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The solo instrument heard in this excerpt from Britten’s Young Person’s Guide to the Orchestra is a clarinet. |
false |
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Match the descriptive words or phrases with the different elements of music as found in Britten’s Young Person’s Guide to the Orchestra. |
formtheme and variations Correct label: theme and variations performing forcesfull orchestra Correct label: full orchestra melodybased on a Baroque tune Correct label: based on a Baroque tune texturehomophonic at the beginning, polyphonic at the end Correct label: homophonic at the beginning, polyphonic at the end |
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Britten’s Young Person’s Guide to the Orchestra has an eight-measure theme in D minor based on a tune by Baroque composer Henry Purcell. After the theme is heard six times in various instrument families, a set of thirteen variations follow. The piece ends with a fugue where each instrument family is again featured in succession. |
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Which of the following statements correctly describe Britten’s Young Person’s Guide to the Orchestra? |
The work ends with a fugue. The meter and tempo change. The tonality shifts between major and minor. |
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What word or phrase best describes the excerpt heard here? Britten, Young Person’s Guide |
… |
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What members of the brass family are featured playing solos in this excerpt? |
trombones & tuba |
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What word or phrase best describes the excerpt heard here? |
statement of main theme |
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Which choice below accurately describes Hildegard’s Alleluia? |
NO INSTRUMENTS USED |
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The solo instrument heard in this excerpt from Britten’s Young Person’s Guide to the Orchestra is a clarinet. |
faLSE |
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What best describes the relationship between the different voices of the chorus in Hildegard’s Alleluia? |
all voices sing one melody |
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After the chorus finishes singing "Alleluia," the soloist returns to sing the verse, beginning like the opening "Alleluia" but then moving to a new melody. What best describes the solo verse section? it is longer than the choral "Alleluia" section |
… |
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How does Hildegard highlight this text in the melody? higher pitches |
… |
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What is the overall form of Hildegard’s Alleluia? |
A-B-A |
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What best describes the texture of Hildegard’s Alleluia? |
THIS MUSIC ALTERNATES BETWEEN CHORUS &SOLOIST |
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What best describes the text setting (number of notes per syllable of text) on the opening word "Alleluia" in Hildegard’s Alleluia, O virga mediatrix? |
MELISMATIC |
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What best describes the texture of chant? |
MONOPHONIC |
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Which of the choices below describe this music? |
A CAPPELLA |
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What best describes the number of notes per syllable of text on the opening word "Alleluia" in Hildegard’s Alleluia, O virga mediatrix? |
LOTS OF NOTES PER SYLLABLE OF TEXT |
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How many singers do you hear at the opening of Hildegard’s Alleluia? |
one |
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Which of the following are correct descriptions of chant? Hildegard, Alleluia 0:20 a cappella monophonic nonmetric |
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After the chorus repeats the opening music first sung by the soloist, the chorus continues with new music. How is this new music different from the opening music? opening 0:12 new music 0:12 Correct Answer(s) The new music begins on higher pitches than the opening music. |
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After the chorus finishes singing "Alleluia," the soloist returns to sing the verse, beginning like the opening "Alleluia" but then moving to a new melody. What best describes the solo verse section? it is longer than the choral "Alleluia" section |
… |
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How many vocal parts are heard at the beginning of Gaude Maria virgo once the voices begin to move? |
three |
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What best describes the relationship among the voices in Gaude Maria virgo? Gaude Maria virgo 0:18 Two voices sing different melodies while the third voice sings mostly on one lower pitch. |
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The lower voice holds its pitch for much longer than the upper two voices. |
… |
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After the cadence, you hear a new section of music. What best describes the relationship among the different voices in this new section? |
all voices sing one melody |
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Another name for this type of polyphony is organum. |
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The text setting of the upper voices is melismatic. |
… |
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What best describes the texture of Gaude Maria virgo? |
polyphonic |
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What best describes the lowest voice? Gaude Maria virgo 0:21 |
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Gaude Maria virgo has some distinctive features of polyphonic texture. How does the pace at which the bottom voice changes pitch compare to the pace of the upper two voices? |
the lower voice moves much slower |
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The upper voices sing lots of pitches per syllable of text. |
… |
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The first two lines ("Ma fin…" and "Et mon…") are reused to end the poem. In what other line do you see the first line from the poem ("Ma fin…")? |
LINE 4 lots of notes per syllable |
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What best describes Machaut’s Ma fin est mon commencement (My end is my beginning)? |
three voices singing without instruments |
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Which best describes the relationship between the voices (the texture) in the first line of Machaut’s Ma fin est mon commencement (My end is my beginning)? |
each voice sings its own unique melody |
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Which best describes the music for the third line of Machaut’s song? Machaut, Ma fin est mon commencement 0:42 1. Ma fin est mon commencement The music is the same but the text is different from the first line. |
Which best describes the fourth line of Machaut’s song? ▶ Machaut, Ma fin est mon commencement 0:42 1. Ma fin est mon commencement 2. Et mon commencement ma fin 3. Est teneüre vraiement. 4. Ma fin est mon commencement. 5. Mes tiers chans trois fois seulement 6. Se retrograde et einsi fin. 7. Ma fin est mon commencement 8. Et mon commencement ma fin. 1. My end is my beginning 2. and my beginning my end 3. and true tenor. 4. My end is my beginning. 5. My third part three times only 6. moves backward and so ends. 7. My end is my beginning 8. and my beginning my end. √Correct choiceThe music and text are the same as in the first line. XIncorrect choiceThe music and text are the same as in the second line. |
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1. Ma fin est mon commencement The music is the same but the text is different from the second line. |
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Which best describes the seventh line of Machaut’s song? |
music and text as the first line |
|
8th line |
the music and text are the same as second line |
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What best describes the text setting of the first section of Ma fin est mon commencement (My end is my beginning)? |
mellismatic |
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Which best describes the texture of the first section of Ma fin est mon commencement (My end is my beginning)? |
non-imitive poly |
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Ma fin est mon commencement is a chanson in rondeau form: |
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The text contains a riddle. It is a three-voice chanson. The top and middle voices are palindromes of each other. |
… |
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full refrainhalf versehalf refrainfull versefull refrain |
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The text setting of Machaut’s Ma fin est mon commencement (My end is my beginning) is primarily syllabic. |
false |
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When studying vocal music, it is important to look at the text first. The text often determines the musical form of a piece, and its meaning may guide composers’ decisions. |
one person |
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After the opening phrase is sung by one person, other voices enter and sing together. What best describes the relationship among the voices (the texture)? |
the highest voice sings the melody |
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What best describes the text setting when the other voices enter? |
there is one note per syllable of text |
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How is the Gloria, from Pope Marcellus Mass, performed in this recording? |
by voices only |
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Which of the following best effects a solemn tone in the piece? |
a slow pace |
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For the first six text lines, only three or four of the voices sing at the same time. A few lines later, "Gratias agimus tibi" (we give you thanks) is set to five voices, giving a fuller sound. How does Palestrina change the texture of the following lines beginning with "propter magnam gloriam" (Thy great glory)? |
he uses fewer voices |
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Most of this Gloria is in homorhythmic texture, so Palestrina often adds something new to give the music a feeling of forward motion and to prevent the same texture from sounding static. What does Palestrina add to "Domine Fili unigenite" (O Lord, the only begotten Son)? |
ascending motion imitated in each voice |
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The line "cum Sancto Spiritu" begins with three voices. How does Palestrina vary the number of voices during this final excerpt that ends the piece? |
adds more voices 6 |
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Categorize each of the following statements as correct or incorrect regarding the Gloria from Palestrina’s Pope Marcellus Mass. Correct Answer(s) The number of voices changes throughout the movement. It is a movement from the Mass Ordinary. This is an a cappella work. |
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The first line of the Gloria from Palestrina’s Pope Marcellus Mass is polyphonic: |
f |
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Which of the following statements are correct about the Gloria from Palestrina’s Pope Marcellus Mass? Correct Answer(s) The text is in Latin. The text is a hymn of praise. The words are clearly intelligible |
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textureFrequent changes in the density of voices Correct label: Frequent changes in the density of voices meterSlow duple Correct label: Slow duple textMass Ordinary Correct label: Mass Ordinary |
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This is the second movement of the Mass Ordinary as set by Giovanni Pierluigi da Palestrina. The form is through-composed, the text setting is primarily syllabic, and the texture is predominantly homorhythmic to clearly express the text, foreshadowing the recommendations of the Council of Trent. |
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What best describes the text setting when the other voices enter? |
there is one note per syllable |
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Which of the following correctly describe the orchestral introduction at the beginning of this scene from Purcell’s Dido and Aeneas? |
strings and harpsichord repetitive rhythmic pattern quick pace |
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What do you hear in the second section, after the orchestral introduction? |
SOLO MALE VOICE |
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Which of the following characteristics apply to the second section and the opening orchestral introduction? |
quick pace and repetitive rhythmic pattern |
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Which best describes the music sung by the chorus? |
SAME TUNE AS THE SOLOIST |
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Which best describes the tempo and key of this scene? |
QUICK TEMPO AND MAJOR KEY |
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Which of the following statements is true of this music? |
TRIPLE METER AND REPETITIVE |
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Which best describes the form of this scene? |
STROPHIC |
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Which of the following statements correctly describe the opening of Act III of Purcell’s Dido and Aeneas? There is orchestral accompaniment. There is a male soloist. There is a chorus. |
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formstrophic Correct label: metertriple Correct label: keymajor Correct label: |
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The opening of Act III of Dido and Aeneas features basso continuo only. |
F |
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The energetic and sprightly hornpipe features Scotch snaps and is in triple meter. The tune is best described as playful and features an orchestral prelude, a solo verse, and then a chorus. |
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The opening section of this scene is a recitative, a solo vocal passage in which the music follows the inflections of the text. Which describes this section? |
IT IS SUNG FREELY WITH NO BEAT |
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In the opening recitative, which best describes the accompaniment? |
A FEW INSTRUMENTS |
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In the recitative, a few instruments play simple chords, but when the aria begins, the accompaniment changes and the instruments play notes more frequently. |
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Which instruments comprise the orchestra in the aria (song)? |
STRINGS |
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Which best describes the speed of the aria? |
SLOW |
|
… |
DESCENDING MOSTLY BY STEPS |
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The role of Dido is sung by a woman with a high voice. |
… |
|
… |
textsame Correct label: same vocal musicsame Correct label: same |
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If we assign the letter A for this excerpt, what is the form of the first two sections of the aria? |
A-A |
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The text for the third section of the aria is "Remember me, remember me, but ah, forget my fate, remember me, but ah, forget my fate." Which correctly describe this section of music? |
new text new music |
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Which best describes the bass line in the third section? |
DESCENDING MOSTLY BY STEPS |
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Which characteristics below correctly describe this recitative? |
solo vocal section freely sung accompanied by a few instruments that play simple chords no strong beat |
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What best describes this aria? |
D This is an aria for soprano accompanied by bowed and plucked strings. |
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Dido is singing in this excerpt. |
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The rhythm of the recitative is free, and the rhythm of the aria is more regular. The harmony of the aria is based on a chromatic ground bass that descends by half step. The slow and melancholy triple meter expresses Dido’s lamentation at Aeneas’s departure. |
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The opening descending bass line that unifies Dido’s Lament is called a(n) ground bass. |
… |
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What performing ensemble do you hear in the opening of the first movement of Bach’s Cantata No. 140, Wachet auf? |
AN ORCHESTRA W/STRINGS |
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After the orchestral section (or ritornello), a choir enters. The first voices you hear are sopranos. How is the rhythm of the soprano part different from the rhythms of the other voice parts? |
THE SOPRANOS SING MUCH SLOWER |
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In this movement, the sopranos sing the hymn tune; altos, tenors, and basses sing other melodic material; and several instruments play unique melodies. Which best describes the relationship between the voices (the texture)? |
GROUPS OF VOICES |
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This next excerpt occurs immediately after the choir finishes singing their first section of music. What do you hear here? |
THE OPENING RITORNELLO |
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When the choir enters again, they sing the same music they sang in their first section, but this time with different lyrics. That means we have two sections of music that repeat: ritornello + chorus (A) and the same ritornello + chorus (A). |
ORCHESTRA ONLY |
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The new ritornello material is followed by new music for the chorus. In this section, they sing the words "Steht auf!" (Arise!). For these words, Bach uses word-painting; he makes the music directly reflect the meaning of the words. How do the altos, tenors, and basses sing the text "Steht auf!"? |
WITH AN ASCENDING MOTIVE |
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Which best describes the text setting for the word "Alleluia," heard in this excerpt? |
EACH SECTION OF THE CHOIR ENTERS |
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This next excerpt, the closing section, occurs immediately after the choir finishes singing their third section of music. Which best describes this closing section? |
OPENING RITORNELLO RETURNS |
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The chorus sings three large sections of music. If we label the first section A, then any other choral section that uses the same music as the first section will also be labeled A. What is the form of this chorale? |
A-A-B |
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The instrumental section that opens the movement and returns throughout it is called a ritornello. |
… |
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The sopranos enter first, singing slower rhythms than the other voices. Which melody are the sopranos singing? |
A CHORALE TUNE |
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Which best describes the texture of the first movement? |
POLYPHONIC |
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In this first movement from Bach’s Cantata No. 140, the chorale tune enters against a countermelody in the strings. |
F |
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Which of the following correctly describe the first movement of Bach’s Cantata No. 140? |
It is for four-part chorus (SATB) and orchestra. It is in E-flat major. It contains instances of word-painting. |
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Put the excerpts in the correct order in which they appear in the first movement of Bach’s Cantata No. 140. Be sure to click on the triangle part of the excerpt ONLY in order to listen to it; clicking elsewhere in the excerpt indicates you are choosing it as an answer. |
2 3 1 |
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The first movement of Bach’s Cantata No. 140 is best described as a chorale fantasia. The form follows that of the original chorale tune: A-A-B, which is known as bar form. Between the sections of text there are instrumental ritornellos that feature dotted rhythms. The "Alleluia" in the B section is highly contrapuntal and melismatic. |
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The speed of the beat at the beginning of this piece is fairly slow. This is known as the tempo. |
… |
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Which best descibes the ensemble playing this excerpt? |
two violins one viola, one cello |
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Which best describes the relationship between the instruments at the beginning of the piece? |
ONE VIOLIN PLAYS THE MELODY WHILE THE OTHERS PROVIDE ACCOMP. |
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What other instruments are playing when you hear the theme in this excerpt? VARIATION 1 |
another violin plays high pitches |
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The melody for the second variation, heard in this excerpt, is played by which instrument(s)? |
CELLO |
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What best describes what the first violin part plays while the cello plays the melody? |
IT IS PLAYING AN INDEPENDANT MELODY |
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Listen to the excerpt, then fill in the blank in the sentence below. |
The melody for the third variation, heard in this excerpt, is played by the viola. |
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Listen to the excerpt, then fill in the blank in the sentence below. |
The melody for the fourth variation is played by the violin. |
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What are the other instruments playing while the violin plays the melody? |
THEY ARE PLAYING MOSTLY SLOW NOTES |
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After the fourth variation, all the instruments play a short closing section called a "coda." Which best describes a coda? |
NEW MUSIC |
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What best describes the form of the slow movement from Haydn’s Emperor Quartet? |
THEME WITH 4 VARIATIONS AND A CODA |
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Which best describes the speed of the beat at the beginning of this piece? |
FAIRLY SLOW |
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Which of the following letter schemes best describes the structure of the theme? |
a-a-b-c-c |
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Which best describes the texture of the following excerpt? |
homophonic |
|
red, green, yellow. blue |
… |
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Which best describes the texture of the following excerpt? |
clarinet strings oboe flute |
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When the opening theme repeats, it is played by woodwinds. |
opening theme and repeat |
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The next theme has higher pitches than the first theme, and it is played by |
strings and flute |
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Unlike the first section of this movement, the second section is in C minor and uses which instruments? |
triangle, cymbals, and bass drum |
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How else does the second section contrast with the first? |
The second section is in a minor key with abrupt shifts in dynamics. |
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What do you hear in the third section? |
The themes from the first section return. |
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How does the opening theme sound different in the third section? |
It is played by different combinations of instruments. |
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This movement features surprising and abrupt changes in dynamics, instrumentation, and key. After the return of the opening theme, played loudly by a full orchestra, including cymbals, triangle, and bass drum, the music changes again. How does this music sound different from what came before? |
quitter dynamics |
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This movement is made up of three large sections. Which best describes the form of this movement? |
b |
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The next instrument heard after the pause is the trumpet. |
fanfare |
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What best describes the ensemble playing this work? |
symphony orchestra |
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Which best describes the form of this movement? |
three-part form |
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What part of the form is this? |
first section |
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The second movement of Haydn’s Symphony No. 100 is characterized by regular duple meter, homophonic texture, and a ternary structure. |
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red blue green yellow |
… |
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strings and flutes clarinets, oboes, and bassoons military percussion trumpet fanfare |
… |
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Which of the following statements about this excerpt are correct? |
It is in a minor key. It represents the middle section of the ternary form. It incorporates triangle, bass drum, and cymbals. |
|
The second section is in a minor key played with abrupt shifts in dynamics. |
… |
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Which of the following textures occur at some point in the opening of the first movement? |
The highest instrument plays the melody and the others three parts harmonize with it. All instruments play the same melody at the same time. |
|
stepping down a scale and then leaping up and down |
… |
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How does the second theme differ from the first? |
The second theme begins with a homophonic texture. The second theme is played softly. |
|
a leap up followed by |
Which best describes the melodic movement at the beginning of the closing theme? |
|
This section develops, modifies, changes, or manipulates one, some, or all of the themes introduced in the exposition. |
first theme closing theme |
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What best describes the form of this movement? |
sonata-allegro form |
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Put the three parts of sonata-allegro form in the correct order. |
expositiondevelopmentrecapitulation |
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Match the selections on the left to the parts of the sonata-allegro form on the right. |
blue-development yellow-rec red-exposition |
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Match the selections on the left to the themes on the right. |
first theme-orange closing theme-blue second theme-pink |
|
The first movement of Mozart’s Eine kleine Nachtmusik includes sudden dynamic changes and three distinct sections in sonata-allegro form. The sections of this form, in order, are the exposition, the development, and the recapitulation. The music is in a quick, duple meter, and the three themes stated in this movement are mostlyhomophonic in texture. The movement ends with a coda that extends the closing of the music. |
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30 |
first theme |
|
closing theme |
35 |
|
red, green, blue, oranage |
… |
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The first section of this movement from Mozart’s Eine kleine Nachtmusik is a minuet, a triple-meter dance quite common in the eighteenth century. The notes of the theme are played at a loud dynamic and are separated from each other. |
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Which best describes the music you hear after the statement of the minuet theme? |
a repeat of the minuet theme |
|
Which best describes the second section of the minuet? |
new music, then the minuet theme |
|
Which best describes the form of the minuet from Mozart’s Eine kleine Nachtmusik? |
two sections of music each repeats |
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After the minuet ends, the trio begins. Which best describes the way the notes of the trio theme are played? |
connected smoothly |
|
——————————————————————————– |
a repeat of the trio theme |
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Which best describes the second section of the trio? |
new music, then the trio theme |
|
Which best describes the form of the trio? |
two sections of music each of which repeats |
|
Which best describes the third section of music (the music after the trio)? |
the two sections of the minuet |
|
The third movement of Mozart’s Eine kleine Nachtmusik is comprised of two sections of minuet (each repeated), followed by two sections of trio (each repeated), and finally two sections of minuet (no repeats). |
… |
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Which best describes the third movement of Mozart’s Eine kleine Nachtmusik? |
triple meter |
|
In this excerpt, the minuet is heard. |
… |
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In this excerpt, the trio is heard. |
Mozart EINNE KLEINE |
|
Which best describes the overall form of this movement? |
MINUET AND TRIP |
|
GREEN BLUE RED ORANGE |
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A minuet and trio is often the third movement of a multimovement work from the Classical era. The overall structure of minuet and trio is three-part, or ternary, form (minuet-trio-minuet). Each of the three sections is in two-part form, or binary form. |
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Which of the following statements correctly describes the third movement of Mozart’s Eine kleine Nachtmusik? |
The middle section is best labeled a "trio." It is in triple meter. |
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Put the following items in the order in which they appear in the third movement of Mozart’s Eine kleine Nachtmusik. |
Minuet with repeated sectionsTrio with repeated sectionsMinuet without repeated sections |
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formminuet-and-trio Correct label: harmonymajor Correct label: texturehomophonic Correct label: metertriple Correct label: |
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… |
First-movement concerto form begins with the orchestra playing several themes that you will hear later in the movement. The first theme combines quick rhythms with longer notes and is played by strings and embellished by woodwinds. |
|
… |
The quieter second theme is played first by strings and then by woodwinds. |
|
After a strong ending by the orchestra, the solo pianist begins to play. This opening section is called the exposition. What music does the soloist play at the beginning of the exposition? |
FIRST THEME FROM THE ORCHESTRAL |
|
What music does the soloist play in this excerpt? |
A NEW THEME |
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After the modulation , the soloist plays another theme. What music does the soloist play? |
SECOND THEME FROM THE ORCHESTRAL EXPOSITION |
|
After the soloist plays the theme, the orchestra enters to close the exposition with music played loudly and decisively: |
The exposition is followed by the development, a section in which the soloist explores various keys with virtuosic material and one or more themes from the exposition: |
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The development is followed by the recapitulation, or restatement, of material from the exposition. The recapitulation begins with the first theme. How is the first theme different in the exposition excerpt than in its appearance in the recapitulation excerpt? |
IT IS PLAYED BY THE ORCHESTRA ONLY |
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This music sounds different than it did in the exposition. What has changed? |
IT IS PLAYE B Y A HIGHER PITCH LEVEL |
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After a loud, decisive close similar to what you heard at the end of the exposition, the orchestra stops playing. After the silence, the soloist plays the cadenza, which features bits and pieces from themes blended into virtuosic passages. How is the cadenza different from the other sections of first-movement concerto form? |
THE SOLOIST PLAYS ALONE |
|
What is the genre of this work? |
CONCERTO |
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The cadenza is followed by a closing section played by the orchestra that begins quietly and ends loudly and decisively. |
TRUE |
|
… |
orchestral expositionsolo expositiondevelopmentrecapitulation (with cadenza) |
|
RED BLUE YELLOW GREEN |
… |
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What part of the form is this excerpt? |
SOLOIST EXPOSITIONN |
|
What part of the form is this excerpt? |
ORCHETSRAL EXPOSITION |
|
The first movement of Mozart’s Piano Concerto No. 17 in G Major, K. 453, is in first-movement concerto form and has four major themes. In addition to Theme 1 and Theme 2, there is also a piano theme heard in the solo exposition and a closing theme. As a virtuosic showcase for the pianist, the cadenza is played by the soloist near the end of the recapitulation. |
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T |
… |
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expressionelegant Correct label: elegant texturehomophonic Correct label: homophonic keymajor Correct label: major formfirst-movement concerto Correct label: first-movement concerto |
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What part of the form is this excerpt? |
DEVELOPMENT |
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Which of the following statements are true of the exposition? |
After the orchestral exposition the soloist plays themes and then embellishes them while the orchestra accompanies. The soloist plays a theme not heard in the orchestral exposition. Modulation occurs. |
|
Clip A ▶ 1:19 cadenza Clip D ▶ 0:27 Theme 1 (recapitulation) Clip C ▶ 0:40 Theme 2 (orchestral exposition) Clip B ▶ 1:06 Theme 2 (recapitulation) |
… |
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Listen to the excerpt. Which best describes the opening of this piano sonata? |
slow, low notes with faster moving higher notes |
|
… |
The main melody heard after the opening introduction is in a slow tempo and features repeated notes. |
|
What about the music remains unchanged? |
arpeggios |
|
Listen to the excerpt. Which best describes the music heard after the new idea in dialogue? |
main melody in higher pitches |
|
Which of the following are present at the beginning of the middle section of the movement, heard in this excerpt? |
use of arpeggios quiet volume idea in dialogue |
|
As the middle section draws to an end, long bass notes are played below a rising and then descending passage. |
true |
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What best describes the music heard at the beginning of the third section in the first movement of Beethoven’s Moonlight Sonata? |
main melody |
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Listen to the excerpt. Which best describes the music that follows the main melody in this section? |
idea in dialogue |
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Listen to the excerpt. Which of the following describe the ending passage from the first movement of Beethoven’s Moonlight Sonata? |
ascending arpeggios followed by descending arpeggios main melody in low pitches quiet volume |
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What best describes the second contrasting melodic idea in the first movement of Beethoven’s Moonlight Sonata? |
a three-note idea played softly |
|
Correct label: ▶ 0:58 Ending passage (coda) ▶ 0:46 Introduction + main melody ▶ 0:50 "Strophe 2" or third section (A′) |
… |
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In the first movement of Beethoven’s Moonlight Sonata, the melody is most often accompanied by arpeggiated chords. |
true |
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Which of the following statements about the first movement of Beethoven’s Moonlight Sonata are correct? |
A soft dynamic pervades the movement. The movement is in a slow duple meter. The movement is in modified song form. |
|
What best describes the main theme of this movement? |
it begins with a repeated pitch |
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Listen to the excerpt. What is the genre of this work? |
piano sonata |
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Near the end of the first movement, the main melody is |
played in the extreme low range of the piano |
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Which best describes the form of the first movement of Beethoven’s Moonlight Sonata? |
two melodies are introduced |
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Four measures of arpeggiated chordsReturn of the main melody in a higher rangeMotivic development over a G-sharp pedalMelody in the bass |
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This first movement features a quiet dynamic, use of arpeggios as accompaniment, and two melodies, one of which presents a repeated note and the other an idea in dialogue. The music repeats these ideas at different pitch levels and in different keys. In other words, it combines change and development with continuity. To today’s listeners, Moonlight Sonata may sound mysterious, dreamy, pretty, or relaxing. Beethoven’s listeners heard the same expressive tone, but they also heard something innovative and even groundbreaking—quiet and slow music that wasn’t what they expected for a first movement. |
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The most prominent feature of the accompaniment in this excerpt is best described as arpeggios. |
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Four measures of arpeggiated chordsReturn of the main melody in a higher rangeMotivic development over a G-sharp pedalMelody in the bass |
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Listen to the excerpt. Which best describes the opening of this piano sonata? |
slow, low notes |
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Listen to the four-note motive of Beethoven’s Fifth Symphony. Its rhythm is short-short-short-long. How many times do you hear that rhythm in the exposition (the first section) of the first movement? |
more than ten times |
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The four-note motive is played loudly by the French horns right before you hear the second theme. |
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In sonata-allegro form, the second theme will contrast with the first theme. In the first movement of Beethoven’s Fifth Symphony, the first theme is in C minor, and the second theme is in E-flat major. In what other way is the second theme different from the first? |
it is played more smoothly and quietly |
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While the smooth, lyrical second theme is played by strings and woodwinds, what do you hear played in the background? |
the short-short-short rythm |
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The final theme introduced in the exposition is the closing theme. It sounds like this: |
It starts off loud and fiery like the first theme. But instead of having repeated notes like the first theme, the closing theme has a(n) descending melodic line. |
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Beethoven introduces the development section with loud horns playing the four-note motive. |
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How is tension or suspense created in this excerpt? |
the short-short long rythms |
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How many times do you hear the rhythm of the first four notes in the second section (the development) of the first movement? |
too many times to count |
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In this excerpt, you will hear the music that leads up to the beginning of the recapitulation. The recapitulation begins with the fiery four-note motive, which you hear at the very end of the excerpt. How does Beethoven let you know that this time the four-note motive is the return of the exposition material? |
The motive is played loudly. The motive is played a bit slower. |
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Near the beginning of the recapitulation, a(n) oboe plays a cadenza, a short solo passage played freely. |
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How many times do you hear the rhythm of the opening four notes (short-short-short-long) in the recapitulation of the first movement? |
throughout the movement |
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How many times do you hear the fiery four-note motive in the coda? |
too many times to count |
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What is the form of the first movement of Beethoven’s Fifth Symphony? |
sonata-allegro |
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In order of appearance, what are the three parts of sonata-allegro form? |
exposition development recapitulation |
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Listen to this excerpt from Beethoven’s Fifth Symphony, first movement. Which part of the form is this? |
exposition |
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The loud horns introduce the second theme. |
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0:17 |
This is the second theme. |
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0:11 |
This is the closing theme. |
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The first movement of Beethoven’s Symphony No. 5 is in sonata-allegro form, a musical form that functions like a novel or a film script. It is made up of three large sections: •the exposition, which introduces the main melodic themes, or "characters"; •the development, in which those themes are put in conflict with one another; and •the recapitulation, during which the conflict is resolved |
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red, orange, blue, green, yellow |
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How do the four-note motive and its short-short-short-long rhythm unify the first movement of Beethoven’s Fifth Symphony? |
they provide the melody, |
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Which term best applies to this example? |
cadenza |
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expressiondynamic contrasts Correct label: dynamic contrasts melodytwo contrasting themes Correct label: two contrasting themes formsonata-allegro Correct label: sonata-allegro rhythmshort-short-short-long Correct label: short-short-short-long |
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Listen to this excerpt from Beethoven’s Fifth Symphony, first movement. Which part of the form is this? |
development |
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Listen to this excerpt from Beethoven’s Fifth Symphony, first movement. Which part of the form is this? |
coda |
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Identify whether each of the statements about the first movement of Beethoven’s Fifth Symphony is true or false. |
The movement is in sonata-allegro form. The tempo is fast and the rhythm is largely built on a four-note motive: short-short-short-long. The key is C minor, but the movement features dramatic shifts between major keys and minor keys. |
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But the accompaniment for that first theme changes in the recapitulation when a(n) oboe plays long-held notes higher than the strings. The same instrument continues into a cadenza, a short solo passage played freely. |
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Listen to this excerpt from Beethoven’s Fifth Symphony, first movement. Which part of the form is this? |
recapilation |
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Which best describes the meter in the second movement of Beethoven’s Symphony No. 5? |
triple meter |
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The smooth first theme of this movement is initially played by low strings. |
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00:21 |
The main shape of the second theme (the highest melodic idea in this excerpt) is ascending. |
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What best describes the relationship between the instrumental voices in this excerpt? |
melody and accompaniment |
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When you hear the first variation, how is the opening theme altered? |
the low strings play a continuous stream of sixteen notes |
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How is the second variation of theme 1 different from the first variation of theme 1? |
The low strings play twice as fast as in the first variation. |
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0:37 |
In yet a third variation on theme 1, the theme is broken up into smaller pieces and played by woodwinds. |
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Which statements are true about the fourth variation on theme 1? 0:13 |
The notes of the melody are played in a detached manner. It is in a minor key. The woodwinds are accompanied by strings. |
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When the brass instruments enter with the second theme, what best describes their volume (dynamic)? |
loud |
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Put the following musical events in the correct order in which they occur in the second movement of Beethoven’s Fifth Symphony. 10:03 |
First statement of theme 2 Theme 1 in faster thirty-second notes Theme 1 in a minor key |
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The tempo of the second movement of Beethoven’s Fifth Symphony is andante. |
TRUE |
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Match the descriptive words or phrases with the different elements of music as found in Beethoven’s Fifth Symphony, second movement. |
texture mostly homophonic Correct label: mostly homophonic meter triple Correct label: triple harmonymajor Correct label: major formvariations Correct label: variations |
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Which best describes the form of the second movement of Beethoven’s Symphony No. 5? 10:03 |
VARIATIONS W/2 THEMES |
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The smooth first theme of this movement is initially played by low strings. |
… |
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There are two thematic sections, the first of which is varied extensively. In the variations on theme 1 we find examples of faster rhythms, changes in instrumentation, and even the use of minor mode. |
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ORANGE BLUE RED |
… |
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Which of the following statements regarding Beethoven’s Fifth Symphony, second movement, are correct? |
The movement is in a major key. Theme 2 makes use of the brass section of the orchestra. |
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Which instruments play at the beginning of the scherzo section in the third movement of Beethoven’s Symphony No. 5? |
LOW STRINGS FOLLOWED BY HIGH STRINGS AND WOODWINDS |
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Which best describes the meter of the third movement, as heard in this excerpt? |
TRIPE METER |
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Which best describes the relationship between the instrumental voices in this part of the scherzo? |
MELODY & ACCOMPANIENT |
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The scherzo is in a minor key. |
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Which of the following statements are correct about the scherzo section of the third movement of Beethoven’s Symphony No. 5? |
It is in a minor key. It is in triple meter |
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Which best describes the music in the next section of the third movement? |
THIS IS NEW MUSIC. I HAVENT HEARD ANYTHING QUITE LIKE IT |
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In this opening section, the rhythm played by the brass instruments should sound familiar to you. Where have you heard that rhythm? |
THE FOUR-NOTE RHYTHM FROM THE OPENING IN THE FIRST MOVEMENT. |
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Which best describes the relationship between the instrumental voices in the trio? |
THE SAME MELODIC IDEA PLAYED BY DIFFERENT INSTRUMENTS |
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The trio is in a major key. |
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Which of the following statements are correct about the trio section of the third movement? |
It is in a major key. It features the same melodic idea played by different instruments starting at different times. |
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Which best describes the music in the next section of the third movement? |
IT SOUNDS LIKE THE SCHZERO |
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Listen to the excerpt. When the scherzo returns after the contrasting section, how does it sound different from the first time you heard it? |
ITS IS PLAYED WITH PLUCKED STRINGS |
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What happens between the third and fourth movements in this symphony? |
THE ORCHESTRA BEGINS THE FOURTH MOVEMENT WITHOUT PAUSE |
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The last movement begins with the entire orchestra, including piccolo, trombones, and contrabassoon. What best describes the dynamics (volume) of the first theme? |
VERY LOUD |
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The fourth movement of Beethoven’s Symphony No. 5 is in a major key. |
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Which best describes the meter of the fourth movement, as heard in this excerpt? 0:34 |
DUPLE METER |
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Which best describes the relationship between the voices in this excerpt from the beginning of the fourth movement (the exposition)? |
MELODY & ACCOMPANIENT |
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Which of the following statements are correct about this excerpt from the exposition (the beginning) of the fourth movement? |
It is in a major key. It is in duple meter. It features a single melody with accompaniment. |
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In the second theme, the violins play a rhythm that should sound familiar to you. Where have you heard that rhythm? |
THE FOUR NOTE RHYTHM |
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The second section of a sonata-allegro form is called the development, and the themes you’ve already heard in the exposition are taken through different keys. Which theme do you hear most in the development? |
SECOND THEME |
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Before the development ends, the music then shifts to a quieter dynamic and you hear this: |
the pizzicato section from the third movement |
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What best describes the music in the coda, the closing section of the fourth movement? |
it is very long and loud |
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First scherzo theme in C minorC major theme in a fugal styleRocket theme followed by pizzicato stringsTransition to next movement |
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red blue yellow purple orange green |
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The scherzo opens with a rocket theme in the low strings. Later in the theme, the short-short-short-long rhythmic motive from the first movement of the symphony appears in the horns. |
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formscherzo and trio Correct label: scherzo and trio meterquick triple Correct label: quick triple melodyrocket theme Correct label: rocket theme harmonyC minor and C major Correct label: C minor and C major |
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The first theme is bright and triumphant, emphasizing the tonic key. The short-short-short-long rhythm appears in theme 2, the development, and the coda. The use of this motivic rhythm across all four movements makes this a cyclic symphony. |
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red- transition to fourth movement |
… |
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In the third movement of Beethoven’s Fifth Symphony, the short-short-short-long motive does not appear. |
false |
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meter rapid duple Correct label: rapid duple harmony major throughout Correct label: major throughout texture mostly homophonic Correct label: mostly homophonic expressionforceful dynamics and musical effects Correct label: forceful dynamics and musical effects |
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There is no break between the third and fourth movements of Beethoven’s Symphony No. 5. |
true |
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red-coda orange-theme 2 blue-recapitulation |
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Before Don Giovanni and Leporello make side comments to one another, Donna Elvira sings two stanza(s) of lyrics (individual paragraphs). |
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Which best describes the lyrics for this section of Donna Elvira’s aria? |
two stanzas, each with four lines and a similar rhyming pattern |
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While Donna Elvira sings about her desire to rip out the heart of a lover who left her, Don Giovanni and Leporello observe her secretly. They make some comments to one another, beginning with "You hear?" and ending with "Just as he consoled 1,800 of them." |
their lyrics do not have the same mood |
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What do you learn about Don Giovanni from Leporello’s lyrics? |
that don giovannis words about comforting Donna Elvira |
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Before Elvira begins to sing her aria, you hear an orchestral introduction: |
extreme changes in volume and large leaps in the violin |
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The vocal range of the singer in this excerpt is a high woman’s voice. |
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How is Donna Elvira’s rage expressed musically? |
sudden shifts in volume wide leaps between high and low pitches a quick pace of the beat |
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0:37 How does Mozart express in music that the three characters have different motivations and emotions in this scene? |
they sing different tunes |
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What best describes the melody Donna Elvira sings with the second stanza of lyrics? |
she begins with the same melody, and then makes some changes |
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What best describes the structure of the dialogue in this recitative section? |
it is a back-and-fourth conversation between don Giovanni and don Elvira with side comments by leporello. |
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The accompaniment during the dialogue (recitative) is played by a keyboard instrument only. |
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What best describes the manner of singing during the dialogue (recitative)? |
alternating between singing quickly and slowly, with no steady beat |
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Which statement best describes the musical difference between an aria and a recitative? |
an aria has a steadier beat and is accompanied by more instruments than a receptive. |
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What happens when Leporello begins his aria? |
The music has a steady beat. He sings a catchy tune. The orchestra plays. |
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This aria is in two parts: the first references a catalog of the number of women Giovanni has slept with in each country, plus a list of the social classes to which those women belonged. This half of Leporello’s aria is in a quick tempo with one note sung per syllable of text. |
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In the video above, before Leporello sings about Spain, the music slows, and he even pauses. Mozart writes such music for this moment in Leporello’s aria in order to |
emphasize that spain is where Giovannis has slept with the greatest number of women |
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How does the music in the second half of Leporello’s aria sound different from the music in the first half? |
it is slower and he sometimes sings |
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After a brief orchestral introduction, Donna Elvira sings the first section of the aria, which has a disjunct melody with a wide range and many leaps. Her contrasting B section features prominent use of minor harmonies and dotted rhythms. |
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Put the following musical events in the correct order in which they occur in Act I, scene 2, of Mozart’s Don Giovanni. |
d r c |
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red blue yellow green |
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Leporello is best described as having a bass vocal range. |
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What section of Act I, scene 2 of Mozart’s Don Giovanni is this example? 0:18 |
ARIA |
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0:46 |
The singer in this excerpt is best described as having a soprano vocal range. |
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Which of the following statements regarding Act I, scene 2 of Don Giovanni are correct? |
The recitative between Donna Elvira and Don Giovanni, with asides by Leporello, is accompanied by a harpsichord. Donna Elvira’s aria has interjections from Don Giovanni and Leporello. |
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OPERA SERIA- ORANGE PURPLE |
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What section of Act I, scene 2 of Mozart’s Don Giovanni is this example? |
RECITATIVE |
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What section of Act I, scene 2 of Mozart’s Don Giovanni is this example? |
ARIA |
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ORANGE -ARIA BLUE- WORD PAINTING GREEN-V0CAL CADENZA RED- RECITATIVE] |
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The role of Leporello is written for a tenor. |
FALSE |
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Which best describes the performers in the first two verses in the opening of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
CHORUS & ORCHESTRA |
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Which best describes the relationship between the voices in the first two verses of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
IT IS A MELODY WITH ACOMPANIENT |
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What best describes the pace of the music and its volume in the first two verses from the beginning of the Dies irae from Mozart’s Requiem? |
FAST PACE AND LOUD VOLUME |
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Which of the following correctly describe the first two verses of the Dies irae from Mozart’s Requiem? |
a fast pace and a loud volume performed by chorus and orchestra |
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Which best describes the performers in the third verse of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
TROMBONE AND BASS VOICE DUET |
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Which best describes the pace of the music from the third verse of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
SLOW PACE |
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Which of the following correctly describe the third verse of the Dies irae from Mozart’s Requiem? |
It begins with solo trombone, which is soon joined by solo bass voice It has a slow pace. |
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What best describes the performers in the fourth and fifth verses of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
tenor soloist and orchestra |
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What best describes the performers in the sixth verse of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
alto soloist and orchestra |
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Which best describes the performers in the seventh verse of Dies irae from Mozart’s Requiem, heard in this excerpt? |
soprano soloist and orchestra |
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Which best describes the performers in the eighth and final verse of the Dies irae from Mozart’s Requiem, heard in this excerpt? |
chorus and orchestra |
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Which best describes the pace of the music and its volume in this excerpt from the eighth and final verse of the Dies irae from Mozart’s Requiem? |
slow pace and loud volume |
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Which of the following correctly describe the eighth and final verse of the Dies irae from Mozart’s Requiem? |
performed by chorus with orchestral accompaniment in a slow tempo and at a loud dynamic (forte) |
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blue yellow green orange |
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Which best describes the form of the Dies irae from Mozart’s Requiem? |
eight versus of music |
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The Dies irae from Mozart’s Requiem is performed by chorus, four soloists, and orchestra; has a mostly homophonic texture; and consists of eight verses, each of which features different combinations of performers. |
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Which instrument is heard performing this work? |
organ |
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Which best describes this opening passage? |
a single melody |
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The opening melody of a fugue is called the subject. This is immediately followed by repetition of that melody, called an answer, which is in a different voice and begins on a different pitch but retains the same contour, or shape, of the subject melody. After the first statement of the subject in the middle range, you hear the answer in a different range. In this example, is the answer higher or lower than the subject? |
higher |
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Is the range of the third entrance higher or lower than the second? |
lower |
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The fugue enters four times, each in a different "voice." The ranges of the four entrances, in order, are middle, high, low, and middle again (this is difficult to hear because it is only a little lower than the first statement). The entrances are identical, but each voice continues with a unique melody. Which best describes the relationship of these four voices to one another? |
the four voices play two or more melodies sim. |
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Some sections of a fugue feature the subject and answer; other sections, called episodes, feature new music that is different from the subject or answer. Listen to the statements of the subject and answer from the beginning of this fugue again. |
subject/answer |
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texturepolyphonic Correct label: polyphonic harmonyminor Correct label: minor performing forceskeyboard Correct label: keyboard final chordmajor Correct label: major |
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Which of the following statements correctly describe Bach’s Contrapunctus I? |
The keyboard instrument heard in the recording is an organ. The work includes sustained pitches in the bass known as pedal points. This work is a four-voice fugue. |
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0:38 |
alto soprano bass tenor |
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Bach’s Contrapunctus I from The Art of Fugue is a three-voice fugue. |
false |
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When all four voices enter in succession, this constitutes the exposition. What follows is a set of contrasting ideas in the first episode. There are several false entries in the middle section including at least one instance of overlapping statements of the fugue subject and answer, a compositional technique known as stretto. |
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purple blue orange |
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Match the descriptive words or phrases with the different elements of music as found in Schubert’s Elfking. |
vocal register high (for the son) low (for the father formSELECT A LABEL Correct label: through-composed expressionSELECT A LABEL Correct label: urgent mood accompanimentSELECT A LABELtriplets Correct label: triplets |
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Schubert’s Elfking is a through-composed Lied that sets a text by Goethe. The singer uses different voice registers to express four different characters: a narrator, the father, the son, and the Elfking. The harmony changes to a major key when the Elfking sings. Even the piano gets a "role" as the horse, with its galloping figures and rhythmic momentum. |
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Put the following in the correct order in which they first appear in Schubert’s Elfking. |
horsenarratorfathersonElfking |
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In this Lied, Schubert uses different combinations of range and key to distinguish among the four characters in the poem, all of whom are acted by the one vocalist singing the song. |
The quick, repeated notes in the piano are meant to convey the image of a galloping horse. |
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Which of the following statements correctly describe Schubert’s Elfking? |
This work is a through-composed Lied. The Elfking’s lines in the poem are sung in a middle register in a major key. This work is sung in German. |
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yellow purple green red blue |
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Over the course of the Lied, the son becomes more and more agitated. He yells out to his father three times ("Mein Vater, mein Vater"). Listen to each statement of these words. |
He sings at higher and higher pitch levels. |
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Which character is singing in this excerpt? |
Elfking |
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Now listen to the music as the Elfking enters the story. Which best describes the Elfking’s music? |
it is major key |
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The father sings lower pitches than the son. |
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He sings at higher and higher pitch levels. |
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