Theory and Harmony (V1 S2) (V2 S1) Flashcards
Dynamic Translations
Forissimo - Very Strong
Forte - Strong
Mezzo Forte - Half Strong
Mezzo Piano - Half Soft
Piano - Soft
Pianissimo - Very Soft
What does “first” line and space refer to?
the ones at the bottom
Great Staff
Contains Treble, Alto, Bass Clef. A road map for C4
Clefs
Treble (G clef)
Bass (F Clef)
Alto (C clef, middle line C)
Tenor (C clef, 4th line C)
Ritardando and Accelarando
Gradual decrease/increase in tempo
Reducing compound intervals
subtract multiples of 7 to get the simple interval.
ex. a major 9th is a major 2nd
a perfect 26th is a perfect 5th
Jazz Minor
Ascending version of Melodic Minor
Name all Perfect Intervals
4th, 5th, Octave, Unison
13th Quality Chord for each mode
Ionian - Maj 13
Dorian - Min13
Phrygian - min11(b9 b13)
Lydian - Maj13 (#11)
Mixolydian - 13
Aeolian - min11 (b13)
Locrian - min11 (b5, b9, b13)
Primary Triads (major and minor)
I, IV, V
Secondary Triads
ii, iii, vi, vii
Triad Groups (tonic not included!)
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
Elision
When you skip a chord group in a progression (i.e. moving from iii to IV which skips group 3)
Neutral Tonic
When Tonic appears in the middle of a chord progression, prior to dominant-tonic movement
Retrogression
When chords move in the direction of 1-4, but usually followed by a normal progression afterwards
Open Voicing Harmony
More than an octave between Soprano and Tenor
Most common voice to double in a root position
Root
Types of Relative Motion in Voice Leading
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
Why are Parallel 5ths and Octaves bad?
the motion detracts from the melody
Altered Dominant
at minimum, altered 9 and 5. Can include multiple variations
PAC
V or V7 resolving to I, both in root position. Soprano resolves leading tone. MUST meet ALL of these requirements
IAC
Can be viio instead, one chord may not be in root position, and tonic is not in soprano voice
HC
Resolving to V preceded by any other chord
Deceptive Cadence
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.
PC and PHC
Plagal comes after a PAC at the end, IV-I. PHC is I-IV, usually not at the end.
What is “T” when analyzing music
Tension notes. 7 and 6 usually don’t count, unless it’s a passing note in a melody
Swiss Augmented 6th chord
same as german, but spelled with a raised supertonic instead of a lowered mediant
Simple Modulation
Go to closely related key with a pivot chord that is diatonic to both
Advanced modulation
Going to a distantly related key, can still use diatonic pivot chords
Enharmonic modulation
A pivot chord that will be spelled enharmonically (V7 in old key to augmented 6th in new key)
Change of mode
Modulation to parallel key center
Tempos
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
Consonant and Dissonant intervals
Consonant - Thirds, 6ths, fifths, octaves.
Everything else including fourths is generally dissonant.
Stem directions for 4-part writing
Soprano and Tenor upward, Alto and Bass downward
Pink Floyd’s Money
Composite Time Signature 7/4, Divided into 4 and 3 in each measure
Dave Brubeck’s Take Five
written in 5/4
Syncopation
Temporary Displacement of the regular metrical accent caused by stressing a weak beat or division of the beat.
Fully Diminished vs Dominant Diminished
Fully Diminished - Whole-Half (diminished chord) (B diminished in C minor)
Dominant Diminished - Half-Whole (7b9 chord) (G7b9 in C minor)
Circle of Fifths Mnemomic
Fat Cats Get Down At Every Ball
Specified Bass
Chord symbol with a bass note C7/G. Function similar to roman numerals (IV6 in the key of C is an F/A)
Arabic Numerals in figured bass vs chord symbols
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)
Full and Essential Figured Bass Numbers
Triads - 53 (root position, not used), 63 (omit 3), 64
Seventh chords - 7 (omit 53), 65 (omit 3), 43 (omit 6), 42 (omit 6)
Rules for Disjunct motion writing
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
Common Tones
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
Super Locrian Scale
AKA Diminished whole-tone scale or altered-dominant scale. It is the jazz minor scale built on the b9 of the chord.
Melodic approach tones
Chromatic approach
Scale approach tone
Scale/chromatic approach tone
Tensions for Major Triads
T9, T#11 as harmonic tensions; TM7 and T13 as melodic tensions (passing tones)
Tensions for Minor Triads
Harmonic - T9, T11, Melodic - T6, TM7, T7. T13 is available when in dorian or jazz minor
Tensions for major 6th chord
Harmonic - T9, T#11 when diatonic to the key
Melodic - TM7
Tensions for Minor 6th chord
Harmonic - T9, T11
Melodic - TM7
Tensions for Major 7th chords
Harmonic - T9, T13
Melodic - T#11
Tensions for Augmented Major 7th
Harmonic - T9, T#11
Tensions for minor-major 7th
Harmonic T9, T11, T13
Tensions for Minor 7th chords
Harmonic - T11, T9 (when diatonic to the key)
T13 when in Dorian
Tensions for half-diminished
T11, Tb13, T9 (when diatonic to key)
Tensions for Dominant 7
Altered dominant notes, Tb5 when not already identified by chord symbol
Tensions for Dominant 7 sus4
T9, T13
Types of non harmonic tones
Passing tone
Neighboring tone
Appoggiatura
Escape tone
Neighbor group
Anticipation
Suspension
Retardation
Pedal point
Types of Pedal Points
Inverted - Soprano voice pedal
Internal - Alto or tenor voice pedal
Double - Two voices, usually bass and something else
Elements of Suspensions
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.
Types of suspensions
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)
Chord scales for minor triads, m7, and m6
Tonic - aeolian
m7 chord - Dorian
m6 - Jazz minor
Variations of Mixolydian for target tonic chords (all examples in C)
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)
Combination Diminished
AKA dominiant diminished, HW scale (dominant b9 harmony)
Chord scale for substitute dominant 7 chords (tritone subs)
Lydian Dominant (Lydian b7)
Where does the term Neapolitan 6th chord come from
It’s association with a group of 18th century composers known as the neapolitan school in Naples, Italy.
Composite Time
AKA Complex, time signatures that represent unequal divisions of the beat (varied groupings of 2, 3, or 4)
Which Instruments use Special Clefs
Viola, Tenor Trombone, Bassoon
Which Non-chord tones are also called an “incomplete neighbor?”
Appoggiatura and Escape Tone
Anticipation vs. Suspension
The resolved chord tone for an anticipation comes before the sounding chord. For a suspension, it comes after the chord has sounded.
What direction does harmony move?
Left - > Right
Groups 4, 3, 2, 1
