The AP Exam in Music Theory tests the student’s 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 importance—for 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 termsCompound 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

1̂ tonic 2̂ supertonic 3̂ mediant 4̂ subdominant 5̂ dominant 6̂ submediant 7̂ leading tone / subtonic

Tetrachord Tonal Tonality Tonic Whole-tone scale

6 4

6 5

43

42

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 (Ø7; 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 7th chords are indicated by 7 half-diminished 7th chords are indicated by Ø7 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 8–7 indicates movement from an octave to a seventh above the bass 9–8, 7–6, 4–3 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 7̂ 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 V7 leading to I; both chords in root position, tonic in soprano on tonic chord

Imperfect Authentic Cadence (IAC): V or V7 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 iv6 to V in minor; half-step motion in the bass (b 6̂ to 5̂ ) 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 (CT2S) 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 7̂ and 6̂ .

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, V7, vii, vii Ø7, 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 1̂ it is a V/ii - a major or Mm7 chord built on 6̂ If the third is a raised 2̂ & the fifth a raised 4̂ - V/iii - a major or Mm7 chord built on 7̂ If the third is a raised 4̂ - V/V - a major or Mm7 chord built on 2̂ If the third is a raised 5̂ - V/vi - a major or Mm7 chord built on 3̂ A lowered 7̂ added to the tonic chord is a V7/IV - a Mm7 on 1̂ - without the 7th, just a tonic chord. In minor: If the third of the chord is a raised 3̂ it is a V/iv - a major or Mm7 chord built on 1̂ If the third is a raised 4̂ & the fifth a raised 6̂ - V/V - a major or Mm7 chord built on 2̂ If the third is a raised 6̂ - V/vii - a major or Mm7 chord built on 4̂ - very rare, as the vii chord in minor is most often vii except in natural minor. A lowered 2̂ added to the III chord is a V7/VI - a Mm7 on built on 3̂ . Just like in major there is no V/IV, in minor there is no V/VI - it must be a V7/ 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 (échappeé)

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.

43

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 - I6 or I - vii6 - I6 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 7̂ ) although there may be a 7̂ NOT raised as well; there have been instances of a raised 6̂ and 7̂ , 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, V6 - I6, V - vi6, iii - vii, etc.

vi. poor chord use, such as vi6 or iii6, 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 7̂ ) although there may be a 7̂ NOT raised as well; there have been instances of a raised 6̂ and 7̂ , 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, solfège, scale-degree numbers, or a neutral syllable such as la-la-la or ta-ta-ta - incorrect note names, solfège 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. 3̂ 2̂1̂ / mi-re-do - 6 times in 20 melodies

ii. 2̂ 7̂1̂ / re-ti-do - 4 times

iii. 4̂ 2̂1̂ / fa-re-do - twice

iv. 5̂ 7̂1̂ / sol-ti-do - twice

v. 5̂ 7̂ 1̂ / sol-ti-do - once

vi. 2̂ 5̂1̂ / re-sol-do - once

vii. 2̂ 5̂1̂ / re-sol-do - once

viii. 5̂ 2̂1̂ / sol-re-do - once

ix. 1̂ 7̂1̂ / do-ti-do - once

x. 4̂ 7̂1̂ / 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