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WorksheetsAP Music Theory Unit 4 Review
Total questions: 12
Worksheet time: 10mins
Hannah, Michael, and Ethan are in a band and they're trying to figure out the most common harmonic progression in tonal music for their next song. Can you help them out?
I-IV-V-I
ii-V-I
I-iii-IV-V
vi-ii-V-I
Avery, Elijah, and Daniel are in a band and they are discussing about different chord progressions. They are particularly interested in the concept of a plagal cadence. Can you help them understand what a plagal cadence is?
A plagal cadence is a chord progression from the mediant (III) to the subdominant (IV) chord.
A plagal cadence is a chord progression from the subdominant (IV) to the tonic (I) chord.
A plagal cadence is a chord progression from the dominant (V) to the tonic (I) chord.
A plagal cadence is a chord progression from the tonic (I) to the subdominant (IV) chord.
Imagine Lily, James, and Grace are in a band. They are discussing the rules for parallel and direct fifths and octaves in voice leading for their next performance. Can you help them out?
They should prefer consecutive perfect fifths and octaves in four-part writing.
They can only use consecutive perfect fifths and octaves in three-part writing.
They should avoid consecutive perfect fifths and octaves in four-part writing.
There are no specific rules for parallel and direct fifths and octaves in voice leading.
Imagine Arjun, Samuel, and Oliver are in a band. They are discussing the concept of a perfect authentic cadence. Can you help them understand it?
Arjun suggests that a perfect authentic cadence is a chord progression from II to V in a major or minor key.
Samuel thinks a perfect authentic cadence is a chord progression from V to I in a major or minor key, where the V chord is in root position and the I chord is in root position with the tonic note in the highest voice.
Oliver believes a perfect authentic cadence is a chord progression from I to IV in a major or minor key.
Or is it a chord progression from IV to V in a major or minor key, as suggested by their music teacher?
Samuel, Benjamin, and Mason are in a band and they are working on a four-part texture. They are having a debate about the recommended spacing between the outer voices. Can you help them out?
A perfect 5th
A minor 2nd
A major 7th
An octave or less
Elijah, Ethan, and Aiden are in a band. They noticed that one of their songs has a unique effect on the audience. They realized it's because of the leading tone in their harmonic progression. What function does this leading tone serve?
It adds dissonance and instability, making their song more edgy
It resolves to the dominant, giving their song a smooth flow
It creates tension and a strong pull towards the tonic, keeping the audience on their toes
It creates a stable and resolved feeling, making their song soothing
Emma, Ava, and Oliver are in a band and they're trying to end their song with a bang! They're considering using a deceptive cadence. Can you explain what a deceptive cadence is?
A deceptive cadence is a chord progression that resolves to the dominant instead of the tonic.
A deceptive cadence is a chord progression that resolves to the mediant instead of the tonic.
A deceptive cadence is a chord progression that resolves to the subtonic instead of the tonic.
A deceptive cadence is a chord progression that gives the impression of resolving to the tonic, but instead resolves to a different chord, often the submediant or subdominant.
Imagine Benjamin, William, and Abigail are in a band. They are discussing how to arrange their next song. They are considering doubling notes in part writing. What guidelines should they follow?
Doubling the fifth of the chord
Doubling the leading tone
Doubling the seventh of the chord
Doubling the root of the chord, avoiding doubling the leading tone, and doubling the third of the chord if possible.
Imagine Ava, Mason, and Anika are in a band. If Mason is playing the dominant in a harmonic progression, what role is he playing?
He is providing a sense of resolution and stability.
He is creating tension and a strong pull towards the tonic.
He is adding dissonance and instability.
He has no specific role in a harmonic progression.
Imagine Abigail, Noah, and Hannah are in a band. They're trying to create a unique sound and Abigail suggests using a 'half cadence'. What does she mean by that?
A half cadence is a chord progression that resolves to the dominant instead of the tonic.
A half cadence is a chord progression that resolves to the mediant instead of the tonic.
A half cadence is a chord progression that gives the impression of resolving to the tonic, but instead resolves to a different chord, often the submediant or subdominant.
A half cadence is a chord progression that ends on the dominant, giving a sense of pause or interruption.
Abigail, Elijah, and Mason are in a band and they are discussing about part writing. What is their consensus on the recommended voice crossing in part writing?
Voice crossing is generally avoided in part writing.
Voice crossing is encouraged in part writing.
Voice crossing is only allowed between the tenor and bass voices.
There are no specific rules for voice crossing in part writing.
Grace, Luna, and David are in a band and they are working on a four-part texture for their new song. They are having a debate about the recommended spacing between the inner voices. Can you help them out?
They should keep a perfect 5th
They should keep a minor 2nd
They should keep a major 7th
They should keep no more than an octave
