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MT > Grade 3/4 > Flashcards

Grade 3/4 Flashcards

1
Q

3rd Degree

A

Mediant

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2
Q

4th Degree

A

Subdominant

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3
Q

5th Degree

A

Dominant

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4
Q

6th Degree

A

Submediant

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5
Q

7th Degree

A

Leading Note

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6
Q

1st Degree

A

Tonic

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7
Q

2nd Degree

A

Supertonic

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8
Q

Flats for A flat major

A

BEAD.

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9
Q

Flats for E flat major

A

BEA.

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10
Q

Lower tetrachord

A

Series of four notes separated by three intervals

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11
Q

Pattern of major scales (T/S)

A

TTSTTTS.

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12
Q

Pneumonic for flat order.

A 
Battle
Ends
And
Down
Goes
Charles'
Father
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13
Q

Pneumonic for sharp order.

A 
Father
Charles
Goes
Down
And
Ends
Battle
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14
Q

Primary Triad

A

Tonic/Subdominant/Dominant

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15
Q

Tonic/Mediant/Dominant sounded together

A

Tonic Triad.

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16
Q

Upper Tetrachord

A

Series of four notes separated by three intervals - which becomes the lower tetrachord of the next sharp/flat scale.

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17
Q

What happens to the leading note of every harmonic minor scale?

A

The leading note is raised by one semitone.

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18
Q

Pattern of minor scales (T/S)

A

TSTTST1/2S

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18
Q

Pattern of minor scales (T/S)

A

TSTTST1/2S

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19
Q

What does time sig 2 4 stand for?

A

2 crochets/bar

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20
Q

What does 3 4 stand for?

A

3 crochet beats/bar

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21
Q

What does 4 4 stand for?

A

4 crochet beats/bar

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22
Q

Define simple time

A

Plain undotted beats divisible by two

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23
Q

What does the figure at the top of a time signature represent?

A

Number of beats in a bar

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24
Q

What does the figure at the bottom of a time signature represent?

A

Simple - for even numbers

Compound - for odd numbers

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25
Q

Minim rest

A

Above stave line

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26
Q

Semibreve rest

A

Below stave line

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27
Q

Alla breve time

A

OR Cut common time

Equivalent to simple duple time OR 2 2

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28
Q

What should be used for a whole bar rest?

A

Semibreve rest

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29
Q

Where should a semibreve rest be positioned?

A

Hang off 2nd stave line

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30
Q

Where should minim rest be positioned?

A

Sit on 3rd stave line.

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31
Q

Order of time and key sig

A

Key sig first (K before T)

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32
Q

Perfect intervals

A

4/5/8ths

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33
Q

What number is counted in simple time?

A

Beats

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33
Q

What number is counted in simple time?

A

Beats

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34
Q

What number is counted in compound time?

A

Pulses

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35
Q

Top number of simple time signature is always:

A

2,3,4

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36
Q

Top number of coumpound time signature is always:

A

6,9,12

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37
Q

What rests cannot be used in triple time?

A

2-beat rests

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38
Q

When can crotchet rests be used in 6 8 time?

A

First and second pulses only.

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39
Q

When can crotchet rests be used in 9 8 time?

A

First and second pulses only.

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40
Q

What is a duplet?

A

Equivalent of a triplet in sinple time.

Duplet is used in compound time.

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41
Q

Soprano Voice Range

A

High G to Middle C

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42
Q

Alto Voice Range

A

High C to Low G

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43
Q

Tenor Voice Range

A

Alto G to Low C

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44
Q

Bass Voice Range

A

Soprano C to Low F

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45
Q

Voice Order

A

Soprano, Alto, Tenor, Bass

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46
Q

Voice Order

A

Soprano, Alto, Tenor, Bass

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47
Q

Condition on spacing of 4-part vocal style

A

Soprano, Alto,Tenor must have a space of no more than an octave between them.

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48
Q

What should intervals always be classified as?

A

Major, Minor, Perfect.

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49
Q

How should rests be placed in each bar?

A

So that they don’t break beats…

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50
Q

Define cadence.

A

Point of rest at the end of a phrase, section or a complete piece of music.

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51
Q

Sections for Binary Form.

A

A, B.

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52
Q

Sections for Ternary Form.

A

A, B, A.

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53
Q

Sections for Rondo Form.

A

A, B, A, C, A.

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54
Q

What do letters A, B, C… represent in musical forms?

A

Sections.

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55
Q

Trick to transposition.

A

Count tones.

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56
Q

What voices should have stems up?

A

Soprano and Tenor.

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57
Q

What voices should have stems down?

A

Alto and Bass.

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58
Q

Largamente

A

Broadly

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59
Q

Larghetto

A

Rather Broadly

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60
Q

Prestissimo

A

Extremely fast (or as fast as possible)

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61
Q

Con moto

A

With movement.

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62
Q

Calando

A

Getting softer/slower.

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63
Q

Morendo

A

Dying away.

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64
Q

Forte-Piano

A

Loud then immediately soft.

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65
Q

Sforzando

A

A strong accent

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66
Q

Agitato

A

With agitation

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67
Q

Attacca

A

Go on at once

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68
Q

Animato

A

With animation

69
Q

Tranquillo

A

Calmly

70
Q

Con anima

A

With feeling

71
Q

Con brio

A

With spirit

72
Q

Con grazia

A

With grace

73
Q

Con Forza

A

With force

74
Q

Dolce

A

Soft and sweet

75
Q

Risoluto

A

With resolution

76
Q

Ben marcato

A

Well marked

77
Q

Main droite (M.D.)

A

Right hand

78
Q

Main gauche (M.G.)

A

Left hand

79
Q

Une corda

A

With the soft pedal

80
Q

Tre corde

A

Release the soft pedal

81
Q

Ad libitum

A

At please, quite freely

82
Q

Loco

A

At the normal pitch

83
Q

Opus

A

A work or group of works

84
Q

M.M.

A

Maelzel’s Metronome

85
Q

When can’t crotchet rests be used in 9 8 time?

A

On the 2nd and 3rd pulse groups.

86
Q

What must be included in minor triads/scales?

A

Accidentals (raise 7th)

87
Q

What must be remembered for minor triads?

A

Accidentals for dominant

88
Q

What must be focussed on when determining intervals?

A

Root/Base Note (gives key)…

89
Q

Order of Key and Time Signatures.

A

K before T

90
Q

What does a step mean?

A

Direct movement up or down one note.

91
Q

What does the climax represent?

A

Highest note of a melody.

92
Q

What is a sequence?

A

A pattern of notes repeated at a different pitch,

93
Q

Liken perfect and plagal cadences to either a full stop/comma

A

Full stop.

94
Q

Liken imperfect cadences to either a full stop/comma.

A

Comma

95
Q

How do flat scales build on tetrachords?

A

In the opposite direction to sharp scales.

96
Q

Liken interrupted cadences to punctuation.

A

Question mark.

97
Q

Flats for D flat major

A

BEADG

98
Q

Flats for G flat major

A

BEADGC

99
Q

Sharps for B major

A

FCGDA

100
Q

Sharps for F sharp major.

A

FCGDAE

101
Q

Chromatic semitone

A

Notes have same letter (e.g. C to C sharp).

102
Q

Diatonic semitone

A

Notes have different letters (e.g. G sharp to A)

103
Q

Major intervals inverted become…

A

Minor.

104
Q

Minor intervals inverted become…

A

Major.

105
Q

Augmented intervals inverted become…

A

Dimininshed

106
Q

Diminished intervals inverted become…

A

Augmented.

107
Q

Perfect intervals inverted remain…

A

Perfect.

108
Q

Technique for determining number of an inverted interval…

A

Subtract the number of the original interval from nine.

109
Q

b

A

First inversion

110
Q

Root position triads.

A

5 3 chords.

111
Q

First inversion triads.

A

6 3 chords.

112
Q

Chords preceding cadences.

A

First inversion chords.

113
Q

Numbers representing Cut Common Time

A

2 2

114
Q

Simple duple time sign.

A

2 2
Cut common time
2 4

115
Q

Simple tripe time sign.

A

3 2
3 4
3 8
6 4

116
Q

Simple quadruple time sign.

A

4 4

c

117
Q

Compound duple time sign.

A

6 8

118
Q

Compound triple time sign.

A

9 8

119
Q

Compound quadruple time sign.

A

12 8

120
Q

2 2

A

Simple duple time

121
Q

2 4

A

Simple duple time

122
Q

3 2

A

Simple triple time

123
Q

3 4

A

Simple triple time

124
Q

3 8

A

Simple triple time

125
Q

6 4

A

Simple triple time

126
Q

4 4

A

Simple quadruple time

127
Q

6 8

A

Compound duple time

128
Q

9 8

A

Compound triple time

129
Q

12 8

A

Compound quadruple time

130
Q

Define modulation

A

Changes of key

131
Q

Define contrapuntal.

A

Two or more independent melodies played together as one.

132
Q

Appogiatura vs acciacatura

A

Appogiatura (no line) - held longer than acciacatura…

133
Q

Arco

A

Playing with the bow.

134
Q

Pizzicato

A

Plucked with the fingers.

135
Q

What should be doubled when writing first inversion chords?

A

Third or sixth (but NOT the root).

136
Q

Tremelo.

A

Bowing back and forth very rapidly to produce a shimmery or wavering effect.

137
Q

Sul ponticello

A

Playing with the bow near the bridge.

138
Q

Sul tasto.

A

Playing with the bow on or near the finger board.

139
Q

Cantando

A

In a singing style.

140
Q

Tenuto.

A

Held.

141
Q

Piacevole.

A

Pleasant, agreeable.

142
Q

Portamento

A

A smooth gliding from one note to another.

143
Q

Dolente

A

Sadly, plaintive.

144
Q

Doloroso

A

Sadly, plaintive.

145
Q

Sotto voce

A

Softly, in an undertone.

146
Q

Giocoso

A

Gay, merry.

147
Q

Grazioso

A

Gracefully.

148
Q

Assai

A

Very.

149
Q

Quasi

A

As if, as it were.

150
Q

Scherzando

A

Playfully.

151
Q

Subito

A

Suddenly.

152
Q

Non troppo

A

Not too much.

153
Q

Tempo commodo.

A

At a comfortable speed.

154
Q

Tempo giusto.

A

At a consistent speed.

155
Q

l’istesso tempo

A

At the same speed.

156
Q

Grave.

A

Slow with solemn.

157
Q

Rubato.

A

With some freedom in the time.

158
Q

Stringendo.

A

Pressing on faster.

159
Q

Perdendosi.

A

Fading away.

160
Q

Smorzando.

A

Dying away.

161
Q

Rinforzando.

A

Reinforcing the tone.

164
Q

Pesante.

A

Heavily.

165
Q

Uppermordent

A

Squiggle

166
Q

Lower mordent

A

Squiggle with line

167
Q

Turn

A

Necklace lock/clasp

168
Q

Inverted turn

A

With line through or vertical (instead of horizontal)

169
Q

Trill

A

tr. w squiggle

170
Q

Acciacatura

A

Crushed note w line

171
Q

Appogiatura

A

Leaning note (w/out line)

172
Q

Augmented interval

A

One semitone larger than a major/perfect interval.

173
Q

Diminished interval

A

One semitone smaller than a minor/perfect interval.

MT (2 decks)

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