The AP Exam in Music Theory tests the students understanding of musical structure and

compositional procedures through recorded and notated examples. Strong emphasis is given to
listening skills, particularly those involving recognition and comprehension of melodic and rhythmic
patterns, harmonic functions, small forms, and compositional techniques. Most musical examples are
taken from standard literature, although there may be examples of contemporary, jazz, or music
beyond the Western tradition incorporated for testing basic concepts.

The exam assumes competency in reading musical notation and a strong background in music
fundamentals, terminology, and analysis. It may include any or all of the following:

I. Musical Terminology
A. Terms for intervals, triads, seventh chords, scales, and modes
B. Terms related to: rhythm and meter, melodic construction, harmonic function, cadences
and phrase structure, texture, small forms, and musical performance
II. Notational Skills
A. Rhythms and meters
B. Clefs and pitches
C. Key signatures, scales, and modes
D. Intervals and chords
E. Melodic transposition
III. Basic Compositional Skills
A. Four-voice realization of figured-bass symbols and Roman numerals
B. Composition of a bass line (with chord symbols) for a given melody
IV. Score Analysis (with or without aural stimulus)
A. Harmonic procedures:
1. Cadence types
2. Roman-numeral and figured-bass analysis, including non-harmonic tones, seventh
chords, and secondary-dominant chords
3. Identification of key centers and key relationships; recognition of modulation to
closely related keys
B. Melodic organization and developmental procedures
1. scale types; modes
2. motivic development and relationships (e.g., inversion, retrograde, sequence,
imitation)
C. Rhythmic/metric organization
1. meter type (duple, triple, quadruple, irregular) and beat type (e.g., simple,
compound)
2. rhythmic devices and procedures (e.g., augmentation, diminution, hemiola)
D. Texture
1. types (e.g., monophony, homophony, polyphony)
2. devices (e.g., imitation, canon)
E. Formal devices and/or procedures
1. phrase structure
2. phrases in combination (e.g., period, double period, phrase group)
3. small forms
V. Aural Skills
A. Sight-singing (major and minor modes, treble and bass clefs, diatonic and chromatic
melodies, simple and compound meters)
B. Melodic dictation (major and minor modes, treble and bass clefs, diatonic and chromatic
melodies, simple and compound meters)
C. Harmonic dictation (notation of soprano and bass lines and harmonic analysis in a four-
voice texture)
D. Identification of isolated pitch and rhythmic patterns
E. Detection of errors in pitch and rhythm in one- and two-voice examples
F. Identification of processes and materials in the context of music literature representing a
broad spectrum of genres, media, and styles
1. melodic organization (e.g., scale-degree function of specified tones, scale types,
mode, contour, sequences, motivic development)
2. harmonic organization (e.g., chord function, inversion, quality)
3. tonal organization (e.g., cadence types, key relationships)
4. meter and rhythmic patterns
5. instrumentation (i.e., identification of timbre)
6. texture (e.g., number and position of voices, degree of independence, presence of
imitation, density)
7. formal procedures (e.g., phrase structure; distinctions among literal repetition,
varied repetition, and contrast; small forms)


Terms and Symbols Used in the AP Music Theory Exam

The terms and symbols in the lists below may appear in the directions or questions on the AP Music
Theory Exam, as well as in course instructional materials. As such, the list will be an invaluable guide
in preparing for an AP Music Theory exam, but it is important to note that the list does not include
extremely basic musical vocabulary, even though such widely used terms may be used on the exam
for example, quarter note is not listed. Nor is every term of equal importancefor example,
strophic and rubato may not appear on every exam, but melody, phrase, and texture
certainly will. Definitions and illustrations of the terms and concepts listed here can be found in music
theory textbooks and standard reference works, such as The New Harvard Dictionary of Music.

Form: Symbols
Lowercase letters indicate musical phrases or subsections: for example, a b indicates a contrasting
period;
a b a indicates a phrase, contrasting phrase, and return to the original phrase.

Use of a prime (as in a a') denotes a varied restatement of a phrase previously heard.

Capital letters are used to indicate larger sections of compositions.


Terms
Cadence
Cadential extension
Coda
Codetta
Contour
Countermelody
Elision (phrase elision)
Fragment (fragmented motive)
Introduction

Jazz and pop terms:
bridge
chorus
song form (AABA)
turnaround
twelve-bar blues
Melodic procedures:
augmentation
conjunct
diminution
disjunct
extended version
fragmentation
internal expansion
inversion, melodic
inversion
literal repetition
motivic transformation
octave displacement
retrograde
rhythmic transformation
sequence
sequential repetition
shortened version
transposition
truncation
Motive
Period
antecedent
consequent
contrasting period
double period
parallel period

Phrase group

Refrain

Small forms
binary
rounded binary
ternary

Solo, soli
Stanza
Strophic
Theme
Thematic transformation
Through-composed
Tutti
Variation
Verse - Chorus

Intervals

Number of Half-steps in Simple Intervals

Interval Diminished Minor Major Perfect Augmented
2nd
0 1 2 3
3rd
2 3 4 5
4th
4 5 6
5th
6 7 8
6th
7 8 9 10
7th
9 10 11 12
Octave
11 12 13

Intervals - Important terms
Compound interval
Half step (semitone)
Interval
Inversion, inversion of an interval
Numerical names (i.e., third, fifth, octave)
Quality or type (e.g., perfect, major, minor,
diminished, augmented)
Tritone
Unison (prime)
Whole step (whole tone)



Scales/Keys/Modes

Accidental
Chromatic, chromaticism
Diatonic
Key signature
Major
Minor
natural minor (Aeolian)
harmonic minor
melodic minor,
ascending/descending

Mode
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian

Modality
Parallel key, parallel major or minor
Pentatonic
Relative key, relative major or minor
Scale degrees/diatonic chord names
1

tonic
2

supertonic
3

mediant
4

subdominant
5

dominant
6

submediant
7

leading tone / subtonic

Tetrachord
Tonal
Tonality
Tonic
Whole-tone scale


6
4
6
5
4
3
4
2
Chord Quality
Triads
o Major (M)
o minor (m)
o diminished ()
o Augmented (
+
)
Seventh Chords
o Major Seventh (MM or M7) major-major seventh
o Dominant Seventh (Mm7) major-minor seventh chords with a dominant function
o Major-minor Seventh (Mm7) same quality as above without denoting function
o Minor Seventh (m7, mm7) minor-minor seventh
o Half-diminished seventh (7; dm) diminished chord with a minor seventh
o Fully-diminished seventh (
7
; dd) diminished chord, diminished seventh

Harmony
Symbols
o Roman and Arabic Numerals
Capital Roman numerals denote major triads
Lowercase Roman numerals denote minor triads
A capital Roman numeral with a
+
indicates an augmented triad
A lowercase Roman numeral with a indicates a diminished triad
Arabic numerals or figured-bass symbols denote intervals above the bass and
therefore indirectly indicate chord inversion. Arabic numerals can also be used to
indicated non-chord tones and/or voice leading.
o Triads
first inversion triads are indicated by 6
second inversion triads are indicated by
root position seventh chords are indicated by 7
fully diminished 7
th
chords are indicated by 7
half-diminished 7
th
chords are indicated by 7
first inversion seventh chords are indicated by
second inversion seventh chords are indicated by
third inversion seventh chords are indicated by
664 765 4342
o Other figures
87 indicates movement from an octave to a seventh above the bass
98, 76, 43 indicate a suspension and melodic resolution
An accidental before an Arabic numeral indicates alteration of the note creating the
interval indicated
A figure with a plus (+) or that is slashed (6) indicates that the note creating the
interval in question is raised a half-step from the key

Diatonic Chord Qualities

Major I ii iii IV V vi vii
minor i ii III iv V
(v)*
VI vii
(VII)*

In minor, the raised 7

for harmonic and melodic minor is required for the V and the vii chords,
which are the most commonly occurring.

Functions and Progressions

Functions
tonic function
dominant function
predominant function

Circle of fifths
Deceptive progression
Harmonic rhythm
Modulation
common tone modulation
phrase modulation
pivot chord modulation

Neighboring chord
Rate of harmonic change
Realize
realization of figured bass,
realization of four-part Roman numeral progression
Retrogression

Secondary dominant

Secondary leading tone chord

Tonicization

Chord Progression Diagrams - Guides to Creating Effective Chord Progressions

Major


IV vii
iii vi I
ii V



Minor


iv vii
VII III VI I
ii V



note: When the vi (or VI in minor) temporarily substitutes for the tonic chord in a deceptive
progression, it may be followed by any chord, just as the tonic can. Indicated by the dotted
curved arrow with no terminal chord.



Functional Diatonic Chord Progressions, from strongest progression :

Root Movement by: Typical direction
5th Descending (or ascending 4th)
2nd Ascending
3rd Descending


Cadence Types & characteristics

Perfect Authentic Cadence (PAC):
V or V
7
leading to I; both chords in root position, tonic in soprano on tonic chord
Imperfect Authentic Cadence (IAC):
V or V
7
moving to I, but with either or both chords inverted, or the soprano not
finishing on the tonic, OR any vii I, regardless of inversions or soprano pitch.
Deceptive Cadence (DC):
A cadence that creates the expectation of going to I, but substitutes another chord
instead. Common substitutes for I are: vi, IV6, bVI, and occasionally IV or V/ii.
Half Cadence (HC):
A cadence that ends on a V chord. Can be approached from a number of other chords
(I, ii, IV, V/V, etc.)
o Phrygian Half Cadence:
a special half cadence from iv
6
to V in minor; half-step motion in the bass
(b 6

to5

) resembles the semitone heard in the II - I of the ancient (fifteenth

century) cadence in the Phrygian mode
Plagal Cadence (PC):
IV to I. Also known as church cadence for the Amen at the end of hymns.
Conclusive Cadence:
Generic term for any cadence that is final in nature, i.e. plagal, authentic cadences
Inconclusive Cadence:
Generic term for any cadence NOT final in nature, i.e. deceptive or half cadences

The terms conclusive and inconclusive cadence are often used in the following or similar
contexts: Finish the harmonization with an appropriate conclusive cadence or the first
phrase should close with an inconclusive cadence
Voice -Leading Techniques

Root Position Triads, upper voices
Root movement of 4th/5th
Common Tone Stepwise (CTS)
Similar motion nearest (SMN)
Leaping third-to-third, common tone, stepwise (L3)
Root movement of 3rd
Keep 2 Common Tones - Stepwise (CT
2
S)
Root movement of 2nd
Similar motion nearest opposite (SMNO) Upper voices move to nearest chord tone in
opposing motion to direction of bass motion, except in the case of dominant to submediant
progression: leading tone resolves up to tonic parallel with bass; other voices move down
to next available chord tone; results in doubled third in the submediant chord. In major,
leading tone in inner voice can resolve downward to the root of the vi chord, avoiding the
doubled third and resulting in doubled root voicing. Not possible in minor due to resulting
interval of augmented second between 7

and 6

.

Resolving the dominant seventh to the tonic:

The chordal seventh falls (to the third of the tonic chord) and the leading tone rises (to
the tonic) regardless of inversion. In the event the leading tone is in an inner voice, it can be
"frustrated" and NOT resolve to the tonic, but instead fall a third to the 5th of the chord of
resolution.

Part-Writing Rules

1.Allow all tendency tones to resolve correctly. exception - a dominant chord's leading tone,
if in an inner voice, can resolve downward by step to the root of a vi chord in major or
by leap to the fifth of the tonic in major or minor - frustrated leading tone
2.No consecutive octaves, fifths or unisons - by parallel or contrary motion
3.Keep common tones whenever possible; move voices that must change by the smallest
possible interval. Avoid leaps of large or difficult intervals - and especially avoid
augmented intervals
4.There should never be more than an octave between alto and tenor or soprano and alto
5.Do not cross voices, such as alto higher than soprano, tenor higher than alto, or bass
higher than tenor; avoid overlapping voices, which occurs when a lower voice is higher
than pitch of a higher voice in the previous chord, or vice-versa.
6.When you must choose which chord member to double, use the most stable tone possible.
Usually, this is the root, followed by the fifth. Never double a tendency tone as this will
cause you to break rule 1 or 2.
7.Never omit any note of a triad or seventh chord except the fifth, and only when you must
to avoid breaking rule 1. At cadence points, resolving the leading tone to the tonic often
results in tripled root with a third.

Of course, these rules are only valid if you have written within the appropriate ranges for each part,
and if all the chords actually include the notes you say they include.


Secondary Function (such as V/V - read as Five of Five)
Any dominant-functioning non-diatonic chord that leads by either a falling 5th or rising half-
step to a diatonic chord. The chord "on top" or written first can be any of the following, in any
inversion - V, V
7
, vii, vii
7
, or vii
7
.

The chord on the bottom can be any major or minor diatonic chord, or another chord with
secondary function.

Identifying secondary dominants by the altered tone:
In major:
If the third of the chord is a raised 1

it is a V/ii - a major or Mm7 chord built on 6

If the third is a raised 2

& the fifth a raised 4

- V/iii - a major or Mm7 chord built on 7

If the third is a raised 4

- V/V - a major or Mm7 chord built on 2

If the third is a raised 5

- V/vi - a major or Mm7 chord built on 3

A lowered 7

added to the tonic chord is a V

7
/IV - a Mm7 on 1

- without the 7th, just a tonic chord.

In minor:

If the third of the chord is a raised 3

it is a V/iv - a major or Mm7 chord built on 1

If the third is a raised 4

& the fifth a raised 6

- V/V - a major or Mm7 chord built on 2

If the third is a raised 6

- V/vii - a major or Mm7 chord built on 4

- very rare, as the vii chord in

minor is most often vii except in natural minor.
A lowered 2

added to the III chord is a V

7
/VI - a Mm7 on built on 3

. Just like in major there is

no V/IV, in minor there is no V/VI - it must be a V
7
/ VI.

Nonharmonic (Non-Chord Tones , NCT's)
Important terms: Embellishment Ornament Approach Preparation Resolution

Types
Passing tone (accented, unaccented)
Neighboring tone
lower neighbor
upper neighbor
neighbor group
changing tones
Appoggiatura
Escape tone (chappe)

Anticipation
Pedal point
Retardation
Suspension
rearticulated suspension
suspension chain
Diatonic
Chromatic

Non-chord Tones - Approach and resolution

Type: Approached by: Left by:
Passing tone Step Step in the same direction
Neighboring tone Step Step in the opposite direction
Appoggiatura Leap Step in the opposite direction
Escape tone Step Leap in the opposite direction
Anticipation Step or leap Same note
Pedal Point/tone Same note Same note
Retardation Same note Step up
Suspension Same note Step down
Important terms related to Harmony:
Voicing
Soprano
Alto
Tenor
Bass
Open Position
Close position
Doubling
Inversion, inversion of chords
Root position
First inversion
Second inversion
Third inversion
Root
Chordal Third
Chordal Fifth
Chordal Seventh

Voice Leading
Common tone
Contrary motion
Cross relation (false relation)
Crossed voices (voice crossing)
Direct fifths (hidden fifths)
Direct octaves (hidden octaves)
Frustrated leading tone
Oblique motion
Overlapping voices
Parallel motion
Parallel intervals
objectionable parallels
parallel fifths
parallel octaves
Similar motion
Tendency tone
Unresolved leading tone
Unresolved seventh
Voice exchange

Miscellaneous Harmonic Terms
Arpeggio, arpeggiation
Chromatic
Common Practice Style
Consonance
Diatonic
Dissonance
Figured bass
Flatted fifth
Lead sheet
Picardy third
Resolution


Performance Terms
Antiphonal
Articulation
arco
legato
marcato
pizzicato
slur
staccato
tenuto
Call and response
Dynamics
crescendo
diminuendo
terrace dynamics
pianissimo pp
piano p
mezzo piano mp
mezzo forte mf
forte f
fortissimo ff
Improvisation, improvisatory
Phrasing
Tempo
adagio
allegro
andante
andantino
grave
largo
lento
moderato
presto
vivace
accelerando
ritardando
ritenuto
rubato



Rhythm/Meter/Temporal Organization
Accent
agogic accent
dynamic accent
metrical accent
Anacrusis (pickup; upbeat)
Asymmetrical meter
Augmentation
Bar line
Beat
Beat type
compound
simple
Changing meter (multimeter)
Cross rhythm
Diminution
Dot, double dot
Dotted rhythm
Duplet
Duration
Hemiola
Irregular meter
Meter
duple
quadruple
triple
Note value
Polyrhythm
Pulse
Rhythm
Swing rhythm
Syncopation
Tempo
Tie
Time signature (meter signature)
Triplet


Text/Music Relations
Lyrics
Melismatic
Stanza
Syllabic

Texture
Alberti bass
Canon
Canonic
Chordal accompaniment
Contrapuntal
Counterpoint
imitation
imitative polyphony
nonimitative polyphony
countermelody
fugal imitation
Heterophony, heterophonic
Homophony, homophonic
chordal homophony
chordal texture (homorhythmic)
melody with accompaniment



Instrumentation
brass
continuo
percussion
rhythm section
strings
timbre
woodwinds
Melody
Monophony, monophonic
Obbligato
Ostinato
Polyphony, polyphonic (see also contrapuntal)
Register
Solo, soli
Tessitura
Tutti
Walking bass


Other terms that may be found on the AP Music Theory Exam
Aria
Art song
Concerto
Fugue
Genre(s)
Interlude
Opera
Prelude
Postlude
Sonata
Song
String quartet
Symphony


Circle of fifths (fourths)



























Closely-Related Keys:
Closely-related keys are defined as keys whose key signatures differ by no more than one
sharp or flat. Key names would be an ascending fifth or ascending fourth from the tonic
of the original key.

The key of A (3's) is closely related to both E (4's) and D (2's) but E and D would not
be closely-related. The relative minors of closely related major keys are also closely
related to each other and the majors.

Using the circle of fifths, the keys in the segments to either side of the original key,
along with the relative keys of all three, would be closely related.

4
3
EXPLANATION OF PART-WRITING ERRORS AND GRADING NOTATIONS

Symbol Meaning Definition
D5/8 Direct fifths or octaves
A leap in the same direction by both outer voices to the interval of a perfect fifth
or a perfect octave is present and marked with lines.
D Improper doubling A pitch that should never be doubled is doubled, e.g. a leading tone.
d Weak doubling A more preferable doubling exists.
H5/8 Hidden fifths or octaves
Similar motion by outer voices to the interval of a perfect fifth or octave that
involves the lower voice moving by step and the upper voice leaping
INC Incomplete chord A vital pitch is missing from a chord, e.g. the third
inc Incomplete chord A complete chord would be preferable given the voice leading situation
INV Improper inversion Chord should not be used in this inversion (e.g. diminished triad in root position).
inv Weak inversion A more typical inversion (most likely, root position) is preferable.
L Bad line
One of the voice parts contains undesirable melodic intervals, i.e. augmented or
diminished intervals, or difficult leaps (mostly 7ths).
M Metric placement Chord improperly placed in the measure, e.g. cadential 6/4 on a weak beat.
P5 Parallel fifths
The two voices marked with lines are in parallel motion a perfect fifth apart.
Also used for consecutive perfect fifths by contrary motion.
P8 Parallel octaves
The two voices marked with lines are in parallel motion a perfect octave apart.
Also used for consecutive octaves by contrary motion.
PREP Pitch not Prepared
A suspension, or some other non-chord tone or sensitive pitch is not prepared
properly in the previous harmony. The non-chord tone is indicated with an arrow
pointing backward in the typical direction of preparation. (e.g. Suspensions must
be prepared by a common tone in the previous chord.)
R Improper resolution
A pitch is resolved incorrectly, e.g. leading tone not resolved to tonic, or chordal
seventh not resolved downward by step. Also applies to unstable chords with
specific resolution tendencies (such as the cadential 6/4). The sensitive pitch is
indicated with an arrow pointing in the typical direction of resolution.
r Voice range A pitch is above or below the typical tessitura of that voice type.
S Chord spacing There is more than an octave between adjacent upper voices
TYPE? Improper use of 6/4
A 6/4 chord has been used in an unstylistic manner. (A 6/4 chord must be a
passing 6/4, a neighbor 6/4 (pedal 6/4), or a cadential 6/4.)
U5 Unequal fifths (d5 P5)
Rising d5 P5 acceptable ONLY in the progressions I-V - I
6
or I - vii
6
- I
6

Any other rising d5 P5 is unacceptable. A rising P5 d5 is acceptable.
Descending unequal fifths are acceptable in either order.
VC Voices crossed
One of the voices is in the wrong position relative to another voice (above or
below, e.g. tenor above alto or the bass is above the tenor).
VO Voice Overlapping
Two voices move to a position in which the lower voice is higher than the
previous note in the higher voice, or the higher voice is lower than the previous
not in the lower voice.
WC Wrong chord The wrong chord has been used.
WI Wrong Inversion The bass note is incorrect for the specified chord inversion.
WN Wrong note The chord contains a wrong note.
WP Weak progression The harmonic progression is poorly conceived when harmonizing a melody.
X Wrong label
The wrong symbol or label was applied for analyzing the music (e.g. wrong key,
chord name, cadence, etc.).
? Missing label or music The exercise is missing required information.


THE FREE RESPONSE SECTION OF THE AP MUSIC THEORY EXAM

YOU WILL:

I. Transcribe two melodic excerpts for a maximum of 9 points each; the following are
generally true each year:
a. One will be treble clef, one will be bass clef
b. One will be simple meter, usually 4/4, although 2/4 and 3/4 occasionally appear;
the other will be compound meter, almost always 6/8
c. One will be major, one will be minor. In the past 10 exams, the first was
major 8 times.
d. The minor excerpt, whether first or second, will usually have a harmonic passage
(raised 7

) although there may be a 7

NOT raised as well; there have been

instances of a raised 6

and 7

, as in melodic minor.
e. The second excerpt, whether major or minor, will usually have one or more
secondary dominants implied by an altered tone. In the past 10 exams, this has
been true 10 times.
f. The excerpts almost always start and end on the tonic, whether in major or minor.
In the past 10 years, this has been true for every excerpt.
g. If in 4/4 the last note is usually a half-note at the end of the bar; in 3/4, a dotted
half-note in the final bar; in 2/4, a half-note in the final bar. In 6/8, the last note is
usually a dotted-eighth note at the end of the final bar. Getting this correct is
ALWAYS one point.
h. No enharmonic equivalents are allowed - use pitches that would customarily be
associated with the given key; accidentals should be found in the harmonic or
melodic forms for minors or should indicate secondary dominants that would be
found in the given key.
i. You will hear the first excerpt 3 times, with a 30 second pause after the first
playing and a one minute pause after each subsequent playing. You will hear the
second excerpt 4 times, with a 30 second pause after the first playing and a one
minute pause after each subsequent playing. There is usually no extra pause
between the first and second excerpt.
THE FREE RESPONSE SECTION OF THE AP MUSIC THEORY EXAM
(continued)

YOU WILL:

II. Notate the soprano and bass voices of a four-part harmonic progression, as well as write
the Roman and Arabic numerals that indicate the chords and their inversions - 24 points
each
a. Each progression will be played four times, with a 30 second pause after the first
playing and a one minute pause after each subsequent playing.
b. You will be given the starting pitch for both the soprano and bass voices, along
with the key and the Roman and Arabic numerals for the first chord.
c. There will be 8 more chords in the progression.
d. One excerpt will be major, one will be minor.
e. In the past 10 exams, there has been one secondary dominant included in one of
the progressions, as well as one cadential 6/4, in all but one occurrence at the final
cadence. The one anomaly was a I 6/4 - V- vi deceptive progression prior to the
V - I cadence.
f. While most of the progressions conclude with an authentic cadence, half cadences
and deceptive cadences have been included. Since 1999 there has not been an
instance of a plagal cadence.
g. No enharmonic equivalents will be accepted. Octave displacement in the bass line
is acceptable, but not in the soprano line.
III. Create a realization of a figured bass in four voices. 25 points
a. The starting chord will be given; you will supply the Roman numerals that indicate
the chord required by the figures and write four part harmonization.
b. Usually six chords in the progression after the given starting chord
c. Non-chord tones may be indicated in the figured bass, especially suspensions. If a
suspension is indicated, be certain to prepare it correctly
IV. Create a four part harmonization based on a progression indicated by a Roman and Arabic
numeral progression. 18 points
a. The starting chord will be given.
b. Usually six chords in the progression after the given starting chord.
THE FREE RESPONSE SECTION OF THE AP MUSIC THEORY EXAM
(continued)

YOU WILL:

V. Complete the bass line for a given melody (9 points)
a. Write Roman numerals with inversion symbols below the bass line you create to
indicate the harmonies implied by the soprano and bass
b. Keep the portion you compose consistent with the first phrase
c. Use an appropriate cadence at each phrase ending
d. Give melodic interest to the bass line, and vary the motion of the bass line in
relation to the soprano
e. Egregious errors that significantly impact your score include
i. parallel fifths and octaves, d5 P5
ii. doubled leading tone, or unresolved or incorrectly resolved leading tone
iii. 6/4 chords other than cadential, passing or pedal
iv. resolution problems of the chordal seventh
v. poor chord progression, such as V-IV, V - ii, ii - iii, IV - iii, ii - I, V
6
- I
6
,
V - vi
6
, iii - vii, etc.
vi. poor chord use, such as vi
6
or iii
6
, unless part of parallel first-inversion chord
sequence or modulation
vii. leaps of sevenths, augmented intervals, or greater than an octave; successive leaps
in the same direction that do not outline a triad, or leaps of an octave that do not
change direction
viii. an entire phrase of consecutive thirds or sixths
f. Minor errors to avoid include
i. repeated notes or harmonies (same Roman numerals and inversions) from
weak beat to strong beat unless at the start of a phrase or the second note is
a suspension
ii. rhythmically inappropriate 6/4 chords
iii. similar motion to octave or fifth with leap in the upper voice, or perfect
fifths and octaves by contrary motion
iv. root position vii chords that move directly to I
v. more than four consecutive thirds or sixths for half of a phrase



THE FREE RESPONSE SECTION OF THE AP MUSIC THEORY EXAM
(continued)

YOU WILL:

VI. Given two melodies, you will sing the pitches in accurate rhythm and with a steady
tempo for a maximum of 9 points each
a. the following are generally true each year:
i. One will be treble clef, one will be bass clef
ii. One will be simple meter, usually 4/4, although 2/4 and 3/4 occasionally
appear; the other will be compound meter, almost always 6/8
iii. One will be major, one will be minor.
iv. The minor excerpt will usually have a harmonic passage (raised 7

)
although there may be a 7

NOT raised as well; there have been instances

of a raised 6

and 7

, as in melodic minor.
v. The second excerpt will usually have one or more secondary dominants
implied by an altered tone. In the past 10 exams, this has been true 10
times.
vi. The excerpts almost always start and end on the tonic, whether in major or
minor. In the past 10 years, this has been true for every excerpt.
b. you will be given 75 seconds to practice and 30 seconds to perform the melody
c. you should us some of the 75 second practice time to perform out loud. you may
write on the music if you choose to use your time in that manner
d. you will hear the starting pitch of the printed melody, but you may transpose the
melody to a key that is comfortable for you
e. you may sing note names, solfge, scale-degree numbers, or a neutral syllable such
as la-la-la or ta-ta-ta - incorrect note names, solfge syllables, or numbers will not
count against your score
f. you may not use any device such as a tuner or musical instrument to assist you in
your practice or performance
g. you will be evaluated on pitch accuracy (relative to tonic) rhythm, and continuity.
h. the melody is scored on an 8 point scale; the ninth point is the "flow" point,
awarded for a complete response that has no hesitations or restarts
i. you may start over if necessary; your last complete response will be scored, but
you will not be eligible to receive the flow point
j. be sure to hold the final note full value (or a little beyond) - the final note is
usually worth a full point on its own and you will not receive that point unless the
note is held at least to the attack of the final eighth-note pulse of the measure
k. The end of each melody is usually based on one of the following melodic models
or a slight variation on them; practice these, be able to recognize them quickly, and
sing them accurately. In the last 10 years, they have appeared with this frequency:
i. 3

/ mi-re-do - 6 times in 20 melodies

ii. 2

/ re-ti-do - 4 times
iii. 4

/ fa-re-do - twice
iv. 5

/ sol-ti-do - twice
v. 5

/ sol-ti-do - once
vi. 2

/ re-sol-do - once
vii. 2

/ re-sol-do - once
viii. 5

/ sol-re-do - once
ix. 1

/ do-ti-do - once
x. 4

/ fa-ti-do - once
l. you will not be evaluated on the quality of your singing voice


Scoring:
The multiple choice section accounts for 45% of the total score; the written free response
section accounts for 45%, and sight-singing accounts for the remaining 10%.

Notice the weighting of the written free response:
Task / Points % Free
Response
% Total
Exam
Melodic dictation - 18 pts 15.3% 6.9 %
Harmonic Dictation - 48 pts 40.6% 18.3%
Four-part writing - 43 pts 36.5% 16.4%
Harmonize a melody - 9 pts 7.6% 3.4%


Websites you might want to check out:

Partwriting guides:

http://davesmey.com/theory/partwritingrules.pdf

http://www.und.nodak.edu/instruct/janvinson/UND Courses/Diatonic Harmony/Root Position Part Writing Guidelines.pdf

Dictation and ear-training
http://davesmey.com/mus181/webdictation/webdictation.htm
Benward Ear-training http://www.mhhe.com/socscience/music/benward7/site/
pdf files that accompany first five units of the Benward site http://www.mhhe.com/socscience/music/benward7/

Sight-singing practice

http://www.bwoodchoir.org/SRPractice.html