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AP Music Theory Syllabus Mr. Stepneski Block 1 Course Description The purpose of this course is to: • • • 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 • 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: • • • • • • • • • • 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 • Harmonize a melody with appropriate harmonic progression • • • Materials, Texts, and Resources • • • • • • • • 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