The Exam
AP'Music Theory Exam
ao0s
DONOTOPEN
THISBOOKTET
UNTILYOUARETOLDTODOSO.
Instnrctions
TotalTime
Approximatelyt hour,
20 minutes
Numberol 0uestions
75
Percentof TotalGrade
45%
Writinglnstrument
Pencilrequired
Numberof 0uestions
42
Time
Approximately
48 minutes
Numberol Ouestions
33
Time
3 5 mi nut es
P".t
4 consistsof multiple-choicequestionsbasedon recordedmusical exanyrles.The
recording will provide detailed instructions for completing Part A. Part B consists of
multiple-choice questions that do not use recorded music. The proctor will annbunce
when to begin Part B and when it should be completed. If you finish before time is called,
you may check your work on Part B only.
Section I of this exam contains 75 multiple-choice questions. Fill in only the ovals for
numbers i through 75 of the answer sheet. Becausethis section offers only four answer
options for each question, do not mark the (E) answer oval for any question.
Indicate all of your answersto the multiple-choice questions on the answer sheet. No
credit will be given for anything written in this exam booldet, but you may use the booklet
for notes or scratch work. After you have decided which of the suggestedanswersis best,
completely fill in the corresponding oval on the answer sheet. Give only one answer to
each question. If you change an answer, be sure that the previous mark is erased
completely. Here is a sample question and answer.
Samole0uestion
Chicagais a
{A} srate
{B} citf
(C) country
SampleAnswer
@{t€@€
{tr} continert
use your time effectively, working as quickly as you can without losing accuracy. Do not
spend too much time on any one question. Go on to other questions and come back to
the ones you have not answeredif you have time. It is not expectedthat everyone will
know the answersto all of the multiple-choice questions.
About Guessing
Many students wonder whether or not to guessthe answersto questions about which they
are not certain. In this section of the exam, as a correction for random guessing,one-third
of the number of questions you answer incorrectly will be subtracted from the number of
questions you answer correctly. If you are not sure of the best answer but have some
knowledge of the question and are able to eliminate one or more of the answer choices,
your chance of answering correctly is improved, and it may be to your advantageto
answersuch a question.
ZI
Music Theorv
Directions: Each of the questionsor incomplete statements
below is followed by four suggestedanswersor
completions' Selectthe one that is best in eachcas" and then fill in
the
oval on the answersheet.
Throughout the examination,the
"orr"rponding
{Fl inoicates when music will be played.
Part A
Time-Approximately
4g minutes
Questions 1-6 ask you t9 identify pitch pauernsthat are played. In eachcasethe questionnumber
will be announced.
You will have ten secondsto read the choices,and then youwill
hear the musical exampleplayed twice, with a brief
pausebetweenplayings' Rememberto read the choicesior
eachquestionafter its number is announced.Now lisren to
the music for Questions r-6 and identify the pitch patternsthat
#e prayed.
l. Which of the following is played?
0..
(A)
(A) Iffi=
-d--
(B)
(B) -d1ffi+
A
(c)
( c )--r_ffi
(D)
(D) -(/rt--11
_U--
Pitchpattern,playedtwice.
fF"l
?2
2. Which of the follow ing is played?
Unauthorized copying or rcuse of
any part of this page is illegal.
-'--t----
Pitch pattern, played twice.
3. Which of the following is played?
Which of the following is played?
(A) E:ry4
--l
(B)ffi
--------F
(B)
(c) 5++-a=n
. ----r---- - - - T ]
( D)f f i
'
-
--
(c)
Il
Pitchpattern,playedtwice. fFl
Which of the following is played?
Pitch pattern, played twice.
6. Which of the following is played?
(A)
(A )ffi
(B)
(c)
(c)
(D)
(D)
Pitchpattern,playedtwice. [Fl
ffi
ffi
ffi
/l
Pitchpattern,playedtwice. iltl
PLEASEGO ONTOTHENEXTSET OF QUESTIONS.
Questions7-8 askyou t9 identify rhythms'After a question
is announced,
you will haveten secondsto readthe
choices'It is importantthatyou iead'thechoices
.*irully u"roi" ,rr"
is prayed.Eachexamplewill be
"ru-ple
pravings.
Now
iisten
tothemusic
ro,q;;tio.,s
ffii#.,H?L:'ffi ifJ::;ffi"\,ff;f.
7. Which of the following is played?
(A)
(B)
(c)
(D)
Rhythmpatern,playedtwice.
lfll
8. Which of the following is played?
(A)
(B)
(c)
(D)
Rhythmpatern,playedtwice.
ffl
PLEASEGO ONTOTHENEXTSET
OF QUESTIONS.
Unauthorized copyinlor reu-seot
any Pan of this page is illegal.
7-8and
iie,,tiry
tne
Questions 9-14 arebasedon four sectionsfrom the beginning of a symphonic movement. Sections 1 and 2 will be
played twice, then sections3 and 4 will be played once. Finally, the entire excerpt will be played once. Before
listening to sections I and2, pleaseread Questions 9-12.
9. The first four notes of the melody are scale
degrees
(A) 13s1
(B) 1s31
( c ) 3l s 3
( D)s 3 1 s
13. Section3 is in the key of the
(A)
(B)
(C)
(D)
10.Themetertypeis
(A) simpleduple
(B) simpletriple
(C) compound duple
(D) compound triple
dominant
subdominant
relative minor
parallel minor
14.The form of the entireexcerptis
I 1. Which of the follswing best describesthe role of
the bassoonat the beginning of section 2 ?
(A)
(B)
(C)
(D)
Before listening to sections3 and 4, pleaseread
Questions 13-14.
(A) A A'B
(B ) A A ' B
(c ) A A ' B
(D) A A ' B
A"
B
B'
C
provides a walking bassline.
provides a countermelody.
imitates the melody at the fifth.
doubles the melody at the octave.
Now listen to sections3 and 4 and answer
12. Which of the following statementsbest describes
the harmonic rhythm of sections I andZ ?
The entireexcerptwill now be played. lFl
It
It
It
It
13-14.E
Questions
(A) The harmonic rhythm of section 2 is slower
than that of section 1.
(B) The harmonic rhythm of section 2 is faster
than that of section 1.
(C) The harmonic rhythm of section 2 is the same
as that of section 1.
(D) The harmonic rhythm of section 1
accelerates,while that of section 2 slows
down.
listen to sections I and2 for the first time and
r Questions
9-12.W
I and2 will now be played a second
PLEASEGO ONTOTHENEXTSET OF QUESTIONS.
25
Questions L5-19 are based.ol an excerpt in two sections.The first section of the excerpt
will be played two times.
Then' the secondsection will be played once. Finally, the
entire excerpt will be played once. Before listening to the
first section for the first time, pleaseread
euestions l5-L7.
15. The pairs of voices are singing in
(A)
(B)
(C)
(D)
Before listening to the secondsection,pleaseread
Questions 18-19.
thirds
fourths
fifths
sixths
18. The texture of the secondsectionis best
describedas
16. A correct rhythmic notation for the principal
melodic idea is
(A) ,t'
n rTi
aaa
aa
i- a
a
(A)
(B)
(C)
(D)
heterophonic
homophonic
monophonic
polyphonic
a
-1
(B) .1' .DJ-FJ
\s
19. The tempos of the two sectionsare best described.
respectively,as
(A)
(B)
(C)
(D)
allegro, adagio
andante,allegro
largo, moderato
presto, andante
Now listen to the secondsection and answer
13-19.E
Questions
(D) ?.f J
aaaa
.l
The entireexcerptwill now be played.
fFl
-r
17. The opening chord progressionreturns several
times throughout the first section. The first four
chords ofthe progressionare best analyzedas
( A ) r _ i i _ v_ t
( B ) r - I V_ V_ r
(C) I-viio6-f -V
(D) I - f -ii6-v
Now listen to the first section for the first time and
answer Questions 1S-l?.
E
The first section will now be played a second
time.fFl
PLEASEGO ONTOTHENEXTSET OF QUESTIONS.
Unauthorized copylng oi reuse
any part ot thls page ls iileqal.
Questions 20-24 are basedon an excerpt from a piano work that can be diagrammedas follows.
Introduction ll: 4 phrases :ll
First the introduction will be played once. Then the entire excerpt will be played twice. Before listening to the
infroduction, pleaseread Questions 20-21.
20. The introduction begins with a melody played in
parallel
(A)
(B)
(C)
(D)
thirds
fifrhs
sixths
octaves
22. The four phrasesare best labeled as
2I. The introduction ends with the two lines in
(A)
(B)
(C)
(D)
parallel motion
similar motion
contrary motion
oblique motion
(A)
(B)
(C)
(D)
a a'a" b
a a'b b'
abac
abcb'
23. Which of the following is a rhythmic feature of
the excerpt?
Now listen to the introduction and answer
Questions20-21.W
Before listening to the entire excerpt for the first time,
pleaseread Questi ons 22-24.
(A)
(B)
(C)
(D)
Meter changes
Ritardando
Triplet rhythms
Syncopation
24. In the repeat of the four phrases,the pianist varies
the performancein which of the following ways?
(A)
(B)
(C)
(D)
Taking the melody down an octave
Improvising an ostinato bass
Embellishing the accompanimenr
Transposingthe music up a step
Now listen to the entire excerpt for the first time and
answer Questions 22-24. @
The entireexcerptwill now be playedagain. IF ]
PLEASEGO ONTOTHENEXTSET OF QUESTIONS.
uthorized copying or reuse of
part ot thie page is illegal.
Questions 25'29 arebasedon an excerpt
cons.istingof four long pfuases,,flo*
of theexcerpt
string sextet.The first two phrases
will beplavedt*i"t' irtJn;':,:T.:9.;t,
.u
d;tfiires
wili beprayedo-nce.
will beplayedonce'Beforelisteningto ,n"
Finaily,theentireexcerpr
rirrt twophrases
for thefirsttime,please
readeuesti ons2s-27.
25. The opening motive is represented
by scale
degrees
(A) 1s 67 6
( B )r s 7 r 7
( c ) s r 23 2
(D)s r 34 3
26. Comparedto the first phrase,
the melody of the
secondphraseis
(A)
(B)
(C)
(D)
an octave hisher
an octaveloier
a fifth higher
a fifth lower
ff #li#if':"r:'#',"",',#:i:
27. The secondphraseends with what
kind of
cadence?
(A)
(B)
(C)
(D)
Plagal
Deceprive
Imperfect authentic
Phrygian hatf
Now listen to the first two phrasesfor
the first
time and answer euestions ZS-27.
@
The first two phraseswill now be played
again. lJl I
B^efor9listening to phrasesthree
and four, pleaseread
Question 28.
28' rn the first half of phrasesthree and four, the motion
between the highest
(A) h
(B)1
(c)\
and lowest lines is best representedas
(D)
\*q-\
Now listento phrasesthreeandfour andanswer
euestion 23. m
Before listening to the entire excerpt,pleaseread
euesti on29.
29. The texture of the entire excerpt is
(A)
(B)
(C)
(D)
chordal homophony
melodywith accompaniment
melody wirh countermelodv
imirative polyphony
Now listen to the entire excerpt and answer
29. m
Question
PLEASEGO ONTOTHENEXTSETOF QUESTIONS.
29
Questions 30-33 are basedon an excerpt that will
be played four times. The scoreis pnnted
the version you will hear' severalmeasires
correctly below, but in
contain
in either pitch or rhythm. Before listening
the first time, pleaseread
to the music for
euestions 30-33 and look",,o^
at the score.
(
30. In measure3. thereis an error in
(A)
(B)
(C)
(D)
treble clef pitch
treble clef rhythm
bassclef pitch
bassclef rhythm
(A)
(B)
(C)
(D)
3l . ln measure4. thereis an error in
(A)
(B)
(C)
(D)
treble clef pitch
treble clef rhythm
bassclef pitch
bassclef rhyrhm
trebleclef pitch
rreble clef rhyrhm
bassclef pitch
bassclef rhythm
Now listen to the music for the first time
and answer
The musicwill now beplayeda secondtime.
The musicwill now beplayeda third time.
ffi
Themusicwill now beplayeda final time.
ffi
PLEASEGO ONTOTHENEXTSET
OF QUESTIONS.
.JU
UnauthorizedcopyinliEE
any Partot this pageis illegal.
i
treble clef pitch
treble clef rhyrhm
bassclef pitch
bassclef rhyrhm
30-33.@
Questions
32. In measure6, thereis an error in
(A)
(B)
(C)
(D)
33. In measure7, thereis an error in
{Fl
Questions 34'38 are basedon an excerpt that consistsof a long main section and a short ending. First, the main
section of the excerpt will be played twice. Then, the entire excerpt will be played twice. Before listening
to the main
section for the first time, pleaseread Questions 34-36.
34. All of thefollowing instrumentsareheard
EXCEPT
(A)
(B)
(C)
(D)
violins
trumpets
guitars
clarinets
37. Which of the following nonharmonic tones are
heard in the vocal parts throughout the excerpt?
35. Beginningwith the first vocalphrase,which of
thefoliowing bestrepresents
the structureof each
phrase?
( A) 3+lm e a su r esin meter
$
( B) 4+ I m e a su resinmeter
$
( C ) 2+2 m e a su r esin metet
ft
ft meter
( D ) 4+ 2m e a su r esin
36. The chord heard at the end of the main sectionis
(A)
(B)
(C)
(D)
Before listening to the entire excerpt for the first time,
pleaseread Questions 37-38.
(A)
(B)
(C)
(D)
Neighbortonesand passingtones
Neighbor tonesand suspensions
Anticipations and passingtones
Anticipations and suspensions
38. The final cadenceis which of the following types?
(A) Half
(B) Plagal
(C) Authentic
(D) Deceptive
Now listen to the entire excerpt for the first time and
answerQuestions 37-33.
@
The entireexcerprwill now be playedagain.
f$ I
I
IV
V
vi
Now listen to the main section for the first time and
answer
34-36.m
Questions
The main sectionwill now be played again.
[Jll
PLEASEGO ONTOTHENEXTSET OF QUESTIONS.
Questions 39'42 arebased al gxcerptfrom a twentieth-century
orchestralwork that will be prayedfour times.
9n
The excerptbeginswith an English
rto- rll"roay,which i, iollo*"a uy a melody
playedby the violins.Before
listeningto themusicfor thefiist time,ptease
readeuestions39-42.
39. Tl1: be^ginningof the melody employs
which
of the following rhythmic Oevicei? '
(A)
(B)
(C)
(D)
Hemiola
Syncopation
Anacrusis
Triplets
40. When the English hom reachesits
highest pitch,
it plays a four-note motive. After thiJinitial
statement,the motive is played
(A)
(B)
(C)
(D)
a whole step lower
a perfect fourth lower
in inversion
in rhythmic augmentation
42. The final cadenceis which of the following
types?
(A) Half
(B) Imperfect authentic
(C) Perfect authentic
(D) Deceptive
Now listen to the music for the first time
and answer
Questions39-42.@
Themusicwill now beplayeda secondtime.
Themusicwill now be playeda third ti-".
[t]
The musicwill now beplayeda final time.
[*F]
al.Iy gomparisonto the English horn
melody, the
violins' melody is
(A) the sameat the beginning and
the samear
the end
(B) the sameat the beginning and
different at
the end
(C) different at the beginning and
the samear
the end
(D) different at the beginning and
differenr at
the end
END OF PART A
32
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