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Theory and Aural Topics
Theory and Aural Topics
Written Theory
In preparing to take this test, students may wish to review the textbook currently used in T508
Written Music Theory Review for Graduate Students: Graduate Review of Tonal Theory, by
Steven G. Laitz and Christopher Bartlette (Oxford University Press).
In labeling chords in the written and aural theory exams, you will be expected to use notations
similar to those below:
Chord Quality:
Triads: root position I, 1st inversion I6, 2nd inversion I64 (for a cadential six-four chord,
either I64 or V64 is acceptable)
Seventh chords: root position V7, 1st inversion V65, 2nd inversion V43, 3rd inversion
V42
Augmented sixth chords: It+6, Gr+6, Fr+6
Neapolitan sixth chord: bII6 or N6
III. Sightsinging
Students are generally asked to sing two melodies for the examiners. Examples may be sung on a
neutral syllable or on any system of solfège syllables. Examples emphasize treble and bass clef
reading of tonal melodies with some chromaticism and modulation, and rhythmic reading.
The following melodies are characteristic of the difficulty of those used in the sightsinging exam: