Music Theory

Midterm Study Guide

Chapter 1: Notation of Rhythm

Chapter 2: Notation of Pitch
Chapter 3: The Keyboard
Chapter 4: Simple Meters
Chapter 5: Compound Meters

NAME
SUPPLEMENTARY STUDIES
Drill Exercises

1. In earlier exercises, you completed a given measur by adding one or more

notes or rests to those notated. In this exercise, fill any incomplete measures by
adding one note or rest (as directed) to those given. Compute the total beats in
any incomplete measure, then choose one note or rest to complete it. Remember that some measurds are complete as given.
a. Add one note if necessary.

b. Add one rest if necessary.

c. Add one note if necessary.

2. Provide the values of the notes and rests shown below.

a. J=1beat

q
1
b.

1 beat
'V
1

C.

______

=1beat
1

25

26

Chapter 1

Fundamental Skills in Practice

3. A TRANSCRIPTION is a re-notation of music without changing the results ofprformance. As we have discussed, we might notate the same passage with
quarter-, half-, or eighth-note beat. The notation wouldbe different, but the
music sounds the same.

The following lines are rhythmic reductions of compositions by wellknown composers. In the space provided, transcribe each passage by halving or
doubling the original va)ues as specified.
Henry Purcell, Dido and Aeneas

a.

Giuseppe Verdi, Don Car/os

b.

II

Values Doubled

John Lennon/ Paul McCartney, "P.S. I Love You"

C.

0-0--O

Values Halved

Lennon. and
1962, 1963 (Renewed 1990, 1991) MPL Communications Ltd., Julian Lennon, Sean Ono

Yoko Ono Lennon. All Rights for the U.S. Controlled and Administered l Beechwood Music Corp., Julian
Lennon, Sean Ono Lennon and Yoko Ono Lennon. All Rights for Canada Controlled and Administered &y
Beechwood Music Corp. All Rights Reserved. International Copyright Secured. Used by Permission.

NAME
SUPPLEMENTARY STUDIES
DriH Exercises

1. Identify the specified pitches in the following compositions.

Johann Strauss, Artist's Life

a.

r rHr H
4

Alan Lerner/ Frederick Loewe, Brigadoon

10

12

11

14

13

1947 (Renewed) 1 Alan Jay Lerner and Frederick Loewe. World Rights Assigned to Chappell & Co., Inc.
World Rights Assigned to EM! U Catalog Inc. All Rights Reserved. Used I Permission Warner Bros. Publications U.S. Inc., Miami, FL. 33014.
Robert Schumann, Dichter!iebe

"

C.

-.

fT H

'
5

p
6

10

2. Write thirty-second notes an octave above those given. Do not use the octave
sign; extend the staff as necessary with ledger lines. Identify each given pitch.
K

LdJ1
I

a.

49:

50

Chapter 2

3. Again without using the octave sign, write quarter notes that are an octave
below those given. As before, identify the given pitches.

4. The composition that follows is a Gregorian chant dating from before 800 CE.
and representing some of the earliest Western music. On the staff provided,
rewrite the chant in more traditional notation using eighth notes. Beam the
notes as suggested by the brackets on the upper staff. (If two notes are in brackets, beam those two together in your revision, and so on.) Notice that the treble
clef indicates pitches sounding an octave lower than written. Write your revised
version in 'the bass clef and notate pitches as they will actually sound.

3
NAME
SUPPLEMENTARY STUDIES
Drill Exercises
1. Writ the 'pitch name that forms the designated interval with note name given.
Considering enharmonic equivalents, two or more answers will be correct in
each case.
Half Step Above

a. F

B.

b. 'D$t

C.

G ___

Dt

B1

At
6

Half Step Below

Gt

c. C

A
1

C.

6
6

Whole Step Above

e. CL
f.EL

1
1

G_ F
2

GL

D_

F_ C
4

B_
6

Whole Step Below

h.F

A_ H

g.G$

CL

__

4
__

EL

B. D$
5

80

Chapter 3

2. Many of the following pitches include ledger lines or employ the octave sign.
Identify each with letter name and octave designation.

a.

8ba

0'

10

8va 1
p

8va

-a
1

10

Fundamental Skills in Practice

3. Determining the kinds of intervals present in a melody can tell you a great deal
about the music itself. The following melodies include whole steps, half steps,
and other intervals that will be discussed later. Locate pitches that lie a half step
or a whole step apart and mark appropriately. Leave other intervals unmarked,
then total intervals in the three categories: "whole step," "half step," and "other."
Frdric Chopin, Prelude, Op. 28

Whole:______
______

Half:

Other:

_______

Anton Bruckner, Symphony No. 7

ri

rU-i

Whole:
Half:
Other:

1- 1-

'...i...iI

H fl

t-

..iI

'

'

rii

______

______

____

Nigerian Folk Song, "I Will Feed My Baby"

dIr'

..

Whole:_____
Half:

Other:

______

_______

kJnl

NAME

UNIT REVIEW
1. Study the passage below by English composer Thomas Arne (1710-1778).
Begin by identifying pitch name and octave designation where blanks appear.

Transcribe the melody above so that all rhythmic values are doubled.
b.

Return to the melody as notated in the first example (with quarter-note beat).
Maintain the original rhythmic values, but rewrite the melody to sound an octave lower in the bass clef. Your first pitch is given.
C.

Begin with the bass-clef melody in the last question (c) and write each pitch a
whole step lower.
-

Return to the bass-clef melody (item c) and write each pitch,a wholestep higher.
e.

W)hole Step Higher

81

82

Chapter 3

2. Rewrite the next passage as it will sound.

Jules Massenet, Elegy

loco

8va------

3. Transcribe "Massenet's Elegy" in the last example with an eighth-note beat. Use
the original pitches.

4. The phrase below is given as the English composer William Byrd (1543-1623)
notated it. On the second line, renotate the passage using enharmonic equivalents for each pitch. The first pitch is given below as Bi (but just as well could
have been G). Several solutions to the problem are possible depending upon
your choice of enharmonic equivalents.
William Byrd, Galliard

Original Notation

If

_____

NAME
SUPPLEMENTARY STUDIES
DriU Exercises
1. The beaming and stem direction in the passages below thay not be correct in all
measures. Use the given staff to rewrite each line in its entirety, correcting all
errors.

Norman Dello Job, Piano Sonata

b.

1948 by Carl Fischer Inc. Copyright renewed. All rights reserved. Used by permission of Carl Fischer, Inc.

2. For the notes and rests given, provide the value in beats.
a.

____
4
2

d.

e.

___

___

1___

____

_______
____________

:7'

Chapter 4

Fundamental Skills in Practice

3. The following composition is notated in meter. Transcribe the time signature

to in the first line and in the second line. Revise the notation as necessary
The first measures have been completed as an example.
George Frideric Handel, Suite in D

a.

Transcribe to

l'

ia).

II
I II

I
I

II
I II

I
I

..I.

II
II

NAME
SUPPLEMENTARY STUDIES
Drill Exercises

1. Classify the following meters. For each meter, indicate, first, the accent pattern
and, second, whether it is simple or compound.
d.

gJ

h. g

b.

f.

2. Write the note that receives one beat in the following compound meters.

3. For the following simple and compound meters, write the note that receives
one beat; write the notes that constitute the beat division, beat subdivision, borrowed division; and finally, provide the metric classification.
Beat

Division

Subdivision

Borrowed Division

Classfication

Fundamentals Skills in Practice

4. Some of the beaming in this passage is incorrect. Study the meter, then use the
lower staff to renotate the music with correct beaming.
J. S. Bach, Fugue No. 15 in G Major

145

pter 5
5

rr L.!r;r

j1

ussion
preceding passage as one part of a perc
5. Use a rhythmic reduction of the
hms
rhyt
the
py
two-line system, then reco
duet. On a separate sheet, construct a
g
ovin
er-m
slow
a
te
exercise 4. Next, crea
of Bach's ftigue as you renotated them in
in
y
call
basi
es
mov
part
Where the given
second part to complement the first.
quarter and eighth notes in your second
ed
dott
use
eighth and sixteenth notes,
is given here as an example of score
part. One of many possible approaches
setup.

NAME

UMT REVIEW
1. Follow the model and write the note or notes that represent the beat, beat division, beat subdivision, and borrowed division from the given information.
Time Signature

Beat Diision

Beat

Borrowed Division

Beat Subdivision

Model
3

A.

2
9
8

3.

2. In the following lines, note the given information: the accent pattern and on
note value. From this information, deduce the time signature and write that ii
the first blank. Next, fill in the note or notes as you did in the previous question
Accent Pattern

Time
Signature

Beat

1. Triple
2. Quadruple

3. Quadruple

Subdivision

Borrowed
Division

4. Triple

5. Duple

Division

Chapter 5

3. One note value is given in each of the following lines. Compute the value in
beats or fractions of a beat given each different time signature.

a.r.

I3

C.c

d..

1%

2
16

e.r.

4. Determine an appropriate time signature for each line below, then add barlines
as appropriate. Write the time signature in its traditional place after the clef.
Notice how beat groups are beamed to help n differentiating between simple
and compound meters. In addition, one measure in each example has beginning and ending barlines provided to further aid your work.
Gabriel Faur, Requiem

a.
Time
Signature
W. A. Mozart, II Re Pastore, K. 208

-.

--

J T

T
Time
Signature

Hugo Wolf, Trau' Nicht der Liebe

n

H I

I
-HHHLrII

-I-----

--

--

(k J'J

Fl

II

II

VI

Time
Signature
J. S. Bach, Jesu, Meine Freude

Time
Signature
Jacques Offenbach, Orpheus In Hades
F'

P.I

LI

III

Ik.I

II