SCHUBERT, Erlk�nig (The Erlking) (1815)
Which of the following best describes the rhythm of the accompaniment in this excerpt?
* Relentless triplet rhythms
Mysterious and sustained rhythms
Simple duple rhythms
CHOPIN, Nocturne in E Flat Major, Op. 9, No. 2 (1830-1831)
The accompaniment in this excerpt is in the style of a ______.
* waltz
march
love song
CHOPIN, Nocturne in E Flat Major, Op. 9, No. 2 (1830-1831)
This music features a graceful melody enhanced by ______.
* numerous turns and trills
frequent syncopation
polyphonic imitation
Chopin: Nocturne in E Flat Major, Op. 9, No. 2
Which statement best describes the relationship between melody and accompaniment in this piece?
* The melody is always in the upper voice, and the accompaniment is always in the lower voice
Which of the following statements about the opening melody is NOT
CHOPIN, �tude in C Minor, Op. 10, No. 12 (Revolutionary) (1831?)
This melody is performed mainly by _______.
* the pianist's left hand
the pianist's right hand
both hands of the pianist
CHOPIN, �tude in C Minor, Op. 10, No. 12 (Revolutionary) (1831?)
This music is a study piece intended to develop the pianist's left hand, as evidenced in this excerpt with ______.
* relentless rapid passages in the low register
high, dissonant chords punctuating the melody
continuous running notes in the high register
Chopin: �tude in C Minor, Op. 10, No. 12 (Revolutionary)
Think about how a player sits at the piano, with lower pitches to the left and higher pitches to the right. Which of the pianist's hands has the more difficult job in this study piece?
* The left hand
How does the performer, Murray Perahia, treat the temp
CHOPIN, Polonaise in A Flat Major, Op. 53 (1842)
The marchlike melody features _______.
an empty and melancholy accompaniment
a simple and barren accompaniment
* a complex and rich accompaniment
CHOPIN, Polonaise in A Flat Major, Op. 53 (1842)
Which of the following best describes this piece?
Short piano piece
* Piano trio
Piano concerto
Liszt: Transcendental �tude No. 10 in F Minor
Think about how a player sits at the piano, with lower pitches to the left and higher pitches to the right. Which of the pianist's hands has the more difficult job in this study piece?
* Both hands get a complete workout
How does the performer treat the t
MENDELSSOHN, Concerto for Violin and Orchestra in E Minor, Op. 64, I (1844)
Which of the following best describes this music?
It is a symphony.
* It is a concerto.
It is a concerto grosso.
MENDELSSOHN, Concerto for Violin and Orchestra in E Minor, Op. 64, I (1844)
In this excerpt, the violin solo gives way to the ______.
orchestra's themeless accompaniment
* orchestra performing the main theme
violin's restatement of the main theme
Mendelssohn: Concerto for Violin and Orchestra in E Minor, Op. 64, I
How does the beginning of this movement differ from other concertos you have studied in this course?
* The solo instruments enters almost immediately with the main theme.
Which of the following does NOT take place when the second theme is introduced?
* Th
BERLIOZ, Symphonie fantastique, IV (March to the Scaffold) (1830)
The marchlike fanfare in this selection features which group of instruments?
Percussion
* Brass
String
BERLIOZ, Symphonie fantastique, IV (March to the Scaffold) (1830)
The texture of this selection is mostly ______.
monophonic
* polyphonic
homophonic
Berlioz: March to the Scaffold and Witches' Sabbath from Symphonie fantastique
Which sections of the orchestra contribute most obviously to the marchlike character of the fourth movement ? (Check all that apply.)
String
* Woodwind
* Brass
Percussion
The solo clarinet returns at the end of the fourth movement with the main melody, or
TCHAIKOVSKY, Overture-Fantasy from Romeo and Juliet (1869)
The rhythmic velocity of this excerpt is provided mainly by the ______.
brasses
* strings
percussion
TCHAIKOVSKY, Overture-Fantasy from Romeo and Juliet (1869)
Which of the following statements about the excerpt is NOT true?
The violent syncopations punctuated by the cymbals suggest clashing swords.
Syncopations, rushing strings, and massive sounds create enormous excitement.
* The rapid, descending nature of the excerpt suggests a mournful disposition.
DVO?�K, Symphony No. 9 in E Minor (From the New World), I (1893)
In this excerpt, the first time we hear the main theme, it is presented by the ______.
flutes
violins
* horns
BRAHMS, Symphony No. 3 in F Major, Op. 90, III (1883)
This excerpt begins with the melody presented by the cellos and then repeated by the _______.
* violins
trumpets
flutes
BRAHMS, Symphony No. 3 in F Major, Op. 90, III (1883)
How many notes make up the rhythmic motive in this melody?
* Three
Two
Four
VERDI, "La donna � mobile" and Quartet from Rigoletto, Act III (1851)
To which genre does this music belong?
* Opera
Symphony
Concerto
VERDI, "La donna � mobile" and Quartet from Rigoletto, Act III (1851)
Which statement is true of this excerpt?
* The aria features the tenor most prominently.
The orchestra is not present in this excerpt.
The soprano voice is the most important in this excerpt.
PUCCINI, Excerpt from La Boh�me, Act I (1896)
Which voice part is featured in this aria?
Bass
* Tenor
Soprano
PUCCINI, Excerpt from La Boh�me, Act I (1896)
How is the orchestra used at the beginning of this excerpt?
More prominently than the soloist
* As a gentle accompaniment to the soloist
As an equal partner to the soloist
Puccini: La Boh�me, Act I, excerpt
Is there a clear meter in the opening section between Mimi and Rodolfo?
* No the music seems to follow speech patterns
What tonality is predominant in this scene?
* There is no discernible tonality
How would you describe the orchestral accompaniment throu