AP Music Theory Terms and Concepts

Dot

Used to extend the value of a single note by one-half of its original value.

Double Dot

Lengthens the dotted note value by half the length of the first dot.

Tie

Combines the durational values of two or more notes of the same pitch using a curved line.

Half Step

Smallest distance between two notes; called a semitone.

Whole Step

Distance between two notes that are two half steps apart.

Interval

Distance between two pitches.

Melodic

One note follows the other.

Harmonic

Notes are played simultaneously.

Perfect Intervals

PU, P4, P5, P8.

Major Interval

One half step bigger than the minor interval.

Minor Interval

One half step smaller than the major interval.

Diminished Intervals

One half step smaller than perfect or minor interval.

Doubly Diminished Intervals

One whole step smaller than perfect or minor interval.

Augmented Intervals

One half step larger than perfect or major interval.

Doubly Augmented Intervals

One whole step larger than perfect or major interval.

Enharmonic Intervals

Pitches with the same sound but different spellings.

Consonant Intervals

Unison, 3, 5, 6, 8; sound tonally stable.

Dissonant Intervals

2, 7, any augmented or diminished interval; sound tonally unstable.

Tritone

Diminished fifth.

Simple Intervals

Intervals that are an octave or smaller in distance.

Compound Intervals

Intervals that are greater than an octave in distance.

Simple Duple

2 beats per measure (strong, weak).

Simple Triple

3 beats per measure (strong, weak, weak).

Simple Quadruple

4 beats per measure (strong, weak, less strong, weak).

Common Time

C representing 4/4 time.

Cut Time (Alla Breve)

C with a line going through it representing 2/2 time.

Compound Duple

2 beats of 3 per measure.

Compound Triple

3 beats of 3 per measure.

Compound Quadruple

4 beats of 3 per measure.

Asymmetrical Meters

Meters with beat units of unequal lengths, like 5 and 7 as the top number in a time signature.

Metric Accents

Where strong beats in a meter are heard.

Downbeat

First beat of the measure.

Syncopation

The emphasis is on weaker beats in a measure, form of rhythmic displacement.

Hemiola

A rhythmic device that involves superimposing 2 notes in the time of 3 without necessarily changing the rhythm.

Cross-Rhythm

Metric device where the rhythmic relation of three notes occurs in the time of two.

Polyrhythm

Juxtaposition of two beat divisions; two different rhythms represented in the same piece.

Anacrusis

Begins a piece with fewer notes in the measure than indicated by the time signature, compensated by finishing the piece with an incomplete measure.

Chromatic Scale

Scale comprised entirely of half steps.

Major Scale

WWHWWWH.

Minor Scale

WHWWHWW.

Natural Minor

The scale's accidentals match the key signature.

Harmonic Minor

Raise scale degree 7 to create an augmented second.

Melodic Minor

Raise scale degrees 6 and 7 when ascending and lower them when descending.

Order of Major Sharps

C G D A E B F♯ C♯.

Order of Major Flats

C F Bb Eb Ab Db Gb Cb.

Order of Minor Sharps

A E B F♯ C♯ G♯ D♯ A♯.

Order of Minor Flats

A D G C F Bb Eb Ab.

Determining Sharp Key Signature

One diatonic step above last sharp.

Determining Flat Key Signature

Second-to-last flat.

Scale Degrees in Order

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

Parallel Keys

Keys that share the same tonic but have different key signatures (E major and e minor).

Closely Related Keys

Keys that have a small number of differences in their key signatures; share many of the same notes.

Distantly Related Keys

Keys that have a large number of differences in their key signatures; share the fewest notes.

Relative Keys

Shared key signature but different tonics.

Relative Minor

Relative minor of a major key is its scale degree 6.

Modulation

Changing from one key or tonal center to another; usually occurs with closely related keys because of their commonalities.

Common Modulations

Major to relative minor (submediant), major to parallel minor, modulation to dominant, modulation to subdominant.

Tonicization

Short succession of chords are borrowed from another key making it seem like the tonic has been changed (secondary dominants).

Inverted Intervals

Intervals can be inverted by transferring the lower note an octave higher and the highest note an octave lower.

Interval Sizes

The two interval sizes always sum to 9.

Perfect Intervals

Perfect intervals remain perfect.

Major Inversions

Major inverts to minor, minor inverts to major.

Augmented Inversions

Augmented inverts to diminished, diminished inverts to augmented.

Motive

Small rhythmic or melodic fragment that is smaller than a phrase and can't function on its own.

Pitch Motive

Repeated section or phrase of notes.

Rhythmic Motive

Repeat rhythm (in background).

Leitmotif

Melodic idea associated with a particular person or character.

Augmentation

Increase in rhythmic value.

Diminution

Decrease in rhythmic value.

Melodic Inversion

Reflecting notes over an x-axis.

Melodic Sequence

Motive repeated at different pitch levels with a transposition interval (t = interval number).

Diatonic

Intervals may change to fit the key signature.

Real

Accidentals are needed.

Harmonic Sequence

Intervallic pattern in the root of the chord progression.

Monophonic

Has only one melodic line with no harmony or counterpoint.

Homophonic

Has one melodic line with accompaniment.

Heterophonic

Only one melody but different variations of it being played at the same time.

Polyphonic

More than one independent melody is played at the same time.

Alberti Bass

Same repeated chords or arpeggios played in the bass.

Walking Bass

Line that feels like a regular quarter note movement.

Major Diatonic Triads

M m m M M m d M

Minor Diatonic Triads

m D M m M M d m

First Inversion

Third in bass, 6.

Second Inversion

Fifth in bass, 6/4.

Major Diatonic Sevenths

MM mm mm MM Mm mm hd MM

Minor Diatonic Sevenths

mm hd MM mm Mm MM d mm

Major 7th

Major triad + major third.

Dominant 7th

Major triad + minor third.

Minor 7th

Minor triad + minor third.

Half Diminished 7th

Diminished triad + major third.

Diminished 7th

Diminished triad + minor third (all thirds).

Root Position

Root in bass, 7.

First Inversion (7th Chords)

Third in bass, 6/5.

Second Inversion (7th Chords)

Fifth in bass, 4/3.

Third Inversion (7th Chords)

Seventh in bass, 4/2.

Contrary Motion

Melody moves in the opposite direction of the bass.

Oblique Motion

One voice remains on the same note and the other moves in either direction.

Similar Motion

The bass and the soprano move in the same direction but at different intervals.

Parallel Motion

Soprano and bass move in the same direction and at the same interval.

Voice Leading Rules

Avoid large leaps and voice crossing.