Cumulative level test: Many lines and real players: four-voice leading, non-chord tones, a countermelody, transposition, ranges, spacing and tempo that breathes, ending in a scored three-part arrangement

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

In a four-part phrase in F major at 84 beats per minute, the chordal seventh of C7, which is B flat, is doubled in alto and tenor and both voices then leap down to A. What is wrong, what should happen, and how long is an eight-bar phrase?The seventh should appear once and resolve down by step to A, so the tenor should take G or E instead of doubling B flat; an eight-bar phrase at 84 lasts 22.857 sDoubling the seventh thickens the chord usefully and the resolution may go to any chord tone, so the only issue is that the phrase lasts 22.857 s

Question 2

A melody over a bar of G7 sounds C on the downbeat, holds it while the chord changes, and then falls to B. In a second bar of G7 the same C is reached by a leap from G, accented, and resolves to B. Are these the same non-chord tone, and how do you tell?They are the same, since both are accented dissonances resolving down by step, and preparation is optional in both casesThey are different: the first is a 4-3 suspension because C is prepared on the same pitch and resolves down by step, and the second is an appoggiatura because it is approached by leap and resolved by step

Question 3

A learner writing a countermelody against a cantus firmus in D Dorian reaches the final unison by having both lines rise a fourth into it. Using first-species rules, what is wrong and what should the last two notes be?The close must be approached by contrary motion, with one part moving 7 to 8 and the other 2 to 1, so both rising a fourth creates a direct octave and unison; the upper line should approach from C sharp or E while the lower approaches from E or CNothing is wrong, because a unison is a perfect consonance and perfect consonances may be approached by any motion as long as the interval itself is consonant

Question 4

A twelve-bar blues at 120 beats per minute uses one chord per bar with a quick change in bar 2, then a second version holds the tonic for the first four bars. What are the durations, and what does the change do to the phrase?The form lasts 24.0 s and both versions are harmonically identical, because a bar of I and a bar of IV occupy the same 2.0 s and the listener cannot tell them apartThe form lasts 24.0 s, each bar 2.0 s; the quick change puts IV in bar 2 for 2.0 s and marks the second phrase, while holding I for four bars removes that marker and leaves the melody and the drummer to signal the phrase boundary

Question 5

A producer stacks the same four-chord loop three ways: a single synth line; the synth plus block chords on every beat; the synth, block chords and a bass playing a separate riff. How does the texture change, and what should be checked in the arrangement?Monophony becomes homorhythmic homophony and then polyphony, because the bass adds an independent line and rhythm; check that the added parts do not all attack on the same beat, since identical attacks thicken the sound without adding independenceThe texture is heterophonic throughout, because each added layer is a variant of the same chord loop and heterophony covers any doubling of material

Question 6

A horn in F is given a concert-pitch part in A major running from A3 to F sharp4. What written key and range should the horn player see, and how many sharps does that written key carry?Written a perfect fifth lower, so D major from D3 to B3, with two sharpsWritten a perfect fifth higher, so E major from E4 to C sharp5, with four sharps

Question 7

A tenor is asked to sustain A4 for twelve bars at 66 beats per minute in a four-part chorale texture. Using chorale-based ranges, what is the problem, how long is the passage, and what is the best fix?A4 is the top of the tenor range, so twelve bars there is 43.6 s of strain; the best fix is to redistribute the chord so the alto takes the A and the tenor moves to the third or fifth belowA4 is comfortable for a tenor because it lies inside the treble staff, and twelve bars at 66 beats per minute last 43.6 s with no change needed

Question 8

An arranger doubles the third of a C major triad in three octaves across a string section while leaving the root once in the bass. What is the likely result, and how should the doubling be redistributed?The chord will sound fuller and more stable, because more statements of a pitch always strengthen the harmony, and the third is the note that defines the major qualityThe third, E, will dominate and the chord will stop sounding like C major in root position; double the root and the fifth instead, keep the third to one or two statements, and keep the upper voices within an octave

Question 9

A pianist records a take without a click and then wants it on the grid at 88 beats per minute. What can be done to the MIDI part and what can be done to the audio, and why are the two different?The MIDI part can be quantised or its tempo changed because it is note data with no inherent duration, while the audio must be warped with markers or re-recorded to the click, because a recording contains the timing as soundBoth can be handled the same way, since setting the project tempo to 88 will move the audio and the MIDI together onto the grid

Question 10

You must deliver a sixteen-bar piece at 92 beats per minute for B flat trumpet, cello and piano, with a written ritardando in the last bar to 69. What has to be checked for each player, and what is the total duration?All three read the same concert-pitch page, and the total is 41.74 s because a ritardando is expressive rather than temporalTrumpet reads a part written a major second higher, cello and piano read concert pitch with the cello sounding as written; check each part against its range and confirm the ritardando is marked in all three parts, for a total of about 42.13 s

Question 11

A melody uses an accented appoggiatura on the downbeat of every second bar while the harmony changes twice per bar at 104 beats per minute. What is the effect, and how long does each chord last?The appoggiaturas land on strong beats where chords change, so each one is heard as a harmonic event rather than an ornament; each chord lasts about 1.154 s because a bar is 2.308 sThe appoggiaturas remain melodic ornaments because they resolve by step, and each chord lasts 2.308 s because a chord lasts one bar

Question 12

A four-part ending in E flat major has the bass on E flat2 and the tenor a minor third above on G flat2, with soprano and alto a third apart an octave higher. Using spacing and voice-leading rules, what is the fault and the correction?Nothing is wrong, because the upper three voices are within an octave and the bass may be as close to the tenor as the harmony allowsThe bass and tenor are only a minor third apart in the lowest register, where the spacing should be widest; spread the lower voices to a fifth or octave and keep soprano, alto and tenor inside an octave, with the leading tone single and the final approached by contrary motion

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