Music Theory Final Exam Review

Front 1

C

Back 1

0

Front 2

G

Back 2

1#

Front 3

D

Back 3

2#

Front 4

A

Back 4

3#

Front 5

E

Back 5

4#

Front 6

B

Back 6

5#

Front 7

F

Back 7

6#

Front 8

C#

Back 8

7#

Front 9

F flat

Back 9

1 flat

Front 10

B flat

Back 10

2 flats

Front 11

E flat

Back 11

3 flats

Front 12

A flat

Back 12

4 flats

Front 13

D flat

Back 13

5 flats

Front 14

G flat

Back 14

6 flats

Front 15

C flat

Back 15

7 flats

Front 16

Harmonic minor

Back 16

raised 7

Front 17

Melodic minor

Back 17

raised 6 & 7 ascending; relowered descending

Front 18

Figured bass: 6

Back 18

1st inversion

Front 19

Figured bass: 6/4

Back 19

2nd inversion

Front 20

Figured bass: crossed out 6 or 6#

Back 20

6th above bass = #; 3rd above bass = 1st inversion

Front 21

Seventh chords: 7

Back 21

root

Front 22

Seventh chords: 6/5

Back 22

1st inversion

Front 23

Seventh chords: 4/3

Back 23

2nd inversion

Front 24

Seventh chords: 4/2

Back 24

3rd inversion

Front 25

Scale degrees: 1

Back 25

tonic

Front 26

Scale degrees: 2

Back 26

supertonic

Front 27

Scale degrees: 3

Back 27

mediant

Front 28

Scale degrees: 4

Back 28

subdominant

Front 29

Scale degrees: 5

Back 29

dominant

Front 30

Scale degrees: 6

Back 30

submediant

Front 31

Scale degrees: 7

Back 31

leading tone

Front 32

Major chord progression

Back 32

I ii iii IV V vi vii I

Front 33

Minor chord progression

Back 33

i ii III iv V VI vii i

Front 34

Key signature progression: sharps

Back 34

F C G D A E B

Front 35

Key signature progression: flats

Back 35

B E A D G C F

Front 36

Parallel motion: oblique

Back 36

one voice stays on same note; other voice moves up and/or down

Front 37

Parallel motion: similar

Back 37

both voices move up and/or down together

Front 38

Parallel motion: contrary

Back 38

voices move in different directions

Front 39

Parallel motion: parallel

Back 39

voices both move up and/or down w/same interval

Front 40

Part writing: double ________ in root position chord

Back 40

root

Front 41

Part writing: no ______ b/w voices except tenor & bass

Back 41

octaves

Front 42

Part writing: include all 3 pitches; ____ can be left out

Back 42

5th or root (NEVER 3rd)

Front 43

Part writing: NEVER double ______

Back 43

leading tone

Front 44

Part writing: no parallel ______ or _______

Back 44

5ths or 8ves

Front 45

Sequence

Back 45

melodic pattern repeated in the same voice @ a different starting pitch

Front 46

Tonal sequence

Back 46

stays w/in the key, causing unequal intervals

Front 47

diatonic

Back 47

staying w/in key

Front 48

Real sequence

Back 48

all intervals the same, causing accidentals

Front 49

Modified sequence

Back 49

modified rhythmically or by changes in pitch OTHER THAN those constituting a tonal sequence

Front 50

Imitation

Back 50

repeated melodic pattern occurring in another voice, starting on a different pitch

Front 51

Canonic

Back 51

exact imitation

Front 52

PAC

Back 52

V-I w/root in top voice

Front 53

Phrygian half

Back 53

IV6 - V

Front 54

parallel period

Back 54

both phrases begin w/parallel or identical material

Front 55

contrasting period

Back 55

two contrasting periods

Front 56

double period

Back 56

2 periods grouped together b/c 2nd has stronger cadence than first

Front 57

Church modes: order of scales

Back 57

I Don't Pester Lydia Myers At Lunch

Ionian - Dorian - Phrygian - Lydian - Mixolydian - Aeolian - Locrian

Front 58

Whole Tone Scale

Back 58

uses whole steps the whole time (accidentals)

Front 59

Pentatonic scale

Back 59

5-note scale (Asian origin)