AP Music Theory Syllabus

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1 AP Music Theory Syllabus Course Overview AP Music Theory is designed for the music student who has an interest in advanced knowledge of music theory, increased sight-singing ability, ear training composition. The course will provide a solid foundation in interval identification, scale structures, rhythmic patterns, terminology. This course will serve to prepare the student for the Advanced Placement Music Theory exam. Primary Texts: Benward Saker Music In Theory Practice, Volume 1 (listed as in course pacing document) Seventh Edition, 2003 We are using the 8 th Edition this year, all assignments will have to be updated. Crocker Eilers Choral Approach to Sight-Singing, Volume 1 Volume 2 (listed as CATSS in course pacing document) 1990, Hal Leonard Publications Supplemental Material (highly suggested) Ear-Training Software Publisher- MacGAMUT Item Info- MacGAMUT 2003 USER DISK Ordering Info- follow links to "purchase" Benward Saker Music In Theory Practice, Volume, 1 Ed. 7 by Bruce Benward & Marilyn Saker (listed as workbook in course pacing document) Seventh Edition, Publisher- McGraw Hill th Edition ISBN # Ordering Info- call(800) Barron s AP Music Theory 2010 Edition available on Amazon.com Smart Music available at local music dealers (Bertrs Music Store is closest to us) Other Resources (free web sites): Theory Tutorials/Practice Listening Analysis Tool 1

2 Music Dictionary Invention Fugue Analysis: Midi/Score collection of Bach Prior to class meeting: 1. Read syllabus determine if your schedule would allow you to complete the course successfully. 2. Check out your book CD from the School Library. 2

3 Objectives: At the conclusion of the AP Music Theory course, students will be able to: Notate pitch rhythm utilizing stard notation practices as well as use computer generated music notation software. Define basic musical terms. Demonstrate ability to read music notation in treble, bass moveable C clefs. Write simple rhythmic, melodic harmonic dictation. Perform notate all major melodic minor scales as well as chromatic, whole tone pentatonic scales. Analyze identify intervals, chords harmonic progressions including voicing. Identify intervals chords played aurally. Recognize basic musical forms: ternary, binary, rondo Analyze harmonic structure utilizing Roman numerals figured bass. Transpose melodies for a variety of instruments. Create an original composition or arrange a composition for multiple instruments. Create a 16-measure counterpoint composition using the rules of counterpoint. 3

4 Curriculum Requirements: CR1 The course first helps students master the rudiments terminology of music, including: notational skills, intervals, scales keys, chords, metric organization, rhythmic patterns. The course includes composition of a bass line for a given melody, implying appropriate harmony. The course includes realization of a figured bass. The course includes realization of a Roman numeral progression. The course includes analysis of repertoire, including study of motivic treatment, examination of rhythmic melodic interaction between individual voices of a composition, harmonic analysis of functional tonal passages. The course incorporates a brief introduction to twentieth-century scales, chordal structures, compositional procedures, either through analysis or original composition. The course teaches functional triadic harmony in traditional four-voice texture (with vocabulary including nonharmonic tones, seventh chords, secondary dominants). CR8 The course teaches tonal relationships. CR9 The course teaches modulation to closely related keys. CR10 The course teaches stard rhythms/meters. CR11 The course teaches phrase structure. CR12 The course teaches small forms (e.g. rounded binary, simple ternary, theme variation, strophic). Music skills are developed through listening (discrete intervals, scales, etc.; dictations; excerpts from literature). Musical skills are developed through sight-singing. Musical skills are developed through written exercises. Musical skills are developed through creative exercises. Musical skills are developed through analytical exercises. CR18 The course includes, but is not limited to, study of a wide variety of vocal instrumental music from the stard Western tonal repertoires. 4

5 Pacing Guide Assignments are due at start of class meeting Week Goal Assignments/Activities Assignments CR One 1/23/08 Two 1/28/08 Notation Sight-Singing Scales, Tonality, Key, Modes Sight-Singing Review of basic concepts of notation Notation of pitch staff Note letter names Ledger lines The clefs Accidentals Intervals Enharmonics Notation of duration The tie The dot Rhythm Meters Dynamic markings History of notation development Introduction of movable solfege scale degrees Introduction of whole steps half steps major scale pattern minor scale forms scale degree names scale relationships tonality key pentatonic scale chromatic scale whole-tone scale blues scale non-western scales modes History of scale development usage in historical periods Continue development of sight-singing skills include arpeggio Read Chapter 1 Do pg workbook pg. 1 5 Class quiz Page 6 Additional assg: Compose a piece using non traditional notation instruments. CATSS, bk. 1 Page 6 12 Read Chapter 2 Do pg Pg Class quiz Page By the end of the quarter students are to perform full range major, minor, chromatic scales CATSS, bk. 1 Page CR1 CR10 C16 CR1 CR8 5

6 Three Four 2/5 2/11 Five Six 2/18 2/25 during break Mid- Term Seven Intervals Transposition Introduction of: intervals interval numbers Perfect, Major, Minor Intervals Augmented Diminished Intervals Enharmonic Intervals Tritone Inverted intervals Compound intervals Transposition Historical Development of: Tuning systems Pythagorean tuning Just intonation Unequal temperaments Equal temperaments Read Do pg Page Using one of the tuning systems create your own instrument. Be prepared to perform on the instrument explain the tuning system you used. Sight-Singing More practice of sight-singing CATSS, bk. 1 Page 25 Chords Introduction of terms: Harmony Read Chord Do pg Triad Triad root Major, Minor, Augmented, Diminished triads Page Root position, first, second inversions Select sheet Triads on scale degrees music to one of your favorite Primary triads songs do a Harmonic Analysis Roman Roman Numeral Analysis Numeral Triad positions Popular Music Seventh Chords Symbol Seventh Chord Analysis Analysis. Figured Bass Figured Bass Symbols Macro Analysis Popular music symbols Sight-Singing Continue sight-singing development CATSS, bk. 1 Page Cadences Nonharmonic Theory Analysis Sight-Singing performance Introduction of: Phrase Read CR1 CR1 6

7 Eight 3/3 3/10 Tones Harmonic Cadence o Perfect Authentic o Imperfect Authentic o Half o Plagal o Deceptive Rhythmic Cadence Nonharmonic Tones o Rhythmic placement Unaccented nonharmonic tones o Passing o Neighboring o Escape o Anticipation Accented nonharmonic tones o Passing o Neighboring o Suspension o Retardation o Appoggiatura Successive Passing Tones Changing Tones Pedal Tone Historical development of cadences Do pg Pg Each book workbook assignment includes composition opportunities as well as analysis opportunities. Sight-Singing Include syncopation CATSS, bk. 2 Page 6 CR11 7

8 Nine Ten 3/17 3/24 Melodic Organization Introduction of compositional techniques: Melodic motive Rhythmic motive Sequence o Real o Tonal o Modified o False Phrase Period o Parallel period o Contrasting period o Three-phrase period o Double period o Repeated phrases Phrase modification Melodic structure Historical development of phrases Read Do pg Pg Quiz Pg Each book workbook assignment includes composition opportunities as well as analysis opportunities. CR8 CR11 Eleven 3/31 Sight-Singing Include variety of time signatures CATSS, bk. 2 Page 19 Texture Introduction of compositional techniques: Read Texture Do pg. 143 Density 148 Range Monophonic Polyphonic Homophonic Do pg Homorhythmic Each book Primary melody workbook Secondary melody assignment Harmonic rhythmic includes support composition Historical development of texture opportunities as well as analysis opportunities. Sight-Singing Include 6/8 time signature CATSS, bk. 2 Page 35 CR11 8

9 Twelve 3/31 Voice Leading Sight-Singing Introduction of compositional techniques: Species counterpoint Cantus Firmus Counterpoint Motion: parallel, contrary, oblique, similar Historical background of species counterpoint Characteristics of good melodies Writing 1 st Species Counterpoint Principles of voice leading Voice leading restrictions: oblique, parallel motion, similar motion Include accidentals chromatic intervals Read Do pg Do pg Quiz pg. 72 Each book workbook assignment includes composition opportunities as well as analysis opportunities. CATSS, bk. 2 Pg. 39 CR11 9

10 Thirteen Fourteen 4/7 4/14 Fifteen Sixteen 4/21 4/28 Seventeen Voice Leading in Four Voices Introduction of Compositional Techniques: Four-voice texture Analysis Stylistic practices Root position First Inversion for: o Smooth bass melodies o Melodic motion o Voice leading Second Inversion limitations: o Cadential o Passing bass o Arpeggiated bass o Pedal bass o Stylistic practices Rules of Voice Leading Voice Ranges Read Do pg Pg Each book workbook assignment includes composition opportunities as well as analysis opportunities. Sight-Singing Add multiple voices CATSS, bk. 2 Page 49 Harmonic Progressions Rhythm Sight- Reading Dominant Seventh Chord Introduction of Compositional Techniques: Harmonic Progression Relationship of Chords o Root relationships o Circle progression o Ascending fifths descending fourths o Ascending seconds o Descending thirds vii dim. Triad Harmonic Rhythm How to harmonize: o Melody o Chorale phrase o Folk familiar melodies o harmonic rhythm Historical development of harmonic progressions. Include modulation Introduction of Compositional Techniques: Dominant 7 th Chord Inversions of Dominant 7 th Read Do Pg Quiz page 95 Each book workbook assignment includes composition opportunities as well as analysis opportunities. CATSS, book 2 Page 58 Read Do pg. 207 CR11 CR8 CR9 CR11 10

11 Eighteen 5/5 5/12 Nineteen 5/19 Twenty 5/26 Macro Analysis Symbols Historical development of V7 Resolutions of V7 Circle progression Resolution nonresolution of the 7th 216 Pg CR8 CR9 Sight-Singing Review for AP test Leading Tone 7 th Chords Nondominant 7 th chords Modulation Introduction of Compositional Techniques: Modulation Closely related keys Common chord modulation Phrase Chromatic Analytical symbols for modulations Historical development of modulations Harmonizing melodies that modulate Read Do Pg CR8 CR9 Sight-Singing Review for AP test Forms Compositional Organization CR12 Techniques: Read 295 Two Part (Binary) Form 320 Simple vs. Compound Do Three-Part (Ternary) Form Do Exped ternary Rounded Binary Theme Variations Rondo Strophic 11

12 Teaching Learning Strategies Class begins with an identification of student s knowledge strengths through the use of giving a released AP Music Theory exam. Students are able to see what areas they need to address are made aware of the areas the exam covers. Introduction to basic music terminology symbolism is accomplished through identification of terms symbols on student s assigned music. Weekly assignments in music analysis as well as weekly work in sight-singing help prepare students for the AP exams. Students will also engage in creative assignments including composition arrangement. These will further strengthen student s knowledge application of music theory. Grading Policies The grading policy reflects the learning. Grades are based upon: graded homework 20% sight singing aural dictation 20% compositions 20% exams 40% Additional needs for AP Music Theory An improved sight-singing text is needed. The recommended text is: Author: Course: Progressive Sight Singing Carol Krueger, University of South Carol Music Theory 12

AP/MUSIC THEORY Syllabus

AP/MUSIC THEORY Syllabus 2017-2018 Course Overview AP Music Theory meets 8 th period every day, thru the entire school year. This course is designed to prepare students for the annual AP Music Theory exam.