Week 16 — Final Exam · MUS 156 Music Theory I

REMOVE BEFORE PUBLISHING TO STUDENTS — instructor copy. This document contains the
complete live final with its vetted key and feedback. The student-facing artifact is the
proctored exam itself (rendered QTI / printed form). Nothing below this header block ships
to students in any form.

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 16 of 16 (Week 16) · the Week 16 exam session — a 120-minute block, in the regular room
Scope: cumulative, Week 1–Week 15, weighted to the back half (45 of 60 items from Week 9–Week 15)
Points: 120 (60 items × 2) · 16% of the course grade · proctored, on paper or locked-down Canvas, closed to AI and to notes

Rendered mechanically from _build/exams/final.json — the item order, options, and key
below are byte-identical to the import package. Never hand-edit the rendered exam; edit
the banks and re-run the allocator.

Proctoring notes — the 120-minute block

• This exam is written for 120 minutes, not for a class period. Sixty items in two
  hours is two minutes per item — deliberate headroom. Students who finish early may leave;
  students who use the whole block are using it as designed. Announce that at the start:
  "You have time to think. Use it."
• Timing calls: announce the halfway mark (60 minutes in) and the fifteen-minute warning. No new exams handed out after the 90-minute mark.
• Closed to AI, closed to notes, closed to devices. Phones face-down in bags, not
  pockets. The exam tests the musician, not the search bar — students have heard this
  framing all term.
• What students may bring: pencils and an eraser. Scratch paper is provided (collect
  it with the exam). No keyboard access — every item is answerable from text alone,
  by design.
• Accommodations: extended-time students take the same form per their letters —
  coordinate the room and window in advance. The 120-minute base makes 1.5× = 180 min
  and 2× = 240 min.
• Make-ups: the final is a scheduled event in a room; the syllabus's exam carve-out
  governs — apply it as written, don't improvise beyond it.
• Integrity note for grading: the option order below matches the rendered form
  exactly. The mechanical key at the end of this document is the grading key; the
  allocator screened the key sequence for runs and positional lean, so a suspicious
  answer-pattern match against a neighbor is meaningful evidence, not an artifact.

Blueprint — coverage by unit

The table below shows the item count per source unit. Foundations items certify retention;
the back half carries the weight, matching where the teaching time went.

Unit	Items	Points	Objectives
Week 1 The map	3	6	SLO 1, 7
Week 2 Pulse and page	2	4	SLO 1, 7
Week 3 Dividing the beat	2	4	SLO 1, 7
Week 4 Major	2	4	SLO 2, 7
Week 5 Minor, three ways	2	4	SLO 2, 7
Week 6 Intervals I	2	4	SLO 3, 7
Week 7 Intervals II	2	4	SLO 3, 7
Week 9 Triads	6	12	SLO 4, 7
Week 10 Seventh chords	7	14	SLO 4, 7
Week 11 Roman numerals & function	7	14	SLO 4, 5
Week 12 Cadences & phrases	6	12	SLO 5
Week 13 Two independent voices	7	14	SLO 6
Week 14 Melody & NCTs	6	12	SLO 6, 7
Week 15 Charts, keys, real world	6	12	SLO 8, 4, 5
Total	60	120	all eight

Item types across the form: multiple choice with a spread of true/false, matching, and
select-all items. Every item auto-grades; every key below is the vetted key.

---

The exam — items, key, and feedback

Key marked per item. The feedback lines are for returning the exam (and for the debrief), not for the exam paper itself.

Q1 (MC · m3fq01 · pool k3lu11x07). In G minor, what single raised pitch converts the five chord D–F–A from v into V?

• A. G to G♯
• B. E♭ to E
• C. F to F♯ ✅
• D. C to C♯

Feedback: That chord's third is the key's ^7: lift F to F♯ and the dominant turns major.

---

Q2 (MC · m3fq02 · pool k3lu13x06). At one instant the lower part sounds C5 while the melody above it sits on A4. Which fault is that?

• A. parallel unisons
• B. a direct fifth
• C. voice crossing ✅
• D. voice overlap

Feedback: The bass sounding above the melody at the same moment is a crossing — the lanes have swapped.

---

Q3 (MC · m3fq03 · pool k3lu15x06). Sunday's anthem drops from E major into C major so the congregation can reach it. Every pitch travels —

• A. down a major third ✅
• B. up a minor third
• C. down a minor third
• D. down a perfect fourth

Feedback: E to C is a major third, and the entire song descends by that same distance.

---

Q4 (MC · m3fq04 · pool k3lu15x02). The tenor sax transposes in B♭. Yours plays the A4 printed on the part — which pitch reaches the room?

• A. G4 ✅
• B. F4
• C. B4
• D. A4

Feedback: B♭ instruments sound a major second beneath their page: written A4 lands as concert G4.

---

Q5 (MC · m3fq05 · pool k3lu01x15). Look at the trio of black keys. Which white key is wedged between the middle and right-hand black keys of that group?

• A. G
• B. C
• C. B
• D. A ✅

Feedback: The three-black-key cluster surrounds G, A, and B; A is the white key boxed in between the group's middle and right members.

---

Q6 (MC · m3fq06 · pool k3lu09x05). Staying strictly inside A major, stack thirds on scale degree 5. The result is —

• A. E–G–B
• B. D–F♯–A
• C. E–G♯–B♯
• D. E–G♯–B ✅

Feedback: A major's signature supplies G♯, so the five chord E–G♯–B comes out major.

---

Q7 (MC · m3fq07 · pool k3lu12x01). What exactly must be true before an authentic close earns the stronger adjective "perfect"?

• A. roots sit in the bass of both chords and the melody finishes on the third degree
• B. the tonic falls on a downbeat, whatever inversion it happens to be in
• C. roots sit in the bass of both chords and the melody finishes on the tonic degree ✅
• D. the dominant carries a seventh while the tonic chord stays plain

Feedback: Perfect requires all three conditions at once: root-position dominant, root-position tonic, and do in the top voice.

---

Q8 (MC · m3fq08 · pool k3lu11x03). In A♭ major the chord B♭–D♭–F rises from the second degree. Label it.

• A. iv
• B. ii ✅
• C. vii°
• D. II

Feedback: Supertonic triads in major are always minor — B♭–D♭–F confirms it, so write ii and never II.

---

Q9 (MC · m3fq09 · pool k3lu11x06). A predominant chord has just sounded. In the standard cycle, which family arrives next?

• A. anywhere — the loop has no set order
• B. into a second predominant, always
• C. straight back to tonic
• D. onward to the dominant ✅

Feedback: Predominants exist to aim at V; sliding back to rest would undo their work.

---

Q10 (MC · m3fq10 · pool k3lu01x14). Which spelling sits one half step below D4 while still using the letter D?

• A. C♯4
• B. C4
• C. D♯4
• D. D♭4 ✅

Feedback: A chromatic half step keeps the letter and changes the sign — D to D♭ — while C♯ names that sound with a new letter.

---

Q11 (MC · m3fq11 · pool k3lu10x04). Spell out Bm7♭5, bottom to top.

• A. B D♯ F♯ A
• B. B D F A♭
• C. B D F A ✅
• D. B D F♯ A

Feedback: Flat the five of Bm7 and you have B–D–F–A: a diminished triad wearing a minor seventh.

---

Q12 (Select THREE · m3fq12 · pool k3lu03x14). Which signatures put a dotted value on the felt beat? Choose every one that applies.

• A. 2/2
• B. 12/8 ✅
• C. 4/4
• D. 9/8 ✅
• E. 6/8 ✅

Feedback: Signatures topped 6, 9, and 12 beat in dotted quarters; the simple family keeps an undotted beat unit.

---

Q13 (Matching · m3fq13 · pool k3lu04x14). Match each major key to the signature it flies.

Answer bank: four sharps · two flats · five flats · one flat · three sharps · three flats

• A major → three sharps ✅
• E major → four sharps ✅
• B♭ major → two flats ✅
• E♭ major → three flats ✅
• D♭ major → five flats ✅

Feedback: Sharp keys climb the circle a fifth at a time gaining sharps; flat keys descend gaining flats — count the stops to count the signs.

---

Q14 (MC · m3fq14 · pool k3lu13x02). The top part falls from G4 to E4 — a small jump — while the bass steps from B3 down to A3. Both descend, covering different distances. Motion type?

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

Feedback: Shared direction with an ever-changing gap is similar motion — parallel would keep the gap fixed.

---

Q15 (MC · m3fq15 · pool k3lu10x01). Sunday's chart opens on E♭maj7. Spell it.

• A. E♭ G B♭ C
• B. E♭ G B♭ D♭
• C. E♭ G B♭ D ✅
• D. E♭ G♭ B♭ D

Feedback: Major triad E♭–G–B♭ with D natural on top: the major seventh, one half step shy of the octave.

---

Q16 (MC · m3fq16 · pool k3lu13x04). A sketch puts A2 beneath E3; both parts then step up to B2 beneath F♯3. The automated check reports —

• A. parallel perfect fifths ✅
• B. parallel perfect octaves
• C. oblique motion — no fault at all
• D. a hidden octave

Feedback: Both pairs span a perfect fifth and both voices stepped the same way — parallels, flagged instantly.

---

Q17 (TF · m3fq17 · pool k3lu02x14). An augmentation dot makes the note it follows twice as long.

• True
• False ✅

Feedback: The dot adds half, not all: a dotted value is one-and-a-half times itself, never double.

---

Q18 (MC · m3fq18 · pool k3lu10x03). You copy A, C, E, G off a rehearsal sketch. Over the bar you write —

• A. Amaj7
• B. A7
• C. Am7 ✅
• D. Am7♭5

Feedback: Minor third, perfect fifth, minor seventh above A: the m7 symbol covers exactly that build.

---

Q19 (MC · m3fq19 · pool k3lu05x15). An engraver preparing an f minor piece with harmonic-minor E naturals places those E♮s —

• A. only in the lowest sounding instrumental part
• B. into the key signature at the front of the piece
• C. nowhere in print — performers infer the raise
• D. as accidentals in the score, at each occurrence ✅

Feedback: Key signatures record the natural form only; every raised ^7 must be re-marked in the music, bar by bar.

---

Q20 (MC · m3fq20 · pool k3lu14x05). Holding the chord's fifth, a pianist dips one scale-step beneath it and pops right back up. The ornamenting note is —

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

Feedback: One step down and straight back to the held tone — a lower neighbor decorating a single pitch.

---

Q21 (TF · m3fq21 · pool k3lu06x15). Knowing that two notes lie eight half steps apart is all the information needed to name their interval.

• True
• False ✅

Feedback: Eight half steps could be a minor sixth or an augmented fifth — only the letter names break the tie.

---

Q22 (MC · m3fq22 · pool k3lu04x15). Which pair below spells one single sound as two different major keys?

• A. B major and B♭ major
• B. A major and A♭ major
• C. F♯ major and F major
• D. B major and C♭ major ✅

Feedback: B and C♭ sit on the identical twelve sounds — five sharps against seven flats — the mark of an enharmonic key pair.

---

Q23 (MC · m3fq23 · pool k3lu11x05). In the family sort, vii° works the same job as which numeral?

• A. vi
• B. V ✅
• C. IV
• D. ii

Feedback: Both V and vii° carry the leading tone and demand tonic — one dominant family in two sizes.

---

Q24 (MC · m3fq24 · pool k3lu10x05). Write G♯dim7 as a stack of thirds, keeping every letter honest.

• A. G♯ B D E♯
• B. G♯ B D F ✅
• C. G♯ B D F♯
• D. G♯ B♯ D F

Feedback: Diminished sevenths climb in minor thirds letter by letter: G♯–B–D–F, where F (not E♯) completes the d7.

---

Q25 (MC · m3fq25 · pool k3lu15x01). The band votes to move the whole set-closer lower for the vocalist. Once the new key is chosen, what has actually moved?

• A. just the chord letters — the singer bends the tune by ear
• B. just the melody — the chords anchor the song where it was
• C. everything — each note and each chord, all by one identical interval ✅
• D. only the key signature printed at the front of the staff

Feedback: Transposition is total: melody and harmony travel together by one shared interval, or the song breaks.

---

Q26 (MC · m3fq26 · pool k3lu10x07). What does F major's own fifth-degree seventh chord spell?

• A. C E G B♭ ✅
• B. C E G B
• C. C E G♯ B♭
• D. C E♭ G B♭

Feedback: C–E–G plus the B♭ of F major's signature: the key's one and only dominant seventh.

---

Q27 (Matching · m3fq27 · pool k3lu07x14). File each interval where this course files it.

Answer bank: dissonant · consonant · context-dependent

• P8 → consonant ✅
• M7 → dissonant ✅
• m3 → consonant ✅
• d5 → dissonant ✅
• P4 → context-dependent ✅

Feedback: Octaves, fifths, thirds, and sixths settle; seconds, sevenths, and tritones churn; the fourth answers to its surroundings.

---

Q28 (MC · m3fq28 · pool k3lu12x04). A phrase in F major concludes with C7 resolving to D minor. Name that close.

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

Feedback: V7 promised F and delivered D minor — dominant to vi is the deceptive move.

---

Q29 (MC · m3fq29 · pool k3lu15x03). An F horn plays the written G4 on its part. Which concert pitch leaves the bell?

• A. G3
• B. C4 ✅
• C. C5
• D. D5

Feedback: The horn sounds a perfect fifth beneath its written note: G4 on the page emerges as concert C4.

---

Q30 (MC · m3fq30 · pool k3lu13x01). For an entire verse, the backing singer shadows the lead exactly, an octave beneath. How many independent voices does the room hear?

• A. two independent voices — any second pitch line automatically counts as its own voice
• B. a canon sounding at the octave
• C. one — octave doubling fattens the melody rather than adding another voice ✅
• D. a genuine countermelody

Feedback: Doubling at the octave adds weight, not a voice — the texture stays a single thickened line.

---

Q31 (MC · m3fq31 · pool k3lu12x02). Working in A major, which two chords supply an authentic close?

• A. E major, then A major ✅
• B. D major, then A major
• C. B minor, then E major
• D. A major, then D major

Feedback: Authentic means V to I — in A major that pair is E major resolving to A major.

---

Q32 (MC · m3fq32 · pool k3lu09x02). Between choruses the leader shouts "Bm." You reach for —

• A. B–D–F
• B. B–D♯–F♯
• C. B–D–F♯ ✅
• D. B♭–D–F

Feedback: B minor lowers nothing but the third relative to B major: B, D natural, F♯.

---

Q33 (MC · m3fq33 · pool k3lu09x06). Harmonize every degree of a major scale with its own diatonic triad. The MAJOR ones always appear on —

• A. ^1, ^4, and ^5 ✅
• B. ^2, ^3, and ^6
• C. ^1, ^3, and ^5
• D. ^4, ^5, and ^7

Feedback: Major sits on 1, 4, and 5; minor takes 2, 3, and 6; the lone diminished lands on 7.

---

Q34 (MC · m3fq34 · pool k3lu14x01). Your line moves E4 up to G4 and a bandmate shrugs it off as "just a step." Is that right?

• A. yes — steps include everything smaller than a fourth
• B. yes — a step means any motion between adjacent beats
• C. no — E4 up to G4 covers a perfect fourth, and any fourth counts as a leap
• D. no — E4 up to G4 spans a third, and thirds are leaps (skips) ✅

Feedback: E4 to G4 skips over F — a third, and anything beyond a second is a leap.

---

Q35 (MC · m3fq35 · pool k3lu15x04). You need the alto sax to deliver concert C5. Which note do you print on the part?

• A. A5 ✅
• B. C6
• C. E♭4
• D. A4

Feedback: Write the alto sax a major sixth above the target: concert C5 needs written A5.

---

Q36 (MC · m3fq36 · pool k3lu11x01). A minor-key chart's opening numeral appears as i rather than I. About the home chord, that says it is —

• A. held for just one beat
• B. built as a major triad
• C. built as a minor triad ✅
• D. dropped an octave lower

Feedback: A lowercase i announces a minor tonic — the analysis encodes quality before anything else.

---

Q37 (MC · m3fq37 · pool k3lu09x03). Write out the diminished triad whose root is E.

• A. E–G–B
• B. E–G♯–B
• C. E–G–B♭ ✅
• D. E–G–A♯

Feedback: Minor third G, diminished fifth B♭ — and that fifth must use the letter B, not A♯.

---

Q38 (MC · m3fq38 · pool k3lu14x06). The tune walks up one step onto a non-chord note, then bails out with a downward jump, all of it unstressed. The label is —

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

Feedback: Step in, jump away, no accent — the escape tone's fingerprint.

---

Q39 (MC · m3fq39 · pool k3lu09x01). A ukulele player strums F, G, and C at once and calls it an F triad. Why doesn't the name hold?

• A. a genuine triad requires four notes minimum, not three
• B. G sits only a step above F, so the stack fails the thirds test ✅
• C. chords may not be built from open strings
• D. the three notes huddle inside a single octave

Feedback: No thirds, no triad: F-to-G is a second, and seconds cannot be a triad's building blocks.

---

Q40 (MC · m3fq40 · pool k3lu03x15). A bar holds six eighth notes beamed in two clumps of three. Those beams announce which meter?

• A. 6/8 ✅
• B. 9/8
• C. 3/4
• D. 2/4

Feedback: Beaming shows the beat grouping: threes spell compound 6/8, while the same six eighths in twos would spell 3/4.

---

Q41 (MC · m3fq41 · pool k3lu14x04). A mandolin run links two chord tones lying a third from each other by touching the scale note between them on the weak half of the beat. That in-between note is —

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

Feedback: Filling the gap between chord tones by step, one direction, unaccented — that is the passing tone's job description.

---

Q42 (MC · m3fq42 · pool k3lu05x14). A d minor phrase crests through B♮4, C♯5, D5, then eases down C5, B♭4, A4. Which minor flavor is in play?

• A. harmonic minor
• B. melodic minor ✅
• C. a mid-phrase key change
• D. natural minor

Feedback: Raised ^6 and ^7 on the climb, lowered forms on the descent — melodic minor behaving exactly as designed.

---

Q43 (MC · m3fq43 · pool k3lu09x04). The bridge chart reads "Daug." Which notes does the symbol demand?

• A. D–F♯–A♯ ✅
• B. D–F♯–B♭
• C. D–F♯–A
• D. D–F–A♯

Feedback: Hold the major third F♯ and lift the fifth to A♯ — spelled with the letter A, never as B♭.

---

Q44 (MC · m3fq44 · pool k3lu12x03). Most songs keep the majority of their cadences weak and hold one strong arrival in reserve. What does that grading buy the music?

• A. confusion — it hides the tonic from the listener
• B. momentum — the light closes keep the journey moving until the big one pays off ✅
• C. cover — sloppy part-writing passes unnoticed at weak closes
• D. nothing — every cadence carries identical weight to the ear

Feedback: Landings come in strengths on purpose; spending weak ones early makes the final strong one land.

---

Q45 (Matching · m3fq45 · pool k3lu06x14). Each scale degree of D major forms its own interval above the tonic D4. Connect them.

Answer bank: perfect fifth · major second · major seventh · major sixth · major third

• ^2 (E4) → major second ✅
• ^3 (F♯4) → major third ✅
• ^5 (A4) → perfect fifth ✅
• ^6 (B4) → major sixth ✅
• ^7 (C♯5) → major seventh ✅

Feedback: A major scale stacks M2, M3, P4, P5, M6, and M7 over its tonic — here counted up from D4.

---

Q46 (MC · m3fq46 · pool k3lu13x07). Your countermelody keeps dragging the alto down to pitches she can barely produce. This unit's answer is —

• A. bump just the lowest notes up an octave and leave the rest
• B. let the two parts quietly swap registers whenever the low notes arrive, then swap back afterward
• C. rewrite the line to sit within her comfortable compass — writing to the range is the craft ✅
• D. she will adapt — ranges stretch with rehearsal

Feedback: A declared range is a design constraint, not a suggestion — build the line to fit the voice.

---

Q47 (Select THREE · m3fq47 · pool k3lu07x15). Tick every interval in this list that counts as consonant.

• A. m2
• B. P5 ✅
• C. M6 ✅
• D. M3 ✅
• E. m7

Feedback: Thirds, sixths, fifths, and octaves form the stable set; sevenths and seconds stay restless.

---

Q48 (MC · m3fq48 · pool k3lu14x02). Your countermelody just vaulted up a seventh. The kindest next move for the line is —

• A. an immediate jump down a full octave
• B. any move at all — melodic direction never matters once the leap is over
• C. another upward leap, to keep the momentum
• D. a stepwise fall — turn back toward where the leap began ✅

Feedback: Big leap, then step back the other way — that recovery keeps the line singable.

---

Q49 (MC · m3fq49 · pool k3lu11x04). In major, which numerals keep tonic function even though they are not I?

• A. vi and iii ✅
• B. ii and IV
• C. IV and V
• D. V and vii°

Feedback: iii and vi share most of their tones with I and can stand in for rest — the family's quieter members.

---

Q50 (MC · m3fq50 · pool k3lu15x05). The band settles into concert A♭ major. The trumpet part is written in —

• A. A♭ major
• B. C major
• C. B♭ major ✅
• D. G♭ major

Feedback: Concert A♭ major appears on the trumpet part as B♭ major — one whole step up.

---

Q51 (MC · m3fq51 · pool k3lu14x03). If a chorus tags its ceiling note again and again, what happens to that note's effect?

• A. it quietly converts the entire chorus into an antecedent–consequent period structure
• B. it drains away — a summit revisited every bar stops reading as a summit ✅
• C. it forces the song into a new key
• D. it doubles in intensity at each return

Feedback: Scarcity is the peak's power source; repetition spends it down to nothing.

---

Q52 (Matching · m3fq52 · pool k3lu01x13). Each written change below was caused by one accidental. Match the change to its sign.

Answer bank: double sharp · flat · sharp · double flat · natural

• F becomes F♯ → sharp ✅
• B becomes B♭ → flat ✅
• E♭ becomes E → natural ✅
• C becomes C𝄪 → double sharp ✅
• A becomes A𝄫 → double flat ✅

Feedback: Read the size and direction of each shift: single signs move one half step, double signs move two, and the natural resets.

---

Q53 (MC · m3fq53 · pool k3lu12x06). In A major, a close runs E major to A major with roots in the bass, and the top line finishes on C♯. What keeps this from being perfect?

• A. the bass line disqualifies the close entirely
• B. the E chord is not A major's dominant
• C. a true PAC would need a seventh added to the E chord
• D. the top voice stops on C♯ — mi — rather than do ✅

Feedback: With mi occupying the soprano's final slot, the close stays authentic but only imperfect.

---

Q54 (MC · m3fq54 · pool k3lu11x02). Which numeral does B♭ major hand to the chord G–B♭–D?

• A. VI
• B. iii
• C. IV
• D. vi ✅

Feedback: G lies six steps above B♭, and the chord's minor quality keeps the numeral small: vi.

---

Q55 (MC · m3fq55 · pool k3lu13x05). Starting from D3 beneath B3 — a major sixth — the bass steps up to E3 while the top part jumps up to E4, arriving on an octave. Precisely which fault is that?

• A. a direct (hidden) octave — same-direction arrival with the upper part jumping ✅
• B. an illegal leap — upper parts must move stepwise
• C. parallel octaves — a second perfect octave following directly after a first between these voices
• D. a voice crossing — the parts trading lanes mid-phrase

Feedback: The octave arrived by similar motion with a jump on top — a direct octave, since no octave preceded it.

---

Q56 (MC · m3fq56 · pool k3lu13x03). Your two-voice arrangement glides through a whole phrase in sixths. What will the style check report?

• A. allowed for instruments, never for singers
• B. allowed at the cadence, illegal mid-phrase
• C. clean — the ban singles out perfect consonances (fifth, octave, unison), not sixths ✅
• D. banned — long stretches of parallel movement in any interval weld the two parts into a single line

Feedback: Thirds and sixths may run in parallel freely; the prohibition covers only the perfect intervals.

---

Q57 (TF · m3fq57 · pool k3lu10x06). G major builds its leading-tone seventh chord as F♯, A, C, E — a diminished triad paired with a minor seventh, which is precisely what the name half-diminished describes.

• True ✅
• False

Feedback: Diminished below, minor seventh above: only half of the chord diminishes, and the name admits it.

---

Q58 (MC · m3fq58 · pool k3lu12x05). Many old hymnals print a closing two-chord "A-men": subdominant moving onto tonic once the song proper is done. Which family is that?

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

Feedback: The Amen formula is IV to I — the textbook plagal cadence.

---

Q59 (MC · m3fq59 · pool k3lu10x02). The band vamps E7 into the key change. Its four notes are —

• A. E G♯ B C♯
• B. E G♯ B D ✅
• C. E G B D
• D. E G♯ B D♯

Feedback: E major triad plus the minor seventh D natural — a D♯ would make it Emaj7 instead.

---

Q60 (MC · m3fq60 · pool k3lu02x15). A hymn is barred in 2/2. Which value receives the beat?

• A. the quarter note
• B. the eighth note
• C. the half note ✅
• D. the whole note

Feedback: The lower 2 assigns the beat to the half note — two of them per bar — which is why 2/2 feels broad and striding.

---

Grading key (quick reference)

The table below lists each item's correct response.

Q	Answer
1	C
2	C
3	A
4	A
5	D
6	D
7	C
8	B
9	D
10	D
11	C
12	B + D + E
13	A major → three sharps · E major → four sharps · B♭ major → two flats · E♭ major → three flats · D♭ major → five flats
14	B
15	C
16	A
17	False
18	C
19	D
20	C
21	False
22	D
23	B
24	B
25	C
26	A
27	P8 → consonant · M7 → dissonant · m3 → consonant · d5 → dissonant · P4 → context-dependent
28	A
29	B
30	C
31	A
32	C
33	A
34	D
35	A
36	C
37	C
38	D
39	B
40	A
41	B
42	B
43	A
44	B
45	^2 (E4) → major second · ^3 (F♯4) → major third · ^5 (A4) → perfect fifth · ^6 (B4) → major sixth · ^7 (C♯5) → major seventh
46	C
47	B + C + D
48	D
49	A
50	C
51	B
52	F becomes F♯ → sharp · B becomes B♭ → flat · E♭ becomes E → natural · C becomes C𝄪 → double sharp · A becomes A𝄫 → double flat
53	D
54	D
55	A
56	C
57	True
58	D
59	B
60	C

Assembly notes (instructor-facing): items drawn disjointly from the fourteen unit exam pools — zero overlap with any weekly quiz, with the midterm family, or with the practice final (verified mechanically at build time; the allocation map lives in _build/exams/allocation.json with per-item provenance). Option positions were re-permuted with a seeded RNG and the full key sequence screened for runs longer than two, cyclic patterns, and positional skew. Multiple-choice key sequence: C C A A D D C B D D C B C A C D C D B B C A A B C A C A D A C C D B A B B A B C D A C B D D A C D B C.

Canvas placement block

canvas_object    = Quizzes::Quiz
title            = "Final Exam — MUS 156 Music Theory I"
assignment_group = "Final exam"
points_possible  = 120
grading_type     = points
time_limit       = 120
allowed_attempts = 1
shuffle_answers  = false   # option letters must match the printed/grading key
available_from   = the final exam session (proctored sitting only)
due              = the end of the final exam session
published        = true    # unmuted after grading
access_note      = "Proctored, in the room, closed to AI. 120 minutes — written for the full block."

---