Monroe Township Schools Music Theory I Grades 9-12 January 2007 * For adoption by all regular education programs Board Approved: August 2007 as specified and for adoption or adaptation by all Special Education Programs in accordance with Board of Education Policy # 2220.
Table of Contents Monroe Township Schools Administration and Board of Education Members Page 3 Acknowledgments Page 4 District Mission Statement and Goals Page 5 Introduction/Philosophy/Educational Goals Pages 6 National and State Standards Page 7 Scope and Sequence Page 8-11 Goals//Objectives/al Tools/Activities Pages 12-42 Benchmarks Page 43 2
MONROE TOWNSHIP SCHOOL DISTRICT ADMINISTRATION Dr. Ralph P. Ferrie, Superintendent Dr. Christopher H. Tienken, Assistant Superintendent Dr. Veronica Geyer, Assistant Superintendent BOARD OF EDUCATION Ms. Kathy Kolupanowich, President Mr. Lew Kaufman, Vice President Mr. Marvin Braverman Ms. Carol Haring Mr. Joseph Homoki Mr. John Leary Ms. Kathy Leonard Mr. Harold Pollack Ms. Amy Speizer JAMESBURG REPRESENTATIVE Ms. Patrice Faraone Student Board Members Mr. Darren Goldberg Mr. Brian Hackett Mr. George Leonard 3
Acknowledgments The following individuals are acknowledged for their assistance in the preparation of this Curriculum Management System: Writers Name: Supervisor Name: Technology Staff: Secretarial Staff: Jennifer Alagna Robert Mele, Supervisor of Arts and Careers Technology Al Pulsinelli Reggie Washington Bill Wetherill Debby Gialanella Geri Manfre Gail Nemeth 4
Monroe Township Schools Mission and Goals Mission The mission of the Monroe Township School District, a unique multi-generational community, is to collaboratively develop and facilitate programs that pursue educational excellence and foster character, responsibility, and life-long learning in a safe, stimulating, and challenging environment to empower all individuals to become productive citizens of a dynamic, global society. Goals To have an environment that is conducive to learning for all individuals. To have learning opportunities that are challenging and comprehensive in order to stimulate the intellectual, physical, social and emotional development of the learner. To procure and manage a variety of resources to meet the needs of all learners. To have inviting up-to-date, multifunctional facilities that both accommodates the community and is utilized to maximum potential. To have a system of communication that will effectively connect all facets of the community with the Monroe Township School District. To have a staff that is highly qualified, motivated, and stable and that is held accountable to deliver a safe, outstanding, and superior education to all individuals. 5
INTRODUCTION, PHILOSOPHY OF EDUCATION, AND EDUCATIONAL GOALS Philosophy Our philosophy is to provide students with many opportunities to receive a well-rounded education. Part of this education includes a tiered study of music theory, which begins with the Music Theory I course. Music has the ability to inspire and give pleasure to people of every age and race, and understanding the way in which it is constructed can enhance the musical experience even further. The purpose of this course is to educate students in the fundamentals of music in order to broaden the students musical experience and awareness, and to illuminate their overall understanding and appreciation of this universal art form. Educational Goals This course is designed to introduce the student to the fundamentals of music theory. Students will study the three basic components of music theory rhythm, melody, and harmony and they will discover the relationships between these three principles. Throughout the course students will use these principles of music theory to complete dictation and composition as well as to understand and critique music of different eras. Students will study the ways in which scales and chords are formed, the relationship between major and minor keys, and how music is composed through melody, harmony, and chord progressions. 6
New Jersey State Department of Education Core Curriculum Content Standards A note about Music Standards and. The New Jersey Core Curriculum Content Standards for Visual and Performing Arts were revised in 2004. The Cumulative Progress Indicators referenced in this curriculum guide refer to these new standards and may be found in the Curriculum folder on the district servers. A complete copy of the new Core Curriculum Content Standards for Visual and Performing Arts may also be found at: http://www.education.state.nj.us/cccs 7
I. Fundamentals of Music Notation a. Notes and rests Recognize and create different types of notes, rests, the staff, and clef signs. b. Note-Naming Naming notes on the grand staff using treble and bass clefs c. Ledger lines Identifying and writing music both above and below the staff in both clefs d. Pitch Recognize the differences in pitches (low to high) and begin to understand the placement of specific pitches on the keyboard e. Accidentals Develop an understanding of accidental markings and their affect on a particular note III. Development of More Complex Note Values, Rhythmic Patterns, and Articulation Markings a. Dotted notes/rests Discuss and demonstrate the use of dotted half and quarter notes and rests b. Ties and slurs Discuss and demonstrate the use of ties and slurs and the differences between them c. Eighth notes/rests Discuss and demonstrate the use of eighth notes and eighth rests d. Repeats Recognize the different symbols used to indicate repeats in music: repeat signs, dal segno, da capo, coda, fine e. Dynamic and tempo markings Recognize and demonstrate the use of the basic dynamic and tempo markings f. Articulation markings Recognize and demonstrate the use of the basic articulation markings Music Theory I Scope and Sequence Quarter I II. Elements of Rhythm a. Note values Develop an understanding of the hierarchy of notes b. Organization of rhythm Develop an understanding of the separation of music into measures by the use of bar lines. c. Time signatures Discuss the meaning of a time signature and develop an understanding of 4/4, 2/4, and 3/4 time and their note/rest values d. Rests Understand and utilize whole, half, and quarter rests e. Beat, tempo, and rhythm Discuss the organization of music into measures based on time signature, and the difference between beat and rhythm f. Compose rhythms Begin to understand, recognize, and create simple rhythms in 4/4, 2/4, and 3/4 time. IV. Preparing to Recognize and Build Major and Chromatic Scales a. Whole and half steps Recognize the difference between written whole steps and half steps b. Sharps, Flats, and Natural Signs Utilize accidental signs to alter specific pitches in both clefs c. Enharmonic Notes Recognize the relationship between enharmonic notes and develop the ability to name them successfully d. Ear training Develop the ability to aurally recognize the difference between half steps and whole steps e. Melodic Dictation Complete very primitive melodic dictation using whole steps and half steps f. The Chromatic Scale Identify and construct a chromatic scale both ascending and descending 8
V. Major Scales and Key Signatures a. Tetrachords Discuss and demonstrate the procedure for writing tetrachords b. The Major Scale Discuss the pattern of a major scale and construct using whole steps, half steps, and accidentals c. The Circle of Fifths Demonstrate the use of the circle of fifths in identifying and understanding scales and key signatures d. Sharp Scales, Flat Scales, and Key Signatures Utilize the order of sharps and flats to identify and construct all major scales and to write major key signatures in treble and bass clef e. Enharmonic Scales Recognize the concept of the enharmonic scales and understand that they share common pitches but not common names f. Ear training Recognize the specific sound of tetrachords, chromatic scales, and major scales and how they differ from one another Quarter II VI. Complex Rhythmic Concepts a. Sixteenth Notes/Rests Discuss and demonstrate the use of sixteenth notes and rests and their usual patterns b. Common and cut time Discuss and demonstrate common time and cut time and analyze the difference between them c. Dotted eighth-sixteenth note patterns Discuss and demonstrate eighthsixteenth note patterns with and without rests d. 3/8 and 6/8 time Analyze these time signatures and discuss the ways in which they are different. e. Eighth note triplets Discuss and demonstrate the use of the eighth note triplet f. Incomplete measures/pick-ups/syncopation Discuss and demonstrate the use of pickups and incomplete measures. Analyze and create syncopated rhythms in different time signatures. VII. Intervals, Solfege, and Transposition a. Perfect and major intervals Recognize perfect and major intervals above a given note both aurally and visually. Construct in both clefs, and discuss the definition of perfect intervals b. Minor intervals Recognize minor intervals above a given note both aurally and visually, and construct them in both clefs c. Augmented intervals Recognize augmented intervals above a given note both aurally and visually, and construct them in both clefs d. Diminished intervals Recognize diminished intervals above a given note both aurally and visually, and construct them in both clefs e. Interval inversion Discuss and analyze the use of inverting intervals. Demonstrate the ability to invert intervals both aurally and in written form for use in melodic dictation f. Solfege Discuss solfege and moveable do, and demonstrate the ability to successfully use this system of sight-singing g. Transposition Discuss and demonstrate the use of moveable do in transposition of musical phrases VIII. Ear Training and Rhythmic/Melodic Dictation a. Rhythm without rests/ties/triplets Identify and take dictation of rhythmic patterns in all simple time signatures plus 6/8 without rests, ties, or triplets b. Rhythm with rests/ties/triplets Identify and take dictation of rhythmic patterns in all simple time signatures plus 6/8 that include rests/ties/triplets c. Melodic dictation of perfect/major intervals Aurally recognize and complete successful dictation of perfect/major intervals above a given note d. Melodic dictation of minor intervals Aurally recognize and complete successful dictation of minor intervals above a given note e. Melodic dictation of augmented/diminished intervals Aurally recognize and complete successful dictation of augmented/diminished intervals f. Melodic dictation using solfege Complete successful dictation of a musical excerpt which is given on solfege syllables 9
IX. Primary and Major Triads a. Introduction to the basic triad Discuss, analyze, and construct triads in three-part texture built upon every note of the major scale b. Recognizing Primary Triads in root position Recognize and analyze triads built on the 1 st, 4 th, and 5 th degrees of a major scale in root position c. Building Root Position Primary and Major Triads Construct primary and major triads in root position in every major key and in both clefs d. Scale degree names Discuss and demonstrate the use of scale degree names in labeling primary and major triads e. Roman numerals Discuss and demonstrate the use of roman numerals in naming triads f. Chord Symbols Discuss and demonstrate the use of chord symbols in naming triads in root position Quarter III X. The V7 Chord a. General voice-leading considerations Demonstrate the typical downward resolution of the V7 chord b. The V7 chord in root position Analyze the resolution of a root position V7 chord to a root position triad c. The V7 chord in three parts Discuss and analyze the V7 chord in a threepart texture d. Constructing the V7 chord in root position Construct the V7 chord in root position in every major key and in both clefs e. Inversion of the major 2 nd and minor 7 th Discuss the use of inverting the major 2 nd in finding the minor 7 th above the root of a V7 chord f. Ear training and the V7 chord Aurally recognize the root position V7 chord and distinguish it from the major and primary triads in a given key XI. Inversions of Primary Triads and the V7 Chord a. Major triads in 1 st inversion Construct and analyze major triads in 1 st inversion b. Major triads in 2 nd inversion Construct and analyze major triads in 2 nd inversion c. The V7 chord in 1 st inversion Construct and analyze the V7 chord in 1 st, inversion d. The V7 chord in 2 nd inversion Construct and analyze the V7 chord in 2 nd inversion e. The V7 chord in 3 rd inversion Construct and analyze the V7 chord in 3 rd inversion f. Ear training and inversions Aurally recognize the different inversions of primary triads and the V7 chord XII. Figured Bass and Major Chord Progressions a. Figured bass Demonstrate an understanding of the origin and the use of figured bass in the analysis and labeling of chords b. Chord Symbols Identify and construct a chord by its given chord symbol in any major key c. Major chord progressions Understand, analyze, and construct major chord progressions in root position d. Smooth major chord progressions Understand, analyze, and construct smooth major chord progressions in any key by using inversions e. Voicing single triads Construct all inversions of primary and major triads and the V7 chord using open and close position 10
XIII. Minor Scales a. The Circle of Fifths Discuss the differences in the circle of fifths when in a minor key b. The relative minor Find the relative minor key for a given major key, and the relative major key for a given minor key. Construct the key signature in both clefs c. The natural minor scale Analyze and construct the natural minor scale in any minor key d. The melodic minor scale Analyze and construct the melodic minor scale in any minor key e. The harmonic minor scale Analyze and construct the harmonic minor scale in any minor key f. Ear training and minor scales Aurally distinguish between the major, natural minor, melodic minor, and harmonic minor scales in any given key XV. Simple Keyboarding and Composition a. Playing the C major scale Play the C major scale on the keyboard using correct fingering and in both clefs b. Playing smooth major chord progressions Practice playing smooth major chord progressions in C major in both clefs c. Discussing Harmonizing simple melodies Discuss and analyze the use of simple melodic lines as they are harmonized with members of an appropriate triad within the progression d. Composition of simple melodies Compose a simple melodic line in which each treble clef note is harmonized with members of an appropriate triad in the bass clef progression e. Performance and analysis of composition Analysis, performance, and critique of one another s original simple melodic composition Quarter IV XIV. Minor, Augmented, and Diminished Triads a. Minor triads in root position Discuss, identify, and construct minor triads in root position. Recognize and label their position within the minor scale b. Minor triads in 1 st and 2 nd inversions Discuss, identify, and construct minor triads in their inverted forms. Label them using chord symbols and figured bass c. Augmented triads in root position Discuss, identify, and construct augmented triads in root position. Label them using chord symbols and figured bass d. Augmented triads in 1 st and 2 nd inversions Discuss, identify, and construct augmented triads in their inverted forms. Label them using chord symbols and figured bass e. Diminished triads in root position Discuss, identify, and construct diminished triads in root position. Label them using chord symbols and figured bass f. Diminished triads in 1 st and 2 nd inversions Discuss, identify, and construct diminished triads in their inverted forms. Label them using chord symbols and figured bass. XVI. Music History Overview a. The Medieval Period and Gregorian chant Discuss the origins of Western music by listening to and analyzing music of the Medieval Period. Discuss the history and distinctive sound of the Gregorian chant. b. The Renaissance Period Discuss and analyze music and composers of the Renaissance Period. c. The Baroque Period Discuss and analyze music and composers of the Baroque Period of music d. The Classical Period Discuss and analyze music and composers of the Classical Period of music e. The Romantic Period Discuss and analyze music and composers of the Romantic Period of music f. Twentieth Century Music Discuss and analyze music and composers of Twentieth Century Music 11
9-12/MUSIC THEORY I Big Idea: Music Notation Goal 1: Fundamentals of Music Notation The student will be able to differentiate, both visually and aurally, between different notes and rests in both clefs on, above and below the staff. 6 1.1. Notes and rests-- Recognize and create different types of notes, rests, the staff, and clef signs (1.2 B2, 1.2 B4, 1.3 B2) 1.2. Note-Naming Name notes on the grand staff using treble and bass clefs (1.2 B2, 1.2 B4, 1.3 B2) 1.3. Ledger lines Identify and write music both above and below the staff in both clefs (1.2 B2, 1.2 B4, 1.3 B2) How do the note heads and stems differ depending on the type of note? In what ways do the treble and bass clefs differ? How are pitches in both treble and bass clefs notated and what is their position on a keyboard? NOTE: The assessment models provided in this document are suggestions for the teacher. If the teacher chooses to develop his/her own model, it must be of equal or better quality and at the same or higher cognitive levels (as noted in parentheses). Depending upon the needs of the class, the assessment questions may be answered in the form of essays, quizzes, mobiles, PowerPoint, oral reports, booklets, or other formats of measurement used by the teacher. Assessment Models: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Teacher makes a very large staff in the center of the room out of masking tape. Students are put into teams and are given an order within their specific team. Students are to play a relay game in which they pick a short melody out of a hat, and the members of their team must represent the melody by standing on the correct line on the large staff and being the correct notes. Whichever team completes the melody first wins a point for their team. Teams take turns until the melodies are done. As students get better at the craft, the students can make up their own melodies to put into the hat. Students are using their own specific knowledge of note-naming (Knowledge and Analysis) Students are physically representing the notes (Synthesis) Students are helping one another achieve a desired result (Evaluation and Analysis) 12
9-12/MUSIC THEORY I Big Idea: Music Notation Goal 1: Fundamentals of Music Notation The student will be able to differentiate, both visually and aurally, between different notes and rests in both clefs on, above and below the staff. 1.4. Pitch Recognize the differences in pitches (low to high) and begin to understand the placement of specific pitches on the keyboard (1.2 B2, 1.2 B4, 1.3 B2,) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 1.5. Accidentals Develop an understanding of accidental markings and their affect on a particular note (1.2 B2, 1.2 B4, 1.3 B2) 13
Big Idea: Rhythm Elements of Rhythm Goal 2: The student will be able to analyze and compose basic rhythmic patterns in 4/4, 2/4, and 3/4 time. 8 2.1. Note values Develop an understanding of the hierarchy of notes (1.2 B2, 1.2 B2, 1.3 B2) 2.2. Organization of rhythm Develop an understanding of the separation of music into measures by the use of barlines. (1.1 A1, 1.2 B2, 1.3 B2) What is the hierarchy of notes? How do notes fit into one another evenly? How is music organized rhythmically? In what ways can both rests and notes be used in music depending on the time signature? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. 2.3. Time signatures Discuss the meaning of a time signature and develop an understanding of 4/4, 2/4, and 3/4 time and their note/rest values (1.1 A2, 1.2 B2, 1.2 B4, 1.3 B2) 2.4. Rests Understand and utilize whole, half, and quarter rests (1.2 B1, 1.2 B2, 1.3 B2) Sample Assessment Model: Students are put into groups of four. Each group must compose one four-bar rhythm in each time signature, and each single member of each group is responsible for one of the measures. After the rhythms are completed, one member from each group will write their example on the board. Students will analyze the example and then perform it as a group. Students are creating musical examples (Synthesis) Students are developing an understanding of the different ways in which rhythm can be expressed (Knowledge and Analysis) Students are participating in differentiated learning 14
Big Idea: Rhythm Elements of Rhythm Goal 2: The student will be able to analyze and compose basic rhythmic patterns in 4/4, 2/4, and 3/4 time. 2.5 Beat, tempo, and rhythm Discuss the organization of music into measures based on time signature, and the difference between beat and rhythm (1.2 B1,1.2 B2, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 2.6 Compose rhyrhms Begin To understand, recognize, and create simple rhythms in 4/4, 2/4, and 3/4 time. (1.2 B1, 1.2 B2, 1.3 B2) 15
Big Idea: Comparatives Development of More Complex Note Values, Rhythmic Patterns, and Articulation Markings Goal 3: The student will be able to understand and utilize more complex rhythmic patterns and notational markings. 10 3.1. Dotted notes/rests Discuss and demonstrate the use of dotted half and quarter notes and rests (1.2 B2, 1.3 B2) 3.2. Ties and slurs Discuss and demonstrate the use of ties and slurs and the differences between them. (1.2 B2, 1.3 B2, 1.4 A1) 3.3. Eighth notes/rests Discuss and demonstrate the use of eighth notes and eighth rests. (1.2 B2, 1.3 B2) 3.4. Repeats Recognize the different symbols used to indicate repeats in music: repeat signs, dal segno, da capo, coda, fine (1.2 B2,) In what ways are dotted notes used in different time signatures, and what particular notes are used in conjunction with them in order to finish a beat? As note values get more and more complex, how does one write them in order to be read most easily? In what way are different musical markings used to enhance pitch and rhythm? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, and sequential ear training assignments, quizzes and tests. Students will describe and analyze their own music and the music of others using an appropriate music vocabulary. When necessary, students will connect their analysis to interpretation and evaluation. Sample Assessment Model: Teacher will ask students to think of an event that happened to them in the past week. Students will work in pairs; Teacher will take one student from each group and explain that the student should tell their story to their partner with absolutely no emotion or inflection in their voice whatsoever (the partner doesn t know this will happen). Students will tell their story (all at the same time). The other student will tell his story with inappropriate inflection and tone (ex. sad story, funny/fun inflection). Once both students have told their story, class will discuss their reactions, and the necessity of proper inflection/tone in a story. Class will relate it to music and to the importance of proper dynamics and articulation markings in the communication of a piece. 16 Students are relating real life situations to music (Comprehension and Analysis) Students are composing a story using
Big Idea: Comparatives Development of More Complex Note Values, Rhythmic Patterns, and Articulation Markings Goal 3: The student will be able to understand and utilize more complex rhythmic patterns and notational markings. dynamics and articulation (Synthesis) 3.5. Dynamic and tempo markings Recognize and demonstrate the use of the basic dynamic and tempo markings (1.2 B2, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 3.6. Articulation markings Recognize and demonstrate the use of the basic articulation markings. (1.2 B2, 1.3 B2) 17
Big Idea: - Scales Recognizing and Building Major and Chromatic Scales Goal 4: The student will prepare to build major and chromatic scales by demonstrating an understanding of half steps, whole steps, accidental markings, and enharmonic notes. 8 4.1. Whole and half steps Recognize the difference between written whole steps and half steps (1.2 B2, 1.3 B2) 4.2. Sharps, flats, and natural signs Utilize accidental signs to alter specific pitches in both clefs (1.2 B2, 1.2 B4, 1.3 B2) 4.3 Enharmonic notes-- Recognize the relationship between enharmonic notes and develop the ability to name them successfully (1.2 B2, 1.3 B2,) How can one tell the difference between half steps and whole steps? Why is it important to understand the half step/whole step relationship? What is the difference between a half step and a minor second? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Students will complete exercises prepared by the teacher using the Finale program of music software. Students will hear half and whole steps while they see the bottom note on the LCD projector. Students will have time to decide within their small group whether the interval that they heard was a half or a whole step, and as they choose their answer, the correct answer will appear on the screen. Students will understand the difference between half and whole steps both aurally and visually. (Evaluation and Synthesis) Students will be able to brainstorm and discuss their thought process before answering. (Analysis and Evaluation) 18
Big Idea: - Scales Recognizing and Building Major and Chromatic Scales Goal 4: The student will prepare to build major and chromatic scales by demonstrating an understanding of half steps, whole steps, accidental markings, and enharmonic notes. 4.4 Ear training Develop the ability to aurally recognize the difference between half steps and whole steps (1.2 B3, 1.2 B4, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com 4.5 Melodic Dictation Complete very primitive melodic dictation using whole steps and half steps (1.2 B4, 1.3 B2) 4.6 The Chromatic Scale Identify and construct a chromatic scale both ascending and descending (1.3 B2) 19
Big Idea: - Scales Major Scales and Key Signatures Goal 5: The student will be able to construct major scales and identify major key signatures through their understanding of whole and half steps, the order of sharps and flats, and tetrachords. 10 5.1. Tetrachords Discuss and demonstrate the procedure for writing tetrachords. (1.2 B2, 1.3 B2) 5.2. The major scale Discuss the pattern of a major scale and construct using whole steps, half steps, and accidentals (1.2 B2, 1.3 B2, 1.4 A1) 5.3. The circle of fifths Demonstrate the use of the circle of fifths in identifying and understanding scales and key signatures (1.2 B2, 1.3 B2, 1.4 A1) How do tetrachords relate to the major scale? What is the relationship of a key signature to the construction of a major scale? What are the different tools one can use to identify the key signatures of the major scales? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Using a life-sized keyboard on the floor at the front of the room, the teacher will ask students to move half and whole steps up and down the keyboard in order to visualize the notes. When students are comfortable with half and whole step motion, the teacher will set up a system or checklist for constructing the major scale from any note. Students will work in small groups and will construct the G major scale and the D major scale. Using the checklist for constructing the major scale, one student from each group will explain the answer to the class. 20 Students will develop an understanding of the keyboard and of half and whole steps (Analysis & Evaluation) Which system of developing a major scale is the best one for you? (Comprehension and Evaluation) Students will begin to understand why there are key signatures instead of just memorizing them (Analysis)
Big Idea: - Scales Major Scales and Key Signatures Goal 5: The student will be able to construct major scales and identify major key signatures through their understanding of whole and half steps, the order of sharps and flats, and tetrachords. 5.4. Sharp scales, flat scales, and key signatures Utilize the order of sharps and flats to identify and construct all major scales and to write major key signatures in treble and bass clef (1.2 B2, 1.3 B2, 1.4 A1) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 5.5. Enharmonic scales Recognize the concept of the enharmonic scales and understand that they share common pitches but not common names (1.2 B2, 1.3 B2, 1.4 A1) 5.6. Ear training Recognize the specific sound of tetrachords, chromatic scales, and major scales and how they differ from one another (1.1 A1, 1.2 B2, 1.3 B2, 1.4 A1) 21
Big Idea - Rhythm Complex Rhythmic Concepts Goal 6: The student will begin to analyze and create more complex rhythmic patterns which include dotted notes, sixteenth notes, triplets, and syncopation. 10 6.1. Sixteenth notes/rests Discuss and demonstrate the use of sixteenth notes and rests and their usual patterns. (1.3 B2) 6.2. Common and cut time Discuss and demonstrate common time and cut time and analyze the difference between them. (1.2 B2, 1.3 B2, 1.4 A1) 6.3. Dotted eighth-sixteenth note patterns Discuss and demonstrate eighthsixteenth note patterns with and without rests. (1.2 B2, 1.3 B2) Why is it important to organize music into separate beats? What are some good ways to read ahead as the note values get smaller? How do triplets differ from regular notes within a beat? How does one organize rhythm in order to understand syncopation? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Teacher will begin with an anticipatory set relating Guitar Hero to the concept of syncopation: you know how when you see the colored circle on the line, you strum? And when you see the circle in the middle of the line you strum? Well, when that circle is in the middle of the line, it s syncopation.a note that is sounded off the beat. Students will continue with the idea of syncopation by clapping off the beat given a steady beat. Students will also get up and move around the room, stepping first on the beat and then off the beat, creating syncopation. Students will divide and some will stomp/clap on the beat while others stomp/clap off the beat. How can you relate syncopation to the music of today? (Comprehension and Analysis) How can we better understand syncopation if we perform it physically? (Synthesis) How can we write syncopated rhythms in a way that s easier to read? (Evaluation) 22
Big Idea - Rhythm Complex Rhythmic Concepts Goal 6: The student will begin to analyze and create more complex rhythmic patterns which include dotted notes, sixteenth notes, triplets, and syncopation. 6.4. 3/8 and 6/8 time Analyze these time signatures and discuss the ways in which they are different. (1.2 B2, 1.3 B2, 1.5 B1) 6.5. Eighth note triplets Discuss and demonstrate the use of the eighth note triplet (1.2 B2, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com 6.6. Incomplete measures/pickups/syncopation Discuss and demonstrate the use of pickups and incomplete measures. Analyze and create syncopated rhythms in different time signatures. (1.2 B2, 1.2 B3, 1.3 B2,) 23
Big Idea: - Intervals Intervals, Solfege, and Transposition Goal 7: The student will be able to write and distinguish between all intervals as well as gain an understanding of solfege and transposition. 6 7.1. Perfect and major intervals Recognize perfect and major intervals above a given note both aurally and visually. Construct in both clefs, and discuss the difinition of perfect intervals. (1.1 A1, 1.3 B2) 7.2. Minor intervals Recognize minor intervals above a given noter aurally and visually, and construct them in both clefs. (1.2 B2, 1.2 B3, 1.3 B2) 7.3. Augmented intervals Recognize augmented intervals above a given note both aurally and visually, and construct them in both clefs. (1.2 B2, 1.3 B2,) 7.4. Diminished Intervals Recognize diminished intervals above a given note both aurally and visually, What is the definition of an interval in music? How can certain intervals sound the same but have different names? What is another name for an augmented fourth or a diminished fifth? 24 Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Students will work in pairs to construct a short list of the steps one uses in identifying and constructing intervals above a given note. Students will then discuss the steps as a class, with one student eventually writing the list on the board. Students will then work in pairs to construct two intervals to be guessed, and to name two intervals to be constructed by the class using the list of steps. When pair-work is completed, students will have the chance to test the class by putting their intervals on the board for identification or by asking the class to write the interval of their choice. How does one s knowledge of key signatures enhance one s ability to write/identify intervals? (Evaluation) In what specific ways do the types of intervals sound different to your ear? (Analysis, Comprehension) What are the specific steps one should take in order to write intervals? (Comprehension, Synthesis)
Big Idea: - Intervals Intervals, Solfege, and Transposition Goal 7: The student will be able to write and distinguish between all intervals as well as gain an understanding of solfege and transposition. and sonstruct them in both clefs. (1.2 B2, 1.3 B2,) 7.5. Interval Inversion Discuss and analyze the use of inverting intervals. Demonstrate the ability to invert intervals both aurally and in written form for use in melodic dictation. (1.2 B2, 1.3 B2,) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.smu.edu/totw/nct.htm 7.6. Solfege Discuss solfege and moveable do, and demonstrate the ability to successfully use this system of sight-singing (1.1 A2, 1.3 B2, 1.4 A1) 7.7 Transposition Discuss and demonstrate the use of moveable do in transposition of musical phrases (1.1 A1, 1.3 B2) 25
Big Idea: - Sight Singing Ear Training and Rhythmic/Melodic Dictation Goal 8: The student will write and identify written and performed rhythms in all simple time signatures. The student will aurally recognize all intervals above a given note. 6 8.1. Rhythm without rests/ties/triplets Identify and take dictation of rhythmic patterns in all simple time signatures plus 6/8 without rests, ties, or triplets. 8.2. Rhythm with rests/ties/triplets Identify and take dictation of rhythmic patterns in all simple time signatures plus 6/8 that include rests/ties/triplets. 8.3. Melodic dictation of perfect/major intervals Aurally recognize and complete successful dictation of perfect/major intervals above a given note 8.4. Melodic dictation of minor intervals Aurally recognize and complete successful dictation of minor intervals above a given note. In what way does the grouping of eighth notes differ in 4/4 time versus in 6/8 time? What are some of the different ways that one person hears music from another person? How can we use these specific ways to our advantage in dictation? What are some standard songs which can be attributed to certain intervals? 26 Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Teacher will ask students to think about some of the fun things that they did over the weekend. After discussing these things with the person next to them, students are to work in pairs for the exercise: students will write two measures each of rhythm in any of the time signatures. They will write the rhythm based on something fun that they did over the weekend, fitting the event, word by word, into a two bar rhythm. They will work in pairs to help one another. Students will then perform their rhythms as dictation to the class. How did you have to tailor your event so that it fit into your specific time signature? (Knowledge, Application, Synthesis) In general, did breaking the rhythm down to the smallest value help? (Analysis) In what ways can you tell the difference between the intervals? (Knowledge, Comprehension)
Big Idea: - Sight Singing Ear Training and Rhythmic/Melodic Dictation Goal 8: The student will write and identify written and performed rhythms in all simple time signatures. The student will aurally recognize all intervals above a given note. 8.5. Melodic dictation of augmented/diminished intervals Aurally recognize and complete successful dictation of augmented/diminished intervals Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 8.6. Melodic dictation using solfege Complete successful dictation of a musical excerpt which is given on solfege syllables 27
Big Idea: Chords Primary and Major Triads Goal 9: The student will analyze, construct, and correctly label primary and major triads in all keys. 6 9.1. Introduction to the basic triad Discuss, analyze, and construct triads in threepart texture built upon every note of the major scale (1.2 B3, 1.2 B4, 1.3 B2) 9.2. Recongizing primary triads in root position Recognize and analyze triads built on the 1 st, 4 th, and 5 th degrees of a major scale in root position 9.3. Building root position primary and major triads Construct primary and major triads in root position in every major key and in both clefs 9.4. Scale degree names Discuss and demonstrate the use of scale degree names in labeling primary and major triads (1.2 B3, 1.2 B4, 1.3 B2) Why are triads built on the 1 st, 4 th, and 5 th degrees of the scale called primary triads? Which specific intervals make up each triad? How do the scale degree names relate to the position of the triads within a scale? 28 Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: As a homework assessment model, students are given an assignment to facilitate the memorization of the scale degree names. Each student is to think of and write down an acronym for the scale degree names. The acronym must use the first letter of each scale degree and must in and of itself be somehow related to music. The students will share their acronyms with the class the next time they meet, and the class will decide on the best one to use for memorization of the scale degree names. What is the difference between a chord and a triad? (Comprehension & Application) How does the naming of the scale degrees help with memorizing which are the primary triads? (Evaluation, Analysis) How do chord symbols differ from using roman numerals in labeling triads? (Comprehension, Analysis)
Big Idea: Chords Primary and Major Triads Goal 9: The student will analyze, construct, and correctly label primary and major triads in all keys. 9.5. Roman numerals Discuss and demonstrate the use of roman numerals in naming triads 9.6. Chord symbols Discuss and demonstrate the use of chord symbols in naming triads in root position (1.2 B3, 1.2 B4, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com 29
Big Idea: Chords The V7 Chord Goal 10: The student will be able to analyze, understand, and construct the V7 chord in root position. 6 10.1. General voice-leading considerations Demonstrate the typical downward resolution of the V7 chord (1.1 A1, 1.2 B2, 1.2 B3,1.3 B2) When is the V7 used most frequently? Why? Which tone can you omit from a V7 chord? What is the major difference between using the V7 chord and using the V chord? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. 10.2. The V7 chord in root position Analyze the resolution of a root position V7 chord to a root position triad (1.2 B2, 1.2 B3, 1.3 B2) 10.3. The V7 chord in three parts Discuss and analyze the V7 chord in root position in every major key and in both clefs (1.2 B2, 1.2 B3, 1.3 B2) 10.4. Constructing the V7 chord in root position Construct the V7 chord in root position in every major key and in both clefs (1.2 B2, 1.2 B3, 1.3 30 Sample Assessment Model: Students are given an assignment which has been prepared by the teacher using the Finale program of music: An electronic worksheet is displayed on the LCD projector in front of the classroom. On the worksheet are written V7 chords with one part missing (it is hidden). Students can not only see the notes, but they can also hear the example of the chord or the individual notes within the chord. Students are to guess the missing note, and when they ve made their guess the teacher can click on the missing note and it will reappear. This can either be done as a class or individually in the computer lab. What are the intervals which make up a V7 chord? (Knowledge, Comprehension) What is the simplest method of finding the seventh? (Analysis, Comprehension) How does the seventh enhance the sound of the dominant chord? (Evaluation)
Big Idea: Chords The V7 Chord Goal 10: The student will be able to analyze, understand, and construct the V7 chord in root position. B2) 10.5. Inversion of the major 2 nd and minor 7th Discuss the use of inverting the major 2 nd and minor 7 th above the root of a V7 chord (1.1 A1, 1.2 B2, 1.2 B3, 1.3 B2, 1.4 A2) 10.6. Ear training and the V7 chord Aurally recognize the root position V7 chord and distinguish it from the major and primary triads in a given key (1.1 A1, 1.2 B2, 1.2 B3, 1.3 B2) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com The Finale Music Software program 31
Big Idea: - Chords Inversions of Primary Triads and the V7 Chord Goal 11: The student will be able to construct, analyze, and aurally differentiate between the different inversions of primary triads and the V7 chord. 10 11.1. Major triads in 1 st inversion Construct and analyze major triads in 1 st inversion. (1.2 B2, 1.3 B2) 11.2. Major triads in 2 nd inversion Construct and analyze major triads in 2 nd inversion. (1.2 B2, 1.3 B2) 11.3. The V7 chord in 1 st inversion Construct and analyze the V7 chord in 1 st inversion. (1.2 B2, 1.3 B2) 11.4. The V7 chord in 2 nd inversion Construct and analyze the V7 chord in 2 nd inversion. (1.2 B4, 1.3 B2) What is the quickest way to identify the written inverted V7 chords? How do you identify the root of an inverted chord or triad? Which tone do you listen for when trying to identify triads or chords by ear? 32 Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Class will divide into two teams. When students are first learning inversions, game can be played with construction paper as symbols of parts of the chord. A student from each team will be asked to complete a specific triad. Students from both teams will race one another to be the first to complete the triad on the board by stacking the symbols in the proper order. As students get better at building inverted chords, students will actually construct the triad in the given key on the staff. The first student who completes the triad successfully wins a point for his/her team, and then the next two students are up. Play continues as long as there are questions left to answer. Teacher monitors correct answers. Where must the root of the chord be for each inversion? (Comprehension) Why are there more inversions of the V7 chord than of the triads? (Analysis) What is the difference in sound between the first and second inversion triads? (Evaluation)
Big Idea: - Chords Inversions of Primary Triads and the V7 Chord Goal 11: The student will be able to construct, analyze, and aurally differentiate between the different inversions of primary triads and the V7 chord. 11.5. The V7 chord in 3 rd inversion Construct and analyze the V7 chord in 3 rd inversion. (1.3 B2, 1.2 B4) Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 11.6. Ear training and inversions Aurally recognnize the different inversions of primary triads and the V7 chord. 33
Big Idea: Chords Figured Bass and Major Chord Progressions Goal 12: The student will understand figured bass and use it in the formation and labeling of chords in a smooth major chord progression. Students will analyze and construct chords in open and close position. 10 12.1. Figured bass Demonstrate an understanding of the origin and the use of figured bass in the analysis and labeling of chords (1.1 A1, 1.1 B2, 1.2 B2) What are the primary differences between figured bass symbols and chord symbols? What is the significance of the numbers in figured bass? What is the difference between the root of a chord and the bass of a chord? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. 12.2. Chord symbols Identify and construct a chord by its given chord symbol in any major key 12.3. Major chord progressions Understand, analyze, and construct major chord progressions in root position Sample Assessment Model: After the initial teaching of the concept of figured bass, students will visit stations that teacher has set up around the room. Each station will have several triads which the students will be required to name, and there will be only one type (inversion) at each station. Students can pick the station that they will choose to visit and can stay and practice there as long as is needed. Why is it advisable to use inversions in the smooth chord progression? (Analysis) Why do we leave certain numbers out when naming a chord with figured bass? (Analysis, Comprehension) What is the difference between open and close position? (Comprehension, Synthesis) 34
Big Idea: Chords Figured Bass and Major Chord Progressions Goal 12: The student will understand figured bass and use it in the formation and labeling of chords in a smooth major chord progression. Students will analyze and construct chords in open and close position. 12.4. Smooth major chord progressions Understand, analyze, and construct smooth major chord progressions in any key by using inversions Technology: http://musictheory.halifax.ns.ca/ www.earplane.com www.mhhe.com/tonalharmony5 12.5. Voicing single triads Construct all inversions of primary and major triads and the V7 chord using open and close position. 35
Big Ideas: - Scales Minor Scales Goal 13: The student will be able to use various methods for recognizing, constructing, and analyzing the three forms of the minor scale. 8 13.1. The circle of fifths Discuss the differences in the circle of fifths when in a minor key 13.2. The relative minor Find the relative minor key for a given major key, and the relative major key for a given minor key. Construct the key signature in bothclefs. 13.3. The natural minor scale Analyze and construct the natural minor scale in any minor key. 13.4. The melodic minor scale Analyze and construct the harmonic minor scale in any minor key. What is the difference between the major scale and the minor scale? How do the three types of minor scales differ? Why is it more desirable to raise the seventh in a minor key? Assessment Model: Each skill is assessed through a combination of written homework assignments, class work, quizzes and tests. Each skill must also be assessed through sight singing, sight reading, melodic, harmonic and rhythmic dictation and sequential ear training assignments, quizzes and tests. Sample Assessment Model: Students are to construct the circle of fifths where each student represents a major key. Students will get in a circle, and one student will begin by describing his/her major key (flats, sharps, etc.) As students get better at this, they will also describe themselves as the relative minor. How does the circle of fifths work, and how does it help in identifying key signatures? (Comprehension, Analysis) What are the similarities between the melodic minor scale and the major scale? (Analysis, Evaluation) What are the several ways to identify a minor key signature? (Comprehension) 36