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AP Music Theory Practice Quiz: Part Writing of Secondary Dominant Chords

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

Test your understanding with short quizzes. This quiz has 9 questions to check your progress.

Question 1 of 9

According to the provided text, which melodic pattern is a common indicator of a V/V chord?

All Questions (9)

According to the provided text, which melodic pattern is a common indicator of a V/V chord?

A) A ♭ˆ7 resolving to ˆ6

B) A ♯ˆ4 resolving to ˆ5

C) A ˆ2 resolving to ˆ1

D) A ♯ˆ1 resolving to ˆ2

Correct Answer: B

The content explicitly states that 'One common instance would be a ♯ˆ4 resolving to ˆ5, a melodic pattern that may suggest tonicization of the dominant chord (V) by means of a secondary dominant chord (V/V).'

When part-writing a secondary dominant chord that includes a chordal seventh, how must that seventh be resolved?

A) It must resolve up by step.

B) It can be held as a common tone.

C) It must resolve down by step.

D) It can leap to any note of the next chord.

Correct Answer: C

The text specifies that 'all doubling and voice-leading considerations of normal dominant chords should be maintained (e.g., chordal sevenths resolving down by step).'

The presence of a chromatic pitch in a melodic line, such as a ♯ˆ4, primarily suggests which harmonic event?

A) The tonicization of a chord other than the prevailing tonic.

B) A modulation to the subdominant key.

C) The use of a borrowed chord from the parallel minor.

D) An unprepared non-chord tone.

Correct Answer: A

The content states, 'Chromatic pitches may suggest the tonicization of a chord other than the prevailing tonic.' The example given is ♯ˆ4 suggesting the tonicization of the dominant.

In the key of F Major, a soprano line contains the notes B♮ moving to C. This implies a harmonic progression of:

A) I to V

B) V/V to V

C) IV to I

D) V/ii to ii

Correct Answer: B

In F Major, the dominant (V) is C. The note B♮ is the raised fourth scale degree (♯ˆ4). The melodic motion of ♯ˆ4 to ˆ5 (B♮ to C) strongly implies the tonicization of the dominant chord (V) with its own dominant (V/V).

When composing a bass line to a soprano melody that moves from ♯ˆ4 to ˆ5, what is the most appropriate bass note to place under the ♯ˆ4 to create a V/V chord?

A) The tonic (ˆ1)

B) The supertonic (ˆ2)

C) The subdominant (ˆ4)

D) The dominant (ˆ5)

Correct Answer: B

The V/V chord is built on the dominant of the dominant. The dominant is scale degree ˆ5, and the dominant of ˆ5 is ˆ2. Therefore, the root of the V/V chord is the supertonic (ˆ2), which is the most common and harmonically clear bass note for this chord.

The voice-leading and doubling rules for a V/IV chord should be treated the same as the rules for which other chord?

A) A normal dominant (V) chord.

B) A tonic (I) chord.

C) A submediant (vi) chord.

D) A leading-tone (vii°) chord.

Correct Answer: A

The provided content establishes a general principle: 'When part-writing secondary dominants, all doubling and voice-leading considerations of normal dominant chords should be maintained.' This applies to any secondary dominant, including V/IV.

A student is part-writing a V⁷/V chord in G Major (A⁷) resolving to V (D). The alto voice has the note G, which is the chordal seventh. According to normative 18th-century procedures, to which note must the alto G resolve in the V chord?

A) A

B) D

C) F♯

D) C♯

Correct Answer: C

The chordal seventh of a dominant-function chord must resolve down by step. In the V⁷/V chord (A⁷), the seventh is G. Resolving down by step in the key of G major leads to F♯, which is the third of the following V chord (D major).

What is the primary function of using a secondary dominant like V/V when composing a bass line for a given soprano?

A) To weaken the pull to the tonic.

B) To create harmonic interest and tonicize the dominant chord.

C) To strictly adhere to the diatonic pitches of the key.

D) To prepare for a modulation to the relative minor.

Correct Answer: B

The content explains that chromatic pitches, which form secondary dominants, 'suggest the tonicization of a chord other than the prevailing tonic.' The specific example of V/V is used to show 'tonicization of the dominant chord (V)'. This process adds harmonic complexity and interest.

When adding a bass line to a soprano line, the composer's choices create implied harmonic progressions. The use of a chromatic pitch to create a V/V chord is an application of which broader principle?

A) Maintaining contrary motion between outer voices at all times.

B) Avoiding all dissonant intervals.

C) Following the normative harmonic procedures of 18th-century music.

D) Using only chords whose roots are in the bass.

Correct Answer: C

The first point of the provided content states the overall goal is to 'Compose a bass line added to a given soprano line, following the normative harmonic procedures of 18th-century music.' The use of secondary dominants is a key component of these procedures.