First+Semester+Exam+Review

AP Music Theory First Semester Final Examination Review 1. Note identification A. Review reading and writing notes in these clefs: i. Treble ii. Alto iii. Tenor iv. Bass II. Interval construction A. Review reading and writing all intervals: B. Group I: Perfect, Augmented, Diminished – 1,4,5,8 C. Group II: Major, minor, diminished, Augmented – 2,3,6,7

III. Interval Identification A. Make sure you can correctly name all intervals listed above when given an example. (Be able to do this in all clefs)

IV. Triads and their qualities A. Be fluent in naming all triads by reading them: Major, minor, diminished, Augmented B. Know the qualities of triads that harmonize each scale degree of both major and harmonic minor scales. C. (Review names of scale degrees to prepare for this) D. Review primary and secondary triads i. Primary: I, IV, and V ii. Secondary: ii,iii, vi, and vii iii. Remember I and vi are linked; ii and IV; iii and vii are linked with V

V. Identifying Modal scales A. Review names of all modal scales and basic notes they start on: i. A=Aeolian ii. B=locrian iii. C=Ionian iv. D=Dorian v. E=Phrygian vi. F=Lydian vii. G=Mixolydian B. Review how modal scales are related to major or minor scales you know: i. Dorian scale is a natural minor scale with a raised 6th. ii. Mixolydian scale is a major scale with a lowered seventh, etc.

VI. Chord Inversions A. Know the three positions of a triad: root, first inversion, second inversion B. Know the Arabic numerals that correspond to these different inversions. C. Root=5/3 or nothing, 6/3 or 6=first inversion, 6/4=second inversion D. Analysis: be able to identify what number a particular chord is in a key with the appropriate Roman numeral. (ex. In the key of C: the triad built on F is the IV)

VII. Time Classification A. Review information on how beats are divided in various meters. B. Review names of how beats can be grouped in a measure --- when 2 beats seem to always group together we usually have two beats per measure or duple time. C. Review simple and compound times - know number of divisions, subdivisions and the note value types that represent the beat of each. D. Know the borrowed division type for each time classification

VIII. Scale Identification A. Be able to recognize all major and types of minor when looking at both key signatures as well as scales which are fully written out. B. Natural minor – same key signature as relative major C. Harmonic minor – natural minor with a raised seventh degree D. Melodic minor –ascending form is the natural minor with a raised sixth and seventh degree. The descending form is the natural minor scale.

IX. Figured bass, cadences, nonharmonic tones, basic partwriting A. Know how to write all triads in four parts with the correct doubling. i. Root – double the bass ii. First inversion – double the soprano iii. Second inversion – double the bass iv. Seventh chords – no doubling necessary B. Figured bass symbols i. Flat under the line – low the 3rd above the bass ii. Sharp under the line – raise the 3rd above the bass iii. Slash through note – raise the 3rd above the bass iv. Plus sign – raise the 3rd above the bass C. Nonharmonic tones i. Passing tone ii. Neighboring tone iii. Pedal iv. Escape tone v. Appoggiatura vi. Anticipation vii. Changing tone – cambiata viii. Suspension ix. Retardation x. Free or foreign tone You will have a chart of these tones to study – please review it. D. Cadences i. Final cadences – authentic and plagal ii. Non-final cadences – half and deceptive iii. Review the three conditions that make a cadence perfect: 1. Must be V-I authentic cadence 2. Both chords in root position 3. Soprano doubles the bass in the final chord iv. Review the use of Phrygian Half cadence: half cadence in a minor key that is iv6 - V

X. Melodic Organization A. Be able to identify each of the following : i. Motif or motive ii. Phrase iii. Period iv. Phrase member B. Be able to describe how phrases and cadences work together C. Know that during the common practice period many times compositions written in minor often ended with the last chord being major by using a picardy third. D. Know that a sequence is: the immediate restatement of a melodic motive or longer figure in the same voice at a higher or lower pitch. E. Review harmonic rhythm F. Be able to describe the types of periods: Parallel, similar, and contrasting G. Know what the antecedent/consequent relationship is between phrases making up a period.

XI. Texture A. Review the types of texture used in writing musical compositions: i. Homophonic – melody and accompaniment ii. Monophonic – single line or single line in octaves iii. Heterophonic – several of the same melody being improvised at the same time. iv. Polyphonic – several different melodies or lines that combine to form a larger work (fugues are polyphonic) v. Homorhythmic – rhythms that move at the same time in an entire selection (many hymns are homorhythmic) XII. Voice Leading in 2 parts A. Species counterpart – review the 5 species and what each one is B. Cantus firmus C. General principles such as motion types: similar, parallel, oblique, and contrary D. How do you begin and end a counterpoint.

XIII. Voice leading in 4 parts XIV. A. Range of voices B. Part writing errors – can’t write parallel fifths,octaves, or unisons i. Can’t double the leading tone ii. Must resolve tendency tones in the same voice,etc. iii. Know how to properly double triads iv. Review how to deal with dissonances – leading tone resolves up to tonic, chordal sevenths go down XV. Aural Skills A. Review all intervals B. Review all triads: major, minor, diminished, Augmented C. You will have to write in two melodic dictations (these will not be as difficult as what we have been doing) D. You will have to write in the solfege syllables for two examples.

Please review all of your terms that have been returned on all chapters as well as the WIKI. This should provide an excellent review for your final.

Good luck! - Mrs. D