Unit 2 test

Question 1

A conclusion of a musical phrase, consisting of the V - I chord progression, is known as:

Answer 1

authentic cadence

Question 2

In a major key, which diatonic triads are major?

Answer 2

I, IV, and V

Question 3

A conclusion of a musical phrase on the dominant chord (V) is known as:

Answer 3

half cadence

Question 4

Triads are composed of successive intervals of which numeric size?

Answer 4

3rd

Question 5

Scales are composed of successive intervals of which numeric size?

Answer 5

2nd

Question 6

T/F: An interval of a Major 2nd (M2) is a whole step

Answer 6

True

Question 7

T/F: An interval of a minor 3rd (m3) is one-and-one-half steps.

Answer 7

True

Question 8

T/F: The interval of a 3rd is a consonance, whether the interval is Major or minor.

Answer 8

True

Question 9

T/F: A m6 inverts to a m3.

Answer 9

False

Question 10

T/F: The interval between the root and fifth is a Perfect 5th (P5) in both the major triad and the minor triad.

Answer 10

True

Question 11

A recurring bass line in a musical composition is known as:

Answer 11

basso ostinato

Question 12

Who is the composer of Dido and Aeneas?

Answer 12

Henry Purcell

Question 13

What is an aria?

Answer 13

a song

Question 14

In the 1590s a group of artists and intellectuals in Florence, Italy, seeking to revive the glories of ancient Greek music drama, invented which genre?

Answer 14

opera

Question 15

A bass line starting on G, descending to F-sharp, then to F, to E, to E-flat, and then to D, is a chromatic descent from tonic to dominant in which key?

Answer 15

G minor

Question 16

T/F: Major and minor triads in root position and second inversion (“6-4” chords) provide all the essential consonant harmonies in tonality.

Answer 16

False

Question 17

T/F: The interval of a 3rd can be Perfect, but it can never be Major or minor.

Answer 17

False

Question 18

T/F: There are four qualities of 2nd, 3rd, 6th, and 7th intervals: diminished, minor, Major, and Augmented.

Answer 18

True

Question 19

T/F: One of the important textural changes in the Baroque style was to move away from the essential equality among multiple voices exhibited in the Renaissance style of imitative polyphony, and to place the emphasis on the outer voices.

Answer 19

True

Question 20

In a Baroque concerto, the first movement form was characterized by a recurring refrain, known as the:

Answer 20

ritornello

Question 21

The term for a four-note chord consisting of root, third, fifth, and seventh:

Answer 21

seventh chord

Question 22

Who is the composer of The Four Seasons?

Answer 22

Antonio Vivaldi

Question 23

The most frequently encountered sequence in tonal music:

Answer 23

falling fifths sequence

Question 24

A broken-chord figuration, sounding the notes of a chord one at a time in a repeated pattern:

Answer 24

arpeggio

Question 25

Repetitions of the same note with a rapid back-and-forth motion of down-bow and up-bow strokes is a technique known as:

Answer 25

tremolo

Question 26

The second scale degree; also, used to refer to the diatonic harmony built on the second scale degree:

Answer 26

supertonic

Question 27

The fifth scale degree; also, used to refer to the diatonic harmony built on the fifth scale degree:

Answer 27

dominant

Question 28

A dynamic mark indicating soft:

Answer 28

piano

Question 29

The most enigmatic interval; a dissonance so extreme that in the Middle Ages it was referred to as, "diabolus in musica."

Answer 29

tritone

Question 30

A sustained or repeated bass note on either the tonic or the dominant pitch that effectively asserts the bass note's fundamental harmony, regardless of the activity above the bass:

Answer 30

pedal point

Question 31

Which list of the four principal string instruments orders them from highest to lowest?

Answer 31

violin, viola, cello, double bass

Question 32

The first keyboard instrument that responded to the force of the performer's touch on the keys:

Answer 32

piano

Question 33

The musicians playing cello and double bass, along with a keyboardist, constitute the part of a Baroque ensemble known as:

Answer 33

basso continuo

Question 34

A dynamic mark indicating loud; literally, "strong":

Answer 34

forte

Question 35

A musical line moving from G# to A, to A#, to B, to B#, to C#, can be referred to as:

Answer 35

chromatic ascent

Question 36

A note that fills in a diatonic whole step, creating chromatic stepwise motion between two scale degrees:

Answer 36

chromatic passing tone

Question 37

The repetition of a melodic motive or harmonic progression at successive levels of transposition, using the notes of the diatonic scale:

Answer 37

sequence

Question 38

The fourth scale degree; also, used to refer to the diatonic harmony built on the fourth scale degree:

Answer 38

subdominant

Question 39

The process of changing the tonal center, so that the listener hears a different pitch as tonic, is known as:

Answer 39

modulation

Question 40

T/F: Although we normally think of chamber music as music for a small group of performers, with one musician assigned to each part, works for chamber orchestra can also be referred to as chamber music.

Answer 40

False

Question 41

The Courante originated in which country?

Answer 41

France

Question 42

A type of continuous variation popular during the Baroque, similar to the basso ostinato, based on a short harmonic progression, is which of the following?

Answer 42

chaconne

Question 43

ACSOG is an acronym we associate with which musical genre:

Answer 43

suite

Question 44

The technique of shifting registers (usually, high and low) to suggest two melodic lines, sometimes more, and essentially "alternating" between the implied lines, is described by which term?

Answer 44

compound melody

Question 45

Which Baroque ornamentation calls on the performer to sound the note written in the score in rapid alternation with the note a step above the written one?

Answer 45

trill

Question 46

What term is used to describe the sounding of two adjacent strings at the same time with the bow?

Answer 46

double stop

Question 47

Which motivic derivative is akin to turning the motive upside down?

Answer 47

melodic inversion