Advanced Placement Music Theory
Attended the first NC Governor's School in Choral Music in 1963.
A 1969 graduate of UNCG in Music Education - in Voice.
In addition to teaching at Weaver, was the head of the Choral Program at Page High School 1972-1998.
Twice named 'Teacher of the Year' for the Greensboro City Schools.
Twice Chair of the Choral Section of North Carolina Music Educators' Association.
Active adjudicator for NCMEA and Choral Clinician.
Advanced Placement Reader in Music Theory since 2006
In 1995, received the Lara Hoggard Award - presented by the North Carolina American Choral Directors' Association for "Distinguished Service in Choral Music in North Carolina."
Choirmaster at St. Francis Episcopal Church.
ADVANCED PLACEMENT MUSIC THEORY
Subject Taught: Music Theory Text Used: Tonal Harmony, 5th Edition – Kostka and Payne NOTE: After the student and his parent(s) have read and signed this document, return one copy to the teacher, who will keep it on file.
Teacher expectations of students: Attend class regularly and participate. Do all assignments and turn them in on time. Above all, THINK! There will be group projects as well as individual presentations.
Student expectations: (What may students hope to gain from this course?) Students will explore the basics of music theory including analysis and composition of music; partwriting using figured bass and chord numerals; and ear training (dictation/singing). This course is the equivalent of College Freshman Theory.
Test Days: at the discretion of the teacher - to be announced in advance.
Types of Tests/ Proper Written Instructions: Most tests will be written. Sample recognition and dictation require aural skills. Sight-singing is also required as 10% of the AP EXAM.
Frequency of Tests: Vary each nine weeks - generally four or five the first nine weeks, with fewer as the year progresses. There will be visual and aural drill daily prior to all testing.
Return Time Required for Grading Tests or Other Materials: Next day, unless there are extenuating circumstances.
Homework and Grading Procedure: Homework and class work are the same. Both are essential! There will be numerous writing assignments. Students are expected to attend one concert (college or professional) each 9 weeks and write a musical evaluation of the performance - due not more than 3 days after the concert. You will also make a formal presentation to the class of a selection which you perform, along with 5 written, analytical questions for the class to answer.
30% Tests 45% Work 30% Tests 40% Work 5% Evaluation 20% Exam 5% Evaluation 25% Exam
Study Time Needed by Students to Accomplish Assigned Tasks/Goals: Approximately 15 minutes per night minimum. Some students may need more time to grasp the subject matter - especially early in the year.
Time available for Conferences/ Tutoring: during lunch – schedule this! ; Thursday after school; other times as needed - as for a time.
Procedure for Make-up Work/Tests: Generally 5 days, as allowed by the school system. Additionally, note that make-up time may be required for excessive absences and/or tardiness.
_______________________ ____ Signature of the Parent Date
Advanced Placement Music Theory Course Outline
Sam Doyle, Instructor
Sight-singing and dictation - melodic and rhythmic - throughout semester
A. Meter Signature
1. simple and compound
2. duple and triple
3. arsis/anacrusis, thesis
A. Circle of Fifths
III Intervals - visual & aural recognition
A. Harmonic, Melodic
B. Number & Color
D. Consonant, Dissonant
IV Overtone/harmonic series
V Triads - visual & aural recognition
B. Inversions- root position
1st and 2nd inversion
VI Melody - analysis and composition
A. Harmonic Structure
B. Motivic Treatment
7. imitation, real and free
C. Phrase and Period
VII Rules for Partwriting - including cadence types and modulation to closely related keys
VIII Realization of Parts- from figured- bass and/or Roman numerals
IX Chords of 6th (first inversion)
X Non-Harmonic Tones
A. Passing Tone
B. Suspensions (Retardation)
D. Upper/lower neighbors (Aux)
E. Escape Tones-
G. Pedal Point
XI 6/4 Chords (second inversion)
XII 7th Chords and inversions
XIII Harmonization of Melody
with appropriate bass line
XIV Sight-singing and dictation (melodic and harmonic) throughout semester. Extensive analysis of Chorales and fragments from larger works - harmonically as well as rhythmic & melodic interaction/treatment
End First Semester
XV Sight-singing throughout semester
Major & minor - treble & bass
Dictation - melodic and harmonic
XVI Secondary Dominant
XVII Dominant 9th Chord
XVIII Fully Diminished 7th Chord vii7
XIX Augmented 6th Chords
D. Doubly Augmented
XX Neapolitan 6th Chord
A. Subject/ counter-subject
C. Procedure vs. form
D Analysis of examples from Well Tempered Clavier, Mozart, and Beethoven
E. Original Composition of fugue from your original melody
E. Sonata Cycle
1. sonata form
3. theme & variations
4. minuet/scherzo & trio
XXIII 20th Century - Brief overview of Structures and Procedures - analysis.
Binary - rounded binary
Cadence - Cadential Extension
Conjunct - disjunct
Diminished - half diminished
Inversion, melodic inversion
Retrograde - retrograde-inversion
Sequence - Sequential repetition
Song Form AABA
Theme - thematic transformation
(from AP Central)
The Course Description includes specific areas of course content to be addressed by the AP Music Theory Exam. In order to experience success, students must develop skills in both the aural and written portions of the exam. They should master the following tasks (organized according to topics in the Course Description), individually and interactively:
III. Compositional Skills:
IV. Score Analysis:
NOTE: Scores for analysis may include two-stave piano scores, single-voice melodies, solo voice with piano accompaniment, and trio or quartet scores written at concert pitch, which may include an alto or tenor clef line.
NOTE: Most examples are drawn from the standard repertoire of Western art music. Each exam will also include some representation of jazz, popular, vernacular, or world music outside of the Western tradition.
Format for the Exam
The multiple-choice questions that are based on aural stimulus test students' listening skills and knowledge about theory, largely in the context of examples from standard repertoire. Some aural stimulus questions might test students' skills in score analysis. The remaining multiple-choice questions generally emphasize score analysis, although musical terminology, notational skills, and basic compositional skills may be tested as well. The written free-response questions cover melodic dictation, harmonic dictation, part-writing from a figured bass, part-writing from Roman numerals, and composition of a bass line. Finally, in the sight-singing portion of the exam, students sing two brief, primarily diatonic melodies of about four to eight bars. For each melody, they have 75 seconds to warm up and practice, then 30 seconds to perform it.