Fall Semester Exam AP Music Theory

Dominant

Function is next in importance to tonic. Built V Chord

Syncopation

Emphasis on something off the beat or on beats against standard grouping

fifth

Top note of a triad when in root position

Complex (Asymmetrical) Meter

meter consisting of groups of two and three

Octave Identification

A0 to C8

Major Triad

consists of a major third with a minor third built on top of it; encompassed by a perfect 5th

Compound Meter

Divided into groups of three parts

Major Scale

W W H W W W H

Subdominant

Lower dominant, 5th tone down from tonic

Leading Tone

Leads melodically to the tonic

Diminished Triad

Consists of 2 minor thirds; encompassed by a diminished 5th

Rhythm

Arrangement of durations; does not require meter

Caret

Indicates that a number refers to a scale degree

Relative Keys

Major and minor scales that have the same key signature

Interval

The Relationship between two pitches; quantity and quality

Enharmonic Equivalent

Tones that have the same pitch but different letter names

Supertonic

One step above tonic

Harmonic Minor

Altered scale to improve harmony; includes an augmented 2nd (W H W W H +2nd H)

Melodic Minor

Altered scale to ease in singing; pitches are raised in ascending pattern and lowered for descending pattern (W H W W W W H W W)

Root

Note upon which a triad is built

Augmented Triad

Consists of 2 major thirds built on top of one another; encompassed by an augmented 5th

Simple Meter

Divided into groups of two parts

Seventh Chord

Formed by adding another third above the fifth of a triad

Tonic

Tonal Center; final resolution tone

Third

Middle note of a triad when in root position

Mediant

Midway between tonic and dominant

Harmonic Intervals

Intervals between simultaneous pitches

Augmented Intervals

Perfect or major interval made one-half step higher

Perfect Interval

Tonic and itself, 4th, 5th, or Octave

Minor interval

Major interval is made one-half step lower

Compound Interval

Interval grater than an Octave

Simple Interval

Distance between two pitches within an Octave

Unison Interval

Two notes of the same pitch

Consonant

pleasing to the ear. The opposite of dissonance

Roman Numeral Analysis

used to analyze chord types, function, and relationships

Minor Triad

consists of a minor third with a major third built upon it; encompassed by a perfect 5th

Natural Minor Scale Chords

i ii(dim) III iv v VI VII

Major Interval

tonic upward to 2nd, 3rd, 6th or 7th

Dissonant

notes that clash and are unpleasing to the ear

Consonant Intervals

Stable intervals not requiring resolution: P1, m3, M3, P5, m6, M6, P8

Diminished Intervals

Perfect or minor interval made one-half step lower

Tri-tone

Augmented 4th or Diminished 5th; contains whole steps

Interval Inversion

Lower tone of an interval becomes the higher tone

Melodic Intervals

Intervals between successive, or melodic, pitches

Interval Quantity

Interval identified by number/size only

Root Position

Root is the lowest sounding pitch

First Inversion

Third of the chord is lowest sounding pitch

Enharmonic intervals

Intervals with the same sound that are spelled differently

Minor interval

major interval made one-half step lower

Second inversion

fifth of the chord is the lowest sounding pitch

Major Scale

W W H W W W H

Pitch

aspect of sound: frequency, wavelength

Dynamic

aspect of sound: amplitude, waveheight

Timbre

aspect of sound: tone color, type of sound, wave form

Articulation

aspect of sound: how a sound is started, sustained and released

Duration

length of time sound or silence lasts

Meter

a reoccurring organization or grouping of beats, usually into 2, 3 or 4

Beat

Regular, reoccurring durations; does not require meter

Tempo

Rate of the beat

Subdivision

Division of the beat, usually into 2 or 3 parts

Neighbor tone

a NCT that moves by step between two static chord tones

passing tone

A NCT which moves by step between two chord tones a third apart

Cadence

Two chords that bring a phrase, section or a composition to a close

Half Cadence

When the second chord of a cadence is a V chord, usually I->V or IV->V

Perfect Authentic Cadence

V->I, both chords are in root position and tonic is in the Soprano on the final I chord.

Imperfect Authentic Cadence

V ->I with one of the triads being in an inversion, OR with the third or fifth in the soprano in the final I chord

Deceptive Cadence

V->vi

Plagal Cadence

IV->I, or the amen cadence

Simple duple

2/2 2/4 2/6

compound duple

6/8 6/16 6/32

compound triple

9/8 9/16 9/32

simple triple

3/2 3/24 3/6

min -> major

up 3 letter names and up 3 half steps

inverting intervals

9-x=y; M3=m6, p5=p4