Ap Music Theory Flashcards

Simple Meter

2/4, 3/4, and 4/4 time signatures that divide each beat into two equal parts, typically indicating a strong downbeat followed by a weaker upbeat.

Compound Meter

Time signatures like 6/8, 9/8, and 12/8 divide each beat into three equal parts, creating a distinct rhythmic feel compared to simple meter.

Harmonic Minor

Raises the seventh note of the natural minor scale by a half step, creating a leading tone.

Natural Minor

W-H-W-W-H-W-W.

Melodic Minor

Raises sixth and seventh notes of the natural minor scale when ascending, and descends like the natural minor scale.

Complex Meter

A time signature that features irregular beats and may involve patterns of grouping beats in different ways, often found in contemporary and world music.

Simple Quadruple

A meter that has four beats per measure, typically organized into a regular pattern of strong and weak beats, such as 4/4 time.

Compound Quadruple

A meter that has four beats per measure but features subdivisions of each beat into three, often organized in a pattern such as 12/8 time.

Compound Intervals

2 octave = 15ma

Inversions for Triads

1st inversion: 5/3

2nd inversion: 6

3rd inversion: 6/4

Inversions for 7th Chords

1st inversion: 7/5

2nd inversion: 6/5

3rd inversion: 4/3

4th inversion: 4/2

Dissonant

2 notes that make ugly sounds.

M2, m2, Tritone, M7, m7

Consonant

Good, acceptable sounds. Ex) octave, perfect fifth, and major/minor thirds.

Qualities(half steps

1 hs = m2

2 hs = M2

3 hs = m3
4 hs = M3
5 hs = P4
6 hs = Tritone
7 hs = P5
8 hs = m6
9 hs = M6
10 hs = m7
11 hs = M7

12 hs = P8

Whole Tone Scale

All whole step, only 2 possible scales: C wt & C# wt

Pentatonic Scale

5 notes: 12356

Chromatic Scale

All half steps

Timbre

Tonr “color” or sound quality

Fundamental hz(base hz)

Examples:

Similar Timbre: String orchestra; woodwinds; choir; brass; piano solo.

Contrasting Timbre: Rock band; Percussion section; Marching Band; Choir + Piano; Vox + Cymbols

Relative Keys

Major and minor keys that share the same key signature

Ex) C major - A minor

E♭ Major - C Minor (3 flat)

Closely Related Keys

Keys that differ by one sharp or flat in their key signatures

For C major:

• A Minor (relative)

• G Major (one sharp)

• F Major (one flat)

• E Minor (relative of G)

• D Minor (relative of F)

• C Minor (parallel minor)

Distantly Related Keys

Keys that differ by more than one accidental and are not in the circle of 5ths neighborhood.

Ex) C Major - F♯ Major (6 sharps)

C Major - A♭ Minor (7 flats)

Parallel Keys

Keys with the same tonic note, but different mode (major/minor).

Ex) C major - C minor

Transposing Instruments

Instruments that sound different pitch than written. Their sheet music is written in a different key so they can play the same fingerings in every key.

Ex) Horn in F: Written-C, Hearing-F.

Interval from written to sounding: down a Perfect 5th

Irregular Division

Hemiola

Asymmetrical Meter

Complex Meters: 5/4 13/8

Syncopation

Emphasizes the off beat

Mixed Meter

Meter changes throughout the piece

Cross Rhythm/Polyrhythm

playing ¾ in a 4/4 meter

Agogic Accent

One note longer than the notes around it.

Anacrusis

Bass Clef line. Could also be 1 measure of one beat pickup the next phrase.

Fermata

A note that holds longer than its normal duration.

Borrowed Division(Tuplet)

Triplet used in simple or duple division

Symmetrical Meter

Notes & Meter are the same size

Texture

The way musical lines are layered

Monophonic

Music with only one melody - all voices unison.

Ex) everyone singing Happy Birthday Song in unison

Heterophonic

Unison music where one line has slight variation.

Hetero = Different. Phonic = Sound

Ex) Everyone singing Happy Birthday Song, one voice sings it lil extra.

Homophonic

One main melody, other parts harmonize and support melody.

Ex) Solo singing the melody while the rest of the choir harmonize.

Polyphonic

Two or more equally important melodies.

Alberti Bass

(typically piano) A broken chord played in the left hand.

Walking Bass

(typically jazz) a bass line that walk from chord tone to chord tone with scales and apreggios(you play the notes of a chord one at a time)

Canon(polyphony device)

A melody played in staggered entrances. Each group is identical but at different time.

Imitative Polyphony

Independent musical melodies that imitate each other.

Melodic Features

• Range: highest note to the lowest

• Tessitura: average range of a song or melody

• Contour: Overall shape of a melody or phrase

• Text Setting(vocal music):

  • Syllabic: each lyric one note

  • Melismatic: one lyric multiple note

• Motive: a musical idea or segment that comes back repeatedly.

Anatomy of a Triad

Diminished: m3+m3

Minor: m3+M3

Major: M3+m3

Augumented: M3+M3

Roman Numeral for Major

I ii iii IV V vi vii^o

Roman Numeral for Natural Minor

i ii^o III iv V VI VII or vii^o

Anatomy of a 7th chord

Major 7: M3+m3+M3

Major-Minor(dominant 7): M3+m3+m3

Minor 7: m3+M3+m3

Hald Diminished 7: m3+m3+M3

Diminished 7: m3+m3+m3

Voice

A single melodic or harmonic line

Static Motion

Both no change

Oblique Motion

One no change, the other moves.

Contrary Motion

Both move opposite way(same interval)

Parallel Motion

Same way same interval

Similar Motion

Same way different interval

Rules for Voice Leading

1. Every note fit in the chord

2. Every note should try to move to the closet note

3. Chord spelled completely, may left out the 5th in root position

4. No voice crossing(EX soprano lower than alto note)

5. No parallel 8ves or parallel 5th

6. No augumented/diminished intervals

7. Leading tone in S & B must resolve up to tonic.

8. Never double the leading tone.

Rangel’s Steps for Sucessful Part Writing w/JOY

1. Build a snowman

2. write bass note

3. keep any common tones

4. resolve LT(can frustrate LT is in alto or tenor)

5. Move all voices as little as possible(SAT)

Voice Leading 7th Chords

1. Inverted 7th must be complete

2. Root position 7th chords may leave out 5th if needed

3. 7th of a chord resolves down

4. Do not double the 7th of a chord

Cadence

A chord progression that signifies the end of a phrase

Authentic Cadence

V→I or V→i

1. Perfect(PAC): Root position for both chord, soprano ends on tonic

2. Imperfect(IAC): Not a PAC but V-I/i

Deceptive Cadence

V→vi or V→VI

Hald Cadence+Phrygian Half Cadence

Ends on V

*Phrygian Half Cadence in minor key only iv⁶→V

Plagal Cadence(Amen Cadence)

IV→I or iv→i

Picardy Third

Ending a piece(in minor) with a surprising Major I

Passing 6/4

Bass note steps to 6/4 chord and then continue with another step in the same direction

I→V^6/4→I⁶

Pedal 6/4

Bass note is the same in the chords before and after the 6/4

Most common: I→IV^6/4→I & V→I^6/4→V

Cadential

• Happens on a strong beat

• I^6/4 resolves down

• Dominant Function

Always: I^6/4→V→I(or in minor ver.)

Arpeggiated 6/4

Harmony before and after stays the same, bass note arpeggiated within the chord

Arpeggiated = bass note bounced around.

Ex) I→I^6/4→I

Voice Leading 6/4 Chords

All 6/4 chords:

1. voices move only by step

2. double the bass note of the 6/4 chord(5th)

Cadential 6/4 only:

1. I^6/4 resolve down by step

2. don’t really need to voice leading arpeggiated 6/4

Guidelines for Harmonization

1. Write all Roman Numerals & spellings

2. Write Roman Numerals for the cadence

3. Work backwards from cadences

4. Use mostly I and V(maybe ii or IV)

5. Fill in bass line, check parallels.

Passing Tone

Approached by step

Resolved by step in same direction

Accented + Unaccented

Neighbor Tone

Approached by step

Resolved by step in opposite direction

Accented + Unaccented

Cambiata/Neighbor Group(Changing Tones)

Approached by step

Resolved by step

Unaccented

Anticipation

Either by step or leap

Resolved in same note

Unaccented

Escape Tone

Approached by step

Resolved by leap in opposite direction

Unaccented

Appogiatura

Approached by leap

Resolved by step in opposite direction

Accented

Pedal

Approached by same note

Resolved by same note

Neither Accented or Unaccented. Always there.

Suspension

Approached by same note

Resolved by a step down

Accented

Retardation

Approached by same note

Resolved by a step up

Accented + Unaccented

Figured Bass for Suspensions

sus 7-6: bass=c soprano=b→a(7th→6th)

sus 4-3: bass=c soprano=f→e(4th→3rd)

Development

How a motive is alterned via repetition

Literal Repetition

Exact same note

Fragmentation

Repeating part of the motive

Sequential Repetition

Motive is transposed with each repetition

Augmentation

All notes values get longer(slower)

Dimination

All note values get shorter(faster)

Inversion

Motive is played backwards(notes)

Retrograde

Melody is played backwards(rhythm)

Rhythmic Retrograde

Rhythmic values are reversed but pitches stay the same

Sequence

Interval of transposition: the interval by which motive is transpose within a sequence; usually stays constant within sequence

Secondary Function

Dominant chord of another chord within the key.

Ex) In C Major, a V/ii will be the dominant of d minor chord→A major(not a minor 6 in C major)

always V/something EXCEPT NO V/vii^o

Secondary Leading Tone Chords

1. It’s chromatic(outside of the key signature # ♮ b)

2. It’s major triad(Mm) or major-minor7(MnM)

In C Major: vii^o/ii is the 7th of a d-minor→c#^o

^{One half step down from the next chord}

Magical Music Modes

I

Don’t

Play

Loud

Music

At

Lunch

Ionion

Do-Do

Major Scale

Dorian

Re-Re

Minor with raised 6

Phrygian

Mi-Mi

Minor with flat 2

Lydian

Fa-Fa

Major with #4 “Fi”

Mixolydian

So-So

Major Scale with flat 7 “Te”

Aeolian

La-La

Natural Minor

Locrian

Ti-Ti

Diminished Scale

Similar to Phrygian

Phrase Relationships

aabb abab abcd aa’aa’’

a=original phrase

a’=variation of phrase a

a’’=variation of phrase a but different from a’

bcd=contrasting phrase