Aural Analysis Skills

Question 1

Mouth cavity trained to have a high palate to create an open, formal sound

Answer 1

Classical singing

Question 2

More flexibility to shape of the mouth, use high and low palates to manipulate vocal sounds.

Answer 2

Popular singing

Question 3

Lower ranges of the voice have a heavier tonal quality similar to natural talking.

Answer 3

Chest register

Question 4

Upper ranges tone quality (Men/Women)

Answer 4

Head voice/ Middle voice

Question 5

Highest ranges above the normal speaking voice. More breathy tone quality.

Answer 5

Falsetto/Head voice

Question 6

Membranophones (Drums), Idiophones (vibrates)

Answer 6

Percussion

Question 7

Buzzing of lips, Conical bore/Cylindrical bore, Dynamics produced by velocity of air.

Answer 7

Brass instruments

Question 8

Instrument is not all the same size (mellow round sound), French Horn and Tuba

Answer 8

Conical Bore

Question 9

Instrument is the same size (Bright sound), Trumpet and Trombone

Answer 9

Cylindrical Bore

Question 10

Vibration of Strings produce sound, made of nylon, steel or silk, Higher tension higher the pitch, Thicker string lower the pitch, Speed and pressure affect the dynamics.

Answer 10

Sting Instruments

Question 11

Vibrations of reed, reeds, or splitting of air, Single reed vibrates with mouthpiece, double reeds vibrate together, Dynamics affected by how fast air is moving and how much.

Answer 11

Woodwind Instruments

Question 12

The back and forth oscillation of pressure produces a sound wave.

Answer 12

Pressure oscialltion

Question 13

Source of oscillation (ex. reed on a ww.)

Answer 13

Simple resonator

Question 14

Simple sine wave whose frequency stays constant. Contain no harmonies.

Answer 14

Pure tone

Question 15

Vocal parts separated in blocks front to back (normal arrangement) best for homophonic pieces.

Answer 15

Choral Block

Question 16

Choral music in which the parts have mostly the same rhythms at the same time.

Answer 16

Homophonic

Question 17

Separated in columns best suits polyphonic music

Answer 17

Choral columnar

Question 18

Two or more voices sing different things at the same time.

Answer 18

Polyphonic choral music

Question 19

Mixed together best for intonation and audience sound

Answer 19

Mixed formation

Question 20

Root of the chord is the lowest sounding pitch (I)

Answer 20

Root postion

Question 21

Third is the lowest sounding (I6)

Answer 21

First inversion

Question 22

Fifth of the chord is the lowest sounding (I6/4)

Answer 22

Second inversion

Question 23

The same plus third inversion

Answer 23

Seventh Chords

Question 24

Seventh is the lowest sounding (I 6/4/2)

Answer 24

Third inversion

Question 25

I7/5/3

Answer 25

Root position Seventh Chord

Question 26

I6/5/3

Answer 26

1st inversion seventh chord

Question 27

16/4/3

Answer 27

2nd inversion seventh chord

Question 28

I6/4/2

Answer 28

3rd inversion seventh chord

Question 29

Dominant sounding harmony resolving to the tonic harmony V-I or V-i

Answer 29

Authentic cadence

Question 30

Roots of the V and I chords sounding in the bass and the tonic as the highest sounding note on the final chord

Answer 30

Perfect authentic cadence

Question 31

May not have the tonic sounding in the highest note or is inverted

Answer 31

Imperfect authentic cadence

Question 32

Subdominant sounding harmony resolving to the tonic harmony, IV-I or iv-i

Answer 32

Plagal cadence

Question 33

The major 7th of a scale, wants to be raised a semitone to end up on the root.

Answer 33

Leading tone

Question 34

Dominant-sounding harmony progressing to a harmony that defies the expected tonic harmony, most commonly the submediant harmony. V-VI or V-iv or the subdominant V-IV V-iv.

Answer 34

Deceptive cadence

Question 35

Little to no sense of resolution of the music.

Answer 35

Weak cadence

Question 36

Harmony progressing to a dominant harmony. The preceding harmony can be the tonic, subdominant, supertonic, or any other harmony. I64-V (I64 and V share the bass note when moving through this progression)

Answer 36

Half Cadence

Question 37

First inversion subdominant chord proceeds to the dominant.

Answer 37

Phrygian half cadence

Question 38

First inversion subdominant chord is raised by a half step and then resolved to the dominant.

Answer 38

Lydian half cadence

Question 39

A piece that has two main parts, which are often called reprises since they usually repeat.

Answer 39

Binary form

Question 40

A piece of music that can be started at different times and sung simultaneously. (Canon)

Answer 40

Two-part

Question 41

Imperfect and perfect cadences

Answer 41

Authentic and plagal cadences

Question 42

Both of the chords are in root position and the tonic pitch sounds in the highest voice

Answer 42

Perfect

Question 43

Either chord is in an inversion and/or the tonic pitch does not sound in the highest voice.

Answer 43

Imperfect

Question 44

Similar to the Aeolian mode of the half-whole-whole-half-whole-whole. (three half steps down C-A)

Answer 44

Minor Scale

Question 45

Minor scale without alterations

Answer 45

natural minor scale

Question 46

Seventh of the scale is raised

Answer 46

Harmonic minor

Question 47

Seventh and sixth scale degree is raised going up, but lowered going down.

Answer 47

Melodic minor

Question 48

Scale made of whole steps

Answer 48

Whole tone scale

Question 49

Scale with every pitch separated by a half step

Answer 49

Chromatic scale

Question 50

System of musical theory in which a composition is based on a serial ordering of all 12 pitches that stipulates the sequence in which those 12 pitches should appear in the composition.

Answer 50

12-tone music

Question 51

Form of imitative counterpoint in which a fugue theme is introduced at the beginning of the work, also known as the exposition, and is echoed in all the voices through imitations and development.

Answer 51

Fugue

Question 52

A group of closely spaced notes played simultaneously, usually in intervals of adjacent seconds and groupings.

Answer 52

Tone clusters

Question 53

Only neighboring notes in the diatonic key are used.

Answer 53

Diatonic tone cluster

Question 54

Notes are separated by a half-step are used.

Answer 54

Chromatic tone clusters

Question 55

Both chromatic and diatonic notes are used.

Answer 55

dia-chromatic tone clusters

Question 56

"At ease" understood to mean a slower tempo than andante, but faster than largo.

Answer 56

Adagio

Question 57

Moderately, is a relative tempo designation that is faster than andante, but slower than allegro.

Answer 57

Moderato

Question 58

Very fast, generally treated as a very quick tempo, much faster than allegro.

Answer 58

Presto

Question 59

As Fast as possible

Answer 59

Prestissimo

Question 60

At a walking pace, ambiguous can be thought as faster than adagio but slower than allegro.

Answer 60

Andante

Question 61

Lively and merry, generally treated as a fast or moderately fast tempo.

Answer 61

Allegro

Question 62

A rhythm of three notes in a space that usually only has two notes.

Answer 62

Hemiola

Question 63

A change in note values where, for example, three half notes follow a measure of two dotted half notes in 6/4 meter.

Answer 63

Horizontal hemiola

Question 64

A rhythmic syncopation where, for example, three quarter notes play over two dotted quarter notes in 6/8 meter.

Answer 64

Vertical hemiola

Question 65

The numbers in the meter refers to the subdivision of beats within a musical measure.

Answer 65

Simple and compound meters

Question 66

A tonal work that can be seen as a complete and self-contained work that is not divisible into other, smaller self-contained works. Include binary and ternary forms

Answer 66

Simple musical forms

Question 67

A tonal work that can be seen as a composite form that is made up of other, smaller simple forms such as binary and ternary forms. Minuetto and trio

Answer 67

Compound musical form

Question 68

A return to the original thematic material of A. ABA or AA'A.

Answer 68

Rounded binary form

Question 69

Refers to the structure of a musical composition with regard to thematic, tonal, dynamic, and textural structure. Consists of three main sections in which the first and third sections are nearly identical with contrasting second section. A (tonic Key) B (in a related key and cadences in the same key or another closely related key) A

Answer 69

Ternary Form

Question 70

Refers to the texture of any music made up of a single melodic line.

Answer 70

Monophony

Question 71

Refers to the texture of any music with a main melodic line over a supporting accompaniment line.

Answer 71

Homophony

Question 72

Refers to the texture of any music that is made up of multiple improvised interpretations of the same melody played at the same time.

Answer 72

Heterophony