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Canary PAU Music Analysis II study materials
Canary PAU Music Analysis II study resources

Canary PAU Music Analysis II practice questions

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Question 1Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score, a notehead with a hollow oval and a stem is a minim. How many crotchet beats does it last in a simple metre such as 4/4?

  1. One
  2. Half
  3. Two Correct answer.
  4. Four

Explanation

A minim (half note) is written as a hollow notehead with a stem and lasts two crotchet beats. In 4/4 a crotchet is one beat, so the minim fills half the bar.

Question 2Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A time signature of 6/8 is best described as which type of metre?

  1. Compound duple Correct answer.
  2. Simple duple
  3. Compound quadruple
  4. Simple triple

Explanation

In 6/8 the bar divides into two main beats, each subdivided into three quavers, which defines compound duple metre. The upper figure gives six subdivisions and the lower figure shows the quaver as the counting unit.

Question 3Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

Which accidental raises a pitch by one semitone without changing the letter name of the note?

  1. Natural
  2. Double flat
  3. Flat
  4. Sharp Correct answer.

Explanation

A sharp raises the pitch by one semitone while keeping the same letter name, for example F to F sharp. A flat lowers by a semitone, a natural cancels a previous accidental, and a double flat lowers by two semitones.

Question 4Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A melody moves from C up to E and then to G, outlining a major triad. Which term describes this melodic outline?

  1. Sequence
  2. Inversion
  3. Chromatic passing motion
  4. Arpeggiation Correct answer.

Explanation

Successive notes that spell out the notes of a chord form an arpeggiation, here a C major triad. The motion is triadic rather than stepwise, so it is not passing motion.

Question 5Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a four-part choral score the two staves are bracketed together. Which voice is conventionally written on the lower staff with stems pointing down?

  1. Bass Correct answer.
  2. Alto
  3. Tenor
  4. Soprano

Explanation

In SATB layout the upper staff carries soprano (stems up) and alto (stems down), while the lower staff carries tenor (stems up) and bass (stems down). The bass therefore sits at the bottom of the lower staff with downward stems.

Question 6Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A passage marked 'pizzicato' in the string parts indicates which playing technique?

  1. Playing with the wood of the bow
  2. Muting the strings with a mute
  3. Playing near the bridge
  4. Plucking the strings with the finger Correct answer.

Explanation

Pizzicato instructs string players to pluck the strings with the finger instead of bowing. It produces a short, dry articulation contrasting with the sustained arco sound.

Question 7Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chord built on the dominant of C major is which triad?

  1. F major
  2. A minor
  3. D minor
  4. G major Correct answer.

Explanation

The dominant of C major is G, and a triad built on G in the key of C is G major (G-B-D). The dominant triad always sits a perfect fifth above the tonic.

Question 8Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A texture in which a single melodic line is imitated by successive voices entering one after another is best described as which?

  1. Homophony
  2. Imitative polyphony Correct answer.
  3. Heterophony
  4. Monophony

Explanation

Imitative polyphony combines independent melodic lines in which one voice repeats or answers material presented by another. Homophony moves the parts together in chordal fashion, and monophony has only one line.

Question 9Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score in 3/4, a dotted crotchet followed by three quavers fills how much of the bar?

  1. One beat only
  2. Two beats only
  3. Half the bar
  4. The whole bar Correct answer.

Explanation

A dotted crotchet lasts one and a half crotchet beats and three quavers last one and a half beats, giving three beats in total. That equals the full content of a 3/4 bar.

Question 10Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A melody in A minor uses the notes A, B, C, D, E, F and G sharp. Which scale form is being used?

  1. Harmonic minor Correct answer.
  2. Natural minor
  3. Major
  4. Melodic minor ascending

Explanation

The raised seventh degree (G sharp) with an otherwise natural minor scale identifies the harmonic minor form. Melodic minor ascending would also raise the sixth degree to F sharp.

Question 11Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a chorale phrase, the bass moves from G to C while the upper voices move from a G major chord to a C major chord. What cadence does this represent?

  1. Plagal cadence
  2. Deceptive cadence
  3. Half cadence
  4. Authentic cadence Correct answer.

Explanation

A progression from the dominant chord (V) to the tonic chord (I) forms an authentic cadence. The bass motion from the dominant note G to the tonic C confirms the resolution.

Question 12Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score marks a group of four quavers with a beam and places a staccato dot under each notehead. What articulation results?

  1. Four accented quavers
  2. Two long and two short quavers
  3. Four separated, detached quavers Correct answer.
  4. Four sustained quavers joined in a slur

Explanation

Beaming groups the quavers rhythmically, while staccato dots shorten each note so it sounds detached. The result is four separated notes within one beamed group.

Question 13Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a passage for full orchestra, a sustained chord is scored for flutes, oboes and clarinets in their upper register. Which description of the timbre is most accurate?

  1. Bright and penetrating woodwind colour Correct answer.
  2. Warm and mellow string colour
  3. Dark and heavy brass colour
  4. Metallic percussion colour

Explanation

Flutes, oboes and clarinets belong to the woodwind family, and their upper registers produce a bright, penetrating sonority. The other descriptions refer to brass, strings and percussion respectively.

Question 14Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A melody repeats a two-bar motif starting a tone lower each time. Which technique is illustrated?

  1. Real sequence Correct answer.
  2. Inversion
  3. Retrograde
  4. Augmentation

Explanation

A real sequence restates a motif at a different pitch level while keeping its intervallic shape, here a step lower each time. Inversion, retrograde and augmentation alter the motif itself rather than simply transposing it.

Question 15Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chord contains the notes D, F sharp, A and C. Which seventh chord is it?

  1. D minor seventh
  2. D dominant seventh Correct answer.
  3. D major seventh
  4. D half-diminished seventh

Explanation

The notes D-F sharp-A form a D major triad, and the added C is a minor seventh above the root. A major triad with a minor seventh is a dominant seventh chord.

Question 16Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score marked 'con sordino' for the violins, what change should the player make?

  1. Play an octave higher
  2. Use the bow near the fingerboard
  3. Attach a mute to the bridge Correct answer.
  4. Pluck the strings

Explanation

Con sordino means 'with mute', so the player fits a mute to the bridge to soften and veil the tone. The instruction affects timbre rather than pitch or articulation.

Question 17Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In 4/4, a syncopated figure places a crotchet on beat two and ties it across beat three to a quaver. What is the main rhythmic effect?

  1. The strong beat three is displaced by the sustained note Correct answer.
  2. The tempo increases during the bar
  3. The metre changes to 3/4
  4. The articulation becomes staccato

Explanation

Tying a note across beat three sustains the sound through a normally accented position, producing syncopation. The metre, tempo and articulation are not altered by the tie itself.

Question 18Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A four-part passage moves in parallel first-inversion triads, with all voices stepping in the same direction. Which part-writing issue does this create?

  1. A change of metre without a barline
  2. A cadence in the wrong key
  3. An unresolved suspension in the bass
  4. Parallel first-inversion chords producing weak harmonic independence Correct answer.

Explanation

Moving all voices in parallel first-inversion triads (parallel six-three chords) weakens the independence of the parts and is generally avoided in strict style. The issue concerns voice leading rather than cadence, suspension or metre.

Question 19Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A piano score shows a melody in the right hand and broken chords in the left hand, each chord note sounded separately in a repeating pattern. Which texture is present?

  1. Unaccompanied monophony
  2. Strict canon
  3. Melody with arpeggiated accompaniment Correct answer.
  4. Homophonic block chords

Explanation

A melody supported by broken chords played one note at a time is an arpeggiated accompaniment, a type of accompanied texture. Block chords would sound simultaneously, and a canon would involve strict imitation.

Question 20Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score in 2/2 (alla breve) is conducted with two beats per bar. Which note value receives one beat?

  1. Minim Correct answer.
  2. Semibreve
  3. Crotchet
  4. Quaver

Explanation

In 2/2 the lower figure 2 indicates the minim as the beat unit, and the upper figure gives two beats per bar. A crotchet would be the beat unit in a /4 time signature.

Question 21Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a minor-key passage the sixth degree is raised in ascending melodic motion but restored to its natural form when the line descends. Which scale is being applied?

  1. Harmonic minor
  2. Melodic minor Correct answer.
  3. Chromatic minor
  4. Natural minor

Explanation

Melodic minor raises the sixth and seventh degrees ascending and lowers them again descending, producing smoother stepwise motion to the tonic. Harmonic minor keeps the raised seventh in both directions.

Question 22Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chord progression moves from a first-inversion tonic to a root-position subdominant and then to a second-inversion tonic before resolving to the dominant. Which chord is functioning as an auxiliary or passing six-four?

  1. The second-inversion tonic Correct answer.
  2. The root-position subdominant
  3. The first-inversion tonic
  4. The dominant

Explanation

A second-inversion tonic between two other chords, with the bass moving by step, acts as a passing or auxiliary six-four rather than a structural tonic. The first-inversion tonic and the subdominant are not in second inversion.

Question 23Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score indicates a trill on a leading note that resolves upward by step to the tonic at the cadence. Which ornament and resolution does this describe?

  1. A mordent resolving to the dominant
  2. An appoggiatura resolving downward
  3. A trill resolving to the tonic Correct answer.
  4. A turn resolving to the mediant

Explanation

A trill alternates the written note with the note above, and on a leading note it typically resolves upward by step to the tonic at the cadence. The other ornaments either resolve in a different direction or move to a different scale degree.

Question 24Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a passage for choir, the tenors sing a line notated in the bass clef but sounding an octave higher than written. Which clef convention explains this?

  1. An alto clef on the third line
  2. A soprano clef on the first line
  3. A standard bass clef with no transposition
  4. A treble clef with an 8 below it, used for tenor parts Correct answer.

Explanation

Tenor parts are often written in treble clef with a small 8 beneath it, meaning the music sounds an octave lower than written. A bass clef with no transposition would not produce the octave displacement described.

Question 25Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A harmonic analysis shows a chord labelled V7/IV resolving to IV in a major key. Which chord is the V7/IV?

  1. A dominant seventh built on the subdominant
  2. A minor seventh built on the supertonic
  3. A dominant seventh built on the tonic Correct answer.
  4. A diminished seventh built on the leading note

Explanation

The V7/IV is the dominant seventh of the subdominant, which in a major key is built on the tonic degree. For example, in C major the chord is C7 resolving to F major (IV).

Question 26Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score marks a horn part with the instruction 'in F'. When the player reads a written C, which sounding pitch is produced?

  1. The C two octaves below the written C
  2. The F a perfect fourth above the written C
  3. The F a minor seventh below the written C
  4. The F a perfect fifth below the written C Correct answer.

Explanation

A transposing instrument 'in F' sounds a perfect fifth lower than written, so a written C sounds as the F below it. This convention allows horn players to read a familiar staff regardless of the instrument's actual pitch. The interval is a fifth, not a fourth or a seventh.

Question 27Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score, a melody moves by step from C up to D, then leaps to G, then steps down to F. Which interval is the leap between D and G?

  1. Major third
  2. Perfect fifth
  3. Perfect fourth Correct answer.
  4. Minor sixth

Explanation

Counting letter names D-E-F-G gives a fourth, and the semitone count D to G is five semitones, which is a perfect fourth. A perfect fifth would require A above D. The leap is therefore a fourth, not a third or sixth.

Question 28Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score in 6/8 time, how is the bar normally grouped for conducting and accentuation?

  1. Three crotchet beats, each dividing into two quavers
  2. Six equal quaver beats with an accent on every note
  3. Two dotted-crotchet beats, each dividing into three quavers Correct answer.
  4. One dotted-minim beat spanning the whole bar

Explanation

Compound duple metre groups six quavers into two beats of three quavers each, so each beat is a dotted crotchet. The primary accent falls on quavers one and four. This distinguishes 6/8 from simple triple metres such as 3/4.

Question 29Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score shows the marking 'mf' under a melodic line, later changing to 'pp'. What does this change indicate?

  1. A move from moderately loud to very soft Correct answer.
  2. A gradual crescendo across the phrase
  3. A move from very soft to moderately loud
  4. A change of articulation from legato to staccato

Explanation

'mf' (mezzo-forte) means moderately loud and 'pp' (pianissimo) means very soft, so the passage becomes quieter. Both are dynamic markings, not articulations. A gradual change would be shown by a hairpin or the words crescendo and diminuendo.

Question 30Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A melody in a major key outlines the notes of the tonic triad in its first phrase. Which three scale degrees does that outline use?

  1. 1, 2 and 3
  2. 1, 3 and 5 Correct answer.
  3. 1, 4 and 5
  4. 2, 4 and 6

Explanation

A tonic triad in a major key is built on scale degrees 1, 3 and 5, so a melody arpeggiating the tonic uses those degrees. Degrees 1, 4 and 5 outline no single triad, and 2, 4 and 6 belong to the supertonic triad.

Question 31Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score writes a note with a small grace note before it, joined by a slur. How is this ornament normally performed?

  1. The grace note replaces the main note entirely
  2. The grace note is played quickly just before the main note's beat Correct answer.
  3. Both notes are held for equal duration
  4. The grace note is played after the main note as an echo

Explanation

An acciaccatura is a grace note played as quickly as possible just before the principal note, taking negligible time from the bar. It is not an echo after the main note, nor does it replace the principal note. The slur indicates smooth connection into the main note.

Question 32Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A passage is marked 'sul ponticello' in the violins. What does this instruction require?

  1. Bowing over the fingerboard for a soft, flute-like tone
  2. Plucking the strings with the fingers
  3. Striking the strings with the wood of the bow
  4. Bowing close to the bridge to produce a thin, glassy tone Correct answer.

Explanation

'Sul ponticello' means bowing near the bridge, which emphasises upper partials and yields a thin, metallic colour. Bowing over the fingerboard is 'sul tasto', while plucking is pizzicato and striking with the bow wood is col legno.

Question 33Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chorale phrase ends with the bass moving from D to G while the upper voices move from a D major triad to a G major triad. Which cadence is formed?

  1. Perfect authentic cadence in G major Correct answer.
  2. Interrupted cadence in G major
  3. Half cadence in G major
  4. Plagal cadence in G major

Explanation

The progression V to I with the bass leaping a fourth up (D to G) and both chords in root position forms a perfect authentic cadence in G major. A plagal cadence would move from IV to I, and a half cadence would end on V rather than I.

Question 34Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score shows a bass line of repeated octaves on the tonic while the upper parts move through several chords. What is the texture of the bass part called?

  1. A ground bass with variation
  2. An ostinato in imitation
  3. A countermelody
  4. A drone or pedal point Correct answer.

Explanation

A sustained or repeated note held under changing harmony is a pedal point, here functioning as a drone. A ground bass is a repeating melodic bass pattern, not a static repeated note. The other options describe melodic or imitative roles rather than a held pitch.

Question 35Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a four-part texture, the alto moves from F to E while the bass moves from D to C, and the other voices hold. Which type of motion occurs between alto and bass?

  1. Oblique motion
  2. Parallel motion
  3. Similar motion Correct answer.
  4. Contrary motion

Explanation

Both alto and bass descend by step, so they move in the same direction but by different intervals, which is similar motion. Contrary motion would require them to move in opposite directions. Parallel motion would require them to keep the same interval.

Question 36Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chord progression in a major key moves I - vi - IV - V. Which harmonic function does the vi chord serve in this progression?

  1. It acts as a tonic substitute, sharing two notes with I Correct answer.
  2. It functions as a chromatic passing chord
  3. It functions as the dominant preparation
  4. It functions as a secondary dominant

Explanation

The submediant (vi) shares two common tones with the tonic triad, so it often works as a deceptive tonic substitute. It does not prepare the dominant as strongly as ii or IV, nor is it chromatic or a secondary dominant in this diatonic progression.

Question 37Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score marks a group of four semiquavers beamed together with tenuto lines over each note. How should the passage be played?

  1. Each note shortened and detached
  2. The group accented only on the first note
  3. The group played as a rapid unmeasured flourish
  4. Each note held for its full value with slight pressure Correct answer.

Explanation

A tenuto line indicates that a note should be sustained for its full value, often with slight pressure, without the detachment of staccato. It differs from an accent, which stresses attack, and from a flourish, which would be notated differently.

Question 38Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score in 3/4 places a crotchet rest on beat one, a crotchet on beat two and two quavers on beat three. How is the bar's rhythmic profile best described?

  1. A syncopation caused by a tie over the barline
  2. A hemiola across the bar
  3. A triplet subdivision of the bar
  4. An anacrusis-like entry after a rest on the downbeat Correct answer.

Explanation

Starting the musical material after a rest on the first beat gives the phrase an upbeat, anacrusis-like character. Hemiola would require a regrouping of the beat, and no tie crosses the barline. Triplets would be marked with a '3' bracket.

Question 39Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A chord in a minor key contains the notes B, D, F and A natural. Which seventh chord is it, and on which scale degree does it sit?

  1. A half-diminished seventh on the second degree Correct answer.
  2. A diminished seventh on the leading note
  3. A dominant seventh on the fifth degree
  4. A minor seventh on the tonic

Explanation

B-D-F is a diminished triad and the added A natural forms a minor seventh above B, giving a half-diminished seventh chord. In a minor key this chord occurs naturally on the second degree, where it commonly prepares the dominant.

Question 40Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A passage alternates a solo flute line with full orchestral chords, then the flute line returns alone. Which texture does this describe?

  1. Homophonic chorale texture throughout
  2. Canonic imitation between flute and orchestra
  3. Antiphonal contrast between solo and tutti Correct answer.
  4. Polyphonic fugal exposition

Explanation

Alternation between a soloist and the full ensemble is antiphonal contrast, common in concerto and concertante writing. Canon and fugue require imitative entries of a subject, which are not described. A chorale texture would keep all parts moving together without solo-tutti alternation.

Question 41Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score shows a melody in the right hand of a piano piece accompanied by a repeated rhythmic pattern of broken chords in the left hand. Which accompaniment figure is this?

  1. A walking bass
  2. An Alberti bass Correct answer.
  3. A ground bass
  4. A pedal point

Explanation

An Alberti bass is a broken-chord accompaniment that repeatedly sounds the lowest, highest, middle and highest chord tones in a regular pattern. A walking bass moves in steady melodic steps, a ground bass repeats a melodic line, and a pedal point holds a single note.

Question 42Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score indicates a mordent on a note that is then followed by a trill on the same pitch. Which description matches the mordent?

  1. A sustained alternation between two notes lasting a whole bar
  2. A slide up to the note from a third below
  3. A rapid single alternation with the note above or below before the main note Correct answer.
  4. A repeated note played staccato

Explanation

A mordent is a quick single alternation with the neighbouring note, upper for an inverted mordent and lower for a standard one, executed at the start of the principal note. A sustained alternation describes a trill, and a slide from below is a portamento or slide ornament.

Question 43Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a score, the cellos and double basses play the same line, with the double basses sounding an octave lower than written. What is this doubling called?

  1. Heterophonic doubling
  2. Contrary-motion doubling
  3. Octave doubling at the unison of pitch class Correct answer.
  4. Unison doubling in the same register

Explanation

When two instruments play the same pitch class an octave apart, the doubling is at the octave, reinforcing the line without changing harmony. Unison doubling would place them in the same register, and contrary motion would require opposite directions.

Question 44Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A passage modulates from C major to G major using a single chromatic note, F sharp, as a leading tone. Which chord most likely introduces this modulation?

  1. An augmented sixth chord of C
  2. A secondary dominant, V of G Correct answer.
  3. A Neapolitan sixth of C
  4. A borrowed chord from C minor

Explanation

F sharp is the leading tone of G, so the chord containing it functions as V of G and tonicises the new key. A Neapolitan sixth or augmented sixth would introduce different chromatic notes and serve predominant rather than dominant function.

Question 45Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A melody repeats a rising semitone figure that is then inverted to a falling semitone, and later retrograded. Which compositional technique is illustrated?

  1. Augmentation of note values
  2. Sequential transposition by step
  3. Motivic transformation through inversion and retrogression Correct answer.
  4. Literal repetition of the theme

Explanation

Inversion mirrors the contour and retrogression reverses the order of notes, both being forms of motivic transformation. Literal repetition would keep the figure unchanged, sequence would transpose it, and augmentation would lengthen note values.

Question 46Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A four-part score shows a chord containing C, E, G and B flat in which the seventh (B flat) is prepared as a common tone and resolves downward by step. Which chord is it and how is the seventh treated?

  1. A minor seventh with the seventh doubled
  2. A major seventh whose seventh resolves upward
  3. A diminished seventh with no resolution
  4. A dominant seventh whose seventh resolves down by step Correct answer.

Explanation

C-E-G-B flat is a dominant seventh chord, and its seventh (B flat) is conventionally prepared as a common tone and resolves downward by step to A. A major seventh would require B natural, and doubling the seventh is avoided in strict part-writing.

Question 47Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score marks a passage 'col legno battuto' in the violins. What sound results?

  1. A harmonic produced by lightly touching the string
  2. A percussive tap produced by the wood of the bow striking the strings Correct answer.
  3. A plucked sound made with the fingernail
  4. A sustained tone produced by bowing near the bridge

Explanation

'Col legno battuto' means the wooden stick of the bow strikes the strings, producing a dry percussive tap. 'Col legno tratto' would draw the wood across the string, while sul ponticello and harmonics produce different colours. Plucking with the nail is not standard notation.

Question 48Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

In a passage analysed in F major, a chord built on A contains A, C, E flat and G flat. Which chord is it and what is its function?

  1. A diminished seventh on the mediant, functioning as a chromatic passing chord Correct answer.
  2. An augmented triad on the mediant
  3. A dominant seventh on the mediant
  4. A half-diminished seventh on the supertonic

Explanation

A-C-E flat-G flat is a fully diminished seventh chord built on the mediant of F major, created by chromatic alteration. It typically functions as a chromatic passing or colour chord rather than a diatonic supertonic harmony. A dominant seventh on A would require G natural.

Question 49Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score presents a subject in the alto, answered a fifth higher in the soprano while the alto continues with countersubject material. Which texture and procedure are shown?

  1. Heterophonic ornamented unison
  2. Homophonic chordal declamation
  3. Imitative polyphony with a fugal answer and countersubject Correct answer.
  4. Antiphonal solo-tutti alternation

Explanation

A subject answered at the fifth with a continuing countersubject is the characteristic opening of a fugue, an imitative polyphonic texture. Homophony would move the parts in chordal blocks, and antiphony would alternate separate groups rather than overlap entries.

Question 50Musical language and formal analysis: notation, rhythm, melody, harmony, texture and timbre applied to the reading of scores

A score in 4/4 marks a figure of a minim tied to a quaver, followed by a dotted crotchet rest, across a barline. How many beats of the new bar does the sustained note occupy?

  1. One full beat, since the tie carries a crotchet over
  2. Half of one beat, since the tie carries a quaver into the new bar Correct answer.
  3. Three beats, since the tie carries a dotted minim over
  4. Two beats, since the tie carries a minim over

Explanation

The tie carries only the quaver across the barline, and in 4/4 a quaver is half of one beat. The minim and its remaining value stay in the previous bar. Counting beats from the note values, not from the bar's total length, gives this result.