| Question | Answer |
|---|
| Homorhythmic march in Brahms | |
| Moment of antiphony between strings and piano in Schumann (development) | |
| 2 bars where cello descends by a tone in Schumann | |
| Fugal passage in Brahms | |
| Rhythmically driven 'B' section in Brahms | |
| High G held over 5 bars in Mendelssohn | |
| Number of bars of cello cadenza in Dvorak | |
| Start of development in Debussy, punctuated by 4 bars of homorhythm | |
| Ascending sequence with associated semitone modulation in Dvorak | |
| Debussy: new theme in cello, violin I, accompanied by semiquavers | |
| | Question | Answer |
|---|
| Added 9th in dominant chord in transition in which 3 bars in Schumann? | |
| Bars of repeated offbeat quavers in Mendelssohn (increase drama) | |
| Use of upper part of piano's tessitura in Dvorak | |
| Lyrical C sharp major theme in Dvorak | |
| New theme in Debussy offset by a crotchet | |
| Bar where we see main theme of Debussy in mixolydian on Db | |
| Brief modulations to C sharp major in Dvorak | |
| Bars in 4th movement of Schumann with fugal entries in A minor, G major and E flat major respectively | |
| Figure in Debussy where second subject returns in octaves | |
|
'The' Bands
Finish the Lyric
Figure Out the Disney Lyrics II
