AP Music Theory

Syllabus
2015
Instructor: Mr. Lotze
Office: B34
Office Hours: By Appointment
E-Mail: [email protected]

COURSE DESCRIPTION:
Music Theory is an advanced level course designed to engage students in learning activities
that will help them to achieve the outcomes assessed by the College Boards Advanced Placement
Music Theory Examination. The AP Music Theory course is designed to develop a students ability to
recognize, understand, and describe the basic materials and processes of music that are heard or
presented in a score. These abilities will be developed through various listening, performance, written,
creative, and analytical exercises. Although this course focuses on music of the Common Practice
Period (1600 1900), materials and processes found in other styles and genres are also studied.
Students are encouraged to sit for the College Boards Advanced Placement Music Theory
Examination. Students who successfully complete the AP Music Theory Examination and plan to
major in music in college may be able to enroll in an advanced music theory course, depending on the
individual colleges policy.

COURSE OBJECTIVES:

The objectives below have been adapted from the Expanded

Course Specifications posted on the AP Music Theory Home
Page on the AP Central website.

By the end of this course, students should be able to:

1) Fundamental Terminology and Fundamental Notational Skills
a) Notate and identify pitch in four clefs: treble, bass, alto, and tenor.
b) Notate, hear, and identify simple and compound meters.
c) Notate and identify all major and minor key signatures.
d) Notate, hear, and identify the following scales: chromatic, major, and the three forms
of the minor.
e) Name and recognize scale degree terms, e.g., tonic, supertonic, etc.
f) Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and
Mixolydian (authentic forms only).
g) Notate, hear, and identify whole tone and pentatonic scales.
h) Notate, hear, and identify all perfect, major, minor, diminished, and augmented
intervals inclusive of an octave.
i) Notate, hear, and identify triads including inversions.
j) Define and identify common tempo and expression markings.

2) Compositional Skills
a) Compose a bass line for a given melody to create simple two-part counterpoint in
seventeenth- and/or eighteenth-century style; analyze the implied harmonies.
b) Realize a figured bass according to the rules of eighteenth-century chorale style,
major or minor key, using any or all of the following devices: diatonic triads and
seventh chords, inversions, nonharmonic tones, and secondary-dominant and
dominant seventh chords.
c) Realize a four-part chorale-style progression from Roman and Arabic numerals.
3) Score Analysis
a) Notate, hear, and identify authentic, plagal, half, Phrygian half, and deceptive
cadences in major and minor keys.
b) Identify in score the following nonharmonic tones: passing tone (accented and
unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura,
escape tone, changing tone (cambiata), and pedal tone.
c) Small-scale and large-scale harmonic procedures, including:
i) Identification of cadence types
ii) Roman-numeral and figured-bass analysis, including nonharmonic tones,
seventh chords, and secondary-dominant chords
iii) Identification of key centers and key relationships; recognition of modulation to
closely related keys
d) Melodic organization and developmental procedures:
i) Identify in score scale types and modes
ii) Identify melodic patterning
iii) Identify motivic development and relationships (e.g., inversion, retrograde,
sequence, imitation)
e) Rhythmic/metric organization:
i) Identification of meter type (e.g., duple, triple, quadruple) and beat type (e.g.,
simple, compound)
ii) Hear and identify rhythmic devices and procedures (e.g., augmentation,
diminution, hemiola)
f) Texture:
i) Hear and identify types (e.g., monophony, homophony, polyphony)
ii) Hear and identify types devices (e.g., textural inversion, imitation)
4) Aural Skills:
a) Detect pitch and rhythm errors in written music from given aural excerpts.
b) Notate a melody from dictation, 6 to 8 bars, MAJOR key, mostly diatonic pitches,
simple or compound time, treble or bass clef, 3 to 4 playings.
c) Notate a melody from dictation, 6 to 8 bars, MINOR key, chromatic alteration from
harmonic/melodic scales, simple or compound time, treble or bass clef, 3 to 4
playings.
d) Sight-sing a melody, 4 to 8 bars long, major or minor key, duple or triple meter,
simple or compound time, treble or bass clef, using solfege, pitch names, numbers,
or any comfortable vocal syllable(s).

e) Hear the following nonharmonic tones: passing tone (accented and unaccented),
neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone,
changing tone (cambiata), and pedal tone.
f) Notate the soprano and bass pitches and roman and Arabic numeral analysis of a
harmonic dictation, in eighteenth-century chorale style. Features may include
seventh chords, secondary dominants, major or minor key, 3 to 4 playings.
g) Identify processes and materials in the context of music literature representing a
broad spectrum of genres, media, and styles:
i) Melodic organization (e.g., scale-degree function of specified tones, scale types,
mode, melodic patterning, sequences, motivic development)
ii) Harmonic organization (e.g., chord function, inversion, quality)
iii) Tonal organization (e.g., cadence types, key relationships)
iv) Meter and rhythmic patterns
v) Instrumentation (i.e., identification of timbre)
vi) Texture (e.g., number and position of voices, amount of independence, presence
of imitation, density)
vii) Formal procedures (e.g., phrase structure; distinctions among literal repetition,
varied repetition, and contrast; small forms)

PRIMARY TEXTS:
Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, Vol. 1 with Anthology
CD, 8th ed. New York: McGraw-Hill, 2009.
Phillips, Joel, Jane R. Clendinning and Elizabeth W. Marvin. The Musicians Guide to
Aural Skills, Vol. 1. New York: W. W. Norton & Company, 2005.

ADDITIONAL RESOURCES:
Benjamin, Thomas, Michael Horvit and Robert Nelson. Music for Analysis, 6th ed. New
York: Oxford University Press, 2007.
Burkhart, Charles. Anthology for Musical Analysis (with Postmodern Update), 6th ed.
Belmont, CA: Schirmer, 2008.
Ottman, Robert. Music for Sight Singing, 6th ed. Upper Saddle River, NJ: Prentice Hall,
2004.
Practica Musica. CD-ROM. Vers. 5.165. Ars Nova, 2008. (Available from Mr. Lotze, upon
request)

REQUIRED MATERIALS: (Required by Friday, September 18th)

1) A 1-inch wide, three-ring binder (or a section of a larger binder used for other classes).
Contents of binder must include:
a) Plenty of 8 X 11 lined loose-leaf notebook paper
b) Plenty of 8 X 11 loose-leaf 5-line staff paper (will be supplied by instructor)
c) Section dividers for:
i) Written theory class notes and handouts
ii) Aural theory class notes and handouts
iii) Graded homework, tests, and quizzes
2) Pencils only for all handwritten classwork and homework

COURSE OUTLINE:
Reading assignments and written assignments are given at each class
meeting. Aural skills will be taught and practiced daily for the duration of the course.
Aural Theory
Benward: Chapters 1 & 2
Notation
Scales, Tonality, Keys, Modes
Benward: Chapters 2 & 3
Scales, Tonality, Keys, Modes (cont.)
Intervals and Transposition

Benward: Chapters 2 & 4

Scales, Tonality, Keys, Modes (cont.)
Chords

Week

Phillips: Chapters 1 & 2

Pitch and Pitch Class
Beat, Meter, and Rhythm: Simple
Meters
Phillips: Chapters 3 & 4
Pitch Collections, Scales and Major
Keys
Minor Keys and the Diatonic
Modes
Phillips: Chapters 6 & 7
Pitch Intervals
Triads and Seventh Chords

Written Theory
Benward: Chapter 5
Cadences and Non-Harmonic Tones

Benward: Chapter 6
Melodic Organization

Benward: Chapter 7
Texture and Textural Reduction

Phillips: Chapters 7, 5, & 8

Triads and Seventh Chords (cont.)
Beat, Meter, and Rhythm:
Compound Meters
Intervals in Action (Two-Voice
Composition)
Phillips: Chapters 9 & 10
Melodic and Rhythmic
Embellishment in Two-Voice
Composition
Notation and Scoring
Phillips: Chapters 11
Voicing Chords in Multiple Parts:
Instrumentation

1&2
Benward: Chapter 8
Species Counterpoint

Phillips: Chapters 12
The Basic Phrase Model: Tonic and
Dominant Voice-Leading

3&4

5&6

Test 1 Date T.B.A.

7&8

9 &10

11 & 12

Test 2 Date T.B.A.

13 & 14

15 & 16

Benward: Chapter 8
Species Counterpoint (cont.)

Phillips: Chapters 13
Embellishing Tones

Benward: Chapter 9
Voice Leading in Four-Part Chorale Writing

Phillips: Chapter 14
Chorale Harmonization and
Figured Bass

Test 3 Date T.B.A.

Phillips: Chapter 18
Diatonic Sequences
Phillips: Chapter 15
Expanding the Basic Phrase:
Leading-Tone, Cadential 6/4, and
Passing Chords
Phillips: Chapter 16
Further Expansions of Basic Phrase;
Predominants, 6/4 Chords, and
Other Diatonic Chords
Phillips: Chapter 17
The Interaction of Melody and
Harmony: More on Cadence,
Phrase, and Melody
Phillips: Chapter 19
Intensifying the Dominant:
Secondary Dominants and
Secondary Leading-Tone Chords

17 & 18

20th Century Extension

Brief introduction to 20th Century scales, chordal
structures, and compositional techniques

19 & 20 Benward: Chapter 10

Harmonic Progression and Harmonic Rhythm
21 & 22 Benward: Chapter 11
The Dominant Seventh Chord
Test 4 Date T.B.A.
23 & 24 Benward: Chapter 12
The Leading-Tone Seventh Chord

25 & 26 Benward: Chapter 13

Nondominant Seventh Chords

27 & 28 Benward: Chapter 14

Secondary Dominants and Leading-Tone Chords

29 & 30 Benward: Chapter 15

Modulation

Phillips: Chapter 20
Phrase Rhythm and Motive
Analysis
Supplemental Material
Binary and Ternary Analysis
Supplemental Material
Selected 20th Century Methods and
Materials

Test 5 Date T.B.A.

31 & 32 Benward: Chapter 16
Two-Part (Binary) Form
33 & 34 Benward: Chapter
17
Three-Part (Ternary) Form
35 - END

Final Examination Date T.B.A.

****Compositions will be assigned after each test utilizing skills learned in the previous section. Students will
share their compositions with the class and be required to perform by themselves or with a partner****

EVALUATION:
Each assignment will be given a point value. Grades will be based upon the total points
earned for the course divided by the total number of possible points times 100. Grades will be
based upon demonstration of competencies, as evidenced by:
1) 25% - Written quizzes (Quizzes and sample AP Music Theory test questions will be given on a
regular basis.)
2) 20% - Aural classwork/quizzes (Quizzes and sample AP Music Theory test questions will be
given on a regular basis.)
3) 25% - Exams (Exams will be given at regular intervals.)
4) 20% - Homework (Homework will be given on a regular basis dont fall behind!!)
5) 10% - Daily class participation / Notebook
a) Be on time
b) Have your stuff
c) Be respectful
d) Have an attitude to learn
It is the students responsibility to make up all work missed due to an absence.
5% per day will be deducted for late assignments. Extra credit will not be accepted as a substitute for
missed work.

AP Music Theory
Student Expectations
Agreement
Student Name: _______________________
_______________________

Parent/Guardian Name:

Taking an AP course and exam is a collaborative effort between the student, teacher, and
parent/guardian(s). AP courses are college courses offered in high school, not simply honors level
high school courses. They require students to be self-directed, responsible, and willing to spend an
average of six hours a week doing work outside of class. The student, teacher, and parent/guardian(s)
all play a role and must make the commitment to meet the expectations below:
Student: I have read the syllabus and agree to organize my time and effort to successfully meet the
course requirements. I will notify the teacher immediately if I fall behind in class readings and/or
assignments. I understand that I am expected to complete assignments, readings, and projects outside
of class time. I will take the AP Exam on its scheduled date and time as outlined by the College Board:
www.collegeboard/com/AP
The Parent/Guardian(s): I have read the syllabus, accept the AP course requirements, and will work
with my child and Mr. Stevenson to ensure that my child successfully meets the requirements of the
course. I will pay the exam fee as determined by the College Board. (A deposit is due in January and
the balance is to be paid in April. The deposit is non-refundable.)
The Teacher: I agree to provide rigorous instruction and challenging course content as described in the
AP Course Description. I will provide the student with a copy of the Bulletin for AP Students and Parents
and agree to administer the AP Exam in a fair and secure environment as outlined in the AP
Coordinators Manual.

The required signatures must be obtained in the order listed within the first five days of the AP course.
Failure to have this form completed and returned to Mr. Stevenson within five days of the start of the
________________
Date _
course may result in removal from the course.
________________
Date _

________________
Date _
____________________________________
Student Signature

____________________________________
Parent/Guardian Signature

____________________________________
AP Teacher Signature