Download AP Theory Syllabus - Pequannock Township High School

A. P. Music Theory
2013-2014
Grades 10-12
Ms. Socha
[email protected]
973-616-6000 ext. 6123
Purpose
Students enrolled in this course will learn the materials of Music Theory as set forth in the guides
published by the Education Testing Service, in preparation for taking the AP exam in Music Theory.
Students will study harmony, counterpoint, ear training, melodic and harmonic dictation, voice leading,
non-harmonic tones, modulation, and other aspects of how music is created. Through a combination of
written work, listening exercises, and sight-singing, they will gain proficiencies in those areas crucial to
success on the AP exam.
Student Outcomes
The students will be able to:
a. Notate pitch and rhythm in accordance with standard notation practices.
b. Read melodies in treble, bass, and movable C clefs.
c. Write, sing, and play major scales and all three forms of minor scales.
d. Recognize by ear and by sight all intervals within an octave.
e. Use the basic rules that govern music composition.
f. Harmonize a melody with appropriate chords using good voice leading.
g. Analyze the chords of a musical composition by number and letter name.
h. Transpose a composition from one key to another.
i. Express musical ideas by composing and arranging.
j. Understand and recognize basic musical forms: ternary, binary, rondo, etc.
k. Write simple rhythmic, melodic, and harmonic dictation.
Expanded Course Objectives (adapted from AP Central.collegeboard.com)
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8.
Identify and notate pitch on four clefs and midi octave designation
Notate, hear and identify simple and compound meter
Notate and identify all major and minor key signatures
Hear, identify and notate chromatic, major and 3 forms of minor scales
Correct utilization of scale degree names
Hear, identify, notate and transpose in the Dorian, Mixolydian, Lydian and Phrygian modes
Hear, identify, and notate whole tone and pentatonic scales
Transpose melodic lines for all common instruments of band and orchestra to and from
concert pitch
9. Hear, identify and notate all intervals major, minor, diminished and augmented within an
octave. Hear, identify, and notate triads and inversions
10. Hear, identify and notate half, Phrygian half, plagal, perfect authentic, imperfect authentic
and deceptive cadences in major and minor
11. Detect errors in pitch and rhythm aurally and visually
12. Notate a melody from dictation of 6 to 12 measures in simple or compound meter, with
mostly diatonic pitches in major with 3 or 4 repetitions
13. Notate a melody from dictation of 6 to 12 measures in simple or compound meter utilizing
chromatic alterations for harmonic or melodic minor with 3 or 4 repetitions
14. Sight sing a melody of 4 to 8 measures in a major or minor key in simple or compound meter
using solfege syllables
15. Notate and analyze 2 bar counterpoint in 16th-18th century styles
16. Realize a figured bass according to the rules of the Common Practice Period in major and
minor utilizing diatonic triads and inversion, seventh chords and inversions, non-harmonic
tones and secondary dominant and leading tones
17. Analyze a 4-part chorale using Roman and Arabic numerals to label chords and inversions
18. Hear, identify and notate non-harmonic tones including accented and unaccented passing
tones, upper and lower neighbors, appoggiatura, escape tones, retardations, pedal tones,
anticipation, and suspensions
19. Notate the soprano and bass pitches of a 4-part harmonic dictation of the Common Practice
Period and give Roman and Arabic analysis in 4-8 measures in major or minor with
inversion, seventh chords, and secondary function in 3 to 4 repetitions
20. Compose a melody or expand a motive 6 to 12 measures long given specific directions on
key, mode, phrasing, rhythm.
21. Harmonize a 4-12 bar melody writing a bass line and appropriate chord symbol analysis
given direction about key, mode, phrasing, rhythm, and harmonic language
22. Define common tempo and expression markings
23. Identify aurally and visually modulation, transposition, melodic and harmonic rhythm,
sequence, imitation, ostinato, augmentation, diminution, inversion, retrograde, and
fragmentation
24. Recognize standard musical algorithms
Evaluation
Trimester period grade:
50% Tests/Quizzes
20% Quarterly
20% Projects
10% Homework
All assignments are to be turned in on the date they are due. Any work handed in late is subject
to a 5% loss of credit per day late with a maximum of 10 days late. For example, if a student hands in
an assignment one day late, and the total amount of points for the assignment was 100 points, the
maximum score the student can receive is a 95.
As stated in the student handbook, students must make up required work missed during an
excused absence. Students have one day of make up time for each day of excused absence. Students
will not lose the 5% credit as long as the work is turned in during the make up time allotted.
As stated in the student handbook, work missed during truancies or cuts cannot be made up. The
student will receive zero credit for that work.
Textbook and Materials
Textbook: Kostka and Payne, Tonal Harmony, 7th edition. McGraw Hill. © 2013.
Workbook: Kostka and Payne, Workbook for Tonal Harmony, 7th edition. McGraw Hill. © 2013.
Other resources provided (including but not limited to):
Scoggin, Barron’s AP Music Theory. Barron’s. © 2010.
Berkowitz, Fontrier, Kraft, A New Approach to Sight Singing, 4th edition. W.W. Norton. © 1997.
Burkhart, Charles, Anthology for Musical Analysis, 6th edition. Thomson Schirmer. © 2004.
Burkholder, J. Peter, Norton Anthology of Western Music, 5th edition. W.W. Norton. © 2006.
Gauldin, Robert, Workbook for Harmonic Practice in Tonal Music. W.W. Norton. © 1997.
Kazez, Daniel, Rhythm Reading, 2nd edition. W.W. Norton. © 1997.
Laitz, Steve, The Complete Musician. Oxford University Press. © 2003.
Spencer, Peter, The Practice of Harmony, 3rd edition. Prentice Hall. © 1996.
Other Materials You Must Provide:
 PENCILS
 1.5-inch 3-ring binder
 Staff paper
 4x6 note cards; one side must be blank. Will need at least 100.
 Note card file box
 Whiteboard markers (assorted colors)
 Highlighters
Website Resources:
http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/2261.html
http://www.artsalive.ca/en/mus/greatcomposers/
http://www.musictheory.net/
http://teoria.com/index.php
http://artsedge.kennedy-center.org/educators.aspx
http://dsokids.com/
http://www.merlot.org/merlot/materials.htm?category=2181
http://folkblues.com/theory/circle_5ths.htm
http://practicespot.com/theorycenter.phtml?t=59
http://www.music.vt.edu/musicdictionary/appendix/scales/solmization/syllables.html
Scope and Sequence
Theme/Unit &
Time Frame
Standard(s) Culminating Tasks and/or Assessment Tool(s)
Weeks 1-3
Sept. 4-20
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.4.12.A.1
Weeks 4-6
Sept. 23-Oct. 11
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.4.12.A.1
Written skills: notation, key signatures, time signatures, major and minor
scales, and modes
 Kostka-Payne, Chapters 1 and 2
 Barron’s, Chapters 1 through 3
Ear training: melodic dictation, 3-5 note patterns, sing scales
Written skills: intervals including inversions, continue to drill scales and
key signatures, pentatonic scales, whole-tone scales
 Kostka-Payne, Chapters 1-2
 Barron’s, Chapters 3 and 5
Ear training: write short stepwise melodies (7-12 notes), introduce intervals
(M-m 2 and M-m 3, then add P4 and P5), sing scales
Weeks 7-8
Oct. 14-25
Weeks 9-11
Oct. 28- Nov. 15
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.4.12.A.1
Written skills: triads and seventh chords
 Kostka-Payne, Chapters 3-4
 Barron’s, Chapter 5
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
Written skills: triad and chord identification, introduction to part writing
and harmonic progression
 Kostka-Payne, Chapters 5 and 6
 Barron’s, Chapters 5, 8 and 9
Ear training: continue to drill scales and short stepwise melodies, add
another set of intervals, recognize triad quality and inversion
1.3.12.B.4
1.4.12.A.1
Weeks 12-15
Nov. 18-Dec. 13
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Ear training: continue to drill scales, triad quality, intervals (add M-m-6),
short stepwise melodies
Written skills: writing short progressions with given soprano or bass,
concentrating on primary triads in root position. Discuss writing good
melodies. Melody writing using simplified first-species counterpoint rules
or soprano-bass counterpoint. Recognize harmonic intervals, parallel fifths
and octaves, work some with modes, conjunct melodies with good shape.
 Koskta-Payne, Chapters 6 and 7
 Barron’s, Chapters 8, 9 and 10
Ear training: test basic skills on triad and scale identification, identify all
intervals, continue to drill short melodies and sing stepwise motion
Weeks 16-17
Dec. 16 - Jan. 3
Weeks 18-19
Jan. 6-17
Weeks 20-22
Jan. 20- Feb. 7
Weeks 23-24
Feb. 10-21
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: extend length of progressions, add first inversion triads
 Kostka-Payne, Chapter 8
 Barron’s, Chapters 5 and 9
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: introduce second inversion triads
 Kostka-Payne, Chapter 9
 Barron’s, Chapter 5
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: introduce V7 and inversions
 Kostka-Payne, Chapter 13
 Barron’s, Chapter 6
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: introduce secondary triads and their inversions. Harmonize
8-12 measure hymn.
 Kostka-Payne, review Chapter 7
 Barron’s, Chapter 13
Ear training: triad, scale, and interval identification assessments, melodies
using I and V, sight-singing simple, mostly stepwise melodies
Ear training: basic skills tests continue. Harmonic progressions add the IV
triad. Melodic dictation and sight-singing stay within the same parameters
Ear training: basic skills tests continue. Harmonic dictation continues to
concentrate on primary triads and V7, but inversions are added. Melodic
dictation and sight-singing begin to include melodies with small skips.
Ear training: harmonic dictation adds the ii triad. Melodic dictation and
sight-singing remain the same.
Project: short composition assigned.
Week 25
Feb. 24-28
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
Written skills: introduce nonharmonic tones, figured bass exercises with
nonharmonic tones.
 Kostka-Payne, Chapters 11 and 12
 Barron’s, Chapters 6 and 10
1.3.12.B.4
1.4.12.A.1
Weeks 26-27
Mar. 3-14
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Week 28
Mar. 17-21
Weeks 29-30
Mar. 24- Apr 4
Week 31
Apr 7-11
Ear training: introduce identification of nonharmonic tones. Other dictation
continues with same skills.
Written skills: homework includes all triads and nonharmonic tones and
may be given melodies, bass lines with figured bass, fragments of soprano
and bass mixed, or drill part-writing skills.
 Kostka-Payne, review Chapters 7-13
 Barron’s, Chapters 5-6, 8-10
Ear training: harmonic dictation starts to add other triads. Other dictation
continues with the same skills.
First practice AP exam administered. Composition projects due.
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: introduce secondary functions (secondary dominant and
secondary leading tone), motives, phrases and periods.
 Kostka-Payne, Chapters 10 and 17
 Barron’s, Chapter 13
1.1.12.B.1
1.1.12.B.2
1.3.12.B.1
1.3.12.B.2
1.3.12.B.3
1.3.12.B.4
1.4.12.A.1
Written skills: introduce modulation to closely related keys, contrapuntal
devices, and review melody writing.
 Kostka-Payne, Chapter 18
 Barron’s, Chapter 12
Ear training: harmonic dictation includes all triads. Melodic dictation and
sightsinging become more complex. Start to add phrase structure and
small form identification.
Ear training: more of the same, play melodies on different instruments to
expose students to something other than piano sounds
Project: Bach chorale analysis
Week 32
Apr. 21-25
Second practice exam administered.
Weeks 33-34
Apr. 28-May 9
AP free-response problems, vocabulary review, etc.
Monday, May 12
AP Music Theory Examination
Weeks 35-39
May 14-June 13
1.3.12.B.2
1.3.12.B.3
Students work on their final compositional projects.
Classroom Rules:
All students will observe the Pequannock Township High School Code of Conduct and tardiness
policies outlined in the student handbook.