AP Music Theory Syllabus
Course Overview
This rigorous course expands upon the skills learned in the choral and instrumental courses offered at our school. Musical composition, sequencing, and Finale software use are some of the many applications employed to further student understanding of music theory.
Objectives of the Course
This course is designed to develop musical skills that will lead to a thorough understanding of music composition and music theory. Students are prepared to take the AP* Music Theory Exam when they have completed the course. Students planning to major in music in college may be able to enroll in an advanced music theory course, depending on individual colleges’ AP policies.
General Course Content
1. Review of music fundamentals, including: scales, key signatures, circle-of-fifths, intervals triads and inversions 2. Daily ear training, including rhythmic, melodic, and harmonic dictation 3. Weekly Sight-Singing using numbers and solfege for pitches 4. The study of modes 5. The study of figured bass 6. The study of two-part counterpoint 7. The study of four-part harmony 8. The study of seventh chords 9. The study of secondary-dominant functions 10. The study of musical form 11. The study of common compositional techniques
The objectives below have been adapted from the Expanded Course Specifications posted on the AP Music Theory Home Page on AP Central
Expanded Course Objectives
1. Identify and notate pitch in four clefs: treble, bass, alto and tenor. 2. Notate, hear and identify simple and compound meters. 3. Notate and identify all major and minor key signatures. 4. Notate, hear and identify the following scales: chromatic, major and the three minor forms. 5. Name and recognize scale degree terms, for example: tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic, leading tone. 6. Notate, hear and transpose the following modes: Dorian, Phrygian, Lydian and mixolydian. 7. Notate, hear and identify whole-tone and pentatonic scales. 8. Notate, hear and identify all major, minor, diminished and augmented intervals inclusive of an octave. 9. Transpose a melodic line to or from concert pitch for any common band or orchestral instrument. 10. Notate, hear and identify authentic, plagal, half and deceptive cadences in major and minor keys. 11. Notate, hear and identify triads, including inversions. 12. Detect pitch and rhythm errors in written music from given aural excerpts. 13. Notate a melody from dictation, 6-12 bars, in a major key, mostly diatonic pitches, simple or compound time, three to four repetitions. 14. Notate melody from dictation, 6 to 12 bars, in a minor key, chromatic alteration from harmonic/melodic scales, simple or compound time, three to four repetitions. 15. Sight-sing a melody, 4 to 8 bars long, major or minor key, duple or triple meter, simple or compound time, using solfege, numbers or any comfortable vocal syllable(s). 16. Notate and analyze simple 2-bar counterpoint in sixteenth- and/or eighteenth- century styles. 17. Realize a figured bass according to the rules of eighteenth-century chorale style, major or minor key, using any or all of the following devices: diatonic triads, seventh chords, inversions, nonharmonic tones and secondary-dominant and dominant seventh chords. 18. Analyze a four-part chorale style piece using Roman and Arabic numerals in represent chords and their inversions. 19. Notate, hear and indentify the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), pedal tone. 20. Notate the soprano and bass pitches and the Roman and Arabic numeral analysis of a harmonic dictation, eighteenth-century chorale style, seventh chords, secondary dominants, 4 to 8 bars in length, major or minor key, three to four repetitions. 21. Compose a melody or expand a motive with or without text, 6 to 12 bars long, given specific directions about key, mode, phrasing, rhythm and harmonic language. Harmonize a 4- to 12-bar melody by writing a bass line, chords and/or chord symbols, given specific directions about key, mode, phrasing, rhythmic and harmonic language. 22. Define and identify common tempo and expression markings. 23. Idenify aurally and/or visually the following: modulation, transposition, melodic and harmonic rhythm, sequence, imitation, ostinato, augmentation, diminution, inversion, retrograde and fragmentation. 24. Recognize standard musical algorithms, i.e., standard melodic, rhymthic and harmonic idioms that occur in music.
Expectations of Students
1. Students will participate in all classroom discussions and activities. 2. Students will complete all assigned exercises and readings. 3. Students will keep and maintain a Music Theory notebook, which will include class notes, handouts, assignments and listening logs. 4. Students will study the released AP Exams and take practice tests to prepare for the exam. 5. Students will attend one concert each semester and submit a paper about the concert, using an appropriate musical vocabulary. This paper should contain general information about the concert, the student’evaluation of it, and specific analysis of three individual selections from the concert. This analysis should include the following: a. melodic characteristics (conjunct/disjunct) b. harmonic characteristics (harmonic idioms present) c. rhythm (straight/syncopated) d. texture (homophonic, monophonic, polyphonic, heterophonic) e. timbre (instrumentation, tone color) f. dynamics (dynamic contrasts) g. tempo (tempo changes) h. meter (duple/triple, simple/compound, regular/irregular) i. mode (major, minor, modal, atonal) j. form (binary, ternary, sonata, rondo, etc.) k. articulation (legato, staccato, etc.) 6. Students will submit two major compositions each nine weeks, based on assigned form and content. Other minor compositions will be required to demonstrate understanding and synthesis of concepts presented. These compositions include: a. A song in binary form b. A song in ternary form c. A song in sonata form d. A song based on a major mode e. A song based on a minor mode f. A song using two-part counterpoint g. A song using three-part counterpoint h. A four-part fugue with subject, countersubject and free improvisation i. A song that modulates from one tonal center to another through the use of a pivot chord j. A song based on the whole-tone scale k. A song based on a tone row or serialism l. A song based on a church mode
Textbook
Kostka, Stefan. 2004. Tonal Harmony, 5th ed. New York: McGraw-Hill. Includes workbook.
Tonal Harmony with an Introduction to Twentieth –Century Music is intended for a two- year course in music/theory/harmony. It offers a clear and thorough introduction to the resources and practice of Western music from the seventeenth century to the present day. Its concise, one-volume format and flexible approach make the book usable in a broad range of theory curricula.
Course Planner Note: Chapter references are to the Tonal Harmony textbook.
First Nine Weeks
Week 1 Elements of pitch: the keyboard and octave registers, notation of the staff, the major and minor scales and key signatures, scale degree names, perfect, major, minor, augmented and diminished intervals, inversion of intervals, consonant and dissonant intervals
Chapter 1
Melodic Dictation/Sight-Singing: Level One-major key, diatonic pitches, conjunct melodies using scale degrees 1-6
Harmonic Dictation: bass voice
Elements of rhythm: rhythm, durational symbols, beat and tempo, meter, division of the beat, simple time signatures, compound time signatures
Chapter 2
Week 2 Introduction of triads and seventh chords: triads, seventh chords, inversions of chords, inversion symbols and figured bass, lead sheet symbols, recognizing chords in various textures
Chapter 3
Melodic Dictation/Sight-Singing: Level Two-major key, diatonic pitches, conjunct melodies using scale degrees 1-6, add movement from scale degree 7-1
Harmonic Dictation: outer voices
Diatonic chords in major and minor keys: the minor scale, diatonic triads in major, diatonic triads in minor, diatonic seventh chords in major, diatonic seventh chords in minor
Chapter 4
Melodic Dictation/Sight-Singing: Level Two-major key, diatonic pitches, conjunct melodies using scale degrees 1-6, add movement from scale degree 7-1
Harmonic Dictation: outer voices
Week 3
Principles of voice leading: the melodic line, notating chords, voicing a single triad, parallel motion
Chapter 5
Melodic Dictation/Sight-Singing: Level Three-major key, diatonic pitches, melodies with skips using scale degrees 1, 3 and 5
Harmonic Dictation: outer voices
Root position part writing: Root position part writing with repeated roots, four-part textures, three-part textures, root position writing with roots a 4th (5th) apart, three- and four-part textures, root position writing with roots a 3rd (6th) apart, three- and four-part textures, root position writing with roots a 2nd (7th) apart, three- and four-part textures, instrumental ranges and transpositions
Chapter 6
Melodic Dictation/Sight-Singing: Level 3-major key, diatonic pitches, melodies with skips using scale degrees 1,3 and 5
Harmonic Dictation: outer voices
Week 4
Harmonic Progression: sequences and the circle of fifths, the I and V chords, the II chorc, the VI chord, the III chord, the VII chord, common exceptions, differences in the minor mode, progressions involving seventh chords, harmonizing a simple melody
Chapter 7
Melodic Dictation/Sight-Singing: Level four-major key, diatonic pitches, melodies with scale degree 1,3,5 skips, add cadential skips from scale degree 5-1
Harmonic Dictation: outer voices
Triads in First Inversion: bass arpeggiation, substituted first inversion triads, parallel sixth chords, part writing first inversion triads, three-and four-part textures, soprano-bass counterpoint
Chapter 8
Melodic Dictation/Sight-Singing: Level Four-major key, diatonic pitches, melodies with scale degree 1,3,5 skips, add cadential skips from scale degree 5-1
Harmonic Dictation: outer voices
Week 5
Triads in Second Inversion: bass apreggiation and the melodic bass, the cadential six- four, the passing six-four, the pedal six-four, part writing for the second inversion triads
Chapter 9
Melodic Dictation/Sight-Singing: Level Four-major key, diatonic pitches, melodies with scale degree 1,3,5 skips, add cadential skips from scale degree 5-1
Harmonic Dictation: outer voices
Cadences, Phrases and Periods: musical form, cadences, cadences and harmonic rhythm, motives and phrases, Mozart: “An die Freude”, period forms
Chapter 10
Melodic Dictation/Sight-Singing: Level 5-major key, diatonic pitches, melodies with skips, add skips to scale degree 6
Harmonic Dictation: outer voices and authentic cadence
Week 6
Non-Chord Tones: Classification of non-chord tones, passing tones, neighboring tones suspensions and retardations, figured bass and lead sheet symbols, embellishing a simple texture
Chapter 11
Melodic Dictation/Sight-Singing: Level Five-major key, diatonic pitches, melodies with skips, add skips to scale degree 6
Harmonic Dictation: outer voices, add authentic, plagal cadences
Non-Chord Tones: appoggiaturas, escape tones, the neighbor group, anticipations, the pedal point, special problems in the analysis of non-chord tones
Chapter 12
Melodic Dictation/Sight-Singing: Level Five-major key, diatonic pitches, melodies with skips, add skips to scale degree 6
Harmonic Dictation: outer voices, add half and deceptive cadences
Week 7
Diatonic Seventh Chords: the V7 chord, general voice-leading considerations, the V7 in root position, the V7 in three parts, other resolutions of the V7, the inverted V7 chord, the V6/5 chord, the V4/3 chord, the V4/2 chord, the approach to the 7th
Chapter 13
Melodic Dictation/Sight-Singing: Level Six-major key, diatonic pitches, melodies with skips, add skips to scale degree 4
Harmonic Dictation: outer voices and primary triads (major and minor)
The II7 and VII7 Chords: the II7 chord, the VII7 chord in major, the VII7 chord in minor
Chapter 14
Melodic Dictation/Sight-Singing: Level Six-major key, diatonic pitches, melodies with skips, add skips to scale degree 4
Harmonic Dictation: outer voices and primary triads (major and minor)
Week 8
Other Diatonic Seventh Chords: the IV7 chord, the VI7 chord, the I7 chord, the III7 chord, seventh chords and the circle-of-fifths progression
Chapter 15
Melodic Dictation/Sight-Singing: Level Six-major key, diatonic pitches, melodies with skips, add skips to scale degree 4
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Secondary Functions 1: chromaticism and altered chords, secondary functions, secondary dominant chords, spelling secondary dominants, recognizing secondary dominants, secondary dominants in context
Chapter 16
Melodic Dictation/Sight-Singing: Level Seven-major key, diatonic pitches, melodies with skips to any scale degree
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Week 9 Review for Mid-Term Exam
Melodic Dictation/Sight-Singing: Level Seven-major key, diatonic pitches, melodies with skips to any scale degree
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Mid-Term Exam This exam will include harmonic analysis and sight-singing.
2nd Nine Weeks
Week 1
Secondary Functions 2: secondary leading-tone chords, recognizing secondary leading- tone chords, secondary leading-tone chords in context, sequences involving secondary functions, deceptive resolutions of secondary functions, other secondary functions
Chapter 17
Melodic Dictation/Sight-Singing: Level Eight-major key, chromatic pitches bases on natural minor Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Modulations Using Diatonic Common Chords: modulation and change of key, modulation and tonicization, key relationships, common-chord modulation, analyzing common-chord modulation
Chapter 18
Melodic Dictation/Sight-Singing: Level Eight-major key, chromatic pitches based on natural minor
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Week 2
Some Other Modulatory Techniques: altered chords as common chords, sequential modulation, modulation by common tone, monophonic modulation, direct modulation
Chapter 19
Melodic Dictation/Sight-Singing: Level Eight-major key, chromatic pitches based on natural minor
Harmonic Dictation: outer voices, primary and secondary triads (major and minor)
Binary and Ternary Forms: formal terminology, binary forms, ternary forms, rounded binary forms, 12-bar blues, other formal designs
Chapter 20
Melodic Dictation/Sight-Singing: Level Nine-major key, chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, seventh chords
Week 3
Mode Mixture: borrowed chords in minor, the use of b6 in major, other borrowed chords in major, modulations involving mode mixture
Chapter 21
Melodic Dictation/Sight-Singing: Level Nine-major key, chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, seventh chords The Neapolitan Chord: Conventional use of the Neapolitan, other uses of the Neapolitan
Chapter 22
Melodic Dictation/Sight-Singing: Level Nine-major key, chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, seventh chords
Week 4
Augmented Sixth Chords 1: The interval of the augmented sixth, the Italian augmented sixth chord, the French augmented sixth chord, the German augmented sixth chord, other uses of conventional augmented sixth chords
Chapter 23
Melodic Dictation/Sight-Singing: Level Nine-major key, chromatic pitches based on harmonic minor
Harmonic Dictation: outer voices, primary and secondary triads, seventh chords
Augmented Sixth chords 2: other bass positions, resolutions to other scale degrees, resolutions to other chord members, other types of augmented sixth chords
Chapter 24
Melodic Dictation/Sight-Singing: Level Ten-major key, chromatic pitches based on melodic minor
Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants
Week 5
Enharmonic Spellings and Enharmonic Modulations: enharmonic spellings, enharmonic reinterpretation, enharmonic modulations using the major-minor seventh sonority, enharmonic modulations using the diminished seventh chord, other examples of enharmonicism
Chapter 25
Melodic Dictation/Sight-Singing: Level Ten-major key, chromatic pitches based on melodic minor
Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants
Further Elements of the Harmonic Vocabulary: the dominant with a substituted 6th, the dominant with a raised 5th, ninth, eleventh and thirteenth chords, the common-tone diminished seventh chord, simultaneities, coloristic chord successions
Chapter 26
Melodic Dictation/Sight-Singing: Level Eleven-major key, chromatic pitches out of the key (i.e., secondary dominants)
Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants
Week 6
Tonal Harmony in the Late Nineteenth Century: counterpoint, treatment of dominant harmony, sequence, expanded tonality
Melodic Dictation/Sight-Singing: Level Eleven-major key, chromatic pitches out of the key (i.e., secondary dominants)
Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants
An Introduction to Twentieth-Century Music: Impressionism, scales, diatonic church modes, pentatonic scales, synthetic scales, extended tertian harmony, extended tertian harmony and lead sheet symbols, polyharmony, quartal and secundal harmony, parallelism, pandiatonicism, rhythm and meter, atonal theory, the twelve-tone serialism, total serialization, aleatory or chance music, texture and expanded instrumental resources, electronic music
Chapter 28
Week 7
Review for AP Music Theory Exam
Take practice free-response questions
Week 8
Work on final compositional projects
Week 9
Presentation of final compositional projects
Final Exam
Teaching Strategies
Emphasis is placed on familiarity with the piano keyboard and I require students to master all scales on the piano by the end of the course. Mental imagery of the keyboard is an important tool in understanding and practicing music theory. Likewise, the terminology used in the subject of music is a primary focus of instruction. Students must demonstrate a command of the vocabulary essential for success in the course.
The use of composition is an excellent way for the student to demonstrate understanding of the rules and concepts for harmony and at the same time, express their creativity. Throughout the course, there are composition assignments which begin with narrow parameters and broaden toward the final project. For this reason, a final composition is required to complete the class.
I use group activities, so that students may share their ideas, give feedback and use critical thinking skills to further reinforce the content.
Student Evaluation
The final grade is determined by:
Daily assignments 20 percent Homework 10 percent (paper from concerts) Sight-Singing 10 percent Dictation 10 percent Listening 10 percent Unit tests/quizzes 20 percent Compositions 20 percent
Teacher Resources
Kostka, Stephan, and Dorothy Payne. 2004. Tonal Harmony with an Introduction to Twentieth-Century Music. New York: McGraw-Hill.
Ottman, Robert. 1998. Elementary Harmony: Theory and Practice, 5th ed. Upper Saddle River, N.J.: Prentice Hall.
Ottman, Robert. 2001 Music for Sight Singing, 5th ed. Upper Saddle River, N.J.: Prentice Hall.