Music Theory Exam Review

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Terms in this set (...)

simple meter
2, 3, 4
compound meter
6, 8, 12
duple
2
triple
3
quadruple
4
relative keys
share the same key signature
parallel keys
share the same tonic
motivic imitation
the statement of a melodic idea by two or more parts/voices in succession
modulation
changing from one key to another, may or may not involve a change in key signature
syncopation
a shift of accent, usually by stressing the normally unaccented beats
non-chord tones
embellishing notes that do not belong to the sounding chord
suspension
holds a chord tone over to the next chord before resolving downward by a step
appoggiatura
approached by upward leap, resolves downward a step. occurring on accented beat
escape tone
approached by step, resolves by leap in opposite direction
anticipation
a note that gets to the next chord early, before the other voices form the next chord
passing tone
approached by step, resolves by step (connects two notes a third apart)
neighbor tone
move one scale note up/down and returns to the same pitch
scale degree names
tonic, supertonic, mediant, subdominant, dominant, submediant, (subtonic), leading tone
countermelody
a secondary melody that is sounded simultaneously with the principal one
alberti bass
broken chord or arpeggated accompaniment (left hand on piano)
arpeggio
noted of a chord played/sung in succession rather than together at once
melodic sequence
the restatement of a melodic passage at a higher/lower pitch in the same voice
pedal tone/pedal point
a noted (usually the bass note), sustained through harmonic changes in the other parts. same bass notes over changing chords
cadence
phrase ending
authentic cadence
V (or V7) to I
perfect authentic cadence
if both the V and I are in root position and the melody ends on tonic
imperfect authentic cadence
all other authentic cadences
half cadence
and cadence ending on V or V7
Phrygian half cadence
a half cadence from iv6 to V (bass goes le to sol)
deceptive cadence
V chord doesn't go to I (usually going to vi instead)
plagal cadence
IV to I. the "amen" ending
hemiola
a rhythmic alteration in which six equal notes may be heard as two groups of three or three groups of two
tempo
the speed of the beat at which a piece is played
orchestration
how a composer/arranger uses instruments in various combinations
chromaticism
the use of notes foreign to the diatonic scale of the composition, the use of chromatic notes
conjuct
stepwise melody
disjunct
skips/leaps in melody
monophony
single melodic line with no accompaniment
homophony
when all parts have the same rhythms (ex. chorale), also sometimes used interchangeably with "melody with accompaniment"
polyphony
multiple melodies at once
imitative polyphony
multiple melodies at once that are similar
nonimitative polyphony
multiple melodies at once that are independent
harmonic rhythm
the rate at which chords change
whole tone scale
all whole steps
pentatonic scale
five note scale with no fa or ti
modes of the major scale
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian (I Don't Play Loud Music After Lunch)
clefs
G clef, F clef, C clef
triads
major, minor, diminished, augmented
seventh chords
major seventh, dominant seventh, minor seventh, half diminished seventh, fully diminished seventh
inversions
664 - 765 - 4342
intervals
perfect, major, minor, diminished, augmented,
anacrusis
a pickup figure
stretto
a climactic concluding section at a faster tempo or with quicker rhythms
melodic inversion
a melody "turned upside down", if the original melody went up a certain interval, its melodic inversion goes down by the same interval
augmentation
a melody is presented with longer note values
dimunition
a melody is presented with shorter note values
retrograde
the notes of a melody are presented in reverse
transposition
raising/lowering all pitches of the original music at he exact same interval