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BAND COURSE OUTLINE

SummerI. Marching Band

A. Two week program1. Individual or small group lessons2. Beginning band

a. for students new to programb. for students who “switch” instruments to attain better marching sound in the band

3. Marching Fundamentals for Freshmen and other new students4. Full band rehearsal on marching music

a. one evening rehearsalb. one afternoon rehearsal

5. Auxiliary rehearsalsa. flagsb. drum majors

6. Marching percussion rehearsalB. One week Marching Band Workshop

1. Marching fundamentals2. Warm-up exercises

a. physical b. instrumental

3. Learning of Pre-Game and competitive marching showa. musicb. instrumental

4. Parade marching and music5. Sectional rehearsals6. Issue uniforms and care/upkeep information7. Distribute schedule for the school year

C. Additional practices throughout summer as needed1. Flags2. Drum Majors3. Marching percussion4. Beginners and “switch” instruments

D. Rehearsal on Thursday night before school startsII. Concert Band

A. Three week program1. Beginning band

a. for students new to programb. for students who “switch” instruments to attain better concert band

instrumentation2. Distribution of music and scales for All-District/All-State auditions

B. One week Marching Band Workshop1. Issue uniforms and care/upkeep information2. Distribute schedule for the school year

III. Jazz BandRehearsals during the two week program

Fall

I. Marching BandA. Rehearsals

1. First Monday night of school2. Each Thursday night of marching season3. 8:00 a.m. start for band period as needed

B. Performances1. Pre-game and half-time show at home football games-4 or 5 games each year2. Parades

a. Local Communityb. Invitationsc. Competitive

3. Competitive Field Shows - Regional4. Pep rallies and school assemblies5. Recruitment programs for “feeder” schools

C. Marching music “check-offs”D. Fund raising projects

1. Annual Music Department candy sales2. Extra Projects as needed

II. Concert BandA. All-District/All-State auditions-Columbus DayB. Prepare for auditions for band seating and part assignmentC. Group Lessons - Heterogeneous Groupings

1. Study Hall2. Before School

III. Special EnsemblesA. Madrigal Brass rehearsals one night per weekB. Madrigal Recorder rehearsal one night per week

IV. Jazz BandA. All-dist./All-State auditions-Columbus DayB. Rehearsals (if Fall or early Winter performance)

Winter

I. Concert BandA. Auditions for part assignment and seatingB. Christmas concert music “check-offs”C. Concerts

1. Christmas Concert with Chorusesa. Second Sunday in Decemberb. Rehearsals are the two Thursday nights before concert

D. Solo/Ensemble Contest Preparation1. Select music2. Select accompanists3. Set practice schedule

a. Two practices per weekb. One in school, one out

4. Entry cards due in contest office third week in January5. Begin practice schedule 2nd Semester

E. Organization Contest preparation1. Select music for contest

2. Sight-reading3. Select music for Spring Concert as sight-reading is practiced

F. All-District Festival1. Third Saturday in November2. Students selected through October auditions3. Special auditions for seating4. Rehearsals5. Evening concert

G. Individual lessonsII. Pep Band A. Pre-game and half-time music at home boys basketball games-9 or 10 games each

yearB. Pep assembliesC. Play for “feeder” school basketball games

III. Jazz BandA. Rehearsals each Thursday night after end of Marching seasonB. Performances

1. Pops Concert2. Special request performances3. University or High School Jazz Festival4. Special School appearances

C. All-District Jazz Festival1. Students selected through October audition2. Rehearsal3. Concert

IV. Special EnsemblesA. Court Singer Brass and Records

1. Rehearsals one night each week and dress rehearsal the Saturday before Court Singer Dinners

2. Performancesa. Madrigal Dinners-first Monday and Tuesday in Decemberb. Community & school performances as scheduled

V. Marching BandVeteran’s Day Parade downtown Pontiac

Spring

I. Concert BandA. Solo/Ensemble ContestB. Check-offs for Organization ContestC. Organization Contest-fourth Saturday in April (varies)D. Individual lessonsE. Spring Concert

1. Alternates first or second Thursday in May2. Night rehearsals Monday and Tuesday nights before concert

F. Baccalaureate1. Sunday night before Memorial Day2. Usually an ensemble such as clarinet choir

G. Commencement1. First Friday night in June2. Seniors do not play

II. Jazz Band

A. Organization ContestB. Spring ConcertC. Civic programs

1. Evenglow “prom”2. Women’s Club

III. Marching BandA. Memorial Day Parade and CeremonyB. Uniforms turned in for cleaning

Auxiliary Organizations

I. Tri-M Music Honorary SocietyA. Fall meetingB. Spring audition of prospective members

1. Voting2. Initiation-third Sunday in March

C. May trip to Dinner TheaterD. Awards Banquet installation of officers-Third Monday night in May

II. Music BoostersA. Ongoing committees

1. Chaperone calling for all trips2. Refreshments for marching band trips3. Band uniform fitting & repair4. Music Department Candy Sales

B. Fall meeting1. Sign up for Court Singer Dinner committees2. Marching Workshop budget

C. Spring meeting1. Sign up for Awards Banquet Committees2. Review budget

D. Awards Banquet-third Monday night in May1. Officers installed2. Ongoing committee chairmen

Assessment

I. AuditionsA. Part assignment-marching & concert bandB. Seating-concert band

II. Check-offs/Taped ExamsA. Individualized evaluation of these areas of performance

1. Tone quality2. Intonation3. Rhythm4. Technique5. Articulation6. Body & instrument posture7. Phrasing & style8. Dynamics9. Memory (marching band)

CHORUS COURSE OUTLINE

I. Concert Choir (MPO’s A 1,2,3, B3) (Sept. - May)A. Music selectionB. AuditionsC. Rehearsals dailyD. Performances at school concerts and contest

II. Court Singers (Sept. - Dec.) (MPO’s A 1,2,3, D1)A. Music selectionB. Auditions for singers and jestersC. Rehearsals weeklyD. Extra rehearsals and dress rehearsalE. Script preparationF. Scenery constructionG. Programs and reservationsH. Community performances

III. Fall Concert (Sept. - Nov.) (MPO’s A 1,2,3,)A. Music selection

B. Daily rehearsals with varsity Chorus, Male Ensemble, Female Ensemble and Freshman Chorus

C. Committee preparation: Publicity, Decoration, Staging, Light and SoundD. Tickets and programs

IV. All-District/All-State (Sept.-Jan.) (MPO;s A 1,2,3, B 1,2)A. Daily rehearsals with candidates along with regular groupsB. All-district/All-State competition auditions at host schoolC. All-District festival for selected membersD. All-State activities for selected members at Peoria for 3 days

V. Christmas Concert (Oct.-Dec.) (MPO’s A 1,2,3)A. Daily rehearsals with Varsity Chorus, Male Ensemble, Female Ensemble and

Freshman ChorusB. Music selectionC. Committee preparation: Publicity, Decoration, Staging, Light and SoundD. Tickets and programsE. Dress rehearsals with band

VI. Theory (1st semester) (MPO’s C 1,2,3)A. Book I - All classes 1998B. Book II- Concert Choir only - 2nd semester 1998-99C. Book III - All classes 1997D. Book IV - All classes 1996

VII. Swing Choir (Jan. - May) (MPO’s A 1,2,3, B3)A. AuditionsB. Music selectionC. Weekly rehearsalsD. ChoreographyE. Performances at concerts, contest and for the community

VIII. Tri-Music Honor Society (Sept. - May) (MPO’s E 1,2)

A. Selection of apprenticesB. Meetings as scheduledC. Initiation ceremonyD. Tri-M cultural trip

IX. Solo & Ensemble Contest (Jan. - March) (MPO’s 1,2,3)A. Personnel selectionB. Music SelectionC. Rehearsals weekly with accompanistsD. Competition at host schools

X. Organization Contest (Feb. - April)A. Music SelectionB. Daily rehearsals with Male Ensemble, Female Ensemble, Concert Choir and

Freshmen ChorusC. Competition at host schools

XI. Spring Concert (Feb. - May) (MPO’s A 1,2,3)A. Music SelectionB. Daily rehearsals with Varsity Chorus, Male Ensemble, Female Ensemble, and

Freshman ChorusC. Committee preparation: Publicity, Decoration, Staging, Light and SoundD. Tickets and programsE. Dress Rehearsals

XII. Ear Training and Sight-reading (2nd Sem) (MPO’s B 1,2,3)A. Weekly music practice and exercisesB. Musical dictation

XIII. National Honor Society, Baccalaureate, Graduation (MPO’s A 1,2,3)A. Music SelectionB. Daily rehearsals with select groupsC. Performance

THEORY I COURSE OUTLINE

Unit I Basic Materials in Music (text by Harder) (Theory I Students)A. Unit Objectives

1. To understand the basic materials of music; time and sound2. To develop new and deeper insight to the parts of music3. To seek out the physical aspects of music in preparation for reading and interpreting the

score.B. Basic Materials of Music

1. Properties of Sounda. Pitchb. Intensityc. Timbred. Duration

2. The natural harmonic seriesa. Partialsb. Overtones

3. The Notation of Pitcha. The Staffb. Notesc. Basic Scaled. Clefse. LidgerLinesf. Grand Staffg. Half and Whole Stepsh. AccidentalsI. Enharmonicj. Chromatic Scalesk. Pitch Designations

4. Time Classificationsa. The beatb. Meter

1) Simple time2) Compound time

c. Borrowed divisiond. Subdivision of the beat

5. Note and Rest Valuesa. The value of notes and restsb. The dotc. Division of dotted and undotted notes and restsd. Subdivision of dotted and undotted notes and restse. The unit in simple and compound timef. Metronome indicationsg. Terms which express tempo

6. Time Signaturesa. Time signatures in simple and compound timeb. The relation of time signatures to time classificationc. Common timed. Alla brevee. The tief. Rhythmic patternsg. Syncopation

7. Intervalsa. Distinction between harmonic and melodic intervalsb. The numerical classification of intervalsc. Compound intervalsd. The classification of intervals by qualitye. The inversion of intervalsf. Enharmonic intervals

8. The Basic Scalea. The structure of the basic scaleb. Modesc. The keynote

9. The Major Scalea. Structure of the major scaleb. Using accidentals to form major scales on any note

10. The minor scalea. The natural minor scaleb. The harmonic minor scalec. The melodic minor scaled. Diatonic and chromatic intervals

11. Key Signaturesa. Key and tonalityb. Major and minor key signaturesc. Relative keysd. The use of accidentals to form the various minor scalese. The circles of fifthsf. Enharmonic keysg. Parallel keys

12. Triadsa. The tertian systemb. Basic triadsc. Major triadsd. Diminished triadse. Diminished triadsf. Augmented triads

13. Musical termsa. The words which are basic to musicianshipb. 100 terms to be memorized (from a list of 330)

Unit II. Creative Writing (an introduction to the structure of music)A. Unit Objectives

1. To develop the skills needed in Writing Music2. To learn about form in music

B. Basic chords in one tonality. Simple progressions1. The I and V chords in C major - phrase, period, imperfect, perfect, authentic

cadences2. The V 7 chord, review of intervals, various ways to accompany3. The IV chord - nonharmonic tone, neighboring and passing tones, Aba form,

plagal cadence4. The ii6 chord - suspension (retardation)5. The cadential I 6/4 chord - inversion6. The I6 chord

7. The vi chord - interval perfect 5th major and minor thirds, anticipation - extension by evaded or imperfect cadences.

8. The ii and iii chords, the sequence

Unit III - Ear TrainingA. Unit Objectives

1. To develop skill in the area of dictation2. To aid the student in analyzing pitch relationships3. How to change pitches (perceived sounds) into notes (on the printed page)

B. Interval dictation unitC. Rhythm dictation unitsD. Melodic dictationE. Triad identificationF. Scale and mode identification

Unit IV - Sight SingingA. Unit Objectives

1. To develop or improve the students’ skills in reading music at first sight2. To translate notes into correct vocalized pitches

B. To read at sight simple songs1. Melody

a. With repeated tonesb. Step-wise movementc. Intervals in the tonic (I) triad

2. Rhythma. Simple timeb. The beat and its division into 2 parts

C. To read at sight more advanced songs1. Melody

a. With repeated tonesb. Step-wise movementc. Intervals in the tonic (I) and dominant (V)d. Major and minor keys

2. Rhythma. Compound timeb. The beat and its division into 3 parts

D. To read at sight complex songs1. Melody

a. Repeated tonesb. Step-wise movementc. Intervals in 3rds, 4ths, 5ths, 6thsd. Intervals in the dominant (V) and (v7)

2. Rhythma. Simple time - difficult patternsb. Compound time-difficult patterns

Unit V - Music HistoryA. Unit Objectives

1. To learn the names of the various periods of music from the beginning of music to today.a. Antiquity to Romanticb. Romantic to present day

c. Presented on all alternating basis - one half the first year and the other half the next year.

2. To listen and identify music from each period3. To investigate each period with this outline as a guide:

I. Name of period and any key word defining the period II. Span of years of each period III. Countries with greatest musical activity during the period IV. Historical notes of the period

A. Political eventsB. Economic conditionsC. Artistic developmentD. Social classes which enjoyed the music

V. Information about composersA. NameB. CountryC. DatesD. Vocal or instrumentalE. Greatest contribution

VI. Types of music of the periodA. ReligiousB. SecularC. Avant-grade

VII. Contribution of the period to the elements of musicA. MelodyB. HarmonyC. Rhythm

VIII. Instruments of the periodA. Monadic music to about 1300 A.D.B. The Polyphonic Period (800-1600)C. The Baroque Period (1600 -1750)D. The Classical Period (1750-1820)E. The Romantic Period (1820-1900)F. The twentieth Century (1900-the present)

1. Neo-schools of compositiona. Neo - impressionismb. Neo - classicismc. Neo - romanticismd. Expressionism

2. American popular music3. Electronic music4. Aleatoric music

Unit VI - ConductingA. Unit Objectives

1. To fortify the conducting student with a definite technical knowledge and an adequately developed manual skill to build his confidence in himself as a leader of the musical organization and his control of the performance.

B. To learn what it means to be a conductor1. Knowledge2. Training3. Natural endowments4. Practice

C. To master the baton - knowledge and skill1. Ease with the baton2. Grip of the baton3. Poor hand posture andits effect4. Concept of straight line motion

D. Time beating - knowledge and skill1. The time-beating gesture

a. The preparatory beatb. The ictusc. The reflex

2. The traditional beat patterns of one, two, three, four, five, six, divided beats, nine, and twelve

3. Cutting off the soundE. Expressive gestures - knowledge and skill

1. Active gesturesa. Legattob. Staccatoc. Tenutod. Gesture of synopation

2. Passive gesturesa. Dead gesturesb. Preparatory beats

3. Ending gesturesF. Cues and the development of the left hand - knowledge and skill

1. Why cues are given2. When cues are given3. How cues are given

G. The fermata - knowledge and skill1. Definition2. Classification as to length3. Classification with or without caesura

H. Score study - knowledge and skill1. Types of scores

a. Condensedb. Full

2. Clefs, instrumental transpositions and rangesI. Podium techniques - knowledge and skill

1. Organization to begin2. Bow3. Acknowledging soloists

Unit VII - Music OccupationsA. Unit Objectives

1. To survey the many occupations in music with special attention to the training needed, the supply and demand factor, and income ranges in each. Also to survey the possibilities of music as an avocation.

B. Performing musiciansC. Technology in musicD. Arts managementE. The music businessF. Music education

AP MUSIC THEORY COURSE OUTLINE

Course Outline

UnitTheory & Composition

Assignments & Music Analysis

Ear Training Sight Singing

Tests, Quizzes,

Class Examples and Projects,

Quarter 1Week 1

Intro to Class*Syllabus*Procedures*Books & MaterialsFundamentals of MusicMusic Theory I Review*Chapter 2 concepts -Keys, M/m scales, terms*Chapter 3 concepts -Intervals, transposition*Chapter 4 concepts -Chord types, construction, inversions, analysis symbols

Read/Review Text

Workbook exercises as needed – chapters 2, 3, 4

Lefkoff: pp. 8, 12Lefkoff: pp. 24,28

Spencer: pp. 109, 117

SHMRG technique(Handout)

SHMRG piece of your choice in personal library of CD’s. Share with class.

Review Units 1-2 Melody/Rhythm

(H)Harmony 3E, 4E – Chord ID

Chapter 1Step-wise

Simple meter

SHMRG project

Quarter 1Week 2

Continued Music Theory I Review as needed

*Chapter 2 concepts -Keys, M/m scales, terms*Chapter 3 concepts -Intervals, transposition

Read/Review Text

Workbook exercises as needed – chapters 2, 3, 4

Lefkoff: pp. 8, 12Lefkoff: pp. 24,28

Smetana: MoldauRead article on Moldau. Listen to entire piece. Listen & discuss:Form (events), Nationalistic

Review Units 3Melody/Rhythm

(H)Harmony 3E, 4E- Chord ID

Harmony 9A – Six four chords

Chapter 1Step-wise

Simple meter

Chapter 3,4 Test

*Chapter 4 concepts -Chord types, construction, inversions, analysis symbols

flavor, tone colors, other musical elements

Quarter 1Week 3

Structural ElementsChapter 5 - Cadences

Phrase, Harmonic Cadence Types, Rhythmic Cadence

Read Text, pp. 89-91

Discuss 4 types and designation of perfect/imperfect on authentic cadences 5.1, 2

Smetana: Moldau Prior knowledge from reading. Stress the importance/value of knowing about the piece before listening for appreciation.

Review Unit 4 Melody/Rhythm

Harmony 3C - cadence ID

Chapter 1Step-wise

Simple meter

Power Point: *Tutorial utilizing students’ SHRMG




Tests, Quizzes,


Quarter 1Week 4

Chapter 5 - Nonharmonic Tones

*Approach & resolution*LabelingFinding & labeling NH tones


5.3, 5B

Listen text – Cadence Examples – Listen Anthology


(H) Harmony2C, 4C –NHT ID

Chapter 1Step-wise

Simple meter

Ch. 5 Quiz – cadences & NHT

Quarter 1Week 5,6,7

Chapter 6: Melodic Organization Terminology: Motive (melodic/rhythmic), Sequence (segments, real[exact intervals],


6.1 - 6A,B

6.2,3 – 6C

6F

Writing assignment on melodic organization terms

Listen text CD’s


Unit 1 Harmony A &D

Melody 5C, 6C, 7C – Melodic devices

Chapter 2Step wiseTonic Triad

Compound meter

Melody Composition Project

Chapter 6 Test

tonal[diatonic], modified), False Sequence (includes some repetition), Phrase (segments=members), Period (3 criteria, p. 114) (types-parallel, contrasting, 3 phrase, double), Repeated phrases

Application of knowledge: Motive (melodic/rhythmic), Sequence (segments, real[exact intervals], tonal[diatonic], modified), False Sequence (includes some repetition), Phrase (segments=members), Period (3 criteria, p. 114) (types-parallel, contrasting, 3 phrase, double), Repeated phrases

Phrases & PeriodsSequence construction

Modification of

“Harmony in Context”, exercise 7.2 worksheet in class -

Melodic Structures and Devices- Listen Anthology

Melody 8C - Phrase relationships

Phrase - Extension – beg. Middle, end. –Other Melodic Organization-change of mode M>m and vice versaMelodic Structure – climax, ascent&descent, tonic triad tones, 3-2-1, 5-4-3-2-1, 8-1 structural tonesMelodic Analysis (motives, phrases, phrase members, periods, climax, structural tones) vs. harmonic analysis (chords, cadences, progressions)

Quarter 1Week 8, 9

Chapter 7: Texture, Textural Analysis & Textural Reduction*Definitions and descriptions*Types *Textural Analysis defined*Textural elements*Textural reduction

Read Chapter 7 Outline chapter

7.1, 27B, C, D, E, F

Textural analysis of Holst 2nd Suite excerpts

Listening examples from text CD, tracks 63-79Listening excerptsFrom Listen text & CD’s to demonstrate types of textureListening excerpts from band recordings – Holst Suites

Unit 2 Harmony A &D

Melody 8C - Phrase relationships

Chapter 2

Step wiseTonic Triad

Compound meter

Chapter 7 Test




Tests, Quizzes,


Quarter 2Week 1

AP Music Theory Practice Exam – 1998 Exam

AP Music Theory Practice Exam





Quarter 2Week 2

Chapter 8: Voice Leading to Two Voices Terms – from topics listMotion Types – parallel, contrarhy, oblique, similarCharacteristics of a Good MelodyPrinciples for Voice leading–four basic, p152RestrictionsSummary of Principles, p. 155-156 related to inversions*use of inversions(smooth bass line, harmonic variety)Voice leading principles*1st inv.-double

Read Ch. 8 – outline

After lecture, on overhead, as a class:

a. write and identify types of motion

b. write frist species counterpoint (8.1 exercise)

8.1 #2In class work on 8.1 & 8.2 examples8.2, 2 - overhead8.2, 3 – overhead

Ch. 8 Melody analysis written worksheet

Tonic/dominant HarmoniesBHN:12,14,15*Beethoven: Fur Elise*Weber: Euryanthe *Beethoven: Symphony No. 5

Listen AnthologyVerdi: Aida CD4 - 9

Unit 3 Harmony A &D

Melody 9C, 10C – Two part dictation

Chapter 2

Step wiseTonic Triad

Compound meter

Chapter 8 Quiz on reading/outline

soprano*2nd inv.-double bass -four types of second inversion chords used (summary & handout)

Quarter 2Week 3,4

Chapter 9: Voice Leading in four partsRoot position, 1st inversion

9.1-9.5 Workbook 9A, B, D, E as accomodations for review and reinforcement as needed

Unit 4 Harmony A &D

Chapter 33rds, 4ths, 5ths, 6ths

Dominant Triad

Simple meter




Tests, Quizzes,


Quarter 2Week 5

Chapter 9: Voice Leading in four partsRoot position, 1st inversion, 2nd inversion

Mozart: Symphony in G minor, 1st mvt.- Listen Anthology

Unit 5 Harmony A &D

Chapter 4

Dominant and Dominant Seventh Chords

Compound meter

Chapter 9 Test

Quarter 2Week 6,7,8

Chapter 10: Introduce harmonic progressions – circle progressions*Root relationships - not affected by inversions*

Chapter 10: Harmonizing a chorale melody

Text pp. 177-178, play examples, patterns of circle progressions

10.1, #4&5; 10.2; 10.3Text pp. 179-18810.1, cover inversions for smooth voice leading in bass10.3 M&m10.4 #1, 10.5 #1, 10.6 #110.4, 5, 6 #2 of all10.810.9 #2, 10A odds

Haydn: Symphony in G – Listen Anthology

Unit 6 Harmony A &D

AP Practice Exam dictations

Chapter 4

Dominant and Dominant Seventh Chords

Compound meter

10B Corelli & C, #610F, beg.-meas.28Read text, pp. 187, 189-19010.7, #2Review 10.10 – do #2 together on OH

Quarter 2Week 9

First Semester Final Exam Review









Tests, Quizzes,


Quarter 3Weeks 1&2

Chapter 11: Dominant 7th chords *Writing 7th chords*Resolving 7th chords*harmonic analysis*figured bass symbols *NH tone ID*Identify the Dominant 7th chord in every keyApproaches to the 7th (4 types) from.

11.111.211.311.411.5-811.B, C, D, E

Kostka/Payne, ch. 13. on overhead and practice sheets

BHN: 16, 17

Harmony 10A, 10D – Dominant 7th chords

Chapter 6

Subdominant Chord

Simple meter

– Popular Music Project –1. Text 2. Melody 3. Harmony (block then pattern)

Quarter 3Week 3&4

Chapter : 12 Leading Tone 7th chords *progressions to tonic and dominant, p. 218*resolution of tritone and 7th factors, p. 218*voice leading, p. 222*pitfalls to avoid, p. 222

12. 1, 2

Project – Text and Melody and harmony, block only, due Monday – turn in. Must include at least one dominant 7th chord.

BHN: 142-147

Harmony 11A, 11B – Dimiished 7th chords

Chapter 7

Subdominant Chord

Compound meter

Popular Music Project, continued

Quart Chapter 13: 13.1, 13.2, 13.3 BHN: 155-159 Chapter 8 Chapter 13

er 3Week 5

Nondominant 7th chords

*analysis symbols, p. 229*chord function*voice leading principles, p. 232-234

13.513.6 #113.6 #2 – write for brass or saxophone quartet

13.713.7 one each student

13.2, 13D13D #3, 13E #113F13G #1 & 3

Harmony 12A, 12E – Nondominant 7th chords

Secondary ChordsChromatic tones not implying modulation

Simple & Compound meter

Test

13.6 #2 – write for brass or saxophone quartet




Tests, Quizzes,


Quarter 3Week 6

20th Century techiques*Scales – whole tone, octatonic, pentatonic

*Study of Debussy music - Parallelism - Tone colors - New scales

Koska-Payne – Tonal Harmonies, ch.

Spencer: Listen, ch. 20-21

Debussy – Clouds

Unit 7 Harmony A &D

SCALE ID – New scale types, with review of major/minor

Chapter 8

Secondary ChordsChromatic tones not implying modulation


Quarter 3Week 7, 8

20th century techniques, continued*Study of Schoenberg music - Serialisim

Listen, ch. 20-21 Schoenberg

Unit 8 Harmony A &D

Tone Row Dictation J J

Chapter 9

Review

Use of syncopation

New scale test - write and identify aurally

Quarter 3Week 9

20th century techniques, continued*Study of Stravinsky music - New rhythms

Listen, ch. 20-21 Stravinsky – Rite of Spring

SCALE ID – New scale types, with review of major/minor

Chapter 9

Review

Use of syncopation




Tests, Quizzes,


Quarter 4Weeks 1&2

Chapter 14: Modulation*definition, p. 243*closely related keys, p. 243*3 common types, p. 243-45*Analysis symbols*Harmonizing melodies that modulate, p. 248

Read pp. 243-246, 14.1-all, 14.2 #1-4, 14.3 #114.4, #1Read pp. 247-248, 14.3 #2, 14.4 #214.514.6 – gradedRead pp. 248-25114.7 #114.7 – choose one14.8 – in class 14A & 14C, 2 ex.

Harmony 12C, 13C,

Unit 11 Harmony D

Melody 11, 12A – modulation to closely related keys

Melody 13A,14A-modulation in 2 phrase excerpts

Chapter 10

Modulation to Closely related keys


14D take home test

Quarter 4Weeks 3&4

Chapter 15: Secondary Dominants and Leading-Tone chords*definitions & concepts, p. 267*analysis symbols*altered tones*Voice leading principles

Read ch, pp. 267-27215.1, #1-1015.2, #1-915.3, #1-415.4, #1,2 & 3

15B – odds15C – all15D – 1-315F - #415G #115.9 in class

Harmony 12C, 13C,

Harmony 13A, 14A, 15A – Secondary dominants

Chapter 10

Modulation to Closely related keys

Simple & Compound meter Project 15K

– do all (1-3) one page paper




Tests, Quizzes,


Quarter 4Weeks 5&6

SIMPLE FORMSChapter 16: Two-Part (Binary) Form*concepts & definitions, p. 295*formal divisions*open vs. closed formal divisions*simple vs. compound forms*two part form, p. 295Chapter 17: Three-Part (Ternary) Form*concepts & definitions*three part form*expanded ternary form*rounded binary form

16.1, 116.1. 216.4

Figure 17.217.1, #117.1, #2

Harmony 12C, 13C, 14C, 15C, 16C – Aural analysis - binary & ternary forms

Harmony 12C, 13C, 14C, 15C, 16C – Aural analysis - binary & ternary forms

17.2 take home

Quarter 4Week 7

Review for AP Theory Exam

1998 Exam & 5-year examples


Review


Quarter 4

Powerpoint projects on pieces from 19th

Prepare projects As per project OrganizeFormal Analysis:

Week 8&9

or 20th century Power Point

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