Music Theory, rm 174Instructor: Mr. BershOffice: Room 179email: brian.bersh@apsva.usPhone: 703-228-5370

Course Description (As provided in the Program of Studies)Music Theory (29225)Full year, one creditGrades 9 - 12

Prerequisite: Some background in vocal or instrumental musicMusic Theory is a course designed to study the structure of music. It includes ear training, sight singing, and voice leading. Emphasis is placed on practical application of theory and student creativity in original musical compositions.

This class also serves to prepare students for success in AP Music Theory. The course will include:I. Musical Terminology

A. Terms for intervals, triads, seventh chords, scales and modes.B. Terms pertaining to rhythm and meter, melodic construction and variation,

harmonic function, cadences and phrase structure, texture small forms and musical performance.

II. Notational SkillsA. Rhythms and meters.B. Clefs and pitches.C. Key signatures, scales and modes.D. Intervals and chords.E. Melodic transposition.

III. Basic Compositional SkillsA. Four-voice realization of figured-bass symbols and Roman numerals.

B. Composition of a bass line (with chord symbols) for a given melody.IV. Score Analysis (with or without aural stimulus)

A. Small-scale and large-scale harmonic procedures, including:1. Identification of cadence types.2. Roman-numeral and figured-bass analysis, including nonharmonic

tones, seventh chords and secondary-dominant chords.3. Identification of key centers and key relationships; recognition of

modulation to closely related keys.B. Melodic organization and developmental procedures

1. scales (e.g., major, minor, pentatonic, whole-tone, modal).2. motivic development and relationships (e.g., inversion, retrograde,

sequence, imitation).C. Rhythmic/metric organization

1. meter type (e.g., duple, triple, quadruple, irregular) and beat type (e.g., simple, compound).

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2. rhythmic devices and procedures (e.g., augmentation, diminution, hemiola).

E. Traditional American Song Forms

V. Aural SkillsA. Sight-singing (major and minor modes, treble and bass clefs, diatonic and

chromatic melodies, simple and compound meters).B. Melodic dictation (major and minor modes, treble and bass clefs, diatonic

and chromatic melodies, simple and compound meters).C. Harmonic dictation (notation of soprano and bass lines and harmonic analysis in a

four-voice texture).D. Identification of isolated pitch and rhythmic patterns.E. Detection of errors in pitch and rhythm in one- and two-voice examples.

Course Objectives:At the end of this course, students should be able to:

1. Notate pitch and rhythm in accordance with standard notation practices.2. Read melodies in treble, bass, and movable C clefs. 3. Write, audiate, and sing melodies, bass lines, and scales in each mode and all three forms

of minor.4. Recognize by ear and by sight all intervals within an octave.5. Use the basic rules that govern music composition. 6. Harmonize a melody with appropriate chords using good voice leading. 7. Analyze the chords of a musical composition by number and letter name. 8. Transpose a composition from one key to another. 9. Express musical ideas by composing and arranging. 10. Understand and recognize basic song forms.11. Write simple rhythmic, melodic, and harmonic dictation. 12. Read conventional scores and jazz lead sheets.

Expectations of Students1. Students will participate in all classroom discussions and activities, including singing. 2. Students will complete all assigned exercises and readings. 3. Students will keep and maintain a Music Theory notebook, which will include class

notes, handouts, and assignments.4. Students will respect all equipment and peers. Students are responsible for replacing any

equipment they are found to have damaged as a result of neglect/inappropriate behavior.

Materials that Students Are Expected to Provide• Notebook & Pencil(s)

• Manuscript paper

• Smart Music Subscription. http://www.smartmusic.com. A 1-year subscription costs $40/year. For students who are unable to purchase their own copy, they will be able to use the software on school computers. However, they will need to schedule time to use the

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software before/after school or during lunches. Extensions will not be provided for assignments, and passes will not be provided for students to miss other classes to complete coursework for Music Theory.

Texts Used in Class

Benward, B., Carr, M., & Kolosick, T.J. (1998). Introduction to Sightseeing and Ear Training (2nd ed.). Boston, MA: McGraw-Hill Companies, Inc.

Cook, F.D. (2012). Pro Tools 101. Boston, MA: Cengage Learning.

Huber, D.M., & Runstein, R.E. (2010). Modern Recording Techniques (7th ed.). Burlington, MA: Focal Press.

Kostka, S., & Payne, D. (2008). Tonal Harmony: with an Introduction to Twentieth-Century Music (6th ed.). New York, NY: McGraw-Hill.

Kostka, S., & Payne, D. (2008). Workbook for Tonal Harmony: with an Introduction to Twentieth-Century Music (6th ed.). New York, NY: McGraw-Hill.

Smithers, B. (2010). Mixing in Pro Tools (2nd ed.). Boston, MA: Cengage Learning.

Smart Music Texts - smartmusic.com

• 90 Days to Sight Reading Success, A Singer’s Resource for Competitive Sight Singing

• Sing at First Sight

Students will be held accountable for damage to/misplacement of texts.

Resources

www.musictheory.net www.mhhe.com/tonalharmony6

Assignments• All assignments will be given a due date.

• Students are expected to take notes on all readings for class discussions unless otherwise specified. Information from all readings/assignments may be present on the final exam.

• For all assessments (sight singing/dictation/composition assignments), students will receive a rubric in advance so that they understand exactly how they will be graded. The instructor will also prepare students for each test format they will encounter.

• Under all circumstances, students will be provided with clear guidelines for how to achieve an “A.”

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Late PolicyHomework can be turned in for half-credit within one week of the original due date. Unless specifically indicated by the instructor, any homework turned in later than one week from the original due date will not be accepted.

If a student misses an in-class assignment due to absence, they must contact the instructor immediately (in advance if possible) to make up the work. In-class assignments must be made up within one week of the original due date. Unless specifically indicated by the instructor, any assignment not completed within one week from the original due date will not be accepted.

Zeroes will be assigned for work assignments or tests missed during an unexcused absence, not as punishment, but as an accurate evaluation of the student's performance on that day. Disciplinary action (e.g., detention) or additional work assignments may be assigned to students who are tardy. Teachers are not required to assume added duties in order to permit students with elected absences to make up tests or other work.

Course CalendarNote: The instructor reserves the right to make changes. Course progress will reflect the growth and development of the students. All exams will be announced. All units include listening, written, creative and sight singing components related to the unit topic.First Quarter 9/2-11/3Weeks 1-2. 9/2-9/12 *Labor Day 9/1Written skills: Notation of the staff, Major Scale, Major Key Signatures. (Kostka & Payne Ch. 1)Oral/Aural Skills: Immersion in Major Tonality, Singing major tonal patterns with and without solfege.DAW: Edit Tool Functions & Midi Control Features

Weeks 3-4. 9/15-9/26 *Back to School Night 9/23Written skills: Minor Scale, Minor Key Signatures, Scale Degree Names, Intervals & their inversions. (Kostka & Payne Ch.1)Oral/Aural Skills: Chanting duple & triple rhythm patternsRecording: Dynamic Mics,DAW: Creating A Session, Making Your First Audio Recording.

Weeks 5-6. 9/29-10/10 Written skills: Rhythm, Beat, Tempo, Meter, Simple & Compound Time Signatures, Rests. (Kostka & Payne Ch. 2)Oral/Aural Skills: Immersion in Minor Tonality, Singing minor tonal patterns with and without solfege. Singing harmonic and melodic intervals, ascending. Singing and recognizing major and augmented triads and major seventh chords.Recording: Condenser Mics DAW: Importing Audio & Making Midi Recordings.

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Weeks 7-9. 10/13-10/31 *10/13 Columbus Day, 10/24 Early ReleaseWritten skills: Triads, Seventh Chords & their inversions, Figured Bass, Roman Numeral Analysis, Lead Sheet Symbols. Transposing simple melodies using solfege. (Kostka & Payne Ch.3) Oral/Aural Skills: Dictation of duple & triple rhythm patterns, singing and recognizing minor & diminished triads and minor seventh chords.Recording: Ribbon MicsDAW: Selecting/Editing/Navigating Techniques. Mixing Techniques & Bouncing Files.

Second Quarter 11/5-1/16Weeks 10-11. 11/5-11/14. *Veterans Day Holiday 11/11Written skills: Diatonic chords in major & minor keys, Principles of voice leading, including objectionable parallels and understanding foundations of the melodic line. (Kostka & Payne Ch.4-5)Oral/Aural Skills: Applying solfege to folk songs in major and minor tonality. Identifying ascending and descending intervals by ear.DAW: Polar Patterns & EQ

Weeks 12-13. 11/17-11/28. *Thanksgiving Holiday 11/26-11/28 Written skills: Continuation of understanding the principles of voice leading - incorporating review of all information to this point, with a focus on understanding figured bass and lead sheet symbols for harmonic analysis. (Kostka & Payne Ch. 5)Oral/Aural Skills: Dictation of major and minor folk songsRecording: Live Sound vs. Recorded SoundDAW: Time-Based Effects (Delay, Reverb) & Dynamics (Compression, Limiting, Expansion, Gating)

Weeks 14-16. 12/1-12/23.Written skills: Root Position Part writing in 3- & 4-part textures for repeated roots and chords a 4th and 5th apart. (Kostka & Payne Ch. 6)Oral/Aural Skills: Immersion in Dorian and Mixolydian tonality.Recording: General Miking Techniques DAW: Special Effects (Chorus, Flanging, De-Essing)

Winter Break

Weeks 17-18. 1/5-1/16. Written skills: Root Position Part writing in 3- & 4-part textures for chords a 3rd & 6th apart, and a 2nd & 7th apart. Harmonization of a given melody in four parts. (Kostka & Payne Ch. 6)Oral/Aural Skills: Singing of Mixolydian and Dorian tonal patterns and Tune up on solfege. Begin sight reading (Benward, Carr, & Kolosick).Recording: Instrument Specific Miking Techniques

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DAW: Organizing a Mix

Third Quarter 1/21-3/27Weeks 19-21. 1/19-2/6. *MLK Holiday 1/19, Teacher Planning Day 1/20Written skills: Understanding Instrumental Ranges & transpositions. Realizing Figured Bass in four parts. (Kostka & Payne Ch. 6)Oral/Aural Skills: Singing of Mixolydian and Dorian tune up without solfege.Recording: Advanced Signal FlowDAW: Bouncing your Mix and Doubling Parts

Weeks 22-23. 2/9-2/20. *Early Release 2/13 *Presidents Day Holiday 2/16Written skills: Introduction to harmonic progressions, understanding sequences and the Circle of 5ths. Begin Harmonizing simple melodies. Realize a figured bass and write out four part harmonies. Arrange small instrumental ensemble pieces to figured bass and lead sheet symbols. (Kostka & Payne Ch. 7)Oral/Aural Skills: Review of Major, Minor, Dorian, and Mixolydian tonalities. Sight reading in those tonalities. Foundations of improvisation through singing in major and minor tonality.DAW: Automation, Stems & Submixes.

Weeks 24-25. 2/23-3/6. Written skills: Introducing harmonic progressions utilizing first-inversion triads. Introduction of harmonic progressions that incorporate triads in second inversion. (Kostka & Payne Ch. 8-9)Oral/Aural Skills: Review of interval identification and recognition of chord qualities by ear.DAW: Side-Chain Processing.

Weeks 26-28. 3/9-3/27.Written skills: Introduction of Musical form, Cadences, motives, phrases, and periods. Also, binary and ternary forms & the 12 bar blues. Melodic construction, including motives, cadences, antecedent and consequent phrases are discussed. Analyze repertoire for previously stated elements using Anthology text (Kostka & Graybill). Understanding non-chord tones (appoggiaturas, escape tones, neighboring tones, etc). (Kostka & Payne Ch. 10-13, & 20)Oral/Aural Skills: Begin Immersion in Lydian and Phrygian tonalities, continue sight reading work.DAW: Multi-Track Sessions.

Spring Break

Fourth Quarter 4/6-6/18

Weeks 29-30. 4/6-4/17. *Grade Preparation Day 4/6Written skills: Diatonic Seventh Chords - voice leading considerations and resolutions. (Kostka & Payne Ch. 13-15)Introduction of whole tone and pentatonic scales.Oral/Aural Skills: Recognizing cadences and form by ear.

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DAW: Multi-Track Sessions continued . . .

Weeks 30-31. 4/20-5/1 Oral/Aural Skills: Singing tune ups with and without solfege for Lydian and Phrygian tonality.DAW: Multi-Track Sessions continued . . .

Weeks 32-33. 5/4-5/15.Basic Studio/ DAW Set-upInterface, Computer, Software, Input/Output Devices, Analog vs. Digital Audio.DAW: Multi-Track Sessions continued . . .

Weeks 34-38. 5/18 – 6/18 *Memorial Day Holiday 5/25Final Project: End of year composition. Utilizing the composition skills and DAW skills. Project must be approved by instructor. Example of acceptable project: students will find a piano piece, analyze it with lead sheet symbols and/or Roman Numeral analysis, and create an arrangement using Sibelius 7 music writing notation software. Students can also create an original song. These songs will be recorded by the students using techniques learned during the course. These arrangements can be worked on with partners.*Last day of school 6/18Presentation/Performance of Final Projects.

Determination of Quarterly Grades Determination of Final Grade

15% Homework20% Sight-Singing20% Dictation20% Unit Tests/Quizzes5% Class Participation20% Compositions

25% First Quarter Grade25% Second Quarter Grade25% Third Quarter Grade25% Fourth Quarter Grade

Final Project will count for 10% of the 4th quarter grade.

Homework: Includes any assignment that is provided to be submitted in its complete form. Most homework assignments will come from the texts, including the workbook.

Sight-Singing: The act of singing standard notation without having previously seen the music.Ex: Singing selections at first sight from the Benward, Carr, & Kolosic text.

Dictation: The act of notating music in standard notation “by ear.”Ex: Students will listen to excerpts from the canon of western classical music and be asked to write down what they hear as being the main melodic line using standard notation.

Unit Tests/Quizzes: Will address units of study, and will always be given with prior notice and in a format that is familiar.

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Class Participation: Based on a 3-point scale for each class. 1 point: Student has materials ready for class (manuscript paper, pencil . . .) Students will always be given advanced notice of what materials are necessary. 1 point: Student has texts/appropriate pre-assigned materials for the day.1 point: Student participates in class discussion/performances.These points reflect what has been deemed necessary by the instructor to be successful in the course of a class period.

Compositions: Projects that will enable students to demonstrate their understanding of music concepts through creative compositional exercises.Ex: In SATB style, students will write and resolve the following secondary dominants: V7/V in C, V/IV in F, and V/vi in Eb. Students will also complete larger projects consisting of realizations of figured bass in four parts, and arrangements for small ensembles.

GRADING SCALELetter Grade Percentages Quality Points AP & IB

Quality Points A 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100 4.0 5.0 B+ 87, 88, 89 3.5 4.5 B 80, 81, 82, 83, 84, 85, 86 3.0 4.0 C+ 77, 78, 79 2.5 3.5 C 70, 71, 72, 73, 74, 75, 76 2.0 3.0 D+ 67, 68, 69 1.5 2.5 D 60, 61, 62, 63, 64, 65, 66 1.0 2.0 E 0-59 0.0 0.0

Student grades reflect student achievement and not student behavior.Quarterly grades will round up when the percentage is .5 or higher.

In addition to achievement, work habits as noted in the report card comments will be evaluated for each course using the following symbols:

+ - Surpasses Expectations# - Meets Expectations^ - Approaching ExpectationsN - Needs Improvement

The final grade is required to be calculated using the quality points and not percentages, letter grades, number or point systems.

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Please sign and return by 9/23 to signify that you have read and understand the content of this document.

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Music Theory Syllabus 2014-2015