TheorySyllabus Online

Theory
SYLLABUS EDITION
Message from the President . . . . . . . . . . . . . . . . . . . . 3
Getting Started
Whats New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Quick Guide to Online Examination Registration . . . 4
About Us
The Royal Conservatory of Music. . . . . . . . . . . . . . . . . 5
RCM Examinations and the Carnegie Hall Royal
Conservatory Achievement Program. . . . . . . . . . . . . 5
Meet our Examiners . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Examinations Offered. . . . . . . . . . . . . . . . . . . . . . . . . . 5
Notable Alumni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Excellence Since 1886. . . . . . . . . . . . . . . . . . . . . . . . . . 6
Quick Reference
Certicate Program Overview . . . . . . . . . . . . . . . . . . . 7
Theory Examinations Overview. . . . . . . . . . . . . . . . . . 8
Co-requisites and Prerequisites. . . . . . . . . . . . . . . . . . 9
Specialized Theory Examinations . . . . . . . . . . . . . . . . 10
Comprehensive Theory Examinations . . . . . . . . . . 10
ARCT Diploma in Composition and/or Theory. . . . 10
Musicianship Examinations. . . . . . . . . . . . . . . . . . . 10
Level-by-Level Theory Requirements
Rudiments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Preparatory Rudiments . . . . . . . . . . . . . . . . . . . . . . 11
Basic Rudiments. . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Intermediate Rudiments . . . . . . . . . . . . . . . . . . . . . 15
Advanced Rudiments . . . . . . . . . . . . . . . . . . . . . . . . 17
Harmony, Counterpoint, and Analysis . . . . . . . . . . . . 19
Introductory Harmony . . . . . . . . . . . . . . . . . . . . . . . 19
Basic Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Intermediate Harmony . . . . . . . . . . . . . . . . . . . . . . . 21
Counterpoint. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Advanced Harmony . . . . . . . . . . . . . . . . . . . . . . . . . 23
Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Basic Keyboard Harmony. . . . . . . . . . . . . . . . . . . . . 25
Intermediate Keyboard Harmony . . . . . . . . . . . . . . 26
Advanced Keyboard Harmony. . . . . . . . . . . . . . . . . 27
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
History 1: An Overview. . . . . . . . . . . . . . . . . . . . . . . 31
History 2: Middle Ages to Classical . . . . . . . . . . . . 34
History 3: 19th Century to Present . . . . . . . . . . . . . 38
Comprehensive Theory Examination . . . . . . . . . . . . . 41
ARCT Diploma in Composition
and/or Theory. . . . . . . . . . . . . . . . . . . . . . . . . 42
Part 1: Examination Papers . . . . . . . . . . . . . . . . . . . . . 43
Part 2: Compositions and/or Research Papers. . . . . . 45
Part 3: Viva Voce Examination . . . . . . . . . . . . . . . . . . . . 46
Register for an Examination
Examination Sessions and Registration Deadlines . . 47
Online Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Examination Fees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Examination Centers . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Examination Scheduling . . . . . . . . . . . . . . . . . . . . . . . 48
Examination Regulations
Examination Procedures . . . . . . . . . . . . . . . . . . . . . . . 49
Credits and Refunds for Missed Examinations . . . . . 49
Candidates with Special Needs. . . . . . . . . . . . . . . . . . 50
Examination Results. . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Re-Evaluation of Written Theory Examinations . . . . . 51
Certicates and Diplomas . . . . . . . . . . . . . . . . . . . . . . 51
Transfer Credits and Exemptions . . . . . . . . . . . . . . . . 52
School Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Medals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Certicates of Excellence for Practical Examinations
(USA only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
RESPs (Canada only) . . . . . . . . . . . . . . . . . . . . . . . . . . 54
RCM Examinations Ofcial Examination Papers . . . . 54
Correspondence Courses . . . . . . . . . . . . . . . . . . . . . . . 55
Appendix
Musical Terms and Signs . . . . . . . . . . . . . . . . . . . . . . . 56
Descriptions of Scores . . . . . . . . . . . . . . . . . . . . . . . . . 60
Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Non-chord Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Frequently Asked Questions . . . . . . . . 76
Examination Day Checklist
for Candidates . . . . . . . . . . . . . . . . . . . . . . . . 78
Contents
________________________________________________________________________
Copyright 2011 The Frederick Harris Music Co., Limited. All Rights Reserved.
The Royal Conservatory of Music was founded in 1886 with the idea that a single institution
could bind the people of a nation together with the common thread of shared musical
experience. More than a century later, we continue to build and expand on this vision.
Today, The Royal Conservatory of Music is recognized in communities throughout North
America for outstanding service to students, teachers, and parents, as well as a strict
adherence to high academic standards through a variety of activitiesteaching, examining,
publishing, research, and community outreach.
Our students and teachers benet from a curriculum based on more than one hundred
years of commitment to the highest pedagogical objectives. The strength of the curriculum
is reinforced by the distinguished College of Examinersa group of ne musicians and
teachers carefully selected from across Canada, the United States, and abroad for their
demonstrated skill and professionalism. A rigorous examiner apprenticeship program
combined with regular evaluation procedures ensures consistency and an examination
experience of the highest quality for candidates.
Our new home, the TELUS Centre for Performance and Learning, will make the most of the
Conservatorys extraordinary potential and will allow us to share our innovative programs
with teachers and students everywhere. This technologically advanced education and
performance complex will reect The Royal Conservatory of Musics broadened impact as
an international leader in publishing and examinations, professional training, arts-infused
public school programs, early childhood education, and concert presentation. I do hope that
you will take full advantage of this great new facility, which will be an exceptional resource
for students and teachers across North America and around the world.
As you pursue your studies or teach others, you become not only an important partner
with The Royal Conservatory of Music in the development of creativity, discipline, and goal-
setting, but also an active participant, experiencing the transcendent qualities of music
itself. In a society where our day-to-day lives can become rote and routine, the human need
to nd self-fulllment and to engage in creative activity has never been more necessary.
The Royal Conservatory of Music will continue to be an active partner and supporter in your
musical journey of self-expression and self-discovery.
Dr. Peter C. Simon
President
3
Message from the President
________________________________________________________________________
Getting Started
Whats New?
New theory examination titles (p. 8)
Frequently Asked Questions (p. 76)
Examination Day Checklist for Candidates (p. 78)
Quick Guide to Online Examination Registration
(see p. 47 for more information)
Canada
Go to www.rcmexaminations.org.
Check deadlines and examination dates.
Click on Register for an Examination.
Follow the instructions to register.
Enter the candidates RCME Number and
date of birth.
Enter payment information (Visa and
MasterCard are accepted).
Print out the Examination Schedule.
Conrm the date and time of the
examination two weeks before the
rst day of the examination session by
clicking on Examination Scheduling.
Contact Us
Phone: 905-501-9553
Fax: 905-501-1290
Unit 45865 McLaughlin Road
Mississauga, ON Canada L5R 1B8
The rst time a candidate registers for
an examination, the candidate will be
assigned a permanent RCME Number.
This number is eight characters long (for
example, 07W12345).
The RCME Number:
is a permanent identication number
with RCM Examinations.
must be used each time the candidate
registers for an examination.
enables RCM Examinations to maintain
the integrity of the candidates academic
record.
can be found on the Examination
Schedule.
USA
Go to www.TheAchievementProgram.org.
Check deadlines and examination dates.
Click on Register for an Examination.
Enter the Candidate ID Number and date
of birth.
Follow the instructions to register.
Enter payment information (Visa and
MasterCard are accepted).
Print out the Examination Schedule.
Conrm the date and time of the
examination two weeks before the
rst day of the examination session by
clicking on Examination Scheduling.
Contact Us
Phone: 866-716-2223
Fax: 866-716-2224
P.O. Box 1984
Buffalo, NY USA 14240-1984
The rst time a candidate registers for
an examination, the candidate will be
assigned a permanent Candidate ID
Number. This number is eight characters
long (for example, 07W12345).
The Candidate ID Number:
is a permanent identication
number with the Carnegie Hall Royal
Conservatory Achievement Program.
must be used each time the candidate
registers for an examination.
enables The Achievement Program to
maintain the integrity of the candidates
academic record.
can be found on the Examination
Schedule.
Getting Started
4
Teachhers may
register students by
logging into Teacher
Services and
using the Student
Re R gistration feature.
________________________________________________________________________
About Us
R
C
M
Examinations . . . fostering hum
an potential through music ed
u
c
a
tio
n
The Royal Conservatory of Music
The Royal Conservatory of Music is a world-class institution recognized for high standards
in teaching, performance, examining, publishing, and research. It comprises six divisions:
RCM Examinations and the Carnegie Hall Royal Conservatory Achievement Program
Glenn Gould School
The Royal Conservatory School
Learning Through the Arts
Young Artists Performance Academy
The Frederick Harris Music Co., Limited
RCM Examinations and the Carnegie Hall Royal Conservatory
Achievement Program
RCM Examinations (Canada) and the Carnegie Hall Royal Conservatory Achievement
Program (USA) form the examination branches of The Royal Conservatory of Music. Each
sets the standard for excellence in music education. Together they reach more than a
quarter of a million candidates annually by providing:
graded examinations that establish clear, progressive learning goals
internationally recognized certicates, diplomas, and medals
teacher development through workshops and communications
Meet our Examiners
Examiners are highly trained, professional musicians, and theorists from across North
America. All examiners complete an Examiner Apprenticeship Program before being
admitted to the College of Examiners. Professional development and training continues
throughout each examiners career to ensure consistent examination standards
throughout North America.
Examinations Offered
Practical Examinations
Accordion, Bassoon, Cello, Clarinet, Double Bass, Euphonium, Flute, French Horn, Guitar,
Harp, Harpsichord, Oboe, Organ, Percussion, Piano, Recorder, Saxophone, Speech Arts
and Drama, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Theory Examinations
Rudiments, Harmony, Keyboard Harmony, Counterpoint, Analysis, History
Musicianship Examinations
Junior, Intermediate, Senior
Piano Pedagogy Examinations
Elementary, Intermediate, Advanced
About Us
5
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of Examiners, including
eexaminer biographies, at t
www.rcmexaminations.org
or
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________________________________________________________________________
Notable Alumni
Notable alumni include:
Isabel Bayrakdarian
the Gryphon Trio
Aline Chrtien
Adrienne Clarkson
Bruce Cockburn
Naida Cole
David Foster
Glenn Gould
Robert Goulet
Norman Jewison
Lois Marshall
Oscar Peterson
Richard Raymond
Paul Shaffer
Mitchell Sharp
the St. Lawrence String Quartet
Teresa Stratas
Jon Vickers
About Us
6
Excellence Since 1886
1886 The Toronto Conservatory of Music is founded.
1887 The Conservatory has its ofcial opening in a two-storey space above a music store.
In addition to weekly lessons, courses include acoustics and piano tuning.
1896 Afliation with the University of Toronto enables preparation for university degree
examinations.
1898 Local examination centers are established outside of Toronto.
1906 The Toronto Conservatory Orchestra is founded; two years later, this group becomes
the rst Toronto Symphony Orchestra.
1907 Approximately 1,500 students across Canada take Toronto Conservatory
examinationsmore than half from outside of Toronto.
1916 The rst piano repertoire book based on the Conservatory curriculum is published by
The Frederick Harris Music Co., Limited, and distributed throughout Canada.
1928 Composer Boris Berlin begins teaching at the Conservatory; he remains on the faculty
until his death in 2001.
1935 A ten-level examination system is established.
1946 Pianist Glenn Gould receives an ARCT. In the same year, the Conservatory Opera
School is established; several years later it plays a major role in the formation of the
Canadian Opera Company.
1947 In recognition of its status as one of the Commonwealths greatest music schools, the
Conservatory receives a Royal Charter from King George VI, allowing it to be called
The Royal Conservatory of Music.
1991 The Conservatory re-establishes independence from the University of Toronto. Plans
for restoration and expansion of the Toronto facilities begin.
2002 The Conservatory launches its Building National Dreams Campaign to expand the
Toronto facilities and build a state-of-the-art center for performance and learning.
2003 RCM Examinations expands into the United States of America.
2008 The Conservatorys TELUS Centre for Performance and Learning opens.
________________________________________________________________________
Quick Reference
7
Certicate Program Overview
Theory examinations are essential components of the prestigious Certicate Program
of RCM Examinations. Internationally recognized certicates and diplomas are awarded
when a candidate successfully completes each practical level (study of an instrument or
voice) and the required co-requisite theory examinations. Certicates are also awarded
when a candidate successfully completes each theory level. Candidates may enter
the Certicate Program at any practical level from Preparatory A, Preparatory B, or
Introductory, to Grade 10. The following table summarizes the examinations required for
each theory certicate. For detailed information on practical certicate requirements,
please consult the current syllabus for the relevant discipline.
Theory Certicates Examinations Required
Preparatory Rudiments Preparatory Rudiments
Basic Rudiments Basic Rudiments
Intermediate Rudiments Intermediate Rudiments
Advanced Rudiments Advanced Rudiments
Introductory Harmony Introductory Harmony
History and Theory: Basic Basic Harmony or Basic Keyboard Harmony
History 1: An Overview
History and Theory: Intermediate Intermediate Harmony or
Intermediate Keyboard Harmony
History 2: Middle Ages to Classical
History and Theory: Advanced Counterpoint
Advanced Harmony or
Advanced Keyboard Harmony
History 3: 19th Century to Present
Analysis
Quick Reference
________________________________________________________________________
Quick Reference
8
Theory Examinations Overview
The RCM Examinations graded theory system assesses essential tools in a students musical
development. Candidates may begin theory examinations at any point in their practical
music studies but are encouraged to begin theoretical studies as early as possible. With
the exception of Keyboard Harmony and Musicianship, which occur during the practical
examination session, all theory examinations take place in a formal written setting.
Preparing for a Theory Examination
Each examination requires preparation with a qualied teacher.
RCM Examinations Ofcial Examination Papers, available at music retailers, are published
annually by The Frederick Harris Music Co., Limited to aid with examination preparation.
Subject Examination Title Previous Title
Rudiments
Preparatory Rudiments (1 hour)
Building blocks of music notation
Preparatory Theory
Basic Rudiments (1 hour)
Elements of music for the beginner
Preliminary Rudiments
Intermediate Rudiments (2 hours)
Continuation of basic rudiments
Grade 1 Rudiments
Advanced Rudiments (2 hours)
Continuation of intermediate rudiments and preparation for harmony
Grade 2 Rudiments
Harmony and
Counterpoint
Introductory Harmony (2 hours)
Chord symbols; non-chord tones; elementary four-part and melodic writing
Introductory Harmony
Basic Harmony (3 hours)
Four-part writing; melodic composition; harmonic and structural analysis in
major and minor keys
or
Basic Keyboard Harmony (20 minutes)
Melodic improvisation; keyboard-style harmonization; accompaniment;
melodic transposition; harmonic and structural analysis
Grade 3 Harmony
or
Grade 3 Keyboard
Harmony
Intermediate Harmony (3 hours)
Four-part writing and melodic composition in major and minor keys;
modulation; harmonic and structural analysis of musical forms
or
Intermediate Keyboard Harmony (25 minutes)
Melodic improvisation; keyboard-style harmonization; modulation;
accompaniment; melodic transposition; harmonic analysis; C-clef reading
Grade 4 Harmony
or
Grade 4 Keyboard
Harmony
Counterpoint (3 hours)
Composition and analysis of simple counterpoint in Baroque style
Grade 4 Counterpoint
Advanced Harmony (3 hours)
Advanced harmonic and contrapuntal techniques
or
Advanced Keyboard Harmony (30 minutes)
Melodic improvisation; keyboard-style harmonization; gured bass;
accompaniment; melodic and orchestral transposition; score reading
Grade 5 Harmony
or
Grade 5 Keyboard
Harmony
Analysis
Analysis (3 hours)
Advanced structural and harmonic analysis of musical forms
Grade 5 Analysis
History
History 1: An Overview (3 hours)
Introduction to styles, composers, and music from 1600 to the present
Grade 3 History
History 2: Middle Ages to Classical (3 hours)
Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo,
and Classical periods
Grade 4 History
History 3: 19th Century to Present (3 hours)
Styles, composers, and music from the Romantic era to the present
Grade 5 History
Pl Please note: In 2006 06,
the titles of theory
examinations were
updated to better
reect the content
of examinations. The
following chart lists
both the previous
titles and their
cu current eqquivalents. s.
________________________________________________________________________
Quick Reference
9
Co-requisites and Prerequisites
The following table summarizes all the co-requisite and prerequisite examinations
required to obtain practical examination certicates. Beginning in Grade 5, candidates
must complete theory co-requisites. There are no prerequisite or co-requisite theory
examinations for Preparatory A, Preparatory B, Introductory, and Grades 1 to 4.
Candidates for the ARCT in Performance, the Teachers ARCT, or any of Parts 1, 2, or 3 of
the Intermediate Piano Pedagogy or Advanced Piano Pedagogy levels must complete
prerequisite examinations at least one session prior to registration.
Grade 5 6 7 8 9 10 Perf.
ARCT
Elem.
Ped.
Int.
Ped.
Adv.
Ped.
Teachers
ARCT
Required Examinations (C = Co-requisite P = Prerequisite)
Basic Rudiments C
Intermediate Rudiments C
Advanced Rudiments C C C C P C P P P
Basic Harmony C C
Intermediate Harmony C P C P P
Counterpoint C C C
Advanced Harmony C C C
Analysis C C C
History 1: An Overview C C P C P P P
History 2: Middle Ages to Classical C P C P P
History 3: 19th Century to Present C C C
Grade 9 Practical C P
Grade 10 Practical P C P P
Grade 6 Piano Co-requisite (not applicable for piano, accordion,
guitar, harp, harpsichord)
C
Grade 8 Piano Co-requisite (not applicable for piano, accordion,
guitar, harp, harpsichord)
C
Elementary Piano Pedagogy Part 2: Viva Voce and Part 3: Written P
Intermediate Piano Pedagogy Part 2: Viva Voce and Part 3: Written P
Recommended Examinations
Preparatory Rudiments
Alternative Examinations
Basic Keyboard Harmony (can be substituted for Basic Harmony) C C
Intermediate Keyboard Harmony (can be substituted for
Intermediate Harmony)
C P C P P
Advanced Keyboard Harmony (can be substituted for Advanced
Harmony)
C C C
Junior Musicianship (can be substituted for Grade 8 Ear Tests and
Sight Reading)
C
Intermediate Musicianship (can be substituted for Grade 9 Ear
Tests and Sight Reading)
C C
Senior Musicianship (can be substituted for Grade 10, Teachers
ARCT, and Advanced Piano Pedagogy Ear Tests and Sight Reading)
C C C C
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Quick Reference
10
Specialized Theory Examinations
Comprehensive Theory Examinations
Candidates may register to write a Comprehensive Theory Examination if they have
degrees or diplomas from other recognized music institutions. Successful completion of
the Comprehensive Theory Examination exempts candidates from all theory prerequisites
and co-requisites for all practical levels. This examination tests the candidates
comprehensive knowledge of:
rudiments
harmony and counterpoint
analysis
music history from the Middle Ages to the present
To request permission to write the Comprehensive Theory Examination, submit a Transfer
Credits and Exemptions Request Form (available online) by the examination registration
deadline.
ARCT Diploma in Composition and/or Theory
The ARCT Diploma in Composition and/or Theory is an advanced course of study covering
musical styles and techniques from the Renaissance to the present. The diploma may be
awarded in Composition, in Theory, or in Composition and Theory combined.
The examination process for the ARCT diploma comprises three parts:
multiple examinations of counterpoint, harmony, orchestration, analysis, music history,
and ear training
compositions and/or research papers
an oral defense
Musicianship examinations test sight singing and recognition of scales, chords, and
intervals. They may replace the Ear Test and Sight Reading sections of the following
examinations:
Musicianship
Level
Practical Examination Exemption
All candidates except Voice
Practical Examination Exemption
Voice candidates only
Junior Grade 8 Ear Tests Grade 8 Ear Tests and Sight Singing
Intermediate Grade 9 Ear Tests Grade 9 Ear Tests and Sight Singing
Senior Grade 10, Teachers ARCT, and
Advanced Piano Pedagogy Ear Tests
Grade 10 and Teachers ARCT Ear
Tests and Sight Reading
Please visit Syllabi at www.rcmexaminations.org or www.TheAchievementProgram.org to
view the examination requirements and resources for Musicianship examinations.
SSSp Spec ic requirementtss
for the Comprehensive
Theory Examination
can be found
on p. 41.
SSSp Speci ic req i uirementss
for the ARCT diploma
can be found on
p. p 42.
________________________________________________________________________
Examination length 1 hour
Co-requisite for n/a
Recommended theory
prerequisites
n/a
Recommended for
concurrent study with
Preparatory A, Preparatory B,
and Introductory Practical
Examinations
Resources
RCM Examinations Ofcial Examination Papersp. 54
Appendixp. 56
Rudiments resourcesp. 70
Annotated Resource Listavailable under Syllabi at
www.rcmexaminations.org or
www.TheAchievementProgram.org
The Preparatory Rudiments examination tests
candidates recognition and understanding of
preparatory elements of musical notation, including the
following topics:
Pitch
grand staff; treble (G) and bass (F) clefs
names of notes up to two ledger lines above or below
treble and bass clefs
accidentals (sharp, at, and natural)
whole tones (whole steps) and semitones (half steps)
matching notes to a keyboard picture
naming or drawing notes shown on a keyboard picture
Rhythm
time values of notes and rests (whole, half, quarter, and
eighth)
dotted notes (half and quarter)
time signatures: (
c
)
adding time signature, bar lines, and rests to a given
line of music in simple time
Scales
Write or identify the following in C, G, or F major:
scales, ascending or descending, one octave
key signatures for the above scales
scale degrees: tonic
Intervals
Write or identify the following above a given note:
all intervals up to and including an octave (numerical
size only), harmonic or melodic forms
Identify the following below a given note:
all intervals up to and including an octave (numerical
size only), melodic form
Triads
Write or identify the following in C, G, or F major:
solid (blocked) triads, root position on the tonic, with or
without key signatures, close position only
Identify the following in C, G, or F major:
broken triads, root position on the tonic, with or
without key signatures, close position only
Analysis
Candidates will be asked to analyze a short musical
composition, identifying any of the requirements for
Preparatory Rudiments, including the terms below.
11
Rudiments
Level-by-Level Theory Requirements
Rudiments
The study of Rudiments introduces students to the basic elements and notational conventions of music. These building
blocks of musical grammar provide the foundation for students further explorations in harmony, history, counterpoint,
and analysis.
________________________________________________________________________
12
Rudiments
Musical Terms and Signs
Candidates will be asked to dene or supply musical
terms or signs from the following list, or to recognize these
terms and signs in a musical passage. The denitions
and translations given below are acceptable for theory
examinations, but candidates may also use any denitions
and translations found in standard rudiments textbooks,
music dictionaries, or other music reference books.
Terms
a tempo return to the original tempo
allegro fast
andante moderately slow; at a walking
pace
crescendo, cresc. becoming louder
decrescendo, decresc. becoming softer
diminuendo, dim. becoming softer
forte, loud
largo very slow
legato smooth
mezzo forte, moderately loud
mezzo piano, moderately soft
moderato at a moderate tempo
piano, soft
ritardando, rit. slowing down gradually
staccato detached
Signs
bar line
a vertical line
separating
measures
measure/bar
a unit of musical
time
double bar
line
indicates the end
of a piece
repeat sign
repeat the music
within the double
bar lines
fermata
(pause)
hold the note or
rest longer than
its written value
slur
play the notes
legato
tie
hold for the
combined value of
the tied notes
crescendo becoming louder
decrescendo/
diminuendo
becoming softer
staccato detached
________________________________________________________________________
Basic Rudiments
Examination length 1 hour
Co-requisite for Grade 5 Practical Examination
Recommended theory
prerequisites
Recommended for
Grades 1 to 5 Practical
Examinations
Resources
Appendixp. 56
The Basic Rudiments examination tests candidates
recognition and understanding of basic elements of
musical notation, including the following topics:
Pitch
grand staff; treble (G) and bass (F) clefs
names of notes up to ve ledger lines above or below
treble and bass clefs
accidentals (sharp, at, and natural)
enharmonic equivalents of notes
whole tones (whole steps), diatonic and chromatic
semitones (half steps)
Rhythm
time values of notes and rests from sixteenth to whole
dotted notes (half, quarter, and eighth)
triplets (quarter, eighth, and sixteenth)
time signatures:

(

)

(
c
)

adding time signature, bar lines, and rests to a given
passage in simple time, which may include an anacrusis
(upbeat)
Scales
Write or identify the following in keys up to and including
four sharps or ats:
major and minor (natural, harmonic, and melodic)
scales, ascending and descending
key signatures for the above scales
scale degrees: tonic, subdominant, and dominant
related keys (relative major and minor)
Intervals
four sharps or ats above a given note:
perfect, major, and minor intervals within the octave (no
inversions), harmonic or melodic forms
Identify the following in keys up to and including four
sharps or ats below a given note:
perfect, major, and minor intervals within the octave (no
inversions), melodic form

Triads
four sharps or ats:
solid (blocked) triads of major and minor quality, root
position on the tonic, subdominant, and dominant of
major and harmonic minor scales, with or without key
signatures, close position only
Identify the following in keys up to and including four
sharps or ats:
broken triads in root position of major and minor
quality, on the tonic, subdominant, and dominant of
major and harmonic minor scales, with or without key
signatures, close position only

Recognition of Keys
keys up to and including four sharps or ats
identify the key (major or minor) of a given passage with
a key signature
Transposition
keys up to and including four sharps or ats
transpose a melody up or down one octave
transpose a melody from one clef to another
rewrite a melody at the same pitch in the alternate clef
Analysis
Basic Rudiments, including the terms below.
13
Rudiments
________________________________________________________________________
terms or signs from the following list, or to recognize
these terms and signs in a musical passage. The
denitions and translations given below are acceptable
for theory examinations, but candidates may also use any
denitions and translations found in standard rudiments
textbooks, music dictionaries, or other music reference
books.
Terms
adagio a slow tempo (slower than
andante, but not as slow as largo)
allegretto fairly fast (a little slower than
allegro)
allegro fast
andante moderately slow; at a walking
pace
andantino a little faster than andante
cantabile in a singing style
con pedale, con ped. with pedal
da capo, D.C. from the beginning
dal segno, D.S. from the sign
D.C. al Fine repeat from the beginning
and end at Fine
dolce sweet, gentle
ne the end
forte, loud
fortissimo, very loud
grazioso graceful
larghetto not as slow as largo
largo very slow
legato smooth
lento slow
maestoso majestic
mano destra, M.D. right hand
mano sinistra, M.S. left hand
marcato, marc. marked or stressed
mezzo forte, F moderately loud
mezzo piano, P moderately soft
ottava, 8va the interval of an octave
pedale, ped. pedal
pianissimo, very soft
piano, p soft
prestissimo as fast as possible
presto very fast
rallentando, rall. slowing down
staccato detached
tempo speed at which music is
performed
Tempo primo (Tempo I) return to the original tempo
tenuto held, sustained
Signs
accent a stressed note
staccato detached
tie hold for the combined
value of the tied notes
slur play the notes legato
U
fermata pause; hold the note
or rest longer than its
written value
decrescendo/
diminuendo
becoming softer
ottava, 8va play one octave above
the written pitch
ottava, 8va play one octave below
the written pitch
repeat sign repeat the music within
the double bar lines
pedal marking
pedal marking
14
Rudiments
________________________________________________________________________
Intermediate Rudiments
Examination length 2 hours
Recommended theory
prerequisites
Basic Rudiments
Recommended for
Grades 4 to 6 Practical
Examinations
Resources
Appendixp. 56
The Intermediate Rudiments examination tests
candidates knowledge of the requirements for the Basic
Rudiments examination plus the additional material
listed below.
Pitch
double sharps
double ats
Rhythm
time values of thirty-second notes and rests
time signatures in simple time
time signatures in compound time:
irregular groupings, for example:
quintuplets and septuplets in simple time

duplets and quadruplets in compound time

double dots
breve note and rest
Scales
Write or identify the following:
all major and minor (natural, harmonic, and melodic)
scales
related keys: relative major and minor, tonic (parallel)
major and minor
enharmonic major or minor scales
technical names of scale degrees: tonic, supertonic,
mediant, subdominant, dominant, submediant, and
leading note
whole-tone scale beginning on any note (using six
different letter names, starting and nishing with the
same letter name)
chromatic scale beginning on any note (using any
version of chromatic scales found in standard
textbooks; no letter name may appear more than twice
in a row, and the scale must start and nish on the
same letter name)
Identify the following, beginning on any note:
blues scale
major pentatonic scale
minor pentatonic scale
octatonic scale
Blues scale
Major pentatonic scale
Minor pentatonic scale
Octatonic scale
Intervals
Write or identify the following above or below a given note:
all intervals and their inversions up to and including the
perfect octave, harmonic and melodic forms
Triads
Identify the following:
solid (blocked) or broken triads of major and minor
quality, root position and inversions, in major and
harmonic minor scales, close or open position
Write the following:
solid (blocked) triads of major and minor quality, root
position and inversions, in major and harmonic minor
scales, close position only
Recognition of Keys
identify the key for given excerpts without key signatures
(candidates may be asked to rewrite the excerpt with
the correct key signature and name the key)
15
Rudiments
________________________________________________________________________
Transposition
major keys only
transpose a melody up any interval within the octave
Cadences
Identify the following by name (in keyboard style only) in a
musical excerpt in any major or minor key:
major keys minor keys
Perfect (authentic) VI Vi
Plagal IVI ivi
Imperfect (half cadence) IV, IVV iV, ivV
Analysis
Intermediate Rudiments, including the terms below.
terms or signs from the following list plus those from
the Basic Rudiments examination, or to recognize these
terms and signs in a musical passage. The denitions
and translations given below are acceptable for theory
examinations, but candidates may also use any
denitions and translations found in standard rudiments
textbooks, music dictionaries, or other music reference
books.
Terms
accelerando, accel. becoming quicker
alla, all in the manner of
animato lively, animated
assai much, very much (for example:
allegro assai, very fast)
ben, bene well (for example: ben marcato,
well marked)
brillante brilliant
col, coll, colla, colle with (for example: collottava, with
an added octave)
con with
con brio with vigor, spirit
con espressione with expression
con moto with movement
e, ed and
espressivo, espress. expressive, with expression
fortepiano, loud, then suddenly soft
grave slow and solemn
leggiero light, nimble, quick
loco return to normal register
ma but (for example: ma non troppo,
but not too much)
meno mosso less movement, slower
M.M. Maelzels metronome
molto much, very
non not
non troppo not too much
pi more
pi mosso more movement (quicker)
poco little
poco a poco little by little
quasi almost, as if
rubato with some freedom of tempo to
enhance musical expression
sempre always, continuously
senza without
spiritoso spirited
tranquillo quiet, tranquil
tre corde three strings; release the left
(piano) pedal
troppo too much
una corda one string; depress the left
(piano) pedal
vivace lively, brisk
16
Rudiments
________________________________________________________________________
Advanced Rudiments
Co-requisite for Grades 7 to 10 Practical
Examinations
Elementary Piano Pedagogy
Prerequisite for ARCT in Performance
Teachers ARCT
Intermediate and Advanced Piano
Pedagogy
Recommended theory
prerequisites
Basic Rudiments
Recommended for
Grades 7 and 8 Practical
Examinations
Resources
Appendixp. 56
The Advanced Rudiments examination tests candidates
knowledge of the requirements for the Basic and
Intermediate Rudiments examinations plus the
additional material listed below.
Clefs
alto and tenor clefs (C clefs)
Rhythm
time signatures for hybrid meters such as , , and
Scales
all major and minor scales, beginning on any scale
degree
Dorian, Phrygian, Lydian, Mixolydian, and Aeolian
modes, beginning on any note
Intervals
Write or identify the following above or below a given note:
all intervals and their inversions, harmonic and melodic
forms, including simple intervals, compound intervals,
and enharmonic equivalents.
Chords
all triads (major, minor, augmented, and diminished),
root position and inversions, close or open position
dominant 7ths, root position and inversions, in major
and minor keys, close or open position
diminished 7ths of harmonic minor scales, root position
only
Identify the following:
the scale (major, natural minor, or harmonic minor) in
which a group of triads or chords may be found
Cadences
Identify the following cadences in any major or minor key:
Perfect (authentic) VI, V
7
I Vi, V
7
i
Plagal IVI ivi
Imperfect (half-cadence) IV, IVV iV, ivV
Write the following cadences in keyboard style, in any
major or minor key, at the end of a melodic fragment:
Perfect (authentic) VI Vi
Plagal IVI ivi
Imperfect (half-cadence) IV, IVV iV, ivV
Transposition
transpose a melody up or down any interval within the
octave
rewrite a melody at the same pitch in an alternate clef
(including C clefs)
transpose to concert pitch a single line of music for
orchestral instruments
in B at (clarinet, trumpet)
in F (French horn, English horn)
17
Rudiments
________________________________________________________________________
Score Types (See Descriptions of Scores on p. 60.)
Rewrite a given passage into the following score types:
modern vocal score
string quartet score
short score (on two staves)
Analysis
Basic, Intermediate, and Advanced Rudiments, including
the terms below, as well as imitation, inversion, measures
(m., mm.), sequence, and tritone.
terms or signs from the following list plus those from
the Basic and Intermediate Rudiments examinations,
or to recognize these terms and signs in a musical
passage. The denitions and translations given below
are acceptable for theory examinations, but candidates
may also use any denitions and translations found in
standard rudiments textbooks, music dictionaries, or
other music reference books.
French Terms
cdez yield; hold the tempo back
lger light; lightly
lentement slowly
modr at a moderate tempo
mouvement tempo; motion
vite fast
German Terms
bewegt moving
langsam slow; slowly
mssig moderate; moderately
mit Ausdruck with expression
sehr very
schnell fast
Italian Terms
ad libitum, ad lib. at the liberty of the performer
agitato agitated
allargando, allarg. broadening, becoming slower
arco for stringed instruments: resume
bowing after a pizzicato passage
attacca proceed without a break
calando becoming slower and softer
comodo at a comfortable, easy tempo
con fuoco with re
con grazia with grace
con sordino with mute
dolente sad
giocoso humorous, jocose
grandioso grand, grandiose
largamente broadly
listesso tempo the same tempo
martellato strongly accented, hammered
mesto sad, mournful
morendo dying, fading away
pesante weighty, with emphasis
pizzicato for stringed instruments: pluck the
string instead of bowing
primo, prima rst; the upper part of a duet
quindicesima alta two octaves higher
(15ma)
risoluto resolute
ritenuto, riten. suddenly slower, held back
scherzando playful
secondo, seconda second; second or lower part of a duet
semplice simple
sforzando, , a sudden strong accent of a single
note or chord
simile continue in the same manner as has
just been indicated
sonore sonorous
sopra above
sostenuto sustained
sotto voce soft, subdued, under the breath
stringendo pressing, becoming faster
subito suddenly
tacet be silent
tutti a passage for the ensemble
vivo lively
volta time (for example, prima volta, rst
time; seconda volta, second time)
volti subito, v.s. turn the page quickly
Chord Types
cluster a chord consisting of at least three
adjacent notes of a scale
polychord a combination of two or more
different chords
quartal chord a chord built on a series of 4ths
seventh (7th) chord a chord consisting of a root, a third,
a fth, and a seventh
triad a chord consisting of a root, a third,
and a fth
18
Rudiments
________________________________________________________________________
The Introductory Harmony examination is strongly
recommended as preparation for Basic Harmony.
Recommended theory
prerequisite
Advanced Rudiments
Recommended for
Grade 8 Practical Examination
Resources
Appendixp. 56
Harmony resourcesp. 71
The Introductory Harmony examination tests candidates
knowledge of the requirements for the Basic,
Intermediate, and Advanced Rudiments examinations
plus the additional material listed below. These elements will
be tested in major and minor keys.
Chords
Qualities of triads and 7th chords
triads: major, minor, diminished, and augmented
7th chords: major 7th, major-minor 7th (for example,
dominant 7th), minor 7th, half-diminished 7th
(diminished-minor 7th), and diminished 7th
Chord Symbols (See Chord Symbols on p. 61.)
root/quality chord symbols
functional chord symbols
Chords in keyboard style and chorale (SATB) style
I, ii, IV, V, and vi in major keys, in root position and
rst inversion
i, ii, iv, V, and VI in minor keys, in root position and
rst inversion
dominant 7th chord in root position and all
inversions
cadential chord
Cadences
perfect (authentic), imperfect (half-cadence), plagal, and
deceptive
Four-part Writing
types of motion: parallel, similar, oblique, contrary,
stasis (no motion)
SATB vocal ranges
principles of voice-leading
Non-chord Notes (See Non-chord Notes on p. 67.)
passing notes, neighbor notes, and appoggiaturas
Baroque Dances
allemande, courante, sarabande, gigue, menuet,
bourre, and gavotte
Examination Questions
Candidates should be prepared to answer the following
types of examination questions:
Writing and Identication of Individual Chords
Identify the root and quality of diatonic triads and
7th chords found in major, natural minor, and harmonic
minor scales.
Write a chord symbol (either the functional chord
symbol or the root/quality chord symbol or both may
be required) for a given chord, which may appear in
solid (blocked) or broken form, keyboard or SATB
style, open or close spacing, and in root position or
inversions.
For a given functional chord symbol root/quality chord
symbol, write the chord in a specied format (as
described above).
Melody Writing
Extend a phrase to a specied length from a given
opening motive.
Supply a melody for a given rhythmic structure.
Supply a four-measure response to a given four-measure
melody.
Name the type of cadence implied at each phrase
ending.
Write and name two-part (melody and bass) cadences
(functional chord symbols may be required).
19
Harmony, Counterpoint, and Analysis
The study of Harmony and Counterpoint builds on the knowledge of basic elements acquired in Rudiments to address
melody writing, harmonization, and analysis. The study of Analysis continues to build on the knowledge and skills
acquired in Rudiments, Harmony, Counterpoint, and History by incorporating a detailed study of musical forms,
elements, and compositional techniques and approaches. Overall, students gain an understanding of musical structure
and syntax that allows them to engage more deeply with the music they hear and play.
________________________________________________________________________
Two-part Texture (mainly note-against-note)
Add a bass line to a given melody.
Add a melody to a given bass line.
Write functional chord symbols to indicate the
harmonic implication of a given melody or bass line.

Harmonization in Four Parts (SATB)
Given a series of functional chord symbols, write brief
harmonic progressions in four-part chorale style, using
the chords indicated.
Analysis
For a given piece or excerpt:
Identify the key.
Identify the cadences.
Mark the structural phrasing.
Provide chord symbols (root/quality chord symbols or
functional chord symbols or both).
Circle and classify non-chord notes.
Identify traditional Baroque dances by their rhythmic
character (if applicable to the excerpt).
State an appropriate tempo marking for a given dance
or excerpt.
Answer brief questions concerning the musical
elements found in a given piece or excerpt.
(Vocabulary and concepts will be drawn from theory
examination requirements from Basic Rudiments up to
and including this level.)
Basic Harmony
Recommended theory
prerequisites
Advanced Rudiments
Resources
Appendixp. 56
The Basic Harmony examination tests candidates
knowledge of the requirements for Introductory Harmony
plus the additional material listed below. These elements will
be tested in major and minor keys.
Chords
Root position and all inversions
all triads, including the cadential chord
dominant 7th and supertonic 7th chords
V/V, V
7
/V, and vii/V
qualities of 7th chords: major 7th, major-minor 7th
(dominant 7th), minor 7th, half-diminished 7th
(diminished-minor 7th), and diminished 7th. For
7th chords other than V
7
, ii
7
, and ii
7
, only identication
of quality is required.
Chord symbols (See Chord Symbols on p. 61.)
Pedal Points (See Chord Symbols on p. 61.)
on the tonic and dominant scale degrees
Sequences (See Sequences on p. 68.)
dofatimi (descending 5ths)
Modulation
to a traditional goal key: to V from major keys and to III
or v from minor keys
in formal analysis only: identication of modulations to
all closely related keys
passing notes, accented passing notes, neighbor notes,
accented neighbor notes, incomplete neighbor notes,
chappes, suspensions, anticipations, and appoggiaturas
Form
binary, rounded binary, and ternary
Melody with Added Bass Line at the Cadences
(Please see the RCM Examinations website at www.
rcmexaminations.org for Models from the Repertoire.)
Extend a given melodic opening to create a sixteen-
measure composition with four four-measure phrases.
The style will be that of an 18th-century dance.
The composition is to be in rounded binary form with
repeat signs appropriate to this form.
The melody will remain in the principal key;
modulation is not required.
The four phrase endings of the melody are to be
accompanied by a bass part and functional chord
symbols; candidates will be required to name the
type of each cadence. Two-part (melody and bass)
cadences are required; stem directions are to be
consistent with two-part writing.
20
________________________________________________________________________
21
The rst eight measures or fewer will be given, with
both the melody and the bass part at the cadences.
Candidates will complete the melody and add the
bass part at the cadences and will mark the phrasing
for the entire composition.
The third phrase should demonstrate some melodic
contrast and inventiveness, while remaining
consistent with the style of the given opening. Literal
restatement, transposition, etc., are discouraged in
the third phrase.
Candidates may also be asked to indicate the implied
harmony throughout the composition using either
functional chord symbols or root/quality chord
symbols.
Harmonization I: Given Chord Symbols
Harmonize in four parts (SATB) a series of given
functional chord symbols.
Harmonization II: Given Melody (major keys only,
for this question only)
Harmonize in four parts (SATB) a given melody with or
without a given bass line.
The melody may be a chorale or hymn, an excerpt
from a chorale or hymn, or a melody in a similar style.
When a text is present, candidates are to write a
correct rhythmic setting of the text.
Harmonic and Structural Analysis
For a given example:
functional chord symbols or both).
Indicate pedal points for their entire duration.
For a given simple dance movement containing
modulations to closely related keys:
Mark the structural phrasing.
Identify the cadences (perfect [authentic]), plagal,
imperfect ([half-cadence], or deceptive) and their keys.
Identify the form (binary, rounded binary, or ternary)
and label the sections of the form by placing letters
(A, B, etc.) directly on the score.
elements found in a given piece or excerpt. (Vocabulary
and concepts will be drawn from theory examination
requirements from Basic Rudiments up to and including
this level.)
Intermediate Harmony
Intermediate Piano Pedagogy
Prerequisite for ARCT in Piano Performance
Teachers ARCT
Advanced Piano Pedagogy
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Resources
Appendixp. 56
The Intermediate Harmony examination tests candidates
knowledge of the requirements for Introductory and Basic
Harmony plus the additional material listed below.
Chords
diatonic 7ths
secondary (applied) dominants (V, V
7
)
secondary (applied) leading-note chords (vii, vii
o7
, and
vii
7
)
Root position only
dominant 9ths, 11ths, and 13ths
secondary (applied) dominants (V
9
, V
11
, and V
13
)
gured bass
Pedal Points (See Chord Symbols on p. 61.)
on any scale degree
dofatimi (diatonic descending 5ths and chromatic
descending 5ths; i.e., with secondary dominants)
dosolrela
dofaresol
dosolla-mi
________________________________________________________________________
Modulation
to all closely related keys
between tonic major and tonic minor
Form
binary, rounded binary, and ternary (including
compound ternary form in which the individual sections
have identiable forms)
rondo
sonata
types of examination questions. Each question may
appear in a major or a minor key.
Melody with Added Bass Line at the Cadences
Extend a given melodic opening to create a sixteen-
measure composition with four, four-measure phrases.
The style will be that of an 18th-century dance.
The form is to be either binary or rounded binary with
appropriate repeat signs; candidates are to identify
the chosen form.
The composition should demonstrate motivic unity
and must include a modulation to a traditional goal
(to V in major keys, to III or v in minor keys) and a
return to the home key.
The four phrase endings of the melody are to be
accompanied by a bass part and functional chord
symbols; candidates will be required to name the
key and type of each cadence. Two-part (melody and
bass) cadences are required; stem directions are to
be consistent with two-part writing. Candidates are to
mark the structural phrasing.
Candidates may also be asked to indicate the implied
harmony throughout the composition using either
functional chord symbols or root/quality chord
symbols.
Harmonization I: Given Chord Symbols
Harmonize in four parts (SATB) a series of given
functional chord symbols.
Realize in keyboard style a brief passage with a given
gured bass.
Harmonization II: Given Melody
Harmonize in four parts (SATB) a given melody with or
without a given bass line.
The melody may be a chorale or hymn, an excerpt
from a chorale or hymn, or a melody in a similar style.
When a text is present, candidates are to write a
correct rhythmic setting of the text.
Candidates are expected to maintain the style of the
given material.
Harmonic and Structural Analysis
functional chord symbols, or both).
Indicate pedal points for their entire duration.
Provide a detailed analysis and/or answer brief
questions concerning the structure of a movement in
one of the forms listed above. (Vocabulary and concepts
will be drawn from theory examination requirements
from Basic Rudiments up to and including Intermediate
Harmony.)
Counterpoint
Co-requisite for ARCT in Performance
Teachers ARCT
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Resources
Appendixp. 56
Counterpoint resourcesp. 71
The Counterpoint examination tests the application
of materials studied in Intermediate Harmony to
contrapuntal writing in the style of the Baroque period.
types of examination questions.
Fugal Exposition
Complete a two-part fugal exposition with a countersubject
written in invertible counterpoint; the exposition will include
a redundant entry. Candidates will be required to label the
components of the exposition that they have completed.
Short Pieces for Melody and Bass
Add a bass line to a given melody. Continue the style
of the given material to create a unied contrapuntal
composition in Baroque style.
Realize a given gured bass in keyboard style and add
a melody (three staves will be given). Continue the style
of the given material to create a unied contrapuntal
composition in Baroque style. (See A Standardized
Notation for Figured Bass on p. 62.)
elements (such as form, dance types, sequences, etc.) in
the given material.
22
________________________________________________________________________
Analysis
Analyze a piece or an excerpt of contrapuntal music.
Helpful models can be found in J.S. Bachs The Well-
Tempered Clavier (books 1 and 2), Two-Part Inventions, or
Three-Part Inventions (Sinfonias).
Identify appearances of subject, real and tonal answers,
countersubject, codetta (link), stretto, redundant entries,
counter-exposition, augmentation, diminution, and
inversion.
elements found in a given piece or excerpt.
Analyze the harmony implied by the given material for
specied passages.
Advanced Harmony
Teachers ARCT
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Counterpoint
Resources
Appendixp. 56
The Advanced Harmony examination tests candidates
knowledge of the requirements for Introductory Harmony,
Basic Harmony, Intermediate Harmony, and Counterpoint
plus the additional material listed below.
Chords
advanced chromatic harmony including:

b
II and other altered triads
augmented 6th chords
common-tone diminished 7th chords
(See Chord Symbols on p. 61.)
Modulations
to remote keys
Two-Part Counterpoint
Extend a given opening to create a two-part
contrapuntal composition in binary or rounded-binary
form with appropriate repeat signs. Use a style and
harmonic vocabulary similar to that of an 18th-century
dance or invention. The composition should have
motivic unity and the key structure should be consistent
with the form.
Harmonization I
Harmonize a given chorale melody in the style of
J.S. Bach.
Harmonization II
Harmonize in four parts (SATB) given material featuring
the vocabulary of Advanced Harmony.
Modulation
Continue a given opening in four-part texture; include a
modulation to a specied key, a cadence in the new key,
a modulation back to the tonic key, and a nal cadence.
The use of a particular pivot chord may or may not be
specied.
Analysis
functional chord symbols, or both).
elements. (Vocabulary and concepts will be drawn
from theory examination requirements from Basic
Rudiments up to and including Advanced Harmony.)
Analysis
Teachers ARCT
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Counterpoint
Advanced Harmony
Resources
Appendixp. 56
Analysis resourcesp. 72
23
________________________________________________________________________
The Analysis examination tests candidates knowledge
of the requirements for Introductory Harmony, Basic
Harmony, Intermediate Harmony, Counterpoint, and
Advanced Harmony, as well as the ability to provide
detailed harmonic and structural analyses of, and answer
questions about, the musical forms and elements listed
below.
Fugues
fugues from J.S. Bachs The Well-Tempered Clavier, books 1
and 2
Instrumental Works
movements in the following forms from piano and
chamber sonatas by Haydn, Mozart, Beethoven, and
Schubert
binary
rounded binary
ternary (including compound ternary)
theme and variations
rondo (including sonata-rondo)
sonata form
Art Songs (19th century)
solo song in strophic, modied strophic, and through-
composed forms
the relationship of text and music (translations will be
provided as needed)
Short Post-1900 Works
Music composed after 1900, demonstrating any of the
following elements:
Scale Types
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian,
Locrian, pentatonic (various types), blues, chromatic,
whole-tone, octatonic (diminished)
Chord Types
tertian harmony (triads, 7th, 9th, 11th, and 13th chords)
chords with added notes
quartal chords
clusters (based on various scales)
polychords
Textures
pedal, ostinato, parallelism (layering), contrary motion,
imitation
Forms of Non-tonal Organization
Twelve-tone style and its associated techniques,
including:
manipulation of note cells and tone rows (such
as octave displacement, inversion, retrograde,
retrograde-inversion, etc.)
completion of row tables/matrices (candidates will
not be required to construct an entire matrix).
24
________________________________________________________________________
Basic Keyboard Harmony
Examination length 20 minutes, plus 20 minutes of
preparation time
Recommended theory
prerequisites
Advanced Rudiments
Please note: The Basic Keyboard Harmony examination
may be substituted for the Basic Harmony examination
for the purpose of obtaining a practical examination
certicate or theory certicate.
Resources
Appendixp. 56
Keyboard Harmony resourcesp. 72
The Basic Keyboard Harmony examination is based
on the harmonic vocabulary listed below. Prior to
the examination, candidates will be given twenty
minutes to prepare the examination questions at the
piano. Candidates are not permitted to write on the
examination paper.
Keys
up to and including two sharps or two ats
major keys only unless otherwise specied
Chords
all triads, including cadential chords
dominant 7th and supertonic 7th chords
V/V, V
7
/V, and vii
6
/V
Pedal Points
dofatimi (descending 5ths)
Modulations
to the dominant key
passing notes, accented passing notes, neighbor notes,
accented neighbor notes, incomplete neighbor notes,
chappes, suspensions, anticipations, and appoggiaturas
Candidates should be prepared to perform the following:
Melodic improvisation (major or minor keys)
Improvise four-measure responses to two four-measure
melodic phrases.
Each response, together with the given opening, should
create a unied melody.
Add bass notes only at the cadences.
Melodic Ornamentation
Add non-chord notes to a given excerpt consisting of a
simple melody with left-hand chordal accompaniment.
Harmonization I: Sequences
Play a sequence of descending 5ths in keyboard style.
Use any arrangement that demonstrates good voice-
leading.
Example only
Harmonization II: Chord Progressions
Play diatonic chord progressions in keyboard style.
Use the harmonic vocabulary required for Basic
Keyboard Harmony.
A soprano line may be provided.
Harmonization III: Chorale (or Chorale-style Passage)
Harmonize a given soprano and bass in keyboard style.
Some functional chord symbols or gures will be
provided.
25
Keyboard Harmony
The study of Keyboard Harmony allows students to explore melody writing, harmonization, and analysis at the
keyboard in a direct and practical manner. Utilizing the vocabulary of Basic, Intermediate, and Advanced Harmony,
students gain an understanding of musical structure and syntax, while also building aural awareness, gaining ease
and condence in practical musicianship, and developing the creative impulse.
Keyboard Harmony
________________________________________________________________________
Accompaniment
Create an accompaniment in an appropriate style
for a given instrumental or vocal melody.
Some functional chord symbols (ii, V , I) or root/
quality chord symbols (Dm, G7/B, C) may be
provided. Familiarity with both systems is required.
Melodic Transposition (major or minor keys, treble
or bass clef)
Name both the given and the resultant keys of a
diatonic melody (resultant key will not exceed two sharps
or two ats).
Transpose the melody up or down a major or minor
2nd, or a major or minor 3rd.
During the examination, candidates will not be given
the opportunity to play the passage as written.
Analysis I: Harmonic Analysis (major or minor keys)
Name the key of a short passage of music.
Play the passage, indicating the chord symbols (root/
quality or functional) for each chord as it is played.
Identify the circled non-chord notes.
Analysis II: Structural Analysis (major or minor keys)
Name the key of a simple dance in 17th- or 18th-century
style and identify the form as binary, rounded binary, or
ternary.
Play the passage, pausing at the end of each phrase to
name the cadence and key.
Sight-reading ability will not be evaluated.
preparation time
(substitute for Intermediate Harmony)
Teachers ARCT
(substitute for Intermediate Harmony)
Recommended
theory prerequisites
Advanced Rudiments
Basic Harmony or Basic Keyboard
Harmony
Please note: The Intermediate Keyboard Harmony
examination may be substituted for the Intermediate
Harmony examination for the purpose of obtaining a
practical examination certicate or theory examination
certicate.
Resources
Appendixp. 56
The Intermediate Keyboard Harmony examination is
based on the harmonic vocabulary listed below. Prior
to the examination, candidates will be given twenty-
ve minutes to prepare the examination questions at
the piano. Candidates are not permitted to write on the
examination paper.
Keys
up to and including four sharps or four ats
Chords
all triads
dominant 7th

chords
diatonic 7th chords
secondary (applied) dominants of all degrees
secondary (applied) leading-note chords of all degrees
Root position only
dominant 9th and 13th chords
Chord Symbols (See Chord Symbols on p. 61.)
gured bass
Pedal Points
dofatimi (diatonic descending 5ths and chromatic
descending 5ths; i.e., with secondary dominants)
Modulations
to all closely related keys (with a change of no more
than one sharp or at in the key signature)
Melodic Improvisation
Improvise four-measure responses to two four-measure
melodic phrases.
Each response, together with the given opening,
should create a unied melody.
In major keys, the given phrase will contain a brief
tonicization of the dominant. In minor keys, the given
phrase will contain a brief tonicization of the mediant
(the relative major).
Add bass notes only at the cadences.
26
Keyboard Harmony
________________________________________________________________________
Play a sequence of descending 5ths using diatonic
7ths in keyboard style. Use any arrangement that
demonstrates good voice-leading.
Example only
Play chord progressions in keyboard style.
Use the harmonic vocabulary required for
Intermediate Keyboard Harmony.
A soprano line may be provided.
Harmonization III: Chorale Style
Harmonize a given soprano and bass in keyboard style.
Some gures may be provided.
Accompaniment
Melodic Transposition (major or minor keys, treble
or bass clef)
Name both the given and the resultant keys of a melody
that will contain chromatic notes (resultant key will not
exceed four sharps or four ats).
Reading C Clefs
Play a short, two-part composition containing treble,
alto, tenor, or bass clefs.
One of the two parts will be written in a C clef.
Harmonic Analysis (major or minor keys)
Name the key of a short passage of music.
Play the passage, indicating the chord symbols (root/
quality or functional) for each chord as it is played.
Identify the circled non-chord notes.
Advanced Keyboard Harmony
preparation time
Teachers ARCT
(substitute for Advanced Harmony)
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony or Basic Keyboard
Harmony
Intermediate Harmony or
Please note: The Advanced Keyboard Harmony
examination may be substituted for the Advanced
Harmony examination for the purpose of obtaining a
practical examination certicate or theory certicate.
Resources
Appendixp. 56
The Advanced Keyboard Harmony examination is
based on the harmonic vocabulary listed below. Prior
to the examination, candidates will be given thirty
minutes to prepare the examination questions at the
piano. Candidates are not permitted to write on the
examination paper.
Chords
all triads
dominant 7th chords
diatonic 7th chords
secondary (applied) dominants of all degrees
secondary (applied) leading-note chords of all degrees
advanced chromatic harmony (including
b
II, other
altered triads and chords, augmented 6th chords, and
common-tone diminished 7th chords)
(See Chord Symbols on p. 61.)
Root position only
dominant 9th and 13th chords
Pedal Points
Modulations
to closely related keys and distant keys
27
Keyboard Harmony
________________________________________________________________________
Melodic Improvisation
Extend a given four-measure melodic phrase to create a
sixteen-measure composition with four phrases, adding
bass notes only at the cadences. The composition
should demonstrate:
motivic unity
modulation to a traditional goal (major keys:
dominant; minor keys: mediant or dominant) with a
return to the home key
binary or rounded binary form (candidates will be
asked to identify the form)
Play a sequence in keyboard style, starting in any
major key and moving through the cycle of descending
5ths back to the same key, using a chain of secondary
(applied) dominant 7ths. Use any arrangement that
demonstrates good voice-leading.
Moving through a cycle of descending 5ths, from C7 back
to C major:
Example only
Moving through a cycle of descending 5ths, from E7 back
to E major:
Example only
Play chord progressions in keyboard style.
Use the harmonic vocabulary required for Advanced
Keyboard Harmony.
Progressions may involve modulations and
enharmonic relationships of all types.
Harmonization III: Realization of a Continuo Bass
Realize a continuo accompaniment for a given gured
bass in Baroque style.
The selection will reect the style of either a recitative
or a composition for solo instrument.
The examiner will play the solo part either on the
candidates keyboard in a higher register than notated,
or at pitch on a second keyboard instrument.
Accompaniment
Melodic Transposition I (major or minor keys,
treble or bass clef)
Name both the given and the resultant keys of a
chromatic melody.
Melodic Transposition II
Play at concert pitch a single-line excerpt for any of the
transposing instruments listed below:
piccolo
English horn
clarinet in B at or A
bass clarinet in B at
contrabassoon
trumpet in B at or D
horn in F
double bass (contrabass)
Name both the given and the resultant keys.
Score Reading
Play a passage written in either string quartet score or
modern vocal score.
28
Keyboard Harmony
________________________________________________________________________
Preparing for Music History Examinations
The following guidelines are provided to help candidates
in their preparation for history examinations.
General Information
All examinations are 3 hours in length.
It is strongly recommended that candidates listen to
recordings of all the required musical compositions.
Candidates will be expected to recognize all titles given
in their original language, but are permitted to use
English translations in their answers.
Candidates will be expected to describe in detail
all movements of required works, unless otherwise
indicated in the Syllabus.
There are choices possible within some required topics.
However, regardless of their choice, candidates will be
expected to know all the genres and related terms listed
in the charts below and cite the work to which the term
applies.
Basic Terminology
To facilitate the study and analytical description of
musical works, candidates should understand and be
able to use the following terms:
notation
pitch
rhythm
meter
melody
harmony
dynamics
timbre
texture (monophonic, polyphonic, and homophonic)
vocal ranges (soprano, alto, tenor, and bass)
keyboard instruments: organ, harpsichord, clavichord,
and piano
orchestral instruments: strings, woodwinds, brass, and
percussion, including individual instruments within
each family (Benjamin Brittens Variations and Fugue on a
Theme of Purcell [The Young Persons Guide to the Orchestra] is
recommended as an aural introduction to the orchestra,
but is not required for examination purposes.)
General Components of Music History
Examinations
The Study of Musical Eras
For each era (as dened by the curriculum), candidates
will be expected to demonstrate a knowledge and
understanding of:
dates (as specied within this Syllabus)
representative composers
general musical styles
musical genres cultivated, including examples
(composition titles)
social and historical context of music in society
patronage of the arts
Terms and Denitions
Candidates will be expected to demonstrate a knowledge
and understanding of all terms, concepts, genres, and
forms, as listed in the charts below, along with examples of
composers and works specic to the examination. Terms
are listed the rst time they apply to a representative work;
they may be applicable to other works.
The Study of Composers
Candidates knowledge of the major representative
composers (identied by bold type in the charts listing
the requirements for each examination) should include
the following details:
For History 1 and History 3 only
Biographical information
year of birth and year of death
birthplace and nationality
family background
education and professional training
musical career, including places of employment,
patrons, and accomplishments over the course of the
composers life
signicant associations or connections with people,
places, and events
For History 1, History 2, and History 3
Musical style and contributions
stages or style periods (where applicable)
innovations
musical inuences
impact and signicance
genres cultivated
titles of works representing each genre
29
History
The study of music history allows students to develop a context for the sounds and symbols that already form the
basis of their musical experience. Through the study of composers lives and musical styles, encounters with great
works from the literature, and exposure to genres and terms that help to build a musical vocabulary, students become
more musically literate and gain an increased awareness of music as a living art.
History
________________________________________________________________________
The Study of Musical Compositions
Candidates knowledge of representative compositions
(identied by bold type in the charts listing the
requirements for each examination) should include the
following details (where applicable):
Overview
date of composition
historical context and circumstances of composition
genre
performing forces
structure, including number of movements
text (if applicable), including source, author, language,
and general meaning
plot summary (if applicable)
Musical description of required selections
context within the whole work
form
key structure, including main modulations and tonal
centers
tempo
meter
musical character, mood, or atmosphere
extra-musical connections
Thematic Excerpts
Candidates will be expected to identify principal
thematic excerpts drawn from the list of required works,
and be able to answer specic questions relating to
that excerpt or work. All thematic excerpts, as they
would appear on an examination, are published in the
recommended study guides, Explorations (three volumes).
30
History
________________________________________________________________________
THE BAROQUE ERA
(ca 1600ca 1750)
General terms as they apply to music of
the Baroque era
baroque
basso continuo
equal temperament
gured bass
homophonic texture
polyphonic texture
terraced dynamics
the Affections
word painting
Representative Composers Representative Genres and Works Related Terms
Solo Concerto
Antonio Vivaldi La Primavera from
Le Quattro Stagioni
drone
ostinato
ripieno
ritornello form
Oratorio
George Frideric Handel Messiah
Overture
There were shepherds
Glory to God
Rejoice greatly
Hallelujah!
da capo aria
French overture
homorhythmic texture
libretto
melisma
recitativo accompagnato
recitativo secco
Prelude and Fugue
Johann Sebastian Bach one selection (of the candidates choice)
from
The Well-Tempered Clavier
counterpoint
subject
real and tonal answers
countersubject
episode
stretto
pedal point
tierce de Picardie
31
History
Co-requisite for Grade 9 and 10 Practical Examinations
Teachers ARCT
Intermediate and Advanced Piano
Pedagogy
Recommended
theory prerequisites
Advanced Rudiments
Resources
History resourcesp. 72
History 1 is an introduction to music history through an
overview of four historical style periods: the Baroque,
Classical, Romantic, and Modern eras. Candidates will be
examined on the following:
________________________________________________________________________
THE CLASSICAL ERA
(ca 1750ca 1825)
General terms as they apply to
music of the Classical era
absolute music
binary and ternary forms
chamber music
classicism
menuet and trio
rondo form
sonata cycle
sonata form
Viennese School
String Quartet
Franz Joseph Haydn String Quartet, op. 76, no. 2 (Quinten)
fourth movement
exposition
development
recapitulation
coda
Serenade
Wolfgang Amadeus Mozart Eine kleine Nachtmusik, K 525 rocket theme
rounded binary
Symphony
Ludwig van Beethoven Symphony no. 5 in C minor, op. 67 cyclical structure
motive
scherzo and trio
THE ROMANTIC ERA
(ca 1825ca 1900)
music of the Romantic era
exoticism in music
nationalism in music
program music
romanticism
Art Song
Franz Schubert Erlknig, D 328
OR
Gretchen am Spinnrade, D 118
Lied
through-composed (durchkomponiert)
Piano Music
Frdric Chopin Polonaise in A at major, op. 53
OR
Polonaise in A major, op. 40, no. 1
chromaticism
polonaise
rubato
Program Symphony
Hector Berlioz Symphonie fantastique, op. 14
fth movement: Songe dune nuit de
sabbat
cloches
col legno
Dies irae
ide xe
ophiclide
portamento
Opera
Georges Bizet Carmen
Act I: Prelude
Quand je vous aimerai?
Lamour est un oiseau rebelle
OR
aria
habaera
prelude (in opera)
recitative
Giacomo Puccini Madama Buttery
Act I: Prelude
Act II: Un bel d vedremo
pentatonic scale
verismo
whole-tone scale
32
History
________________________________________________________________________
THE MODERN ERA
(ca 1900 to Present)
music of the Modern era
atonality
pentatonic scales
polyrhythm
polytonality
modal scales
whole-tone scales
choreography
Symphonic Poem
Claude Debussy Prlude Laprs-midi dun faune antique cymbals
glissando
Impressionism in music
Symbolism
Ballet
Igor Stravinsky Petrushka
First tableau
changing meter
choreography
folk song
Petrushka chord
OR
Le sacre du printemps (The Rite of Spring)
excerpts from Adoration of the Earth (Part I):
Introduction
Dance of the Youths and Maidens
Game of Abduction
primitivism
utter tongue
Musical
Leonard Bernstein West Side Story
two of:
Dance at the Gym: Mambo
Tonight Ensemble
Maria
America
I Feel Pretty
cha-cha
hemiola
mambo
tritone
versechorus structure
Piano Music
Alexina Louie Distant Memories
from Music for Piano
arch form
berceuese
senza misura
33
History
________________________________________________________________________
Teachers ARCT
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Resources
www.rcmexaminations.org or www.TheAchievementProgram.org
History 2 is based on four historical style periodsthe
Middle Ages and the Renaissance, Baroque, and
Classical eraswith emphasis on the development of
musical genres and forms. Detailed accounts of the lives
of representative composers are not required. Candidates
will be examined on the following:
34
THE MIDDLE AGES
(ca 476ca 1450)
General terms as they apply to music
of the Middle Ages
a cappella
countertenor
drone
Mass Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Dei
Mass Proper
modes
neumes
text settings: syllabic, neumatic, melismatic
textures: monophonic, polyphonic
Individuals and publications of
signicance
Pope Gregory I
Liber usualis
Musica enchiriadis
Hildegard von Bingen
Notre Dame School: Lonin, Protin
Ars nova: Philippe de Vitry
Messe de Nostre Dame
Chansonnier du roy
Instruments and ensembles bas: dulcimer, lute, psaltery, rebec, recorder, vielle
haut: cornetto, crumhorn, sackbut, shawm
keyboard: portative, positive, regal
percussion: nakers, tabor, tambourine
Gregorian Chant
Anonymous Haec dies
from the Mass for Easter Day
gradual
plainchant
responsorial singing
Organum
Anonymous
(in the style of Lonin)
Haec dies cantus rmus
tenor
Polytexual Motet
Anonymous O Mitissima/Virgo/Haec dies ostinato
Monophonic Chanson
Moniot dArras Ce fut en mai strophic form
trouvre
OR
Raimbaut de Vaqueiras Kalenda maya estampie
guitarra moresca
medieval pipe
troubadour
Polyphonic Chanson
Guillaume de Machaut Puis quen oubli rondeau
musica cta
Dance Music
Anonymous Royal Estampie no. 4
from Chansonnier du roy
heterophonic texture
History
________________________________________________________________________
35
THE RENAISSANCE ERA
(ca 1450ca 1600)
General terms as they apply to music of the Renaissance chromaticism
continuous imitation
homorhythmic texture
modal counterpoint
word painting
Individuals, events, and publications of signicance Franco-Flemish School
Reformation: Martin Luther
Counter-Reformation: Council of Trent
Musica transalpina
Fitzwilliam Virginal Book
Instruments and ensembles consort of instruments
keyboard: virginal
stringed: viols, viola da gamba
Representative Composers Representative Genres and Works
Josquin des Prez
Motet
Ave Mariavirgo serena
Giovanni Pierluigi da Palestrina
Mass
Missa Papae Marcelli
Gloria
Carlo Gesualdo
Italian Madrigal
Moro lasso, al mio duolo
John Farmer
English Madrigal
Fair Phyllis
Anonymous,
arranged by Tielman Susato
Dance Music
Danserye
Pavane Mille regretz
History
________________________________________________________________________
36
THE BAROQUE ERA
(ca 1600ca 1750)
of the Baroque era
baroque
basso continuo
dance suite: allemande, courante, sarabande, gigue
gured bass
forms: binary, rounded binary, ternary
ground bass
libretto
terraced dynamics
textures: homophonic, polyphonic
the Affections
Individuals, developments, and
publications of signicance
Florentine Camerata
Le nuove musiche
monody
stile rappresentativo
Instruments keyboard: clavichord, clavier, harpsichord
Italian Opera
Claudio Monteverdi The Coronation of Poppea
Act III, scene 7:
A te, a te sovrana augusta
Sinfonia
Pur ti miro
castrato
opera seria
stile concitato
English Opera
Henry Purcell Dido and Aeneas
Act III, nal scene:
Thy hand, Belinda
When I am laid in earth
aria
recitativo secco
Cantata
Johann Sebastian Bach Cantata no. 80, Ein feste Burg ist unser Gott
rst, second, fth, and eighth movements
canon
chorale
fugal texture
ritornello
Concerto Grosso
Brandenburg Concerto no. 2 in F major,
BWV 1047
rst movement
concertino
ripieno
ritornello form
Orchestral Suite
George Frideric Handel Water Music
Suite in D major, HWV 349
Allegro
Alla Hornpipe
hornpipe
Harpsichord Sonata
Domenico Scarlatti Sonata in F minor, L 187/K 481 gravicembalo
OR
Sonata in D major, L 463/K 430
History
________________________________________________________________________
37
THE CLASSICAL ERA
(ca 1750ca 1825)
of the Classical era
chamber music
sonata cycle
sonata form: exposition, development, recapitulation, coda
Viennese School
Individuals, developments, and
publications of signicance
C.P.E. Bach: Essay on the True Art of Playing Keyboard Instruments
Christoph Willibald Gluck
Mannheim School
Sturm und Drang
Symphony
Franz Joseph Haydn Symphony no. 104 in D major (London)
rst movement
monothematic exposition
Oratorio
The Creation
Part 1, scene 3:
And God said: Let there be light
In splendor bright
The heavens are telling the Glory of God
recitativo accompagnato
Opera Buffa
Wolfgang Amadeus Mozart The Marriage of Figaro
Overture
Act I, scenes 6 and 7:
Non so pi
Ah! Son perduto!
Cosa sento!
modied sonata form
terzetto
trouser role
Piano Concerto
Piano Concerto in G major, K 453
rst movement
cadenza
double exposition
Piano Sonata
Ludwig van Beethoven Piano Sonata in C minor, op. 13 (Pathtique) tremolo
rondo form
OR
Piano Sonata in C sharp minor, op. 27, no. 2
(Moonlight)
menuet and trio
Piano Quintet
Franz Schubert Piano Quintet in A major, D 667 (Trout)
fourth movement
History
________________________________________________________________________
Co-Requisite for ARCT in Performance
Teachers ARCT
Recommended theory
prerequisites
Advanced Rudiments
Basic Harmony
Resources
History 3 is based on the music of the Romantic and
Modern eras. Candidates will be examined on the
following:
38
THE ROMANTIC ERA
(ca 1825ca 1900)
Concerto
Felix Mendelssohn Violin Concerto in E minor, op. 64
rst movement
cadenza
double stopping
pedal point
sonata form
Art Song
Robert Schumann Dichterliebe, op. 48
Und wsstens die Blumen
OR
Im wunderschnen Monat Mai
OR
Lied
song cycle
strophic form
modied strophic form
Character Piece
Carnaval, op. 9
Eusebius
Florestan
piano cycle
cross rhythm
Piano Music
Franz Liszt La Campanella
from Grandes tudes de Paganini
tude
Choral Music
Johannes Brahms Ein deutsches Requiem
fourth movement: Wie lieblich sind deine Wohnungen
rondo form
Opera
Giuseppe Verdi La Traviata
Act II, Scene 2:
Invitato to end of act
aria
bel canto
coloratura soprano
libretto
recitative
OR
Rigoletto
Act III:
La donna mobile
Un d
Bella glia
Opera
Richard Wagner Die Walkre
Act III:
Der Augen leuchtendes Paar to end of act
chromatic harmony
Gesamtkunstwerk
Heldentenor
Leitmotif
music drama
Symphonic Poem
Bedrich Smetana Vltava
from M vlast
nationalism in music
program music
Concert Overture
Pyotr Ilyich Tchaikovsky Romeo and Juliet Overture
History
________________________________________________________________________
39
THE MODERN ERA
Representative
Composers I: Europe
Representative Genres and Works Related Terms
Symphony
Gustav Mahler Symphony no. 4 in G major
fourth movement
cyclical structure
Piano Music
Maurice Ravel Jeux deau glissando
Impressionism in music
pentatonic scale
whole-tone scale
Orchestral Music
Bla Bartk Concerto for Orchestra
fourth movement
changing meter
neo-Classicism
ostinato
polytonality
quotation in music
Ballet
Sergei Prokoev Romeo and Juliet, Suite no. 2, op. 64c
Act I, Scene 4:
The Montagues and Capulets: The Capulet Ball
choreography
en pointe
Song Cycle
Arnold Schoenberg Pierrot lunaire, op. 21
Der Mondeck
O alter Duft aus Mrchenzeit
atonality
canon
Expressionism in music
Klangfarbenmelodie
rondeau
Sprechstimme
Opera
Alban Berg Wozzeck
Act III, scene 4:
Das Messer?
Orchestral Interlude
Act III, scene 5:
Ringel, Ringel, Rosenkranz
celesta
cluster chord
Orchestral Music
Anton Webern Symphony, op. 21
second movement
serialism
tone row
twelve-tone music
Chamber Music
Olivier Messiaen Quatuor pour la n du temps
second movement: Vocalise, pour lAnge qui annonce la
n du Temps
mode of limited transposition
Orchestral Music
Gyrgy Ligeti Atmosphres micropolyphony
Choral Music
Arvo Prt Cantate Domino canticum novum minimalism
tintinnabulation
History
________________________________________________________________________
THE MODERN ERA (continued)
Representative Composers II: North America Representative Works
Candidates must be prepared to discuss the musical style and the given representative work of FOUR of the following
composers:
John Cage Sonata V, from Sonatas and Interludes
Aaron Copland Street in a Frontier Town, from Billy the Kid
Jean Coulthard The Contented House, from Canada Mosaic
George Crumb The Little Boy Is Looking for His Voice, from Ancient Voices of Children
Duke Ellington/Billy Strayhorn Take the A Train
Christos Hatzis Nadir
Paul Lansky Notjustmoreidlechatter
Steve Reich Electric Counterpoint
R. Murray Schafer String Quartet No. 2 (Waves)
Harry Somers any TWO contrasting movements, from Picasso Suite
Stephen Sondheim My Friends, from Sweeney Todd, The Demon Barber of Fleet Street
Joan Tower For the Uncommon Woman
Healey Willan Hodie Christus Natus Est
Representative Performers on the World Stage: Past and Present
Candidates should also be prepared to discuss the careers of FOUR of the following performing artists:
Laurie Anderson
Joshua Bell
Miles Davis
Rene Fleming
Glenn Gould
Angela Hewitt
Diana Krall
Alison Krauss
Kronos Quartet
Louis Lortie
Yo-Yo Ma
Wynton Marsalis
Joni Mitchell
Oscar Peterson
40
History
________________________________________________________________________
Co-requisite for n/a
Prerequisite for n/a
Resources
Resourcesp. 70
This examination tests candidates knowledge of the
following:
Rudiments
as per the Advanced Rudiments examination
Harmony
harmonization in chorale style
secondary (applied) dominants
modulation; use of altered chords (including diminished
7th, augmented 6th, and Neapolitan 6th)
composition of a simple piano accompaniment to a
given melody
Counterpoint
composition of two-part counterpoint in 18th-century
style
Analysis
Analysis of the following forms:
sonata movement
fugue
song form (strophic, modied strophic, through-
composed)
History
Short essays and other short answer questions
demonstrating general knowledge of:
music history from the Middle Ages to the present
41
Comprehensive Theory Examination
The Comprehensive Theory Examination covers material from all examinations in rudiments, harmony and
counterpoint, analysis, and history. Candidates who have music degrees or diplomas from other recognized music
institutions may be exempted from all theory prerequisites and co-requisites for all practical levels by writing a
Comprehensive Theory Examination. Candidates must submit a Transfer Credits and Exemptions Request Form
(available online) by the examination registration deadline.
Please note: Candidates wishing to use the Comprehensive Theory Examination to fulll the prerequisite and co-
requisite theory requirements for the ARCT in Performance, Teachers ARCT, or ARCT in Piano Pedagogy, must
complete the Comprehensive Theory Examination at least one session prior to registering for any of the examinations
of the respective diploma levels.
Comprehensive Theory Examination
________________________________________________________________________
Co-Requisite Grade 6 Piano
Recommended theory
prerequisites
Advanced Harmony
Counterpoint
Analysis
Resources
Resourcesp. 70 (materials marked with an * are
suitable for candidates preparing for the ARCT in
Composition and/or Theory examinations)
42
ARCT Diploma in Composition
and/or Theory
The ARCT Diploma in Composition and/or Theory represents an advanced course of study covering musical style
and technique from the Renaissance to the present. The examinations for the ARCT diplomas comprise three parts.
Candidates must successfully complete each part before proceeding to the next. Diplomas may be awarded in
Composition, in Theory, or in Composition and Theory (combined). ARCT diplomas will be awarded to candidates
at the annual Convocation ceremony or forwarded immediately following convocation. Candidates must not use the
designation ARCT before Convocation.
Composition Theory Composition and Theory
Part 1 12 examination papers
Part 2 3 compositions 1 research paper 3 compositions and
1 research paper
Part 3 Oral defense of work from Part 2
________________________________________________________________________
Renaissance Counterpoint
The Renaissance Counterpoint examination assesses
knowledge of 16th-century contrapuntal style and
techniques based on the work of Giovanni da Palestrina.
Examination Requirements
Candidates may be asked to:
Complete a short liturgical movement for four to eight
voices in the style of Palestrina. A Latin text and/or an
opening may be given.
Write a composition demonstrating canonic devices
such as mirror, inversion, augmentation, and
diminution.
Baroque Harmony and Counterpoint I
The Baroque Harmony and Counterpoint I examination
assesses uency with Baroque composition techniques.
Write a four-voice setting of a given chorale melody in
the style of J.S. Bach. A chorale melody will be given.
Write a dance in binary, rounded binary, or ternary form.
An opening will be given.
Write a two-part invention. An opening will be given.
Write a three- or four-voice fugal exposition.
Scores
Bach, Johann Sebastian. Chorale Harmonizations.
. Inventions and Sinfonias.
. The Well-Tempered Clavier.
Baroque Harmony and Counterpoint II
The Baroque Harmony and Counterpoint II examination
requires candidates to apply Baroque composition
techniques (Baroque Harmony and Counterpoint I) to the
composition of a fugue.
Write a three- or four-voice fugue on a given subject in
Baroque style.
Use specic contrapuntal devices (for example, stretto or
invertible countersubject).
Use scoring for a typical Baroque instrumental or vocal
medium (for example, keyboard, chamber group, or
choir).
Scores
Bach, Johann Sebastian. The Well-Tempered Clavier.
. Musical Offering.
. Art of Fugue.
Classical Harmony and Counterpoint
The Classical Harmony and Counterpoint examination
requires candidates to apply harmony and counterpoint
principles to the composition of a complete movement in
Classical style.
For a given opening, candidates must compose one of
the following for keyboard or string quartet:
A movement in sonata form.
A set of ve to eight variations on a given theme.
A movement in a given classical form other than sonata
form or theme and variations.
43
Part 1: Examination Papers
The following twelve examination papers must be taken for the ARCT in Composition, Theory, or Composition and
Theory. They may be taken in any order.
Part 1 Examination Papers Location Timeframe
Baroque Harmony and Counterpoint I
Romantic/Post-Romantic Harmony/Counterpoint
Post-1900 Composition Techniques
Orchestration I
Analysis
History I
History II
Ear Test
Examination center 3 hours each
Written during the regular theory examination session
Baroque Harmony and Counterpoint II
Orchestration II
Take-home examination 9:00 A.M. Friday2:00 P.M. Monday
Candidates must pick up the papers at the examination
center and return them to the Center Representative
at a designated location during the regular theory
examination session.
Ear Test Examination center 3 hours
Recording provided at examination
________________________________________________________________________
Scores
Piano sonatas and string quartets by:
Ludwig van Beethoven
Franz Joseph Haydn
Wolfgang Amadeus Mozart
Romantic and Post-Romantic Harmony and
Counterpoint
The Romantic and Post-Romantic Harmony examination
requires candidates to apply 19th-century harmony and
counterpoint principles to practical composition.
Candidates will be asked one of the following:
For a given text, compose a composition for voice and
piano accompaniment.
For a given melody, add a piano accompaniment.
For a given opening and/or other material, write a
composition for piano.
Scores
Piano and vocal works by:
Franz Schubert
Robert Schumann
Frdric Chopin
Johannes Brahms
Post-1900 Composition Techniques
The Post-1900 Composition Techniques examination
requires candidates to apply techniques in 20th-century
tonality, serialism, indeterminate (aleatoric) notation,
integral serialism, and extended instrumental and vocal
techniques.
Given a specic ensemble and musical element (such as
motive, pitch set or row, graphic representation, or ratio),
candidates will be asked to:
Write a short work.
Briey explain how the composition is organized.
Scores
Compositions by:
Claude Debussy, Igor Stravinsky, Bla Bartk, Paul
Hindemith, and Dmitri Shostakovich (20th-century
tonal techniques)
Arnold Schoenberg and his followers (serial techniques
including twelve-tone)
Witold Lutoslawski and Krzysztof Penderecki
(indeterminate/aleatoric notation)
Pierre Boulez and his followers (integral serialism)
Composers using extended instrumental and vocal
techniques
Orchestration I
The Orchestration I examination tests knowledge of
orchestral writing, including instrumental features, score
layout, and orchestration terminology.
Notate the ranges, registers, and tessiture of orchestral
instruments.
Discuss the overtone series in relation to tone
production, overblowing, and harmonics.
Solve short orchestration problems that concern the
technical features of instruments, including: reeds,
trombone positions, harp pedaling, bowing, natural and
articial string harmonics, multiple stops, and ngering.
Copy a section of an orchestral score.
Extract a part from an orchestral score.
Detect errors in orchestral scores or parts.
Transpose orchestral parts.
Set a given chord for orchestra.
Orchestration II
The Orchestration II examination requires candidates
to apply orchestral techniques to the orchestration of a
complete work.
Candidates will be asked to:
Arrange a short composition for symphony orchestra.
Analysis
The Analysis examination requires candidates to analyze
musical compositions from the Renaissance to the 20th
century.
Candidates will be asked to analyze musical works from
different historical style periods using the following:
general harmonic and formal analysis
analysis of voice-leading and contrapuntal techniques
various 20th-century techniques and serial procedures
History I
The History I examination tests knowledge of Western
art music from the Medieval, Renaissance, Baroque,
Classical, and Romantic periods. Use of books or notes is not
allowed during the examination
Candidates will be asked to write essays demonstrating
knowledge of all musical eras, including:
Specic genres (for example, operas, sonatas, and
suites).
Biography, works, and signicance of prominent
musicians.
44
________________________________________________________________________
Impact on music history of prominent historical
developments (for example, Protestant Reformation,
decline of the patronage system, and rise of
democracy).
Relevant compositions and technical procedures.
History II
The History II examination requires detailed knowledge
of music composed after 1900, with an emphasis on
Canadian music. Textbooks are permitted during the
examination.
Candidates will be asked to write two or three essays
demonstrating knowledge of:
General knowledge of music from the period.
Prominent compositional genres and techniques.
Ear Test
The Ear Test is given aurally (recording is provided at the
examination) and examines candidates skill in dictation.
Candidates will be given dictations in the following
areas:
Melodic dictation
Chord series dictation
Rhythmic dictation
Harmonic dictation: write soprano and bass parts for
four-part chorale style harmonic progressions, and give
a harmonic analysis. Skill level: Advanced Harmony
examination.
45
Part 2: Compositions and/or Research Papers
Within three years of completing the last examination for Part 1, candidates must submit a group of compositions or a
research paper, as specied below.
Diploma Part 2 Requirements Length
ARCT in Composition 3 compositions:
work for a solo instrument (with or without accompaniment)
or an electronic composition
chamber work for 310 performers
or a choral composition
work for orchestra
2030 minutes
in total
ARCT in Theory 1 research paper:
on a theoretical, historical, or pedagogical topic, approved by the
College of Examiners
5,000 words
ARCT in Composition
and Theory
3 compositions and 1 research paper:
as outlined above
same as above
Submission Specications
Candidates should submit the required compositions or research paper with an examination registration form and fee
before the registration deadline.
Submissions will be immediately accepted (a mark of special distinction), accepted pending revisions, or rejected.
If revisions are required, they must be completed within 90 days after the date on which the submission is returned to
the candidate.
Acceptance of revisions will be determined by the Ofce of the Chief Examiners.
________________________________________________________________________
46
Part 3: Viva Voce Examination
The Viva Voce Examination is modeled on a traditional thesis defense. The candidates work will be assessed by
experienced composers and theorists who will pose questions to the candidate about their work.
Diploma Part 3 Requirements Length
ARCT in
Composition
and/or Theory
Oral defense, including questions on the following:
the candidates submissions from Part 2
identication of music examples from Part 1 examination papers
general knowledge of the history and theory of music
2 hours
________________________________________________________________________
Examination Sessions and Registration Deadlines
Exact dates and deadlines can be found online. Register early to avoid disappointment:
late registrations are subject to an additional fee and may be denied.
Canada
Winter Sessionregister by early November
theory examinations take place in December
practical examinations take place in January
Spring Sessionregister by early March
theory examinations take place in May
practical examinations take place in June
Summer Sessionregister by early June
theory examinations take place in August
practical examinations take place in August
USA
Winter Sessionregister by mid October
theory examinations take place in December
practical examinations take place in December
Spring Sessionregister by late February
theory examinations take place in May
practical examinations take place in May and June
Online Registration
All registrations should be submitted using the online registration process.
To register online, click on Register for an Examination, and follow the instructions
provided. Be prepared to enter:
the candidates RCME Number/Candidate ID Number and birth date
the teachers phone number or Teacher Number
the examination center
payment informationVisa or MasterCard accepted
Teachers may register their students by logging into Teacher Services and using the
Studio Registration feature.
Need an RCME Number/Candidate ID Number? New candidates will receive an RCME Number/
Candidate ID Number when they register. The full name must be entered as it should
appear on certicates, along with the birth date, address, telephone numbers, and email
address.
Examination Fees
Examination fees must be paid at registration using Visa or MasterCard. Fees for the
current academic year are listed online under Examination Information.
47
MMMMakke sure h the correct tt
RCME Number/
CCandidate ID Number r
is entered upon
registration. This
number ensures that
candidates receive
all the certicates
for which they are
eligible.
OOnce a registration OOnc
has been submitted, has b
it may not be it
withdrawn.
h Checkk h the
Getting Started
section on p. 4.
________________________________________________________________________
Examination Centers
Examinations are conducted in more than 300 communities across North America. Each
examination center has a local Examination Center Representative who ensures that
students and teachers have a successful examination experience.
Examination Scheduling
Written Examinations
All candidates must verify their examination schedules online two weeks before the
examination day by visiting Examination Scheduling. Examination schedules will not
be mailed. Teachers may verify their students examination schedules by logging into
Teacher Services.
Theory examinations must be written at the scheduled times, dates, and locations. No
changes are permitted, as theory examinations are written concurrently in all examination
centers.
Certain subjects are written at the same time, for example, History 2: Middle Ages to
Classical, and Counterpoint. In such cases, an alternate time for one of the examinations
may be arranged at the discretion of RCM Examinations.
Keyboard Harmony and Musicianship Examinations
Keyboard harmony and musicianship examinations are not scheduled during theory
examination sessions. These examinations involve one-on-one assessment and
consequently are scheduled during practical examination sessions.
Examinations Timetable
Theory examinations are written according to the following timetable:
Examination Subject Friday Saturday
Preparatory Rudiments 2:00 P.M.3:00 P.M.
Basic Rudiments 2:00 P.M.3:00 P.M.
Intermediate Rudiments 9:30 A.M.11:30 A.M.
Advanced Rudiments 2:00 P.M4:00 P.M.
Introductory Harmony 9:30 A.M.11:30 A.M.
Basic Harmony 9:30 A.M.12:30 P.M.
Intermediate Harmony 9:30 A.M.12:30 P.M.
Advanced Harmony 9:30 A.M.12:30 P.M.
Counterpoint 9:30 A.M.12:30 P.M.
Analysis 2:00 P.M.5:00 P.M.
History 1: An Overview 2:00 P.M.5:00 P.M.
History 2: Middle Ages to Classical 9:30 A.M.12:30 P.M.
History 3: 19th Century to Present 2:00 P.M.5:00 P.M.
Comprehensive Theory 9:30 A.M.12:30 P.M.
Musicianship and Keyboard Harmony scheduled during practical examination sessions
Examination Schedule Conicts
Candidates who are unable to attend an examination scheduled for Saturday at the
designated time because of a direct time conict with a school examination or a religious
restriction may request to have the examination scheduled for Friday at 9:30 A.M. Please
note that there are no alternate examination times for history examinations or the
Comprehensive Theory Examination.
48
TTo ndd h the nearest
examination center,
look online under
Examination
In Info form rmat atio ion. n.
________________________________________________________________________
Examination Procedures
An examination will be declared invalid if there is any infringement of the following
examination procedures:
On the day of the examination, candidates must:
arrive at the examination center fteen minutes prior to the scheduled examination time
bring a copy of the examination schedule
present the schedule to the presiding ofcer for admittance to the examination room
(photo ID may be requested)
bring all pencils, pens (blue or black ink only), erasers, and rulers to the examination
(keyboard facsimiles are not permitted)
leave all electronic devices, books, notes, bags, and coats in the area designated by the
presiding ofcer
During the examination, candidates:
must not communicate with other candidates
may not leave the examination room before the rst thirty minutes have elapsed
may leave any time after the rst thirty minutes when nished writing
must stop writing when the end of the examination is announced
must seal the examination paper and all rough work in the provided envelope and give it
to the presiding ofcer
may not remove any examination material from the room
must sign out before leaving the examination room
Keyboard Harmony and Musicianship Examinations
On the day of the examination, all candidates must:
bring a copy of the examination schedule and present it to the presiding ofcer (photo ID
may be requested)
Keyboard harmony candidates should:
arrive at the examination center approximately forty minutes before the examination time
to preview the examination materials
Musicianship candidates should:
be ready to perform at least fteen minutes before the examination time
During the examination:
all parents, teachers, and assistants must wait in the designated waiting area
the examiner may interrupt the candidates performance when an assessment is reached
recording devices are strictly prohibited in the examination room
Credits and Refunds for Missed Examinations
Credits (formerly called fee extensions) and refunds are only granted under two specic
conditions. Candidates who are unable to attend an examination for medical reasons or
because of a direct time conict with a school examination are eligible to request either
an examination credit for the full amount of the examination fee or a fty percent refund
of the examination fee.
49
CCa d nd d idates arriving
more than thirty
minutes late will not
be admitted to the
examination room.
Once canddiddates
leave the
examination room,
they will not be
re re-a adm dmit itte ted. d.
Th The Cr d edits/Reffu d nds
Request Form is
available online
under Online
Forms.
________________________________________________________________________
Requests for examination credits or refunds must be made to RCM Examinations in writing
and accompanied by the following documentation:
for medical reasonsa physicians letter and the candidates examination schedule
for direct time conicts with school examinationsa letter from a school ofcial on
school letterhead and the candidates Examination Schedule
Candidates who, for any reason, are unable to attend an examination should contact the
Center Representative listed on their Examination Schedule immediately.
Examination Credit
An examination credit (formerly called a fee extension) may be applied to the fee of a
future examination. Examination credits are valid for one year from the date of the original
scheduled examination.
Examination credits can be redeemed when the candidate registers for their next
examination. The credit will be automatically applied during the online registration
process.
Fee Refund
Candidates who cannot redeem an examination credit within a year may apply instead for
a fty percent refund of the examination fee.
Requests for examination refunds or credits must be made to RCM Examinations in
writing and accompanied by the necessary documentation (see above). All requests must
be submitted within two weeks following the examination by mail or by fax. Requests
received after this time will be denied.
Candidates with Special Needs
Candidates with special needs should submit a Special Needs Request Formby mail or
by fax to the RCM Examinations (Canada) or The Achievement Program (USA) ofceas
soon as possible before the registration deadline. Each case will be assessed individually.
Candidates may receive help in and out of the examination room if required. Please note
that helpers must remain in the waiting area during the actual examination.
Visually impaired candidates may request examination papers in enlarged print or Braille.
Such candidates may also bring a reader or Braille machine at their own expense.
Examination Results
Candidates and teachers can access examination results online starting approximately six
weeks after the examination:
1) Go to www.rcmexaminations.org or www.TheAchievementProgram.org.
2) Click on Examination Results.
3) Click on the Examination Session you wish to view.
4) Enter the candidates RCME/Candidate ID Number and date of birth.
5) Click on the mark to download and view the examination.
6) Click on the candidates name to view an unofcial transcript.
Teachers may access their students examination results by logging into Teacher
Services.
Ofcial transcripts are available upon written request to the RCM Examinations or The
Achievement Program ofce and payment of the requisite fee. (Download the Ofcial
Transcript Request Form from the Online Forms section of the website.)
Classication of Theory Marks
First Class Honors with Distinction 90100
First Class Honors 8089
Honors 7079
Pass 6069
Fail 059
50
l Alll requests must
be submitted by
mail or by fax within
two weeks following
the examination.
Requests received
after this time
will be denied.
Th The Speciall Ne d eds
Request Form is
available online
under Online
Fo Form rms. s.
l Please note h that
results will not be
mailed or given by
telephone.
Ca d nd d idates must
iindicate whether they
are applying for an
Examination Credit
or a Fee Refund
on the Credits/
Refunds Request
form. Changes are
not permitted after
submission. Changes
are not permitted
af afte terr su subm bmis issi sion on..
________________________________________________________________________
51
l Please see Quickk
Reference on p. 7
for a full list of theory
co-requisites and
prerequisites.
Re-Evaluation of Written Theory Examinations
All enquiries concerning re-calculation or re-evaluation of marks must be addressed in
writing to RCM Examinations or The Achievement Program. Candidates should submit
all documentation and fees as outlined below. Please allow four weeks for a reply. Please
note that a re -evaluation or re-calculation of marks may raise, lower, or conrm the
original mark.
Candidates may appeal a theory examination mark for two reasons: a tabulation error,
or an inconsistent or incorrect marking. All appeals must be made in writing, with
documentation and appropriate fee, to the RCM Examinations or The Achievement
Program ofce as follows:
1. Tabulation error or unmarked question
To request a re-calculation of marks, the candidate must submit:
a copy of the examination paper(s)
a letter identifying the tabulation concerns
fee (found online under Examination Information)
If an error is found in the candidates favor, the mark will be adjusted and the fee will be
refunded.
2. Inconsistent or incorrect marking
To request a re-evaluation of a theory paper, the candidate must submit:
a copy of the examination paper(s)
a letter giving reasons and examples for why the marking is incorrect or inconsistent
fee for theory examination re -evaluation (found online under Examination Information)
The examination paper will be reviewed by a member of the College of Examiners and
returned with a written critique of the appropriate questions. If the re-evaluation results in
a higher mark, the fee will be refunded.
Deadlines for re-evaluation requests
February 15 theory examinations written in the previous December (winter session)
September 15 theory examinations written in the previous May (spring session)
October 15 theory examinations written in the previous August (summer session)
Certicates and Diplomas
Theory Examinations
Candidates who successfully complete all the theory examinations for each level of study
are awarded a theory certicate in the spring or the fall.
Practical examination certicates are awarded to candidates who successfully complete all
the requirements for their practical grade level. This includes successful completion of a
practical examination and its theory co-requisites and prerequisites.
Beginning in Grade 5, certicates are awarded after the theory co-requisites for that grade
have been successfully completed.
The following examination substitutions may be made for the purposes of obtaining a
practical certicate:
Intermediate Rudiments for Basic Rudiments
Advanced Rudiments for Basic Rudiments or Intermediate Rudiments
Intermediate Harmony for Basic Harmony
Advanced Harmony and Analysis for Basic Harmony or Intermediate Harmony
Candidates are strongly advised to complete their theoretical work before or at the same
time as their practical examination.
Theory co-requisites must be completed within ve years of the original practical examination.
________________________________________________________________________
52
Candidates for Grade 10, ARCT in Performance, Teachers ARCT, or the ARCT in Piano
Pedagogy must complete the necessary theory co-requisites within ve years of the
original practical examination, not any subsequent supplemental examinations.
Candidates for the ARCT in Performance, Teachers ARCT, or the ARCT in Piano Pedagogy
must complete all prerequisites at least one session prior to registering for the respective
examinations. Candidates may not complete their ARCT prerequisites in the same session
as their ARCT examination.
ARCT diplomas are awarded to candidates at the annual Convocation ceremony.
Candidates may not use the designation ARCT before Convocation.
Transfer Credits and Exemptions
Under certain conditions, students may be permitted to transfer theory examination
credits or diplomas from other institutions.
Transfer Credits
Candidates who have taken theory examinations with other recognized examination
systems may apply to transfer these credits for the equivalent RCM Examinations theory
examinations. For more information, please download a Transfer Credits and Exemptions
request from the Online Forms section of the website.
Exemptions
Candidates who hold music degrees or diplomas from other recognized institutions and
who wish to work towards the ARCT in Performance, Teachers ARCT, or ARCT in Piano
Pedagogy, may be exempted from all theory prerequisites and co-requisites by writing
the Comprehensive Theory Examination. Please see p. 41 for Comprehensive Theory
Examination requirements.
Candidates who have completed examination papers for the ARCT in Composition and/
or Theory may be exempt from some theory examinations required for the Grade 10
practical certicate or ARCT practical diplomas. For more information, please contact
RCM Examinations.
Candidates who have completed the following ve examination papers for the ARCT in
Composition and/or Theory will be exempt from all theory examinations required for a
Grade 10 practical certicate or ARCT practical diploma:
History I (ARCT)
History II (ARCT)
Romantic and Post-Romantic Harmony and Counterpoint
School Credits
RCM Examinations results can sometimes be used as a credit toward high school
graduation or toward university entrance. In Canada, the policies of provincial education
ministries can be found online under Academic Information, High School Accreditation.
Candidates are advised to discuss the eligibility of their examination results with their
school principal or guidance counselor.
Medals
Each academic year (September to August) medals are awarded to the candidates who
achieve exceptional examination results in theoretical, pedagogical, and/or practical
examinations. No application is required.
Silver Medals (Canada only)
Silver medals are awarded by province or region to the candidates in Preparatory A,
Preparatory B, Introductory, and Grades 1 to 10 who receive the highest marks for the
________________________________________________________________________
53
respective practical examinations in each discipline. To be eligible, a candidate must
receive a minimum mark of 80 percent in the practical examination, and have completed all the
theory co-requisites for the respective grade.
Piano Pedagogy Examinations
Silver medals are also awarded by province or region to the candidates in Elementary
and Intermediate Piano Pedagogy who receive the highest average for Parts 2 and 3 (Viva
Voce and Written Examination) of the respective Piano Pedagogy level. To be eligible a
candidate must:
receive a minimum of 80 percent in each of the Part 2 and 3 examinations
have completed the Grade 9 Piano Certicate (for the Elementary Piano Pedagogy level) or
Grade 10 Piano Certicate (for the Intermediate Piano Pedagogy level)
Gold Medals (Canada and USA)
Theory Examinations
A gold medal for excellence in theory is awarded to the graduating ARCT candidate who
completes the theory examinations listed below with the highest average mark. To be
eligible, a candidate must receive a minimum overall average of 80 percent for the eight
examinations.
Basic Harmony or Basic Keyboard Harmony
Intermediate Harmony or Intermediate Keyboard Harmony
Advanced Harmony or Advanced Keyboard Harmony
Counterpoint
Analysis
ARCT in Performance
A gold medal is awarded to the graduating ARCT in Performance candidate who receives
the highest mark for the practical examination in each of the following disciplines:
accordion, brass, guitar, harp, organ, percussion, piano, speech arts and drama, strings,
voice, and woodwinds. To be eligible, a candidate must receive:
a minimum of 85 percent in the practical examination
a minimum of 70 percent in each theory co-requisite examination
Teachers ARCT
A gold medal is awarded to the graduating Teachers ARCT candidate who receives the
highest mark for the practical examination (Parts 1 and 2 combined) in each of the
following disciplines: accordion, brass, guitar, harp, organ, percussion, speech arts and
drama, strings, voice, and woodwinds. To be eligible, a candidate must receive:
a minimum of 85 percent in the practical examination (Parts 1 and 2 combined)
a minimum of 70 percent in the written examination (Part 3)
a minimum of 60 percent in the co-requisite piano examination (if applicable)
ARCT in Piano Pedagogy
A gold medal is awarded to the graduating ARCT in Piano Pedagogy candidate who
receives the highest average for Advanced Piano Pedagogy Parts 1, 2, and 3 (Practical, Viva
Voce, and Written Examinations). To be eligible, a candidate must receive:
a minimum overall average of 85 percent for the Advanced Piano Pedagogy Parts 1, 2, and
3 examinations
________________________________________________________________________
Certicates of Excellence for Practical Examinations (USA only)
Each academic year (September to August) Certicates of Excellence are awarded to
candidates who achieve exceptional practical examination results. No application is required.
Center Certicates of Excellence
Center Certicates of Excellence are awarded in each center to the candidates in
Preparatory A, Preparatory B, and Grades 1 to 10 who receive the highest marks for the
respective practical examinations. To be eligible, a candidate must receive a minimum
of 80 percent in the practical examination and have completed the theory co-requisite
examinations for the respective grade.
State Certicates of Excellence
State Certicates of Excellence are awarded by state to the candidates in Preparatory A,
Preparatory B, and Grades 1 to 10 who receive the highest marks for the respective
practical examinations. To be eligible, a candidate must receive a minimum of 80 percent
in the practical examination and have completed the theory co-requisite examinations for
the respective grade.
State Certicates of Excellence are also awarded by state to the candidates in Elementary
and Intermediate Piano Pedagogy who receive the highest average for Parts 2 and 3 (Viva
Voce and Written Examinations) of the respective Piano Pedagogy level. To be eligible, a
candidate must:
receive a minimum of 80 percent in each of the Part 2 and 3 examinations
have completed the Grade 9 Piano Certicate (for the Elementary Piano Pedagogy level)
or Grade 10 Piano Certicate (for the Intermediate Piano Pedagogy level)
RESPs (Canada only)
Use Education Funds for Music Studies
Candidates who have a Registered Education Savings Plan (RESP) may be eligible to use
these funds to support private studies in music at the Grade 9, Grade 10, Piano Pedagogy,
and ARCT levels. Candidates should consult their RESP providers for more information.
RCM Examinations Ofcial Examination Papers
To help students prepare for examinations, The Frederick Harris Music Co., Limited
publishes theory examinations from the past three years in booklets entitled RCM
Examinations Ofcial Examination Papers. These papers are excellent tools for testing a
students preparedness for theory examinations and for building student condence. The
following examination papers are available:
Basic Rudiments
Advanced Rudiments
Basic Harmony
Advanced Harmony
Counterpoint
Analysis
Piano Pedagogy Written
Keyboard Harmony
54
________________________________________________________________________
RCM Examinations Ofcial Examination Papers are available at local music stores or through:
Long and McQuade (RCM Music and Book Store)
273 Bloor Street West
Toronto, ON Canada M5S 1W2
telephone: 416-585-2225
toll-free: 1-866-585-2225
fax: 416-585-7801
Individual Teachers ARCT Written Examination papers (for subjects other than Piano) are
also available upon request from RCM Examinations at:
RCM Examinations
Unit 4-5865 McLaughlin Road
Mississauga, ON Canada L5R 1B8
telephone: 905-501-9553
Correspondence Courses
To meet the needs of students who do not have access to qualied instructors, lessons
are available by correspondence through The Royal Conservatory of Music for the
following subject areas:
Rudiments
Harmony
History
Counterpoint
Analysis
Pedagogy
For more information, please contact The Royal Conservatory of Music at
conservatoryschool@rcmusic.ca, or by mail at:
Correspondence Courses
The Royal Conservatory of Music
273 Bloor Street West
Toronto, ON Canada M5S 1W2
55
________________________________________________________________________
Terms
accelerando, accel. becoming quicker
ad libitum at the liberty of the performer
adagio a slow tempo (slower than andante, but not as slow as largo)
agitato agitated
alla, all in the manner of
allargando, allarg. broadening, becoming slower
allegretto fairly fast (a little slower than allegro)
allegro fast
andante moderately slow; at a walking pace
andantino a little faster than andante
animato lively, animated
arco for stringed instruments: resume bowing after a pizzicato
passage
assai much, very much (for example: allegro assai, very fast)
attacca proceed without a break
ben, bene well (for example: ben marcato, well marked)
bewegt moving
brillante brilliant
calando becoming slower and softer
cantabile in a singing style
cdez yield; hold the tempo back
cluster a chord consisting of at least three adjacent notes of a scale
col, coll, colla, colle with (for example: collottava, with an added octave)
comodo at a comfortable, easy tempo
con with
con brio with vigor, spirit
con espressione with expression
con fuoco with re
con grazia with grace
con moto with movement
con pedale, con ped. with pedal
con sordino with mute
da capo, D.C. from the beginning
56
Appendix
Appendix
The denitions and translations that follow are recommended for use in Rudiments
examinations. Candidates may also use denitions and translations found in standard
reference books.
________________________________________________________________________
D.C. al Fine repeat from the beginning and end at Fine
dolce sweet, gentle
dolente sad
e, ed and
espressivo, espress. expressive, with expression
fermata pause; hold the note or rest longer than its written value
ne the end
forte, f loud
fortepiano,

loud, then suddenly soft
fortissimo, very loud
giocoso humorous, jocose
grandioso grand, grandiose
grave slow and solemn
grazioso graceful
langsam slow; slowly
largamente broadly
larghetto not as slow as largo
largo very slow
legato smooth
lger light, lightly
leggiero light, nimble, quick
lentement slowly
lento slow
listesso tempo the same tempo
loco return to normal register
ma but (for example, ma non troppo: but not too much)
maestoso majestic
mano destra, M.D. right hand
mano sinistra, M.S. left hand
marcato, marc. marked or stressed
martellato strongly accented, hammered
mssig moderate, moderately
meno less
meno mosso less movement, slower
mesto sad, mournful
mezzo forte, F moderately loud
mezzo piano, P moderately soft
mit with
mit Ausdruck with expression
M.M. Maelzels metronome
modr at a moderate tempo
molto much, very
57
Appendix
________________________________________________________________________
58
morendo dying, fading away
mouvement tempo; motion
non not
non troppo not too much
ottava, 8va the interval of an octave
pedale, ped. pedal
pesante weighty, with emphasis
pianissimo,
very soft
piano, p soft
pi more
pi mosso more movement (quicker)
pizzicato for stringed instruments: pluck the string instead of bowing
poco little
poco a poco little by little
polychord a combination of two or more different chords
presto very fast
prestissimo as fast as possible
primo, prima rst; the upper part of a duet
quartal chord a chord built on a series of 4ths
quasi almost, as if
quindicesima alta (15 ma) two octaves higher
rallentando, rall. slowing down
repeat sign repeat the music within the double bar lines
risoluto resolute
ritenuto, riten. suddenly slower, held back
rubato with some freedom of tempo to enhance musical expression
scherzando playful
schnell fast
secondo, seconda second; second or lower part of a duet
sehr very
semplice simple
sempre always, continuously
senza without
seventh (7th) chord a chord consisting of a root, a third, a fth, and a seventh
sforzando, , sudden strong accent of a single note or chord
simile continue in the same manner as has just been indicated
sonore sonorous
sopra above
sostenuto sustained
sotto voce soft, subdued, under the breath
spiritoso spirited
staccato detached
stringendo pressing, becoming faster
subito suddenly
Appendix
________________________________________________________________________
59
tacet be silent
tempo speed at which music is performed
Tempo primo (Tempo I) return to the original tempo
tenuto held, sustained
tie hold for the combined value of the tied notes
tranquillo quiet, tranquil
tre corde three strings; release the left (piano) pedal
triad a chord consisting of a root, a third, and a fth
troppo too much
tutti a passage for the ensemble
una corda one string; depress the left (piano) pedal
vite fast
vivace lively, brisk
vivo lively
volta time (for example, prima volta, rst time; seconda volta,
second time)
volti subito, v.s. turn the page quickly
bar line a vertical line separating measures
decrescendo/diminuendo becoming softer
double bar line indicates the end of a piece
U fermata pause; hold the note or rest longer than its written value
measure/bar a unit of musical time
ottava, 8va play one octave above the written pitch
ottava, 8va play one octave below the written pitch
repeat sign repeat the music within the double bar lines
staccato detached
tie hold for the combined value of the tied notes
pedal marking
pedal marking
Signs
Appendix
________________________________________________________________________
Descriptions of Scores
Chorale Style
Four-part, SATB vocal texture
Two voices in the upper staff and two voices in the lower staff
Melody in the highest voice
Keyboard Style
Four-part texture
Three notes in the upper staff and one note in the lower staff
Melody in the highest voice
Modern Vocal Score
Four-part texture
Each part on a separate staff (open score)
Soprano and alto in the treble clef at actual pitch
Tenor in the treble clef one octave higher than actual pitch. (In some publications a small
8 is written under the clef.)
Bass in the bass clef at actual pitch
String Quartet Score
Four-part texture
Each part on a separate staff (open score)
First and second violins in the treble clef, viola in the alto clef, and cello in the bass clef
60
Appendix
________________________________________________________________________
61
Chord Symbols
The following tables provide examples of the harmonic symbols and non-chord note
labels that will be printed on theory examinations.
Due to the multiplicity of systems in common use, it is essential that candidates
familiarize themselves with the following material. Candidates must be able to
comprehend these symbols as they will be used in questions with given chord symbols.
Candidates are strongly encouraged to use the following symbols and labels in their own
analyses. However, any system of harmonic notation found in standard textbooks will
be accepted. Candidates must use a consistent system of chord symbols; marks will be
deducted for inconsistent work.
Other keys will be required for each examination.
Chords listed are not exhaustive. Use of other chords may be required for each
examination.
Root/Quality Chord Symbols
Please note that these tables provide examples onlythey are not complete lists of
chords for any one grade.
Chord Type Interval Structure Symbol Example
Triads
Major triad Root maj 3 P5 letter only E means EG
#
B
Minor triad Root min 3 P5 m Em means EGB
Diminished triad Root min 3 dim 5
o
or dim E
o
means EGB
b
Augmented triad Root maj 3 aug 5 aug Eaug means EG
#
B
#
7th chords
Dominant 7th chord
(major-minor 7th)
Root maj 3 P5 min 7 7 E7 means EG
#
BD
Diminished 7th chord Root min 3 dim 5 dim 7
o
7 E
o
7 means EGB
b
D
b
Half-diminished 7th chord Root min 3 dim 5 min 7
7 E
7 means EGB
b
D
Minor 7th chord Root min 3 P5 min 7 m7 Em7 means EGBD
Major 7th chord Root maj 3 P5 maj 7 maj7 Emaj7 means EG
#
BD
#
Derivations of the dominant 7th (notes in brackets are usually omitted)
Dominant 9th chord Root maj 3 [P5] min 7 maj 9 9 E9 means EG
#
[B]DF
#

Dominant minor 9th chord Root maj 3 [P5] min 7 min 9 7( b 9)* E7(
b
9) means EG
#
[B]DF
Dominant 11th chord Root [maj 3] P5 min 7 [maj 9] P11 11 E11 means E[G
#
]BD[F
#
]A
Dominant 13th chord Root maj 3 [P5] min 7 [maj 9] [P11] maj 13 13 E13 means EG
#
[B]D[F
#
][A]C
#
Dominant minor 13th chord Root maj 3 [P5] min 7 [maj 9] [P11] min 13 7(
b
13)* E7(
b
13) means EG
#
[B] [F
#
][A]DC
Dominant 7th, raised fth Root maj 3 aug 5 min 7 7
#
5* E7aug5 means EG
#
B
#
D
Dominant 7th, lowered fth Root maj 3 dim 5 min 7 7
b
5 E7
b
5 means EG
#
B
b
D
Appendix
________________________________________________________________________
62
Augmented 6th chords
The following chords are augmented 6th chords. The term original bass note (abbreviated as
Ob) is used instead of root when referring to augmented 6th chords because they are not
based on the principle of stacked 3rds.
Italian 6th chord Ob maj 3 aug 6 It 6 CIt 6 means CEA
#
German 6th chord Ob maj 3 P5 aug 6 Ger 6 CGer 6 means CEGA
#
French 6th chord Ob maj 3 aug 4 aug 6 Fr 6 CFr 6 means CEF
#
A
#
* The use of the symbols
#
and
b
indicate raising and lowering of the pitches by one
semitone. Other systems of notation may use alternate symbols.
Inversions of chords
To indicate an inversion, write the chord symbol followed by a slash and the bass note, or
indicate the bass note under the chord symbol; for example:
E major triad in rst inversion: E/G
#
or
E
G
E minor triad in rst inversion: Em/G or
Em
G
E major triad in second inversion: E/B or
E
B

Cadential chord in E minor: Em B7/B or
Em B7
B
Figured Bass
A Standardized Notation for Figured Bass
Figured bass was the common way of writing instrumental and vocal accompaniments
throughout the Baroque and early Classical eras. Realizing gured bass, whether in written
form or at the keyboard, was an essential part of a musicians education. The enormous
importance of gured bass is still reected in the fact that symbols for designating
positions of chords currently in use worldwide for harmonic analysis are derived directly
from gured bass notation.
Over the three centuries when gured bass was in everyday use, countless variations
arose in the notation of the desired harmonies as well as the style of performing or setting
gured bass. The following summary outlines the most essential features of this system:
The bass part is always written out in full. It is played by the left hand notated on the lower
staff. The three upper parts (soprano, alto, and tenor) are played by the right hand and
are written on the upper staff in close position, with the distance between the voices not
exceeding an octave (Example 1). The bass range should conform to the range indicated in
Example 2. The soprano range should conform to the range indicated in Example 3.

All the principles of voice-leading, dissonance treatment, relative motion (the avoidance
of inappropriate parallel or similar motion) and doubling of the choral style harmony
are valid in gured bass setting. In general, voice crossing is avoided, but the unison is
entirely accepted (the direction of the stems and use of double noteheads is necessary to
indicate the exact structure of each chord; see Example 4).

Appendix
________________________________________________________________________
63
Chords are indicated by a system of guration; that is, using gures. The notes in the
chords are represented by numerals corresponding to the intervals formed between the
bass and the other notes of each chord (Example 5). The numerals in the guration are
written in descending order downward, regardless of the actual vertical arrangement
of the voices. Unison or octave doublings are usually not represented in the guration,
unless it is necessary to clarify the voice-leading (as in the 87 progression, Example 6).
As in functional notation, some abbreviations are very common, such as the omission of
the third and/or fth of the chord (Example 7).

The guration always refers to the notes in the key signature and does not imply any
quality of chord. The accidentals are indicated by placing the appropriate sign beside
the numeral to the left of the note to be altered, and correspond to the accidental that is
actually needed in the music (Example 8). When the note to be altered is a third above
the bass, the accidental may be written alone, the 3 being implied (Example 9).

Dashes below a stationary bass indicate movement in the upper parts (Example 10). In
the case of dashes over a stationary bass it is the numeral at the end of the dashes that
represent the true chord (Example 11). Dashes below a moving bass indicate that the
notes in the upper parts remain stationary (Example 12).

A string of six chords with the bass moving up or down the scale may be set with only two
upper parts, thus creating a three-part texture of parallel rst-inversion chords. Four-part
texture should resume when the string of six chords ends (Example 13).

Appendix
________________________________________________________________________
64
Functional Chord Symbols
All examples are given in C major and C minor only. Please note that the following
examples do not constitute a complete list of chords for any one grade.
Triads in major keys
Triads in minor keys
Note: Accidentals are indicated differently in gured bass and in functional chord
symbols. Observe the following when realizing functional chord symbols.
For V and vii
o
triads and chords derived from them, use the raised leading note unless
otherwise stated.
For i and III triads and chords derived from them, use the natural minor scale unless
otherwise stated.
Triad variants in minor keys
Altered triads
Altered triads with an assumed lowered fth
Altered triads without an assumed lowered fth
Inversions of triads
Accidentals in inversions (not bass note)
Appendix
________________________________________________________________________
65
Altered bass notes in inversions
7th chords in major keys
7th chords in minor keys
Inversions of 7th chords
Altered dominant 7th chords
Dominant 9th, 11th, and 13th chords
Applied chords, including secondary dominants
Applied chord progressions
Appendix
________________________________________________________________________
66
Modulation
Principal decorative harmonies
Passing chord
Pedal point
Augmented 6th chords in normal position built on
b
6

Inversions of Italian 6th chords
Inversions of German 6th chords
Appendix
________________________________________________________________________
67
Inversions of French 6th chords
Augmented 6th chords built on
b
2

Inversions of augmented 6th chords built on
b
2

Common-tone diminished 7th chords
Non-chord Notes
Non-chord Note Label Approach Departure Metrical
Position
passing note pn by step by step, same direction weak
accented passing note apn by step by step, same direction strong
neighbor note nn by step returns to previous pitch weak
accented neighbor note ann by step returns to previous pitch strong
incomplete neighbor note inn by leap by step weak
appoggiatura app free by step strong
chappe ech by step by a 3rd, with a change of
direction
weak
suspension susp prepared by step, usually downward strong
anticipation ant free holds the pitch weak
Appendix
________________________________________________________________________
Sequences
The name of each sequence represents the roots of the rst four chords in the sequence.
The musical examples shown here are simple examples of the basic forms of the
sequences. Many variations are possible, including inversions of the chords, use of 7th
chords, etc. The following shows sequences moving through the diatonic scale, but
sequences moving through the chromatic scale are possible as well.
Dofatimi sequence
Root movement of the harmonic pattern: down a 5th
Interval of transposition: down a 2nd
Typical examples:
Major key: IIV vii
o
iiiviiiVI
Minor key: iivVIIIIIVIii
o
Vi
Other names: descending 5ths, cycle of descending 5ths
Variants:
Dosolrela sequence
Root movement of the harmonic pattern: up a 5th
Interval of transposition: up a 2nd
Typical examples:
Major key: IViiviIVI
In major keys, the normal third phrase of this sequence is omitted to avoid the vii
o

triad.
Minor key: iVIIIVIivi
In minor keys, the normal second phrase is omitted.
Other names: ascending 5ths
68
Appendix
________________________________________________________________________
Dofaresol sequence
Root movement of the harmonic pattern: up a 4th
Interval of transposition: up a 2nd
Typical examples:
Major key: IIViiViiivi
Minor key: iIViiVIII
x
VI
Other names: ascending 4ths, Sound of Music, Rosalia
Dosollami sequence
Root movement of the harmonic pattern: down a 4th
Interval of transposition: down a 3rd
Typical examples:
Major key: IVviiiiIVI
Minor key: IvVIIIIivi
Other names: descending 3rds variant, Pachelbel
69
Appendix
________________________________________________________________________
An annotated list of resources is available under Syllabi at www.rcmexaminations.org or
www.TheAchievementProgram.org.
* Indicates resource materials that are suitable for candidates preparing for the ARCT in
Composition and/or Theory examinations.
Dictionaries and Encyclopedias
Chwialkowski, Jerzy. The Da Capo Catalogue of Classical Music Compositions. New York, NY: Da
Capo Press, 1996.
Feather, Leonard, and Ira Gitler, eds. The Biographical Encyclopedia of Jazz. London: Oxford
University Press, 2007.
*Kallmann, Helmut, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in Canada.
2nd ed. Toronto, ON: University of Toronto Press, 1992; available online at
www.thecanadianencyclopedia.com.
Kennedy, Michael, and Joyce Bourne, eds. The Concise Oxford Dictionary of Music. 5th ed.
London: Oxford University Press, 2007.
. The Oxford Dictionary of Music. Rev. ed. London: Oxford University Press, 2006. Available
online by subscription at www.oxfordmusiconline.com.
Kernfeld, Barry, ed. The New Grove Dictionary of Jazz. 2nd ed. 3 vols. London: MacMillan, 2001.
Latham, Alison ed. The Oxford Companion to Music. New York: Oxford University Press, 2002.
Available online by subscription at www.oxfordmusiconline.com.
Randel, Don Michael, ed. The Harvard Biographical Dictionary of Music. Cambridge, MA:
Belknap Press of Harvard University Press, 1996.
. The Harvard Concise Dictionary of Music and Musicians. Cambridge, MA: Belknap Press of
Harvard University Press, 1999.
. The Harvard Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University
Press, 2003.
Rosenthal, Harold, and John H. Warrack. The Oxford Dictionary of Opera. 2nd ed. Oxford:
Oxford University Press, 1992.
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd ed. 29 vols. London:
Macmillan, 2001. Available online by subscription at www.oxfordmusiconline.com.
. The New Grove Dictionary of Opera. 4 vols. London: Macmillan, 1992.
Slonimsky, Nicholas. Bakers Biographical Dictionary of Musicians. 9th ed. New York, NY:
Schirmer Reference, 2000.
. Bakers Biographical Dictionary of Twentieth Century Classical Musicians. New York, NY:
Schirmer, 1984.
Warrack, John, and Ewan West, eds. The Concise Oxford Dictionary of Opera. 3rd ed. London:
. The Oxford Dictionary of Opera. London: Oxford University Press, 1992.
Rudiments
Braaten, Brenda and Crystal Wiksyk. Sound Advice: Theory and Ear Training. 8 vols.
Mississauga, ON: The Frederick Harris Music Co., Limited, 20056. Online audio tracks
at www.soundadvicedirect.com.
Musgrave, Machiko, and Paul Musgrave. Doctor Mozart. 2 vols. Errington, BC: April Avenue
Music, 2006.
Sarnecki, Mark. The Complete Elementary Music Rudiments. 2nd ed. Mississauga, ON: The
Frederick Harris Music Co., Limited, 2010.
. Elementary Music Rudiments. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris
Music Co., Limited, 2010.
. Elementary Music Theory. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music
Co., Limited, 2010.
70
Resources
Resources
________________________________________________________________________
Vandendool, Grace. Keyboard Theory. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris
. Keyboard Theory Preparatory Series. 2nd ed. 5 vols. Mississauga, ON: The Frederick Harris
Wharram, Barbara. Elementary Rudiments of Music. 2nd ed. Ed. Kathleen Wood. Workbook
and Answer Book. Mississauga, ON: The Frederick Harris Music Co., Limited, 2010.
Harmony
*Aldwell, Edward, and Carl Schachter. Harmony and Voice Leading. 3rd ed. New York, NY:
Schirmer Books, 2002.
Andrews, William and Molly Sclater. Materials of Western Music. Parts 1, 2, and 3. Van Nuys,
CA: Alfred Publishing Co., Inc., 1997. First published Toronto, ON: Gordon V. Thompson
Music, 1988.
Aston, Peter, and Julian Webb. Music Theory in Practice. Grades 68. London: Associated
Board of the Royal Schools of Music, 19921993.
Braaten, Brenda and Crystal Wiksyk. Sound Advice: Theory and Ear Training, Book 8.
Mississauga, ON: The Frederick Harris Music Co., Limited, 2006. Online audio tracks at
www.soundadvicedirect.com.
Gauldin, Robert. Harmonic Practice in Tonal Music. 2nd ed. New York, NY: W.W. Norton, 2004.
Hindemith, Paul. Traditional Harmony. Parts I and II. London: Schott, 19431981.
*Kostka, Stefan, and Dorothy Payne. Tonal Harmony: With an Introduction to Twentieth-Century
Music. 6th ed. Boston, MA: McGraw-Hill, 2009.
Mackin, Barbara. Harmony: A Practical Approach. Parts I and II. Edmonton, AB: Concertino,
1996.
. Harmony: A Practical Approach. Part III. Edmonton, AB: Concertino, 2001.
Melcher, Robert, Willard F. Warch, and Paul B. Mast. Music for Study: A Source of Excerpts.
3rd ed., Englewood Cliffs, NJ: Prentice Hall, 1998.
Ottman, Robert W. Advanced Harmony: Theory and Practice. 5th ed. Upper Saddle River, NJ:
Prentice Hall, 2000.
. Elementary Harmony: Theory and Practice. 5th ed. With CD. Upper Saddle River, NJ:
*Piston, Walter. Harmony. 5th ed. Rev. and expanded by Mark DeVoto. New York, NY:
W.W. Norton, 1987.
Sarnecki, Mark. Harmony. 2nd ed. 3 vols. Mississauga, ON: The Frederick Harris Music Co.,
Limited, 2010.
Satory, Stephen. First-Year Harmony. Toronto, ON: Chorale Publishing, 2001.
Vandendool, Grace. Basic Harmony. 2nd ed. Workbook and Answer Book. Mississauga, ON:
The Frederick Harris Music Co., Limited, 2010.
. Intermediate Harmony. 2nd ed. Workbook and Answer Book. Mississauga, ON: The
Counterpoint
Andrews, William and Molly Sclater. Elements of 18th Century Counterpoint. Van Nuys, CA:
Alfred Publishing Co., Inc., 1997. First published Toronto, ON: Gordon V. Thompson
Music, 1986.
*Benjamin, Thomas. Counterpoint in the Style of J.S. Bach. New York, NY: Schirmer, 1986.
Gauldin, Robert. A Practical Approach to 18th Century Counterpoint. Long Grove, IL: Waveland
Press, 1995.
*Jeppesen, Knud. The Style of Palestrina and the Dissonance. New York, NY: Dover, 1970.
*Kennan, Kent W. Counterpoint: Based on 18th Century Practice. 4th ed. Englewood Cliffs, NJ:
*Piston, Walter. Counterpoint. New York, NY: W.W. Norton, 1947.
Schubert, Peter. Modal Counterpoint, Renaissance Style. Oxford: Oxford University Press, 1999.
Scott, Samuel, and Gustave Frederic Soderlund. Examples of Gregorian Chant & Other Sacred
Music of the Sixteenth Century. Long Grove, IL: Waveland Press, 1971.
*Soderlund, Gustave Frederic. Direct Approach to Counterpoint in Sixteenth Century Style.
Englewood Cliffs, NJ: Prentice Hall, 1947.
71
Resources
________________________________________________________________________
72
Analysis
*Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. 8th ed. 2 vols. Boston, MA:
McGraw-Hill, 2009.
*Burkhart, Charles. Anthology for Musical Analysis. 6th ed. New York, NY: Schirmer Books,
2003.
Cadwallader, Allen. Analysis of Tonal Music: A Schenkerian Approach. Oxford: Oxford University
Press, 1998.
*Cook, Nicholas. Analysis through Composition: Principles of the Classical Style. New York, NY:
Iliffe, Francis. Bachs 48 Preludes and Fugues Analyzed. 2 vols. London: Novello, [n.d.].
Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 2nd ed. Upper Saddle
River, NJ: Prentice Hall, 1999.
Lovelock, William. Form in Brief. Deacon House: Hammond, 1954.
MacPherson, Stewart. Form in Music. London: Stainer and Bell, 1978.
Morgan, Orlando. J.S. Bach: 48 Preludes and Fugues, Analysis of the Fugues. (Unknown Binding) 1931.
Rosen, Charles. Sonata Forms. 2nd ed. New York, NY: W.W. Norton, 1988.
*Salzer, Felix. Structural Hearing: Tonal Coherence in Music. 2 vols. New York, NY: Dover, 1962.
*Schoenberg, Arnold. Fundamentals of Musical Composition. Ed. G. Strang and L. Stein.
London: Faber, 1999.
Stainkamph, Eileen. Form and Analysis of the Complete Beethovens Pianoforte Sonatas. Melbourne:
Allans Music, 1968.
Keyboard Harmony
Andrews, William and Molly Sclater. Materials of Western Music. Parts 1, 2, and 3. Toronto,
ON: Gordon V. Thompson Music (Warner Bros. Publications), 19871992.
Arnold, F. T. The Art of Accompaniment from a Figured-Bass. 2 vols. Mineloa, NY: Dover
Publications, 1965.
Bach, Johann Sebastian. 69 Chorales and Figured Bass. [editions published by Kalmus,
Schirmer, Editio Musica Budapest, Belwin Mills]
Brings, Allen, et al. A New Approach to Keyboard Harmony. New York, NY: W.W. Norton, 1979.
Frackenpohl, Arthur. Harmonization at the Piano. 6th ed. Dubuque, IA: W.C. Brown, 1991.
Melcher, Robert. Music for Keyboard Harmony. Englewood Cliffs, NJ: Prentice Hall, 1966.
and William F. Warch. Music for Score Reading. Englewood Cliffs, NJ: Prentice Hall, 1971.
Morris, R.O. Figured Harmony at the Keyboard. 2 vols. London: Oxford University Press, 19321933.
and Howard Ferguson. Preparatory Exercises in Score Reading. London: Oxford University
Press, 1931.
History
General Reference
Bonds, Mark Evans. A History of Music in Western Culture. 2nd ed. Upper Saddle River, NJ:
*Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 7th ed. New York, NY:
W.W. Norton, 2006.
Hanning, Barbara Rusanno. Concise History of Western Music. 3rd ed. New York, NY:
W.W. Norton, 2007.
Lang, Paul Henry. Music in Western Civilization. New York, NY: W.W. Norton, 1941; reprint with
new foreword by Leon Botstein, 1997.
Lopinski, Janet, Joe Ringhofer, and Peteris Zarins. Explorations 3 vols. Mississauga, ON: The
Machlis, Joseph, and Kristine Forney. The Enjoyment of Music. 10th ed. New York, NY: W.W.
Norton, 2007.
Miller, Hugh. History of Western Music. New York, NY: Harper Collins, 1991.
Schonberg, Harold C. Lives of the Great Composers. 3rd ed. New York, NY: W.W. Norton, 1997.
Resources
________________________________________________________________________
73
Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Boston, MA: McGraw-
Hill, 1998.
Taruskin, Richard. The Oxford History of Western Music. 6 vols. New York, NY: Oxford University
Press, 2005.
Middle Ages
Gleason, Harold, and Warren Becker. Music in the Middle Ages and the Renaissance. 3rd ed.
Bloomington, IN: Frangipani Press, 1988.
Hoppin, Richard H. Medieval Music. New York, NY: W.W. Norton, 1978.
Reese, Gustave. Music in the Middle Ages. Rev. ed. New York, NY: W.W. Norton, 2000.
Yudkin, Jeremy. Music in Medieval Europe. Englewood Cliffs, NJ: Prentice Hall, 1989.
Renaissance
Atlas, Alan W. Renaissance Music: Music in Western Europe 14001600. New York, NY:
W.W. Norton, 1997.
*Brown, Howard Mayer. Music in the Renaissance. 2nd ed. Englewood Cliffs, NJ: Prentice Hall,
1999.
Knighton, Tess, and David Fallows. Companion to Medieval and Renaissance Music. Berkeley, CA:
University of California Press, 1998.
Reese, Gustave. Music in the Renaissance. Rev. ed. New York, NY: W.W. Norton, 1959.
Baroque
Burrows, Donald. Handel. Oxford: Oxford University Press, 1994.
. Handel: Messiah. Cambridge: Cambridge University Press, 1991.
*Palisca, Claude V. Baroque Music. 3rd ed. Englewood Cliffs, NJ: Prentice Hall, 1991.
Sadie, Julie Anne. Companion to Baroque Music. Berkeley, CA: University of California Press,
1998.
Wolff, Christoph. Bach, The Learned Musician. New York, NY: W.W. Norton, 2000.
Classical
Cook, Nicholas. Analysis through Composition: Principles of the Classical Style. New York, NY:
*Downs, Philip G. Classical Music: The Era of Haydn, Mozart and Beethoven. New York, NY:
W.W. Norton, 1992. (See also Anthologies.)
Heartz, Daniel. Haydn, Mozart, and the Viennese School, 17401780. New York, NY: W.W. Norton,
1995.
Landon, H. C. Robbins. Haydn, Chronicle and Works. 5 vols. London: Thames and Hudson,
1995.
Pauly, Reinhard G. Music in the Classic Period. 4th ed. Upper Saddle River, NJ: Prentice Hall,
2000.
*Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York, NY:
W.W. Norton, 1998.
Solomon, Maynard. Beethoven. New York, NY: Schirmer Trade Books, 2001.
. Mozart, A Life. New York, NY: Harper Perennial, 2005.
Romantic
Finson, Jon W. Nineteenth Century Music: The Western Classical Tradition. Englewood Cliffs, NJ:
Garden, Edward. Tchaikovsky. New York, NY: Oxford University Press, 2000. (originally
published 1973)
Millington, Barry. Wagner. Rev. ed. Princeton, NJ: Princeton University Press, 1992.
Plantinga, Leon, ed. Romantic Music. New York, NY: W.W. Norton, 1985.
Rosen, Charles. The Romantic Generation. With CD. Cambridge, MA: Harvard University Press,
1995.
Samson, Jim. The Music of Chopin. London: Routyhlege and Kegan Paul, 1985; Oxford: Oxford
Resources
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74
Post-1900
*Antokoletz, Elliott. Twentieth-Century Music. Englewood Cliffs, NJ: Prentice Hall, 1992.
*Brindle, Reginald Smith. The New Music: The Avant-Garde Since 1945. 2nd ed. London: Oxford
*Cope, David H. New Directions in Music. 7th ed. Prospect Heights, IL: Waveland Press, 2001.
Gridley, Mark C. Jazz Styles: History and Analysis. 10th ed. Upper Saddle River, NJ: Prentice
Hall, 2009.
*Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3rd ed. Upper Saddle
Morgan, Robert P. Twentieth Century Music. New York, NY: W.W. Norton, 1991.
Salzman, Eric. Twentieth Century Music: An Introduction. 4th ed. Englewood Cliffs, NJ: Prentice
Hall, 2002.
Whittall, Arnold. Music Since the First World War. London: Oxford University Press, 2000.
Score Anthologies
Bach, Johann Sebastian. 371 Chorales. [editions published by Peters, Schirmer, Editio
Musica Budapest]
Bonds, Mark Evans. Anthology of Scores. 2nd ed. 2 vols. Upper Saddle River, NJ: Prentice Hall,
2005. (Accompanies Bonds, A History of Music in Western Culture. 2nd ed.)
Burkhart, Charles. Anthology for Musical Analysis. 6th ed. New York, NY: Schirmer Books,
2003.
Forney, Kristine, ed. The Norton Scores: A Study Anthology. 8th ed. 2 vols. New York, NY:
W.W. Norton, 1999. (Accompanies Machlis, The Enjoyment of Music.)
*Palisca, Claude V., ed. The Norton Anthology of Western Music. 5th ed. 2 vols. New York, NY:
W.W. Norton, 2005. (Accompanies Grout and Palisca, A History of Western Music.)
20th-Century Composition
Boulez, Pierre. Boulez on Music Today. Trans. S. Bradshaw and R.R. Bennett. London: Faber,
1979.
*Brindle, Reginald Smith. Serial Composition. London: Oxford University Press, 1965.
*Hindemith, Paul. Craft of Musical Composition. 2 vols. Mainz: Schott, 1942.
*Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3rd ed. Upper Saddle
Messiaen, Olivier. The Technique of My Musical Language. Tustin, CA: American Biography
(Reprint of 1954 ed.)
*Persichetti, Vincent. Twentieth-Century Harmony. New York, NY: W.W. Norton, 1961.
*Wuorinen, Charles. Simple Composition. New York, NY: Service. Reprint of 1956 ed. Peters,
1979.
Instrumentation and Orchestration
*Adler, Samuel. The Study of Orchestration. 3rd ed. New York, NY: W.W. Norton, 2001.
Berlioz, Hector, and Richard Strauss. Treatise on Instrumentation. Mineloa, NY: Dover
Publications, 1991.
Brindle, Reginald Smith. Contemporary Percussion. London: Oxford University Press, 1970.
Del Mar, Norman. Anatomy of the Orchestra. London: Faber and Faber; Berkeley, CA:
University of California Press, 1981.
Forsyth, Cecil. Orchestration. Mineloa, New York, NY: Dover Publications, 1982.
*Kennan, Kent Wheeler. The Technique of Orchestration. 6th ed. Englewood Cliffs, NJ: Prentice
Hall, 2002.
*Piston, Walter. Orchestration. New York, NY: W.W. Norton, 1955.
*Stone, Kurt. Music Notation in the 20th Century: A Practical Guidebook. New York, NY:
W.W. Norton, 1980.
Resources
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75
Electronic and Computer Music
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Englewood Cliffs, NJ:
Dobson, Richard. A Dictionary of Electronic and Computer Music Technology: Instruments, Terms,
Techniques. Oxford; New York, NY: Oxford University Press, 1992.
Dodge, Charles, and Thomas Jerse. Computer Music. 2nd ed. New York, NY: Schirmer, 1997.
*Manning, Peter. Electronic and Computer Music. Rev. ed. London: Oxford University Press,
2004.
Wick, Robert L. Electronic and Computer Music. New York, NY: Greenwood, 1997.
Online Resources
Canadian Music Centre
www.musiccentre.ca
Encyclopedia of Music in Canada
www.thecanadianencyclopedia.com
Harvard College Library
hcl.harvard.edu/research/guides/music/resources/index.html
Library and Archives Canada, Music and Performing Arts
www.collectionscanada.gc.ca
Library of Congress
www.loc.gov/index.html
Naxos Music Library
www.naxosmusiclibrary.com/home.asp
Oxford Music Online:
Grove Music Online
Encyclopedia of Popular Music
The Oxford Companion to Music
The Oxford Dictionary of Music
The New Grove publications
www.oxfordmusiconline.com
Smithsonian Institution
www.si.edu
Resources
________________________________________________________________________
What are theory examinations?
Music theory examinations (written examinations) ensure that students have a
comprehensive knowledge and understanding of rudiments, harmony, counterpoint,
analysis, and music history.
What is a theory co-requisite?
A theory co-requisite is an examination that must be completed before or within ve
years of a practical examination if candidates wish to receive a certicate for the practical
examination. Theory examination requirements for each specic practical level represent
the latest point at which students should complete theory requirements. It is strongly
encouraged that theory studies start as soon as students begin their music studies and
progress every year as part of a well-rounded musical education.
When do the theory examinations take place?
Canada
Theory examinations take place three times a year over a period of two days:
Winter Sessionthe second Friday and following Saturday in December
Spring Sessionthe second Friday and following Saturday in May
Summer Sessiona Friday and following Saturday in mid-August
USA
Theory examinations take place two times a year over a period of two days:
Winter Sessionthe second Friday and following Saturday in December
Spring Sessionthe second Friday and following Saturday in May
Where do I go to take my examination?
Theory examinations may take place in various types of facilities, such as schools,
churches, and community centers. The location of the examination facility will be given to
candidates once they apply for an examination.
How long are the theory examinations?
Preparatory Rudiments: 1 hour
Basic Rudiments: 1 hour
Intermediate Rudiments and Advanced Rudiments: 2 hours
All other examinations: 3 hours
Can I take an examination more than once?
Yes, there are no restrictions on the number of times candidates can take a specic
complete examination.
If I get sick or there is an emergency that conicts with my examination,
can I take it at a different time?
Candidates who cannot attend their examination due to medical reasons or because
of a direct time conict with a school examination may apply for a credit for the
examination fee, which can be used towards payment of another examination within one
year. Candidates may apply for the same examination or a different examination during
the next year using the examination credit.
76
Frequently Asked Questions
________________________________________________________________________
Do I have to do my theory and practical examination in the same session?
No. You can take your theory examination in a different session from your practical
examination. You have up to ve years following your practical examination to complete
your theory co-requisites.
How do I get my theory results?
Theory marks and marked theory papers can be viewed on the website under
Examination Results. This allows teachers to review marked papers with their students in
order to complete the learning process before proceeding to the next level. Theory results
are not mailed to candidates.
How long does it take to receive theory results?
Candidates can look up their theory marks online approximately six weeks after the
examination. The marked theory papers are scanned and available for online viewing a few
weeks after that.
Where can I nd sample theory examination papers?
RCM Examinations Ofcial Examination Papers are published annually by The Frederick
Harris Music Co., Limited to aid with examination preparation. Each book includes three
examinations from the previous December, May, and August examination sessions plus
an additional examination created for extra practice. Editions for three academic years are
available at any given time and may be purchased from your local music retailer.
77
________________________________________________________________________
Before You Leave Home
Plan to arrive 15 minutes early.
Bring your Examination Schedule.
Bring pencils, pens (blue or black ink only), erasers, and rulers to the examination
(keyboard facsimiles are not permitted).
Keyboard Harmony Examinations
Plan to arrive 40 minutes early to preview the examination materials.
Plan to arrive 15 minutes early.
Points to Remember
Electronic devices, books, notes, bags, and coats must be left in the area designated by
the presiding ofcer.
Photo ID may be requested before candidates are admitted to the examination room.
Parents, other family members, friends, and teachers must wait in the designated waiting
area.
Standing and listening outside the examination room door is prohibited.
Recording devices are strictly prohibited in the examination room.
After the Examination
Access your examination marks and marked theory paper through the Examination
Results link on the RCM Examinations website (www.rcmexaminations.org) or the The
Achievement Program website (www.TheAchievementProgram.org) approximately 68
weeks after the examination.
Examination Day Checklist for Candidates
78
Examination Day Checklist
for Candidates
________________________________________________________________________

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