Music Theory Course Level 3 and 4 Flashcards
(119 cards)
1
Q
While tone scale is constructed entirely of
A
Whole steps
2
Q
The major pentatonic is constructed of …..notes. Using the …scale as its reference , the pentatonic scale is constructed using scale degrees ……
A
Five
Major
12356 (+8)
3
Q
The minor pentatonic scale is constructed of …. Notes using the …… Scale As a reference , uses degrees …..
A
5 notes
Natural minor
13457 (+8)
4
Q
The blues scale is very similar to the…..scale with the addition of one note , the ….called the “…” note
A
- minor pentatonic
- sharp 4/ flat 5
- “blues “ note
5
Q
scale degree 1= …/solfege name
A
Tonic/do
6
Q
scale degree 2= …/solfege name
A
Super tonic/ re
7
Q
scale degree 3= …/solfege name
A
Mediant/mo
8
Q
scale degree 4= …/solfege name
A
Subdominant/da
9
Q
scale degree 5= …/solfege name
A
Dominant/so
10
Q
scale degree 6= …/solfege name
A
Submediant/la
11
Q
scale degree 7= …/solfege name
A
Leading note/ to
12
Q
scale degree 8= …/solfege name
A
Tonic/do
13
Q
Order of sharps
A
fcgdaeb
14
Q
Order of flats
A
beadgcf
15
Q
How many flats? B flat major
A
2
16
Q
How many flats? E flat major
A
3
17
Q
How many flats? A flat major
A
4
18
Q
How many flats? D flat major
A
5
19
Q
How many flats? G flat major
A
6
20
Q
How many flats? C flat major
A
7
21
Q
How many flats? F major
A
1
22
Q
How many sharps in this major key? G
A
1
23
Q
How many sharps in this major key? D
A
2
24
Q
How many sharps in this major key? A
A
3
25
How many sharps in this major key? E
4
26
How many sharps in this major key? B
5
27
How many sharps in this major key? F#
6
28
How many sharps in this major key? C#
7
29
The chromatic scale is constructed entirely of ... /...
Half steps/ semi tones
30
Augmented =
a half step bigger than a perfect interval
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diminished =
a half step smaller than a perfect interval
32
Inverting intervals:
| Major interval will always invert to a ___ interval
minor
33
Inverting intervals:
| minor interval will always invert to a ___ interval
Major
34
Inverting intervals:
| a perfect interval always inverts into a ... interval
perfect (stays a perfect )
35
two ways of writing suspended 4th
_sus or __ sus4
36
to make a suspended 4th in a triad ...
remove the 3rd and add a 4th in place of it.
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to make a suspended 2nd in a triad ...
remove the 3rd and add a 2nd in place of it
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a traditional use of using a suspended chord ..
"preparing the chord" to resolve into a neighboring chord
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suspended chords can be as ---
ambiguous
40
steps in diminished chord are
root + 3st+ 3st
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steps in diminished 7th are
root + 3st+ 3st+3st
42
when dealing with diminished 7th chords there's really only ---- different ones (groups)
3
43
diminished 7th chord group 1:
Cdim7
Ebdim7
Gbdim7
Adim7
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diminished 7th chord group 2:
Cbdim7
Edim7
Gdim7
Bbdim7
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diminished 7th chord group 3:
Ddim7
Fdim7
Abdim7
Bdim7
46
Augmented=
sharpened a half step bigger than a perfect interval
47
perfect fifth is how many semitones?
7
48
inverting intervals: a Major interval will always invert to a____interval
minor interval
49
inverting intervals: a minor interval will always invert to a____interval
Major interval
50
inverting intervals:a perfect interval will always invert to a____interval
Perfect interval
51
suspended 4th also known as ... or ...
__sus or __sus4
52
Suspended chords: to create a suspended 4th chord
remove the 3rd in a traid and add the 4th in place of it
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Suspended chords: to create a suspended 2nd chord
remove the 3rd in a traid and add the 2nd in place of it
54
Suspended chords: Traditional use is used in ...
used in "preparing the chord" to resolve into a neighboring chord
55
augmented chord =
2 major intervals
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diatonic
chords/ notes within the key only ( not chromatic)
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in the major key: the major keys (their roman numeral position) are:
I, IV, V
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in the major key: the minor keys (their roman numeral position) are
ii, iii, vi
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in the major key: the diminished traid position is
viiº
60
In minor scale the minor and major chord positions depend on if the scale is either
Natural , Melodic, or Harmonic
61
List the COMMON Diatonic triads in the monor scale
i, iiº, III, iv, V,VI, viiº, i
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Transposing: when transposing: know the...
direction ( up or down)
63
Transposing: when transposing: follow the...
golden rules
64
Transposing: the golden rules of transposing are...
1. workout the equivalent pitches in the bass/treble cleffs
| 2. transpose the notes up or down
65
Transposing: when transposing use ...... as your guide
middle c
66
Ornaments: what do they do?
- modify the specific pattern of notes.
- they are shown with symbols written next to them
- there are many different types
67
Duplet is
1.
2.
3.
1. opposite of the triplet
2. Two notes in the space of 3
3. used in compound meter ( when we need a rhythm normally seen in simple meter
68
double dotted notes = __+__+___
note length + half + a quarter
69
Alto Cleff :
1.
2.
3.
1. used by viola
2. useful for writing between treble and bass clef
3. known as c clef ( because the middle sits on middle c)
70
for the alto/ tenor clef name the acronym for the lines
FACEG
71
for the alto/ tenor clef name the acronym for the spaces
GBDF
72
Modes can be thought of as a...
a scale within a scale
73
Modes are usually refferred to as a
mode of a "particular" scale"
74
mode 1 =
Ionian
75
mode 2=
Dorian
76
mode 3
Phrygian
77
mode 4
Lydian
78
mode 5 =
Mixolydian
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mode 6=
Aeolian
80
mode 7=
Locrian
81
a tip abut compound intervals : really just add whatever scale degree note to __ , if its an octave greater
7
82
7th chord : chord degrees: major=
1-3-5-7
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7th chord : chord degrees: minor =
1-3b-5-7b
84
7th chord : chord degrees: Dominant=
1-3-5-7b
85
7th chord : chord degrees: Diminished=
1-3b-5b-7bb
86
7th chord : flatten the 3rd and 7th in the ___seventh chord
minor
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7th chord : flatten the 7th in the ___seventh chord
fDominant
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7th chord : ___ flatten the____ degree in the 7th chord
double flatten the 7th degree
89
transposition:
step 1
step 2.
1. Workout the equivalent pitches first
| 2. then transpose the notes down an octave
90
what are 4 steps to transpose
1. make a note of direction and distance
2. workout how many semitones make up the distance
3. transpose the key signature
4. transpose each note
91
modulation:each key has __ closely related keys that it can modulate into smoothy
5
92
modulation: the 5 closely related keys each can modulate into are the
4th below, 5th above , the Tonics relative major or minor, the 4th and 5th's relative majors or minors
93
Modulation: there are __major and minor keys
24
94
Modulation: easiest way is to modulate into a key with 1 or more ____ with the original key
common chords
95
Modulation: common chords can be used as a ____between two keys
pivot chord
96
Modulation: 3 things to remember when using common /"pivot " chords
1) The new keys Tonic should be preceded by a Dominant chord "V" (
2) The new keys Tonic should be preceded by the dominant V chord
3) The Pivot chord preceding the "v" chord should preferably be a chord that leads well to "v" like a "ii" or a IV" chord it's also a chord in common to both keys
97
Modulation: The new keys Tonic should be preceded by a Dominant chord "V" (since it....
(since it creates a strong cadential progression and reinforces the sound of the new key)
98
Modulation: 3 steps: step 1: the tonic chord of the new key must fall on a ___ (preferably ___)
Strong beat ( preferably the first beat of a new bar)
99
Modulation: 3 steps: step 2:The new keys tonic should be preceded by a .... ( since it...)
Dominant (V) chord
| since it creates a strong cadential progression and reinforces the sound of the new key
100
Modulation: 3 steps: step 3: the pivot chord preceding the V chord should preferably be a...like a...or.... its also a chord .....
chord that leads well into V
like a ii or IV chord
its also a chord in common to both keys preferably
101
Modulation: common forms of modulation a root to its..
Dominant, subdominant, its relative minor (or major, or to the dominants or subdominants relative minor ( or major)
102
Modulation: when a Tonal center shifts to another key , a new key signature often is
accompanied
103
we DO NOT usually modulate to the ____
| because a ___ chord is unstable for a key center
```
leading tone ( viiº)
diminished triad
```
104
postin I =
Tonic
105
position IV=
subdominant
106
position V=
Dominant
107
position vi = submediant but it is the .... of the tonic key
relative minor
108
we don not usually modulate to the ___ because a ___ triad is unstable for a key center ( its not the viiº chord)
supertonic (iiº)
109
define cadence:
a melodic or harmonic configuration that creates a sense of resolution ( finality or pause )
110
```
Modulation formula:
-tonic to...
-
-
-
-
-
```
- tonic to common/pivot chord
- pivot to Dominant of new key
- dominant of new key to tonic of new key +} cadence
111
compound intervals f : just add__ to ...
add 7 to whatever numerical place in the scale the note lands on
112
compound intervals f: the quality of the chord (major/minor/perfect/dim) ....
stays the same
113
root to major 3rd is ___ semitones
4 semitones
114
Major 7th is how many semitones above the tonic?
11 semitones
115
Diatonic minor: Diatonic means
notes are derived from the scale
116
Diatonic minor:chords in natural
i, iiº,III, iv,v, VI, VII
117
Diatonic minor:chords in Hamonic
i, iiº,III+, iv,V,VI,viiº
118
Diatonic minor:chords in melodic:
i,ii, III+, IV, V, vidim , viiº
119
Diatonic minor:chords in commonly used chords
i,iiº,III,IV (or iv), V, VI, viiº or / VII
