Harmony & Voice Leading II: Chord Progressions & Predominant Function 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 5, 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

Harmonic rhythm

Pedal point

Harmonizing a bass line

The predominant chords

Why ii6 rather than ii in minor

iii and its rarity

Chord progression checklist

Modulation by pivot chord

Roman numeral analysis of a score

Passing chords

Circle-of-fifths progression

The 5–6 technique

Short answer 1. Define or explain: Closely related keys

3 pts

Short answer 2. Define or explain: Neighbor chords

3 pts

Short answer 3. Define or explain: Harmonizing a soprano line

3 pts

Short answer 4. Define or explain: vi as tonic substitute

3 pts

Free response

4 pts

Written Harmonic Analysis. The progression below is in G major and runs seven chords across four measures, two chords per measure in measures 1 to 3 and one chord in measure 4. Bass: G2 — C3 — D3 — E3 — C3 — D3 — G2. Soprano: D4 — E4 — F-sharp 4 — G4 — A4 — F-sharp 4 — B4.

Give a Roman numeral with inversion for each of the seven chords.

Identify the inversion of the fifth chord and give its figured-bass symbol.

Name the harmonic event at chords 3 to 4 and explain why the phrase does not close there.

Name the cadence formed by the last two chords and justify why it is that type rather than the other authentic cadence.