1 / 131

AP Music Theory Vocabulary

AP Music Theory Vocabulary. Jeopardy style. Musical texture- all performers on same notes and rhythms without harmony. monophonic (monophony) --unison/doubled at octave--. Musical texture- melody plus accompaniment can be chordal. homophonic  (homophony) Arpeggiation, Alberti Bass.

derex
Download Presentation

AP Music Theory Vocabulary

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. AP Music Theory Vocabulary Jeopardy style

  2. Musical texture-all performers on same notes and rhythms without harmony monophonic (monophony) --unison/doubled at octave--

  3. Musical texture-melody plus accompanimentcan be chordal homophonic  (homophony) Arpeggiation, Alberti Bass

  4. Musical texture-chordal all voices move at the same time homorhythmic

  5. Musical texture-all performers on same melody but add individual embellishments heterophonic (heterophony) --often Non-Western--

  6. Musical texture-more that one independent line occurring at the same time polyphonic (polyphony) --imitative and non-imitative— fugue, canon can be contrapuntal

  7. Meter-note value that gets 1 pulse in the music macrobeat

  8. Meter-note value for the first level of subdivision microbeat (i.e. eighth note in 2/4 time)

  9. Meter-macrobeat is divided into 2 equal parts simple 2/4, 2/2

  10. Meter-macrobeat is divided into 3 equal parts compound 6/8, 3/16

  11. Meter-regular grouping of macrobeats in two’s duple 2/4, 2/2 = simple duple 4/4 can be called quadruple 6/8= compound duple

  12. Meter-macrobeats grouped in three’s triple 3/4 = simple triple 9/8 = compound triple

  13. Meter-combinations of simple and compound macrobeats within the measure asymmetrical or irregular 5/4 (2+3 or 3+2), 7/8

  14. Rhythm-placement of an accent where one would not normally occur syncopation

  15. Rhythm-an accent of length, rather than volume agogic accent perceived accent because this longer note is surrounded by faster notes or is deliberately lengthened by performer. (Viennese Waltz, Mazurka)

  16. Rhythm-an accent resulting from pattern of notes in the rhythm metrical accent (like in syncopation) also the ‘downbeat accent’

  17. Rhythm-‘pick up’ notesincomplete measure as the start of a phrase anacrusis

  18. Rhythm-doubling the note values augmentation

  19. Rhythm-halving the note values diminution

  20. Rhythm-two groups of three beats are replaced by three groups of two beats. hemiola

  21. Rhythm-in compound meter, group of 2 notes in the space of 3 duplet

  22. Rhythm-in simple meter, group of 3 notes in the space of 2 triplet

  23. Rhythm-in compound meter, group of 4 notes in the space of 3 quadruplet

  24. Rhythm-in simple meter, group of 6 notes in the space of 2 sextuplet

  25. Rhythm- metric note groupings within the measure that are different from typical metric pattern cross rhythm (as in hemiola) 9/8 = 2+2+2+3 rather than 3+3+3

  26. Rhythm-Simultaneous contrasting metric patterns polyrhythm

  27. Rhythm-rhythmic feel when eighth note pairs feel like the outer notes of a triplet group swing rhythm

  28. Expression-an accent of length, rather than volume agogic accent perceived accent because this longer note is surrounded by faster notes or is deliberately lengthened by performer. (Viennese Waltz, Mazurka)

  29. Expression-an accent of volume, emphasis is created because one note is louder than the others dynamic accent

  30. Expression-an accent resulting from pattern of notes in the rhythm metrical accent (like in syncopation) also the ‘downbeat’ accent

  31. Harmony-point at which a phrase comes to rest cadence

  32. Harmony-V – I or V-i authentic cadence

  33. Harmony-phrase ending V-I or V-iboth chords in root position,soprano ends on tonic perfect authentic cadence (PAC)

  34. Harmony- - phrase endingV-I or V-iboth chords in root position,soprano ends on 3rd or 5th imperfect authentic cadence (IAC)

  35. Harmony-phrase ending on V half cadence (semi cadence)

  36. Harmony-phrase ending IV – I or iv-i plagal cadence

  37. Harmony-phrase ending V-vi, V-ii(when V-vi, vi is in root position) deceptive cadence

  38. Harmony-phrase ending iv6 – V (in minor key only)[slow mvt. of Baroque concerti] phrygian half cadence

  39. Harmony-triadM3 & P5 above root(M3 plus m3) Major

  40. Harmony-triadm3 & P5 above root(m3 plus M3) minor

  41. Harmony-triadm3 & d5 above root(m3 plus m3) diminished

  42. Harmony-triadM3 & A5 above root(M3 plus M3) Augmented

  43. Harmony-Major triad plus minor 7th Dominant 7th

  44. Harmony-Major Triad plus Major 7th Major 7th

  45. Harmony-minor triad plus minor 7th minor 7th

  46. Harmony-diminished triad plus minor 7th ½ dim 7th Ø m7♭5

  47. Harmony-4 notes, all minor thirds fully diminished 7th

  48. Harmony64 cadential 6---5 4---3 I V

  49. Harmony64unaccented placementmiddle of passing tones in bass passing 6 4

  50. Harmony64bass note stays sameupper notes of harmony (root & 3rd)move by step & return pedal 6 4

More Related