Unit 1 Review Worksheet - Alfred Music€¦ · Review of Keyboard Basics Unit 1 23 Unit 1 Review...

Review of Keyboard Basics ■ Unit 1 23

Review WorksheetUnit1

Name ________________________ Date _____________________


Name ________________________ Date _____________________

1. Identify the quality of the following triads by writing M for major, m for minor, A for augmented or d for diminished on the line below each example.

2. Identify each major key by writing its name on the line above the staff. Identify each relative minor key by writing its name on the line below the staff.

3. Using whole notes on the staff, write the triad indicated by the Roman numeral for each major key.

& w

ww# w

wwb

w

wwb

w

wwb

w

wwb

bb

w

ww#

w

ww#

w

wwb

b

&

?

#

#

#

#

b

b

b

b

b

b

#

#

b

b

b

b

b

b

b

b

#

#

#

#

#

#

b

b

b

b

#

#

#

#

#

#

#

#

#

#

b

b

b

b

b

b

b

b

b

b

b

b

b

b

?

b

b #

b

b

b

b#

#

#

b

b

b

#

#

#

#

#

#

b

b

b

b

b

b

IV viio iii V ii I vi ii

4. Write the notes for each ascending and descending scale on the staff using whole notes. Write the necessary sharps, flats or natural signs in front of the appropriate notes.

E major

F natural minor

C harmonic minor

G melodic minor

&

&

?

?

5. Identify each of the following intervals by writing P for perfect, M for major, m for minor, A for augmented or d for diminished along with its number on the line below each example.

A5

m3

24 Unit 1 ■ Review of Keyboard Basics

Review ■ Unit 5 75

Review WorksheetUnit 5

Name ________________________ Date _____________________

1. IdentifythequalityofeachchordbywritingMformajor,Aforaugmented,mforminorordfordiminishedonthelinesbelowthestaff.

?w

ww##

w

ww# w

ww∫

bb w

wwb

w

ww# w

ww

w

ww#

#

w

ww#

b

2. Usingwholenotes,writetheindicatedchordinrootposition,firstinversionandsecondinversion.

Root 1st 2nd

B Major

Root 1st 2nd

E Minor

Root 1st 2nd

F Diminished

Root 1st 2nd

D Augmented

Root 1st 2nd

A Major

3. Usingwholenotes,writetheappropriateinversionofeachdominantseventhchordintheindicatedmajorkey.

? #

b

b #

#

#

b

b

b

b

V2 V7 V43

V65

76 Unit 5 ■ Review

4. Identifyeachmajorkeybywritingitsnameonthelineabovethestaff.Usingwholenotesonthestaff,writethetriadindicatedbyeachRomannumeral.

5. Identifyeachharmonicminorkeybywritingitsnameonthelineabovethestaff.Usingwholenotesonthestaff,writethetriadindicatedbyeachRomannumeral.

6. TransposethefollowingmelodyforBtrumpettoconcertpitchandwriteitonthestaffbelowwiththeappropriatekeysignature.

ii IV iii V viio I vi iii

iv III+ VI iio V viio III+ iio

&

&

b

b

b 4

3

œ .

j

œ œ œœ

œ ˙œ˙ œ œ .

J

œ œ œœœ œ

œ

œ ˙ .



Name ________________________ Date _____________________

1. Identify each seventh chord by writing its letter name on the line below the staff followed by maj7 for a major seventh, 7 for a dominant seventh, m7 for a minor seventh, m7(5) for a half-diminished seventh, or dim7 for a dimin-ished seventh.

&

Dm7(5) A 7 Gm7 Am7(5) E dim7 B maj7 Cdim7 Bm7 D 7

2. Using whole notes, write each seventh chord on the staff in root position.

&

&

#

#

#

4

2

œœ œ

œ œ œœœ ˙

œœ œ

œ œ œ œ œ ˙

3. Transpose the following melody for E alto saxophone to concert pitch and write it on the staff below with the appropriate key signature.


4. Draw a line to connect the secondary domi-nant chord on the right with its key and Roman numeral analysis on the left.

Key of D Major: V7/V

Key of B HarmonicMinor: V7/iv

Key of B Major: V7/iii

Key of A Major: V7/vi

Key of F Major: V7/V

Key of E Major: V7/ii

Key of C HarmonicMinor: V7/V

Key of B HarmonicMinor: V7/VI

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

Key of F HarmonicMinor: V7/iv

A7

D7

F7

E7

D 7

B7

G7

C 7

C7



Name ________________________ Date _____________________

1. Label each statement with the musical style period that it describes best. Write B for Baroque, CL for Classical, R for Romantic or CO for Contemporary.

a. ______ Composers began notating dynamic contrasts, phrasing and precise articulation.

b. ______ Dissonance, prepared instruments and new notation combine to create a variety of new sounds.

c. ______ Strong beats, upbeats and fast changing rhythmic motion are emphasized.

d. ______ Etudes, concertos, character pieces, dances and variations were the prev-alent musical forms.

e. ______ Well-known composers are johann Sebastian Bach, Domenico Scarlatti, jean-Philippe Rameau and Antonio Vivaldi.

f. ______ multiple meters, polyrhythms and minimalistic techniques are used.

g. ______ Sonata-allegro, sonatina, minuet and trio, rondo, and theme and variations were the prevalent musical forms.

h. ______ Two or more lines are played simultane-ously to create counterpoint.

i. ______ Well-known composers are Frédéric Chopin, johannes Brahms, Robert Schumann and Franz Liszt.

j. ______ much of the music from this period has no real feeling of tonal center, and employs modal, pentatonic and 12-tone scales.

k. ______ Well-known composers are Franz joseph Haydn, Wolfgang Amadeus mozart, muzio Clementi and Ludwig van Beethoven.

l. ______ Harmony is more complex with the use of accidentals, chromaticism, dimin-ished and dominant seventh chords, and modulations to unrelated keys.

2. Transpose the following melody for F horn to concert pitch and write it on the staff below with the appropriate key signature.

&

&

#

8

3 œ œ œ œ

J

œ œ œ œ œ .

œ œœ œ œ

œ œœ œ œ .

3. identify each major and harmonic minor scale below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the line below the staff.

4. identify each dominant seventh arpeggio below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the lines below the staff.

Dominant Seventh Arpeggio

Dominant Seventh Arpeggio


Harmonic Minor Scale


Major Scale

Major Scale



Name ________________________ Date _____________________

1. Draw a line to connect the major scale(s) on the right with their correct fingering on the left.

RH for G major1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

LH for B major3 2 1 4 3 2 1 3 2 1 4 3 2 1 3

LH for D , E , A and B major2 3 4 1 2 3 1 2 3 4 1 2 3 1 2

LH for G major4 3 2 1 4 3 2 1 3 2 1 4 3 2 1

RH for C, D, E, G, A and B major2 3 1 2 3 4 1 2 3 1 2 3 4 1 2

RH for F major4 1 2 3 1 2 3 4 1 2 3 1 2 3 4

RH for A major4 3 2 1 3 2 1 4 3 2 1 3 2 1 4

LH for C, D, E, F, G and A major3 4 1 2 3 1 2 3 4 1 2 3 1 2 3

RH for B major5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

RH for E major1 2 3 4 1 2 3 1 2 3 4 1 2 3 4

RH for D major3 1 2 3 4 1 2 3 1 2 3 4 1 2 3


2. Complete the chart by naming the subdominant and dominant for each tonic.

Tonic Subdominant Dominant

F Major __________ __________

A Major __________ __________

B Harmonic Minor __________ __________

D Major __________ __________

F Major __________ __________

G Harmonic Minor __________ __________

3. Write the following melody for viola on the staff below in treble clef.

5

5

ViVe l’amour

French Folk Song



Name ________________________ Date _____________________

1. Complete the chart by naming the relative minor for each tonic.

3. Label each statement with the musical form that it describes best. Write S for sonatina, TV for theme and variations, R for rondo or TPF for three-part form.

Tonic

F Major

A b Major

D Major

RelativeMinor

____________

____________

____________

2. Complete the chart by naming the relative major for each tonic.

Tonic

B Harmonic Minor

Eb Harmonic Minor

G Harmonic Minor

RelativeMajor

____________

____________

____________

a. ________ The form used in second movements of sonatinas as well as in minuets and scherzos

that have contrasting trio sections.

b. ________ The elements that frequently vary include melody, harmony, meter, rhythm and

texture.

c. ________ The theme alternates with secondary sections or episodes.

d. ________ A form divided into sections symbolized by letters ABA.

e. ________ The form used in the last movement of many sonatinas and sonatas.

f. ________ The first theme is in the tonic key and the second theme is usually in the dominant key.

g. ________ The theme is followed by a series of pieces that have a similar structure.

h. ________ In the development, the themes are altered.


4. Identify each diminished seventh arpeggio below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the lines below the staff.

5. Write the following melody in treble clef.

_________ Diminished Seventh Arpeggio





Name ________________________ Date _____________________

1. Draw a line to match each description on the left with the appropriate chord on the right.

&

&

&

&

&

&

&

&

w

w

ww#

w

w

ww#

b

b

w

w

ww#

b

w

wwb

w

w

wwb

b

w

w

w

#

b

w

w

w

w

w

w

b

b

in the key of C major •

•

•

•

•

•

•

•

•

•

•

•

•

•

•

•

iv653

in the key of B major

in the key of A major

in the key of F majoriv653

in the key of D major

in the key of G major

in the key of G major

in the key of E major

iv6

iv6

II643

II643

N6

N6

(German sixth)

(German sixth)

(French sixth)

(French sixth)

(Italian sixth)

(Italian sixth)

(Neapolitan sixth)

(Neapolitan sixth)

b

2. Draw a line to match each instrument with the appropriate notation needed to play the following:

3. Identify each major scale below by writing its name on the indicated line. Write the correct RH fingering on the lines above the staff and the correct LH fingering on the line below the staff.

&b4

4

œ œœ œ˙

&

#

4

4

œ œœ œ˙

&

#

#

4

4 œ œœ œ˙

& 4

4 œ œœ œ

˙

B b 4

4

F Horn •

•

•

•

•

•

•

•

Viola

B Trumpet/Clarinet

E AltoSaxophone

œ œœ œ˙

&b

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Major Scale

&

#


Major Scale

&b

b

b


Major Scale

&b

b

b

b

b

b


Major Scale




Name ________________________ Date _____________________

1. Complete the ii7–V7–I chord progression for each major key in the chart.

2. draw a line to match each description on the left with its modal scale name on the right.

ii7 V7 I

A7 __________ __________ __________

Bm7 __________ __________ __________

e __________ __________ __________

d7 __________ __________ __________

F#m7 __________ __________ __________

••Natural minor scalewith 2nd tone lowered Ionian

••Major scalewith 4th tone raised Dorian

••Major scale Phrygian

••Natural minor scalewith 6th tone raised Lydian

••Natural minor scale Mixolydian

••Major scalewith 7th tone lowered Aeolian


3. Write the notes for each modal scale on the staff, using whole notes. Add accidentals where needed.

A Lydian Scale

E Mixolydian Scale

F Dorian Scale

C Phrygian Scale

&

&

&

&

4. Identify each harmonic minor scale below by writing its name on the indicated line. Write the correct rH fingering on the lines above the staff and the correct LH fingering on the lines below the staff.





Unit 1 Review Worksheet - Alfred Music€¦ · Review of Keyboard Basics Unit 1 23 Unit 1 Review...

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