The AP Music Theory Exam will be at 7:30am on Friday, May 17th.
Please meet in the Band Room at 7:25am
We are currently learning meter and time signatures.
1. Duple, Triple, and Quadruple = what the conductor is beating
2. Simple Meter is when the beat is divisible by 2
Compound is when the beat is divisible by 3
Eg. Compound Triple is be 9/8 time.
COMPOSITION: Nursery Rhyme Melody
Simple Songwriting 101:
The composition will be due Tuesday, October 2nd. You will have all period this Friday (Sept. 28th) to work on it.
NOTE* Take Home Test on Major and Minor Scales and Key Signatures is Due Wednesday!
1, 4, 5, 8, = Diminished/Perfect/Augmented Qualities
2, 3, 6, 7, = Diminished/Minor/Major/Augmented Qualities
Look at STAFF for # and KEYBOARD for Quality!!!
This week we are working on Major and Minor Key Signatures and Scales.
Our study of Intervals will begin on Wednesday, August 29 and continue until Wednesday, September 5th.
1. Sight Singing Test: #16-19 is Due on Thursday, August 30th at Midnight. Submit your recording to firstname.lastname@example.org. Please state your name and the number you are singing. You may choose any from the list.
2. There will be an Interval Quiz on Wednesday, August 29th.
3. The first big test (Chapter 1: Scales, Keys, and Intervals) will be Friday, September 7th.
Remember that Music Theory is a Spiral Curriculum! Just like math, we build on previous information! Please ask if you start to get confused!
AP Theory: August 25-29th8/24/2014
This week we are covering the following GA Standards:
1. Major and Minor Key Signatures and Forms of Scales
2. The tonal relationship between key areas or Tonal Centers.
3. Sight-Singing and Melodic Dictation.
You will need to be able to define the following tonal relationships.
1. Relative Keys: Keys that have the same pitches (key Signature) but different tonic. (F and d)
2. Parallel Keys: Keys that share a tonic, but have different key signatures. (A and a)
3. Enharmonic Equivalent Keys: Keys that have a tonic that is Enharmonic (F# and Gb)
4. Closely Related Keys: Keys that are within ONE accidental of each other. (C, a, G, e, F, d)
5. Foreign Keys: Keys that are NOT Closely Related. (D, E)
Be able to notate Major scales and the three forms of minor scales: natural, melodic, and harmonic, both with and without accidentals, as well as correctly define key signatures in Major and minor modes and their relationship to each other.
Major Scale: Half steps between 3/4 and 7/8
Natural Minor Scale: Half steps between 2/3 and 5/6 (Matches the Key Signature)
Harmonic Minor Scale: Half steps between 2/3, 5/6 and 7/8. (It is a natural minor scale with a raised 7th scale degree.
Melodic Minor Scale: Half steps between 2/3 and 7/8. (It is a natural minor scale with raised 6th and 7th scale degrees and then use the natural minor on the descent.)
This week we are learning how to construct a simple melody.
a. Mostly it needs to be conjunct
b. It needs a high point and a low point
c. It should begin and end on tonic
d. All melody tones that fall on a strong beat should be a chord tone of the supporting harmonic structure
We are also learning how to compose a simple counterpoint line against a given melody
a. Use only consonances: m3, M3, m6, M6, P1, P5, P8
Perfect intervals need to be approached by contrary motion and cannot appear with too many in succession
b. Avoid all dissonant harmonies. Forbidden intervals are m2, M2, P4, m7, and M7 and ALL Augmented and Diminished intervals
c. Always start with tonic in the lower voice and end with tonic in the upper voice
Sight-Singing Test THIS FRIDAY!!!
There are three different kinds of 6/4 chords. All of them must be approached and resolved by step, because they are UNSTABLE.
1. Cadential 6/4 I6/4 Bass Line= Sol Sol Do STRONG BEAT
Common Progression: I6/4 V7 I
2. Pedal 6/4 IV6/4 or I6/4 Bass Line = Do Do Do or Sol Sol Sol WEAK BEAT
Common Progressions: I IV6/4 I or V I6/4 V
3. Passing 6/4 Bass Line = Do Re Mi or Mi Re Do (stepwise) WEAK BEAT
Common Progressions: I V6/4 I6
QUIZ on WEDNESDAY 01.13.16
Sight-Singing test on Friday 01.15.16
This week in AP Music Theory:
1. MHSAMTh.1 Sight Singing Next Test: Friday, November 20th.
Prepared: #41 thru #43
Unprepared: Mostly Conjunct motion, Diatonic Triad Leaps and Major Keys
NEXT TEST: Thursday, November 19th. Part-writing in Root Position and 1st Inversion.
Chapters 5 and 6.
2. Homework: MHSAMTh.4 and MHSAMTh.8b Compositional and arranging based worksheets out of the Kostka and Payne Workbook. Adding Tenor and Alto parts to a 40-voice texture in the style of the common practice period.
3. New Skill Concepts below:
In Root Position: Double the root (the bass)
In First Inversion: Double anything BUT the leading tone
In Second Inversion: Double the fifth (the bass)
For final triad: You may Triple the root and have one third (omit the 5th)
In Root Position: You may double the root and omit the 5th.
In any other inversion: All chord tones must be present.
1. No Parallel P5, P8, or P1
2. Avoid Direct 5ths, 8ves, and Unisons
3. Observe all spacing rules: No more than an octave between adjacent upper voices
4. Avoid Voice Crossing and Voice Overlap
Triads 7th Chords and Inversions
UNIT TEST: April 15th
This week we are learning about triads: major, minor, augmented, and diminished and the five categories of 7th Chords: major seventh, minor seventh, dominant 7th, half-diminshed seventh and fully-diminished 7th chords.
We are also learning the inversions. We will have a unit test on Thursday, October 2nd.
All Triads and 7th chords and how to build them in thirds.
The following charts must be memorized:
M = I ii iii IV V vi viio I m = i iio III iv V VI viio i
M7 = I7 ii7 iii7 IV7 V7 vi7 vii /o7 m7 = i7 ii o/7 III7 iv7 V7 VI7 viio7
Triads 7th Chords
r 3 5 r 3 5 7
6 6 7 6 4 4
4 5 3 2