A meter where the beat is divisible by 2
A meter where the beat is divisible by 3
A meter where it is divisible by 2 (i.e. 2/4, 4/4, 6/8, etc..)
A meter where it is divisible by 3 (i.e. 3/8, 3/4, 6/4, etc..)
Major
Major-minor
Minor
Half-diminished
Fully-diminished
(not common and unimportant) Minor-major
A diminished triad with a minor 7th
A diminished triad with a diminished 7th
It is Roman numerals and numbers next to them to indicate the type of chord within the music. It is found below the stuff under the chord.
Root = no numbers or a 5/3
1st inversion = just a 6 or a 6/3
2nd inversion = 6/4
Without a lil fraction bar line!
**Note; all of these flashcards WILL have the fraction bar line but only for clarity
Root = 7
1st inversion = 6/5
2nd inversion = 4/3
3rd inversion = 2 or a 4/2
A chord (triad or 7th) where there are no inversions and the bass has the root of the chord
A chord (triad or 7th) where the 3rd is in the bass
A chord (triad or 7th) where the 5th is in the bass
A 7th chord where the 7th is in the bass
1) Tonic
2) Supertonic
3) Mediant
4) Subdominant
5) Dominant
6) Submediant
7) Subtonic or (in minor) Leading Tone
They are letters that are found above the staff using uppercase letters to indicate the name of the chord.
-The letter by itself = Major chord
-Lowercase "m" next to the letter = Minor chord
-"dim" next to letter OR a "degree" sign = Diminished
-"+" = Augmented
-"M7" or triangle "7" = Major Major 7th chord
-Just a "7" = Mm 7th chord
-The letter, "m" and a 7 = mm 7th chord
-The letter, "degree" sign w/slash, and a 7 = Half diminished 7th
-The letter, "degree" sign, and a 7 = Diminished 7th chord
-The letter slash another letter below it = Inversion (the letter in the bottom is the note in the bass)
#
A slash through a 6
4+
7b (7 flat symbol)
I ii iii IV V vi vii(degree symbol)
i ii(degree symbol) III iv v VI VII
i ii III+ IV V #vi(degree symbol) vii(degree symbol)
i ii(degree symbol) III+ iv V VI vii(degree symbol)
No more than an octave (between two at a time)
Any space (within reasonable ranges)
It is where the upper three voices do not skip any chord tones (making it within an octave between the tenor and soprano)
It is where the upper three voices skip a chord tone (making it usually more than an octave between the tenor and soprano)
Contrary = moving in opposite ways
Parallel = moving in the same direction in the same interval
Oblique = one voice stays the same and another moves
Similar = same direction in different intervals
Static = no movement at all
-No parallel 5ths or 8ves
-No direct 5ths or 8ves (sop. & bass)
-No more than an octave between two upper voices
-Don't let any voices cross one another (i.e. the alto cannot have an A 440 when the soprano had only a G in the notes before)
-Avoid leaps of augmented intervals, 7ths, and any intervals larger than an octave
-Double the root
-In minor keys, when there is a VI chord, doubling the 3rd is necessary
-Keep the common tone(s) when moving by intervals of a P4, P5, 3rd, or a 6th
-Stepwise motion in other voices when the common tone(s) is kept
-When moving by a P4 or P5, the only leaps that can be taken in the upper voices are a 3rd, P4, or P5
-When moving by a 2nd (or 7th), the upper voices move contrary to the bass
There are variations to what to double:
a) the soprano and an inner voice
b) the bass and an inner voice
c) the soprano and bass are doubling each other
d) the inner voices double each other
-Double the bass always!
-Watch for parallel 5ths!
-Cadential 6/4 = I 6/4 to V to I at the end of a phrase
-Passing 6/4 = used for smooth voice leading b/w any chord (like stepwise motions)
-Pedal 6/4 = Top notes move to a neighboring tone while the bass is sustained
It is where the bass moves outlining a chord
Contrary, oblique, similar, parallel
It is a repetition of a melody on another scale degree in the same voice
Tonal = within the same key, thus changing the intervals b/w each note
Real = "modulating key," or repeating the same intervals presented in the first sequence
iii - vi - [IV or ii] - [vii dim or V] - I
VII - III - VI - [iv or ii dim] - [vii dim or V] - i
A harmonic progression where it goes to IV instead of ii
Going backwards in the harmonic progression
-Authentic = V to I in any form; includes Perfect Authentic (PAC) and Imperfect Authentic (IAC)
-PAC = V to I in root position and the tonic is in soprano
-IAC = V to I in NOT root position and/or the tonic isn't in the soprano
-Deceptive (DC) = V to vi
-Half (HC) = end on V and includes Phrygian
-Phrygian Half = iv/IV to V
-Plagal (PC) = IV to I
-Natural = lowered 3rd, 6th & 7th
-Melodic = lowered 3rd throughout, raised 6th & 7th on the way up and lowered on the way down
-Harmonic = lowered 3rd & 6th, raised 7th
Where the melodic line is repeated in a different voice
Where the melodic line is repeated in the same voice
1) Avoid repeated notes, especially across bar lines
2) With large leaps (in intervals) between notes, change the direction of the motion after it
3) Try not to have two of the same peak notes
1) Soprano counterpoint rules
2) Soprano w/bass line rules (counterpoint chapter)
3) Motion rules (counterpoint chapter)
4) Midterm shit probably
Approached by: step
Resolved by: step in the same direction
Approached by: step
Resolved by: step in the opposite direction
Approached by: same note
Resolved by: step down
Approached by: same note
Resolved by: step up
Approached by: leap (usually up)
Resolved by: step
Approached by: step
Resolved by: leap in opposite direction
Approached by: step
What's next?: skips to the next note
Resolved by: step in opposite direction BACK to original note
Approached by: step, rarely skips (but still can)
Resolved by: same note in any direction w?a new chord
Approached by: same note
Resolved by: same note (next/new chord)
7-6
4-3
9-8
2-3
Examine the interval from the bass up to the nonchord tone note
It always resolves down by step
The leading tone must resolve up by step to the tonic
Anywhere any which way (as long as errors are avoided)
With one of the following:
1) Suspension
2) Passing tone
3) Neighbor tone
4) Appogiatura
- Omit the 5th
- Duplicate the root of a chord
- Keep the 3rd
Have an incomplete V7 chord (w/the 5th omitted + doubled root). I is a complete chord.
Have a complete V7 chord but the leading tone is in an inner voice and "frustrates" by resolving to the 5th of the tonic triad (leaping by a M3 interval to do so).
1) Bass (root) moves up by step to the root of the vi chord
2) Leading tone resolves up to tonic if it's in the soprano. If it's in an inner voice, it can also leap down to the 6th SCALE DEGREE
3) Other voices move down by step