NYSTCE Music cheat sheet

Circle of fifths orders keys by number of accidentals: C has none; each step clockwise adds one sharp (G, D, A, E, B, F#, C#) and each step counterclockwise adds one flat (F, Bb, Eb, Ab, Db, Gb, Cb).

Major scale interval pattern is W-W-H-W-W-W-H; natural minor is W-H-W-W-H-W-W; harmonic minor raises scale degree 7 by a semitone, and melodic minor raises 6 and 7 ascending but reverts to natural minor descending.

Diatonic triad qualities in major: I and IV major, ii, iii, vi minor, V and vii° diminished; in natural minor: i, iv, v minor, III, VI, VII major, ii° and v° diminished.

Seventh chords: major-major (Mm7), major-minor (dominant 7), minor-minor (m7), half-diminished (ø7), fully diminished (°7); figured-bass symbols are 7, 7, 7, ø7/half-diminished, and °7 respectively.

Common-practice cadences: authentic (V–I), half (ends on V), plagal (IV–I), deceptive (V–vi); a perfect authentic cadence requires both chords in root position with soprano ending on tonic.

Secondary dominants are labeled V/x or V7/x; a secondary leading-tone chord is vii°/x. They tonicize a diatonic degree without modulating permanently.

Binary form is AB (simple or rounded, where rounded returns to A); ternary is ABA; sonata form is exposition–development–recapitulation with optional introduction and coda.

Non-chord tones: passing (stepwise between chord tones), neighbor (step away and back), suspension (prepared, held, resolved down by step), retardation (resolves up), appoggiatura (approached by leap, resolved by step), escape tone (step then leap opposite direction).

Modulation detection: look for new accidentals, a new leading tone, and a confirming cadence in the new key; common pivot chords include vi of the old key = ii of the new key, or I of the old = V of the new.

Medieval era (c. 500–1400): plainchant (Gregorian chant) is monophonic and modal; organum adds a second voice; Ars Nova (14th c.) introduces isorhythm and notated secular polyphony (Machaut).

Renaissance (c. 1400–1600): imitative polyphony, the Mass and motet, madrigal, and word painting; Josquin, Palestrina (Council of Trent reforms), and Byrd are central figures.

Baroque (c. 1600–1750): basso continuo, figured bass, ritornello form, da capo aria, fugue, and terraced dynamics; Bach, Handel, Vivaldi, and Monteverdi (transitional) are key.

Classical (c. 1750–1820): sonata form, homophonic texture, symmetrical phrases, and the string quartet and symphony; Haydn, Mozart, and Beethoven (bridging into Romanticism) are central.

Romantic (c. 1820–1900): expanded chromatic harmony, program music, tone poems, Lieder, nationalism, and virtuoso solo writing; Schubert, Chopin, Liszt, Wagner, Brahms, and Tchaikovsky are representative.

Twentieth century and beyond: Impressionism (Debussy, Ravel), Expressionism/Second Viennese School (Schoenberg, Berg, Webern), neoclassicism (Stravinsky), and American vernacular (jazz, blues, gospel, musical theater).

Non-Western traditions: Indian classical music uses raga (melodic framework) and tala (rhythmic cycle); Indonesian gamelan uses slendro and pelog tuning; West African drumming emphasizes polyrhythm and call-and-response.

Historical context matters: works should be identified by composer, approximate date, genre, and style period; exam questions often ask which era a described feature belongs to.

Conducting patterns: 2/4 is down-up; 3/4 is down-out-up; 4/4 is down-left-right-up; 6/8 is a two-beat pattern with subdivided inner motions. The ictus is the point of rhythmic impulse.

Intonation adjustments on string instruments: raise a pitch by moving fingers toward the bridge and lower by moving toward the scroll; equal temperament vs. just intonation differences affect thirds and fifths.

Transposing instruments: Bb clarinet sounds a major second below written; F horn sounds a perfect fifth below; Eb alto sax sounds a major sixth below; double bass sounds an octave below written.

Balance and blend in ensembles: melody usually dominates, inner voices support, bass anchors; balance is adjusted by dynamics, seating, and articulation rather than volume alone.

Rehearsal technique: isolate difficult passages, slow tempo with metronome, mark parts (breathing, bowings, fingerings), and sequence from section to full ensemble.

Breathing and vocal technique: support from the diaphragm, open throat, consistent vowel formation, and resonance; diction and text clarity are evaluated alongside tone.

Score reading: identify clefs (treble, bass, alto, tenor), transpositions, and cue lines; know how to reduce a full score to a piano reduction for study.

Ensemble precision: attacks and releases must be unified; the conductor's preparatory beat establishes tempo and character before the downbeat.

Bloom's taxonomy levels (remember, understand, apply, analyze, evaluate, create) should be reflected in lesson objectives and assessments; higher-order objectives use verbs like analyze or create.

NAfME (National Association for Music Education) standards include creating, performing, responding, and connecting; curriculum and assessment should align with these process strands.

Kodály method: movable-do solfège, hand signs, folk-song repertoire, and rhythm syllables (ta, ti-ti) to build literacy sequentially.

Orff-Schulwerk: speech, movement, singing, and barred instruments; ostinato, bordun, and improvisation are core techniques.

Dalcroze approach: eurhythmics (movement), solfège, and improvisation; emphasizes internalizing rhythm and expression through the body.

Gordon Music Learning Theory: audiation (inner hearing) and a skill-learning sequence of aural/oral, verbal association, partial synthesis, symbolic association, and composite synthesis.

Assessment types: formative (ongoing, feedback) vs. summative (end of unit); performance assessments use rubrics with criteria such as tone, accuracy, expression, and ensemble.

Differentiated instruction: adapt content, process, or product; provide tiered tasks, varied repertoire, and accommodations for students with IEPs or 504 plans.

Rehearsal planning: set clear objectives, warm up, address fundamental skills, rehearse repertoire in segments, and close with reflection; pacing and transitions affect engagement.