AP Music Theory Quarter 1

UNIT 1: Intervals and Scales

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Order of flats and sharps AP MT.II.3 Notate and identify all major and AP MT.II.3 ­ Correct location on a staff minor key signatures.

Keys can be related through parallel or relative relationships

Scale Patterns AP MT.II.4 Determine the type of scale based on AP MT.II.4 ­ Whole steps and half steps the whole and half step series associated with each particular scale Scale Types through written notation. ­ Major ­ Natural Minor Determine the type of scale based on ­ Harmonic Minor the whole and half step series ­ Melodic Minor associated with each particular scale through listening. Scales and keys are related through harmonic and relative relationships

Ascending and descending intervals within one AP MT.II.8 Determine the quality of ascending AP MT.II.8 octave and descending intervals including ● Perfect major, minor, augmented and ● Major diminished through written notation. ● Minor ● Diminished Identify the quality of ascending ● Augmented intervals including major, minor, augmented and diminished through Songs related to each interval listening.

Chords can be built on different scale degrees ­ Root, First, Second, and Third Inversions Each chord member has a different name

The Number of Half steps between each interval

Intervals with a Triad AP MT.II.9 Evaluate quality of chords Major, AP MT.II.9 ­ (Major, Minor, Diminished, Minor, Diminished and Augmented Augmented) through written notation. Chords based on intervals of thirds ­ (Minor, Minor, ex.) Identify the quality of each type of Triads interval through listening in ● Inversions harmonic/simultaneous performance Seventh Chords of the chord. ● Inversions

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UNIT 2: Chord Recognition, Cadences, and Figured Bass

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Cadences APMT.IV.1 ​ ● Perfect Authentic APMT.IV.1 Identify Cadence types in a given ● Imperfect Authentic excerpt from a major and minor key. APMT.IV.3.A ● Half APMT.IV.3.A ● Plagal Label Cadences from aural excerpt in a ● Deceptive major and minor key.

Non­Harmonic Tones APMT.III.2 Realize a figured bass line for a given APMT.III.2 ● Unaccented APMT.IV.2 melody to create simple two­part APMT.IV.2 ● 1. Anticipation APMT.IV.3B counterpoint in seventeenth and or APMT.IV.3B ● 2. Neighbor Tone APMT.V.5 eighteenth century style ● 3. Incomplete Neighbor Tone ● 4. Escape Tone Identify in a score non­harmonic tones ● 5. Passing Tone ● Accented Small­scale and large­scale harmonic ● 1. Passing Tone procedures, including identification of ● 2. Neighbor Tone non­harmonic tones ● 3. Suspension ● 4. Appoggiatura Hear the previously listed non­harmonic ● 5. Portamento tones ● 6. Nonharmonic Bass ● 7. Pedal Tone ● Chromatic

Melodic Organization APMT.IV.4b Identify and implement melodic APMT.IV.4b ● Motive APMT.V.7a organization and developmental APMT.V.7a ● Sequence procedures, including melodic ● Phrase patterning ● Period ● Melodic Structure Identify processes and materials in the ● Metric Organization context of musical literature representing a broad spectrum of genres, media, and styles, including melodic organization

UNIT 3: Counterpoint and Voice Leading in Primary Triads

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Counterpoint ● Harmonic Interval APMT.II.8 Create simple two­part counterpoint in APMT.III.1 ● Cantus Firmus APMT.III.1 seventeenth­ and/or eighteenth­century ● Species One style ● Species Two

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Chords, Inversions and Cadences APMT.I.9 Notate and identify triads and 7th APMT.II.9 ● Root APMT.III.2 chords including inversions ● 1st Inversion APMT.V.7.b ● 2nd Inversion APMT.V.7c Identify authentic, plagal, half, Phrygian APMT.IV.1 half, and deceptive cadences in major and minor keys APMT.IV.3a Small­scale and large scale harmonic procedures, including identification of cadence types

Voice Leading Motion APMT.III.2 Compose a bass line for a given APMT.III.1 ● Similar melody to create simple two­part ● Parallel counterpoint in seventeenth­ and/or ● Oblique eighteenth­century style ● Contrary APMT.IV.4b Melodic organization and developmental procedures, including melodic patterning

Progressions APMT.III.3 Analyze the implied harmonies APMT.III.1 ● Harmonic APMT.IV.3b ● Circle Small­scale and large­scale harmonic APMT.IV.3b procedures, including Roman­numeral and figured­bass analysis

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UNIT 4: Voice Leading in secondary triads, Inversions, and Doubling.

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Secondary triads consist of the 2,3,6,7 chords APMT.II.4 Analyze an individual triad for the APMT.II.4 ​ of both the major and minor scales. APMT. II.8 chord quality(major, minor, dim. or APMT. II.8 aug.) Secondary triads can be found in either major, minor, diminished or augmented form Determine the type of scale being depending on the scale represented. utilized based on the triad quality from various scale degrees. Major scale: I, ii, iii, IV, V, vi, viio o ​ Natural minor scale: i, ii ,​ III, vi, v, VI, VII Construct 4­part chords from a given ​ o o Harmonic minor scale: i, ii ,​ III+, iv, V, VI, vii Roman Numeral series utilizing the ​ o o ​ Melodic minor scale: i, ii, III+, IV, V, vi ,​ vii correct accidentals based on the ​ ​ correct scale form.

Doubling for Secondary chords in first inversion APMT.III.2 Determine similarities and differences APMT.III.2 ­Double any triad factor that facilitates smooth APMT.II.8 in specific chord qualities regarding APMT.II.8 voice leading. Favored notes are the doubling in both major and minor soprano(most often) and bass. scales. ­Never double the leading tone. ­Treat each first inversion triad in relation to Construct 4­part chords using correct surrounding chords. (There is not a preferred doubling procedures based on the pattern of voice leading as in the case of given Roman Numeral series, root­position triads.) including triads in an inversions.

Quick Doubling Chart Utilize proper voice leading procedures while moving between DOUBLE POSITION & CHORD TYPE chords.

Root Root Position, M/m triads Soprano First inversion, M/m triads (or Bass)

Bass Second inversion, M/m primary triads

Bass First inversion, dim. triads o6 o6 (vii ​ and ii )​ ​ ​

Doubling for secondary chords in first inversion APMT.II.9 Identify the proper uses of a first APMT.II.9 ­Double any triad factor that facilitates smooth inversion triad in secondary chords. voice leading. Favored notes are the APMT.III.2 soprano(most often) and bass. Employ the guidelines for doubling ­Never double the leading tone. first inversion triads to 4­part writing.

4/7 ­Treat each first inversion triad in relation to surrounding chords. There is not a preferred Apply the established voice leading pattern of voice leading as in the case of rules regarding primary triads to root­position triads. secondary triads in 4­part writing.

Secondary triads for Major Keys: ­Never found in second inversion ­All found in first inversion ­All found in root position except viio ​

Secondary triads for Minor Keys: ­Never found in second inversion ­All found in first inversion ­Only major triads are found in root position, minor triads are usually first inversion.

Diminished triad is used exclusively in first inversion o6 ii ​ ­used before a dominant chord(double ​ third/bass note) o6 vii ­​ dominant quality because this chord ​ shares 2 notes with the V chord (double third/bass note and move all voices stepwise as much as possible)

Second inversion­Only Primary chords are APMT.IV.3B Identify examples of each type of 6/4 APMT.IV.3.B found in second inversion and they must only chord progression. be used for the function of either: passing, cadential, or auxiliary/pedal bass. Explain the features of each type of 6/4 chord progression.

Construct each type of 6/4 chord progression utilizing the proper chords found in each type.

UNIT 5: Seventh Chords, Secondary Dominants

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7th Chords Notate, hear, and identify triads and ● Dominant APMT.II.9 seventh chords including inversions APMT.II.9 ● Non­Dominant APMT.III.2 ● Leading Tone APMT.IV.3.b Realize a figured bass according to ● Major APMT.V.6 the rules of 18th­Century chorale APMT.III.2 ● Minor style, using seventh chords, ● Diminished dominant seventh chords, and ● Half­Diminished inversions ● Minor Major APMT.IV.3.b Small­scale and large­scale harmonic procedures, including Roman­numeral and figured­bass analysis including secondary APMT.V.6 dominant chords

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Notate soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in 18th­century chorale style, with features including seventh chords in major and minor keys

Secondary Dominants APMT.III.2 Realize a figured bass according to APMT.III.2 Borrowed Chords APMT.IV.3.b the rules of 18th­Century chorale ● Approaching and leaving APMT.V.6 style, using secondary dominants ● Treatment of the leading tone ● Function Small­scale and large­scale harmonic procedures, including APMT.IV.3.b Roman­numeral and figured­bass analysis including secondary dominant chords APMT.V.6 Notate soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in 18th­century chorale style, with features including secondary dominants in major and minor keys

AP Music Theory Quarter 4

UNIT 6: Analyze, Modulate, Create ​ Students will know….. Standard Students Will Be Able to….. Standard

Modulation Identify and label a modulation within ● Common chord APMT.IV.3.c a given excerpt. APMT.IV.3.c ● Closely related keys APMT.V.7.a ● Pivot chord Demonstrate how to find closely APMT.V.7.b ● Phrase modulation related keys ● Direct modulation ● Chromatic modulation

Texture APMT.IV.6.a Identify the texture of an excerpt APMT.IV.6.a ● Monophony APMT.V.7.f from aural and written excerpts APMT.V.7.f ● Homophony ● Polyphony

Form APMT.V.7.g Identify the form of an excerpt from APMT.IV.4.c ● Binary aural and written excerpts APMT.V.7.g ● Ternary ● Introduction Compose a short work in a given ● Song Form form ● Coda/Codetta

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