AP Music Theory Free Response Help - FRQ/LEQ

Overview of the FRQ Section

Melodic Dictation

1. Start with what you know! Listening to the melody holistically and trying to copy it down will be overwhelming, and you will forget the details. Just take a deep breath, and write down what you can. Getting some of it is better than getting none of it if you can’t get all of it!
2. Notice the details. Is there an anacrusis (pick-up note)? What clef is it in? What is the meter, key, tonality? If it’s in a minor key, listen for whether it is natural, harmonic, or melodic minor.
3. Listen carefully for the steps and skips if you can’t decipher the notes themselves. Listening for the cadential progression of the melody could also help you if you get lost.
4. Don’t start writing right away! The melody will be played multiple times. The first time you hear it, just listen to it. Then, sing it back softly to yourself. Having the melody in your ear will work better as a reference for yourself as you begin to notate. The other times the melody is played can be used to spot-check the tricky parts.
5. Work backward! There’s no rule that you have to work linearly, left to right. Maybe it works for you to write down that last measure first, and then go back to the beginning. That’s ok! Do whatever works best for you!

Harmonic Dictations

1. Use the information given to your advantage! The prompt gives you the key, so it is not a bad idea to quickly write out a reference for yourself complete with the chords within that key. Make sure you know implied harmonies—it will be really helpful here!
2. There are a few ways you could approach harmonic dictations. The first method is vertical listening. First, you would focus on familiar patterns on top and on bottom, or listen to the chords in full to recognize the cadences. Then, listen to the bass the second time to confirm the progression. Focus on the soprano line the third tip (bonus tip: contrary motion!) The fourth and final time the audio is played, use it to double-check any problem areas, and otherwise fill in the rest.
3. Another method would be to flip the process described above and to listen linearly. Focus on the bass line first, then the soprano line, and fill them in accordingly. On the third time the melody is played, listen for chord quality (major, minor, any sevenths or accidentals?), and then fill in the blanks with the fourth time played for reference.

Need a little midway freakout? Me too. Don't worry, we'll get through this! Image courtesy of giphy

Figured Bass

1. Before you begin: take notes! Write out the chords and progressions for your own reference as you work through the sample.
2. Start with the melody! Using the bass line and recommendation of contrary motion, write the soprano part before the alto or tenor lines. This is easier than having to undo the middle parts in order to keep within part-writing rules.
3. With the soprano line completed, go in and fill in the alto and tenor lines accordingly. It does not matter whether you write line by line or chord by chord, whichever works best for you!
4. Make sure to double-check your work before moving on to ensure that you haven’t broken any part-writing rules.

Part-Writing

1. First, write out the chords for each roman numeral. This will act as a reference for when it comes to filling it all of the parts. Make sure to double-check the key signature!
2. Start with the bass line. Pay attention to the inversions of the chords, and this should be easy-peasy. Plus, then the rest of the question will just look like a figured bass exercise.
3. Similar to figured bass, move on the soprano line (melody) after writing out the bass line. After that is solidified, fill in the alto and tenor lines using part-writing rules and the chords you wrote out as a reference.
4. Double-check for those pesky parallel fifths and/or octaves and you are good to go!

Harmonizing a Melody

Sight Singing!

1. Choose a syllable to sing on, and stick to it. If you know solfege, that may help you navigate larger intervals. If not, you may want to consider using numbers or a neutral syllable, such as “la”. The word you sing on will not affect your score.
2. Slow and steady wins the race! Don’t rush through the melody at the sacrifice of accuracy! If going slower gives you more time to be more accurate, both with rhythms and intonation, your score will thank you for it later!
3. Rhythm matters too! Many students will become flustered as the aspect of singing the right notes that rhythm is completely disregarded. Don’t do that! The point is to assess your understanding of notation, both pitch-wise and rhythmically.

Conclusion