MTTC Music Education (099) cheat sheet

Major scale interval pattern: W-W-H-W-W-W-H; natural minor: W-H-W-W-H-W-W; harmonic minor raises scale degree 7; melodic minor raises 6 and 7 ascending, reverts to natural minor descending.

Key signature order: sharps F-C-G-D-A-E-B; flats B-E-A-D-G-C-F. The last sharp is scale degree 7; the second-to-last flat names the major key.

Diatonic seventh chords in major: Imaj7, ii7, iii7, IVmaj7, V7, vi7, viiø7. In harmonic minor: i(maj7), iiø7, III+maj7, iv7, V7, VImaj7, vii°7.

Cadence types: authentic (V–I), half (ends on V), plagal (IV–I), deceptive (V–vi), Phrygian half (iv6–V in minor).

Secondary dominant V/V in C major is D major (D-F#-A); it resolves to G. Secondary leading-tone chords are spelled on the raised leading tone of the tonicized key.

Neapolitan chord is a major triad on lowered scale degree 2, usually in first inversion (bII6); augmented sixth chords (Italian, French, German) resolve to V.

Sonata form: exposition (first theme, transition, second theme, closing), development, recapitulation; the recapitulation restates the second theme in the tonic.

Twelve-bar blues uses I, IV, V with the progression I-I-I-I | IV-IV-I-I | V-IV-I-V (or turnaround variant).

Solfege movable-do: do re mi fa sol la ti; chromatic alterations use syllables such as di (raised do) and ta (lowered ti).

Interval inversion: perfect stays perfect; major becomes minor; minor becomes major; augmented becomes diminished; the numerical values of an interval and its inversion sum to 9.

Melodic dictation strategy: identify the tonic and mode first, then notate rhythm, then pitch; check the final cadence to confirm the key.

Harmonic dictation: bass line first, then quality (major, minor, diminished), then inversion; the bass note determines inversion (root position, 6, 6/4).

Chord quality by interval content: major triad = M3 + m3; minor triad = m3 + M3; diminished = m3 + m3; augmented = M3 + M3.

Common-practice voice-leading rules: avoid parallel fifths and octaves, resolve leading tones up, resolve sevenths down, and double the root of root-position triads.

Species counterpoint: first species is note-against-note; second species is two notes against one; third species is four against one; fourth species uses suspensions; fifth species is florid.

Transposition: to transpose up by an interval, add that interval to every note and adjust the key signature; enharmonic respelling may be needed to keep diatonic spelling.

Medieval: Gregorian chant (monophonic, modal, Latin liturgy); organum (Leonin, Perotin at Notre Dame) adds parallel and then melismatic polyphony.

Renaissance: imitative polyphony, Josquin des Prez, Palestrina (Counter-Reformation clarity), madrigals (Monteverdi, Gesualdo), and the rise of instrumental dance suites.

Baroque hallmarks: basso continuo, terraced dynamics, ritornello form, fugue, and dance suite; composers include Bach, Handel, Vivaldi, and Purcell.

Classical era: sonata form, symphony, string quartet, and concerto; Haydn, Mozart, and Beethoven; Beethoven bridges into Romanticism.

Romantic era: expanded orchestra, chromatic harmony, program music (Berlioz, Liszt), lieder (Schubert, Schumann), and nationalism (Dvorak, Sibelius, Grieg).

Twentieth century: Debussy and Ravel (impressionism), Stravinsky (primitivism, neoclassicism), Schoenberg (twelve-tone), Bartok (folk nationalism), and Copland (American style).

American traditions: spirituals, blues, jazz (swing, bebop, cool), gospel, and musical theater; important figures include Armstrong, Ellington, Parker, and Bernstein.

World music concepts: gamelan (Indonesia, interlocking metallophones), raga and tala (India), maqam (Middle East), and call-and-response (West African traditions).

Conducting patterns: 2/4 (down, up); 3/4 (down, out, up); 4/4 (down, left, right, up); 6/8 (down, left, right, right, left, up); the ictus is the point of beat.

Common conducting gestures: preparatory beat sets tempo and character; crescendo uses an expanding left hand; cutoff is a circular or pinched gesture after the final beat.

Instrument transpositions: B-flat trumpet and clarinet sound a major second lower than written; F horn sounds a perfect fifth lower; E-flat alto sax sounds a major sixth lower; double bass sounds an octave lower.

String techniques: detache (separate bows), legato (smooth), spiccato (bouncing), pizzicato (plucked), sul ponticello (near bridge), and harmonics (light finger touch at nodes).

Vocal registers: chest, head, and falsetto; passaggio is the transition zone; breath support comes from the diaphragm and abdominal muscles, not the shoulders.

Ensemble balance: melody dominates, accompaniment supports; blend requires matching vowel shape, tone color, and dynamics within sections.

Rehearsal planning: warm-up, fundamentals, sight-reading, and repertoire; pacing includes slow practice, sectionals, and run-throughs.

Intonation adjustment: tune to a reference pitch; sharp tendencies require pulling out (strings) or lipping down (winds); listen across the ensemble for beat frequencies.

Kodaly approach: movable-do solfege, hand signs, rhythm syllables (ta, ti-ti), folk songs, and sequencing from simple to complex.

Orff-Schulwerk: speech, movement, singing, and barred instruments; ostinato and bordun accompaniments; improvisation and child-centered exploration.

Dalcroze eurhythmics: movement and body awareness teach rhythm, meter, and phrasing; solfege and improvisation are integrated.

Gordon Music Learning Theory: audiation is the foundation; skill learning sequence moves from discrimination (aural/oral, verbal association, partial synthesis, symbolic association, composite synthesis) to inference.

Bloom's taxonomy in music: remember, understand, apply, analyze, evaluate, create; assessment should align with the cognitive level targeted.

National Core Arts Standards (2014): creating, performing, responding, and connecting; anchor standards describe what students should know and do.

Assessment types: formative (ongoing feedback), summative (end of unit), performance-based (playing, singing), and portfolio (growth over time).

Inclusion and differentiation: provide multiple means of representation and expression (UDL); adapt instruments, notation size, and pacing for diverse learners.

Music educators follow state certification requirements and professional codes of conduct; student confidentiality is protected under FERPA.

Copyright: fair use for education is limited; performing and copying published music generally requires a license or permission; public domain works are free to use.

Advocacy arguments: music supports brain development, social-emotional learning, and school engagement; data on participation and achievement strengthen the case.

Collaboration: work with general classroom teachers, administrators, and community partners to integrate music across the curriculum.

Professional development: join professional organizations (NAfME, state music educators associations) and attend conferences and workshops.

Safety and facilities: monitor sound levels (hearing protection), instrument maintenance, and proper storage; ensure safe riser and stage use.

Equity: ensure access to instruments, instruction, and performance opportunities for all students regardless of background or ability.

Ethical use of technology: respect licensing for recordings and software, protect student data, and model digital citizenship.