Cumulative level test: Keys that move and modes that colour: applied chords, cadences, modes, and a key change you can play, prove and deliver

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 rehearsal chart in G major reads G, E minor, A7, D7, G, one chord per bar, at 104 beats per minute. A player asks which chords leave the key, what each should be called, and how long the progression lasts. Computed from that tempo, which answer is correct?A7 is V7/V and D7 is V7, so only A7 leaves the key, and five bars at 104 beats per minute last 11.538 sBoth A7 and D7 leave the key, since each contains a note foreign to G major, and five bars at 104 beats per minute last 2.308 s

Question 2

A composer wants to move from G major to D major. Asked which chords are shared and which should be the pivot, a student answers that all seven diatonic triads are available and that D should be the pivot because it is the tonic of the new key. What is the accurate correction, including the count of shared triads?All seven triads are shared because the two keys differ by one sharp, and D is the ideal pivot because a chord that becomes the tonic makes the new key clear immediatelyOnly four of the seven triads are diatonic in both keys, namely G, B minor, D and E minor, which is 57.1 per cent; E minor is the strongest pivot because it is vi in the old key and ii in the new one, while D is the pairing the sources warn against

Question 3

A learner writes a passage that uses only the white keys, returns constantly to A, and calls it A Dorian; a second passage uses only white keys, returns constantly to C, and is called C Ionian. A third passage in A Dorian then requires an F sharp, which the learner believes is an error. Using the modal definitions and the colour-note idea, which reading is correct?The first is A Aeolian and the second is C Ionian since both read the same collection from different centres, and A Dorian genuinely requires F sharp because Dorian raises the sixth degree relative to natural minorThe first is A Dorian and the second is C Lydian because the same collection read from a different note produces the mode's name, and the F sharp in the third passage is an error since Dorian never leaves the collection

Question 4

Three four-bar phrases in C major end as follows: the first with G7 followed by C, C in the bass and the tonic in the soprano; the second with G7 followed by C in first inversion with the third in the soprano; the third with G7 followed by A minor. A learner labels all three as imperfect authentic cadences. What is the accurate set of labels and the reasoning?The first is a plagal cadence because the tonic is in the bass and the soprano, the second is a half cadence because it does not reach root position, and the third is an imperfect authentic cadence because the final chord is minorThe first is a perfect authentic cadence, the second an imperfect authentic cadence and the third a deceptive cadence, whose more accurate description is that V moved to not-I

Question 5

A learner analyses a sixteen-bar section at 96 beats per minute by naming chords from left to right, reaching bar nine before the labels stop making sense, having meanwhile labelled every chromatic chord by its root degree. Using the harmonic-analysis method and the applied-chord test, what is the correct procedure and what does the failure at bar nine indicate?Phrase endings and cadences should have been identified before any chord was named, since cadences establish keys; the breakdown at bar nine most likely marks a change of key or an extended tonicization, and the chromatic chords should have been tested by quality and by the fifth below their roots rather than named by degreeChord naming from left to right is the correct procedure for a sixteen-bar section, and the breakdown indicates that the section is in two keys simultaneously, which is why a single set of labels cannot be applied

Question 6

A learner in the key of F major is told to play the applied dominant before the B flat chord. She assumes a barre chord high on the neck is required and reports that the change tires her hand after two minutes. Using the construction of applied chords, the guide-tone reduction and the practice-injury material, what is the accurate response?The chord is a barre shape two frets above the existing F, because applied dominants are always outside the key and require movable shapes; the hand will strengthen with repetition so the discomfort can be worked throughThe chord is F7, the F shape with one finger moved from the fourth string third fret to the first fret to add E flat, so no barre is needed; and tiring after two minutes calls for a warm-up, a relaxed setup and short bursts rather than more force

Question 7

A learner plays D Dorian on the keyboard using only white keys, then plays G Mixolydian, then claims that both modes are the white keys and that a mode is therefore a matter of where you start. Testing the claim against a transposition, which statement is accurate?Both statements are true only when the tonic is D and G respectively; transposing the same modes shows the claim fails, since A Dorian requires F sharp and D Mixolydian requires F sharp, so a mode is a collection with a centre rather than a fixed set of white keysThe claim is correct because every mode is a rotation of the same seven-note collection, so a mode is completely determined by its starting note and never acquires accidentals when transposed

Question 8

A learner types an eight-bar chord progression into the piano roll, records a guitar part over it, then exports both a .mid file and a WAV. A friend reports that the .mid file is silent, and the learner wants to know why one file is silent and how big the audio file should be for forty seconds of 16-bit stereo audio at 44.1 kHz. Which answer is correct?The .mid file is silent because it stores the guitar audio with a codec the friend lacks, and forty seconds of 16-bit stereo audio at 44.1 kHz is about 3.36 MB because audio files store one channel of dataThe .mid file holds note data and the manual states that MIDI is not an audio format, so it needs an instrument to become sound, while forty seconds of 16-bit stereo audio at 44.1 kHz is 40 times 44,100 times 2 times 2 bytes, which is 7,056,000 bytes or about 6.73 MB

Question 9

A producer finishes a thirty-two-bar arrangement at 92 beats per minute and wants the final sixteen bars a whole tone higher, joining the sections with a shared chord. The melodic parts are note data and the rhythm guitar is recorded audio. Which plan is accurate about the boundary in seconds, the pivot, and the treatment of the two media?The boundary falls at 41.739 s since a sixteen-bar section at 92 beats per minute lasts that long, G can serve as the pivot between C major and D major, the note data is transposed exactly by two semitones per pitch value, and the recorded guitar must be re-recorded, dropped or processed because its pitch is part of a waveformThe boundary falls at 83.478 s because that is the length of the entire form, the pivot can be any chord because a shared chord is optional, and both media transpose identically since a whole tone is the same interval in each

Question 10

Two learners each spend forty minutes on the same difficult four-bar passage. The first plays the whole passage at target tempo twelve times and makes four errors; the second isolates two beats, plays a tempo ladder from 60 to 100 beats per minute and requires nine clean runs out of ten before climbing. Both then practise the rest of the piece. Which description of the two sessions is supported by the practice evidence and by the safety material in this level?The first approach is more likely to hold up, because forty minutes of continuous repetition produces more total trials and the four errors are far too few to affect the stored version of the passageThe second approach is more likely to hold up, because the percentage of correct trials rather than the amount of time was what related to retention, and each rung's bar duration can be computed, ranging from 4.0 s at 60 beats per minute to 2.4 s at 100

Question 11

An eight-bar loop in C major runs C, A minor, F, G, C, A minor, D7, G7. A learner describes it as the doo-wop schema, calls the F minor in a later version a mistake, and labels the D7 as ii7. Which set of corrections is accurate?The loop is the doo-wop pattern I, vi, IV, V, the D7 is V7/V because its root sits a perfect fifth above the diatonic root G, and an F minor chord is mixture borrowed from the parallel minor rather than an errorThe loop is the singer-songwriter schema vi, IV, I, V, the D7 is ii7 because its root is the second degree of the key, and an F minor chord is a modulation to F minor

Question 12

A learner delivers the level capstone: two sixteen-bar sections at 92 beats per minute, C major then D major joined by a shared G, a keyboard part captured as note data and a recorded bass, an authentic cadence in the new key at the final bar, and a 16-bit stereo WAV at 44.1 kHz. During the session the monitor level was raised to hear an inner part and the learner reports ringing afterwards. Which statement about the package and the session is accurate?The package is unsound because note data cannot be delivered alongside recorded audio, the file should be about 28.08 MB because both sections are stored twice, and ringing after a session is a normal consequence of monitoring at a level high enough to reveal detailThe package is complete and defensible because the key change is confirmed by a cadence in the new key, the file for 83.478 s of 16-bit stereo audio at 44.1 kHz is about 14.04 MB, and the ringing means the monitor level was too high and must be reduced rather than tolerated

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