School District of Marshfield

Course Syllabus

Course Name: AP Music Theory Length of Course: 1 Year Credits: Credit: 1 Credit

The objectives below have been adapted from the Expanded Course specifications posted on the AP Music Theory Page on AP Central. [C1]

Course Objectives: - Understand, identify and construct major, minor, augmented and diminished intervals and triads. [C2] - Understand, identify and notate scales, intervals, triads, rhythms, and melodies. [C2] - Sing simple diatonic melodies at sight.[C15] - Analyze harmonic structure utilizing Roman numerals and figured bass. [C3, C4] - Construct compositions in four part texture. [C8] - Write simple rhythmic, melodic, and harmonic dictation. [C14, C16] - Understand basic musical forms.[C13]

Course Planner: The course is sequential and comprehensive. Once a critical competency is introduced, it is used in each subsequent chapter. Therefore, from this point forward the critical competency will be placed in a text box only once.

Content is as follows: Written Theory: Most of the written theory is done using the Spencer text. Each chapter begins with explanations and examples suitable for discussion and lecture. The last portion of each chapter has many exercises pertaining to the specific musical concept introduced. [C16] At the completion of each chapter, there will be a written assessment of the concepts presented.

Ear Training, dictation, and sight-singing: All ear training, dictation and sight-singing are sequential, starting with the most basic rhythm patterns, then advancing to rhythm with pitch. [C11, C14, C15]

Passive listening will accompany all work time in class. Music will be from standard Western tonal repertoire using the following schedule: 1st Quarter- Early music and Baroque period. 2nd Quarter- Classical period. 3rd Quarter- Romantic period. 4th Quarter- 20th century and Jazz. [C19]

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Detailed Topic/Content Outline-Units and Themes:

Week 1 1. Written skills: Clefs and basic Notation A. Spencer: Chapter 1 B. Through identification and written exercises, the students will understand the musical notation system. [C2] 2. Ear Training: Identify perfect intervals A. Adams.[C2, C9, C14] 3. Dictation: Simple rhythms patterns A. Students will write played rhythm patterns using proper notation. [C11]

Week 2 1. Written Skills: Scales- major and 3 forms of minor. A. Spencer: Chapter 2 B. Exercises include identifying scales according to the organization of half and whole steps, and writing scales on a given pitch. [C2, C9, C16] 2. Ear Training: perfect and major intervals. Major and minor scales, ascending and descending. A. Adams. [C2, C9,C14] 3. Dictation: Simple rhythm patterns. [C11]

Week 3 & 4 1. Written Skills: Key Signatures and Scale degrees. A. Spencer. Chapter 3 B. Students will be able to identify key signatures and construct scales using appropriate accidentals where necessary. They will also identify the pitches of the appropriate scale degree in a given key (e.g., subdominant, mediant, tonic etc.). [C2, C16] 2. Ear Training: Identify major, minor and perfect intervals A. Adams. [C2, C9,C14] 3. Dictation: Simple rhythm patterns. [C11]

Week 5 1. Written Skills: Intervals. A. Spencer. Chapter 4 B. Students will understand the following: Precise names of the intervals, correct spelling of intervals and the number of half steps an interval contains. [C2, C16] 2. Ear Training: Identify major, minor and perfect intervals, as well as the tritone. Enharmonic intervals. A. Adams. [C2, C9, C14]

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3. Dictation: Rhythmic phrases including ties and dotted rhythms. Simple meters. [C11]

Week 6 & 7 1. Written skills: Triads: A. Spencer. Chapter 5 B. Identify and construct major, minor, augmented and diminished triads.[C2, C16] 2. Ear Training: Week 6- Identify major, minor triads i. Week 7- Identify major, minor, augmented and diminished treads. B. Adams. [C2, C9, C14] 3. Dictation: Rhythmic phrases including ties and dotted rhythms. Compound and simple meters. [C11]

Week 8- Review 1. Written Skills: Identification and construction of scales, key signatures, and triads.[C2, C16] 2. Ear Training: All intervals, scales and triads. a. Adams. [C2, C9, C14] 3. Dictation: Rhythmic phrases in simple and compound meters.[C11] 4. Sight-singing: a. Phelps. Level One b. Sing basic 4 measure diatonic step-wise melodies in the key of C major, using solfege. [C15]

Week 9 1. Written Skills: Four part vocal writing. A. Spencer. Chapter 7 B. Basic chordal construction using appropriate ranges of SATB. Open and closed position using primary triads. [C2,C4, C16] 2. Ear Training: Intervals , scales and triads. A. Adams. [C2, C9, C14] 3. Dictation: 2 measure stepwise melodic examples. A. Students are given the meter, key and first pitch, after which the melody is played. [C1, C2, C12]

4. Sight-singing: A. Phelps. Level One [C15]

Week 10 & 11 1. Written Skills: Primary Triads in root position. A. Spencer. Chapter 8 B. Students will study the identification and construction of primary

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triads and the rules of voice leading. They will also identify common cadences associated with these chords. They will also compose a bass line for a given melodic passage implying the 3 primary chords.[C2, C3, C8, C9, C16] 2. Ear Training: A. Melodic dictation: 4 measure phrases in major and minor. [C2, C11, C12, C16] B. Harmonic dictation: 2 measure phrases of primary chords in root position. C. Students are given the key, meter and starting pitch for bass and soprano, after which the phrase is played. [C2, C8, C11] 3. Sight-singing: A. Phelps. Chapter 3 B. Sight-sing with simple rhythms introducing conjunct melodies. Melodies are in the key of C Major and a minor. [C15] 4. From this point forward, written exercises in each chapter will include composition of bass line [C3], realization of figured bass [C4] and realization of Roman numeral progression [C5].

Week 12 1. Written skills: Primary Triads in First inversion A. Spencer. Chapter 9 B. Students will follow standard practice rules for 4 part writing. [C3, C4, C5] 2. Ear Training: A. Melodic dictation: 4 measures, major and minor. B. Harmonic dictation: 4 measures, major and minor. Primary chords in root position. [C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 3 [C15]

Week 13 1. Written Skills: Primary triads in second inversions. A. Spencer. Chapter 10 B. Understand the function of second inversion chords. Harmonize given figured bass and melodic lines using primary chords in root position and inversions. [C2, C3, C4, C5, C12, C16] 2. Ear Training: A. Melodic dictation: 4 measures, major and minor B. Harmonic dictation: 4 measures, major and minor. Primary chords in root position. [C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 3 [C15]

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Week 14 & 15 1. Written skills: Secondary triads. A. Spencer. Chapter 11 & 12 B. Understand the purpose of secondary triads, strength of certain root movement, and begin to harmonize figured bass and given melodies using primary and secondary chords in root position and inversions.[C2, C3, C4, C5, C12, C16] 2. Ear Training: A. Aurally identify intervals and triads. B. Adams. [C2, C14] C. Melodic dictation: 4 measures, major and minor, including leading tone. D. Harmonic dictation: 4 measures, major and minor. Primary chords in root position.[C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 3 [C15]

Week 16 1. Written Skills: Non-chord tones. A. Spencer. Chapters 13 & 14 B. Oxford Book of Carols C. Understand the use of non-chord tones and harmonize given figured bass and melodic lines employing the appropriate use of non-chord tones..[C2, C3, C4, C5, C12, C16] D. Roman numeral analysis of hymns and carols. [C6, C18, C19] 2. Ear Training: A. Melodic dictation: 4 measure phrases, major and minor. B. Harmonic dictation: 4 measure phrases, primary root position..[C2,C3,C8, C11, C12, C16]

3. Sight-singing: A. Phelps. Level 3 [C15]

Week 17- Review

Week 18 1. A.P. Released Exam 1998- Test is administered during 4 class periods. The 5th class is used to discuss the results.

Week 19 & 20 1. Written Skills: Diatonic Seventh Chords. A. Spencer. Chapter 15 & 16 B. Oxford Book of Carols C. Introduce diatonic seventh chords and inversions. Students will

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learn proper voicing and resolution of the seventh chords in root position and inversions.[C2, C3, C4, C5, C12, C16] D. Roman numeral analysis of hymns and carols. [C6, C18, C19] 2. Ear Training: A. Melodic dictation: 4 measure phrases, major and minor. B. Harmonic dictation: 4 measure phrases, primary chords in root position and inversions.[C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 3 [C15]

Week 21 1. Written Skills: Writing for the Piano A. Spencer. Chapter 17 B. Oxford Book of Carols C. Study and employ two basic chordal styles of piano writing, using our present harmonic vocabulary. .[C2, C3, C4, C5, C12, C16] D. Harmonic analysis of hymns and carols.[C6, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Primary and secondary chords in inversions.[C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 5 B. Moveable Do. Students will now sight-sing in different keys. [C9, C15]

Week 22 1. Written Skills: Secondary dominants A. Spencer. Chapter 18 B. Oxford Book of Carols C. Introduce secondary dominant chords and inversions. Students will learn proper voicing and resolution of these chords as well as the necessity of accidentals to construct these chords.[C2, C3, C4, C5, C12, C16] D. Harmonic and phrase analysis of hymns and carols. [C6, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Primary and secondary chord in inversions..[C2,C3,C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 5 [C9, C15]

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Week 23 1. Written Skills: Secondary diminished seventh chords A. Spencer. Chapter 19 B. Oxford Book of Carols C. Students will understand the proper voicing and use of secondary diminished chords. .[C2, C3, C4, C5, C12, C16] D. Harmonic and phrase analysis of hymns and carols. [C6, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Primary and secondary chords in inversions.[C2, C3, C4, C8, C11,C12, C16] 3. Sight-singing: A. Phelps. Level 5 [C9, C15]

Week 24 1. Written Skills: Augmented Sixth Chords A. Spencer. Chapter 20 B. Burkhart. P 182, mm. 1-4 i. Students will learn the function and resolution of the augmented sixth chords.[C2, C3, C4, C5, C12, C16] ii. Harmonic analysis of short piano pieces[C6, C13, C18, C19 2. Ear Training: A. Chord identification. B. Adams. C. Melodic dictation: Major and minor with accidentals. D. Harmonic dictation: Primary and secondary chords in inversions.[C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 5 [C9, C15]

Week 25 1. Written Skills: Borrowed Chords A. Spencer. Chapter 21 B. Burkhart. C. Students will examine and use these chords in harmonization..[C2, C3, C4, C5, C12, C16] D. Harmonic analysis of Bach Fugue [C6, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion.[C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing:

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A. Phelps. Level 5 [C9, C15]

Week 26 1. Written Skills: The Neopolitan A. Spencer. Chapter 22 B. Burkhart. C. Students construct the Neopolitan sixth chord on the lowered 2nd scale degree and use it appropriately in harmonization.[C2, C3, C4, C5, C12, C16] D. Harmonic analysis of March in D Major.[C6, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion.[C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 5 [C9, C15]

Week 27 & 28 1. Written Skills: Common chord modulation. A. Spencer. Chapter 24 B. Oxford Book of Carols C. Define modulation and show how the same diatonic chord in two different keys can be a common chord used in modulation. [C2, C3, C4, C5, C10, C12, C16]

D. Harmonic analysis of hymns which imply modulation. .[C6, C10, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C. C11, C12, C16] 3. Sight-singing: A. Phelps. Level 6 B. Moveable Do with accidentals. [C9, C15]

Week 29 1. A.P. Released Exam 2003- Test is administered during 4 class periods. The 5th class period is used to discuss results.

Week 30 1. Written Skills: Abrupt and Enharmonic modulations A. Spencer. Chapter 25

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B. Burkhart p. 162, mm, 61-69 i. Modulation through use of chords not diatonic in the new key. [C2, C3, C4, C5, C10, C12, C16] C. Harmonic analysis. [C6, C10, C13, C18, C19] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing: A. Phelps. Level 6 [C9, C15]

Week 31 1. Written Skills: Ninth, Eleventh and Thirteenth Chords A. Spencer. Chapter 27 B. Study and Construction of expanded tertian harmonic chords. [C2, C3, C4, C5, C7, C12, C16] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing A. Phelps. Level 6 [C9, C15] Week 32 1. Written Skills: Chord Symbols A. Spencer. Chapter 27 B. The use of chord symbols, a popular practice in 20th century pop and jazz music. Use of letter names rather than Roman numerals. [C2, C3, C4, C5, C7, C12, C16] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing. A. Phelps. Level 6 [C9, C15]

Week 33 1. Written Skills: Modal harmony A. Spencer. Chapter 28 B. Identify and construct the 7 modes in a variety of keys. [C2, C16] 2. Ear Training:

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A. Aurally identify different modal scales. B. Adams. C. Melodic dictation: Major and minor with accidentals. D. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing. A. Phelps. Level 6 [C9, C15]

Week 34 1. Written Skills: Nonfunctional Harmony A. Spencer. Chapter 29 B. Study of nonfunctional tertian harmony. [C2, C3, C4, C5, C7, C12, C16] 2. Ear Training: A. Melodic dictation: Major and minor with accidentals. B. Harmonic dictation: Major and minor with secondary dominants, primary and secondary chords in inversion. [C2, C3, C4, C8, C11, C12, C16] 3. Sight-singing A. Phelps. Level 6 [C9, C15]

Week 35 & 36- Review

Resources: Spencer, Peter. 2011. The Practice of Harmony, 6th ed. Pearson Education, Inc. Pearson Prentice Hall, Upper Saddle River, New Jersey.

Phelps, Bruce. 1993. Bruce Phelps Sight Reading Manual. Coon Rapids, Minnesota.

Burkhart, Charles 2003. Anthology for Musical Analysis, 6th ed. Harcourt College Pub.

The Oxford book of Carols, 1964. Oxford University Press, New York, New York.

Adams, Ricci. musictheory.net.

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