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60 Cards in this Set
- Front
- Back
Scale Degree Names
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Tonic: 1
Supertonic: 2 Mediant: 3 Subdominant: 4 Dominant: 5 Submedient: 6 Leading tone/subtonic: 7 |
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Overtone Series
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P8, P5, P4, M3, m3, m3, M2, M2, M2, M2, m2
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6/4 Chords
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Cadential
Passing Pedal Arpeggiated |
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Cadential
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Most Common
I6/4 V I |
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Passing
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I V6/4 I6
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Pedal
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I IV 6/4 I
(V I6/4 V) |
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Arpeggiated
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I I6/4 I6 I
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Cadences
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1) Perfect Authentic Cadence
2) Imperfect Cadence 3) Deceptive 4) Plagal 5) half cadence |
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Perfect Authentic
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V-I
Both chords in root position Tonic is teh highest note of last chord |
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Imperfect Authentic
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V-I or vii'-I
doesn't meet all characteristics |
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Deceptive Cadence
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V-vi
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Plagal Cadence
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IV-I
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non harmonic tones
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passing
neighboring escape appoggiaturd suspension retardation anticipation |
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Passing
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step down
passing tone step down (up and down) |
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Neighboring Tone
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Step down
neighboring tone step up (both ways) |
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Escape Tones
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Step up
Escape Tone Skip Down |
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Appoggiaturd
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Skip up
APP step down |
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Suspension
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Common tone (same note as sus)
suspension tone step down |
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Retardation
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Step Down
Anticipation common tone (both ways) |
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Part Writing Rules
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1)keep common tone
2)move soprano and bass in contrary motion 3) move all other voices by step 4) no parallel 5ths or octaves 5) no overlaps, voice crossings 6) maintain appropriate spacing |
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Dominant 7th
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7
V |
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Major 7th
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7
I |
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1/2 Diminished 7th
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7
ii* |
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Full Diminished 7th
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7
vii* |
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7th Chord Positions
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7 6 (6) (6)
(5) 5 4 4 (3) (3) 3 2 |
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Circle of 5th Chord Progressions
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i iv VII III VI ii V i or
I VI vii* iii vi ii V I |
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How to tell a modulation
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Phrase
Common Chord Chromatic Enharmonic |
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Modulations
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closely related keys, in the middle of phrase or between phrases
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Common chord
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(pivot)
one chord is analyzed in both keys |
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Chromatic
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one voice moves chromatically (C to C#)
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Phrase
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(direct)
previous phrase ends in one key, new phrase begins in new key |
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Enharmonic
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chord is respelled
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Non-Diatonic Chords
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If x is V (vii*) then y is I and y in the key of Z is N, then V/n (vii*/n)
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Secondary dominants
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major as a triad, dominant as a 7th chord
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Secondary leading tones
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dim as a triad, half or fully dim as a 7th
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Modes
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Ionian
Dorian Phrygian Lydian Mixo-lydian Aeolian Locrian |
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Ionian
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C to C
major scale |
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Dorian
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D to D
minor mode #6 |
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Phrygian
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E to E
minor mode flat 2 |
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Lydian
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F to F
Major Mode #4 |
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Mixo Lydian
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G to G
major mode flat 7 |
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Aeolian
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A to A
natural minor scale |
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Locrian
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B to B
minor mode flat 2 flat 5 |
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Book Theory of Root Progressions
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1. D5
2. A5 3. A2 4. D3 5. A3 6. D2 |
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Seventh chord Resolution
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1) 7th must resolve down by step eventually
2) tritone resolutions (A4 out, d5 in) for dominant sevent 3) leading ton seventh chords (in major and minor) and non-dominant seventh chords |
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5/3 Dbl The
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bass usually
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6/3 dbl the
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soprano most of the time
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6/4 dbl the
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bass always
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Minor Second
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Oh Danny Boy, Jaws Theme
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Major Second
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Sound of Music, Silent Night, Happy Birthday
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Minor Third
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Doorbell (ding dong)
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Major Third
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O When The Saints Go Marching IN
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Perfect Foruth
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Here Comes the Bride
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Tritone
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Maria
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Ferfect Fifth
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Star Wars
|
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Minor Sixth
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Go Down Moses
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Major Sixth
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NBC Theme
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Minor Seventh
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Theres A Place for us
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Major Seventh
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The Neverendign Story
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Perfect Octave
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Somewhere Over The Rainbow
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