TheorySyllabus Online

Theory SYLLABUS / 2009 EDITION

Contents Message from the President . . . . . . . . . . . . . . . . . . . .

3

Getting Started What’s New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quick Guide to Online Examination Registration . . .

4 4

About Us

ARCT Diploma in Composition and/or Theory . . . . . . . . . . . . . . . . . . . . . . . . . Part 1: Examination Papers . . . . . . . . . . . . . . . . . . . . . Part 2: Compositions and/or Research Papers. . . . . . Part 3: Viva Voce Examination . . . . . . . . . . . . . . . . . . . .

42 43 45 46

Register for an Examination

The Royal Conservatory of Music. . . . . . . . . . . . . . . . . RCM Examinations and the Carnegie Hall Royal Conservatory Achievement Program . . . . . . . . . . . . . Meet our Examiners . . . . . . . . . . . . . . . . . . . . . . . . . . . Examinations Offered. . . . . . . . . . . . . . . . . . . . . . . . . . Notable Alumni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Excellence Since 1886. . . . . . . . . . . . . . . . . . . . . . . . . .

5 5 5 5 6 6

Quick Reference Certificate Program Overview . . . . . . . . . . . . . . . . . . . Theory Examinations Overview . . . . . . . . . . . . . . . . . . Co-requisites and Prerequisites. . . . . . . . . . . . . . . . . . Specialized Theory Examinations . . . . . . . . . . . . . . . . Comprehensive Theory Examinations . . . . . . . . . . ARCT Diploma in Composition and/or Theory. . . . Musicianship Examinations. . . . . . . . . . . . . . . . . . .

7 8 9 10 10 10 10

Level-by-Level Theory Requirements Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Preparatory Rudiments . . . . . . . . . . . . . . . . . . . . . . Basic Rudiments. . . . . . . . . . . . . . . . . . . . . . . . . . . . Intermediate Rudiments . . . . . . . . . . . . . . . . . . . . . Advanced Rudiments . . . . . . . . . . . . . . . . . . . . . . . . Harmony, Counterpoint, and Analysis . . . . . . . . . . . . Introductory Harmony . . . . . . . . . . . . . . . . . . . . . . . Basic Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Intermediate Harmony . . . . . . . . . . . . . . . . . . . . . . . Counterpoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Advanced Harmony . . . . . . . . . . . . . . . . . . . . . . . . . Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . . . . . . . . Basic Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . Intermediate Keyboard Harmony . . . . . . . . . . . . . . Advanced Keyboard Harmony. . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History 1: An Overview. . . . . . . . . . . . . . . . . . . . . . . History 2: Middle Ages to Classical . . . . . . . . . . . . History 3: 19th Century to Present . . . . . . . . . . . . . Comprehensive Theory Examination . . . . . . . . . . . . .

11 11 13 15 17 19 19 20 21 22 23 23 25 25 26 27 29 31 34 38 41

Examination Sessions and Registration Deadlines . . Online Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Examination Centers . . . . . . . . . . . . . . . . . . . . . . . . . . Examination Scheduling . . . . . . . . . . . . . . . . . . . . . . .

47 47 47 48 48

Examination Regulations Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . Credits and Refunds for Missed Examinations . . . . . Candidates with Special Needs . . . . . . . . . . . . . . . . . . Examination Results. . . . . . . . . . . . . . . . . . . . . . . . . . . Re-Evaluation of Written Theory Examinations . . . . . Certificates and Diplomas . . . . . . . . . . . . . . . . . . . . . . Transfer Credits and Exemptions . . . . . . . . . . . . . . . . School Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Certificates of Excellence for Practical Examinations (USA only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RESPs (Canada only) . . . . . . . . . . . . . . . . . . . . . . . . . . RCM Examinations Official Examination Papers . . . . Correspondence Courses . . . . . . . . . . . . . . . . . . . . . . .

49 49 50 50 51 51 52 52 52 54 54 54 55

Appendix Musical Terms and Signs . . . . . . . . . . . . . . . . . . . . . . . Descriptions of Scores . . . . . . . . . . . . . . . . . . . . . . . . . Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Non-chord Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

56 60 61 67 68

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

70

Frequently Asked Questions . . . . . . . .

76

Examination Day Checklist for Candidates . . . . . . . . . . . . . . . . . . . . . . . .

78

________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

3

Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory of Music is recognized in communities throughout North America for outstanding service to students, teachers, and parents, as well as a strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than one hundred years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program combined with regular evaluation procedures ensures consistency and an examination experience of the highest quality for candidates. Our new home, the TELUS Centre for Performance and Learning, will make the most of the Conservatory’s extraordinary potential and will allow us to share our innovative programs with teachers and students everywhere. This technologically advanced education and performance complex will reflect The Royal Conservatory of Music’s broadened impact as an international leader in publishing and examinations, professional training, arts-infused public school programs, early childhood education, and concert presentation. I do hope that you will take full advantage of this great new facility, which will be an exceptional resource for students and teachers across North America and around the world. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory of Music in the development of creativity, discipline, and goalsetting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory of Music will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.

Dr. Peter C. Simon President


4

Getting Started What’s New? • New theory examination titles (p. 8) • Frequently Asked Questions (p. 76) • Examination Day Checklist for Candidates (p. 78)

Quick Guide to Online Examination Registration (see p. 47 for more information)

Teach hers may register students by logging into “Teacher Services” and using the “Student R gistration” feature. Re

Canada

USA

• • • • •

Go to www.rcmexaminations.org. Check deadlines and examination dates. Click on “Register for an Examination.” Follow the instructions to register. Enter the candidate’s RCME Number and date of birth. • Enter payment information (Visa and MasterCard are accepted). • Print out the Examination Schedule. • Confirm the date and time of the examination two weeks before the first day of the examination session by clicking on “Examination Scheduling.”

• • • •

Contact Us

Contact Us

• Phone: 905-501-9553 • Fax: 905-501-1290 Unit 4–5865 McLaughlin Road Mississauga, ON Canada L5R 1B8

• Phone: 866-716-2223 • Fax: 866-716-2224 P.O. Box 1984 Buffalo, NY USA 14240-1984

The first time a candidate registers for an examination, the candidate will be assigned a permanent RCME Number. This number is eight characters long (for example, 07W12345).

The first time a candidate registers for an examination, the candidate will be assigned a permanent Candidate ID Number. This number is eight characters long (for example, 07W12345).

The RCME Number: • is a permanent identification number with RCM Examinations. • must be used each time the candidate registers for an examination. • enables RCM Examinations to maintain the integrity of the candidate’s academic record. • can be found on the Examination Schedule.

The Candidate ID Number: • is a permanent identification number with the Carnegie Hall Royal Conservatory Achievement Program. • must be used each time the candidate registers for an examination. • enables The Achievement Program to maintain the integrity of the candidate’s academic record. • can be found on the Examination Schedule.

• • • •

Go to www.TheAchievementProgram.org. Check deadlines and examination dates. Click on “Register for an Examination.” Enter the Candidate ID Number and date of birth. Follow the instructions to register. Enter payment information (Visa and MasterCard are accepted). Print out the Examination Schedule. Confirm the date and time of the examination two weeks before the first day of the examination session by clicking on “Examination Scheduling.”

Getting Started ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

5

About Us n nations . . . fostering human RCM Exami potential through music educatio

The Royal Conservatory of Music The Royal Conservatory of Music is a world-class institution recognized for high standards in teaching, performance, examining, publishing, and research. It comprises six divisions: • RCM Examinations and the Carnegie Hall Royal Conservatory Achievement Program • Glenn Gould School • The Royal Conservatory School • Learning Through the Arts • Young Artists Performance Academy • The Frederick Harris Music Co., Limited

RCM Examinations and the Carnegie Hall Royal Conservatory Achievement Program RCM Examinations (Canada) and the Carnegie Hall Royal Conservatory Achievement Program (USA) form the examination branches of The Royal Conservatory of Music. Each sets the standard for excellence in music education. Together they reach more than a quarter of a million candidates annually by providing: • graded examinations that establish clear, progressive learning goals • internationally recognized certificates, diplomas, and medals • teacher development through workshops and communications

Meet our Examiners Examiners are highly trained, professional musicians, and theorists from across North America. All examiners complete an Examiner Apprenticeship Program before being admitted to the College of Examiners. Professional development and training continues throughout each examiner’s career to ensure consistent examination standards throughout North America.

Examinations Offered Practical Examinations Accordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar, Harp, Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts and Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice

Theory Examinations Rudiments, Harmony, Keyboard Harmony, Counterpoint, Analysis, History

Musicianship Examinations Junior, Intermediate, Senior

Piano Pedagogy Examinations Elementary, Intermediate, Advanced About Us ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

Read Re d aab boutt o bo our ur Col oll lle lege lege e of Examiners, including examiner biographies, att www.rcmexaminations.org or ww w w w.TheAchievementProggram.or orrg

6 Notable Alumni Notable alumni include: • • • • • • • • •

Isabel Bayrakdarian the Gryphon Trio Aline Chrétien Adrienne Clarkson Bruce Cockburn Naida Cole David Foster Glenn Gould Robert Goulet

• • • • • • • • •

Norman Jewison Lois Marshall Oscar Peterson Richard Raymond Paul Shaffer Mitchell Sharp the St. Lawrence String Quartet Teresa Stratas Jon Vickers

Excellence Since 1886 1886 The Toronto Conservatory of Music is founded. 1887 The Conservatory has its official opening in a two-storey space above a music store. In addition to weekly lessons, courses include acoustics and piano tuning. 1896 Affiliation with the University of Toronto enables preparation for university degree examinations. 1898 Local examination centers are established outside of Toronto. 1906 The Toronto Conservatory Orchestra is founded; two years later, this group becomes the first Toronto Symphony Orchestra. 1907 Approximately 1,500 students across Canada take Toronto Conservatory examinations—more than half from outside of Toronto. 1916 The first piano repertoire book based on the Conservatory curriculum is published by The Frederick Harris Music Co., Limited, and distributed throughout Canada. 1928 Composer Boris Berlin begins teaching at the Conservatory; he remains on the faculty until his death in 2001. 1935 A ten-level examination system is established. 1946 Pianist Glenn Gould receives an ARCT. In the same year, the Conservatory Opera School is established; several years later it plays a major role in the formation of the Canadian Opera Company. 1947 In recognition of its status as one of the Commonwealth’s greatest music schools, the Conservatory receives a Royal Charter from King George VI, allowing it to be called The Royal Conservatory of Music. 1991 The Conservatory re-establishes independence from the University of Toronto. Plans for restoration and expansion of the Toronto facilities begin. 2002 The Conservatory launches its Building National Dreams Campaign to expand the Toronto facilities and build a state-of-the-art center for performance and learning. 2003 RCM Examinations expands into the United States of America. 2008 The Conservatory’s TELUS Centre for Performance and Learning opens.

About Us ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

7

Quick Reference Certificate Program Overview Theory examinations are essential components of the prestigious Certificate Program of RCM Examinations. Internationally recognized certificates and diplomas are awarded when a candidate successfully completes each practical level (study of an instrument or voice) and the required co-requisite theory examinations. Certificates are also awarded when a candidate successfully completes each theory level. Candidates may enter the Certificate Program at any practical level from Preparatory A, Preparatory B, or Introductory, to Grade 10. The following table summarizes the examinations required for each theory certificate. For detailed information on practical certificate requirements, please consult the current syllabus for the relevant discipline. Theory Certificates

Examinations Required

Preparatory Rudiments


Basic Rudiments

Basic Rudiments

Intermediate Rudiments


Advanced Rudiments

Advanced Rudiments

Introductory Harmony


History and Theory: Basic

Basic Harmony or Basic Keyboard Harmony History 1: An Overview

History and Theory: Intermediate

Intermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to Classical

History and Theory: Advanced

Counterpoint Advanced Harmony or Advanced Keyboard Harmony History 3: 19th Century to Present Analysis

Quick Reference ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

8 Pl Please note: In 2006 06, the titles of theory examinations were updated to better reflect the content of examinations. The following chart lists both the previous titles and their current eq cu quivalents. s.

Subject

Rudiments

Theory Examinations Overview The RCM Examinations graded theory system assesses essential tools in a student’s musical development. Candidates may begin theory examinations at any point in their practical music studies but are encouraged to begin theoretical studies as early as possible. With the exception of Keyboard Harmony and Musicianship, which occur during the practical examination session, all theory examinations take place in a formal written setting.

Preparing for a Theory Examination • Each examination requires preparation with a qualified teacher. • RCM Examinations Official Examination Papers, available at music retailers, are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation.

Examination Title

Previous Title

Preparatory Rudiments (1 hour) – Building blocks of music notation

Preparatory Theory

Basic Rudiments (1 hour) – Elements of music for the beginner

Preliminary Rudiments

Intermediate Rudiments (2 hours) – Continuation of basic rudiments

Grade 1 Rudiments

Advanced Rudiments (2 hours) – Continuation of intermediate rudiments and preparation for harmony

Grade 2 Rudiments

Introductory Harmony (2 hours) – Chord symbols; non-chord tones; elementary four-part and melodic writing


Basic Harmony (3 hours) – Four-part writing; melodic composition; harmonic and structural analysis in major and minor keys or Basic Keyboard Harmony (20 minutes) – Melodic improvisation; keyboard-style harmonization; accompaniment; melodic transposition; harmonic and structural analysis

Grade 3 Harmony or Grade 3 Keyboard Harmony

Intermediate Harmony (3 hours) – Four-part writing and melodic composition in major and minor keys; Harmony and modulation; harmonic and structural analysis of musical forms Counterpoint or Intermediate Keyboard Harmony (25 minutes) – Melodic improvisation; keyboard-style harmonization; modulation; accompaniment; melodic transposition; harmonic analysis; C-clef reading

Analysis

History


Counterpoint (3 hours) – Composition and analysis of simple counterpoint in Baroque style

Grade 4 Counterpoint

Advanced Harmony (3 hours) – Advanced harmonic and contrapuntal techniques or Advanced Keyboard Harmony (30 minutes) – Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and orchestral transposition; score reading


Analysis (3 hours) – Advanced structural and harmonic analysis of musical forms

Grade 5 Analysis

History 1: An Overview (3 hours) – Introduction to styles, composers, and music from 1600 to the present

Grade 3 History

History 2: Middle Ages to Classical (3 hours) Grade 4 History – Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods History 3: 19th Century to Present (3 hours) – Styles, composers, and music from the Romantic era to the present

Grade 5 History


9 Co-requisites and Prerequisites The following table summarizes all the co-requisite and prerequisite examinations required to obtain practical examination certificates. Beginning in Grade 5, candidates must complete theory co-requisites. There are no prerequisite or co-requisite theory examinations for Preparatory A, Preparatory B, Introductory, and Grades 1 to 4. Candidates for the ARCT in Performance, the Teacher’s ARCT, or any of Parts 1, 2, or 3 of the Intermediate Piano Pedagogy or Advanced Piano Pedagogy levels must complete prerequisite examinations at least one session prior to registration. Grade

5 6 7 8 9 10 Perf. Elem. Int. Adv. Teacher’s ARCT Ped. Ped. Ped. ARCT Required Examinations (C = Co-requisite

P = Prerequisite)

C

Basic Rudiments

C


C C C C

Advanced Rudiments

P

C

Basic Harmony

P

P

P

C

P

P

C C

Intermediate Harmony

C

P

Counterpoint

C

C

C

Advanced Harmony

C

C

C

Analysis

C

C

C

P

P

P

C

P

P

C

C

P

P

History 1: An Overview

C C

P

C

P

History 2: Middle Ages to Classical

C

C

History 3: 19th Century to Present

C

Grade 9 Practical Grade 10 Practical

P

Grade 6 Piano Co-requisite (not applicable for piano, accordion, guitar, harp, harpsichord)

C

P C

Grade 8 Piano Co-requisite (not applicable for piano, accordion, guitar, harp, harpsichord)

C P

Elementary Piano Pedagogy Part 2: Viva Voce and Part 3: Written

P

Intermediate Piano Pedagogy Part 2: Viva Voce and Part 3: Written Recommended Examinations Preparatory Rudiments Introductory Harmony Alternative Examinations C

Basic Keyboard Harmony (can be substituted for Basic Harmony) Intermediate Keyboard Harmony (can be substituted for Intermediate Harmony)

C C

Advanced Keyboard Harmony (can be substituted for Advanced Harmony) Junior Musicianship (can be substituted for Grade 8 Ear Tests and Sight Reading) Intermediate Musicianship (can be substituted for Grade 9 Ear Tests and Sight Reading) Senior Musicianship (can be substituted for Grade 10, Teacher’s ARCT, and Advanced Piano Pedagogy Ear Tests and Sight Reading)

P

C

C

P

P

C

C

C

C

C C

C C


C

10 Specialized Theory Examinations Comprehensive Theory Examinations

Spec S p ifi fic requirementts for the Comprehensive Theory Examination can be found on p. 41.

Candidates may register to write a Comprehensive Theory Examination if they have degrees or diplomas from other recognized music institutions. Successful completion of the Comprehensive Theory Examination exempts candidates from all theory prerequisites and co-requisites for all practical levels. This examination tests the candidate’s comprehensive knowledge of: • rudiments • harmony and counterpoint • analysis • music history from the Middle Ages to the present To request permission to write the Comprehensive Theory Examination, submit a Transfer Credits and Exemptions Request Form (available online) by the examination registration deadline.

ARCT Diploma in Composition and/or Theory The ARCT Diploma in Composition and/or Theory is an advanced course of study covering musical styles and techniques from the Renaissance to the present. The diploma may be awarded in Composition, in Theory, or in Composition and Theory combined.

Specifi S p ific requirements i s for the ARCT diploma can be found on p 42. p.

The examination process for the ARCT diploma comprises three parts: • multiple examinations of counterpoint, harmony, orchestration, analysis, music history, and ear training • compositions and/or research papers • an oral defense

Musicianship Examinations Musicianship examinations test sight singing and recognition of scales, chords, and intervals. They may replace the Ear Test and Sight Reading sections of the following examinations: Musicianship Level

Practical Examination Exemption All candidates except Voice

Practical Examination Exemption Voice candidates only

Junior

Grade 8 Ear Tests

Grade 8 Ear Tests and Sight Singing

Intermediate

Grade 9 Ear Tests

Grade 9 Ear Tests and Sight Singing

Senior

Grade 10, Teacher’s ARCT, and Advanced Piano Pedagogy Ear Tests

Grade 10 and Teacher’s ARCT Ear Tests and Sight Reading

Please visit “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org to view the examination requirements and resources for Musicianship examinations.


11

Level-by-Level Theory Requirements Rudiments The study of Rudiments introduces students to the basic elements and notational conventions of music. These building blocks of musical grammar provide the foundation for students’ further explorations in harmony, history, counterpoint, and analysis.

Preparatory Rudiments Examination length

1 hour

Co-requisite for

n/a

Recommended theory prerequisites

n/a

Recommended for concurrent study with

Preparatory A, Preparatory B, and Introductory Practical Examinations

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Rudiments” resources—p. 70 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Preparatory Rudiments examination tests candidates’ recognition and understanding of preparatory elements of musical notation, including the following topics:

Pitch • grand staff; treble (G) and bass (F) clefs • names of notes up to two ledger lines above or below treble and bass clefs • accidentals (sharp, flat, and natural) • whole tones (whole steps) and semitones (half steps) • matching notes to a keyboard picture • naming or drawing notes shown on a keyboard picture

Rhythm

Scales Write or identify the following in C, G, or F major: • scales, ascending or descending, one octave • key signatures for the above scales • scale degrees: tonic

Intervals Write or identify the following above a given note: • all intervals up to and including an octave (numerical size only), harmonic or melodic forms Identify the following below a given note: • all intervals up to and including an octave (numerical size only), melodic form

Triads Write or identify the following in C, G, or F major: • solid (blocked) triads, root position on the tonic, with or without key signatures, close position only Identify the following in C, G, or F major: • broken triads, root position on the tonic, with or without key signatures, close position only

Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Preparatory Rudiments, including the terms below.

• time values of notes and rests (whole, half, quarter, and eighth) • dotted notes (half and quarter)

(c) • time signatures: • adding time signature, bar lines, and rests to a given line of music in simple time


Rudiments

12 Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

Terms a tempo allegro andante crescendo, cresc. decrescendo, decresc. diminuendo, dim. forte, largo legato mezzo forte, mezzo piano, moderato piano, ritardando, rit. staccato

Rudiments

return to the original tempo fast moderately slow; at a walking pace becoming louder becoming softer becoming softer loud very slow smooth moderately loud moderately soft at a moderate tempo soft slowing down gradually detached

Signs bar line

a vertical line separating measures

measure/bar

a unit of musical time

double bar line

indicates the end of a piece

repeat sign

repeat the music within the double bar lines

fermata (pause)

hold the note or rest longer than its written value

slur

play the notes legato

tie

hold for the combined value of the tied notes

crescendo

becoming louder

decrescendo/ diminuendo

becoming softer

staccato

detached


13 Basic Rudiments Examination length

1 hour

Co-requisite for

Grade 5 Practical Examination




Grades 1 to 5 Practical Examinations

Intervals Write or identify the following in keys up to and including four sharps or flats above a given note: • perfect, major, and minor intervals within the octave (no inversions), harmonic or melodic forms Identify the following in keys up to and including four sharps or flats below a given note: • perfect, major, and minor intervals within the octave (no inversions), melodic form

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Rudiments” resources—p. 76 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Basic Rudiments examination tests candidates’ recognition and understanding of basic elements of musical notation, including the following topics:

Pitch • grand staff; treble (G) and bass (F) clefs • names of notes up to five ledger lines above or below treble and bass clefs • accidentals (sharp, flat, and natural) • enharmonic equivalents of notes • whole tones (whole steps), diatonic and chromatic semitones (half steps)

Rhythm • time values of notes and rests from sixteenth to whole • dotted notes (half, quarter, and eighth) • triplets (quarter, eighth, and sixteenth)

• time signatures: ( ) (c) • adding time signature, bar lines, and rests to a given passage in simple time, which may include an anacrusis (upbeat)

Scales Write or identify the following in keys up to and including four sharps or flats: • major and minor (natural, harmonic, and melodic) scales, ascending and descending • key signatures for the above scales • scale degrees: tonic, subdominant, and dominant • related keys (relative major and minor)

Triads Write or identify the following in keys up to and including four sharps or flats: • solid (blocked) triads of major and minor quality, root position on the tonic, subdominant, and dominant of major and harmonic minor scales, with or without key signatures, close position only Identify the following in keys up to and including four sharps or flats: • broken triads in root position of major and minor quality, on the tonic, subdominant, and dominant of major and harmonic minor scales, with or without key signatures, close position only

Recognition of Keys • keys up to and including four sharps or flats • identify the key (major or minor) of a given passage with a key signature

Transposition • • • •

keys up to and including four sharps or flats transpose a melody up or down one octave transpose a melody from one clef to another rewrite a melody at the same pitch in the alternate clef

Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Basic Rudiments, including the terms below.


Rudiments

14 Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

Terms a tempo adagio allegretto allegro andante andantino cantabile con pedale, con ped. crescendo, cresc. da capo, D.C. dal segno, D.S. D.C. al Fine decrescendo, decresc. diminuendo, dim. dolce fine forte, fortissimo, ƒ grazioso larghetto largo legato lento maestoso mano destra, M.D. mano sinistra, M.S. marcato, marc. mezzo forte, F mezzo piano, P moderato

Rudiments

return to the original tempo a slow tempo (slower than andante, but not as slow as largo) fairly fast (a little slower than allegro) fast moderately slow; at a walking pace a little faster than andante in a singing style with pedal becoming louder from the beginning from the sign repeat from the beginning and end at Fine becoming softer becoming softer sweet, gentle the end loud very loud graceful not as slow as largo very slow smooth slow majestic right hand left hand marked or stressed moderately loud moderately soft at a moderate tempo

ottava, 8va pedale, ped. pianissimo, π piano, p prestissimo presto rallentando, rall. ritardando, rit. staccato tempo Tempo primo (Tempo I) tenuto

the interval of an octave pedal very soft soft as fast as possible very fast slowing down slowing down gradually detached speed at which music is performed return to the original tempo held, sustained

Signs

U

accent

a stressed note

staccato

detached

tie

hold for the combined value of the tied notes

slur


fermata

pause; hold the note or rest longer than its written value

crescendo

becoming louder

decrescendo/ diminuendo

becoming softer

ottava, 8va

play one octave above the written pitch

ottava, 8va

play one octave below the written pitch

dal segno, D.S. from the sign repeat sign


repeat the music within the double bar lines pedal marking pedal marking

15 Intermediate Rudiments Examination length

2 hours

Co-requisite for



Preparatory Rudiments Basic Rudiments


Grades 4 to 6 Practical Examinations

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Rudiments” resources—p. 70 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Intermediate Rudiments examination tests candidates’ knowledge of the requirements for the Basic Rudiments examination plus the additional material listed below.

• whole-tone scale beginning on any note (using six different letter names, starting and finishing with the same letter name) • chromatic scale beginning on any note (using any version of chromatic scales found in standard textbooks; no letter name may appear more than twice in a row, and the scale must start and finish on the same letter name) Identify the following, beginning on any note: • blues scale • major pentatonic scale • minor pentatonic scale • octatonic scale Blues scale

Major pentatonic scale

Pitch • double sharps • double flats

Minor pentatonic scale

Rhythm • • • •

time values of thirty-second notes and rests time signatures in simple time time signatures in compound time: irregular groupings, for example: – quintuplets and septuplets in simple time

Octatonic scale

Intervals – duplets and quadruplets in compound time

Write or identify the following above or below a given note: • all intervals and their inversions up to and including the perfect octave, harmonic and melodic forms

Triads

• double dots • breve note and rest

Scales Write or identify the following: • all major and minor (natural, harmonic, and melodic) scales • related keys: relative major and minor, tonic (parallel) major and minor • enharmonic major or minor scales • technical names of scale degrees: tonic, supertonic, mediant, subdominant, dominant, submediant, and leading note

Identify the following: • solid (blocked) or broken triads of major and minor quality, root position and inversions, in major and harmonic minor scales, close or open position Write the following: • solid (blocked) triads of major and minor quality, root position and inversions, in major and harmonic minor scales, close position only

Recognition of Keys • identify the key for given excerpts without key signatures (candidates may be asked to rewrite the excerpt with the correct key signature and name the key)


Rudiments

16 Transposition

Terms

• major keys only • transpose a melody up any interval within the octave

accelerando, accel. alla, all’ animato assai

Cadences Identify the following by name (in keyboard style only) in a musical excerpt in any major or minor key: Perfect (authentic)

major keys V–I

minor keys V–i

Plagal Imperfect (half cadence)

IV–I I–V, IV–V

iv–i i–V, iv–V

ben, bene brillante col, coll’, colla, colle con con brio con espressione con moto e, ed espressivo, espress. fortepiano, grave leggiero loco ma

Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Intermediate Rudiments, including the terms below.

Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list plus those from the Basic Rudiments examination, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

meno mosso M.M. molto non non troppo più più mosso poco poco a poco quasi rubato sempre senza spiritoso tranquillo tre corde troppo una corda vivace

Rudiments

becoming quicker in the manner of lively, animated much, very much (for example: allegro assai, very fast) well (for example: ben marcato, well marked) brilliant with (for example: coll’ottava, with an added octave) with with vigor, spirit with expression with movement and expressive, with expression loud, then suddenly soft slow and solemn light, nimble, quick return to normal register but (for example: ma non troppo, but not too much) less movement, slower Maelzel’s metronome much, very not not too much more more movement (quicker) little little by little almost, as if with some freedom of tempo to enhance musical expression always, continuously without spirited quiet, tranquil three strings; release the left (piano) pedal too much one string; depress the left (piano) pedal lively, brisk


17 Advanced Rudiments Examination length

2 hours

Co-requisite for

Grades 7 to 10 Practical Examinations Elementary Piano Pedagogy

Prerequisite for

ARCT in Performance Teacher’s ARCT Intermediate and Advanced Piano Pedagogy


Preparatory Rudiments Basic Rudiments Intermediate Rudiments


Grades 7 and 8 Practical Examinations

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Rudiments” resources—p. 70 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Advanced Rudiments examination tests candidates’ knowledge of the requirements for the Basic and Intermediate Rudiments examinations plus the additional material listed below.

Chords Write or identify the following: • all triads (major, minor, augmented, and diminished), root position and inversions, close or open position • dominant 7ths, root position and inversions, in major and minor keys, close or open position • diminished 7ths of harmonic minor scales, root position only Identify the following: • the scale (major, natural minor, or harmonic minor) in which a group of triads or chords may be found

Cadences Identify the following cadences in any major or minor key: major keys Perfect (authentic) V–I, V7–I Plagal IV–I Imperfect (half-cadence) I–V, IV–V

minor keys V–i, V7–i iv–i i–V, iv–V

Write the following cadences in keyboard style, in any major or minor key, at the end of a melodic fragment: major keys

minor keys

Perfect (authentic)

V–I

V–i

Plagal

IV–I

iv–i

Imperfect (half-cadence)

I–V, IV–V

i–V, iv–V

Clefs • alto and tenor clefs (C clefs)

Rhythm • time signatures for hybrid meters such as , , and

Scales Write or identify the following: • all major and minor scales, beginning on any scale degree • Dorian, Phrygian, Lydian, Mixolydian, and Aeolian modes, beginning on any note

Intervals Write or identify the following above or below a given note: • all intervals and their inversions, harmonic and melodic forms, including simple intervals, compound intervals, and enharmonic equivalents.

Transposition • major and minor keys • transpose a melody up or down any interval within the octave • rewrite a melody at the same pitch in an alternate clef (including C clefs) • transpose to concert pitch a single line of music for orchestral instruments – in B flat (clarinet, trumpet) – in F (French horn, English horn)


Rudiments

18 Score Types (See “Descriptions of Scores” on p. 60.) Rewrite a given passage into the following score types: • modern vocal score • string quartet score • short score (on two staves)

Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Basic, Intermediate, and Advanced Rudiments, including the terms below, as well as imitation, inversion, measures (m., mm.), sequence, and tritone.

con sordino dolente giocoso grandioso largamente l’istesso tempo martellato mesto morendo pesante pizzicato

Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list plus those from the Basic and Intermediate Rudiments examinations, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

French Terms cédez léger lentement modéré mouvement vite

yield; hold the tempo back light; lightly slowly at a moderate tempo tempo; motion fast

German Terms bewegt langsam mässig mit Ausdruck sehr schnell

moving slow; slowly moderate; moderately with expression very fast

primo, prima quindicesima alta (15ma) risoluto ritenuto, riten. scherzando secondo, seconda semplice sforzando, , simile sonore sopra sostenuto sotto voce stringendo subito tacet tutti vivo volta volti subito, v.s.

with mute sad humorous, jocose grand, grandiose broadly the same tempo strongly accented, hammered sad, mournful dying, fading away weighty, with emphasis for stringed instruments: pluck the string instead of bowing first; the upper part of a duet two octaves higher resolute suddenly slower, held back playful second; second or lower part of a duet simple a sudden strong accent of a single note or chord continue in the same manner as has just been indicated sonorous above sustained soft, subdued, under the breath pressing, becoming faster suddenly be silent a passage for the ensemble lively time (for example, prima volta, first time; seconda volta, second time) turn the page quickly

Italian Terms ad libitum, ad lib. agitato allargando, allarg. arco attacca calando comodo con fuoco con grazia

Rudiments

at the liberty of the performer agitated broadening, becoming slower for stringed instruments: resume bowing after a pizzicato passage proceed without a break becoming slower and softer at a comfortable, easy tempo with fire with grace

Chord Types cluster

a chord consisting of at least three adjacent notes of a scale polychord a combination of two or more different chords quartal chord a chord built on a series of 4ths seventh (7th) chord a chord consisting of a root, a third, a fifth, and a seventh triad a chord consisting of a root, a third, and a fifth


19

Harmony, Counterpoint, and Analysis The study of Harmony and Counterpoint builds on the knowledge of basic elements acquired in Rudiments to address melody writing, harmonization, and analysis. The study of Analysis continues to build on the knowledge and skills acquired in Rudiments, Harmony, Counterpoint, and History by incorporating a detailed study of musical forms, elements, and compositional techniques and approaches. Overall, students gain an understanding of musical structure and syntax that allows them to engage more deeply with the music they hear and play.

Introductory Harmony The Introductory Harmony examination is strongly recommended as preparation for Basic Harmony. Examination length

2 hours

Recommended theory prerequisite

Advanced Rudiments



Cadences • perfect (authentic), imperfect (half-cadence), plagal, and deceptive

Four-part Writing • types of motion: parallel, similar, oblique, contrary, stasis (no motion) • SATB vocal ranges • principles of voice-leading

Non-chord Notes (See “Non-chord Notes” on p. 67.) • passing notes, neighbor notes, and appoggiaturas

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Harmony” resources—p. 71 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Introductory Harmony examination tests candidates’ knowledge of the requirements for the Basic, Intermediate, and Advanced Rudiments examinations plus the additional material listed below. These elements will be tested in major and minor keys.

Chords Qualities of triads and 7th chords • triads: major, minor, diminished, and augmented • 7th chords: major 7th, major-minor 7th (for example, dominant 7th), minor 7th, half-diminished 7th (diminished-minor 7th), and diminished 7th

Chord Symbols (See “Chord Symbols” on p. 61.) • root/quality chord symbols • functional chord symbols Chords in keyboard style and chorale (SATB) style • I, ii, IV, V, and vi in major keys, in root position and first inversion • i, iiº, iv, V, and VI in minor keys, in root position and first inversion • dominant 7th chord in root position and all inversions • cadential chord

Baroque Dances • allemande, courante, sarabande, gigue, menuet, bourrée, and gavotte

Examination Questions Candidates should be prepared to answer the following types of examination questions:

Writing and Identification of Individual Chords • Identify the root and quality of diatonic triads and 7th chords found in major, natural minor, and harmonic minor scales. • Write a chord symbol (either the functional chord symbol or the root/quality chord symbol or both may be required) for a given chord, which may appear in solid (blocked) or broken form, keyboard or SATB style, open or close spacing, and in root position or inversions. • For a given functional chord symbol root/quality chord symbol, write the chord in a specified format (as described above).

Melody Writing • Extend a phrase to a specified length from a given opening motive. • Supply a melody for a given rhythmic structure. • Supply a four-measure response to a given four-measure melody. • Name the type of cadence implied at each phrase ending. • Write and name two-part (melody and bass) cadences (functional chord symbols may be required).

Harmony, Counterpoint, and Analysis ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

20 Two-part Texture (mainly note-against-note)

Chords

• Add a bass line to a given melody. • Add a melody to a given bass line. • Write functional chord symbols to indicate the harmonic implication of a given melody or bass line.

Root position and all inversions

Harmonization in Four Parts (SATB) • Given a series of functional chord symbols, write brief harmonic progressions in four-part chorale style, using the chords indicated.

• • • •

all triads, including the cadential chord dominant 7th and supertonic 7th chords V/V, V7/V, and viiº/V qualities of 7th chords: major 7th, major-minor 7th (dominant 7th), minor 7th, half-diminished 7th (diminished-minor 7th), and diminished 7th. For 7th chords other than V7, ii7, and iiø7, only identification of quality is required.

Chord symbols (See “Chord Symbols” on p. 61.) • root/quality chord symbols • functional chord symbols

Pedal Points (See “Chord Symbols” on p. 61.)

Analysis For a given piece or excerpt: • Identify the key. • Identify the cadences. • Mark the structural phrasing. • Provide chord symbols (root/quality chord symbols or functional chord symbols or both). • Circle and classify non-chord notes. • Identify traditional Baroque dances by their rhythmic character (if applicable to the excerpt). • State an appropriate tempo marking for a given dance or excerpt. • Answer brief questions concerning the musical elements found in a given piece or excerpt. (Vocabulary and concepts will be drawn from theory examination requirements from Basic Rudiments up to and including this level.)

• on the tonic and dominant scale degrees

Sequences (See “Sequences” on p. 68.) • do–fa–ti–mi (descending 5ths)

Modulation • to a traditional goal key: to V from major keys and to III or v from minor keys • in formal analysis only: identification of modulations to all closely related keys

Non-chord Notes (See “Non-chord Notes” on p. 67.) • passing notes, accented passing notes, neighbor notes, accented neighbor notes, incomplete neighbor notes, échappées, suspensions, anticipations, and appoggiaturas Form • binary, rounded binary, and ternary

Examination Questions

Basic Harmony

Candidates should be prepared to answer the following types of examination questions:

Examination length

3 hours

Melody with Added Bass Line at the Cadences

Co-requisite for

Grade 9 Practical Examination Elementary Piano Pedagogy


Advanced Rudiments Introductory Harmony

(Please see the RCM Examinations website at www. rcmexaminations.org for “Models from the Repertoire.”) • Extend a given melodic opening to create a sixteenmeasure composition with four four-measure phrases. – The style will be that of an 18th-century dance. – The composition is to be in rounded binary form with repeat signs appropriate to this form. – The melody will remain in the principal key; modulation is not required. – The four phrase endings of the melody are to be accompanied by a bass part and functional chord symbols; candidates will be required to name the type of each cadence. Two-part (melody and bass) cadences are required; stem directions are to be consistent with two-part writing.

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Harmony” resources—p. 71 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Basic Harmony examination tests candidates’ knowledge of the requirements for Introductory Harmony plus the additional material listed below. These elements will be tested in major and minor keys.


21 – The first eight measures or fewer will be given, with both the melody and the bass part at the cadences. Candidates will complete the melody and add the bass part at the cadences and will mark the phrasing for the entire composition. – The third phrase should demonstrate some melodic contrast and inventiveness, while remaining consistent with the style of the given opening. Literal restatement, transposition, etc., are discouraged in the third phrase. – Candidates may also be asked to indicate the implied harmony throughout the composition using either functional chord symbols or root/quality chord symbols.

Harmonization I: Given Chord Symbols • Harmonize in four parts (SATB) a series of given functional chord symbols.

Harmonization II: Given Melody (major keys only, for this question only)

Intermediate Harmony Examination length

3 hours

Co-requisite for

Grade 10 Practical Examination Intermediate Piano Pedagogy

Prerequisite for

ARCT in Piano Performance Teacher’s ARCT Advanced Piano Pedagogy


Advanced Rudiments Introductory Harmony Basic Harmony

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Harmony” resources—p. 71 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org

• Harmonize in four parts (SATB) a given melody with or without a given bass line. – The melody may be a chorale or hymn, an excerpt from a chorale or hymn, or a melody in a similar style. – When a text is present, candidates are to write a correct rhythmic setting of the text.

The Intermediate Harmony examination tests candidates’ knowledge of the requirements for Introductory and Basic Harmony plus the additional material listed below.

Harmonic and Structural Analysis

• diatonic 7ths • secondary (applied) dominants (V, V7) • secondary (applied) leading-note chords (vii, viio7, and viiø7)

• For a given example: – Provide chord symbols (root/quality chord symbols or functional chord symbols or both). – Indicate pedal points for their entire duration. – Circle and classify non-chord notes. • For a given simple dance movement containing modulations to closely related keys: – Mark the structural phrasing. – Identify the cadences (perfect [authentic]), plagal, imperfect ([half-cadence], or deceptive) and their keys. – Identify the form (binary, rounded binary, or ternary) and label the sections of the form by placing letters (A, B, etc.) directly on the score. • Answer brief questions concerning the musical elements found in a given piece or excerpt. (Vocabulary and concepts will be drawn from theory examination requirements from Basic Rudiments up to and including this level.)

Chords Root position and all inversions

Root position only • dominant 9ths, 11ths, and 13ths • secondary (applied) dominants (V9, V11, and V13)

Chord symbols (See “Chord Symbols” on p. 61.) • root/quality chord symbols • functional chord symbols • figured bass

Pedal Points (See “Chord Symbols” on p. 61.) • on any scale degree

Sequences (See “Sequences” on p. 68.) • do–fa–ti–mi (diatonic descending 5ths and chromatic descending 5ths; i.e., with secondary dominants) • do–sol–re–la • do–fa–re–sol • do–sol–la-mi


22 Modulation

Harmonic and Structural Analysis

• to all closely related keys • between tonic major and tonic minor

• For a given example: – Provide chord symbols (root/quality chord symbols or functional chord symbols, or both). – Indicate pedal points for their entire duration. – Circle and classify non-chord notes. • Provide a detailed analysis and/or answer brief questions concerning the structure of a movement in one of the forms listed above. (Vocabulary and concepts will be drawn from theory examination requirements from Basic Rudiments up to and including Intermediate Harmony.)

Form • binary, rounded binary, and ternary (including compound ternary form in which the individual sections have identifiable forms) • rondo • sonata

Examination Questions Candidates should be prepared to answer the following types of examination questions. Each question may appear in a major or a minor key.

Counterpoint

Melody with Added Bass Line at the Cadences • Extend a given melodic opening to create a sixteenmeasure composition with four, four-measure phrases. – The style will be that of an 18th-century dance. – The form is to be either binary or rounded binary with appropriate repeat signs; candidates are to identify the chosen form. – The composition should demonstrate motivic unity and must include a modulation to a traditional goal (to V in major keys, to III or v in minor keys) and a return to the home key. – The four phrase endings of the melody are to be accompanied by a bass part and functional chord symbols; candidates will be required to name the key and type of each cadence. Two-part (melody and bass) cadences are required; stem directions are to be consistent with two-part writing. Candidates are to mark the structural phrasing. – Candidates may also be asked to indicate the implied harmony throughout the composition using either functional chord symbols or root/quality chord symbols.

Examination length

3 hours

Co-requisite for

ARCT in Performance Teacher’s ARCT Advanced Piano Pedagogy


Advanced Rudiments Introductory Harmony Basic Harmony Intermediate Harmony

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Counterpoint” resources—p. 71 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Counterpoint examination tests the application of materials studied in Intermediate Harmony to contrapuntal writing in the style of the Baroque period. Candidates should be prepared to answer the following types of examination questions.

Harmonization I: Given Chord Symbols

Fugal Exposition

• Harmonize in four parts (SATB) a series of given functional chord symbols. • Realize in keyboard style a brief passage with a given figured bass.

Complete a two-part fugal exposition with a countersubject written in invertible counterpoint; the exposition will include a redundant entry. Candidates will be required to label the components of the exposition that they have completed.

Harmonization II: Given Melody • Harmonize in four parts (SATB) a given melody with or without a given bass line. – The melody may be a chorale or hymn, an excerpt from a chorale or hymn, or a melody in a similar style. – When a text is present, candidates are to write a correct rhythmic setting of the text. – Candidates are expected to maintain the style of the given material.

Short Pieces for Melody and Bass • Add a bass line to a given melody. Continue the style of the given material to create a unified contrapuntal composition in Baroque style. • Realize a given figured bass in keyboard style and add a melody (three staves will be given). Continue the style of the given material to create a unified contrapuntal composition in Baroque style. (See “A Standardized Notation for Figured Bass” on p. 62.) • Answer brief questions concerning the musical elements (such as form, dance types, sequences, etc.) in the given material.


23 Analysis

Two-Part Counterpoint

• Analyze a piece or an excerpt of contrapuntal music. Helpful models can be found in J.S. Bach’s The WellTempered Clavier (books 1 and 2), Two-Part Inventions, or Three-Part Inventions (Sinfonias). • Identify appearances of subject, real and tonal answers, countersubject, codetta (link), stretto, redundant entries, counter-exposition, augmentation, diminution, and inversion. • Answer brief questions concerning the musical elements found in a given piece or excerpt. • Analyze the harmony implied by the given material for specified passages.

• Extend a given opening to create a two-part contrapuntal composition in binary or rounded-binary form with appropriate repeat signs. Use a style and harmonic vocabulary similar to that of an 18th-century dance or invention. The composition should have motivic unity and the key structure should be consistent with the form.

Harmonization I • Harmonize a given chorale melody in the style of J.S. Bach.

Harmonization II • Harmonize in four parts (SATB) given material featuring the vocabulary of Advanced Harmony.

Advanced Harmony Examination length

3 hours

Co-requisite for



Advanced Rudiments Introductory Harmony Basic Harmony Intermediate Harmony Counterpoint

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Harmony” resources—p. 71 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Advanced Harmony examination tests candidates’ knowledge of the requirements for Introductory Harmony, Basic Harmony, Intermediate Harmony, and Counterpoint plus the additional material listed below.

Chords Root position and all inversions

Modulation • Continue a given opening in four-part texture; include a modulation to a specified key, a cadence in the new key, a modulation back to the tonic key, and a final cadence. The use of a particular pivot chord may or may not be specified.

Analysis • For a given example: – Provide chord symbols (root/quality chord symbols or functional chord symbols, or both). – Circle and classify non-chord notes. – Answer brief questions concerning the musical elements. (Vocabulary and concepts will be drawn from theory examination requirements from Basic Rudiments up to and including Advanced Harmony.)

Analysis Examination length

3 hours

Co-requisite for



Advanced Rudiments Introductory Harmony Basic Harmony Intermediate Harmony Counterpoint Advanced Harmony

• advanced chromatic harmony including: – b II and other altered triads – augmented 6th chords – common-tone diminished 7th chords (See “Chord Symbols” on p. 61.)

Modulations • to remote keys

Examination Questions

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Analysis” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org

Candidates should be prepared to answer the following types of examination questions: Harmony, Counterpoint, and Analysis ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

24 The Analysis examination tests candidates’ knowledge of the requirements for Introductory Harmony, Basic Harmony, Intermediate Harmony, Counterpoint, and Advanced Harmony, as well as the ability to provide detailed harmonic and structural analyses of, and answer questions about, the musical forms and elements listed below.

Fugues • fugues from J.S. Bach’s The Well-Tempered Clavier, books 1 and 2

Instrumental Works • movements in the following forms from piano and chamber sonatas by Haydn, Mozart, Beethoven, and Schubert – binary – rounded binary – ternary (including compound ternary) – theme and variations – rondo (including sonata-rondo) – sonata form

Art Songs (19th century) • solo song in strophic, modified strophic, and throughcomposed forms • the relationship of text and music (translations will be provided as needed)

Short Post-1900 Works Music composed after 1900, demonstrating any of the following elements:

Scale Types • Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, pentatonic (various types), blues, chromatic, whole-tone, octatonic (diminished)

Chord Types • • • • •

tertian harmony (triads, 7th, 9th, 11th, and 13th chords) chords with added notes quartal chords clusters (based on various scales) polychords

Textures • pedal, ostinato, parallelism (layering), contrary motion, imitation

Forms of Non-tonal Organization • Twelve-tone style and its associated techniques, including: – manipulation of note cells and tone rows (such as octave displacement, inversion, retrograde, retrograde-inversion, etc.) – completion of row tables/matrices (candidates will not be required to construct an entire matrix).


25

Keyboard Harmony The study of Keyboard Harmony allows students to explore melody writing, harmonization, and analysis at the keyboard in a direct and practical manner. Utilizing the vocabulary of Basic, Intermediate, and Advanced Harmony, students gain an understanding of musical structure and syntax, while also building aural awareness, gaining ease and confidence in practical musicianship, and developing the creative impulse.

Basic Keyboard Harmony Examination length

20 minutes, plus 20 minutes of preparation time

Co-requisite for

Grade 9 Practical Examination Elementary Piano Pedagogy

Recommended theory Advanced Rudiments prerequisites Introductory Harmony

Please note: The Basic Keyboard Harmony examination may be substituted for the Basic Harmony examination for the purpose of obtaining a practical examination certificate or theory certificate.

Sequences (See “Sequences” on p. 68.) • do–fa–ti–mi (descending 5ths) Modulations • to the dominant key

Non-chord Notes (See “Non-chord Notes” on p. 67.) • passing notes, accented passing notes, neighbor notes, accented neighbor notes, incomplete neighbor notes, échappées, suspensions, anticipations, and appoggiaturas Examination Questions Candidates should be prepared to perform the following:

Melodic improvisation (major or minor keys) Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Keyboard Harmony” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Basic Keyboard Harmony examination is based on the harmonic vocabulary listed below. Prior to the examination, candidates will be given twenty minutes to prepare the examination questions at the piano. Candidates are not permitted to write on the examination paper.

Keys

• Improvise four-measure responses to two four-measure melodic phrases. • Each response, together with the given opening, should create a unified melody. • Add bass notes only at the cadences.

Melodic Ornamentation • Add non-chord notes to a given excerpt consisting of a simple melody with left-hand chordal accompaniment.

Harmonization I: Sequences • Play a sequence of descending 5ths in keyboard style. • Use any arrangement that demonstrates good voiceleading. Example only

• up to and including two sharps or two flats • major keys only unless otherwise specified

Chords Root position and all inversions • all triads, including cadential chords • dominant 7th and supertonic 7th chords • V/V, V7/V, and viiº6/V

Chord symbols (See “Chord Symbols” on p. 61.) • root/quality chord symbols • functional chord symbols

Pedal Points • on the tonic and dominant scale degrees

Harmonization II: Chord Progressions • Play diatonic chord progressions in keyboard style. – Use the harmonic vocabulary required for Basic Keyboard Harmony. – A soprano line may be provided.

Harmonization III: Chorale (or Chorale-style Passage) • Harmonize a given soprano and bass in keyboard style. – Some functional chord symbols or figures will be provided.


Keyboard Harmony

26 Accompaniment

Resources

• Create an accompaniment in an appropriate style for a given instrumental or vocal melody. – Some functional chord symbols (ii, V , I) or root/ quality chord symbols (Dm, G7/B, C) may be provided. Familiarity with both systems is required.

RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Keyboard Harmony” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org

Melodic Transposition (major or minor keys, treble or bass clef)

The Intermediate Keyboard Harmony examination is based on the harmonic vocabulary listed below. Prior to the examination, candidates will be given twentyfive minutes to prepare the examination questions at the piano. Candidates are not permitted to write on the examination paper.

• Name both the given and the resultant keys of a diatonic melody (resultant key will not exceed two sharps or two flats). • Transpose the melody up or down a major or minor 2nd, or a major or minor 3rd. • During the examination, candidates will not be given the opportunity to play the passage as written.

Analysis I: Harmonic Analysis (major or minor keys) • Name the key of a short passage of music. • Play the passage, indicating the chord symbols (root/ quality or functional) for each chord as it is played. • Identify the circled non-chord notes.

Analysis II: Structural Analysis (major or minor keys) • Name the key of a simple dance in 17th- or 18th-century style and identify the form as binary, rounded binary, or ternary. • Play the passage, pausing at the end of each phrase to name the cadence and key. • Sight-reading ability will not be evaluated.

Intermediate Keyboard Harmony

Keys • up to and including four sharps or four flats • major and minor keys

Chords Root position and all inversions • • • • •

all triads dominant 7th chords diatonic 7th chords secondary (applied) dominants of all degrees secondary (applied) leading-note chords of all degrees

Root position only • dominant 9th and 13th chords

Chord Symbols (See “Chord Symbols” on p. 61.) • root/quality chord symbols • functional chord symbols • figured bass


Examination length 25 minutes, plus 25 minutes of preparation time

Sequences (See “Sequences” on p. 68.)

Co-requisite for

Grade 10 Practical Examination Intermediate Piano Pedagogy (substitute for Intermediate Harmony)

• do–fa–ti–mi (diatonic descending 5ths and chromatic descending 5ths; i.e., with secondary dominants)

Prerequisite for

ARCT in Performance Teacher’s ARCT Advanced Piano Pedagogy (substitute for Intermediate Harmony)

Recommended Advanced Rudiments theory prerequisites Introductory Harmony Basic Harmony or Basic Keyboard Harmony

Please note: The Intermediate Keyboard Harmony examination may be substituted for the Intermediate Harmony examination for the purpose of obtaining a practical examination certificate or theory examination certificate.

Keyboard Harmony

Modulations • to all closely related keys (with a change of no more than one sharp or flat in the key signature)

Examination Questions Candidates should be prepared to perform the following:

Melodic Improvisation • Improvise four-measure responses to two four-measure melodic phrases. – Each response, together with the given opening, should create a unified melody. – In major keys, the given phrase will contain a brief tonicization of the dominant. In minor keys, the given phrase will contain a brief tonicization of the mediant (the relative major). – Add bass notes only at the cadences.


27 Advanced Keyboard Harmony

Harmonization I: Sequences • Play a sequence of descending 5ths using diatonic 7ths in keyboard style. Use any arrangement that demonstrates good voice-leading. Example only

Examination length

30 minutes, plus 30 minutes of preparation time

Co-requisite for

ARCT in Performance Teacher’s ARCT Advanced Piano Pedagogy (substitute for Advanced Harmony)


Advanced Rudiments Introductory Harmony Basic Harmony or Basic Keyboard Harmony Intermediate Harmony or Intermediate Keyboard Harmony

Harmonization II: Chord Progressions • Play chord progressions in keyboard style. – Use the harmonic vocabulary required for Intermediate Keyboard Harmony. – A soprano line may be provided.

Please note: The Advanced Keyboard Harmony examination may be substituted for the Advanced Harmony examination for the purpose of obtaining a practical examination certificate or theory certificate.

Harmonization III: Chorale Style • Harmonize a given soprano and bass in keyboard style. – Some figures may be provided.

Accompaniment • Create an accompaniment in an appropriate style for a given instrumental or vocal melody. – Some functional chord symbols (ii, V , I) or root/ quality chord symbols (Dm, G7/B, C) may be provided. Familiarity with both systems is required.

Melodic Transposition (major or minor keys, treble or bass clef) • Name both the given and the resultant keys of a melody that will contain chromatic notes (resultant key will not exceed four sharps or four flats). • Transpose the melody up or down a major or minor 2nd, or a major or minor 3rd. • During the examination, candidates will not be given the opportunity to play the passage as written.

Reading C Clefs • Play a short, two-part composition containing treble, alto, tenor, or bass clefs. – One of the two parts will be written in a C clef.

Harmonic Analysis (major or minor keys) • Name the key of a short passage of music. • Play the passage, indicating the chord symbols (root/ quality or functional) for each chord as it is played. • Identify the circled non-chord notes.

Resources RCM Examinations Official Examination Papers—p. 54 “Appendix”—p. 56 “Keyboard Harmony” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org The Advanced Keyboard Harmony examination is based on the harmonic vocabulary listed below. Prior to the examination, candidates will be given thirty minutes to prepare the examination questions at the piano. Candidates are not permitted to write on the examination paper.

Chords Root position and all inversions • • • • •

all triads dominant 7th chords diatonic 7th chords secondary (applied) dominants of all degrees secondary (applied) leading-note chords of all degrees

• advanced chromatic harmony (including b II, other altered triads and chords, augmented 6th chords, and common-tone diminished 7th chords) (See “Chord Symbols” on p. 61.)

Root position only • dominant 9th and 13th chords


Modulations • to closely related keys and distant keys


Keyboard Harmony

28 Examination Questions

Harmonization II: Chord Progressions

Candidates should be prepared to perform the following:

• Play chord progressions in keyboard style. – Use the harmonic vocabulary required for Advanced Keyboard Harmony. – Progressions may involve modulations and enharmonic relationships of all types.

Melodic Improvisation • Extend a given four-measure melodic phrase to create a sixteen-measure composition with four phrases, adding bass notes only at the cadences. The composition should demonstrate: – motivic unity – modulation to a traditional goal (major keys: dominant; minor keys: mediant or dominant) with a return to the home key – binary or rounded binary form (candidates will be asked to identify the form)

Harmonization I: Sequences • Play a sequence in keyboard style, starting in any major key and moving through the cycle of descending 5ths back to the same key, using a chain of secondary (applied) dominant 7ths. Use any arrangement that demonstrates good voice-leading. Moving through a cycle of descending 5ths, from C7 back to C major: Example only

Harmonization III: Realization of a Continuo Bass • Realize a continuo accompaniment for a given figured bass in Baroque style. – The selection will reflect the style of either a recitative or a composition for solo instrument. – The examiner will play the solo part either on the candidate’s keyboard in a higher register than notated, or at pitch on a second keyboard instrument.

Accompaniment • Create an accompaniment in an appropriate style for a given instrumental or vocal melody. – Some functional chord symbols (ii, V , I) or root/ quality chord symbols (Dm, G7/B, C) may be provided. Familiarity with both systems is required.

Melodic Transposition I (major or minor keys, treble or bass clef) • Name both the given and the resultant keys of a chromatic melody. • Transpose the melody up or down a major or minor 2nd, or a major or minor 3rd. • During the examination, candidates will not be given the opportunity to play the passage as written.

Melodic Transposition II

Moving through a cycle of descending 5ths, from E7 back to E major: Example only

• Play at concert pitch a single-line excerpt for any of the transposing instruments listed below: – piccolo – English horn – clarinet in B flat or A – bass clarinet in B flat – contrabassoon – trumpet in B flat or D – horn in F – double bass (contrabass) • Name both the given and the resultant keys. • During the examination, candidates will not be given the opportunity to play the passage as written.

Score Reading • Play a passage written in either string quartet score or modern vocal score.

Keyboard Harmony


29

History The study of music history allows students to develop a context for the sounds and symbols that already form the basis of their musical experience. Through the study of composers’ lives and musical styles, encounters with great works from the literature, and exposure to genres and terms that help to build a musical vocabulary, students become more musically literate and gain an increased awareness of music as a living art.

Preparing for Music History Examinations The following guidelines are provided to help candidates in their preparation for history examinations.

General Information • All examinations are 3 hours in length. • It is strongly recommended that candidates listen to recordings of all the required musical compositions. • Candidates will be expected to recognize all titles given in their original language, but are permitted to use English translations in their answers. • Candidates will be expected to describe in detail all movements of required works, unless otherwise indicated in the Syllabus. • There are choices possible within some required topics. However, regardless of their choice, candidates will be expected to know all the genres and related terms listed in the charts below and cite the work to which the term applies.

Basic Terminology To facilitate the study and analytical description of musical works, candidates should understand and be able to use the following terms: • notation • pitch • rhythm • meter • melody • harmony • dynamics • timbre • texture (monophonic, polyphonic, and homophonic) • vocal ranges (soprano, alto, tenor, and bass) • keyboard instruments: organ, harpsichord, clavichord, and piano • orchestral instruments: strings, woodwinds, brass, and percussion, including individual instruments within each family (Benjamin Britten’s Variations and Fugue on a Theme of Purcell [The Young Person’s Guide to the Orchestra] is recommended as an aural introduction to the orchestra, but is not required for examination purposes.)

General Components of Music History Examinations The Study of Musical Eras For each era (as defined by the curriculum), candidates will be expected to demonstrate a knowledge and understanding of: • dates (as specified within this Syllabus) • representative composers • general musical styles • musical genres cultivated, including examples (composition titles) • social and historical context of music in society • patronage of the arts

Terms and Definitions Candidates will be expected to demonstrate a knowledge and understanding of all terms, concepts, genres, and forms, as listed in the charts below, along with examples of composers and works specific to the examination. Terms are listed the first time they apply to a representative work; they may be applicable to other works.

The Study of Composers Candidates’ knowledge of the major representative composers (identified by bold type in the charts listing the requirements for each examination) should include the following details: For History 1 and History 3 only Biographical information • year of birth and year of death • birthplace and nationality • family background • education and professional training • musical career, including places of employment, patrons, and accomplishments over the course of the composer’s life • significant associations or connections with people, places, and events For History 1, History 2, and History 3 Musical style and contributions • stages or style periods (where applicable) • innovations • musical influences • impact and significance • genres cultivated • titles of works representing each genre


History

30 The Study of Musical Compositions Candidates’ knowledge of representative compositions (identified by bold type in the charts listing the requirements for each examination) should include the following details (where applicable): Overview • date of composition • historical context and circumstances of composition • genre • performing forces • structure, including number of movements • text (if applicable), including source, author, language, and general meaning • plot summary (if applicable)

History

Musical description of required selections • context within the whole work • form • key structure, including main modulations and tonal centers • tempo • meter • musical character, mood, or atmosphere • extra-musical connections Thematic Excerpts Candidates will be expected to identify principal thematic excerpts drawn from the list of required works, and be able to answer specific questions relating to that excerpt or work. All thematic excerpts, as they would appear on an examination, are published in the recommended study guides, Explorations (three volumes).


31 History 1: An Overview Examination length

3 hours

Co-requisite for

Grade 9 and 10 Practical Examinations Elementary Piano Pedagogy

Prerequisite for

ARCT in Performance Teacher’s ARCT Intermediate and Advanced Piano Pedagogy

Resources RCM Examinations Official Examination Papers—p. 54 “History” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org History 1 is an introduction to music history through an overview of four historical style periods: the Baroque, Classical, Romantic, and Modern eras. Candidates will be examined on the following:

Recommended Advanced Rudiments theory prerequisites

THE BAROQUE ERA (ca 1600–ca 1750) General terms as they apply to music of the Baroque era

Representative Composers

baroque basso continuo equal temperament figured bass homophonic texture polyphonic texture terraced dynamics the Affections word painting

Representative Genres and Works Solo Concerto

Antonio Vivaldi

La Primavera from Le Quattro Stagioni

George Frideric Handel

Messiah Overture “There were shepherds” “Glory to God” “Rejoice greatly” “Hallelujah!”

Related Terms drone ostinato ripieno ritornello form

Oratorio da capo aria French overture homorhythmic texture libretto melisma recitativo accompagnato recitativo secco

Prelude and Fugue Johann Sebastian Bach

one selection (of the candidate’s choice) from The Well-Tempered Clavier

counterpoint subject real and tonal answers countersubject episode stretto pedal point tierce de Picardie


History

32 THE CLASSICAL ERA (ca 1750–ca 1825) General terms as they apply to music of the Classical era

Representative Composers Franz Joseph Haydn

absolute music binary and ternary forms chamber music classicism menuet and trio rondo form sonata cycle sonata form Viennese School

Representative Genres and Works String Quartet String Quartet, op. 76, no. 2 (“Quinten”) fourth movement

Related Terms exposition development recapitulation coda

Serenade Wolfgang Amadeus Mozart

Eine kleine Nachtmusik, K 525

Ludwig van Beethoven

Symphony no. 5 in C minor, op. 67

rocket theme rounded binary

Symphony cyclical structure motive scherzo and trio theme and variations

THE ROMANTIC ERA (ca 1825–ca 1900) General terms as they apply to music of the Romantic era

Representative Composers Franz Schubert

exoticism in music nationalism in music program music romanticism

Representative Genres and Works Art Song Erlkönig, D 328 OR Gretchen am Spinnrade, D 118

Related Terms Lied through-composed (durchkomponiert)

Piano Music Frédéric Chopin

Polonaise in A flat major, op. 53 OR Polonaise in A major, op. 40, no. 1

Hector Berlioz

Symphonie fantastique, op. 14 fifth movement: “Songe d’une nuit de sabbat”

Georges Bizet

Carmen Act I: Prelude “Quand je vous aimerai?” “L’amour est un oiseau rebelle” OR Madama Butterfly Act I: Prelude Act II: “Un bel dì vedremo”

chromaticism polonaise rubato

Program Symphony cloches col legno Dies irae idée fixe ophicléide portamento

Opera

Giacomo Puccini

History

aria habañera prelude (in opera) recitative pentatonic scale verismo whole-tone scale


33 THE MODERN ERA (ca 1900 to Present) General terms as they apply to music of the Modern era


atonality pentatonic scales polyrhythm polytonality modal scales whole-tone scales choreography

Representative Genres and Works

Related Terms

Symphonic Poem Claude Debussy

Prélude à “L’après-midi d’un faune”

Igor Stravinsky

Petrushka First tableau

antique cymbals glissando Impressionism in music Symbolism

Ballet changing meter choreography folk song Petrushka chord OR Le sacre du printemps (The Rite of Spring) excerpts from Adoration of the Earth (Part I): Introduction Dance of the Youths and Maidens Game of Abduction

primitivism flutter tongue

Musical Leonard Bernstein

West Side Story two of: Dance at the Gym: Mambo Tonight Ensemble Maria America I Feel Pretty

Alexina Louie

Distant Memories from Music for Piano

cha-cha hemiola mambo tritone verse–chorus structure

Piano Music arch form berceuese senza misura


History

34 History 2: Middle Ages to Classical Examination length

3 hours

Co-requisite for

Grade 10 Practical Examination Intermediate Piano Pedagogy

Prerequisite for



Advanced Rudiments Basic Harmony History 1: An Overview

Resources RCM Examinations Official Examination Papers—p. 54 “History” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org History 2 is based on four historical style periods—the Middle Ages and the Renaissance, Baroque, and Classical eras—with emphasis on the development of musical genres and forms. Detailed accounts of the lives of representative composers are not required. Candidates will be examined on the following:

THE MIDDLE AGES (ca 476–ca 1450) General terms as they apply to music of the Middle Ages

a cappella countertenor drone Mass Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Dei Mass Proper modes neumes text settings: syllabic, neumatic, melismatic textures: monophonic, polyphonic

Individuals and publications of significance

Pope Gregory I Liber usualis Musica enchiriadis Hildegard von Bingen Notre Dame School: Léonin, Pérotin Ars nova: Philippe de Vitry Messe de Nostre Dame Chansonnier du roy

Instruments and ensembles

bas: dulcimer, lute, psaltery, rebec, recorder, vielle haut: cornetto, crumhorn, sackbut, shawm keyboard: portative, positive, regal percussion: nakers, tabor, tambourine

Representative Composers Anonymous

Representative Genres and Works Gregorian Chant Haec dies from the Mass for Easter Day

Related Terms gradual plainchant responsorial singing

Organum Anonymous (in the style of Léonin)

Haec dies

Anonymous

O Mitissima/Virgo/Haec dies

cantus firmus tenor

Polytexual Motet ostinato

Monophonic Chanson Moniot d’Arras

Ce fut en mai

strophic form trouvère OR

Raimbaut de Vaqueiras

Kalenda maya

Guillaume de Machaut

Puis qu’en oubli

estampie guitarra moresca medieval pipe troubadour

Polyphonic Chanson rondeau musica ficta

Dance Music Anonymous History

Royal Estampie no. 4 from Chansonnier du roy

heterophonic texture


35 THE RENAISSANCE ERA (ca 1450–ca 1600) General terms as they apply to music of the Renaissance

chromaticism continuous imitation homorhythmic texture modal counterpoint word painting

Individuals, events, and publications of significance

Franco-Flemish School Reformation: Martin Luther Counter-Reformation: Council of Trent Musica transalpina Fitzwilliam Virginal Book

Instruments and ensembles

consort of instruments keyboard: virginal stringed: viols, viola da gamba


Representative Genres and Works Motet

Josquin des Prez

Ave Maria…virgo serena

Giovanni Pierluigi da Palestrina

Missa Papae Marcelli Gloria

Carlo Gesualdo

Moro lasso, al mio duolo

John Farmer

Fair Phyllis

Anonymous, arranged by Tielman Susato

Danserye Pavane “Mille regretz”

Mass

Italian Madrigal English Madrigal Dance Music


History

36 THE BAROQUE ERA (ca 1600–ca 1750) General terms as they apply to music of the Baroque era

baroque basso continuo dance suite: allemande, courante, sarabande, gigue figured bass forms: binary, rounded binary, ternary ground bass libretto terraced dynamics textures: homophonic, polyphonic the Affections

Individuals, developments, and publications of significance

Florentine Camerata Le nuove musiche monody stile rappresentativo

Instruments

keyboard: clavichord, clavier, harpsichord

Representative Composers Claudio Monteverdi

Representative Genres and Works Italian Opera The Coronation of Poppea Act III, scene 7: “A te, a te sovrana augusta” Sinfonia “Pur ti miro”

Related Terms castrato opera seria stile concitato

English Opera Henry Purcell

Dido and Aeneas Act III, final scene: “Thy hand, Belinda” “When I am laid in earth”

aria recitativo secco

Cantata Johann Sebastian Bach

Cantata no. 80, “Ein feste Burg ist unser Gott” canon first, second, fifth, and eighth movements chorale fugal texture ritornello

Concerto Grosso Brandenburg Concerto no. 2 in F major, BWV 1047 first movement

concertino ripieno ritornello form

Orchestral Suite George Frideric Handel

Water Music Suite in D major, HWV 349 Allegro Alla Hornpipe

Domenico Scarlatti

Sonata in F minor, L 187/K 481

hornpipe

Harpsichord Sonata gravicembalo

OR Sonata in D major, L 463/K 430

History


37 THE CLASSICAL ERA (ca 1750–ca 1825) General terms as they apply to music chamber music of the Classical era sonata cycle sonata form: exposition, development, recapitulation, coda Viennese School Individuals, developments, and publications of significance


C.P.E. Bach: Essay on the True Art of Playing Keyboard Instruments Christoph Willibald Gluck Mannheim School Sturm und Drang

Representative Genres and Works Symphony Symphony no. 104 in D major (“London”) first movement

Franz Joseph Haydn

Related Terms monothematic exposition

Oratorio The Creation Part 1, scene 3: “And God said: Let there be light” “In splendor bright” “The heavens are telling the Glory of God”

recitativo accompagnato

Opera Buffa Wolfgang Amadeus Mozart

The Marriage of Figaro Overture Act I, scenes 6 and 7: “Non so più” “Ah! Son perduto!” “Cosa sento!”

modified sonata form terzetto trouser role

Piano Concerto Piano Concerto in G major, K 453 first movement

cadenza double exposition

Piano Sonata Ludwig van Beethoven

Piano Sonata in C minor, op. 13 (“Pathétique”)

tremolo rondo form

OR Piano Sonata in C sharp minor, op. 27, no. 2 (“Moonlight”)

menuet and trio

Piano Quintet Franz Schubert

Piano Quintet in A major, D 667 (“Trout”) fourth movement

theme and variations


History

38 History 3: 19th Century to Present Examination length

3 hours

Co-Requisite for


Recommended theory Advanced Rudiments prerequisites Basic Harmony History 1: An Overview History 2: Middle Ages to Classical

Resources RCM Examinations Official Examination Papers—p. 54 “History” resources—p. 72 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org History 3 is based on the music of the Romantic and Modern eras. Candidates will be examined on the following:

THE ROMANTIC ERA (ca 1825–ca 1900)


Representative Genres and Works Concerto

Felix Mendelssohn

Violin Concerto in E minor, op. 64 first movement

Robert Schumann

Dichterliebe, op. 48 “Und wüssten’s die Blumen” OR “Im wunderschönen Monat Mai” OR

Related Terms cadenza double stopping pedal point sonata form

Art Song Lied song cycle strophic form modified strophic form

Character Piece Carnaval, op. 9 “Eusebius” “Florestan”

piano cycle cross rhythm

Piano Music Franz Liszt

“La Campanella” from Grandes études de Paganini

Johannes Brahms

Ein deutsches Requiem fourth movement: “Wie lieblich sind deine Wohnungen”

étude

Choral Music rondo form

Opera Giuseppe Verdi

La Traviata Act II, Scene 2: “Invitato …” to end of act

aria bel canto coloratura soprano libretto recitative

OR Rigoletto Act III: “La donna è mobile” “Un dì” “Bella figlia”

Opera Richard Wagner

Die Walküre Act III: “Der Augen leuchtendes Paar” to end of act

chromatic harmony Gesamtkunstwerk Heldentenor Leitmotif music drama

Symphonic Poem Bedrˇich Smetana

Vltava from Má vlast

Pyotr Il’yich Tchaikovsky

Romeo and Juliet Overture

nationalism in music program music

Concert Overture History


39 THE MODERN ERA (ca 1900 to Present)

Representative Composers I: Europe

Representative Genres and Works

Related Terms

Symphony Gustav Mahler

Symphony no. 4 in G major fourth movement

Maurice Ravel

Jeux d’eau

Béla Bartók

Concerto for Orchestra fourth movement

Sergei Prokofiev

Romeo and Juliet, Suite no. 2, op. 64c Act I, Scene 4: “The Montagues and Capulets: The Capulet Ball”

Arnold Schoenberg

Pierrot lunaire, op. 21 “Der Mondfleck” “O alter Duft aus Märchenzeit”

cyclical structure

Piano Music glissando Impressionism in music pentatonic scale whole-tone scale

Orchestral Music changing meter neo-Classicism ostinato polytonality quotation in music

Ballet choreography en pointe

Song Cycle atonality canon Expressionism in music Klangfarbenmelodie rondeau Sprechstimme

Opera Alban Berg

Wozzeck Act III, scene 4: “Das Messer?” Orchestral Interlude Act III, scene 5: “Ringel, Ringel, Rosenkranz”

celesta cluster chord

Orchestral Music Anton Webern

Symphony, op. 21 second movement

Olivier Messiaen

Quatuor pour la fin du temps mode of limited transposition second movement: “Vocalise, pour l”Ange qui annonce la fin du Temps”

György Ligeti

Atmosphères

Arvo Pärt

Cantate Domino canticum novum

serialism theme and variations tone row twelve-tone music

Chamber Music

Orchestral Music micropolyphony

Choral Music minimalism tintinnabulation


History

40 THE MODERN ERA (continued) (ca 1900 to Present)

Representative Composers II: North America

Representative Works

Candidates must be prepared to discuss the musical style and the given representative work of FOUR of the following composers: John Cage

Sonata V, from Sonatas and Interludes

Aaron Copland

“Street in a Frontier Town,” from Billy the Kid

Jean Coulthard

“The Contented House,” from Canada Mosaic

George Crumb

“The Little Boy Is Looking for His Voice,” from Ancient Voices of Children

Duke Ellington/Billy Strayhorn

Take the “A” Train

Christos Hatzis

Nadir

Paul Lansky

Notjustmoreidlechatter

Steve Reich

Electric Counterpoint

R. Murray Schafer

String Quartet No. 2 (“Waves”)

Harry Somers

any TWO contrasting movements, from Picasso Suite

Stephen Sondheim

“My Friends,” from Sweeney Todd, The Demon Barber of Fleet Street

Joan Tower

For the Uncommon Woman

Healey Willan

Hodie Christus Natus Est

Representative Performers on the World Stage: Past and Present Candidates should also be prepared to discuss the careers of FOUR of the following performing artists: Laurie Anderson Joshua Bell Miles Davis Renée Fleming Glenn Gould Angela Hewitt Diana Krall

History

Alison Krauss Kronos Quartet Louis Lortie Yo-Yo Ma Wynton Marsalis Joni Mitchell Oscar Peterson


41

Comprehensive Theory Examination The Comprehensive Theory Examination covers material from all examinations in rudiments, harmony and counterpoint, analysis, and history. Candidates who have music degrees or diplomas from other recognized music institutions may be exempted from all theory prerequisites and co-requisites for all practical levels by writing a Comprehensive Theory Examination. Candidates must submit a Transfer Credits and Exemptions Request Form (available online) by the examination registration deadline. Please note: Candidates wishing to use the Comprehensive Theory Examination to fulfill the prerequisite and corequisite theory requirements for the ARCT in Performance, Teacher’s ARCT, or ARCT in Piano Pedagogy, must complete the Comprehensive Theory Examination at least one session prior to registering for any of the examinations of the respective diploma levels.

Examination length

3 hours

Counterpoint

Co-requisite for

n/a

Prerequisite for

n/a

• composition of two-part counterpoint in 18th-century style

Resources “Resources”—p. 70 Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org This examination tests candidates’ knowledge of the following:

Rudiments • as per the Advanced Rudiments examination

Analysis Analysis of the following forms: • sonata movement • fugue • song form (strophic, modified strophic, throughcomposed)

History Short essays and other short answer questions demonstrating general knowledge of: • music history from the Middle Ages to the present

Harmony • harmonization in chorale style • secondary (applied) dominants • modulation; use of altered chords (including diminished 7th, augmented 6th, and Neapolitan 6th) • composition of a simple piano accompaniment to a given melody

Comprehensive Theory Examination ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

42

ARCT Diploma in Composition and/or Theory The ARCT Diploma in Composition and/or Theory represents an advanced course of study covering musical style and technique from the Renaissance to the present. The examinations for the ARCT diplomas comprise three parts. Candidates must successfully complete each part before proceeding to the next. Diplomas may be awarded in Composition, in Theory, or in Composition and Theory (combined). ARCT diplomas will be awarded to candidates at the annual Convocation ceremony or forwarded immediately following convocation. Candidates must not use the designation “ARCT” before Convocation. Co-Requisite

Grade 6 Piano


Intermediate Harmony Advanced Harmony Counterpoint Analysis

Resources “Resources”—p. 70 (materials marked with an * are suitable for candidates preparing for the ARCT in Composition and/or Theory examinations) Annotated Resource List—available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org

Composition

Theory

Composition and Theory

1 research paper

3 compositions and 1 research paper

Part 1

12 examination papers

Part 2

3 compositions

Part 3

Oral defense of work from Part 2

ARCT Diploma in Composition and/or Theory ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

43

Part 1: Examination Papers The following twelve examination papers must be taken for the ARCT in Composition, Theory, or Composition and Theory. They may be taken in any order. Part 1 Examination Papers

Location

Timeframe

Renaissance Counterpoint Baroque Harmony and Counterpoint I Romantic/Post-Romantic Harmony/Counterpoint Post-1900 Composition Techniques Orchestration I Analysis History I History II Ear Test

Examination center

3 hours each

Baroque Harmony and Counterpoint II Classical Harmony and Counterpoint Orchestration II

Take-home examination 9:00 A.M. Friday–2:00 P.M. Monday Candidates must pick up the papers at the examination center and return them to the Center Representative at a designated location during the regular theory examination session.

Ear Test

Examination center

Written during the regular theory examination session

3 hours Recording provided at examination

Renaissance Counterpoint

Baroque Harmony and Counterpoint II

The Renaissance Counterpoint examination assesses knowledge of 16th-century contrapuntal style and techniques based on the work of Giovanni da Palestrina.

The Baroque Harmony and Counterpoint II examination requires candidates to apply Baroque composition techniques (Baroque Harmony and Counterpoint I) to the composition of a fugue.

Examination Requirements Candidates may be asked to: • Complete a short liturgical movement for four to eight voices in the style of Palestrina. A Latin text and/or an opening may be given. • Write a composition demonstrating canonic devices such as mirror, inversion, augmentation, and diminution.

Examination Requirements

Baroque Harmony and Counterpoint I

Candidates may be asked to: • Write a three- or four-voice fugue on a given subject in Baroque style. • Use specific contrapuntal devices (for example, stretto or invertible countersubject). • Use scoring for a typical Baroque instrumental or vocal medium (for example, keyboard, chamber group, or choir).

The Baroque Harmony and Counterpoint I examination assesses fluency with Baroque composition techniques.

Scores

Examination Requirements Candidates may be asked to: • Write a four-voice setting of a given chorale melody in the style of J.S. Bach. A chorale melody will be given. • Write a dance in binary, rounded binary, or ternary form. An opening will be given. • Write a two-part invention. An opening will be given. • Write a three- or four-voice fugal exposition.

Bach, Johann Sebastian. The Well-Tempered Clavier. —. Musical Offering. —. Art of Fugue.

Classical Harmony and Counterpoint The Classical Harmony and Counterpoint examination requires candidates to apply harmony and counterpoint principles to the composition of a complete movement in Classical style.


Scores Bach, Johann Sebastian. Chorale Harmonizations. —. Inventions and Sinfonias. —. The Well-Tempered Clavier.

For a given opening, candidates must compose one of the following for keyboard or string quartet: • A movement in sonata form. • A set of five to eight variations on a given theme. • A movement in a given classical form other than sonata form or theme and variations.


44 Scores

Orchestration I

Piano sonatas and string quartets by: • Ludwig van Beethoven • Franz Joseph Haydn • Wolfgang Amadeus Mozart

The Orchestration I examination tests knowledge of orchestral writing, including instrumental features, score layout, and orchestration terminology.

Romantic and Post-Romantic Harmony and Counterpoint

Candidates may be asked to: • Notate the ranges, registers, and tessiture of orchestral instruments. • Discuss the overtone series in relation to tone production, overblowing, and harmonics. • Solve short orchestration problems that concern the technical features of instruments, including: reeds, trombone positions, harp pedaling, bowing, natural and artificial string harmonics, multiple stops, and fingering. • Copy a section of an orchestral score. • Extract a part from an orchestral score. • Detect errors in orchestral scores or parts. • Transpose orchestral parts. • Set a given chord for orchestra.

The Romantic and Post-Romantic Harmony examination requires candidates to apply 19th-century harmony and counterpoint principles to practical composition.

Examination Requirements Candidates will be asked one of the following: • For a given text, compose a composition for voice and piano accompaniment. • For a given melody, add a piano accompaniment. • For a given opening and/or other material, write a composition for piano.

Scores


Piano and vocal works by: • Franz Schubert • Robert Schumann • Frédéric Chopin • Johannes Brahms

Orchestration II

Post-1900 Composition Techniques

Candidates will be asked to: • Arrange a short composition for symphony orchestra.

The Post-1900 Composition Techniques examination requires candidates to apply techniques in 20th-century tonality, serialism, indeterminate (aleatoric) notation, integral serialism, and extended instrumental and vocal techniques.

Examination Requirements Given a specific ensemble and musical element (such as motive, pitch set or row, graphic representation, or ratio), candidates will be asked to: • Write a short work. • Briefly explain how the composition is organized.

The Orchestration II examination requires candidates to apply orchestral techniques to the orchestration of a complete work.


Analysis The Analysis examination requires candidates to analyze musical compositions from the Renaissance to the 20th century.

Examination Requirements Candidates will be asked to analyze musical works from different historical style periods using the following: • general harmonic and formal analysis • analysis of voice-leading and contrapuntal techniques • various 20th-century techniques and serial procedures

Scores Compositions by: • Claude Debussy, Igor Stravinsky, Béla Bartók, Paul Hindemith, and Dmitri Shostakovich (20th-century tonal techniques) • Arnold Schoenberg and his followers (serial techniques including twelve-tone) • Witold Lutoslawski and Krzysztof Penderecki (indeterminate/aleatoric notation) • Pierre Boulez and his followers (integral serialism) • Composers using extended instrumental and vocal techniques

History I The History I examination tests knowledge of Western art music from the Medieval, Renaissance, Baroque, Classical, and Romantic periods. Use of books or notes is not allowed during the examination

Examination Requirements Candidates will be asked to write essays demonstrating knowledge of all musical eras, including: • Specific genres (for example, operas, sonatas, and suites). • Biography, works, and significance of prominent musicians.


45 • Impact on music history of prominent historical developments (for example, Protestant Reformation, decline of the patronage system, and rise of democracy). • Relevant compositions and technical procedures.

History II The History II examination requires detailed knowledge of music composed after 1900, with an emphasis on Canadian music. Textbooks are permitted during the examination.

Examination Requirements Candidates will be asked to write two or three essays demonstrating knowledge of: • General knowledge of music from the period. • Prominent compositional genres and techniques.

Ear Test The Ear Test is given aurally (recording is provided at the examination) and examines candidates’ skill in dictation.

Examination Requirements Candidates will be given dictations in the following areas: • Melodic dictation • Chord series dictation • Rhythmic dictation • Harmonic dictation: write soprano and bass parts for four-part chorale style harmonic progressions, and give a harmonic analysis. Skill level: Advanced Harmony examination.

Part 2: Compositions and/or Research Papers Within three years of completing the last examination for Part 1, candidates must submit a group of compositions or a research paper, as specified below. Diploma ARCT in Composition

Part 2 Requirements

Length

3 compositions: • work for a solo instrument (with or without accompaniment)

20–30 minutes in total

or an electronic composition • chamber work for 3–10 performers or a choral composition

ARCT in Theory

ARCT in Composition and Theory

• work for orchestra 1 research paper: • on a theoretical, historical, or pedagogical topic, approved by the College of Examiners 3 compositions and 1 research paper: • as outlined above

5,000 words

same as above

Submission Specifications • Candidates should submit the required compositions or research paper with an examination registration form and fee before the registration deadline. • Submissions will be immediately accepted (a mark of special distinction), accepted pending revisions, or rejected. • If revisions are required, they must be completed within 90 days after the date on which the submission is returned to the candidate. • Acceptance of revisions will be determined by the Office of the Chief Examiners.


46

Part 3: Viva Voce Examination The Viva Voce Examination is modeled on a traditional thesis defense. The candidate’s work will be assessed by experienced composers and theorists who will pose questions to the candidate about their work. Diploma ARCT in Composition and/or Theory

Part 3 Requirements Oral defense, including questions on the following: • the candidate’s submissions from Part 2 • identification of music examples from Part 1 examination papers • general knowledge of the history and theory of music

Length 2 hours


47

Register for an Examination Examination Sessions and Registration Deadlines Exact dates and deadlines can be found online. Register early to avoid disappointment: late registrations are subject to an additional fee and may be denied.

Canada Winter Session—register by early November • theory examinations take place in December • practical examinations take place in January

Check h k the h “Getting Started” section on p. 4.

Spring Session—register by early March • theory examinations take place in May • practical examinations take place in June Summer Session—register by early June • theory examinations take place in August • practical examinations take place in August USA Winter Session—register by mid October • theory examinations take place in December • practical examinations take place in December Spring Session—register by late February • theory examinations take place in May • practical examinations take place in May and June

Online Registration All registrations should be submitted using the online registration process. To register online, click on “Register for an Examination,” and follow the instructions provided. Be prepared to enter: • the candidate’s RCME Number/Candidate ID Number and birth date • the teacher’s phone number or Teacher Number • the examination center • payment information—Visa or MasterCard accepted

Makke sure the h correctt RCME Number/ Candidate ID Numberr is entered upon registration. This number ensures that candidates receive all the certificates for which they are eligible.

Teachers may register their students by logging into “Teacher Services” and using the “Studio Registration” feature. Need an RCME Number/Candidate ID Number? New candidates will receive an RCME Number/ Candidate ID Number when they register. The full name must be entered as it should appear on certificates, along with the birth date, address, telephone numbers, and email address.

Examination Fees Examination fees must be paid at registration using Visa or MasterCard. Fees for the current academic year are listed online under “Examination Information.”

Register for an Examination ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

Onc nce a registration has b been submitted, it may not be withdrawn.

48 Examination Centers To find d the h nearest examination center, look online under “Examination Info In form rmat atio ion. n.”

Examinations are conducted in more than 300 communities across North America. Each examination center has a local Examination Center Representative who ensures that students and teachers have a successful examination experience.

Examination Scheduling Written Examinations All candidates must verify their examination schedules online two weeks before the examination day by visiting “Examination Scheduling.” Examination schedules will not be mailed. Teachers may verify their students’ examination schedules by logging into “Teacher Services.” Theory examinations must be written at the scheduled times, dates, and locations. No changes are permitted, as theory examinations are written concurrently in all examination centers. Certain subjects are written at the same time, for example, History 2: Middle Ages to Classical, and Counterpoint. In such cases, an alternate time for one of the examinations may be arranged at the discretion of RCM Examinations.

Keyboard Harmony and Musicianship Examinations Keyboard harmony and musicianship examinations are not scheduled during theory examination sessions. These examinations involve one-on-one assessment and consequently are scheduled during practical examination sessions.

Examinations Timetable Theory examinations are written according to the following timetable: Examination Subject

Friday


Saturday 2:00 P.M.–3:00 P.M.

Basic Rudiments

2:00 P.M.–3:00 P.M.


9:30 A.M.–11:30 A.M.

Advanced Rudiments Introductory Harmony

2:00 P.M–4:00 P.M. 9:30 A.M.–11:30 A.M.

Basic Harmony

9:30 A.M.–12:30 P.M.

Intermediate Harmony

9:30 A.M.–12:30 P.M.

Advanced Harmony

9:30 A.M.–12:30 P.M.

Counterpoint

9:30 A.M.–12:30 P.M.

Analysis

2:00 P.M.–5:00 P.M.

History 1: An Overview

2:00 P.M.–5:00 P.M.

History 2: Middle Ages to Classical

9:30 A.M.–12:30 P.M.

History 3: 19th Century to Present

2:00 P.M.–5:00 P.M.

Comprehensive Theory

9:30 A.M.–12:30 P.M.

Musicianship and Keyboard Harmony

scheduled during practical examination sessions

Examination Schedule Conflicts Candidates who are unable to attend an examination scheduled for Saturday at the designated time because of a direct time conflict with a school examination or a religious restriction may request to have the examination scheduled for Friday at 9:30 A.M. Please note that there are no alternate examination times for history examinations or the Comprehensive Theory Examination.

Register for an Examination ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

49

Examination Regulations Examination Procedures An examination will be declared invalid if there is any infringement of the following examination procedures:

Written Examinations On the day of the examination, candidates must: • arrive at the examination center fifteen minutes prior to the scheduled examination time • bring a copy of the examination schedule • present the schedule to the presiding officer for admittance to the examination room (photo ID may be requested) • bring all pencils, pens (blue or black ink only), erasers, and rulers to the examination (keyboard facsimiles are not permitted) • leave all electronic devices, books, notes, bags, and coats in the area designated by the presiding officer During the examination, candidates: • must not communicate with other candidates • may not leave the examination room before the first thirty minutes have elapsed • may leave any time after the first thirty minutes when finished writing • must stop writing when the end of the examination is announced • must seal the examination paper and all rough work in the provided envelope and give it to the presiding officer • may not remove any examination material from the room • must sign out before leaving the examination room

Cand didates d arriving more than thirty minutes late will not be admitted to the examination room.

Once cand did dates leave the examination room, they will not be re-a re adm dmit itte ted. d.

Keyboard Harmony and Musicianship Examinations On the day of the examination, all candidates must: • bring a copy of the examination schedule and present it to the presiding officer (photo ID may be requested) Keyboard harmony candidates should: • arrive at the examination center approximately forty minutes before the examination time to preview the examination materials Musicianship candidates should: • be ready to perform at least fifteen minutes before the examination time During the examination: • all parents, teachers, and assistants must wait in the designated waiting area • the examiner may interrupt the candidate’s performance when an assessment is reached • recording devices are strictly prohibited in the examination room

Credits and Refunds for Missed Examinations Credits (formerly called “fee extensions”) and refunds are only granted under two specific conditions. Candidates who are unable to attend an examination for medical reasons or because of a direct time conflict with a school examination are eligible to request either an examination credit for the full amount of the examination fee or a fifty percent refund of the examination fee.

Examination Regulations ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

Th Credits/Ref The d funds d Request Form is available online under “Online Forms.”

50

All ll requests must be submitted by mail or by fax within two weeks following the examination. Requests received after this time will be denied.

Requests for examination credits or refunds must be made to RCM Examinations in writing and accompanied by the following documentation: • for medical reasons—a physician’s letter and the candidate’s examination schedule • for direct time conflicts with school examinations—a letter from a school official on school letterhead and the candidate’s Examination Schedule Candidates who, for any reason, are unable to attend an examination should contact the Center Representative listed on their Examination Schedule immediately.

Examination Credit An examination credit (formerly called a “fee extension”) may be applied to the fee of a future examination. Examination credits are valid for one year from the date of the original scheduled examination.

Cand didates d must indicate whether they are applying for an Examination Credit or a Fee Refund on the Credits/ Refunds Request form. Changes are not permitted after submission. Changes are not permitted afte af terr su subm bmis issi sion on..

Examination credits can be redeemed when the candidate registers for their next examination. The credit will be automatically applied during the online registration process.

Fee Refund Candidates who cannot redeem an examination credit within a year may apply instead for a fifty percent refund of the examination fee. Requests for examination refunds or credits must be made to RCM Examinations in writing and accompanied by the necessary documentation (see above). All requests must be submitted within two weeks following the examination by mail or by fax. Requests received after this time will be denied.

Candidates with Special Needs Candidates with special needs should submit a Special Needs Request Form—by mail or by fax to the RCM Examinations (Canada) or The Achievement Program (USA) office—as soon as possible before the registration deadline. Each case will be assessed individually. Th Speciall Needs The d Request Form is available online under “Online Form Fo rms. s.”

Candidates may receive help in and out of the examination room if required. Please note that helpers must remain in the waiting area during the actual examination. Visually impaired candidates may request examination papers in enlarged print or Braille. Such candidates may also bring a reader or Braille machine at their own expense.

Examination Results

Please l note that h results will not be mailed or given by telephone.

Candidates and teachers can access examination results online starting approximately six weeks after the examination: 1) Go to www.rcmexaminations.org or www.TheAchievementProgram.org. 2) Click on “Examination Results.” 3) Click on the Examination Session you wish to view. 4) Enter the candidate’s RCME/Candidate ID Number and date of birth. 5) Click on the mark to download and view the examination. 6) Click on the candidate’s name to view an unofficial transcript. Teachers may access their student’s examination results by logging into “Teacher Services.” Official transcripts are available upon written request to the RCM Examinations or The Achievement Program office and payment of the requisite fee. (Download the Official Transcript Request Form from the “Online Forms” section of the website.)

Classification of Theory Marks First Class Honors with Distinction First Class Honors Honors Pass Fail

90–100 80–89 70–79 60–69 0–59


51 Re-Evaluation of Written Theory Examinations All enquiries concerning re-calculation or re-evaluation of marks must be addressed in writing to RCM Examinations or The Achievement Program. Candidates should submit all documentation and fees as outlined below. Please allow four weeks for a reply. Please note that a re-evaluation or re-calculation of marks may raise, lower, or confirm the original mark. Candidates may appeal a theory examination mark for two reasons: a tabulation error, or an inconsistent or incorrect marking. All appeals must be made in writing, with documentation and appropriate fee, to the RCM Examinations or The Achievement Program office as follows: 1. Tabulation error or unmarked question To request a re-calculation of marks, the candidate must submit: • a copy of the examination paper(s) • a letter identifying the tabulation concerns • fee (found online under “Examination Information”) If an error is found in the candidate’s favor, the mark will be adjusted and the fee will be refunded. 2. Inconsistent or incorrect marking To request a re-evaluation of a theory paper, the candidate must submit: • a copy of the examination paper(s) • a letter giving reasons and examples for why the marking is incorrect or inconsistent • fee for theory examination re-evaluation (found online under “Examination Information”) The examination paper will be reviewed by a member of the College of Examiners and returned with a written critique of the appropriate questions. If the re-evaluation results in a higher mark, the fee will be refunded. Deadlines for re-evaluation requests February 15 theory examinations written in the previous December (winter session) September 15 theory examinations written in the previous May (spring session) October 15 theory examinations written in the previous August (summer session)

Certificates and Diplomas Theory Examinations Candidates who successfully complete all the theory examinations for each level of study are awarded a theory certificate in the spring or the fall.

Practical Examinations Practical examination certificates are awarded to candidates who successfully complete all the requirements for their practical grade level. This includes successful completion of a practical examination and its theory co-requisites and prerequisites. • Beginning in Grade 5, certificates are awarded after the theory co-requisites for that grade have been successfully completed. • The following examination substitutions may be made for the purposes of obtaining a practical certificate: – Intermediate Rudiments for Basic Rudiments – Advanced Rudiments for Basic Rudiments or Intermediate Rudiments – Intermediate Harmony for Basic Harmony – Advanced Harmony and Analysis for Basic Harmony or Intermediate Harmony • Candidates are strongly advised to complete their theoretical work before or at the same time as their practical examination. • Theory co-requisites must be completed within five years of the original practical examination. Examination Regulations ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

Please l see “Quickk Reference” on p. 7 for a full list of theory co-requisites and prerequisites.

52 • Candidates for Grade 10, ARCT in Performance, Teacher’s ARCT, or the ARCT in Piano Pedagogy must complete the necessary theory co-requisites within five years of the original practical examination, not any subsequent supplemental examinations. • Candidates for the ARCT in Performance, Teacher’s ARCT, or the ARCT in Piano Pedagogy must complete all prerequisites at least one session prior to registering for the respective examinations. Candidates may not complete their ARCT prerequisites in the same session as their ARCT examination. • ARCT diplomas are awarded to candidates at the annual Convocation ceremony. Candidates may not use the designation “ARCT” before Convocation.

Transfer Credits and Exemptions Under certain conditions, students may be permitted to transfer theory examination credits or diplomas from other institutions.

Transfer Credits • Candidates who have taken theory examinations with other recognized examination systems may apply to transfer these credits for the equivalent RCM Examinations theory examinations. For more information, please download a Transfer Credits and Exemptions request from the “Online Forms” section of the website.

Exemptions • Candidates who hold music degrees or diplomas from other recognized institutions and who wish to work towards the ARCT in Performance, Teacher’s ARCT, or ARCT in Piano Pedagogy, may be exempted from all theory prerequisites and co-requisites by writing the Comprehensive Theory Examination. Please see p. 41 for Comprehensive Theory Examination requirements. • Candidates who have completed examination papers for the ARCT in Composition and/ or Theory may be exempt from some theory examinations required for the Grade 10 practical certificate or ARCT practical diplomas. For more information, please contact RCM Examinations. • Candidates who have completed the following five examination papers for the ARCT in Composition and/or Theory will be exempt from all theory examinations required for a Grade 10 practical certificate or ARCT practical diploma: – Renaissance Counterpoint – History I (ARCT) – History II (ARCT) – Classical Harmony and Counterpoint – Romantic and Post-Romantic Harmony and Counterpoint

School Credits RCM Examinations results can sometimes be used as a credit toward high school graduation or toward university entrance. In Canada, the policies of provincial education ministries can be found online under “Academic Information, High School Accreditation.” Candidates are advised to discuss the eligibility of their examination results with their school principal or guidance counselor.

Medals Each academic year (September to August) medals are awarded to the candidates who achieve exceptional examination results in theoretical, pedagogical, and/or practical examinations. No application is required.

Silver Medals (Canada only) Practical Examinations Silver medals are awarded by province or region to the candidates in Preparatory A, Preparatory B, Introductory, and Grades 1 to 10 who receive the highest marks for the Examination Regulations ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

53 respective practical examinations in each discipline. To be eligible, a candidate must receive a minimum mark of 80 percent in the practical examination, and have completed all the theory co-requisites for the respective grade. Piano Pedagogy Examinations Silver medals are also awarded by province or region to the candidates in Elementary and Intermediate Piano Pedagogy who receive the highest average for Parts 2 and 3 (Viva Voce and Written Examination) of the respective Piano Pedagogy level. To be eligible a candidate must: • receive a minimum of 80 percent in each of the Part 2 and 3 examinations • have completed the Grade 9 Piano Certificate (for the Elementary Piano Pedagogy level) or Grade 10 Piano Certificate (for the Intermediate Piano Pedagogy level)

Gold Medals (Canada and USA) Theory Examinations A gold medal for excellence in theory is awarded to the graduating ARCT candidate who completes the theory examinations listed below with the highest average mark. To be eligible, a candidate must receive a minimum overall average of 80 percent for the eight examinations. • Basic Harmony or Basic Keyboard Harmony • Intermediate Harmony or Intermediate Keyboard Harmony • Advanced Harmony or Advanced Keyboard Harmony • Counterpoint • Analysis • History 1: An Overview • History 2: Middle Ages to Classical • History 3: 19th Century to Present ARCT in Performance A gold medal is awarded to the graduating ARCT in Performance candidate who receives the highest mark for the practical examination in each of the following disciplines: accordion, brass, guitar, harp, organ, percussion, piano, speech arts and drama, strings, voice, and woodwinds. To be eligible, a candidate must receive: • a minimum of 85 percent in the practical examination • a minimum of 70 percent in each theory co-requisite examination Teacher’s ARCT A gold medal is awarded to the graduating Teacher’s ARCT candidate who receives the highest mark for the practical examination (Parts 1 and 2 combined) in each of the following disciplines: accordion, brass, guitar, harp, organ, percussion, speech arts and drama, strings, voice, and woodwinds. To be eligible, a candidate must receive: • a minimum of 85 percent in the practical examination (Parts 1 and 2 combined) • a minimum of 70 percent in the written examination (Part 3) • a minimum of 70 percent in each theory co-requisite examination • a minimum of 60 percent in the co-requisite piano examination (if applicable) ARCT in Piano Pedagogy A gold medal is awarded to the graduating ARCT in Piano Pedagogy candidate who receives the highest average for Advanced Piano Pedagogy Parts 1, 2, and 3 (Practical, Viva Voce, and Written Examinations). To be eligible, a candidate must receive: • a minimum overall average of 85 percent for the Advanced Piano Pedagogy Parts 1, 2, and 3 examinations • a minimum of 70 percent in each theory co-requisite examination


54 Certificates of Excellence for Practical Examinations (USA only) Each academic year (September to August) Certificates of Excellence are awarded to candidates who achieve exceptional practical examination results. No application is required.

Center Certificates of Excellence Center Certificates of Excellence are awarded in each center to the candidates in Preparatory A, Preparatory B, and Grades 1 to 10 who receive the highest marks for the respective practical examinations. To be eligible, a candidate must receive a minimum of 80 percent in the practical examination and have completed the theory co-requisite examinations for the respective grade.

State Certificates of Excellence State Certificates of Excellence are awarded by state to the candidates in Preparatory A, Preparatory B, and Grades 1 to 10 who receive the highest marks for the respective practical examinations. To be eligible, a candidate must receive a minimum of 80 percent in the practical examination and have completed the theory co-requisite examinations for the respective grade. State Certificates of Excellence are also awarded by state to the candidates in Elementary and Intermediate Piano Pedagogy who receive the highest average for Parts 2 and 3 (Viva Voce and Written Examinations) of the respective Piano Pedagogy level. To be eligible, a candidate must: • receive a minimum of 80 percent in each of the Part 2 and 3 examinations • have completed the Grade 9 Piano Certificate (for the Elementary Piano Pedagogy level) or Grade 10 Piano Certificate (for the Intermediate Piano Pedagogy level)

RESPs (Canada only) Use Education Funds for Music Studies Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use these funds to support private studies in music at the Grade 9, Grade 10, Piano Pedagogy, and ARCT levels. Candidates should consult their RESP providers for more information.

RCM Examinations Official Examination Papers To help students prepare for examinations, The Frederick Harris Music Co., Limited publishes theory examinations from the past three years in booklets entitled RCM Examinations Official Examination Papers. These papers are excellent tools for testing a student’s preparedness for theory examinations and for building student confidence. The following examination papers are available: • Basic Rudiments • Intermediate Rudiments • Advanced Rudiments • Introductory Harmony • Basic Harmony • Intermediate Harmony • Advanced Harmony • Counterpoint • Analysis • History 1: An Overview • History 2: Middle Ages to Classical • History 3: 19th Century to Present • Piano Pedagogy Written • Keyboard Harmony


55 RCM Examinations Official Examination Papers are available at local music stores or through: Long and McQuade (RCM Music and Book Store) 273 Bloor Street West Toronto, ON Canada M5S 1W2 telephone: 416-585-2225 toll-free: 1-866-585-2225 fax: 416-585-7801 Individual Teacher’s ARCT Written Examination papers (for subjects other than Piano) are also available upon request from RCM Examinations at: RCM Examinations Unit 4-5865 McLaughlin Road Mississauga, ON Canada L5R 1B8 telephone: 905-501-9553

Correspondence Courses To meet the needs of students who do not have access to qualified instructors, lessons are available by correspondence through The Royal Conservatory of Music for the following subject areas: • Rudiments • Harmony • History • Counterpoint • Analysis • Pedagogy For more information, please contact The Royal Conservatory of Music at [email protected], or by mail at: “Correspondence Courses” The Royal Conservatory of Music 273 Bloor Street West Toronto, ON Canada M5S 1W2


56

Appendix Musical Terms and Signs The definitions and translations that follow are recommended for use in Rudiments examinations. Candidates may also use definitions and translations found in standard reference books.

Terms a tempo accelerando, accel. accent ad libitum adagio agitato alla, all’ allargando, allarg. allegretto allegro andante andantino animato arco assai attacca ben, bene bewegt brillante calando cantabile cédez cluster col, coll’, colla, colle comodo con con brio con espressione con fuoco con grazia con moto con pedale, con ped. con sordino crescendo, cresc. da capo, D.C.

return to the original tempo becoming quicker a stressed note at the liberty of the performer a slow tempo (slower than andante, but not as slow as largo) agitated in the manner of broadening, becoming slower fairly fast (a little slower than allegro) fast moderately slow; at a walking pace a little faster than andante lively, animated for stringed instruments: resume bowing after a pizzicato passage much, very much (for example: allegro assai, very fast) proceed without a break well (for example: ben marcato, well marked) moving brilliant becoming slower and softer in a singing style yield; hold the tempo back a chord consisting of at least three adjacent notes of a scale with (for example: coll’ottava, with an added octave) at a comfortable, easy tempo with with vigor, spirit with expression with fire with grace with movement with pedal with mute becoming louder from the beginning

Appendix ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

57 dal segno, D.S. D.C. al Fine decrescendo, decresc. diminuendo, dim. dolce dolente e, ed espressivo, espress. fermata fine

from the sign repeat from the beginning and end at Fine becoming softer becoming softer sweet, gentle sad and expressive, with expression pause; hold the note or rest longer than its written value the end

forte,

loud

f

fortepiano, fortissimo, ƒ giocoso grandioso grave grazioso langsam largamente larghetto largo legato léger leggiero lentement lento l’istesso tempo loco ma maestoso mano destra, M.D. mano sinistra, M.S. marcato, marc. martellato mässig meno meno mosso mesto mezzo forte, F

mezzo piano, P mit mit Ausdruck M.M. moderato modéré molto

loud, then suddenly soft very loud humorous, jocose grand, grandiose slow and solemn graceful slow; slowly broadly not as slow as largo very slow smooth light, lightly light, nimble, quick slowly slow the same tempo return to normal register but (for example, ma non troppo: but not too much) majestic right hand left hand marked or stressed strongly accented, hammered moderate, moderately less less movement, slower sad, mournful moderately loud moderately soft with with expression Maelzel’s metronome at a moderate tempo at a moderate tempo much, very Appendix ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

58 morendo mouvement non non troppo ottava, 8va pedale, ped. pesante pianissimo, π piano, p più più mosso pizzicato

dying, fading away tempo; motion not not too much the interval of an octave pedal weighty, with emphasis very soft soft more more movement (quicker) for stringed instruments: pluck the string instead of bowing

poco poco a poco polychord

little little by little a combination of two or more different chords

presto

very fast

prestissimo primo, prima quartal chord quasi quindicesima alta (15 ma)

as fast as possible first; the upper part of a duet a chord built on a series of 4ths almost, as if two octaves higher

rallentando, rall.

slowing down

repeat sign ritardando, rit. risoluto ritenuto, riten. rubato scherzando schnell secondo, seconda sehr semplice sempre senza seventh (7th) chord

repeat the music within the double bar lines slowing down gradually resolute suddenly slower, held back with some freedom of tempo to enhance musical expression playful fast second; second or lower part of a duet very simple always, continuously without a chord consisting of a root, a third, a fifth, and a seventh

sforzando,

sudden strong accent of a single note or chord

simile slur sonore sopra sostenuto sotto voce spiritoso staccato stringendo subito

,

continue in the same manner as has just been indicated play the notes legato sonorous above sustained soft, subdued, under the breath spirited detached pressing, becoming faster suddenly


59 tacet tempo Tempo primo (Tempo I) tenuto tie tranquillo tre corde triad troppo tutti una corda vite vivace vivo volta

be silent speed at which music is performed return to the original tempo held, sustained hold for the combined value of the tied notes quiet, tranquil three strings; release the left (piano) pedal a chord consisting of a root, a third, and a fifth too much a passage for the ensemble one string; depress the left (piano) pedal fast lively, brisk lively time (for example, prima volta, first time; seconda volta, second time) turn the page quickly

volti subito, v.s.

Signs

U

accent

a stressed note

bar line

a vertical line separating measures

crescendo

becoming louder

dal segno, D.S.

from the sign

decrescendo/diminuendo

becoming softer

double bar line

indicates the end of a piece

fermata

pause; hold the note or rest longer than its written value

measure/bar

a unit of musical time

ottava, 8va

play one octave above the written pitch

ottava, 8va

play one octave below the written pitch

repeat sign

repeat the music within the double bar lines

slur


staccato

detached

tie

hold for the combined value of the tied notes pedal marking pedal marking


60 Descriptions of Scores Chorale Style

• Four-part, SATB vocal texture • Two voices in the upper staff and two voices in the lower staff • Melody in the highest voice

Keyboard Style

• Four-part texture • Three notes in the upper staff and one note in the lower staff • Melody in the highest voice

Modern Vocal Score

• • • •

Four-part texture Each part on a separate staff (open score) Soprano and alto in the treble clef at actual pitch Tenor in the treble clef one octave higher than actual pitch. (In some publications a small “8” is written under the clef.) • Bass in the bass clef at actual pitch

String Quartet Score

• Four-part texture • Each part on a separate staff (open score) • First and second violins in the treble clef, viola in the alto clef, and cello in the bass clef Appendix ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

61 Chord Symbols The following tables provide examples of the harmonic symbols and non-chord note labels that will be printed on theory examinations. Due to the multiplicity of systems in common use, it is essential that candidates familiarize themselves with the following material. Candidates must be able to comprehend these symbols as they will be used in questions with given chord symbols. Candidates are strongly encouraged to use the following symbols and labels in their own analyses. However, any system of harmonic notation found in standard textbooks will be accepted. Candidates must use a consistent system of chord symbols; marks will be deducted for inconsistent work. • Other keys will be required for each examination. • Chords listed are not exhaustive. Use of other chords may be required for each examination.

Root/Quality Chord Symbols Please note that these tables provide examples only—they are not complete lists of chords for any one grade. Chord Type

Interval Structure

Symbol

Example

Triads Major triad

Root

maj 3

P5

Minor triad

Root

min 3

P5

m

E means E–G # –B

letter only

Diminished triad

Root

min 3

dim 5

o

Augmented triad

Root

maj 3

aug 5

aug

Em means E–G–B Eo means E–G–B b Eaug means E–G # –B # E7 means E–G # –B–D

or dim

7th chords Dominant 7th chord (major-minor 7th)

Root

maj 3

P5

min 7

7

Diminished 7th chord

Root

min 3

dim 5

dim 7

o

Eo7 means E–G–B b –D b Eø7 means E–G–B b –D

7

Half-diminished 7th chord

Root

min 3

dim 5

min 7

ø

Minor 7th chord

Root

min 3

P5

min 7

m7

Major 7th chord

Root

maj 3

P5

maj 7

maj7

7

Em7 means E–G–B–D Emaj7 means E–G # –B–D #

Derivations of the dominant 7th (notes in brackets are usually omitted) Chord Type

Interval Structure

Symbol

Dominant 9th chord

Root maj 3

[P5]

min 7 maj 9

9

Dominant minor 9th chord

Root maj 3

[P5]

min 7 min 9

7( b 9)* 11

Dominant 11th chord

Root [maj 3] P5

min 7 [maj 9] P11

Dominant 13th chord

Root maj 3

[P5]

min 7 [maj 9] [P11] maj 13 13

Dominant minor 13th chord Root maj 3

[P5]

Dominant 7th, raised fifth

Root maj 3

Dominant 7th, lowered fifth Root maj 3

min 7 [maj 9] [P11] min 13 7( b 13)* aug 5 min 7 7 # 5* dim 5 min 7 7 b5

Example

E9 means E–G # –[B]–D–F # E7( b 9) means E–G # –[B]–D–F E11 means E–[G # ]–B–D–[F # ]–A

E13 means E–G # –[B]–D–[F # ]–[A]–C # E7( b13) means E–G # –[B]– [F# ]–[A]–D–C E7aug5 means E–G # –B # –D

E7 b 5 means E–G # –B b –D


62 Augmented 6th chords The following chords are augmented 6th chords. The term original bass note (abbreviated as Ob) is used instead of root when referring to augmented 6th chords because they are not based on the principle of stacked 3rds. Chord Type Italian 6th chord

Interval Structure

Symbol

Ob

maj 3

aug 6

German 6th chord Ob

maj 3

P5

aug 6

Ger 6

French 6th chord

maj 3

aug 4

aug 6

Fr 6

Ob

It 6

Example CIt 6 means C–E–A # CGer 6 means C–E–G–A # CFr 6 means C–E–F # –A #

* The use of the symbols # and b indicate raising and lowering of the pitches by one semitone. Other systems of notation may use alternate symbols.

Inversions of chords To indicate an inversion, write the chord symbol followed by a slash and the bass note, or indicate the bass note under the chord symbol; for example: E major triad in first inversion: E/G# or GE E minor triad in first inversion: Em/G or Em G E major triad in second inversion: E/B or EB B7 Cadential chord in E minor: Em B7/B or Em B

Figured Bass A Standardized Notation for Figured Bass Figured bass was the common way of writing instrumental and vocal accompaniments throughout the Baroque and early Classical eras. Realizing figured bass, whether in written form or at the keyboard, was an essential part of a musician’s education. The enormous importance of figured bass is still reflected in the fact that symbols for designating positions of chords currently in use worldwide for harmonic analysis are derived directly from figured bass notation. Over the three centuries when figured bass was in everyday use, countless variations arose in the notation of the desired harmonies as well as the style of performing or setting figured bass. The following summary outlines the most essential features of this system: • The bass part is always written out in full. It is played by the left hand notated on the lower staff. The three upper parts (soprano, alto, and tenor) are played by the right hand and are written on the upper staff in close position, with the distance between the voices not exceeding an octave (Example 1). The bass range should conform to the range indicated in Example 2. The soprano range should conform to the range indicated in Example 3.

• All the principles of voice-leading, dissonance treatment, relative motion (the avoidance of inappropriate parallel or similar motion) and doubling of the choral style harmony are valid in figured bass setting. In general, voice crossing is avoided, but the unison is entirely accepted (the direction of the stems and use of double noteheads is necessary to indicate the exact structure of each chord; see Example 4).


63 • Chords are indicated by a system of figuration; that is, using figures. The notes in the chords are represented by numerals corresponding to the intervals formed between the bass and the other notes of each chord (Example 5). The numerals in the figuration are written in descending order downward, regardless of the actual vertical arrangement of the voices. Unison or octave doublings are usually not represented in the figuration, unless it is necessary to clarify the voice-leading (as in the “8–7” progression, Example 6). As in functional notation, some abbreviations are very common, such as the omission of the third and/or fifth of the chord (Example 7).

• The figuration always refers to the notes in the key signature and does not imply any quality of chord. The accidentals are indicated by placing the appropriate sign beside the numeral to the left of the note to be altered, and correspond to the accidental that is actually needed in the music (Example 8). When the note to be altered is a third above the bass, the accidental may be written alone, the “3” being implied (Example 9).

• Dashes below a stationary bass indicate movement in the upper parts (Example 10). In the case of dashes over a stationary bass it is the numeral at the end of the dashes that represent the true chord (Example 11). Dashes below a moving bass indicate that the notes in the upper parts remain stationary (Example 12).

• A string of six chords with the bass moving up or down the scale may be set with only two upper parts, thus creating a three-part texture of parallel first-inversion chords. Four-part texture should resume when the string of six chords ends (Example 13).


64 Functional Chord Symbols All examples are given in C major and C minor only. Please note that the following examples do not constitute a complete list of chords for any one grade. Triads in major keys

Triads in minor keys

Note: Accidentals are indicated differently in figured bass and in functional chord symbols. Observe the following when realizing functional chord symbols. • For V and viio triads and chords derived from them, use the raised leading note unless otherwise stated. • For i and III triads and chords derived from them, use the natural minor scale unless otherwise stated. Triad variants in minor keys

Altered triads

Altered triads with an assumed lowered fifth

Altered triads without an assumed lowered fifth

Inversions of triads

Accidentals in inversions (not bass note)


65 Altered bass notes in inversions

7th chords in major keys

7th chords in minor keys

Inversions of 7th chords

Altered dominant 7th chords

Dominant 9th, 11th, and 13th chords

Applied chords, including secondary dominants

Applied chord progressions


66 Modulation

Principal decorative harmonies

Passing chord

Pedal point

Augmented 6th chords in normal position built on b 6ˆ

Inversions of Italian 6th chords

Inversions of German 6th chords


67 Inversions of French 6th chords

Augmented 6th chords built on b 2ˆ

Inversions of augmented 6th chords built on b 2ˆ

Common-tone diminished 7th chords

Non-chord Notes Non-chord Note

Label

Approach

Departure

Metrical Position

passing note

pn

by step

by step, same direction

weak

accented passing note

apn

by step

by step, same direction

strong

neighbor note

nn

by step

returns to previous pitch

weak

accented neighbor note

ann

by step

returns to previous pitch

strong

incomplete neighbor note

inn

by leap

by step

weak

appoggiatura

app

free

by step

strong

échappée

ech

by step

by a 3rd, with a change of direction

weak

suspension

susp

prepared

by step, usually downward

strong

anticipation

ant

free

holds the pitch

weak


68 Sequences The name of each sequence represents the roots of the first four chords in the sequence. The musical examples shown here are simple examples of the basic forms of the sequences. Many variations are possible, including inversions of the chords, use of 7th chords, etc. The following shows sequences moving through the diatonic scale, but sequences moving through the chromatic scale are possible as well.

Do–fa–ti–mi sequence Root movement of the harmonic pattern: down a 5th Interval of transposition: down a 2nd Typical examples: Major key: I–IV–viio –iii–vi–ii–V–I Minor key: i–iv–VII–III–VI–iio –V–i Other names: descending 5ths, cycle of descending 5ths

Variants:

Do–sol–re–la sequence Root movement of the harmonic pattern: up a 5th Interval of transposition: up a 2nd Typical examples: Major key: I–V–ii–vi–IV–I In major keys, the normal third phrase of this sequence is omitted to avoid the viio triad. Minor key: i–V–III–VI–iv–i In minor keys, the normal second phrase is omitted. Other names: ascending 5ths


69 Do–fa–re–sol sequence Root movement of the harmonic pattern: up a 4th Interval of transposition: up a 2nd Typical examples: Major key: I–IV–ii–V–iii–vi Minor key: i–IV–ii–V–IIIx–VI Other names: ascending 4ths, “Sound of Music,” “Rosalia”

Do–sol–la–mi sequence Root movement of the harmonic pattern: down a 4th Interval of transposition: down a 3rd Typical examples: Major key: I–V–vi–iii–IV–I Minor key: I–v–VI–III–iv–i Other names: descending 3rds variant, “Pachelbel”


70

Resources An annotated list of resources is available under “Syllabi” at www.rcmexaminations.org or www.TheAchievementProgram.org. * Indicates resource materials that are suitable for candidates preparing for the ARCT in Composition and/or Theory examinations.

Dictionaries and Encyclopedias Chwialkowski, Jerzy. The Da Capo Catalogue of Classical Music Compositions. New York, NY: Da Capo Press, 1996. Feather, Leonard, and Ira Gitler, eds. The Biographical Encyclopedia of Jazz. London: Oxford University Press, 2007. *Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada. 2nd ed. Toronto, ON: University of Toronto Press, 1992; available online at www.thecanadianencyclopedia.com. Kennedy, Michael, and Joyce Bourne, eds. The Concise Oxford Dictionary of Music. 5th ed. London: Oxford University Press, 2007. —. The Oxford Dictionary of Music. Rev. ed. London: Oxford University Press, 2006. Available online by subscription at www.oxfordmusiconline.com. Kernfeld, Barry, ed. The New Grove Dictionary of Jazz. 2nd ed. 3 vols. London: MacMillan, 2001. Latham, Alison ed. The Oxford Companion to Music. New York: Oxford University Press, 2002. Available online by subscription at www.oxfordmusiconline.com. Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press, 1996. —. The Harvard Concise Dictionary of Music and Musicians. Cambridge, MA: Belknap Press of Harvard University Press, 1999. —. The Harvard Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press, 2003. Rosenthal, Harold, and John H. Warrack. The Oxford Dictionary of Opera. 2nd ed. Oxford: Oxford University Press, 1992. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd ed. 29 vols. London: Macmillan, 2001. Available online by subscription at www.oxfordmusiconline.com. —. The New Grove Dictionary of Opera. 4 vols. London: Macmillan, 1992. Slonimsky, Nicholas. Baker’s Biographical Dictionary of Musicians. 9th ed. New York, NY: Schirmer Reference, 2000. —. Baker’s Biographical Dictionary of Twentieth Century Classical Musicians. New York, NY: Schirmer, 1984. Warrack, John, and Ewan West, eds. The Concise Oxford Dictionary of Opera. 3rd ed. London: Oxford University Press, 1996. —. The Oxford Dictionary of Opera. London: Oxford University Press, 1992.

Rudiments Braaten, Brenda and Crystal Wiksyk. Sound Advice: Theory and Ear Training. 8 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2005–6. Online audio tracks at www.soundadvicedirect.com. Musgrave, Machiko, and Paul Musgrave. Doctor Mozart. 2 vols. Errington, BC: April Avenue Music, 2006. Sarnecki, Mark. The Complete Elementary Music Rudiments. 2nd ed. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. —. Elementary Music Rudiments. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. —. Elementary Music Theory. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010.

Resources ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

71 Vandendool, Grace. Keyboard Theory. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. —. Keyboard Theory Preparatory Series. 2nd ed. 5 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. Wharram, Barbara. Elementary Rudiments of Music. 2nd ed. Ed. Kathleen Wood. Workbook and Answer Book. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010.

Harmony *Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. 3rd ed. New York, NY: Schirmer Books, 2002. Andrews, William and Molly Sclater. Materials of Western Music. Parts 1, 2, and 3. Van Nuys, CA: Alfred Publishing Co., Inc., 1997. First published Toronto, ON: Gordon V. Thompson Music, 1988. Aston, Peter, and Julian Webb. Music Theory in Practice. Grades 6–8. London: Associated Board of the Royal Schools of Music, 1992–1993. Braaten, Brenda and Crystal Wiksyk. Sound Advice: Theory and Ear Training, Book 8. Mississauga, ON: The Frederick Harris Music Co., Limited, 2006. Online audio tracks at www.soundadvicedirect.com. Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd ed. New York, NY: W.W. Norton, 2004. Hindemith, Paul. Traditional Harmony. Parts I and II. London: Schott, 1943–1981. *Kostka, Stefan, and Dorothy Payne. Tonal Harmony: With an Introduction to Twentieth-Century Music. 6th ed. Boston, MA: McGraw-Hill, 2009. Mackin, Barbara. Harmony: A Practical Approach. Parts I and II. Edmonton, AB: Concertino, 1996. —. Harmony: A Practical Approach. Part III. Edmonton, AB: Concertino, 2001. Melcher, Robert, Willard F. Warch, and Paul B. Mast. Music for Study: A Source of Excerpts. 3rd ed., Englewood Cliffs, NJ: Prentice Hall, 1998. Ottman, Robert W. Advanced Harmony: Theory and Practice. 5th ed. Upper Saddle River, NJ: Prentice Hall, 2000. —. Elementary Harmony: Theory and Practice. 5th ed. With CD. Upper Saddle River, NJ: Prentice Hall, 1998. *Piston, Walter. Harmony. 5th ed. Rev. and expanded by Mark DeVoto. New York, NY: W.W. Norton, 1987. Sarnecki, Mark. Harmony. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. Satory, Stephen. First-Year Harmony. Toronto, ON: Chorale Publishing, 2001. Vandendool, Grace. Basic Harmony. 2nd ed. Workbook and Answer Book. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. —. Intermediate Harmony. 2nd ed. Workbook and Answer Book. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010.

Counterpoint Andrews, William and Molly Sclater. Elements of 18th Century Counterpoint. Van Nuys, CA: Alfred Publishing Co., Inc., 1997. First published Toronto, ON: Gordon V. Thompson Music, 1986. *Benjamin, Thomas. Counterpoint in the Style of J.S. Bach. New York, NY: Schirmer, 1986. Gauldin, Robert. A Practical Approach to 18th Century Counterpoint. Long Grove, IL: Waveland Press, 1995. *Jeppesen, Knud. The Style of Palestrina and the Dissonance. New York, NY: Dover, 1970. *Kennan, Kent W. Counterpoint: Based on 18th Century Practice. 4th ed. Englewood Cliffs, NJ: Prentice Hall, 1999. *Piston, Walter. Counterpoint. New York, NY: W.W. Norton, 1947. Schubert, Peter. Modal Counterpoint, Renaissance Style. Oxford: Oxford University Press, 1999. Scott, Samuel, and Gustave Frederic Soderlund. Examples of Gregorian Chant & Other Sacred Music of the Sixteenth Century. Long Grove, IL: Waveland Press, 1971. *Soderlund, Gustave Frederic. Direct Approach to Counterpoint in Sixteenth Century Style. Englewood Cliffs, NJ: Prentice Hall, 1947.


72 Analysis *Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. 8th ed. 2 vols. Boston, MA: McGraw-Hill, 2009. *Burkhart, Charles. Anthology for Musical Analysis. 6th ed. New York, NY: Schirmer Books, 2003. Cadwallader, Allen. Analysis of Tonal Music: A Schenkerian Approach. Oxford: Oxford University Press, 1998. *Cook, Nicholas. Analysis through Composition: Principles of the Classical Style. New York, NY: Oxford University Press, 1996. Iliffe, Francis. Bach’s 48 Preludes and Fugues Analyzed. 2 vols. London: Novello, [n.d.]. Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 1999. Lovelock, William. Form in Brief. Deacon House: Hammond, 1954. MacPherson, Stewart. Form in Music. London: Stainer and Bell, 1978. Morgan, Orlando. J.S. Bach: 48 Preludes and Fugues, Analysis of the Fugues. (Unknown Binding) 1931. Rosen, Charles. Sonata Forms. 2nd ed. New York, NY: W.W. Norton, 1988. *Salzer, Felix. Structural Hearing: Tonal Coherence in Music. 2 vols. New York, NY: Dover, 1962. *Schoenberg, Arnold. Fundamentals of Musical Composition. Ed. G. Strang and L. Stein. London: Faber, 1999. Stainkamph, Eileen. Form and Analysis of the Complete Beethoven’s Pianoforte Sonatas. Melbourne: Allans Music, 1968.

Keyboard Harmony Andrews, William and Molly Sclater. Materials of Western Music. Parts 1, 2, and 3. Toronto, ON: Gordon V. Thompson Music (Warner Bros. Publications), 1987–1992. Arnold, F. T. The Art of Accompaniment from a Figured-Bass. 2 vols. Mineloa, NY: Dover Publications, 1965. Bach, Johann Sebastian. 69 Chorales and Figured Bass. [editions published by Kalmus, Schirmer, Editio Musica Budapest, Belwin Mills] Brings, Allen, et al. A New Approach to Keyboard Harmony. New York, NY: W.W. Norton, 1979. Frackenpohl, Arthur. Harmonization at the Piano. 6th ed. Dubuque, IA: W.C. Brown, 1991. Melcher, Robert. Music for Keyboard Harmony. Englewood Cliffs, NJ: Prentice Hall, 1966. — and William F. Warch. Music for Score Reading. Englewood Cliffs, NJ: Prentice Hall, 1971. Morris, R.O. Figured Harmony at the Keyboard. 2 vols. London: Oxford University Press, 1932–1933. — and Howard Ferguson. Preparatory Exercises in Score Reading. London: Oxford University Press, 1931.

History General Reference Bonds, Mark Evans. A History of Music in Western Culture. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2005. *Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 7th ed. New York, NY: W.W. Norton, 2006. Hanning, Barbara Rusanno. Concise History of Western Music. 3rd ed. New York, NY: W.W. Norton, 2007. Lang, Paul Henry. Music in Western Civilization. New York, NY: W.W. Norton, 1941; reprint with new foreword by Leon Botstein, 1997. Lopinski, Janet, Joe Ringhofer, and Peteris Zarins. Explorations 3 vols. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010. Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 10th ed. New York, NY: W.W. Norton, 2007. Miller, Hugh. History of Western Music. New York, NY: Harper Collins, 1991. Schonberg, Harold C. Lives of the Great Composers. 3rd ed. New York, NY: W.W. Norton, 1997.


73 Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGrawHill, 1998. Taruskin, Richard. The Oxford History of Western Music. 6 vols. New York, NY: Oxford University Press, 2005.

Middle Ages Gleason, Harold, and Warren Becker. Music in the Middle Ages and the Renaissance. 3rd ed. Bloomington, IN: Frangipani Press, 1988. Hoppin, Richard H. Medieval Music. New York, NY: W.W. Norton, 1978. Reese, Gustave. Music in the Middle Ages. Rev. ed. New York, NY: W.W. Norton, 2000. Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs, NJ: Prentice Hall, 1989.

Renaissance Atlas, Alan W. Renaissance Music: Music in Western Europe 1400–1600. New York, NY: W.W. Norton, 1997. *Brown, Howard Mayer. Music in the Renaissance. 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1999. Knighton, Tess, and David Fallows. Companion to Medieval and Renaissance Music. Berkeley, CA: University of California Press, 1998. Reese, Gustave. Music in the Renaissance. Rev. ed. New York, NY: W.W. Norton, 1959.

Baroque Burrows, Donald. Handel. Oxford: Oxford University Press, 1994. —. Handel: Messiah. Cambridge: Cambridge University Press, 1991. *Palisca, Claude V. Baroque Music. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1991. Sadie, Julie Anne. Companion to Baroque Music. Berkeley, CA: University of California Press, 1998. Wolff, Christoph. Bach, The Learned Musician. New York, NY: W.W. Norton, 2000.

Classical Cook, Nicholas. Analysis through Composition: Principles of the Classical Style. New York, NY: Oxford University Press, 1996. *Downs, Philip G. Classical Music: The Era of Haydn, Mozart and Beethoven. New York, NY: W.W. Norton, 1992. (See also “Anthologies.”) Heartz, Daniel. Haydn, Mozart, and the Viennese School, 1740–1780. New York, NY: W.W. Norton, 1995. Landon, H. C. Robbins. Haydn, Chronicle and Works. 5 vols. London: Thames and Hudson, 1995. Pauly, Reinhard G. Music in the Classic Period. 4th ed. Upper Saddle River, NJ: Prentice Hall, 2000. *Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York, NY: W.W. Norton, 1998. Solomon, Maynard. Beethoven. New York, NY: Schirmer Trade Books, 2001. —. Mozart, A Life. New York, NY: Harper Perennial, 2005.

Romantic Finson, Jon W. Nineteenth Century Music: The Western Classical Tradition. Englewood Cliffs, NJ: Prentice Hall, 2002. Garden, Edward. Tchaikovsky. New York, NY: Oxford University Press, 2000. (originally published 1973) Millington, Barry. Wagner. Rev. ed. Princeton, NJ: Princeton University Press, 1992. Plantinga, Leon, ed. Romantic Music. New York, NY: W.W. Norton, 1985. Rosen, Charles. The Romantic Generation. With CD. Cambridge, MA: Harvard University Press, 1995. Samson, Jim. The Music of Chopin. London: Routyhlege and Kegan Paul, 1985; Oxford: Oxford University Press, 1994.


74 Post-1900 *Antokoletz, Elliott. Twentieth-Century Music. Englewood Cliffs, NJ: Prentice Hall, 1992. *Brindle, Reginald Smith. The New Music: The Avant-Garde Since 1945. 2nd ed. London: Oxford University Press, 1987. *Cope, David H. New Directions in Music. 7th ed. Prospect Heights, IL: Waveland Press, 2001. Gridley, Mark C. Jazz Styles: History and Analysis. 10th ed. Upper Saddle River, NJ: Prentice Hall, 2009. *Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2006. Morgan, Robert P. Twentieth Century Music. New York, NY: W.W. Norton, 1991. Salzman, Eric. Twentieth Century Music: An Introduction. 4th ed. Englewood Cliffs, NJ: Prentice Hall, 2002. Whittall, Arnold. Music Since the First World War. London: Oxford University Press, 2000.

Score Anthologies Bach, Johann Sebastian. 371 Chorales. [editions published by Peters, Schirmer, Editio Musica Budapest] Bonds, Mark Evans. Anthology of Scores. 2nd ed. 2 vols. Upper Saddle River, NJ: Prentice Hall, 2005. (Accompanies Bonds, A History of Music in Western Culture. 2nd ed.) Burkhart, Charles. Anthology for Musical Analysis. 6th ed. New York, NY: Schirmer Books, 2003. Forney, Kristine, ed. The Norton Scores: A Study Anthology. 8th ed. 2 vols. New York, NY: W.W. Norton, 1999. (Accompanies Machlis, The Enjoyment of Music.) *Palisca, Claude V., ed. The Norton Anthology of Western Music. 5th ed. 2 vols. New York, NY: W.W. Norton, 2005. (Accompanies Grout and Palisca, A History of Western Music.)

20th-Century Composition Boulez, Pierre. Boulez on Music Today. Trans. S. Bradshaw and R.R. Bennett. London: Faber, 1979. *Brindle, Reginald Smith. Serial Composition. London: Oxford University Press, 1965. *Hindemith, Paul. Craft of Musical Composition. 2 vols. Mainz: Schott, 1942. *Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2006. Messiaen, Olivier. The Technique of My Musical Language. Tustin, CA: American Biography (Reprint of 1954 ed.) *Persichetti, Vincent. Twentieth-Century Harmony. New York, NY: W.W. Norton, 1961. *Wuorinen, Charles. Simple Composition. New York, NY: Service. Reprint of 1956 ed. Peters, 1979.

Instrumentation and Orchestration *Adler, Samuel. The Study of Orchestration. 3rd ed. New York, NY: W.W. Norton, 2001. Berlioz, Hector, and Richard Strauss. Treatise on Instrumentation. Mineloa, NY: Dover Publications, 1991. Brindle, Reginald Smith. Contemporary Percussion. London: Oxford University Press, 1970. Del Mar, Norman. Anatomy of the Orchestra. London: Faber and Faber; Berkeley, CA: University of California Press, 1981. Forsyth, Cecil. Orchestration. Mineloa, New York, NY: Dover Publications, 1982. *Kennan, Kent Wheeler. The Technique of Orchestration. 6th ed. Englewood Cliffs, NJ: Prentice Hall, 2002. *Piston, Walter. Orchestration. New York, NY: W.W. Norton, 1955. *Stone, Kurt. Music Notation in the 20th Century: A Practical Guidebook. New York, NY: W.W. Norton, 1980.


75 Electronic and Computer Music Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Englewood Cliffs, NJ: Prentice Hall, 1997. Dobson, Richard. A Dictionary of Electronic and Computer Music Technology: Instruments, Terms, Techniques. Oxford; New York, NY: Oxford University Press, 1992. Dodge, Charles, and Thomas Jerse. Computer Music. 2nd ed. New York, NY: Schirmer, 1997. *Manning, Peter. Electronic and Computer Music. Rev. ed. London: Oxford University Press, 2004. Wick, Robert L. Electronic and Computer Music. New York, NY: Greenwood, 1997.

Online Resources Canadian Music Centre www.musiccentre.ca Encyclopedia of Music in Canada www.thecanadianencyclopedia.com Harvard College Library hcl.harvard.edu/research/guides/music/resources/index.html Library and Archives Canada, Music and Performing Arts www.collectionscanada.gc.ca Library of Congress www.loc.gov/index.html Naxos Music Library www.naxosmusiclibrary.com/home.asp Oxford Music Online: – Grove Music Online – Encyclopedia of Popular Music – The Oxford Companion to Music – The Oxford Dictionary of Music – The New Grove publications www.oxfordmusiconline.com Smithsonian Institution www.si.edu


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Frequently Asked Questions What are theory examinations? Music theory examinations (written examinations) ensure that students have a comprehensive knowledge and understanding of rudiments, harmony, counterpoint, analysis, and music history.

What is a theory co-requisite? A theory co-requisite is an examination that must be completed before or within five years of a practical examination if candidates wish to receive a certificate for the practical examination. Theory examination requirements for each specific practical level represent the latest point at which students should complete theory requirements. It is strongly encouraged that theory studies start as soon as students begin their music studies and progress every year as part of a well-rounded musical education.

When do the theory examinations take place? Canada Theory examinations take place three times a year over a period of two days: Winter Session—the second Friday and following Saturday in December Spring Session—the second Friday and following Saturday in May Summer Session—a Friday and following Saturday in mid-August

USA Theory examinations take place two times a year over a period of two days: Winter Session—the second Friday and following Saturday in December Spring Session—the second Friday and following Saturday in May

Where do I go to take my examination? Theory examinations may take place in various types of facilities, such as schools, churches, and community centers. The location of the examination facility will be given to candidates once they apply for an examination.

How long are the theory examinations? Preparatory Rudiments: 1 hour Basic Rudiments: 1 hour Intermediate Rudiments and Advanced Rudiments: 2 hours All other examinations: 3 hours

Can I take an examination more than once? Yes, there are no restrictions on the number of times candidates can take a specific complete examination.

If I get sick or there is an emergency that conflicts with my examination, can I take it at a different time? Candidates who cannot attend their examination due to medical reasons or because of a direct time conflict with a school examination may apply for a credit for the examination fee, which can be used towards payment of another examination within one year. Candidates may apply for the same examination or a different examination during the next year using the examination credit.

Frequently Asked Questions ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

77 Do I have to do my theory and practical examination in the same session? No. You can take your theory examination in a different session from your practical examination. You have up to five years following your practical examination to complete your theory co-requisites.

How do I get my theory results? Theory marks and marked theory papers can be viewed on the website under “Examination Results.” This allows teachers to review marked papers with their students in order to complete the learning process before proceeding to the next level. Theory results are not mailed to candidates.

How long does it take to receive theory results? Candidates can look up their theory marks online approximately six weeks after the examination. The marked theory papers are scanned and available for online viewing a few weeks after that.

Where can I find sample theory examination papers? RCM Examinations Official Examination Papers are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation. Each book includes three examinations from the previous December, May, and August examination sessions plus an additional examination created for extra practice. Editions for three academic years are available at any given time and may be purchased from your local music retailer.

Frequently Asked Questions ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

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Examination Day Checklist for Candidates Before You Leave Home Written Examinations Plan to arrive 15 minutes early. Bring your Examination Schedule. Bring pencils, pens (blue or black ink only), erasers, and rulers to the examination (keyboard facsimiles are not permitted). Keyboard Harmony Examinations Plan to arrive 40 minutes early to preview the examination materials. Bring your Examination Schedule. Musicianship Examinations Plan to arrive 15 minutes early. Bring your Examination Schedule.

Points to Remember • Electronic devices, books, notes, bags, and coats must be left in the area designated by the presiding officer. • Photo ID may be requested before candidates are admitted to the examination room. • Parents, other family members, friends, and teachers must wait in the designated waiting area. • Standing and listening outside the examination room door is prohibited. • Recording devices are strictly prohibited in the examination room.

After the Examination Access your examination marks and marked theory paper through the “Examination Results” link on the RCM Examinations website (www.rcmexaminations.org) or the The Achievement Program website (www.TheAchievementProgram.org) approximately 6–8 weeks after the examination.

Examination Day Checklist for Candidates ________________________________________________________________________ © Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.

TheorySyllabus Online

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