Music Theory Placement Test Student Name ______Student ID # ______

Total Page:16

File Type:pdf, Size:1020Kb

Music Theory Placement Test Student Name ______Student ID # ______ Music Theory Placement Test Student Name __________________________________ Student ID # ____________________________________ Part I. Match the Italian term to its English meaning by writing the correct letter in the blank 1) ___________Gradually slower A. Moderato 2) ___________Lively and fast B. Vivace 3) ___________Moderately C. Adagio 4) ___________Moving along (walking speed) D. Ritardando 5) ___________Very slow E. Accelerando 6) ___________Gradually faster F. Largo 7) ___________Slow G. Andante 8) ___________Quickly, cheerfully H. Allegro Part II. Multiple Choice. Circle the best answer. 1. The enharmonic note E# is: a) D# b) E c) Db d) F 2. The enharmonic note for Fb is: a) Gb b) E c) Eb d) G# 3. The enharmonic note for Cb is: a) D# b) B c) Bb d) B# 4. Three or more notes sounded together is called a(n) a) Tonic b) chord d) primary triad d) interval 5. When a chord consists of a root, 3rd, and a 5th, it is called a(n): a) Interval b) triad c) dominant chord d) primary chord) 6. The primary chords or primary triads of a major key are: a) I, IV, and VI b) I, ii, and iii c) I, IV, and V d) I, V, and III 7. The first degree of a scale is called the: a) Leading tone, b) tonic c) supertonic d) mediant 8. The fifth degree of a scale is called the: a) supertonic b) dominant c) tonic d) leading tone Part III. Rewrite the following example using a repeat sign. Name the notes. Part IV. Insert bar lines and write the beats under the following. Part V. Identify the following Major key signatures. Part VI. Construct Major scales, and the I, IV, and V chords using accidentals as needed. Part VII. Construct V7 chords and inversions, in root position, in the following keys. Write the key signature for each exercise. A minor B flat Major F minor C # minor G flat Major E Major Part VIII. Write the following chords and scales in the keys indicated. (Write key signatures) 1) D major – Neapolitan chord 2) F minor – German Augmented Sixth Chord 3) A - Lydian 4) F - Phrygian .
Recommended publications
  • Riemann's Functional Framework for Extended Jazz Harmony James
    Riemann’s Functional Framework for Extended Jazz Harmony James McGowan The I or tonic chord is the only chord which gives the feeling of complete rest or relaxation. Since the I chord acts as the point of rest there is generated in the other chords a feeling of tension or restlessness. The other chords therefore must 1 eventually return to the tonic chord if a feeling of relaxation is desired. Invoking several musical metaphors, Ricigliano’s comment could apply equally well to the tension and release of any tonal music, not only jazz. Indeed, such metaphors serve as essential points of departure for some extended treatises in music theory.2 Andrew Jaffe further associates “tonic,” “stability,” and “consonance,” when he states: “Two terms used to refer to the extremes of harmonic stability and instability within an individual chord or a chord progression are dissonance and consonance.”3 One should acknowledge, however, that to the non-jazz reader, reference to “tonic chord” implicitly means triad. This is not the case for Ricigliano, Jaffe, or numerous other writers of pedagogical jazz theory.4 Rather, in complete indifference to, ignorance of, or reaction against the common-practice principle that only triads or 1 Ricigliano 1967, 21. 2 A prime example, Berry applies the metaphor of “motion” to explore “Formal processes and element-actions of growth and decline” within different musical domains, in diverse stylistic contexts. Berry 1976, 6 (also see 111–2). An important precedent for Berry’s work in the metaphoric dynamism of harmony and other parameters is found in the writings of Kurth – particularly in his conceptions of “sensuous” and “energetic” harmony.
    [Show full text]
  • Day 17 AP Music Handout, Scale Degress.Mus
    Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale.
    [Show full text]
  • Accelerated Piano Technique and Music Theory Ii Course Syllabus
    ACCELERATED PIANO TECHNIQUE AND MUSIC THEORY II COURSE SYLLABUS Course: Accelerated Piano Technique and Music Theory II Credit: One Carnegie Unit Course Description Accelerated Piano Technique and Music Theory II is required for graduation as a vocal music major. It is for students who have completed the requirements of Accelerated Piano Technique and Music Theory I and completes the prerequisite for all other theory classes. It satisfies the Piano Lab II requirement for vocal majors and the Music Theory II requirement for both vocal and instrumental majors. This course covers the rudiments of music theory and emphasizes basic musicianship skills in the areas of sight singing, ear training, and dictation. Basic piano fundamentals are explored: familiarization with keyboard theory, hand coordination, grand staff note reading, and an introduction to the standard intermediate piano literature. Content Standards DCPS music content standards make up the core skills, concepts and knowledge for Music Theory II: 1. Perform a variety of repertoire. 2. Improvise, compose, and arrange. 3. Read and notate music. 4. Listen, analyze, and evaluate. These standards are incorporated in the course outline below. Course Outline 1. Perform all tasks covered in Accelerated Piano Technique and Music Theory I, with emphasis on reading and writing fluently in treble and bass clefs including identification, notation, reading and writing of all leger line notes above and below the staff. 2. Identify and write all major and minor key signatures; explain and construct a diagram of the circle of fifths. 3. Identify on the page and by ear, sing*, write, and play on the piano keyboard: a.
    [Show full text]
  • Promtional Sample Pages
    The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright © 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction .......................................................................................................5 Chapter 1 The Simple Intervals .............................................................6 Chapter 2 The Major Keys .......................................................................13 Chapter 3 The Fundamental Triads .....................................................19 Chapter 4 Triads of the Major Scale .................................................... 27 Chapter 5 Extending the Triads with a 7th or 6th ........................... 32 Chapter 6 Extending the Triads of the Major Scale ...................... 39 Chapter 7 The 12-Bar Blues ...................................................................43 Chapter 8 Voice Leading ...........................................................................45 Chapter 9 Song Melody and the Blueprint .......................................51 Chapter 10 The Major II-V-I Progression ............................................54 Chapter 11 Compound Intervals .............................................................64 Chapter 12 Extending a Chord with a 9th, 11th or 13th ................68 Chapter 13 Modes or the Major Scale...................................................74 Chapter 14 Auxiliary Notes ........................................................................ 87
    [Show full text]
  • Discover Seventh Chords
    Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key.
    [Show full text]
  • Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career.
    [Show full text]
  • Level 3 Scale Reference Sheet MP: 4 Scales – 2 Major and 2 Harmonic Minor
    Level 3 Scale Reference Sheet MP: 4 scales – 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands separate or together) 3. Play chord progression (of the scale you just played): (or I-V-I) (Hands separate or together) 4. Play arpeggio (of the scale you just played): 5. Applied Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th in the keys of prepared scales up from tonic only, using appropriate black keys www.wendyspianostudio.com 76 Level 3 SCALE CHECKLIST C Major a minor G Major e minor D Major b minor A Major f# minor # E Major c minor # B Major g minor Gb Major eb minor Db Major bb minor Ab Major f minor Eb Major c minor b B Major g minor F Major d minor 77 Level 4 Scale Reference Sheet MP: 4 keys – 2 major and 2 minor (natural and harmonic minor forms) 1. Play Scale (One octave, hands separate or together) 2. Play Primary Chords in Root position (for the scale you just played), hands separate or together. For minor keys, use harmonic form. 3. Play inversions of the tonic triad up and down, hands separate or together: 4. Play chord Progression: (or I-IV-I-V-I) hands separate or together. In minor keys, use harmonic form. 5. Play 1 handed arpeggio: www.wendyspianostudio.com 78 Level Four, continued 6. Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th, 7th, and octave, in the keys of prepared scales, up only, beginning on any pitch in the scale.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • When the Leading Tone Doesn't Lead: Musical Qualia in Context
    When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony.
    [Show full text]
  • Syllabus Spring, 2020 Music 321 Elementary Piano 1 Section 13137 Lecture 13156 Lab Tuesdays 6:50-10:00 PM
    Syllabus Spring, 2020 Music 321 Elementary Piano 1 Section 13137 Lecture 13156 Lab Tuesdays 6:50-10:00 PM Instructor: Ms. Claire Rydell E Mail: Ask questions and report absences: [email protected] Subject: Piano Class Office Hours: Tuesdays 6:15-6:50 PM Room M100 Textbooks: 1) Bastien Piano for Adults Book 1 (you do not need the CD’s), KJOS KP 1B ISBN 0-8497-7302-4. (about $15.95) 2) Rydell Music 321 Scales, Chords & Materials for Learning (about $15) AVAILABLE ONLY AT THE BOOKSTORE Ask for the coursebook at the cash register if it is not on the shelf. Get the books today. You MUST have the books at the next class. Other music stores include: Baxter Northrup 14534 Ventura Blvd 818-788-7510 Keyboard Concepts 5539 Van Nuys Blvd 818-787-0201 Sam Ash Music 20934 Roscoe Blvd 818-709-5650 Bring a pencil & eraser to class to write in your books. Write fingerings and counting in your music to help you play well. Please bring your own headset to class and a mini jack adapter that converts 1/8” to 1/4”inches (3.5 mm to 6.5 mm.) You need to have a metronome: you can download an app like MetroTimer. Student Learning Outcome: SLO #1: Student will be able to play beginning level piano technique, including one-octave scales and primary triad chord progressions in the following keys: C, G, D, A, and E Majors. SLO # 2: Student will be able to play beginning level piano repertoire. Course Objectives: Upon successful completion of the course, students will demonstrate skill in basic piano playing including correct posture and hand position, independence of fingers, locating notes on the keyboard in treble and bass clefs, understanding and performing basic rhythms and learning efficient methods for practicing.
    [Show full text]
  • Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L
    Document généré le 1 oct. 2021 12:21 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L. Hicken Numéro 1, 1980 URI : https://id.erudit.org/iderudit/1013738ar DOI : https://doi.org/10.7202/1013738ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Hicken, K. L. (1980). Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 130–146. https://doi.org/10.7202/1013738ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1980 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TONAL ORGANIZATION IN SCHOENBERG'S SIX LITTLE PIANO PIECES, OP. 19 Kenneth L. Hicken What is the nature of Schoenberg's so-called atonality? Does his atonal organization of pitch truly involve abandonment of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an exten• sion of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op.
    [Show full text]
  • Secondary Dominant Chords.Mus
    Secondary Dominants Chromaticism - defined by the use of pitches outside of a diatonic key * nonessential chromaticism describes the use of chromatic non-chord tones * essential chromaticism describes the use of chromatic chord tones creating altered chords Secondary Function Chords - also referred to as applied chords * most common chromatically altered chords * function to tonicize (make sound like tonic) a chord other than tonic * applied to a chord other than tonic and typically function like a dominant or leading-tone chord - secondary function chords can also be used in 2nd inversion as passing and neighbor chords - since only major or minor triads can function as tonic, only major or minor triads may be tonicized - Secondary function chords are labeled with two Roman numerals separated by a slash (/) * the first Roman numeral labels the function of the chord (i.e. V, V7, viiº, or viiº7) * the second Roman numeral labels the chord it is applied to - the tonicized chord * secondary function labels are read as V of __, or viiº of __, etc. Secondary Dominant Chords - most common type of secondardy function chords * always spelled as a major triad or Mm7 chord * used to tonicize a chord whose root is a 5th below (or 4th above) * can create stronger harmonic progressions or emphasize chords other than tonic Spelling Secondary Dominant Chords - there are three steps in spelling a secondary dominant chord * find the root of the chord to be tonicized * determine the pitch a P5 above (or P4 below) * using that pitch as the root, spell a
    [Show full text]