trmsnde a symbols used on the ap music theory exam

11© 2012 The College Board. Visit the College Board on the Web: www.collegeboard.org.

termsandSymbolsusedontheAPMusictheoryExamDavid Lockart

The terms and symbols in the list below may appear in the directions or questions on the AP Music Theory Exam, as well as in course instructional materials . As such, the list will be an invaluable guide in the development of an AP Music Theory course, but it is not intended to limit course content — some teachers may choose to include topics not shown here .

It is important to note that the list does not include extremely basic musical vocabulary, even though such widely used terms may be used on the exam — for example, “quarter note” is not listed . Nor is every term of equal importance — for example, “strophic” and “rubato” may not appear on every exam, but “melody,” “phrase” and “texture” certainly will .

Definitions and illustrations of the terms and concepts listed here can be found in music theory textbooks and standard reference works, such as The New Harvard Dictionary of Music.

FormSymbolsLowercase letters indicate musical phrases or subsections: for example, a b indicates a contrasting period; a b a indicates a phrase, contrasting phrase and return to the original phrase . A prime (as in a a' ) denotes a phrase and a varied restatement . Capital letters are used to indicate larger sections of compositions .

TermsCadenceCadential extensionCodaCodettaContourCountermelodyElision (phrase elision)Fragment (fragmented motive)Introduction Jazz and pop terms bridge chorus song form (AABA) turnaround twelve-bar blues

Melodic procedures augmentation conjunct diminution disjunct extension, phrase extension fragmentation internal expansion inversion, melodic inversion literal repetition motivic transformation octave displacement retrograde rhythmic transformation sequence sequential repetition transposition truncation

12 © 2012 The College Board. Visit the College Board on the Web: www.collegeboard.org.

MotivePeriod antecedent consequent contrasting period double period parallel periodPhrase groupRefrainSmall forms binary rounded binary simple binary ternary

Solo, soliStanzaStrophicTheme thematic transformationThrough-composedTuttiVariationVerse

HarmonySymbols

Roman and Arabic numerals Capital Roman numerals denote major triads . Lowercase Roman numerals denote minor triads . A capital Roman numeral with a “ + ” indicates an augmented triad . A lowercase Roman numeral with a “ ø ” indicates a diminished triad .

Arabic numerals or figured-bass symbols denote intervals above the bass and hence indirectly indicate chord inversion . Arabic numerals may indicate voice leading and/or nonharmonic tones .

Triads 6 indicates a first inversion triad 6

4 indicates a second inversion triad

Seventh Chords 7 indicates a root-position seventh chord ø7 indicates a diminished (fully-diminished) seventh chord Ø7 indicates a half-diminished seventh chord 6

5 indicates first inversion 4

3 indicates second inversion 4

2 indicates third inversion

Other figures 8–7 indicates melodic movement from an octave to a seventh above the bass . 9–8, 7–6, 4–3 indicate a suspension and melodic resolution .

An accidental before an Arabic numeral indicates alteration of the interval involved .A figure with a slash (e .g ., ) or a plus (e .g ., 4+) indicates that the note creating the interval in question is raised a half step .


Cadence TypesAuthentic imperfect authentic perfect authenticConclusive cadenceDeceptiveHalf Phrygian halfInconclusive cadencePlagal

Chord QualityTriads augmented or +

diminished or ø major or M minor or m

Seventh chords major seventh (MM; M7) (“major-major”)

dominant seventh (Mm7) (used for major-minor seventh chords exercising a dominant function)

major-minor seventh (Mm7) (same quality as dominant seventh without denoting function)

minor seventh (m7; mm) (“minor-minor”) half-diminished seventh (Ø7; dm) (“diminished-minor”) fully-diminished seventh (ø7; dd) (“diminished-diminished”)

Functions and ProgressionsScale degrees/diatonic chord names tonic supertonic mediant subdominant dominant submediant subtonic leading toneFunctions tonic function dominant function predominant functionCircle of fifthsDeceptive progression

Harmonic rhythmModulation common tone modulation phrase modulation pivot chord modulationNeighboring chordRate of harmonic changeRealize, realization of a figured bass,

realization of a four-part Roman numeral progression

RetrogressionSecondary dominantSecondary leading tone chordTonicization


Treatment of second inversion ( 64 ) triads

Arpeggiating 64—a 6

4 created by arpeggiation of the triad in the bass (e .g ., 1a) .

Cadential 64—a I6

4 preceding the dominant, often at a cadence . Although it contains the notes of the tonic triad, it does not exercise a tonic function but rather serves as an embellishment of the dominant . It occurs in a metrically stronger position than the dominant, and the upper voices most often move by step to the tones of the dominant . May also be written as V6

4 • 53 , including the resolution of the cadential 6

4 to the dominant (e .g ., 1b) .

Neighboring or pedal 64 (embellishing 6

4, auxiliary 64 )—occurs when the third

and fifth of a root position triad are embellished by their respective upper neighboring tones, while the bass is stationary, usually occurring on a weak beat (e .g ., 1c) .

Passing 64—harmonizes the second note of a three-note ascending or

descending scale fragment in the bass; that is, it harmonizes a bass passing tone . The usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step (e .g ., 1d) .

1a . Arpeggiating 64 1b . Cadential 6

4 1c . Neighboring 1d . Passing 64

or pedal 64

Nonharmonic Tones (Nonchord Tones)AnticipationAppoggiaturaEmbellishmentEscape tone (échappeé) Neighboring tone (auxiliary tone, embellishing tone, neighbor note) double neighbor lower neighbor upper neighbor

neighbor group (cambiata, changing tones, changing notes)

OrnamentPassing tone (accented, unaccented)Pedal pointPreparationResolutionRetardationSuspension rearticulated suspension suspension chain

•


Spacing/Voicing/PositionAltoBassClose position DoublingFirst inversionInversion, inversion of chordsOpen position

RootRoot positionSecond inversionSopranoTenorThird inversion

Voice LeadingCommon toneContrary motionCross relation (false relation)Crossed voices (voice crossing)Direct fifths (hidden fifths)Direct octaves (hidden octaves)Oblique motionOverlapping voicesParallel motion

Parallel intervals objectionable parallels parallel fifths parallel octavesSimilar motionTendency toneUnresolved leading toneUnresolved seventhVoice exchange

Miscellaneous Harmonic Terms

Arpeggio, arpeggiationChromaticCommon Practice StyleConsonanceDiatonicDissonance

Figured bassFlatted fifthLead sheetPicardy thirdResolution

IntervalsCompound intervalHalf step (semitone)IntervalInversion, inversion of an intervalNumerical names (i .e ., third, fifth, octave)Quality or type (e .g ., perfect, major, minor, diminished, augmented)TritoneUnison (prime)Whole step (whole tone)


PerformancetermsAntiphonalArticulation arco legato marcato pizzicato slur staccato tenutoCall and responseDynamics crescendo diminuendo terrace dynamics pianissimo pp piano p mezzo piano mp mezzo forte mf forte f fortissimo f f sforzando sf; sfz

Improvisation, improvisatory PhrasingTempo adagio allegro andante andantino grave largo lento moderato presto vivace

accelerando ritardando ritenuto rubatoTremoloTrill

Rhythm/Meter/temporalorganizationAccent agogic accent dynamic accent metrical accentAnacrusis (pickup; upbeat)Asymmetrical meterAugmentationBar lineBeatBeat type compound simpleChanging meterCross rhythmDiminutionDot, double dotDotted rhythmDuplet

DurationHemiolaIrregular meterMeter duple quadruple tripleNote valuePolyrhythmPulseRhythmSwing rhythmSyncopationTempoTieTime signature (meter signature)Triplet


Scales/Keys/ModesAccidentalChromatic, chromaticismDiatonicKey signatureMajorMinor harmonic minor

melodic minor, ascending/descending

natural minor (Aeolian)Mode Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

ModalityParallel key, parallel major or minorPentatonicRelative key, relative major or minorScale degrees tonic ^1 supertonic ^2 mediant ^3 subdominant ^4 dominant ^5 submediant ^6 leading tone ^7TetrachordTonalTonalityTonicWhole-tone scale

text/MusicRelationsLyricsMelismaticStanzaSyllabic

textureAlberti bassCanonCanonicChordal accompanimentContrapuntalCounterpoint imitation imitative polyphony nonimitative polyphony countermelody fugal imitationHeterophony, heterophonicHomophony, homophonic chordal homophony chordal texture (homorhythmic) melody with accompaniment

Instrumentation brass continuo percussion rhythm section strings timbre woodwindsMelodyMonophony, monophonicObbligatoOstinatoPolyphony, polyphonic RegisterSolo, soliTessituraTuttiWalking bass

Intervals and Song Examples

Reference

AP Music Theory

Use your memory of these songs to help identify intervals you hear by comparing those intervals to these songs.

Interval Ascending Descending

Minor 2nd Jaws (Theme) Für Elise (Beethoven)

Major 2nd Silent Night (Christmas) Mary Had a Little Lamb

Minor 3rd Georgia on my mind Star Spangled Banner

Major 3rd Oh, when the Saints Swing Low Sweet Chariot

Metro doors

Perfect

4th

Amazing Grace Eine Kleine Nachtmusik (Mozart)

Tritone Simpsons

Perfect

5th

Twinkle Twinkle Little Star It Don’t Mean a Thing (Duke Ellington)

Minor 6th We Are Young – “set the world on FI-RE” We Are Young – “Tonight” beginning to

end of the word

Major 6th NBC Chimes Man In the Mirror; chorus (Michael

Jackson)

Minor 7th “There’s a Place for Us” from West Side

Story

Watermelon Man

Major 7th Somewhere over the Rainbow (Wizard of

Oz) *1st and 3rd pitch

“Take On Me” by A-Ha

Octave Somewhere over the Rainbow (Wizard of

Oz)

Happy Birthday (third line)

AP® Music Theory Free-Response Scoring Guidelines

Definitions of Common Voice-Leading Errors (FR 5 & 6)

1. Parallel fifths and octaves (immediately consecutive)—unacceptable (award 0 points) 2. Beat-to-beat fifths and octaves (equal perfect intervals on successive beats)—unacceptable (award 0 points) 3. Fifths and octaves by contrary motion—unacceptable (award 0 points) 4. Unequal fifths (d5 → P5)

• In a three- or four-part texture, a rising d5 → P5 is acceptable ONLY in the progressions I–V$–I6 and I–vii°6–I6 (i.e., no deduction).

• A rising d5 → P5 in other progressions is unacceptable (1-point error). • The reverse, a rising P5→ d5, is acceptable voice leading (no deduction). • Unequal fifths in either order, when descending, are acceptable (no deduction).

5. Hidden (or covered) fifths and octaves in outer voices (similar motion to a perfect interval that involves one

voice moving by step) • When the step is in the upper voice, as shown in ex. 5a—acceptable (no deduction). • When the step is in the lower voice, as shown in ex. 5b—unacceptable (1-point error).

6. Direct fifths and octaves in outer voices—unacceptable (1-point error) Definition: Similar motion to a perfect interval that involves a skip in each voice. NB: Many sources equate

“hidden” and “direct.” For purposes of scoring, it seems useful to refine those definitions, particularly in light of past scoring practice.

7. Overlapping voices—unacceptable (1-point error) Definition: Two adjacent voices move to a position in which the lower voice is higher than the previous note in

the higher voice, or they move to a position where the higher voice is lower than the previous note in the lower voice.

8. Crossed voices—unacceptable (1-point error) Definition: Voicing in which the normal relative position of voices is violated, e.g., if the soprano is below the

alto, or the bass is above the tenor.

-51-

Chapter I

Rhythm

The rhythms in this chapter all come from well-known tunes. After reading them, you may want tolook at the titles, which are given in the table of contents. If you’re working with a teacher, you maywish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tunethe second time.

I-1 Whole, Half, and Quarter Notes

1 > =� > > = > > > > >> > > >2 � > > > > > => > = > > = >3 � => > = = = = > >> > > > > > > > >> >

>7 > > > > > > > > == = > > = = =4 > > =� > > > > = > > > >> > > > > = > >= = > > = >5 � <>>=>>>>>>=>>=>>>>==>>=>

1 , rhythm of Twinkle Twinkle, Little Star 2 , rhythm of Little Brown Jug 3 , rhythm of Bingo 4 , rhythm of

Rain, Rain, Go Away 5 , rhythm of O Come, All Ye Faithful

I-2 3/4 Time, and Dotted Half-Notes

643 = : = :> > > > > > = >= : = > = > = >= > = > > > >> = > > > > = :=

743 = > > > > = :> > > > = : = :=

I-3 Eighth Notes

8 > = :� > > > > > > > > >> > > = : > > > >> > > > > > > >> > >9 =

43 > > > > > > > >> > > > > > > >> > > > > > > >> > > > >

10 � > = > > > > > > => > > > > > >> > > > > > > > >> > = > > = >11 � > > > > > > => > > > = > > >> > >

I-4 Dotted Quarter Notes

12 > (� > > > > > (> > > > > > > > >> > = > > > : >� <> > =13 � >� > > > > => > > > : >� > > > :> > > : >� > > > (>� > > > ( >> > > > :

6 , rhythm of We Three Kings 7 , rhythm of Take Me Out to the Ball Game 8 , rhythm of O Little Town of

Bethlehem 9 , rhythm of We Wish You a Merry Christmas 10 , rhythm of This Old Man 11 , rhythm of Hush

Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn

14 Chapter I. Rhythm

14 > > =43 > > : >� > > > > >> > > > > > > => > : >�

15 = :43 > : >� > = > > > >� > = > > : >� > = :> : >

1643

�> > > > = : = :> > = > > > : >> > > > = > > >> > > > > = : =>� = : = > > == : > > :

I-5 Sixteenth Notes

1742 > > > > >> > > > > > >> > > > >>

I-6 Dotted Eighth Notes

18 > =� > : >� > > > : > > :> > : > > : > > >> : >� >19 =

43 > > > > > > : > == > : > = : = :> > >

20 > <� > : > = = > : >� >> : >� > : >

I-7 Compound Time

21 > :86 > > > >� > >� > >� > :> > > > >� >> > > >� > > > > :>� > > > > >� >> > > >

14 , rhythm of Away in a Manger 15 , rhythm of Rockabye Baby 16 , rhythm of Home On the Range 17 P.I.

Tchaikovsky, rhythm of trepak from The Nutcracker 18 , rhythm of Alouette 19 P.I. Tchaikovsky, rhythm of waltz

of the flowers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad 21 , rhythm of Here We GoRound the Mulberry Bush

I-5. Sixteenth Notes 15

2286 > >� > >� > >� > :( : > : > >� > :>� > >� > >� > :> >� > >� > : >>�

23 > :86 ( >� ( > >� > :>� > >� > > > >�> >� > >� > : > >� >� > >� > > > > >�> >

24812 > > >� > >� > : > :> > > > > > > >>� > : > : > > >> : > >� > : > >� >> :

I-8 Syncopation

25 > > > :42 > > > > > > > >> > > > >> > > > >

I-9 Triplets

26 � * > * + >�> >� * >� * >� * >�* >� * = >� * > 3>> 3> > >� * >� * >�>� *>� *5 > > : > > : > >� *> > : > > : > > :> : > > : > > : > > :> > : > > : > > : >> : > > :

22 , rhythm of The Itsy-Bitsy Spider 23 , rhythm of Pop Goes the Weasel 24 , rhythm of Row, Row, Row Your Boat25 Scott Joplin, rhythm of The Entertainer 26 P.I. Tchaikovsky, rhythm of march from The Nutcracker

16 Chapter I. Rhythm

II-2 Melodies Containing Only Steps

In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. Ifyou have an instrument at hand, play the tonic, and then sing enough notes from the tonic chordto bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example.If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.

27 �� >� > ( <>� > ( > :>� > > > :> :

28 <�� > = > > = : >> > = : > > ==

2943� > > ( > > => > ( > > (> > ( > > >( > > (>

famous tune (identified in the table of contents)

30 �� > > > > : >�=> > > > >>�= > > > >> > > > > > :> > > > > >>The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing yourbrain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’and finally singing ‘do ti do’ — with authority!

3143

/� > > => > > = : => > = >=

32 >43

/� > * >� > : >>� > : > >>� > : > > > *>� > : > > > *>� *

II-2. Melodies Containing Only Steps 19

33 �//� > = <> > > = >< > > >> = > > => > > > >

34 �///� > > > = => = ( > > >> > > > > >(

35 � ////86 (�>:>>>>>>>>>*�>

:>>>>>>>�>*�>:>�>>>>>>>*�>

:>>>>>>>�Moderato

>

Note that the following two examples both have the tonic on the line at the center of the staff, so theone with five sharps actually isn’t any more difficult to read.

36 (43

/////� > > > => > > >> > = >> > > > > == > > >> > > > >= > > >

37 > >�33� > ( > > > >> > > > (> > > > >> > >>

The following five melodies all begin on ‘so.’

38 �33� = : (> > > = >> > > >> > > > >> > = > ( >> ( > > >> > > > > >> >We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous keyis flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the notecorrectly, you should be able to hear its strong tendency to resolve down to ‘mi.’

33 anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 35 Pierre Latour,

The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis

20 Chapter II. Major Keys

3943333� > => > > > >> > > = :> > > = :

40 �3333� > > : >� <= > > >3

>( > > >> > > : >� <= > > >3

> > >

41 >� =�33333� > : >� >� >> >� = > >> > : >� >�>

The following two melodies both have the tonic at the same place on the staff.

42 �333333� > >� * > >� *( > > > >>� * > >� *> > > >>

4386

/� (> > > > >�> : > >� >�> > > : > : > :> > > > >> : > : > >� >�> : > :

Canon for two voices:

44 > > > ::�� > = ( >> > > > > >1

> > > >2

>Canon for two voices:

4542� > => > > >> > > > >>2 > > >> > > > => > > > >1

> > > >>

45 L.O. Emerson, Whither Through the Meadow?

II-2. Melodies Containing Only Steps 21

II-3 Leaps to ‘Do’

5243

/� > = :�* > > >* > > > > >> > > >�: >�* >* > > > > =* > > > > >�* > > > > >�>�

53 � 343 >>>>:=>>>:=">(>>>=>>=>>">(=>=>

Adagio=

II-4 Leaps Back to Remembered Notes

54 � * =�� > > * >� * >* >� * = > : >� >> > > * >* �> :

* >�

55 �///� > = = > >>* > > > >> >* > => > > = >>

///�7 > > => = > > >>� = > > >> > > > > :

56 �///� >* > > => = >:: > >> > > > >> > > > >> > > >

> =///�7 > > > > >> > > > >= > > > >> > > > >>*

55 J.S. Bach, Chorale, ‘Seelenbrautigam, Jesu, Gottes Lamm’ 56 J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’

II-3. Leaps to ‘Do’ 25

The following example uses both leaps back to remembered notes and leaps to the tonic.

57 �/� > > > >* =>* > > >" * > > >> > > > >* =>* > >> > >

> =/�6 > > > > >> > > > >> > =* " *> > > > >* > > > >*"

The next tune is easier than it appears, because you only need to return to the same note after eachlow G.

5843� > > = :> > > > > >> > > > > >> > > > > >> > > >

58 folk song


II-5 Easy Leaps Within the Tonic Triad

This section introduces leaps of a third, a fourth, and an octave within the tonic triad.


5943333� > > > > == > =

60 �/� > > >> > > " >> > > > > (> > = > > >> > > > >> > > (>

61 > :86

/� > > > > > :> > > >> > > > >> > > >> > > > > >>

62 �/� > > >> > > >> > > < >> > > > > >> > >

/�7 > => > > >> > > > >> > > >> > > > => >

6386

///� >> > >�>> :>> > :> >�> >�> >� > > >>� > >�> >�� > > > >> >� > >

�> >>Allegretto

� > >�

64423� >>> > > >> >> > >>>> > > >> > >> >> > > > >> > > > > >> >> >>

Allegro

> > >

63 W.H. Latham, Broadway Sights 64 anonymous, A la Claire Fontaine (France)

II-5. Easy Leaps Within the Tonic Triad 27

65 �/� >� > > >= > > > > :> > >* > > * > > >> = : > >< < >

6686333� > : > : > :>� > >� > :>� > > >

>� > : > : >> : > >� > >> >� > >� > :

67 �3� > > > > >> > > > >> > > > >> > > > > >> > > > >> > > > > >>

3�5 > > (> > > > >> > > > >> > > > > >> > > >> > > > >

68812� > > > *> > > > * >>�> >�> *> >� > >

�>>�> >�> > >> > > >� >> >

�> >�>

69 ::84333� > > > > => > > >

3> > > >3

>> > >3

>* >�

70 � 3 � �>:>:>�>>(==>>>(==>>>(=>>>>>8� 3 =�>:>:>�>>:==:>�>>>(=:>�>:>

�>>>:===>>(=

65 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 66 A.S. Sullivan 67 anonymous, A Recou-

vrance (France) 68 Froebel, Pat-a-Cake 69 anonymous, Carmela (Mexico) 70 anonymous, My Father, How Long?(Florida)


71 �33� :: > > > >> > > = > >> > > > > >> > > > >> >

=33�6 > > > > => > > >> > > > >> > > > >>

72 �� <= : > > = >= = = => = : > = : >>

�8 > = : > < == = = = :> = : > == > > = :

73 �33� >> > : >� >> > > > = :> > > : >� > >> > : >�

33�6 >> > > : >� >= : > > >> > > : >�> : >� > >

33�11 > = :> > > > >>� > > > : >�= : > > :> > > >

74 �/� > > >> > > > > >> > > = >> > > > > > >> > >

71 J.S. Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 72 anonymous, Annie Laurie 73 H.S. Cutler, The Son of God

Goes Forth to War 74 Martin Luther, We Come Unto Our Father’s God


/�7 > > > = >> > > > >> > > > > >> > > > >> > = > > >> >

7543

//� > > * >�> > > > : >* >� > : >> > > : > >>� > : > >

> (//�5 > > > : > >> > : > >> 3> > > > :> > > : >> :

76 �333� > >� > >�( > > > >> > : > => : > > > >� > > > > >> > > >� > >> >

333�6 > > >> = > ( >> * >� > >2> : > = ( > >>L > > > >> > > >>

= : (333�11 > > > > : >> > >L >> >� > : > >> > > >�> : > >L> >> >

7742333� > > :>� > : > >> > > > > :> > > >> = > : > >>

Allegretto

>

The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’

784233� > > > (> > > >> > > > >> > > > >>� * > > >> > > > >>

Con moto

75 anonymous, Lawlan’ Jenny (Scotland) 76 Stephen Foster, Hard Times Come Again No More 77 H. Burgess Weston,

Row, Burnie, Row 78 anonymous, En Revenant d’Auvergne (France)


This four-part canon includes a leap of a sixth to ‘do.’

79 =�3� > = > >> > > = >4> > > > > >> > > = >3> = >2 > > >> > > > >>1

79 anonymous, Entendez-Vous Sur l’Ormeau (France)


II-6 The Leap of a Fifth Within the Tonic Triad

80 �/� = > >> = = = == = > > > ==

</�7 = : > = >> < > > = >> =

8143

/� > >> > > > >> > > > >> > > > >>

/�7 > > = :> > > >> > > > >> > > >> > >

8243

/� = :> > > > == > > > >> > > > => > > > > >( = > > > >=Allegro

( =

83 ::423� >> > : > > :> > > : > >> > > > : >> > : > >

3�8 >> > > >> : > > > > :> > > >= >:: > : >

3�16

> > : > => : > > > > :> : > > >> > > > >= > > :

82 Alessandro Scarlatti, Su, Venite a Consiglio 83 J.J. Rousseau, Hush, My Babe


84423� > *>� > :>>>� > * >� > *>>> > * >> > > > :* >� > :>> >>>> >> > > > :> :>> >>�

85863� > > > >�> > > : > > > :> > > : > :> > > : > > > :> :Grazioso

> > :3�5 > : > > > : >> > > : > >> : > > >> > > : > >> :

86 �3� (> > : > >> : > > > : >> > : > = >> : > > > : >>Moderato

> =3�5 > : > > > := > > : > >> : > > > : >> > : > >

8783

/� > > *> > > > >> > >� *> > * >> > > > >> > > > :>�

88423� " > > (> > > > (* * >� > >> > ( " >�* >� > > > >>

Andante� *

3�10 => : >� =* ( >� * * >�>� > : >� >�* ( > > ( > :>� > : >� >�> :

84 anonymous, Dans la Foret Lointaine (France) 85 anonymous, The Beggar Girl (England) 86 Alice Hawthorne,

Home, By and By 87 Froebel, Beckoning the Pigeons

II-6. The Leap of a Fifth Within the Tonic Triad 33

Chapter III

Minor Keys

III-1 Solfeggio in the Minor Mode

Some people sing in the minor mode using these solfeggio syllables:

<re

<do

�333� <te

3 <le

3 <so

<fa

<me

<so

<la

2 <ti

2 <do

<do

<do

<re

<me

<fa

This system has the advantage that most of the notes have the same functions as in the major mode.‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names ofthe notes stay the same when switching between the parallel major and minor.

Others prefer this:

<do

<ti

<la

�333� <so

3 <fa

3 <mi

<re

<re

<me

<fi

2 <si

2 <la

<la

<la

<ti

<do

This system highlights the relationship between the minor and its relative major.

If you don’t have a teacher who wants you to use one system or another, I suggest you use the firstone, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’is still a formula for a cadence.

In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromaticscale looks like this:

�� <la

<li

/ <ti

<dore

<ri

/ <mi

<fa

<fi

/ <so

<si

/<do

<di

/ <

<ra

3 <do

2� <se

3 <fa

2 <mi

<me

3 <re

2<ti

<te

3 <la

2 <le

3 <so

2<do

The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic systemin which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)

54 Chapter III. Minor Keys

III-3 Leaps Within the Tonic Triad

182 �333� > > ( =( = > > >( = > > = >( = > > = >>2 = >>

183 �333� ( > > <> ( > > >> > ( > >( > > > ( >> > > ( > > >> (

18443333� > > = :> > > > >> > > >= : > > >2> > > > >> > > > >> > > >

185>

3

>� =�333� > >3

>� >> >

18643333� " >> > : >� = :> : > : = >>� > : > : = >> > :

= :333�9 > > > :2 >�2> > : > : =>� > : > : => > :

187 �333� ( >2 (> > > >> > = > > >> > > > >> >

333�5 ( >2 ( > (> >2 > > >> > > >> > > > >>2 >

184 G.A. Wedge 185 Who Got Dirt on the Carpet Again?


188423333� => > > > >= > > >> > > > >> > >

189423333� > > > >2 => > > >> > > => > > > >>

190 � =423333 > > > >> > > >> > > >> > > > >> > > >

191 �3333� >� = :> ( " > :2 >2 > >3 > => > > >>

192 �� /> > > > = =/ > > > = => >/ >/ = =/ >>

�7 > = == > > >= > > > > => > > > =

19342

/� > > >/ >> > > >> > > > >> > > > >> > > > >> > > >> > > > :>�

19443� > >> > > : >> > > = > :> : > > > : >> > > > >> : > > > :

188 G.A. Wedge 189 G.A. Wedge 190 G.A. Wedge 192 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ 193 anonymous,

Every Hour in the Day (Georgia) 194 anonymous, Forget na’, dear Lassie (Scotland)

III-3. Leaps Within the Tonic Triad 59

�6 >> > > > :> > > : > >= > : > > :> > > > : >> > > :

�11

> > > : > => > > : >> : > > >> = > : > >> > > :

195 �33� > > > > >/ = :> > > = >>/ > = > > >> > >


196 >V >V�33� > > >V > >>V ( > > >V> > > >> > > >>Round:

197 �333� > > >4

> => > >2 > >>2 > > > >3>

1

> =

195 J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’ 197 anonymous, Thou Poor Bird


III-4 Leaps Within the Dominant

1984333� > > >/ = :> > > > > >> > > >> > > = :>/ > > > > >> > > >

1994233� => > > >/> > > >> > > = >> > > > >>


200 �33� > > > <> > > > >> > > > >/> > > >/ > > = = >= > > > >=Andante

> > =

2018933� > >> > > > >> > >� * >> > > > >> > > > > >> > > >>

Vivace�

33�3 > > > >> > > > >> > > >> > > > > >> > >� * >> > >

5 > > >33� >� * > > >> > > >> > > > >� * >2 >3 > >>2 >/ > > >>

2024333� => > >/ > >> > > > >> > >/ >> > >/ > => > > > > >> >

2034333� > > > = :> > > > >> > > >> = : > >> > > > >> > > > >> > > > >

198 G.A. Wedge 199 G.A. Wedge 202 G.A. Wedge 203 G.A. Wedge

III-4. Leaps Within the Dominant 61

20443333� = :> >2 > > >= > > >2 >> >2 > = :>2 > > > >= > >

205 ::4333� > > > >/ = :> > > > > >> > > > >> > > > >> > > > >

206 �333333� > <> > > > >> > > >> > > > >> > > < >>� > > >Largo>� > > > :> :

20742

/� > =+ > > > >>/ > > >> + > > >> > > > > >> > > > ++ > > >

2084333� > > >/ => > >/ > >> > > > >> > > > => > > > > >> > >

20984333� >2 > >� *> > > > >

� * > : >> > > > >> : >

2108333� >� > >�> > > >> >� > >�>/ > > : > >> > > >>

Draengend, doch nicht schnell�

33�9 >> > > > :/> > > > >>/ >� >> > > > >> > > >> :

204 G.A. Wedge 205 J.S. Bach, melody from the notebook for Anna Magdalena 206 anonymous, lullabye (Russia) 207

anonymous, Las Tristes Horas 208 G.A. Wedge 209 Froebel, The Wolf 210 anonymous, Guten Abend


211812333�

> :::> >2 > > > :> > > > >> > > >> > > > >> >> > >> > > >2> > > > > >> > > > > :> >

212 �333� >2 > > > >> > > > : >> : > > >

333�3 > : > : >> > > >> > * > : >> > > > >2> > > >> :

::333�6 > > >2 >> : > : > >> > > >> > > > : > : >>

213433� > > >/ =>>> >/ >> :> > > >> > > >> > > > :> >>/ > > > >> > >>>> :> >

214 *4233� / > > >� >> + >� > : >> >

3

> > >�� > : >

3

>> >/ > > >> + >� >3

> > > > > >�

> >

215 �/� >> :> = :>> >3>>/ > > > >> > > > => > = :/ > >>/ > > > >> > > > > >>

Andantino

> >

216 =�� > > > > : >�> > > >/ > >> = ( > >> > > > > >> > > > >>

211 J.S. Bach, Gavotte II from cello suite # 5 212 anonymous, Lolotte (Louisiana) 213 W.A. Mozart, menuet from string

quartet # 15 214 anonymous, Los Ojos Mexicanos (Mexico) 215 Maude Valerie White, Ophelia’s Song 216 J.S. Bach,

Chorale, ‘Nun sich der Tag geendet hat’


217 *423� > > > > :>� > + >� > :> : > > >> >�/ > + >

�>3

> > >> >� > + >�� > : > >>

218 �333333� >> > = >> > > > >> > > >> = > > =>

Allegro marziale

333333�6 >> > > >> > > > >= > > >> > > >= > > >

333333�11

> => >2 >2 >> > > >3 > > > >> > > >3 >> > > >> >2 >2

219423� > >> > > > > :> > : >� >

3>� * > >> > : > >>3

> > >>� > : >�

3�8 =>3

> > > >* > > > : >�: > > >> > > > >> > > : >� >3

> *

220 >� ( :�� >� > >� >* > > > : >> > >/ > > >�> > >

221 �� > > > = => > = > >= > > > >> > > > > => >/ > > >/ >> > > >

217 anonymous, Reir Es Necesario (Mexico) 218 anonymous, En Avant, Grenadiers! (Louisiana) 219 anonymous, Angel

de Mis Amores (Mexico) 220 Franz Schubert, Am Feierabend 221 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’


222 �//� > > "> > > > >* >�> : >�> > >/ ( (> :

pp

Langsam

>� >

22343

////� = : = : ::> > > : >�/( > : >� => > : >� = :( > : >� = :> > : >� = := :

224 �3� > >= :L > > >> > > > >> > = >L >> > >

3�6 > > > = >L >= :L > > >> > > > >= >L >

= :L3�11 > > > > >> > > = >L= :L > > >> > > > >

225 �//� = : >> > > >> > > = : >::>� > > > >> > > > > :>

//�7 > > > >/ = :>� > > >> > > > > > :> > > > :> > : >� > >> > >

2268433� >/ >> > > > > >> > >/ >> > > > >> > > >

222 Johannes Brahms, Nachtwache 1 223 anonymous, Mi Sueno (Mexico) 224 J.S. Bach, Chorale, ‘O Haupt voll Blut

und Wunden,’ from St. Matthew’s Passion 225 J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’ 226 G.A. Wedge


=33�5 > > > >/> > > >> >/ > >> > > >/ >>2

2274333� >> = :> > > >/ >> > > >/> > > > >> > >> = :> > > >> > > > >>

2284333� > > = >/" : " : " : >> > > = :/> = > > : >/> >

33�10 > > : >�>� > > >> > > > :> > > > >> > > > >> = :/ > >=

33�17

>= > : >� >>� = > >= = : > > :> > > >/= : " :

33�26

/ > = > = :> > > > == :/ " : >� = > = >> > > : >

33�35

/ > > : > >=2 > > >> > >2 >= > = : >> > =/ >" : > > >

33�43

>/ > = :> > >> ( * >� = :* >� > ( * >�/> > :/ >� => : >� > >

227 G.A. Wedge 228 G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther


33�51

> :/ >� = :>� > > >> > : > > > :2 = >2 >/> > > >/ >> > = :/ " :"


229 �33� >= : > > > >> = > > >�/ > :> > > > >>Lento

33�6 = : = > : >�( > = : >> >�/ > : = :> > = >

<33�12 >� > > >�/ > :> > > = *> > > : => : > > > :>


III-2 Steps

The purpose of the first exercise is to get used to the solfeggio syllables used in minor.

170 ::�� > > > > > >> > > > >> = > > > > >> > > > > >> > > > > >>Poco a poco accelerando

17186� > * >* > > : > : >�> : > : > >�>� > >� >

17243� > >� > > >� = :� > > >� > >> > >� > > > >>

Largo

�This melody introduces the use of the ascending and descending forms of the melodic minor scale.The rhythmic figure is the same as in the preceding tune.

17343� > >� = :>/ > >�/ >>� > > > >

> >� > >> > > >/> >� > > >�> > > >/ >/>

Largo� >/ > >�

17443� > > = (>/ >/ > > > >> > >2 > >> > > > >/ >> >

17543� >2 > = >> > = : >> > > = :/ >> > = :

�8 > = : >> > > =>/ = : > > >> = : > >/= >174 L.R. Lewis 175 L.R. Lewis

III-2. Steps 55

176 =�3� > > > >2 >/> > > >> > > > >

177 �3� / > > > >/ => > = >2 >> > > >

178433� = (3 > > >2 >/>2 >/ > >2 >>> > >>> >> >> > ( >>>> >/ >> >> > > >>>

179233� = = = (=3 < = > >< =/ = =2= > > =2 =/= = = <

180 �33� > > > > >> > > > >> > > >> > > > > >> > > >>

=33�4 > > > > : >�> > > >> > > >> > > > >> > > >>/ >2 > >>

181 2��

�� "

( >>>/ >

>> > > >

>

><> > > >

<

> >>

>

> >

>>

> >

>>>

>>

>>

176 L.R. Lewis 177 L.R. Lewis 178 L.R. Lewis 179 L.R. Lewis 180 J.S. Bach, gavotte in G minor 181 L.R. Lewis


2��5 (

> >2>>> >

=> >

=

(

/> >

>

"

> >> >>>

(

>

=

>(=/> >"

> > >

2��9

> > >= :> >

> >> >

> > >> >= :

>

>

>

>>>2

>>

>

>>

> > >

>/

> >>= :

III-2. Steps 57

trmsnde a symbols used on the ap music theory exam

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