AP Music Theory Course Breakdown
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New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................ -
Advanced Placement (AP) Programs (Students)
Advanced Placement (AP) HOW MANY AP Programs COURSES ARE OFFERED? The AP Program cur- rently offers more than 30 courses across mul- tiple subject areas. Each course connects directly to a wide variety of col- WHAT IS lege majors and careers. Contact your school’s ADVANCED counselor to learn what © Thinkstock © Thinkstock Photos AP Courses are being PLACEMENT? offered. WHAT DOES IT TAKE TO SUCCEED IN AN AP COURSE? ] ACADEMIC PREPARATION Academic You don’t need to be top of your class to be Preparation an AP student, but you’ll want to be pre- and pared for the AP course you choose. Some Commitment AP courses have recommended courses you should take first, and all AP courses ask that you come willing to do your best work. ] MOTIVATION You show your determination when you do © Thinkstock © Thinkstock Photos the things that matter to you. Think about when you’ve learned or accomplished some- The Advanced Placement thing you’re really passionate about. You practice until you get it right. You try harder Program enables willing when it’s not easy the first time. The efforts pay off, and you feel a huge sense of accom- and academically prepared plishment when you see how much you can students to pursue college- do when you try. That is the kind of commit- ment that is sought out and rewarded in AP level studies. Students may courses. earn college credit, advanced WHY TAKE AN AP COURSE? placement credit, or both ] Stand out in college admissions while still in high school. ] Earn college credit ] Skip college introductory courses ] Build college skills STUDENT INFORMATION ock Photos © ock Photos ADA Compliant October 2020 Thinkst WHAT ARE AP EXAMS? AP Human Geography AP Macroeconomics Each AP course has a corresponding exam through which students may earn college AP Microeconomics credit. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
AP Theory Summer Review Sheet
AP Theory Review Sheet The following is a study guide to prepare you for AP Music Theory. Please review all of the information so we can start our year ahead of the game. Basics of Notation Whole note Whole rest Half note Half rest Quarter note Quarter rest Eight note Eight rest Sixteenth note Sixteenth rest It is important to understand that the values of these notes are not a constant. They change based on the time signature. The one thing that is a constant is the following diagram that shows how each note relates to another Note Relationships Counting in Time These notes are based on time for example purposes only. Refer to the time signature chart below for exact counting in other time signatures. Notice how each beat is counted, no matter how small the division there are always whole numbers starting each set of beats. Note Value Counting Style 4 beats 1234 2 beats 12 34 1 beat 1 2 3 4 etc ½ beat 1 + 2 + 3 + 4 + ¼ beat 1 e + a 2 e + a 3 e + a 4 e + a Triplet 1 la le 2 la le 3 la le 4 la le Dotted Rhythm = 1(2) + = 1 (2) + 1(e+) a = 1 (e +) a Below is just a sample of how the note values can change based on the time signature the composer uses: 1 2 N/A 4 N/A 8 N/A ½ 1 2 2 4 4 8 ¼ 1/2 1 1 2 2 4 1/8 1/4 1/2 1/2 1 1 2 1/16 1/8 1/4 1/4 1/2 1/2 1 It is a very common misconception that the quarter note always equals one beat and that anything smaller than a quarter note is just played “fast.” What is important to remember is that the smaller the note’s value the more divided the beat is and not the faster the tempo. -
Music in Theory and Practice
CHAPTER 4 Chords Harmony Primary Triads Roman Numerals TOPICS Chord Triad Position Simple Position Triad Root Position Third Inversion Tertian First Inversion Realization Root Second Inversion Macro Analysis Major Triad Seventh Chords Circle Progression Minor Triad Organum Leading-Tone Progression Diminished Triad Figured Bass Lead Sheet or Fake Sheet Augmented Triad IMPORTANT In the previous chapter, pairs of pitches were assigned specifi c names for identifi cation CONCEPTS purposes. The phenomenon of tones sounding simultaneously frequently includes group- ings of three, four, or more pitches. As with intervals, identifi cation names are assigned to larger tone groupings with specifi c symbols. Harmony is the musical result of tones sounding together. Whereas melody implies the Harmony linear or horizontal aspect of music, harmony refers to the vertical dimension of music. A chord is a harmonic unit with at least three different tones sounding simultaneously. Chord The term includes all possible such sonorities. Figure 4.1 #w w w w w bw & w w w bww w ww w w w w w w w‹ Strictly speaking, a triad is any three-tone chord. However, since western European music Triad of the seventeenth through the nineteenth centuries is tertian (chords containing a super- position of harmonic thirds), the term has come to be limited to a three-note chord built in superposed thirds. The term root refers to the note on which a triad is built. “C major triad” refers to a major Triad Root triad whose root is C. The root is the pitch from which a triad is generated. 73 3711_ben01877_Ch04pp73-94.indd 73 4/10/08 3:58:19 PM Four types of triads are in common use. -
Figured Bass and Tonality Recognition
Figured Bass and Tonality Recognition Jerome Barthélemy Alain Bonardi Ircam Ircam 1 Place Igor Stravinsky 1 Place Igor Stravinsky 75004 Paris France 75004 Paris France 33 01 44 78 48 43 33 01 44 78 48 43 [email protected] [email protected] ABSTRACT The aim of the figured bass was, in principle, oriented towards interpretation. Rameau turned it into a genuine theory of tonality In the course of the WedelMusic project [15], we are currently with the introduction of the fundamental concept of root. Successive refinements of the theory have been introduced in the implementing retrieval engines based on musical content th automatically extracted from a musical score. By musical content, 18 , 19th (e.g., by Reicha and Fetis) and 20th (e.g., Schoenberg we mean not only main melodic motives, but also harmony, or [10, 11]) centuries. For a general history of the theory of tonality. harmony, one can refer to Ian Bent [1] or Jacques Chailley [2] In this paper, we first review previous research in the domain of harmonic analysis of tonal music. Several processes can be build on the top of a harmonic reduction We then present a method for automated harmonic analysis of a • detection of tonality, music score based on the extraction of a figured bass. The figured • recognition of cadence, bass is determined by means of a template-matching algorithm, where templates for chords can be entirely and easily redefined by • detection of similar structures the end-user. We also address the problem of tonality recognition Following a brief review of systems addressing the problem of with a simple algorithm based on the figured bass. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Dorico 3.5.10 Version History
Version history Known issues & solutions July 2020 Steinberg Media Technologies GmbH Contents Dorico 3.5.10 ....................................................................................................................................................................................................... 3 Improvements .................................................................................................................................................................................................. 3 Issues resolved ............................................................................................................................................................................................. 11 Dorico 3.5 ........................................................................................................................................................................................................... 19 New features ................................................................................................................................................................................................. 19 Pitch before duration in note input ...................................................................................................................................................... 19 Expression maps ..................................................................................................................................................................................... 22 Line style editors -
RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
/O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6. -
Figured-Bass.Pdf
Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth. -
Advanced Placement Program Information Night
Advanced Placement Program Information Night Columbia High School https://tinyurl.com/yae9e75x Welcome Columbia High School is committed to every student’s success. We believe access to rigorous coursework, such as Advanced Placement® (AP®), plays an important role in that success. https://tinyurl.com/yae9e75x What We’ll Cover • What is it Like to Take AP® courses? • Advanced Placement® Course Offerings? • AP® Exams • The Benefits • Next Steps: Help Your Child Make the Best Choices https://tinyurl.com/yae9e75x ® What is it like to take AP Courses? https://tinyurl.com/yae9e75x ® Advanced Placement : The Basics ● The Advanced Placement Program is run by a non-profit organization, the College Board. The College Board is also responsible for the PSAT and SAT tests. ● AP® courses are college-level courses offered in high school. ● AP® Courses reflect what is taught in top, introductory college courses. ● Students take AP® Exams at the end of the course, measuring their mastery of college-level work. ● A score of 3 or higher on an AP® Exam may earn students college credit and/or placement into advanced courses in college. ® AP Myths & Realities Myth Reality AP® courses are for students who always get good AP® courses are for any students who are academically grades. prepared and motivated to take college-level courses.. AP® courses are too stressful. It's no secret that AP® courses are challenging, but the support you will receive from your classmates and teachers can help you manage the workload. I don't think I will score high enough on the AP® You don’t need to score a 5.