There are always parts of any lesson that mean something to you and are memorable. Remember those parts. Over time, you will remember more and more. No one can remember it all, especially on only a few exposures to the material. Avoid punishing yourself for being human and forgetting parts along the way.

II. Apply what you remember

Use what you remember in your practice. If you forget, no problem. Keep practicing and you will remember more and more.

III. Nature from knowledge

or, the “knowing” becomes natural. The Knowledge becomes part of your nature over time, with practice.

IV. Seek out its applications

In your life and in your music, each experience contains a lesson and every lesson has an impact on you. Look for the lessons, they can be subtle but they are there.

V. Pass on the Knowledge

…? If you want to REALLY LEARN SOMETHING, start teaching it. It’s up to you. You are NEVER too young to teach and you will NEVER be too old to learn.

~ ~ ~

I posted these 5 points as a reminder to myself and as a suggestion to you that learning and study NEVER ends and that there is a lesson to be learned from someone, at every moment, in every situation.

Begin to believe that you might be CORRECT about something before you automatically assume you are wrong. If you’re nervous about participating actively in something, then you need to “practice participating” in that thing. You’ll find out that you are right more than you are wrong. Also, just because someone else is good at something does not mean that you are automatically bad at it simply becuase you can’t compete with them. Just try … and practice.

Your ego is your best friend and also you worst enemy. Don’t listen to your ego when it tells you that you can’t succeed at something you are trying. Try harder and prove your ego wrong.

One more thing, Practice does NOT make perfect.

However, CORRECT practice makes you improve steadily, one step at a time.

I train in music the way I train in Martial Arts. I am disciplined and consistent. It’s easy to practice what you like. It takes discipline to work on the things that you can not easily do automatically. Like the ego, TALENT can be your worst enemy. Too much talent makes you lazy. There is a wall for everyone where there talent ends and hard work begins. Discipline is the only way through that wall.

Patrick Smith and Music Theory

Certified by the College Board as an AP Music Theory instructor, Patrick has been teaching AP for over 20 years in an urban high school.

Patrick Smith is a percussionist, born in Seattle, Washington. He began his study of the marimba at the age of four, followed by Ed Parker Style American Kenpo Karate at the age of 8. By the time he graduated from college, he had performed with many musical organizations in the Pacific Northwest including the Northwest Chamber Orchestra and the Seattle Symphony. He had also attained his first two black belts in Karate. Patrick began his teaching career at Western Washington University (WWU) as an adjunct instructor and lecturer in percussion while he was still a student in WWU’s Music School. He concurrently studied music theory privately at the Seattle home of Donald Denniger of the Juilliard School. In 1980, Patrick arrived in New Haven to advance my musical studies at Yale University and to study under his teachers, teacher – Mr. Frederick D. Hinger of the Metropolitan Opera.

Black Belt Advancement at The Shaolin Temple, China. Prof. G. Dillman in red.

Since that time, Patrick has toured nationally and internationally with various musical organizations and has presented seminars and group instruction as a clinician for Sabian Cymbals, LLC. in their International Artists Program. He has also attended and taught at numerous Martial Arts Seminars held at the Dillman Karate International (DKI) headquarters in Deer Lake, PA., at the training facility formerly owned by Muhammad Ali, known then as The Butterfly and Bee camp.

Maestro James Sinclair, founder of Orchestra New England, Yale Fellow, and leading scholar on “everything Charles Ives”, leads a conducting segment of his lecture to my AP Music Theory Class.

At Berklee College of Music performing & presenting in a clinic on small mixed non-standard ensemble arranging.

Patrick serves as tympanist, percussionist, and Director of Educational Initiatives with Orchestra New England and sits on their Board of Directors. He also performs with the New Haven Symphony, The Harford Symphony, and other groups throughout the northeast. Patrick continues to serve as the Music Department Lead Teacher at the Cooperative Arts Magnet High School in New Haven, as he has for the past 27+ years. He is a former assistant to Dr. Thomas C. Duffy, Director of Yale Bands, he has served as a program developer and instructor for the Music and Arts Center for the Handicapped based at the University of Bridgeport, also in Connecticut, and has mentored musicians of all ages for decades.

Nonviolence Certification signed by Dr. Bernard LaFayette, icon of “the movement”, life-long friend of Senator John Lewis, and MLK’s right hand man.

Dr. Bernard LaFayette, in purple, Mr. Tony B. Nelson – Founder – Fathers in Education, and myself, zooming on a clearly serious call.

Working with the Connecticut Center for Nonviolence for over two decades and training directly under the guidance of Dr. Bernard LaFayette, Patrick is honored to be a certified level 1 trainer in Kingian Nonviolent Conflict Reconciliation.

~ ~ ~

AP MUSIC THEORY POINTS OF IMPORTANCE

The Forms & Structures of Music ~ CADENCES & PHRASES

Cadence Class and Phrase development – form and structure

I. (a) PHRASE: A portion of music akin to a musical sentence or “clause”, the part of a sentence that doesn’t have both a subject and a verb. A phrase is a self contained idea that is somehow incomplete.

I. (b) CADENCE: A musical punctuation mark at the end of each phrase. Three factors determine the quality of the cadence, mainly: choice of melodic tones, a slowing of the harmonic rhythm and note values, and the actual ending chords chosen. The common cadences found in most Western Art music (classical music) of the 18^th and 19^th centuries are:

Perfect Authentic Cadence: P.A.C.

V or V₇ – I⁽⁸⁾A complete ending, like a “period” in written language. The phrase is over. “(8)” means that the tonic tone is present in both the Bass and Soprano voices – thus making it very strong, a.k.a. “Perfect”.

Imperfect Authentic Cadence: I.A.C.

V₇ – I^{(3 or 5)}A slightly weaker ending, like a “comma” in written language. The phrase is over but it sounds less convincingly finished. “(3 or 5)” means that the chordal 3^rd or 5^th (mi or sol) is in the soprano voice – making the sound a little less final or weaker, a.k.a. “Imperfect”.

PRE-DOMINANT CHORDS

Half Cadence: H.C. (sometimes called a SEMI cadence: S.C.)

* – * – V An incomplete ending, similar to a question mark or semi-colon in written language. The phrase is NOT over. You are left hanging, waiting for the final chord to arrive. This cadence is very common in concerto’s and is almost always used as the lead in to a “cadenza” – an extended, expressive solo by the solo instrument or voice being featured in the piece being performed. The only chord that can not be used before the V of the half/semi cadence is ANOTHER V chord. A major II₇ chord acting as a secondary dominant is a GOOD choice but is not the only choice to preceed the final V.

Here, the (*) sign is used to show that ANY logical pre-dominant chord (Dominant Preparation chord) can lead to the Half or Semi-cadence. You may or may not see this symbol used elsewhere for this purpose.

PHRYGIAN Half Cadence: Ph.H.C.

This cadence is somewhat rare but is used on the AP exam just about every year.

iv6 – to V7: The phrygian half cadence is used in MINOR KEYS. It is a MINOR iv6 chord (first inversion iv chord) that resolves easily to a V by moving the Bass note down a half step from its place as the third of the iv chord to the root of the V chord. While the bass note movement is actully bLa down to Sol in the given key, the Cadence resolution is called Phrygian because the bass motion sounds like a lowered or flatted “bRe” decending to “Do“, like you would find in a descending Phrygian mode: 8 – b7 – b6 – 5 – 4 – b3 – b2 – 1. The Root note of the iv6 chord, found higher in the chord voicing can remain where it is as the lower notes move down to create the V chord. That same Root note of the iv6 conveniently becomes the 7th of the now Dominant V(7) in this Phrygian resolution. In solfege, the spelling of this cadence is: bLa to Sol, Do to Ti, with Fa not moving, state more transpaently bLa – Do – Fa moves to Sol – Ti – Fa.

Neopolitan 6 – N6

Like the Phrygian, a Neoplitan 6 is a FIRST INVERSION chord as well. It is a Major chord, not minor like the Phrygian, and is built from the bottom up as a bII6 chord that resolves to a V4/2. It is used in MINOR KEYS. Similar to the Phrygian in that they can easily share their bass notes. The 3rd of the N6 is also the 7th of the V4/2.

In Sofege, the basic and transparent example is: Fa – bLa – bRe (N6) moves to Fa – Sol – Ti (V4/2)

Augmented 6th chords

There are 3 types of Augmented 6th chords: German – Gr.6th, French – Fr.6th, and Italian – It.6th. A contender for 4th place is the questionable Swiss – Sw.6th. The GENERIC name for all of them is “AUGMENTED 6th” and the “th” in 6″th” tells you it is an Augemented 6th INTERVAL – NOT an INVERSION!!! The AP exam will say “augmented 6th”. It will NOT say Gr./Fr./It. The College Board is interested in you knowing the Concept of Augmented 6ths, but feels that the specificity of the 3 types is too much information for “high school students”. I disagree. Having said that, FYI, German is the most common.

ALL Aug. 6th chords resolve “outwardly” to V. The lowered 6th resolves DOWN to the V, the raised 4 resolves UP to the V. The name “augmented 6th is based on the distance between the b6 and the #4 in root position. The SOUND of the Aug.6 chord is the same as that of a Dominant 7 chord. The difference is the spelling and it’s ultimate usage. Again, the Aug.6 resolves TO THE V OF THE KEY YOU ARE IN. This class of chord can be effectively used in both major and minor keys and is the most commonly used chromatic pre-dominant chord set.

The Following list shows the 3 types in Solfege:

German 6th: bLa – Do – bMi – #Fa goes to Sol – Ti – Re – sol

French 6th: bLa – Do – Re – #Fa goes to Sol – Ti – Re – sol

Italian 6th: bLa – Do/do – #Fa goes to Sol – Ti – Re – sol

Swiss 6th: bLa – Do – #Re – #Fa goes to Sol – Do – Mi – sol => a I6/4 chord. Essentially a German 6 spelled with two leading tone type resolutions in the #Re – #Fa going to Me – Sol positions

Formulas used in every possible key:

1. German 6th – Gr.6: b6, 1, b3, #4

2. French 6th – Fr.6: b6, 1, 2, #4

3. Italian 6th – It.6: b6, 1, 1, #4 (Two “1’s are a doubling of the tonic in your key.)

Perfect Plagal Cadence: P.Pl.C.

IV – I⁽⁸⁾A complete ending, like a “period” in written language. The phrase is over. Plagal cadences are obvious due to the “A-Men” quality of the sound. As with the P.A.C., the P.Pl.C. final I chord has the Tonic in both Bass and Soprano voices, making it strong and “Perfect”.

Imperfect Plagal Cadence: I.Pl.C.

IV – I^{(3 or 5)}An slightly weaker ending, also like a “comma” in written language. The phrase is over but it sounds weaker. As with the I.A.C., “(3 or 5)” means that the 3^rd or 5^th is in the soprano voice – making the sound a little less final or weaker, a.k.a. “Imperfect”. The “A-Men”, however, is still obvious to the careful listener.

Deceptive Cadence: D.C.

V – vi or ???An incomplete ending to say the least. Your are “deceived” into thinking the phrase is ending when suddenly, the “wrong” chord takes you further than you thought you’d be going until, finally, you arrive at the true ending. The Deceptive Cadence is often used to lead into a Coda or Codetta (a very short coda). It is a musical “tease”, a tool to get your attention before the actual ending arrives. If it sounds like “chord, pre-dominant chord, V, SURPRISE!” IT’S A DECEPTIVE CADENCE!

Definitions of Cadential “Class”, some combinations and possibilities:

P = Perfect The I chord has the key note (Tonic) in the bass and soprano voices for the final cadential chord.

A = Authentic The final two chords are V or V₇ to I.

I = Imperfect The final chord has the 3^rd or 5^th in the soprano voice.

Pl. = Plagal The final two chords are IV to I.

All inversions are possible!

H.C. = Half Cadence/S.C. = Semi Cadence Same Cadence, two names. They end on V and may be preceeded by any logical pre-dominant chord other than another V.

Masculine vs. Feminine Cadence Descriptor Definition

A Masculine Cadence occurs when the final chord ends on a strong beat, ie. Beats 1 or 3 in 4/4 time, or beats 1 or 4 in 6/8 time.

A Feminine Cadence occurs when the final chord ends on a weak beat. For example, beat 2 or 4 in 4/4 time, or beat 2 or 5 in 6/8.

Building a Phrase:

Here are a couple of ways to build a phrase.

1. Motif (musical idea) and Sequence (the repetition of the idea, either exactly or modified, in a series of restatements in different tonal positions.) See www.gmajormusictheory.org for some examples of sequences.

2. Two balancing motives that are contrasting, yet somehow related. The relationship is often rhythmic. Sometimes a fragment of the 1^st motif is used again in the 2nd motif. The partial break that occurs between the motives is only a caesure (breath pause = //). The break is not a phrase ending since there is no cadence present – and it usually has insufficient melodic content to be a complete phrase. By adding together more than one motive/motif/idea, a phrase can be created.

What is a Period

A Period is a combination of phrases, two being the most common, in which the final phrase has the strongest cadence of the two phrases.

Each phrase is typically 4, 6, or 8 bars long, making the Period 8, 12, or 16 bars.

Examples:

1. First phrase – H.C., Second phrase – P.A.C., Popular in baroque and classical music.

2. First phrase – I.A.C., Second phrase – H.C., Third phrase – P.A.C.

3. First phrase – I.A.C., Second phrase – H.C., Third phrase – Dec. C., Fourth phrase – I.A.C.

Note: The Authentic Cadence is the strongest class of cadence. The P.A.C. is the single strongest cadence.

Phrases often group themselves as a question followed by an answer. The musical terms for this linguistic type of occurance are:

Antecedent, the “question”, and

Consequent, the “answer”.

These groupings occur because of the musical content of the phrases, combined with the relative strengths of the cadences.

Examples:

1. Question = H.C., Answer = P.A.C.

2. Question = I.A.C., Q² = H.C., Answer = P.A.C.

3. Antecendent¹ = I.A.C., Antecendent² = H.C., Antecendent³ =H.C., Consequent = P.A.C. NOTE: !! Phrases may relate as parallel when two consecutive phrases start alike for at least one measure. For longer phrases, for instance an 8 bar phrase, TWO bars of similarity at the beginning of each phrase are required to create a Parallel Period.

Sight Singing, Testing, and Audition Expectations

Sight Singing is the toughest part of the AP Music Theory national exam.

It is usually the HARDEST and most decisive part of college auditions, too.

What many students don’t know is that each college will (probably) give a “placement” theory test during the audition process. Some are harder than others. There are no rules the colleges have to follow regarding what they ask on this theory test.

Here are a few things typically found on college auditions:

pitch matching, a.k.a. singing back a melody given to you on an instrument, sight singing – reading music and singing it at first sight, dictation – writing a piece of music that is played for you,

some sort of major/minor scale knowledge component, and perhaps even a basic analysis of a short piece.

Of all of the elements, the single biggest deciding factor for a school admitting a new music student is their ability to match pitch and make it through a short sight singing piece with an acceptable degree of accuracy.

If you don’t have a natural ear for pitch, you can learn, but it is a LONG road. Even people with “GOOD” ears can fail out of music school because there “listening, writting, singing” skills were below the standard! The standard BEING that they improve with PRACTICE!!Don’t loose HEART, JUST PRACTICE…NOW!!!!! 🙂 This may not be natural for you. GUESS WHAT, it isn’t natural for most all of us. Get over it and PRACTICE. Can I–GET-an AMEN-ah!

E Music Links

EMusic Links

Piano

Rhythms

Rhythm Dictation

Skips, Steps, Repeats

Intervals

Chords

Drums

Important Definitions of Things you Must Remember

Melodic Elements
- Anacrusis = a “pick up” note to a phrase
- Contour = the shape of the melody
- Tesatura = the note range of a melody
- Tone/Note = a generic single musical sound
- Interval = distance between two notes in steps
- Chord = a group of at least 3 notes
- Cluster = a large group of notes without pitch center
- Metric balance in first and last measure = The time unaccounted for by an Anacrusis in the first measure determines the length of the FINAL measure.
- System = one or more staffs connected by brackets and barlines. The four staves of a string quartet, when grouped together, constitute a “system”.
- Clef = The symbol that indicates the names assignments of the lines and spaces of a staff.
- Key Signature = The symbol set that identifies the main scale upon which a composition is based.

Time/Meter Signature = The over/under numbers at the beginning of a composition that state how the music is to be counted. It is NOT a fraction, even though it might look like one to some observers. The TOP number states “how many beats to count in one measure of music”, the BOTTOM number identifies the type of note (duration of note) that will receive ONE beat. Ex. 7/8 means there are seven beats in one measure and that the eighth note get a numerically counted beat. Other note types would therefore be divisions or multiplications of 8^th notes.

A Short but Important List of Terms

Tempo Speed/Velocity

Allegro fast

Allegretto not as fast as allegro

Andante moderate, moving

Andantino somewhat moderate

Moderato moderate, walking tempo

Lento very slow

A tempo original tempo

Rit. or ritardando slowing down

Poco a poco little by little, an expression added to enhance other terms

Rall. or Rallentando slow down, not stopping

Allargando getting broader

Largamente broad

Staccato shorter

Piu mosso more motion, faster

Meno Mosso less motion, slower

Dynamics Volume

pp pianissimo, very soft

p piano, soft

mp medium soft, mezzo piano

mf medium loud, mezzo forte

f loud: forte

ff very loud: fortissimo

Decreasendo: getting softer

Cresendo: getting louder

Poco little, added to other terms to enhance their meaning

Diminuendo: get softer

Emotion Expression

Dolce sweet

Espressivo expressive

Piu cantabile more singing

Maestoso majestic

Agitato agitated

Grazioso graceful

Leggiero lightly

Tranquillo tranquil

Agogic Accents

This accent has no marking in the music. It is simply the “tendency toward an accent” associated with a note or chord in a strong rhythmic position. Beat “ONE” of any measure of music is considered to be a potential AGOGIC Accent. Of course, we don’t accent every downbeat when we perform, but if we ALLOW it to happen, beat ONE is a good candidate for an easy accent to “naturally” be performed.

In 4/4 time, beats 1 and 3 are potential Agogic accent points. In 6/8, beats 1 and 4 are agogic possibilities. (1 and 2 if you are counting 6/8 in two beats per bar).

Any point in music where the rhythms and note placement automatically stress a note or chord is a point where an Agogic Accent can be applied.

Augmented 6th Chords

1. A major chord with a dominant 7th SOUND, built on the lowered sixth degree of a scale. Common in minor keys due the already lowered 6th. Always expands outward for a resolution to V. The formula is b6, 1, b3, #4. The name Augmented 6th comes from the distance from b6 to #4 = an augmented 6th.

Not needed for the AP Theory Exam but good to know:

There are three types of augmented 6th chords listed below with their formuli. Their functions are essentially identical, they are all “pre-dominant”, or “dominant preparation” chords.

German 6th (Gr.6) = b6, 1, b3, #4

Italian 6th (It.6) = b6, 1, (1), #4 – (1) can be doubled if necessary.

French 6th (Fr.6) = b6, 1, 2, #4 – the most colorful of the three, the Fr.6 is made of two overlapping tri-tones, offering a very satisfying resolution to the V.

Authentic Cadence

An Authentic Cadence is V to I. It is THE MOST COMMON cadence that there is. The reason for that is its strength in the harmonic series, and because of that strength, it just SOUNDS good.

V – I or V7 – I

Any inversion of these chords is STILL and authentic cadence.

Deceptive Cadence

A DECEPTIVE Cadence is aptly named. It “Deceives” your ear. It makes you THINK YOU KNOW where it is going, but then deceives you. It fools and tricks and SURPRISES you.

A possible example of a Deceptive Cadence could be:

……. i i i i | V V V V | I – V – 7 | ?(vi)?….| ii – V – | I – ||

(Deceptive Cadence)

ALL inversions are possible.

Diatonic

The term Diatonic describes single notes or chords that are primary in a given key.

C D E F G A B C are all diatonic to the key of “C major”. They are also diatonic to the key of “A natural minor”.

Example:

“F” is a diatonic tone of the Key of “C”. “F#” is NOT, it is not found “naturally” in the Key of “C”.

However, “F#” IS a diatonic tone of the Key of “D”, as it is “naturally” occuring in the Key of “D”.

Notes OUTSIDE of a given key are considered “CHROMATIC” tones. “B” is diatonic in the key of” B, F#, C, G, etc. “B” is chromatic in the key of: Ab, Bb, F, etc.

Diatonic is the opposite of Chromatic.

Form in Musical Composition

Go to this link for GOOD Definitions of Form.

Half Cadence

A HALF Cadence is a progression that ends on a V chord. 99% of the time these occur just before a big solo by a singer or instrumentalist. It is virtually ALWAYS resolved AFTER the solo is over and the accompaniment continues on toward the actual end of the section or movement. You can pick them out of a written score easily. A BIG V chord, usually with a Fermata, followed by a solo line of some kind.

A sample chord progression with a Half Cadence could look like this:

i V i i | vi i6/4 V……….| “blah, blah, blah, solo solo solo……” I – – – | V – | I -||

(Half cadence) (Resolution)

Half Cadences are usually in root position, but they don’t HAVE to be.

Hemiola

A Hemiola is a rhythmic pattern that goes against the main beat in a piece of music. It can occur in the melody or the harmony, but does NOT usually happen in both at the same time. One part or the other needs to keep the main beat for the hemiola part to perform “against”. A good example of Hemiola use is the triplet. Simple eighth note triplets don’t really make hemiolas, but quarter note triplets make the rhythmic tension happen all of the time. Listen to the HEMIOLA examples available at: www.gmajormusictheory.org

Heterophonic Texture

Heterophonic music is basically a Theme and Variations (sequenced variations based upon the main theme). The catch is that the Main theme and the Variations are performed at the same time by multiple singers or instrumentalists. Imagine Twinkle twinkle little star with rhythmic and ornamental variations being performed ALMOST the same way by 2, 3, 4,……10! different people all at once. THAT is Heterophony. This texture isn’t very popular in the West, but other cultures and folk traditions use it extensively. It can be seen in american gospel performance when two or more singers “riff” on the same song at the same time.

Hetero essentially means two or more things that are, in some ways, different but that come from the same root. Phonic means “sounds”.

Homophonic Texture

Homophony is a Solo with an accompaniment. Voice and Piano, Violin solo with Orchestra, One voice and a choir. All of these and any other SOLO/Accompaniment combination is Homophonic in texture.

In this usage, Homo means solo part with accompaniment. It differs from “Mono”phonic in that mono means single (alone) part with NO accompaniment. Phonic, of course, means “sounds”.

Major and Relative Natural Minor Scales

Minor

Major

A Chart of the Major and Relative

Minor Scales in the circle of 5ths,

showing the addition of sharps

and subtraction of flats.

In each subsequent scale, the 7th

is altered to create the next sharp.

C#/db

B/Cb

G#/ab

F#/Gb

D#/eb

C#/Db

A#/bb

Major Scale Formula: Sharp Keys – Circle of 5ths

Music Theory 1

Scales and the Major Scale Formula in the Circle of 5ths.

“STEPS”

Start

Whole

HALF

Whole

HALF

Start

Whole

HALF

Whole

HALF

Start is JUST A NOTE. It is NOT a whole or half step by itself. It needs to lead to a note to create a step pattern.

A Whole Step is TWO notes with ONE stuck in between them.

A Half Step is TWO notes that are right next to each other with no other notes in between them.

To create a Whole step from a Half step, add a sharp.

Once a sharp IS ADDED, it MUST be carried over to every other scale that follows its first use!!!!!

example; once the first F# (sharp) is added, every “F” to follow in EVERY scale MUST be sharped! Again, every single “F” MUST BE SHARPED!!!

Monophonic Texture

The opposite of Poly, Mono means a single (mono) sound (phonic). A solo voice, single line instrument like the trumpet or clarinet, are Monophonic.

Piano and Guitar solos are NOT monophonic because those instruments are capable of playing more than one sound at a time. That capability makes the instrument itself Polyphonic.

Compositionally, monophonic music is a single line or “solo piece, without accompaniment.”

Texture is used to describe the “flavor” of the instrument performing a monophonic piece of music.

Here is an incomplete list of MONOphonic instruments: Voice, Flute, Clarinet, Saxophone, Trumpet, Trombone, French horn, Oboe.

Penultimate

Penultimate means, “the next to last.” The penultimate person to leave the room should turn off the lights, while the ultimate person to leave should close the door.

In music, penultimate is usually used in reference to the next to last chord in a phrase, or the penultimate measure of a piece. Any reference to the “NEXT TO LAST ANYTHING” is a reference to the “penultimate.”

I ultimately shut the door, while the penultimate person to leave the meeting house took this photo. This was taken in 1762 when, in a former life, I wore blue silk pants and funny hats each day. No, really…. 🙂

Plagal Cadence

A Plagal Cadence is IV to I. It is commonly heard in church music. It IS the “A—Men” Cadence. If you hear “amen” at the end of a song, it’s a Plagal Cadence.

IV – I

These chords in any inversion are STILL a PLAGAL Cadence.

Polyphonic Texture

The opposite of monophonic, polyphonic music is music that has more than one “main” part. Polyphonic literally means more than one (Poly) sound (phonic). Texture is used to describe the “type of group” that is sounding ployphonically.

Any music with more than one sound is polyphonic. A duet is polyphonic. A jazz band, string quartet, Wind Ensemble, Choir, or a group of yelling sports fans are all polyphonic.

Compositionally, polyphonic music is composed for several “lead” parts, played simultaneously. Duets, Trios, Quartets, etc. all represent “polyphonic compositions.”

Here is an incomplete list of Polyphonic instruments:

Pipe Organ, Piano, Guitar, all stringed instruments, keyboard percussion (xylophone, marimba, vibes, bells, chimes).

Secondary Dominant

A Secondary Dominant is literally the V chord OF the V chord. Written in figured bass it looks like: V/V, or V7/V. In reality, it is a minor ii chord that is made Major by raising “Fa” one-half step (#4). Often the 7th of II is added to give strength to the resolution to the REAL V chord. Note: the 7th of II is the Tonic note! In “C” – D, F(#), A, C is a MAJOR II chord which FUNCTIONS as the V7 of V.

While the V/V is the most common usage, the follow listing shows the relationships of the other diatonic chords.

I to IV is V / IV

II to V is V / V

III to vi is V / vi

IV to vii is V / vii

V to I is V / I

VI to ii is V / ii

VII to iii is V / iii

Seventh Chord Inversions

Root Position (Do {1} in bass position) = 7 (very common)

First Inversion (Me {3} in bass position) = 6/5

Second Inversion (Sol {5} in bass position) = 4/3

Third Inversion (Ti {7} in bass position) = 4/2 ( or just “2“)

Seventh chords are USUALLY also V chords, aka “dominant seventh” chords. However, Bach used many I7, III7, and so on to facilitate “Secondary Dominant” key changes (modulations). Keep a sharp eye out for minor chords that are made Major and that have an added 7th!!!

They will nearly ALWAYS turn out to be Secondary Dominants!!

Solfege at Coop

In High School, it is great to be exposed to Solfege as a way to navigate the construction of various parts of music theory. One CRITICAL use is the ability to translate melodies into Solfege and Solfege into Harmony.

Below is a listing of TWO levels of Solfege Based Harmonization. The first level is the fundamental BASIC Solfege/Chord use equivalents you must remember to succeed on the Free Response Questions of the AP Music Theory National Exam. The second level can add more actual musical interest not only to your exam answers, but to your personal musical work as well.

Level One:

If the melody note is: Do Re Me Fa Sol La Ti

Then use this chord I V I IV V IV V

to Harmonize it:

Level Two: I ii I6 ii V vi V6/5

vi vii vi IV iii IV6 vii

IV V III7 vii I or i ii iii

II4/2 V7

The most commonly used alternatives are the III7 and II7. The reason is that:

III7 functions as the V7 of vi, the Relative Minor.

II7 functions as the V7 of V.

Both the Major III7 and Major II7 are “secondary dominants” to important Keys within the scale structure.

vii° is a little dangerous because it’s complicated to work into the music so it sounds good. A WEAK chord in many ways, it forces you to resolve the Fa-Me and the Ti-Do every time. This limits its usage greatly, forcing it to function as an incomplete V chord. The College Board actually recommends that and identifiable vii° chord should be treated as a V7 of some inversion, most likely a 6/5 since that equals the root position of the vii° chord.

If you give it some thought, you will notice that a vii° chord is really just a V7 (6/5) chord with NO ROOT! That is why I always say “vii° is V” during class discussions.

Solfeggio

Open the file below to study the V to I relationships.

https://docs.google.com/spreadsheets/d/1Rfr–m7YlgE75JNdGx-lD4aZD1CiGKHC/edit#gid=1260775679

Activate link or replace with Image.

Standard Resolution of Chord Tones

The scale 7^th/Leading tone, resolves upward to the octave, every time. If there is a chord FOLLOWING the 7^th chord that won’t allow that resolution right away, then the 7^th must resolve up to the octave at the next opportunity to use that particular note and satisfy the sound of the resolution.

Dominant 7^th resolves down to the 3^rd of the I chord, a 4-3 “a-men” suspension (sus). Like the scale 7^th, if it takes a chord or two to get to the Fa-Mi resolution, fine, as long as it finally gets there.

REMEMBER: the 7^th of the V chord IS THE 4 OF THE KEY YOU ARE IN. Can I get an “A-MEN”…..???? J (savvy?)

6/La/Sub-mediant resolves down to 5/Sol/Dominant

4/Fa/Sub-Dominant resolves down to 3/Me/Mediant. This IS the Dom. 7^th resolution described above. Can I get another “A-MEN”…..???? J (savvy?)

2/Re/Super-Tonic can resolve up to 3/Me/Mediant OR

2/Re/Super-Tonic can resolve down to 1/Do/Tonic OR

2/Re/Super-Tonic can resolve up or down to 5/Sol/Dominant

Terminology for the AP Exam

A Short but Important list of Terminology for musical understanding.

Tempo Speed/Velocity

Allegro Fast
Allegretto not as fast as allegro
Andante Moderate, moving
Andantino somewhat moderate
Moderato moderate, walking tempo
Lento very slow
A tempo original tempo
Rit. or ritardando slowing down
Poco a poco little by little, an expression added to enhance other terms
Rall. or Rallentando slow down, not stopping
Allargando getting broader
Largamente broad
Staccato shorter
Piu mosso more motion, faster
Meno Mosso less motion, slower

Dynamics Volume

pp pianissimo, very soft
p piano, soft
mp medium soft, mezzo piano
mf medium loud, mezzo forte
f loud: forte
ff very loud: fortissimo
Decresendo: getting softer
Cresendo: getting louder
Poco little, added to other terms to enhance their meaning
Diminuendo: get softer

Emotion

Dolce sweet
Espressivo expressive
Piu cantabile more singing
Maestoso majestic
Agitato agitated
Grazioso graceful
Leggiero lightly
Tranquillo tranquil
Musical Form (UNDER CONSTRUCTION)
- Sonata ABA
- Round
- Canon
- Binary
- Rounded Binary
- Etude
- Through composed
- Theme and Variations
Melodic Elements
- Anacrusis
- Contour
- Tesatura
- Tone/Note
- Interval
- Chord
- Cluster
- Metric balance in first and last measure
- System
- Clef
- Key Signature
- Time/Meter Signature

Things with MORE than ONE NAME

			A Short List of things with More Than ONE name.


a	b	C	D	E	F	G	A	B	C
		Do	Re	Me	Fa	Sol	La	Ti	Do
		1	2	3	4	5	6	7	8
		Tonic	Super-tonic	Mediant	Sub-Dominant	Dominant	Sub-Mediant	Leading Tone	Tonic
		I	ii	iii	IV	V	vi	viio	I
la	ti	do	re	me	fa	sol	la		“La” based Minor
	b#/c	c#/d b	d#/e b	e/f b	f/e#	f#/g b	g#/a b	a#/b b	b/c b

Triad Inversions

Root Position (Do {1} in bass position) = 5/3 (seldom used)

First Inversion (Me {3} in bass position) = 6/3 (or just “6“)

Second Inversion (Sol {5} in bass position) = 6/4Empty space, the absence of roman numerals, below a given note or chord MEANS it is in ROOT POSITION. 5/3 shows the math of it, but these numbers are typically LEFT OUT. You must remember that the absence of a figured bass number is IN FACT a FIGURED BASS! The blank space IS SIGNIFICANT!!!

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