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53 Cards in this Set
- Front
- Back
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Figures |
Intervals above the bass |
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Harmonic Rhythm |
The rate at which the harmony changes |
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Consonant |
P1, P4 (melodic sense), P5, P8, M3, m3, Mm6 |
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Dissonance |
An unstable tone that needs to resolve to a more stable tone Mm2, Mm6, anything diminished or augmented, P4 (harmonic sense) |
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Beat |
Regular division of time |
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Rhythm |
Relative duration of time |
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Perfect Authentic Cadence |
V I chord Root position Root of I chord is in the soprano |
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Half Cadence |
Cadence that ends in a V chord |
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Deceptive Cadence |
Cadence that starts on a V chord and ends on something other than I |
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Plagal Cadence |
Cadence that starts on a I chord and ends on something other than V |
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Counterpoint |
Relationship between two or more voices Interdependent in harmony Independent in rhythm and melodic contour |
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Parallel Motion |
Voices move in the same direction Same interval |
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Contrary Motion |
Voices move in opposite directions |
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Similar Motion |
Voices move in same direction Doesn't maintain same interval |
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Oblique Motion |
One voice stays the same while the other moves |
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Key Area |
How key relates to tonic |
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Voice Overlap |
When a voice moves above or below an adjacent voice in the previous chord |
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Voice Crossing |
When a voice is above or below an adjacent voice in the same chord |
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Common Tone Connection |
Two chord that share a common note in the same voice |
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Tendency Tone |
Needs to resolve stepwise in a specific direction |
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Strict Resolution (Leading Tone) |
Goes up by a half step |
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Free Resolution (Leading Tone) |
Goes down by a third, can only be used when the leading tone is in an inner voice |
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Strict Resolution (7th) |
Goes down by a step |
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Free Resolution (7th) |
Goes up by a step, can only be used in keyboard voicing when the 7th is in an inner voice |
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Harmony |
The way chords relate to each other |
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Direct Octave |
When the soprano and bass move in similar motion and the soprano skips to an octave |
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Passing Tone |
Unaccented Approach by step in same direction Resolve by step in same direction |
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Neighbor Tone |
Unaccented Approach by step Resolve by step in opposite direction |
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Anticipation Tone |
Unaccented Approach by step Resolve by unison |
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Escaped Tone |
Unaccented Approach by step Resolve by leap |
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Free Neighbor |
Unaccented Approach by skip Resolve by step (usually in the opposite direction) |
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Pedal Tone |
Unaccented Approach by unison Resolve by unison |
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Suspension |
Accented Approach by unison Resolve by step down |
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Appogiatura |
Accented Approach by skip Resolve by step in either direction |
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Retardation |
Accented Approach by unison Resolve by step up |
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Roman Numerals |
Root of chord Scale degree of chord Quality of chord |
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Sequence |
Repeated musical pattern that starts on a different pitch |
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Secondary Dominant |
When another degree of the scale besides the tonic is used as the dominant funcitioning |
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Scale |
Series of notes differing in pitch according to specific scheme within an octave |
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Diatonic |
Notes from a specific scale written using adjacent letter names and lines |
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Contrary 5th |
Starts in P5 or P8 moves contrary and ends up in P5 or P8 (compound) |
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Cadential Tonic Form (I 6/4) |
A type of delaying technique that delays the V chord Double the 5th Accented (metrically strong) 6th and 4th above bass move down by a step |
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Himeola |
Shift in harmonic rhythm |
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Neapolitan (6th) |
Most often in 1st inversion Note flared Major chord root is lowered 2nd degree |
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Modal Borrowing |
Borrowing from a different mode |
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Cantus Firmus |
A melody given in whole notes which you will write another melody called a counterpoint |
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First Species |
Whole note against whole notes |
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Second Species |
Half notes against whole notes |
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Third Species |
Quarter notes against whole notes |
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Fourth Species |
Tied halves against whole notes |
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Fifth Species |
Mixed rhythms against whole notes |
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Double Neighbor Tone |
Consonance on beat one step to dissonance on beat two Skip a third in opposite direction to a dissonance or a consonance on beat three Resolve by step to starting note of figure on beat four Continue same direction by step on beat one |
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Nota Cambiata |
A consonance on beat one Step to dissonance on beat two Skip a third in the same direction to a consonance on beat four Continue same direction by step on beat one |
