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Piano > Theory Level 7 > Flashcards

Theory Level 7 Flashcards

0
Q

Intervals that can’t be made minor

A

PP, P4, P5, P8

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1
Q

meter

A

Simple x 3 = compound

Duple - 2/4, 2/2 & 6/8, 6/4

Triple - 3/4, 3/2 & 9/8, 9/4

Quadruple - 4/4, 4/8 & 12/8, 12/4

Quintuple - 5/4, 5/8 & 15/8, 15/4

Asymmetric/irregular - 5/4, 5/8, 7/4, 7/8

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2
Q

Sharp and flat order

A

FCGDAEB BEADGCF

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3
Q

Modal scale order

A

IDPLMAL Ionian, Dorian, Phrygian, Lydian, Micolydian, Aeolian, Locrian

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4
Q

Simple meter

A

Each beat divides into two parts

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5
Q

Compound meter

A

Each beat divides into one main beat (big beat) or three parts (little beat) Beat unit = dotted note If medium-to-fast, count big beats If slow, count little beats

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6
Q

Root position

A

Root on bottom

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7
Q

First inversion triad

A

Third is on bottom

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8
Q

Second inversion triad

A

Fifth is on bottom

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9
Q

Triad inversions

A

Root is at top of big interval

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10
Q

Figured-bass numerals

A
  1. Look for root note 2. Decide if M or m 3. Add numbers on bottom right
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11
Q

Scale degree names

A

Tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone, tonic

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12
Q

Secondary triads

A

ii, iii, vi, viio

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13
Q

Primary triads

A

I, IV, V

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14
Q

Diatonic triads

A

Triads built on each note of the scale Write Roman numerals & scale degree names

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15
Q

Relative minor

A

Think down a m3 Can’t be one letter apart When writing key signatures, write key signatures of relative major

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16
Q

Relative major

A

Think up a m3 Can’t be one letter apart

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17
Q

Natural minor/pure minor scale

A

Aeolian No sharps, flat, or natural are added to those found in the relative major scale

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18
Q

Dorian mode

A

Think down a M2 and use that signature

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19
Q

Ionian mode

A

Major scale

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20
Q

Aeolian mode

A

Natural minor/pure minor

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21
Q

Phrygian mode

A

Think down a M3 from tonic

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22
Q

Harmonic minor scale

A

Raise 7 degree of natural/pure minor scale

Pianist

Developed cuz major V triad popular in Euro music

23
Q

Melodic minor scale

A

Raise 6th & 7th degree of natural/pure minor, going down same as natural/pm

Violinist, flutists, singers, & other non-keyboard players

Keeps major V triad of hm but eliminates the large interval between 6 & 7

24
Q

Diminished triad

A

Lower 5th of minor triad, or 3rd & 5th of major triad

Remember that perfects can’t be made minor.

25
Q

Augmented triad

A

Raise the fifth of major triad

26
Q

Enharmonic scales/keys

A

Sound exactly the same, but are spelled differently

B and Cb F# and Gb C# and Db

Big Fat Cat

27
Q

Parallel natural minor

A

Lower the 3rd, 6th, and 7th notes

Three more flats, or three fewer sharps than parallel major

28
Q

Circle of Fifths

A

FCGDAEBF#C# starts one to the left of the top BEADGC (no F) starts to the left of ^ Enharmonics = bottom three Relative minors in inside (including enharmonics)

29
Q

Aural augmented & diminished triads

A

Augmented - major bottom Diminished - m3 bottom

30
Q

Aural period & style identification

A

Baroque - 2 voices, trill, minuet, 3/8, sparse, imitation

Classical - Alberti bass, trills

Romantic - pedal, legato, chordal, lush, waltz

20th - dissonant, jazz, blues, uneven rhythms

31
Q

Aural melodic dictation

A

Ends in keynote Can count back from keynote Pay attention to intervals!!!

32
Q

fugues

A

pieces in which one musical idea is repeated in diff voices & keys

33
Q

suites

A

usually included six dances; an allemande, a courante, a saraband, two dances of composer’s choice, & a gigue(jig);

sometimes more/fewer but six most common

34
Q

through-bass style

A

consists of a melody on top, a bass line on the bottom, and the space between filled with chords

Ex: in any hymn book which has all 4 parts written out

often composer wrote down only melody & bass, w/ figured bass numerals underneath to tell performers what chords to use; any well-trained harpsichordist could read & play figured bass @ sight

35
Q

Baroque period

A

1600-1750

nobility, operas, grotesque, polyphonic, ornaments, suites, through-bass; NOGPOST

musicians worked for nobility in big, overdecorated palaces w/ big wigs & fancy clothes

mood = grotesque (exaggerated & emotional)

painters painted ceilings w/ angels & saints

operas w/ elaborate stage effects & arias(songs); abt gods & heroes of ancient Greece

big polyphonic fugues

ornaments like trills & apoggiaturas; frequent embellishments

dance - suites, minuet?

many pieces written in through-bass style

36
Q

Baroque composers

A

Bach, Handel, Telemann, Rameau, Couperin, Purcell

BHTRCP; But He Tripped Ron’s Cute Puppy!

37
Q

Classical period

A

1750-1820

poise, homophonic, runs, sonata, German; PHRSG; Pack His Right Saw, Grady!

giants = Mozart & Haydn

poise, balance, & simplicity

clothing & architecture simpler

polyphony going out & ornaments fewer; mostly homophonic

runs based on scales & arpeggios

development of sonata form

dances - German, Country, Ecossaises, etc.; replace still-popular minuet

39
Q

Classical composers

A

Haydn, Mozart, Clementi, early Beethoven, Kuhlau, early Schubert, Diabelli

HMCBKSD

His Mom Can Be Kind So Demand

40
Q

sonata form

A

multi-movement composition developed in Classical period

used for solo sonatas, emsembles for small groups, symphonies(full orchestra), & concerti (1+ solo instruments backed by orchestra)

usually 4 movements

  1. fast/allegro & sonata-allegro form
  2. slow; in a key closely related to 1st; AB, ABA, / theme & variations form; sometimes composer reverses order of this movement & next
  3. minuet & trio in classical, altho Beethoven & others often wrote scherzo instead
  4. fast, often in rondo form, in key of 1st movement/parallel major

if sonata = only 3 movements, minuet/scherzo/3 usually omitted

41
Q

scherzo

A

playful, joking, or mischevious sort of piece

usually in triple meter

42
Q

Romantic period

A

1820-1900

chromaticism, orchestra, Lied, emotion, rich, opera; COLERO

emotion - vital to literature, opera, songs & instrumental solos

German Lied(song) flourished; Lieder by Schubert, Schumann, & Brahmns interwove the voice line w/ ingenious piano accompaniments

chromaticism - major change in harmony; melodic lines often moved chromatically & so did underlying chord progressions

key/tonal cneter less clear & sound richer as chords used not closely related to key

orchestra expanded

instruments redesigned to have wider ranges of sound

opera developed - **Grand Opera **= crowd-pleasing spectacles; Wagner’s long, heavy music-dramas = myths of Germanic peoples, & operas such as “Carmen” or “La Boheme” told of ordinary working ppl

43
Q

Romantic composers

A

Schumann, Chopin, most of Schubert, late Beethoven, Liszt, Tschaikovsky, Bizet, Rachmaninoff, Verdi, Puccini, Wagner

SCSBLTBRVPC

So Cold So Blind Like Terrible Bruises Rippling Vastly Promises Collide

44
Q

20th Century period

A

1920-2000

new, dissonance, instruments, irregular, chromaticism, atonal, separate, electronic; NIDICASE

new chords, new scales (whole-tone, blues), rebirth of ancient scales(modes), & dissonance

new use for instruments - strumming piano strings, knocking strings wood, playing @ extreme high/low range of instruments

irregular meters - 5/4, 7/4, etc.; frequent meter changes

extreme chromaticism - total eradication of any sense of key - **atonal(serial) **music

African-Am & jazz music popular

popular & serious music have developed separately, but Gershwin, Bernstein have written both

performers usually play only jazz, pop, / serious, but Goodman, Miller, Marsalis have done 2+

electronic instruments, com’s, cassette, & CD recording, MIDI, etc.

45
Q

20th Century composers

A

Bartok, Kabalevsky, Stravinsky, Prokofiev, DelloJoio, copland, Bernstein, Schoenberg, Gershwin, Menotti

KBSPDCBSGM

Kindness Brightens Sad People, Does Coldness Blind Sunny Girls Much?

46
Q

brio

A

brilliance

47
Q

coda

codetta

A

an ending section of a composition

literally, tail

codetta = a brief coda

48
Q

con

A

with

49
Q

leggiero

A

lightly

50
Q

mosso

A

agitated

51
Q

moto

A

motion

52
Q

piu

A

more

53
Q

sempre

A

always

54
Q

simile

A

in the same way

55
Q

sonata-allegro form

A

the form of the 1st movement of most sonatas

  1. Exposition
    1. principal theme(tune), in tonic/key of piece
    2. secondary theme, in closely related key, usually dominant/relative major; Look for added sharp or subtracted flat, showing change of key, and for a diff character to the music; sometimes cadence first
  2. Development - Look for double bar; 1/both themes played in diff ways, in diff keys, sometimes in snatches. in sonatina, short “bridge” passage may replace
  3. Recapitulation
    1. Principal theme repeated in tonic key
    2. secondary theme repeated in tonic
  4. Coda may follow
56
Q

theme & variations

A

a theme followed by a # of variations w/ diff moods & treatments

57
Q

sonatina

A

small, short sonata

may have 1,2, or 3 movements

1st movement may be shorter than sonata cuz: themes r short, only one theme is used, or development is shortened/omitted

Sometimes one theme left out in recapitulation section.

Piano (1 decks)

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