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VOL 1 > Section 2 (theory/harm) - Grouping triads, progression types, voice leading, melodic motion, chord extensions, harmonizing melodies, cadences > Flashcards

Section 2 (theory/harm) - Grouping triads, progression types, voice leading, melodic motion, chord extensions, harmonizing melodies, cadences Flashcards

Grouping triads, progression types, voice leading, melodic motion, chord extensions, harmonizing melodies, cadences

1
Q

What triad is not apart of a group

A

The tonic

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2
Q

What triads are in group 1?

A

Dominant V
Leading tone triads
And Aug 3 in harmonic and ascending melodic minor

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3
Q

Group 2 triads?

A

Subdominant 4
Supertonic 2

Subdom function

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4
Q

Group 3 triads?

A

Submediant 6

Tonic function

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5
Q

Group 4 triads?

A

Mediant

Tonic function

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6
Q

What establishes a key?

A

When group 1 moves to a tonic

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7
Q

What is a normal chord progression?

A

Tonic groups 4 to 1 tonic
But starting on group 4 is not a requirement
Tonic 3 to 1 tonic is also possible.
Any chord can follow tonic

Examples:
1 3 6 4 2 5 1
1 6 4 5 1

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8
Q

What is elision?

A

When one chord group is skipped in a left to right sequence
Ex:
1 3 4 5 1

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9
Q

What is neutral tonic?

A

When a tonic appears anywhere in a normal chord progression.
Does not affect normal progression

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10
Q

What is retrogression?

A

When chord groups move from right to left.
Example:
1 2 4 2 5 1

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11
Q

What writing format is known as chorale style?

A

SATB within a grand staff

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12
Q

What direction do SATB voices stems go?

A

Bass - down
Tenor- up
Alto - down
Soprano - up

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13
Q

Most common chord tone doubled in root position triads?

A

Root

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14
Q

Closed voicings? SATB

A

Octave or Less than an octave between tenor and soprano

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15
Q

Open voicings? SATB

A

Greater than an octave between soprano and tenor

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16
Q

What is conjunct motion?

A

Motion by a step or half step

Soprano is mostly conjunct to support clear ideas

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17
Q

Discjunct motion?

A

Leaps greater than a whole step?
Inner voices use conjunct whenever possible
Bass frequently moves in large leaps

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18
Q

Contrary motion?

A

Two voices moving in opposite directions

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19
Q

Parallel motion

A

Two voices moving in the same direction by the same interval without regard for qualitt

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20
Q

Similar motion

A

Two voices moving in the same direction but by different intervals

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21
Q

Oblique motion

A

One voice moving up or down while the other remains the same

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22
Q

What is a common tone?

A

When two chords have one or more notes in common

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23
Q

What do you usually do with common tones?

A

Keep them in the same voice

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24
Q

How common tones are created when a triad moves up or down a fourth or fifth?

A

One

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25
Q

How many common tones are created when a triad moves up or down a third?

A

2

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26
Q

When there are no common tones how do the upper voices move?

A

Contrary to the motion of the bass note

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27
Q

What are parallel fifths and octaves?

A

When two voices move in the same direction at the same interval of a perfect fifth or octave.
They create strong movement and detract from melody (avoid)

28
Q

What is a tendency tone?

A

A tone that is harmonically or meldically unstable.

29
Q

How is a tendency tone resolved?

A

It tends to resolve itself either up or down in as few steps as possible.

30
Q

Should you double tendency tones?

A

No

31
Q

Large leaps do what to a melody?

A

Create interest and excitement but overuse can make a melody confusing

32
Q

What do major and minor 3rds do in part writing?

A

Do not interrupt the clarity of the melodic line especially when preceded or followed bu stepwise motion.
Successive 3rds are good for outlining arpeggios

33
Q

Part writing perfect 4ths and 5ths?

A

Should be followed by motion in the opposite direction, but can be followed by stepwise motion in the same direction.
Leaping in the same direction is only done when arpeggiating a chord.

34
Q

Major and minor 6ths and octaves in part writing move

A

Are always followed by stepwise motion in the opposite direction

35
Q

Major wnd minor 7ths in part writing

A

Rare and always resolve in the opposite direction of the leap

36
Q

What is voice overlap?

A

When a voice crosses over the previous position of another voice.
Should be avoided

37
Q

What is voice crossing?

A

When two voices change position

Example: alto above soprano

Can happen occasuionally on inner voices in closed position

38
Q

How do you resolve a V7-1

A

The 3rd of the V7 goes up a half step to the root of one. (Leading tone)
The 7th if the V7 resolves down a half step to the third of the tonic. (Subdominant)

39
Q

Why is the V7-1 the strongest diatonic harmonic movement?

A

The diminished 5 closes to a major third
The root falls a P5 or rises P4
It establishes key

40
Q

What are the variations of 9 chords?

A

Maj9. Major9 1 3 5 7 9
-9. Minor9. 1 b3 5 b7 9
9. Dominant9. 1 3 5 b7 9
-9 (maj7) minor major 9. 1 b3 5 7 9
Maj9(#5) major 9 sharp5. 1 3 #5 7 9

41
Q

What are the variations of 11th chords?

A

Maj9(#11) major 9 sharp 11. 1 3 5 7 9 #11
-11. Minor 11. 1b3 5 b7 9 11
9(#11) dominant 9 sharp 11. 1 3 5 b7 9 #11

42
Q

13 chord variations?

A

Maj13(#11) major 13 sharp 11. 1 3 5 7 9 #11 13
-13. Minor 13. 1 b3 5 b7 9 11 13
13(#11) dominant 13 sharp 11. 1 3 5 b7 9 #11 13

43
Q

What is an altered dominant chord?

A

A dominant chord where at minimum the 5th and 9ths at chromatically altered.
Third stays major 7 stays dominant (tritone)

44
Q

What scale is an altered 7th chord based on?

A

Super locrian or altered dominant or diminished whole tone scale

45
Q

What are the possible chromatic alterations of an altered dominant?

A

b5 #5 b9 #9 #11 b13

46
Q

What is a suspended chord?

A

A sus chord is a harmonic alteration where the third is replaced with a 2nd or 4th.

47
Q

What are the two sus chords?

A

Sus2 sus4

48
Q

What does add mean in a chord symbol?

A

Add that chord tone but not any other extensions

Ex: c9 add 13
Dont play the 11th

49
Q

What do extended chords with a sus mean?

Example: C13 sus

A

The sus means play the 4th instead of the 3rd.
For C13 sus the chord tones are 1 4 5 7 9 and 13.
11 isnt needed because it is the 4th(sus)

50
Q

What often appears instead of writing min7(b5)

A

The figured bass half diminished symbol

51
Q

In extensions what do the dim and aug signs do?

Ex: Cdim9

A

They only alter the 3rd and 5th and any extensions.

Cdim9 is 1 b3 b5 bb7 9

52
Q

What is a chord tone? And non chord tone

A

The notes of the melody that are in a given chord.

Non chord tone is the opposite

53
Q

What is an anticipation?

A

When the meloldy moves to a chord tone of the next chord before it happens

54
Q

What is a chromatic approach tone?

A

Non chord tones that approach a chord tone chromatically and do not belong to the scale/harmony in use.

55
Q

What is a scale approach tone?

A

Non chord tones that approach chord tones diatonically

56
Q

What is a scale chromatic approach tone?

A

Approaches the target by a half step and is a note from the scale of the moment

57
Q

What is a cadence?

A

A series of chords that indicates closure of a musical statement of phrase.

58
Q

What is an imperfect authentic cadence

A

V or vii° moving to tonic at a cadential point.
Either chord can be inverted.
Tonic not found in melody

59
Q

Percect authentic cadence?

A

V or V7 to 1
Must be in root position
Tonic of one in the soprano voice.

60
Q

What is a half cadence?

A

Leaves the music with the feeling it should continue at the end of a phrase.
Any chord to 5.

61
Q

What is a deceptive cadence?

A

When the ear expects a V-I

Usually 6 but can be other stuff.

62
Q

What is a plagal cadence?

A

IV - I

amen cadence

63
Q

What is a plagal half cadence?

A

Weak rare cadence

I - IV

64
Q

What is a motive?

A

The smallest musical idea.

Can be a pitch, rhythm or both

65
Q

What is a phrase

A

An indepent musical idea concluded by a cadence

66
Q

What is a period

A

Two well constructed periods

VOL 1 (18 decks)

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