Fine arts course syllabus
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| FINE ARTS COURSE SYLLABUS
Course Title: Music Theory AP Department: Fine Arts Department Primary Course Materials: The Music Theory Handbook by Marjorie Merryman, Music for Sight Singing by Robert Ottman , Tonal Harmony with an Introduction to Twentieth-Century Music by Stefan Kostka and Dorothy Payne, The Complete Musician by Steven Laitz
Essential Questions: What is the difference between notes in different clefs? What are the differences between the three forms of minor scales? How can all the intervals be identified by ear and sight? What is good voice leading? What are the differences between basic musical forms? What are some methods for successful dictation? Course Objectives: At the end of this course, students should be able to: a. Notate pitch and rhythm in accordance with standard notation practices b. Read melodies in treble, bass, and movable C clefs c. Write, sing, and play major scales and all three forms of minor scales d. Recognize by ear and by sight all intervals within an octave e. Use the basic rules that govern music composition f. Harmonize a melody with appropriate chords using good voice leading g. Analyze the chords of a musical composition by number and letter name h. Transpose a composition from one key to another i. Express musical ideas by composing and arranging j. Understand and recognize basic musical forms: binary, ternary, rondo, etc. k. Write simple rhythmic, melodic, and harmonic dictation
Thinking and Communicating Read information critically to develop understanding of concepts, topics and issues. Write clearly, factually, persuasively and creatively in Standard English. Speak clearly, factually, persuasively and creatively in Standard English. Use computers and other technologies to obtain, organize and communicate information and to solve problems. Conduct research to interpret issues or solve complex problems using a variety of data and information sources. Gain and Apply Knowledge in and across the Disciplines Gain and Apply Knowledge in: Literature and Language Mathematics Science and Technology Social Studies, History and Geography Visual and Performing Arts Health and Physical Education Work and Contribute Demonstrate personal responsibility for planning one’s future academic and career options. Participate in a school or community service activity. Develop informed opinions about current economic, environmental, political and social issues affecting Massachusetts, the United States and the world and understand how citizens can participate in the political and legal system to affect improvements in these areas. Learning Standards from the Massachusetts Curriculum Framework: A chart is attached identifying which of the standards from the Massachusetts Curriculum Frameworks will be assessed in this course. Additional Learning Objectives Beyond the Curriculum Framework: Content Outline: Week 1 Review of basic pitch notation: clefs, ledger lines, grand staff, octave designation, half and whole steps, intervals, chromatic alterations, enharmonic equivalents, accidentals [SC1] Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 1 Melodic dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using scale degrees 1-6 [SC15 & SC16] Resources: Music for Sight Singing, Part 1 Harmonic Dictation: bass voice Week 2 Review of meter and rhythm: the proportional system, beat and tempo, accent, meter and measure, meter signatures, simple meters, compound meters, asymmetric meter, conflict of rhythm and meter, borrowed divisions, syncopation, cross rhythms, hemiola, dots, ties, dynamic and articulation markings Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, conjunct melodies using scale degrees 1-6 Resources: Music for Sight Singing, Part 1 Harmonic Dictation: bass voice Week 3 Review of major scales/circle of fifths/key signatures: the chromatic scale, whole-tone scale, major scale, pentatonic scale, transposition, tonality, key signatures, placement of sharps and flats, outer circle of fifths [SC7] Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 1 Melodic Dictation/Sight-Singing: major key diatonic pitches, conjunct melodies using scale degrees 1-6, add movement from scale degree 7-1 Resources: Music for Sight Singing, Part 1 Harmonic Dictation: bass and soprano voices Week 4 Review of minor scales/circle of fifths/key signatures: the inner circle of fifths, relative major and minor scales, the natural minor scale, the harmonic minor scale, the melodic minor scale, the parallel minor keys [SC7] Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 1 Melodic Dictation/Sight Singing: major key, diatonic pitches, conjunct melodies using scale degrees 1-6, add movement from scale degree 7-1 Resources: Music for Sight Singing, Part 1 Harmonic Dictation: bass and soprano voices Week 5 Review of intervals: numeric values of intervals, quality of intervals (major, minor, diminished, augmented), the intervals of the major scale, alteration of interval quality, enharmonic intervals, inversions of intervals, simple versus compound intervals, diatonic versus chromatic intervals Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips using scale degrees 1, 3, and 5 Resources: Music for Sight Singing, Part 2 & 3 Harmonic Dictation: bass and soprano voices Week 6 Review of triads/seventh chords: building and identifying triads (major triads, minor triads, diminished triads, augmented triads), building and identifying seventh chords (major seventh chords, minor seventh chords, diminished seventh chords, augmented seventh chords) Resources: The Music Theory Handbook, Parts 1 & 3 Tonal Harmony, Chapter 3 The Complete Musician, Part 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips using scale degrees 1, 3, and 5 Resources: Music for Sight Singing, Part 2 & 3 Harmonic Dictation: bass and soprano voices Week 7 Chord inversions: identifying and building triadic inversions (root position, 1st inversion, 2nd inversion), identifying and building inversions of the seventh chord (root position, 1st inversion, 2nd inversion, 3rd inversion) [SC1] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Part 3 The Complete Musician, Part 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with scale degree 1-3-5 skips, add cadential skips from scale degree 5-1 Resources: Music for Sight Singing, Part 2 & 3 Harmonic Dictation: bass and soprano voices Week 8 Chord symbols and figured bass, using traditional 18th century nomenclature to identify and analyze chords, realization of Roman numeral progressions [SC3, SC4 & SC5] Resources: The Music Theory Handbook, Part 1 Tonal Harmony, Chapter 3 The Complete Musician, Part 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with scale degree 1-3-5 skips, add cadential skips from scale degree 5-1 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices Week 9 Diatonic triad functions in major and minor keys, diatonic primary and secondary chords in a major key, diatonic and chromatically altered primary and secondary chords in a minor key (based on form of scale) [SC8] Resources: The Music Theory Handbook, Parts 1 & 3 Tonal Harmony, Chapter 4 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with scale degree 1-3-5 skips, add cadential skips from scale degree 5-1 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices Week 10 Functional tonal principles: tonality, chordal hierarchy, progression versus regression, harmonic motion, harmonic rhythm, variants in a minor key, idiomatic chord substitutions (vii/V, IV/ii) Resources: The Music Theory Handbook, Parts 3 & 4 Tonal Harmony, Chapter 7 The Complete Musician, Part 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 6 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, authentic cadence Week 11 Cadences: authentic and perfect authentic cadence, plagal cadence, half cadence, deceptive cadence [SC13] Resources: The Music Theory Handbook, Parts 3 & 5 Tonal Harmony, Chapter 10 The Complete Musician, Part 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 6 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, authentic and plagal cadences Week 12 Embellishing/nonharmonic tones: passing tone, neighboring tone, changing tone, anticipation, suspension, retardation, simultaneous embellishing tones, pedal point, use of nonharmonic tones in harmonic analysis [SC9] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapters 11 & 12 The Complete Musician, Part 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 6 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, authentic/plagal/half/deceptive cadences Week 13 Melodic principles in four-part writing/voicing chords: characteristics of the individual line’s range, tessitura, spacing, movement, and doubling and resolution of tendency tones [SC8] Resources: The Music Theory Handbook, Parts 2 & 3 Tonal Harmony, Chapter 6 The Complete Musician, Part 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 4 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, primary triads (major and minor) Week 14 Principles in chord connection: contrary motion, oblique motion, similar motion, parallel motion [SC8] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 5 The Complete Musician, Part 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 4 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, primary triads (major and minor) Week 15 Connecting root position triads: triads in a fifths relationship, traids in a third relationship, triads in a seconds relationship, realization of figured bass [SC3] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapters 3 & 11 The Complete Musician, Part 1 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips, add skips to scale degree 4 Resources: Music for Sight Singing, Parts 2 & 3 Harmonic Dictation: bass and soprano voices, primary and secondary triads (major and minor) Week 16 Voicing triads in first inversion: frequency, spacing, doubling of first-inversion chords, connecting root position and first-inversion triads, successive first-inversion triad Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 5 The Complete Musician, Part 2 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips to any scale degree Resources: Music for Sight Singing, Chapter 3 Harmonic Dictation: bass and soprano voices, primary and secondary triads (major and minor) Week 17 Part writing using nonchord tones: voicing suspensions and retardations, stylistic use of nonchord tones Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 11 The Complete Musician, Part 3 Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips to any scale degree Resources: Music for Sight Singing, Chapter 3 Harmonic Dictation: bass and soprano voices, primary and secondary triads (major and minor) Week 18 Review for Exam Melodic Dictation/Sight-Singing: Major key, diatonic pitches, melodies with skips to any scale degree Resources: Music for Sight Singing, Chapter 3 Harmonic Dictation: bass and soprano voices, primary and secondary triads (major and minor) MID-YEAR EXAM Week 19 Triads in the second inversion: the cadential six-four chord, the passing six-four chord, the pedal six-four chord, the arpeggiated six-four chord Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 9 The Complete Musician, Part 3 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on natural minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads (major and minor) Week 20 Connecting triads in all positions Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 7-9 The Complete Musician, Part 3 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on natural minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads (major and minor) Week 21 Harmonizing a melody and part writing for SATB voices: writing with inversions, writing with nonchord tones, writing with inner voices [SC2] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 7-9 The Complete Musician, Part 3 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on natural minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads (major and minor) Week 22 Phrase structure, motives, and melodic forms [SC6 & SC13] Resources: The Music Theory Handbook, Part 5 Tonal Harmony, Chapter 10 The Complete Musician, Part 3 & 4 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on harmonic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads, seventh chords Week 23 The dominant-seventh chord: part writing with the V7 chord, part writing with inversions of the V7 chord, proper resolutions of tendency tones in the V7 chord [SC10] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 13 The Complete Musician, Part 2 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on harmonic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads, seventh chords Week 24 The leading-tone seventh cord: part writing with the vii°7 chord, part writing with inversions of the vii°7 chord, proper resolution of tendency tones in the vii°7 chord [SC10] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 14 The Complete Musician, Part 2 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on harmonic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads, seventh chords Week 25 Harmonizing with other seventh chords: common diatonic seventh chords in major keys, common diatonic seventh chords in a minor key (based on scale), voice leading with non-dominant seventh chords, predominant seventh chords, sequences using seventh chords, chain suspensions using seventh chords [SC10] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 15 The Complete Musician, Part 3 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on harmonic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, primary and secondary triads, seventh chords Week 26 Secondary dominant chords: the V/V, V/iii, V/ii, V/vi chords and the V7/V, V7/iii, V7/ii, V7/vi chords [SC11] Resources: Tonal Harmony, Chapter 16 The Complete Musician, Part 5 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on melodic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants Week 27 Secondary leading-tone chords: the vii°/V, vii°/iii, vii°/ii, vii°/vi chords and the vii°7/V, vii°7/iii, vii°7/ii, vii°7/vi chords [SC11] Resources: Tonal Harmony, Chapter 17 The Complete Musician, Part 5 Melodic Dictation/Sight Singing: Major key, chromatic pitches based on melodic minor Resources: Music for Sight Singing, Chapters 3 & 4 Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants Week 28 Identifying secondary dominants in analysis of music, part writing with secondary dominants, voice leading with secondary dominants Resources: Tonal Harmony, Chapter 16 & 17 The Complete Musician, Part 5 Melodic Dictation/Sight Singing: Major key, chromatic pitches out of the key (that is, secondary dominants) Resources: Music for Sight Singing, Chapter 5 Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants Week 29 More harmonization and analysis with use of secondary dominant chords, modulation to closely related keys [SC12] Resources: The Music Theory Handbook, Part 3 Tonal Harmony, Chapter 16 - 18 The Complete Musician, Part 5 Melodic Dictation/Sight Singing: Major key, chromatic pitches out of the key (that is, secondary dominants) Resources: Music for Sight Singing, Chapter 5 Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants Week 30 Small forms: simple binary, rounded binary, ternary form, and theme & variations [SC14] Resources: The Music Theory Handbook, Part 5 Tonal Harmony, Chapter 20 The Complete Musician, Part 7 Melodic Dictation/Sight Singing: Major key, chromatic pitches out of the key (that is, secondary dominants) Resources: Music for Sight Singing, Chapter 5 Harmonic Dictation: outer voices, all triads, seventh chords, secondary dominants Weeks 31-34 Review for AP Music Theory Exam Take practice free-response questions Week 35 Work on final analytical/compositional projects [SC18] Week 36 Present final analytical/compositional projects FINAL EXAM
Learning Standards from the Massachusetts Curriculum Framework:
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