Wood-Ridge JR-SR High School
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Board Of Education Approval 3/19/14
ADVANCED PLACEMENT (AP) MUSIC THEORY
Course Description:
This course covers chromatic harmony, composition, form and analysis, sight singing and ear training, orchestration, jazz theory, modulation,
secondary functions and introduction to electronic and 20th century music.
Note: This AP Music Theory course has been approved by and meets the standards set forth by College Board.
Pre-requisites: Successful completion of Music Theory; Placement subject to Board of Education Policy for Advanced Placement
Credits: 5; Students enrolled in AP Music Theory will take the College Board AP Music Theory examination. Students achieving a score of 4 or 5 as
determined by College Board may be eligible to receive college credit, subject to each college’s or university’s policy.
Course Length: Year (September to June)
September
Unit 1-2 Music Fundamentals: Pitch and Rhythm
Essential Questions
Content
How is sound organized A. Major Scales in
to make music?
treble & bass clef
Scales are an
How can an
ordered collection of
understanding of note
pitches in whole and
values, time signatures,
half step patterns
measures, bar/double
bars, rests and ear
training be applied to all
forms of music?
Skills
A1. Compose major scales using whole &
half steps starting on every note
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.1.12.1 Understanding
nuanced stylistic differences among various
genres of music is a component of musical
fluency. Meter, rhythm, tonality, and
Assessment
A1, B1, D1 Scales
Worksheet
C1. Produce examples
of the key signatures of
C, F, B, Eb, Ab, D, of
G, D, A, E, B, F#
Suggested Resources
Robert Ottman: Music
for Sight Singing
Robert Ottman:
Rudiments
E. Recorded
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
B. Chromatic scale
The chromatic scale
is a symmetrical scale
with all pitches spaced
a half step apart. Use
sharps for the
ascending scale, flats
for the descending scale
C. Key signatures
The key signature
written at the beginning
of the staff shows
which pitches are to be
sharp or flat
consistently throughout
the piece and helps
determine the key or
tonal center (tonality)
D. Sight singing:
Solfege syllables
Solmization is a
system of designating
notes by the solfege
(sol-fa) syllables.
Solfeggio is the term
for the method of sight
siging using these
syllables: Do=1, Re=2,
MeMi=3, Fa=4, So=5,
LeLa=6, TeTi=7,
Skills
harmonics are determining factors in the
categorization of musical genres.
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
---------B1. Compose a chromatic scale in treble &
bass clefs
C1. Identify key signature, place sharps &
flats in a fixed pattern
C2. Compose 2 measures of stepwise major
scale melodies (E, Ab)
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.3.12.4 Basic vocal and
instrumental arranging skills require
theoretical understanding of music
composition.
---------D1. Identify starting pitch as it relates to key
signature Do, ra, me, fa, sol, la, ti, do
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Do=1/8
E. Rhythms: Clapping,
counting, quarter,
eighth, half, whole
notes and rests
F. Notating rhythms
Music notation
shows how long one
note lasts in relation to
others
Macrobeats are those
beats that one arbitrarily
feels to be the longest. In
most cases, macrobeats
are paired: one
macrobeat naturally “goes
with” a succeeding
macrobeat of equal or
unequal duration. In
dancing to music, persons
normally step naturally to
each pair of macrobeats
with one foot followed by
the other.
Microbeats are shorter
than macrobeats and are
derived from the equal
temporal division of
macrobeats. In most
cases, macrobeats are
divided into either two or
three microbeats of equal
duration
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
E1. Differentiate between macro and micro
beats
F1. Compose 8 bar melodies using macro &
micro beats
NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.1.12.2 Musical
proficiency is characterized by the ability to
sight-read advanced notation. Musical
fluency is also characterized by the ability to
classify and replicate the stylistic differences
in music of varying traditions. Reinforced
------------
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
G. Time signatures
G. Compare time signatures in duple
H. The Circle of Fifths
in Major keys
The Circle of Fifths
demonstrates the
relationship of the tonal
centers to each other.
Sharp keys circle to the
right with each key a
5th higher. Flat keys
circle to the left each a
5th lower.
H. Memorize the patterns of the key
signatures. The major scale pattern generates
the major key signature
1. Draw and identify whole, half, quarter,
eighth, and sixteenth notes and rests.
2. Write counts in rhythms using 1e+a
system.
Define: scale, keynote, subdominant,
subtonic, interval, pitch, supertonic,
submediant, half step, octave, tonic,
dominant, interval, unison, circle of fifths,
mediant, leading tone, major, enharmonic
intervals, whole step
Alla Breve, anacrusis, bar line, beat, common
time, duple, triple meter, note value, rhythm,
tempo, time signature
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ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Board Of Education Approval 3/19/14
October
Unit 2: Exploring Compositional Techniques and Relationships
Essential Questions
How are different scales,
chords, and intervals
developed and classified?
How are intervals defined?
How are chords
constructed?
Content
Intervals: numeric values of
intervals, quality of
intervals (major, minor,
diminished, augmented,) the
intervals of the major scale,
alteration of interval
quality, enharmonic
intervals, inversions of
intervals, simple versus
compound intervals,
diatonic vs. chromatic
intervals
Triads/seventh chords:
building and identifying
triads (major triads, minor
triads, diminished triads,
augmented triads,) building
and identifying seventh
chords (major seventh
chords, minor seventh
chords, diminished seventh
chords, augmented seventh
chords)
Chord inversions:
identifying and building
triadic inversions (root
position, first inversion,
second inversion,)
identifying and building
inversions of the 7th chord
(root, 1st, 2nd, 3rd
Skills
A. Notation
Draw and identify whole,
half, quarter, eighth, and
sixteenth notes and rests.
Write counts in rhythms
using 1e+a system.
B. Performance
Clap or play rhythms
using whole, half, quarter,
eighth, and sixteenth notes
and rests in various time
signatures.
Assessment
Written evaluations
Demonstrations and
dictations for each other
Dictations
Daily homework
assignments
Chapter quizzes assessing
comprehension of theoretic
material discusses
Suggested Resources
District approved text
books
Barron’s AP Music
Theory textbook
Music for Sight Singing
by Robert W. Ottman
Ottmans Rudiments
C. Time Signatures
Identify various time
signatures.
Place the correct amount
of beats in various time
signatures.
D. Composition
Compose 4 measure
rhythms.
Compose a 25 measure
rhythm using Sibelius
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
inversion)
Melodic dictation/ sight
singing: major key, diatonic
pitches, melodies with skips
using scale degrees 1,3,5.
Harmonic dictation: outer
voices
Mel/dict/ss: add cadential
skips from scale degree 5-1
Discuss the pitch ranges of
different band and orchestra
instruments. Compare the
size of the instrument to the
range it produces
Skills
Assessment
Board Of Education Approval 3/19/14
Suggested Resources
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ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Board Of Education Approval 3/19/14
November
Unit 3: Harmonic Organization 1, Intervals, Triads, Chords
Essential Questions
How can I recognize
scales and key
signatures?
How does the
repositioning of the
notes in chords change
the way they sound?

How does this
information lead to the
understanding of
harmonic function?
Content
The understanding of
intervals will aid in
voice leading,
composition and
transposition as well as
sight-singing and
dictation.
Skills
A.
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Cumulative Progress Indicator 1.1.12.B.2
Synthesize knowledge of the elements of
music in the deconstruction and performance
of complex musical scores from diverse
cultural contexts.
Intervals:
numeric values of
intervals, quality of
-----------intervals (major,
Recognize and identify interval quality
minor, diminished,
augmented,) the

All intervals are built form the tonic
intervals of the major
up to notes within a major scale
scale, alteration of

Major keys: Perfect intervals: P1,
interval quality,
P4, P5, P8, Major intervals :M2, M3, M6,
enharmonic intervals,
M7
inversions of

Minor keys: P1, M2, m3, P4,
intervals, simple
P5,
m6,
m7, P8
versus compound
intervals, consonant or 
Enharmonic intervals are intervals
dissonant
that sound the same but are spelled
differently

B. A chord is a group of
pitches that form a
single harmonic idea. 
The use of chords is the
basic foundation of

Simple intervals are one octave or
smaller is size
Compound intervals are larger than
one octave
Consonant intervals are stable
Assessment
A. Identify the
intervals (Identifying
and writing intervals
accurately is most
easily done if you
remember that the
intervals between the
tonic and each of the
other scale degrees of
the major scale are
definitive. Apply this
principle to the
following exercises
Suggested Resources
District approved
textbooks
Fundamentals of
Music by Robert
Ottman
Music for Sight
Singing by Robert
Ottman
Barron’s AP Music
Theory textbook
A1. Exercise A, lines
1-20
Correct interval
spellings. Rewrite the
wrong intervals
correctly without
changing the first of
the two pitches.
A2. Exercise B, lines
1-20
B. It is important to
appreciate that the
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
harmony. A triad is a 
Dissonant intervals are unstable - the
three note chord (built
impression of activity or tension
like a snowman) made
up of two intervals
stacked in thirds.
B.
-----------
The lower note
NJ_Core_Curriculum_Content_Standards
of the chord is called
Visual and Performing Arts (2009) : 9-12
the root, the middle
note is a 3rd above it
• Cumulative Progress Indicator 1.1.12.B.1
and the upper note is a Examine how aspects of meter, rhythm,
5th above the root
tonality, intervals, chords, and harmonic
progressions are organized and manipulated
to establish unity and variety in genres of
C. Triads/seventh
musical compositions.
chords: building and
identifying triads
• Cumulative Progress Indicator 1.1.12.B.2
(major triads, minor
Synthesize knowledge of the elements of
triads, diminished
music in the deconstruction and performance
triads, augmented
of complex musical scores from diverse
triads,) building and
cultural contexts.
identifying seventh
chords (major seventh
---------chords, minor seventh
chords, diminished
Develop triads
seventh chords,
augmented seventh

Build the "snowman" in thirds above
chords)
the root


Chord
inversions: identifying 
and building triadic
Identify the quality of the lower third
as major or minor
Identify the quality of the fifth as
perfect, diminished or augmented
Board Of Education Approval 3/19/14
Assessment
qualities of the triads
in major and minor
keys are governed by
the intervallic
organizations of the
major and minor
scales. In all major
keys, therefore, the
tonic triad will be
major, the supertonic
will be minor, and so
on.
Suggested Resources
Identify the quality of
each triad
B1. Exercise A, lines
1-20
C. Triads that have a
chord member other
than the root as the
lowest sounding voice
(the bass) are called
inversions. When you
move the position of
any of the chord
members, an interval
inverts. Any member
of the chord may
sound in the bass.
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
inversions (root

Identify the chord with the letter (the
position, first
root of the snowman)
inversion, second
Identify the quality of the triad
inversion,) identifying 
and building
inversions of the 7th
C. Experiment with chord inversions
chord (root, 1st, 2nd,
3rd inversion)

Root position - the root is in the bass
Melodic Dictation/Sight
First inversion - the 3rd is in the bass
Singing: major key,

Second inversion - the 5th is in the
diatonic pitches,
bass
melodies with scale
Third inversion - the 7th is in the
degree 1,3,5 skips, add 
bass
cadential skips from
scale degree 5-1
Harmonic Dictation:
outer voices

Differentiate between triads, and
sevenths

Organize triads in and out of
inversions

Give examples of intervals, triads &
7th chords
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
Compose individual exercise to explain
concepts
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December 2013
Unit 4: Harmonic Organization II: Chords in Diatonic Context
Essential Questions
A. How can we use
the knowledge of
melody, intervals,
triads, inversions,
sevenths cords to
write music in 4
parts?
Content
A. Chord symbols and
figured bass: using
traditional eighteenthcentury nomenclature to
identify and analyze
chords; realization of
Roman numeral
progressions
B. What are the

principles of 4 part
writing? Why is is
necessary to use these
rules?
When there is
no numeral figure in
the bass for the bass
line, the chord is in
root position

C. How do the
functions of chords
help in part writing? 
Use correct
chord members

No parallel
4ths, 5ths or 8vas
Suggested Resources
District approved
textbooks
Rudiments of Music by
Robert W. Ottman and
Frank Mainous
Barron’s AP Music
Theory textbook
Music for Sight
Singing by Robert W.
Ottman
-----------
SWBAT state the names of the chords

Watch for

correct spacing (not

greater than an octave

between S,A,T)
B. Diatonic triad
functions in major and
minor keys: diatonic
primary and secondary
chords in a major key;
diatonic and
chromatically altered
Skills
Assessment
A.
Work sheets
-----------NJ_Core_Curriculum_Content_Standards Chapter exercises
Visual and Performing Arts (2009) : 9-12
Vocabulary
• Content Statement 1.1.12.1 Understanding
nuanced stylistic differences among various
genres of music is a component of musical
fluency. Meter, rhythm, tonality, and
harmonics are determining factors in the
categorization of musical genres.
Group discussion
Combine
Word defined
-----------NJ_Core_Curriculum_Content_Standar
ds
Visual and Performing Arts (2009) : 912
• Content Statement 1.1.12.1
Understanding nuanced stylistic
differences among various genres of
music is a component of musical
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
primary and secondary
chords in a minor key
Skills
Assessment
Suggested Resources
fluency. Meter, rhythm, tonality, and
harmonics are determining factors in
the categorization of musical genres.
Melodic Dictation/
Sight Singing: major
key, diatonic pitches,
melodies with skips,
add skips to scale
degree 4

Board Of Education Approval 3/19/14
• Content Statement 1.1.12.2 Musical
proficiency is characterized by the
ability to sight-read advanced
notation. Musical fluency is also
characterized by the ability to classify
and replicate the stylistic differences
in music of varying traditions.
Harmonic
Dictation: outer voices
and primary triads
(major and minor)
-----------Produce

Outline

Set of Standards

Compose
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
January
Unit 4: Harmonic Composition Part I & II: Fundamentals; Harmonic Progression
Essential Questions
A. What are the
functions of chords?
Content
A. Chord function refers
to the placement of the
chord within the key. It
is the job of the chord.
B. How do the
different cadence
qualities affect the
musical composition?
B. Cadences are the
harmonic, melodic, and
rhythmic conclusion to
a phrase. The cadence
also helps to establish
the tonal center. It is the
proof we need to
confidently determine
the key.
Authentic Cadence (V7I)
Skills
A1. SWBAT explain that certain pitches in
the scale sound stronger or more stable that
the others
A 2. SWBAT identify the active scale
degrees
Assessment
Chords, Cadences
Worksheets
Analyzations
Sight Singing
A3. SWBAT relate the function of the Tonic
chord and how it differs from the
Subdominant or predominant and Dominant
B1.
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
Suggested Resources
District approved
textbooks
Barron’s AP Music
Theory textbook
Music for Sight
Singing by Robert W.
Ottman
Fundamentals of
Music by Robert
Ottman
• Cumulative Progress Indicator 1.1.12.B.2
Synthesize knowledge of the elements of
music in the deconstruction and performance
of complex musical scores from diverse
cultural contexts.

Perfect
Authentic Cadence
(V-I)

Plagal Cadence
(Amen Cadence IV-I)

Half Cadence
(ends on V or V7)
-----------Distinguish between cadences

Deceptive
Cadence (ends on VI
Prepare composition demonstrated required
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
or vi)

Assessment
Suggested Resources
Phrygian Half
Cadence (iv6-V)
C. Embellishing/ nonharmonic tones: passing
tones, neighboring tone,
changing tone,
anticipation,
suspension, retardation,
simultaneous
embellishing tones,
pedal point, use of nonharmonic tones
Melodic Dictation/
Sight- Singing: major
key diatonic pitches,
melodies with skips to
any scale degree

Skills
skills
Board Of Education Approval 3/19/14
Harmonic
Dictation: outer
voices, primary and
secondary triads
(major and minor)
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.1.12.2 Musical
proficiency is characterized by the ability to
sight-read advanced notation. Musical
fluency is also characterized by the ability to
classify and replicate the stylistic differences
in music of varying traditions.
• Cumulative Progress Indicator 1.1.12.B.2
Synthesize knowledge of the elements of
music in the deconstruction and performance
of complex musical scores from diverse
cultural contexts.
-----------Compose
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Essential Questions
Content
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
Assessment
Chapter exercises
Suggested Resources
District approved
textbooks:
February
Unit 6: Inversions/ Harmony
Essential Questions
How does harmony
affect the outcome of
a composition?
Do inversions make a
difference and if so
how?
Content
 Melodic principals 
in 4 part writing
 Principles in chord
connection:
contrary motion,
oblique motion,
similar motion,
parallel motion
 Connecting root
position triads:
triads in a 5ths
relationship, triads
in a thirds
relationship, triads
in a seconds
relationship,
realization of
figured bas
 Voicing triads in
first inversion:
frequency, spacing,
doubling of first
inversion chords,
connecting root
Skills
-----------Sight Singing
NJ_Core_Curriculum_Content_Stand
ards
Visual and Performing Arts (2009) : 9- Compositions &
arrangements
12
• Content Statement 1.1.12.1

SATB chorale
Understanding nuanced stylistic
4 part writing
differences among various genres 

of music is a component of musical for brass or

woodwing
fluency. Meter, rhythm, tonality,
and harmonics are determining
factors in the categorization of
musical genres.
Rudiments of Music by
Robert W. Ottman and
Frank Mainous
Barron’s AP Music
Theory textbook
----------
-----------Define
- figured bass
- Roman numerals
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
position and first
inversion triads,
successive first
inversion triad



Skills
- similar & contrary motion

Melodic

Dictation/Sight-Singing: 
major key, chromatic
pitches based on natural
minor

Harmonic
Dictation: outer voices,
primary and secondary
triads (major and minor)
Melodic Dictation/
Sight-singing: major key,
chromatic pitches based
on natural minor
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
Compose simple 4 part chorales to
be sung by SATB
Analyze class compositions
Apply this knowledge and
transcribe composition to 4 brass or 4
woodwind instruments
-----------NJ_Core_Curriculum_Content_Stand
ards
Visual and Performing Arts (2009) : 912
• Content Statement 1.1.12.1
Understanding nuanced stylistic
differences among various genres
of music is a component of musical
fluency. Meter, rhythm, tonality,
and harmonics are determining
factors in the categorization of
musical genres.
• Cumulative Progress
Indicator 1.1.12.B.2 Synthesize
knowledge of the elements of
music in the deconstruction and
performance of complex musical
scores from diverse cultural
contexts.
----------
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Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources

March
Unit 6: Development of Music for and Analysis, Non-harmonic tones, Harmonization of Melody
Essential Questions
How do I identify
notes that are not
within the framework
of the chord?
A. What are nonharmonic tones and
how are they
identified?
How can an
understanding of
different types of
harmonizing a
melody be applied?
How can an
understanding of
different types of
inversions, figured
Content
Skills

A Nonchord tone 
is a tone that does
-----------not belong to the
NJ_Core_Curriculum_Content_Standar
prevailing
ds
harmony. It may be Visual and Performing Arts (2009) : 9diatonic or
12
chromatic.
• Cumulative Progress
Indicator 1.1.12.B.2 Synthesize
Passing tone (P)
knowledge of the elements of music
Neighboring tone (N)
in the deconstruction and
Changing tones (CT)
performance of complex musical
Appoggiatura (Ap)
scores from diverse cultural
Escape tone (ET)
contexts. Developed
Anticipation (An)
Suspension (sus)
• Content Statement 1.3.12.3
Understanding of how to manipulate
 Determine the key
the elements of music is a
by using 6 steps
contributing factor to musical
artistry. Developed
Triads in 2nd
inversion, the
------------
Assessment
Match: Find the nonchord tones and label
accordingly
Add parts for alto &
tenor, introducing
passing tones and
neighboring tones
where appropriate
Add parts for alto &
tenor
Suggested Resources
District approved
textbooks
Rudiments of Music by
Robert W. Ottman and
Frank Mainous
Barron’s AP Music
Theory textbook

Music for Sight
Singing by Robert W.
Ottman

Write an elaborated
version introducing
changing tones,
appogiaturas, escape
tones, and
anticipation
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Essential Questions
bass, major chord
progressions and ear
training be applied to
music?
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Board Of Education Approval 3/19/14
Content
Skills
Assessment
cadential 6-4
Compose 4 bar examples of nonResearch Paper
chord, the passing
chord tones
6-4 chord, the
pedal 6-4 chord, 
Distinguish the type of non-chord
the arpeggiated 6-4 tones
chords
1.
Determine the key

Melodic
2.
ID phrases & cadences
Dictation/Sight-Singing:
3.
ID harmonic activity that leads to
major key, chromatic
cadence
pitches based on
4.
ID harmonic activity that sets each
harmonic minor
phrase in motion

Harmonic
Construct an appropriate bass line
Dictation: outer voices, 5.
primary and secondary 6.
Addition of inner voices
triads, 7th chords, all
triads, 7th chords,
secondary dominants
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
Suggested Resources
• Cumulative Progress Indicator 1.1.12.B.2
Synthesize knowledge of the elements of
music in the deconstruction and performance
of complex musical scores from diverse
cultural contexts. Developed
• Content Statement 1.3.12.3 Understanding
of how to manipulate the elements of music
is a contributing factor to musical
artistry. Developed
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Wood-Ridge JR-SR High School
Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
1.
Relate 2nd inversion to 1st inversion
& root position chords
2.
Describe the functions of 6/4 chords
(Cadential, Passing, Auxiliary
ASSIGNMENT DUE JUNE 2014

Produce a chamber composition for
3-5 players that is 2-3 movements and
incorporates 2 -4 key changes, 2-4 tempos,
simple & compound meters, accurate
ranges and expected technical skills

Compare each other's compositions

Conduct and or perform this Project

Conclusion - Presentations of all
compositions

Recordings of this project
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.3.12.1 Technical
accuracy, musicality, and stylistic
considerations vary according to genre,
culture, and historical era.
• Content Statement 1.3.12.2 The ability to
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Wood-Ridge JR-SR High School
Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
read and interpret music impacts musical
fluency.
Board Of Education Approval 3/19/14
Assessment
Suggested Resources
----------
NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Content Statement 1.3.12.1 Technical
accuracy, musicality, and stylistic
considerations vary according to genre,
culture, and historical era.
• Content Statement 1.3.12.2 The ability to
read and interpret music impacts musical
fluency.
----------
April
APRIL Unit 6: Preparation for AP Theory Exam
Essential Questions
How can an understanding
of different types of basic
forms of music, binary,
ternary, Rondo form and ear
training be applied to all
forms of music?
How can an understanding
Content
Secondary leading tone
chords: the vii /V, vii /iii,
vii /ii, vii /vi chords and
the vii 7/V, vii 7/iii,
vii 7/ii, vii 7/vi chords
Skills
Memorize
Evaluate
Design
Select
Prepare
Rewrite
Assessment
Match: Find the non-chord
tones and label accordingly
Add parts for alto & tenor,
introducing passing tones
and neighboring tones
where appropriate
AP Music Theory Practice
Suggested Resources
District approved textbooks:
Rudiments of Music by
Robert W. Ottman and Frank
Mainous
Barron’s AP Music
Theory textbook
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19 of 23
Wood-Ridge JR-SR High School
Essential Questions
of different types of
primary/major triads, scale
degree names, dominant
seventh chord and ear
training be applied to all
forms of music?
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Identify secondary
dominants in analysis of
music, part writing with
secondary dominants, voice
leading with secondary
dominants
Skills
Compose
Assessment
Test Reviews
Board Of Education Approval 3/19/14
Suggested Resources
Music for Sight Singing by
Robert W. Ottman
More harmonization and
analysis with use of
secondary dominant chords
Small forms: simple binary,
rounded binary, ternary
form, and theme and
variations
Modulations to closely
related keys
Melodic Dictation/ SightSinging: major key,
chromatic pitches based on
melodic minor
Harmonic Dictation: out
voices, all triads, seventh
chords, secondary
dominants
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Wood-Ridge JR-SR High School
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Board Of Education Approval 3/19/14
May
Unit 9: Secondary Dominants/ Final compositions
Essential Questions
Content
How do you
demonstrate your
understanding of the
fundamentals of
music?
Secondary dominant
chords Secondary
leading tone chords
Identify secondary
dominants in analysis
of music, part writing
with secondary
How can self-reflection dominants, voice
and analysis assist in
leading with secondary
improving
dominants
performance?
More harmonization
and analysis with use
of secondary dominant
chords
Small forms: simple
binary, rounded binary,
ternary form, and
theme and variations
Modulations to closely
related keys
Vocabulary
cross-relation
false relation
secondary dominant
function
secondary tonic
Skills
Assessment
Suggested Resources
District approved
textbooks:
-----------NJ_Core_Curriculum_Content_Standards AP Music Theory
Visual and Performing Arts (2009) : 9-12 Practice test review
• Cumulative Progress Indicator 1.3.12.B.2
Analyze how the elements of music are
manipulated in original or prepared musical
scores.
----------
Rudiments of Music by
Robert W. Ottman and
Frank Mainous
Barron’s AP Music
Theory textbook


Identify and add a minor 7th to exercises
Music for Sight
Singing by Robert W.
Ottman

Compose

Criticize
Set of standards
Distinguish & state the type of secondary
dominate
Prepare & label the chords
-----------NJ_Core_Curriculum_Content_Standards
Visual and Performing Arts (2009) : 9-12
• Cumulative Progress Indicator 1.3.12.B.1
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Wood-Ridge JR-SR High School
Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
chromatic alteration
chromatic tendency
barber-shop
progression V of ....
Board Of Education Approval 3/19/14
Skills
Assessment
Analyze compositions from different world
cultures and genres with respect to technique,
musicality, and stylistic nuance, and/or
perform excerpts with technical accuracy,
appropriate musicality, and the relevant
stylistic nuance.
Suggested Resources
----------
June
Unit 10: Harmonic Composition II The Process/ Modulation
Essential Questions
Content
Why do different
compositions elicit different Common compositional
emotions and responses?
techniques
How can self-reflection and
analysis assist in improving
performance?
How can I use common
chord modulation to create
interest in compositions?
Listening log to discuss and
share
Skills
Produce a chamber
composition for 3-5 players
that is 2-3 movements and
incorporates 2 -4 key
changes, 2-4 tempos,
simple & compound
meters, accurate ranges and
expected technical skills
Compare each other's
compositions
Conduct and or perform
this Project
Conclusion - Presentations
of all compositions
Recordings of this project
Assessment
According to the
assignment, assessment
will be on the printed score
and associated parts
Listening log to discuss
and share
Final exam
Suggested Resources
District approved textbooks:
Rudiments of Music by
Robert W. Ottman and
Frank Mainous
Barron’s AP Music
Theory textbook


Music for Sight
Singing by Robert W.
Ottman


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22 of 23
Wood-Ridge JR-SR High School
Essential Questions
ADVANCED PLACEMENT MUSIC THEORY CURRICULUM MAP
Content
Skills
Assessment
Board Of Education Approval 3/19/14
Suggested Resources
www.curriculummapper.com
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