AP Music Theory Unit 5: Harmony and Voice Leading II: Chord Progressions and Predominant Function Practice Exam

1. [Skill: 2A | Topic: 5.7] In 18th-century four-part writing, a passing 6/4 chord is used between two harmonies while the bass moves by step. When part-writing a passing 6/4 chord, which chord member should typically be doubled?

2. [Skill: 3A | Topic: 5.7] A student writes a passing 6/4 in C major between I6 and I using the bass line E–D–C. On the 6/4 chord (bass D), the student writes the following pitches: Soprano: B Alto: G Tenor: B Bass: D Which change best corrects the student’s 6/4 chord according to standard passing 6/4 procedures?

3. [Skill: 2A | Topic: 5.7] A composer wants to create a pedal (neighboring) 6/4 embellishment over a tonic pedal in C major. Which of the following voice-leading plans correctly produces a pedal 6/4? (Each option describes what happens from beat 1 to beat 2 to beat 3.)

4. [Skill: 2A | Topic: 5.7] Which statement best describes correct voice leading for an arpeggiated 6/4 chord in four-part writing?

5. [Skill: 2.A | Topic: 5.6] In the key of F major, a phrase concludes with a progression where the bass note C is sustained across two beats. On the first beat, which is metrically stronger, the upper voices are F, A, and C. On the second beat, the upper voices move to E, G, and C. Which of the following best characterizes the chord on the first beat and its resolution?

6. [Skill: 2A | Topic: 5.5] A musical phrase in the key of C minor concludes with a progression where the bass moves from A-flat down to G, supporting an F minor chord in first inversion moving to a G major triad in root position. Which of the following best describes this cadence?

7. [Skill: 2A | Topic: 5.4] In 18th-century common practice style, which of the following statements best characterizes the functional use and frequency of the mediant triad?

8. [Skill: 2A | Topic: 5.3] Consider a four-part choral realization in the key of $B\flat$ major. The progression follows $I - ii^7 - V - I$. In the second measure, the $ii^7$ chord ($C-E\flat-G-B\flat$) is voiced with the chordal seventh ($B\flat$) in the soprano voice. In the following measure, the soprano voice moves from $B\flat$ up to $C$ while the harmony changes to the $V$ chord ($F-A-C$). Which of the following best describes the voice-leading error in this progression?

9. [Skill: 2.A | Topic: 5.2] An excerpt in the key of $B♭$ Major concludes a phrase with the harmonic progression: $I - ii^6 - V - vi$. Which of the following best describes the harmonic function of the $vi$ chord in this context?