AP Music Theory Exam Study Guide

No Sharps/Flats

C Major (a minor)

1 Sharp

G Major (e minor)

2 Sharps

D Major (b minor)

3 Sharps

A Major (f# minor)

4 Sharps

E Major (c# minor)

5 Sharps

B Major (g# minor)

6 Sharps

F# major (d# minor)

7 Sharps

C# Major (a# minor)

1 Flat

F Major (d minor)

2 Flats

Bᵇ Major (g minor)

3 Flats

Eᵇ Major (c minor)

4 Flats

Aᵇ Major (f minor)

5 Flats

Dᵇ Major (bᵇ minor)

6 Flats

Gᵇ Major (eᵇ minor)

7 Flats

Cᵇ Major (aᵇ minor)

How to find intervals:

Count the letter names from starting note to ending note.

(This is the # that goes along with the name)

Now count half steps.

If # of half steps is even = minor

If # of half steps is odd = major

(This method includes starting pitch)

How to find interval inversions:

Subtract the numerical value of first interval from 9.

Switch quality:

M>m

P stays P

+ > ∘

∘ > +

Name the interval qualities from smallest to largest:

Diminished, Minor, Major, Augmented

Natural Minor

Follows same key signature as relative minor. (No raised notes)

Harmonic Minor

Raised 7th degree (leading tone).

Melodic Minor

Raised 6th and 7th on ascent. Lowered 6th and 7th in decent.

How to find relative minor:

Count 4 half steps down from tonic of starting major scale. (including starting pitch)

How to find relative major:

Count 4 half steps up from tonic of starting minor scale. (Including starting pitch)

Diatonic Series

MAJOR:

Ⅰ-ⅱ-ⅲ-Ⅳ-Ⅴ-ⅵ-ⅶ*-Ⅰ

MINOR:

ⅰ-ⅱ-Ⅲ-iv-Ⅴ-Ⅵ-vii-i

Harmonic Motion Pull Chart

MAJOR:

ⅲ----vi/----ii, ii*, Ⅳ ----Ⅴ, Ⅴ⁷,vii𝇉⁷----I

MINOR:

III----VI----ii,iv ,ii𝇉⁷----V, V⁷,vii, vii𝇉⁷ ---- I

Parallel Minor

Same letter name as the Major it comes from.

Figured Bass

Line given of bass notes with numbers/symbols underneath that tell you the intervals from the bass where the rest of the notes must go.

Inversion symbols for Triads:

Root Position: nothing written or 5/3

First Inversion: 6 or 6/3

2nd Inversion: 6/4

Inversion symbols for 7th Chords

Root Position: 7

1st Inversion: 6/5

2nd Inversion: 4/3

3rd Inversion: 4/2

What do accidentals or slashes in figured bass mean?

Follow accidentals for notes. If only accidental appears, it applies to the 3rd above the bass. Slashes mean raise.

Interval Pattern for Dominant 7th Chords

Major/minor/minor

Interval Pattern for Major 7th Chords

Major/Major/Major

Interval Pattern for Minor 7th Chords

minor/Major/minor

Interval Pattern for Half Diminished 7th Chords

minor/minor/Major

Interval Patter for Fully Diminished 7th Chords

minor/minor/minor

Progression (P)

Forward harmonic motion on the pull chart.

Elision

Progression in which one or more chords in pull chart are skipped over.

Retrogression (R)

Moving backwards on the pull chart.

Repetition (S)

Repetition of a chord that is functionally the same on the pull chart.

Modal Music

Music centered around a scale.

Tonal Music

Centered around key. Starts and ends on tonic.

Name the Scale Degree Names in Order

1 - Tonic

2 - Supertonic

3 - Mediant

4 - Subdominant

5 - Dominant

6 - Submediant

7 - Leading Tone

8 - Tonic

Cadence

Musical punctuation. 2 chord progression that occurs at the end of a phrase.

Perfect Authentic Cadence (PAC)

V-I/i or V⁷-I/i

Neither chord inverted

'Do' in Soprano.

Imperfect Authentic Cadence (IAC)

V-I/i or V⁷-I/i or vii*-I/i

Either or both chords inverted.

'mi' or 'me' in Soprano of I chord.

Plagal 'Amen' Cadence

IV-I or iv-i

Half Cadence

Any Chord - V/V⁷

Phrygian Half Cadence

ONLY IN MINOR!

iv⁶ - V/V⁷

'le'-'sol' in Bass

Deceptive Cadence

V/V⁷/vii* - any chord besides I (usually vi/VI)

Embellishing Tones

Pitches that decorate or connect other pitches in the melodic line.

Non-Chord Tones (NCT)

Non-harmonic tones.

Passing Tone (PT)

Links 2 chord tones of different pitch through step wise motion. 'You pass through it to get form Pitch 1 to Pitch 2'

Neighbor Tone (NT)

Occurs stepwise between a chord tone and its repetition. Could be upper neighbor (UPT) or lower neighbor (LPT).

Changing Tone (CT)

One above, One below, then you land on desired pitch.

Appoggiatura (APP)

Leap, then Step in opposite direction.

Think APP and OVER

Escape Tone (ET)

Step, then Leap in opposite direction.

Anticipation (Ant)

One tone "anticipates" the upcoming

chord. (Often tied to resolution)

Suspensions

- RESOLVE DOWN

- 3 Parts: Preparation (P), Dissonance (D), Resolution (R)

- Preparation & Dissonance = same note (often tied)

- Name suspension by interval of dissonance to resolution from bass.

- (9-8) (7-6) (4-3) Occur in upper voice against bass.

- (2-3) Occurs in bass against upper voice.

Retardation

-Works like suspension but resolves UPWARD.

- (2-3) (9-10) Occurs in upper voice against bass.

General Rules to Part Writing

-No leaps greater than 5th

-No consecutive leaps

-Avoid tritone and 2+ (in minor)

-Resolve leading tone to tonic in outer voices

-Each voice in it's range

-Avoid Parallel 5ths or Octaves

Ranges For S,A,T,B

Soprano: Middle C - high G

Alto: G (below middle c) - high D

Tenor: D - G (above middle c)

Bass: E (below staff - Middle C

Spacing Rules for Voicing Triads

-No more than octave between S&A or A&T

-Cl0se Structure: S&T separated by an octave or less.

-Open Structure: S&T separated by more than octave.

Doubling Rules for Voicing Triads

Major/Minor Triads: double root in root position or 5th in first inversion

Augmented/Diminished Triads: double 3rd

Voice Leading

Connecting chords

Contrary Motion

Both voices move in opposite directions.

Oblique Motion

One voice moves, one stays the same

Similar Motion

Same direction, different interval

Parallel Motion

Same direction, same interval

Connecting Root Position Triads

1. Identify Bass Motion

a. 4ths/5ths - keep common tone the same

- move remaining notes to closest CT

b. 3rds/6ths - keep both common tones in same voices

- move remaining notes to closest CT

c. 2nds/7ths - no common tones

- move SAT contrary to B

d. Deceptive Cadence - double 3rd on vi/VI chord

- watch out for 2+

Connecting 1st Inversion Triads

-SB145

- Double either S or B depending on scale degree supremacy (1>4>5)

- Avoid doubling 7

-Move SAT contrary to B

Cadential 6/4

C 6/4

-Functions as V chord

-Prolongs dominant function & creates stronger conclusion

Passing 6/4

P 6/4

-Harmonizes 're' in the bass & allows 'me-re-do' or 'do-re-mi' to happen in bass

-Stepwise motion gives it away

Pedal 6/4

IV 6/4

Allows bass to stay constant through chord changes.

Arpeggiated 6/4

Label as: A 6/4 or IV 6/4

-Allows bass to outline triad or seventh chord

Contour

General direction pattern

Range

Distance from highest to lowest pitch in a melody

Tension & Repose

Rise & fall of melody

Disjunct

Movement with many leaps

Conjunct

Stepwise motion

Tonal Center

When one pitch is made to sound like a point of greater stability.

Tendency Tones

Pitches that have strong inclination to move in a specific direction.

re-do

fa-mi

la-sol

ti-do

Sequences

Tonal: keeps key

Real: Keeps intervals

The Way Importance in Emphasized in the Tonic-Dominant Axis

-First note (pick-up)

-Last note in a phrase

-Long notes (duration)

-Highest & Lowest points

-Strong beats (1&3)

ACCELERANDO

Gradually get faster (abbreviated accel.)

ADAGIO

Slow (not as slow as largo) (70 bpm)

AGOGIC ACCENT

An accent created by duration, rather than

loudness or position.

ALBERTI BASS

An accompaniment derived from broken chords. The note sequence is: bottom-top-middle-top.

ALLEGRO

Fast and cheerful (120 bpm)

ANACRUSIS

Pick-up

ANDANTE

Walking Speed (80 bpm)

Common Practice Period or Era

Historical period spanning approximately 1650-1900 (described loosely as J.S. Bach to Brahms) during which music functioned according to the concept of tonal harmony; the pre-eminence of key signatures and tonic-dominant harmony.

CROSS RHYTHM

The simultaneous use of two or more different rhythmic patterns.

COMPOUND INTERVAL

An interval larger than the octave (8th)

DIMINUTION

To restate a subject in smaller note values (usually twice as small)

FORTE

Dynamic direction to play loud.

FORTISSIMO

Dynamic direction to play very loud.

HEMIOLA

A metrical feel of two in a triple time signature, accomplished by tying two notes over the barline

LARGO

Very slow and broad (50 bpm)

MEZZO FORTE

Dynamic direction to play medium loud.

MEZZO PIANO

Dynamic direction to play medium soft.