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Theory 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 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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15
Q

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

A

The 5th

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16
Q

What are the scale degrees of a 6 chord

A

1 3 5 6

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17
Q

What are the Dominant function chords in a minor key

A

V-

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18
Q

Name the Dub Dominant function chords

A

II-. IV, VIIdim

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19
Q

Name the Tonic function chords

A

I, III-, VI-

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20
Q

Name the first 7 scale degrees of the overtone series

A

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

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21
Q

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

A

A major7th over a minor triad

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22
Q

Define the Ionian mode

A

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

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23
Q

Define SubMetrical

A

Target tones come on beat.
Approach tones come on the off beats.

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24
Q

Define Supermetrical

A

Target notes coincide with the stronger beat 1
Approach notes come on the weaker beat 3

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25
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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26
Q

What are the intervals used to build a Dominant7 chord

A

A minor 7th over a major triad

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27
Q

D Major/B Minor

A

2 Sharps - F, C

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28
Q

Where is the dynamic placed in vocal music

A

Above the staff

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29
Q

How many steps to build a major 5th

A

3w + 1h
7h

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30
Q

What chromatic melody note do you love?

A

5

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31
Q

How does Lydian “feel”

A

Magical, wondrous, 90’s movie theme.

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32
Q

3rd Inversion

A

7th in the bass

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33
Q

Db Major

A

5 flats
B, E, A, D, G

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34
Q

How many 16th notes are beamed together

A

4

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35
Q

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

A
  1. b3, 5, 7
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36
Q

What intervals are used to build a Sus2 chord

A

A major second and a perfect 5th

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37
Q

What scale degrees are used to build a minor 6 chord

A

1, b3, 5, 6

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38
Q

What intervals are used to build a minor6 chord

A

A major 6th over a minor triad

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39
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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40
Q

How is the pentatonic scale made

A

By removing notes that create half steps

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41
Q

What is close position

A

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

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42
Q

Symbol for an open hi hat

A

o

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43
Q

What scale degrees are used to build a Dom7 chord

A

1, 3, 5, b7

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44
Q

What is the characteristic pitch of Minor

A

b6

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45
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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46
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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47
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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48
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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49
Q

Ab Major

A

4 Flats
B, E, A, D

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50
Q

What intervals are used to build an augmented triad

A

A major 3rd and an augmented 5th

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51
Q

In figured bass when you see no numbers

A

Root position

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52
Q

What intervals are used to build a minor triad

A

A minor 3rd beneath a major 3rd

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53
Q

What scale degrees are used to build a minor 7 chord

A

1, b3. 5. b7

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54
Q

What intervals are used to build an augmented triad

A

two major 3rds

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55
Q

2nd Inversion

A

5th in the bass

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56
Q

What intervals are used to build a major 6 chord

A

A major 6th above a major triad

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57
Q

Diatonic 7 chords (Major)

A

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

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58
Q

What intervals are used to build a diminished triad

A

A diminished 5th on top of a minor 3rd

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59
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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60
Q

Root position

A

Root in bass

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61
Q

What 2 alteration are written affect the 7th

A

Sus4 and Flat 5

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62
Q

Order of Modes

A

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

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63
Q

Diatonic Scale Degree names

A

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

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64
Q

What intervals are used to build a Sus4 chord

A

A perfect 4th and a perfect 5th

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65
Q

Major scale chords

A

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

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66
Q

What pitch defines the major key as major

A

4

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67
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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68
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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69
Q

Sub dominant function chords in Minor

A

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

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70
Q

What position is the secondary VIIdim found in and why

A

Usually first inversion to avoid parallel motion

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71
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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72
Q

How many diatonic secondary dominants are there in a major key

A

5
II-VI

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73
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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74
Q

Harmonic Minor scale

A

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

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75
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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76
Q

Minor formula

A

b3, b6, b7

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

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77
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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78
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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79
Q

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

A

1, b3, b5, bb7

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80
Q

How do you label chromatic notes

A

Sharp going u, flat going down

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81
Q

F minor

A

4 b

B, E, A, D

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82
Q

Minor Pentatonic formula

A

1, b3, 4, 5, b7

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83
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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84
Q

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

A

1, 3, #5, 7

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85
Q

Tonic chords in minor

A

I-, bIIImaj, VIMaj

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86
Q

What are the two most common deceptive resolutions

A

V7 to VI-
V7 to III-

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87
Q

G minor

A

2 b’s
B, E

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88
Q

B Maj

A

5 Sharps

F, C, G, B, E

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89
Q

Gb Major

A

6 flats

B, E, A, D, G, F

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90
Q

Bb Major

A

2 flats

B, E

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91
Q

B minor

A

2 sharps

F, C

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92
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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93
Q

How man steps in a major 3rd

A

2 whole steps

94
Q

What intervals are used to build a major triad

A

a major 3 beneath a minor 3rd

95
Q

Which tonic minor chord needs special consideration in its placement

A

bIII it is the I chord in the relative major

96
Q

What is the characteristic pitch of the natural minor scale

A

Sb6

97
Q

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

A

Perfect

98
Q

E minor

A

1 sharp

F

99
Q

D major

A

2 Sharps

F, C

100
Q

D minor

A

1 b

B

101
Q

Major 3rd in steps

A

4 Half steps

or

2 whole steps

102
Q

What intervals are used to build an Augmented 7th chord

A

An augmented triad with a major 7th

103
Q

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

A

1, 3, 5, 7

104
Q

Define Tritone

A

Aug 4th, Dim5th

3 whole steps

105
Q

Lydian

A

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

106
Q

Locrian

A

Locrian is a the 7th mode

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

107
Q

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

A

Authentic Cadence

V to I
or
V- to I-

108
Q

What is a hard cadence

A

A chord progression that ENDS on V

109
Q

What is a plagal half cadence

A

A progression that ends on II- or IV

110
Q

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

A

Tb9. Tb13

111
Q

What is an accented passing tone

A

A passing tone that falls on a strong beat

112
Q

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

A

T9, T13

113
Q

Core chords for sub dominant modal interchange

A

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

114
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.

115
Q

What scale does the Min(Maj7) chord come from

A

Harmonic Minor

116
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.
117
Q

G Major

A

1 Sharp

F

118
Q

C Major

A

No sharps/No Flats

119
Q

A Minor

A

No sharps/No Flats

120
Q

A Major

A

3 Sharps

F. C. G

121
Q

F Major

A

1 Flat

B

122
Q

D Minor

A

1 Flat

B

123
Q

Cb Major

A

7 Flats

124
Q

F# Major

A

6 Sharps

F, C, G, D, A, E

125
Q

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

A

On the right

126
Q

Aeolian

A

Aeolian is the 6th mode
It is a natural minor scale

127
Q

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

A

The 3rd degree of the source minor scale.

128
Q

F

A

Loud

(Forte)

129
Q

Which chord tones are the guide tones

A

The 3rd and 7th

130
Q

What scale degrees are used to build an Aug7 chord

A

1, 3, #5, b7

131
Q

What are the diatonic chord in Minor

A

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

132
Q

Dorian

A

Dorian is the second mode
It is a minor scale with a raised 6th

133
Q

1st inversion

A

3rd in Bass

134
Q

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

A

Down

135
Q

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

A

Always Major

136
Q

What intervals are used to build a Minor 7 chord

A

A minor triad and a minor 7th

137
Q

How many steps in a minor 3rd

A

3 half steps

138
Q

Quick trick to identify inversion on the staff

A

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

139
Q

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

A

The 4th

140
Q

E Major

A

4 Sharps
F, C, G, D

141
Q

E minor

A

1 Sharp
F

142
Q

Eb Major

A

3 Flats
B, E, A

143
Q

D minor

A

1 Flat

144
Q

F Major

A

1 Flat

145
Q

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

A

1, 4, 5, b7

146
Q

Diatonic 7 chords (Minor)

A

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

147
Q

Tonic function chords in a minor key

A

I-, bIII

148
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

149
Q

FF

A

Very Loud

(Fortissimo)

150
Q

Phrygian

A

Phrygian is the 3rd mode
It is a natural minor scale with a lowered 2nd

151
Q

Major scale step formula

A

WWHWWWH

152
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

153
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)

154
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

155
Q

How is a SubV to I resolution analyzed

A

Dotted line arroe

156
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-)

157
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.

158
Q

What are the noted in altered dominant scale

A

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

159
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

160
Q

How do you build a Lydian b7 Scale

A

Reorder the altered dominant scale from the b5

161
Q

What tensions are available in Lydian b7

A

9, #11, 13

162
Q

Which SubV’s can take advantage of the Lydian b7

A

SubV/I, SubV/IV, SubV/V

163
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-

164
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

165
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
166
Q

What is an interpolated chord

A

A chord “stuck between” two other chords

167
Q

What direction to tritones traditionally resolve

A

Inward

168
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

169
Q

What is the V7/II

A

VI7

170
Q

What is V7/III

A

VII7

171
Q

What is V7/IV

A

I7

172
Q

What is the V7/V

A

II7

173
Q

What is V7/VI

A

III7

174
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-
175
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

176
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.

177
Q

What are the most consonant of the tensions

A

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

178
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

179
Q

Guide tone movement root motion in 2nds and 7ths

A

Guide tones move in parallel

180
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

181
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.

182
Q

How do you analyze hybrid chords

A

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

183
Q

How do you group together things in compound meter

A

Group in 3’s

184
Q

What Modal Interchange chords are taken from Phrygian

A

bIIMaj7

185
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.
186
Q

What re duple, triple, and quadruple meter

A

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

187
Q

How do you know where to place the imaginary bar line

A

between each pulse

188
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

189
Q

What is an inverted motif

A

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

190
Q

What modal interchange chords are taken from Dorian

A

I-7, bIIImaj7

191
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

192
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

193
Q

How do you know how to beam a given subdivision

A

All notes the fall under one pulse are beamed together

194
Q

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

A

Retardation suspension

195
Q

2 most typical line cliches in minor (bass)

A
  1. Diatonic descent from tonic to dominant
  2. Chromatic descent from tonic to dominant
196
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.

197
Q

What modal interchange chords are taken from mixolydian

A

V-7, bVIImaj7

198
Q

What are the 4 most common borrowed chord deceptive resolutions

A

bIIImaj7, bVImaj7, bIImaj7, bVIImaj7

199
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

200
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

201
Q

What is the difference between simple and compound meter

A

The pulse

202
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)

203
Q

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

A

It is the newest number to have changed

204
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

205
Q

What is a retrograde motif

A

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

206
Q

What is a repetition motif

A

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

207
Q

What modal interchange chords are taken from natural minor

A

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

208
Q

What modal interchange chords are taken from melodic minor

A

I-(maj7), I-6, IV7

209
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”
210
Q

Mixolydian

A

Mixolydian is the 5th mode
It is a major scale with a flat 7

211
Q

What minor mode provides the V7

A

Harmonic Minor

212
Q

Subdominant function chords in minor key

A

IIdim, IV-, bVI, bVII

213
Q

What intervals are used to build an augmented 7th chord

A

An augmented triad with a min 7th

214
Q

When stemming chords which way does the stem go

A

Opposite direction of the note furthest firm the venter line

215
Q

Which related II chords are diatonic to a given key

A

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

216
Q

Harmonic Minor Diatonic Scale (Chords)

A

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

217
Q

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

A

V7/II

218
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

219
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.

220
Q

Which minor SD chords are heard as modal and therefor brighter

A

II-7, IV7

221
Q

What are the most commonly used secondary dominants in minor

A

V7/IV and V7/V

222
Q

7 chords in Dorian

A

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

223
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

224
Q

Why do subdominant chords create a softer resolution

A

They contain the tonic of the key

225
Q

Dominant chords in Minor

A

V7, VIIdim7

226
Q

7 chords in harmonic minor

A

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

227
Q

7 chords in melodic minor

A

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

228
Q

What are the defining characteristics of minor tonic chords

A

They contain the b3 and NOT the b6

229
Q

Pentatonic scale

A

1, 2, 3, 5, 6, 8

230
Q

What are the two roots of the whole tone scale

A

C and D flat

Theory (4 decks)

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