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Test Yourself I 1

TEST YOURSELF I

6. G string
7. Retuning the string of an instrument. On the
violin: G-D-A-Eb

Strings
1. a. violin: G D A E
b. viola: C G D A
c. cello: C G D A
d. double bass: E A D G

8. When what is played by the third finger in first position is played by the first finger in third position.
For example, in first position on the G string,
the first, second, third, and fourth fingers play
A-B-C-D, respectively; in third position on the G
string these fingers play C-D-E-F.

2. Play passage on the D string only.


3. G string

9. Two pitches that sound simultaneously.

4. G string

10. The notes of each double stop cannot be played on


adjacent strings.

5. D string
11.

$GDJLR

9OQ

&

9OQ

&

9OD

&

"

&

"

&

9OF

'%

15. Plucking the string instead of using the bow.

12. a. f rog: the lowest end of the bow, where the hand
holds it.
b. heel: the same as the frog.
c. tip: the point or upper end of the bow (furthest
away from the hand.
d. downbow sign: upbow sign:

16. One of the left-hand fingers plucks the string. It is


indicated by a 1 over the pitch to be plucked.
17. Con sordino
18. Senza sordino

13. A slight, expressive slide, sometimes unintentionally caused by position changes.

19. Touching a string lightly at a node on the string,


which produces an upper partial. For instance,
touching the string halfway between the neck and
the bridge pro a pitch an octave higher than the
open string.

14. Glissando is an intentional slide that is notated


in the music and is played with a full volume of
sound.
20.

I
Vln.

&

Vla.

( )
( )
II

( )

( )

Vlc.

( ) IV

D.B.
( )

IV

III
( )&

( )

2 Workbook Answer Key


21. A harmonic that is produced by stopping the string at a particular pitch and then touching it lightly with
another finger at a node, usually a 4th higher.
22.
Vln.

&

( )

( )

( )

Vla.

( )
( )

Vcl.

( )

( )

23. A violin stops the pitch with the first finger, then touches the node a 4th above with the fourth finger. The cello
stops the pitch with the thumb then touches the node a 4th above, usually with the third (or fourth) finger.
24. The overtone series.
25. a.

b.

c.

&

WORKSHEET 1
Clefs
1.
1

? c

B c

?
B

3
3

3
3

Worksheet 1 3
2.
1

6
8

6
8

B
B

3.
1

B
B

C
C

B
B

4.

Bc
&c

B
&

10

B
&

~~
~~

4 Workbook Answer Key


5. There are, of course, other bowing possibilities, but this one is a plausible one. (Similarly for Ex. 68.)
Quite slowly
1

3
4

&

3
4

B
6

&
B

6.
1

Andante con moto

B 68
? 68

B
B

7.
1

B
&

B
&

B
&

Quietly moving

3
4
3
4

Worksheet 1 5
8.
1

&
B

Slowly

c
c

2
4

&
B

2
4

9.
a.

Original

Transcription

B
B
&

4
4
4
4
4
4

B
B
B

b.
1
Original

Transcription

&

4
4

4
4

4
4

6 Workbook Answer Key


4

&
B
B

&
B
B
WORKSHEET 2

Bowing
1. Since several different variations in bowing are acceptable here we do not provide any one version.
2.

a. Vlc.

b.

c.

?
?
?

Largo

3
4

sim.

3
4

sim.

3
4

sim.

3.

a. Vln.

&

&

Andante sostenuto
1

3
4

Worksheet 3 7

b. Vln.

Andante sostenuto
1

3
4

&

&

4.

a. Vla.

4
4

b.

4
4

&

&

5.
1. d
2. a
3. b
4. g
5. l

6. r
7. t
8. q
9. c
10. e

11.
12.
13.
14.
15.
WORKSHEET 3

String Harmonics
1.
1

&

6
8

&

6
8

&
&

( )

i
f
o
h
j

16.
17.
18.
19.
20.

p
k
m
s
n

8 Workbook Answer Key


7

&
&

( )

2.

?3
8

Sul A

?3
8

Sul D

&

3.

3
&4

& 43

&

LISTEN AND SCORE 1


Haydn, Menuetto al Rovescio, mm. 110

fig041

Menuetto al Rovescio

## 3
& # 4 .

1
Vln. I

Vln. II

Vla.

Vlc.

D.B.

## 3
& # 4 .
B # # # 43 .

? # # # 43

? ### 3 .
4

.
.

.
.

Listen and Score 3 9


LISTEN AND SCORE 2
Haydn, Symphony No. 100 (Military), second movement, mm. 18
Allegretto

1
Vln. 1

& C

Vln. 2

& C

Vla.

B C

div.

Vlc.

D.B.

?C

dolce

?C

LISTEN AND SCORE 3


fig045

Grieg, Piano Concerto, second movement, mm. 18

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

Adagio. (= 54)

j
b b b 3 Con sordini
b
& b 8 . . J .

con sord.
b
& b b b b 38 j

con sord.
B b b b b b 38 j

sord.
? b b 3 con
b b b 8 J

? bb 3
bbb 8 J

j
n .

.
J J

j
J .

j
J .

.
. n

j
b

.
J

.
J

j
.

n n j.

j
.

10 Workbook Answer Key


LISTEN AND SCORE 4
fig047

Vivaldi, Concerto Grosso, Op. 11, No. 4, second movement, mm. 105111

Vln. 1
Solo
Vln. 2
Solo

Vlc.
Solo

Vln. 1

Vln. 2

&b

Vla. 1

Bb

Vla. 2

Bb

D.B.

?b
108

Vln. 1
Solo

Vln. 2
Solo

Vln. 1

Vln. 2

Vla. 1

Vla. 2

Largo e Spiccato

.
& b 12
8
p
j
12
&b 8
p
? b 12
8 J
p
.
& b 12
8

105

&b

p
12 j
8
p
.
12
8
p
.
12
8
p
12
8
J
p
.

.
J
j


J
#
J

.
J
j


J
.
J
.
J

J

#
J


J

J
j


J

J

J

J
j

b.
J
j

j


J
.
J
.
J
j

#. n
J

b.
J

.
J

J .

&b
Bb

. .

Solo

j j

j
.

pianissimo

J
J

.
J

. b.

# n
&b

#
J

j
.

J .

&b

Bb

.
J

#
J

j
.

.
J

#. n
J


. #.
J .

j j

pianissimo

pianissimo

J
J
pianissimo

j
.

pianissimo

. # n . # .
J

#
#

Listen and Score 7 11


LISTEN AND SCORE 5
Mozart, Divertimento, K. 247, Menuetto, mm. 112
Tempo di menuetto
1

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

3
& 4
3
& 4

B 43
? 43
? 43
LISTEN AND SCORE 6

Schubert, Rosamunde, Overture, mm. 18


Allegro vivace
1

Vln. 1

& C

Vln. 2

& C

Vla.

Vlc.

D.B.

B C
?C

pizz.

?C

pizz.

LISTEN AND SCORE 7


Beethoven, Symphony No. 3 (Eroica), second movement, mm. 18
Adagio assai (
1
sotto voce

2
4

Vln. 1

&

Vln. 2

&

2
4

2
4

Vla.

Vlc.

D.B.

= 80)

2
4
2
4

12 Workbook Answer Key


LISTEN AND SCORE 8
Tchaikovsky, Serenade for Strings, Waltz, mm. 121
Moderato. Tempo di valse ( . = 69)
dolce e molto grazioso

1
Vln. 1

3
& 4

Vln. 2

3
& 4

Vla.

B 43

Vlc.

D.B.

cresc.

? 43

poco cresc.

? 43

poco cresc.
poco cresc.

poco cresc.
riten.

11

&

a tempo

&

riten.

riten.

?
?

a tempo

a tempo

riten.

a tempo

riten.

a tempo

LISTEN AND SCORE 9


fig057

Dvork, Cello Concerto, second movement, mm. 19

Ob.

Cl.
(A)

Bsn.

Adagio ma non troppo (= 108)

# 2.
& 43 .
p
1.
b 3
b
& 4
p
? # 43
p

. j .
.


J
5

..

# # ..
Z
. .
Z
.
.
Z

p
n n

p
.

Worksheet 5 13
WORKSHEET 5
Harp
1.
a. D# C B Eb F# G# Ab

b. D# C B# Eb F# Gb A

&

&

&

&

(# ) b

( b )

(# ) b

d.?D Cb B E# F G# Ab

c. Db C# Bb E Fb G A#

fig1029

fig1029

e. D C B# (or Bb) E F# G# A#

( b )

f. D C# B E F# G A

fig1030

2.

n
b
bb # # n n b n # nn
&c

Piano version

bn

#
#

? c b
b

n #
#

String version

? c

3. a. A major or f# minor
b. Ab major or f minor
c. E major or C# minor
d. Db major or bb minor

# n
b
#
.. b nb n nn ..
.
.
. b

n.

b
bb b b b

Harp version

bb
Harp version

b
b b

# # # #
#

b n
n b nb n
b
n

b
bb n
b
nn

b
b

#
n
#

b
#

j # # # n# nn ..

n.

# # ## ##

.
.

~~~~~~~

& c # # # # # n # ##

# n n
# b n

n.
n.

14 Workbook Answer Key


TEST YOURSELF II
Woodwinds
1. Flute, oboe, clarinet, and saxophone. The oboe
family is sometimes called the double reed family
because it also comprises the bassoons.
2. The lip position used to blow into the instrument.
3. Blowing harder through the instrument so that
partials other than the fundamental are sounded.
4. a. alto clarinet
b. soprano saxophone
c. D clarinet (piccolo)
d. Eb clarinet (piccolo)
e. C clarinet
f. tenor saxophone
g. Bb clarinet
h. English horn
i. alto ute
j. alto saxophone
5. a. alto clarinet
b. soprano saxophone
c. D clarinet (piccolo)
d. Eb clarinet (piccolo)e
e. C clarinet
f. tenor saxophone
g. Bb clarinet
h. English horn
i. alto ute
j. alto saxophone

a4
d4
bb3
a3
c4
d5
d4
g4
f4
a4

eb3
bb3
d4
eb4
c4
bb2
bb3
f3
g3
eb3

6. Play a passage in one breath


7. By the lips and the jaw; by the throat muscles; by
the abdominal muscles; by a combination of throat
and abdominal muscles.
8. Non vibrato, senza vibrato, sometimes white
tone.
9. Double tounging, teke; triple tonguing, teteke
or tekete
10. A fluttering or rolling of a tone like a whir (perceived perhaps like an unmeasured tremolo in
strings); Flatterzunge
11. a 2
12. 2.
13. It is used to designate a solo passage as being of
great importance or to alert both player and conductor that this passage is the most significant one
at a given moment. But this designation is superfluous because 1. or 2. will suffice to designate
a solo passage and assume that it will be played by

only one player. In many ways the word solo is


confusing in woodwind solo passages.
14. A technique that uses special fingerings and attacks to enable a woodwind player to play multiple
pitches simultaneously.
15. Key clicks; blowing air through the instrument
without sounding pitches; removing the reed
or mouthpiece and simply blowing through it;
special bending and portamento effects,
and so forth.
16.
a. piccolo

&
b. flute

&
c. alto flute

&

sounding

d. bass flute

&

&

sounding

e. oboe

&
f. English horn

&

&

sounding

g. all clarinets written range

&
h. all saxophones written range

&

Worksheet 7 15
19. A slight break in sound that occurs between Bb4
and Bn4. Bb is played with no fingers covering any
holes while the Bn requires closing all holes except
the vent hole.

i. bassoon

20. Go below the lowest pitch in their range (strings


can do this with scordatura tunings); play loud
or soft in every part of their range (except for the
clarinet); sustain pitches or play extended passages
for an unreasonably long time without taking a
breath (oboes are able to play longer passages in
one breath than the other woodwinds).

j. contrabassoon

(sounding octave lower)

k. oboe damore

&

sounding

17. Chalumeau, throat tones, and clarino


18. a. flute: weak but luscious, sweet with limited carrying power, clear and brilliant, a bit shrill.
b. oboe: thick and heavy, warm, reedy, and poignant, thin but clear, pinched.
c. English horn: deep and rich, mellow and reedy,
thin and pinched.
d. bassoon: sonorous and dark, sweet but expressive, thin but intense, thin and often pinched.

WORKSHEET 7
Woodwind Transposition
1.
a.
Sounding
E Cl.
Written

b.
Written
B Cl.
Sounding

4
&4

4
&4

& 24
2
&4

3
3

16 Workbook Answer Key


c.
Sounding
Bs. Cl.
Written

d.
Written
Engl. Hn.
Sounding

e.
Sounding
D Cl.
Written

f.
Written
A Cl.
Sounding

g.
Sounding
Alt. Fl.
Written

h.
Written
Alt. Sax.
Sounding

? 68
6
& 8

& 44
4
&4
2
&4
2
&4

& 43
3
&4

& 98
9
&8

& 44
4
&4

Worksheet 7 17

? 5
4

i.
Sounding
Ten. Sax.
Written

5
& 4

Written

& 24

j.

Bar. Sax.

? 24

Sounding

Chopin, Nocturne, Op. 37, No. 1, mm. 17


1
Eng. Hn.

&

2 B Cl.

&

Bs. Cl.

&

2 Bsn.

1.

Beethoven, Piano Sonata, Op. 27, No. 2 (Moonlight), second movement, mm. 816

Sop. Sax.

&

Alt. Sax.

&

Ten. Sax.

&

Bar. Sax.

&

3
4
3
4
3
4
3
4

18 Workbook Answer Key


LISTEN AND SCORE 10
fig096
Mozart, Divertimento in Bb, K. 270, second movement,
mm. 18

. .
. .
1

& b 4
Andantino

Ob.

&

Hn.
(F)

p
2
4


p
? b 42

. .
p

Bsn.

.j


J.

. .
.
.



J

.
f

f
j

. n
J

.
.


.


.

.j
.
. .

. ..
. .


.
.

..

..

LISTEN AND SCORE 11


Mozart, Divertimento in Bb, K. 270, third movement,fig095
mm. 18

b 3 . n .
b
& 4

.
.

& 4
Menuetto. Moderato

1
Ob.

Hn.
(B b)

Bsn.

.
? b 3
b 4

p . .
.

p . .

f
.

.
.

n n
.

..

.
.
..


..

Listen and Score 12 19


LISTEN AND SCORE 12
Mozart, Symphony No. 40, K. 550, third movement, mm. 4868
Allegretto
Fl.

2 Ob.

2 Bsn.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

&

3
4

&

3
4

? 43
3
& 4
3
& 4

B 43
? 43
? 43
59

Fl.

&

2 Ob.

&

2 Bsn.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

49

cresc.
1.
cresc.
1.

20 Workbook Answer Key


LISTEN AND SCORE 13
fig100

Brahms, Serenade in A major, Op. 16, first movement, mm. 19


Allegro moderato

##
& # C

1
Fl.

&

Cl.
(A)

? ### C

Bsn.

p
w

a2

n w
n

LISTEN AND SCORE 14


Mendelssohn, Symphony No. 5, fourth movement, mm. 110
Andante con moto
1
2 Fl.

2 Ob.

2 Cl.
(C)

2 Bsn.

& c
& c
& c
? c

cresc.

cresc.

cresc.

cresc.

Listen and Score 15 21


LISTEN AND SCORE 15
fig104

Gounod, Petite Symphonie, first movement, mm. 1625


Allegretto

b
&b c

16
Fl.

2 Ob.

2 Cl.
(B b)

2 Hns.
(B b)

2 Bsn.

b
&b c
p
b c
b
&
&
&
&
&

? b
b
? b
b

c
p
c
p
c j
p p

c
p
c

. . .
p

..

. . n . .

..

..

..
..

..
..
..

. . . .

. . . . . . j . .

. .

. .

. .

. .

. .

. .

. .

. .

# j
. .
. .
j . .

.
.

. #
.


p . .
. . . .

. . . . . . . . . . . . . . . . . . . . . .

. . j

. .

.
. . .

p
.
.
.
bb . . n . . . . b . . . . .
&
J
J
p
p
b
b
&

. .

&

. .

. .

&

. #
.

. .

. . . .

.
.

. . n . .

. .

21

&

&
&

bb

? b b J
? bb j


J
j

. .

. .
. .

j
. .
p
p
j
. .
p
p
. . . . . . . . . .
p

. . . . . . . .
p
B
. . J
J
p
p
. . . .
. . . j B
J .
J .
J .
j
.
p
p

.
.

.
.

. .

j
. .

. . . . . . . .

. . .
.

. . . . .
. . .

. .

. .

22 Workbook Answer Key


LISTEN AND SCORE 16
Tchaikovsky, The Nutcracker ballet, Overture, mm. 122129
122
1
Fl.
2

Picc.

2 Ob.

2 B Cl.

2 Bsn.

&

2
4

cresc.

&

2
4

cresc.

&

2
4

cresc.

&

2
4

cresc.

&

2
4

&

2
4

cresc.

cresc.

&

2
4

cresc.

2
4

cresc.

2
4

cresc.

B
B

Listen and Score 17 23


LISTEN AND SCORE 17
Fig 108-3

Tchaikovsky, Capriccio italien, Op. 45

6
&8

4 Hns.
in F

6
&8

6
& 8 .

a2
6
& 8 .

? 68
a2

4 Tr.
in C

1
2
3 Trb.
3

Tuba

4 Tr.
in C

1
2
3 Trb.
3

Tuba

#. . #
. . .

#.

#. . #
. . .

#.

> . > .
. .

.. ..
> >

? 68
? 68

>.
& .

4 Hns.
in F


R
r

& ..
& .
&

? .

? .
?

r
..

..
R

.
R

..
..
.

..

..
.

R
r

.
.

.
.

.
.

..

..

..

r
.

r
.

.
.
.
.
..

.
.
.
.
..

.
.
.
.
..

#
#
R
r

#
#
R

#
# ..

.
.

#.
# .

r
# # ..
#
R

# ..

..

# ..

.
#.
# ..

.
.
..

..

.
#.
# ..

# ..

24 Workbook Answer Key


LISTEN AND SCORE 18
fig110

Wilbye, Adieu, Sweet Amaryllis, mm. 17


Andante moderato

2 Trumpets
in C

Horn
in F

Trombone

Tuba

b
&b c
F
bb c
&

&b c
F
? bb c
? bb c


F
j
.

j
.

TEST YOURSELF III


Brass
1. Because natural brass instruments dont have
valves, they can only play the open notes of one
harmonic series, while brass instruments with
valves can play the entire chromatic pass of their
range.
2.

a.

&
b.

&

c.

d.

3. The trumpet, trombone, and tuba mouthpieces are


essentially of the same cuplike construction but
different in size, whereas the horns funnel-shaped
mouthpiece makes it sound more mellow.

. J

n #

4. The sixteenth
5. Playing high enough to be able to use an entire
scale. Used in virtuoso trumpet and horn parts,
especially of the Baroque period.
6. A U-shaped piece of pipe inserted into the original
tube of a natural trumpet or horn. It changes the
pitch of the instrument.
7. The horn transposes a 5th down; the trumpet transposes a 4th up.
8. It opens additional tubing and enables the player
to play additional pitches in a new overtone
series.
9. a. fi
 rst valve: The pitch of the entire series is lowered a whole step.
b. second valve: The pitch of the entire series is
lowered a semi-tone.
c. third valve: The pitch of the entire series is
lowered a tone and a half.
d. first and third valves: The entire series is l
owered a 4th.
f. second and third valves: The entire series is
lowered a major 3rd.
f. first and second valves: The entire series is
lowered a minor 3rd.
g. all three valves: The entire series is lowered a
tritone.
10. The position of the slide. Like the trumpet valve,
the position of the trombone slide, going from
positions I to VII, changes the fundamental by
descending a half step.

Worksheet 11 25
22. a. in Bb: D4
b. in C: C4
c. in D: Bb3
d. in F: G3
23. F#3

11. Seven

12. Bb1, A1, Ab1, G1, Gb1, F, E

13. F - E - Eb - D - Db - C - (Bn) - Bb
14. Bn1
15. It changes the tone quality of the sound and to an
extent its dynamic.
16. Straight
17. Cup; harmon; whispa; solotone; bucket; plunger;
hat or derby.
18. A Wagner tuba is shaped like a horn and sounds
more like a horn than a tuba. Bruckner, C. Rouse,
Schoenberg, R. Strauss, Stravinsky.

24. Examples c. and e.


25. It is a now obsolete instrument that resembles a metal
bassoon but provides the bass voice of the brass section, similar to a tuba. Its sound is more mellow than
a tuba because the mouthpiece is more cupped.
26.

19. The range; the euphonium goes down to Bb1 while


the baritones lowest note is En2.
20. 4 Hn., 3 Tpt., 3 Trb., and Tba. Some scores call for
8 Hn., 4 or 6 Tpt., 4 or 6 Trb., and 2 Tba.

21. Bb alto is a high horn and transposes down a whole


step; Bb basso is a low horn and transposes down
an octave and a whole step.

27. The pitch designations refer to the fundamental


pitch of these instruments as well as their size.
They are all non-transposing instruments.
28. The wider the bell, the more mellow the sound.
29. Either by manipulating the lips or with the valves.

WORKSHEET 11
Brass Transposition
a.
Written
F Tpt.
Sounding

b.
Written
B Tpt.
Sounding

& 43

3
&4

& 43
3
&4

fig1051

26 Workbook Answer Key


c.
Written
F Hn.
Sounding

d.
Sounding
A Tpt.
Written

e.
Sounding
E Hn.
Written

b
4 # nb n b b n
? b b
b . n #
&4
# nb
&

4
& 4 nbb b n b b

n n

bb

3
b b
b & b . n #

6
&8
6
&8

& 43
3
&4

f.
Written
F Hn.
Sounding

4
&4
4
&4

g.
Written
B Tpt.
Sounding

&C
&C

h.
Sounding
D Tpt.
Written

3
&4
3
&4

?
5

Listen and Score 19 27

? 24

i.
Sounding
F Hn.
Written

2
& 4

Written

& 68

j.

E Hn.

&

6
&8

Sounding

LISTEN AND SCORE 19


Dvork, Symphony No. 9 (From the New World), second movement, mm. 15
1
E Hn. 1, 2

C Hn.

2 E Tpt.

Trb. 1, 2

Trb. 3
Tba.

&

&

&

dim.

dim.
a2
dim.

dim.
a2

dim.

28 Workbook Answer Key


LISTEN AND SCORE 20
Mussorgsky-Ravel, Pictures at an Exhibition, Promenade, mm. 18
1

&

1, 2
F Hn.

Allegro giusto

5
4

6
4

5
4

6
4

5
4

6
4

5
4

6
4

5
4

5
4

6
4

5
4

3, 4

&

5
4

3 C Tpt.

&

5
4

5
4

6
4

&

5
4

6
4

5
4

6
4

&

5
4

6
4

5
4

6
4

5
4

6
4

5
4

6
4

Trb.

Tba.

5
Hn. 1, 2

Tpt. 1, 2

Trb.

Tba.

6
4
1.

5
4

6
4

1.

5
4

6
4

5
4

6
4

5
4

6
4

5
4
LISTEN AND SCORE 21

Berlioz, Symphonie fantastique, fifth movement, mm. 207216

6
8

E Hn. 1, 2

&

C Hn. 3, 4

&

2 E Tpt.

&

6
8

6
8

1
Trb.
2
3

6
8
6
8

207

6
4

5
4

5
4

Listen and Score 22 29


LISTEN AND SCORE 22
fig136

Gabrieli, Sonata pian e forte, mm. 2631


26

2 Tpts.
in B b

2 Hns.
in F

2 Tbns.

Bass
Tbn.

Tba.

&
&
&
&

- - - -
- # -

- -
# - - -

. -j

4 .
4
f
44 .
f
44 .

4
4

f
f

Bb 4
4
f
.

? 4
b 4
f

#.

-
J

j
- .

. - -
-- - - -
j - - -
J
- - . - - -


- n - - 4

b 4
f
? 4 .
. -j

b 4
f
?

- - .

-
J

- -

. # - -
J

j
- # - -
b
.

#
n #

- n -
J

30 Workbook Answer Key


LISTEN AND SCORE 23
Bartk, Concerto for Orchestra, second movement, mm. 123156
123

lo stesso tempo
senza sord.

C Tpt. 1, 2

2
& 4

Trb. 1, 2

? 24

Tba.

? 24
2
4

S Dr.

133
C Tpt. 1, 2

Trb. 1, 2

Tba.

&
?
?

S Dr.

144
1, 3
F Hn.

&

2, 4

&

C Tpt. 1, 2

&

Trb. 1, 2

Tba.

S Dr.

?
?

always without snares

Listen and Score 24 31


LISTEN AND SCORE 24
Beethoven, Symphony No. 8, second movement, mm. 17
Allegretto scherzando (

1
2 Ob.

2 B Cl.

2 Bsn.

&
&

2
4
2
4
2
4

&

2
4

Vln. 1

&

2
4

Vln. 2

&

2
4

2
4

2 B Hn.

Vla.

Vlc.
D.B.

4
2 Ob.

&

2 B Cl.

&

2 Bsn.

2 B Hn.

&

Vln. 1

&

Vln. 2

&

Vla.

Vlc.
D.B.

2
4

= 88)

sempre staccato

sempre staccato

sempre staccato

sempre staccato

pizz.

pizz.

32 Workbook Answer Key


LISTEN AND SCORE 25
Mozart, Symphony No. 40, K. 550, third movement, mm. 714
Allegretto

3
4

Fl.

&
&

3
4

a2

2 Ob.

&

3
4

a2

2 B Cl.

2 G Hn.

&

3
4

Vln. 1

&

3
4

Vln. 2

&

3
4

3
4

2 Bsn.

Vla.

Vlc.
D.B.

3
4

3
4

a2

Listen and Score 26 33


LISTEN AND SCORE 26
Weber, Euryanthe, Overture, mm. 1325

2 Fl.

&

2 Ob.

&

2 B Cl.

&

&

2 Bsn.

B Hn.

1
2

E Hn.

3
4

2 E Tpt.

3 Trb.

Timp.

&

&

c
c

13

34 Workbook Answer Key


1.

19
2 Fl.

&

2 Ob.

&

2 B Cl.

&

2 Bsn.

B Hn.

1
2

&

E Hn.

3
4

&

2 E Tpt.

&
B

3 Trb.

?
Timp.

TEST YOURSELF IV
Percussion and Keyboard
1. a. idiophones: instruments that produce their
sound by striking the body of the instrument,
thereby vibrating the entire body of the instrument (triangles, cymbals, woodblocks, marimbas, vibraphones, xylophones, chimes, etc.).
b. membranophones: instruments that have a
stretched skin or membrane over a shell, which
is struck by a hand, stick, or mallet (drums).
c. aerophones: instruments that produce their
sound by blowing through a pipe (whistles and
sirens).
2. A definite-pitch instrument sounds an exact written pitch; an indefinite-pitch instrument sound
an approximate pitch, or simply a high, low, or
medium pitch.
3. For pitched percussion instruments, on a five-line
staff. For nonpitched percussion instruments, on a
one-, two-, or three-line staff.

4. The number of players necessary to perform the


piece; the number of instruments each performer is
asked to play.
5. Timpani
Triangle
Giro
Snare drum
Bass drum
Glockenspiel
Xylophone
Marimba
6.
a. marimba

b. vibraphone

&

&

Test Yourself IV 35
c. crotales

&

11. Mechanically, by raising or lowering a foot pedal,


or manually, by tightening or loosening the drum
head; 30-inch, 28-inch, 25-inch, 23-inch, and
21-inch.

12. Tom-toms and timbales are drums that come in


four sizes (two pairs of two drums each), graded
from high to low in pitch. Tom-toms are higher in
pitch than timbales because they are smaller and
have a shallower body. The timbales metal shell
produces a more piercing or metallic sound.

d. xylophone

&

(sounding 8va)

e. glockenspiel

&

(sounding 15ma)

f. chimes

&
g. timpani

(
()

( )

h. roto toms

&

b. flam:

8.

15.

?
?

16.

b.

&

&

sounds one octave higher

(If the student puts E6 for the highest note of the


celesta, it is correct if they understand that only a
few instruments go that high.)
17. Because of its inherent percussive quality (its hammers strike the strings) the piano has been used to
give an added ping to individual notes or chords,
as well as to give a pizzicato effect by manually
plucking the strings or hitting them with a mallet
or beater.

c. drag:

14. A chordophone, usually trapezoid shaped, laid flat


on a table, with metal strings struck by leather or
wooden mallets. It has a four-octave range, with all
chromatic tones available.

a.

7. a. four-stroke ruff:

d. roll:

13. a. triangle: metal beaters


b. tom-tom: drumsticks, timpani mallets
c. cymbals: drumsticks, brushes, soft mallets
d. conga drum: hands, drumsticks, timpani mallets
e. crotales: metal beaters

or

9. Finger cymbals are nonpitched; crotales are


pitched.
10. Two strips of hard wood clapped together to
produce a hard stroke.

18. xylophones: 8va; glockenspiel, 15ma; celesta, 8va;


cro- tales, 8va
19. Various objects are either laid on top or stuck in
between the piano strings to alter the sound and
sometimes the pitch of the instrument.

36 Workbook Answer Key


WORKSHEET 22
Reducing a Full Orchestral Score to a Piano Score
The piano scores for these exercises that we have provided here either have been reduced by the composer or have
been used extensively since the pieces were first written.
1. Mozart, Don Giovanni, Overture, mm. 121
Andante
1

Pno.

& C
? C

Strings

&

?
15

&

?
Tutti

18

&

?
2. Rossini, The Barber of Seville, Overture, mm. 117
Andante maestoso

&

[
&

&
?

]
&

]
?

dolce

Worksheet 22 37

&
?

10

dolce espress.

&
?

&

13

&
?

&
16

&

?
3. Beethoven, The Creatures of Prometheus, Overture, mm. 115
1

Adagio

3
& 4

?3
4
9

&
?

38 Workbook Answer Key


4. Wagner, Tannhuser, Overture, mm. 142157
142

Tempo I

&

G. Orch. ohne Pos.

&

147

&
?

&

153

&
?
fig1075

5. Verdi, Falstaff, Act II, Scene 1, end, at 25

>
b b c
b
&
? b c
bb

>

25 Come prima (q = 100)

. >
bb b
&
3
>
? bb
&
b J
>

J
j

> >

>

>

>

b n b > n >
b n b n
> > >
.
3


> >

>

>

n >
n

j
#

>
>

>

n >
n

>
. n . . . . . . . . . . . >

(curtain)


> >

>
>
>
>
J J
J
J

>
>

>

b >
b
j >

>
>
J
>

>

>

n >
n
>

>

>

>



> > >

>

>

>

# >
#

ww
w

w
w

Listen and Score 27 39


LISTEN AND SCORE 27
Beethoven, Egmont, Overture, mm. 115
1

3
2

Fl. 1

&

Fl. 2

&

2 Ob.

&

2 B Cl.

&

3
2

F Hn.

&

3
2

E Hn.

&

F Tpt.

&

3
2

&

3
2

2 Bsn.

Timp.

Vln. 1

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

3
2
3
2

3
2

3
2

3
2

3
2

marcato

3
2

marcato

3
2

marcato

3
2

marcato

marcato

40 Workbook Answer Key


9
Fl. 1

&

Fl. 2

&

2 Ob.

&

2 B Cl.

&

2 Bsn.

F Hn.

&

E Hn.

&

F Tpt.

&

Timp.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

Listen and Score 28 41


LISTEN AND SCORE 28
fig1077

Schubert, Symphony No. 8 (Unfinished), second movement, mm. 119


Andante con moto

##
& # # 38

1
2 Fl.

2 Ob.

2 A Cl.

2 Bsn.

2 E Hn.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

##
& # # 38
&

38

? #### 3 .
8

..

..

38 .
.

..

J
.

.
.

..

J
.

&

##
& # # 38
##
& # # 38
B # # # # 38
? #### 3
8

pizz.
? # # # # 3 . . .
8
. . .

j
.

.
.


J

J

. . .
. . .

.
.

j
.

42 Workbook Answer Key

##
& ##

10
2 Fl.

2 Ob.

2 A Cl.

2 Bsn.

2 E Hn.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

# n ..

##
& ##
&

? ####
&
&

.
####

# ##
& # .
# .
B ## #


#.


? ####

? ####

.
.

. . .

b ..

n.

n.

#.

n ..

#
.
.

..

..

..

n
J
j
n

j
j


J
j

n.

j

J
pizz.
. . . . . .

..

..

n
n

. n
arco

arco

n
n

Listen and Score 29 43


LISTEN AND SCORE 29
Weber, Der Freischtz, Overture, mm. 2531
25
2 B Cl.

Bsn.

Timp.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

& c
?c

1.

?c

Solo

& c @@

@@

@@

@@

@@

@@

@@

@@

@@

@@

@@

B c @@

@@

@@

@@

@@

@@

@@

@@

@@

@@

@@ @
@

& c

?c
?c

B
pizz.

@@

@@
@@

44 Workbook Answer Key


LISTEN AND SCORE 30
Rossini, La Gazza ladra, Overture, mm. 413
Maestoso marziale
4

Picc.

&

Fl.

&

2 Ob.

&

2 A Cl.

&

E Hn. 1, 2

&

G Hn. 3, 4

&

2 A Tpt.

&

2 Bsn.

Bs. Trb.

Timp.

Sn. Dr.

Bs. Dr.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.
D.B.

a2

a2

Listen and Score 30 45


9
Picc.

Fl.

2 Ob.

2 A Cl.

2 Bsn.

&

&

a2

&

a2

&

a2

?
3

E Hn. 1, 2

&

G Hn. 3, 4

&

2 A Tpt.

&

Bs. Trb.

Timp.

a2

?
?
3

Sn. Dr.

Bs. Dr.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.
D.B.

3
3

3
3

46 Workbook Answer Key


LISTEN AND SCORE 31
Humperdinck, Hnsel und Gretel, Overture, mm. 121
1

Ruhige, nicht zu langsame Bewegung ( = 69)

4
4

2 Fl.

&

2 Ob.

&

2 B Cl.

&

4
4

&

4
4

&

4
4

4
4

2 Bsn.

1
2

4
4

4
4

F Hn.
3
4

1
2
Trb.
3

Timp.

?
?

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

4
4
4
4
4
4
4
4
4
4
4
4
4
4

sehr weich

sehr weich

Listen and Score 31 47


8
2 Fl.

&

2 Ob.

&

2 B Cl.

&

2 Bsn.

?
cresc.

1
2

&

cresc.

F Hn.
3
4

1
2
Trb.
3

Timp.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

&

cresc.

sehr weich

?
?
&
&
B
?
?

subito

cresc.

subito

cresc.

subito

cresc.

subito

cresc.

cresc.

48 Workbook Answer Key


15
2 Fl.

&

2 Ob.

&

2 B Cl.

&

2 Bsn.

F Hn. 1
2

1
2
Trb.
3

Timp.

?
&
B
?
?

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

Listen and Score 32 49


LISTEN AND SCORE 32
Mendelssohn, Symphony No. 4 (Italian), fourth movement, mm. 249264
Presto
249
2 Fl.

&

&

&

2 E Hn.

&

2 E Tpt.

&

2 Ob.

2 A Cl.

2 Bsn.

Timp.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

&

&

dim.

dim.

dim.
pizz.
dim.
3

dim.

dim.

dim.

50 Workbook Answer Key


253
2 Fl.

&

2 Ob.

&

2 A Cl.

&

2 Bsn.

2 E Hn.

&

2 E Tpt.

&

Timp.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

Soli 3

legg.

Listen and Score 32 51


257
2 Fl.

2 Ob.

2 A Cl.

2 Bsn.

2 E Hn.

2 E Tpt.

Timp.

&

cresc.

cresc.
3

cresc.

cresc.

cresc.

cresc.

&
&

cresc.
3

cresc.

&
&

cresc.
3
Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

&
&
B

?
?

cresc.
arco 3
cresc.

cresc.
cresc.

cresc.

52 Workbook Answer Key


261
2 Fl.

&

2 Ob.

&

2 A Cl.

&

2 Bsn.

2 E Hn.

&

2 E Tpt.

&

Timp.

Vln. 1

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

Listen and Score 33 53


LISTEN AND SCORE 33
Mussorgsky-Ravel, Pictures at an Exhibition, Gnomus, mm. 1927
19
3 Fl.

1, 2
Ob.

&
&

&

B Cl.

&

Bs. Cl.

&

2 Bsn.

Cbsn.

1, 2
Hn.
3, 4

C Tpt.

Tba.

Timp.

Xylo.

?
?
&

&

Vln. 2

&

Vla.

Vlc.

D.B.

?
?

3
4

Muta in Corno Inglese

1.

3
4

fl

a2

3
4
3
4

3
4

Vln. 1

3
4

&

&

3
4

&

3
4

3
4

3
4

1.

3.

senza sord.

1. con sord.

3
4

con sord.

senza sord.

3
4
3
4
3
4

pizz.

3
4

pizz.

3
4
3
4
3
4

pizz.

pizz.

pizz.

unis.

54 Workbook Answer Key


LISTEN AND SCORE 34
Mussorgsky-Ravel, Pictures at an Exhibition, Ballet of the Chickens in Their Shells, mm. 18
Scherzo: vivo, leggiero
1
Fl. 1, 2

2
& 4

Ob. 1, 2

2
& 4

B Cl. 1, 2

2
& 4

Bsn.

? 24

Cymb.

Hp.

Vln. 1

Vln. 2

Vla.

Vlc.

D.B.

2
4

2
& 4
2
& 4
2
& 4
2
& 4

B 24
? 24
? 2
4

pizz.

div.