AP Music Theory at the Career Center Chris Garmon, Instructor

Size: px

Start display at page:

Download "AP Music Theory at the Career Center Chris Garmon, Instructor"

Milton Dickerson
5 years ago
Views:

1 Some people say music theory is like dissecting a frog: you learn a lot, but you kill the frog. I like to think of it more like exploratory surgery Text: Tonal Harmony, 6 th Ed. Kostka and Payne (provided) Tonal Harmony 6 th Ed. Workbook, Kostka and Payne (not provided) A New Approach to Sight Singing, 4 th Ed. Ed. Berkowitz, et al. (provided) Modus Vetus, Edland, Lars; trans. Alan Stout(provided) MacGamut 6 ear training software (not provided) Barron s AP Music Theory (recommended) Objectives: 1. To develop your ability to recognize and understand the basic functions and processes in ANY music heard or written. 2. To obtain college credit by successfully passing the Advanced Placement Music Theory Exam (Test Date: Monday, May 14, 2012) Materials: 1. One 2 three ring binder with regular paper and staff paper (8.5X11) 2. Tonal Harmony 6 th Ed. Workbook ($56.00)* 3. MacGamut 6 ear training software ($32.00)* 4. Pencils (mechanical.5 mm recommended) NO CREDIT FOR WORK DONE IN PEN 5. USB Flash Drive 1 gig minimum Grading Scale: Quizzes 25% Tests 35% Homework 20% Performance 20% A = Superior Performance B = Good Performance C = Satisfactory Performance D = Poor Performance F = 69 & below Failing Welcome to the wonderful world of Music Theory! This is a challenging, yet rewarding class both in book work and ear training. Material is presented by lecture and software. There is a large amount of drill and practice, but with endurance, students will achieve at a high level. Keys to Success in AP Music Theory Organization Participation Communication Persistence *Check for materials ($85.00) payable to The Career Center and due on or before August 31, 2011.

2 Course Outline First Quarter (9-Weeks) Aug. 25 Oct. 27 Week(s) Chapter Concepts Aural Performance Elements of Pitch: major scales, minor scales, modal scales, pentatonic scales, and whole tone scales Elements of Rhythm and Meter Duration symbols, meter, time signatures, etc Triad and 7 th Chord Construction Inversions, Figured bass, etc Diatonic Chords in Major and Minor Keys Simple step-wise 3, 5, 7, & 10 note patterns in major mode and treble cleff Rhythmic, melodic, scale and interval identification Melodic, scale and interval identification, triad and 7 th chord identification Melodic (some larger skips, simple and compound meters, treble and bass clefs, major and minor modes Sight-singing simple melodies with conjunct motion in major mode with solfege in treble cleff, sing scales Sight-Singing with conjunct motion small intervallic leaps, bass and treble cleffs Sight-singing mostly conjunction motion with larger skips, simple rhythms, treble and bass cleffs, modes Melodies conjunct motion with larger intervallic leaps, melodies in modes, simple meter, treble and bass cleffs, Notation, key signatures, major and minor scales, scale degree names, intervals (P, M, m, +, ), simple and compound intervals, inversions of intervals Symbols of duration, beat, tempo, meter, time signatures, rhythmic notation and patterns Triads and 7 th chords and inversions, inversion symbols and figured bass, lead sheet symbols, various chord textures Triads and 7 th chords, diatonic chords in, Roman numerals, figured bass, realization of figured bass and of Roman Numeral progressions

3 Course Outline Second Quarter (9-Weeks) Nov. 1 Jan. 20 Week(s) Chapter Concepts Aural Performance , 6 Voice Leading, Root Position Part Writing , 8, 9 Progression, Triads in First Inversion, Triads in Second Inversion Cadences, Phrases, and Periods Short (S-B only with chord symbols), develop a strategy for Simple in keys, continued intervals, triads, and 7 th chords 2 phrase melodic and in, cadences, phrase structure Melodies conjunct motion with larger intervallic leaps, melodies in modes, other church modes, and pentatonic scales simple meter, treble and bass cleffs Longer diatonic melodies, larger intervals (6 th ), major and minor, simple and compound meters, treble and bass clefs 2-voice sightsinging melodies, major and minor, authentic melodies from music literature Melodic line (including contour, harmonization of the melody, rhythm, appropriate leaps, and tendency tones), notating a chord, voicing a single triad, spacing, parallel motion, unequal fifths and octaves, root-position writing in 4-voice texture Sequences and the Circle of Fifths progression, part writing triads in first and second inverstions, realization of Roman numeral progressions, analysis of Bach Chorales Cadences, phrase structure, motives, part-writing practice in groups, part writing in minor, harmonization practice 18 Catch up and Review for Semester exam, harmonization project Practice sight singing modal, pentatonic, and whole tone scales and melodies derived from these scales. Introduce modal and pentatonic scale, whole tone scale, compositional exercises in melodies using modal, pentatonic, and whole tone scales

4 Course Outline Third Quarter (9-Weeks) Jan 24 Mar. 28 Week(s) Chapter Concepts Aural Performance , 12 Non Chord Tones The V 7 Chord The II 7 and VII 7 chords , 17 Secondary Functions Modulations Using Diatonic Common Chords Melodic nonchord tones V 7 V 7, II 7 and VII 7 secondary dominant chords and secondary leading-tone chords Melodic modulations Melodies nonchord tones Melodies with chromatic alterations Sight-singing items Analysis of ples Melodies from s, practice in language lab in treble and bass clefs, major and minor modes, simple and compound meters, diatonic and chromatic non-chord tones Continued exam practice Passing tones, neighbor tones, suspensions, retardations, appoggiaturas, escape tones, neighbor groups, anticipations, pedal point, analysis of literature and non chord tones V 7 chord in root and inverted positions, voice leading considerations More practice with V 7, II 7 and VII 7 chords in root and inverted positions, completeino of examples including analysis Secondary dominant chords (spelling and recognizing), secondary leadingtone chords (spelling and recognizing), deceptive resolutions of secondary dominants Modulation and change of key, modulation and tonicization, key relationships, modulation, analyzing modulations

5 Course Outline Fourth Quarter (9-Weeks) Apr. 9 June 7 th Week(s) Chapter Concepts Aural Performance 28 Complete 2008 Released Exam Binary and Ternary Forms Continued Review and Practice for Exam 33 AP Exam, Monday May 14, Final Projects Practice and review interval, triad 7 th, chord identification, melodic and Continued Practice with examples Binary and ternary forms, rounded binary forms, 12- bar blues, rondo, strophic, theme and variations, analysis of music literature

AP Music Theory Syllabus

AP Music Theory Syllabus Instructor: T h a o P h a m Class period: 8 E-Mail: tpham1@houstonisd.org Instructor s Office Hours: M/W 1:50-3:20; T/Th 12:15-1:45 Tutorial: M/W 3:30-4:30 COURSE DESCRIPTION: