Theory Validation Exam
Name ________________________
(211 total points)
Date________________
I. Scales, Modes, Clefs, Transposition (30 points)
1. Consider this excerpt:
The final note is the keynote.
? #### 23 w
˙
? #### ˙
˙
˙
? #### ˙
˙
˙
˙
˙
˙
˙
w
Notate the scale or mode used in this excerpt (use accidentals).(1)
The name of the scale or mode is
?
____________________.(2)
2. Consider this excerpt:
The lowest bass note is the keynote.
w
w
& w
Œ
? Œ
w
w
w
œœ
œ
œœ
œ
œœ
œœ
œœ
œ
œœ
œ
œœ
œœ
œ
œœ
œœ
Notate the scale or mode used in this excerpt (use accidentals).(1)
The name of the scale or mode is
____________________.(2)
3. Consider this excerpt:
E is the keynote.
&
œ œ œ
#œ #œ #œ œ #œj
& bœ œ œ
Notate the scale or mode used in this excerpt (use accidentals).(1)
The name of the scale or mode is
____________________.(2)
&
2
4. Consider this excerpt:
The first note is the keynote.
3
& b8 œ œ œ œ œ œ # œ œ œ œ œ œ
Notate the scale or mode used in this excerpt (use accidentals).(1)
____________________.(2)
&
5. Consider this excerpt:
b 4 œ œ œ œ œ œ ‰ œj ˙
b
& 4
œ ˙
The name of the scale or mode is
The final note is the keynote.
? bb 44 œ
œ
œ
œ
œ Œ
œ
œ œ
œ Œ
Notate the scale or mode used in this excerpt (use accidentals).(1)
The name of the scale or mode is
?
____________________ .(2)
6. Transpose this excerpt to
the key of G minor in the
bass clef. Use the appropriate
key signature. (15 points)
?
B 3 œ œ œ œ œ œ œ œ œ œ œ #œ ˙
#4
II. Chord Identification (30 points)
7. This chord functions as _________ in Ab major.
Please identify inversions, if present. (3)
This chord would best progress to
a.
b.
c.
d.
e.
f.
g.
I (I 6/4)
ii
iii
IV
V
vi
vii0
8. This chord functions as _________ in G minor.
Please identify inversions, if present. (3)
This chord would best progress to
a. i (i 6/4)
b.
c.
d.
e.
f.
g.
ii0
III
iv
V
VI
vii0
9. This chord functions as _________ in Bb major.
Please identify inversions, if present. (3)
This chord would best progress to
a.
b.
c.
d.
e.
f.
g.
I (I 6/4)
ii
iii
IV
V
vi
vii0
10. This chord functions as _________ in F# minor.
Please identify inversions, if present. (3)
This chord would best progress to
a. i (i 6/4)
b.
c.
d.
e.
f.
g.
ii0
III
iv
V
VI
vii0
11. This chord functions as _________ in Eb major.
Please identify inversions, if present. (3)
This chord would best progress to
a.
b.
c.
d.
e.
f.
g.
I (I 6/4)
ii
iii
IV
V
vi
vii0
12. This chord functions as _________ in Bb minor.
Please identify inversions, if present. (3)
This chord would best progress to
a. i (i 6/4)
b.
c.
d.
e.
f.
g.
ii0
III
iv
V
VI
vii0
3
b
& b bb 44 ww
? bb b 44 nnw
b w
b
&b w
#w
nw
?b w
b
b
& b nw
w
? bb w
bw
###
& nw
w
? ### w
w
b
&b bn w
w
? bb bw
b w
b
& b bbb nw
w
w
? bb b w
bb
4
13. Circle the chord that is enharmonic with a
Bº 7 chord. (2)
14. Circle the chord that is enharmonic with a
Gr+6 in D Major. (2)
15. Circle the chord that functions as
the N6 in G minor. (2)
16. Circle the IV9 in E Major. (2)
17. Circle the V13 in A Major. (2)
& ˙˙
n˙˙
#˙˙
˙
˙
b˙˙
& ##˙˙
? n˙˙
nb˙˙
˙
b˙
#n˙˙
˙
˙
˙˙
#˙
˙
& b˙˙
b˙
? b˙
nb˙˙
n˙
b˙
n˙
b˙
b˙
n˙
b˙˙
b˙
n˙
& ˙˙
˙
?
˙
#b˙˙
#˙
˙
#˙˙
#˙
˙
n˙˙
#˙
˙
& #˙˙
˙
n˙
#˙
˙
#˙
n˙
#˙
˙
#˙
#˙
#˙
˙
& #b˙˙
b˙
#˙
#b˙˙
˙
n˙
#˙
nn˙˙
˙
b˙
#˙
#n˙˙
˙
? ˙˙
? #˙
˙
18. Circle the G b9 (#11). (2)
? ˙˙
˙
˙˙
˙
b˙
5
III. Compositional Devices and Terms (22 points)
19. The relationsip of B to A represents
the use of (2)
a. melodic inversion
b. sequence
c. augmentation
d. diminution
20. The relationsip of B to A represents
the use of (2)
a. melodic inversion & transposition
b. sequence & transposition
c. augmentation & transposition
d. diminution & transposition
A
& œ
œ
œ
œ
œÓ
œ
œ
B
& œ
œ
œ
œ
œ
œ
œ
œ
œ
œÓ
œ
œ
A
& œ
B
& œ
23. This example demonstrates (2)
a. atonality
b. bitonality
c. planing
d. quartal chords
œ
œ
œ
œ
& œ œ œ œ œ œ œ œ œ œ œ œ
21. The example represents the use of (2)
a. melodic inversion
b. sequence
c. augmentation
d. diminution
22. The relationsip of B to A represents
the use of (2)
a. melodic inversion
b. transposition
c. retrograde
d. diminution
œ
A
B
& œ
& œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
& ˙˙˙
b˙˙˙
b˙˙˙
˙˙˙
? #˙˙
˙
#˙˙˙
˙
#˙˙
#˙˙˙
6
24. This example demonstrates (2)
a. atonality
b. bitonality
c. planing
d. quartal chords
œœ
& œœ
œœ
œœ
œœ
œœ
œœ
œœ
˙˙
˙˙
˙˙
˙˙
œœ
œœ
˙˙
˙˙
˙˙
˙˙
œœ
œ
œœ
œœ
œœ
w
w
w
w
w
w
w
w
n˙˙
˙
˙
˙
25. This example demonstrates (2)
a. atonality
b. bitonality
c. planing
d. quartal chords
& œ
œ
œœ
œ
26. This example demonstrates (2)
a. atonality
b. bitonality
c. planing
d. quartal chords
jœ
& #œj œ #œ nœ #œ #œ œ bœ œ œ j ‰
nœ
˙
# œ nb˙˙
œœ ‰
##˙˙
‰nœœJ Œ #˙
nœ
J
27. Normal order for this pitch set is (2)
a. 0, 3, 5, 6
b. 0, 3, 5, 7
c. 0, 2, 5, 7
d. 0, 1, 2, 3
28. This effect of these simultaneous
rhythms would be (2)
a. bi-metric
b. bitonality
c. harmonic rhythm
d. agogic accents
29. In this example, the half note
would indicate the (2)
a. normal order
b. functionality
c. harmonic rhythm
d. agogic accents
& ˙
##œœ
###œœœ
œœ
œœ
œœ
œœ
˙
& œ œ œ œ œ œ
>
>
? >œ œ >œ œ >œ œ
˙
˙
>œ œ œ >œ œ œ
>
>
>
œ œ œ œ œ œ
4
&4 œ œ œ œ œ œ œ œ œ œ ˙
˙˙
44 ˙˙˙
#˙˙˙˙
˙˙
˙
˙
7
IV. Analysis (129 points)
30. Analyze this example for the following: Label chords, inversions, and harmonic function.
This excerpt begins in G major and modulates to A minor, E minor, and back to G. Indicate clearly where
the modulation occurs and the modulation type.
Do not consider the non-harmonic tones, indicated with a ( ) in your analysis.
Name the non-harmonic tones: (2 points each)
(a) __________________________
(accented passing tone, anticipation, appogiatura,
(b) __________________________
escape tone, lower neighbor tone, suspension,
(c) __________________________
un-accented passing tone, upper neighbor tone)
(d) __________________________
(e) __________________________
(f) __________________________
The cadence type at 1 is _______________________.(2)
The cadence type at 2 is _______________________.(2)
#4
& 4
œœ
œœ
œœ
œ (#œ) œœ
œ ( œ)
U
œ #œ œ œ
œ œ œ œ
( œ)
œœ ( œ) œœ ( œ) œ œ œœ ( œ) œœ ((b)
œ) œ
(a) œ
? #4
4
chord
nœ
œ
œ œœ
œ ( œ)
œœ
1. ___
œ œ œ ( œ) œœ ( œœ ) œœ ( œ) œœ( œ)( œœ) œ
œ #œ
( œ)
œ u
(c)
GM
_____ _____ _____ _____ _____ _____ ____ ____ _____ _____ _____ _____ _____
I
function _____
_____ _____ _____ _____ _____ ____ ____ _____ _____ _____ _____ _____
#
& ˙(œ ) œ
?#
œœ
U
œœ
œj œœ
œ
u
2. ___
œœ ( œ)
œ
œ ( œ)
œ
œœ ( œœ) œœ
j œ (d) œ
œ
#œ œ ( œ) œ
J
œ
œ
œ( œ)( œ) #œœ
œ
#œ
œ
œ
U
œœ
œœ
(#œ)
œ nœ œ
nœœ ( œœ)
œ
œ
u
_____ _____ _____ _____
_____ _____ _____
_____
_____ _____
_____
_____
function _____ _____ _____ _____
_____ _____ _____
_____
_____ _____
_____
_____
chord
8
#
& œœ
œœ
œ #œ
œ ( œ) œœ
œ ( œ) ( œ) ( œ) œ n œ
œ œœ
œ
( œ) n#œ
œ
œ
?#
##œœ
U
œ œ
œ œ
œ
œ ( œ) œ
œœ ( œ) œ
œ ( œ) œœ ( œœ) œœ œ
œ œœ œ n œ
œ u
œ
œœ( œ) œ( œ) œ
( )
_____ _____ _____ _____
_____ _____ _____
_____
_______
______
function _____ _____ _____ _____
_____ _____ _____
_____
_______
______
chord
#
& ˙˙
U
œœ œœ ( œ) œœ
œ œ œ
œ œ
? # #œ ( ) œ # œ œ
( œ)
œ u œ
œ
œ
(f)
( )
œœ ( œ) œ œ
œ
(e)
œ̇
U
œ œœ
œ n œ œ ( œ) œ œ
œ ( œ) œ
œ
nœ
œœ ( œ)( œ) œœ
œ
œ
u
( )
______
_____ _____
_____ _____
_____
_____
_____ _____
_____
function ______
_____ _____
_____ _____
_____
_____
_____ _____
_____
chord
Place a 1 at the modulation to A minor. The modulation type is _______________________. (4)
Place a 2 at the modulation to E minor. The modulation type is _______________________. (4)
Place a 3 at the modulation to G major. The modulation type is _______________________. (4)