Instructor: Richard Zweier
Curriculum Vitae Richard Zweier
Public School Educator for 37 Years
Currently: Teacher Trainer – In-Service Provider
29 Woodland Drive – Vernon, N.J. 07462
973 827-2037 Cell: 201.370.8635
In my one-day AP Music Theory workshops, as well as my
summer institutes, I blend in Brain-Based Education
principles while focusing (of course) on the what and how
of teaching AP Music Theory. Participants have found
this interesting and valuable for classroom practice.
Advanced Placement Music Theory
Educational Testing Service
AP Music Theory Reader since 1999 (with a few years off) – total of 11 readings.
Including… -AP Music Theory Reader in Cincinnati: 2013, 2012, 2011, 2010
-1999 through 2009 Readings in Nebraska and The College of New Jersey
in Ewing, NJ
AP Music Theory Consultant since 1999
-Numerous one-day workshops: New Jersey, Pennsylvania, West Virginia, Maryland,
New York and Massachusetts.
-Contributed an article for the most recent College Board AP Music Theory Guide (see
page 3 of this resume).
Rutgers University – New Brunswick, NJ
Instructor, Music Theory – Advanced Placement Summer Institute
Weeklong workshops: 2013, 2012, 2011, 2010
Vernon Township High School - Vernon, NJ 07462
Teacher – Music Theory I, AP Music Theory II and Music Theory III Honors
1975 – 2010
Education and National Certification
Lebanon Valley College – Annville, PA
BS in Music Education – 1972
Manhattan School of Music – New York, NY
Master of Music in Musicology – 1980
-Masters Thesis: A Musical-Dramatic Analysis of Benjamin Britten’s Owen Wingrave
Advisor: Dr. Hugh Ross
Nationally Certified in Brain-Based Education in 2007 and re-certified in 2010
-Over 150 hours of instruction with Eric Jensen and Richard Allen in San Diego and New Orleans
Grants, Awards, Honor Choirs, State Officer
Council for Basic Education Grant - 1997
-Independent Study Grant: Mozart and the Enlightenment – included 2 weeks in Vienna, Austria
Fellow of the National Endowment of the Humanities – 1994
Mozart: the Man, His Music, His Vienna – included 4 weeks in Vienna, Austria
Former President – New Jersey-American Choral Directors Association
Conductor, 1984 New Jersey All-State Choir
Regional Training Center – Randolph, NJ (In partnership with T+he College of NJ and Gratz College – Graduate Education Courses
Instructor – Brain Based Teaching and Learning and Motivation: The Art and Science of
Inspiring Classroom Success
Course Designer and Instructor – Teaching ‘Tweens and Teens for Optimal Success
School Leader (New Jersey School Boards Association Journal)
Brain Under Construction – Nov/Dec 2010
Vernon Township High School – Teacher and Supervisor: 1975 – 2010
In various years jobs included…
-HS Choir Director
-Supervisor of Performing & Visual Arts - grades 7-12
-Department Chair: Music – grades K-12
-In-Service Provider (all subjects, all grade levels)
Dear Dick – Wanted to let you know that I’m still so pumped up and inspired by the AP Music Theory Institute you led at Rutgers. Thanks so much for such a well-planned, enjoyable, and engaging week! Susan Chrzanowski Rutgers AP Institute – July 2010
This was a very positive, energizing experience. I was exhausted by the end of the week; but, you can’t even think about trying to organize an AP Theory class without going through a workshop like this. To have such an experienced instructor, as well as several people who have already been in the trenches with this type of instruction, was priceless. We were given a wealth of resources and ideas! I now actually have hope that I will be able to present my students with a rewarding and valuable course. Anthony Messina Rutgers AP Institute – August 2012
Article included in College Board’s AP Music Theory Teacher’s Guide…
Review by Transcribing Bach Chorales
An effective and interesting review strategy for AP Music Theory students within six weeks of the AP Exam is the transcription of Bach chorales from the original clefs. Students transcribe all parts from a modern edition of the original four-part open score with the original clefs used by Bach (three different C clefs and a bass clef),* by reducing the score to a traditional two-line treble and bass clef choral score. They then complete a thorough analysis of the chorale, including identifying chord function (Roman numerals), non-chord tones, cadences, modulations, imitative elements, and any other relevant compositional features. Students also identify the conventional part-writing procedures employed between chords, as well as the exceptions to the rules. Additionally, chord progressions can be examined to see if they conform to standard functional harmonic principles.
This activity serves as review and practice for many concepts and skills, including understanding C clefs, transcribing pitches from one clef to another, open-score reading, harmonic analysis, part-writing procedures (including doubling and voice leading), non-chord tone identification, and understanding the logical and traditional chord sequences in Western tonal music.
One extension of this activity is to have students sing the soprano and bass line and look at the relative movement between soprano and bass through the lens of contrapuntal technique. It is also possible to begin with a harmonic dictation exercise. After correcting the harmonic dictation, students are given the four-part open score to complete the alto and tenor lines and then proceed as described above. Of course, in this variation the chord analysis is already complete.
The benefits of this activity can also be gained by transcribing string quartet scores to piano scores and proceeding with analysis of the transcription as described above.
* I use Chorales 1–91, Open Score, selected and arranged by Charles Boyd and Albert Riemenscheider. This is G. Schirmer’s edition no. 1628 currently available from Hal Leonard: no. 50327410.
—Richard Zweier, Vernon Township High School, Vernon, New Jersey