AP Music Theory Practice Quiz: Harmonic Progression, Functional Harmony, and Cadences

Written by AP Content Team, Verified for 2026 AP Exams, Last updated: May 2026

Test your understanding with short quizzes. This quiz has 13 questions to check your progress.

Question 1 of 13

According to the provided text, what are the three primary harmonic functions a chord can fulfill within a progression?

A)Major, Minor, and DiminishedB)Tonic, Dominant, and PredominantC)Authentic, Plagal, and DeceptiveD)Root, First Inversion, and Second Inversion

All Questions (13)

According to the provided text, what are the three primary harmonic functions a chord can fulfill within a progression?

A) Major, Minor, and Diminished

B) Tonic, Dominant, and Predominant

C) Authentic, Plagal, and Deceptive

D) Root, First Inversion, and Second Inversion

Correct Answer: B

The text explicitly states that 'all chords in a given harmonic progression may be described as fulfilling one of the following functions—tonic, dominant, or predominant.'

What is the definition of a cadence as described in the content?

A) The web of relationships governing the ordering of chords.

B) The contextual role a chord possesses within a progression.

C) The point of relative repose that concludes a harmonic progression or melodic phrase.

D) A group of chords that fulfill a dominant function.

Correct Answer: C

The text defines a cadence as 'the point of relative repose that concludes a harmonic progression or melodic phrase.'

Which of the following is classified as a conclusive cadence in the provided text?

A) Half cadence

B) Deceptive cadence

C) Imperfect authentic cadence

D) Plagal cadence

Correct Answer: D

The text lists conclusive cadences as 'perfect authentic and plagal cadences.' The other options are listed as inconclusive.

Based on the provided information, which of the following is an example of an inconclusive cadence?

A) Perfect authentic cadence

B) Plagal cadence

C) Deceptive cadence

D) Tonic cadence

Correct Answer: C

The text identifies inconclusive cadences as 'half, imperfect authentic, and deceptive cadences.'

In tonal music, the contextual role that each chord possesses is identified as its:

A) Cadence

B) Repose

C) Function

D) Progression

Correct Answer: C

The text states, '...each chord possesses a contextual role, identified as its function.'

According to the text, what fundamental characteristic distinguishes a perfect authentic cadence from a half cadence?

A) One is used in performed music, while the other is only in notated music.

B) One is considered conclusive, while the other is inconclusive.

C) One involves a tonic chord, while the other does not.

D) One concludes a melodic phrase, while the other concludes a harmonic progression.

Correct Answer: B

The text places the perfect authentic cadence in the 'conclusive' category and the half cadence in the 'inconclusive' category, which is their primary categorical difference.

The text groups half, imperfect authentic, and deceptive cadences into which general category?

A) Dominant cadences

B) Conclusive cadences

C) Predominant cadences

D) Inconclusive cadences

Correct Answer: D

The text explicitly states that half, imperfect authentic, and deceptive cadences are types of 'inconclusive cadences.'

A musical phrase that ends with a strong feeling of finality and rest would most likely be concluded by which type of cadence, according to the provided classifications?

A) Half cadence

B) Perfect authentic cadence

C) Imperfect authentic cadence

D) Deceptive cadence

Correct Answer: B

A strong feeling of finality corresponds to a 'conclusive' cadence. Of the options provided, the perfect authentic cadence is listed as a conclusive type, while the others are listed as inconclusive.

A chord's function is determined by its role in the harmonic context. A chord that sets up or leads to the dominant chord would be fulfilling which function?

A) Tonic

B) Predominant

C) Conclusive

D) Inconclusive

Correct Answer: B

Among the three functions listed (tonic, dominant, predominant), the term 'predominant' implies a function that occurs 'before the dominant.'

The text states that in tonal music, the ordering of chords is governed by:

A) The tempo of the piece.

B) A web of relationships where each chord has a function.

C) The final cadence type.

D) The performer's interpretation.

Correct Answer: B

This is a direct reference from the text: '...the ordering of chords is governed by a web of relationships where each chord possesses a contextual role, identified as its function.'

According to the provided categories, what do a plagal cadence and a perfect authentic cadence have in common?

A) They both end on a predominant chord.

B) They are both categorized as inconclusive.

C) They both provide a sense of conclusion or repose.

D) They are only identifiable in performed music.

Correct Answer: C

Both plagal and perfect authentic cadences are listed under the category of 'conclusive cadences.' A conclusive cadence, by definition, provides a point of relative repose or conclusion.

Which of the following cadence types is NOT listed as inconclusive in the provided text?

A) Half cadence

B) Imperfect authentic cadence

C) Plagal cadence

D) Deceptive cadence

Correct Answer: C

The text lists half, imperfect authentic, and deceptive cadences as inconclusive. The plagal cadence is listed as conclusive.

A composer wants to end a musical phrase in a surprising way that avoids the expected resolution and leaves the listener feeling that the music must continue. Based on the text's classifications, which cadence type would best achieve this effect?

A) Perfect authentic cadence

B) Plagal cadence

C) Deceptive cadence

D) Tonic cadence

Correct Answer: C

The desire for a surprising ending that avoids resolution points to an inconclusive cadence. The term 'deceptive' itself implies a subversion of expectation, making it the most suitable choice among the options for creating surprise and a feeling of continuation.