Many candidates struggle with the AP Music Theory because it focuses heavily on decision-making rather than simple recall. This practice test helps bridge that gap by giving you questions that reflect real exam scenarios. As you go through each section, pay attention to how questions are structured and what they are really asking. Over time, this will improve both your speed and accuracy. Consistent practice combined with review is the key to achieving a strong score.
Updated for 2026: This guide provides a structured approach to help you prepare effectively, understand key concepts, and practice real exam-level questions.
How to Use This Practice Test
- Start by reviewing key concepts before attempting questions
- Take the test in a timed environment
- Analyze your mistakes and revisit weak areas
Why This Practice Test Matters
This practice test is designed to simulate the real exam environment and help you identify knowledge gaps, improve accuracy, and build confidence.
| Exam Name | AP Music Theory Practice Exam |
|---|---|
| Exam Provider | College Board |
| Exam Type | Advanced Placement (AP) High School Exam |
| Total Practice Questions | 150+ Practice Questions (MCQs + Audio-Based + Harmony & Analysis) – Updated for 2026 |
| Coverage Topics | • Musical Notation, Rhythm & Meter • Intervals, Scales (Major, Minor, Modes) • Chords & Harmony (Triads, Seventh Chords) • Roman Numeral Analysis & Figured Bass • Voice Leading & Part Writing Rules • Cadences & Harmonic Progressions • Chromatic Harmony (Secondary Dominants, Neapolitan, Augmented Sixth) • Aural Skills (Interval, Chord & Progression Recognition) |
| Question Format | • Multiple Choice Questions (MCQs) • Audio-Based Listening Questions (Intervals, Chords, Cadences) • Harmonic Analysis & Scenario-Based Questions |
| Difficulty Level | Intermediate to Advanced (Aligned with Real AP Music Theory Exam) |
| Skills Developed | • Aural recognition & listening skills • Harmonic analysis & chord identification • Part-writing & voice-leading accuracy • Music reading, interpretation & theoretical application |
| Study Tips | • Practice interval and chord recognition daily (ear training) • Master Roman numeral analysis and cadences • Focus on voice-leading rules (avoid parallels, resolve leading tones) • Analyze real musical pieces for harmonic patterns |
| Best For | High school students preparing for AP Music Theory exam (Score 4–5 target) |
| Updated | 2026 Latest Version |
1.
Which clef is typically used for higher-pitched instruments and voices?
A. Bass clef
B. Alto clef
C. Treble clef
D. Tenor clef
Answer: C. Treble clef
Rationale: Treble clef is used for instruments like violin and flute and for soprano/alto voices.
2.
How many semitones are in a perfect fifth?
A. 5
B. 6
C. 7
D. 8
Answer: C. 7
Rationale: A perfect fifth spans 7 semitones (e.g., C to G).
3.
Which scale has no sharps or flats?
A. G major
B. D major
C. C major
D. F major
Answer: C
Rationale: C major uses only natural notes.
4.
What is the relative minor of C major?
A. A minor
B. E minor
C. D minor
D. G minor
Answer: A
Rationale: A minor shares the same key signature as C major.
5.
Which interval is considered dissonant?
A. Perfect octave
B. Major third
C. Perfect fifth
D. Tritone
Answer: D
Rationale: The tritone creates tension and is dissonant.
6.
What does “forte” mean?
A. Soft
B. Loud
C. Fast
D. Slow
Answer: B
Rationale: Forte indicates loud dynamics.
7.
Which note value equals two quarter notes?
A. Whole note
B. Half note
C. Eighth note
D. Sixteenth note
Answer: B
Rationale: A half note = 2 quarter notes.
8.
What is the key signature of G major?
A. 1 flat
B. 2 sharps
C. 1 sharp
D. No sharps
Answer: C
Rationale: G major has one sharp (F#).
9.
Which chord is built on the first scale degree?
A. Dominant
B. Subdominant
C. Tonic
D. Leading tone
Answer: C
Rationale: The tonic is the home chord.
10.
Which Roman numeral represents the dominant chord?
A. I
B. IV
C. V
D. ii
Answer: C
Rationale: V chord creates tension leading to I.
11.
What is the time signature 3/4 commonly associated with?
A. March
B. Waltz
C. Swing
D. Blues
Answer: B
Rationale: Waltzes use triple meter.
12.
Which scale contains a raised 7th in minor?
A. Natural minor
B. Harmonic minor
C. Pentatonic
D. Chromatic
Answer: B
Rationale: Harmonic minor raises the 7th.
13.
What is the interval from C to E?
A. Minor third
B. Major third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: C to E is 4 semitones.
14.
Which chord consists of C–E–G?
A. Minor triad
B. Diminished triad
C. Major triad
D. Augmented triad
Answer: C
Rationale: Major triad = root, major third, perfect fifth.
15.
What is enharmonic equivalent of F#?
A. Gb
B. G#
C. E#
D. Fb
Answer: A
Rationale: Same pitch, different name.
16.
Which interval is smallest?
A. Major second
B. Minor second
C. Perfect fourth
D. Major third
Answer: B
Rationale: Minor second = 1 semitone.
17.
What does “crescendo” mean?
A. Decrease volume
B. Increase volume
C. Speed up
D. Slow down
Answer: B
Rationale: Gradual increase in loudness.
18.
Which scale has 5 notes?
A. Major
B. Minor
C. Pentatonic
D. Chromatic
Answer: C
Rationale: Pentatonic = 5 tones.
19.
Which chord is unstable and resolves to tonic?
A. Tonic
B. Dominant
C. Submediant
D. Supertonic
Answer: B
Rationale: Dominant resolves to tonic.
20.
What is the key of A minor relative to?
A. G major
B. C major
C. D major
D. F major
Answer: B
Rationale: Same key signature.
21.
Which interval spans 8 notes?
A. Fifth
B. Sixth
C. Seventh
D. Octave
Answer: D
Rationale: Octave spans 8 scale degrees.
22.
Which term indicates speed of music?
A. Dynamics
B. Tempo
C. Harmony
D. Timbre
Answer: B
Rationale: Tempo controls speed.
23.
Which chord is built on the fifth scale degree?
A. Tonic
B. Dominant
C. Subdominant
D. Mediant
Answer: B
Rationale: Fifth degree = dominant.
24.
Which scale uses all 12 pitches?
A. Major
B. Minor
C. Chromatic
D. Pentatonic
Answer: C
Rationale: Chromatic includes every semitone.
25.
Which interval is consonant?
A. Tritone
B. Minor second
C. Perfect fifth
D. Major seventh
Answer: C
Rationale: Perfect fifth is stable and consonant.
26.
What is the relative major of A minor?
A. G major
B. C major
C. D major
D. F major
Answer: B
Rationale: Same key signature.
27.
Which note is the leading tone in C major?
A. B
B. A
C. G
D. D
Answer: A
Rationale: Leading tone is 7th degree.
28.
Which chord contains a tritone?
A. Major
B. Minor
C. Diminished
D. Power chord
Answer: C
Rationale: Diminished triad includes tritone.
29.
What does “legato” mean?
A. Detached
B. Smooth and connected
C. Loud
D. Fast
Answer: B
Rationale: Notes are played smoothly.
30.
Which cadence sounds final and complete?
A. Half cadence
B. Authentic cadence
C. Deceptive cadence
D. Plagal cadence
Answer: B
Rationale: V–I resolution creates finality.
31.
Which interval is enharmonically equivalent to a diminished fifth?
A. Perfect fourth
B. Augmented fourth
C. Major third
D. Minor sixth
Answer: B. Augmented fourth
Rationale: Both intervals span 6 semitones (tritone).
32.
In a major key, the leading tone is:
A. The 6th scale degree
B. The 7th scale degree
C. The 5th scale degree
D. The 2nd scale degree
Answer: B
Rationale: The leading tone is the 7th scale degree, resolving to tonic.
33.
Which chord is built on the second scale degree in a major key?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: The ii chord is minor in major keys.
34.
Which inversion has the third in the bass?
A. Root position
B. First inversion
C. Second inversion
D. Third inversion
Answer: B
Rationale: First inversion places the third in the bass.
35.
What is the figured bass for a first inversion triad?
A. 5/3
B. 6/3
C. 6/4
D. 7
Answer: B
Rationale: First inversion is labeled 6 (or 6/3).
36.
Which cadence ends on the dominant chord?
A. Authentic
B. Plagal
C. Half cadence
D. Deceptive
Answer: C
Rationale: Half cadence ends on V.
37.
Which cadence resolves V to vi?
A. Authentic
B. Plagal
C. Half
D. Deceptive
Answer: D
Rationale: Deceptive cadence avoids tonic resolution.
38.
Parallel fifths are avoided because they:
A. Sound too modern
B. Reduce independence of voices
C. Are dissonant
D. Increase harmony
Answer: B
Rationale: Parallel motion weakens polyphonic texture.
39.
Which interval must resolve inward when doubled?
A. Perfect fifth
B. Tritone
C. Octave
D. Major third
Answer: B
Rationale: Tritone resolves to consonant intervals.
40.
Which chord includes a leading tone?
A. ii
B. IV
C. V
D. iii
Answer: C
Rationale: Dominant chord includes leading tone.
41.
Which type of motion is most independent?
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: C
Rationale: Contrary motion strengthens independence.
42.
Which chord is typically used before V in a progression?
A. I
B. ii
C. vi
D. iii
Answer: B
Rationale: ii–V–I is common progression.
43.
Which interval is formed between C and B?
A. Major seventh
B. Minor seventh
C. Tritone
D. Perfect fifth
Answer: A
Rationale: C to B is a major seventh.
44.
Which scale degree is the subdominant?
A. 3rd
B. 4th
C. 5th
D. 6th
Answer: B
Rationale: Fourth degree is subdominant.
45.
Which chord progression is MOST common in tonal harmony?
A. I–ii–iii
B. ii–V–I
C. I–IV–iii
D. V–ii–I
Answer: B
Rationale: Found in classical and jazz harmony.
46.
Which chord contains the notes G–B–D–F?
A. G major
B. G minor
C. G7 (dominant seventh)
D. G diminished
Answer: C
Rationale: Dominant seventh chord.
47.
Which interval spans 10 semitones?
A. Major sixth
B. Minor seventh
C. Major seventh
D. Perfect octave
Answer: B
Rationale: Minor seventh = 10 semitones.
48.
Which chord tone is doubled most often in root position triads?
A. Third
B. Fifth
C. Root
D. Leading tone
Answer: C
Rationale: Root is most stable.
49.
Which note resolves upward to tonic?
A. Dominant
B. Leading tone
C. Submediant
D. Mediant
Answer: B
Rationale: Leading tone resolves to tonic.
50.
Which chord is diminished in major keys?
A. ii
B. iii
C. vii°
D. IV
Answer: C
Rationale: Built on leading tone.
51.
Which type of chord has a raised fifth?
A. Major
B. Minor
C. Augmented
D. Diminished
Answer: C
Rationale: Augmented chord raises the fifth.
52.
Which interval is consonant?
A. Tritone
B. Minor second
C. Perfect octave
D. Major seventh
Answer: C
Rationale: Octave is stable.
53.
Which is NOT a primary chord?
A. I
B. IV
C. V
D. ii
Answer: D
Rationale: ii is secondary.
54.
Which chord function creates tension?
A. Tonic
B. Dominant
C. Subdominant
D. Mediant
Answer: B
Rationale: Dominant leads to resolution.
55.
Which voice should NOT double the leading tone?
A. Soprano
B. Alto
C. Tenor
D. Any voice
Answer: D
Rationale: Leading tone should not be doubled.
56.
Which motion keeps one note constant?
A. Parallel
B. Contrary
C. Oblique
D. Similar
Answer: C
Rationale: One voice stays same.
57.
Which chord inversion has fifth in bass?
A. Root
B. First
C. Second
D. Third
Answer: C
Rationale: Second inversion.
58.
Which chord progression creates strongest resolution?
A. IV–I
B. V–I
C. ii–IV
D. I–vi
Answer: B
Rationale: Authentic cadence.
59.
Which scale degree is the dominant?
A. 3rd
B. 4th
C. 5th
D. 6th
Answer: C
Rationale: Fifth scale degree.
60.
Which interval is dissonant?
A. Perfect fifth
B. Major third
C. Tritone
D. Octave
Answer: C
Rationale: Tritone creates tension.
61.
Which chord functions as the dominant of the dominant (V/V) in C major?
A. D major
B. G major
C. A minor
D. F major
Answer: A. D major
Rationale: V of G (dominant) is D major.
62.
Which note is raised in harmonic minor scale?
A. 6th
B. 7th
C. 5th
D. 3rd
Answer: B
Rationale: Raised 7th creates leading tone.
63.
Which chord contains a leading tone in minor keys?
A. iv
B. V
C. VI
D. III
Answer: B
Rationale: Dominant chord uses raised 7th.
64.
Which interval is formed between E and Bb?
A. Perfect fourth
B. Tritone
C. Minor sixth
D. Major third
Answer: B
Rationale: E to Bb = augmented fourth/diminished fifth.
65.
Which chord progression defines a plagal cadence?
A. V–I
B. IV–I
C. ii–V
D. I–V
Answer: B
Rationale: “Amen” cadence.
66.
Which chord is diatonic in C major?
A. F# major
B. D minor
C. Bb major
D. Eb major
Answer: B
Rationale: D minor is ii chord.
67.
Which chord is used to tonicize another chord?
A. Secondary dominant
B. Tonic
C. Subdominant
D. Neapolitan
Answer: A
Rationale: Temporarily emphasizes another chord.
68.
Which inversion is labeled 6/4?
A. Root
B. First
C. Second
D. Third
Answer: C
Rationale: Fifth in bass.
69.
Which type of cadence sounds unfinished?
A. Authentic
B. Plagal
C. Half
D. Perfect authentic
Answer: C
Rationale: Ends on V.
70.
Which chord resolves to tonic most strongly?
A. ii
B. IV
C. V
D. vi
Answer: C
Rationale: Dominant resolution.
71.
Which interval is C to Ab?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Tritone
Answer: B
Rationale: C to Ab = 8 semitones.
72.
Which note is the mediant in C major?
A. D
B. E
C. F
D. G
Answer: B
Rationale: Third scale degree.
73.
Which chord is built on the sixth scale degree in major?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: vi chord is minor.
74.
Which interval is formed by G to E?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Major third
Answer: B
Rationale: G to E = minor sixth.
75.
Which chord contains notes B–D–F?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad.
76.
Which motion occurs when voices move in opposite directions?
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: C
Rationale: Opposite movement.
77.
Which interval is dissonant?
A. Perfect fifth
B. Major third
C. Minor second
D. Octave
Answer: C
Rationale: Minor second is highly dissonant.
78.
Which chord is tonic in A minor?
A. A minor
B. C major
C. E minor
D. D minor
Answer: A
Rationale: First scale degree.
79.
Which scale uses raised 6th and 7th ascending?
A. Natural minor
B. Harmonic minor
C. Melodic minor
D. Chromatic
Answer: C
Rationale: Melodic minor form.
80.
Which chord progression creates tension before resolution?
A. I–IV
B. IV–I
C. V–I
D. I–vi
Answer: C
Rationale: Dominant to tonic.
81.
Which chord function prepares the dominant?
A. Tonic
B. Dominant
C. Predominant
D. Mediant
Answer: C
Rationale: ii and IV lead to V.
82.
Which chord is the submediant?
A. iii
B. vi
C. IV
D. ii
Answer: B
Rationale: Sixth scale degree.
83.
Which interval is A to F?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Tritone
Answer: B
Rationale: A to F = 8 semitones.
84.
Which chord contains G–B–D?
A. G major
B. G minor
C. D major
D. C major
Answer: A
Rationale: Major triad.
85.
Which note is the supertonic in C major?
A. C
B. D
C. E
D. F
Answer: B
Rationale: Second scale degree.
86.
Which chord is typically diminished in minor keys?
A. ii°
B. V
C. IV
D. I
Answer: A
Rationale: Supertonic chord.
87.
Which interval is C to F#?
A. Perfect fourth
B. Tritone
C. Major third
D. Minor sixth
Answer: B
Rationale: Augmented fourth.
88.
Which chord resolves upward by half step?
A. Subdominant
B. Leading tone chord
C. Tonic
D. Mediant
Answer: B
Rationale: Leading tone resolves to tonic.
89.
Which chord progression is deceptive?
A. V–I
B. V–vi
C. IV–I
D. ii–V
Answer: B
Rationale: Avoids tonic resolution.
90.
Which chord function provides stability?
A. Dominant
B. Tonic
C. Predominant
D. Leading tone
Answer: B
Rationale: Tonic is the resting point.
91.
Which chord is commonly used as a pivot chord in modulation?
A. Non-diatonic chord
B. Chromatic chord
C. Diatonic chord common to both keys
D. Secondary dominant
Answer: C. Diatonic chord common to both keys
Rationale: Pivot chords belong to both keys and ease smooth modulation.
92.
Which interval is enharmonically equivalent to a minor seventh?
A. Augmented sixth
B. Major sixth
C. Perfect octave
D. Diminished seventh
Answer: A
Rationale: Both span 10 semitones.
93.
Which type of chord contains a lowered second scale degree?
A. Secondary dominant
B. Neapolitan chord
C. Augmented chord
D. Diminished chord
Answer: B
Rationale: Neapolitan chord (♭II) is built on lowered second degree.
94.
Which augmented sixth chord resolves to the dominant?
A. Italian
B. French
C. German
D. All of the above
Answer: D
Rationale: All augmented sixth chords resolve to V.
95.
Which interval is formed between C and Bb?
A. Major seventh
B. Minor seventh
C. Tritone
D. Perfect fifth
Answer: B
Rationale: C to Bb = 10 semitones.
96.
Which chord is typically used in minor keys to strengthen V?
A. Major IV
B. Minor V
C. Major V
D. Diminished IV
Answer: C
Rationale: Raised leading tone creates major V.
97.
Which scale is used in jazz and modern harmony?
A. Pentatonic
B. Whole-tone
C. Major
D. Natural minor
Answer: B
Rationale: Whole-tone scale creates ambiguous harmony.
98.
Which interval is formed by F to D?
A. Major sixth
B. Minor sixth
C. Perfect fifth
D. Major third
Answer: A
Rationale: F to D = 9 semitones.
99.
Which chord progression indicates modulation?
A. I–IV–V
B. V/V–V–I
C. ii–V–I
D. I–vi–IV
Answer: B
Rationale: Secondary dominant suggests key shift.
100.
Which chord contains both major and minor thirds?
A. Augmented
B. Diminished seventh
C. Major triad
D. Minor triad
Answer: B
Rationale: Stacked minor thirds.
101.
Which motion should be avoided in part writing?
A. Contrary motion
B. Parallel fifths
C. Stepwise motion
D. Oblique motion
Answer: B
Rationale: Weakens independence.
102.
Which interval is most stable?
A. Tritone
B. Minor second
C. Perfect octave
D. Major seventh
Answer: C
Rationale: Consonant interval.
103.
Which chord resolves downward by half step?
A. Leading tone chord
B. Dominant
C. Subdominant
D. Neapolitan
Answer: D
Rationale: Neapolitan resolves to V.
104.
Which chord is borrowed from parallel minor?
A. Secondary dominant
B. Modal mixture chord
C. Augmented chord
D. Suspended chord
Answer: B
Rationale: Modal mixture adds color.
105.
Which scale degree is altered in melodic minor descending?
A. None
B. 6th
C. 7th
D. Both 6th and 7th
Answer: A
Rationale: Descending uses natural minor.
106.
Which chord has root, minor third, and diminished fifth?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad structure.
107.
Which interval spans 11 semitones?
A. Major seventh
B. Minor seventh
C. Perfect octave
D. Major sixth
Answer: A
Rationale: Major seventh = 11 semitones.
108.
Which chord progression is typical of blues?
A. I–IV–V
B. ii–V–I
C. I–vi–IV
D. V–I
Answer: A
Rationale: Standard blues progression.
109.
Which interval is C to Eb?
A. Major third
B. Minor third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 3 semitones.
110.
Which chord is most dissonant?
A. Major triad
B. Minor triad
C. Diminished seventh
D. Perfect fifth
Answer: C
Rationale: High tension due to stacked intervals.
111.
Which voice-leading rule applies to leading tone?
A. Double it
B. Leave unresolved
C. Resolve upward
D. Resolve downward
Answer: C
Rationale: Leading tone resolves to tonic.
112.
Which chord is often used in cadential 6/4?
A. ii
B. I
C. V
D. IV
Answer: B
Rationale: Functions as dominant preparation.
113.
Which chord contains G–Bb–Db?
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad.
114.
Which interval is A to C#?
A. Minor third
B. Major third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 4 semitones.
115.
Which harmonic function resolves to tonic?
A. Dominant
B. Subdominant
C. Mediant
D. Supertonic
Answer: A
Rationale: Strong resolution.
116.
Which interval is most dissonant?
A. Octave
B. Perfect fifth
C. Minor second
D. Major third
Answer: C
Rationale: Smallest interval = most tension.
117.
Which chord progression signals tonal closure?
A. ii–V
B. V–I
C. IV–ii
D. I–IV
Answer: B
Rationale: Authentic cadence.
118.
Which chord is tonic in G major?
A. G major
B. D major
C. C major
D. A minor
Answer: A
Rationale: First scale degree.
119.
Which interval is D to F?
A. Major third
B. Minor third
C. Perfect fourth
D. Tritone
Answer: B
Rationale: 3 semitones.
120.
Which chord provides final resolution?
A. Dominant
B. Tonic
C. Subdominant
D. Leading tone
Answer: B
Rationale: Tonic is stable ending.
121.
You hear two notes played simultaneously. The sound is very stable and identical in pitch class. The interval is MOST likely:
A. Perfect fifth
B. Perfect octave
C. Minor third
D. Tritone
Answer: B. Perfect octave
Rationale: Octaves sound identical and highly consonant.
122.
You hear two notes with strong tension that want to resolve inward. This interval is:
A. Major third
B. Perfect fifth
C. Tritone
D. Minor sixth
Answer: C
Rationale: Tritone creates strong dissonance.
123.
You hear two notes forming a smooth, consonant harmony typical of major chords. The interval is:
A. Minor second
B. Major third
C. Tritone
D. Minor seventh
Answer: B
Rationale: Major third is consonant and stable.
124.
You hear a chord that sounds bright and stable: C–E–G. This chord is:
A. Minor
B. Diminished
C. Major
D. Augmented
Answer: C
Rationale: Major triad.
125.
You hear a chord that sounds dark and somber: A–C–E. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: B
Rationale: Minor triad.
126.
You hear a chord with strong tension: B–D–F. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: C
Rationale: Diminished triad includes tritone.
127.
You hear a chord with a raised fifth creating instability. This chord is:
A. Major
B. Minor
C. Diminished
D. Augmented
Answer: D
Rationale: Augmented chord.
128.
You hear a chord resolving strongly to tonic. This chord is MOST likely:
A. Subdominant
B. Dominant
C. Mediant
D. Supertonic
Answer: B
Rationale: Dominant resolves to tonic.
129.
You hear two notes with a very small distance creating harsh dissonance. This is:
A. Major second
B. Minor second
C. Perfect fourth
D. Major third
Answer: B
Rationale: Smallest interval = most tension.
130.
You hear a chord progression ending with a strong sense of closure. This cadence is:
A. Half cadence
B. Deceptive cadence
C. Authentic cadence
D. Plagal cadence
Answer: C
Rationale: V–I resolution.
131.
You hear a chord followed by vi instead of I. This cadence is:
A. Authentic
B. Plagal
C. Deceptive
D. Half
Answer: C
Rationale: V–vi progression.
132.
You hear a chord progression ending on V. This is:
A. Authentic cadence
B. Plagal cadence
C. Half cadence
D. Deceptive cadence
Answer: C
Rationale: Ends unresolved.
133.
You hear a chord that sounds like IV–I. This cadence is:
A. Authentic
B. Plagal
C. Half
D. Deceptive
Answer: B
Rationale: “Amen” cadence.
134.
You hear a chord with four notes including a tritone resolving inward. This is:
A. Major triad
B. Minor triad
C. Dominant seventh
D. Power chord
Answer: C
Rationale: Dominant 7th contains tritone.
135.
You hear two notes forming a wide, open, consonant sound. This is:
A. Minor second
B. Perfect fifth
C. Tritone
D. Major seventh
Answer: B
Rationale: Perfect fifth is stable.
136.
You hear a scale with raised 7th creating strong pull to tonic. This is:
A. Natural minor
B. Harmonic minor
C. Pentatonic
D. Whole-tone
Answer: B
Rationale: Harmonic minor raises 7th.
137.
You hear a scale ascending with raised 6th and 7th. This is:
A. Natural minor
B. Harmonic minor
C. Melodic minor
D. Major
Answer: C
Rationale: Melodic minor ascending.
138.
You hear a chord progression emphasizing V/V. This indicates:
A. Modulation
B. Secondary dominant
C. Tonicization
D. Both B and C
Answer: D
Rationale: Temporary emphasis of another chord.
139.
You hear a chord resolving downward by half step to dominant. This is:
A. Secondary dominant
B. Neapolitan chord
C. Tonic
D. Mediant
Answer: B
Rationale: ♭II resolves to V.
140.
You hear a chord with symmetrical structure creating ambiguous tonality. This is:
A. Major
B. Minor
C. Whole-tone
D. Diminished seventh
Answer: D
Rationale: Stacked minor thirds.
141.
You hear two notes moving in opposite directions. This is:
A. Parallel motion
B. Similar motion
C. Contrary motion
D. Oblique motion
Answer: C
Rationale: Opposite movement.
142.
You hear one voice staying the same while another moves. This is:
A. Parallel
B. Contrary
C. Oblique
D. Similar
Answer: C
Rationale: One voice static.
143.
You hear voices moving in same direction but different intervals. This is:
A. Parallel
B. Similar
C. Contrary
D. Oblique
Answer: B
Rationale: Same direction, different intervals.
144.
You hear identical intervals moving in same direction. This is:
A. Parallel motion
B. Contrary
C. Oblique
D. Similar
Answer: A
Rationale: Same interval + direction.
145.
You hear a chord resolving strongly upward to tonic. The note resolving is:
A. Dominant
B. Leading tone
C. Subdominant
D. Mediant
Answer: B
Rationale: Leading tone resolves up.
146.
You hear a chord progression creating tension then release. This is:
A. Random motion
B. Harmonic progression
C. Rhythm
D. Melody
Answer: B
Rationale: Harmony drives tension/resolution.
147.
You hear a chord with flattened seventh scale degree. This is:
A. Major triad
B. Dominant seventh
C. Minor triad
D. Augmented
Answer: B
Rationale: Dominant 7 includes flat 7th.
148.
You hear a chord progression common in blues. This is:
A. I–IV–V
B. ii–V–I
C. I–vi–IV
D. V–I
Answer: A
Rationale: Standard blues pattern.
149.
You hear a chord with strong instability resolving outward. This is:
A. Tritone resolution
B. Perfect fifth
C. Octave
D. Major third
Answer: A
Rationale: Tritone resolves outward/inward.
150.
You hear final chord providing complete rest. This is:
A. Dominant
B. Subdominant
C. Tonic
D. Leading tone
Answer: C
Rationale: Tonic provides closure.
Frequently Asked Questions
Does this AP Music Theory test reflect real exam difficulty?
Yes, this practice test is designed to reflect real exam patterns, structure, and difficulty level to help you prepare effectively.
What is the best way to use this AP Music Theory test for preparation?
Take the test in a timed setting, review your answers carefully, and focus on improving weak areas after each attempt.
How many times should I attempt this AP Music Theory test?
Yes, repeating the test helps reinforce concepts, improve accuracy, and build confidence for the actual exam.
Is this AP Music Theory test useful for first-time candidates?
This practice test is suitable for both beginners and retakers who want to improve their understanding and performance.