AP Music Theory cheat sheet

Identify intervals by counting diatonic steps and semitones; compound intervals reduce by octave (e.g., 9th = 2nd + octave).

Chord quality from intervals: major triad = M3 + m3; minor triad = m3 + M3; diminished = m3 + m3; augmented = M3 + M3.

Roman numeral analysis: uppercase for major, lowercase for minor; ° for diminished, + for augmented; inversion figures: 6, 6/4, 7, 6/5, 4/3, 4/2.

Cadence types: PAC (V–I, both root position, soprano ends on tonic), IAC (V–I but inverted or soprano not tonic), HC (ends on V), PC (IV–I), DC (V–vi).

Secondary dominants: V/x is a major triad or dominant seventh resolving to x; notated V/V, V/ii, etc.

Modulation detection: look for accidentals, cadence in new key, pivot chord (diatonic in both keys).

Non-chord tones: passing (stepwise between chord tones), neighbor (step away and back), suspension (prepared, tied, resolves down by step), retardation (resolves up), appoggiatura (approached by leap, resolved by step), escape tone (step then leap), anticipation (unprepared, repeats next chord tone).

Form analysis: binary (AB or AABB), ternary (ABA), sonata (exposition, development, recapitulation), rondo (ABACA), theme and variations.

Texture terms: monophonic (single line), homophonic (melody + accompaniment), polyphonic (independent lines), imitative (canon, fugue).

Part-writing rules: avoid parallel fifths and octaves, resolve leading tone up to tonic in outer voices, resolve sevenths down by step, no voice crossing or overlap, spacing within octave between upper voices.

Figured bass realization: intervals above bass; 6 = first inversion triad, 6/4 = second inversion, 7 = seventh chord root position, 6/5 = first inversion, 4/3 = second inversion, 4/2 = third inversion.

Harmonize melody: choose chords from diatonic set; use primary triads (I, IV, V) at cadences; avoid V–IV; use inversions for smooth bass.

Melodic dictation: notate rhythm first, then pitch; check intervals and scale degrees; use tonic as reference.

Harmonic dictation: identify bass line and chord qualities; listen for cadences and common progressions (I–vi–IV–V).

Sight singing: solfège with movable do; do = tonic; chromatic alterations use syllables (di, ri, fi, si, li, te).

Error detection: compare given melody with heard version; common errors: wrong rhythm, wrong pitch, missing accidental.

Composition/arrangement: follow stylistic conventions (e.g., Baroque figuration, Classical phrasing); ensure voice leading and chord progressions are idiomatic.

Before singing, establish tonic and key using a reference pitch or chord; hum tonic and dominant.

Use solfège: major scale = do re mi fa sol la ti do; minor scale (natural) = la ti do re mi fa sol la; harmonic minor raises sol to si.

Chromatic solfège: raised notes (di, ri, fi, si, li) and lowered notes (te, le, se, me, ra).

Conduct or tap steady beat; maintain tempo; subdivide as needed for complex rhythms.

For leaps, think interval: e.g., ascending perfect fourth = do–fa; descending minor third = mi–do.

Rhythm reading: count with syllables (1 e & a) or takadimi; note values: whole, half, quarter, eighth, sixteenth; dotted values add half.

Breath support: use diaphragmatic breathing; maintain airflow for phrasing.

If a mistake occurs, continue; do not restart unless instructed.