Music Theory Grade 5 (Exam Passed)

Proof required

Submit a PDF or clear photo of handwritten music theory exercises showing: (1) all 12 major scales and their relative minor scales written out in staff notation with key signatures, (2) interval identification for a given melody passage (label each interval by number and quality), and (3) triads built on all seven scale degrees in two different major keys (root position and first inversion). Work must be handwritten or typeset — screenshots of an app scoring you are not accepted.

What gets checked

• All 12 major scales are written with correct key signatures and note names — not just the most common 6; inclusion of all enharmonic equivalents (e.g. F# and Gb) demonstrates genuine understanding, not pattern memorisation
• Interval labels use both number and quality (e.g. 'M3', 'P5', 'A4') — interval numbers alone or quality alone do not demonstrate the complete understanding this milestone requires
• Triads in two different major keys are constructed on all seven scale degrees with root position and first inversion correctly notated — not just the I, IV, and V chords

Common mistakes

• Relying on a keyboard app or interval trainer to confirm answers rather than working from the theory — apps that reveal correct answers immediately prevent the memorisation and pattern recognition that the written proof at this milestone tests
• Learning only the most common keys (C, G, D, F major) and stopping — the written proof requires all 12 keys; skipping flat keys or enharmonic equivalents leaves gaps that later theory work exposes

Resources

What a verifier looks for

• Check that all 12 major scales (including Db, Ab, Eb, Gb/F#, Cb/B, Db) are present — only 6-8 major scales suggests the submitter learned the common keys and stopped
• Spot-check two or three of the less common key signatures (e.g. Gb major or Cb major) — are the key signatures correct and are the notes on the correct lines and spaces?
• You do not need to be a musician to verify this submission — the key signatures and interval labels follow deterministic rules; if an answer is inconsistent with those rules, it is wrong

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Proof required

Submit a PDF of the score (public domain or your own transcription) with handwritten or typeset Roman numeral chord labels on every chord, plus a separate 300-word written commentary explaining one non-obvious harmonic choice in the piece — name the specific chord, the bar number, and why it functions the way it does harmonically.

What gets checked

• Every chord in the chosen excerpt is labelled with Roman numerals, not just the main structural chords — unlabelled passing chords or missing labels at phrase endings indicate incomplete analysis
• At least one secondary dominant or borrowed chord is correctly identified and labelled with standard notation (V/V, bVII, etc.) — a piece with no secondary dominants likely lacks sufficient harmonic complexity for this milestone
• The 300-word commentary explains a specific chord's function using theory language (resolution, tension, modal mixture, deceptive cadence) rather than describing how the music sounds emotionally

Common mistakes

• Choosing a piece with no harmonic movement (e.g. a single-key folk song with only I, IV, and V) — the analysis exercise requires modulation, secondary dominants, or borrowed chords to demonstrate the theory knowledge this milestone targets; choose a Bach chorale, a Beatles song with surprising chords, or a jazz standard
• Labelling chords from memory or by ear without writing on the score — the labelled score is the proof; analysis done mentally and then described in text cannot be verified

Resources

What a verifier looks for

• The submitted score should have labels on every chord, not just the main beats — ask the submitter to explain one chord they found surprising or difficult to label; someone who did the analysis can answer immediately
• Check that Roman numerals match the labelled key — a I chord in a different position from where the piece starts often signals a modulation the submitter may have missed
• You do not need to be a musician to verify the main quality bars — consistent labelling and the presence of a substantive 300-word commentary are assessable without specialist knowledge

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Proof required

Submit your composition score in PDF or audio format (MuseScore export or recording) alongside a written review report documenting: the reviewer's name and musical background (with a verifiable link — institution, teaching studio, or professional profile), specific harmonic features they examined, at least two questions they asked about your chord choices, and your written responses explaining your intentions.

What gets checked

• Composition contains at least one secondary dominant, one non-diatonic chord, and a modulation to a closely related key — a piece that stays in one key and uses only I, IV, V, and vi chords does not demonstrate the harmonic range this milestone targets
• Reviewer is identified by name with verifiable musical training — a music teacher, conservatoire or university music student in their second year or above, or a trained composer; a family member who plays by ear does not qualify
• Written review documents at least two specific questions about your harmonic decisions with your written responses — 'it sounds good' or 'nice work' are not sufficient; the questions must engage with your specific chord choices

Common mistakes

• Composing a melody first and adding chords that 'sound right' rather than making deliberate harmonic decisions — the review will expose this; plan the chord progression first, then write the melody to fit it, so you can explain every chord in the review
• Asking the reviewer to correct the composition rather than to ask questions about it — the milestone tests your ability to explain your harmonic intentions, not whether a trained musician approves of your choices

Resources

What a verifier looks for

• Ask the submitter to sing or describe the harmonic journey of their piece (where it starts, where it modulates, what the unexpected chord is) — someone who composed with intention can narrate this in under a minute
• The reviewer's musical background should include formal theory training — a self-taught performer who has not studied harmony does not meet the qualifier threshold
• The composition does not have to be polished or advanced — an intentional 16-bar piece with one secondary dominant and one modulation is sufficient; the proof is the harmonic decision-making, not the compositional quality

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