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Music > Music Theory & Musicianship > Flashcards

Music Theory & Musicianship Flashcards

1
Q

Natural half steps (pitch class)

A

B-C, E-F

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2
Q

Order of “b”s in key signature; what intervals?

A

BEADGCF; 4th’s

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3
Q

Order of “#”s in key signature; what intervals?

A

FCGDAEB; 5th’s

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4
Q

Major diatonic scale intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

Root, M2, M3, P4, P5, M6, M7, P8

W, W, h, W, W, W, h

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5
Q

Natural minor diatonic scale intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

M2, m3, P4, P5, m6, m7, P8

W, h, W, W, h, W, W

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6
Q

Melodic minor diatonic scale intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

Minor pentachord, M6, M7, P8 (descending m7, m6)

W, h, W, W, W, W, h (descending W, W, h, W, W, h, W)

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7
Q

Harmonic minor diatonic scale intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

Minor pentachord, m6, M7, P8

W, h, W, W, h, W+h, h

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8
Q

Diatonic root: Interval? Scale degree name? Chord roman numeral? Mode?

A

P1

Tonic

(I) major/(ii) all minor

Ionian

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9
Q

Diatonic second: Interval? Scale degree name? Chord roman numeral? Mode?

A

M2

Supertonic

(ii) major/(ii°) all minor

Dorian

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10
Q

Diatonic third: Interval? Scale degree name? Chord roman numeral? Mode?

A

M3 major/m3 all minors

Mediant

(iii) major/(III) natural minor/(III+) harmonic minor

Phrygian

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11
Q

Diatonic fourth: Interval? Scale degree name? Chord roman numeral? Mode?

A

P4

Subdominant

(IV) major/(iv) all minor

Lydian

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12
Q

Diatonic fifth: Interval? Scale degree name? Chord roman numeral? Mode?

A

P5

Dominant

(V) major/(v) natural minor/(V) harmonic minor

Mixolydian

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13
Q

Diatonic sixth: Interval? Scale degree name? Chord roman numeral? Mode?

A

M6 major/m6 all minor

Submediant

(vi) major/(VI) all minor

Aeolian (also the relative natural minor)

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14
Q

Diatonic seventh: Interval? Scale degree name? Chord roman numeral? Mode?

A

M7 major/m7 natural minor/M7 harmonic minor

M7: leading-tone/m7: subtonic

(vii°) major/(VII) minor/(vii°) harmonic minor

Locrian

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15
Q

Root position triad symbol (and which note is bass?)

A

53 (or none); root is the bass

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16
Q

First inversion triad symbol (and which note is bass?)

A

6 (or 63); third is the bass

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17
Q

Second inversion triad symbol (and which note is bass?)

A

64; fifth is the bass; only used in special circumstances (cadential, passing, pedal, arpeggiating)

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18
Q

Root position seventh symbol (and which note is bass?)

A

7 (or 753); root is the bass

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19
Q

First inversion seventh symbol (and which note is bass?)

A

65 (or 653); third is the bass

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20
Q

Second inversion seventh symbol (and which note is bass?)

A

43 (or 543); fifth is the bass

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21
Q

Third inversion seventh symbol (and which note is bass?)

A

42 (or 642); seventh is the bass

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22
Q

Common harmonic progression

A

^3-^6-^2(^4)(predominant)-^5(^7)(dominant)-^1

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23
Q

Major pentatonic scales intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

Root, M2, M3, P5, M6, P8 (major w/4th and 7th removed)

W, W, W+h, W, W+h

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24
Q

Minor pentatonic scales intervals

  1. m2, m3, M3, etc..
  2. W, h, W, etc..
A

Root, m3, P4, P5, m7, P8) (minor diatonic w/2nd and 6th removed)

W+h, W, W, W+h, W

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25
Q

Grave

A

Very, very slow (slowest)

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26
Q

Largo

A

Very slow (second to Grave)

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27
Q

Lento

A

Markedly slow (slower than Adagio)

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28
Q

Adagio

A

Slow

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29
Q

Andante

A

Slow walking speed

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30
Q

Moderato

A

Moderate/medium

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31
Q

Allegretto

A

Rather fast (less than Allegro)

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32
Q

Allegro

A

Fast

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33
Q

Vivace

A

Lively (second to Presto)

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34
Q

Presto

A

Very fast

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35
Q

Major?

A

G

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36
Q

Major?

A

F

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37
Q

Major?

A

D

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38
Q

Major?

A

Bb

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39
Q

Major?

A

A

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40
Q

Major?

A

Eb

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41
Q

Major?

A

E

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42
Q

Major?

A

Ab

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43
Q

Major?

A

B

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44
Q

Major?

A

Db

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45
Q

Major?

A

F#

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46
Q

Major?

A

Gb

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47
Q

Major?

A

C#

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48
Q

Major?

A

Cb

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49
Q

Natural half steps in major diatonic (scale degrees)

A

^3-^4, ^7-^8

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50
Q

Natural half steps in minor diatonic (scale degrees)

A

^2-^3, ^5-^6 (also ^7-^8 in harmonic)

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51
Q

Minor?

A

e

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52
Q

Minor?

A

d

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53
Q

Minor?

A

b

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54
Q

Minor?

A

g

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55
Q

Minor?

A

f#

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56
Q

Minor?

A

c

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57
Q

Minor?

A

c#

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58
Q

Minor?

A

f

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59
Q

Minor?

A

g#

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60
Q

Minor?

A

b flat

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61
Q

Minor?

A

d#

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62
Q

Minor?

A

eb

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63
Q

Minor?

A

a#

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64
Q

Minor?

65
Q

6 (or 63)

A

First inversion triad; bass is the third

66
Q

64

A

Second inversion triad; bass is the fifth; specific use only (passing, pedal, cadential, arpeggiating)

67
Q

7 (or 753)

A

Root position seventh chord

68
Q

65 (or 653)

A

First inversion seventh; bass is the third

69
Q

43 (or 643)

A

Second inversion seventh chord; bass is the fifth

70
Q

42 (or 642)

A

Third inversion seventh; bass is the seventh

71
Q

Major seventh chord intervals

A

Major triad (M3+m3), major seventh (M3)

72
Q

Dominant (maj/min) seventh chord intervals

A

Major triad (M3+m3), minor seventh (m3)

73
Q

Minor seventh chord intervals

A

Minor triad (m3+M3), minor seventh (m3)

74
Q

Half diminished seventh chord intervals

A

Diminished triad (m3+m3), minor seventh (M3)

75
Q

Fully diminished seventh chord intervals

A

Diminished triad (m3+m3), diminished seventh (m3)

76
Q

–

x

–

x

–

x

–

x

–

A

7; root position seventh

77
Q

–

–

x

–

x

–

x

-x-

A

42; third inversion seventh

78
Q

-x-

-x-

x

–

x

–

–

A

43; second inversion seventh

79
Q

-x-

x

–

x

–

x

–

–

A

65; first inversion seventh

80
Q

Objectionable parallels

A

When two voices separated by 5th or 8va (or their octave equivalents) move to new pitch classes that are separated by the same interval. This includes unisons and compound 5th and 8va. These intervals are too consonant. Parallel 4th is ok.

81
Q

Contrary 5th

A

Moving from 15th to 8va (consecutive 8va) or 5th to 12th (consecutive 5th) through contrary motion. Generally avoided, but occasionally found. Not an acceptable fix for objectionable parallels.

82
Q

Passing 64

A

Can be notated P64

Any triad; up or down; between two chords of different inversions (or between chords of the same function) to create a stepwise motion in the bass and soprano

Think: “passing by step” up or down, or “voice exchange”

In I-P64-I6 the P64 would resemble V64 (I-V64-I6)

Do Re Mi bassline

83
Q

Pedal 64

A

Also knows as “neighboring” 64

Used to elaborate any root position chord (I53– 64 )

Resembles IV in 2nd inversion (I53– 64–53 is the same as I-IV64-I)

Bass stays the same (but occasionally the bass moves after the 64)

Do Do Do bassline

84
Q

Cadential 64

A

Dominant function; only used with the V; notes are spelled like a I6 and moves to V (V64-V53)

85
Q

Arpeggiating 64

A

Bass arpeggiation changes the inversion of the chord

86
Q

Creating 7th chords: I becomes?

87
Q

Creating 7th chords: ii becomes?

88
Q

Creating 7th chords: iii becomes?

89
Q

Creating 7th chords: IV becomes?

90
Q

Creating 7th chords: V (minor) becomes?

91
Q

Creating 7th chords: vi becomes?

92
Q

Creating 7th chords: vii° (major) becomes?

93
Q

Creating 7th chords: i becomes?

94
Q

Creating 7th chords: ii° becomes?

95
Q

Creating 7th chords: III becomes?

96
Q

Creating 7th chords: iv becomes?

97
Q

Creating 7th chords: V (major) becomes?

98
Q

Creating 7th chords: VI becomes?

99
Q

Creating 7th chords: VII becomes?

100
Q

Interval of one half step

101
Q

Interval of two half steps (one whole step)

102
Q

Interval of three half steps (one whole and one half step)

103
Q

Interval of four half steps (two whole steps)

104
Q

Interval of five half steps (two whole and one half steps)

105
Q

Interval of six half steps (three whole steps)

A

Tritone (+4/°5)

106
Q

Interval of seven half steps (thee whole and one half steps)

107
Q

Interval of eight half steps (four whole steps)

108
Q

Interval of nine half steps (four whole and one half steps)

109
Q

Interval of ten half steps (five whole steps)

110
Q

Interval of eleven half steps (five whole and one half steps)

111
Q

Solfege arpeggiations: I

112
Q

Solfege arpeggiations: ii

113
Q

Solfege arpeggiations: iii

114
Q

Solfege arpeggiations: IV

115
Q

Solfege arpeggiations: V

116
Q

Solfege arpeggiations: vi

117
Q

Solfege arpeggiations: vii°

118
Q

Solfege arpeggiations: i

119
Q

Solfege arpeggiations: ii°

120
Q

Solfege arpeggiations: III/bIII

121
Q

Solfege arpeggiations: iv

122
Q

Solfege arpeggiations: v

123
Q

Solfege arpeggiations: VI/bVI

124
Q

Solfege arpeggiations: VII/bVII

125
Q

Creating 7th chords: vii° (minor) becomes?

126
Q

Unequal 5th

A

Avoid °5 - P5 when it occurs between the bass and another voice. Other unequal 5ths are considered acceptable (for the work in the textbook).

127
Q

Direct 5th and 8va

A

Also known as hidden 5th/8va. When outer voices move in the same direction into a P8 or 8va (includes a leap in the soprano simultaneously with a leap or step in the bass). Aural result is the same as parallel 5ths and 8ves.

128
Q

+6 chord creation?

A

It: tonic + two tones leading to the V
Fr: same + ^2
Ger: same + ^3 (minor)

129
Q

P12 = ?

130
Q

What clefs do the viola play on?

A

Alto & treble clefs

131
Q

What clefs do the cello play on?

A

Bass, tenor, & treble clefs

132
Q

Ab

134
Q

Db

135
Q

D#

136
Q

Gb

137
Q

A#

138
Q

G#

139
Q

047

A

Major triad (inversion 037 minor triad)

140
Q

036

A

Diminished triad

141
Q

048

A

Augmented triad

142
Q

026

A

NA (inversion 046)

143
Q

024

A

Whole tone segment

144
Q

025

A

NA (inversion 035)

145
Q

027

A

Quartal/quintal

146
Q

015

A

NA (inversion 045)

147
Q

016

A

Viennese trichord (inversion 056)

148
Q

014

A

Hexatonic segment (inversion 034)

149
Q

013

A

Octatonic segment (inversion 023)

150
Q

012

151
Q

037

A

Minor triad (inversion 047)

152
Q

046

A

NA (inversion 026)

153
Q

035

A

NA (inversion 025)

154
Q

045

A

NA (inversion 015)

155
Q

056

A

Viennese trichord (inversion 016)

156
Q

034

A

Hexatonic segment (014)

157
Q

023

A

Octatonic segment (inversion 013)

158
Q

All diatonic chords w/mode mixture (how many?)

A

18 total: (Also should include i)

Music (15 decks)

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