minor Cb Major minor BbMajor - The Music Data/CM Level Adv Part 2.pdfg minor Cb Major e minor c minor…

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  • l. Write the key signature for each of the following keys in both clefs. (8 points)

    a)

    g minor Cb Major e minor c minor C$ Major ab minor BbMajor A Major

    2. Answer each of the following questions. (3 points)

    a. What is the relative minor of B Major?

    b. What is the enharmonic of g[ minor?

    c. What is the parallel minor of Eb Major?

    3. Write each of the following scales, one octave.(5 points)

    Do not use a key signature. Put accidentals before the notes.

    b minor, melodic form, ascending and descending (Use the first measure for the ascending scale, and thesecond measure for the descending scale.)

    Ffl Major, descending

    gil minor, harmonic form, ascending

    a

    Whole Tone beginning on F, ascending

    Chromatic, beginning on G, ascending

    4. Add the accidental that will make this the Mixolydian mode. (1 point)

    Level Advanced 2010

  • 5. Name each of the following intervals. Observe each kev sisnature. (8 points)

    6. Write a note above each given note to complete the following intervals. Observe the key signature.(8 points)

    m3 A6 lvl2 A57. Write the following seventh chords. (6 points)

    m7 P4d8M3

    ar2 GbMaj.T

    4T3

    (Major key)

    4cil" 3 dbmn.2

    6Cb Maj 5

    4&t

    8. Write the following Dominant Seventh chords in these keys. Use the Major key or minor key as indicatedunder the Roman numeral for each example. (6 points)

    y2( Major key)

    y7 y2

    9. Write each of the following chords.Roman numeral. (5 points)

    (minor key) (minor key) (Major key) (minor key)Determine whether to use the Major or minor key by the quality of each

    lv6

    TT4 I

    10. Write each of the following chords, using the Maior key for each example. (6 points)

    6T5 4T3

    6ii04

    6VIJ

    6Y5fM TV-111

    iii6

    y-7t*p 7 of iii)

    11. Add barlines to the following example. (3 points)

    4Y3/vi

    V, fiffry,N t,N )t ffi,bJ,b, ,N,Nr,bl m,|lJr.hyr,bJ,h,ffi1

    Level Advanced 2010

  • 12. Select the correct term from the list in the right-hand columnmusical examples. Not all terms in the column will be used.

    for each of the following definitions or(9 points)

    a- (Compare the first two measures with the secondtwo measures.)

    Terms

    stretto

    diminution

    quartal harmony

    retrograde inversion

    appoggiatura

    retrograde

    lower neighbor

    bitonality

    twelve-tone row

    theme and variations

    passing tone

    upper neighbor

    rondo form

    tertian harmony

    b.

    d.

    e.

    f.

    ABACABA

    Harmony based on combinations of the intervalof a 3rd

    The use of two different keys or tonalities at thesame time

    A musical form consisting of a theme followed bya series of different versions of the same theme

    0b.

    h.

    4 Level Advanced 2010

  • a)

    ne. rl

    a ct I

    -, /) a)

    (J (J

    13. Write the name, not the Roman numerals, of each of the following cadences. (4 points)

    14. Write Roman numerals and figured bass under the chords for this example. Use the new key to determinethe Roman numerals for the final three measures. (9 points)

    New key: I

    15. Circle the pivot chord in question 14. (Circle the notes or the Roman numeral.) (l point)

    16. To what key does the music modulate in question 14? (l point)

    17. Determine the time signature for the following example. (l point)

    ffi,h t,NtlffiJ]-l 1l

    a aaIrl

    e(r

    t,

    (J U

    tl?I

    Level Advanced 2010

  • 18. Write the name of the historical period during which each characteristic was prevalent, orduring which each composer lived. (10 points)

    Homophonic texture predominates and cadence points are obvious

    Chopin lived

    lrregular and changing time signatures and more use of polyphonictexfure

    Use of colorful harmonies, more chromaticism, and lyrical melodies

    Scarlatti lived

    Dello Joio lived

    Diabelli lived

    Corelli lived

    Use of ornamentation and limited use of dynamic and expression markswritten by the composer

    A return to use of older forms such as Sonata and Suite

    Andante moderato

    tr

    a,

    b.

    c.

    d.

    0b.

    h.

    j

    Epoco

    a

    Level Advanced 2010

  • Piu Adagio c.Eu.

    Answer questions 19-28 about the music on pages 6-7. (14 points)

    19. What is the key at the beginning of the example?

    20. What is the key in measures 9-10?

    21. 'Nhatis the relationship of these two keys?

    22. Givethe English meaning for the tempo in measures l-8.

    23- Givethe English meaning for the tempo in measures 9-10.

    24. Give the English meaning for poco a poco rit, used inmeasure 3.

    Give the English meaning for rit. molto, used in measure 7.

    Give the English meaning for sempre moko espressivo,used in measure 9.

    27. Lookat measure l. Compare the rhythm in the treble clef withthe rhythm in the bass clef. Which of these terms bestdescribes this?

    28. Name each boxed chord with its root, quality, and figuredbass.

    Intermezzo, Op. 117, No. I

    25.

    26.

    hemiolasyncopationaugmentation

    a-

    b.

    c.

    d.

    e-Level Advanced 2010

  • tratr

    a) a 1-

    EtrtrE. tJt Il:l

    'Ed ,d{'tv }}+IILJILJ hr_I IJJJ LI 1T T LJ.-L.IEh{-J

    -

    Level Advanced 2010

    J.S. Bach: Fugue, WTC II, BW 881

  • Answer questions 29-36 about the fugue excerpt on page 8. (8 points)

    29. Inwhat key does this example begin?

    30. What term describes this melody, used in measures l-2?

    31. In which measure does the answerbegin?

    32. Is it a real or tonal answer?

    33. In which key does the third voice enter?

    34. What term is used for the first section of the fugue, in whichall the voices are heard?

    what term describes a section of the fugu.e in which motivic materialfrom the melodies of the fugoe are used in combination with sequence,modulation, diminution, and other compositionaldevices?

    Which of these compositional techniques is not likelyto be found in a fugue?

    35.

    36.

    tonicsubdominantsubmediantleading tone

    episodeexpositionvariationanticipation

    episodeexpositionvariationanticipation

    strettodiminutionAlberti basssequence

    9Level Advanced 2010

  • Excerpt 1

    Excerpt 2

    I lnr I I I-t.

    rr t {I

    Level Advanced 2010

  • 37,

    38.

    39.

    Answer questions 37-40 about Excerpt I on page 10. (20 points)

    Give the English meaning of the tempo.

    What is the key?

    Check the name for the boxed nonharmonic tonein measure 6.

    Name circled chords a - e with their Roman numeralsand figured bass.

    Answer questions 4l-45 about Excerpt 2 on page 10.

    41. Name circled chords l-6 with their roots, qualities,and figured bass.

    What compositional technique is used in measures9-16 (identified by the brackets)?

    In the correct order, name the three sections of Sonata form(also known as Sonata Allegro form).

    44, Check the most likely tempo for the second movement.

    45. Check the most likely form for the last movement.

    anticipationsuspensionpassing tone

    40. a.

    b.

    c.

    d.

    1.

    2.

    3.

    4.

    5.

    6.

    42.

    43.

    PrestoAndanteAllegro

    Sonata formRondo formPrelude and Fugue

    Level Advanced 2010 l1

  • EAR TRAINING EVALIIATION

    This is your Adrnnced Irvel ear training erraluation. Listen to each question and its musical orample.Mark your answer. Each example will be played nvo times. (13 points)

    1. Recognition of minor or atonality in a phrase.minor atonal

    2. Recognition of intenrals.Ex. 1 minor 2nd Ausmented 2nd

    Ex.3 diminished 5th

    -

    Augmented 3rd

    -3. Recognition of seventh c,hords.

    ErL I half-diminished diminished

    -minorEx.2 Dominant

    4. Recognition of a chord progression.

    A I fV vii"6 iii vi ii V7 iB. I ii vii"'iii vi IV y7 I

    5. Recognition of natural, harmonic, or melodic minor and whole tone scales.

    E& I natural harmonic

    -

    melodic

    -

    whole tone

    F;x-2 natural harmonic melodic

    -

    wholeone

    -

    6. Recognition of a cadenceAuthentic

    -

    Half

    -7. Recognition of texture.

    Homophonic Polyphonic

    8. Rccognition of meter.

    I time I time

    EarTralnlngfests o $ct[ o Advanced Level

    13 Sample Test Adv p 114 Sample Test Adv p 215 Sample Test Adv p 316 Sample Test Adv p 417 Sample Test Adv p 518 Sample Test Adv p 619 Sample Test Adv p 720 Sample Test Adv p 821 Sample Test Adv p 922 Sample Test Adv p 1023 Sample Test Adv p 11

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