PT - Harmony Ch. 1-12

Question 1

The most common use of the 2nd inversion of a chord is:

A. arpeggio 6 4
B. passing 6 4
C. auxiliary 6 4
D. cadential 6 4

Answer 1

D. cadential 6 4

Question 2

What is the range of the TENOR voice? A. E - c1 B. c1 - a2 C. g - c3 D. c - a1

Answer 2

D. c - a1

Question 3

T/F: In root position, the 3rd is often omitted and the root is most often doubled or tripled.

Answer 3

FALSE

Question 4

CLOSE POSITION occurs when: A. all voices are within one octave B. top three voices are within one octave C. top two voices are within one octave D. bottom three voices are within one octave

Answer 4

B. top three voices are within one octave

Question 5

Which occurrences of HIDDEN FIFTHS or OCTAVES are permissible? A. They are never permissible B. They are permissible between the two outer parts when the soprano voice moves by a step C. They are permissible between an outer & inner voice D. Both B & C are permissible

Answer 5

D. Both B & C are permissible

Question 6

A PLAGAL CADENCE is: A. IV6 to V B. IV to I C. IV to V D. V7 to I

Answer 6

B. IV to I

Question 7

T/F: Passing 6 4 chords are easily recognized by the way it outlines the chord in the bass, while the upper voices are sustained.

Answer 7

FALSE

Question 8

T/F: The ECHAPEE is approached by a step and is left by a skip in the opposite direction.

Answer 8

A. TRUE

Question 9

T/F: The CAMBIATA is approached by a step and is left by a skip in the opposite direction.

Answer 9

B. FALSE

Question 10

The requirements for a Perfect Authentic Cadence include which of the following? A. V-I progression B. Root position chords C. Soprano voice on the final tonic D. All of the above

Answer 10

D. All of the above

Question 11

T/F: The Plagal Cadence is also known as the “Amen” cadence.

Answer 11

A. TRUE

Question 12

T/F: All four notes of the V7 chord may be used in four part writing, or the fifth may be omitted and the root doubled.

Answer 12

A. TRUE

Question 13

T/F: The leading tone triad is sometimes referred to as an incomplete dominant seventh.

Answer 13

A. TRUE

Question 14

Of the three statements below which are true? A. Harmony is the study of vertical combinations of different pitches and their succession B. Harmonic progression is the simultaneous motion of all parts in chord formation C. Melodic progression is the succession of melody notes in a single line or part

Answer 14

D. All of the statements are true.

Question 15

Using primary triads exclusively, under what scale degrees is it possible to harmonize a given melodic note with more than one triad? A. Tonic and subdominant B. Tonic, supertonic and dominant C. Tonic and dominant D. Tonic, subdominant and dominant

Answer 15

C. Tonic and dominantquestionable

Question 16

The Arabic numerals used in figured bass indicate: A. The number of notes in the chord B. The quality of the chord C. The intervals above the bass note where the remaining notes of the chord would fall D. Whether the chord is primary or secondary

Answer 16

C. The intervals above the bass note where the remaining notes of the chord would fall