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Below. III. Dictate the Soprano and Bass Voices. IV. Provide Roman

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Below. III. Dictate the Soprano and Bass Voices. IV. Provide Roman Hugh A. Glauser School of Music, Kent State University Graduate Placement Examination: Music Theory Music Theory (Sample Exam No. 1) Part I (30 minutes) – Ear Training (click here to listen) I. Notate the intervals above (nos. 1-5) and, below the given pitches (nos.6-10). Label each interval in the space provided below. 1) 2) 3) 4) 5) 6) 7) 8) 9) 10) Interval Name ______ ______ ______ ______ ______ ______ ______ ______ ______ ______ II. Notate the triads above the given pitches. Identify the quality of each chord in the space provided below. 1) 2) 3) 4) 5) 6) 7) Chord Quality ______ ______ ______ ______ ______ ______ ______ III. Dictate the soprano and bass voices. IV. Provide Roman numeral analysis for each chord. Label the key and final cadence. Key _____ Cadence __________________ Roman Numerals ______ ______ ______ ______ ______ ______ ______ _____ _______ V. Melodic dictation. Part II (60 minutes): Analytical Techniques I material Questions about Example A (20 minutes) – The example will not be played 1) Complete the harmonic analysis for the measures indicated below. Label all dissonant intervals (passing tone (p.t.), 9-8 suspension (9-8 sus.) etc.) Measure 22: 6 5 3 2 (p.t.) 1 Measure 23: ____ ____ ____ ____ Measure 24: ____ ____ ____ ____ ____ ____ Measure 25: ____ ____ ____ ____ Measure 26: ____ ____ ____ ____ ____ Measure 27: ____ ____ ____ ____ 2) There are several points of imitation in this piece. List three of them with specific measure numbers and beat numbers. Identify the intervallic and rhythmic distance for each point of imitation. a) Intervallic distance: Rhythmic distance: b) Intervallic distance: Rhythmic distance: c) Intervallic distance: Rhythmic distance: 3) What is the mode of this piece? 4) When would this piece have been composed? 5) Which composer most likely would have written this piece? Questions about Example B (20 minutes) – The example will not be played. 1) What is the key of this fugue? 2) How many voices are present in this fugue? 3) What is the order of entry of the voices? 4) Is the first fugal answer tonal or real? 5) Is there a countersubject in this fugue? 6) In which measure does the exposition end? 7) Label the key and the cadence type heard in the following places. a) mm.9 (bt.4) -10 (bt.1): Key _________ Cadence type _________________ b) mm.19 (bts. 2-3): Key _________ Cadence type _________________ c) mm.27: Key _________ Cadence type _________________ 8) Is there any stretto (stretti) in this fugue? If yes indicate it (them) with measure numbers. 9) In which measure(s) is the inversion of the subject heard? 10) When would this piece have been composed? 11) Which composer most likely would have written this piece? Questions about Example C (20 minutes) – The example will not be played. Measures 1-36 only. 1) Circle the correct answer. The Adagio section (mm.1-36) is: a) a middle movement of a symphony b) an exposition of the first movement of a symphony c) a coda of the first movement of a symphony d) an introduction of the first movement of a symphony e) a refrain of a last movement of a symphony 2) Provide Roman numerals m.4 m.5 m.6 m.7 m.8 m.9 m.10 m.11 m.12 m.13 m.14 m.15 mm.15-16 mm.18-19 3) What key is heard in mm.18-21? 4) What key is heard in mm.22-25? 5) Where are the mode mixtures? Give two different examples. Answer with measure and beat numbers. a) b) 7) Where is the dominant prolongation? Answer with measure and beat numbers. 8) List the instruments used in Adagio ordering from top to bottom. a) b) c) d) e) f) g) h) i) j) 9) When would this piece have been composed? 10) Which composer most likely would have written this piece? Part III (60 minutes): Analytical Techniques II material Questions about Example D (20 minutes) – The example will not be played. 1) Label the cadence types. a) m.5 (downbeat): b) m.10 (downbeat): 2) Circle the correct answer. The periodic structure heard in mm.1-10 is best described as a ____. a) sentence b) contrasting period c) repeated phrase d) parallel period e) double period 3) What is the key of this piece? 4) What harmony is tonicized in the following places? Answer with proper Roman numerals. a) mm.13-14 (downbeat): b) mm15-18 (downbeat): c) mm.19-20 (downbeat): 5) What key is heard in mm.41-69? What is the relationship between this key and the home key? 6) Where does the coda begin? What harmony is prolonged during this coda? 7) Provide Roman numerals. m. 101: _____ _____ m. 102: _____ _____ m. 103: _____ _____ _____ _____ m.104: _____ _____ m. 105: _____ 7) What is the form of this piece? 8) When would this piece have been composed? 9) Which composer most likely would have written this piece? Questions about Example E (20 minutes) – The example will not be played. 1) What key is heard in mm.1-16? 2) Circle the correct answer. The periodic structure heard in mm.1-16 is best described as a ____. a) sentence b) contrasting period c) repeated phrase d) parallel double period e) contrasting double period 3) Give Roman numeral analysis for mm.1-4. a) m.1 ________ b) m.2 ________ b) m.3 ________ d) m.4 ________ 4) What key is heard in mm.17-32? How is this key related to the home key? 5) What type of cadence is used in m.16 and m.32? 6) What is the purpose of the section, m.33-40? What is section called? 7) Where is the circle-of fifths progression in this piece? Indicate your answer with beginning and ending measure numbers. 8) What is the form of this piece? Questions about Example F (20 minutes) – The example will not be played. 1) Which of the following terms correctly describe the tonality of this piece? Circle the correct answer. a) Tonal b) Atonal c) Centric d) Modal e) None of the above 2) What is the pitch center of the first section (mm.1-22)? How is the pitch center established? 3) The composer uses a “mode of limited transpositions” in the first section, mm.1-41. What is the mode? 4) How many distinct layers does the composer use in the first section, mm.1-41? 5) How are the musical phrases divided in this piece? 6) What is the pitch center heard in the second section (mm.22-41)? 7) What kind of scale (or mode) is used in the second section (mm.22-41)? 8) Locate an example of chord planing in this piece. 9) The pitch B-flat 1 in the bass is heard throughout the first section. What is it called? 10) When would this piece have been composed? 11) Which composer most likely would have written this piece? .
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