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La Rioja PAU Music Analysis II study materials
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La Rioja PAU Music Analysis II practice questions

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Question 1Musical analysis and theory

In Classical sonata-allegro form, which section's primary function is to establish the home key and present the principal thematic material in the tonic before introducing a contrasting theme in a related key?

  1. Exposition Correct answer.
  2. Development
  3. Recapitulation
  4. Coda

Explanation

The Exposition is the opening section of sonata-allegro form where primary and secondary thematic groups are introduced, establishing the tonic key before modulating to the dominant or relative major.

Question 2Musical analysis and theory

In Baroque contrapuntal analysis, what term designates the imitation of a fugue subject at the fifth that modifies a interval to avoid modulating away from the tonic key?

  1. Real answer
  2. Tonal answer Correct answer.
  3. Countersubject
  4. Stretto

Explanation

A Tonal answer adjusts one or more intervals of the subject (typically modifying a tonic-dominant leap to a dominant-tonic interval) to maintain tonal stability within the home key.

Question 3Musical analysis and theory

What structural pattern represents the classic seven-part rondo form commonly utilized in the finale movements of Classical concertos and sonatas?

  1. ABACABA Correct answer.
  2. ABACA
  3. AABB
  4. ABA-CDC-ABA

Explanation

The ABACABA pattern represents seven-part rondo form, featuring a recurring refrain (A) alternating with contrasting episodes (B and C), where the B episode returns near the end in the tonic key.

Question 4Musical analysis and theory

Which specific type of binary form features a return of the opening thematic material in the tonic key at the end of the second section (B)?

  1. Simple binary form
  2. Rounded binary form Correct answer.
  3. Sectional binary form
  4. Continuous binary form

Explanation

Rounded binary form (||: A :||: B A' :||) incorporates a restatement of the initial section A theme (or part of it) in the tonic key to bring closure to the second section.

Question 5Musical analysis and theory

In formal score analysis, how is a Classical Minuet and Trio categorized structurally?

  1. Simple binary form
  2. Composite ternary form Correct answer.
  3. Sonata-rondo form
  4. Theme and variations

Explanation

Minuet and Trio is classified as a composite ternary form (A B A) because each major section (Minuet A, Trio B, Minuet da capo A) is itself an independent self-contained binary or ternary structure.

Question 6Musical analysis and theory

Which Baroque variation structure is constructed over a repeating bass line progression (basso ostinato) in triple meter?

  1. Passacaglia Correct answer.
  2. French Ouverture
  3. Concerto Grosso
  4. Ricercar

Explanation

A Passacaglia is a variation form built upon a repeating bass line or ground bass (basso ostinato), typically set in triple meter and minor mode.

Question 7Musical analysis and theory

What is the standard order of the four core dance movements in a stylized Baroque instrumental suite?

  1. Allemande, Courante, Sarabande, Gigue Correct answer.
  2. Courante, Allemande, Gigue, Sarabande
  3. Sarabande, Allemande, Courante, Gigue
  4. Allemande, Sarabande, Courante, Gigue

Explanation

The standardized Baroque suite sequence established by Froberger consists of Allemande (moderate duple), Courante (fast triple), Sarabande (slow triple with accent on beat 2), and Gigue (lively compound duple/triple).

Question 8Musical analysis and theory

In a Baroque solo concerto movement in ritornello form, what characterizes the structural interplay between orchestra and soloist?

  1. The tutti orchestra presents the main ritornello theme in full or partial returns between modulating soloist solo episodes Correct answer.
  2. The soloist plays continuous variations while the orchestra plays a ground bass
  3. The orchestra and soloist play identical lines in canon throughout
  4. The soloist only performs during the opening exposition and final coda

Explanation

Baroque ritornello form rests on the structural alternation between orchestral tutti passages playing the ritornello theme (often modulating across key centers) and virtuosic soloist episodes (solo) that modulate between ritornellos.

Question 9Musical analysis and theory

In Classical sonata form exposition analysis, what is the specific role of the transition (or bridge) passage?

  1. To modulate from the tonic key to the secondary key area and create harmonic instability leading to the second theme Correct answer.
  2. To restate the primary theme in the tonic key before the coda
  3. To introduce a completely new theme in the subdominant key
  4. To resolve all previous dissonances with a perfect authentic cadence in the tonic

Explanation

The transition (or bridge) connects the primary theme group to the secondary theme group by modulating from the tonic to the secondary key area (dominant in major, relative major in minor), often ending on a medial caesura.

Question 10Musical analysis and theory

During a fugue analysis, what is the term for a passage where no complete statement of the subject or answer is present in any voice?

  1. Exposition
  2. Episode Correct answer.
  3. Stretto
  4. Codetta

Explanation

An Episode is a transitional section in a fugue where complete subject statements are absent, typically utilizing motives from the subject or countersubject in sequential modulations.

Question 11Musical analysis and theory

In 19th-century German Romantic vocal music, what term designates a Lied structure in which new music is composed for each stanza of text without repeating whole structural strophe blocks?

  1. Strophic Lied
  2. Through-composed Lied (Durchkomponiert) Correct answer.
  3. Modified strophic Lied
  4. Da capo Lied

Explanation

A Through-composed Lied (Durchkomponiert) features continuous, non-repetitive musical setting tailored dynamically to the changing narrative and poetic imagery of each stanza.

Question 12Musical analysis and theory

How does the Recapitulation in a Classical sonata form differ fundamentally from the Exposition in terms of key scheme?

  1. Both thematic groups are presented in the tonic key, resolving the tonal conflict established in the exposition Correct answer.
  2. The primary theme is played in the dominant and the secondary theme in the tonic
  3. The secondary theme is omitted entirely to shorten the movement
  4. The recapitulation modulates to the subdominant key for both themes

Explanation

In the Recapitulation, the secondary theme group (originally presented in the dominant or relative major during the exposition) is transposed and resolved into the home tonic key.

Question 13Musical analysis and theory

What is the structural characteristic of a Baroque Da Capo Aria (ABA)?

  1. The singer repeats section A after section B, traditionally embellishing the vocal line with improvised ornamentation Correct answer.
  2. The music is strictly through-composed without repeating previous text or themes
  3. Section B is written in double canon while section A is monophonic
  4. The orchestra performs a solo cadenza between sections A and B

Explanation

In a Da Capo Aria, section A is performed, followed by a contrasting section B in a related key/mood, after which the performer returns to section A ('da capo') and adds virtuosic vocal ornamentation.

Question 14Musical analysis and theory

In a Classical solo concerto first movement, what is the term for the formal structural adaptation that features an initial orchestral statement followed by a second statement with soloist?

  1. Double exposition sonata form Correct answer.
  2. Ritornello fugue form
  3. Chaconne sonata form
  4. Continuous rondo form

Explanation

Classical concerto first movements use Double Exposition Sonata Form: the orchestra first presents the themes entirely in the tonic, followed by the soloist exposition which modulates to the secondary key.

Question 15Musical analysis and theory

In Renaissance sacred polyphony, what is a Cyclic Mass (or Cantus Firmus Mass)?

  1. A setting of the Ordinary of the Mass where all five movements share a unifying pre-existing melody in one voice Correct answer.
  2. A mass setting where each movement is written in a different church mode without shared themes
  3. A collection of secular madrigals sung between mass liturgical sections
  4. An instrumental mass organ adaptation without vocal voices

Explanation

A Cantus Firmus (or Cyclic) Mass unifies all five movements of the Mass Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) by basing them on a common cantus firmus melody usually placed in the tenor voice.

Question 16Musical analysis and theory

How does Sonata-Rondo form combine features of both Sonata form and Rondo form?

  1. It incorporates a secondary theme key area (B) in the exposition that returns in the tonic in the recapitulation, alongside a recurring refrain (A) Correct answer.
  2. It replaces the development section with a strict four-voice fugue
  3. It omits the refrain (A) in the middle section to form a binary structure
  4. It presents themes strictly in reverse order during the recapitulation

Explanation

Sonata-Rondo (typically ABACABA or ABADABA) functions as both: A acts as rondo refrain, B functions like a sonata second theme (dominant in exposition, tonic in recapitulation), and C acts as development or episode.

Question 17Musical analysis and theory

In 20th-century formal analysis, what is Arch Form (Symmetrical Form)?

  1. A sectional structure organized symmetrically around a central section, such as ABCBA Correct answer.
  2. A form that continuously accelerates from beginning to end
  3. A form based entirely on improvisational chance operations
  4. A single-section form with no repeating thematic ideas

Explanation

Arch Form is a palindromic or symmetrical formal arrangement (e.g. A B C B A), prominently featured in the works of Béla Bartók and Arch-form movements of 20th-century literature.

Question 18Musical analysis and theory

What distinguishes a Chaconne from a Passacaglia in Baroque instrumental form analysis?

  1. A Chaconne is based on a repeating harmonic progression, whereas a Passacaglia is based primarily on a repeating melodic ground bass Correct answer.
  2. A Chaconne is always in duple meter and a Passacaglia in compound meter
  3. A Chaconne is an unmeasured vocal recitative
  4. A Passacaglia uses no repeating structural elements

Explanation

While both are continuous ostinato variations in triple meter, traditionally a Chaconne centers on a recurring harmonic chord progression, whereas a Passacaglia centers on a recurring bass line melody.

Question 19Musical analysis and theory

What is the concept of Moment Form introduced by Karlheinz Stockhausen in 20th-century music aesthetics?

  1. A form composed of self-contained musical fragments ('moments') that do not rely on linear narrative or cause-and-effect progression Correct answer.
  2. A strict revival of Classical sonata-allegro form using 12-tone rows
  3. A continuous single-movement form based on a single recurring 4-note motif
  4. A vocal form that must be performed in under one minute

Explanation

Moment Form avoids narrative start-to-finish teleological progression; instead, each 'moment' is an independent, self-contained state of concentration without past or future narrative dependency.

Question 20Musical analysis and theory

In Romantic music analysis (such as Liszt's B minor Sonata), what term describes the technique of transforming a single core thematic motif across different movements or sections to fulfill varied expressive roles?

  1. Thematic transformation Correct answer.
  2. Isorhythm
  3. Isomelic variation
  4. Idée fixe suppression

Explanation

Thematic transformation alters the rhythm, meter, tempo, harmony, and character of a core motif to create unified multi-movement or single-movement sonata architectures in Romantic music.

Question 21Musical analysis and theory

In an advanced fugal analysis, what occurs during a Stretto section?

  1. Subject entries in different voices overlap, with a second voice entering before the first voice has finished stating the subject Correct answer.
  2. The tempo doubles while all voices play in unison
  3. The subject is played entirely in retrograde inversion by the bass voice alone
  4. All voices cease except for an un-accompanied solo cadence

Explanation

Stretto accelerates contrapuntal tension usually near the climax or end of a fugue by overlapping subject entries, so that voices state the subject in rapid successive staggered entry points.

Question 22Musical analysis and theory

In a Classical sonata form exposition, what harmonic marker typically signals the exact structural boundary between the transition section and the secondary theme group?

  1. Medial caesura (often following a half cadence in the secondary or dominant key) Correct answer.
  2. A plagal cadence in the subdominant
  3. An un-resolved diminished seventh chord over a tonic pedal point
  4. A sudden modulation to the minor key of the submediant

Explanation

In Sonata Theory (Hepokoski & Darcy), the Medial Caesura (MC) is a prominent structural break/pause (often following a half cadence in the dominant key) that articulates the arrival of the secondary theme.

Question 23Musical analysis and theory

What is the structural principle of Isorhythm in 14th-century Ars Nova motets?

  1. The tenor voice is structured by repeating a fixed rhythmic pattern (talea) and a fixed pitch sequence (color) Correct answer.
  2. All voices sing identical words in simultaneous homorhythmic rhythm
  3. The composition alternates between sung plainchant and organ solo improvisations
  4. The upper voice repeats a melodic pattern while the lower voice improvises freely

Explanation

Isorhythm structures the tenor voice around two repeating components: the Talea (repeating rhythmic pattern) and the Color (repeating melodic pitch sequence), which may be of different lengths.

Question 24Musical analysis and theory

What defines Open Form (or Aleatoric Mobile Form) in post-1950 contemporary music analysis (e.g. Pierre Boulez's Third Piano Sonata or Karlheinz Stockhausen's Klavierstück XI)?

  1. The overall sequence or arrangement of pre-composed musical sections is determined by the performer during performance Correct answer.
  2. The pitch content is completely random and unscripted
  3. The piece can only be performed by electronic tape without human intervention
  4. The score consists of a single un-repeating 12-tone matrix played backwards

Explanation

In Open Form (mobile form), the composer provides fully composed modular sections, but leaves the order, choice, or assembly of these modules to the performer's choice during execution.

Question 25Musical analysis and theory

In 19th-century symphonic poem analysis, what structural innovation is exemplified by Franz Liszt's concept of 'Double-function Form'?

  1. Fusing the multi-movement symphonic cycle (allegro, slow movement, scherzo, finale) into a single continuous sonata-allegro movement Correct answer.
  2. Writing two simultaneous sonata expositions in different keys for two separate orchestras
  3. Alternating between vocal opera scenes and spoken theatrical dialogue
  4. Combining a fugue and a passacaglia in double counterpoint

Explanation

Double-function Form synthesizes the macro-structure of a multi-movement symphonic cycle (fast, slow, scherzo, finale) within the single overarching micro-structure of a massive sonata-allegro movement.

Question 26Musical analysis and theory

In major-mode functional harmonic analysis, which scale degrees form the root, third, and fifth of the Subdominant triad (IV)?

  1. Scale degrees 4, 6, and 1 Correct answer.
  2. Scale degrees 1, 3, and 5
  3. Scale degrees 5, 7, and 2
  4. Scale degrees 2, 4, and 6

Explanation

The Subdominant triad (IV) in major key harmony is built on the fourth scale degree (fa), containing scale degrees 4 (root), 6 (third), and 1 (fifth).

Question 27Musical analysis and theory

Which chord movement characterizes a Perfect Authentic Cadence (PAC)?

  1. V (or V7) to I, both in root position, with scale degree 1 in the highest voice of the tonic chord Correct answer.
  2. V to I with the tonic chord in first inversion
  3. IV to I in root position
  4. V to vi in root position

Explanation

A Perfect Authentic Cadence (PAC) requires V (or V7) resolving to I, both chords in root position, and the tonic note (scale degree 1) in the soprano voice.

Question 28Musical analysis and theory

What is the common term for a harmonic cadence that moves from the subdominant triad (IV) directly to the tonic triad (I)?

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

Explanation

A Plagal Cadence moves from IV (subdominant) to I (tonic), frequently called the 'Amen cadence' due to its prevalence in liturgical hymn endings.

Question 29Musical analysis and theory

In voice-leading analysis, what non-harmonic tone is prepared by step, resolves by step in the opposite direction, and occurs on an un-accented beat?

  1. Neighbor tone (auxiliary note) Correct answer.
  2. Suspension
  3. Appoggiatura
  4. Pedal point

Explanation

A Neighbor tone leaves a chord tone by step up or down and returns by step to the original pitch on an unaccented metrical position.

Question 30Musical analysis and theory

What interval structure builds a Dominant Seventh chord in root position?

  1. Major triad + minor third (Major third, perfect fifth, minor seventh above root) Correct answer.
  2. Minor triad + minor third (Minor third, perfect fifth, minor seventh above root)
  3. Diminished triad + minor third (Minor third, diminished fifth, minor seventh above root)
  4. Major triad + major third (Major third, perfect fifth, major seventh above root)

Explanation

A Dominant Seventh chord consists of a major triad plus a minor seventh above the root (intervals: major 3rd, perfect 5th, minor 7th).

Question 31Musical analysis and theory

In figured bass notation, what figures indicate a dominant seventh chord in second inversion?

  1. 6/4/3 (or 4/3) Correct answer.
  2. 6/5
  3. 4/2 (or 2)
  4. 7

Explanation

Second inversion places the 5th of the chord in the bass, represented in figured bass by 4/3 (or 6/4/3).

Question 32Musical analysis and theory

What is the three-step voice-leading sequence required to construct a classic Suspension?

  1. Preparation (consonant), Suspension (dissonant on beat), Resolution (consonant step down) Correct answer.
  2. Leap up, hold, leap down
  3. Unaccented step down, chromatic inflection, step up
  4. Consonant leap, dissonant leap, rest

Explanation

A Suspension requires three structural phases: Preparation (a chord tone held from the previous beat), Suspension (dissonance held on the beat), and Resolution (stepwise downward movement to a consonant chord tone).

Question 33Musical analysis and theory

Which specific cadence formula is characterized by a iv6 moving to V in minor mode, featuring a half-step downward movement in the bass?

  1. Phrygian cadence Correct answer.
  2. Plagal cadence
  3. Deceptive cadence
  4. Picardy third

Explanation

A Phrygian Cadence is a sub-type of half cadence in minor mode where iv6 resolves to V, with the bass descending by half step (scale degree flat-6 to 5).

Question 34Musical analysis and theory

In C major, what pitches constitute the secondary dominant chord V7/V?

  1. D - F# - A - C Correct answer.
  2. A - C# - E - G
  3. E - G# - B - D
  4. G - B - D - F

Explanation

V/V is the dominant of the dominant key (G major). The dominant chord of G major is D major (D-F#-A), so V7/V in C major is D-F#-A-C.

Question 35Musical analysis and theory

What is the pitch construction of a Neapolitan Sixth chord (N6) in the key of A minor?

  1. Bb - D - F with D in the bass Correct answer.
  2. Bb - D - F with Bb in the bass
  3. D - F# - A with F# in the bass
  4. G# - B - D - F with D in the bass

Explanation

The Neapolitan chord is a major triad built on the lowered second scale degree (flat-II). In A minor, flat-II is Bb major (Bb-D-F). The Neapolitan Sixth (N6) places the 3rd (D) in the bass.

Question 36Musical analysis and theory

What defines Pivot Chord Modulation (diatonic modulation) in tonal score analysis?

  1. Using a chord that is functionally common to both the original key and the target key to smoothly transition between them Correct answer.
  2. Abruptly shifting keys after a pause without any shared chords
  3. Modulating by changing a single note enharmonically in a diminished 7th chord
  4. Modulating by moving all voices up by a half step chromatically

Explanation

Pivot chord modulation uses a diatonic chord that belongs naturally to both the home key and the target key, serving as a functional bridge between the two tonal areas.

Question 37Musical analysis and theory

Which pitch combination forms an Italian Augmented Sixth chord in the key of C minor resolved to the dominant?

  1. Ab - C - F# Correct answer.
  2. Ab - C - Eb - F#
  3. Ab - C - D - F#
  4. Ab - C - Eb - F

Explanation

An Italian Augmented Sixth chord contains the lowered 6th scale degree (Ab), the tonic (C), and the raised 4th scale degree (F#). It is a three-note augmented sixth chord.

Question 38Musical analysis and theory

How does a French Augmented Sixth chord differ from a German Augmented Sixth chord in terms of pitch content?

  1. The French augmented sixth contains scale degree 2, whereas the German augmented sixth contains lowered scale degree 3 Correct answer.
  2. The French augmented sixth contains a major seventh, whereas the German contains a minor seventh
  3. The French augmented sixth is built on scale degree 1, whereas the German is built on scale degree 5
  4. The French augmented sixth contains two diminished fifths, whereas the German contains no fifths

Explanation

Both contain scale degree flat-6, 1, and sharp-4. The French 6th adds scale degree 2 (creating a characteristic French timbre), while the German 6th adds flat-3.

Question 39Musical analysis and theory

What is an Appoggiatura in voice-leading analysis?

  1. An accented non-harmonic tone usually approached by leap and resolved by step in the opposite direction Correct answer.
  2. An unaccented non-harmonic tone approached by step and resolved by step in the same direction
  3. A harmonic note held over from a previous chord into a silence
  4. A bass note sustained while upper harmonies change

Explanation

An Appoggiatura is an accented dissonance occurring on the beat, typically approached by an expressive leap and resolved by step in the opposite direction.

Question 40Musical analysis and theory

In analyzing classical modulations, why is the Fully Diminished Seventh chord (vii°7) uniquely versatile for Enharmonic Modulation?

  1. It consists entirely of stacked minor thirds, dividing the octave into four equal intervals and allowing any of its notes to be enharmonically reinterpreted as a leading tone Correct answer.
  2. It contains three major triads played simultaneously
  3. It can only resolve to a major triad a fifth below
  4. It contains no dissonant intervals

Explanation

Because a Fully Diminished 7th chord is symmetrical (built of stacked minor thirds totaling 300 cents each), any of its 4 pitch classes can be reinterpreted enharmonically as the leading tone to 4 different minor/major keys.

Question 41Musical analysis and theory

In 20th-century harmonic analysis, what is Quartal Harmony?

  1. Harmonic structures and chord sonorities built primarily on stacked fourths rather than traditional thirds Correct answer.
  2. Harmony restricted exclusively to four-voice choral counterpoint
  3. Chords built only on the fourth degree of the major scale
  4. Harmonic progressions that repeat every four bars

Explanation

Quartal Harmony structures chords using intervals of perfect, augmented, or diminished fourths (e.g. C-F-Bb), moving away from traditional tertian (stacked thirds) harmony.

Question 42Musical analysis and theory

What defines a Tone Cluster in 20th-century score analysis?

  1. A chord composed of at least three adjacent musical notes in a scale (semitones or whole tones) sounding simultaneously Correct answer.
  2. A sequence of arpeggiated major triads across four octaves
  3. A single note played by three different instruments in octave unison
  4. A harmonic progression moving strictly through circle of fifths

Explanation

A Tone Cluster is a dense chord formed by adjacent pitch classes (major/minor seconds) played simultaneously (pioneered by Henry Cowell and Béla Bartók).

Question 43Musical analysis and theory

In modal analysis, which church mode is characterized by a minor triad on the tonic combined with a lowered second scale degree (flat-2)?

  1. Phrygian mode Correct answer.
  2. Dorian mode
  3. Lydian mode
  4. Mixolydian mode

Explanation

The Phrygian mode features a minor 3rd and a lowered 2nd degree (1 - b2 - b3 - 4 - 5 - b6 - b7), creating its distinctive half-step opening above the tonic.

Question 44Musical analysis and theory

What is the defining characteristic of the Dorian mode compared to the natural minor scale (Aeolian mode)?

  1. A raised sixth scale degree (major 6th above tonic) Correct answer.
  2. A lowered second scale degree
  3. A raised fourth scale degree
  4. A raised seventh scale degree

Explanation

Dorian mode differs from natural minor (Aeolian) solely by having a major 6th scale degree (raised 6th) instead of a minor 6th.

Question 45Musical analysis and theory

What is a Picardy Third (Tierce de Picardie) in Baroque and Renaissance harmonic analysis?

  1. Ending a piece in a minor key with a major tonic triad by raising the third of the final chord Correct answer.
  2. Adding an augmented sixth to the final cadence
  3. Modulating to the relative major in the last measure
  4. Inserting a three-note ornament on the dominant chord

Explanation

A Picardy Third is the stylistic practice of raising the third of the final tonic triad in a minor-key work, transforming the final cadence chord into a major triad.

Question 46Musical analysis and theory

When resolving a German Augmented Sixth chord directly to the dominant (V) in four-part harmony, what voice-leading defect occurs if not avoided via a cadential 6/4 intermediate chord?

  1. Parallel fifths (Mozart fifths) Correct answer.
  2. Parallel octaves between soprano and bass
  3. Unresolved leading tone
  4. Hidden unisons

Explanation

Resolving the German 6th (b6-1-b3-#4) directly to V (5-5-7-2) causes parallel fifths between b6->5 and b3->2. Inserting a cadential 6/4 chord resolves b3 to 1 first, avoiding parallel fifths.

Question 47Musical analysis and theory

In 12-tone serial analysis (dodecaphony), what matrix transformation is produced by reversing the pitch-class order of the prime row (P)?

  1. Retrograde (R) Correct answer.
  2. Inversion (I)
  3. Retrograde-Inversion (RI)
  4. Transposition (T)

Explanation

Retrograde (R) reads the prime row backwards from the last note to the first note.

Question 48Musical analysis and theory

What is Polychordality (polychords) in 20th-century score analysis (e.g. Stravinsky's Rite of Spring 'Dance of the Adolescents')?

  1. The simultaneous sounding of two or more distinct triads or harmonic units from different key areas Correct answer.
  2. Playing a single chord across four different octaves
  3. A fast succession of 16th-note chords in a single key
  4. Alternating between major and minor triads every measure

Explanation

Polychords consist of two or more separate, autonomous chords (e.g. Eb dominant 7th over Fb major triad in Stravinsky) sounded simultaneously.

Question 49Musical analysis and theory

How many distinct pitch classes are contained within a Whole-Tone Scale, and what interval symmetry characterizes it?

  1. 6 pitch classes, dividing the octave into six equal whole steps (200 cents each) Correct answer.
  2. 8 pitch classes, alternating whole steps and half steps
  3. 7 pitch classes, with two half steps and five whole steps
  4. 5 pitch classes, forming a pentatonic scale

Explanation

A Whole-Tone scale contains 6 pitch classes per octave, separated exclusively by major seconds (whole steps), resulting in symmetrical hexatonic scales without leading tones or perfect 5ths.

Question 50Musical analysis and theory

What scale structure defines the Octatonic Scale (Diminished Scale) frequently used by Rimsky-Korsakov, Stravinsky, and Messiaen?

  1. An 8-note scale alternating whole steps and half steps (or half steps and whole steps) Correct answer.
  2. An 8-note scale made entirely of half steps
  3. A scale consisting of eight major thirds
  4. A scale built by combining two major pentatonic scales a fifth apart

Explanation

The Octatonic scale consists of 8 pitches within an octave, built by strictly alternating whole steps and half steps (1-1/2 or 1/2-1 pattern).