Milestone map
Milestone map
3 milestones
Master intervals, scales, and triads in writing
4 weeks
Music theory begins with the building blocks: intervals (the distance between two pitches), major and minor scales in all 12 keys, and triads (three-note chords in root position and inversions). The proof at this stage is written work — not performance, not ear training software scores, but handwritten or typeset notation showing that you can derive these structures from first principles in any key without referring to a chart. Write out every major and minor scale, label every interval in a given passage, and construct triads on every degree of three different major keys.
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
Resources
Foundation: start here · Depth: go deeper · Mastery: for the dedicated
Foundation
Depth
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
Analyse harmony in a real piece of music
4 weeks
Applied theory is where the rules meet real music. Choose a piece of tonal music (classical, jazz, or pop with clear harmonic progressions) and produce a complete harmonic analysis: identify the key, label every chord with Roman numeral notation (I, ii, V7, etc.), identify modulations and secondary dominants, and write a 300-word commentary explaining the most interesting or unexpected harmonic moment in the piece. The analysis should be on a score, not described from memory.
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
Resources
Foundation
Depth
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
Compose a short harmonic study reviewed by a musician
6 weeks
Composition is the synthesis test: you know the theory when you can use it to make deliberate harmonic choices, not just label someone else's. Compose a 16-32 bar piece for any combination of instruments (piano is simplest), using at least one secondary dominant, one non-diatonic chord, and a modulation to a closely related key. Then submit the score to a qualified musician (music teacher, trained composer, or music degree holder) for a review session where they examine your harmonic choices and ask follow-up questions about your intentions.
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
Resources
Foundation
Depth
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