NCEA L1 Toi Puoro flashcards

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

Standard concert pitch A4

A4 is the reference pitch at 440 Hz, used to tune instruments and voices. Other pitches are defined relative to it by semitone distance, so A3 is 220 Hz and A5 is 880 Hz.

Semitone

The smallest standard interval in Western music, equal to one adjacent key on a piano keyboard (for example E to F, or B to C). Two semitones make one whole tone.

Major scale pattern

A seven-note scale built in the semitone pattern 2-2-1-2-2-2-1 from the tonic. In C major this gives C D E F G A B C with semitones between E–F and B–C.

Natural minor scale

A seven-note scale with the semitone pattern 2-1-2-2-1-2-2 from the tonic. It shares its notes with the relative major a minor third above, so A minor uses the same notes as C major.

Harmonic minor scale

A natural minor scale with the seventh degree raised by a semitone, creating a leading tone and an augmented second between the sixth and seventh degrees. Common in minor-key harmony and cadences.

Order of sharps

Sharps appear in key signatures in the fixed order F, C, G, D, A, E, B. Each new sharp key adds the next sharp and raises the tonic a perfect fifth, moving from C to G to D and so on.

Order of flats

Flats appear in key signatures in the fixed order B, E, A, D, G, C, F. Each new flat key adds the next flat and lowers the tonic a perfect fifth, moving from C to F to B-flat and so on.

Finding a sharp key

The tonic of a sharp key is one semitone above the last sharp written in the signature. Three sharps (F, C, G) therefore indicate A major, since G sharp is a semitone below A.

Finding a flat key

The tonic of a flat key is the second-to-last flat in the signature. Four flats (B, E, A, D) indicate A-flat major, because A-flat is the second-to-last flat listed.

Perfect fifth

An interval spanning seven semitones, such as C to G. It is called perfect because it occurs in both major and minor scales and is neither major nor minor in quality.

Major triad structure

A three-note chord of root, third and fifth measuring four semitones from root to third and three from third to fifth. C–E–G is the model major triad.

Minor triad structure

A three-note chord of root, third and fifth measuring three semitones from root to third and four from third to fifth. A–C–E is the model minor triad.

Diminished triad

A triad built from a minor third plus a diminished fifth above the root, giving three and then three semitones between adjacent notes. In a major key it occurs on scale degree seven.

Compound duple time

A metre with two main beats per bar, each dividing into three equal parts, written as 6/8. The beat is a dotted crotchet and the bar holds six quavers.

Simple triple time

A metre with three beats per bar, each dividing into two, written as 3/4. The beat is a crotchet and a full bar contains three crotchets, as in a waltz.

Dotted rhythm value

A dot after a note lengthens it by half its original value. A dotted minim therefore lasts three crotchets, and a dotted crotchet lasts three quavers.

Tie versus slur

A tie joins two notes of the same pitch so they sound as one held note, often across a barline. A slur joins different pitches and indicates smooth, legato articulation.

Roman numeral chords

Chords are labelled by the scale degree of their root, with uppercase for major and lowercase for minor. In C major, C is I, D minor is ii, G is V and B diminished is vii°.

Perfect cadence

A progression from chord V to chord I at the end of a phrase, giving a strong sense of closure. It is the standard ending for a complete musical statement.

Plagal cadence

A progression from chord IV to chord I at the end of a phrase, sometimes called the amen cadence. It closes a phrase but with less finality than a perfect cadence.

Pentatonic scale

A five-note scale using scale degrees 1, 2, 3, 5 and 6 of the major scale, giving C D E G A in C. It avoids semitones and is common in folk and waiata melodies.

Syncopation

Rhythmic accent placed on a weak beat or between beats, so the expected pulse is displaced. It is created by off-beat stresses, rests on strong beats, or ties across beats.

Dynamics markings

Symbols indicating loudness: p (soft), mp (moderately soft), mf (moderately loud) and f (loud). Crescendo and diminuendo indicate a gradual increase or decrease in volume.

Tempo marking

An instruction for speed, such as adagio (slow), andante (walking pace), moderato (moderate) or allegro (fast). Tempo is separate from dynamics and from time signature.

Binary form

A two-part structure written AB, in which the first section moves to a related key and the second returns to the tonic. Each part is usually repeated.

Ternary form

A three-part structure written ABA, where the opening section returns after a contrasting middle section. The return may be varied rather than an exact repeat.

Verse and chorus form

A song structure alternating verses, which change lyrics, with a chorus, which repeats the same words and usually the same melody. Common in contemporary popular and waiata repertoire.

Transposition

Shifting a melody or chord progression up or down by a fixed interval so all pitches change but the internal intervals and key relationships stay the same.

Relative minor

The minor key sharing the same key signature as a major key, found a minor third below its tonic. A minor is the relative minor of C major, and both have no sharps or flats.

Accidental

A sharp, flat or natural sign written in the music that alters a pitch for the rest of that bar. It does not change the key signature and is cancelled by a barline.

Leap versus step

A step moves to an adjacent letter name, such as C to D, while a leap skips one or more letter names, such as C to F. Melodic contour describes the overall shape these create.

Anacrusis

One or more notes before the first full bar of a piece, sometimes called an upbeat. The final bar is shortened by the same value so the total bar count stays balanced.