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Key Facts: Madrid PAU Music Analysis II Exam

90 min

Duración oficial del examen presencial de PAU en Madrid

Comisión Organizadora de la PAU de Madrid / UCM

0–10

Escala oficial de calificación (mínimo 4.0 para ponderar)

Universidad Complutense de Madrid

93.02 €

Tasa base de inscripción en la Fase de Acceso en Madrid

Boletín Oficial de la Comunidad de Madrid (BOCM)

5 Bloques

Áreas temáticas evaluadas según el currículo LOMLOE

Comisión Organizadora de la PAU de Madrid

100

Preguntas de práctica en este banco de evaluación

OpenExamPrep

Madrid PAU Music Analysis II (2026) is a 90-minute university entrance examination testing 2º Bachillerato Music Analysis II across 5 key syllabus domains.

Sample Madrid PAU Music Analysis II Practice Questions

Try these sample questions to review concepts for the Madrid PAU Music Analysis II exam. Each question includes a detailed explanation. Start the interactive quiz above for the full 100+ question experience with AI tutoring.

1In Classical sonata-allegro form written in a major key, into which key does the primary theme transition during the Exposition section?
A.The dominant key (V)
B.The relative minor key (vi)
C.The subdominant key (IV)
D.The parallel minor key (i)
Explanation: In Classical sonata-allegro form movements starting in a major key, the Exposition transitions from the tonic key (I) to the dominant key (V) to establish the primary tonal conflict. The secondary theme group and closing section are then presented in this new dominant key until the Exposition concludes.
2What key relationship defines the Recapitulation section of a Classical sonata-allegro form movement?
A.Both primary and secondary themes are presented in the dominant key
B.Both primary and secondary themes are resolved and presented in the tonic key
C.The secondary theme is transposed to the subdominant key while the primary theme remains in tonic
D.The primary theme is transposed to the relative minor key while the secondary theme is in tonic
Explanation: The Recapitulation achieves formal and tonal resolution by re-stating both the primary and secondary theme groups in the home tonic key (I). This resolves the structural harmonic tension introduced during the Exposition and Development.
3How does a simple continuous binary form (||: A :||: B :||) differ structurally from a simple sectional binary form?
A.Simple continuous binary form repeats the entire B section twice, whereas sectional binary does not
B.Simple continuous binary form contains a complete thematic recapitulation of section A inside section B
C.Section A of a continuous binary form ends on a non-tonic cadence (such as V or III), requiring section B to complete the tonal trajectory
D.Section A of a sectional binary form ends on an augmented sixth chord that resolves in section B
Explanation: In binary form structural classification, 'continuous' indicates that Section A does not conclude with an authentic cadence in the home tonic key (usually ending on V or the relative major), thus creating tonal open-endedness that section B must resolve. In 'sectional' binary form, Section A ends with a conclusive authentic cadence in the home tonic.
4What structural element distinguishes Rounded Binary form (||: A :||: B A' :||) from a true Ternary form (A B A)?
A.Rounded binary form is always unrepeated, while ternary form requires repeat signs around all sections
B.Rounded binary form contains a full modulation to the subdominant, whereas ternary form stays exclusively in the tonic
C.In rounded binary form, section B is structurally dependent on section A and ends with only a partial return of section A (A')
D.Ternary form contains no contrasting material in its central section B, whereas rounded binary form does
Explanation: In Rounded Binary form, the B section is shorter and harmonically tied to the return of part of section A (A'), forming a two-part structural repeat division ||: A :||: B A' :||. In contrast, true Ternary form (A B A) consists of three self-contained, independent sections where section B is a distinct contrasting entity and section A returns in full.
5What is the standard structural diagram for a Classical Five-Part Rondo form?
A.A B A C A
B.A B C D E
C.A A' A'' A''' A''''
D.A B A B A
Explanation: Five-Part Rondo form follows the structural plan A B A C A, where the principal theme or refrain (A) recurs in the home tonic key alternating with two distinct contrasting episodes (B and C).
6In a Seven-Part Sonata-Rondo form (A B A C A B A), what key relationship typically governs the second appearance of episode B in the recapitulatory phase?
A.Episode B is transposed to the dominant key
B.Episode B is transposed to the home tonic key
C.Episode B is transposed to the submediant key
D.Episode B is presented in the parallel minor key
Explanation: Sonata-Rondo form synthesizes sonata-allegro principles with rondo structure. The first episode B appears in a contrasting key (usually dominant) during the exposition phase, while its second appearance near the end is transposed back to the home tonic key (I), mirroring the sonata recapitulation.
7In a Baroque fugue, what distinguishes a 'Tonal Answer' from a 'Real Answer' when responding to the Subject?
A.A tonal answer is played on a keyboard instrument, while a real answer is sung by a choir
B.A tonal answer doubles the tempo of the subject, while a real answer plays at normal tempo
C.A tonal answer modifies an interval (usually changing a 5th to a 4th) to remain strictly within the home key
D.A real answer transposes the subject to the subdominant, while a tonal answer transposes to the relative minor
Explanation: A 'Real Answer' is an exact interval-for-interval transposition of the fugue Subject to the dominant key. A 'Tonal Answer' slightly alters specific intervals (most commonly modifying a dominant-to-tonic opening leap into a tonic-to-dominant leap) to prevent premature modulation and keep the entry securely tied to the home key.
8What contrapuntal device occurs in a fugue when subject entries overlap before previous statements have finished?
A.Augmentation
B.Inversion
C.Episode
D.Stretto
Explanation: 'Stretto' occurs when fugal entries enter in close succession, with a second voice introducing the subject before the first voice has finished articulating it. This creates heightened contrapuntal density and dramatic tension, typically near climax points or final climactic sections.
9How do Chaconne and Passacaglia forms maintain structural unity across successive variations?
A.By repeating a persistent ground bass pattern or repeating harmonic progression
B.By alternating allegro and adagio sections with identical melodic lines
C.By modulating through all twelve major keys in a circle of fifths sequence
D.By employing a continuous double-exposition concertante structure
Explanation: Both Chaconne and Passacaglia are continuous variation forms built upon a repeating ground bass ostinato or recurring harmonic chord progression (basso ostinato), over which upper voices elaborate continuous melodic and textural variations.
10In a Classical Minuet and Trio movement (A B A), how is the final return of the Minuet (A) performed after completing the Trio (B)?
A.The Minuet is played in reverse order from end to beginning
B.The Minuet is repeated Da Capo without section internal repeats (Da Capo senza replica)
C.The Minuet is transposed up a perfect fifth with added vocal solos
D.The Minuet is replaced by a newly composed fugal development
Explanation: Following the Trio (section B), the score indicates 'Minuet Da Capo' (or D.C. al Fine). Standard Classical performance convention dictates playing the Minuet again from the beginning without observing internal section repeats ('senza replica').

About the Madrid PAU Music Analysis II Exam

The Madrid PAU Music Analysis II examination (Análisis Musical II 2026) is the official standardized assessment for 2º Bachillerato arts and humanities students seeking university admission in the Community of Madrid. Grounded in the official LOMLOE curriculum, the exam evaluates mastery across 5 core domain areas: Musical Form & Structural Analysis (25%), Harmony & Tonality (25%), Historical Styles & Genres (20%), Score Reading & Notation (15%), and Musical Texture & Instrumentation (15%).

Exam sponsor: PAU Organising Commission of the Community of Madrid / Universidad Complutense de Madrid (UCM). The requirements and fees below concern the certification or admission exam, separate from our free practice resources.

Assessment

Written 90-minute standardized exam. Practice items are a multiple-choice analytical adaptation of the official open/semi-constructed Madrid PAU paper, providing comprehensive syllabus coverage.

Time Limit

90 minutes (1.5 hours)

Passing Score

Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).

Exam / Certification Fees

EUR 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase).

Exam sponsor website

Fees, eligibility, and exam policies can change. Confirm them with the exam sponsor before applying or paying.

Our practice resources: topics covered

We aim to reflect publicly available exam outlines and topic information in our study resources. Coverage, format, and difficulty may differ from the actual exam, and we cannot guarantee that every detail is accurate or current. Confirm exam requirements, fees, and policies with the official exam sponsor.

25%

Musical Form & Structural Analysis

Binary, ternary, rondo, sonata-allegro form, fugue, theme and variations, lied structures, and concerto designs.

25%

Harmony & Tonality

Cadence formulas, Roman numeral harmonic analysis, chord inversions, non-harmonic tones, secondary dominants, chromatic chords, and modulation processes.

20%

Historical Styles & Genres

Stylistic traits and masterworks from Medieval Gregorian chant through Renaissance polyphony, Baroque, Classicism, Romanticism, and 20th/21st-century avant-garde movements.

15%

Score Reading & Notation

Clef transpositions, transposing instruments (Clarinet in B-flat, Horn in F, Saxophones), expressive terminology, metric structures, and full orchestral score conventions.

15%

Musical Texture & Instrumentation

Monophony, polyphony, homophony, heterophony, contrapuntal devices, organology, instrumental timber, extended techniques, and acoustic harmonic series.

Preparing for the Madrid PAU Music Analysis II Exam

What You Need to Know

  • Passing score: Marked on a 0–10 scale. Minimum 4.0 required in Access Phase to combine with Bachillerato GPA (60% Bachillerato + 40% PAU >= 5.0 to pass).
  • Assessment: Written 90-minute standardized exam. Practice items are a multiple-choice analytical adaptation of the official open/semi-constructed Madrid PAU paper, providing comprehensive syllabus coverage.
  • Time limit: 90 minutes (1.5 hours)
  • Exam / certification fees: EUR 93.02 base registration fee for compulsory Access Phase in Community of Madrid (or ~11.63 € per optional subject in voluntary phase). Official sources

Using Our Practice Resources

  • Work through all 100 available questions
  • Review every answer and explanation
  • Track weak areas and revisit them
  • Use our AI tutor for tough concepts

Madrid PAU Music Analysis II: Suggested Study Strategy

1Practica la identificación visual y auditiva de las secciones principales de la forma sonata: Exposición (Tema A, Transición, Tema B en clave dominante/relativa), Desarrollo y Reexposición monotonal.
2Memoriza las fórmulas cadenciales fundamentales: Auténtica perfecta (V-I), Plagal (IV-I), Deceptiva o Rota (V-vi), Cadencia a la dominante (I-V) y Cadencia Frigia (iv6-V en modo menor).
3Revisa la regla de transposición para instrumentos en Si bemol, Fa, Mi bemol y La, calculando la nota real emitida en función del tono escrito.
4Estudia la evolución de las texturas musicales a lo largo de la historia: Monodia gregoriana, Polifonía renacentista, Bajo continuo barroco, Homofonía clásica y Dodecafonismo del siglo XX.
5Analiza partituras completas reconociendo notas extrañas a la armonía: notas de paso, bordaduras, retardos 4-3 y 7-6, apoyaturas y pedales de tónica o dominante.

Frequently Asked Questions

¿Cuál es la estructura del examen de PAU de Análisis Musical II en la Comunidad de Madrid?

El examen presencial dura 90 minutos y consta de preguntas sobre análisis de partituras, identificación de formas musicales, cadencias, funciones armónicas y contextualización de estilos históricos.

¿Cómo influye la nota de Análisis Musical II en el cálculo de la nota de admisión a la universidad?

La nota se evalúa sobre 10 puntos. Para poder ponderar en la nota final de la Fase de Acceso (calificación global de la PAU), se requiere obtener una nota mínima de 4.0 sobre 10 en cada materia obligatoria.

¿En qué idioma se realiza el examen oficial en Madrid?

El examen oficial presencial de la Comunidad de Madrid se realiza en español. Este banco de preguntas ofrece una adaptación didáctica en inglés para facilitar el estudio sistemático del temario oficial de 2º de Bachillerato.

¿Qué ponderación tienen los bloques temáticos de Análisis Musical II?

Forma y Análisis Estructural representa un 25%, Armonía y Tonalidad un 25%, Estilos y Géneros Históricos un 20%, Lectura de Partituras y Notación un 15%, y Textura e Instrumentación un 15%.

¿Cuál es la cuota de inscripción de la PAU en la Comunidad de Madrid?

La tasa ordinaria de inscripción para la Fase de Acceso en la Comunidad de Madrid fijada por las universidades públicas (UCM, UAM, UPM, UC3M, URJC, UAH) es de 93.02 €.