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advanced music theory (decks 1-17)

Total questions: 122

Worksheet time: 4hrs 3mins

Name
Class
Date
1.

what does diatonic mean?

a)

any step-wise arrangement of the 7 scale degrees forming an octave without altering the established key or mode

b)

a change from one tonality to another

c)

the lowest note played in a scale

d)

a disjunct melody line

2.

what is dominant function?

a)

lowest note played in a chord

b)

a chord that creates instability that requires resolution

c)

the texture created by counterpoint

d)

the range in which most notes in a vocal part fall

3.

what is a classical 6th chord? (2 correct answers)

a)

first inversion

b)

3rd in the bass and the root a 6th above it

c)

1, flat 3, flat 5, flat 7

4.

what is a diminished 7th chord

a)

minor 3rd over diminished triad

b)

minor 6th over a diminished train

c)

minor 7th over major triad

d)

minor 3rd over major triad

5.

what is the common practice period?

a)

the romantic period

b)

1800-1917

c)

the era of the tonal system

d)

the era of jazz and blues music

6.

what is a pop 6th chord

a)

any triad with an added 6th above the root as a chord factor

b)

3rd in the bass and root a 6th above

c)

Cm triad

d)

a classical added 6th chord

7.

what is a chord factor?

a)

the lowest note played in a chord

b)

a flat 3rd

c)

a member or component of a chord

d)

the highest note played in a chord

8.

what is a bass note?

a)

the 5th of a chord

b)

the root of a chord

c)

the highest note played in a chord or sonority

d)

the lowest note played in a chord or sonority

9.

what is a sorority/simultaneity

a)

complete musical textures happening in succession

b)

more than one complete musical texture happening at the same time rather than in succession

c)

the lowest note played in a chord

d)

the production and utterance of speech sounds

10.

what is phonation?

a)

more than one musical texture happening at the sametime

b)

the production and utterance of speech sounds

c)

two or more melodic lines coming together to create music

11.

what are augmented intervals?

a)

one half step larger than a perfect/major interval

b)

one half step smaller than a perfect/major interval

12.

what are diminished intervals?

a)

one half step more than a perfect/major interval

b)

one half step less than a perfect/major interval

13.

What is polyphonic texture?

a)

a main melody supported and accompanied by other instruments

b)

the texture that counterpoint creates

c)

a single unaccompanied melodic line

14.

what is homophonic texture?

a)

a main melody supported and accompanied by other instruments

b)

the texture that counterpoint creates

c)

a single unaccompanied melodic line

15.

what is monophonic texture?

a)

a main melody supported and accompanied by other instruments

b)

the texture that counterpoint creates

c)

a single unaccompanied melodic line

16.

what is an angular melodic line?

a)

a melodic line that is disjunct

b)

a melodic line without any skipwise motion or large leaps

c)

a melodic line that needs to resolve

d)

a resolved melodic line

17.

what are dissonant harmonies?

a)

a combination of pitches that are relatively harsh and grating

b)

a combination of pitches that are relatively sweet and gently

18.

what is Tessitura?

a)

the range which most notes of a vocal range fall

b)

the range which most notes in alto clef fall

c)

the range which most notes in tenor clef fall

19.

what is tonic function?

a)

first scale degree of any diatonic scale

b)

the 4th scale degree of any diatonic scale

c)

the first scale degree of any heptanoic scale

20.

what is a half-diminished 7th chord

a)

a minor 3rd over a diminished triad

b)

3rd in the bass and root a 6th above

c)

1, 3b,5b,7b

21.

what is tonality?

a)

the first note in a diatonic scale

b)

music without a tonic

c)

music that has a tonic

22.

what is skip-wise motion?

a)

the movement from one note to another while moving in intervals of at least a 3rd or more

b)

movement from one note to another only moving one scale degree

c)

music that leaves the listener wondering where the melody will go next

23.

what does skip-wise motion do?

a)

create a since of stability

b)

leaves the listener wondering where the melody will go next

c)

create a need to resolve

24.

What is a quarter tone?

a)

a pitch that is half way between the usual notes in a chromatic about half as wide as a semitone

b)

a pitch thats half way between 2 whole notes

25.

what is a diatonic scale

a)

any heptatonic scale that contains 5 whole steps and 2 half steps in each octave. each half step is separated by 2 whole steps

b)

any scale that has 7 pitches per octave

26.

what is consonance?

a)

the impression of stability and repose

b)

the impression of tension and clash

27.

what is dissonance?

a)

the impression of stability and repose

b)

the impression of tension and clash

28.

when was the common practice period?

a)

aprox. 1900-2010

b)

aprox. 1610 to 1910

c)

aprox. 1800-1910

d)

aprox. 1610 to 1700

29.

what is tonicization?

a)

the first scale degree of any diatonic scale

b)

music that has a tonic

c)

the treatment of a pitch other than the overall tonic as a temporary tonic

30.

what is a heptatonic scale?

a)

any scale that has 7 pitches per octave

b)

any scale that contains 5 whole steps and two half steps in each octave

31.

3

a)

submediant

b)

mediant

c)

dominant

32.

4

a)

sub-dominant

b)

dominant

c)

sub-tonic

33.

6

a)

mediant

b)

subdominant

c)

submediant

d)

tonic

34.

5

a)

tonic

b)

mediant

c)

dominant

35.

1

a)

tonic

b)

mediant

c)

dominant

36.

2

a)

sub tonic

b)

super tonic

c)

upper tonic

d)

mediant

37.

7 (2 correct answers)

a)

sub tonic

b)

dominant

c)

leading tone

d)

sub-dominant

38.

8

a)

upper tonic

b)

super tonic

c)

tonic

d)

sub tonic

39.

when was the baroque period

a)

1600-1750

b)

1700-1810

40.

when was the romantic period

a)

1750-1870

b)

1800-1910

41.

when was the medieval period

a)

500-1400 CE

b)

500-1400 BCE

42.

when was the classical period

a)

1730-1820

b)

1600-1750

43.

when was the renaissance period

a)

1600-1750

b)

1400-1600

44.

when was the 20th-century period

a)

1900-2000

b)

1900-present

45.

what is counterpoint

a)

an analytical label for a specific harmonic device

b)

two or more complete musical texture happening simultaneously

c)

two or more independent melodic lines working together to create music

d)

musical textures happening in succession

46.

what are the 4 kinds of seventh chords

a)

-major 7th

-minor 7th

-mediant 7th

-minor 7th (5b)

b)

-major 7th

-minor 7th

-dominant 7th

-mediant 7th

c)

-major 7th

-minor 7th

-dominant 7th

-minor 7th (b3)

d)

-major 7th

-minor 7th

-dominant 7th

-minor 7th (5b)

47.

what makes up a major 7th chord

a)

root, third, fifth, seventh

b)

root, minor third, perfect fifth, minor seventh

c)

root, minor third, perfect fifth, minor seventh

(typically built on the fifth)

d)

root, flat third, flat fifth, flat seventh

48.

what makes up a minor 7th chord

a)

root, third, fifth, seventh

b)

root, minor third, perfect fifth, minor seventh

c)

root, minor third, perfect fifth, minor seventh

(typically built on the fifth)

d)

root, flat third, flat fifth, flat seventh

49.

what makes up a dominant 7th chord

a)

root, third, fifth, seventh

b)

root, minor third, perfect fifth, minor seventh

c)

root minor third, perfect fifth, minor seventh

(typically built on the fifth)

d)

root, flat third, flat fifth, flat seventh

50.

what makes up a minor 7th flat 5th chord

a)

root, third, fifth, seventh

b)

root, minor third, perfect fifth, minor seventh

c)

root, minor third, perfect fifth, minor seventh

(typically built on the fifth)

d)

root, flat third, flat fifth, flat seventh

51.

what is a 9th

a)

compound 2nd

b)

compound 4th

c)

compound 6th

d)

compound 3rd

52.

what is an eleventh

a)

compound 2nd

b)

compound 4th

c)

compound 6th

d)

compound 3rd

53.

what is a thirteenth

a)

compound 2nd

b)

compound 4th

c)

compound 6th

d)

compound third

54.

In harmony the consonance and dissonance of a chord or non-chord tone are

a)

distinguished respectively

b)

the same

c)

minor

d)

major

55.

the chord factor that's in the bass determines...

a)

the chords function

b)

the inversion of a chord

c)

what kind of chord it is

d)

the chords extension

56.

tertian harmony:

a)

chords that are constructed from church modes

b)

Altered degrees that are indicated by signs (#,b, ect)

c)

any stepwise arrangement of all 7 scale degrees without altering the established key or mode

d)

chords made more complex or extended by introducing more chord factors stacked on top in thirds

57.

its common practice to omit 11ths from dominant thirteenth chords because...

a)

the diminished eleventh clashes with the minor third

b)

the perfect eleventh clashes with the minor third

c)

the perfect eleventh clashes with the major third

d)

the diminished eleventh clashes with the major third

58.

all chords or harmonies are simultaneities

a)

true

b)

false

59.

Succession:

a)

a series of groups of pitches or pitch classes where each is played at the same time as others in its group

b)

a series of groups of pitches or pitch classes where each is played at different times as others in its group

c)

a group of chords played in succsession

d)

a group of pitches played in succession

60.

simultaneity succession is a more general term than

a)

chord progression or harmonic progression

b)

simultaneity progression

c)

simultaneity

d)

chord

61.

what is a secondary chord

a)

an analytical label for a specific harmonic device prevalent in the tonal idiom of western music in the common practice period

b)

third in the bass and root a 6th above

c)

any chord containing four or more pitches

62.

what kind of chords are secondary chords

a)

a type of altered or borrowed chord

b)

6th chords

c)

only altered chords

d)

7th chords

63.

secondary chords are the most common type of altered chord in _____ music

a)

tonal

b)

atonal

c)

melodic

d)

polyphonic

64.

what are secondary chords referred to by and how is this conventionally notated?

a)

the function they have and the key or chord in which they function

b)

function/key

c)

key/function

d)

the key there in and the chord that is occurring

65.

what is the most common secondary chord

a)

v/v

b)

V/iv

c)

V/IV

d)

iii/ii

66.

what are other names for secondary dominant chords?

a)

secondary leading tone

b)

applied dominant

c)

artificial dominant

d)

borrowed dominant

67.

a secondary dominant is...

a)

a major triad or dominant seventh set to resolve to a scale degree other than the tonic

b)

a major triad or dominant seventh set to resolve to the tonic

c)

the dominant of the dominant

d)

a major triad or dominant seventh that is resolved

68.

The chord that the secondary dominant is the dominant of is a _____ ______ chord

a)

eternally tonicized

b)

temporarily tonicized

c)

non-tonicized

d)

prematurely tonicized

69.

A secondary dominant is usually but not always followed by...

a)

the tonicized chord

b)

the previosly tonicized chord

c)

a dominant seventh

d)

a minor chord

70.

tonicizations that last longer than a phrase are usually regarded as

a)

modulations to the same key

b)

modulations to a new key

c)

modulations

71.

what is an extended dominant?

a)

an analytical label for a specific harmonic device, prevalent in the tonal idiom of western music in the common practice period

b)

a secondary dominant seventh chord that resolves down by a fifth to another secondary dominant seventh chord

c)

a major triad or dominant seventh chord built and set to resolve to a scale degree other that the tonic

72.

what is a tertiary dominant?

a)

a major triad or dominant seventh chord built and set to resolve to a scale degree other than the tonic

b)

a series of extended dominants that continues to resolve downward by he circle of fifths until it reaches the tonic chord

c)

a secondary dominant seventh chord that resolves down by a fifth o another secondary dominant seventh chord

73.

Movable C-clef can occur on any line

a)

true

b)

false

74.

regardless of where move-able C-clef occurs it always identifies middle C

a)

true

b)

false

75.

C-clef on the lowest line

a)

soprano clef

b)

mezzo-soprano clef

c)

alto clef

d)

tenor clef

76.

C-clef on the second line denotes:

a)

Mezzo-soprano clef

b)

alto clef

c)

tenor clef

d)

baritone clef

77.

C-clef on the third line denotes

a)

mezzo-soprano clef

b)

alto clef

c)

tenor clef

d)

baritone clef

78.

C-clef on the fourth line denotes

a)

Mezzo-soprano clef

b)

alto clef

c)

tenor clef

d)

baritone clef

79.

C-clef o the top line denotes

a)

Mezzo-soprano clef

b)

alto clef

c)

tenor clef

d)

baritone clef

80.

what is alto clef used for

a)

bass

b)

cello

c)

viola

d)

violin

81.

what is tenor clef commonly used for

a)

upper cello range

b)

upper trombone range

c)

upper bassoon range

d)

upper bass range

82.

what is tenor clef usually notated as in choral music

a)

a treble clef with an ottava sign (8) below it

b)

a bass clef with an ottava sign (8) below it

c)

a tenor clef

83.

what clef is used for non-pitched percussion

a)

Neutral clef

b)

treble clef

c)

bass clef

d)

C-clef

84.

what makes up a diminished triad

a)

root, third, flat fifth

b)

root, flat third, flat fifth

c)

root, flat third, fifth

d)

root, third fifth

85.

what is formed when a diminished triad is combined with a minor seventh

a)

major seventh chord

b)

minor seventh chord

c)

half diminished seventh chord

d)

diminished seventh chord

86.

what forms a dominant seventh chord

a)

major triad and minor seventh

b)

minor triad minor seventh

c)

major triad major seventh

d)

major triad and major seventh

87.

what three functions can diatonic chords have in functional harmony?

a)

tonic

b)

subdominant

c)

dominant

d)

submediant

88.

what is functional harmony

a)

music that works with in a tonal framework and uses chords tat have specific functions in that tonality

b)

music that works without a tonal framework and uses chords without specific function

c)

music that works in an atonal framework and uses chords that have specific functions

89.

In functional harmony _____ chords are home chords, then we venture out to ___________ chord, which want to resolve to ________ chords which resolve back to the _____ chords

a)

tonic, mediant, dominant, tonic

b)

tonic, submediant, mediant, tonic

c)

dominant, submediant, tonic, dominant

d)

tonic, subdominant, dominant, tonic

90.

tonic chords in functional harmony

a)

I

b)

iii

c)

vi

d)

V

91.

subdominant chords in functional harmony

a)

IV

b)

ii

c)

vi

d)

iii

92.

dominant chords in functional harmony

a)

IV

b)

ii

c)

iii

d)

iv

93.

some scales like pentatonic and whole tone scales aren't diatonic because...

a)

they contain all 8 scale degrees

b)

they don't contain all 8 scale degrees

c)

they don't contain all seven scale degrees

d)

they contain all seven scale degrees

94.

In medieval and renaissance music ___________ dictated the organization of musical harmony

a)

10 church modes

b)

8 church modes

c)

8 minor modes

d)

7 major modes

95.

what modes were proposed by humanist Hernicus Glareanus in the 16th century

a)

major mode

b)

Aeolian mode

c)

Ionian mode

d)

harmonic minor mode

96.

what note is Aelian mode based on?

a)

C

b)

A

c)

D

d)

F

97.

what note is the Ionian mode based on?

a)

A

b)

D

c)

C

d)

F

98.

what scales are Aeolian and Ionian modes identical to?

a)

modern major and natural minor scales

b)

medieval major and natural minor scales

c)

modern major and harmonic minor scales

d)

modern natural and harmonic minor scales

99.

the major scale can be expressed in a pattern of two four-note groups called...

a)

tertrachords

b)

terachords

c)

seventh chords

d)

secondary dominant chords

100.

the upper tetrachords of the _______________ scale is identical to that of the major

a)

ascending melodic minor

b)

ascending harmonic minor

c)

ascending natural minor

101.

chords in diatonic harmony are generated from...

a)

the minor scales by constructing triads on diatonic scale degrees

b)

the major and minor scales by constructing triads on diatonic scale degrees

c)

the major scales by constructing triads on diatonic scale degrees

102.

church modes may be seen as...

a)

older diatonic variants of the natural minor mode

b)

older heptitonic variants of the major-minor system

c)

older diatonic variants of the major-minor system

d)

older diatonic variants of the major mode

103.

what is resolution?

a)

the move of a chords from one key to another

b)

the move of a note from consonance to dissonance

c)

the move of a note from dissonance to consonance

104.

Dissonance, resolution, and suspense can be used to create...

a)

dissonance

b)

musical interest

c)

consonance

d)

musical disinterest

105.

resolution has a strong basis in...

a)

atonal music

b)

tonal music

c)

chordal music

d)

melodic music

106.

what three functions can diatonic chords have in functional harmony?

a)

mediant

b)

tonic

c)

subdominant

d)

dominant

107.

Atonal music generally contains a more consistent level of ____ and lacks a _________ to resolve to.

a)

dissonance, tonal center

b)

consonance, tonal center

c)

dissonance, atonal melody

d)

consonance, tonal melody

108.

inversion:

a)

A change in only intervals

b)

A change in only chords

c)

A type of change to intervals, chords, voices in counterpoint and melodies

d)

A change in only intervals and chords

109.

A chords inversion is determined by...

a)

the type of chord

b)

the chord factor thats in the bass

c)

the chord factor thats on top

d)

the chord factor thats in the middle

110.

A chord is in its root position if...

a)

the root is in the bass

b)

the root is in the middle

c)

the root is on top

111.

Second inversion

a)

fifth is in the bass, then the root shifted up an octave, the third in on the top

b)

the third is in the bass, fifth is above, then the root shifted up an octave

c)

sixth chord

112.

12-tone writing and serialism, in general, strive to...

a)

create form of structure

b)

destroy form of structure

c)

dissipate form of structure

d)

regain form of structure

113.

who was the primary inventor of 12-tone writing?

a)

Bach

b)

Wolfgang Amadeus Mozart

c)

Arnold Schoenberg

d)

Franz Schubert

114.

What are the types of alterations in 12-tone composition?

a)

retrograde

b)

inversion

c)

retrograde inversion

d)

transposition

115.

what is a retrograde alteration in 12-tone comp.?

a)

playing the row backwards

b)

inverting the intervals

c)

playing the row backwards and inverting the intervals

d)

taking the entire row and shifting it up or down the same interval

116.

what is an inversion alteration in 12-tone comp.?

a)

playing the row backwards

b)

inverting the intervals

c)

playing the row backwards and inverting the interval

d)

taking the entire row and shifting it up or down the same interval

117.

what is a retrograde inversion alteration in 12-tone comp.?

a)

playing the row backward

b)

inverting the intervals

c)

playing the row backwards and inverting the intervals

d)

taking the entire row and shifting it up or down the same interval

118.

what is transposition alteration in 12-tone comp.?

a)

playing the row backwards

b)

inverting the intervals

c)

playing the row backwards and inverting the intervals

d)

taking the entire row and shifting it up or down the same interval

119.

the octave in which a note is placed matters in 12-tone compisition

a)

true

b)

false

120.

Rhythm doesn't matter in 12-tone comp.

a)

true

b)

false

121.

notes in a row can't be played twice if no other note is played in between

a)

true

b)

false

122.

in 12-tone composition notes in a row can be played simultaneously

a)

true

b)

false

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