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 3” 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 34 min 31 points0/17 attempted

Harmonizing a soprano line

Chord progression checklist

Harmonic rhythm

Harmonizing a bass line

The 5–6 technique

Closely related keys

Modulation by pivot chord

Pedal point

Passing chords

vi as tonic substitute

iii and its rarity

Voice leading with seventh chords

Short answer 1. Define or explain: Circle-of-fifths progression

3 pts

Short answer 2. Define or explain: Roman numeral analysis of a score

3 pts

Short answer 3. Define or explain: Why ii6 rather than ii in minor

3 pts

Short answer 4. Define or explain: Neighbor chords

3 pts

Free response

7 pts

Realize the following figured bass in four voices (SATB) in D minor, common time, one chord per beat. Bass: D3 (no figure) — C♯3 (6) — D3 (no figure) — G2 (no figure) — A2 (no figure) — D3 (no figure).

Provide the Roman numeral for each chord.

Write a correct SATB realization, giving the pitch of each voice for each chord.

State the doubling you chose for the second chord and justify it.

Identify the cadence type and explain how you treated the leading tone. Observe standard rules: no parallel fifths or octaves, no doubled leading tone, no augmented seconds melodically, and no more than an octave between adjacent upper voices.