Cabrillo High School Band and Auxiliary

Marching Band

The marching band handbook is on a separate page.

String Orchestra

Cabrillo String Orchestra

M-F, 9:37-10:24 a.m.

Fall/Spring 2009

Instructor

Mr. Pakaluk (805) 742-3444 or pakalukm@lompoc.k12.ca.us

Course Description

String orchestra provides members with an opportunity to study and perform a wide variety of music scored for string ensemble. This group will focus on developing proper technique, musicality, and ensemble skills through the vehicle of string instrumental performance. The group will perform at the instrumental music department concerts, and at any other venues decided throughout the semester.

Course Requirements

Since the class is open to all grade levels, there will undoubtedly be a large range of ability levels. The criteria for receiving an ‘A’ are:

1. Prompt and dependable attendance at all rehearsals and performances.

2. Diligence in meeting membership responsibilities, including preparation of music for performance. (More experienced players will be held to higher expectations of performance level.)

3. Demonstration of a cooperative and professional attitude during all group functions (Class participation).

4. Completing listening responses in an informed and capable manner.

Course Materials

There is a required text for the course that students need to purchase. Students can either purchase the book on their own or pay the school $10.00 for the book. The method book is: Essential Elements for Strings (VOL 2)

Michael Allen, Robert Gillespie & Pamela Tellejohn Hayes/arr. Higgins
HAL LEONARD PUBLISHING CORP

This book has a blue cover and is available through www.jwpepper.com or www.halleonard.com. You can get the book for $5.50. Please purchase the book with the Blue Cover! Students need to have this book before September 1.

Students may use their own instrument or borrow one from the school, provided one is available. Students are required to purchase extra strings or rosin if they need them. Many items can be purchased through the ASB account.

Texts

Essential Elements for Strings (VOL 2)

Michael Allen, Robert Gillespie & Pamela Tellejohn Hayes/arr. Higgins

All for Strings: Comprehensive String Method - Book 3

Gerald E. Anderson and Robert S. Frost

Various musical repertoire to be announced

Daily Class Structure

9:37 Unpacking, Tuning

9:40 Stretches

9:45 Scales and Daily Warmup activities

9:50 New exercises/lesson in the method book

10:05 Listening

10:10 Music Rehearsal

10:24 Closure/class dismissed

Weekly Class Structure

Monday Full Orchestra

Tuesday Small Sectionals

Wednesday Full Orchestra

Thursday Large Sectionals (Advanced Quartet Practice)

Friday Full Orchestra

Course Policies

Rehearsals begin promptly at 9:37 a.m. If you are not in your seat, ready to tune when the tuning note is given, you will be marked tardy. Chronic tardiness will lower your grade.

All members should arrive early to be set up, warmed-up, and ready to play.

Part of the grade for String Orchestra is determined by participation in the LUSD District Orchestra. The district orchestra meets on Tuesday evenings at Lompoc High School, and combines musicians from Lompoc High School. Students must fill out an excuse form if they cannot attend District Orchestra.

Any unexcused absence from a performance is sufficient grounds for a failing grade in this course. It is imperative that if, for some justifiable reason, you cannot make a performance, you inform the instructor (with a signed note from your parents.)

Multiple tardies/absences may lower your grade.
An unexcused absence to a dress rehearsal will lower your grade a full letter.

Winter Concert: Tuesday, December 8 at 7:00 p.m.

Homework policy

There will almost never be written homework for this class. Students are expected to practice at home in order to pass their evaluations successfully in class.

Grading Scale

Class Participation %10

Practice Sheets %10

Playing Tests %15

Performance Projects %15

Concert Attendance %50

I have read the course description for this class and I am aware of the expectations:

Student Signature ___________________________________ Date _________________

Parent Signature ____________________________________ Date _________________

Wind Ensemble

Symphonic Winds (Wind Ensemble)

M-F, 7:45 – 8:32 a.m.

Spring 2009

Instructor

Mr. Pakaluk (ext. 3444)

Course Description

Wind Ensemble provides members with an opportunity to study and perform a wide variety of music. This group will focus on developing proper technique, musicality, and ensemble skills through the vehicle of instrumental performance. The class will rehearse a variety of literature and perform in the instrumental music department concerts and at spring graduation.

Course Requirements

The ensemble is open only by audition. This is the most advanced band at Cabrillo, and the criteria for receiving an ‘A’ are:

1. Prompt and dependable attendance at all rehearsals and performances.

2. Diligence in meeting membership responsibilities, including preparation of music for performance. (Wind Ensemble players will be held to higher expectations of performance level.)

3. Demonstration of a cooperative and professional attitude during all group functions (Class participation)—this includes a sincere effort in fundraising attempts!

.

Course Policies

Rehearsals begin promptly at 7:45 a.m. If you are not in your seat, ready to play when the tuning note is given, you will be marked tardy. Chronic tardiness will lower your grade. All members should arrive early to be set up, warmed-up, and ready to play. Bring all music, pencil, and instrument to every class. Students that lose their music folder will be charged a $5.00 replacement fee.

Any unexcused absence from a performance is sufficient grounds for a failing grade in this course. It is imperative that if, for some justifiable reason, you cannot make a performance, you inform the instructor (with a signed note from your parents.)
Three or more tardies will lower your grade.
An absence to a dress rehearsal will lower your grade a full letter.

Concert Band

Period 4

M-F, 10:29-11:16 a.m.

Fall 2009

Instructor

Mr. Pakaluk (805) 742-3444 or pakalukm@lompoc.k12.ca.us

Course Description

Concert Band provides members with an opportunity to study and perform a wide variety of music. This group will focus on developing proper technique, musicality, and ensemble skills through the vehicle of instrumental performance. The class will rehearse and perform concert band literature and perform in the instrumental music department concerts. This ensemble serves as a prepatory class for the Wind Ensemble.

Course Requirements

Since the class is open to all grade levels, there will undoubtedly be a large range of ability levels. The criteria for receiving an ‘A’ are:

1. Prompt and dependable attendance at all rehearsals and performances.

2. Diligence in meeting membership responsibilities, including preparation of music for performance. (More experienced players will be held to higher expectations of performance level.)

3. Demonstration of a cooperative and professional attitude during all group functions (Class participation).

4. Completion of practice sheets.

Course Materials

There are two required texts for the course that students need to purchase. Students can either purchase the books on their own or pay the school $20.00 for the books. The method books are:

1. Connections: Chorales and Exercises to Emphasize the Art of Legato Playing for the Middle-Level Band by Larry Clark & Sean O'Loughlin
CARL FISCHER LLC $5.95

1. Standard of Excellence – BOOK 2

Bruce Pearson
NEIL A KJOS MUSIC CO $6.95

Both of these books can be ordered on www.jwpepper.com. Please make sure you order the book that matches the instrument you play.

There will also be a variety of musical repertoire that will be distributed to students.

Students may use their own instrument or borrow one from the school, provided one is available. Students are required to purchase reeds, valve oil, or make repairs as necessary. Many items can be purchased through the ASB account.

Daily Class Structure

10:29 Tuning Note

10:30 Warmup Routine

10:35 New exercises/lesson in the method book

10:50 Listening

10:55 Music Rehearsal

11:16 Closure/class dismissed

Weekly Class Structure

Monday Full Band

Tuesday Small Sectionals

Wednesday Full Band

Thursday Large Sectionals (Brass, Woodwinds, Percussion)

Friday Full Band

Course Policies

Rehearsals begin promptly at 10:29 a.m. If you are not in your seat, ready to tune when the tuning note is given, you will be marked tardy. Chronic tardiness will lower your grade.

All members should arrive early to be set up, warmed-up, and ready to play.

Any unexcused absence from a performance is sufficient grounds for a failing grade in this course. It is imperative that if, for some justifiable reason, you cannot make a performance, you inform the instructor (with a signed note from your parents.)

Multiple tardies/absences may lower your grade.
An unexcused absence to a dress rehearsal will lower your grade a full letter.

Winter Concert: Tuesday, December 8 at 7:00 p.m.

Homework policy

Homework consists of practice sheets. Students are expected to practice their instrument at home in order to pass their evaluations successfully in class.

Grading Scale

Class Participation 10%

Practice Sheets 10%

Playing Tests 15%

Performance Projects 15%

Concert Attendance 50%

I have read the course description for this class and I am aware of the expectations:

Student Signature ___________________________________ Date _________________

Parent Signature ____________________________________ Date _________________

Jazz Band

Cabrillo Jazz Band

Evenings (Fall)/0 period (Spring)

Fall/Spring 2008

Instructor

Mr. Pakaluk (ext. 3444)

Course Description

Jazz Band provides members with an opportunity to study and perform a wide variety of music scored for jazz ensemble. This group will focus on developing proper technique, musicality, and ensemble skills through the vehicle of instrumental performance. The group will perform at the instrumental music department concerts, at the ‘evening of jazz’ concert, and at any other venues decided throughout the semester.

Course Requirements

Since the class is open to all grade levels, there will undoubtedly be a large range of ability levels. The criteria for receiving an ‘A’ are:

1. Prompt and dependable attendance at all rehearsals and performances.

2. Diligence in meeting membership responsibilities, including preparation of music for performance. (More experienced players will be held to higher expectations of performance level.) In jazz terms, if you are hacking on your book, you might lose the gig.

3. Demonstration of a cooperative and professional attitude during all group functions (Class participation).

4. Completing listening responses in an informed and capable manner.

Course Policies

Rehearsals begin promptly at 7 a.m.(Fall TBA). If you are not in your seat, ready to tune when the tuning note is given, you will be marked tardy. Chronic tardiness will lower your grade.

All members should arrive early to be set up, warmed-up, and ready to play.

In addition to its role as a performing group, jazz band will focus on developing improvisational skills. Students will all have an opportunity to become comfortable with soloing and reading chord changes.

All absences must be excused by the instructor. (If you are absent from school that day, you will not be penalized.)
Any unexcused absence from a performance is sufficient grounds for a failing grade in this course. It is imperative that if, for some justifiable reason, you cannot make a performance, you inform the instructor (with a signed note from your parents.)
Three or more tardies will lower your grade a full letter.
A tardy to a dress rehearsal will lower your grade a full letter.

AP Music Theory

M-F, 11:59 a.m.-12:48 p.m.

Fall 2009

Instructor

Mr. Pakaluk (742-3444) or pakalukm@lompoc.12.ca.us

Course Description

AP Music Theory teaches students basic musicianship, theory, harmony, dictation, and music appreciation.The course will integrate aspects of melody, harmony, texture, rhythm, form, musical analysis, elementary composition, and to some extent, history and style. Musicianship skills such as dictation and other listening skills, sight-singing, and keyboard harmony are also taught.

The ultimate goal of this AP Music Theory course is to develop the student’s ability to recognize, understand, and describe the basic materials and processes of music that are heard or presented in a score. The achievement of these goals may best be approached by initially addressing fundamental aural, analytical, and compositional skills using both listening and written exercises. Building on this foundation, the course should progress to include more creative tasks, such as the harmonization of a melody by selecting appropriate chords, composing a musical bass line to provide two-voice counterpoint, or the realization of figured-bass notation.

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Course Requirements

Open to upperclassmen (and underclassmen upon instructor approval), It is preferable that the student has acquired (or is acquiring) at least basic performance skills in voice or on an instrument.

The AP exam tests your understanding of musical structure and compositional procedures through recorded and notated examples. Strong emphasis is given to listening skills, particularly those involving recognition and comprehension of melodic and rhythmic patterns, harmonic functions, small forms, and compositional techniques. Most of the musical examples are taken from standard repertoire, although some examples of contemporary, jazz, pop music, or music beyond the Western tradition are included for testing basic concepts. The examination assumes fluency in reading musical notation and a strong grounding in music fundamentals, terminology, and analysis.

Course Policies

Class begins at (11:59) a.m. Chronic tardiness affects the learning of others, and will lower your grade. Bring all required materials to class every day.

You will need a three ring binder and paper for taking notes.

Texts

Benward, Bruce, and Gary White. Music In Theory and Practice, Vol I.. New York: McGraw Hill, 2008.

Duckworth, William. A Creative Approach to Music Fundamentals. New York: Thompson and Schirmer, 2007.

Ghezzo, Marta Arkozzy. Solfege, Ear Training, Rhythm, Dictation, and Music Theory – A Comprehensive Course. Tuscaloosa: The University of Alabama Press, 2005.

Kodaly, Zoltan. Pentatonic Music: 100 Hungarian Folk Songs. New York: Boosey and Hawkes, 1969.

Supplementary Online Sources:

GREAT Music Theory site

http://www.musictheory.net/

Music Dictionary

http://www.music.vt.edu/musicdictionary/

Jazz-Related Theory

http://www.thejazzguide.com/index.php

Basic Music Theory

http://www.gmajormusictheory.org/Fundamentals/workbooks.html

Grading Scale:

Classwork %10

Homework %10

Quizzes %10

Projects %15

Tests %20

Final Exam %25

The AP Music Theory Exam tests knowledge on the following content:

Musical Terminology

Intervals

Triads

Scales

Modes

Seventh Chords

Notational Skills

Rhythm and Meter

Clefs and Pitches

Key Signatures

Scales and Modes

Intervals and Chords

Melodic Transposition

Rhythm and Meter

Melodic construction

Variation

Cadences

Phrase Structure

Texture

Small Forms

Musical Performance

Basic Compositional Skills

Four Voice realization of figured bass

Roman Numerals

Composition of a bass line

Score Analysis (with or without aural stimulus)

Small scale and large scale harmonic procedures

Identification of cadence types

Roman Numeral and figured bass analysis, including non-harmonic tones, seventh chords, and secondary dominants.

Identification of key centers and key relationships

Recognition of Modulation

Melodic organization and developmental procedures

Scale types

Modes

Motivic Development

Inversion

Retrograde

Sequence

Imitation

Rhythmic Organization

Meter

Duple

Triple

Quadruple

Simple and Compound

Rhythmic Devices

Augmentation

Diminution

Hemiola

Texture

Types (monophony, homophony, polyphony)

Devices (canon, round, imitation)

Formal Devices and Procedures

Phrase Structure

Phrases in Combination

Small Forms

Aural Skills

Sight – Singing

Major and Minor modes

Treble and Bass Clefs

Diatonic and Chromatic Melodies

Melodic Dictation

Major and Minor modes

Treble and Bass Clefs

Diatonic and Chromatic Melodies

Harmonic Dictation

Notation of Soprano and Bass Lines

Harmonic Analysis in a four voice texture

Identification of isolated pitch and rhythmic patterns

Detection of errors in pitch and rhythm

One voice

Two Voices

Identification of processes and materials in the context of music representing a broad spectrum of genres, media, and styles

Melodic Organization

Harmonic Organization

Tonal organization

Meter and Rhythmic patterns

Instrumentation and timbre

Texture

Formal Procedure

As we cover these different concepts, we will check them off in order to maintain a record of our progress.

Course Planner

First Semester

Part 1: Fundamentals of Music Theory

Week 1 Overview of AP Music Theory Course Description handbook

Class Expectations

Chapter 1 - Pitch and Pitch Classes

Sight-Singing: Introduction to Solfege

Simple Call and Response Patterns

Quiz: What do we know as a class?

Week 2 Chapter 2 – Rhythm I: Simple Meter

Beat, Meter, and Rhythm: Simple Meters

4/4 (Common Time), ¾, 2/4, Cut time

Simple Duple Meter and Triple Meter

Quiz: Time Signatures, Simple meter, Rhythmic Dictation

Week 3 Chapter 3 – Rhythm II: Compound Meter

Compound Meter, Ties, Syncopation, Repeat Signs

6/8, 3/8, 9/8, 5/8, 7/8

Compound Duple and Triple

Rhythm sheet clapping exercises

Quiz: Compound Meter, Ties, Syncopation, Repeat Signs

Week 4 Chapter 4 – Pitch:

Enharmonic Pitches, ledger lines, octaves, stems, dynamics

Sight-Singing: Scale line melodies, simple meter

Review for Test on Chapters 1-4.

Test #1 Chapters 1-4

Week 5 Chapter 5 – Major Scales:

Scales as interval patterns, scale degrees, building the scale

Sight-Singing: Scale line melodies, simple meter

Quiz: Build a major scale in any key

Week 6 Chapter 6 – Major Key Signatures

The Key signatures, circle of fifths

Sight-Singing: Scale line melodies, simple meter

Quiz: Create and Identify the key signature for any major key

Week 7 Chapter 7 –Intervals

Interval identification, perfect, major/min intervals

Interval inversion

Identifying intervals by ear

Sight-Singing: Identifying Intervals by ear

Using Instruments and Voices

Trainer: www.musictheory.net

Quiz: Ear training and interval identification on paper

Week 8 Chapter 8 – Minor Key Signatures:

Related keys, minor key signatures, parallel keys

Circle of fifths in minor

Quiz: Identify minor key signatures

Week 9 Chapter 9 – Minor Scales:

Natural minor, harmonic minor, melodic minor

Using solfege in minor

Quiz: Identify and build all minor scales

Test #2: Chapters 5-9

Week 10 Chapter 10 – Constructing other Scales:

Pentatonic Scales, maj/min, Blues scale, Whole tone

Origins of Jazz

Quiz: Other scales, origins of jazz

Week 11 Chapter 11 – Triads

Maj, Min, Aug, Dim, Closed and open positions, inversions

Hearing triads by ear

Quiz: Identify by sight and by ear triads of all qualities

Week 12 Chapter 12 – Triads in a musical context:

Roman numeral analysis, chord symbols, seventh chords

Chapter 13 – Chord Progressions

Tendency tones, Cadences, Simple Chord Progressions

Play a four part Bach Chorale and sing the part of your choice

Sing in 3-4 parts using solfege

Quiz: Analyze a Bach Chorale

Test #3: Chapters 10-13

Final Exam Part One Review and Exam on Chapters 1-13

By the end of the first semester, the student should be able to do the following:

Identify all scale types and be able to construct them.

Identify all interval/triad qualities and be able to construct them.

Analyze chord progressions using Roman numeral analysis and cadence identification.

Sight-sing a variety of melodies in both major and minor modes.

Sing using solfege and play a 4-part bach chorale while singing one part.

Transcribe from dictation a variety of appropriate melodies.

The following is a summary of the material to be covered and skills to be mastered in the AP Music Theory course in preparation for the AP Music Theory Examination. Topic headings are listed in the order presented in the 2009-2010 Course Description.

I. Musical Terminology and II. Notational Skills:

Notate and identify pitch in four clefs: treble, bass, alto, and tenor.
Notate, hear, and identify simple and compound meters.
Notate and identify all major and minor key signatures.
Notate, hear, and identify the following scales: chromatic, major, and the three forms of the minor.
Name and recognize scale degree terms, e.g., tonic, supertonic, etc.
Notate, hear, and transpose the following modes: Dorian, Phrygian, Lydian, and Mixolydian (authentic forms only).
Notate, hear, and identify whole tone and pentatonic scales.
Notate, hear, and identify all perfect, major, minor, diminished, and augmented intervals inclusive of an octave.
Notate, hear, and identify triads and seventh chords including inversions.
Define and identify common tempo and expression markings.

III. Basic Compositional Skills:

Compose a bass line for a given melody to create simple two-part counterpoint in seventeenth- and/or eighteenth-century style; analyze the implied harmonies.
Realize a figured bass according to the rules of eighteenth-century chorale style, major or minor key, using any or all of the following devices: diatonic triads and seventh chords, inversions, nonharmonic tones, and secondary-dominant and dominant seventh chords.
Realize a four-part chorale-style progression from Roman and Arabic numerals.

IV. Score Analysis (with or without aural stimulus):

Identify authentic, plagal, half, Phrygian half, and deceptive cadences in major and minor keys.
Identify in score the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone.
Small-scale and large-scale harmonic procedures, including:

identification of cadence types
Roman-numeral and figured-bass analysis, including nonharmonic tones, seventh chords, and secondary-dominant chords
identification of key centers and key relationships; recognition of modulation to closely related keys

Melodic organization and developmental procedures:

scale types; modes
melodic patterning
motivic development and relationships (e.g., inversion, retrograde, sequence, imitation)

Rhythmic/metric organization:

meter type (e.g., duple, triple, quadruple) and beat type (e.g., simple, compound)
rhythmic devices and procedures (e.g., augmentation, diminution, hemiola)

Texture:

types (e.g., monophony, homophony, polyphony)
devices (e.g., textural inversion, imitation)

NOTE: Scores for analysis may include two-stave piano scores, single-voice melodies, solo voice with piano accompaniment, trio, quartet or other standard instrumental scores written at concert pitch, which may include an alto or tenor clef line, or other standard score types.

V. Aural Skills:

Detect pitch and rhythm errors in written music from given aural excerpts.
Notate a melody from dictation, 6 to 8 bars, major or minor mode, mostly diatonic pitches, simple or compound time, treble or bass clef, 3 to 4 playings.
Notate melodies from dictation, 6 to 8 bars, major or minor mode, chromatic alteration from harmonic/melodic scales, simple or compound time, treble or bass clef, 3 to 4 playings.
Sight-sing melodies, 4 to 8 bars long, major or minor key, duple or triple meter, simple or compound time, treble or bass clef, using solfege, pitch names, numbers, or any comfortable vocal syllable(s).
Hear the following nonharmonic tones: passing tone (accented and unaccented), neighboring tone, anticipation, suspension, retardation, appoggiatura, escape tone, changing tone (cambiata), and pedal tone.
Notate the soprano and bass pitches and Roman and Arabic numeral analysis of harmonic dictations in eighteenth-century chorale style. Features may include seventh chords, secondary dominants, major or minor key, 3 to 4 playings.
Identify processes and materials in the context of music literature representing a broad spectrum of genres, media, and styles:

melodic organization (e.g., scale-degree function of specified tones, scale types, mode, melodic patterning, sequences, motivic development)
harmonic organization (e.g., chord function, inversion, quality)
tonal organization (e.g., cadence types, key relationships)
meter and rhythmic patterns
instrumentation (i.e., identification of timbre)
texture (e.g., number and position of voices, amount of independence, presence of imitation, density)
formal procedures (e.g., phrase structure; distinctions among literal repetition, varied repetition, and contrast; small forms)

Second Nine Weeks

Part 2: Linking Musical Elements in Time

Weeks 1-2 Chapter 8 – Intervals in Action (Two-Voice Counterpoint Supplement with Chapter 8: Voice Leading in Two Voices (from Bruce Benward’s Music in Theory and Practice).

Sight-Singing: 2 part canons and rounds

Composition # 1: Compose a 2 – Part Canon that is at least 16

bars in length. Can be in major or minor.

Week 3 Chapter 9 – Melodic and Rhythmic Embellishment in Two-Voice Composition

Week 4 Chapter 10 – Notation and Scoring

Introduction to Sibelius

Weeks 4-5 Chapter 11 – Voicing Chords in Multiple Parts: Instrumentation

Instrumental arranging projects are assigned. Each piece must have at least two transposing instruments (not counting octave displacements). All work must be saved to disk. Sibelius notation software must be used.

Week 5 Composition # 1 due. Student performances in class.

Week 6 Chapter 12 – the Basic Phrase Model: Tonic and Dominant Voice-Leading.

Improvising using Tonic and Dominant functions

Roman numeral system

Week 7 Chapter 13 – Embellishing Tones

Sight-Singing: Quiz

Week 8 Chapter 14 – Review for final exam

Week 9 Semester Final Exams – No Regularly Scheduled Classes

Third Nine Weeks

Part 3: Chordal Harmony, Roman Numeral System, and Voice-Leading

Week 1 Chapter 14 – Chorale Harmonization and Figured Bass

Use of Roman Numeral System for all scale degrees

Realization of a Roman Numeral Progression

Chord Inversions, Figured Bass

Realization of a Figured Bass

Week 2 Chapter 15 – Expanding the Basic Phrase: Leading-Tone, Predominant, and 6/4 Chords

Chapter 16 – Further expansions of the basic Phrase: Tonic Expansions, Root progressions, and the Mediant Triad

Week 3 Chapter 17 – The Interaction of Melody and Harmony: More on Cadence, Phrase, and Melody

Sight-Singing: 3 and 4 part chorales with instrumental support

Week 4 Chapter 18 – Diatonic Sequences

Compose a 16-bar chord progression in a major key

Write and label a cadence at the 8^th and 16^th bar of the piece

(PAC, IAC, Plagal, etc.)

Week 5 Chapter 19 – Intensifying the Dominant: Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords

Chapter 20 – Phrase Rhythmic and Motivic Analysis

Quiz #3

Part 4: Musical Form and Interpretation

Week 6 Chapter 26 – Popular Song and Art Song

Week 7 Chapter 27 – Variation and Rondo

Chapter 23 – Binary and ternary Forms (from Part 4)

Week 8 Chapter 28 – Sonata-Form Movements

Week 9 Quiz #4

Fourth Nine Weeks

Part 5: Further Expansion of the harmonic Vocabulary

Week 1 Chapter 21 – Tonicizing Scale Degrees Other Than 5

Chapter 22 – Modulation to Closely Related Keys

Week 2 Chapter 24 – Color and Drama in Composition

Weeks 1-6 Preparation for AP Exam

Sample Tests

Weeks 1-6 Dictation exercises – melodic and harmonic

Weeks 1-6 Free-response question exercises

Weeks 1-6 Recorded sight-singing exercises

Weeks 1-6 In-depth aural analysis of literature – class work/discussion

Weeks 1-6 Students complete teacher-designed exams based on AP Released Exam materials

Weeks 3 Complete AP Music theory Released Exams

and 5 All Students are administered two recorded sight-singing tests comparable to those used on the AP Exam.

Weeks 7-9 Student arranging assignments

Small ensembles with mixed or homogenous instrumentation

Student final compositions due

Performances of student compositions

Composition must fulfill the following requirements:

Be at least 1 minute in length

Have at least 4 independent parts

Demonstrate knowledge of tonal harmony, cadences, and instrumentation

Cabrillo High School Band and Auxiliary

Lompoc CA.

Marching Band

String Orchestra

Wind Ensemble

Concert Band

Jazz Band