Ap Music Theory Chapter 3 Key Terms

Front 1

Interval

Back 1

the relationship in pitch between two notes. Intervals are named by the number of diatonic notes (notes with different letter names) that can be contained within them.

Front 2

Perfect Intervals

Back 2

the intervals that include the tonic and the fourth and fifth scale degrees of a major scale are called perfect. as well as the unison and octave.

Front 3

Major Intervals

Back 3

The intervals from the tonic in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees of a major scale are called major.

Front 4

Minor Intervals

Back 4

When a major interval is made one-half step smaller, it becomes minor. This can be done either by raising the bottom note or lowering the top note.

Front 5

consonance and dissonance.

Back 5

1. In acoustics, the consonances are those intervals that are found as the lower members of the harmonic series
2. In music, consonances are intervals that are treated as stable and not requiring resolution. Consonant Intervals: P1, m3, M3, P5, m6, M6, P8. All other intervals within the octave are considered dissonant.

Front 6

Augmented Intervals

Back 6

If a perfect or major interval is made one-half step larger (without changing its interval number) it becomes augmented.

Front 7

Diminished Intervals

Back 7

If a perfect or minor interval is made one-half step smaller (without changing its interval number) it becomes diminished

Front 8

Enharmonic Intervals

Back 8

intervals with the same sound that are spelled differently. Care must be taken in spelling intervals. If a specific interval is requested, the enharmonic equivalent spelling is not correct.

Front 9

Tritone

Back 9

the A4 and d5 intervals divide the octave into equal parts. These intervals are referred to as the tritone, since they contain three whole steps.

Front 10

Inversion of an interval

Back 10

This means that the lower tone of an interval becomes the higher tone, or the higher tone becomes the lower tone.

Front 11

Perfect

Back 11

Inverted: Perfect

Front 12

Major

Back 12

Inverted: minor

Front 13

minor

Back 13

inverted: Major

Front 14

diminished

Back 14

inverted: Augmented

Front 15

Augmented

Back 15

inverted: diminished

Front 16

Unisons

Back 16

inverted: Octaves

Front 17

2nds

Back 17

inverted: 7ths

Front 18

3rds

Back 18

inverted: 6ths

Front 19

4ths

Back 19

inverted: 5ths

Front 20

5ths

Back 20

inverted: 4ths

Front 21

6ths

Back 21

inverted: 3rds

Front 22

7ths

Back 22

inverted: 2nds

Front 23

Octaves

Back 23

inverted: Unisons

Front 24

Fluency with intervals: 3rd, 5th, and 7th

Back 24

In writing these intervals notice that the two notes are either on lines or on spaces.

Front 25

Fluency with intervals: 2nd, 4th, 6th, 8th

Back 25

These intervals involve a note on a line and a note on a space.

Front 26

Fluency with intervals: Perfect 4th, 5th, 8v

Back 26

Fourths, fifths, and octaves are perfect if the accidentals are the same, except for the fourth and fifth involving B and F.

Front 27

Fluency with intervals: 2nd and 7th

Back 27

Seconds are major and sevenths are minor if the accidentals are the same, except those involving E-F and B-C.

Front 28

Fluency with intervals: 3rds

Back 28

Thirds built on C, F, and G are major if the accidentals are the same. Thirds built on the remaining notes are minor if the accidentals are the same.

Front 29

Fluency with intervals: 6th

Back 29

Sixths whose upper tones are C, F, or G are minor if the accidentals are the same. Sixths whose upper tones are any of the remaining notes are major if the accidentals are the same.

Front 30

Fluency with intervals:the rest

Back 30

Other interval qualities may be quickly determined by reducing the interval to the "same accidental" form and then noting the effect on interval size when the accidentals are replaced.