Expanded Course Objectives
1. Identify and notate pitch in four clefs: treble, bass, alto, and tenor.
2. Notate, hear, and identify simple and compound meters.
3. Notate and identify all major and minor key signatures.
4. Notate, hear, and identify the following scales: chromatic, major, and the three minor forms.
5. Name and recognize scale degree terms, for example: tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic, leading tone.
6. Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian.
7. Notate, hear, and identify whole-tone and pentatonic scales.
8. Notate, hear, and identify all major, minor, diminished, and augmented intervals inclusive of an octave.
9. Transpose a melodic line to or from concert pitch for any common band or orchestral instrument.
10. Notate, hear, and identify triads, including inversions.
11. Notate, hear, and identify authentic, plagal, half, and deceptive cadences in major and minor keys.
12. Detect pitch and rhythm errors in written music from given aural excerpts.
13. Notate a melody from dictation, 6 to 12 bars, in a major key, mostly diatonic pitches, simple or compound time, three to four repetitions.
14. Notate melody from dictation, 6 to 12 bars, in a minor key, chromatic alteration from harmonic/melodic scales, simple or compound time, three to four repetitions.
15. Sight-sing a melody, 4 to 8 bars long, major or minor key, duple or triple meter, simple or compound time, using solfege, numbers, or any comfortable vocal syllable(s).
16. Notate and analyze simple 2-bar counterpoint in sixteenth- and/or eighteenth-century styles.
17. Realize a figured bass according to the rules of eighteenth-century chorale style, major or minor key, using any or all of the following devices: diatonic triads, seventh chords, inversions, nonharmonic tones, and secondary-dominant and dominant seventh chords.
18. Analyze a four-part chorale style piece using Roman and Arabic numerals to represent chords and their inversions.
19. Notate, hear, and identify the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), pedal tone.
20. Notate the soprano and bass pitches and the Roman and Arabic numeral analysis of a harmonic dictation, eighteenth-century chorale style, seventh chords, secondary dominants, 4 to 8 bars in length, major or minor key, three to four repetitions.
21. Compose a melody or expand a motive with or without text, 6 to 12 bars long, given specific directions about key, mode, phrasing, rhythm, and harmonic language. Harmonize a 4- to 12-bar melody by writing a bass line, chords and/or chord symbols, given specific directions about key, mode, phrasing, rhythmic and harmonic language.
22. Define and identify common tempo and expression markings.
23. Identify aurally and/or visually the following: modulation, transposition, melodic and harmonic rhythm, sequence, imitation, ostinato, augmentation, diminution, inversion, retrograde, and fragmentation.
24. Recognize standard musical algorithms, i.e., standard melodic, rhythmic, and harmonic idioms that occur in music.
Student Expectations
1. Students will participate in all classroom discussions and activities.
2. Students will complete all assigned exercises and readings.
3. Students will keep and maintain a Music Theory notebook, which will include class notes, handouts, and assignments.
4. Students will study the released AP Exams and take practice tests to prepare for the exam.
5. Students will listen to approximately two hours of music each week outside of class (2 pieces a day) and maintain a music listening log, which will consist of written analysis/evaluations of each listening selection. These written logs should include observations and evaluations regarding the following items:
a. melodic characteristics (conjunct/disjunct)
b. harmonic characteristics (harmonic idioms present)
c. rhythm (straight/syncopated)
d. texture (homophonic, monophonic, polyphonic, heterophonic)
e. timbre (instrumentation, tone color)
f. dynamics (dynamic contrasts)
g. tempo (tempo changes)
h. meter (duple/triple, simple/compound, regular/irregular)
i. mode (major, minor, modal, atonal)
j. form (binary, ternary, sonata, rondo, etc.)
k. articulation (legato, staccato, etc.)
6. Students will submit one major composition each semester, based on assigned form and content. Other minor compositions will be required to demonstrate understanding and synthesis of concepts presented. These compositions will include:
a. A song in binary form
b. A song in ternary form
c. A song in sonata form
d. A song based on a major mode
e. A song based on a minor mode
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