A. P. Music theory colonia high school first day packet

WRITE DIMINISHED TRIADS BASED ON THE GIVEN NOTE. LABEL THEM APPROPRIATELY WITH A LOWER CASE LETTER AND CIRCLE (THE FIRST ONE IS g*)

-DIMINISHED TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3^RD,

AND ___________ HALF STEPS BETWEEN THE 3^rd AND 5^th.

WRITE AUGMENTED TRIADS STARTING WITH THE GIVEN NOTE. LABEL THE TRIAD APPROPRIATELY WITH AN UPPER CASE LETTER AND + SIGN. THE FIRST ONE IS D#+

-AUGMENTEDED TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3^RD,

AND ___________ HALF STEPS BETWEEN THE 3^rd AND 5^th.

Read each definition on the left very carefully, then choose the word to the right that best suits the definition and write its letter(s) on the line provided.

Do the best you can. You may use any source to find the information.
FORM

_____ 1. returning material, like a chorus a. cadence

_____ 2. opening material b. coda

_____ 3. performed by one c. contour

_____ 4. performed by all d. countermelody

_____ 5. Backwards e. introduction

_____ 6. upside down f. augmentation

_____ 7. the main melody g. diminution

_____ 8. ending material h. inversion

_____ 9. when melodies are shortened i. literal repetition

_____ 10. a small, recurring segment of a melody j. retrograde

_____ 11. the shape of a melody k. sequence

_____ 12. the main melody played differently somehow l. transposition

_____ 13. where a phrase comes to rest or resolves m. motive

_____ 14. when melodies are lengthened n. contrasting period

_____ 15. continuous music without repeating sections o. double period

_____ 16. when music is repeated exactly the same p. parallel period

_____ 17. the blueprint of music (how it is structured) q. phrase group

_____ 18. verse-chorus form (like a hymn) r. refrain

_____ 19. 2-part form (A B), sections often repeated s. form

_____ 20. binary but first section returns in part (ABA’) t. binary

_____ 21. 3-part form (ABA),first section returns complete u. rounded binary

_____ 22. a secondary melody appearing with the primary v. ternary

_____ 23. move to a new key (often accidentals appear) w. solo/soli

_____ 24. immediate repeat of melody but higher/lower x. strophic

_____ 25. two phrases that begin the same y. theme

_____ 26. two phrases that begin differently z. through-composed

_____ 27. two periods together aa. tutti

_____ 28. phrases that seem to go together but don’t form a period bb. variation

HARMONY

_____ 1. pleasant, stable sounding harmony a. scale degrees

_____ 2. harmony that clashes b. circle of fifths

_____ 3. note up on which a triad or chord is built c. harmonic rhythm

_____ 4. numbers assigned to notes in a scale (^ above number) d. modulation

_____ 5. notes in a chord played separately (broken triad) e. arpeggio

_____ 6. when the final chord of a minor piece is Major f. chromatic

_____ 7. the rate at which the harmonies change g. consonance

_____ 8. key change h. diatonic

_____ 9. pitches that fit within the key i. dissonance

_____ 10. a tool for remembering key signatures j. Picardy third

_____ 11. by half steps k. resolution

_____ 12.dissonance moving to consonance, or cadence l. root

INTERVALS

_____ 1. smallest interval in Western music a. interval

_____ 2. interval made up of two half steps b. half step (semitone)

_____ 3. both voices on same pitch c. whole step (whole tone)

_____ 4. turning the interval upside down d. inversion

_____ 5. the distance between two notes e. octave

_____ 6. interval that is exactly 12 semitones apart f. unison (prime)
PERFORMANCE TERMS

_____ 1. the speed of the beat a. articulation

_____ 2. curved line connecting 2+ different pitches b. legato

_____ 3. louds and softs in musics c. marcato

_____ 4. smooth and connected style d. pizzicato

_____ 5. light and separated style e. slur

_____ 6. marchlike style; separated but with strength f. staccato

_____ 7. plucked style g. tenuto

_____ 8. gradually get softer h. dynamics

_____ 9. gradually get louder i. crescendo

_____ 10. the way a note is attacked or style of playing j. diminuendo

_____ 11. gradually slowing down k. terrace dynamics

_____ 12. gradually speeding up l. tempo

_____ 13. to stretch a note to its full value m. accelerando

_____ 14. abrupt shifts in dynamics n. ritardando

_____ 15. freedom in tempo that slows then speeds up; o. rubato

literally, “rob” time then give back
RHYTHM/METER

_____ 1. the steady pulse a. accent

_____ 2. regular beat groupings create this b. anacrusis

_____ 3. tells how many beats per measure c. meter

_____ 4. tells what kind of note gets the beat d. duple meter

_____ 5. beat that can be divided into two e. quadruple meter

_____ 6. beat that can be divided into three f. triple meter

_____ 7. meter where top number is divisible by 2 g. beat

_____ 8. meter where top number is divisible by 3 h. simple beat

_____ 9. adds half of a note’s value to a note i. compound beat

_____ 10. shortening a rhythm by halving the note values j. asymmetrical meter

_____ 11. lengthening a rhythm by doubling note values k. changing meter

_____ 12. pickup note/beat l. top# of time sig.

_____ 13.emphasizing note by rhythmic placement, length m. bottom# of time sig.

_____ 14. putting a strong sound on a weak beat n. augmentation

_____ 15. these visually divide music into measures o. diminution

_____ 16. curved line connecting 2+ notes of same pitch p. bar lines

_____ 17. meter that is not consistent; changes r. rhythm

_____ 18. meter whose measures are not evenly divisible s. cross rhythm

_____ 19. organization of music using notes and rests t. dot

_____ 20. notes barred into sets of 2 (2 above the bar) u. duplet

_____ 21. notes barred into sets of 3 (3 above the bar) v. triplet

_____ 22. rhythm that defies the established beat division w. hemiola

_____ 23. uses accents to turn triple feel into duple x. syncopation

_____ 24. sometimes used in meters with larger top y. tie

numbers that are divisible by 4
SCALES/KEYS/MODES

_____ 1. refers to whether a piece is Major, minor, or modal a. accidental

_____ 2. the earliest scales prior to Major & minor b. chromatic

_____ 3. sharp, flat, or natural changing the pitch of a note c. diatonic

_____ 4. tonality with a Major 3rd; WWhWWWh scale pattern d. major

_____ 5. tonality with a minor 3rd; WhWWhWW scale pattern e. minor

_____ 6. 7-note scale made up entirely of whole steps f. modes

_____ 7. 13-note scale made up entirely of half steps g. pentatonic

_____ 8. 5-note scale using scale degrees 1, 2, 3, 5 & 6 h. tonality

_____ 9. 8-note scale (repeating octave) with 5 whole steps and 2 i. whole tone

1/2steps; also, term given to the pitches that fit w/in scale

TEXTURE

_____ 1. same as a round a. alberti bass

_____ 2. collection of pitches that make up a theme b. canon

_____ 3. a melody repeats in a different voice but varied a bit c. chordal accomp.

_____ 4. the sound of the instrument or voice being used d. counterpoint

_____ 5. texture w/obvious melody & separate accompaniment e. imitation

_____ 6. accompaniment that is made up of chords f. heterophony

_____ 7. only one “voice” (or line of music) g. homophony

_____ 8. more than one voice, moving precisely together h. monophony

_____ 9. more than one voice, moving independently i. polyphony

_____ 10. more than one voice, moving together (not precisely) j. melody w/accomp.

_____ 11. more than one voice, moving rhythmically together k. melody

_____ 12. continuous bassline, almost entirely stepwise (esp.jazz) l. homorhythmic

_____ 13. continuously repeated motive, usually throughout m. timbre

_____ 14. continuous broken chord: R-5-3-5, R-5-3-5, etc. n. obbligato

_____ 15. part of the voicing that is mandatory o. ostinato