AP Music Theory Terms - Q1

Order of Sharps

Order of Sharps

FCGDAEB

• ½ above the last sharp is the tonic

Order of Flats

BEADGCF

• 2nd to last flat is the tonic

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

Parallel Minor

Contains a different key signature but has the same tonic

• + 3 flats

• - 3 sharps

Natural Minor

• Lowered 3, 6, and 7

• Insert Parallel Minor key signature

Harmonic Minor

• Lowered 3, and 6

• Insert Parallel Minor key signature THEN raise the 7th

Melodic Minor

• ASCENDING ONLY

  • Lowered 3rd

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

• DESCENDING —» NATURAL MINOR

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

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

Alla Breve or Cut Time

Asymmetrical Meter

When beats can be divided in more than 1 way

Steps in a Major Scale

WWHWWWH

Scale Degree Names

Major Roman Numerals

Minor Roman Numerals

• Starts at the 6 of the Major Roman Numerals

Intervals

Relationship between two notes

Perfect Intervals

• P1 —» Unison

• P4

• P5

• P8 —» Octave

Interval Rules

Interval Inversions

• Inversion pairs always = 9

Tritone

• Devil’s Interval

• A4 OR d5

Texture

how music is layered

Monophonic Texture

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

Homophonic Texture

Music that plays two or more notes simultaneously

• chordal: all parts move rhythmically together

• melody with accompaniment

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

Heterophonic Texture

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

• riffing

Contrary Motion

Two voices move opposite each other

• AP Term —» Voice exchange

Oblique Motion

One voice stays the same while one voice moves

Parallel Motion

Voices move in the same direction at the same intervals

Similar Motion

Voices move in the same direction at different intervals

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

Triads

Three note chord

Triad Composition

Major - M3, P5

Minor - m3, P5

Diminished - m3, d5

Augmented - M3, A5

Triad Inversions

Changing the position of the notes in a triad

• 1st Inversion - 6

• 2nd Inversion - 6/4

7th Chords

Four note chord

7th Chord Composition

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

Triad/ 7th Chord inversions

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

Non-chord Tones

Notes that do not fit in the chord

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

Neighboring Tone

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

Escape Tone

Approached by step and then skips in the opposite direction

Appoggiatura

Approached by leap and then steps in the opposite direction

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

Anticipation

When one note moves to the next chord before the rest

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

Retardation

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

Simple Interval

An octave or less

Compound Interval

More than an octave

Timbre

The unique sound of each instrument/voice

Contour

Direction/shape of a musical line

Conjunct

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

Disjunct

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

Tessitura

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

Syllabic Music

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

Melismatic Music

More than one note is sung to a single syllable

• Think Fergie National Anthem

Alberti Bass

Outlining a triad in the bass

Anacrusis

Pick-up note

Hemiola

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

• indicated by a tie

Agogic Accent

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

Cross Rhythm

2 against 3

Cadence

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

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 vii^o —» I

Half Cadence

• Has to end on a V chord

Deceptive Cadence

• V —» vi

Plagal Cadence

• IV —» I

Phrygian Half Cadence

1. Must be in minor key

2. iv⁶₄ —» V OR iv⁶ —» V

Passing ⁶₄

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

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

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

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)

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. vii^{o —»} Apply the key signature of the root of the chord

Secondary Dominant Rules

• The secondary dominant chord is labeled V or vii^o/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

Modulation

Key change

Secondary Leading Tone

New leading tone formed from a secondary dominant

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

Form

way music is written

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

Rounded Binary Form

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

A’ —» repeat of A but with embellishments

Ternary Form

|A|B|A||

Rondo (Rondeau) Form

ABACABA

• Episodes —» sections other than A

• After every episode, it returns to section A