The Intermediate Harmony quiz: 21 questions by I used to read but now I don't It's bad I know

Progress: 1 of 21 questions

A thorough quiz for students planning to take the Intermediate Harmony exam.

The harmonic sequence most useful for harmonizing a melody rising in steps is:

Descending 5ths
Ascending 5ths
Descending 3rds

« previous question next question »

Progress: 2 of 21 questions

I-V-ii-vi-iii-vii-IV-I
Which harmonic sequence (which is usually modified to fit a major or minor key) is this?

Descending 5ths
Ascending 4ths
Ascending 5ths
Descending 3rds

« previous question next question »

Progress: 3 of 21 questions

When moving from V to vi, double the ____ of vi.

root
third
fifth
thirteenth

« previous question next question »

Progress: 4 of 21 questions

When moving from IV to V7, V7 is:

an incomplete seventh
always minor
a normal chord
usually expanded to a dominant 13th

« previous question next question »

Progress: 5 of 21 questions

Which harmonic sequence is only found in major keys?

Descending 5ths
Ascending 4ths
Descending 3rds

« previous question next question »

Progress: 6 of 21 questions

When using any seventh chord in a harmonic progression, excluding sequences:

Approach it from above and triple the root
Approach the seventh from above and resolve the seventh upwards
Prepare the seventh and resolve it upwards
Prepare the seventh and resolve it downwards

« previous question next question »

Progress: 7 of 21 questions

In a leading note seventh chord, root position, moving to the tonic chord:

double the fifth of the tonic
make sure the tonic is on a downbeat
double the third of the tonic chord
double the third of the tonic chord only if scale degree 2 is above scale degree six

« previous question next question »

Progress: 8 of 21 questions

The first inversion position of a leading note seventh chord may move to a complete I chord if:

The shift from a dim5 to per5 is not between the bass and soprano
The shift from a dim5 to a per5 is not between the two inner voices
The shift from a dim5 to a per5 resolves outward
You raise scale degree 6 so the shift becomes a per5 to a per5

« previous question next question »

Progress: 9 of 21 questions

The root position of a half diminished seventh chord may resolve to:

I
V6/5 or I6
I6
V6/5 or V6/5 of V

« previous question next question »

Progress: 10 of 21 questions

The shift from an aug4 to a per4 is:

Allowed
Not allowed

« previous question next question »

Progress: 11 of 21 questions

The shift from a per4 to a per4 is:

Allowed
Not allowed

« previous question next question »

Progress: 12 of 21 questions

The dance form Minuet, or Menuet, may ___________ an upbeat.

not have
have
or may not have

« previous question next question »

Progress: 13 of 21 questions

The Courante differs from the Gigue, despite the fact that they both have running eights, in the respect that:

The Courante always goes slower
The Courante has a half bar upbeat and the Gigue has none
The Courante is in duple time; the Gigue is in triple
The Courante often is played on the piccolo and the harp

« previous question next question »

Progress: 14 of 21 questions

In a 16-measure dance-form composition, there are generally four cadences: Home key imperfect, ________ perfect, Home key imperfect, and Home key ______.

Relative key, perfect
Home key, perfect
Home key, imperfect
Relative key, imperfect

« previous question next question »

Progress: 15 of 21 questions

Which is not a part of a complete 16-measure dance-form composition?

Phrasing
Braces
Appropriate rests
Fermatas

« previous question next question »

Progress: 16 of 21 questions

A dominant 9th chord possesses these degrees of the scale it's in:

1 5 7 9
1 3 7 9
1 7 9 11
1 5 5 9

« previous question next question »

Progress: 17 of 21 questions

A dominant 11th possesses these degrees of the scale it's in:

1 5 7 11
1 5 7 7
1 3 7 13
1 3 7 11

« previous question next question »

Progress: 18 of 21 questions

Which of the special dominant chords can be used alone in a final perfect cadence?

Dominant 9th
Dominant 11th
Dominant 13th

« previous question next question »

Progress: 19 of 21 questions

The 13th of a dominant chord, when followed by a tonic chord, always:

is in the soprano and resolves upwards
is always in the soprano and remains a common tone
is in the bass and resolves to the tonic
is in the soprano and resolves downwards

« previous question next question »

Progress: 20 of 21 questions

Which characteristic of Compound Ternary Form is distinct from the other two forms?

You always must label the main sections with capital letters
You must name cadences which conclude the sections
Determine the dance form of sections
Mark (usually 4-bar) phrasing

« previous question next question »

Progress: 21 of 21 questions

In a rondo form piece you must uniquely:

Comment on the phrasing
Comment on the differences between the A sections
Compose your own little coda
Comment on your personal opinion of the B section
Comment on the length of the dominant pedals, if any

« previous question next question »

Before you submit this quiz

Would you like to go back and check your answers?

Only the quiz score from the first time you took this quiz will be recorded permanently.

« previous question or