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Praxis II Music Education Vocab
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Subjects
:
praxis
,
teaching
,
performing-arts
Instructions:
Answer 50 questions in 15 minutes.
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Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Used to give a more melodic bass part and to give variety to the music.
Retrograde
Pedal Point
Homophonic
Inversions of chords
2. Repetition by one or more different voices of a phrase.
Instruments that transpose at the octave
Imitation
Semitone
Submediant
3. Sharpened leading note ascending and descending
Natural Minor Scale
Harmonic Minor Scale
Countermelody
Tonic
4. Child - developmental approach. Quarter note = ta. Eight note pairs = ti ti. Half note = ta - a. Moveable do and hand signs.
Bare chord
Repetition
Kodaly Method
Tonal Sequence
5. Distance between any two notes
Introduction
Interval
Inverted Pedal
Plagal Cadence
6. Sounds major 13th lower. i.e. major sixth + octave
E flat Bass/E flat Baritone Saxophone Transposition
E flat Tenor Horn/E flat Alto Sax Transposition
Stretto
ABA
7. Exercises played by beginning pianists using only five consecutive notes of the scale.
Five finger exercise
Plagal Cadence
Tonality
Melodic Minor Scale
8. General music is required until grade...
Absolute Music
8
Microtone
Harmonic Minor Scale Semitones
9. Phrase is imitated by turning it upsidedown.
Ostinato
Aeolian
Monophonic
Imitation by Inversion
10. Ending section designed to round off a musical composition.
Development
Accented Passing Note
Coda
Blues
11. Sounds minor seventh higher.
Tempo
B flat Soprano Saxophone Transposition
Inverted Pedal
Alto Clef
12. Clarinets - bass clarinets - trumpets - tenor saxes - baritones
Note that is transposing figured around
Texture
B flat instruments
Diminution
13. Used by composers in the Baroque period. Numbers underneath the bass line told the performer which chords to play. The bass part was called the continuo. Each number represents an interval between the bass and the note to be supplied.
Rhythm
Passing Notes
Pulse
Figured Bass
14. Sounds a minor third higher.
E flat Soprano Cornet Transposition
Harmony
Rhythmic displacement
Melodic Minor Scale
15. Alto and tenor clefs
Motif
Introduction
Bare chord
C Clefs
16. Sounds Major 9th lower. i.e. major second + octave
Ionian
Baritone - Euphonium - Tenor Trombone Transposition
Development
Fanfare
17. I - V ii - V IV - V
Figured Bass
Inversion
Syncopation
Imperfect Cadence
18. Glissando in vocal music
C Clefs
Perfect Cadence
Kodaly Method
Portamento
19. Gliding or sliding from one note to another. Can be shown by a line between notes or by writing the actual notes to be played.
Stretto
Rubato
Accidentals
Glissando
20. Music where two or more equally important melodic lines are combined and woven together with rhythmic contrast happening between the voices.
Coda
Notes of Anticipation
Polyphonic
Note that is transposing figured around
21. C clef sometimes used by the cello - bassoon - and trombone. C is on the second to top line
Tenor Clef
Repetition
Monophonic
Concert pitch
22. Sounds major sixth lower. Written with key signature.
Lydian
Syncopation
E flat Tenor Horn/E flat Alto Sax Transposition
Cadence
23. Rhythmic Gymnastics - teaches concept of rhythm - structure - and expression through movement.
Portamento
Enharmonic
Leading Note
Dalcroze
24. Between 3/4 and 7/8
Timbre
Leading Note
Major Scale Semitones
C instruments
25. Made smaller.
5
Polytonality
Diminished
Accent
26. IV - I
Plagal Cadence
Harmonic Minor Scale Semitones
Absolute Music
B flat Soprano Saxophone Transposition
27. Smallest complete unit of musical form containing about as much as can be held in a normal breath. Can be two to eight bars long.
Lydian
Irregular rhythm
Phrase
Mixolydian
28. Minor key with the same tonic as a major one. C major and C minor.
Antiphonal
Tonic Minor
Imitation by Inversion
Absolute Music
29. V - I
Perfect Cadence
Interval
Glissando
Notes of Anticipation
30. I - IV - V
Ionian
Fanfare
Primary Triads
Microtone
31. Sounds a perfect fifth lower than it is written. Music is written without a key.
Pulse
Chromatic Scale
Microtone
French Horn Transposition
32. Two part form - A B. The first section modulates (usually to the dominant). The second section is often longer than the first and uses similar material.
Reasons for Transposing
Binary form
Bassoon
Passing Notes
33. A- A
Motif
Aeolian
Alberti Bass
Harmonic Minor Scale
34. Journal of Research for Music Education
Countermelody
Interrupted Cadence
JRME
E flat Tenor Horn/E flat Alto Sax Transposition
35. Natural Pitch
C Clefs
Natural Minor Scale
Retrograde
Harmonic
36. Scale made entirely of semitones.
Submediant
Chromatic Scale
Bare chord
Arco
37. Second tone in a major/minor scale
Supertonic
Anacrusis
Diminished
Arco
38. Breaking of a melody into single notes or very short phrases by using rests. The melody is then shared between different voices.
Rondo Form
Smear
Phrygian
Hocket
39. Sixth tone in a major or minor scale
ASCAP
Inversions of chords
Submediant
B flat instruments
40. E- E
Phrygian
Subdominant
Pull off
Bare chord
41. Needs to be written a minor third higher.
Inversion
Tonal Sequence
Articulation
A instruments
42. Modification of motif and themes. The main ways of developing a theme are by imitation - sequence - inversion - fragmentation - augmentation - and diminution.
Bennet Reimer
ASTA
Development
Register
43. Three part musical form created by repeating the first section without changing. A B A.
Primary Triads
Ternary Form
French Horn Transposition
Mixolydian
44. Glissando in jazz music
Homophonic
Smear
Cadence
Auxiliary Notes
45. Smallest unit of musical form. Can be as short as two notes or as long as six. A motif has Clear rhythmic patterns as well as a clear melodic outline.
Arco
Phrygian
B flat Soprano Saxophone Transposition
Motif
46. Intervals of the first phrase are NOT reproduced exactly.
Whole Tone Scale
Fragmentation
Alberti Bass
Tonal Sequence
47. An annual budget is provided for the replacement of school - owned instruments that is equivalent to at least ______ of the current replacement value of the total inventory.
Motif
Augmented
5%
Cross Rhythm
48. Musical shaping and phrasing. Marks include staccato - legato - accent.
Harmonic Sequences
Articulation
Reasons for Transposing
Baritone - Euphonium - Tenor Trombone Transposition
49. Exact transposition of each note in a sequence.
Pedal Point
French Horn Transposition
Imitation
Real Sequence
50. V - vi
Interrupted Cadence
B flat Bass Transposition
A instruments
Retrograde
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