Advanced Music Theory

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of music to create works in the arts and humanities.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.

• The definition of music.
• The properties of sound including frequency-pitch, amplitude-volume (dynamics), and harmonics-timbre/tone quality.
• Definition of music theory.

• The physical properties of sound form the basis for our understanding of music elements including pitch, volume, and timbre.
• Music is an organization of sounds and silences.

• Demonstrate an understanding of musical vocabulary with regard to music notation.
• Demonstrate an understanding of musical vocabulary with regard to harmony.
• Demonstrate an understanding of musical vocabulary with regard to expression.
• Demonstrate an understanding of musical vocabulary with regard to style.
• Demonstrate an understanding of musical vocabulary with regard to form.
• Identify changes in pitch (high/low).
• Identify changes in volume (loud/soft).
• Identify changes in timbre (bright/muted, buzzy/dull).

• How can music be described and defined using music-specific vocabulary?

• Can music be defined?
• What is the importance of understanding music theory?
• What is sound (in a physical sense) and how can we relate to music theory?
• What role does music play in our lives (cultural and personal)?
   

• Whiteboard
• Music Theory Text: Music in Theory and Practice

• Frequency
• Volume
• Music
• Amplitude
• Dynamics
• Music Theory
• Harmonics
• Timbre
• Pitch
• Tone Quality

• Observation - Informal discussion

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
   

• The solfege syllables: DO, RE, MI, FA, SOL, LA, TI.
• The chromatic alterations: DI, RI, FI, SI, LI, RA, ME, SE, LE, TE.
• How to count rhythms in simple meter.

• Musicians can look at a piece of music and sing it accurately using appropriate solfege syllables.
• Musicians can auditate rhythms and melodies prior to playing or singing without having heard it before.

• Identify melodic and harmonic intervals by ear.
• Identify triads by ear.
• Identify seventh chords by ear.
• Perform a major scale with solfege syllables.
• Sight-sing melodies individually and in groups.
• Sing a melody using appropriate solfege syllables.
• Identify and sing melodic intervals from Perfect Union through Perfect Octave.

• How can solfege be a useful tool in the practice and performance of music?
• How can audiation be a tool for musicians in their practice and performance?
• How do musicians use intervals and scales as tools for effective practice and performance?
   

• How can we sing a major scale?
• How can we sing melodies with a combination of steps and skips?
• What distinguishes a major scale from a minor scale?
• How can we apply an understanding of intervals and scales to sing and perform music?

• Whiteboard
• Sight-Singing keynote
• Sight-Singing texts (1 per student)
   

• Solfege
• Tonal Center
• Leap
• Audiation
• Chromatic
• Ascending
• Interval
• Step
• Descending
• Scale
• Skip

• Informal - Listening Assessments
• Formal - Weekly Sight-singing Assessments
   

PA Arts and Humanities Standards:

• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
• 9.2.12.A Explain the historical, cultural and social context of an individual work in the arts.
• 9.2.12.B Relate works in the arts chronologically to historical events.
• 9.2.12.C Relate works in the arts to varying styles and genres and to the periods in which they were created.
• 9.2.12.D Analyze a work of art from its historical and cultural perspective.
• 9.2.12.E Analyze how historical events and culture impact forms, techniques and purposes of works in the arts.
• 9.2.12.G Relate works in the arts to geographic regions.
• 9.2.12.I Identify, explain and analyze philosophical beliefs as they relate to works in the arts.
• 9.2.12.J Identify, explain and analyze historical and cultural differences as they relate to works in the arts.
• 9.2.12.K Identify, explain and analyze traditions as they relate to works in the arts.
• 9.2.12.L Identify, explain and analyze common themes, forms and techniques from works in the arts.
• 9.4.12.D Analyze and interpret a philosophical position identified in works in the arts and humanities.

• The major musical eras: Ancient, Medieval, Renaissance, Baroque, Classical, Romantic, 20th Century.
• How historical and cultural contexts impacted the composition and performance of music for a given musical era.
• How to form an aesthetic response to music.

• Music is grouped into historical eras which each have unique composers, styles, textures, techniques, and practices.
• The compositions and writing of Western composers have formed the basis of our contemporary understanding of music and music theory.
• Musicians understand patterns and practices of composers in different musical eras that informs their rehearsal and performance practices.

• Demonstrate an understanding of musical vocabulary with regard to style.
• Demonstrate an understanding of musical vocabulary with regard to form.
• Identify various historical styles through aural examples.
• Identify various musical forms through written and aural examples.
• Demonstrate an understanding of musical works in historical context.
• Demonstrate an understanding of the historical progression of Western tonal music.
• Demonstrate an understanding of musical styles in historical context.
• Demonstrate an understanding of the historical impact of great works of music.
• Demonstrate an understanding of vocabulary for historical musical genres.
• Demonstrate an understanding of historical development of music.
• Recognize traditions within musical works.
• Recognize common themes in musical works.
• Analyze and evaluate recorded musical works.
• Identify musical style and genre through aural examples.
• Demonstrate appropriate vocabulary for criticism.
• Compare and contrast musical works through aural examples.
• Respond to aesthetics in great musical works.
• Demonstrate a connection to music and aesthetic response.
   

• How has Western tonal music evolved over time?
• What distinguishes composition and performance practices from different musical eras?
• How can we listen to and evaluate music?
• How can we use specific vocabulary to describe our aesthetic response to music?
   

• Who are notable composers from each of the historical musical eras?
• What styles, textures, techniques, practices, are typical from each of the musical eras?
• What is it about great musical works that elicit an aesthetic response in us?
   

• Music History Keynote
• Recorded audio examples
• Music History text
   

• Texture
• Homorhythmic
• Instrumentation
• Madrigal
• Imitation
• Oratorio
• Monophonic
• Style
• Sacred
• Aria
• Fugue
• Cantata
• Homophonic
• Tone
• Secular
• Recitative
• Concerto
• Sonata
• Polyphonic
• Texture
• Motet
• Opera
• Symphony
• Form

• Informal - Class Discussion
• Formal - Test/Quiz
   

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.

• The fundamentals of pitch notation.
• The fundamentals of rhythm notation.
• How to count in simple, compound, and odd meters.
• How to read and interpret dynamic markings in music.
• How to read and interpret articulation markings in music.

• Music theory uses standardized conventions for notating both rhythm and pitch on the musical staff.
• Composers can use these conventions to produce new works of music that are playable by other musicians.

• Demonstrate proper pitch notation in treble and bass clef.
• Demonstrate proper rhythmic notation in simple, compound, and odd meters.
• Demonstrate proper expression markings (tempo, dynamics, articulation).
• Identify and notate pitches in treble, bass, and alto clefs.
• Write and count rhythms in simple, compound, and odd meters.

• How do musicians represent pitch, duration, and expressive elements?
• What are the differences between simple, compound, and odd meters?
   

• How can pitch be notated on a five-line staff?
• How can composers group strong and weak beats?
• What role does a clef play in pitch notation?
• How can musicians read, count, and compose in simple, compound, and odd meters?
   

• Whiteboard
• Music Theory Text: Music in Theory and Practice
• www.musictheory.net
• Rhythm worksheet

• Staff
• Accidental
• Double Flat
• Rhythm
• Tempo
• Staccato
• Tie
• Grand Staff
• Sharp
• Natural
• Simple Meter
• Articulation
• Legato
• Slur
• Clef
• Double Sharp
• Ledger Line
• Compound Meter
• Subdivision
• Tenuto
• Pitch
• Flat
• Beat
• Odd Meter
• Time Signature
• Accents

• Formal Assessments - customed online exercises for drill and practice

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.

• How to construct diatonic scales.
• Parallel major-minor relationships.
• Relative major-minor relationships.
• The three forms of minor scales.
• The relationship of modes to major and minor scales.

• Diatonic scales are a way of organizing half steps and whole steps patterns.
• Key signatures allow diatonic scales to be built on any pitch.
• Multiple relationships exist between major scales, minor scales, and modes.

• Demonstrate an understanding of major scales.
• Demonstrate an understanding of all forms of the minor scale.
• Identify and notate major scales.
• Identify and notate the three forms of minor scales.
• Identify key signatures and their corresponding scales and modes.

• How is music written and performed using diatonic scales?
• How do composers and musicians use key signatures?
   

• What combination of half steps and whole steps results in a major scale?
• What combination of half steps and whole steps results in a minor scale?
• What are sharps, flats, and naturals?
• What are key signatures and how are they used to relate major and minor scales?
• What are the seven modes?
   

• Whiteboard
• Music Theory Text:  Music in Theory and Practice
• www.musictheory.net
• Circle of 5ths worksheet
   

• Major Scale
• Key Signature
• Ionian
• Mixolydian
• Parallel
• Subdominant
• Subtonic
• Natural Minor Scale
• Diatonic
• Dorian
• Aeolian
• Tonic
• Dominant
• Harmonic Minor Scale
• Non-diatonic
• Phrygian
• Locrian
• Supertonic
• Submediant
• Melodic Minor Scale
• Mode
• Lydian
• Relative
• Mediant
• Leading Tone

• Formal assessments

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.

• The size and quality of common diatonic intervals.
• Intervals can be grouped into “perfect” and “major/minor” categories.
• The interval between two pitches has unique sonic properties.
• Musicians can hear and identify intervals based on those sonic properties.

• Intervals are the building blocks of melody and harmony.
• Intervals have distinctive sonic identities that musicians can recognize by ear.
   

• Demonstrate an understanding of melodic and harmonic intervals up to an octave.
• Identify and construct diatonic intervals from Perfect Unison through Perfect Octave.
• Listen to and correctly identify intervals from Perfect Unison through Perfect Octave.

• What are intervals?
• How can musicians discriminate between intervals of different sizes?
• What makes some intervals consonant and others dissonant?
   

• How can the size and quality of intervals be identified on the staff?
• How can intervals be inverted?
• What is the Rule of Nine and how can it be used to check the size and quality of an interval?

• Whiteboard
• Music Theory Text- Music in Theory and Practice
• www.musictheory.net
• Interval Identification worksheet
   

• Unison
• Fifth
• Perfect
• Diminished
• Second
• Sixth
• Major
• Inversion
• Third
• Seventh
• Minor
• Quality
• Fourth
• Octave
• Augmented
• Tritone

• Formal assessments

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
   

• The names of triads and seventh chords.
• The qualities of triads and seventh chords.
• The relationship between the root, 3rd, 5th, and 7th notes of a chord determine its quality.
• Chords have specific functions related to their position within a diatonic scale.

• The structure and quality of a chord are determined by the specific intervals between its notes.
• Chords serve unique harmonic functions within a key.

• Demonstrate an understanding of triads in root position and inversion.
• Demonstrate an understanding of seventh chords in root position and inversion.
• Identify triads by ear.
• Identify seventh chords by ear.
• Identify and construct major, minor, augmented, and diminished triads.
• Identify and construct major 7th, dominant 7th, minor 7th, half diminished, fully diminished.
   

• How are intervals combined to make chords?
• How are chords related to the major and minor scales?
• What sonic characteristics determine the quality of a chord?
   

• What is the definition of a triad?
• What are the possible types of triads?
• How are triads inverted?
• What is the definition of a seventh chord?
• What are the possible types of seventh chords?
• How are seventh chords inverted?
• How are chords classified and notated?
   

• Whiteboard
• Music Theory Text- Music in Theory and Practice
• www.musictheory.net
• Chord Identification worksheet
   

• Chord
• Fifth
• Augmented
• Minor 7th
• 1st Inversion
• Triad
• Seventh
• Diminished
• Half-dim 7th
• 2nd Inversion
• Root
• Major
• Major 7th
• Full-dim 7th
• 3rd Inversion
• Third
• Minor
• Dominant 7th
• Root Position
• Figured Bass

• Formal assessments
   

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
   

• The names and functions of cadences.
• The names and functions of non-harmonic tones.
• The process for completing a Roman Numeral analysis.

• Chords in Western tonal music often follow a logical and expected progression.
• Chord progressions and cadences give musicians a way to organize and classify musical form.
• Composers can use notes outside of a harmony as part of a melodic line.

• Demonstrate an understanding of triads in root position and inversion.
• Demonstrate an understanding of seventh chords in root position and inversion.
• Demonstrate an understanding of chord progressions and cadences.
• Demonstrate an understanding of non-harmonic tones.
• Demonstrate an understanding of musical vocabulary with regard to harmony
• Demonstrate an understanding of musical vocabulary with regard to expression.

• How is the harmonic content of a piece of music analyzed?
   

• What is a Roman Numeral analysis?
• What are the types and uses of harmonic cadences?
• What are the types and uses of non-harmonic tones?

• Whiteboard
• Music Theory Text- Music in Theory and Practice
• www.musictheory.net
• Cadence and Nonharmonic Tones worksheet
   

• Cadence
• Deceptive
• Appoggiatura
• Changing Tone
• Perfect Authentic
• Passing Tone
• Anticipation
• Pedal Tone
• Imperfect Authentic
• Neighbor Tone
• Suspension
• Chord Progression
• Plagal
• Escape Tone
• Retardation
• Figured Bass

• Informal- Class discussion
• Formal- Test/Quiz