AP Music Theory Assessment Instructions | Top 200 Vocabulary Words

The 200-word examination instruction list

AP Music Theory asks you to recognise what you hear or see, notate pitches and rhythms, label harmony and sing from a score. Read the key and meter before identifying a chord or beginning a dictation.

Start with the list or jump to assessment requirements, worked examples, the Fencing Method or practice. The list combines command words and subject terms that help you understand the task.

Essential instructions

No.	Instruction or term	Meaning or action
1	Identify	Name or pick out the item the question specifies.
2	State	Express the required point directly and clearly.
3	Describe	Report the relevant characteristics, events or pattern.
4	Explain	Connect the result to its cause, mechanism or reasoning.
5	Compare	Set the items side by side on the same relevant feature.
6	Interpret	Say what a statement, result or display means in context.
7	Justify	Give evidence for the claim and explain how that evidence supports, qualifies or defends it.
8	Evaluate	Weigh relevant evidence or criteria before reaching a judgment.
9	Determine	Work from the given information to establish an answer.
10	Select	Choose only the number of options requested.
11	Check	Test the answer against the original instruction or condition.
12	Analyze	Break the information into relevant parts and explain how they relate.
13	Stimulus	Use the figure, extract or other material attached to the question.
14	Answer each subpart	Treat each lettered instruction as a separate job.
15	Distinguish	Give the feature that lets the reader tell two things apart.
16	Infer	Use clues to reach a conclusion the material implies.
17	Support	Supply evidence that helps establish the claim.
18	Evidence	A fact, detail or observation that supports a claim.
19	Claim	An assertion that can be tested against evidence or reasoning.
20	Context	The surrounding information that helps determine meaning.

Subject and assessment vocabulary

No.	Instruction or term	Meaning or action
21	Melodic dictation	Write the pitches and rhythms you hear using the specified key, meter and notation.
22	Harmonic dictation	Identify the requested voices and harmonic progression from the performed excerpt.
23	Part writing	Write individual voices that realise the harmony and follow the stated style or constraints.
24	Figured bass	Use the numbers and accidentals over or below a bass note to determine intervals above it.
25	Roman-numeral analysis	Label chords by their scale-degree roots and indicate quality and inversion as required.
26	Harmonise a melody	Choose chords that support the melody and write the requested accompanying voice or voices.
27	Compose a bass line	Write bass pitches that support the melody and meet the prompt’s harmonic requirements.
28	Sight-singing	Sing a notated melody with accurate pitch and rhythm in the format instructed.
29	Pitch class	Group pitches sharing a note identity across octaves.
30	Scale degree	Identify a pitch by its position relative to the tonic.
31	Tonic	The central pitch or chord of the key.
32	Supertonic	Scale degree two.
33	Mediant	Scale degree three.
34	Subdominant	Scale degree four, or the chord built on it in the stated context.
35	Dominant	Scale degree five, or the chord built on it in the stated context.
36	Submediant	Scale degree six.
37	Leading tone	Scale degree seven when it lies one semitone below the tonic.
38	Subtonic	The seventh degree a whole step below the tonic.
39	Key signature	Use the listed sharps or flats as defaults for the passage.
40	Accidental	A symbol that changes the written pitch under notation rules.
41	Relative keys	Major and minor keys that share a key signature.
42	Parallel keys	Major and minor keys with the same tonic.
43	Natural minor	Use the minor scale form without raising its sixth or seventh degrees.
44	Harmonic minor	Raise the seventh degree of natural minor.
45	Melodic minor	In standard classical usage raise six and seven ascending and use natural minor descending.
46	Interval number	Count the letter names inclusively to determine interval size.
47	Interval quality	Use semitone distance and spelling to determine quality.
48	Enharmonic spelling	Different written note names can represent the same sounding pitch in equal temperament.
49	Compound interval	An interval larger than an octave.
50	Simple meter	Each primary beat normally divides into two equal parts.
51	Compound meter	Each primary beat normally divides into three equal parts.
52	Anacrusis	One or more pickup notes before the first full measure.
53	Syncopation	Accent or sustain a normally weak beat or subdivision against the expected metric pattern.
54	Triad	A chord constructed from three distinct pitches conventionally arranged in thirds.
55	Seventh chord	A chord with a seventh above its root in root position.
56	Root position	The chord root is in the bass.
57	First inversion	The chord third is in the bass.
58	Second inversion	The chord fifth is in the bass.
59	Third inversion	The chord seventh is in the bass.
60	Predominant	A harmonic function that typically prepares dominant harmony.
61	Dominant function	A harmonic role that commonly builds tension toward the tonic.
62	Tonic function	A harmonic role that establishes or prolongs stability in the key.
63	Perfect authentic cadence	Use root-position V to I or i with tonic in the upper voice at the arrival.
64	Imperfect authentic cadence	Use a dominant-to-tonic cadence that lacks a condition of the perfect authentic cadence in the standard classroom model.
65	Half cadence	Identify a phrase ending on dominant harmony.
66	Deceptive cadence	Identify a dominant that resolves to an unexpected substitute, often vi in major.
67	Plagal cadence	Identify a phrase-ending IV to I or iv to i in the usual model.
68	Cadential six-four	A tonic six-four sonority that functions as part of a dominant approach to a cadence.
69	Passing tone	A nonchord tone approached and left by step in the same direction.
70	Neighbour tone	A nonchord tone that leaves and returns to a chord tone by step.
71	Suspension	A prepared tone held into a new harmony that usually resolves downward by step.
72	Anticipation	A tone arrives before the harmony to which it belongs.
73	Appoggiatura	An accented nonchord tone typically approached by leap and resolved by step.
74	Secondary dominant	A dominant-function chord that tonicises a chord other than the home tonic.
75	Tonicisation	A brief emphasis of a chord as a local tonic.
76	Modulation	A change of tonal centre supported by the musical context.
77	Pivot chord	A chord functioning in both the old and new keys during a modulation.
78	Voice leading	The relationship between individual melodic lines as chords change.
79	Parallel fifths	Two voices move in the same direction from one perfect fifth to another.
80	Contrary motion	Two voices move in opposite directions.
81	Oblique motion	One voice stays on the same pitch while another moves.
82	Similar motion	Two voices move in the same direction.
83	Doubling	Assign the same chord member to more than one voice.
84	Phrase	A musical unit that often leads to a point of rest.
85	Antecedent	An opening phrase of a period that is answered by a consequent.
86	Consequent	A responding phrase, typically ending with stronger closure.
87	Motivic development	Transform a short recognisable idea through repetition, variation or displacement.
88	Sequence in music	Repeat a melodic or harmonic pattern at a different pitch level.
89	Texture in music	Describe how melodic and accompanying parts relate.
90	Identify a discrepancy	Compare the score and performance and locate the specified pitch or rhythm difference.

Notation, musical form and part writing

No.	Instruction or term	Meaning or action
91	Staff	Five lines and four spaces that locate pitches with a clef.
92	Clef	A symbol that assigns a pitch reference to a staff.
93	Ledger line	A short added line for a pitch outside the staff.
94	Time signature	A symbol specifying the written metric organisation.
95	Measure	A grouping of beats bounded by barlines.
96	Barline	A vertical divider between measures.
97	Beat	A regular unit of musical pulse.
98	Subdivision	The division of a beat into smaller rhythmic units.
99	Duple meter	Group the main beats in twos.
100	Triple meter	Group the main beats in threes.
101	Quadruple meter	Group the main beats in fours.
102	Tie in notation	Join adjacent notes of the same pitch into one sustained duration.
103	Slur	A curved mark indicating connected articulation or grouping.
104	Rest	A symbol indicating silence for a specified duration.
105	Dot after a note	Add one-half of the note’s original duration.
106	Triplet	Fit three equal notes into the duration specified by the notation.
107	Pickup measure	The incomplete opening measure before the first full measure.
108	Melodic contour	Describe the rising, falling and level shape of a line.
109	Conjunct motion	Movement mainly by steps.
110	Disjunct motion	Movement involving leaps between pitches.
111	Monophony	One melodic line without independent accompaniment.
112	Homophony	A principal melody supported by accompanying parts, or parts moving together in a predominantly chordal texture.
113	Polyphony	Multiple relatively independent melodic lines sounding together.
114	Imitation	A musical idea is repeated in another voice, often after a delay.
115	Pedal point	A sustained or repeated pitch remains while the harmony changes around it.
116	Ostinato	A short pattern that repeats persistently.
117	Phrase ending	Use melodic, rhythmic and harmonic clues to locate a point of closure.
118	Binary form	Two main sections, often described as AB.
119	Ternary form	Three main sections in an ABA or ABA′ pattern.
120	Augmented triad	A triad with a major third and augmented fifth above its root.
121	Diminished triad	A triad with a minor third and diminished fifth above its root.
122	Half-diminished seventh	A diminished triad with a minor seventh above the root.
123	Fully diminished seventh	A diminished triad with a diminished seventh above the root.
124	Dominant seventh	A major triad with a minor seventh above the root, commonly built on scale degree five.
125	Leading-tone resolution	In a conventional dominant-to-tonic resolution, the leading tone typically rises by semitone to tonic.
126	Chordal seventh resolution	In conventional part writing, the chordal seventh typically resolves downward by step.
127	Identify the outer voices	Distinguish the highest and lowest sounding parts in the passage.
128	Soprano	Identify the highest voice in standard four-part writing.
129	Alto	Identify the upper inner voice in standard four-part writing.
130	Tenor	Identify the lower inner voice in standard four-part writing.
131	Bass	Identify the lowest voice in standard four-part writing.

Further instructions and response vocabulary

No.	Instruction or term	Meaning or action
132	Contrast	Show how the items differ on a shared point of comparison.
133	Predict	Use available evidence to say what is likely to happen.
134	Suggest	Offer a plausible answer suited to the information given.
135	Assess	Judge the extent, value or strength of something using evidence.
136	Discuss	Develop a structured response that considers the relevant issues.
137	Illustrate	Make an idea clear with a relevant example or diagram.
138	Demonstrate	Show how a fact, process or result can be established.
139	Arrange	Put items into the order or grouping requested.
140	Sequence	Put stages into a meaningful order.
141	Classify	Assign each item to a category using the stated rule.
142	Order	Sort items by the criterion given in the prompt.
143	Omit	Leave out the indicated item or detail.
144	Include	Make sure the requested part appears in the response.
145	Exclude	Keep the named item or category outside your answer.
146	Refer to	Use the specified passage, figure or notes when responding.
147	Based on	Ground the answer in the material named in the question.
148	According to	Use what the specified source says.
149	In context	Use the meaning that fits this passage or situation.
150	Most likely	Choose the conclusion with the strongest support among the options.
151	Best supported	Prefer the conclusion backed most directly by the evidence.
152	Explicit	Stated directly in the source.
153	Implicit	Suggested by the source and recoverable from clues.
154	Example	A particular case used to make a general idea clear.
155	Conclusion	The result reached after considering the reasoning or evidence.
156	Assumption	A premise taken as given for the purpose of the question.
157	Condition	A requirement that must be satisfied.
158	Constraint	A restriction that shapes the possible answers.
159	Criterion	A standard used to choose or judge an answer.
160	Source	The particular text, figure, notes or data supplied for use.
161	Passage	A stretch of text provided for reading and answering questions.
162	Statement	A complete assertion to examine or respond to.
163	Option	One of the choices the question offers.
164	Section	A group of questions or tasks within a test.
165	Figure	A numbered graph, image or diagram referred to in the task.
166	Table	Information arranged in rows and columns.
167	Graph	A visual display of data or a mathematical relationship.
168	Diagram	A drawing showing features, structure or relationships.
169	Melodic tendency	Explain where a scale degree normally moves in the stated tonal context.
170	Pattern	A regularity visible across observations or examples.
171	Scale	The intervals or measurement relationship used in a display.
172	Unit	The standard attached to a measurement, such as minutes or metres.
173	Define	Give the precise meaning used in the subject or question.
174	Outline	Give the main steps or points in brief.
175	Give	Supply the requested fact, example or result.
176	Name	Supply the correct term, person or item.
177	List	Set out the requested items separately.
178	Record	Write the result in the space and form provided.
179	Indicate	Make the chosen feature or answer clear.
180	Complete	Fill in what is missing while keeping the supplied structure.
181	Locate	Find the specified detail, point or region.
182	With reference to	Tie each important point to the specified material.
183	With examples	Support the answer with concrete cases from the appropriate material.
184	Two reasons	Give two distinct explanations for the relevant result.
185	Subpart	Treat each separately lettered or numbered question as its own instruction.
186	Scoring guidelines	Review what the released rubric accepts for each point.
187	Course and Exam Description	Check College Board’s guide for the named AP course and exam year.
188	Released free responses	Use College Board’s published examples and scoring guidance for practice.
189	Mechanism	Describe the steps through which an outcome is produced.
190	Explain one way	Give one specific example and show how it meets the stated condition.
191	Support the claim	Give evidence that bears on the exact claim in the question.
192	Chord quality	Use the intervals above the root to classify a chord.
193	Harmonic rhythm	Identify the timing and frequency of chord changes.
194	Harmonic progression	Trace the sequence of chords and the relationship of their functions.
195	Interval inversion	Move one note by an octave so the interval turns over, then determine its new size and quality.
196	Cadence from outer voices	Check bass scale degrees and the upper voice at the phrase ending before classifying the cadence.
197	Detect a rhythm error	Compare the performed durations or onset positions with the notation.
198	Barline placement	Group durations according to the stated meter and place barlines accordingly.
199	Detect a pitch error	Compare the sounded pitch with the notated pitch at the named location.
200	Write a rhythmic skeleton	Place the durations and rests against the beat before filling in pitches.

What AP Music Theory requires

College Board lists the regular exam for May 10, 2027. This is the first hybrid digital administration. Multiple choice uses Bluebook. Written free-response prompts and sight-singing melodies are in paper booklets, with applicable audio in Bluebook. Write free responses on paper and record sight-singing in Bluebook.

Assessment component	Format and weighting
I · Multiple choice	75 questions in about 80 minutes, worth 45%. Tasks use performed and notated music.
II A · Written free response	7 questions in about 70 minutes, worth 45%. Tasks include two melodic dictations, two harmonic dictations, part writing from figured bass and Roman numerals, and bass-line composition or harmonisation.
II B · Sight-singing	2 short melodies in about 10 minutes, worth 10%. Record both performances as directed.

AP is a U.S.-based programme taken domestically and internationally. Confirm local reporting or submission arrangements with your school or test centre. Practise with the official materials for your course and assessment year.

Read the task before planning a response

Identify the tonic, then listen for stable scale degrees and the phrase ending. For dictation, mark the pulse and note where durations fall. For part writing, check each voice horizontally and the chord members vertically. Keep these checks separate so you can see which part of the answer needs revision.

Worked examples for common exam instructions

Label an inversion

Prompt. In C major, a triad contains C, E and G with E in the bass. Label it.

Answer. It is I in first inversion, usually labelled I⁶. The chord root is C and the chord third is in the bass.

Name a cadence

Prompt. In G major, root-position D major resolves to root-position G major at a phrase ending, with G in the soprano. Identify the cadence.

Answer. It is a perfect authentic cadence. The harmony moves V to I in root position and the upper voice ends on the tonic.

Distinguish meter from subdivision

Prompt. In 6/8, give the usual number of main beats and the subdivision of each.

Answer. There are two main beats per measure, each a dotted quarter note divided into three eighth notes.

Identify a nonchord tone

Prompt. Over a sustained C major triad, a line moves E–F–G in successive steps. Identify F in the stated harmony.

Answer. F is a passing tone. It is approached by step from E and left by step in the same direction to G.

Use the Fencing Method to build an answer

Start with a small, accurate answer. Add the detail that fixes it to the case, then add the reason that supports it. Try the same structure with a new source, work or passage.

Start. The final cadence is authentic.

Add context. The phrase ends V to I in G major.

Add reasoning. Both chords are in root position and G is in the top voice at the arrival, so it is a perfect authentic cadence.

Transfer. Change the upper arrival note to B and classify the cadence again.

Practise with the 200 terms

Choose a short passage. Identify its key and meter, label one chord and listen for or sing the phrase ending. Check pitch, rhythm and harmonic interpretation separately.

Name the applied chord

Try it. In C major, an A-major triad resolves to D minor. Identify its likely local function.

Check. A major functions as V/ii. It temporarily treats D minor, the supertonic chord, as a local tonic.

Frequently asked questions

How should I practise the hybrid format?

Use released audio with a paper response sheet for written tasks. For sight-singing, practise reading a short melody on paper and making a recording in one take under the instructions for that exercise.

Official sources and next reading

College Board AP Music Theory assessment information and scoring samples · College Board AP dates and deadlines

College Board guidance on the hybrid AP Music Theory exam

Top 200 Vocabulary Word List for AP Music Theory | Must Know Words for Common Examination Instructions