Exercise 1 PUCCINI: Turandot: Signor, ascolta 1. 2. 3. . #. &.

Major Soprano They play a harmonic role, providing sustained, slow-moving chords and texture throughout !"oe $i%%icato a' (mper)ect "' $er)ect *. (t "ecomes more chromatic and dissonant. Exercise 2 BACH: Prelude and Fugue in 1. 2. 3. . #. &. +escending major scale (t is now in ,parallel' thirds Monophonic-single line ,Tonic' pedal Se.uence +ominant !a"or B#$ %%&

Exercise ' $I$A()I: Flute Concerto in ) !a"or, *+, 1& No, ' -.$ /201 2Il gardellino2: I, Allegro 1. 2. 3. . #. &. *. 1. 2. Solo )lute, string orchestra and harpsichord. /ising arpeggios ,in answer to the orchestral melody'. !ctaves Trill 0 ,major' third apart Se.uence /elative minor 0 rising chromatic scale (mitation

Exercise / 3ASSI P.E4I: (udiane Nac5di Nu 3oncentrate your listening on the )irst minute and a hal) or so o) this trac4. 1. Minor 2. Syncopation 3. +hol drum5 clapping and shouting ,the latter o)ten o)) the "eat'5 singing in $unja"i5 )ast, swung rhythms in the percussion5 synthesised sounds and studio e))ects5 heavy dance "eat5 short vocal phrases over a small range o) notes5 clu"-dance style "ass lines, "eats and samples. . /ever" on instrumental and vocal parts, samples, synthesised "rass and pad sounds, programmed drum "eats. Exercise % B*CCHE.INI: 4inuetto 1. +ominant 2. $edal notes-inverted pedal notes5 pi%%icato5 oscillating "ro4en chords. 3. Sixth

. $edal #. 6Melody and accompaniment6 texture5 homophonic5 "alanced phrases ,.uestion and answer'5 simple, )unctional harmony5 "inary-ternary )orm5 use o) string instruments5 any other valid points.