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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.