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Music Theory RCM terms level 8 > Things to remember > Flashcards

Things to remember Flashcards

1
Q

the distance between each key and the next is a

A

5th

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2
Q

d flat is enharmonic to

A

c sharp

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3
Q

g flat is enharmonic to

A

f sharp

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4
Q

c flat is enharmonic to

A

b

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5
Q

tonic

A

1/8

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6
Q

supertonic

A

2

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7
Q

mediant

A

3

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8
Q

subdominant

A

4

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9
Q

submediant

A

6

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10
Q

leading note

A

7

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11
Q

major scales

A

wwhwwwh

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12
Q

natural minor scales

A

semitones are between notes 2,3 and 5,6

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13
Q

harmonic minor

A

semitones are between notes 2,3 and 5,6 and 7,8

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14
Q

whole tone scales

A

7 notes, all whole steps

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15
Q

octatonic

A

alternating tones and semitones. has 9 notes.

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16
Q

blues scale

A
  • use the major scale
  • omit 2 and 6
  • lower the 3 and 7
  • add a lowered 5th.
  • the changed notes are the blue notes
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17
Q

major pentatonic

A

major scale without 4 and 7

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18
Q

minor pentatonic

A

without 2 and 6

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19
Q

chromatic

A

go up all half steps. never use the same letter more than twice

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20
Q

ionian

A

same as major scale but using accidentals

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21
Q

dorian

A

starting on second degree of given name

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22
Q

phrygian

A

starting on third degree of given name

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23
Q

lydian

A

starting on fourth degree of given name

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24
Q

mixolydian

A

starting on fifth degree of given name

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25
Q

Aeolian

A

starting on sixth degree of given name

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26
Q

locrian

A

starting on seventh degree of given name

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27
Q

going from large intervals to compound intervals

A

add/subtract 7. eg. a perfect 2 is now a compound perfect 9

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28
Q

to invert a compound interval

A

write either bottom note two octaves higher or lower note or write the top one down an octave and the lower one above an octave.

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29
Q

simple duple time

A

upper number is always 2

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30
Q

simple triple time

A

upper number is always 3

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31
Q

simple quadruple

A

upper number is always 4

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32
Q

compound duple

A

two beats per measure. upper number is always 6 while lower can be 4,8 or 16

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33
Q

compound time

A

three pulses. represented by a dotted note.

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34
Q

compound triple time

A

upper number is always 9, lower can be 4,8 or 16

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35
Q

compound quadruple time

A

upper number is always 12, lower can be 4,8 or 16

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36
Q

hybrid duple

A

five pulses in two beats. can be a 3 +2 or 2 +3, upper number is always 5 while lower can be 2,4,8,16

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37
Q

hybrid triple

A

upper number is always 7 while lower can be 2,4,8,16

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38
Q

hybrid quadruple time

A

upper number is always 9,10,11 while lower can be 2,4,8,16

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39
Q

type

A

quality

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40
Q

degree

A

written in roman numerals and small roman if not major. only the perfect guys are major

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41
Q

major triads can be built on

A

Major: the first, fourth and fifth
Minor: the fifth and the 6th

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42
Q

minor triads can be built on

A

major: second, third, 6th
Minor: first and fourth

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43
Q

diminished triads can be built on

A

major: 7th
minor: 2nd and 7th

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44
Q

augmented triads can be built on

A

major: none
minor: third

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45
Q

augmented triads

A

major third and augmented 5th above root

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46
Q

diminished triads

A

minor 3rd and diminished 5th above root

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47
Q

triad

A

chord consisting of a root, 3rd and 5th

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48
Q

7th chord

A

chord consisting of a root, 3rd, 5th and 7th

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49
Q

quartal chord

A

chord built on a series of 4ths

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50
Q

cluster

A

chord consisting of a combination of at least three adjacent notes of any scale

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51
Q

polychord

A

combination of two or more different chords

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52
Q

perfect cadence

A

5-1

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53
Q

plagal cadence

A

4-1

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54
Q

imperfect cadence AKA half close

A

anything that starts on 1 or 4 and ends on 5

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55
Q

to write cadences in general

A

write notes of the required chords. the write the roots in the bass clef then write one of the notes in the treble and the notes below it. Rewrite the common tone in the next measure and repeat

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56
Q

alto clef

A

places “c” on the third line. the key signatures go down

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57
Q

tenor clef

A

places “c” on the fourth line, key signatures go up for sharps and down for flats

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58
Q

in a major scale, the 7th note is called

A

the leading tone

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59
Q

in a minor, natural scale, the 7th is called

A

the subtonic

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60
Q

in a minor, harmonic scale, the 7th is called

A

the leading tone

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61
Q

authentic cadence

A

5 to 1

62
Q

half cadence

A

imperfect cadence (anything ending on v)

63
Q

string quartet score

A

first violin: (treble)
second violin (treble)
viola (alto)
cello (bass)

has a giant bracket on it and is a 4 part score
double bar line at the end connecting all the scores
lines connect all measures together

64
Q

modern vocal score

A

abbreviated as SATB
AKA chorale style

soprano: (treble)
alto (treble)
tenor (written one octave higher than the actual sound)
bass (in the bass clef)

sometimes tenor has a small number 8 to indicate octave transposition
there is text in this score sometimes

there is individual bar lines not connecting the score but there is a bracket at the beginning connecting them all
double bar line doesn’t connect at the end

65
Q

short score

A

where voices are written as two staves. stems go up and down

66
Q

open score

A

each instrumental voice is written on its own staff ex. string quartet score and modern vocal score

67
Q

trumpet and clarinet transposition

A

written a major second higher than concert pitch so lower it a major second if going from transposition to concert pitch

68
Q

french and english horn transposition

A

written a perfect fifth higher than concert pitch so lower it a major second if going from transposition to concert pitch

69
Q

transposition

A

minor and major keys stay as they are

70
Q

functional chord symbols

A

the I, II etc things. the 7 indicates a 7th chord

71
Q

chorale style cadence

A

written in treble and bass where S and A are treble together. since there is four notes, double the tonic. if there is a common tone, it should stay in the same voice.

72
Q

soprano voice range

A

from low c to high g

73
Q

alto voice range

A

low low g to medium c

74
Q

tenor voice range

A

bass clef c to low g in treble

75
Q

bass voice range

A

bass from low e, to middle c in treble

76
Q

parallel motion

A

when voices move in same direction maintaining the same intervals

77
Q

similar motion

A

voices going same direction but changing intervals

78
Q

contrary motion

A

voices move in opposite directions

79
Q

oblique motion

A

occurs when one voice remains stationary and other moves

80
Q

baroque era

A

1600-1750

81
Q

classical era

A

1750-1825

82
Q

romantic era

A

1825-1900

83
Q

modern era

A

1900-present

84
Q

Dm

A

D minor chord

85
Q

D

A

d major chord

86
Q

D+

A

d major augmented

87
Q

D with a circle

A

d minor diminished

88
Q

D7

A

d with an added 7th

89
Q

scale degree numbers

A

written with a little hat ex 3 with a hat

90
Q

major triad intervals

A

maj 3 anf per 5

91
Q

augmented

A

maj 3, aug 5

92
Q

minor triad

A

min 3 per 5

93
Q

diminished triad

A

min 3, dim 5

94
Q

seventh chord

A

root of triad and add a min 7th on top

95
Q

be careful when writing intervals below notes

A

write the interval first, then asses

96
Q

mnemonic for order of modes

A

I Don’t Particularly Like Modes A Lot

97
Q

when is a breve rest used

A

full measure of silence in 4/2, 9/4 and 12/4

98
Q

compound perfect intervals are

A

11,12 and 15

99
Q

triplets are in the time of

A

2 eight notes

100
Q

duplets are in the time of

A

three eight notes

101
Q

quadruplets are in the time of

A

three eight

102
Q

quintuplets are in the time of

A

three, 4 or 5 16th notes

103
Q

sextuplets are in the time of

A

4 16th notes

104
Q

septuplets

A

are in the time of 4 or 6 16th notes

105
Q

root/quality chords

A

the Dm, e flat m things. a slash indicates an inversion for example, if it is a c chord inversion and the bottom note is e, it will be written as C/E

106
Q

chords of major scale

A

major: 1,4,5
minor: 2,3,6
diminished: 7

107
Q

chords of minor scale, natural form

A

major: 3,6,7
minor: 1,4,5
diminished: 2

108
Q

chords of minor scale, harmonic form

A

major: 5,6
minor: 1,4
diminished: 2,7
augmented: 3

109
Q

root position functional chord symbol

A

just roman numeral

110
Q

first inversion functional chord symbol

A

roman numeral 6 at top

111
Q

second inversion functional chord symbol

A

roman numeral with 6, 4 on top

112
Q

dominant 7th chord root position functional chord symbol

A

roman numeral with a 7

113
Q

dominant 7th chord 1st inversion functional chord symbol

A

roman with 6,5

114
Q

dominant 7th chord second inversion functional chord symbol

A

roman with 4,3

115
Q

dominant 7th chord 3rd inversion functional chord symbol

A

roman numeral 4,2

116
Q

7th chords root quality chord symbols

A

written with a 7, if it is diminished, the circle comes before the 7

117
Q

chorale style cadence

A

when the stems go up and down SATB style and the root must be doubled (usually the bass)

118
Q

keyboard style cadence

A

just the simple chords and stuff

119
Q

motives

A

short rhythmic melodies that are used as building blocks to create melodies

120
Q

phrases

A

musical sentences, they always end with cadences

121
Q

stable scale degrees

A

1 and 3. notes of tonic triad

122
Q

unstable degrees

A

2 and 7 make it sound unfinished. notes of dominant triad

123
Q

antecedent

A

the first phrase that ends on a unstable scale degree.

124
Q

consequent

A

answer phrase, ends on stable degree

125
Q

a

A

used to identify phrases that are exactly the same in a piece

126
Q

a1

A

use to identify phrases that are similar to a but not exactly the same

127
Q

b

A

contrasting phrase

128
Q

parallel period

A

first two bars are the same, end on stable degree and

129
Q

when asked for type

A

state major, minor, diminished etc.

130
Q

passing tones

A

fill the gaps between chord notes resulting in stepwise motion

131
Q

neighbour tones

A

go up and down back to the same chord tone, ex. g-a-g a is the neighbour tones

132
Q

always approach cadences in composition in

A

stepwise motion

133
Q

ordo virtutum composer

A

hildegard von bingen

134
Q

ordo virtutum

A

is a morality play, has monophonic texture, is a plainchant built on modes, medieval era

135
Q

monophonic texture

A

has a single line only

136
Q

devil and virtues

A

ordo virtutum

137
Q

sumer is icumen in composer

A

anonymous composer, medieval era

138
Q

sumer is icumen in is a

A

rota, round sung by vocalists, polyphonic, obstinate

139
Q

polyphonic texture

A

combination of two or more independent melodic lines

140
Q

ostinato

A

recurring rhythmic or melodic pattern

141
Q

el grillo composer

A

josquin des prez, renaissance era

142
Q

frottola

A

polyphonic vocal genre, playful poems and word painting

143
Q

el grillo

A

frottola, word painting, a cappella homorhythmic texture

144
Q

javanese gamelan

A

gamelan, metallophones

145
Q

a capella

A

vocal music without instrument

146
Q

homorhythmic texture

A

all voices have same rhythmic pattern,

147
Q

gamelan

A

features instruments with wooden bars and drums

148
Q

metallophones

A

metal bars struck with mallets

149
Q

raga

A

used as a basis of improvisation, literally means colour

150
Q

sitar

A

instrument of string

151
Q

tala

A

means clap, provides rhythmic structure for a composition or performance. expressed by percussion instruments, more likely the tabla

Music Theory RCM terms level 8 (11 decks)

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