Models from the Repertoire

Models from
the Repertoire
An Addendum to the
Theory Syllabus, 2009 Edition
RCM Examinations and the National Music Certificate Program

© Copyright 2009 The Frederick Harris Music Co., Limited

All Rights Reserved.

ISBN 978-1-55440-255-7
15 14 13 12 11 10 09 1 2 3 4 5 6 7 8 9 10
Contents
Preface 3

Models from the Repertoire

Gavotte by James Hook 4
Minuetto by James Hook 5
Schwäbisch by Johann Christoph Friedrich Bach 6
Passepied by George Frideric Handel 7
Menuet by Kathleen Wood 8
Bourrée by Johann Falle 9
 3

Preface
The following are Models from the Repertoire for the Basic Harmony Examination
referenced in The Royal Conservatory of Music Theory Syllabus, 2009 edition.

These melodies are intended as models for the melody writing question (Melody with
Added Bass Line at the Cadences) on the Basic Harmony examination. Candidates
will be asked to:

Extend a given melodic opening to create a sixteen-measure composition with

four four-measure phrases.
– The style will be that of an 18th-century dance. (Candidates may be asked to
identify the dance type.)
– 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.
– 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.

There are numerous examples of sixteen-measure rounded binary dances in the

repertoire; however, the vast majority of these contain a modulation to a traditional
goal key, and sometimes other modulations to closely related keys. Because
candidates are not expected to modulate in their compositions at the Basic Harmony
level, some examples of rounded binary compositions which remain in the principal key
are provided here.

The first four dances are authentic dances from the repertoire and the last two are
representative dances. In each case, the dance has been adapted to the examination
format and the bass line has been removed except at the cadences.
4
Gavotte by James Hook is a good example of typical melodic writing, phrase structure, and
cadences. Note that the rhythm is atypical of the gavotte dance type in that it does not begin
with the usual half-measure upbeat.

Models from the Repertoire

 5
Minuetto, op. 37, lesson 2 by James Hook has a typical phrase and cadence structure.

Models from the Repertoire

6
Schwäbisch by Johann Christoph Friedrich Bach is not one of the dance types which candidates are
required to recognize. However, this dance demonstrates a typical phrase and cadence structure.
In the original, there is a chromatic note in the third cadence, but it is an applied chord and not
a modulation to the dominant; the composition remains in the principal key. Candidates may
substitute a G natural for the G sharp in m. 11, thus implying subdominant harmony.

Models from the Repertoire

 7
Passepied by George Frideric Handel is not one of the dance types which candidates are required
to recognize. It is still a possible examination question, but candidates would not be asked
to name the dance type. In its original form, this passepied does not clearly fall into four-
measure phrases, but rather into two eight-measure phrases. In has been adapted here for the
examination format, with a simplified bass line to make a clearer division of the phrases.

Models from the Repertoire

8
Menuet by Kathleen Wood is representative of other menuets from the 18th century and
is a good example of typical melodic writing, phrase structure, and cadences.

Models from the Repertoire

 9
Bourrée by Johann Falle is representative of the melodic and cadence structure of an 18th-century dance.

Models from the Repertoire

Take Two Steps To Total Theory Success

RCM Examinations, Official Examination Papers

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