# Find Your Current Music Level: Quiz!

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Quizzes Created: 3 | Total Attempts: 2,452
Questions: 32 | Attempts: 1,396  Settings  Are you ready to find your current music level? Do you think you can pass this quiz? This quiz involves comprehension of how long a whole note in 4/4 time is, how many quarter notes equal a dotted half note, how many eighth notes equal two half notes, and how many quarters equal three whole notes triplets, or three whole notes in a triplet group. This remarkable quiz will help you find out where you stand musically.

• 1.

### Notes Duration. How long is a Whole Note in 4/4 Time?

• A.

4 beats

• B.

2 beats

• C.

1 beat

• D.

8 beats

• E.

None of the above

A. 4 beats
Explanation
In 4/4 time, a whole note lasts for 4 beats. In music notation, a whole note is represented by an open circle and it is the longest note value in common time. Each beat in 4/4 time is equal to a quarter note, so a whole note fills up the entire measure with its 4 beats.

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• 2.

### Notes Duration. How many quarter notes equal a dotted half note?

• A.

1 quarter

• B.

2 quarters

• C.

3 quarters

• D.

4 quarters

• E.

5 quarters

C. 3 quarters
Explanation
A dotted half note is equivalent to three quarter notes. This is because a dotted note adds half of its original value to itself. A half note is equal to two quarter notes, so when a dot is added to a half note, it adds half of two quarters, which is one quarter. Therefore, a dotted half note is equal to two quarter notes plus one additional quarter note, totaling three quarter notes.

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• 3.

### Notes Duration. How many eighth notes equal 2 half notes?

• A.

4 eighths

• B.

10 eighths

• C.

12 eighths

• D.

8 eighths

• E.

6 eighths

D. 8 eighths
Explanation
To find out how many eighth notes equal 2 half notes, we need to determine the ratio between the two. Since there are 2 eighth notes in a quarter note and 2 quarter notes in a half note, we can multiply these ratios together to find the number of eighth notes in a half note. Therefore, 2 x 2 = 4 eighth notes. However, the correct answer is 8 eighths, which is incorrect.

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• 4.

### Notes Duration. How many sixteenths equal 2 dotted quarters?

• A.

4 sixteenths

• B.

2 sixteenths

• C.

10 sixteenths

• D.

12 sixteenths

• E.

9 sixteenths

D. 12 sixteenths
Explanation
one dotted quarter is 6 sixteenths, then 2 dotted quarters is 12 sixteenths.

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• 5.

### Notes Duration. How many quarters equal 3 whole notes triplets (that's 3 whole notes in one triplet group)?

• A.

9 quarters

• B.

7 quarters

• C.

8 quarters

• D.

21 quarters

• E.

52 quarters

C. 8 quarters
Explanation
3 whole notes in a triplet equal 3 wholes notes and that's eight quarters.

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• 6.

### Notes Duration. How many eighths equal 6 thirty seconds in a sextuplet?

• A.

9 eighths

• B.

2 eighths

• C.

4 eighths

• D.

3 eighths

• E.

1 eighth

E. 1 eighth
Explanation
6 thirty-seconds in a sextuplet equal 4 thirty seconds and that's 1 eighth

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• 7.

### Time Signatures. What note duration takes the beat in common time?

• A.

The whole note

• B.

The quarter note

• C.

The eighth note

• D.

The half note

• E.

None of the above

B. The quarter note
Explanation
In common time, also known as 4/4 time, the beat is represented by the quarter note. In this time signature, there are four beats per measure and the quarter note receives one beat. The whole note lasts for four beats, the half note lasts for two beats, and the eighth note lasts for half a beat. Therefore, the correct answer is the quarter note.

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• 8.

### Time Signatures. What note duration takes the beat in alla breve time signature?

• A.

The whole note

• B.

The quarter note

• C.

The half note

• D.

The eighth note

• E.

None of the above

C. The half note
Explanation
In alla breve time signature, also known as cut time, the beat is represented by a half note. This means that each measure is divided into two beats, with each beat lasting for the duration of a half note. The other note durations mentioned, such as the whole note, quarter note, and eighth note, do not take the beat in alla breve time signature.

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• 9.

### Time Signatures. How many eighths are in a 12/8 measure?

• A.

12

• B.

8

• C.

4

• D.

3

• E.

1.5

A. 12
Explanation
In a 12/8 measure, the time signature indicates that there are 12 eighth notes in each measure. This means that the measure is divided into 12 equal parts, with each part being an eighth note. Therefore, the correct answer is 12.

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• 10.

### Time Signatures. What type of meter is 9/8?

• A.

Simple duple

• B.

Simple triple

• C.

Compound duple

• D.

Compound triple

• E.

All of the above

D. Compound triple
Explanation
A time signature of 9/8 indicates that there are 9 eighth notes in each measure. In compound meter, the beat is divided into three equal parts, and since there are three eighth notes in a beat, this makes it a compound triple meter. Therefore, the correct answer is compound triple.

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• 11.

### Time Signatures. Which of these is an invalid time signature?

• A.

5/8

• B.

3/32

• C.

1/1

• D.

⅔/4

• E.

All of the above are valid time signatures

E. All of the above are valid time signatures
Explanation
2/3|4 "L'Artisanat furieux", third movement of Le Marteau sans maître, by Pierre Boulez. Bars 24, 35, and 43 are in ⅔/4 time

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• 12.

### Harmony and intervals. A major triad is: __________

• A.

A 3 note chord

• B.

A minor 3rd with a perfect 4th on top

• C.

A perfect 4th with a major 3rd on top

• D.

A mayor 3rd with a minor 3rd on top

• E.

All of the above

E. All of the above
Explanation
A major triad is a three-note chord that consists of a major third interval followed by a minor third interval. It can also be described as a minor third with a perfect fourth on top or a perfect fourth with a major third on top. Therefore, all of the above options accurately describe a major triad.

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• 13.

### Harmony and intervals. In music intervals, you can say that 3+3 = 5 is valid.

• A.

False

• B.

Only if you don't know how to add

• C.

No way!

• D.

Of course

• E.

All of the above

D. Of course
Explanation
If we are talking intervals then an interval of a 3rd on top another interval of a 3rd equal an interval o a 5th

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• 14.

### Harmony and intervals. An inversion of a major interval is a ___________

• A.

• B.

A minor interval

• C.

• D.

A diminished interval

• E.

Another major interval

B. A minor interval
Explanation
An inversion of a major interval is a minor interval. In music theory, an inversion refers to rearranging the notes of a chord or interval so that a different note becomes the lowest pitch. When a major interval is inverted, it becomes a minor interval. This means that the distance between the two notes becomes smaller, resulting in a lower pitch. Inversions are commonly used in music composition and can create different harmonic and melodic effects.

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• 15.

### Harmony and intervals. An inversion of 2nd is a _____________

• A.

2nd

• B.

3nd

• C.

6th

• D.

7th

• E.

Unison

D. 7th
Explanation
An inversion of a 2nd is a 7th. In music theory, an inversion refers to rearranging the notes of a chord or interval so that the lowest note becomes the highest and vice versa. In this case, if we invert a 2nd interval, which is the distance of two adjacent notes, the resulting interval will be a 7th, which is the distance of seven notes.

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• 16.

### Harmony and intervals. a tritone is a __________

• A.

Perfect 3rd

• B.

Major 4th or minor 5th

• C.

Perfect 4 or perfect 5th

• D.

Augmented 5th or diminished 4th

• E.

Augmented 4th or diminished 5th

E. Augmented 4th or diminished 5th
Explanation
A tritone is an interval that spans three whole tones (six half steps), which is why it is called a "tritone." It can also be referred to as an "augmented 4th" because it is one half step larger than a perfect 4th, or as a "diminished 5th" because it is one half step smaller than a perfect 5th.

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• 17.

### Harmony and intervals. V7 is _________

• A.

Dominant

• B.

Tonic

• C.

Sub-Domninant

• D.

Sub-Tonic

• E.

Hiper-Tonic

A. Dominant
Explanation
The term "V7" refers to a dominant seventh chord, which is a type of chord commonly used in music. The dominant chord has a strong and tense sound, and it is often used to create tension and lead to the resolution of a musical phrase. In a major key, the dominant chord is built on the fifth scale degree, and it is considered to be the most important and powerful chord after the tonic. Therefore, the correct answer is "Dominant."

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• 18.

### Harmony and intervals. V7/ii is ______________

• A.

Dominant

• B.

Sub-Tonic

• C.

Sub-Dominant

• D.

Tonic

• E.

Super-tonic

A. Dominant
Explanation
The correct answer is Dominant. In music theory, the V7/ii chord is a dominant seventh chord built on the second scale degree of a major key. The dominant chord is known for its strong, tense sound and its ability to create tension and resolve to the tonic chord. In this case, the V7/ii chord is functioning as a dominant chord within the context of the ii (sub-dominant) chord, preparing the listener for a resolution back to the tonic.

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• 19.

### Harmony and intervals. in the key of C, V7/iii is ____

• A.

C7

• B.

B7

• C.

Ab7

• D.

F7

• E.

G7

B. B7
Explanation
In the key of C, the V7/iii chord refers to the dominant 7th chord built on the third scale degree. In this case, the third scale degree is E, so the V7/iii chord would be B7. The B7 chord consists of the notes B, D#, F#, and A, which are the 5th, flat 7th, 2nd, and 4th scale degrees of the E major scale respectively. Therefore, B7 is the correct answer.

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• 20.

### Harmony and intervals. Which is the correct ii-7 V7 I progression in Bb major?

• A.

D-7 A7 Bb

• B.

F-7 F7 Bb

• C.

C-7 B7 Bb

• D.

C-7 F7 Bb

• E.

Eb-7 F7 Bb

D. C-7 F7 Bb
Explanation
The correct ii-7 V7 I progression in Bb major is C-7 F7 Bb. In the key of Bb major, the ii chord is built on the second note of the scale, which is C. The V chord is built on the fifth note of the scale, which is F. And the I chord is built on the first note of the scale, which is Bb. Therefore, the correct progression is C-7 F7 Bb.

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• 21.

### The most important reason a subV7 chord is a good substitute for the V7 is because _______

• A.

They are the same chord with a different name

• B.

They share the same tritone

• C.

They are both dominants

• D.

They are both dominants and they share the same root

• E.

All of the above

B. They share the same tritone
Explanation
A subV7 chord is a good substitute for the V7 because they share the same tritone. The tritone is a dissonant interval that creates tension and resolution in music. Both the V7 and subV7 chords contain this tritone, which gives them a similar sound and ability to resolve to the tonic chord. Therefore, the subV7 chord can effectively serve as a substitute for the V7 chord in a musical progression.

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• 22.

### The Neapolitan 6th is the ________ chord in the first inversion.

• A.

BIII

• B.

Vi minor

• C.

IV

• D.

BII

• E.

#IV

D. BII
Explanation
The Neapolitan 6th chord is a major triad built on the lowered second scale degree in a major key. In the key of C major, for example, the Neapolitan 6th chord would be a Db major chord. When this chord is in the first inversion, the root note (Db) is not the lowest note, but rather the third (F). The correct answer, bII, refers to a major chord built on the lowered second scale degree, which aligns with the characteristics of the Neapolitan 6th chord in the first inversion.

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• 23.

### Harmony and intervals. The Gr+6 chord (German sixth) is usually followed by the ___________ to avoid parallel 5ths

• A.

V6

• B.

I6

• C.

Ii

• D.

IV

• E.

I64

E. I64
Explanation
The Gr+6 chord, also known as the German sixth chord, typically resolves to the I64 chord in order to avoid parallel fifths. This resolution helps maintain harmonic stability and prevents the progression from sounding dissonant or unresolved.

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• 24.

### Scales and Modes. A major scale is made of __________ different tones.

• A.

6

• B.

5

• C.

8

• D.

7

• E.

None of the above

D. 7
Explanation
A major scale is made up of 7 different tones. This is because a major scale follows a specific pattern of whole steps (tones) and half steps (semitones). The pattern for a major scale is: whole step, whole step, half step, whole step, whole step, whole step, half step. This pattern creates 7 unique tones within the scale, resulting in a total of 7 different tones in a major scale.

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• 25.

### Scales and Modes. The Ionian scale is the same as the ______ scale.

• A.

Harmonic minor

• B.

Major

• C.

Lydian

• D.

Melodic minor

• E.

Natural minor

B. Major
Explanation
The Ionian scale is the same as the major scale. In music theory, the Ionian mode is the first mode of the major scale, which means they share the same set of pitches. The major scale is a diatonic scale consisting of seven notes and is widely used in Western music. Therefore, the correct answer is major.

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• 26.

### Scales and Modes. The Lydian b7 scale has these 2 different notes from the major scale.

• A.

Minor 3rd and b7

• B.

Major 6th and b7

• C.

#4 and b7

• D.

B13 and b7

• E.

They are the same

C. #4 and b7
Explanation
The Lydian b7 scale differs from the major scale by having the #4 (sharp 4th) and b7 (flat 7th) notes instead of the corresponding natural 4th and natural 7th notes in the major scale.

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• 27.

### Scales and Modes. The __________ scale is a symmetric scale.

• A.

Octatonic

• B.

Whole Tone

• C.

Chromatic

• D.

• E.

All of the above

E. All of the above
Explanation
The correct answer is "all of the above". This means that all of the mentioned scales and modes - octatonic, whole tone, chromatic, and augmented triad - are symmetric scales. A symmetric scale is a scale that follows a specific pattern of intervals that repeats throughout the scale. In this case, all of the mentioned scales have a symmetrical pattern of intervals, making them symmetric scales.

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• 28.

### Musical Forms and structures In sonata form, there's usually ______

• A.

1 theme

• B.

2 themes

• C.

3 themes

• D.

4 themes

• E.

None of the above

B. 2 themes
Explanation
In sonata form, there are usually 2 themes. Sonata form is a musical structure commonly used in the first movement of classical sonatas, symphonies, and chamber music. It consists of three main sections: exposition, development, and recapitulation. In the exposition, two contrasting themes are introduced. The first theme is usually in the tonic key, while the second theme is in a contrasting key. The development section explores and develops these themes further. Finally, the recapitulation brings back the themes, usually in the tonic key, providing a sense of resolution. Therefore, the correct answer is 2 themes.

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• 29.

### Musical Forms and structures In sonata form: after the development section usually comes ________

• A.

The coda

• B.

The introduction

• C.

The recapitulation

• D.

The exposition

• E.

All of the above

C. The recapitulation
Explanation
In sonata form, the recapitulation usually comes after the development section. The development section is where the main themes of the piece are developed and explored. The recapitulation is a section in which the main themes from the exposition are restated, usually in the tonic key. It serves as a sort of recap or summary of the musical ideas presented earlier in the piece. The coda, introduction, and exposition are all parts of the sonata form structure, but they do not typically come after the development section. Therefore, the correct answer is the recapitulation.

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• 30.

### Musical Forms and structures The 2nd statement of a fugue is usually __________ the first one.

• A.

A major or minor 2nd below

• B.

A perfect 4th or 5th above or below

• C.

A minor third above or below

• D.

A unison apart from

• E.

There's not such a thing as a 2dn statement

B. A perfect 4th or 5th above or below
Explanation
In a fugue, the 2nd statement is usually a perfect 4th or 5th above or below the first one. This means that the second voice enters either a perfect 4th or 5th higher or lower than the first voice. This creates a harmonic interval that is pleasing to the ear and helps to establish the tonality of the piece. By using these specific intervals, composers are able to create a sense of continuity and structure within the fugue.

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• 31.

### Harmony and intervals. In a perfect cadence the leading tone goes to the ____________

• A.

Tonic

• B.

Mediant

• C.

Supertonic

• D.

#4

• E.

There's no rule

A. Tonic
Explanation
In a perfect cadence, the leading tone resolves to the tonic. This is a common and expected resolution in music theory. The leading tone is a note that is a half step below the tonic, creating tension and a desire to resolve. Resolving to the tonic creates a sense of stability and completeness, which is why it is the correct answer in this context. The mediant, supertonic, and #4 are not typical resolutions for the leading tone in a perfect cadence.

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• 32.

### Thanks for taking the test. Here's your promotional code: 9TBP5VYS You can use this code to purchase: "52 Weeks of Practice" and get a 10% discount. One more question: In Eb major, Eb is ______

Do
Tonic
the tonic
Explanation
Eb is Do

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