Music Theory Part 2

If you divide an octave into two smaller intervals, the two intervals are related by _______

Inversion

To invert an interval, shift one of the notes ____ or ____ an _____

up, down, octave

When intervals are inverted their size and quality change in ______ ways

predictable

Knowing the ______ qualities of intervals - written without accidentals, using only the white keys on the piano - can be an efficient way to identify or write intervals of a particular quality

natural

Intervals of different sizes but that contain the ___ number of _______ are _______

same, semitones, enharmonic

Music treats invervals as either _____ or ______

consonant, dissonant

Consonant intervals are ______

relatively stable

Dissonant intervales are _________, - they ____ the music forward

relatively unstable, propel

The consonant intervals are often further divided into _____ and _____ consonances.

perfect, imperfect

Perfect consonances

perfect unisons, perfect fifths, perfect octaves

Imperfect consonances

major and minor thirds and sixths

In major keys, the intervals above the tonic are all ____ or _____

major, perfect

in the natural minor scale, the intervals formed above the ____ are ____ and ____, except for the ____ between scale degree 1 and 2

tonic, minor, perfect, major second

Intervals related by inversion have sizes that sum to ___

9

The perfect fourth may be _____ or ____ depending on the context

consonant, dissonant

A ____ consists of three different pitches : a ____ divided into two ____, or two ___ stacked to make a ____

triad, fifth, thirds, thirds, fifth

When a triad is stacked in thirds, the lowest note is the ___, the middle note is the ___, and the highest note is the ____

root, third, fifth

Triads are classified by quality and may be

diminished, minor, major, or augmented

The lowest sounding note in a triad is the ___

bass

the bass note of a triad determines its ____

position

When the root of the triad is in the bass, the triad is in ______

root position

When the third of a triad is in the bass, the triad is in _____

first inversion

When the fifth of a triad is in the bass, the triad is in ____

second inversion

Within a major or minor key, ______ — corresponding to the scale degree of the root — identify triads.

roman numerals

Major triads are indicated with ___ roman numerals

uppercase

Minor triads are indicated with ___ roman numerals

lowercase

Roman numerals followed by a degree (^o) symbol indicated ____

diminished triads

In minor keys, the _______ and _______ harmonies are usually modified with a raised _______ from the harmonic minor scale, creating a leading tone. However the _____ is not ordinarily used in the III triad,

dominant, subtonic, seventh scale degree, raised seventh scale degree

what are the three figures of triads

53, 63, 64

For triads in root position, the figure is usually ______

omitted

For triads in first inversion, ___ is useually abbreviated to ___

63, 6

For triads in second inversion, _____ appears with the roman numeral and is _____

64, not abbreviated

Seventh chords can be understood as either a triad plus a _____ over its root, or a triad with an additional_____ stacked on top of its ____

seventh, third, fifth

what is a fully diminshed seventh triad :____ + ______

diminished triad, diminished seventh

what is a half diminished seventh triad: ____+_____

diminished triad, minor seventh

What is a minor seventh triad: ___+_____

minor triad, minor seventh

What is a dominant seventh triad: ___+_____

major triad, minor seventh

what is a major seventh triad: ____+_____

major triad, major seventh

what is the figure of a seventh chord with the root as the bass?

753, abbreviated 7

what is the figure of the first inversion of a seventh chord?

653, abbreviated 65

what is the figure of the second inversion of a seventh chord?

643, abbreviated 43

what is the figure of the third inversion of a seventh chord?

642, abbreviated 42 or 2

in major keys what scale degree is a half-diminished seventh?

vii

in minor keys what scale degree is a half diminished seventh

ii

in minor keys what scale degree is a fully diminished seventh

vii

______ is often used to illustrate principles of tonal music

4 part harmony

four part harmony is typically notated in _____ (or ______ )format

SATB, chorale

the notes of adjacent upper parts (soprano + alto, alto + tenor) should never be more than _____ apart

an octave

The tenor and bass can be more than an octave apart

true

in basic 4 part harmony exercises you should avoid ____

voice crossing

In keyboard format there is _____ in the left hand (bass clef) against _____ in the right hand (treble clef)

one note, three

in standard keyboard format, the upper three voices are placed within ______ so that they can be comfortably played by the right hand

an octave

what does it mean to realize a series of roman numerals

to compose a passage based on indicated chords

it is usually preferrable to double the ___ of a root-position and second inversion triad

bass

in first inversion triads, you can usually double ____ note

any

in 4 part harmony you should never double ______ tones

tendency

one type of tendency tone is the _______

leading tone

another type of tendency tone is a _________, which is a dissonant member of a chord, such as the seventh of a seventh chord

chordal dissonance

A chordal dissonance has a strong tendency to resolve _____, and thus may not be doubled

down by step

figured bass uses _______ to designate the upper notes of chords by indicating the intervals above the bass notes

numerals

in tonal music, a chord is understood to move to the one that follows, so that a series of chords form a _____ or ____.

harmonic progression, chord progression

Chords don’t simply succeed one another: each chord _____ to the next, with each of the four voices forming a separate_______

melodic line

the manner in which the notes and intervals of each chord move to the next is called ________

voice leading

in four-part harmony exercises, the three upper voices should move ______, mostly with ______ melodic intervals

smoothly, small

upper voices typically move by ___ or _____, and they never use leaps greater than a ____.

step, third, sixth

when a chord repeats or is sutained, on the other hand, melodic leaps in ____ or more of the _____ is not a problem

one, upper voices

Although melodic leaps are common in the bass, even there you should a avoid leaps greater than ____ or leaps of a ____

an octave, seventh

leaps between chord tones within the same harmony are known as

chord skips

Furthermore, melodic _____ intervals (including ____ second) should not appear in any voice

augmented, augmented

avoid approaching a leading tone with an ___ melodic leap of more than a third, since this would sound too strident for a harmony exercise

ascending

contrary motion

one voice moves up and the other moves down

parallel motion

the two voices move in the same direction and the same distance

similar motion

the voices move in the same direction but different distances

oblique motion

one voice remains on the same note while the other moves up or down

stationary motion

both voices remain on the same note

a perfect interval (P5, P8) may ____ be approached in parallel motion, since this would counteract the ____ of the voices. This prohibition applies to ____ as well as ____ octaves and fifths.

not, independence, compound, simple

parallel ___, ____, and ___ are not allowed

octaves, fifths, unisons

for parallel voices to not be allowed a pair of voices when ______ must move in a perfect interval.

isolated

you may move from a ______ fifth to a ____ fifth, but you may not move from a ___ fifth to a _____ fifth

perfect, diminished, diminished, perfect

if the leading tone appears in an outside voice, the outside voice with the _____ must alwaus resolve upward to the _____

leading tone, tonic

the leading tone in the ___ voice does not need to resolve up by step

inner

dissonant tones, including especially the ____, have a strong melodic tendency to resolve ___ by step, even if they appear in an inner voice

chordal seventh, down

if the chord that contains the _____ is repeated, the chordal seventh may be moved to _____ and not resolve immediately

chordal seventh, another voice

You should avoid approaching a perfect octave or fifth between the outer voices in similar motion unless_____

the soprano voice moves by step

a perfect octave approached in similar motion creates ______, and a perfect fifth approached in similar motion creates ______

similar octaves, similar fifths

a perfect unision between any two upper voices should not be approached in ____

similar motion

an octave should not be approached in ____ from a dissonant interval of a ____ or _____

similar motion, seventh, second

in all voices, avoid ____ intervals, leaps larger than a ___ ascending to a ___, leaps of a ___, and leaps greater than an ____

augmented, third, leading tone, seventh, octave

A ____ is the basic unit of tonal music, akin to a ____ in language.

phrase, sentence

A cadence consisting of V or V⁷ moving to I (or i) is an ____

authentic cadence (AC)

A cadence ending with a V triad is a ________

half cadence (HC)

An authentic cadence that ends with a first scale degree in the melody is a ______

perfect authentic cadence (PAC)

An authentic cadence that ends with the third or fifth scale degree in the melody is an _______

imperfect authentic cadence (IAC)

it should be noted that harmonies alone do not deterimine where cadences occur: cadences appear only at _____, which are determined not only by the ____ that are used, but also by the _____ and ______.

the ends of phrases, chords, rhythm, melody

A particulalry common pattern involves a stable ____ chord moving to an unstable ____ chord and then back to a _____ (_-_-_)

Tonic, Dominant, Tonic, T, D, T

The tonic chord in a TDT progression must be a ____ and cannot be a ____

triad, seventh

In a TDT progression the tonic can be in root position, especially if it appears where?

the middle of a phrase

In a TDT progression, the tonic can appear many ways including what inversion?

first inversion

what inversion can a tonic not appear as in a TDT progression

second inversion