Part 1 and 2: Fundamentals and Analysis

Fundamentals, need to be able to correctly identify and notate

  • 7th chord qualities

    • major 7th (maj7): M3, P5, M7

    • minor 7th (m7): m3, P5, m7

    • dominant 7th (7): M3, P5, m7

    • diminished 7th (o7): m3, d5, d7

    • half diminished 7th (Ø7): m3, d5, m7

  • all key signatures based on sharps/flats

    • keys for sharps: take the last sharp and move it up a half step

    • keys for flats: always the key with the name of the flat before the last on

  • intervals

    • opposite identification (min/maj, dim/aug), number must add up to 9

    • P5 and P4: same accidentals, just count

Analysis

need to be able to identify

  • sentence

    • presentation: basic idea and repetition of basic idea

    • continuation: melody develops and ends in a cadence

  • period: 2 sentences

    • antecedent: first sentence, ends on a half cadence

    • consequence: second sentence, resolves

    • parallel: the two sentences have to start the same way

    • contrasting: clear difference in the beginning of the two sentences

    • sequential period: start with same sequence, but transposed

  • embellishing tones: CN - chord note, NCN - non-chord note

    • passing tone: CN passes through NCN to get to next CN

    • neighbour tone: CN, NCN, back to same CN

    • incomplete neighbour tone

    • suspension

    • anticipation

  • modulations

    • applied chords (mostly V/V): they also look like ii with raised thirds (M), or ii with raised thirds and fifths (m)

    • pivot chord: a set of notes that is a chord in both the original key and the second, modulated key

  • cadences

    • half cadence: ends on V

    • perfect authentic cadence: ends with V → I with tonic in the melody of I

    • imperfect authentic cadence: ends with V → I, tonic is not in the melody of I

    • plagal cadence: ends with IV → I