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Eeeeee STUDENT WORKBOOK Eeeeee ! eeeeee Achievement In Music STUDENT WORKBOOK ! Answer Key Levels 10 - 11 - 12 by Karen Rogers ! ! Revised!2015! ! ILLINOIS!STATE!MUSIC!TEACHERS!ASSOCIATION! eeeeee Level%10%Answer%Key:%%%% LESSON ONE ! p.%1! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Dominant%Seventh%Chord%Inversions! ! ! !!!!!!V7% % V6/5% %%% %%%%%%%%%V6/5% % V4/3% % V4/2%(V2)% % % Rhythm% ! % %p.%2%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Lydian%Mode! % • See#example#above# • 4! • The!circled!note!is!one!half!step!higher![than!the!4th!note!of!a!major!scale].! % Mixolydian%Mode% % • See#example#above# • 7! • The!circled!note!is!one!half!step!lower![than!the!7th!note!of!a!major!scale}.! ! ! p.%3%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%AURAL%SKILLS%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% % Scale/Mode%Identification% % % %%%%%%%%%%%%%%%Ionian! ! X%!Mixolydian% Lydian! % Dictation:% ! 1! LESSON TWO p.%4!!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Matching% d compound meter i plagal cadence a trill f syncopation g half cadence h mordent b simple meter j authentic cadence c turn k appoggiatura e deceptive cadence p.%6!!!%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Triad%Inversions% % !!!!!!!b!minor:!iv6/4! !!!!!d!minor:!!viio!!!!!!!!!!!!!!!e!minor:!!V6!!!!!!!!!!!!!!!!Bb!major:!!ii6! % p.%7!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Lydian%mode% % Mixolydian%mode% % % AURAL%SKILLS% %%%%%%%%%%%a.%%P5%%%%%%%%%%%%%%%%%%%%b.%%M7%%%%%%%%%%%%%%%%%%%c.%%TT%%%%%%%%%%%%%%%%%%%d.%%m6%%%%%%%%%%%%%%%%%%%e.%M3% % a. R b. 1st c. 2nd d. 2nd % ! 2! LESSON THREE p.%9%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Score%Analysis% 1. a. First section exposition measure numbers 1 - 15 b. Second section development measure numbers 16 - 23 c. Third section recapitulation measure numbers 24 - 38 2. In the first section: a. The first theme begins in the key of C major. b. The second theme begins in measure 8 and is in the key of G major. c. Is this a modulation? yes 3. In the third section: a. The first theme begins in measure 24 and is in the key of C major. b. The second theme begins in measure 31 and is in the key of C major. 4. Measures 16-17 are related to the: a. first theme b. second theme. 5. Which term best describes the bass in measures 9 and 11? a. figured bass b. Alberti bass c. ostinato 6. The cadence in measures 3-4 is: a. plagal b. half c. authentic d. deceptive 7. Compare measures 8 – 9 with 10 - 11? This compositional device is called: a. repetition b. sequence c. imitation % p.%11%%%%%%%%%%%%%%%%%%%Writing%Dominant%Seventh%Chords%and%Inversions% % Lydian%Mode% % Mixolydian%mode% % AURAL%SKILLS% Ionian! Mixolydian! Lydian! % ! 3! LESSON FOUR p.%14%%%%Composers%and%Characteristics% I Debussy R Homophonic texture is a characteristic of this musical period. R Grieg T In this musical period, we find the use of changing meters and asymmetrical rhythms. I Ravel R Mendelssohn T Melodies may be angular and disjunct, less singable, in this musical period. R Granados I Pedal used for special effects. T Gershwin R Character pieces with descriptive titles. I Gliding chords in parallel motion, or planing, is a characteristic of this musical period. % AURAL%SKILLS% Interval%Identification% % %%%%%%%%%%%a.%m3!!!!!!!!!!!!!!!!!!!b.%P8%%%%%%%%%%%%%%%%%%%%%c.%m7%%%%%%%%%%%%%%%%%%%%d.%P4%%%%%%%%%%%%%%%%%%%%%e.%M6% Chord%Position%Identification% % %%%%%%%%%%%a.%%1st%%%%%%%%%%%%%%%%%%%%%%%%%%%b.%%2nd%%%%%%%%%%%%%%%%%%%%%%%%%%c.%%1st%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%d.%%1st%% % Chord%Progression%Identification% % ! 4! LESSON FIVE p.15% Matching% h mordent e pentatonic a trill f syncopation g au mouvement d compound meter b simple meter i cédez! ! ! ! c turn k appoggiatura j%%%!bitonality Fill%in%the%Blanks:%%%%% % %Exposition% % Development% Recapitulation% p.16%%%%% % % % Mixolydian%mode% % Lydian%mode% % Writing%Dominant%Seventh%Chord%Inversions% % %%%%%%%%%%%D!major:!!V4/3!!!!!!!!!!!F!major:!V4/2!!!!!!!!e!minor:!V7!!!!!!!!!!!!!!!Bb!major:!V6/5! % p.%17%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%AURAL%SKILLS% Scale/Mode%Identification% % Ionian%% Mixolydian% % Lydian% Dictation% ! 5! LESSON SIX p.%19%%Writing%Inverted%Triads% % !!!!!!!!!!!!!!!!!!B!major:!!V6!!!!!!!!!!!!!!!g!minor:!V!!!!!!!!!!!!!Ab!major:!!vi6/4!!!!!!!!f#!minor:!!iv6! Score Analysis 1. German Dance is written in the key of G major! 2. During which musical period was German Dance written? Classical.! 3. Identify the harmony in measures 1 and 2. A. I (tonic)! 4. Identify the harmony in measures 3 and 4. E. V7 (dominant 7th)% 5. The cadence in measures 7 – 8 is: c. authentic ! 6.!!The form of the piece is: c. rounded binary! 7.!!Identify the interval between the first two treble clef notes in measure 11. minor 7th% % p.%21%%%%%%Fully%Diminished%Seventh%Chords% % % Ornaments%% % ! %%%d%%%% % %%%%%%c__%%%%%%%%%%%%%%%%%%%%%%%%a%%%% % %%%b__%%%%% ! ! AURAL%SKILLS% % %%%%%%%%%%%%%a.%%P4%%%%%%%%%%%%%%%%%%%b.%TT%%%%%%%%%%%%%%%%%%%%c.%M6%%%%%%%%%%%%%%%%%%%d.%M2%%%%%%%%%%%%%%%%%%%%e.%m6% % %%%%%%%%%%%%%a.%%R% %%%%%%%%%%%%%%%%%%%%%%%%b.%1st%% %%%%%%%%%%%%%%%%%%%%c.%1st%% %%%%%%%%%%%%%%%%%%d.%2nd%% % ! 6! LESSON SEVEN p.%22%%%%%Matching% j retenu e pentatonic h largo f syncopation g au mouvement c lento b simple meter i cédez l maestoso a Sonata-allegro form d compound meter k sostenuto % Dominant%Seventh%Chord%Inversions% % %%%%%%%%%%%%%%%V7%%%%%%%%%%%%%%%V6/5%%%%%%%%%%%%V4/3%%%%%%%%%%%%%%V4/2% p.%23%%%%%Composers%and%Characteristics% R Grieg I pedal used for coloristic effect I Ravel T piano often used percussively !! !! ! !! ! R MacDowell R prominence of piano literature and great pianists T Joplin T use of modes and 12-tone row % Musical%Excerpts%%%% 1.%%T%%%% % 2.%I%%%%% % 3.%R% % p.%24%%Intervals% % %%%%%%%%%%%%diminished%7th%%%%%%%%%%%augmented%5th%%%%%%%%diminished%7th%%%%%%%augmented%5th%% % AURAL%SKILLS% % ! Ionian!! Mixolydian! ! Lydian% % % ! 7! LESSON EIGHT Pop Chord Symbols p.%25% % %%%%%%%%A/E% %%%%%%%%%%%%%%%%%%%%D7%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%Eb+% %%%%%%%%%%%%%%%%%%%%%%%Fdim% ! Modes ! ! % p.%26% Fill in the Blanks recapitulation! Third! and! final! section! of! sonataPallegro! form:! ! first! and! second! themes!usually!in!the!tonic!key,!optional!closing!theme.! exposition!!First!section!of!sonataPallegro!form:!!first!theme!in!the!tonic!key,!second! theme!in!the!dominant!or!related!key.!optional!closing!theme.! development!!Second!section!of!sonataPallegro!form:!!themes!or!motives!may!be! changed!and!elaborated,!new!themes!may!be!added.! bitonal Music with two tonal centers. atonal Music with no tonal center. Diminished Seventh Chords Dominant Seventh Chord Inversions f# minor: V4/2 Eb major: V4/3 b minor V6/5 g minor: V7 ! 8! Rhythm p.%27% Chord Reduction and Analysis I V6 vi6 V_ Intervals Aug. 4th Perfect 5th dim. 7th Major 3rd Aug. 5th AURAL SKILLS a m7 b M3 c tt d P5 e m6 a 1st b R c 2nd d 1st ! 9! LESSON NINE p. 28 Intervals ! p. 29 Musical Excerpts 1.!!T! ! 2.!!R! ! 3.!!T! ! 4.!!I! p. 30 Composers and Characteristics T Gershwin R more fluctuation in tempo including rubato R Grieg I pedal used for special effects R Granados T modes, 12-tone rows, bitonality I Ravel T piano sometimes used percussively R Mendelssohn T influence of jazz, ragtime and blues R MacDowell R prominence of piano literature and great pianists T Joplin R character pieces with descriptive titles I Debussy I gliding chords in parallel motion (planning) Ornaments. ! %%%%%%%%%%%%%_b! ! !!!!!!!d! ! !!!!!!!!!!!c!! !!!!!!!!!a! ! ! AURAL SKILLS Scale/Mode Identification Ionian Mixolydian Lydian Dictation ! 10! LESSON TEN Score Analysis p. 31 1. This piece is in sonata-allegro form. Name the three main sections in this piece and write measure numbers for each section. a. First section exposition measure numbers 1 – 16 b. Second section development measure numbers 17-28 c. Third section recapitulation measure numbers 29-45 2. In the first section: a. The first theme begins in the key of G major b. The second theme begins in measure 8 and is in the key of D major c. Is this a modulation? Yes 3. In the third section: a. The first theme begins in measure 29 and is in the key of G major b. The second theme begins in measure 36 and is in the key of G major. 4. Measures 17 – 22 are related to the: a. first theme b. second theme. 5. Measures 17 – 20 appear to be in which key? g minor 6. How is this key related to the main key? It is the parallel minor. 7. Locate and circle examples of upper and lower neighboring tones. Label them “UN” and “LN” see score – there are numerous examples 8. Which term best describes the accompaniment style in most of the piece? Alberti bass 9. The cadence in measures 3 – 4 is: a. plagal b. half c. authentic d. deceptive 10. Compare measures 17 – 18 with 19 – 20? This compositional device is called: a sequence ! 11! p. 34 Rhythm Chords from Pop Chord Symbols Bb 7 D/F# Gm Adim Diminished Seventh Chords AURAL SKILLS a m2 b P4 c tt d P8 e m3 a 1st b R c 1st d R ! 12! LESSON ELEVEN p. 35 Dominant Seventh Chords and Triads ! Modes Intervals Fill in the Blanks: 1.Exposition 2.Development 3.Recapitulation p. 36 Musical Excerpts: 1. I 2. T 3. R 4. T p. 37 Composers and Characteristics T Joplin R more fluctuation in tempo including rubato R Grieg I pedal used for special effects R Granados T bitonality I Ravel T piano sometimes used percussively R Mendelssohn T influence of jazz, ragtime and blues!! ! !! R MacDowell R prominence of piano literature and great pianists T Gershwin T use of modes and 12-tone row I Debussy R pedal used for legato
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