Unit quiz: Parts real players can play: transposition, ranges, spacing, tempo that breathes, and a three-part capstone

Check understanding, separately from reading

5 questions · 80% to pass · no timer. This quiz checks the lessons in this unit. These authored questions assess recognition and application of the taught distinctions, not professional qualification. You may review the lessons and retry. Repeat attempts reuse the question bank; a remembered answer is not proof of transfer to a new situation.

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Question 1

A four-bar line in concert D major, running from D4 to B4, is to be written for B flat trumpet and for E flat alto saxophone. In what written key and range does each part appear, and which part carries more sharps?The trumpet part is written in E major, four sharps, from E4 to C sharp5, sounding a major second lower; the alto sax part is written in B major, five sharps, from B4 to G sharp5, sounding a major sixth lower, so the saxophone part has one more sharpBoth parts are written in D major with two sharps, because a transposing instrument reads concert pitch and the player adjusts the fingering to match

Question 2

A bass part is written on F4 for sixteen bars at 60 beats per minute in a chorale-style arrangement. Using ranges derived from Bach's chorales, what is the problem, how long does the passage last, and what are two fixes that keep the harmony?There is no problem, because F4 sits inside the bass staff, and sixteen bars at 60 beats per minute last 16 sThe bass range tops out near E4, so F4 sits above it for 64 s; move the line to F3 an octave lower, or give the F to the tenor and let the bass take the root underneath

Question 3

Two versions of a C major triad are played on a piano. Version A is C2, E2, G2 in close position. Version B is C2, G2, C3, E3, with wide gaps at the bottom and the upper voices inside an octave. Which sounds clearer, and what do the numbers say?Version B, because the low register keeps wide gaps; in A the C2 and E2 fundamentals lie 17.0 Hz apart, 65.41 Hz against 82.41 Hz, narrow enough for their partials to fall inside one critical band and beat, which is heard as mudVersion A, because a compact triad blends better than a spread one and a 17 Hz difference is too small for the ear to resolve at all

Question 4

A four-bar phrase is notated at 96 beats per minute with a ritardando in the last bar down to 72. A producer enters 96 as the project tempo and finds the playback is early against the score. What are the durations, and what does the project actually need?Both readings last 10.0 s because the notation has not changed, and the project needs no tempo change since the bar count and the note values are identicalA steady reading is 10.0 s; the ritardando adds 0.377 s for a total of 10.377 s, with the last bar averaging about 83 bpm, so the project needs a tempo map with the change placed on that bar rather than a single project tempo

Question 5

A sixteen-bar arrangement at 92 beats per minute is to be delivered for B flat clarinet, guitar and bass guitar, with a ritardando in the final bar to 69. What is the total duration, and what does each player need in front of them?About 42.13 s, since fifteen bars at 92 are 39.13 s and the final bar with the ritardando is 3.00 s; the clarinet reads a part written a major second higher than concert pitch, while guitar and bass read at sounding pitch but sound an octave below the pageAbout 41.74 s, because the ritardando affects expression rather than time, and all three players read the concert-pitch score unchanged

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