Week 14 — Quiz (auto-graded) · Melody and Non-Chord Tones

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 14 of 16 (Week 14) · two sessions per week
Objectives tested: SLO 6 (write and analyze two independent voices — here, the notes that decorate them) · SLO 7 (name what you hear)
Points: 10 (10 × 1) · Group: Quizzes (lowest 2 of 14 dropped) · Due: the end of Week 14 · 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-14.json, which also holds this unit's 15 exam-pool items (idents k3lu14x01–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.

---

Blueprint

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

#	Type	Concept(s)	Objective
1	Multiple choice	Step vs. leap	SLO 6
2	True / False	Leap resolution in a line	SLO 6
3	Multiple choice	Contour and climax	SLO 7
4	Multiple choice	Passing tone	SLO 6
5	Multiple choice	Neighbor tone	SLO 6
6	Matching	The 2×2 grid (PT / NT / ET / APP)	SLO 6
7	Multiple choice	Suspension — resolution direction	SLO 6
8	Multiple choice	Hyphen vs. slash figures	SLO 6
9	Multiple choice	Anticipation	SLO 7
10	Multiple choice	The augmented second in minor + fix	SLO 6

No trick questions; every distractor targets a misconception named in the Week 14 outline (NCTs as mistakes, "suspension = holding any note," the arbitrary-seeming ET/APP split, the leap-anywhere fallacy, the minor-third mislabel of the augmented second, the leading-tone-lowering "fix").

---

Questions, key, and feedback

Q1 (MC). A tune climbs from E4 to F4. Melodically speaking, that distance counts as —

• A. a chord skip
• B. a step ✅
• C. a leap
• D. a diminished third

Feedback: E to F is adjacent letters — a step (here, the half-step kind).

Q2 (True/False). After a wide leap, a well-behaved harmony line or countermelody typically turns around and continues by step.

• True ✅
• False

Feedback: True — the leap spends energy, and the stepwise turn back rebalances the line.

Q3 (MC). How often does a well-shaped melodic arch spend its highest pitch?

• A. in every phrase, for consistency
• B. twice — once early and once late
• C. never — strong tunes avoid their ceiling
• D. once, near the crown of the arch ✅

Feedback: One peak, spent a single time, keeps its power.

Q4 (MC). While a C chord sounds, the singer runs C5–D5–E5 with the D5 tucked off the beat. That D5 is —

• A. an anticipation
• B. a neighbor tone
• C. a passing tone ✅
• D. an escape tone

Feedback: D5 bridges two chord tones by step in one direction, unaccented — a passing tone.

Q5 (MC). While a D chord sounds, the melody sings A4–B4–A4. The B4 is —

• A. an upper neighbor tone ✅
• B. a passing tone
• C. a suspension
• D. an appoggiatura

Feedback: B4 steps above the held chord tone and comes straight back — an upper neighbor.

Q6 (Matching). Pair each entrance-and-exit recipe with the non-chord tone it produces.

Answer bank: passing tone · neighbor tone · escape tone · appoggiatura

• step in, step out, continuing one way → passing tone ✅
• step in, step out, doubling back → neighbor tone ✅
• step in, jump out → escape tone ✅
• jump in, step out → appoggiatura ✅

Feedback: How a note arrives and departs is its ID: through = passing, back = neighbor, jump out = escape, jump in = appoggiatura.

Q7 (MC). When a suspension finally releases, it moves —

• A. upward by step
• B. downward by step ✅
• C. leaping to the root of the chord
• D. nowhere — it simply stops sounding

Feedback: Suspensions release downward by step — that sighing fall is the whole point of the device.

Q8 (MC). Which of these figures describes a dissonance resolving over a single bass note rather than naming a chord inversion?

• A. 6/5
• B. 4/3
• C. 6/4
• D. 7-6 ✅

Feedback: The hyphen in 7-6 marks motion above one bass note — a suspension figure, not an inversion.

Q9 (MC). An eighth note before the downbeat, the bass player sneaks onto the coming chord's root and lets it ring as that chord arrives. The early note is —

• A. a suspension
• B. an escape tone
• C. an anticipation ✅
• D. a passing tone

Feedback: Reaching the next chord's tone ahead of the change and holding it through is an anticipation.

Q10 (MC). In E minor, a line climbs from C5 straight to D♯5. Name that interval, and the standard way a melody handles it.

• A. an augmented second — smooth it by raising ^6 to C♯5 (melodic minor) or recast the line ✅
• B. a minor third — welcome in any melody, nothing to handle
• C. a major second — welcome in any melody, nothing to handle
• D. an augmented second — best repaired by lowering the D♯5 to plain D5

Feedback: C to D♯ spans an augmented second; melodic minor's raised sixth (C♯) turns the lurch into two whole steps.

---

Answer key (quick reference)

The table below lists each item's correct response.

Q	Answer
1	B
2	True
3	D
4	C
5	A
6	step in, step out, continuing one way → passing tone · step in, step out, doubling back → neighbor tone · step in, jump out → escape tone · jump in, step out → appoggiatura
7	B
8	D
9	C
10	A

Quality gate (machine-checked): exactly one correct option per single-answer item; the multiple-choice key sequence B D C A B D C A 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).

---

Item-bank note (instructor-facing)

The ten quiz items above carry idents k3lu14q01–k3lu14q10 in _build/banks/lu-14.json, each tagged with its ledger concept_ids and objective. The same bank holds k3lu14x01–k3lu14x15: fifteen exam-pool items on the same twelve Week 14 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 14 Quiz — Melody and Non-Chord Tones"
assignment_group = "Quizzes"
points_possible  = 10
grading_type     = points
time_limit       = 15
allowed_attempts = 1
shuffle_answers  = true
due              = the end of Week 14
published        = true
access_note      = "Closed to AI — this one is just you and the six names. The proctored final works the same way."

---