MUSIC THEORY PLACEMENT EXAMS
First of all, congratulations on being accepted as a graduate student in the School of Music at Georgia State University! We look forward to working with you to help you grow as a musician. The following information is intended to answer some questions you may have regarding the music theory requirements for your graduate degree.
There are four graduate theory courses offered at GSU:
- MUS 6450 (Advanced Tonal Analysis)
- MUS 8430 (Model Composition)
- MUS 6460 (Analysis of Post-Tonal Music)
- MUS 6500 (Historical Counterpoint).
Any of these theory courses will satisfy the graduate theory degree requirements.
These entrance exams are designed to make sure that your understanding of the undergraduate curriculum in these areas is sufficient to allow you to succeed in the more advanced classes you will be taking as a graduate student.
If you fail any of these entrance exams, it is not the end of the world! There are remediation classes for both of these topics (MUS 6160-Review of Harmony, Form) specifically designed to help you get up to speed with this material. The theory remediation course is taught each fall semester.
In order to prepare for the written music theory entrance exam, information is found below to help you study for this test. This information consists of a synopsis of what is covered in each semester of the four-semester undergraduate sequence for written theory. Since reference will be made to chapters covered for each semester, here is the title of the text used for this sequences: A Concise Introduction to Tonal Harmony by Burstein & Straus (a separate workbook is used for homework assignments).
Sample tests are provided for each semester of the four-semester sequence; these tests correspond to the difficulty level of the final exam in each of these classes.
There is an analysis and a part-writing test for each semester. The analysis tests contain a link to an answer sheet so that the student can correct their own work. The part-writing tests are figured-bass assignments, which allows the student to correct their harmonic analysis against the linked realization. Remember that because there are innumerable ways to realize a figured bass in terms of chord voicing, doubling, and voice-leading, your realization will not look exactly like the linked version. It should, however, follow the same rules for four-voice writing.
If you have any questions regarding any of the information relating to this introduction or to the linked written theory exams, do not hesitate to contact Dr. Mark McFarland, Associate Professor of Music Theory and coordinator of the music theory division.
Theory I Coverage
Theory I begins with an introduction to music fundamentals, a topic that lasts the entire semester and is covered in the first three chapters of the textbook. After this thorough introduction to harmony, or the vertical aspect of music, attention is turned to the synthesis between harmony and melodic writing in the five chapters that are called an “Overview of Harmony and Voice-Leading.” Composition in four parts begins with a small harmonic vocabulary (I, V, V7 in chapters (9 & 10) that is gradually expanded to include first inversion triads (chapter 11) and inversions of the dominant seventh chord (chapter 12).
Theory I Part-Writing
Below you will find a part-writing exercise where the Roman numerals are given but the voicing is not. When you are done with your realization of this exercise, please provide a Roman Numeral analysis of your composition and identify cadences by location and type. Once you have completed your chorale, you can see one possible realization and check your harmonic analysis against the linked answer sheet. Please note that there are innumerable ways to realize the same exercise, so your chord voicing and voice-leading will inevitably differ from the answer sheet. Just make sure you have followed all the rules of four-voice writing covered in chapters 4-5!
Theory I Analysis
Below you will find an excerpt you will analyze using Roman Numerals to indicate the chord function and figured bass to indicate the chord inversion. Once you have completed your analysis, you can check your results against the linked answer sheet. Please note that on this analysis, as well as all others on this website, the small circles used to indicate the diminished triad or the fully-diminished seventh chord and the slashed circle used to indicate the half-diminished seventh chord are missing due to the limitations of the computer program.
Theory II Coverage
While Theory I focused on tonic and dominant functions, Theory II completes a survey of diatonic harmony in chapters 13-24.
Theory II Part-Writing
Below you will find another part-writing exercise to realize in a four-voice texture. When you are done with your realization, please provide a Roman Numeral analysis of your composition. Once you have completed your chorale, you can see one possible realization and check your harmonic analysis against the linked answer sheet.
Theory II Analysis
Below you will find a passage from a choral work which you will analyze using Roman Numerals to indicate the chord function and figured bass to indicate the chord inversion. Once you have completed your analysis, you can check your results against the linked answer sheet.
Theory III Coverage
The first year of music theory (theory I & II) is devoted to diatonic harmony, or harmony derived exclusively from notes that belong to the scale in use. Theory III, on the other hand, explores the topic of chromatic harmony using chords that contain accidentals other than the ones found in key signatures (chapters 25-32).
Theory III Part-Writing
Below you will find another part-writing 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 III Analysis
Below you will find an excerpt that you will analyze using Roman Numerals to indicate the chord function and figured bass to indicate the chord inversion. Once you have completed your analysis, you can check your results against the linked answer sheet.
Theory IV Coverage
The first year of music theory (theory I & II) is devoted to diatonic harmony, or harmony derived exclusively from notes that belong to the scale in use. Theory III, on the other hand, explores the topic of chromatic harmony using chords that contain accidentals other than the ones found in key signatures (chapters 25-32).
Theory IV Part-Writing
Below you will find another part-writing 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 that you will analyze using Roman Numerals to indicate the chord function and figured bass to indicate the chord inversion. You must also analyze any modulations using the correct notation. Once you have completed your analysis, you can check your results against the linked answer sheet.
