2022
AP
®
Music Theory
Scoring Guidelines
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AP® Music Theory 2022 Scoring Guidelines
Question 1: Melodic Dictation 9 points
General Instructions
Always begin with the regular scoring guide. Try an alternate scoring guide only if necessary. (See I.D.)
I. Regular Scoring Guide
A. Award 1 point for each segment correct in both pitch and rhythm.
• A “segment” is any half measure of the original melody, even if occurring over a
bar lin
e or beginning on a metrically weak pulse.
• To receive credit, a segment must not overlap with any other segment receiving
cre
dit.
• Do not subdivide a note to identify a segment.
• To receive credit, a segment may be metrically shifted up to one segment
be
fore or after its original position.
• Give no credit for the final half note if notation of pitches continues thereafter.
1 point each
(m
ax 8)
B. If at least one segment is correct in pitch and rhythm, award 1 additional point to
th
e total. For example, a response that is correct in all aspects receives a score of
8 + 1, or 9
. Exception: Do not award a 9 unless all measures have the correct
number of beats. Award an 8 (i.e., do not award the additional point) to an
otherwise perfect response that does not use bar lines correctly.
1 point
C
. Record any score of 4 or higher and ignore the alternate scoring guides.
D. If after applying I.A. and I.B. the score is less than 4, try an alternate scoring guide.
II. Alternate Scoring Guides (Do not award the additional point to the total.)
A. Award ½ point per segment of correct pitches. (Maximum of 4 points)
OR
½ point each
(max 4)
B. Award ¼ point per segment of correct rhythm. (Maximum of 2 points)
Rounding Fractional Scores
• Total scores of ½ and 1½ round up to the closest integer. Total scores of 2½ and
3½ round down to the closest integer.
• ¼ and ¾ points should be rounded to the closest integer.
¼ point each
(m
ax 2)
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
III. Scores with Additional Meaning
1 This score may also be used for a response that does not have one segment
co
rrect in both pitch and rhythm but has two or more redeeming qualities. (Do
not award the additional point.) Redeeming qualities may include good contour
or multiple correct pitches or rhythms that do not comprise a complete
segment.
0 This score is used for a response that demonstrates an attempt to answer the
qu
estion but has no redeeming qualities (or only one) or a response that is off-
topic or irrelevant.
NR Reserved for blank responses.
IV. Scoring Notes
A. The following notations will not receive credit: enharmonic equivalents; octave
tr
anspositions; dots before the notehead; accidentals after the notehead.
B. If you use an alternate scoring guide, do not award the extra point to the total.
C. If you try both regular and alternate scoring guides, award the higher of the scores if
th
ere is a difference.
D. Scores from one guide may not be combined with those from another guide.
Total for question 1 (Regular Scoring Guide) 9 points
The melody is given below without bar lines and beams to assist in identifying segments (a segment is any half
measure of the original melody, i.e., any set of two contiguous quarter-note beats):
Record points for correct segments in the boxes below. Use either the regular scoring guide or one of the
alternate scoring guides.
Segment 1 2 3 4 5 6 7 8 Add. Pt.
Regular Scoring
Alt. for Pitch
½ point
Max 4
Alt. for Rhythm
¼ point
Max 2
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Question 2: Melodic Dictation 9 points
General Instructions
Always begin with the regular scoring guide. Try an alternate scoring guide only if necessary. (See I.D.)
I. Regular Scoring Guide
A. Award 1 point for each segment correct in both pitch and rhythm.
• A “segment” is any half measure of the original melody, even if occurring over a
bar lin
e or beginning on a metrically weak pulse. (In compound duple meter, a
segment is any set of three contiguous eighth-note beats.)
• To receive credit, a segment must not overlap with any other segment receiving
cre
dit.
• Do not subdivide a note to identify a segment.
• To receive credit, a segment may be metrically shifted up to one segment
be
fore or after its original position.
• Give no credit for the final dotted quarter note if notation of pitches continues
th
ereafter.
1 point each
(m
ax 8)
B. If at least one segment is correct in pitch and rhythm, award 1 additional point to
th
e total. For example, a response that is correct in all aspects receives a score of
8 + 1, or 9. Exception: D
o not award a 9 unless all measures have the correct
number of beats. Award an 8 (i.e., do not award the additional point) to an
otherwise perfect response that does not use bar lines correctly.
1 point
C. Record any score of 4 or higher and ignore the alternate scoring guides.
D. If after applying I.A. and I.B. the score is less than 4, try an alternate scoring guide.
II. Alternate Scoring Guides (Do not award the additional point to the total.)
A. Award ½ point per segment of correct pitches. (Maximum of 4 points)
OR
½ point each
(m
ax 4)
B. Award ¼ point per segment of correct rhythm. (Maximum of 2 points)
Rounding Fractional Scores
• Total scores of ½ and 1½ round up to the closest integer. Total scores of 2½ and
3½ round down to the closest integer.
• ¼ and ¾ points should be rounded to the closest integer.
¼ point each
(m
ax 2)
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
III. Scores with Additional Meaning
1 This score may also be used for a response that does not have one segment
co
rrect in both pitch and rhythm but has two or more redeeming qualities. (Do
not award the additional point.) Redeeeming qualities may include good
contouror multiple correct pitches or rhythms that do not comprise a complete
segment.
0 This score is used for a response that demonstrates an attempt to answer the
qu
estion but has no redeeming qualities (or only one) or a response that is off-
topic or irrelevant.
NR Reserved for blank responses.
IV. Scoring Notes
A. The following notations will not receive credit: enharmonic equivalents; octave
tr
anspositions; dots before the notehead; accidentals after the notehead.
B. If you use an alternate scoring guide, do not award the extra point to the total.
C. If you try both regular and alternate scoring guides, award the higher of the scores if
th
ere is a difference.
D. Scores from one guide may not be combined with those from another guide.
Total for question 2 (Regular Scoring Guide) 9 points
The melody is given below without bar lines and beams to assist in identifying segments (a segment is any half
measure of the original melody, i.e., any set of three contiguous eighth-note beats):
Record points for correct segments in the boxes below. Use either the regular scoring guide or one of the
alternate scoring guides.
Segment 1 2 3 4 5 6 7 8 Add. Pt.
Regular Scoring
Alt. for Pitch
½ point
Max 4
Alt. for Rhythm ¼
point
Max 2
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Question 3: Harmonic Dictation 24 points
I. Pitches
A. Award 1 point for each correctly notated pitch. Do not consider duration. (An
accidental placed after the notehead is not considered correct notation.)
B. Award full credit for octave transpositions of the correct bass pitch. (Octave
tran
spositions of soprano pitches are not allowed.)
C. No enharmonic equivalents are allowed.
1 point per
pit
ch
(max 16)
II. Chord Symbols
A. Award 1 point for each chord symbol correct in both Roman and Arabic numerals.
B. Award ½ point for each correct Roman numeral that has incorrect or missing Arabic
nu
merals.
C. Accept the correct Roman numeral regardless of its case.
D. Award no credit if an accidental is placed before a Roman numeral.
E. The cadential six-four may be correctly labeled as shown above. Also, give full credit
for t
he labels “Cad
6
”
4
or “C
6
”
4
for the antepenultimate chord. If the Roman
numeral of the antepenultimate chord is Ⅴ, the space below the penultimate chord
should contain a figure, a dash, or a Ⅴ in order for the antepenultimate chord to
receive any credit. If the space below the penultimate chord is blank and follows Ⅴ,
no credit is awarded for the penultimate or the antepenultimate chord symbol.
1 point per
comp
lete
chord symbol
(max 8)
Ex.
Ⅴ
6
4
½
Pts.
Ⅴ
6
4
→
1
→
(8)
Ⅴ
6
4
7
(5)
(3)
Ⅴ
6
4
5
3
Ⅴ
6
4
Ⅴ Ⅴ
Ⅴ
6
4
I I
6
4
IV
Ⅴ
(6)
IV
(4)
Ⅴ — Ⅴ Ⅴ
7
1 ½
1 1
0 0
½ 1
0 0
1 0
0 0
½ 1
½ ½
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
III. Rounding Fractional Scores
Half-point totals round up with one exception: A total score of 23½ rounds down
to 23.
IV. Scores with Additional Meaning
0 This score is used for a response that represents an unsuccessful attempt to
an
swer the question or a response that is off-topic or irrelevant.
NR Reserved for blank responses.
Total for question 3 24 points
Record points for soprano pitches in row 1, for bass pitches in row 2, and for chord symbols in row 3.
Soprano
pitches:
Bass
pitches:
Chord
symbols:
total
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
This is the end of the harmonic dictation section. Question 4 was not administered in the main exam
administration in 2022 due to a printing error. Please proceed to Question 5. The corrected item and scoring
guidelines are available in AP Classroom. There are no student samples associated with this question since it
was not administered.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Question 5: Part-writing from figured bass 25 points
One possible 25-point answer (others are possible)
I. Roman Numerals
Award 1 point for each correct Roman numeral.
1. Accept the correct Roman numeral regardless of its case.
2. Ignore any Arabic numerals because they are included in the question itself.
3. Award no credit if an accidental is placed before a Roman numeral.
1 point per
numeral
(max 7)
II. Chord Spelling, Spacing, and Doubling
A. Award 1 point for each chord that correctly realizes the given figured bass.
1. The chord must be spelled correctly. A missing accidental will be considered a
mis
spelling. An incorrect accidental on the wrong side of the notehead will also
be considered a misspelling.
2. The fifth (but not the third) may be omitted from any root-position triad.
3. The fifth (but not the third or seventh) may be omitted from a root-position
do
minant seventh chord.
4. All inverted triads and inverted seventh chords must be complete (i.e., have all
ch
ord tones).
5. All triads must contain at least three voices.
6. All seventh chords must contain at least four voices.
1 point per
ch
ord
(max 6)
B. Award 0 points for a chord that breaks one or more of the conditions of II.A.
N.B.: Award 0 points for voice leading into and out of these chords. (See III.E.)
C. Award ½ point each for a correctly realized chord that has exactly one of the
follo
wing errors:
1. A doubled leading tone, a doubled chordal seventh, or incorrect doubling of
a
6
4
chord.
2. More than one octave between adjacent upper parts.
3. Crossed voices.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
D. Award 0 points for a correctly realized chord that has any of the following:
N.B.: Do check the voice leading into and out of these chords.
1. Two or more errors listed in II.C. (e.g., double leading tone and spacing error, or
tw
o spacing errors), and/or
2. The correct accidental on the wrong side of a notehead. (For an incorrect
ac
cidental on the wrong side of a notehead, see II.A.1.)
III. Voice Leading
A. Award 2 points for acceptable voice leading between two correctly realized chords.
N.B.: This includes the voice leading from the given chord to the second chord.
B. If all chords are correctly realized, and there are no voice-leading errors (as
de
scribed in III.C. and III.D.), but the response has excessive leaps within the upper
three voices:
1. Award 12 points for voice leading if there are six or fewer leaps in the three
up
per voices combined.
2. Award 11 points for voice leading if there are more than six leaps in the three
up
per voices combined.
C. Award only 1 point for voice leading between two correctly realized chords (as
de
fined in II.A.) with exactly one of the following errors:
1. Uncharacteristic unequal fifths. (See DCVLE, no. 4.)
2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer
vo
ices. (See DCVLE, nos. 5 and 6.)
3. Overlapping voices. (See DCVLE, no. 7.)
4. A chordal seventh approached by a descending leap of a fourth or larger.
5. The fourth of a cadential
6
4
(i.e.,
1
^
) approached by a descending leap of a fourth
or larger.
D. Award 0 points for voice leading between two correctly realized chords (as defined
in II
.A.) if any of the following statements is true:
1. Parallel octaves, fifths, or unisons occur (immediately successive or beat-to-
bea
t), including those by contrary motion. (See DCVLE, nos. 1 through 3.)
2. An uncharacteristic leap occurs (e.g., augmented second, tritone, or more than
a fifth
).
3. A chordal seventh is unresolved or resolved incorrectly. (The voice with the
se
venth should move down by step if possible. In some cases, such as ii
7
to
cadential
6
4
, the seventh will be retained in the same voice. The seventh may
move UP by step only in the case of the ⅰ–Ⅴ
4
–
6
3
ⅰ
progression.)
4. The leading tone in an outer voice is unresolved or resolved incorrectly.
5. The 6
th
or 4
th
of the cadential
6
4
chord is unresolved or resolved incorrectly.
6. At least one of the chords h
as more or fewer than four voices (soprano, alto,
tenor, and bass).
2 points per
chord
connection
(12 max)
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
7. More than one error listed in section III.C. occurs.
E. Award 0 points for voice leading into and out of an incorrectly realized chord.
IV. Scores with Additional Meaning
1 This score can be given to a response that has two or more redeeming qualities.
0 This score is used for a response that represents an unsuccessful attempt to
answe
r the question (has no redeeming qualities, or only one) or a response that
is off-topic or irrelevant.
NR Reserved for blank responses
V. Scoring Notes
A. Do not penalize a response that includes correctly used nonchord tones.
B. An incorrectly used nonchord tone will be considered a voice-leading error.
1. Award 1 point if the incorrect nonchord tone results in one error listed in III.C.
2. Award 0 points if the incorrect nonchord tone results in at least one error from
III.D. or more than one error from III.C.
C. Half-point totals round up with one exception: A total score of 24½ rounds down
to 24.
Tota
l for question 5 25 point
s
Record points for chord spelling, spacing, and doubling in row 1, for voice leading between chords in row 2, and
for Roman numeral analysis in row 3.
One possible 25-point ans
wer (others are possible):
Chord spelling:
Voice leading:
Roman numeral:
© 2022 College Board
One possible 25-point answer (others are possible):
AP® Music Theory 2022 Scoring Guidelines
Definitions of Common Voice-Leading Errors (DCVLE)
1. Parallel fifths and octaves (immediately consecutive): unacceptable (award 0 points).
2. Beat-to-beat fifths and octaves (equal perfect intervals on successive beats): unacceptable
(award 0 points).
3. Fifths and octaves by contrary motion: unacceptable (award 0 points).
4. Unequal fifths
d5→ P5 (by step):
• An ascending d5→ P5 is acceptable ONLY between upper voices when passing between Ⅰ and I
6
,
e.g., I–Ⅴ
4
3
–I
6
and Ⅰ–vii
o6
–I
6
(no deduction).
• An ascending d5→ P5 in other situations is unacceptable (award 1 point only).
• A descending d5→ P5 is acceptable between upper voices (no deduction).
• Any d5→ P5 (ascending or descending) between the bass and an upper voice is unacceptable
(aw
ard 1 point only).
P5→ d5 (by step):
• An ascending P5→ d5 between two upper voices is acceptable (no deduction).
• A descending P5→ d5 between two upper voices is acceptable (no deduction).
5. Hidden (or covered) fifths and octaves in outer voices (similar motion to a perfect interval that involves
on
e voice moving by step).
• When the step is in the upper voice, as shown in Ex. 5a: acceptable (no deduction).
• When the step is in the lower voice, as shown in Ex. 5b: unacceptable (award 1 point only).
6. Direct fifths and octaves in outer voices: unacceptable (award 1 point only).
Definition: Similar motion to a perfect interval that involves a skip in each voice.
N.B.: Many sources equate “hidden” and “direct.”
7. Overlapping voices: unacceptable (award 1 point only).
Definition: Two voices move to a position in which the lower voice is higher than the previous note in
the h
igher voice, or they move to a position where the higher voice is lower than the previous note in
the lower voice.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Question 6: Part-writing from Roman numerals 18 points
One possible 18-point answer (others are possible):
I. Chord Spelling, Spacing, and Doubling
A. Award 1 point for each chord that correctly realizes the given chord symbols.
1. The chord must be spelled correctly and in the proper inversion (i.e., the bass
note must be correct). A missing accidental will be considered a misspelling. An
incorrect accidental on the wrong side of the notehead will also be considered
a misspelling.
2. The fifth (but not the third) may be omitted from any root-position triad.
3. The fifth (but not the third or seventh) may be omitted from a root-position
se
venth chord.
4. All inverted triads and inverted seventh chords must be complete.
5. All triads must contain at least three voices.
6. All seventh chords must contain at least four voices.
B. Award 0 points for a chord that breaks one or more of the conditions of I.A.
N.B.: Award 0 points for voice leading into and out of these chords.
C. Award ½ point for a correctly realized chord that has exactly one of the following
erro
rs:
1. A doubled leading tone, a doubled chordal seventh, or incorrect doubling of
a
6
4
chord.
2. More than one octave between adjacent upper parts.
3. Crossed voices.
D. Award 0 points for a correctly realized chord that has any of the following:
N.B: Do check the voice leading into and out of these chords.
1. Two or more errors listed in I.C. (e.g., doubled leading tone and spacing error, or
two spacing errors), and/or
2. The correct accidental on the wrong side of a notehead. (For an incorrect
ac
cidental on the wrong side of a notehead, see I.A.1.)
1 point per
c
hord
(max 6)
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
II. Voice Leading
A. Award 2 points for acceptable voice leading between two correctly realized chords.
N.B.: This includes the voice leading from the given chord to the second chord.
B. If all chords are correctly realized, and there are no voice-leading errors (as
described in II.C. and II.D.), but the response has excessive leaps within the upper
three voices:
1. Award 12 points for voice leading if there are five or fewer leaps in the three
up
per voices combined.
2. Award 11 points for voice leading if there are more than five leaps in the three
up
per voices combined.
C. Award only 1 point for voice leading between two correctly realized chords (as
de
fined in I.A.) with exactly one of the following errors:
1. Uncharacteristic unequal fifths. (See DCVLE, no. 4.)
2. Uncharacteristic hidden (covered) or direct octaves or fifths between outer
vo
ices. (See DCVLE, nos. 5 and 6.)
3. Overlapping voices. (See DCVLE, no. 7.)
4. A chordal seventh approached by a descending leap of a fourth or larger.
D. Award 0 points for voice leading between two correctly realized chords (as defined
in I
.A.) if any of the following statements is true:
1. Parallel octaves, fifths, or unisons occur (immediately successive or on
su
ccessive beats), including those by contrary motion. (See DCVLE, nos. 1
through 3.)
2. An uncharacteristic leap occurs (e.g., augmented second, tritone, or more than a
fifth).
3. A chordal seventh is unresolved or resolved incorrectly. (The voice with the
se
venth must move down by step if possible. In some cases, such as ii
7
to
cadential
6
4
, the seventh will be retained in the same voice. The seventh may
move UP by step only in the case of the i–Ⅴ
4
–i
6
3
progression.)
4. The leading tone in an outer voice is unresolved or resolved incorrectly. (When I
and vi are connected by Ⅴ, Ⅴ
7
, or Ⅴ
6
(e.g., I–Ⅴ
7
–vi) early in the phrase (so that
there is no expectation of a cadence), an
8
^
–7
^
–
^
6
line is acceptable in any voice.
5. At least one of the chords has more or fewer than four voices (soprano, alto,
te
nor, and bass).
6. More than one error listed in section II.C. occurs.
E. Award 0 points for voice leading into and out of an incorrectly realized chord.
2 points per
c
hord
connection
(12 max)
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
III. Scores with Additional Meaning
1 This score can be given to a response that has two or more redeeming qualities.
0 This score is used for a response that represents an unsuccessful attempt to
ans
wer the question (has no redeeming qualities, or only one) or a response that
is off-topic or irrelevant.
NR Reserved for blank responses.
IV. Scoring Notes
A. Do not penalize a response that includes correctly used nonchord tones.
B. An incorrectly used nonchord tone will be considered a voice-leading error.
1. Award 1 point if the incorrect nonchord tone results in one error listed in II.C.
2. Award 0 points if the incorrect nonchord tone results in at least one error from
II.D. or more than one error from II.C.
C. Half-point totals round up with one exception: A total score of 17½ rounds down
to
17.
Total for question 6 18 points
Record points for chord spelling, spacing, and doubling in row 1 and for voice leading between chords in row 2.
One possible 18-point answer (others are possible):
Chord spelling:
Voice leading:
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Definitions of Common Voice-Leading Errors (DCVLE)
1. Parallel fifths and octaves (immediately consecutive): unacceptable (award 0 points).
2. Beat-to-beat fifths and octaves (equal perfect intervals on successive beats): unacceptable
(award 0 points).
3. Fifths and octaves by contrary motion: unacceptable (award 0 points).
4. Unequal fifths
d5→ P5 (by step):
• An ascending d5→ P5 is acceptable ONLY between upper voices when passing between Ⅰ
and I
6
,
e.g., I–Ⅴ
4
–I
6
3
and I–vii
o6
–I
6
(no deduction).
• An ascending d5→ P5 in other situations is unacceptable (award 1 point only).
• A descending d5→ P5 is acceptable between upper voices (no deduction).
• Any d5→ P5 (ascending or descending) between the bass and an upper voice is unacceptable
(aw
ard 1 point only).
P5→ d5 (by step):
• An ascending P5→ d5 between two upper voices is acceptable (no deduction).
• A descending P5→ d5 between two upper voices is acceptable (no deduction).
5. Hidden (or covered) fifths and octaves in outer voices (similar motion to a perfect interval that involves
one voice moving by step).
• When the step is in the upper voice, as shown in Ex. 5a: acceptable (no deduction).
• When the step is in the lower voice, as shown in Ex. 5b: unacceptable (award 1 point only).
6. Direct fifths and octaves in outer voices: unacceptable (award 1 point only).
Definition: Similar motion to a perfect interval that involves a skip in each voice.
N.B.: Many sources equate “hidden” and “direct.”
7. Overlapping voices: unacceptable (award 1 point only).
Definition: Two voices move to a position in which the lower voice is higher than the previous note in
the h
igher voice, or they move to a position where the higher voice is lower than the previous note in
the lower voice.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Question 7: Harmonizing a Melody 9 points
I. Arriving at a Score for the Entire Response
A. Score each phrase separately and then add the phrase scores together to arrive at a preliminary
tal
ly for the entire response.
B. Before deciding on the final score for the entire response, consider giving an extra point to a
res
ponse that is either extremely good or that would otherwise receive a score of 0 (see V.B.
below).
C. Except for instances where the guidelines specify otherwise, judge the bass and Roman numerals
sep
arately and ignore mismatches between them.
D. Errors are categorized as either minor or egregious. Two minor errors equal one egregious error
(s
ee IV).
E. A maximum of two egregious errors (or four minor errors) may be marked per half phrase, with a
max
imum total of three egregious errors (or six minor errors) per phrase.
II. Scoring Phrase 2 2 points max
A. Judge the bass and Roman numerals separately, considering each in two halves
.
• The first half consists of the opening beat and the approach to it.
• The second half consists of the last two notes (the cadence); do not consider the approach.
B. The phrase is scored 2 only if:
1. the bass has no egregious errors, and
2. the final two Roman numerals (and inversions) match the last two bass notes.
N.B.: Secondary functions must be indicated with any symbol that means “of” or “applied.”
C. The phrase is scored 1 if:
1. the bass has no egregious errors, but any of the two final Roman numerals (and inversions) do
no
t match the final bass notes; or
2. one half of the bass contains an egregious error, and at least one half of the Roman numerals
has
no egregious errors; or
3. both halves of the bass have an egregious error, but the Roman numerals have no egregious
erro
rs.
D. The phrase is scored 0 if:
1. both halves of the bass have an egregious error, and at least one-half of the Roman numerals
has
an egregious error; or
2. at least one-half of the bass has an egregious error, and both halves of the Roman numerals
hav
e egregious errors.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Summary of the Method for Scoring Phrase 2
Bass Line Roman Numerals Score
No egregious errors Roman numerals (and inversions) must
mat
ch bass notes
2
No egregious errors First half of the phrase contains an
egr
egious error, but the cadence is good
2
No egregious errors Second half of the phrase contains an
egregious error, or Roman numerals do
not match bass notes at the cadence
1
No egregious errors Both halves of the phrase contain an
egr
egious error
1
One half of the phrase contains an
egr
egious error
No egregious errors 1
One half of the phrase contains an
egregious error
One half of the phrase contains an
egregious error
1
Both halves of the phrase contain an
egr
egious error
No egregious errors 1
Both halves of the phrase contain an
egregious error
One half of the phrase contains an
egregious error
0
One half of the phrase contains an
egr
egious error
Both halves of the phrase contain an
egregious error
0
Both halves of the phrase contain an
egregious error
Both halves of the phrase contain an
egregious error
0
III. Scoring Phrases 3 and 4 6 points max (3 points per phrase)
A. For each of these phrases, judge the bass and Roman numerals separately, considering each in two
halv
es.
• The first half of phrase 3 consists of the first four beats of the phrase.
• The second half of phrase 3 consists of the last three beats of the phrase and their approach.
• The first half of phrase 4 consists of the first five beats of the phrase.
• The second half of phrase 4 consists of the last four beats of the phrase and their approach.
B.
Then provide a phrase descriptor both for the bass line and for the Roman numerals according to
the following guidelines:
1. Judge it to be good even if it contains a specific egregious error and one minor error.
2. Judge it to be fair if:
(a) it contains two egregious errors or two egregious errors and one minor error; or
(b) it contains three or more egregious errors, but one half of the phrase is without egregious
error.
3. Judge it to be poor if it contains three or more specific egregious errors, with at least one
eg
regious error in each half of the phrase.
Summary of Good/Fair/Poor Determinations for
Bass Lines and Roman Numerals for Phrases 3 and 4
good 0–1 egregious errors (+ 1 minor error), or 0–3 minor errors
fair 2 egregious errors (+ 1 minor error), or 4–5 minor errors
poor 3 or more egregious errors, or 6 or more minor errors
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
C. Combine the descriptors to arrive at the following preliminary scores:
Summary of the Method for Scoring
Phrases 3 and 4
Bass Line Roman Numerals Score
good good to fair 3
good poor 2
fair good to fair 2
fair poor 1
poor good to fair 1
poor poor 0
D. Before giving a final score of 0 or 3, first consider the cadence.
1. Award at least 1 point for the phrase if its cadence (i.e., its final two chords considered by
th
emselves) is good in both bass and Roman numerals, even if nothing else in the phrase is
good; the bass and Roman numerals (and inversions) must agree in this case.
2. A phrase that receives 3 points must have a good cadence in both bass and Roman numerals,
wi
th the bass and Roman numerals (and inversions) matching one another; otherwise, give the
phrase at most 2 points.
3. Phrase 4 must end with a perfect authentic cadence.
4. Secondary functions must be indicated with any symbol that means “of” or “applied”
(Ⅴ/Ⅴ, [Ⅴ], Ⅴ→Ⅴ, Ⅴ
of Ⅴ, etc.).
E. Award at most 2 points to a phrase that uses half notes exclusively.
IV. Weighting Errors
A. The following are egregious errors:
1. Parallel fifths or octaves, consecutive perfect fifths or octaves in contrary motion (marked on the
se
cond chord)
N.B.: Perfect fifths to diminished fifths are OK
, though some may create other problems with
incorrect resolutions of tendency tones and/or chordal sevenths (marked on the second chord)
2. Doubling the leading tone; unresolved or incorrectly resolved leading tone (m
arked on the first
chord)
N.B.: A bass line that moves
1
^
–7
^
–6
^
is OK, i.e., not an unresolved leading tone
3. Tonally inappropriate six-four chord (marked on the first chord)
N.B.: Cadential six-fours
, passing six-fours, and neighboring (pedal) six-fours are allowed.
4. Unresolved seventh or incorrectly resolved seventh (m
arked on the first chord)
5. Other note-against-note dissonance (including fourths) that is not treated correctly, including
Ro
man numerals (and inversions) that do not match with the given melody note (marked on the
first chord)
N.B.: fourths that could result from a correctly treated inverted seventh chord and that resolve
appropriately are acceptable, regardless of the Roman numerals.
6. Poor chord succession (e.g., Ⅴ–Ⅳ, Ⅴ–ii, ii–iii, Ⅳ–iii, ii–I, iii–I, vi–I, V–iii, iii–ii, iii–vii°,
etc.) (marked on the second chord)
N.B.: Motions from Ⅴ or Ⅴ
6
to Ⅳ
6
are allowed.
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
7. Root-position leading-tone chord (vii°) followed by anything other than root-position I (marked
on the first chord)
8. Poor chord use, such as vi
6
(unless as part of a parallel
6
3
sequence, modulation, or following a
strong-beat I—i.e., a 5–6 motion); iii
6
(unless as part of a parallel
6
3
sequence) (marked on the
first chord)
9. Inappropriate leap (seventh, augmented interval, o
r compound interval), successive leaps in the
same direction that do not outline a triad, descending leap of a fourth or larger into a chordal
seventh, or leap of an octave that does not change direction afterwards (marked on the last
chord of the leap[s])
N.B.: Leaps of diminished intervals that change direction and resolve by step afterwards are
allow
ed
10. An entire phrase of consecutive thirds or sixths (applicable only to phrases 3 and 4)
11. Use of an unacceptable rhythmic value (i.e., any rhythmic value not allowed by the prompt),
including any rest
B. The following are minor errors (two minor errors = one egregious error):
1. Diminished fifth to perfect fifth (marked on the second chord)
2. Repeated note and/or Roman numeral (and inversion) from weak beat to strong beat, unless at
st
art of phrase (marked on the second chord)
3. Metrically inappropriate six-four chord (marked on the first chord)
4. Approach to fifth or octave in similar motion in which the upper voice leaps (marked on the
se
cond chord)
5. Cross-relation (marked on the first chord)
6. Root-position vii° triad that moves directly to I (marked on the first chord)
7. Four or more consecutive thirds or sixths for half of a phrase
8. Incomplete inverted seventh chord
V. Other Considerations 1 point
A. General considerations:
1. Consider each phrase independently; do not judge the connections between each phrase.
2. Ignore any inner voices supplied by the students; ignore any/all extraneous labels (nonchord
ton
es, etc.).
3. Judge the bass line as either part of a contrapuntal two-part framework or as a bass line for a
fo
ur-part harmony exercise, giving the student the benefit of the doubt.
4. In judging harmonies, always consider the implied bass line suggested by the Roman numerals
(a
nd inversions).
B. Special scores:
• Award 1 additional point for a truly musical response or for a response that has no errors.
• Award 1 point to a response that otherwise would earn a 0 but that has two or more redeeming
qu
alities.
0 This score is used for a response that represents an unsuccessful attempt to answer the
qu
estion (has no redeeming qualities, or only one) or a response that is off-topic or irrelevant.
NR Reserved for blank responses
Total for question 7 9 points
© 2022 College Board
AP® Music Theory 2022 Scoring Guidelines
Supplemental Summary Chart of the Weighting Errors (IV)
Egregious Errors Minor Errors
A.1. Parallel fifths or octaves, consecutive perfect fifths or
octaves in contrary motion (marked on the second chord)
B.1. Diminished fifth to perfect fifth (marked on the
second chord)
B.4. Approach to fifth or octave in similar motion in
which the upper voice leaps (marked on the
second chord)
A.2. Doubling the leading tone (marked on the first chord);
unr
esolved or incorrectly resolved leading tone (marked
on the first chord)
A.3.
Tonally inappropriate six-four chord (marked on the first
chord)
B.3. Metrically inappropriate six-four chord (marked
on the first chord)
A.4. Unresolved seventh or incorrectly resolved seventh
(mark
ed on the first chord)
B.8. Incomplete inverted seventh chord
A.5. Other note-against-note dissonance (including fourths)
that i
s not treated correctly, including Roman numerals
(and inversions) that do not match with the given melody
note (marked on the first chord)
B.5. Cross relation (marked on the first chord)
A.6. Poor chord succession (
e.g., Ⅴ–Ⅳ, Ⅴ–ii, ii–iii, Ⅳ–
iii, ii–I, iii–I, vi–I, V–iii, iii–ii, iii–vii°
, etc.)
(marked on the second chord)
B.2. Repeated note and/or Roman numeral (and
inversion) from weak beat to strong beat, unless
at start of phrase (marked on the second chord)
A.7. Root-position leading-tone chord (
vii°) followed by
anything other than root-position I (marked on the first
chord)
B.6. Root-position vii° triad that moves directly to I
(marked on the first chord)
A.8. Poor chord use, such as
vi
6
(unless as part of a parallel
6
3
sequence, modulation, or following a strong-beat
I—i.e.,
a 5–6 motion);
iii
6
(unless as part of a parallel
6
3
sequence) (marked on the first chord)
A.9.
Inappropriate leap (seventh, augmented interval, or
compound interval), successive leaps in the same
direction that do not outline a triad, descending leap of
more than a third into a chordal seventh, or leap of an
octave that does not change direction afterwards
(marked on the last chord of the leap(s))
A.10. An entire phrase of consecutive thirds or sixths
(applicable only to phrases 3 and 4)
B.7. Four or more consecutive thirds or sixths for half
of
a ph
rase
A.11. Use of an unacceptable rhythmic value, including any
rest
©
2022 College Board
