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E5 study guide > Basic Music II > Flashcards

Basic Music II Flashcards

1
Q

modes/modal scales

A

Church modes, ecclesiastical modes, and medieval modes.

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2
Q

Modes with a predominantly major sound

A

lydian

ionian

mixolydian

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3
Q

modes that sound predominantly minor

A

dorian

aedian

phrygian

locrian (sounds neither major nor minor, but tend towards minor).

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4
Q

position

A

close position

open position

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5
Q

chromatic scale

A

consists entirely of half steps.

13 pitches (12 half steps) in one octave.

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6
Q

whole tone scale

A

consists entirely of whole steps.

seven pitches in a scale.

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7
Q

pentatonic scales

A

Consists of 5 notes (6 pitches including the octave).

Two forms: major and minor.

No half steps occur in either form.

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8
Q

pentatonic minor

A

Contains tonic, meidant, subdominant, dominant, and subtonic of parallel minor scale.

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9
Q

elision

A

Occurs when one chord group is skipped in left to right movement.

Must be followed by normal chord progression.

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10
Q

pentatonic major

A

Contains tonic, supertonic, mediant, dominant, and submediant of parallel major scale.

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11
Q

simple interval

A

hen interval tones encompass an octave or less.

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12
Q

qualities of intervals

A

perfect

major

minor

augmented

diminished

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13
Q

compounding and simple interval

A

Moving the upper note UP an octave or moving the lower note DOWN an octave.

Add the number 7.

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14
Q

3 simple intervals that don’t invert

A

P1, P8, Aug 8

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15
Q

chromatic intervals

A

When one of both the notes of an inverval are not found in the key.

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16
Q

reducing a compound interval

A

Moving the upper not DOWN an octave or moving the lower note UP an octave.

Can only be done until interval becomes simple.

Subtract the number 7.

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17
Q

dissonant intervals

A

Tends to be unstable.

P4

Maj 2, Maj 7

min 2, min 7

All augmented intervals

All diminished intervals

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18
Q

diatonic intervals

A

When both the upper and lower tones of an interval are found in the key.

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19
Q

minor intervals

A

min 2 - minor second, contains 1 half step

min 3 - minor third, contains 3 half steps

min 6 - minor sixth, contains 8 half steps

min 7 - minor seventh, contains 10 half steps

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20
Q

major intervals

A

Maj 2 - major second, contains 2 half steps

Maj 3 - major third, contains 4 half steps

Maj 6 - major sixth, contains 9 half steps

Maj 7 - major seventh, contains 11 half steps

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21
Q

perfect intervals

A

P1 - perfect prime, no half steps

P4 - perfect fourth, contains 5 half steps

P5 - perfect fifth, contains 7 half steps

P8 - perfect octave, contains 12 half steps

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22
Q

interval

A

The difference in pitch between 2 tones

23
Q

melodic interval

A

When interval tones sound in succession.

24
Q

compound interval

A

When interval tones encompass a ninth or more.

25
Q

The sum of a simple interval and its inversion is always…

A

nine

26
Q

consonant intervals

A

Tend to remain stable

P1, P5, P8

Maj 3, Maj 6

min 3, min 6

27
Q

harmonic interval

A

When interval tones sound simultaneously

28
Q

dimininshed intervals

A

dim 2 - dimininshed second, contains 0 half steps

dim 3 - diminished third, contains 2 half steps

dim 4 - diminished fourth, contains 4 half steps

dim 5 - diminished fifth, contains 6 half steps

dim 6 - diminished sixth, contains 7 half steps

dim 7 - diminished seventh, contains 9 half steps

dim 8 - diminished octave, contains 11 half steps

29
Q

augmented intervals

A

Aug 1 - augmented prime, contains 1 half step

Aug 2 - augmented second, contains 3 half steps

Aug 3 - augmented third, contains 5 half steps

Aug 4 - augmented fourth, contains 6 half steps

Aug 5 - augmented fifth, contains 8 half steps

Aug 6 - augmented sixth, contains 10 half steps

Aug 7 - augmented seventh, contains 12 half steps

Aug 8 - augmented octave, contains 13 half steps

30
Q

inversion of simple intervals

A

A change in the relative position of the notes in a simple interval.

Accomplished by moving the lower note up an octave or the upper note down an octave.

31
Q

enharmonic intervals

A

Intervals that have different names but sound the smae.

Have the same number of half steps but different notation.

32
Q

chord

A

A combination of 3 or more different notes sounded simultaneously or in succession.

33
Q

triad

A

A chord of 3 tones spelled in 3rds.

34
Q

the overtone series

A

The first 16 partials of the generating tone.

35
Q

partial

A

Pitches producted by a sound wave.

36
Q

fundamental

A

The pitch of the generating tone.

The fundamental is the 1st partial

lowest frequency/pitch

greatest amplitude/intensity

37
Q

overtones

A

Fractional vibrations of a sound source.

38
Q

dominant partials

A

3, 6, of 12 partials are the dominant degrees in the second (3), third (6), and fourth (12) octaves.

The dominant degrees are derived by doubling the partial numbers starting with the third partial.

39
Q

mediant (major) partials

A

5, 10 partials are the mediant (major) degrees found in the third (5) and fourth (10) octaves.

The upper partial is derived by doubleing the lower partial.

40
Q

closely related keys

A

Those adjacent to a key on the circle of fifths and their relative eys.

Any one key has 5.

41
Q

tonic partials

A

1, 2, 4, 8, and 16th partials are the tonic degrees in successive octaves.

The tonic degrees are derived by doubling partial numbers starting with the first partial.

42
Q

original key

A

The beginning key.

43
Q

mediant (major) partials

A

5th and 10th

Found in third octave and fourth octave.

The upper partial is derived by doubling the lower partial.

44
Q

dominant partials

A

3rd, 6th, 12th

Found in second octave, third octave, and fourth octave.

Derived by doubling the partial numbers starting with the 3rd partial.

45
Q

converting partial to overtones / overtones to partials

A

partials to overtones - subtract 1

overtones to partial - add 1

46
Q

generating tone

A

produced by the vibration of the whole unit.

47
Q

fundamental

A

Pitch produced by the generating tone

48
Q

tonic partials

A

1st, 2nd, 4th, 8th, and 16th

Tonic degrees in successive octaves.

Derived by doubling partial numbers sarting with the first partial.

49
Q

partial

A

All of the pitches produced by the generating tone.

50
Q

pivot chord

A

Used to effect a modulation.

A common chord (diatonic in the old and new keys).

51
Q

overtones

A

A sound source vibrates as a whole unit, in halves, thirds, fourths, fifths, sixths, etc.

Containing indefinitely by fractions.

52
Q

fourth octave partials

A

Subtract 7 from partials 9 - 14 to get scale degree.

53
Q

subtonic partials

A

7, 14 are the out of tune subtonic degrees found in the third (7) and fourth (14) octaves.

The upper partial is derived by doubling the lower.

54
Q
A

E5 study guide (10 decks)

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