ABRSM Grade 8 Music Theory Ultimate Exam
**Question 1.** Which of the following Roman-numeral symbols correctly represents a Neapolitan sixth
chord in the key of G major?
A) ♭II⁶
B) II⁶⁵
C) ♭VI⁶⁴
D) VI⁶⁵
Answer: A
Explanation: In G major the Neapolitan is built on the flattened supertonic (A♭). In root position with the
third in the bass it is notated ♭II⁶.
**Question 2.** In a 4/4 measure containing a dotted-quarter note, an eighth-note, and two sixteenth
notes, which of the following is the correct way to notate the rhythm using tuplets?
A) Triplet of eighths followed by a sixteenth-note pair
B) Quintuplet of sixteenths covering the entire measure
C) No tuplet is required; the rhythm is simple
D) Dotted-quarter tied to a sixteenth-note pair
Answer: C
Explanation: The described rhythm adds to one full measure (¾ + ⅛ + ¼ = 1) and does not require a
tuplet.
**Question 3.** Which of the following is a characteristic of a French augmented-sixth chord?
A) Contains a major third above the bass note
B) Contains the interval of an augmented fourth above the bass
C) Resolves to the dominant in first inversion
D) Is built on the tonic note
Answer: B
Explanation: A French augmented sixth includes the notes ♭6, 1, ♭3, and ♯4 (an augmented fourth above
the bass).
, ABRSM Grade 8 Music Theory Ultimate Exam
**Question 4.** In a Baroque keyboard sonata, an Alberti bass pattern is most often written as:
A) ♩ ♩ ♩ ♩
B) ♩ ♪ ♩ ♪
C) ♪ ♩ ♪ ♩ (low-high-low-high)
D) ♩ ♩ ♪ ♪
Answer: C
Explanation: Alberti bass consists of a repeated broken chord pattern low-high-low-high.
**Question 5.** Which of the following is the proper spelling of a dominant 13th chord in C major?
A) G-13 (G-B-D-F-A-C-E)
B) G-13 (G-B-D-F-A-C-E♭)
C) G-13 (G-B♭-D-F-A-C-E)
D) G-13 (G-B-D♭-F-A-C-E)
Answer: A
Explanation: A dominant 13th includes the root, major third, perfect fifth, minor seventh, ninth,
eleventh, and thirteenth; all are diatonic in C major.
**Question 6.** Which of the following best describes the “double appoggiatura” in Baroque
ornamentation?
A) Two successive short grace notes, both non-chord tones, resolving by step
B) A long ornamental note followed by a short grace note
C) A single grace note that is written as a small note before the main note
D) Two tied notes forming a dotted rhythm
Answer: A
Explanation: A double appoggiatura consists of two short, non-chord tones that resolve by step, usually
written as two small notes.
**Question 7.** In a fugue subject that begins on the dominant, the answer typically appears on which
scale degree?
A) Tonic
, ABRSM Grade 8 Music Theory Ultimate Exam
B) Subdominant
C) Mediant
D) Submediant
Answer: A
Explanation: The answer is the subject transposed to the tonic, providing tonal balance.
**Question 8.** Which of the following is the correct transposition for a B♭ clarinet part written in G
major?
A) Write the part in A major
B) Write the part in F major
C) Write the part in E♭ major
D) Write the part in D major
Answer: B
Explanation: A B♭ clarinet sounds a whole step lower than written, so a written G major sounds F major;
the part must be written a whole step higher, i.e., in F major.
**Question 9.** A chord labeled “V⁶/4–V⁵/3” in Roman numerals indicates:
A) A second-inversion tonic moving to a first-inversion dominant
B) A cadential 6-4 resolving to a root-position dominant
C) A deceptive cadence to the vi chord
D) A secondary dominant of the ii chord
Answer: B
Explanation: V⁶/4 is a cadential six-four (essentially a tonic in second inversion) resolving to V⁵/3
(root-position dominant).
**Question 10.** Which of the following is NOT a typical feature of a Classical-era rondo form?
A) Recurrent A section alternating with contrasting episodes
B) Strict binary form without return of the main theme
C) Use of a dominant-to-tonic cadence at the end of each A-section
D) Episodes often in related keys
, ABRSM Grade 8 Music Theory Ultimate Exam
Answer: B
Explanation: Classical rondos are characterized by recurring A sections; a strict binary form lacks this
recurrence.
**Question 11.** In a four-voice chorale texture, which voice is most likely to contain a melodic
suspension of 4–3?
A) Soprano
B) Alto
C) Tenor
D) Bass
Answer: A
Explanation: Suspensions often occur in the upper voices, especially the soprano, to create expressive
tension.
**Question 12.** Which of the following intervals is considered a “tritone” in equal temperament?
A) Perfect fifth
B) Augmented fourth
C) Minor sixth
D) Major third
Answer: B
Explanation: An augmented fourth (or diminished fifth) spans six semitones, the classic tritone.
**Question 13.** In a piece marked “Allegro con brio,” the tempo is most likely:**
A) 60–72 BPM
B) 84–96 BPM
C) 120–144 BPM
D) 168–192 BPM
Answer: C
Explanation: “Allegro con brio” indicates a fast, lively tempo, typically around 120–144 BPM.
**Question 1.** Which of the following Roman-numeral symbols correctly represents a Neapolitan sixth
chord in the key of G major?
A) ♭II⁶
B) II⁶⁵
C) ♭VI⁶⁴
D) VI⁶⁵
Answer: A
Explanation: In G major the Neapolitan is built on the flattened supertonic (A♭). In root position with the
third in the bass it is notated ♭II⁶.
**Question 2.** In a 4/4 measure containing a dotted-quarter note, an eighth-note, and two sixteenth
notes, which of the following is the correct way to notate the rhythm using tuplets?
A) Triplet of eighths followed by a sixteenth-note pair
B) Quintuplet of sixteenths covering the entire measure
C) No tuplet is required; the rhythm is simple
D) Dotted-quarter tied to a sixteenth-note pair
Answer: C
Explanation: The described rhythm adds to one full measure (¾ + ⅛ + ¼ = 1) and does not require a
tuplet.
**Question 3.** Which of the following is a characteristic of a French augmented-sixth chord?
A) Contains a major third above the bass note
B) Contains the interval of an augmented fourth above the bass
C) Resolves to the dominant in first inversion
D) Is built on the tonic note
Answer: B
Explanation: A French augmented sixth includes the notes ♭6, 1, ♭3, and ♯4 (an augmented fourth above
the bass).
, ABRSM Grade 8 Music Theory Ultimate Exam
**Question 4.** In a Baroque keyboard sonata, an Alberti bass pattern is most often written as:
A) ♩ ♩ ♩ ♩
B) ♩ ♪ ♩ ♪
C) ♪ ♩ ♪ ♩ (low-high-low-high)
D) ♩ ♩ ♪ ♪
Answer: C
Explanation: Alberti bass consists of a repeated broken chord pattern low-high-low-high.
**Question 5.** Which of the following is the proper spelling of a dominant 13th chord in C major?
A) G-13 (G-B-D-F-A-C-E)
B) G-13 (G-B-D-F-A-C-E♭)
C) G-13 (G-B♭-D-F-A-C-E)
D) G-13 (G-B-D♭-F-A-C-E)
Answer: A
Explanation: A dominant 13th includes the root, major third, perfect fifth, minor seventh, ninth,
eleventh, and thirteenth; all are diatonic in C major.
**Question 6.** Which of the following best describes the “double appoggiatura” in Baroque
ornamentation?
A) Two successive short grace notes, both non-chord tones, resolving by step
B) A long ornamental note followed by a short grace note
C) A single grace note that is written as a small note before the main note
D) Two tied notes forming a dotted rhythm
Answer: A
Explanation: A double appoggiatura consists of two short, non-chord tones that resolve by step, usually
written as two small notes.
**Question 7.** In a fugue subject that begins on the dominant, the answer typically appears on which
scale degree?
A) Tonic
, ABRSM Grade 8 Music Theory Ultimate Exam
B) Subdominant
C) Mediant
D) Submediant
Answer: A
Explanation: The answer is the subject transposed to the tonic, providing tonal balance.
**Question 8.** Which of the following is the correct transposition for a B♭ clarinet part written in G
major?
A) Write the part in A major
B) Write the part in F major
C) Write the part in E♭ major
D) Write the part in D major
Answer: B
Explanation: A B♭ clarinet sounds a whole step lower than written, so a written G major sounds F major;
the part must be written a whole step higher, i.e., in F major.
**Question 9.** A chord labeled “V⁶/4–V⁵/3” in Roman numerals indicates:
A) A second-inversion tonic moving to a first-inversion dominant
B) A cadential 6-4 resolving to a root-position dominant
C) A deceptive cadence to the vi chord
D) A secondary dominant of the ii chord
Answer: B
Explanation: V⁶/4 is a cadential six-four (essentially a tonic in second inversion) resolving to V⁵/3
(root-position dominant).
**Question 10.** Which of the following is NOT a typical feature of a Classical-era rondo form?
A) Recurrent A section alternating with contrasting episodes
B) Strict binary form without return of the main theme
C) Use of a dominant-to-tonic cadence at the end of each A-section
D) Episodes often in related keys
, ABRSM Grade 8 Music Theory Ultimate Exam
Answer: B
Explanation: Classical rondos are characterized by recurring A sections; a strict binary form lacks this
recurrence.
**Question 11.** In a four-voice chorale texture, which voice is most likely to contain a melodic
suspension of 4–3?
A) Soprano
B) Alto
C) Tenor
D) Bass
Answer: A
Explanation: Suspensions often occur in the upper voices, especially the soprano, to create expressive
tension.
**Question 12.** Which of the following intervals is considered a “tritone” in equal temperament?
A) Perfect fifth
B) Augmented fourth
C) Minor sixth
D) Major third
Answer: B
Explanation: An augmented fourth (or diminished fifth) spans six semitones, the classic tritone.
**Question 13.** In a piece marked “Allegro con brio,” the tempo is most likely:**
A) 60–72 BPM
B) 84–96 BPM
C) 120–144 BPM
D) 168–192 BPM
Answer: C
Explanation: “Allegro con brio” indicates a fast, lively tempo, typically around 120–144 BPM.
