Walton AP Institute

July 11-14, 2011

Advanced Placement Music Theory

Melissa Cox, Department of Music,Emory Universitymcox5@emory.edu

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Table of Contents

Workshop Overview 4-6

General Topics

Content and Coverage 7-8

Important Resources 9

Example Textbook List 10-12

AP Readers’ Favorite Web Sites 13-15

Common Challenges

Tendency Tones: Leading Tones 16-17

Other Tendency Tone Treatment: Resolving Dominant Seventh Chords 17-19

Chord Use 20

Voice Leading Challenges 21

Ascending stepwise bass lines 22-23

Approaching S-B perfect intervals 24

Creative Exercises: Composition 25-30

Creative Exercises: Transcription (Ear Training) 31

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Nuts and Bolts

Cadence Formulas 32-33

Common Melodic Formulas (“Chunks”) 34

Rhythm Patterns (“Chunks”) 35

Easily Confused Progressions: Aural Practice 36

Creating a Keyboard Accompaniment 37-38

Melodic Tags for Interval Identification 39-42

Appendix

2011 AP Exam Free Response Questions 43-51

2006 AP Exam Free Response Questions 52-58

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Walton-APSI 2011 Workshop Overview

GOALS & OBJECTIVES

The overall goal of this workshop is to familiarize participants with the AP Music Theory course and examination, and to share effective pedagogical and classroom strategies for the course, specifically:

To offer an overview of the current content expectations of an AP Music Theory course To gain or deepen familiarity with the current format and grading of the AP Music Theory

examination To examine various course structures, including issues of prerequisites, schedules, pacing, and

the integration of aural and written theory skills To examine and discuss available printed and electronic teaching/learning resources. To share teaching techniques, lesson plans, and other means for more effective

teaching/learning To review specific aspects of music theory covered in the examination, as suggested by the

participants To discuss practical matters relating to starting and sustaining an AP Music Theory class To foster a mutually helpful network of experienced and newer AP Music Theory teachers.

Note: Although we will cover all the topics below, the actual schedule is flexible, depending on the participants’ needs and logistical considerations.

Monday 7/11Morning Session (9:30-12:30)1. Introductions, survey of participants’ workshop goals.2. Workshop overview and review of packets.3. Building an AP* Music Theory Program: rationale and recruitment, accessibility and prerequisites, the one-year vs. the two-year sequence, block vs. daily classes4. Course overview: the College Board, the role of the AP® exam in course planning, "teaching to the exam", and the challenges of an external curriculum5. The AP Course Audit: Preparing a Syllabus6. Scope and Sequence: planning the course7. Introduction to effective teaching demonstration assignment; groups

Afternoon Session (1:30-4:30)1. Written Theory, or “Items without aural stimulus”, from basics to advanced concepts2. Score analysis, from basics to advanced concepts:

a. Single items - basicsb. Analysis from scores

c. Sources for complete scores and excerpts; spiral packetsd. Fundamentals to advanced: writing practice questions

3. Using the Teachers Guide as a benchmark 4. Effective pedagogy for basics 5. The multiple choice non-aural part of the AP exam and its grading

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Tuesday 7/12Morning Session (8-12)1. Sight singing: Basic skills/knowledge needed for competence a. Sight singing methodsb. Integration of sight singing and aural skills c. The 2010 exam and student samples; grading procedures d. Previous exams and reader comments/recommendations2. Melodic dictation: Basic skills/knowledge needed for competence

a. Integration of dictation, sight singing and other aural skillsb. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations

3. Pedagogy: what works for successful AP teachers.4. Composing good practice exercises

Afternoon Session (1-4:30)1. Written skills: Part-writing; basic skills/knowledge needed for competence. a. Chord construction and voice leading review

b. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations

2. Written skills: figured bass realization; basic skills/knowledge needed for competence.a. Review of figuresb. The 2010 exam and student samples; grading procedures c. Previous exams and reader comments/recommendations

3. Pedagogy: methods and strategies for building skills4. Integration of written and aural skills5. Using student composition as a tool; promoting creativity within the common-practice style6. Planning for group teaching demonstrations

Wednesday 7/13Morning Session (8-12)1. Textbooks and other resources

a. Using electronic and online resources effectivelyb. Online resources, including the AP* Music Theory Web sitec. Other technology resources, including CD-ROM programs, theory fundamentals programs, and notation programs

2. Listening and analysisa. Methods and strategies for building skills: using anthologies effectively; incorporating a variety of genres, styles, and periodsb. Sample questions; skills/knowledge needed for competencec. Writing practice questions

2. 10:30-12:00 Computer lab; planning for group presentations

(Wednesday, 6/29)

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Afternoon Session (1-4:30)1. Harmonic dictation: skills/knowledge needed for competence; relationship to melodic harmonization.

a. Review of chord grammarb. Chunks and common gesturesc. The 2011 exam and student samples; grading procedures d. Previous exams and reader comments/recommendations

2. Melody harmonization: skills/knowledge needed for competencea. Review of chord grammar continued

Thursday 7/14Morning Session (8-12)1. Melody Harmonization continues

a. Chunks and melodic fragmentsb. The 2010 exam and student samples; gradingc. Previous exams and reader comments/recommendationsd. More sample questions; knowledge/skills needed for competence

Afternoon Session Session (1-4:30) 1. Overflow: topics not completed above; covering or expansion of topics as requested by participants.2. Effective teaching methods demonstrations by participants3. Distribution of textbooks and other materials.4. Evaluations

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Content and Coverage in AP Music Theory

Note: You and your textbook may choose to organize these topics differently and cover them in a different order. There are many ways of teaching theory that work well, as long as the material below is covered.

Fundamentals 1Written

staff, treble, bass and c clefs, note names, major and minor key signatures, circle of fifths intervals, major and minor scales (diatonic modes) note values, simple meter and metric patterns in simple meter

Aural sight singing and dictation using stepwise and triad outline major and minor melodies sight singing and dictation using simple-meter metric patterns identifying major/minor and simple meter types in music literature

Fundamentals 2Written

triads and inversions, inc. figured bass notation seventh chords and inversions, inc. figured bass notation 6/4 chord use embellishing tones cadences scale degree names and diatonic chord vocabulary compound meters and metric patterns in compound meters

Aural aural recognition of MmAd triads aural recognition of root position or inversion positions; finding the root aural recognition of cadences melodic dictation and sight singing with triadic and seventh chord outlines melodic dictation and sight singing using compound meter metric patterns

Intermediate 1Written

tonic/dominant progressions vii0(7) as a dominant function chord the cadential 6/4 chord voicing and spacing SATB tonic-dominant voice leading melodic structure/establishing a key melodically melody harmonization using V and I and their inversions

Aural harmonic dictation of tonic/dominant progressions sight singing/melodic dictation using longer melodies, tonic/dominant outlines, simple and

compound meter(Continued on next page)

aural analysis of literature excerpts including finding tonic, identifying cadences, simple and compound meters

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melodic/harmonic analysis of literature excerpts

Intermediate 2Written

predominant harmonies (ii and IV) SATB voice leading procedures (I, ii, IV and V(7)) melody harmonization using I, ii, IV, V(7) and vii0(7) and their inversions figured bass realization (SATB) phrase/period structure motive tonal melody composition melodic/harmonic analysis of literature excerpts including phrase structure and motive

identificationAural

harmonic dictation including predominant-dominant-(tonic) progressions sight singing/melodic dictation using longer melodies, expanded chord vocabulary (ii and IV

outlines) aural analysis of literature excerpts including hearing phrase structure

AdvancedWritten

proper use of iii and vi melodic and harmonic sequences V/V and vii0(7)/V secondary chords to areas other than V recognition of simple modulation melody harmonization with all diatonic chords as possibilities advanced SATB figured bass realization – correct chords and voice leading analysis of literature excerpts that include all harmony studied, phrase structure, cadences,

sequences, embellishing tones, and modulation recognition

Aural harmonic dictation including all chords covered melodic and harmonic dictation of sequence patterns sight singing of longer melodies, including chromaticism aural analysis of literature excerpts including motivic structure, phrase structure, cadences,

modulation recognition, etc.

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Important Resources for the AP Music Theory Teacher

Must-haves:

General

1. A quality current music theory textbook, preferably with chapter exercises or a workbook.2. A source of materials for sight singing and dictation. Possibilities include:

the aural skills book that accompanies the textbook an independent aural skills (sight singing/dictation) book an online source teacher-generated materials

3. A source of written and audio musical excerpts for analysis. Possibilities include: the musical examples in the textbook an anthology, either independent or the one that accompanies the textbook an online source teacher-generated materials

From the College Board

4. The AP Music Theory Teacher’s Guide5. The AP Music Theory Course Description6. The 2008 and 2003 Released AP Music Theory Examinations

Helpful and recommended:

7. From the AP Music Theory Home Page>Examination information: free response questions (with audio files, student samples and question evaluations) from 1999-2009.8. The AP Music Theory EDG (Electronic Discussion Group)9. (New) Barron’s AP Music Theory

Example Textbook List for AP Music Theory

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Note to teachers: As the AP Music Theory course includes written theory, score study, and aural skills, the course materials for the class should include either a textbook from each category below, or approved instructor-generated materials that substitute for a textbook for each category.

Written Theory: Harmony and Comprehensive TextsThe textbooks below are normally used for college or university first- and second-year core music theory courses. Unless otherwise indicated, the texts include diatonic and chromatic harmony, part-writing, analysis, and some coverage of tonal forms and twentieth-century repertoire. Books in this classification are appropriate for AP Music Theory courses, though any individual book may not cover all topics taught within a specific university's curriculum or those tested in the AP Music Theory Exam. Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading, 3rd ed. Belmont, CA: Schirmer, 2002. Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Materials of Tonal Music: From the Common Practice Period to the Twentieth Century, 6th ed. Belmont, CA: Thomson-Wadsworth, 2003. Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, 7th ed. New York: McGraw-Hill, 2003 Clendinning, Jane Piper, and Elizabeth West Marvin. The Musician's Guide to Theory and Analysis. New York: W. W. Norton, 2004. Clough, John, and Joyce Conley. Basic Harmonic Progressions: A Self-Instruction Program, 1st ed. New York: W. W. Norton, 1984. Gauldin, Robert. Harmonic Practice in Tonal Music, 2nd ed. New York: W. W. Norton, 2005. Henry, Earl, and Michael Rogers. Tonality and Design in Music Theory, 1st ed. Vols. 1 & 2. Englewood Cliffs, NJ: Prentice Hall, 2005. Kostka, Stefan, and Dorothy Payne. Tonal Harmony, 5th ed. New York: McGraw-Hill, 2003. Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press, 2003. Mayfield, Connie. Theory Essentials: An Integrated Approach to Harmony, Ear Training, and Keyboard Skills. Vols. 1 & 2. Belmont, CA: Schirmer, 2003. Merryman, Marjorie. The Music Theory Handbook, 1st ed. Belmont, CA: Schirmer, 1996. Ottman, Robert W. Elementary Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ: Prentice Hall, 1998. Ottman, Robert W. Advanced Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ: Prentice Hall, 2000. Roig-Francoli, Miguel. Harmony in Context. New York: McGraw-Hill, 2002. Russell, Armand, and Allen Trubitt. The Shaping of Musical Elements, 1st ed. New York: Schirmer, 1992. Spencer, Peter. The Practice of Harmony, 5th ed. Englewood Cliffs, NJ: Prentice Hall, 2003. Steinke, Greg A., and Paul O. Harder. Harmonic Materials in Tonal Music: A Programmed Course, 9th ed. Parts 1 and 2. Boston: Prentice Hall, 2001. Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2008. Turek, Ralph. The Elements of Music: Concepts and Applications, 2nd ed. Vols. 1 & 2. New York: McGraw-Hill, 1995.

Anthologies for Music Analysis and StudyThe anthologies included here are commonly used for music theory and analysis classes at colleges and

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universities. For anthologies, any edition of the texts listed below is acceptable as their content is composed of musical scores, which would remain appropriate for classroom use. Arlin, Mary I. Music Source: A Collection of Excerpts and Complete Movements, 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1997. Benjamin, Thomas E., Michael E. Horvit, and Robert Nelson. Music for Analysis: From the Common Practice Period to the Twentieth Century, 5th ed. New York: Oxford University Press, 2000. Briscoe, James. New Historical Anthology of Music by Women, 2nd ed. Bloomington, IN: Indiana University Press, 2004. Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Belmont, CA: Schirmer, 2003. Clendinning, Jane Piper, and Elizabeth West Marvin. Anthology to Accompany The Musician's Guide to Theory and Analysis. New York: W. W. Norton, 2005. Kostka, Stefan, and Roger Graybill. Anthology of Music for Analysis. Englewood Cliffs, NJ: Prentice-Hall, 2002. Melcher, Robert A., Willard F. Warch, and Paul B. Mast. Music for Study, 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1988. Turek, Ralph. Analytical Anthology of Music, 2nd ed. New York: McGraw-Hill, 1992.

Aural Skills: Sight Singing, Ear Training, Keyboard, and Rhythmic Reading TextsThe textbooks included here are used in college and university aural skills programs and are suitable for use in AP Music Theory curricula. Some texts only include specific skills -- for example, rhythm only or sight-singing only -- and would be used in combination with other materials to cover the sight-singing, melodic and harmonic dictation, and contextual listening (listening to music literature) elements of the AP Music Theory exam. For aural skills, any edition of the texts listed below is acceptable. Benjamin, Thomas E., Michael Horvit, and Robert S. Nelson. Music for Sight Singing, 4th ed. Belmont, CA: Schirmer, 2004. Benward, Bruce, and Maureen A.Carr. Sightsinging Complete, 6th ed. New York: McGraw-Hill, 1998. Benward, Bruce, and J. Timothy Kolosick. Ear Training: A Technique for Listening, 7th ed. New York: McGraw-Hill, 2004. Berkowitz, Sol, Gabriel Fontrier, and Leo Kraft. A New Approach to Sightsinging, 4th ed. New York: W. W. Norton, 1997. Brings, Allen, Charles Burkhart, Roger Kamien, Leo Kraft, and Flora Pershing. A New Approach to Keyboard Harmony, 1st ed. New York: W. W. Norton, 1979. Damschroder, David A. Listen and Sing: Lessons in Ear Training and Sight-singing, 1st ed. Belmont, CA: Schirmer, 1995. Hall, Anne Carothers. Studying Rhythm, 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 2004. Horvit, Michael, Robert Nelson and Timothy Koozin,. Music for Ear Training, 3rd ed. Cengage Learning, 2008.Kazez, Daniel. Rhythmic Reading: Elementary Through Advanced Training, 2nd ed. New York: W. W. Norton, 1997. Karpinski, Gary, and Richard Kram. Sight Singing and Ear Training: Anthology and Sight Singing and Ear Training: Manual with CD ROM. New York: W. W. Norton, 2005. Kraft, Leo. A New Approach to Ear Training: A Programmed Course in Melodic and Harmonic Dictation. 2nd ed. New York: WW Norton, 1999 Krueger, Carol. Progressive Sight Singing, 1st ed. New York: Oxford University Press, 2006.

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Ottman, Robert, and Nancy Rogers. Music for Sightsinging, 7th ed. Englewood Cliffs, NJ: Prentice Hall, 2007. Ottman, Robert. Music for Sightsinging, 6th ed. Englewood Cliffs, NJ: Prentice Hall, 2004. Ottman, Robert, and Paul E. Dworak. Basic Ear Training Skills, 1st ed. Englewood Cliffs, NJ: Prentice Hall, 1991. Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide to Aural Skills. Vols. 1 & 2. New York: W. W. Norton, 2005. Yasui, Byron K., and Allen R. Trubitt. Basic Sight Singing. 1st ed. New York, NY: McGraw-Hill, 1988.

Revised 2011 from the 2008

AP Readers’ Favorite Music Theory Websites!

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General AP Music Theory Examination and Course Information

www.apcentral.collegeboard.com/Access to useful articles, the Course Description, the Teachers’ Guide, sample syllabi, free response questions from previous AP exams, an electronic discussion group for AP Music Theory teachers, and many other resources. Available from the College Board store: released exams, the AP Vertical Teams Guide, and other resources.

Fundamentals to intermediate/advanced topics(For these purposes, fundamentals = note names, key signatures, rhythm values and meter, scales, basic triads and seventh chords; intermediate adds cadences, voice leading, phrase structure, etc.)

www.gmajormusictheory.orgTutorials and exercises (fundamentals, harmonic dictation, contextual listening) with downloadable workbooks, by a long-time AP Music Theory instructor. Very useful!www.musictheory.net Lessons and trainers for introductory theory skills, and a quick source of staff paperwww.good-ear.com Aural exercises identifying intervals, chords, scales, cadences – with a few ads thrown inwww.emusictheory.com/practice/ Drill on a variety of fundamentals. “Chord functions” will provide chord spelling practice, but the IV-V-I that establishes the key practice uses terrible voice leading.www.davesmey.com/index.htmWorksheets and explanatory handouts on basic and intermediate topics, sight singing and dictation exercises www.teoria.com Building and identifying intervals, triads, scales, and modes. A European fixed “do” option is offered in identifications, so if your students use moveable “do” for sight singing, you’ll need to explain the difference.http://www.8notes.com/theory/

Fundamentals to intermediate tutorials

http://www.mibac.com/Pages/Theory/Main_Theory.htmFundamentals to intermediate tutorials

http://www.musicards.net/Flash cards for fundamentals drillshttp://www.childrensmusicworkshop.com/musictheory/index.htmlTrainers for fundamentals drills, plus a staff paper generator. Content is the same as for Ricci Adams’ musictheory.net/ above, plus ads.http://www.musictheoryminute.com/Short spoken explanations of topics from intervals to chords, voice motion types, etc., illustrated with a keyboard.http://www.circle-of-fifths.net

Drills on key signatures and circle of fifths only.http://cnx.org/content/m10865/latest/

Lessons and exercises on circle of fifths and key signatures.http://earplane.com/modules/earplane_main/

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Aural skills; requires registration and Shockwavehttp://neilhawes.com/sstheory/theory.htm

Lesson on very basic topicshttp://www.dolmetsch.com/theoryintro.htm

Quite complete lesson series, fundamentals to intermediatehttp://library.thinkquest.org/15413/theory/theory.htm

Lessons on fundamentalshttp://www.theorylessons.com/modes.html

Modes (including pentatonic scales) from a guitar/bass perspective.http://www.musictheory.org.uk/

Interactive checking of very basic fundamentalshttp://www.wmich.edu/mus-history/TheoryHelp/TheoryHelp.html

Various resources, including downloadable rhythm dictation trainerwww.sfcmtheory.com/analysis_lectures/analysis_lectures.htmNotes and score/audio examples on intermediate topics: motives, phrases, periods, formswww.music.vt.edu/musicdictionary

Vir. Tech. dictionary of terms with audio illustrations; also quizzes, etc.

Teaching Resources Primarily for Instructors

www.musictheoryexamples.com Compilation of score examples listed by topic. Very useful!www.imslp.org/wiki/Main_page

Public domain music scoreshttp://bach.nau.edu/index.html

Integrates music scores with audio and web commentary. Requires Shockwave.http://dme.mozarteum.at/DME/nma/start.php?l

Mozart Ausgabe online as PDF files. Directions in German.http://www.societymusictheory.org/mto/ A web journal of recent research; most is not directly applicable to AP Theory.http://www.philrees.co.uk/links/theory.htm

An annotated listing of theory sites, with links.http://www.musictheoryresources.com/

“First aid” for theory concepts; links to useful sites.http://www.flashmusicgames.com/theory/index.html

Online theory games for simple aural skills.http://www.musicalonline.com/theory.htmUnder “Theory Courses” has links to various college theory course sites.http://www.funtrivia.com/quizzes/music/other_music/music_theory.html

Online theory quizzes and games

Theory/Aural Skills Programs for Purchase

www.macgamut.com (complete aural/written skills, fundamentals to advanced)

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www.ars-nova.com/theory.html (complete aural/written skills, fundamentals to advanced)http://www.sibelius.com/products/auralia/index.html

Auralia (ear training) and Musition (theory)- (complete aural/written skills, fundamentals to advanced)http://www.people.vcu.edu/~bhammel/theory/resources/index.html Links to various sites, including an inexpensive sight singing site. www.rhythmbee.comComputer animations that help in fundamentals; requires subscriptionw ww.music-theory.com

Independent online study of fundamentals

Sites that either have downloads or rate ear training software.

https://www.msu.edu/user/spangle9/etsoftware.htmlhttp://www.harmony-central.com/Software/Windows/ear_training.htmlhttp://www.hitsquad.com/smm/win95/EAR_TRAINING/http://www.educational-software-directory.net/music/ear-traininghttp://kellysmusicandcomputers.com/music_theory_ear_training_software.htmhttp://www.dmoz.org/Computers/Multimedia/Music_and_Audio/Software/Educational/Theory_and_Ear_Training/http://www.webcrawler.com/webcrawler302/ws/results/Web/music+ear+training/1/417/TopNavigation/Relevance/iq=true/zoom=off/_iceUrlFlag=7?_IceUrl=truehttp://www.exefind.com/ear-training-software/http://ear-training.software.informer.com/http://www.filesland.com/software/ear-training.htmlhttp://www.musicalhearing.com/http://www.palatine.ac.uk/directory/index.php/Music/soft/aur/

Common Challenges

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This next section assumes that students have learned the basics of each topic: - keys, intervals, chord construction, voice leading, etc. – but covers some of the most common ways many show that they are still “works in progress” as far as mastery is concerned.

1. Tendency Tones: Awareness and Handling

Leading Tones. The leading tone is the most common tendency tone that students encounter. In any key, be aware of which pitch is the leading tone!

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Pedagogical suggestion: Before students do work in any key, have them identify the leading tone and write it prominently at the top of the page. In minor keys, include the accidental that turns scale degree 7 into the LT. It can be helpful to have them draw an arrow that indicates the direction of resolution.

Other tendency tones: Scale degree 4 and the LT in Dominant Seventh Chords

Resolving Dominant Seventh Chords

Dominant seventh chords have two tendency tones, the leading tone of the key and the chordal seventh of the V7. In this example, the V7 in the key of C contains the leading tone, B, and the chordal seventh (root-third-fifth-seventh) of the V7 chord. Both tendency tones need to resolve correctly, the leading tone stepwise up and the chordal seventh stepwise down (scale degrees 7→8 and 4→3).

Note that if you resolve a root position V7 to I using the usual procedure given above, you will end up with a I containing three roots and a third and no fifth. This nonstandard doubling is correct in this context.

Identify and resolve the two tendency tones in a V7 correctly, no matter what the chord position is. In these examples F (the chordal seventh) always resolves to E (scale degree 4→3) and B always resolves to C (scale degree 7→8), no matter what the inversion or which voice the tendency tone is in.

NOTE: The resolution of the chordal seventh down stepwise (scale degree 4→3) is non-negotiable; it is heard as an extremely strong tendency tone. This is why a V4/2 chord will always resolve to a I6, as the chordal seventh is in the bass and must go to the third of the tonic chord.

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However an exception may occur in the case of the leading tone in a root position V7; if the LT is in an inner voice (alto or tenor), you may frustrate its upward tendency and have it jump down to scale degree 5, making a complete tonic chord.

Anytime you write a harmonic progression that includes a dominant seventh chord, immediately identify its two tendency tones, mark them with arrows, and resolve them properly before completing the rest of the chord and the progression.

Worksheet

In the exercises below, identify the tendency tones, mark them with arrows, and resolve the dominant seventh chords, using good voice leading procedures.

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All seventh chords, not just V7 chords, have a chordal seventh (root-3rd-5th-7th) which is supposed to resolve downward; the exceptions to this normally come in advanced theory, beyond the scope of the AP course. Students should be aware that any time they see an indication for a seventh chord (ii7, 6/5 as a figured bass symbol, etc.), there is a chordal seventh to resolve properly (= down).

Pedagogocal suggestion: As soon as students encounter any seventh chord, have them identify the tendncy tones and mark them with arrows that indicate the direction of resolution.

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Chord Use.

Common-practice harmony is functional harmony; i.e., chords have functions that lead them to other chords, the whole providing a very potent direction and structure to music. These progressions make up the grammar of this very important musical style. There are other, equally valid grammars in other music styles. A major task of the student is this course to understand the common practice harmonic language and use it competently. Ideally, along with this he/she will develop the ability to discriminate between the harmonic languages of this and other styles.

Instructors and textbooks present harmonic progression in various ways, and most of them are sound. In spite of this, and instructors’ best efforts, chord progression is complicated and students don’t always assimilate the processes in the time we have. The list below represents the most common student misapprehensions, as seen on the AP examination.

Common Errors in Chord Use(To be avoided in figured bass and harmonization exercises)

1. Retrogressive chord movement: V to IV, ii to I, iii to ii, etc.

2. Any use of iii6 and vi6 (unless in a sequence).

3. Most uses of iii (acceptable if followed by vi or by iv in a descending thirds progression)

4. Any second inversion triad unless the student can name the use and knows the proper context.

5. Any cadence ending on a 6/4 chord.

6. V/V followed by I.

7. A diminished triad in root position (except in a sequence).

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Voice Leading ChallengesVoice Leading Checklist

Textbooks have various approaches to teaching common-practice voice leading, and the methods presented in any standard textbook will be sound. The suggestions below are supplementary and are meant to provide students with several strategies for (a) becoming alert to common voice-leading perils, and (b) checking their work.

1. Did I keep a common tone in moving from chord to chord? If not, why not?

2. Did I scan the exercise for good chord spacing?

3. Did I scan each voice for steps and skips? Are there melodic intervals within a voice greater than a 4th? If so, why?

4. Did the bass line move up stepwise anywhere? If so, do the other voicesa. stay on the common tone,b. move in contrary motion, orc. move in parallel sixths or tenths with the bass? (See examples/exercises on p. )

If not, why not?

5. Did I check my soprano and bass for perfect intervals and how they are approached? (See guidelines on p. )

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Ascending stepwise bass lines.

Bass lines that ascend stepwise are extremely common and are also one of the situations that most commonly lead to voice-leading bloopers. The patterns below will also recur in the “chunks” section later in these pages as part of aural skills development.

Strategies: common tone, contrary motion, parallel 6ths and 10ths.

(Voice exchange: C-D –E in bass, (Note acceptable d5-P5

E-D-C on soprano) between S and A)

A longer stepwise ascending bass line following the procedures described above. Try part-writing this bass line in different ways, for instance with a different initial chord voicing or a different soprano line. If you have to depart from the strategies above, have a good reason!

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Deceptive (V-vi) movement is one of the most common places to find this type of bass motion. Part-write these progressions following the procedures above:

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Approaching Perfect Intervals between Soprano and Bass

Students tend to do their best to avoid parallel perfect intervals, but many are unaware of a refinement of this avoidance, so-called “direct” perfect intervals. These have to do with approaching perfect intervals between soprano and bass only; there is no problem if one voices involved is an inner voice.

Approach P5 and P8 preferably by contrary or oblique motion.

Avoid approaches by parallel or similar motion.

Exception: If the soprano line is moving stepwise.

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Creative Projects to Reinforce Concepts: Composition

Composition assignments can be used as homework or assessments to demonstrate understanding of common practice concepts. Below are some examples, ranging from the very simple to the more sophisticated.

1. Embellishing tones . Rewrite the soprano-bass frameworks below adding consonant skips, passing and neighbor tones to the soprano line.

Label each added tone with its interval number against the bass Indicate whether each added tone is a passing tone (P), neighbor tone (N), or a

consonant skip (CS). Remember that any dissonance (2nd, 4th, 7th) must resolve stepwise to a consonance.

#1 D minor, 4/4 Use note values ranging from quarter to eighth notes.

#2 Eb major, 6/8 Use note values ranging from dotted half to 16 th notes.

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2. Melody composition 1. E minor, 6/8 Do a RN analysis of the progression below and then compose a melody to go with it.

Label each added tone with its interval number against the bass. Remember that any dissonant interval (2nd, 4th, 7th) must resolve stepwise to a consonance.

3. Melody composition 2 . Re-write the composition above, changing the block chord accompaniment to a piano accompaniment: arpeggiations, Alberti bass, oom-pa-pa, etc. (See “Creating a Keyboard Accompaniment” under “Nuts and Bolts”)

4. Melody composition 3 Compose a melody that the class can use for sight singing or dictation practice. Criteria:

Use stepwise motion and outlines of the tonic triad. In 2/4, 3/4 or 4/4, use note values ranging from half to eighth notes In 6/8, 9/8 or 12/8, use note values from dotted half to 16th notes. Compose the melody in two four-measure segments, with the first segment ending on a

pitch that suggests a half cadence and the second segment ending on a pitch that suggests a PAC.

Keep the range within a 12th.

or

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5. Harmonization. Using the chords we have been studying: Provide the Roman numerals that indicate a good harmonization of the melody

below. The harmonic rhythm is one chord per measure, except at the final cadence.

Indicate functional areas (T, PD, D) under the score. Transform your RNs into a piano accompaniment (arpeggiations, Alberti bass,

oom-pa-pa, etc.)

6. Final composition project (large version example)

The project described on the next pagse is designed to assess the knowledge and skills we expect from students at the end of two semesters of college theory, which exceed those covered in most AP Music Theory courses. The requirements can be altered to assess whatever has been covered in a particular AP course, but it is important that the criteria be very specific if the exercise is to be a useful assessment in common-practice theory, as contrasted with free composition.

Final Composition Project

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The assignment is to compose an original piece for piano that demonstrates your understanding of the concepts covered in music theory.

Criteria Any meter or key is fine except for 2/4, 2/8, etc. and C major. The piece will be in ABA form. Section 1 (A) at least 16 measures long*; 8* (HC) + 8* (PAC) in parallel period structure with a

defining motive. Section 2 (B) at least 16 measures long* in a contrasting key (V, IV or relative major or minor)

with a contrasting motive (8* (HC) + 8* (PAC) . Section 3 (A) = Section 1 repeated

* If you use compound meter, the number of measures in the sections and subsections can be halved.

The genre/style will be appropriate to the piano. The primary melody in Section A should be in the right hand, with the left hand providing a

characteristic accompaniment figure: Alberti bass, arpeggiation, broken chord, etc. Section B may offer a textural contrast if desired: melody in left hand, chordal texture, etc.

The piece should exemplify the phrase structure, harmonic progression, functional area expansions, embellishing tone, voice leading and contrapuntal practices of common practice music. In other words, write like Mozart.

Content

The piece will include at least one example in either the A or B section of each of the following:Cadential 6/4 Passing or neighbor 6/4Deceptive motion or cadenceSequenceSecondary dominant or leading tone chord to VSuspension

Extra credit will be given for correct use of any of the following:Sentence structureA secondary dominant or leading tone chord to a key other than VArea expansions with voice exchangeTransformation of motives (inversion, augmentation, diminution)

The piece will be notated in Sibelius; a list of the required components is included in the project schedule below. (Note: this can be done as easily with hand-notated scores; a notation program is not necessary.)

Project schedule (Example drafts will be provided)

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Friday 4/1. Draft 1a due. Sibelius score laid out in piano format with key and meter for both A and B sections; first measure notated and harmonic progression of cadences of both A and B sections notated.

Wednesday 4/6. Draft 1b due (you may either do this on Sibelius or print out Draft 1a and add the information by hand). Provide the Roman numerals that indicate the harmonic progressions in sections A and B.

Friday 4/8. Draft 1c due (you may either do this on Sibelius or print out Draft 1b and add the information by hand). Provide the structural notes in soprano and bass (1:1, 2:1 or 3/4:1) that indicate the basic contrapuntal structure on which you will build the composition.

Wednesday 4/13. Draft 2 due. Complete the A section, print out the draft and label by hand the following:

Phrases with lower case letters (a, b, c, etc.) and phrase arcsSubphrases if applicable with lower case lettersCadencesMotives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or

descriptive names and brackets

Wednesday, 4/20. Draft 2a due. Complete the B section, print out the draft and label by hand the following:

Phrases with lower case letters (a, b, c, etc.) and phrase arcsSubphrases if applicable with lower case letters and subphrase arcsCadencesMotives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or

descriptive names and brackets

At or before your final written theory exam. Finished composition due. This is a clean Sibelius version for performance; it should not include any of the analytical elements from the previous drafts or any handwritten elements, but should include:

Title and composerDynamic markingsTempo indication(s)

In a separate document (template will be provided) indicate in which measure/beats the required components appear.

Criteria Grading Rubric for Composition Project

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All drafts were turned in or checked /2 Clean final copy turned in when due. /5 (As stated before, this is a clean Sibelius version for performance; it should not include any of the analytical elements from the previous drafts or any handwritten elements, but should include:

Title and composerDynamic markingsTempo indication(s)

Sibelius file emailed to instructor /3

General Criteria (18 points)

ABA form /3 Sections required length /3 A section parallel period with proper cadences /3 B section contrasting in motive and key /3 A section repeated (or varied) after B section /3 A section primary melody in RH with piano accompaniment figuration in LH /3 Harmonic progressions congruent with Common Practice /14 Dissonance use, etc. congruent with Common Practice /14 Contrapuntal outline congruent with Common Practice /14

Content (30 points)

Cadential 6/4 (measure # _______________) /5 Passing or neighbor 6/4 (measure # _______________) /5 Deceptive motion or cadence (measure # _______________) /5 Sequence (measure # _______________) /5 Secondary dominant or leading tone chord to V (measure # _______________) /5 Suspension (measure # _______________) /5

Extra credit components (list with measure numbers)

7. Transcription Assignment (Ear Training/Dictation Exercise)

Transcription Assignment Guidelines

This is a combination transcription/composition project. NO outside sources may be used!

1.. Listen on YouTube to the audio file of the song you chose to use.

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2. Count out the number of measures in the excerpt, and lay out a treble/bass staff template to accommodate your transcription. 3. All the chords used in the song are indicated by popular music chord symbol below the title (note

they may repeat in different order!). As you lay out your template, mark the chord changes in the song by writing the popular music chord symbols above the treble clef in the appropriate measures.

4. Write the notes of these chords in the bass clef, using the duration of the harmonic rhythm (how long the same chord/harmony lasts – for example, if the chord lasts an entire measure of 4/4 time, use a whole note). Do not try to notate the actual rhythm of the accompaniment!5. Finally, notate the melody on the treble clef staff. The pitches of these melodies are quite

straightforward, but you may find the syncopated rhythms challenging; do your best to approximate them, but realize that in these popular styles the performed rhythms may vary from the notated versions in any case.

Eleanor Rigby (Lennon/McCartney) 0:00 – 0:45 http://www.youtube.com/watch?v=k9Itt02QOO0C, Em, Em7, Em6, C/E

Begin the Beguine (Cole Porter) 0:06 – 1:00 http://www.youtube.com/watch?v=Ps05TaQuYvcD, D6, DMaj7, A7, G

Hint: the bass line follows a “walking bass” pattern in this performance, which often jumps from the root to the 5th of the chord as it marks the beat.

Fix You (Cold Play) http://www.youtube.com/watch?v=aeEEFKeGcTc 0:22 – 1:40Eb, Gm, Cm7, Bb, Ab, Eb/G

Note: The template (chords along with treble/bass staves) may be used as the basis for a composition exercise also, with the student creating his/her own melody.

Cadence Formulas: Some Useful Chunks

1 Cadence formulas. The ones given below consist of either a dominant* and a resolution, or a pre-dominant, dominant and resolution. These occur often both at cadence points (especially final cadences) and as progressions inside a phrase. The treble staff notes are scale degrees; on

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the bass staff are the bass lines and chord progressions that accompany them. Students can use them either to harmonize cadences or other segments of a given melody (by knowing that scale degrees 3-2-1, for instance, can effectively be harmonized by the options below) or to provide a melody to a bass line segment or chord progression.

Variations: These work in major or minor, and with a V7 chord as well as a plain V. The dominant can be followed by a deceptive resolution (V-vi, but watch out for voice leading problems), and the first two chords in each progression work for a half-cadence. The final chord can be in a first inversion, if the cadence is not the final one.

*As many textbooks do today, I have analyzed the cadential 6/4 as V6/4, making a two-chord group with a dominant function. Others may prefer to analyze the cadential 6/4 as I6/4.

Suggestions for AP use are below.

In the AP class and for the AP exam:

1. Use these chunks for ear training for harmonic dictation; if students can identify the scale degrees in the top voice, they will have a leg up in determining the accompanying progression.

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2. Sing the soprano and bass lines of these progressions using Roman numeral names, scale degree numbers, solfège syllables, and/or pitch names in various keys.

3. In the final harmonization exercise teach students to write the cadences first, then go back and lead into them.

Melodic Formulas: Some Useful Chunks

Most tonal melodies begin with variations on a few formulas that effectively delineate the key. These include:

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1. An outline of the tonic triad, sometimes with skips filled in. The variations on this are almost endless. But here are a few:

2. A lower dominant to tonic skip of a fourth (often followed by one of the patterns above). In this formula, the dominant is an upbeat and the tonic is on the downbeat. The skip can be filled in, but the basic pattern is the same.

3. The “NBC” pattern – up a sixth and down a third, from scale degree 5 up to degree 3 down to degree 1. This opening skip can be daunting, unless students recognize the pattern and remember that neither “N” nor “B” is the tonic, but “C” is. Degree 1 may be delayed by fill-in notes, but the pattern usually remains clear.

All of the above are variants of the emphasized tonic harmony – arpeggiations of the tonic chord.

AP: Aural recognition and singing of these patterns can help in melodic dictation, in sight singing, and in aural analysis.

Rhythm Patterns (“Chunks”)

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It can be useful to drill rhythm patterns that recur in various meters, so that students hear them as patterns, not as individual beats they have to figure out anew each time. This is especially needed for dotted rhythms, and especially in compound meter. The examples below are of characteristic patterns in a few meters; since most rhythm is made up of these patterns, being familiar with them can speed up recognition, performance and notation of them. You can have students clap or vocalize straight through, and you can also point to measures out of order so that they have to go back and forth quickly between patterns. There are lots of dotted rhythms in the 9/8 exercise for added drill.

#1

#2

#3

AP: Recognition of patterns is useful in melodic dictation and aural analysis.

Aural Skills Practice Examples for Easily Confused Progressions. Work on:

1. Identifying scale degrees in bass and/or soprano.2. Hearing the chord quality (M m d, seventh chord or triad?) of intervening chords

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3. Identifying the progression.

Enlivening a Basic Progression(Spacing and doubling still count!)

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Melodic Tags for Interval Identification

If you care to use them, melodic tags can be useful for interval identification. Here is the most complete list I know. Since a lot of this list reveals its age, there is space to add more current items.

m2 ↑ Others?_____________________

White Christmas (“I’m Dreaming…) _____________________What’s New _____________________“Jaws” theme _____________________Isn’t It Romantic _____________________Raindrops Keep Fallin’ on my Head _____________________The Long and Winding Road _____________________As Time Goes By _____________________I Left my Heart in San Francisco _____________________Stormy Weather (“Don’t Know Why…”) _____________________Strawberry Fields Forever _____________________

m2↓Hernando’s Hideaway _____________________Smoke Gets in Your Eyes _____________________O Little Town of Bethlehem _____________________Chicago _____________________Mood Indigo (“You Ain’t Been Blue…”) _____________________Joy to the World _____________________Sophisticated Lady _____________________I’m in the Mood for Love _____________________

M2↑ Happy Birthday _____________________Silent Night _____________________Doe, A Deer… _____________________Climb Every Mountain _____________________Wouldn’t it be Loverly _____________________Rudolph, The Red Nosed Reindeer _____________________My Funny Valentine _____________________Falling in Love with Love _____________________If Ever I Would Leave You _____________________People _____________________My Country ‘tis of Thee _____________________

M2↓ Do You Know the Way to San Jose _____________________The Way We Were (“Mem-ries…”) _____________________Volare _____________________The First Noel _____________________We Three Kings _____________________Don’t Get Around Much Anymore _____________________Satin Doll _____________________Yesterday _____________________Three Blind Mice _____________________

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Cheek to Cheek (“Heaven…I’m in Heaven…”) _____________________Mary Had a Little Lamb _____________________Hooray for Hollywood _____________________Merrily We roll Along _____________________Deck the Halls _____________________

m3 ↑ A Foggy Day in London Town _____________________Georgia on my Mind _____________________Hello Dolly _____________________Supercallifragilisticexpialidocious _____________________When You’re Smiling _____________________Are You Lonesome tonight _____________________Brahms’ Lullaby _____________________Angels We Have Heard on High _____________________So Long, Farewell, Auf Wiedersehen, Goodbye _____________________The Impossible Dream _____________________I’m Popeye the Sailor Man _____________________Oh Where, oh Where Has My Little Dog Gone? ____________________Let Me Call You Sweetheart _____________________Greensleeves _____________________Light My Fire (“You know that it would be….”) _____________________I Love Rock and Roll _____________________Havah Nagilah _____________________

m3 ↓When Irish Eyes are Smiling _____________________Daisy _____________________Girl from Ipanema _____________________Bewitched, Bothered and Bewildered _____________________I Whistle a Happy tune _____________________Santa Claus is Coming to Town (“You better watch out…”) _____________________Who’s Afraid of the Big Bad Wolf _____________________Hey Jude _____________________Frosty the Snowman _____________________Silver Bells (“City sidewalks…”) _____________________O What a Beautiful Morning _____________________

M3 ↑Kumbayah _____________________Bess, You is my Woman Now _____________________Oh When the Saints Go Marching In _____________________Anchors Aweigh _____________________I Could Have Danced All Night _____________________Michael Row the Boat Ashore _____________________Have Yourself a Merry Little Christmas _____________________

M3 ↓Good Night Ladies _____________________Song Sung Blue _____________________Shoo Fly, Don’t Bother Me _____________________Summertime _____________________In a Mellow tone _____________________

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A Fine Romance _____________________

P4 ↑ Here Comes the Bride _____________________We Wish You a Merry Christmas _____________________Hark the Herald Angels Sing _____________________Love Me Tender _____________________We’re Off to See the Wizard _____________________A Hunting We Will Go _____________________“Jeopardy” theme _____________________Twelve Days of Christmas (“On the first day…”) _____________________My Boyfriend’s Back _____________________Auld Lang Syne _____________________Amazing Grace _____________________Oh Christmas Tree _____________________Lush Life _____________________Matchmaker _____________________When Johnny Comes Marching Home Again _____________________Shenandoah _____________________Tonight (West Side Story) _____________________

P4 ↓Born Free _____________________We’re Not Gonna Take It _____________________I’ve Been Working on the Railroad _____________________A Mighty Fortress is Our God _____________________Eli’s Coming _____________________Oh Come, All Ye Faithful _____________________Every Little Thing She Does is Magic (Police) _____________________Wilkommen (Cabaret) _____________________

Tritone (+4, o5) Maria _____________________Cool (Boy, Boy, Crazy Boy…”) _____________________Simpsons’ Theme _____________________

P5 ↑ Twinkle, Twinkle Little Star _____________________My Favorite Things (“Raindrops on roses…”) _____________________“Star Wars” theme _____________________“Superman” theme _____________________Moon River _____________________God Rest Ye Merry, Gentlemen _____________________P5 ↓“Flintstones” theme _____________________Bring a torch, Jeannette, Isabella _____________________Feelings _____________________It Don’t Mean a Thing if It Ain’t Got that Swing _____________________

m6 ↑A Day in the Life of a Fool _____________________Sunrise, Sunset (1st to 3rd notes, “Is this the little girl…”) _____________________

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m6 ↓“Love Story” theme (“Where do I begin…”) _____________________

M6 ↑ Take the A Train _____________________Jingle Bells (“Dashing through the snow…”) _____________________Hey, Look Me Over _____________________1999 (Prince: “I was dreamin’ when I…”) _____________________My Bonnie Lies Over the Ocean _____________________NBC _____________________Hush Little Baby _____________________It Came Upon a Midnight Clear _____________________My Wild Irish Rose _____________________If I Ruled the World _____________________The Days of Wine and Roses _____________________Everybody Loves Somebody Sometime _____________________

M6 ↓Nobody Knows the Trouble I’ve Seen _____________________Over There _____________________Good Night Ladies (1st to 3rd notes) _____________________Crazy (Willie Nelson) _____________________

m7 ↑Somewhere (“There’s a place for us…”) _____________________Have You Driven a Ford Lately _____________________Close to You (1st to 3rd notes: “Why do birds…”) _____________________Edelweiss (1st to 3rd notes) _____________________Old TV Star Trek theme _____________________

m7 ↓ Watermelon Man _____________________Something Wonderful _____________________None But the Lonely Heart _____________________Honeysuckle Rose (1st to 3rd notes) _____________________

M7 ↑ Bali Hai (1st to 3rd notes) _____________________Lara’s theme (Dr. Zhivago: 1st to 3rd notes) _____________________

P8 (octave) ↑ Take Me Out to the Ballgame _____________________Somewhere Over the Rainbow _____________________Let It Snow (“Oh the weather outside…”) _____________________The Rain in Spain _____________________“Night Court” theme _____________________Chestnuts roasting on an Open Fire _____________________Blue Bossa _____________________Camelot _____________________American Pie (So bye, bye, Miss…”) _____________________

P8 ↓ Willow Weep for Me _______________

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