AP Music Theory Terms - Q1

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80 Terms

1
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Order of Sharps

FCGDAEB

  • ½ above the last sharp is the tonic

<p>FCGDAEB</p><ul><li><p>½ above the last sharp is the tonic</p></li></ul><p></p>
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Order of Flats

BEADGCF

  • 2nd to last flat is the tonic

<p>BEADGCF</p><ul><li><p>2nd to last flat is the tonic </p></li></ul><p></p>
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Relative Minor

Contains the same key signature, but has a different tonic

  • Starts on the 6th Scale Degree

  • The root of the relative major is always the third note of the minor scale

<p>Contains the same key signature, but has a different tonic</p><ul><li><p>Starts on the 6th Scale Degree</p></li><li><p>The root of the relative major is always the third note of the minor scale</p></li></ul><p></p>
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Parallel Minor

Contains a different key signature but has the same tonic

  • + 3 flats

  • - 3 sharps

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Natural Minor

  • Lowered 3, 6, and 7

  • Insert Parallel Minor key signature

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Harmonic Minor

  • Lowered 3, and 6

  • Insert Parallel Minor key signature THEN raise the 7th

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Melodic Minor

  • ASCENDING ONLY

    • Lowered 3rd

    • Insert Parallel Minor key signature THEN raise the 6th and 7th

  • DESCENDING —» NATURAL MINOR

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Simple Meter

  • Beat can be broken up into groups of

  • Type of meter is determined by the top #

  • Top #: BPM

  • Top # values: 2,3,4

  • Bottom #: what note value gets a whole beat

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Compound Meter

  • Beat can be broken up into groups of 3

  • Type of meter is determined by the top #

  • Top #: # of beat notes in a measure

  • Top # values: 6, 9, 12

  • Bottom #: beat note

  • Usually signified by a dotted rhythm

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Alla Breve or Cut Time

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Asymmetrical Meter

When beats can be divided in more than 1 way

<p>When beats can be divided in more than 1 way </p>
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Steps in a Major Scale

WWHWWWH

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Scale Degree Names

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Major Roman Numerals

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Minor Roman Numerals

  • Starts at the 6 of the Major Roman Numerals

<ul><li><p>Starts at the 6 of the Major Roman Numerals </p></li></ul><p></p>
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Intervals

Relationship between two notes

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Perfect Intervals

  • P1 —» Unison

  • P4

  • P5

  • P8 —» Octave

<ul><li><p>P1 —» Unison </p></li><li><p>P4</p></li><li><p>P5</p></li><li><p>P8 —» Octave </p></li></ul><p></p>
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Interval Rules

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Interval Inversions

  • Inversion pairs always = 9

<ul><li><p>Inversion pairs always = 9</p></li></ul><p></p>
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Tritone

  • Devil’s Interval

  • A4 OR d5

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Texture

how music is layered

<p>how music is layered </p>
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Monophonic Texture

Music that only plays one note at a time, without any accompaniment or harmony

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Homophonic Texture

Music that plays two or more notes simultaneously

  • chordal: all parts move rhythmically together

  • melody with accompaniment

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Polyphonic Texture

Music that features two or more single melodies playing simultaneously

  • imitative: two or more equally prominent but different melodies playing simultaneously that are similar

  • non-imitative: two or more equally prominent but different melodies playing simultaneously that are not similar

  • fugues: is a contrapuntal, polyphonic compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches), which recurs frequently throughout the course of the composition

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Heterophonic Texture

Music that features a variation(s) of a single melody playing simultaneously

  • riffing

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Contrary Motion

Two voices move opposite each other

  • AP Term —» Voice exchange

<p>Two voices move <strong>opposite</strong> each other</p><ul><li><p>AP Term —» <strong>Voice exchange </strong></p><p></p></li></ul><p></p>
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Oblique Motion

One voice stays the same while one voice moves

<p>One voice <strong>stays the same</strong> while one voice <strong>moves</strong></p>
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Parallel Motion

Voices move in the same direction at the same intervals

<p>Voices move in the <strong>same direction</strong> at the <strong>same intervals</strong></p>
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Similar Motion

Voices move in the same direction at different intervals

<p>Voices move in the <strong>same direction</strong> at <strong>different intervals</strong></p>
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<p>Modes </p>

Modes

Scales that start on a different tonic than their original key signature

  • Mode Names

    • Ionian —» Major / Original Key

    • Dorian

    • Phrygian

    • Lydian

    • Mixolydian

    • Aeolian —» Natural Minor

    • Locrian

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Triads

Three note chord

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Triad Composition

Major - M3, P5

Minor - m3, P5

Diminished - m3, d5

Augmented - M3, A5

<p>Major - M3, P5</p><p>Minor - m3, P5</p><p>Diminished - m3, d5</p><p>Augmented - M3, A5</p>
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Triad Inversions

Changing the position of the notes in a triad

  • 1st Inversion - 6

  • 2nd Inversion - 6/4

<p>Changing the position of the notes in a triad </p><ul><li><p>1st Inversion - 6</p></li><li><p>2nd Inversion - 6/4</p></li></ul><p></p>
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7th Chords

Four note chord

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7th Chord Composition

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7th Chord Inversions

Changing the position of the notes in a triad

  • Root position - 7

  • 1st inversion - 6/5

  • 2nd inversion - 4/3

  • 3rd inversion - 4/2

<p>Changing the position of the notes in a triad</p><ul><li><p>Root position - 7</p></li><li><p>1st inversion - 6/5</p></li><li><p>2nd inversion - 4/3</p></li><li><p>3rd inversion - 4/2</p></li></ul><p></p>
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Triad/ 7th Chord inversions

Tells the relationship (steps) between the notes and the tonic

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Non-chord Tones

Notes that do not fit in the chord

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Passing Tone

Prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone

<p>Prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone</p>
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Neighboring Tone

Approached by step and then returns by step to the original note

<p>Approached by step and then returns by step to the original note</p>
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Escape Tone

Approached by step and then skips in the opposite direction

<p>Approached by step and then skips in the opposite direction</p>
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Appoggiatura

Approached by leap and then steps in the opposite direction

<p>Approached by leap and then steps in the opposite direction</p>
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Changing Tone / Cambiata

Appear to resemble two consecutive neighbor tones; an upper neighbor and a lower neighbor with the chord tone missing from the middle

<p>Appear to resemble two consecutive neighbor tones; an upper neighbor and a lower neighbor with the chord tone missing from the middle</p>
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Anticipation

When one note moves to the next chord before the rest

<p>When <strong>one</strong> note moves to the next chord before the rest </p>
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Suspension

A means of creating tension by prolonging a consonant note while the underlying harmony changes, normally on a strong beat

  • ALWAYS resolves down

  • Common Suspentions

    • 4-3

    • 9-8

    • 7-6

<p>A means of creating tension by prolonging a consonant note while the underlying harmony changes, normally on a strong beat</p><ul><li><p>ALWAYS resolves down</p></li><li><p>Common Suspentions</p><ul><li><p>4-3</p></li><li><p>9-8</p></li><li><p>7-6</p></li></ul></li></ul><p></p>
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Retardation

Keeping a note from a chord suspended or maintained into the next chord and, then, resolving it a step upwards

<p>Keeping a note from a chord suspended or maintained into the next chord and, then, resolving it a step upwards</p>
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Simple Interval

An octave or less

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Compound Interval

More than an octave

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Timbre

The unique sound of each instrument/voice

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Contour

Direction/shape of a musical line

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Conjunct

The melodic phrase moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone

<p>The melodic <span>phrase</span> moves in a stepwise fashion; that is the subsequent notes move up or down a semitone or tone</p>
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Disjunct

A melody that rises and falls quickly, with large intervals between one note and the next

<p>A melody that rises and falls quickly, with large intervals between one note and the next</p>
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Tessitura

The general range of pitches found in a melody or vocal part

<p>The general <span>range</span> of pitches found in a melody or vocal part </p>
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Syllabic Music

Music with lyrics that have primarily one syllable of text per musical note

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Melismatic Music

More than one note is sung to a single syllable

  • Think Fergie National Anthem

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Alberti Bass

Outlining a triad in the bass

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Anacrusis

Pick-up note

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Hemiola

¾ rhythm that sounds like 4/4 —» triple that sounds douple

  • indicated by a tie

<p>¾ rhythm that sounds like 4/4 —» triple that sounds douple </p><ul><li><p>indicated by a tie </p></li></ul><p></p>
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Agogic Accent

A musical technique that emphasizes a note by making it longer than the other notes around it

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Cross Rhythm

2 against 3

<p>2 against 3 </p>
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Cadence

The ending of a phrase that creates a sense of resolution through the melody, harmony, or rhythm

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Authentic Cadence

Perfect

  1. V —» I

  2. NO INVERSIONS

  3. Tonic in Soprano voice

Imperfect

  • Anything that does not fit the Perfect criteria is automatically Imperfect

  • can also be a viio —» I

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Half Cadence

  • Has to end on a V chord

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Deceptive Cadence

  • V —» vi

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Plagal Cadence

  • IV —» I

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Phrygian Half Cadence

  1. Must be in minor key

  2. iv64 —» V OR iv6 —» V

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Passing 64

A second inversion chord that smoothly connects two harmonies in a musical phrase

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Neighboring / Pedal64

A type of six-four chord that occurs when the bass line remains the same while the third and fifth of a root-position triad are embellished with upper neighbor tones

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Arpeggiated64

A type of harmony in which the notes of a chord are played in succession rather than simultaneously, typically built on the first inversion of the chord

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Cadential64

When a I64 sets up a V chord and then goes back to I or vi

  • In the I64 the 5th is doubled

  • If the V chord is a 7th chord then there are 3 suspensions

  • If the V chord is a triad then there are 2 suspensions

  • I (8/6/4) —» V (7/5/3) —» I (7/5/3)

<p>When a I<sup>6</sup><sub>4</sub> sets up a V chord and then goes back to I or vi </p><ul><li><p>In the I<sup>6</sup><sub>4</sub> the 5th is doubled </p></li><li><p>If the V chord is a 7th chord then there are 3 suspensions </p></li><li><p>If the V chord is a triad then there are 2 suspensions </p></li><li><p>I (8/6/4) —» V (7/5/3) —» I (7/5/3)</p></li></ul><p></p>
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Secondary Dominants

  1. Choose which chord you want to feel home

  2. Take the 5th of that chord, and make it the root of the previous chord
    3a. V chord —» Apply the key signature of the root of the chord proceeding the chord

    3b. viio —» Apply the key signature of the root of the chord

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Secondary Dominant Rules

  • The secondary dominant chord is labeled V or viio/x, where x = the chord proceeding the secondary dominant

  • 7th of the key must resolve up

  • The 7th of the chord must resolve down

  • In a V/IV the V chords must be a V7 —» V7/IV

  • Give away —» accidentals/notes that don’t fit in the key

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Modulation

Key change

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Secondary Leading Tone

New leading tone formed from a secondary dominant

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Voice Leading Rules

Voice Leading Rules

  1. Stepwise motion! No excessive leaps! (Conjunct motion good; disjunct bad)

  2. When possible, common tones should be retained in same voice

  3. Contrary motion/oblique motion are your friend

  4. No voice crossing

  5. No parallel fifths and octaves

  6. No leaps greater than a 5th

  7. No leaps of augmented and diminished intervals

  8. Leading tones should resolve up to "do". They should also be approached by
    "do" when possible

  9. Do not double the leading tone

  10. Make soprano part interesting/alto and tenor voices boring

  11. Only Bass voice can have disjunct motion

  12. No more than an octave between the soprano and alto and alto and tenor

  13. The tenor and bass voices can be more than an octave

  14. Doubling:

    a. Double the root of a triad whenever voice leading allows

    b. Thirds and fifths may also be doubled in triads

    c. Never double the leading tone or 7th of a chord

    d. If fifth is omitted in a root-position 7 chord, double the root

    e. In 6/4 chords, ALWAYS double the bass

  15. Final chord can have an omitted 5th

  16. Avoid Direct 5ths and direct Octaves (hidden 5ths/hidden octaves)

  17. 7th of the chord resolves DOWN

  18. When 7th of chord can't resolve down...keep it the same note

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Form

way music is written

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Simple Binary Form

||:A:||:B:|| (section B might modulate)

  1. sectional —» section A finishes on tonic chord

  2. continuous —» section A finishes not on tonic chord

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Rounded Binary Form

||:A:||:B A’:|| (section B might modulate)

A’ —» repeat of A but with embellishments

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Ternary Form

|A|B|A||

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Rondo (Rondeau) Form

ABACABA

  • Episodes —» sections other than A

  • After every episode, it returns to section A