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SFCM students Joshua Choi and Yuki Yokota.
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SFCM Announces First Internship Program with Opus 3 Artists

The San Francisco Conservatory of Music (SFCM) and Opus 3 Artists are proud to announce a new milestone in their ongoing partnership: The inaugural class of interns joining Opus 3 from the Conservatory.  "Opus 3 Artists is delighted to be welcoming our …

Technology & Applied Composition Course Descriptions

One could call TAC the perfect marriage of technology, classical musicianship, and experimentation."  — KQED, Northern California Public Broadcasting Radically creative. Radically pragmatic. Our interconnected courses are built to transform you …
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Aldwell-Schachter Chapter 21

Aldwell-Schachter Chapter 21 Click on a musical example for playback   This is a simple, familiar piece of chorale writing without any melodic figuration.      This is the same chorale with chordal skips inserted to provide rhythmic interest.      Chordal …
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Aldwell-Schachter Chapter 20

Aldwell-Schachter Chapter 20 Click on a musical example for playback   All accented 6/4 chords work more or less the same way as the cadential 6/4. The same principle that informs the cadential 6/4 can be used with other roots as well. Here a “IV 6/4” is …
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Aldwell-Schachter Chapter 19

Aldwell-Schachter Chapter 19 Click on a musical example for playback   In four voices, voice-leading can be rather tricky. Notice that soprano, alto and bass are all moving along very nicely in parallel. The fourth voice (in this case the tenor) has to …
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Aldwell-Schachter Chapter 18

Aldwell-Schachter Chapter 18 Click on a musical example for playback   The essential nature of the sequence is demonstrated here: an expansion device that allows motion, allows repetition, but does not require immediate resolution. Sequences consist of a …
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Aldwell-Schachter Chapter 17

Aldwell-Schachter Chapter 17 Click on a musical example for playback   This is a complete progression of descending fifths. Note that some of the fifths appear as ascending fourths in order to keep the bass within a reasonable register. Also note the …
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Aldwell-Schachter Chapter 16

Aldwell-Schachter Chapter 16 Click on a musical example for playback   This is the use of III in major as passing to IV or ii6/3; it is almost a direct substitute for I6/3 under such circumstances.      In minor keys, III is major and can be approached …
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Aldwell-Schachter Chapter 15

Aldwell-Schachter Chapter 15 Click on a musical example for playback The chord on the 4th beat of measure 1 can be understood only in the context of the following chord. If we think momentarily in G Major (instead of C Major), we can see that the chord is …
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Aldwell-Schachter Chapter 14

Aldwell-Schachter Chapter 14 Click on a musical example for playback   IV shares ^1 with the tonic and can be used to expand I rather nicely. This example is typical of such expansions—note the common tone ^1 in the tenor voice throughout the first …
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Aldwell-Schachter Chapter 13

Adlwell-Schachter Chapter 13 Click on a musical example for playback   ii65 is the most frequently-used of all the ii7 chords. The 7th of the chord is ^1. Prepare that 7th carefully: it should be present in the preceding chord whenever possible. Here ii65 …
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Aldwell-Schachter Chapter 12

Aldwell-Schachter Chapter 12 Click on a musical example for playback   I moving to IV via a stopover on vi is a frequent and beautiful progression. One strong point is the ability to share ^3 between the two chords in the soprano. It is also an easy …
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Aldwell-Schachter Chapter 11

Aldwell-Schachter Chapter 11 Click on a musical example for playback   How to create a cadential 64: the first step is a dominant on a strong beat, as in this example.       An old voice-leading practice involved “suspending” the 5th of IV (which is ^1), …
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Aldwell-Schachter Chapter 10

Aldwell-Schachter Chapter 10 Click on a musical example for playback   IV preparing V. Note that the soprano is moving in contrary motion to the bass; this particular soprano motion of ^4-^2-^1 is one of the more characteristic progressions found in …
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Aldwell-Schachter Chapter 9

Aldwell-Schachter Chapter 9 Click on a musical example for playback     V6/5 as lower neighbor to I. Note that here the lower neighbor figure is being recapitulated in the other voices as either a common tone (tenor) or as upper neighbor tones in the …
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Aldwell-Schachter Chapter 8

Aldwell-Schachter Chapter 8 Click the musical examples for playback We begin with an incredibly simple progression — just tonic and dominant. The technique called expansion can be used to make this progression more interesting.   Without actually changing …
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Aria Assignments

Aria Assignments Select two arias to analyze, one from the first list and one from the second list. The first aria is a Baroque da capo aria. Choose from either of the following: Handel: "Cara Sposa" from Rinaldo Score Recording Handel: "Wher'er you Walk" …
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Second Rondo: Assignments

Second Rondo: Assignments Pick any two of these rondo movements, and provide an outline-style analysis of the movement, as we've done in class. Name Score Recording Haydn: String Quartet, Op. 33 No. 2, IV Score Recording Haydn: Piano Trio No. 24 in G …
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First Rondo: Assignments

First Rondo: Assignments Select one of the following pieces and provide a full, outline-style analysis of the work. A recording is also available. Name Score Recording Beethoven: Violin Sonata Op. 12, No. 2 Score (PDF) Recording Brahms: Piano Quartet, Op. …