I85PREP
⌘ K
AP Music Theory study materials
AP Music Theory study resources

AP Music Theory practice questions

One question at a time. Build your AP Music Theory understanding.

First 50 of 199 questions. Each one lists the choices, the correct answer, and an explanation. The checker at the top of this page saves progress in this browser when it is available.

Continue in the practice tool above to load more questions, 50 at a time.

Question 1Section I: Multiple Choice

In a major key, which scale degree forms a major triad in root position?

  1. Submediant
  2. Supertonic
  3. Tonic Correct answer.
  4. Leading tone

Explanation

The diatonic triads of a major key are I ii iii IV V vi vii°. Only the tonic, subdominant, and dominant are major triads; the tonic is one of them.

Question 2Section I: Multiple Choice

A piece is notated with a key signature of three flats and its melody centers on and resolves to E-flat. What is the key?

  1. A-flat major
  2. C minor
  3. E-flat major Correct answer.
  4. F minor

Explanation

Three flats indicate either E-flat major or C minor. Since the music centers and resolves on E-flat, the tonic is E-flat and the key is E-flat major.

Question 3Section I: Multiple Choice

How many semitones span a perfect fifth?

  1. Seven Correct answer.
  2. Five
  3. Eight
  4. Six

Explanation

A perfect fifth contains seven semitones, for example C up to G. Counting letter names gives five scale steps, but semitone distance is seven.

Question 4Section I: Multiple Choice

Which note value is the beat unit in 6/8 meter when it is felt as compound meter?

  1. Half note
  2. Eighth note
  3. Dotted quarter note Correct answer.
  4. Quarter note

Explanation

Compound meters group three divisions per beat, so in 6/8 the dotted quarter (three eighths) is the beat unit. There are two such beats per measure.

Question 5Section I: Multiple Choice

In common-practice harmony, which cadence moves from V to vi in a major key?

  1. Authentic cadence
  2. Half cadence
  3. Plagal cadence
  4. Deceptive cadence Correct answer.

Explanation

A deceptive cadence resolves the dominant to a chord other than the tonic, most often vi. The surprise of avoiding tonic defines it.

Question 6Section I: Multiple Choice

What is the relative minor of D major?

  1. A minor
  2. F-sharp minor
  3. B minor Correct answer.
  4. G minor

Explanation

The relative minor lies a minor third below the major tonic and shares its key signature. A minor third below D is B, giving B minor with two sharps.

Question 7Section I: Multiple Choice

Which interval is enharmonically equivalent to an augmented fourth?

  1. Perfect fifth
  2. Diminished fifth Correct answer.
  3. Minor sixth
  4. Major third

Explanation

An augmented fourth and a diminished fifth both span six semitones and sound identical on the piano, though they are spelled differently.

Question 8Section I: Multiple Choice

Which term describes a melody that moves mostly by small steps from one adjacent scale tone to the next?

  1. Inversion
  2. Disjunct motion
  3. Sequence
  4. Conjunct motion Correct answer.

Explanation

Conjunct motion proceeds by step between neighboring pitches. Disjunct motion, by contrast, moves by leaps.

Question 9Section I: Multiple Choice

A chord is spelled E, G, B-flat. What is its quality and root?

  1. E major
  2. G minor
  3. E diminished
  4. E minor Correct answer.

Explanation

The root is E, with a minor third (E to G) and a perfect fifth (E to B-flat). Those intervals define a minor triad.

Question 10Section I: Multiple Choice

In a minor key, what is the quality of the triad built on the leading tone when the harmonic minor scale is used?

  1. Major
  2. Augmented
  3. Diminished Correct answer.
  4. Minor

Explanation

Harmonic minor raises the seventh degree, creating a leading tone a half step below tonic. The triad built on that degree has a minor third and a diminished fifth, so it is diminished.

Question 11Section I: Multiple Choice

Which Roman numeral progression represents a I–vi–IV–V chord loop in C major?

  1. C–Em–F–G
  2. C–Am–Dm–G
  3. C–Am–F–G Correct answer.
  4. C–F–Am–G

Explanation

In C major, I is C, vi is A minor, IV is F, and V is G. The progression I–vi–IV–V therefore reads C–Am–F–G.

Question 12Section I: Multiple Choice

In 4/4 time, a syncopation most typically results when a note is attacked

  1. only on the downbeat of beat three
  2. on a weak beat or offbeat and accented Correct answer.
  3. exactly on every strong beat
  4. on beat one and held for a full measure

Explanation

Syncopation accents a weak beat or the offbeat, contradicting the expected metric stress. This creates rhythmic tension against the established pulse.

Question 13Section I: Multiple Choice

Which cadence is formed by the progression IV to I?

  1. Half cadence
  2. Plagal cadence Correct answer.
  3. Perfect authentic cadence
  4. Deceptive cadence

Explanation

The plagal cadence moves from the subdominant (IV) to the tonic (I). It is often called the amen cadence.

Question 14Section I: Multiple Choice

A melody in C major leaps from C up to A. Which interval does this span?

  1. Major sixth Correct answer.
  2. Major seventh
  3. Minor seventh
  4. Minor sixth

Explanation

Counting from C up to A spans six letter names, and the semitone distance is nine, which defines a major sixth.

Question 15Section I: Multiple Choice

What is the function of a secondary dominant?

  1. It doubles the leading tone in the bass
  2. It briefly tonicizes a chord other than the tonic Correct answer.
  3. It always resolves to the subdominant
  4. It replaces the tonic throughout a phrase

Explanation

A secondary dominant is a major triad or dominant seventh that temporarily tonicizes a diatonic chord other than the tonic, such as V/V leading to V. It functions as a local dominant within the prevailing key.

Question 16Section I: Multiple Choice

Which non-chord tone is approached by step and left by step in the opposite direction?

  1. Neighbor tone Correct answer.
  2. Suspension
  3. Appoggiatura
  4. Passing tone

Explanation

A neighbor tone moves by step away from a chord tone and then returns by step in the opposite direction. A passing tone instead continues in the same direction to a new chord tone.

Question 17Section I: Multiple Choice

Which chord is the mediant triad in the key of G major?

  1. A minor
  2. D major
  3. E minor
  4. B minor Correct answer.

Explanation

The mediant is the third scale degree, which is B in G major. The diatonic triad on B is B minor (iii).

Question 18Section I: Multiple Choice

A chord progression moves from I to IV. What is the root motion between these chords?

  1. Down a minor third
  2. Up a major third
  3. Up a major second
  4. Up a perfect fourth Correct answer.

Explanation

From tonic to subdominant the root rises a perfect fourth (or falls a perfect fifth). In C major this is C up to F, seven semitones.

Question 19Section I: Multiple Choice

Which term describes the texture in which a single melodic line is performed by multiple voices or instruments at the same pitch or octave?

  1. Monophony Correct answer.
  2. Heterophony
  3. Homophony
  4. Polyphony

Explanation

Monophony consists of a single melodic line, even if several performers double it at the octave. There is no independent harmony or countermelody.

Question 20Section I: Multiple Choice

In the key of A minor, which chord is the dominant when the harmonic minor scale is applied?

  1. G major
  2. E major Correct answer.
  3. E minor
  4. C major

Explanation

The harmonic minor scale raises G to G-sharp, making the dominant triad E–G-sharp–B, which is E major. This raised third supplies the leading tone needed for a strong authentic cadence.

Question 21Section I: Multiple Choice

A four-part chord contains the notes C, E, G, and B-flat. What is this chord?

  1. C dominant seventh Correct answer.
  2. C major seventh
  3. C minor seventh
  4. C half-diminished seventh

Explanation

The chord has a major third (E) and a minor seventh (B-flat) above C, which defines a dominant seventh chord. The perfect fifth (G) confirms the dominant quality.

Question 22Section I: Multiple Choice

In a phrase, a chord spelled F-sharp, A, C, E functions most likely as which applied chord in the key of G major?

  1. iiø7
  2. V7/IV
  3. V7/vi
  4. vii°7/V Correct answer.

Explanation

In G major the dominant is D, and the leading tone to D is C-sharp; however F-sharp–A–C–E is a fully diminished seventh chord on F-sharp. F-sharp is the leading tone of G, not directly of D, so the chord built on F-sharp functions as vii°7 of G, but within the options the chord on F-sharp with A, C, E is the leading-tone seventh of G. Among the choices, the chord built on the leading tone of the dominant (C-sharp) would be vii°7/V; the F-sharp diminished seventh is the diatonic vii°7 in G. The best fit given the options is vii°7 of the dominant's key only if respelled, so the intended answer is vii°7/V when the chord is C-sharp–E–G–B-flat. Because F-sharp–A–C–E is diatonic vii°7 in G, none of the applied labels fit perfectly; the closest intended function is the leading-tone chord of G itself.

Question 23Section I: Multiple Choice

Which statement best describes a modulation to the dominant?

  1. The harmony remains on a single chord for the entire phrase
  2. The tonic is restated without any chromatic alteration
  3. A new key is confirmed by a cadence in the dominant, often prepared by its secondary dominant Correct answer.
  4. The melody returns to the original key after a brief tonicization

Explanation

A true modulation establishes a new tonal center, typically confirmed by a cadence in the new key. The dominant key is often prepared by introducing its own dominant (V/V) and leading tone.

Question 24Section I: Multiple Choice

In a minor key, a Picardy third occurs when

  1. the subdominant is replaced by the supertonic
  2. the final tonic chord of a phrase is made major Correct answer.
  3. the dominant chord is made minor
  4. the leading tone is lowered in the cadence

Explanation

A Picardy third raises the third of the final tonic triad in a minor-key cadence, producing a major tonic chord. This brightens the closing sonority.

Question 25Section I: Multiple Choice

A passage in 3/4 alternates a dotted-quarter note with three eighth notes on each beat. Which rhythmic device does this illustrate?

  1. Diminution
  2. Hemiola Correct answer.
  3. Augmentation
  4. Syncopation

Explanation

A hemiola superimposes a two-beat grouping over a meter that is normally felt in three. Alternating dotted quarters (two per measure) against eighth-note triplets creates this 3:2 conflict.

Question 26Section I: Multiple Choice

In the key of B-flat major, which pitches form the tonic triad?

  1. B-flat, D, G
  2. B-flat, D-flat, F
  3. B-flat, E-flat, G
  4. B-flat, D, F Correct answer.

Explanation

A major triad is built from a root, its major third, and its perfect fifth. In B-flat major the tonic triad is therefore B-flat, D, and F.

Question 27Section I: Multiple Choice

Which time signature is best described as compound duple meter?

  1. 2/2
  2. 4/4
  3. 6/8 Correct answer.
  4. 3/4

Explanation

Compound duple meter has two main beats, each subdivided into three equal parts. 6/8 fits this because the six eighth notes group into two dotted-quarter beats.

Question 28Section I: Multiple Choice

A melody in E-flat major begins on the third scale degree. Which pitch is that?

  1. B-flat
  2. E-flat
  3. G Correct answer.
  4. A-flat

Explanation

The scale degrees of E-flat major are E-flat, F, G, A-flat, B-flat, C, and D. The third degree is therefore G.

Question 29Section I: Multiple Choice

Which interval spans from F-sharp up to D?

  1. Major sixth
  2. Perfect fifth
  3. Augmented fifth
  4. Minor sixth Correct answer.

Explanation

F-sharp up to D covers nine semitones, which is a minor sixth. A major sixth would span ten semitones, as from F natural up to D.

Question 30Section I: Multiple Choice

Which chord quality results from stacking a minor third and then a major third above the root?

  1. Diminished triad
  2. Major triad
  3. Augmented triad
  4. Minor triad Correct answer.

Explanation

A minor triad consists of a minor third from the root to the third and a major third from the third to the fifth. The total span from root to fifth is a perfect fifth.

Question 31Section I: Multiple Choice

In common-practice notation, which key signature contains exactly three flats?

  1. A-flat major
  2. E-flat major Correct answer.
  3. F major
  4. B-flat major

Explanation

Flats are added in the order B, E, A, D, and so on. Three flats (B-flat, E-flat, A-flat) correspond to E-flat major and its relative minor, C minor.

Question 32Section I: Multiple Choice

A note is written as a whole note. How many beats does it receive in 4/4 time?

  1. Two
  2. Three
  3. Four Correct answer.
  4. One

Explanation

A whole note occupies an entire 4/4 measure, which contains four quarter-note beats. Its duration is therefore four beats in that meter.

Question 33Section I: Multiple Choice

Which cadence moves from the dominant chord to the tonic chord to close a phrase?

  1. Deceptive cadence
  2. Plagal cadence
  3. Half cadence
  4. Authentic cadence Correct answer.

Explanation

An authentic cadence is the motion from V to I (or V to i in minor) that concludes a phrase. It is the strongest closing gesture in tonal music.

Question 34Section I: Multiple Choice

In the key of D major, which Roman numeral represents the submediant triad?

  1. ii
  2. IV
  3. iii
  4. vi Correct answer.

Explanation

The submediant is the sixth scale degree, and in a major key the triad built on it is minor. In D major that chord is B minor, labeled vi.

Question 35Section I: Multiple Choice

A melody moves from G up to C, then to E, then back to C. Which term best describes the shape created by these pitch choices?

  1. Arpeggiation Correct answer.
  2. Sequence
  3. Pedal point
  4. Chromatic passing motion

Explanation

The pitches G, C, and E outline a C major triad, so the melody traces chord tones in succession. This outlining of a chord is called arpeggiation.

Question 36Section I: Multiple Choice

Which non-chord tone is sustained from a previous chord into the next chord and then resolves by step?

  1. Suspension Correct answer.
  2. Escape tone
  3. Appoggiatura
  4. Anticipation

Explanation

A suspension is prepared on a consonant note, held over into the new harmony where it becomes dissonant, and then resolves downward by step. The preparation, suspension, and resolution pattern defines it.

Question 37Section I: Multiple Choice

Which chord progression represents a standard circle-of-fifths motion in the key of C major?

  1. I–ii–IV–V
  2. ii–IV–I–V
  3. vi–ii–V–I Correct answer.
  4. I–IV–V–I

Explanation

Roots moving down by fifths (or up by fourths) produce the sequence vi–ii–V–I in C major, since A to D to G to C descends by fifths each time. This is the classic circle-of-fifths progression.

Question 38Section I: Multiple Choice

A piece in G major uses F natural instead of F-sharp throughout a passage. Which scale has most likely been borrowed?

  1. G mixolydian Correct answer.
  2. G phrygian
  3. G lydian
  4. G harmonic minor

Explanation

Mixolydian differs from the major scale by its lowered seventh degree. In G, that means F natural replacing F-sharp while all other degrees stay the same.

Question 39Section I: Multiple Choice

Which description matches a motive?

  1. A large section that contrasts with the exposition
  2. A chord progression that supports an entire section
  3. A complete eight-measure period ending with a cadence
  4. A short rhythmic or melodic idea that is repeated and developed Correct answer.

Explanation

A motive is the smallest recognizable unit of musical ideas, typically a brief rhythmic or melodic fragment. It gains structural importance through repetition, sequence, and variation.

Question 40Section I: Multiple Choice

In 4/4 time, a half note tied to the first quarter note of the following measure produces which effect?

  1. A syncopation across the barline Correct answer.
  2. A ritardando
  3. A change of meter
  4. A hemiola

Explanation

Tying a note over a barline displaces the expected metric accent, so the sustained sound carries across the beat boundary. This creates syncopation across the barline.

Question 41Section I: Multiple Choice

Which harmonic function does the supertonic triad typically serve in a major key?

  1. Chromatic mediant
  2. Dominant
  3. Tonic
  4. Pre-dominant Correct answer.

Explanation

The ii chord commonly prepares the dominant, functioning as a pre-dominant. In major it is minor and often moves to V, sometimes through a cadential six-four.

Question 42Section I: Multiple Choice

A melody in A minor leaps from A up to F. Which interval does this span?

  1. Minor sixth Correct answer.
  2. Diminished seventh
  3. Major sixth
  4. Perfect fifth

Explanation

A up to F covers eight semitones, which is a minor sixth. In A natural minor, F is the sixth scale degree and lies a minor sixth above the tonic.

Question 43Section I: Multiple Choice

Which texture features two or more independent melodic lines sounding simultaneously?

  1. Heterophony
  2. Homophony
  3. Polyphony Correct answer.
  4. Monophony

Explanation

Polyphony combines two or more melodic lines that retain independence, as in imitative counterpoint. The lines are simultaneously sounding but not subordinated to a single melody.

Question 44Section I: Multiple Choice

A chord spelled D, F, A-flat functions most likely as which applied chord in the key of C minor?

  1. V of iv
  2. vii° of V
  3. V of VI
  4. V of V Correct answer.

Explanation

D, F, A-flat is a diminished triad whose root is D, the supertonic of C minor. As a diminished chord built on the second degree, it acts as the leading-tone chord to G, making it vii° of V.

Question 45Section I: Multiple Choice

Which statement best describes a sequence?

  1. A chord built on the raised fourth degree of a mode
  2. A repeated bass note held beneath changing harmonies
  3. A cadence that avoids the tonic at the end of a phrase
  4. A melodic or harmonic pattern repeated at successively higher or lower pitch levels Correct answer.

Explanation

A sequence restates a motive or harmonic pattern at a new pitch level, often stepping up or down diatonically. The repetition at shifted pitch is what distinguishes it from simple repetition.

Question 46Section I: Multiple Choice

In a four-voice texture, which doubling is generally preferred for a major triad in root position?

  1. Double the leading tone
  2. Double the third
  3. Double the root Correct answer.
  4. Double the fifth

Explanation

Root-position triads are most stable when the root is doubled, since the root defines the chord's identity. Doubling the third is usually avoided because it weakens the chord's sonority.

Question 47Section I: Multiple Choice

A chord spelled F, A-flat, C-flat, E-flat functions most likely as which chord in the key of D-flat major?

  1. V7 of the subdominant
  2. vii°7 of the dominant
  3. iiø7 of the tonic
  4. vii°7 of the supertonic Correct answer.

Explanation

F, A-flat, C-flat, E-flat is a fully diminished seventh chord rooted on F. In D-flat major the supertonic is E-flat, whose leading tone is D, so this chord does not lead to E-flat; instead F is the leading tone of G-flat, making it vii°7 of the subdominant.

Question 48Section I: Multiple Choice

A passage in G major introduces C-sharp as a chromatic tone that resolves upward to D while the harmony moves toward A major. Which device is being used?

  1. Secondary dominant leading tone Correct answer.
  2. Augmented sixth chord
  3. Modal mixture from G minor
  4. Neapolitan sixth

Explanation

The raised fourth degree, C-sharp, acts as the leading tone of D, the dominant of G major. Its upward resolution to D signals a secondary dominant, V of V.

Question 49Section I: Multiple Choice

In a compound ternary form, how is the overall structure typically organized?

  1. Two large sections each subdivided into smaller parts, with the first repeated Correct answer.
  2. A theme stated and then varied continuously
  3. A single continuous section with no internal divisions
  4. A fugal exposition followed by episodes

Explanation

Compound ternary form is built from three large parts, each of which is itself a smaller binary or simple form, so the design is often described as A B A on a larger scale. The internal subdivisions distinguish it from simple ternary.

Question 50Section I: Multiple Choice

A chord progression contains the succession B-flat–E-flat–A-flat–D-flat in the bass, each harmonized as a major-minor seventh chord. Which harmonic device does this chain most strongly suggest?

  1. A plagal expansion of the tonic
  2. A circle of fifths modulating to the subdominant
  3. A pedal point on the dominant
  4. A sequence of applied dominants descending by fifths Correct answer.

Explanation

Each seventh chord resolves as a dominant to the chord a fifth below, so the chain forms a series of applied dominants. The bass moves down by fifths, producing a sequential circle-of-fifths motion.