AP Music Theory Unit 3: Fundamentals 3 - Triads and Seventh Chords

Triads

  • chord w 3 notes

    • root 3rd 5th

  • cam be blocked or broken

    • at same time or one after another

  • Major: M3 + m3

  • minor (m): m3 + M3

  • diminished (º): m3 + m3

  • augmented (*): M3 + M3

Triad Inversion

  • root position is when root is lowest note

    • most stable

  • 1st inversion when 3rd note is lowest note

  • second inversion when 5th is lowest note

    • least stable

Seventh Chords

  • four chord members

    • root 3rd 5th 7th

  • Major (maj7): major triad + major 7th (from the root)

  • dominant / major-minor (7): major triad + minor 7th

  • minor (m7): minor triad + minor 7th

  • half diminished (º7): diminished triad + minor 7th

  • fully-diminished (º7): diminished triad + diminished 7th

Diatonic Triads

  • triads that belong to certain scale

  • indicated using roman numerals

    • number = scale degree of root

    • case = quality

Melodic Dictation

  • notating on a single staff; treble, bass, major, minor, simple compound

  • recognize the pitches relative to the tonal center

  • audiation

    • rmbr melody and be able to hear it in your head

  • look at key and time signatures

  • map out possible rhythm menus in your head

  • melody will be played 3 times, so you want to pace yourself appropriately

Harmonic Dictation

  • chords will be played 4 times

  • notating on grand staff

  • four part harmony of 6-8 chords

  • write down both soprano and bass

  • inversions, cadences, secondary harmony must also be notated

  • recognize chord qualities, inversions, melodic patterns

  • tonal prolongation

    • first and second inversion harmonies used in 4 ways

      • passing harmonies

        • bass line uses passing tone

      • neighbor harmonies

        • neighbor tone in the upper voice

        • pedal in bass

      • arpeggiated harmonies

        • bass is arpeggiated

      • cadential harmonies

        • bass follows cadential patterns

      • knowing bass line is helpful

  • regression does not occur

    • dom harmonies do not move into subdominant

  • big changes in harmonic function typically happen on stronger beats of measure

  • 7th chords easy bc need to resolve

    • will hear dissonance

  • recognize meter, rhythms, tonal center, key, cadences, nonchord tones, performance considerations like change in timbre, dynamics, articulation, tempo, style