Music Theory 2
Louiselarsenn CU Boulder, Spring 2025
Unit 1 Practice Test
This practice test will be similar in format (though not identical) to the actual test. I will post a key
to Canvas on Thursday.
Part I: Bassline harmonizations
Indicate the key and provide Roman numerals for the basslines below, using harmonies from the
scalar bass harmonizations that we have been working with. Indicate a harmony for each bass
pitch. Include a cad6/4 in the second one. [16 pts]
1. Major key.
BM I IL I I I I II I
2. Minor key. Include a cad6/4.
i I it in paint I
gm I
Part II: Keyboard-style writing
Provide key signatures and time signatures and write the progressions below in the standard
keyboard texture. Choose harmonic rhythms that express the given time signatures with all
measures complete. [20 pts]
1. Ab major, 6/8: <I, V6/5, I, V4/3, I6 >
2. E minor, 4/4: <cad6/4, V, VI>
BB old odd
8.1
B8 0
It
y d b I
Y
a
1
Music Theory 2 CU Boulder, Spring 2025
Part III: Harmonic analysis, tonic prolongations, cadence identification
The excerpt below is from the second movement of Beethoven’s Piano Sonata op. 13. I will play a
recording during the exam.
1. Indicate the key and provide a harmonic analysis. Leave out the boxed harmony. You will
need to determine the harmonic rhythm, i.e., where chords change. [16 pts]
2. Label the cadence in m. 4. [4 pts]
3. How does this phrase use tonic prolongation? Explain in two-three sentences, citing
specific chords and measures. [6 pts]
The phrase uses tonic prolonguation in m I 2 Ths is shown through
the constant back and forth of I chords to I chords that
always
lead back to I specifically shown the I to It
no predominant function but by to I to I's
having
alwaysending back I
AM I I I I vi I HC
Part IV: Non-chord tone and Phrase Analysis
The excerpt on the next page is from Verdi’s opera La Traviata. It is a famous aria sung by Violetta,
a courtesan. I will play a recording during the exam.
1. Label the key and provide a harmonic analysis for mm. 13–16. Base your analysis on the
piano reduction, leave out the vocal part for now. [8 pts]
2. Place parentheses around the non-chord tones in the vocal part in mm. 13–16 and label
them (p for passing, n for neighbor, etc. …). [10 pts]
3. Consider mm. 1–16 as a single phrase. What kind of phrase is it (sentence, part of a period,
a compound form, a repeating phrase, or something else)? [5 pts]
4. Identify the parts of the phrase with brackets and labels in the score. [10 pts]
5. Why did you analyze the phrase in the way that you did? Identify three or more specific
elements that contributed to your analysis. Continue on the back side of the exam if
needed. [5 pts]
2
Music Theory 2 CU Boulder, Spring 2025
FM
13 14
15 16
