Name_______________________________
John F Kennedy Memorial High School
AP Music Theory
First Day Packet
Dear Student,
Enclosed is your AP Music Theory packet. Please complete all portions to the best of
your ability. The goal of this packet is not to get everything correct or punish you, but to make
sure that you have a good foundation of the basics of Music Theory on the first day. Since the
class is A.P. we will be moving very quickly and covering a great deal of information. Please be
sure to read through the attached syllabus. The entire packet is due on the first day of class.
You may use any source you’d like to help you complete the packet. My email address is
josh.cabrera@woodbridge.k12.nj.us and I’d be more than happy to assist you or clarify
anything. Understanding these basic concepts on the first day will assist you in the rest of the
semester. Thank you for your anticipated hard work. I’m looking forward to a fun and rewarding
semester!
Musically Yours,
Mr. Cabrera
Director of Bands
John F Kennedy Memorial High School
1
AP Music Theory Packet
Woodbridge Township School District
AP Music Theory Syllabus
Objectives:
At the end of the course, students will be able to:
a.)
b.)
c.)
d.)
e.)
f.)
g.)
h.)
i.)
j.)
k.)
Notate pitch and rhythm in accordance with standard notation practices.
Read and write in treble, bass, and movable C clefs.
Write, sing, and play major scales and all three forms of minor scales.
Recognize by ear and by sight all intervals within an octave.
Use the basic rules that govern music composition.
Harmonize a melody with appropriate chords using good voice leading.
Analyze the chords of a musical composition by number and letter name.
Transpose a composition from one key to another.
Express musical ideas by composing and arranging.
Understand and recognize basic musical forms: ternary, binary, rondo, etc.
Write simple rhythmic, melodic, and harmonic dictation.
Teaching Strategies/Student Activities:
Written Work: Students are expected to participate actively in classroom discussions
and demonstrations each day. The teacher will collect and grade all written work from the texts
and workbooks. A comprehensive theory folder containing all handouts as well as homework,
quizzes, and exams that are returned is required. The “Tonal Harmony” workbook includes
extensive partwriting and composition exercises which will be assigned every day. Students will
complete at least one written test per week. Competency with technology is a major
component of this course. Students will input melodies and compositions into Sibelius and Band
In a Box software. Aside from printing these assignments out, students will also playback the
assignments as critique. Students will also use online sources such as musictheory.net.
Aural Work: Students will also demonstrate mastery of Solfege singing by completing
assignments from “Music For Sight-Singing”. Students will demonstrate knowledge by singing
alone and with others as well as by utilizing the microphone to record progress and singing
tests. Students will also be required to take rhythmic and melodic dictation. There will be at
least one aural dictation or sight-singing test per week.
Projects: In addition to daily assignments, written tests, and aural tests, there will be at
least one major project per semester such as short compositions and written reports. For a final
project, the students will create an original composition in 4-parts utilizing all of the techniques
learned in class and transpose for four unique instruments. Students will perform, record, and
critique this composition.
2
AP Music Theory Packet
Course Planner: (Note: Main chapter references are from the “Tonal Harmony” textbook. Chapter
references for singing are from “Music for Sight Singing” text.) This schedule is approximate, as classes
may move slower or faster from one year to another. Written homework and reading assignments are
given at each class period.
First Marking Period, Part 1 (4 weeks)
Week 1 Review
(Teacher may assign a pre-test or worksheet encompassing the first 4 chapters to be completed
before the first day of class.)
Chapter 1 – Elements of Pitch - Keyboard and octave registers; notation of the staff; major scale; major key
signatures; minor scales; minor key signatures; scale degree names; intervals; perfect, major, and minor intervals;
augmented and diminished intervals; inversion of intervals; consonant and dissonant intervals.
Ear Training: Intervals, triads, and scales
Sight Singing: Rhythm – “Music For Sight Singing”, Chapter2
Chapter 2 – Elements of Rhythm – Rhythm; durational symbols; beat and tempo; meter; division of the beat;
simple time signatures; compound time signatures.
Ear Training: Intervals, triads, and scales
Sight Singing: Rhythm - Simple meters; the beat and its division into two parts, Chapter 1
Chapter 3 – Introduction to Triads and Seventh Chords – Triads; Seventh Chords, Inversions of Chords; Inversion
Symbols and Figured Bass; Lead Sheet Symbols; Recognizing Chords in Various Textures.
Ear Training: Rhythmic Dictation- Simple meters, seconds, thirds, and fourths.
Sight Singing: Melody- stepwise melodies, major keys; Chapter 3
Rhythm- simple meters; the beat and its division into two parts.
Chapter 4 – Diatonic Chords in Major and Minor Keys – Minor scale; diatonic
triads in major; diatonic triads in minor; diatonic seventh chords in major; diatonic seventh chords in minor. 2
Ear Training: Melodic Dictation- fifths, sixths, and octaves; Harmonic dictation- four part settings of the tonic triad.
Sight Singing: Melody- Intervals from the tonic triad, major keys, Chapter 3 continued;
Rhythm - simple meters.
Week 2
Chapter 5 – Principles of Voice Leading– the melodic line; notating chords, voicing a single triad; parallel
motion.
Ear Training: Rhythmic dictation- beat subdivision by 2; Melodic dictation- the tonic triad and dominant
seventh; Harmonic dictation- the tonic triad and dominant seventh.
3
AP Music Theory Packet
Sight Singing: Melody- intervals from the tonic triad, major keys;
Rhythm- compound meters; the beat and its division into three parts.
Week 3
Chapter 6 – Root Position Part Writing – Root position part writing with repeated roots; root position
part writing with roots a 4th (5th) apart; root position part writing with roots a 3rd (6th) apart; root position
part writing with roots a 2nd (7th) apart; instrumental ranges and transpositions.
Ear Training: Rhythmic dictation - beat subdivision by 4, anacrusis; Melodic dictation - primary triads and
the dominant seventh; Harmonic dictation - primary triads and the dominant seventh, cadential tonic
six-four.
Sight Singing: Melody - minor keys, intervals from the tonic triad, Chapter 5
Rhythm - simple and compound meters.
Week 4
Chapter 7 – Harmonic Progression – Sequences and the circle of fifths; the I and V chords; the II chord;
the VI chord; the III chord; the VII chord; the IV chord; common exceptions; differences in the minor
mode; progressions involving seventh chords, harmonizing a simple melody.
Ear Training: Rhythmic dictation - dots and ties; Melodic dictation - minor mode; Harmonic dictation minor mode, first inversion of triads.
Sight Singing: Melody - intervals from the dominant (V) triad, major and minor keys, Chapter 6
Rhythm - simple and compound meters.
First Marking Period, Part 2 (5 weeks)
Week 1
Chapter 8 – Triads in First Inversion – bass arpeggiation; substituted first inversion triads; parallel sixth chords;
part writing first inversion triads; soprano-bass counterpoint.
Ear Training: Melodic dictation - the supertonic triad; Harmonic dictation - the supertonic triad, inversions of V7.
Sight Singing: The C Clefs - alto and tenor clefs, Chapter 7
Week 2
Chapter 9 – Triads in Second Inversion – bass arpeggiation and the melodic bass; the cadential six-four; the passing
six-four; the pedal six-four; part-writing for second inversion triads.
Ear Training: Rhythmic dictation - compound meter; Melodic dictation - all diatonic triads; Harmonic dictation - all
diatonic triads.
4
AP Music Theory Packet
Sight Singing: Melody - further use of diatonic intervals, Chapter 8
Rhythm - simple and compound meters.
Week 3
Chapter 10 – Cadences, Phrases, and Periods – Musical form; cadences; cadences and harmonic rhythm, motives
and phrases; period forms.
Ear Training: Rhythmic dictation - triplets; Melodic dictation - supertonic and leading tone sevenths; Harmonic
dictation - supertonic and leading tone sevenths.
Sight Singing: Melody - intervals from the dominant seventh chord (V7), other diatonic intervals of the seventh;
Rhythm - simple and compound meters.
Week 4
Chapter 11 – Non-Chord Tones 1 – Classification of Non-Chord Tones; passing tones; neighboring tones;
suspensions and retardations; figured bass and lead sheet symbols; embellishing a simple texture.
Ear Training: Examples from music literature.
Sight Singing: Rhythm - subdivision of beat, simple beat into four parts, compound beat into six parts.
Chapter 12 – Non-Chord Tones 2 – Appoggiaturas; escape tones; the neighbor group; anticipations; the pedal
point; special problems in the analysis of non-chord tones.
Ear Training: Rhythmic dictation - syncopation; Melodic dictation - non-dominant seventh chords; Harmonic
dictation - non-dominant seventh chords.
Sight Singing: Melody - intervals from the tonic and dominant triads; Rhythm - subdivision in simple and
compound meters.
Week 5
Review Chapters 1 through 9
Semester One Exam
Second Marking Period, Part 1 (Four Weeks)
Week 1
Chapter 13 – The V7 Chord – General voice-leading considerations; the V7 in root position; the V7 in
three parts; other resolutions of the V7; the inverted V7 chord; the V6/5 Chord; the V4/3 Chord; the
V4/2 Chord; the approach to the 7th.
Ear Training: Melodic dictation - scalar variants, modal borrowing, and decorative chromaticism;
Harmonic dictation - scalar variants, modal borrowing.
5 AP Music Theory Packet
Sight Singing: Melody - further use of diatonic intervals; Rhythm - subdivision in simple and compound
meters.
Week 2
Chapter 14 – The II7 and VII7 Chords – The II7 chord; the VII7 chord in Major; the VII7 chord in Minor.
Ear Training: Melodic and Harmonic dictation - secondary dominants.
Sight Singing: Melody - chromaticism (I) - chromatic nonharmonic tones, the dominant of the dominant
(V/V) harmony, modulation to the key of the dominant.
Chapter 15 – Other Diatonic Seventh Chords – The IV7 chord; the VI7 chord; the I7 chord; the III7 chord;
seventh chords and the Circle-of-Fifths progression.
Ear Training: Examples from music literature.
Sight Singing: Melody - chromaticism (II) - modulation to closely related keys, additional secondary
dominant harmonies.
Week 3
Chapter 16 and 17 – Secondary Functions 1 and 2 – Chromaticism and altered chords; secondary
functions; secondary dominant chords; spelling secondary dominants; recognizing secondary dominants;
secondary dominants in context; secondary leading tone chords; spelling secondary leading-tone chords;
recognizing secondary leading-tone chords; sequences involving secondary functions; deceptive
resolutions of secondary functions.
Ear Training: Melodic and Harmonic dictation - modulation to closely related keys
Sight Singing: Rhythm and Melody - syncopation
Week 4
Chapter 18 and 19 – Modulations using diatonic common chords – modulation and change of key;
modulation and tonicization; key relationships; common-chord modulation; analyzing common-chord
modulation; altered chords as common chords; sequential modulation; modulation by common tone;
monophonic modulation; direct modulation.
Ear Training: Rhythmic dictation - quintuple meter; Melodic dictation - the neapolitan sixth chord
augmented sixth chords, and modulation to distantly related keys; Harmonic dictation - the neapolitan
sixth chord, augmented sixth chords, enharmonic modulation.
Sight Singing: Rhythm and Melody - triplet division of undotted note values, duplet division of dotted
note values.
6
AP Music Theory Packet
Second Marking Period, Part 2 (4 Weeks)
Week 1
Chapter 20 – Binary and Ternary Forms – Formal terminology; binary forms; ternary forms; rounded
binary forms; 12-bar blues; other formal designs.
Ear Training: Examples from music literature.
Sight Singing: Rhythm and Melody - changing meter signatures: the Hemiola; less common meter
signatures.
Week 2
Chapters 21 and 22 – Mode Mixture and the Neapolitan Chord – Borrowed chords in minor; the use of
b6 in Major; modulations involving mode mixture; the Neapolitan chord.
Ear Training: Rhythmic dictation - irregular meters; Melodic and Harmonic dictation - diatonic modes.
Sight Singing: Rhythm and Melody - further subdivision of the beat; notation in slow tempi.
Week 3
Chapters 23 and 24 – Augmented Sixth Chords – The interval of the augmented 6th; the Italian
augmented 6th chord; the French augmented 6th; the German augmented 6th; resolutions to other scale
degrees and other chord members.
Ear Training: Rhythmic dictation - changing meters; Part music dictation
Sight Singing: Chromaticism (III) - additional uses of chromatic tones
Week 4
Chapter 28 – An Introduction to Twentieth-Century Music – Impressionism; scales; the diatonic church
modes; pentatonic scales; synthetic scales; tertian harmony and lead sheet symbols; quartal and
secundal harmony; parallelism; pandiatonicism; atonal theory; the 12-tone serialism; total serialism.
Aleatory or chance music.
Ear Training: Rhythmic dictation - changing meters; Part music dictation - pandiatonicism.
Sight Singing: Chromaticism (III) - additional uses of chromatic tones, remote modulation.
Remaining Weeks
Review for AP Music Theory Exam
Take practice free-response questions
Take AP Music Theory Exam
Semester Two Exam
7
AP Music Theory Packet
Textbooks: -Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony: With an Introduction to
Twentieth-Century-Music, Fifth Edition. New York: McGraw-Hill. With CD
-Ottman, Robert W. and Rogers, Nancy. 2007. Music for Sight Singing. Pearson Prentice Hall.
- Ottman, Robert W. 1997. Elementary Harmony Theory and Practice, Second Edition. Prentice-Hall, Inc.
Workbooks: -Kostka, Stefan, and Dorothy Payne. 2004. Tonal Harmony: With an Introduction to
Twentieth-Century-Music, Fifth Edition. New York: McGraw-Hill. With CD
-Scoggin, Nancy - Barrons AP Music Theory Book. Barron's Educational Series 2010.
Teacher Resources:
Ottman, Robert W. 1972. Advanced Harmony Theory and Practice, Second Edition. Prentice-Hall, Inc.
- Elementary Harmony: Theory and Practice with CD, 5th Edition, Ottman
-Advanced Harmony: Theory and Practice with CD, 5th Edition, Ottman
-The Practice of Harmony, 6th Edition, 2012, Spencer
-Fundamentals of Music: Rudiments, Musicianship, and Composition, 6th Edition, 2013, Henry
-Basic Materials in Music Theory, 12th Edition, 2010, Harder & Steinke
-www.musictheory.net
-College Board AP Music Theory home
http://apcentral.collegeboard.com/apc/public/courses/teachers_corner/2261.html
Computer programs: Sibelius 7, Band In a Box
Materials needed:
Each student will be required to have the following materials daily:
1.
2.
3.
4.
5.
6.
Music manuscript notebook
Pencils – DO NOT USE INK IN THIS CLASS!! Assignments written in ink will be returned ungraded.
A folder for notes and handouts.
Texts and workbooks from above.
Sibelius 7, Band In a Box computer programs
Keyboard, headphones, microphone.
Student Evaluation:
Tests/Major Assessments 75%
Homework/Quizzes/Minor Assessments 25%
8
AP Music Theory Packet
Class Expectations:
1. Respect yourself, teachers, other students, your parents, your school and your administration.
Respecting yourself and the people around you will make your experience more enjoyable and
fulfilling, and the people around you interact with will respond to you in a positive manner.
2. Be on time. We stay very busy in this class – we have a lot to do everyday and each minute counts!!
The school wide tardy policy is very clear and we will follow this policy in this class.
3. Turn assignments in on time. Late assignments make things difficult since we move so quickly.
There will occasionally be a legitimate reason why an assignment will be turned in late (for example,
an excused absence). Students will be allowed 1 day per excused absence to make up work.
4. Take care of personal business during the passing period to avoid disrupting class. Passes to leave
class will be very limited. Begin early to budget your time and breaks.
9
AP Music Theory Packet
TREBLE CLEF AND BASS CLEF
Treble clef (G clef) circles line 2 because that’s where G is.
The lines of the treble clef are E G B D F
The Spaces are F A C E
The Bass clef (F clef) has two dots surrounding the 4th line because that’s where F is.
The lines of the bass clef are G B D F A
The spaces are A C E G
Together, all the notes are as follows. (not counting sharps or flats)
Write letter name below each note for G clef, F clef, and C clef. (For C clef, the 3rd line is C.)
10
AP Music Theory Packet
ORDERING: Please re-write the italicized terms in order in the space provided.
SCALE DEGREES:
tonic, dominant, mediant, supertonic, subdominant, leading tone/subtonic, submediant
1. __________________
5. ___________________
2. __________________
6.____________________
3. __________________
7.____________________
4. __________________
SOLFEGGIO: Fa, Do, Mi, Sol, Ti, Re, La
1. __________________
5. ___________________
2. __________________
6.____________________
3. __________________
7.____________________
4. __________________
VOICING (highest to lowest): tenor, alto, soprano, bass
1. __________________
3. ___________________
2. __________________
4.____________________
DYNAMICS (softest to loudest):
piano/p, forte/f, mezzo forte/mf, fortissimo/ff, mezzo piano/mp, pianissimo/pp
1. __________________
4. ___________________
2. __________________
5.____________________
3. __________________
6.____________________
TEMPO (slowest to fastest):
moderato/andante, adagio, vivace/presto, grave, allegro, largo/lento
1. __________________
4. ___________________
2. __________________
5.____________________
3. __________________
6.____________________
MODES: phrygian, locrian, ionian, aeolian, mixolydian, dorian, Lydian
1. __________________
5. ___________________
2. __________________
6.____________________
3. __________________
7.____________________
4. __________________
11
AP Music Theory Packet
MAJOR KEY SIGNATURES
FLAT KEYS
To find a flat key signature look at the next to last flat (except F Major, no trick for that one).
The order of flats in flat key signatures is BEADGCF,
So if you have all 7 notes flat like in Cb Major the flats are Bb, Eb, Ab, Db, Gb, Cb, Fb.
If you only have 4 flats, like the key of Ab Major, then the flats used are Bb, Eb, Ab, Db.
The order always stays the same.
SHARP KEYS
To find a sharp key signature, go up a half step (the very next note) from the last sharp.
(except C Major)
For sharp keys, the order of sharps is backwards from the order of flats. F, C, G, D, A, E, B.
So if you have all 7 notes flat like the key of C#, then the sharps used are F#, C#, G#, D#, A#, E#, B#.
If you only have 4 sharps like the key of E Major, then the sharps used are F#, C#, G#, D#.
The order always stays the same.
MEMORIZE BEADGCF!
12
AP Music Theory Packet
13
AP Music Theory Packet
WRITING MAJOR SCALES.
A Major scale is a pattern of whole steps and half steps between one octave. A half step is the very
next note, a whole step is two half steps. The pattern is:
Now use that same pattern to complete Major scales on the following notes (F, Bb, Eb, Ab, Db). Be
sure to label the Whole steps and half steps like in the example. Also- be sure to put in all flats or
sharps directly in front of the appropriate note (no key signatures). Each scale will use either flats or
sharps, but not both.
14
AP Music Theory Packet
MAJOR SCALES CONTINUED pg. 2
Now use that same pattern to complete Major scales on the following notes (Gb, Cb, G, D, A). Be sure
to label the Whole steps and half steps like in the example. Also- be sure to put in all flats or sharps
directly in front of the appropriate note (no key signatures). Each scale will use either flats or sharps,
but not both.
15
AP Music Theory Packet
MAJOR SCALES CONTINUED pg. 3
Now use that same pattern to complete Major scales on the following notes (E, B, F#, C#). Be sure to
label the Whole steps and half steps like in the example. Also- be sure to put in all flats or sharps
directly in front of the appropriate note (no key signatures). Each scale will use either flats or sharps,
but not both.
16
AP Music Theory Packet
DIATONIC TRIADS based on a Major Scale
WRITE A MAJOR SCALE ON THE GIVEN NOTE. THEN MAKE TRIADS ON EACH NOTE OF
THE SCALE AS WAS DONE IN THE EXAMPLE. LABEL ALL TRIADS WITH THE
APPROPRIATE LETTER NAME AND TYPE. (Major, minor, Augmented, diminished)
17
AP Music Theory Packet
MAJOR TRIADS
WRITE MAJOR TRIADS BASED ON THE FOLLOWING NOTES. LABEL THEM APPROPRIATELY WITH AN
UPPER CASE LETTER.
MAJOR TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3RD,
AND ___________ HALF STEPS BETWEEN THE 3rd AND 5th.
18
AP Music Theory Packet
Minor TRIADS
WRITE MINOR TRIADS BASED ON THE GIVEN NOTE. LABEL THEM APPROPRIATELY WITH AN LOWER
CASE LETTER.
-MINOR TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3RD,
AND ___________ HALF STEPS BETWEEN THE 3rd AND 5th.
19
AP Music Theory Packet
Diminished TRIADS
WRITE DIMINISHED TRIADS BASED ON THE GIVEN NOTE. LABEL THEM APPROPRIATELY WITH A
LOWER CASE LETTER AND CIRCLE (THE FIRST ONE IS g*)
-DIMINISHED TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3RD,
AND ___________ HALF STEPS BETWEEN THE 3rd AND 5th.
20
AP Music Theory Packet
AUGMENTED TRIADS
WRITE AUGMENTED TRIADS STARTING WITH THE GIVEN NOTE. LABEL THE TRIAD APPROPRIATELY
WITH AN UPPER CASE LETTER AND + SIGN. THE FIRST ONE IS D#+
-AUGMENTEDED TRIADS HAVE ___________ HALF STEPS BETWEEN THE ROOT AND 3RD,
AND ___________ HALF STEPS BETWEEN THE 3rd AND 5th.
21
AP Music Theory Packet
MATCHING
Read each definition on the left very carefully, then choose the word to the right that best suits the
definition and write its letter(s) on the line provided.
Do the best you can. You may use any source to find the information.
FORM
_____ 1. returning material, like a chorus
_____ 2. opening material
_____ 3. performed by one
_____ 4. performed by all
_____ 5. Backwards
_____ 6. upside down
_____ 7. the main melody
_____ 8. ending material
_____ 9. when melodies are shortened
_____ 10. a small, recurring segment of a melody
_____ 11. the shape of a melody
_____ 12. the main melody played differently somehow
_____ 13. where a phrase comes to rest or resolves
_____ 14. when melodies are lengthened
_____ 15. continuous music without repeating sections
_____ 16. when music is repeated exactly the same
_____ 17. the blueprint of music (how it is structured)
_____ 18. verse-chorus form (like a hymn)
_____ 19. 2-part form (A B), sections often repeated
_____ 20. binary but first section returns in part (ABA’)
_____ 21. 3-part form (ABA),first section returns complete
_____ 22. a secondary melody appearing with the primary
_____ 23. move to a new key (often accidentals appear)
_____ 24. immediate repeat of melody but higher/lower
_____ 25. two phrases that begin the same
_____ 26. two phrases that begin differently
_____ 27. two periods together
_____ 28. phrases that seem to go together but don’t form a period
a. cadence
b. coda
c. contour
d. countermelody
e. introduction
f. augmentation
g. diminution
h. inversion
i. literal repetition
j. retrograde
k. sequence
l. transposition
m. motive
n. contrasting period
o. double period
p. parallel period
q. phrase group
r. refrain
s. form
t. binary
u. rounded binary
v. ternary
w. solo/soli
x. strophic
y. theme
z. through-composed
aa. tutti
bb. variation
HARMONY
_____ 1. pleasant, stable sounding harmony
_____ 2. harmony that clashes
_____ 3. note up on which a triad or chord is built
_____ 4. numbers assigned to notes in a scale (^ above number)
_____ 5. notes in a chord played separately (broken triad)
_____ 6. when the final chord of a minor piece is Major
_____ 7. the rate at which the harmonies change
_____ 8. key change
_____ 9. pitches that fit within the key
_____ 10. a tool for remembering key signatures
_____ 11. by half steps
_____ 12.dissonance moving to consonance, or cadence
a. scale degrees
b. circle of fifths
c. harmonic rhythm
d. modulation
e. arpeggio
f. chromatic
g. consonance
h. diatonic
i. dissonance
j. Picardy third
k. resolution
l. root
22
AP Music Theory Packet
INTERVALS
_____ 1. smallest interval in Western music
_____ 2. interval made up of two half steps
_____ 3. both voices on same pitch
_____ 4. turning the interval upside down
_____ 5. the distance between two notes
_____ 6. interval that is exactly 12 semitones apart
a. interval
b. half step (semitone)
c. whole step (whole tone)
d. inversion
e. octave
f. unison (prime)
PERFORMANCE TERMS
_____ 1. the speed of the beat
_____ 2. curved line connecting 2+ different pitches
_____ 3. louds and softs in musics
_____ 4. smooth and connected style
_____ 5. light and separated style
_____ 6. marchlike style; separated but with strength
_____ 7. plucked style
_____ 8. gradually get softer
_____ 9. gradually get louder
_____ 10. the way a note is attacked or style of playing
_____ 11. gradually slowing down
_____ 12. gradually speeding up
_____ 13. to stretch a note to its full value
_____ 14. abrupt shifts in dynamics
_____ 15. freedom in tempo that slows then speeds up;
literally, “rob” time then give back
RHYTHM/METER
_____ 1. the steady pulse
_____ 2. regular beat groupings create this
_____ 3. tells how many beats per measure
_____ 4. tells what kind of note gets the beat
_____ 5. beat that can be divided into two
_____ 6. beat that can be divided into three
_____ 7. meter where top number is divisible by 2
_____ 8. meter where top number is divisible by 3
_____ 9. adds half of a note’s value to a note
_____ 10. shortening a rhythm by halving the note values
_____ 11. lengthening a rhythm by doubling note values
_____ 12. pickup note/beat
_____ 13.emphasizing note by rhythmic placement, length
_____ 14. putting a strong sound on a weak beat
_____ 15. these visually divide music into measures
_____ 16. curved line connecting 2+ notes of same pitch
_____ 17. meter that is not consistent; changes
_____ 18. meter whose measures are not evenly divisible
_____ 19. organization of music using notes and rests
_____ 20. notes barred into sets of 2 (2 above the bar)
_____ 21. notes barred into sets of 3 (3 above the bar)
_____ 22. rhythm that defies the established beat division
_____ 23. uses accents to turn triple feel into duple
_____ 24. sometimes used in meters with larger top
numbers that are divisible by 4
23
AP Music Theory Packet
a. articulation
b. legato
c. marcato
d. pizzicato
e. slur
f. staccato
g. tenuto
h. dynamics
i. crescendo
j. diminuendo
k. terrace dynamics
l. tempo
m. accelerando
n. ritardando
o. rubato
a. accent
b. anacrusis
c. meter
d. duple meter
e. quadruple meter
f. triple meter
g. beat
h. simple beat
i. compound beat
j. asymmetrical meter
k. changing meter
l. top# of time sig.
m. bottom# of time sig.
n. augmentation
o. diminution
p. bar lines
r. rhythm
s. cross rhythm
t. dot
u. duplet
v. triplet
w. hemiola
x. syncopation
y. tie
SCALES/KEYS/MODES
_____ 1. refers to whether a piece is Major, minor, or modal
_____ 2. the earliest scales prior to Major & minor
_____ 3. sharp, flat, or natural changing the pitch of a note
_____ 4. tonality with a Major 3rd; WWhWWWh scale pattern
_____ 5. tonality with a minor 3rd; WhWWhWW scale pattern
_____ 6. 7-note scale made up entirely of whole steps
_____ 7. 13-note scale made up entirely of half steps
_____ 8. 5-note scale using scale degrees 1, 2, 3, 5 & 6
_____ 9. 8-note scale (repeating octave) with 5 whole steps and 2
1/2steps; also, term given to the pitches that fit w/in scale
TEXTURE
_____ 1. same as a round
_____ 2. collection of pitches that make up a theme
_____ 3. a melody repeats in a different voice but varied a bit
_____ 4. the sound of the instrument or voice being used
_____ 5. texture w/obvious melody & separate accompaniment
_____ 6. accompaniment that is made up of chords
_____ 7. only one “voice” (or line of music)
_____ 8. more than one voice, moving precisely together
_____ 9. more than one voice, moving independently
_____ 10. more than one voice, moving together (not precisely)
_____ 11. more than one voice, moving rhythmically together
_____ 12. continuous bassline, almost entirely stepwise (esp.jazz)
_____ 13. continuously repeated motive, usually throughout
_____ 14. continuous broken chord: R-5-3-5, R-5-3-5, etc.
_____ 15. part of the voicing that is mandatory
_____ 16. independent melodies that work together harmonically
24
AP Music Theory Packet
a. accidental
b. chromatic
c. diatonic
d. major
e. minor
f. modes
g. pentatonic
h. tonality
i. whole tone
a. alberti bass
b. canon
c. chordal accomp.
d. counterpoint
e. imitation
f. heterophony
g. homophony
h. monophony
i. polyphony
j. melody w/accomp.
k. melody
l. homorhythmic
m. timbre
n. obbligato
o. ostinato
p. walking bass