Name:---------------

Avon Grove High School

AP Music Theory

Summer Work Packet Instructor:

Mrs. Krista Umile

DUE: First day of class

TOTAL POINTS: 100 points

DIRECTIONS: Read directions carefully for each section before completing packet. WEBSITE: http://www.avongrove.org/kumile.aspx

Please familiarize yourself with the website before the first day of class.

http://www.avongrove.org/kumile.aspx

PART I - Using notes from Theory I and/or other reliable resources (not Wikipedia), define the following terms:

A. In reference to Musical Form, define the following terms ...

1. Cadence-

2. Cadential extension -

3. Coda -

4. Codetta -

5. Contour-

6. Countermelody-

7. Elision (phrase elision)-

8. Fragment (fragmented motive -

9. Introduction -

10. Bridge -

11. Chorus-

12. Refrain -

13. Verse-

14. Motive -

15. Period-

16. Antecedent -

17. Consequent-

18. Contrasting period -

19. Double Period -

20. Parallel Period -

21. Phrase group -

22. Binary form -

23. Rounded Binary-

24. Simple Binary-

25. Ternary-

26. Solo, Soli -

27. Stanza -

28. Strophic -

29. Theme-

30. Through-composed -

31. Tutti -

32. Variation -

B. Melodic Procedures

1. Augmentation -

2. Conjunct -

3. Diminution -

4. Disjunct -

5. Extension, phrase extension -

6. Fragmentation -

7. Internal expansion-

8. Inversion, melodic inversion -

9. Literal repetition -

10. Motivic transformation -

11. Octave displacement -

12. Retrograde -

13. Rhythmic transformation -

14. Sequence -

15. Sequential repetition -

16. Transposition -

17. Truncation -

C. Cadence Types

1. Authentic Cadence -

2. Imperfect Authentic -

3. Perfect Authentic -

4. Deceptive Cadence -

5. Conclusive Cadence -

6. Half Cadence -

7. Phrygian Cadence -

8. Plagal Cadence -

PART II - Write an example of each triad and seventh chord requested below on the treble clef and bass clef (this

means you will write the same chord twice, once in treble clef and once in bass clef). If a specific inversion is

requested, be sure to include the correct inversion numbers underneath each chord. Use accidentals to spell the

chords correctly. Do not add key signatures.

C major triad - 1st inversion D minor triad - root position A diminished triad - 2nd inversion a ..

' ~ ' ' .J

••• I

"' •.. 7 [(A I

I

I

•

v v < '

L -· ' L •w •• 7 ••, I

,

G augmented triad - root position E major seventh chord - root position F dominant seventh chord -1st

, IA ,. "' "' -~" v '

<

• "" v

F -·-~., F '•--..

•

'

,i

, '• , •• '

' \

B major-minor seventh chord - D half-diminished seventh chord - C fully diminished seventh chord -

2nd inversion 3rd inversion root position

'

'

.. •

' v

,~.....

~ , I ' ..' v

<

,~. -:,•• , -· •• I

I

•' ,i

'

E minor seventh chord -1st inversion A -,

-, I ~

t.l .

~~ -·. ..,

PART Ill - Complete the rest of the attached worksheets. Please read directions carefully.

;

l,,

II. Identifying whole and halfsteps at the keyboard

Locate each pair of pitches on the keyboard below in any octave. Write their names on a white key or above ~ a black key. Then, in the blank provided, write W (whole step), H (half step), or N (neither).

H(a) A#-B (d) Bb-C (g) F#-G# __

(b) F-E (e) G#-Gq __ (h) E-Fb

(c) Gb-A (f) DI-Cb __ (i) Gb-Gq ___

A#

B

(j) B-C (m)Eb-Eq __ (p) Bb-C# __

(k) G-A# (n) A-B (q) Eb-F

0) C#-D# __ (o) Ab-Gb __ (r) Ab-Aq __

" ' i/i

III. Enharmonic pitches

Circle any pair of pitches that are not enharmonic.

(a) F#-Gb (b) Bx-C (c) A#-Bb (d) Cb-B (e) Gll,-F (f) D-Ell,

(g) E#-Fb (h) Ail,-G (i) Dx-E (j) C,-D (k) Bl,-Cll, (I) A,-Bb

1111111 Part I Elements of Music

-- --

-- -- -- --

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'

NAME _______________

,,,,_,,_=-,,,.~.=,---""""->L...,._,.........,,...,...,.=...""""'-"'~-_,,..,.......,,.,.,_..,.,,_........,....,......,,.,_..,,,,,._-..-..-"""""""'......,,,·='··-"""'-=

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NAME _______________

...,,_-w--=. -""""'~•~--··=•=•"""'"·"·"'""""•,.... -~,·~m--a,,,-,..,~-,,,,_""'="L"- ,L..,,,._~,,,,-~,_,.,,,..-._,.,.,....,,,."' .,, . .,·· ~=-=~...., ,..,.,,,.~...,

• , ..... .,..,..,.,._._....,_.. ,.-=..,.,-.,.o.-..•.,,,,.,,.,o.,.,.,..,;a,,,_=-=,=-· ~.,,.,.,..,,z-.,,,...,.....,_.,,,.,....,...,.-""""""'~""""'-=u.=:,o=.,•==....,.,_,_•">='

III. Identifying pitch and 1'egiste1' in musical context

In the excerpts below, write the letter name and octave number ofthe shaded pitch, in the blank that corresponds with the numbers marked on the score.

A. Chance, VariationsonaKoreanFolkSong,mm.27-31 (;) (anthology)

28 31

:1'I;

(I) _A_l_3_ (2) ___ (3) ___ (4) ___'F (5) ___ (6) ___ (7) ___ (8) ___

B. Webern, String Quartet, Op. 5, third movement, mm. 5-7 (;) (anthology)

Violin 1 I·,

l

Violin 2

! ! I 1·· i; : I'

Viola

P-=== pp (10)f (9) ,,Cello

. '

-~"

5

P-=== pp f .ff arco (3) piz~.

pp f

pizz.

(1) _C~#_2_ (2) ___ (3) ___ (4) ___ (5) ___

(6) ___ (7) ___ (8) ___ (9) ___ (10) ___

Variations on a Korean Follc Song, by John Barnes Chance. © Copyright I967by Boosey & Hawkes Inc. Copyright renewed. Reprinted by permission of Boosey & Hawkes Inc.

Part I Elements of Music

r j '•_

NAME, _________________

• Assignment 1.5 I. Arranging

Rewrite each melody excerpt on the blank staves provided, according to the individual instructions. Your

arrangement will require some ledger lines. Remember to change the stem direction where necesssary in the new octave. Copy note heads, stems, and other symbols as shown (you'll learn more about them in Chapter 2).

A. Purcell, "Music for a While;' mm. 23-24 0 Rewrite one octave higher in the bass clef.

9: 23

I j J ~ Jj J ; j I

24

#p § IIff~c'E ~ r t

2:1 EC II B. Purcell, "Music for a While;' mm. 21-22 0 Rewrite this line for bassoon in the tenor clef; don't change the octave.

,: 21

I F f [ 22

IIF ~ ~ E i Ir f r r ~ ~ E i IIRt j J II C. Mozart, Symphony No. 41 in C Major, fourth movement, mm. 407-411a (viola) 0 Rewrite this viola part for violin in the treble clef; don't cliange the octave .

410 411 .. 407 408 409

r· PIr· U I f f[Ff ffrIp

I

Chapter 1 Pitch and Pitch Class

A

' p

' II. Identifying meters

Meter: ______

~--

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_ &Hawkes Inc.

NAME __________________

•• ·· •• ••,. •· +' '· .•·,-·.-••-,.-,- ...... •·--," "' ·.~,.,.,_ ··c,.~~·-,.-.' ~,-··•·· ·-· ··" · '"> ··--·~--...-- ·s ,, ·•· '"' ·· •,,•.. ·······"'-• ·.• · .. ,_,., ..~. ·• ~-,v,, ... _,, ., .,..,._,,._-...., ...,.eu==,,_•t.,.._,,,__ ,.,.,." ,.,-,~cc• ,•' v,•,••,•· ,' 0• ·~,,,,.-.,.., .·,,-, ·, ·"'-"'•"",,-,>,.~c..·• -,,.. •,-,._,_, -'•···~·,,,,.. , 7•,,;.~"' ··· · -,._, ..,., ··-'-'·",>r,-,•., 7,.,_...,.,~,.·,~--.,., •> ,.-,,-.,~-.~.,. ,,..._-,~~"''""'"'-_............_.,.....-.-__

Assignment 2.1 This assignment covers elementary fundamentals and may be skipped.

I. Notation basics

Circle any notation errors on the left, then renotate the entire exercise correctly on the right.

B. For each rhythmic value or rest notated on the first line, notate the corresponding rest or note on the second line.

w wj ,, .,r II~ ., II

Write the meter signatures and meter type (e.g., simple duple) for each melody below.

A. Chance, Variations on a Korean Folk Song, mm. 215-218 (J (anthology) 216 217 218

r IF r F Ir c r~n I w. ),J II Meter type: _______________________

Clara Schumann, "Liebst du um Schi:inheit;' mm. 3-6 (J·~ .J J J I F J - I

5

t pI 6

I" jr F' III Liebst du um SchOn-heit. 0 nicht mich lie be!

Meter type: _______________________

tions on a Korean Folk Song, by John Barnes Chance. © Copyright 1967 by Boosey & Hawkes Inc. Copyright renewed. Reprinted by permission of

i'

I C. Mozart, ''Voi, che sapete," from The Marriage ofFigaro, mm. 9-12 0 10 11 12

i'' I

'1,I, 9

F =1 J IF J Ir tt@I F : II-Voi, che sa - pe - te che co - sae a-mor, Meter: _____ Meter type: ______________

III. Counting rhythms11

I I A. Beat divisions: For each rhythm or melody below, write the counts beneath the score.

' (1) Lionel Richie, "Three Times a Lady," mm.11-14 0 .I

14~

',\

i ':Znf' u I 12

f' be tr (J,F ~F r Ii, j II I Now that we've come to the end of our rain - bow

(2) 3 &

(2) Elvis Presley, "Love Me Tender," mm. 5-8 0 6 7 8

J j I,1·J J nJ J 1J 1J nJ J I a II Love me ten - der, love me sweet, nev - er let me- go.

(3) 11 ! J . .J .J .J II

(4) 11j J n J II B. Beat subdivisions: Add the missing bar lines to each rhythm below. Then perform the rhythm.

(1) 11 ! J n .J .J .J , , , n .J , , J .J .J J1 II

a(2) 11 i n n J n .J JJ J n J n .J II (3) 11 i .J .J J j j fil .J II.J ' ' ' n .J .J

. :-'I (4) nj J rn n .J J mn.JnJ rn .J .J II (5) 11 ! m m .J .J .J .J H.J H.J n n .J II (6) 11 i .J j j j .J J J J n .J rnn n .J .JjJj.J J (II

' ''\ :: . 1;1

i i11a•-11i!I. Part I Elements of Music

II. Counting rhythms with beat subdivisions

A. Add the missing bar lines to each rhythm below. Then perform the rhythm.

.b J In m J n .r::J .r::J n .J. II rn n n J J J J m J. .b rn J .J II

J J j n CJ J. ,b J J j J::J .J II .b n nnJ. ,b nnnJ .J .J II

.CJ J. )i J n nn J. .bn J II

J. = j + J J. = J +

= J, + ),

o· = 0 +

J. = + J J. = + J,

(I) 11~ J.

(2) 11 i n (3) 11 t J-j'"J

(4) 11 f J J.

c~) Iii J

'~-·

NAME ___________-,--

-~""'~....,,,........,_,.,......-.,,,,..._...,,,,.....=-~-..~......,,..,.... ....................,...,""""""'""~~............,_~.,,,,,,,,,.,.,,"",=··'·.......,,_,...,-.,......,_-=·=---~""'~-~-,-......-·.,....,_--... " _._.,.,..,,.-~..---....._,=..-~-~.........,._,..=,,,,....~·""'=-...,,,,,,,..,,,~.....

• Assignment 2.2

I. Understanding dots

Write the appropriate note value in each empty box below.

~teach position marked by an arrow, add one note to complete the measure in the meter indicated. If -qy_wri.te an eighth- or sixteenth-note, beam or flag it properly ..

t II

t t t t

t t t

Chapter 2 Simple Meters Ill

http:qy_wri.te

:,!

:I Ii,, Ii ,·I . ' .

), J. J j J j J ),.(4) 11! J 1J 1J 1.J IIt t t t f)· (5) 11 f J j j j ),. J j ), ~ .a1J 1J. 1.J IIt t t III. Counting rhythms with rests

A. For each rhythm below, provide the missing bar lines that correspond with the meter signature given. Then perform the rhythm .

(1) II i ,J ., 1,1,., I., )i., )i., ),J ,mm.,. Jim . ., 1,J 11 (2) 11 ! J J. ), J ., 1,n ., ),J. nJ,, ,nn.J. II

'

(3) "i Jj j j rn Ji ., ., 1, .on J. ., ,mn J , ,J II (4)Hi mm., 1,., 1,., n1,.,., .nn , ,J J IIe B. Rewrite the following vocal melody with proper beaming to reflect the beat (without text). Then write the counts beneath.

Schumann, "Im wunderschonen Monat Mai," mm. 5-lOa Q

p 5 6 j,.11#; Ip· m ~ l I j i ~~ ~ ~ •

Im wun der schO - nen Mo - nat Mai, als

i Ji I 9

p· p· ~ I 10

D p~ al le Knos - pen sprang - en, da ist in mei - nem Her - zen

- i I a a

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Part I -Elements of Music

NAME ______________

-=-""""......,.,,,...."-"'"""'·.....~·-"""'--·...._,......,.,_,___,,..,.,_"""""""'"'""''~,...,..,,..................,.....,.,"'-''""""'"'·""""'___ - ...,.,.._..,._,~,-·,:.-·-·---~-,.=-,,,.-~,.........,.,,,.,...,..,,.._,___,........._._,_.~....~--------.,,,,._...,.,,..~,,...,.,,,,=~».....-~.~W•·""'_,~,,..,-,c,,. ,....,.......,.,,.._,.,,__.,,_,,.,,.,,,,,,..,.

.·'· Assignment 2.3 I. Beaming to reflect the beat

Rewrite each ofthe following rhythms with correct beams to reflect the beat unit. Add the counts beneath the rhythm, and read the rhythm aloud.

A. 11 t Ji ~ J J J n. m

nf Jh 1 & a

B. II~ J

II~ II

II

II. Counting rhythms with dots and ties ·Rewrite the following rhythms with dots in place of tied notes. Be careful to beam your answers correctly. )Vrite the counts beneath the rewritten rhythm, with the beat number in parentheses if there is no corresponding note above it.

II j II a

Chapter 2 Simple Meters -

II

. '!

II. Reading and writing in different meters

A. Complete the rhythms below by adding one note in any measure marked by an arrow. Connect beams fr, as appropriate. Then perform each rhythm.

(1) II ff }, ..l 11,. j I J, },. 1 nn IJ,t t t t .t I t II (2) 11 i .0 ..J j j j J. 1m.,1, I.J ..Jjjj.fj 1.J.

t t t t II

(3) 11 ~ .J ..J. 1,m I ., m ..l ..l J le ..J. I ..l J J J J,..J J, IIt t t t (4) 11f ..l~..l j j j I 'I }, 'I 1..J j 1.a:J },. 1..J IIt t t t (5) 11 ~ J .J J .J. 1JJJJ.J I .J. ..l ..l .J 1J IIt t t t

B. Renotate the following rhythms with ties instead of dotted notes .

(1) II~ .J. ..l J I J ..J. J,J I J,..J. · J J I .,. II

Renotated II ~ J~ II

(2) II i ..J. j ..J. j J.

Renotated -1.111-'j"------------------------llll

(3) II~ .J. J 1..JJJJ..J. },1.J ..l ..l 1..J .J. II

Renotated -1.Hl-4~-----------------------1-111

Part I Elements of Music

NAME ________________

• Assignment 2.5

I. Understanding meter signatures

For each meter given, write the beat unit on the staff (on any line or space); and the meter type (duple, triple, or quadruple) in the blank.

,=1 J 12 IM IA le I~' II duple

,=~ Ii Is Ii II I&

II. Writing in different meters

A. Renotate Schumann's melody (not the text) on the staves below, in!. When beaming the rhythms, use modern ("instrumental") style rather than vocal notation.

Schumann, "Widmung" ("Dedication"), mm. 18-25 g #18

'Un a~ 0 19 20 - 21 J J I ii J I,23. ~l IJ J t J ----J.J

Du bist von Him me! mir be- schied - en. Dass du mich 23 · 24 25

II

I

d + i· -11 1t J J r· 21 ,t ) J•r ~ 1•r Fr r FII liebst, macht mich mir werth,_ dein Blick hat mich_ vor mir ver - klart,_ du hebst mich

20 21

22 23 24 25

Chapter 2 Simple Meters -

1, ··1, .

B. Renotate the following rhythms without ties. Then perform each rhythm.

(1) 11 ~ )l-.n .a 1)l~)l )l I a~n ), J_)l II e1 Renotated II ~ )i. ji II

(2)

.• '

Renotated -111fH-C"i--------------------tlll

(3)

Renotated -111fi;,~f--------------------tlll:i i\

.I.I : C. Complete the rhythms below by adding one or two rests to complete any measure marked by an arrow. i Then perform each rhythm. (',,

. / ' 'I .

I• ; i·

! (1) 11 ~ J. ), ), 'I 1J 1Jjjj)l 1J II t t t t

(2) II~ )l ), 1J ),. 1B n), l)l;; II t t t t

(3) II~ J J JJ 1JJjj,J 1J JJJjjj)l 1J II t t t t

j j ),(4) Hz J II t t t t

(5) II~ ,J I O J IJ J J J J Io_n J II t t t t

(6) 11t )l .r:J I J. )l )l 1.En )l II t t t

C - }! •

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~ :::;:,.'l*iI111'_, Part I Elements of Music . . I , .

.

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name beneath the given note in your scale, to check your answer.

0 ll~o ' 2

?= ffo II ' 3

,= -0 II leading tone

:i 0 II ' ::,.· 5

' 3

~t,) ~:.

SCALE DEGREE PITCH MAJOR KEY SCALE DEGREE

7 (7) F subdominant supertonic C# (8) D leading tone

C# (9) 4

3 (10) B 5 ' 4 m (11) C mediant

leading tone A (12) 6

PITCH

Fi

F

NAME _________________

• Assignment 3.3

I. Scale and scale degree

A. Given the scale degree notated on the left, write the major scale to which it belongs.. Begin by writing whole notes on each line and space, then fill in the necessary accidentals. Write the scale-degree number or

ol,,, o c • 4 ) II 2

,,. j11,= II II dominant

Iii la, II II 4

11,= ~o II II super-tonic

7

,,,:;,Complete the table below by writing the major key, scale degree, or letter name requested.

Chapter 3 Pitch Collections, Scales, and Major Keys la;

NAME ________________

,.....,.,,.,,..• ..,,,,.~.:c---... ,,,..,.._,__~.,.""'"'"""""ul

Structure BookmarksFigureFigureFigureFigureFigurea .. ' ~ ' ' .J ••• I "' •.. 7 [(A I I I• v v < ' L -· ' L •w •• 7 ••, I , .. • ' v ,~..... , -· •• I I •' ,i ' -, Figure; l,, B FigureFigure' ,= ' ,= ,_ & · (1) ' ~e ffo (1) , I I·~}: C. (1) (1) • -FigureFigureFigure28 31 Figure5 P-=== pp f .ff arco (3) piz~. pp f pizz. FigureFigureA ' p ' II. Identifying meters Meter: ______ ~--,~1$~1·1.~& _ &Hawkes Inc. FigureFigureFigure(3) 11 ! J . .J .J .J II FigureFigureFigureJ. = j + J J. = J + = J, + ), o· = 0 + J. = + J J. = + J, (I) 11~ J. (2) 11 i n (3) 11 t J-j'"J (4) 11 f J J. c~) Iii J '~-· FigureFigureIFigureFigureFigureFigureFigureFigureB. II~ J FigureFigureFigureFigureFigureFigureFigure,=~ Ii Is Ii II I& II. Writing in different meters A. Renotate Schumann's melody (not the text) on the staves below, in!. When beaming the rhythms, use modern ("instrumental") style rather than vocal notation. Schumann, "Widmung" ("Dedication"), mm. 18-25 g #18'Un a~ 0 19 20 -21 J J Iii J I,23. ~l IJ J t J ----J.J Du bist von Him me! mir be-schied -en. Dass du mich 23 · 24 25 II I d + i· -11 1t J J r· 21 ,t ) J•r ~ 1•r Fr r FII liebst, macht mich mir werth,_ dein Blick hat mich_ vor mir ver -klart,_ du hebs1, ··1, . FigureFigureFigureFigureFigurename beneath the given note in your scale, to check your answer. 0 ll~o ' 2 ?= ffo II ' 3 ,= -0 II leading tone :i 0 II ' ::,.· 5 ' 3 ~t,) ~:. SCALE DEGREE PITCH MAJOR KEY SCALE DEGREE 7 (7) F subdominant supertonic C# (8) D leading tone C# (9) 4 3 (10) B 5 ' 4 m (11) C mediant leading tone A (12) 6 PITCH Fi F FigureFigure' ' ' ' Figure