Harmony & Voice Leading I: Chord Function, Cadence & Phrase unit test

A test on this unit alone, marked as a percentage and a letter grade — for the test your class is actually sitting, rather than for May. Answer everything, then submit once: seeing the answer to question 3 before attempting question 4 makes the final percentage meaningless.

Paper 1 Paper 2 Paper 3

Each paper is built from this unit’s 18 terms and is the same for everyone, so a teacher can assign “Unit 4, Paper 1” and every student sits the identical test. Multiple choice is marked objectively; the written sections you mark yourself against the model answer and rubric.

Suggested time 31 min 28 points0/17 attempted

Direct (hidden) fifths and octaves

Resolving the leading tone

Period vs phrase

Frustrated leading tone

Elision

Cadence identification by ear

Voice crossing and overlap

The three harmonic functions

Resolving the chordal seventh

Antecedent and consequent

Phrygian half cadence

Sentence structure

Short answer 1. Define or explain: Double period

3 pts

Short answer 2. Define or explain: Imperfect authentic cadence

3 pts

Short answer 3. Define or explain: Parallel fifths and octaves

3 pts

Short answer 4. Define or explain: Parallel vs contrasting period

3 pts

Free response

4 pts

Part-Writing from Figured Bass. Realize the following figured bass in four voices (SATB) in C major, common time, one chord per beat. Bass: C3 (no figure) — F3 (6) — G3 (no figure) — C3 (no figure).

Give the Roman numeral with inversion for each of the four chords.

Give the pitch of each of the four voices for every chord.

State which chord member you doubled in the second chord and justify the choice.

Explain how the leading tone is treated and why it must not be doubled. Observe standard rules: no parallel fifths or octaves, no voice crossing, and no more than an octave between adjacent upper voices.