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Intended degree plan (check one): ___ MM, MME, MA, MAT ___ DM, DME, PhD
_____ other
1. On the blue answer sheet, fill in your name in the blanks at the top of the
page (LAST NAME, FIRST NAME, with space in between)
2. On the blue answer sheet, write your student identification number in the
space provided.
3. Do not write on the test packet, except for page 12.
4. On page 12, write your NAME and answers to questions 36–39.
5. Notice that the questions in the test booklet are on BOTH sides of the page.
6. Answer questions 1–35 on the blue answer sheet. Choose the best answer
and blacken in the appropriate circles beneath each letter.
7. Answer the music writing questions on page 12 directly on that page.
V # ww
B
1. (2 pts.) This specific sounding interval is a Clar in A
#w
2. (2 pts.) This specific sounding interval is a B
#w
V
a) minor 2rd b) major 2rd c) minor 9th d) major 9th #w
B
& w
?
Clar in A
Horn in F & w!
nw
4. (2 pts.) This sonority is a bb
&bb c
& !!
Violin I
a) half-diminished seventh in second inversion.
&
b) dominant seventh in third inversion. bb w
c) fully-diminished seventh in second inversion. Violin II &bb c
& !
d) half-diminished seventh in third inversion.
w
Viola B bbbb c
w
? bb b c
5. (2 pts.) This excerpt contains two instances of Cello b
## 2
a) 4–3 suspensions
b) 2–3 suspensions Soprano & # 1 ! Ó ˙
w w w w w #w W
c) 7–6 suspensions
## 2
d) 9–8 suspensions
& # 1 ! w ˙ w ˙ ˙
w© ˙ ˙ ˙ w W
Alto
##
Tenor V # 21 Ó w ˙ w w w w w w W
? # # # 21 w w w w
©
w w w W
Bass w
MUSIC THEORY WRITTEN EXAM (O) p. 4 a) b) c) d)
# ## #
& # # c ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙
˙ ˙˙
6. (2 pts.) Which of these has the best voice leading?
˙ ˙
#### ? ## ˙ ˙˙ ˙ ˙ ˙
a) b) c) d)
a) # # # # c ˙
# b) ˙ ˙˙ ˙˙ ˙
c ˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙
# # # ˙
#&
˙˙ ˙˙ ˙ ˙
c) d)
#
& # # c ˙˙ ˙˙ ˙
˙ ˙˙ ˙˙
˙
˙˙
˙
˙
˙ ˙˙
? # # # # # cb b b˙˙b ˙ ˙ n ˙˙ ˙˙ ˙ ˙ n ˙˙ ˙ ˙ ˙ ˙ ˙
a) b) c) d)
#& b ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙˙
? # # # # # c ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙
# ˙˙ ˙ ˙˙ ˙ ˙ n ˙ d) ˙ ˙
˙ ˙
n˙
7. (2 pts.) Which of these?isb bthe ˙ voice
n ˙˙ typical ˙˙
n ˙ leading? n˙ ˙ n˙
bb b b ˙ b b b most
a) b) c)
& a) b ˙ n ˙ b) ˙˙ n ˙˙ c) ˙
˙ ˙˙ ˙
d) ˙
˙˙
bbb ˙ ˙a) ˙ ˙ ˙
& b n ˙ ˙# # ˙ ˙ n ˙ ˙ b)n ˙˙
b n n˙ ˙ ˙˙
œ n ˙œ
n ˙˙ ˙
˙
œœ n ˙œœ œ œ
c) d)
? b b b 32& # # # # # # c ˙
?
b ˙ ˙˙
˙œ nœw n œ˙ œ ˙n ˙œ œ b œ˙ n œ b ˙œ˙ œ n # œ˙ œ
˙ w.
˙ ?
? #### # c œ œ n˙ ˙ n˙ ˙ #˙
#
10. (2 pts.) In this context, which of these shows the most correct spelling of the first
chord?
### c
a) b) d) c)
& b ˙˙ ˙˙ ww ˙
# ˙ ˙˙ ww ˙
# ˙ ˙˙ ww # ‹ ˙˙ # ˙˙ ww
? # # # c n ˙˙ # # ˙˙ ww n ˙˙ # ˙ ww # ˙˙ # ˙˙ ww # ˙˙ # ˙˙ ww
# ˙
MUSIC THEORY WRITTEN EXAM (O) p. 5
11. (2 pts.) The empty beats in the following are best harmonized with
b œ. œœ ..
a) IV6–V7 of V
&. b b 68œ .. œœ .. œ.
b) IV6– ii6
& b b b 68 œœœ ... ‰ ‰ ‰ Œ œœ .
c) VI– V7 of V
œ b œ ?œ ?
œ bœ œ œ ?
? b 6
?
œ œ œ œ œ nœ œ œ
œ
d) VI–V4/3
? b b 68 œ œ œ œb b 8 œ
n œ œ
b œ
12. (2 pts.) The following phrase ends in what key?
œ œ
# # 3 Œ œ n œ ˙ Œ & # # 43 n œŒ œ ## œœ ˙j ˙ œ œ œœ œ˙#.œœ ˙ # # œ ˙˙ . œ
b 38 œ œ œ # œ j œ œ . j j .˙ . # . 3
œ . œ œ n œ J n œ J b œ œ œ J œ . & bœ œ38œ œJ œ œœ œn œ œœ œ nœœœœœj#b#˙œœjœ œœj .œ n# ˙ .4œ œ j œ œ
& 4 œ ˙ ˙ . ˙ . ˙ . # ˙
a) C# major
b) C#&minor
c) A major
˙. ˙ . ˙˙ .
œ.
˙˙ .. ˙œ . ˙œ . ˙ . ˙˙ ..J ˙˙ ..J ˙˙ .. J ˙œ . œœ . ˙ . œ J œ œ
? # # 43 ˙ . ˙. . ? # # 3 ˙ .œ ˙ œ # œ n œ œ ˙ œ ˙ ˙ œ # œn œ œ
4 #œ ˙. .
d) F# minor
## 3 j œ melody:
& 4 œ the
œ œfollowing
œ œ œ œ œ œ ˙ &Œ # # 43 œ j
œ . œ œ œ. œ œ œ œ œ œ œ ˙ Œ
13. (2 pts.) Given
what would be the most typical
consequent?
## j jœ œ # œ œ œ œ œ
a)
n œ
b)
& # œœ œœ œ œ#. œ . œ œ n œ œ œ œ œ œ ˙ Œ œ œ œ œ .
b)
## jœ œ # j œjn œ œ œ n œ œ
Œ œ Œ
c)
œ œ œ œ
d)
& œ œ œ . œ œ œ # œ œ .
œ œ ˙ & œ œ œ œ. œ œ œ œ œ œœ œ ˙ Œ œ œ œ œ.
c)
œ
d)
œ ˙
# # the dominant!(V)
14. (2 pts.) The following melody ends with a modulation to what key?
& a) # #! (IV) !
! !
b) the subdominant
c) the mediant (iii) &
d) the submediant (vi)
3 œ jœ j
& b 8 œ . œ œ n œ œJ n œ œJ b œ œ œ J œ . œ œ œj œ œ œ œj œ œ œ j j
J œ #œ œ.
15. (2 pts.) This excerpt is missing barlines. Given that an upbeat is possible, the best
# for
3 this excerpt is
& # 4 œ œ œ œ . œj œ œ œ œ œ œ ˙ Œ
time signature a) 3/4 b) 4/4 c) 2/4 d) 4/8
b j
&bb œ œ ˙ œ œ œ œ #œ œ ‰ œ œ ˙ œœ œœ œ Œ Ó
## j œ œ œ œ œ œ œ œ œ œ œœjœ œœœœ # œœ œ œœœ œœœœ œ Œ
a)
n œ œ œ
b)
? b
& œ œ bœ b # œÓ. œ œ œ œ œ œ
œœ œ œ ˙ œ Œ œ œ œ œ. œ œ # ˙œ
˙
## jœ œ Œ œ jœ n œ œ œ n œ œ
œœ ˙ Œ
c)
œ œ œ
d)
& œ œ œ œ. œ œœœœ ˙ œ œ.
©
MUSIC THEORY WRITTEN EXAM (O) p. 6
&c ! ! ! !
2 3
& c ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ. nœ nœ œ
*
œ œ œœ œ œœœœ
?c œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ #œ
! Ó ‰
œ œ œ œ œ œ œ6 œ œ œ œ œ œ œ œ œœ œ œ
#œ œ œ
‰ J œ #œ œ œ œ œ œ #œ œ
5 8
‰
7
&
& " jœ œ œ œ œ œ œ œ œ #œ œ ‰ œj # œ ‰ œj
œœœœ œ œ œœ œ œ œ #œ œ œ
?œ œ nœ nœ œœ œ œœ œ œ œ œ œœ
‰ œ œ ‰ œ œ œ œ œ œ œ #œ nœ œ #œ œ #œ œ #œ œ œ " œ #œ œ
J J
nœ œ œ nœ œ œ
"œœœœ " œ œ œ œ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ œ œ œ
9
& " Œ
10 11
16. (2 pts.) In what measure does the subject first come to a cadence?
a) measure 2, beat 1
b) measure 2, beat 3
c) measure 3, beat 1
d) measure 3, beat 3
17. (2 pts.) In what key does the answer begin and in what key does it end?
a) It begins in i and ends in i.
b) It begins in i and ends in III.
c) It begins in i and ends in iv.
d) It begins in i and ends in v.
18. (2 pts.) If the subject were transposed to the key of the dominant, the first note would be
a) B
b) C
c) F
d) G
20. (2 pts.) Which of the following most accurately represents the harmonies in m. 8?
#œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ
a) b) c) d)
& c œ œ #œ œ œ œ #œ œ œ œ# œ œ œ œ #œ œ
?c œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
MUSIC THEORY WRITTEN EXAM (O) p. 8
24. (2 pts.) How can the cadences in mm. 4 and 8 best be described?
a) half cadence and perfect authentic cadence in i
b) half cadence and perfect authentic cadence in v
c) deceptive cadence and perfect authentic cadence in i
d) half cadence and half cadence
25. (2 pts.) Which is the best description of the form of mm. 1–8?
a) it contains two phrases of unequal length
b) it is two phrases with contrasting thematic material
c) it is one undivided phrase
d) it contains two phrases with similar thematic material
26. (2 pts.) The section from mm. 9–16 can best be described as:
a) standing on the dominant [dominant pedal point]
b) chromatic modulation
c) modal mixture
d) sequence
28. (2 pts.) What term best describes the overall form of the example (mm. 1–22)?
a) strophic
b) rounded binary
c) sonata
d) parallel period
MUSIC THEORY WRITTEN EXAM (O) p. 10
2
*
6 9 *
12 16
17 20
MUSIC THEORY WRITTEN EXAM (O) p. 11
29. (2 pts.) Pick the label that best describes the chord at the asterisk in m. 2.
a. II6
b. m IV
c. V4/3 of V
d. V6/5 of V
30. (2 pts.) Pick the term that best describes the quality of the first chord in m. 9.
a. MM7th
b. mm7th
c. fully diminished 7th
d. half-diminished 7th
32. (2 pts.) Pick the description that best fits the harmony at the asterisk in m. 10.
a. fully diminished 7th
b. half-diminished 7th
c. augmented 6th
d. dominant 7th
33. (2 pts.) Which of the following key areas, relative to the original key, best
describes mm. 12–16?
a. b III
b. III
c. b VI
d. VII
35. (2 pts.) Which term best describes the harmony in the second half of m. 19
(bracketed)?
a. Neapolitan 6th
b. diatonic
c. secondary dominant
d. augmented 6th
MUSIC THEORY WRITTEN EXAM (O) p. 12
36. (8 pts.) Fill in missing half notes in the melody only in common-practice style. Provide a
Roman numeral analysis including inversions in the spaces provided.
bb
& bb bbb b c ˙˙˙ ˙
˙
w
&&b bb b c c ww
? bb c ˙ ˙ ˙ œ œ ˙
??bb bbbb b bc c˙ ˙ ˙˙ ˙˙ œœ œœ ˙˙ ˙ w
ww
bb ˙˙
I I
I I
I I
37. (8 pts.) Fill in missing half notes in the melody only in common-practice style. Provide a
# # ˙ including inversions in the spaces provided.
&# #### #### ˙ ˙ ˙ w
Roman numeral analysis
&&# # #
# ˙˙ ww
? #### ˙ #˙ ˙ ‹˙ ˙ ˙ w
? # ## ˙ ‹˙ ˙ ˙ w
? # # ### # #˙ ˙ #˙ ˙ ‹˙ ˙ ˙ w
#˙
#
I6 V7 of V V6/5 I
I6 V7 of V V6/5 I
I6 viiº7 of V V6/5 I
38. (8 pts.) Fill in the missing notes in the bass in common-practice style. As a guide, some
# # ##
(not all!) figures have been provided.