Name: Ear Training (Intervals and Dictations)
Uploaded: 2020-10-05T22:13:15.000Z
Description: A review of rhythmic dictation from last week as well as introduction to intervals, finishing out with a few melodic dictation examples.

AP Music Theory

Unit 1 – Pitch, Major Scales and Key Signatures, Rhythm, Meter, and Expressive Elements

Unit 2 – Minor Scales and Key Signatures, Melody, Timbre, and Texture

Unit 3 – Triads and Seventh Chords

Unit 4 – Chord Function, Cadence, and Phrase

Unit 5 – Chord Progressions and Predominant Function

Unit 6 – Embellishments, Motives, and Melodic Devices

Unit 7 – Secondary Function

Unit 8 – Modes and Form

Frequently Asked Questions

Exam Skills

AP Cram Sessions 2021

First Unit

Study Tools

Previous Exam Prep

A review of rhythmic dictation from last week as well as introduction to intervals, finishing out with a few melodic dictation examples.

1.1: Pitch and Pitch Notation

1.2: Rhythmic Values 

1.3: Half Steps and Whole Steps 

1.4: Major Scales and Scale Degrees 

1.5: Major Keys and Key SIgnatures 

1.6: Simple and Compound Beat Division 

1.7: Time Signatures 

1.8: Rhythmic Patterns 

1.9: Tempo 

1.10: Dynamics  and Articulation

Unit 1 Overview: Pitch, Major Scales and Key Signatures, Rhythm, Meter, and Expressive Elements

Reading Musical Notes

Introduction to Intervals and Melodies

Pitch and Pitch Notation

Dynamics

Articulation

Dynamics and Articulation

Counting in Music

More on Writing Music 

Rhythmic Values

Half Steps and Whole Steps

Intervals

Major Scales

Major Scales and Scale Degrees

Keys and Key Signatures

The Circle of Fifths 

Notating and Singing Melodies in Major Keys

Major Keys and Key Signatures

Simple and Compound Meters 

Simple and Compound Beat Division

Time Signatures

Strong Beats and Weak Beats

Anomalies in the Meter

Meter and Time Signature

Notating Rhythm

Rhythmic Styles Throughout History

Rhythmic Patterns

Tempo

Unit 1 – Music Fundamentals I (Pitch, Major Scales and Key Signatures, Rhythm, Meter, and Expressive Elements)

2.1: Minor Scales: Natural, Harmonic, and Melodic

2.2: Relative Keys: Determining Relative Minor Key and Notating Key Signatures

2.3: Key Relationships: Parallel, Closely Related, and Distantly Related Keys

2.4: Other Scales: Chromatic, Whole-Tone, and Pentatonic

2.5: Interval Size and Quality

2.6: Interval Inversion and Compound Intervals

2.7: Transposing Instruments


2.8: Timbre

2.9: Melodic Features

2.10: Melodic Transposition

2.11: Texture and Texture Types


2.12: Texture Devices 

2.13: Rhythmic Devices 

Unit 2 Overview: Music Fundamentals II (Minor Scales and Key Signatures, Melody, Timbre, and Texture)

Three Types of Minors

Minor Scale Degrees

Sight-Singing in Minor

Minor Scales: Natural, Harmonic, and Melodic

Melodic Transposition in Motivic Analysis 

Melodic Transposition

Counterpoint

Other Musical Textures

Texture and Texture Types

Texture in the Bass Line 

Polyphonic Textural Device

Other Textural Devices 

Texture Devices

Syncopation and Polyrhythms

Hemiolas

Accents

Meter Types

Rhythmic Devices

Major and Minor Modes

Parallel and Relative Keys

Minor Key Signatures

Relative Keys: Determining Relative Minor Key and Notating Key Signatures

Introduction to Modulation

Key Relationships: Parallel, Closely Related, and Distantly Related Keys

Chromatic Scales 

Whole Tone-Scale

Pentatonic Scales 

Other Scales: Chromatic, Whole-Tone, and Pentatonic

Naming Intervals

Interval Inversion 

Singing and Recognizing Intervals


Consonant and Dissonant Intervals

Interval Size and Quality

Interval Inversions

Compound Intervals 

Interval Inversion and Compound Intervals

Transposing Instruments

Describing Timbre 

Timbre

Motivic Analysis 

Melodic Features

Unit 2 – Music Fundamentals II (Minor Scales and Key Signatures, Melody, Timbre, and Texture)

3.1 Triad and Chord Qualities (M, m, d, A)

3.2 Diatonic Chords and Roman Numerals

3.3: Chord Inversions and Figures 

3.4: Seventh Chords 



3.5: Seventh Chord Inversions and Figures

Unit 3 Overview: Music Fundamentals III (Triads and Seventh Chords)

Triads

Looking Ahead: Seventh Chords

Identifying Triads and Seventh Chords by Ear

Triad and Chord Qualities (M, m, d, A)

Diatonic Chords in Major Keys 

Diatonic Chords in Minor Key

Introduction to Chord Progressions and Harmonies 

Diatonic Chords and Roman Numerals

Figured Bass

Basso Continuo 

Lead Sheet Symbols

Chord Inversions and Figures: Introduction to Figured Bass

Diatonic Seventh Chords

Using Seventh Chords in Chord Progressions 

Seventh Chords


Using Figured Bass to Write Seventh Chords

Identifying Seventh Chords by Ear

Seventh Chord Inversions and Figures

Unit 3 – Music Fundamentals III (Triads and Seventh Chords)

4.1: Harmony and Voice Leading I

4.2: SATB Voice Leading

4.3: Harmonic Progression, Functional Harmony, and Cadences

4.4: Voice Leading with Seventh Chords

4.5 Voice Leading with Seventh Chords in Inversions

Unit 4 Overview: Harmony and Voice Leading I (Chord Function, Cadence, and Phrase)

Soprano-Bass Counterpoint

Voice Leading Rules for Outer Voices

Chord Positions

Harmony and Voice Leading I

Doubling Rules 

...And Some More Voice Leading Rules 

SATB Voice Leading

Tonal Music

Harmonic Progressions

Dominant and Predominant Functionality


Cadences

Harmonic Progression, Functional Harmony, and Cadences

The Chordal Seventh 

Voice Leading With Chordal Sevenths 

Writing the Voice Leading FRQs - Tips and Tricks 

Voice Leading with Seventh Chords

Unit 4 Voice Leading Rules Summary

Voice Leading with Seventh Chords in Inversions

Unit 4 – Harmony and Voice Leading I (Chord Function, Cadence, and Phrase)

5.1: Adding Predominant Function IV (iv) and ii (ii°) to a Melodic Phrase

5.2: The vi (VI) Chord

5.3: Predominant Seventh Chords


5.4: The iii (III) Chord

5.5: Cadences and Predominant Function

5.6: Cadential 6/4 Chords 

5.7: Additional 6/4 Chords

Unit 5 Overview: Harmony and Voice Leading II (Chord Progressions and Predominant Function)

Predominant Function

Voice Leading from the Predominant to the V7 Chord

Review

Adding Predominant Function IV (iv) and ii (ii0) to a Melodic Phrase

Submediant as a Tonic Expansion 

Submediant as a Weak Predominant Chord 

Deceptive Cadences 

Introduction to Contextual Analysis 

The vi (VI) Chord

Review of Predominant Triads

Using Seventh Chords in the Predominant Section

Voice Leading with Predominant Seventh Chords 

Predominant Seventh Chords

The Mediant as a Weak Predominant 

The Mediant as a Dominant Chord

Expanding the Tonic With the Mediant 

The Mediant in Minor Keys: Tonicization and Modulation

The iii (III) Chord

Authentic Cadences 

Plagal Cadences

Half Cadences

Deceptive Cadences

Cadences and Predominant Function

6/4 Chord Function

Cadential 6/4 Chords

Voice Leading with the Cadential 6/4 Chords

Neighboring or Pedal 6/4 Chords 

Passing 6/4 Chords 

Arpeggiated 6/4 Chords 

Additional 6/4 chords

Unit 5: Harmony and Voice Leading II: Chord Progressions and Predominant Function

Ear Training (Intervals and Dictations)

Ear Training (Intervals and Dictations)

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