Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

theory 2 > FINAL > Flashcards

FINAL Flashcards

1
Q

vii chords

A
  • substitutes for V(7)
  • usually early in phrase
  • root is LT
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

vii°6

A
  • triad usually 1st inv

- usually double bass note (RE)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

I – vii°6 – I6 (or vice versa) part writing

A
  • voice exchange btwn bass and upper voice

- DO RE MI against MI RE DO

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

vii°/ø7

A
  • LT (TI) moves up, 7th (LE/LA) moves down
  • resolve tritone w bass
  • avoid parallel 5ths involving bass
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

plagal cadence

A

IV –> I

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

deceptive cadence

A

V –> vi

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

subphrase

A

musical material that is part of phrase, but not complete phrase

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

motive

A

smallest recognizable musical idea, which can be characterized by pitches/contour and/or rhythm

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

period phrase

A

weaker phrase followed by stronger phrase

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

antecedent

A

weaker cadence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

consequent

A

stronger cadence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

parallel

A

2 phrases have similar theme (a, a’)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

contrasting

A

2 phrases have different themes (a, b)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

interrupted

A

HC –> T

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

continuous

A

HC –> NOT T

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

sectional

A

IAC –> PAC

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

sentence

A

3 part structure that usually has 8/4 measures in a short short long arrangment

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

what does a sentence do

A
  1. state motive/basic idea
  2. restate motive/basic idea (exact/transformed)
  3. develop/fragment motive/basic idea, end w/ cadence
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

nested sentence

A

occurs in 2nd 1/2 of larger sentence, b/c both sentences will end w/ cadence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

double period

A
  • 4 phrases, ALL ARE PIP
  • 2nd cadence weak (usually HC)
  • strongest cadence at end
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

phrase group

A

phrases group together but lack weak-strong cadences of antecedents/consequents

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

hypermeter

A

one beat per measure

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

phrase rhythm

A

interaction of phrase structure/hypermeter

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

phrase structure

A

phrase, cadence, subphrase, period, double period, phrase group

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

meter

A

beats group into measures

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

submeter

A

beat divisions group into beats

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

phrase overlap

A

phrase ends as next one begins

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

sequence

A

repeating harmonic/melodic patterns

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

descending 5ths

A

BEADGCF

30
Q

ascending 5ths

A

FCGDAEB

31
Q

descending 3rds

A

C-G, A-E, F-C, D-A, B-F, G-D, E-B

32
Q

ascending 5-6

A

C-A, D-B, E-C, F-D, G-E, A-F, B-G

33
Q

lead-in

A

material occurs before phrase begins, often introduces accompaniment before beginning of phrase

34
Q

cadential extension

A

material occurs after cadence, usually prolongs cadence

35
Q

repetition

A

restating material, either literally or transformed

36
Q

deceleration

A

written out ritardando or fermata

37
Q

interpolation

A

inserting unrelated material into phrase

38
Q

diminution

A

faster

39
Q

inversion

A

flipped upside-down

40
Q

extension

A

longer

41
Q

truncation

A

cut off early

42
Q

fragmentation

A

to take part of motive and use it later

43
Q

transposition

A

different key

44
Q

embellish

A

adding non-chord tones to motive

45
Q

DIETFATE

A

Diminution
Inversion
Extension
Truncation

Fragmentation
Augmentation
Transposition
Embellish

46
Q

augmentation

A

slower

47
Q

secondary dominants

A

functions as D chord (not of OG key, but next acting as T)

48
Q

tonicization

A

treatment of a pitch other than the overall tonic (the “home note” of a piece) as a temporary tonic in a composition (secondary dom)

49
Q

to write a vii°7 secondary dom

A
  1. take root of V7

2. move it up a half step

50
Q

cadential 6/4

A

I6/4 right before V(7)

51
Q

pedal 6/4 chord

A

bass stays same (even just lowest note in pattern) usually root

52
Q

passing 6/4 chord

A

bass moves stepwise, usually root-3rd

53
Q

mediant chord

A

iii

  • usually connects T–> PD (vi or IV, rarely ii)
  • rarely PD –> D
54
Q

submediant chord

A

vi

  • usually extends T before PD (IV or ii)
  • sometimes substitute for I in decep. res.
  • rarely PD (directly to V)
55
Q

passing tone

A
  • step, then step again in same direction

- usually UA

56
Q

neighbor tone

A
  • step, then step again in opp. direction

- usually UA

57
Q

suspension

A
  • susp, then resolve down by step

- ACC

58
Q

appoggiatura

A
  • leap/skip into NC tone, resolve by step in opp. direction

- ACC

59
Q

escape tone

A
  • step into NC tone, skip in opp. direction into next chord tone (beauty and the beast)
  • UA
60
Q

anticipation

A
  • occurs on weak part of beat, ant. next chord tone

- UA

61
Q

phrase

A

smallest unit of music w/ harmonic/melodic motion and cadence

62
Q

modulation

A

change of key, supported by cadence in new key (usually PAC/IAC)

63
Q

closely related keys

A

share nearly all same pitche classes

64
Q

how to determine closely related keys

A

key sigs are rel. maj/min, or differ by 1 accidental

65
Q

major closely related keys

A

ii iii IV V vi

66
Q

minor closely related keys

A

III iv v VI VII

67
Q

direct modulation

A

key changes abruptly w/o use of pivot chord, usually btwn phrases (love on top)

68
Q

pivot chord

A

analyzed in both keys at the same time

69
Q

how to ID pivot chord

A
  1. locate first chord clearly in new key

2. back up 1 chord to use as pivot (unless SEC DOM or 6/4)

70
Q

how to write pivot chord modulations

A
  1. write RNs for first chords in OG keys (T and subordinate)
  2. write RNs for cadence in new key
  3. choose pivot and place in middle of phrase
  4. write RNs for rest of phrase

theory 2 (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions