Music Theory, History, and Literature
Domain 1: Music Theory, History, and Literature
This domain tests how well you read music as a system and place it in historical context. Questions target intervals, scales, key signatures, chord qualities, Roman-numeral analysis, cadences, texture, form, and score layout, plus Western eras, genres, composers, and representative works. World music, jazz, and American popular styles are also fair game.
Core rules and concepts
- Key and interval logic: Major keys follow W–W–H–W–W–W–H; natural minor uses W–H–W–W–H–W–W. Relative keys share a key signature; parallel keys share a tonic.
- Harmony: Build triads by stacking thirds. In major, I, IV, V are major; ii, iii, vi are minor; vii° is diminished. Roman numerals show function, not just root.
- Cadences: Authentic = V–I; plagal = IV–I; half = ends on V; deceptive = V–vi. A perfect authentic cadence needs root-position V–I and tonic in the soprano.
- Form: Map phrases and sections. Binary = AB; ternary = ABA; rounded binary brings back A after B; sonata form = exposition–development–recapitulation; rondo = ABACA.
- Eras: Link style traits to eras: modal polyphony (Medieval/Renaissance), basso continuo and terraced dynamics (Baroque), balanced phrases and homophony (Classical), expanded harmony and nationalism (Romantic), and varied approaches to tonality, rhythm, and timbre (20th/21st centuries).
Worked example
In B-flat major, a phrase uses Bb–Eb–F7–Bb, with the soprano ending on Bb. Bb is I, Eb is IV, F7 is V7. The progression is I–IV–V7–I. Because it ends V7–I in root position and the soprano resolves to tonic, the cadence is a perfect authentic cadence. If the final chord were inverted or the soprano ended on scale degree 3 or 5, it would be an imperfect authentic cadence.
Traps that cost marks
- Confusing relative and parallel keys, or transposing in the wrong direction for Bb and F instruments.
- Calling every V–I a PAC without checking inversion and soprano.
- Labeling an era by dates only while ignoring style evidence.
- Mixing up rounded binary and ternary, or the sections of sonata form.
- Forgetting that minor-key Roman numerals often use altered chords, such as V in minor.