Music Theory 1 Final Review

Major Scale

WWHWWWH

Natural minor scale

WHWWHWW

Harmonic Minor

WHWWHWW and raise 7th

Melodic Minor Scale

WHWWHWW and raise 6th and 7th NATURAL BACK DOWN

Scale degree 1

Tonic

Scale degrees 2

Subsonic

Scale degrees 3

Mediant

Scale degree 4

Subdominant

Scale degree 5

Dominant

Scale degree 6

Submediant

Scale degree 7

Leading tone

Order of flats

BEADGCF

Order of sharps

FCGDAEB

Major Intervals

PMMPPMMP

Minor Intervals

Flat the top note

Diminished interval

Double flat top note

Augmented Interval

Raise top note once

Transposition

Taking a fixed melody and moving it up or below a staff

Triads

3 note chords

Major triads

M3 to m3

Minor triads

m3 to M3 (DROP 3^)

Diminished triads

m3 to m3 (LOWER 3^ and 5^)

Augmented triads

M3 to M3 (RAISE 5^)

Major diatonic Traids

MmmMMmd

Minor diatonic triads

mdMmmMM

Root position inversion

i

First inversion chord

i6

Second inversion chord

i64

Perfect Authentic Cadence (PAC)

V to I or V to i

Both chords at the end must be in root position

The tonic note must also be the highest voice in the final triad

Imperfect Authentic Cadence (IAC)

viiº to I or viiº to i

Half cadence

Second chord is V

Plagal cadence

IV to I or iv to i

Deceptive Cadence

V to vi or V to VI

Passing tone

Step to step in same direction

Neighboring tone

Step the RETURNS by step to same pitch

Escape tone

Step then leap (often in opposite direction)

Appoggiatura

Leap to step (often in opposite direction)

Suspension

Sustains note then resolves down

Retardation

Sustains note then resolves upward

Anticipation

Step then repeats note

Changing tone

Step, skips to another nonharmonic tone, to chord tone (2 successive nonharmonic tones)

Keyboard voicing

3 top, bass on bottom

Choral voicing

2 top, 2 bottom

Closed choral voicing

Upper 3 are as close together as possible

Open choral voicing

Skip a chord tone in upper 3 (one octave between soprano and tenor)