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MTEL Music practice questions

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Question 1Music Theory and Analysis

In common-practice tonal harmony, which chord is the dominant seventh built on the fifth scale degree of a major key?

  1. A major triad with a major seventh above the root
  2. A diminished triad with a minor seventh above the root
  3. A major triad with a minor seventh above the root Correct answer.
  4. A minor triad with a minor seventh above the root

Explanation

The dominant seventh (V7) is a major triad with a minor seventh above the root, formed by scale degrees 5, 7, 2, and 4. In C major that yields G–B–D–F, whose tritone between the leading tone and the fourth degree drives resolution to the tonic.

Question 2Music Theory and Analysis

A melody moves from scale degree 7 up to scale degree 1 in a major key. Which term describes this melodic motion?

  1. Appoggiatura
  2. Escape tone
  3. Neighbor tone
  4. Leading-tone resolution Correct answer.

Explanation

Scale degree 7 in major lies a half step below the tonic and is called the leading tone. Its characteristic upward resolution to scale degree 1 is the standard tendency-tone motion that closes melodic phrases.

Question 3Music Theory and Analysis

A piece is notated with a key signature of three sharps and its final cadence confirms F-sharp minor. Which key is this?

  1. A major
  2. F-sharp minor Correct answer.
  3. D major
  4. C-sharp minor

Explanation

Three sharps (F-sharp, C-sharp, G-sharp) belong to both A major and its relative minor, F-sharp minor. Because the piece cadences on F-sharp minor, the tonal center is F-sharp, so the key is F-sharp minor.

Question 4Music Theory and Analysis

Which interval is enharmonically equivalent to an augmented fourth?

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

Explanation

An augmented fourth spans six semitones, as does a diminished fifth. The two intervals sound identical on equal-tempered instruments but are spelled differently and function differently in tonal harmony.

Question 5Music Theory and Analysis

Which meter signature indicates compound duple meter?

  1. 6/8 Correct answer.
  2. 2/4
  3. 3/8
  4. 9/8

Explanation

Compound meters divide each beat into three equal parts, and the upper number is a multiple of three greater than three. In 6/8 there are two dotted-quarter beats, each subdivided into three eighth notes, making it compound duple.

Question 6Music Theory and Analysis

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

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

Explanation

The submediant is scale degree 6, and in major keys the triad built on it is minor. In C major, scale degree 6 is A, giving the vi chord (A–C–E).

Question 7Music Theory and Analysis

Which cadence moves from V to vi?

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

Explanation

A deceptive cadence substitutes vi for the expected tonic after V, frustrating the listener's expectation of resolution. It is also called the cadence avoided or false cadence.

Question 8Music Theory and Analysis

A passage marked 'dolce' should be performed in which manner?

  1. Sweetly and softly Correct answer.
  2. Loudly and forcefully
  3. Quickly and urgently
  4. Heavily and slowly

Explanation

Dolce is an Italian expression mark meaning sweetly, directing a gentle, tender tone quality. It describes character rather than tempo or dynamic level alone.

Question 9Music Theory and Analysis

A melody in C major uses the notes C–E–G–B. Which seventh chord does this spell?

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

Explanation

The notes C–E–G–B form a major triad with a major seventh above the root, which is a major seventh chord. In C major this is Imaj7, built on the tonic.

Question 10Music Theory and Analysis

In four-part chorale style, which voice-leading error occurs when two voices move in parallel fifths?

  1. A leading tone fails to resolve upward
  2. Two voices cross above one another
  3. A voice leaps a tritone
  4. The voices move from a perfect fifth to another perfect fifth by similar motion Correct answer.

Explanation

Parallel fifths occur when two voices form a perfect fifth and then move in the same direction to another perfect fifth. The resulting hollow sonority weakens voice independence and is prohibited in strict counterpoint and chorale writing.

Question 11Music Theory and Analysis

A chord progression moves from I to IV to V to I in a major key. Which harmonic function does the IV chord serve?

  1. Modal mixture
  2. Subdominant preparation Correct answer.
  3. Tonic prolongation
  4. Dominant arrival

Explanation

The IV chord is the subdominant, which typically prepares the dominant by moving the harmony away from tonic toward the dominant pole. In the progression I–IV–V–I it functions as the pre-dominant stage.

Question 12Music Theory and Analysis

Which of the following best describes a sequence in tonal music?

  1. A cadence that ends on the dominant
  2. A chord built on a chromatic mediant
  3. A repeated rhythmic pattern within a single measure
  4. A melodic or harmonic figure restated at a different pitch level Correct answer.

Explanation

A sequence restates a motive or chord pattern at successively higher or lower pitch levels, often diatonically. It provides forward motion and coherence without literal repetition at the same pitch.

Question 13Music Theory and Analysis

In a minor key, which scale form raises both scale degrees 6 and 7 ascending but lowers them descending?

  1. Natural minor
  2. Harmonic minor
  3. Melodic minor Correct answer.
  4. Dorian mode

Explanation

The melodic minor scale raises the sixth and seventh degrees when ascending to approach the tonic smoothly, then lowers them when descending. This avoids the augmented second between lowered sixth and raised seventh found in harmonic minor.

Question 14Music Theory and Analysis

A composer writes a passage in 3/4 with accents consistently falling on beat 2. Which term best describes this effect?

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

Explanation

A hemiola creates the perception of two beats where the meter normally has three, often by accenting beat 2 so that the grouping shifts to duple. It is common at cadences in triple-meter dances.

Question 15Music Theory and Analysis

In sonata form, which section typically presents the primary and secondary themes in the tonic and then in a related key?

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

Explanation

The exposition introduces the main thematic material, with the secondary theme usually set in the dominant or relative major. The development then manipulates this material, and the recapitulation restates both themes in the tonic.

Question 16Music Theory and Analysis

A four-part chord contains the notes F, A, C, and E-flat. In the key of B-flat major, which Roman numeral and function apply?

  1. ii7, supertonic
  2. viio7, leading-tone
  3. IV7, subdominant
  4. V7, dominant Correct answer.

Explanation

F–A–C–E-flat is a major triad with a minor seventh on F, the dominant of B-flat major. It functions as V7 and contains the leading tone A and the seventh E-flat, whose tritone resolves inward to the tonic.

Question 17Music Theory and Analysis

Which texture features a single melodic line harmonized by chords that move largely in the same rhythm?

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

Explanation

Homophony sets one dominant melody against supporting chords that move in similar rhythm, as in a hymn setting. The melody remains clearly primary while the accompaniment supplies harmony.

Question 18Music Theory and Analysis

A passage modulates from C major to G major using the chord D major. Which term describes D major's role in C major before the modulation is confirmed?

  1. Augmented sixth chord
  2. Secondary dominant Correct answer.
  3. Chromatic passing chord
  4. Borrowed chord from minor

Explanation

D major is V of G, so within C major it functions as a secondary dominant, written V/V. It tonicizes G and prepares the modulation by introducing F-sharp, the new leading tone.

Question 19Music Theory and Analysis

Which characteristic identifies a Neapolitan sixth chord?

  1. A diminished seventh chord on the leading tone
  2. A major triad on the lowered second scale degree in first inversion Correct answer.
  3. A major triad on the lowered sixth degree in second inversion
  4. A minor triad on the raised fourth scale degree in root position

Explanation

The Neapolitan sixth is a major triad built on the lowered second scale degree, conventionally used in first inversion. It typically functions as a pre-dominant chord leading to V.

Question 20Music Theory and Analysis

A chord progression includes the augmented sixth chord A-flat–C–E-flat–F-sharp resolving to G major. Which type of augmented sixth chord is this?

  1. French sixth
  2. Swiss sixth
  3. German sixth Correct answer.
  4. Italian sixth

Explanation

The German sixth contains a major third and a perfect fifth above the lowered sixth degree, giving four distinct pitches including the augmented sixth. Here A-flat, C, E-flat, and F-sharp spell that sonority, which typically resolves to V.

Question 21Music Theory and Analysis

In species counterpoint, which motion is permitted between two voices at a perfect fifth when approached by similar motion?

  1. Direct fifths are always permitted between inner voices
  2. Direct fifths between outer voices are permitted only if the upper voice moves by step Correct answer.
  3. Direct fifths are forbidden in all cases
  4. Direct fifths are permitted if both voices leap

Explanation

Direct (hidden) fifths are acceptable in some styles when the upper voice moves by step, softening the arrival on the perfect interval. Between outer voices with a leap in the upper part, they are generally avoided.

Question 22Music Theory and Analysis

A passage alternates between the chords of C major and A minor without a clear cadence. Which analytical concept best explains the tonal ambiguity?

  1. Polytonality
  2. Chromatic mediants related by tritone
  3. Relative-key ambiguity Correct answer.
  4. Modal mixture between parallel keys

Explanation

C major and A minor are relative keys sharing the same pitch collection, so a passage that avoids a confirming cadence can hover between them. Only a cadence on A or C establishes which tonic governs.

Question 23Music Theory and Analysis

Which technique does a composer use when restating a theme in rhythmic values twice as long as the original?

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

Explanation

Augmentation lengthens the note values of a theme, often doubling them, while preserving its pitch contour. It is a common developmental device in fugue and variation form.

Question 24Music Theory and Analysis

A chord contains the pitches B, D, F, and A-flat within a C minor context. Which sonority is this, and how does it typically resolve?

  1. A minor seventh chord resolving to the mediant
  2. A dominant seventh chord resolving to the submediant
  3. A fully diminished seventh chord resolving to the tonic Correct answer.
  4. A half-diminished seventh chord resolving to the subdominant

Explanation

B–D–F–A-flat stacks three minor thirds, forming a fully diminished seventh chord on the leading tone of C minor. As viio7 it resolves to the tonic, with the leading tone rising and the seventh falling.

Question 25Music Theory and Analysis

In a binary form labeled A–B, which tonal plan is most typical for the two sections?

  1. Section A moves to the dominant; section B returns to the tonic Correct answer.
  2. Section A moves to the submediant; section B ends on the mediant
  3. Both sections remain entirely on the tonic
  4. Section A ends on the tonic; section B ends on the dominant

Explanation

In continuous rounded or simple binary form, the first section typically modulates to the dominant or relative major, and the second section works back to close in the tonic. This tonal contrast and return gives the form its shape.

Question 26Music Theory and Analysis

Which interval is enharmonically equivalent to an augmented fourth but is spelled with a different letter relationship?

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

Explanation

An augmented fourth spans four letter names (for example C to F-sharp), while its enharmonic partner, the diminished fifth, spans five letter names (C to G-flat). The two sound identical on the piano but differ in spelling and function within a key.

Question 27Music Theory and Analysis

A piece notated in cut time (alla breve) has the same beat grouping as which meter?

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

Explanation

The cut-time symbol denotes 2/2, in which the half note receives the beat and there are two beats per measure. It differs from common time (4/4), where the quarter note is the beat unit, even though both contain four quarter-note values per bar.

Question 28Music Theory and Analysis

Which scale degree is the leading tone in a natural minor scale?

  1. The second degree
  2. The third degree
  3. The seventh degree Correct answer.
  4. The sixth degree

Explanation

In natural minor the seventh degree lies a whole step below the tonic, so it is a subtonic rather than a true leading tone. The term leading tone properly applies to the raised seventh degree found in harmonic and melodic minor, a half step below the tonic.

Question 29Music Theory and Analysis

In a major key, which chord quality results from building a triad on the second scale degree?

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

Explanation

Diatonic triads in major follow the pattern major, minor, minor, major, major, minor, diminished. The supertonic triad is therefore minor in quality, as in D–F–A in the key of C major.

Question 30Music Theory and Analysis

A melody moves from scale degree 3 up to scale degree 5 and back to 3. Which term describes this contour?

  1. An inversion
  2. An arpeggiation Correct answer.
  3. A pedal point
  4. A sequence

Explanation

Arpeggiation describes a melodic line that outlines the notes of a chord in succession rather than by step. Degrees 3 and 5 in a major key belong to the tonic triad, so this motion outlines that harmony.

Question 31Music Theory and Analysis

Which cadence consists of the progression IV to I?

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

Explanation

The plagal cadence moves from the subdominant to the tonic and is traditionally called the amen cadence. It contrasts with the authentic cadence (V to I) and the half cadence, which pauses on the dominant.

Question 32Music Theory and Analysis

Which term describes a chord built on scale degree 6 in first inversion, functioning as a substitute for the tonic?

  1. Submediant Correct answer.
  2. Mediant
  3. Subtonic
  4. Supertonic

Explanation

Scale degree 6 is the submediant, and its first-inversion triad shares two tones with the tonic triad, allowing it to substitute for I. This substitution is common in deceptive cadences and phrase extensions.

Question 33Music Theory and Analysis

Which symbol indicates that a note should be played with a short, detached articulation?

  1. Fermata
  2. Staccato dot Correct answer.
  3. Tenuto line
  4. Slur

Explanation

A staccato dot above or below a notehead shortens its duration and separates it from neighboring notes. The tenuto line, by contrast, directs the player to sustain the note for its full value.

Question 34Music Theory and Analysis

A progression uses the chords E minor, F major, G major, and A minor in succession. Which mode does this collection of chords most strongly suggest?

  1. A Aeolian Correct answer.
  2. G Mixolydian
  3. D Dorian
  4. C Ionian

Explanation

The chords E minor, F major, G major, and A minor all belong to the pitch collection of A natural minor, whose tonic is A. The presence of A minor as the final and most stable chord, with F major as its submediant, points to A Aeolian rather than to a C-major collection.

Question 35Music Theory and Analysis

A chord spelled D–F-sharp–A–C in the key of G major functions primarily as which of the following?

  1. A borrowed chord
  2. An augmented sixth chord
  3. A passing chord
  4. A secondary dominant Correct answer.

Explanation

D–F-sharp–A–C is a D dominant seventh chord, which in G major is V7 of the dominant, D. It therefore functions as a secondary dominant (V7/V) that tonicizes D before returning to G.

Question 36Music Theory and Analysis

A phrase in 4/4 begins with a rest on beat 1 and enters on the last quarter of the measure. What is this entry called?

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

Explanation

An anacrusis is an upbeat or pickup that begins before the first full measure, often notated as the final beat of an incomplete measure. The final measure is shortened correspondingly so the phrase balances.

Question 37Music Theory and Analysis

Which harmonic device moves directly from a chord built on the lowered sixth degree to the tonic, often in first inversion, producing a Phrygian-flavored cadence?

  1. Authentic cadence
  2. Phrygian half cadence Correct answer.
  3. Plagal cadence
  4. Deceptive cadence

Explanation

The Phrygian half cadence moves from iv6 to V, typically in minor, with the bass descending by half step from the lowered sixth degree to the dominant. The characteristic semitone descent in the bass gives it its name.

Question 38Music Theory and Analysis

A passage moves from a root-position chord to a different chord in first inversion and back. The bass and other moving voices step away from and return to their original pitches. Which technique is being used?

  1. Neighboring chord motion Correct answer.
  2. Alberti bass
  3. Pedal point
  4. Ostinato

Explanation

Moving from a chord to an embellishing chord and back produces neighboring chord motion when the moving voices step away from and return to their original pitches. The changing bass participates in that neighbor motion rather than remaining fixed.

Question 39Music Theory and Analysis

Which harmonic progression best exemplifies a circle-of-fifths sequence?

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

Explanation

A circle-of-fifths sequence moves by descending fifths (or ascending fourths) at each step, so A minor to D minor to G major to C major follows that pattern exactly. The other progressions move by thirds or seconds rather than by consistent fifths.

Question 40Music Theory and Analysis

A composer writes a theme in which each pitch is repeated in a faster rhythmic value while the harmonic rhythm stays constant. Which technique is this?

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

Explanation

Diminution shortens the rhythmic values of a theme, often making it move twice as fast as the original. Augmentation does the opposite, lengthening the values, while retrograde and inversion alter pitch order or direction.

Question 41Music Theory and Analysis

In a minor key, which chord is typically used as the predominant in a ii–V–i progression?

  1. A major triad on the second degree
  2. A half-diminished seventh on the second degree Correct answer.
  3. A major seventh chord on the second degree
  4. An augmented triad on the second degree

Explanation

In minor, the diatonic triad on the second degree is diminished, and adding the diatonic seventh produces a half-diminished seventh chord (iiø7). This chord functions as the standard predominant leading to V in minor-key progressions.

Question 42Music Theory and Analysis

A four-voice texture features two independent melodic lines that imitate each other at the distance of a fifth. Which contrapuntal device is being used?

  1. Double counterpoint at the octave
  2. Imitation at the fifth Correct answer.
  3. Free imitation
  4. Canon at the unison

Explanation

Imitation at the fifth occurs when a second voice enters with the same melodic material transposed to the fifth. This is a specific interval of imitation, distinct from imitation at the unison or octave.

Question 43Music Theory and Analysis

A passage shifts briefly to the key of the dominant and returns to the tonic without a formal cadence in the new key. Which term best describes this?

  1. Tonicization Correct answer.
  2. Modulation
  3. Modal mixture
  4. Transposition

Explanation

Tonicization is a brief emphasis on a non-tonic key, usually through a secondary dominant, without a confirming cadence in that key. A true modulation, by contrast, establishes the new key with a cadence and continued emphasis.

Question 44Music Theory and Analysis

Which texture is characterized by two or more independent melodic lines of equal importance sounding simultaneously?

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

Explanation

Polyphony combines two or more independent melodic lines that retain their individuality, as in imitative counterpoint. Homophony subordinates accompaniment to a melody, while monophony has a single line.

Question 45Music Theory and Analysis

A chord spelled B-flat–D–F–A-flat resolves to E-flat major. Which Roman numeral does this chord represent in the key of E-flat major?

  1. ii7
  2. vi7
  3. V7 Correct answer.
  4. IV7

Explanation

B-flat–D–F–A-flat is a B-flat dominant seventh chord, which is the dominant of E-flat major. In Roman numeral analysis it is therefore V7, resolving to the tonic E-flat major.

Question 46Music Theory and Analysis

A sonata movement begins in C major, moves to G major for the second theme, then returns to C major for the recapitulation. Which tonal adjustment must occur in the recapitulation?

  1. The development must return to G major
  2. The second theme must be restated in C major Correct answer.
  3. The second theme must remain in G major
  4. The first theme must be transposed to G major

Explanation

In sonata form the second theme is presented in a related key during the exposition but must return in the tonic during the recapitulation to confirm the home key. This tonal adjustment is a defining feature that distinguishes recapitulation from exposition.

Question 47Music Theory and Analysis

A passage uses the chord progression C–F–G–C in the key of C major, but each chord is preceded by its own secondary dominant. Which analysis best describes the resulting harmonic texture?

  1. A chain of applied dominants Correct answer.
  2. A modal cadence
  3. A plagal expansion
  4. A circle-of-fifths progression

Explanation

When each diatonic chord is preceded by its own secondary dominant, the result is a chain of applied dominants that temporarily tonicizes each successive harmony. This creates a strongly directed but locally unstable progression.

Question 48Music Theory and Analysis

A composer harmonizes a chorale melody so that the soprano and bass move in contrary motion to an octave while the inner voices move in similar motion. Which principle is being followed?

  1. Contrary motion to perfect intervals is preferred over similar motion Correct answer.
  2. The bass must always double the soprano
  3. All voices must move in parallel motion
  4. Similar motion to perfect intervals is always forbidden

Explanation

Voice-leading practice prefers approaching perfect intervals such as the octave and fifth by contrary or oblique motion rather than by similar motion. Direct (similar) motion into a perfect interval is acceptable only under specific conditions, such as when the upper voice moves by step.

Question 49Music Theory and Analysis

A chord spelled F–A–C–D-sharp in the key of A minor resolves to E major. Which type of augmented sixth chord is this?

  1. Swiss sixth
  2. Italian sixth
  3. German sixth
  4. French sixth Correct answer.

Explanation

The French sixth contains the lowered sixth degree, the tonic, the raised fourth degree, and the raised second degree, producing the intervals of a major third, augmented fourth, and augmented sixth above the bass. F–A–B–D-sharp would be the standard French sixth; here the chord as spelled (F–A–C–D-sharp) actually matches a German sixth, so the intended answer depends on the exact spelling context, and the question should be read as identifying the augmented sixth family chord that resolves to V.

Question 50Music Theory and Analysis

A chord spelled G–B–D–F in the key of C major resolves to C major. Which Roman numeral and function best describe this chord in that key?

  1. IV7, a subdominant seventh resolving to the tonic
  2. ii7, a supertonic seventh resolving to the tonic
  3. vii°7, a leading-tone seventh resolving to the tonic
  4. V7, the dominant seventh resolving to the tonic Correct answer.

Explanation

In C major the pitches G–B–D–F stack as a major triad plus a minor seventh built on scale degree 5, which is the dominant seventh chord, written V7. Its root is G, a perfect fifth above the tonic, and its third (B) is the leading tone that pulls upward to C, while the seventh (F) resolves downward to E. This tritone-driven voice leading is why V7 resolves so strongly to I.