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Question 1 # # Moderato. J. J SCORING: 9 points Use EITHER the regular soring guide OR one of the alternate soring guides below. I. Regular Soring Guide A. Award 1 point for eah half-measure orret in both pith and rhythm and add one point to the total. For example, a response that is orret in all aspets reeives a sore of 8 + 1, or 9. N.B. Half-measures are any two ontiguous quarter note beats that are rhythmially orret, even if ourring over a barline or metrially shifted. B. Reord any sore of four or higher and move to the next book. C. If after applying I.A. the sore is less than four, try an alternate soring guide. II. Alternate Soring Guides (Do not add the extra point to the total.) A. Award 1 /2 point per half-measure of orret pithes. (Maximum of 4 points.) OR B. Award 1 /4 point per half-measure of orret rhythm. (Maximum of 2 points.) III. Rounding Frational Sores A. Half-point totals should be rounded down with one exeption: a total sore of 1 1 /2 should be rounded up to 2. B. Quarter points should be rounded to the losest integer. IV. Sores with additional meaning 1 This sore may also be used for responses whih have less than one half-measure orret in both pith and rhythm but whih have some redeeming qualities. (Do not add the extra point!) 0 A response whih demonstrates an attempt to answer the question but whih has no redeeming qualities. This designation is reserved for irrelevant answers and blank papers. V. Notes A. No enharmoni equivalents are permitted. B. If you use an alternate soring guide, do not add the extra point to the total. C. If you use both regular and alternate guides, reord the higher of the sores if there is a differene. D. Sores from one guide may not be ombined with those of another. 2
Question 2 & bb Moderato b 8 n j. j # J. n n. SCORING: 9 points Use EITHER the regular soring guide OR one of the alternate soring guides below. I. Regular Soring Guide A. Award 1 point for eah half-measure orret in both pith and rhythm and add one point to the total. For example, a response that is orret in all aspets reeives a sore of 8 + 1, or 9. N.B. Half-measures are any three ontiguous eighth-note beats that are rhythmially orret, even if ourring over a barline or metrially shifted. B. Reord any sore of four or higher and move to the next book. C. If after applying I.A. the sore is less than four, try an alternate soring guide. II. Alternate Soring Guides (Do not add the extra point to the total.) A. Award 1 /2 point per half-measure of orret pithes. (Maximum of 4 points.) OR B. Award 1 /4 point per half-measure of orret rhythm. (Maximum of 2 points.) III. Rounding Frational Sores A. Half-point totals should be rounded down with one exeption: a total sore of 1 1 /2 should be rounded up to 2. B. Quarter points should be rounded to the losest integer. IV. Sores with additional meaning 1 This sore may also be used for responses whih have less than one-half measure orret in both pith and rhythm but whih have some redeeming qualities. (Do not add the extra point!) 0 A response whih demonstrates an attempt to answer the question but whih has no redeeming qualities. This designation is reserved for irrelevant answers and blank papers. V. Notes A. No enharmoni equivalents are permitted. B. If you use an alternate soring guide, do not add the extra point to the total. C. If you use both regular and alternate guides, reord the higher of the sores if there is a differene. D. Sores from one guide may not be ombined with those of another. 3
& Question 3 w a : w i iv V VI iv ii 5 i 4 V i OR SCORING: 24 points V - 5 4-3 I II Pithes (1 points) Award 1 point for eah orretly notated pith. Do not onsider duration. Chord Symbols (8 points) Award 1 point for eah hord symbol orret in both Roman and Arabi numerals. Award 1 /2 point for eah orret Roman numeral that has an inorret or missing Arabi numeral. 0 Sore for responses that represent an unsuessful attempt to answer the question. Sore for blank or irrelevant papers. Notes: A. Round any frational sores up to the next higher point. (Exeption: Round 23 1 /2 down.) B. Aept the orret Roman numeral regardless of its ase. C. Award full redit for otave transpositions of the orret bass pith. D. The adential six-four may be orretly notated in two different ways as shown in the key above. If the Roman numeral of the antepenultimate hord is V, the spae below the Roman numeral of the penultimate hord should ontain a figure, be blank or ontain a dash, or ontain a V in order for the antepenultimate hord to reeive any redit. (5) example --> V 4 (3),, or blank V V or blank V I award --> 1 1 1/2 1 0 0 4
Question 4 & b b b 4 3 Chord Six. b b b b E : 4 3 I ii V 5 I vi IV V 5/V V vi n. SCORING: 24 points I II Pithes (1 points) Award 1 point for eah orretly notated pith. Do not onsider duration. Chord Symbols (8 points) Award 1 point for eah hord symbol orret in both Roman and Arabi numerals. Award 1 /2 point for eah orret Roman numeral that has an inorret or missing Arabi numeral. 0 Sore for responses that represent an unsuessful attempt to answer the question. Sore for blank or irrelevant papers. Notes: A. Round any frational sores up to the next higher point. (Exeption: Round 23 1 /2 down.) B. Aept the orret Roman numeral regardless of its ase. C. Award full redit for otave transpositions of the orret bass pith. D. Aept any symbol that means "of" or "applied" at Chord Six (e.g. - V/V, [V], V-->V, V of V, et.). E. Aept apital II for the Roman numeral of Chord Six. 5
Question 5 Sample solution & b b b b n n b b b b n 4 n SCORING: 31 points f: i i ii V VI iv V I. Roman numerals (7 points, 1 point per numeral) A. Award one point for eah orret Roman numeral. 1. Aept the orret Roman numeral regardless of its ase. 2. Ignore any Arabi numerals beause they are inluded in the question itself. 3. Award no redit if an aidental is plaed before a Roman numeral. 4. Award full redit if the diminished symbol ( ø ) has been omitted from the ii at hord 3. II. Chords (12 points, 2 points per hord) A. Award 2 points for eah hord that orretly realizes the given figured bass. 1. All triads must ontain at least three voies. 3. All inverted triads must be omplete. 3. The fifth may be omitted from any root-position hord. B. Award 1 point for hords ontaining the orret hord members but with one of the following errors: 1. An inappropriate doubling of a leading tone. 2. More than one otave between adjaent upper parts. C. Award no points for hords that have more than one error listed in setion II. B, but DO hek the voie leading into and out of these hords. D. Award no points for inorretly realized hords. Do NOT hek the voie leading into and out of these hords. EXCEPTION: DO hek the voie leading into and out of hords that are orret exept for a missing or inorret aidental. III. Voie leading (12 points, 2 points per onnetion) A. Award 2 points for good voie leading between two orretly realized hords. N.B. This inludes the voie leading from the given hord to the seond hord. B. Award only 1 point for voie leading between two orretly realized hords that features: 1. Any approah in similar motion to perfet otaves/fifths in the outer voies involving a skip in the soprano voie (hidden or diret otaves/fifths). 2. Overlapping or rossed voies.
Question 5 (ont d) C. Award no points for voie leading between two orretly realized hords if: 1. Parallel (onseutive) otaves, fifths or unisons our, inluding those by ontrary motion. 2. Unharateristi leaps our (e.g. - A2, tritone, or more than a fifth). 3. The leading tone in an outer voie is unresolved or resolved inorretly. 4. One of the hords is a triad with only three voies. 5. More than one error listed in setion III. B. ours. D. Award no points for voie leading into and out of an inorretly realized hord. IV. Sores with additional meaning 0 Response demonstrates an attempt to answer the question but whih has no redeeming qualities. This designation is reserved for irrelevant answers and blank papers. V. Notes A. Do not penalize a response that inludes orretly used non-hord tones. B. An inorretly used non-hord tone will be onsidered a voie-leading error. VI. Definitions of Common Voie Leading Problems Ex. 1 & Ex. 2 Parallel Beat to Beat (onseutive) Ex. 3 Unequal 5ths [d5 to P5] 1 Parallel (onseutive) unaeptable. Ex. 4 By ontrary motion Ex. 5 OK Hidden (overed) Ex. Diret 2 Beat to Beat (perfet intervals on suessive strong beats) unaeptable. Ex. 7 Overlapping voies 3 Unequal 5ths [d5 --> P5] In a three or four part texture a rising d5 -->P5 is aeptable ONLY in the progression I V 4 3 I. Otherwise it is unaeptable. (The reverse [P5 --> d5] is aeptable voie leading.) 4 By ontrary motion unaeptable. Ex. 8 Crossed voies 5 Hidden (or Covered) in outer voies aeptable voie leading ONLY when the step is in the upper voie as shown in ex. 5 similar motion to a perfet interval that involves one voie moving by step. Diret in outer voies unaeptable. Similar motion to a perfet interval that involves a skip in eah voie. N.B.: Most soures equate hidden and diret. For purposes of soring it seems useful to refine those definitions, partiularly in light of past grading pratie. 7. Overlapping voies - two adjaent voies move to a position in whih the lower voie is higher than the previous note in the higher voie, or they move to a position where the higher voie is lower than the previous note in the lower voie. 8. Crossed voies - voiing in whih the normal relative position of voies is violated, e.g., if the soprano is below the alto, or the bass is above the tenor. 7
Question Sample solution & # # # # # # # # n SCORING: 24 points E: I V 4/IV IV ii 2 5 I 4 V 7 I or 8 V 4 7 5 3 I. Chords (12 points, 2 points per hord) A. Award 2 point for eah hord that orretly realizes the given hord symbols. 1. All seventh hords must ontain four voies. 2. All triads must ontain at least three voies. 3. All inverted triads and seventh hords must be omplete. 4. The fifth may be omitted from any root-position hord. B. Award 1 point for hords ontaining the orret hord members but with one of the following errors: 1. An inappropriate doubling of a hordal seventh or a leading tone. 2. More than one otave between adjaent upper parts. C. Award no points for hords that have more than one error listed in setion I. B. DO hek the voie leading into and out of these hords. D. Award no points for inorretly realized hords. Do NOT hek the voie leading into and out of these hords. EXCEPTION: DO hek the voie leading into and out of hords that are orret exept for a missing or inorret aidental. II. Voie leading (12 points, 2 points per onnetion) A. Award 2 points for good voie leading between two orret hords. N.B. This inludes the voie leading from the given hord to the seond hord. B. Award only 1 point for voie leading between two orret hords that features: 1. Any approah in similar motion to perfet otaves/fifths in the outer voies involving a skip in the soprano voie (hidden or diret otaves/fifths). 2. Overlapping or rossed voies. 3. Chordal sevenths that are not prepared by step or ommon tone unless they are part of a orretly used appoggiatura in the soprano. C. Award no points for voie leading between two orretly realized hords if: 1. Parallel (onseutive) otaves, fifths or unisons our, inluding those by ontrary motion. 2. Unharateristi leaps our (e.g., A2, tritone, or more than a fifth). 3. The leading tone in an outer voie is unresolved or resolved inorretly. 4. Chordal sevenths are unresolved or resolved inorretly. 5. One of the hords is a triad with only three voies.. More than one error listed in setion II. B. ours. 8
III. Sores with additional meaning Question (ont d) 0 Response demonstrates an attempt to answer the question but has no redeeming qualities. This designation is reserved for irrelevant answers and blank papers. IV. Notes A. Do not penalize a response that inludes orretly used non-hord tones. B. An inorretly used non-hord tone will be onsidered a voie-leading error. V. Definitions of Common Voie Leading Problems Ex. 1 & Ex. 2 Parallel Beat to Beat (onseutive) Ex. 3 Unequal 5ths [d5 to P5] 1 Parallel (onseutive) unaeptable. Ex. 4 By ontrary motion Ex. 5 OK Hidden (overed) Ex. Diret 2 Beat to Beat (perfet intervals on suessive strong beats) unaeptable. Ex. 7 Overlapping voies 3 Unequal 5ths [d5 --> P5] In a three or four part texture a rising d5 -->P5 is aeptable ONLY in the progression I V 4 3 I. Otherwise it is unaeptable. (The reverse [P5 --> d5] is aeptable voie leading.) 4 By ontrary motion unaeptable. Ex. 8 Crossed voies 5 Hidden (or Covered) in outer voies aeptable voie leading ONLY when the step is in the upper voie as shown in ex. 5 similar motion to a perfet interval that involves one voie moving by step. Diret in outer voies unaeptable. Similar motion to a perfet interval that involves a skip in eah voie. N.B. Most soures equate hidden and diret. For purposes of soring it seems useful to refine those definitions, partiularly in light of past grading pratie. 7 Overlapping voies - two adjaent voies move to a position in whih the lower voie is higher than the previous note in the higher voie, or they move to a position where the higher voie is lower than the previous note in the lower voie. 8 Crossed voies - voiing in whih the normal relative position of voies is violated, e.g., if the soprano goes below the alto, or the bass goes above the tenor. 9
Question 7 SCORING: 9 points I. Phrases (8 points, 2 points phr.2, 3 points eah phr.3 &4) A. Judging eah phrase Award up to two points for the seond phrase using the method below. Award up to three points eah for the third and fourth phrases using the method below. 1. Coneal the harmonies and judge the bass line to be good, fair, or poor against the given melody. 2. Coneal the bass line and judge the harmonies against the given melody. a. If a bass line is good or fair, judge the harmonies to be good to fair or poor. b. If a bass line is poor, judge the harmonies to be very good, good to fair, or poor. 3. Combine the bass line evaluation with that of the harmonies to determine the phrase desriptor. 4. Award the number of points that orresponds to the phrase desriptor. B. Consider the following information when judging eah phrase. 1. The bass should onsist of rhythmi values speified in the instrutions to the question. 2. There should be at least two hords per measure. Inversions of the same harmony are aeptable. E.g. - I I ounts as two hords in a measure. 3. Inversions and seventh hords are aeptable, if used appropriately. 4. Parallel (onseutive) and beat-to-beat otaves or fifths as well as 8ves or 5ths by ontrary motion are onsidered to be more egregious than the following errors: a Similar motion to a P5 or P8 when the skip is in the upper voie. b. Inappropriate or poor treatment of the leading tone.. Unresolved sevenths or inorretly resolved sevenths. d. Exessive or inappropriate leaps (e.g. - TT, A2, 7th, 9th or larger). e. Implied inappropriate (inorret) six-four hords. f. Repeated notes over a barline. 5. Inner voies, if notated, should be ignored.. Consider eah phrase independently. 7. Do not judge the onnetions between phrases. 8. Do not use frational points; rely on the phrase desriptors to determine the points to award. C. Aestheti Point (1 point) Award one point for truly musial responses. N.B. A response need not be tehnially perfet before onsidering it for the aestheti point. Therefore, andidates who earned -8 points under setion I may be onsidered for the aestheti point. Sores with additional meaning 1 A response that earns a zero using I. A and I.B above but whih has some redeeming qualities. 0 A response whih demonstrates an attempt to answer the question but whih has no redeeming qualities. This designation is reserved for irrelevant responses or blank papers. 10
II. Summary of Phrase Soring A. Summary of the Method for Soring Phrase 2 Question 7 (ont d) Bass Line Harmonies Phrase desriptor Sore good good to fair good 2 good poor (=inorret, inappropriate or none) fair 1 fair good to fair fair 1 fair poor (=inorret, inappropriate or none) poor 0 poor or none good fair 1 poor or none fair poor 0 poor or none poor (=inorret, inappropriate or none) poor 0 B. Summary of the Method for Soring Phrases 3 and 4 Bass Line Harmonies Phrase desriptor Sore good good to fair good 3 good poor (=inorret, inappropriate or none) fair 2 fair good to fair fair 2 fair poor (=inorret, inappropriate or none) weak 1 poor or none very good (i.e. - perfet or nearly perfet) fair 2 poor or none good to fair weak 1 poor or none poor (=inorret, inappropriate or none) very poor 0 C. Judging a phrase's bass line or harmonies in halves (phrases 3 & 4 only) To more easily reah a deision in setion I.A., you may evaluate the bass line or the harmonies in halves using the guide below. First Half of Phrase Seond Half of Phrase Desriptor of Bass line or Harmonies Good Fair Good Good Poor Fair Fair Good Good Fair Poor Poor Poor Good Fair Poor Fair Poor D. Judging a phrase onsisting only of a good adene (phrases 3 & 4 only) Award one point for a phrase that has a poor beginning if three hords at the adene are good in both bass and harmonies. 11