Introduction:
The following excerpts (over 200) are intended to serve as a resource for tonal dictation practice for a two-year undergraduate sequence. Special preference is given to woodwind and brass instruments, with some orchestral and vocal excerpts as well. Solo piano and string quartet repertoire by Haydn, Mozart, and Beethoven has been purposefully deemphasized, since these categories are usually well-represented in the written theory classroom. A secondary goal of this collection is to expose students to more repertoire, although a limiting factor was the difficulty of many famous pieces. Rather, preference is given to excerpts that have memorable tonal melodies at moderate tempos. And since I wished to include the original score for reference, excerpts mostly had to be in the public domain to be on IMSLP, which means they were published before about 1940.
Audio has been edited from recordings available on Youtube (with performers indicated), and PDF or PNG scores are provided for the student and the instructor, as well as of the original score, when available.
A word about copyright: this collection falls under the “fair use” clause since it is for education, has not been monetized, is password protected, and only includes small parts of the original recordings and scores.
Methodology:
Most aural skills teachers rely on non-repertoire-based dictation exercises primarily played in person on the piano. The advantages to such an approach are that it’s simple (low-tech) and important lines can be voiced-out easily by volume or register (it is often useful to play the bass down an octave on the piano for bass dictations). I believe the main reason teachers don’t use repertoire more is because it is a lot of work to seek out and prepare recordings and scores for students. My hope is that this collection can fill this need. Still, there are pros and cons to this approach.
The advantages of using repertoire emphasizing many instruments, rather than exercises at the piano, are:
- Students enjoy hearing their own instruments
- The music is usually more interesting
- Timbral variety is a realistic challenge
- Students gain familiarity with important repertoire
- It’s fun to hear the recordings of great performers and ensembles
Disadvantages of using repertoire are:
- Preparation is time-consuming
- A large pool of examples is needed to target specific topics effectively and create a smooth progression from simple to complex
- Students may recognize the example
- Technology in the classroom is a hassle
My hope is that this collection will solve the first two disadvantages. Regarding the third, the student will still have to transcribe the melody from his or her own memory. Transcription is the primary objective of dictation; the memorization is only the first half the task. To that end, familiar tunes (“Happy Birthday,” “Mary Had a Little Lamb”) can be used in the initial stages, played at the piano, to skip over the memorization step.
Concerning technology, the students’ blank score could be projected on the wall, and students copy the information to their own paper (saving the teacher making photocopies). Then, the example would be played any number of times, and finally the solution is projected and students correct their work. Alternatively, scores may be provided for students, which saves class time. Answers might be printed on the back of the paper so students can correct their own work. For “take-home” dictations (see below), files can simply be emailed to students as a link. In my experience, preparing photocopies beforehand is undoubtably the most efficient use of class time, since much time is wasted with the perpetual questions of “What key? How many bars? What time signature? Is there a pickup?” Then more precious minutes are wasted as students ask neighbors for staff paper and have to draw empty measures.
Naturally, PDFs and PNGs for students do not include the name of the excerpt. In most cases, a first pitch is given; in others, additional clues, such as a harmonic analysis, an ornament, or a rhythm may also be provided. Many students suffer from extreme anxiety when it comes to dictation, and providing the first pitch greatly increases their chances of success. And often when students do have the right starting pitch, they write in the wrong octave anyway.
The length and approximate range of the melody are indicated. The longer melodies may be assigned as a “take-home” dictation, meaning the student may listen as many times as they wish at home. (But be aware that direct links to the file on this website will include a folder name with the excerpt’s title.) To prevent the possibility of collaboration, students can be required to transcribe a “take-home” melody again in class after a reduced number of hearings. Some excerpts include the possibility for a Roman Numeral analysis. This can be an extension activity after the dictation, especially for those students who finish before their peers.
Regarding providing the first pitch, I recommend that the class listen to the excerpt before the blank staves are given out. After the class can sing the opening of the melody on a neutral syllable, an individual student should be asked to give the first scale degree. Only then should the instructor distribute the answer blanks.
Some melodies may have been placed in other categories. For instance, one question is whether the chromaticism is in the melody or the accompaniment. In general, if the melody was diatonic, I placed it in a diatonic category, unless the chromaticism in the accompaniment was very prevalent. Long melodies with internal repetitions were categorized as “medium” in length.
As a reminder, teachers may choose to do only a portion of the longer excerpts if they are found to be too difficult. On occasion, multiple options are provided for the student–some provide an accompaniment and some a harmonic analysis.
Original markings are included in the answer score. All bar numbers begin with “1,” even if the excerpt is taken from the middle of a piece.
Please email me at the address on the right sidebar if you find any links that don’t work. Thank you for your help, and I hope this collection proves useful.
Suggested Vocal Warm Up:
A vocal warm up in the key of the exercise helps orient students aurally and improves success. (Beware that some of the recordings are at different pitch levels.) Transpose any phrase by octave as needed based on the range. Sing on scale degrees, fixed-do solfège, or neutral syllable.
Folk Tunes for Dictation:
These well-known tunes are useful introductions into dictation. Because students usually already know them, the first part of dictation (memorization) is already taken care of, and students can focus on transcribing the melody into scale degrees and then into a particular key.
Index by Topic:
Diatonic, major, stepwise/tonic leaps and diatonic neighbors
Diatonic, minor, stepwise/tonic leaps and diatonic neighbors
Diatonic, major, dominant (7th) Leaps
Diatonic, major, subdominant (6^)
Diatonic, minor, subdominant (6^):
Diatonic, minor, variable 6^ & 7^:
Diatonic, large leaps
Major key, using #4^
Minor key, using #4^:
Non-modulating chromaticism (applied chords, N, P)
Modulating to V from major or minor
Modulating to III from minor
Modulating to not V or III, or multiple
Modal
Ambiguous mode
Bass Dictation:
Outer Voice Dictation:
Diatonic, major, stepwise/tonic leaps and diatonic neighbors:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
1 | Bizet | Carmen Suite 2, La Garde Montante [opening] | London Festival Orchestra | Trumpet | Audio | Blank | Answer | Original | short | plagal |
2 | Beethoven | Symphony No. 1, Op. 21, II. Andante cantabile con moto, [opening] | Hanover Band | Violin | Audio | Blank | Answer | Original | medium | plagal |
3 | Beethoven | Symphony No. 3, Op. 55, “Eroica,” III. Scherzo [opening] | Unknown | Oboe | Audio | Blank | Answer | Original | short | authentic |
4 | Beethoven | Symphony No. 5, Op. 67, II. Andante con moto [after reh. A] | NBC Symphony | Trumpet | Audio | Blank | Answer | Original | short | plagal |
5 | Brahms | Academic Festival Overture, Op. 80 [m.157] | London Symphony | Bassoon/Oboe | Audio | Blank | Answer | Original | medium | plagal |
6 | Mahler | Symphony No. 1, “The Titan” I. [reh. 4] | Vienna Philharmonic [Bernstein] | Cellos | Audio | Blank | Answer | Original | long | authentic |
7 | Beethoven | Symphony No. 9, Op. 125 IV. [chorus] | West-Eastern Divan Orch. [Barenboim] | Chorus | Audio | Blank | Answer | Original | long | plagal |
8 | Brahms | Variations on a Theme by Haydn, Op. 56 [St. Anthony Chorale] | London Philharmonic | Oboes | Audio | Blank | Answer | Original | long | plagal |
9 | Mahler | Symphony No. 2, “Resurrection,” II. [opening] | London Phil. [Bernstein] | Strings | Audio | Blank | Answer | Original | medium | plagal |
10 | Sibelius | Symphony No. 3, Op. 52, III. [m.246] | Göteburg Symphony | Cellos | Audio | Blank | Answer | Original | long | plagal |
11 | Brahms | 49 Volkslieder, WoO 33, No. 11 “Jungfräulein, soll ich mich euch gehn” | Werner Güra (tenor) | Tenor solo | Audio | Blank | Answer | Original | long | authentic |
12 | Brahms | 49 Volkslieder, WoO 33, No. 5 “Die Sonne scheint nicht mehr” | Werner Güra (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | authentic |
13 | Brahms | 49 Volkslieder, WoO 33, No. 5 “Es war eine schöne Jüdin” | Elisabeth Schwarzkopf (s.), Dietrich Fischer-Dieskau (bari.) | Bari./Sop. | Audio | Blank | Answer | Original | medium | narrow |
14 | Handel | Messiah, Part 3, “The Trumpet Shall Sound” | Orchestra of the Antipodes, Leanne Sullivan (tpt.) | Trumpet | Audio | Blank | Answer | Original | medium | wide |
15 | Bizet | Arlesienne Suite No. 2, Farandole [reh. D] | Philharmonia Orch. (Karajan) | Woodwinds | Audio | Blank | Answer | Original | short | narrow |
16 | Mendelssohn | A Midsummer Night’s Dream: Nocturne [opening] | Moscow City Symphony | Horn/Bsns. | Audio | Blank | Answer | Original | long | plagal |
17 | Rossini | William Tell, Overture [m.176] | London Symphony (Scholtz, cond.) | Eng. Horn/Flt. | Audio | Blank | Answer | Original | medium | plagal |
18 | Rossini | William Tell, Overture [m.226] | London Symphony (Scholtz, cond.) | Trumpet | Audio | Blank | Answer | Original | short | authentic |
19 | Rossini | William Tell, Overture [m.252] | London Symphony (Scholtz, cond.) | Strings/winds | Audio | Blank | Answer | Original | medium | plagal |
20 | Bizet | Symphony No. 2, “Roma” I. [opening] | National Orchestra of Lille | Horns | Audio | Blank | Answer | Original | medium | plagal |
21 | Liszt | Symphony Poem No. 1, S. 91 “Mountain” | London Philharmonic (Haitink) | Trombones | Audio | Blank | Answer | Original | short | narrow |
22 | Brahms | 49 Volkslieder, WoO 33, No. 20 “Schönster Schatz” | Hermann Prey (b.), Pamela Coburn (s.) | Bari./Sopr. | Audio | Blank | Answer | Original | medium | narrow |
23 | Dvoràk | American Suite, Op. 98b, II. [reh. 12] | Royal Philharmonic | Oboe solo | Audio | Blank | Answer | Original | medium | plagal |
24 | Cambini | Wind Quintet No. 3, I. Allegro maestoso [opening] | Avalon Wind Quintet | Wind Quintet | Audio | Blank | Answer | Original | short | plagal |
25 | Haydn | London Trio No. 3, I. Spiritoso | Kuijken Ensemble [half step lower] | Flutes, Cello | Audio | Blank | Answer | Original | short | plagal |
26 | Beethoven | Sonata for Piano and Horn, Op. 17. I. | Unknown | Horn solo | Audio | Blank | Answer | Original | short | wide |
Diatonic, minor, stepwise/tonic leaps and diatonic neighbors:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
27 | Bach, J.S. | Art of Fugue, Contrapunctus I [subject] | Canada Brass | Horn | Audio | Blank | Answer | Original | short | authentic |
28 | Bach, J.S. | G Minor Fugue “Little,” BWV 547 [subject] | Ton Koopman | Organ [half step sharp] | Audio | Blank | Answer | Original | medium | plagal |
29 | Dvorák | Symphony No. 1, I. [opening] | Czech Philharmonic | Strings unison | Audio | Blank | Answer | Original | medium | authentic |
30 | Dvorák | Symphony No. 9 “New World,” IV. [opening] | Simón Bolívar Youth Orchestra [Dudamel] | Brass tutti | Audio | Blank | Answer | Original | medium | authentic |
31 | Mahler | Symphony No. 1, “The Titan,” III. [opening] | Vienna Philharmonic [Bernstein] | String Bass solo | Audio | Blank | Answer | Original | long | authentic |
32 | Mahler | Symphony No. 1, “The Titan,” III. [reh. 14] | Vienna Philharmonic [Bernstein] | E-flat Clarinet solo | Audio | Blank | Answer | Original | medium | plagal |
33 | Brahms | 49 Volkslieder, WoO 33, No. 3 “Guten Abend” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | long | plagal |
34 | Prokofiev | Lieutenant Kijé Suite, Op. 60, II. Romance [opening] | French National Orchestra | String bass solo | Audio | Blank | Answer | Original | short | plagal |
35 | Bizet | Arlesienne Suite No. 1, Overture | Phil. Orch. of Mexico | Orch. tutti unis. | Audio | Blank | Answer | Original | long | plagal |
36 | Strauss | Burlesque [opening] | Vienna Philharmonic | Timpani solo | Audio | Blank | Answer | Original | short | plagal |
37 | D’Indy | Choral Varié, Op. 55 [page 7] | Iceland Symphony Orch. | Trumpet solo | Audio | Blank | Answer | Original | short | narrow |
38 | D’Indy | Choral Varié, Op. 55 [reh. 7] | Iceland Symphony Orch. | E-flat Sax. solo | Audio | Blank | Answer | Original | short | narrow |
39 | Brahms | 49 Volkslieder, No. 29 “Es war ein Markgraf” | Elizabeth Schwarzkopf (sopr.) | Soprano | Audio | Blank | Answer | Original | medium | plagal |
40 | Tchaikovsky | Festival Overture on the Danish Nat. Anthem [before Allegro] | London Symphony (G. Simon, cond.) | Flutes | Audio | Blank | Answer | Original | short | authentic |
Diatonic, major, dominant (7th) Leaps:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
41 | Dvorák | Symphony No. 9, “New World,” I. [reh. 5] | Unknown | Flute/violins | Audio | Blank | Answer | Original | medium | plagal |
42 | Prokofiev | Lieutenant Kijé Suite, Op. 60 [opening] | Czecho-Slovak State Phil. | Cornet | Audio | Blank | Answer | Original | short | plagal |
43 | Mussorgsky/Ravel | Pictures at an Exhibition, “Great Gate of Kiev” | Slovac Phil. [Nazareth, cond.] | Brass ens. | Audio | Blank | Answer | Original | medium | plagal |
44 | Williams, John | Summon the Heros (from 1998 Olympics) | Boston Pops [Williams, cond.] | Trumpet solo | Audio | Blank | Answer | none | medium | authentic |
45 | Dvorák | Scherzo Capriccioso, Op. 66 [opening] | Cleveland Orchestra | Horns | Audio | Blank | Answer | Original | short | plagal |
46 | Brahms | 49 Volkslieder, WoO 33, No. 6 “Da unten im Tale” | Edith Wiens | Soprano | Audio | Blank | Answer | Original | medium | narrow |
47 | Brahms | 49 Volkslieder, WoO 33, No. 8 “Ach, englische Schläferin” | Dietrich Fischer-Dieskau (bari.) | Baritone solo | Audio | Blank | Answer | Original | medium | plagal |
48 | Brahms | 49 Volkslieder, WoO 33, No. 16 “Wach auf mein Herzensschöne” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | authentic |
49 | Rossini | The Silk Ladder, Overture [reh. 2] | New York Phil. (Bernstein) | Oboe solo | Audio | Blank | Answer | Original | medium | wide |
50 | Berlioz | Roman Carnival, Overture [reh. 15] | Cologne Philharmonic | Bassoon | Audio | Blank | Answer | Original | short | authentic |
51 | Mozart | Flute Concerto, K. 314, III. [solo] | Vienna Mozart Ens. (Kurt Berger, ft.) | Flute solo | Audio | Blank | Answer | Original | short | wide |
52 | Bizet | Symphony No. 2, “Roma” | National Orchestra of Lille | Clarinet solo | Audio | Blank | Answer | Original | medium | wide |
53 | Brahms | 49 Volkslieder, WoO 33, No. 19 “Nur ein Gesicht” | Peter Schreier (tenor) | Tenor | Audio | Blank | Answer | Original | medium | plagal |
54 | Sibelius | Spring Song, Op. 16 [reh. B] | Lahti Symphony Orchestra (Vänskä) | Strings | Audio | Blank | Answer | Original | long | plagal |
55 | Dvoràk | American Suite, I. [reh. 6] | Royal Philharmonic | Oboes/Bsns. | Audio | Blank | Answer | Original | short | plagal |
56 | Schubert | Die Schöne Müllerin, 1. Das Wandern | Fritz Wunderlich | Tenor | Audio | Blank | Answer | Original | long | plagal |
57 | Cambini | Wind Quintet No. 1, I. Allegro [opening] | Avalon Wind Quintet | Wind Quintet | Audio | Blank | Answer | Original | short | plagal |
58 | Mozart | Concerto for Horn, K.495, III. Rondo [opening] | Barry Tuckwell, horn | Horn solo | Audio | Blank | Answer | Original | short | wide |
Diatonic, major, subdominant (6^):
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
59 | Beethoven | Symphony No. 6, Op. 68, I. [opening] | Vienna Philharmonic | Violin | Audio | Blank | Answer | Original | short | plagal |
60 | Berlioz | Grande Symphonie Funèbre et Triomphale, III. Apotheose [reh. 1] | Berlin Philharmonic | Band tutti | Audio | Blank | Answer | Original | long | authentic |
61 | Holst | Second Suite for Band, I. [opening] | NHK Sym. Orch. Winds [Tokyo] | Band tutti | Audio | Blank | Answer | Original | medium | authentic |
62 | Mahler | Symphony No. 1, IV. [ending] | Vienna Philharmonic [Bernstein] | Horns/Tbns. | Audio | Blank | Answer | Original | medium | authentic |
63 | Mozart | Don Giovanni, “La Ci Darem La Mano” | Bryn Terfel, Monica Groop, London Phil. [Solti] | Bari./Sopr. | Audio | Blank | Answer | Original | medium | plagal |
64 | Stravinsky | Firebird, “Round Dance of the Princesses” | Israeli Philharmonic [Bernstein] | Violins | Audio | Blank | Answer | Original | medium | plagal |
65 | Stravinsky | Petroushka, “Dance of the Wet Nurses” | Montreal Symphony | Horn/Violins | Audio | Blank | Answer | Original | medium | plagal |
66 | Vaughan Williams | English Folk Song Suite, I. [p.5] | St. Martin-in-the-Fields [Marriner] | Clarinet/Flt. | Audio | Blank | Answer | Original | short | plagal |
67 | Brahms | Academic Festival Overture, Op. 80 [finale: “Gaudeamus igitur”] | London Philharmonic | Tpt./Violins | Audio | Blank | Answer | Original | long | plagal |
68 | Brahms | Symphony No. 1, Op. 68, IV. [“Beethoven” theme] | London Philharmonic | Vlns./Vlas. | Audio | Blank | Answer | Original | long | plagal |
69 | Dvorák | Symphony No. 9, Op. 95 “New World,” II. [opening] | Unknown | Eng. Horn | Audio | Blank | Answer | Original | long | authentic |
70 | Franck | “Panis Angelicus,” from Mass, Op. 12 | Unknown | Cello solo | Audio | Blank | Answer | Original | long | plagal |
71 | Granger, Percy | Arr. Londonderry Air (Danny Boy) | Royal Northern College Wind Ensemble | Brass ens. | Audio | Blank | Answer | Original | long | wide |
72 | Ravel | Bolero [major key theme] | Denver Symphony | B-flat Clarinet | Audio | Blank | Answer | Original | long | authentic |
73 | Tchaikovsky | Symphony No. 6 “Pathetique,” I. [reh. A] | Seoul Phil. Orch. | A Clar. solo | Audio | Blank | Answer | Original | medium | wide |
74 | Wagner | Die Meistersinger, Overture [opening] | Polish National Radio Sym. Orch. | Orch. tutti | Audio | Blank | Answer | Original | long | plagal |
75 | Mozart | “Si mostra la sorte,” K. 209 | Gösta Winbergh | Tenor solo | Audio | Blank | Answer | Original | medium | authentic |
76 | Brahms | 49 Volkslieder, WoO 33, No. 3 “Gar lieblich hat sich gesellet” | Eugen Hilti (baritone) | Baritone solo | Audio | Blank | Answer | Original | medium | narrow |
77 | Brahms | 49 Volkslieder, WoO 33, No. 13 “Wach auf, mein Hort” | Peter Schreier (t.), Edith Mathis (s.) | Tenor/Sopr. | Audio | Blank | Answer | Original | long | plagal |
78 | Brahms | 49 Volkslieder, WoO 33, No. 18 “So wünch ich ihr” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | authentic |
79 | Mussorgsky/Ravel | Pictures at an Exhibition, Promenade | Chicago Symphony (Solti) | Tpt./Brass ens. | Audio | Blank | Answer | Original | short | plagal |
80 | Prokofiev | Lieutenant Kijé Suite, Op. 60, IV. Kroïka [reh. 51] | London Symphony (Marriner) | Horns/Tpts. | Audio | Blank | Answer | Original | long | authentic |
81 | Bizet | Arlesienne Suite No. 2, III. Minuet [opening] | French National Orchestra | Flute/Harp | Audio | Blank | Answer | Original | long | wide |
82 | Mozart | Clarinet Quintet, K.581, II. [opening] | St. Martin in the Fields Chamber Ens. | Clarinet | Audio | Blank | Answer | Original | short | plagal |
83 | Mozart | Clarinet Quintet, K.581, III. Minuet [opening] | St. Martin in the Fields Chamber Ens. | Clarinet | Audio | Blank | Answer | Original | medium | authentic |
84 | Saint-Saëns | Carnival of the Animals, “The Swan” [opening] | Royal Phil. Orchestra | Cello | Audio | Blank | Answer | Original | medium | wide |
85 | Brahms | 49 Volkslieder, WoO 33, No. 26 “Ach könnt ich diesen Abend” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | plagal |
86 | Brahms | 49 Volkslieder, WoO 33, No. 22. “Wo gehst du hin, du Stolze?” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | plagal |
Diatonic, minor, subdominant (6^):
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
87 | Dvorák | Serenade for Winds, IV. [opening] | London Winds | Winds tutti | Audio | Blank | Answer | Original | short | authentic |
88 | Tchaikovsky | Symphony No. 6 “Pathetique,” II. [reh. D] | Seoul Phil. Orch. | Violins/Cellos | Audio | Blank | Answer | Original | medium | plagal |
89 | Tchaikovksy | Symphony No. 4, Op. 36, I. [m.21] | Vienna Phil. (Karajan) | Clar./Bsn. | Audio | Blank | Answer | Original | short | narrow |
90 | Mussorgsky/Ravel | Pictures at an Exhibition, IV. Bydlo | Chicago Symphony (Reiner) | Tuba solo | Audio | Blank | Answer | Original | long | wide |
91 | Tchaikovsky | Swan Lake Suite, No. 1 “Lake of Swans” [m.1] | London Phil. (Scholtz, cond.) | Oboe solo | Audio | Blank | Answer | Original | short | plagal |
Diatonic, minor, variable 6^ & 7^:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
92 | Tchaikovsky | Symphony No. 4, Op. 36, II. [opening] | Vienna Phil. (Karajan) | Oboe solo | Audio | Blank | Answer | Original | long | plagal |
93 | Purcell | Abdelazer Suite, II. Rondo | Roger Norrington Orch. | Strings | Audio | Blank | Answer | Original | medium | wide |
Diatonic, large leaps:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
94 | Bizet | Patrie, Op. 19 [reh. L] | Unknown | Clar./Oboe/Vla. | Audio | Blank | Answer | Original | medium | wide |
95 | Goldsmith, Jerry | Star Trek Opening Title [motive] | Unknown | Horn/Trumpet | Audio | Blank | Answer | none | short | plagal |
96 | Williams, John | Jurassic Park Title [introduction] | Unknown | Horn solo | Audio | Blank | Answer | non | short | plagal |
97 | Brahms | Clarinet Sonata, Op. 120, No. 1 | Yona Etlinger (c.) Pnina Salzman (p.) | Clarinet solo | Audio | Blank | Answer | Original | medium | wide |
Major key, using #4^:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
98 | Beethoven | Symphony No. 4, Op. 60 II. [opening] | Bavarian State Orchestra | Violins | Audio | Blank | Answer | Original | short | authentic |
99 | Beethoven | Symphony No. 3, Op. 55, “Eroica,” IV. [opening] | Unknown | String pizz. | Audio | Blank | Answer | Original | short | plagal |
100 | Brahms | 49 Volkslieder, WoO 33, No. 2, “Erlaube mir, fein’s Mädchen” | Hermann Prey (tenor) | Tenor solo | Audio | Blank | Answer | Original | long | plagal |
101 | Berlioz | Roman Carnival, Overture [Andante] | Cologne Philharmonic | Eng. Horn | Audio | Blank | Answer | Original | long | authentic |
102 | Bizet | Arlesienne Suite No. 2, II. Intermezzo [opening] | Seoul Art Center Orch. | Orch. tutti | Audio | Blank | Answer | Original | short | plagal |
103 | Prokofiev | Peter and the Wolf, The Cat [reh. 11] | Melbourne Symphony | Clarinet | Audio | Blank | Answer | Original | medium | plagal |
104 | Mozart | Clarinet Concerto, K. 622, III. [opening] | Cleveland Orchestra (Robert Marcellus, cl.) | Clarinet | Audio | Blank | Answer | Original | long | authentic |
105 | Strauss, J. | On the Beautiful Blue Danube | Vienna Phil. (Redel, cond.) | Hn./Bs./Str. | Audio | Blank | Answer | Original | long | wide |
106 | Telemann | Concerto for Trumpet in D, IV. Allegro | Berlin Phil. (Marc André, tpt.) | Trumpet solo | Audio | Blank | Answer | Original | medium | narrow |
107 | Mozart | Horn Concerto, K.447, II. Larghetto | Radek Baborák, horn | Horn solo | Audio | Blank | Answer | Original | short | wide |
Minor key, using #4^:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
108 | Tchaikovsky | Symphony No. 4, Op. 36, IV. [m.10] | Vienna Phil. (Karajan) | Woodwinds | Audio | Blank | Answer | Original | medium | narrow |
109 | Rossini | Barber of Seville, Overture | Tonkünstler-Orchester Niederösterreich | Strings/Flt. | Audio | Blank | Answer | Original | medium | plagal |
Non-modulating chromaticism (applied chords, N, P):
Device | Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
110 | Chr. Neighbor | Tchaikovksy | Swan Lake, “Danse Napolitaine” | Milan Symphony Orch. | Trumpet solo | Audio | Blank | Answer | Original | long | authentic |
111 | Chr. Neighbor | Tchaikovsky | Swan Lake Suite, III. Dances of the Swans | London Phil. (Scholtz, cond.) | Oboe | Audio | Blank | Answer | Original | long | plagal |
112 | Chr. Passing | Weber | Der Freischutz Overture [opening] | Unknown | Horns | Audio | Blank | Answer | Original | long | authentic |
113 | Applied V/iv | Brahms | Symphony No. 3, Op. 90, III. [opening] | London Symphony Orch. | Cellos | Audio | Blank | Answer | Original | long | authentic |
114 | Aug. 6th | Dvorák | Symphony No. 8, Op. 88, III. [opening] | Unknown | Violins | Audio | Blank | Answer | Original | medium | wide |
115 | Chr. Passing | Franck | Symphony in D minor, II. [reh. A] | Philadelphia Orchestra | Eng. horn solo | Audio | Blank | Answer | Original | medium | authentic |
116 | Applied V/vi | Beethoven | Symphony No. 4, Op. 60 II. [opening] | Bavarian State Orchestra | Violins | Audio | Blank | Answer | Original | medium | authentic |
117 | Applied viio7/V | Saint-Saëns | Symphony No. 3 with Organ, II. | Pannon Phil. Orch. (Vass, cond.) | Strings unis. | Audio | Blank | Answer | Original | long | plagal |
118 | Chr. Passing | Strauss, R. | Sonatina No. 1, II. [opening] | Amade Horn Ensemble | Horn solo | Audio | Blank | Answer | Original | medium | plagal |
119 | #4^ & appl. sequ. | Tchaikovksy | Symphony No. 5, Op. 64, II. [opening] | Moscow City Symphony | Horn solo | Audio | Blank | Answer | Original | long | plagal |
120 | Appl. sequ. & chr. pass. | Tchaikovsky | Romeo and Juliet Overture [m.389] | London Symphony Orchestra | Strings | Audio | Blank | Answer | Original | medium | plagal |
121 | Mixture (flat 6) | Tchaikovsky | Romeo and Juliet Overture [reh. 26] | London Symphony Orchestra | Trumpets | Audio | Blank | Answer | Original | short | plagal |
122 | Chr. Passing | Tchaikovsky | Symphony No. 6 “Pathetique,” IV. [reh. C] | Seoul Phil. Orchestra | Violins | Audio | Blank | Answer | Original | long | plagal |
123 | CT dim. 7 / app. dim. 7 | Rossini | Semiramide, Overture [opening] | Vienna Phil. (Riccardo Muti) | Horns | Audio | Blank | Answer | Original | medium | plagal |
124 | Chr. Passing | Grieg | Peer Gynt Suite 1, IV. Hall of the Mountain King | Ulster Orchestra [Handley, cond.] | Strings/ww. | Audio | Blank | Answer | Original | short | authentic |
125 | Neapolitan | Mahler | Symphony No. 3, I. [opening] | Vienna Phil. (Bernstein) | Horns | Audio | Blank | Answer | Original | long | plagal |
126 | Chr. Neighbor | Bizet | Arlesienne Suite No. 2, Pastorale [opening] | Seoul Arts Center Orchestra | Orch. tutti | Audio | Blank | Answer | Original | medium | plagal |
127 | Chr. Neighbors | Mozart | Marriage of Figaro, Overture [opening] | Vienna Phil. (Muto) | Strings unis. | Audio | Blank | Answer | Original | medium | narrow |
128 | Chr. Neighbor | Bizet | Arlesienne Suite No. 1, Minuet [reh. B] | Phil. Orchestra of Mexico | Sax./Clar. | Audio | Blank | Answer | Original | medium | authentic |
129 | Chr. Neighbor | Mozart | Flute Concerto, K. 314, II. [m.11] | Berlin Phil. (Pahud, flute) | Flute solo | Audio | Blank | Answer | Original | medium | plagal |
130 | Chr. Neighbor | Mozart | Flute Concerto, K. 314, I. [opening] | Berlin Phil. (Pahud, flute) | Flute/Vlns. | Audio | Blank | Answer | Original | medium | narrow |
131 | Chr. Voice Leading | Bizet | Carmen Suite 2, Bohemian Dance [reh. C] | St. Louis Symphony | Oboe/Clar. | Audio | Blank | Answer | Original | medium | plagal |
132 | Chr. Neighbors | Tchaikovsky | Nutcracker Suite, III. Waltz of the Flowers | Unknown | Vla./Cello | Audio | Blank | Answer | Original | long | wide |
133 | Chr. Neighbors | Tchaikvosky | Swan Lake Suite, III. Dances of the Swans | London Phil. (Scholtz, cond.) | Strings | Audio | Blank | Answer | Original | medium | plagal |
134 | Chr. Neighbors | Tchaikovsky | Swan Lake Suite, II. “Waltz” [reh. 13] | London Phil. (Scholtz, cond.) | Trumpet solo | Audio | Blank | Answer | Original | medium | authentic |
135 | App. Dominants | Tchaikovsky | Festival Overture on the Danish Nat. Anthem | London Symphony (G. Simon, cond.) | Brass | Audio | Blank | Answer | Original | long | wide |
136 | App. Dominant | Tchaikovsky | Dmitri the Pretender | USSR Radio Symphony Orch. | Oboe solo | Audio | Blank | Answer | Original | medium | authentic |
137 | App. Dominants | Schubert | Die Schöne Müllerin, VIII. Morgengruß | Fritz Wunderlich, tenor | Tenor | Audio | Blank | Answer | Original | long | plagal |
138 | Mixture (flat 3/5) | Vaughan Williams | Tuba Concerto, II. Romanza | London Symphony, John Fletcher, Tuba | Tuba solo | Audio | Blank | Answer | Original | long | authentic |
139 | Chr. Passing | Beethoven | Duos for Clarinet and Bassoon; 1, III. Rondo | Ottetto Italiano | Clarinet | Audio | Blank | Answer | Original | short | plagal |
140 | App. Dom. (ii) | Haydn | London Trio No. 1, I. Allegro [opening] | Rampal (f.), Stern (v.), Rostropovich (c.) | Flute | Audio | Blank | Answer | Original | medium | authentic |
141 | Chr. Passing | Haydn | London Trio No. 4, I. Allegro [opening] | Rampal and Schultz (f.), Audin (bassoon) | Flutes/Bassoon | Audio | Blank | Answer | Original | medium | authentic |
142 | Chr. Neighbor | Beethoven | Duets for Two Obbligato Eyeglasses No. 1, I. | Unknown | Viola/Cello | Audio | Blank | Answer | Original | medium | authentic |
Modulating to V from major or minor:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
143 | Mozart | Clarinet Concerto, K.622 II. [opening] | Cleveland Orch. (Robert Marcellus, clar.) | Clarinet | Audio | Blank | Answer | Original | medium | plagal |
144 | Dvorák | Symphony No. 8, Op. 88, III. [opening] | Unknown | Violins | Audio | Blank | Answer | Original | long | wide |
145 | Beethoven | Piano Sonata Op. 14, No. 2, II. [opening] | Vladimir Ashkenazy | Piano solo | Audio | Blank | Answer | Original | medium | authentic |
146 | Beethoven | Symphony No. 2, Op. 63, II. [opening] | London Symphony | Clarinet in A | Audio | Blank | Answer | Original | medium | plagal |
147 | Rossini | Semiramide, Overture [opening] | Vienna Phil. (Riccardo Muti) | Horns | Audio | Blank | Answer | Original | medium | plagal |
148 | Wagner | Die Walküre, Act. 3 “Ride of the Valkyries” | Bayreuth Festival Orchestra (Fischer, cond.) | Trombones | Audio | Blank | Answer | Original | medium | plagal |
149 | Brahms | Symphony No. 2, Op. 73, III. [opening] | Unknown | Violins | Audio | Blank | Answer | Original | medium | wide |
150 | Dvorák | Symphony No. 8, Op. 88, II. [opening] | Cleveland Orchestra | Flute/Oboe | Audio | Blank | Answer | Original | medium | wide |
151 | Wagner | Tannhäuser, Overture [reh. A] | Berlin Philharmonic | Trombones | Audio | Blank | Answer | Original | long | authentic |
152 | Bizet | Carmen Suite 1, Intermezzo | Saint Louis Symphony | Flute/Clar. | Audio | Blank | Answer | Original | long | wide |
153 | Bizet | Patrie, Op. 19 [reh. I] | Unknown | Brass/ww. | Audio | Blank | Answer | Original | medium | wide |
154 | Tchaikovsky | Variations on a Rococo Theme [theme] | Yo-Yo Ma, Temirkanov (cond.) | Cello solo | Audio | Blank | Answer | Original | long | authentic |
155 | Tchaikovsky | Variations on a Rococo Theme, Var. 3 | Yo-Yo Ma, Temirkanov (cond.) | Cello solo | Audio | Blank | Answer | Original | long | wide |
156 | Telemann | Trumpet Concerto in D Major, Adagio | Berlin Phil. (Maurice André, tpt.) | Trumpet solo | Audio | Blank | Answer | Original | medium | authentic |
157 | Schumann | Symphony No. 4, II. Romance | Tonhalle Zurich | Oboe solo | Audio | Blank | Answer | Original | medium | plagal |
158 | Schubert | Die Schöne Müllerin, VI. Der Neugierige | Fritz Wunderlich, tenor | Tenor | Audio | Blank | Answer | Original | long | plagal |
159 | Ewald | Brass Quintet No. 1, I. Adagio | Center City Brass Quintet | Brass quintet | Audio | Blank | Answer | Original | long | wide |
160 | Beethoven | Duos for Clarinet and Bassoon; 3. Aria [theme] | Ottetto Italiano | Clarinet | Audio | Blank | Answer | Original | medium | wide |
Modulating to III from minor:
Composer | Title | Performer | Instrument | Audio | Blank | Answer | Original | Length | Range | |
161 | Dvorák | Serenade for Winds, I. [opening] | London Winds | Wind ens. | Audio | Blank | Answer | Original | long | plagal |
162 | Grieg | Peer Gynt Suite 2, “Solveig’s Song” | Ulster Orchestra [Handley, cond.] | Violins (muted) | Audio | Blank | Answer | Original | medium | plagal |
163 | Wagner | Die Walküre, Act. 3 “Ride of the Valkyries” | Bayreuth Festival Orchestra (Fischer, cond.) | Trombones | Audio | Blank | Answer | Original | short | plagal |
164 | Beethoven | Symphony No. 3, Op. 55, II. “Funeral March” | Vienna Philharmonic (Rattle) | Violins/Oboe | Audio | Blank | Answer | Original | long | plagal |
165 | Brahms | 49 Volkslieder, WoO 33, No. 12 “Feinsliebchen du solst” | Hermann Prey (t.) Pamela Coburn (s.) | Tenor/Sop. | Audio | Blank | Answer | Original | long | plagal |
166 | Brahms | 49 Volkslieder, WoO 33, No. 15 “Schwesterlein” | Hermann Prey (t.) Pamela Coburn (s.) | Tenor/Sop. | Audio | Blank | Answer | Original | medium | plagal |
167 | Brahms | 49 Volkslieder, WoO 33, No. 17 “Ach Gott, wie weh tut Scheiden” | Peter Schreier (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | plagal |
168 | Brahms | 49 Volkslieder, WoO 33, No. 21 “Es ging ein Maidlein zarte” | Andreas Scholl (tenor) | Tenor solo | Audio | Blank | Answer | Original | medium | authentic |
169 | Beethoven | Duos for Clarinet and Bassoon; 2. II. Larghetto | Ottetto Italiano | Clarinet | Audio | Blank | Answer | Original | short | plagal |
Modulating to not V or III, or multiple:
Goal | Composer | Title | Performer | Instrumentation | Audio | Blank | Answer | Original | Length | Range | |
170 | v | Brahms | Symphony No. 2, Op. 73, III. [opening] | Unknown | Oboe solo | Audio | Blank | Answer | Original | long | wide |
171 | vi | Tchaikovsky | Symphony No. 6, “Pathetique” III. [reh. H] | Seoul Sym. Orch. | A Clarinets | Audio | Blank | Answer | Original | medium | wide |
172 | v | Grieg | Peer Gynt Suite 1, III. “Anitra’s Dance” | Ulster Orchestra [Handley, cond.] | Violins | Audio | Blank | Answer | Original | medium | wide |
173 | III | Tchaikovksy | Symphony No. 5, Op. 64, II. [opening] | Moscow City Symphony | Horn solo | Audio | Blank | Answer | Original | long | plagal |
174 | iii | Berlioz | Grande Symphonie Funèbre et Triomphale, II. “Oraison funèbre” | Royal N. College Wind Orch, (Joseph Alessi, solo) | Trombone solo | Audio | Blank | Answer | Original | long | authentic |
175 | i>I | Dvorák | Symphony No. 88, Op. 88, I. [opening] | Israeli Philharmonic | Cellos | Audio | Blank | Answer | Original | long | authentic |
176 | III & V | Grieg | Peer Gynt Suite 1, I. “Morning Mood” | Armonie Symphony Orchestra | Fl./Ob./Vln. | Audio | Blank | Answer | Original | long | authentic |
177 | ii | Humperdinck | Hänsel & Gretel, Prelude | Birmingham Festival Orchestra | Horns | Audio | Blank | Answer | Original | medium | authentic |
178 | v | Brahms | 49 Volkslieder, WoO 33, No. 14 “Maria ging aus wandern” | Edith Wiens (soprano) | Soprano solo | Audio | Blank | Answer | Original | medium | plagal |
179 | IV | Prokofiev | Lieutenant Kijé Suite, Op. 60, III. Kijé’s Wedding [reh. 27] | London Symphony (Marriner) | Cornet solo | Audio | Blank | Answer | Original | medium | authentic |
180 | iii | Tchaikovsky | Symphony No. 4, Op. 36, III. [opening] | Vienna Phil. (Karajan) | String pizz. | Audio | Blank | Answer | Original | medium | plagal |
181 | many | Bizet | Arlesienne Suite No. 2, II. Intermezzo [reh. B] | Seoul Arts Center Orchestra | Woodwinds | Audio | Blank | Answer | Original | long | wide |
182 | iii | Bizet | L’Arlesienne Suite No. 1, Overture [reh. E] | Phil. Orch. of Mexico | E-flat Sax. solo | Audio | Blank | Answer | Original | long | wide |
183 | V, I | Bizet | Carmen Suite 1, Dragons of d’Alcala | Saint Louis Symphony | Bassoons | Audio | Blank | Answer | Original | long | authentic |
184 | iii | Saint-Saëns | Carnival of the Animals, “The Elephant” | Royal Phil. Orchestra | String Bass | Audio | Blank | Answer | Original | long | wide |
185 | V, vi | Tchaikovsky | Variations on a Rococo Theme [theme] | Yo-Yo Ma, Temirkanov (cond.) | Cello solo | Audio | Blank | Answer | Original | long | wide |
186 | V, iii | Tchaikovsky | Variations on a Rococo Theme, Var. 3 | Yo-Yo Ma, Temirkanov (cond.) | Cello solo | Audio | Blank | Answer | Original | long | wide |
187 | iii | Tchaikovsky | Sleeping Beauty Suite, Introduction [Andantino] | Vienna Phil. (Karajan) | Eng. Horn | Audio | Blank | Answer | Original | medium | authentic |
188 | V, vi | Rimsky-Korsakov | Concerto for Trombone, (II.) Andante | Royal Northern College of Music Wind Orchestra, Jacques Mauger, trombone | Trombone solo | Audio | Blank | Answer | Original | long | authentic |
189 | V, vi | Beethoven | Duos for Clarinet and Bassoon; 3. II. Aria [theme] | Ottetto Italiano | Clarinet solo | Audio | Blank | Answer | Original | long | wide |
Modal:
Mode | Composer | Title | Performer | Instrumentation | Audio | Blank | Answer | Original | Length | Range | |
190 | Lydian | Prokofiev | Leutenant Kijé Suite. I. [reh. 1] | Berlin Phil. (Ozawa) | Piccolo solo | Audio | Blank | Answer | Original | short | wide |
191 | Mixolydian | Goldsmith | Star Trek Next Gen. Main Theme | Unknown | Trumpet | Audio | Blank | Answer | none | short | plagal |
192 | Dorian | Saint-Saëns | Carnival of the Animals, Lion’s March [reh. 3] | Royal Phil. Orch. | Strings | Audio | Blank | Answer | Original | short | narrow |
Ambiguous mode:
Composer | Title | Performer | Instrumentation | Audio | Blank | Answer | Original | Length | |
193 | Dvorák | Symphony No. 8, Op. 88, IV. [opening] | Israeli Philharmonic | Trumpets | Audio | Blank | Answer | Original | medium |
194 | Rimsky-Korsakov | Scheherazade, I. [opening] | Berlin Philharmonic | Trombones | Audio | Blank | Answer | Original | short |
195 | Stravinsky | Petroushka, “Russian Dance” | Minnesota Orchestra | WW./piano | Audio | Blank | Answer | Original | medium |
Bass Dictation:
Device | Composer | Title | Performer | Instrumentation | Audio | Blank | Answer | Original | Length | Range | |
196 | Major, PD | Holst | First Suite for Band, I. Chaconne [theme] | N. Texas Wind Symphony | Low Brass | Audio | Blank | Answer | Original | medium | plagal |
197 | Minor, outline i | Bach, J.S. | Passacaglia, BWV 582 [theme] | Hans-Andre Stamm | Organ | Audio | Blank | Answer | Original | medium | plagal |
198 | Diatonic | Prokofiev | Lieutenant Kijé Suite, Op. 60, III. Kijé’s Wedding [reh. 26] | London Philharmonic (Marriner) | Low brass unis. | Audio | Blank | Answer | Original | short | plagal |
Outer Voice Dictation:
Device | Composer | Title | Performer | Instrumentation | Audio | Blank | Answer | Original | Length | Range | |
199 | Min. to III | Dvorák | Serenade for Winds, I. [opening] | London Winds | Wind ens. | Audio | Blank | Answer | Original | long | plagal |
200 | Diatonic, stepwise | Beethoven | Symphony No. 5, Op. 67, IV. [opening] | Berlin Phil. (Karajan) | Orch. tutti | Audio | Blank | Answer | Original | medium | authentic |
201 | Diatonic, phrase mod. | Berlioz | Grande Symphonie Funèbre et Triomphale, III. Apotheose | Berlin Phil. | Band tutti | Audio | Blank | Answer | Original | medium | authentic |
202 | Diatonic, phrase mod. | Dvorák | Symphony No. 9, “New World,” I. [reh. 5] | Unknown | Flute/Violins | Audio | Blank | Answer | Original | short | plagal |
203 | Diatonic, phrase mod. | Handel | Messiah, “Comfort Ye” [opening] | St. Martin in the Field | Strings | Audio | Blank | Answer | Original | medium | authentic |
204 | Maj. to V | Beethoven | Symphony No. 2, Op. 63, II. [opening] | London Symphony | Clarinet in A | Audio | Blank | Answer | Original | medium | plagal |
205 | Diatonic | Handel | Messiah, Part 3, “The Trumpet Shall Sound” | Orchestra of the Antipodes, Leanne Sullivan (tpt.) | Trumpet | Audio | Blank | Answer | Original | medium | wide |
206 | Chr. Passing | Beethoven | Duos for Clarinet and Bassoon; 1, III. Rondo | Ottetto Italiano | Clar./Bassoon | Audio | Blank | Answer | Original | short | plagal |
207 | Chr. P./Mod. to III | Beethoven | Duos for Clarinet and Bassoon; 2. II. Larghetto | Ottetto Italiano | Clar./Bassoon | Audio | Blank | Answer | Original | short | plagal |
208 | Diatonic/Chr. P. | Haydn | London Trio No. 2. I. Andante | Rampal and Schultz (f.), Audin (bassoon) | Bassoon | Audio | Blank | Answer | Original | medium | authentic |