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 2” 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

Period vs phrase

Cadence identification by ear

Antecedent and consequent

Imperfect authentic cadence

Double period

The three harmonic functions

Frustrated leading tone

Parallel vs contrasting period

Contrary, similar, oblique, parallel motion

Resolving the leading tone

Sentence structure

Parallel fifths and octaves

Short answer 1. Define or explain: Voice crossing and overlap

3 pts

Short answer 2. Define or explain: Phrygian half cadence

3 pts

Short answer 3. Define or explain: Direct (hidden) fifths and octaves

3 pts

Short answer 4. Define or explain: Resolving the chordal seventh

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.