SHOSYS ACADEMY 5 TEST: Knowledge Of Ways: Conventions Of Staff Notation

SHOSYS ACADEMY 5 TEST: Knowledge Of Ways: Conventions Of Staff Notation

Kelvin Sholar

1 Introduction To The Blog Series

This series of lessons and tests incorporates an easy music appreciation curriculum for adult beginners who are remote learning, or are self-taught. Lessons are posted on Mondays while Tests are posted on Saturdays. For more in depth and private guidance, I offer personal instruction by Zoom (Personal Meeting ID 8522954569) – for 1 dollar a minute. Time schedules range from a minimum of 30 minutes to a maximum of 60 minutes. Email me at [email protected] to set up personal instruction. I accept payments and cash gifts by Cash App ($KelvinSholar), Zelle ([email protected]) or Paypal (paypal.me/kelvinsholar).

2 Testing Recall Of Conventions Of Staff Notation

In Blog 5 we learned about the processes by which specific musical products are organized, and conventions of staff notation.

Here, remembrance is tested; the primary task for the student is to find cues in test questions that make it easy to remember answers. There may be more than one correct answer for a given test question. Correct answers are given at the end of this test.

1. The staff is like a graph of pitch with respect to:

a). space

b). time

c). mind

 

2. The staff is:

a). compose of five horizontal lines and spaces

b). compose of seven horizontal lines and spaces

c). compose of three horizontal lines and spaces

 

3. Horizontal lines and spaces of the staff represent:

a). beats

b). notes

c). pitches

 

4. Notes representing a given pitch at a given time are placed on appropriate:

a). line

b). space

c). ledger line

 

5. Ledge lines occur:

a). above the staff

b). below the staff

 

6. A clef is placed at the:

a). beginning of the staff

b). middle of the staff

c). ending of the staff

 

7. The two most common clefs are:

a). treble

b). soprano

c). bass

 

8. The grand staff has:

a). treble clef

b). soprano clef

c). bass clef

 

9.  Notes have stems that go:

a). up

b). down

c). sideways

 

10. Note stems go up when:

a). placed above the middle of the staff

b). placed below the middle of the staff

c). placed on the middle of the staff

 

11. Note stems go down when:

a). placed above the middle of the staff

b). placed below the middle of the staff

c). placed on the middle of the staff

 

12. Notes have flags when they:

a). are separate

b). are connected

c). have small time-values

 

13. Notes have beams when they:

a). are separate

b). are connected

c). have small time-values

 

14. When a part of a composition is repeated, we use a:

a). repeat sign

b). treble clef

c). bass clef

 

15. Accidentals include:

a). naturals

b). sharps

c). flats

 

16. To signify which key a composition is in, the writer must use a:

a). time signature

b). key signature

 

17. Relative to a given key, a clef sign is followed by a given number of:

a). sharps

b). naturals

c). flats

 

18. A composition may start in one key and ____ to another:

a). undulate

b). transpose

c). modulate

 

19. A sharp is a signal to:

a). raise pitch

b). lower pitch

c). leave the pitch unchanged

 

20. A flat is a signal to:

a). raise pitch

b). lower pitch

c). leave the pitch unchanged

 

21. A natural is a signal to:

a). raise pitch

b). lower pitch

c). leave the pitch unchanged

 

22. When a silence occurs in staff notation we have a:

a). sharp

b). rest

c). flat

 

23. A time signature is the same as:

a). a key signature

b). a meter signature

 

24. How many numbers does a time signature consists of?

a). four

b). two

c). none

 

25. In a time signature, the upper number tells how many beats fall in a:

a). measure

b). key

c). composition

 

26. In a time signature, the lower number tells what kind of note gets the:

a). tone

b). note

c). beat

 

27. The farther we modulate from the key of C major, the more ____ must be adjoined to tones:

a). sharps and flats

b). rests and dots

 

28. As we project upwards in fifths from the key of C major, we add ____ to staff notation:

a). flats

b). sharps

 

29. As we project upwards in fourths from the key of C major, we add ____ to staff notation:

a). flats

b). sharps

 

30. In order to modulate through all fifteen keys, and to write all their respective ______ so that scales need no accidentals:

a). key signatures

b). time signatures

 

3 Test Answers

1. The staff is like a graph of pitch with respect to:

b). time

 

2. The staff is:

a). compose of five horizontal lines and spaces

 

3. Horizontal lines and spaces of the staff represent:

c). pitches

 

4. Notes representing a given pitch at a given time are placed on appropriate:

a). line

b). space

c). ledger line

 

5. Ledge lines occur:

a). above the staff

b). below the staff

 

6. A clef is placed at the:

a). beginning of the staff

 

7. The two most common clefs are:

a). treble

c). bass

 

8. The grand staff has:

a). treble clef

c). bass clef

 

9.  Notes have stems that go:

a). up

b). down

 

10. Note stems go up when:

a). placed above the middle of the staff

 

11. Note stems go down when:

b). placed below the middle of the staff

 

12. Notes have flags when they:

a). are separate

c). have small time-values

 

13. Notes have beams when they:

b). are connected

c). have small time-values

 

14. When a part of a composition is repeated, we use a:

a). repeat sign

 

15. Accidentals include:

a). naturals

b). sharps

c). flats

 

16. To signify which key a composition is in, the writer must use a:

b). key signature

 

17. Relative to a given key, a clef sign is followed by a given number of:

a). sharps

c). flats

 

18. A composition may start in one key and ____ to another:

c). modulate

 

19. A sharp is a signal to:

a). raise pitch

 

20. A flat is a signal to:

b). lower pitch

 

21. A natural is a signal to:

c). leave the pitch unchanged

 

22. When a silence occurs in staff notation we have a:

b). rest

 

23. A time signature is the same as:

b). a meter signature

 

24. How many numbers does a time signature consists of?

b). two

 

25. In a time signature, the upper number tells how many beats fall in a:

a). measure

 

26. In a time signature, the lower number tells what kind of note gets the:

c). beat

 

27. The farther we modulate from the key of C major, the more ____ must be adjoined to tones:

a). sharps and flats

 

28. As we project upwards in fifths from the key of C major, we add ____ to staff notation:

b). sharps

 

29. As we project upwards in fourths from the key of C major, we add ____ to staff notation:

a). flats

 

30. In order to modulate through all fifteen keys, and to write all their respective ______ so that scales need no accidentals:

a). key signatures

 

4 Bibliography

Educational Goals. Handbook I: Cognitive Domain. New York: David McKay Company, 1956

Gridley, Mark. Jazz Styles: History and Analysis. Pearson Prentice Hall, 1978

Kamien, Roger. Music: An Appreciation. New York: McGraw-Hill Education, 2018