ap music theory study guide 🎶

AP Music Theory Flashcards

Scale degree names

tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone.

Ledger lines

The mini lines that are above or below a staff.

C Clef

Clef that can be moved around the staff until positioned as treble or bass clef. Alto and tenor clefs are types of this clef.

Voice leading

The practice of writing musical lines in a way that ensures smooth and logical transitions between chords while maintaining the individual character of each voice.

Chromatic scale

A musical scale that consists of all twelve pitches in an octave, each a half step apart.

Intervallic characteristic of 2nds, 3rds, 6ths, and 7ths

d-m-M-A (diminished, minor, Major, Augmented)

Intervallic characteristic of 1st, 4ths, 5ths, 8ths

d-P-A (diminished, Perfect, Authentic)

Major scale

A series of whole and half steps, W-W-H-W-W-W-H

Tritone

An interval that spans three whole tones, and is a diminished 5th or augmented 4th.

Circle of 5ths

A visual representation that shows the relationship between different keys and their corresponding key signatures, arranged in a circular format.

Roman numeral analysis

A system used to identify and describe the harmonic functions of chords within a given key using Roman numerals.

Enharmonic equivalents

Two different names for the same pitch in music, meaning that they sound identical but are written differently.

Tonality

Refers to the system of organizing music around a central note, called the tonic, which provides a sense of home and resolution.

Simple meters

Rhythmic patterns that divide the beat into groupings of two.

Compound meters

Rhythmic patterns that divide the beat into groupings of three.

Anacrusis

Pickup notes.

Duple meter

Two groupings of notes (2/4 and 6/8)

Triple meter

Three groupings of notes (3/4 and 9/8)

Quadruple meter

Four groupings of notes (4/4 and 12/8)

Hemiola

A rhythmic device that creates a temporary shift in the meter, typically involving a 3:2 relationship between two different rhythmic patterns.

SATB

Stands for Soprano, Alto, Tenor, and Bass, which are the four main voice parts in choral music.

Polyrhythm

The simultaneous use of two or more contrasting rhythmic patterns, often with differing subdivisions of beats.

Syncopation

A rhythmic device that involves placing emphasis on beats or parts of beats that are normally unaccented, creating a sense of surprise or tension in the music.

Parallel keys

Pairs of major and minor scales that share the same tonic note but differ in quality.

Relative minor

Refers to the minor scale that is related to a major scale, sharing the same key signature but starting on a different note (think a 3 half-steps down for the relative minor).

Natural minor, harmonic minor, and melodic minor scales

Are all different types of minor scales. Review the difference between them.

Pentatonic scale

A musical scale containing five notes per octave.

Whole Tone Scale

A symmetrical scale that consists entirely of whole steps, creating a dreamy and ambiguous sound.

Timbre

Often referred to as the 'color' or 'quality' of sound, is what distinguishes one musical instrument or voice from another, even when they are playing the same pitch.

Conjunct motion

Refers to a melodic movement that primarily consists of stepwise motion between adjacent notes in a scale, as opposed to skipping over notes.

Disjunct motion

Refers to a melodic movement that involves leaps between notes, rather than stepwise motion, where each note is adjacent in pitch.

Melismatic music

Refers to a vocal style where multiple notes are sung to a single syllable of text, creating an expressive and elaborate musical phrase.

Syllabic music

A type of vocal music in which each syllable of text corresponds to a single note or pitch.

Motive (motif)

A short musical idea or phrase that serves as a building block for larger compositions.

Cantus Firmus

A fixed melodic line that serves as the foundation for a polyphonic composition, often drawn from existing liturgical music or Gregorian chant.

Contrapuntal music

Refers to a style of composition that involves two or more independent melodic lines or voices that interact with each other in a harmonious way.

Homophony

A musical texture where a primary melody is accompanied by chords or harmonies that support it, creating a sense of vertical alignment in sound.

Monophony

A musical texture consisting of a single melodic line without any harmonic support or accompaniment.

Polyphony

A musical texture that involves two or more independent melodic lines being sung or played simultaneously.

Alberti bass

A musical texture device characterized by the use of broken chords in a specific pattern, typically alternating between the lowest and highest notes of a chord.

Canon

A compositional technique in which a melody is introduced and then imitated by other voices or instruments at fixed intervals, creating a rich interplay of musical lines.

Ostinato

A musical phrase or motif that is persistently repeated in the same musical voice, creating a sense of continuity and foundation in a piece.

Tutti

A musical term that refers to a passage where all performers play together, often contrasting with a solo or smaller group section.

Agogic accent

A type of emphasis in music that is created by extending the duration of a note, thereby giving it greater weight and prominence within a musical phrase.

Diatonic chords

Chords that are built from the notes of a particular scale, adhering to the key signature of that scale.

Figured bass

A musical notation system that indicates the intervals above the bass note that should be played, primarily used in the Baroque period for keyboard instruments.

Basso continuo

Another name for figured bass. Literally means “continuous bass” .

Cadence

A musical phrase that signifies the end of a thought or section, often creating a sense of resolution or pause.

Contrary motion

A musical term that refers to the movement of two or more voices or lines in opposite directions.

Parallel motion

Occurs when two or more voices or musical lines move in the same direction by the same interval.

Similar motion

Refers to the movement of two or more musical voices or parts that move in the same direction but not by the same interval.

Cross-relations

Refers to the occurrence of a note and it’s chromatic alteration.

Oblique motion

Refers to a type of musical motion where one voice remains stationary while another voice moves either up or down.

Voice crossing

Occurs when the pitch of one voice exceeds the pitch of another voice in counterpoint, leading to a situation where two or more voices are inappropriately arranged.

Deceptive cadence

Occurs when a dominant chord (V) resolves to a chord other than the tonic (I), often the submediant (vi).

Authentic cadence

A strong musical punctuation that occurs at the end of a phrase, typically involving a progression from the dominant chord (V) to the tonic chord (I).

Half cadence

A musical phrase that ends on the dominant chord (V), creating a sense of pause or suspension, often leading to further musical development.

Plagal cadence

A harmonic progression that moves from the subdominant chord (IV) to the tonic chord (I), creating a sense of resolution.

Harmonic functions

Refer to the roles that chords play within a harmonic progression, particularly in terms of their tendency to resolve to other chords.

Pedal tone

A sustained note, usually in the bass, that remains constant while harmonies change above it.

Tendency tones

Specific notes within a musical scale that naturally resolve to other notes.

Modulation

The process of changing from one key to another within a piece of music, which adds variety and emotional depth.

Sonata Form

A musical structure commonly used in the first movements of sonatas, symphonies, and chamber works. It typically consists of three main sections: exposition, development, and recapitulation.

Phrygian half cadence

A specific type of half cadence found in minor keys, where the bass moves down a half step, creating a unique sonic effect. Iv6 to V.

Cadential 6/4 chord

A type of second inversion triad that resolves to the dominant chord. The key characteristic of the cadential 6/4 chord is a bass line that goes 5-5-1.

Passing 6/4 chord

A type of second inversion triad that resolves to the dominant chord. The key characteristic of the passing 6/4 chord is a bass line that steps up or down.

Pedal 6/4 chord

A type of second inversion triad that resolves to the dominant chord. The key characteristic of the pedal 6/4 chord is a bass line that stays the same.

Arpeggiated 6/4 chord

A type of second inversion triad that resolves to the dominant chord. The key characteristic of the cadential 6/4 chord is a bass line that skips up or down.

Tonicizing

Briefly giving tonic-status to a non-diatonic chord.