I85PREP
⌘ K
OAE Music (032) study materials
OAE Music (032) study resources

OAE Music (032) practice questions

One question at a time. Build your OAE Music (032) understanding.

First 50 of 200 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 1Music Theory, Composition, and Arranging

How many sharps are in the key signature of A major?

  1. Two sharps
  2. Three sharps Correct answer.
  3. Three flats
  4. Four sharps

Explanation

Key signatures add sharps in the fixed order F, C, G, D, A, E, B, and A major uses the first three of these: F♯, C♯, and G♯.

Question 2Music Theory, Composition, and Arranging

Which sequence gives the order in which sharps are added to a key signature?

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

Explanation

Sharps always appear in the order F, C, G, D, A, E, B, each a perfect fifth above the previous one, and a key signature never skips a sharp in that series.

Question 3Music Theory, Composition, and Arranging

What interval is formed by the pitches C up to F♯?

  1. Augmented fourth Correct answer.
  2. Diminished fifth
  3. Minor fifth
  4. Perfect fourth

Explanation

C up to F spans four letter names, so the generic interval is a fourth; F♯ is one semitone larger than the perfect fourth F, making the interval augmented.

Question 4Music Theory, Composition, and Arranging

A time signature of 6/8 indicates which type of meter?

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

Explanation

In 6/8 the beat is the dotted quarter and each measure contains two of them, so the meter is compound duple.

Question 5Music Theory, Composition, and Arranging

Which key is the relative minor of E♭ major?

  1. G minor
  2. B♭ minor
  3. C minor Correct answer.
  4. C♯ minor

Explanation

A relative minor shares the major key's signature and lies a minor third below its tonic, so E♭ major's relative minor is C minor, both with three flats.

Question 6Music Theory, Composition, and Arranging

A progression from the dominant chord to the tonic chord, both in root position, forms which cadence?

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

Explanation

Motion from V to I is an authentic cadence; it is called a perfect authentic cadence when both chords are in root position and the tonic is in the soprano.

Question 7Music Theory, Composition, and Arranging

A diminished triad is built from which combination of intervals above the root?

  1. Minor third and diminished fifth Correct answer.
  2. Major third and perfect fifth
  3. Minor third and perfect fifth
  4. Major third and augmented fifth

Explanation

Stacking two minor thirds from the root yields a minor third and a diminished fifth above the root, the defining structure of a diminished triad.

Question 8Music Theory, Composition, and Arranging

A clarinet in B♭ plays a written C4. How does the sounding pitch compare with the written pitch?

  1. It sounds a perfect fifth lower
  2. It sounds a major second lower Correct answer.
  3. It sounds a minor third lower
  4. It sounds a major second higher

Explanation

A B♭ transposing instrument sounds a major second below the written note, so written C4 sounds as B♭3.

Question 9Music Theory, Composition, and Arranging

In C major, which chord functions as the secondary dominant of ii, that is, V/V?

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

Explanation

The dominant of C major is G, and the dominant of G is D; a secondary dominant is major in quality, so V/V is the D major triad.

Question 10Music Theory, Composition, and Arranging

A figured-bass symbol of 6/5 indicates which chord?

  1. A first-inversion seventh chord Correct answer.
  2. A root-position triad
  3. A second-inversion seventh chord
  4. A root-position seventh chord

Explanation

In a first-inversion seventh chord the intervals above the bass are a third, a fifth, and a sixth, which figured bass abbreviates as 6/5.

Question 11Music Theory, Composition, and Arranging

D Dorian differs from D natural minor in which scale degree?

  1. The sixth, which is raised to B natural Correct answer.
  2. The second, which is lowered to E♭
  3. The fifth, which is lowered to A♭
  4. The seventh, which is raised to C♯

Explanation

Dorian is a minor-type mode with a raised sixth degree; on D this means B natural instead of the B♭ of D natural minor.

Question 12Music Theory, Composition, and Arranging

Which chord is the Neapolitan sixth in the key of C major?

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

Explanation

The Neapolitan chord is a major triad built on the lowered second degree and normally used in first inversion; in C major the lowered second is D♭.

Question 13Music Theory, Composition, and Arranging

Which pitch sounds the same as F double sharp?

  1. A
  2. A♭
  3. F♯
  4. G Correct answer.

Explanation

A double sharp raises a pitch by two semitones, so F double sharp is enharmonically equivalent to G, spelled differently but identical in sound.

Question 14Music Theory, Composition, and Arranging

In a V7 to I progression, the chordal seventh of the dominant normally resolves in which way?

  1. Up by step to the third of the tonic
  2. Down by leap to the root of the tonic
  3. Down by step to the third of the tonic Correct answer.
  4. Up by leap to the fifth of the tonic

Explanation

The seventh of a dominant seventh chord is a tendency tone that resolves downward by step, arriving on the third of the tonic chord.

Question 15Music Theory, Composition, and Arranging

Which statement describes an appoggiatura?

  1. It is sounded only on the weakest beat of the measure
  2. It is a chord tone that is sustained into the next harmony
  3. It is approached by leap and resolved by step Correct answer.
  4. It is approached and left by step in the same direction

Explanation

An appoggiatura is an unprepared embellishing tone reached by leap and left by step, usually in the opposite direction, and it often falls on a strong beat.

Question 16Music Theory, Composition, and Arranging

Two voices move in similar motion from one perfect fifth to another perfect fifth. What is this error called?

  1. An unresolved seventh
  2. Parallel fifths Correct answer.
  3. Voice crossing
  4. Overlapping voices

Explanation

Consecutive perfect fifths between the same pair of voices destroy independence and are prohibited in traditional part-writing.

Question 17Music Theory, Composition, and Arranging

How does a 4–3 suspension behave?

  1. It holds a fourth above the bass, then falls by step to a third Correct answer.
  2. It holds a second above the bass, then falls by step to a unison
  3. It holds a ninth above the bass, then falls by leap to an octave
  4. It holds a sixth above the bass, then rises by step to a seventh

Explanation

In a 4–3 suspension the suspended voice is prepared on a fourth above the bass, held over the change of harmony as a dissonance, and then resolved down by step to a third.

Question 18Music Theory, Composition, and Arranging

Which pitches form the Italian augmented sixth chord in C major?

  1. A♭–C–E♭
  2. A♭–C–E♭–F♯
  3. A♭–C–F♯ Correct answer.
  4. A♭–C–E

Explanation

The Italian sixth contains the lowered sixth degree, the tonic, and the raised fourth; in C major these are A♭, C, and F♯, forming the characteristic augmented sixth A♭–F♯.

Question 19Music Theory, Composition, and Arranging

Compared with natural minor, the ascending form of the melodic minor scale raises which degrees?

  1. Scale degrees 1 and 3
  2. Scale degrees 4 and 5
  3. Scale degrees 6 and 7 Correct answer.
  4. Scale degree 7 only

Explanation

Ascending melodic minor raises both the sixth and seventh degrees, which supplies a leading tone while avoiding the augmented second that harmonic minor creates.

Question 20Music Theory, Composition, and Arranging

Which set of pitches spells a Cmaj7 chord?

  1. C, E, G, A
  2. C, E, G, B Correct answer.
  3. C, E, G, B♭
  4. C, E♭, G, B♭

Explanation

A major seventh chord combines a major triad with a major seventh above the root, giving C, E, G, and B for Cmaj7.

Question 21Music Theory, Composition, and Arranging

A passage in G major uses E minor as vi, then treats the same chord as ii of D major, where it cadences. Which technique is being used?

  1. Modal mixture
  2. Phrase modulation
  3. Chromatic mediant modulation
  4. Pivot-chord modulation Correct answer.

Explanation

A pivot chord belongs to both the old and the new key, so it can be reinterpreted to accomplish a smooth modulation; E minor is diatonic in G major and in D major.

Question 22Music Theory, Composition, and Arranging

How many distinct whole-tone scales exist?

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

Explanation

The whole-tone scale divides the octave into six equal whole steps, so it repeats at the tritone and only two distinct transpositions exist, one beginning on C and one on C♯.

Question 23Music Theory, Composition, and Arranging

In jazz harmony, a tritone substitution replaces a dominant seventh chord with which chord?

  1. The minor seventh built on the tonic
  2. The dominant seventh a major third above
  3. A half-diminished seventh on the same root
  4. A dominant seventh rooted a tritone away Correct answer.

Explanation

The substitute dominant lies a tritone from the original root and shares the same tritone between its third and seventh, so the voice leading of the resolution is preserved.

Question 24Music Theory, Composition, and Arranging

Applying retrograde inversion to a twelve-tone row means doing what?

  1. Playing the row backwards only
  2. Transposing the row to begin on its last pitch
  3. Reversing the order of the inverted row Correct answer.
  4. Inverting the row about its first pitch only

Explanation

Retrograde inversion combines two operations: the intervals of the row are inverted, and then that inverted form is read in reverse order.

Question 25Music Theory, Composition, and Arranging

In A minor, which progression forms a Phrygian half cadence?

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

Explanation

A Phrygian half cadence moves from iv6 to V in a minor key; in A minor that is D minor in first inversion, whose bass F falls a semitone to E, the root of V.

Question 26Music Theory, Composition, and Arranging

In a key signature containing four sharps, which sharp appears last?

  1. F♯
  2. D♯ Correct answer.
  3. G♯
  4. C♯

Explanation

Sharps are always added in the fixed order F, C, G, D, A, E, B. A four-sharp signature therefore contains F♯, C♯, G♯, and D♯, with D♯ added last.

Question 27Music Theory, Composition, and Arranging

How many half steps are contained in a perfect fourth?

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

Explanation

A perfect fourth spans five half steps; for example, C up to F passes through C♯, D, D♯, E, and F.

Question 28Music Theory, Composition, and Arranging

On the alto clef, middle C (C4) is written on which line?

  1. The third line Correct answer.
  2. The first ledger line below the staff
  3. The fourth line
  4. The second line

Explanation

The alto clef is a C clef placed so that its center points at the third line, which is therefore C4. The lines of the alto staff read F3, A3, C4, E4, G4 from bottom to top.

Question 29Music Theory, Composition, and Arranging

Which of these meters is an example of simple triple time?

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

Explanation

Simple triple meter has three beats per measure, each dividing into two equal parts. In 3/4 the three beats are quarter notes that each split into two eighth notes.

Question 30Music Theory, Composition, and Arranging

A progression from the subdominant chord to the tonic chord, both in root position, forms which cadence?

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

Explanation

A plagal cadence moves from IV to I, the classic 'amen' close. It contrasts with cadences built on the dominant.

Question 31Music Theory, Composition, and Arranging

Which scale degree is called the submediant?

  1. The sixth degree Correct answer.
  2. The fourth degree
  3. The second degree
  4. The fifth degree

Explanation

Scale degrees are named tonic (1), supertonic (2), mediant (3), subdominant (4), dominant (5), submediant (6), and leading tone (7). The submediant is the sixth degree.

Question 32Music Theory, Composition, and Arranging

Inverting a major third produces which interval?

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

Explanation

Inverting an interval moves the lower note up an octave, so the interval number complements to nine and the quality reverses: major becomes minor. A major third therefore inverts to a minor sixth.

Question 33Music Theory, Composition, and Arranging

In figured bass, the figures 4/2 placed under a seventh chord indicate which inversion?

  1. Root position
  2. Third inversion Correct answer.
  3. Second inversion
  4. First inversion

Explanation

The figure 4/2 (often shortened to 2) shows the chordal seventh in the bass, with a fourth and a second above it. That is the third inversion of a seventh chord.

Question 34Music Theory, Composition, and Arranging

In A harmonic minor, between which two pitches does the characteristic augmented second occur?

  1. A and C
  2. F and G♯ Correct answer.
  3. E and G♯
  4. G♯ and A

Explanation

Harmonic minor raises the seventh degree while keeping the lowered sixth, creating an augmented second between them. In A harmonic minor that interval lies between F (the sixth degree) and G♯ (the raised seventh).

Question 35Music Theory, Composition, and Arranging

In four-part chorale style, which member of a chord is conventionally never doubled?

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

Explanation

The leading tone has a strong tendency to resolve up to the tonic, so doubling it reinforces that pull and risks parallel octaves or a frustrated resolution. Chorale style therefore avoids doubling it.

Question 36Music Theory, Composition, and Arranging

A horn in F reads a written C4. Which pitch sounds?

  1. F3 Correct answer.
  2. G3
  3. F4
  4. C5

Explanation

An instrument in F sounds a perfect fifth lower than written. The written C4 therefore sounds as the F a perfect fifth below it, which is F3.

Question 37Music Theory, Composition, and Arranging

Compared with the major scale on the same tonic, the Mixolydian mode lowers which degree?

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

Explanation

Mixolydian has the same notes as its parent major scale but is built on the fifth degree, which gives it a lowered seventh relative to the major scale on its own tonic. The third and sixth remain major.

Question 38Music Theory, Composition, and Arranging

Two voices move in opposite directions, one rising while the other falls. What is this motion called?

  1. Oblique motion
  2. Parallel motion
  3. Contrary motion Correct answer.
  4. Similar motion

Explanation

Contrary motion occurs when the two voices move in opposite directions. It is the standard way to avoid the parallel perfect intervals that similar and parallel motion can create.

Question 39Music Theory, Composition, and Arranging

In 3/4 time, a passage regroups the six eighth notes of a measure into two groups of three, creating a brief two-beat feel. What is this device called?

  1. An anacrusis
  2. A tuplet
  3. A hemiola Correct answer.
  4. A polymeter

Explanation

A hemiola sets two equal groups of three units against the prevailing three groups of two, producing a 3:2 conflict. It is common at cadences in triple meter.

Question 40Music Theory, Composition, and Arranging

Restating a motive with each of its note values doubled in length is called what?

  1. Augmentation Correct answer.
  2. Melodic inversion
  3. Diminution
  4. Retrograde

Explanation

Augmentation lengthens the rhythmic values of a motive, most often doubling them, so the theme unfolds more slowly. It is a standard technique of motivic development.

Question 41Music Theory, Composition, and Arranging

In species counterpoint, which species sets two notes in the added voice against each note of the cantus firmus?

  1. Second species Correct answer.
  2. Third species
  3. First species
  4. Fourth species

Explanation

Second species places two counterpoint notes against each cantus firmus note, typically in a ratio of 2:1. First species is note against note, third species is four against one, and fourth species uses suspensions.

Question 42Music Theory, Composition, and Arranging

In a chord symbol, what does the suffix 'sus4' indicate?

  1. The third is replaced by the fourth Correct answer.
  2. The fourth scale degree becomes the root
  3. The chord is in second inversion
  4. A fourth is added above the fifth

Explanation

A suspended fourth chord omits the third and puts the fourth in its place, usually resolving down to the third. The chord therefore has no major or minor quality until the suspension resolves.

Question 43Music Theory, Composition, and Arranging

The blues scale is formed by adding which note to the minor pentatonic scale?

  1. The major sixth
  2. The lowered fifth Correct answer.
  3. The major seventh
  4. The major third

Explanation

The blues scale adds a chromatic 'blue note' a diminished fifth above the tonic to the minor pentatonic. In C, that added pitch is G♭.

Question 44Music Theory, Composition, and Arranging

In a major key, the seventh chord built on the supertonic (ii7) has which quality?

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

Explanation

The supertonic triad in major is minor, and its diatonic seventh is a minor seventh above the root. In C major, ii7 is D–F–A–C, a minor seventh chord.

Question 45Music Theory, Composition, and Arranging

Which scale alternates whole steps and half steps, producing eight pitches per octave?

  1. Hexatonic scale
  2. Octatonic scale Correct answer.
  3. Whole-tone scale
  4. Chromatic scale

Explanation

The octatonic scale alternates whole and half steps and therefore divides the octave into eight notes. It comes in two transpositions that together cover all twelve pitch classes.

Question 46Music Theory, Composition, and Arranging

A passage in C major includes an F minor triad that resolves to C major. Which technique does the F minor chord illustrate?

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

Explanation

Modal mixture borrows a chord from the parallel minor of the prevailing key. F minor is iv in C minor, so its use in C major is a borrowed subdominant that typically resolves to the tonic.

Question 47Music Theory, Composition, and Arranging

A fully diminished seventh chord can resolve convincingly into several different keys mainly because of what?

  1. It is built on the subdominant degree
  2. It has a perfect fifth above the bass
  3. It contains a major third above the root
  4. Any note can act as a leading tone Correct answer.

Explanation

A diminished seventh chord is built from stacked minor thirds, so it is symmetrical and sounds identical under enharmonic respelling. Any of its four notes can be reinterpreted as the leading tone of a different key, which makes it a powerful pivot chord.

Question 48Music Theory, Composition, and Arranging

In strict tonal counterpoint, how does an augmented fourth between two voices normally resolve?

  1. They contract inward to a third
  2. They expand outward to a sixth Correct answer.
  3. They stay fixed as a tritone
  4. They move in similar motion to a fifth

Explanation

The augmented fourth is the outward form of the tritone, and its tendency tones resolve by contrary motion outward to a sixth. Its inward form, the diminished fifth, instead contracts to a third.

Question 49Music Theory, Composition, and Arranging

In a drop-2 voicing of a seventh chord, what happens to the chord tones?

  1. The second-highest note falls an octave Correct answer.
  2. The highest note drops an octave
  3. The bass note rises an octave
  4. The chordal third is placed in the bass voice

Explanation

A drop-2 voicing takes a close-position four-note chord and lowers the second-highest note by an octave. The result spreads the voicing while keeping the original top note in place.

Question 50Music Theory, Composition, and Arranging

In a passage in C major, a D major triad appears and resolves directly to a G major triad. Which label best describes the D major chord in this context?

  1. Cadential six-four
  2. Chromatic mediant
  3. V of V Correct answer.
  4. iv borrowed from the parallel minor

Explanation

A major triad built on the second scale degree is the dominant of the dominant, so it is analyzed as V/V (a secondary or applied dominant). Its raised third (F-sharp in C major) is the leading tone of G, which is why it pulls so strongly into the G major chord. The chord is diatonic to the key of G, not to C, so it is not a diatonic ii chord in C.