AP REVIEW HOLY SHIT IM COOKED

Question 1

Sound

Answer 1

pitch/frequency aka wavelength
dynamic/amplitude aka wave height
timbre/tone color= waveform
articulation= envelope
duration

Question 2

timbre is made up of more than one frequency, often involving harmonics or overtones

Answer 2

the basic frequency and its overtones determine the timbre of a sound

Question 3

envelope of sound composed of attack, sustain, and release

Question 4

duration- the length of time sound & silence last

sound has a proportional relationship between note lengths & note pitch

Answer 4

two aspect of sound: pitch & duration

Question 5

when multiple staves are connected together by bar lines, a bracket, or a brace, it is a system

Question 6

enharmonic equivalent- same sound, different note ex. a sharp & b flat

Question 7

dot- extend value of a single note by one half of its original value

double dot- lengthens the dotted note value by half the length of the first dot

Question 8

tie combines the durational values of two or more notes of the same pitch using a curved line

Question 9

duration

Answer 9

the length of time sound/silence occurs

Question 10

beat

Answer 10

a regular, recurring pulsation that divides music into units of time

Question 11

meter

Answer 11

the organization of beats into regular groups into regular groups of 2,3,4 (usually with strong and weak beats) & how the beat is subdivided

Question 12

subdivision

Answer 12

the division of the beat into two or three equal parts

Question 13

rhythm

Answer 13

series of duration, often varying, of sound & silence

Question 14

tempo

Answer 14

the speed of the beat

Question 15

meter- grouped into duple (2 beats/measure), triple (3 beats/measure), quadruple (4 beats/measure)

Answer 15

duple- strong-weak
triple- strong-weak-weak
quadruple strong-weak-less strong-weak

Question 16

simple meter= the beat is divided equally into 2 parts

Answer 16

whole note (2 halves) half note ( 2 quarters) quarter note (2 eighths)

Question 17

compound meter- the beat is divided equally into three parts

Answer 17

dotted half note ( 3 quarters), dotted quarter (3 eighths) dotted eighth (3 sixteenths)

Question 18

if the top number is 2 or 6

Answer 18

it’s duple meter

Question 19

if the top number is 3 or 9

Answer 19

it’s triple meter

Question 20

if the top number is 4 or 12

Answer 20

it’s quadruple meter

Question 21

in simple meter, “what you see is what you get”, top # is beats per measure and bottom number is the fractional equivalent of the beat

Answer 21

in quadruple meter, there is no fraction representing a dotted quarter

in compound time halve the bottom number for the value of the beat

Question 22

simple/compound- is the note dotted or not

Question 23

downbeat= first beat of measure

Question 24

asymmetrical meter= measures with beat units of unequal length

Question 25

beat preceding first measure

Answer 25

anacrusis

Question 26

triplet- dividing a regular duration into 3 (irregular division)

Question 27

simple division of a dotted note occurs when two notes divide the beat instead of 3 (requires bracket and the number 2 above)

Answer 27

duplet or triplet

Question 28

syncopation

Answer 28

rhythmic displacement of the expected strong beat created by using dots, rests, ties, accent marks, rhythm, and dynamics - also occurs when the emphasis is in between the beats or on a normal beat, because it emphasizes a beat other than expected it conflicts with the established grouping of beats

Question 29

hemiola

Answer 29

type of syncopation in triple meters- the beat is temporarily regrouped into twos

Question 30

chromatic scale

Answer 30

a symmetrical scale with all pitches spaced a half step apart, it's written using sharps for the ascending scale and the enharmonic equivalent for the descending scale

Question 31

major scale

Answer 31

asymmetrical combo of whole and half steps

Question 32

mode is synonymous with scale

Question 33

Ionian Mode

Answer 33

Major Scale pattern

Question 34

Aeolian mode

Answer 34

minor scale pattern

Question 35

key

Answer 35

a specific series of pitches based on a pattern of whole and half steps that define tonality

Question 36

tonality

Answer 36

the principle of organizing a composition around that key or tonic

Question 37

key signature shows which pitches are consistently flat or sharp, a step towards understanding key

Question 38

major and minor keys with different key signatures but with the same tonic are called parallel

Answer 38

a maj and a min are parallel because they've got the same tonic

Question 39

the tonic of the relative minor scale is the 6th scale degree/submediant (la) of the major key

Question 40

harmonic, natural, melodic

Answer 40

- all use same first 5 notes - natural- do re me fa so le te do, same backwards - harmonic- do re me fa so le ti do, same backwards - melodic- do re me fa so la ti do/do te le so fa me re do

Question 41

the harmonic and melodic forms of minor are artificial scales or altered scales

Answer 41

because they vary from the key signature and require the use of additional accidentals to create the scale

Question 42

natural minor is natural because it conforms to the key signature and to differentiate it from the artificial forms of the scale

Question 43

do re me fa so la ti

Answer 43

tonic supertonic mediant subdominant dominant submediant leading tone

Question 44

in the natural minor the 7th scale degree is a whole step below tonic, it is not a leading tone, it's called subtonic (one whole step below tonic)

Question 45

scale degrees 4, 6, 7 are active, the most active aka leading tone has the most musical energy to resolve

Question 46

scale degrees 1 and 3 are considered resolution tones because they are the notes to which the active tones move

Answer 46

within the major scale, the most active tones, the 4th and 7th scale degrees, have half step relationships to the most stable tones, the 3rd & 1st

Question 47

pentatonic scale

Answer 47

- has 5 tones excluding the octave -contains NO half steps and thus no active tones (most active are 4th and 7th) - can be major or minor c pentatonic scale- c d e g a c - with major pentatonic scale- take 5 consecutive pitches from circle of fifths starting with c

Question 48

c-d-e-g-a-c is most common a-c-d-e-g-a (relative minor pentatonic scale)

Answer 48

others d-e-g-a-c-d e-g-a-c-d-e g-a-c-d-e-g

Question 49

all natural notes create mode: I (ionian= major) don't (dorian= natural minor + #6) play (phygian= natural minor + b2) loud (lydian= major + #4) music (mixolydian = major + b7) at (aeolian= natural minor) lunch (Locrian= natural minor + b2 & b5)

Answer 49

dorian- natural minor +#6 phrygian- natural minor +b2 lydian- major + #4 mixolygian- major +b7 Locrian- natural minor +b2 &b5

Question 50

phrygian, aeolian, and dorian are related to each other as minor modes

Answer 50

- dorian is similar to aeolian with a raised 6th scale degree -phrygian is related to the natural minor with a lowered 2nd scale degree

Question 51

lydian, mixolydian, ionian related to each other as major modes

Answer 51

lydian is similar to major (ionian) with a raised 4th scale degree, while mixolydian is similar to major with a lowered 7th scale degree - the tonic triads of the modes are major

Question 52

Locrian mode is a diminished tonic triad

Question 53

writing the pitch and rhythm accurately from two melodies performed on instrument or voice

Answer 53

melodic dictation

Question 54

listening to a 4 part harmonization of 6-8 chords, student writes the melody of the bass line & gives roman numeral chord symbol & inversion if needed for each chord

Answer 54

harmonic dictation

Question 55

meters- duple, triple, quadruple

Question 56

to check interval size- turn into octave and subtract by 9??