Music Theory 3 – 2010 NAME:

Mid-term exam

PART I : Tonicization and Applied Chords

1. J.S.Bach. Prelude in C from the Well Tempered Clavier. Chromaticism in bars 12-
15. Analyse the fragment and choose the most appropriate explanation.

a. The viiº/iii and viiº/vi progression requires accidentals on 7 , 1 
and 5 .

b. Bach uses twice a progression of viiº43 resolving into a chord in first
inversion, which gives the passage an overall sliding down quality.
c. The b7 is hinting at the V7/IV progression to next bar.
d. The composer is resorting to a simple pattern of Secondary Dominant
chords.
e. The A7 over Gm in bar 12 is a precursor of stacked chords heard later in
jazz.

2. In the key of Bb major, the symbol V42/vi implies a specific chord

progression. Choose the line that best represents the implied progression.

a. Eb-F-A-C Bb-Db-F
b. C-D-F#-A G-Bb-D
c. D-F#-B-A E-G-B
d. C-Ab-F-Eb G-Bb-Eb
e. Db-Eb-G-Bb Ab-C-Eb

3. In the key of G minor, the Roman numerals viiº65/VII imply a specific

harmonic progression. Choose the line that best represents the implied
progression

a. C#-E-G-Bb D#-F#-A#
b. E-C-G-Bb F-Ab-C
c. F-Ab-Cb-D Eb-G-Bb
d. Eb-G-A-C# F#-A-C#
e. G-E-Bb-Db F-A-C

4. In the key of C major, From Me To You features a chorus sections with an

unstable character due to its harmonic design and chromatic embellishments.
For example, consider the lowering of 7
resulting in the smooth emotional
shade for the imagined scene in “arms”, all leading to the reassuring sound
under the lines “keep you by my side”. Study the example and choose the best
representation of the harmonic progression from “arms” to “side”.

a. In C: v | V7/IV | vi iii7 | IV
b. In F: ii | V7 | I V7 | I
c. In F: ii | V7 V43| vi V | I
d. In C: v II | V7/V | vi V | IV
e. In Gm: i v | iv i | VII iv | VII
5. Which of the following can be interpreted as a viiº7/III case?

a. b. c. d. e.

PART II: Modulation

6. Choose the correct group of Close Related Keys.

a. F#m: C#m E Bm D
b. Bb: F D Am Ebm
c. G B Em D C
d. E: Gm B C# Am
e. Dm: Cm Gm Bbm F

The following couple questions require recollecting the process of modulation in the
example of Beethoven’s 9th symphony, ‘transitioning into the March’.

Original Alla Marcia

D: I V7/V V bIII
Bb: V I

7. If the March were in the key of G Major, which among the following alterations
would you need in the chord right before de double bar?

a. Ebb b. Bb c. F nat. d. A nat. e. C #

8. What chord would you need in the second bar of the sketch above?

a. D7 b. Bb7 c. C#7 d. B7 e. E7

9. Analyse this diagram of modulating phrases with pivot chords and decide
whether the case is True or False.

E:
I V7 vi7 iii
C#m: v iv III viiº7 i

TRUE FALSE
a. b.
10. Analyse this diagram of modulating phrases with pivot chords and decide
whether the case is True or False.
C# minor
iv VI III6 iiº64
E major: viiº64 V42 I6

TRUE FALSE
a. b.

11. In Chopin’s Mazurka Op. 59, No. 2, the second system clearly illustrates:

a. A modulation to the parallel key.

b. A modulation to the relative minor of the subdominant.
c. A modulation to a distant key.
d. A modulation to a close related key.
e. A deceptive cadence.

12. In the same Chopin’s Mazurka, the progression from bar 5 into 6 can illustrate
which of the following?

a. V42/iii b. V43/VII c. viiº43/IV d. V43/vi e. V65/iii

PART III More Fun with Trivia!

13. In the key of G minor, into which note would the 7th of this chord resolve?:
viiº7/VII

a. B b. C c. F# d. C# e. D

14. In a Cuban Contradanse in Ab major, the second section appears in the key of
the relative minor of the subdominant. What chord would you expect to find
at the end of the first section if this piece is in sectional binary form?

a. Ab b. F7 c. Fm d. Eb7 e. Bbm

15. In the haunting example of Mozart’s “Confutates maledictis” from his Requiem,
the composer contrasts the first “confutates” section in A minor with a “voca
me” section in the key of the relative major. If Mozart had decided to write
the Confutates movement in D minor instead, which chord would he need as
secondary dominant to prepare the “voca me” section?

a. C#7 b. C7 c. Bb7 d. A7 e. Eb7

 Music Theory 3 – 2010 Illustrations for exam questions
Mid-term exam

Question 1

J.S.Bach. Prelude in C, from Prelude and Fugue in C major, The Well Tempered Clavier.

Question 4

Lennon & McCartney – From Me To You (1963)

Question 11

F. Chopin. Mazurka, Op. 59, No. 2