These Music Theory multiple-choice questions and their answers will help you strengthen your grip on the subject of Music Theory. You can prepare for an upcoming exam or job interview with these Music Theory MCQs.
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A. Tempo
B. Volume
C. Time
D. Theme
E. Tutti
A. E
B. A
C. B
D. D
A. Tenuto
B. Lento
C. Sforzando
D. Vibrato
E. Tremolo
A. Average C
B. High C
C. Low C
D. Normal C
E. Middle C
A. triple
B. quadruple
C. duple
D. single
A. 3
B. 1
C. 4
D. 1/2
E. 2
A. 4
B. 2
C. 1
D. 3
A. Whole note
B. Quarter note
C. Half note
D. Pause
E. Whole tone
A. woodwind
B. melody
C. brass
D. percussion
E. harmony
A. tenuto
B. staccato
C. dominant
D. stretto
E. subdominant
A. C E G
B. C Ab Eb
C. C E G#
D. C Eb G
A. Ionian mode.
B. Forza.
C. Interlude.
D. Interval.
E. Grandzza.
A. 7
B. 5
C. 4
D. 9
A. 12/8
B. 2/2
C. 4/4
D. 3/4
A. Allegretto
B. A capella
C. Andante
D. Accidental
E. A cadena
A. Two compositions played in harmony
B. A composition with two movements
C. A composition for two players or voices
D. A composition with three movements
E. A composition for three players or voices
A. 3
B. 2
C. 8
D. 4
A. Very
B. Precise
C. Hurried
D. The note E
E. Little
A. In a high pitch
B. In a soft voice
C. With emphasis
D. Quicker
E. Slowly
A. mediant
B. supertonic
C. submediant
D. subdominant
A. subdominant
B. tonic
C. dominant
D. mediant
A. simple quadruple
B. compound duple
C. simple duple
D. compound triple
A. D Flat or C Sharp
B. G Flat or A Sharp
C. D Sharp or A Flat
D. E Flat or F
A. Major 6th
B. Perfect 4th
C. Minor 2nd
D. Perfect 5th
A. Perfect 4th
B. minor 3rd
C. Major 2nd
D. diminished 5th
A. None of these
B. Dynamic Change
C. Slurring / Phrasing
D. Pitch Change
E. Tempo Change
A. simple triple
B. compound triple
C. simple quadruple
D. compound quadruple
A. An opera with only 2 parts
B. An opera with no instrumentals
C. An opera with only one part
D. A short opera
E. An opera performed for a small crowd
A. B sharp
B. B flat
C. C sharp
D. B
E. A flat
A. The third in a dominant 7th chord
B. A raised third at the end of a minor/modal piece
C. A major third
D. A minor third
A. single
B. duple
C. triple
D. quadruple
A. F
B. D
C. G
D. E
A. To draw sharps and flats
B. To add notes that exceed the limits of the staff
C. To underscore the Treble Clef
D. To show where a composition ends
E. To indicate changes of tempo
A. An entire section that sets the third scale degree as its tonic.
B. A chord change that takes place on the "and" of the third beat.
C. The third note in a four note passage that is a non-harmonic tone.
D. A raised third on the final cadence of a piece that is in either a modal or minor key.
A. E minor.
B. A minor.
C. D minor.
D. B minor.
A. 2/2
B. 3/4
C. 4/2
D. 4/4
A. 4
B. 3
C. 2
D. 5
A. C sharp
B. B sharp
C. B
D. C flat
E. C
A. Scherzo
B. Staccato
C. Serenade
D. Septet
E. Symphony
A. Eb
B. Db
C. E#
D. D#
E. E
A. D Minor 7 Flat 5
B. D Dominant 7
C. D Minor 7
D. D Minor Major 7
E. D Major 7
A. 4
B. 3
C. 2
D. 5
A. F# min
B. E min
C. Bb min
D. G min
E. C# min
A. Root
B. 5th
C. 3rd
A. simple quadruple
B. compound quadruple
C. simple triple
D. compound triple
A. C Major 7
B. C Minor 7 Flat 5
C. C Dominant 7
D. C Minor 7
E. C Minor Major 7
A. Romantic, Classical, Baroque.
B. Baroque, Romantic, Classical.
C. Classical, Romantic, Baroque.
D. Classical, Baroque, Romantic.
E. Baroque, Classical, Romantic.
A. 2
B. 3
C. 1
D. 4
A. The musical use of two or more conflicting rhythms.
B. The musical use of more than one key simultaneously.
C. The musical use of more than one key throughout a piece.
D. The musical use of more than one instrument group simultaneously (e.g. woodwinds & brass together).
A. Slow and stately
B. Slow and gradually getting softer
C. Slow and with passion
A. 4th
B. 5th
C. 2nd
D. 1st
A. 2nd
B. 7th
C. 4th
D. 3rd
A. 4
B. 3
C. 2
D. 5
A. C E Gb
B. C E G#
C. G Bb Db
D. F Ab C#
E. B D# F#
A. A system of tuning
B. Instructions to the musicians
C. A system of regulation for rhythm
D. A system for keeping a musician's temper
E. A system of notation
A. B D# F# A#
B. B D# F# A
C. B D F# A
D. B D F A
A. a diminished 7th
B. a perfect 4th
C. (none of these)
D. a minor 6th
E. An augmented 4th
A. An augmented Fourth
B. Three semitones
C. A minor third
D. A diminished triad
A. VI - V
B. IV - I
C. III - I
D. V - VI
A. 3rd
B. 6th
C. 4th
D. 7th
A. 3rd
B. Root
C. 5th
A. 2nd
B. 7th
C. 1st
D. 4th
A. minor 7th
B. major 7th
A. 5th
B. 3rd
C. 4th
D. 6th
A. Parallel 3rds
B. Parallel 8ths
C. Parallel Octaves
D. Parallel 5ths
A. F A C E
B. F Ab C Eb
C. F A C Eb
D. F Ab C E
E. F A C# E
A. 6th
B. 1st
C. 4th
D. 3rd
A. Lydian
B. Aeolian
C. Stygian
D. Phrygian
E. Dorian
A. A flat
B. D flat
C. E flat
D. B flat
A. 6th
B. 5th
C. 3rd
D. 1st
A. b
B. c sharp
C. e
D. f sharp
A. C Mixolydian
B. D Mixolydian
C. D Lydian
D. C Lydian
A. minor-minor-Major
B. Major-minor
C. Major-minor-minor
D. minor-Major-minor
A. G note is positioned on the staff
B. Alto Range begins
C. Middle C is positioned on the staff
D. Where the piano notes are read
A. 4th beat
B. really lazy beat
C. weak beat
D. strong beat
E. 1st beat
A. Bb F
B. Gbb Cb
C. A C
D. C# F#
E. G Eb
A. supertonic
B. tonic
C. dominant
A. Fifth line of the staff
B. First line of the staff
C. Fourth line of the staff
D. Second line of the staff
E. Third line of the staff
A. A B A'
B. development-exposition-recapitulation
C. A B A
D. exposition-development-recapitulation
A. D flat
B. E flat
C. G flat
D. C flat
A. AABB
B. ABACABA
C. ABA-Trio
D. ABA
A. A C# E G# B
B. A C# E G B
C. A C E G B
D. A C# E G Bb
A. the IV of V
B. the VII of V
C. the III of V
D. the V of V
E. the II of V
A. Lydian, Phrygian, Mixolydian.
B. Aeolian, Dorian, Locrian.
C. Ionian, Mixolydian, Lydian.
D. Ionian, Dorian, Locrian.
E. Mixolydian, Lydian, Dorian.
A. Parallel 5ths
B. Contrary Motion
C. Voice Crossing
D. Hidden Octave
A. French
B. Italian
C. German
D. English
A. C
B. G
C. Bb
D. Eb
E. D
A. F A C E
B. F Ab Cb Eb
C. F Ab C Eb
D. F Ab Cb E
E. F A C Eb
A. mediant
B. supertonic
C. subdominant
D. supermediant
A. F Major
B. C Major
C. Bb Major
D. G Major
A. 10
B. 11
C. 8
D. 12
A. 4
B. 5
C. 2
D. 1
E. 3
A. V - IV
B. V - I
C. V - vi
D. vi - IV
E. The capital letters typically indicate a major triad, whereas a deceptive cadence is almost always moving from V to the relative *minor* at vi (as opposed to VI)
A. E A C
B. E G# B
C. C Eb Gb
D. D B G
E. F# A D
A. c
B. g
C. b flat
D. d
A. Bb D F
B. D F Ab
C. C Eb G
D. F A C
A. Any cadence ending on the V chord.
B. Any cadence ending on the IV chord.
C. Any cadence to a chord outside of the key.
D. A cadence from IV-I.
E. A cadence from V-I.
A. A fast concluding section of a two-part operatic aria.
B. A section at the end of a fugue in which successive introductions of the theme follow at shorter intervals than before
C. A predominant vocal top line in an aria which is supported by less complex and usually instrumental lines.
A. G major
B. Bb Major
C. Bb Harmonic Minor
D. A Melodic Minor
E. G Harmonic Minor
A. The sixth
B. The second
C. The fourth
D. The seventh