LAS MAS MUS 337 FINAL EXAM 2026/2027 | Complete
Updated Q&A | 60 Music Theory History Form Analysis
Orchestration | 97% Attempt Score | Pass Guaranteed - A+
Graded
Part One: Music Theory & Harmony (Chord Progressions, Voice Leading, Counterpoint) (Questions 1–18)
Q1: Which interval is formed between C and F♯?
A. Perfect fourth
B. Augmented fourth (tritone)
C. Diminished fifth
D. Major third
B. Augmented fourth (tritone) [CORRECT]
D. Major third
Correct Answer: B
Rationale: C to F is a perfect fourth; raising F to F♯ widens the interval by a half step,
making it an augmented fourth (also enharmonically equivalent to a diminished fifth, the
tritone). A perfect fourth (A) would be C to F; a major third (D) would be C to E.
Q2: In a four-part chorale setting, the soprano voice moves from B to C while the bass
moves from E to F. Which voice-leading error has occurred?
A. Parallel octaves
B. Parallel fifths
C. Direct (hidden) fifths
D. No error; this is acceptable voice leading
B. Parallel fifths [CORRECT]
D. No error; this is acceptable voice leading
Correct Answer: B
,Rationale: B to C and E to F both form perfect fifths (B-E and C-F), creating parallel
fifths—a fundamental voice-leading violation in common-practice style. This is not
hidden fifths (C) because both voices move in the same direction by similar motion.
Q3: A chord consisting of the notes D, F, A, and C is best described as which type of
seventh chord?
A. Major seventh chord
B. Dominant seventh chord
C. Minor seventh chord
D. Half-diminished seventh chord
C. Minor seventh chord [CORRECT]
D. Half-diminished seventh chord
Correct Answer: C
Rationale: D-F-A is a minor triad, and D to C is a minor seventh, making this a minor
seventh chord (Dm7). A major seventh (A) would have C♯; a dominant seventh (B) would
have D major triad with minor seventh; half-diminished (D) would have F-A♭-C♭.
Q4: In the key of A major, which Roman numeral represents a secondary dominant to
the dominant (V of V)?
A. ii
B. III
C. V/V
D. vii°/V
C. V/V [CORRECT]
D. vii°/V
Correct Answer: C
Rationale: V/V (read "five of five") is the secondary dominant that tonicizes the
dominant. In A major, V is E major, so V/V is B major (B-D♯-F♯). Option D is the
secondary leading-tone chord, not the secondary dominant.
Q5: The Neapolitan sixth chord (N⁶) in the key of C minor is spelled:
A. D♭-F-A♭
B. D♭-F-G
, C. E♭-G-B♭
D. F-A♭-C
A. D♭-F-A♭ [CORRECT]
D. F-A♭-C
Correct Answer: A
Rationale: The Neapolitan chord is a major triad built on the lowered second scale
degree (♭II). In C minor, this is D♭ major (D♭-F-A♭), typically in first inversion (hence
"sixth"). Option C is ♭III; option D is iv.
Q6: Which of the following is the correct spelling of a German augmented sixth chord in
the key of E♭ major?
A. C-E♭-G-A♭
B. C-E♭-G♭-A♭
C. C-E♭-G-A♮
D. C-E♭-G♭-B♭♭
C. C-E♭-G-A♮ [CORRECT]
D. C-E♭-G♭-B♭♭
Correct Answer: C
Rationale: The German augmented sixth chord contains ♭6, 1, ♭3, and ♯4. In E♭
major: C (♭6), E♭ (1), G (♭3), A♮ (♯4). Option A lacks the augmented sixth interval;
option B has G♭ instead of G; option D is enharmonically equivalent but incorrectly
spelled for the key.
Q7: In first-species counterpoint, which interval between the cantus firmus and the
counterpoint is prohibited?
A. Major third
B. Perfect fifth
C. Perfect unison
D. Major sixth
C. Perfect unison [CORRECT]
D. Major sixth
Correct Answer: C
Updated Q&A | 60 Music Theory History Form Analysis
Orchestration | 97% Attempt Score | Pass Guaranteed - A+
Graded
Part One: Music Theory & Harmony (Chord Progressions, Voice Leading, Counterpoint) (Questions 1–18)
Q1: Which interval is formed between C and F♯?
A. Perfect fourth
B. Augmented fourth (tritone)
C. Diminished fifth
D. Major third
B. Augmented fourth (tritone) [CORRECT]
D. Major third
Correct Answer: B
Rationale: C to F is a perfect fourth; raising F to F♯ widens the interval by a half step,
making it an augmented fourth (also enharmonically equivalent to a diminished fifth, the
tritone). A perfect fourth (A) would be C to F; a major third (D) would be C to E.
Q2: In a four-part chorale setting, the soprano voice moves from B to C while the bass
moves from E to F. Which voice-leading error has occurred?
A. Parallel octaves
B. Parallel fifths
C. Direct (hidden) fifths
D. No error; this is acceptable voice leading
B. Parallel fifths [CORRECT]
D. No error; this is acceptable voice leading
Correct Answer: B
,Rationale: B to C and E to F both form perfect fifths (B-E and C-F), creating parallel
fifths—a fundamental voice-leading violation in common-practice style. This is not
hidden fifths (C) because both voices move in the same direction by similar motion.
Q3: A chord consisting of the notes D, F, A, and C is best described as which type of
seventh chord?
A. Major seventh chord
B. Dominant seventh chord
C. Minor seventh chord
D. Half-diminished seventh chord
C. Minor seventh chord [CORRECT]
D. Half-diminished seventh chord
Correct Answer: C
Rationale: D-F-A is a minor triad, and D to C is a minor seventh, making this a minor
seventh chord (Dm7). A major seventh (A) would have C♯; a dominant seventh (B) would
have D major triad with minor seventh; half-diminished (D) would have F-A♭-C♭.
Q4: In the key of A major, which Roman numeral represents a secondary dominant to
the dominant (V of V)?
A. ii
B. III
C. V/V
D. vii°/V
C. V/V [CORRECT]
D. vii°/V
Correct Answer: C
Rationale: V/V (read "five of five") is the secondary dominant that tonicizes the
dominant. In A major, V is E major, so V/V is B major (B-D♯-F♯). Option D is the
secondary leading-tone chord, not the secondary dominant.
Q5: The Neapolitan sixth chord (N⁶) in the key of C minor is spelled:
A. D♭-F-A♭
B. D♭-F-G
, C. E♭-G-B♭
D. F-A♭-C
A. D♭-F-A♭ [CORRECT]
D. F-A♭-C
Correct Answer: A
Rationale: The Neapolitan chord is a major triad built on the lowered second scale
degree (♭II). In C minor, this is D♭ major (D♭-F-A♭), typically in first inversion (hence
"sixth"). Option C is ♭III; option D is iv.
Q6: Which of the following is the correct spelling of a German augmented sixth chord in
the key of E♭ major?
A. C-E♭-G-A♭
B. C-E♭-G♭-A♭
C. C-E♭-G-A♮
D. C-E♭-G♭-B♭♭
C. C-E♭-G-A♮ [CORRECT]
D. C-E♭-G♭-B♭♭
Correct Answer: C
Rationale: The German augmented sixth chord contains ♭6, 1, ♭3, and ♯4. In E♭
major: C (♭6), E♭ (1), G (♭3), A♮ (♯4). Option A lacks the augmented sixth interval;
option B has G♭ instead of G; option D is enharmonically equivalent but incorrectly
spelled for the key.
Q7: In first-species counterpoint, which interval between the cantus firmus and the
counterpoint is prohibited?
A. Major third
B. Perfect fifth
C. Perfect unison
D. Major sixth
C. Perfect unison [CORRECT]
D. Major sixth
Correct Answer: C
