AP Music Theory Syllabus AP Music Theory Syllabus 2009-1010
2009-1010
Room Assignment: Band Room Room Assignment: Band Room Block: A4
Block: A4
General Overview of AP Music Theory General Overview of AP Music Theory
Students in AP Music Theory will be expected
Students in AP Music Theory will be expected to accomplish a high level oto accomplish a high level of basicf basic musicianship skills. The AP Music Theory curriculum is designed to prepare eac
musicianship skills. The AP Music Theory curriculum is designed to prepare eac h studenth student to take the AP Music Theory Exam, given in the spring of the year. Rewards for the
to take the AP Music Theory Exam, given in the spring of the year. Rewards for the successful AP Music Theory student are great, gaining musical und
successful AP Music Theory student are great, gaining musical und erstanding anderstanding and confidence in that understanding, enhancing their performance skills thereby getting a confidence in that understanding, enhancing their performance skills thereby getting a head start on college-level study. The
head start on college-level study. The course includes a wide range course includes a wide range of music literature toof music literature to be studied from standard Western tonal repertoires with an emphasis
be studied from standard Western tonal repertoires with an emphasis on 18on 18thth centurycentury chorale style analysis and harmonization. Other styles of music including 20
chorale style analysis and harmonization. Other styles of music including 20ththcenturycentury compositions will be studied and students will be required
compositions will be studied and students will be required to complete minor exercisesto complete minor exercises displaying their understanding of these compositional procedures.
displaying their understanding of these compositional procedures. Evaluation:
Evaluation:
Tests and Quizzes- 50% (written, aural and oral) includes sight singing and ear training Tests and Quizzes- 50% (written, aural and oral) includes sight singing and ear training Homework, classwork and pop quizzes- 25%
Homework, classwork and pop quizzes- 25% Class Participation- 25% Class Participation- 25% Materials: Materials: Three-ring binder Three-ring binder Notebook paper Notebook paper Music staff paper Music staff paper Pencils Pencils Texts: Texts: Issued to Students: Issued to Students: Ottman, Robert.
Ottman, Robert. Elementary Harmony, Theory and Practice, 5 Elementary Harmony, Theory and Practice, 5ththEditionEdition. Upper Saddle . Upper Saddle River, Princeton, NJ Printice Hall, 1998.
River, Princeton, NJ Printice Hall, 1998. Resources:
Resources:
Benward, Bruce and J.
Benward, Bruce and J. Timothy Kolosick. Ear Training:A Technique for Listening, 4Timothy Kolosick. Ear Training:A Technique for Listening, 4thth edition. Wm. C. Brown Publishers.1991.
edition. Wm. C. Brown Publishers.1991. Kostka, S., and Payne, D. Tonal
Kostka, S., and Payne, D. Tonal Harmony: With an Introducation to Twentieth CenturyHarmony: With an Introducation to Twentieth Century Music, 5
Music, 5ththedition. McGraw-Hill Higher Education. 2004.edition. McGraw-Hill Higher Education. 2004. Kostka, S., and Payne, D. Tonal Harmony Workbook, 5
Kostka, S., and Payne, D. Tonal Harmony Workbook, 5ththedition. McGraw-Hill Higher edition. McGraw-Hill Higher Education. 2004
Education. 2004 Ottman, Robert.
Ottman, Robert. Music For Sight Singing, 6 Music For Sight Singing, 6 ththeditionedition. Upper Saddle River, NJ. Prentice. Upper Saddle River, NJ. Prentice Hall, 1998.
Course Overview: Course Overview: First nine weeks: First nine weeks:
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• Visually identify standard musical notation symbols.Visually identify standard musical notation symbols.
•
• Accurately notate music using accepted Accurately notate music using accepted conventions.conventions.
•
• Visually and aurally identify rhythmic values.Visually and aurally identify rhythmic values. •
• Visually identify all major and minor scales and key Visually identify all major and minor scales and key signatures.signatures. •
• Visually identify piano keyboard octave register Visually identify piano keyboard octave register designations.designations. •
• Aurally identify all major and minor scales, Aurally identify all major and minor scales, including modes.including modes. •
• Visually and aurally identify all major, minor, augmented, and Visually and aurally identify all major, minor, augmented, and diminished intervals anddiminished intervals and
their inversions. their inversions.
•
• Accurately notate all major, minor, augmented, and Accurately notate all major, minor, augmented, and diminished intervals.diminished intervals. •
• Visually and aurally identify all major, minor, augmented, and Visually and aurally identify all major, minor, augmented, and diminished triads anddiminished triads and
seventh chords, in root
seventh chords, in root position and inversions.position and inversions. •
• Accurately notate all major, minor, augmented, and Accurately notate all major, minor, augmented, and diminished triads and seventh chords.diminished triads and seventh chords.
Second Nine Weeks: Second Nine Weeks:
•
• Visually and aurally identify melodies and their use of typical mVisually and aurally identify melodies and their use of typical m elodic tendencies.elodic tendencies. •
• Compose melodies using typical melodic Compose melodies using typical melodic tendencies.tendencies. •
• Visually and aurally identify melodic Visually and aurally identify melodic embellishments including non-harmonic tones.embellishments including non-harmonic tones. •
• Aurally identify and notate melodies in a variety of Aurally identify and notate melodies in a variety of keys and modes.keys and modes. •
• Identify implied harmonies to Identify implied harmonies to given melodies.given melodies. •
• Compose melodies to given harmony.Compose melodies to given harmony. •
• Visually and aurally identify common chord progressions (Tonic – Dominant; Tonic – Visually and aurally identify common chord progressions (Tonic – Dominant; Tonic –
Subdominant). Subdominant).
•
• Visually identify vocal and keyboard scoring and open and closed position.Visually identify vocal and keyboard scoring and open and closed position. •
• Accurately construct and notate 4-part Accurately construct and notate 4-part triads and their triads and their inversions following appropriateinversions following appropriate
spacing and doubling
spacing and doubling guidelines.guidelines.
•
• Accurately realize figured bass.Accurately realize figured bass.
•
• Demonstrate proper voice leading procedures.Demonstrate proper voice leading procedures. Third Nine Weeks:
Third Nine Weeks:
•
• Visually identify major and minor key major and Visually identify major and minor key major and minor triads and seventh chords andminor triads and seventh chords and
their inversions using Roman Numeral analysis and figured bass. their inversions using Roman Numeral analysis and figured bass.
•
• Accurately notate major and minor key diatonic progressions following applicable chordAccurately notate major and minor key diatonic progressions following applicable chord
construction and voice leading guidelines. construction and voice leading guidelines.
•
• Visually and aurally identify and notate Perfect Authentic, Imperfect Authentic, Half,Visually and aurally identify and notate Perfect Authentic, Imperfect Authentic, Half,
Plagal, Phrygian and Deceptive cadences. Plagal, Phrygian and Deceptive cadences.
•
• Visually and Aurally identify and notate secondary dominant and secondary leading toneVisually and Aurally identify and notate secondary dominant and secondary leading tone
chords. chords.
•
• Accurately realize major and minor key Accurately realize major and minor key diatonic figured bass progressions in four-partdiatonic figured bass progressions in four-part
harmony. harmony.
•
• Accurately harmonize major and minor key soprano melodies using diatonic triads andAccurately harmonize major and minor key soprano melodies using diatonic triads and
seventh chords in four-parts. seventh chords in four-parts.
•
• Aurally identify and accurately notate bass and soprano voices from Aurally identify and accurately notate bass and soprano voices from a four-parta four-part
homorhythmic texture. homorhythmic texture. •
•
• Identify parallel, contrary and oblique motion between two or more Identify parallel, contrary and oblique motion between two or more voices.voices.
Fourth nine Weeks: Fourth nine Weeks:
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• Visually and aurally identify binary, rounded binary, ternary and theme and Visually and aurally identify binary, rounded binary, ternary and theme and variationsvariations
musical forms. musical forms.
•
• Visually and aurally identify 12-bar Visually and aurally identify 12-bar blues, song form blues, song form (AABA), bridge/chorus/verse(AABA), bridge/chorus/verse
musical forms. musical forms. •
• Experience music within the context of culture, music history and the Experience music within the context of culture, music history and the study and practicestudy and practice of music theory in 20
of music theory in 20ththCentury music.Century music.
•
• Visually and aurally identify monophonic, homophonic, heterophonic and Visually and aurally identify monophonic, homophonic, heterophonic and polyphonicpolyphonic
textures. textures.
•
• Visually and aurally identify ostinatos, canons Visually and aurally identify ostinatos, canons and fugues.and fugues. •
• Visually and aurally identify modulations using diatonic common Visually and aurally identify modulations using diatonic common chords.chords. •
• Visually and aurally identify other forms of modulation.Visually and aurally identify other forms of modulation. •
• Aurally identify common instrument families and Aurally identify common instrument families and ensembles.ensembles. •
• Visually interpret musical scores for various performance genres.Visually interpret musical scores for various performance genres.
Terms: Terms: FORM FORM Cadence Cadence Cadential extension Cadential extension Coda Coda Codetta Codetta Contour Contour Countermelody Countermelody
Elision (phrase elision) Elision (phrase elision)
Fragment (fragmented motive) Fragment (fragmented motive) Introduction
Introduction
A. Jazz and pop terms A. Jazz and pop terms
1.Bridge 1.Bridge 2. Chorus 2. Chorus
3. Song form (AABA) 3. Song form (AABA) 4. Turnaround
4. Turnaround 5. Twelve-bar blues 5. Twelve-bar blues B.
B. Melodic Melodic proceduresprocedures 1. Augmentation 1. Augmentation 2. Conjunct 2. Conjunct 3. Diminution 3. Diminution 4. Disjunct 4. Disjunct 5. Extended version 5. Extended version 6. Fragmentation 6. Fragmentation 7. Internal expansion 7. Internal expansion
8. Inversion, melodic inversion 8. Inversion, melodic inversion 9. Literal repetition 9. Literal repetition 10. Motivic transformation 10. Motivic transformation 11. Octave displacement 11. Octave displacement 12. Retrograde 12. Retrograde 13. Rhythmic transformation 13. Rhythmic transformation 14. Sequence 14. Sequence 15. Sequential repetition 15. Sequential repetition 16. Shortened version 16. Shortened version 17. Transposition 17. Transposition 18. Truncation 18. Truncation 19. Motive 19. Motive 20. Period 20. Period a. Antecedent a. Antecedent b. Consequent b. Consequent c. Contrasting period c. Contrasting period d. Double period d. Double period e. Parallel period e. Parallel period 21. Phrase group 21. Phrase group 22. Refrain 22. Refrain 23. Small forms 23. Small forms a. Binary a. Binary b. Rounded binary b. Rounded binary c. Ternary c. Ternary 24. Solo, soli 24. Solo, soli 25. Stanza 25. Stanza 26. Strophic 26. Strophic 27. Theme 27. Theme a. Thematic transformation a. Thematic transformation 28. Through-composed 28. Through-composed 29. Tutti 29. Tutti 30. Variation 30. Variation 31. Verse 31. Verse
II. HARMONY II. HARMONY A.
A. Cadence Cadence TypesTypes 1.
1. Conclusive Conclusive CadenceCadence a. Authentic a. Authentic
i.
i. Imperfect Imperfect authenticauthentic ii.
ii. Perfect Perfect authenticauthentic b.
b. Plagal Plagal CadenceCadence 2. Inconclusive cadence 2. Inconclusive cadence a. Half a. Half b. Deceptive b. Deceptive c. Phrygian half c. Phrygian half B.
B. Chord Chord QualityQuality 1. Triads 1. Triads a. Augmented a. Augmented b. Diminished b. Diminished c. Major c. Major d. Minor d. Minor 2.
2. Seventh Seventh ChordsChords a. Major seventh a. Major seventh b. Dominant seventh b. Dominant seventh
c.
c. Major-minor Major-minor seventhseventh d.
d. Minor Minor seventhseventh e.
e. Half-diminished Half-diminished seventhseventh f.
f. Fully-dimished Fully-dimished seventhseventh C.
C. Functions Functions and Pand Progressionsrogressions 1.
1. Scale DegreesScale Degrees/Diatonic chord /Diatonic chord namesnames a. Tonic a. Tonic b. Supertonic b. Supertonic c. Mediant c. Mediant d. Subdominant d. Subdominant e. Dominant e. Dominant f. Submediant f. Submediant g. Subtonic g. Subtonic h. Leading tone h. Leading tone 2. Functions 2. Functions a. Tonic function a. Tonic function b. Dominant function b. Dominant function c. Predominant function c. Predominant function Circle of Fifths Circle of Fifths Deceptive progression Deceptive progression Harmonic rhythm Harmonic rhythm 3. Modulation 3. Modulation
a. Common tone modulation a. Common tone modulation
b. Phrase modulation b. Phrase modulation
c. Pivot chord modulation c. Pivot chord modulation Neighboring chord
Neighboring chord
Rate of harmonic change Rate of harmonic change Retrogression
Retrogression
Secondary dominant Secondary dominant
Secondary leading tone chord Secondary leading tone chord Tonicization
Tonicization 4.
4. Second InversiSecond Inversion (6/4 on (6/4 triads)triads) a. Arpeggiating 6/4 a. Arpeggiating 6/4 b. Cadential 6/4 b. Cadential 6/4 c. Neighboring or pedal 6/4 c. Neighboring or pedal 6/4 d. Passing 6/4 d. Passing 6/4 5.
5. Non-harmonic Non-harmonic tonestones a. Anticipation a. Anticipation b. Appoggiatura b. Appoggiatura c. Embellishment c. Embellishment
d. Escape tone (echappee) d. Escape tone (echappee) e. Neighboring Tone (
e. Neighboring Tone (auxiliaryauxiliary tone, embellishing tone, neighbor note) tone, embellishing tone, neighbor note)
1.) Double neighbor 1.) Double neighbor 2.) Lower neighbor 2.) Lower neighbor 3.) Upper neighbor 3.) Upper neighbor 4.) Neighbor
4.) Neighbor groupgroup
(cambiata, changing tones, changing notes) (cambiata, changing tones, changing notes)
5.) 5.) Ornament Ornament a. Passing tone a. Passing tone b. Pedal Point b. Pedal Point c. Preparation c. Preparation d. Resolution d. Resolution e. Retardation e. Retardation f. Suspension f. Suspension 1.) Rearticulated suspension 1.) Rearticulated suspension 2.) Suspension chain 2.) Suspension chain 6. Spacing/Voicing/Position 6. Spacing/Voicing/Position a. Alto a. Alto b. Bass b. Bass c. Close position c. Close position d. Doubling d. Doubling e. First inversion e. First inversion f. Open position f. Open position g. Root g. Root h. Root position h. Root position i. Second inversion i. Second inversion j. Soprano j. Soprano k. Tenor k. Tenor
l. Third Inversion l. Third Inversion 7. Voice Leading 7. Voice Leading a. Common tone a. Common tone b. Contrary motion b. Contrary motion
c. Cross relation (false relation) c. Cross relation (false relation) d. Crossed voices (voice
d. Crossed voices (voice crossing)
crossing)
e. Direct fifths (hidden fifths) e. Direct fifths (hidden fifths) f. Direct octaves (hidden octaves) f. Direct octaves (hidden octaves) g. Oblique motion g. Oblique motion h. Overlapping voices h. Overlapping voices i. Parallel motion i. Parallel motion 1.) Parallel intervals 1.) Parallel intervals 2.) Objectionable 2.) Objectionable parallels parallels 3.) Parallel fifths 3.) Parallel fifths 4.) Parallel octaves 4.) Parallel octaves j. Similar motion j. Similar motion k. Tendency tone k. Tendency tone
l. Unresolved leading tone l. Unresolved leading tone m. Unresolved seventh m. Unresolved seventh n. Voice exchange n. Voice exchange
8. Miscellaneous Harmonic Terms 8. Miscellaneous Harmonic Terms
a. Arpeggio, arpeggiation a. Arpeggio, arpeggiation b. Chromatic
b. Chromatic
c. Common Practice Style c. Common Practice Style d. Consonance d. Consonance d. Diatonic d. Diatonic e. Dissonance e. Dissonance f. Figured Bass f. Figured Bass g. Flatted fifth g. Flatted fifth h. Lead sheet h. Lead sheet i. Picardy third i. Picardy third j. Resolution j. Resolution 9. Intervals 9. Intervals a. Compound interval a. Compound interval b. Half step (semitone) b. Half step (semitone)
c. Interval c. Interval d. Inversion, inversion of an d. Inversion, inversion of an interval interval
e. Numerical names (i.e., third, e. Numerical names (i.e., third, fifth, octave)
fifth, octave)
f. Quality or type (e.g.) perfect, f. Quality or type (e.g.) perfect, major, minor, diminished, augmented) major, minor, diminished, augmented)
g. Tritone g. Tritone
h. Unison (prime) h. Unison (prime)
i. Whole step (whole tone) i. Whole step (whole tone) III.
III. PERFORMANCE PERFORMANCE TERMSTERMS A. Antiphonal A. Antiphonal B. Articulation B. Articulation 1.Arco 1.Arco 2. Legato 2. Legato 3. Marcato 3. Marcato 4. Pizzicato 4. Pizzicato 5. Slur 5. Slur 6. Staccato 6. Staccato 7. Tenuto 7. Tenuto C. Call and Response C. Call and Response D. Dynamics D. Dynamics 1. Crescendo 1. Crescendo 2. Diminuendo 2. Diminuendo 3. Terrace dynamics 3. Terrace dynamics 4. Pianissimo 4. Pianissimo 5. Piano 5. Piano 6. Mezzo piano 6. Mezzo piano 7. Mezzo forte 7. Mezzo forte 8. Forte 8. Forte 9. Fortissimo 9. Fortissimo E. Improvisation, improvisatory E. Improvisation, improvisatory F. Phrasing F. Phrasing G. Tempo G. Tempo 1. Adagio 1. Adagio 2. Allegro 2. Allegro 3. Andante 3. Andante 4. Andantino 4. Andantino 5. Grave 5. Grave 6. Largo 6. Largo 7. Lento 7. Lento 8. Moderato 8. Moderato 9. Presto 9. Presto 10. Vivace 10. Vivace 11. Accelerando 11. Accelerando 12. Ritardando 12. Ritardando 13. Ritenuto 13. Ritenuto 14. Rubato 14. Rubato IV. RHTHYM/METER/TEMPORAL IV. RHTHYM/METER/TEMPORAL ORGANIZATION ORGANIZATION Accent Accent Agogic accent Agogic accent Dynamic accent Dynamic accent
Metrical accent Metrical accent Anacrusis (pick-up, upbeat) Anacrusis (pick-up, upbeat) Asymmetrical meter Asymmetrical meter Augmentation Augmentation Bar line Bar line Beat Beat Beat type Beat type Compound Compound Simple Simple
Changing meter (multimeter) Changing meter (multimeter) Cross rhythm
Cross rhythm Diminution Diminution Dot, double dot Dot, double dot Dotted rhythm Dotted rhythm Duplet Duplet Duration Duration Hemiola Hemiola Irregular meter Irregular meter Meter Meter Duple Duple Quadruple Quadruple Triple Triple Note value Note value Polyrhythm Polyrhythm Pulse Pulse Rhythm Rhythm Swing rhythm Swing rhythm Syncopation Syncopation Tempo Tempo Tie Tie
Time signature (meter) Time signature (meter) Triplet Triplet SCALES/KEYS/MODES SCALES/KEYS/MODES Accidental Accidental Chromatic, chromaticism Chromatic, chromaticism Diatonic Diatonic Key signature Key signature Major Major Minor Minor Harmonic minor Harmonic minor Melodic minor Melodic minor
Natural minor (Aeolian) Natural minor (Aeolian) Mode Mode Ionian Ionian Dorian Dorian Phrygian Phrygian Lydian Lydian Mixolydian Mixolydian Aeolian Aeolian Locrian Locrian Modality Modality
Parallel key, parallel major or minor Parallel key, parallel major or minor Pentatonic
Pentatonic
Relative key, relative major or minor Relative key, relative major or minor Tetrachord Tetrachord Tonal Tonal Tonality Tonality Tonic Tonic Whole-tone scale Whole-tone scale V. TEXT/MUSIC RELATIONS V. TEXT/MUSIC RELATIONS Lyrics Lyrics Melismatic Melismatic Stanza Stanza Syllabic Syllabic VI. TEXTURE VI. TEXTURE Alberti bass Alberti bass Canon Canon Canonic Canonic Chordal accompaniment Chordal accompaniment Contrapuntal Contrapuntal Counterpoint Counterpoint Imitation Imitation Imitative polyphony Imitative polyphony Nonimitative polyphony Nonimitative polyphony Countermelody Countermelody Fugal imitation Fugal imitation Heterophony, heterophonic Heterophony, heterophonic Homophony, homophonic Homophony, homophonic Chordal homophony Chordal homophony
Chordal texture (homorhythmic) Chordal texture (homorhythmic) Melody with accompaniment Melody with accompaniment Instrumentation Instrumentation Brass Brass Continuo Continuo Percussion Percussion Rhythm section Rhythm section Strings Strings Timbre Timbre Woodwinds Woodwinds
Melody Melody Monophony, monophonic Monophony, monophonic Obbligato Obbligato Ostinato Ostinato Polyphony, polyphonic Polyphony, polyphonic Register Register Solo, soli Solo, soli Tessitura Tessitura Tutti Tutti Walking bass Walking bass
VII. OTHER TERMS THAT MAY BE VII. OTHER TERMS THAT MAY BE USED ON EXAM USED ON EXAM Aria Aria Art song Art song Concerto Concerto Fugue Fugue Genre Genre Interlude Interlude Opera Opera Prelude Prelude Postlude Postlude Sonata Sonata Song Song String quartet String quartet Symphony Symphony Additional Resources: Additional Resources: •
• AP Central homepage for Music Theory:AP Central homepage for Music Theory:
http://apcentral.collegeboard.com/article/0,3045,151-165-0-2261,00.html http://apcentral.collegeboard.com/article/0,3045,151-165-0-2261,00.html • • www.musictheory.netwww.musictheory.net • • www.emusictheory.comwww.emusictheory.com • • www.apmusichtheoryhelp.orgwww.apmusichtheoryhelp.org •
• Scales, Intervals, Keys, Triads, Rhythm and Meters,Scales, Intervals, Keys, Triads, Rhythm and Meters, by John Clugh, Joyce Conley,by John Clugh, Joyce Conley,
and Claire Boge and Claire Boge
•
• Understanding Music, by Jeremy YudkinUnderstanding Music, by Jeremy Yudkin •
• Personal Music CollectionsPersonal Music Collections
Technological Resources Technological Resources
•
• Alfred’s Music Trainer Alfred’s Music Trainer •
• Finale NotepadFinale Notepad •
• Practica MusicaPractica Musica •
• Sibelius Music Notation SoftwareSibelius Music Notation Software •
• SmartMusicSmartMusic •
• Band in a BoxBand in a Box Teaching Strategies: Teaching Strategies:
I firmly believe in teaching to mastery. Up to ¼ of any given class may be spent in working at the I firmly believe in teaching to mastery. Up to ¼ of any given class may be spent in working at the blackboard. We work out many problems together as
blackboard. We work out many problems together as a class and I a class and I encourage students to work inencourage students to work in pairs both quizzing and assisting each other through difficult concepts. We often take
pairs both quizzing and assisting each other through difficult concepts. We often take guidedguided exercises and have multiple students work them out in
exercises and have multiple students work them out in front of the class demonstrating diversefront of the class demonstrating diverse correct avenues to proceeding with the same
correct avenues to proceeding with the same harmonic proposition.harmonic proposition. Since mastery is what I
Since mastery is what I desire students to achieve, my policy is desire students to achieve, my policy is that any daily or homework that any daily or homework sheets may be corrected for a return to the st
sheets may be corrected for a return to the student of ½ udent of ½ of the original value. This of the original value. This seems toseems to encourage truly getting the concepts as well as
