Music Theory AP Review

Grade 12 · Music · Study Guide

A comprehensive review of the harmonic, melodic, rhythmic, and analytical concepts tested on the AP Music Theory exam.

AP Music Theory assesses six core skill areas: musical concepts and vocabulary, notation, analysis, sight-singing, dictation, and composition/harmonization. The exam includes multiple-choice questions, free-response melodic dictation, harmonic dictation, sight-singing, part writing, and analysis of musical excerpts.

Roman numeral harmonic analysis is the backbone of the exam. You must identify chords by quality (major, minor, diminished, augmented) and function (tonic, predominant, dominant, leading-tone). Understand primary and secondary dominants: V/V (the dominant of the dominant) is one of the most commonly tested tonicizations.

Part writing (four-voice SATB writing) demands correct doubling, smooth voice leading, and avoidance of errors including parallel fifths, parallel octaves, voice overlap, voice crossing, and the augmented second in minor keys. The leading tone must resolve up by half step to the tonic in the soprano or outer voices.

Modulation — the process of changing keys — is heavily tested. Common types include closely related modulations (to keys sharing five or more pitches), modulation via pivot chord (a chord functioning in both the old and new key), and direct modulation (no pivot, often signaled by a new key signature).

Sight-singing is assessed via recorded audio submitted through the AP exam digital interface. Practice in solfège (movable do) or scale degree numbers daily. Dictation exercises require identifying pitches and rhythms from a melody or chord progression played multiple times.

Key terms

Roman Numeral Analysis
A system of labeling chords with Roman numerals indicating scale degree (I–VII) and quality (uppercase=major, lowercase=minor, °=diminished).
Secondary Dominant
A dominant seventh chord applied to a chord other than the tonic; written as V7/x, it tonicizes that chord temporarily.
SATB Part Writing
Four-voice harmonic writing for Soprano, Alto, Tenor, and Bass following strict voice-leading and doubling rules.
Pivot Chord Modulation
A type of modulation where a chord is re-interpreted as functioning in both the original key and the new key, creating a smooth harmonic transition.
Parallel Octaves/Fifths
Voice-leading errors where two voices move by the same interval of an octave or fifth simultaneously, destroying voice independence.
Solfège
A sight-singing system assigning syllables (do, re, mi, fa, sol, la, ti) to scale degrees; movable-do adjusts to any key.

Flashcards

Roman Numeral Analysis
Labeling chords by scale degree (I–VII) and quality; uppercase=major, lowercase=minor, °=diminished, +=augmented.
Secondary Dominant
V7/x: a dominant 7th chord that temporarily tonicizes scale degree x; most common is V/V.
SATB Part Writing
Four-voice (Soprano/Alto/Tenor/Bass) harmonic writing with strict doubling and voice-leading rules.
Pivot Chord
A chord re-interpreted as functioning in both the old and new key to create a smooth modulation.
Parallel Fifths
Voice-leading error: two voices moving by the same interval of a fifth simultaneously.
Solfège (Movable Do)
Sight-singing system: do=tonic, re, mi, fa, sol, la, ti — adjusted to any key.
Tonicization
Brief emphasis on a non-tonic chord using its own secondary dominant, without fully modulating to a new key.
Leading Tone
Scale degree 7 (ti), a half step below the tonic; must resolve upward by half step in outer voices.

Questions

  1. In Roman numeral analysis, which symbol indicates a diminished seventh chord built on the seventh scale degree?

    1. VII
    2. vii°
    3. vii°7
    4. VII7
    Show answer

    Answer: vii°7

    vii°7 designates a fully diminished seventh chord built on scale degree 7. The small circle (°) indicates diminished quality and the superscript 7 indicates the fully diminished seventh interval above the root.

  2. In SATB part writing, doubling the leading tone in a dominant chord is standard practice to ensure proper resolution.

    Show answer

    Answer: False

    The leading tone should NOT be doubled in SATB writing because both voices would then be obligated to resolve upward, often creating parallel octaves or voice-leading errors. Double the root instead.

  3. A chord that functions in both the original key and the destination key during a modulation is called a ______ chord.

    Show answer

    Answer: pivot

    A pivot chord (also called a common chord) is diatonically shared between the old and new key, allowing a smooth, logical transition between tonal centers.

  4. The secondary dominant of V in the key of C major is:

    1. D major (II)
    2. G major (V)
    3. A minor (vi)
    4. F major (IV)
    Show answer

    Answer: D major (II)

    V/V in C major is the dominant of G major, which is D major. The secondary dominant of V (G) is built on scale degree II, making it D major — which functions as V in G major.

  5. In a minor key, the augmented second between scale degrees 6 and 7 should be avoided in smooth vocal SATB voice leading.

    Show answer

    Answer: True

    The augmented second (e.g., A♭ to B♮ in C natural minor) creates an awkward leap in vocal writing. Use the harmonic minor scale with care; in SATB, raise both 6 and 7 (melodic minor) to avoid it in ascending lines.

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