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Piano > Theory Level 7 > Flashcards

Theory Level 7 Flashcards

(57 cards)

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0
Q

Intervals that can’t be made minor

A

PP, P4, P5, P8

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1
Q

meter

A

Simple x 3 = compound

Duple - 2/4, 2/2 & 6/8, 6/4

Triple - 3/4, 3/2 & 9/8, 9/4

Quadruple - 4/4, 4/8 & 12/8, 12/4

Quintuple - 5/4, 5/8 & 15/8, 15/4

Asymmetric/irregular - 5/4, 5/8, 7/4, 7/8

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2
Q

Sharp and flat order

A

FCGDAEB BEADGCF

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3
Q

Modal scale order

A

IDPLMAL Ionian, Dorian, Phrygian, Lydian, Micolydian, Aeolian, Locrian

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4
Q

Simple meter

A

Each beat divides into two parts

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5
Q

Compound meter

A

Each beat divides into one main beat (big beat) or three parts (little beat) Beat unit = dotted note If medium-to-fast, count big beats If slow, count little beats

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6
Q

Root position

A

Root on bottom

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7
Q

First inversion triad

A

Third is on bottom

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8
Q

Second inversion triad

A

Fifth is on bottom

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9
Q

Triad inversions

A

Root is at top of big interval

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10
Q

Figured-bass numerals

A
  1. Look for root note 2. Decide if M or m 3. Add numbers on bottom right
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11
Q

Scale degree names

A

Tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone, tonic

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12
Q

Secondary triads

A

ii, iii, vi, viio

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13
Q

Primary triads

A

I, IV, V

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14
Q

Diatonic triads

A

Triads built on each note of the scale Write Roman numerals & scale degree names

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15
Q

Relative minor

A

Think down a m3 Can’t be one letter apart When writing key signatures, write key signatures of relative major

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16
Q

Relative major

A

Think up a m3 Can’t be one letter apart

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17
Q

Natural minor/pure minor scale

A

Aeolian No sharps, flat, or natural are added to those found in the relative major scale

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18
Q

Dorian mode

A

Think down a M2 and use that signature

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19
Q

Ionian mode

A

Major scale

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20
Q

Aeolian mode

A

Natural minor/pure minor

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21
Q

Phrygian mode

A

Think down a M3 from tonic

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22
Q

Harmonic minor scale

Study These Flashcards
A

Raise 7 degree of natural/pure minor scale

Pianist

Developed cuz major V triad popular in Euro music

23
Q

Melodic minor scale

Study These Flashcards
A

Raise 6th & 7th degree of natural/pure minor, going down same as natural/pm

Violinist, flutists, singers, & other non-keyboard players

Keeps major V triad of hm but eliminates the large interval between 6 & 7

24
Diminished triad
Lower 5th of minor triad, or 3rd & 5th of major triad Remember that perfects can't be made minor.
25
Augmented triad
Raise the fifth of major triad
26
Enharmonic scales/keys
Sound exactly the same, but are spelled differently B and Cb F# and Gb C# and Db Big Fat Cat
27
Parallel natural minor
Lower the 3rd, 6th, and 7th notes Three more flats, or three fewer sharps than parallel major
28
Circle of Fifths
FCGDAEBF#C# starts one to the left of the top BEADGC (no F) starts to the left of ^ Enharmonics = bottom three Relative minors in inside (including enharmonics)
29
Aural augmented & diminished triads
Augmented - major bottom Diminished - m3 bottom
30
Aural period & style identification
Baroque - 2 voices, trill, minuet, 3/8, sparse, imitation Classical - Alberti bass, trills Romantic - pedal, legato, chordal, lush, waltz 20th - dissonant, jazz, blues, uneven rhythms
31
Aural melodic dictation
Ends in keynote Can count back from keynote Pay attention to intervals!!!
32
fugues
pieces in which one musical idea is repeated in diff voices & keys
33
suites
usually included six dances; an allemande, a courante, a saraband, two dances of composer's choice, & a gigue(jig); sometimes more/fewer but six most common
34
through-bass style
consists of a melody on top, a bass line on the bottom, and the space between filled with chords Ex: in any hymn book which has all 4 parts written out often composer wrote down only melody & bass, w/ figured bass numerals underneath to tell performers what chords to use; any well-trained harpsichordist could read & play figured bass @ sight
35
Baroque period
1600-1750 nobility, operas, grotesque, polyphonic, ornaments, suites, through-bass; **NOGPOST** musicians worked for **nobility** in big, overdecorated palaces w/ big wigs & fancy clothes mood = **grotesque** (exaggerated & emotional) painters painted ceilings w/ angels & saints **operas** w/ elaborate stage effects & arias(songs); abt gods & heroes of ancient Greece big **polyphonic** fugues **ornaments** like trills & apoggiaturas; frequent embellishments dance - **suites**, minuet? many pieces written in **through-bass** style
36
Baroque composers
Bach, Handel, Telemann, Rameau, Couperin, Purcell BHTRCP; But He Tripped Ron's Cute Puppy!
37
Classical period
1750-1820 poise, homophonic, runs, sonata, German; PHRSG; Pack His Right Saw, Grady! giants = Mozart & Haydn **poise, balance, & simplicity** clothing & architecture simpler polyphony going out & ornaments fewer; mostly **homophonic** **runs** based on scales & arpeggios development of **sonata** form dances - **German**, Country, Ecossaises, etc.; replace still-popular minuet
39
Classical composers
Haydn, Mozart, Clementi, early Beethoven, Kuhlau, early Schubert, Diabelli HMCBKSD His Mom Can Be Kind So Demand
40
sonata form
multi-movement composition developed in Classical period used for solo sonatas, emsembles for small groups, symphonies(full orchestra), & concerti (1+ solo instruments backed by orchestra) usually 4 movements 1. fast/allegro & sonata-allegro form 2. slow; in a key closely related to 1st; AB, ABA, / theme & variations form; sometimes composer reverses order of this movement & next 3. minuet & trio in classical, altho Beethoven & others often wrote scherzo instead 4. fast, often in rondo form, in key of 1st movement/parallel major if sonata = only 3 movements, minuet/scherzo/3 usually omitted
41
scherzo
playful, joking, or mischevious sort of piece usually in triple meter
42
Romantic period
1820-1900 chromaticism, orchestra, Lied, emotion, rich, opera; COLERO **emotion** - vital to literature, opera, songs & instrumental solos German **Lied**(song) flourished; Lieder by Schubert, Schumann, & Brahmns interwove the voice line w/ ingenious piano accompaniments **chromaticism** - major change in harmony; melodic lines often moved chromatically & so did underlying chord progressions key/tonal cneter less clear & sound **richer** as chords used not closely related to key **orchestra** expanded **instruments** redesigned to have wider ranges of sound opera developed - **Grand Opera **= crowd-pleasing spectacles; Wagner's long, heavy music-dramas = myths of Germanic peoples, & operas such as "Carmen" or "La Boheme" told of ordinary working ppl
43
Romantic composers
Schumann, Chopin, most of Schubert, late Beethoven, Liszt, Tschaikovsky, Bizet, Rachmaninoff, Verdi, Puccini, Wagner SCSBLTBRVPC So Cold So Blind Like Terrible Bruises Rippling Vastly Promises Collide
44
20th Century period
1920-2000 new, dissonance, instruments, irregular, chromaticism, atonal, separate, electronic; NIDICASE **new** chords, new scales (whole-tone, blues), rebirth of ancient scales(modes), & **dissonance** new use for **instruments** - strumming piano strings, knocking strings wood, playing @ extreme high/low range of instruments **irregular meters** - 5/4, 7/4, etc.; frequent meter changes extreme **chromaticism** - total eradication of any sense of key - **atonal(serial) **music African-Am & jazz music popular popular & serious music have **developed separately**, but Gershwin, Bernstein have written both performers usually play only jazz, pop, / serious, but Goodman, Miller, Marsalis have done 2+ **electronic** instruments, com's, cassette, & CD recording, MIDI, etc.
45
20th Century composers
Bartok, Kabalevsky, Stravinsky, Prokofiev, DelloJoio, copland, Bernstein, Schoenberg, Gershwin, Menotti KBSPDCBSGM Kindness Brightens Sad People, Does Coldness Blind Sunny Girls Much?
46
brio
brilliance
47
coda codetta
an ending section of a composition literally, tail codetta = a brief coda
48
con
with
49
leggiero
lightly
50
mosso
agitated
51
moto
motion
52
piu
more
53
sempre
always
54
simile
in the same way
55
sonata-allegro form
the form of the 1st movement of most sonatas 1. Exposition 1. principal theme(tune), in tonic/key of piece 2. secondary theme, in closely related key, usually dominant/relative major; Look for added sharp or subtracted flat, showing change of key, and for a diff character to the music; sometimes cadence first 2. Development - Look for double bar; 1/both themes played in diff ways, in diff keys, sometimes in snatches. in sonatina, short "bridge" passage may replace 3. Recapitulation 1. Principal theme repeated in tonic key 2. secondary theme repeated in tonic 4. Coda may follow
56
theme & variations
a theme followed by a # of variations w/ diff moods & treatments
57
sonatina
small, short sonata may have 1,2, or 3 movements 1st movement may be shorter than sonata cuz: themes r short, only one theme is used, or development is shortened/omitted Sometimes one theme left out in recapitulation section.

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