Download AP Music Theory Syllabus

AP Music Theory Syllabus
Mr. Stepneski
Block 1
Course Description
The purpose of this course is to:
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Enhance the student's basic understanding of music
Learn to analyze and critique music in a theoretical manner
Assist in the appreciation of the compositional process
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Help appreciate music from a theoretical and mental perspective for lifelong enjoyment and learning.
Course Objectives
By the end of this course, the student will be able to:
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Identify, notate, and perform pitch on various clefs, grand staff, and keyboard
Identify, notate, and perform various rhythms of sound and silence using a designated counting system.
Compose rhythmic compositions
Identify, notate, and perform whole steps, half steps, diatonic, and chromatic intervals on paper, by ear, and on the keyboard
Identify, notate, and perform all major and minor scales and key signatures
Compose original melodies in various major/minor key signatures and using major, minor, chromatic, pentatonic, and whole
tone scales
Identify and notate all types of triads, 7th chords, and secondary dominants with inversions
Compose simple melodies with harmonic accompaniment using figured bass and cadences
Compose a composition using diatonic triads, 7th chords, and secondary dominants, all with inversions, while facilitating
non-harmonic tones with 4-part voicing’s, practicing the proper rules of voice leading
Analyze/Realize a figured bass in major and minor keys according the 18th century compositional technique
Identify the musical form of various compositions from different time periods
Identify modulations in music
Compose original works for different voices/instruments facilitating all knowledge from class
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Harmonize a melody with appropriate harmonic progression
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Materials, Texts, and Resources
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Mechanical Pencils
Notebook with tabs
Staff Paper
Clendinning, Jane; Marvin, Elizabeth. 2011. Theory and Analysis, 2nd ed. New York: W.W. Norton & Company, Inc.
Ottman, Robert. 2011. Music for Sight-Singing, 8th ed. Upper Saddle River, N.J.: Prentice Hall.
Sueta, Ed. Rhythm Vocabulary Charts. Rockaway, NJ. Ed Sueta Music Publications, Inc.
Ricci Adams’s interactive tutorials: www.musictheory.net
Free download of Finale NotePad software at www.makemusic.com
Grading Policy
Your grade in this class is obtained through a variety of homework assignments, quizzes, and projects culminating in a major exam at
the end of each marking period. Each marking period grade will be apportioned as follows:
Quizzes 50%
Projects 25%
Homework 10%
Quarterly Exam 10%
21st Century Skills 5%
Course Overview
Marking Period 1
September 3 – October 30
Part 1: Fundamentals
Chapter I: Elements Pitch
The Keyboard and Octave Registers
Notation on the Staff
The Major Scale
The Major Key Signatures
Minor Scales
Scale Degree Names
Intervals
-Perfect, Major, and Minor Intervals
-Augmented and Diminished Intervals
Inversion of Intervals
Consonant and Dissonant Harmonic Intervals
Ottman, Robert Music for Sight-Singing
Chapter 1 Introduction to Solfège/Simple
Meter
Chapter 2 Scale Line Melodies/Simple Meter
Chapter 3 Intervals from the Tonic Triad,
Major Keys/Simple Meter
Chapter 4 Intervals from the Tonic Triad,
Major Keys/Compound Meter
Quiz
Listening:
Sight-Singing Part I
Jeremiah Clarke, Trumpet Voluntary
Scott Joplin, “Solace”
Chapter 2: Simple Meters
Dividing Musical Time
Rhythmic Notation for Simple Meters
Counting Rhythms in Simple Meters
Beat Units
Quiz
Project: Compose multiple rhythmic compositions using simple meters
ED SUETA RHYTHM CHARTS: 1 - 16
Listening:
Anonymous, Minuet in d minor
J.S. Bach
Chaconne, from Violin Partita No. 2 in d minor
Invention in d minor
Frederic Chopin, Mazurka in f minor, Op. 68, No. 4
Greensleeves
G.F. Handel
Chaconne in G Major
Rejoice Greatly, from Messiah
Fanny Mendelssohn Hensel, Neue Liebe, neues Leben (New Love, New Life)
Scott Joplin, Pine Apple Rag
John Newton, Amazing Grace
Robert Schumann, Trallerliedchen (Humming Song)
J.P. Sousa, The Stars and Stripes Forever
Chapter 3: Pitch Collections, Scales, and Major Keys
Chromatic and Diatonic Collections
Scales
Major Keys
Pentatonic Scale
Quiz
Project: Compose a simple melody using a major scale and the major pentatonic scale
Listening:
W.A. Mozart, Piano Sonata in C Major, K. 545
My Country, Tis of Thee
Dolly Parton, I Will Always Love You
Richard and Robert Sherman, Feed the Birds from Mary Poppins
Anton Webern, Variations for Piano, Op. 27
Chapter 4: Compound Meters
Hearing Compound Meters/Meter Signatures
Rhythmic Notation in Compound Meters
Syncopation
Mixing Beat Divisions/Hemiola/Metrical Accent
Quiz
Project: Compose multiple rhythmic compositions using compound meters
ED SUETA RHYTHM CHARTS: 17 - 32
Listening:
Agincourt Song
J.S. Bach, Fugue in Eb Major
Johannes Brahms
Die Mainacht (The May Night)
Trio in Eb Major for piano, violin, and horn, Op. 40
Chopin, Nocturne in Eb Major, Op. 9, No. 2
John Lennon and Paul McCartney, Norwegian Wood
Smokey Robinson, You’ve Really Got a Hold Me
Franz Schubert, Der Lindenbaum (The LindenTree)
Chapter 5: Minor Keys and the Diatonic Modes
Parallel Keys/Relative Keys
Variability in the Minor Scale
Scale Degrees in Minor
The Minor Pentatonic Scale/Modes of the Diatonic Collection
Project: Compose a simple melody using the harmonic minor scale and the minor pentatonic scale
Listening:
J.S. Bach
Chaconne, from violin Partita No. 2 in d minor
Invention in d minor
Bela Bartok, In Lydian Mode, from Mikrokosmos
Archangelo Corelli, Allemanda, from Trio Sonata in a minor, Op. 4, No. 5
Lennon/McCartney, Eleanor Rigby
Old Joe Clark
Wayfaring Stranger
Chapter 6: Intervals
Combining Pitches
Interval Quality
Consonant and Dissonant Intervals
Quiz
Listening:
J.S. Bach, Invention in d minor
Gershwin, ‘S Wonderful!
Handel, Chaconne in G Major
W.A. Mozart, Variations on “Ah, vous dirai-je Maman”
J.P. Sousa, “The Stars and Stripes Forever”
Webern, Symphonie, Op. 21, 2nd mvt.
Chapter 7: Triads
Chords and Triads
Spelling Triads
Scale-Degree Triads in the Tonal Context
Figured Bass
Project: Analyze triadic writing with figured bass
Listening:
J.S. Bach
“Er kommt” 9”He Comes”) from Cantata 140, Washet auf
“O Haupt voll Blut und Wunden” (“O Head, Full of Blood and Wounds”)
Gordy, Davis, Hutch, West, “I’ll Be There”
Handel, Chaconne in G Major
Smokey Robinson, “My Girl”
Chapter 8: Seventh Chords
Seventh Chords
Seventh Chords in Popular Styles
Quiz
Project: Analyze 7th chords for a favorite popular tune
Listening:
J.S. Bach, Prelude in C Major, from The Well-Tempered Clavier, Book 1
Goffin, Masser, “Saving All My Love for You”
Heyman, Young, “When I Fall in Love”
W.A. Mozart
Piano Sonata in C Major, K. 545, 2nd mvt.
“Voi, che sapete” (”You Who Know”), from The Marriage of Figaro
Chapter 9: Connecting Intervals in Note-to-Note Counterpoint
Species Counterpoint/Connecting Melodic Intervals
Connecting Harmonic Intervals
Writing Note-to-Note Counterpoint in Strict Style
Project: Compose a cantus firmus, add a species 1
Listening:
Cantus firmi by
Johann Joseph Fux (1660 – 1741)
Knud Jeppesen (1892 – 1974)
Johann Philipp Kirnberger (1721 – 1783)
Keinrich Schenker (1868 – 1935)
Chapter 10: Melodic and Rhythmic Embellishment in Two-Voice Composition
Melodic Embellishment in Second-Species Counterpoint
Writing 2:1 Counterpoint
About Third-Species Counterpoint
Rhythmic Displacement of Fourth-Species Counterpoint
Project: Composer a Cantus Firmus, then add a species, 2, 3, and 4
Listening:
Second-, third-, fourth-, and fifth-species settings of cantus firmi by Fux, Kirnberger, and Schenker
Review/Quarterly Exam 1
Marking Period II
November 10 – January 16
Part 2 Diatonic Harmony and Tonicization
Chapter 11: Soprano and Bass Lines in 18th C. Style
Note-to-Note Counterpoint in 18th C. Style
Melodic Embellishment in Chorale Textures
Quiz
Project: Compose a two part texture using non-harmonic tones
(Neighbor and Passing tones)
Listening:
J.S. Bach, “Wachet auf” (“Awake,” Chorale #197)
Tradition hymn settings
“Chargres”
“Ein feste Burg”
“My Country, ‘Tis of Thee”
“Old Hundredth”
“Rosa Mystica”
“St. George’s Windsor”
Sight-Singing Part II
Chapter 5 Minor Keys: Intervals from the
Tonic Triad/ Simple and
Compound Meters
Chapter 6 Intervals from the Dominant Triad:
Major and Minor Keys
Chapter 8 Further Use of Diatonic Intervals
Chapter 9 Intervals from the Dominant
Seventh Chord
Chapter 12: The Basic Phrase in SATB Style (I and V)
The Notation of 4-Part Harmony
voice-leading rules
Parts of the Basic Phrase
Connecting the Dominant and Tonic Areas
Harmonizing Folk Songs
Project: Harmonize an American folk tune
Listening:
J.S. Bach,
“Ach Gott, vom Himmel sieg’ darein” (“O God, Look Down on Us from Heaven,” Chorale #253)
“Wachet auf” (“Awake,” Chorale #197)
Beethoven, Piano Sonata in d minor, Op. 31
Clarke, Trumpet Voluntary
Clementi, Sonatina in C Major, Op. 36, No. 1, 1 st mvt.
“Clementine” folk tune arr. Norman Lloyd
Haydn, Scherzo, from Piano Sonata No. 9 in F Major
“Merrily We Roll Along”
W.A. Mozart, Piano Sonata in C Major, K. 545, 1 st mvt.
“My Country, ‘Tis of Thee”
Chapter 13: Dominant Sevenths, the Predominant Area, and Melody Harmonization
V7 and Its Inversions
Realizing Figure Bass
Expanding the Basic Phrase: I-IV-V-I
Harmonizing Chorale Melodies
Quiz
Project: Compose a 4-part harmony and write the figured bass
Listening:
J.S. Bach
“Ach Gott, vom Himmel sieg’ darein” (“O God, Look Down on Us from Heaven,” Chorale #253)
“Aus meines Heerzens Grunde” (“From My Inmost Heart,” Chorale #1)
Clarke, Trumpet Voluntary
W.A. Mozart
Piano Sonata in C Major, K. 545, 1st mvt.
“Voi, che sapete” (”You Who Know”), from The Marriage of Figaro
Chapter 14: Expanding the Tonic and Dominant Areas
Expanding Harmonic Areas with 6-4 Chords
The Neighboring, Pedal, and Cadential 6-4 chords
Other Expansions of the Tonic Area
Quiz
Project: Write a 4-part chorale with figured bass using I, ii, IV, V, and vi chords.
Students may opt to compose or arrange a tradition holiday tune of their choice using these chords.
Listening:
Brahms, Variations on a Theme by Haydn
W.A. Mozart
Piano Sonata in Bb Major,K. 333, 1st mvt.
Piano Sonata in C Major, K. 545, 1st mvt.
Piano Sonata in D Major, K. 284, 3rd mvt.
Sonata for Violin and Piano, K. 296, 2 nd mvt.
“My Country, ‘Tis of Thee”
Sherman and Sherman, “Feed the Birds,” from Mary Poppins
J.P. Sousa, “The Stars and Stripes Forever”
“Wayfaring Stranger” (arr. By Norman Lloyd)
Chapter 15: Diatonic Harmonies and Root Progression
New Cadence Types
Deceptive, Plagal, and Phrygian
Basic Root Progressions
Mediant Triads, Mediant and Minor Dominant in Minor Keys
Parallel 6-3 Chords
Quiz
Project: Compose 3 short progressions. Each one should involve a deceptive, plagal, or Phrygian cadence.
Listening:
J.S. Bach
Chaconne, from Violin Partita No. 2 in d minor
“Wachet auf” (“Awake,” Chorale #197)
Corelli, Preludio, from Sonata in d minor, Op. 4, No. 8
Stephen Foster, “Camptown Races”
G.F. Handel, “Hallelujah!” from Messiah
Lennon/McCartney, “Nowhere Man”
Don McLean, “Vincent”
W.A. Mozart, Piano Sonata in D Major, K. 284, 3 rd mvt.
Modest Mussorgsky, “The Great Gate of Kiev,” from Pictures at an Exhibition
“My Country ‘Tis of Thee”
“Wayfaring Stranger”
Chapter 16: Embellishing Tones in 4 Voices
Embellishing Tones
More on Suspensions
More on Neighbor and Passing Tones
Other Types of Embellishments
Anticipations and pedal points
Project: Compose an 8-bar chorale involving all types of melodic embellishments and two cadences
Listening:
J.S. Bach
“Aus meines Herzens Grunde” (“From My Inmost Heart,” Chorale #1)
“Christ ist erstanden” (“Christ Is Risen,” Chorale #197)
“Heut’ist, o Mensch” (“This Day, O Mankind,” Chorale #168)
“Liebster Jesu” (“Dearest Jesus,” Chorale #131)
“O Haupt voll Blut und Wunden” (“O Head Full of Blood and Wounds,” Chorale #74)
Organ Sonata No. 5 in C Major, 1st mvt.
Prelude in Eb Major for Organ (St. Anne)
Brahms, Variations on a Theme by Haydn, Op. 56b
G.F. Handel, Chaconne in G Major
Menken/Rice, “A Whole New World,” from Aladdin
W.A. Mozart
Piano Sonata in D Major, K. 284, 3rd mvt.
Variations on “Ah, vous dirai-je Maman”
Henry Purcell, “Music for a While”
Webber/Rice, “Don’t Cry for Me Argentina,” from Evita
Chapter 17: The viio6, viio7, viiØ7, and Other Voice-Leading Chords
Dominant Substitutes: Leading-Tone Chords
Other Voice-Leading Chords
Listening:
J.S. Bach
“Aus meines Herzens Grunde” (“From My Inmost Heart,” Chorale #1)
“O Haupt voll Blut und Wunden” (“O Head Full of Blood and Wounds,” Chorale #74)
Prelude in C Major, from The Well-Tempered Clavier, Book 1
Clarke, Trumpet Voluntary
Review/Quarterly Exam 2
Marking Period III
January 26 – March 27
Chapter 18: Phrase Structure and Motivic Analysis
Phrase and Harmony
Phrase Analysis
Sub phrases and Motives
Phrases in Pairs: The Period
Phrase Rhythm
Listening:
Sight-Singing Part III
8-measure excerpts from choral literature
Teacher-composed 8-measure phrases
Student-composed 8-measure phrases
Ludwig van Beethoven
Piano Sonata in c minor, Op. 13, 3rd Mvt.
Sonatina in F Major, Op. Posth., 2nd mvt.
Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, 1 st mvt.
Stephen Foser, “Oh! Susanna”
W.A. Mozart
Piano Sonata in Bb Major, K. 545, 1st & 2nd mvt.
Piano Sonata in C Major, K. 545, 1st & 2nd mvt.
Piano Sonata in G Major, K. 283, 1st mvt.
“Voi, che sapete” (”You Who Know”), from The Marriage of Figaro
Meredith Willson, “Till There Was You,” from The Music Man
Chapter 20: Secondary Dominants and Leading-Tone Chords to V
Intensifying the Dominant/Secondary Dominants to V
Secondary Leading-Tone Chords to V
Secondary-Function Chords in Dominant Expansions
Quiz
Project: Analyze and compose various music involving secondary dominants, non-harmonic tones, and cadences
Listening:
J.S. Bach
“Ermuntre dich, mein schwacher Geist,” (“Take Courage, My Weak Spirit”)
“Wachet auf” (“Awake,” Chorale #179)
Scott Joplin, “Pine Apple Rag”
W.A. Mozart, Rondo in Eb Major for Horn and Orchestra, K. 371
Elvis Presley and Vera Matson, “Love Me Tender”
Chapter 21: Tonicizing Scale Degrees Other Than V
Secondary-Function Chords Within the Basic Phrase
Secondary-Function Chords in Musical Contexts
Spelling Secondary Dominant and Leading-Tone Chords
Resolving Secondary Dominant and Leading-Tone Chords
Secondary Dominants in Sequences
Quiz
Project: Analyze and compose various music involving secondary dominants, non-harmonic tones, and cadences
Listening:
J.S. Bach
“Es ist gewisslich an der Zeit” (“It Is Certainly the Time,” Chorale #260)
Prelude in C Major, from The Well-Tempered Clavier, Book 1
Ludwig van Beethoven, Piano Sonata in c minor, Op. 13 (Pathetique), 2 nd mvt.
Fanny Mendelssohn Hensel, “Neue Liebe, neues Leben”
Scott Joplin, “Solace”
Menken/Rice, “A Whole New World,” from Aladdin
W.A. Mozart
Piano Sonata in D Major, K. 284, 3rd mvt.
Variations on “Ah, vous dirai-je Maman”
J.P. Sousa, “The Stars and Stripes Forever”
Part 3 Chromatic Harmony and Form
Chapter 22: Modulation to Closely Related Keys
Common Pivot-Chord Modulations
Other Pivot-Chord Modulations
Direct Modulations
Locating Modulations
Modulations in Music Contexts
Quiz
Listening:
Anonymous, Minuet in d minor, from the Anna Magdalena Bach Notebook
J.S. Bach
“Er Kommt” (“He Comes”), from Cantata No. 140, “Wachet auf”
“O Haupt voll Blut und Wunden” (“O Head, Full of Blood and Wounds”)
Muzio Clementi, Sonatina in C Major, Op. 36, No. 1, 1 st mvt.
Archangelo Corelli
Allemanda, from Trio Sonata in a minor, Op. 4, No. 5
Prelude, from Trio Sonata in d minor, Op. 4, No. 8
W.A. Mozart, Piano Sonata in D Major, K. 284, 3 rd mvt.
Franz Schubert, “Nur wer die Sehnsucht kennt (Lied de Mignon)” (“Only One Who Knows Longing”)
Chapter 23: Binary and Ternary Forms
Binary Form
Ternary Form
Quiz
Listening:
Anonymous, Minuet in d minor, from the Anna Magdalena Bach Notebook
Joseph Haydn, String Quartet in d minor, Op. 76, No. 2, 3 rd mvt.
W.A. Mozart, Piano Sonata in D Major, K. 284, 3 rd mvt.
Dominico Scarlatti, Sonata in G Major, L. 388
Robert Schumann, “Trallerliedchen” (“Humming Song”), from Album for the Young, Op. 68, No. 3
J.P. Sousa, “The Stars and Stripes Forever”
Chapter 24: Invention , Fugue, and Other Contrapuntal Genres
Baroque Melody
Invention and Fugue: The Exposition
Episodes and Later Expositions
Special Features
Double and triple fugues and stretto
Quiz
Project: Analyze Various fugues
Compose an original fugue
Listening:
J.S. Bach
Fugue in C Major, from The Well-Tempered Clavier, Book 1
Fugue in c minor, from The Well-Tempered Clavier, Book 1
Fugue in d# minor, from The Well-Tempered Clavier, Book 1
Fugue in Eb Major for Organ (St. Anne)
Invention in c minor
Invention in d minor
Prelude, from Cello Suite No. 2 in d minor (BWV 1008)
W.A. Mozart, Kyrie eleison, from Requiem
Review/Quarterly Exam 3
Marking Period IV
April 13 – June 15
AP Practice Exam #1
Sight-Singing Part IV
Review of Part I
Ed Sueta Rhythm Vocab Charts, Book 2
Review of Part II
Melodic and Harmonic Analysis, Figured Bass Realization
Review of Part III
Phrase Analysis
Free Response Practice #1 - #7
Previous Exam Samples
AP Practice Exam #2
Actual AP Exam Scheduled in May
Remainder of Marking Period IV
For the remainder of MP IV, students will be encouraged to work on original compositions using all the part
writing strategies learned this year.
Students will learn about instruments of various ensembles as well as their ranges and characteristics, then
arrange a short chorale for a small chamber group.
Listening List
Below is a list of composers whose music we may listen to and/or analyze.
Vivaldi
Berlioz
Listz
Tchaikovsky
Schoenberg
Stravinsky
Debussy
Bartok
Mahler
Shostakovich
Rachmaninoff
Holst
Satie
Bernstein