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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.

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AP Music Theory Vocabulary

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  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

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