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Theory > Orchestration and Instrumentation (Grooves and Rhythms) > Flashcards

Orchestration and Instrumentation (Grooves and Rhythms) Flashcards

1
Q

What is the Minor chord polychord formula

A

V- over R-7

bViiMaj over Rmaj7

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2
Q

What is the Dominant7 Polychord formula

A

VI-7 over R7

V-7 over R7

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3
Q

What is the polychord formula for minor7 chords

A

V- over R-7

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4
Q

What is the polychord formula for dom7 chords

A

VImaj over R7

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5
Q

What is the maj7 polychord formula

A

Vmaj over Rmaj7

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6
Q

what is the minor7 polychord formula

A

V- over R-7

bVIImaj over Rmaj7

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7
Q

What is the polychord formula for substitute dominant chords

A

IImaj over R7

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8
Q

What is the formula for Maj diatonic poly chords

A

Vmaj over R6 or Rmaj7

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9
Q

What is the formula for Lydian polychords and major modal interchange

A

IImaj over Rmaj7

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10
Q

How to build poly chords with III-7 and VII-7(b5)

A

Replicate the chord tones in the upper structure and add T9

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11
Q

What is the best polychord for Imaj7

A

A triad built on the 5th degree of the Ionian scale

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12
Q

What is the most effect polychord for IVmaj7

A

A triad built on scale degree 2

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13
Q

What are the bass rules for selecting upper structure chords

A

No harmonic avoid notes and at least one tension

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14
Q

What is an indirect resolution

A

The result of two unprepared approach tones, the lower and then the upper neighbors tones (or the reverse) preceding a target tone.

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15
Q

What is a neighbor tone

A

An approach tone that leaves the target tone by step and returns to the same note.

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16
Q

What is a passing tone

A

An approach tone that leaves a target by step and resolves by step, filling the gap of a third.

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17
Q

What is an Unprepared Approach tone

A

“Free neighbor tone”

An approach tone that comes after silence or a melodic leap and then resolves by step to a target tone.

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18
Q

What is a related II chord

A

It. is a -7 chord that “matches” a dominant 7 chord according to the II-V relationship.

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19
Q

What chord tone does the Tb13 replace when used in a a chord?

A

The 5th

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20
Q

What is another term for stepwise motion

A

Conjunct motion

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21
Q

What are the scale degrees of a 6 chord

A

1 3 5 6

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22
Q

What are the Dominant function chords in a minor key

A

V-

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23
Q

Name the Dub Dominant function chords

A

II-. IV, VIIdim

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24
Q

Name the Tonic function chords

A

I, III-, VI-

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25
Q

Name the first 7 scale degrees of the overtone series

A

Tonic, tonic, 5th, tonic, 3rd, 5th, 7th, tonic

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26
Q

Describe a basic Rock groove

A

Cymbal - even 8ths
Snare on 2 & 4
Kick on 1 & 3

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27
Q

Describe Oblique Motion

A

One note remains stationary

On note moves

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28
Q

What are the intervals used to build a Minor(Maj7) chord

A

A major7th over a minor triad

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29
Q

Which intervals can be perfect?

A

Unison, 4th, 5th, Octave

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30
Q

Define the Ionian mode

A

Ionian is the first mode. It is a major scale.

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31
Q

Define SubMetrical

A

Target tones come on beat.

Approach tones come on the off beats.

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32
Q

Define Supermetrical

A

Target notes coincide with the stronger beat 1

Approach notes come on the weaker beat 3

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33
Q

Define Metrical level

A

All notes coincide with the beats in the meter
Target tones fall on strong beats
Approach tones fall on weak beats

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34
Q

What is the quality of an approach tone

A

An approach tone may be any note of the chromatic scale. The most dissonant are often the. briefest duration.

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35
Q

What is the quality of a target note.

A

Always a chord tone or available tension.

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36
Q

What is a Melodic Interval

A

Notes played separately

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37
Q

What are the intervals used to build a Dominant7 chord

A

A minor 7th over a major triad

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38
Q

What intervals are avoided in Traditional Voice Leading

A

Parallel octaves, 4th, and 5ths

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39
Q

D Major/B Minor

A

2 Sharps - F, C

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40
Q

Where is the dynamic placed in vocal music

A

Above the staff

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41
Q

How many steps to build a major 5th

A

3w + 1h

7h

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42
Q

What chromatic melody note do you love?

A

5

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43
Q

How does Lydian “feel”

A

Magical, wondrous, 90’s movie theme.

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44
Q

3rd Inversion

A

7th in the bass

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45
Q

Db Major

A

5 flats

B, E, A, D, G

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46
Q

How many 16th notes are beamed together

A

4

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47
Q

What is heterophonic harmony?

A

Melody + embellished melody

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48
Q

What scale degrees are used to build a Minor(Maj7) Chord

A
  1. b3, 5, 7
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49
Q

What intervals are used to build a Sus2 chord

A

A major second and a perfect 5th

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50
Q

What scale degrees are used to build a minor 6 chord

A

1, b3, 5, 6

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51
Q

What intervals are used to build a minor6 chord

A

A major 6th over a minor triad

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52
Q

What are the rules for placing accidentals on chords

A

When the top and bottom notes are less than an octave apart place accidentals as such

Top closest, then bottom, then middle

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53
Q

How is the pentatonic scale made

A

By removing notes that create half steps

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54
Q

What is close position

A

When the distance between the bottom and top notes id less than a Maj7

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55
Q

Symbol for an open hi hat

A

o

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56
Q

What scale degrees are used to build a Dom7 chord

A

1, 3, 5, b7

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57
Q

What is a plagal cadence

A

A resolution of
II- to I

or

IV to I

also known as an amen cadence.

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58
Q

What is the characteristic pitch of Minor

A

b6

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59
Q

What is the purpose of tone music

A

To create a sense of Tonality. TO be able to hear where 1 is

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60
Q

What is a Jazz half Cadence

A

A Jazz Cadence that ends on V7 ie

VI-7 to III- to II-2 to V

V is preceded by II

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61
Q

How is a Jazz cadence unique

A

It is similar to an authentic cadence except the V7 is preceded by II-7

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62
Q

What is composite minor

A

A minor scale made up of Dorian, Harmonic, and half melodic minor to create a scale with scale degrees

1, 2, b3, 4, 5, b6, Nat6, b7, Nat7

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63
Q

Ab Major

A

4 Flats

B, E, A, D

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64
Q

In figured bass when you only see a 6

A

1st inversion

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65
Q

What intervals are used to build an augmented triad

A

A major 3rd and an augmented 5th

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66
Q

In figured bass when you see no numbers

A

Root position

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67
Q

What intervals are used to build a minor triad

A

A minor 3rd beneath a major 3rd

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68
Q

What scale degrees are used to build a minor 7 chord

A

1, b3. 5. b7

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69
Q

What intervals are used to build an augmented triad

A

two major 3rds

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70
Q

Which intervals are imperfect

A

Maj 3rd, maj 6th, major 2nd, Maj 7th

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71
Q

2nd Inversion

A

5th in the bass

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72
Q

What intervals are used to build a major 6 chord

A

A major 6th above a major triad

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73
Q

Diatonic 7 chords (Major)

A

I maj7, II-7, III-7, IVmaj7, V7, VI-7, VII-7(b5)

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74
Q

What intervals are used to build a diminished triad

A

A diminished 5th on top of a minor 3rd

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75
Q

What intervals are used to build a major 7 chord

A

A major triad with a major 7th on top

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76
Q

Root position

A

Root in bass

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77
Q

What 2 alteration are written affect the 7th

A

Sus4 and Flat 5

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78
Q

Order of Modes

A

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian

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79
Q

Diatonic Scale Degree names

A

Tonic, Supertonioc, Mediant, SubDominant, Dominant, SubMediant, Leading Tone

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80
Q

What intervals are used to build a Sus4 chord

A

A perfect 4th and a perfect 5th

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81
Q

Major scale chords

A

Maj, Min, Min, Maj, Maj, Min, Dim,

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82
Q

What pitch defines the major key as major

A

4

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83
Q

How do you find the relative minor

A

It is built on the 6th degree of the source major scale

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84
Q

What number do you add to the scale degree to find the compound interval?

A

7

2+7 = 9
2+3 = 10
Etc.

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85
Q

Sub dominant function chords in Minor

A

II-7(b5), II-7, IV-7, IV7, VI-6, bVImaj7, bVII7

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86
Q

Retardation

A

A suspension that resolves upward instead of downward

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87
Q

What other non chord tone is a retardation similar to

A

A suspension.

Both have a setup, dissonance, and resolution. Suspension resolves down, retardation resolves up.

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88
Q

Appoggiatura

A

Nonharmonic tones that are approached by leap and resolved by step

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89
Q

Do appoggiatura typically fall on a strong or a weak beat.

A

Strong

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90
Q

Does the Appoggiatura resolved up or down

A

Either

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91
Q

What is an escape tone

A

A non harmonic tone that is approached by step and left by leap.

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92
Q

What are the non harmonic tones in classical theory

A

Any note not in the core triad

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93
Q

What position is the secondary VIIdim found in and why

A

Usually first inversion to avoid parallel motion

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94
Q

In Sb2 and Sb6 what does “s” stand for?

A

It stands for “scale degree” it is not referred to as A tension because it changes the function of the chord.

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95
Q

Define Passing Tone

A

A note that connects two chord tones and moves stepwise between them

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96
Q

What else is the 4 part writing referred to as

A

SATB

Soprano, Alto, Tenor, Bass

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97
Q

How many diatonic secondary dominants are there in a major key

A

5

II-VI

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98
Q

When moving left around the circle of 5ths what scale degree is each progressive flat added to?

A

The 7th scale degree

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99
Q

p

A

Soft

Piano

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100
Q

Harmonic Minor scale

A

1, 2, b3, 4, 5, b6, 7Nat

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101
Q

In a II-V what chord quality can you use on a II chord if the target chord is III- or VI-

A

-7(b5)

Because the target chord is minor a “tonicized” III- or VI- would expect a -7(b5) II chord

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102
Q

Minor formula

A

b3, b6, b7

W, H, W, W, H, W, W

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103
Q

What chord tone does the Tb9 replace when it is voiced in a chord

A

The root

The root should be added by the left hand in the piano or with another bass instrument

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104
Q

MF

A

Moderatley Loud

Mezzo Forte

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105
Q

pp

A

Very Soft

Pianissimo

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106
Q

Harmonic Weight

A

The degree to which a chord wants to resolve based on its relativity to the tonal center

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107
Q

What scale degrees are used to build a Diminished 7 chord.

A

1, b3, b5, bb7

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108
Q

How do you label chromatic notes

A

Sharp going u, flat going down

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109
Q

F minor

A

4 b

B, E, A, D

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110
Q

Minor Pentatonic formula

A

1, b3, 4, 5, b7

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111
Q

Which secondary dominant must be played as a 7 chord

A

V7/V without the 7th it is the one chord

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112
Q

What scale degrees are used to build an Aug(Maj7) chord

A

1, 3, #5, 7

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113
Q

Tonic chords in minor

A

I-, bIIImaj, VIMaj

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114
Q

What are the two most common deceptive resolutions

A

V7 to VI-

V7 to III-

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115
Q

G minor

A

2 b’s

B, E

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116
Q

B Maj

A

5 Sharps

F, C, G, B, E

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117
Q

Gb Major

A

6 flats

B, E, A, D, G, F

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118
Q

Bb Major

A

2 flats

B, E

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119
Q

B minor

A

2 sharps

F, C

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120
Q

Why can’t a triad “add 13”

A

Because doing so makes it a 6th chord. You need a 7th for a 6th to be a 13th

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121
Q

How man steps in a major 3rd

A

2 whole steps

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122
Q

What intervals are used to build a major triad

A

a major 3 beneath a minor 3rd

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123
Q

Which tonic minor chord needs special consideration in its placement

A

bIII it is the I chord in the relative major

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124
Q

What is the characteristic pitch of the natural minor scale

A

Sb6

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125
Q

What kind of 5th is used in a subdominant 7th chord

A

Perfect

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126
Q

Describe a basic Bossa Nova groove

A

Cymbal - Even 8ths
Snare - Clave rhythm
Kick - 1, +of2, 3, +of4

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127
Q

E minor

A

1 sharp

F

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128
Q

D major

A

2 Sharps

F, C

129
Q

D minor

A

1 b

B

130
Q

Suspension

A

Hold a note from the previous chord allowing it to become a dissonance on the target chord before resolving

131
Q

Anticipation (non chord tones)

A

A note in the chord that is played before the chord sounds

132
Q

Major 3rd in steps

A

4 Half steps

or

2 whole steps

133
Q

In figured bass when you only see a note

A

Root position

134
Q

What intervals are used to build an Augmented 7th chord

A

An augmented triad with a major 7th

135
Q

What scale degrees are used to build a major 7th chord

A

1, 3, 5, 7

136
Q

Define Tritone

A

Aug 4th, Dim5th

3 whole steps

137
Q

Lydian

A

Lydian is the 4th mode
It is a major scale with a raised 4th
Think of it as super major

138
Q

Locrian

A

Locrian is a the 7th mode

It is a minor scale with a flat 2 and a flat 5

139
Q

What is the name of a cadence that fulfills a listeners expectation

A

Authentic Cadence

V to I
or
V- to I-

140
Q

What is a hard cadence

A

A chord progression that ENDS on V

141
Q

What is a plagal half cadence

A

A progression that ends on II- or IV

142
Q

What are the tensions for secondary dominants that resolve to minor chords

A

Tb9. Tb13

143
Q

What is an accented passing tone

A

A passing tone that falls on a strong beat

144
Q

What are the tensions of the secondary dominants that resolve to major chords

A

T9, T13

145
Q

Core chords for sub dominant modal interchange

A

II-7(b5), IV-7 (IV-6), bVIImaj, bVII7

146
Q

Neighbor Tone

A

A neighbor tone moves away from a chord tone by step and then returns to the chord tone

147
Q

Pick Up Not (Bass)

A

A short duration note that “shows off” the longer duration note that it precedes.

148
Q

What is a “II-V” and how is it analyzed

A

It is a specific cadence where II-7 resolves to V7
AND
Where II-7 lands on a strong beat and V7 lands on a weak beat. It is analyzed with a bracket.

149
Q

What scale does the Min(Maj7) chord come from

A

Harmonic Minor

150
Q

Symbol for closed HiHat

A

+

151
Q

Voice Leading Steps (7 Chords)

A
  1. Move the root of the chord to the root do the target chord.
  2. Resolve the 7th down stepwise unless the 7th is a chord tone of the target chord.
  3. If the leading tone is in the top or bottom voice it should move up to the tonic of the key.
152
Q

G Major

A

1 Sharp

F

153
Q

C Major

A

No sharps/No Flats

154
Q

A Minor

A

No sharps/No Flats

155
Q

A Major

A

3 Sharps

F. C. G

156
Q

F Major

A

1 Flat

B

157
Q

D Minor

A

1 Flat

B

158
Q

Cb Major

A

7 Flats

159
Q

F# Major

A

6 Sharps

F, C, G, D, A, E

160
Q

Similar Motion

A

Same direction, different intervals

161
Q

When a chord has 2 notes 1 step apart where does the second note go?

A

On the right

162
Q

Aeolian

A

Aeolian is the 6th mode

It is a natural minor scale

163
Q

How do you determine the Relative Major of a given minor Key

A

The 3rd degree of the source minor scale.

164
Q

F

A

Loud

Forte

165
Q

Which chord tones are the guide tones

A

The 3rd and 7th

166
Q

What scale degrees are used to build an Aug7 chord

A

1, 3, #5, b7

167
Q

What are the diatonic chord in Minor

A

Minor, Diminished, Major, Minor, Minor, Major, Major, Minor

168
Q

Contrary Motion

A

Different Direction

169
Q

Dorian

A

Dorian is the second mode

It is a minor scale with a raised 6th

170
Q

What is another term for non stepwise motion

A

Disjunct motion

171
Q

1st inversion

A

3rd in Bass

172
Q

If the notes in a chord are equidistant from the center line which direction does the stem go

A

Down

173
Q

What is the quality of a 6th when added to a triad

A

Always Major

174
Q

What intervals are used to build a Minor 7 chord

A

A minor triad and a minor 7th

175
Q

How many steps in a minor 3rd

A

3 half steps

176
Q

Quick trick to identify inversion on the staff

A

The top note of the 2nd is usually the root (not always)

177
Q

Where is the dynamic marking placed in instrumental music

A

Under the note

178
Q

When moving around the circle of 5ths what scale degree is each progressive sharp added to

A

The 4th

179
Q

What is a harmonic interval

A

two notes placed simultaneously

180
Q

What is Parallel motion

A

Same direction

Same Interval

181
Q

E Major

A

4 Sharps

F, C, G, D

182
Q

E minor

A

1 Sharp

F

183
Q

Eb Major

A

3 Flats

B, E, A

184
Q

D minor

A

1 Flat

185
Q

F Major

A

1 Flat

186
Q

What scale degrees are used to build a Dom7(Sus4) Chord

A

1, 4, 5, b7

187
Q

Diatonic 7 chords (Minor)

A

1-7, II-7(b5), bIIIMAJ, IV-7, V-7, bVIMAJ7, bVII7

188
Q

Tonic function chords in a minor key

A

I-, bIII

189
Q

3 Part Close vs 4 Part close voice leading

A

3 Part - 3rd, 5th, 7th are in the right hand with an independent root in the bass

4 Part - root, 3rd, 5th, 7th, in the right hand with an independent root in the bass

190
Q

FF

A

Very Loud

Fortissimo

191
Q

Phrygian

A

Phrygian is the 3rd mode

It is a natural minor scale with a lowered 2nd

192
Q

Major scale step formula

A

WWHWWWH

193
Q

What is the interval between a V7 chord and it’s related II

A

The related II is a perfect 5th above the V7

194
Q

How do you find the SubV

A

It is a Tritone away from the V7 (it is also a half step above the target chord)

195
Q

What are the 4 possible relationships of the related II

A

Diatonic related II to the Diatonic V7
Diatonic related II to to the SubV
Related II of SubV to the SubV
Related II of the SubV to the Diatonic V7

196
Q

How is a SubV to I resolution analyzed

A

Dotted line arroe

197
Q

Which related II chords are not analyzed with a Bracket

A

Related II of SubV/III (Heard as I-)

Related II of SubV/VI (Heard as IV-)

198
Q

How do you find the diatonic chord scale of a given chord.

A

Stack the chord tones in 3rd and put the notes of the key between them.

199
Q

What are the noted in altered dominant scale

A

1, Tb9, T#9, 3, b5, Tb13, b7, 1

200
Q

Why is the altered dominant scale the source for the SubV

A

It contains the notes of the primary dominant AND the substitute dominant

201
Q

How do you build a Lydian b7 Scale

A

Reorder the altered dominant scale from the b5

202
Q

What tensions are available in Lydian b7

A

9, #11, 13

203
Q

Which SubV’s can take advantage of the Lydian b7

A

SubV/I, SubV/IV, SubV/V

204
Q

What is unique about V7/VI

A

SubV/VI is the bVII chord in a major key

It functions best as a short duration chord interpolated between V7/VI and VI-

205
Q

Why is SubV/III confusing

A

It is the only SubV with a diatonic root

In it’s triad if form it is a subdominant chord

206
Q

What is a SubV chord

A
  1. A dominant chord that shares the same 3rd and 7th as the diatonic Dom7
  2. The Tritons is inverted in the SubV
  3. The root of the SubV is a tritone away from the original V7 (Or a half step above the target chord)
  4. Watch out for enharmonic chord spelling
207
Q

What is an interpolated chord

A

A chord “stuck between” two other chords

208
Q

What direction to tritones traditionally resolve

A

Inward

209
Q

Additional chord choices for deceptive resolution of secondary dominants (stepwise deception)

A

V7/VI to bIII
V7/III to bVII
V7/V to bII

210
Q

What is the V7/II

A

VI7

211
Q

What is V7/III

A

VII7

212
Q

What is V7/IV

A

I7

213
Q

What is the V7/V

A

II7

214
Q

What is V7/VI

A

III7

215
Q

3 Types of deceptive resolution

A
  1. Resolution to unexpected chord quality
    A7 to D7 vs A7 to D-
  2. Resolution by step
    V7/VI to IV or V7/VI to II-
216
Q

How is an extended dominant series analyzed

A

Arrows indicate resolution

Chord that starts the series is labeled as a reference to tonal cente4r

217
Q

Define and extended dominant series

A

A string of 3 or more Dom7 chords that start on a strong harmonic stress point, and resolved one to the next by descending perfect 5th root motion.

218
Q

What are the most consonant of the tensions

A

Tensions that are a major 9th above the the note of the primary triad

219
Q

Poco A Poco

A

Gradual crescendo or decrescendo

220
Q

Sforzando

SFZ

A

Used when a note or chord should have a sudden, strong, empahsis

221
Q

Listresso Tempo

A

“Same Tempo”

When there is a change in meter but the temp stays the same

222
Q

Rubato

A

Suspend the beat

223
Q

Accelerando

A

Speeds up/Faster

224
Q

Rotary

A

Slowing

225
Q

Guide tone movement root motion in 3rds and 6ths

A

3rd of first become 3rd of second

7th of first becomes 7th of second

226
Q

Guide tone movement root motion in 2nds and 7ths

A

Guide tones move in parallel

227
Q

Guide tone movement Root motion in P4 or P5

A

The 3rd of the firs becomes the 7th of the second

The 7th of the first becomes the 3rd of the second

228
Q

Largo

A

Very Slow

229
Q

Larghetto

A

Slow

230
Q

Adagio

A

Moderately Slow

231
Q

Andante

A

Walking Tempo

232
Q

Moderato

A

Moderately Fast

233
Q

Allegro

A

Fast

234
Q

Presto

A

Very Fast

235
Q

Presstissimo

A

Very Very Fast

236
Q

Define A Hybrid Chord

A

A root note with a chord whose other notes are made up of upper chord tones and tensions. no 3rd.

237
Q

How do you analyze hybrid chords

A

The same way you analyze it’s counterpart with a 3rd.

238
Q

How do you group together things in compound meter

A

Group in 3’s

239
Q

What Modal Interchange chords are taken from Phrygian

A

bIIMaj7

240
Q

2 Main differences between classical and contemporary analysis

A
  1. In traditional analysis the numbers replaced below the staff in contemporary they are placed above.
  2. In traditional minor chords use lower case numbers and -7(b5) is called half-diminished.
241
Q

What makes a pitch an approach note

A

Must resolve by step
Usually placed on a weak stress
Is usually an 8th note or less

242
Q

What re duple, triple, and quadruple meter

A

Meters where the pulse is felt in 2, 3, and 4 respectively

243
Q

How do you know where to place the imaginary bar line

A

between each pulse

244
Q

Where can you place quarter note rests in 6/8

A

Beats 1 and 4. if it is on 2 or 5 it must be a pair of eigth rests

245
Q

What is an inverted motif

A

A melody where the notes move the same interval but the opposite direction

246
Q

What modal interchange chords are taken from Dorian

A

I-7, bIIImaj7

247
Q

What is a good rule of thumb for imaginary bar line usage

A

You need to see something under each pulse.
Specially 1 & 3 in simple
1 & 4 in compound

248
Q

What is one strange quirk of notating compound meter

A

If you have an 8 note followed by a quarter rent it must be notated as two 8th rests

249
Q

How do you know how to beam a given subdivision

A

All notes the fall under one pulse are beamed together

250
Q

How is a 9th chord in classical harmony different from a modern 9th chord

A

In classical harmony a 7th is not added to the chord unless it is indicated

251
Q

What is the name of the suspension that resolves up instead of down

A

Retardation suspension

252
Q

Define passing tone

A

A note that connects 2 notes that are a third apart

253
Q

2 most typical line cliches in minor (bass)

A
  1. Diatonic descent from tonic to dominant

2. Chromatic descent from tonic to dominant

254
Q

What is an inverted motif

A

A motif that begins on the same root but moves to the next note in the opposite direction using the same interval as the original.

255
Q

What modal interchange chords are taken from mixolydian

A

V-7, bVIImaj7

256
Q

What are the 4 most common borrowed chord deceptive resolutions

A

bIIImaj7, bVImaj7, bIImaj7, bVIImaj7

257
Q

How is borrowed chord deceptive resolutions analyzed

A

V or V7 is placed in parenthesis to show it is not resolving to the I

258
Q

Strophic Form

A

A one section repeating verse form where the music remains the same and new verse are sung to an unchain melody

259
Q

How to analyze approach notes (passing tones)

A

Approacxh tones are circled

The other notes are labeled according to the notes relationship to the chord with which it is played

260
Q

Define neighbor tones

A

Neighbor tones are notes that move one step away from the starting note and return to the pitch of the starting note

261
Q

What is the difference between simple and compound meter

A

The pulse

262
Q

How is the pulse different between simple and compound meter

A

Simple is divisible by 2 as in
1+ 2+ 3+ 4+
Compound is divisible by 3
123 123 123 (waltz)

263
Q

How do you know which number is the root in figured bass

A

It is the newest number to have changed

264
Q

What is a line cliche

A

A line cliche is a stepwise line (either ascending or descending) that moves against a single stationary chord

265
Q

What is a retrograde motif

A

Playing the original motif in reverse. Usually maintaining the same rhythm

266
Q

What is a Neapolitan 6th

A

It is a bII chord traditional played almost exclusively in 1st inversion

267
Q

What is a repetition motif

A

When a motif is replayed immediately using the same pitches and rhythm

268
Q

How to voice lead N6 to V

A

Double the bass of the N6
Move the root (b2) to the 3rd of the V chord
Move the remaining tones to the nearest chord tone
Double the root of the V chord to avoid parallel 5ths

269
Q

What modal interchange chords are taken from natural minor

A

II-7(b5), IV-7, bVImaj7, bVII7

270
Q

In classical music how do you set up a suspension

A

The suspension is expected to be prepared by being part of the previous chord

271
Q

In figured bass what chord tone is replaces when a 5 is shown, alone or with a 7

A

the 3rd

272
Q

Rules for figured bass accidentals

A

An accidental without numbers always indicates the 3rd of the chord
An accidental following a number alters the note referred to by that number
A chord without a number is a root position triad

273
Q

What modal interchange chords are taken from melodic minor

A

I-(maj7), I-6, IV7

274
Q

What is the simple definition of a Neapolitan 6th chord

A

A flat 2 chord with the 3rd in the bass

275
Q

Augmented 6 definition

A

The distance of six letter names inclusive. An exact distance of 10 half steps.

276
Q

What steps are taken to build an Italian 6th chord

A
  1. begin with a IV chord
  2. Put it in 1st inversion
  3. Move the bass note down a half step
  4. Move the top note up a 1/2 step
  5. Both top and bottom notes move another hand step to arrive at the same note an octave apart.
277
Q

How is an Italian 6th different in minor

A

In minor only the root of the IV chord is altered

278
Q

How do you construct a German aug 6th (major Key)

A
  1. Begin w/ II-7
  2. Put it in second inversion
  3. Bass moves down a 1/2 step
  4. Root and 3rd move up a 1/2 step
  5. All notes continue in the same direction
279
Q

How do you construct a German 6th chord (minor key)

A
  1. Begin with IV-7 chord
  2. Put it in 1st inversion
  3. Raise root
  4. Share move up flats move down
280
Q

How do you construct a French augmented 6th chord

A
  1. Begin with a II-7
  2. Put it in second inversion
  3. Lower the bass, raise the top note
  4. The root stays in place
281
Q

How do Tchaikovsky think of the French augment 6

A

Dominant 7th chord in 2nd inversion W/ a lowered Bass note

282
Q

General Rules for tensions

A
  1. Generally tensions are the pitches that are a whole step above chord tones 1, 3, 5
  2. For a note to be considered a tension it should be played with a 7th or 6th chord
  3. A triad can use 9 and 11 but mark it as “add”
283
Q

Anticipation

A

Playing the downbeat half a beat early

284
Q

Mixolydian

A

Mixolydian is the 5th mode

It is a major scale with a flat 7

285
Q

mp

A

Moderatley soft

mezzo piano

286
Q

What minor mode provides the V7

A

Harmonic Minor

287
Q

Homophonic Harmony

A

Notes harmonized and played simultaneously

288
Q

Basic bass groove (Rock)

A

Even 8ths
Mix 1/4 and 1/8
Half and Quarter notes

289
Q

Subdominant function chords in minor key

A

IIdim, IV-, bVI, bVII

290
Q

Dissonant intervals

A

2nd, 7th

291
Q

What intervals are used to build an augmented 7th chord

A

An augmented triad with a min 7th

292
Q

When stemming chords which way does the stem go

A

Opposite direction of the note furthest firm the venter line

293
Q

Which related II chords are diatonic to a given key

A

III-7, VI-7, VII-7(b5)

294
Q

Harmonic Minor Diatonic Scale (Chords)

A

Min, Dim, Aug, Min, Maj, Maj, Dim, Min

295
Q

Which secondary dominant is unique in hat it has only one tension

A

V7/II

296
Q

Funk based drum Rhythms

A

1.
Cymbal - 8ths
Snare - 2& 4
Kick - Syncopated 16

2.
Cymbal - 8ths (even)
Snare and Kick - syncopated 16ths

3.
Cymbal - 16ths
Snare - syncopated 16ths
Kick - 8ths

297
Q

How is a perfect cadence unique

A

Both the final I chord and the preceding V chord must be in root position and the top note of the final chord or melody note must be scale degree 1

298
Q

How is a deceptive 7 chord analyzed

A

An arrow points to the chord it moves to but the parenthesis are used around the target since it is also a dominant chord

299
Q

Which chord is considered modal dominant, why

A

V-7 is built from the “dominant” scale degree and is expected to resolve down a 5th but it does not create a tritone.

300
Q

Which minor SD chords are heard as modal and therefor brighter

A

II-7, IV7

301
Q

What are the most commonly used secondary dominants in minor

A

V7/IV and V7/V

302
Q

7 chords in Dorian

A

I-7, II-7, IIImaj7, IV7, V-7, VI-7(b5), VIImaj7

303
Q

What is a deceptive resolution

A

A deceptive resolution is a chord progression where a secondary dominant moves to a dominant function chord rather than a subdominant function chord ie

Imaj7 to V7/IV to IV7

304
Q

Why do subdominant chords create a softer resolution

A

They contain the tonic of the key

305
Q

Dominant chords in Minor

A

V7, VIIdim7

306
Q

7 chords in harmonic minor

A

I-(Maj7), II-7(b5), IIIaugMaj7, IV-7m V7, VImaj7, VIIdim7

307
Q

7 chords in melodic minor

A

I-(maj7), II-7, IIIaug7, IV7, V7, VI-7(b5), VII-7(b5)

308
Q

What are the defining characteristics of minor tonic chords

A

They contain the b3 and NOT the b6

309
Q

Pentatonic scale

A

1, 2, 3, 5, 6, 8

310
Q

Figured Bass Symbold 7 chords

A

Root. 1st. 2nd. 3rd

7 6. 6. 6

      1. 4
      1. 2
311
Q

Figured Bass figures

A

Root. 1st. 2nd.

5 6. 6.
3 3 4

312
Q

Harmonics

A

Lightly touching the string with a finger

313
Q

Glissando

A

Series of successive pitches played quickly

314
Q

Pizzicato

A

Strings are plucked by fingers

315
Q

Trill

A

The quick alternation of two pitches

316
Q

4 groups of orchestral instruments

A

Strings, brass, woodwind, percussion

317
Q

What is ternary form

A

ABA

318
Q

What are the two roots of the whole tone scale

A

C and D flat

Theory (4 decks)

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