Terms and Symbols Used on the AP Music Theory Exam Motive Solo, soli

Period Stanza
David Lockart
antecedent Strophic
The terms and symbols in the list below may appear in the directions or questions on consequent Theme
the AP Music Theory Exam, as well as in course instructional materials. As such, the contrasting period thematic transformation
list will be an invaluable guide in the development of an AP Music Theory course, but double period Through-composed
it is not intended to limit course content—some teachers may choose to include topics parallel period Tutti
not shown here. Phrase group Variation
It is important to note that the list does not include extremely basic musical Refrain Verse
vocabulary, even though such widely used terms may be used on the exam—for Small forms
example, “quarter note” is not listed. Nor is every term of equal importance—for binary
example, “strophic” and “rubato” may not appear on every exam, but “melody,” rounded binary
“phrase,” and “texture” certainly will. ternary
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
Harmony
Dictionary of Music. Symbols
Roman and Arabic numerals
Form
Capital Roman numerals denote major triads.
Symbols Lowercase Roman numerals denote minor triads.
Lowercase letters indicate musical phrases or subsections: for example, a b indicates A capital Roman numeral with a “ + ” indicates an augmented triad.
a contrasting period; a b a indicates a phrase, contrasting phrase, and return to A lowercase Roman numeral with a “ ¿ ” indicates a diminished triad.
the original phrase. A prime (as in a a' ) denotes a phrase and a varied restatement. Arabic numerals or figured-bass symbols denote intervals above the bass and
Capital letters are used to indicate larger sections of compositions. hence indirectly indicate chord inversion. Arabic numerals may indicate voice
Terms leading and/or nonharmonic tones.
Cadence Melodic procedures Triads
6
Cadential extension augmentation indicates a first inversion triad
6
Coda conjunct 4 indicates a second inversion triad
Codetta diminution Seventh Chords
Contour disjunct 7
indicates a root-position seventh chord
Countermelody extended version, phrase extension ¿7 indicates a diminished (fully-diminished) seventh chord
Elision (phrase elision) fragmentation ¯7 indicates a half-diminished seventh chord
Fragment (fragmented motive) internal expansion 6
indicates first inversion
5
Introduction inversion, melodic inversion 4
indicates second inversion
3
Jazz and pop terms literal repetition 4
2 indicates third inversion
bridge motivic transformation
chorus octave displacement Other figures
song form (AABA) retrograde 8–7 indicates melodic movement from an octave to a seventh above the bass.
turnaround rhythmic transformation 9–8, 7–6, 4–3 indicate a suspension and melodic resolution.
twelve-bar blues sequence An accidental before an Arabic numeral indicates alteration of the interval
sequential repetition involved.
shortened version A figure with a slash (e.g., ) or a plus (e.g., 4+) indicates that the note
transposition creating the interval in question is raised a half step.
truncation

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 Cadence Types Treatment of second inversion ( 64 ) triads
Authentic Arpeggiating 64—a 64 created by arpeggiation of the triad in the bass
imperfect authentic (e.g., 1a).
perfect authentic Cadential 64—a I64 preceding the dominant, often at a cadence. Although it
Conclusive cadence contains the notes of the tonic triad, it does not exercise a tonic function but
Deceptive rather serves as an embellishment of the dominant. It occurs in a metrically
Half stronger position than the dominant, and the upper voices most often move by
Phrygian half step to the tones of the dominant. May also be written as V 64 c
53 , including the
Inconclusive cadence resolution of the cadential 64 to the dominant (e.g., 1b). c
Plagal
Neighboring or pedal 64 (embellishing 64, auxiliary 64 )—occurs when the third
Chord Quality and fifth of a root position triad are embellished by their respective upper
Triads neighboring tones, while the bass is stationary, usually occurring on a weak
augmented or + beat (e.g., 1c).
diminished or ¿ Passing 64—harmonizes the second note of a three-note ascending or
major or M descending scale fragment in the bass; that is, it harmonizes a bass passing
minor or m tone. The usual metric placement is on an unaccented beat and the motion of
Seventh chords the upper voices is ordinarily by step (e.g., 1d).
major seventh (MM; M7) (“major-major”)
dominant seventh (Mm7) (used for major-minor seventh chords exercising a 1a. Arpeggiating 64 1b. Cadential 64 1c. Neighboring 1d. Passing 64
dominant function) or pedal 64
major-minor seventh (Mm7) (same quality as dominant seventh without
denoting function)
minor seventh (m7; mm) (“minor-minor”)
half-diminished seventh (¯7; dm) (“diminished-minor”)
fully-diminished seventh (¿7; dd) (“diminished-diminished”)
Functions and Progressions
Scale degrees/diatonic chord names Harmonic rhythm
tonic Modulation
supertonic common tone modulation
mediant phrase modulation
subdominant pivot chord modulation
dominant Neighboring chord Nonharmonic Tones
submediant Rate of harmonic change Anticipation Ornament
subtonic Realize, realization of a figured bass, Appoggiatura Passing tone (accented, unaccented)
leading tone realization of a four-part Roman Embellishment Pedal point
Functions numeral progression Escape tone (échappeé) Preparation
tonic function Retrogression Neighboring tone (auxiliary tone, Resolution
dominant function Secondary dominant embellishing tone, neighbor note) Retardation
predominant function Secondary leading tone chord double neighbor Suspension
Circle of fifths Tonicization lower neighbor rearticulated suspension
Deceptive progression upper neighbor suspension chain
neighbor group (cambiata,
changing tones,
changing notes)

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 Spacing/Voicing/Position Performance Terms
Alto Root Antiphonal Improvisation, improvisatory
Bass Root position Articulation Phrasing
Close position Second inversion arco Tempo
Doubling Soprano legato adagio
First inversion Tenor marcato allegro
Inversion, inversion of chords Third inversion pizzicato andante
Open position slur andantino
Voice Leading staccato grave
tenuto largo
Common tone Parallel intervals Call and response lento
Contrary motion objectionable parallels Dynamics moderato
Cross relation (false relation) parallel fifths crescendo presto
Crossed voices (voice crossing) parallel octaves diminuendo vivace
Direct fifths (hidden fifths) Similar motion terrace dynamics
Direct octaves (hidden octaves) Tendency tone pianissimo pp accelerando
Oblique motion Unresolved leading tone piano p ritardando
Overlapping voices Unresolved seventh mezzo piano mp ritenuto
Parallel motion Voice exchange mezzo forte mf rubato
Miscellaneous Harmonic Terms forte f
Arpeggio, arpeggiation Figured bass fortissimo ff
Chromatic Flatted fifth Rhythm/Meter/Temporal Organization
Common Practice Style Lead sheet
Consonance Picardy third Accent Duration
Diatonic Resolution agogic accent Hemiola
Dissonance dynamic accent Irregular meter
metrical accent Meter
Intervals Anacrusis (pickup; upbeat) duple
Compound interval Asymmetrical meter quadruple
Half step (semitone) Augmentation triple
Interval Bar line Note value
Inversion, inversion of an interval Beat Polyrhythm
Numerical names (i.e., third, fifth, octave) Beat type Pulse
Quality or type (e.g., perfect, major, minor, diminished, augmented) compound Rhythm
Tritone simple Swing rhythm
Unison (prime) Changing meter (multimeter) Syncopation
Whole step (whole tone) Cross rhythm Tempo
Diminution Tie
Dot, double dot Time signature (meter signature)
Dotted rhythm Triplet
Duplet

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 Scales/Keys/Modes Other terms that may be used on the AP Music Theory Exam
Accidental Modality Aria Prelude
Chromatic, chromaticism Parallel key, parallel major or minor Art song Postlude
Diatonic Pentatonic Concerto Sonata
Key signature Relative key, relative major or minor Fugue Song
Major Scale degrees Genre(s) String quartet
Minor tonic ^1 Interlude Symphony
harmonic minor supertonic ^2 Opera
melodic minor, mediant ^3
ascending/descending subdominant ^4 Exam Format
natural minor (Aeolian) dominant ^5
Five kinds of questions are ordinarily included in the exam: multiple-choice questions
Mode submediant ^6
based on recorded music played within the exam; multiple-choice questions without
Ionian leading tone ^7
aural stimulus; written free-response questions with aural stimulus; written free-response
Dorian Tetrachord
questions without aural stimulus; and sight-singing. The written free-response and
Phrygian Tonal
sight-singing sections are scored by AP Music Theory teachers and college music
Lydian Tonality
faculty. A description of the AP Music Theory Exam follows. Sample questions follow the
Mixolydian Tonic
description of each portion of the exam. Answers to the multiple-choice questions are
Aeolian Whole-tone scale
given on page 35.
Locrian
Text/Music Relations Multiple-Choice Section
Lyrics The multiple-choice section of the exam consists of about 75 questions and counts for
Melismatic 45 percent of the total grade.
Stanza
t
2VFTUJPOT
CBTFE
PO
BVSBM
TUJNVMVT
UFTU
B
TUVEFOUT
MJTUFOJOH
TLJMM
BOE
LOPXMFEHF

Syllabic
about theory largely in the context of examples from actual literature. Most
Texture of these questions will cover topics D, E, and F in section V of the outline on
Alberti bass Instrumentation pages 9–10, although emphasis is likely to be on the various elements mentioned
Canon brass under topic F. Some aural stimulus questions may test the student’s skill in
Canonic continuo score analysis.
Chordal accompaniment percussion t
2VFTUJPOT
OPU
CBTFE
PO
BVSBM
TUJNVMVT
FNQIBTJ[F
UIPTF
NBUFSJBMT
MJTUFE

Contrapuntal rhythm section in topics A–E in section IV of the outline on page 10; they may include knowledge
Counterpoint strings and skills listed for sections I, II, and III as well.
imitation timbre
imitative polyphony woodwinds
nonimitative polyphony Melody
countermelody Monophony, monophonic
fugal imitation Obbligato
Heterophony, heterophonic Ostinato
Homophony, homophonic Polyphony, polyphonic
chordal homophony Register
chordal texture (homorhythmic) Solo, soli
melody with accompaniment Tessitura
Tutti
Walking bass

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