Contents. Getting Started What s New... 6 Quick Guide to Online Examination Registration... 6 Contact Us... 6

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3 Contents Message from the President Getting Started What s New Quick Guide to Online Examination Registration... 6 Contact Us About Us The Royal Conservatory The Royal Conservatory Examinations Meet our Examiners Examinations Offered Notable Alumni Excellence Since Quick Reference Certificate Program Overview Theory Examinations Overview Co-requisites and Prerequisites Specialized Theory Examinations Comprehensive Theory Examinations ARCT Diploma in Composition and/or Theory Musicianship Examinations Level-by-Level Theory Requirements Rudiments Preparatory Rudiments Basic Rudiments Intermediate Rudiments Advanced Rudiments Harmony, Counterpoint, and Analysis Introductory Harmony Basic Harmony Intermediate Harmony Counterpoint Advanced Harmony Analysis Keyboard Harmony Basic Keyboard Harmony Intermediate Keyboard Harmony Advanced Keyboard Harmony History History 1: An Overview History 2: Middle Ages to Classical History 3: 19th Century to Present Comprehensive Theory Examination ARCT Diploma in Composition and/or Theory Part 1: Examination Papers Part 2: Compositions and/or Research Papers Part 3: Viva Voce Examination Register for an Examination Examination Sessions and Registration Deadlines.. 49 Online Registration Examination Fees Examination Centers Examination Scheduling Examination Regulations Examination Procedures Credits and Refunds for Missed Examinations Candidates with Special Needs Examination Results Re-Evaluation of Written Theory Examinations Certificates and Diplomas Transfer Credits and Exemptions School Credits Medals RESPs RCM Examinations Official Examination Papers Correspondence Courses Appendix Musical Terms and Signs Descriptions of Scores Chord Symbols Non-chord Notes Sequences Resources Frequently Asked Questions Examination Day Checklist for Candidates

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5 5 Message from the President The Royal Conservatory 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 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 activities teaching, examining, publishing, research, and community outreach. Our students and teachers benefit 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 Examiners a group of fine 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. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory 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 find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. Dr. Peter C. Simon President

6 6 Getting Started What s New? New theory examination titles (p. 10) Frequently Asked Questions (p. 78) Examination Day Checklist for Candidates (p. 80) Visit examinations.rcmusic.ca to register. Contact Us Phone: Toll Free: Fax: Bloor Street West Toronto, ON Canada M5S 1W2 Getting Started

7 About Us 7 The Royal Conservatory The Royal Conservatory is one of the largest and most respected music education institutions in the world. Providing the definitive standard of excellence through its curriculum, assessment, performances, and teacher education programs, The Royal Conservatory makes a substantial impact upon the lives of millions of people globally. The Royal Conservatory Examinations The Royal Conservatory provides a recognized standard of musical success through an effectively sequenced course of study and individual student assessments from beginner to advanced levels. One-hundred thousand examinations are conducted annually in 260 communities across Canada. The Frederick Harris Music Co., Limited As The Royal Conservatory s publishing division, The Frederick Harris Music Co., Limited produces The Consevatory s renowned curricula and related teaching materials, as well as additional publications and tools supporting music educators and their students. Additional programs of The Royal Conservatory are delivered through the following divisions: The Glenn Gould School offers the most gifted young artists professional music training at the undergraduate and graduate levels. The Young Artists Performance Academy provides supportive, comprehensive training for the most promising musicians aged nine to eighteen. The Royal Conservatory School provides acclaimed early childhood music education programs and music classes for people of all ages and stages of musical literacy. Learning Through the Arts supports excellence in public education programs by utilizing the arts to enhance learning. The Performing Arts Division programs superb performances and events in The Royal Conservatory s three venues: Koerner Hall, Mazzoleni Concert Hall in historic Ihnatowycz Hall, and the Conservatory Theatre. The Royal Conservatory Music Development Program promotes and expands musical activity and makes the study of music a central part of the lives of all Americans. 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 examiner s career to ensure consistent examination standards throughout North America. Re ad abo ut our C olle lege of Examiners, including examiner biographies, at ex aminations.rcmusic.ca. a. 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

8 8 Notable Alumni Notable alumni include: Isabel Bayrakdarian the Gryphon Trio Aline Chrétien 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 Excellence Since The Toronto Conservatory of Music is founded The Conservatory has its official opening in a two-storey space above a music store. In addition to weekly lessons, courses include acoustics and piano tuning Affiliation with the University of Toronto enables preparation for university degree examinations Local examination centers are established outside of Toronto The Toronto Conservatory Orchestra is founded; two years later, this group becomes the first Toronto Symphony Orchestra Approximately 1,500 students across Canada take Toronto Conservatory examinations more than half from outside of Toronto The first piano repertoire book based on the Conservatory curriculum is published by The Frederick Harris Music Co., Limited, and distributed throughout Canada Composer Boris Berlin begins teaching at the Conservatory; he remains on the faculty until his death in A ten-level examination system is established 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 In recognition of its status as one of the Commonwealth s greatest music schools, the Conservatory receives a Royal Charter from King George VI, allowing it to be called The Royal Conservatory of Music The Conservatory re-establishes independence from the University of Toronto. Plans for restoration and expansion of the Toronto facilities begin 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 RCM Examinations expands into the United States of America The Conservatory s TELUS Centre for Performance and Learning opens The Royal Conservatory launches its Performing Arts Division and Koerner Hall opens. About Us

9 Quick Reference 9 Certificate Program Overview Theory examinations are essential components of the prestigious Certificate Program of The Royal Conservatory Examinations. Internationally recognized certificates 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. Certificates are also awarded when a candidate successfully completes each theory level. Candidates may enter the Certificate 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 certificate. For detailed information on practical certificate requirements, please consult the current syllabus for the relevant discipline. Theory Certificates Preparatory Rudiments Basic Rudiments Intermediate Rudiments Advanced Rudiments Introductory Harmony History and Theory: Basic History and Theory: Intermediate History and Theory: Advanced Examinations Required Preparatory Rudiments Basic Rudiments Intermediate Rudiments Advanced Rudiments Introductory Harmony Basic Harmony or Basic Keyboard Harmony History 1: An Overview Intermediate Harmony or Intermediate Keyboard Harmony History 2: Middle Ages to Classical Counterpoint Advanced Harmony or Advanced Keyboard Harmony History 3: 19th Century to Present Analysis Quick Reference

10 10 Theory Examinations Overview The Royal Conservatory graded theory system assesses essential tools in a student s 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 qualified teacher. The Royal Conservatory Examinations Offi cial Examination Papers, available at music retailers, are published annually by The Frederick Harris Music Co., Limited to aid with examination preparation. Subject Rudiments Harmony and Counterpoint Analysis History Examination Title Preparatory Rudiments (1 hour) Building blocks of music notation Basic Rudiments (1 hour) Elements of music for the beginner Intermediate Rudiments (2 hours) Continuation of basic rudiments Advanced Rudiments (2 hours) Continuation of intermediate rudiments and preparation for harmony Introductory Harmony (2 hours) Chord symbols; non-chord tones; elementary four-part and melodic writing 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 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 Counterpoint (3 hours) Composition and analysis of simple counterpoint in Baroque style Advanced Harmony (3 hours) Advanced harmonic and contrapuntal techniques or Advanced Keyboard Harmony (30 minutes) Melodic improvisation; keyboard-style harmonization; figured bass; accompaniment; melodic and orchestral transposition; score reading Analysis (3 hours) Advanced structural and harmonic analysis of musical forms History 1: An Overview (3 hours) Introduction to styles, composers, and music from 1600 to the present History 2: Middle Ages to Classical (3 hours) Styles, composers, and music of the Medieval, Renaissance, Baroque, Rococo, and Classical periods History 3: 19th Century to Present (3 hours) Styles, composers, and music from the Romantic era to the present Quick Reference

11 Co-requisites and Prerequisites The following table summarizes all the co-requisite and prerequisite examinations required to obtain practical examination certificates. 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 Candidates for the ARCT in Performance, the Teacher s 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 Perf. Elem. ARCT Ped. Int. Ped. Adv. Ped. Teacher s 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 Introductory Harmony 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, Teacher s ARCT, and Advanced Piano Pedagogy Ear Tests and Sight Reading) C C C C Quick Reference

12 12 Specific requirements for the Comprehensive Theory Examination can be found on p. 43. Specific requirementsem for the ARCT diploma can be found on p. 44. 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 candidate s 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 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 and Sight Reading Grade 8 Ear Tests Intermediate Grade 9 Ear Tests and Sight Reading Grade 9 Ear Tests Senior Grade 10, Teacher s ARCT, and Advanced Piano Pedagogy Ear Tests and Sight Reading Grade 10 and Teacher s ARCT Ear Tests Please visit examinations.rcmusic.ca to view the examination requirements and resources for Musicianship examinations. Quick Reference

13 13 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. Preparatory Rudiments Examination length Co-requisite for Recommended theory prerequisites Recommended for concurrent study with 1 hour n/a n/a Preparatory A, Preparatory B, and Introductory Practical Examinations Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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, flat, 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. Rudiments

14 14 Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books. Terms a tempo allegro andante crescendo, cresc. return to the original tempo fast moderately slow; at a walking pace becoming louder Signs bar line measure/bar double bar line repeat sign fermata (pause) a vertical line separating measures a unit of musical time indicates the end of a piece repeat the music within the double bar lines hold the note or rest longer than its written value decrescendo, decresc. diminuendo, dim. forte, largo legato mezzo forte, mezzo piano, moderato piano, ritardando, rit. becoming softer becoming softer loud very slow smooth moderately loud moderately soft at a moderate tempo soft slowing down gradually slur tie crescendo decrescendo/ diminuendo staccato play the notes legato hold for the combined value of the tied notes becoming louder becoming softer detached staccato detached Rudiments

15 Examination length Co-requisite for Recommended theory prerequisites Recommended for concurrent study with Basic Rudiments 1 hour Grade 5 Practical Examination Preparatory Rudiments Grades 1 to 5 Practical Examinations Intervals Write or identify the following in keys up to and including four sharps or flats 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 flats below a given note: perfect, major, and minor intervals within the octave (no inversions), melodic form 15 Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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 five ledger lines above or below treble and bass clefs accidentals (sharp, flat, 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 flats: 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) Triads Write or identify the following in keys up to and including four sharps or flats: 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 flats: 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 flats identify the key (major or minor) of a given passage with a key signature Transposition keys up to and including four sharps or flats 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 Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Basic Rudiments, including the terms below. Rudiments

16 16 Musical Terms and Signs Candidates will be asked to define or supply musical terms or signs from the following list, or to recognize these terms and signs in a musical passage. The definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books. Terms a tempo adagio allegretto allegro andante andantino cantabile con pedale, con ped. crescendo, cresc. da capo, D.C. dal segno, D.S. D.C. al Fine decrescendo, decresc. diminuendo, dim. dolce fi ne forte, fortissimo, ƒ grazioso larghetto largo legato lento maestoso mano destra, M.D. mano sinistra, M.S. marcato, marc. mezzo forte, F mezzo piano, P moderato return to the original tempo a slow tempo (slower than andante, but not as slow as largo) fairly fast (a little slower than allegro) fast moderately slow; at a walking pace a little faster than andante in a singing style with pedal becoming louder from the beginning from the sign repeat from the beginning and end at Fine becoming softer becoming softer sweet, gentle the end loud very loud graceful not as slow as largo very slow smooth slow majestic right hand left hand marked or stressed moderately loud moderately soft at a moderate tempo ottava, 8va pedale, ped. pianissimo, π piano, p prestissimo presto rallentando, rall. ritardando, rit. staccato tempo Tempo primo (Tempo I) tenuto Signs U accent staccato tie slur the interval of an octave pedal very soft soft as fast as possible very fast slowing down slowing down gradually detached speed at which music is performed return to the original tempo held, sustained a stressed note detached hold for the combined value of the tied notes play the notes legato fermata pause; hold the note or rest longer than its written value crescendo becoming louder decrescendo/ diminuendo ottava, 8va ottava, 8va dal segno, D.S. repeat sign becoming softer play one octave above the written pitch play one octave below the written pitch from the sign repeat the music within the double bar lines pedal marking pedal marking Rudiments

17 Intermediate Rudiments Examination length Co-requisite for Recommended theory prerequisites Recommended for concurrent study with 2 hours Grade 6 Practical Examination Preparatory Rudiments Basic Rudiments Grades 4 to 6 Practical Examinations Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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 flats 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 whole-tone scale beginning on any note (using six different letter names, starting and finishing 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 finish 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 17 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 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) Rudiments

18 18 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) V I V i Plagal IV I iv i Imperfect (half cadence) I V, IV V i V, iv V Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Intermediate Rudiments, including the terms below. Musical Terms and Signs Candidates will be asked to define or supply musical 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 definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books. Terms accelerando, accel. alla, all animato assai ben, bene brillante col, coll, colla, colle becoming quicker in the manner of lively, animated much, very much (for example: allegro assai, very fast) well (for example: ben marcato, well marked) brilliant with (for example: coll ottava, 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. molto non non troppo più più mosso poco poco a poco quasi rubato sempre senza spiritoso tranquillo tre corde troppo una corda vivace Maelzel s metronome much, very not not too much more more movement (quicker) little little by little almost, as if with some freedom of tempo to enhance musical expression always, continuously without spirited quiet, tranquil three strings; release the left (piano) pedal too much one string; depress the left (piano) pedal lively, brisk Rudiments

19 Examination length Co-requisite for Prerequisite for Recommended theory prerequisites Recommended for concurrent study with Advanced Rudiments 2 hours Grades 7 to 10 Practical Examinations Elementary Piano Pedagogy ARCT in Performance Teacher s ARCT Intermediate and Advanced Piano Pedagogy Preparatory Rudiments Basic Rudiments Intermediate Rudiments Grades 7 and 8 Practical Examinations Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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 Write or identify the following: 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 Write or identify the following: 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: major keys minor keys Perfect (authentic) V I, V 7 I V i, V 7 i Plagal IV I iv i Imperfect (half-cadence) I V, IV V i V, iv V Write the following cadences in keyboard style, in any major or minor key, at the end of a melodic fragment: major keys minor keys Perfect (authentic) V I V i Plagal IV I iv i Imperfect (half-cadence) I V, IV V i V, iv V Transposition major and minor keys 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 flat (clarinet, trumpet) in F (French horn, English horn) 19 Rudiments

20 20 Score Types (See Descriptions of Scores on p. 62.) Rewrite a given passage into the following score types: modern vocal score string quartet score short score (on two staves) Analysis Candidates will be asked to analyze a short musical composition, identifying any of the requirements for Basic, Intermediate, and Advanced Rudiments, including the terms below, as well as imitation, inversion, measures (m., mm.), sequence, and tritone. Musical Terms and Signs Candidates will be asked to define or supply musical 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 definitions and translations given below are acceptable for theory examinations, but candidates may also use any definitions and translations found in standard rudiments textbooks, music dictionaries, or other music reference books. French Terms cédez léger lentement modéré mouvement vite German Terms bewegt langsam mässig mit Ausdruck sehr schnell Italian Terms ad libitum, ad lib. agitato allargando, allarg. arco attacca calando comodo con fuoco con grazia yield; hold the tempo back light; lightly slowly at a moderate tempo tempo; motion fast moving slow; slowly moderate; moderately with expression very fast at the liberty of the performer agitated broadening, becoming slower for stringed instruments: resume bowing after a pizzicato passage proceed without a break becoming slower and softer at a comfortable, easy tempo with fire with grace con sordino dolente giocoso grandioso largamente l istesso tempo martellato mesto morendo pesante pizzicato with mute sad humorous, jocose grand, grandiose broadly the same tempo strongly accented, hammered sad, mournful dying, fading away weighty, with emphasis for stringed instruments: pluck the string instead of bowing primo, prima first; 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, first time; seconda volta, second time) volti subito, v.s. turn the page quickly Chord Types cluster polychord quartal chord a chord consisting of at least three adjacent notes of a scale a combination of two or more different chords a chord built on a series of 4ths seventh (7th) chord a chord consisting of a root, a third, a fifth, and a seventh triad a chord consisting of a root, a third, and a fifth Rudiments

21 Harmony, Counterpoint, and Analysis 21 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. Introductory Harmony The Introductory Harmony examination is strongly recommended as preparation for Basic Harmony. Examination length Recommended theory prerequisite Recommended for concurrent study with 2 hours Advanced Rudiments Grade 8 Practical Examination Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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. 63.) 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 first inversion i, iiº, iv, V, and VI in minor keys, in root position and first 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. 69.) passing notes, neighbor notes, and appoggiaturas Baroque Dances allemande, courante, sarabande, gigue, menuet, bourrée, and gavotte Examination Questions Candidates should be prepared to answer the following types of examination questions: Writing and Identification 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 specified format (as described above). Melody Writing Extend a phrase to a specified 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). Harmony, Counterpoint, and Analysis

22 22 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.) Examination length Co-requisite for Recommended theory prerequisites Basic Harmony 3 hours Grade 9 Practical Examination Elementary Piano Pedagogy Advanced Rudiments Introductory Harmony Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca 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 viiº/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 ø7, only identification of quality is required. Chord symbols (See Chord Symbols on p. 63.) root/quality chord symbols functional chord symbols Pedal Points (See Chord Symbols on p. 63.) on the tonic and dominant scale degrees Sequences (See Sequences on p. 70.) do fa ti mi (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: identification of modulations to all closely related keys Non-chord Notes (See Non-chord Notes on p. 69.) passing notes, accented passing notes, neighbor notes, accented neighbor notes, incomplete neighbor notes, échappées, suspensions, anticipations, and appoggiaturas Form binary, rounded binary, and ternary Examination Questions Candidates should be prepared to answer the following types of examination questions: Melody with Added Bass Line at the Cadences (Please visit examinations.rcmusic.ca for Models from the Repertoire. ) Extend a given melodic opening to create a sixteenmeasure 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. Harmony, Counterpoint, and Analysis

23 The first 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: Provide chord symbols (root/quality chord symbols or functional chord symbols or both). Indicate pedal points for their entire duration. Circle and classify non-chord notes. 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. 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.) Examination length Co-requisite for Prerequisite for Recommended theory prerequisites Intermediate Harmony 3 hours Grade 10 Practical Examination Intermediate Piano Pedagogy ARCT in Piano Performance Teacher s ARCT Advanced Piano Pedagogy Advanced Rudiments Introductory Harmony Basic Harmony Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca The Intermediate Harmony examination tests candidates knowledge of the requirements for Introductory and Basic Harmony plus the additional material listed below. Chords Root position and all inversions diatonic 7ths secondary (applied) dominants (V, V 7 ) secondary (applied) leading-note chords (vii, vii o7, and vii ø7 ) Root position only dominant 9ths, 11ths, and 13ths secondary (applied) dominants (V 9, V 11, and V 13 ) Chord symbols (See Chord Symbols on p. 63.) root/quality chord symbols functional chord symbols figured bass Pedal Points (See Chord Symbols on p. 63.) on any scale degree Sequences (See Sequences on p. 70.) do fa ti mi (diatonic descending 5ths and chromatic descending 5ths; i.e., with secondary dominants) do sol re la do fa re sol do sol la-mi 23 Harmony, Counterpoint, and Analysis

24 24 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 identifiable forms) rondo sonata Examination Questions Candidates should be prepared to answer the following 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 sixteenmeasure 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 figured 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 For a given example: Provide chord symbols (root/quality chord symbols or functional chord symbols, or both). Indicate pedal points for their entire duration. Circle and classify non-chord notes. 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.) Examination length Co-requisite for Recommended theory prerequisites Counterpoint 3 hours ARCT in Performance Teacher s ARCT Advanced Piano Pedagogy Advanced Rudiments Introductory Harmony Basic Harmony Intermediate Harmony Resources The Royal Conservatory Examinations Offi cial Examination Papers p. 56 Appendix p. 58 Rudiments resources p. 72 Annotated Resource List available online at examinations.rcmusic.ca The Counterpoint examination tests the application of materials studied in Intermediate Harmony to contrapuntal writing in the style of the Baroque period. Candidates should be prepared to answer the following 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 unified contrapuntal composition in Baroque style. Realize a given figured bass in keyboard style and add a melody (three staves will be given). Continue the style of the given material to create a unified contrapuntal composition in Baroque style. (See A Standardized Notation for Figured Bass on p. 64.) Answer brief questions concerning the musical elements (such as form, dance types, sequences, etc.) in the given material. Harmony, Counterpoint, and Analysis