🎶 AP Music Theory 5-Hour Cram Finale 🎶

Hosted by Lily, Lani, and Harrison

@thinkfiveable
 Head’s up!

This stream is being recorded and might appear on our website,

YouTube, or other public channels.

If you ask a question, your name will appear on the screen. Please
change your name if you want to avoid this 󰗥
 ● skill 1: analyze performed music (aural mcqs + frqs Part A
#1-4)
○ 5pm-6:20pm EDT
○ hosted by Lily Ouillette
in this stream

● 20 minute brain break: Ask a music major w/ Lily!

● skill 2: analysis of notated music (Part A frq #7 + Part B

sight singing frqs)
○ 6:40pm-8:10pm EDT
○ hosted by Lani Himegarner

● 20 minute brain break: Ask a music major w/ Lani!

● skill 4: compose music (non-aural mcqs + Part A frqs

#5-6)
○ 8:30pm-10:00pm EDT
○ hosted by Harrison Burnside
 ● music fundamentals review 🌟
● harmonic + melodic dictation
performed music
skill 1: analyze

○ Part A: FRQs #1-4

○ approx. 25 min testing time
● multiple choice: aural
○ Part A: MCQs: Aural
○ 41-43 questions
○ approx. 45 min testing time
 Pitch: Treble Clef

E
C
A
F

😊 F A C E 😄
 Pitch: Treble Clef

F
D
B
G
E

🍫 Every Good Boy Deserves

Fudge
 Pitch: Bass Clef

G
E
C
A

�� All Cows Eat Grass

 Pitch: Bass Clef

A
F
D
B
G

Grapes, Bananas, Don’t Forget Apples

🍇 🍌 🍎
 Major Scale: Scale Degrees + Names

supertonic subdominant submediant tonic

1
7
6
5
4
3
2
1

I ii iii IV V vi vii^o I

tonic mediant dominant leading

tone
Major Scale: Steps

★ All major scales follow this pattern of

half and whole steps:

“whole-whole-half-whole-whole-whole-half”

Image obtained from http://musictheoryblog.blogspot.com/2007/01/scales.html

 Minor Scales
★ Now that we have talked about major scales, let’s move on to
minor scales!
★ There are three types of minor scales:

Natural Minor
★ A natural minor scale contains a lowered 3rd scale degree, a lowered
6th scale degree, and a lowered 7th scale degree.
 Harmonic Minor
★ A harmonic minor scale contains a lowered 3rd scale degree and a
lowered 6th scale degree.

Melodic Minor
★ A melodic minor scale contains a lowered 3rd scale degree on the way
up, and on the way down contains a lowered 7th, 6th, and 3rd scale
degree.
 Minor Key Signatures
★ The best way to figure out the key signature of a minor scale is to find
its relative major (relative key), which can be found by counting up 1
½ steps.
○ EX: If you were asked to find the key signature for b minor, the
relative major would be D Major. Therefore, the key signature is
two sharps (F# and C#).
★ When writing out the minor scale, base it in the major key signature but
start on the tonic of the minor scale.

🚨 Don’t forget to stay in the key! If you have sharps or flats, make
sure you are including those!!!
 Key Relationships
★ Parallel Key: a key that shares the same tonic as the original, but has a
different key signature

★ Closely Related Keys: the 5 closest keys to the original; always just a
one accidental difference in the key signature
○ EX. C Major closely related keys:
■ F Major
■ G Major
■ a minor
■ b minor
■ e minor
★ Distantly Related Keys: any key that isn’t closely related!
 Intervals
★ An interval is the distance in pitch between two notes.
★ First off, we must take into account the numerical difference
between the pitches. This is also known as interval size.
★ Once you find the interval size, you can then determine the
quality of the interval: Major, minor, Augmented, or
diminished.
 Let’s take a listen to each interval...

unison TT octave
Interval Inversions
 Compound Intervals

★ A compound interval is an interval that is larger than an

octave.

https://fiveable.me/ap-music-theory/unit-2-music-fundamentals-ii-minor-scales-key-signatures-melody-timbre-texture/26-interval-inversion-compound-intervals/s
tudy-guide/fSSC2N938I34CjcsI5m5
Rhythm: Values

Note Rest
Values Values
 Rhythm: Ties and Dots

The dot adds half the value of the note it’s attached to.

A tie connects two notes together to create one longer note.

 Meter
★ There are two types of meter: simple and compound.

How can we tell the difference between the two?

★ The top number of the time signature identifies whether the meter is
simple (2, 3, or 4) or compound (6, 9, or 12).
★ The top number also identifies whether the meter is duple (2 or 6), triple
(3 or 9), or quadruple (4 or 12).
★ Another way to decipher between simple or compound is to see whether
the beat is divided into two or three smaller notes.

Let’s look at some examples!

⭐
 Tempo
★ Tempo describes the speed of the beat in music.
★ Sometimes the tempo will be marked at the beginning of the
piece in bpm, beats per minute.
★ If you do not see a tempo marking, look for these Italian tempo
indicators:

- Grave: slow and solemn (20-40 BPM) - Moderato: moderately (86-97 BPM)
- Lento: slowly (40-45 BPM) - Allegretto: moderately fast (98-109 BPM)
- Largo: broadly (45-50 BPM) - Allegro: quick and bright (109-132 BPM)
- Larghetto: rather broadly (60-66 BPM) - Vivace: lively and fast (132-140 BPM)
- Adagio: slow and stately (66-73 BPM) - Presto: extremely fast (168-177 BPM)
- Andante: at a walking pace (73-77 BPM) - Prestissimo: even faster (178+ BPM)
- Andantino: slightly faster (78-83 BPM)
 Dynamics
★ Let’s talk about expressive elements in music…
★ Dynamic markings show how loud or soft the music should be
played.
 Dynamics

to
subi
=
enly
sudd

Crescendo: Decrescendo:
Increase the volume Decrease the volume
over the indicated space. over the indicated space.

sforzando: abrupt & strong accent

 Dictation Tips
● You are given the tempo and the
time signature, USE THESE TO HELP
YOU!
● Don’t panic and try to listen to
everything at once, try to go
measure by measure.
Please have a piece
of staff paper and a
● It will be played at least 4 times
pencil ready!
with pauses in between, so focus
on something different each time
(i.e. separate measures or rhythm
versus notes)
FRQs 1-4 Scoring
total points possible = 9

*The course content, directions, scoring guidelines, student samples, and judges’ comments were all obtained from the College Board website, collegeboard.org*
FRQ 1 + 2: Melodic Dictation Practice

This audio can be played 4 times!

FRQ 1 + 2: Melodic Dictation Practice

This audio can be played 4 times!

FRQs 3 + 4 Practice

- Played 4 times with 1 minute pauses

in between.
- Notate ONLY the soprano and bass
voices.
- Provide the roman numeral analysis
for each chord.
 Texture + Texture Types
★ Texture describes how many instruments or voices are
performing and how they all align.
★ Monophonic texture is made of one single melodic line.
○ https://youtu.be/jwqoXH3CR0g
★ Polyphonic texture consists of two or more
simultaneous melodic lines.
○ https://youtu.be/htdLd0B1WsU
★ Homophonic texture includes a main melodic line that
is supported by other lines as harmonic support.
○ https://youtu.be/XVa3nR-2bVc
 Texture Devices
★ Alberti bass is a broken (arpeggiated) chord that creates
movement in the bass.

★ Walking bass literally “walks” through the tones fitting in the

chord, changing as the bass moves through chords.
 Texture Devices (cont.)
★ imitation - new musical material that repeats previous material
that may be inverted or transposed
★ countermelody - a complimentary voice that is played at the
same time as the main melody
★ solo - an individual melody that may or may not have subtle
accompaniment
★ soli - many people playing a solo together
★ tutti - all voices/instruments play together
★ accompaniment - musical lines that provide support while there
is a solo being played
★ doubling - when a musical part is copied and played at the same
time in another voice/instrument
★ ostinato - a continually repeated rhythmic or melodic passage
Syncopation: occurs Polyrhythm: when two
when notes are being played different rhythms being played
during the weak parts of the at the same time, but are not
beat (disrupting the beat) rhythmically involved with one
another

Let’s look at some other rhythmic devices...

Hemiola: a device that Anacrusis: also known as a
deceives one to think that the pickup, the notes that start a
original meter has changed by phrase before the first
replacing two groups of three downbeat
beats into three groups of
two beats
Fermata: a symbol placed Other ways to divide
above a note or rest that
indicates that it should be
the beat:
held for a longer duration
 Diatonic Chords

- Diatonic means that it stays within the key.

- So when we talk about diatonic chords, we mean building triads
off of each scale degree and determining their quality.

Major

Minor
 Aural MCQs

A set of notes will be played and you

will choose which written out
answer matches.

You will listen to an excerpt of a

piece and answer questions about
aspects like intervals, chord
progressions, and NCTs within.

Questions in which they only want

you to listen to a specific measure, or
they might want you to listen to and
identify overall characteristics of an
excerpt.

*The course content, directions, scoring guidelines, student samples, and judges’ comments were all obtained from the College Board website, collegeboard.org*
Aural MCQ example:
Identify which of these excerpts is being
played:

A.

B.

C.

D.
*The course content, directions, scoring guidelines, student samples, and judges’ comments were all obtained from the College Board website, collegeboard.org*
 Break Time!
If you have any questions
for Lily about being a
music major, drop them in
the chat!
 Content Review: Units 4-8
● Harmony and Voice Leading
Skill 2: analysis of
○ Counterpoint & Part-Writing Rules
notated music
○ Chord Progressions and Predominant Function
○ Embellishments, Motives, and Harmonic Devices
○ Secondary Function
● Modes and Form

Practice: FRQs
● Sight-Singing
● Harmonizing a Melody
Breaking Down the Four Parts
 Types of Motion

contrary motion: oblique motion: similar motion: parallel motion:

voices move in one voice voices move voices move
the opposite stays the same in the same in the same
direction while the direction but not direction by
other moves up the same the
or down interval same interval
Spacing
 Rules for Part-Writing
★ Avoid parallel 5ths and 8ves at all costs.
○ When two voices with the interval of a 5th or an 8ve move from that
interval, to the same interval using two new pitches.
★ Avoid contrary 5ths and 8ves.
○ When two voices move in contrary motion to the interval of a 5th or
an 8ve.
★ Avoid direct/hidden 5ths and 8ves.
○ When the outer voices move in the same direction into a P5 or P8
with a leap in the soprano voice (with a leap or step in the bass
voice).
★ Utilize common tone and stepwise motion.
★ It is favorable to use contrary motion (voices moving in different
directions).
★ Avoid voice crossing
 Doubling Notes
★ Root Position Triads: Double the root of the chord, which
is the same as saying double the bass note.
★ First-Inversion Triads: Double the soprano, regardless of
which voice it represents (If you can)
★ Second-Inversion Triads: Double the bass, which is the
same as saying double the fifth of the triad.
★ First-Inversion Diminished Triads: The diminished triad
appears most often with the third in the bass, so as to avoid the
tritone between the actual root of the chord and the upper fifth.
Double the bass note, which is the same as saying double the third.
★ Seventh Chords: Regardless of inversion, distribute the four
notes of the seventh chord, of any type, to the four voices
Occasionally, especially with the dominant seventh chord, the fifth
can be omitted and the root doubled.
 Seventh Chords
A seventh chord is a chord consisting of a triad
plus a note forming an interval of a 7th above the
chord’s root.

Notes:
- Made up of scale degrees 1, 3, 5, and 7
- Determine what type of seventh chord it is by figuring out
the intervals in between.
- Can also be thought about by how many half steps are in
between two notes.
 The five most commonly used types of seventh chords
Different are:

M7 - Major seventh chord (or MM7), a major triad with a

Types major 7th

V7 - Dominant seventh chord (or Mm7), a major triad with a

Of minor 7th

m7 - Minor seventh chord (or mm7), a minor triad with a

Seventh minor 7th

viio/7 - Half-diminished seventh chord (dm7), a diminished

Chords triad with a minor 7th

viio7 - Diminished seventh chord (or dd7), a diminished triad

th
with a diminished 7
Seventh Chords in Inversion
 Can you write out these seventh chords?

B flat Dominant F half-diminished

Seventh Chord Seventh Chord
Let’s Review...
 Authentic Cadences
★ An authentic cadence is when a phrase ends with
vii^o or V going to I.
★ A perfect authentic cadence (PAC) consists of a V-I
progression with both chords in root position. Also, the
soprano voice of the I chord must be the tonic of the
scale
 Imperfect Authentic Cadence
★ An imperfect authentic cadence (IAC) consists of a vii^o-I or V-I
chord progression and the chords do not have to be in root
position.
There are 3 types:
★ Root Position IAC - similar to a PAC, but the highest voice is not
the tonic
★ Inverted IAC - also similar to a PAC, but one or both chords are
inverted
★ Leading Tone IAC - the V chord is replaced with the leading tone
(vii^o) chord, but the cadence still ends on the tonic (I).
 Half Cadence
★ A half cadence is any cadence ending on the
dominant (V), no matter what chord precedes it.
★ Sounds incomplete or suspended, therefore
making it a weak cadence.
 Deceptive Cadence
★ A deceptive cadence occurs when the V chord
(subdominant) goes to a chord that is not the I
chord (tonic).
★ Most likely resolves to the vi chord.
 Plagal Cadence
★ A plagal cadence goes from a IV (subdominant)
to I (tonic).
★ Known as the “amen cadence” because of its
heavy use in hymns.
 A Few Exceptions...

★ A picardy third is a V-I cadence that remains major, despite

being in a minor key.

★ A cadence is usually at the end of a phrase and can be

signaled by a fermata!
 Seventh Chord Resolutions

When resolving a seventh chord in context,

follow these two steps:

★ The 7th of the chord needs to resolve down by

a step.
★ The leading tone of the key/scale needs to
resolve up by a step.
★ The 5th of a root-position seventh chord can
be omitted, and then the root can be doubled.
Resolution Examples
 2 Minute Stretch Break!!

We just crammed a lot of information...and we still have more to go!

Stand Up, Move Your Body, Give Yourself a Pep Talk

You Got This!!

 Predominant Functions
- Predominant chords are frequently inserted in order to
establish a key.
- Very common progression:
I - IV - V - I
TONIC-PREDOMINANT-DOMINANT-TONIC
- The subdominant (IV or iv) chord and supertonic (ii or ii^o) chord
most often come before the dominant chord, hence their name!
 The VI (vi) Chord
- The VI (vi) chord, also known as the submediant, can be used
as a substitution for the tonic.
- Including the VI (vi) in a harmonic progression has a distinct
sound, which we know as a deceptive progression or
cadence. (a.k.a. Weaker predominant chord)
- Note: A deceptive cadence occurs when a V chord (dominant)
goes to any other chord besides the tonic.
 The III (iii) Chord
- The III (iii) chord is also known as the mediant chord.
- It is most common to see the III, mediant, triad in a minor
key because it is representing the relative Major key.
- Note: To find the relative Major key, go up one and a half
steps!
Phrygian Half Cadence Plagal Cadence
- Occurs when the iv chord - Occurs when the IV chord
(subdominant) in first (subdominant) goes to the
inversion leads to a V I chord (tonic).
chord (dominant).

*minor only*
 The Cadential 6/4 Chord
- The cadential 6/4 chord consists of a decoration of the dominant
chord by displacing both its third and fifth by a step above, even
though it contains the notes of a tonic triad.
- Moves to a root position dominant chord.
- Upper voices most often move by a step up or down to the pitches
contained within the dominant chord.
- The sixth and the fourth above the bass should always resolve
down by a step.

https://musictheory.pugetsound.edu/mt21c/TheCadentialSixFourChord.html
 Other 6/4 Chords
- Pedal (or neighboring) 6/4 chord occurs when the third
and fifth of a root-position triad are embellished by their
respective upper neighbor tones while the bass remains
stationary.
 Other 6/4 Chords
- The passing 6/4 chord harmonizes the second note of a
three-note ascending or descending scale fragment in the
bass; it harmonizes a bass passing tone.
- The chord usually occurs on a weak beat and the motion of
the upper voices is ordinarily by step.
- The fifth should be doubled!
 Other 6/4 Chords
- The arpeggiated 6/4 chord occurs when a triad is
arpeggiated in the bass.
- The upper voices remain static, while the the bass
arpeggiates a complete triad, or it oscillates between root
and fifth of the chord (can be heard in a waltz or march).
 What is a Non-chord tone?

A non-chord tone is a note that does not belong to the given

chord.
★ Can also be referred to as “embellishing
tones” or “non-harmonic tones”
★ Non-chord tones are classified by how the Disson
ance: a
of harm lack
note is approached and left by either a step, among
ony
musica
leap, or the same tone. notes l
★ Most dissonance happens on a weak beat
and are usually approached or resolved
by a step.
Passing Tone Neighboring Tone

★ Approached by a step ★ Approached by a step

★ Resolved by a step in the ★ Resolved by a step in the
same direction opposite direction
Retardation Appoggiatura

★ Approached by the same ★ Approached by a leap

tone ★ Resolved by a step
★ Resolved by a step up
Escape Tone Anticipation

★ Approached by a step ★ Approached by a step or leap

★ Left by a leap in the ★ Resolved by the same tone
opposite direction
Neighbor Group Pedal point

★ Approached by a step, ★ Begins on a chord tone, then

followed by a leap in the becomes a NCT when other
opposite direction, harmonies change around it.
followed by a step
★ Resolved by returning to
the same tone
 Suspensions
★ Approached by the same tone
★ Resolved by a step & 9-8 suspension are same idea as
4-3
★ 2-3 suspension (dissonance is in the LOWER voice and
still resolves down)

Suspensions cont.
★ Suspensions do not have to be prepared with a
tie--just approached by the same pitch.
★ Intervals measured by the distance from the bass
note.
 2 Minute Stretch Break!!

We just crammed a lot of information...and we still have more to go!

Stand Up, Move Your Body, Give Yourself a Pep Talk

You Got This!!

 Tonicization
- Tonicization occurs when the key changes for a few
beats or measures and goes to a key that is not the tonic.
- Hint: You will see accidentals that indicate that you might
have a secondary chord!
- Occurs instead of a full modulation to another key, so it
does not change the original key.
- Scale degrees or chords other than the tonic may be
made to sound as if they are temporary tonics, this can
also be defined as tonicization.
 Secondary Dominant Chords
- Must function as a dominant chord, so it has to act as either a major
V triad or a dominant seventh chord (V7).
- A major or minor triad other than the original tonic chord is
preceded by its own dominant chord, the secondary dominant,
allowing the original triad to be felt as a sort of temporary tonic.
 Secondary Leading Tone Chords
- Secondary leading-tone chords are diminished triads and
diminished seventh chords (fully or half-diminished) whose root
is the leading tone of the chord being tonicized.
- As with normal leading-tone chords, the triad only appears in
first-inversion (i.e., ⅶo6), but seventh chords may appear in any
inversion.
 What is a mode?
A mode is a type of scale, or more
specifically, an alternative scale that
can be derived from the major scale
but starts on a different scale tone.
There are 7 different modes!
 Ionian Mode: Dorian Mode:
- Starts on the 1st scale - Starts on the 2nd scale
degree. degree of the major scale.
- This is the mode that the - Lower the 3rd and 7th
basic major scale is in! notes a half step.
 Phrygian Mode: Lydian Mode:
- Starts on the 3rd scale - Starts on the 4th scale
degree of the major scale. degree of the major scale.
- Lower the 2nd, 3rd, 6th, - Raise the 7th scale degree
and 7th notes a half step. by a half step.
 Mixolydian Mode: Aeolian Mode:
- Starts on the 6th scale - Starts on the 7th scale
degree of the major scale. degree.
- Lower the 3rd, 6th, and 7th - Lower the 2nd, 3rd, 5th,
notes a half step. 6th, and 7th notes a half
step.
I Don’t Play Loud Music After Lunch
O O H Y I E Y
N R R D X O D
I I Y I O L I
A A G A L I A
N N I N Y A N
A D N
N I
A
N
 Motive + Motivic Transformation
- Phrases are composed of short rhythmic/melodic “ideas” that are
known as motives (motif).
- Usually contains a common idea that makes up the (thematic) identity
of the piece.
- An example of a well-known motif is the descending two notes in
Beethoven’s 9th!

- Motivic transformation occurs when any alterations, repetitions, or

sequences of the distinct motive.
- This takes form in a few ways:
- Appears augmented & diminished
- Fragmentation: parts of the motive are repeated to make it longer
- Imitation: same motive but in different voices
- Interpolation: same interval(s) that goes in the opposite direction
 Sequence
- Melodic sequence occurs when a melodic segment is followed by one
or more transpositions of that same segment.
- Best way to identify melodic sequence is by the sequence only being in
the melody and none of the other voices.
- Harmonic sequence occurs when a specific harmonic pattern (or
segment) is followed by one or more transpositions of that pattern.
- The interval that the sequence is transposed is usually stays the same,
so if one sequence is transposed up a fourth, the next sequence is also
transposed up a fourth again.
- Harmonic sequence can sometimes occurs with a corresponding
melodic sequence.
 Phrase Relationships
- Phrase relationships describe how two or more phrases work
together to sound cohesive or similar, or how they sound
different from one another.
- Usually notated with two lowercase letters.
- aa
- A phrase and its repetition
- a a’
- A phrase and its varied repetition
- ab
- Two contrasting phrases
 Phrase Relationships
- When two phrases are put together they form a period.
- The first phrase that makes up a period is called the
antecedent, while the second phrase is called the consequent.

- Parallel Period: two phrases that are melodically similar

- Contrasting Period: two phrases that are melodically different
 Form
What is a musical form?
- Form is how the structure of a musical composition is
organized and described.
- Specific functions may be identified when parts of a
composition follow melodic-harmonic patterns or fulfill
established roles within the overall structure of the
composition.
- Some sections in a piece of music that determine form
include the introduction, interlude, bridge, verse, refrain,
chorus, coda, and codetta.
 Types of Form
- Binary Form: a two-part form in which both sections are
repeated (A B)

- Ternary Form: a three-part form in which the first section

returns after the contrasting section (A B A)
 Types of Form
- Rondo Form: A form in which the A section is repeated several
times with new sections between each repetition.
- Five-Part Rondo Form (A B A C A)

- Seven-Part Rondo Form (A B A C A B A)

- Sonata Allegro Form: Composed of three main sections that
are the exposition, development, and recapitulation.
- Exposition: main themes are presented; typically two
sections
- Development: expands on the original themes
- Recapitulation: variation of the exposition
🌟 Final written section of the AP exam

🌟 Identify the notes of the melody with either scale degree

numbers or solfège

🌟 Do the cadences first

–Cadences end with I (i), vi (VI), or V only
–Use root position chords for the final two chords FRQ7 Tips:
🌟 Do not invert needlessly Harmonizing a Melody
🌟 Do not use seventh chords excessively

🌟 Do not use root position viio

🌟 Do not use non-chord tones excessively (or use none)

🌟 Do not use second inversion triads outside of the four types

🌟 Identify any notes out of the key and what that implies
Sight Singing Practice
 Break Time!
If you have any questions
for Lani about being a
music major, drop them in
the chat!
 ● chords + part-writing review
skill 4: composing music

● non-aural MCQ practice (MCQ-B)

● FRQ prep:
○ figured bass (FRQ5)
○ roman numerals (FRQ6)

in this last section, we’re talking about

~30% of your whole exam score!
 major minor

diminished augmented
keys + chord spelling
★ Major Key: I, ii, iii, IV, V(7), vi, viio

○ Major: Maj1, min2, min3, Maj4, Maj5, min6, dim7

★ Natural minor Key: i, iio, III, iv, V(7), VI, VII

○ NMin: min1, dim2, Maj3, min4, Maj5, Maj6, Maj7

★ Harmonic minor Key: i, iio, III+, iv, V, VI, viio

○ HMin: min1, dim2, Aug3, min4, Maj5, Maj6, dim7

★ Melodic minor Key: i, ii, III+, IV, V, vio, viio

○ MMin: min1, min2, Aug3, Maj4, Maj5, dim6, dim7

 types of motion

contrary oblique motion: similar motion: parallel motion:

motion: one voice voices move voices move
voices move in stays the same in the same in the same
the opposite while the direction but not direction by
direction other moves up the same the
or down interval same interval
 Authentic Cadences
★ An authentic cadence is when a phrase ends with
vii^o or V going to I.
★ A perfect authentic cadence (PAC) consists of a V-I
progression with both chords in root position. Also, the
soprano voice of the I chord must be the tonic of the
scale
 non-aural mcq general question types

Single
Score Questions:
Analysis
Major Big Ideas in the MCQ:
Questions: The rest of
your MCQ-B
1. Pitch
Most of your will be
standalone
2. Rhythm
MCQ-B will
questions, 3. Form
come from
half without a 4. Musical Design
this section
(~25 music stimuli
questions) (~10
questions)
 F, C, G → A

3
4
6

this practice is courtesy of the college board (publicly released)

this practice is courtesy of the college board (publicly released)
 Preparing for Part-Writing 👀

this practice is courtesy of the college board (publicly released)

 Part-Writing Rules
- All doubling and voice-leading considerations of normal
dominant chords should be maintained
- The leading tone/seventh of the chord cannot be doubled.
- The leading tone goes up!
- The seventh of the chord resolves down!
this practice is courtesy of the college board (publicly released)
this practice is courtesy of the college board (publicly released)
 part-writing do’s and don'ts
s ✅ DO ❌ DON’T

Keep the common tone! Cross voices

this helps avoids common be aware of the distance between
pitfalls in part-writing the tenor and alto line

✅ DO ❌ DON’T

Use contrary motion Double the leading tone

between bass and soprano check your key signature, and check
your work at the end!
 part-writing do’s and don'ts

✅ DO ❌ DON’T

Double the bass... Write Parallel 5th or 8va

in a 6/4 (second inversion) you can omit the 5th at times to
chord. you will be doubling the avoid parallels. double root.
5th of the chord

✅ DO ❌ DON’T

Goal: PAC on V-I Cadence Write intervals greater than 5th

write the root in the soprano aim for stepwise motion in voices.
for the tonic chord exception in bass
 7th chords and voicing do’s and don'ts

✅ DO ❌ DON’T

Resolve Downwards Double in part writing

but...no points taken off if this would require an omission of
found in middle voices the 5th, which is permissible, but
not when doubling 7th

✅ DO 🙃 okay, ig

Dominant 7th Resolves... Omit the 5th

downward to the 3rd of next by doubling the root
chord
 tips on doubling
★ Root Position Triads: Double the root of the chord, which is the
same as saying double the bass note.
★ First-Inversion Triads: Double the soprano, regardless of which
voice it represents (If you can)
★ Second-Inversion Triads: Double the bass, which is the same as
saying double the fifth of the triad.
★ First-Inversion Diminished Triads: The diminished triad
appears most often with the third in the bass, so as to avoid the tritone
between the actual root of the chord and the upper fifth. Double the bass
note, which is the same as saying double the third.
★ Seventh Chords: Regardless of inversion, distribute the four notes of
the seventh chord, of any type, to the four voices Occasionally, especially
with the dominant seventh chord, the fifth can be omitted and the root
doubled.
 FRQ6 writing

this practice is courtesy of the college board (publicly released)

 FRQ6 writing

this practice is courtesy of the college board (publicly released)

 FRQ6 student responses

this practice is courtesy of the college board (publicly released)

 FRQ6 student responses

this practice is courtesy of the college board (publicly released)

 FRQ6 student responses

This represents an excellent response. Chords three through seven

are spelled correctly and earned 1 point each. Chord two contains a
doubled leading tone; it was awarded ½ point for chord spelling.
Between chords five and six there are parallel fifths in the outer
voices, and no points were awarded for this voice-leading connection.
All of the remaining voice-leading connections are acceptable. The
response earned 5½ points for chord spelling and 10 points for voice
leading, for a total of 15½ points, which was rounded up to 16 points.

(reminder that FRQ6 is out of 18 points)

this practice is courtesy of the college board (publicly released)

 FRQ6 student responses

this practice is courtesy of the college board (publicly released)

 FRQ6 student responses

This represents a poor response. Chords three and seven are spelled
correctly and were awarded 1 point each. The chordal seventh is
doubled in chord six, which was awarded ½ point for chord
spelling. Only the voice-leading connection between chords six and
seven could be considered, but since the chordal seventh does not
resolve properly, no points were awarded. The response earned 2½
points for chord spelling and no points were awarded for voice
leading, for a total of 2½ points, which was rounded up to 3 points

(reminder that FRQ6 is out of 18 points)

this practice is courtesy of the college board (publicly released)

 FRQ6 ‘what you gotta do’

this practice is courtesy of the college board (publicly released)

 FRQ6 Example

answer on the next slide

this practice is courtesy of the college board (publicly released)

this practice is courtesy of the college board (publicly released)
 FRQ5 ‘what you gotta do’

this practice is courtesy of the college board (publicly released)

figured bass inversion symbols
SYMBOL WHAT IT MEANS

{blank} root position triad; tonic in the bass voice

6 first inversion triad; 3rd in the bass voice

6 second inversion triad; 5th in the bass voice

4

7 root position seventh chord; tonic in the bass voice

6 first inversion seventh chord; 3rd in the bass voice

5

4 second inversion seventh chord; 5th in the bass voice

3

4 third inversion seventh chord; 7th in the bass voice

2
 figured bass inversion symbol changes
SYMBOL WHAT IT MEANS

# ● raise the pitch by a half step

● if it is next to a number
/ {over a
○ raise that pitch
number}
● without a number:
+ ○ raise the 3rd

Lower the pitch by a half step

♭ ●
● if it is next to a number
○ lower that pitch
● without a number:
○ lower the 3rd

♮ ● make the note {given} or 3rd {if not given} a natural in key sig
this practice is courtesy of the college board (publicly released)
 FRQ #5 scoring

1 pt

2pt

1pt

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

reminder that total points possible = 25

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

this practice is courtesy of the college board (publicly released)

 FRQ5 scoring

this practice is courtesy of the college board (publicly released)