Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
FOR
THE ADVANCED PLACEMENT COURSE
IN
MUSIC THEORYTM
Dr. Joel Phillips, presenter
Westminster Choir College of Rider University
101 Walnut Lane
Princeton, NJ 08540-3899
Skype ID: JCPatWCC
Email: phillips@rider.edu
Co-author of W. W. Norton and Companys
The Musicians Guide to Aural Skills, Volumes 1 and 2
and
The Musicians Guide to Fundamentals
Participants may self-enroll in the course by visiting
https://canvas.instructure.com/enroll/6ABY77
CONTENTS OF PACKET
3
4
5
6
6
7
8
9
11
12
13
14
15
16
16
16
17
19
21
21
22
23
25
28
29
30
31
32
33
35
39
SESSION DESCRIPTION
Participants will examine AP music theory course content and relevant materials and develop
strategies to improve classroom instruction. They will analyze selected problem types typical of
first-year college music theory, infer their construction and solutions, learn to create comparable
questions for their own classroom use, and learn ways to evaluate student responses to these
problems. Ultimately participants will be able to develop or refine their own AP music theory
course and submit a course audit.
LEARNING OUTCOMES
By the end of the session participants will be able to:
Infer the musical patterns on which AP music theory problems are based
TOPICS
COURSE CONTENT
AP COURSE AUDIT
COURSE MATERIALS
EXAMINATION ADMINISTRATION
DIVERSIONS AS NECESSARY!
MAJOR SCALE
CHROMATIC SOLFGE
SIMPLE-METER PATTERNS
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Joel Phillips, AP Music Theory
9
Major key
Common time
Rhythm values in the range of eighths through halves
Singing with solfge
Conducting while performing (or listening!)
Phrase 1 ends with re (mi-re implies the cadential six-four; that would be deluxe!)
Phrase 2 ends with do (mi-re-do would complete the motion nicely)
Cadences that occur on strong beats (1 or 3)
Eb major
Common time
Rhythm values in the range from eighth notes through half notes
Melodic range of a 9th; Bb to C
Phrase 1 ends with re (mi-re implies the cadential six-four; that would be deluxe!)
Phrase 2 ends with do (mi-re-do would complete the motion nicely)
Cadences that occur on strong beats (1 or 3)
Some of the many potential uses for compositions (All may be sung or played.)
Score for error detection, melody for sight singing, melody to be harmonized,
melody for a melodic dictation, melody for transposition or instrumentation example
W. A. Mozart, Piano Sonata in Bb Major, K. 570, second movement
b 4
& b b 4
? b b 44 j j
b
n n b
J ..
. n
j .
.
.
&
MUSICAL MEMES
Memorize memes to make more music!
Then, SPICE things up: Sing, Play, Improvise, Compose, Evaluate.
MUSICAL MEME 1: TDT PHRASE AND AUTHENTIC, HALF, AND DECEPTIVE CADENCES
Part
1
2
3
B
3 .
& 4 ..
Chord # 1
2a
? 43 .
1.
2.
3.
3a
3b
3c
...
.
T
.. . .
.
.. .
.. . .
.
.. .
..
..
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SUGGESTIONS FOR INTRODUCING THE TDT MODEL IN STAGES
Perform chord #s as indicated. Conclude with chord 2b to create a HC.
Triads 1-2b-1 as written (IAC).
1-2b-1 with part 2 as soprano (PAC).
1-2b-1 with part 3 as soprano (IAC).
1-2b-3a as written (PAC).
V8-7 1-(2b)-2c-3a as written (PAC).
1-(2b)-2c-3a with part 3 as soprano (IAC).
1-(2b)-2c-3b with part 2 as soprano (PAC with tripled root).
Create longer dictations from the above. E.g., 1-2b-1-2b (HC) 1-2b-1-2c-3a (PAC)
Perform minor-key versions of the above.
V 1-2a-2b-1 as written (IAC).
1-2a-2b-1 with part 2 as soprano (PAC).
1-2a-2b-1 with part 3 as soprano (IAC).
1-2a-2b-3a as written (PAC).
V 1-2a-2c-3a as written (PAC).
1-2a-2c-3a with part 3 as soprano (IAC).
1-2a-2c-3b with part 2 as soprano (PAC with tripled root).
DC
For any conclusion above on 3a or 3b, substitute 3c.
Create longer dictations from the above. E.g., 1-2b-1-2b (HC) 1-2b-1-2c-3a (PAC)
Perform minor-key versions of the above.
Joel Phillips, AP Music Theory
11
bbb
2a
? b
bb
&
T
D
T
Part
1
m
f
m
2
d
r
d
3
s
s
(l)
s
4
d
t
d
GETTING
THE
MOST
FROM
THIS
EXAMPLE
For
V7
chords
perform
chord
2a;
for
viio7
perform
2b.
Memorize V7 before introducing viio7.
Parts
1,
2,
and
4
are
typical
bass
lines;
any
part
may
appear
as
S,
A,
or
T.
Sustain
an
upper
part
from
chord
23
to
create
suspensions
and/or
retardations.
Combine this progression with others to make longer examples.
Secondary
dominant-function
chords
follow
the
same
VL.
V/V-V equals V: V-I
Other
comments:
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Learn the progression that is the basis of your improvisation. While playing the progression, sing the melody.
Listen for these original melodic pitches as guide tones during each embellishment that follows.
2.
3.
4.
Perform a passing tone (P) tude by filling in the chordal skip (CS) tude from #3.
5.
6.
Create free improvisations by mixing the embellishments you practiced in the tudes.
Perform a transcription of one such possibility. Note the rhythm has been varied. In addition you could add
rests, change dynamics or articulations, etc. to make your improvisation unique.
MUSICAL
MEME
3:
D-R-M
BASS
LINE
HARMONIZATIONS
PARALLEL
10THS
CONTRARY
MOTION/VOICE
EXCHANGE
CHORD
2
=
SEVENTH
CHORD
CHORD
2
=
TRIAD
&
bbb
? b
bb
Part
1
2
3
B
T
m
d
s
d
2a
D
f
t
s
(l)
r
T
s
d
s
m
T
m
d
s
d
2a
D
r
t
s
(f)
r
T
d
d
s
m
FOUR-PART REALIZATION
ROMAN NUMERALS AND FIGURES
4
&4
? 44
C:
____ : V
____ : i
vii
4
&4
? 44
_____ :
vii7
## 4
& 4
____ :
____ : i
FIGURED BASS
? # # 44
#
B minor:
## 4
& 4
? # # 44
#
B minor:
SUMMATIVE PROGRESSIONS
MUSICAL MEME 4: TPDT PHRASE & AUTHENTIC, HALF, DECEPTIVE, AND PLAGAL CADENCES
Part
1
2
3
3 .
& 4 ..
? 43
Chord # 1
..
.
2a
OR
2b
1.
3a
.
..
4a
5a
2.
3.
5b
5c
.. . . .. . . ..
.
.
.. .
.. .
..
2
# c
&
? # c #
Chord # 1
n
3
5a
5b
6a
6b
DR. PHILLIPS
PEER EVALUATION OF SIGHT SINGING PERFORMANCES
OVERVIEW
Students will form peer pairs that meet in person to perform and evaluate each others singing on
a weekly basis. You may have the same partner for two weeks after which you should find a new
partner. Each week you will send a single PDF of your peer evaluations via email to me not later
than midnight on the Sunday of the week it is due.
During your meeting each peer will both perform and evaluate two melodies. Once an item has
been performed and evaluated, it may not be performed again. For example, if Peer 1 asks Peer 2
to sing Melody #493, Peer 2 may not ask Peer 1 to sing the same melody.
SIGHT SINGING PROCEDURE
Peer
1
chooses
a
melody
(not
an
tude)
and
gives
only
the
tonic
pitch.
Peer
2
warms
up
briefly
then
performs
the
melody.
Peer
1
quietly
listens
and
evaluates.
No
coaching
or
comments
please.
Peer
2
quietly
self-evaluates
his/her
first
performance.
Peer
2
performs
for
the
second
and
final
time.
Peer
1
quietly
listens
and
evaluates
again.
Again,
no
coaching
or
comments.
Peer
1
records
the
higher
of
the
two
scores,
if
they
are
different.
After
the
second
performance
the
evaluator
should
always
provide
the
performer
with
comments
or
suggestions
for
improvement.
Switch
roles
and
repeat
the
procedure.
During
the
second
meeting
of
each
peer
pair,
the
peer
who
performed
first
during
meeting
1
should
choose
first
during
meeting
2.
SUBMISSION OF EVALUATIONS
During the in-person evaluation you may use scrap paper to record each others performances.
However, when you report your evaluations to me, please use the Word document template I
have uploaded to our class website (filename: Sight Singing Peer Evaluation). When complete,
create a PDF of your evaluation and email it to me no later the Sunday midnight of the week it is
due.
___________
Melody # _______
Date __________________________
Pitch
Rhythm
Solfge
Conducting
Musicality
1st Hearing
2, 1, 0
2, 1, 0
2, 1, 0
2, 1, 0
2, 1, 0
2nd Hearing
2, 1, 0
2, 1, 0
2, 1, 0
2, 1, 0
2, 1, 0
_____
_____
Opt. +1
Total
Interpretations
Scoring
2 = good to excellent
1 = fair
0 = poor or skill omitted
Optional discretionary point: Employ this option with discretion for performances that are
compelling, but that (inadvertently) omit one skill other than Musicality.
Comments
Suggest strategies for improvement next time or tell a performer about an improvement made
over past performances.
SS2
SEQUENCES
MUSICAL MEME 6: DESCENDING FIFTHS SEQUENCE (PHONE NUMBER? 1-473-6251)
ROOT POSITION CHORDS WITH 108 PATTERN (M-F MELODY OVER D-F BASS)
& 44
10
? 44
10
IV
iii
&
10
10
vi
ii
vii
10
10
10
10
&
10
10
10
VARIATIONS
Triads with passing tones: Perform as written in mm. 13.
Triads only: Omit quarter notes on beats 2 and 4 in mm. 13.
Alternating triads and inverted 7th chords: Omit the quarters on beat 3 in mm. 13.
MUSICAL MEME 7: DESCENDING THIRDS SEQUENCE
ALTERNATING ROOT AND 1ST INVERSION
& c
10
?c
I
10
vi
10
iii
IV
10
10
10
10
10
10
10
vi
iii6
IV
I6
ii
V6
V7
# 41
& 4
? # 44
G: V 5
n3
C: V 5
V5
I
MELODIC STRATEGIES
Major-key music
I hear/see
Possible tonicization
fi-sol
V (most common)
si-la
vi (common)
di-re
ii (somewhat common)
ri-mi
iii (rare)
te-la
IV (very common)
Bracket
n #
6
Slash
V 5/V
Colon
V: V5
Minor-key music
I hear/see
Possible tonicization
fi-sol
V or v (very common)
mi-fa
iv (very common)
te, not ti
III or VI if part of a D-T sound
III (most common)
4
&4
? 44
C:
V: V
B:
V/IV
IV
F: i
V
vi
FIGURED BASS
1. Identify the key.
2. Sing the solfge of the bass line or recall the pattern indicated by the figures.
Example 1s si-la suggests of vi. Si is raised, so acts like ti. Ti-do of vi is
Vi.
Example 2s bass has no accidentals, but the figure pair
means the bass notes are
fa-me. Sing f-m-r-d to identify the of key, B minor or ii.
Example 3s figure includes
.
Because the bass note moves, it must be a passing
,
so
the line is a d-r-m bass. The of key is v. In minor keys, the chord of V is major, but
the key of v is minor.
3. Recall the patterns D-T voice leading.
4. Thinking in the tonicized key, notate the pitches, including any necessary accidental(s).
## 4
& 4
? # # 44
#
D:
###
###
A:
# #
e:
4
&4
? 44
_____ :
IV: V
V: V
V: V
____ : V/V
____ : i
V
vi
____ : i
V
ii
4
&4
? 44
_____ :
____ : V/iv iv
4
&4
? 44
_____ :
____ : V/vi vi
____ : I
V
V
2016 FR 5
2016 FR 6
2015 FR 6
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2016 FR 7
2012 FR 7
STRATEGIES FOR COUNTERPOINTING A BASS LINE: PHRASES THAT CONCLUDE WITH A PAC
# 4
& 4
& b 44
EXAMPLE 1
?# 4
4
EXAMPLE 2
?b 4
4
### 4
& 4
EXAMPLE 3
? ### 4
4
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### 4
& 4
EXAMPLE 1
? ### 4
4
EXAMPLE 2
& b 44
? 4
b 4
# 4
& 4
EXAMPLE 3
?# 4
4
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# 4
& 4
EXAMPLE 1
?# 4
4
EXAMPLE 2
& b 44
?b 4
4
### 4
& 4
EXAMPLE 3
? ### 4
4
jU
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Joseph Haydn, String Quartet in Bb Major, op. 33, no. 3, third movement
Violin 1
& b 43 .
& b 43
Violin 2
B b 43
Viola
? 3
b 4
Cello
& b .
&b
Bb
?
b
. k k . k
k p
S k k
k k k
k
k k
k
k
S
b
J
k k k k
S
S
k k k
J k k
k
k k k
k k k k
k k k k
.
k k
j
j
#
& 43 #
P
? # 43 .
.
p
8
# 1.
&
F
? # .
#
F
#
.
#
..
.
2.
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%
>
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. . .
. . . . . . .
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#2
& 4
P
? # 42
# j > .
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f
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.. - .
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& b .
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& # 44
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Johann Sebastian Bach, Auf, auf! die rechte Zeit ist hier (Up, up! The Right Time is Here! adapted)
& 44
F
? 44
F
Moderato
& .
? n
j
#
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& b 44
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p
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f. .
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.. ..
n
b
P
f
21
b
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j
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& b . . . . . . J
p
. . . . . . F
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J
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f
p
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& 4
? 44
# #
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p.
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