AP Music Theory Unit 4 Practice Test & Exam | 10 Questions

Estimated Time: 60 minutes

1. [Skill: 2A | Topic: 4.3] In the key of C major, a four-measure phrase contains the following harmonic progression (one chord per measure): m.1: I m.2: vi m.3: ii6 m.4: V7 Which choice best identifies the harmonic function of each chord in this progression, in context?

(A)Tonic, tonic, predominant, dominant(B)Tonic, predominant, tonic, dominant(C)Predominant, tonic, predominant, dominant(D)Tonic, dominant, predominant, tonic

2. [Skill: 2A | Topic: 4.3] A phrase in G major ends with the following two chords: Penultimate chord: V6 (D–F#–A) with F# in the bass Final chord: I (G–B–D) The soprano note on the final chord is B. Which cadence type best describes this ending?

(A)Perfect authentic cadence (PAC)(B)Imperfect authentic cadence (IAC)(C)Half cadence (HC)(D)Plagal cadence

3. [Skill: 2A | Topic: 4.3] In the key of A minor, a phrase ends with the following two Roman numerals: m.7: V m.8: VI Which cadence type is indicated?

(A)Half cadence(B)Deceptive cadence(C)Plagal cadence(D)Perfect authentic cadence

4. [Skill: 2A | Topic: 4.3] A four-chord progression in E-flat major is shown below: I → iii → IV → V Based on harmonic context (how the chords behave in the progression), what is the best functional label for the iii chord?

(A)Tonic (a tonic-prolonging/substitute harmony)(B)Predominant (a preparation for dominant)(C)Dominant (creates cadential drive to tonic)(D)Nonfunctional (cannot be assigned a function)

5. [Skill: 2A | Topic: 4.3] A notated phrase in D major ends on a sustained A major chord (A–C#–E). The harmonic rhythm slows at the end and there is a fermata on the final chord. Which statement best describes the cadence?

(A)It is a half cadence and is generally inconclusive.(B)It is a perfect authentic cadence and is generally conclusive.(C)It is a plagal cadence and is generally conclusive.(D)It is a deceptive cadence and is generally inconclusive.

6. [Skill: 2A | Topic: 4.3] Consider the following chord progression in F major (one chord per beat): I – IV – ii6 – V7 – I Which option correctly identifies the function of the chords IV and ii6 in this progression?

(A)Both are predominant(B)IV is tonic; ii6 is dominant(C)IV is dominant; ii6 is tonic(D)Both are dominant

7. [Skill: 2A | Topic: 4.3] A chorale phrase in C major ends with these last two chords (as labeled by the student): m.11: IV m.12: I The student concludes: "This cadence is inconclusive because it does not use a V chord." Which choice best evaluates the student’s conclusion, using the standard cadence categories for this unit?

(A)The student is incorrect; IV to I is a plagal cadence, which is generally conclusive.(B)The student is correct; any cadence without V must be inconclusive.(C)The student is incorrect; IV to I is a half cadence, which is generally inconclusive.(D)The student is incorrect; IV to I is a deceptive cadence, which is generally inconclusive.

8. In a four-part harmonic progression in the key of $B\flat$ major, a $\text{viio}^{\emptyset6}_5$ chord resolves to a $I$ chord. According to 18th-century voice-leading procedures, which of the following describes the correct resolution of the chordal seventh?

(A)The chordal seventh ($G$) resolves downward by step to $F$.(B)The chordal seventh ($G$) resolves upward by step to $A$.(C)The chordal seventh ($E\flat$) resolves downward by step to $D$.(D)The chordal seventh ($A$) resolves upward by step to $B\flat$.

9. [Skill: 1.B | Topic: 4.4] An SATB realization of a $V^7$ to $I$ progression in F major contains the following part-writing: - Soprano: $E_5$ to $F_5$ - Alto: $B\flat_4$ to $C_5$ - Tenor: $G_4$ to $A_4$ - Bass: $C_3$ to $F_3$ Which of the following describes the voice-leading error present in this progression?

(A)The leading tone in the soprano fails to resolve to the tonic.(B)The chordal seventh in the alto fails to resolve downward by step.(C)The fifth of the dominant seventh chord is incorrectly doubled.(D)Parallel octaves are created between the bass and the soprano.