AP Music Theory Practice Quiz: Additional 6/4 Chords

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

Test your understanding with short quizzes. This quiz has 16 questions to check your progress.

Question 1 of 16

According to the text, what is the primary function of a passing 6/4 chord?

A)To harmonize a passing tone in the bass.B)To create a stationary harmony over a moving bass.C)To embellish a root-position triad with upper neighbors.D)To arpeggiate the primary triad in a waltz.

All Questions (16)

According to the text, what is the primary function of a passing 6/4 chord?

A) To harmonize a passing tone in the bass.

B) To create a stationary harmony over a moving bass.

C) To embellish a root-position triad with upper neighbors.

D) To arpeggiate the primary triad in a waltz.

Correct Answer: A

The content states, 'The passing 6/4 harmonizes the second note of a three-note ascending or descending scale fragment in the bass; it harmonizes a bass passing tone.'

How is a neighboring or pedal 6/4 chord formed?

A) The bass arpeggiates a triad while the upper voices remain stationary.

B) The bass moves stepwise while the upper voices leap to the new chord.

C) The third and fifth of a triad are embellished by upper neighbors over a stationary bass.

D) All voices move in stepwise, parallel motion to the next chord.

Correct Answer: C

The text describes this chord: 'The neighboring or pedal 6/4 occurs when the third and fifth of a root-position triad are embellished by their respective upper neighbor tones while the bass remains stationary.'

Which characteristic uniquely identifies an arpeggiated 6/4 chord?

A) The upper voices move by step.

B) It occurs on a weak beat.

C) The bass line arpeggiates a triad.

D) The bass note is a stationary pedal tone.

Correct Answer: C

The content specifies that 'The arpeggiated 6/4 results from triad arpeggiation in the bass.'

When part-writing a passing 6/4 chord, which member of the 6/4 chord should be doubled?

A) The root

B) The third

C) The fifth

D) Any member can be doubled

Correct Answer: C

The voice-leading rule is explicitly stated: 'When part-writing a passing 6/4 chord, the fifth of the 6/4 chord should be doubled...'

In a pedal 6/4 chord, what is the typical behavior of the bass voice?

A) It moves in stepwise motion.

B) It remains stationary.

C) It arpeggiates the triad.

D) It leaps to the root of the next chord.

Correct Answer: B

The definition of a pedal 6/4 chord includes the detail that 'the bass remains stationary.'

When part-writing an arpeggiated 6/4 chord, how do the three upper voices typically move?

A) They are stationary.

B) They move in contrary motion to the bass.

C) They move in stepwise motion.

D) They arpeggiate a different triad.

Correct Answer: A

The provided rule states, 'When part-writing an arpeggiated 6/4 chord... The three upper voices are stationary and only the bass moves.'

Passing 6/4 and pedal 6/4 chords most commonly occur on what type of beat?

A) The downbeat

B) A strong beat

C) A weak beat

D) The final beat of a measure

Correct Answer: C

The text mentions for both types that 'the 6/4 chord usually occurs on a weak beat.'

A student is analyzing a passage where the bass line moves from C to D to E. The chord harmonizing the D is a G major chord in second inversion (G/D). Which type of 6/4 chord is this?

A) Arpeggiated 6/4

B) Pedal 6/4

C) Neighboring 6/4

D) Passing 6/4

Correct Answer: D

This scenario perfectly matches the description: 'The passing 6/4 harmonizes the second note of a three-note ascending or descending scale fragment in the bass.' The D is the second note of the C-D-E scale fragment.

The formation of a pedal 6/4 chord involves the third and fifth of a root-position triad being embellished by what specific type of tones?

A) Passing tones

B) Lower neighbor tones

C) Upper neighbor tones

D) Appoggiaturas

Correct Answer: C

The text explicitly states that the third and fifth are 'embellished by their respective upper neighbor tones.'

A musical style, such as a waltz, that features a bass line oscillating between the root and fifth of the chord is a common context for which 6/4 chord?

A) Passing 6/4

B) Pedal 6/4

C) Arpeggiated 6/4

D) Neighboring 6/4

Correct Answer: C

The description of the arpeggiated 6/4 mentions that the bass 'oscillates between root and fifth of the chord, as often heard in a waltz or march.'

A composer writes a 6/4 chord where the upper voices move by leaps. According to the provided text, this voice leading would be considered an error for which type of 6/4 chord?

A) Arpeggiated 6/4

B) Passing 6/4

C) Pedal 6/4

D) All 6/4 chords

Correct Answer: B

The text specifies for the passing 6/4 that 'the motion of the upper voices is ordinarily by step.' Therefore, moving by leaps would be an error in that context.

In a progression from a C major triad to another C major triad in second inversion (C/G) and back to the root position C major triad, what type of 6/4 chord is the C/G?

A) Passing 6/4, because the harmony is passing between two chords.

B) Arpeggiated 6/4, because the bass moves from C to G.

C) Pedal 6/4, because the upper voices are embellished over a stationary harmony.

D) This progression is not described by the provided text.

Correct Answer: B

This progression describes an arpeggiated 6/4. The bass moves from the root (C) to the fifth (G), which is an arpeggiation of the C major triad. The upper voices would remain stationary (holding E and C, for example). This matches the description: 'the bass arpeggiates a complete triad, or alternatively, it oscillates between root and fifth of the chord.'

Which 6/4 chord type is defined by a bass line that outlines the notes of a single triad?

A) Passing 6/4

B) Pedal 6/4

C) Neighboring 6/4

D) Arpeggiated 6/4

Correct Answer: D

The content states that the arpeggiated 6/4 'results from triad arpeggiation in the bass.'

In the part-writing of a passing 6/4 chord, what is the expected motion for all voices?

A) Stationary motion

B) Arpeggiated motion

C) Stepwise motion

D) Leaping motion

Correct Answer: C

The rule for part-writing a passing 6/4 chord states that 'all voices should move in stepwise motion.'

A student writes a passage featuring a pedal 6/4 chord. The bass correctly remains on the same note, but the upper voices move down by a step and then return. Why is this incorrect based on the text?

A) The upper voices in a pedal 6/4 must remain stationary.

B) The upper voices should be embellished by their respective upper neighbors, not lower neighbors.

C) The bass should have moved stepwise to support the upper voices.

D) The chord should have occurred on a strong beat, not a weak one.

Correct Answer: B

The definition of a pedal 6/4 chord specifies that the third and fifth are embellished by their 'respective upper neighbor tones.' Moving down by a step would involve lower neighbor tones, which is not the correct procedure described.

Which two 6/4 chords are differentiated primarily by the motion of the bass, with one being stationary and the other being stepwise?

A) Passing and Arpeggiated

B) Pedal and Arpeggiated

C) Passing and Pedal

D) Neighboring and Arpeggiated

Correct Answer: C

The passing 6/4 harmonizes a stepwise bass ('a three-note ascending or descending scale fragment in the bass'). The pedal (or neighboring) 6/4 features a bass that 'remains stationary.' This is the primary difference in their bass motion.