Music Theory & Composition

Fundamentals I Subjects Covered: Basic notation Note and rest values; clefs; repeats; dynamic and tempo markings Pitch identification in treble and bass clefs Diatonic solfege singing and dictation using fixed Do, up to a 5th Rhythms in simple meter, notes/rests as short as 8ths (dictation and performance) General intervals up to an octave (2nds, 3rds, 7ths, etc.) – identification on the staff Precise intervals up to a 5th (P1; m2/M2; m3/M3; P4; P5) The structure of a major scale The Circle of 5ths and major key signatures up to 4 sharps/4 flats Fundamentals II Subjects Covered: Continuing with subjects in Fundamentals 1 Intervals: Precise intervals up to an 8va Augmented and diminished intervals Pitch identification Up to 2 ledger lines (fluent); pitch identification with “moveable C clef” (alto, tenor) – no ledger lines The Circle of 5ths and major key signatures continued: COMPLETE up to 7 sharps/7 flats Minor scales in three forms: Natural, harmonic, melodic Minor key signatures and the Circle of 5ths up to 4 sharps/4 flats Relative and parallel keys Melodic dictation and performance (diatonic): Including full major scale Minor (la-based minor): limited to first 5 notes Rhythm dictation including 16th notes and dotted 8ths Identifying precise Major, Minor, and Perfect intervals up to an octave in a score Triads (major/minor/diminished) Primary triads in major keys Simple composition exercises Harmonic analysis using only primary triads

Form & Analysis I Subjects Covered: The Complete Circle of 5ths (all major and minor key signatures, up to 7 flats/7 sharps) Primary triads in minor keys Inversions of triads Introduction to figured bass notation Cadences Modulation (key changes) Analysis of pieces from Baroque and Classical eras Forms in classical music: Binary, ternary Sonata allegro form, theme and variation, rondo Cantus firmus and first species counterpoint Composition exercises – simple harmonization of melodies Continued dictation and solfege studies Rhythm dictation including compound meter Augmented and diminished intervals Form & Analysis II Subjects Covered: Introduction to 4-part chorale harmonization Introduction to non-chord tones (melodic analysis): Passing and neighboring tones More advanced harmonies: 7th chords Secondary dominants Diminished triads and 7th chords Solfege and dictation including non-diatonic notes and modulations Second, third, and fourth species counterpoint Modes of major Analysis of larger works Fugue

This class will prepare students for taking the Advanced Placement Music Theory test, typically in mid-May. In the past, students who have taken theory at RSC through the “Form and Analysis 2” classes have been very successful, scoring 5s on the AP exam. The subjects covered in Form and Analysis 2 are continued and expanded upon. Emphasis is placed on 4-part chorale harmonization, with attention to the 18th Century rules of counterpoint. Extensive practice leads to mastery of many topics, including specific definitions of non-chord tones, modulations, form, transposition, and other complex concepts.

This class can be arranged for students who have already completed the AP music theory. Typically, the AP test covers theory concepts up to through the Classical Era (roughly 1800). Many more complex theory concepts were introduced in the Romantic Era, and in the 20th and 21st centuries! This class can be a bit student driven, studying what students would like to discover and delve into. In the past it has included: Move advanced harmonies, such as Augmented 6th chords, borrowed chords, passing diminished chords, Neapolitan chords, and more Schoenberg’s 12-tone theory An introduction to jazz theory