Theory Proficiency Exam Study Guide

Rudiments:
- intervals, accidentals, scales, key signatures, clefs
- triads, seventh chords, Roman numerals, thoroughbass symbols (6/3, 4/2, etc.)
- rhythm and meter, tempo indications and other terms, ranges of voices and
instruments

Harmony:
- diatonic harmony and voice-leading (tonic, dominant, pre-dominant functions,
tonic and dominant expansions incl. passing 6/3 and 6/4, cadential 6/4, use of other
diatonic triads and 7th chords, suspensions and other non-chord dissonance,
sequences)
- tonicization (using secondary dominants and secondary dim. 7ths) and
modulation (by pivot chord, by common tone, abrupt modulation); closely related
and distantly related keys
- chromatic harmony (modal mixture, other chromatic pre-dominants incl. bII6 and
aug. 6ths, altered dominants, common-tone dim. 7ths and aug. 6ths, enharmonic
reinterpretation of dim. 7ths and aug. 6ths, chromatic sequences)

Form:
- phrases, phrase extension/expansion/elision, sentences, periods
- binary form (sectional vs. continuous, simple vs. rounded vs. balanced; typical
key schemes)
- variation form (sectional variations = "theme and variation" mvts., continuous
variations = chaconne/passacaglia; overall organization of variations)
- ternary form (sectional vs. "full sectional" vs. continuous, any
transitions/retransitions, any nested binary or ternary forms, compound/composite
ternary)
- sonata form (formal functions of different parts, slow-movement or final-
movement sonata forms, sonata form in song/opera, likely and less-likely key
schemes)
- rondo form (5-part, 7-part, sonata-rondo, longer rondo forms)
- concertos: ritornello form in Baroque; sonata form in first movements of late
18th-century and 19th-century concertos

Questions? Please contact Dr. Evan Jones: eajones@fsu.edu

Updated Spring, 2013