Singapore O-Level Music (6085) Composing quiz quiz

The antecedent poses a musical question and the consequent answers it, often sharing an opening motif

They are identical, repeated note for note

They are in completely unrelated keys

The consequent must be twice as long as the antecedent

ii, iii and vi

V, vi and vii

I, IV and V

I, ii and iii

Imperfect cadence

Plagal cadence

Interrupted cadence

Perfect cadence

Imperfect cadence

Plagal cadence

Perfect cadence

Tierce de Picardie

Changing chord on every single note

Using only one chord for the whole piece

Avoiding any cadences

Changing chord at a steady, musical rate such as once or twice a bar, not on every note

Block chords

Alberti bass

Monophony

A walking bass

Two equally important melodies played at once

Several voices imitating each other in turn

A single tune in the foreground supported by a subordinate accompaniment

One unaccompanied melodic line

Ternary form

Binary form

Through-composed form

Twelve-bar blues

Development means writing in a new key only

There is no real difference

Development means making the music quieter

Repetition restates material unchanged, while development transforms it, for example by varying rhythm, using sequence, fragmenting or reharmonising

Repetition gives unity and familiarity while contrast gives interest and variety, so the piece coheres without becoming dull

Repetition is always bad and should be avoided

Contrast should fill the whole piece with no repeated material

It only matters in long orchestral works

To write the highest and fastest notes possible to show off

To respect its range, register and technical limits and use its natural strengths so a real performer can play it well

To write the same part for every instrument

To ignore breathing for singers and wind players

Continuous notes with no gaps at all

Frequent leaps of more than two octaves

Places to breathe, usually at phrase ends, within a comfortable vocal range

Notes only at the very top of the range throughout

Start loud and stay at exactly the same level until it simply stops

Avoid any climax so it stays calm

Shape it with a clear opening, a build towards a climax and a definite ending, often a final cadence

End on an unresolved chord with no cadence

Choose a primary chord that contains the melody note as one of its pitches

Pick any chord at random

Always use chord V regardless of the note

Use a chord that clashes with the note for tension

A complete piece of music in itself

A dynamic marking meaning very loud

The title written at the top of a score

A short, memorable musical idea that can be repeated and developed to unify a piece