AP Music Theory UNIT 3 Practice Test 2024

AP Music Theory UNIT 3 Practice Test 2024: 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, as well as a listening section where students will need to identify and analyze musical examples.

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

AP Music Theory UNIT 4 Practice Test

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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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