Name_______________________________ MR. PERDONIA.P. MUSIC THEORY COLONIA HIGH SCHOOLFIRST DAY PACKET

Dear Student,

Enclosed is your AP Music Theory packet. Please complete all portions to the best of your ability. The goal of this packet is not to get everything correct or punish you, but to make sure that you have a good foundation of the basics of Music Theory on the first day. Since the class is A.P. we will be moving very quickly and covering a great deal of information. Please be sure to read through the attached syllabus. The entire packet is due on the first day of class. You may use any source you’d like to help you complete the packet. My email address is Kevin.Perdoni@woodbridge.k12.nj.us and I’d be more than happy to assist you or clarify anything. Understanding these basic concepts on the first day will assist you in the rest of the semester. Thank you for your anticipated hard work. I’m looking forward to a fun and rewarding semester.

Musically Yours,

Mr. PerdoniBand DirectorColonia High School

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Woodbridge Township School District

AP Music Theory Syllabus

Objectives:

At the end of the course, students will be able to:

a.) Notate pitch and rhythm in accordance with standard notation practices.b.) Read and write in treble, bass, and movable C clefs.c.) Write, sing, and play major scales and all three forms of minor scales.d.) Recognize by ear and by sight all intervals within an octave.e.) Use the basic rules that govern music composition.f.) Harmonize a melody with appropriate chords using good voice leading.g.) Analyze the chords of a musical composition by number and letter name.h.) Transpose a composition from one key to another.i.) Express musical ideas by composing and arranging.j.) Understand and recognize basic musical forms: ternary, binary, rondo, etc.k.) Write simple rhythmic, melodic, and harmonic dictation.

Teaching Strategies/Student Activities:

Written Work: Students are expected to participate actively in classroom discussions and demonstrations each day. The teacher will collect and grade all written work from the texts and workbooks. A comprehensive theory folder containing all handouts as well as homework, quizzes, and exams that are returned is required. The “Tonal Harmony” workbook includes extensive partwriting and composition exercises which will be assigned every day. Students will complete at least one written test per week. Competency with technology is a major component of this course. Students will input melodies and compositions into Sibelius and Band In a Box software. Aside from printing these assignments out, students will also playback the assignments as critique. Students will also use online sources such as musictheory.net.

Aural Work: Students will also demonstrate mastery of Solfege singing by completing assignments from “Music For Sight-Singing”. Students will demonstrate knowledge by singing alone and with others as well as by utilizing the microphone to record progress and singing tests. Students will also be required to take rhythmic and melodic dictation. There will be at least one aural dictation or sight-singing test per week.

Projects: In addition to daily assignments, written tests, and aural tests, there will be at least one major project per semester such as short compositions and written reports. For a final project, the students will create an original composition in 4-parts utilizing all of the techniques

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learned in class and transpose for four unique instruments. Students will perform, record, and critique this composition.

Course Planner: (Note: Main chapter references are from the “Tonal Harmony” textbook. Chapter references for singing are from “Music for Sight Singing” text.) This schedule is approximate, as classes may move slower or faster from one year to another. Written homework and reading assignments are

given at each class period.

First Marking Period, Part 1 (4 weeks)

Week 1 Review

(Teacher may assign a pre-test or worksheet encompassing the first 4 chapters to be completed before the first day of class.)

Chapter 1 – Elements of Pitch - Keyboard and octave registers; notation of the staff; major scale; major key signatures; minor scales; minor key signatures; scale degree names; intervals; perfect, major, and minor intervals;

augmented and diminished intervals; inversion of intervals; consonant and dissonant intervals.

Ear Training: Intervals, triads, and scales

Sight Singing: Rhythm – “Music For Sight Singing”, Chapter2

Chapter 2 – Elements of Rhythm – Rhythm; durational symbols; beat and tempo; meter; division of the beat; simple time signatures; compound time signatures.

Ear Training: Intervals, triads, and scales

Sight Singing: Rhythm - Simple meters; the beat and its division into two parts, Chapter 1

Chapter 3 – Introduction to Triads and Seventh Chords – Triads; Seventh Chords, Inversions of Chords; Inversion Symbols and Figured Bass; Lead Sheet Symbols; Recognizing Chords in Various Textures.

Ear Training: Rhythmic Dictation- Simple meters, seconds, thirds, and fourths.

Sight Singing: Melody- stepwise melodies, major keys; Chapter 3

Rhythm- simple meters; the beat and its division into two parts.

Chapter 4 – Diatonic Chords in Major and Minor Keys – Minor scale; diatonic triads in major; diatonic triads in minor; diatonic seventh chords in major; diatonic seventh chords in minor. 2

Ear Training: Melodic Dictation- fifths, sixths, and octaves; Harmonic dictation- four part settings of the tonic triad.

Sight Singing: Melody- Intervals from the tonic triad, major keys, Chapter 3 continued;

Rhythm - simple meters.

Week 2

Chapter 5 – Principles of Voice Leading– the melodic line; notating chords, voicing a single triad; parallel motion.

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Ear Training: Rhythmic dictation- beat subdivision by 2; Melodic dictation- the tonic triad and dominant seventh; Harmonic dictation- the tonic triad and dominant seventh.

Sight Singing: Melody- intervals from the tonic triad, major keys;

Rhythm- compound meters; the beat and its division into three parts.

Week 3

Chapter 6 – Root Position Part Writing – Root position part writing with repeated roots; root position part writing with roots a 4th (5th) apart; root position part writing with roots a 3rd (6th) apart; root position

part writing with roots a 2nd (7th) apart; instrumental ranges and transpositions.

Ear Training: Rhythmic dictation - beat subdivision by 4, anacrusis; Melodic dictation - primary triads and the dominant seventh; Harmonic dictation - primary triads and the dominant seventh, cadential tonic

six-four.

Sight Singing: Melody - minor keys, intervals from the tonic triad, Chapter 5

Rhythm - simple and compound meters.

Week 4

Chapter 7 – Harmonic Progression – Sequences and the circle of fifths; the I and V chords; the II chord; the VI chord; the III chord; the VII chord; the IV chord; common exceptions; differences in the minor

mode; progressions involving seventh chords, harmonizing a simple melody.

Ear Training: Rhythmic dictation - dots and ties; Melodic dictation - minor mode; Harmonic dictation - minor mode, first inversion of triads.

Sight Singing: Melody - intervals from the dominant (V) triad, major and minor keys, Chapter 6

Rhythm - simple and compound meters.

First Marking Period, Part 2 (5 weeks)

Week 1

Chapter 8 – Triads in First Inversion – bass arpeggiation; substituted first inversion triads; parallel sixth chords; part writing first inversion triads; soprano-bass counterpoint.

Ear Training: Melodic dictation - the supertonic triad; Harmonic dictation - the supertonic triad, inversions of V7.

Sight Singing: The C Clefs - alto and tenor clefs, Chapter 7

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Week 2

Chapter 9 – Triads in Second Inversion – bass arpeggiation and the melodic bass; the cadential six-four; the passing six-four; the pedal six-four; part-writing for second inversion triads.

Ear Training: Rhythmic dictation - compound meter; Melodic dictation - all diatonic triads; Harmonic dictation - all diatonic triads.

Sight Singing: Melody - further use of diatonic intervals, Chapter 8

Rhythm - simple and compound meters.

Week 3

Chapter 10 – Cadences, Phrases, and Periods – Musical form; cadences; cadences and harmonic rhythm, motives and phrases; period forms.

Ear Training: Rhythmic dictation - triplets; Melodic dictation - supertonic and leading tone sevenths; Harmonic dictation - supertonic and leading tone sevenths.

Sight Singing: Melody - intervals from the dominant seventh chord (V7), other diatonic intervals of the seventh; Rhythm - simple and compound meters.

Week 4

Chapter 11 – Non-Chord Tones 1 – Classification of Non-Chord Tones; passing tones; neighboring tones; suspensions and retardations; figured bass and lead sheet symbols; embellishing a simple texture.

Ear Training: Examples from music literature.

Sight Singing: Rhythm - subdivision of beat, simple beat into four parts, compound beat into six parts.

Chapter 12 – Non-Chord Tones 2 – Appoggiaturas; escape tones; the neighbor group; anticipations; the pedal point; special problems in the analysis of non-chord tones.

Ear Training: Rhythmic dictation - syncopation; Melodic dictation - non-dominant seventh chords; Harmonic dictation - non-dominant seventh chords.

Sight Singing: Melody - intervals from the tonic and dominant triads; Rhythm - subdivision in simple and compound meters.

Week 5

Review Chapters 1 through 9

Semester One Exam

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Second Marking Period, Part 1 (Four Weeks)

Week 1

Chapter 13 – The V7 Chord – General voice-leading considerations; the V7 in root position; the V7 in three parts; other resolutions of the V7; the inverted V7 chord; the V6/5 Chord; the V4/3 Chord; the

V4/2 Chord; the approach to the 7th.

Ear Training: Melodic dictation - scalar variants, modal borrowing, and decorative chromaticism; Harmonic dictation - scalar variants, modal borrowing.

Sight Singing: Melody - further use of diatonic intervals; Rhythm - subdivision in simple and compound meters.

Week 2

Chapter 14 – The II7 and VII7 Chords – The II7 chord; the VII7 chord in Major; the VII7 chord in Minor.

Ear Training: Melodic and Harmonic dictation - secondary dominants.

Sight Singing: Melody - chromaticism (I) - chromatic nonharmonic tones, the dominant of the dominant (V/V) harmony, modulation to the key of the dominant.

Chapter 15 – Other Diatonic Seventh Chords – The IV7 chord; the VI7 chord; the I7 chord; the III7 chord; seventh chords and the Circle-of-Fifths progression.

Ear Training: Examples from music literature.

Sight Singing: Melody - chromaticism (II) - modulation to closely related keys, additional secondary dominant harmonies.

Week 3

Chapter 16 and 17 – Secondary Functions 1 and 2 – Chromaticism and altered chords; secondary functions; secondary dominant chords; spelling secondary dominants; recognizing secondary dominants; secondary dominants in context; secondary leading tone chords; spelling secondary leading-tone chords;

recognizing secondary leading-tone chords; sequences involving secondary functions; deceptive resolutions of secondary functions.

Ear Training: Melodic and Harmonic dictation - modulation to closely related keys

Sight Singing: Rhythm and Melody - syncopation

Week 4

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Chapter 18 and 19 – Modulations using diatonic common chords – modulation and change of key; modulation and tonicization; key relationships; common-chord modulation; analyzing common-chord modulation; altered chords as common chords; sequential modulation; modulation by common tone;

monophonic modulation; direct modulation.

Ear Training: Rhythmic dictation - quintuple meter; Melodic dictation - the neapolitan sixth chord augmented sixth chords, and modulation to distantly related keys; Harmonic dictation - the neapolitan

sixth chord, augmented sixth chords, enharmonic modulation.

Sight Singing: Rhythm and Melody - triplet division of undotted note values, duplet division of dotted note values.

Second Marking Period, Part 2 (4 Weeks)

Week 1

Chapter 20 – Binary and Ternary Forms – Formal terminology; binary forms; ternary forms; rounded binary forms; 12-bar blues; other formal designs.

Ear Training: Examples from music literature.

Sight Singing: Rhythm and Melody - changing meter signatures: the Hemiola; less common meter signatures.

Week 2

Chapters 21 and 22 – Mode Mixture and the Neapolitan Chord – Borrowed chords in minor; the use of b6 in Major; modulations involving mode mixture; the Neapolitan chord.

Ear Training: Rhythmic dictation - irregular meters; Melodic and Harmonic dictation - diatonic modes.

Sight Singing: Rhythm and Melody - further subdivision of the beat; notation in slow tempi.

Week 3

Chapters 23 and 24 – Augmented Sixth Chords – The interval of the augmented 6th; the Italian augmented 6th chord; the French augmented 6th; the German augmented 6th; resolutions to other scale

degrees and other chord members.

Ear Training: Rhythmic dictation - changing meters; Part music dictation

Sight Singing: Chromaticism (III) - additional uses of chromatic tones

Week 4

Chapter 28 – An Introduction to Twentieth-Century Music – Impressionism; scales; the diatonic church modes; pentatonic scales; synthetic scales; tertian harmony and lead sheet symbols; quartal and

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secundal harmony; parallelism; pandiatonicism; atonal theory; the 12-tone serialism; total serialism. Aleatory or chance music.

Ear Training: Rhythmic dictation - changing meters; Part music dictation - pandiatonicism.

Sight Singing: Chromaticism (III) - additional uses of chromatic tones, remote modulation.

Remaining Weeks

Review for AP Music Theory Exam

Take practice free-response questions

Take AP Music Theory Exam

Semester Two Exam

Textbooks: -Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony: With an Introduction to Twentieth-Century-Music, Fifth Edition. New York: McGraw-Hill. With CD

-Ottman, Robert W. and Rogers, Nancy. 2007. Music for Sight Singing. Pearson Prentice Hall.

- Ottman, Robert W. 1997. Elementary Harmony Theory and Practice, Second Edition. Prentice-Hall, Inc.

Workbooks: -Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony: With an Introduction to Twentieth-Century-Music, Fifth Edition. New York: McGraw-Hill. With CD

-Scoggin, Nancy - Barrons AP Music Theory Book. Barron's Educational Series 2010.

Teacher Resources:

Ottman, Robert W. 1972. Advanced Harmony Theory and Practice, Second Edition. Prentice-Hall, Inc.

- Elementary Harmony: Theory and Practice with CD, 5 th Edition, Ottman -Advanced Harmony: Theory and Practice with CD, 5 th Edition, Ottman

-The Practice of Harmony, 6 th Edition, 2012, Spencer -Fundamentals of Music: Rudiments, Musicianship, and Composition, 6 th Edition, 2013, Henry -Basic Materials in Music Theory, 12 th Edition, 2010, Harder & Steinke

-www.musictheory.net

-College Board AP Music Theory home

http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/2261.html

Computer programs: Sibelius 7, Band In a Box, Aurelia 4, Musition 4

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Materials needed:

Each student will be required to have the following materials daily:

1. Music manuscript notebook 2. Pencils – DO NOT USE INK IN THIS CLASS!! Assignments written in ink will be returned ungraded. 3. A folder for notes and handouts.4. Texts and workbooks from above.5. Sibelius 7, Band In a Box, Aurelia 4, Musition 4 computer programs.6. Keyboard, headphones, microphone.

Student Evaluation:

Tests/Major Assessments 75%

Homework/Quizzes/Minor Assessments 25%

Class Expectations:

1. Respect yourself, teachers, other students, your parents, your school and your administration. Respecting yourself and the people around you will make your experience more enjoyable and fulfilling, and the people around you interact with will respond to you in a positive manner.

2. Be on time. We stay very busy in this class – we have a lot to do every day and each minute counts!! The school wide tardy policy is very clear and we will follow this policy in this class.

3. Turn assignments in on time. Late assignments make things difficult since we move so quickly. There will occasionally be a legitimate reason why an assignment will be turned in late (for example, an excused absence). Students will be allowed 1 day per excused absence to make up work.

4. Take care of personal business during the passing period to avoid disrupting class. Passes to leave class will be very limited. Begin early to budget your time and breaks.

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TREBLE CLEF AND BASS CLEFTreble clef (G clef) circles line 2 because that’s where G is.The lines of the treble clef are E G B D FThe Spaces are F A C E

The Bass clef (F clef) has two dots surrounding the 4th line because that’s where F is.The lines of the bass clef are G B D F AThe spaces are A C E G

Together, all the notes are as follows. (not counting sharps or flats)

Write letter name below each note for G clef, F clef, and C clef. (For C clef, the 3rd line is C.)

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ORDERING: Please re-write the italicized terms in order in the space provided.SCALE DEGREES: tonic, dominant, mediant, supertonic, subdominant, leading tone/subtonic, submediant

1. __________________ 5. ___________________

2. __________________ 6.____________________

3. __________________ 7.____________________

4. __________________

SOLFEGGIO: Fa, Do, Mi, Sol, Ti, Re, La1. __________________ 5. ___________________

2. __________________ 6.____________________

3. __________________ 7.____________________

4. __________________

VOICING (highest to lowest): tenor, alto, soprano, bass1. __________________ 3. ___________________

2. __________________ 4.____________________

DYNAMICS (softest to loudest): piano/p, forte/f, mezzo forte/mf, fortissimo/ff, mezzo piano/mp, pianissimo/pp

1. __________________ 4. ___________________

2. __________________ 5.____________________

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3. __________________ 6.____________________

TEMPO (slowest to fastest): moderato/andante, adagio, vivace/presto, grave, allegro, largo/lento

1. __________________ 4. ___________________

2. __________________ 5.____________________

3. __________________ 6.____________________

MODES: phrygian, locrian, ionian, aeolian, mixolydian, dorian, Lydian1. __________________ 5. ___________________

2. __________________ 6.____________________

3. __________________ 7.____________________

4. __________________MAJOR KEY SIGNATURES

FLAT KEYS

To find a flat key signature look at the next to last flat (except F Major, no trick for that one).

The order of flats in flat key signatures is BEADGCF,

So if you have all 7 notes flat like in Cb Major the flats are Bb, Eb, Ab, Db, Gb, Cb, Fb.

If you only have 4 flats, like the key of Ab Major, then the flats used are Bb, Eb, Ab, Db.

The order always stays the same.

SHARP KEYS

To find a sharp key signature, go up a half step (the very next note) from the last sharp.

(except C Major)

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For sharp keys, the order of sharps is backwards from the order of flats. F, C, G, D, A, E, B.

So if you have all 7 notes flat like the key of C#, then the sharps used are F#, C#, G#, D#, A#, E#, B#.

If you only have 4 sharps like the key of E Major, then the sharps used are F#, C#, G#, D#.

The order always stays the same.

MEMORIZE BEADGCF!

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WRITING MAJOR SCALES.

A Major scale is a pattern of whole steps and half steps between one octave. A half step is the very next note, a whole step is two half steps. The pattern is:

Now use that same pattern to complete Major scales on the following notes (F, Bb, Eb, Ab, Db). Be sure to label the Whole steps and half steps like in the example. Also- be sure to put in all flats or sharps directly in front of the appropriate note (no key signatures). Each scale will use either flats or sharps, but not both.

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MAJOR SCALES CONTINUED pg. 2

Now use that same pattern to complete Major scales on the following notes (Gb, Cb, G, D, A). Be sure to label the Whole steps and half steps like in the example. Also- be sure to put in all flats or sharps directly in front of the appropriate note (no key signatures). Each scale will use either flats or sharps, but not both.

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MAJOR SCALES CONTINUED pg. 3

Now use that same pattern to complete Major scales on the following notes (E, B, F#, C#). Be sure to label the Whole steps and half steps like in the example. Also- be sure to put in all flats or sharps directly in front of the appropriate note (no key signatures). Each scale will use either flats or sharps, but not both.

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DIATONIC TRIADS based on a Major Scale

WRITE A MAJOR SCALE ON THE GIVEN NOTE. THEN MAKE TRIADS ON EACH NOTE OF THE SCALE AS WAS DONE IN THE EXAMPLE. LABEL ALL TRIADS WITH THE APPROPRIATE LETTER NAME AND TYPE. (Major, minor, Augmented, diminished)

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MAJOR TRIADS

WRITE MAJOR TRIADS BASED ON THE FOLLOWING NOTES. LABEL THEM APPROPRIATELY WITH AN UPPER CASE LETTER.

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MAJOR TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3RD,

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

Minor TRIADS

WRITE MINOR TRIADS BASED ON THE GIVEN NOTE. LABEL THEM APPROPRIATELY WITH AN LOWER CASE LETTER.

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

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

Diminished TRIADS

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

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

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

AUGMENTED TRIADS

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

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

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

MATCHINGRead 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.

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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

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_____ 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. rootINTERVALS_____ 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

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_____ 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

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_____ 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_____ 16. independent melodies that work together harmonically p. walking bass

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