Music Theory Study Library.

Pitch notation on the staff (treble and bass clef) · Rhythmic values and note/rest durations · Half steps and whole steps · Major scales and scale degrees · Major key signatures (up to 7 sharps and 7 flats) · Simple beat division and compound beat division · Meter and time signatures (simple and compound) · Common rhythmic patterns and beaming · Tempo markings · Dynamics and articulation markings

Natural, harmonic, and melodic minor scales · Relative and parallel keys · Chromatic, whole-tone, and pentatonic scales · Interval size and quality (major, minor, perfect, augmented, diminished) · Interval inversion · Transposing instruments and concert pitch · Timbre and instrumentation · Melodic features (conjunct/disjunct motion, range, contour) · Melodic transposition · Texture types (monophony, homophony, polyphony, heterophony) · Rhythmic devices (syncopation, hemiola, augmentation, diminution)

Triad qualities: major, minor, diminished, augmented · Diatonic triads and Roman numeral labeling in major and minor keys · Chord inversions (root position, first inversion, second inversion) · Figured bass symbols for triads (5/3, 6, 6/4) · Seventh chord types (major-major, major-minor/dominant, minor-minor, half-diminished, fully diminished) · Diatonic seventh chords and their Roman numerals · Seventh chord inversions and figured bass (7, 6/5, 4/3, 4/2)

Soprano-bass counterpoint principles · SATB voice leading: spacing, range, and doubling rules · Harmonic progression and functional harmony (T–PD–D–T) · Authentic cadences (perfect and imperfect), half cadences, deceptive cadences, plagal cadences · Voice leading with seventh chords (resolving chordal sevenths down by step) · Voice leading with inverted chords · Phrase structure and phrase types

Predominant function: IV/iv and ii/iio chords · The vi/VI chord and its role in progressions · Predominant seventh chords (ii7, iiø7, IV7) · The iii/III chord · Cadences with predominant function (ii6–V–I, IV–V–I) · Cadential 6/4 chord (I6/4 before V at cadences) · Passing 6/4 and pedal 6/4 chords

Passing tones (accented and unaccented) · Neighbor tones (upper and lower) · Anticipations · Escape tones (échappées) · Appoggiaturas · Pedal points · Suspensions and retardations (4-3, 7-6, 9-8, 2-3 bass suspension) · Motive and motivic transformation (inversion, retrograde, augmentation, diminution) · Melodic sequence · Harmonic sequence

Secondary dominant chords (V/V, V7/V, V/IV, V7/IV, etc.) · Tonicization: temporarily treating a non-tonic chord as a local tonic · Part writing of secondary dominant chords (raising the chord's leading tone, resolving the chordal seventh) · Secondary leading-tone chords (vii°/V, vii°7/V, viiø7/V, etc.) · Part writing of secondary leading-tone chords · Roman numeral notation for secondary function (slash notation: V7/vi, vii°7/ii, etc.)

Church modes: Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian · Identifying modes from key signature and characteristic scale degree · Phrase relationships: parallel and contrasting periods, sentences · Common formal sections: binary form (simple and rounded), ternary form, rondo · Introduction to sonata form: exposition, development, recapitulation · Formal labels and section identification in score analysis