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COURSE DESCRIPTION
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Music Theory is a three-course track
developed according to the principles found on the Music Theory section of the
College Board AP Central website (http://apcentral.collegeboard.com). The course gives students an opportunity to
learn composition techniques, form and analysis of major works from major
musical periods and genres.
The ultimate goal of the Music Theory courses is to develop
each student`s ability to recognize, understand, and describe the basic
materials and processes of music that are heard or presented in a score. The
achievement of this goal may be best promoted by integrated approaches to the
student`s development of:
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Aural
Skills
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through
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Listening Exercises
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Intellectual
Skills
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Performance Exercises
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Notation
Skills
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Written Exercises
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Compositional
Skills
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Creative Exercises
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Analytical
Skills
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Analytical Exercises
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Music Theory 1 (Nine weeks) will cover elements such
as scale patterns, rhythmic devices, tonality, and basic part writing.
Music Theory 2 (Nine weeks) will continue that work,
while adding melodic and harmonic dictation, chord analysis, small forms, and a
focus on connecting the development of theory elements to music history. Style, expressions and the role of music in
the world are also addressed.
AP Music Theory (Eighteen weeks) provides a
continuation and enrichment of music theory coursework. This is the highest level music theory
offering. This class is designed to
allow for creativity and composition of large choral and instrumental
works. Students in this class will
learn further composition techniques, form and analysis of major works from all
major Western musical periods and genres.
Students are required to become proficient on Sibelius notation
software. Advancement of aural skills
and theoretical knowledge is also a requirement. This class is designed to prepare students for the AP exam with
the goal of testing out of college freshman Music Theory courses.
Textbooks, Software
& Supplemental Equipment:
Benward, Bruce & J. Timothy Kolosick. Ear Training: A Technique for Listening. 7th Ed.
New York:
McGraw-Hill. 2005.
Benward,
Bruce & Marilyn Saker. Music in
Theory & Practice, Vol. 1. 7th
Ed.
New York: McGraw-Hill.
2003.
Benward, Bruce & Marilyn Saker. Music in Theory & Practice, Vol. 2. 7th Ed.
New York:
McGraw-Hill. 2003.
The Benward-Saker
textbook is the primary source material for the course. The order of topics (generally), assignments
and many recorded examples are drawn from that book. Ear training will be implemented and assessed using the Auralia
2.0 software, and run concurrently to the concepts covered in the course
outline below. The Benward-Kolosick
book provides supplemental aural exercises.
GRADING for Music
Theory 1 & 2:
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Questions of the Day (One-question daily pop quiz)
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15%
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Homework
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50%
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Tests
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35%
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There will be no extra credit offered in this
course
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GRADING for AP
Music Theory:
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Questions of the Day (One-question daily pop quiz)
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10%
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Composition Projects
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30%
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Homework
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30%
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Tests
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30%
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There will be no extra credit offered in this
course
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Recommended Course Outline
(following Benward & Saker, Music in Theory & Practice):
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WEEK
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UNITS OF STUDY
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SKILLS
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(Terms
1 & 2)
Week 1
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Ch
1: Notation
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1.
Transpose a given melody onto different clefs using proper notation rules.
2.
Identify note names on various clefs using octave identification rules.
3.
Use accidentals to change or lower notes.
4.
Connect enharmonic equivalent notes.
5.
Identify errors in notation.
6.
Identify Common Meters
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2 & 3
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Ch
2: Scales, Tonality, Key
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1.
Identify, Build & Sing major, Natural Minor, Harmonic & Melodic Minor
Scales using scale interval patterns.
2.
Identify 12 major & 12 minor key signatures using the Circle of 5ths.
3.
Apply scale degree names & functions.
4.
Aurally & Visually identify major, minor (all forms), pentatonic, minor
pentatonic, blues, minor blues, whole tone & chromatic scales
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4
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Ch
3: Intervals & Transposition
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1.
Identify, Construct, Audiate and sing a variety of simple & compound
intervals.
2.
Connect enharmonic equivalent intervals.
3.
Transpose using Interval & Clef transposition.
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5
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Ch
4: Chords
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1:
Identify chord sonority visually and aurally
2:
Identify chord factor (Root, 3rd or 5th)
3:
Analyze harmonies using Roman Numerals
4:
Analyze inversions and use proper symbols
5:
Use figured bass notation
6:
Harmonize melodies.
7:
Compose bass lines implying correct harmony.
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6
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Ch
5: Cadences and Nonharmonic tones (NHT)
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1:
Identify harmonic cadence types visually and aurally
2:
Analyze notation to find cadences
3:
Identify nonharmonic tones (NHT) in notation
4:
Identify various types of NHT
5:
Distinguish between accented and unaccented NHT
6:
Connect cadence types to Roman Numeral analysis from previous units
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7
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Ch
6: Melodic Organization
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1:
Identify the various types of structural elements (Motives, Sequences,
Phrases, & Periods) visually and aurally
2:
Compose Phrases and Periods using Antecedent/Consequent relationships &
structural elements
3:
Connect Cadence types to Phrase and Period structure
4:
Identify general characteristics of a good melody
5:
Compose melodies using the general characteristics & structural elements
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8
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Ch
7: Texture and Textural Reduction
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1:
Analyze texture types (Polyphony, Homophony, etc.)
2:
Identify textural elements visually and aurally
3:
Determine harmonic rhythm as it applies to Harmonic analysis
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9
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Ch
8: Voice Leading in two Voices
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1:
Analyze common features of the Cantus Firmus
2:
Compose Canti Firmi according to the characteristics of good melody (Benward
& Saker, p 119-120).
3:
Identify and apply the various types of motion between voices (Parallel,
Contrary, Oblique, Similar)
4:
Analyze common features of counterpoint
5:
Compose counterpoint according to standard practice (proper ending, musica
ficta, allowable intervals)
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10
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Ch
9: Voice Leading in Four Voices
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1:
Analyze Stylistic practices of four-voice leading of chords in any position
(Root, 6, 6/4, etc.)
2:
Demonstrate ability to write proper voice leading & chord resolution
3:
Identify and correct Voice-leading mistakes
4:
Aurally identify common voice-leading mistakes (e.g. parallel 5ths or omitted
3rd factors)
5:
Demonstrate ability to realize figured bass notation.
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11
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Ch
10: Harmonic Progression & Harmonic Rhythm
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1:
Review concepts of Harmonic rhythm
2:
Identify common progressions as they apply to movement toward or away from
resolution of tonic
3:
Harmonize melodies using circle, ascending 5th, ascending 2nd, and descending
3rd progressions
4:
Apply voice leading principles to types of harmonic progressions
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12
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Ch
11: Dominant 7th chord
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1:
Identify Dominant 7th chord in context
2:
Analyze compositions using dominant 7th chords in root position and inversion
3:
Demonstrate ability to resolve dominant 7th chords according to standard
practice
4:
Demonstrate ability to aurally distinguish between dominant 7ths and triads
5:
Realize Dominant 7ths in figured bass notation
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13
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Ch
12: Leading Tone 7th Chords
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1:
Identify Leading Tone 7th chord in context
2:
Analyze compositions using Leading Tone 7th chords in root position and
inversion
3:
Demonstrate ability to resolve Leading Tone 7th chords according to standard
practice
4:
Demonstrate ability to aurally distinguish between dominant 7ths, leading
tone 7ths & triads
5:
Realize leading tone 7ths in figured bass notation
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14
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Ch
13: Non-Dominant 7th Chords
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1:
Identify Non-Dominant 7th chords in context
2:
Analyze compositions using non-dominant 7th chords in root
position and inversion
3:
Demonstrate ability to resolve non-dominant 7th chords according
to standard practice
4:
Demonstrate ability to aurally distinguish between non-dominant 7ths,
dominant 7ths, leading tone 7ths & triads
5:
Realize Non-Dominant 7ths in figured bass notation
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15 & 16
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Ch
14: Modulation
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1:
Identify closely related keys
2:
Distinguish between Pivot/Chromatic/Phrase modulation
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17 & 18
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Ch
15: Secondary Function/Tonicization
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1:
Distinguish between Modulation and Tonicization
2:
Analyze and audiate secondary function chords
3:
Distinguish visually and aurally between diatonic chords and secondary chords
4:
Realize secondary function in figured bass notation
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(AP Theory) Week 1
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Review
concepts from Music Theory 1 &2
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2
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Ch
16: Binary Form
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1:
Identify formal divisions
2:
Identify characteristic key areas
3:
Identify characteristic phrase structure
4:
Demonstrate knowledge through composition and analysis
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3 & 4
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Ch
17: Ternary & Rounded Binary Forms
Composition Project
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1:
Identify formal divisions
2:
Identify characteristic key areas
3:
Identify characteristic phrase structure
4:
Demonstrate knowledge through composition and analysis
5:
Distinguish visually and aurally between Binary, Ternary & Rounded Binary
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5
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Late
Renaissance Polyphony
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1:
Identify and use modes
2:
Identify renaissance cadence types.
3:
Identify Consonant & Dissonant intervals
4:
Apply appropriate treatment of dissonant intervals.
5:
Explore historical significance & important composers of the style
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6
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Baroque
Counterpoint
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1:
Perform Formal Analysis (Motive, Countermotive, Sequences, etc)
2:
Identify Key areas & cadences
3:
Analyze & Compose Two-Part Inventions
4:
Contrast Renaissance and Baroque Polyphony
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7
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Fugue
Composition Project
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1:
Identify formal features of Fugues (Exposition, Episodes, Entries, Coda, etc)
2:
Identify Subject, Answer & Countersubject in Exposition &
Development, both aurally & visually
3:
Identify and use variation techniques (Augmentation, Diminution, Retrograde,
Melodic Inversion, etc.)
4:
Explore historical significance of fugue & important composers of the
style
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8
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Modal
Borrowing
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1:
Analyze use of modal borrowing in major and minor keys.
2:
Identify the most commonly borrowed chords visually & aurally in context
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9
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Neapolitan
6th Chords
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1:
Analyze use and function of N6 chord
2:
Distinguish visually & aurally between borrowed chords and N6
3:
Demonstrate understanding by composition, using correct voice leading
practice.
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10
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Augmented
6th Chords (It6, Fr6, Gr6)
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1:
Identify Aug 6th chords in context
2:
Analyze compositions using augmented 6th chords
3:
Demonstrate ability to resolve augmented 6th chords according to standard
practice
4:
Demonstrate ability to aurally distinguish between aug 6ths, N6, &
borrowed chords
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11
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Variation
Technique
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1:
Distinguish between Continuous Variation vs. Theme & Variation;
2:
Analyze and demonstrate use of Variation Techniques
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12 & 13
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Sonata
Form
Composition Project
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1:
Identify formal divisions
2:
Identify characteristic key areas
3:
Identify characteristic phrase structure
4:
Demonstrate knowledge through composition and analysis
5:
Distinguish visually and aurally between Sonata Form and previous forms
(Binary, Ternary, etc.)
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14
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Extended
Tertian Harmony
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1:
Identify Dominant 9th, 11th & 13th chords in
context
2:
Analyze compositions using extended harmony
3:
Demonstrate ability to resolve extended harmony according to standard
practice
4:
Demonstrate ability to aurally distinguish between 9th, 11th,
& 13th chords aug 6ths, N6, & borrowed chords
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15
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Rondo
Forms
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1:
Identify formal divisions of 3, 5, & 7 part Rondo forms, as well as
Sonata-Rondo
2:
Identify characteristic key areas
3:
Identify characteristic phrase structure
4:
Demonstrate knowledge through composition and analysis
5:
Distinguish visually and aurally between Rondo Form and previous forms
(Sonata, Binary, Ternary, etc.)
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16
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Altered
Dominants & Chromatic Mediants
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1:
Identify Altered Dominant and Chromatic mediant chords in context.
2:
Analyze compositions containing Altered Dominants & Chromatic Mediants
3:
Demonstrate ability to resolve according to standard practice.
4:
Demonstrate ability to aurally distinguish between Altered and unaltered
Dominants & Mediants.
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17 & 18
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Post-Romantic
& 20th Century Styles
Composition Project
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1:
Survey the breakdown of tonality and other post-romantic &
impressionistic techniques
2:
Introduce Quartal & Quintal Chords
3:
Survey Neo-Classicism, Serialism, 20th century scales &
techniques
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