Sample Test 7 - Music-USA.org

Name______________________________Teacher_______________________

Virginia Music Teachers Association Theory Test Level VII - Sample

SCORE___________________ 1. Write the following modes on the staves below. 2 pts

a. Phrygian mode

b. Dorian mode 2. Write a Bb major scale on the staff below. Form a triad on each 7 pts note and label the function and quality with correct Roman numerals. See first chord as an example.

3. Fill in the time signatures for the rhythmic examples below. Identify each 6 pts as simple duple or simple triple, compound duple or compound triple, simple quadruple or compound quadruple (write the correct term in the space to the left of the example).

__________________

__________________

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VMTA Level VII Theory Test - Sample Page 2

4. Write the following progression in the key of F Major. You may use 6 pts

a key signature. Do the last two chords form a plagal, authentic,

or half cadence? _______________________________

IV ii 6/3 I 6/4 V I 6/3

5. Write the V7 / V belonging to each key. Don’t forget accidentals and good voice leading! 3 pts

V7 / V V V7 / V V V7 / V V

6. Fill in the blanks to complete the following statements: 14 pts

a. The natural form of the minor is the same as the _________________ mode.

b. The intervals in a diminished triad are _______________.

c. The diminished triads in the harmonic minor scale occur on the __________

and _________ scale degrees.

d. The Dorian mode occurs in its natural form beginning on letter____________.

e. The names of the secondary triads are the _____________, _______________,

______________, and ______________.

f. The primary (principal) triads are the ____________, _____________, and _____________.

g. The subdominant is built on the __________ degree of the scale.

h. In the natural form of the minor, the quality of the mediant triad is ___________.

7. Write the following key signatures in both clefs. 4 pts


8. Write the cadences indicated below. Use piano style (one note in bass, three in treble). 6 pts Use good voice leading.

Bm: V i AM: IV I G m: i V 9. Identify the following intervals by number and quality. 10 pts

10. Match the terms on the left to the most correct definition on the right. 12 pts

a. allegro con brio ______ a musical form in which there is a recurring theme

b. subito agitato ______ more calm

c. maestoso ______ diatonic tonality which avoids traditional chord movement

d. cantabile ______ pressing forward

e. pesante ______ fading away

f. rondo ______ spirited

g. pandiatonic ______ singing

h. stringendo ______ majestic

i. smorzando ______ simultaneous use of rhythms with different subdivisions

j. adagio con dolore ______ heavy and ponderous

k. piu tranquillo ______ gradually slower

l. polyrhythm ______ suddenly restless

______ slowly, with sadness

11. Circle the chords or interval pairs which are enharmonic. 3 pts


12. Write the intervals indicated above the given note. 5 pts

Aug 5 m2 P5 M6 dim 4 13. Identify the scale to which each of these fragments belong. 3 pts

a. _____________ b. _______________ c. ________________

14. Write the following scales starting on the given note: 2 pts

Pentatonic Whole Tone

15. Name the key (under the bass clef). Label the I, ii, IV, V, and vi chords, using figured bass 9 pts

if necessary. The roots are circled for you.

a. The cadence is (circle one): authentic plagal

16. ANALYSIS 8 pts

a. Examine the composition on pages 5 – 6. Find the main theme, and mark it with

the letter A. Find any other sections and mark them as B, C, etc.

How many times does the main theme appear? ___________

What is the form? ____________

b. What key is the piece in? __________

c. What key does it modulate to on page 6? __________

e. Find and circle the two secondary dominants.

f. What kind of cadence is in measures 24 and 44? _________



VMTA Level VII Theory Test - Sample Page 7 17. Analysis cont’d: 1 pt a. In the following excerpt, draw a box around the first place where all five notes of the pentatonic scale are present:

Debussy, Pagodes

b. The following excerpt can best be described as a use of (circle one): 1 pt whole tone scale pentatonic scale clusters

Debussy, Voiles

c. In the following excerpt, circle the measure in which split 3rds occur: 1 pt

Gershwin, Three Quarter Blues

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VMTA Level VII Theory Test - Sample Page 8 18. LISTEN!!!

A. Complete the melody. The first measure is given. 7 pts

B. Circle the cadence you hear. 3 pts

1. V - I authentic 2. V - I authentic 3. V - I authentic

IV – I plagal IV – I plagal IV – I plagal

C. Identify the intervals you hear by number and quality: major, minor, perfect, or tritone. 8 pts

a. d. g.

b. e. h.

c. f.

D. Identify the following scales as either whole tone (W), pentatonic (P), or diatonic (D): 4 pts

1. W / P / D 2. W / P / D 3. W / P / D 4. W / P / D

E. Complete the following rhythmic pattern. The first and last measures are given. 6 pts

F. Identify the following triads - major, minor, diminished, augmented, and one 9 pts

that contains split 3rds. Be careful of triads that are inverted!

a. d. g.

b. e. h.

c. f. i.

G. Listen to the musical example. What kind of interval is 1 pt

played in parallel? ________________

141 pts total

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Sample Test 7 - Music-USA.org