Vocal Classroom Music (Grades K–12)

Subtest 2 Sample Items

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Question 1

1. Use the example below to answer the question that follows.

Which of the following key signatures is shown in this example?

1. D-flat major
2. F minor
3. G-flat major
4. C minor

Answer to question 1

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0008) The example presents five flats. In every clef, the order of flats in a key signature remains the same: B-E-A-D-G-C-F. One way to determine a "flat" key signature is to identify the second-to-last flat. The name of the second-to-last flat is the name of the key signature, thus D-flat major. Correct Response: A. (Objective 0008) The example presents five flats. In every clef, the order of flats in a key signature remains the same: B-E-A-D-G-C-F. One way to determine a "flat" key signature is to identify the second-to-last flat. The name of the second-to-last flat is the name of the key signature, thus D-flat major.

Question 2

2. Use the excerpt below to answer the question that follows.

Soprano, alto, tenor, and bass. All staves are played in the key of G major with a common time signature. All staves consist of nineteen measures.
Soprano. Measure one. Whole rest. Measure two. Whole rest. Measure three. Whole rest. Measure four. Whole rest. Measure five. Whole rest. Measure six. Whole rest. Measure seven. Whole rest. Measure eight. Whole rest. Measure nine. Whole rest. Measure ten. Whole rest. Measure eleven. Whole rest. Measure twelve. Whole rest. Measure thirteen. Dotted half note on F. Quarter note on F. Measure fourteen. Dotted half note on A. Quarter note on A. Measure fifteen. Quarter note on B. Quarter note on C. Quarter note on D. Quarter note on D. Measure sixteen. Quarter note on F. Quarter note on D. Half note on B. Measure seventeen. Quarter note on B. This note is connected with a tie to the half note on B in the preceding measure. Two beamed eighth notes, A and G. Quarter note on A. Quarter note on F. Measure eighteen. Dotted half note on A. Quarter note on A. Measure nineteen. Half note on F. Half note on B. These two half notes are connected with a slur.
Alto. Measure one. Whole rest. Measure two. Whole rest. Measure three. Whole rest. Measure four. Whole rest. Measure five. Whole rest. Measure six. Whole rest. Measure seven. Whole rest. Measure eight. Whole rest. Measure nine. Whole rest. Measure ten. Whole rest. Measure eleven. Whole rest. Measure twelve. Whole rest. Measure thirteen. Whole rest. Measure fourteen. Whole rest. Measure fifteen. Whole rest. Measure sixteen. Whole rest. Measure seventeen. Whole rest. Measure eighteen. Dotted half note on F. Quarter note on F.
Tenor. Measure one. Whole rest. Measure two. Whole rest. Measure three. Whole rest. Measure four. Whole rest. Measure five. Whole rest. Measure six. Whole rest. Measure seven. Dotted half note on E. Quarter note on E. Measure eight. Dotted half note on D. Quarter note on D. Measure nine. Quarter note on C. Quarter note on B. Quarter note on A. Quarter note on A. Measure ten. Quarter note on E. Quarter note on G. Half note on B. Measure eleven. Quarter note on B. This note is connected with a tie to the half note on B in the preceding measure. Two beamed eighth notes, C and D. Quarter note on C. Quarter note on E. Measure twelve. Dotted half note on D sharp. Quarter note on D. Measure thirteen. Half note on E. Half note on E. Measure fourteen. Half note on D sharp. Half note on C. Measure fifteen. Quarter note on B. Quarter note on A. Half note on G. Measure sixteen. Quarter note on G. Two beamed eighth notes, A and B. Quarter note on C flat. Quarter note on C natural. Measure seventeen. Quarter note on D. Quarter note on D sharp. Quarter note on E. Quarter note on C. Measure eighteen. Quarter note on D sharp. Quarter note on E. Half note on D. Measure eighteen. Quarter note on E. Quarter note on E. Quarter note on C. Quarter note on A.
Bass. Measure one. Dotted half note on G. Quarter note on G. Measure two. Dotted half note on A. Quarter note on A. Measure three. Quarter note on B. Quarter note on C. Quarter note on D. Quarter note on D. Measure four. Quarter note on G. Quarter note on E. Half note on C. Measure five. Quarter note on C. This note is connected with a tie to the half note on C in the preceding measure. Two beamed eighth notes, B and A. Quarter note on B. Quarter note on G. Measure six. Dotted half note on A. Quarter note on A. Measure seven. Half note on G. Half note on D. Measure eight. Half note on E. Half note on F. Measure nine. Quarter note on G. Quarter note on A. Half note on B. Measure ten. Quarter note on B. This note is connected with a tie to the half note on B in the preceding measure. Two beamed eighth notes, A and G. Quarter note on F. Quarter note on F natural. Measure eleven. Quarter note on E. Quarter note on E flat. Quarter note on D. Quarter note on F natural. Measure twelve. Quarter note on E. Quarter note on D. Half note on E. Measure thirteen. Quarter note on D. Quarter note on E. Quarter note on F. Quarter note on D. Measure fourteen. Quarter note on A. Quarter note on A. Quarter note on B. Quarter note on C sharp. Measure fifteen. Whole note on D. Measure sixteen. Quarter note on D. This note is connected with a tie to the whole note on D in the preceding measure. Half note on D. Quarter note on G. Measure seventeen. Half note on E. Half note on D. Measure eighteen. Quarter note on A. Quarter note on B. Quarter note on C sharp. Quarter note on F. Measure eighteen. Half note on B. Half note on E. These two half notes are connected with a slur.

Which of the following represents the correct pitch names for the first note in each part, listed in order of entrance?

1. G, D, F-sharp, D
2. G, B, B, G
3. G, A, G, D
4. G, D, D, G

Answer to question 2

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0008) The excerpt employs three types of C clef: the soprano, alto, and tenor. The C clef is a moveable clef whose center line designates the location of middle C. Depending on the clef's placement, middle C may be found on any staff line, but in the excerpt it appears on the first line (soprano), the third line (alto), and the fourth line (tenor). Once middle C is located, the rest of the pitch names on the staff can be determined in relation to it. The bass clef indicates the location of the pitch F below middle C (the line intersecting the two dots), from which the rest of the pitch names on the staff can be determined. With this information, the pitch name of any note on the staves in the excerpt can be identified. In this case, the first note of each voice, in order of entrance (bass, tenor, soprano, alto) would be G, D, D, G. Correct Response: D. (Objective 0008) The excerpt employs three types of C clef: the soprano, alto, and tenor. The C clef is a moveable clef whose center line designates the location of middle C. Depending on the clef's placement, middle C may be found on any staff line, but in the excerpt it appears on the first line (soprano), the third line (alto), and the fourth line (tenor). Once middle C is located, the rest of the pitch names on the staff can be determined in relation to it. The bass clef indicates the location of the pitch F below middle C (the line intersecting the two dots), from which the rest of the pitch names on the staff can be determined. With this information, the pitch name of any note on the staves in the excerpt can be identified. In this case, the first note of each voice, in order of entrance (bass, tenor, soprano, alto) would be G, D, D, G.

Question 3

3. Use the example below to answer the question that follows.

The note shown in the example is equal to how many eighth notes?

1. 12
2. 9
3. 8
4. 6

Answer to question 3

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0008) A dot attached to any note increases its value by one-half. Since a whole note equals 8 eighth notes, the dot increases its value by 4 more eighth notes. Therefore, the correct answer is 12. Correct Response: A. (Objective 0008) A dot attached to any note increases its value by one-half. Since a whole note equals 8 eighth notes, the dot increases its value by 4 more eighth notes. Therefore, the correct answer is 12.

Question 4

4. Which of the following sets of notation symbols indicates a bowing technique for string instruments known as ricochet?

1. 
   Two sets of beamed sixteenth notes. Four notes in each set, all played staccato. Tie beneath the middle two notes of the first set. Tie beneath the last note of the first set and the first note of the second set. Tie beneath the middle two notes of the second set. Tie beneath the last note of the second set extending to the blank space to the right.
2. 
   
3. 
   Three beamed sixteenth notes, one isolated eighth note. All sixteenth notes are played staccato, and there is a tie extending from the first note in this set to the last note. Down bow mark on top of the first note in the set of beamed sixteenth notes. Up bow mark on top of the isolated sixteenth note.
4. 

Answer to question 4

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0008) The bowing technique known as ricochet consists of throwing the bow on the string in the upper third of the bow so that it will bounce the number of times indicated on the down-bow. Then the first note after the ricochet is performed with an up-bow. The correct response shows the appropriate notation symbols for this technique: the three sixteenth notes are played by dropping or throwing the bow on the string and allowing the bow to bounce three times; then the following eighth note is played with an up-bow as indicated. Correct Response: C. (Objective 0008) The bowing technique known as ricochet consists of throwing the bow on the string in the upper third of the bow so that it will bounce the number of times indicated on the down-bow. Then the first note after the ricochet is performed with an up-bow. The correct response shows the appropriate notation symbols for this technique: the three sixteenth notes are played by dropping or throwing the bow on the string and allowing the bow to bounce three times; then the following eighth note is played with an up-bow as indicated.

Question 5

5. A music teacher is entering the following passage into notation software using the tuplet tool.

The quintuplet above is equivalent to which of the following rhythmic durations?

1. six thirty-second notes
2. four sixteenth notes
3. eight sixty-fourth notes
4. two eighth-note triplets

Answer to question 5

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0008) In this example, a sixteenth-note quintuplet is the equivalent of one beat, which equals two eighth notes or four sixteenth notes. Correct Response: B. (Objective 0008) In this example, a sixteenth-note quintuplet is the equivalent of one beat, which equals two eighth notes or four sixteenth notes.

Question 6

6. Which of the following is a plagal cadence?

Answer to question 6

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0009) A plagal cadence features the chord progression IV-I. The only response option in which a subdominant chord moves to a tonic chord is option B. Correct Response: B. (Objective 0009) A plagal cadence features the chord progression IV-I. The only response option in which a subdominant chord moves to a tonic chord is option B.

Question 7

7. Use the example below to answer the question that follows.

Which of the following is the correct realization for the turn illustrated in the example?

Answer to question 7

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0009) The total value of the realization of a turn should be exactly the same as the original note involved. Four thirty-second notes are equal in value to one eighth note. Correct Response: C. (Objective 0009) The total value of the realization of a turn should be exactly the same as the original note involved. Four thirty-second notes are equal in value to one eighth note.

Question 8

8. Use the excerpt below to answer the question that follows.

Both consist of eleven measures, and are played in D major and six over eight time signature. Voice. First four measures only have one whole rest each. Measure five. Quarter note on A. Eighth note on A. Three beamed notes. First is a dotted eighth note on A. Second is a sixteenth note on B. Third is an eighth note on A. Measure six. Quarter note on A. Eighth note on D. Quarter note on F. Eighth note on D. Measure seven. Quarter note on F. Eighth note on F. Three beamed notes. Dotted eighth note on F. Sixteenth note on G. Eighth note on F. Measure eight. Quarter note on F. Eighth note on B. Quarter note on D. Eighth note on B. Measure nine. Quarter note on G sharp. Eighth note on G. Three beamed notes. Eighth note on A. Eighth note on G. Eighth note on A. Measure ten. Dotted quarter note on C. Three beamed notes. Eighth note on C. Eighth note on D. Eighth note on G sharp. Tie connecting the dotted quarter note on C to the eighth note on C, which is the first of the three beamed notes. Measure eleven. Quarter note on A. Eighth rest on C. Dotted quarter rest.
Piano. Measure one. Treble clef. Three eighth notes played simultaneously. D just above middle C, F, and A. Two eighth rests. Three more eighth notes played simultaneously. E, G, and A. Two eighth rests.
Bass clef. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. C, E, and A. Measure two.
Treble clef. Set of six beamed notes. First two are eighth notes played simultaneously. Next four are sixteenth notes. B, C, D, E. Slur connecting the first two eighth notes played simultaneously and the sixteenth note on E. Beamed set of six eighth notes, consisting of two pairs of G and A.
Bass clef. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. C, E, and A. Measure three. Three eighth notes played simultaneously. The D just above middle C, F, and A. Two eighth rests. Three more eighth notes played simultaneously. E, G, and A. Two eighth rests.
Bass clef. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. C, E, and A. Measure four.
Treble clef. Set of seven beamed notes. First three are eighth notes played simultaneously. The D just above middle C, F, and A. The rest are sixteenth notes. B, A, F, and the D just above middle C. Tie connecting the two D notes above middle C. Set of six beamed eighth notes, consisting of two pairs of C and E.
Bass clef. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. A, E, and A. Measure five. Three eighth notes played simultaneously. D just above middle C, F, and A. Two eighth rests. Three more eighth notes played simultaneously. E, G, and A. Two eighth rests. Bass clef. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. C, E, and A. Measure six.
Treble clef. Three eighth notes played simultaneously. D just above middle C, F, and A. Two eighth rests. Set of six beamed notes. First two are eighth notes played simultaneously. Next four are sixteenth notes. B, C, D, E. Slur connecting the first two eighth notes played simultaneously and the sixteenth note on E. Set of three beamed eighth notes. D, F, and A. Another set of three beamed eighth notes. C, E, and A. Measure seven. Three eighth notes played simultaneously. F, D, and F. Two eighth rests. Three more eighth notes played simultaneously. F, E, and F. Two more eighth rests.
Bass clef. Set of three beamed eighth notes. B, F, and B. Another set of three beamed eighth notes. C, F, and A sharp. Measure eight.
Treble clef. Three eighth notes played simultaneously. F, D, and F. Two eighth rests. Set of six beamed sixteenth notes. F, E, D, C, B, and A. Bass clef. Set of three beamed eighth notes. D, F, and B. Another set of three beamed eighth notes. D, F, and and B. Measure nine.
Treble clef. Three eighth notes played simultaneously. The D above middle C, E, and G sharp. Two eighth rests. Three more eighth notes played simultaneously. Middle C, E, and A. Two more eighth rests. Bass clef. Set of three beamed eighth notes. B, D, and G sharp. Another set of three beamed eighth notes. C, E, and A. Measure ten. Four eighth notes played simultaneously. E, A, C, and E. Two eighth rests. Four more eighth notes played simultaneously. E, G sharp, B, and E. Two more eighth rests.
Bass clef. Set of three beamed eighth notes. E, A, and middle C. Another set of three beamed eighth notes. E, B, and the D just above middle C. Measure eleven.
Treble clef. Eighth note on E. Two eighth rests. Dotted half rest. Bass clef. Eighth note on C. Two eighth rests. Dotted half rest.

Which of the following statements accurately describes the harmonic structure of the excerpt?

1. The music begins in the key of D major and modulates to the key of A major.
2. The music begins in the key of B minor and modulates to the key of D major.
3. The music begins in the key of D major and remains in the key of D major.
4. The music begins in the key of B minor and remains in the key of B minor.

Answer to question 8

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0009) In the excerpt, the key of D major is established at the beginning as evidenced by the key signature (two sharps) and by the continuous repetition of the chords D major and A7, the tonic (I) and dominant seventh (V7) chords in the key of D in the accompaniment. However, in measure 9 a new chord (E7) that is not in the key of D major is introduced in the accompaniment, beginning a new chord sequence in which E7 alternates with an A major chord. E7 is the dominant seventh (V7) and A is the tonic (I) in the key of A. The excerpt ends with a V7-I progression, the most common and unambiguous way to establish a key–in this case a modulation to a new key. The modulation is strengthened by the final notes in the vocal melody, which move from a G-sharp, the leading tone in the key of A, to the new tonic. Correct Response: A. (Objective 0009) In the excerpt, the key of D major is established at the beginning as evidenced by the key signature (two sharps) and by the continuous repetition of the chords D major and A seven, the tonic (I) and dominant seventh (V seven) chords in the key of D in the accompaniment. However, in measure 9 a new chord (E seven) that is not in the key of D major is introduced in the accompaniment, beginning a new chord sequence in which E seven alternates with an A major chord. E seven is the dominant seventh (V seven) and A is the tonic (I) in the key of A. The excerpt ends with a V seven -I progression, the most common and unambiguous way to establish a key–in this case a modulation to a new key. The modulation is strengthened by the final notes in the vocal melody, which move from a G-sharp, the leading tone in the key of A, to the new tonic.

Question 9

9. Use the example below to answer the question that follows.

Three measures. Measure one. Treble clef. Set of three beamed eighth notes. D, C, and D. Dotted half note on the D just above middle C is to be played simultaneously with the first D. Another set of three beamed eighth notes. A, B, and A. Bass clef. Two dotted half notes played simultaneously. F and A. Measure two. Treble clef. Set of three beamed eighth notes. B, A, and G. Dotted half note on the D just above middle C is to be played simultaneously with B. Tie connecting the dotted half note in measure one to this dotted half note. Another set of three beamed eighth notes. F, the D just above middle C, and E. Bass clef. Two dotted half notes played simultaneously. F and A. Two ties connecting the same dotted half notes in measure one to these two dotted half notes. Measure three. Treble clef. Two dotted half notes played simultaneously. The D just above middle C, and F. Tie connecting the dotted half note on the D just above middle C in measure two to this dotted half note. Bass clef. Two dotted half notes played simultaneously. D and A. Tie connecting the dotted half note on A in measure two to this dotted half note.

Which of the following rhythmic elements would generally be most influential in determining the tempo of the example?

1. composite rhythm
2. harmonic rhythm
3. melodic rhythm
4. macro rhythm

Answer to question 9

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0009) Harmonic rhythm is a term used to describe the frequency of chord change in a musical composition. Many Renaissance and Baroque scores do not show tempo indications. Often the harmonic rhythm gives the best musical clue in determining an appropriate tempo. The example uses only one chord throughout. This would be described as having a very slow harmonic rhythm, and it would allow for a quicker tempo while preserving clarity of the lines and sonorities in performance. Correct Response: B. (Objective 0009) Harmonic rhythm is a term used to describe the frequency of chord change in a musical composition. Many Renaissance and Baroque scores do not show tempo indications. Often the harmonic rhythm gives the best musical clue in determining an appropriate tempo. The example uses only one chord throughout. This would be described as having a very slow harmonic rhythm, and it would allow for a quicker tempo while preserving clarity of the lines and sonorities in performance.

Question 10

10. Use the excerpt below to answer the question that follows.

Which of the following terms best describes the rhythmic pattern shown above?

1. habanera
2. Scotch snap
3. krakowiak
4. tarantella

Answer to question 10

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0009) The rhythmic pattern shown above is most closely associated with the habanera, which is an Afro-Cuban dance and song. A famous example occurs in George Bizet's opera Carmen. Correct Response: A. (Objective 0009) The rhythmic pattern shown above is most closely associated with the habanera, which is an Afro-Cuban dance and song. A famous example occurs in George Bizet's opera start italics Carmen end italics.

Question 11

11. Use the excerpt below to answer the question that follows.

Which of the following chromatic chords best describes the sonority at the end of measure 2?

1. German augmented sixth
2. Neapolitan sixth
3. French augmented sixth
4. Italian augmented sixth

Answer to question 11

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0009) Augmented-sixth chords are chromatic harmonies that contain an augmented-sixth interval, which is one half-step larger than a major sixth. Augmented-sixth chords are most often built upon the lowered scale degree six, or flat six in the bass and form an augmented-sixth interval against a raised scale degree four. For example, in C major this would be an A-flat in the bass with an F-sharp above it. In addition to these two pitches, all three nationality-named chords also contain scale degree one. The Italian augmented sixth is unique for having only these three different pitches while the French has an additional scale degree two and the German a lowered scale degree three, respectively. Correct Response: D. (Objective 0009) Augmented-sixth chords are chromatic harmonies that contain an augmented-sixth interval, which is one half-step larger than a major sixth. Augmented-sixth chords are most often built upon the lowered scale degree six, or flat six in the bass and form an augmented-sixth interval against a raised scale degree four. For example, in C major this would be an A-flat in the bass with an F-sharp above it. In addition to these two pitches, all three nationality-named chords also contain scale degree one. The Italian augmented sixth is unique for having only these three different pitches while the French has an additional scale degree two and the German a lowered scale degree three, respectively.

Question 12

12. A chaconne from the Baroque period, a passacaglia from the Classical period, and a twentieth-century improvisation over a 12-bar blues progression could all be considered which of the following musical forms?

1. continuous variations
2. ritornello form
3. sectional variations
4. sonata-rondo form

Answer to question 12

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0010) Continuous variations are variations in which a bass line and/or harmonic progression is repeated continuously while the melodic material changes each time. Such pieces have been called by many names throughout history. In the Baroque and Classical periods, the chaconne and passacaglia were common examples, and there is a rather close relationship between these musical forms and an improvisation over a 12-bar blues progression. In all three examples, there is a regularly recurring harmonic progression as the foundation for the melodic material that is constantly changing above it. Correct Response: A. (Objective 0010) Continuous variations are variations in which a bass line and/or harmonic progression is repeated continuously while the melodic material changes each time. Such pieces have been called by many names throughout history. In the Baroque and Classical periods, the chaconne and passacaglia were common examples, and there is a rather close relationship between these musical forms and an improvisation over a 12-bar blues progression. In all three examples, there is a regularly recurring harmonic progression as the foundation for the melodic material that is constantly changing above it.

Question 13

13. Use the example below to answer the question that follows.

Double bar, colon. Wide bracket with base facing north and the two prongs facing south. The letter A is on top of the bracket. Colon, double bar, colon. Wide bracket with base facing north and the two prongs facing south. The letter B is on top of the bracket. Colon, double bar.

Which of the following terms best describes the musical form diagrammed in the example?

1. bar form binary
2. extended binary
3. rounded binary
4. simple binary

Answer to question 13

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0010) Simple binary is a musical form in two parts, each of which is repeated. This form is common in dance movements and sonata movements in music from the Baroque period. It is also common in minuets, trios, and scherzos from the Classical and Romantic periods. Correct Response: D. (Objective 0010) Simple binary is a musical form in two parts, each of which is repeated. This form is common in dance movements and sonata movements in music from the Baroque period. It is also common in minuets, trios, and scherzos from the Classical and Romantic periods.

Question 14

14. Use the excerpt below to answer the question that follows.

Both staves are played in treble clef, common time, and consist of fifteen measures. Soprano. Measure one. Whole rest. Measure two. Whole note on A. Measure three. Two half notes, both on A. Measure four. Whole note on E. Measure five. Half rest. Half note on A. Measure six. Two half notes, both on G.
Measure seven. Two half notes, both on C. Measure eight. Quarter note on B. Quarter note on A. Quarter note on G. Quarter note on F. Measure nine. Quarter note on E. Quarter note on F. Quarter note on G. Quarter note on A. Measure ten. Half note on B. Half note on C. Measure eleven. Quarter note on C. Tie connecting the half note on C in measure ten to this quarter note. Quarter note on B. Quarter note on A. Quarter note on G. Measure twelve. Half note on A. Half note on B.
Measure thirteen. Quarter note on B. Tie connecting the half note on B in measure twelve to this quarter note. Quarter note on A. Half note on A. Measure fourteen. Half note on A. Half note on G. Long slur connecting the quarter note on B in measure eight to the half note on G in this measure. Measure fifteen. Half note on A. Half rest. Tenor. All notes should sound one octave lower than written.
Measure one. Whole note on D. Measure two. Two half notes, both on D. Measure three. Half note on A. Half note on D. Measure four. Two half notes, both on C. Measure five. Two half notes, both on E. Measure six. Quarter note on E. Quarter note on D. Quarter note on C. Quarter note on B.
Measure seven. Quarter note on A. Quarter note on B. Quarter note on C. Quarter note on D. Measure eight. Dotted half note on E. Quarter note on F. Slur connecting the quarter note on E in measure six to the quarter note on F in this measure. Measure nine. Half note on the D just below middle C. Half note on C. Measure ten. Half note on D. Half note on E. Measure eleven. Half note on C. Half note on F. Measure twelve. Quarter note on E. Tie connecting the half note on F in measure eleven to the quarter note on F in this measure. Quarter note on E. Quarter note on E. Two beamed eighth notes, D and C.
Measure thirteen. Quarter note on D. Quarter note on C. Quarter note on B. Quarter note on A. Slur connecting the half note on F in measure eleven to the quarter note on A in measure thirteen. Measure fourteen. Whole note on B. Measure fifteen. Half note on A. Half rest.

Which of the following compositional devices common to vocal music is demonstrated in the excerpt?

1. coloratura
2. melisma
3. arpeggio
4. portamento

Answer to question 14

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0010) A melisma is a term usually applied to vocal music and refers to several notes being sung on a single syllable, normally in one breath. The range of notes covered by the melisma is usually indicated by a slur connecting the first and last notes. In the excerpt, there are three such examples in both the soprano part (measures 8–14) and the tenor part (measures 6–8 and 11–13). Correct Response: B. (Objective 0010) A melisma is a term usually applied to vocal music and refers to several notes being sung on a single syllable, normally in one breath. The range of notes covered by the melisma is usually indicated by a slur connecting the first and last notes. In the excerpt, there are three such examples in both the soprano part (measures 8 through 14) and the tenor part (measures 6 through 8 and 11 through 13).

Question 15

15. Use the graphic below to answer the question that follows.

Which of the following pitches correctly completes the 12-tone row shown above?

1. F-natural
2. D-flat
3. G-sharp
4. B-flat

Answer to question 15

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0010) In 12-tone serialism, a tone row melody must present all 12 notes, or pitch classes, of the chromatic scale once before a note can be repeated. The tone row assumes enharmonic equivalency, meaning that C-sharp equals D-flat, E-sharp equals F-natural, etc. The only pitch class missing from the tone row above is B-flat. Correct Response: D. (Objective 0010) In 12-tone serialism, a tone row melody must present all 12 notes, or pitch classes, of the chromatic scale once before a note can be repeated. The tone row assumes enharmonic equivalency, meaning that C-sharp equals D-flat, E-sharp equals F-natural, etc. The only pitch class missing from the tone row above is B-flat.

Question 16

16. Which of the following elements is most characteristic of late-Baroque music?

1. church modes
2. clarinet instrumentation
3. basso continuo
4. thin textures

Answer to question 16

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0011) A basso continuo is typical of Baroque music and consists of a bass instrument, like cello or bassoon, and a keyboard instrument, like organ or harpsichord. The basso continuo gives Baroque pieces their thick textures and functionally-tonal harmonic structures. The harpsichord was used almost exclusively within the Baroque era. Thus, harpsichord and basso continuo are essentially synonymous with Baroque music. Correct Response: C. (Objective 0011) A basso continuo is typical of Baroque music and consists of a bass instrument, like cello or bassoon, and a keyboard instrument, like organ or harpsichord. The basso continuo gives Baroque pieces their thick textures and functionally-tonal harmonic structures. The harpsichord was used almost exclusively within the Baroque era. Thus, harpsichord and basso continuo are essentially synonymous with Baroque music.

Question 17

17. Which of the following European composers wrote the first successful opera?

1. Arcangelo Corelli
2. Claudio Monteverdi
3. Jean-Baptiste Lully
4. Henry Purcell

Answer to question 17

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0011) According to many musicologists, the first true European example of the genre known as opera was Monteverdi's L'Orfeo, first performed in 1607. It is still the most frequently performed of all early operas and contains a libretto, an instrumental overture, recitatives, arias, and choruses, all of which are important elements of the genre. Correct Response: B. (Objective 0011) According to many musicologists, the first true European example of the genre known as opera was Monteverdi's start italics L'Orfeo end italics, first performed in 1607. It is still the most frequently performed of all early operas and contains a libretto, an instrumental overture, recitatives, arias, and choruses, all of which are important elements of the genre.

Question 18

18. The bowed string instruments known as viols that were popular during the Renaissance and Baroque periods differed from the violin family in which of the following ways?

1. Viols had curved fingerboards and four pairs of strings.
2. Viols were generally larger and made a louder sound.
3. Viols were used as ensemble rather than solo instruments.
4. Viols had fretted fingerboards and six strings.

Answer to question 18

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0011) Viols are bowed string instruments that were developed in Europe during the late fifteenth century. They were built in many different sizes, but treble, tenor, and bass were most common. These instruments were characterized by fretted fingerboards and most commonly had six strings. They were often employed in ensembles, but in France the bass viol was favored as a solo instrument. String instruments of the violin family, which came into common use during the seventeenth century, have four strings and an unfretted fingerboard. Correct Response: D. (Objective 0011) Viols are bowed string instruments that were developed in Europe during the late fifteenth century. They were built in many different sizes, but treble, tenor, and bass were most common. These instruments were characterized by fretted fingerboards and most commonly had six strings. They were often employed in ensembles, but in France the bass viol was favored as a solo instrument. String instruments of the violin family, which came into common use during the seventeenth century, have four strings and an unfretted fingerboard.

Question 19

19. Which of the following statements best describes Johann Sebastian Bach's impact on the history of Western music?

1. Bach was the first composer to write four-part string and woodwind quartets.
2. Bach's operas synthesize established traditions associated with Italian and French styles.
3. Bach led the development of musical nationalism through tone poems and mazurkas.
4. Bach's chorales are microcosms of functional tonality and textbook dissonance treatment.

Answer to question 19

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0011) For centuries, musicians have studied J.S. Bach's 371 chorales to better understand harmonic progressions, voice leading, and ways of preparing and resolving dissonances. Of the genres listed above, the only one in which Bach composed is chorale. Correct Response: D. (Objective 0011) For centuries, musicians have studied J.S. Bach's 371 chorales to better understand harmonic progressions, voice leading, and ways of preparing and resolving dissonances. Of the genres listed above, the only one in which Bach composed is chorale.

Question 20

20. George Frideric Handel's start italics Giulio Cesare, Alcina end italics, and start italics Rodelinda end italics all exemplify which of the following vocal genres?

1. coronation anthem
2. oratorio
3. opera seria
4. cantata

Answer to question 20

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0011). George Frideric Handel (1685–1759) wrote over three dozen operas. Giulio Cesare, Alcina, and Rodelinda are all outstanding examples of the most prestigious type of opera in the eighteenth century Baroque, opera seria. Correct Response: C. (Objective 0011). George Frideric Handel (1685 to 1759) wrote over three dozen operas. start italics Giulio Cesare, Alcina end italics, and start italics Rodelinda end italics are all outstanding examples of the most prestigious type of opera in the eighteenth century Baroque, opera seria.

Question 21

21. Use the excerpt below to answer the question that follows.

All staves consist of two measures. First staff. Treble clef. Three over four time signature. Sixteenth rest. Following notes are to be played forte. Two beamed notes. First is an eighth note on the A flat to be played marcato just above the fourth ledger line above the staff. Second is a sixteenth note on the G just below the preceding A. Four beamed sixteenth notes. F just below the preceding G. Slur connecting this note to the eighth note on the A flat to be played marcato just above the fourth ledger line above the staff. A one ledger line above staff. B flat just above the preceding A. C sharp just above the preceding B flat. Three beamed notes. First is a sixteenth note on the D just above the preceding C sharp. Second is an eighth note to be played staccato on the E flat just above the preceding D. Third is a sixteenth note to be played marcato on E. Measure two. Three beamed notes. Sixteenth note on F. Sixteenth note on B flat. Eighth note to be played staccato on the A one ledger line above staff. Sixteenth rest. Three beamed sixteenth notes. B to be played marcato, A flat, and C. Following notes are to be played sforzato. Two beamed notes. Dotted eighth note on F sharp. Slur connecting this note to the sixteenth note on B in this measure. Sixteenth note to be played staccato and down bow on D natural.
Second staff. Treble clef. Three over four time signature. Measure one. Quarter rest. Eighth rest. Following notes to be played pizzicato and forte. Eighth note to be played staccato and accented on G sharp. Eighth rest. Eighth note to be played staccato and accented on G natural. Measure two. Eighth rest. Sixteenth rest. Sixteenth note to be played staccato and accented on F sharp. Eighth note to be played staccato and accented on F natural. Eighth rest. Following notes to be played arco. Three beamed eighth notes, all with two slashes through their stems. G just above the staff, E flat, and A. Number three just below the beam connecting these notes.
Third staff. C clef. Three over four time signature. Measure one. Quarter rest. Eighth rest. Following notes to be played forte. Eighth note to be played down bow on A. Four beamed sixteenth notes. A, middle C to be played tenuto, the D just above middle C to be played tenuto, E to be played tenuto. Tie connecting the sixteenth note on A to the eighth note on A. Measure two. Two beamed eighth notes. E sharp to be played tenuto, and the B sharp just above middle C to be played tenuto. Three beamed notes. Eighth note on B. Sixteenth note on A. Sixteenth note on A flat. Three beamed notes. Sixteenth note on G. Sixteenth note on G flat. Eighth note on F. Slur connecting the eighth note on B to the sixteenth note on G.
Fourth staff. Bass clef. Three over four time signature. Measure one. Quarter rest. Eighth rest. Following notes to be played pizzicato and forte. Eighth note to be played staccato and accented on middle C. Eighth rest. Eighth note to be played staccato and accented on middle C sharp. Measure two. Eighth rest. Sixteenth rest. Sixteenth note to be played staccato and accented on the D just above middle C. Eighth note to be played staccato and accented on the E just above the preceding D. Eighth rest. Eighth rest. Eighth note to be played staccato and accented on the E natural two ledger lines above staff.

The musical structure, stylistic characteristics, and specific expressive aspects indicated in the excerpt suggest that it is most likely from which of the following works?

1. a wind quartet by Pierre Boulez
2. a brass quartet by Leonard Bernstein
3. a pitched percussion quartet by Milton Babbitt
4. a string quartet by Alban Berg

Answer to question 21

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0012) The configuration of the excerpt—two treble clef lines, one alto clef line, and one bass clef line—is the standard arrangement for string quartet music, which typically includes two violins (treble clefs), viola (alto clef), and cello (bass clef). The indication pizz. (pizzicato, to pluck a string) and arco (to use the bow) in two of the parts, as well as occasional symbols for down-bow and up-bow, confirms that this is a work for strings. Furthermore, the use of accidentals rather than a key signature to define pitches and the dissonant harmonic style are characteristics consistent with those that might be found in a twentieth-century atonal work—one that would be typical of Austrian composer Alban Berg, who was the student of Arnold Schoenberg. Correct Response: D. (Objective 0012) The configuration of the excerpt—two treble clef lines, one alto clef line, and one bass clef line—is the standard arrangement for string quartet music, which typically includes two violins (treble clefs), viola (alto clef), and cello (bass clef). The indication start italics pizz end italics. (pizzicato, to pluck a string) and arco (to use the bow) in two of the parts, as well as occasional symbols for down-bow and up-bow, confirms that this is a work for strings. Furthermore, the use of accidentals rather than a key signature to define pitches and the dissonant harmonic style are characteristics consistent with those that might be found in a twentieth-century atonal work—one that would be typical of Austrian composer Alban Berg, who was the student of Arnold Schoenberg.

Question 22

22. start italics Black, Brown and Beige end italics is a twentieth-century work that fits which of the following descriptions?

1. an opera by George Gershwin
2. a concerto by William Grant Still
3. a jazz symphony by Duke Ellington
4. a ragtime suite by Scott Joplin

Answer to question 22

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0012) Duke Ellington was a pioneering U.S. composer, pianist, and bandleader from the 1920s to the 1970s. He composed not only songs and many extended compositions for his famous band, but also works for the stage and for film. He experimented with longer forms that incorporated elements of both classical and jazz styles, and in 1943 he premiered at Carnegie Hall a 45-minute, three-movement concert work titled Black, Brown and Beige. Because its length, thematic treatments, and structure resemble a classical symphonic model, the work has been referred to as a symphony. Correct Response: C. (Objective 0012) Duke Ellington was a pioneering U.S. composer, pianist, and bandleader from the 1920s to the 1970s. He composed not only songs and many extended compositions for his famous band, but also works for the stage and for film. He experimented with longer forms that incorporated elements of both classical and jazz styles, and in 1943 he premiered at Carnegie Hall a 45-minute, three-movement concert work titled start italics Black, Brown and Beige end italics. Because its length, thematic treatments, and structure resemble a classical symphonic model, the work has been referred to as a symphony.

Question 23

23. A virtuoso harp and a treble chorus are the performing forces used in which of the following significant twentieth-century choral works in which ancient texts were given unique, contemporary settings?

1. start italics The Peaceable Kingdom end italics by Randall Thompson
2. start italics Chester Psalms end italics by Leonard Bernstein
3. start italics Mass of the Children end italics by John Rutter
4. start italics A Ceremony of Carols end italics by Benjamin Britten

Answer to question 23

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0012) In 1942, English composer Benjamin Britten was returning to Britain by ship from the United States when, during a stop in Halifax, Nova Scotia, he purchased a book of medieval poems. During the weeks-long voyage, he was inspired to set several of the poems to music, for the unusual combination of treble voices and harp. He chose texts related to the story of Christmas, and in the musical settings ingeniously combined modal and modern harmonic and melodic structures to give the music both a medieval and a modern character. After completing the first group of seven songs, Britten later made some revisions and additions (including a harp solo) and organized the set into a concert work, which he titled A Ceremony of Carols. Correct Response: D. (Objective 0012) In 1942, English composer Benjamin Britten was returning to Britain by ship from the United States when, during a stop in Halifax, Nova Scotia, he purchased a book of medieval poems. During the weeks-long voyage, he was inspired to set several of the poems to music, for the unusual combination of treble voices and harp. He chose texts related to the story of Christmas, and in the musical settings ingeniously combined modal and modern harmonic and melodic structures to give the music both a medieval and a modern character. After completing the first group of seven songs, Britten later made some revisions and additions (including a harp solo) and organized the set into a concert work, which he titled start italics A Ceremony of Carols end italics.

Question 24

24. Which of the following trio of composers best exemplifies the style holy minimalism?

1. Henryk Górecki, Arvo Pärt, John Tavener
2. John Adams, Steve Reich, Terry Riley
3. Claude Debussy, Maurice Ravel, Erik Satie
4. Alban Berg, Arnold Schoenberg, Anton Webern

Answer to question 24

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0012) The term holy minimalism describes a late twentieth- and early twenty-first-century musical style in which primarily European composers set sacred (holy) texts using limited musical materials and ample repetition (minimalism). Although the other trios of composers all share a particular style, the only composers above who all wrote holy minimalism are the Polish Henryk Górecki (1933–2010), Estonian Arvo Pärt (1935–), and British John Tavener (1944–2013). Correct Response: A. (Objective 0012) The term start italics holy minimalism end italics describes a late twentieth- and early twenty-first-century musical style in which primarily European composers set sacred (holy) texts using limited musical materials and ample repetition (minimalism). Although the other trios of composers all share a particular style, the only composers above who all wrote holy minimalism are the Polish Henryk Górecki (1933 to 2010), Estonian Arvo Pärt (1935 dash), and British John Tavener (1944 to 2013).

Question 25

25. Which of the following accomplishments best describes Franz Schubert's role in Western music history?

1. inventing the string quartet genre
2. reviving an interest in J.S. Bach's vocal music
3. popularizing Polish folk dances
4. contributing to the development of the lied

Answer to question 25

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0012) The six hundred art songs, or lieder, by Franz Schubert (1797–1828) contain remarkable chromatic innovations and exemplary musical expressions of the text. While the other options describe the musical contributions of Franz Joseph Haydn, Felix Mendelssohn, and Frédéric Chopin, respectively, Schubert is best remembered for developing the German lied. Correct Response: D. (Objective 0012) The six hundred art songs, or lieder, by Franz Schubert (1797 to 1828) contain remarkable chromatic innovations and exemplary musical expressions of the text. While the other options describe the musical contributions of Franz Joseph Haydn, Felix Mendelssohn, and Frédéric Chopin, respectively, Schubert is best remembered for developing the German lied.

Question 26

26. start italics El Salón México, Billy the Kid end italics, and start italics Lincoln Portrait end italics were all written by which of the following composers?

1. Charles Ives
2. George Gershwin
3. Aaron Copland
4. Leonard Bernstein

Answer to question 26

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0013) Aaron Copland (1900–1990) is known for a relatively accessible diatonic-oriented compositional language as compared to his avant-garde contemporaries like Charles Ives. Copland's best known works include El Salón México (1936), Billy the Kid (1938), and Lincoln Portrait (1942). They all contain elements typical of Copland's style, including the use of folk songs and rhythms, cowboy tunes, and Americana themes, respectively. Correct Response: C. (Objective 0013) Aaron Copland (1900 to 1990) is known for a relatively accessible diatonic-oriented compositional language as compared to his avant-garde contemporaries like Charles Ives. Copland's best known works include start italics El Salón México end italics (1936), start italics Billy the Kid end italics (1938), and start italics Lincoln Portrait end italics (1942). They all contain elements typical of Copland's style, including the use of folk songs and rhythms, cowboy tunes, and Americana themes, respectively.

Question 27

27. The formal instrumental ensemble known as the gamelan and the folk instrument known as the angklung are associated with which of the following countries?

1. China
2. India
3. Indonesia
4. Vietnam

Answer to question 27

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0013) Gamelan is an Indonesian word meaning "musical ensemble." This type of ensemble, which often consists of bronze metallophones of various shapes and sizes, xylophones, membranophones, an aerophone, and sometimes a chordophone, is one of the larger instrumental ensembles originating outside the Western world. The gamelan is common in Java, the most heavily populated island in Indonesia. It is also important in the history of classical music in Bali, and certainly other islands of this large country. The angklung is a bamboo folk instrument originally discovered in the villages of Bali and today is known throughout the country of Indonesia. It was commonly associated with village festivals. Correct Response: C. (Objective 0013) start italics Gamelan end italics is an Indonesian word meaning "musical ensemble." This type of ensemble, which often consists of bronze metallophones of various shapes and sizes, xylophones, membranophones, an aerophone, and sometimes a chordophone, is one of the larger instrumental ensembles originating outside the Western world. The gamelan is common in Java, the most heavily populated island in Indonesia. It is also important in the history of classical music in Bali, and certainly other islands of this large country. The angklung is a bamboo folk instrument originally discovered in the villages of Bali and today is known throughout the country of Indonesia. It was commonly associated with village festivals.

Question 28

28. In addition to Native American music, which of the following musical genres is widely recognized as the first authentic folk music created in the United States?

1. blues
2. gospel
3. ragtime
4. spirituals

Answer to question 28

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0013) Spirituals are religious folk songs that were created and first sung by African Americans in slavery. Most scholars speculate that these songs first appeared in the late 1700s and remained common through the end of legalized slavery in the 1860s. By borrowing from Protestant hymns, reworking them, and then making up new melodies and harmonies, African Americans developed the first authentic religious folk music in the United States. Often hidden in these songs was a secret code designed to send messages of hope and freedom to the slave community. Correct Response: D. (Objective 0013) Spirituals are religious folk songs that were created and first sung by African Americans in slavery. Most scholars speculate that these songs first appeared in the late 1700s and remained common through the end of legalized slavery in the 1860s. By borrowing from Protestant hymns, reworking them, and then making up new melodies and harmonies, African Americans developed the first authentic religious folk music in the United States. Often hidden in these songs was a secret code designed to send messages of hope and freedom to the slave community.

Question 29

29. Which of the following terms best describes the musical characteristic in sub-Saharan Africa of adding new parts to music as it is being performed?

1. interlocking
2. cyclical form
3. call and response
4. ostinato

Answer to question 29

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0013) A basic musical value in many sub-Saharan African societies is the ability to add one's own distinctive part to the ensemble while making it blend with the whole. Drum patterns, hand-clapping patterns, dance movements, and vocal melodies performed by participants frequently do not simply reproduce the basic beat and are typically not performed in unison. Rather, each participant may add his or her own rhythmic patterns, vocal parts, or dance movements so that they fall between or around central beats and pitches, in the spaces of other participants' parts. This performance practice is known as interlocking. Correct Response: A. (Objective 0013) A basic musical value in many sub-Saharan African societies is the ability to add one's own distinctive part to the ensemble while making it blend with the whole. Drum patterns, hand-clapping patterns, dance movements, and vocal melodies performed by participants frequently do not simply reproduce the basic beat and are typically not performed in unison. Rather, each participant may add his or her own rhythmic patterns, vocal parts, or dance movements so that they fall between or around central beats and pitches, in the spaces of other participants' parts. This performance practice is known as interlocking.

Question 30

30. Ella Fitzgerald and Billie Holiday most strongly cultivated which of the following musical styles?

1. rock
2. opera
3. jazz
4. folk

Answer to question 30

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0013) Ella Fitzgerald (1917–1996) and Billie Holiday (1915–1959) both sang jazz but developed it in different ways. For example, Ella Fitzgerald is best remembered for a type of jazz singing called scat while Billie Holiday's expressive recordings of jazz standards reflect her troubled life. Correct Response: C. (Objective 0013) Ella Fitzgerald (1917 to 1996) and Billie Holiday (1915 to 1959) both sang jazz but developed it in different ways. For example, Ella Fitzgerald is best remembered for a type of jazz singing called scat while Billie Holiday's expressive recordings of jazz standards reflect her troubled life.

Question 31

31. Use the excerpt below from start italics Gartenlieder end italics by Fanny Hensel to answer the question that follows.

The texture of the excerpt is primarily homorhythmic homophonic. The text is as follows. Abendlich schon rauscht der Wald aus den tiefen Gründen, droben wird der Herr nun bald an die Sterne zünden. Wie so stille in den Schlünden. The piece begins piano and has crescendos in measures 3 and 7, which drives to a decrescendo in measure 8. In measure 9 it returns to a piano dynamic.

Which of the following words in this excerpt should receive the heaviest articulation?

1. start italics Abendlich end italics in measure 1
2. start italics der end italics in measure 5
3. start italics zünden end italics in measure 8
4. start italics Wie end italics in measure 10

Answer to question 31

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 14) In this excerpt, the word zünden coincides with the loudest and highest note of the composition and is the last word of the sentence toward which all other words are driving. In phonetic terms, the German letter z is a voiceless alveolar affricative that requires an explosive sound produced by the tip of the tongue similar to the sound at the end of the English word cats. Correct Response: C. (Objective 14) In this excerpt, the word start italics zünden end italics coincides with the loudest and highest note of the composition and is the last word of the sentence toward which all other words are driving. In phonetic terms, the German letter z is a voiceless alveolar affricative that requires an explosive sound produced by the tip of the tongue similar to the sound at the end of the English word cats.

Question 32

32. Which of the following seating arrangements would be most effective for a high school choir in which the sopranos and altos outnumber the tenors and basses and the basses outnumber the tenors?

1. 
   The remaining space in the middle resembles a trapezoid with the top part pointing downward. Basses are seated in the top-third of the trapezoid; tenors are seated in the bottom third.
2. 
   Largest sections are sopranos and altos, occupying the bottom-left and bottom-right corners of the room, respectively, and both sections meet in the middle space. Basses occupy the top-right corner, extending into the top-left corner. The small space remaining in the top-left corner belongs to the tenors.
3. 
   Basses occupy a much smaller rectangular space that encroaches on the top-left part of the altos section. Adjacent to the basses (encroaching in top-right of soprano territory) are the tenors, who occupy a comparatively smaller rectangular space.
4. 
   Basses are seated to the left of altos in an area roughly half their size. Tenors are seated to the left of the basses (and, therefore, to the right of sopranos) in an area roughly half the size of basses.

Answer to question 32

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0014) The best seating arrangement for this scenario is to put the tenors and basses in the center of the choir with the weaker of the two sections (tenors) as far forward as possible. This will solidify the lower sections and help balance the sound. The lower sections will be surrounded by the two higher sections and will be able to hear both equally well, and the tenors, who will have the support of all three sections around and behind them, will project better to the audience at the same time. Correct Response: A. (Objective 0014) The best seating arrangement for this scenario is to put the tenors and basses in the center of the choir with the weaker of the two sections (tenors) as far forward as possible. This will solidify the lower sections and help balance the sound. The lower sections will be surrounded by the two higher sections and will be able to hear both equally well, and the tenors, who will have the support of all three sections around and behind them, will project better to the audience at the same time.

Question 33

33. A vocal music teacher is selecting literature for an experienced high school choir. Which of the following vocal ranges would be most appropriate for the teacher to consider as a comfortable tessitura for the altos?

Answer to question 33

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0014) When selecting appropriate literature for a high school choir, the teacher should make sure the range of each vocal line is within the capabilities of the students who will be singing it. Even more importantly, the tessitura, or the range in which most of the notes in a given part lie, should be comfortable for the singers. High school singers can handle an occasional note in the extreme of their range, but it can be very tiring if the line lies consistently in the high part of their singable range. The correct range for altos is usually from the G below the staff in the treble clef to the E in the top space of the staff. However, the tessitura is usually from the B below the staff to the C in the third space. Correct Response: B. (Objective 0014) When selecting appropriate literature for a high school choir, the teacher should make sure the range of each vocal line is within the capabilities of the students who will be singing it. Even more importantly, the tessitura, or the range in which most of the notes in a given part lie, should be comfortable for the singers. High school singers can handle an occasional note in the extreme of their range, but it can be very tiring if the line lies consistently in the high part of their singable range. The correct range for altos is usually from the G below the staff in the treble clef to the E in the top space of the staff. However, the tessitura is usually from the B below the staff to the C in the third space.

Question 34

34. A vocal music teacher asks a singer to place a tone forward. The singer's most appropriate response would be to:

1. keep the throat open and relaxed.
2. maximize the resonance created by the soft palate.
3. use diaphragmatic costal breathing.
4. maximize the resonance created by the hard palate.

Answer to question 34

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: D. (Objective 0014) The roof of the mouth begins immediately behind the teeth with the hard palate and becomes the soft palate farther back in the mouth and throat. Placing the tone forward is making sure that the resonance comes from the hard palate as much as possible. Correct Response: D. (Objective 0014) The roof of the mouth begins immediately behind the teeth with the hard palate and becomes the soft palate farther back in the mouth and throat. Placing the tone forward is making sure that the resonance comes from the hard palate as much as possible.

Question 35

35. Use the graphic below to answer the question that follows.

This vocal warm-up activity should most strongly improve which of the following aspects of vocal production?

1. air support
2. vowel uniformity
3. proper posture
4. dynamic contrast

Answer to question 35

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0014) The vocal warm-up shown above contains five different vowels arranged from brightest to darkest. Moreover, these vowels are the five pure Latin vowel sounds that are combined in a diphthong. For example, the one-syllable word "fire" is a diphthong consisting of two distinct vowel sounds: fah and ir. Singers should aim to produce uniform vowels by prolonging the first pure vowel of a diphthong. The warm-up shown above can help singers achieve such vowel purity and uniformity. Correct Response: B. (Objective 0014) The vocal warm-up shown above contains five different vowels arranged from brightest to darkest. Moreover, these vowels are the five pure Latin vowel sounds that are combined in a diphthong. For example, the one-syllable word "fire" is a diphthong consisting of two distinct vowel sounds: start italics fah end italics and start italics ir end italics. Singers should aim to produce uniform vowels by prolonging the first pure vowel of a diphthong. The warm-up shown above can help singers achieve such vowel purity and uniformity.

Question 36

36. Use the excerpt below to answer the question that follows.

Both staves consist of four measures, and are to be played in the key of B flat, common time. Soprano. Measure one. Two beamed eighth notes, B and C. Measure two. Quarter note on D. Two beamed eighth notes, E and D, with a slur connecting them. Four beamed eighth notes. C, B, A, and G, with a slur connecting the last two notes. Measure three. Dotted quarter note on F. Eighth note on the D just above middle C. A slur connects these two notes. Quarter note on F. Two beamed eighth notes, B and A. Quarter note on G. Two beamed eighth notes, A and B. Dotted quarter note on D. Eighth note on C. Measure four. Dotted quarter note on C. Eighth note on A. A slur connects these two notes. Quarter note on F. Quarter rest.
Piano. Measure one. Treble clef. Two beamed eighth notes, D just above middle C, and F. Bass clef. Quarter rest. Measure two. Treble clef. Four beamed eighth notes. B, A, G, and F. Four more beamed eighth notes. E, G, F, and E. A tie connects the first E in this set of beamed eighth notes to the eighth note on D just above middle C in measure one. Bass clef. Two notes to be played simultaneously, half note on B and whole note on the B just below middle C. Half note on B. Measure three. Treble clef. Four beamed eighth notes. D just above middle C, B, F, and D. Two quarter notes to be played simultaneously, D just above middle C and B. Two beamed eighth notes, B and A. An F is played simultaneously with the eighth note on B. Quarter note on G. Two eighth notes, A and B. Dotted quarter note on F. Eighth note on C. Bass clef. Two half notes played simultaneously, B and B just below middle C. A tie connects the B in this measure to the B in measure two. Quarter note on D with stems pointing upward and downward. Four beamed eighth notes. E, D, C, and D. Slur connecting the eighth note on E to the eighth note on C. Half note on E with an eighth rest on top. Eighth note on B natural just below middle C. Quarter note on middle C. Measure four. Treble clef. Three dotted quarter notes played simultaneously. E, F, and C. Two eighth notes played simultaneously, E and A. Two quarter notes played simultaneously, E and F. Quarter rest. Bass clef. Eighth rest. Three beamed eighth notes. F, A, and middle C. Two beamed eighth notes, A and F. Quarter rest.

A high school–age baritone singer wishes to perform the song represented in the excerpt and shows the score to his vocal music teacher. The teacher evaluates the music to determine whether the song is suitable for the student's voice and to decide whether any changes should be made for him to perform it successfully. Which of the following would be the teacher's most appropriate conclusion?

1. The student should sing the song in its current range, using falsetto where necessary.
2. The song should be transposed down a major second.
3. The song should be transposed down an octave.
4. The student should sing the song in its current range, but in an English translation.

Answer to question 36

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0015) The music teacher's task is to determine whether the song's melody lies in an appropriate range for the high school baritone singer, and, if it does not, to know what adjustment to make for him to properly perform the song. Generally, a high school–age baritone has a comfortable singing range from the A in the second octave below middle C to the D above middle C. The melody written in the excerpt, which perfectly suits the comfortable range for a soprano, lies too high for a baritone. A simple transposition of the melody down an octave will place it easily within the baritone's range. Although the E flat, the highest note in the melody, may be slightly outside the baritone's most comfortable singing range, this is a singable pitch for most baritones. Its short duration and position in the rising melody in this excerpt makes it easy to sing without straining the voice. Correct Response: C. (Objective 0015) The music teacher's task is to determine whether the song's melody lies in an appropriate range for the high school baritone singer, and, if it does not, to know what adjustment to make for him to properly perform the song. Generally, a high school–age baritone has a comfortable singing range from the A in the second octave below middle C to the D above middle C. The melody written in the excerpt, which perfectly suits the comfortable range for a soprano, lies too high for a baritone. A simple transposition of the melody down an octave will place it easily within the baritone's range. Although the E flat, the highest note in the melody, may be slightly outside the baritone's most comfortable singing range, this is a singable pitch for most baritones. Its short duration and position in the rising melody in this excerpt makes it easy to sing without straining the voice.

Question 37

37. Use the excerpt below to answer the question that follows.

All staves are played in the key of E major with a two over four time signature, and consist of eighteen measures. Staff one. Soprano. Treble clef. Measure one. Half rest. Measure two. Half rest. Measure three. Quarter rest. Eighth rest. Eighth note on G. Measure four. Quarter note on A. Two beamed eighth notes, G and F. Measure five. Quarter note on A. Two beamed eighth notes, G and B. Measure six. Quarter note on C. Two beamed eighth notes, B and A. Measure seven. Quarter note on C. Two beamed eighth notes, both on B. Measure eight. Quarter note on D. Two beamed eighth notes, B and C. Measure nine. Quarter note on B. Eighth rest. Eighth note on B. Measure ten. Quarter note on C. Two beamed eighth notes, both on C. Measure eleven. Quarter note on C. Two beamed eighth notes, both on B. Measure twelve. Quarter note on B. Two beamed eighth notes, both on B. Measure thirteen. Quarter note on B. Two eighth notes, both on A. Measure fourteen. Quarter note on G. Quarter note on the G just above staff. Measure fifteen. Quarter note on the G just above staff. Tie connects this note to the preceding one. Two beamed eighth notes, F and E. Measure sixteen. Two beamed eighth notes, D and C. Two more beamed eighth notes, both on B. The first B is connected to the quarter note on G in measure fourteen with a slur. Measure seventeen. Quarter note on B. Two beamed eighth notes, both on B. Measure eighteen. Quarter note on B. Measure eighteen. Quarter note on B. Quarter rest.
Staff two. Alto. Treble clef. Measure one. Half rest. Measure two. Half rest. Measure three. Quarter rest. Eighth rest. Eighth note on E. Measure four. Quarter note on F. Two beamed eighth notes, E and the D just above middle C. Measure five. Quarter note on F. Two beamed eighth notes, E and G. Measure six. Quarter note on F. Two beamed eighth notes, G and F. Measure seven. Quarter note on F. Two beamed eighth notes, G and E. Measure eight. Quarter note on D just above middle C. Two eighth notes, one on D just above middle C and E. Measure nine. Quarter note on D just above middle C. Eighth rest. Eighth note on F. Measure ten. Quarter note on G. Two beamed eighth notes, A and G. Measure eleven. Quarter note on F. Two beamed eighth notes, both on F. Measure twelve. Quarter note on F. Two beamed eighth notes, G and F. Measure thirteen. Quarter note on E. Two beamed eighth notes, both on E. Measure fourteen. Half note on G. Measure fifteen. Half note on G. This half note is connected to the preceding half note with a tie. Measure sixteen. Quarter note on G. Eighth rest. Eighth note on E. Measure seventeen. Quarter note on F. Two beamed eighth notes, middle C and the D just above middle C. Measure eighteen. Quarter note on E. Quarter rest.
Staff three. Tenor. Treble clef. Notes in this staff should sound one octave lower than written. Measure one. Quarter rest. Quarter note on B. Measure two. half note on B. Measure three. Half note on B. This half note is connected to the preceding half note by a tie. Measure four. Quarter note on B. This note is connected to the preceding half note on B in the previous measure. Two beamed eighth notes, both on B. Measure five. Quarter note on B. Two beamed eighth notes, both on B. Measure six. Quarter note on A. Two beamed eighth notes, B and C. Measure seven. Quarter note on A. Two beamed eighth notes, both on B. Measure eight. Quarter note on B. Two beamed eighth notes, B and A sharp. Measure nine. Quarter note on B. Eighth rest. Eighth note on D. Measure ten. Quarter note on E. Two beamed eighth notes, F and E. Measure eleven. Quarter note on D. Two beamed eighth notes, both on D. Measure twelve. Quarter note on D. Two beamed eighth notes, E and D. Measure thirteen. Quarter note on C. Two beamed eighth notes, both on C. Measure fourteen. Half note on E. Measure fifteen. Half note on E. This half note is connected to the half note in the previous measure by a tie. Measure sixteen. Quarter note on E. Eighth rest. Eighth note on G. Measure seventeen. Quarter note on A. Two beamed eighth notes, E and F. Measure eighteen. Quarter note on G. Half rest.
Staff four. Bass. Bass clef. Measure one. Half rest. Measure two. Half rest. Measure three. Quarter rest. Eighth rest. Eighth note on E. Measure four. Quarter note on E. Two beamed eighth notes, both on E. Measure five. Quarter note on E. Two beamed eighth notes, both on E. Measure six. Quarter note on E. Two beamed eighth notes, both on E. Measure seven. Quarter note on E. Two beamed eighth notes, E and G. Measure eight. Quarter note on F. Two beamed eighth notes, G and F. Measure nine. Quarter note on the B just below middle C. Eighth rest. Eighth note on the B just below middle C. Measure ten. Quarter note on A. Two beamed eighth notes, both on A. Measure eleven. Quarter note on A. Two beamed eighth notes, both on A. Measure twelve. Quarter note on G. Two beamed eighth notes, both on G. Measure thirteen. Quarter note on A. Two beamed eighth notes, both on A. Measure fourteen. Quarter note on B. Quarter note on B sharp. Measure fifteen. Quarter note on C. Quarter note on A sharp. A slur connects this letter to the quarter note on B in the previous measure. Measure sixteen. Quarter note on B. Eighth rest. Eighth note on B. Measure seventeen. Quarter note on B. Two beamed eighth notes, both on B. Measure eighteen. Quarter note on E. Quarter rest.

Which of the following would be the clearest, most effective way to conduct the music in the excerpt?

1. in one with occasional subdivisions
2. in strict one throughout
3. in two with occasional subdivisions
4. in strict two throughout

Answer to question 37

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: A. (Objective 0015) The duple meter in the excerpt might suggest conducting the music in two. However, the Allegretto moderato tempo marking clearly indicates a faster tempo that would make conducting two beats to the bar impractical and distracting. Another clue to the appropriate choice of conducting gesture is the designation of the half note as the unit of beat (72 beats per minute), which means conducting each 2/4 measure in one. Because of the nature of the phrasing, which often requires voices to enter together on a pickup eighth note following a rest, it is likely that in these instances some singers' entrances may be early or late. The conductor can ensure unified ensemble entrances by using a quick subdivided beat at these points. Correct Response: A. (Objective 0015) The duple meter in the excerpt might suggest conducting the music in two. However, the start italics Allegretto moderato end italics tempo marking clearly indicates a faster tempo that would make conducting two beats to the bar impractical and distracting. Another clue to the appropriate choice of conducting gesture is the designation of the half note as the unit of beat (72 beats per minute), which means conducting each 2/4 measure in one. Because of the nature of the phrasing, which often requires voices to enter together on a pickup eighth note following a rest, it is likely that in these instances some singers' entrances may be early or late. The conductor can ensure unified ensemble entrances by using a quick subdivided beat at these points.

Question 38

38. Which of the following voice parts is most commonly given to the B-flat clarinet in a traditional woodwind quartet?

1. soprano
2. alto
3. tenor
4. bass

Answer to question 38

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0015) A traditional woodwind quartet consists of a flute, oboe, B-flat clarinet, and bassoon. The tenor part is usually given to the B-flat clarinet, while the soprano part is most often reserved for the flute, the alto part is assigned to the oboe, and the bass part is given to the bassoon. Correct Response: C. (Objective 0015) A traditional woodwind quartet consists of a flute, oboe, B-flat clarinet, and bassoon. The tenor part is usually given to the B-flat clarinet, while the soprano part is most often reserved for the flute, the alto part is assigned to the oboe, and the bass part is given to the bassoon.

Question 39

39. A choral music director has chosen a secular choral piece from the Renaissance for a high school chamber choir. The director wants to select a version of the score that will ensure the choir's performance of the work is as close to authentic as possible. Which of the following questions would be most important for the director to consider in evaluating various versions of the score?

1. Is there a recording of the work included with the score to guide the conductor in making a correct interpretation?
2. Does the score clearly indicate which markings are from the composer and which have been added editorially?
3. Have bar lines been added and the metrical scheme adjusted to fit modern notation for the convenience of the performers?
4. Does the score include numerous added expressive and dynamic markings to help with the interpretation of this work?

Answer to question 39

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: B. (Objective 0015) The original scores of Renaissance music contain less information than those from later periods in Western music history. Many musical decisions were routinely left to the performers. Markings that are present in the score may be written in notation that is unintelligible to contemporary singers. A well-edited score will clearly indicate which markings are from the composer and which have been added editorially, and often notes concerning the piece, the composer, and the style are included. Correct Response: B. (Objective 0015) The original scores of Renaissance music contain less information than those from later periods in Western music history. Many musical decisions were routinely left to the performers. Markings that are present in the score may be written in notation that is unintelligible to contemporary singers. A well-edited score will clearly indicate which markings are from the composer and which have been added editorially, and often notes concerning the piece, the composer, and the style are included.

Question 40

40. A fifth-grade choir director is rehearsing the following song.

During the rehearsal, the teacher discovers that one of the students is learning to play trumpet in the school band and would like the trumpet player to reinforce the alto line. Which of the following arrangements from the teacher is most appropriate?

Answer to question 40

Answer Enter to expand or collapse answer. Answer expanded

Correct Response: C. (Objective 0015) The B-flat trumpet produces a sound that is a major second below he written note. For example, whenever someone plays a written C, the sound that comes out of that instrument is the name of the instrument. Thus, whenever someone plays a written C on an instrument called a "B-flat trumpet," the sounding pitch is the name of the instrument, B-flat. Since the trumpet sounds a major second below the written pitch, the music must be written a major second higher than the desired sounding pitch. Correct Response: C. (Objective 0015) The B-flat trumpet produces a sound that is a major second start italics below end italics the written note. For example, whenever someone plays a written C, the sound that comes out of that instrument is the name of the instrument. Thus, whenever someone plays a written C on an instrument called a "B-flat trumpet," the sounding pitch is the name of the instrument, B-flat. Since the trumpet sounds a major second below the written pitch, the music must be written a major second higher than the desired sounding pitch.