AP Piano Theory

Another name for a Major second is...

...a Whole step.

To write an interval below a given note...

...determine all the possibilities the note could be. Then, determine which of those notes is the correct one for the quality of the interval needed.

To write a Dominant Seventh within a given key...

...find the fifth note of the key (Dominant), and write a V chord. Add the note which is a minor 7th above the root of the chord. When in harmonic minor, the third of the chord (which is the leading tone of 7th of the key) must be raised a half step.

Two other names for a minor second are...

...half step and/or semitone.

determining a Major key from a group of sharps

1. find and name the last sharp (furthest to the right) 2. go a half step up from that sharp; the resulting note above the last sharp is the name of the Major key.

determining a Major key from a group of flats

1. name the next to last flat; that note is the resulting Major key. [EXCEPTION: F Major has one flat, B]

Rules for Inverting Intervals (Numbers)

2nds become 7ths - 7th become 2nds 3rds become 6ths - 6th become 3rd 4ths become 5ths - 5ths become 4th 8ths stay 8ths

Major Intervals

2nds, 3rds, 6ths, 7ths (also 9ths, 10ths, 13ths, and 14ths)

Primary Triads

I, IV, V. In Major keys, these three triads are Major and are most commonly used chords for harmonizing tonal melodies.

Numeral Values for Chords in a Major Key

I, ii, iii, IV, V, vi, vii(dim), I

Rules for Inverting Intervals (Qualities)

Perfect intervals stay Perfect Major Intervals become minor (and vise versa) Augmented intervals become diminished (and v.v.)

scale

a series of notes, which are each a step apart

chromatic scale

a series of thirteen notes. Each note is a half step away from its neighbor.

Major-minor seventh Chord (Mm7)

a seventh chord when it is not functioning as a Dominant 7th chord within the context of the music.

motive (or motif)

a short melodic or rhythmic musical idea (two or more successive notes). They have distinct melodic, pitch, or rhythmic patterns, and are used throughout a piece of music as a unifying element.

major triad

a triad made up of the first, third, and fifth notes of the Major scale with the letter name. The lowest note of a Major triad in root position names the triad. The root and third form a Major 3rd, and the third and fifth form a minor 3rd.

deceptive cadence

consists of a V (or sometimes IV) chord followed by a vi chord. Inconclusive.

authentic cadence

consists of a V or V7 chord followed by a I chord. Conclusive.

Diminished Seventh Chord

consists of a diminished triad, with the interval of a diminished seventh added to the top. These are also called diminished-diminished seventh chords. (notation: dº7)

Minor Seventh Chords

contain a minor triad and the interval of a minor seventh above the root. These are also called minor-minor seventh chords. When writing minor seventh chords, add the sharps or flats from the natural minor key signature of the root.

Mixolydian mode

contains the pattern of whole and half steps that occurs when beginning and ending on the FIFTH note of the Major scale. Half steps occur between notes 3-4 and 6-7. It is the same as a Major scale with the seventh scale degree lowered a half step.

Lydian mode

contains the pattern of whole and half steps that occurs when beginning and ending on the FOURTH note of the Major scale. Half steps occur between notes 4-5 and 7-8. It is the same as a Major scale which has the fourth scale degree raised a half step.

V

dominant

Harmonic intervals

intervals that are played at the same time

Melodic intervals

intervals that are played one at a time

motivic transformation

is achieved by using a variety of musical devices.

Parallel Keys (Parallel Major/Minor)

keys that have the same letter names

viiº

leading tone

imitation

occurs when a motive is repeated immediately in another voice, such as in the bass clef following a statement of the motive in the treble clef, or by a different instrument. The term imitation may also be used as general term that includes repetition and sequence.

sequence or sequential repetition

occurs when a motive is repeated immediately on a different note, usually a 2nd or 3rd higher or lower

To change a Major triad into an Augmented triad...

raise the top note (the fifth) a half step. The intervals between the root and third and between the third and fifth are both Major 3rds.

IV

subdominant

I

tonic

phrygian half cadence

(in a minor key) consists of the iv6 chord followed by a V chord

Another name for an Augmented 4th/diminished 5th is...

...a Tritone.

To write an interval above a given note...

...determine the key signature for the lower note, and add any necessary accidentals. For Major or Perfect intervals, keep those accidentals. For minor, diminished, or Augmented intervals, raise or lower the top note by using accidentals and without changing the letter name.

To determine the the name of a given mode:

1. Look at the accidentals in the scale. Determine the Major key signature for those accidentals. 2. The first note of the mode will determine the name of the mode (e.g. G is the third scale degree of Eb Major scale. The mode is Phrygian.)

To determine the root and quality of a triad within a piece...

1. Put the triad in its simplest root position form by placing the letter names so that there is one letter between each. 2. Add all sharps or flats from the key signature, or from earlier in the measure, to the letter names. 3. Determine the root and quality of the triad. 4. Determine the inversion of the triad by looking at the lowest note on the lowest staff.

finding the relative minor for a Major key

1. go down three half steps from the name of the Major key. 2. Skip one letter between the names of the keys.

Perfect Intervals

4ths, 5ths, 8ths (also 11ths, 12ths, and 15ths)

Perfect Authentic Cadence

A V-I cadence in which both chords are in root position and the final tonic (I) chord has the root as the highest note (soprano)

minor triad

A major triad in which the third (middle) note is lowered a half step. They have the same sharps or flats as the minor key signature with the same letter name. The root and third form a minor 3rd, and the third and fifth form a Major 3rd.

order of flats

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Secondary Chords

Chords which are not within the key of the piece of music; they add harmonic color to the music. If a chord that appears to be a secondary chord leads to a change of key, the chord is not secondary. If the music stays in the same key, the chord is secondary.

To analyze secondary chords in music literature...

Determine the Major or minor key of the piece. Label the secondary chord (the first of the two chords) with the Roman Numeral V or vii^o, and the figured bass, followed by /_____, using the Roman numeral for the second chord to fill the blank. Label the second chord with its Roman numeral and figured bass. The two chords will be labeled, for example, "V/iii iii"

order of sharps

Fat Cats Go Dancing At Every Ball

Minor Interval

If a Major 2nd, 3rd, 6th, or 7th is made smaller by lowering the top note or raising the bottom note a half step, without changing the letter name of either note, the interval becomes minor.

Diminished Interval from a Major Interval

If a Major 2nd, 3rd, 6th, or 7th is made smaller by lowering the top note or raising the bottom note a whole step, without changing the letter name of either note, the interval becomes diminished.

Augmented Interval

If a Major or Perfect Interval is made larger by raising the top note or lowering the bottom note a half step, without changing the letter name of either note, the interval becomes augmented.

Diminished Interval from a Perfect Interval

If a Perfect 4th, 5th, or 8th is made smaller by lowering the top note or raising the bottom note a half step, without changing the letter name of either note, the interval becomes diminished.

Imperfect Authentic Cadence

If one or both of the chords in an authentic cadence are not in root position, or the I chord has a note other than tonic as the higest note, the cadence is called an Imperfect Authentic Cadence.

Compound Intervals

Intervals larger than an octave are called Compound intervals. The qualities remain the same as when the intervals were less than an octave; compound intervals are altered in the same way as intervals that are less than one octave. (Subtract 7 from the number of the compound interval to find the corresponding interval that is less than one octave.)

Inverted Intervals

Intervals that have been turned upside down are Inverted intervals. The top note becomes the bottom note, but the names of the notes do not change.

To determine which accidentals to use for a given mode...

Ionian mode: use Major key signature. All other modes, go down the indicated interval, and use the Major key signature for the resulting note. Dorian mode: M2 Phrygian mode: M3 Lydian mode: P4 Mixolydian mode: P5 Aeolian mode: M6 Locrian mode: M7

All Modes

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian

diatonic scales

Major scales, all three forms of minor (natural, harmonic, melodic)

Secondary Dominant

The Dominant (V) of a key other than the Tonic (I) of the piece.

Common Practice Style

The harmonic standards based on the triads and seventh chords that are created within major and minor tonalities.

Secondary Leading Tone

The leading tone (vii^o) of a key other than the Tonic (I) of the piece.

Root Position Triad (5/3)

This triad occurs when the note which names the triad is on the bottom. The figured bass symbol 5/3 is used for root position tirade, because when the triad is in its simplest position, the intervals of a 5th and 3rd are formed above the lowest note.

Scale Degree Names

Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, leading tone

Second Inversion Triad (6/4)

When the fifth or top note of the triad is on the bottom. Second inversion triads are called 6/4 triads, because when they are in their simplest position, the intervals of a 6th and a 4th are formed above the bottom note.

First Inversion Triad (6/3)

When the third or middle note of the triad is the lowest note. The figured bass symbol for the first inversion is 6/3, because when they are in their simplest position, the intervals of a 6th and 3rd are formed above the lowest note.

inconclusive cadence

a cadence in which something needs to follow it

conclusive cadence

a cadence which allows the music to end at that point and sound finished

half cadence

a cadence which ends with a V or V7 chord. Inconclusive.

triad

a chord which contains three notes

cadence

a closing or ending for a musical phrase or section, made up of a combination of chords

theme

a longer musical idea, typically several measures. THe theme may or may not contain a recurring motive. A theme may contain one or several phrases.

whole tone scale

a scale that consists entirely of whole steps. There are only seven notes in the whole tone scale, so when written, one letter name will be missing.

pentatonic scale

a scale that consists of five notes. This scale can be formed easily by playing only the black keys on the piano.

Natural minor scale

a scale that contains all the sharps or flats from the minor key signature with the same name

Seventh Chords

chords which contain four different notes, and are made up of a triad plus the interval of a 7th above the root.

Major Seventh Chords

consist of a Major Triad and a Major 7th above the root. These chords are also called Major-Major seventh chords. When writing Major Sevenths chords, add all sharps or flats which are contained in the Major key signature of the root.

Half-Diminished Seventh Chords

consist of a dimished triad, and a minor seventh above the root. These are also called diminished-minor seventh chords. (notation: dø7)

plagal cadence

consists of a IV chord followed by a I chord. Conclusive.

Dorian Mode

contains the pattern of whole and half steps that occurs when beginning and ending on the SECOND note of the Major scale. Half steps occur between notes 2-3 and 6-7. It is the same as a Major scale, which has the third and seventh scale degrees lowered a half step.

Locrian mode

contains the pattern of whole and half steps that occurs when beginning and ending on the SEVENTH note of the Major scale. Half steps occur between notes 1-2 and 4-5. It is the same as a Major scale which has the second, third, fifth, sixth and seventh scale degrees each lowered a half step.

Aeolian mode

contains the pattern of whole and half steps that occurs when beginning and ending on the SIXTH note of the Major scale. Half steps occur between notes 2-3 and 5-6. It is the same as the natural minor scale.

Phrygian mode

contains the pattern of whole and half steps that occurs when beginning and ending on the THIRD note of the Major scale. Half steps occur between notes 1-2 and 5-6. It is the same as a Major scale with the second, third, sixth and seventh scale degrees each lowered a half step.

harmonic minor scale

created by raising the seventh note of the natural minor scale a half step. This creates a half step, rather than a whole step, between the seventh and eighth notes of the scale, making the seventh a leading tone.

melodic minor scale

created by raising the sixth and seventh notes of the natural minor scale while ascending, and returning them to natural minor (lowering them) while descending

Dominant Seventh Chord

created when a fourth note is added to the V chord (Dominant chord). This fourth note is a seventh above the root of the chord, giving it the name "Dominant 7th". Major Triad + minor 7th.

cadential extension

created when the cadence is lengthed. This may be accomplished by repeating the cadence, or by lengthening the cadence rhythmically.

Major scales

eight notes; contain all sharps or flats from Major key signature with the same name; consist of two tetrachords

tetrachord

four note patterns made up of [whole step, whole step, half step]. There is a whole step between the two tetrachords.

Ionian mode

has the same pattern of whole and half steps as the Major scale.

Numeral Values for Chords in the Harmonic Minor

i, ii(dim), III+ or III, iv, V, VI, vii(dim), i

Secondary Triads

ii, iii, vi, and vii(dim). In Major keys, ii, iii, and vi are minor, and vii is diminished. The vii chords has a small circle beside the Roman numeral.

To change a Major triad into a diminished triad...

lower the middle note (the third) and the top note (the fifth) a half step each. The intervals between the root and third and between the third and fifth are both minor 3rds.

iii

mediant

Consonance

musical sounds that involve major/minor chords, or major/minor/perfect intervals, and have stable sound

vi

submediant

ii

supertonic

repetition or literal repetition

takes place when a motive or theme is repeated exactly the way it was the first time it occurred, on the same note.

interval

the distance between two notes

Thematic transformation

the process of developing a theme by changing it in various ways.

If only two notes of the triad are present...

the two notes will most likely be the root and third of the chord, or possibly the root and fifth.

Dissonance

unstable sounds; groups of notes that are not within the context of consonance intervals

mode

used to indicate any of a number of scale formations, including Major and Minor.