Module 3.6 Vocab - Music Theory Terms "Italian Sixth Chord" - "Mixolydian"
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Created by:
973451 on April 20, 2010
Subjects:
ap music theory, music terms, music theory, Dr. Tom
Description:
The Vocabulary from Module 3.6 for the AP Music Theory Exam
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25 terms
Terms | Definitions |
|---|---|
 Italian sixth chord | An augmented-sixth chord containing the half step above the dominant (in the bass), the half step below the dominant and the tonic. |
| Key | The scale that predominates in a musical work, reflected by the key signature. |
| Key Signature | An inventory of the flats and sharps used consistently in a composition or in a section of a composition, grouped together and placed immediately after the clef sign at the beginning of each staff. |
| Large-scale arpeggiation | Broken triad formations created by the important pitches in a melody, normally involving nonadjacent pitches. |
| Lead sheet | In popular music and jazz, the representation of the music through the melody along with chord symbols place above it to guide musicians in its performance. |
| Leading Tone | The functional name given to the major or minor scale degree one halfstep below the tonic, or to the triad formed on this pitch. |
| Ledger Line | Short horizontal lines representing an extension of the staff, drawn through the stems of notes too high or too low to be places directly on the staff. |
| Linear chromaticism | Chromatic harmonies formed as the byproducts of chromatic melodic motion. |
| Lydian | One of six church modes that predated and led to the major and minor scales, viewable today as a major scale with a raised fourth degree. |
| Major | The mode based on the major scale and its seven diatonic chords. |
| Major 9 th chord | A five-member chord extending a major triad with the addition of a major seventh and major ninth above the root. |
| Major seventh chord | The chord formed by the addition of a major seventh above the root of a major triad. It most often is found on the subdominant in a major key (IV7) and on the submediant and mediant (VI7 and III7) in a minor key. |
| Major Triad | A 3-note chord consisting of two intervals above its root — a major 3 rd and a perfect 5 th — and serving as the tonic, dominant, and subdominant in a major-key work. |
| Measure | One complete cycle of the accentual pattern in a given meter. |
| Mediant | The functional name given to the third degree of a major or minor scale or to the triad formed on this pitch. |
| Melodic Inversion | Turning a melodic figure "upside down" so that its contour and interval structure are a mirror of the original form, with upward steps and leaps becoming downward steps and leaps of the same interval, and vice versa. |
| Melodic minor | The natural minor scale with the sixth and seventh degrees raised by one half-step in ascent. In descending passages, the sixth and seventh degrees usually are those of the natural minor scale. It is the form most often used for minor-key melodies. |
| Melodic tonality | The tendency of a melody to define a tonal center by emphasizing that pitch in various ways. |
| Meter | A regularly recurring pattern of strong and weak pulses that forms the background on which the many rhythms of a piece of music are imposed. |
| Metric shift | A type of syncopation involving the temporary but extended displacement of the primary accent of a measure. |
| Minor | The mode based on the minor scale and its diatonic chords. |
| Minor 9 th chord | A five-member chord extending a minor triad with the addition of a minor seventh and major ninth above the root. |
| Minor seventh chord | The chord formed by the addition of a minor seventh above the root of a minor triad. It is most often found on the supertonic of a major key and the subdominant on the minor key. |
| Minor Triad | A 3-note chord consisting of 2 intervals above its roota minor 3rd and a P 5th — and serving as the tonic for a minor-key work. |
| Mixolydian | One of 6 church modes that predated and led to the major and minor scales, viewable today as a major scale with a lowered seventh degree. |
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