Music Theory

Front 1

Ch.1

Back 1

Soprano

Front 2

Ch.1

Back 2

Mezzo-soprano

Front 3

Ch.1

Back 3

Alto

Front 4

Ch.1

Back 4

Tenor

Front 5

Ch.1

Back 5

Baritone

Front 6

Ch.1:Where do stem flags go if:

• on mid C on staff

• Treble Clef

Back 6

To the right and up

Front 7

Ch.1:How do you determine where C is using a C-Clef

Back 7

By the line in between the middle loops of Clef

Front 8

Ch.1:What is Timbre

Back 8

Color of sounds

Hint 8

Different sounds between same note played on flute & oboe

Front 9

Ch.1:No flats or sharps in Key sig

Back 9

Key of C

Front 10

Ch.1:Key of : 1 flat

Back 10

Key of F

Front 11

Ch.1:Key of : 2 flats

Back 11

Key of Bb

Front 12

Ch.1:Key of : 3 flats

Back 12

Key of Eb

Front 13

Ch.1:Key of : 4 flats

Back 13

Ab

Front 14

Ch 1:Key of : 5 flats

Back 14

Db

Front 15

Ch.1:Key of : 6 flats

Back 15

Gb

Front 16

Ch.1:

Key of 1 #

Back 16

G

Front 17

Ch.1:

Key of 2 #

Back 17

D

Front 18

Ch.1:

Key of 3#

Back 18

A

Front 19

Ch.1:

Key of 4#

Back 19

E

Front 20

Ch.1:

Key of 5 #

Back 20

B

Front 21

Ch.1:

Key of 6 #

Back 21

F#

Front 22

Ch.2: time signature meter?

4/16

4/8

4/4

4/2

Back 22

Simple quadruple

Front 23

Ch.2: time signature meter?

2/16

2/8

2/4

2/2

Back 23

Simple duple

Front 24

Ch 2: time signature meter?

3/16

3/8

3/4

3/2

Back 24

Simple triple

Front 25

Ch.2: time signature meter?

6/16

6/8

6/4

6/2

Back 25

Compound duple

Front 26

Ch.2: time signature meter?

9/16

9/8

9/4

9/2

Back 26

Compound triple

Front 27

Ch.2: time signature meter?

12/16

12/8

12/4

12/2

Back 27

Compound quadruple

Front 28

Ch.2: Hemiola

Back 28

Special type of syncopation in triple meters, in which the beat is temporarily regrouped into twos.

Front 29

Ch.2: Syncopation

Back 29

Occurs when the emphasis or stress is in between the beats or in a normally weak beat

Front 30

Ch.3: Major scale pattern

Back 30

W-W-H-W-W-W-H

Front 31

Ch.3:

Back 31

(Just reminder)

Front 32

Ch.3: Natural (pure) minor scale pattern

Back 32

W-H-W-W-H-W-W

■ for a parallel minor scale,

Ex: A major 》A minor

•Flat 3rd, 6th, 7th

A major : A B C# D E F# G# A

A minor : A B C D E F G A

Front 33

Ch.3: Relative minor of C

Back 33

A

Front 34

Ch.3: Relative minor of G

Back 34

R

Front 35

Ch.3: Relative minor of D

Back 35

B

Front 36

Ch.3: Relative minor of A

Back 36

F#

Front 37

Ch.3: Relative minor of E

Back 37

C#

Front 38

Ch.3: Relative minor of B

Back 38

G#

Front 39

Ch.3: Relative minor of Gb

Back 39

Eb

Front 40

Ch.3 Relative minor of Db

Back 40

Bb

Front 41

Ch.3: Relative minor of Ab

Back 41

F

Front 42

Ch.3: Relative minor of Eb

Back 42

C

Front 43

Ch.3: Relative minor of Bb

Back 43

G

Front 44

Ch.3: Relative minor of F

Back 44

D

Front 45

Ch4

Back 45

Solfege

Front 46

Ch 4 Moveable __

Back 46

Moveable do

Front 47

Ch 4. Other base of solfege

Back 47

La based

Front 48

Ch 4 ... top ten melodic patterns

Back 48

Mi re do

Front 49

Ch 4 top ten. Melodic patterns

Back 49

Re ti do

Front 50

Ch.5 : Augmented symbol

Back 50

+ or A

Front 51

Ch.5 Diminished symbol

Back 51

○

Front 52

Ch. 5 : to find hard intervals

Back 52

Transpose to a different easier key first, then transpose back to other key

Front 53

Ch.5 : A4 and Dim5 are example of enharmonics

Back 53

-.-

Front 54

Ch.5 : Rule of 9

Back 54

When any simple interval is inverted, the sum of the ascending and descending intervals must add up to 9

Front 55

Ch. 6 : In harmonic minor, which scale degree is raised

Back 55

7th

Front 56

Ch. 6 : 1st inversion of triad

Back 56

6/3 = 3rd in base

Front 57

Ch. 6 : 2nd inversion for triad

Back 57

6/4 = 5th in base

Front 58

Ch. 6 : root position 7th chord

Back 58

7 = root position

Front 59

Ch. 6 : 1st inversion of 7th chord

Back 59

6/5 = 3rd in base

Front 60

Ch. 6 : 2nd inversion of 7th chord

Back 60

6/4 = 5th in base

Front 61

Ch. 6 : 3rd inversion of 7th chord

Back 61

4/2 = 7th degree in base

Front 62

Ch. 9

Back 62

.

Front 63

Ch. 9 : Circle Progression : ___

Back 63

Is the movement of chords where the root (not necessarily the bass) of each chord is a diatonic fifth above the next chord.

Front 64

Ch. 9 : Tonic chords : destination chords

Back 64

( I , i, vi, VI ) are often destination chords especially when in root position.

Front 65

Ch. 9 : Dominant Function , chords

Back 65

( V, vii ) Dominant Function chords move the harmony forward ; they provide an active energy when inverted

Front 66

Ch. 9 : Subdominant Function chords

Back 66

( IV, ii ) are transition chords, connecting tonic to dominants; that's why they are considered predominant

Front 67

Ch. 10: a Double period

Back 67

Is a group of 4 phrases in which only PAC at the conclusion of a 4th phrase.

Front 68

Ch. 10: Most important part of a composition ?

Back 68

Melody : a progression of rhythms and pitches

Front 69

Ch. 10: expansion

Back 69

Adds new material typically to the end of the original phrase

Front 70

Ch. 10: Modulation

Back 70

Repeats the same motif exactly but in a different way usually closely related to the original

Front 71

Ch. 10: Mode Mixture

Back 71

involves combining cords from the parallel major or minor mode to increase harmonic resources

Front 72

Ch. 6 :

> superscript for minor chords

> superscript for major chords

Back 72

Front 73

Ch. 6

Back 73

Because the added seventh is raised, it makes a fully diminished chord half diminished

Front 74

Ch. 6 : first inversion of triad

Back 74

6

Front 75

Ch. 6 : Second inversion of triad

Back 75

6/4

Front 76

Ch. 13 : Most unstable (active) scale degrees

Back 76

7... then 4

Front 77

Ch. 13 : most stable Scale degrees

Back 77

1... then 3

Front 78

Ch. 13 : Temporary Tonicization

Back 78

Is generally attributed to the borrowing two or three chords from a closet related key to heighten the harmonic intensity and color.

Front 79

Ch. 13

Back 79

.

Front 80

Ch. 13

Back 80

.

Front 81

Ch. 12: Mode Mixture

Back 81

Is the harmonic technique of combining chords from a major key and the parallel minor, or mixing the parallel major and minor mode using the b3, b6 & b7 from the parallel natural minor

Front 82

Ch. 12: Picardy 3rd

Back 82

one of the most common uses of mode mixture when in minor is the practice of ending a piece with an authentic cadence using a major tonic. The major is borrowed from the parallel for a more "authentic-sounding" ending. The third of the chord is raised to make it Maj.

Front 83

Ch. 12: Modulation

Back 83

Is the process of moving from one total Center to another, with or without changing the key signature

Front 84

Ch. 12: temporary Tonicization

Back 84

The significant difference between modulation and the temporary tonic ization, or simply passing through a region or area of a new key, is the occurrence of a convincing cadence and significant time in the new key.

Front 85

Ch. 12:

Back 85

Closely related keys

Front 86

Ch.14 : leading tone must...

Back 86

Resolve

Front 87

Ch.14 : fa resolves to

Back 87

Mi

Front 88

Ch.14 : P5 to dim5 is

Back 88

Acceptable

Front 89

Ch. 14 : dim5 to P5 is

Back 89

Not acceptable in common-practice style

Front 90

Ch. 14 : double the ___ in 6/4 chords

Back 90

5th

Front 91

Ch. 14 : Do not double the __

Back 91

Leading tone (7)

Front 92

Ch. 16 :solo

Back 92

A single performer

Front 93

Ch. 16: soli

Back 93

Passage done by section

Front 94

Ch. 16: fugue

Back 94

Form of composition popular in the baroque era, in which a theme or subject is introduced by one voice and is limited by other voices in succession

Front 95

Ch.16 : polyphonic

Back 95

Also known as counterpoint.

Front 96

Ch. 16 : ostinato

Back 96

Meaning obstinate or unceasing, an ostinato is a short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or some portion

Front 97

Ch. 17: textural elements

Back 97

Monophonic

Homophonic

Melody with accompaniment

Polyphonic

Hetero phonic

Front 98

Ch. 17: Rhythmic

Back 98

Aural and visual identification

Front 99

Ch. 17 : meter

Back 99

Simple / compound - duple, triple, quadruple.

Mixed meter, asymmetrical, symmetrical

Front 100

Ch. 17 : Harmony

Back 100

Triads

7th chords

Inversions

Secondary or chromatic

Cadences

Harmonic function. Harmonic progression

Roman numerals analysis

Mudulation

Front 101

Ch. 17: performance considerations

Back 101

Tempo, articulation, dynamics, style, ornamentation