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