APMusicTheory ID#: ______________________________________________
Unit Three Practice Test
PART I: YES or NO
1. YES or NO
Are all of these Roman numerals used correctly in a minor key?
i, III+, iv, V
2. YES or NO
Are all of these Roman numerals used correctly in a major key?
ii, IV, V, vii°
3. YES or NO
Does a progression of chords ending on the tonic sound complete? YES or NO
4. YES or NO
Are all of these triads diatonic to the key of d minor?
PART II: LISTING
5. What is the quality of the diatonic triad on each degree of the minor scale? You may use the
abbreviations (M, m, d, A).
(1) __________
(2) __________
(3) __________
(4) __________
(5) __________
(6) __________
(7) __________
6. What is the proper name for each of the triads built on the scale degrees of the harmonic minor scale?
In the blank next to each one, identify them as either Primary (P) or Secondary (S) triads.
(1) ____________________ _____
(2) ____________________ _____
(3) ____________________ _____
(4) ____________________ _____
(5) ____________________ _____
(6) ____________________ _____
(7) ____________________ _____
7. List the correct Roman numeral for each of the diatonic triads of the major scale?
_____ _____ _____ _____ _____ _____ _____
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PART III: MULTIPLE CHOICE
8. Which Roman numeral represents an augmented triad? iiº III+ IV VI
9. Which Roman numeral represents a major triad? i ii IV vii°
10. Which of the triads below is the subdominant triad in the key of F Major? (circle one)
11. Which of the triads below is the submediant triad in the key of g minor? (circle one)
12. Which of the following triads is a third away from the subdominant triad?
(a) iii
(b) ii
(c) I
(d) V
PART IV: COMPLETION
13. What is the key of this melody? _______ Major/minor? <–-circle one
14. Write all of the diatonic triads in the key (meaning harmonic) of f minor.
15. Name the primary triad that is related to the submediant triad. _____________________
16. Name the secondary triad that is related to the subdominant triad. _____________________
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PART V: CHORD IDENTIFICATION
17. Place each triad in the proper category by listing chord numbers.
Root position: _________________________________________________
First inversion: _________________________________________________
Second inversion: _________________________________________________
PART VI: ROMAN NUMERAL ANALYSIS
18.
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PART VII: TRIAD AND SEVENTH CHORD CONSTRUCTION
19. Construct triads or seventh chords according to the quality indicated below each note. The given note is
the chord member indicated (Root, 3rd, 5th or 7th). Watch your clef and do not alter the given note!
PART VIII: CHORD SYMBOLS
20. Supply the correct Roman and Arabic numerals to indicate the function and inversion of each of the
following chords.
21. Write the chord indicated by each chord symbol. (Provide the correct key signature.)
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PART IX: ERROR DETECTION
22. Pick one or more from the following list for each chord:
1) incorrect spacing
2) incorrect doubling
3) crossed voices
4) out of range
5) figured bass not realized
6) no error under the circumstances
PART X: PART WRITING WITH FIGURED BASS
25. Realize the following figured bass symbols to produce triads.
26. Realize the following figured bass symbols by filling in the inner voices. Use correct doubling and spacing.
Use close or open structure as indicated.
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