AGO AGO Sacred Music Composition & Arranging 1 — Questions and Answers
Question 1: When harmonizing a traditional hymn tune for SATB choir, proper voice-leading requires:
- Doubling the leading tone in every chord
- Resolving the leading tone upward to the tonic and avoiding parallel fifths/octaves (Correct answer)
- Always moving all voices in the same direction
- Placing the melody in the bass voice
Correct answer: Resolving the leading tone upward to the tonic and avoiding parallel fifths/octaves
Standard SATB voice-leading requires the leading tone to resolve upward to the tonic and prohibits parallel perfect fifths and octaves between any two voices.
Question 2: A hymn tune in Dorian mode on D is built on:
- D-E-F#-G-A-B-C#-D (D major scale)
- D-E-F-G-A-B-C-D (natural minor with raised 6th) (Correct answer)
- D-E-F-G-A-Bb-C-D (natural minor with lowered 6th)
- D-Eb-F-G-Ab-Bb-C-D
Correct answer: D-E-F-G-A-B-C-D (natural minor with raised 6th)
Dorian mode on D is identical to a D natural minor scale except the sixth degree is raised a half step (B natural instead of Bb), giving it a characteristic brightness.
Question 3: When setting a psalm text for unison choir and organ, which compositional approach best serves congregational comprehension?
- Complex polyrhythmic texture that challenges singers
- Syllabic text setting with clear phrase structure aligned to the text's natural speech rhythm (Correct answer)
- Melismatic runs on every accented syllable
- Avoiding all rests so there is no breathing room
Correct answer: Syllabic text setting with clear phrase structure aligned to the text's natural speech rhythm
Syllabic setting — one note per syllable — aligned to natural speech rhythm ensures the text remains intelligible and the congregation can follow easily.
Question 4: In an organ voluntary arrangement, 'cantus firmus' technique means:
- Improvising freely with no pre-existing melody
- Stating a pre-existing hymn tune in long notes while surrounding voices move in counterpoint (Correct answer)
- Playing only the hymn tune without any ornamentation
- Using only the Pedal division for all voices
Correct answer: Stating a pre-existing hymn tune in long notes while surrounding voices move in counterpoint
Cantus firmus technique places a pre-existing melody in long, sustained notes (often in the tenor or soprano) while other voices provide independent contrapuntal accompaniment.
Question 5: Which form is most commonly used for organ settings of a chorale prelude in the Lutheran tradition?
- Sonata-allegro form
- Through-composed settings where each phrase of the chorale is elaborated in turn (Correct answer)
- Rondo form with repeated refrain
- Theme and variations in jazz style
Correct answer: Through-composed settings where each phrase of the chorale is elaborated in turn
The Lutheran chorale prelude is typically through-composed, elaborating each phrase of the hymn tune in succession with introductory or accompanying counterpoint.
Question 6: When writing a harmonization for a congregational hymn, which interval should be avoided as a final cadential bass movement for strength and clarity?
- Descending fifth (V–I)
- Ascending step (VII–I, leading tone to tonic)
- Ascending fourth (IV–I, plagal)
- Descending second (II–I) (Correct answer)
Correct answer: Descending second (II–I)
A bass movement by descending half step (such as bVII to I) creates a weak, ambiguous cadence unsuitable for congregational hymn closings; strong authentic or plagal cadences are preferred.
AGO AGO Sacred Music Composition & Arranging 1
When harmonizing a traditional hymn tune for SATB choir, proper voice-leading requires: