2012 columbia college final notebook

8/10/2019 2012 Columbia College Final Notebook

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ADVANCED PLACEMENT SUMMER INSTITUTE

FOR THE ARTSColumbia College Chicago

Chicago, Illinois

ADVANCED PLACEMENTMUSIC THEORY

Dr. Terry EderPlano Senior High SchoolPlano, Texas

COLUMBIA COLLEGE CHICAGOJULY 16 19, 2012


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ADVANCED PLACEMENT SUMMER INSTITUTE FOR THE ARTS

Columbia College ChicagoJuly 16-19, 2012

AP MUSIC THEORYCOURSE OUTLINE

Monday, July 16

Morning Session

Getting acquaintedDiscussion of teaching situations, schedules, student experience in music, quali-

fying students for AP, placement test, expectations, etc. How music theory fitsinto the high school music curriculum. The AP Music Theory Vertical TeamsGuide.

Where Are We Headed?Overview of AP Music Theory Examination

Developing aural, composition, analytical, and performance skills

Becoming fluent in the vocabulary and symbols used to describe musicalelements and their interaction

Examples of AP Music Theory Exam Activities:o Multiple-Choice questions based on both aural and non-aural

stimulus (45%)o Free-Response questions: Melodic Dictation (two questions); Har-

monic Dictation (two questions); Figured Bass Realization and Ro-man Numeral Harmonization; Melodic Harmonization (45%)

o Sight Singing (two questions) (10%)

How Do We Get There?

Using the Vertical Teams Guide for Music Theory as a Template for Creating

Lessons:

Teach ear-training and aural skills on a regular basis using a systematicand consistent approach.

Relieve students of their fear of singing.

Use music as your main textbook.

Keep written music theory from becoming your bias!

Listen to music constantly in class.


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Use the Vertical Teams Guide for Music Theory and other textbooks astemplates for creating lessons.

A. Creating a Lesson Using the Listening Approach: A Structured Ap-proach to Listening

Sonata in A Major, K. 331 by Mozart

Scarborough Fair/Canticle by Simon & Garfunkel

o The building blocks of melodic and harmonic dictationo Helping students develop the ability to listen perceptively and criti-

cally.o A structured, sequential curriculum utilizing listening lessons and

writing activities.o Instructional activities rather than evaluative ones.o Sensitizing students to musical ideas and elements that will be

heard before the first listening.o Training the ear to hear and articulate the elements of music.

B. Creating a Lesson Using the Visual Approach

Natures Way by Charles Ives (VTGpp. 17-18)

o Impressions of music through simple visual observationo Prescribing and structuring the visual observationo Predicting how the visual representation might sound

o Allow observations to exist at the level of knowledge that the stu-dents possesso Utilizing different genres of music and a variety of written scoreso Providing a basis for the skills of music analysis, both non-aural

and aural

Solfege Warm-Up and Foundations: Aural SkillsA Major Key To Success

Solfge systemspro and con

Warm-Up drills

Call and Response singing Rhythm Reading

Vocal Connectionsputting things on automatic

Reading melodiesThe Sight-Singer

Analyzing and practicing melodies

Sight-Singing melodies from the AP exams


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Activities: Singing, Reading, Structured Improvisation, and Analysis usingAmerica (VTGpp. 36-37). Using these activities as a template for othersongs.

Introduction to the Matrix

Matrix 1

Afternoon Session

Teaching Music Fundamentalsintegrating the fundamentals of ear-trainingand dictation with written theorydeveloping music literacy.

1. Theory and LanguageTeaching fundamentals is like teaching the al-phabet, word spellings, meanings and pronunciations, but this can be-come tedious and frustrating. Because context is lacking, this area canbecome tedious and frustrating. Tap into that which they already knowand emphasize the need to associate it with written music. Studentscome with a tremendous amount of stored aural knowledge and havemuch reading readiness for the study of music theory. It is our job toteach them to become thinking musicians.

2. Learning StylesRote learning is an effective and necessary tool, but itshould definitely be integrated with other approaches as well:

a. Oral quizzesb. Score analysisc. Error detectiond. Aural associatione. Association with common songs

3. Notation Get students physically involved in notation by putting music in

front of them as often as possible.

a. The aspects of sound: pitch, amplitude, timbre, envelope (articula-tion) and duration.

b. Aspects of notation as they relate to aspects of sound.

c. Representation of pitch and the musical alphabet.


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A. Building and Recognizing TriadsTypical standard triads thatwe know are always stacked in thirds.

a. Using thirds and fifths to construct triads

1. Build the snowmanthe given note cannot change.2. Identify the lower third.3. Identify the upper third.4. Identify the fifth.5. Identify the chord with a letter (the bottom note of the

snowman and add the quality.

b. Visual and aural recognition of the chords

c. Inversion of Triads

1. Inversion symbols2. Figured bass symbols3. Building chords from Figured Bass or Inversion symbols.4. Identifying chords using proper terminology.5. Aural recognition of root vs. inverted position6. Score studymelodic implications: Hymn: O Word of

God Incarnate arr. by Felix Mendelssohn.

Point of Discussion:It is important that the teacher familiarize students with thevarious ways of labeling chords by interchanging like terminology. Is it a C 6-4, aC major in second inversion, a C major with the fifth in the bass, a G with a 6thand 4th above, etc.? It is, of course, all of the above and only experience will al-low the student the ability to judge the label best suited for the context.

B. Building and Recognizing Seventh Chords

a. Given the types of triads and types of sevenths there are six-teen possibilities of seventh chords. Only five are used in thecommon-practice style.

Five Basic 7thChords:

1. Major 7th2. Dominant 7th3. minor 7th4. half-diminished 7th5. fully-diminished 7th


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b. Follow similar steps outlined for triads and their inversionsinversion symbols for seventh chords:

6-5, first inversion4-3, second inversion

4-2, third inversion

Application: Create problems that test the student's knowledge of the material.Try to make questions which test more than just a single area of study. An ex-ample of a good problem is: Write an Ab major triad on the staff in alto clef andinclude the note C4. Sing the interval from the lowest note to the highest note.(Answers will vary depending upon voicing and doubling. This is good in that itleads to further discussion.)

Afternoon Session

Ear Training Warm-Up

Rhythm and Meter

1. Definitions - duration, rhythm, meter, pulse, beat, tempo.

2. Durational symbols

3. The derivation of meter from language.

4. Understanding simple and compound meters

5. Reading and writing rhythms, rhythmic groupings and metrical coordina-tion.

6. Oral and aural exercises

7. Rhythmic and metrical study of familiar songs (without the score)

8. Basics of conducting as they relate to rhythm and meter.

9. Score study of rhythm, meter and notation.

10. Composition project (exampleDesperado VTGp. 45-50)

11. Practice and DrillPutting It All TogetherContextual Listening


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Exploration Discovery, Application and Understanding

Prelude (Overture) from Carmenby Georges Bizet (VTGpp. 76-80)

Rhosymedre by Ralph Vaughan Williams (VTGpp. 51-56)

Chords in a Diatonic Context

1. Diatonic triads found in the major key. Include ii7, V7, and vii7.

2. Common diatonic triads in the minor key. i, ii,III, iv, V, VI, vii. Includeseventh chords as above.

3. Discuss scalar variants dependent upon scale form. i.e. III+, v, and VII.


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Wednesday, July 18

Morning Session

Identifying and Teaching Common Patterns In Sight-Singing and MelodicDictation: Changing Sight-Singing to Recognition Singing

1. Sight-Singing Melodies and Melodic Dictation Melodies from AP MusicTheory exams: Statistics Reveal Normal and Predictable Patterns

Keysmajor and minor

Beginning and ending pitches

Beginning melodic patterns

Ending melodic patterns

Common rhythm patterns Intervallic patterns: most common intervals; broken chord patterns;

stepwise motion

Altered pitches

Cadential implications

2. Using Solfge Warm-Up Drills to Aid in Teaching Common Patterns

Putting patterns on automatic

Practice in both simple and compound meters

Fox drill incorporating tonic triad, tendency tones, and common

endings Ascending and descending major and minor thirds

Ascending and descending diatonic intervalsmajor and minorkeys; treble and bass clefs; simple and compound meters

Ascending and descending broken triads

Triads in root position and in inversion

Introduction to Part-Writing

1. The grand staff and vocal ranges

2. Vertical rules: Spacing, voice-crossing, standard doublings in major andminor triads, inversions and standard doubling, similar, contrary andoblique motion, parallelisms.

3. Horizontal rules: general concerns of contour, conjunct vs. disjunct mo-tion, characteristic motion for each of the four parts, implications basedupon bass line or melody line.


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Making the Bass the Base of Harmonic Dictation

1. Learning to listen and identify the bass line in four-part harmony

2. Understanding harmonic progression in music of the common-practicestyle

3. Predicting logical harmonic movement with knowledge of common bassline movement

4. Combining the soprano and bass lines to determine harmonic progression

5. Predicting cadences in common-practice style

Secondary Function: Secondary Dominant and Secondary Leading-ToneChords

Waltz No. 3 by Franz Schubert

Propter Magnam Gloriam from Gloriaby Antonio Vivaldi (VTGpp. 57-61)

a. Altered Chords in Tonal Music

b. Tonicization

c. Recognizing and Spelling Secondary Dominants

d. Resolution of Secondary Dominants

e. Secondary Leading-Tone Chords


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Thursday, July 19

Morning Session

Music Theory and Technology

1. Using the resources of the College Board website

2. Music theory syllabi and placement tests

3. Miscellaneous technology for music theory

Phrases, Cadences and Periodic Structure

1. Comparing phrases and cadences to language structures.

2. Identifying phrases in familiar contexts.

3. Phrases vs. sub-phrases, the importance of tempo and context.

4. Periodic structure and familiar songs.

5. Enlarged, expanded and double periods. Terminology conflicts.

6. The binary nature of periodic structures and stylistic observations withinthe language of the common practice period.

Application: Study and Analyze Polonaise and March from the Notebook forAnna Magdalena Bach (1725)

Strategies for Dealing with the Free Response Questions

1. Melodic Dictation

2. Harmonic Dictation

3. Figured Bass Realization

4. Roman Numerals Realization

5. Melodic Harmonization


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6. Sight-Singing

Afternoon Session

Wrapping Up: Discussion/Question and Answer?

Advanced Placement Program

AP Vertical Team

AP Audit

Curriculum development/textbooks and resources

Taking the AP Music Theory ExaminationTips for Becoming Test Wise

a. Multiple-Choice questions based on aural stimulus test a students listen-ing skill and knowledge about theory largely in the context of examplesfrom actual literature.

b. Multiple-Choice questions not based on aural stimulus emphasize the writ-ten fundamentals of music theoryterminology, notation, harmonic pro-cedures, melodic organization and developmental procedures, rhyth-mic/metric organization, texture, phrase structure, small forms, etc.

Music Theory Trivia and Challenge Board

Evaluations and Farewells


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Plano Senior High SchoolMusic Theory

MUSIC LITERACY AND SKILLS ASSESSMENT

Name__________________________________________________________________

Address_______________________________________________________________

City and Zip___________________________________________________________

Email Address_________________________________________________________

Home Phone___________________________________________________________

What experience do you have in music and music theory? Do you sing?Do you play an instrument? Are you in band, choir, orchestra, or someother ensemble? What kinds of music do you like? What do you want todo with the knowledge gained from this course? List anything that youhave always wanted to know about music or music theory but were afraidto ask.

1


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Part I Written Exercises

1. Give the note name for each of the notes below, including theaccidentals.

2. Write each note in three different locations using the given clef.

2


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3. Give the note names for each melodic line. In this case, the highest

melodic line is the soprano, the next highest is the alto, followed by thetenor, and the bass (the lowest line). Remember that any accidentalsright after the clef (called the key signature) apply to ALL notes with

that pitch.

Sop.__________________________________________________________________

Alto___________________________________________________________________

Ten___________________________________________________________________

Bass__________________________________________________________________

4. Write the name of the rhythmic symbol below each.

3


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5. Provide a meter signature for each of the following rhythms.

6. Place barlines in the following to make each passage match its metersignature

4


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7. Rewrite each of the following examples so that the notes are beamedcorrectly.

8. Show the placement of sharps and flats in a key signature by placingseven sharps in the first measure and seven flats in the secondmeasure.

5


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Do the same for the bass clef.

9. Identify the following MAJOR key signatures.

10. Identify the following MINOR key signatures.

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13. Identify the following chords as shown in the example (includeinversion symbols when appropriate).

AbM

14. Label chords with Roman numerals analysis (include inversion

symbols when appropriate) and identify the ending cadence.

_____ _____ _____ _____ _____

8


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Part II Aural Exercises

Questions 1-5 ask you to identify pitch patterns that you will hearplayed on the piano. Each example will be played twice, with a brief

pause between playings. Listen and identify the pitches that aresounded by circling the correct answer.

1.

2.

3.

4.

5.

Questions 6-15 ask you to identify intervals heard in excerpts fromfamiliar songs. Each excerpt will be played twice, with a brief pausebetween playings. The interval you should identify will be between the

9


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first two notes of each tune. Choose the name of the interval you hearfrom the following:

unisonminor 2nd

major 2nd

minor 3rd

major 3rd

perfect 4th

tritone

perfect 5th

minor 6th

major 6th

minor 7thmajor 7th

perfect octave

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

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Name __________________________________________

AP Music TheoryListening Worksheet

MozartSonata, K. 331 (Beginning of Movement I)

1. First playing:

a. Listen and identify the meter of this sonata.b. There are several different characteristic rhythmic motives that are

used throughout this piece. Can you identify and notate theserhythmic motives?

2. Second playing:

a. Into how many parts does this section of the sonata divide?b. How many measures make up each part?

3. Third playing:

a. Each part consists of how many phrases?b. How many measures are in each phrase?c. Write the rhythm for each phrase.

4. Fourth playing:

a. Does the scale used in this song most resemble major or minor?b. All of the phrases except one begin on the same scale degree.

What is that scale degree?c. On what scale degree does the one different phrase begin?d. Using scale degree numbers or solfege write the pitches of the

main melody of this sonata.

5. Fifth playing:

a. Using lower case letters to designate phrases, describe the form ofthis section of the sonata.

b. Describe the cadences at the end of each phrase.c. In what measures do you hear a phrase extension?d. Can you identify a repeated parallel period?e. Can you identify a sequence in this piece?

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Name __________________________________________

AP Music TheoryScarborough Fair/Canticle Simon and Garfunkel

Listening Worksheet

1. First playing:

a. Listen and identify the meter of this song.b. There are several different one measure rhythmic motives that are

used throughout the song. Can you identify and notate theserhythmic motives?

2. Second playing:

a. How many verses are contained in the song?b. How many measures make up each verse?

3. Third playing:

a. Each verse consists of how many phrases?b. How many measures are in each phrase?c. Write the rhythm for each phrase.

4. Fourth playing:

a. Does the scale used in this song most resemble major or minor?b. The verses each begin on what scale degree?c. There is an altered pitch in this scale. What scale degree is it?d. Using scale degree numbers write the pitches of the main melody

of this song.

5. Fifth playing:

a. How many measures make up the introduction to the first verse?b. The instrumental ending of the song is how many measures long?c. How are the verses varied for contrast?d. Describe the interaction of the music elements that you have heard

in this song and any other information you have perceived as aresult of this structured listening.

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W. A. Mozart

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Introduction to the MatrixSolfege Canons

1. F F

M M

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Introduction to the Matrix

Warm-Up Dril l

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Matrix1

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Matrix2

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La

La

La

La

La

Sol

Sol

Sol

Sol

Sol

--

Sol

Sol

Sol

So

l

--

Fa

Fa

Fa

Fa

Fa

Fa

Mi

Mi

Mi

Mi

Mi

M

i

--

Re

Re

Re

--

Re

Re

Do

Do

Do

Do

Do

Do

Do

Do

Do

--

Ti

Ti

Ti

--

Ti

La

La

La

La

La

Sol

Sol

Sol

Sol

Sol

--

Sol

Sol

Sol

So

l

--

Fa

Fa

Fa

Fa

Fa

Fa

Mi

Mi

Mi

Mi

Mi

M

i

--

Re

Re

Re

--

Re

Re

Do

Do

Do

Do

Do

Do

Do

Do

Do

--

Ti

Ti

Ti

--

Ti

La

La

La

La

La

Sol

Sol

Sol

Sol

Sol

--

Sol

Sol

Sol

So

l

--

Fa

Fa

Fa

Fa

Fa

Fa

Mi

Mi

Mi

Mi

Mi

M

i

--

Re

Re

Re

--

Re

Re

Do

Do

Do

Do

Do

Do

Do

Do

Do

--

30


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51/21832


52/21833


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Scale PatternsMemory Chart

Major Scale: W W H [ W ] W W H ( steps between 3-4; 7-8)

Natural Minor Scale: W H W W H W [ W ] ( steps between 2-3; 5-6)

Harmonic Minor Scale: W H W W H A2ndH (Raised 7thscale degree)

Melodic Minor Scale: W H W W W W H (Raised 6thand 7thscale degrees)

(descending form of melodic minor is like natural minor)

Major scale pattern is like CC on the white keys of the piano.

Natural minor scale pattern is like AA on the white keys of the piano.

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RhosymedrePhrase 1: 1stHalf

_____ _____ _____ _____ _____ _____ _____

1 2 3 4 5 6 7

mi mi mi mi --

re re

do do do do do --

ti

la

sol sol sol sol sol --

mi mi mi mi --

re re

do do do do do --

ti

la


mi mi mi mi --

re re

do do do do do --

ti

la


37


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RhosymedrePhrase 1: 2ndHalf

_____ _____ _____ _____ _____ _____ _____

1 2 3 4 5 6 7

mi mi mi mi --

re re

do do do do do --

ti

la


mi mi mi mi --

re re

do do do do do --

ti

la


mi mi mi mi --

re re

do do do do do --

ti

la


38


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= 88

John David Edwards, 1840

Rhosymedre 6.6.6.6.8.8.8.

5

10

15

39


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60/21841


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42


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63/21844


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45


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TriadsMemory Chart

Major Triads Minor Triads Diminished Triad

G C D E A B F

E A B C F G D

C F G A D E B

To make a major triad minor:

Lower the third OR Raise the root and fifth

To make a minor triad major:

Raise the third OR

Lower the root and fifth

To make a diminished triad major:

Raise the third and fifth OR

Lower the root

To make a diminished triad minor:

Raise the fifth OR Lower the root and third

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Plano Senior High School

MUSIC THEORY I

Complete each of the following sections with the correct root, position and type for each

chord.

Section A:

Root Position Type

Chord No. 1: _______ ____________________ ____________________

Chord No. 2: _______ ____________________ ____________________

Chord No. 3: _______ ____________________ ____________________

Chord No. 4: _______ ____________________ ____________________

Chord No. 5: _______ ____________________ ____________________

Chord No. 6: _______ ____________________ ____________________

Chord No. 7: _______ ____________________ ____________________

Chord No. 8: _______ ____________________ ____________________

Chord No. 9: _______ ____________________ ____________________

Chord No.10: _______ ____________________ ____________________

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Section B:

Root Position Type

Chord No. 1: _______ ____________________ ____________________

Chord No. 2: _______ ____________________ ____________________

Chord No. 3: _______ ____________________ ____________________

Chord No. 4: _______ ____________________ ____________________

Chord No. 5: _______ ____________________ ____________________

Chord No. 6: _______ ____________________ ____________________

Chord No. 7: _______ ____________________ ____________________

Chord No. 8: _______ ____________________ ____________________

Chord No. 9: _______ ____________________ ____________________

Chord No.10: _______ ____________________ ____________________

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Section C:

Bb:

Root Position Type

Chord No. 1: _______ ____________________ ____________________

Chord No. 2: _______ ____________________ ____________________

Chord No. 3: _______ ____________________ ____________________

Chord No. 4: _______ ____________________ ____________________

Chord No. 5: _______ ____________________ ____________________

Chord No. 6: _______ ____________________ ____________________

Chord No. 7: _______ ____________________ ____________________

Chord No. 8: _______ ____________________ ____________________

Chord No. 9: _______ ____________________ ____________________

NOTE: For extra credit give the Roman numeral under each chord in the example above.

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Seventh Chord InversionsMemorization Chart

Root Position Dominant 7th

1stInversion Dominant 7th(3rdis lowest note)

2ndInversion Dominant 7th(5this lowest note)

3rd Inversion Dominant 7th(7this lowest note)

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CHORD

MATRIX(Ma

jor)

Seventh

2ndInversion

1stInversion

RootPosition

Key:

I

iiorii

iii

IV

V

orV

vi

vii

I

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74/218

CHORD

MATRIX(Ma

jor)

Seventh

D

G

2ndInversion

A

B

C#

D

E

F#

G

A

1stInversion

F#

G

A

B

C#

D

E

F#

RootPosition

D

E

F#

G

A

B

C#

D

Key:Dmajor

I

iiorii

iii

IV

V

orV

vi

vii

I

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CHORD

MATRIX(Minor)

Seventh

D

G

2ndInversion

A

Bb

C(#)

D

E

F

G

A

1stInversion

F

G

A

Bb

C#

D

E

F

RootPosition

D

E

F

G

A

Bb

C#

D

Key:Dminor

i

iiorii

II

IorIII+

iv

V

orV

VI

vii

i

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Simple Meter Rhythm Square

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Compound Meter Rhythm Square

58


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Compound Rhythm Pattern Practice

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

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NAME-----------------

EXAMPLE 6, TRACK 23

Listen to this excerpt from an orchestral work before completing the following exercises.

1. The excerpt is composed using which scale or mode?

(a) major

(b) minor

(c) Dorian

(d) Lydian

2. The bass line (lowest-sounding part) begins on which pitch?

(a) tonic

(b) mediant

(c) subdominant

(d) dominant

3. The bass line ends on which pitch?

(a) tonic

(b) mediant

(c) subdominant

(d) dominant

4.Write the bass line with solfege syllables.

5. Write the bass line with scale-degree numbers.

6. The bass line begins and ends with which of the following tetrachords?

(a) major

(b) mmor

(c) Phrygian

(d) harmonic

7. Notate the rhythm of the bass line in simple-quadruple meter on the staff below.

Write the proper meter signature, group the beats properly by beaming, and include

bar lines.

Chapter4 Minor Keys and the Diatonic Modes 10


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Writing Figured Bass-Rhosymedre

5

9

13

66


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Realizing Figured Bass-Rhosymedre

5

9

13

67


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Figured Bass Exercises

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Plano Senior High SchoolAP MUSIC THEORY

Fall Final ExamFigured Bass Question

Realize the figured bass below in four voices, following traditional eighteenth-centuryvoice-leading procedures. Continue logically from the spacing of the first chord. Do not

add embellishments unless indicated by the figured bass. In the space below each chord,supply the Roman numeral that appropriately indicates harmonic function.

f: _____ _____ _____ _____ _____ _____ _____

_____ _____

_____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____

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AP Music TheoryFigured Bass Exam

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ODE TO THE PERFECT PART-WRITING EXERCISE

One who'd compose four equal voicesAlready knows he has few choices;

If you can hold a noteplease do!

Or move it but a stepor two.

Never jump outside your range

Or by an intervalthat strains;

I'm sure you all avoid as well

Octaves and fifthsin parallel

I won't tell you which note to double,

But if its a seventh,you're in trouble!That holds as well for the leading-tone

Which goes to 1 or 5 alone.

Watch spacingin and between staffs

And don't let voices crosstheir paths.

And, at the risk of sounding like a whiner;

Please sharp that 7when you're in minor!

71
http://cctr.umkc.edu/user/bauera/mt1.html#hold#holdhttp://cctr.umkc.edu/user/bauera/mt1.html#step#stephttp://cctr.umkc.edu/user/bauera/mt1.html#range#rangehttp://cctr.umkc.edu/user/bauera/mt1.html#int#inthttp://cctr.umkc.edu/user/bauera/Guide.html#parhttp://cctr.umkc.edu/user/bauera/mt1.html#db#dbhttp://cctr.umkc.edu/user/bauera/mt1.html#7th#7thhttp://cctr.umkc.edu/user/bauera/mt1.html#lt#lthttp://cctr.umkc.edu/user/bauera/mt1.html#ltr#ltrhttp://cctr.umkc.edu/user/bauera/mt1.html#sp#sphttp://cctr.umkc.edu/user/bauera/mt1.html#range#rangehttp://cctr.umkc.edu/user/bauera/mt1.html#shp#shphttp://cctr.umkc.edu/user/bauera/mt1.html#shp#shphttp://cctr.umkc.edu/user/bauera/mt1.html#range#rangehttp://cctr.umkc.edu/user/bauera/mt1.html#sp#sphttp://cctr.umkc.edu/user/bauera/mt1.html#ltr#ltrhttp://cctr.umkc.edu/user/bauera/mt1.html#lt#lthttp://cctr.umkc.edu/user/bauera/mt1.html#7th#7thhttp://cctr.umkc.edu/user/bauera/mt1.html#db#dbhttp://cctr.umkc.edu/user/bauera/Guide.html#parhttp://cctr.umkc.edu/user/bauera/mt1.html#int#inthttp://cctr.umkc.edu/user/bauera/mt1.html#range#rangehttp://cctr.umkc.edu/user/bauera/mt1.html#step#stephttp://cctr.umkc.edu/user/bauera/mt1.html#hold#hold


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AP Music Theory

MEMORIZATION CHART

Wri ting A Root Positi on Authentic Cadence V I

Step 1: Write the bass notes for Vor V7 Iin the key (this means that the bass linewill move from the dominant scale degree to the tonic scale degreedown a 5th

or up a 4th).

Step 2: Move the Leading Tone (7thscale degree)Tonic.

Step 3: If the chord is a V7, the 7thof the chord resolves down by step.

OR

Step 4: Hold the common tonebetween the VandIchords (that will be the rootof theVchord and the 5thof the Ichord).

Step 5: Move the remaining voice by step or skip to the next closest chord tone (be

careful to watch out for parallel 5ths).

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!"#$ &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

'(")* +$),*- .,/0 +10**(

2' 34+56 7.89:;

5?,)/ 6"


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Name_________________________________


AP MUSIC THEORY

QuizWriting Cadences

G: ____ ____ ____ ____ ____ ____ ____ ____ ____

Eb: ____ ____ ____ ____ ____ ____ ____ ____ ____

F: ____ ____ ____ ____ ____ ____ ____ ____ ____

4

4

U

U

U

?

n

b

b

b

U

U U

?bbb

77


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G: ____ ____ ____ ____ ____ ____ ____ ____ ____

F: ____ ____ ____ ____ ____ ____ ____ ____ ____

G: ____ ____ ____ ____ ____ ____ ____ ____ ____

c

c

U

U

U

?

c

c

U

U

U

?

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Name _____________________________________

Date ____________________

Plano Senior High SchoolAP MUSIC THEORY

Cadence Quiz

Write the Bass and Soprano notes that you hear, then write the Roman numerals below

each chord of the cadence, and finally notate the type of cadence next to the question

number (e.g., PACPerfect Authentic Cadence; IACImperfect Authentic Cadence;PCPlagal Cadence; DCDeceptive Cadence; HCHalf Cadence)

1. 2. 3. 4.

5. 6. 7. 8.

9. 10. 11. 12.

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Harmonic Function in Major Keys

Harmonic Function in Minor Keys

81


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AP MUSIC THEORY

Secondary Dominant Chords

Worksheet

Write the following secondary dominant chords in 4 parts on the staves provided. Below the staff, write

the letter names with accidentals for each of the chords in root position (first write the resolution chord othe lower three blanks to the right; then write the secondary dominant chord on the upper blanks on theleft). Circle the bass note indicated by the Roman numeral. Be sure to write the chord in its proper

position on the staff. If the secondary chord is a seventh chord, resolve the chordal seventh down by step

1. 2. 3. 4.

Key:

Seventh ________ ________ ________ ________

Fifth ________ ________ ________ ________

Third ________ ________ ________ ________

Root ________ / ______ ________ / ______ ________ / ______ ________ / ______Fifth Fifth Fifth Fifth

______ ______ ______ ______Third Third Third Third

______ ______ ______ ______

Root Root Root Root

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5. 6. 7. 8.

Key:

Seventh ________ ________ ________ ________

Fifth ________ ________ ________ ________

Third ________ ________ ________ ________

Root ________ / ______ ________ / ______ ________ / ______ ________ / ______Fifth Fifth Fifth Fifth

______ ______ ______ ______

Third Third Third Third

______ ______ ______ ______

Root Root Root Root

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Name__________________________________________

PlanoSeniorHighSchool

APMUSICTHEORY

FiguredBass/SecondaryDominantTest

K

2

6

6

5

6

6

6

5

f:

_____

_____

_____

_____

_____

_____

_____

_____

_____

_____

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AP MUSIC THEORYFigured Bass QuizNovember 20, 2008

1.

6

6

6

6

4

Key: ____ _____ _____ _____ _____ _____ _____ _____ _____

Note Names: _____ _____ _____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____ _____ _____

2.

6

h

4

6

#

6

#

#

Key: ____ _____ _____ _____ _____ _____ _____ _____ _____ _____

Note Names: _____ _____ _____ _____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____ _____ _____ _____

_____ _____ _____ _____ _____ _____ _____ _____ _____ _____

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The second and third chords of each exercise form a cadence. Label each of the five cadences with the proper name

(you may use the abbreviations: PAC; IAC; HC; DC; PC)

1. ______________ 2. ____________ 3. ____________ 4. ______________ 5. ______________

GM: ___ ___ ___ em: ___ ___ ___ CM: ___ ___ ___ EbM: ___ ___ ___ EbM: ___ ___ ___

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AP MUSIC THEORY

Secondary Leading-Tone Chords

Instructions for writing a secondary leading-tone chord: for example--vii

7/V

in G major

1. Spell the letter names of the chord that is to be tonicized (Roman numeral below

the diagonal).

A

F#

D

2. Now think in that key (root of the chord) and find the letter name for the leading

tone.Key of D: D E F# G A B C# D

3. Using that note (the leading-tone) as the root, spell a diminished, half-diminished

seventh, or fully-diminished seventh (Roman numeral above the diagonal).

Bb

G

E

C#

4. Circle the note that is the bass note according to the inversion symbol.

Bb

G

E

C#

Write the following secondary leading-tone chords:

1. Bb: vii6/ii

2. G: vii

/V3. c#: vii

7/VI

4. D: vii/V

5.

a: vii7/VII6. F: vii

7/V

7. f: vii6/V

8. G: vii /ii9.

C: vii7

/IV

10.g: vii /iv

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AP MUSIC THEORY

Secondary Leading Tone Chords

Worksheet

Write the following secondary leading tone chords in 4 parts on the staves provided. Below the staff,

write the letter names with accidentals for each of the chords in root position (first write the resolutionchord [chord below the diagonal] on the three blanks to the right; then write the secondary leading tonechord on the blanks to the left). Circle the bass note indicated by the Roman numeral. Be sure to write

the chord in its proper position on the staff. If the secondary chord is a seventh chord, resolve the chordaseventh down by step.

1. 2. 3. 4.

Key:

Seventh ________ ________ ________ ________

______ ______ ______ ______Fifth Fifth Fifth Fifth

Fifth ________ ________ ________ ________

______ ______ ______ ______

Third Third Third Third

Third ________ ________ ________ ________

______ ______ ______ ______Root Root Root Root

Root ________ ________ ________ ________

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5. 6. 7. 8.

Key:

Seventh ________ ________ ________ ________

______ ______ ______ ______

Fifth Fifth Fifth Fifth

Fifth ________ ________ ________ ________

______ ______ ______ ______Third Third Third Third

Third ________ ________ ________ ________

______ ______ ______ ______Root Root Root Root

Root ________ ________ ________ ________

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from the Notebook for Anna Magdalena Bach (1725)

March

5

10 10

14

18

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1

STRATEGIES FOR DEALING WITH AP MUSIC THEORYFREE RESPONSE QUESTIONS

Compiled by Dr. Terry Eder

Free Response Questions 1 & 2: Melodic Dictation

1. Look at the given key signature, time signature, and first note and be prepared todetermine the mode of the melody. One dictation will be in a major keyone will be in aminor key; one will be in treble clefone will be in bass clef.

2. Be prepared for the melody to be in simple OR compound meter and know what patternsin different meters look like and feel like.

3. Make predictions about what you might expect to hear. The melody will probably end onthe tonic so write this in at the end and try to identify the duration (in 4/4 time the finalnote will probably be a half note; in 6/8 time it will probably be a dotted quarter note).

4. Work to leave your pencil on your desk during the entire first hearing and try to memorizethe melody.

5. On the first hearing try to get the beginning and ending down.6. Try to divide the melody into phrases (usually 2) and listen for contour (ascending and

descending) as well as things that are alike and things that are different.7. Associate the pitches with your system (preferably solfege-movable DO in my opinion)

and determine where the melody moves by step and where there are skips.

8. Try to listen in chunks and relate the notes to each other by interval according to thekey and scale degree relationships.

9. Never give upif you are having trouble, keep scrapping to write the dictation until yourtime runs out!

10. In minordont forget to raise the 7thscale degree to leading tone!

Free Response Questions 3 & 4: Harmonic Dictation

1. Harmonic dictation may seem to be more difficult than melodic dictation but actually it isjust a different set of problems.

2. You are required to notate the soprano and bass voices and under each staff provide theRoman and Arabic numerals that indicate the chords and their inversions.

3. Look at the key and know where the notes for tonic, subdominant, and dominant are

located on the staves. Listen for basic harmonic movement according to the common-practice style.

4. Make predictions about what you will hearif you have expectations, your listening willbe much more effective.

5. Make the bass the base of harmonic dictation. Listen to the bass line FIRST andnotate it. The durations in these questions are always straight quarter notes or halfnotes, so you can probably get the bass line down on the first two hearings. If not, keeplistening until you get it down. This will provide you with a basis for determining theharmonic progression since the bass part helps to define harmony.

6. The last chord will most likely be a I chord, but not always. It could be a vi forming adeceptive cadence or it could end on a Vforming a half cadence. But if you go to the lastnote and enter a Iunder it, most of the time you wont have to change it because it will becorrect when you hear the progression.

7. If you are able to get the bass line down in the first two hearings of the progression,during the third hearing listen to the soprano line and notate it. Be sure that you havedetermined what note the melody begins on and think what that note sounds like in thekey. If possible begin to listen to the quality of the chords alsomost of them willnaturally be major, minor, diminished, or 7

thchords.

8. Listen for any altered tonesit most likely will mean there is a secondary dominant orleading tone chord happening.

9. When you get the bass and soprano notes written down determine which chords mightwork with those notes. Think logically and sensibly.

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3

6. Use basic primary chords: I, IV, V, ii. Dont use iiior III. Stay away from vii.7. Decide which notes of the melody are more important: those that are longer; those that

are on the beat.8. Once you have written the cadences, you are over a third finished.9. Now just connect the dots with standard common-practice progressions. Keep contrary

motion in mind, but use similar and oblique motion as well.10. An accidental may signal a secondary dominant (especially the raised 4

thscale degree).

Sight-Singing: Questions 1 & 2

1. Look at the key signature and check the beginning and ending notes to determinewhether the example is in a major or minor key.

2. One will be in majorthe other will be in minor; one will be in simple meterthe other willbe in compound; one will be in treble clefthe other will be in bass clef.

3. Dont stop once you begin because points are deducted for hesitation.4. Take a fairly slow tempo in order to give yourself plenty of time from one note to the next.5. Write syllables or scale degree numbers on the music, especially Do, Mi, and Sol or 1, 3,

and 5. Sing while you write so that you dont waste any practice time.6. During the 75 secondsPRACTICEand do it OUT LOUD! Pick an appropriate pitch

range for your voice (you do not have the take the pitch that the tape playsbe sure tosing the exercise in the key in which you have practiced it). Most of the time the given

pitch will work for everyone, so be careful about changing the key.7. Sing using the system you know best, but in the end, if you begin to stumble with the

systemjust get it done anyway you cansing LA, LA, LA if you have to in order to keepfrom stopping.

8. Breathe anywhere since phrasing is not graded, but be careful not to make the breath solong that the duration of a note is shortened to the extent that it becomes a differentduration.

9. Hold all notes for their FULL valueand dont forget about the duration of the last note!

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The Rhythm Reader by Audrey Snyder

(Hal Leonard Music Corporation)

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Solfge Warm-Up Drills

1.

D

M

S

M

D

F

M

L

S

T

D

R

D

S

D

2.

D

M

S

M

D

F

M

L

S

T

D

R

D

S

D

3.

D

M S

M D

F M

L S

T D

R D

M S

M D

4.

D

M S

M D

F M

L S

T D

R D

S D

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5.

D

M

R

F

M

S

F

L

S

T

L

D

T

R

D

D

L

T

S

L

F

S

M

F

R

M

D

R

T

D

6.

D

M

R

F

M

S

F

L

S

T

L

D

T

R

D

D

L

T

S

L

F

S

M

F

R

M

D

R

T

D

7.

D

M R

F M

S F

L S

T L

D T

R D

D

L T

S L

F S

M F

R M

D R

T D

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8.

D

M R

F M

S F

L S

T L

D T

R D

D

L T

S L

F S

M F

R M

D R

T D

9.

D

R

D

M

D

F

D

S

D

L

D

T

D

D

S

D

D

T

D

L

D

S

D

F

D

M

D

R

D

D

S

D

10.

D

R

D

M

D

F

D

S

D

L

S

T

S

D

S

D

D

T

D

L

D

S

D

F

D

M

D

R

D

D

S

D

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11.

D

R

D

M

D

F

D

S

D

L

D

T

D

D

S

D

D

T

D

L

D

S

D

F

D

M

D

R

D

D

S

D

12.

D

R

D

M

D

F

D

S

D

L

S

T

S

D

S

D

D

T

D

L

D

S

D

F

D

M

D

R

D

D

S

D

13.

D R

D M

D F

D S

D L

D T

D D

S D

D

T

D L

D S

D F

D M

D R

D D

S D

112


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14.

D R

D M

D F

D S

D L

S T

S D

S D

D

T

D L

D S

D F

D M

D R

D D

S D

15.

D R

D M

D F

D S

D L

S T

S D

S D

D

T

D L

D S

D F

D M

D R

D D

S D

16.

D R

D M

D F

D S

D L

S T

S D

S D

D

T

D L

D S

D F

D M

D R

D D

S D

113


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134/218

20.

D

M

S

M

D

F

L

F

S

T

R

T

D

S

M

D

L

D

L

M

F

L

F

R

S

T

R

T

D

M

D

115


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116


136/218

Sight-Singing Melodies from AP Exams

1.1

1.2

2.1

2.2

117


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3.1

3.2

4.1

4.2

5.1

118


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5.2

6.1

6.2

7.1

119


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7.2

8.1

8.2

9.1

9.2

120


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10.1

10.2

11.1

Moderato

11.2

Moderato

121


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Ending Melodic Patterns

1.

2.

3.

4.

5.

6

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

122


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Practicing Common Melodic Patterns

Ascending Major 3rds/Descending minor 3rds in Simple Meter

1

D

3

M

4

F

6

L

5

S

7

T

1

D

1

D

6

L

5

S

3

M

4

F

2

R

1

D

Ascending Major 3rds/Descending minor 3rds in Compound Meter

D

1

M

3

D

1

F

4

L

6

F

4

S

5

T

7

S

5

D

1

D

1

L

6

D

1

S

5

M

3

S

5

F

4

R

2

T

7

D

1

Perfect 4ths: These exercises show how practice can shift easily from simple to

compound meter and from major to minor keys (of course when using scale degree

numbers the system does not allow for mode change and students must know the pattern

of whole steps and half steps in the different modes).

1

D

4

F

2

R

5

S

3

M

6

L

5

S

1

D

5

S

6

L

3

M

4

F

2

R

1

D

1

D

F

4

R

2

S

5

Me

3

Le

6

S

5

D

1

S

5

Le

6

Me

3

F

4

R

2

D

1

Perfect 5ths: The following exercise focuses on practicing perfect 5ths both ascending

and descending and, by filling in the 3rd

, it also helps to practice triads in a major key (the

diminished triad Ti-Re-Fais included as well and of course has the only 5th

that is not

perfect).

123


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D

1

M

3

S

5

D

1

S

5

R

2

F

4

L

6

R

2

L

6

M

3

S

5

T

7

M

3

T

7

F

4

L

6

D

1

F

4

D

1

S

5

T

7

R

2

S

5

R

2

L

6

D

1

M

3

L

6

M

3

T

7

R

2

F

4

T

7

T

7

D

1

F

4

R

2

T

7

F

4

T

7

M

3

D

1

L

6

M

3

L

6

R

2

T

7

S

5

R

2

S

5

D

1

L

6

F

4

D

1

F

4

T

7

S

5

M

3

T

7

M

3

L

6

F

4

R

2

L

6

R

2

S

5

M

3

D

1

S

5

S

5

D

1

Minor 6ths

Most common minor 6thSol (5) down to Ti (7) (especially at melodic cadences where

Tiresolves to Do):

5

S

1

D

7

T

1

D

5

S

7

T

1

D

5

S

1

D

7

T

1

D

5

S

7

T

1

D

Other minor 6ths:

Dodown to Mi(in major)

1

D

5

S

3

M

5

S

3

M

1

D

3

M

1

D

5

S M

3

5

S

3

M

1

D

3

M

124


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145/218

Melodic Dictation Melodies from AP Exams

1.1

Andantino

1.2

Larghetto

2.1

Andantino

2.2

Moderato

126


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3.1

Andantino

3.2

Andantino

4.1

Andantino

4.2

Andantino

5.1

Andantino

127


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5.2

Largo

6.1

Andante

6.2

Andante grazioso

7.1

Moderato

7.2

Moderato

128


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8.1

Moderato

8.2

Moderato

9.1

Moderato

9.2

Moderato

10.1

Moderato

10.2

Moderato

129


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11.1

Moderato

11.2

Moderato

12.1

Andante

12.2

Moderato

130


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Dictation Worksheet

1 R R R R R R R 2 R R R R R R R 3 R R R R R R R

D D D D D D D D D D D D D D D D D D D D D

4 R R R R R R R 5 R R R R R R R 6 R R R R R R R


T T T T T T T T T T T T T T T T T T T T T

7 M M M M M M M 8 M M M M M M M 9 M M M M M M M

R R R R R R R R R R R R R R R R R R R R R



10 M M M M M M M 11 M M M M M M M 12 M M M M M M M




L L L L L L L L L L L L L L L L L L L L L

13 F F F F F F F 14 F F F F F F F 15 F F F F F F F

M M M M M M M M M M M M M M M M M M M M M





16 S S S S S S S 17 S S S S S S S 18 S S S S S S S

F F F F F F F F F F F F F F F F F F F F F






19 L L L L L L L 20 L L L L L L L 21 L L L L L L L

S S S S S S S S S S S S S S S S S S S S S





T T T T T T T T T T T T T T T T T T T T TL L L L L L L L L L L L L L L L L L L L L

22 D D D D D D D 23 D D D D D D D 24 D D D D D D D



S S S S S S S S S S S S S S S S S S S S S





131


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Vocal Connections by Ruth Whitlock

(Southern Music Company, San Antonio, Texas)

132


152/218

133


153/218

134


154/218135


155/218

136


156/218137


157/218

138


158/218

139


159/218140


160/218

The Sight-Singer (Volume II) by Audrey Snyder

CPP/Belwin, Inc., 1994

141


161/218142


162/218143


163/218144


164/218145


165/218146


166/218

The Musician's Guide to Aural Skills, Volume 1

by Joel Phillips, Jane Piper Clendinning and Elizabeth West Marvin

W. W. Norton & Company, Inc., 2005

147


167/218148


168/218

The Folk Song Sight Singing Series, Book IV

(Oxford University Press)

149


169/218

Shopping List of Matrix Activities

1. Call and Response singing

2. Creation of characteristic lines for four part writing

3. Dictation of bass and soprano lines

4. Roman numeral analysis

5. Sing and/or play in any key

6. Transfer to notation in any key

7.

Discuss similar, contrary, and oblique motion between bassand soprano lines

8.

Discuss resolution of tendency tones and the addition ofnon-chord tones

9.

Define cadences

10.Learn to recognize secondary function chords and theircharacteristic resolutions

11.

Improvisation

150


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2008 Question 3

1 2 3 4 5 6 7 8 9

do do do do do ti ti ti

la la

sol sol sol sol sol sol sol

fa fami mi mi mi mi

re re re re


la la


fa fami mi mi mi mi

re re re re


la la


fa fami mi mi mi mi

___ ___ ___ ___ ___ ___ ___ ___ ___

151


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2008 Question 4

1 2 3 4 5 6 7 8 9

do do do do do do do

ti tite

le le sol sol sol sol sol sol sol

fa fa mi

me me me me re re re

do do do do do do do ti ti

te


fa fa mi


do do do do do do do ti ti

te


fa fa mi



___ ___ ___ ___ ___ ___ ___ ___ ___

152


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2008 Question 5

1 2 3 4 5 6 7

le le

sol sol sol sol sol

fa fa fa

me me me

re re

do do do do do

ti ti

le le

sol sol sol sol sol

fa fa fa

me me me

re re

do do do do do

ti ti

le le

sol sol sol sol sol

fa fa fa

me me me

re re

do do do do do

_____ _____ _____ _____ _____ _____ _____

153


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2008 Question 6

1 2 3 4 5 6 7 8

sol sol sol sol ---

fa fa fa

mi mi mi mi mi

re re re

do do do do ---

ti ti

la lasi

sol sol sol sol ---

fa fa fa

mi mi mi mi mi

re re re

do do do do ---

ti ti

la la

si

sol sol sol sol ---

fa fa fa

mi mi mi mi mi

re re re

do do do do ---

ti ti

____ ____ ____ ____ ____ ____ ____ ____

154


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Solfge Matrix Major7 Chords

_____ _____ _____ _____ _____ _____ _____

1 2 3 4 5 6 7

la la la la la la la


fa fa fa fa fa fa fa

mi mi mi mi mi mi mi

re re re re re re re


ti ti ti ti ti ti ti






do do do do do do doti ti ti ti ti ti ti







155


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Solfge Matrix Minor8 Chords

____ ____ ____ ____ ____ ____ ____

1 2 3 4 5 6 7 8

le le le le le le le le

sol sol sol sol sol sol sol sol

fa fa fa fa fa fa fa fa

me me me me me me me me

re re re re re re re re

do do do do do do do do

ti ti ti ti ti ti ti ti







ti ti ti ti ti ti ti ti







156


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Solfge Matrix Major9 Chords

1 2 3 4 5 6 7 8 9

la la la la la la la la la

sol sol sol sol sol sol sol sol sol

fa fa fa fa fa fa fa fa fa

mi mi mi mi mi mi mi mi mi

re re re re re re re re re

do do do do do do do do do

ti ti ti ti ti ti ti ti ti







ti ti ti ti ti ti ti ti ti







___ ___ ___ ___ ___ ___ ___ ___ ___

157


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Harmonic Dictation Bass Lines

1. Bb major

2. d minor

3. f minor

4. G major

5. D major

6. g minor

7. Eb major

8. e minor

158


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9. a minor

10. Eb major

11. E major

12. b minor

13. E major

14. g minor

15. c minor

16. G major

159


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Bass Line Dictation Worksheet

1

2

3

4

5

160


180/218

6

7

8

9

10

161


181/218

11

12

13

14

15

162


182/218

16

17

18

163


183/218

Bass Line Dictation Worksheet Key

1. 2003 FR Question 3







164


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185/218




166


186/218167


187/218


188/218169


189/218

2011 Question 3

1 2 3 4 5 6 7 8 9


fa fa

me me me me me

re re re


ti ti

le le


fa fa

me me me me me

re re re


ti ti

le le


fa fa

me me me me me

re re re


ti ti

le le


___ ___ ___ ___ ___ ___ ___ ___ ___

170


190/218171


191/218

2011 Question 4

1 2 3 4 5 6 7 8 9


fa fa

mi mi mi mi mi

re re re re

di

do do do do

ti ti ti

la la la


fa fa

mi mi mi mi mi

re re re re

di

do do do do

ti ti ti

la la la


fa fa

mi mi mi mi mi

re re re re

di

do do do do

ti ti ti

___ ___ ___ ___ ___ ___ ___ ___ ___

172


192/218173


193/218

2011 Question 5

_____ _____ _____ _____ _____ _____ _____

1 2 3 4 5 6 7

le le

sol sol sol sol sol

fa fa fa

me me me me

re re re

do do do do do

ti ti

le le

sol sol sol sol sol

fa fa fa

me me me me

re re re

do do do do do

ti ti

le le

sol sol sol sol sol

fa fa fa

me me me me

re re re

do do do do

174


194/218


195/218

2011 Question 6

____ ____ ____ ____ ____ ____ ____ ____

1 2 3 4 5 6 7 8

re re re re

do do do do do do

ti ti

te

la la la

sol sol sol sol sol

fa fa

mi mi mi

re re re re

do do do do do do

ti ti

te

la la la

sol sol sol sol sol

fa fami mi mi

re re re re

do do do do do do

ti ti

te

la la la

sol sol sol sol sol

fa fa

176


196/218177


197/218178


198/218179


199/218180


200/218


201/218


202/218183


203/218

Plano Senior High SchoolAP Music Theory

Examination I

Name_________________________________

1. Write the proper key and Roman numeral designation under each of the following triads. Ineach case assume the majorkey corresponding to the given key signature.

____/____ ____/____ ____/____ ____/____

2. Write the four different types of triads, using Bb as the thirdin each case: (rememberyoucannot change the given note!)

major minor augmented diminished

3. If G is the dominant scale degree in a major key, what key are you in? ________________

4. Major and minor scales that share the same tonic note are called __________________

5 Using Ab as the 6

th

scale degree, complete the remainder of the harmonic minor scale.

1 2 3 4 5 6 7 1

184


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6. The following questions are based on the melody given below.

4

All the pitches of the melody are contained in a:a) major scaleb) harmonic minor scalec) natural minor scaled) melodic minor scale

The key of the melody is __________________

The harmony outlined in measure 5 is:a) ii7b) vii7c) V7d) vi7

The meter is:a) simple dupleb) compound duplec) compound tripled) simple triple

7. The two pitches given are contained in the major scale(s) of:a) Dbb) Abc) Cbd) Eb

185


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8. Notate the indicated melodic intervals above the given notes:

m2

M6

d5

m7

A4

9. Using C# as the fifthof an augmented triad, write the complete triad.

10. Using G# as the thirdof a diminished triad, write the complete triad.

11. Using the give

2012 columbia college final notebook

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