arct diploma in composition - heritage music academy · pdf filea rigorous examiner...

Message from the President . . . . . . . . . . . . . . . . . . . . 5

Getting StartedWhat’s New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Quick Guide to Online Examination Registration . . . 6Contact Us. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

About UsThe Royal Conservatory . . . . . . . . . . . . . . . . . . . . . . . . 7The Royal Conservatory Examinations . . . . . . . . . . . . 7Meet our Examiners . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Examinations Offered. . . . . . . . . . . . . . . . . . . . . . . . . . 7Notable Alumni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Excellence Since 1886. . . . . . . . . . . . . . . . . . . . . . . . . . 8

Quick ReferenceCertifi cate Program Overview . . . . . . . . . . . . . . . . . . . 9Theory Examinations Overview . . . . . . . . . . . . . . . . . . 10Co-requisites and Prerequisites. . . . . . . . . . . . . . . . . . 11Specialized Theory Examinations . . . . . . . . . . . . . . . . 12

Comprehensive Theory Examinations . . . . . . . . . . 12ARCT Diploma in Composition and/or Theory. . . . 12Musicianship Examinations. . . . . . . . . . . . . . . . . . . 12

Level-by-Level Theory RequirementsRudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Preparatory Rudiments . . . . . . . . . . . . . . . . . . . . . . 13Basic Rudiments. . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Intermediate Rudiments . . . . . . . . . . . . . . . . . . . . . 17Advanced Rudiments . . . . . . . . . . . . . . . . . . . . . . . . 19

Harmony, Counterpoint, and Analysis . . . . . . . . . . . . 21Introductory Harmony . . . . . . . . . . . . . . . . . . . . . . . 21Basic Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Intermediate Harmony . . . . . . . . . . . . . . . . . . . . . . . 23Counterpoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Advanced Harmony . . . . . . . . . . . . . . . . . . . . . . . . . 25Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . . . . . . . . 27Basic Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . 27Intermediate Keyboard Harmony . . . . . . . . . . . . . . 28Advanced Keyboard Harmony. . . . . . . . . . . . . . . . . 29

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31History 1: An Overview. . . . . . . . . . . . . . . . . . . . . . . 33History 2: Middle Ages to Classical . . . . . . . . . . . . 36History 3: 19th Century to Present . . . . . . . . . . . . . 40

Comprehensive Theory Examination . . . . . . . . . . . . . 43

ARCT Diploma in Composition and/or Theory . . . . . . . . . . . . . . . . . . . . . . . . . 44

Part 1: Examination Papers . . . . . . . . . . . . . . . . . . . . . 45Part 2: Compositions and/or Research Papers. . . . . . 47Part 3: Viva Voce Examination . . . . . . . . . . . . . . . . . . . . 48

Register for an ExaminationExamination Sessions and Registration Deadlines . . 49Online Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Examination Centers . . . . . . . . . . . . . . . . . . . . . . . . . . 50Examination Scheduling . . . . . . . . . . . . . . . . . . . . . . . 50

Examination RegulationsExamination Procedures . . . . . . . . . . . . . . . . . . . . . . . 51Credits and Refunds for Missed Examinations . . . . . 51Candidates with Special Needs. . . . . . . . . . . . . . . . . . 52Examination Results. . . . . . . . . . . . . . . . . . . . . . . . . . . 52Re-Evaluation of Written Theory Examinations . . . . . 53Certifi cates and Diplomas . . . . . . . . . . . . . . . . . . . . . . 53Transfer Credits and Exemptions . . . . . . . . . . . . . . . . 54School Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54RESPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56RCM Examinations Offi cial Examination Papers . . . . 56Correspondence Courses . . . . . . . . . . . . . . . . . . . . . . . 57

Appendix Musical Terms and Signs . . . . . . . . . . . . . . . . . . . . . . . 58Descriptions of Scores . . . . . . . . . . . . . . . . . . . . . . . . . 62Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Non-chord Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Frequently Asked Questions . . . . . . . . 78

Examination Day Checklist for Candidates . . . . . . . . . . . . . . . . . . . . . . . . 80

Contents

The Royal Conservatory 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 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 benefi t 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 fi ne 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.

As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal-setting, 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 fi nd self-fulfi llment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.

Dr. Peter C. SimonPresident

5

Message from the President

Getting Started

What’s New?• New theory examination titles (p. 10)

• Frequently Asked Questions (p. 78)

• Examination Day Checklist for Candidates (p. 80)

Visit examinations.rcmusic.ca to register.

Contact Us• Phone: 416-408-5019

• Toll Free: 1-800-461-6058

• Fax: 416-408-3151

273 Bloor Street WestToronto, ON Canada M5S 1W2

Getting Started6

About Us

The Royal ConservatoryThe Royal Conservatory is one of the largest and most respected music education institutions in the world. Providing the defi nitive standard of excellence through its curriculum, assessment, performances, and teacher education programs, The Royal Conservatory makes a substantial impact upon the lives of millions of people globally.

The Royal Conservatory ExaminationsThe Royal Conservatory provides a recognized standard of musical success through an effectively sequenced course of study and individual student assessments from beginner to advanced levels. One-hundred thousand examinations are conducted annually in 260 communities across Canada.• The Frederick Harris Music Co., Limited

As The Royal Conservatory’s publishing division, The Frederick Harris Music Co., Limited produces The Consevatory’s renowned curricula and related teaching materials, as well as additional publications and tools supporting music educators and their students.

Additional programs of The Royal Conservatory are delivered through the following divisions:• The Glenn Gould School offers the most gifted young artists professional music training

at the undergraduate and graduate levels.

• The Young Artists Performance Academy provides supportive, comprehensive training for the most promising musicians aged nine to eighteen.

• The Royal Conservatory School provides acclaimed early childhood music education programs and music classes for people of all ages and stages of musical literacy.

• Learning Through the Arts® supports excellence in public education programs by utilizing the arts to enhance learning.

• The Performing Arts Division programs superb performances and events in The Royal Conservatory’s three venues: Koerner Hall, Mazzoleni Concert Hall in historic Ihnatowycz Hall, and the Conservatory Theatre.

• The Royal Conservatory Music Development Program promotes and expands musical activity and makes the study of music a central part of the lives of all Americans.

Meet our ExaminersExaminers 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 OfferedPractical ExaminationsAccordion, 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 ExaminationsRudiments, Harmony, Keyboard Harmony, Counterpoint, Analysis, History

Musicianship ExaminationsJunior, Intermediate, Senior

Piano Pedagogy ExaminationsElementary, Intermediate, Advanced

About Us 7

RRReReReReRe dddadadadad aaaabbbbobobobo tutututut oooourururur CCCCCC lllololololllllelelelegeegegege e dddadadad aabbof Examiners, including

examiner biographies, at heexee aminations.rcmusic.ca.a..u

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

About Us

8

Excellence Since 18861886 The Toronto Conservatory of Music is founded.

1887 The Conservatory has its offi cial opening in a two-storey space above a music store. In addition to weekly lessons, courses include acoustics and piano tuning.

1896 Affi liation 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 fi rst Toronto Symphony Orchestra.

1907 Approximately 1,500 students across Canada take Toronto Conservatory examinations—more than half from outside of Toronto.

1916 The fi rst 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.

2009 The Royal Conservatory launches its Performing Arts Division and Koerner Hall opens.

Quick Reference

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Certifi cate Program OverviewTheory examinations are essential components of the prestigious Certifi cate Program of The Royal Conservatory Examinations. Internationally recognized certifi cates 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. Certifi cates are also awarded when a candidate successfully completes each theory level. Candidates may enter the Certifi cate 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 certifi cate. For detailed information on practical certifi cate requirements, please consult the current syllabus for the relevant discipline.

Theory Certifi cates Examinations Required

Preparatory Rudiments Preparatory Rudiments

Basic Rudiments Basic Rudiments

Intermediate Rudiments Intermediate Rudiments

Advanced Rudiments Advanced Rudiments

Introductory Harmony Introductory Harmony

History and Theory: Basic Basic Harmony or Basic Keyboard HarmonyHistory 1: An Overview

History and Theory: Intermediate Intermediate Harmony or Intermediate Keyboard HarmonyHistory 2: Middle Ages to Classical

History and Theory: Advanced Counterpoint Advanced Harmony or Advanced Keyboard HarmonyHistory 3: 19th Century to PresentAnalysis

Quick Reference

Quick Reference

10

Theory Examinations Overview The Royal Conservatory 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 qualifi ed teacher.

• The Royal Conservatory Examinations Offi cial Examination Papers, available at music retailers, are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation.

Subject Examination Title

Rudiments

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

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

Intermediate Rudiments (2 hours)– Continuation of basic rudiments

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

Harmony andCounterpoint

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

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

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

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

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

History

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

History 2: Middle Ages to Classical (3 hours)– 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

Quick Reference

11

Co-requisites and PrerequisitesThe following table summarizes all the co-requisite and prerequisite examinations required to obtain practical examination certifi cates. 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.ARCT

Elem.Ped.

Int.Ped.

Adv.Ped.

Teacher’sARCT

Required Examinations (C = Co-requisite P = Prerequisite)

Basic Rudiments C

Intermediate Rudiments C

Advanced Rudiments C C C C P C P P P

Basic Harmony C C

Intermediate Harmony C P C P P

Counterpoint C C C

Advanced Harmony C C C

Analysis C C C

History 1: An Overview C C P C P P P

History 2: Middle Ages to Classical C P C P P

History 3: 19th Century to Present C C C

Grade 9 Practical C P

Grade 10 Practical P C P P

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

C

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

C

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

Intermediate Piano Pedagogy Part 2: Viva Voce and Part 3: Written P

Recommended Examinations

Preparatory Rudiments

Introductory Harmony

Alternative Examinations

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

Intermediate Keyboard Harmony (can be substituted for Intermediate Harmony)

C P C P P

Advanced Keyboard Harmony (can be substituted for Advanced Harmony)

C C C

Junior Musicianship (can be substituted for Grade 8 Ear Tests and Sight Reading)

C

Intermediate Musicianship (can be substituted for Grade 9 Ear Tests and Sight Reading)

C C

Senior Musicianship (can be substituted for Grade 10, Teacher’s ARCT, and Advanced Piano Pedagogy Ear Tests and Sight Reading)

C C C C

Quick Reference

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Specialized Theory Examinations

Comprehensive Theory ExaminationsCandidates 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 TheoryThe 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.

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 ExaminationsMusicianship 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 ExemptionAll candidates except Voice

Practical Examination ExemptionVoice candidates only

Junior Grade 8 Ear Tests and Sight Reading Grade 8 Ear Tests

Intermediate Grade 9 Ear Tests and Sight Reading Grade 9 Ear Tests

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

Grade 10 and Teacher’s ARCT Ear Tests

Please visit examinations.rcmusic.ca to view the examination requirements and resources for Musicianship examinations.

SSSpecifi c requirementssfi c re for the Comprehensive he ComTheory Examination ory E

can be found can bon p. 43.

SSSpecifi c requirements semfor the ARCT diploma iplo

can be found on d on p.p 44.


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

ResourcesThe Royal Conservatory Examinations Offi cial Examination Papers—p. 56“Appendix”—p. 58“Rudiments” resources—p. 72 Annotated Resource List—available online at examinations.rcmusic.ca

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, fl at, 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• time values of notes and rests (whole, half, quarter, and

eighth)

• dotted notes (half and quarter)

• time signatures: (c)

• adding time signature, bar lines, and rests to a given line of music in simple time

ScalesWrite 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

IntervalsWrite 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

TriadsWrite 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

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

13

Rudiments

Level-by-Level Theory RequirementsRudimentsThe 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.

14

Rudiments

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

Terms a tempo return to the original tempo

allegro fast

andante moderately slow; at a walking pace

crescendo, cresc. becoming louder

decrescendo, decresc. becoming softer

diminuendo, dim. becoming softer

forte, loud

largo very slow

legato smooth

mezzo forte, moderately loud

mezzo piano, moderately soft

moderato at a moderate tempo

piano, soft

ritardando, rit. slowing down gradually

staccato detached

Signs

bar linea vertical line separating measures

measure/bara unit of musical time

double bar line

indicates the end of a piece

repeat signrepeat the music within the double bar lines

fermata (pause)

hold the note or rest longer than its written value

slurplay the notes legato

tiehold for the combined value of the tied notes

crescendo becoming louder

decrescendo/diminuendo

becoming softer

staccato detached

Basic Rudiments

Examination length 1 hour

Co-requisite for Grade 5 Practical Examination




Grades 1 to 5 Practical Examinations


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 fi ve ledger lines above or below treble and bass clefs

• accidentals (sharp, fl at, 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)

ScalesWrite or identify the following in keys up to and including four sharps or fl ats:• 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)

IntervalsWrite or identify the following in keys up to and including four sharps or fl ats 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 fl ats below a given note:• perfect, major, and minor intervals within the octave (no

inversions), melodic form

TriadsWrite or identify the following in keys up to and including four sharps or fl ats:• 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 fl ats:• 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 fl ats

• identify the key (major or minor) of a given passage with a key signature

Transposition• keys up to and including four sharps or fl ats

• 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

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

15

Rudiments

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

Terms a tempo return to the original tempo

adagio a slow tempo (slower than andante, but not as slow as largo)

allegretto fairly fast (a little slower than allegro)

allegro fast


andantino a little faster than andante

cantabile in a singing style

con pedale, con ped. with pedal


da capo, D.C. from the beginning

dal segno, D.S. from the sign

D.C. al Fine repeat from the beginning and end at Fine



dolce sweet, gentle

fi ne the end

forte, loud

fortissimo, ƒ very loud

grazioso graceful

larghetto not as slow as largo

largo very slow

legato smooth

lento slow

maestoso majestic

mano destra, M.D. right hand

mano sinistra, M.S. left hand

marcato, marc. marked or stressed

mezzo forte, F moderately loud

mezzo piano, P moderately soft


ottava, 8va the interval of an octave

pedale, ped. pedal

pianissimo, π very soft

piano, p soft

prestissimo as fast as possible

presto very fast

rallentando, rall. slowing down


staccato detached

tempo speed at which music is performed

Tempo primo (Tempo I) return to the original tempo

tenuto held, sustained

Signs

accent a stressed note

staccato detached

tie hold for the combined value of the tied notes

slur play the notes legato

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


decrescendo/diminuendo

becoming softer

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

pedal marking

pedal marking

16

Rudiments

Intermediate Rudiments

Examination length 2 hours

Co-requisite for Grade 6 Practical Examination


Preparatory RudimentsBasic Rudiments


Grades 4 to 6 Practical Examinations


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

Pitch• double sharps

• double fl ats

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

– duplets and quadruplets in compound time

• double dots

• breve note and rest

ScalesWrite 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

• whole-tone scale beginning on any note (using six different letter names, starting and fi nishing 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 fi nish 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

Minor pentatonic scale

Octatonic scale

IntervalsWrite 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

TriadsIdentify 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)

17

Rudiments

Transposition• major keys only

• transpose a melody up any interval within the octave

CadencesIdentify the following by name (in keyboard style only) in a musical excerpt in any major or minor key:

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

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

Musical Terms and SignsCandidates will be asked to defi ne 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 defi nitions and translations given below are acceptable for theory examinations, but candidates may also use any defi nitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

Terms accelerando, accel. becoming quicker

alla, all’ in the manner of

animato lively, animated

assai much, very much (for example: allegro assai, very fast)

ben, bene well (for example: ben marcato, well marked)

brillante brilliant

col, coll’, colla, colle with (for example: coll’ottava, with an added octave)

con with

con brio with vigor, spirit

con espressione with expression

con moto with movement

e, ed and

espressivo, espress. expressive, with expression

fortepiano, loud, then suddenly soft

grave slow and solemn

leggiero light, nimble, quick

loco return to normal register

ma but (for example: ma non troppo, but not too much)

meno mosso less movement, slower

M.M. Maelzel’s metronome

molto much, very

non not

non troppo not too much

più more

più mosso more movement (quicker)

poco little

poco a poco little by little

quasi almost, as if

rubato with some freedom of tempo to enhance musical expression

sempre always, continuously

senza without

spiritoso spirited

tranquillo quiet, tranquil

tre corde three strings; release the left (piano) pedal

troppo too much

una corda one string; depress the left (piano) pedal

vivace lively, brisk

18

Rudiments

Advanced Rudiments


Co-requisite for Grades 7 to 10 Practical ExaminationsElementary Piano Pedagogy

Prerequisite for ARCT in PerformanceTeacher’s ARCTIntermediate and Advanced Piano Pedagogy


Preparatory RudimentsBasic RudimentsIntermediate Rudiments


Grades 7 and 8 Practical Examinations


The Advanced Rudiments examination tests candidates’ knowledge of the requirements for the Basic and Intermediate Rudiments examinations plus the additional material listed below.

Clefs• alto and tenor clefs (C clefs)

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

ScalesWrite 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

IntervalsWrite 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.

ChordsWrite 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

CadencesIdentify the following cadences in any major or minor key:


Perfect (authentic) V–I, V7–I V–i, V7–i


Imperfect (half-cadence) I–V, IV–V i–V, iv–V

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


Perfect (authentic) V–I V–i


Imperfect (half-cadence) I–V, IV–V i–V, iv–V

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 fl at (clarinet, trumpet)

– in F (French horn, English horn)

19

Rudiments

Score Types (See “Descriptions of Scores” on p. 62.)Rewrite a given passage into the following score types:• modern vocal score

• string quartet score

• short score (on two staves)

AnalysisCandidates 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.

Musical Terms and SignsCandidates will be asked to defi ne 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 defi nitions and translations given below are acceptable for theory examinations, but candidates may also use any defi nitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books.

French Terms cédez yield; hold the tempo back

léger light; lightly

lentement slowly

modéré at a moderate tempo

mouvement tempo; motion

vite fast

German Terms bewegt moving

langsam slow; slowly

mässig moderate; moderately

mit Ausdruck with expression

sehr very

schnell fast

Italian Terms ad libitum, ad lib. at the liberty of the performer

agitato agitated

allargando, allarg. broadening, becoming slower

arco for stringed instruments: resume bowing after a pizzicato passage

attacca proceed without a break

calando becoming slower and softer

comodo at a comfortable, easy tempo

con fuoco with fi re

con grazia with grace

con sordino with mute

dolente sad

giocoso humorous, jocose

grandioso grand, grandiose

largamente broadly

l’istesso tempo the same tempo

martellato strongly accented, hammered

mesto sad, mournful

morendo dying, fading away

pesante weighty, with emphasis

pizzicato for stringed instruments: pluck the string instead of bowing

primo, prima fi rst; the upper part of a duet

quindicesima alta two octaves higher (15ma)

risoluto resolute

ritenuto, riten. suddenly slower, held back

scherzando playful

secondo, seconda second; second or lower part of a duet

semplice simple

sforzando, , a sudden strong accent of a single note or chord

simile continue in the same manner as has just been indicated

sonore sonorous

sopra above

sostenuto sustained

sotto voce soft, subdued, under the breath

stringendo pressing, becoming faster

subito suddenly

tacet be silent

tutti a passage for the ensemble

vivo lively

volta time (for example, prima volta, fi rst time; seconda volta, second time)

volti subito, v.s. turn the page quickly

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 fi fth, and a seventh

triad a chord consisting of a root, a third, and a fi fth

20

Rudiments

Introductory Harmony

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


Recommended theory prerequisite

Advanced Rudiments


Grade 8 Practical Examination


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.

ChordsQualities 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. 63.)• 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

fi rst inversion• i, iiº, iv, V, and VI in minor keys, in root position and

fi rst inversion• dominant 7th chord in root position and all

inversions• cadential chord

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. 69.)• passing notes, neighbor notes, and appoggiaturas

Baroque Dances• allemande, courante, sarabande, gigue, menuet,

bourrée, and gavotte

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

Writing and Identifi cation 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 specifi ed format (as described above).

Melody Writing• Extend a phrase to a specifi ed 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).

21

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.


Two-part Texture (mainly note-against-note)• 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.

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.

AnalysisFor 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.)

Basic Harmony


Co-requisite for Grade 9 Practical ExaminationElementary Piano Pedagogy


Advanced RudimentsIntroductory Harmony


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.

ChordsRoot position and all inversions• 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 identifi cation of quality is required.

Chord symbols (See “Chord Symbols” on p. 63.)• root/quality chord symbols • functional chord symbols

Pedal Points (See “Chord Symbols” on p. 63.)• on the tonic and dominant scale degrees

Sequences (See “Sequences” on p. 70.)• 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: identifi cation of modulations to all closely related keys

Non-chord Notes (See “Non-chord Notes” on p. 69.)• passing notes, accented passing notes, neighbor notes,

accented neighbor notes, incomplete neighbor notes, échappées, suspensions, anticipations, and appoggiaturas

Form• binary, rounded binary, and ternary


Melody with Added Bass Line at the Cadences(Please visit examinations.rcmusic.ca for “Models from the Repertoire.”)• Extend a given melodic opening to create a sixteen-

measure 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.

22


23


– The fi rst 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)• 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.

Harmonic and Structural Analysis• 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.)

Intermediate Harmony


Co-requisite for Grade 10 Practical ExaminationIntermediate Piano Pedagogy

Prerequisite for ARCT in Piano PerformanceTeacher’s ARCTAdvanced Piano Pedagogy


Advanced RudimentsIntroductory HarmonyBasic Harmony


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

ChordsRoot position and all inversions• diatonic 7ths

• secondary (applied) dominants (V, V7)

• secondary (applied) leading-note chords (vii, viio7, and viiø7)

Root position only• dominant 9ths, 11ths, and 13ths

• secondary (applied) dominants (V9, V11, and V13)

Chord symbols (See “Chord Symbols” on p. 63.)• root/quality chord symbols

• functional chord symbols

• fi gured bass

Pedal Points (See “Chord Symbols” on p. 63.)• on any scale degree

Sequences (See “Sequences” on p. 70.)• 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

Modulation• to all closely related keys

• between tonic major and tonic minor

Form• binary, rounded binary, and ternary (including

compound ternary form in which the individual sections have identifi able forms)

• rondo

• sonata

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

Melody with Added Bass Line at the Cadences• Extend a given melodic opening to create a sixteen-

measure 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.

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

functional chord symbols.

• Realize in keyboard style a brief passage with a given fi gured bass.

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.

Harmonic and Structural Analysis• For a given example:

– Provide chord symbols (root/quality chord symbols or functional chord symbols, or both).

– Indicate pedal points for their entire duration.


• 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.)

Counterpoint


Co-requisite for ARCT in PerformanceTeacher’s ARCTAdvanced Piano Pedagogy


Advanced RudimentsIntroductory HarmonyBasic HarmonyIntermediate Harmony


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.

Fugal ExpositionComplete 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.

Short Pieces for Melody and Bass• Add a bass line to a given melody. Continue the style

of the given material to create a unifi ed contrapuntal composition in Baroque style.

• Realize a given fi gured bass in keyboard style and add a melody (three staves will be given). Continue the style of the given material to create a unifi ed contrapuntal composition in Baroque style. (See “A Standardized Notation for Figured Bass” on p. 64.)

• Answer brief questions concerning the musical elements (such as form, dance types, sequences, etc.) in the given material.

24


Analysis• Analyze a piece or an excerpt of contrapuntal music.

Helpful models can be found in J.S. Bach’s The Well-Tempered 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 specifi ed passages.

Advanced Harmony




Advanced RudimentsIntroductory HarmonyBasic HarmonyIntermediate HarmonyCounterpoint


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.

ChordsRoot position and all inversions• advanced chromatic harmony including:

– b II and other altered triads

– augmented 6th chords

– common-tone diminished 7th chords

(See “Chord Symbols” on p. 63.)

Modulations• to remote keys


Two-Part Counterpoint• 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.

Modulation• Continue a given opening in four-part texture; include a

modulation to a specifi ed key, a cadence in the new key, a modulation back to the tonic key, and a fi nal cadence. The use of a particular pivot chord may or may not be specifi ed.

Analysis• For a given example:

– Provide chord symbols (root/quality chord symbols or functional chord symbols, or both).


– 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




Advanced RudimentsIntroductory HarmonyBasic HarmonyIntermediate HarmonyCounterpointAdvanced Harmony


25


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, modifi ed strophic, and through-

composed forms

• the relationship of text and music (translations will be provided as needed)

Short Post-1900 WorksMusic 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).

26


Basic Keyboard Harmony

Examination length 20 minutes, plus 20 minutes of preparation time

Co-requisite for Grade 9 Practical ExaminationElementary Piano Pedagogy


Advanced RudimentsIntroductory Harmony

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


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• up to and including two sharps or two fl ats

• major keys only unless otherwise specifi ed

ChordsRoot 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. 63.)

• root/quality chord symbols

• functional chord symbols

Pedal Points• on the tonic and dominant scale degrees

Sequences (See “Sequences” on p. 70.)• do–fa–ti–mi (descending 5ths)

Modulations• to the dominant key

Non-chord Notes (See “Non-chord Notes” on p. 69.)• passing notes, accented passing notes, neighbor notes,

accented neighbor notes, incomplete neighbor notes, échappées, suspensions, anticipations, and appoggiaturas

Examination QuestionsCandidates should be prepared to perform the following:

Melodic improvisation (major or minor keys)• Improvise four-measure responses to two four-measure

melodic phrases.

• Each response, together with the given opening, should create a unifi ed 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 voice-leading.

Example only

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 fi gures will be provided.

27

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 confi dence in practical musicianship, and developing the creative impulse.

Keyboard Harmony

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

diatonic melody (resultant key will not exceed two sharps or two fl ats).

• 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


Co-requisite for Grade 10 Practical ExaminationIntermediate Piano Pedagogy (substitute for Intermediate Harmony)

Prerequisite for ARCT in PerformanceTeacher’s ARCTAdvanced Piano Pedagogy (substitute for Intermediate Harmony)


Advanced RudimentsIntroductory HarmonyBasic 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 certifi cate or theory examination certifi cate.


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

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

ChordsRoot 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. 63.)• root/quality chord symbols • functional chord symbols• fi gured bass


Sequences (See “Sequences” on p. 70.)• do–fa–ti–mi (diatonic descending 5ths and chromatic

descending 5ths; i.e., with secondary dominants)

Modulations• to all closely related keys (with a change of no more

than one sharp or fl at in the key signature)


Melodic Improvisation• Improvise four-measure responses to two four-measure

melodic phrases.

– Each response, together with the given opening, should create a unifi ed 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.

28

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

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.

Harmonization III: Chorale Style• Harmonize a given soprano and bass in keyboard style.

– Some fi gures may be provided.




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 fl ats).



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.

Advanced Keyboard Harmony


Co-requisite for ARCT in PerformanceTeacher’s ARCTAdvanced Piano Pedagogy (substitute for Advanced Harmony)


Advanced RudimentsIntroductory HarmonyBasic Harmony or Basic Keyboard HarmonyIntermediate Harmony or Intermediate Keyboard Harmony

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


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.

ChordsRoot 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. 63.)

Root position only• dominant 9th and 13th chords


Modulations• to closely related keys and distant keys

29

Keyboard Harmony


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

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

Example only

Harmonization II: Chord Progressions• 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.

Harmonization III: Realization of a Continuo Bass• Realize a continuo accompaniment for a given fi gured

bass in Baroque style.

– The selection will refl ect 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.




Melodic Transposition I (major or minor keys, treble or bass clef)• Name both the given and the resultant keys of a

chromatic melody.



Melodic Transposition II• Play at concert pitch a single-line excerpt for any of the

transposing instruments listed below:

– piccolo

– English horn

– clarinet in B fl at or A

– bass clarinet in B fl at

– contrabassoon

– trumpet in B fl at or D

– horn in F

– double bass (contrabass)

• Name both the given and the resultant keys.


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

modern vocal score.

30

Keyboard Harmony

Preparing for Music History ExaminationsThe 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 TerminologyTo 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 ExaminationsThe Study of Musical ErasFor each era (as defi ned by the curriculum), candidates will be expected to demonstrate a knowledge and understanding of:

• dates (as specifi ed 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 Defi nitionsCandidates 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 specifi c to the examination. Terms are listed the fi rst time they apply to a representative work; they may be applicable to other works.

The Study of ComposersCandidates’ knowledge of the major representative composers (identifi ed 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

• signifi cant 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 infl uences

• impact and signifi cance

• genres cultivated

• titles of works representing each genre

31

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.

History

The Study of Musical Compositions

Candidates’ knowledge of representative compositions (identifi ed 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)

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 specifi c 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).

32

History

THE BAROQUE ERA(ca 1600–ca 1750)

General terms as they apply to music of the Baroque era

baroquebasso continuoequal temperamentfi gured basshomophonic texturepolyphonic textureterraced dynamicsthe Affectionsword painting

Representative Composers Representative Genres and Works Related Terms

Solo Concerto

Antonio Vivaldi La Primavera fromLe Quattro Stagioni

droneostinatoripienoritornello form

OratorioGeorge Frideric Handel Messiah

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

da capo ariaFrench overturehomorhythmic texturelibrettomelismarecitativo accompagnatorecitativo secco

Prelude and Fugue

Johann Sebastian Bach one selection (of the candidate’s choice) from

The Well-Tempered Clavier

counterpointsubjectreal and tonal answerscountersubjectepisodestretto pedal pointtierce de Picardie

33

History

History 1: An Overview


Co-requisite for Grade 9 and 10 Practical ExaminationsElementary Piano Pedagogy

Prerequisite for ARCT in PerformanceTeacher’s ARCTIntermediate and Advanced Piano Pedagogy


Advanced Rudiments

Resources

The Royal Conservatory Examinations Offi cial Examination Papers—p. 56“History” resources—p. 74Annotated Resource List—available online at examinations.rcmusic.ca

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:

THE CLASSICAL ERA(ca 1750–ca 1825)

General terms as they apply to music of the Classical era

absolute musicbinary and ternary formschamber musicclassicismmenuet and triorondo formsonata cyclesonata formViennese School


String QuartetFranz Joseph Haydn String Quartet, op. 76, no. 2 (“Quinten”)

fourth movementexpositiondevelopmentrecapitulationcoda

SerenadeWolfgang Amadeus Mozart Eine kleine Nachtmusik, K 525 rocket theme

rounded binary

SymphonyLudwig van Beethoven Symphony no. 5 in C minor, op. 67 cyclical structure

motivescherzo and triotheme and variations

THE ROMANTIC ERA (ca 1825–ca 1900)

General terms as they apply to music of the Romantic era

exoticism in musicnationalism in musicprogram musicromanticism


Art SongFranz Schubert Erlkönig, D 328

ORGretchen am Spinnrade, D 118

Liedthrough-composed (durchkomponiert)

Piano MusicFrédéric Chopin Polonaise in A fl at major, op. 53

ORPolonaise in A major, op. 40, no. 1

chromaticismpolonaiserubato

Program SymphonyHector Berlioz Symphonie fantastique, op. 14

fi fth movement: “Songe d’une nuit de sabbat”

clochescol legnoDies iraeidée fi xeophicléideportamento

Opera

Georges Bizet CarmenAct I: Prelude“Quand je vous aimerai?”“L’amour est un oiseau rebelle”

OR

ariahabañeraprelude (in opera)recitative

Giacomo Puccini Madama Butterfl yAct I: PreludeAct II: “Un bel dì vedremo”

pentatonic scaleverismowhole-tone scale

34

History

THE MODERN ERA(ca 1900 to Present)

General terms as they apply to music of the Modern era

atonalitypentatonic scalespolyrhythmpolytonalitymodal scaleswhole-tone scaleschoreography

Representative Composers Representative Genres and Works Related TermsSymphonic Poem

Claude Debussy Prélude à “L’après-midi d’un faune” antique cymbalsglissandoImpressionism in musicSymbolism

BalletIgor Stravinsky Petrushka

First tableauchanging meterchoreographyfolk songPetrushka chord

OR

Le sacre du printemps (The Rite of Spring)excerpts from Adoration of the Earth (Part I):

IntroductionDance of the Youths and MaidensGame of Abduction

primitivismfl utter tongue

Musical

Leonard Bernstein West Side Storytwo of:

Dance at the Gym: MamboTonight EnsembleMariaAmericaI Feel Pretty

cha-chahemiolamambotritoneverse–chorus structure

Piano MusicAlexina Louie Distant Memories

from Music for Pianoarch formberceuesesenza misura

35

History

History 2: Middle Ages to Classical


Co-requisite for Grade 10 Practical ExaminationIntermediate Piano Pedagogy

Prerequisite for ARCT in PerformanceTeacher’s ARCTAdvanced Piano Pedagogy


Advanced RudimentsBasic HarmonyHistory 1: An Overview

Resources


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:

36

THE MIDDLE AGES(ca 476–ca 1450)

General terms as they apply to music of the Middle Ages

a cappellacountertenordroneMass Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus DeiMass Propermodesneumestext settings: syllabic, neumatic, melismatictextures: monophonic, polyphonic

Individuals and publications of signifi cance

Pope Gregory ILiber usualisMusica enchiriadisHildegard von BingenNotre Dame School: Léonin, PérotinArs nova: Philippe de VitryMesse de Nostre DameChansonnier du roy

Instruments and ensembles bas: dulcimer, lute, psaltery, rebec, recorder, viellehaut: cornetto, crumhorn, sackbut, shawmkeyboard: portative, positive, regalpercussion: nakers, tabor, tambourine


Gregorian Chant

Anonymous Haec diesfrom the Mass for Easter Day

gradualplainchantresponsorial singing

Organum

Anonymous(in the style of Léonin)

Haec dies cantus fi rmustenor

Polytexual Motet

Anonymous O Mitissima/Virgo/Haec dies ostinato

Monophonic Chanson

Moniot d’Arras Ce fut en mai strophic formtrouvère

OR

Raimbaut de Vaqueiras Kalenda maya estampieguitarra morescamedieval pipetroubadour

Polyphonic Chanson

Guillaume de Machaut Puis qu’en oubli rondeaumusica fi cta

Dance Music

Anonymous Royal Estampie no. 4from Chansonnier du roy

heterophonic texture

History

37

THE RENAISSANCE ERA(ca 1450–ca 1600)

General terms as they apply to music of the Renaissance chromaticismcontinuous imitationhomorhythmic texturemodal counterpointword painting

Individuals, events, and publications of signifi cance Franco-Flemish SchoolReformation: Martin LutherCounter-Reformation: Council of TrentMusica transalpinaFitzwilliam Virginal Book

Instruments and ensembles consort of instrumentskeyboard: virginalstringed: viols, viola da gamba

Representative Composers Representative Genres and Works

Josquin des PrezMotet

Ave Maria…virgo serena

Giovanni Pierluigi da Palestrina

MassMissa Papae Marcelli

Gloria

Carlo GesualdoItalian Madrigal

Moro lasso, al mio duolo

John FarmerEnglish Madrigal

Fair Phyllis

Anonymous,arranged by Tielman Susato

Dance MusicDanserye

Pavane “Mille regretz”

History

38

THE BAROQUE ERA(ca 1600–ca 1750)

General terms as they apply to music of the Baroque era

baroquebasso continuodance suite: allemande, courante, sarabande, giguefi gured bassforms: binary, rounded binary, ternaryground basslibrettoterraced dynamicstextures: homophonic, polyphonicthe Affections

Individuals, developments, and publications of signifi cance

Florentine CamerataLe nuove musichemonodystile rappresentativo

Instruments keyboard: clavichord, clavier, harpsichord


Italian Opera

Claudio Monteverdi The Coronation of PoppeaAct III, scene 7:

“A te, a te sovrana augusta”Sinfonia“Pur ti miro”

castratoopera seriastile concitato

English Opera

Henry Purcell Dido and AeneasAct III, fi nal scene:

“Thy hand, Belinda”“When I am laid in earth”

ariarecitativo secco

Cantata

Johann Sebastian Bach Cantata no. 80, “Ein feste Burg ist unser Gott”fi rst, second, fi fth, and eighth movements

canonchoralefugal textureritornello

Concerto GrossoBrandenburg Concerto no. 2 in F major, BWV 1047

fi rst movement

concertinoripienoritornello form

Orchestral Suite

George Frideric Handel Water MusicSuite in D major, HWV 349

AllegroAlla Hornpipe

hornpipe

Harpsichord Sonata

Domenico Scarlatti Sonata in F minor, L 187/K 481 gravicembalo

OR

Sonata in D major, L 463/K 430

History

39

THE CLASSICAL ERA(ca 1750–ca 1825)

General terms as they apply to music of the Classical era

chamber musicsonata cyclesonata form: exposition, development, recapitulation, codaViennese School

Individuals, developments, and publications of signifi cance

C.P.E. Bach: Essay on the True Art of Playing Keyboard InstrumentsChristoph Willibald GluckMannheim SchoolSturm und Drang


Symphony

Franz Joseph Haydn Symphony no. 104 in D major (“London”)fi rst movement

monothematic exposition

OratorioThe 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 FigaroOvertureAct I, scenes 6 and 7:

“Non so più”“Ah! Son perduto!”“Cosa sento!”

modifi ed sonata formterzettotrouser role

Piano ConcertoPiano Concerto in G major, K 453

fi rst movementcadenzadouble exposition

Piano Sonata

Ludwig van Beethoven Piano Sonata in C minor, op. 13 (“Pathétique”) tremolorondo 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

History 3: 19th Century to Present


Co-Requisite for ARCT in PerformanceTeacher’s ARCTAdvanced Piano Pedagogy


Advanced RudimentsBasic HarmonyHistory 1: An OverviewHistory 2: Middle Ages to Classical

Resources


History 3 is based on the music of the Romantic and Modern eras. Candidates will be examined on the following:

40

THE ROMANTIC ERA(ca 1825–ca 1900)


Concerto

Felix Mendelssohn Violin Concerto in E minor, op. 64fi rst movement

cadenzadouble stoppingpedal pointsonata form

Art SongRobert Schumann Dichterliebe, op. 48

“Und wüssten’s die Blumen”OR

“Im wunderschönen Monat Mai”OR

Liedsong cyclestrophic formmodifi ed strophic form

Character PieceCarnaval, op. 9

“Eusebius”“Florestan”

piano cyclecross rhythm

Piano MusicFranz Liszt “La Campanella”

from Grandes études de Paganiniétude

Choral MusicJohannes Brahms Ein deutsches Requiem

fourth movement: “Wie lieblich sind deine Wohnungen”rondo form

OperaGiuseppe Verdi La Traviata

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

ariabel cantocoloratura sopranolibrettorecitative

OR

RigolettoAct III:

“La donna è mobile”“Un dì”“Bella fi glia”

OperaRichard Wagner Die Walküre

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

chromatic harmonyGesamtkunstwerkHeldentenorLeitmotifmusic drama

Symphonic Poem

Bedrich Smetana Vltavafrom Má vlast

nationalism in musicprogram music

Concert Overture

Pyotr Il’yich Tchaikovsky Romeo and Juliet Overture

History

41

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 majorfourth movement

cyclical structure

Piano MusicMaurice Ravel Jeux d’eau glissando

Impressionism in musicpentatonic scalewhole-tone scale

Orchestral MusicBéla Bartók Concerto for Orchestra

fourth movementchanging meterneo-Classicismostinatopolytonalityquotation in music

BalletSergei Prokofi ev Romeo and Juliet, Suite no. 2, op. 64c

Act I, Scene 4:“The Montagues and Capulets: The Capulet Ball”

choreographyen pointe

Song CycleArnold Schoenberg Pierrot lunaire, op. 21

“Der Mondfl eck”“O alter Duft aus Märchenzeit”

atonalitycanonExpressionism in musicKlangfarbenmelodierondeauSprechstimme

Opera

Alban Berg WozzeckAct III, scene 4:

“Das Messer?”Orchestral Interlude

Act III, scene 5:“Ringel, Ringel, Rosenkranz”

celestacluster chord

Orchestral Music

Anton Webern Symphony, op. 21second movement

serialismtheme and variationstone rowtwelve-tone music

Chamber MusicOlivier Messiaen Quatuor pour la fi n du temps

second movement: “Vocalise, pour l”Ange qui annonce la fi n du Temps”

mode of limited transposition

Orchestral Music

György Ligeti Atmosphères micropolyphony

Choral Music

Arvo Pärt Cantate Domino canticum novum minimalismtintinnabulation

History

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

Representative Composers II: North America Representative WorksCandidates 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 PresentCandidates should also be prepared to discuss the careers of FOUR of the following performing artists:

Laurie AndersonJoshua BellMiles DavisRenée FlemingGlenn GouldAngela HewittDiana Krall

Alison KraussKronos QuartetLouis LortieYo-Yo MaWynton MarsalisJoni MitchellOscar Peterson

42

History


Co-requisite for n/a

Prerequisite for n/a

Resources

“Resources”—p. 72 Annotated Resource List—available online at examinations.rcmusic.ca

This examination tests candidates’ knowledge of the following:

Rudiments• as per the Advanced Rudiments examination

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

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

style

AnalysisAnalysis of the following forms:• sonata movement

• fugue

• song form (strophic, modifi ed strophic, through-composed)

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

43

Comprehensive Theory ExaminationThe 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 co-requisite 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.

Comprehensive Theory Examination

Co-Requisite Grade 6 Piano


Intermediate HarmonyAdvanced HarmonyCounterpointAnalysis

Resources

“Resources”—p. 72 (materials marked with an * are suitable for candidates preparing for the ARCT in Composition and/or Theory examinations) Annotated Resource List—available online at examinations.rcmusic.ca

44

ARCT Diploma in Composition and/or TheoryThe 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.

ARCT Diploma in Composition and/or Theory

Composition Theory Composition and Theory Part 1 12 examination papers

Part 2 3 compositions 1 research paper 3 compositions and1 research paper

Part 3 Oral defense of work from Part 2

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

Examination RequirementsCandidates 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.

Baroque Harmony and Counterpoint IThe Baroque Harmony and Counterpoint I examination assesses fl uency with Baroque composition techniques.

Examination RequirementsCandidates 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.

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

Baroque Harmony and Counterpoint IIThe 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 RequirementsCandidates 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).

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

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

Examination RequirementsFor 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.

45

Part 1: Examination PapersThe 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 TimeframeRenaissance CounterpointBaroque Harmony and Counterpoint IRomantic/Post-Romantic Harmony/CounterpointPost-1900 Composition TechniquesOrchestration IAnalysisHistory IHistory IIEar Test

Examination center 3 hours each

Written during the regular theory examination session

Baroque Harmony and Counterpoint IIClassical Harmony and CounterpointOrchestration II

Take-home examination 9:00 A.M. Friday–2:00 P.M. MondayCandidates 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 3 hours

Recording provided at examination


ScoresPiano sonatas and string quartets by:• Ludwig van Beethoven

• Franz Joseph Haydn

• Wolfgang Amadeus Mozart

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

Examination RequirementsCandidates 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.

ScoresPiano and vocal works by:• Franz Schubert

• Robert Schumann

• Frédéric Chopin

• Johannes Brahms

Post-1900 Composition TechniquesThe 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 RequirementsGiven a specifi c ensemble and musical element (such as motive, pitch set or row, graphic representation, or ratio), candidates will be asked to:• Write a short work.

• Briefl y explain how the composition is organized.

ScoresCompositions 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

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

Examination RequirementsCandidates 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.

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

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

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

Examination RequirementsCandidates 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

History IThe 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 RequirementsCandidates 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.

46


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

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

Examination RequirementsCandidates 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.

47

Part 2: Compositions and/or Research PapersWithin three years of completing the last examination for Part 1, candidates must submit a group of compositions or a research paper, as specifi ed below.

Diploma Part 2 Requirements Length

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

or an electronic composition

• chamber work for 3–10 performers

or a choral composition

• work for orchestra

20–30 minutesin total

ARCT in Theory 1 research paper:• on a theoretical, historical, or pedagogical topic, approved by the

College of Examiners

5,000 words

ARCT in Composition and Theory

3 compositions and 1 research paper:• as outlined above

same as above

Submission Specifi cations• 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 Offi ce of the Chief Examiners.


48

Part 3: Viva Voce ExaminationThe 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 Part 3 Requirements Length

ARCT in Compositionand/or Theory

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

2 hours


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

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

• practical examinations take place in January

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

Online RegistrationAll registrations should be submitted using the online registration process.Visit examinations.rcmusic.ca to register.

Examination FeesExamination fees must be paid at registration using Visa or MasterCard. Fees for the current academic year are listed online at examinations.rcmusic.ca.

Register for an Examination

49


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Examination CentersExaminations 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 SchedulingWritten ExaminationsAll candidates must verify their examination schedules online two weeks before the examination day. Examination schedules will not be mailed. Teachers may verify their students’ examination schedules by visiting examinations.rcmusic.ca.

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 The Royal Conservatory Examinations.

Keyboard Harmony and Musicianship ExaminationsKeyboard 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 TimetableTheory examinations are written according to the following timetable:

Examination Subject Friday Saturday

Preparatory Rudiments 2:00 P.M.–3:00 P.M.

Basic Rudiments 2:00 P.M.–3:00 P.M.

Intermediate Rudiments 9:30 A.M.–11:30 A.M.

Advanced Rudiments 2:00 P.M–4:00 P.M.

Introductory Harmony 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 Confl ictsCandidates who are unable to attend an examination scheduled for Saturday at the designated time because of a direct time confl ict 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.


50

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

Written ExaminationsOn the day of the examination, candidates must:• arrive at the examination center fi fteen minutes prior to the scheduled examination time

• bring a copy of the examination schedule

• present the schedule to the presiding offi cer 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 offi cer

During the examination, candidates:• must not communicate with other candidates

• may not leave the examination room before the fi rst thirty minutes have elapsed

• may leave any time after the fi rst thirty minutes when fi nished 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 offi cer

• may not remove any examination material from the room

• must sign out before leaving the examination room

Keyboard Harmony and Musicianship ExaminationsOn the day of the examination, all candidates must:

• bring a copy of the examination schedule and present it to the presiding offi cer (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 fi fteen 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 ExaminationsCredits (formerly called “fee extensions”) and refunds are only granted under two specifi c conditions. Candidates who are unable to attend an examination for medical reasons or because of a direct time confl ict with a school examination are eligible to request either an examination credit for the full amount of the examination fee or a fi fty percent refund of the examination fee.

Examination Regulations

51


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Requests for examination credits or refunds must be made to The Royal Conservatory 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 confl icts with school examinations—a letter from a school offi cial 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 CreditAn 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.

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 RefundCandidates who cannot redeem an examination credit within a year may apply instead for a fi fty percent refund of the examination fee.

Requests for examination refunds or credits must be made to The Royal Conservatory 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 NeedsCandidates with special needs should submit a Special Needs Request Form—by mail or by fax to the The Royal Conservatory Examinations offi ce—as soon as possible before the registration deadline. Each case will be assessed individually.

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 ResultsCandidates and teachers can access examination results online starting approximately six weeks after the examination.

Teachers may access their student’s examination results by visiting examinations.rcmusic.ca.

Offi cial transcripts are available upon written request to The Royal Conservatory Examinations and payment of the requisite fee. (Download the Offi cial Transcript Request Form from the website.)

Classifi cation of Theory MarksFirst Class Honors with Distinction 90–100First Class Honors 80–89Honors 70–79Pass 60–69Fail 0–59


52

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53

Please see “Quick “QuReference” on p. 9 o

for a full list of theoryco-requisites and

prerequisites.

Re-Evaluation of Written Theory ExaminationsAll enquiries concerning re-calculation or re-evaluation of marks must be addressed in writing to The Royal Conservatory Examinations. 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 confi rm 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 The Royal Conservatory Examinations offi ce 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 at examinations.rcmusic.ca)

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 at examinations.rcmusic.ca)

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)

Certifi cates and Diplomas

Theory ExaminationsCandidates who successfully complete all the theory examinations for each level of study are awarded a theory certifi cate in the spring or the fall.

Practical ExaminationsPractical examination certifi cates 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, certifi cates 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 certifi cate:

– 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 fi ve years of the original practical examination.

54• Candidates for Grade 10, ARCT in Performance, Teacher’s ARCT, or the ARCT in Piano

Pedagogy must complete the necessary theory co-requisites within fi ve 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 ExemptionsUnder 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 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. 43 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 The Royal Conservatory 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 CreditsThe Royal Conservatory 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 “Candidate Recognition, Accreditation.” Candidates are advised to discuss the eligibility of their examination results with their school principal or guidance counselor.

MedalsEach 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

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


55respective 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 Certifi cate (for the Elementary Piano Pedagogy level) orGrade 10 Piano Certifi cate (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 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



RESPsUse Education Funds for Music StudiesCandidates who have a Registered Education Savings Plan (RESP) may be eligible to usethese 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.

The Royal Conservatory Examinations Offi cial Examination PapersTo help students prepare for examinations, The Frederick Harris Music Co., Limited publishes theory examinations from the past three years in booklets entitled The Royal Conservatory Examinations Offi cial 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

The Royal Conservatory Examinations Offi cial Examination Papers are available at local music stores or online at bookstore.rcmusic.ca.

Individual Teacher’s ARCT Written Examination papers (for subjects other than Piano) are also available upon request from The Royal Conservatory Examinations at:

The Royal Conservatory Examinations273 Bloor Street WestToronto, ON CanadaM5S 1W2Phone: 416-408-5019Toll-free: 1-800-461-6058

56


Correspondence CoursesTo meet the needs of students who do not have access to qualifi ed instructors, lessons are available by correspondence through The Royal Conservatory for the following subject areas:• Rudiments

• Harmony

• History

• Counterpoint

• Analysis

• Pedagogy

For more information, please contact The Royal Conservatory at [email protected], or by mail at:“Correspondence Courses”The Royal Conservatory273 Bloor Street West Toronto, ON Canada M5S 1W2

57


Terms

a tempo return to the original tempo

accelerando, accel. becoming quicker


ad libitum at the liberty of the performer

adagio a slow tempo (slower than andante, but not as slow as largo)

agitato agitated

alla, all’ in the manner of

allargando, allarg. broadening, becoming slower

allegretto fairly fast (a little slower than allegro)

allegro fast


andantino a little faster than andante

animato lively, animated

arco for stringed instruments: resume bowing after a pizzicato passage

assai much, very much (for example: allegro assai, very fast)

attacca proceed without a break

ben, bene well (for example: ben marcato, well marked)

bewegt moving

brillante brilliant

calando becoming slower and softer

cantabile in a singing style

cédez yield; hold the tempo back

cluster a chord consisting of at least three adjacent notes of a scale

col, coll’, colla, colle with (for example: coll’ottava, with an added octave)

comodo at a comfortable, easy tempo

con with

con brio with vigor, spirit

con espressione with expression

con fuoco with fi re

con grazia with grace

con moto with movement

con pedale, con ped. with pedal

con sordino with mute


da capo, D.C. from the beginning

58

Appendix

Appendix

Musical Terms and SignsThe defi nitions and translations that follow are recommended for use in Rudiments examinations. Candidates may also use defi nitions and translations found in standard reference books.


D.C. al Fine repeat from the beginning and end at Fine



dolce sweet, gentle

dolente sad

e, ed and

espressivo, espress. expressive, with expression

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

fi ne the end

forte, f loud

fortepiano, loud, then suddenly soft

fortissimo, ƒ very loud

giocoso humorous, jocose

grandioso grand, grandiose

grave slow and solemn

grazioso graceful

langsam slow; slowly

largamente broadly

larghetto not as slow as largo

largo very slow

legato smooth

léger light, lightly

leggiero light, nimble, quick

lentement slowly

lento slow

l’istesso tempo the same tempo

loco return to normal register

ma but (for example, ma non troppo: but not too much)

maestoso majestic

mano destra, M.D. right hand

mano sinistra, M.S. left hand

marcato, marc. marked or stressed

martellato strongly accented, hammered

mässig moderate, moderately

meno less

meno mosso less movement, slower

mesto sad, mournful

mezzo forte, F moderately loud

mezzo piano, P moderately soft

mit with

mit Ausdruck with expression

M.M. Maelzel’s metronome


modéré at a moderate tempo

molto much, very

59

Appendix

60

morendo dying, fading away

mouvement tempo; motion

non not

non troppo not too much

ottava, 8va the interval of an octave

pedale, ped. pedal

pesante weighty, with emphasis

pianissimo, π very soft

piano, p soft

più more

più mosso more movement (quicker)

pizzicato for stringed instruments: pluck the string instead of bowing

poco little

poco a poco little by little

polychord a combination of two or more different chords

presto very fast

prestissimo as fast as possible

primo, prima fi rst; the upper part of a duet

quartal chord a chord built on a series of 4ths

quasi almost, as if

quindicesima alta (15 ma) two octaves higher

rallentando, rall. slowing down



risoluto resolute

ritenuto, riten. suddenly slower, held back

rubato with some freedom of tempo to enhance musical expression

scherzando playful

schnell fast

secondo, seconda second; second or lower part of a duet

sehr very

semplice simple

sempre always, continuously

senza without

seventh (7th) chord a chord consisting of a root, a third, a fi fth, and a seventh

sforzando, , sudden strong accent of a single note or chord

simile continue in the same manner as has just been indicated


sonore sonorous

sopra above

sostenuto sustained

sotto voce soft, subdued, under the breath

spiritoso spirited

staccato detached

stringendo pressing, becoming faster

subito suddenly

Appendix

61

tacet be silent

tempo speed at which music is performed

Tempo primo (Tempo I) return to the original tempo

tenuto held, sustained


tranquillo quiet, tranquil

tre corde three strings; release the left (piano) pedal

triad a chord consisting of a root, a third, and a fi fth

troppo too much

tutti a passage for the ensemble

una corda one string; depress the left (piano) pedal

vite fast

vivace lively, brisk

vivo lively

volta time (for example, prima volta, fi rst time; seconda volta, second time)

volti subito, v.s. turn the page quickly


bar line a vertical line separating measures



decrescendo/diminuendo becoming softer

double bar line indicates the end of a pieceU 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



staccato detached


pedal marking

pedal marking

Signs

Appendix

Descriptions of ScoresChorale 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

62

Appendix

63

Chord SymbolsThe 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 SymbolsPlease 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 letter only E means E–G # –B

Minor triad Root min 3 P5 m Em means E–G–B

Diminished triad Root min 3 dim 5 o or dim Eo means E–G–B bAugmented triad Root maj 3 aug 5 aug Eaug means E–G # –B #7th chords

Dominant 7th chord (major-minor 7th)

Root maj 3 P5 min 7 7 E7 means E–G # –B–D

Diminished 7th chord Root min 3 dim 5 dim 7 o7 Eo7 means E–G–B b –D bHalf-diminished 7th chord Root min 3 dim 5 min 7 ø Eø7 means E–G–B b –D

Minor 7th chord Root min 3 P5 min 7 m7 Em7 means E–G–B–D

Major 7th chord Root maj 3 P5 maj 7 maj7 Emaj7 means E–G # –B–D #

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

Chord Type Interval Structure Symbol Example

Dominant 9th chord Root maj 3 [P5] min 7 maj 9 9 E9 means E–G # –[B]–D–F # Dominant minor 9th chord Root maj 3 [P5] min 7 min 9 7( b9)* E7( b 9) means E–G # –[B]–D–F

Dominant 11th chord Root [maj 3] P5 min 7 [maj 9] P11 11 E11 means E–[G # ]–B–D–[F # ]–A

Dominant 13th chord Root maj 3 [P5] min 7 [maj 9] [P11] maj 13 13 E13 means E–G # –[B]–D–[F#]–[A]–C #Dominant minor 13th chord Root maj 3 [P5] min 7 [maj 9] [P11] min 13 7( b13)* E7(b13) means E–G#–[B]– [F#]–[A]–D–C

Dominant 7th, raised fi fth Root maj 3 aug 5 min 7 7 # 5* E7aug5 means E–G # –B # –D

Dominant 7th, lowered fi fth Root maj 3 dim 5 min 7 7 b5 E7 b5 means E–G # –B b –D

Appendix

64Augmented 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 Interval Structure Symbol ExampleItalian 6th chord Ob maj 3 aug 6 It 6 CIt 6 means C–E–A #German 6th chord Ob maj 3 P5 aug 6 Ger 6 CGer 6 means C–E–G–A #French 6th chord Ob maj 3 aug 4 aug 6 Fr 6 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 chordsTo 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 fi rst inversion: E/G# or E

G

#E minor triad in fi rst inversion: Em/G or Em

G

E major triad in second inversion: E/B or EB

Cadential chord in E minor: Em B7/B or Em B7B

Figured BassA 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 fi gured bass, whether in written form or at the keyboard, was an essential part of a musician’s education. The enormous importance of fi gured bass is still refl ected in the fact that symbols for designating positions of chords currently in use worldwide for harmonic analysis are derived directly from fi gured bass notation.

Over the three centuries when fi gured bass was in everyday use, countless variations arose in the notation of the desired harmonies as well as the style of performing or setting fi gured 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 fi gured 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).

Appendix

65• Chords are indicated by a system of fi guration; that is, using fi gures. 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 fi guration 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 fi guration, 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 fi fth of the chord (Example 7).

• The fi guration 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 fi rst-inversion chords. Four-part texture should resume when the string of six chords ends (Example 13).

Appendix

66Functional Chord SymbolsAll 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 fi gured 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 fi fth

Altered triads without an assumed lowered fi fth

Inversions of triads

Accidentals in inversions (not bass note)

Appendix

67Altered 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

Appendix

68Modulation

Principal decorative harmonies

Passing chord

Pedal point

Augmented 6th chords in normal position built on b 6

Inversions of Italian 6th chords

Inversions of German 6th chords

Appendix

69Inversions of French 6th chords

Augmented 6th chords built on b 2

Inversions of augmented 6th chords built on b 2

Common-tone diminished 7th chords

Non-chord NotesNon-chord Note Label Approach Departure Metrical

Positionpassing 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

Appendix

SequencesThe name of each sequence represents the roots of the fi rst 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 sequenceRoot movement of the harmonic pattern: down a 5thInterval of transposition: down a 2ndTypical examples: Major key: I–IV –viio–iii–vi–ii–V–I Minor key: i–iv–VII–III–VI–iio–V–iOther names: descending 5ths, cycle of descending 5ths

Variants:

Do–sol–re–la sequenceRoot movement of the harmonic pattern: up a 5thInterval of transposition: up a 2ndTypical 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

70

Appendix

Do–fa–re–sol sequenceRoot movement of the harmonic pattern: up a 4thInterval of transposition: up a 2ndTypical examples: Major key: I–IV–ii–V–iii–vi Minor key: i–IV–ii–V–IIIx–VIOther names: ascending 4ths, “Sound of Music,” “Rosalia”

Do–sol–la–mi sequenceRoot movement of the harmonic pattern: down a 4thInterval of transposition: down a 3rdTypical examples: Major key: I–V–vi–iii–IV–I Minor key: I–v–VI–III–iv–iOther names: descending 3rds variant, “Pachelbel”

71

Appendix

An annotated list of resources is available online at examinations.rcmusic.ca.

* Indicates resource materials that are suitable for candidates preparing for the ARCT in Composition and/or Theory examinations.

Dictionaries and EncyclopediasChwialkowski, 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.

Toronto, ON: The Frederick Harris Music Co., Limited, 2005–6. Online audio tracks at www.soundadvicedirect.com.

Sarnecki, Mark. The Complete Elementary Music Rudiments. 2nd ed. Toronto, ON: The Frederick Harris Music Co., Limited, 2010.

—. Elementary Music Rudiments. 2nd ed. 3 vols. Toronto, ON: The Frederick Harris Music Co., Limited, 2010.

—. Elementary Music Theory. 2nd ed. 3 vols. Toronto, ON: The Frederick Harris Music Co., Limited, 2010.

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Resources

Resources

Vandendool, Grace. Keyboard Theory. 2nd ed. 3 vols. Toronto, ON: The Frederick Harris Music Co., Limited, 2010.

—. Keyboard Theory Preparatory Series. 2nd ed. 5 vols. Toronto, ON: The Frederick Harris Music Co., Limited, 2001.

Wharram, Barbara. Elementary Rudiments of Music. 2nd ed. Ed. Kathleen Wood. Workbook and Answer Book. Toronto, 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. Toronto,

ON: Gordon V. Thompson Music (Warner Bros. Publications), 1987–1992.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. Toronto,

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. Toronto, ON: The Frederick Harris Music Co.,

Limited, 2010.Satory, Stephen. First-Year Harmony. Toronto, ON: Chorale Publishing, 2001. Vandendool, Grace. The Basics of Harmony. 2nd ed. Workbook and Answer Book. Toronto,

ON: The Frederick Harris Music Co., Limited, 2010.—. Intermediate Harmony. 2nd ed. Workbook and Answer Book. Toronto, ON: The Frederick

Harris Music Co., Limited, 2010.

CounterpointAndrews, William and Molly Sclater. Elements of 18th Century Counterpoint. Toronto, ON:

Gordon V. Thompson Music (Warner Bros. Publications), 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.

73

Resources

74

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. Toronto, 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.

Resources

75Miller, 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. Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGraw-

Hill, 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.

Resources

76

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.

Resources

77

Electronic and Computer MusicChadabe, 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 ResourcesCanadian Music Centrewww.musiccentre.ca

Encyclopedia of Music in Canada www.thecanadianencyclopedia.com

Harvard College Libraryhcl.harvard.edu/research/guides/music/resources/index.html

Library and Archives Canada, Music and Performing Artswww.collectionscanada.gc.ca

Library of Congresswww.loc.gov/index.html

Naxos Music Librarywww.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 Institutionwww.si.edu

Resources

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 fi ve years of a practical examination if candidates wish to receive a certifi cate for the practical examination. Theory examination requirements for each specifi c 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?Theory examinations take place three times a year over a period of two days:Winter Session—the second Friday and following Saturday in DecemberSpring Session—the second Friday and following Saturday in MaySummer Session—a Friday and following Saturday in mid-August

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 hourBasic Rudiments: 1 hourIntermediate Rudiments and Advanced Rudiments: 2 hoursAll 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 specifi c complete examination.

If I get sick or there is an emergency that confl icts 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 confl ict 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.

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 fi ve 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

78

Frequently Asked Questions


“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 fi nd sample theory examination papers?The Royal Conservatory Examinations Offi cial 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.

79


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 offi cer.

• 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 ExaminationAccess your examination marks and marked theory paper through the “Examination Results” link on The Royal Conservatory Examinations website (examinations.rcmusic.ca) approximately 6–8 weeks after the examination.

Examination Day Checklist for Candidates

80

Examination Day Checklist for Candidates

arct diploma in composition - heritage music academy · pdf filea rigorous examiner...

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