AP Music Theory (B5)
Homework for April 29
Released Exam for Practice
SEMESTER FINAL INFORMATION
Topics that are fair game
- Key signature identification
- Chord identification (visual and aural)
- Interval Identification (visual and aural)
- Roman Numeral Analysis
- Voice Leading
- Day 23 AP Music Handout, Four Part Voice Leading
- V7 Chords: the 7th resolves down BY STEP, the third resolves up BY STEP
- Dictation and Sight-singing (practice that solfege! Work those problematic intervals!)
Functional Chords (to be used at cadences/beginning and end of phrases)- I, IV, ii, V, V7, vi*deceptive cadences only.
Progressive Chords (to draw the action along, to fill out the phrases)- inversions of I, ii, and IV, vi, iii, vii.
Homework for 12/7 (due 12/9)
Print out both results, and bring it to me. Your percentage will be your score!
F Major, 4/4 time, begins on “do” for a quarter note.
G Major, 3/4 time, begins on “do” for a quarter note.
Ab Major, 3/4 time, bass clef, begins on “do” for an eighth note.
b minor, 2/4, treble clef, begins on “do” for an eighth note.
Update: October 8, 2015
Proper Rules of Voice Leading for 1:1 counterpoint
- Vertical intervals MUST be consonant (3rds, 6ths, occasional octaves, unisons, and P5s)
- Parallel perfect intervals (unisons, fifths, and octaves) are forbidden.
- Approach perfect consonances (unisons, fifths, and octaves) using contrary motion.
- Begin and end your counterpoint on scale degree 1, 3, or 5.
- In minor, use a natural minor scale. You can raise the 7th ONLY in the penultimate measure, and raise 6th when the raised 7th is used. (Basically, only use melodic minor for the last two measures and never use harmonic minor. Don’t freak out the monks. They’re not ready for augmented seconds.)
Guidelines for 1:1 counterpoint
- Use step-wise motion as much as possible in the contrapuntal voice, with occasional skips (of a third) or leaps (jumps of a fourth or more) to add interest. Change direction and move by step after a leap.
- Since the goal of counterpoint is voice independence, use contrary motion as much as possible.
- Use imperfect consonances (intervals of a 3rd or 6th) whenever possible. Restrict the use of octaves and fifths to only one or two within the exercise.
- Avoid two perfect consonances in a row since they create a hollow sound (e.g., a fifth to an octave or vice versa.)
Update: September 3, 2015
Homework due on Tuesday, September 8th- pink packet of major and minor scales/key signatures and musictheory.et
- Go to http://www.musictheory.net/exercises/keysig
- Adjust the settings (second button in the top right corner) to include ALL key signatures
- Do 100 examples of key signature identification. Whatever your score is will be your grade for the homework.
- Go to the information tab, hit “show progress report”. Print out your progress report or email to me. IF YOU HAD STRUGGLES LAST TIME, JUST PRINT IT OUT.
Update: August 24th, 2015
Here’s a summary of today’s material-
- Stem direction
- If it is below the middle line of the staff, the stem goes up and to the right side of the notehead. If it is above the middle line, the stem goes down and to the left side of the notehead. If it is on the middle line, it can really go either way.
- Exception: If there are multiple lines per staff (SATB choir notation), the stems will point exclusively up (for the higher voice) or down (the lower voice.)
- Stem length
- The line should always go through three lines of the staff.
- Beam eighth notes together into groups of two (simple meter) or three (compound meter). Beam sixteenth notes into groups of four (simple meter) or six (compound meter.)
- To beam or not to beam?
- Floating, singular eighth notes are fine. If there are multiple eighth/sixteenth/beam-able notes next to one another, beam them into beats.
- Beware excessive horizontal or vertical space between notes.
- Quarter rests should be used primarily to indicate one beat of rest in 2/4, 3/4. Half and whole rests will show up in 4/4. Dotted quarter rests should be your primary focus for compound meter.
- USE TIES SPARINGLY. Use actual note values whenever possible. Ex. two tied eighth notes = quarter note.
- Stacking of pitches
- If they can be stacked into all spaces or lines, do that. Any other notes should be written on the opposite side of the stem.
- Location of additives
- Accidentals go on the front of the pitch
- Dots follow the pitch
- ALL ADDITIVES OCCUPY THE SAME LINE OR SPACE AS THE NOTEHEAD.
Please fill out the student and parent information form by clicking here. This assignment is due by midnight on August 21st for full credit.
(Other composers have struggled to write the treble clef too!)