AP Music Theory FRQ Guide 2026 — Part Writing, Melody, Analysis & Sight-Singing
AP Music Theory's Section II requires you to write music — not just identify it. The four-part chorale writing task earns the most points and is where students with strong theory foundations gain the greatest advantage. This guide covers every Section II task with the exact rules examiners check.
AP Music Theory Exam Format
| Section | Content | Weight | Time |
|---|---|---|---|
| Section I — MCQ | Multiple choice (aural + non-aural) | 40% | 80 min |
| Section II — FRQ | Written tasks (part writing, melodic composition, analysis, sight-singing) | 60% | 80 min |
Section II tasks include: four-part chorale writing (add soprano + inner voices, or realize a figured bass), melodic composition (write an 8-bar melody), harmonic analysis (Roman numerals), and aural components (sight-singing and melodic/rhythmic dictation).
Section II = 60% of your total score. This is the highest-weighted section in any AP exam. Students who can write error-free four-part writing have a massive scoring advantage over students who can only identify chords.
Part Writing — Four-Part SATB Chorale
The part-writing task presents a bass line (with Roman numeral analysis or figured bass) and asks you to write the soprano, alto, and tenor voices — or to realize a fully figured bass with all four voices. This task is worth the most points in Section II.
The Golden Rules of Four-Part Writing
| Rule | What it means | Why it matters |
|---|---|---|
| No parallel P5s or P8s | Two voices cannot move in the same direction by a perfect fifth or octave simultaneously | Destroys voice independence — the most penalized error |
| No direct (hidden) 5ths/8ths | When soprano and bass both move in the same direction to a P5 or P8, the soprano must move by step | Outer voice parallel movement is especially audible |
| Leading tone resolves up | Scale degree 7 (one half step below tonic) must move up to 8̂ (especially in soprano) | Unfulfilled tendency tones sound wrong |
| Chordal 7th resolves down | The 7th of a V7 chord (scale degree 4) resolves down by step to scale degree 3 | Fundamental V7→I voice leading |
| Double the root in root position | When a chord is in root position, double the root (not the third or fifth) | Root doubling provides harmonic stability; doubling leading tone creates parallel octaves when both resolve |
| Avoid the augmented second | Melodic motion should not skip an augmented second (3 half steps) | Augmented melodic intervals are vocally awkward |
| Avoid voice crossing | Alto should not go above soprano; tenor should not go above alto | Voices losing their register creates confusion |
| Avoid large leaps in inner voices | Alto and tenor should move by step or small intervals (thirds); avoid sixths or larger | Smooth inner voices create good chorale texture |
SATB Range Limits (Stay Within These)
| Voice | Low | High |
|---|---|---|
| Soprano | Middle C (C4) | G5 |
| Alto | G3 | C5 |
| Tenor | C3 | G4 |
| Bass | E2 | C4 |
Chord Completion Priority
- First: Place the bass (usually given) and identify the chord
- Second: Determine which note to double (usually the root)
- Third: Resolve any tendency tones from the previous chord (leading tone ↑, chordal 7th ↓)
- Fourth: Fill in remaining voices with smooth stepwise motion or common tones
- Fifth: Check for parallel fifths and octaves between ALL pairs of voices
Common tone technique: When the bass moves by third (e.g., I→VI), two common tones exist between the chords. Keep them in place in the same voices — this avoids unnecessary leaps and automatically prevents many parallel motion errors.
Melodic Composition
You're given an opening phrase (2–4 bars) and asked to complete an 8-bar melody, typically ending with a PAC. The task tests your ability to write a singable, stylistically appropriate melody.
Melody Writing Guidelines
- Phrase structure: Write two 4-bar phrases. First phrase ends with HC; second phrase ends with PAC
- Begin with given material: Continue the rhythmic and melodic character of the opening — don't suddenly change style
- Primarily stepwise motion: Most melodic movement should be by step (major or minor second); leaps should be followed by stepwise motion in the opposite direction
- Climax and shape: Melodies arc — move toward a high point and return. Place the melodic peak near the middle-to-end of the second phrase
- Avoid large leaps: Especially avoid augmented intervals melodically. Diminished fourths and augmented seconds are forbidden
- Rhythmic variety: Match the rhythmic character of the opening. Don't just write whole notes — maintain energy
- End on scale degree 1: The final note should be the tonic; the approach should be via scale degrees 2 or 7 → 1
- Stay in range: Vocal melody should stay within the natural voice range of the instrument specified
Cadence Approach Pattern
For the Half Cadence (end of phrase 1): lead the melody to scale degree 2 or 5 above the V chord.
For the PAC (end of phrase 2): approach scale degree 1 by step from above (2→1) or below (7→1). The final note lands on beat 1 of the last bar with the bass on scale degree 1.
Harmonic Analysis
You're given a passage of music and asked to provide Roman numeral analysis below the bass. This tests your ability to identify chords, inversions, and secondary dominants in context.
Analysis Procedure
- Establish the key: Check the key signature, look for leading tones, find the tonic. If it modulates, identify where
- Stack the notes: For each beat or chord change, stack all sounding pitches to identify the triad or seventh chord
- Identify root: Reduce to a stack of thirds. The bottom note of the stack is the root
- Determine quality: Major (uppercase), minor (lowercase), diminished (°), half-diminished (∅), augmented (+)
- Identify inversion: What's in the bass? Root = root position; 3rd = first inversion (add 6); 5th = second inversion (add 6/4)
- Check for secondary dominants: If a chord doesn't belong to the key signature, it may be a secondary dominant. Is it a major triad or dominant seventh pointing to the next chord?
Most Common Chord Progressions to Recognize
| Progression | Name | Typical Context |
|---|---|---|
| I – IV – V – I | Basic tonic–subdominant–dominant–tonic | Hymn/chorale style |
| I – V6 – I6 – IV | Bass line fills descending scale | Baroque and Classical |
| ii6 – V – I (PAC) | Pre-dominant–dominant–tonic | Cadential formula |
| I – V7/IV – IV | Secondary dominant tonicizing IV | Chromatic interest |
| I6/4 – V – I | Cadential 6/4 | Always precedes V at cadence; bass stays on 5̂ |
| V7 – I | Dominant seventh resolution | Most common cadential move |
Cadential 6/4 trap: The I6/4 chord (tonic triad in second inversion at a cadence) is NOT a tonic chord functionally — it is a pre-dominant decoration of V. Always analyze it as I6/4 – V – I, not as a standalone tonic. The bass stays on scale degree 5 through both chords.
Aural Skills — Sight-Singing & Dictation
AP Music Theory includes aural components recorded on CD/digital audio. These are completed in the regular exam timing and require trained ears.
Sight-Singing Strategy
- Establish tonic before singing: You'll be given the tonic note to start. Internalize the key — sing the scale silently before the passage
- Use moveable-do solfege or scale-degree numbers: Consistent use of a system prevents pitch drift
- Identify the structure first: Is it primarily stepwise? Any large leaps? What are the cadences?
- Rhythm first, then pitch: Tap or feel the beat before adding pitches — rhythmic errors are as penalized as pitch errors
- Leaps: Approach large leaps from below with a mental target — sing the root of the implied chord, then the leap
- Avoid stopping: Keep going even after mistakes. A moment of error followed by correct continuation scores better than stopping completely
Melodic Dictation Strategy
- Write the rhythm first (before you know the pitches) on the first hearing
- On second hearing, fill in pitches for the parts you're confident about
- Scale-degree numbers are your friend: write "1 2 3..." above the staff as anchors before converting to noteheads
- Listen for melodic contour — mark high and low points before individual pitches
- Leave space for notes you miss; don't panic and lose your place
Part Writing Checklist — Use Before Submitting
- ☐ All voices within their ranges (S: C4–G5, A: G3–C5, T: C3–G4, B: E2–C4)
- ☐ No parallel perfect fifths between any two voices (check all 6 pairs)
- ☐ No parallel perfect octaves between any two voices
- ☐ No direct (hidden) fifths or octaves in outer voices
- ☐ Leading tone resolves up to tonic (especially in soprano)
- ☐ Chordal seventh (V7) resolves down by step to chord third of I
- ☐ Root doubled in root-position chords (not the leading tone)
- ☐ No augmented melodic intervals in any voice
- ☐ No voice crossing (alto below tenor, soprano below alto, etc.)
- ☐ All chords are complete (all members present, or proper doubling explains missing notes)
Most Penalized Errors (Avoid These)
| Error | Penalty level | How to avoid |
|---|---|---|
| Parallel perfect fifths between any voices | High — most penalized | Check all 6 voice pairs after writing each chord |
| Parallel perfect octaves between any voices | High | Same — check systematically |
| Leading tone NOT resolving up | High | Always resolve 7̂→8̂ in soprano; handle inner voices carefully |
| Voice out of range | Medium | Keep a range reference visible; soprano rarely exceeds E5 in chorales |
| Chordal 7th NOT resolving down | Medium | Mark the 7th when you see V7; plan its resolution first |
| Doubled leading tone | Medium | Never double scale degree 7 — double the root instead |
| Augmented melodic interval | Medium | In minor keys especially — avoid writing A2 between ♭6 and ♮7 (harmonic minor) |
| Incomplete chord (missing chord member) | Low–Medium | Count notes in each chord; root-position triads need 4 notes with one doubled |
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