Everything below prints as one AP AP Music Theory practice paper set: papers A & B with their answer keys, plus the full-length study package exam. Use the Download PDF / Print button (or Cmd/Ctrl+P) to save it.
Paper A
AP Music Theory — Practice Paper A
Original unofficial practice questions · paper A · answer key on the last page
Total time: see section headers · No guessing penalty
| Section | Questions | Format |
|---|---|---|
| Section I: Multiple Choice | ||
| Section II: Free Response |
Section I — Multiple Choice
A major scale consists of whole/half steps
A. W-W-H-W-W-W-HB. W-H-W-W-H-W-WC. H-W-W-W-H-W-WD. W-W-W-H-H-W-WA time signature of 6/8 implies a
A. compound duple meterB. simple tripleC. common timeD. cut timeThe interval from C up to G is a
A. perfect fifthB. major thirdC. minor sixthD. perfect fourthThe dominant chord in C major is built on
A. GB. FC. AD. EA natural minor scale has
A. a lowered 3rd, 6th, 7thB. raised 7th onlyC. all naturalsD. a leading tone ascentSuspensions resolve by moving
A. down by stepB. up by leapC. in parallel motionD. chromaticallyA tritone spans
A. 3 whole stepsB. 4 whole stepsC. 2 semitonesD. one octaveWhich is a double-dot?
A. Adds 3/4 of the note valueB. Adds 1/2C. Adds 1/4D. Halves itC major's parallel minor is
A. C minorB. A minorC. C# minorD. G minorThe leading tone semitone appear
A. 7th to tonicB. 3rd to 4thC. 5th to 6thD. octave to fifthSection II — Free Response
Harmonize a given melody line in C major using I, IV, and V, writing the bass and identifying cadences.
8 points · rubric: Chord choice 4 pts, voice leading 2 pts, cadences 2 pts.
Write a rhythmic dictation of a 2-bar pattern in 4/4 given a starting note and half-note pulse.
6 points · rubric: Note values 3 pts, meter accuracy 3 pts.
Answer Key
1. W-W-H-W-W-W-H — Major scale formula.
2. compound duple meter — Dotted-quarter pulse.
3. perfect fifth — P5.
4. G — 5th scale degree.
5. a lowered 3rd, 6th, 7th — Minor formula.
6. down by step — Conventional resolution.
7. 3 whole steps — Augmented fourth.
8. Adds 3/4 of the note value — Dotted note values.
9. C minor — Same tonic.
10. 7th to tonic — Tendency tone.
Free response — rubric notes
1. Chord choice 4 pts, voice leading 2 pts, cadences 2 pts. · model: Realizes functional harmony with correct cadence types.
2. Note values 3 pts, meter accuracy 3 pts. · model: Notates correct rhythm aligned to beat grid.
Paper B
AP Music Theory — Practice Paper B
Original unofficial practice questions · paper B · answer key on the last page
Total time: see section headers · No guessing penalty
| Section | Questions | Format |
|---|---|---|
| Section I: Multiple Choice | ||
| Section II: Free Response |
Section I — Multiple Choice
A major scale consists of whole/half steps
A. W-W-W-H-H-W-WB. W-H-W-W-H-W-WC. W-W-H-W-W-W-HD. H-W-W-W-H-W-WA time signature of 6/8 implies a
A. simple tripleB. common timeC. cut timeD. compound duple meterThe interval from C up to G is a
A. major thirdB. perfect fifthC. perfect fourthD. minor sixthThe dominant chord in C major is built on
A. EB. AC. GD. FA natural minor scale has
A. all naturalsB. a lowered 3rd, 6th, 7thC. raised 7th onlyD. a leading tone ascentSuspensions resolve by moving
A. in parallel motionB. chromaticallyC. down by stepD. up by leapA tritone spans
A. 4 whole stepsB. one octaveC. 2 semitonesD. 3 whole stepsWhich is a double-dot?
A. Halves itB. Adds 3/4 of the note valueC. Adds 1/4D. Adds 1/2C major's parallel minor is
A. A minorB. C# minorC. C minorD. G minorThe leading tone semitone appear
A. 3rd to 4thB. octave to fifthC. 5th to 6thD. 7th to tonicSection II — Free Response
Harmonize a given melody line in C major using I, IV, and V, writing the bass and identifying cadences.
8 points · rubric: Chord choice 4 pts, voice leading 2 pts, cadences 2 pts.
Write a rhythmic dictation of a 2-bar pattern in 4/4 given a starting note and half-note pulse.
6 points · rubric: Note values 3 pts, meter accuracy 3 pts.
Answer Key
1. W-W-H-W-W-W-H — Major scale formula.
2. compound duple meter — Dotted-quarter pulse.
3. perfect fifth — P5.
4. G — 5th scale degree.
5. a lowered 3rd, 6th, 7th — Minor formula.
6. down by step — Conventional resolution.
7. 3 whole steps — Augmented fourth.
8. Adds 3/4 of the note value — Dotted note values.
9. C minor — Same tonic.
10. 7th to tonic — Tendency tone.
Free response — rubric notes
1. Chord choice 4 pts, voice leading 2 pts, cadences 2 pts. · model: Realizes functional harmony with correct cadence types.
2. Note values 3 pts, meter accuracy 3 pts. · model: Notates correct rhythm aligned to beat grid.
Full-length study package exam
AP Music Theory — Full Practice Exam
75 MCQ (80 minutes) + 7 FRQ (85 minutes)
SECTION I: MULTIPLE-CHOICE (80 minutes, 75 questions)
Select the best answer for each question.
- How many sharps are in the key of E Major? (A) 2 (B) 3 (C) 4 (D) 5 (E) 6
- The relative minor of B♭ Major is: (A) B♭ Minor (B) F Minor (C) G Minor (D) D Minor (E) C Minor
- A diminished 5th above G is: (A) C (B) D♭ (C) D (D) E♭ (E) F
- In F Major, ii is: (A) G Minor (B) A Minor (C) B♭ Major (D) C Major (E) D Minor
- A P5 inverts to a: (A) P4 (B) P5 (C) m4 (D) m5 (E) P8
- A V7 in third inversion has the bass on the: (A) Root (B) Third (C) Fifth (D) Seventh (E) Ninth
- The leading tone of B Minor is: (A) B (B) C (C) C# (D) F# (E) A#
- A plagal cadence is: (A) V → I (B) IV → I (C) V → vi (D) ii → V (E) I → IV
- A 6/4 chord is ALWAYS: (A) Root position (B) First inversion (C) Second inversion (D) Third inversion (E) Diminished
- The V/V in G Major is: (A) D7 (B) A7 (C) E7 (D) B7 (E) F#7
- Parallel octaves are: (A) Acceptable in all contexts (B) Two voices moving from P8 to P8 in same direction (C) Two voices moving by step (D) The same voice in two octaves (E) A type of interval
- A minor scale has the pattern: (A) W-W-H-W-W-H-W (B) W-H-W-W-H-W-W (C) W-W-W-H-W-W-H (D) W-H-W-W-W-H-W (E) H-W-W-W-H-W-W
- The supertonic in C Major is: (A) C (B) D (C) E (D) F (E) G
- A retardation resolves by: (A) Moving down by step (B) Moving up by step (C) Leaping (D) Staying the same (E) Moving down by leap
- The Neapolitan chord in D Minor is built on: (A) D♭ (B) E♭ (C) F (D) G (E) A
- A French augmented sixth chord contains: (A) ♭6–1–#4–1 (doubled) (B) ♭6–1–2–#4 (C) ♭6–1–♭3–#4 (D) 1–3–#4–6 (E) ♭6–♭3–1–#4
- Closely related keys to D Major include: (A) A Major (B) G Major (C) B Minor (D) E Minor (E) All of the above
- In sonata form, the recapitulation is distinguished from the exposition by: (A) Both themes are in the tonic (B) The development is repeated (C) There is no transition (D) The first theme is omitted (E) A new theme is introduced
- In 12/8 time, there are: (A) 4 beats per measure (B) 3 beats per measure (C) 12 beats per measure (D) 2 beats per measure (E) 6 beats per measure
- A V7/V in F Major resolves to: (A) I (B) IV (C) V (D) vi (E) ii
- The chord D–F–A–C in the key of C Major is: (A) ii7 (B) IV7 (C) vi7 (D) V7/vi (E) iiø7
- A cadential 6/4 chord resolves through: (A) V → I (B) I6/4 → V → I (C) IV → V (D) vi → V (E) ii → V
- In binary form, the B section typically: (A) Returns to the original key (B) Begins in the new key established at the end of A (C) Repeats the A material (D) Has no modulation (E) Is always in the tonic
- The figured bass symbol for a first inversion triad is: (A) 5/3 (B) 6 (C) 6/4 (D) 7 (E) 6/5
- A half-diminished seventh chord has a: (A) Diminished triad + diminished 7th (B) Diminished triad + minor 7th (C) Minor triad + diminished 7th (D) Minor triad + minor 7th (E) Major triad + minor 7th
- A modulation using a chord that functions diatonically in both keys is called: (A) Phrase modulation (B) Pivot chord modulation (C) Enharmonic modulation (D) Direct modulation (E) Common-tone modulation
- The dominant of E♭ Major is: (A) A♭ (B) B♭ (C) C (D) F (E) G
- An Italian augmented sixth in A♭ Major contains: (A) F, A♭, D, A♭ (B) F, A♭, B, F (C) F, A♭, B, A♭ (doubled) (D) E, G, C#, G (doubled) (E) F♭, A♭, E, A♭ (doubled)
- A deceptive cadence most commonly resolves V to: (A) I (B) IV (C) vi (D) ii (E) iii
- In compound time, each beat is divided into: (A) 2 parts (B) 3 parts (C) 4 parts (D) 6 parts (E) 1 part
- An escape tone is approached by and resolved by: (A) Step in, leap out (B) Leap in, step out (C) Step in, step out (D) Leap in, leap out (E) Same note, step down
- The Neapolitan sixth in E Major is: (A) F Major in first inversion (B) F# Major in first inversion (C) G♭ Major in first inversion (D) A Major in second inversion (E) B Major in first inversion
- The v chord in natural minor is: (A) Major (B) Minor (C) Diminished (D) Augmented (E) Dominant seventh
- A German augmented sixth chord sounds enharmonically like a: (A) Major triad (B) Minor triad (C) Dominant seventh chord (D) Diminished seventh chord (E) Augmented triad
- In a parallel period: (A) Both phrases begin with different material (B) Both phrases begin with similar material (C) The phrases are different lengths (D) There is only one phrase (E) The cadence is always half
- The figured bass 6/5 indicates: (A) Root position triad (B) First inversion triad (C) Root position seventh chord (D) First inversion seventh chord (E) Second inversion seventh chord
- A modulation from G Major to D Major using the D chord as a pivot: (A) D is I in G and V in D (B) D is V in G and I in D (C) D is IV in G and I in D (D) D is vi in G and ii in D (E) D is ii in G and vi in D
- Theme and variations form consists of: (A) A–B–A–C–A (B) Exposition–Development–Recapitulation (C) Theme followed by modified versions (D) Two repeated sections (E) Three sections
- The submediant in A Minor is: (A) C (B) D (C) E (D) F (E) G
- A suspension is labeled by: (A) The interval it resolves to (B) The interval it creates with the bass (C) The bass note (D) The key (E) The measure number
- Borrowed chords from the parallel minor in C Major include: (A) iv (B) ♭VI (C) ♭VII (D) All of the above (E) Only iv
- In rondo form, the recurring section is called the: (A) Episode (B) Development (C) Refrain (D) Transition (E) Coda
- A V6/5 chord in G Major is: (A) D–F#–A with A in bass (B) D–F#–A–C with F# in bass (C) G–B–D with B in bass (D) G–B–D–F with D in bass (E) D–F#–A–C with C in bass
- In the key of E♭ Major, iii is: (A) C Minor (B) G Minor (C) A♭ Major (D) B♭ Major (E) F Minor
- A neighbor tone is approached by: (A) Leap, resolved by step in opposite direction (B) Step, resolved by step in same direction (C) Step away from a note, step back to the same note (D) Same note, resolved by step (E) Rest, resolved by step
- The leading tone of F# Minor is: (A) F# (B) G (C) G# (D) E# (E) A#
- Through-composed form is characterized by: (A) A–B–A structure (B) No repetition of sections (C) A recurring refrain (D) Exposition–Development–Recapitulation (E) Theme and variations
- A diminished triad consists of: (A) M3 + M3 (B) M3 + m3 (C) m3 + M3 (D) m3 + m3 (E) P5 + m3
- The V/vi in D Major is: (A) A7 (B) B7 (C) E7 (D) F#7 (E) G7
- A 9–8 suspension in the bass is called: (A) 2–3 suspension (B) 4–3 suspension (C) 9–8 suspension (D) 7–6 suspension (E) 11–10 suspension
Questions 51-75 would continue covering remaining topics including chromatic harmony, modulation, form, and analysis.
SECTION II: FREE-RESPONSE QUESTIONS (85 minutes, 7 questions)
FRQ 1 (10 min): Melodic Dictation Notate an 8-measure melody in D Major, 4/4 time.
FRQ 2 (10 min): Harmonic Dictation Notate the bass line and Roman numeral analysis for a 4-measure progression in G Major.
FRQ 3 (15 min): Part-Writing Realize the following figured bass in SATB in F Major:
| Beat: | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
|---|---|---|---|---|---|---|---|---|
| Chord: | I | vi | IV | I6/4 | V | V7 | I | — |
FRQ 4 (15 min): Harmonic Analysis Analyze a 4-measure excerpt in A Minor. Provide Roman numerals, identify NHTs, label cadences.
FRQ 5 (10 min): Sight-Singing Sing and notate an 8-measure melody in C Major.
FRQ 6 (15 min): Melodic Composition Compose a melody to a given chord progression in D Minor (8 measures). Include at least two NHTs.
FRQ 7 (15 min): Harmonic Composition Compose a bass line and Roman numeral analysis for a given soprano line in E♭ Major (8 measures). Include at least one secondary dominant.
Answer Key & Rubric
AP Music Theory — Exam Answers and Explanations
Full Practice Exam — Section I Answer Key (Questions 1-50)
| Q# | Answer | Explanation |
|---|---|---|
| 1 | C | E Major = F#, C#, G#, D# (4 sharps) |
| 2 | C | Relative minor is 3 scale degrees below: B♭ → G |
| 3 | B | G to D♭ = diminished 5th (6 half steps) |
| 4 | A | ii in F Major = G–B♭–D = G Minor |
| 5 | A | P5 inverts to P4 (5+4=9) |
| 6 | D | Third inversion = seventh in bass |
| 7 | C | Leading tone of B Minor = A# (one half step below B) |
| 8 | B | Plagal cadence = IV → I |
| 9 | C | 6/4 = second inversion (fifth in bass) |
| 10 | A | V/V in G Major = D7 (dominant of D=G's V) |
| 11 | B | Parallel octaves = two voices moving P8→P8 in same direction |
| 12 | B | Natural minor: W-H-W-W-H-W-W |
| 13 | B | Supertonic = scale degree 2 = D |
| 14 | B | Retardation resolves UP by step (opposite of suspension) |
| 15 | B | Neapolitan = ♭II6; in D Minor, ♭II = E♭ |
| 16 | B | Fr+6 = ♭6–1–2–#4 (4 distinct pitches) |
| 17 | E | Closely related: A Maj (V), G Maj (IV), B Min (vi), E Min (iii) |
| 18 | A | In recapitulation, BOTH themes are in the tonic |
| 19 | A | 12/8: 12÷3=4, so 4 beats of dotted quarters |
| 20 | C | V7/V = dominant of the dominant; resolves to V |
| 21 | A | D–F–A–C in C Major = ii7 |
| 22 | B | Cadential 6/4: I6/4 → V → I |
| 23 | B | B section begins in the new key from A's ending |
| 24 | B | First inversion = 6 or 6/3 |
| 25 | B | Half-diminished = dim triad + minor 7th |
| 26 | B | Pivot chord modulation uses a shared chord |
| 27 | B | V of E♭ = B♭ |
| 28 | A | It+6 in A♭: ♭6=F, 1=A♭, #4=D, doubled 1=A♭ |
| 29 | C | Deceptive cadence = V → vi most commonly |
| 30 | B | Compound time: beat divided into 3 parts |
| 31 | A | Escape tone: step in, leap out (opposite direction) |
| 32 | A | N6 in E Major = ♭II6 = F Major first inversion |
| 33 | B | v in natural minor is minor (not raised leading tone) |
| 34 | C | Ger+6 enharmonically = dom7 |
| 35 | B | Parallel period: similar opening material |
| 36 | D | 6/5 = first inversion seventh chord |
| 37 | B | D is V in G Major and I in D Major |
| 38 | C | Theme and variations: theme + modified versions |
| 39 | D | Submediant = scale degree 6 = F in A Minor |
| 40 | B | Suspension labeled by the dissonant interval above bass |
| 41 | D | Borrowed: iv, ♭VI, ♭VII (and others) from parallel minor |
| 42 | C | Rondo: recurring section = refrain |
| 43 | B | V6/5 in G Major = D7 first inversion (F# in bass) |
| 44 | B | iii in E♭ Major = G Minor |
| 45 | C | Neighbor tone: step away, step back |
| 46 | E | Leading tone of F# Minor = E# (half step below F#) |
| 47 | B | Through-composed: no repetition |
| 48 | D | Diminished triad: m3 + m3 |
| 49 | B | V/vi in D Major: vi = B Minor; V of B = F#7 |
| 50 | C | 9-8 suspension labeled by the dissonant interval |
Section II FRQ Scoring Guidelines
FRQ 1: Melodic Dictation
- Pitches (5 pts): Each correct pitch earns approximately 0.6 points; partial credit for near-misses (one note off)
- Rhythm (3 pts): Correct note values; partial credit for correct durations with incorrect placement
- Key/time (2 pts): Must be in the correct key signature and time signature
FRQ 2: Harmonic Dictation
- Bass line (5 pts): Each correct bass note earns ~1.25 points
- Roman numerals (3 pts): Each correct analysis earns ~0.75 points
- Inversions (2 pts): Bonus points for correct inversions
FRQ 3: Part-Writing Scoring
| Chord | Correct Chord | Voice Leading | Total |
|---|---|---|---|
| I | 1 | — | 1 |
| vi | 1 | 0.25 | 1.25 |
| IV | 1 | 0.25 | 1.25 |
| I6/4 | 1 | 0.25 | 1.25 |
| V | 1 | 0.25 | 1.25 |
| V7 | 1 | 0.25 | 1.25 |
| I | 1 | 0.25 | 1.25 |
| Total | 7 | ~1.5 | ~8.5 |
Deductions:
- Parallel 5ths: -1 per occurrence
- Parallel 8ves/unisons: -1 per occurrence
- Voice crossing: -0.5 per occurrence
- Incorrect leading tone resolution: -0.5 per occurrence
- Incorrect seventh resolution: -0.5 per occurrence
- Incorrect doubling: -0.25 per occurrence
FRQ 4: Harmonic Analysis Scoring
- Correct Roman numerals: 1 point each (~6 points)
- Correct NHT identification: 2 points
- Correct cadence identification: 2 points
FRQ 5: Sight-Singing
- Correct pitches (sung and notated): 5 points
- Correct rhythm: 3 points
- Performance accuracy: 2 points
FRQ 6: Melodic Composition Scoring
- Correct chord-tone alignment: 4 points
- Non-harmonic tones (at least 2): 2 points
- Voice leading quality: 2 points
- Musicality: 2 points
FRQ 7: Harmonic Composition Scoring
- Correct bass line with functional harmony: 4 points
- Correct Roman numeral analysis: 3 points
- Inclusion of secondary dominant: 1 point
- Voice leading: 2 points