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