Terms: AS4

Question 1

AAA Song Form

Answer 1

Consists of multiple verses that does not contain a Chorus or Bridge (“Bridge Over Troubled Water.”)

Question 2

AABA Form

Answer 2

32-bar song form
Some Tin Pan Alley songs composed as numbers for musicals precede the main tune with what was called a “sectional verse” or “introductory verse” in the terminology of the early 20th century.

Question 3

AB or Verse/Chorus Form

Answer 3

• AB form puts the entire emphasis on the Chorus
• Been around since the 19th century
• Most pop songs from the classic rock period forward are written in AB Song Form

Question 4

Eastman-Style Dictation Technique

Answer 4

Acclimate
Memorize
Analyze

Question 5

Aeolian

Answer 5

1 - 2 - b3 - 4 - 5 - b6 - b7 - 1

Question 6

Arpeggiation

Answer 6

Process of defining a tonal key by humming or singing do-mi-sol or 1-3-5

Question 7

Avoid Note

Answer 7

• In jazz theory
• Is a scale degree considered especially dissonant relative to the harmony implied by the root chord, and is thus better to be avoided

Question 8

Bird’s Eye

Answer 8

A fermata

Question 9

Blues Scale

Answer 9

1 - b3 - 4 - Blue - 5 - b7 - 1

Question 10

Chromatic Mediant

Answer 10

• Third relation

- Chords or keys that are a M3 or m3 apart

Question 11

Cut Off, Mute or Choke

Answer 11

A chord is struck and muted

Question 12

Diamond

Answer 12

Strike a chord and let it ring for the written duration

Question 13

Dorian

Answer 13

Natural Minor

1-2-b3-4-5-6-b7-1

Question 14

Invisible Barline

Answer 14

• A line that separates the measure in half
• Makes reading music easier
• Shows where the strong beats are.

Question 15

Ionian

Answer 15

Major

1-2-3-4-5-6-7-1

Question 16

Jazz Convention

Answer 16

The playing assumption of a major scale, where alterations if any are notated as raised (#) or lowered (b) pitches from that major scale.

Question 17

Locrian

Answer 17

1- b2 - b3 - 4 - b5 - b6 - b7 - 1

Question 18

Lydian

Answer 18

1 - 2 - 3 - #4 - 5 - 6 - 7 - 1

Question 19

Major Pentatonic

Answer 19

1 - 2 - 3 - 5 - 6 - 1

Question 20

Minor Pentatonic

Answer 20

1 - b3 - 4 - 5 - b7 - 1

Question 21

Mixolydian

Answer 21

1 - 2 - 3 - 4 - 5 - 6 - b7 - 1

Question 22

Phrygian

Answer 22

1 - b2 - b3 - 4 - 5 - b6 - b7 - 1

Question 23

Push

Answer 23

Anticipation

Question 24

Safety

Answer 24

Section in a musical that can be repeated indefinitely until the actor is ready to sing.
Early musicals used “turn around” progressions

Question 25

Split Bar

Answer 25

-When more than one chord is written within a measure If there is an uneven number of chords per bar, small hash marks are written over the chord, showing how many beats each chord receives

Question 26

Spread Voicings

Answer 26

Open-position jazz chords containing the essentials of its idiomatic tonality, including the root, third and seventh (guide tones) with the addition of chord extensions such as the 9th, 11th or 13th

Question 27

Torch Song

Answer 27

- A sentimental love song whereby the singer laments of unrequited or lost love - Either one party is oblivious to the existence of the other, one party has moved on, or where a romantic affair has affected the relationship

Question 28

Tritone Substitution Chord

Answer 28

A chord of reharmonization or chord substitution whereby the root of a dominant 7th chord has its root a tritone away from the original

Question 29

Turn Around

Answer 29

Normally a iii-vi-ii-V-I or circle of fifths progression, best known in jazz standards

Question 30

Walkups and Walkdowns

Answer 30

Ascending or descending scalar chord progression

Question 31

Blue Note

Answer 31

Primarily b5 or #4 of a blues scale

Question 32

Dies Irae (Day of Wrath)

Answer 32

Used in the Roman liturgy as the sequence for the Requiem Mass for centuries, it is one of the most-quoted melodies in all of musical literature. It appears not only in the works of many classical composers, but modern-day Hollywood composers as well.

Question 33

Extensions

Answer 33

9th, 11th 13th extending above 7th chords

Question 34

Ground Bass

Answer 34

From the Baroque era, basso ostinato was incorporated into more rigorously structured forms of continuous variation, such as the chaconne and passacaglia.