AP Music Theory Unit 2: Music Fundamentals II: Minor Scales and Key Signatures, Melody, Timbre, and Texture Practice Exam

1. [Skill: 1.A | Topic: 2.1] In an aural exercise, a minor scale is played ascending. The student hears the following scale-degree pattern relative to the tonic: 1, 2, lowered 3, 4, 5, lowered 6, raised 7, 1 Which form of the minor scale is being performed?

2. [Skill: 2.A | Topic: 2.1] Which of the following pitch collections correctly notates the C harmonic minor scale ascending?

3. 1. [Skill: 1.A | Topic: 2.10] Consider the two notated melodic segments below (same rhythm in both): Segment 1: C4 (quarter), D4 (quarter), E♭4 (half) Segment 2: F4 (quarter), G4 (quarter), A♭4 (half) Which of the following best describes the relationship between Segment 1 and Segment 2?

4. 2. [Skill: 2.A | Topic: 2.10] A melody in A minor is notated as five eighth notes: A4–B4–C5–D5–E5. Which option correctly transposes this melody up a major second using chromatic (real) transposition (i.e., preserving the exact interval sizes)?

5. 3. [Skill: 1.B | Topic: 2.10] A score excerpt shows a key signature of one flat (B♭). Melody 1 (all quarter notes): D4–E4–F4–G4–A4 Melody 2 (all quarter notes): G4–A4–B♭4–C5–D5 Which statement best describes Melody 2 in relation to Melody 1?

6. 4. [Skill: 2.A | Topic: 2.10] A three-note motive is notated (all eighth notes): E4–F#4–G4. Which option correctly transposes the motive down a minor third using chromatic (real) transposition?

7. 5. [Skill: 1.A | Topic: 2.10] A short motive is heard in a recording: the oboe plays a two-beat idea (same rhythm and contour each time). Immediately after, the same idea is repeated by the clarinet beginning on a different pitch level, with no change to rhythm. Which melodic procedure is most clearly being used?

8. 6. [Skill: 1.B | Topic: 2.10] A melody is notated (all quarter notes): G4–A4–B4–G4. A student claims the melody is transposed up a perfect fifth. Which option is the correct transposition up a perfect fifth using chromatic (real) transposition?

9. [Skill: 1.A | Topic: 2.11] A recording excerpt features a single vocalist singing an unaccompanied folk tune. No other instruments or voices are present, and the melody is not doubled at the octave. Which texture type best describes the excerpt?

10. [Skill: 1.A | Topic: 2.11] A recording excerpt begins with one voice presenting a short melody. After two measures, a second voice enters with the same melody while the first voice continues, creating overlapping statements of the same musical idea. Which texture type best describes the excerpt?

11. [Skill: 1.A | Topic: 2.11] A recording excerpt features a small ensemble (e.g., voice and two instruments) performing the same tune simultaneously. One performer plays the melody plainly, while another adds turns and passing tones, and a third stretches or slightly anticipates some notes; all remain clearly on the same underlying melody at the same time. Which texture type best describes the excerpt?

12. 2. [Skill: 1.A | Topic: 2.12] A student listens to an excerpt in which the bass instrument plays continuous quarter notes. The line moves mostly by step, frequently connecting chord tones with passing tones, and it outlines a new harmony nearly every beat while the upper parts play sustained chords. Which texture device best describes the bass line?

13. 5. [Skill: 1.A | Topic: 2.12] A student listens to an ensemble excerpt. The highest voice presents a clear, singable main melody. A second upper voice plays an independent, rhythmically active line that weaves around the melody with occasional contrary motion and occasional brief rests, while the remaining instruments provide harmonic support. Which term best describes the relationship of the second upper voice to the melody?

14. 1. [Skill: 1A | Topic: 2.13] A notated excerpt (single melodic line) is in 4/4. In measure 1, the rhythm is: quarter note on beat 1; eighth note on the “and” of beat 2 tied to a quarter note on beat 3; quarter note on beat 4. The composer places an accent mark (>) over the tied note that begins on the “and” of beat 2. Which rhythmic device is most clearly present in this measure?

15. 3. [Skill: 1A | Topic: 2.13] A score excerpt shows these time signatures across four consecutive measures: Measure 1: 5/8 Measure 2: 3/8 Measure 3: 5/8 Measure 4: 2/4 Which statement best describes the metrical organization of this passage?

16. 4. [Skill: 1B | Topic: 2.13] A student describes a performed excerpt: “The hi-hat plays a steady pattern of eighth notes. At the same time, a hand drum repeats a pattern that accents every third eighth note, creating a repeating cycle of accents that does not line up consistently with the main beat accents.” Which rhythmic device is the student describing?

17. 5. [Skill: 1A | Topic: 2.13] A notated melody is in 3/4. In measure 2, beat 1 is a quarter rest; beat 2 is an accented quarter note; beat 3 is a quarter note. The harmony and accompaniment strongly emphasize beat 1 as the strongest beat of the measure. What is the best description of the effect created in measure 2?

18. 6. [Skill: 1A | Topic: 2.13] A notated excerpt shows four consecutive measures with these time signatures: Measure 1: 6/8 Measure 2: 6/8 Measure 3: 3/4 Measure 4: 6/8 The composer keeps the eighth note constant (the written eighth-note pulse feels unchanged), but the conductor’s beat pattern changes noticeably in measure 3. Which statement best explains why the beat grouping feels disrupted in measure 3?

19. [Skill: 1.A | Topic: 2.2] A notated excerpt has a key signature of three sharps. The melodic line emphasizes F# and ends with the pitches E#–F#. Which key is most strongly suggested by this excerpt?

20. [Skill: 1.A | Topic: 2.2] A student is asked to identify the relative minor of D major. Which answer is correct?

21. [Skill: 1.A | Topic: 2.2] In a performed excerpt, the key signature contains one flat throughout. The listener repeatedly hears phrases resolve to D, and the pitch C# appears frequently as an emphasized tendency tone leading to D. Which key best fits this description?

22. [Skill: 1.B | Topic: 2.2] A student needs to notate the correct key signature for C minor. Which key signature is correct?

23. [Skill: 1.A | Topic: 2.2] A notated passage begins clearly in E major (four sharps). Later, the music uses the same key signature (four sharps) but cadences with the bass and melody on C#, with frequent B# resolving to C#. Which statement best describes the change?

24. [Skill: 1.A | Topic: 2.3] A short excerpt begins and ends with strong emphasis on C as the tonic. In the first half, the key signature shows no sharps or flats and the passage consistently uses E-natural. In the second half, the key signature changes to three flats and the passage consistently uses E-flat. Which statement best describes the key relationship between the first and second halves of the excerpt?

25. [Skill: 1.A | Topic: 2.3] A performer states: “This piece starts in E major and later returns to the same tonic but in the opposite mode.” Which key best matches the key used later in the piece?

26. [Skill: 1.B | Topic: 2.3] In common-practice tonal music, a key’s five closely related keys are those whose key signatures differ by no more than one accidental. Which set lists all five closely related keys to D major?

27. [Skill: 1.B | Topic: 2.3] Consider the following description of a notated score: - Section A has a key signature of one sharp and cadences convincingly on E. - Section B changes to a key signature of no sharps or flats and cadences convincingly on A. How should the key relationship between Section A and Section B be described?

28. [Skill: 1.A | Topic: 2.3] A composition begins in B-flat major (two flats). Later, the music clearly returns to B-flat as tonic but uses D-flat and G-flat consistently and the key signature shows five flats. Which term best describes the relationship between the opening key and the later key?

29. **1.** [Skill: 1.A | Topic: 2.4] A melodic line in treble clef ascends by semitone from C up to the next C, using all pitches in between (including both letter-name changes and accidentals). Which scale is most clearly represented by this melodic line?

30. **2.** [Skill: 1.A | Topic: 2.4] Consider the following pitch content from a short melody (order may repeat, but no other pitches appear): F–G–A–C–D Which scale best describes the pitch collection used?

31. **3.** [Skill: 1.A | Topic: 2.4] A notated melody uses exactly these pitches (in various orders): D–E–F#–G#–A#–C–(D) Which scale is most clearly represented by this pitch collection?

32. **4.** [Skill: 1.B | Topic: 2.4] In a performed excerpt, the melody consists of six distinct pitch classes and is characterized by every melodic move sounding like the same size step (no half steps). The line frequently outlines augmented intervals and never creates a leading-tone effect. Which scale type is most consistent with this description?

33. **5.** [Skill: 1.A | Topic: 2.4] Two short melodic fragments are shown below. Fragment 1 uses the consecutive pitches: C–D–E–G–A. Fragment 2 ascends by semitone: A–A#–B–C–C#–D. Which statement best identifies the scale type most clearly represented by each fragment?

34. [Skill: 1.A | Topic: 2.5] A student hears two pitches in succession (melodic interval): the first pitch is G4 and the second pitch is E4. Which of the following best describes the melodic interval from the first pitch to the second pitch?

35. [Skill: 1.A | Topic: 2.6] In a recorded vocal warm-up, a singer leaps from G3 up to E5 in one motion. Which interval best describes the leap?

36. [Skill: 1.A | Topic: 2.6] A teacher gives the following rule reminder: “To find an inversion, move the lower note up an octave; the original interval and its inversion sum to a perfect octave.” Which pair correctly shows an interval and its inversion (including both size and quality)?

37. [Skill: 1.A | Topic: 2.6] A student sees the notated interval below and is told it is a compound interval. [Image Cue]: Notated music excerpt, "Compound Interval to Simple Equivalent", bass clef lower note B2 and treble clef upper note F#4 sounding together (a harmonic interval); visually clear that the upper note is more than an octave above the lower note. What is the simple interval class (simple equivalent) of the notated interval?

38. [Skill: 1.A | Topic: 2.6] A student inverts a simple interval by transferring the lower note up one octave, following standard practice. The original interval is C4 up to B-flat4. What interval results after inversion?

39. [Skill: 1.A | Topic: 2.7] A B-flat clarinet part shows a written note E5 (the E above the treble staff). What is the correct sounding (concert) pitch? (Assume the instrument is a standard B-flat clarinet.)

40. [Skill: 1.A | Topic: 2.7] An E-flat alto saxophone part shows a written note A4. What is the correct sounding (concert) pitch? (Assume the instrument is a standard E-flat alto saxophone.)

41. [Skill: 1.A | Topic: 2.7] A horn in F part shows a written note G4. What is the correct sounding (concert) pitch? (Assume the instrument is a standard F horn.)

42. [Skill: 1.B | Topic: 2.7] A B-flat clarinet plays the following written melody (all in treble clef): Written pitches (in order): G4 – A4 – F4 Which of the following is the correct concert-pitch melody (in order)?

43. [Skill: 1.C | Topic: 2.7] A concert pitch score is being prepared from a transposing part. An E-flat alto saxophone part is written in B major (key signature: five sharps). What is the correct concert key (sounding key) for that part?

44. [Skill: 2A | Topic: 2.8] A student listens to an excerpt featuring exactly four bowed string instruments. The texture is primarily conversational, with each part frequently taking melodic material, and no additional instruments double the lines. Which of the following performance media is most consistent with the excerpt?

45. [Skill: 2A | Topic: 2.8] In a recording, a player produces sound by blowing into a tube with a reed, using many keys to change pitch. The tone is described as penetrating and slightly nasal, and the instrument is capable of both lyrical lines and agile articulated passages. To which instrumental family does this instrument most likely belong?

46. [Skill: 2A | Topic: 2.8] A melody is first played by a clarinet in its middle range. Immediately afterward, the same melody is played by the same clarinet at a much higher pitch level, with the same articulation and dynamic. Which statement best describes the change between the two statements of the melody?

47. [Skill: 2A | Topic: 2.8] A performance features three players: one on piano providing chords and occasional melodic fills, one on upright bass playing a steady walking line, and one on drum set maintaining a ride-cymbal pattern with syncopated accents. Which standard performance medium is being described?

48. [Skill: 2A | Topic: 2.8] In a choral excerpt, the lowest part is sung by adult male voices with a dark, low tone that sustains long notes under the harmony. Which vocal timbre is most consistent with the lowest part described?

49. 1. [Skill: 1.A | Topic: 2.9] A melody is notated with the following pitch succession in quarter notes (one note per beat): C4–D4–E4–G4–F4–E4–D4–C4. Which of the following best describes the overall contour of the melody?

50. 2. [Skill: 1.A | Topic: 2.9] Consider the following melodic segment (rhythm is not the focus; assume each pitch is of equal duration): A4–B4–C5–D5–E5–A5. Which statement best describes the melodic motion in this segment?

51. 3. [Skill: 1.A | Topic: 2.9] A four-measure melody contains a short motive that first appears in measure 1. The motive is defined as the first three notes of measure 1 with their rhythm. Measure 1 begins with: E4 (eighth) – F4 (eighth) – G4 (quarter). In which measure does the motive recur as an exact transposition (same rhythm and interval pattern, but starting on a different pitch)?

52. 4. [Skill: 1.A | Topic: 2.9] A composer introduces a motive as: C5 (eighth) – B4 (eighth) – A4 (quarter). Later in the piece, the composer uses: C5 (quarter) – B4 (quarter) – A4 (half). Which type of motivic development is demonstrated most clearly?

53. 5. [Skill: 1.B | Topic: 2.9] A student claims: “Rhythm does not matter for melody; melody is only the pitches.” Which response best corrects the student’s claim using the definition of melody?