Free Practice Quiz Question List

4/9 4. Chords and Chord Construction Online Quiz Questions

Use this free practice quiz with 20 questions to review 4/9 4. Chords and Chord Construction, test your knowledge, and prepare for your next test or exam.

20 questions
01
Choose one
1 point

What is the quality of the triad E–G–B♭?

  1. A

    E major

  2. B

    E diminished

  3. C

    E minor

  4. D

    E augmented

02
Choose one
1 point

What does the slash-chord symbol C/E mean?

  1. A

    An E-major triad with C in the bass

  2. B

    A C-minor triad with E in the bass

  3. C

    A C-major triad with E in the bass

  4. D

    A C-major triad with G in the bass

03
Choose one
1 point

The notes of G7 are G–B–D–F, with F in the bass. Which position and figured-bass symbol describe the chord?

  1. A

    Root position, 7

  2. B

    First inversion, 6/5

  3. C

    Second inversion, 4/3

  4. D

    Third inversion, 4/2

04
Choose all
1 point

Select all statements that correctly distinguish Cmaj7 from C7.

  1. A

    Cmaj7 contains B as its seventh.

  2. B

    C7 contains B as its seventh.

  3. C

    C7 contains B♭ as its seventh.

  4. D

    Both symbols describe exactly the same four pitches.

05
Choose all
1 point

Select all statements that correctly describe the interval formulas of the four basic triad qualities.

  1. A

    A major triad has the formula 1–♭3–51\text{–}\flat 3\text{–}5.

  2. B

    A diminished triad has the formula 1–♭3–♭51\text{–}\flat 3\text{–}\flat 5.

  3. C

    An augmented triad has the formula 1–3–♯51\text{–}3\text{–}\sharp 5.

  4. D

    A minor triad has the formula 1–♭3–51\text{–}\flat 3\text{–}5.

06
True or false
1 point

E–G–C is a C-major triad in first inversion.

  1. A

    True

  2. B

    False

07
True or false
1 point

The chord symbol C7 normally denotes a C-major seventh chord.

  1. A

    True

  2. B

    False

08
Written response
1 point

What standard lead-sheet chord symbol represents the notes C–E–G–B♭?

09
Written response
1 point

In the chord C–E♭–G♭–B𝄫, which note is the diminished seventh above the root C?

10
Fill in the blank
1 point

For the notes E–G–C, complete both labels: slash-chord symbol and figured-bass symbol .

11
Fill in the blank
1 point

For G–B–D–F with D in the bass, complete both labels: slash-chord symbol and figured-bass symbol .

12
Open ended
1 point

Assume the key is C major. Analyze the notes G–B–D–F with B in the bass using a Roman numeral and the appropriate inversion figure. Explain how you determined the analysis.

13
Choose one
1 point

Which spelling correctly constructs an A♭ augmented triad?

  1. A

    A♭–C–E♭

  2. B

    A♭–C♭–E♭

  3. C

    A♭–C–E

  4. D

    A♭–D♭–E

14
Choose one
1 point

In C major, how should F–A–C–E with A in the bass be analyzed?

  1. A

    IV⁴₃

  2. B

    IV⁶₅

  3. C

    IV⁴₂

  4. D

    iv⁶₅

15
Choose one
1 point

The notes C–E–G are sounded with E as the lowest note. Which description is correct?

  1. A

    C/G, second inversion

  2. B

    C/E, first inversion

  3. C

    C, root position

  4. D

    C7/E, first inversion

16
Choose one
1 point

What does the slash-chord symbol B♭/D indicate?

  1. A

    A D-major triad with B♭ in the bass

  2. B

    A B♭-minor triad with D in the bass

  3. C

    A B♭-major triad with D in the bass

  4. D

    A D-minor triad with B♭ in the bass

17
True or false
1 point

True or false: In a chord symbol, a plain 7 after the root normally indicates a dominant seventh chord rather than a major seventh chord.

  1. A

    True

  2. B

    False

18
Choose one
1 point

Which statement correctly distinguishes C7 from Cmaj7?

  1. A

    C7 contains B♭, while Cmaj7 contains B.

  2. B

    C7 contains B, while Cmaj7 contains B♭.

  3. C

    C7 and Cmaj7 both contain B♭.

  4. D

    C7 and Cmaj7 have identical notes but different inversions.

19
Written response
1 point

Construct an F♯ minor triad. Give the notes in root-to-fifth order with correct letter-name spelling.

20
Written response
1 point

In the key of C major, how should F–A–C be analyzed when A is in the bass?