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    Advanced Placement Music Theory Curriculum

     

    The Course

    The AP course in Music theory is designed to prepare students for any first-year college study of musicianship, theory, musical materials and procedures. Depending on the college/institution, the course may bear a variety of titles including Basic Musicianship, Structure of Music, Materials of Music, etc. Often, only harmony is emphasized; more often, it integrates a variety of subjects, Including melody, texture, rhythm, form, analysis, composition, history and style. Musicianship skills are also taught, such as sight-singing and dictation.

     

    Course Objectives

    The ultimate goal of an advanced AP music theory course is to develop a student's ability to recognize, understand, and describe the basic materials and processes of music that are heard or presented in a score. This goal may be met by integrated approaches that develop students’ aural, sight-singing, written, compositional, analytical skills through listening, performance, written, creative and analytical exercises.

     

    Materials

    Music in Theory and Practice, Volumes I and II, 6th ed.

    Workbook: Harmony and Voice Leading, Volume I, 3rd ed.

    Practica Musica ear training software

    Finale composition software

     

    Assessments

    The ultimate assessment of the student's mastery of the materials is the A.P. exam in Music Theory. The exam is a mandatory requirement of the course.  Additional written and computer-assisted assignments will be administered on a daily basis.

     

    The Curriculum

     

     

    I. The Fundamentals of Music

     

     

    A. Music Notation

     

    Concepts

    1. Notation of pitch - the staff

    2. Letter names and clefs

    3. Octave identification and accidentals

    4. Intervals

    5. Enharmonic equivalents

    6. Notation of duration (rhythm)

    7. The tie and dot

    8. Irregular division of notes

    9. Meter signatures

    10. Dynamic markings

    11. Notate simple melodies and rhythms upon listening (dictation)

     

    History

    1. Neumatic notation

    2. Mensural notation

    3. Present notation

     

    Performance Tasks

    1. Identification of note names from music literature.

    2. Identification of notes, octave designations and enharmonic equivalents.

    3. Indicate meter signatures of melodies from music literature.

    4. Rewrite incorrect notation                                           '

    5. Compose and perform rhythmic patterns of various lengths. Add pitches. 

     

    Exercises/Assessments (from workbook)

    Part 1 – The Primary Materials and Procedures, selections from Units 2 and 3

     

    Performance Indicators

    1.4, 1.5, 1.6, 2.3, 2.4, 3.1, 4.2, 4.4

     

     

    B. Scales, Tonality, Key and Modes

     

    Concepts

    1.  Scales (diatonic), major and minor

    2.  Scale relationships

    3.  Tonality and key

    4.  Transposition and other scales

     

    History

    1. The use of scales and differences in the various historical periods including popular music.

     

    Performance Tasks

    1. Write scales and key signatures.

    2.  Listening – decide whether melodic examples are pentatonic, chromatic, whole tone or modal.

    3.  Take pitch inventories of various melodies.

     

    Exercises/Assessments (from workbook)

    Part 1 – The Primary Materials and Procedures, selections from Unit 1 (Keys, scales and modes)

     

    Performance Indicators

    1.4, 1.5 1.6, 2.1, 2.3, 2.4, 2.5, 3.1, 3.5, 3.7, 3.8, 4.2, 4.4

     

     

     

    C. Intervals and Transposition Concepts

     

    Concepts

    1.  Intervals and Interval numbers

    2. Perfect, major and minor intervals

    3.  Consonance and dissonance

    4. Augmented and diminished intervals

    5.  Enharmonic intervals and inversions

    6.  Compound and simple intervals

     

    History

    1.  Tuning systems

     

    Performance Tasks

    1. Gain fluency with intervals via various class and computer assisted exercises.

    2.  Transpose various melodies.

    3. Indicate intervals in melodies from music literature (listening and writing)

    4.  Indicate intervals in 2 voice canons.

    5. Transpose a Mozart string quartet (excerpt) for various instruments.

     

    Exercises/Assessments (from workbook)

    Part 1 – The Primary Materials and Procedures, selections from Unit 2 (Intervals)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.7, 3.10, 4.1, 4.2, 4.4

     

     

    D.  Chords

     

    Concepts

    1. Harmony and chords

    2. Triads and triad roots

    3. Major and minor triads

    4. Diminished and augmented triads

    5. Primary triads and seventh chords

    6. Scale degree names

    7. Triad analysis symbols

    8. Figured bass and figured bass symbols

    9. Popular music symbols

     

    History

    1. The developments of harmony

     

    Performance Tasks

    1.  Construct Major, minor, Augmented and diminished triads

    2.  Write technical scale degree names

    3.  Write triads as indicated by Roman numeral symbols

    4.  Identify triads in root position, first and second inversion

    5.  Analysis/Listening: Schumann: Volksliedchen (Little Folk Song)

    6.  Analysis: Bach Chorales (excerpts)

    7.  Write chords according to popular music symbols

     

    Exercises/Assessments (from workbook)

    Part 1 – The Primary Materials and Procedures, selections from Units 4 and 5 (Triads and Seventh Chords, Procedures for Four-Part Writing)

    Part 2 – I-V-I and its Elaborations, selections from Units 6 and 8 (I, V, and V7; Inversions of V7)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 3.1, 3.2, 4.2, 4.3, 4.4

     

     

     

     

    II. The Structural Elements of Music

     

    A. Cadences and Non-Harmonic (Non-Chord) Tones

     

    Concepts

    1. Phrase

    2.  Harmonic cadence and rhythmic cadence

    3.  Non-harmonic tones

    4.  Accented and non-harmonic tones

     

    History

    1. Discussion of cadence use from pre-baroque to 20th century popular music styles.

     

     

    Performance Tasks

    1.  Analyze chord progressions with roman numerals.

    2.  Analysis/Listening: Five excerpts from Bach Chorales - use Roman numerals and indicate all cadences.

    3.  Ana1ysis/Listening: 2 Bach Chorales and Corelli, Sonata for 2 violins.

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Units 7 and 8 (I6, V6 and VII6; Inversions of V7)

     

    Performance Indicators

    1.1, 1.2, 1.3, l.4, 1.5, 1.6, 1.7, 2.1, 2.3, 2.4, 3.1, 3.3, 4.2, 4.3, 4.4

     

     

    B. Melodic Organization

     

    Concepts

    1. Motive

    2. Sequence

    3. Phrase

    4. Period

    5.  Modification of the phrase and other melodic organization

    6. Melodic structure

     

    History

    1. The development of the phrase from the renaissance through 20th century popular periods.

    Performance Tasks

    1. Analysis/Listening: Determine the period form of musical examples.

    2. Create contrasting and parallel periods based on given phrases.

    3. Ana1ysis/Listening: Mozart: Sonata in A, K 331 and Schubert, Impromptu in D.

    4.  Compose 4 measure me1odies/periods in various keys.

    5. Analyze melodies from music literature.

     

    Performance Indicators

    1.1, l.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 4.2, 4.3, 4.4, 4.5

     

     

     

    C.  Texture and Textural Reduction

     

    Concepts

    1.  Texture

    2.  Texture types

     

    History

    1. Discussion of textures from the Renaissance through jazz and pop music.

     

    Performance Tasks

    1. Analysis/Listening: Identify texture types of musical literature.

    2. Harmonic reduction of music literature

    3. Oral presentation: analysis of texture.  Student selects music.

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.4, 3.1, 3.2, 3.3, 3.7, 3.8, 3.9, 3.10, 4.1, 4.2, 4.3, 4.4, 4.5

     

     

    D.  Voice leading in 2 voices

     

    Concepts

    1. Voice leading

    2. Species counterpoint

    3. The cantus firmus

    4. The counterpoint

    5. Motion between voices

    6. Characteristics of a good melody

    7. Writing first species counterpoint

     

    Performance Tasks

    1. Error identification of 2-part exercises.

    2. Compose counterpoint/melody over/below give cantus firmus

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Unit 9 (Melodies and Basses 1)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, l.5, 1.6, 1.7, 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 3.7, 3.8, 3.10, 4.2, 4.3, 4.4

     

     

    E. Voice leading in Four Voices

     

    Concepts

    1.  Four voice texture

    2.  Voice leading in four voice texture

    3. First inversion and second inversion triads

    4.  Writing a soprano line above a bass line

    5.  Common chord progressions

     

    Performance Tasks

    1. Error detection in soprano and bass writing

    2. Composition: write soprano lines over given bass lines/play original soprano over bass lines

    3. Complete 4-part writing when soprano and bass are already given

    4. Play various chord progressions on the piano

     

    Exercises/Assessments (from workbook)

    Part 1 – The Primary Materials and Procedures, selections from Unit 5 (Procedures of Four-Part Writing)

    Part 2 – I-V-I and its Elaborations, selections from Unit 9 (Melodies and Basses 1)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1 .6, 1.7, 2.1, 2.3, 3.7, 3.8, 4.2, 4.3, 4.4

     

     

     

    F.  Harmonic Progressions and Harmonic Rhythm

     

    Concepts

    1.  Harmonic rhythm

    2.  The relationship of chords

    3.  Chord progressions

    4.  Harmonic rhythm

     

    History

    1. Discussion of chord progressions and development from 1he Renaissance through jazz and popular music.

     

    Performance Tasks

    1. Harmonize given melodies

    2. Composition: Harmonize given folk melodies and play for class (via computer)

    3. Harmonize over given bass lines and p1ay on piano

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Unit 9 (Melodies and Basses 1)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.4, 3.3, 3.7, 3.8, 3.9, 4.2, 4.3, 4.4, 4.5

     

    G. The Dominant Seventh Chord

    Concepts

    1. Resolution of the dominant seventh chord

    2. Circle progression

    3. Non-circle progressions with modulation

    4. Non-resolution of seventh factor

     

    History

    1. Function of the dominant seventh chord from the Renaissance through jazz and pop music.

     

    Performance Tasks

    1. Spell dominant seventh chords in all keys

    2. Analyze dominant seventh progressions

    3. Error detection in dominant 7th resolutions

    4. Analysis: Kuhlau, Piano Sonata, Haydn Symphony no. 97

    5. Write dominant 7th progressions

    6. Composition: Harmonize using dominant 7th chords.

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Unit 6 and 9 (I, V, and V7; Melodies and Basses 1)

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 3.4, 3.9, 3.10, 4.2, 4.3, 4.4, 4.5

     

     

    H. Leading Tone seventh chords

     

    Concepts

    1. What is a leading tone seventh chord?

    2. Progressions from viio7 and viiio7

    3. Resolution of the tritone and seventh

    4. Voice leading of leading tone seventh chords

     

    Performance tasks

    1. Harmonize soprano and bass lines with new chords

    2. Composition: harmonize a waltz based harmonic progressions studied

    3. Composition: 16 measures with phrase relationships and 7th chords.

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Unit 7 (I6, V6 and VII6))

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 3.4, 3.5, 3.10, 4.3, 4.4, 4.5

     

     

    I. Non-dominant Seventh Chords

     

    Concepts

    1. Analysis symbols

    2. Non-dominant seventh chords in major and minor keys

    3. Non-dominant seventh chords in circle progressions

    4. Non-circle treatment

    5. Resolution of seventh factor

     

    History

    1. Use of non-dominant 7th chords from the Renaissance through jazz and pop music.

     

    Performance Tasks

    1. Write non-dominant seventh chords

    2. Write resolutions of non-dominant seventh chords

    3. Write and analyze chorales with non-dominant. 7th chords

    4. Harmonize and sing chorale phrases

     

    Exercises/Assessments (from workbook)

    Part 2 – I-V-I and its Elaborations, selections from Unit 12 (Supertonic and Subdominant Seventh chords)

     

    Performance Indicators

    1.1, 1.2, 1.4, 1.4, 1.5, 1.6, 1.7, 2.2, 2.3, 2.4, 3.6, 3.7, 3.8, 3.9, 4.2, 4.3, 4.4

     

     

    J. Modulation

     

    Concepts

    1. What is modulation?

    2. Closely related keys

    3. Common chord modulation

    4. Phrase modulation

    5. Chromatic modulation

    6. Other modulation types

    7. Modu1ations in period construction

    8. Analytical symbols for modulations

     

    History

    1.  Use of modulation from the Renaissance through jazz and pop music.

     

    Performance Tasks

    1. Name closely related keys to a given key

    2. Ana1yze modulating chord progressions

    3. Fill in alto and tenor voices of Bach Chorales

    4. Analyze 2 short pieces by Schubert

    5. Analyzation/Listening: Bach French Suite #5

    6. Harmonize given instrumental melodies

    7. Analyzation/Listening: Bach: Jesu, du mein liebstes Leben

    8. Composition: write a 16 measure composition that modulates to closely related keys.

     

    Performance Indicators

    1.1. 1.2, 1.3. 1.4, 1.5, 1.6, 1.7, 2.1, 2.3, 2.4, 2.5, 3.6, 3.7, 4.2, 4.3, 4.4, 4.5

     

     

     

    K. Secondary Dominants and Leading Tone Chords

     

    Concepts

    1.  Secondary dominant and their uses

     

    History

    1. The use of secondary dominant chords from the Renaissance through jazz and pop music.

     

    Performance Tasks

    1.  Write secondary dominants in various keys

    2.  Harmonize melodies using secondary dominants

    3.  Ana1ysis/Listening: Mozart Piano Sonata, K 311 and Bach, Ein feste Burg.

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.2, 2.3, 3.7, 3.8, 4.2, 4.3, 4.4, 4.5

     

     

     

    K.  Two Part Form

     

    Concepts

    1. Formal divisions

    2. Open versus formal divisions

    3. Simple versus compound forms

    4. Two part form

     

    History

    1. Use of form from the medieval through modern times

     

    Performance Tasks

    1. Listening/Analysis: Bach: March. Goldberg Variations, English suites nos. 4, 6 and 3, Handel: Suite 4 and 7, Scarlotti: Sonata in E, Chopin, Preludes nos. 10 and 20.

    2. Write a composition in 2-part form and have class analyze

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 4.1,

    4.2, 4.3, 4.4, 4.5

     

     

    L. Three-Part Form

     

    Concepts

    1. Three part form

    2. Expanded ternary form

    3. Rounded ternary form

     

    History

    1. The use of three part form from the medieval period through jazz and popular music.

     

    Performance Tasks

    1. Ana1ysis/Listening: Schumann: Trallerliedchen, Mendelssohn: Song Without Words, Mozart: Minuet from Eine Kleine Nachtmusik, Brahms, Piano pieces opt 119, Chopin. Prelude in F#, Mazurka in Ab, Etude in C Minor

    2. Compose a piece in ternary form

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 4.1,

    4.2, 4.3, 4.4, 4.5

     

     

     

     

    III. Important Forms during the Baroque, Classical, Romantic and 20th Century Periods

     

    A.  The Fugue

     

    Concepts

    1. Exposition

    2. Episodes and entries

    3. Variants of subjects and answers in an entry

    4. Final part of a fugue

     

    History

    1. The development of fugue during the major historical periods

     

    Performance Tasks

    1. Write tonal or real answers to fugue subjects

    2. Write countersubjects, exposition, episodes and other compositional devices present in a fugue.

    3. Ana1ysis/Listening: Bach: WTC Book I, Fugue in g

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8,

    4.1, 4.2, 4.3, 4.4, 4.5

     

     

    B. Variation Form

     

    Concepts

    1. Continuo variation

    2. Theme and variation

     

    History

    1. The use of variation techniques during various historical periods

     

    Performance tasks

    1. Composition: write a theme and variation on a Russian folk song following specific guidelines.

    2. Compose a theme and variations using continuos variation form

    3. Analysis/Listening: Beethoven: Twenty-four Variations on Venni Amore

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 4.1, 4.2, 4.3, 4.4, 4.5

     

     

     

    C. Sonata Form

     

    Concepts

    1. General outline

    2. Phrase structures

    3. Use of harmony and key relationships

     

    History

    1. Development of Sonata form during the Classical Period through the 20th century.

     

    Performance Tasks

    1. Ana1ysis/Listening: Beethoven: Sonata no. 1 in f

    2. Composition: Write the first movement of a Classical Sonata

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 4.1, 4.2, 4.3, 4.4, 4.5

     

    D.  Rondo

     

    Concepts

    1. Refrain, episode and transition

    2. Retransition

    3. Rondo types

    4. Departures from standard rondo form

     

    History

    1. Development of the Rondo during the various historical periods.

     

    Performance Tasks

    1. Analysis/Listening: Piano Sonata No. 5

     

    Performance Indicators

    1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 2.1, 2.2, 2.3, 2.4, 3.1, 3.2, 3.3, 3.4, 3.5, 3.6, 3.7, 3.8, 4.1, 4.2, 4.3, 4.4, 4.5

     

     

     

    Reference List of Performance Indicators

     

    Standard 1

    Creating, Performing and Participating in the Arts

     

     

    To meet this standard, students will:

     

    1.1        compose and perform original music using traditional and/or non traditiona1 sound sources as well as music written by others.

     

    1.2        understand, identify and perform pulse and accent in various meters.

     

    1.3        demonstrate a knowledge of intervals in singing, playing and creating music.

     

    1.4        utilize correct vocal production in creating, performing and participating in music.

     

    1.5        understand and apply the basic elements of music in performance and/or composition.

     

    1.6        engage in individual and group musical and music re1ated tasks, including performing ensembles.

     

    1.7        illustrate an understanding of the importance of expression in performance (dynamics, tempo, etc.).

     

     

    Standard 2

    Knowing and Using Arts Materials and Resources

     

     

    To meet this standard, students will:

     

    2.1        Synthesize information about the elements of music and use traditional instruments, electronic instruments, technology and a variety of sound sources (including environmental sounds) to create and perform music.

     

    2.2        utilize standard and non-standard notation to read and write melodies and rhythms.

     

    2.3        identify, understand and apply musical terms and symbols.

    2.4        demonstrate ability to expand their knowledge of listening and performance experiences using various resources and information about music.

     

    2.5        discover how various members of the community and their institutions participate in music.

     

    2.6            have knowledge of career options, vocation and avocations.

     

    2.7            identify opportunities to contribute to their communities’ music situations, including those embedded in education and other institutions (NYSSMA, Erie County Ensembles, etc.).

     

     

    Standard 3

    Responding to and Analyzing Works of Art

     

     

    To meet this standard, students will:

     

    3.1        demonstrate the capacity to listen to, reflect on and comment on music.

     

    3.2        describe their responses with supporting evidence for their thinking, relating their critical assertions about music to its aesthetic, structural, acoustic and psychological qualities.

     

    3.3            understand and compare the concept of form and other natural divisions in music (texture, tone color, etc.) to respond critically to compositions.

     

    3.4            recognize and analyze relationships and devices used in compositions and relate them to other art forms.

     

    3.5            apply concepts based on structure of music’s content and context to relate music to other broad-based areas of knowledge.

     

    3.6            apply concepts from other disciplines to enhance the understanding of music. (i.e. math, language arts, art, etc.).

     

    3.7            identify tonal relationships

     

    3.8            demonstrate knowledge of chord progressions and key changes.

     

    3.9            differentiate among textures (monophonic, homophonic, polyphonic).

     

    3.10         illustrate an awareness that tone colors and mixtures of tone colors may be used to establish mood, expression or feeling.

     

     

     

    Standard 4

    Understanding the Cultural Contributions of the Arts

     

     

    To meet this standard, students will:

     

    4.1            be knowledgeable of how music effected cultures in the past and present.

     

    4.2            develop a performing and listening repertoire of music of various dialects and cultures that is representative of the peoples of the world and their manifestations in the United States.

     

    4.3            recognize the unique cultural features of a variety of musical compositions and performances and develop and understanding of their functions within the culture.

     

    4.4            identify and perform fluently a basic repertoire of folk songs/dances from various cultures.