Music Theory Listening and Study Guide
Name of Work____________________________________Composer____________________________________
Directions:  Listen to the musical selection.  Evaluate what you hear and answer the following questions.  Then listen again and check your answers.  Finally, refer to the score of the work (if available) to see if your answers are correct.
(1)    Sing* the tonic pitch; then sing the tonic triad.  Is the piece in a major or minor key?
a. major
b. minor
c. can’t tell
(2)    Sing the tonic triad again.  Does the main melody begin with a pitch from the tonic triad?
a. pitch from tonic triad (circle one):     root     third     fifth    
b. other pitch
c. can’t tell
Write the solfege syllable of the starting pitch if you know what it is. ______
(3)    What type of scale or mode is used in the piece?
a.  major    h.  blues
b.  natural minor    i.   Dorian
c.  harmonic minor    j.   Phrygian
d.  melodic minor,  ascending    k.  Lydian
e.  whole tone    l.   Mixolydian
f.  chromatic    m.  other _________________________________
g.  pentatonic    n.   can’t tell
(4)    Sing along with the melody.  Is the motion of the melody mostly conjunct (stepwise) or disjunct (with skips)?
a. conjunct
b. disjunct
c. both conjunct and disjunct
If the melody is disjunct, what interval or triad pattern is most prominent? ________________________
(5)    Identify the texture of the selection.
a. monophony (unaccompanied melody)
b. heterophony (two or more modified versions of the same melody performed simultaneously)
c. polyphony ( two or more independent melodies simultaneously; number of voices___________
       1.  imitative polyphony
       2.  non-imitative polyphony
d. homophony (melody with chordal accompaniment)
       1.  melody with supporting bass line
       2.  chordal texture (homorhythmic)
       3.  melody with broken chord accompaniment
e. homophony with polyphonic elements
       1.  homophony with a countermelody
       2.  homophony with imitation
(6)    What is the tempo of the piece? (Circle one
    very slow    slow    moderate    fast    very fast
(7)    Tap the main beat and the divisions of the beat. Is the meter duple (two beats per measure), triple (three beats per measure), or quadruple (four beats per measure)?
a. duple    c. quadruple
b. triple    d. other
(8)    Does each beat divide into two equal parts (simple meter) or three equal parts (compound meter)?
a. simple meter
b. compound meter
c. can’t tell
(9)    Are there any characteristic rhythmic devices within the selection?
a. syncopation    e. irregular or changing meters
b. hemiola    f. other ____________________
c. augmentation    g. none of the above
d. diminution
(10) Are there any characteristic melodic devices within the selection?
1.  ostinato
2.  inversion of a melodic pattern
3.  transposition of a melodic pattern
4.  sequence
(11) Identify the instrumentation of the selection.
main instrument(s)____________________________________________________________________

other instrument(s)____________________________________________________________________
(12) Describe the dynamics, dynamic contrast, articulation, and character of the piece.

(13) Describe the form of the piece.
a.  two part form (AB)
b.  three part form (ABA)
c.  strophic form (song with verses)
d.  rondo form (ABACA, etc.)
e.  theme and variations
f.  other _____________________________________________________________________________
(14) Do any sections of the piece repeat? _______________________________________________________
(15) Are there any cadences within the selection?  Where are they and what kind are they?
a. authentic cadence: perfect (final) or imperfect (non-final)
b. plagal cadence
c. half cadence
d. deceptive cadence
e. other (describe) ______________________________________________________________________
(16) Does the piece modulate?  If so, to what key?
a. dominant    f. parallel major
b. subdominant     g. other___________________
c. relative major     h. does not modulate
d. relative minor    i. can’t tell
e. parallel minor
* In a test situation where other people are present, sing with your “inner voice” only, without making a sound.