7/20/18 To 2018-19 Mountain View H.S. A.P. Music Theory Students and Parents: Welcome back from your summer break! I hope you ve enjoyed your time away working, playing, and spending time with your families. Welcome to A.P. Music Theory, a class that examines advanced music theory and ear training. Mark your calendars now. The AP Music Theory Exam is Monday, May 13th, 2019, 8 A.M. I want you to enjoy Music Theory. You can help yourself with this by following several guidelines: AP Music Theory Policies and Procedures Course Overview 1. Course Objectives At the completion of the AP Music Theory course, students will: A. Notate pitch and rhythm in accordance with standard notations practices B. Read melodies in treble, bass, and movable C clefs C. Write, sing, and play major scales and all three forms of minor scales D. Recognize by ear and by sight all intervals within an octave E. Use the basic rules that govern traditional music composition F. Harmonize a melody with appropriate chords using good voice leading G. Analyze the chords of a musical composition with Roman and Arabic numerals and also with lead sheet symbols H. Transpose a composition from one key to another I. Express musical ideas by composing and arranging J. Understand and recognize basic musical forms: ternary, binary, rondo, etc. K. Write simple rhythmic, melodic, and harmonic dictation 2. A.P. Curricular Requirements These are requirements the College Board requires every AP Music Theory course to include in their curriculum.! The teacher has read the most recent AP Music Theory Course description, available as a free download at apcentral.collegeboard.com/music.! The course first helps students master the rudiments and terminology of music, including: notational skills, intervals, scales and keys, chords, metric organization, and rhythmic patterns.! The course progresses to include more sophisticated and creative tasks: Composition of a bass line for a given melody, implying appropriate harmony 1
Realization of a figured bass Realization of a Roman numeral progression Analysis of repertoire, including study of motivic treatment, examination of rhythmic and melodic interaction between individual voices of a composition, and harmonic analysis of functional tonal passages! The course incorporates a brief introduction to twentieth-century scales, chordal structures, and compositional procedures, either through analysis or original composition.! The course teaches the following procedures based in common-practice tonality: Functional triadic harmony in traditional four-voice texture (with vocabulary including nonharmonic tones, seventh chords, and secondary dominants) Tonal relationships Modulation to closely related keys! The course also teaches: Standard rhythms/meters Phrase structure Small forms (e.g., rounded binary, simple ternary, theme and variation, strophic)! Musical skills are developed through the following types of musical exercises (both conducted in class and assigned as homework): Listening (discrete intervals, scales, etc.; dictations; excerpts from literature) Sight-singing Written exercises Creative exercises Analytical exercises! The course includes, but is not limited to, study of a wide variety of vocal and instrumental music from the standard Western tonal repertoires. 3. Course Planner Each week students will have a lesson based on the Kotska-Payne text. Coinciding worksheets will be assigned from the Kotska-Payne workbook. Students will also receive a lesson and daily exercises from the Ottman sight-singing text. Also, ear training and appropriate drills will be assigned from the Musition and Auralia software. The following is an estimation of the yearly curriculum. Note: Musition is abbreviated as M Auralia is abbreviated as A 2
Week 1 Elements of Pitch Musition/Auralia Entry exam and class selection The keyboard and octave registers Notation of the staff The Major scale The Major key signatures 1-Rhythm! Simple meters: the Beat and its division into two parts M: Key Signatures 1 M: Scales 1 A: Rhythm Elements: Levels 1-2 Week 2 Elements of Rhythm Musition/Auralia Rhythm Durational symbols Beat and tempo Meter Divisions of beat Simple time signatures 1-Rhythm! Simple meters; the Beat and its division into two parts M: Rhythm Tapping Levels 1-3 M: Key Signatures 2 M: Scales 2 A: Rhythm Elements: Levels 3-4 Week 3 Elements of Pitch Musition/Auralia minor scales minor key signatures Scale degree names Whole tone, pentatonic, chromatic scales and church modes. 2-Melody! Stepwise melodies, major keys 2-Rhythm! Simple meters; the beat and its division into two parts M: Intervals 1 A: Intervals 1 A: Rhythm Elements Level 5 A: Element Dictation Level 1 3
Week 4 Elements of Pitch Musition/Auralia Intervals Perfect, Major, and minor intervals Augmented and diminished intervals Inversion of intervals Consonant and dissonant intervals 2-Melody! Stepwise melodies, major keys 2-Rhythm! Simple meters; the beat and its division into two parts M: Chords 1 M: Intervals 2 A: Intervals 2 A: Element Dictation 2 Week 5 Introduction to Triads and 7 th Chords Triads Seventh chords 3-Melody! Intervals from the tonic triad, Major keys 3-Rhythm! Simple meters Musition/Auralia M: Chords 2 M: Intervals 3 A: Element Dictation 3 A: Intervals 3 Week 6 Introduction to Triads and 7 th Chords Inversions of chords Inversion symbols and figured bass Lead sheet symbols 3-Melody! Intervals from the tonic triad, Major keys 3-Rhythm! Simple meters Musition/Auralia M: Chords 3 A: Rhythm Dictation 1 A: Element Dictation 4 4
Week 7 Introduction to Triads and 7 th Chords Recognizing chords in various textures 4-Melody! Intervals from the tonic triad, Major keys 4-Rhythm! Compound meters; the beat and its division into three parts Auralia A: Intervals 4 A: Rhythm Dictation 2 A: Element Dictation 5 Week 8 Diatonic Chords in Major and minor Keys The minor scale Diatonic triads in Major Diatonic triads in minor Diatonic 7 th chords in Major Diatonic 7 th chords in minor Sight Singing 4-Melody! Intervals from the tonic triad, Major keys 4-Rhythm! Compound meters; the beat and its division into three parts M: Scales 3 Musition Week 9 Cadences, Phrases and Periods Musical form Cadences Cadences and harmonic rhythm 4-Melody! Intervals from the tonic triad, Major keys 4-Rhythm! Compound meters; the beat and its division into three parts M: Cadences 1 Auralia A: Rhythm Dictation 3 Week 10 Harmonic Progression Auralia Sequences and the circle of 5ths The I and V chords The II chord The VI chord The III chord The VII chord The IV chord 5-Melody! Minor keys; intervals from the tonic triad 5-Rhythm! Simple and compound meters M: Cadences 2 A: Rhythm Dictation 4 A: Chord Progressions 1 5
Week 11 Harmonic Progression and Cadences, Phrases and Periods Common exceptions Differences in the minor mode Progressions involving 7 th chords Motives and Phrases Period Forms 5-Melody! Minor keys; intervals from the tonic triad 5-Rhythm! Simple and compound meters Auralia M: Cadences 3 A: Rhythm Dictation 5 A: Chord Progressions 2 Week 12 Non-Chord Tones Musition/Auralia Classification of non-chord tones Passing tones Neighboring tones Suspensions and retardations Figured bass and lead sheet symbols Embellishing a simple texture Appoggiaturas Escape tones The Neighbor Group Anticipations The Pedal Point 6-Melody! Intervals from the dominant triad; Major and minor keys 6-Rhythm! Simple and compound meters M: Cadences 4 A: Melodic Dictation 1 A: Chord Progressions 3 Week 13 Non-Chord Tones Auralia NCT project 6-Melody! Intervals from the dominant triad; Major and minor keys 6-Rhythm! Simple and compound meters A: Melodic Dictation 2 A: Chord Progressions 4 6
Week 14 Principals of Voice Leading Auralia The melodic line Notating chords Voicing a single triad Parallel motion 8-Melody! Further use of diatonic intervals 8-Rhythm! Simple and compound meters A: Melodic Dictation 3 A: Chord Progressions 5 Week 15 Principals of Voice Leading Auralia Ditto week 14 8-Melody! Further use of diatonic intervals 8-Rhythm! Simple and compound meters A: Melodic Dictation 4 A: Chord Progressions 6 Week 16-18 Root Position Part Writing Musition/Auralia Root position part writing with repeated notes -four part textures -three part textures Root position part writing with roots a 4 th (5 th ) apart -four part textures -three part textures Root position part writing with roots a 3 rd (6 th ) apart -four part textures -three part textures Root position part writing with roots a 2 nd (7 th ) apart -four part textures -three parts textures 8-Melody! Further use of diatonic intervals 8-Rhythm Simple and compound meters 9-Melody! Intervals from the dominant seventh chord; other diatonic intervals of the seventh 9-Rhythm Simple and compound meters Week 16 A: Melodic Dictation 5 Week 17 A: Melodic Dictation 6 Week 18 A: Melodic Dictation 7 7
Week 19 First Semester Exam Musition Review and Exam None None Week 20 Root Position Part Writing Musition/Auralia Instrumental ranges and transpositions 10-Rhythm! The subdivision of the beat: the simple beat into four parts, the compound beat into six parts M: Transposition 1-2 A: Melodic Dictation 8 Week 21 Triads In First Inversion Auralia Bass arpeggiation Substituted first inversion triads Parallel sixth chords Part writing first inversion triads -four part textures -three part textures 10-Rhythm! The subdivision of the beat: the simple beat into four parts, the compound beat into six parts M: Transposition 3-4 A: Melodic Dictation 9 Week 22 Root Position Part Writing Musition/Auralia Soprano-Bass counterpoint 11-Melody! Intervals from the tonic and dominant triads 11-Rhythm! Subdivision in simple and compound meters M: Transposition 5-6 A: Melodic Dictation 10 8
Week 23 Triads In Second Inversion Musition/Auralia Bass arpeggiation and the melodic bass The cadential 6/4 The passing 6/4 11-Melody! Intervals from the tonic and dominant triads 11-Rhythm! Subdivision in simple and compound meters M: Concepts 1 M: Terms 1 A: Melodic Comparison 1 Week 24 Triads In Second Inversion Musition/Auralia The pedal 6/4 Part writing for second inversion triads 11-Melody! Intervals from the tonic and dominant triads 11-Rhythm! Subdivision in simple and compound meters M: Terms 2 A: AP Forms 1 A: AP Chord Progressions 1 Week 25 The V7 Chord Musition General voice leading considerations The V7 in root position Other resolutions of the V7 The inverted V7 chord 12-Melody! Further use of diatonic intervals 12-Rhythm! Subdivision in simple and compound meters M: Concepts 2 M: Terms 3 A: Rhythm Comparison 1 Week 26 The V7 Chord Musition/Auralia The V6/5 chord The V4/3 chord The V4/2 chord The approach to the 7th 12-Melody! Further use of diatonic intervals 12-Rhythm! Subdivision in simple and compound meters M: Terms 4 M: Symbols 1 A: AP Forms 2 9
Week 27 Secondary Functions Part One Chromaticism and altered chords Secondary functions Secondary dominant chords Spelling secondary dominants Recognizing secondary dominants Secondary dominants in context 13-Melody! Chromaticism (I): chromatic nonharmonic tones; the dominant of the dominant (V/V) harmony; modulation to the key of the dominant Musition/Auralia M: Concepts 3 M: Terms 5 M: Symbols 2 A: Melodic Comparison 2 Week 28 Secondary Functions Part Two Secondary leading-tone chords Spelling secondary leadingtone chords Recognizing secondary leading-tone chords Secondary leading-tone chords in context Sequences involving secondary functions Descriptive resolutions of secondary functions 13-Melody! Chromaticism (I): chromatic nonharmonic tones; the dominant of the dominant (V/V) harmony; modulation to the key of the dominant Musition M: Terms 6 M: Symbols 3 A: AP Chord Progressions 2 10
Week 29-30 Modulations Using Diatonic Common Chords Modulation and change of key Modulation and tonicization Key relationships Common-chord modulation Analyzing common chord modulation 13-Melody! Chromaticism (I): chromatic nonharmonic tones; the dominant of the dominant (V/V) harmony; modulation to the key of the dominant Musition/Auralia M: Modulation 1 M: Modulation 2 Week 31 Binary and Ternary Forms Musition Formal terminology Binary forms Ternary forms Rounded binary forms 12 bar blues Other formal designs Lead Sheet Symbols (?) 13-Melody Chromaticism (I): chromatic nonharmonic tones; the dominant of the dominant (V/V) harmony; modulation to the key of the dominant A: Forms 1 Weeks 32-36 Review and AP Test Preparation Administer released exams Weeks 37-38 Develop and Present Final Project Musition M: AP Music Theory Exam Level A: AP Music Theory Aural Exam Level 11
4. Textbooks and Software Auralia: ear training software created by Sibelius Kotska, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to Twentieth-Century Music. 5 th ed. New York: McGraw-Hill, 2004. Ottman, Robert. Music for Sight-Singing. 5 th ed. Upper Saddle River, N.J.: Prentice Hall, 2001. Musition: theory and ear training software created by Sibelius Noteflight: notation software created by Noteflight Policies and Procedures 1. Theory Room Guidelines A. Because there are classes in the theory room every period, you may be in the theory room for class business only. B. Students must have the instructor s permission to be in the office or use the phone EVERY time. Do not allow familiarity to imply privileges that aren t yours. C. Absolutely NO gum chewing, food or drinks (except bottled water) will be allowed. D. Each student must do his/her part to maintain a neat and clean appearance of the room. Please remember it s not your personal locker. E. Please remove your hat upon entering the choir room. F. Students desiring to use the restroom must take the appropriate pass hung near the door. Only one student is allowed to use the restroom at a time. G. Mobile phones, computer, tablets or electronic music devices and similar items should not be visible or audible. They will be confiscated otherwise. H. Classroom set-up procedures: a. Each student will be assigned a seat, laptop, MIDI keyboard and mouse b. Each student is responsible for set up and take down of their electronic equiment. Mr. Schreiber will not wait for a late student nor will write a pass for a student to their next class due to technological hindrances. I. Computer Usage a. Computers are only to be used for AP Theory coursework. b. Computers are not to leave the classroom. c. Downloads of any type are forbidden. d. Internet usage is only allowed for students who have parent approval through the school-mandated policy. Internet usage will only occur with Mr. Schreiber s approval. 2. Attendance Be on time for class. No assignment due will be accepted from a tardy student nor may the student take any scheduled quiz. Tardy means not in the classroom when the final bell rings. On unit test days, late students will take the essay version of the test. If a 12
student is more than ten minutes late for a major test, he or she will not have the opportunity to take the test at all. A. Tardy Policy First Tardy: Warning - student is responsible for writing their name on the tardy clipboard near the entrance door. Five responsibility points will be removed from the student s grade. Following Tardies: Each student will be dealt with on an individual Basis. All tardies will result in loss of responsibility Points. Excessive tardies will result in: Parent Notification, Lunch Detention, Recommendation For Saturday School and Removal from class If necessary. Tardy is defined as: the student must be within the door thresholds of the classroom by the time the tardy bell is finished ringing. 3. Personal Responsibilities A. Bring plenty of supplies so that you will not have to borrow from another student. The following is a recommended list of supplies: a. Three ringed binder with regular lined paper and notation paper b. Pencil and eraser c. Pen d. Headphones B. Be a good listener and take careful notes. Much of the information consists of terms and other technical information. If it s not covered in class, however, it s not on the test. C. Please understand on due dates for projects or on test days that unless you have an excused absence, you may not makeup the project or test. If you are excused only for this class and one or two others but are in school even one hour, your project is due that day: before or upon your return to school. In the case of a test, you must make arrangements for a make-up that same day. If you are only absent for this class and it is for illness or a doctor s appointment, you must turn in the project or make arrangements for the test that same day or receive no credit. If you are absent only for this class and it is not excused, you will receive neither credit for a project nor the opportunity for a make-up test. D. Computer work is due Friday at 3:30 P.M. of the week it is assigned unless otherwise noted. 13
4. Evaluation of Students The grading scale is as follows: 90-100% = A, 80-89% = B, 70-79% = C, 60-69% = D, and any score 59% or below = F. Although work will be evaluated according to this scale, mastery is expected from students on all assignments. Class grades will based on the following assignments and point values: Dictation 2 points per measure Sightsinging 1 point per measure Homework 1 point per question Weekly Quiz/Computer 25 points (every Friday) Responsibility Point 5 points per day Chapter Quiz 1 points per question Mid Term 50 points Final 100 points Final Project 100 points Attached is a Student Information Form. Please read these and sign them in the appropriate place. Your son/daughter should return these to Mr. Schreiber August 10th. I am looking forward to meeting all of the parents at Mountain View s open house on the 14th of August at 6:00 M. If you have any questions at all, please feel free to call or email me. Thank You, Mason B. Schreiber 472-7156 mbschreiber@mpsaz.org 14
Student Information Name: Birth Date: Address: City: AZ Home Phone: Zip Code: email: Mother s Full Name: Mother s Employer: Mother s Work #: Father Full Name: Father s Employer: Father s Work #: First Semester Second Semester Hour Class Teacher Hour Class Teacher 1 1 2 2 3 3 4 4 5 5 6 6 (parent/guardian name) have read and understand the Mountain View High School A.P. Music Theory packet of class procedures, grading policy and syllabus. Date: Student Signature Parent Signature 15
Student/Parent Record Date Time Reason Result 16