Theory History & Analysis Levels 1-3
Theory History & Analysis 1 through 4 provides a comprehensive and incremental approach to the technical language of music, supported by approachable workbooks. Theoretical musical knowledge enhances and supports the student’s practical studies. Having completed the 4 levels, the student should be well equipped to apply the tools of music to take advantage of a wide variety of further and higher educational and creative opportunities
Theory & Analysis Levels 1
Prerequisite: Fundamentals 2 (or test out)
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Labelling chords of a phrase with roman numerals and chord symbols
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Writing a short extract from close to open score for SATB
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Composers of particular relevance to the Baroque period (approximately 1600-1750)
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Baroque dance suites – Allemande, Bourree, Italian Corrente, French Courante, Italian Giga, French Gigue, Gavotte Minute and Sarabande
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Ternary form – Bourree I and II, Gavotte I and II, and Minuet and Trio)
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Air and Variations
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Chorale
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Folk Ballad
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Movements and Prelude
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Binary form with reference to Baroque sonatas – da camera, da Chiesa
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Identifying variation/decoration (harmonic, melodic, dynamic, textural)
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Analyzing the Baroque score
Theory History & Analysis 2
Prerequisite: Theory Fundamentals 3 and Theory History & Analysis 1 (or test out)
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Notational Shorthand
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Rondo and sonata rondo forms
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Coda
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Scherzo and trip
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Sonata form
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Sonatina
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Alberti bass and other features of Classical piano/string composition
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Inversion of pedal points and melodies
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Layout of Classical scores for orchestra and string quartet
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Numer and type of movements likely to be found in Classical sonatas, string quartets, symphonies
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12-bar blues
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Composers of particular relevance to the Classical period (approximately 1750-1830)
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Recognizing pre-cadential chord progressions
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Recognizing and writing suspensions in harmonic sequence
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Recognizing tierce de Picardie and inverted cadences – including ivb – V (Phrygian cadence)
Theory History & Analysis 3
Prerequisite: Theory Fundamentals 4 and Theory History & Analysis 2 (or test out)
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Writing for the piano in the Romantic Period
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The orchestra in the Romantic Period
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Instrument ranges
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Voice ranges
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Different words – same meaning
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Different languages – same meaning
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Form – Concerto, The Cadenza, Etude, Nocturne/song without words, The Lied, Mazurka, Prelude, Waltz
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Composers of particular relevance to the Romantic period (approximately 1830 – 1900)
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Recognizing Dorian mode and whole tone scales, mixolydian mode scales
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Identifying an extract written in mixolydian mode
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Recognizing serial tone rows and retrogrades
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Recognize passing 6/3 and 6/4
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Recognizing chromatic chords – Neopolitan 6th, Augmented 6ths (Italian, French, German), secondary dominants, borrowed chords from the tonic minor key
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Recognizing suspensions
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Analyzing the Romantic score