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RTM > Theory and Harmony (V1 S2) (V2 S1) > Flashcards

Theory and Harmony (V1 S2) (V2 S1) Flashcards

1
Q

Dynamic Translations

A

Forissimo - Very Strong
Forte - Strong
Mezzo Forte - Half Strong
Mezzo Piano - Half Soft
Piano - Soft
Pianissimo - Very Soft

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2
Q

What does “first” line and space refer to?

A

the ones at the bottom

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3
Q

Great Staff

A

Contains Treble, Alto, Bass Clef. A road map for C4

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4
Q

Clefs

A

Treble (G clef)
Bass (F Clef)
Alto (C clef, middle line C)
Tenor (C clef, 4th line C)

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5
Q

Ritardando and Accelarando

A

Gradual decrease/increase in tempo

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6
Q

Reducing compound intervals

A

subtract multiples of 7 to get the simple interval.

ex. a major 9th is a major 2nd
a perfect 26th is a perfect 5th

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7
Q

Jazz Minor

A

Ascending version of Melodic Minor

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8
Q

Name all Perfect Intervals

A

4th, 5th, Octave, Unison

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9
Q

13th Quality Chord for each mode

A

Ionian - Maj 13
Dorian - Min13
Phrygian - min11(b9 b13)
Lydian - Maj13 (#11)
Mixolydian - 13
Aeolian - min11 (b13)
Locrian - min11 (b5, b9, b13)

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10
Q

Primary Triads (major and minor)

A

I, IV, V

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11
Q

Secondary Triads

A

ii, iii, vi, vii

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12
Q

Triad Groups (tonic not included!)

A

Group 1 - Dominant: V, viio, VII, Aug III (melodic minor)

Group 2 - Subdominant: IV, ii

Group 3 - Submediant: vi

Group 4 - Mediant: iii/III (NOT Aug III+)

Harmony moves from Group 4-1, moving in perfect intervals by root

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13
Q

Elision

A

When you skip a chord group in a progression (i.e. moving from iii to IV which skips group 3)

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14
Q

Neutral Tonic

A

When Tonic appears in the middle of a chord progression, prior to dominant-tonic movement

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15
Q

Retrogression

A

When chords move in the direction of 1-4, but usually followed by a normal progression afterwards

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16
Q

Open Voicing Harmony

A

More than an octave between Soprano and Tenor

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17
Q

Most common voice to double in a root position

A

Root

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18
Q

Types of Relative Motion in Voice Leading

A

Contrary - voices move in opposite directions

Oblique - one voice stays the same

Similar - voices move in the same direction but not the same amount of steps

Parallel - same amount of steps in one direction. Doesn’t have to be all voices

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19
Q

Why are Parallel 5ths and Octaves bad?

A

the motion detracts from the melody

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20
Q

Altered Dominant

A

at minimum, altered 9 and 5. Can include multiple variations

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21
Q

PAC

A

V or V7 resolving to I, both in root position. Soprano resolves leading tone. MUST meet ALL of these requirements

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22
Q

IAC

A

Can be viio instead, one chord may not be in root position, and tonic is not in soprano voice

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23
Q

HC

A

Resolving to V preceded by any other chord

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24
Q

Deceptive Cadence

A

Sets up authentic cadence with strong approach from V, be cautious of voicing rules if ending with the vi chord. Only extend music a few more measures before eventually moving to tonic.

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25
Q

PC and PHC

A

Plagal comes after a PAC at the end, IV-I. PHC is I-IV, usually not at the end.

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26
Q

What is “T” when analyzing music

A

Tension notes. 7 and 6 usually don’t count, unless it’s a passing note in a melody

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27
Q

Swiss Augmented 6th chord

A

same as german, but spelled with a raised supertonic instead of a lowered mediant

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28
Q

Simple Modulation

A

Go to closely related key with a pivot chord that is diatonic to both

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29
Q

Advanced modulation

A

Going to a distantly related key, can still use diatonic pivot chords

30
Q

Enharmonic modulation

A

A pivot chord that will be spelled enharmonically (V7 in old key to augmented 6th in new key)

31
Q

Change of mode

A

Modulation to parallel key center

32
Q

Tempos

A

Grave - Extremely Slow - 40 or less

Largo - Very Slow - 40 - 60

Adagio - Slow - 60 - 80

Andante - Moderately, Walking Tempo - 80 - 100

Moderato - Moderately - 100 - 120

Allegro - Cheerful, Fast, Lively - 120 - 160

Vivace - Very Fast - 160 - 200

33
Q

Consonant and Dissonant intervals

A

Consonant - Thirds, 6ths, fifths, octaves.

Everything else including fourths is generally dissonant.

34
Q

Stem directions for 4-part writing

A

Soprano and Tenor upward, Alto and Bass downward

35
Q

Pink Floyd’s Money

A

Composite Time Signature 7/4, Divided into 4 and 3 in each measure

36
Q

Dave Brubeck’s Take Five

A

written in 5/4

37
Q

Syncopation

A

Temporary Displacement of the regular metrical accent caused by stressing a weak beat or division of the beat.

38
Q

Fully Diminished vs Dominant Diminished

A

Fully Diminished - Whole-Half (diminished chord) (B diminished in C minor)

Dominant Diminished - Half-Whole (7b9 chord) (G7b9 in C minor)

39
Q

Circle of Fifths Mnemomic

A

Fat Cats Get Down At Every Ball

40
Q

Specified Bass

A

Chord symbol with a bass note C7/G. Function similar to roman numerals (IV6 in the key of C is an F/A)

41
Q

Arabic Numerals in figured bass vs chord symbols

A

In chord symbols arabic numerals represent distance from root (C7 has a seventh), in figured bass arabic numerals represent distance from bass note (IV6 indicates the sixth interval from A to F in an F/A chord)

42
Q

Full and Essential Figured Bass Numbers

A

Triads - 53 (root position, not used), 63 (omit 3), 64

Seventh chords - 7 (omit 53), 65 (omit 3), 43 (omit 6), 42 (omit 6)

43
Q

Rules for Disjunct motion writing

A

3rds are fine and usually preceded by stepwise motion

4ths and 5ths should be followed by motion in the opposite direction, leaping in the same direction is only used when outlining a chord

6ths and octaves are always followed by stepwise motion in the opposite direction

44
Q

Common Tones

A

When chords move up a third, two common tones occur

when they move by 4th or 5th, one common tone occurs

when upper voices move in contrary motion to the bass, there are no common tones.

when chords move 2nd or 7th, no common tones

45
Q

Super Locrian Scale

A

AKA Diminished whole-tone scale or altered-dominant scale. It is the jazz minor scale built on the b9 of the chord.

46
Q

Melodic approach tones

A

Chromatic approach

Scale approach tone

Scale/chromatic approach tone

47
Q

Tensions for Major Triads

A

T9, T#11 as harmonic tensions; TM7 and T13 as melodic tensions (passing tones)

48
Q

Tensions for Minor Triads

A

Harmonic - T9, T11, Melodic - T6, TM7, T7. T13 is available when in dorian or jazz minor

49
Q

Tensions for major 6th chord

A

Harmonic - T9, T#11 when diatonic to the key

Melodic - TM7

50
Q

Tensions for Minor 6th chord

A

Harmonic - T9, T11

Melodic - TM7

51
Q

Tensions for Major 7th chords

A

Harmonic - T9, T13

Melodic - T#11

52
Q

Tensions for Augmented Major 7th

A

Harmonic - T9, T#11

53
Q

Tensions for minor-major 7th

A

Harmonic T9, T11, T13

54
Q

Tensions for Minor 7th chords

A

Harmonic - T11, T9 (when diatonic to the key)

T13 when in Dorian

55
Q

Tensions for half-diminished

A

T11, Tb13, T9 (when diatonic to key)

56
Q

Tensions for Dominant 7

A

Altered dominant notes, Tb5 when not already identified by chord symbol

57
Q

Tensions for Dominant 7 sus4

A

T9, T13

58
Q

Types of non harmonic tones

A

Passing tone

Neighboring tone

Appoggiatura

Escape tone

Neighbor group

Anticipation

Suspension

Retardation

Pedal point

59
Q

Types of Pedal Points

A

Inverted - Soprano voice pedal

Internal - Alto or tenor voice pedal

Double - Two voices, usually bass and something else

60
Q

Elements of Suspensions

A

Preparation - tone preceding the suspension that will end up being the suspension

Suspension - may not be tied, but is the same note as preparation. The harmony moved to the next chord, but not the prep note.

Resolution - resolving the suspended tone to the harmony.

61
Q

Types of suspensions

A

Numbers represent interval between the bass note and the suspended note

7-6

4-3

9-8 (only sus where the suspended chord also has the resolution note in it)

2-3 (bass suspension)

Suspension with change of bass - the bass is not a suspended note but it moves between suspension and resolution along with the suspended tone. A change of chord inversion between the sus and resolution can result in this. 7-3, 9-6 (interval represents the bass and suspended note intervals during and after the suspension).

Embellished suspension - passing or other tones appear between suspension and resolution

Chain of suspensions - one resolution serves as the preparation for another suspension (harmony notes move again after the resolution, but resolution stays creating another suspension)

62
Q

Chord scales for minor triads, m7, and m6

A

Tonic - aeolian

m7 chord - Dorian

m6 - Jazz minor

63
Q

Variations of Mixolydian for target tonic chords (all examples in C)

A

V7/ii - Mixolydian b13 (A7 going to Dm)

V7/iii - Mixolydian b9 b13 (B7 going to Em)

V7/IV - Mixolydian

V7/V - Mixolydian

V7/vi - Mixolydian b9 b13 (E7 going to Am)

64
Q

Combination Diminished

A

AKA dominiant diminished, HW scale (dominant b9 harmony)

65
Q

Chord scale for substitute dominant 7 chords (tritone subs)

A

Lydian Dominant (Lydian b7)

66
Q

Where does the term Neapolitan 6th chord come from

A

It’s association with a group of 18th century composers known as the neapolitan school in Naples, Italy.

67
Q

Composite Time

A

AKA Complex, time signatures that represent unequal divisions of the beat (varied groupings of 2, 3, or 4)

68
Q

Which Instruments use Special Clefs

A

Viola, Tenor Trombone, Bassoon

69
Q

Which Non-chord tones are also called an “incomplete neighbor?”

A

Appoggiatura and Escape Tone

70
Q

Anticipation vs. Suspension

A

The resolved chord tone for an anticipation comes before the sounding chord. For a suspension, it comes after the chord has sounded.

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