Theory and Analysis: Correlated For Use With AP® Music Theory

The Theory and
Analysis
Musician’s
Guide to
FOURTH AP® EDITION
Jane Piper Clendinning, Florida State University College of Music

Elizabeth West Marvin, Eastman School of Music
978-0-393-44245-8 • hardcover • digital.wwnorton.com/guidetotheory4ap
Correlated for use with AP® Music Theory
Unit 1: Music Fundamentals I:

Pitch, Major Scales and Key Signatures, Rhythm, Meter, and Expressive Elements
1.1 Pitch and Pitch Notation
PIT-1.A: Identify pitches on the staff, using treble, bass, and C clefs, in— • Theory and Analysis, Ch. 1, pp.
a. performed music 6-9, discussion of accidentals and
b. notated music enharmonic equivalents in pitch
PIT-1.A.1: Music consists of discrete tones with specific frequencies called pitches. In music notation, notation
the specific pitch of a note is shown by the note’s position on the lines and spaces of a staff, which are • Theory and Analysis, Ch. 1, pp. 10-
assigned specific letter names by a clef (treble, bass, alto, or tenor clefs). The distance spanned from 15, discussion of clefs and the octave
a given pitch up or down to the next pitch of the same letter name is called an octave. Pitch may be in pitch notation
further distinguished by accidentals (e.g., sharps, flats, and naturals). When a pitch requires use of an
accidental, the accidental should be drawn to the left of the note head.
PIT-1.A.2: Enharmonic equivalents are tones of the same pitch spelled differently according to their
musical contexts (e.g., C♯ and D♭).
PIT-1.B: Identify pitch discrepancies between notated and performed music. • Aural Skills: Sight-Singing, Ch.
PIT-1.B.1: A musical score outlines specifically the pitches to be performed. With the exception of musical 2, pp. 11-12, practice of melodies
styles that allow for improvisation and ornamentation, performed pitches should not deviate from the score. transposed to different pitch levels
PIT-3.A: Sight-sing the pitches and rhythms of a melody that is notated in treble or bass clef.
PIT-3.A.1: Accurate performance of a notated melody rests largely on accurate rendering of the
notated pitches. Even when a melody is transposed to a key other than the notated key, melodic
intervals separating pitches are retained, allowing the melody to retain its characteristic sound.
PIT-3.A.2: Although complete pitch accuracy is the goal, a sight-singing performance demonstrates
partial mastery when it retains the tonic pitch or approximates the melody with correct contour.
PIT-3.A.3: In performing rhythm, it is important to sustain notes for their full duration, especially on
cadential notes where inexperienced performers may be tempted to cut short the duration.
1.2 Rhythmic Values
RHY-1.A: Identify the rhythmic values of notes and rests in— • Theory and Analysis, Ch. 2, pp.
a. performed music 38-41, discussion on dots and ties in
b. notated music rhythmic notation
RHY-1.A.1: Rhythmic values symbolize the duration of a note or rest. The duration of notes and rests
can be extended using ties and augmentation dots (single dots and double dots).
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1.3 Half Steps and Whole Steps
PIT-1.C: Identify half and whole steps presented in— • Theory and Analysis, Ch. 1, pp. 7-8,
a. performed music discussion of the concept of the half
b. notated music step and whole step
PIT-1.C.1: Pitch patterns include rudimentary musical structures—such as intervals, scales, triads, and
seventh chords—as well as other short successions of notes. The half step (or semitone), the smallest
possible distance between two pitches, and the whole step (or whole tone), the distance equivalent to
two half steps, constitute the most fundamental of pitch patterns.
1.4 Major Scales and Scale Degrees
PIT-1.D: PIT-1.C: Identify major scales presented in— • Theory and Analysis, Ch. 3, p. 53,
a. performed music discussion of the tonic and numbers in
b. notated music the introduction to scales
PIT-1.D.1: Pitches arranged in specific patterns of half and whole steps in ascending or descending • Theory and Analysis, Ch. 3, p. 65,
order form major and minor scales. discussion of the scale-degree names
PIT-1.E.1: Pitches of a scale function relative to a central pitch, called the tonic, and are referred to in the introduction to scales
with scale-degree names (tonic, supertonic, mediant, subdominant, dominant, submediant, subtonic,
and leading tone) or scale-degree numbers.
1.5 Major Keys and Key Signatures
PIT-1.F: Identify major keys and key signatures in notate music. • Theory and Analysis, C. 3, pp. 56-57,
PIT-1.F.1: When a particular major or minor scale is used prominently within a musical passage, the discussion of the distinction between
music is said to be in the corresponding key of that scale. For instance, a passage that uses the pitches of diatonic and chromatic passages
the D major scale and asserts D as the central pitch is said to be “in the key of D major.” • Theory and Analysis, Ch. 3, pp.
PIT-1.F.2: The specific pitches of a major or minor scale are represented by its key signature, a 60-62, discussion of the circle of fifths
grouping of sharps or flats presented in a specific order. Pitches that belong to a given major or minor and key signatures in the introduction
scale are said to be diatonic; pitches that do not belong to the given scale are said to be chromatic. to keys
PIT-1.F.3: The degree of relatedness among keys may be illustrated by the “circle of fifths,” a visual
diagram in which closely related keys appear in close proximity to each other.
PIT-3.B: Notate the pitches and rhythms of a performed melody— • Contextual Listening activities
a. in treble or bass clef throughout The Musician’s Guide to
b. composed in a major or minor key Aural Skills: Ear Training encourage
PIT-3.B.1: Accurate dictation of a performed melody depends on accurate identification of the students to focus on key context to
relationship of the pitches to the tonic and the notation of the sounding pitches and rhythms. Pitches complete dictation exercises.
are accurately notated when they are spelled correctly in the given key and placed in the proper octave. • Aural Skills: Ear Training, Ch. 3, pp.
13-17, exercises for the use of pitches
within major keys in taking dictation
1.6 Simple and Compound Beat Division

RHY-1.B: Describe beat division and meter type in— • Theory and Analysis, Ch. 2, pp. 31-
a. performed music 33, discussion of interpretation of time
b. notated music signatures in the use of simple and
RHY-1.B.1: In most music, rhythm is governed by a layered structure of interrelated pulses called compound meters
meter. Meter is fundamentally based on three interlocking pulse speeds (beat, beat division, and • Theory and Analysis, Ch. 2, pp. 35-
measure). 37, discussion of rhythmic patterns
RHY-1.B.2: A meter in which the beat is parsed into two divisions is called simple, and a meter in and their proper beaming in the use of
which the beat is parsed into three divisions is called compound. simple and compound meters
• Theory and Analysis, Ch. 2, p. 41,
discussion of the concept of metrical
accent in the use of simple and
compound meters
• Theory and Analysis, Ch. 4, pp. 71-
74, discussion of interpretation of time
signatures in the use of simple and
compound meters
77, discussion of rhythmic patterns
and their proper beaming in the use of
simple and compound meters
1.7 Meter and Time Signature
RHY-1.C: Describe the meter type in— • Theory and Analysis, Ch. 2, pp. 31-
a. performed music 33, discussion of interpretation of time
b. notate music signatures in the use of simple and
RHY-1.C.1: Meter types are identified based on two relationships—the relationship of the beat to the compound meters
division (simple versus compound) and the relationship of the beat to the measure. A meter in which the • Theory and Analysis, Ch. 2, pp. 35-
beat is grouped into two-beat measures is called duple, and meters in which the beats are grouped into 37, discussion of rhythmic patterns
4
three- and four-beat measures are called triple and quadruple, respectively. For example, the meter known as
common time ( 4) would be considered a simple quadruple meter—“simple” because its quarter-note beat simple and compound meters
parses into two eighth-note divisions and “quadruple” because its beat groups into four-beat measures. • Theory and Analysis, Ch. 2, p. 41,
discussion of the concept of metrical
RHY-1.D: Describe the time signature in—
accent in the use of simple and
a. performed music compound meters
b. notate music
RHY-1.D.1: Time signatures (or meter signatures) represent meter in a score. The upper and lower 74, discussion of interpretation of time
numbers of a time signature work together to imply how many beats are in a measure, which rhythmic signatures in the use of simple and
value gets one beat, and whether the meter is simple or compound. More specifically, compound meters
• The upper number of a time signature reveals whether the meter is simple (2, 3, or 4) or compound • Theory and Analysis, Ch. 4, pp. 74-
(6, 9, or 12), and whether the meter is duple (2 or 6), triple (3 or 9), or quadruple (4 or 12). 77, discussion of rhythmic patterns
• The lower number represents the rhythmic value of the beat in simple meters and the rhythmic and their proper beaming in the use of
value of the division in compound meters.
3
To illustrate, in a simple meter such as 8, the upper number indicates a simple triple meter, and the lower
9
number shows that the eighth note gets the beat. In a compound meter such as 8 , the upper number indicates
98 contains nine eighth-note divisions, and each group of three divisions forms a dotted-quarter beat.
a compound triple meter, and the lower number shows that the eighth note is the division. Each measure of
RHY-1.D.2: Metrical accents arise from patterns of strong and weak beats that occur at regularly
occurring intervals in a meter. At the beat level, the first beat of a measure, called the downbeat, is
4
always strongest; the subsequent beats in the measure are felt as weak beats and, in some cases, lesser
strong beats. In a measure of 4 , beat one is the downbeat, beat three constitutes a lesser strong beat, and
beats two and four fill out the measure as weak beats. At the division level, divisions occurring directly on
beats are felt as strong in relation to the intervening divisions, or offbeats, which are comparatively weak.
1.8 Rhythmic Patterns
RHY-2.A: For rhythmic patterns in simple or compound meter— • Theory and Analysis, Ch. 2, pp. 31-
a. Identify the rhythmic pattern 33, discussion of interpretation of time
b. Notate the rhythmic pattern signatures in the use of simple and
c. Sight-sing the rhythmic pattern compound meters
RHY-2.A.1: Rhythmic patterns arise from the various ways rhythmic values can fill up a beat. Simple • Theory and Analysis, Ch. 2, pp. 35-
beats have a limited number of rhythmic patterns; compound beats have only a few more possible 37, discussion of rhythmic patterns
rhythmic patterns. Learning and knowing these rhythmic patterns by sight and sound facilitates and their proper beaming in the use of
reading, notating, and analyzing music. Rhythmic patterns may be identified in performed excerpts simple and compound meters
and in scores, notated from performed excerpts, and performed through sight-singing. Some rhythmic • Theory and Analysis, Ch. 2, p. 41,
patterns are so common and distinctive that they have names, such as dotted rhythms. discussion of the concept of metrical
RHY-2.A.2: In notating rhythm, care should be taken to sequence rhythmic values and draw beams accent in the use of simple and
so the location of beats is most clearly visible. There may be no beaming across the half-bar (e.g. across compound meters
beats 2 and 3 in quadruple meter). Notes, rests, ties, and beams that obscure the beat structure of a • Theory and Analysis, Ch. 4, pp. 71-
measure are difficult for the performer to interpret and considered wrong. 74, discussion of interpretation of time
signatures in the use of simple and
compound meters
77, discussion of rhythmic patterns
RHY-2.B: Identify rhythmic discrepancies between notated and performed music in one or two voices. • Aural Skills: Sight-Singing, Ch. 14,
RHY-2.B.1: A musical score shows notation of the specific rhythms to be performed. Except for musical pp. 202-208, practices for performing
styles that allow for improvisation and ornamentation, performed rhythms should not deviate from the rhythms and melodies with swing
score. Swing rhythms are an example of a musical style that allows rhythms to deviate from their notation; rhythms
the addition of the word “swing” indicates that the offbeat note should occur later than it would ordinarily.
1.9 Tempo
DES-3.A: Identify and apply tempo markings, including those that indicate adjustments to the • Theory and Analysis, Ch. 2, p. 28,
prevailing tempo, used in— discussion of tempo
a. performed music
b. notated music
DES-3.A.1: Tempo describes the relative speed of music’s beat pulse. Tempo may be expressed by words
that indicate this relative speed, ranging from very slow speeds, such as largo, larghetto, and grave; to slow
speeds, such as lento and adagio; moderately slow speeds, such as andante and andantino; moderate speeds,
such as moderato; and faster speeds, such as allegretto, allegro, vivace, presto, and prestissimo. Composers in
different musical traditions have used words from different languages to indicate tempos, and performers
are responsible for learning the meaning of tempo markings that appear in notated music. Tempo can also
be indicated by a “metronome marking,” which identifies a note value, such as a quarter note, as a beat-
note, and then labels the number of beats per minute, such as “quarter note = 88.” Tempo markings are
typically placed at the start of a movement or section of a piece.
DES-3.A.2: Directions to adjust the musical tempo may be used, including some to increase the speed
(accelerando) and some to slow it down, either gradually (ritardando) or abruptly (ritenuto). Additionally,
terms may be applied that suggest general freedom with respect to tempo (rubato).
1.10 Dynamics and Articulation
DES-3.B: Identify dynamics and changes in dynamics in— • Theory and Analysis, Ch. 1, pp. 20-
a. performed music 22, discussion of dynamics
b. notated music
DES-3.B.1: Dynamics describe, in relative terms, how loud or soft music is. Dynamics are typically marked in
music using abbreviations for the Italian words ranging from very soft to very loud—pp stands for pianissimo,
p stands for piano, mp stands for mezzo piano, mf stands for mezzo forte, f stands for forte, and ff stands for
fortissimo. Changes in dynamics may be shown with graphic symbols (sometimes called hairpins), with Italian
words that call for gradual or sudden changes (crescendo, decrescendo, subito), or with abbreviations for the Italian
words. A dynamic accent gives a momentary increase of volume to a specific note or notes. Dynamic accents
can be indicated with sf or sfz, which stand for sforzando. Terraced dynamics indicate the sudden contrast of a
loud passage of music followed by a soft passage of music, or a soft passage followed by a loud passage.
DES-3.C: Identify articulation and changes in articulation in— • Aural Skills: Sight-Singing includes
a. performed music articulation marks throughout so
b. notated music that students can practice performing
DES-3.C.1: Articulation is an aspect of performance that describes the way a sound starts (its with the appropriate articulations.
“attack”) and ends, and how detached or connected adjacent pitches are. Articulations may be shown It also contains numerous melodies
with symbols—such as staccato dots, legato (or tenuto) lines, slurs, or marcato accents—or indicated throughout with dynamic, articulation,
with words, such as sempre tenuto. Different types of accents have different markings. Interpretation of and tempo markings.
articulations may vary according to musical style or type of instrument, and from performer to performer.
Related to articulation is the tremolo, which is the rapid and continuous repetition of a single pitch.
DES-3.D: Sight-sing a notated melody, applying all indicated markings for—
a. dynamics
b. articulation
c. tempo
DES-3.D.1: Singing a melody at sight, without extended rehearsal or prior familiarity with it, requires
observation and performance not only of the pitch and rhythm but also of the indicated expressive
elements of dynamics, articulation, and tempo. In performing a melody with a single tempo marking,
the performer should maintain steady tempo throughout. It is important to perform with continuity
throughout—avoiding hesitations and restarts—to maintain the momentum of musical motion and
properly observe the metric framework of the melody. No alterations in the tempo should be made
unless the notation specifically indicates a change in tempo.
Unit 2: Music Fundamentals II:
Minor Scales and Key Signatures, Melody, Timbre, and Texture
2.1 Minor Scales: Natural, Harmonic, and Melodic
PIT-1.G: Identify forms of the minor scale, including natural, harmonic, and melodic forms in— • Theory and Analysis, Ch. 5, pp. 98-
a. performed music 100, discussion on forms of the minor
b. notated music scale
PIT-1.G.1: Pitches arranged in specific patterns of half and whole steps in ascending or descending
order form major and minor scales. Scales identified in music theory include altered forms of the natural
minor scale (i.e., harmonic and melodic minor scales). Melodic passages may employ these scales.
2.2 Relative Keys: Determining Relative Minor Key and Notating Key Signatures
PIT-1.H: Identify and notate a relative key and its key signature. • Theory and Analysis, Ch. 5, pp.
PIT-1.H.1: Musical passages or compositions can shift from one key to another. The key to which a 92-96, discussion of relative key
passage shifts can form various key relationships with the original key, including a relative key which relationships and distinguishing
shares the same key signature as the original but starts on a different tonic. For example, D major and B relative relationships from changes in
minor both have two sharps in their key signature, but their tonics are D and B, respectively. mode
PIT-1.I: Identify minor and relative keys in— • Theory and Analysis, Ch. 5, pp.
a. performed music 92-96, discussion of relative key
b. notated music relationships and distinguishing
PIT-1.I.1: A minor key has the same key signature as the major of which it is a relative. relative relationships from changes in
mode
PIT-1.I.2: The term “mode” is used in reference to major and minor keys. For example, a major key and
a minor key are described as being in the “major mode” and in the “minor mode,” respectively. A shift
from G major to G minor, for instance, would constitute a “change in mode.”
2.3 Key Relationships: Parallel, Closely Related, and Distantly Related Keys
PIT-1.J: Describe key relationships in— • Theory and Analysis, Ch. 5, pp.
a. performed music 90-92, discussion of parallel key
b. notated music relationships
PIT-1.J.1: A parallel key is a key that shares the same tonic as the original but has a different key
signature. For example, D major has two sharps in its key signature and is parallel to D minor, which
has one flat in its key signature.
PIT-1.J.2: Closely related keys are keys whose key signatures differ from the original by no more than • Theory and Analysis, Ch. 22, pp.
one accidental; these are the most common keys to which a musical passage might shift. For example, in 476-478, discussion of closely related
relation to an opening tonic of D major (i.e., two sharps in the key signature), the closely related keys would key relationships and distinguishing
consist of the relative key (B minor), the major and minor keys bearing one additional sharp (A major and them from distantly related
♯ relationships
F minor), and the major and minor keys bearing one less sharp (G major and E minor). The following is an
alternative explanation: The keys closely related to a given key are those whose tonic triads are the diatonic
major and minor triads of the original key. For the key of D major, the closely related keys would be the
♯
supertonic key (E minor), the mediant key (F minor), the subdominant key (G major), the dominant key
(A major), and the submediant key (B minor). Relative keys are a subset of closely related keys.
PIT-1.J.3: Distantly related keys—keys whose key signatures differ from the original by more than one
accidental. Parallel keys are a subset of distantly related keys.
2.4 Other Scales: Chromatic, Whole-Tone, and Pentatonic
PIT-1.K: Identify chromatic, whole-tone, and pentatonic scales in— • Theory and Analysis, Ch. 3, pp. 51-
a. performed music 52, discussion of chromatic scales
b. notated music • Theory and Analysis, Ch. 3, pp. 66-
PIT-1.K.1: Additional scales identified in music theory include chromatic, whole-tone, and pentatonic 67, discussion of pentatonic scales
scales. Melodic passages may employ these scales. Chromatic scales have twelve pitches, each a half step apart. • Theory and Analysis, Ch. 5, pp. 106-
Whole-tone scales have six notes, each a whole step apart. Pentatonic scales (major and minor) have pitches 107, discussion of pentatonic scales
from the seven pitches of a major or minor scale. Major pentatonic scales contain scale degrees 1, 2, 3, 5, and • Theory and Analysis, Ch. 34, pp. 761-
6 of the major scale. Minor pentatonic scales contain scale degrees 1, 3, 4, 5, and 7 of the natural minor scale. 762, discussion of whole-tone scales
2.5 Interval Size and Quality
PIT-1.L: Describe the size and quality of an interval in— • Theory and Analysis, Ch. 6, pp.
a. performed music 116-118, discussion of melodic and
b. notated music harmonic intervals
PIT-1.L.1: The distance in pitch between two notes is called an interval, designated by distance • Theory and Analysis, Ch. 6, pp.
between pitches (e.g., second or fifth) and quality (major, minor, perfect, diminished, or augmented). 130-132, discussion of enharmonic
Two examples are a major second or a diminished seventh. Some intervals are alternatively designated equivalents, consonance, and
by unique names, for example, the unison (prime) and the tritone. Intervals that sound identical but dissonance
encompass different pitch spellings are enharmonic equivalents (e.g., the augmented fourth, D up to • Theory and Analysis, Ch. 9, p.
G♯, and the diminished fifth, D up to A♭). 175, discussion of counterpoint in
PIT-1.L.2: Harmonic intervals describe the distance between simultaneous pitches; melodic intervals distinguishing between steps and leaps
describe the distance between successive pitches. Melodic intervals are generally categorized into two
generic types—a step traverses adjacent pitches of neighboring letter names (e.g., C up to D), while a
leap traverses an interval larger than a step (e.g., C up to E).
PIT-1.L.3: Consonance (adjective consonant) refers to intervals that are inherently stable, meaning
they have no natural inclination to move, or resolve, to other sounds. In contrast, dissonance (adjective
dissonant) refers to intervals that are inherently unstable, meaning they have a natural inclination to
move to other, more stable, sounds (e.g., a harmonic-diminished fifth resolving inward to a third).
2.6 Interval Inversion and Compound Intervals
PIT-1.M: Identify interval inversions and compound intervals in— • Theory and Analysis, Ch. 6, pp.
a. performed music 118-120, discussion of the distinction
b. notated music between simple and compound
PIT-1.M.1: An interval’s inversion may be determined by transferring the lower note up an octave. An intervals
interval plus its inversion equals a perfect octave. Put another way, when an octave is divided into two • Theory and Analysis, Ch. 6, p. 123,
smaller intervals, the resulting two intervals are interval inversions of each other. Sizes and qualities of discussion of interval inversion
intervals and their inversions relate consistently as follows—
• perfect intervals remain perfect when inverted
• major intervals become minor when inverted, and vice versa
• diminished intervals become augmented when inverted, and vice versa
• the sum of respective sizes of the original and inverted intervals always equals nine (e.g., a second
inverts to become a seventh, or two plus seven equals nine)
PIT-1.M.2: Intervals whose sizes are smaller than or equal to an octave may be called simple intervals.
When an octave is added to a simple interval, the result is a corresponding larger interval called a
compound interval. For example, an octave added to a major third yields a major tenth. Because a
simple interval and its corresponding compound interval contain like pitches—sounding in different
octaves—the two intervals sound similar.
2.7 Transposing Instruments
PIT-1.N: Identify sounding pitches that correspond to the notated pitches of a transposing instrument • Theory and Analysis, Ch. 8, pp.
when given the specific level and direction of transposition. 165-168, discussion of transposing
PIT-1.N.1: Transposing instruments are those whose notated pitches are different from actual pitches instruments
that sound when played. Because many standard instruments in the tradition known as Western music • Theory and Analysis Anthology, pp.
belong to this category, musical scores often contain one or more instrumental parts that require the 153, 203-219, scores with transposing
conversion of notated pitches into sounding pitches before analysis may proceed. instruments: Dallapiccola’s Die Sonne
kommt! and Haydn’s Concerto in D
Major for Corno di caccia and Orchestra,
first movement
2.8 Timbre
DES-2.A: Identify performance media and vocal and instrumental timbres in performed music. • Aural Skills: Ear Training contains
DES-2.A.1: Some common examples of standard performance media (or instrumentation) are—string contextual listening activities that
orchestra, string quartet, SATB choir, brass quintet, jazz trio, and solo piano. Unique ensembles may be emphasize various timbres, though
established using a distinctive mix of voices and instruments. An individual voice or instrument may be most utilize excerpts for piano and/
identified by its distinctive timbre, which refers to the unique quality of sound based on how the sound is or voice.
produced. The sound quality is also affected by register (i.e., which part of the voice or instrument’s total range • Aural Skills: Ear Training,
is used). The most comfortable register of a given voice or instrument, known as its tessitura, is most frequently Contextual Listening 5.4, pp. 36-37,
used, but sometimes voices and instruments use extreme parts of their ranges to create special effects. exercise in transposing a melody for
DES-2.A.2: Common instrumental families in the tradition known as Western music include strings, piano to B flat clarinet
woodwinds, brass, percussion, and keyboards. Each of these families has many standard members, and each • Aural Skills: Ear Training,
member is distinguished by its timbre and register (how high or low its pitches sound). The string family Contextual Listening 6.2, pp. 46-47,
includes violin, viola, cello, bass, harp, and guitar. The brass family includes trumpet, French horn, trombone, listening exercises on the individual
euphonium, and tuba. The woodwind family includes flute, oboe, clarinet, saxophone (which comes in several instruments of a string quartet
different sizes, covering different registers), and bassoon. The percussion family has many members, such as
drums, cymbals, marimba, and others. The keyboard family includes piano, harpsichord, and organ. In addition
to these standard families, there are alternate groupings of instruments, such as winds, used to describe a
combined assemblage of woodwind and brass instruments. A rhythm section consists of a harmony instrument
(such as piano or guitar), a bass instrument (typically double bass), and usually a drum set that form the core
instrumentation of a jazz ensemble. In the Baroque period, the basso continuo included a harmony instrument
(often a harpsichord) and bass instrument (such as cello) to provide the core sound of the group.
2.9 Melodic Features
PIT-3.C: Identify features of melody in— • Theory and Analysis, Ch. 9, pp. 174-
a. performed music 177, 183-188, discussion of the basic
b. notated music principles of melodic construction in
PIT-3.C.1: Melody is produced by pitch and rhythm together, combining to create a succession of the context of writing counterpoint
pitches through time that express a musical statement. • Theory and Analysis, Ch. 18, pp.
PIT-3.C.2: Melodies may be derived from specific scales and modes and are often organized in 376-379, discussion of melodic
patterns of musical motives and phrases. features through the lens of the
motive
PIT-3.C.3: The pitch succession that comprises a melody may exhibit several technical features. Contour
is the unique melodic shape created by the specific rise and fall of pitches. Conjunct and disjunct refer to
melodic steps (conjunct) or leaps (disjunct) within a melody or melodic segment. Register refers to the
relative span of pitch (e.g. high, medium, or low) of notes in a given melody or part thereof. Range refers
to the overall compass of pitch in a given melody, from its lowest to its highest pitch.
PIT-3.C.4: Motive refers to a small musical idea that recurs and is developed through the course of a
musical composition or passage. A motive may be compositionally developed by pitch alone, rhythm
alone, or the complete pitch-rhythm combination.
PIT-3.C.5: In vocal music, text (known in popular music as lyrics) is set to melody, and elements of
text and pitch may relate in one of two ways—
• When each syllable of text corresponds to a single pitch, the text setting is said to be syllabic.
• When a syllable of text is sung with two or more pitches, the text setting is said to be melismatic;
each instance of one syllable to multiple pitches is a melisma.
2.10 Melodic Transposition
PIT-3.C: Identify features of melody in— • Aural Skills: Sight-Singing, Ch.
a. performed music 2, pp. 11-12, practice working with
b. notated music transposed melodies
PIT-3.C.6: Melodic transposition is a commonly used form of pitch transformation; it is also a useful
skill frequently required of practicing musicians. In melodic transposition, a melody or melodic segment
is moved to a new pitch level while retaining its intervallic and rhythmic content. For instance, a C
major melody transposed up a whole step would result in the same tune sounding a whole step higher;
it would now be in the key of D major.
2.11 Texture and Texture Types
DES-1.A: Identify texture types in— • Theory and Analysis Anthology
a. performed music provides numerous examples of
b. notated music these texture types. Homophonic
DES-1.A.1: Texture refers to how musical components combine simultaneously to form an overall passages can be found throughout. The
sound. Texture is influenced by how music is produced (e.g., the distinctive qualities of sound, or included pieces by Bach are exemplary
timbres), the density and spacing of pitches, and the pitch range encompassed. of monophony (pp. 19-24 and 42-43),
polyphony (pp. 32-41 and 46-51),
DES-1.A.2: Texture types are determined by the number of musical lines present, the melodic and chordal homophony (pp. 25-31).
character of these lines, and the ways in which the lines are combined simultaneously. The main types More chordal homophony is in the
of musical texture are monophony, homophony (including chordal homophony and melody with “Hymn tunes” section (pp. 235-239).
accompaniment), polyphony (nonimitative and imitative), and heterophony. These terms appear as nouns
(e.g., homophony) and as adjectives (e.g., homophonic). Other terms used to describe texture include • Theory and Analysis, Ch. 12, pp.
technical terms (e.g., canon/canonic) and casual terms (e.g., call and response). Counterpoint (adjective: 258-260, discussion of texture
contrapuntal) is a term that relates closely to polyphony. Counterpoint refers specifically to the practice
of composing polyphonic music, often using historical conventions, and the texture that results.
2.12 Texture Devices
DES-1.B: Identify texture devices in— • Theory and Analysis Anthology
a. performed music provides numerous examples of
b. notated music these texture types. Homophonic
DES-1.B.1: In addition to texture type (e.g., monophony), a description of texture may include the passages can be found throughout. The
composer’s use of various texture devices. Examples include devices associated with the bass line, such included pieces by Bach are exemplary
as Alberti bass and walking bass, and devices associated with polyphony, such as canon, imitation, and of monophony (pp. 19-24 and 42-43),
countermelody. Other terms further describe the unique texture of a musical passage, such as solo/soli, polyphony (pp. 32-41 and 46-51),
accompaniment, doubling, ostinato, and tutti. and chordal homophony (pp. 25-31).
More chordal homophony is in the
“Hymn tunes” section (pp. 235-239).
• Theory and Analysis, Ch. 12, pp.
258-260, discussion of texture
2.13 Rhythmic Devices
RHY-3.A: Identify rhythmic devices in— • Theory and Analysis, Ch. 2, pp. 33,
a. performed music 44-46, discussion of anacrusis in the
b. notated music topic of rhythmic devices
RHY-3.A.1: A variety of rhythmic devices and features are used in music. Some features enliven rhythm • Theory and Analysis, Ch. 2, pp. 43-
by challenging the regularity of an established meter. For example, syncopation occurs when rhythm places 44, discussion of hemiola in the topic
accent on weak beats or divisions. A cross-rhythm (or polyrhythm) is a simultaneous occurrence of two of rhythmic devices
or more rhythmic patterns that do not derive from one another and are not rooted in the same meter. • Theory and Analysis, Ch. 4, pp. 85-
Hemiola, in its most fundamental meaning, refers to any arrangement of rhythm and meter that articulates 86, discussion of hemiola in the topic
a 3:2 ratio. Thus, hemiola occurs when three notes of equal duration take up the time previously held by of rhythmic devices
two notes of equal duration, or vice versa. Common manifestations of hemiola include the following— • Theory and Analysis, Ch. 4, pp.
6
• Measures of compound duple meter (e.g., 8 ) juxtaposed with measures that articulate a simple triple
3
83-85, discussion of polyrhythms and
meter (e.g., 4 ), with the division pulse remaining constant (e.g., a static eighth-note pulse). borrowed beat divisions in the topic of
• Two measures of triple meter that are accented as Strong-weak-Strong-weak-Strong-weak instead rhythmic devices
of the usual Strong-weak-weak-Strong-weak-weak. • Theory and Analysis, Ch. 35, pp.
RHY-3.A.1: The contrasting metric structures that form a hemiola may be heard successively or 769-772, discussion of asymmetric
simultaneously, with the latter forming an example of polyrhythm or “two-against-three” polyrhythm. meters in the topic of rhythmic
RHY-3.A.2: Other rhythmic devices include the following— devices
• An agogic accent is a note that naturally receives more emphasis due to its extended (or longer)
duration.
• An anacrusis, or pickup, is a rhythm or rhythms that start before the first downbeat of a phrase.
• A fermata is a symbol placed over a note or rest that indicates it is to be held longer than its
normal duration.
RHY-1.E: Identify irregularities of beat division and/or beat grouping into measures in— • Theory and Analysis, Ch. 2, pp. 33,
a. performed music 44-46, discussion of anacrusis in the
b. notated music topic of rhythmic devices
RHY-1.E.1: Borrowed divisions occur when compound divisions (three divisions per beat) substitute • Theory and Analysis, Ch. 2, pp. 43-
for division values in a simple meter (two divisions per beat), and vice versa. Such divisions are 44, discussion of hemiola in the topic
sometimes called triplets and duplets, respectively. Borrowed rhythmic values may also occur at the beat of rhythmic devices
level; for instance, three quarter-note triplets may take the place of two quarter notes. Beats may be • Theory and Analysis, Ch. 4, pp. 85-
divided into other portions (such as 5s and 7s), sometimes called irregular divisions. 86, discussion of hemiola in the topic
RHY-1.E.2: Meter types created by recurring regularly spaced patterns of accent on the different levels of rhythmic devices
• Theory and Analysis, Ch. 4, pp.
5
of pulse (division, beat, and measure) are called symmetrical meters. However, meters are not always
regularly periodic at all levels of pulse. For instance, 8 contains beats of unequal size, with the first beat 83-85, discussion of polyrhythms and
containing three eighth-note divisions and the second containing two eighth-note divisions, or vice borrowed beat divisions in the topic of
3 4
versa. This is an example of an asymmetrical or irregular meter. Music may use time signatures that shift rhythmic devices
often, such as a measure of 4 followed by a measure of 4 ; this is known as changing or mixed meter. • Theory and Analysis, Ch. 35, pp. 769-
772, discussion of asymmetric meters
in the topic of rhythmic devices
Unit 3: Music Fundamentals III:

Triads and Seventh Chords
3.1 Triad and Chord Qualities (M, m, d, A)
PIT-1.O: Describe the quality of a chord in— • Theory and Analysis, Ch. 7, p. 137,
a. performed music discussion of the four triad qualities
b. notated music within the concept of the triad
PIT-1.O.1: A chord consists of three or more pitches sounding simultaneously; the term also applies • Theory and Analysis, Ch. 7, pp.
to collections of successive pitches that form a perceived grouping, often through arpeggiation (i.e., the 137-141, discussion of chords diatonic
use of arpeggios). In the tradition known as Western music, the two basic kinds of chord are— to major and minor keys within the
• triads—chords whose essence consists of three distinct pitches stacked on adjacent lines or spaces concept of the triad
(i.e., stacked in thirds) • Theory and Analysis, Ch. 7, pp.
• seventh chords—chords whose essence consists of four distinct pitches stacked on adjacent lines or 143-148, discussion of inversion and
spaces (i.e., stacked in thirds) figured bass within the concept of the
PIT-1.O.2: When the pitches of a chord are arranged in their essential configuration of stacked triad
thirds, each pitch, or chord member, is given a specific name—the bottom note on which the chord is
built is called the root, and the notes stacked above the root are called the third, the fifth, and in the
case of seventh chords, the seventh.
PIT-1.O.3: The structure of intervals of a given triad or seventh chord accounts for the chord’s unique
sound and allows it to be classified as a specific chord quality (or type). In the tradition known as
Western music, the following qualities of triad are commonly found—
• major (M)
• minor (m)
• diminished (o or d)
• augmented (+ or A)
3.2 Diatonic Chords and Roman Numerals
PIT-2.A: Identify chords using letters and Roman/Arabic numerals that indicate specific scale degree • Theory and Analysis, Ch. 7, p. 137,
of the root, quality, and bass note in— discussion of the four triad qualities
a. performed music within the concept of the triad
b. notated music • Theory and Analysis, Ch. 7, pp.
PIT-2.A.1: Triads and seventh chords built on the scale degrees of a given key constitute the diatonic 137-141, discussion of chords diatonic
chords of that key. These chords are identified using a system of symbols in which Roman numerals to major and minor keys within the
indicate the scale degree on which the given chord is built and the quality of the given chord. concept of the triad
Uppercase and lowercase Roman numerals are used to indicate major and minor triads, respectively, and • Theory and Analysis, Ch. 7, pp.
additional symbols are added to denote other chord qualities (e.g., lowercase Roman numerals with “o” 143-148, discussion of inversion and
indicating diminished triads and uppercase Roman numerals with “+” indicating augmented triads). The figured bass within the concept of the
diatonic chords of a key can also be identified using the scale-degree names of each chord’s respective triad
root (e.g., tonic, supertonic, mediant, etc.). For example, the triad built on scale degree two may be
called the “supertonic triad,” the triad built on scale degree four may be called the “subdominant triad,”
and the seventh chord built on scale degree five may be called the “dominant seventh chord.”
3.3 Chord Inversions and Figures: Introduction to Figured Bass
PIT-2.A: Identify chords using letters and Roman/Arabic numerals that indicate specific scale degree • Theory and Analysis, Ch. 7, p. 137,
of the root, quality, and bass note in— discussion of the four triad qualities
a. performed music within the concept of the triad
PIT-2.A.2: The pitches of a chord may be arranged in various ways, with special attention paid to the 137-141, discussion of chords diatonic
chord member that appears in the bass (i.e., lowest part of the chord). When the chordal root appears in to major and minor keys within the
the bass, the chord is said to be in root position. When chord members other than the root appear in the concept of the triad
bass, chord inversions result. First inversion and second inversion occur when the chordal third and fifth, • Theory and Analysis, Ch. 7, pp.
respectively, appear in the bass. Specific chord inversions are labeled using a system of Arabic numerals 143-148, discussion of inversion and
that denote intervals to be rendered above given bass notes, a convention based on an 18th-century system figured bass within the concept of the
of musical shorthand known as figured bass. With pitch content clearly defined, these Arabic numerals triad
may be used to imply specific chords and their inversions. An alternate system for labeling chords
identifies a triad’s root by capital letter name (e.g., C) and its quality by abbreviation (e.g., “m” for minor); a
C-minor triad may be labeled “Cm.” Chord labels such as these are used prominently in lead sheets, where
they appear above the notated melody and indicate specific chord progressions.
PIT-2.B: Use Roman numerals to indicate the harmonic progression implied by a figured bass.
PIT-2.B.1: The Arabic numerals, or figures, that appear in a figured bass denote pitches at specific
intervals above each given bass note. (Octave equivalents of those pitches are also acceptable.) Since
the resultant pitches are to be used in writing each corresponding chord, these Arabic numerals imply
harmonies to which Roman numerals may be applied.
PIT-2.B.2: In figured bass notation, a figure with a slash or plus sign indicates the pitch denoted by
that figure is to be raised a half step. An accidental appearing alone (i.e., without an Arabic numeral)
♯
indicates that the pitch lying a third above the bass should be inflected as shown (e.g., “ ” appearing
♯
under a given bass pitch of A denotes the pitch C ).
3.4 Seventh Chords
PIT-2.C: Describe the quality of a seventh chord in— • Theory and Analysis, Ch. 8, pp.
a. performed music 153-154, discussion of seventh chord
b. notated music quality
PIT-2.C.1: The following qualities of seventh chords are commonly found— • Theory and Analysis, Ch. 8, pp. 154-
• major seventh (MM; M7), or “major-major” 156, discussion of Roman numerals
• major-minor seventh (Mm7), or “dominant seventh,” used for major-minor chords exercising a for seventh chords in major keys
dominant function • Theory and Analysis, Ch. 11, pp.
• minor seventh (mm; m7), or “minor-minor” 223-226, discussion of chordal
• half-diminished seventh (ø7; dm), or “diminished-minor” dissonance and its resolution
• fully diminished seventh (o7; dd), or “diminished-diminished”
PIT-2.C.2: When a chord contains a chord member that possesses this natural inclination to resolve
(e.g., a chordal seventh), that specific chord member may be called a chordal dissonance.
3.5 Seventh Chord Inversions and Figures
PIT-2.D: Identify seventh chords using Roman/Arabic numerals that indicate specific scale degree of • Theory and Analysis, Ch. 8, pp.
the root, quality, and bass note in— 156-157, discussion of seventh chord
a. performed music inversions and their figures
b. notated music
PIT-2.D.1: Seventh chords have the potential for a third inversion in which the chordal seventh
appears in the bass.
Unit 4: Harmony and Voice Leading I:
Chord Function, Cadence, and Phrase
4.1 Soprano-Bass Counterpoint
PIT-4.A: Identify and apply the procedures of 18th-century voice leading through— • Theory and Analysis Chapters 9–11
a. score analysis on counterpoint introduce students to
b. error detection the basic principles of voice leading
c. writing exercises that they will use throughout AP
a. contextual listening music theory.
PIT-4.A.1: Voice leading describes how individual voices or parts move as a harmonic progression • Theory and Analysis, Ch. 9, pp.
advances from each chord to the next. This motion must take into consideration correct chord spelling, 172-188 focuses on first species
spacing, and doubling. Emulating works of the common practice era, voice leading should achieve counterpoint, which is directly
linear smoothness and bring about independence of voices (or parts). Additionally, tendency tones are applicable to soprano-bass
resolved according to stylistic precedent (e.g., a chordal seventh resolving down by step). counterpoint in the chorale style.
PIT-4.A.2: The linear movement between two given voices can happen in four ways— While not tested on the exam, first
species counterpoint is excellent
• parallel motion—voices move in the same direction (both up or both down) by the same melodic preparation for eighteenth century-
interval. style voice leading.
• similar motion—voices move in the same direction but not by the same melodic interval.
• oblique motion—one voice remains stationary while the second moves up or down. • Theory and Analysis, Ch. 10, pp.
• contrary motion—voices move in opposite directions. 189-216 focuses on second- through
fifth-species counterpoint. These
PIT-4.A.3: Following are general conventions of 18th-century voice leading— styles of counterpoint are not covered
• Voice leading should proceed mostly by step without excessive leaps. by the AP exam, but Chapter 10 also
• When possible, pitches common to adjacent chords, or common tones, should be retained in the introduces melodic embellishments of
same voice part(s). passing tones (pp. 192-193), neighbor
• For clarity of voice leading, any chord should maintain soprano-alto-tenor-bass (SATB) order tones (pp. 193-194), and suspensions
from high to low to avoid voice crossing. (pp. 207-211) from a contrapuntal
• If a perfect fifth between two voices is not immediately repeated, it should proceed to an interval perspective.
other than another perfect fifth between the same voices. This applies to parallel motion (i.e., parallel • Theory and Analysis, Ch. 11, pp.
fifths) as well as contrary motion; it also applies to nonadjacent chords on successive beats. 219-239 relates the principles of
• If a perfect octave or unison between two voices is not immediately repeated, it should proceed species counterpoint to composition
to an interval other than another perfect octave or perfect unison between the same voices. This in the chorale style which students
applies to parallel motion (i.e., parallel octaves) as well as contrary motion; it also applies to will be required to demonstrate on the
nonadjacent chords on successive beats. AP exam.
• All voices should proceed melodically with the following intervals—major and minor second,
major and minor third, perfect fourth, and perfect fifth. All melodic augmented and diminished
intervals should be excluded, as they produce uncharacteristic dissonances. All melodic intervals
larger than a perfect fifth should also be excluded, as they create uncharacteristic disjunct motion.
• The leading tone in an outer voice (i.e., soprano or bass) should always resolve up by step to avoid
an unresolved leading tone.
PIT-4.A.4: When composing outer voices, the normative conventions of 18th-century voice leading
should be maintained (e.g., avoid parallel fifths). In addition—
• Outer voices may include leading tones as long as those leading tones are not doubled in another voice
and resolve to the tonic by ascending in stepwise motion, to avoid an unresolved leading tone.
• Note-against-note dissonance between outer voices may be included only if they imply an
acceptable harmonic progression—for example, a note-against-note fourth would work only
6
as part of an acceptable pattern of second-inversion chords, such as the cadential, neighboring
(pedal), or passing 4 chord patterns.
A chromatically inflected pitch that is appropriate in the musical context may be included as long as
the preinflected pitch does not appear in another voice directly preceding the inflected pitch in question
(i.e., avoid a cross relation).
4.2 SATB Voice Leading
DES-1.C: Describe relationships among musical lines, including the number of lines present in a • Theory and Analysis Chapter 12,
passage and the position of a line in relation to other lines in— pp. 240-265, discusses the basic
a. performed music principles of four-part voice leading.
b. notated music Of particular importance to Topic 4.2
DES-1.C.1: Musical lines, whether in instrumental or vocal pieces, may be described using the terms are the following sections:
soprano, alto, tenor, and bass (collectively known as SATB), depending on their pitch position in relation to • Ch. 12, The Notation of Four-Part
other lines. Figured bass and chorale harmonization exercises are typically notated in SATB four-voice texture. Harmony, pp. 247-254, which defines
SATB voicing, ranges, spacing, and
PIT-4.B: Apply the procedures of 18th-century chord spelling and doubling through— doubling.
a. score analysis • Ch. 12, Connecting the Dominant
b. error detection and the Tonic Areas, pp. 254-258,
a. writing exercises which generalizes 18th-century voice-
PIT-4.B.1: In the correct realization of a Roman-numeral progression or figured bass all chords are leading practices.
spelled correctly, with necessary accidentals included.
PIT-4.B.2: Doubling occurs when the number of voices or parts used is greater than what is required
to represent a given chord, allowing the composer to assign one or more chord members to multiple
voices or parts. In choosing pitches for doubling, these conventions are followed—
• Double the root of a triad whenever voice leading allows.
• Thirds and fifths may also be doubled in triads when they result in good voice leading.
• In all situations, always double non-tendency tones (i.e., tones other than the leading-tone and
chordal seventh).
• If the fifth is omitted in a root-position seventh chord, double the root.
• Following a complete root-position V7, the tonic triad may have three roots and a third (no fifth).
6
• In 4 chords, always double the bass.
PIT-4.B.3: All inverted triads must be spelled completely in writing the chord.
PIT-4.C: Apply the procedures of 18th-century chord voicing and spacing through—
a. score analysis
b. error detection
b. writing exercises
PIT-4.C.1: The motion between outer voices (i.e., contrary, similar, parallel, or oblique motion) should
vary. Progression of harmonic intervals between voices should never exceed three consecutive thirds or
three consecutive sixths.
PIT-4.C.2: Following are additional conventions of 18th-century voice leading—
• A harmonic diminished fifth should proceed to an interval other than the perfect fifth above it to
avoid4 rising unequal fifths. One common exception to this convention occurs in the progression
I—V3 —I6, where a harmonic diminished fifth may rise to a perfect fifth. The most natural
resolution of a diminished fifth is inward to a third.
• If outer voices move to a perfect interval by similar motion, the upper voice should proceed by
step. Avoid direct fifths and direct octaves (also known as hidden fifths and hidden octaves).
• A voice, in moving to its next pitch, should never cross over an adjacent voice’s current pitch, to
avoid overlapping voices. This maintains independence of voices and clarity of voice leading.
PIT-4.C.3: Although composers take care to keep each voice or part within its own optimal range,
they set their chords with the freedom to distribute chord tones throughout the pitch range, creating
unique voicings (or arrangements) of simple chords.
PIT-4.C.4: In spacing a chord, adjacent upper parts may be as far apart as an octave, but no more;
however, the distance between the bass pitch and its nearest neighboring part may be more than an octave.
PIT-4.D: Apply the conventions of 18th-century chord spelling, doubling, spacing, and voice leading
to progressions that include chords in first inversion.
PIT-4.D.1: When part writing chord progressions that include first-inversion triads, as with all chord
progressions, the normative procedures of 18th-century voice leading should be followed.
4.3 Harmonic Progression, Functional Harmony, and Cadences
PIT-2.H: Identify and describe harmonic function within a chord progression in— • The Musician’s Guide to Theory and
a. performed music Analysis uses the concept of the basic
b. notated music phrase to help students understand
PIT-2.H.1: Music is considered to be tonal when the pitch content is organized around a central (or how harmonies progress. As students
tonic) pitch and all other pitches relate to that central pitch in a pre-established, hierarchical way. This learn more harmonies, the text uses
manner of musical organization is based on a system that prevailed in the tradition known as Western the basic phrase model to illustrate
music from approximately 1650 to 1900. Common practice is another term used for this type of music. how to use new harmonies.
Tonal organization may also be found in music of other genres and time periods, such as popular music, • Theory and Analysis, Ch. 12, pp.
folk music, and jazz, as well as in some Western music composed after 1900. 241-242, discussion of the concept of
PIT-2.H.2: Harmonic progression (or chord progression) refers to the particular sequence of chords the phrase
that underlies a musical composition or passage. A harmonic progression may be represented as a • Theory and Analysis, Ch. 12, pp.
succession of Roman numerals corresponding to the specific sequence of chords. When inversions are 242-244, discussion of harmonic
used, appropriate Arabic numerals are also included. function in T-D-T progressions
PIT-2.H.3: Harmonic rhythm describes the rate at which chords change in a given musical passage or • Theory and Analysis, Ch. 12, pp.
composition. For example, a phrase in 4 time starting with chords that change once per measure might 244-247, discussion of harmonic
subsequently progress to chords changing at a half- or quarter-note pace, demonstrating acceleration of function in cadences
harmonic rhythm. • Theory and Analysis, Ch. 12, pp.
PIT-2.H.4: In tonal music, the ordering of chords is governed by a web of relationships where each chord 260-263, discussion of the concept of
possesses a contextual role, identified as its function. Based on harmonic context, all chords in a given harmonic harmonic rhythm in the context of
progression may be described as fulfilling one of the following functions—tonic, dominant, or predominant. melody harmonization exercises
PIT-2.H.5: The most fundamental harmonic progression used by tonal composers to establish key is • Theory and Analysis, Ch. 13,
found in the following sequence of harmonic functions—tonic-dominant-tonic. pp. 274-279, discussion of the
PIT-2.H.6: Common-practice repertoire includes specific chord successions that are considered predominant area of the basic phrase
normative and usable in the composition of a tonal chord progression. A chord progression that and how to write T-PD-D-T phrases
deviates from the norm is generally avoided in the common-practice approach. For instance, V to IV,
though common in some styles of popular music, is called a retrogression.
PIT-2.I: Identify cadence types in—
a. performed music
b. notated music
PIT-2.I.1: Cadence refers to the point of relative repose that concludes a harmonic progression
or melodic phrase. Through historical practice, certain chord patterns have emerged as acceptable
harmonic formulas for use at cadences. This group of acceptable cadence types fit generally into
two categories—inconclusive cadences (i.e., half, imperfect authentic, and deceptive cadences) and
conclusive cadences (i.e., perfect authentic and plagal cadences). A perfect authentic cadence is created
by the V-I progression with both harmonies in root position, ending with scale degree 1 in the soprano.
An imperfect authentic cadence is also a V-I progression, but chords may be inverted, with any chord
tone in the soprano. These cadence types influence phrase structure and musical form.
PIT-2.I.2: Certain harmonic progressions are distinctive enough in sound and/or context to warrant
specific labels, such as the Picardy third, a major tonic chord that ends a section in a minor key.
4.4 Voice Leading with Seventh Chords
PIT-4.A: Identify and apply the procedures of 18th-century voice leading through— • Theory and Analysis, Ch. 13, pp.
a. score analysis 267-274, discussion of the usage of
b. error detection and voice-leading considerations for
c. writing exercises the dominant seventh chord in root
d. contextual listening position and inversion
PIT-4.A.6: When composing music in a four-voice texture, the normative conventions for writing • Theory and Analysis, Ch. 13, p.
chordal sevenths should be followed. 278, discussion of the usage of and
PIT-4.A.7: When part writing, chordal sevenths should be approached by common tone or by step. voice-leading considerations for
When the voice-leading context precludes these options, chordal sevenths may also be approached by predominant sevenths
ascending leap or (rarely) by a descending leap of a third. • Theory and Analysis, Ch. 17, pp.
PIT-4.A.8: All chordal sevenths should resolve by a descending step, to avoid an unresolved seventh. However, 360-370, discussion of the leading-
4 4 tone seventh chord, its inversions, and
the chordal seventh in a V 3 chord may move up by a step when appearing in a I—V 3—I6 progression. In
some cases, the chordal seventh may be retained in the same voice before resolving down by a step. resolution
PIT-4.A.9: The fifth of a root-position dominant seventh chord may be omitted if it helps the voice
leading. When the fifth is omitted in a root-position seventh chord, the root should be doubled. All
inverted seventh chords, however, must be spelled completely in writing the chord.
4.5 Voice Leading with Seventh Chords in Inversions
PIT-4.A: Identify and apply the procedures of 18th-century voice leading through— • Theory and Analysis, Ch. 13, pp.
a. score analysis 267-274, discussion of the usage of
b. error detection and voice-leading considerations for
c. writing exercises the dominant seventh chord in root
d. contextual listening position and inversion
PIT-4.A.10: Seventh chords in inversion often connect chords in an extended progression allowing the • Theory and Analysis, Ch. 13, p.
bass to have a melodic stepwise quality. Voice leading into and out of these inverted seventh chords is 278, discussion of the usage of and
typically smooth, with no or minimal leaps. voice-leading considerations for
PIT-4.A.11: Leading-tone seventh chords—the vii°7 diminished and viiø7—have two possible predominant sevenths
functions: to substitute for the V or V7 chord as part of the dominant or, placed between tonic chords, • Theory and Analysis, Ch. 17, pp.
to prolong the tonic in stepwise voice leading. 360-370, discussion of the leading-
PIT-4.A.12: Inverted seventh chords should be spelled completely. Any tendency tones should appear tone seventh chord, its inversions, and
individually (i.e., not doubled) and should be resolved according to the tendency. resolution
Unit 5: Harmony and Voice Leading II:

Chord Progressions and Predominant Function
5.1 Adding Predominant Function IV (iv) and ii (ii°) to a Melodic Phrase
PIT-2.H: Identify and describe harmonic function within a chord progression in— • Theory and Analysis, Ch. 13, pp.
a. performed music 274-277, discussion on the usage of
b. notated music predominant chords
PIT-2.H.7: To intensify the establishment of key, predominant chords are frequently inserted,
resulting in the following order of functions within a harmonic progression or melodic phrase—tonic-
predominant-dominant-tonic. Composers generally expand the harmonic background provided by
these fundamental progressions by creating a harmonic foreground (or surface) in which chords are
ordered in myriad combinations following historical conventions of tonal music.
PIT-2.H.8: Subdominant (IV or iv) and supertonic (ii or iio) chords often precede the dominant
functional area of a phrase, and therefore are referred to as predominant harmonies.
5.2 The vi (VI) Chord
PIT-2.J: Identify and describe harmonic function and progression in— • Theory and Analysis, Ch. 14, pp.
a. performed music 303-304, discussion of the usage of
b. notated music the submediant
PIT-2.J.1: The vi (VI) chord can function as a tonic substitute or as a weaker predominant chord. • Theory and Analysis, Ch. 15, pp.
PIT-2.J.2: Certain harmonic progressions are distinctive enough in sound and/or context to warrant 310-313, discussion of the use of vi
specific labels, such as the deceptive progression, with the dominant chord followed by a chord other (or VI) in deceptive progressions and
than the tonic chord, typically the submediant chord. cadences
5.3 Predominant Seventh Chords

PIT-4.A: Identify and apply the procedures of 18th-century voice leading through— • Theory and Analysis, Ch. 13, p.
a. score analysis 278, discussion of the usage of
b. error detection predominant seventh chords
c. writing exercises
d. contextual listening
PIT-4.A.13: Predominant seventh chords fulfill the same harmonic function as predominant triads.
As with most seventh chords, the chordal seventh should resolve by a descending step. In some cases,
6
the chordal seventh may be retained in the same voice before resolving down by a step, such as when ii7
moves to a cadential 4 chord.
5.4 The iii (III) Chord
PIT-2.J: Identify and describe harmonic function and progression in— • Theory and Analysis, Ch. 15, pp.
a. performed music 326-328, discussion of the role
b. notated music of the mediant triad in harmonic
PIT-2.J.3: The mediant triad is rarely used in harmonic progressions of 18th-century style. The progressions
mediant triad in a minor key—III—appears more often in its role as representing the relative major key.
5.5 Cadences and Predominant Function
PIT-2.I: Identify cadence types in— • Theory and Analysis, Ch. 15, pp.
a. performed music 313-316, discussion of the plagal
b. notated music cadence
PIT-2.I.3: Cadences such as the plagal cadence—IV (iv)–I (i)—and Phrygian half cadence—iv6—V, • Theory and Analysis, Ch. 15, pp.
minor only—use predominant function as they conclude a phrase. The deceptive cadence avoids the V-I 316-318, discussion of the Phrygian
resolution of authentic cadences by having a non-tonic chord substitute for tonic. half cadence
5.6 Cadential 4 6 Chords
PIT-2.K: Identify the type of 64 chord used in notated music. • Theory and Analysis, Ch. 14,
PIT-2.K.1: In composing tonal music, care must be taken in the use of second-inversion triads, or 4
6 pp. 288-291, discussion of the
6 6 6
chords, as they may only appear in four specific contexts: cadential 4 , neighboring or pedal 4 , passing 4 , 6
harmonic function and voice-leading
6
and arpeggiated 4 patterns. considerations for the cadential 4
6
PIT-2.K.2: The cadential 4 precedes the dominant, often at a cadence. Although it contains the notes chord
of the tonic triad, it does not exercise a tonic function but serves as an embellishment of the dominant.
6 5
It occurs in a metrically stronger position than the dominant chord, and upper voices most often move
by step to the tones of the dominant. It may be notated as V4 - 3 .
6
PIT-4.E: Identify and apply the procedures of 18th-century voice leading of cadential 4 chords through—
a. score analysis
b. error detection
c. writing exercises
d. contextual listening
6
PIT-4.E.1: In a cadential 4 chord, the sixth and fourth above the bass should always resolve down by step.
6 6 5
PIT-4.E.2: In figured bass, Arabic numerals may be used to indicate specific voice leading patterns.
For instance, in a cadential 4 pattern, the figures that show 4 progressing to 3 serve as a reminder that
the sixth and fourth above the bass pitch should resolve down by step.
5.7 Additiona l 4 6 Chords
PIT-2.L: Describe the type of 64 chord used in notated music. • Theory and Analysis, Ch. 14,
6
PIT-2.L.1: The neighboring or pedal 4 occurs when the third and fifth of a root-position triad are pp. 291-294, discussion of the
6
embellished by their respective upper neighbor tones while the bass remains stationary. In this pattern,
the 4 chord usually occurs on a weak beat. 6
considerations for the pedal (or
6
PIT-2.L.2: The passing 4 harmonizes the second note of a three-note ascending or descending scale neighboring) 4 chord
6
fragment in the bass; it harmonizes a bass passing tone. In this pattern, the 4 chord usually occurs on a • Theory and Analysis, Ch. 14,
weak beat and the motion of the upper voices is ordinarily by step. pp. 295-296, discussion of the
6
PIT-2.L.3: The arpeggiated 4 results from triad arpeggiation in the bass. With the upper voices 6
sounding a static chord, the bass arpeggiates a complete triad, or alternatively, it oscillates between root considerations for arpeggiating 4 chord
and fifth of the chord, as often heard in a waltz or march. • Theory and Analysis, Ch. 14,
pp. 296-299, discussion of the
6
considerations for the passing 4 chord
• Theory and Analysis, Ch. 14,
6
PIT-4.F: Identify and apply the procedures of 18th-century voice leading of passing, pedal (or
neighboring), and arpeggiated 4 chords through pp. 291-294, discussion of the
a. score analysis harmonic function and voice-leading
6
b. error detection considerations for the pedal (or
c. writing exercises neighboring) 4 chord
d. contextual listening • Theory and Analysis, Ch. 14,
6 6
PIT-4.F.1: When part writing a passing 4 chord, the fifth of the 4 chord should be doubled, and all pp. 295-296, discussion of the
6
voices should move in stepwise motion. harmonic function and voice-leading
6
PIT-4.F.2: When part writing a pedal (or neighboring) 4 chord, the third and the fifth of a root- considerations for arpeggiating 4
position triad are embellished by their respective upper neighbor tones while the bass remains stationary. chord
6
PIT-4.F.3: When part writing an arpeggiated 4 chord, the bass line arpeggiates the same triad. The • Theory and Analysis, Ch. 14,
three upper voices are stationary and only the bass moves. pp. 296-299, discussion of the
6
PIT-4.F.4: When a bass line is added to a soprano line, harmonic progressions are implied. To keep considerations for the passing 4 chord
these harmonic progressions plausible and strong, these conventions should be followed—
6
• 4 chords may appear in tonally appropriate contexts as long as they are rhythmically appropriate
6
to their context—that is, cadential 4 occur on a strong beat and passing or neighboring (pedal)
six-fours on a weak beat.
• A chord may proceed to any other chord except for one that results in a poor chord succession,
e.g., Avoid V-IV, V-ii, ii-iii, IV-iii, ii-I, V-vi6, and iii-vii°, etc.
• Any chord may be implied as long as it does not result in poor chord use. Poor chord use could
include—root-position vii°, vi6 (unless as part of a modulation, parallel motion by first-inversion
chords, or other acceptable diatonic sequence), and iii6 (unless as part of parallel motion by first-
inversion chords or other acceptable diatonic sequence).
Unit 6: Harmony and Voice Leading III:

Embellishments, Motives, and Melodic Devices
6.1 Embellishing Tones: Identifying Passing Tones and Neighbor Tones
PIT-2.M: Identify types of embellishing tones, including nonharmonic tones, in— • The Musician’s Guide to Theory and
a. performed music Analysis introduces embellishing
b. notated music tones as part of species counterpoint
PIT-2.M.1: To expand individual lines and/or intensify expression, composers often enrich a chordal in Chapters 10–11. Students return to
framework with various types of decorative notes, or embellishing tones. When these notes lie outside embellishing tones in the context of
the pitch content of the prevailing chord they are called nonharmonic tones, or nonchord tones. four-part harmony in Chapter 16.
Most nonharmonic tones may be classified as a specific type (e.g., passing tone), based on the way the • Theory and Analysis, Ch. 10, pp.
nonharmonic tone is melodically approached and resolved. Rhythmic placement of a nonharmonic 192-194, discussion of passing tones
tone—i.e., whether it falls directly on a beat or on a division between beats—serves to further and neighbor tones, upper and lower
determine its classification, namely whether it is accented or unaccented. • Theory and Analysis, Ch. 16, pp.
PIT-2.M.2: Other terms that relate to nonharmonic tones include embellishment, ornament, trill, 344-346, discussion of passing and
preparation, and resolution. neighbor tones
PIT-2.M.3: Common classifications of nonharmonic tones include passing tones (accented and
unaccented) and neighbor tones (including lower neighbor and upper neighbor).
6.2 Embellishing Tones: Writing Passing Tones and Neighbor Tones
PIT-2.N: Compose a bass line added to a given soprano line that incorporates unaccented passing • Theory and Analysis, Ch. 11, pp.
and/or neighbor tones while following the normative harmonic procedures of 18th-century harmony 232-235, discussion of composing
and voice leading. counterpoint with a given line (including
PIT-2.N.1: When composing a bass line in 18th-century chorale style, the essential frame of quarter a bass line) in eighteenth-century style
notes may be enlivened by judicious use of eighth-note motion, commonly manifested as unaccented • Theory and Analysis, Ch. 11, pp. 235-
passing and/or neighbor tones. Such embellishing tones can create desirable formations with the 238, discussion of embellishing choral
soprano when they— textures, including the contrapuntal line
• complement a stationary soprano (i.e., two bass eighth notes against a quarter note in the soprano), • Theory and Analysis, Ch. 16, pp.
• move in parallel thirds or sixths with the soprano, 344-346, discussion of passing and
• engage in voice exchange with the soprano. neighbor tones
6.3 Embellishing Tones: Identifying Anticipations, Escape Tones, Appoggiaturas, and Pedal Points
PIT-2.M: Identify types of embellishing tones, including nonharmonic tones, in— • Theory and Analysis, Ch. 16, pp.
a. performed music 350-351, discussion of anticipations as
b. notated music embellishing tones in a four-part context
PIT-2.M.4: Common classifications of nonharmonic tones also include anticipation, escape tone, • Theory and Analysis, Ch. 16, pp.
appoggiatura, and pedal point. 351-353, discussion of pedal points as
embellishing tones in a four-part context
• Theory and Analysis, Ch. 16,
pp. 346-347, discussion of escape
tones and appoggiaturas as types of
incomplete neighbor tones
6.4 Embellishing Tones: Identifying and Writing Suspensions; Identifying Retardations
PIT-2.M: Identify types of embellishing tones, including nonharmonic tones, in— • Theory and Analysis, Ch. 10, pp.
a. performed music 208-211, discussion of suspensions in
b. notated music the context of species counterpoint
PIT-2.M.5: Common classifications of nonharmonic tones also include suspension (including • Theory and Analysis, Ch. 11, pp.
rearticulated suspension and chain of suspensions) and retardation. 236-238, discussion of suspension in
PIT-2.O: Notate embellishing tones, including nonharmonic tones, indicated in a figured bass or 18th-century counterpoint
Roman-numeral progression. • Theory and Analysis, Ch. 16, pp.
PIT-2.O.1: In a figured bass or Roman-numeral progression, Arabic numerals may be used to indicate 338-344, discussion of suspensions
specific nonharmonic tones such as 4–3 (implying a suspension). used in four-part writing
6.5 Motive and Motivic Transformation

FOR-1.B: Identify the basic units of phrases (i.e., motives) and melodic/rhythmic procedures involving • Theory and Analysis, Ch. 18, pp.
these units in— 375-398, discussion of the role that
a. performed music motives play in constructing phrases
FOR-1.B.1: Phrases are made up of short melodic and/or rhythmic ideas called motives. Variations on these 378-379, definition of motivic
basic units can be generated through melodic and rhythmic procedures (also called motivic transformation). transformations of transposition,
Examples include fragmentation (which yields fragments), literal repetition, and sequential repetition. inversion, extension, truncation, and
PIT-3.E: Identify and apply melodic procedures in— fragmentation
a. performed music
b. notated music
PIT-3.E.1: To enrich their works, composers often develop motives, melodic segments, or entire
melodies using melodic procedures that transform those original ideas in various ways and are therefore
sometimes called motivic transformation or thematic transformation. Some procedures focus solely on
rhythmic transformation (e.g., augmentation), some procedures focus solely on pitch transformation
(e.g., melodic inversion), and some procedures transform both pitch and rhythm (e.g., retrograde).
RHY-3.B: Identify and apply procedures used to transform rhythmic patterns in—
a. performed music
b. notated music
RHY-3.B.1: Rhythmic patterns can be transformed. Two of the most common ways to transform a
rhythmic pattern are by augmentation and diminution.
6.6 Melodic Sequence
PIT-3.E: Identify and apply melodic procedures in— • Theory and Analysis, Ch. 21, pp.
a. performed music 438-441, discussion of identifying
b. notated music sequences, including melodic and
PIT-3.E.2: Melodic sequence occurs when a melodic segment is followed immediately by one or more harmonic sequences
transpositions of the same segment. The interval of transposition is usually held to a constant size: for
instance, a sequence up a third, if continued, will be followed by additional transpositions up a third.
Melodic sequence may occur with a corresponding harmonic sequence.
6.7 Harmonic Sequence
PIT-2.P: Identify and apply harmonic sequences in— • Theory and Analysis, Ch. 21, pp.
a. performed music 438-441, discussion of identifying
b. notated music sequences, including melodic and
PIT-2.P.1: Harmonic sequence occurs when a segment of chords is followed immediately by one or harmonic sequences
more transpositions of the same segment. The interval of transposition is usually held to a constant
size—for instance, a sequence up a third, if continued, will be followed by additional transpositions up a
third. Harmonic sequence sometimes occurs with a corresponding melodic sequence.
Unit 7: Harmony and Voice Leading IV:

Secondary Function
7.1 Tonicization through Secondary Dominant Chords
PIT-2.Q: Identify and describe tonicization in— • Theory and Analysis, Ch. 19, pp.
a. performed music 401-405, discussion of tonicization via
b. notated music secondary dominants to V
PIT-2.Q.1: The particular key that starts and ends a given work is that work’s tonic, or primary, key. • Theory and Analysis, Ch. 20, pp.
However, scale degrees or chords other than the tonic may be made to sound as if they are temporary 418-430, discussion of all other
tonics; the process of achieving this is called tonicization. Tonicization possesses a fleeting quality due to tonicizations via secondary dominant
its relatively brief duration and the lack of a clear cadence in the new key. Tonicization is a local harmonic and leading-tone chords
event that does not change the primary key of the music. Diatonic scale degrees from the primary key are
altered to achieve tonicization; these altered scale degrees are shown with accidentals in notated music.
PIT-2.Q.2: The most common way to effect tonicization is through use of a secondary dominant (or applied
dominant) chord. A major or minor triad other than the actual tonic chord is preceded by its own dominant
chord, the secondary (or applied) dominant, allowing the original triad to be felt as a temporary tonic (i.e.,
tonicized). For instance, the V chord in the key of C major (a G-major triad) could be preceded by its own
♯ ♯
dominant or dominant seventh chord, which would be spelled D-F -A and D-F -A-C, respectively. In this
example, this “V of V” chord (notated V/V) would resolve to and tonicize the V chord of the original key,
exploiting the power of a dominant-to-tonic progression to assert a new, albeit temporary, tonic. Although
the dominant (V) is the most common chord to be tonicized by its own secondary dominant (V/V), any
major or minor triad may also be tonicized through use of a secondary dominant, such as V/ii resolving to
ii or V/IV resolving to IV. Secondary dominants nearly always require accidentals in their spelling, and they
may appear as triads or dominant seventh chords in any inversion appropriate to the harmonic context.
7.2: Part Writing of Secondary Dominant Chords
PIT-2.E: Compose a bass line added to a given soprano line, following the normative harmonic • Theory and Analysis, Ch. 19, pp.
procedures of 18th-century music. 405-407, discussion of spelling
PIT-2.E.2: When part writing secondary dominants, all doubling and voice-leading considerations of secondary dominants to V
normal dominant chords should be maintained (e.g., chordal sevenths resolving down by step). • Theory and Analysis, Ch. 19, pp.
PIT-2.E.3: When a bass line is added to a soprano line, harmonic progressions are implied. Chromatic 408-410, discussion of writing and
pitches may suggest the tonicization of a chord other than the prevailing tonic. One common instance resolving secondary dominants to V
♯
would be a 4̂ resolving to 5̂, a melodic pattern that may suggest tonicization of the dominant chord (V) • Theory and Analysis, Ch. 20, pp. 430-
by means of a secondary dominant chord (V/V). 431, discussion of spelling secondary
dominant and leading-tone chords
435, discussion of resolving secondary
7.3 Tonicization through Secondary Leading Tone Chords
PIT-2.Q: Identify and describe tonicization in— • Theory and Analysis, Ch. 19, pp.
a. performed music 410-414, discussion of tonicization via
b. notated music secondary leading-tone chords to V
PIT-2.Q.3: As with secondary (or applied) dominants, secondary leading-tone chords or secondary • Theory and Analysis, Ch. 20, pp.
diminished seventh chords (also referred to as applied leading-tone chords or applied diminished 418-430, discussion of all other
seventh chords) may also be used to tonicize any major or minor triad in a given key. Secondary leading- tonicizations via secondary dominant
tone chords are diminished triads and diminished seventh chords (fully or half-diminished) whose and leading-tone chords
root is the leading tone of the chord being tonicized. A “vii°7 of V” (notated vii°7/V) tonicizes the V
chord and is built on 4̂ of the original key; in another example, vii°7/ii would tonicize the ii chord and
would be built on 1̂ of the original key. As with normal leading-tone chords, the triad only appears in
first inversion (i.e., vii°6), but seventh chords may appear in any inversion appropriate to the harmonic
context. Because the half-diminished leading-tone chord only appears in the major mode, secondary
leading-tone chords that are half-diminished in quality may only be used to tonicize major triads.
7.4 Part Writing of Secondary Leading Tone Chords
PIT-4.A: Identify and apply the procedures of 18th-century voice leading through— • Theory and Analysis, Ch. 19, pp. 412-
a. score analysis 413, discussion of writing and resolving
b. error detection secondary leading tone chords to V
c. writing exercises • Theory and Analysis, Ch. 20, pp. 430-
d. contextual listening 431, discussion of spelling secondary
PIT-4.A.14: When part writing secondary leading-tone chords, all doubling and voice-leading dominant and leading-tone chords
considerations of normal leading-tone chords should be maintained (e.g., chordal sevenths resolving • Theory and Analysis, Ch. 20, pp. 432-
down by step). 435, discussion of resolving secondary
Unit 8: Modes and Form

8.1 Modes
PIT-1.P: Identify modes in— • Theory and Analysis, Ch. 5, pp. 108-
a. performed music 113, discussion of the diatonic modes
b. notated music • Aural Skills: Contextual Listening,
PIT-1.P.1: Scales identified in music theory include these categories known as modes—Ionian, Dorian, p. 35, Contextual Listening 5.3’s use
Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Melodic passages may employ these scales. of a melody in the Dorian mode
8.2 Phrase Relationships
FOR-1.C: Describe melodic relationships between phrases in— • Theory and Analysis, Ch. 18, pp.
a. performed music 381-386, discussion of the period
b. notated music and its types in understanding phrase
FOR-1.C.1: Musical phrases within a passage may sound similar to one another to promote relationships, including antecdent,
comprehensibility, memorability, and unity, or they may sound dissimilar to one another to create consequent, parallel, contrasting,
variety, interest, and contrast. Melodic relationships that result may be represented by lowercase letters. symmetrical, and asymmetrical
The most common are— • Theory and Analysis, Ch. 18,
• a a – denotes a phrase and its literal repetition pp. 389-397, discussion of phrase
• a a’ – denotes a phrase and a varied repetition rhythm, including phrase structures
• a b – denotes two phrases that are melodically contrasting and hypermeter, linking phrases, and
phrase expansion
FOR-1.D: Identify periods in—
a. performed music
b. notated music
FOR-1.D.1: Two phrases may combine into a period, in which the first phrase, called the antecedent,
ends with an inconclusive cadence and the second phrase, called the consequent, provides stronger
harmonic repose with a conclusive cadence. A parallel period consists of two phrases that are
melodically similar; a contrasting period consists of two phrases that are melodically contrasting.
8.3 Common Formal Sections
FOR-1.E: Identify common sections in— • Form is addressed throughout the
a. performed music Musician’s Guide to Theory and
b. notated music Analysis.
FOR-1.E.1: Common sections within a piece of music include the introduction, interlude, bridge, • Theory and Analysis, Ch. 18, p. 397,
verse, refrain, chorus, coda, and codetta. discussion of coda and codetta
• Theory and Analysis, Ch. 23, PP.
491-511, discussion of binary and
ternary forms
• Theory and Analysis, Ch. 32-33,
discussion of formal terms in popular
music are found such as bridge (p.
698), verse and refrain (p. 699),
chorus and introduction (p. 712), and
interlude (p. 715)

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The Theory and

FOURTH AP® EDITION

Jane Piper Clendinning, Florida State University College of Music

Correlated for use with AP® Music Theory

Unit 1: Music Fundamentals I:

1.6 Simple and Compound Beat Division

Unit 3: Music Fundamentals III:

Unit 5: Harmony and Voice Leading II:

5.3 Predominant Seventh Chords

5.6 Cadential 4 6 Chords

Unit 6: Harmony and Voice Leading III:

6.5 Motive and Motivic Transformation

Unit 7: Harmony and Voice Leading IV:

Unit 8: Modes and Form

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