UCSC Music Department

Core Curriculum Placement

SAMPLE Theory Exam

 

The first-year theory course for music majors is Music 30A/B/C. Depending on their abilities and experience, students entering the program are placed directly into Music 30A or into a preparatory course, Music 15. The Core Curriculum Placement Exam, given at the beginning of Fall quarter, is used to determine each student's placement.

To assist students in preparing for the Core Curriculum Placement Exam, we offer the following SAMPLE Theory Exam. The sample exam is not an actual test and will not be graded for placement or other purposes. It is shorter than the actual Placement Exam, but it includes the same kinds of questions and covers the same range of materials. Finally, the actual Placement Exam includes a separate section designed to assess a student's knowledge of music history and literature. A sample of these materials is not currently available online.


Like the actual placement exam, this SAMPLE consists of two parts: the first devoted to fundamentals and theory, and the second devoted to aural skills.


Part I Fundamentals and Theory

 

1. Next to each note, write the sign for the rest of the same duration.

2. What note value (or combination) completes one full measure of 3/4 beginning as shown?

3. Choose the notation that corresponds most naturally to a time signature of 6/8.

4. The order in which flats are placed on the staff for key signatures is:

a. B E A D G C F

b. F C G D A E B

c. G F C D E A B

d. F G C D A E B

e. B C E D F G A

 

5. The relative major of g minor is:

a. B-flat major

b. F major

c. G Major

d. E-flat major

e. D Major

 

6. Which of the following is a melodic minor scale?

7. Identify the following modes. Name the tonic pitch and the specific mode (choose from Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, Ionian).

8. If a perfect interval is made one semitone larger, it:

a. becomes Minor

b. remains Perfect

c. becomes Augmented

d. becomes Major

 

9. Label the size and quality of each interval. (For example, the label "P5" includes the size, five steps, and the quality, perfect.)

10. What interval is the inversion of a...

a. Major sixth?

b. Perfect fifth?

 

11. Which of the following augmented fourths occur in f harmonic minor? Indicate YES or NO for each.

12. Label the quality and inversion of each triad or seventh chord. Use the abbreviations M, m, A, d, and Dom to indicate qualities; use the figured bass symbols 5/3, 6/3, 6/4, and 7 to indicate triad inversions and to identify seventh chords.

13. Label the quality and inversion of each seventh chord. Use the abbreviations MM, mm, dom (or Mm), ø, and o to indicate seventh-chord qualities; use the figured bass symbols 7, 6/5, 4/3, and 4/2 to indicate seventh-chord inversions.

14. Identify the correct voice-leading (a, b, or c).

15. Label each chord (a&endash;e) with Roman numerals, including qualities (with upper versus lower case) and inversions (with figured-bass numbers).

16. The type of cadence featured in question 15 is:

a. perfect authentic

b. imperfect authentic

c. half

d. deceptive

 

17. Complete the following passage of 4-part harmonic writing, according to the indicated roman numerals. Follow traditional traditional voiceleading rules, and avoiding repeated notes in the soprano where possible.


Part II Aural Skills

 

Interval recognition: size and quality

You will hear several harmonic intervals (pairs of notes played simultaneously); each item will be played twice. Choose the appropriate response from the following table.

If the interval is a...

write...

minor second

m2

major second

M2

minor third

m3

major third

M3

perfect fourth

P4

tritone

TT

perfect fifth

P5

minor sixth

m6

major sixth

M6

minor seventh

m7

major seventh

M7

perfect octave

P8

1. Example 1 (MP3)

2. Example 2 (MP3)

3. Example 3 (MP3)

4. Example 4 (MP3)

 

Chord recognition: triad and seventh-chord types

You will hear several block chords; each item will be played twice. Indicate the type of each chord, choosing the appropriate response from the following table:

If the chord is a...

write...

major triad

M

minor triad

m

augmented triad

A or +

dominant 7th chord

Dom7 or Mm7

major 7th chord

MM7

minor 7th chord

mm7

diminished 7th chord

o7

half-diminished 7th chord

ø7

5. Example 5 (MP3)

6. Example 6 (MP3)

7. Example 7 (MP3)

8. Example 8 (MP3)

 

Chord recognition: triad and seventh-chord inversions

You will hear several block chords; each item will be played twice. Indicate the type and inversion of each chord.

Types...

Triad inversions...

Seventh-chord inversions...

M

m

Dom (or Mm)

5/3

6/3

6/4

7

6/5

4/3

4/2

Examples: If you hear a first-inversion major triad, write "M6/3"; if you hear a third-inversion dominant seventh chord, write "Dom4/2" or "Mm4/2".

9. Example 9 (MP3) UNDER CONSTRUCTION

10. Example 10 (MP3) UNDER CONSTRUCTION

11. Example 11 (MP3) UNDER CONSTRUCTION

12. Example 12 (MP3) UNDER CONSTRUCTION

 

Chord progression dictation

(13 through 19) You will hear a progression performed five times as a simple chorale texture. Write the corresponding roman-numeral analysis.

Examples 13-19 (MP3)

20. You will hear a melody performed seven times with a simple accompaniment. The proper key signature is two sharps.Choose a time signature corresponding to what you hear, and write the melody (not the accompaniment) as accurately as you can.

Example 20 (MP3)

[End of SAMPLE theory exam.]