NBPTS EC Music flashcards

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

Treble clef lines

The five lines of the treble staff, bottom to top, are E, G, B, D, F. The spaces spell F, A, C, E. G4 sits on the second line from the bottom.

Bass clef lines

The five lines of the bass staff, bottom to top, are G, B, D, F, A. The spaces spell A, C, E, G. F3 sits on the fourth line from the bottom.

Middle C location

Middle C (C4) is written on the first ledger line below the treble staff and on the first ledger line above the bass staff. It is the shared boundary between the two staves.

Major scale semitone pattern

A major scale ascends with the whole- and half-step pattern 2-2-1-2-2-2-1 semitones. Half steps fall between scale degrees 3-4 and 7-8, giving the characteristic leading tone.

Natural minor scale

The natural minor scale uses the semitone pattern 2-1-2-2-1-2-2, equivalent to the relative major starting on scale degree 6. Scale degrees 3, 6, and 7 are lowered relative to major.

Harmonic minor scale

Harmonic minor raises scale degree 7 of natural minor by one semitone, creating a leading tone and an augmented second between degrees 6 and 7. It is common in common-practice harmony.

Melodic minor scale

Melodic minor raises degrees 6 and 7 ascending, then reverts to natural minor descending. The ascending form avoids the augmented second and smooths the line toward the tonic.

Order of sharps

Sharps appear in key signatures in the fixed order F, C, G, D, A, E, B. The last sharp added is always scale degree 7, so the major key is one semitone above it.

Order of flats

Flats appear in key signatures in the fixed order B, E, A, D, G, C, F. The second-to-last flat names the major key; with one flat, the key is F major.

Interval inversion rule

Inverting an interval subtracts its number from 9, so a third becomes a sixth and a fourth becomes a fifth. Major inverts to minor, augmented to diminished, and perfect stays perfect.

Major triad construction

A major triad stacks a major third (4 semitones) then a minor third (3 semitones) above the root. Root to fifth is a perfect fifth of 7 semitones.

Minor triad construction

A minor triad stacks a minor third (3 semitones) then a major third (4 semitones) above the root. Root to fifth is a perfect fifth, matching the major triad's outer interval.

Diminished and augmented triads

A diminished triad stacks two minor thirds (3+3 semitones), giving a diminished fifth above the root. An augmented triad stacks two major thirds (4+4), giving an augmented fifth.

Dominant seventh chord

A dominant seventh chord is a major triad plus a minor seventh above the root (major-minor seventh). It occurs naturally on scale degree 5 and resolves strongly to the tonic.

Roman numeral case

Uppercase Roman numerals denote major or augmented triads; lowercase denote minor or diminished. A small circle superscript marks diminished, a plus marks augmented, and 7 adds a seventh.

Figured bass inversions

Root-position triads carry no figure; first inversion is 6; second inversion is 6/4. For seventh chords, 7 is root position, 6/5 first inversion, 4/3 second inversion, and 4/2 third inversion.

Authentic cadence

An authentic cadence moves from dominant (V or V7) to tonic (I). It is perfect when both chords are in root position and the soprano resolves to scale degree 1.

Half and deceptive cadences

A half cadence pauses on the dominant, often ending a phrase on V. A deceptive cadence substitutes vi (or another non-tonic chord) for the expected tonic after V.

Plagal cadence

A plagal cadence moves from subdominant (IV) to tonic (I). It is often called the amen cadence and appears frequently at the end of hymns and chorale phrases.

Simple versus compound meter

In simple meter the beat divides into two equal parts (2/4, 3/4, 4/4). In compound meter the beat divides into three (6/8, 9/8, 12/8), and the numerator is a multiple of three.

Binary and ternary form

Binary form has two contrasting sections, AB, often with repeats. Ternary form has three sections, ABA, where the opening material returns after a contrasting middle section.

Rondo form

Rondo form alternates a recurring refrain with contrasting episodes, typically ABACA or ABACABA. The refrain returns in the tonic key after each episode, giving strong closure.

Sonata form sections

Sonata form comprises an exposition presenting themes in contrasting keys, a development that fragments and modulates, and a recapitulation returning themes in the tonic, sometimes preceded by a slow introduction.

Theme and variations form

A theme is stated, then followed by successive variations that alter melody, harmony, rhythm, texture, or timbre while preserving the underlying structure. The form is often labeled A A1 A2 A3.

Transposing instrument in B-flat

A B-flat instrument such as trumpet, clarinet, or tenor sax sounds a major second below the written pitch. Written C sounds as B-flat, so the player reads a transposed part.

Transposing instrument in F

An F instrument such as French horn or English horn sounds a perfect fifth below written pitch. Written C sounds as F, so the written key is a fifth above the sounding key.

Circle of fifths progression

Chords whose roots descend by fifths (vi–ii–V–I, or iii–vi–ii–V–I) create strong forward motion. Each root movement is a descending fifth or ascending fourth.

Modulation versus tonicization

A modulation establishes a new key through a cadence and sustained accidentals. A tonicization briefly emphasizes a chord as temporary tonic without confirming a lasting key change.

Sequence in music

A sequence repeats a melodic or harmonic pattern at successively higher or lower pitch levels. It is common in Baroque music and drives forward motion during development sections.

Motive and phrase

A motive is a short rhythmic or melodic fragment used as a building block. A phrase is a complete musical thought, often four or eight measures, ending in a cadence.

Consonance and dissonance

Consonant intervals include perfect fifths and octaves, thirds, and sixths. Dissonant intervals include seconds, sevenths, and augmented or diminished intervals; dissonance typically resolves by step.

Suspension and resolution

A suspension holds a note from a previous chord into a new harmony, creating dissonance, then resolves downward by step. It is labeled 4-3, 7-6, or 9-8 by the intervals involved.