Longy School of Music

Graduate Music Theory Placement Exam Name______________________________

Written Portion
I. Rudiments
1. Write an f melodic minor scale using only accidentals (no key signature.)

&
2. Write a c# harmonic minor scale using only accidentals (no key signature.)

3. Write the triad or seventh chord specified on the bass note provided, in the inversion indicated by
the figures below the staff. Use close voicing.
half-diminished
major-minor seventh (diminished-minor)
major triad minor triad (dominant seventh) major seventh seventh

? œ œ œ #œ œ
5 6 4 4 7
3 3 2 3
4. Identify the major and relative minor key for 5. Write the key signatures requested in

## bbbb
for each key signature below. bass and treble clefs.

&

? ##
bbbb
major: ________ major: ________ d minor: F# major:

relative minor: _________ relative minor: _________

6. Realize the cadences specified in four voices. 7. Spell and resolve the seventh chords
Provide a roman-numeral analysis as well. requested.

b ###
bb
Perfect Authentic Deceptive

&b

? bb ˙ ˙ ### bb
w
6 6 - 5 7 0
g: A: Bb: V I a: vii 6 i
4 - 3 5
WT3, revised 2010
II. Form and analysis. Identify the form and discuss phrase structure, harmony, rhythm, motivic development,
and any other details relevant to the short piece provided on the following page. One is expected to
provide a complete harmonic analysis using Roman numerals (including inversions.) Additional paper is
available if one's essay extends beyond a page. (An accurate, detailed diagram may be useful and reduce
the need for a lengthy essay.)
(Use this space for your essay, or type on computer and export pdf)
 4

III. Harmonize in four parts the two phrases of a chorale melody provided. Write a harmonic analysis below
your chorale, using Roman and Arabic numerals. The chorale should be harmonized in a manner
approaching the style of J.S. Bach, and must cadence in a new key at the end of the second phrase.

U U
#### 4 œ œ œ œœ ˙
& 4œ œ œ œ œ œ œ œ œ œ œ

? #### 4
4

IV. Realize the figured bass below in four parts, placing a harmonic analysis below it.

## 4
& 4

? ## 4 œ œ œ bœ ˙ œ
4 œ œ
8 -7 6 #6 8 - 7 n 6
6 n5 n6 - 5
4 - 3

##
&

? ## œ œ ˙ U
œ
6 4 - 3