1. AP Music Theory Mr. Silvagni
Harmonic Dictation
AP Music Theory
Mr. Silvagni

2. Harmonic Dictation
Harmonic dictation is listening to a series of chords and writing down the chord quality (roman numeral), soprano, and bass lines
The key of the example and a grand staff are provided
This can be quite overwhelming, but if you know how to listen, you can pick things out

3. Skills for Harmonic Dictation
Understand the relationship of chords to the tonal center
Discriminate between chord qualities and recognize inversions
Recognize familiar melodic patterns in the melody and bass and their placement within the example
Recognize and notate cadences
Understand the “norms” of the common-practice style

4. Process There are two harmonic dictation questions on the AP exam
One will be in major and one will be in minor
They will each contain 9 chords with the first one given
The meter is always simple, either triple or quadruple
Rhythm is not graded
Each question will be played four times

5. Relevant Information
Three harmonic areas or functions are tonic (I, i, vi or VI), subdominant or predominant (IV, iv, ii or iio), and dominant (V or viio)
Root position chords are considered strong
Supertonic and leading tone chords are commonly found in first inversion
Supertonic in first inversion is a strong subdominant harmony
Second inversion harmonies are often used to prolong stronger harmonies
Passing, Neighbor, and Arpeggiating 64 chords

6. Relevant Information
Harmonic progressions move from Tonic to Subdominant to Dominant to Tonic
Dominant harmonies do not move to subdominant (retrogression)
Chromatic chords (secondaries) prolong harmony they lead to
Significant harmonic function changes usually occur on strong beats
When the bass line is conjunct, harmonies are generally being prolonged
When the bass line is disjunct, harmonies are generally changing

7. Connect hearing and notating
Understand what commonly ends a phrase
Understand that only I, V, or vi can be the last chord
Understand cadential patterns – bass and soprano
Listen for basic patterns in the bass line
Be able to identify cadences aurally
Understand what harmonies are implied from knowing the bass line
Understand what commonly begins a phrase
Return to tonic
Understand what commonly occurs in the middle of a phrase
Common subdominant function
Possible use of a chromatic harmony
Possible use of inverted chords for prolonging harmony

8. Implied Harmonies Do implies I or possibly IV64
Ti implies V6 or V65 or possibly viiø7 or viio7
La implies vi or possibly IV6
Sol implies V or possibly I64
Fa implies IV or possibly ii6 or ii65
Mi implies I6
Re implies ii or possibly V64, V43, or viio6

9. I-V(6 or 65)-I or i-V(6 or 65)-i
Begin a Phrase
Common Bass Lines
Implied Harmonies
Do Ti Do
I-V(6 or 65)-I or i-V(6 or 65)-i
Do Re Mi (or Me)
I-V64-I6 or i-V64-i6
I-viio6-I or i-viio6-i
Do Do Do
I-IV64-I or i-iv64-i
Do Fa Mi (or Me)
I-V42-I6 or i-V42-i6
I-IV-I6 or i-iv-i6
Do Mi (or Me) Sol
I-I6-I64 or i-i6-i64

10. Middle Phrases Common Bass Lines Implied Harmonies Sol Fa Mi (or Me)
V-V42-I6 or V-V42-i6
Mi (or Me) Fa Sol
I6-ii65-V or i6-iiø65-V
Do La (or Le) Fa
I-vi-IV, i-VI-iv, I-vi-ii6, or i-VI-iio6
La (or Le) Fa Mi (or Me)
vi-IV-I6, VI-iv-i6, IV6-IV-I6, or iv6-iv-i6
Fa Mi (or Me)
IV-I6, iv-i6, V42-I6, or V42-i6
Fa Re
IV-ii (major only)
Fa Fa
IV-ii6 or iv-iio6
Fa Fi Sol
IV-V65/V-V, iv-V65/V-V, ii6-V65/V-V, or iio6-V65/V-V
Fa Sol Si La (or Le)
IV-V-V65/vi-vi or iv-V-V65/VI-VI
Me Mi Fa
i6-V65/iv-iv (minor only)

11. Recognizing and Notating Cadences
Common Bass Lines
Implied Harmonies
Type of Cadence
Sol Sol Do
I64-V(7)-I or i64-V(7)-i
Authentic
V-V(7)-I or V-V(7)-i
Fa Sol Do
IV-V(7)-I or iv-V(7)-I
ii(6 or 65)-V(7)-I
ii(o6 or ø65)-V(7)-I
Fa Sol La (or Le)
IV-V-vi or iv-V-VI
Deceptive
Sol Sol La (or Le)
I64-V-vi or I64-V-VI
Fa Do
IV-I or iv-I
Plagal
Fa Sol
IV-V or ii6-V
Half
iv-V or iio6-V
Le Sol
iv6-V
Phrygian Half

12. Specific tips Write a chord menu (major and minor)
Write out chords I, ii(7), IV, V(7)/V, V(7), vi, and vii(ø7)
Write out chords i, ii(ø7), iv, V(7)/V, V(7), VI, and vii(o7)

13. Tips Hear vertically (Four Listens)
Listen for “chunks” of the phrase for familiar patterns top to bottom - Identify and notate cadences
Listen to the bass line to confirm chord quality and inversion
Listen to the soprano – expect contrary motion to the bass line
Listen specifically for what you have left blank

14. Tips Hear linearly (Four Listens)
Listen to the bass line – identify and notate the cadence
Listen to the soprano line – notice shape and contour and contrary motion from bass line
Listen vertically for the chord quality
Listen specifically for what you have left blank

15. Tips Do NOT leave any blanks
Does your progression move in Tonic, subdominant, dominant, tonic motion?
Did you write any parallel 5ths or octaves?
Is the last note the correct value?
Did you use stems and fill in note heads?
PAC is used most often and is most often I64-V(7)-I or i64-V(7)-i
In the PAC, V7 is used more often than V