SCALES:  Major, minor

XXX

 
bulletA.  Major
bulletB.  Natural minor
bulletC.  Harmonic minor
bulletD.  Melodic minor

 

 

 

 

 

 

 

MODES

Scale Trainer

XXX

 
bulletA.  Ionian
bulletB.  Dorian
bulletC.  Phrygian
bulletD.  Lydian
bulletE.  Mixolydian
bulletF.  Aeolian
bulletG.  Locrian

 

 

 

 

 

 

 

CHORDS:  M, m, d, A

Triad Ear-training   Triad Trainer

XXX

 
bulletA.  Major
bulletB.  Minor
bulletC.  Diminished
bulletD.  Augmented

 

 

 

 

 

 

 

CHORDS:  M, m + inversions

XXX

 
bulletA.  Major root position (M)
bulletB.  Major 1st inversion (M6)
bulletC.  Major 2nd inversion (M6/4)
bulletDMinor root position (m)
bulletE.  Minor 1st inversion (m6)
bulletF.  Minor 2nd inversion (m6/4)

 

 

 

 

 

 

 

CHORDS:  Inversions

XXX

 
bulletA.  Root position
bulletB.  1st inversion
bulletC.  2nd inversion
bulletD.  3rd inversion

 

 

 

 

 

 

 

 

CHORDS:  Triads & 7ths

Chord Trainer

 
bullet1Major
bullet2Minor
bullet3Diminished
bullet4.  Augmented
bullet5.  Suspended

 

bullet6.  Major 7th
bullet7Minor 7th
bullet8Dominant 7th
bullet9.  Half dim. 7th
bullet10.  Diminished 7th

 

 

 

 

 

 

INTERVALS:  m2, M2, m3, M3

 

bulletA.  m2
bulletB.  M2
bulletC.  m3
bulletD.  M3
 

 

 

 

 

 

 

 

INTERVALS:  m6, M6, m7, M7

 

bulletA.  m6
bulletB.  M6
bulletC.  m7
bulletD.  M7
 

 

 

 

 

 

 

 

INTERVALS:  P4, P5, TT, P8

 

bulletA.  P4
bulletB.  P5
bulletC.  TT
bulletD.  P8
 

 

 

 

 

 

 

 

 

INTERVALS:  Diatonic

Interval Ear Trainer

bulletA.   M2
bulletB.   M3
bulletC.   P4
bulletD.   P5
 
bulletE.   M6
bulletF.   M7
bulletG.   P8

 

 

 

 

 

 

 

INTERVALS:  All

Interval Ear Trainer

bullet1.   m2
bullet2.   M2
bullet3.   m3
bullet4.   M3
bullet5.   P4
bullet6.   TT
 
bullet7.   P5
bullet8.   m6
bullet9.   M6
bullet10. m7
bullet11. M7
bullet12. P8

 

 

 

 

 

 

 

METER SIGNATURES

 

Top Number

bullet

1.   2

bullet

2.   3

bullet

3.   4

bullet

4.   6

bullet

5.   9

bullet

6.   12

 

Bottom Number

bullet

7.   2

bullet

8.   4

bullet

9.   8

 

 

 

 

 

 

METER:  Simple, Compound

Duple, Triple, Quadruple

bulletA.  Simple
bulletB.  Compound
bulletC.  Duple
bulletD.  Triple
bulletE.  Quadruple

 

 

 

 

 

 

 

KEY:  12

 

bullet1.   C
bullet2.   C#/Db
bullet3.   D
bullet4.   D#/Eb
bullet5.   E
bullet6.   F
 
bullet7.   F#/Gb
bullet8.   G 
bullet9.   G#/Ab
bullet10. A
bullet11. A#/Bb
bullet12. B

 

 

 

 

 

 

KEY:  21

 

bullet1.   Cb
bullet2.   C
bullet3.   C#
bullet4.   Db
bullet5.   D
bullet6.   D#
bullet7.   Eb 
 
bullet8.   E
bullet9.   E#
bullet10. Fb
bullet11. F
bullet12. F#
bullet13. Gb
bullet14. G
bullet15.  G#
bullet16.  Ab
bullet17.  A
bullet18.  A#
bullet19.  Bb
bullet20.  B
bullet21.  B#
 

 

 

 

 

 

HARMONY:  I, IV, V

XXX

 
bulletA.  I   V   I
bulletB.  I   IV   I
bulletC.  I   IV   V
bulletD.  IV   V   I
bulletE.  V   IV   I
bulletF.  V   V   I
bulletG.  I   I   IV

 

 

 

 

 

 

 

HARMONY:  I, IV, V

XXX

 
bullet1.  I   or i
bullet2.  II or ii(o)
bullet3.  III or iii
bullet4.  IV or iv
bullet5.  V or v
bullet6.  VI or vi
bullet7.  VII or viio

 

 

 

 

 

 

NON-HARMONIC TONES

XXX

 
bullet1.  Passing tone
bullet2.  Neighboring tone
bullet3.  Escape tone
bullet4.  Appoggiatura
bullet5.  Suspension
bullet6.  Retardation
bullet7.  Anticipation
bullet8.  Changing tone
bullet9.  Pedal tone

 

 

 

 

SUSPENSIONS

XXX

 
bulletA.  9-8 Suspension
bulletB.  7-6 Suspension
bulletC.  4-3 Suspension
bulletD.  2-3 Suspension

 

 

 

 

 

 

 

GRADES

 

bullet1.   A+ (97-100)
bullet2.   A   (94-96)
bullet3.   A-  (90-93)
bullet4.   B+ (87-89)
bullet5.   B   (84-86)
bullet6.   B-  (80-83)
 
bullet7.   C+ (77-79)
bullet8.   C   (74-76)
bullet9.   C-  (70-73)
bullet10. D+ (67-68)
bullet11. D   (64-66)
bullet12. D-  (60-63)
bullet13. F   (0-59)

 

 

 

 

 

 

MULTIPLE INTELLIGENCES

XXX

 
bulletA.  Linguistic
bulletB.  Logical-mathematical
bulletC.  Musical
bulletD.  Bodily-kinesthetic
bulletE.  Spatial
bulletF.  Interpersonal
bulletG.  Intrapersonal
bulletH.  Naturalist

 

 

 

 

 

 

 

 

NATIONAL STANDARDS

XXX

 
bullet1. Singing, alone and with others, a varied repertoire of music
bullet2. Performing on instruments, alone and with others, a varied repertoire of music.
bullet3. Improvising melodies, variations, and accompaniments.
bullet4. Composing and arranging music within specified guidelines.
bullet5. Reading and notating music.
bullet6. Listening to, analyzing, and describing music.
bullet7. Evaluating music and music performances.
bullet8. Understanding relationships between music, the other arts, and disciplines outside the arts.
bullet9. Understanding music in relation to history and culture.

 

 

 

 

 

 

 

 

STUDY:  Spatial-Temporal

In a study published in the February 1997 issue of Neurological Research, the results of a two-year experiment with preschoolers found that children who received piano/keyboard training performed higher on tests measuring spatial-temporal ability than other children by what percentage?

 
bulletA.  34%
bulletB.  12%
bulletC.  7%
bulletD.  49%
bulletE.  83%

 

 

According to Rauscher (1996), "…actively making music has greater benefits for spatial temporal intelligence than merely listening to music." In the 1997 study, the researchers investigated how piano and singing lessons affected preschool-aged children’s spatial temporal knowledge. The children were divided into three separate groups; one received thirty minute group singing lessons and ten to fifteen minute individual keyboard lessons once a week, another received computer instruction, and the final received no treatment. Results showed that the children in the group that received musical instruction scored up to 34% higher on tests used to assess spatial and temporal ability than the other two groups in the study (American Music Conference [AMC] 1997). This study shows how "music making nurtures intellect" and "enhances higher brain functions" (AMC 1997). After leading both studies, Rauscher concluded that "… the strongest effects will be found from music instruction" (Costa-Giomi, Price, Rauscher, Schmidt, Shackford, Sims, &Wilcox 1999). Listening to music is not enough to drastically improve children’s spatial IQ; they must be taught how to play the music themselves.

 

STUDY: Rock vs. Classical

72 mice were divided into three groups: one to test a mouse's response to hard rock, another to the music of Mozart and a control group that wouldn't listen to any music at all, rock or classical.

The mice went through a maze that took them an average of 10 minutes.  Then the mice heard 10 hours of music per day and were tested in the maze 3 times per week in the course of the study.  What happened??

 
bulletA.  the classical mice improved their time
bulletB.  the rock mice improved their time
bulletC.  both groups improved equally
bulletD.  all 3 groups improved equally

francis rauscher

 

 

 

 

 

 

Over time, the 24 control-group mice managed to cut about 5 minutes from their maze-completion time. The Mozart-listening mice cut their time back 8-and-a-half minutes.  But the hard-rock mice added 20 minutes to their time, making their average maze-running time 300 percent more than their original average.

Merrill told the Associated Press that he'd attempted the experiment the year before, allowing mice in the different groups to live together.  "I had to cut my project short because all the hard-rock mice killed each other," Merrill said. "None of the classical mice did that."

 

PEDAGOGY

 

 

bulletA.  Gardner
bulletB.  Gordon
bulletC.  Kodaly
bulletD.  Orff
bulletE.  Suzuki