Key signature - Quiz
A) A double barline B) A repeat sign C) A rest symbol D) A matching set of naturals
A) When moving to a key with more sharps B) When the new key has no sharps or flats C) When moving to a key with more flats D) When the tempo changes
A) They often omit the canceling naturals B) They forbid the use of naturals entirely C) They always place naturals before the barline D) They require double barlines for every change
A) The new signature is written without using naturals B) Naturals are always required to bridge the gap C) The change is explicitly marked with an asterisk D) A double barline is mandatory
A) A double barline B) A triple barline C) A grace note D) A fermata
A) At the very bottom of the page B) At the very beginning of the first staff C) Above the title of the piece D) At the end of a line immediately before a change
A) Before the naturals B) After the new key signature C) Between the naturals and the new key signature D) At the very end of the measure
A) On the top line B) On the ledger line above the staff C) On the middle line D) In the lowest space
A) Albéniz's Iberia B) Debussy's Suite Bergamasque C) Respighi's Pines of Rome D) Bach's Well-Tempered Clavier
A) On the top space B) In the space below the staff C) On the second-top line D) On the center line
A) C major B) B major C) A minor D) A♭ minor
A) Two sharps B) One flat C) Zero D) One sharp
A) Whole, whole, whole, half, whole, whole, half B) Whole, half, whole, whole, half, whole, whole C) Half, whole, whole, whole, half, whole, whole D) Whole, whole, half, whole, whole, whole, half
A) A B) D C) F D) G
A) G♯ B) C♯ C) B♭ D) F♯
A) The seventh scale degree B) The second scale degree C) The fifth scale degree D) The fourth scale degree
A) E♭ B) B♭ C) A♭ D) D♭
A) E major B) B major C) G♭ major D) D♭ major
A) D♭ major B) B major C) A♭ major D) F♯ major
A) Five B) Twelve C) Ten D) Seven
A) To make them louder B) Because they cannot play in the concert key C) To confuse the performer D) To reflect their transposition
A) Extremely rare B) Very common C) Used in every composition D) Standard in beginner music
A) Eight B) Nine C) Six D) Seven
A) Johann Sebastian Bach B) Victor Ewald C) Claude Debussy D) Anton Reicha
A) Brandenburg Concertos B) The Art of Fugue C) Well-Tempered Clavier, Book 1 D) Goldberg Variations
A) John Foulds B) Anton Reicha C) Claude Debussy D) Max Reger
A) John Foulds B) Victor Ewald C) Claude Debussy D) Max Reger
A) A perfect fourth below B) A whole tone above C) A semitone below D) A semitone above
A) Second B) Fourth C) Fifth D) Third
A) The second-to-last flat B) A perfect fourth above the last flat C) A semitone below the first flat D) The last flat
A) A sixth B) A third C) A fifth D) A fourth
A) Modulated keys B) Parallel keys C) Relative keys D) Transposed keys
A) Subdominant B) Mediant C) Dominant D) Supertonic
A) Because of the rhythm B) Because of the tempo C) Because of the dynamics D) It may be pre-Baroque music
A) Diatonic shifts B) Modulations C) Transpositions D) Accidental variations
A) Time signature changes B) Clef changes C) New key signatures D) Accidentals
A) Mikrokosmos no. 1 B) God to a Hungry Child C) Crossed Hands D) Piano Sonata
A) Der Zauberlehrling B) En Suspens C) Galamb Borong D) Entrelacs
A) Late 15th century B) Medieval period C) 16th century D) Mid-17th century
A) 15th century B) 16th century C) Mid-17th century D) Medieval period
A) Mid-17th century B) 15th century C) Medieval period D) 16th century
A) Standardized signatures B) No key signatures C) Different signatures D) Uniform signatures |
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