OMTA THEORY LEVEL TWELVE

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1 OMTA THEORY LEVEL TWELVE Written Score Aural Score TOTAL 1. NOTATION OF PITCH On the line below each note, write its letter name. On the staff BESIDE each note, draw its enharmonic note. Use whole notes. 2. NOTATION OF RHYTHM The last measure of each example is incomplete. At the end (right) of each example, CIRCLE the note or rest that gives each measure the correct number of counts (beats). At the beginning (left) of each example, circle the correct time signature TURN TO THE NEXT PAGE

2 OMTA THEORY LEVEL TWELVE Page 2 3. KEY SIGNATURES Draw these key signatures. e-flat minor B Major c-sharp minor 4. SCALES Identify each of the following scales. Include the form of any minor key (natural, harmonic, melodic.) Draw each scale one octave ascending and descending. Use whole notes. Use accidentals as needed in both directions. DO NOT USE KEY SIGNATURES. c-sharp melodic minor g-sharp harmonic minor TURN TO THE NEXT PAGE

3 OMTA THEORY LEVEL TWELVE Page 3 5. HARMONIC STUDY On the staff below, draw the root position triads (chords) for the key of f harmonic minor. Use whole notes. Use accidentals as needed. tonic submediant mediant leading tone On the staff below, draw each triad (chord) in root position above the given note. Use whole notes. Use accidentals as needed. augmented diminished minor On the line below each measure, identify each cadence as authentic, plagal, half, or deceptive. TURN TO NEXT PAGE

4 OMTA THEORY LEVEL TWELVE Page 4 6. MUSICAL EXAMPLE Use the musical example to answer the questions on the facing page. The measures are numbered. Harvest Song

5 OMTA THEORY LEVEL TWELVE Page 5 a. The musical example is in the key of. (Include Major or minor in the answer.). b. The chord on beat 1 of measure 4 is a: Circle the answer. tonic chord in root position tonic chord in first inversion tonic chord in second inversion c. Considering the key of the excerpt, the 2 chords in measure 8 would be analyzed as: Circle the answer. (Be aware of the clefs.) V7 vi IV I V7 I This is an example of a (n): Circle the answer. half cadence deceptive cadence authentic cadence d. The smaller notes circled in measure 9 are: Circle the answer. accents embellishments trill e. Considering the key, the 2 chords found in measure 11 moving to the downbeat of measure 12 would be analyzed as: Circle the answer. V I I V IV I f. The chord on beat 1 of measure 14 is: Circle the answer. Subdominant chord in root position Subdominant chord in first inversion Subdominant chord in second inversion g. Piu lento found above measure 24 means: Circle the answer. faster more slow slowing down TURN TO NEXT PAGE

6 OMTA THEORY LEVEL TWELVE Page 6 7. INTERVALS On the staff below, draw each interval above the given note. Use whole notes. Use accidentals as needed. Augmented 6 th Augmented 5 th diminished 7 th 8. TERMINOLOGY On the line in front of each term, write the number of its definition. Terms ii, supertonic calando quasi senza assai ben iii, mediant Definitions 1. well, very 2. in a singing style 3. very 4. without 5. second degree of the scale 6. becoming slower and softer 7. almost 8. third degree of the scale END OF WRITTEN TEST

7 OMTA Aural Awareness Levels 11 & 12 Sample: Major natural (pure) minor melodic minor harmonic minor 1. Major natural (pure) minor melodic minor harmonic minor 2. natural (pure) minor chromatic melodic minor harmonic minor 3. natural (pure) minor chromatic melodic minor harmonic minor 4. Major minor diminished augmented 5. Major minor diminished augmented 6. minor 6 th Perfect 5 th minor 7 th 7. minor 7 th Perfect 4 th minor 6 th 8. Authentic (I-V-I) Plagal (I-IV-I) Deceptive (I-V-vi) 9. Authentic (I-V-I) Plagal (I-IV-I) Deceptive (I-V-vi) 10. Authentic (I-V-I) Plagal (I-IV-I) Deceptive (I-V-vi)

8 Aural Awareness Levels The exam is given from CD. This test is provided for emergency use only. Once the Aural Awareness test begins there can be no questions asked and no talking. Each question will be stated 3 times. The test will begin with a sample question. When the test is finished please remain seated and follow the directions from the test monitor for dismissal from the room. SAMPLE QUESTION FIRST TIME: A scale will be played. Circle the type of scale you hear. SAMPLE QUESTION SECOND TIME: Circle the type of scale you hear. SAMPLE QUESTION THIRD TIME: Circle the type of scale you hear. QUESTION 1 FIRST TIME: A scale will be played. Circle the type of scale you hear. QUESTION 1 SECOND TIME: Circle the type of scale you hear. QUESTION 1 THIRD TIME: Circle the type of scale you hear. QUESTION 2 FIRST TIME: A scale will be played. Circle the type of scale you hear. QUESTION 2 SECOND TIME: Circle the type of scale you hear. QUESTION 2 THIRD TIME: Circle the type of scale you hear. QUESTION 3 FIRST TIME: A scale will be played. Circle the type of scale you hear. QUESTION 3 SECOND TIME: Circle the type of scale you hear. QUESTION 3 THIRD TIME: Circle the type of scale you hear. QUESTION 4 FIRST TIME: A triad will be played both melodically and harmonically. Circle the type of triad you hear. QUESTION 4 SECOND TIME: Circle the type of triad you hear. QUESTION 4 THIRD TIME: Circle the type of triad you hear. QUESTION 5 FIRST TIME: A triad will be played both melodically and harmonically. Circle the type of triad you hear. QUESTION 5 SECOND TIME: Circle the type of triad you hear. QUESTION 5 THIRD TIME: Circle the type of triad you hear. QUESTION 6 FIRST TIME: An interval will be played both melodically and harmonically. Circle the interval you hear. QUESTION 6 SECOND TIME: Circle the interval you hear. QUESTION 6 THIRD TIME: Circle the interval you hear. QUESTION 7 FIRST TIME: An interval will be played both melodically and harmonically. Circle the interval you hear. QUESTION 7 SECOND TIME: Circle the interval you hear. QUESTION 7 THIRD TIME: Circle the interval you hear. QUESTION 8 FIRST TIME: A 3-chord cadence will be played. Circle the cadence you hear. QUESTION 8 SECOND TIME: Circle the cadence you hear. QUESTION 8 THIRD TIME: Circle the cadence you hear. QUESTION 9 FIRST TIME: A 3-chord cadence will be played. Circle the cadence you hear. QUESTION 9 SECOND TIME: Circle the cadence you hear. QUESTION 9 THIRD TIME: Circle the cadence you hear.

9 QUESTION 10 FIRST TIME: A 3-chord cadence will be played. Circle the cadence you hear. QUESTION 10 SECOND TIME: Circle the cadence you hear. QUESTION 10 THIRD TIME: Circle the cadence you hear. QUESTION 11 FIRST TIME: A 2-measure rhythm pattern will be played. The rhythm of the first measure is written for you. Write in the rhythm you hear in the second measure. QUESTION 11 SECOND TIME: Write in the rhythm you hear in the second measure. QUESTION 11 THIRD TIME: Write in the rhythm you hear in the second measure. QUESTION 12 FIRST TIME: A 2-measure rhythm pattern will be played. Draw a note or notes under the arrows to complete the pattern. QUESTION 12 SECOND TIME: Draw a note or notes under the arrows to complete the pattern. QUESTION 12 THIRD TIME: Draw a note or notes under the arrows to complete the pattern. QUESTION 13 FIRST TIME: A 2-measure melody will be played. The music is printed for you. Circle the two notes in each measure that are different. There will be a one-measure countoff. QUESTION 13 SECOND TIME: Circle the two notes in each measure that are different. There will be a one-measure count-off. QUESTION 13 THIRD TIME: Circle the two notes in each measure that are different. There will be a one-measure count-off. QUESTION 14 FIRST TIME: A melody in a Major key will be played. Draw notes under the arrows to complete the measures. There will be a one measure count-off. QUESTION 14 SECOND TIME: Draw notes under the arrows to complete the measures. There will be a one measure count-off. QUESTION 14 THIRD TIME: Draw notes under the arrows to complete the measures. There will be a one measure count-off.

10 Aural Awareness Levels Examples Sample:

11

12 OMTA THEORY LEVEL TWELVE Student's Name -.:t<~e::::::::;~ Teacher's Name _ Written Score Aural Score TOTAL 'Ga I '+ --=-1D==o:: NOTATION OF PITCH On the line below each note, write its letter name. n On the staff BESIDE each note, draw its enharmonic note. Use whole notes. A 2. NOTATION OF RHYTHM The last measure of each example is incomplete. At the end (right) of each example, CIRCLE the note or rest that gives each measure the correct number of counts (beats). - ~. ~~. g ~.. ~p:-,eos:h At the beginning (;\9 \:U 8 (left) of each example, circle the correct time signature. 3 4 d. 2 8 ~. TURN TO THE NEXT PAGE

13 OMTA THEORY LEVEL TWELVE Page 2 3. KEY SIGNATURES Draw these key signatures. ~ ( Y7, rl"lv ""' v I') \.-., YJ '\J v tj e-flat minor B Major c-sharp minor 4. SCALES Identify each of the following melodic.) scales. Include the form of any minor key (natural, harmonic, c-sharp melodic minor Draw each scale one octave ascending and descending. Use whole notes. Use accidentals as needed in both directions. DO NOT USE KEY SIGNATURES. minor!tomo *0 ~O TURN TO THE NEXT PAGE

14 OMTA THEORY LEVEL TWELVE Page 3 5. HARMONIC STUDY On the staff below, draw the root position triads (chords) for the key of f harmonic Use whole notes. Use accidentals as needed.,~ ~Z I--J",.~...-~-,--?l---+--t..-I ~l;~,"_q~_1~%~8! minor. tonic submediant mediant leading tone On the staff below, draw each triad (chord) in root position above the given note. Use whole notes. Use accidentals as needed. augmented diminished minor On the line below each measure, identify each cadence as authentic, or deceptive. plagal, half, ~ I ~ U ~ " u ~ ph ~,*. ec.d1 < t. t R -6- -It,t it -6- I t..0. -eno - j < ~ p\~aj,--- ha.l-+' TURN TO NEXT PAGE

15 OMTA THEORY LEVEL TWELVE Page 4 6. MUSICAL EXAMPLE Use the musical example to answer the questions numbered. on the facing page. The measures are Harvest Song /~ >- ),,.~. r.. ~j,.i 5 i 8.:~'".. ~:. I, s..;, = 1 ~\ (,(2).fp ~J I, i.,...,.-,"~;;4"""~7:,...-..~j \! - ~..,.,... " C2:!.,) C6t) 3 8 :.I 2-1m Tempo III tempo ~,.!j..-~, (~ l 5 t a t 2 t a

16 OMTA THEORY LEVEL TWELVE Page 5 a. The musical example is in the key of A f'ykljov-. (Include Major or minor in the answer.). b. The chord on beat 1 of "measure 4 is a: Circle the answer. tonic chord in root position tonic chord in first inversio tonic chord in second inversion Ils>. p\-. c. Considering the key of the excerpt, the 2 chords in measure 8 would be analyzed as: Circle the answer. (Be aware of the clefs.) V7 vi IV I 'J.- f1~'e.o-th This is an example of a (n): Circle the answer. half cadence deceptive cadence C thentic caden~ d. The smaller notes circled in measure 9 are: Circle the answer. accents e bellishme~ trill e. Considering the key, the 2 chords found in measure 11 moving to the downbeat of measure 12 would be analyzed as: Circle the answer. V I IV I f. The chord on beat 1 of measure 14 is: Circle the answer. Subdominant chord in root positi Subdominant chord in first inversion ubdomman c or m second mversion g. Piu lento found above measure 24 means: Circle the answer. faster c OreslO;> slowing down TURN TO NEXT PAGE

17 OMTA THEORY LEVEL TWELVE Page 6 7. INTERVALS On the staff below, draw each interval above the given note. Use whole notes. Use accidentals as needed. Augmented 6 th Augmented 5 th diminished yth 8. TERMINOLOGY On the line in front of each term, write the number of its definition. Terms 5" ILtpt /~ ~~'~"/' 7 ii, supertonic calando quasi Definitions 1. well, very 2. in a singing style 3. very '. /.t v _~-,--_ senza -3 assai 4. without 5. second degree of the scale ~/_ ben 6. becoming slower and softer _~=--_ iii, mediant 7. almost 8. third degree of the scale END OF WRITTEN TEST

18 OMTA Aural Awareness Levels 11 & 12 Student's Name...!J<~e~ - { p±-~e=lq..c:~=~.l..- _ Sample: 1. Major ( tural (pure) mi~ (i0~ natural (pure) minor melodic minor harmonic minor melodic minor harmonic minor 2. natural (pure) minor chromatic melodic minor (harmonic min~ 3. natural (pure) minor chromatic ~elodic mi~ harmonic minor 4. Major minor diminished ment8v Major minor 6 th minor Perfect 5 th ~inish~ Gino0 augmented 7. minor 7 th Perfect 4th ~o~ 8. Gthentic (I-Vj) Plagal (I-lV-I) Deceptive (I-V-vi) 9. Authentic (I-V-I) Plagal (I-lV-I) ~ceptive (I-V~ 10. Authentic (I-V-I) C gal (I-IV]) Deceptive (I-V-vi) 11. I j J j j II ~g~ 14._ld_ ~~ ~~