Music Theory 121 - Final

Tonic

scale degree 1

Supertonic

scale degree 2

Mediant

scale degree 3

Subdominant

scale degree 4

Dominant

scale degree 5

Submediant

scale degree 6

Leading tone

scale degree 7

Enharmonically equivalent

sounds the same but are written differently

6/5

7th chord first inversion

4/3

7th chord second inversion

4/2

7th chord third inversion

Passing tone

non-chord tone or tone that forms a dissonant that connects 2 tones by step

Upper neighbour

non-chord tone or chord that forms a dissonant that is approached by a step up and then returns to the original tone

Lower neighbour

non-chord tone or tone that forms a dissonant that is approached by a step down and then returns to the original tone

Across bar with a step

allowed in C.F

Across bar with a leap

not allowed in C.F

2:1

two half notes per bar on C.F

4:1

suspensions

Invert a perfect and you get a

perfect

Invert a major and you get a

minor

Invert an augmented and you get a

diminished

Suspensions allowed with C.F on top

7-6, 4-3, 9-8

Suspensions allowed with C.F on bottom

2-3, 5-6

Passing tones, upper and lower neighbours are only allowed in the

weak beat (upbeat)

In the ending of a C.P, the 8ve must be approached by

step-wise motion

The best way to work around a 4:1 C.P end exercise, is starting from

the end

Harmonic minor

raise sd 7

Melodic minor

Raise sd 6 and sd 7

Harmonic interval

2 notes played simultaneously

Melodic interval

2 notes played sequentially

Major modes

ionian, lydian, mixolydian

Minor modes

aeolean, dorian, phrygia

Ionian

major scale

Lydian

raised sd 4

Mixolydian

lowered sd 7

Phrygian

lowered sd 2

Aeolean

natural minor scale

Dorian

raised sd 6

Major/minor pentachord

first 5 notes of chord

Major pentatonic scale

sd 1,2,3,4,5, and 6

Tetrachord

4 consecutive members of a scale

Minor pentatonic

sd 1, lowered 3, 4, 5, and lowered 7

Diatonic

regular major and minor scales

Chromatic

all half-step

Meter types

quadruple, duple, triple

Quadruple

strong, weaker, weak, weakest

Duple

strong weak

Triple

strong weak weaker

Syncopation

emphasis on weak beats

Slur

connects two or more notes

A4 resolves into a

6th

d5 resolves into a

3rd

Perfect consonants

p1, p5, p8

Imperfect consonants

Mm 3, Mm 6

Dissonances

Mm 2, Mm 7, d, A

Major scale roman numerals

I, ii, iii, IV, V, vi, vii°

Minor natural scale roman numerals

i, ii°, III, iv, v, VI, VII

Minor harmonic scale roman numerals

i, ii°, III⁺, iv, V, VI, vii°

If there is a leap in C.F, CPT should be a

contrary step

If there is a step in C.F, CPT should be a

anything

If there is a skip in C.F, CPT should be a

preferably a contrary step or skip

Cambiata

step into a dissonance, followed by a skip in same direction and then a step in contrary motion

Music phrase

has a beginning, middle, and end

Cadence

end of a phrase

The basic phrase

T (opening) - D - T (closure)

How to expand T section?

inversions, dominant on weak beats, embellishments, etc

Metric accent

emphasis placed on a particular beat

Diminution

dividing longer note values into shorter ones, making rhythms more rapid