AP Music Theory (Ch. 1,2,3)
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70 terms
Terms | Definitions |
|---|---|
 pitch | the highness or lowness of a sound |
| octave | from one letter up or down to its next occurence |
| octave register | From C to B. (7 notes) |
| staff | Indicates the precise pitch desired. An arrangement of five lines and four spaces that can be extended through the use of ledger lines. |
| Ledger Lines | lines written above or below the staff representing a continuation of the staff, used to indicate pitches above or below the staff |
| clef | Must appear at the beginning of the staff in order to indicate which pitches are to be associated with which lines and spaces. |
| grand staff | A combination of two staves joined by a brace, with the top and bottom staves using treble and bass clefs, respectively. |
| major scale | A specific pattern of small steps (called half steps) and larger ones (called whole steps) encompassing an octave. |
| half step | The distance from a key on the piano to the very next key, white or black. |
| whole step | Skips the very next key on the piano keyboard and goes instead to the following one. |
| accidental | A symbol that raises or lowers a pitch by a half or whole step. |
| key | Identifies the first degree of a scale. |
| tetrachord | A four-note scalar pattern. |
| Key of G major | Refers to the major scale that begins on G. |
| key signature | the sharps or flats that follow the clef and indicate the key |
| enharmonic | two different names for the same pitch |
| transpose | To write or play music in some key other than the original. |
| circle of fifths | A diagram like the face of a clock that aids in the memorization of key signatures |
| natural minor scale | A minor scale formation, similar to a major scale with lowered 3, 6 and 7. |
| harmonic minor scale | a minor scale with a raised 7th scale degree |
| relatives | Major and minor keys that share the same key signature. |
| parallels | Major and minor keys that share the same starting note. |
| interval | The measurement of the distance in pitch between two notes. |
| harmonic interval | Separates pitches that are sounded simultaneously |
| melodic interval | Separates pitches that are sounded in succession |
| unison | In discussing intervals, the term used instead of 1. |
| octave | In discussing intervals, the term used instead of 8. |
| simple intervals | intervals an octave or less |
| compound intervals | Intervals greater than an octave |
| perfect | A modifier used only in connection with unisons, 4ths, 5ths, 8ves, and their compounds (11ths, and so on). |
| augmented | raised or enlarged. generally refers to the raising of a pitch by one half step |
| diminished | (of musical intervals) reduction by a semitone of any perfect or minor musical interval |
| tritone | the interval of an augmented 4th or a diminished 5th (spanning 3 whole tones). |
| interval inversion | When one puts the lower note above the upper one (or the reverse). |
| consonant | pleasing to the ear |
| disonant | not pleasing to the ear |
| base | the lowest voice |
| rhythm | recurring at regular intervals |
| dot | Always adds to the duration one-half the value of the note, rest, or dot that precedes it. |
| beat | the basic pulse of a musiclal passage |
| tempo | the rate which the beat occurs |
| meter | the pattern of beats |
| measures | the group of beats |
| bar line | A notation indicating the end of a measure, depicted by a vertical line through the staff. |
| duple, triple, and quadruple | The number of beats in each measure |
| duple meter | Two-beat measure: Strong-weak. |
| triple meter | Three-beat measure: Strong-weak-weak. |
| quadruple meter | Four-beat measure: Strong-weak-less strong - weak. |
| metric accent | the pattern of stresses |
| division of the beat | Durations in a musical passage that are shorter than the beat. |
| simple beat | beats divided into two equal parts |
| compound beat | beats divided into three equal parts |
| time signature | A symbol that tells the performer how many beats will occur in each measure, what note value will represent the beat, and whether the beat is simple or compound. |
| grouplet (or tuplet) | Refers to the division of an undotted value into some number of equal parts other than two, four, eight, and so on or the division of a dotted value into some number of equal parts other than three, six, twelve, and so on. |
| beams | Used to connect durations shorter than a quarter note when the durations occur within the same beat. |
| Bass Position | The chord member that is in the lowest sounding voice. |
| Figured bass | A method of abbreviated notation used in the Baroque era. |
| inversion | The transfer of the lowest note to some higher octave. |
| first inversion | A chord with the 3rd as the lowest tone. |
| second inversion | A chord with the 5th in the bass. |
| lead sheet symbols | Used in jazz and most popular music to indicate chords to be played under a given melody. |
| Major Seventh Chord (M7) | Major triad with a M7 above the root. |
| Major-Minor Chord (Mm7) | Major triad with a m7 above the root. |
| Minor Seventh Chord (m7) | Minor triad with a m7 above the root. |
| Pitch Classes | Term used to group together all pitches that have an identical sound or that are identical except for the octave or octaves that separate them. |
| root position | A chord with the root notated as the lowest tone. |
| Seventh chord (M7) | A triad with another 3rd added above the 5th of the triad. The added note is a 7th above the root. |
| teritain | A chord structure built of thirds. |
| third inversion | A seventh chord with the 7th as the lowest tone. |
| triad | A three-note chord consisting of a 5th divided into two superimposed 3rds. The bottom note of the 5th is the root, and the top note is the 5th. |
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