Chapter 1 : Developing Musicianship Through Aural Skills : Mary Dobrea-Grindahl : Simple meter, rests and phrases: the major mode, major triads and tonic function --Compound meters, ties and dots: the minor mode and inverted triads --Changing meter: the second division in compound meter: the dominant sound --Triplets and duplets: seventh chords and predominant function --Less common meters: C clefs and harmonic. Week 1 Ear Training: Intervals, triads, and scales Sight Singing: Rhythm - Simple meters; the beat and its division into two parts. Weeks 2 and 3 Chapter 2 â Elements of Rhythm â Rhythm; durational symbols; beat and tempo; meter; division of the beat; simple time signatures; compound time signatures. Intervals, triads, and scales Sight Singing: Rhythmic Dictation - Simple meters, seconds, thirds, and fourths. Melody - stepwise melodies, major keys; Rhythm - simple meters; the beat and its division into two parts. Weeks 6 and 7 Chapter 4 â Diatonic Chords in Major and Minor Keys â Minor scale; diatonic triads in major; diatonic triads in minor; diatonic seventh chords in major; diatonic seventh chords in minortonic triad Ear Training: Melodic Dictation - fifths, sixths, and octaves; Harmonic dictation - four part settings of the tonic triad. Melody - Intervals from the tonic triad, major keys; Rhythm - simple meters. Weeks 8 and 9 Chapter 5 â Principles of Voice Leading â the melodic line; notating chords, voicing a single triad; parallel motion. Rhythmic dictation - beat subdivision by 2; Melodic dictation - the tonic triad and dominant seventh; Harmonic dictation - the tonic triad and dominant seventh. Melody - intervals from the tonic triad, major keys; Rhythm - compound meters; the beat and its division into three parts. Weeks 1 and 2 Chapter 6 â Root Position Part Writing â Root position part writing with repeated roots; root position part writing with roots a 4th 5th apart; root position part writing with roots a 3rd 6th apart; root position part writing with roots a 2nd 7th apart; instrumental ranges and transpositions. Rhythmic dictation - beat subdivision by 4, anacrusis; Melodic dictation - primary triads and the dominant seventh; Harmonic dictation - primary triads and the dominant seventh, cadential tonic six-four. Melody - minor keys, intervals from the tonic triad; Rhythm - simple and compound meters. Rhythmic dictation - dots and ties; Melodic dictation - minor mode; Harmonic dictation - minor mode, first inversion of triads. Melody - intervals from the dominant V triad, major and minor keys; Rhythm - simple and compound meters. Weeks 5 and 6 Chapter 8 â Triads in First Inversion â bass arpeggiation; substituted first inversion triads; parallel sixth chords; part writing first inversion triads; soprano-bass counterpoint. Melodic dictation - the supertonic triad; Harmonic dictation - the supertonic triad, inversions of V7. The C Clefs - alto and tenor clefs. Weeks 7 and 8 Chapter 9 â Triads in Second Inversion â bass arpeggiation and the melodic bass; the cadential six-four; the passing six-four; the pedal six-four; part-writing for second inversion triads. Rhythmic dictation - compound meter; Melodic dictation - all diatonic triads; Harmonic dictation - all diatonic triads. Melody - further use of diatonic intervals; Rhythm - simple and compound meters. Review Chapters 1 through 9 Semester One Exam. Page 1
Chapter 2 : AP Music Theory - Shadow Ridge High School Music Effortlessly read all four common clefs. Understand common musical symbols and terms. Recognize and sing important harmonic features such as dominant seventh and Neapolitan chords. This schedule is approximate, as classes may move slower or faster from one year to another. Written homework and reading assignments are given at each class period. First Marking Period, Part 1 4 weeks Week 1 Review Teacher may assign a pre-test or worksheet encompassing the first 4 chapters to be completed before the first day of class. Chapter 1 â Elements of Pitch - Keyboard and octave registers; notation of the staff; major scale; major key signatures; minor scales; minor key signatures; scale degree names; intervals; perfect, major, and minor intervals; augmented and diminished intervals; inversion of intervals; consonant and dissonant intervals. Intervals, triads, and scales Sight Singing: Rhythmic Dictation- Simple meters, seconds, thirds, and fourths. Melody- stepwise melodies, major keys; Chapter 3 Rhythm- simple meters; the beat and its division into two parts. Chapter 4 â Diatonic Chords in Major and Minor Keys â Minor scale; diatonic triads in major; diatonic triads in minor; diatonic seventh chords in major; diatonic seventh chords in minor. Melodic Dictation- fifths, sixths, and octaves; Harmonic dictation- four part settings of the tonic triad. Melody- Intervals from the tonic triad, major keys, Chapter 3 continued; Rhythm - simple meters. Week 2 Chapter 5 â Principles of Voice Leadingâ the melodic line; notating chords, voicing a single triad; parallel motion. Rhythmic dictation- beat subdivision by 2; Melodic dictation- the tonic triad and dominant seventh; Harmonic dictation- the tonic triad and dominant seventh. Melody- intervals from the tonic triad, major keys; Rhythm- compound meters; the beat and its division into three parts. Week 3 Chapter 6 â Root Position Part Writing â Root position part writing with repeated roots; root position part writing with roots a 4th 5th apart; root position part writing with roots a 3rd 6th apart; root position part writing with roots a 2nd 7th apart; instrumental ranges and transpositions. Rhythmic dictation - beat subdivision by 4, anacrusis; Melodic dictation - primary triads and the dominant seventh; Harmonic dictation - primary triads and the dominant seventh, cadential tonic six-four. Melody - minor keys, intervals from the tonic triad, Chapter 5 Rhythm - simple and compound meters. Rhythmic dictation - dots and ties; Melodic dictation - minor mode; Harmonic dictation - minor mode, first inversion of triads. Melody - intervals from the dominant V triad, major and minor keys, Chapter 6 Rhythm - simple and compound meters. First Marking Period, Part 2 5 weeks Week 1 Chapter 8 â Triads in First Inversion â bass arpeggiation; substituted first inversion triads; parallel sixth chords; part writing first inversion triads; soprano-bass counterpoint. Melodic dictation - the supertonic triad; Harmonic dictation - the supertonic triad, inversions of V7. The C Clefs - alto and tenor clefs, Chapter 7 Week 2 Chapter 9 â Triads in Second Inversion â bass arpeggiation and the melodic bass; the cadential six-four; the passing six-four; the pedal six-four; part-writing for second inversion triads. Rhythmic dictation - compound meter; Melodic dictation - all diatonic triads; Harmonic dictation - all diatonic triads. Melody - further use of diatonic intervals, Chapter 8 Rhythm - simple and compound meters. Week 3 Chapter 10 â Cadences, Phrases, and Periods â Musical form; cadences; cadences and harmonic rhythm, motives and phrases; period forms. Rhythmic dictation - triplets; Melodic dictation - supertonic and leading tone sevenths; Harmonic dictation - supertonic and leading tone sevenths. Melody - intervals from the dominant seventh chord V7, other diatonic intervals of the seventh; Rhythm - simple and compound meters. Week 4 Chapter 11 â Non-Chord Tones 1 â Classification of Non-Chord Tones; passing tones; neighboring tones; suspensions and retardations; figured bass and lead sheet symbols; embellishing a simple texture. Examples from music literature. Rhythm - subdivision of beat, simple beat into four parts, compound beat into six parts. Chapter 12 â Non-Chord Tones 2 â Appoggiaturas; escape tones; the neighbor group; anticipations; the pedal point; special problems in the analysis of non-chord tones. Rhythmic dictation - syncopation; Melodic dictation - non-dominant seventh chords; Harmonic dictation - non-dominant seventh chords. Melody - intervals from the tonic and dominant triads; Rhythm - subdivision in simple and compound meters. Melodic Page 2
dictation - scalar variants, modal borrowing, and decorative chromaticism; Harmonic dictation - scalar variants, modal borrowing. Melody - further use of diatonic intervals; Rhythm - subdivision in simple and compound meters. Melodic and Harmonic dictation - secondary dominants. Melody - chromaticism II - modulation to closely related keys, additional secondary dominant harmonies. Week 3 Chapter 16 and 17 â Secondary Functions 1 and 2 â Chromaticism and altered chords; secondary functions; secondary dominant chords; spelling secondary dominants; recognizing secondary dominants; secondary dominants in context; secondary leading tone chords; spelling secondary leading-tone chords; recognizing secondary leading-tone chords; sequences involving secondary functions; deceptive resolutions of secondary functions. Melodic and Harmonic dictation - modulation to closely related keys Sight Singing: Rhythm and Melody - syncopation Week 4 Chapter 18 and 19 â Modulations using diatonic common chords â modulation and change of key; modulation and tonicization; key relationships; common-chord modulation; analyzing common-chord modulation; altered chords as common chords; sequential modulation; modulation by common tone; monophonic modulation; direct modulation. Rhythmic dictation - quintuple meter; Melodic dictation - the neapolitan sixth chord augmented sixth chords, and modulation to distantly related keys; Harmonic dictation - the neapolitan sixth chord, augmented sixth chords, enharmonic modulation. Rhythm and Melody - triplet division of undotted note values, duplet division of dotted note values. Second Marking Period, Part 2 4 Weeks Week 1 Chapter 20 â Binary and Ternary Forms â Formal terminology; binary forms; ternary forms; rounded binary forms; bar blues; other formal designs. Rhythm and Melody - changing meter signatures: Week 2 Chapters 21 and 22 â Mode Mixture and the Neapolitan Chord â Borrowed chords in minor; the use of b6 in Major; modulations involving mode mixture; the Neapolitan chord. Rhythmic dictation - irregular meters; Melodic and Harmonic dictation - diatonic modes. Rhythm and Melody - further subdivision of the beat; notation in slow tempi. Week 3 Chapters 23 and 24 â Augmented Sixth Chords â The interval of the augmented 6th; the Italian augmented 6th chord; the French augmented 6th; the German augmented 6th; resolutions to other scale degrees and other chord members. Rhythmic dictation - changing meters; Part music dictation Sight Singing: Chromaticism III - additional uses of chromatic tones Week 4 Chapter 28 â An Introduction to Twentieth-Century Music â Impressionism; scales; the diatonic church modes; pentatonic scales; synthetic scales; tertian harmony and lead sheet symbols; quartal and secundal harmony; parallelism; pandiatonicism; atonal theory; the tone serialism; total serialism. Aleatory or chance music. Rhythmic dictation - changing meters; Part music dictation - pandiatonicism. Chromaticism III - additional uses of chromatic tones, remote modulation. New York -Ottman, Robert W. Music for Sight Singing. Page 3
Chapter 3 : Perdoni, Kevin / Theory Syllabus Developing Musicianship Through Aural Skills is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as a part of an. The most engaging and musical Sight-Singing text on the market. The ninth edition continues to introduce a host of important musical considerations beyond pitch and rhythm- including dynamics, accents, articulations, slurs, repeat signs, and tempo markings. This text is available in a variety of formats â digital and print. To learn more about our programs, pricing options and customization, click the Choices tab. Learning Goals Upon completing this book, readers will be able to: Fluently read rhythms in simple and compound meters, including those in relatively unusual, irregular, or changing meter signatures. Sight sing melodies in any major or minor key, and in any diatonic mode. Effortlessly read all four common clefs. Understand common musical symbols and terms. Recognize and sing important harmonic features such as dominant seventh and Neapolitan chords. Improvise effectively from a variety of background structures such as a harmonic progression or an underlying contrapuntal framework. Negotiate chromatic passages from simple embellishing tones and tonicizations to modulations to post-tonal music. Features Build Skills - Moves progressively from easier to harder concepts so students systematically build their skills. Over exercises â Exercises for homework and the classroom help students practice sight singing skills. Review of fundamentals - Reviews important concepts from fundamentals such as clefs, meter signatures, and triads to more advanced topics such as closely-related keys, syncopation, and octatonic scales. Solmization Systems - Provides overviews of popular pitch and rhythm solmization systems. Slim structure - Sits flat for ease of use on a music stand or on a desk. Organizational format â The text is divided into four parts: Chapters 1â 9 Diatonic melodies with rhythmic patterns limited to whole beats and their most basic divisions two notes per beat in simple meters, three notes per beat in compound meters. Chapters 10â 12 Diatonic melodies with rhythmic patterns that include subdivisions of the beat four notes per beat in simple meters, six notes per beat in compound meters. Chapters 13â 19 Chromaticism, tonicization, modulation, and more advanced rhythmic patterns and metrical concepts. Chapters 20â 21 Modal and post-tonal music. MySearchLab with Pearson etext - A collection of online homework, assessment products and resources that can help students in any course. MySearchLab is designed with one single purpose - to improve the academic success of all higher education students, one student at a time. Rhythm Generator â The Rhythm Generator creates virtually unlimited rhythmic drills tailored to specific chapters of the book. These rhythmic drills are easily set to a variety of lengths as well as beginning, intermediate, or advanced levels, providing appropriate challenges to any student. Pearson etext - Just like the printed text, students can highlight relevant passages and add their own notes. For even greater flexibility, students can download the etext to a tablet using the free Pearson etext app. New To This Edition Reorganization of triples and duplets â Informationon triplets and duplets has been reorganized: Triplets in simple meters and duplets in compound meters are now introduced earlier in the text, before chromaticism. The chapter that focuses specifically on these topics is shorter than it was in recent editions; however, triplets and duplets are used throughout the later chapters. Reorganization of syncopation â The chapter on syncopation hasbeen reorganized: Syncopation is introduced earlier, before chromaticism. The focal chapter has been reduced, but the overall number of syncopated exercises remains the same. Gradual introductions - Chromaticism is introduced more gradually, starting with chromatic embellishing tones in the context of stepwise motion. Modulation is now more diverse- This section has been updated for major and minor keys: Modulation is introduced more gradually, with a new section addressing modulation from a minor key to its relative major. The section focusing on modulation to the dominant now includes both major and minor keys. More variety for practicing- There are now more melodies offered in a variety of keys: The number of melodies in minor keys has significantly increased Many more melodies have been notated in bass clef MySearchLab - MySearchLab can be packaged with this new edition. MySearchLab with Pearson etext Page 4
contains a collection of tools and resources that can help students in any course. It is designed with one single purpose - to improve the academic success of all higher education students, one student at a time. Page 5
Chapter 4 : Core Theory Credit By Exam (CBE) Music History, Theory, and Ethnomusicology College of The most engaging and musical Sight-Singing text on the market. Music for Sight Singing is structured around organized melodiesdrawn from the literature of composed music and a wide range of the world's folk music. Real music exercises allow readers to practice sight singing and develop their. Karen Cuneo Ramirez is one of my favorite person when it comes to practical music theory http: ChuckO You seem to know theory but it seems odd that you are looking at actual chords and their frequency and not the chords relationship to the scale which would seem to me to be more relevant. Although it would be interesting if hit songs in the key of C were prevalent especially if the singers tended to sing in a particular range. ChuckO By range I mean octave. ChuckO And I meant the root chord to a minor 6 chord not root to minor 4 chord. This is why I transposed all the songs to the key of C. I do disagree about common understanding of Roman Numerals for chords though. For all jazz, blues, rock and folk players and for all composers Roman numerals for chord are standard. ChuckO True, as a songwriter I would also be more interested in writing a song that lasts. We still listen to The Beatles because they wrote great chord changes. That is to say that focusing only on harmony in an attempt to decode what makes for good music is akin to saying that what most accounts for great literature is the frequency of letters. Letters in words have no inherent meaning unto themselves; words themselves will be largely meaningless without the context of a sentence. Analyzing frequency of letters would be a surface analysis at best. Harmonic structure is not the surface of a piece of music; it creates an underlying backbone for the melodic and rhythmic elements to work from. It is structural, not decorative. I have no qualms using this as a starting point for deeper analysis, and am excited to see this series continue. Perhaps a better comparison would be between harmonic progression and gramatical structure. Joshua Jones Goovitude, it is true that a lot of guitar and piano players, when composing, find a chord harmonic progression that they like and then locate a melody within that structure. However, historically, melody has been the king of music composition. You can rearrange the chords of a song but keep the melody and everyone will still recognize the song. But if you keep the chords and change the melody, the original song would be unidentifiable. But of course chord progressions are, as you say, very important. Could you be a bit more specific about your choices of songs to study? The database entries small individual chord progression so each is analyzed with respect to the key it is currently using. Thanks for sharing your findings! Frank Yes, I think you should do an analysis relative to the key, e. Compare your results to the circle of fifths and the chords for each key. Apple use the first seven chords in the key and add an eighth which is interesting. Is your data base available? Do you use the Chord Pro format? If not, what format do you use? If you want to make changes, go right ahead! This will essentially tell us which songs have the same melodies. In fact, all of the songs in the Hooktheory database use relative notation, e. Cryptography has recently piqued my interest and in the course of learning about it I have written some simple programs to analyze text for frequency of n-grams, frequency of the first letters of words, etc and I can see a bit of a parallel between written text analysis and the analysis of parts of song! Enc Is there any chance you would publish your database, so that we can write our own queries? What happened to the key of B major? D and E are indeed there, but in the key of C they are the ii and iii chords, which are minor. A is also minor in the key of C being the vi chord. I mean, we could crawl http: The data eludes to the most common key which is C and is very well known to most musicians. The reason being that this is all the white keys on the piano no flats and easiest to play in, which is why it would be the most common and popular. Roman numeral analysis would have been much more useful here, as it is not dependent on the actual chord letter or key, but its overall function. Functionally this is known as root-predominate-dominate progression and is the most popular movement in all modern music. I find roman chord transitions much more useful like shown below, because they can use any key, and they show the most common movements in music. Below is his entire study summed up in a simple state diagram using roman notation that works for any key. Using C major in the below diagram would be: When you think about Page 6
it, this type of analysis is a really good motivation for why thinking about music in Roman Numerals is important and useful. If you go to the raw database, all the entries are analyzed using Roman Numerals, not chord names. Keep up the good work! Also, Garage Band is a very good way to introduce people to the creative side of music. As for Transcribing and theory, it seems to be accepted gradually. Justin Sandercoe gives great help, as does Marty Swartz. I hope this helps. Pop songs tend to flirt with the parallel minor a lot, however, and this is one reason why a chord progression would omit the I chord C major. Do you have to hand-annotate these changes? Are they popular songs? ChuckO The other interesting thing about chord changes in popular music is you have two different dominant approaches. Could you point me to some references? It works wonders for many choruses, in a sequence like this: Were there none in your sample, or is this a glitch? In your case the A is functioning as a V of the ii chord. Do you notice that when you use it, you usually have to play that Dm chord right after or it sounds weird? We definitely want to talk more about how these statistics relate to basic and in this case, more advanced harmony soon. I have analyzed The result here is slightly different, but I may be because of the Jazz songs and the fact that I have used sheets where you get the complete harmony. So the top list looks like this: Chapter 5 : Music for Sight Singing (Subscription), 9th Edition (with attention to harmonic progression) by given figured bass "C" CLEFS: (develop familiarity in reading and writing) - Less common meters - Conducting. Chapter 6 : Rogers & Ottman, Music for Sight Singing, 9th Edition Pearson oriented toward study of common practice harmony Compound Meters, Ties and Dots; The Minor Mode, Less Common Meters; C Clefs and Harmonic Progression 6. Chapter 7 : Pearson - Music for Sight Singing, 9/E - Nancy Rogers & Robert W. Ottman using 2 against 3, less common simple and common meters, and syncopation; reading music in treble, based and C clefs; and formal elements to include phrase and cadence recognition. Chapter 8 : Music for Sight Singing : Robert W. Ottman : Ear Training: Rhythmic dictation - quintuple meter; Melodic dictation - the neapolitan sixth chord augmented sixth chords, and modulation to distantly related keys; Harmonic dictation - the neapolitan sixth chord, augmented sixth chords, enharmonic modulation. Chapter 9 : Music for Sight Singing, 9th Edition 1 AP Music Theory Syllabus. Objectives: 1. To learn basic musical language and grammar including note reading, musical notation, harmonic analysis, and part writing which will lead to a thorough understanding of music composition and. Page 7