Week 13 — Quiz (auto-graded) · Progression, and Two Independent Voices

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 13 of 16 (Week 13) · two sessions per week
Objectives tested: SLO 6 (write and analyze two independent voices observing voice-leading norms) · SLO 7 (name what you hear — here, the moves you can picture)
Points: 10 (10 × 1) · Group: Quizzes (lowest 2 of 14 dropped) · Due: the end of Week 13 · 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-13.json, which also holds this unit's 15 exam-pool items (idents k3lu13x01–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	Contrary motion	SLO 6
2	Multiple choice	Oblique motion	SLO 6
3	Multiple choice	Parallel fifths — spotting them	SLO 6
4	Multiple choice	Parallel fifths — the honest why	SLO 6
5	Multiple choice	Direct (hidden) fifths vs. parallel	SLO 6
6	Multiple choice	Overlap vs. crossing	SLO 6
7	True / False	The chordal seventh falls	SLO 6
8	Multiple choice	The leading tone rises	SLO 7
9	Multiple choice	Progression norms — predominant's next stop	SLO 6
10	Matching	The four motions + the direct fault	SLO 6

No trick questions; every distractor targets a misconception named in the Week 13 outline (parallels-sound-bad, direct-equals-parallel, all-parallel-motion-banned, crossing-as-universal-law, leading-tone-optional).

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Questions, key, and feedback

Q1 (MC). The top line slides from B4 down to A4 at the same moment the bass climbs from C3 to D3. Name that motion type.

• A. parallel
• B. oblique
• C. similar
• D. contrary ✅

Feedback: Two lines heading opposite ways — one falling, one rising — is contrary motion.

Q2 (MC). The melody repeats F4 for a full bar while the lower part strolls from D3 up to F3. Which motion is that?

• A. contrary
• B. oblique ✅
• C. parallel
• D. similar

Feedback: One voice frozen in place while its partner travels defines oblique motion.

Q3 (MC). In F major, F3 sounds beneath C4; then each voice climbs one step, leaving G3 beneath D4. Which fault has occurred?

• A. a hidden fifth
• B. voice overlap
• C. parallel perfect fifths ✅
• D. acceptable parallel sixths

Feedback: P5 followed immediately by P5 with the voices in lockstep — the classic parallel-fifths error.

Q4 (MC). What actually goes wrong when a duet travels through consecutive perfect fifths?

• A. the two lines weld into one hollow layer, and their independence evaporates ✅
• B. the interval is too dissonant for singers to sustain
• C. the tempo destabilizes under the doubled weight
• D. perfect fifths cannot be tuned in modern temperament

Feedback: Fifths in lockstep fuse the lines into a single hollow sound — the crime is lost independence, not dissonance.

Q5 (MC). Rising together, the two parts land on a perfect fifth that no fifth preceded — and the top part reaches it by jump. The checker will flag —

• A. voice overlap
• B. parallel fifths
• C. nothing — the approach is fine
• D. a direct (hidden) fifth ✅

Feedback: Same-direction arrival on a perfect fifth with the top part jumping in is the direct, or hidden, fifth.

Q6 (MC). The bass jumps up to G4 — higher than the E4 the top part sang one beat earlier — yet at no single moment do the parts sound out of order. That move is —

• A. a voice crossing
• B. a voice overlap ✅
• C. a direct octave
• D. similar motion

Feedback: Passing beyond the pitch the other part just vacated is overlap — no simultaneous crossing required.

Q7 (True/False). When V7 resolves to I, the voice carrying the chordal seventh steps down to the nearest chord tone.

• True ✅
• False

Feedback: Correct — the chordal seventh has one exit: down by step.

Q8 (MC). Closing a song in D major, the tune reaches C♯5 over the dominant. Its next stop is —

• A. up to D5 — ti pulls home to do ✅
• B. down to B4
• C. down to A4
• D. wherever the next voicing happens to be thinnest

Feedback: C♯ is D major's leading tone; at a close it climbs the half step home.

Q9 (MC). Functional harmony's usual traffic pattern routes ii and IV toward —

• A. the tonic, directly and immediately
• B. the mediant chord, iii
• C. V or viiᵒ — the dominant family ✅
• D. whichever chord is nearest on the staff

Feedback: Predominants feed the dominant: ii and IV set up V (or viiᵒ), which then discharges.

Q10 (Matching). Pair each behavior with its name.

Answer bank: parallel motion · contrary motion · oblique motion · similar motion · direct (hidden) fifth or octave

• same direction, identical gap kept throughout → parallel motion ✅
• the lines head opposite ways → contrary motion ✅
• one line parks while the other travels → oblique motion ✅
• same direction, but the gap keeps changing → similar motion ✅
• same-direction landing on a perfect interval, top part jumping in → direct (hidden) fifth or octave ✅

Feedback: Parallel, contrary, oblique, similar — and the hidden-interval trap that similar motion can spring.

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Answer key (quick reference)

The table below lists each item's correct response.

Q	Answer
1	D
2	B
3	C
4	A
5	D
6	B
7	True
8	A
9	C
10	same direction, identical gap kept throughout → parallel motion · the lines head opposite ways → contrary motion · one line parks while the other travels → oblique motion · same direction, but the gap keeps changing → similar motion · same-direction landing on a perfect interval, top part jumping in → direct (hidden) fifth or octave

Quality gate (machine-checked): exactly one correct option per single-answer item; the multiple-choice key sequence D B C A D B A C 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 k3lu13q01–k3lu13q10 in _build/banks/lu-13.json, each tagged with its ledger concept_ids and objective. The same bank holds k3lu13x01–k3lu13x15: fifteen exam-pool items on the same fourteen Week 13 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 13 Quiz — Progression, and Two Independent Voices"
assignment_group = "Quizzes"
points_possible  = 10
grading_type     = points
time_limit       = 15
allowed_attempts = 1
shuffle_answers  = true
due              = the end of Week 13
published        = true
access_note      = "Closed to AI — just you and the two lines. The proctored final works the same way."

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