PART B Time—35 minutes

PART B Time—35 minutes

43. In a major key, which of the following diatonictriads contains the leading tone?

(A) I(B) (C)

ii V

(D) vi

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44. Which of the following rhythmic notations isbeamed correctly to reflect the beat unit?


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Questions 45-50 are based on the excerpt below.


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45. In measure 45, the boxed interval between theviolin and viola pitches is a

(A) minor third(B) major third(C) perfect fourth(D) perfect fifth

46. The phrase structure of measures 42-47 can bestbe described as a

(A) parallel period(B) double period(C) single phrase with cadential extension(D) single phrase with sequential repetition

47. At measures 48-49, there is a temporarytonicization of

(A) D minor(B) G minor(C) A major(D) F major

48. In measures 48-51, which of the followingcompositional devices is used in the firstviolin part?

(A) Disjunct motion(B) Literal repetition(C) Melodic inversion(D) Melodic sequence

49. The nonchord tone circled on the downbeatof measure 51 is

(A) a suspension(B) an anticipation(C) an appoggiatura(D) an accented passing tone

50. The excerpt ends with which type of cadence?

(A) Half(B) Plagal(C) Perfect authentic(D) Imperfect authentic


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51. In measures 1-3 of the Violin II part, the rhythmis characterized by

(A) hemiola(B) syncopation(C) augmentation(D) cross-rhythm

52. In measure 4, beat 1, the intervallic pattern in theViolin I part is

(A) m2, M2, m2(B) m2, m3, M2(C) m2, A2, M2(D) m2, A2, A2

53. In measures 11-12, the end of one phrase and thebeginning of the next is articulated by all of thefollowing compositional devices EXCEPT

(A) a change of tempo(B) a change of tessitura(C) an authentic cadence(D) fermatas

54. Compared with the music in measures 2-5, whichof the following statements best describes themusic in measures 12-15 ?

(A) The music is transposed down a fifth.(B) The roles of the instruments are reversed.(C) The melody appears in diminution.(D) The melody appears in augmentation.

55. In measures 12-15, the motion of the voices in theViolin I part is best described as

(A) parallel(B) contrary(C) similar(D) oblique


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56. All of the following compositional devices arepresent in measures 1–4 EXCEPT

(A) sequential repetition(B) agogic accents on beat 2(C) ostinato(D) imitation

57. The boxed chord on the downbeat ofmeasure 2 is a

(A) fully diminished seventh(B) half-diminished seventh(C) major-minor seventh(D) major-major seventh

58. Which of the following compositional devices isfeatured in measures 5–8 ?

(A) Pedal point(B) Countermelody(C) Fugal imitation(D) Stretto

59. The cadences in measures 11–12 and 19–20 arebest described as

Measures 11–12 Measures 19–20 (A) A major: deceptive A major: authentic

(B) f minor: deceptive ƒ fƒ minor: authentic

(C) fƒ minor: authentic A major: authentic

(D) fƒ minor: authentic A major: half

60. Which of the following statements best describesthe relationship between the violin and the pianoin measures 13–16 ?

(A) The violin imitates the piano melody.(B) The piano doubles the violin melody.(C) The violin has the main melody and the piano

has a countermelody. (D) The piano has the main melody and the violin

has a countermelody.


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61. The notes circled in measure 4 form theinterval of

(A) a major ninth(B) an augmented ninth(C) a diminished tenth(D) a minor tenth

62. Measures 1-6 contain a melodic and harmonicsequence with movement by

(A) ascending fifth(B) descending fifth(C) ascending third(D) descending third

63. In F major, the boxed chord in measure 7 is bestanalyzed as

(A) iiV V/ii V/V

(B)(C)(D)

64. The nonharmonic tones in measure 10 are mostaccurately described as

(A) passing and neighboring tones(B) passing tones and suspensions(C) neighboring tones and anticipations(D) anticipations and suspensions

65. The phrase structure of the excerpt is bestdescribed as a

(A) 16-bar parallel period(B) 16-bar contrasting period(C) phrase group(D) song form


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Questions 66-69 are based on the chord progression below, which contains several errors.

66. What is the voice-leading error in measure 1 ?

(A) Parallel fifths(B) Direct fifth(C) Unresolved chordal seventh(D) Unresolved leading tone

67. Measure 2 contains all of the following errorsEXCEPT

(A) poor chord succession

(B) incorrect use of a @ chord

(C) a melodic augmented second

(D) incorrect spacing


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68. Which of the following errors occurs inmeasure 3 ?

(A) Direct fifth(B) Parallel octaves(C) Incorrect spacing(D) Doubled leading tone

69. The final cadence of the progression containswhich of the following errors?

(A) Parallel octaves(B) Overlapping voices(C) A melodic augmented second(D) An incorrectly resolved suspension


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70. The bass line in measures 17-18 depicts the ideaof mourning with a descending segment fromwhich of the following scales?

(A) Whole-tone(B) Chromatic(C) Harmonic minor(D) Natural minor

71. The chord in box A is

(A) an arpeggiated @(B) a neighboring (pedal) @(C) a cadential @(D) a passing @

72. The quality of the seventh chord in box B is

(A) o7(B) ø7(C) Mm7(D) MM7

73. In measure 26, the relationship between thesoprano and bass is best described as

(A) voice exchange(B) cross-relation(C) parallel motion(D) oblique motion

74. In relation to the final cadence, the cadence inmeasures 22-23 tonicizes the

(A) mediant(B) subdominant(C) dominant(D) submediant

75. In the key of Eß major, the correct Romannumeral analysis for the chord above is

(A) iii$(B) I%(C) V$/V(D) V%/IV

END OF PART B

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PART B Time—35 minutes