| Exam Name | AP Music Theory Practice Exam |
|---|---|
| Exam Provider | College Board |
| Exam Type | Advanced Placement (AP) High School Exam |
| Total Practice Questions | 150+ Practice Questions (MCQs + Audio-Based + Harmony & Analysis) – Updated for 2026 |
| Coverage Topics | • Musical Notation, Rhythm & Meter • Intervals, Scales (Major, Minor, Modes) • Chords & Harmony (Triads, Seventh Chords) • Roman Numeral Analysis & Figured Bass • Voice Leading & Part Writing Rules • Cadences & Harmonic Progressions • Chromatic Harmony (Secondary Dominants, Neapolitan, Augmented Sixth) • Aural Skills (Interval, Chord & Progression Recognition) |
| Question Format | • Multiple Choice Questions (MCQs) • Audio-Based Listening Questions (Intervals, Chords, Cadences) • Harmonic Analysis & Scenario-Based Questions |
| Difficulty Level | Intermediate to Advanced (Aligned with Real AP Music Theory Exam) |
| Skills Developed | • Aural recognition & listening skills • Harmonic analysis & chord identification • Part-writing & voice-leading accuracy • Music reading, interpretation & theoretical application |
| Study Tips | • Practice interval and chord recognition daily (ear training) • Master Roman numeral analysis and cadences • Focus on voice-leading rules (avoid parallels, resolve leading tones) • Analyze real musical pieces for harmonic patterns |
| Best For | High school students preparing for AP Music Theory exam (Score 4–5 target) |
| Updated | 2026 Latest Version |
1.
Which clef is typically used for higher-pitched instruments and voices?
A. Bass clef
B. Alto clef
C. Treble clef
D. Tenor clef
Answer: C. Treble clef
Rationale: Treble clef is used for instruments like violin and flute and for soprano/alto voices.
2.
How many semitones are in a perfect fifth?
A. 5
B. 6
C. 7
D. 8
Answer: C. 7
Rationale: A perfect fifth spans 7 semitones (e.g., C to G).
3.
Which scale has no sharps or flats?
A. G major
B. D major
C. C major
D. F major
Answer: C
Rationale: C major uses only natural notes.
4.
What is the relative minor of C major?
A. A minor
B. E minor
C. D minor
D. G minor
Answer: A
Rationale: A minor shares the same key signature as C major.
5.
Which interval is considered dissonant?
A. Perfect octave
B. Major third
C. Perfect fifth
D. Tritone
Answer: D
Rationale: The tritone creates tension and is dissonant.
6.
What does “forte” mean?
A. Soft
B. Loud
C. Fast
D. Slow
Answer: B
Rationale: Forte indicates loud dynamics.
7.
Which note value equals two quarter notes?
A. Whole note
B. Half note
C. Eighth note
D. Sixteenth note
Answer: B
Rationale: A half note = 2 quarter notes.
8.
What is the key signature of G major?
A. 1 flat
B. 2 sharps
C. 1 sharp
D. No sharps
Answer: C
Rationale: G major has one sharp (F#).
9.
Which chord is built on the first scale degree?
A. Dominant
B. Subdominant
C. Tonic
D. Leading tone
Answer: C
Rationale: The tonic is the home chord.
10.
Which Roman numeral represents the dominant chord?
A. I
B. IV
C. V
D. ii
Answer: C
Rationale: V chord creates tension leading to I.
11.
What is the time signature 3/4 commonly associated with?
A. March
B. Waltz
C. Swing
D. Blues
Answer: B
Rationale: Waltzes use triple meter.
12.
Which scale contains a raised 7th in minor?
A. Natural minor
B. Harmonic minor
C. Pentatonic
D. Chromatic
Answer: B
Rationale: Harmonic minor raises the 7th.
13.
What is the interval from C to E?
A. Minor third
B. Major third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: C to E is 4 semitones.
14.
Which chord consists of C–E–G?
A. Minor triad
B. Diminished triad
C. Major triad
D. Augmented triad
Answer: C
Rationale: Major triad = root, major third, perfect fifth.
15.
What is enharmonic equivalent of F#?
A. Gb
B. G#
C. E#
D. Fb
Answer: A
Rationale: Same pitch, different name.
16.
Which interval is smallest?
A. Major second
B. Minor second
C. Perfect fourth
D. Major third
Answer: B
Rationale: Minor second = 1 semitone.
17.
What does “crescendo” mean?
A. Decrease volume
B. Increase volume
C. Speed up
D. Slow down
Answer: B
Rationale: Gradual increase in loudness.
18.
Which scale has 5 notes?
A. Major
B. Minor
C. Pentatonic
D. Chromatic
Answer: C
Rationale: Pentatonic = 5 tones.
19.
Which chord is unstable and resolves to tonic?
A. Tonic
B. Dominant
C. Submediant
D. Supertonic
Answer: B
Rationale: Dominant resolves to tonic.
20.
What is the key of A minor relative to?
A. G major
B. C major
C. D major
D. F major
Answer: B
Rationale: Same key signature.
21.
Which interval spans 8 notes?
A. Fifth
B. Sixth
C. Seventh
D. Octave
Answer: D
Rationale: Octave spans 8 scale degrees.
22.
Which term indicates speed of music?
A. Dynamics
B. Tempo
C. Harmony
D. Timbre
Answer: B
Rationale: Tempo controls speed.
23.
Which chord is built on the fifth scale degree?
A. Tonic
B. Dominant
C. Subdominant
D. Mediant
Answer: B
Rationale: Fifth degree = dominant.
24.
Which scale uses all 12 pitches?
A. Major
B. Minor
C. Chromatic
D. Pentatonic
Answer: C
Rationale: Chromatic includes every semitone.
25.
Which interval is consonant?
A. Tritone
B. Minor second
C. Perfect fifth
D. Major seventh
Answer: C
Rationale: Perfect fifth is stable and consonant.
26.
What is the relative major of A minor?
A. G major
B. C major
C. D major
D. F major
Answer: B
Rationale: Same key signature.
27.
Which note is the leading tone in C major?
A. B
B. A
C. G
D. D
Answer: A
Rationale: Leading tone is 7th degree.
28.
Which chord contains a tritone?
A. Major
B. Minor
C. Diminished
D. Power chord
Answer: C
Rationale: Diminished triad includes tritone.
29.
What does “legato” mean?
A. Detached
B. Smooth and connected
C. Loud
D. Fast
Answer: B
Rationale: Notes are played smoothly.
30.
Which cadence sounds final and complete?
A. Half cadence
B. Authentic cadence
C. Deceptive cadence
D. Plagal cadence
Answer: B
Rationale: V–I resolution creates finality.
31.
Which interval is enharmonically equivalent to a diminished fifth?
A. Perfect fourth
B. Augmented fourth
C. Major third
D. Minor sixth
Answer: B. Augmented fourth
Rationale: Both intervals span 6 semitones (tritone).
32.
In a major key, the leading tone is:
A. The 6th scale degree
B. The 7th scale degree
C. The 5th scale degree
D. The 2nd scale degree
Answer: B
Rationale: The leading tone is the 7th scale degree, resolving to tonic.
33.
Which chord is built on the second scale degree in a major key?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: The ii chord is minor in major keys.
34.
Which inversion has the third in the bass?
A. Root position
B. First inversion
C. Second inversion
D. Third inversion
Answer: B
Rationale: First inversion places the third in the bass.
35.
What is the figured bass for a first inversion triad?
A. 5/3
B. 6/3
C. 6/4
D. 7
Answer: B
Rationale: First inversion is labeled 6 (or 6/3).
36.
Which cadence ends on the dominant chord?
A. Authentic
B. Plagal
C. Half cadence
D. Deceptive
Answer: C
Rationale: Half cadence ends on V.
37.
Which cadence resolves V to vi?
A. Authentic
B. Plagal
C. Half
D. Deceptive
Answer: D
Rationale: Deceptive cadence avoids tonic resolution.
38.
Parallel fifths are avoided because they:
A. Sound too modern
B. Reduce independence of voices
C. Are dissonant
D. Increase harmony
Answer: B
Rationale: Parallel motion weakens polyphonic texture.
39.
Which interval must resolve inward when doubled?
A. Perfect fifth
B. Tritone
C. Octave
D. Major third
Answer: B
Rationale: Tritone resolves to consonant intervals.
40.
Which chord includes a leading tone?
A. ii
B. IV
C. V
D. iii
Answer: C
Rationale: Dominant chord includes leading tone.
41.
Which type of motion is most independent?
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: C
Rationale: Contrary motion strengthens independence.
42.
Which chord is typically used before V in a progression?
A. I
B. ii
C. vi
D. iii
Answer: B
Rationale: ii–V–I is common progression.
43.
Which interval is formed between C and B?
A. Major seventh
B. Minor seventh
C. Tritone
D. Perfect fifth
Answer: A
Rationale: C to B is a major seventh.
44.
Which scale degree is the subdominant?
A. 3rd
B. 4th
C. 5th
D. 6th
Answer: B
Rationale: Fourth degree is subdominant.
45.
Which chord progression is MOST common in tonal harmony?
A. I–ii–iii
B. ii–V–I
C. I–IV–iii
D. V–ii–I
Answer: B
Rationale: Found in classical and jazz harmony.
46.
Which chord contains the notes G–B–D–F?
A. G major
B. G minor
C. G7 (dominant seventh)
D. G diminished
Answer: C
Rationale: Dominant seventh chord.
47.
Which interval spans 10 semitones?
A. Major sixth
B. Minor seventh
C. Major seventh
D. Perfect octave
Answer: B
Rationale: Minor seventh = 10 semitones.
48.
Which chord tone is doubled most often in root position triads?
A. Third
B. Fifth
C. Root
D. Leading tone
Answer: C
Rationale: Root is most stable.
49.
Which note resolves upward to tonic?
A. Dominant
B. Leading tone
C. Submediant
D. Mediant
Answer: B
Rationale: Leading tone resolves to tonic.
50.
Which chord is diminished in major keys?
A. ii
B. iii
C. vii°
D. IV
Answer: C
Rationale: Built on leading tone.
51.
Which type of chord has a raised fifth?
A. Major
B. Minor
C. Augmented
D. Diminished
Answer: C
Rationale: Augmented chord raises the fifth.
52.
Which interval is consonant?
A. Tritone
B. Minor second
C. Perfect octave
D. Major seventh
Answer: C
Rationale: Octave is stable.
53.
Which is NOT a primary chord?
A. I
B. IV
C. V
D. ii
Answer: D
Rationale: ii is secondary.
54.
Which chord function creates tension?
A. Tonic
B. Dominant
C. Subdominant
D. Mediant
Answer: B
Rationale: Dominant leads to resolution.
55.
Which voice should NOT double the leading tone?
A. Soprano
B. Alto
C. Tenor
D. Any voice
Answer: D
Rationale: Leading tone should not be doubled.
56.
Which motion keeps one note constant?
A. Parallel
B. Contrary
C. Oblique
D. Similar
Answer: C
Rationale: One voice stays same.
57.
Which chord inversion has fifth in bass?
A. Root
B. First
C. Second
D. Third
Answer: C
Rationale: Second inversion.
58.
Which chord progression creates strongest resolution?
A. IV–I
B. V–I
C. ii–IV
D. I–vi
Answer: B
Rationale: Authentic cadence.
59.
Which scale degree is the dominant?
A. 3rd
B. 4th
C. 5th
D. 6th
Answer: C
Rationale: Fifth scale degree.
60.
Which interval is dissonant?
A. Perfect fifth
B. Major third
C. Tritone
D. Octave
Answer: C
Rationale: Tritone creates tension.
61.
Which chord functions as the dominant of the dominant (V/V) in C major?
A. D major
B. G major
C. A minor
D. F major
Answer: A. D major
Rationale: V of G (dominant) is D major.
62.
Which note is raised in harmonic minor scale?
A. 6th
B. 7th
C. 5th
D. 3rd
Answer: B
Rationale: Raised 7th creates leading tone.
63.
Which chord contains a leading tone in minor keys?
A. iv
B. V
C. VI
D. III
Answer: B
Rationale: Dominant chord uses raised 7th.
64.
Which interval is formed between E and Bb?
A. Perfect fourth
B. Tritone
C. Minor sixth
D. Major third
Answer: B
Rationale: E to Bb = augmented fourth/diminished fifth.
65.
Which chord progression defines a plagal cadence?
A. V–I
B. IV–I
C. ii–V
D. I–V
Answer: B
Rationale: “Amen” cadence.
66.
Which chord is diatonic in C major?
A. F# major
B. D minor
C. Bb major
D. Eb major
Answer: B
Rationale: D minor is ii chord.
67.
Which chord is used to tonicize another chord?
A. Secondary dominant
B. Tonic
C. Subdominant
D. Neapolitan
Answer: A
Rationale: Temporarily emphasizes another chord.
68.
Which inversion is labeled 6/4?
A. Root
B. First
C. Second
D. Third
Answer: C
Rationale: Fifth in bass.
69.
Which type of cadence sounds unfinished?
A. Authentic
B. Plagal
C. Half
D. Perfect authentic
Answer: C
Rationale: Ends on V.
70.
Which chord resolves to tonic most strongly?
A. ii
B. IV
C. V
D. vi
Answer: C
Rationale: Dominant resolution.
71.
Which interval is C to Ab?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Tritone
Answer: B
Rationale: C to Ab = 8 semitones.
72.
Which note is the mediant in C major?
A. D
B. E
C. F
D. G
Answer: B
Rationale: Third scale degree.
73.
Which chord is built on the sixth scale degree in major?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: vi chord is minor.
74.
Which interval is formed by G to E?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Major third
Answer: B
Rationale: G to E = minor sixth.
75.
Which chord contains notes B–D–F?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad.
76.
Which motion occurs when voices move in opposite directions?
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: C
Rationale: Opposite movement.
77.
Which interval is dissonant?
A. Perfect fifth
B. Major third
C. Minor second
D. Octave
Answer: C
Rationale: Minor second is highly dissonant.
78.
Which chord is tonic in A minor?
A. A minor
B. C major
C. E minor
D. D minor
Answer: A
Rationale: First scale degree.
79.
Which scale uses raised 6th and 7th ascending?
A. Natural minor
B. Harmonic minor
C. Melodic minor
D. Chromatic
Answer: C
Rationale: Melodic minor form.
80.
Which chord progression creates tension before resolution?
A. I–IV
B. IV–I
C. V–I
D. I–vi
Answer: C
Rationale: Dominant to tonic.
81.
Which chord function prepares the dominant?
A. Tonic
B. Dominant
C. Predominant
D. Mediant
Answer: C
Rationale: ii and IV lead to V.
82.
Which chord is the submediant?
A. iii
B. vi
C. IV
D. ii
Answer: B
Rationale: Sixth scale degree.
83.
Which interval is A to F?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Tritone
Answer: B
Rationale: A to F = 8 semitones.
84.
Which chord contains G–B–D?
A. G major
B. G minor
C. D major
D. C major
Answer: A
Rationale: Major triad.
85.
Which note is the supertonic in C major?
A. C
B. D
C. E
D. F
Answer: B
Rationale: Second scale degree.
86.
Which chord is typically diminished in minor keys?
A. ii°
B. V
C. IV
D. I
Answer: A
Rationale: Supertonic chord.
87.
Which interval is C to F#?
A. Perfect fourth
B. Tritone
C. Major third
D. Minor sixth
Answer: B
Rationale: Augmented fourth.
88.
Which chord resolves upward by half step?
A. Subdominant
B. Leading tone chord
C. Tonic
D. Mediant
Answer: B
Rationale: Leading tone resolves to tonic.
89.
Which chord progression is deceptive?
A. V–I
B. V–vi
C. IV–I
D. ii–V
Answer: B
Rationale: Avoids tonic resolution.
90.
Which chord function provides stability?
A. Dominant
B. Tonic
C. Predominant
D. Leading tone
Answer: B
Rationale: Tonic is the resting point.
91.
Which chord is commonly used as a pivot chord in modulation?
A. Non-diatonic chord
B. Chromatic chord
C. Diatonic chord common to both keys
D. Secondary dominant
Answer: C. Diatonic chord common to both keys
Rationale: Pivot chords belong to both keys and ease smooth modulation.
92.
Which interval is enharmonically equivalent to a minor seventh?
A. Augmented sixth
B. Major sixth
C. Perfect octave
D. Diminished seventh
Answer: A
Rationale: Both span 10 semitones.
93.
Which type of chord contains a lowered second scale degree?
A. Secondary dominant
B. Neapolitan chord
C. Augmented chord
D. Diminished chord
Answer: B
Rationale: Neapolitan chord (♭II) is built on lowered second degree.
94.
Which augmented sixth chord resolves to the dominant?
A. Italian
B. French
C. German
D. All of the above
Answer: D
Rationale: All augmented sixth chords resolve to V.
95.
Which interval is formed between C and Bb?
A. Major seventh
B. Minor seventh
C. Tritone
D. Perfect fifth
Answer: B
Rationale: C to Bb = 10 semitones.
96.
Which chord is typically used in minor keys to strengthen V?
A. Major IV
B. Minor V
C. Major V
D. Diminished IV
Answer: C
Rationale: Raised leading tone creates major V.
97.
Which scale is used in jazz and modern harmony?
A. Pentatonic
B. Whole-tone
C. Major
D. Natural minor
Answer: B
Rationale: Whole-tone scale creates ambiguous harmony.
98.
Which interval is formed by F to D?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Major third
Answer: A
Rationale: F to D = 9 semitones.
99.
Which chord progression indicates modulation?
A. I–IV–V
B. V/V–V–I
C. ii–V–I
D. I–vi–IV
Answer: B
Rationale: Secondary dominant suggests key shift.
100.
Which chord contains both major and minor thirds?
A. Augmented
B. Diminished seventh
C. Major triad
D. Minor triad
Answer: B
Rationale: Stacked minor thirds.
101.
Which motion should be avoided in part writing?
A. Contrary motion
B. Parallel fifths
C. Stepwise motion
D. Oblique motion
Answer: B
Rationale: Weakens independence.
102.
Which interval is most stable?
A. Tritone
B. Minor second
C. Perfect octave
D. Major seventh
Answer: C
Rationale: Consonant interval.
103.
Which chord resolves downward by half step?
A. Leading tone chord
B. Dominant
C. Subdominant
D. Neapolitan
Answer: D
Rationale: Neapolitan resolves to V.
104.
Which chord is borrowed from parallel minor?
A. Secondary dominant
B. Modal mixture chord
C. Augmented chord
D. Suspended chord
Answer: B
Rationale: Modal mixture adds color.
105.
Which scale degree is altered in melodic minor descending?
A. None
B. 6th
C. 7th
D. Both 6th and 7th
Answer: A
Rationale: Descending uses natural minor.
106.
Which chord has root, minor third, and diminished fifth?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad structure.
107.
Which interval spans 11 semitones?
A. Major seventh
B. Minor seventh
C. Perfect octave
D. Major sixth
Answer: A
Rationale: Major seventh = 11 semitones.
108.
Which chord progression is typical of blues?
A. I–IV–V
B. ii–V–I
C. I–vi–IV
D. V–I
Answer: A
Rationale: Standard blues progression.
109.
Which interval is C to Eb?
A. Major third
B. Minor third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 3 semitones.
110.
Which chord is most dissonant?
A. Major triad
B. Minor triad
C. Diminished seventh
D. Perfect fifth
Answer: C
Rationale: High tension due to stacked intervals.
111.
Which voice-leading rule applies to leading tone?
A. Double it
B. Leave unresolved
C. Resolve upward
D. Resolve downward
Answer: C
Rationale: Leading tone resolves to tonic.
112.
Which chord is often used in cadential 6/4?
A. ii
B. I
C. V
D. IV
Answer: B
Rationale: Functions as dominant preparation.
113.
Which chord contains G–Bb–Db?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad.
114.
Which interval is A to C#?
A. Minor third
B. Major third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 4 semitones.
115.
Which harmonic function resolves to tonic?
A. Dominant
B. Subdominant
C. Mediant
D. Supertonic
Answer: A
Rationale: Strong resolution.
116.
Which interval is most dissonant?
A. Octave
B. Perfect fifth
C. Minor second
D. Major third
Answer: C
Rationale: Smallest interval = most tension.
117.
Which chord progression signals tonal closure?
A. ii–V
B. V–I
C. IV–ii
D. I–IV
Answer: B
Rationale: Authentic cadence.
118.
Which chord is tonic in G major?
A. G major
B. D major
C. C major
D. A minor
Answer: A
Rationale: First scale degree.
119.
Which interval is D to F?
A. Major third
B. Minor third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 3 semitones.
120.
Which chord provides final resolution?
A. Dominant
B. Tonic
C. Subdominant
D. Leading tone
Answer: B
Rationale: Tonic is stable ending.
121.
You hear two notes played simultaneously. The sound is very stable and identical in pitch class. The interval is MOST likely:
A. Perfect fifth
B. Perfect octave
C. Minor third
D. Tritone
Answer: B. Perfect octave
Rationale: Octaves sound identical and highly consonant.
122.
You hear two notes with strong tension that want to resolve inward. This interval is:
A. Major third
B. Perfect fifth
C. Tritone
D. Minor sixth
Answer: C
Rationale: Tritone creates strong dissonance.
123.
You hear two notes forming a smooth, consonant harmony typical of major chords. The interval is:
A. Minor second
B. Major third
C. Tritone
D. Minor seventh
Answer: B
Rationale: Major third is consonant and stable.
124.
You hear a chord that sounds bright and stable: C–E–G. This chord is:
A. Minor
B. Diminished
C. Major
D. Augmented
Answer: C
Rationale: Major triad.
125.
You hear a chord that sounds dark and somber: A–C–E. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: Minor triad.
126.
You hear a chord with strong tension: B–D–F. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad includes tritone.
127.
You hear a chord with a raised fifth creating instability. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: D
Rationale: Augmented chord.
128.
You hear a chord resolving strongly to tonic. This chord is MOST likely:
A. Subdominant
B. Dominant
C. Mediant
D. Supertonic
Answer: B
Rationale: Dominant resolves to tonic.
129.
You hear two notes with a very small distance creating harsh dissonance. This is:
A. Major second
B. Minor second
C. Perfect fourth
D. Major third
Answer: B
Rationale: Smallest interval = most tension.
130.
You hear a chord progression ending with a strong sense of closure. This cadence is:
A. Half cadence
B. Deceptive cadence
C. Authentic cadence
D. Plagal cadence
Answer: C
Rationale: V–I resolution.
131.
You hear a chord followed by vi instead of I. This cadence is:
A. Authentic
B. Plagal
C. Deceptive
D. Half
Answer: C
Rationale: V–vi progression.
132.
You hear a chord progression ending on V. This is:
A. Authentic cadence
B. Plagal cadence
C. Half cadence
D. Deceptive cadence
Answer: C
Rationale: Ends unresolved.
133.
You hear a chord that sounds like IV–I. This cadence is:
A. Authentic
B. Plagal
C. Half
D. Deceptive
Answer: B
Rationale: “Amen” cadence.
134.
You hear a chord with four notes including a tritone resolving inward. This is:
A. Major triad
B. Minor triad
C. Dominant seventh
D. Power chord
Answer: C
Rationale: Dominant 7th contains tritone.
135.
You hear two notes forming a wide, open, consonant sound. This is:
A. Minor second
B. Perfect fifth
C. Tritone
D. Major seventh
Answer: B
Rationale: Perfect fifth is stable.
136.
You hear a scale with raised 7th creating strong pull to tonic. This is:
A. Natural minor
B. Harmonic minor
C. Pentatonic
D. Whole-tone
Answer: B
Rationale: Harmonic minor raises 7th.
137.
You hear a scale ascending with raised 6th and 7th. This is:
A. Natural minor
B. Harmonic minor
C. Melodic minor
D. Major
Answer: C
Rationale: Melodic minor ascending.
138.
You hear a chord progression emphasizing V/V. This indicates:
A. Modulation
B. Secondary dominant
C. Tonicization
D. Both B and C
Answer: D
Rationale: Temporary emphasis of another chord.
139.
You hear a chord resolving downward by half step to dominant. This is:
A. Secondary dominant
B. Neapolitan chord
C. Tonic
D. Mediant
Answer: B
Rationale: ♭II resolves to V.
140.
You hear a chord with symmetrical structure creating ambiguous tonality. This is:
A. Major
B. Minor
C. Whole-tone
D. Diminished seventh
Answer: D
Rationale: Stacked minor thirds.
141.
You hear two notes moving in opposite directions. This is:
A. Parallel motion
B. Similar motion
C. Contrary motion
D. Oblique motion
Answer: C
Rationale: Opposite movement.
142.
You hear one voice staying the same while another moves. This is:
A. Parallel
B. Contrary
C. Oblique
D. Similar
Answer: C
Rationale: One voice static.
143.
You hear voices moving in same direction but different intervals. This is:
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: B
Rationale: Same direction, different intervals.
144.
You hear identical intervals moving in same direction. This is:
A. Parallel motion
B. Contrary
C. Oblique
D. Similar
Answer: A
Rationale: Same interval + direction.
145.
You hear a chord resolving strongly upward to tonic. The note resolving is:
A. Dominant
B. Leading tone
C. Subdominant
D. Mediant
Answer: B
Rationale: Leading tone resolves up.
146.
You hear a chord progression creating tension then release. This is:
A. Random motion
B. Harmonic progression
C. Rhythm
D. Melody
Answer: B
Rationale: Harmony drives tension/resolution.
147.
You hear a chord with flattened seventh scale degree. This is:
A. Major triad
B. Dominant seventh
C. Minor triad
D. Augmented
Answer: B
Rationale: Dominant 7 includes flat 7th.
148.
You hear a chord progression common in blues. This is:
A. I–IV–V
B. ii–V–I
C. I–vi–IV
D. V–I
Answer: A
Rationale: Standard blues pattern.
149.
You hear a chord with strong instability resolving outward. This is:
A. Tritone resolution
B. Perfect fifth
C. Octave
D. Major third
Answer: A
Rationale: Tritone resolves outward/inward.
150.
You hear final chord providing complete rest. This is:
A. Dominant
B. Subdominant
C. Tonic
D. Leading tone
Answer: C
Rationale: Tonic provides closure.