AP Music Theory Unit 3: Music Fundamentals III: Triads and Seventh Chords Practice Exam

1. [Skill: 1.A | Topic: 3.1] A student is analyzing four simultaneously sounding pitch collections from notated music. Each collection is intended to form a triad in root position. Which pitch collection forms a diminished triad? Stimulus (pitch collections): I. C–E–G II. D–F–A III. B–D–F IV. F–A–C#

2. [Skill: 1.C | Topic: 3.1] In performed music, a student hears a root-position triad built on A. The student determines that the chord contains: - a minor third above the root, and - a diminished fifth above the root. Which chord quality is being described?

3. [Skill: 1.A | Topic: 3.1] A triad is shown below in notated music (all notes sound simultaneously): Pitches: A–C#–E# What is the quality of this triad?

4. [Skill: 1.A | Topic: 3.1] A student is asked to classify the chord type (triad vs. seventh chord) shown in a score. Pitches sounding simultaneously: G–B–D–F Which statement correctly identifies the chord type?

5. [Skill: 1.D | Topic: 3.1] A student must spell a minor triad with the root E-flat (E♭) using correct note names. Which option correctly spells an E♭ minor triad?

6. [Skill: PIT-2.A | Topic: 3.2] In the key of G major, a notated sonority contains the pitches G–B–D. The bass note is D. Which Roman numeral and figured bass label correctly identifies this chord?

7. [Skill: PIT-2.A | Topic: 3.2] In the key of E minor, a notated seventh chord contains the pitches F#–A–C–E. The bass note is A. Which Roman numeral and figured bass label correctly identifies this chord?

8. [Skill: 3.C | Topic: 3.2] A short notated progression is in the key of D major: Chord 1: G–B–D (bass G) Chord 2: A–C#–E–G (bass A) Which choice provides the correct Roman numeral analysis for Chord 1 → Chord 2?

9. [Skill: PIT-2.A | Topic: 3.2] An excerpt is in the key of B♭ major. Two consecutive chords are notated as follows: Chord 2: C–E♭–G (bass E♭) Chord 3: F–A–C–E♭ (bass A) Which choice correctly identifies Chord 2 and Chord 3 using Roman numerals and figured bass?

10. [Skill: 1.A | Topic: 3.4] A notated chord in a score (key signature: 4 sharps) is spelled E–G#–B–D# (all sounding simultaneously). Which of the following best describes the quality of this seventh chord?

11. [Skill: 1.B | Topic: 3.4] In a performance, you hear a four-note chord with A in the bass. The upper voices sound C, E, and G above the bass (no other pitches). Which chord quality best matches what you hear?

12. [Skill: 3.A | Topic: 3.4] Consider the following harmonic motion in C major: Chord 1: G–B–D–F (a seventh chord) Chord 2: C–E–G (a triad) Which note in Chord 1 is the chordal dissonance (the chordal seventh), and what is its most typical resolution tendency in common-practice voice leading?

13. [Skill: 2.A | Topic: 3.4] A student is asked to construct a half-diminished seventh chord (ø7) on the root B. Which pitch collection is the correct result?

14. [Skill: 2.A | Topic: 3.5] In a four-voice chorale in the key of G major, the sonority at a cadence is spelled (from lowest to highest): Bass B, Tenor G, Alto E, Soprano C. Which Roman numeral and figured bass correctly analyzes this chord in G major?

15. [Skill: 2.A | Topic: 3.5] A notated harmony in the key of D major contains the pitches (from lowest to highest): Bass G, Tenor E, Alto C#, Soprano A. Which analysis is correct?

16. [Skill: 2.A | Topic: 3.5] In the key of F major, a chord is spelled (from lowest to highest): Bass D, Tenor B♭, Alto G, Soprano E. Which Roman numeral and figured bass correctly identifies the chord?

17. [Skill: 2.B | Topic: 3.5] A short performed progression in a minor is described as follows: - Chord 1: i (A–C–E) - Chord 2: a four-note chord with bass D and upper voices E, G#, and B Which Roman numeral and figured bass best analyzes Chord 2 in a minor?

18. **1.** [Skill: 2.A | Topic: 3.6] **Stimulus:** In the key of G major, a chord contains the pitch classes F#–A–C–E. Which Roman numeral and chord quality correctly identify this chord in G major?

19. **2.** [Skill: 2.A | Topic: 3.6] **Stimulus:** Consider the following chord progression in D minor (harmonic minor implied): i → iv6 → V65 → i Which chord in the progression most strongly creates the need for resolution back to tonic, and why?

20. **3.** [Skill: 2.A | Topic: 3.6] **Stimulus:** In C major, the bass note is G and the upper voices form the pitches C and E above it, creating the sonority G–C–E immediately before a root-position G–B–D chord. How should the first sonority be analyzed in Roman numerals (relative to C major) in this cadential context?

21. **4.** [Skill: 2.A | Topic: 3.6] **Stimulus:** In E♭ major, a V7 chord (B♭–D–F–A♭) resolves to I (E♭–G–B♭). The pitch A♭ appears in an upper voice in the V7 chord. Which statement correctly describes the role and typical resolution of A♭ in this context?

22. [Skill: PIT-2.B | Topic: 3.3] In the key of C major, a figured-bass line is shown below. Assume each bass note with its figure(s) represents one chord. Chord 1: Bass note E with figure 6 Chord 2: Bass note D with figure 6/5 Chord 3: Bass note G with figure 7 Which of the following Roman numeral analyses (including inversion figures) best matches the implied harmonic progression?