Theory and Ear Training

Student Handbook
2015-2016

Contents
Introduction .................................................................................................................................... 4
Proficiency Tests ............................................................................................................................. 5
Manhattan School of Music Mission Statement ............................................................................ 5
Recommended Textbooks .............................................................................................................. 5
Suggested Web Sites ....................................................................................................................... 5
Junior & High School Ear Training A-D ............................................................................................ 6
JUNIOR & HIGH SCHOOL EAR TRAINING A ................................................................................. 6
JUNIOR & HIGH SCHOOL EAR TRAINING B ................................................................................. 6
JUNIOR & HIGH SCHOOL EAR TRAINING C ................................................................................. 7
JUNIOR & HIGH SCHOOL EAR TRAINING D ................................................................................. 7
Junior Ear Training .......................................................................................................................... 8
JUNIOR EAR TRAINING E ............................................................................................................. 8
JUNIOR EAR TRAINING ADV ........................................................................................................ 8
High School Ear Training ................................................................................................................. 8
HIGH SCHOOL EAR TRAINING E .................................................................................................. 8
HIGH SCHOOL EAR TRAINING F................................................................................................... 8
HIGH SCHOOL EAR TRAINING G .................................................................................................. 9
HIGH SCHOOL EAR TRAINING H .................................................................................................. 9
Junior Theory .................................................................................................................................. 9
JUNIOR THEORY I ........................................................................................................................ 9
JUNIOR THEORY II ..................................................................................................................... 10
JUNIOR THEORY III .................................................................................................................... 10
JUNIOR THEORY IV .................................................................................................................... 11
JUNIOR THEORY ADVANCED ..................................................................................................... 11
High School Theory ....................................................................................................................... 12
HIGH SCHOOL THEORY I ............................................................................................................ 12
HIGH SCHOOL THEORY II ........................................................................................................... 12
HIGH SCHOOL THEORY III .......................................................................................................... 13
HIGH SCHOOL THEORY IV ......................................................................................................... 13
High School Theory - Upper Levels ............................................................................................... 14
HIGH SCHOOL THEORY V .......................................................................................................... 14
HIGH SCHOOL THEORY VI ......................................................................................................... 14
HIGH SCHOOL THEORY VII ........................................................................................................ 14

HIGH SCHOOL THEORY VIII ....................................................................................................... 15

HIGH SCHOOL THEORY IX.......................................................................................................... 15
HIGH SCHOOL THEORY ADVANCED .......................................................................................... 15
Theory & Ear Training Faculty ....................................................................................................... 16

Introduction
Courses in music theory and ear training are a mandatory part of every students study and
complement private instruction. Regular attendance is required.
If an area of concern or question is not covered by the Handbook, a student or parent may
address his or her questions to the Precollege Office or the Dean of the Precollege Division. The
information is subject to change from time to time, and the School reserves the right to add,
remove or alter the policies contained in this Handbook without notice.

Elementary Theory and Ear Training (grades 4 and below)

Elementary Theory provides students with a fundamental background in the development of
coordination and rhythmic awareness, listening awareness, responses to pitch, dynamics and
tempo, and emphasizes basic reading skills. There are two levels of both theory and ear
training, which follow the general outlines of the Junior Theory I and II and Ear Training A and B
curricula. Students who graduate from Elementary Theory and Ear Training I will move to
Junior Theory I and Junior Ear Training A. Those who graduate from both Theory and Ear
Training I and II will move to Junior Theory II and Ear Training B. Parents are encouraged to sit
in on classes.

Junior Theory and Ear Training (grades 5-8)

This level involves study of scales, intervals, chords, melody harmonization, and form with
appropriate analysis and creative work. The ear training levels stress the singing, aural
recognition, and writing of all elements studied in the theory classes. The materials used are
selected from music literature appropriate to the age level and degree of advancement of the
students.

High School Theory and Ear Training (grades 9 and above)

This level is a comprehensive study of the elements of music from rudiments through chromatic
harmony. Areas covered include melody, harmony, part writing, form and analysis,
counterpoint, orchestration, and some elementary compositional techniques. Corresponding
ear training courses cover rhythmic solfge, melodic sight singing, rhythm and movement,
diatonic-modal improvisation, harmonic perception, contemporary sight singing, dictation, and
advanced choral literature survey.

Proficiency Tests
At the end of the spring semester, every student in theory levels I - IV and ear training levels A
E will be required to take a proficiency test in order to move on to the next level. Students will
be tested on materials covering the entire year, but with a focus on the spring semester work.
Although the proficiency test will weigh significantly on a students progress, other factors such
as in-class exams, homework, behavior and absences, will all contribute to the final decision to
move a student on to the next level.

Manhattan School of Music Mission Statement

Manhattan School of Music prepares highly talented students for careers as passionate
performers and composers, and as imaginative, effective leaders in the arts. Our international
student body thrives in a supportive atmosphere that encourages excellence, values individuals
and welcomes innovation. MSMs artist faculty inspires the performance, creation and
knowledge of great music, while exchange programs, distance learning and entrepreneurial
opportunities expand the Schools reach. Offering hundreds of concert presentations and
community events each year, Manhattan School of Music is a vigorous contributor to the
cultural fabric of New York City and an important player on the world stage.

Recommended Textbooks
*please consult with your specific theory and/or ear training instructor before purchasing any
textbook

THEORY
Junior Theory I and II: William Duckworth, A Creative Approach to Music
Fundamentals, 11th ed. (older editions OK)
Junior Theory III - IV and HS Theory II - III: Counterpoint Sheets
Junior Theory IV and HS Theory Levels I - IV: Benward & Saker, Music in Theory and
Practice, vol. 1, 9th ed.

EAR TRAINING
Ear Training A E: Krueger, Progressive Sight Singing, 2nd Ed.
Ear Training F and higher: As recommended by the teacher

Supplemental Textbooks
HS Theory V - VIII: Benward & Saker, Music in Theory and Practice, vol. 2
HS Ear Training: G. Dandelot, Manuel pratique.

Suggested Web Sites

http://www.musictheory.net

Junior & High School Ear Training A-D

Singing Systems: Fixed Do, Moveable Numbers (Lower Levels)
JUNIOR & HIGH SCHOOL EAR TRAINING A
Melody and Rhythm. Introduction to Intervals and Rhythm Basics.
Krueger Parts I & II: Chapters 1-4
1.1
1.2
1.3
1.4
1.5
1.6
1.7

Introduction to clefs. Proficiency in treble clef.

Major scales ascending/descending up to 3 sharps and 3 flats.
All Intervals, with proficiency in Mm2, Mm3, P5, P8
Melodic singing: stepwise melodies in simple rhythm.
Notes, Rests and Ties: 8th-note subdivisions.
Rhythmic dictation: simple meter, in divisions of 4 and 8; 8th and 16th notes
One-part Melodic Dictation.

JUNIOR & HIGH SCHOOL EAR TRAINING B

Melody and Rhythm. Proficiency in Intervals and Compound Meter
Krueger Parts I & II: Chapters 5-10
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9

Introduction to alto clef. Proficiency in bass and treble clefs.

Major scales ascending/descending up to 5 sharps and 5 flats. Harmonic minor scales
ascending/descending up to 3 sharps and 3 flats.
Intervals: MmA2, Mm3, P4, tritone, P5, Mm6, Mm7, P8
Melodic singing: major and minor melodies
Singing in one and two parts (Duets).
Notes, Rests and Ties: 8th- & 16th-note subdivisions with dotted rhythm.
Compound Meter
Rhythmic Dictation: simple meter, in divisions of 2, 4, and 8; 16th and 32nd notes; dots
and ties.
Two-part Melodic Dictation.

JUNIOR & HIGH SCHOOL EAR TRAINING C

Introduction to Triads. Proficiency in Common Meters.
Krueger Parts I & II: Chapters 11-15
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9

Proficiency in treble, bass, and alto clefs.

Major/harmonic minor scales in all keys. Introduce melodic & natural minor scales
ascending/descending up to 3 sharps and 3 flats.
All intervals. Combine 2-3 intervals to form diatonic triad or dominant 7th chord.
Melodic singing: large skips including 6th and 7th intervals. Triadic outlines in all
inversions.
Diatonic triads in keys up to 3 sharps and 3 flats. Isolated triads and their inversions.
Notes, Rests, and Ties: 32nd-note subdivisions, all combinational 16th-note subdivisions,
dotted rhythms, syncopation, triplets, pick-up beat, compound meter.
Rhythmic Dictation: simple and compound meter; division of 2, 4, and 8; 6 and 9; 32nds
notes; dots, ties and occasional syncopation.
Two-part Melodic Dictation in simple and compound meters, featuring both voices in
close position and rhythmic synchronization.
Cadence recognition in root position: V-I, IV-I, V-ii

JUNIOR & HIGH SCHOOL EAR TRAINING D

Proficiency in Triads and Syncopation
Krueger Parts I & II: Chapters 16-20
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9

Proficiency in treble, bass, and alto clefs.

All major scales, harmonic, melodic and natural minor scales.
Introduction to modes.
Compound intervals.
Melodic singing: large skips including 9th & 10th intervals. Seventh chord outlines in all
inversions with a focus on dom. 7th.
Diatonic triads and inversions in all keys. Dominant 7th chords in all keys.
Rhythmic Dictation: simple and compound meter, division of 2, 4, and 8; 6 and 9; 32nd
notes; dots, ties and syncopation. Asymmetric rhythms.
Two-part dictation featuring both voices in close position and simple polyphony.
Diminished triads and inversions.

Junior Ear Training

JUNIOR EAR TRAINING E
This level loosely follows the curricula of High School Ear Training E. Students will graduate into
HS Ear Training E or F as recommended by the teacher.

JUNIOR EAR TRAINING ADV

A special class for exceptional students who are in grades 5-8. The curriculum follows an
accelerated version of High School Ear Training. Students will graduate into HS Ear Training as
recommended by the teacher.

High School Ear Training

HIGH SCHOOL EAR TRAINING E
Extended Harmonies and Beginning
Polyrhythmic Independence
Proficiency of 4 Clefs in Solfge (Add Tenor)
Starer: Rhythmic Training , Chapter VIII IX Dandelot: Chapter VI
5.1
5.2
5.3
5.4
5.5

Chorale Singing: Modulations (including 7th chords)

Pivot Chords (triads)
Three- and Four-Part Dictation: Modulations.
Changing Meters: Advanced Shifting Between Time Signature and Pulse, 32nds, 64ths
Conducting/Playing Piano While Singing

HIGH SCHOOL EAR TRAINING F

Chromatic Harmony and Advanced Polyrhythmic Independence
Proficiency of 5 Clefs in Solfge (Add Soprano)
6.1
6.2
6.3
6.4
6.5

Chorale Singing: Chromatic Harmony

9th, 11th, 13th, Review.
Augmented 6th and Neopolitan 6th with Resolutions
Four-part Dictation: Chromatic Harmony
Polyrhythmic Independence: Conducting/Tapping/Singing/Playing

HIGH SCHOOL EAR TRAINING G

Chromatic Harmony, Modes and Orchestral Conducting
Proficiency of 6 Clefs in Solfge (Add Baritone)
7.1
7.2
7.3
7.4
7.5

Madrigal Singing
Chromatic Chords Review
Contemporary and Medieval Modes: Pentatonic, Whole-tone, Octatonic, Messiaens
Modes
Dictation: Modes
Orchestral Score Reading: Transposition and Conducting

HIGH SCHOOL EAR TRAINING H

Contemporary Music
Proficiency of 7 Clefs in Solfge (Add Mezzo-Soprano)
8.1
8.2
8.3
8.4
8.5

Contemporary and Medieval Modes Review

4th Chords
Free Atonality, Serialism, Aleatory
Limb Interdependence: Singing, Clapping, Conducting
Score Reading: Graphic Notation

Junior Theory
JUNIOR THEORY I
Foundations of Music
Merryman: pp. 1-5 and 10-14 (simple and compound meters only)
1.0
1.1
1.2
1.3
1.4

Pitch on the Piano Keyboard.

The Notation of Pitch on the Grand Staff.
Half Steps, Whole Steps, Enharmonic Equivalence.
Chromatic, Major and Natural Minor Scales.
Notation of Simple Meter.

1.5
1.6
1.7
1.8
1.9

Emphasis in Bass Clef Notation.

Key Signatures and Circle of Fifths.
Harmonic and Melodic Minor Scales.
Introduction to Melodic Analysis and Intervals.
Notation of Compound Meter.

*Student advances to Junior Theory II or High School Theory I.

JUNIOR THEORY II
Intervals
Merryman: Part 1 (excluding church modes and Roman numerals)
2.0
2.1
2.2
2.3
2.4

Scales Review
Key Signature Review
Melodic Analysis: Scale Degree, Motive and Phrase.
Intervals: Simple.
Review Simple and Compound Meter.

2.5
2.6
2.7
2.8
2.9

Circle of Fifths Review.

Intervals: Compound.
Intervals: Inversions.
Melodic Analysis: Intervals.
Introduction to Triads.

*Student advances to Junior Theory III or High School Theory II.

JUNIOR THEORY III

Foundations of Harmony and Counterpoint
Merryman: Part 2 and pp. 6-7 (modes)
3.0
3.1
3.2
3.3
3.4

Scale, Key Signature, and Circle of Fifths Review.

Intervals Review.
Modes on the White Keys.
Textures: Monophony, Homophony and Polyphony.
First Species CounterpointConsonant Structure.

3.5
3.6
3.7
3.8
3.9

Second Species CounterpointPassing Tones.

Third Species CounterpointNeighboring Tones.
Fourth Species CounterpointSuspensions.
Modes in All Keys.
Triads in Root Position.

*Student advances to Junior Theory IV or High School Theory III.

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JUNIOR THEORY IV
Introduction to Four-Part Writing and Analysis
Merryman: Part 2 and pp. 14-15; 33-49
4.0
4.1
4.2
4.3
4.4

Species Counterpoint Review: Voice Leading.

Triads: Figured Bass and Roman Numerals.
Triads: Notational Issues in Two Clefs; Closed and Open Position.
Triad Connection: Root Position and First Inversion.
Simple Analysis

4.5
4.6
4.7
4.8
4.9

Triad Connection: Six-Four Chords.

Cadences and Non-harmonic Tones.
Dominant Seventh Chords: Root Position and Inversions.
Dominant Seventh Chords: Resolutions.
Chorale Analysis.

*Student advances to Junior Theory Advanced or High School Theory IV.

JUNIOR THEORY ADVANCED

A special class for exceptional students who are in grades 5-8. The curriculum follows an
accelerated version of High School Theory. Students will graduate into HS Theory as
recommended by the teacher.

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High School Theory

HIGH SCHOOL THEORY I
Foundations of Music
Merryman: Part 1 (excluding church modes and Roman numerals)
1.1
1.2
1.3
1.4
1.5

Pitch on the Piano Keyboard.

The Notation of Pitch and Rhythm.
Chromatic, Major, and Natural Minor Scales.
Key Signatures and Circle of Fifths.
Intervals.

2.1
2.2
2.3
2.4
2.5

Scale and Key Signature Review.

Harmonic Minor and Melodic Minor Scales.
Intervals: Simple, Compound, and Inversions.
Melodic Analysis: Scale Degree, Motive and Phrase.
Triads: Root Position.

HIGH SCHOOL THEORY II

Foundations of Harmony and Counterpoint
Merryman: Part 2 and pp. 6-7 (modes)
3.1
3.2
3.3
3.4
3.5

Scale, Key Signature, and Circle of Fifths Review.

Intervals Review.
Modes on the White Keys.
Textures: Monophony, Homophony and Polyphony.
First Species CounterpointConsonant Structure.

4.1
4.2
4.3
4.4
4.5

Second Species CounterpointPassing Tones.

Third Species CounterpointNeighboring Tones.
Fourth Species CounterpointSuspensions.
Modes in All Keys.
Triads in Root Position.

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HIGH SCHOOL THEORY III

Introduction to Four-Part Writing and Analysis
Merryman: Part 2 and pp. 14-15; 33-49
5.1
5.2
5.3
5.4
5.5

Species Counterpoint Review: Voice Leading.

Triads: Figured Bass and Roman Numerals.
Triads: Notational Issues in Two Clefs; Closed and Open Position.
Triad Connection: Root Position and First Inversion.
Simple Analysis

6.1
6.1
6.2
6.4
6.5

Triad Connection: Six-Four Chords.

Cadences and Non-harmonic Tones.
Dominant Seventh Chords: Root Position and Inversions.
Dominant Seventh Chords: Resolutions.
Chorale Analysis.

HIGH SCHOOL THEORY IV

Advanced Four-Part Writing, Form and Analysis
Merryman: pp. 33-56
7.1
7.2
7.2
7.3
7.4

Review: Triad Connection and Dominant Seventh Chords.

Diminished and Half-Diminished Seventh Chords with Resolutions.
Secondary Dominant and Diminished Seventh Chords with Resolutions (Tonicization).
Modulation.
Modulation and Advanced Chorale Analysis.

8.1
8.2
8.3
8.4
8.4

Form involving music by Bach, Handel, Haydn and Mozart:

Binary and Ternary Forms.
Sonata Form.
Motivic Development.
Harmonic Analysis.
Advanced Analysis.

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High School Theory - Upper Levels

The general goals for each of the upper level classes are compiled below. Our aim for these
levels is to offer classes that take advantage of the expertise, experience and areas of
specialties of our faculty.

HIGH SCHOOL THEORY V

Early Romantic Era
Merryman: pp. 60-61; 100-10
8.1
8.2
8.3
8.4
8.5

Modulation and 7th Chords Review.

9th, 11th, and 13th Chords.
Augmented 6th Chords, Neapolitan and Resolutions
Extended Sonata Form, Programmatic Form
Advanced Analysis of Beethoven, Schubert, Schumann
Current syllabus: Joseph Bassin Beethoven: Form, Chromatic Harmony, Modulation,
Orchestration"

HIGH SCHOOL THEORY VI

Late Romantic-Early 20th Century
9.1
9.2
9.3
9.4
9.5

Romantic Chords and Extended Sonata Form Review

Chromatic Harmony
Tristan Chord and Resolutions
Symmetrical Arch Forms, Golden Section
Advanced Analysis of Wagner, Debussy, Bartk, Stravinsky
Current syllabus: James Noyes Debussy

HIGH SCHOOL THEORY VII

Bach and Advanced Counterpoint
10.1
10.2
10.3
10.4
10.5

Texture, Form (Binary/ Ternary), Seventh Chords and Modulation Review

Non-harmonic Tones Review
Canon, Invertible Counterpoint at 8th, 10,th 12th and Double Counterpoint
Fugue
Analysis: Goldberg Variations; Inventions; Suites, WTC; The Art of Fugue
Current syllabus: Bach and Advanced Counterpoint

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HIGH SCHOOL THEORY VIII

20th Century

HIGH SCHOOL THEORY IX

Late 20th Century

HIGH SCHOOL THEORY ADVANCED

(may include HS Theory VII-X)
1. Copland Piano Variations
2. Bartok String Quartet IV
3. Ginastera Piano Sonata 1/Ligeti Piano Etudes
4. Bach WTC selected fugues
5. Mozart Missa Brevis: Kyrie
6. Schubert Fantasy for Piano

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Theory & Ear Training Faculty

Daniel Bar-Hava
Joseph Bassin
Mark Broschinsky
Jan Deats
Karim Merchant
James Noyes
Richard Prior
Ian Shafer
Alexander Yagupsky
Max Wild

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