Music Theory and Composition
What to know cold
Theory questions reward fluency with fundamentals: clefs and transpositions, key signatures and all major/minor scales, interval quality and quantity, triad and seventh-chord construction, diatonic function (T–S–D), and cadence types (authentic, half, plagal, deceptive, Phrygian half). Know Roman numeral analysis in both modes, figured bass, and common part-writing rules (avoid parallel fifths/octaves, resolve tendency tones, double the root). Expect form questions: binary/ternary, sonata (exposition–development–recapitulation), rondo, and theme-and-variations. Review texture terms (monophonic, homophonic, polyphonic, imitative) and basic orchestration/transposition facts (e.g., B-flat trumpet sounds a major second lower than written).
Traps that appear
- Enharmonic spelling: a doubly augmented interval or a chord spelled with the wrong letter can look right by sound but be wrong by name. Count letters first, then semitones.
- Relative vs. parallel keys: C major’s relative minor is A minor; its parallel minor is C minor. Questions swap these deliberately.
- Mode of a chord vs. mode of a key: a “borrowed” chord (e.g., iv in major) is diatonic to the parallel minor.
- Cadence labeling: a V–vi motion is deceptive, not authentic; a I–IV half cadence confusion arises when the phrase ends on IV-name cadences by the final chord.
- Transposition direction: “sounds lower than written” for most transposing winds; double-check the interval.
Worked rule of thumb
To identify an interval: (1) count letter names inclusive for the quantity (C up to A = sixth); (2) count semitones for quality (C–A = 9 semitones = major sixth; C–A-flat = 8 = minor sixth). Apply the same letter-count-first method to chord spelling so enharmonic errors don’t slip through.