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MATSEC AM Music study materials
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MATSEC AM Music practice questions

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Question 1AM Music (content domains not enumerated in source)

In a major key, which chord quality is built on the submediant (degree VI) of the natural diatonic scale?

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

Explanation

In a major key the diatonic triads follow the pattern major, minor, minor, major, major, minor, diminished from I to vii. Degree VI therefore gives a minor triad, for example A minor in C major. The diminished quality belongs to vii only.

Question 2AM Music (content domains not enumerated in source)

A piece is notated with no sharps or flats and its melody repeatedly emphasises A, ending on an A chord. Which key is most likely?

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

Explanation

A key signature with no sharps or flats belongs to C major or A minor. The tonic emphasis and final chord on A identify the relative minor, A minor. A major would require three sharps and E minor one sharp.

Question 3AM Music (content domains not enumerated in source)

Which interval is a compound major third above middle C?

  1. E a tenth above Correct answer.
  2. C an octave above
  3. E a third above
  4. G a fifth above

Explanation

A major third above C is E, and compounding it by an octave gives the tenth C to E. The simple third is not compound, and a fifth or octave does not match the interval quality requested.

Question 4AM Music (content domains not enumerated in source)

In 6/8 time, how many quavers does a full bar contain?

  1. Three
  2. Four
  3. Six Correct answer.
  4. Eight

Explanation

The lower figure of 6/8 states that the quaver is the beat unit, and the upper figure gives six of them per bar. The bar is felt as two dotted-crotchet groups of three quavers each.

Question 5AM Music (content domains not enumerated in source)

Which cadence moves from chord V to chord VI, typically closing a phrase in a minor key?

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

Explanation

A V–VI progression is called an interrupted (or deceptive) cadence because the expected tonic resolution is avoided. In minor keys VI is major, giving a striking shift. Perfect and plagal cadences both end on I.

Question 6AM Music (content domains not enumerated in source)

A melody moves by step within a narrow range and is built from the notes of one scale. Which term best describes this?

  1. Conjunct diatonic melody Correct answer.
  2. Arpeggiated melody
  3. Disjunct chromatic melody
  4. Whole-tone melody

Explanation

Stepwise motion is described as conjunct, and a melody drawn from a single scale is diatonic. The description therefore points to a conjunct diatonic line. Chromatic, arpeggiated and whole-tone melodies behave differently.

Question 7AM Music (content domains not enumerated in source)

Which dynamic marking instructs a performer to become gradually softer?

  1. Diminuendo Correct answer.
  2. Fortissimo
  3. Sforzando
  4. Crescendo

Explanation

Diminuendo (or decrescendo) means gradually decreasing in loudness. Crescendo is the opposite, while fortissimo and sforzando are fixed dynamic levels or accents rather than gradual changes.

Question 8AM Music (content domains not enumerated in source)

A passage marked 'con sordino' for strings directs players to do which of the following?

  1. Pluck the strings
  2. Use a mute Correct answer.
  3. Play with the bow near the bridge
  4. Play harmonics

Explanation

Con sordino means 'with mute', producing a softer, veiled tone. Playing near the bridge is sul ponticello, plucking is pizzicato, and harmonics are indicated separately.

Question 9AM Music (content domains not enumerated in source)

Which chord progression represents a standard ii–V–I in C major using diatonic seventh chords?

  1. Dm7–G7–C7
  2. Dm7–G7–Cmaj7 Correct answer.
  3. Dm7–Gm7–Cmaj7
  4. D7–G7–Cmaj7

Explanation

In C major the diatonic supertonic seventh is Dm7, the dominant seventh is G7 and the tonic seventh is Cmaj7. The progression therefore reads Dm7–G7–Cmaj7. Altering any chord quality breaks the diatonic pattern.

Question 10AM Music (content domains not enumerated in source)

A chorale phrase ends with the soprano moving from leading note to tonic over a V–I root progression. Which cadence is this?

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

Explanation

A perfect cadence requires V–I with both chords in root position and the leading note rising to the tonic in the top voice. All three conditions are met here. Plagal and interrupted cadences use IV–I and V–VI respectively.

Question 11AM Music (content domains not enumerated in source)

In four-part SATB writing, which doubling is normally preferred for a root-position major triad?

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

Explanation

Doubling the root gives the strongest and most stable sonority in a root-position major triad. The third is usually doubled only when voice leading demands it, and the leading note should not be doubled because it must resolve upward.

Question 12AM Music (content domains not enumerated in source)

Which harmonic device uses a chord from the parallel minor in a major key, such as F minor appearing in C major?

  1. Modal mixture Correct answer.
  2. Secondary dominant
  3. Augmented sixth
  4. Neapolitan sixth

Explanation

Borrowing chords from the parallel minor into a major key is called modal mixture or borrowed harmony. A secondary dominant would be a V of another degree, while Neapolitan and augmented sixth chords have specific chromatic functions.

Question 13AM Music (content domains not enumerated in source)

A passage alternates a tonic pedal note beneath chords that change above it. Which term describes this texture?

  1. Ostinato
  2. Canon
  3. Pedal point Correct answer.
  4. Sequence

Explanation

A sustained note held while harmony changes above it is a pedal point, usually on tonic or dominant. An ostinato is a repeated melodic or rhythmic figure, a sequence repeats a motif at a new pitch, and a canon is imitative counterpoint.

Question 14AM Music (content domains not enumerated in source)

A binary form in which the second section restates the opening material in the tonic is best labelled which?

  1. Sonata form
  2. Ternary
  3. Rounded binary Correct answer.
  4. Simple binary

Explanation

Rounded binary returns to the opening A material near the end of the B section, giving an A–B–A' shape. Simple binary lacks this return, ternary has three distinct complete sections, and sonata form is a larger structure with exposition and development.

Question 15AM Music (content domains not enumerated in source)

In a minor key, which scale form raises both the sixth and seventh degrees ascending but uses the natural minor descending?

  1. Whole-tone scale
  2. Harmonic minor
  3. Melodic minor Correct answer.
  4. Natural minor

Explanation

The melodic minor scale raises the sixth and seventh ascending to approach the tonic smoothly, then reverts to natural minor descending. The harmonic minor raises only the seventh in both directions.

Question 16AM Music (content domains not enumerated in source)

Which orchestral family traditionally uses instruments notated at sounding pitch with the bass clef for its lowest member and treble clef for the rest, and includes the timpani?

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

Explanation

The percussion family includes timpani together with unpitched and pitched instruments, and its notation varies widely. Woodwind, brass and strings are defined by their sound production rather than by struck resonance.

Question 17AM Music (content domains not enumerated in source)

A composer writes a melody that repeats a short motif one step lower each time. Which technique is being used?

  1. Inversion
  2. Sequence Correct answer.
  3. Retrograde
  4. Augmentation

Explanation

A sequence restates a motif at successively higher or lower pitch levels. Inversion turns the intervals upside down, retrograde reverses the order of notes, and augmentation lengthens rhythmic values.

Question 18AM Music (content domains not enumerated in source)

Which term describes a chord built on the flattened second degree, usually in first inversion, resolving to V?

  1. Neapolitan sixth Correct answer.
  2. Tonic pedal
  3. Italian sixth
  4. Dominant seventh

Explanation

The Neapolitan sixth is a major triad on the flattened supertonic, conventionally in first inversion, and it resolves to the dominant. The Italian sixth is an augmented sixth chord with a different structure and resolution.

Question 19AM Music (content domains not enumerated in source)

A score shows a melody harmonised with chords moving I–vi–IV–V7–I in C major. Which chord functions as the dominant preparation immediately before the final cadence?

  1. IV Correct answer.
  2. V7
  3. I
  4. vi

Explanation

IV (F major) functions as the predominant, preparing V7 (G7), the dominant. In I–vi–IV–V7–I, IV stands immediately before the final V7–I cadence. V7 then resolves to the tonic I; it is the dominant being prepared, not the chord preparing it.

Question 20AM Music (content domains not enumerated in source)

Which texture describes two or more independent melodic lines of equal importance sounding together?

  1. Polyphonic Correct answer.
  2. Heterophonic
  3. Homophonic
  4. Monophonic

Explanation

Polyphony consists of simultaneous independent melodic lines of comparable weight. Homophony subordinates accompaniment to a melody, monophony is a single line, and heterophony is simultaneous variation of one melody.

Question 21AM Music (content domains not enumerated in source)

A dominant seventh chord is built on G. Which notes does it contain?

  1. G–B–D–F Correct answer.
  2. G–B–D–F#
  3. G–B–D#–F
  4. G–Bb–D–F

Explanation

A dominant seventh consists of a major triad plus a minor seventh above the root. On G this gives G–B–D–F, which resolves naturally to C major or C minor. Raising the seventh would produce a major seventh chord.

Question 22AM Music (content domains not enumerated in source)

In sonata form, which section typically presents the second subject in the tonic key on its return?

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

Explanation

The recapitulation restates the exposition material with the second subject transposed into the tonic so the movement can close in one key. The exposition states it first in a contrasting key, and the development explores and fragments the material.

Question 23AM Music (content domains not enumerated in source)

Which progression uses a secondary dominant to tonicise the subdominant in C major?

  1. C–Dm7–G7
  2. C–C7–F Correct answer.
  3. C–Fm–C
  4. C–G7–C

Explanation

C7 is V7 of F, so adding a flattened seventh to the tonic chord turns it into a secondary dominant that resolves to the subdominant. G7 is the primary dominant of C, and Fm is borrowed from the parallel minor.

Question 24AM Music (content domains not enumerated in source)

A passage modulates from C major to G major. Which chromatic note is most characteristic of the new key and acts as its leading note?

  1. F sharp Correct answer.
  2. C sharp
  3. B flat
  4. G sharp

Explanation

G major requires F sharp, which becomes the leading note rising to G. B flat would suggest F major or C minor, C sharp points towards D, and G sharp belongs to A minor or E major.

Question 25AM Music (content domains not enumerated in source)

Which statement correctly describes the difference between an appoggiatura and an acciaccatura?

  1. The acciaccatura takes half the principal note's value, while the appoggiatura is crushed in quickly
  2. The appoggiatura takes a measurable share of the principal note's value, while the acciaccatura is played as briefly as possible Correct answer.
  3. Both ornaments are always written with a diagonal stroke through the stem
  4. The appoggiatura is played after the principal note, while the acciaccatura precedes it

Explanation

An appoggiatura is an expressive grace note that takes a defined portion of the main note's value and is often slurred into it. An acciaccatura, written with a stroke through its stem, is a quick grace note that barely affects the principal note's duration.

Question 26AM Music (content domains not enumerated in source)

In a score for full orchestra, the instruction 'divisi' placed above the viola staff directs the players to do what?

  1. Mute the strings with the bow hand to damp the resonance
  2. Double the passage an octave higher than written
  3. Play the passage with the bow close to the bridge for a brighter tone
  4. Divide the section so that different players take different notes of the chord Correct answer.

Explanation

Divisi tells a section of players to split, with each group taking a different pitch of the written chord. It is used when a string section is asked to sound more than one note per section. The instruction concerns the distribution of players, not tone colour or register.

Question 27AM Music (content domains not enumerated in source)

Which interval is a diminished fifth above F sharp?

  1. B natural
  2. D natural
  3. C natural Correct answer.
  4. C sharp

Explanation

A perfect fifth above F sharp is C sharp; lowering the top note by a semitone gives C natural, the diminished fifth. The interval spans three whole tones, which is why it is also called a tritone. F sharp to B natural would be a perfect fourth inverted, not a fifth above.

Question 28AM Music (content domains not enumerated in source)

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

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

Explanation

Moderato indicates a moderate speed, conventionally placed between andante and allegro. It suggests a comfortable, unhurried motion rather than the breadth of a slow movement. Largo, adagio and presto sit at clearly different points on the tempo scale.

Question 29AM Music (content domains not enumerated in source)

In 6/8 time, which note value represents one complete bar?

  1. A minim
  2. A dotted minim Correct answer.
  3. A dotted crotchet
  4. A semibreve

Explanation

6/8 contains six quavers per bar, and six quavers equal one dotted minim. The compound duple grouping gives two beats, each worth a dotted crotchet. A semibreve would fill a 4/4 bar instead.

Question 30AM Music (content domains not enumerated in source)

Which term describes a melody that moves chiefly by leaps rather than steps?

  1. Scalic
  2. Conjunct
  3. Stepwise
  4. Disjunct Correct answer.

Explanation

Disjunct motion proceeds by intervals larger than a second, producing a leap-based contour. Conjunct motion is its opposite, moving mainly by step within a scale. The term describes intervallic movement, not rhythm or phrasing.

Question 31AM Music (content domains not enumerated in source)

Which instrument is a transposing instrument that sounds a major second lower than written?

  1. Clarinet in B flat Correct answer.
  2. Trumpet in C
  3. Trombone in bass clef
  4. Flute

Explanation

A B flat clarinet sounds a major second below its written pitch, so a written C sounds as B flat. Instruments in C sound at written pitch. The flute and the standard orchestral trombone are non-transposing.

Question 32AM Music (content domains not enumerated in source)

Which term describes a cadence in which the harmony moves from chord V to chord vi in a major key?

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

Explanation

A move from V to vi is an interrupted (deceptive) cadence, since the expected tonic is replaced by the submediant. A perfect cadence goes V to I. The plagal cadence moves IV to I, and an imperfect cadence ends on V.

Question 33AM Music (content domains not enumerated in source)

Which ornament is written as a small note with a stroke through its stem and is played as quickly as possible before the principal note?

  1. Mordent
  2. Trill
  3. Turn
  4. Acciaccatura Correct answer.

Explanation

The acciaccatura is notated as a grace note with a slashed stem and is crushed rapidly into the main note. It differs from the appoggiatura, which takes a measurable portion of the principal note's value. The mordent, turn and trill are written with specific signs rather than a slashed grace note.

Question 34AM Music (content domains not enumerated in source)

A melody in C major is harmonised with the chords C–E–G, then A–C–E, then F–A–C. Which Roman numerals describe this progression?

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

Explanation

In C major the tonic triad is C major (I), the submediant is A minor (vi), and the subdominant is F major (IV). Reading the given chords in order therefore gives I–vi–IV. The other options assign different roots and qualities to these triads.

Question 35AM Music (content domains not enumerated in source)

In a minor key, which chord is the standard dominant used to strengthen a cadence, and why is it altered?

  1. A major triad on the third degree, using the raised sixth degree
  2. A major triad on the fifth degree, using the raised leading note Correct answer.
  3. A diminished triad on the second degree, using the natural sixth degree
  4. A minor triad on the fifth degree, using the natural seventh degree

Explanation

The harmonic minor scale raises the seventh degree, so the chord on the fifth degree becomes major and contains a leading note that pulls to the tonic. This major dominant gives the strong V–i cadence characteristic of tonal minor-key harmony. Using the natural seventh would produce a minor v with no leading-note pull.

Question 36AM Music (content domains not enumerated in source)

Which chord progression uses a secondary dominant to tonicise the dominant in the key of G major?

  1. D7–G Correct answer.
  2. E7–A minor
  3. A7–D
  4. C7–F

Explanation

In G major the dominant is D, and its own dominant is A7. A7 resolving to D is therefore V7/V to V, a secondary dominant tonicising the dominant. The other progressions tonicise different degrees or lie outside the key.

Question 37AM Music (content domains not enumerated in source)

A chord of C–E flat–G flat–B double flat is built on which scale degree, and in which key does it most naturally occur?

  1. The supertonic of C minor, as a half-diminished seventh
  2. The leading note of C flat major, as a diminished seventh Correct answer.
  3. The subdominant of G flat major, as a minor seventh
  4. The dominant of F minor, as a dominant seventh

Explanation

The notes C, E flat, G flat and B double flat form a diminished seventh chord. Its root C is the leading note of D flat, but spelled with B double flat it functions as the leading-note chord of C flat major. Diminished sevenths are symmetrical, so spelling determines the key context.

Question 38AM Music (content domains not enumerated in source)

Which description fits a canon rather than a fugue?

  1. A sectional form in which a refrain alternates with contrasting couplets
  2. A strict imitation in which a subsequent voice repeats the first melody exactly, often at a fixed interval and time delay Correct answer.
  3. A homophonic form in which the melody is supported by block chords
  4. A contrapuntal form built on a subject answered by a tonal answer and developed through episodes

Explanation

A canon is strict, continuous imitation of a single melody by later voices at a set interval and entry distance. A fugue also uses imitation but is organised around subject, answer and episodes with tonal adjustment. The other options describe rondo and homophony respectively.

Question 39AM Music (content domains not enumerated in source)

In a Baroque trio sonata, which forces typically perform the continuo part?

  1. Four independent voices with no keyboard participation
  2. A solo violin accompanied by a full string orchestra
  3. Two melody instruments of equal range playing in canon
  4. A keyboard instrument such as harpsichord with a melodic bass instrument reinforcing the bass line Correct answer.

Explanation

The continuo group consists of a chordal instrument realising the figured bass plus a bass instrument doubling the bass line. This supports the two upper melody instruments that give the trio sonata its name. The result is three contrapuntal parts realised by four players.

Question 40AM Music (content domains not enumerated in source)

Which feature most clearly distinguishes a Classical string quartet from a Baroque trio sonata?

  1. Reliance on dance movements in binary form
  2. Use of a figured bass to support two melody instruments
  3. Four equal independent parts without a continuo realisation Correct answer.
  4. Presence of a solo keyboard cadenza in the first movement

Explanation

The Classical string quartet gives two violins, viola and cello independent and largely equal roles, with no chordal continuo filling in harmony. The trio sonata relies on a continuo group realising figured bass beneath two melody instruments. Dance movements and binary forms occur in both repertoires, so they do not distinguish them.

Question 41AM Music (content domains not enumerated in source)

A passage is marked 'sul tasto'. Which effect does this produce on a string instrument?

  1. A soft, veiled tone from bowing over the fingerboard Correct answer.
  2. A sustained harmonic produced by lightly touching a node
  3. A bright, nasal tone from bowing near the bridge
  4. A percussive sound from striking the strings with the wood of the bow

Explanation

Sul tasto means bowing over the fingerboard, which reduces upper partials and yields a soft, flute-like tone. It contrasts with sul ponticello, which brightens and intensifies the sound. The instruction affects bow placement rather than the left hand.

Question 42AM Music (content domains not enumerated in source)

Which harmonic progression is a standard descending-fifths sequence in C major?

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

Explanation

A descending-fifths sequence moves by roots falling a fifth each time: A to D to G to C, giving vi–ii–V–I in C major. Each step is a root motion down a fifth, which is the defining feature. The other progressions do not follow a consistent fifth descent.

Question 43AM Music (content domains not enumerated in source)

In sonata form, what is the function of the development section?

  1. To introduce the slow movement's principal melody before the finale
  2. To fragment and combine motifs from the exposition, moving through unstable and foreign keys Correct answer.
  3. To restate the first subject in the tonic after the recapitulation
  4. To present both subjects in the tonic key for the first time

Explanation

The development takes material from the exposition, breaks it into motifs and sequences it through contrasting keys, building tension before the return. It typically avoids confirming the tonic for long stretches. The recapitulation then brings the subjects back in the tonic.

Question 44AM Music (content domains not enumerated in source)

Which texture is created when a single melodic line is doubled at the fourth by another voice throughout a passage?

  1. Heterophony
  2. Parallel organum at the fourth Correct answer.
  3. Free imitation
  4. Antiphonal psalmody

Explanation

Two voices moving together at a fixed interval, here a fourth, produce parallel organum. The added voice shadows the principal melody note for note at the same distance. Free imitation and heterophony involve different relationships between the lines.

Question 45AM Music (content domains not enumerated in source)

A score indicates 'col legno battuto'. Which sound does the composer intend?

  1. The strings plucked with the fingers of the bowing hand
  2. The bow hair drawn slowly for a sustained whisper
  3. The strings struck with the wood of the bow, producing a dry percussive click Correct answer.
  4. The bow bounced on the string in a repeated ricochet

Explanation

Col legno battuto requires the player to strike the string with the wooden stick of the bow, giving a dry, clicking sound. The related col legno tratto draws the wood across the string for a different effect. Both are percussive colouristic techniques distinct from pizzicato.

Question 46AM Music (content domains not enumerated in source)

A chord progression in E minor moves i–iv–V–i, with the V chord containing D sharp. Which scale provides this D sharp?

  1. E harmonic minor Correct answer.
  2. E Dorian
  3. E melodic minor descending
  4. E natural minor

Explanation

The harmonic minor scale of E raises the seventh degree to D sharp, which creates the leading note inside the major dominant chord. Natural minor would give D natural and a minor v. E Dorian also has D natural, so it cannot supply the D sharp.

Question 47AM Music (content domains not enumerated in source)

Which statement best describes the difference between a suspension and a retardation?

  1. A suspension resolves upwards by step, while a retardation resolves downwards by step
  2. A suspension is unprepared, while a retardation is always prepared by common tone
  3. A suspension occurs only in the bass, while a retardation occurs only in the soprano
  4. A suspension resolves downwards by step, while a retardation resolves upwards by step Correct answer.

Explanation

Both are prepared dissonances held over from the previous chord, but the suspension falls by step to its resolution while the retardation rises by step. The direction of resolution is the distinguishing feature. Preparation and voice position do not separate the two.

Question 48AM Music (content domains not enumerated in source)

Which chord is produced by stacking thirds on the raised sixth degree of A harmonic minor?

  1. A half-diminished seventh on F sharp
  2. A major triad on F sharp
  3. A minor seventh on F sharp
  4. A diminished seventh on F sharp Correct answer.

Explanation

A harmonic minor raises the seventh degree to G sharp, giving the notes A, B, C, D, E, F sharp, G sharp. Stacking thirds from F sharp yields F sharp, A, C, E, a diminished seventh chord. It functions as the leading-note chord of A minor.

Question 49AM Music (content domains not enumerated in source)

A passage in F major uses the chord B flat–D flat–F–A flat before resolving to F major. Which device is being used?

  1. A secondary dominant of the supertonic
  2. An augmented sixth chord on the flattened sixth
  3. A Neapolitan sixth in first inversion
  4. A chromatic subdominant borrowed from F minor Correct answer.

Explanation

The chord B flat–D flat–F–A flat is the minor subdominant seventh of F minor, borrowed into F major as a modal mixture chord. It is not a Neapolitan, which would be G flat major in first inversion. Nor is it an augmented sixth, which would contain a raised fourth degree.

Question 50AM Music (content domains not enumerated in source)

Which feature identifies a passage as being in a whole-tone scale rather than a chromatic scale?

  1. Semitones appear freely between adjacent notes in any pattern
  2. The scale contains a leading note a semitone below the tonic
  3. The scale alternates semitone and tone steps throughout
  4. Every interval between adjacent notes is a whole tone, giving only two distinct transpositions Correct answer.

Explanation

The whole-tone scale divides the octave into six equal whole-tone steps, so only two distinct forms exist before the pattern repeats. A chromatic scale uses semitones and has no fixed tonal centre. The presence of a leading note or alternating patterns belongs to other scale types.