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Mid-term exam
1. J.S.Bach. Prelude in C from the Well Tempered Clavier. Chromaticism in bars 12-
15. Analyse the fragment and choose the most appropriate explanation.
a. Eb-F-A-C Bb-Db-F
b. C-D-F#-A G-Bb-D
c. D-F#-B-A E-G-B
d. C-Ab-F-Eb G-Bb-Eb
e. Db-Eb-G-Bb Ab-C-Eb
a. C#-E-G-Bb D#-F#-A#
b. E-C-G-Bb F-Ab-C
c. F-Ab-Cb-D Eb-G-Bb
d. Eb-G-A-C# F#-A-C#
e. G-E-Bb-Db F-A-C
a. In C: v | V7/IV | vi iii7 | IV
b. In F: ii | V7 | I V7 | I
c. In F: ii | V7 V43| vi V | I
d. In C: v II | V7/V | vi V | IV
e. In Gm: i v | iv i | VII iv | VII
5. Which of the following can be interpreted as a viiº7/III case?
a. b. c. d. e.
a. F#m: C#m E Bm D
b. Bb: F D Am Ebm
c. G B Em D C
d. E: Gm B C# Am
e. Dm: Cm Gm Bbm F
The following couple questions require recollecting the process of modulation in the
example of Beethoven’s 9th symphony, ‘transitioning into the March’.
D: I V7/V V bIII
Bb: V I
7. If the March were in the key of G Major, which among the following alterations
would you need in the chord right before de double bar?
8. What chord would you need in the second bar of the sketch above?
a. D7 b. Bb7 c. C#7 d. B7 e. E7
9. Analyse this diagram of modulating phrases with pivot chords and decide
whether the case is True or False.
E:
I V7 vi7 iii
C#m: v iv III viiº7 i
TRUE FALSE
a. b.
10. Analyse this diagram of modulating phrases with pivot chords and decide
whether the case is True or False.
C# minor
iv VI III6 iiº64
E major: viiº64 V42 I6
TRUE FALSE
a. b.
11. In Chopin’s Mazurka Op. 59, No. 2, the second system clearly illustrates:
12. In the same Chopin’s Mazurka, the progression from bar 5 into 6 can illustrate
which of the following?
13. In the key of G minor, into which note would the 7th of this chord resolve?:
viiº7/VII
a. B b. C c. F# d. C# e. D
14. In a Cuban Contradanse in Ab major, the second section appears in the key of
the relative minor of the subdominant. What chord would you expect to find
at the end of the first section if this piece is in sectional binary form?
a. Ab b. F7 c. Fm d. Eb7 e. Bbm
15. In the haunting example of Mozart’s “Confutates maledictis” from his Requiem,
the composer contrasts the first “confutates” section in A minor with a “voca
me” section in the key of the relative major. If Mozart had decided to write
the Confutates movement in D minor instead, which chord would he need as
secondary dominant to prepare the “voca me” section?
Question 1
J.S.Bach. Prelude in C, from Prelude and Fugue in C major, The Well Tempered Clavier.
Question 4
Question 11