AP Music Theory Unit 6: Harmony and Voice Leading III: Embellishments, Motives, and Melodic Devices Practice Exam

1. 1. [Skill: 3.B | Topic: 6.2] A four-beat excerpt in C major uses the following harmonic framework (one chord per beat): Beat 1: I (bass chord tone C) Beat 2: I6 (bass chord tone E) Beat 3: V (bass chord tone G) Beat 4: I6 (bass chord tone E) The soprano (quarter notes) is: Beat 1 E, Beat 2 G, Beat 3 D, Beat 4 C. Which bass line (written as eighth notes, two per beat) correctly incorporates ONLY unaccented passing tones to connect the beat-to-beat chord tones while keeping the chord tone on each beat?

2. 2. [Skill: 2.A | Topic: 6.2] In C major, the bass is written in eighth notes (two per beat) under a quarter-note soprano. The on-beat bass notes outline the chord tones C (Beat 1), E (Beat 2), E (Beat 3), and G (Beat 4). The full bass line is: Beat 1: C–D (D is labeled P) Beat 2: E–F (F is labeled Q) Beat 3: E–D (D is labeled R) Beat 4: G–F (F is labeled S) Which labeled pitch is functioning as an unaccented neighbor tone?

3. 3. [Skill: 2.A | Topic: 6.2] In C major, a soprano line (quarter notes) is: Beat 1 E, Beat 2 D, Beat 3 C, Beat 4 D. Which bass line (quarter notes, one note per beat) creates parallel sixths with the soprano on each beat?

4. 4. [Skill: 2.A | Topic: 6.2] Consider the following two-beat pattern in C major: Beat 1 (I): Soprano E (quarter note) while Bass C (beat as chord tone). Beat 2 (I6): Soprano C (quarter note) while Bass E (beat as chord tone). The bass may include an unaccented passing tone on the offbeat of Beat 1 (e.g., C–D as eighth notes) before arriving at E on Beat 2. Which term best describes the soprano–bass interaction between Beats 1 and 2?

5. 5. [Skill: 3.B | Topic: 6.2] In C major, the soprano is stationary (quarter notes): G–G–G–G. The harmonic framework (one chord per beat) is: Beat 1: I (bass chord tone C) Beat 2: I6 (bass chord tone E) Beat 3: V (bass chord tone G) Beat 4: V (bass chord tone G) Which bass line (eighth notes, two per beat) most appropriately adds unaccented passing and/or neighbor tones while keeping the chord-tone bass notes on the beats?

6. 6. [Skill: 2.A | Topic: 6.2] In C major, the harmonic framework is one chord per beat: Beat 1: I (bass chord tone C) Beat 2: I6 (bass chord tone E) Beat 3: V (bass chord tone G) Beat 4: I6 (bass chord tone E) Each answer choice shows a bass line in eighth notes (two per beat). Which bass line MOST clearly violates normative chorale-style procedure by placing a non-chord tone on a strong beat (i.e., creating an accented embellishing tone that contradicts the given harmony)?

7. [Skill: 1.A | Topic: 6.4] In a short performed excerpt in C major, you hear a progression IV6 → V → I. The soprano sings C on the IV6 chord, then holds that same pitch C into the V chord (creating a dissonance against the bass G), and then resolves by step to B while the V harmony continues. Which embellishing tone best describes the soprano’s C on the V chord?

8. [Skill: 1.B | Topic: 6.4] In G major, the harmony moves V → I. In the alto voice, the pitch F# (a chord tone of V) is held into the I chord, where it forms a dissonant 7th above the bass G on the beat, then resolves upward by step to G. What is the correct label for the nonharmonic tone F# on the I chord?

9. [Skill: 2.A | Topic: 6.4] Consider a Roman numeral/figured-bass prompt in A minor. On a V harmony with bass E, the figures are labeled 4–3. Which of the following best describes the specific nonharmonic tone implied by the 4–3 figure above E?

10. [Skill: 2.B | Topic: 6.4] You are realizing a four-part texture in F major for the progression I6 → V → I. You want a correct 4–3 suspension in the soprano on the V chord (bass C). Which soprano description is the best correct realization of that suspension pattern?

11. [Skill: 1.A | Topic: 6.5] In the notated excerpt below (key: C major), a motive is stated in measure 1 and then restated in measure 2. Measure 1 motive: E4 (quarter), F4 (eighth), G4 (eighth), E4 (quarter) Measure 2: F4 (quarter), G4 (eighth), A4 (eighth), F4 (quarter) Which of the following best describes the relationship between measure 1 and measure 2?

12. [Skill: 1.A | Topic: 6.5] A melodic motive (all eighth notes) is shown below. Original motive: C4, D4, E4, F4 Transformed motive: C4, B-flat3, A-flat3, G3 Which melodic procedure produced the transformed motive from the original?

13. [Skill: 1.A | Topic: 6.5] A rhythmic motive is shown below. Original rhythm (4 notes): eighth, eighth, quarter, quarter Which option shows the motive in augmentation?

14. [Skill: 1.A | Topic: 6.5] A composer introduces the following 5-note motive: Motive: G4, A4, B-flat4, C5, D5 (all eighth notes) Later, the composer develops the passage by repeatedly using only G4–A4 (eighth notes), sometimes transposed, but without using the full five-note idea. Which motivic technique is being used in the later passage?

15. [Skill: 1.A | Topic: 6.5] A short motive is given with both pitch and rhythm. Original motive (4 notes): C4 (eighth), E4 (quarter), D4 (eighth), G4 (half) Transformed motive: G4 (half), D4 (eighth), E4 (quarter), C4 (eighth) Which procedure best describes the transformation?

16. [Skill: 1.B | Topic: 6.5] A phrase in G major begins with the following motive (measure 1): B4 (eighth), C5 (eighth), D5 (quarter), B4 (quarter) Which option is the best sequential repetition of this motive beginning on C5 (measure 2), preserving intervallic content and rhythm?

17. [Skill: 1.A | Topic: 6.7] A passage in C major contains the following chords (one per beat): E minor → A minor → D minor → G major → D minor → G major → C major → F major Which of the following best describes the harmonic sequence in this passage?

18. [Skill: 1.A | Topic: 6.7] Consider the following Roman numeral analysis in C major, shown by measure: Measure 1: iii vi ii V Measure 2: ii V I IV Measure 3: V I (cadential continuation) In which measures does the harmonic sequence occur?

19. [Skill: 1.A | Topic: 6.7] In A minor, the following progression appears: i → iv → VII → III → VI → ii° → V → i Which description best identifies the sequential pattern primarily responsible for the progression’s overall motion?

20. [Skill: 4.A | Topic: 6.7] A performer plays the following chord progression: C major → A minor → D minor → G major → E-flat major → C minor → F minor → B-flat major Which of the following best describes what is occurring?

21. **1. [Skill: 2.A | Topic: 6.6]** The notated excerpt below shows a melodic idea followed immediately by two restatements. [Image Cue]: Notated music excerpt (treble clef, 3 measures, 4/4). Measure 1: quarter notes B4–C5–D5–E5. Measure 2: quarter notes C5–D5–E5–F#5. Measure 3: quarter notes D5–E5–F#5–G5. No harmony shown; barlines clearly separate each measure. Which of the following best describes the melodic procedure used in the excerpt?

22. [Skill: 1.A | Topic: 6.3] A four-part chorale excerpt in F major shows the following situation: - m. 1 harmony: I (F–A–C) - On the “and” of beat 4 in m. 1, the soprano moves by step from A to G (a non-chord tone against I) and the G is tied across the barline. - m. 2 harmony (beat 1): V (C–E–G), with the soprano still sounding G on beat 1. Which type of embellishing tone best describes the soprano’s G?