Music Theory, Composition, and Analysis
Domain 1 tests how fluently you can read, label, and explain tonal and post-tonal music, and how well you connect those labels to composition choices and formal analysis. Expect interval and chord identification, key and mode recognition, Roman-numeral analysis, cadence classification, voice-leading error detection, and questions on phrase structure and large forms.
Core rules and concepts
- Spell intervals by letter name first, then apply accidentals; a diminished fifth and augmented fourth sound alike but function differently.
- Harmonic minor raises scale degree 7; melodic minor raises 6 and 7 ascending and usually reverts descending.
- Diatonic triads in major: I ii iii IV V vi vii°. In natural minor: i ii° III iv v VI VII.
- Cadences: authentic (V–I), plagal (IV–I), half (ends on V), deceptive (V–vi).
- Voice leading: resolve tendency tones, avoid parallel perfect fifths and octaves, and keep common tones.
Worked example
Question: In F-sharp harmonic minor, what is the quality of the submediant triad? Reasoning: F-sharp harmonic minor is F#–G#–A–B–C#–D–E#. Scale degree 6 is D. Build the triad on D using the harmonic-minor collection: D–F#–A. D to F# is a major third; D to A is a perfect fifth. Therefore the submediant triad is D major (VI).
Traps that cost marks
- Using the key signature alone in minor and missing raised leading tones.
- Calling a chord major from its root instead of checking its third and fifth.
- Mixing up half and authentic cadences when the phrase ends on V but the bass motion matters.
- Forgetting that enharmonic respelling can change Roman-numeral function.