Walton AP Institute
July 11-14, 2011
Advanced Placement Music Theory
Melissa Cox,
Department of Music,
Emory University
[email protected]
1
Table of Contents
Workshop Overview
4-6
General Topics
Content and Coverage
7-8
Important Resources
9
Example Textbook List
10-12
AP Readers’ Favorite Web Sites
13-15
Common Challenges
Tendency Tones: Leading Tones
16-17
Other Tendency Tone Treatment:
Resolving Dominant Seventh Chords
17-19
Chord Use
20
Voice Leading Challenges
21
Ascending stepwise bass lines
22-23
Approaching S-B perfect intervals
24
Creative Exercises: Composition
25-30
Creative Exercises: Transcription (Ear Training)
31
2
Nuts and Bolts
Cadence Formulas
32-33
Common Melodic Formulas (“Chunks”)
34
Rhythm Patterns (“Chunks”)
35
Easily Confused Progressions: Aural Practice
36
Creating a Keyboard Accompaniment
37-38
Melodic Tags for Interval Identification
39-42
Appendix
2011 AP Exam Free Response Questions
43-51
2006 AP Exam Free Response Questions
52-58
3
Walton-APSI 2011 Workshop Overview
GOALS & OBJECTIVES
The overall goal of this workshop is to familiarize participants with the AP Music Theory course and
examination, and to share effective pedagogical and classroom strategies for the course, specifically:
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To offer an overview of the current content expectations of an AP Music Theory course
To gain or deepen familiarity with the current format and grading of the AP Music Theory
examination
To examine various course structures, including issues of prerequisites, schedules, pacing, and
the integration of aural and written theory skills
To examine and discuss available printed and electronic teaching/learning resources.
To share teaching techniques, lesson plans, and other means for more effective
teaching/learning
To review specific aspects of music theory covered in the examination, as suggested by the
participants
To discuss practical matters relating to starting and sustaining an AP Music Theory class
To foster a mutually helpful network of experienced and newer AP Music Theory teachers.
Note: Although we will cover all the topics below, the actual schedule is flexible, depending on the
participants’ needs and logistical considerations.
Monday 7/11
Morning Session (9:30-12:30)
1. Introductions, survey of participants’ workshop goals.
2. Workshop overview and review of packets.
3. Building an AP* Music Theory Program: rationale and recruitment, accessibility and prerequisites, the
one-year vs. the two-year sequence, block vs. daily classes
4. Course overview: the College Board, the role of the AP® exam in course planning, "teaching to the
exam", and the challenges of an external curriculum
5. The AP Course Audit: Preparing a Syllabus
6. Scope and Sequence: planning the course
7. Introduction to effective teaching demonstration assignment; groups
Afternoon Session (1:30-4:30)
1. Written Theory, or “Items without aural stimulus”, from basics to advanced concepts
2. Score analysis, from basics to advanced concepts:
a. Single items - basics
b. Analysis from scores
c. Sources for complete scores and excerpts; spiral packets
d. Fundamentals to advanced: writing practice questions
3. Using the Teachers Guide as a benchmark
4. Effective pedagogy for basics
5. The multiple choice non-aural part of the AP exam and its grading
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Tuesday 7/12
Morning Session (8-12)
1. Sight singing: Basic skills/knowledge needed for competence
a. Sight singing methods
b. Integration of sight singing and aural skills
c. The 2010 exam and student samples; grading procedures
d. Previous exams and reader comments/recommendations
2. Melodic dictation: Basic skills/knowledge needed for competence
a. Integration of dictation, sight singing and other aural skills
b. The 2010 exam and student samples; grading procedures
c. Previous exams and reader comments/recommendations
3. Pedagogy: what works for successful AP teachers.
4. Composing good practice exercises
Afternoon Session (1-4:30)
1. Written skills: Part-writing; basic skills/knowledge needed for competence.
a. Chord construction and voice leading review
b. The 2010 exam and student samples; grading procedures
c. Previous exams and reader comments/recommendations
2. Written skills: figured bass realization; basic skills/knowledge needed for competence.
a. Review of figures
b. The 2010 exam and student samples; grading procedures
c. Previous exams and reader comments/recommendations
3. Pedagogy: methods and strategies for building skills
4. Integration of written and aural skills
5. Using student composition as a tool; promoting creativity within the common-practice style
6. Planning for group teaching demonstrations
Wednesday 7/13
Morning Session (8-12)
1. Textbooks and other resources
a. Using electronic and online resources effectively
b. Online resources, including the AP* Music Theory Web site
c. Other technology resources, including CD-ROM programs, theory fundamentals programs,
and notation programs
2. Listening and analysis
a. Methods and strategies for building skills: using anthologies effectively; incorporating a
variety of genres, styles, and periods
b. Sample questions; skills/knowledge needed for competence
c. Writing practice questions
2. 10:30-12:00 Computer lab; planning for group presentations
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(Wednesday, 6/29)
Afternoon Session (1-4:30)
1. Harmonic dictation: skills/knowledge needed for competence; relationship to melodic harmonization.
a. Review of chord grammar
b. Chunks and common gestures
c. The 2011 exam and student samples; grading procedures
d. Previous exams and reader comments/recommendations
2. Melody harmonization: skills/knowledge needed for competence
a. Review of chord grammar continued
Thursday 7/14
Morning Session (8-12)
1. Melody Harmonization continues
a. Chunks and melodic fragments
b. The 2010 exam and student samples; grading
c. Previous exams and reader comments/recommendations
d. More sample questions; knowledge/skills needed for competence
Afternoon Session Session (1-4:30)
1. Overflow: topics not completed above; covering or expansion of topics as requested by participants.
2. Effective teaching methods demonstrations by participants
3. Distribution of textbooks and other materials.
4. Evaluations
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Content and Coverage in AP Music Theory
Note: You and your textbook may choose to organize these topics differently and cover them in a
different order. There are many ways of teaching theory that work well, as long as the material below is
covered.
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Fundamentals 1
Written
staff, treble, bass and c clefs, note names, major and minor key signatures, circle of fifths
intervals, major and minor scales (diatonic modes)
note values, simple meter and metric patterns in simple meter
Aural
sight singing and dictation using stepwise and triad outline major and minor melodies
sight singing and dictation using simple-meter metric patterns
identifying major/minor and simple meter types in music literature
Fundamentals 2
Written
triads and inversions, inc. figured bass notation
seventh chords and inversions, inc. figured bass notation
6/4 chord use
embellishing tones
cadences
scale degree names and diatonic chord vocabulary
compound meters and metric patterns in compound meters
Aural
aural recognition of MmAd triads
aural recognition of root position or inversion positions; finding the root
aural recognition of cadences
melodic dictation and sight singing with triadic and seventh chord outlines
melodic dictation and sight singing using compound meter metric patterns
Intermediate 1
Written
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tonic/dominant progressions
vii0(7) as a dominant function chord
the cadential 6/4
chord voicing and spacing
SATB tonic-dominant voice leading
melodic structure/establishing a key melodically
melody harmonization using V and I and their inversions
Aural
 harmonic dictation of tonic/dominant progressions
 sight singing/melodic dictation using longer melodies, tonic/dominant outlines, simple and
compound meter
(Continued on next page)
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aural analysis of literature excerpts including finding tonic, identifying cadences, simple and
compound meters
melodic/harmonic analysis of literature excerpts
Intermediate 2
Written
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predominant harmonies (ii and IV)
SATB voice leading procedures (I, ii, IV and V(7))
melody harmonization using I, ii, IV, V(7) and vii0(7) and their inversions
figured bass realization (SATB)
phrase/period structure
motive
tonal melody composition
melodic/harmonic analysis of literature excerpts including phrase structure and motive
identification
Aural
harmonic dictation including predominant-dominant-(tonic) progressions
sight singing/melodic dictation using longer melodies, expanded chord vocabulary (ii and IV
outlines)
aural analysis of literature excerpts including hearing phrase structure
Advanced
Written
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proper use of iii and vi
melodic and harmonic sequences
V/V and vii0(7)/V
secondary chords to areas other than V
recognition of simple modulation
melody harmonization with all diatonic chords as possibilities
advanced SATB figured bass realization – correct chords and voice leading
analysis of literature excerpts that include all harmony studied, phrase structure, cadences,
sequences, embellishing tones, and modulation recognition
Aural
harmonic dictation including all chords covered
melodic and harmonic dictation of sequence patterns
sight singing of longer melodies, including chromaticism
aural analysis of literature excerpts including motivic structure, phrase structure, cadences,
modulation recognition, etc.
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Important Resources for the AP Music Theory Teacher
Must-haves:
General
1. A quality current music theory textbook, preferably with chapter exercises or a workbook.
2. A source of materials for sight singing and dictation. Possibilities include:
 the aural skills book that accompanies the textbook
 an independent aural skills (sight singing/dictation) book
 an online source
 teacher-generated materials
3. A source of written and audio musical excerpts for analysis. Possibilities include:
 the musical examples in the textbook
 an anthology, either independent or the one that accompanies the textbook
 an online source
 teacher-generated materials
From the College Board
4. The AP Music Theory Teacher’s Guide
5. The AP Music Theory Course Description
6. The 2008 and 2003 Released AP Music Theory Examinations
Helpful and recommended:
7. From the AP Music Theory Home Page>Examination information: free response questions (with
audio files, student samples and question evaluations) from 1999-2009.
8. The AP Music Theory EDG (Electronic Discussion Group)
9. (New) Barron’s AP Music Theory
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Example Textbook List for AP Music Theory
Note to teachers: As the AP Music Theory course includes written theory, score study, and aural skills,
the course materials for the class should include either a textbook from each category below, or
approved instructor-generated materials that substitute for a textbook for each category.
Written Theory: Harmony and Comprehensive Texts
The textbooks below are normally used for college or university first- and second-year core music theory
courses. Unless otherwise indicated, the texts include diatonic and chromatic harmony, part-writing,
analysis, and some coverage of tonal forms and twentieth-century repertoire. Books in this classification
are appropriate for AP Music Theory courses, though any individual book may not cover all topics taught
within a specific university's curriculum or those tested in the AP Music Theory Exam.
Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading, 3rd ed. Belmont, CA:
Schirmer, 2002.
Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Materials of Tonal
Music: From the Common Practice Period to the Twentieth Century, 6th ed. Belmont, CA:
Thomson-Wadsworth, 2003.
Benward, Bruce, and Marilyn Saker. Music in Theory and Practice, 7th ed. New York:
McGraw-Hill, 2003
Clendinning, Jane Piper, and Elizabeth West Marvin. The Musician's Guide to Theory and
Analysis. New York: W. W. Norton, 2004.
Clough, John, and Joyce Conley. Basic Harmonic Progressions: A Self-Instruction Program,
1st ed. New York: W. W. Norton, 1984.
Gauldin, Robert. Harmonic Practice in Tonal Music, 2nd ed. New York: W. W. Norton, 2005.
Henry, Earl, and Michael Rogers. Tonality and Design in Music Theory, 1st ed. Vols. 1 & 2.
Englewood Cliffs, NJ: Prentice Hall, 2005.
Kostka, Stefan, and Dorothy Payne. Tonal Harmony, 5th ed. New York: McGraw-Hill, 2003.
Laitz, Steven G. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and
Listening. New York: Oxford University Press, 2003.
Mayfield, Connie. Theory Essentials: An Integrated Approach to Harmony, Ear Training, and
Keyboard Skills. Vols. 1 & 2. Belmont, CA: Schirmer, 2003.
Merryman, Marjorie. The Music Theory Handbook, 1st ed. Belmont, CA: Schirmer, 1996.
Ottman, Robert W. Elementary Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ:
Prentice Hall, 1998.
Ottman, Robert W. Advanced Harmony: Theory and Practice, 5th ed. Englewood Cliffs, NJ:
Prentice Hall, 2000.
Roig-Francoli, Miguel. Harmony in Context. New York: McGraw-Hill, 2002.
Russell, Armand, and Allen Trubitt. The Shaping of Musical Elements, 1st ed. New York:
Schirmer, 1992.
Spencer, Peter. The Practice of Harmony, 5th ed. Englewood Cliffs, NJ: Prentice Hall, 2003.
Steinke, Greg A., and Paul O. Harder. Harmonic Materials in Tonal Music: A Programmed
Course, 9th ed. Parts 1 and 2. Boston: Prentice Hall, 2001.
Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2008.
Turek, Ralph. The Elements of Music: Concepts and Applications, 2nd ed. Vols. 1 & 2. New
York: McGraw-Hill, 1995.
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Anthologies for Music Analysis and Study
The anthologies included here are commonly used for music theory and analysis classes at colleges and
universities. For anthologies, any edition of the texts listed below is acceptable as their content is
composed of musical scores, which would remain appropriate for classroom use.
Arlin, Mary I. Music Source: A Collection of Excerpts and Complete Movements, 2nd ed.
Englewood Cliffs, NJ: Prentice Hall, 1997.
Benjamin, Thomas E., Michael E. Horvit, and Robert Nelson. Music for Analysis: From the
Common Practice Period to the Twentieth Century, 5th ed. New York: Oxford University
Press, 2000.
Briscoe, James. New Historical Anthology of Music by Women, 2nd ed. Bloomington, IN:
Indiana University Press, 2004.
Burkhart, Charles. Anthology for Musical Analysis, 6th ed. Belmont, CA: Schirmer, 2003.
Clendinning, Jane Piper, and Elizabeth West Marvin. Anthology to Accompany The Musician's
Guide to Theory and Analysis. New York: W. W. Norton, 2005.
Kostka, Stefan, and Roger Graybill. Anthology of Music for Analysis. Englewood Cliffs, NJ:
Prentice-Hall, 2002.
Melcher, Robert A., Willard F. Warch, and Paul B. Mast. Music for Study, 3rd ed. Englewood
Cliffs, NJ: Prentice Hall, 1988.
Turek, Ralph. Analytical Anthology of Music, 2nd ed. New York: McGraw-Hill, 1992.
Aural Skills: Sight Singing, Ear Training, Keyboard, and Rhythmic Reading Texts
The textbooks included here are used in college and university aural skills programs and are suitable for
use in AP Music Theory curricula. Some texts only include specific skills -- for example, rhythm only or
sight-singing only -- and would be used in combination with other materials to cover the sight-singing,
melodic and harmonic dictation, and contextual listening (listening to music literature) elements of the
AP Music Theory exam. For aural skills, any edition of the texts listed below is acceptable.
Benjamin, Thomas E., Michael Horvit, and Robert S. Nelson. Music for Sight Singing, 4th ed.
Belmont, CA: Schirmer, 2004.
Benward, Bruce, and Maureen A.Carr. Sightsinging Complete, 6th ed. New York: McGraw-Hill,
1998.
Benward, Bruce, and J. Timothy Kolosick. Ear Training: A Technique for Listening, 7th ed. New York:
McGraw-Hill, 2004.
Berkowitz, Sol, Gabriel Fontrier, and Leo Kraft. A New Approach to Sightsinging, 4th ed. New
York: W. W. Norton, 1997.
Brings, Allen, Charles Burkhart, Roger Kamien, Leo Kraft, and Flora Pershing. A New Approach
to Keyboard Harmony, 1st ed. New York: W. W. Norton, 1979.
Damschroder, David A. Listen and Sing: Lessons in Ear Training and Sight-singing, 1st ed.
Belmont, CA: Schirmer, 1995.
Hall, Anne Carothers. Studying Rhythm, 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 2004.
Horvit, Michael, Robert Nelson and Timothy Koozin,. Music for Ear Training, 3rd ed. Cengage Learning,
2008.
Kazez, Daniel. Rhythmic Reading: Elementary Through Advanced Training, 2nd ed. New York:
W. W. Norton, 1997.
Karpinski, Gary, and Richard Kram. Sight Singing and Ear Training: Anthology and Sight
Singing and Ear Training: Manual with CD ROM. New York: W. W. Norton, 2005.
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Kraft, Leo. A New Approach to Ear Training: A Programmed Course in Melodic and Harmonic
Dictation. 2nd ed. New York: WW Norton, 1999
Krueger, Carol. Progressive Sight Singing, 1st ed. New York: Oxford University Press, 2006.
Ottman, Robert, and Nancy Rogers. Music for Sightsinging, 7th ed. Englewood Cliffs, NJ:
Prentice Hall, 2007.
Ottman, Robert. Music for Sightsinging, 6th ed. Englewood Cliffs, NJ: Prentice Hall, 2004.
Ottman, Robert, and Paul E. Dworak. Basic Ear Training Skills, 1st ed. Englewood Cliffs, NJ:
Prentice Hall, 1991.
Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide to
Aural Skills. Vols. 1 & 2. New York: W. W. Norton, 2005.
Yasui, Byron K., and Allen R. Trubitt. Basic Sight Singing. 1st ed. New York, NY: McGraw-Hill,
1988.
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Revised 2011 from the 2008
AP Readers’ Favorite Music Theory Websites!
General AP Music Theory Examination and Course Information
www.apcentral.collegeboard.com/
Access to useful articles, the Course Description, the Teachers’ Guide, sample syllabi, free response
questions from previous AP exams, an electronic discussion group for AP Music Theory teachers, and
many other resources. Available from the College Board store: released exams, the AP Vertical Teams
Guide, and other resources.
Fundamentals to intermediate/advanced topics
(For these purposes, fundamentals = note names, key signatures, rhythm values and meter, scales, basic
triads and seventh chords; intermediate adds cadences, voice leading, phrase structure, etc.)
www.gmajormusictheory.org
Tutorials and exercises (fundamentals, harmonic dictation, contextual listening) with downloadable
workbooks, by a long-time AP Music Theory instructor. Very useful!
www.musictheory.net
Lessons and trainers for introductory theory skills, and a quick source of staff paper
www.good-ear.com
Aural exercises identifying intervals, chords, scales, cadences – with a few ads thrown in
www.emusictheory.com/practice/
Drill on a variety of fundamentals. “Chord functions” will provide chord spelling practice, but the IV-V-I
that establishes the key practice uses terrible voice leading.
www.davesmey.com/index.htm
Worksheets and explanatory handouts on basic and intermediate topics, sight singing and dictation
exercises
www.teoria.com
Building and identifying intervals, triads, scales, and modes. A European fixed “do” option is offered in
identifications, so if your students use moveable “do” for sight singing, you’ll need to explain the
difference.
http://www.8notes.com/theory/
Fundamentals to intermediate tutorials
http://www.mibac.com/Pages/Theory/Main_Theory.htm
Fundamentals to intermediate tutorials
http://www.musicards.net/
Flash cards for fundamentals drills
http://www.childrensmusicworkshop.com/musictheory/index.html
Trainers for fundamentals drills, plus a staff paper generator. Content is the same as for Ricci Adams’
musictheory.net/ above, plus ads.
http://www.musictheoryminute.com/
Short spoken explanations of topics from intervals to chords, voice motion types, etc., illustrated with a
keyboard.
http://www.circle-of-fifths.net
Drills on key signatures and circle of fifths only.
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http://cnx.org/content/m10865/latest/
Lessons and exercises on circle of fifths and key signatures.
http://earplane.com/modules/earplane_main/
Aural skills; requires registration and Shockwave
http://neilhawes.com/sstheory/theory.htm
Lesson on very basic topics
http://www.dolmetsch.com/theoryintro.htm
Quite complete lesson series, fundamentals to intermediate
http://library.thinkquest.org/15413/theory/theory.htm
Lessons on fundamentals
http://www.theorylessons.com/modes.html
Modes (including pentatonic scales) from a guitar/bass perspective.
http://www.musictheory.org.uk/
Interactive checking of very basic fundamentals
http://www.wmich.edu/mus-history/TheoryHelp/TheoryHelp.html
Various resources, including downloadable rhythm dictation trainer
www.sfcmtheory.com/analysis_lectures/analysis_lectures.htm
Notes and score/audio examples on intermediate topics: motives, phrases, periods, forms
www.music.vt.edu/musicdictionary
Vir. Tech. dictionary of terms with audio illustrations; also quizzes, etc.
Teaching Resources Primarily for Instructors
www.musictheoryexamples.com
Compilation of score examples listed by topic. Very useful!
www.imslp.org/wiki/Main_page
Public domain music scores
http://bach.nau.edu/index.html
Integrates music scores with audio and web commentary. Requires Shockwave.
http://dme.mozarteum.at/DME/nma/start.php?l
Mozart Ausgabe online as PDF files. Directions in German.
http://www.societymusictheory.org/mto/
A web journal of recent research; most is not directly applicable to AP Theory.
http://www.philrees.co.uk/links/theory.htm
An annotated listing of theory sites, with links.
http://www.musictheoryresources.com/
“First aid” for theory concepts; links to useful sites.
http://www.flashmusicgames.com/theory/index.html
Online theory games for simple aural skills.
http://www.musicalonline.com/theory.htm
Under “Theory Courses” has links to various college theory course sites.
http://www.funtrivia.com/quizzes/music/other_music/music_theory.html
Online theory quizzes and games
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Theory/Aural Skills Programs for Purchase
www.macgamut.com (complete aural/written skills, fundamentals to advanced)
www.ars-nova.com/theory.html (complete aural/written skills, fundamentals to advanced)
http://www.sibelius.com/products/auralia/index.html
Auralia (ear training) and Musition (theory)- (complete aural/written skills, fundamentals to
advanced)
http://www.people.vcu.edu/~bhammel/theory/resources/index.html
Links to various sites, including an inexpensive sight singing site.
www.rhythmbee.com
Computer animations that help in fundamentals; requires subscription
www.music-theory.com
Independent online study of fundamentals
Sites that either have downloads or rate ear training software.
https://www.msu.edu/user/spangle9/etsoftware.html
http://www.harmony-central.com/Software/Windows/ear_training.html
http://www.hitsquad.com/smm/win95/EAR_TRAINING/
http://www.educational-software-directory.net/music/ear-training
http://kellysmusicandcomputers.com/music_theory_ear_training_software.htm
http://www.dmoz.org/Computers/Multimedia/Music_and_Audio/Software/Educational/Theory_and_E
ar_Training/
http://www.webcrawler.com/webcrawler302/ws/results/Web/music+ear+training/1/417/TopNavigatio
n/Relevance/iq=true/zoom=off/_iceUrlFlag=7?_IceUrl=true
http://www.exefind.com/ear-training-software/
http://ear-training.software.informer.com/
http://www.filesland.com/software/ear-training.html
http://www.musicalhearing.com/
http://www.palatine.ac.uk/directory/index.php/Music/soft/aur/
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Common Challenges
This next section assumes that students have learned the basics of each topic: - keys, intervals,
chord construction, voice leading, etc. – but covers some of the most common ways many show
that they are still “works in progress” as far as mastery is concerned.
1. Tendency Tones: Awareness and Handling
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Leading Tones. The leading tone is the most common tendency tone that students encounter. In
any key, be aware of which pitch is the leading tone!
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Pedagogical suggestion: Before students do work in any key, have them identify the leading tone
and write it prominently at the top of the page. In minor keys, include the accidental that
turns scale degree 7 into the LT. It can be helpful to have them draw an arrow that indicates
the direction of resolution.
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Other tendency tones: Scale degree 4 and the LT in Dominant Seventh Chords
Resolving Dominant Seventh Chords
Dominant seventh chords have two tendency tones, the leading tone of the key and the chordal seventh
of the V7. In this example, the V7 in the key of C contains the leading tone, B, and the chordal seventh
(root-third-fifth-seventh) of the V7 chord. Both tendency tones need to resolve correctly, the leading
tone stepwise up and the chordal seventh stepwise down (scale degrees 7→8 and 4→3).
Note that if you resolve a root position V7 to I using the usual procedure given above, you will end up
with a I containing three roots and a third and no fifth. This nonstandard doubling is correct in this
context.
Identify and resolve the two tendency tones in a V7 correctly, no matter what the chord position is. In
these examples F (the chordal seventh) always resolves to E (scale degree 4→3) and B always resolves to
C (scale degree 7→8), no matter what the inversion or which voice the tendency tone is in.
NOTE: The resolution of the chordal seventh down stepwise (scale degree 4→3) is non-negotiable; it is
heard as an extremely strong tendency tone. This is why a V4/2 chord will always resolve to a I6, as the
chordal seventh is in the bass and must go to the third of the tonic chord.
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However an exception may occur in the case of the leading tone in a root position V7; if the LT is in an
inner voice (alto or tenor), you may frustrate its upward tendency and have it jump down to scale
degree 5, making a complete tonic chord.
Anytime you write a harmonic progression that includes a dominant seventh chord, immediately
identify its two tendency tones, mark them with arrows, and resolve them properly before completing
the rest of the chord and the progression.
Worksheet
In the exercises below, identify the tendency tones, mark them with arrows, and resolve the dominant
seventh chords, using good voice leading procedures.
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All seventh chords, not just V7 chords, have a chordal seventh (root-3rd-5th-7th) which is supposed to
resolve downward; the exceptions to this normally come in advanced theory, beyond the scope of the
AP course. Students should be aware that any time they see an indication for a seventh chord (ii7, 6/5 as
a figured bass symbol, etc.), there is a chordal seventh to resolve properly (= down).
Pedagogocal suggestion: As soon as students encounter any seventh chord, have them identify the
tendncy tones and mark them with arrows that indicate the direction of resolution.
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Chord Use.
Common-practice harmony is functional harmony; i.e., chords have functions that lead them to other
chords, the whole providing a very potent direction and structure to music. These progressions make up
the grammar of this very important musical style. There are other, equally valid grammars in other
music styles. A major task of the student is this course to understand the common practice harmonic
language and use it competently. Ideally, along with this he/she will develop the ability to discriminate
between the harmonic languages of this and other styles.
Instructors and textbooks present harmonic progression in various ways, and most of them are sound.
In spite of this, and instructors’ best efforts, chord progression is complicated and students don’t always
assimilate the processes in the time we have. The list below represents the most common student
misapprehensions, as seen on the AP examination.
Common Errors in Chord Use
(To be avoided in figured bass and harmonization exercises)
1. Retrogressive chord movement: V to IV, ii to I, iii to ii, etc.
2. Any use of iii6 and vi6 (unless in a sequence).
3. Most uses of iii (acceptable if followed by vi or by iv in a descending thirds progression)
4. Any second inversion triad unless the student can name the use and knows the proper
context.
5. Any cadence ending on a 6/4 chord.
6. V/V followed by I.
7. A diminished triad in root position (except in a sequence).
20
Voice Leading Challenges
Voice Leading Checklist
Textbooks have various approaches to teaching common-practice voice leading, and the methods
presented in any standard textbook will be sound. The suggestions below are supplementary and are
meant to provide students with several strategies for (a) becoming alert to common voice-leading perils,
and (b) checking their work.
1. Did I keep a common tone in moving from chord to chord? If not, why not?
2. Did I scan the exercise for good chord spacing?
3. Did I scan each voice for steps and skips? Are there melodic intervals within a voice
greater than a 4th? If so, why?
4. Did the bass line move up stepwise anywhere? If so, do the other voices
a. stay on the common tone,
b. move in contrary motion, or
c. move in parallel sixths or tenths with the bass? (See examples/exercises on p. )
If not, why not?
5. Did I check my soprano and bass for perfect intervals and how they are approached?
(See guidelines on p. )
21
Ascending stepwise bass lines.
Bass lines that ascend stepwise are extremely common and are also one of the situations that most
commonly lead to voice-leading bloopers. The patterns below will also recur in the “chunks” section
later in these pages as part of aural skills development.
Strategies: common tone, contrary motion, parallel 6ths and 10ths.
(Voice exchange: C-D –E in bass,
E-D-C on soprano)
(Note acceptable d5-P5
between S and A)
A longer stepwise ascending bass line following the procedures described above. Try part-writing this bass
line in different ways, for instance with a different initial chord voicing or a different soprano line. If you
have to depart from the strategies above, have a good reason!
22
Deceptive (V-vi) movement is one of the most common places to find this type of bass motion. Part-write
these progressions following the procedures above:
23
Approaching Perfect Intervals between Soprano and Bass
Students tend to do their best to avoid parallel perfect intervals, but many are unaware of a refinement
of this avoidance, so-called “direct” perfect intervals. These have to do with approaching perfect
intervals between soprano and bass only; there is no problem if one voices involved is an inner voice.
Approach P5 and P8 preferably by contrary or oblique motion.
Avoid approaches by parallel or similar motion.
Exception: If the soprano line is moving stepwise.
24
Creative Projects to Reinforce Concepts: Composition
Composition assignments can be used as homework or assessments to demonstrate understanding of
common practice concepts. Below are some examples, ranging from the very simple to the more
sophisticated.
1. Embellishing tones. Rewrite the soprano-bass frameworks below adding consonant
skips, passing and neighbor tones to the soprano line.
 Label each added tone with its interval number against the bass
 Indicate whether each added tone is a passing tone (P), neighbor tone (N), or a
consonant skip (CS).
 Remember that any dissonance (2nd, 4th, 7th) must resolve stepwise to a consonance.
#1 D minor, 4/4 Use note values ranging from quarter to eighth notes.
#2 Eb major, 6/8 Use note values ranging from dotted half to 16th notes.
25
2. Melody composition 1. E minor, 6/8
 Do a RN analysis of the progression below and then compose a melody to go with it.

Label each added tone with its interval number against the bass. Remember that any
dissonant interval (2nd, 4th, 7th) must resolve stepwise to a consonance.

3. Melody composition 2.
Re-write the composition above, changing the block chord accompaniment to a piano
accompaniment: arpeggiations, Alberti bass, oom-pa-pa, etc. (See “Creating a Keyboard
Accompaniment” under “Nuts and Bolts”)
4. Melody composition 3
Compose a melody that the class can use for sight singing or dictation practice. Criteria:
 Use stepwise motion and outlines of the tonic triad.
 In 2/4, 3/4 or 4/4, use note values ranging from half to eighth notes
 In 6/8, 9/8 or 12/8, use note values from dotted half to 16th notes.
 Compose the melody in two four-measure segments, with the first segment ending on a
pitch that suggests a half cadence and the second segment ending on a pitch that
suggests a PAC.
 Keep the range within a 12th.
or
26
5. Harmonization. Using the chords we have been studying:
 Provide the Roman numerals that indicate a good harmonization of the melody
below. The harmonic rhythm is one chord per measure, except at the final
cadence.
 Indicate functional areas (T, PD, D) under the score.
 Transform your RNs into a piano accompaniment (arpeggiations, Alberti bass,
oom-pa-pa, etc.)
6. Final composition project (large version example)
The project described on the next pagse is designed to assess the knowledge and skills we expect from
students at the end of two semesters of college theory, which exceed those covered in most AP Music
Theory courses. The requirements can be altered to assess whatever has been covered in a particular AP
course, but it is important that the criteria be very specific if the exercise is to be a useful assessment in
common-practice theory, as contrasted with free composition.
27
Final Composition Project
The assignment is to compose an original piece for piano that demonstrates your understanding of the
concepts covered in music theory.
Criteria
 Any meter or key is fine except for 2/4, 2/8, etc. and C major.
 The piece will be in ABA form.
 Section 1 (A) at least 16 measures long*; 8* (HC) + 8* (PAC) in parallel period structure with a
defining motive.
 Section 2 (B) at least 16 measures long* in a contrasting key (V, IV or relative major or minor)
with a contrasting motive (8* (HC) + 8* (PAC) .
 Section 3 (A) = Section 1 repeated
* If you use compound meter, the number of measures in the sections and subsections can be halved.



The genre/style will be appropriate to the piano.
The primary melody in Section A should be in the right hand, with the left hand providing a
characteristic accompaniment figure: Alberti bass, arpeggiation, broken chord, etc.
Section B may offer a textural contrast if desired: melody in left hand, chordal texture, etc.
The piece should exemplify the phrase structure, harmonic progression, functional area expansions,
embellishing tone, voice leading and contrapuntal practices of common practice music. In other words,
write like Mozart.
Content
The piece will include at least one example in either the A or B section of each of the following:
Cadential 6/4
Passing or neighbor 6/4
Deceptive motion or cadence
Sequence
Secondary dominant or leading tone chord to V
Suspension
Extra credit will be given for correct use of any of the following:
Sentence structure
A secondary dominant or leading tone chord to a key other than V
Area expansions with voice exchange
Transformation of motives (inversion, augmentation, diminution)
The piece will be notated in Sibelius; a list of the required components is included in the project
schedule below. (Note: this can be done as easily with hand-notated scores; a notation program is not
necessary.)
28
Project schedule (Example drafts will be provided)
Friday 4/1. Draft 1a due. Sibelius score laid out in piano format with key and meter for both A and B
sections; first measure notated and harmonic progression of cadences of both A and B sections notated.
Wednesday 4/6. Draft 1b due (you may either do this on Sibelius or print out Draft 1a and add the
information by hand). Provide the Roman numerals that indicate the harmonic progressions in sections
A and B.
Friday 4/8. Draft 1c due (you may either do this on Sibelius or print out Draft 1b and add the
information by hand). Provide the structural notes in soprano and bass (1:1, 2:1 or 3/4:1) that indicate
the basic contrapuntal structure on which you will build the composition.
Wednesday 4/13. Draft 2 due. Complete the A section, print out the draft and label by hand the
following:
Phrases with lower case letters (a, b, c, etc.) and phrase arcs
Subphrases if applicable with lower case letters
Cadences
Motives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or
descriptive names and brackets
Wednesday, 4/20. Draft 2a due. Complete the B section, print out the draft and label by hand the
following:
Phrases with lower case letters (a, b, c, etc.) and phrase arcs
Subphrases if applicable with lower case letters and subphrase arcs
Cadences
Motives with either lower case letters from the end of the alphabet (x, y, z) and brackets, or
descriptive names and brackets
At or before your final written theory exam. Finished composition due. This is a clean Sibelius version
for performance; it should not include any of the analytical elements from the previous drafts or any
handwritten elements, but should include:
Title and composer
Dynamic markings
Tempo indication(s)
In a separate document (template will be provided) indicate in which measure/beats the required
components appear.
29
Criteria Grading Rubric for Composition Project


All drafts were turned in or checked
/2
Clean final copy turned in when due. /5 (As stated before, this is a clean Sibelius version for
performance; it should not include any of the analytical elements from the previous drafts or any
handwritten elements, but should include:
Title and composer
Dynamic markings
Tempo indication(s)

Sibelius file emailed to instructor /3
General Criteria (18 points)









ABA form
/3
Sections required length
/3
A section parallel period with proper cadences /3
B section contrasting in motive and key /3
A section repeated (or varied) after B section
/3
A section primary melody in RH with piano accompaniment figuration in LH
Harmonic progressions congruent with Common Practice
/3
/14
Dissonance use, etc. congruent with Common Practice
/14
Contrapuntal outline congruent with Common Practice
/14
Content (30 points)






Cadential 6/4
(measure # _______________)
/5
Passing or neighbor 6/4 (measure # _______________) /5
Deceptive motion or cadence (measure # _______________) /5
Sequence (measure # _______________)
/5
Secondary dominant or leading tone chord to V (measure # _______________) /5
Suspension (measure # _______________) /5
Extra credit components (list with measure numbers)
30
7. Transcription Assignment (Ear Training/Dictation Exercise)
Transcription Assignment Guidelines
This is a combination transcription/composition project. NO outside sources may be used!
1.. Listen on YouTube to the audio file of the song you chose to use.
2. Count out the number of measures in the excerpt, and lay out a treble/bass staff template to
accommodate your transcription.
3. All the chords used in the song are indicated by popular music chord symbol below the title (note
they may repeat in different order!). As you lay out your template, mark the chord changes in the
song by writing the popular music chord symbols above the treble clef in the appropriate measures.
4. Write the notes of these chords in the bass clef, using the duration of the harmonic rhythm (how long
the same chord/harmony lasts – for example, if the chord lasts an entire measure of 4/4 time, use a
whole note). Do not try to notate the actual rhythm of the accompaniment!
5. Finally, notate the melody on the treble clef staff. The pitches of these melodies are quite
straightforward, but you may find the syncopated rhythms challenging; do your best to approximate
them, but realize that in these popular styles the performed rhythms may vary from the notated
versions in any case.
Eleanor Rigby (Lennon/McCartney) 0:00 – 0:45
http://www.youtube.com/watch?v=k9Itt02QOO0
C, Em, Em7, Em6, C/E
Begin the Beguine (Cole Porter) 0:06 – 1:00
http://www.youtube.com/watch?v=Ps05TaQuYvc
D, D6, DMaj7, A7, G
Hint: the bass line follows a “walking bass” pattern in this performance, which often jumps from the
root to the 5th of the chord as it marks the beat.
Fix You (Cold Play)
http://www.youtube.com/watch?v=aeEEFKeGcTc 0:22 – 1:40
Eb, Gm, Cm7, Bb, Ab, Eb/G
Note: The template (chords along with treble/bass staves) may be used as the basis for a composition
exercise also, with the student creating his/her own melody.
31
Cadence Formulas: Some Useful Chunks
1
Cadence formulas. The ones given below consist of either a dominant* and a resolution, or a
pre-dominant, dominant and resolution. These occur often both at cadence points (especially
final cadences) and as progressions inside a phrase. The treble staff notes are scale degrees; on
the bass staff are the bass lines and chord progressions that accompany them. Students can use
them either to harmonize cadences or other segments of a given melody (by knowing that scale
degrees 3-2-1, for instance, can effectively be harmonized by the options below) or to provide a
melody to a bass line segment or chord progression.
Variations: These work in major or minor, and with a V7 chord as well as a plain V. The dominant
can be followed by a deceptive resolution (V-vi, but watch out for voice leading problems), and the
first two chords in each progression work for a half-cadence. The final chord can be in a first
inversion, if the cadence is not the final one.
*As many textbooks do today, I have analyzed the cadential 6/4 as V6/4, making a two-chord group with a
dominant function. Others may prefer to analyze the cadential 6/4 as I6/4.
32
Suggestions for AP use are below.
In the AP class and for the AP exam:
1. Use these chunks for ear training for harmonic dictation; if students can identify the scale
degrees in the top voice, they will have a leg up in determining the accompanying progression.
2. Sing the soprano and bass lines of these progressions using Roman numeral names, scale degree
numbers, solfège syllables, and/or pitch names in various keys.
3. In the final harmonization exercise teach students to write the cadences first, then go back and
lead into them.
33
Melodic Formulas: Some Useful Chunks
Most tonal melodies begin with variations on a few formulas that effectively delineate the key. These
include:
1. An outline of the tonic triad, sometimes with skips filled in. The variations on this are almost endless.
But here are a few:
2. A lower dominant to tonic skip of a fourth (often followed by one of the patterns above). In this
formula, the dominant is an upbeat and the tonic is on the downbeat. The skip can be filled in, but the
basic pattern is the same.
3. The “NBC” pattern – up a sixth and down a third, from scale degree 5 up to degree 3 down to degree
1. This opening skip can be daunting, unless students recognize the pattern and remember that neither
“N” nor “B” is the tonic, but “C” is. Degree 1 may be delayed by fill-in notes, but the pattern usually
remains clear.
All of the above are variants of the emphasized tonic harmony – arpeggiations of the tonic chord.
AP: Aural recognition and singing of these patterns can help in melodic dictation, in sight singing, and in
aural analysis.
34
Rhythm Patterns (“Chunks”)
It can be useful to drill rhythm patterns that recur in various meters, so that students hear them as
patterns, not as individual beats they have to figure out anew each time. This is especially needed for
dotted rhythms, and especially in compound meter. The examples below are of characteristic patterns
in a few meters; since most rhythm is made up of these patterns, being familiar with them can speed up
recognition, performance and notation of them. You can have students clap or vocalize straight
through, and you can also point to measures out of order so that they have to go back and forth quickly
between patterns. There are lots of dotted rhythms in the 9/8 exercise for added drill.
#1
#2
#3
AP: Recognition of patterns is useful in melodic dictation and aural analysis.
35
Aural Skills Practice Examples for Easily Confused Progressions. Work on:
1. Identifying scale degrees in bass and/or soprano.
2. Hearing the chord quality (M m d, seventh chord or triad?) of intervening chords
3. Identifying the progression.
36
Enlivening a Basic Progression
(Spacing and doubling still count!)
37
38
Melodic Tags for Interval Identification  
If you care to use them, melodic tags can be useful for interval identification. Here is the most complete
list I know. Since a lot of this list reveals its age, there is space to add more current items.
m2  ↑
White Christmas (“I’m Dreaming…)
What’s New
“Jaws” theme
Isn’t It Romantic
Raindrops Keep Fallin’ on my Head
The Long and Winding Road
As Time Goes By
I Left my Heart in San Francisco
Stormy Weather (“Don’t Know Why…”)
Strawberry Fields Forever
Others?
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
m2↓
Hernando’s Hideaway
Smoke Gets in Your Eyes
O Little Town of Bethlehem
Chicago
Mood Indigo (“You Ain’t Been Blue…”)
Joy to the World
Sophisticated Lady
I’m in the Mood for Love
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
M2↑ 
Happy Birthday
Silent Night
Doe, A Deer…
Climb Every Mountain
Wouldn’t it be Loverly
Rudolph, The Red Nosed Reindeer
My Funny Valentine
Falling in Love with Love
If Ever I Would Leave You
People
My Country ‘tis of Thee
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
M2↓ 
Do You Know the Way to San Jose
The Way We Were (“Mem-ries…”)
Volare
The First Noel
We Three Kings
Don’t Get Around Much Anymore
Satin Doll
Yesterday
Three Blind Mice
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
39
Cheek to Cheek (“Heaven…I’m in Heaven…”)
Mary Had a Little Lamb
Hooray for Hollywood
Merrily We roll Along
Deck the Halls
_____________________
_____________________
_____________________
_____________________
_____________________
m3 ↑
A Foggy Day in London Town
Georgia on my Mind
Hello Dolly
Supercallifragilisticexpialidocious
When You’re Smiling
Are You Lonesome tonight
Brahms’ Lullaby
Angels We Have Heard on High
So Long, Farewell, Auf Wiedersehen, Goodbye
The Impossible Dream
I’m Popeye the Sailor Man
Oh Where, oh Where Has My Little Dog Gone?
Let Me Call You Sweetheart
Greensleeves
Light My Fire (“You know that it would be….”)
I Love Rock and Roll
Havah Nagilah
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
____________________
_____________________
_____________________
_____________________
_____________________
_____________________
m3 ↓
When Irish Eyes are Smiling
Daisy
Girl from Ipanema
Bewitched, Bothered and Bewildered
I Whistle a Happy tune
Santa Claus is Coming to Town (“You better watch out…”)
Who’s Afraid of the Big Bad Wolf
Hey Jude
Frosty the Snowman
Silver Bells (“City sidewalks…”)
O What a Beautiful Morning
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
M3 ↑
Kumbayah
Bess, You is my Woman Now
Oh When the Saints Go Marching In
Anchors Aweigh
I Could Have Danced All Night
Michael Row the Boat Ashore
Have Yourself a Merry Little Christmas
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
M3 ↓
Good Night Ladies
Song Sung Blue
Shoo Fly, Don’t Bother Me
Summertime
In a Mellow tone
_____________________
_____________________
_____________________
_____________________
_____________________
40
A Fine Romance
_____________________
P4  ↑
Here Comes the Bride
We Wish You a Merry Christmas
Hark the Herald Angels Sing
Love Me Tender
We’re Off to See the Wizard
A Hunting We Will Go
“Jeopardy” theme
Twelve Days of Christmas (“On the first day…”)
My Boyfriend’s Back
Auld Lang Syne
Amazing Grace
Oh Christmas Tree
Lush Life
Matchmaker
When Johnny Comes Marching Home Again
Shenandoah
Tonight (West Side Story)
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
P4 ↓
Born Free
We’re Not Gonna Take It
I’ve Been Working on the Railroad
A Mighty Fortress is Our God
Eli’s Coming
Oh Come, All Ye Faithful
Every Little Thing She Does is Magic (Police)
Wilkommen (Cabaret)
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
Tritone (+4, o5)
Maria
Cool (Boy, Boy, Crazy Boy…”)
Simpsons’ Theme
_____________________
_____________________
_____________________
P5 ↑
Twinkle, Twinkle Little Star
My Favorite Things (“Raindrops on roses…”)
“Star Wars” theme
“Superman” theme
Moon River
God Rest Ye Merry, Gentlemen
P5 ↓
“Flintstones” theme
Bring a torch, Jeannette, Isabella
Feelings
It Don’t Mean a Thing if It Ain’t Got that Swing
m6  ↑
A Day in the Life of a Fool
Sunrise, Sunset (1st to 3rd notes, “Is this the little girl…”)
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
41
m6 ↓
“Love Story” theme (“Where do I begin…”)
_____________________
M6 ↑
Take the A Train
Jingle Bells (“Dashing through the snow…”)
Hey, Look Me Over
1999 (Prince: “I was dreamin’ when I…”)
My Bonnie Lies Over the Ocean
NBC
Hush Little Baby
It Came Upon a Midnight Clear
My Wild Irish Rose
If I Ruled the World
The Days of Wine and Roses
Everybody Loves Somebody Sometime
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
M6 ↓
Nobody Knows the Trouble I’ve Seen
Over There
Good Night Ladies (1st to 3rd notes)
Crazy (Willie Nelson)
_____________________
_____________________
_____________________
_____________________
m7 ↑
Somewhere (“There’s a place for us…”)
Have You Driven a Ford Lately
Close to You (1st to 3rd notes: “Why do birds…”)
Edelweiss (1st to 3rd notes)
Old TV Star Trek theme
_____________________
_____________________
_____________________
_____________________
_____________________
m7 ↓
Watermelon Man
Something Wonderful
None But the Lonely Heart
Honeysuckle Rose (1st to 3rd notes)
_____________________
_____________________
_____________________
_____________________
M7  ↑
Bali Hai (1st to 3rd notes)
Lara’s theme (Dr. Zhivago: 1st to 3rd notes)
_____________________
_____________________
P8 (octave) ↑ 
Take Me Out to the Ballgame
Somewhere Over the Rainbow
Let It Snow (“Oh the weather outside…”)
The Rain in Spain
“Night Court” theme
Chestnuts roasting on an Open Fire
Blue Bossa
Camelot
American Pie (So bye, bye, Miss…”)
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
_____________________
P8 ↓ 
Willow Weep for Me
_______________
42