TREMPER HIGH SCHOOL MUSIC DEPARTMENT AP MUSIC THEORY

TREMPER HIGH SCHOOL MUSIC DEPARTMENT
AP MUSIC THEORY
1 CREDITS
Teacher
Room Number
Louis Covelli
311
Telephone Number
E-Mail Address
262-359-2229
lcovelli@kusd.edu
Contact Times
Extra Help
Before or after school
Before or after school,
Prep time is Period 4
Prerequisites
Consent of instructor.
Course Standards
Sings a varied repertoire of music
Performs a varied repertoire of music on instruments
Creates music through improvising or composing within specified guidelines
Reads and notates music
Describes, analyzes, and evaluates music
Most essential benchmarks may be viewed at: www.kusd.edu.
Lifelong Learning Standards
Knowledgeable person
Complex thinker
Effective communicator
Self-directed learner
Quality producer
Contributing citizen
Lifelong learning benchmarks may be viewed at: www. kusd.edu.
Course Description
AP Music Theory is designed to follow the College Board guidelines and is comparable to
college level Music Theory courses. Any student who has successfully completed Music
Theory Honors course may register for AP Music Theory. Students entering AP Music
Theory have a solid understanding of essential rudimentary elements of music theory:
scales, key signatures, circle-of-fifths, intervals, triads, and inversions to name a few.
Musical composition, sequencing, and use of MIDI digital formats are some of the many
applications employed to further student understanding of music theory.
AP ® Music Theory
Overview
AP Music Theory is designed to follow the College Board guidelines and is comparable
to college level Music Theory courses. Any student who has successfully completed
Music Theory Honors course may register for AP Music Theory. Students entering AP
Music Theory have a solid understanding of essential rudimentary elements of music
theory: scales, key signatures, circle-of-fifths, intervals, triads, and inversions to name a
few. Musical composition, sequencing, and use of MIDI digital formats are some of the
many applications employed to further student understanding of music theory.
Course Objective
This course is designed to develop musical skills that will lead to a thorough
understanding of music composition and music theory. Students are prepared to take the
AP® Music Theory Exam when they have completed the course. Students planning to
major in music in college may be able to enroll in an advanced music theory course,
depending on individual colleges’ AP policies.
Textbook
Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony with an Introduction to
Twentieth-Century Music, 5th ed. New York: McGraw-Hill.
Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony with an Introduction to
Twentieth-Century Music Workbook, 5th ed. New York: McGraw-Hill.
Supplemental Materials
Benward, Bruce, and J. Timothy Kolosick, 2000. Ear Training: A Technique for
Listening, 6th ed. New York: McGraw-Hill
Ottman, Robert. 2004. Music for Sight-Singing, 6th ed. Upper Saddle River, N.J.: Prentice
Hall.
Palisca, Claude V., editor. 1988. Norton Anthology of Western Music, Vols. 1 and 2, 2nd
ed. New York: W. W. Norton.
Starer, Robert. 1969. Rhythmic Training, Wisconsin: Hal Leonard Corporation, MCA
Music Publishing.
Released Exams 1998 AP Music Theory. The College Board
Released Exams 2002 AP Music Theory. The College Board
Released Exams 2003 AP Music Theory. The College Board
Web Resources
AP Central (apcentral.collegeboard.com)
Ricci Adams’ Music Theory Web site (www.musictheory.net)
SmartMusic subscriptions available for all AP Music Theory students from
www.makemusic.com
Finale Notepad software (free download) at www.makemusic.com
Web site fro Musician’s Guide texts at www.wwnorton.com (each textbook has a log-in
code)
Teaching Strategies
Teaching Philosophy
My main goal in this class is to teach the students to appreciate music theory, so that they
might study or enjoy future music theory classes in college… and, to have a deeper
understanding and appreciation for music for the rest of their lives. I try to prepare them
to do well on the AP test, by giving them assignments from their textbook, additional
quizzes and tests, aural and ear training quizzes and tests, “hands on” activities, and past
AP Exams.
I believe in teaching mastery. A good portion of our class time may be spent in drill
work. We work problems together: I might write what students suggest; students may
write solutions on the board individually or in groups. Students are encouraged to drill
key signatures, intervals, and triad construction, along with rhythmic and melodic
dictation examples until it becomes automatic for them. Pop and Timed quizzes are given
periodically to check and monitor students progress on a given subject matter. Group
“study sessions” are encouraged outside of class time to prepare for upcoming tests and
quizzes.
Aural and Ear Training skills are challenging to teach as well as challenging for students
to develop and master. Strong emphasis is placed on mastery of rhythmic and melodic
dictation. Students are often instructed to complete four or eight measure rhythmic and
melodic dictations within an allotted number of hearings. This number of hearings will
then be reduced to fewer hearings. Sight Singing is also a key component to further
develop the students’ sense of pitch and music readability. I teach sight singing from both
solfege and generic “la” approach. The two approaches to sight singing are drilled with
the students to achieve a thorough understanding and grasp of the material. I have seen
my students grow exponentially in sight singing using this approach.
With the recent implementation of piano midi stations (8 stations so far) in our school, we
are developing a keyboard component for the AP Music Theory course. Students will
utilize the keyboards for a variety of exercises, including developing the necessary skills
to play some homework assignments, harmonic progressions, and melodies.
In preparation for the AP Exam, we take two AP Released Exams in their entirety.
During these several days, timed quizzes given in class use individual free-response
questions from released exams or other problems I have developed based on AP Examtype questions. We also discus the importance test taking and the importance of reading
carefully to understand what a multiple-choice question is really asking.
Technology is becoming increasingly important to musicians. I encourage students to
download Finale NotePad for personal use. Composition assignments are completed
using computer-generated notation. Assignments are given at regular intervals to insure a
working knowledge of Finale. I have had students email homework to me after they
complete it in NotePad. Sometimes I offer work that can be completed for extra credit,
and this must be completed on the computer. I encourage students to use the Web site
www.musictheory.net for drill and review.
General Course Content
1. Review of music fundamentals, including scales, key signatures, circle-of-fifths,
intervals, triads, and inversions
2. Weekly ear training, including rhythmic, melodic, and harmonic dictation
3. Weekly Sight-Singing using solfege or “la” for pitches
4. The study of figured bass
5. The study of modes
6. The study of seventh chords
7. The study of two-part counterpoint
8. The study of four-part harmony
9. The study of secondary-dominant functions
10. The study of musical form
11. The study of common compositional techniques
12. Read melodies in treble, bass, and movable C clefs
13. Transpose a composition from one key to another
14. Understand and recognize basic musical forms: ternary, binary, rondo, etc
15. Express musical ideas by composing and arranging
Expanded Course Objectives
1.
2.
3.
4.
Identify and notate pitch in four clefs: treble, bass, alto, and tenor
Notate, hear, and identify simple and compound meters
Notate and identify all major and minor key signatures
Notate, hear, and identify the following scales: chromatic, major, and the three
minor forms
5. Name and recognize scale degree terms, for example: tonic, supertonic, mediant,
subdominant, dominant, submediant, subtonic, leading tone
6. Notate, hear, and identify triads, including inversions
7. Notate, hear and transpose the following modes: Dorian, Phrygian, Lydian, and
Mixolydian
8. Notate, hear, and identify whole-tone and pentatonic scales
9. Notate, hear, and identify all major, minor, diminished, and augmented intervals
inclusive of an octave
10. Transpose a melodic line to or from concert pitch for any common band or
orchestral instrument
11. Notate, hear, and identify authentic, plagal, half, and deceptive cadences in major
and minor keys
12. Detect pitch and rhythm errors in written music from given aural excerpts
13. Notate a melody from dictation, 4 to 8, or, 6 to 12 bars, in a major key, mostly
diatonic pitches, simple or compound time, three to four repetitions
14. Notate a melody from dictation, 4 to 8, or, 6 to 12 bars, in a minor key, chromatic
alteration from harmonic/melodic scales, simple or compound time, three to four
repetitions
15. Notate and analyze simple 2-bar counterpoint in sixteenth- and/or eighteenthcentury styles
16. Sight-sing a melody, 4 to 8 bars long, major or minor key, duple or triple meter,
simple or compound time, using solfege or “la” syllable
17. Realize a figured bass according to the eighteenth-century chorale style, major or
minor key, using any or all of the following devices: diatonic triads, seventh
chords, inversions, nonharmonic tones, and secondary-dominant and dominant
seventh chords
18. Analyze a four-part chorale style piece using Roman and Arabic numerals to
represent chords and their inversions
19. Notate, hear, and identify the following nonharmonic tones: passing tone
(accented and unaccented), neighboring tone (upper and lower neighbor),
anticipation, suspension, retardation, appoggiatura, escape tone, changing tone
(cambiata), and pedal tone
20. Notate the soprano and bass pitches and the Roman and Arabic numeral analysis
of a harmonic dictation, eighteenth-century chorale style, seventh chords,
secondary dominants, 4 to 8 bars in length, major or minor key, three to four
repetitions
21. Compose a melody or expand a motive with of without text, 6 to 24 bars long,
given specific directions about key, mode, phrasing, rhythm, and harmonic
language. Harmonize a 4 to 12-bar melody by writing a bass line, chords and/or
chord symbols, given specific directions about key, mode, phrasing, rhythmic and
harmonic language
22. Define and identify common tempo and expression markings
23. Identify aurally and/or visually the following: modulation, transposition, melodic
and harmonic rhythm, sequence, imitation, ostinato, augmentation, diminution,
inversion, retrograde, and fragmentation
24. Recognize standard musical algorithms, i.e., standard melodic, rhythmic, and
harmonic idioms that occur in music
Expectations of Students
1. Students will participate in all classroom discussions and activities.
2. Students will complete all assigned assignments, exercises, and readings.
3. Students will keep and maintain a Music Theory notebook and/or 3-ring binder,
which will include class notes, handouts, assignments, and listening logs.
4. Students will study released AP Exams and take practice tests to prepare for the
exam.
5. Students will listen to approximately four hours of music each quarter outside of
class and maintain a music listening log, which will consist of written
analysis/evaluations of each listening selection. These written logs should include
observations and evaluations regarding the following items:
a) melodic characteristics (conjunct/disjunct)
b) harmonic characteristics (harmonic idioms present)
c) rhythm (straight/syncopated)
d) texture (homophonic, monophonic, polyphonic, heterophonic)
e) dynamics (dynamic contrasts)
f) timbre (instrumentation, tone color)
g) tempo (tempo changes)
h) meter (duple/triple, simple/compound, regular, irregular)
i) mode (major, minor, modal, atonal)
j) form (binary, ternary, sonata, rondo, etc.)
k) articulation (legato, staccato, etc.)
l) period (baroque, classical, romantic, etc.)
m) composer (era, style, influences, etc.)
6. Students will attend one concert each nine weeks and submit a paper about the
concert, using an appropriate musical vocabulary. This paper should contain
general information about the concert, the student’s evaluation of it, and specific
analysis of three individual selections from the concert. The paper is to be two
pages in length, double space, and 12 font. The analysis should include the
following:
a) melodic characteristics (conjunct/disjunct)
b) harmonic characteristics (harmonic idioms present)
c) rhythm (straight/syncopated)
d) texture (homophonic, monophonic, polyphonic, heterophonic)
e) dynamics (dynamic contrasts)
f) timbre (instrumentation, tone color)
g) tempo (tempo changes)
h) meter (duple/triple, simple/compound, regular, irregular)
i) mode (major, minor, modal, atonal)
j) form (binary, ternary, sonata, rondo, etc.)
k) articulation (legato, staccato, etc.)
l) period (baroque, classical, romantic, etc)
m) composer (era, style, influences, etc.)
7. Students will submit two major compositions each semester, based on assigned
form and content. Other minor compositions will be required to demonstrate
understanding and synthesis of concepts presented (Norton Anthology of Western
Music, Vols. 1 & 2, are good examples/resources for students to gain an
understanding/appreciation for compositional techniques). These compositions
include:
a) A song in binary form
b) A song in ternary form
c) A song in sonata form
d) A song based on a major mode
e) A song based on a minor mode
f) A song using two-part counterpoint
g) A song using three-part counterpoint
h) A four-part fugue with subject, countersubject and free improvisation
i) A song that modulates from one tonal center to another through the use of
a pivot chord (secondary dominant)
j) A song based on the whole-tone scale
k) A song based on a chromatic scale
l) A song based on a tone row or serialism (time permitting)
m) A song based on a church mode (time permitting)
Student Evaluation
I believe that to truly teach mastery to students in music theory, regular assessments and
drill work need to continuously take place. I use different strategies to evaluate my
students’ understanding, including white board use (music staff) during class time,
homework assignments, quizzes (pop and scheduled), tests (both written and aural), ear
training quizzes and tests (both written and aural) and exams.
1. White Board: My classroom has a music staff white board. As a class, we
work on problems together. I involve every single student in the problems
having them come up to work out problems individually and collectively.
2. Homework: Homework is assigned regularly out of the textbook and
workbook and occasionally additional worksheets and sample AP problems
are assigned. The first few minutes of every class period is set aside for
students to discuss questions they may have on the homework with a
classmate, while I go around and check their assignments. Any questions that
the students’ can’t resolve between them are then discussed as a class.
3. Quizzes and Tests: Quizzes and Tests occur sporadically at my discretion. I
often incorporate the quizzes found in the teacher guide book that corresponds
to Tonal Harmony with an Introduction to Twentieth-Century textbook as
either tests and/or quizzes. These tests and quizzes correspond to the chapter
being studied.
4. The First Semester Exam contains excerpts of all the material covered for the
first half of the school year.
5. The last three weeks are spent reviewing material for the AP test, using the
released 1998 and 2002 AP Music Theory as a guide. I give these tests as a
practicum, trying to duplicate as closely as possible, how the AP Music
Theory test will be administered. All portions of the AP test are taken:
Multiple Choice problems, Free-Response questions, Aural questions, Ear
training, and Sight Singing.
The final grade breaks down this way:
Homework assignments
30 percent
(listening log, concert reports)
Chapter tests/quizzes
20 percent
Sight – Singing
10 percent
Dictation
10 percent
Listening
10 percent
Compositions
10 percent
Semester Final
10 percent
I use a computerized system called Zangle for my AP Music Theory class. This lets me
post all grades, syllabi, and special announcements to a KUSD Web site Edline where
parents and students can access the information. Grades are weighted to ensure the
appropriate value is placed on each of the class concepts presented.
Course Planner
This schedule is only approximate, as classes may move slower of faster from one year to
the next. Written homework and assignments are given at each class meeting. In general,
I try to devote about one third of the class meetings to ear training – sometimes more,
sometimes less, depending on the new material discussed during class.
First Nine Weeks
Part One: Fundamentals
Week 1
Chapters from Tonal Harmony with an Introduction to Twentieth-Century Music
(textbook, workbook) Kostka/Payne
Chapter One: Elements of Pitch
The Keyboard and Octave Registers
Notation of the Staff
The Major Scale
The Major Key Signatures
Minor Scales
Scale Degree Numbers
Intervals
Perfect, Major, and Minor Intervals
Augmented and Diminished Intervals
Inversion of Intervals
Consonant and Dissonant Intervals
Assignment in workbook (Ch. 1: Elements of Pitch)
Sight-Singing:
Ottman, Robert. Music for Sight-Singing.
Week 1/2
Chapter 1
Introduction to Solfege/Simple Meter
Ear Training:
Benward, Bruce and J. Timothy Kolosick. Ear Training: A Technique for Listening
Week 1/2
Unit 1 Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies
Mode Identification: Major and Harmonic Minor Scales
Chord Function Identification: I and V Triads
Rhythmic Dictation: Rhythm including Half Beat Values
Week 2
Chapter Two: Elements of Rhythm
Rhythm
Duration Symbols
Beat and Tempo
Meter
Division of the Beat
Simple Time Signatures
Compound Time Signatures
Time Signatures Summarized
More on Durational Symbols
Assignment in workbook (Ch. 2: Elements of Rhythm)
Quiz over Chapter 1: Elements of Pitch
Week 3/4
Chapter Three: Introduction to Triads and Seventh Chords
Introduction
Triads
Seventh Chords
Inversion of Chords
Inversion Symbols and Figured Bass
Lead Sheet Symbols
Recognizing Chords in Various Textures
Assignment in workbook (Ch. 3: Introduction to Triads and Seventh Chords)
Quiz over Chapter 2: Elements of Rhythm
Sight-Singing:
Week 3/4
Chapter 2
Scale Line Melodies/Simple Meter
Ear Training:
Week 3/4
Unit 2 Melodic Dictation: Melodies using m2, M2, m3, M3
Mode Identification: Major and Three Forms of the Minor Scale
Chord Function Identification: I, IV, V Triads
Rhythmic Dictation: Duple and Triple Subdivision of the Beat
Week 5/6
Chapter Four: Diatonic Chords in Major and Minor Keys
Introduction
The Minor Scale
Diatonic Triads in Major
Diatonic Triads in Minor
Diatonic Seventh Chords in Major
Diatonic Seventh Chords in Minor
Assignment in workbook (Ch. 4: Diatonic Chords in Major and Minor Keys)
Quiz over Ch. 3: Introduction to Triads and Seventh Chords
Sight-Singing:
Week 5/6
Chapter 3
Intervals from the Tonic Triad, Major Keys/Simple Meter
Ear Training:
Week 5/6
Unit 3 Melodic Dictation: Melodies using m2, M2, m3, M3, P4, P5
Error Detection: Scalewise Melodies with Errors
Chord Function Identification: I, ii, and V Triads
Rhythmic Dictation: Rhythmic Figures including Half-Beat Values
Error Detection: Dotted Rhythm Values
Part Two: Diatonic Triads
Week 7/8
Chapter Five: Principles of Voice Leading
Introduction
The Melodic Line
Notating Chords
Voicing a Single Triad
Parallel Motion
Assignment in workbook (Ch. 5: Principles of Voice Leading)
Quiz over Ch. 4: Diatonic Chords in Major and Minor Keys
Sight-Singing:
Week 7/8/9
Chapter 4
Intervals from the Tonic Triad, Major Keys/Compound Meter
Ear Training:
Week 7/8/9
Unit 4 Melodic Dictation: Scalewise Melodies and Arpeggiations of I and V
Error Detection: Errors in Melodies Outlining the I, IV, and V Triads
Chord Function Identification: I, ii, IV, and V Triads
Nonharmonic Tones: Two-voice examples
Rhythmic Dictation: Half-Beat Values in Syncopation
Week 9
Written test over Chapters 1 – 5 from Tonal Harmony with an Introduction to
Twentieth-Century Music.
Sight-Singing test over portions of Chapters 1- 4 from Music for Sight-Singing.
Ear Training test over portions of Units 1 – 3 from Ear Training: A Technique for
Listening.
Students will submit First Composition Project based on criterion given. (Using
MIDI software, Finale program, etc…)
Student will submit First Concert Attendance Paper based on criterion given.
END OF FIRST GRADING TERM
Second Nine Weeks
Week 10/11
Chapter Six: Root Position Part Writing
Introduction
Root Position Part Writing with Repeated Roots
Four-part Textures
Three-part Textures
Root Position Writing with Roots a 4th (5th) Apart
Four-part Textures
Three-part Textures
Root Position Writing with Roots a 3rd (6th) Apart
Four-part Textures
Three-part Textures
Root Position Writing with Roots a 2nd (7th) Apart
Four-part Textures
Three-part Textures
Instrument Ranges and Transpositions
Assignment in workbook (Ch. 6: Root Position Part Writing)
Sight-Singing:
Week 10/11 Chapter 5
Minor Keys: Intervals from the Tonic Triad/Simple and Compound Meters
Ear Training:
Week 10/11
Unit 5 Melodic Dictation: Melodies Outlining the I, IV, V and vii°6) Triads
Error Detection: Single Triads in Four Parts
Chord Function Identification: I (i), ii (ii°), IV (iv), and V Triads
Harmonic Rhythm and Nonharmonic Tones
Rhythmic Dictation: Introduction to Quarter-Beat Values
Week 12/13
Chapter Seven: Harmonic Progression
Introduction
Sequences and the Circle of Fifths
The I and V Chords
The II Chord
The VI Chord
The III Chord
The VII Chord
The IV Chord
Common Exceptions
Differences in the Minor Mode
Progressions Involving Seventh Chords
Harmonizing a Simple Melody
Assignment in workbook (Ch. 7: Harmonic Progression)
Quiz over Ch. 6: Root Position Part Writing
Sight-Singing:
Week 12/13
Chapter 6
Intervals from the Dominant Triad: Major and Minor Keys
Ear Training:
Week 12/13
Unit 6 Melodic Dictation: Intervals of a 7th
Error Detection: Triads in Four Parts
Chord Function Identification: I, ii, IV, V, and vi Triads
Nonharmonic Tones: Four-Voice Examples
Rhythmic Dictation: Quarter-Beat Values
Week 14/15
Chapter Eight: Triads in First Inversion
Introduction
Bass Arpeggiation
Substituted First Inversion Triads
Parallel Sixth Chords
Part Writing First Inversion Triads
Four-part Textures
Three-part Textures
Soprano-Bass Counterpoint
Assignment in workbook (Ch. 8: Triads in First Inversion)
Quiz over Ch. 7: Harmonic Progression
Sight-Singing:
Week 14/15
Chapter 8
Further use of Diatonic Intervals
Ear Training:
Week 14/15
Unit 7 Melodic Dictation: Two-Phrase Melodies
Error Detection: Triads in Four Parts
Chord Function Identification: I (i), ii (ii°), iii (III, III+), IV (iv), V, and vi (VI) Triads
Harmonic Rhythm and Harmonic Analysis: I, ii, IV, V, and vi Triads
Rhythmic Dictation: Beat Units divided into Triplets
Week 16/17
Chapter Nine: Triads in Second Inversion
Introduction
Bass Arpeggiation and the Melodic Bass
The Cadential Six-Four
The Passing Six-Four
The Pedal Six-Four
Part Writing for Second Inversion Triads
Assignment in workbook (Ch. 9: Triads in Second Inversion)
Quiz over Ch. 8: Triads in First Inversion
Sight-Singing:
Week 16/17
Chapter 9
Intervals from the Dominant Seventh Chord
Ear Training:
Week 16/17
Unit 8 Melodic Dictation: Melodies with Larger Leaps
Harmonic Dictation: I (i), ii, IV (iv), V, vi (VI), and vii° Triads in Chorale
Phrases
Chord Function Identification: Diatonic Triads (Major Mode)
Error Detection: Quarter-Beat Values
Rhythmic Dictation: Quarter-Beat Values
Week 18
Written/Semester test over Chapters 6 -9 from Tonal Harmony with an Introduction
to Twentieth-Century Music.
Sight-Singing Semester test over portions of Chapters 5 -9 from Music for SightSinging.
Ear Training Semester test over portions of Units 4 – 8 from Ear Training: A
Technique for Listening.
Students will submit Second Composition Project based on criterion given. (Using
MIDI Program, Finale software, etc…)
Student will submit Second Concert Attendance Paper based on criterion given.
END OF SECOND GRADING TERM
Third Nine Weeks
Week 19
Chapter Ten: Cadences, Phrases, and Periods (I modify this chapter slightly)
Musical Form
Cadences
Cadences and Harmonic Rhythm
Motives and Phrases
Mozart: “An die Freude”
Period Forms
Assignment in workbook – shortened (Ch. 10: Cadences, Phrases, and Periods)
Sight-Singing:
Week 19
Chapter 10
Intervals from the Tonic and Dominant Triads
8 –measure excerpts from choral literature
Ear Training:
Week 19/20
Unit 9 Melodic Dictation: Short Melodies from Music Literature
Harmonic Dictation: All Diatonic Triads in Chorale Phrases
Chord Function Identification: Six-Four Chords
Error Detection: Bach Melodies
Rhythmic Dictation: Compound Meters with Quarter-Beat Values
Week 20/21
Chapter Eleven: Non-Chord Tones 1
Introduction
Classification of Non-Chord Tones
Passing Tones
Neighboring Tones
Suspensions and Retardations
Figured Bass and Lead Sheet Symbols
Embellishing a Simple Texture
Assignment in workbook (Ch. 11: Non-Chord Tones 1)
Quiz over Ch. 10: Cadences, Phrases, and Periods
Sight-Singing:
Week 20/21
Chapter 12
Chromaticism (I): Chromatic Tones, (V/V), Harmony, Modulation
Teacher-composed 8-measure phrases
Unit 10
Melodic Dictation: Sequences
Harmonic Dictation: Dominant 7th Chord in Chorale Phrases
Chord Function Identification: Dominant 7th Chords
Error Detection: Themes from Music Literature lacking Accidentals
Rhythmic Dictation: Two-voice Rhythms
Ear Training:
Week 21/22
Week 22/23
Chapter Twelve: Non – Chord Tones 2
Appoggiaturas
Escape Tones
The Neighbor Group
Anticipations
The Pedal Point
Special Problems in the Analysis of Non – Chord Tones
Assignment from workbook (Ch. 12: Non – Chord Tones 2)
Quiz over Ch. 11: Non – Chord Tones 1
Sight-Singing:
Week 22/23
Chapter 13
Chromaticism (II): Modulation to Closely Related Keys. (V/V) Harmonies
Teacher composed 8-measure phrases
Ear Training:
Week 22/23
Unit 11
Melodic Dictation: Short Melodies that Modulate to Closely Related Keys
Harmonic Dictation: Chorale Phrases that Modulate
Chord Function Identification: vii°7 (Diminished 7th Chord)
Error Detection: More Difficult Rhythmic Errors
Rhythmic Dictation: The Quartolet
Part Three: Diatonic Seventh Chords
Week 24
Chapter 13: The V7 Chord
Introduction
General Voice-Leading Considerations
The V7 in Root Position
The V7 in Three Parts
Other Resolutions of the V7
The Inverted V7 Chord
The V6/5 Chord
The V4/3 Chord
The V4/2 Chord
The Approach of the 7th
Assignment from workbook (Ch. 13: The V7 Chord)
Quiz over Ch. 12: Non – Chord Tones 2
Sight-Singing:
Week 24/25
Chapter 18
Chromaticism (III): Additional Uses of Chromatic Tones: Remote Modulation
Teacher composed 8 – measure phrases
Unit 12
Melodic Dictation: Modulations to Closely Related Keys
Chord Quality Identification: MM, Mm, mm, dm, and dd 7th Chords
Chord Function Identification: Nondominant 7th Chords
Error Detection: Eighth – Beat Values
Error Detection: Two-Voice Compositions
Ear Training:
Week 24/25
Part Four: Chromaticism
Week 25/26
Chapter Sixteen: Secondary Functions 1
Chromaticism and Altered Chords
Secondary Functions
Secondary Dominant Chords
Spelling Secondary Dominants
Recognizing Secondary Dominants
Secondary Dominants in Context
Assignment from workbook (Ch. 16: Secondary Functions 1)
Quiz over Ch. 13: The V7 Chord
Sight-Singing:
Week 26
Chapter 19
The Medieval Modes
Student – composed 8 – measure phrases
Unit 13
Melodic Dictation: Modulation in Two-Part Periods
Chord Function Identification: Secondary Dominants of V and ii
Harmonic Dictation: Chorale Phrases Containing 7th Chords
Error Detection: Triads and 7th Chords
Aural Analysis: Key, Phrase, and Cadence Relationships to Excerpts
Ear Training:
Week 26
Week 27
Written test over Chapters 10 -16 from Tonal Harmony with an Introduction to
Twentieth-Century Music.
Sight-Singing test over portions of Chapters 10 -19 from Music for Sight-Singing.
Ear Training Semester test over portions of Units 9 – 13 from Ear Training: A
Technique for Listening.
Students will submit Third Composition Project based on criterion given. (Using
MIDI Program, Finale software, etc…)
Student will submit Third Concert Attendance Paper based on criterion given.
END OF THIRD GRADING TERM
Fourth Nine Weeks
Week 28/29
Chapter Seventeen: Secondary Functions 2
Secondary Leading – Tone Chords
Spelling Secondary Leading – Tone Chords
Recognizing Secondary Leading – Tone Chords
Secondary Leading Tone Chords in Context
Sequences involving Secondary Functions
Deceptive Resolutions of Secondary Functions
Other Secondary Functions
Assignment from workbook (Ch. 17: Secondary Functions 2)
Sight-Singing:
Week 28/29
Review of previous Chapters in Music for Sight-Singing.
Ear Training:
Week 28/29
Unit 15
Melodic Dictation: Nondiatonic Tones
Chord Function Identification: All Secondary Dominants
Identifying Modulations to Closely Related and Foreign Keys
Harmonic Dictation: Modulation in Chorale Phrases
Error Detection: More Difficult Rhythmic Errors
Week 30/31
Chapter Eighteen: Modulations Using Diatonic Common Chords
Modulation and Change of Key
Modulation and Tonicization
Key Relationships
Common – Chord Modulation
Analyzing Common – Chord Modulation
Assignment from workbook (Ch. 18: Modulations Using Diatonic Common Chords
Quiz over Ch. 17: Secondary Functions 2
Sight-Singing:
Week 30/31
Review of previous Chapters in Music for Sight-Singing.
Ear Training:
Week 30/31
Unit 16
Melodic Dictation: Nondiatonic Tones
Melodic Dictation: Typical Blues Figures
Aural Analysis: Binary, Rounded Binary, and Three-part Forms
Rhythmic Dictation: Changing Meters
Error Detection: Review
Week 32
I administer the first practice AP Exam.
Review and discuss results of first practice AP Exam.
Week 33
Group “Study Sessions” over all aspects of learned material.
Question and Answer “sessions” to any and/or all questions pertaining to the AP Exam.
Continued review of Sight-Singing and Ear Training.
I administer the second practice AP Exam.
Review and discuss results of second practice AP Exam.
Week 34
During the weeks of AP Exams, because I have students who take several exams, class
meetings typically consist of AP style free-response problems, vocabulary review, of
something similar.
Week 35/36
After the AP Exams, I give a brief introduction to:
Chapter 28: An Introduction to Twentieth-Century Music
Atonal Theory
The Twelve-Tone Serialism
Aleatory or Chance Music
Electronic Music
This is enough to helpfully “pique their curiosity” into this important period of music.
Along with this, I show the students DVD’s covering a range of music topics including a
DVD on the life of “Leon Theremin: An Electronic Odyssey”. I am open to almost any
suggestion that keeps the class involved in learning about music.
Students will submit Fourth Composition Project based on criterion given. (Using
MIDI Program, Finale software, etc…)
Student will submit Fourth Concert Attendance Paper based on criterion given.
END OF FOURTH GRADING TERM