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MATSEC SEC Music study materials
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MATSEC SEC Music practice questions

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Question 1Performing (solo and ensemble performance)

In a solo performance, what does the term 'rubato' ask the performer to do?

  1. Hold the final chord until the conductor gives a cutoff
  2. Play every note at an identical dynamic level throughout the phrase
  3. Take a flexible approach to tempo, borrowing and returning time within the pulse Correct answer.
  4. Repeat the opening section exactly as written before finishing

Explanation

Rubato means 'robbed time': the performer speeds up or slows down expressively while the underlying pulse stays conceptually intact, so time taken is later given back. It is an expressive tempo instruction, not a dynamic or structural one.

Question 2Performing (solo and ensemble performance)

A flute player sees 'mp' written under a phrase. How should the phrase be played?

  1. Very softly, almost inaudible
  2. Loudly, with full force
  3. Moderately soft Correct answer.
  4. Gradually getting louder

Explanation

mp stands for mezzo-piano, meaning moderately soft, sitting between p (piano) and mf (mezzo-forte) on the dynamic scale. It is a fixed dynamic marking rather than a change over time.

Question 3Performing (solo and ensemble performance)

Which rehearsal technique best helps an ensemble fix a recurring rhythmic ensemble problem in a specific bar?

  1. Playing the whole movement at full speed repeatedly
  2. Ignoring the bar and hoping it settles in performance
  3. Adding more players to the section until the problem is masked
  4. Isolating the bar at a slow tempo with a shared click, then rebuilding Correct answer.

Explanation

Slow, isolated practice with a common reference pulse lets players hear exactly where entries and subdivisions misalign before speed is restored. Rebuilding gradually transfers the corrected coordination back to tempo.

Question 4Performing (solo and ensemble performance)

In a string quartet, which instrument normally carries the melody while the others provide accompaniment in a homophonic texture?

  1. Whichever player is assigned the top line, usually the first violin Correct answer.
  2. The cello, because it has the lowest register
  3. The second violin, because it doubles the bass
  4. The viola, because it fills the middle harmony

Explanation

In a homophonic texture one voice carries the tune while the rest accompany, and in the standard quartet this is normally the first violin's top line. Register alone does not decide the melody; the composer's assignment does.

Question 5Performing (solo and ensemble performance)

A singer must sustain a long phrase on a single breath. Which approach supports this most reliably?

  1. Raise the shoulders high and pull the chest upward on entry
  2. Sing the phrase with the glottis partly closed to save air
  3. Breathe in audibly through the mouth as fast as possible
  4. Take a low, silent breath using the diaphragm and manage airflow steadily Correct answer.

Explanation

Low, silent diaphragmatic breathing allows full lung capacity with relaxed support, and steady airflow management conserves breath across the phrase. Shoulder raising and forced audible gasps waste effort and create tension.

Question 6Performing (solo and ensemble performance)

What is the main purpose of a warm-up before a solo performance?

  1. To memorise any remaining notes still uncertain
  2. To practise the entire programme at performance tempo
  3. To increase the dynamic level of the piece
  4. To prepare muscles, breathing and coordination so the instrument responds reliably Correct answer.

Explanation

A warm-up primes the physical and mental systems - embouchure, bow arm, breath, fingers - so coordination is reliable from the first note. It is preparation, not a substitute for learning notes or a full run-through.

Question 7Performing (solo and ensemble performance)

During an ensemble performance the conductor gives a cue one beat late. What should a well-prepared player do?

  1. Stop and wait for a clear restart
  2. Follow the established pulse and continue, using the conductor only for shaping Correct answer.
  3. Speed up to catch the conductor
  4. Turn to the audience and apologise

Explanation

A prepared ensemble keeps the established pulse and treats the conductor's gesture as guidance for shaping rather than a rigid trigger. Stopping or lurching would break continuity far more than the late cue.

Question 8Performing (solo and ensemble performance)

Which marking tells a performer to play a passage with the bow lifted between notes, producing separated articulation?

  1. Staccato Correct answer.
  2. Legato
  3. Slurred
  4. Portamento

Explanation

Staccato means detached, and on bowed strings it is produced with separated, lifted strokes. Legato and slurs indicate smooth connection, while portamento is a pitch slide.

Question 9Performing (solo and ensemble performance)

A pianist notices the left hand is consistently louder than the right in a passage where the melody is in the right hand. What is the best correction?

  1. Reduce left-hand weight and voice the right-hand melody clearly Correct answer.
  2. Pedal through the passage to blend the hands
  3. Play the whole passage more loudly to balance the hands
  4. Play the passage faster so the imbalance is less noticeable

Explanation

Balance is achieved by voicing: the accompanying hand is played with less weight so the melodic line projects. Increasing overall volume or speed does not address the relative balance between hands.

Question 10Performing (solo and ensemble performance)

In a jazz combo performance, what does 'comping' refer to?

  1. Trading four-bar solos with the drummer
  2. Improvising chordal accompaniment with rhythmic flexibility behind a soloist Correct answer.
  3. Playing the written melody in unison with the horns
  4. Counting the ensemble in before the piece

Explanation

Comping is the accompanist's art of supplying chords and rhythmic support behind a soloist, reacting to the solo in real time. It is accompaniment, not melody playing or counting in.

Question 11Performing (solo and ensemble performance)

Which factor most directly determines the intonation of a wind player's sustained note?

  1. The colour of the instrument's finish
  2. The support of airflow and embouchure adjustment Correct answer.
  3. The direction the player faces on stage
  4. The speed at which the player reads the score

Explanation

Pitch on wind instruments depends on the interaction of air support, embouchure and instrument length, so players adjust with airflow and lip pressure. Cosmetic finish, reading speed and facing direction do not control pitch.

Question 12Performing (solo and ensemble performance)

An ensemble begins a piece with a two-bar count-in from the drummer. What is the main function of this count-in?

  1. To signal the piece's final tempo change
  2. To allow the sound engineer to set levels
  3. To give the audience time to settle into their seats
  4. To establish the tempo and the upbeat so all players enter together Correct answer.

Explanation

A count-in sets the tempo and clarifies where the first beat falls, so every player enters together with a shared pulse. It is a musical coordination device, not a technical or audience-management one.

Question 13Performing (solo and ensemble performance)

A performer plans to memorise a solo. Which strategy is most secure for performance?

  1. Relying on finger memory built by many fast repetitions only
  2. Reading the score silently until it feels familiar
  3. Memorising only the opening and closing sections
  4. Combining aural, visual and analytical memory with slow practice and starting from random points Correct answer.

Explanation

Robust memorisation layers several memory types - aural, visual, kinaesthetic and analytical - and tests them by starting from unexpected points. Relying on one channel alone tends to fail under performance stress.

Question 14Performing (solo and ensemble performance)

In an ensemble, what is the role of a 'section leader' during performance?

  1. To play more loudly than the rest of the section
  2. To tune the entire ensemble before the concert
  3. To decide the programme order during the concert
  4. To coordinate entries, bowing or breathing and communicate with the conductor Correct answer.

Explanation

A section leader coordinates the group - unifying bowings, breathing, entries and articulation - and relays the conductor's intentions. The role is coordination, not dominance or administration.

Question 15Performing (solo and ensemble performance)

A guitarist performing a solo arrangement must bring out an inner melody line beneath a repeated chord pattern. Which technique supports this?

  1. Using more distortion so the chords sustain longer
  2. Striking all strings with equal force for consistency
  3. Striking the melody notes harder and the accompanying chords more lightly Correct answer.
  4. Playing the passage at a slower tempo throughout

Explanation

Voicing on the guitar means giving the melodic notes more attack and letting the accompanying pattern sit beneath them. Equal force or added sustain blurs the line rather than revealing it.

Question 16Performing (solo and ensemble performance)

What does a fermata over a note indicate to a performer?

  1. The note should be played an octave higher
  2. The note should be sustained beyond its written value at the performer's or conductor's discretion Correct answer.
  3. The note should be played as short as possible
  4. The note should be repeated until a signal is given

Explanation

A fermata (the 'pause' sign) suspends the normal metre so the note is held longer than written, its length decided by the performer or conductor. It does not alter pitch or require repetition.

Question 17Performing (solo and ensemble performance)

Two players in an ensemble disagree about the tempo of a passage. What is the most professional way to resolve it in rehearsal?

  1. The player with more experience ignores the score
  2. Each plays at their own preferred tempo in performance
  3. Refer to the score marking and, if needed, the conductor's decision, then test it together with a click Correct answer.
  4. The louder player's tempo wins

Explanation

The score marking is the shared authority, and the conductor arbitrates interpretation; testing with a metronome confirms the agreed tempo objectively. Individual preference or volume is not a valid basis for ensemble tempo.

Question 18Performing (solo and ensemble performance)

A brass player's tone becomes thin and strained in the upper register during a solo. Which adjustment is most likely to help?

  1. Reducing airflow to a minimum
  2. Playing the upper register only at a loud dynamic
  3. Using faster air and firm but relaxed support with efficient embouchure Correct answer.
  4. Pressing the mouthpiece harder against the lips

Explanation

High notes need faster air and efficient embouchure focus rather than lip pressure, which restricts vibration and causes strain. Reduced airflow or forcing volume will not solve the underlying support problem.

Question 19Performing (solo and ensemble performance)

In a chamber ensemble with no conductor, how do players typically achieve a coordinated tempo change mid-performance?

  1. By waiting for the audience to clap the new tempo
  2. By stopping briefly and restarting at the new speed
  3. By each following the printed metronome mark independently
  4. Through eye contact and a clearly led breath or gesture from one agreed player Correct answer.

Explanation

Conductorless ensembles coordinate through visual contact and a shared preparatory gesture, often led by the player carrying the main line at that point. Independent metronome marks and stopping are not viable in performance.

Question 20Performing (solo and ensemble performance)

Which statement best describes the difference between a solo recital and an accompanied performance?

  1. A solo recital requires no preparation
  2. An accompanied performance never uses a score
  3. A solo recital always lasts longer than an accompanied performance
  4. A solo recital involves one performer alone, while an accompanied performance includes a partner such as a pianist Correct answer.

Explanation

The distinction is about forces: a solo recital features one performer, whereas an accompanied performance adds a collaborative partner who shares balance, tempo and phrasing decisions. Duration, use of score and preparation are unrelated to this distinction.

Question 21Performing (solo and ensemble performance)

A violinist notices a scratchy, uneven bow change at the heel of the bow. Which correction is most appropriate?

  1. Lift the bow completely between strokes
  2. Increase bow pressure sharply at the change
  3. Maintain consistent speed, weight and contact point through the change with a relaxed arm Correct answer.
  4. Play the passage with the bow near the tip only

Explanation

Smooth bow changes come from steady speed, weight and contact point with a relaxed arm, so the bow direction reverses without a crunch. Extra pressure or lifting the bow creates accents, and restricting to the tip avoids rather than solves the problem.

Question 22Performing (solo and ensemble performance)

Why is it important for ensemble players to watch a shared visual reference such as a leader's bow or breath even when the music is well known?

  1. It allows players to ignore the conductor
  2. It guarantees the players will not make mistakes
  3. It replaces the need for individual practice
  4. It keeps entries, articulation and tempo unified in real time Correct answer.

Explanation

A shared visual cue synchronises the ensemble in real time, aligning entries, articulation and any flexibility of tempo. It supports, but does not replace, preparation or the conductor's role.

Question 23Performing (solo and ensemble performance)

A performer feels severe performance anxiety before a solo. Which preparation strategy is most effective and appropriate?

  1. Drinking caffeine immediately before going on stage
  2. Avoiding all performance opportunities until the anxiety disappears
  3. Simulating performance conditions in practice and using controlled breathing routines Correct answer.
  4. Playing the programme faster in the warm-up to burn off nerves

Explanation

Anxiety is best managed by gradual exposure - practising under performance-like conditions - combined with breathing and focus routines that settle the body. Avoidance maintains the fear, and stimulants or rushing tend to increase arousal.

Question 24Performing (solo and ensemble performance)

In a multi-movement solo work, a performer pauses briefly between movements. What is the main musical reason for this pause?

  1. To allow the audience to applaud after each movement
  2. To separate the movements so each has its own character and framing Correct answer.
  3. To retune the instrument before every movement
  4. To let the performer rest the instrument only

Explanation

A short pause frames each movement as a distinct unit, letting the character of one settle before the next begins. It is a structural and expressive device, not primarily about rest, applause or tuning.

Question 25Performing (solo and ensemble performance)

A conductor asks the ensemble for a 'crescendo poco a poco' over eight bars. How should the players respond?

  1. Increase volume gradually and steadily across the eight bars Correct answer.
  2. Get softer then louder within each bar
  3. Get louder suddenly in the final bar only
  4. Maintain one dynamic level for the whole passage

Explanation

Crescendo means growing louder and poco a poco means little by little, so the increase is spread gradually and evenly over the eight bars. A sudden change or a static level contradicts both terms.

Question 26Performing (solo and ensemble performance)

A flute player and a clarinettist tune together before an ensemble rehearsal. Which reference pitch should they use to tune their instruments?

  1. The lowest note each player can produce
  2. The pitch of the previous piece performed
  3. The player's own comfortable singing pitch
  4. The tuning note given by the principal oboe or ensemble leader Correct answer.

Explanation

Ensemble tuning relies on one agreed reference pitch so that every instrument aligns to the same standard. Normally the principal oboe or a designated leader sounds this note, and others adjust to it. Tuning to a personal or arbitrary pitch would leave the group inconsistent.

Question 27Performing (solo and ensemble performance)

A string quartet player sees the marking 'sul ponticello' above a passage in a chamber work. How should the player produce the sound?

  1. Striking the wood of the instrument with the bow
  2. Bowing directly over the fingerboard for a soft, flute-like tone
  3. Bowing close to the bridge for a thin, glassy tone Correct answer.
  4. Plucking the string with the left hand

Explanation

Sul ponticello instructs the player to bow near the bridge, which emphasises upper harmonics and creates a pale, metallic colour. It is a specific tone-colour instruction, distinct from other special effects. The character of the resulting sound is central to the passage's effect.

Question 28Performing (solo and ensemble performance)

A singer performing an art song notices the phrase 'con molto espressione' above a melodic line. What should guide the interpretation?

  1. Projecting the emotional meaning of the text through shaping and colour Correct answer.
  2. Singing the phrase as quietly as possible
  3. Speeding up to reach the next phrase quickly
  4. Adding improvised ornaments not in the score

Explanation

Expressive markings ask the performer to communicate feeling, usually shaped by the text and harmonic context. In art song the words and music work together, so the singer colours the line to serve the poem. Volume, tempo and ornamentation are separate decisions.

Question 29Performing (solo and ensemble performance)

An ensemble is preparing a passage marked 'rubato' in a Romantic slow movement. Which approach best reflects the convention?

  1. The tempo is fixed rigidly from the first bar to the last
  2. Each player chooses an independent tempo
  3. Every player slows down at exactly the same rate throughout
  4. The leader shapes the melody freely while the accompaniment maintains a steady underlying pulse Correct answer.

Explanation

Rubato involves expressive flexibility, often with the melody taking liberties while the accompaniment keeps a steadier pulse. This creates the characteristic give-and-take of Romantic performance. Players must coordinate so the flexibility remains shared rather than chaotic.

Question 30Performing (solo and ensemble performance)

During a solo recital a pianist reaches a passage marked 'una corda'. What does this instruction require?

  1. Using the soft pedal to shift the action and alter tone colour Correct answer.
  2. Playing with the left hand only
  3. Releasing both pedals completely
  4. Playing an octave higher than written

Explanation

Una corda directs the pianist to use the soft pedal, which shifts the hammers so fewer strings are struck, changing both volume and timbre. It is a colour instruction as much as a dynamic one. It does not change which hand plays or the pitch level.

Question 31Performing (solo and ensemble performance)

A horn player in an orchestra sees 'muted' written above an entry. What must the player do before the entry?

  1. Insert the mute into the bell during the preceding rest Correct answer.
  2. Change to a different crook without pausing
  3. Play the passage an octave lower than written
  4. Increase breath pressure to brighten the tone

Explanation

A mute instruction requires the player to fit the mute in good time, usually during a rest, so the entry speaks correctly. Failing to prepare it causes a late or unclear attack. The mute changes timbre and volume rather than pitch.

Question 32Performing (solo and ensemble performance)

A conductor indicates a 'subito piano' at a phrase boundary. How should the ensemble respond?

  1. Gradually reduce volume over several bars
  2. Drop immediately to a quiet dynamic at that point Correct answer.
  3. Increase volume suddenly
  4. Maintain the previous dynamic until the next rehearsal mark

Explanation

Subito means suddenly, so the change to piano must happen at once rather than gradually. The effect depends on the abrupt contrast. A gradual change would be a diminuendo instead.

Question 33Performing (solo and ensemble performance)

A cellist performing a solo suite must execute a passage marked 'spiccato'. Which bowing action produces this articulation?

  1. A stroke played entirely with the wood of the bow
  2. A controlled bouncing stroke with the bow leaving the string between notes Correct answer.
  3. A heavy accented stroke pressed into the string
  4. A long sustained stroke with constant bow contact

Explanation

Spiccato is a off-string stroke in which the bow bounces lightly, giving short separated notes. Control comes from the wrist and the height of the bounce. It differs from on-string detached strokes.

Question 34Performing (solo and ensemble performance)

An ensemble performing a Baroque dance movement must decide how to treat the repeated sections. Which approach is most stylistically appropriate?

  1. Change the metre on the repeat
  2. Play the repeat identically to the first time without change
  3. Vary the repeat with added ornamentation and different dynamics Correct answer.
  4. Skip the repeat to shorten the performance

Explanation

In Baroque practice repeats were often opportunities for varied ornamentation and colour, giving contrast. Playing a repeat identically can sound static. Changing metre or omitting repeats departs from the score's structure.

Question 35Performing (solo and ensemble performance)

A jazz singer performing with a rhythm section signals the band to end a tune. Which cue is standard practice?

  1. Changing key without warning
  2. Stopping abruptly without any signal
  3. A clear visual signal such as a raised hand or a nod at the agreed ending point Correct answer.
  4. Turning away from the band and continuing to sing

Explanation

In jazz performance endings are often cued visually so the rhythm section can stop together. A raised hand, nod or other agreed gesture at a set point keeps the group coordinated. Unannounced changes leave the band guessing.

Question 36Performing (solo and ensemble performance)

A percussionist in an ensemble must play a passage marked 'roll' on a snare drum. What does this require?

  1. Playing with mallets instead of sticks
  2. A single loud accented stroke
  3. Striking the rim instead of the head
  4. Rapid alternating strokes producing a sustained sound Correct answer.

Explanation

A drum roll is produced by rapid alternating single strokes that blend into a continuous sound. It sustains the note for the written duration. It is not a single accent or a change of striking surface.

Question 37Performing (solo and ensemble performance)

A guitarist performing a solo piece sees 'rasgueado' indicated in a Spanish work. Which technique does this describe?

  1. A harmonic produced by lightly touching the string
  2. A strumming technique using rapid fan-like strokes of the fingers Correct answer.
  3. A muted chord played near the bridge
  4. A single note plucked with the thumb only

Explanation

Rasgueado is a percussive strumming technique in which the fingers fan rapidly across the strings. It is characteristic of flamenco and Spanish guitar music. It is not a single-note technique or a harmonic.

Question 38Performing (solo and ensemble performance)

A wind quintet is rehearsing a passage where the flute has the melody and the horn has an accompanying figure. Which balance principle should guide the horn player?

  1. Play below the melodic line so the flute remains clearly audible Correct answer.
  2. Play as loudly as possible to project the accompaniment
  3. Match the flute's volume exactly at all times
  4. Drop out entirely during the melody

Explanation

Ensemble balance requires accompanying figures to sit beneath the melody so the main line is heard. The horn should support without masking the flute. Matching the melody's volume or overpowering it upsets the texture.

Question 39Performing (solo and ensemble performance)

During a solo performance a violinist must execute a passage marked 'flautando'. What sound should result?

  1. A note played with the mute removed
  2. A harsh, forceful tone produced near the bridge
  3. A soft, flute-like tone produced by bowing over the fingerboard Correct answer.
  4. A percussive tap on the strings

Explanation

Flautando indicates a light, flute-like colour, usually achieved by bowing over the fingerboard with reduced pressure. It softens the tone and reduces harmonics. It is distinct from ponticello or percussive effects.

Question 40Performing (solo and ensemble performance)

An ensemble is preparing a piece with a written accelerando over four bars. How should the players coordinate the change?

  1. Follow the leader's beat so the increase in speed stays together Correct answer.
  2. Wait until the end of the passage and jump to the new tempo
  3. Maintain the original tempo and ignore the marking
  4. Each player speeds up at their own rate

Explanation

An accelerando is a gradual increase in speed that must be shared, so players watch a leader or conductor to stay together. Independent speeding up would break the ensemble. Ignoring the marking or jumping suddenly contradicts the gradual instruction.

Question 41Performing (solo and ensemble performance)

A baritone in an opera scene must project over an orchestra while singing a passage marked 'parlando'. What does this style require?

  1. Singing in a speech-like manner close to natural declamation Correct answer.
  2. Singing entirely in falsetto
  3. Whispering the words without pitch
  4. Sustaining each note with full bel canto tone

Explanation

Parlando means the vocal line imitates speech, with rhythms and accents close to natural declamation. It is a style of delivery, not a register or a volume instruction. It remains sung, though speech-like.

Question 42Performing (solo and ensemble performance)

A brass quintet is preparing a passage where the tuba must support the ensemble's tuning. Which role does the tuba most usefully serve?

  1. Playing the melody as loudly as possible
  2. Adding improvised ornaments above the texture
  3. Providing a stable bass foundation that anchors the group's intonation Correct answer.
  4. Setting a fluctuating tempo for expressive effect

Explanation

The bass line anchors harmonic tuning, and players tune intervals to it. A steady, well-tuned tuba helps the whole ensemble. It is not primarily a melodic or ornamental voice.

Question 43Performing (solo and ensemble performance)

A harpsichordist performing a continuo part in a Baroque ensemble must decide what to play above the figured bass. Which approach is appropriate?

  1. Realise the chords according to the figures, adding suitable voicing and ornamentation Correct answer.
  2. Double the melody exactly as written
  3. Play only the written bass notes with no chords
  4. Play the bass line an octave higher than written

Explanation

Continuo playing requires realising the harmony from the figures, choosing voicing and adding tasteful ornamentation. The bass line alone does not supply the harmony. Doubling the melody or transposing the bass is not the continuo role.

Question 44Performing (solo and ensemble performance)

A singer must perform a passage marked 'mezza voce'. How should this be produced?

  1. At the loudest possible volume
  2. With a controlled, moderate vocal intensity, softer than full voice Correct answer.
  3. With a wide, uncontrolled vibrato
  4. In a whispered tone with no pitch

Explanation

Mezza voce means half voice, a controlled moderate intensity rather than full power. It retains pitch and support while reducing volume. It is not a whisper or a maximum-volume instruction.

Question 45Performing (solo and ensemble performance)

A conductor asks the strings for 'sul tasto' in a soft passage. What effect does this produce and why is it useful there?

  1. A softer, veiled tone that helps control a quiet dynamic Correct answer.
  2. A muted sound achieved with a physical mute
  3. A percussive attack for rhythmic emphasis
  4. A brighter, more penetrating tone for a climax

Explanation

Sul tasto means bowing over the fingerboard, which reduces brightness and produces a veiled, softer tone. This suits quiet passages where a smooth blend is wanted. It is not a mute and does not create percussive attack.

Question 46Performing (solo and ensemble performance)

A drummer in a rock band must play a passage marked 'ghost notes' on the snare. What does this require?

  1. Loud accented backbeats on every beat
  2. Striking the cymbal instead of the snare
  3. Playing with brushes only
  4. Very soft, unaccented strokes that fill the groove without dominating Correct answer.

Explanation

Ghost notes are quiet, unaccented snare strokes that add texture and groove without being prominent. They sit beneath the main accents. They are not loud backbeats or a change of implement.

Question 47Performing (solo and ensemble performance)

A pianist performing a solo sonata must shape a long phrase that rises to a climax and then relaxes. Which approach best serves this?

  1. Play the climax as quietly as possible
  2. Accelerate continuously through the whole phrase
  3. Build tension through the rise and release it after the peak with a controlled taper Correct answer.
  4. Play the entire phrase at one dynamic level

Explanation

Phrasing shapes a musical line towards a peak and then releases it, often with a slight dynamic and timing taper. This gives the phrase direction and breath. A flat dynamic or continuous acceleration removes the shape.

Question 48Performing (solo and ensemble performance)

An ensemble performing a march must execute a passage marked 'staccato' in the woodwinds. What articulation results?

  1. Notes held beyond their written value
  2. Notes played with a heavy accent on every beat
  3. Short, detached notes with clear separation Correct answer.
  4. Long, connected notes with smooth joins

Explanation

Staccato indicates short, detached articulation, with space between the notes. It contrasts with legato, where notes are joined smoothly. It does not lengthen notes or imply a uniform accent.

Question 49Performing (solo and ensemble performance)

A flautist in a chamber ensemble must play a passage marked 'flatterzunge'. Which technique is required?

  1. A rolled or fluttered tongue producing a rapid tremolo effect Correct answer.
  2. A percussive key click
  3. A whistle tone produced above the normal range
  4. A rapid alternation between two fingerings

Explanation

Flatterzunge is a tonguing technique in which the tongue flutters, producing a rapid tremolo-like sound. It is a specific modern colour. It is distinct from trills, whistle tones or key clicks.

Question 50Performing (solo and ensemble performance)

A conductor signals a 'fermata' over the final chord of a work. What should the ensemble do?

  1. Hold the chord beyond its written value until the conductor releases it Correct answer.
  2. Play the chord an octave higher
  3. Cut off the chord immediately at the written beat
  4. Repeat the chord twice

Explanation

A fermata lengthens a note or chord beyond its written value, with the release controlled by the conductor or leader. The ensemble must watch for the cutoff. It does not imply repetition or transposition.