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- 1. Multiple Choice
In the excerpt shown, what type of nonharmonic tone is featured in the highest voice?
Accented neighbor tones
Unaccented neighbor tones
Accented passing tones
Unaccented passing tones
- 2. Multiple Choice
The circled pitch is best analyzed as
an upper neighbor tone
a lower neighbor tone
an accented passing tone
an unaccented passing tone
- 3. Multiple Choice
In measures 21 and 25, the top voice features
passing tones
arpeggios
trills
neighbor tones
- 4. Multiple Choice
Measure 1 includes which of the following types of nonharmonic tones?
Accented passing tones
Unaccented passing tones
Accented neighbor tones
Unaccented neighbor tones
- 5. Multiple Choice
In measures 20, 24, and 28, the melody includes
unaccented nonharmonic tones
accented nonharmonic tones
only chord tones
ornaments
- 6. Multiple Choice
In the first half of measure 1, the upper voices feature which of the following nonharmonic tones?
Upper neighbor
Lower neighbor
Accented passing tone
Unaccented passing tone
- 7. Multiple Choice
In measure 1, the last note in the viola is best described as
an escape tone
a passing tone
an anticipation
a neighbor tone
- 8. Multiple Choice
Which of the following types of nonharmonic tones are used in the lowest voice?
Appoggiaturas
Escape tones
Pedal point
Anticipations
- 9. Multiple Choice
The nonharmonic tones circled are best described as
appoggiaturas
passing tones
upper neighbor tones
escape tones
- 10. Multiple Choice
The repeated notes in measures 2-8 o the cello part are best analyzed as
pedal points
chord tones
escape tones
appoggiaturas
- 11. Multiple Choice
Measures 9-11 include which of the following types of nonharmonic tones?
Pedal points
Accented neighbor tones
Escape tones
Accented passing tones
- 12. Multiple Choice
Which of the following types of nonharmonic tones is featured prominently in the excerpt shown?
Pedal point
Escape tones
Appoggiaturas
Anticipations
- 13. Multiple Choice
The following question is based on the first phrase of a piano sonata in common time. The phrase consists of four measures starting with a one-beat pick-up of fourth sixteenth notes.
What type of nonharmonic tone is used on beat 1 or measure 1?
Accented passing tone
Unaccented passing tone
Accented neighbor tone
Unaccented neighbor tone
- 14. Multiple Choice
The main melodic motive, repeated several times in both the violin and piano, features which of the following types of ornaments?
Trills
Lower neighbor tones
Unaccented passing tones
Ascending passing tones
- 15. Multiple Choice
Which of the following types of nonharmonic tone is featured in the melodic voice?
Upper neighbor tone
Lower neighbor tone
Ascending passing tone
Descending passing tone
- 16. Multiple Choice
What types of embellishing tones are employed?
Accented neighbor tones
Unaccented neighbor tones
Accented passing tones
Unaccented passing tones
- 17. Multiple Choice
Which of the following types of nonharmonic tone is featured in the melodic voice?
Upper neighbor tone
Lower neighbor tone
Ascending passing tone
Descending passing tone
- 18. Multiple Choice
The violin I part has the melody, which features frequent use of which of the following types of embellishing tones?
Suspensions
Passing tones
Neighbor tones
Trills
- 19. Multiple Choice
What kind of embellishing tone is heard throughout the sample?
Pedal point
Appoggiatura
Escape tone
Anticipation
- 20. Multiple Choice
The following question is based on a excerpt of music that consists of 3 measures in simple quadruple time.
Identify the type of nonharmonic tone heard immediately before the cadence.
Anticipation
Escape tone
Pedal point
Appoggiatura
- 21. Multiple Choice
The following question is based on the first phrase of a piano sonata in common time. The phrase consists of four measures starting with a one-beat pick-up of four sixteenth notes.
What nonharmonic tone is heard in the melody?
Anticipation
Escape tone
Appoggiatura
Pedal
- 22. Multiple Choice
Which of the following type of nonharmonic tones is heard in the excerpt?
Passing tone
Neighboring tone
Appoggiatura
Escape tone
- 23. Multiple Choice
Following the initial statement of the melody, which of the following types of embellishments are heard in the cello and bass?
Escape tones
Anticipation
Pedal point
Passing tone
- 24. Multiple Choice
Which of the following types of nonharmonic tone is featured in the excerpt?
Anticipation
Pedal point
Appoggiatura
Escape tone
- 25. Multiple Choice
The excerpt shows the final cadence of a piece in G major. The arrow points to
a retardation
a suspension
a cadential six-four
a plagal cadence
- 26. Multiple Choice
In the excerpt shown, which of the following nonharmonic tones is employed at the final cadence?
Retardation
Suspension
Escape tone
Passing tone
- 27. Multiple Choice
Which of the following nonharmonic tones is heard at the cadence?
An escape tone
An appoggiatura
A 4-3 suspension
A 6-5 retardation
- 28. Multiple Choice
The following question is based on the first phrase of a piano sonata in common time. The phrase consists of four measures starting with a one-beat pick-up of four sixteenth notes.
What type of nonharmonic tone is heard on beat 1 of measure 4?
Suspension
Retardation
Anticipation
Escape tone
- 29. Multiple Choice
At the end of the excerpt, which of the following types of embellishing tones is heard in the violin I part?
An anticipation
A retardation
A suspension
A pedal point
- 30. Multiple Choice
The piano accompaniment in measure 20 includes which of the following types of nonharmonic tones?
Anticipation
Appoggiatura
Escape tone
Suspension
- 31. Multiple Choice
The lower voice is derived from the upper voice through the process of
melodic inversion
melodic sequence
rhythmic augmentation
literal repetition
- 32. Multiple Choice
Which of the following motivic transformations is heard?
Literal repetition of a motive
Sequential repetition of a motive
Augmentation of a motive
Diminution of a motive
- 33. Multiple Choice
Which of the following compositional devices best describes the relationship between the music in box A and the music in box B?
Exact repetition
Melodic inversion
Sequential repetition
Rhythmic diminution
- 34. Multiple Choice
The excerpt shown is from a sonata for violin and piano and features a motive with the rhythm: sixteenth rest, three sixteenth notes, and a quarter note. Which of the following statements best describes the treatment of this rhythmic motive in the piano part?
In the treble and bass, the motive is repeated sequentially, ascending by step.
In the treble and bass, the motive is repeated sequentially, descending by step
In the treble, the motive is repeated sequentially, ascending by step, while in the bass, the sequence descends by step.
In the treble, the motive is repeated sequentially, descending by step, while in the bass, the sequence ascends by step.
- 35. Multiple Choice
The following question is based on an excerpt of music that consists of 3 measures in simple quadruple time.
The motive in measure 1 is transformed in measure 2 through the use of which of the following developmental techniques?
Sequential repetition
Inversion
Augmentation
Diminution
- 36. Multiple Choice
The opening melody is played by cello and echoed by violin. This melodic material is later developed through the use of
melodic sequence
fragmentation of the melody's motives
rhythmic augmentation of the second half of the melody
rhythmic diminution of the second half of the melody
- 37. Multiple Choice
All of the following compositional devices are featured EXCEPT
motivic fragmentation
sequential repetition
melodic inversion
a repeated rhythmic motive
- 38. Multiple Choice
In the second half of the excerpt, which of the following rhythmic procedures is heard in the violins?
Rhythmic diminution
Rhythmic augmentation
Anacrusis
Hemiola
- 39. Multiple Choice
In measures 20-31, the rhythmic motive shown above is developed through the use of which of the following procedures?
Rhythmically varied repetition
Rhythmically literal repetition
Rhythmic augmentation
Rhythmic diminution
- 40. Multiple Choice
the motivic fragment in box B is derived from the motive in box A through the application of which of the following developmental techniques?
Literal repetition
Augmentation
Transposition and inversion
Transposition and diminution
- 41. Multiple Choice
Melodic fragment 2 is derived from melodic fragment 1 through the use of which of the following composition devices?
Inversion
Retrograde
Augmentation
Diminution
- 42. Multiple Choice
Which of the following terms best describes the relationship between the melody in measures 1-4 and the melody in measures 5-8?
Sequential repetition
Varied repetition
Fragmentation
Retrograde
- 43. Multiple Choice
Which of the following techniques is used to develop the motivic material?
Augmentation
Diminution
Sequence
Inversion
- 44. Multiple Choice
Which of the following compositional procedures is heard in the melody throughout the excerpt?
Melodic sequence
Melodic inversion
Literal repetition
Canonic imitation
- 45. Multiple Choice
Which of the following statements best describes the relationship between the melodic fragments in boxes A and B?
A and B illustrate a melodic sequence that ascends by step.
A and B illustrate a melodic sequence that descends by step.
A and B illustrate a melodic motive and the fragmentation of that motive.
A and B illustrate a melodic motive and the inversion of that motive.
- 46. Multiple Choice
Which of the following compositional procedures best describes the relationship between the music in measures 5-6 and measures 7-8 in the excerpt shown?
Sequence
Fragmentation
Diminution
Augmentation
- 47. Multiple Choice
Measures 33-34 feature the use of which of the following compositional devices?
Sequence
Pedal point
Fragmentation
Trills
- 48. Multiple Choice
Which of the following compositional devices is heard?
Melodic fragmentation
Melodic sequence
Rhythmic diminution
Rhythmic augmentation
- 49. Multiple Choice
Which of the following statements best describe the harmonic sequence heard?
The harmonic sequence ascends by step.
The harmonic sequence descends by step.
The harmonic sequence ascends by leaps of a fourth.
The harmonic sequence descends by leaps of a fourth.
- 50. Multiple Choice
In the excerpt shown, the interval of transposition in the harmonic sequence is best described as
up a second
down a second
up a fourth
down a fifth
- 51. Multiple Choice
The second and third phrases, measures 24-27 and measures 28-31, are an example of
melodic inversion
literal repetition
harmonic sequence
motivic fragmentation
- 52. Multiple Choice
In the excerpt shown, the interval of transposition in the harmonic sequence is best described as
up a second
down a second
up a fourth
down a fifth
- 53. Multiple Choice
Which of the following statements best describes the harmonic sequence heard?
The harmonic sequence ascends by step.
The harmonic sequence descends by step.
The harmonic sequence ascends by leaps of a fourth.
The harmonic sequence descends by leaps of a fourth.
- 54. Multiple Choice
Which of the following compositional devices is heard?
Exact repetition
Melodic inversion
Rhythmic augmentation
Harmonic and melodic sequence
- 55. Multiple Choice
Which of the following statements best describes the harmonic activity of the excerpt shown?
It illustrates a plagal cadence.
It illustrates a deceptive harmonic progression.
It illustrates a chain of 4-3 suspensions.
It illustrates a descending-fifth harmonic sequence.
- 56. Multiple Choice
Which of the following compositional devices is heard in the excerpt?
A pedal tone
A deceptive cadence
A harmonic sequence
A motive and rhythmic diminution of the motive
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