AP Music Theory Unit 2

Units 5-10 in Coursebook

Consonant intervals

notes that sound well together

Dissonant intervals

notes that do not sound well together

perfect consonances examples

P1 P5 P8

Imperfect consonances examples

m3 M3 m6 M6

dissonances examples 

m2 M2 +4 *5 m7 M7 (P4)

Parallel motion 

same direction, same amt.

similar motion

same direction different amt. (intervals)

contrary motion

different directions (top and bottom notes)

oblique motion

one note consistent one changes

keep the range of upper three voices and adjacent voices within an (exception within what)

octave, tenor and bass 

first inversion 

i6

second inversion 

i6/4

figured bass

bass line in a piece that figures under a certain note to imply the correct chord to perform

in d6 what's the bass note

f

in d6/4 what's the bass note

a

tonic

represents the I chord in a major or minor key

Dominant

represents the V chord in major or minor keys; requires resolution to a tonic chord

CCG #1

diatonic chords should be constructed exclusively from the notes of the major scale or the harmonic minor scale 

CCG #2

unless otherwise specified, chords should be written for four voices or parts

CCG #3

root position triads should have the root of the chord in the bass and a complete triad in the upper three parts (SAT)

VLG #2

for chord progressions by fifth, involving root position triads,keep the common tone in the same upper part and move the other voices to the nearest chord member, so as to produce a complete triad in the upper three voices

CCG #4

first inversion triads should have the third of the chord in the bass and either a doubled fifth or root not a doubled third 

VLG #3 

NEVER write parallel perfect fifths or perfect octaves between any two voices, this guidline always takes precedence 

VLG #4

avoid direct fifths or octaves b/w the bass and soprano; especially when two different chords are involved and the soprano  moves by leap

VLG #5

the leading tone (^7) should resolve to the tonic (^I) when two different chords are involved

CCG #5

Do NOT double the leading tone

phrases

musical ideas

cadences

end phrases

dominant cadences (V-I) is called the

authentic cadence

if the final chord of a cadence is the dominant the caldence is called the

half cadence

if both chords of na authentic cadence are in root position and the soprano is also the root of the final chord, then its classified as the 

perfect authentic cadence

if the requirements arent met for a perfect authentic cadence, then its a 

imperfect authentic cadence