Not Another Music Theory Quiz

15 Points Per Correct Answer - No time limit  

1. In a piece in the key of C Major, you encounter a chord spelled (from the bass up) G-C-E. What chord would you expect to follow? G-B-D or G-B-D-F C-E-G F-A-C D-F-A

2. You are writing a Bach style chorale in the key of F# major and want to include the following chord: B-D-G. Which of these three notes would you double (to accomodate the four-voice style)? D Any of the three may be doubled. G B

3. In the early 17th and 18th centuries, chords were abundant. This is mainly because chord inversion had not really been conceived. Which of these Baroque Composers/Theorists first conceived of chord inversion (and in the process saved freshman music theory students a lot of work)? J.S. Bach A. Scarlatti G.F. Handel J.P. Rameau

4. The chord spelled (again from the bass up) Bb-D-E#-G# would most likely be found in which of the following keys? D Major Both D Minor Neither

5. According to 19th Century German theorist Simon Sechter, the roots of all chords must be diatonic. Therefore, in the key of F Major, what, according to Sechter, must be the root of a German 6th Chord? Answer: (One Word, give letter name of note)

6. The Phrygian cadence is a device employed in many baroque compositions. Which of the following progressions would result in a Phrygian cadence? IV6 to V in Major VI to V in Minor vi to V in Major iv6 to V in minor

7. Which of the following types of non-chord tones would be considered an unprepared disonance? Passing Tone Suspension Escape Tone Appoggiatura

8. In a Classical solo concerto, what is the chord that would most likely be played by the orchestra immediately before the soloist's cadenza? 1st Inversion Dominant triad Root position Dominant 7th chord Second inversion Tonic triad Root position Subdominant triad

9. Consider the following progression: I - VI - IV - V7/V - V. What type of cadence ends this progression? Deceptive Half Authentic Plagal

10. We'll end with an easy one. According to rules of partwriting and resolution associated with western music, when a dominant 7th chord resolves to tonic, the 7th of the dominant 7th chord must ALWAYS resolve to the third of the tonic chord regardless of voice. True False