1

Music Theory and AP Music Theory Syllabus CHS Music Department

Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Mr. Patric Buchroeder Email Address: patric.buchroeder@ccsd.us or patric.buchroeder@students.ccsd.us Phone Number: (740) 702-2287 ext. 16313 Online: http://www.ccsd.us/1/Home www.teoria.com http://www.blanksheetmusic.net/ CHS Vision Statement: Our vision is to be a caring learning center respected for its comprehensive excellence. CHS Mission Statement: Our mission is to prepare our students to serve their communities and to commit to life-long learning Course Description: Music Theory - 670 State Course # 120300 Prerequisite: Completion of at least one of the following courses: Concert Band, Freshman Orchestra, Guitar, or Piano Elective Grade: 10-12 Weighted Grade Credit: 1 This course integrates the fundamentals of music, basic theory, listening and appreciation. Students study the integration aspects of melody, harmony, texture, rhythm, form and to some extent, history and style. Students will be taught to read, notate, transcribe, analyze, and compose music. The course is fast-paced, and drill-intensive to facilitate mastery learning of concepts covered so that they may be immediately applied in a performance context. AP Music Theory - AP 671 State Course # 120300 Prerequisite: Passage of the Music Theory Final Exam or completion of Music Theory 670 Elective Grade: 10-12 Weighted Grade Credit: 1

2

This course is a continuation of Music Theory. It is designed to prepare students to develop fluency in musical analysis for their own enjoyment, and success in college. Major topics include: 1. Musical Terminology – pertaining to chordal analysis, rhythm, structure, and performance. 2. Notational Skills – rhythm/meter, clefs/pitches, key signatures/scales, transposition 3. Compositional Skills – SATB, Roman Numerals/figured bass realization 4. Score Analysis – Cadences/phrase structure, tonality/key, motivic development, rhythmic organization, texture 5. Aural Skills – sight-singing, melodic/harmonic/rhythmic dictation, error detection Students must take the AP Music Theory test in the spring to receive the full “5-point” weight. Students who do not take the AP Music Theory test will be graded using the 4.5 weight. Spiral Curriculum The music curriculum is based around Jerome Bruner’s Spiral Curriculum. Under a spiral curriculum, material is presented in increasing levels of refinement, complexity, and understanding. While a large component of Music Theory concepts can be introduced linearly, skills such as sight singing and dictation are introduced early and continuously revisited throughout the course.

Big Ideas comprise the components within each Unit. Students capable of answering the associated Essential Questions will find themselves on the path towards deeper comprehension. Competencies

Score Analysis o Read, write, and speak musical notation and terminology fluently o Construct all major modes, as well as all three versions of minor o Analyze a given piece to determine form, and underlying melodic,

harmonic, and rhythmic structures (including Roman Numeral analysis)

o Demonstrate, through composition, common practice for voice leading and resolution (including figured bass realization

Aural Skills o Recognize chord qualities and inversions for triads and seventh

chords o Recognize cadential periods that mark the ends of phrases o Demonstrate, through transcription, the capacity to analyze and

visualize melodic and harmonic passages o Demonstrate, through sight-singing, audiation of written notation

3

Written Theory Overview 1st Quarter

o Unit I: Music Fundamentals Big Idea #1: Pitch Notation

Essential Question #1: How does the musical alphabet work? Essential Question #2: How do clefs change the letters of the

staff? Big Idea #2: Rhythm Notation

Essential Question #1: What are the different parts of a note? Essential Question #2: How does a given rhythm relate to the

beat? Big Idea #3: Major Keys

Essential Question #1: What is an interval, and how are they differentiated?

Essential Question #2: What are the four rules for spelling a major scale?

Essential Question #3: Are the scales memorized? o Unit II: Introduction to Tonality

Big Idea #1: Intervals Essential Question #1: What are the different chromatic

intervals? Big Idea #2: Chord Qualities

Essential Question #1: What are the different qualities of triads and seventh chords?

Essential Question #2: What intervals contsruct the different chord qualities?

Essential Question #3: Are the diatonic chord qualities for major/minor keys memorized?

Big Idea #3: Modes Essential Question #1: What are the seven different diatonic

modes? Essential Question #2: What are the two methods of

constructing the diatonic modes? Essential Question #3: Are the scales memorized?

2nd Quarter

o Unit III: Counterpoint Big Idea #1: Species Counterpoint

Essential Question #1: What are the differences between the four species of counterpoint?

Essential Question #2: What is a cantus firmus? Big Idea #2: Embellishments

Essential Question #1: What are the different types of non-chord tones?

4

Essential Question #2: How are embellishments used in a composition?

o Unit IV: SATB Composition Big Idea #1: Tonal Areas

Essential Question #1: What are the four tonal areas? Essential Question #2: Which chords are in each tonal area? Essential Question #3: What is the correct sequence of tonal

areas? Big Idea #2: Cadences

Essential Question #1: How are the different cadences identified?

Essential Question #2: What are traits of proper voice leading?

Essential Question #3: What are ways a tonal area can be expanded?

Big Idea #3: Non-Chord Tones Essential Question #1: What are the more advanced types of

non-chord tones? Essential Question #2: How are suspensions chained?

END OF COURSE EXAM 3rd Quarter (AP)

o Unit V: Leading Tone Chords, Phrase Structures & Sequences Big Idea #1: Voice Leading

Essential Question: What are the traits of proper voice leading?

Big Idea #2: Form Analysis Essential Question #1: What is the proper vocabulary and

symbology for identifying musical form? Essential Question #2: What are the basic form types?

Big Idea #3: Sequence Progressions Essential Question #1: What are the different types of

sequence progressions? Essential Question #2: How can sequences be applied to a

composition? o Unit VI: Modulation

Big Idea #1: Secondary Dominants/Leading Tone Chords Essential Question #1: What is a secondary dominant or

leading tone chord? Essential Question #2: What is proper voice leading for a

secondary dominant/leading tone chord? Essential Question #3: Are the secondary dominant/leading

tone chords memorized? Big Idea #2: Pivot Chords

Essential Question #1: What is a pivot chord?

5

Essential Question #2: What is proper voice leading for a secondary dominant/leading tone chord?

Big Idea #3: Closely Related Keys Essential Question #1: What are the closely related keys for

major/minor? Essential Question #2: How are closely related keys used

compositionally? Essential Question #3: Are the closely related keys

memorized? 4th Quarter (AP)

o Unit VII: Compositional Forms Big Idea #1: Strophic, Binary, Ternary

Essential Question #1: What are the traits of strophic, binary, and ternary forms?

Essential Question #2: What is the form diagram for strophic binary, and ternary forms?

Essential Question #3: Can the forms be identified by sight and sound?

Big Idea #2: Sonata Form Essential Question #1: What are the traits of sonata form Essential Question #2: What is the form diagram for sonata

form Essential Question #3: Can sonata form be identified by sight

and sound? Big Idea #3: Vocal and Popular Forms

Essential Question #1: What are the traits of popular song forms?

Essential Question #2: What is the form diagram for popular song forms?

Essential Question #3: Can song forms be identified by sight and sound?

o Unit VIII: Looking Forward Big Idea #1: AP Testing Strategies

Essential Question #1: What is the format of the various portions of the AP Music Theory test?

Essential Question #2: Did I eat a banana as part of a good breakfast?

Essential Question #3: Why was the test that “easy”? Big Idea #1: Neapolitan Sixth Chords

Essential Question #1: What are the traits of a Neapolitan Sixth Chord?

Essential Question #2: What are the circumstances in which a Neapolitan Sixth Chord allowed?

Big Idea #2: Augmented-Sixth Chords

6

Essential Question #1: What are the differences between the three types of Augmented-Sixth Chords?

Essential Question #2: What is proper voice leading for Augmented-Sixth Chords?

Essential Question #3: What makes the German Augmented-Sixth Chord so special?

END OF COURSE EXAM – Successful Completion of the AP Music Theory Test Aural Skills Overview Parallel to the written component will be exercises and drills designed to improve and sharpen skills with internalizing musical concepts. Starting in Week 2, students will be given a set of singing etudes each Friday to prepare for and during the following week. Students will be variously asked to sing, alone and with others. This skill is part of the AP Music Theory test requirement, as administered by the College Board. Thus: Participation in these exercises, on demand, is non-negotiable. Pitch accuracy is valued over tone. You don’t have to be ready for the New York Met; Shower-quality singing is perfectly acceptable! Students will also transcribe melodic, harmonic, and rhythmic excerpts. This transcription is done “live”. Practice the assigned etudes, and sincerely try your best! The effort and focus will prepare you! Your success will be a cumulative result of your effort over a period of time. It is impossible… IMPOSSIBLE! to cram for the dictation portion of class. For illustration, compare your aural skills to preparing for your driver’s license exam. You log many hours over a long period of time, to gradually build your competence and confidence. Even if you could complete all 24 hours of classes, 8 hours of certified driving, and 50 hours of parental driving in a straight shot right before your driver’s test, you would most likely fail, and your skill as a driver would be far less than someone who practiced in increments over a long period of time. It is impossible… IMPOSSIBLE! to cram for the dictation portion of class! Textbook: Clendinning, Jane, and Elizabeth Marvin. 2011. The Musician’s Guide to Theory and Analysis, 2nd ed., & accompanying workbooks. New York, NY.: W.W. Norton & Company. Supplemental Material: Phillips, Joel, Paul Murphy, Elizabeth Marvin, and Jane Clendinning. 2011. The Musician’s Guide to Aural Skills, 2nd ed. New York, NY.: W.W. Norton & Company.

7

Course Materials Black Expo Dry Erase Markers (available at Wal-Mart or Office Max) Pencil 3-ring Binder Staff Paper (available at BBB Music, or print your own at www.blanksheetmusic.net) Notebook Paper Grading:

Unit Exams 50%

Assessments 30%

Homework/Class Work 20% End of Course Exam is 20% of a student’s final grade *

Grading Scale The grading scale for Chillicothe High School can be found in the student handbook. http://www.ccsd.us/1/Content2/studenthandboook Late Work: Late work will be subject to the board-adopted policy on assignments that are turned in late. http://www.ccsd.us/1/Content2/studenthandboook TENTATIVE Music Theory and AP Music Theory Course Schedule This is an overview of what will be covered for this school year. Although, I would like to follow this plan verbatim, the schedule is subject to change (at the teachers’ discretion). * Music skills are additive. Weeks listed indicate when they are added to previous content. 1st Quarter: Week Date Chapter/Topic Reading:

(MGTA) Assignments:

1 8/25 8/26 8/27 8/28

Course Overview Music Alphabet/Piano Staff/Clef/Register Intervals (W, H, m3, M3)

pp. 2 – 9 pp. 9 – 18 pp. 19 – 20 pp. 21 – 32

Syllabus Signed 1.1 1.2, 1.3 1.4, Ch. 1 Review Questions (RQ)

2 8/31 9/1 9/2 9/3 9/4

Simple Meter/Notation Rests/Dots/Syncopation Other Simple Meters Tetrachords/Major Scales Scale Degrees/Solfege

pp. 33 – 36 pp. 39 – 41 pp. 45 – 52 pp. 62 – 63 pp. 64 – 65

2.1 2.2, 2.3 Check Patterns, 2.4 Tetrachords/Major Scales Sheet Major Scale Sheet

3 9/8 9/9

9/10 9/11

Pentachords Key Signature Circle/Kodály Hand Signs Review/ Compound Meter

pp. 54 – 56, 59 pp. 57 – 62 pp. 68 – 72 pp. 72 - 86

2.5 3.2 3.4 (skip part III) 4.1

4 9/14 9/15 9/16 9/17

Compound Counting/Review Review Unit I Singing Test Unit I Written

4.2, 4.3 4.5

8

9/18 Unit I Dictation Test pp. 52 -53, 112 - 118

5 9/21 9/22 9/23 9/24 9/25

Chromatic Scale/Intervals Interval Qualities Interval Inversions Interval Class Review

pp. 118 – 121 pp. 121 – 126 pp. 126 – 135 pp. 143, 148 – 149

6.1 6.2, 6.3 6.4 6.5 6.6, Ch. 6 RQ

6 9/28 9/29 9/30 10/1 10/2

Triads/Triad Qualities Triad Inversions Roman Numerals for Major Review Diatonic Modes

pp. 145 – 148 pp. 144 – 145 pp. 105 – 110 pp. 87 – 95

Triad Qualities Sheet 7.2 7.4, Major Keys Chord Sheet 5.6

7 10/5 10/6 10/7 10/8 10/9

Minor Scales/ Key Signatures Forms of Minor/Scale Degrees Roman Numerals for Minor Review Scale Quiz

pp. 97 – 103 pp. 140 – 142, 145 pp. 150 – 153

5.1 5.2, 5.3 5.4 (Part I Only) Major/Minor Scale Sheets

8 10/12 10/13 10/14 10/15

Figured Bass Notation Review Seventh Chords Seventh Chord Inversions

pp. 155 – 159 pp. 159 – 170

7.5 7.4, Ch. 7 RQ 8.1 8.2, 8.3

9 10/19 10/20 10/21 10/22 10/23

Review Review Unit II Singing Test Unit II Written Test Unit II Dictation Test

pp. 171 – 178

8. 5

2nd Quarter: Week Dates Chapter/Topic Reading:

(MGTA) Assignments:

1 10/26 10/27 10/28 10/29 10/30

First Species Counterpoint

pp. 178 – 186 pp. 187 – 198

9.1 9.2, 9.3 Counterpoint Assignment #1 Counterpoint Assignment #2

2 11/2 11/3 11/4 11/5 11/6

Second Species Counterpoint Fourth Species Counterpoint

pp. 198 – 207 pp. 208 – 209 pp. 212 – 216

10.1, 10.2 10.3 10.4 Counterpoint Assignment #3 Counterpoint Assignment #4

3 11/9 11/10 11/12 11/13

Contrapuntal Motion Openings/Closings 18th Century Counterpoint Embellishments

pp. 216 – 224 pp. 224 – 227 pp. 227 – 232

11.1 11.2 11.3 11.4, 11.6

4 11/16 11/17 11/18 11/19 11/20

Review Review Unit III Singing Test Unit III Written Test Unit III Dictation Test/ SATB

pp. 233 – 241 pp. 241 – 248

12.2, 12.3 (Part I)

5 11/23 11/24

Tonal Areas/Cadences, pt. 1 Resolutions/Harmonization

pp. 249 – 257 12.4, Cadence Sheet 12.5, 12.6, Ch. 12 RQ

6 11/30 12/1 12/2 12/3 12/4

Review V7 Chord Voice Leading Figured Bass/Predominant Area Review Review

pp. 258 – 264 pp. 265 – 271 pp. 271 – 276 pp. 277 - 281

13.1 13.2, 13.4 SATB Assignment #1 SATB Assignment #2

7 12/7 12/8 12/9 12/10 12/11

Cadential 6-4 Pedal 6-4/Arpeggiating 6-4 Passing 6-4/Review Tonic Expansions Cadences, pt. 2

pp. 281 – 285 pp. 285 – 288 pp. 289 – 295 pp. 296 – 303 pp. 304 – 312

14.2 14.3 SATB Assignment #3 SATB Assignment #4 15.1

8 12/14 12/15 12/16 12/17 12/18

Project/Basic Root Progressions Basic Root Progressions Suspensions/Retardations Neighbor & Passing Tones Other Embellishments/Review

pp. 318 – 327 pp. 327 – 333 pp. 333 – 339

First Draft: 12/21; 15.3 (Part 1) 15.4 16.1 (Part II) 16.2 16.4

9

9 12/21 12/22

End Of Course Singing Exam End Of Course Written Exam

Study Composition Final Draft: 1/6

3rd Quarter (AP): Week Dates Chapter/Topic Reading:

(MGTA) Assignments Due:

1 1/6 1/7 1/8

Review Review Review

pp. 340 – 343

2 1/11 1/12 1/13 1/14 1/15

vii˚6 Chords vii˚7 and viiØ7 Chords Review/Voice-Leading Chords Review Review

pp. 343 – 350 pp. 350 – 352 pp. 353 - 362

17.1 17.2 17.3 (Part III) vii Chord Worksheet

3 1/19 1/20 1/21 1/22

Phrase Diagrams/Motives Phrase Structures/Diagramming Review Review

pp. 362 – 378 pp. 380 – 384

Motive Worksheet 18.2 Phrase Analysis Worksheet #1 Phrase Analysis Worksheet #2

4 1/25 1/26 1/27 1/28 1/29

Sequences Descending-Fifth Sequences Descending-Thirds Sequences Descending/Ascending Seconds Review

pp. 384 – 395 pp. 395 – 399 pp. 399 – 404

19.1 19.2 (Part II) Sequence Worksheet #1 Sequence Worksheet #2 Sequence Worksheet #3

5 2/1 2/2 2/3 2/4 2/5

Review Review Unit V Singing Test Unit V Written Test Unit V Dictation Test

pp. 405 – 414

6 2/8 2/9 2/10 2/11 2/12

Secondary Dominants, pt. 1 Review Secondary vii˚7 Chords Review/Drill Review/Drill

pp. 405 – 414 pp. 415 – 416 pp. 417 – 420 pp. 421 – 426

20.1 20.2 20.3 20.4 20.5

7 2/16 2/17 2/18 2/19

Secondary Dominants, pt. 2 Secondary Dominant Voicing Secondary Dominant Usage Secondary Dominant Sequences

pp. 426 – 433 pp. 433 – 439 pp. 440 – 441 pp. 444 – 453

21.1 21.3 21.4 21.6

8 2/22 2/23 2/24 2/25 2/26

Modulation by Pivot Chord Closely Related Keys Review/Drill Direct Modulation Review/Drill

pp. 454 – 459 pp. 459 – 466 pp. 63 – 64

22.1 (front) 22.2 22.3

9 2/29 3/1 3/2 3/3 3/4

Major Pentatonic Scales Minor Pentatonic Scales Whole Tone/Octatonic Scales Review/Drill Review/Drill

pp. 103 – 104 pp. 705 - 709

10 3/7 3/8 3/9 3/10 3/11

Review/Drill Review/Drill Unit VI Singing Test Unit VI Written Test Unit VI Dictation Test

pp. 467 – 478

11 3/14 3/15 3/16 3/17 3/18

Binary Form Ternary Form Binary Form in Larger Schemes Theme and Variations Rondo Form

pp. 478 – 481 pp. 481 – 484 pp. 644 – 656 pp. 657 – 663 pp. 664 – 674

Ch. 22 RQ Ch. 31 RQ

4th Quarter (AP): Week Dates Chapter/Topic Reading:

(MGTA) Assignments Due:

1 3/21 3/22 3/23

Sonata Form Romantic Era Sonata Form Sonata-based Forms

pp. 675 – 684 pp. 685 – 689 pp. 552 – 560

2 3/29 3/30

Strophic Form Vocal Forms

pp. 560 – 576 pp. 577 – 586

10

3/31 4/1

Song Forms Mid-Century Developments

pp. 587 – 598

3 4/4 4/5 4/6 4/7 4/8

Unit VII Singing Test Unit VII Written Test Unit VII Dictation Test Review Review

4 4/11 4/12 4/13 4/14 4/15

Practice AP Exam

5 4/18 4/19 4/20 4/21 4/22

Review Review Review Review Review

6 4/25 4/26 4/27 4/28 4/29

Practice AP Exam

7 5/2 5/3 5/4 5/5 5/6

Review Review Review Review Review

8 5/9 5/10 5/11 5/12 5/13

Review Review AP MUSIC THEORY TEST Party!!! Review/Wrap-Up

pp. 529 – 540

9 5/16 5/17 5/18 5/19 5/20

Neapolitan Sixth Chords Augmented-Sixth Chords Review/Drill Review/Drill Review/Drill

pp. 540 – 551

10 5/23 5/24 5/25 5/26 5/27

Unit VIII Singing Test Unit VIII Written Test Unit VIII Dictation Test Listening Day Listening Day

11

CHS Music Theory and AP Music Theory Course Syllabus After you have reviewed the preceding packet of information with your parent(s) or guardian(s), please sign this sheet and return it to me so that I can verify you understand what I expect out of each and every one of my students. Student Name (please print): ______________________________________________ Student Signature: ______________________________________________________ Parent/Guardian Name (please print): _______________________________________ Parent/Guardian Signature: _______________________________________________

Date: ________________________________________________________________