TExES Practice Exam

TExES MUSIC Contents: TExES Music Preparation/Review TExES Music EC-12 Examination Information TExES Music EC-12 Test Format TExES Music Review Course Topics TExES Music Topics Frequently Missed TExES Music Selected Bibliography by Domain TExES Music Practice Exam/Sample Questions

TExES Music Online Resources: State Board for Educator Certification TExES Study Guides and Preparation Materials Center for Educator Development in Fine Arts MacGamut for Mac and Windows Kodaly and Orff Information Orchestra Seating Chart by Historical Period

TExES Music Preparation/Review

Welcome to the TMEA TExES Review Web site. It is the desire of the College Division of the Texas Music Educators Association that the material on this Web site will be helpful to students preparing for the TExES Music EC-12 exam. This site contains information about the exam, review course topic areas, frequently missed topics on practice tests, a selected bibliography of resources and other study materials, and a short practice exam. The state exam for teacher certification in music requires a comprehensive understanding and mastery of the following five domains: listening, music theory and composition, music history and culture, music classroom performance and music education. The domains and competencies on which the TExES Music EC-12 exam is based are designed to assess the knowledge and skills needed to provide quality instruction in the music classroom. The information presented here is designed to provide an overview of the testing format and to offer resources to students as they develop their study plan. The site is not intended to include all information and material a student may need in order to be successful on the state exam. Students must determine their own strengths and areas for needed improvement and are expected to develop study guides for enhancing their own knowledge base. Students may also benefit from forming study groups, working with a mentor professor, or taking an in-depth review course.

Good luck as you continue preparation toward music certification in Texas!

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TExES Music EC-12 Examination Information

Reasons for Success in Passing an Examination

1. Proper preparation and review.
2. Formulate a study plan moving from weakest to strongest areas.
3. Budget study time into manageable sections – be consistent
4. Utilize all study aids and resources that are available.
5. Study interactively with other students when possible
6. Always use positive reinforcement and self-talk when studying.

Proper use of time before and during an examination

1. As the test date draws near, concentrate study time on your weakest areas.
2. At least one week before the test date be sure you receive proper rest, nutrition, and hydration while remaining clearly focused on your goals.
3. For each test question, read information carefully, but don’t over-read.
4. Carefully consider all answer choices, eliminating those obviously incorrect answers (usually two) and choosing from the remaining answers.
5. Answer all questions, marking those for which you are unsure of an answer choice and returning to these questions later for further deliberation.
6. Use your general knowledge base to assist in choosing correct answers for questions where you may be uncertain.
7. Analyze the word structure (root word, prefix, and suffix) of unfamiliar terminology or context usage to assist in choosing the correct answer. Use what you know to help figure out what you don’t know.
8. Check all answers to be sure that they are correctly recorded on the answer sheet (do this after each twenty questions).
9. Control your test anxiety by using relaxation techniques and other forms of stress management (see suggestions below).

Overcoming the “Fatigue/Anxiety Factor” during the test.

1. Use slow, deep breathing to avoid undue anxiety.
2. Use body isolation stretching exercises to relieve fatigue.

Use positive mental self-statements and thought processes to build personal confidence and self-esteem.

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TExES Music EC-12 Test Format

Nature/Structure of Test (90 – 100 questions/generic vocal and instrumental covering five extensive music domains).

Domains

1. Listening (approximately 25% of the test)
2. Music Theory and Composition (approximately 17% of the test)
3. Music History and Culture (17% of the test)
4. Music Classroom Performance (25% of the test)
5. Music Education (17% of the test)

There are numerous versions of the test with varying emphases.

Typically, the test consists of 20 – 30 listening examples that are played at the beginning of the test. These include identification of selections by title, composer, genre, historical period (examples played one), aural skills examples (examples played twice), and error detection items (examples played twice). The listening questions are mixed, so be prepared to hear some examples once and some twice.

The music theory, music history and culture, music performance, and music education questions are mixed, not broken out by domain.

Types of Questions

1. Factual questions
2. Higher Level Thinking questions (2 or 3 steps or processes involved in choosing the correct answer).
3. Situational/Scenario questions (particularly in the music education domain).
4. Aural Skills Listening questions (intervals, scales, chord colors, cadences, modes-examples played twice).
5. Error Detection Listening questions (identifying the rhythmic or melodic mistake in a two, three, or four part music texture or possibly a portion from a full orchestral score-examples played twice).

Music History Listening questions (naming historical period – including world and popular music, composer, genre, or selection title after hearing a recorded example-examples played once).

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TExES Music Review Course Topics

Domain I: Listening

• Listening List
  • Historical periods, Composers, Compositions, Genres
• Aural Skills
  • Intervals, Scales, Chord quality, Cadences, Modes
• Error Detection
  • Identify rhythmic or melodic mistake in unison, two, three, or four part music textures and possibly an example from a full instrumental score

Domain II: Music Theory and Composition

• Terminology Lists
• Musical Structures and Forms

Domain III: Music History and Culture

• Music History outline by period (hallmark stylistic features)
• American Music
• World Music
• Terminology Lists
• Popular (i.e., hip-hop)
• Jazz Styles

Domain IV: Music Classroom Performance

• Pedagogy (Instrumental and Vocal)
• Chamber Music Groupings (Instrumental and Vocal)
• Prescribed Music List (PML/UIL)
• Constitution and Contest Rules (CCR/UIL)

Domain V: Music Education

• Music Education-History of Music Education
• Major Music Educators and Methodologies
• Developmental characteristics of children
• Age appropriate activities in the music classroom
• TAKS, TEKS correlations (current curriculum and educational buzzwords)
• Secondary Music Methods (Conducting, Intonation, Blend and Balance, Warm-ups)
• Technical Exercises, Rehearsal Techniques, Sight-reading Methods
• Concert Etiquette – all levels.
• Assessment
• Classroom Management
• Recruitment/Retention, etc.

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TExES Music Topics Frequently Missed by Domain Based on Review Course, Pre- and Post-Tests

Domain I: Listening

• Melodic error detection, intervals, scales, modes, chord qualities

Domain II: Music Theory and Composition

• Intervals, key signatures, scales (all forms), modes, simple and composite forms,
  overtone series, fugal process.

Domain III: Music History and Culture

• Medieval and Renaissance (Pre-Baroque)
• 20^th Century styles and techniques
• American Music
• Multi-ethnic and folk music
• Jazz Music
• World Music
• Popular Music

Domain IV: Music Classroom Performance

• Conducting
• Vocal pedagogy and vocal diction
• Instrumental pedagogy (strings is a particularly weak area)
• Orchestration (particularly transposition of band and orchestral instruments)

Domain V: Music Education

• Music Educators
• Age-appropriate music expectations
• Special needs students

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TExES Music Selected Bibliography by Domain

Domain I: Listening

• Burkholder, J. Peter, and Palisca, Claude, ed. The Norton Anthology of Western Music. 7^th ed., Vol. I: Ancient to Baroque. New York: W. W. Norton, 2014.
• Burkholder, J. Peter, and Palisca, Claude, ed. The Norton Anthology of Western Music. 7^th ed., Vol. II: Classic to Modern. New York: W. W. Norton, 2014.
• Burns, K.; Berkowitz, S.; Botstein, S.; Cuscuna, M.; Miller, P.; Novick, L.; Olds-Neal, N.; and Young, B. (Compilers). Ken Burn’s Jazz: The Story of America’s Music. (5 compact discs, 10 pack DVD). Sony Music Entertainment Inc., 2000.
• Crawford, R.; Hamberlin (Compiler). Recordings for an Introduction to America’s Music. (4 compact discs). Sony Music Entertainment Inc., 2013.
• Hast, Dorothea; Cowdery, James; and Scott, Stan. Exploring the World of Music Telecourse Textbook/Reader/CD Package. Dubuque, IA: Kendall/Hunt Publishing, 1999.
• Hill, W. L., and Griffin, C. (Compilers). The Instrumental History of Jazz. (2 compact discs, Discogs). N2K Encoded Jazz, 1997.
• Nettl, Bruno; Capwell, Charles; Turnino, Thomas; Wong, Isabel; and Bohlman, Philip. Excursions in World Music. 6^th ed. Englewood Cliffs, N. J.: Prentice-Hall, 2011.
• Norton Recorded Anthology of Western Music: Volume I. (6 compact discs). Sony Music Entertainment Inc., 2014.
• Norton Recorded Anthology of Western Music: Volume II. (6 compact discs). Sony Music Entertainment Inc., 2014.

World Music Listening Examples

• Native American Anonymous, Yeibichai Song from Navajo Nightway Ceremony Worlds of Music (Disc 1)
• Latin American Anonymous, Amor imposible performed by Chaskinakuy from Worlds of Music (Disc 4)
• Sub-Saharan Africa Anonymous, Nhemamusasa performed by Chris Mhlanga & Bernard Matafi from Excursions in World Music 3^rd Edition (Disc 2)
• Indian Classical Sudhir Phadke and Anand Badmikar, Hindustani recital piece performed by Sudhir Phadke & Anand Badamikar from Excursions in World Music Third Edition (Disc 2)
• Japanese Anonymous, Rokudan Performed by Zumi-Kai Instrumental Group from Excursions In World Music 3^rd Edition (Disc 2)
• Chinese Anonymous, Hua San Liu (beginning and end) Performed by Chunling, Hui & Shenglong from Excursions in World Music 3^rd ed. (Disc 2)
• Indonesian Anonymous, Teruna performed by Gamelan Gong Kebyar from Excursions in World Music Third Edition (Disc 2)

Domain II: Music Theory and Composition

• Adler, Samuel. The Study of Orchestration. 4^th ed. New York: W. W. Norton & Co., 2016.
• Adler, Samuel. Workbook for The Study of Orchestration. 4^th ed. New York: W. W. Norton & Co., 2016.
• Benjamin, Thomas; Horvit, Michael; and Nelson, Robert. Techniques and Materials of Tonal Music from the Common Practice Period Through the Twentieth Century. 7^th ed. New York, NY: Schirmer Books, 2007.
• Benward, Bruce, and White, Gary. Music in Theory and Practice. Vol. I, 9^th ed. Madison, WI: Brown & Benchmark Publishers, 2014.
• Burkhart, Charles, and Rothstein, William. Anthology for Musical Analysis. 7^th ed. New York, NY: Schirmer Books, 2011.
• Kostka, Stefan, and Payne, Dorothy. Tonal Harmony. 8^th ed. New York: McGraw-Hill Book Co., 2017.
• Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3^rd ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 2005.
• Ottman, Robert W. Elementary Harmony Theory and Practice. 5^th ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1998.
• Ottman. Robert W. Advanced Harmony Theory and Practice. 5^th ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1992.
• Steinke, Greg. Bridge to Twentieth-Century Music. Rev. ed. Boston, MA: Allyn & Bacon, 1998.
• Wallace, Barbara. Fundamentals of Music: A Practical Worktext in Beginning Music Theory. Garland, TX: Kees Academic Press, 2007.
• Wallace, Barbara. Beginning Aural Skills: An Introduction to Ear Training and Sightsinging. Vols. I, II, III, and IV. Garland, TX: Kees Academic Press, 2007.

Domain III: Music History and Culture

Domain IV: Music Classroom Performance

Domain V: Music Education

• Abeles, Harold; Hoffer, Charles; and Klotman, Robert. Foundations of Music Education. 2^nd ed. New York, NY: Schirmer Books, 1994.
• Anderson, W. M., and Campbell, P. S. (Compilers). Music Resources for Multicultural Perspectives. 3^rd National Association for Music Education, 2011.
• Hackett, Patricia, and Lindeman, Carolynn. The Musical Classroom. 8^th ed. Upper Saddle River, NJ: Prentice-Hall, Inc., 2010.
• Hoffer, Charles. Teaching Music in the Secondary Schools. 5^th ed. Belmont, CA: Wadsworth Publishing Co., 2001.
• Mark, Michael. Contemporary Music Education. 3^rd ed. New York, NY: Schirmer Books, 1996.
• Mark, Michael, and Gary, Charles. A History of American Music Education. 3^rd ed. New York, NY: Schirmer Books, 2007.
• Nye, Robert; Nye, Vernice; Martin, Gary; and, Van Rysselberghe, Mary Lou. Music in the Elementary School. 6^th ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1992.
• Roach, Donald. Complete Secondary Choral Music Guide. West Nyack, NY: Parker Publishing Co., 1989.
• Shehan-Campbell, Patricia. Lessons from the World. 2^nd ed. New York, NY: Schirmer Books, 2001.
• Shehan-Campbell, Patricia, and Scott-Kassner, Carol. Music in Childhood. 3^rd ed. New York, NY: Schirmer Books, 2006.

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This site is designed as an aid in providing a general overview of the TExES Music exam for teacher certification in Texas. Use of this material in no way guarantees a passing score on the actual TExES Music exam. Test takers seeking certification are ultimately responsible for their own success in meeting all standards and requirements set forth by the State Board for Educator Certification.

TExES Music Practice Exam – Sample Questions

LISTENING (Sample Questions 1 -15 are shown here as examples of the types of listening questions on the actual TExES exam. Reminder: Aural and error detection examples are played twice; all others are played once on the test. Questions 16 – 50 are interactive by selecting an answer.

1. Who is the probable composer of this piece? A. Debussy B. Bartok C. Schubert D. Bach		2. Name the type of chord heard in this example. A. Diminished B. Minor C. Augmented D. Major
3. What is the probable style period of this piece? A. Classical B. 20th Century C. Baroque D. Romantic		4. Name the mode heard in this example. A. Dorian B. Ionian C. Lydian D. Phrygian
5. Who is the probable composer of this piece? A. Josquin B. Mozart C. Bach D. Chopin		6. What is the probable style period of this piece. A. Middle Ages B. Baroque C. Renaissance D. Classical
7. Name the type of cadence heard in this example. A. Plagal B. Perfect Authentic C. Deceptive D. Half		8. Name the genre heard in this example. A. Character piece B. Madrigal C. Art Song D. Concerto
9. Name the type of scale heard in this example. A. Minor B. Pentatonic C. Major D. Whole Tone		10. The rhythmic error is found in which measure? See – For Number 10 A. Measure Two B. Measure Four C. Measure Five D. Measure Eight
For Number 10:
11. Name the interval played in this example. A. Perfect 5th B. Major 3rd C. Perfect Octave D. Minor 3rd		12. The melodic error is found in which voice part? See – For Number 12 A. Soprano B. Tenor C. Bass D. Alto
For Number 12:
13. Who is the probable composer of this piece? A. Brahms B. Debussy C. Vivaldi D. Copland		14. Name the type of triad heard in this example. A. Major B. Minor C. Augmented D. Diminished
15. This piece comes from which of the following works? A. Madame Butterfly B. Pope Marcellus Mass C. Winterreise D. Messiah		16. What is the appropriate tempo of this piece? A. Largo B. Allegretto C. Presto D. Andante
17. Name the composer who used American music of all kinds, regions, and ages, including Shaker tunes, square dances, jazz and orchestral pieces, and cowboy songs and ballets. A. Aaron Copland B. Samuel Barber C. Charles Ives D. Randall Thompson		18. What is the value of a quarter note in 6/8 meter? A. two beats B. one beat C. three beats D. one half beat
19. In the classical style, the opening movement of an instrumental work was often composed in which of the following forms? A. canon B. rondo C. sonata D. partita		20. In the Kodaly method, pitch discrimination is explored by beginning with which of the following intervals? A. Major 2nd B. Minor 6th C. Perfect 5th D. Minor 3rd
21. The spelling E, F#, G#, A#, B#, C##, E represents what type of scale? A. Melodic minor B. Chromatic C. Harmonic minor D. Whole tone		22. Name the term for plucking the strings on bowed string instruments. A. Glissando B. Ritardando C. Staccato D. Pizzicato
23. Name the second two intervals in the overtone series. A. P8 and M3 B. P5 and P4 C. P4 and m3 D. P8 and P5		24. Name the Baroque ABA vocal form that typically required ornamentation by the performer during the repeat of the A section. A. sonata form B. da capo form C. rondo form D. theme and variations form
25. According to the latest research, what is the optimum age range for beginning music instruction? A. 8-12 B. 0-2 C. 3-10 D. 7-14		26. A secondary school choral director wants to teach his students about melody and accompaniment. Which compositional style would be best suited for this lesson? A. Motet B. Gregorian Chant C. Lied D. Fugue
27. Name the pitch that is a minor 6th above the note E-flat. A. C B. B-flat C. C-flat D. D-flat		28. Which of the following is not typically considered to function as one of the vocal resonators? A. pharynx B. sinuses C. diaphragm D. hard and soft palates
29. What term describes short, romantic piano pieces that portray a specific mood or emotion? A. sonatas B. fugues C. preludes D. character pieces		30. Name the composer who is credited with the development of early opera. A. Gesualdo B. Monteverdi C. Mozart D. Puccini
31. What is the instrumentation of a string quartet? A. violin, viola, cello, bass B. violin, violin, viola, cello C. violin, violin, cello, bass D. violin, viola, cello, piano		32. A student has moderate to severe hearing loss. What accommodations should a general specialist make for that student? A. incorporate more rhythm games that allow students to feel vibrations B. sing with less force C. let the students play the higher pitched percussion instruments D. use a microphone when giving class instructions
33. Name the earliest type of vocal polyphony. A. organum B. clausula C. motet D. plainchant		34. Which instrument has the most difficulty playing legato? A. flute B. oboe C. trombone D. trumpet
35. Which of the following groups of instruments is typically used in a Mariachi band? A. trumpet, violin, piano B. violin, trumpet, guitar C. percussion, piano, trumpet D. string bass, trumpet, piano		36. What types of vocal exercises are best for developing the “head voice” tone quality? A. ascending patterns B. fast scale patterns C. long sustained tone patterns D. descending patterns
37. Which of the following instruments is not typically used for beginning band instruction? A. flute B. clarinet C. oboe D. cornet/trumpet		38. Which of the following terms best describes the study of various musical cultures? A. praxial music education B. multiethnic music education C. constructivist music education D. philosophical music education
39. What is the name for the lowest register on the clarinet? A. chalumeau B. throat C. clarion D. altissimo		40. In string pedagogy, the term col legno refers to playing on which part of the bow? A. frog B. horsehair C. wood D. tip
41. In the movable do system, what is the solfege syllable for the raised 6th minor scale degree? A. fi B. fa C. si D. di		42. Which of the following types of scales represent an Eastern, rather than Western, influence in music? A. major B. minor C. chromatic D. pentatonic
43. Which of the following trends led to the breakdown of tonality in late 19th and early 20th century music? A. parallelism B. neo-classicism C. heightened chromaticism D. cross-rhythms		44. Name the medieval dance form derived from the trouvere repertory characterized by lively and insistent rhythms in triple meter. A. alamande B. pavane C. gigue D. estampie
45. Where is vocal sound produced? A. oral cavity B. larynx C. soft palate D. diaphragm		46. The pattern H-W-W-W-H-W-W represents which of the following modes? A. Dorian B. Mixolydian C. Lydian D. Phrygian
47. Name the term for the fugal process of overlapping entrances of the fugue subject A. augmentation B. diminution C. stretto D. inversion		48. Which of the following aspects is not stressed in Dalcroze eurhythmics? A. rhythmic movement B. classroom instruments C. ear training D. improvisation
49. In a plagal cadence, what precedes the final tonic chord? A. submediant B. subdominant C. dominant D. supertonic		50. Which of the following markings indicate an extremely fast tempo? A. vivace B. allegretto C. andante D. largo
51. A vocal student’s tone is choked and tense, what do you do? A. sing Louder B. use foster rather than glottal attacks C. raise the chin D. lift your torso		52. Which of the following keys has five sharps? A. A Major B. C# Minor C. G# Minor D. E Major
53. Who would be the composer most likely to modulate from C Major to E Major? A. Bach B. Beethoven C. Vivaldi D. Monteverdi		54. What form of jazz was in the 1920’s? A. bebop B. fusion C. ragtime d. swing
55. What percussion instrument uses a match grip? A. Cymbals B. Snare drum C. Triangle D. Bass drum		56. What composer incorporated tone poems in their compositions? A. Bartok B. Mendelssohn C. Schuman D. Schubert
57. You are a middle school band director. One of your tuba students is having trouble hitting a low note. What would you tell the student to do? A. tighten B. use less air C. loosen the mouth D. play louder		58. What is a distinguishing feature of gamelan music? A. duple and triple ostinatos highlighted by gongs B. bowed strings C. pentatonic vocal line D. emphasis on up-beats

This site is designed as an aid in providing a general overview of the TExES Music exam for teacher certification in Texas. Use of this material in no way guarantees a passing score on the actual TExES Music exam. Test takers seeking certification are ultimately responsible for their own success in meeting all standards and requirements set forth by the State Board for Educator Certification.

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