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European Baccalaureate Music study materials
European Baccalaureate Music study resources

European Baccalaureate Music practice questions

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Question 1Music (2-period complementary course, column 5)

In the European Baccalaureate music course, which term describes the simultaneous sounding of two or more pitches that forms the vertical dimension of a texture?

  1. Harmony Correct answer.
  2. Orchestration
  3. Timbre
  4. Counterpoint

Explanation

Harmony concerns the vertical stacking of pitches and the chords they create, which is the vertical dimension of musical texture. Counterpoint instead concerns the horizontal combination of independent melodic lines. Timbre and orchestration relate to tone colour and its distribution among instruments.

Question 2Music (2-period complementary course, column 5)

A work is described as being in ternary form. Which structural plan does this label indicate?

  1. A–B–A–C–A
  2. A–A–B
  3. A–B–C
  4. A–B–A Correct answer.

Explanation

Ternary form is built on a statement, a contrasting middle section and a return of the opening material, giving the pattern A–B–A. Rounded binary also returns to A but is preceded by a first section that itself closes with a return or half-close. A–B–C is through-composed and A–B–A–C–A is rondo-like.

Question 3Music (2-period complementary course, column 5)

Which interval is a major sixth above the note D?

  1. B Correct answer.
  2. F
  3. B-flat
  4. C

Explanation

Counting letter names from D gives D–E–F–G–A–B, six degrees, and the major sixth above D is B natural. A major sixth spans nine semitones; D to B-flat is only eight semitones and is a minor sixth. C and F lie at a seventh and a third respectively and cannot be sixths above D.

Question 4Music (2-period complementary course, column 5)

In the European Baccalaureate music syllabus, a cadence that moves from the dominant chord to the tonic chord at the end of a phrase is called which of the following?

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

Explanation

An authentic cadence is the progression from dominant (V) to tonic (I) and provides the strongest sense of closure. A plagal cadence moves from subdominant to tonic, while a half cadence simply pauses on the dominant. An interrupted cadence diverts from dominant to a chord other than the tonic.

Question 5Music (2-period complementary course, column 5)

Which family of instruments in the standard symphony orchestra is classified as idiophones rather than chordophones?

  1. Brass
  2. Strings
  3. Woodwind
  4. Percussion Correct answer.

Explanation

Idiophones produce sound through the vibration of the instrument body itself, and orchestral percussion such as cymbals, triangles and xylophones belong to this group. Strings are chordophones because sound comes from vibrating strings. Woodwind and brass instruments are aerophones, sounding through vibrating air columns.

Question 6Music (2-period complementary course, column 5)

A piece is written in 6/8 time. Which description correctly characterises its metre?

  1. Simple triple
  2. Compound triple
  3. Simple duple
  4. Compound duple Correct answer.

Explanation

In 6/8 the beats divide into three quavers, making it compound, and there are two such beats per bar, making it duple. Simple metres divide the beat into two, so simple triple would be 3/4 and simple duple 2/4. Compound triple would require three dotted beats, as in 9/8.

Question 7Music (2-period complementary course, column 5)

Which composer wrote the orchestral suite The Planets, a set of seven movements each named after a planet?

  1. Gustav Holst Correct answer.
  2. Edward Elgar
  3. Benjamin Britten
  4. Ralph Vaughan Williams

Explanation

The Planets was composed by Gustav Holst between 1914 and 1916 and consists of seven character movements from Mars to Neptune. Elgar is known for the Enigma Variations, Vaughan Williams for works such as The Lark Ascending, and Britten for the Young Person's Guide to the Orchestra.

Question 8Music (2-period complementary course, column 5)

Which dynamic marking tells a performer to play very softly?

  1. pianissimo Correct answer.
  2. sforzando
  3. fortissimo
  4. mezzo-forte

Explanation

Pianissimo, abbreviated pp, means very soft. Fortissimo means very loud and mezzo-forte means moderately loud. Sforzando indicates a sudden strong accent on a single note or chord rather than a general soft level.

Question 9Music (2-period complementary course, column 5)

A passage modulates from C major to G major. Which chord functions as the new dominant after the modulation is complete?

  1. G major
  2. A minor
  3. D major Correct answer.
  4. F major

Explanation

Once the music has settled in G major, the tonic is G and the dominant is the chord built on the fifth degree, D major. G major would be the new tonic rather than the dominant. F major belongs to C major and A minor is the supertonic of G, not its dominant.

Question 10Music (2-period complementary course, column 5)

Which texture describes a single melodic line performed by several voices or instruments in unison or at the octave, without independent accompaniment?

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

Explanation

Monophony consists of one melodic line, whether sung by one voice or many in unison or octaves. Homophony sets a melody against chordal accompaniment, polyphony combines independent simultaneous lines, and heterophony presents simultaneous variants of the same melody.

Question 11Music (2-period complementary course, column 5)

A composer writes a melody using the whole-tone scale. Which feature will listeners most readily notice?

  1. The melody cadences strongly on the tonic
  2. All steps are equal whole tones, so no pitch sounds like a leading note Correct answer.
  3. The scale is identical to the natural minor scale
  4. The scale contains three minor seconds

Explanation

The whole-tone scale divides the octave into six equal whole tones, so every degree has the same intervallic relationship to its neighbours. This symmetry removes the semitone pull of a leading note and weakens traditional tonal cadencing. It contains no minor seconds and differs clearly from any minor scale.

Question 12Music (2-period complementary course, column 5)

Which harmonic device involves a temporary shift of tonal centre without a full change of key signature, often achieved through a secondary dominant?

  1. Tonicisation Correct answer.
  2. Sequence
  3. Pedal point
  4. Modulation

Explanation

Tonicisation briefly treats a chord other than the tonic as a local centre, typically by preceding it with its own dominant. A full modulation establishes a new key more durably. A pedal point is a sustained note and a sequence is a repeated melodic or harmonic pattern at a new pitch level.

Question 13Music (2-period complementary course, column 5)

A sonata-form movement opens with a slow introduction in a key other than the tonic. Which term best describes this opening section?

  1. Exposition
  2. Recapitulation
  3. Development
  4. Introduction Correct answer.

Explanation

The slow opening of a sonata-form movement is conventionally called the introduction and precedes the exposition. The exposition presents the main themes, the development explores and transforms them, and the recapitulation restates them in the tonic. The introduction is therefore the correct label for the opening section.

Question 14Music (2-period complementary course, column 5)

Which pair of instruments both use a single reed attached to a mouthpiece?

  1. Trumpet and trombone
  2. Oboe and bassoon
  3. Clarinet and saxophone Correct answer.
  4. Flute and recorder

Explanation

The clarinet and saxophone both produce sound with a single reed beating against a mouthpiece. Oboe and bassoon use double reeds, while flute and recorder rely on an air stream across or through an edge. Trumpet and trombone are brass instruments sounded by the lips.

Question 15Music (2-period complementary course, column 5)

A score shows a bass clef with a key signature of three flats. Which major key does this signature indicate?

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

Explanation

The order of flats is B, E, A, D and so on, so three flats give B-flat, E-flat and A-flat, which belongs to E-flat major. One flat indicates F major, two flats B-flat major, and four flats A-flat major. The clef does not alter which key the signature represents.

Question 16Music (2-period complementary course, column 5)

Which term describes a short melodic or rhythmic idea that is repeated and developed throughout a movement?

  1. Ostinato
  2. Libretto
  3. Motive Correct answer.
  4. Cadenza

Explanation

A motive is a brief, recognisable musical idea used as a building block and subjected to repetition, variation and development. An ostinato is a persistently repeated pattern, often in the bass, while a cadenza is a virtuoso solo passage and a libretto is the text of an opera.

Question 17Music (2-period complementary course, column 5)

In a Baroque concerto grosso, how is the performing body typically organised?

  1. A single soloist accompanied by piano
  2. Two orchestras playing identical parts
  3. A choir accompanied by organ only
  4. A small group of soloists contrasted with the full orchestra Correct answer.

Explanation

The concerto grosso sets a small group of soloists, the concertino, against the full ensemble, the ripieno or tutti. A single soloist with orchestra describes the solo concerto, and two identical orchestras do not form the standard pattern. The genre is essentially one of contrast between unequal groups.

Question 18Music (2-period complementary course, column 5)

A passage marked accelerando is performed in which way?

  1. Gradually getting softer
  2. Gradually getting louder
  3. Gradually getting faster Correct answer.
  4. Gradually getting slower

Explanation

Accelerando means becoming faster and is a tempo indication. Ritardando or rallentando would mean becoming slower, while crescendo and diminuendo describe changes of volume. Tempo and dynamic terms are distinct categories of instruction.

Question 19Music (2-period complementary course, column 5)

A melody moves from scale degree 1 up to degree 3 and back to degree 1 in a major key. Which interval does the leap from degree 1 to degree 3 span?

  1. Major second
  2. Minor third
  3. Major third Correct answer.
  4. Perfect fourth

Explanation

In a major scale the distance from the tonic to the mediant spans two whole tones, which is a major third. A minor third would require four semitones and would occur from tonic to a flattened mediant. A perfect fourth reaches degree 4 and a major second reaches degree 2.

Question 20Music (2-period complementary course, column 5)

Which composer is associated with the development of the twelve-tone method in the early twentieth century?

  1. Arnold Schoenberg Correct answer.
  2. Claude Debussy
  3. Sergei Rachmaninoff
  4. Igor Stravinsky

Explanation

Arnold Schoenberg developed the twelve-tone method around 1921, ordering all twelve pitch classes into a row that governs the work. Debussy is linked with musical impressionism, Stravinsky with primitivism and neoclassicism, and Rachmaninoff with a late-Romantic style.

Question 21Music (2-period complementary course, column 5)

A choir sings a passage in which the sopranos hold the melody while the altos, tenors and basses move in chords beneath them. Which texture is this?

  1. Imitative polyphony
  2. Monophonic
  3. Heterophonic
  4. Homophonic Correct answer.

Explanation

A melody supported by chordal accompaniment moving largely together is homophonic, specifically homorhythmic when the chords move in the same rhythm. Monophony would be a single line, imitative polyphony would present overlapping entries of the same material, and heterophony would present simultaneous variants of one line.

Question 22Music (2-period complementary course, column 5)

A passage in 4/4 alternates between a chord on the first beat and a chord on the third beat. Which harmonic rhythm does this create?

  1. One chord every two bars
  2. Two chords per bar Correct answer.
  3. One chord per bar
  4. Four chords per bar

Explanation

With a chord on beat one and another on beat three, two chords occur in each four-beat bar, so the harmonic rhythm is two chords per bar. One chord per bar would require a single harmony sustained across all four beats. Four chords per bar would place a new chord on every beat.

Question 23Music (2-period complementary course, column 5)

Which feature most clearly distinguishes a fugue from a canon?

  1. The fugue never uses imitation
  2. The canon always includes an orchestral accompaniment
  3. The fugue is always written for voices alone
  4. The fugue presents a subject in successive voices with episodes between entries Correct answer.

Explanation

A fugue states its subject in successive voices and separates these entries with episodic passages that develop motivic material. A canon is a strict continuous imitation in which the following voices repeat the leader throughout. Fugues are frequently instrumental, and both genres rely on imitation.

Question 24Music (2-period complementary course, column 5)

A passage uses a chord progression in which the bass descends by step from tonic to dominant while the upper voices hold common tones. Which technique is being demonstrated?

  1. Syncopation
  2. Modulation
  3. Voice leading Correct answer.
  4. Transposition

Explanation

Voice leading concerns how individual parts move between chords, favouring smooth stepwise motion and held common tones. Modulation is a change of key, syncopation is a rhythmic displacement of accents, and transposition shifts music to a different pitch level. The described bass descent and held upper voices are voice-leading matters.

Question 25Music (2-period complementary course, column 5)

A late-Romantic composer expands tonality by using chords built on the whole-tone scale and by avoiding a clear tonic. Which analytical description best fits this practice?

  1. Strict functional harmony in a single key
  2. Serial organisation of all twelve pitch classes
  3. Modal counterpoint in the Renaissance style
  4. Extended tonality tending towards chromaticism Correct answer.

Explanation

Whole-tone harmony and the avoidance of a clear tonic indicate extended tonality that pushes chromaticism towards the edges of functional harmony. Strict functional harmony would require a firmly established tonic and diatonic chords. Renaissance modal counterpoint and twelve-tone serialism belong to different stylistic worlds.

Question 26Music (2-period complementary course, column 5)

In a score for the European Baccalaureate complementary music course, a passage is marked 'sforzando' on a single chord. How should the performer treat that chord?

  1. With a gradual increase of volume across the whole bar
  2. With a slight slowing of tempo on the chord
  3. With a sustained soft tone held without accent
  4. With a sudden strong accent followed by an immediate reduction in force Correct answer.

Explanation

Sforzando (sf, sfz) indicates a sudden, forceful accent on a single note or chord, usually followed by an immediate drop back to a lower dynamic. It is an accent mark, not a dynamic level sustained over time, so the force is concentrated on the attack.

Question 27Music (2-period complementary course, column 5)

A wind player is asked to perform a passage 'con sordino'. What does this instruction require?

  1. Playing with the bell pointed towards the audience
  2. Playing an octave higher than written
  3. Playing with a free, unaccented articulation
  4. Playing with a mute fitted to the instrument Correct answer.

Explanation

Con sordino means 'with mute': the player fits a mute to the instrument, altering both timbre and volume. The instruction appears in orchestral and chamber parts for strings, brass and some woodwinds.

Question 28Music (2-period complementary course, column 5)

A melody in a major key is harmonised with the progression I – vi – IV – V. Which Roman numeral represents the submediant chord?

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

Explanation

In a major key the submediant is the sixth scale degree, and its diatonic triad is minor, written vi. It lies a third below the tonic and is often used to add colour between tonic and subdominant harmony.

Question 29Music (2-period complementary course, column 5)

Which tempo term indicates a walking pace, faster than andante but slower than allegro?

  1. Largo
  2. Presto
  3. Moderato Correct answer.
  4. Adagio

Explanation

Moderato sits in the middle of the tempo spectrum, faster than andante and slower than allegro, and is often described as a moderate walking pace. It is frequently combined with other terms, as in allegro moderato.

Question 30Music (2-period complementary course, column 5)

A four-part choral score is described as 'homophonic'. Which description matches that texture?

  1. A single unaccompanied melodic line is heard alone
  2. All voices move together in chords with the same rhythm beneath a melody Correct answer.
  3. Each voice enters in turn with the same melodic line
  4. Two independent melodic lines are played against each other throughout

Explanation

Homophony is a texture in which the parts move largely together in chordal blocks, supporting one principal melody. The rhythmic alignment of the voices is what distinguishes it from polyphonic textures.

Question 31Music (2-period complementary course, column 5)

Which interval is enharmonically equivalent to an augmented fourth?

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

Explanation

An augmented fourth and a diminished fifth span the same number of semitones (six) and sound identical on a keyboard, so they are enharmonically equivalent. They differ in spelling and in how they function within a key.

Question 32Music (2-period complementary course, column 5)

A piece is headed 'Op. 27 No. 2'. What does this designation tell the performer?

  1. It lasts twenty-seven minutes and has two movements
  2. It is the twenty-seventh performance of the second work
  3. It is the second work in the composer's twenty-seventh published opus Correct answer.
  4. It is scored for twenty-seven instruments in two groups

Explanation

Opus numbers group a composer's published works, and a second number after 'No.' identifies the individual piece within that opus. The designation is a catalogue reference, not information about scoring, duration or performance count.

Question 33Music (2-period complementary course, column 5)

A performer reads a treble-clef staff with a key signature of two sharps. Which major key is indicated?

  1. A major
  2. F major
  3. D major Correct answer.
  4. G major

Explanation

Two sharps (F sharp and C sharp) indicate D major or its relative B minor. The last sharp in the signature, C sharp, lies a semitone below the tonic, which is a quick way to identify the major key.

Question 34Music (2-period complementary course, column 5)

A passage is written in 3/2 time. Which description correctly characterises its metre?

  1. Simple triple metre with three minim beats per bar Correct answer.
  2. Compound duple metre with two dotted-minim beats per bar
  3. Simple quadruple metre with four crotchet beats per bar
  4. Compound triple metre with three dotted-crotchet beats per bar

Explanation

In 3/2 the upper figure gives three beats per bar and the lower figure shows that each beat is a minim. Three beats divided into two quavers each gives simple triple metre.

Question 35Music (2-period complementary course, column 5)

A passage moves from A minor to its relative major. Which key does it reach?

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

Explanation

The relative major of a minor key lies a minor third above the tonic and shares the same key signature. A minor has no sharps or flats, so its relative major is C major.

Question 36Music (2-period complementary course, column 5)

A composer writes a melody that uses the notes of the melodic minor scale ascending. Which scale degrees differ from the natural minor form?

  1. The sixth and seventh degrees are raised Correct answer.
  2. The third and fourth degrees are raised
  3. The fourth and fifth degrees are lowered
  4. The second and third degrees are lowered

Explanation

The ascending melodic minor raises the sixth and seventh degrees of the natural minor scale, creating a smoother step to the tonic. Descending, the form usually reverts to natural minor.

Question 37Music (2-period complementary course, column 5)

During a cadence, the bass moves from the dominant to the tonic while the upper voices move from the leading note to the tonic. Which cadence is this?

  1. Plagal cadence
  2. Interrupted cadence
  3. Perfect cadence Correct answer.
  4. Imperfect cadence

Explanation

A perfect cadence moves from dominant harmony to tonic harmony with the leading note resolving upward to the tonic in the soprano. It provides the strongest sense of final closure.

Question 38Music (2-period complementary course, column 5)

A string quartet plays a passage in which the first violin carries the melody while the cello plays a slow-moving bass and the inner parts fill in harmony. Which texture is heard?

  1. Imitative polyphony
  2. Heterophony
  3. Melody-dominated homophony Correct answer.
  4. Monophony

Explanation

A clear melody supported by a subordinate bass and chordal inner parts is melody-dominated homophony, the standard texture of much Classical chamber music. The parts are not imitating one another.

Question 39Music (2-period complementary course, column 5)

Which instrument belongs to the woodwind family but is made of brass and uses a single reed?

  1. Saxophone Correct answer.
  2. Bassoon
  3. Flute
  4. Oboe

Explanation

The saxophone is classed as woodwind because of its single-reed mouthpiece and fingering system, even though its body is made of brass. Brass construction alone does not place an instrument in the brass family.

Question 40Music (2-period complementary course, column 5)

A composer writes a passage in which the harmony alternates between the tonic and the dominant seventh for eight bars, then moves to the subdominant. Which harmonic feature is most characteristic of the opening eight bars?

  1. A sequence of secondary dominants resolving to the supertonic
  2. A circle-of-fifths progression through all seven diatonic chords
  3. A modal shift to the parallel minor
  4. A prolonged dominant preparation that delays the subdominant Correct answer.

Explanation

Sustained alternation of tonic and dominant seventh establishes and prolongs the dominant area, building tension before the move to subdominant harmony. The dominant seventh in particular strengthens the pull towards the tonic.

Question 41Music (2-period complementary course, column 5)

A piece is written in cut time (alla breve). How does this affect the performer's reading of 4/4 notation?

  1. The bar has four minim beats, so the tempo must be halved
  2. The bar has three crotchet beats, so the metre becomes triple
  3. The bar has two minim beats, so the pulse feels broader and faster in tempo Correct answer.
  4. The bar has eight quaver beats, so the pulse feels subdivided

Explanation

Alla breve keeps the same note values but reorganises the bar into two minim beats rather than four crotchet beats. The result is a broader, more flowing two-in-a-bar feel, often taken at a quicker absolute tempo.

Question 42Music (2-period complementary course, column 5)

A modulation is prepared by introducing the dominant seventh of the new key before the new tonic arrives. Which term describes this chord?

  1. Pivot chord functioning as applied dominant Correct answer.
  2. Neapolitan sixth
  3. Augmented sixth chord
  4. Pedal point

Explanation

A chord that is diatonic in the old key but reinterpreted as the dominant seventh of the new key acts as a pivot and applied dominant, smoothing the modulation. It introduces the leading note of the new key before the new tonic is confirmed.

Question 43Music (2-period complementary course, column 5)

A composer sets a poem for solo voice and piano in which the piano carries the melodic interest and the voice declaims the text on a narrow range of pitches. Which genre and style does this describe?

  1. Through-composed Lied with declamatory vocal writing Correct answer.
  2. Strophic aria with coloratura ornamentation
  3. Motet with imitative counterpoint
  4. Bel canto opera scene with recitative and cabaletta

Explanation

A Lied for voice and piano that avoids strophic repetition and follows the poem's changing imagery is through-composed, and a narrow, speech-like vocal line is declamatory writing. The piano's melodic role is typical of nineteenth-century song.

Question 44Music (2-period complementary course, column 5)

A passage in 4/4 changes harmony on every quaver for two bars. Which description of harmonic rhythm applies?

  1. Fast harmonic rhythm, with chord changes on each quaver Correct answer.
  2. Irregular harmonic rhythm, with changes only on weak beats
  3. Slow harmonic rhythm, with one chord per bar
  4. Static harmony, with no chord changes

Explanation

Harmonic rhythm describes how frequently chords change. A new chord on every quaver produces a fast harmonic rhythm, creating a sense of harmonic motion and drive.

Question 45Music (2-period complementary course, column 5)

A choir sings a passage in which the tenors enter with a melody, and the sopranos then enter with the same melody a fifth higher while the tenors continue. Which contrapuntal procedure is used?

  1. Augmentation
  2. Imitation at the fifth Correct answer.
  3. Inversion at the fifth
  4. Diminution

Explanation

When a second voice enters with the same melodic material at a different pitch level, the procedure is imitation, and the interval between the entries here is a fifth. The continuing first voice creates counterpoint against the imitation.

Question 46Music (2-period complementary course, column 5)

A symphony's third movement is marked 'Scherzo: Allegro' with a 'Trio' section, after which the Scherzo returns. Which form does the movement follow?

  1. Ternary form with a contrasting central section and a da capo return Correct answer.
  2. Rondo form with a recurring refrain between episodes
  3. Sonata form with exposition, development and recapitulation
  4. Theme and variations with a series of decorative restatements

Explanation

A scherzo with a contrasting trio and a return of the scherzo follows a ternary design, often written out or indicated by da capo. The trio provides contrast in key and texture before the opening section returns.

Question 47Music (2-period complementary course, column 5)

A composer writes a chord built from the notes C, E flat, G flat and B double flat. Which chord type is this?

  1. Half-diminished seventh
  2. Minor seventh
  3. Fully diminished seventh Correct answer.
  4. Dominant seventh

Explanation

A fully diminished seventh chord is built from a diminished triad plus a diminished seventh above the root, giving a stack of minor thirds. C, E flat, G flat and B double flat are each a minor third apart.

Question 48Music (2-period complementary course, column 5)

A passage uses a twelve-tone row in which no pitch class is repeated until all twelve have sounded. Which compositional principle does this describe?

  1. Modal mixture between parallel major and minor
  2. Polytonal layering of two unrelated keys
  3. Aleatoric determination of pitches by the performer
  4. Serial ordering of pitch classes with the row as the basic material Correct answer.

Explanation

Twelve-tone technique treats an ordered row containing all twelve pitch classes as the fundamental material, and forms of the row (prime, inversion, retrograde, retrograde inversion) generate the music. The avoidance of repetition before the row completes is the defining constraint.

Question 49Music (2-period complementary course, column 5)

A passage alternates between the chords of C major and G flat major, whose roots are a tritone apart. Which harmonic technique does this exemplify?

  1. Circle-of-fifths sequence within a single key
  2. Tritone-related chromatic pairing that undermines a single tonal centre Correct answer.
  3. Functional dominant preparation of the tonic
  4. Plagal cadencing between subdominant and tonic

Explanation

Chords whose roots lie a tritone apart share no diatonic function within one key, so alternating them weakens any single tonal centre. This kind of tritone-related pairing is characteristic of chromatic and twentieth-century harmonic practice.

Question 50Music (2-period complementary course, column 5)

A fugue subject is answered by a second voice entering on the dominant, but the answer alters one interval so that the subject's tonal outline is preserved in the home key. Which type of answer is this?

  1. Countersubject
  2. Real answer
  3. Tonal answer Correct answer.
  4. Stretto

Explanation

A tonal answer adjusts an interval in the subject so that the reply remains anchored in the tonic key, typically when the subject begins by outlining tonic to dominant. A real answer transposes the subject exactly.