AP Music Theory UNIT 4 Practice Test 2025

Last Updated on February 1, 2025

AP Music Theory UNIT 4 Practice Test 2025: Try The College Board’s Advanced Placement (AP) Music Theory Unit 4: Harmony and Voice Leading I: Chord Function, Cadence, and Phrase exam review questions and answers online.

AP Music Theory Unit 4 typically covers advanced topics in harmony, including tonal harmony, voice leading, and form. The test may include multiple choice and written response questions and a listening section where students must identify and analyze musical examples.

To do well on the test, it is important to have a strong understanding of basic music theory concepts, such as chord progressions, melody, and rhythm, and the ability to analyze and identify musical elements.

AP Music Theory UNIT 4 Practice Test 2025

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AP Music Theory UNIT 4 Practice Test

Unit 4: Harmony and Voice Leading I: Chord Function, Cadence, and Phrase
Total MCQs: 25
Time Limit: 30 Minutes

1 / 25

The appropriate Roman numeral chord symbols at the cadence are

V-i

V7-I

I 6/4-V7

IV-V

2 / 25

The cadence within the box at measure 7 is best identified as

perfect authentic in Ab M

imperfect authentic in fm

half cadence in A♭ M

half cadence in E♭ M

3 / 25

At the end of the phrase the tonality shifts to the

key of the dominant

key of the subdominant

parallel major key

relative major key

4 / 25

All of the following are also indicators of the opening tonality EXCEPT the

F minor arpeggio in measure 2

unison nature of the beginning of the excerpt

key signature

anacrusis to the down beat is So-Do

5 / 25

In measure 1 and measure 3 the occurrence of the E natural leading to the F signals that the opening of this melody is in the key of

F Major

F minor

E♭ Major

B♭ Major

6 / 25

The harmonic interval between the notes in the top and bottom staff in the anacrusis is a

7 / 25

The circled chord (the same in both places) functions as

iii

8 / 25

EVERY phrase

begins with a tonic chord anacrusis

begins with a dominant chord anacrusis

ends with a tonic chord

is the same length

9 / 25

This hymn has four phrases. How does the analysis between phrase 1 and phrase 2 differ?

Both phrase 1 and 2 begin with a I4 . chord but end differently.

Phrase 1 ends with dominant and phrase 2 ends with tonic.

Phrases 1 and 2 both end with tonic but begin differently.

Phrases 1 and 2 both end with dominant.

10 / 25

The key of this hymn tune is

A minor

D minor

D Major

B minor

11 / 25

What key is represented by this excerpt?

Ab Major

C minor

F minor

G minor

12 / 25

Sometimes when observing only the melody, harmony is implied. What harmonies are implied in the two boxes?

I and V

i and V

i and V7

i and ii ^ø7

13 / 25

Cadences end on only what three chords?

I, IV, V in major (i, iv, V in minor)

I, ii, V in major (i, ii°, or V in minor)

I, V, vi in major (i, V, VI in minor)

I, ii, IV in major (i, ii°, iv in minor)

14 / 25

The leading tone chord most often is in

root position leading to V

first inversion leading to I or I6

second inversion leading to V

root position leading to IV

15 / 25

What is required to confidently determine the key?

Cadence

Key signature

Accidentals

A tonic chord

16 / 25

The cadence at the fermata can be identified as

perfect authentic

Phrygian half

deceptive

Plagal

17 / 25

The second chord progression can be identified as

V6-I-IV-V

V 6/5—i—iv—V

V 6/5—i—iv6—V

V 6/5—i—iv6—V7

18 / 25

The chord progression for the first three chords is

i-V4/3-i

i-vii°6-i

i-ii-i

i—vii°6—i6

19 / 25

The cadence in measure 14 is

Plagal

deceptive

half

Phrygian half

20 / 25

The chord progression for measure 14 is best analyzed as

iv-V-i in B minor

IV—ii6—i in B minor

i-iv-V in E minor

i—iv6—V in E minor

21 / 25

Measure 12 briefly implies the key of

D Major

D minor

B minor

E minor

22 / 25

The cadence in measure 10 is best described as

a half cadence in the key of the tonic

a half cadence in the key of the dominant

a perfect authentic cadence in the key of the relative major

an imperfect authentic cadence in the key of the subdominant

23 / 25

The chord in measure 3 is all of the following EXCEPT

third inversion of a seventh chord

resolves to i6

V 4/3

V 4/2

24 / 25

The cadence at measure 4 can be identified as

Phrygian half

half

imperfect authentic

deceptive

25 / 25

Cadence 1 (measure 2) can be identified as

perfect authentic in E minor

imperfect authentic in E minor

a half cadence in G Major

a deceptive cadence in G Major

Your score is

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