Cumulative level test: Hearing harmony in practice, arranging the parts, and finishing the piece

Check understanding, separately from reading

12 questions · 80% to pass · no timer. This longer test revisits both units in the level. These authored questions assess recognition and application of the taught distinctions, not professional qualification. You may review the lessons and retry. Repeat attempts reuse the question bank; a remembered answer is not proof of transfer to a new situation.

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Question 1

A loop in G major runs E minor, A minor, D, G, with the roots E, A, D and G. A learner labels the passage a descending-fifths sequence and then calls the closing G a half cadence. Which part of that is right, and what is wrong?The descending-fifths label is right because each root falls a fifth, but the closing G is a tonic arrival rather than a half cadence, which by definition ends on VBoth labels are right, because a sequence can end on any chord and a half cadence ends wherever the phrase happens to stop

Question 2

In C major a progression runs C, F, F minor, C, and the third chord is written as F minor with F, its root, in the bass. Which description is accurate?The chord is a first-inversion A flat major triad because A flat is present and the chord is spelled from the parallel modeA flat is borrowed from the parallel minor, the chord is in root position because F is in the bass, and it still carries predominant function

Question 3

A pad sounding middle C at about 262 hertz covers a guitar figure in the same range. A learner moves the pad up an octave and reduces its level by six decibels. What are the resulting figures, and does the change address the cause?About 524 hertz, close to the 523 hertz of C5, and about half the previous level; the register change addresses the overlap, which a level change alone would notAbout 524 hertz and about 75 per cent of the previous level; the level reduction is what removes the overlap

Question 4

A learner writes an aa prime melody, plays it back through the sequencer, and reports that the second phrase was heard as closed. What can be concluded?The closed ending is confirmed, because hearing the sequencer play the melody is equivalent to an aural check of itOnly that the sequence played back; an aural check requires singing each phrase unaccompanied, with a contour line or solmization used to record what was heard

Question 5

A piece is planned as three eight-bar sections at 96 beats per minute, and the third section is meant to be a departure. Compute the section duration and state what the boundary into that section requires.2.5 seconds per bar, so each section lasts 20 seconds; the boundary needs a perceptible change such as an arrival, a change of instrumentation or volume, or a return to heard material2.5 seconds per bar, so each section lasts 20 seconds; renaming the section markers is enough once the durations are correct

Question 6

A producer automates the monitor volume knob to rise across the chorus and reports that the rendered file is unchanged. Why is that, and what should have been automated?The automation was never converted from event data, which is why the rendered level did not changeThe monitor volume knob has no effect on rendered levels, so the track fader or plugin parameter that the render actually uses should have been automated

Question 7

At 96 pulses per quarter note, how many ticks are in a 4/4 bar, and why does the manual advise care with recorded automation?384 ticks, and a continuous recorded pass can create a control point at almost every tick, so converting it to a clip and editing the curve is easier than editing the points96 ticks, because one control point is written per quarter note, so dense automation data cannot occur

Question 8

A mix sounds well separated in stereo, but in mono the pad covers the guitar. A learner responds by panning the two parts further apart. What is wrong with that, and what does the three decibel figure refer to in this situation?Panning is sufficient if it is increased, and the three decibel figure is the boost that a hard-panned signal receivesPanning collapses when the channels are combined, so the register or density has to change; the three decibel figure is the reduction the default circular panning law applies to a centred signal

Question 9

A project sounds complete in the studio, but the render is silent where a part played from external hardware controlled by MIDI should be. Which explanation matches the documentation?MIDI carries instructions rather than audio, and the hardware's sound has to be recorded and placed as an audio clip for an ordinary offline render to include itThe MIDI export option should have been chosen instead, because a MIDI file contains the recorded sound of external hardware

Question 10

A 32-bar piece at 100 beats per minute renders to a file of 80.3 seconds. Which statement is correct?The musical body is 76.8 seconds, so the extra 3.5 seconds prove that the export settings were wrongThe musical body is 76.8 seconds because 32 bars at 2.4 seconds each, so the extra 3.5 seconds must be listened to and classified as an intended tail or unintended silence

Question 11

A loop is A minor, F, C, G. One learner calls it vi-IV-I-V in C major, another calls it i-VI-III-VII in A minor. Which framing is defensible, and what does the choice change?Both readings use the same pitch classes and the same chords; the difference is where home is heard, and in the second reading the loop begins on the tonic and ends on the dominantOnly the C major reading is defensible, because the loop contains a G major chord and G is the dominant of C

Question 12

A learner scores full marks on this level's quiz, owns a sequenced sketch, and has never rendered a file or listened to one. What claim is supported by that evidence?That the learner has demonstrated finished-piece delivery competence, since the quiz score and the sketch together are sufficient evidenceThat the reasoning in the level was checked and an unfinished sketch exists; playing, rendering and file-level listening remain unverified

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