Multiple Choice Questions
Music Theory: Advanced Harmonic Analysis
Topic: Advanced Harmonic Analysis
Grade: 11
Question 1:
Which of the following chords is considered a dominant seventh chord?
a) C major seventh
b) A minor seventh
c) G dominant seventh
d) F# diminished seventh
Answer: c) G dominant seventh
Explanation: A dominant seventh chord is built on the fifth scale degree of a major scale. In the key of C major, the fifth scale degree is G, so the G dominant seventh chord is G-B-D-F. This chord creates tension and is often used to resolve to the tonic chord.
Example:
Simple: In the key of C major, the dominant seventh chord would be G-B-D-F. This chord is often used to lead back to the C major chord.
Complex: In jazz music, the G7 chord is commonly used as a dominant seventh chord. It can be extended to include additional notes, such as G7b9 (G-B-D-F-Ab), to add even more tension and complexity to the harmony.
Question 2:
Which of the following intervals is classified as a perfect interval?
a) Major third
b) Minor sixth
c) Perfect fourth
d) Augmented fifth
Answer: c) Perfect fourth
Explanation: Perfect intervals are the unison, fourth, fifth, and octave. They have a distinctive sound and are often used as stable, consonant intervals. A perfect fourth consists of four letter names and five half steps.
Example:
Simple: In the key of C major, the perfect fourth interval would be C-F. This interval is considered consonant and has a harmonious sound.
Complex: In the key of G major, the perfect fourth interval would be G-C. This interval can be used in melodies, harmonies, and chord progressions to create a sense of stability and resolution.
Question 3:
Which of the following chord progressions is an example of a ii-V-I progression in the key of F major?
a) Gm7 – C7 – Fmaj7
b) Am7 – Dm7 – G7
c) Bbmaj7 – Ebmaj7 – Abmaj7
d) Cm7 – Fm7 – Bbmaj7
Answer: a) Gm7 – C7 – Fmaj7
Explanation: In the key of F major, the ii-V-I progression would be Gm7 – C7 – Fmaj7. The ii chord is built on the second scale degree (G), the V chord is built on the fifth scale degree (C), and the I chord is built on the tonic (F). This progression is commonly used in jazz and creates a sense of resolution.
Example:
Simple: In the key of C major, the ii-V-I progression would be Dm7 – G7 – Cmaj7. This progression is often used in jazz standards like \”Autumn Leaves\” and \”All the Things You Are\”.
Complex: In the key of Bb major, the ii-V-I progression would be Cm7 – F7 – Bbmaj7. This progression is commonly used in jazz improvisation and can be found in tunes like \”Blue Bossa\” and \”Take the A Train\”.
Question 4:
Which of the following time signatures indicates a compound meter?
a) 2/4
b) 3/4
c) 6/8
d) 9/8
Answer: c) 6/8
Explanation: Compound meters are those in which the beat is divided into groups of three. In 6/8 time, there are six eighth notes per measure, but they are grouped into two beats of three eighth notes each. This creates a strong, recurring pulse.
Example:
Simple: In 4/4 time, the beat is divided into four quarter notes. Each beat can be counted as \”1 2 3 4\”. In 6/8 time, the beat is divided into two groups of three eighth notes each. Each beat can be counted as \”1 2 3 4 5 6\”.
Complex: In 9/8 time, the beat is divided into three groups of three eighth notes each. Each beat can be counted as \”1 2 3 4 5 6 7 8 9\”. This time signature is often used in Celtic music and creates a lively, dance-like feel.
Question 5:
Which of the following chord progressions is an example of a plagal cadence?
a) Cmaj7 – G7 – Cmaj7
b) Dm7 – G7 – Cmaj7
c) Fmaj7 – Bbmaj7 – Cmaj7
d) G7 – Cmaj7 – Dm7
Answer: c) Fmaj7 – Bbmaj7 – Cmaj7
Explanation: A plagal cadence is a IV-I progression. In the key of C major, the IV chord is Fmaj7 and the I chord is Cmaj7. This cadence has a \”church-like\” sound and is often used to end a phrase or section.
Example:
Simple: In the key of G major, the plagal cadence would be Cmaj7 – G7 – Cmaj7. This progression is commonly used in gospel music and creates a sense of resolution and finality.
Complex: In the key of D major, the plagal cadence would be Gmaj7 – Cmaj7 – Dmaj7. This progression can be used to end a song or section with a strong sense of resolution and closure.
(Note: The remaining questions and explanations have been omitted for brevity. Please let me know if you would like me to continue with the remaining questions.)