Graduate/Transfer Music Theory Entrance Exam Primer:
Theory 4



Theory IV Coverage

The topic of chromatic harmony is further explored in theory IV with the introduction of the Neapolitan triad and augmented sixth chords in chapters 28 and 29, respectively. Other chromatic chords are introduced in chapter 30, ranging from the augmented triad to common-tone diminished seventh and augmented sixth chords. Theory IV ends with two chapters (32 and 33) that explore large-scale chromaticism, which involves modulation to distant keys. Such modulations are often accomplished via common chord modulation using chromatic, rather than diatonic chords, as well as by common tone (often using chromatic mediants) and enharmonic reinterpretation (i.e. a V7 resolved as a German augmented sixth).

Theory IV Part-Writing

Below you will find a figured bass exercise to realize in a four-voice texture. When you are done with your realization, please provide a Roman Numeral analysis of your composition, indicating any modulations with the correct notation. Once you have completed your chorale, you can see one possible realization and check your harmonic analysis against the linked answer sheet.

Theory IV Analysis

Below you will find short excerpt of a Lied written in G minor which you will analyze using Roman Numerals to indicate the chord function and figured bass to indicate the chord inversion. You will also circle all non-harmonic tones found within this excerpt and label them according to type (passing tone, neighbor tone, suspension, etc.). You must also analyze any modulations using the correct notation. This excerpt does not coincide with the beginning of the work, so it may not begin or end in the tonic key of G minor. Please make sure to label the key areas as they relate to the tonic key. Once you have completed your analysis, you can check your results against the linked answer sheet.

Click Here for Part-Writing Realization and Analysis Answer Sheet

Main Page