CURRICULUM

FOR

MUSIC THEORY I

GRADES 10-12

This curriculum is part of the Educational Program of Studies of the Rahway Public Schools.

ACKNOWLEDGMENTS

Frank G. Mauriello, Interim Assistant Superintendent for Curriculum & Instruction Raymond Candiloro, Supervisor of Fine, and Performing Arts

The Board acknowledges the following who contributed to the preparation of this curriculum.

Miquel Bolivar Meagen Spatz

Christine H. Salcito, Interim Superintendent of Schools

Subject/Course Title: Date of Board Adoptions: Music Theory I April 21, 2015 Grades 10-12 RAHWAY PUBLIC SCHOOLS CURRICULUM

UNIT OVERVIEW

Content Area: Basic Music Theory

Unit Title: Music Theory I

Target Course/Grade Level: Beginner skill level, grades 10-12. Prior experience in an RHS performing ensemble is pre- requisite.

Unit Summary: Students learn the rules of notation, the basic principles of tonal harmony, begin ear-training, and experience a wide variety of music listening experiences.

Approximate Length of Unit: Full Year, 5.0 Credits

Primary interdisciplinary connections: History, Literature, Mathematics, and Technology

LEARNING TARGETS

Standards 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in music.

1.2 History of the Arts and Culture: All students will understand the role, development, and influence of the arts throughout history and across cultures.

1.3 Performance: All students will synthesize those skills, media, methods, and technologies appropriate to creating works of art in music.

1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of music.

Content Strand: 1.1 B Music

1.2 A History of the Arts & Culture

1.3 B Music

1.4 A & B Aesthetic Response and Critique Methodologies

CPI#

1.1.12.B.1 Examine how aspects of meter, rhythm, tonality, intervals, chords, and harmonic progressions are organized and manipulated to establish unity and variety in genres of musical compositions.

1.1.12.B.2 Synthesize knowledge of the elements of music in the deconstruction and performance of complex musical scores from diverse cultural contexts.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history.

1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras.

1.4.12.A.1 Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art.

1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works.

21st Century Life and Career Skills: 9.1.12.A.1 Apply critical thinking and problem-solving strategies during structured learning experiences. 9.1.12.D.1 Interpret spoken and written communication within the appropriate cultural context. 9.1.12.F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences 9.1.12.F.3 Defend the need for intellectual property rights, workers’ rights, and workplace safety regulations in the United States. 9.4.12.A.16 Employ critical thinking skills (e.g., analyze, synthesize, and evaluate) independently and in teams to solve problems and make decisions. 9.4.12.A.17 Employ critical thinking and interpersonal skills to resolve conflicts. 9.4.12.A.45 Employ leadership skills to accomplish goals and objectives. 9.4.12.A.46 Employ organizational skills to foster positive working relationships and accomplish organizational goals.

Unit Understandings 1.3.12.B.1 Analyze compositions from different world cultures and genres with respect to technique, musicality, and stylistic nuance, and/or perform excerpts with technical accuracy, appropriate musicality, and the relevant stylistic nuance.

1.3.12.B.2 Analyze how the elements of music are manipulated in original or prepared musical scores.

Unit Essential Questions  How does a deeper understanding for the elements of music help you provide a more profound understanding behind the craft of music making? What historical, theoretical, and extra musical aspects of music can also be derived from performance and song selection?  Can I speak about music on a deeper level? Can I comment on construction and use it to form a more educated opinion of the music I am listening to?

Knowledge and Skills ● The elements of music- rhythm, pitch, melody, harmony, dynamics. ● Knowledge of available technology to enhance music making and listening. ● Skills involved in composing and arranging music. ● An increased ability to discuss music intelligently, and to justify one’s own personal aesthetic. ● A broader awareness of the music’s available in today’s society.

Unit 1: Review of Basic Notation  The Staff, measures, bar lines, etc.  Treble and Bass Clef  The Grand Staff and Ledger Lines  The anatomy of a note and the Stem Rule

Unit 2: Review of Basic Rhythm/Counting  Time Signature and Common times  Hierarchy of notes/rests  Ear-training for basic rhythmic dictation  Eastman syllabic counting system  Ties and slurs

Unit 3: Basic Subdivision  Eighth notes  The Dot Rule/dotted rhythms  Notation for dynamics, articulations, & tempo marking

Unit 4: Basic Chromatics  Accidentals  Whole, half steps  Enharmonics  ear-training for whole and half steps

Unit 5: The Major Scale  Major Scale formula  Tetra Chord  Key Signature  Circle of 5ths  Ear-training for major, “sound of major”

Unit 6: The Chromatic Scale  Review of enharmonics  ear-training for half steps  Intervals - melodic vs harmonic

Unit. 7: Intervals  Major & Perfect, minor  Augmented & Diminished Intervals  Ear-training for intervals

Unit. 8: More advanced rhythms  16th notes  dotted 8th rhythms  8th/16th combination  ear-training for rhythmic dictation  Cut time & compound meter  Ear-training for meter  Triplets & syncopation

Unit 9: Mini Unit on Jazz  Ken Burns Jazz  Listening for Jazz - presentations on jazz topics

Unit 10: Triads & V7 chords  Primary and Major Triads  Scale Degree Names  V7 chords  Ear training for Major Triads and V7 chords

Unit. 11: Inversions  Triad Inversion  V7 inversions  Figured bass notation

Unit. 12: Chord Progression  Tonic-Dominant relationship  Cadences  Roman Numeral Analysis  Ear-training for Tonic-Dominant relationship

Unit 13: Minor Triads  Minor Scales  Three forms  Minor triads and inversions  Augmented and Diminished triads  Ear-training for minor, aug, & dim

Unit. 14: Modes  Brief history of modes  Fun with Nuemes! - projects composing with nuemes  Modes related to major keys  modes related to minor keys

Unit. 15: Melody Writing  What makes a good melody?  Step, skip, leap, stay-the-same  Grounding the melody in a key- composition project #1

Unit. 16: Harmonizing a melody  Using primary triads  Using other chords  Cadences - composition project #2

Unit 16: Non Chord tones  Passing tones  Neighbor tones  Appogiatura  Suspensions  Pedal Point - composition project #3 (Final Exam)

Unit 17: Form  Binary  Rondo  ABA

Assessment The Music Theory Class will be evaluated regularly using both formative and summative assessments. Homework is given from time to time and will be checked for completion. A written mid-term exam will cover the material learned in the first semester and the final exam will be a comprehensive composition project. Various other projects are given throughout the year, as well as weekly Listening Presentations, which are all graded.

Learning Activities A variety of strategies will be utilized in class, including, but not limited to the following:  Lecture  Listening exercises  Visual (use of white board or handouts)  Eastman counting system group exercises  Ear-training activities in pitch and rhythm.  Student presentations/projects  Group discussion  Occassional videos

Teacher Resources:  Tonal Harmony by Stephan Kostka, Elementary Harmony by Robert W. Ottman, Alfred’s Essentials of Music Theory workbooks, various YouTube clips as needed, Jazz! by Ken Burns, various analysis examples, Marsalis on Music video series.

Equipment Needed:

 Computers, Internet, Finale Notation Software, Sound System, White Board, Projector, Various Media, Keyboard and amplification equipment, Alfred’s Essentials of Music Theory workbooks, Tonal Harmony textbooks, various recordings.