AP Music Theory - Chapter 5: Principles of Voice Leading

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Textbook: Tonal Harmony with an Introduction to Post-Tonal Music (8th edition)

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26 Terms

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Basic rules

simple rhythm, melody note matches chord, as few jumps as possible, make consecutive leaps arpeggios, up 4 then down 1

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Rhythm

  • keep it simple

  • most durations equal to or longer than the duration of the beat

  • final note should occur on a strong beat

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Harmony

  • every melody should belong to the chord that is to harmonize it (basically, every note of the melody should be a part of the chord that is played with it)

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Contour

  • melody should be mostly stopwise

  • shape of melody should be interesting but clear and simple

  • one focal point (highest note)

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Leaps

  • avoid augmented intervals, 7ths and any intervals larger than P8 - diminished intervals are okay if the melody changes direction by stop immediately after the interval

  • intervals of P4 and larger need to be followed by a second going the opposite direction to the leap

    • smaller leaps used consecutively in the same direction should outline a triad

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Tendency tones

  • 7th degree has a strong tendency to move up to 1st degree

    • 4th degree has a strong tendency to move down to 3rd degree - not as common

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Close structure

less than P8 between soprano and tenor

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Open structure

P8 or more between soprano and tenor

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Soprano range

C4 - G5

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Alto range

G3 - D5

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Tenor range

C3 - G5

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Bass range

E2 - C4

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Full score

all or most of the parts are notated on their own individual staves

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Reduced score

notated at concert pitch on as few staves as possible - essentially condensed full score

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Parallel 5ths and 8ths

two voice parts move in P5 or P8 in same direction at same time

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Contrary 5ths and 8ths

two voice parts move in P5 or P8 in different directions at same time

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Direct 5ths and 8ths

the outer parts move in the same direction into P5 or P8 with a leap in the soprano part and a leap or step in the bass

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Unequal 5ths

when a P5 is followed by a diminished 5 or when a diminished 5 is followed by a P5

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Static

neither part moves

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Oblique

only one part moves

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Contrary

both move, but in opposite directions and in different intervals

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Similar

both move in same direction but by different intervals

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Parallel

both move in same direction by same the interval

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Score order

woodwinds, brass, percussion, strings

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Triad inversion symbols

  • first inversion: 6

  • second inversion: 6 / 4

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7th chord inversion symbols

  • root: 7

  • first inversion: 6 / 5

  • second inversion: 4 / 3

  • third inversion: 4 / 2