AP Music Theory flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Parallel fifths

Two voices moving in the same direction from one perfect fifth to another; forbidden in traditional voice leading.

Cadential 6/4

A I chord in second inversion (6/4) that resolves to V; often analyzed as V6/4 with suspended tones.

Secondary dominant

A chromatic chord that is the dominant of a diatonic chord other than tonic, notated V/x, resolving to x.

Solfège syllables

Do, re, mi, fa, sol, la, ti for major scale; used in movable-do system for sight singing.

Figured bass 6/5

First inversion seventh chord; intervals of a sixth and fifth above the bass.

PAC (Perfect Authentic Cadence)

V–I cadence with both chords in root position and soprano ending on tonic scale degree.

Harmonic minor scale

Natural minor with raised seventh scale degree; creates leading tone and augmented second between 6 and 7.

Neighbor tone

Non-chord tone that steps away from a chord tone and returns to the same chord tone.

Modulation

Change of key within a piece; often confirmed by a cadence in the new key and use of accidentals.

Suspension

Non-chord tone held over from previous chord, then resolves downward by step.

Sight singing preparation

Before singing, establish tonic and key by humming tonic or playing a reference chord.

Roman numeral analysis

System labeling chords by scale degree (I, ii, etc.) with case indicating quality and symbols for inversion.

Melodic dictation strategy

Notate rhythm first, then pitch; use tonic as reference and check intervals against scale degrees.

Voice leading rules

Avoid parallel fifths/octaves, resolve leading tone up, resolve sevenths down, no voice crossing or overlap.

Binary form

Two-part form (AB or AABB); often with repeat signs and contrasting keys.

Ternary form

Three-part form (ABA) with contrasting middle section and return of the opening material.

Sonata form

Exposition, development, recapitulation; includes themes, transitions, and closing sections.

Rondo form

Form with recurring A section alternating with contrasting episodes (ABACA).

Harmonic dictation

Identify bass line and chord qualities by ear; listen for cadences and common progressions.

Chromatic solfège

Syllables for altered notes: di, ri, fi, si, li (raised) and te, le, se, me, ra (lowered).

Interval inversion

Intervals invert by subtracting from 9: perfect fifth becomes perfect fourth; major becomes minor.

Triad qualities

Major: M3+m3; minor: m3+M3; diminished: m3+m3; augmented: M3+M3.

Seventh chord inversions

Root position: 7; first inversion: 6/5; second inversion: 4/3; third inversion: 4/2.

Passing tone

Non-chord tone that fills a stepwise gap between two chord tones.

Appoggiatura

Non-chord tone approached by leap and resolved by step in opposite direction.

Escape tone

Non-chord tone approached by step and left by leap in opposite direction.

Anticipation

Non-chord tone that is repeated as a chord tone in the next chord.

Retardation

Suspension-like figure that resolves upward by step instead of downward.

Texture types

Monophonic (single line), homophonic (melody with accompaniment), polyphonic (independent lines).

Error detection

Compare heard melody with notated version; common errors include wrong rhythm, pitch, or missing accidental.

Rhythm counting

Use syllables (1 e & a) or takadimi; note values: whole, half, quarter, eighth, sixteenth; dotted values add half.

Breath support

Use diaphragmatic breathing to sustain phrasing and maintain pitch accuracy while sight singing.