2013-1014 AP MUSIC THEORY

Instructor: Mrs. Beresford

Bowling Green High School
patricia.beresford@bgreen.kyschools.us

Course Overview
This course serves as an introduction to musicianship, theory, music
materials, and procedures, similar to that of a first-year college music
theory course. The program of study will include aspects of melody,
harmony, rhythm, texture, form, musical analysis, elementary composition,
arranging, music history, and style. Musicianship skills including dictation
and other listening skills, sight-singing, and keyboard harmony will be
taught. The student’s ability to read and write musical notation is
fundamental to success in this course. It is strongly recommended that the
student have acquired at least basic performance skills in voice or an
instrument.

Goals
The ultimate goal of an AP Music Theory course is to develop a 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 this goal may be best promoted by integrated approaches
to the student’s development of aural skills, sight-singing skills, written
skills, compositional skills and analytical skills through listening exercises,
performance exercises, creative exercises, open responses, journals,
listening logs and concert analyses.

Course Objectives
At the end of the course, students should be able to:
a. Notate pitch and rhythm in accordance with standard notation practices
b. Read melodies in treble, bass, and movable C clefs
c. Write, sing, and play major scales and all three forms of minor scales
d. Recognize by ear and by sight all intervals within an octave
e. Use the basic rules that govern music composition
f. Harmonize a melody with appropriate chords using good voice leading
g. Analyze the chords of a musical composition by number and letter
name
h. Transpose a composition from one key to another
i. Express musical ideas by composing and arranging
j. Understand and recognize basic musical forms: ternary, binary, rondo,
etc.
k. Write simple rhythmic, melodic, and harmonic dictation

We will address these basic concepts through listening to a wide variety of

music, including not only music from standard Western tonal repertoire but
also twentieth-century art music, jazz, popular music, and the music of
non-Western cultures. Although beginning college courses focus primarily
on the system of major–minor tonality, they often incorporate at least a
brief introduction to modal, pentatonic, whole-tone, and other scales; thus,
in this class, we will explore throughout college on equipping students to
deal with music of their own time and of various world cultures. Attention
will be given to the acquisition of correct notational skills. Speed and
fluency with these basic materials will be emphasized.

Building on this foundation, the course should progress to include more

sophisticated and creative tasks, such as:
• melodic and harmonic dictation
• composition of a bass line for a given melody, implying appropriate
harmony
• realization of a figured bass
• realization of a Roman numeral progression
• analysis of repertoire, including melody, harmony, rhythm, texture, and
form
• sight-singing in various tonalities (major, minor, Pentatonic and other
modes)

Student Assessment:
Daily assignments 20 percent
Sight-Singing/Dictation 20 percent
Unit tests/Quizzes/Compositions 60 percent

Students are expected to:

1. Participate in all classroom discussions and activities.
2. Complete all assigned exercises and readings (by the due date).
3. Maintain a Music Theory notebook, which will include class notes,
handouts, assignments, and listening logs.
4. Study the released AP Exams and take practice tests to prepare for the
exam.
5. Listen to approximately ONE hour of music per week outside of class
and maintain a music listening log, which will consist of written analysis/
evaluations of each listening selection. These written logs should include
observations and evaluations regarding the following items:
a. melodic characteristics (conjunct/disjunct)
b. harmonic characteristics (harmonic functions, chords)
c. rhythm (straight, syncopated)
d. texture (homophonic, monophonic, polyphonic)
e. timbre (instrumentation, tone color)
f. dynamics (specific dynamics, dynamic contrast)
g. tempo (specific tempi, tempo changes)
h. meter (duple/triple, simple/compound, regular/irregular)
i. mode (major, minor, modal, atonal)
j. form (binary, ternary, sonata, rondo, etc.)
k. articulation (legato, staccato, marcato, etc.)
6. Attend ONE concert each nine weeks and submit a paper about the
concert, using an appropriate musical vocabulary. This paper should
contain general information about the concert, the student’s evaluation of
it, and specific analysis of three individual selections from the concert.
This analysis should include all the guidelines from the listening log (listed
above, a-k).
7. Submit ONE major composition each nine weeks, based on assigned
form and content. Other minor compositions will be required to
demonstrate understanding and synthesis of concepts presented.
These compositions include:
a. A song in binary form
b. A song in ternary form
c. A song in sonata form
d. A song based on a major mode
e. A song based on a minor mode
f. A song using two-part counterpoint
g. A song using three-part counterpoint
h. A song that modulates from one tonal center to another through
the
use of a pivot chord.
i. A song based on the whole-tone scale
j. A song based on the chromatic scale

8. Complete the final composition project for the year – an orchestration or

arrangement with correct notation, range, and transpositions.
Required Materials
You are required to get a 3” binder for this class. You must keep track of
all class materials in this binder and bring it to class every day. I will
distribute materials to you daily, but you are responsible for keeping track
of them. Please also get index cards. We will use them to keep track of
musical vocabulary presented in each unit. They will be helpful when you
are reviewing for the AP exam.

Textbook Material
Textbook materials are presented through a lecture/demonstration format.

Workbook Material
This material is used for homework assignments. The first few problems in
each section are completed together to ensure that students understand
the required work. Worksheets are checked for completeness daily (10
points/homework).

Online Material
Students will be required to open an Edmodo account if they do not
already have one. The website can be found at
https://www.edmodo.com/home . The password is f7sw7y. Students will
be expected to watch posted videos.

Aural Skills Material

This is completed as class work. Singing and rhythm quizzes are given
once a week. Quizzes and exams are formatted the same to help students
learn the directions for the exams. Quizzes are returned at the next class
session so that students can use them for study sheets. Exams are given
at the end of each set of two chapters in the textbook. This testing is
designed to prepare students for the AP exam.

Test Formats
Quizzes and exams will be presented in an open-response format for the
first nine weeks. After students have mastered the first part of the course
(Building a Musical Vocabulary), quizzes and exams will be designed in
the multiple-choice/open response/dictation format in preparation for the
AP Exam.

Teacher Resources
Benward, Bruce, and Marilyn Saker. 2003. Music in Theory and Practice,
7th ed. Boston: McGraw-Hill.
Berkowitz, Sol, Fontrier, Gabriel, and Kraft, Leo. 1997. A New Approach to
Sight Singing, Fourth ed. New York: W.W. Norton & Company
Kraft, Leo. 1999. A New Approach to Ear Training: A Programmed Course
in Melodic and Harmonic Dictation, 2nd ed. New York: W. W. Norton.
Ottman, Robert W. 1998. Elementary Harmony: Theory and Practice, 5th
ed. Upper Saddle River, N.J.: Prentice Hall.

Technology Aides
-Web site for Musician’s Guide texts at www.wwnorton.com (each
textbook has a log-in code)
-Free download of MuseScore software at http://musescore.org/
-Ricci Adams’s interactive tutorials: www.musictheory.net
-Edmodo website

Tentative Schedule (subject to change)

1st Quarter
Date Week Clendenning Book
8/6 1* Ch.1 – Pitch and Pitch Class
8/12 2 Ch. 1– Pitch
Ch. 2 – Beat/Meter/ Rhythm
8/19 3 Ch. 3 – Scales/Major Keys
8/26 4 Ch. 4 – Minor Keys/Diatonic Modes
9/3 5* Ch. 5 – Compound Meters
9/9 6 Ch. 6 – Pitch Intervals
9/16 7 Ch. 7 – Triads and Seventh Chords
9/23 8 Ch. 8 –
9/30 9 Review and Quarter Exam

2nd Quarter
Date Week Clendenning Book
10/7 Fall Break
10/14 10 Ch.8 review, Carol Project assigned
10/21 11 Ch.9-Melodic and Rhythmic embellishment
10/28 12 Ch.10 – Notation and Scoring, Carol Project melody
11/4 13 Ch.11 – Voicing Chords and Instrumentation
11/11 14 Ch.11 – Voicing Chords and Instrumentation
11/18 15 Ch. 12 Basic Phrase model
11/25 16* Ch.12 – Harmonizing melodies
12/2 17 Ch.13 – Embellishing tones
12/9 18 Composition work and performance
12/16 Review and Semester exam

3rd Quarter
Date Week Clendenning Book
1/6 20 Ch.14 – Chorale Harmonization
1/13 21* Ch.14 – Chorale Harmonization, figured bass
1/21 22 Ch.15 Leading tone, predominant and 6/4 chords
1/27 23* Ch.16 Tonic Expansions, root progressions and mediant triad,
Practice AP exam
2/3 24 Ch.17 More cadence, phrase and melody
2/10 25* Ch.17 More cadence, phrase and melody
2/17 26 Ch.18 – Diatonic sequences, Practice AP exam
2/24 27 Ch.19 Intensifying the dominant
3/3 28 * Ch.19 – Ch. 21 Tonicizing scale degrees other than V
3/10 * Review and Quarter exam

4th Quarter
Date Week Clendenning Book
3/17 29 Ch. 21-22 Modulation to Closely related keys
3/24 30 Ch. 24 Modal mixture and chromatic mediants,
4/7 31 Practice AP exam, dictation, free-response, aural analysis
4/14 32* dictation, free-response, aural analysis
4/21 33 Practice AP exam, dictation, free-response, aural analysis
4/28 34 dictation, free-response, aural analysis
5/5 35 AP Test Review, student composition work
5/12 36 AP Test and debriefing/ Sonatinas due
5/19 Sonatinas performed in class
The * denotes “short” weeks in which we miss instructional time.
 Additional Web Assignments and
Resources

I. Pitches and Clefs

Reading music begins with the basic understanding of pitches, or how
“high” or “low” a note is. This is determined by the clef and the location of
the pitch on the staff.

Vocabulary: Staff, clef, ledger lines, grand staff

1. Open your internet browser. (I prefer Firefox or Chrome for these

sites.)
2. Type http://www.youtube.com/watch?
v=VU8mM1g_g38&feature=plcp int the search bar. Watch the
tutorial.
3. Type http://www.musictheory.net/lessons into the search bar.
4. Click on “The Staff, Clef and Ledger Lines”. Click the arrows at the
bottom, right-hand side of the page to advance the lesson.
5. Type http://musictheoryblog.blogspot.com/2006/12/staff.html into the
search bar for further study
6. Type http://quizlet.com/2296531/the-staff-clef-and-ledger-lines-flash-
cards/ into the search bar. Print out the flash cards.
7. After studying the flash cards, practice your skills using the buttons
to the right of the “study” and “Play games” buttons. When you are
ready, take the test in the “study” section. When you achieve above
a 90% on the test, screen shot the results and e-mail them to me at
trish.beresford@gmail.com.
8. Type http://quizlet.com/2579705/name-treble-clef-pitches-flash-
cards/ into the search bar. Print out the flash cards. Study.
9. Practice your skills using the “study” and “play games” buttons.
Take the test. Screen shot your results to me when you reach
above a 90%.
10. Repeat with bass clef pitches at
http://quizlet.com/2569101/mvhs-vocal-music-bass-clef-pitches-
flash-cards/.
11. Fun link:
http://www.musictechteacher.com/music_quizzes/quiz_identify_the_
treble_notes_story/quiz_identify_the_treble_notes_story.htm
 12. Fun link:
http://www.musictechteacher.com/music_quizzes/quiz_word_warrior
_bass.htm

II. Scales and Accidentals

A scale is a group of ascending or descending notes in succession. We

use many different scales in music, but most of them are either major
scales or minor scales. These scales sound different from each other
because the patterns of half-steps and whole-steps between the pitches
change.

1. Type http://www.youtube.com/watch?v=1GN-Vk2-
G9M&feature=plcp you're your search bar and watch the tutorial.
2. Type
http://piano.about.com/od/musicaltermssymbols/ss/introSheetMusic
_7.htm and read the page.
3. Type
http://web.utk.edu/~mtheory/documents/Murphy_100_Major_MinorS
cales.pdf into your search bar, and read the page.
4. Type http://bandnotes.info/tidbits/scales/half-whl.htm into your
search bar and read the page.
5. Type http://quizlet.com/3544685/12-major-scales-and-3-variants-all-
accidentals-flash-cards/ into the search bar and print out the flash
cards. Study. After studying the flash cards, practice your skills
using the buttons to the right of the “study” and “Play games”
buttons. When you are ready, take the test in the “study” section.
When you achieve above a 90% on the test, screen shot the results
and e-mail them to me at trish.beresford@gmail.com
6. Type http://www.musictheorysite.com/major-scales/ and
http://www.musictheorysite.com/minor-scales/ into your search bar
to study construction of both scales.
 III. Key Signatures

The key signature is the composer’s way of telling you what key, or tonal
center, that a piece is written in. It lets you know what the “home” tone will
be, and informs you which tones should be altered from their “natural”
state.

1. Type http://www.musictheory.net/lessons/24 into your search bar.

Read the lesson.
2. Type http://www.youtube.com/watch?
v=G20foMzvczc&feature=related into your search bar. Watch the
tutorial.
3. Type http://www.empire.k12.ca.us/capistrano/Mike/capmusic/Key
%20Signatures/key_signatures.htm into your search bar. Read the
lesson.
4. Type http://quizlet.com/3855825/key-signatures-level-iii-final-exam-
flash-cards/ into your search bar and print out the flash cards.
Study. After studying the flash cards, practice your skills using the
buttons to the right of the “study” and “Play games” buttons. When
you are ready, take the test in the “study” section. When you
achieve above a 90% on the test, screen shot the results and e-mail
them to me at trish.beresford@gmail.com
5. Type http://www.youtube.com/watch?v=-02tf9Her8A into your
search bar and watch the tutorial on relative minor keys.
6. Type
http://piano.about.com/od/musicaltermsa1/g/GL_relativeKey.htm
into your search bar and read the page on relative minor keys.
7. Type
http://www.npsd.k12.nj.us/20222069133223540/lib/2022206913322
3540/Key_Sig_Wrksht2.pdf into your search bar. Print out this
worksheet and fill it out for major and minor key signatures. Turn it
in during class time, or scan it an e-mail it to me.
 IV. Intervals

An interval (in music), is the space between two pitches. The interval can
be as small as a half-step (minor 2nd) to infinity! Intervals are measured in
terms of m (minor), the smaller interval, or M (major) the larger interval.

1. Type http://audio.tutsplus.com/tutorials/music-theory/music-theory-
intervals-and-how-to-derive-them/ into your search bar. Read the
lesson.
2. Type http://www.teoria.com/tutorials/intervals/02-name.php into your
search bar. Read the lesson, clicking on each choice on the left,
AND all sound options.
3. Type in http://www.teoria.com/exercises/ic.php into your search bar.
Practice choosing intervals until the timekeeper on the left side of
the screen reaches 10 minutes AND your score exceeds 90%. If it
takes you longer to reach 90%, that is fine. Use more time to
master the material.
4. Type http://www.musicalintervalstutor.info/listenpg.html and click
“listen to intervals” on the home page. Listen to these daily. To test
out on intervals, you must score 90%. Take a screen shot when you
have accomplished this and w-mail it to me.
 V. Triads

A triad is a collection of three pitches played simultaneously. The most

common chords are the major chord and the minor chord, which are built
from different intervals.

1. Type http://www.youtube.com/watch?
v=aReLsWJ2Pmw&feature=plcp into your search bar. Watch the
tutorial.
2. Type http://www.musichorizon.com/MTheory.do?lid=40 into your
search bar. Do lessons 18, 19 and 20.
3. Type http://www.youtube.com/watch?v=PDTbuInfpG8 into your
search bar. Watch the tutorial.
4. Type
http://www.people.vcu.edu/~bhammel/theory/homework/index.html
into your search bar. Click on the links for the following worksheets:
Triads I, Triads II, Triads III. Print them out and complete them
5. Type http://quizlet.com/672240/solfege-chords-flash-cards/ into the
search bar and print out the flash cards. Study. After studying the
flash cards, practice your skills using the buttons to the right of the
“study” and “Play games” buttons. When you are ready, take the
test in the “study” section. When you achieve above a 90% on the
test, screen shot the results and e-mail them to me at
trish.beresford@gmail.com
6. Type http://www.funtrivia.com/newflash/trivia.cfm?qid=89467 into
the search bar. Take the chord quiz. When you attain 9 questions
right, screen shot the page and e-mail it to me.
7. Fun link: http://trainer.thetamusic.com/en/content/chord-spells
8. Fun link: http://trainer.thetamusic.com/en/content/chord-drops
 VI. Rhythms

Rhythm, or musical time, is the pattern or regular or irregular pulses in

music that are caused by the occurrence of strong and weak melodic and
harmonic beats

1. Type http://www.youtube.com/watch?v=ZoxN0wOmw-
Q&feature=plcp into your search bar. Watch the video tutorial.
2. Type http://www.8notes.com/school/theory/Note_Duration.asp into
your search bar. Using the arrow button, proceed through the page.
3. Type http://www.summitchoralsociety.org/rhythm_quiz/ into your
search bar. Take the quiz until you can score 11/12. Take a screen
shot of the results and and e-mail them to me at
trish.beresford@gmail.com.
4. Type http://www.8notes.com/school/theory/rest_duration.asp into
your search bar. Using the arrow button, proceed through the page.
5. Type http://www.8notes.com/school/theory/dots_and_ties.asp into
your search bar. Using the arrow button, proceed through the page.
6. Type http://quizlet.com/6202251/ap-music-theory-rhythm-flash-
cards/ into your search bar. . Study. After studying the flash cards,
practice your skills using the buttons to the right of the “study” and
“Play games” buttons. When you are ready, take the test in the
“study” section. When you achieve above a 90% on the test, screen
shot the results and e-mail them to me at
trish.beresford@gmail.com
7. Fun link: http://trainer.thetamusic.com/en/content/rhythm-puzzles
 VII. Meter and Time Signatures
Meter refers to rhythmic patterns produced by grouping together strong
and weak beats. Meter may be in duple (2 beats in a measure), triple (3
beats in a measure), quadruple (4 beats in a measure) and so on. The
time signature is a sign placed on a staff to indicate the meter, commonly
a numerical fraction of which the numerator is the number of beats per
measure and the denominator represents the kind of note getting one
beat.

1. Type the address: http://www.youtube.com/watch?

v=BMqBpHXseVs&feature=results_main&playnext=1&list=PL0C810
F74EFA69EF3 into your search bar. Watch the video tutorial.
2. Into your search bar, type
http://www.8notes.com/school/theory/measures_and_time_signature
.asp. Click on the arrow keys to proceed through the lesson.
3. Type
http://www.8notes.com/school/theory/simple_and_compound_meter.
asp into search bar. Click on the arrows to proceed through the
lesson.
4. Type http://www.8notes.com/school/theory/odd_meter.asp into
search bar. Click on the arrows to proceed through the lesson.
5. Type http://quizlet.com/6077890/simplecompound-meter-flash-
cards/ into the search bar. . Study. After studying the flash cards,
practice your skills using the buttons to the right of the “study” and
“Play games” buttons. When you are ready, take the test in the
“study” section. When you achieve above a 90% on the test, screen
shot the results and e-mail them to me at
trish.beresford@gmail.com
6. Type http://quizlet.com/850771/time-signatures-flash-cards/ into the
search bar. . Study. After studying the flash cards, practice your
skills using the buttons to the right of the “study” and “Play games”
buttons. When you are ready, take the test in the “study” section.
When you achieve above a 90% on the test, screen shot the results
and e-mail them to me.
7. Fun link: http://www.superteachertools.com/jeopardyx/jeopardy-
review-game-convert.php?
gamefile=../jeopardy/usergames/Sep201037/jeopardy1284603715.t
xt
 VIII. Four-Part Writing

The process of writing music that addresses both of these aspects is

referred to as voice leading or part writing. Four-part choral music is most
often used to demonstrate and teach voice leading, since it addresses
most of the problems, methods, and principles for writing for more or
fewer voices. Four-voice choral part writing is often referred to
as SATB (Soprano, Alto, Tenor, Bass) part writing. Although all parts
follow the smooth, melodic principles discussed in the previous section on
melody, the issue of contour is usually reserved for the soprano alone.

1. Type http://www.youtube.com/watch?v=Esacby8IOXc into your

search bar. Watch the video tutorial.
2. Type
http://www.8notes.com/school/theory/roman_numeral_analysis.asp
into your search bar and refresh your memory on Roman Numeral
analysis. Type
http://www.8notes.com/school/theory/voicing_chords.asp into your
serach bar and read the lesson on voicing chords.
3. Type http://www.youtube.com/watch?v=WJzOGB-wxSM into your
search bar. Watch the video tutorial. Do the same with
http://www.youtube.com/watch?v=fs4IHHvo5FA.
4. Type
http://www.drspikesmusictheoryclinic.com/work/Part_Writing/PW_1_
worksheet.pdf into your search bar. Print the exercise and complete
it. Turn it in to me during class or scan and e-mail it to me.
5. Type
http://www.drspikesmusictheoryclinic.com/work/Part_Writing/pw_02
_worksheet.pdf into your search bar. Print the exercise and
complete it. Turn it in to me during class or scan and e-mail it to me.
6. Repeat the last two steps with the following address:
http://www.drspikesmusictheoryclinic.com/work/Part_Writing/pw_03
_worksheet.pdf.
7. Type http://smu.edu/totw/partwrit.htm into your search engine and
read the lesson on part-writing guidelines.

IX. Use of Triads in Inversion

Inverting a chord means placing a pitch other than the root as the lowest
sounding voice.  Use of inversion has two advantages–one harmonic and
the other melodic. For the triad in first inversion: Harmonic advantage:  A
triad and its inversions provide three different sonorities while using the
same letter names–four for seventh chords.  Inversions provide an
interesting harmonic change.  Inversions can create musical interest by: 
(a) arpeggiating a triad, (b) progressing by leap from triad root to
inversion, or from inversion to inversion, (c) using a scale line in the bass,
where the inversion is found intermittently, or when inversions are in
succession, (d) moving the bass line in thirds or sixths with an upper
voice.

1. Type http://www.8notes.com/school/theory/triad_inversion.asp into

your search bar. Click on the arrow button to progress through the
lesson.
2. Type
http://www.8notes.com/school/theory/seventh_chord_inversion.asp
into your search bar. Click on the arrow button to progress through
the lesson.
3. Type http://www.youtube.com/watch?v=B7TZQkhpfpY into your
search bar. Watch the video tutorial about writing triads in inversion
4. Type
http://www.oup.com/us/companion.websites/9780195386042/pdf/4_
Tonic_Triad_in_Maj_Mode.pdf into your search bar. Print the
worksheet on inverted triads. Complete and turn in during class or
scan and e-mail it to me.
5. Type http://www.youtube.com/watch?v=624NgosSOac into your
search bar. Watch the video tutorial about first and second
inversions of triads.
6. Type http://smu.edu/totw/invert.htm into your search bar and read
the lesson. Be sure to click on audio examples.
7. Type http://www.improvtutor.com/Free_Downloads/02%20Chords
%20and%20Chord%20Inversions%20Worksheet.pdf into your
search bar. Print the worksheet on analysis of chords in inversion. .
Complete and turn in during class or scan and e-mail it to me.
8. Type http://quizlet.com/1875482/spelling-chord-inversions-flash-
cards/ into your search bar. Study. After studying the flash cards,
practice your skills using the buttons to the right of the “study” and
“Play games” buttons. When you are ready, take the test in the
 “study” section. When you achieve above a 90% on the test, screen
shot the results and e-mail them to me at
trish.beresford@gmail.com.

Final Composition Project

Purpose: This project gives you the chance to replace up to 8% of the

total points for homework this semester, by demonstrating and applying
your knowledge of the materials covered in this class.
Assignment: Compose a 2-4 voice piece of music using ABA or binary
form.
Grading: The maximum value of your composition is a number of points
equal to 8% of the total homework points assigned this semester; your
homework grade cannot exceed 100%. Your piece will be graded based
on the following:
a. Interesting and effective use of ABA form and functional harmony,
and all required chords;
b. Accurate and complete analysis;
c. Use of Finale or Sibelius for your written notation
Instructions:
1. Key and Meter. You choose the time signature and key for your
composition. Your piece must modulate in the B section.
2. Secondary Chords. Each period that you write should use a minimum
of one secondary dominant and one secondary leading tone chord,
correctly approached and resolved.
3. Style and Instrumentation. Your piece should use between two and four
voices. You are free to write in any classical style that makes sense for
this type of form, for example:
a. A Bach-style SATB chorale.
b. A solo piece for piano, guitar, marimba, or some other multiphonic
instrument.
c. A string quartet (violin 1, violin 2, viola, cello).
d. A piece for solo instrument (or voice) with piano accompaniment.
4. Harmonic Structure. The harmonic rhythm is up to you, and can
accelerate near cadences. Emphasize progression (forward harmonic
motion) as much as possible.
5. “Rules.” When writing in chorale style, follow all of the part-writing and
voice-leading guidelines we have discussed in class. Music in other styles
can ignore these choral rules, but should still resolve tendency tones
correctly and should emphasize contrary motion between the outer voices.
6. Presentation.
a. Write your completed composition using our notational software
or at home using NotePad.
b. Provide a complete harmonic analysis of your composition,
including keys and cadences