Music Theory and Analysis
What this domain tests
Music Theory and Analysis asks you to apply notation and analytical conventions, not just define them. Questions often present a short progression, melody, or score excerpt and ask for key, interval, chord, cadence, or form labels.
Core rules
- Key signatures: sharps appear in the order F–C–G–D–A–E–B; flats in B–E–A–D–G–C–F. The last sharp is scale degree 7; the second-to-last flat names the major key.
- Interval inversion: the interval number and 9 are complements; perfect stays perfect, major becomes minor, augmented becomes diminished.
- Diatonic triads in major: I, IV, V major; ii, iii, vi minor; vii° diminished. In harmonic minor, V and vii° are major/diminished because of the raised leading tone.
- Roman numerals: uppercase = major, lowercase = minor, ° = diminished, + = augmented. Inversion figures: 6, 6/4; seventh chords 7, 6/5, 4/3, 4/2.
- Cadences: authentic V–I; half ends on V; plagal IV–I; deceptive V–vi.
- Non-chord tones: passing, neighbor, suspension, retardation, appoggiatura, escape tone, anticipation, pedal.
Worked example
In B♭ major, label B♭–Gm–E♭–F–B♭. The key signature has two flats, so B♭ is tonic. B♭–D–F is I; G–B♭–D is vi; E♭–G–B♭ is IV; F–A–C is V; the return to B♭ is I. Answer: I–vi–IV–V–I, ending with an authentic cadence. If the last chord were Gm instead, the close would be deceptive (V–vi).
Traps
Do not confuse relative and parallel keys; do not label a harmonic-minor V as minor; check whether a chord is in inversion before assigning root-position figures; and do not call every V–I a perfect authentic cadence unless both chords are root position and the soprano ends on the tonic. Accidentals in the excerpt override the key signature.