• Basic notation
  • Note and rest values; clefs; repeats; dynamic and tempo markings
• Pitch identification in treble and bass clefs 
• Diatonic solfege singing and dictation using fixed Do, up to a 5th
• Rhythms in simple meter, notes/rests as short as 8ths (dictation and
  performance)
• General intervals up to an octave (2nds, 3rds, 7ths, etc.) – identification on the staff
• Precise intervals up to a 5th (P1; m2/M2; m3/M3; P4; P5)
• The structure of a major scale
• The Circle of 5ths and major key signatures up to 4 sharps/4 flats

Fundamentals II
Subjects Covered:

• Continuing with subjects in Fundamentals 1
• Intervals: Precise intervals up to an 8va
  • Augmented and diminished intervals
• Pitch identification
  • Up to 2 ledger lines (fluent); pitch identification with “moveable C clef” (alto, tenor) – no ledger lines
  • “moveable C clef” (alto, tenor) – no ledger lines
• The Circle of 5ths and major key signatures continued: COMPLETE up to 7 sharps/7 flats
• Minor scales in three forms: Natural, harmonic, melodic
• Minor key signatures and the Circle of 5ths up to 4 sharps/4 flats
• Relative and parallel keys
• Melodic dictation and performance (diatonic):
  • Including full major scale
  • Minor (la-based minor): limited to first 5 notes
• Rhythm dictation including 16th notes and dotted 8ths
• Identifying precise Major, Minor, and Perfect intervals up to an octave in a score
• Triads (major/minor/diminished)
• Primary triads in major keys
• Simple composition exercises
• Harmonic analysis using only primary triads

The Complete Circle of 5ths (all major and minor key signatures, up to 7 flats/7 sharps)

• Primary triads in minor keys
• Inversions of triads
  • Introduction to figured bass notation
• Cadences
• Modulation (key changes)
• Analysis of pieces from Baroque and Classical eras
• Forms in classical music:
  • Binary, ternary
  • Sonata allegro form, theme and variation, rondo
• Cantus firmus and first species counterpoint
• Composition exercises – simple harmonization of melodies
• Continued dictation and solfege studies
• Rhythm dictation including compound meter
• Augmented and diminished intervals

Form & Analysis II
Subjects Covered:

• Introduction to 4-part chorale harmonization
• Introduction to non-chord tones (melodic analysis): Passing and neighboring tones
• More advanced harmonies:
  • 7th chords
  • Secondary dominants
  • Diminished triads and 7th chords
• Solfege and dictation including non-diatonic notes and modulations
• Second, third, and fourth species counterpoint
• Modes of major
• Analysis of larger works
• Fugue

This class will prepare students for taking the Advanced Placement Music Theory test, typically in mid-May. In the past, students who have taken theory at RSC through the “Form and Analysis 2” classes have been very successful, scoring 5s on the AP exam.

The subjects covered in Form and Analysis 2 are continued and expanded upon. Emphasis is placed on 4-part chorale harmonization, with attention to the 18th Century rules of counterpoint. Extensive practice leads to mastery of many topics, including specific definitions of non-chord tones, modulations, form, transposition, and other complex concepts.

This class can be arranged for students who have already completed the AP music theory. Typically, the AP test covers theory concepts up to through the Classical Era (roughly 1800). Many more complex theory concepts were introduced in the Romantic Era, and in the 20th and 21st centuries!  

This class can be a bit student driven, studying what students would like to discover and delve into. In the past it has included:

• Move advanced harmonies, such as Augmented 6th chords, borrowed chords, passing diminished chords, Neapolitan chords, and more
• Schoenberg’s 12-tone theory
• An introduction to jazz theory

RSC offers two theory classes on Mondays, a beginning class 6:30-7:15, and an intermediate class 5:30-6:15.  These are coordinated with the RYWE (Rivers Youth Wind Ensembles) program, so that they are convenient for members of those ensembles, but students do not need to be in the RYWE program to attend these classes.

Instructor Kevin Baldwin is a composer and performer on the faculty of Berklee College of Music, as well as teaching private lessons in composition and saxophone.

These 45-minute classes meet 12 times a semester, for a tuition of $350 (24 classes for the year, $700).

RSC has a very robust orchestra program on Friday afternoons. Many students opt to attend music theory classes immediately after their orchestra rehearsals finish. The high number of students involved enable us to tailor classes to all ability levels. To coordinate seamlessly with the orchestra, these classes will not meet during weeks when the orchestras are holding extended rehearsals or are not rehearsing. As a result, the Theory After Orchestra program is registered for 12 weeks per semester (rather than the usual 16 for other classes). Tuition is $340 per semester. Classes start as early as 5:15 PM and as late as 6:15 PM, designed to follow the varied orchestra rehearsal schedules.

While jazz and European Classical music share some common concepts, studying jazz theory quickly diverges from more standard theory classes. Jazz Theory is offered as a private lesson, so it can be tailored to meet the interests of the student, from basics to more complex repertoire and composition. Jazz theory has an even greater emphasis on performance: playing and understanding need to be integrated thoroughly.

This will be billed as a private lesson in music theory.

In addition to classes, students may opt to study theory as a private lesson. Such classes can be tailored to your educational and scheduling needs, and are billed at the usual private lesson tuition rate.

RSC is now offering both private composition classes and small seminar-style classes in composition. The time and day of these classes depends on scheduling with the instructor(s).