Syllabus for AP Music Theory
Westmoore High School
Anne Dawson, Instructor
AP Music Theory is a college level class that will cover the material found in a college freshman theory course. Students will have the opportunity to take the AP Music Theory exam in early May. Those students who receive a score of 3 or above (on a 5 point scale) will possibly be allowed to test out of freshman theory (some colleges/universities may require a student to take freshman theory even though he/she has received a passing grade on the AP test).
In order to be successful in this class, a student should already have a basic knowledge of fundamentals (i.e. note names, key signatures, scales, note values, rhythmic training, etc.). Extensive ear training, sight singing and analysis will be done, as well as written drills and activities, homework and tests. The text used for this course will be Music in Theory and Practice, by Benward. Additional texts will also be utilized.
Grades will be taken on “in class” assignments and activities as well as homework and tests. Students will also be given daily points for having the necessary supplies with them. Since this is an Advanced Placement level class, good attendance is essential.
Any extra work that a student does will contribute to his/her success in this class. There are quite a few music theory programs available for computer. I will compile a list and give it to those who are interested.
The AP Music Theory test is optional but highly recommended. This will be discussed further as the class goes on.
Required supplies:
3 ring binder
Pencils with erasers
Black ballpoint pen
Straight edge or ruler (driver’s license will work)
Index cards
Index card box
Dry erase markers and one eraser
Notebook Paper
Textbook (may not be written in)
Workbook (may not be written in) – if provided by teacher
AP Music Theory Syllabus
First Semester
1. Notation (Pitch and Rhythm)
a. Exercises to reinforce recognition of basic symbols (note values, rest values, staff, enharmonic notes, clefs, proper manuscript, etc
b. Meter signatures (simple and compound)
2. Scales, Tonality, Key, Modes (Benward Chap. 2)
a. Major scale
1) Scale degree names – tonic, supertonic, median, subdominant, dominant, submediant, and leading tone
b. Natural Minor scale
c. Harmonic Minor scale
d. Melodic minor scale (Ascending and Descending)
1) Church modes
2) Chromatic and whole tone scales
3) Relative/parallel scale relationship
4) Relative major/minor scales and keys
5) Parallel scale relationship
e. Circle of Fifths
3. Intervals (Benward Chap. 3)
a. Basic intervals
b. Diatonic intervals
c. Chromatic intervals
c. Inversion of intervals (sum of 9)
4. Triads (Benward Chap. 4)
a. Root position
b. Major triads
c. Minor triads
d. Augmented triads
e. Diminished triads
f. Inversion of triads
g. Figured bass symbols
h. Roman numeral analysis
5. Seventh chords (Benward Chap. 11, 12, 13)
a. Dominant seventh chord
b. Leading tone seventh chord
c. Nondominant seventh chord
6. Cadences (Benward chap. 5)
a. Perfect Authentic and Imperfect Authentic cadences
b. Half cadence
c. Plagal cadence
d. Deceptive cadence
7. Nonharmonic tones (Benward chap. 5)
a. Passing tones and neighboring tones
b. Escape tones and anticipations
c. Suspensions
9-8
7-6
4-3
2-3
d. Retardation (resolution upward)
e. Accented vs. unaccented nh tones
f. Nonharmonic tones involving more than 3 pitches
a. Successive passing tones
b. Changing tones
c. Pedal tone
8. Melodic organization (Benward Chap. 6)
a. Motive
Melodic
Rhythmic
b. Sequence
Real
Tonal
Modified
c. Phrase member
d. Period
Parallel
Contrasting
Three-Phrase
Double Period
Repeated phrases
e. Phrase extension
9. Texture (Benward Chap. 7)
a. Terms
Texture, density, range, monophonic, polyphonic, homophonic, primary melody, secondary melody
b. Density and range
c. Monophonic, polyphonic, homophonic, heterophonic texture
d. Primary melody
e. Secondary melody
Second Semester
1. Voice leading, stylistic practices and departures, doubling, parallelism, spacing, 6/4 chords (Benward Chap. 8 and 9)
a. Cantus firmus
b. Counterpoint
i. Developmental devices
c. Motion between voices
ii. Parallel
iii. Contrary
iv. Oblique
v. Similar
f. Voice leading
i. Two-part
1. Restrictions
ii. Four-part
1. Analysis of chorale phrases
2. Stylistic practices
3. First inversion triads
a. Smooth bass lines
b. Melodic motion in repeated chords
4. 6/4 chords
a. Stylistic practices
i. Cadential
ii. Passing bass
iii. Arpeggiated bass
iv. Pedal bass
5. Resolution of Seventh chords
a. Dominant seventh
b. Leading tone seventh
c. Nondominant seventh
6. Unstylistic departures
a. never broken
i. avoid parallel P8ths and parallel P5ths
ii. never double the leading tone
iii. stay in range
iv. avoid A2nds and A4th
b. Sometimes broken
i. avoid crossing voices
ii. proper spacing
iii. overlap of adjacent voices
iv. parallel movement to perfect intervals in outer voices
v. proper resolution of the leading tone when in an outer voice
7. Voice ranges
2. Harmonic Progressions (Benward chap. 10)
a. Chordal relationships
i. Root relationships
b. Chord progressions
i. Circle progression
ii. Ascending 5ths and Descending 4ths
iii. Ascending 2nds
iv. Diminished seven triad
v. Tonic in second inversion
vi. Repeated chords
c. Harmonic rhythm
d. Harmonizing a melody
i. Chorale phrase
ii. Folk and familiar melody
3. Secondary dominants, secondary leading-tone chords (Benward chap. 15)
a. Secondary dominants
i. Characteristics
ii. Part-writing
b. Secondary leading-tone chords
i. Characteristics
ii. Part-writing
4. Form
a. Binary
b. Ternary
c. Rounded Binary
d. Theme and variations
e. Sonata allegro
f. Rondo
Ongoing drills
Melodic dictation
Ear training
Sight singing
Harmonic dictation
Melodic and harmonic analysis
The year will culminate with the AP Music Theory test.
Music Theory Resource websites
