Music Theory 1 | Music Theory 2 | Music Theory 3 | Music Theory 4

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• 1.1 Identify the letter names of the musical alphabet
• 1.2 Label the White Keys of the Keyboard with letter names
• 1.3 Identify the difference between half steps and whole steps on the keyboard
• 1.4 Identify how accidentals affect notes, using the keyboard
• 1.5 Label the Black Keys of the Keyboard with enharmonic spellings
• 1.6 Identify notes on the keyboard using correct letter name and octave number 
• 1.7 Identify a correctly drawn treble clef, and name the lines and spaces of the treble clef staff
• 1.8 Identify a correctly drawn bass clef, and name the lines and spaces of the bass clef staff
• 1.9 Identify a correctly drawn alto clef, and name the lines and spaces of the alto clef staff
• 1.10 Identify a correctly drawn tenor clef, and name the lines and spaces of the tenor clef staff
• 1.11  Identify and notate pitches on ledger lines above and below the staff in all four clefs
• 1.12 Identify and notate pitches on the grand staff (Piano staff)
• 1.13 List dynamic markings from softest to loudest pp, p, mp, mf, f, ff
• 1.14 Define and contrast the concepts of beat, beat-division, and meter
• 1.15 Provide the defining characteristic of simple meters vs compound meters
• 1.16 Explain how many beats are in a measure of duple meter, triple, meter, quadruple meter
• 1.17a Properly identify and notate note heads, stems, and flags
• 1.17b Identify the rhythmic values of whole note, half note, quarter note, eighth note, and 16th note and calculate how they relate to one another in terms of duration.
• 1.18 Identify the rhythmic values of whole rest, half rest, quarter rest, eighth rest, and 16th rest and calculate how they relate to one another in terms of duration.
• 1.19 Explain what a dot does to a note or rest
• 1.20 Identify the simple time signatures of 2/4 , 3/4, 4/4, 2/2, 3/2, 3/8, 4/8, 4/16 , common time, cut time, etc. and explain what the top and bottom numbers mean
• 1.21 Utilize Eastman (1&2&) and Takadimi counting systems to identify rhythmic markers within a measure for simple meters
• 1.22 Explain the concept of anacrusis, and identify anacrusis in notated music
• 1.23 Properly beam 8th notes and 16th notes to reflect the beat unit in simple meters
• 1.24 Explain what a tie does to two or more notes in terms of rhythmic duration
• 1.25 Identify the correct simple time signature given one measure of rhythm and which note value is the beat unit
• 1.26 Explain the whole step/half step pattern of a chromatic scale, and notate a Chromatic Scale, ascending and descending 
• 1.27 Explain the Whole Step/Half Step Pattern of a Major Scale, and correctly notate the Major Scales, ascending and descending, starting on any pitch
• 1.28 State the correct order of sharps, and the order of flats, as they appear in key signatures
• 1.29 Identify and notate major key signatures on staves of treble, bass, alto, and tenor
• 1.30 Identify pitch letter names of major scales given their scale degree names (tonic, supertonic, mediant, etc.)
• 1.31 Identify pitch letter names of major scales given moveable 'Do' Sol fege syllables
• 1.32 Identify the major key of a melody, or simple piece of music, by using the key signature and other notation clues
• 1.33: Identify the compound time signatures of 6/8 , 9/8, 12/8, 6/4, 9/4, 12/4,  6/16, 9/16, etc. and explain what the top and bottom numbers mean
• 1.34 Properly beam 8th notes and 16th notes to reflect the beat unit in compound meters
• 1.35 Identify the correct compound time signature given one measure of rhythm and which note value is the beat unit
• 1.36 Identify the difference between a chromatic half step and a diatonic half step
• 2.1 Explain the whole-step/half-step pattern of a natural-minor scale, and correctly notate the natural-minor scales, ascending and descending, starting on any pitch
• 2.2 Identify and notate minor key signatures on staves of treble, bass, alto, and tenor clefs
• 2.3 Identify PARALLEL Major and Minor keys, and identify RELATIVE Major and Minor keys
• 2.4 Correctly notate the Harmonic-Minor and Melodic-Minor Scales, ascending and descending, starting on any pitch
• 2.5 Identify pitch letter names of minor scales given their scale degree names (tonic, supertonic, mediant, etc.)
• 2.6 Identify all chromatic variations of sol fege syllables
• 2.7 Label the scale degrees of a minor scale with moveable 'Do' Sol fege syllables
• 2.8 Identify the minor key of a melody, or simple piece of music, by using the key signature and other notation clues
• 2.9 Identify the major OR minor key of a piece of music by using the key signature and other notation clues
• 3.1 Identify the names of the seven diatonic modes
• 3.2 Notate a scale of any diatonic mode starting on any pitch
• 3.3 Identify the mode of a piece of music by using the key signature and other notation clues
• 4.1 Define the term "interval", and contrast the terms "melodic-interval" and "harmonic-interval"
• 4.2 Identify interval size
• 4.3 Identify which intervals sizes are associated with the qualities Major, Minor, Perfect, Augmented, Diminished
• 4.4 List number of half-steps associated with each named interval (size/quality)
• 4.5 Explain the quality 'track' for 2nds, 3rds, 6ths, and 7ths , and Explain the quality 'track' for 4ths, 5ths, and Octaves
• 4.6 Identify and notate interval size AND quality of any two pitches
• 4.7 Identify and notate compound intervals, and identify the corresponding simple interval
• 4.8 Predict the size and quality of the inversion of an interval
• 5.1 Stack notes in thirds to create triads, and Label notes of a triad as the root, third, or fifth (letter names only, not including accidentals or quality at this point)
• 5.2 Identify and Notate, triad qualities of Major, Minor, Augmented, Diminished
• 5.3 Label triads correctly by use of Roman numerals when associated with Major Keys
• 5.4 Label triads correctly by use of Roman numerals when associated with  Minor Keys
• 6.1 Identify the root, third, and fifth of a triad when the notes are mixed up on the staff (not neatly stacked in thirds)
• 6.2 Identify and notate triads in root position, first inversion, and second inversion
• 6.3 Identify, Notate, and Label a triad’s position using figured bass numbers
• 6.4 Identify the Major or Minor key of a piece of music, involving chords, by using the key signature and other notation clues
• 6.5 Identify and Label triads with correct Roman Numerals in real music examples
• 6.6 Identify and Label triads with BOTH correct Roman Numerals AND Inversion Numbers in real music examples
• 8.1 Stack notes in thirds to create seventh chords, and Label notes of a seventh chord as the root, third, fifth, or seventh
• 8.2 Match the commonly used 7th chord names to the two-quality-name-seventh-chord terms.
• 8.3 Identify, Notate, seventh chord qualities as Major Major, Major Minor, Minor Minor, Diminished Minor, Diminished Diminished
• 8.4 Label seventh chords correctly by use of Roman Numerals when associated with a Major Key
• 8.5 Label seventh chords correctly by use of Roman Numerals when associated with a Minor Key
• 9.1 Identify the root, third, fifth and seventh of a seventh chord when the notes are mixed up on the staff (not neatly stacked in thirds)
• 9.2 Identify and notate seventh chords in root position, first inversion, second inversion, and third inversion
• 9.3 Identify, Notate, and Label seventh chords position using figured bass numbers
• 9.4 Identify and Label seventh chords (and triads) with correct Roman Numeral and Inversion Symbols in real music examples
• 10.1 Label intervals as dissonant, imperfect consonances, or perfect consonances
• 10.2 Define counterpoint, cantus firmus, counterpoint line, and other terms (conjunct, disjunct, Contrary, Similar, Parallel, Oblique)  in the context of counterpoint exercises
• 10.3 Identify the main characteristic of first species counterpoint
• 10.4 Identify and notate melodic movement by skip, step, and leap
• 10.5 Define and label movement of melodic lines as conjunct or disjunct
• 10.6 Identify and notate the following types of motion between two voices, Contrary, Similar, Parallel, Oblique
• 10.7 Define the concept of Parallel Fifths and Parallel Octaves, and be able to identify these errors in counterpoint exercises
• 10.8 Define intervals as consonant and dissonant and their acceptable or unacceptable roles in first species counterpoint
• 11.1 Identify and Label Hidden Octaves, and Hidden Fifths
• 11.2 Identify the occurrence of a chromatic half step error, a cross relation error, and a voice exchange (strength)  in regards to counterpoint
• 11.3 Define and identify invertible counterpoint
• 11.4 Identify strengths and weaknesses of first species counterpoint
• 11.5 Analyze and Notate counterpoint (in either the upper or lower voice) given a cantus firmus, following first species rules
• 12.1 Identify the main characteristic of second species counterpoint
• 12.2 Define, Identify, label, and notate the following embellishments passing tones, neighbor tones (upper and lower), consonant skips
• 12.3 Identify strengths and weaknesses of second species counterpoint
• 12.4 Analyze and Notate counterpoint (in either the upper or lower voice) given a cantus firmus, following second species rules
• 13.1 Identify the main characteristic of third species counterpoint
• 13.2 Define, Identify, label, and notate the following embellishments: double neighbor, cambiata
• 13.3 Identify strengths and weaknesses of third species counterpoint
• 13.4 Analyze and Notate counterpoint (in either the upper or lower voice) given a cantus firmus, following third species rules
• 14.1 Identify the main characteristic of fourth species counterpoint
• 14.2 Define, Identify, label, and notate the following embellishments - suspension, dissonant suspension, consonant suspension, chain of suspensions
• 14.3 Identify strengths and weaknesses of fourth species counterpoint
• 14.4 Analyze and Notate counterpoint (in either the upper or lower voice) given a cantus firmus, following fourth species rules
• 14.5 Identify the main characteristic of fifth species counterpoint

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