Syllabus

= STHS Music Theory I = = -Course Syllabus- = UNIT ONE – Melodic Pitch  U NIT TWO – Harmonic Pitch
 * Week || Content ||
 * 1 || Staves, Clefs, simple notehead notation, accidentals, whole-steps/half-steps, enharmonicity, intonation, alternate tuning schemes ||
 * 2-3 || Major/Minor tonality, major scale construction, functions of the major scale, key signatures, basic rhythmic notation, create original 8-16 bar melody by expanding a motive in major keys; neighbor tones, passing tones, appoggiaturas. ||
 * 4-5 || Relative minor, minor scale construction, harmonic minor, melodic minor, create original 8-16 bar melody by expanding a motive in minor keys, compose bass lines for original major and minor melodies. ||
 * 6 || Church modes, changing modes via key signatures, tetrachords, chromatic scales, whole-tone scales, pentatonic scales, octotonic scales, blues scales, student invented scales, twelve-tone rows, aleatoric music. UNIT ONE TEST. ||
 * Week || Content ||
 * 7-8 || Measuring intervals, creating intervals, recognizing intervals, interval inversion, aural interval recognition, vocal creation of intervals ||
 * 9-10 || Major, minor, augmented, and diminished triads; triad recognition and creation (aural and visual), triad inversion, diatonic triads, Roman numeral analysis, open and close voicings ||
 * 11-12 || Dominant, major, minor, diminished sevenths; half-diminished, minor/major, augmented sevenths, seventh recognition and creation (aural and visual), suspensions, inversions, figured bass. UNIT TWO TEST ||
 * 13-14 || <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate;">Cadences (perfect authentic, imperfect authentic, plagal, half, deceptive, Phrygian), Roman numeral analysis of cadences, realization of figured bass, modulation to closely related keys, realization of Roman numeral progression 15 Tonic, sub-dominant, and dominant harmonies, secondary dominant chords, common chord progressions (ii-V-I, Pachelbel’s canon, blues progressions, “rhythm” changes, circle of fourths/fifths),, quartal harmony ||

UNIT THREE – Rhythm and Meter
 * Week || Content ||
 * <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate;">16 || <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate;">Note/rest values, British names (minim, crotchet, quaver, etc.), triplets, tuplets, quintuplets, etc. ||
 * 17 || <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate;">Duple meter, triple meter, sub-division, compound meters, asymmetrical meters. Students provide examples of various meters from their own music collections ||
 * 18 || <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate;">Rhythmic dictation, syncopation, hemiola, complex changing meters. UNIT THREE TEST. ||