GRADUATE ENTERING PROFICIENCY EXAMINATION
MUSIC THEORY: WRITTEN
NAME (PRINT)
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MUSIC THEORY WRITTEN EXAM (O) p. 2
Instructions: Write all answers with a #2 pencil.
1. On the blue answer sheet, fill in your name in the blanks at the top of the
page (LAST NAME, FIRST NAME, with space in between)
2. On the blue answer sheet, write your student identification number in the
space provided.
3. Do not write on the test packet, except for page 12.
4. On page 12, write your NAME and answers to questions 36–39.
5. Notice that the questions in the test booklet are on BOTH sides of the page.
6. Answer questions 1–35 on the blue answer sheet. Choose the best answer
and blacken in the appropriate circles beneath each letter.
7. Answer the music writing questions on page 12 directly on that page.
Questions 1–35 are worth 2 points each.
The music writing questions on page 12 are worth a total of 30 points.
B bw
MUSIC THEORY WRITTEN EXAM (O) p. 3
1. (2 pts.) This specific sounding interval is a
a) minor 2rd b) major 2rd
c) minor 3rd
Clar in A
d) major 3rd
Horn in F
b) major 2rd
c) minor 9th
3. (2 pts.) In concert pitch, this interval would sound as a
Horn in F
Clar in A
a) perfect 5th b) minor 6th
c) major 6th d) minor 7th
Horn in F
4. (2 pts.) This sonority is a
Violin I
half-diminished seventh in second inversion.
dominant seventh in third inversion.
fully-diminished seventh in second inversion.
half-diminished seventh in third inversion.
4–3 suspensions
2–3 suspensions
7–6 suspensions
9–8 suspensions
Soprano
Alto
Tenor
Bass
## 2
& # 1 !
## 2
& # 1 !
##
V # 21 Ó w
? # # # 21
w
& b ww
&
& w!
bb
&bb c
& !!
&
Viola
Cello
? bb b c
b
w
w
w
˙
w© ˙
w
˙ w
w
?
B bbbb c
w
˙
#w
B
& w
bb
&bb c
Ó ˙
˙
?
#w
Violin II
5. (2 pts.) This excerpt contains two instances of
a)
b)
c)
d)
#w
V
d) major 9th
Clar in A
a)
b)
c)
d)
& #w
B w
B
2. (2 pts.) This specific sounding interval is a
a) minor 2rd
# ww
V
B
& !
w
w
w
w
w
w
w
©
w
nw
w
w
w
#w
W
˙ ˙ w
W
W
w
w
w
W
w
w
MUSIC THEORY WRITTEN EXAM (O) p. 4
a)
b)
c)
# ## #
˙˙
˙˙
& # # c ˙˙
6. (2 pts.) Which of these has the best voice leading?
˙
##
#### ?
a) # # # # c ˙
#
c ˙
˙˙
# # # ˙
#&
a)
#
& # # c ˙˙
b) ˙
b)
˙ ˙˙
˙
˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
˙
˙
˙˙
˙
˙
c)
˙ ˙˙
c)
˙˙
˙
d)
b)
˙a)
bbb ˙
˙
˙
b
n
& b n ˙ ˙# # ˙ ˙ n ˙ ˙ b)n ˙˙
n˙ ˙
? b b &n ˙ # œ ˙ œ œ nœ˙ œœ ˙˙ œœ œœ nœœ˙
bbb
œœ œœ œœ œœ œ œ œ œ
˙˙
˙˙
? b b b n ˙˙
˙˙ œ n ˙˙
n
œ
b b a)? # # œ œ b)
œ c) œ
#
œ
c)
˙ ˙˙
˙˙
˙
d)
˙
˙
˙
n ˙˙
˙˙
œ n ˙œ
c)
œœ ˙œœ œœ œœn ˙
œ œ
n ˙˙
n ˙˙
˙
˙˙
˙
d)
˙
? # # # # # cb b b˙˙b ˙ ˙ n ˙˙ ˙˙ ˙ ˙ n ˙˙ ˙ ˙
˙ ˙
˙ ˙˙ ˙˙ ˙
#& b ˙ ˙
˙
˙˙
˙
? # # # # # c ˙˙
˙
˙
˙
#
˙˙
˙
˙ n ˙ d) ˙
˙
˙
˙
a)
b)
c)
˙ voice
˙˙
˙
n ˙˙ typical
n ˙ leading?
n˙
7. (2 pts.) Which of these?isb bthe
bb b b ˙ b b b most
˙
˙
˙˙
n ˙ b) ˙˙
n ˙˙
& a) b ˙
c) ˙
d) ˙
a)
˙
˙
d)
˙ ˙
˙ ˙
c) V4/3 of V œ
?# #
d) viiº7 of#V
œ? b bœb 32 œ
b
bbb 3 ˙
˙˙˙
b
&
2 ˙
˙
˙
˙
˙˙
ww
b?
b b 32b b b b˙˙ 32 ˙˙˙
&
˙
nw
˙ Fm˙minor˙ c)˙D major
a) Fm major b)
˙˙
˙
˙
œœ n ˙œœ œ œ
œ œ œœ œœ
d)
n ˙˙
œ œ œ
œœœ œœ
œ
w.
œœwwœ .. œœœœ
˙˙
˙˙
!!
d) D minor
?
b œ˙ n œ b ˙œ˙ œ
˙œ nœw n œ˙ œ ˙n ˙œ œ
n˙
œ œ
˙˙
˙
n˙
˙
˙
ww ..
w.
w.
n # œ˙ œ
w.
#˙
10. (2 pts.) In this context, which of these shows the most correct spelling of the first
chord?
d)
### c
&
b ˙˙ ˙˙
? # # # c n ˙˙ # # ˙˙
a)
˙˙
?
œ œ œ œ
œ œ œ ˙œ œ œ
˙
n w œ œ˙
˙
ww .. w .
ww
n ˙˙
˙˙
˙˙
!
w.
˙
w
˙
9. (2 pts.) If the sequence
is continued exactly,
b
w the next chord would ben ˙
? b b b 32& # # # # # # c ˙
b
˙ ˙˙
˙
˙
? #### # c
#
˙
˙
˙
˙ ˙
˙
n˙
n˙
œ d)œ œ
œ
œ œ œ
œ
œ
&a) œœ œœ œœ œœ b) œœœ œœ œœ œœœ œœ œœœ œœœ œœœ œœœ œœœ
œ
c) missing chord will
d) be a
œ œis continued
8. (2 pts.) If the sequenceœ below
exactly, the
###
œœ˙ œ œœœ ˙œ œœœ œœ wwœ œœœ œœœ˙ œœ œœ œœ n ˙˙ œœ
bœœb 3 œœ
œ
7&
œ
#
b
˙˙ œ œ œœ œ ˙ œ
?
#
œ
œ
œ˙˙ ˙˙ œ œ w
b
˙
a) V of V œ# œ& œ 2œœ ˙
œ
œ
œ
œ
˙
b) V6/5 of V
###
˙˙
˙˙
ww
ww
b)
˙
# ˙ ˙˙
n ˙˙ # ˙
# ˙
ww
ww
c)
˙
# ˙ ˙˙
# ˙˙ # ˙˙
ww
ww
# ‹ ˙˙ # ˙˙
# ˙˙ # ˙˙
?
ww
ww
MUSIC THEORY WRITTEN EXAM (O) p. 5
11. (2 pts.) The empty beats in the following are best harmonized with
a) IV6–V7 of V
b) IV6– ii6
&
c) VI– V7 of V
d) VI–V4/3
b b b 68 œœœ ...
b
œ.
&. b b 68œ .. œœ ..
‰ ‰ ‰ Œ
œœ ..
œ.
œœ .
?
œ b œ ?œ
œ œ œ œ nœ œ œ
œ bœ œ œ
?
6
b
œ
œ
n
œ
œ œ œb b 8 œ
œ
? b b 68 œ
œ
b
?
?
12. (2 pts.) The following phrase ends in what key?
œ
œ
# # 3 Œ œ n œ ˙ Œ & # # 43
n œŒ œ ## œœ ˙j ˙ œ œ œœ œ˙#.œœ ˙ #
# œ ˙˙ . œ
j
#
œ
œ
˙
.
.
.
.
œ
œ
j
3
&
4
œ
˙
#
˙
œ
œ
j
#
˙
˙
˙
.
.
.
œ . œ œ n œ J n œ J b œ œ œ J œ . & bœ œ38œ œJ œ œœ œn œ œœ œ nœœœœœj#b#˙œœjœ œœj .œ n# ˙ .4œ œ j œ œ
œ.
˙˙ .. J ˙œ . œœ . ˙ . œ J œ œ
˙.
˙ . ˙˙ .
˙˙ .. ˙œ . ˙œ . ˙ . ˙˙ ..J ˙˙ ..J
œ ˙ ˙ œ # œn œ œ
˙.
. ? # # 3 ˙ .œ ˙ œ # œ n œ œ ˙
? # # 43 ˙ .
.
#œ ˙.
4
a) C# major
b 38
b) C#&minor
c) A major
d) F# minor
## 3
j œ melody:
&
4 œ the
13. (2 pts.) Given
j
œ œ œ œ œ ˙ &Œ # # 43 œ
œ œfollowing
œ
.
œ
œ œ œ. œ œ œ œ œ œ œ ˙ Œ
what would be the most typical
consequent?
&
##
&
##
b)
a)
b)
jœ œ # œ œ œ œ œ
j
n
œ
#
œ
Œ
Œ
œœœœ ˙
œ
œ
j
œ œ œ #œ. œ œ
œ
#
˙
& # œœ œœ œ œ#. œ . œ œ n œ œ œ œ œ œ ˙ Œ œ œ œ œ .
a)
d)
jœ œ
j œjn œ œ œ n œ œ
c)
d)
#
Œ
œ
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
#
œ
œ
œ
œ
œ
.
.
Œ œ œ œ œ.
œ
œ œ ˙ & œ œ œ œ. œ œ œ œ œ œ
œ ˙
c)
14. (2 pts.) The following melody ends with a modulation to what key?
# # the dominant!(V)
b) the subdominant
# #! (IV)
& a)
!
c) the mediant (iii)
d) the submediant
(vi)
&
jœ
3
œ
& b 8 œ . œ œ n œ œJ n œ œJ b œ œ œ J œ .
!
j
œ œ œj œ œ œ œj œ œ œ j j
J
œ #œ œ.
15. (2 pts.) This excerpt is missing barlines. Given that an upbeat is possible, the best
time signature
a) 3/4 b) 4/4 c) 2/4 d) 4/8
# for
3 this excerpt is
& # 4 œ œ œ œ . œj œ œ œ œ œ œ ˙ Œ
b
j
&bb œ œ ˙
œ œ œ œ #œ œ ‰ œ œ ˙
œœ œœ œ Œ Ó
a)
b)
##
œ
œ
œ
œ
œ
œ œ œ œ œ œœjœ œœœœ # œœ œ œœœ œœœœ œ Œ
j
n
œ
œ
œ
œ
Œ
?
œ
œ
œ
b
œ
œ
& œ œ bœ b # œÓ. œ
# ˙œ
œœ œ œ ˙
œ œ
œ œ œ œ.
˙
&
##
d)
jœ œ
jœ n œ œ œ n œ œ
Œ
œ
œ
œ
œ
œœ ˙ Œ
œ œ.
œ œœœœ ˙
œ œ œ œ.
c)
©
!
MUSIC THEORY WRITTEN EXAM (O) p. 6
Score #1 (for questions 16–20 on the facing page)
&c
!
!
2
4
!
3
!
*
& c ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ #œ œ œ #œ œ œ. nœ nœ œ
œœœœ
œ œœ
œ
œ
œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ #œ
?c
!
Ó
‰
œ œ œ œ œ œ œ6 œ œ œ œ œ œ œ œ
‰
&
5
&
"
œœœœ
?œ
œ nœ nœ
nœ œ œ nœ
& "
9
& œ
? #œ
œ œ œœ
#œ
œœ œ œ
œ
œ œ œ
œ œ
‰ J œ #œ œ œ œ œ œ #œ œ
8
œ œ œ #œ œ
œœ œ œœ
‰ œ œ ‰ œ œ œ œ œ œ œ #œ nœ œ #œ œ
#œ œ #œ œ œ
J
J
"œœœœ
" œ œ #œ œ
œ
jœ œ œ
œ œ œ #œ œ
7
10
" œ #œ œ
œ œ
" œ œ œ œ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ œ œ œ
11
" œ œ # œ # œj œ œ œ œ œ œ œ
œ œ nœ
œ œ œ
‰ œj # œ
œ
J
œ œ œ
œ
nœ œ œ
j
#œ ‰ Œ
‰
‰ œj
œ œ œ œ œœ
Œ
œ œ œ
œ œ œ œ œœ œœœœœ
œ
MUSIC THEORY WRITTEN EXAM (O) p. 7
16. (2 pts.) In what measure does the subject first come to a cadence?
a) measure 2, beat 1
b) measure 2, beat 3
c) measure 3, beat 1
d) measure 3, beat 3
17. (2 pts.) In what key does the answer begin and in what key does it end?
a) It begins in i and ends in i.
b) It begins in i and ends in III.
c) It begins in i and ends in iv.
d) It begins in i and ends in v.
18. (2 pts.) If the subject were transposed to the key of the dominant, the first note would be
a) B
b) C
c) F
d) G
19. (2 pts.) In measure 4, third beat, the D (marked by an asterisk)
a) resolves to C on the fourth beat
b) resolves to B on the fourth beat
c) resolves to C in measure 5
d) has no need of resolution
20. (2 pts.) Which of the following most accurately represents the harmonies in m. 8?
#œ œ œ œ
& c œ œ #œ œ
a)
?c œ œ œ œ
œ œ œ #œ
œ œ #œ œ
b)
œ œ œ œ
œ œ #œ œ
œ œ# œ œ
c)
œ œ œ œ
œ œ œ #œ
œ œ #œ œ
d)
œ #œ œ œ
MUSIC THEORY WRITTEN EXAM (O) p. 8
Score #2 (for questions 21–28 below and on the facing page)
21. What harmony occurs on the second beat of m. 1?
a) V6
b) i6
c) IV
d) viio6
MUSIC THEORY WRITTEN EXAM (O) p. 9
22. (2 pts.) The G in the melody at the beginning of m. 2 (asterisked) is best
described as:
a) neighbor note
b) passing note
c) chord tone
d) suspension
23. (2 pts.) Which key is implied in mm. 5–6 (bracketed)?
a) D major
b) G minor
c) F major
d) C major
24. (2 pts.) How can the cadences in mm. 4 and 8 best be described?
a) half cadence and perfect authentic cadence in i
b) half cadence and perfect authentic cadence in v
c) deceptive cadence and perfect authentic cadence in i
d) half cadence and half cadence
25. (2 pts.) Which is the best description of the form of mm. 1–8?
a) it contains two phrases of unequal length
b) it is two phrases with contrasting thematic material
c) it is one undivided phrase
d) it contains two phrases with similar thematic material
26. (2 pts.) The section from mm. 9–16 can best be described as:
a) standing on the dominant [dominant pedal point]
b) chromatic modulation
c) modal mixture
d) sequence
27. (2 pts.) The passage bracketed in mm. 18–20 is an example of:
a) pedal point
b) invertible counterpoint
c) sequence
d) melodic inversion
28. (2 pts.) What term best describes the overall form of the example (mm. 1–22)?
a) strophic
b) rounded binary
c) sonata
d) parallel period
MUSIC THEORY WRITTEN EXAM (O) p. 10
Score #3 (for questions 29–35 on the facing page)
2
6
*
9
*
12
17
16
20
MUSIC THEORY WRITTEN EXAM (O) p. 11
29. (2 pts.) Pick the label that best describes the chord at the asterisk in m. 2.
a. II6
b. m IV
c. V4/3 of V
d. V6/5 of V
30. (2 pts.) Pick the term that best describes the quality of the first chord in m. 9.
a. MM7th
b. mm7th
c. fully diminished 7th
d. half-diminished 7th
31. (2 pts.) Where does the first chord in m. 9 resolve?
a. The last beat in m. 9
b. It needs no resolution
c. Downbeat of m. 11
d. First harmony in m. 10
32. (2 pts.) Pick the description that best fits the harmony at the asterisk in m. 10.
a. fully diminished 7th
b. half-diminished 7th
c. augmented 6th
d. dominant 7th
33. (2 pts.) Which of the following key areas, relative to the original key, best
describes mm. 12–16?
a. b III
b. III
c. b VI
d. VII
34. (2 pts.) What kind of cadence occurs in m. 20?
a. perfect authentic cadence
b. imperfect authentic cadence
c. half cadence
d. plagal cadence
35. (2 pts.) Which term best describes the harmony in the second half of m. 19
(bracketed)?
a. Neapolitan 6th
b. diatonic
c. secondary dominant
d. augmented 6th
MUSIC THEORY WRITTEN EXAM (O) p. 12
Write your name on this page:
Write answers directly on this page.
____________________________________
(last)
(first)
36. (8 pts.) Fill in missing half notes in the melody only in common-practice style. Provide a
Roman numeral analysis including inversions in the spaces provided.
bb
& bb bbb b c ˙˙˙
&&b bb b c c
? bb c ˙
??bb bbbb b bc c˙ ˙
bb
˙
˙˙
˙
˙˙
w
ww
˙
˙˙
œ œ
œœ œœ
I
I
˙
˙
w
ww
˙
˙˙
I
I
I
I
37. (8 pts.) Fill in missing half notes in the melody only in common-practice style. Provide a
Roman numeral analysis
# # ˙ including inversions in the spaces provided.
&# #### #### ˙ ˙
#
&&# # #
? #### ˙
? # ##
? # # ### # #˙ ˙
#
I6
I6
I6
#˙
#˙
#˙
V7 of V
V7 of V
viiº7 of V
˙
˙
˙
˙
˙˙
˙
˙
˙
˙
˙
˙
‹˙
‹˙
‹˙
w
ww
w
w
w
V6/5
V6/5
V6/5
I
I
I
38. (8 pts.) Fill in the missing notes in the bass in common-practice style. As a guide, some
(not all!) figures have been provided.
# # ##
& # # œœ
&# # # œœœ
& # œœ œ
??## # # œœ
## œ
#
? ## # œ
œœ # œœœ œœ n ˙œ œ
œœœ # œœœ œœœœ nœ˙œœ œœ
œœ œ # œœœ œœ n ˙œ œœ
œ
œ œ
œ
4
34
3
4
3
6
6
6
6
56
5
6
5
œœ
œœœ
œœœ
œœ
œ
œ
œœ
œœ
œœœ
œ
n œœ
n œœ
n œœœ
œ
n nn œœœ
n œœ
n n œœœ
## œœ
#œ
# œœœ
# œœ
# œœœ
œœœ
œœ
œœœ
w
www
ww
ww
ww
w
39. (6 pts.) Fill in soprano, alto, and tenor parts in the best possible voice leading and
according to the figures given.
&
####
# c œœ
œ
#
? ## # c # œ
#
6
5
œ
bII6
[N6]
‹œ
7
œ
ww
w
w