Music 214: Aural Skills
Information about the final exam
PART II: SINGING
Sign up for 10 minute appointments at my office in
77 Bartlett for December 19 and 20
My office can be reached by coming through the main entrance of Bartlett and going
down the stairs that are immediately to your left. As you face the large auditorium
downstairs, take the hallway on the right. My door is on the left and has my name on it.
Your exam will proceed as follows:
1. Applied V6/5 sequential. You will be asked to sing the following sequential FROM
MEMORY IN EITHER MAJOR OR MINOR (in minor, do not tonicize iio).
The starting pitch will fall between A and C, but will not be your choice.
You may use the piano to help keep yourself in tune, but there cannot be more than one
second of lag time between playing and singing.
2. Sight singing: Two excerpts that will likely be varied in length, mode, and character.
You will be given a starting pitch and time to prep each exercise. Approximately 1
minute for the shorter and approximately 2 for the longer.
In this time you may
-write in one or two solfege syllables
-conduct
-re-request the starting pitch
YOU MAY NOT SING
You will be graded equally on fluency, accuracy, and professionalism. Treat this as
you would an audition on your applied instrument.
PART I: DICTATION
MONDAY, DECEMBER 19 at 1:30 pm
Room 44
(scheduled for 3 hours – it should take about 1 hr)
Expect:
1. Theoretical solfege: given a series of Roman numerals in a key, you will be asked
to construct appropriate basslines or full chords out of solfege as on past quizzes.
Material to expect:
Diatonic triads and seventh chords (examples: I, ii4/3, vi, viio6, IV, cadential 6/4)
Applied dominant triads (examples: V/VI
V6/III)
Applied dominant seventh chords (examples: V4/2 of iv
V4/3 of vi)
Applied fully diminished seventh chords (examples: viio7 of ii, viio6/5 of V)
The Neapolitan chord
“Other chords” from chapter 61 (examples: v6, iv in a major key)
2. Melodic Dictation:
Leaps to chromatic tones
Outlines of chromatic chords we’ve been using
Sequential patterns
3. Harmonic dictation: Outer voices and Roman numerals
All chords in Part I may be asked (look for Neapolitan and modal mixture to
appear)