Performance

Question 1

For sound to be produced, there must be a vibration, or p___o___ through a medium that is transmitted through the air, then through the MECHANICAL STRUCTURE of the ear to be perceived as sound in the brain. The SOURCE of the oscillation can be any simple _____, which as it moves through space creates fluctuations in the _____ of the surrounding air.

The string of a violin, the membrane of a percussion instrument, and the reed of a wind instrument all act as ______.

ENERGY imparted to them through the motion of a bow, the strike of a drumstick, or wind blown across the reed act to set the o_____ in motion. The subsequent physical vibration of the surrounding air travels as c___s___w___ in an OUTWARD direction. As these sound waves travel towards the listener, the m____ of the human ear drum perceives the sound waves and converts the frequencies into a___p___ where the listener will hear either a tone or noise.

Answer 1

pressure oscillation;
resonator;
pressure;

resonators;

oscillations;
complex sound waves;
membrane;
aural perception;

Question 2

In ACOUSTICS, a pure tone is defined as a _____ wave whose frequency _____ over time.

A tone produced BY AN INSTRUMENT, however, is not a simple sine wave, but is in fact a ______wave. No musical instrument produces a pure tone.

Frequency, measured in _____ as the number of ______over time, is perceived by the human ear as _____.

When an instrument plays a sound, there is a primary r_____ frequency called the _____. When it plays the sound, there are also h____ and o____.

The _____frequencies resonate at multiples of the fundamental frequency, and change the overall waveform into a ______waveform.

Pure tones contain no ___or___. The various timbres of the different instruments are greatly dependent on the waveform p______ of the COMPLEX wave.

Answer 2

simple sine;
stays constant;

complex;

Hertz;
cycles;
pitch

resonating;
fundamental frequency;
harmonics and overtones;

harmonic;
composite;

harmonics or overtones;
profile;

Question 3

For a singer, RESONANCE plays an important role in enabling the voice to “carry,” with a more vibrant and rich sound. Acoustically, the sound ORIGINATES through the passing of AIR through the vibrating vocal chords; this movement creates the ____or PITCH that the audience hears. As the sound moves from the vocal cords to the ____, the specific sound PROPERTIES such as ____ and other resonating properties are created.

The vocal tract has optimal resonances for certain ______, and it is important for the singer to maximize the resonances of the vibrating vocal tract with the specific _______. For this reason, many sopranos will maximize vocal resonance at HIGH frequencies by creating _____ in the oral cavity and relaxing the ______ so that the resultant sound is vibrant and sonorous (rich, full).

Answer 3

frequency;
vocal tract;
vowels;

frequencies;
pitch frequencies;
more space;
vocal tract;

Question 4

There are multiple different sound properties that make up an instrument’s tone quality. First, an instrument’s tone is a _____ wave that is composed of many different _____ frequencies; unlike a simple sine wave that has only the fundamental frequency and no partial frequencies, the sound of a complex wave will VARY WIDELY, given the profile of the complex wave form, contributing greatly to the various instrumental _____.

Another sound property that affects an instrument’s tone quality is the nature of the r___b___. Once the vibrations of the instrument are set into motion, the surrounding air will r_____ through the instrument’s body. The resonating bodies each have their own unique set of c___r___, known as f___, further giving each instrument it’s own unique tone quality.

Answer 4

complex;
partial;
timbres

resonating body;
resonate;
complex resonances;
formants;

Question 5

In a choral blocked section, the vocal parts are solidly s_____ from _____ so all sopranos are grouped at one end from front to back, altos next to them from front to back, tenors next to the altos and basses on the other end. The choral sound from a blocked formation tends to be better suited for ____pieces, but can create issues of the singers being able to _____.

In a choral columnar section, the vocal parts are separated into _____, with TENORS behind the _____, and BASSES behind the _____. A column formation suits ______music, as it is easier for singers to hear for _____.

In a MIXED choral formation, the sopranos, altos, tenors, and basses are INDIVIDUALLY ____ in SATB pattern. A mixed formation is good for i____ and the mixing of sound at the a____, but may require more training in singing i______.

Answer 5

separated;
front to back;
homophonic;
listen to other parts;

columns; 
sopranos; 
altos; 
polyphonic; 
balance; 

alternating;
intonation;
audience;
independently.

Question 6

When creating an arrangement for instrumental ensemble formations, there are several key _______ considerations for the given ensemble to execute the optimal performance. A general guideline holds that ____ instruments with important melody lines should sit near the _____, so the audience can easily hear them.

The seating arrangement of the ensemble should be so that when accompanying parts play _____ to balance with the melody, those instruments will not pull back so softly as deficiency, but will still be able to support the ______ expressively and imaginatively. Thus, instrument groups with similar lines should be seated______ as well as instrument groups with ______. This allows the musicians to be more aurally aware of the ensemble and to play with more confidence and freedom.

Answer 6

acoustical;
softer;
front;

softer;
melody line;
together;
counter-melodies;

Question 7

A football field would have ____ reverberation time, as the direct signal would be weakened in the LONG DISTANCES it takes to reach the bleachers as well as the lack of a ____ to reflect the sound waves. A rehearsal room would have slightly more reverberation time, given the presence of a ceiling.

Reverberation times vary considerably depending on the w___m___. A concert hall would have ____ reverb than a rehearsal room, and a CATHEDRAL would have the most reverberation time, with highly reflective walls and the intricate ceilings in which sound waves would have multiple points to ___ and ___.

Answer 7

little;
ceiling

wall materials;
more;
reflect and travel

Question 8

Reverberation time is the time it takes for sound to _____, usually by ___ decibels from its direct signal. When the direct signal interacts with the materials of space, some of the energy is a_____ by objects or by wall materials, while the rest is r______. As the sound bounces off surfaces, the RESULTANT sound waves are known as _____.

Many factors affect reverberation time, including s___ of the space, m______ in the space, c____ height, s___ of the space, and the amount of p____ in the space. The longest reverberation times tend to be those of c____ and LARGE c___h___, while those of the shortest times are OPEN FIELDS or s____ rehearsal rooms.

Answer 8

decay; 
60; 
absorbed; 
reflected; 
reverberation; 

size;
materials;
ceiling;
shape;
people; 
cathedrals;
concert halls; 
soundproof;

Question 9

Sound waves undergo r___, d____, and r____ in a performance space.

As sound waves leave the source, the energy of the air r____ SPHERICALLY from the source. This direct sound continues to move outwards until it hits a p___s____. Depending on the a_____ of the physical surface, the sound is either absorbed into ___ by an ABSORBENT surface, (thereby lessening the _____ of the sound), or it is r____ by a HARD surface, (thereby _____ the direction of the radiating sound waves. As sound waves reflect back towards the source, they create the acoustical phenomenon of ______, as the listener continues to hear the ____ sound, followed closely by the ____ sound.

Answer 9

reflection;
diffraction;
refraction;

radiates;  
physical surface; 
absorbency; 
heat;
intensity; 
reflected;
redirecting; 
reverberation;  
direct; 
reflected

Question 10

Frequency refers to the number of o____ of a w____ per s____ (also known as H____).

Pitch is the human perception of the frequency of a soundwave, and can be affected by d____ from the source, a_____, p_____, and m____ expectation.

The average human can hear frequencies between ____. In music, relevant frequencies range from ______.

For the most part, humans hear higher frequencies of oscillations as _____pitches, and lower frequencies of oscillations as _____pitches. Over time, certain frequencies have been _____ for a particular pitch. For example, the note a’, has been measured at 440 Hz since the 20th century.

Answer 10

oscillations;
waveform;
second;
Hertz

distance;
amplitude;
physiology;
mental

16 Hz and ~20,000 Hz;
20 Hz to 5,000 Hz;

higher;
lower;
standardized;

Question 11

For every sound wave, there are two basic aspects to consider: _____ and _____.

Frequency refers to the number of s___w___ per s___, also known as H____.

Amplitude refers to the h_____ of the sound wave, and is measured in d_____. Variations in amplitude are generally perceived by the human ear as changes in LOUDNESS; the higher the decibel, the___ the sound.

Variations in amplitude can also be perceived in an a___of t___. A plucked tone has a SHARP ATTACK, and the waveform reaches its peak amplitude ______, while the amplitude gradually _____ as the sound fades away.

Variations in amplitude can also be found in t___and v___. Although vibratos are usually known as ____modulation, and tremolos are generally known as ____modulation, in execution, BOTH FORMS OF MODULATION are usually present.

Answer 11

frequency;
amplitude;

sound waves;
second;
Hertz

height;
decibels;
louder;

attack of tone;
quickly;
decreases;

tremolos and vibratos;
frequency;
amplitude;

Question 12

The concept of partials refers to the specific ACOUSTIC property of a___t___. The most basic tone, a _____wave , has a frequency f; that determines the PITCH of the wave.

In musical sound, however, sound waves are usually much more ____ than those of a PURE TONE, and consist of several different frequencies that become superimposed into one COMPLEX SINE WAVE that the human listener perceives as a s____t____. The different frequencies of the complex wave are termed p_____ and change the DISPLACEMENT of the combined frequencies.

The partial frequencies give the different instruments their unique TIMBRES, as the different components of the sound produced by the instrument superimpose to a unique c___w___ configuration of p____ over time.

Answer 12

audible tones;
pure sine;

complex;
single tone;
partials;

complex wave;
configuration;
pressure;

Question 13

The concept of overtones refers to a specific ACOUSTIC property of sound. For every one frequency, there are MULTIPLE OTHER FREQUENCIES that v____ through the resonant space through its normal ____. Every instrument has a distinct set of normal ____ that vibrate through certain frequencies, giving its _____.

The lowest sounding frequency is the ______. All other frequencies above this one are termed ______.

Overtones are p___ frequencies that can be _____ or _____.

Harmonic overtones are those that are _____ multiples of the fundamental. MOST musical instruments have overtone frequencies that are near to their _____ frequencies. Instruments such as brass instruments, gongs, cymbals, and timpanis have overtone frequencies that are more DISTINCT from their harmonic frequencies.

Answer 13

vibrate;
modes;
modes;
timbre and tone.

fundamental frequency;
overtones;

partial;
harmonic; non-harmonic;

integral (essential);
harmonic;

Question 14

The concept of harmonics refers to a specific ACOUSTIC property of sound. For every one frequency called the FUNDAMENTAL frequency, there exists a SERIES of other frequencies called the h___s__ that are INTEGRAL multiples of the fundamental: f1, f2, f3, etc. For every fundamental frequency, f, the frequency of the ____ is equal to f times n.

The harmonic frequencies have acoustically p_____ tones, and most approximate the p____ in standard Western music tuning: the first harmonic occurs ____above the fundamental, the 2nd harmonic occurs _____above, the 3rd harmonic occurs_____above, the 4th occurs_____above; etc.

The HARMONIC SERIES helps to define the human perception of ____; it is so integral, in fact, that humans still perceive the fundamental pitch of the harmonic series even when the _____ is missing.

Answer 14

harmonic set;
nth harmonic;

pure; 
pitches; 
an octave; 
an additional 5th; 
an additional 4th; 
an additional 3rd; 

pitch;
fundamental frequency;

Question 15

When executing good choral blend, singers must pay attention to their use of ____modification, d____, and vocal v_____.

When singing in a choir, s__-m___ is key in knowing when to adjust sound levels in accordance with surrounding musicians. Good choral blend should prioritize uniform s____, t____, and t____.

Answer 15

vowel;
dynamics;
vibrato;

self-monitoring;
sound, texture, and tone.

Question 16

Spacing within any chorus is of key importance in a healthy choral collaboration. If a singer cannot hear themselves, productive c_____ could be hindered and inaccurate i______ could become detrimental to the individual and the group.

S___-m_____ is key in productive collaboration. Self-monitoring includes active l___ and constant a____ to the surrounding performers.

Answer 16

collaboration;
intonation;

Self-monitoring
listening;
adjusting;

Question 17

Both choral balance and choral blend refer to the c____ sound provided from the group of singers. For a chorus to be BALANCED, there should be an equal ____ of sound coming from ALL RANGES of voices.

Choral BLEND refers to the uniformity of v___f___ and t___ among the singers. Uniform choral blend is achieved by the i____ of each vocal range and by each individual’s DILIGENCE to the same standard of TONE PRODUCTION and BLEND.

Answer 17

collective;
level;

vowel formation;
tone;
intensity;

Question 18

In a 6/8 conducting pattern , the hand moves _____.

In a 9/8 pattern, it goes ______. (strong beats are beats 1 and 4 for both of these meters)

The downbeat of a pattern always indicates the ____ pulse. Also, the last beat of the pattern is always the _____pulse and is indicated by an _____stroke of the hand.

Answer 18

down on the first beat, then inward on 2 and 3, outward on 4 and 5 and upward on 6;

down on 1, in on 2,3, out on 4,5,6, up on 7, and up and in on 8, 9

strongest;
weakest;
upward

Question 19

When conducting in compound meter, if there exists a secondary strong beat, then the movement of the hand is ALMOST AS STRONG as the movement of the downbeat.

When conducting, the movement of the hand in a 3 or 4 beat pattern moves so that _____between the baton hand and the free hand are AVOIDED.

Conductors may choose to indicate ______PULSES such as 8 pulses in a slow 4/4 movement, or to indicate ______PULSES in a fast movement, such as conducting only the downbeats of a fast 3/4 waltz.

Answer 19

collisions;

subdivided;
fewer;

Question 20

When conducting, feet should be _____, with one foot slightly more ____ to maintain optimal balance. The knees should _____, and equal weight should be given to each foot. The arms should be in _____ position, using both the baton hand and the free hand ready to i___the p___b___. The elbows should be ____the body and slightly f___, ready to engage the ensemble. The wrists should be_____ and neither limp nor stiff.

The pattern that conductors choose to conduct should be determined by __(t, s, m)__. In 2/4 time, the conductor should indicate_____. However, if the 2/4 is taken at vivace it would be impractical to conduct every beat, and an indication of the ___ would suffice.

Excessive movements could convey _____, which could slow down the ensemble. If the 2/4 meter is taken at adagio, the conductor could facilitate rhythmic fluidity and continuity by _____, so that forward movement is not lost.

Answer 20

shoulder-width apart; 
forward; 
not bend; 
attention;
indicate the preparatory beat; 
away from;
forward; 
flexible

tempo, style, and meter;
EVERY beat;
downbeat;

heaviness;
doubling the number of beats (indicating the quarter-note subdivision for a 4/4 pattern)

Question 21

When conducting a fermata, several considerations should be made: the t___ and presence or absence of a r_____, the l_____ of the fermata, the presence or absence of a r___ after the fermata, and resuming t____ if the music continues.

If the fermata is on the last note of a piece, the conductor should gesture in a c___ motion in a ____ direction as long as the fermata is to be held. IF the music continues after a fermata without a break, the conductor should gesture slightly ___-ward and ___-ward to incorporate the _____ for the next note.

If the music continues after the fermata with a rest, the conductor should indicate a ______ and resume with the ____ of the intended TEMPO of the next section.

Answer 21

tempo;
ritardando;
length;
rest;
tempo

circular;
downward;
outward;
upward;
preparation beat; 

cut-off;
preparation beat;

Question 22

In conducting, there are several types of gestural indications: p___ beats, a___ beats, and p____ beats. A conductor should use all three types of beats in variation to elicit musical changes such as s___transitions, s____, h____ and other important musical events.

Conductors use preparatory beats to _____ an ensemble before an attack and before a release to allow the ensemble to a___ the c___ of a held note. Preparatory beats should indicate the t___, s___, and e___ of the music to be played.

Conductors use active beats to signal an i___c___ or action. Typical changes that may be indicated by an active beat include: m___, l___, s___, and a___.

Passive beats do NOT require an i___c___, but help to indicate r___, o___, and other SIMPLE pulses.

Answer 22

preparatory beats, active beats, and passive beats; sectional transitions, syncopations, hemiolas;

ready;
anticipate the cutoff;
tempo;
style;
expression 

immediate change; 
marcato;
legato;
staccato;
accents

immediate change;
rests;
offbeats

Question 23

Studying recordings: An unfamiliar piece of music may be made more acquainted through listening to an existing performance. If the conductor is developing his own interpretation of the music, this may be informative in terms of t___ and s___; however, this may also contribute to a “PARROT” INTERPRETATION. Also, this may lead to other imitated musical characteristics that may not be h___ or s___ accurate.

Answer 23

tempo;
style;

historically;
stylistically

Question 24

One of the musical aspects a conductor should know scrupulously is the instrumentation and t____ of the scored instruments. Another important musical facet to know is the f___. Knowing this will generate a deeper understanding of the development of the t_____ of the work.

Special attention should be given to analyze the h___ structures and m___structures. The conductor can then easily listen to the b_____ of the ensemble of the work. The conductor should also know the d_____ of the score to be able to prepare the ensemble to execute changes in sound. They must also study p_____ structure and any other special instrument execution.

Answer 24

transpositions;
form;
theme;

harmonic and melodic;
balance;
dynamics;
phrase

Question 25

There are several techniques that can aid a conductor in score study. During the learning process, the conductor can play all the VOCAL parts TOGETHER on the piano to be able to listen to v___ l_____ and h______changes. The conductor can also play the ____ separately on the piano so that attention can be given to the accompaniment when the entire ensemble plays. If there is text, they can read the text ALOUD p____ as to examine the ideal dramatic inflection and stress of the line.

A conductor can analyze the score s___ally, h__ally, d___ally, and m___ally to know the music thoroughly. The conductor can also MARK the score to help mentally note all aspects of the music.

Answer 25

voice leading;
harmonic;
accompaniment part;
(poetically);

structurally;
harmonically;
dynamically;
melodically;

Question 26

For understanding historical background and performance practices, conductors can refer to SCHOLARLY BOOKS, JOURNALS, and ARTICLES to research the background of the work. Also, conductors can consult CONDUCTING TEXTS for a relevant perspective of the musical score.

In forming an interpretation of the music, the conductor must consider the s______ elements of the music. N____ duration, s____, TEMPO, a____, PHRASING, DYNAMICS, and other nuances all make up the necessary musical elements for a conductor to direct an ensemble well. Additionally, the conductor’s vision of the musical work should be made clear through the ENSEMBLE’S PERFORMANCE.

The conductor’s understanding of the progression of music (its b___, c___, and e___) should all inform the execution of all musical elements. Interpretation takes CREATIVITY, IMAGINATION, musical f____, and an intimate understanding of the e______ of the music.

Answer 26

stylistic;
Note duration;
stresses;
articulation;

beginnings;
climaxes;
endings; 
flexibility;
emotions

Question 27

During score study, the conductor should mark the following elements to prepare for the rehearsal process: entrances of SECTIONS, MELODIES, and important t____, t____ sections, REPEATS, c____, SECTIONAL changes, HARMONIC structure, MELODIC structure, RHYTHMIC structure, t____ emphases, INSTRUMENTATION changes, KEY changes, BALANCE changes, s____ indications, f_____ cues, and special p____ beats. It may not be necessary to mark every change in the music; however, the score should be marked to the needs of each conductor to ensure a thorough analysis of the musical score.

Answer 27

themes, 
tutti sections, 
cadenzas, 
textual emphases, 
style indications, 
free-hand cues
preparatory

Question 28

An ostinato is a short repeating accompaniment that can consist of a s____, r____, m___, or h___ idea. Similar to a DRONE, the ostinato provides a stable FOUNDATION for the main melody line(s). In terms of improv, the ostinato is a practical tool for creating new i___ and m___, as the ostinato stays constant, allowing the melody line to focus on a f____ delivery.

When an ostinato is used in Baroque music, it is termed the b___ ostinato, or g___ b____, and can feature both h___ and m___ properties. When an ostinato is used in jazz music, it is termed the r___ or v___, and helps to form the FRAMEWORK for a tune.

Ostinatos are found extensively in world music such as that of ____ and _____.

Answer 28

simple,
rhythmic, 
melodic;
harmonic;  
ideas
melodies; 
free; 

basso;
ground bass;
harmonic and melodic;

riff or vamp;
framework;

Africa; India

Question 29

An arpeggio is defined as a CHORD that is played _____, s ____ instead of s_____. Also termed a b____ c___, the arpeggio can be played from the ___ note to the ___ note, but is more commonly played from the lowest to the highest.

When using arpeggiation in ACCOMPANIMENT, the musician plays i___ c___ as arpeggios. If accompanying a single instrument, arpeggiation can be a practical musical technique as the arpeggio fills out the t_____ of the sound and adds a ____ motion to the music, as the chords become SINGLE notes _____ through one another instead of a simple b____ chord that must be sustained.

Arpeggios also tend to s______ the delivery of the accompaniment, giving the music a sense of l_____ such as that of arpeggiated harp music.

Answer 29

note by note;
successively;
simultaneously; 
broken chord; 
highest;
lowest; 

individual chords; 
texture; 
forward;
flowing; 
blocked; 

soften;
lightness;

Question 30

Blocked chords are defined as PITCHES that are played_____ like a chord.

When using blocked chords in accompaniment, the player can c____ notes that are written separately into a blocked chord, or p___ blocked chords from a _____.

If the player must sight-read music, blocking the chords can help to _____ the sight-reading process so that the player doesn’t have to read every single note; a quick scan of the _____ is all that is required to play a blacked chord of that harmony. If the player is reading music WITH a chord chart, then blocking chords can also provide a q___and s___ method of accompaniment. The player must only see the written harmony needed, and play the blocked harmony without the intermediate processing stage of notation.

Answer 30

simultaneously;

combine;
play;
chord chart;

simplify;
harmony;
quick;
simple

Question 31

Before choral rehearsal, the director must prepare the singers both PHYSICALLY and MENTALLY. An important warm-up is the ____warm-up. These engage the DIAPHRAGM for supported singing and help to warm up the vocal cords. Not only will these physically prepare lungs and vocal mechanisms, they will also mentally center the singer to be mindful of breath.

Mentally, warm-ups have the effect of c___ and adjusting the ensemble to an appropriate MENTAL STATE and establishing proper physiological cues for p____, b_____, etc.. Warm-ups serve as a tool for UNIFYING ensemble members to begin listening to each other and adjusting sound according to the group.

Physically, the warm-up promotes ______ to the entire body.

Without a proper warm-up, singers could DAMAGE THEIR VOCAL CHORDS, and the ______ of instrumentalists could suffer.

Answer 31

breathing;
diaphragm;

centering;
posture, breathing;

blood flow;

tonal quality

Question 32

Breath plays an essential role in producing a CONTROLLED, robust tone, while keeping the vocal cords in good health. The diaphragm is the m___ and t___ that runs along the bottom of the RIBCAGE. As we inhale, the diaphragm contracts and is actively engaged, which creates a ____ in the lungs. After inhaling, a singer must CONTROL the rate of the exhalation, as the flow of air through the vocal cords results in sound. Singers must use great care not to allow the chest to COLLAPSE while managing the rate of airflow by engaging the_____ to achieve a steady stream of air through the t___ and l___.

Answer 32

muscle;
tendon;
vacuums; 
abdominal muscles; 
trachea;
larynx.

Question 33

Long tones are a critical practice for ____ and ____ players. The benefit of the exercise lies in _____ other aspects of performance such as reading, fingering, and so on. This allows the player to direct his or her focus towards the production of those aspects that create a _____.

Although the exercise has the additional benefit of increasing s___ and s___ of the muscles involved, MAXIMUM _____of the held note should not be the sole or primary focus of long-note practice. Instead, the performer’s attention should focus on the QUALITY of the note through the coordination of the entire system that produces the note: the DIAPHRAGM, the t____, o__and s___ cavities, EMBOUCHURE, and the i______.

Answer 33

brass;
woodwind;
removing;
pleasing tone;

stamina;
strength;
duration;

throat;
oral and sinus;
instrument

Question 34

The definition of “pleasing tone” may vary according to the personal preference and the IDIOM (characteristic) of performance; however, long tones allow the performer to adjust p___, t___, v___, etc.

Answer 34

pitch;
timbre;
vibrato;

Question 35

The use of physical warm-ups helps the body to release any TENSION that may hinder the vocal delivery while also increasing b___f___ to the vocal mechanisms. Singers must also stretch appropriately before singing to help loosen the NECK AND SHOULDER muscles.

When singing, the weight of the body should lean slightly _____ instead of backwards on the heels. The knees should be l____ and never l____. The singer’s chin should be level to the _____ so as not to obstruct the flow of air through the trachea.

One warm-up consists of singing _______ scales up and down using CONSONANT AND VOWEL-heavy sentences such as “Mommy made me munch my m&ms.”

Answer 35

blood flow;

forward;
loose;
locked;
floor;

pentatonic;

Question 36

Warming up mentally for a wind instrumentalist has the effect of c____ and adjusting the player to an appropriate MENTAL STATE for performance and establishing proper p____ cues for posture, breathing, etc. before performing.

The physical warm up promotes blood flow to the f_____ and the to the structures associated with e_____, making them feel “loose” and ready to respond to the demands of playing.

An instrument that has been sitting in an air-conditioned room is significantly c______ than it would be during a performance. The warm air of the player’s b______ passing through the instrument will create warmth and thus EXPANSION. An instrument should either be warm before tuning, or ______ after a thorough warm-up.

Answer 36

centering;
physiological;

fingers;
embouchure;

colder;
breath;
re-tuned

Question 37

Solfege, aka _____ in Italian, originated in the 17th century as a vocal exercise around the world, but the most commonly used one in Western culture stems from the ______ system of the 11th century.

The solmization for the diatonic scale, from tonic to tonic, is as follows: _____.

Answer 37

solfeggio;
Guidonian;

do, re, mi, fa, sol, la, si (ti), do.

Question 38

During rehearsal, the director should use various techniques to ensure the accurate INTONATION of the ensemble. Aside from beginning each rehearsal with accurate tuning, the director can use _____ of each different section as teaching moments as well.

Brass instruments with slides can adjust their ____ through the SLIDES. Woodwinds adjust through the _____, string through _____, vocalists through minor adjustments of their VOCAL MECHANISMS.

When participating in intonation SPOT CHECKS, students will learn to produce a CONSISTENT ____ with their breath or their open strings.

Answer 38

spot checks;

pitch;
mouthpieces;
tuning pegs;
pitch

Question 39

For brass instruments, proper brass embouchure and good air support directly affect ______. The player must provide consistent BREATH SUPPORT through deep i_____, controlled e_____, and a r_____ body. Once the player has a good breath foundation, proper EMBOUCHURE must also be practiced for t___QUAILITY, i____, e____,r_____, and a___.

Embouchure is the way in which a player APPLIES THE MOUTH to the mouthpiece of a ____ or ____ instrument.

For the BRASS player, the LIPS are the source of a sound wave’s motion and energy; the mouth cavity should be ___and___ as the lips touch together as if saying ____.

When the player buzzes, the lips should stay r_____ while the corners of the lips should stay f____ (not too loose or too tight). The player should keep the chin e___and p___ and the mouthpiece EQUALLY held between the two lips.

Answer 39

tone quality;
inhalations;
exhalations;
relaxed; 
tone;
intonation;
endurance;
range;
articulation.

brass or wind

wide and open;
“M”;

relaxed;
firm;
even and pointed;

Question 40

If an ensemble is at a level of proper tuning ability, they may tune based on the pitch of the LEAD ___ or the LEAD ___ playing the concert pitch. Also, musicians can be tuned based on a tuning machine that plays a ____concert pitch.

As a section leader, or principal of a section, in a larger ensemble should be thoroughly prepared with his or her own part, since it will be the FRAMEWORK for the rest of the section. They should also be ready to give advice in terms of STYLE, ar____, PHRASING, bo____, fi____, and other musical details.

They should also be good at keeping accurate t_____ for the entire section; They are also responsible for INTERPRETING any directives the conductor may give concerning musical interpretation such as DYNAMICS, PHRASING, ar_____, and ch_____.

Answer 40

oboe;
clarinet;
pure tone;

articulation;
bowing;
fingering;

tuning;
articulation;
character.

Question 41

One method of tuning an ensemble starts with careful tuning ___-ward from the _____. In a choir, this would be the l___b___voices; in an orchestra, this would be the BASSES, ce___, BASS cl___, ba___, tr___, TUBAS, bass s___ and eu___.

The theory behind this tuning holds that with precise tuning, the other instruments can more easily hear their tuning pitches because of the o___ and h___ from the bass sounds. Also, the other instruments can more easily place their pitches within the context of a chord structure, as the bass becomes the f___p___of the ensemble.

Answer 41

up; 
bass;
lowest bass; 
cellos, 
bass clarinets, 
bassoons, 
trombones, 
bass saxophones, 
euphoniums; 

overtones and harmonics;
foundational pitch;

Question 42

The soft palate, aka the _____, is the SOFT TISSUE at the top of the mouth cavity that rises and lowers as the mouth ____ and in ____. The soft palate is responsible for ___ the nasal cavity as the mouth SWALLOWS so that any material in the oral cavity proceeds to the ____.

In vocal technique, singers practice singing with an open throat where the VELUM is raised and the ____ is lowered. This allows the sound quality to be more relaxed and free while also easing _____TRANSITIONS and maintaining the HEALTH of the vocal mechanisms.

When singers lift the soft palate, the resulting space within the oral cavity ENLARGES, helping to achieve a more resonant, warm tone without restrictions. Since this action also relaxes the SURROUNDING vocal muscles, the singer can _____ more easily, resulting in a consistently SMOOTH tone.

Answer 42

velum; 
swallows;
speech; 
closing off;
esophagus

larynx;
register;

transition between registers;

Question 43

Vowel uniformity is an important aspect of singing, but within a chorus setting, it become all the more important, as there are a multitude of various timbres, ranges, and singers contributing, ideally, to a UNIFIED and h____sound. Each singer should practice certain vocal techniques to assist in keeping each VOWEL sound as UNIFORM as possible.

The mouth should be open _____ instead of wide, with the jaw falling low to open the oral cavity. The resulting vowels will be more OPEN AND RESONANT for a better choral blend. The singers should also sing with an open throat while ___ for a more relaxed and smoother sound.

Answer 43

homogeneous;
vowel;

long;
lifting the soft palate;

Question 44

When a singer is standing, the weight of the body should be distributed evenly to ____. When a singer is sitting, the feet should be FLAT ON THE GROUND with the spine erect and aligned with the neck, shoulders, head, and ____. The body should be b___ and RELAXED through the entire singing session.

Answer 44

all sides of the feet–front, back, side, and middle;
ears;
balanced;

Question 45

Preparation for the program notes involves extensive and thorough research on the musical work as well as its h_____ context and CONTEXTUAL b_____.

A good starting point for any music RESEARCH is the “_____of Music and Musicians”. This provides the most up-to-date and complete resource available. Once researched, the program notes should be written, including HISTORICAL, bi____, and c____ information as well as information about the work itself.

Program notes should serve as a helpful g___ for the audience. It should provide key elements to understanding the work, such as CONTEXTUAL BACKGROUND, HISTORICAL context, f____ performance, sc____, musical s____, and possible d_____ to listen for. If possible, the writer should include unique and engaging facts such as the initial r_____ through a first review, or the d____ of the work.

One area to minimize cost in printing programs is through CONCERT p____. Instead of printed posters, take advantage of SOCIAL MEDIA. Smaller posters cost less than bigger posters; you can also minimize the cost of program notes by having AN ANNOUNCER give a brief introductory of info between works.

Answer 45

historical;
background;

New Grove Dictionary;
biographical;
contextual;

guide; 
first;
scoring;
style;
details; 
reception;
dedication

publications;

Question 46

The C-clef has a middle point that is placed to indicate the line as MIDDLE C. The C-clef can be placed on the third line, which is typically called the ___ or ___ clef; when it is placed on the fourth from the bottom, it is typically the ____clef.

The ___ or ___ clef looks somewhat like a backwards C with two dots to the right of it; the top point of the curve is placed on the ____ line from the bottom so that the two dots also surround the same line, indicating it as the ___ pitch below middle C.

Answer 46

alto or viola;
tenor;

F-clef (or bass clef);
fourth;
F.

Question 47

Rhythm is the m___ of music over time. Certain musical aspects such as pitch DURATION, SILENCE, and METER play key roles in translating musical symbols to rhythm. Pitch durations are notated through NOTE VALUES that sound for a specified time. Silence durations are noted through RESTS. Meters are essential in establishing rhythm, as meters define the general organization of s___and p___.

A preliminary study by _____ put forward that musical rhythm arises through TWO separate sources, leading to what he calls d____ rhythm and t____ rhythm.

Durational rhythm is closely tied with m___ and consists of the aspect of rhythm that is associated with patterns of du___, em___, and gr___.

In contrast, tonal rhythm does not arise from patterns of stress and duration, and is i___ of m___. It arises from r_____ properties of the t____ system. Examples of TONAL rhythm include r_____ of a single tone, the o_____ relationship, c___and l____ associations, c_____, and d_____. It is important to note that any series of tones will have rhythmic characteristics that will be defined by the r___s___i___ of the tones, and that duration and structural importance may be u_____.

Answer 47

movement;
stresses;
pulses

Schachter (1976);
tonal;
durational;

meter;
durations;
emphases;
groupings;

independent of meter;
rhythmic;
tonal;

reoccurance;
octave;
chordal and linear;
consonances;
dissonances; 
relative structural importance; 
unrelated

Question 48

The dynamic markings FORZANDO (__), RINFORZANDO (___), and SFORZANDO (___), all refer to an increased loudness in sound. All three Italian directives have roots from the Italian word FORZARE, which means _____.

Forzando (z), meaning ______directs the musician to s___a___ the notes over which the marking occurs.

Rinforzando (rinf) means ___ or ___. The Rinf. dynamic marking usually refers to the_____IN VOLUME of a GROUP OF NOTES throughout a phrase, and is played _____LOUDER (Similarly to a CRESCENDO, but over a ____ length of time).

Sforzando (sfz) is MOST similiar to _____ and the two terms can be interchanged to mean a _____IN LOUDNESS in note(s) over which the marking occurs.

Answer 48

(z);
(rinf);
(sfz);
“to force”;

“forced”;
strongly accent;

“reinforcing” or “strengthening” ;
increase;
increasingly;
shorter;

forzando;
sudden increase;

Question 49

“Con,” meaning “WITH” indicates each of these terms (z, rinf, sfz) as descriptions or instructions of a performer’s _______.

Con amore translates to “WITH LOVE” and is equivalent to amoreVOLE OR amorOSO, “LOVINGLY” Con amore may have multiple correlates within the performance style, translating into a l____ articulation, r____, and more DRAMATIC DYNAMIC CONTRAST.

Con bravura translates to “WITH BRAVERY” and is a different connotation from bravura as in a bravura performance, which means “S____”.

con brio, or brioso “WITH S____”
con fuoco “WITH F___”
con grazia “WITH G___”
con tenerezza “WITH T____”

Answer 49

phrasing;

legato;
rubato;

“skill”;

spirit”
fire”
grace”
tenderness”

Question 50

_____ dynamics measure PITCH DURATION. These articulation markings in decreasing order of duration length include: t___, p___, s___, and s___.

Tenuto, from the Italian word TENERE meaning “to ____” directs the player to ____the note for it’s _____. In musical notation, a _____ over or under the note head marks the tenuto.

Portato, from the Italian word PORTARE meaning “to ____” directs the player to SMOOTHLY _____ the notes, similarly to a LEGATO, but ____ in length and _____ than a staccato. Both ____ and a ___ over or under the note heads mark the portato.

Staccato, from the Italian word staccare meaning “to ___”, directs the player to SHORTLY_____ the note. A ___ over or under the note head marks the staccato.

STACCATISSIMO is an EXTREMELY shortened note and is notated by a w___ or p___ above or under the note head.

Answer 50

Articulation
tenuto;
portato;
staccato;
staccatissimo.

hold;
hold;
full value;
horizontal line

"to carry"; 
detach;
shorter;
longer;
dots;
slur

detach;
detach
dot;

wedge or pike

Question 51

TEMPO markings in order from slowest to fastest are: ____(lllaamavp)_____.

Largo comes from the Italian meaning _____ and should be played slowly.

Larghetto is slightly _____ than largo.

Andante comes from the Italian meaning “IN A WALKING MANNER”

Moderato, “MODERATELY,” should be played at an e___, c___ pace.

Allegro, “_____,” should be played at a QUICK tempo.

Vivace, “_____,”

Answer 51

larghissimo, largo, larghetto, adagio, andante, moderato, allegro, vivace, and presto.

“broad”;

faster;

easy, comfortable;

fast;

“Lively”;

Question 52

The terms affretando, slentando, allargando, and calando all direct the musician to produce a _____.

Affretando comes from the Italian word affretare, which means “to ___”. Affretando indicates a _____ of the tempo and a mood of a_____.

Slentando comes from the Italian word slentare, which means “to _____”. The player should gradually DECREASE the tempo of the section as the music slows down.

Allargando comes from the Italian word allargare, which means “to _____”. In music, the player should gradually ____ the tempo in a DELIBERATE and i_____ mood/character.

Calando comes from the Italian word calare, which means “to _____”. Musically, the player should gradually _____ both the ____ and the ____ as calando indicates a mood of c___ and d___ away.

Answer 52

change in tempo

hurry;
quickening;
agitation

slow down;

widen;
decrease;
imposing

let down;  
decrease;
tempo;
volume; 
calming;
dying;

Question 53

The detache bowing technique requires the player to ____ the notes by playing ONE note(s) per _____.

The ondule technique describes bow stroke in which the bow plays ____ strings like a _____.

Sautille describes the b_____ of the notes by the ____ of the bow that is typically played at a _____ tempo.

Sul ponticello refers to the use of the bow ___ to the ___ in which a h___ g___ sound is produced.

Sul tasto refers to the use of the bow ___the ___ of the FINGERBOARD to produce a l___, a___ sound

Martele refers to the a___ r___ of a stroke in a _____ manner

Ricochet refers to the r___-r___ b___ of the _____ of the bow as the player ____the bow on a ____-bow.

Loure refers to the SLIGHT ____ of the notes without changing the ____ of the bow.

Col legno refers to using the _____ of the bow on the strings instead of the _____.

Answer 53

detach;
bow stroke;

two adjacent;
tremolo;

bouncing;
middle;
fast;

close;
bridge;
harsh grating;

over;
end;
light airy

abrupt release;
forceful

ricochet-rapid bouncing;
upper third;
drops;
down-.

detachment;
direction

stick;
hair

Question 54

A CADENZA is described as a SECTION in a large c____ or e_____ work in which the soloist plays ____ any accompanying instruments. THINK OF IT AS A MUSICAL VERSION OF A SPEAKER ____ FOR DRAMATIC EFFECT.

A cadenza may be IMPROVISED or written out, but usually occurs at the ____ of a prominent c______ such as the ENDING TONIC CADENCE of a movement. The accompanying instruments may p___ or play a s___ n___ while the soloist continues with the cadenza.

In the 18th and 19th centuries, cadenzas became increasingly VIRTUOSIC (having exceptional TECHNICAL skill) and included more _____ material from the work. Although still commonly IMPROVISED as from early times, cadenzas were also increasingly _____by composers as they integrated more c___and e___ material.

Many cadenzas became _____ instead of merely optional, and were also placed in increasingly ____ places within the musical work.

Answer 54

concerto;
ensemble;
without;
pausing;

end;
cadence;
pause;
sustaining note;

thematic;
written out;
complex;
elaborate;

prescribed;
unconventional

Question 55

In vocal performance, it is important to express the e___ or m___ of music through TIMBRE. Vocal qualities and inflections help to communicate e______ to the listening audience.

To communicate disgust and loathing, the singer uses a d____ timbre and may include a r____ delivery and h____ consonants.

To communicate hope and assurance, the singer uses a b_____ tonal quality with a s___,f___ delivery.

Answer 55

emotion;
mood;
emotion;

darker;
raspy;
harsher;

brighter;
smooth, flowing;