Music Theory Super Quiz #1
Terms
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- Ionian Mode
- 1st
- Dorian mode
- 2nd
- Phrygian mode
- 3rd
- Lydian Mode
- 4th
- Mixolydian Mode
- 5th
- Aeolian Mode
- 6th
- Which intervals are always perfect?
- 1, 4, 5, 8
- Compund Intervals
- encompass more than an octave
- Tonic
- I.
- supertonic
- II.
- Mediant
- III.
- Sub-Dominant
- IV.
- Dominant
- V.
- SubMediant
- VI.
- Leading Tone
- VII.
- Major Triad
- Major 3rd, Perfect 5th
- Minor Triad
- Minor 3rd, Perfect 5th
- Diminished Triad
- minor 3rd, diminished 5th
- Augmented Triad
- major 3rd, augmented 5th
- 7 resolves to
- 6
- 6 resolves to
- 5
- 4 resolves to
- 3
- 2 resolves to
- 1
- Compound Meter
- simple meter multiplied by 3 (3/8 is simple 9/8 is compound)
- Irregular Meter
- combination of beats, i.e. 7/4
- Motive
- Smallest independent fragment of a melody
- Phrase
- several motives
- antecedent
- question
- consequent
- answer
- Similar Motion
- same direction, not same distance
- Parallel Motion
- tones move in same distance and direction
- Contrary Motion
- tones move in opposite directions
- Oblique Motion
- One tone remains stationary while the other moves in either direction
- authentic cadence
- V-I
- Plagal Cadence
- IV-I
- Half Cadence
- IV-V or I-V
- I6
- first inversion
- I 64
- second inversion
- I 65
- first inversion of seventh
- I 43
- second inversion or seventh
- I 21
- third inversion of seventh
- First inversion chords, double the?
- root or fifth
- Unnaccented passing tone
- of the beat non harmonic tone
- Accented passing tone
- on the beat passing tone occuring in a line
- In the second inversion double the?
- root of the chord (fifth)
- Cadential Six-Four
- I64-V-I
- Passing Six_Four
- IV-I64-IV6
- Neighboring Six-Four
- V-I64-V
- Embellishing Six-Four
- I-IV64-I
- Dominant Six-Four
- I-V64-I6 or I6-V64-I
- Ternary form of melody writing
- A B A
- Neigboring Tone
- non harmonic tone appearing between a chordal tone and its repetition
- Suspension
- chordal tone which carries through the change of harmony and resolves stepwise downward to a chord tone of the second chord
- Accented suspension
- tone is sounded again at the change of harmony instead os sounding through
- indirect suspension
- other tones are inserted between the suspension and its resolution
- Anticipation
- unaccented non harmonic tone which belongs to the second of two chords but is sounded before the second chord is heard
- Harmonic Rythym,
- rythym of when the harmony changes
- melodic rythym
- rythym of when the melody changes
- Appogiatura
- accented non harmonic tone which is approached by a skip and resolved stepwise in the opposite direction
- Echappee
- unnaccented non harmonic tone is approached stepwise in the opposite direction which is opposite to the resolution then moves by skip to the note of resolution
- Cambiata
- unnaccented non harmonic tone is approached skip in the opposite direction which is opposite to the resolution then moves stepwise to the note of resolution