June 3, 2005 Gretchen C. Foley School of Music, University of Nebraska-Lincoln EDU Question Bank for MUSC 165: Musicianship I

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1 June 3, 2005 Gretchen C. Foley School of Music, University of Nebraska-Lincoln EDU Question Bank for MUSC 165: Musicianship I Description of Question Bank: This set of questions is intended for use with the materials in an introductory music theory course. Students are expected to acquire proficiency in the fundamentals of notation and identification of scales, keys, rhythm and meter, intervals, triads and 7 th chords, diatonic chords, transposition, and basic terms relating to dynamics, tempo, articulation, and expression. In addition to generating weekly homework assignments, I intend to create timed proficiency quizzes that students may take as often as necessary to achieve a designated mastery level. Exams for this course will remain in paper form, since many of the skills students must acquire in this course are compositional, requiring numerous drafts and human evaluation. Topics in Question Bank: I. Simple Time Signatures (Multiple Choice with Switch Algorithm) These questions focus on each of the two components of the time signature, requiring differentiating among beat, division, and subdivision levels II. Compound Time Signatures (Multiple Choice with Switch Algorithm) These questions focus on each of the two components of the time signature, requiring differentiating among beat, division, and subdivision levels III. Major Key Signatures with Sharps (Multiple Choice) Multiple choices for number of sharps for correct answer IV. Major Key Signatures with Flats (Multiple Choice) Multiple choices for number of flats for correct answer V. Minor Key Signatures with Sharps (Multiple Choice) Multiple choices for number of flats for correct answer VI. Minor Key Signatures with Flats (Multiple Choice) Multiple choices for number of flats for correct answer VII. Key Relationships (Multiple Selection) Choices are based on the most frequently confused options, encouraging students to consciously decide on the correct steps to find parallel and relative keys VIII. Triad Structures (Fill in the Blanks) These questions break each type of triad down into its component root, third, and fifth interval qualities

2 Page 2 of 7 IX. Diatonic Triads in Major Keys (Multiple Choice) Spelling of multiple triads from which to choose, encouraging students to identify correct root and quality of specified triad X. Diatonic Triads in Minor Keys (Multiple Choice) Spelling of multiple triads from which to choose, encouraging students to identify correct root and quality of specified triad XI. Cadences (Inline Question) These questions highlight the differentiating aspects of cadences: the Roman numerals, soprano and bass notes, and effect XII. Tempo Terms (Matching) Terms grouped in each question are closely related, requiring attention to subtle differences in their definitions XIII. Composers and Stylistic Periods (Multiple Choice with Images) These questions help reinforce a music-historical context, by associating a composer with a stylistic period The Questions: I. Simple Time Signatures 1. How many beats does the Simple Time Signature <x> have per bar? <x> drawn from switch options: [3/4, 3/2, 3/8, 2/2, 2/4,2/8] Answer drawn from choices: [3, 2] 2. What durational value receives the beat in the Simple Time Signature <x> <x> drawn from switch options: [4/4, 3/4, 2,4, 4/2, 3/2, 2/2] Answer drawn from choices: [quarter note, half note] 3. In the Simple Time Signature <x> the beat divides equally into two of which durational value? <x> drawn from switch options: [4/4, 3/4, 2/4, 4/2, 3/2, 2/2 Answer drawn from choices: [eighth note, quarter note] 4. In the Simple Time Signature <x> the beat subdivides equally into four of which durational value? <x> drawn from switch options: [4/4, 3/4, 2/4, 4/2, 3/2, 2/2] Answer drawn from choices: [sixteenth note, eighth note]

3 3 II. Compound Time Signatures 1. How many beats does the Compound Time Signature <x> have per bar? <x> drawn from switch options: [9/4, 9/8, 9/16, 6/4, 6/8, 6/16] Answer drawn from choices: [3, 2 2. What durational value receives the beat in the Compound Time Signature <x> <x> drawn from switch options: [6/4, 9/4, 12/4, 6/8, 9/8, 12/8] Answer drawn from choices: [dotted half note, dotted quarter note] 3. In the Compound Time Signature <x> the beat divides equally into three of which durational value? <x> drawn from switch options: [6/4, 9/4, 12/4, 6/8, 9/8, 12/8] Answer drawn from choices: [quarter note, eighth note] 4. In the Compound Time Signature <x> the beat subdivides equally into six of which durational value? <x> drawn from switch options: [6/4, 9/4, 12/4, 6/8, 9/8, 12/8] III. Major Key Signatures with Sharps 1. E Major has: [4 sharps, 3 sharps, 2 sharps, 5 sharps, 1 sharp] 2. A Major has: [3 sharps, 2 sharps, 4 sharps, 5 sharps, 6 sharps] 3. G Major has: [1 sharp, 2 sharps, 3 sharps, 4 sharps, 5 sharps] 4. F# Major has: [6 sharps, 5 sharps, 7 sharps, 4 sharps, 3 sharps] 5. D Major has: [2 sharps, 3 sharps, 4 sharps, 5 sharps, 6 sharps] 6. B Major has: [5 sharps, 6 sharps, 7 sharps, 4 sharps, 3 sharps] 7. C# Major has: [7 sharps, 6 sharps, 5 sharps, 4 sharps, 3 sharps] 8. C Major has: [0 sharps, 1 sharp, 2 sharps, 3 sharps, 4 sharps, 5 sharps, 6 sharps] IV. Major Key Signatures with Flats 1. Eb Major has: [3 flats, 4 flats, 2 flats, 5 flats, 1 flat] 2. Ab Major has: [4 flats, 2 flats, 3 flats, 5 flats, 6 flats] 3. Gb Major has: [6 flats, 2 flats, 3 flats, 4 flats, 5 flats] 4. F Major has: [1 flat, 2 flats, 0 flats, 4 flats, 3 flats] 5. Db Major has: [5 flats, 3 flats, 4 flats, 5 flats, 6 flats] 6. Bb Major has: [2 flats, 6 flats, 7 flats, 4 flats, 3 flats] 7. Cb Major has: [7 flats, 6 flats, 5 flats, 4 flats, 3 flats] 8. C Major has: [0 flats, 1 flats, 2 flats, 3 flats, 4 flats, 5 flats, 6 flats]

4 Page 4 of 7 V. Minor Key Signatures with Sharps 1. E minor has: [1 sharp, 3 sharps, 2 sharps, 5 sharps, 4 sharps] 2. A minor has: [0 sharps, 2 sharps, 4 sharps, 5 sharps, 3 sharps] 3. G# minor has: [5 sharps, 2 sharps, 3 sharps, 4 sharps, 6 sharps] 4. F# minor has: [3 sharps, 5 sharps, 7 sharps, 4 sharps, 6 sharps] 5. D# minor has [6 sharps, sharps, 4 sharps, 5 sharps, 7 sharps] 6. B minor has: [2 sharps, 6 sharps, 5 sharps, 4 sharps, 3 sharps 7. C# Major has: [4 sharps, 6 sharps, 5 sharps, 2 sharps, 3 sharps] 8. A# minor has: [7 sharps, 1 sharp, 2 sharps, 3 sharps, 4 sharps, 5 sharps 6 sharps] VI. Minor Key Signatures with Flats 1. Eb minor has: [6 flats, 4 flats, 3 flats, 5 flats, 7 flats] 2. Ab minor has: [7 flats, 4 flats, 3 flats, 5 flats, 6 flats] 3. G minor has: [2 flats, 1 flat, 3 flats, 4 flats, 5 flats] 4. F minor has: [4 flats, 2 flats, 5 flats, 2 flats 3 flats] 5. D minor has: [1 flat, 3 flats, 4 flats, 5 flats, 2 flats] 6. Bb minor has: [5 flats, 6 flats, 7 flats, 4 flats, 3 flats] 7. C minor has: [3 flats, 6 flats, 5 flats, 4 flats, 2 flats] 8. A minor has: [0 flats, 1 flats, 2 flats, 3 flats, 4 flats, 5 flats, 6 flats] VII. Key Relationships 1. Select all that apply to G major: Relative is e minor, Parallel is g minor, Parallel is e minor, Parallel is Bb major, Relative is g minor, Parallel is e minor, Relative is b minor, 1 sharp, 2 flats, 4 sharps 2. Select all that apply to D Major: Relative is b minor, Parallel is d minor, Relative is d minor, Parallel is b minor, Relative is F minor, Parallel is f minor, 2 sharps, 1 flat, 2 flats 3. Select all that applies to A Major: Parallel is a minor, Relative is a minor, Parallel is f# minor, Relative is f# minor, Parallel is c minor, Relative is c minor, 3 sharps, no sharps or flats1 flat 4. Select all that apply to E Major: Parallel is e minor, Relative is e minor, Parallel is c# minor, Relative is c# minor, Parallel is g minor, Relative is g minor, 4 sharps, 1 sharp, 2 flats 5. Select all that apply to B Major: Parallel is b minor, Relative is b minor, Relative is g# minor, Parallel is g# minor, Parallel is d minor, Relative is d minor, 5 sharps, 2 sharps, 1 flat

5 5 6. Select all that apply to F# Major: Parallel is f# minor, Relative is f# minor, Parallel is d# minor, Relative is d# minor Relative is d minor, Relative is a minor, 6 sharps, 3 sharps, 5 sharps 7. Select all that apply to C# Major: Parallel is c# minor, Relative is c# minor, Parallel is a# minor, Relative is a# minor, relative is a minor, relative is e minor, 7 sharps, 4 sharps, 5 sharps VIII. Triad Structures: 1. The major triad in root position contains <x> 3rd and <y> 5th above the root. <x> and <y> drawn from choices: [major, perfect, minor, augmented, diminished] 2. The minor triad in root position contains <x> 3rd and <y> 5th above the root. <x> and <y> drawn from choices: minor, perfect, major, augmented, diminished 3. The diminished triad in root position contains <x> 3rd and <y> 5th above the root. <x> and <y> drawn from choices: [minor, diminished, major, augmented, perfect] 4. The augmented triad in root position contains <x> 3rd and <y> 5th above the root. <x> and <y> drawn from choices: [major, augmented, minor, perfect, diminished IX. Diatonic Triads in Major Keys 1. Spell the V in G Major [G-B-D, D-F#-A, C-E-G, A-C#-E, F-A-C] 2. Spell the IV in C Major [G-B-D, D-F#-A, C-E-G, A-C#-E, F-A-C] 3. Spell the I in C Major [G-B-D, D-F#-A, C-E-G, A-C#-E, F-A-C] 4. Spell the IV in G Major [G-B-D, D-F#-A, C-E-G, A-C#-E, F-A-C] 5. Spell the V in D Major [G-B-D, D-F#-A, C-E-G, A-C#-E, F-A-C] X. Diatonic Triads in Minor Keys 1. Spell the V in a minor [E-G#-B, A-C-E, D-F-Ab, E-G-B, F-A-C] 2. Spell the iio in c minor [E-G#-B, A-C-E, D-F-Ab, E-G-B, F-A-C] 3. Spell the VI in d minor [E-G#-B, A-C-E, D-F-Ab, E-G-B, F-A-C] 4. Spell the VI in a minor [E-G#-B, A-C-E, D-F-Ab, E-G-B, F-A-C] 5. Spell the i in e minor [E-G#-B, A-C-E, D-F-Ab, E-G-B, F-A-C]

6 Page 6 of 7 XI. Cadences 1. The Perfect Authentic Cadence (PAC) (PC) (IAC) comprises the chords and, with both chords in root inverted position, and the tonic in soprano alto tenor bass over the I chord. 2. The Imperfect Authentic Cadence (IAC) (PAC) (PC) comprises the chords (RN) and (RN), with one of the chords in inverted root position, and/or not the tonic the tonic in soprano over the I chord. 3. The Plagal Cadence (PC) (PAC) (IAC) comprises the chords (RN) and (RN). This cadence has an amen a surprise an inconclusive effect. 4. The Half Cadence (HC) (IAC) (PC) comprises a pre-dominant dominant chord followed by a dominant pre-dominant tonic chord. This cadence has an inconclusive conclusive effect. 5. The Deceptive Cadence (DC) (PC) (HC) comprises a (RN) chord followed by a (RN) chord. This cadence has a surprise a conclusive an amen effect. XII. Terms Relating to Tempo 1. Match each of the numbered items in the list with the numbers in the drop-down menus: Moderato at moderate speed Ritenuto immediately slower Ritardando becoming slower Andante moderately slow (between adagio and allegro) Allegretto moderately fast (between andante and allegro)@ 2. Match each of the numbered items in the list with the numbers in the drop-down menus: Ad libitum at liberty to vary from strict tempo Allargando growing broader Langsam slow Tempo primo at the original tempo A tempo at the (basic) tempo 3. Match each of the numbered items in the list with the numbers in the drop-down menus: Allegro rapid tempo (literally, cheerful) Largo very slow, broad Vivace quick, lively Stringendo quickening Accelerando becoming faster@

7 4. Match each of the numbered items in the list with the numbers in the drop-down menus: Adagio slow, leisurely Andantino moderately slow Larghetto slightly faster than largo Rallentando becoming

Match each of the numbered items in the list with the numbers in the drop-down menus: Doppio movimento twice as fast Animando with growing animation Lento (lent) slow (between largo and adagio)

7 7 4. Match each of the numbered items in the list with the numbers in the drop-down menus: Adagio slow, leisurely Andantino moderately slow Larghetto slightly faster than largo Rallentando becoming slower Vivo lively 5. Match each of the numbered items in the list with the numbers in the drop-down menus: Doppio movimento twice as fast Animando with growing animation Lento (lent) slow (between largo and adagio) Presto very quick (faster than allegro) Rubato flexible tempo, through slight quickening and lessening of XIII. Composers and Stylistic Periods 1. J.S.Bach composed during which period? [Baroque, Classical, Romantic, 20th century] 2. Handel composed during which period? [Baroque, Classical, Romantic, 20th century] 3. Beethoven composed during which period? [Baroque, Late Classical/Early Romantic, 20th Century, Early Classical, Late Romantic] 4. Chopin composed during which period? [Baroque, Classical, Romantic, 20th century] 5. Schoenberg composed during which period? [Baroque, Classical, Romantic, 20th century] 6. Schumann composed during which period? [Baroque, Classical, Romantic, 20th century] 7. Mozart composed during which period? [Baroque, Classical, Romantic, 20th century] Bach Hande l Beethoven Chopin Schoenberg Schumann Mozart

LESSON ONE. New Terms. a key change within a composition. Key Signature Review

LESSON ONE. New Terms. a key change within a composition. Key Signature Review LESSON ONE New Terms deceptive cadence meno piu modulation V vi (VI), or V7 vi (VI) less more a key change within a composition Key Signature Review 1. Study the order of sharps and flats as they are written