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A) Flute and oboe B) Tuba and bassoon C) Oboe and clarinet D) Violin and viola
A) Two octaves B) Three octaves C) Four octaves D) Five octaves
A) Bass clarinet and tuba B) Violas and cellos C) First violins and bassoon D) Oboe and clarinet
A) At the octave by the tubas B) By the bass clarinet in unison C) At the unison by the violas D) By the violins in three octaves
A) From the middle out B) Bottom up C) Randomly D) Top down
A) Alphabetically B) From the top down C) From the bottom up D) By instrument range
A) The highest voice B) The melody line C) The lowest voice D) The fundamental tone
A) It is physically impossible B) It would keep all voices in the same octave C) It is reserved for percussive instruments D) It produces a dissonant interval
A) Lowering the first voice by two octaves B) Lowering the second voice by an octave C) Lowering the fourth voice by an octave D) Raising the second voice by an octave
A) Tetris B) Super Mario Bros. C) The Legend of Zelda D) Pac-Man
A) They are required for classical music B) They allow for the use of a capo C) Close position chords are often cumbersome to play on guitar D) They produce more volume than open chords
A) They are easily moved around the fingerboard B) They are only used in major keys C) They eliminate the need for strings D) They sound better than open chords
A) Drop-3 chords B) Tension chords C) Close position chords D) Open chords
A) Flute B) Bassoon C) Tuba D) Oboe
A) The size of the guitar neck B) The tension of the strings C) The lack of enough fingers D) Perfect fourth intervals between strings
A) Sonata No. 10 is more daring than Sonata No. 32 B) Sonata No. 32 is exclusively in close position C) Sonata No. 10 uses closer positioning than the more daring Sonata No. 32 D) Both use identical spacing
A) He was blind B) He was mute C) He was completely deaf D) He had lost his sense of touch
A) Maurice Ravel B) Igor Stravinsky C) Charles Ives D) Ludwig van Beethoven
A) A loud, close-positioned brass blast B) A complex orchestral doubling of the root note C) A series of rapid, dissonant scales D) A widely spaced G-major chord played softly
A) Doubling B) Parallelism C) Autonomous motion D) Voice leading
A) Tonic doubling B) Augmented sixth C) Parallel harmony D) Disjunct motion
A) Parallel octaves B) Parallel fourths C) Parallel fifths D) Parallel thirds
A) Parallel sixths B) Parallel unisons C) Parallel seconds D) Parallel sevenths
A) The tonic B) The leading tone C) The subdominant D) The dominant
A) Beethoven B) Bach C) Mozart D) Sousa |