First+semester+exam+review

=AP Music Theory First Semester Final Examination Review=  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
 * 1) Note identification
 * 2) Review reading and writing notes in these clefs:

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. <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Root – double the bass <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. First inversion – double the soprano <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Second inversion – double the bass <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iv. Seventh chords – no doubling necessary B. Figured bass symbols <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Flat under the line – low the 3rd above the bass <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Sharp under the line – raise the 3rd above the bass <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Slash through note – raise the 3rd above the bass <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iv. Plus sign – raise the 3rd above the bass C. Nonharmonic tones <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Passing tone <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Neighboring tone <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Pedal <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iv. Escape tone <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> v. Appoggiatura <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> vi. Anticipation <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> vii. Changing tone – cambiata <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> viii. Suspension <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ix. Retardation <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> x. Free or foreign tone You will have a chart of these tones to study – please review it. D. Cadences <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Final cadences – authentic and plagal <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Non-final cadences – half and deceptive <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> 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 : <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Motif or motive <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Phrase <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Period <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> 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: <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Homophonic – melody and accompaniment <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Monophonic – single line or single line in octaves <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Heterophonic – several of the same melody being improvised at the same time. <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iv. Polyphonic – several different melodies or lines that combine to form a larger work (fugues are polyphonic) <span style="margin-left: 1.5in; mso-list: l1 level3 lfo2; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> 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 <span style="margin-left: 1.5in; mso-list: l0 level3 lfo1; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> i. Can’t double the leading tone <span style="margin-left: 1.5in; mso-list: l0 level3 lfo1; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> ii. Must resolve tendency tones in the same voice,etc. <span style="margin-left: 1.5in; mso-list: l0 level3 lfo1; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> iii. Know how to properly double triads <span style="margin-left: 1.5in; mso-list: l0 level3 lfo1; mso-text-indent-alt: -9.0pt; tab-stops: list 1.5in; text-indent: -1.5in;"> 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.
 * 1) Part writing errors – can’t write parallel fifths,octaves, or unisons

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