Music Content Domain 1: Theory and Analysis
Domain focus
The theory and analysis domain of NT504 tests how accurately you can read notation, label harmonic function, and explain form. Expect items on clefs, key signatures, intervals, chord quality and inversion, Roman-numeral analysis, cadences, modulation, and phrase structure. You must connect a visual detail to a functional label, not merely name a symbol.
Core rules
- Key signatures follow the order of sharps (F C G D A E B) and flats (B E A D G C F). The last sharp is scale degree 7; the last flat is scale degree 4.
- In tonal analysis, Roman numerals are uppercase for major and augmented triads, lowercase for minor and diminished; inversion figures are 6, 6/4, 7, 6/5, 4/3, 4/2.
- Cadences: authentic (V–I), plagal (IV–I), half (ends on V), deceptive (V–vi).
- Voice-leading traps include parallel perfect fifths/octaves and unresolved leading tones.
Worked example
A progression in E minor reads Em–Am–B7–Em. Label it i–iv–V7–i. The B7 contains D-sharp, the raised leading tone of E minor, so it functions as dominant; the final Em is tonic, making an authentic cadence. If the chord were G–D–Em, the analysis would be III–VII–i, not a dominant cadence.
Traps
Do not call a relative major the tonic merely because the key signature matches. Do not omit inversion figures. In alto clef, middle C is the middle line; in tenor clef, it is the fourth line. Check whether an accidental is diatonic or a raised leading tone before labeling function.