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AP Music Theory > 2017 Final Vocab > Flashcards

2017 Final Vocab Flashcards

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1
Q

Note Heads

A

If the pitch is below the middle line, the stem goes up. If the pitch is above the middle line, the stem goes down.

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2
Q

Articulation

A

(Envelope) It’s composed of the attack, the sustain, and release

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3
Q

A symmetrical Meters

A

Meters that have beats of uneven length. Anything that does not have even beats. For Example: 5/8 or 9/8

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4
Q

Double Dot

A

Extends to dotted note value, by half the length of the first dot.

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5
Q

Subdivision

A

The division of the beat into two or three equal parts.

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6
Q

Natural

A

Erases any sharp or flat

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7
Q

Rhythm

A

Series of varing durations of of sound and silence.

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8
Q

Neutral / Percussion Clef

A

No pitch, only duration and attack

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9
Q

Grand Staff

A

Connected treble and bass cleff staff

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10
Q

Dynamics

A

Amplitude (wave height) how shallow/deep the wave is

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11
Q

Double Flat

A

Lowers the pitch by two half steps

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12
Q

Alto/Tenor Clef

A

Designates middle C aka C4

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13
Q

Cautionary Accidental

A

In parenthesis is a reminder of the previous accidental or key signature

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14
Q

Duple

A

The beats per measure. If the to number is 2 or 6, its duple. (Time signature)

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15
Q

Dot

A

Extends the value of a single note, by half of it’s original value.

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16
Q

Enharmonic

A

The same pitch with two different names. For example (A# and Bb)

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17
Q

Double sharp

A

Reuses the pitch by two half steps

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18
Q

Meter (Time signature)

A

The organization of beats into regular groups of two, three, or four. Has the beat is sub divided

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19
Q

Syncopation

A

Rhythmic displacement of the strong beat

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20
Q

Tempo

A

The speed of the beat

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21
Q

Triple

A

Three beats per measure. * If the top number is 3 or 9, it’s triple*

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22
Q

Tripilet

A

Dividing a regular duration into 3

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23
Q

Quadruple

A

Four beats per measure * If the top number is 4 or 12, it’s quadruple*

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24
Q

Chromatic

A

The smallest distance between pitches in a scale

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25
Q

Anacrusis

A

Pick a note. *The the last measure of the piece is incomplete, to balance out the pick up note.

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26
Q

Hemiola

A

A type of syncopation in triple meter, in which the beat is temporarily grouped into two instead of three.

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27
Q

Duration (Value)

A

The length of time, sound or silence occurs

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28
Q

Bass Clef

A

F Clef

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29
Q

Pitch

A

The frequency of the sound (Wave length) the distance between one wae and the next. Frequency is the vibration of times per second

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30
Q

Flat

A

Lowers the pitch by one half step

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31
Q

Duplet

A

When two notes divide a beat, instead of three

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32
Q

Sharp

A

Raises the pitch by one half step

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33
Q

Timbre

A

Tone color different sound of an instrument or voice

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34
Q

Beat

A

A regular and recurring pulse that divides music into units of time

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35
Q

Tonic

A

The first scale degree of a diatonic scale

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36
Q

Supertonic

A

The second scale degree of a diatonic scale

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37
Q

Mediant

A

The third scale degree of a diatonic scale

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38
Q

Submediant

A

The sixth scale degree of a diatonic scale

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39
Q

Raised Submediant

A

The sixth scale degree of a diatonic scale is raised

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40
Q

Subtonic

A

The scale degree below the tonic. (more specifically) the flattered seventh

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41
Q

Leading Tone

A

The seventh tone or degree of a scale that is a half tone below the tonic

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42
Q

Modes

A

A mode is a scale with a different pattern (set) of whole and half steps. (I don’t play loud music at lunch)

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43
Q

Ionian

A

Major scale built on the first scale degree of a major scale

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44
Q

Dorian

A

Built on the second degree of the major scale

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45
Q

Phrygian

A

Built on the third degree of the major scale

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46
Q

Lydian

A

Built on the fourth degree of the major scale

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47
Q

Mixolydian

A

Particular octave species or scale

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48
Q

Aeolian

A

A diatonic scale called the natural minor scale

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49
Q

Locrian

A

The scale obtained by sharpening the second and third notes of the diatonic scale

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50
Q

Harmonic Minor

A

The seventh note is raised one semitone both ascending and descending

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51
Q

Melodic Minor

A

The sixth and seventh degrees are raised when ascending and lowered descending

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52
Q

Natural Minor

A

The diatonic intervals being whole steps except those half steps between 2-3 and 5-6

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53
Q

Accidental

A

A sign indicating a momentary departure from the key signature by raising or lowering a note

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54
Q

Blues scale

A

A musical scale having intervals that mutate between major and minor

55
Q

Circle of fifths

A

The relationship among the 12 tones of the chromatic scale

56
Q

Chromatic

A

Relating to or using notes not belonging to the diatonic scale of the key in which a passage is written

57
Q

Diatonic

A

Involving only notes proper to the prevailing key without chromatic alteration

58
Q

Key

A

Group of pitches or scale that form the basis of a music composition

59
Q

Key Signature

A

Is a set or sharp, flat, and rarely natural symbols placed together on the staff

60
Q

Major and Minor pentachord

A

A series of five consecutive notes of a scale

61
Q

Major Tetrachord

A

A series of 4 notes separated by three smaller intervals

62
Q

Major

A

The larger third, gives it a happy tone

63
Q

Modality

A

More ancient system of organized scales based on the displacement of the tonic note along a arrangement of seven natural tones

64
Q

Octatonic scale

A

Any eight note diatonic scale

65
Q

Pentatonic

A

Five notes per octave in contrast to a seven note scale

66
Q

Whole-tone scale

A

A scalar arrangement of pitches, each separated from the next by a whole-tone step

67
Q

Relative key

A

The major and minor scales that have the same key signatures

68
Q

Parallel Key

A

Those tones that have the same tonic

69
Q

Scale variance

A

The use of natural harmonic, and melodic minor within one composition

70
Q

Tonal

A

Is in a major or minor key

71
Q

Tonality

A

The arrangement of pitches or chords or a musical work

72
Q

Interval

A

The distance of any two notes or pitches

73
Q

Octave

A

The distance between the 1st and 8th scale degree

74
Q

Perfect

A

Identifies the distance between the first note of a major scale and the unison, 4th, 5th, octave

75
Q

Major

A

Interval including major 2,3,6,7 and diatonic scale

76
Q

Minor

A

Are diatonic

77
Q

Consonance

A

Set of intervals that sound good to the ear

78
Q

Dissonance

A

Lack of harmony in musical notes

79
Q

Augmented

A

Perfect or major interval raised by a half step

80
Q

Dimished

A

Are narrower by one semitene than perfect or minor intervals of the same interval number

81
Q

Enharmonic

A

Intervals with the same sound that are spelled differently

82
Q

Tri-Tone

A

Is an augmented 4th or diminished 5th (The devils interval) - the simpsons

83
Q

Perfect fourth and fifth

A

Fourth (the wedding march) fifth (abc)

84
Q

Inversion

A

The lower tone of an interval becomes the higher tone 3rds and 6ths are opposites 2nd and 7ths opposites when invert an interval the mood switches

85
Q

Compound

A

An interval greater than an octave

86
Q

Simple

A

Any interval in a diatonic scale

87
Q

Melodic

A

Two notes played in sequence (linear)

88
Q

Harmonic

A

Two notes played at the same time (Vertical)

89
Q

Harmony

A

The musical result of tones sounding together

90
Q

Chord

A

A harmonic unit with at least three different tones sounding simultaneously

91
Q

Triad

A

A three - tone chord

92
Q

Tertain

A

Any piece, chord, conterpoint constructed from the intervals of (major and minor) 3rds

93
Q

Root

A

Is the pitch from which a triad is generated

94
Q

Major triad

A

Consists of a major third and a perfect fifth

95
Q

Minor triad

A

Consists of a minor third and a perfect fifth

96
Q

Diminished triad

A

Consists of a minor third and a diminished 5th

97
Q

Augmented Triad

A

Consist of a major third and an augmented 5th

98
Q

Primary Triads

A

Built on the tonic, subdominant and dominant. Tonic is in the center. The dominant is a perfect 5th above. The subdominant is a perfect 5th below

99
Q

Triad Position

A

Any of the three notes of the triad can appear as the lowest-sounding pitch

100
Q

Root Position

A

If the root of the triad is the lowest sounding pitch

101
Q

First inversion

A

If the third factor is the lowest-sounding pitch

102
Q

Second Inversion

A

If the fifth factor is the lowest-sounding pitch

103
Q

Organum

A

Building chords off of a melody

104
Q

Figured bass

A

Consists of a bass part (single line) with figures (mostly numbers) below to indicate the type of harmony

105
Q

Roman Numerals

A

Are used to distinguish triads based on scale degrees

106
Q

Simple position

A

When triads are reduced to three notes spaced as close together as possible

107
Q

Third inversion

A

One 7th is in the boss choard

108
Q

Realization

A

You put all the notes into the staff that belong to that chord

109
Q

Circle progression

A

The solid slur is attached to adjacent letter symbols whose roots are either an ascending 4th or a descending 5th part

110
Q

Leading - Tone Progression

A

The dotted slur is corrected to leading-tone chords whose roots resolve up a half step. The dotted slur indicates that we of a related chord as a substitute

111
Q

Rhythmic cadence

A

Phrase endings that often contain characteristic rhythmic patterns

112
Q

Harmonic cadence

A

A progression of at least two chords that concludes a phrase, section, on piece of music

113
Q

Unaccented passing tones

A

Passes between two notes a third apart (in other words fills in the gap) on an unnaccented part of the bar so the dissonance is not very prominent

114
Q

Double neighboring tones

A

Changing tones two changing tones resembling neighboring tones with a missing middle tone

115
Q

Accented nonharmonic tones

A

Are the accented passing tone, neighbor tone, suspension, retandation, and appoggiatura

116
Q

Unaccented neighboring tone

A

Approached by step if then return by step to original note

117
Q

Nonharmonic tones

A

Are pitches that sound along with a chord but are not chord pitches

118
Q

Changing tones

A

Consist of two successive nonharmonic tones

119
Q

Unaccented nonharmonic tones

A

Are the unaccented passing tone neighboring tone, escaping tone, and anticipation

120
Q

Anticipation

A

Occour only as unaccented nonharmonic tones

121
Q

Retardation

A

Is a nonharmonic tone similar to a suspension, except that the resolution is upward instead of downward

122
Q

Neighbor group

A

Changing tones or double neighbor tones. Two changing tones resembling neighboring tones with a missing tone

123
Q

Appoggiatura

A

A nonharmonic tone that is apprached by a skip and resolved by a step in the opposite direction

124
Q

Suspension

A

Only occurs and an accented nonharmonic tone. Resolution is downward

125
Q

Accented passing tone

A

If a passing tone occurs with the second chord (instead in the middle of the chords)

126
Q

Accented neighboring tone

A

Neighboring tone that occurs in the same chord

127
Q

Escape tone

A

Occur only as unaccented nonharmonic tones

128
Q

Successive passing tones

A

Two passing tones occasionally fill an interval of the fourth. Both passing tones can be accented or a combination of accented and unaccented

129
Q

Pedal Tone

A

Is a held or repeated note, usually in the lowest voice

130
Q

Inverted pedal tone

A

When a pedal tone occurs above other voices

131
Q

Imitation

A

A literal repetition in the same voice or in multiple-voice compositions requested in another part. Different motives or voices that repeat each other

132
Q

Rhythmic Displacement

A

Repeats the original melody but at a different place in the measure. Start on beat 3, you start on beat 4 and play it in its entirety a beat off

133
Q

Augmentation

A

A term of rhythmic variation where the pitches remain the same but the rhythms are lengthened-note values are made longer

134
Q

Diminution

A

The opposite of augmentation where the note values are shortened

AP Music Theory (1 decks)

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