Download UNIT 1: Intervals and Scales

AP Music Theory Quarter 1 UNIT 1: Intervals and Scales Students will know….. Standard Students Will Be Able to….. Standard Order of flats and sharps ­
Correct location on a staff Keys can be related through parallel or relative relationships AP MT.II.3 Notate and identify all major and minor key signatures. AP MT.II.3 Scale Patterns ­
Whole steps and half steps Scale Types ­
Major ­
Natural Minor ­
Harmonic Minor ­
Melodic Minor Scales and keys are related through harmonic and relative relationships AP MT.II.4 Determine the type of scale based on the whole and half step series associated with each particular scale through written notation. Determine the type of scale based on the whole and half step series associated with each particular scale through listening. AP MT.II.4 Ascending and descending intervals within one octave ● Perfect ● Major ● Minor ● Diminished ● Augmented Songs related to each interval Chords can be built on different scale degrees ­
Root, First, Second, and Third Inversions Each chord member has a different name The Number of Half steps between each interval AP MT.II.8 Determine the quality of ascending and descending intervals including major, minor, augmented and diminished through written notation. Identify the quality of ascending intervals including major, minor, augmented and diminished through listening. AP MT.II.8 Intervals with a Triad ­
(Major, Minor, Diminished, Augmented) Chords based on intervals of thirds ­
(Minor, Minor, ex.) Triads ● Inversions Seventh Chords ● Inversions AP MT.II.9 Evaluate quality of chords Major, Minor, Diminished and Augmented through written notation. Identify the quality of each type of interval through listening in harmonic/simultaneous performance of the chord. AP MT.II.9 1/7 AP Music Theory Quarter 2 UNIT 2: Chord Recognition, Cadences, and Figured Bass Students will know….. Standard Students Will Be Able to….. Standard APMT.IV.1 APMT.IV.3.A ​
Cadences ● Perfect Authentic ● Imperfect Authentic ● Half ● Plagal ● Deceptive APMT.IV.1 APMT.IV.3.A Identify Cadence types in a given excerpt from a major and minor key. Label Cadences from aural excerpt in a major and minor key. Non­Harmonic Tones ● Unaccented ● 1. Anticipation ● 2. Neighbor Tone ● 3. Incomplete Neighbor Tone ● 4. Escape Tone ● 5. Passing Tone ● Accented ● 1. Passing Tone ● 2. Neighbor Tone ● 3. Suspension ● 4. Appoggiatura ● 5. Portamento ● 6. Nonharmonic Bass ● 7. Pedal Tone ● Chromatic APMT.III.2 APMT.IV.2 APMT.IV.3B APMT.V.5 Realize a figured bass line for a given APMT.III.2 melody to create simple two­part APMT.IV.2 counterpoint in seventeenth and or APMT.IV.3B eighteenth century style Identify in a score non­harmonic tones Small­scale and large­scale harmonic procedures, including identification of non­harmonic tones Hear the previously listed non­harmonic tones Melodic Organization ● Motive ● Sequence ● Phrase ● Period ● Melodic Structure ● Metric Organization APMT.IV.4b APMT.V.7a Identify and implement melodic organization and developmental procedures, including melodic patterning Identify processes and materials in the context of musical literature representing a broad spectrum of genres, media, and styles, including melodic organization APMT.IV.4b APMT.V.7a UNIT 3: Counterpoint and Voice Leading in Primary Triads Students will know….. Counterpoint ● Harmonic Interval ● Cantus Firmus ● Species One ● Species Two Standard Students Will Be Able to….. APMT.II.8 APMT.III.1 Create simple two­part counterpoint in seventeenth­ and/or eighteenth­century style 2/7 Standard APMT.III.1 ●
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Species Three Species Four Species Five Chords, Inversions and Cadences ● Root ● 1st Inversion ● 2nd Inversion APMT.I.9 APMT.III.2 APMT.V.7.b APMT.V.7c Notate and identify triads and 7th chords including inversions Identify authentic, plagal, half, Phrygian half, and deceptive cadences in major and minor keys Small­scale and large scale harmonic procedures, including identification of cadence types APMT.II.9 APMT.IV.1 APMT.IV.3a Voice Leading Motion ● Similar ● Parallel ● Oblique ● Contrary APMT.III.2 Compose a bass line for a given melody to create simple two­part counterpoint in seventeenth­ and/or eighteenth­century style Melodic organization and developmental procedures, including melodic patterning APMT.III.1 APMT.IV.4b Progressions ● Harmonic ● Circle APMT.III.3 APMT.IV.3b Analyze the implied harmonies Small­scale and large­scale harmonic procedures, including Roman­numeral and figured­bass analysis APMT.III.1 APMT.IV.3b 3/7 AP Music Theory Quarter 3 UNIT 4: Voice Leading in secondary triads, Inversions, and Doubling. Students will know….. Standard Students Will Be Able to….. Standard Secondary triads consist of the 2,3,6,7 chords of both the major and minor scales. Secondary triads can be found in either major, minor, diminished or augmented form depending on the scale represented. Major scale: I, ii, iii, IV, V, vi, viio​
Natural minor scale: i, iio​
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, III, vi, v, VI, VII Harmonic minor scale: i, iio​
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, III+, iv, V, VI, viio​
Melodic minor scale: i, ii, III+, IV, V, vio​
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, viio​
APMT.II.4 APMT. II.8 Analyze an individual triad for the ​
APMT.II.4 chord quality(major, minor, dim. or APMT. II.8 aug.) Determine the type of scale being utilized based on the triad quality from various scale degrees. Construct 4­part chords from a given Roman Numeral series utilizing the correct accidentals based on the correct scale form. Doubling for Secondary chords in first inversion ­Double any triad factor that facilitates smooth voice leading. Favored notes are the soprano(most often) and bass. ­Never double the leading tone. ­Treat each first inversion triad in relation to surrounding chords. (There is not a preferred pattern of voice leading as in the case of root­position triads.) APMT.III.2 APMT.II.8 Determine similarities and differences in specific chord qualities regarding doubling in both major and minor scales. Construct 4­part chords using correct doubling procedures based on the given Roman Numeral series, including triads in an inversions. Utilize proper voice leading procedures while moving between chords. APMT.III.2 APMT.II.8 APMT.II.9 Identify the proper uses of a first inversion triad in secondary chords. Employ the guidelines for doubling first inversion triads to 4­part writing. APMT.II.9 APMT.III.2 Quick Doubling Chart DOUBLE POSITION & CHORD TYPE Root Root Position, M/m triads Soprano (or Bass) First inversion, M/m triads Bass Second inversion, M/m primary triads Bass First inversion, dim. triads (viio6​
​ and iio6​
​) Doubling for secondary chords in first inversion ­Double any triad factor that facilitates smooth voice leading. Favored notes are the soprano(most often) and bass. ­Never double the leading tone. 4/7 Apply the established voice leading rules regarding primary triads to secondary triads in 4­part writing. ­Treat each first inversion triad in relation to surrounding chords. There is not a preferred pattern of voice leading as in the case of root­position triads. Secondary triads for Major Keys: ­Never found in second inversion ­All found in first inversion o ­All found in root position except vii​
Secondary triads for Minor Keys: ­Never found in second inversion ­All found in first inversion ­Only major triads are found in root position, minor triads are usually first inversion. Diminished triad is used exclusively in first inversion iio6​
​ ­used before a dominant chord(double third/bass note) viio6 ​
​­dominant quality because this chord shares 2 notes with the V chord (double third/bass note and move all voices stepwise as much as possible) Second inversion­Only Primary chords are found in second inversion and they must only be used for the function of either: passing, cadential, or auxiliary/pedal bass. APMT.IV.3B Identify examples of each type of 6/4 APMT.IV.3.B chord progression. Explain the features of each type of 6/4 chord progression. Construct each type of 6/4 chord progression utilizing the proper chords found in each type. UNIT 5: Seventh Chords, Secondary Dominants Students will know….. 7th Chords ● Dominant ● Non­Dominant ● Leading Tone ● Major ● Minor ● Diminished ● Half­Diminished ● Minor Major Standard APMT.II.9 APMT.III.2 APMT.IV.3.b APMT.V.6 5/7 Students Will Be Able to….. Notate, hear, and identify triads and seventh chords including inversions Realize a figured bass according to the rules of 18th­Century chorale style, using seventh chords, dominant seventh chords, and inversions Small­scale and large­scale harmonic procedures, including Roman­numeral and figured­bass analysis including secondary dominant chords Standard APMT.II.9 APMT.III.2 APMT.IV.3.b APMT.V.6 Notate soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in 18th­century chorale style, with features including seventh chords in major and minor keys Secondary Dominants Borrowed Chords ● Approaching and leaving ● Treatment of the leading tone ● Function APMT.III.2 APMT.IV.3.b APMT.V.6 Realize a figured bass according to the rules of 18th­Century chorale style, using secondary dominants Small­scale and large­scale harmonic procedures, including Roman­numeral and figured­bass analysis including secondary dominant chords Notate soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in 18th­century chorale style, with features including secondary dominants in major and minor keys APMT.III.2 APMT.IV.3.b APMT.V.6 AP Music Theory Quarter 4 UNIT 6: ​
Analyze, Modulate, Create Students will know….. Standard Students Will Be Able to….. Standard Modulation ● Common chord ● Closely related keys ● Pivot chord ● Phrase modulation ● Direct modulation ● Chromatic modulation APMT.IV.3.c Identify and label a modulation within a given excerpt. Demonstrate how to find closely related keys APMT.IV.3.c APMT.V.7.a APMT.V.7.b Texture ● Monophony ● Homophony ● Polyphony APMT.IV.6.a APMT.V.7.f Identify the texture of an excerpt from aural and written excerpts APMT.IV.6.a APMT.V.7.f Form ●
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APMT.V.7.g Identify the form of an excerpt from aural and written excerpts Compose a short work in a given form APMT.IV.4.c APMT.V.7.g Binary Ternary Introduction Song Form Coda/Codetta 6/7 7/7