17 terms

AP Music Theory Review Chp 12

Key relationships
mode mixture
harmonic technique of combining chords from a major key and the PARALLEL minor
b3, b6, b7
mode mixture uses __, ___, and __ from the parallel minor
add a b or # before the Roman numeral
If the root of the chord is altered by mode mixture, alter the Roman numeral by ___ to show that the chord is built on an altered pitch
Resolve chromatic notes in mixture chords __.
ending a minor piece with an authentic cadence with a major tonic (raised third)
Picardy third
(1) recurring accidentals
(2) Roman numeral analysis shows unusual progressions
signs of modulation (1)/(2)
having a region of a new key (one or two non-diatonic chords) but not completely modulating
temporary tonicization
relative major/minor, one more sharp/flat and its relative, one less sharp/flat and its relative
closely related keys to modulate to
common chord/pivot modulation
modulation within a phrase
(1) pivot chord diatonic to both keys (usually ii or IV in the new key)
(2) chord just before the accidental or altered chord signaling the new key
(3) new key established by authentic cadence after modulation
(4) all music before common chord in original key and all music from common key to cadence in new key
signs of common chord modulation
direct modulation
modulation without a common chord
chromatic modulation
direct modulation within the phrase
chromatically altered note in the same voice (shifts at the accidental)
sign of chromatic modulation
phrase modulation
direct modulation between phrases
next phrases begins in new key
sign of phrase modulation
(1) cadence
(2) significant time in new key
modulation MUST have...
V, IV, vi (relative minor)
typically modulate to