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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)

  1. Labelling chords of a phrase with roman numerals and chord symbols

  2. Writing a short extract from close to open score for SATB

  3. Composers of particular relevance to the Baroque period (approximately 1600-1750)

  4. Baroque dance suites – Allemande, Bourree, Italian Corrente, French Courante, Italian Giga, French Gigue, Gavotte Minute and Sarabande

  5. Ternary form – Bourree I and II, Gavotte I and II, and Minuet and Trio)

  6. Air and Variations

  7. Chorale

  8. Folk Ballad

  9. Movements and Prelude

  10. Binary form with reference to Baroque sonatas – da camera, da Chiesa

  11. Identifying variation/decoration (harmonic, melodic, dynamic, textural)

  12. Analyzing the Baroque score

Theory History & Analysis 2

Prerequisite: Theory Fundamentals 3 and Theory History & Analysis 1 (or test out) 


  1. Notational Shorthand

  2. Rondo and sonata rondo forms

  3. Coda

  4. Scherzo and trip

  5. Sonata form

  6. Sonatina

  7. Alberti bass and other features of Classical piano/string composition

  8. Inversion of pedal points and melodies

  9. Layout of Classical scores for orchestra and string quartet

  10. Numer and type of movements likely to be found in Classical sonatas, string quartets, symphonies

  11. 12-bar blues

  12. Composers of particular relevance to the Classical period (approximately 1750-1830)

  13. Recognizing pre-cadential chord progressions

  14. Recognizing and writing suspensions in harmonic sequence

  15. 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)

  1. Writing for the piano in the Romantic Period

  2. The orchestra in the Romantic Period

  3. Instrument ranges

  4. Voice ranges

  5. Different words – same meaning

  6. Different languages – same meaning

  7. Form – Concerto, The Cadenza, Etude, Nocturne/song without words, The Lied, Mazurka, Prelude, Waltz

  8. Composers of particular relevance to the Romantic period (approximately 1830 – 1900)

  9. Recognizing Dorian mode and whole tone scales, mixolydian mode scales

  10. Identifying an extract written in mixolydian mode

  11. Recognizing serial tone rows and retrogrades

  12. Recognize passing 6/3 and 6/4

  13. Recognizing chromatic chords – Neopolitan 6th, Augmented 6ths (Italian, French, German), secondary dominants, borrowed chords from the tonic minor key

  14. Recognizing suspensions

  15. Analyzing the Romantic score

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