to develop a student’s ability to recognize, understand and describe the basic materials and
processes of music that are heard or presented in a score. The achievement of this goal may be best promoted by integrated approaches to the
student’s development of:
Aural skills
Sight-singing skills
Written skills
Compositional skills
Analytical skills
through
listening exercises
performance exercises
written exercises
creative exercises
analytical exercises”
(CollegeBoard, Workshop Handbook, 5)
I encourage all students to purchase a subscription to Smart Music ($30), as well as MacGamut music software ($33), and Finale Notepad ($10).
There is only on lab computer at the school with an extra subscription to these programs which are often in use by students in other courses.
Although the lab is available to Music Theory students it is often difficult to schedule time to use this computer at school, so home subscriptions are
much more convenient.
Textbook:
Kostka, Stefan, and Dorothy Payne.. Tonal Harmony with an Introduction to
Twentieth-Century Music, 6th ed. New York: McGraw-Hill. 2004
Teacher Resources:
Crocker, Emily and Snyder, Audrey. Experiencing Choral Music Sight-Singing, Profecient & Advanced Grades 9-12, Glencoe/McGraw-Hill. 2005
Turek, Ralph. The Elements of Music: Concepts and Applications, Vol. I, 2nd ed. New York: McGraw-Hill. Includes workbook & CD. 1996
Turek, Ralph. Theory for Today’s Musician, McGraw-Hill. 2007.
Kennan, Kent, and Grantham, Donald. The Technique of Orchestration, 4th ed. Prentice-Hall, Inc. 1990.
Walton, Charles W. Basic Forms in Music, New York: Alfred Publishing Co., Inc. 1974
Palisca, Claude V. Norton Anthology of Western Music, 2nd ed. W.W. Norton & Company, Inc. 1988
Stolba, K. Marie. The Development of Western Music, A History. WCB Publishers. 1990
Turek, Ralph. The Elements of Music. Vol. one and two. New York: Alfred A. Knopf, 1988
Four-Part Chorales (Chorales 1–50), by J. S. Bach. Available from:
www.virtualsheetmusic.com/score/Chorales1.html
This website offers MIDI keyboard recordings that may be played from the
computer or recorded to other media.
Ricci Adams’ Music Theory website: www.musictheory.net
Student Internet Resources:
www.musictheory.net
www.finale.com
www.smartmusic.com
Course Objectives
At the conclusion of the AP Music Theory course, students should be able to:

Define basic musical terms and theoretical concepts

Write, sing, play major scales, all three forms of minor scales, chromatic, whole tone, pentatonic and modal scales (including Dorian,
Phrygian, Lydian, and Mixolydian)

Demonstrate the ability to construct and analyze all intervals within an octave and major, minor, augmented, and diminished intervals and
triads

Recognize, audiate, and sing or play scales, intervals, triads, rhythms, and melodies

Sing simple conjunct and disjunct diatonic melodies at sight

Notate pitch and rhythm in standard notation with correct meter organization

Compose simple melodies; then compose melodies with harmonic chord progressions. Transpose melodies for Bb, F, and Eb instruments

Realize a figured bass line

Realize Roman numeral progression

Analyze both the chords of a musical composition with roman numerals and formal organization

Construct compositions in four-part texture

Analyze harmonica structure utilizing Roman numerals, and figured bass

Identify basic form and cadences

Write in standard notation melodic and harmonic dictation

Express creative ideas through composing four part compositions in small forms, such as periods, double periods and other small forms

Recognize functional tertian harmony in four voices, tonal relationships, and modulation to closely related keys

Compose a bass line and harmonic progression to a given melody

Recognize, understand, and describe basic elements, materials and processes of music in both written score and aural form

Attend concerts of all types of music; analyze the concert for all musical elements.
Expectations of Students
1. Students will participate in all classroom discussions and activities.
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, assignments, and listening logs.
4. Students will study the released AP Exams and take practice tests to prepare for the exam.
5. Students will listen to approximately two hours of music each week outside of class and maintain a music listening log, which will consist of
written analysis/evaluations of each listening selection. These
written logs should include observations and evaluations regarding the following items:
a. melodic characteristics (conjunct/disjunct)
f. dynamics (dynamic contrasts)
b. harmonic characteristics (harmonic idioms
g. tempo (tempo changes)
present)
h. meter (duple/triple, simple/compound,
c. rhythm (straight/syncopated)
regular/irregular)
d. texture (homophonic, monophonic,
i. mode (major, minor, modal, atonal)
polyphonic, heterophonic)
j. form (binary, ternary, sonata, rondo, etc.)
e. timbre (instrumentation, tone color)
k. articulation (legato, staccato, etc.)
6. Students will attend one concert (as approved by the teacher) each nine weeks and submit a paper about the concert, using an appropriate
musical vocabulary. This paper should contain general information about the concert, the student’s evaluation of it, and specific analysis of
three individual selections from the concert. This analysis should include the following:
a. melodic characteristics (conjunct/disjunct)
f. dynamics (dynamic contrasts)
b. harmonic characteristics (harmonic idioms
g. tempo (tempo changes)
present)
h. meter (duple/triple, simple/compound,
c. rhythm (straight/syncopated)
regular/irregular)
d. texture (homophonic, monophonic,
i. mode (major, minor, modal, atonal)
polyphonic, heterophonic)
j. form (binary, ternary, sonata, rondo, etc.)
e. timbre (instrumentation, tone color)
k. articulation (legato, staccato, etc.)
7. Students will submit one major composition at the end of the second semester, based on assigned form and content. Other minor
compositions will be required to demonstrate understanding and synthesis of concepts presented. These compositions include:
a. A song in binary form
i. A song that modulates from one tonal center to
b. A song in ternary form
another through the
c. A song in sonata form
use of a pivot chord
d. A song based on a major mode
j. A song based on the whole-tone scale
e. A song based on a minor mode
k. A song based on the chromatic scale
f. A song using two-part counterpoint
l. A song based on a tone row or serialism
g. A song using three-part counterpoint
m. A song based on a church mode
h. A four-part fugue with subject, countersubject
and free improvisation
Course Planner
This schedule is only approximate, as classes may move slower or faster from one
year to another. Written homework and reading assignments are given at each class
meeting. Students are also given assignments on SmartMusic to drill sight-reading outside of class 3-5
days a week as well as listening assignments and MacGamut assignments. I encourage students to
download Finale notepad for their compositions. All compositions must be computer generated.
Overview of syllabus, and course materials
Sample Exam found in AP Course Description
Pitch and Its Notation
Pitch; Notation: The staff and clefs; Ledger lines; The grand staff; Octave designation; The ottava sign;
Intervals of half steps and whole steps; Chromatic alteration; Equivalents; Accidentals the chromatic scale;
Enharmonic intervals
Beginning Sight-Singing/ Melodic Dictation – Major key, diatonic pitches, conjunct melodies using sol-feg
do-la
Harmonic Dictation: bass voice
Test I
Rhythm and Other Aspects of Notation: Rhythm, Notation Rhythm, Dynamics and Articulation
Beginning Sight-Singing/ Melodic Dictation – Major key, diatonic pitches, conjunct melodies using sol-feg
do-la
Harmonic Dictation: bass voice
Test II
Scales, Key, Mode, and Intervals
Part 1- Scales and Key Signatures
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do
Harmonic Dictation: outer voices
Scales Con’t
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do
Harmonic Dictation: outer voices
Intervals
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do and melodies with skips do, mi, so
Harmonic Dictation: outer voices
Test III
Harmony
Part 1 – Triads & Seventh Chords
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do and melodies with skips do, mi, so
Harmonic Dictation: outer voices
Inversion
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do and melodies with skips do, mi, so, add cadential skips so-do
Harmonic Dictation: outer voices
Chord Symbols and Figured Bass
Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do and melodies with skips do, mi, so, add cadential skips so-do
Harmonic Dictation: outer voices
Test IV
Diationic Triads in Major and Minor Keys; Functional Tonal Principals
Chapter 5, Part 1: Diatonic Triads in Major and Minor Keys
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg using do-la,
add movement from ti-do and melodies with skips do, mi, so, add cadential skips so-do
Harmonic Dictation: outer voices
Second 9 Weeks
Functional Tonal Principles
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, add skips to la
Harmonic Dictation: outer voices and authentic cadence
Test V
Harmony III: Harmonic Cadences; Embellishing Tones; Principles of Harmonization
Part 1: Harmonic Cadences
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, add skips to la
Harmonic Dictation: outer voices and plagal cadences
Embellishing Tones & Principles of Harmonization
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, add skips to la
Harmonic dictation: outer voices add half and deceptive cadences
Test VI
Voice Leading I: Melodic Principles in Four Part Writing; Voicing Chords; Principles of Chord
Connection; Connecting Root-Position Triads
Part I & II: Melodic Principles of Four-Part Writing; Voicing and Chords
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, add skips to fa
Harmonic Dictation: outer voices and primary triads (major and minor)
Principles of Chord Connection
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, add skips to fa
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Connection Root-Position Triads:
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, with skips to any scale degree:
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Test VII
Voice Leading II: Triads in First Inversion; Part Writing Using Monochord Tones
Part 1 & 2 - Voicing Triads in First inversion & Connection of Root-Position and First-Inversion
Triads
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, with skips to any scale degree:
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Part Writing Using Nonchord Tones
Melodic Dictation/Sight-Singing: Major Key, diatonic pitches, conjunct melodies using sol-feg
using do-la, add movement from ti-do and melodies with skips do, mi, so, add cadential skips sodo, with skips to any scale degree:
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Test VIII
Review for Exam
Melodic Dictation
Harmonic Dictation
Semester One Exam
Semester II
Voice Leading III: Triads in Second Inversion
Part 1- The Six-Four Chord:
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on natural minor
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Connecting Triads in All Positions
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on natural minor
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Harmonizing and Part-Writing a Melody for SATB
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on natural minor
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Test IX
Melody: General Melodic Characteristics, Tonality and Harmonic Implication in the Melodic
Line, & Sequences
Chapter 11 – Large-Scale Melodic Relationships: The Melodic Pitch Hierarch, Large-Scale
Melodic Features
Chapter 12 – Melodic Form: Melodic Units, Phrases in Combination, Melodic Analysis
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, and seventh chords
Combination test X, XI, XII
The Dominant Seventh and Leading-Tone Seventh Chords
Part 1 – The Dominant Seventh Chord
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, and seventh chords
The Leading-Tone Seventh Chord
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, and seventh chords
Test XIII
Diatonic Seventh Chords II: Nondominant Seventh Chords: Diatonic Seventh Chords: Common
Practices; Alternative Practices; Harmonizing an Melody Using Nondominant Seventh Chords
Melody using Nondominant Seventh Chords
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, and seventh chords
Test XIV
Secondary Function
Secondary Dominants and Dominant Seventh Chords
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on melodic minor
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Secondary Leading-Tone Chords
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches based on melodic minor
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Second Nine Weeks
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Part Writing and Harmonization Using Secondary Function
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Test XV
Modulation to Closely Related Keys:
Pivot Chord Modulation; Chromatic Modulations; Melodic Harmonization using Modulations
to Closely Related Keys
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Test XVI
Form and Dramatic Shape in Music: The Creation of Musical Form, Texture, Methods of Analysis
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
The Binary Principle: Simple Binary Forms; Analysis of Corelli Sonata, Op. 5, No. 7 (Sarabande)
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Rounded Binary and Ternary Forms
Melodic Dictation/Sight-Singing: Major Key, Chromatic pitches out of the key (i.e. secondary
dominants)
Harmonic Dictation: outer voices, all triads, and seventh chords, secondary dominants
Review for Exam
Work on Final Composition Projects
Present Final Composition Projects
Student Evaluation
Practice/Workbook Assignments
Concert Attendance/Review
Composition
Sight-Singing
Dictation
Listening
Tests/Quizzes
15
10
10
15
15
10
25
AP Music Theory Workshop Handbook. CollegeBoard, 2008-2009. Pg. 5.