Week 12 — Quiz (auto-graded) · Cadences and Phrases

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 12 of 16 (Week 12) · two sessions per week
Objectives tested: SLO 5 (identify cadences and phrase structure) · SLO 7 (name the landing you hear — here, the landing you can picture)
Points: 10 (10 × 1) · Group: Quizzes (lowest 2 of 14 dropped) · Due: the end of Week 12 · online, 15-minute timer, 1 attempt, closed to AI.

This is the human-readable quiz with its vetted answer key and feedback. The import-ready QTI is rendered by the build system from _build/banks/lu-12.json, which also holds this unit's 15 exam-pool items (idents k3lu12x01–x15) — those test the same concepts with different stems, feed the final, and never appear on this quiz. Every item below is answerable from text alone; no images required.

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Blueprint

The table below maps each item to its type, concept, and objective.

#	Type	Concept(s)	Objective
1	Multiple choice	PAC — both conditions met	SLO 5
2	Multiple choice	IAC — melody misses do	SLO 5
3	Multiple choice	Half cadence — stopping on V	SLO 7
4	Multiple choice	Deceptive cadence — the swerve	SLO 7
5	Multiple choice	Plagal cadence — the tag	SLO 5
6	Multiple choice	Cadential six-four — bass and job	SLO 5
7	True / False	Six-four ≠ tonic function	SLO 5
8	Multiple choice	Phrase — defined by its cadence	SLO 5
9	Multiple choice	Period — antecedent/consequent cadences	SLO 5
10	Matching	The five landings	SLO 5

No trick questions; every distractor targets a misconception named in the Week 12 outline (any-V–I-is-perfect, cadence-means-ending, deceptive-as-mistake, six-four-as-tonic, phrase-as-four-bars, period-as-old-word-for-phrase).

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Questions, key, and feedback

Q1 (MC). A tune in F major wraps up C7 moving to F, each chord carrying its own root in the bass, and the melody's last pitch is F itself. Which cadence name applies?

• A. HC
• B. IAC
• C. PAC ✅
• D. plagal

Feedback: Root position under both chords plus do as the melody's final pitch — that exact combination earns the PAC label.

Q2 (MC). A chorus in G major finishes D7 then G, roots in the bass throughout — yet the tune's closing pitch is B. Label that ending.

• A. IAC ✅
• B. PAC
• C. deceptive
• D. HC

Feedback: Everything here is authentic except the top line, which settles on mi instead of do — imperfect, not perfect.

Q3 (MC). Midway through a song in B♭ major, the music pulls up and sits on an F major chord; the following line starts over from B♭. What is that resting point called?

• A. PAC
• B. deceptive cadence
• C. IAC
• D. half cadence ✅

Feedback: Pausing on V makes a half cadence — a comma in the music, never a period.

Q4 (MC). Playing in C major, the group builds up G7 — and the phrase settles on A minor instead of the expected chord. What just happened?

• A. a plagal cadence
• B. a deceptive cadence — the promised tonic gets dodged ✅
• C. a half cadence
• D. a wrong chord somebody should fix

Feedback: G7 aimed at C but landed on vi — the deceptive cadence delays the payoff on purpose.

Q5 (MC). A hymn-style number in D major has finished its real ending; the keys then add G major settling to D major as a quiet tag. Those two chords form —

• A. a second authentic cadence
• B. a half cadence
• C. a plagal cadence ✅
• D. a deceptive cadence

Feedback: IV easing onto I after the true close is the plagal tag.

Q6 (MC). A chart in C major closes C/G → G7 → C. What job is the C/G performing?

• A. dressing up the dominant — a cadential six-four with the fifth scale degree in the bass ✅
• B. delivering the final tonic two chords ahead of schedule
• C. modulating to G major for a couple of beats
• D. starting a plagal cadence that the G7 completes

Feedback: Sol in the bass is what counts: this six-four leans on the dominant, whatever its note collection says.

Q7 (True/False). The cadential six-four belongs to the dominant side of the close: its bass note and its resolution, not its collection of pitches, define its function.

• True ✅
• False

Feedback: Right — hear the six-four as an ornament sitting on ^5, never as an early tonic arrival.

Q8 (MC). A phrase, as this unit uses the word, is —

• A. whatever music fits between two barlines
• B. four measures, counted off exactly
• C. a passage that starts and finishes on the tonic chord
• D. one complete musical thought, sealed off by a cadence ✅

Feedback: Cadence, not bar count, is what closes a phrase — a full musical sentence can run long or short.

Q9 (MC). Inside a period, the standard arrangement of the two closes is —

• A. question phrase lands a PAC; answer phrase stops on a half cadence
• B. question phrase stops on a half cadence; answer phrase lands a PAC ✅
• C. half cadences close both of the phrases
• D. PACs close both of the phrases

Feedback: The antecedent leaves things open on V; the consequent resolves the pair with the PAC.

Q10 (Matching). Pair each described close with its label.

Answer bank: perfect authentic cadence (PAC) · imperfect authentic cadence (IAC) · half cadence (HC) · deceptive cadence · plagal cadence

• dominant to tonic, roots low, do on top → perfect authentic cadence (PAC) ✅
• dominant to tonic, but mi or sol on top → imperfect authentic cadence (IAC) ✅
• the music halts on the dominant chord → half cadence (HC) ✅
• the dominant sidesteps onto the submediant → deceptive cadence ✅
• subdominant easing home onto tonic → plagal cadence ✅

Feedback: Five landings in order of strength: PAC, IAC, HC, deceptive, plagal — each with its own fingerprint.

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Answer key (quick reference)

The table below lists each item's correct response.

Q	Answer
1	C
2	A
3	D
4	B
5	C
6	A
7	True
8	D
9	B
10	dominant to tonic, roots low, do on top → perfect authentic cadence (PAC) · dominant to tonic, but mi or sol on top → imperfect authentic cadence (IAC) · the music halts on the dominant chord → half cadence (HC) · the dominant sidesteps onto the submediant → deceptive cadence · subdominant easing home onto tonic → plagal cadence

Quality gate (machine-checked): exactly one correct option per single-answer item; the multiple-choice key sequence C A D B C A D B carries no run longer than two and no positional lean; option lengths balanced within each item; every spelling claim verified against the course theory reference by the correctness gate; no item tests material from a later unit; no stem or scenario reuses the tutorial, practice, chapter, studio, assignment, or exam-pool surfaces (leakage-checked mechanically at build time).

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Item-bank note (instructor-facing)

The ten quiz items above carry idents k3lu12q01–k3lu12q10 in _build/banks/lu-12.json, each tagged with its ledger concept_ids and objective. The same bank holds k3lu12x01–k3lu12x15: fifteen exam-pool items on the same ten Week 12 concepts with fully different stems (zero text overlap — the leakage gate checks). The final draws from the pool, never from the live quiz.

Canvas placement block

canvas_object    = Quizzes::Quiz
title            = "Week 12 Quiz — Cadences and Phrases"
assignment_group = "Quizzes"
points_possible  = 10
grading_type     = points
time_limit       = 15
allowed_attempts = 1
shuffle_answers  = true
due              = the end of Week 12
published        = true
access_note      = "Closed to AI — just you and the landings. The proctored final works the same way."

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