Music Theory Syllabus Fall Semester 2016 Mr. Hawthorne, Instructor rhawthorne@ttsd.k12.or.us. Course Materials Items students provide that are necessary for course: 1. 3-ring binder 2. pencils 3. manuscript paper (see www.blanksheetmusic.net) 4. access to a smart phone or laptop computer Websites used in course: 1. www.musictheory.net 2. www.blanksheetmusic.net 3. www.noteflight.com or https://musescore.org/ 4. tigardchoirs.com Materials provided by teacher for course to be kept in 3-ring binder: 1. Syllabus with Parent/Student Signature 2. Daily Routine 3. Order of Course Content 4. Cornell Note Templates 5. Music Listening Guided Analysis Forms 6. Music Listening Creative Writing Responses 7. Vocabulary Lists 8. Concept of the Day Worksheets 9. Daily Dictation Handouts 10. Quizzes 11. Unit Exams 12. Comprehensive Exam 13. Composition Projects 14. Final Project Engagement, Clarification and Communication This is a lab class. Students are expected to take notes, ask questions and engage in every aspect of the class. Clarification of materials may take more than one effort to be fully understood. Stay with it. Please feel free to contact me outside the class day via email at: rhawthorne@ttsd.k12.or.us.
Daily Routine Music Listening We better understand music as a whole when we become familiar with the varied genres and styles of music that are a part of our western and non-western musical history, culture and experience. We will process our listening through one of these two activities. 1. Guided Analysis Students will listen to a music selection with a listening guide to fill out. Items to consider will include: Instruments (forces) used, key, tempo, form, era, composer, musical and historical importance 2. Creative Writing Response Students will write a free form response. This may take the form of a short story that reflects the mood of the musical work, or a description of the music as used for a film score, or simply free association writing. 2. Students are evaluated for completion and content level (see grading rubric) Solfege Singing Students will sing intervals, scales and chords as a part of ear training. 1. Students are evaluated for effort and accuracy (see grading rubric) Daily Dictation Students will write on music manuscript paper a 4 to 8 measure melody 2. Students are evaluated for effort (see grading rubric) Vocabulary/Concept of the Day Students will be presented vocabulary and music theory concept lecture each day. Using prescribed handouts, students will actively take notes, ask questions and 2. Students are evaluated on thoroughness of Cornell Note Taking (see grading rubric) Quiz/Q & A/Dalcroze Game Students will either have a quiz, question and answer time based on Cornell Note Taking or play a Dalcroze Eurhythmics game to reinforce learning of concepts 1. Students are evaluated for effort and accuracy (see grading rubric) 2. Students are evaluated on thoroughness of Cornell Note Taking (see grading rubric) Recap/Classwork, Worksheets, Composition Sharing Students will participate in a re-teaching activity, work on handouts related to the lesson, or share out compositions that they have been working on.
2. Students are evaluated on thoroughness of Cornell Note Taking Composition Projects: Weekly short composition projects are due at the end of each week. There will be a final composition project due at the end of the semester. The Final Project is a 24-measure tune harmonized in 4-parts using both treble and bass clefs. All compositions are expected to be clean, clear and easy to read. Sloppy copy is not acceptable. Students must do their own work 2. Students are evaluated for effort, adherence to directions and creativity and neatness. (see grading rubric) Unit Exams: Unit Exams cover material taught in our class sessions. Melodic and rhythmic dictation will be included at the start of these exams. Students performing less than a grade letter C will have the opportunity to retake the exam at a time that is convenient for both the student and instructor. Such exams are given outside regular class time and must be completed in one sitting. Final Exam: This is a comprehensive exam covering all aspects of the course. Music Theory Folder submission: This is handed in following your Final Exam on Feburary 1 st. Score will be based on completeness of dictations, Cornell Notes, class handouts, kept assignments/projects, quizzes, unit exams and any other document related to the course. Ethics: Working in groups and collaboration with classmates is encouraged. However, the work that YOU turn in must be YOUR OWN work. Cheating during examinations will not be tolerated and will be referred to the school s administration. You must understand the work before you; all of this knowledge continues to build through the semester. RUBRICS FOR ASSESSMENT 4 Exceeding Standard (A) Student can use and transfer technique/knowledge/skill to new and/or different music/performance/task or composition. 3 Meeting Standard (B) Student can demonstrate technique/knowledge/skill. Fundamental understanding is demonstrated. 2 Approaching Standard (C) Student demonstrates basic technique/knowledge/skill with prompting. Working toward proficientcy, but has minor gaps in understanding. 1 Below Standard (D) Student knows some key understanding, but cannot demonstrate technique/knowledge/skill accurately without significant prompting. NA Insufficient Evidence (F) Student has not produced and/or demonstrated sufficient evidence to accurately assess proficiency. Student is absent (AB) or assignment is missing (MI)
Order of Course Content The following timetable of content is based on a possible pace for the class. It may be subject to change should the class move at a faster rate. Additional topics may be added if time permits. September UNIT ONE: BUILDING COMPONENTS FOR MUSIC: NOTATION 7 Notation: Pitch Staff Lines/Ledger Lines Clefs, Grand Staff Note Names Black Keys/Enharmonics Systems 9 Pitch Notation (cont d) 13 Notation: Rhythm Note Duration/Rest Duration Syncopation/Beat Division, Beaming Time Signatures Bar Lines/Double Thin and Endings 15 Notation: Rhythm (cont d) 19 Unit Exam on Building Components of Music: NOTATION UNIT TWO: BUILDING COMPONENTS FOR MUSIC: SCALES 21 Organizing Sound: Western Scales Scale Degrees (Tonic, Super-Tonic, Mediant, Sub-Dominant, Dominant, Sub-Mediant, Leading Tone) Major Formula Minor Formulas (Natural, Harmonic and Melodic) Blues Scale Key Signatures (Relative same key signature; Parallel same DO) Circle of Fifths 23 Minor Formula/Circle of Fifths/Key Signatures 28 Minor Formula/Circle of Fifths/Key Signatures October 4 Minor Formula/Circle of Fifths/Key Signatures 6 Blues Scale 10 Pretest and Summary Review 12 UNIT EXAM ON BUILDING COMPONENTS FOR MUSIC: SCALES
UNIT THREE: BUILDING COMPONENTS FOR MUSIC: INTERVALS Melodic and Harmonic Intervals The 2 nd : Step-wise motion The 3 rd : Fundamental ingredient of triads, determines quality of chords The 4 th : Fundamental ingredient of inverted triads, harmonic motion from V to I The 5 th : Fundamental component for all root position triads; inversion of the 4 th The 6 th : The inversion of the 3rd; fundamental ingredient in inverted chords The 7 th : The inversion of the 2 nd ; fundamental ingredient for Seventh Chords The Octave: Note that is relationship with itself 17 Melodic and Harmonic Intervals (Major, minor and Perfect, Consonant/Dissonant) 19 Melodic and Harmonic Intervals (Major, minor and Perfect, Consonant/Dissonant) 25 Melodic and Harmonic Intervals (Major, minor and Perfect, Consonant/Dissonant) 27 Diminished and Augmented Intervals 31 Diminished and Augmented Intervals November 2 Diminished and Augmented Intervals 4 Pretest and Summary Review 8 UNIT EXAM ON BUILDING COMPONENTS FOR MUSIC: INTERVALS End First Quarter UNIT FOUR: TRIADS AND SEVENTH CHORDS 14 Primary Triads in Root Position (Tonic, Sub-Dominant, Dominant) 16 Primary Triads in Root Position (Tonic, Sub-Dominant, Dominant) 18 Secondary Triads in Root Position (Super-Tonic, Mediant, Sub Mediant and Leading Tone) 22 Secondary Triads in Root Position (Super-Tonic, Mediant, Sub Mediant and Leading Tone) Thanksgiving Break 29 Primary Seventh Chords in Root Position (Tonic, Sub-Dominant, Dominant) December 1 Primary Seventh Chords in Root Position (Tonic, Sub-Dominant, Dominant) 5 Secondary Seventh Chords in Root Position (Tonic, Sub-Dominant, Dominant) 7 Secondary Seventh Chords in Root Position (Tonic, Sub-Dominant, Dominant) 9 Triads in Inversion (Symbols and Figured Bass, Lead Sheet Symbols) 13 Triads in Inversion (Symbols and Figured Bass, Lead Sheet Symbols) 15 Seventh Chords in Inversion (Symbols and Figured Bass, Lead Sheet Symbols)
Winter Break January 3 Seventh Chords in Inversion (Symbols and Figured Bass, Lead Sheet Symbols) 5 Pretest and Review 9 UNIT EXAM ON BUILDING COMPONENTS FOR MUSIC: TRIADS AND SEVENTH CHORDS UNIT FIVE: DESIGN STUDIO Components of a Good Melody: Rhythm, Harmony, Contour, Leaps, Tendency Notes Harmonic Progression/Cadences Motion: Static, Oblique, Similar, Contrary, Parallel Non-Chord Tones: Passing, Neighbor, Suspension, Retardation, Appogiaturas, Escape Tones, Neighbor Groups, Anticipations, Pedal Point (if time )Form: Cadences, Motives, Phrases, Period Form, Binary and Ternary Form 11 Components of a Good Melody: Rhythm, Harmony, Contour Leaps, Tendency Notes 13 Harmonic Progression/Cadences 18 Motion: Static, Oblique, Similar, Contrary, Parallel 20 Non-Chord Tones: Passing, Neighbor, Suspension, Retardation 24 Non-Chord Tones: Appogiaturas, Escape Tones, Neighbor Groups, Anticipations, Pedal Point 26 Final Exam Prep 30 Final Exam Prep February 1 FINAL EXAM End Semester