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Classical Music: Theory, Making, Writing Creating
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Making and hearing music ~ of whatever kind ~ is (or should be) an emotional experience. But the business of writing and creating music has its own 'nuts and bolts'.

Classical Music: Theory, Making, Writing Creating
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10 Questions

1. In terms of key signatures, how far round the 'cycle of fifths' do we move, if we are switching from any one major key to its tonic minor (i.e. to the minor version of the same home key in which we began)?
2. What are Leger Lines used for?
3. Which of these is the correct name for the interval between any correctly-tuned B natural and the F natural above it?
4. In full orchestral score, whereabouts do the staves for the percussion section correctly belong?
5. What are Leger Lines used for?
6. Much as culinary French is the traditional language of menus, Italian terms are the international standard for labels of musical pace, style and interpretation. Which of these is the odd one out of the four?
7. In terms of key signatures, how far round the 'cycle of fifths' do we move, if we are switching from any one major key to its tonic minor (i.e. to the minor version of the same home key in which we began)?
8. Much as culinary French is the traditional language of menus, Italian terms are the international standard for labels of musical pace, style and interpretation. Which of these is the odd one out of the four?
9. Which of the following is UNTRUE about the names and natures of the degrees of the Western scale?
10. Which of these is the longest-valued note?

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