Theory Marking Key

Rudiments / Intermediate Theory

Harmony & Counterpoint / Analysis

Please note:
On harmony & counterpoint and analysis examinations, not all errors can be marked with circles. Written comments and the symbols listed below usually also indicate problems that have resulted in deductions; however, if the comment or symbol appears in square brackets, then the mark has not been affected. Not all circles, symbols, or comments indicate a deduction of 1 mark or 0.5 mark. Markings are of varying importance and will have varying impact on the mark assigned. We endeavor to point out all objective errors but overall impression is also considered in evaluation.

Symbols / Abbreviations	Explanation
	error: incorrect or missing item
	concern only: no marks deducted
LT	leading tone
MP	misplaced (for example, misplaced clef, rest, note, accidental, etc.)
SP	spelling
ST	stem: a stem is missing a stem and/or flag is drawn in the wrong direction or placed on the wrong side of the notehead
TIME	too many or too few beats in the measure incorrect grouping for the time signature
VL	voice leading
8ve, 8ve	placed in the wrong octave

Spelling/Notation
ACC	missing or incorrect accidental
BR	missing brace/bracket
ENH	enharmonic spelling should be used
LT	leading tone
MP	misplaced (for example, misplaced clef, rest, note, accidental, etc.)
REST	missing rest
RPT	a repeat sign is drawn incorrectly a required repeat sign has been omitted
SP	spelling
ST	stem a stem is missing a stem and/or flag is drawn in the wrong direction or placed on the wrong side of the notehead
TIME	too many or too few beats in this measure incorrect grouping for the time signature
Melodic writing (markings focusing on any individual melodic line, including those in melody questions, the four vocal lines of SATB texture, and the two parts in couterpoint questions)
Please note: Many of the following symbols and abbreviations are markings that depend greatly on context. They do not represent a list of "rules" or "errors" but are simply a list of markings that may be used when appropriate in specific circumstances.
end on	end the melody/soprano line on the tonic
LEAP	Examples of situations in which some leaps may be effective: avoid making two or more leaps in the same direction larger than a third where possible, approach and leave a leap from within let the line move a step rather than a seventh in the other direction
LINE	melodic line lacks direction any melodic problem that extends over a passage (rather than one problem); for example, angular line, many augmented leaps, too many leaps, etc.
PREP	seventh of a diatonic seventhth chord (ii_⁷, iii_⁷, IV_⁷, vi_⁷) is not properly prepared
RES	this dissonant note or "tendency tone" should resolve; for example: leading tone should resolve to tonic (RES) seventh of a seventh chord is not resolved (7th RES) fourth of a cadential 6/4 chord is not resolved (6/4 RES) thirteenth of V_¹³ typically moves down a third to the tonic note (13th RES) non-chord tone does not resolve
STYLE	style diverges too greatly from the given measure sonorities are included which are foreign to 18th-century style
VL	voice leading
x2 (x4, etc.)	augmented interval melodic leap interval outlined by consecutive pitches of a melodic line
	angular bass line excessive use of root-position chords and/or chord choices too limited
	range too narrow/repetitious
Voice leading (markings focusing on the relationship of voices or parts to each other, including the two parts in "melody with bass at the cadence," SATB texture, keyboard realization of figured bass, and the two parts in counterpoint)
OL	voice overlapping
SEQ VL-	a sequence implied by given material should be realized with sequential voice leading
	crossed parts
	parallel octaves and/or fifths
	hidden, exposed, direct octaves and/or fifths
	contrary octaves, and/or fifths
Chord construction (markings focusing on the "vertical" aspects of SATB or keyboard texture)
CHORD	chord does not match the chord symbol or is not a chord
DBL	inappropriate doubling in a 6/4 sonority, double the bass instead of the dissonant fourth or sixth
POS	for a given symbol, the student has written the chord in the wrong position in a student's chord symbol, the symbol indicates the wrong position of the chord
RANGE	range exceeds normal range for a SATB choir range exceeds the normal range in keyboard style
SP	chord is spelled incorrectly
LT	leading tone is doubled
3RD	third of the chord is missing
	improper spacing: more than an octave between soprano and alto or alto and tenor range exceeds an octave in the right-hand part of a chord in keyboard style
Chord choices / Harmonic progressions
FUNCTION OF 6/4	6/4 chord does not function appropriately
HR	Inappropriate harmonic rhythm too many strong chord changes per measure harmonic rhythm is not appropriate to the time signature components of the cadential 6/4 construction are separated by a bar line avoid repeating a bass not or a chord of similar function over a bar line strong chord change on the weak beat causes unwanted syncopation
KEY	wrong key OR modulation is not observed
PROG	a series of weak chord choices creating a poor harmonic progression
STYLE ?	style diverges too greatly from the given material sonorities are included which are foreign to 18th-century style
SUSP.	opportunity for suspension is ignored
WEAK	inappropriate chord choice the chord does not fit with the given material the chord choice does not allow for correct voice leading (for example, a seventh chord is used where it cannot resolve) chord choice creates a weak harmonic progression (for example, link I and I_⁶ with a passing vii⁰⁶, not ii)
Analysis
ANALYSIS	incorrect or questionable harmonic analysis
KEY	wrong key OR modulation is not observed
POS	for a given chord symbol, the student has written the chord in the wrong position in a student's chord symbol, the symbol indicates the wrong position of the chord
QUAL	quality of chord is incorrectly analyzed OR analysis of quality is unclear functional chord symbols use uppercase and lowercase inconsistently or illegibly root/quality chord symbols in which only the quality part is incorrect
SEQ	observe the sequence; the analysis should reflect the sequence and be consistent
Chorale harmonization
FER	missing fermatas
STYLE	sonorities and/or construction is stylistically inappropriate to the chorales of J.S. Bach
TEXT	rhythm does not fit the text OR syllable is missing or repeated
Counterpoint
IMIT	expected imitation is not continued