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Chapter 13 Quiz
Chapter 13 Quiz
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AP Music Theory Quiz
Flashcards
34 cards
F
Practice quiz
P
Host live
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Questions
34
Answers
1
In the excerpt from Beethoven’s Piano Sonata, Which measure (in red) contains a ii
o6
chord?
3
4
6
7
2
Which figure represents a root-position triad?
53
64
6
7
3
Which inversion of a dominant seventh chord creates the strongest harmonic progression?
third inversion
root position
first inversion
second inversion
4
Which of the following is an acceptable realization of the following figured bass?
4
3
2
1
5
A V
6
5
typically resolves to a:
I or I6 (or i or i6) are equally likely resolutions
root position I (or i)
I64 (or i64 )
I6 (or i6)
6
In common-practice composition, a V
4
2
must resolve to a I
6
.
False
True
7
In some instances in a PAC it is possible to allow 7 to skip down to 5 rather than resolve to 1
True
False
8
Study the following excerpt from Beethoven’s Piano Sonata. Which chord is a predominant chord?
4
3
2
1
9
What is the best harmonic analysis for the chord in measures 3–4?
IV
ii65
IV7
ii6
10
Which of the following voice-leading problems is shown in this example?
contrary octaves
voice crossing
voice overlap
contrary fifths
11
A V
4
2
typically resolves to a:
I64 (or i64 )
root position I (or i)
I6 (or i6)
I or I6 (or i or i6) are equally likely resolutions
12
Study the excerpt from Handel’s Messiah. Which section contains a predominant chord?
3
6
4
5
13
Predominant harmonies lead to the dominant harmony within the basic phrase.
True
False
14
Which is an acceptable realization of the following figured bass?
4
1
3
2
15
Which of the following is not a triad with a predominant function?
ii (or ii°)
IV (or iv)
ii6 (or ii°6)
viio6
16
In the excerpt from Beethoven’s Piano Sonata, where does the C5 on beat 1 of measure 6 resolve?
to the Bb4 on the downbeat of measure 7
to the G#5 immediately following it
to the A5 in the same measure
it does not need to resolve
17
In figured bass, a slash through a number means that pitch should be raised by 1/2 step.
True
False
18
Which member of a dominant seventh chord can be omitted?
Root
Third
Seventh
Fifth
19
True or false: The seventh of a dominant seventh chord tends to resolve up by step.
True
False
20
Which of the following is an acceptable realization for the following figured bass?
4
1
2
3
21
Which of the following is an acceptable realization of the following figured bass?
4
2
3
1
22
When are direct or “hidden” fifths objectionable?
When both outer voices move by leap.
When they appear in inner voices.
Direct or “hidden” fifths are always objectionable.
When the soprano moves by step.
23
Why must a V
4
2
chord resolve to a I
6
?
Because the I6 is a dissonant chord.
Because the bass voice can’t leap as part of a resolution.
Because it results in a perfect authentic cadence.
The chordal 7th is in the bass, which must resolve down.
24
What voice-leading error does this example illustrate?
Direct Octaves
No Error
Parallel Fifths
Melodic motion by augmented interval
25
Which of the following highlighted areas illustrate a V
4
2
–I
6
progression?
2
3
1
4
26
In a figured bass, melodic embellishing tones are included in the figures.
True
False
27
It is rare to see a root-position triad built on the supertonic in minor keys.
False
True
28
Which of the following is an acceptable realization of the following figured bass?
3
2
1
4
29
The motion between the two voices marked in the red box can be described as:
parallel fifths
unequal fifths
contrary fifths
hidden fifths
30
With a V7 to I, which two scale degrees of the V7 chord are tendency tones that should resolve?
6 and 7
4 and 7
3 and 4
2 and 4
31
A direct or “hidden” fifth occurs when a perfect fifth is approached by contrary motion.
False
True
32
The voices marked form a direct or hidden fifth.
True
False
33
True or false: A V7 chord has only one tendency tone that requires resolution.
True
False
34
In figured bass, figures show diatonic intervals above the bass.
False
True
