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APMT VOCAB
U5-U7
| Question | Answer |
|---|---|
| Counterpoint | A melody line or linear voice added to another line/voice |
| intervals | the distance btwn 2 pitches |
| melodic | sounding one after another (as in a melody/singing) |
| harmonic | 2 pitches sounding at the same time |
| consonant intervals | P1, P5, P8, M3, m3, M6, m6 (P4 melodically) |
| dissonant intervals | M2, m2, M7, m7, and all augmented and diminished (P4 when used harmonically above the bass) |
| resolution | motion of dissonant interval to the consonant |
| tertian harmony | harmony built on thirds |
| inversions | triads w/a chord member other than the root as the lowest sounding voice |
| why are all seventh chords dissonant? | because of the added seventh |
| Major seventh chord consists of | M+M7 |
| Dominant seventh chord consists of | M+m7 |
| minor seventh chord consists of | m+m7 |
| half diminished seventh chord consists of | diminished+diminished7 |
| fully diminished seventh chord consists of | diminished+diminished7 |
| enharmonic intervals | sound the same, but spelled differently |
| when an interval is doubly augmented or diminished, it is? | (for perfect and majors) one whole step larger or smaller |
| simple intervals | intervals that are one octave or smaller |
| compound intervals | intervals larger than an octave (usually 9-12) |
| figured bass | indicates the intervals above a given bass line |
| inversion symbols | indicate the lowest sounding note within a chord |
| tendency tones | (4&7) having the tendency to resolve by a half step |
| resolution tones | (1&3) active tones that move the tendency tones |
| tonic chords | I/i and vi/VI |
| sub/predominant chords | IV/iv and ii/ii* |
| dominant chords | V and vii* (most active) |
| cadence | the harmonic, melodic, and rhythmic conclusion to a phrase; establishes tonal center and determines the key |
| perfect authentic cadence | V-I / V7-I where both chords are in root position. The tonic chord must double the root of the chord in the soprano. |
| Imperfect authentic cadence | V-I or vii*6-I or V7-I or vii*/7-I where either chord is inverted and the tonic chord has a chord member other than the root in the soprano. |
| plagal cadence | "amen cadence"; IV-I |
| Deceptive cadence | V-vi |
| Half cadence | IV-V, ii/ii6-V, I64-V -- basically anything ending with V |
| Phrygian half cadence | occurs in harmonic minor; iv6-V |
Created by:
allyson.lee
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