I.

Scales
Major Scales or Ionian Mode
Natural Minor Scales or Aeolian Mode
Harmonic Minor Scales raise 7th note a half step.
Melodic Minor Scales 6th and 7th, return at descent.
Chromatic Scale , Whole Tone Scale
Ionian, Dorian (2-3,6-7), Phrygian (1-2, 5-6), Lydian (4-5, 7-8), Mixolydian (3-4,6-7), Aeolian, Locrian (1-2, 4-5)
II. Intervals
Harmonic Intervals- two notes played at same time; Melodic Intervals- played separately
Perfect Intervals are 4th 5th 8th
Diminished- for perfects, one half step. for majors, one WHOLE step.
Augmented- raise a half step for perfects and majors
III. Half Steps
Diatonic Half Step- natural occurrence of half steps in a major scale; or half step which uses two diff letter names
Chromatic Half Steps- do not occur naturally within the scale.
IV. Triads and Inversions
Major Triads made up of the 1st, 3rd , and 5th notes of the Major Scale.
For Major Minor, lower the middle note a half step.
For MajorAugmented, raise the top note a half step.
For MajorDiminished, lower the middle note and the top note a half step.
In other words, D Major D minorlower the top note
Root Position Triad 5/3, First inversion Triad 6/3, Second Inversion 6/4
V. Primary and Secondary Triads
Augmented +, Diminished (o)
Primary Triads I, IV, V, Secondary Triads- ii, iii, vi, and vii0
Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone
A. Major Triads
I, ii, iii, IV, V, vi, vii0, I
B. Minor Triads
Be mindful of harmonic minor.
i, ii0, III+, iv, V, VI, vii0, i
C. Cadences
Authentic- any inversions of V followed by I
Plagal IV followed by I

Half- ends with a V or V7

Deceptive- V or IV followed by a vi

VI. Dominant Seventh

Major Triad + ROOT minor 7th
Be mindful of ON X vs ON KEY OF X
Inversions: V7 (7/5/3), V6/5 (6/5/3), V4/3 (6/4/3), V2 (6/4/2)
Diminished Seventh Chord consists of a diminished triad with the interval of a diminished seventh added to the top
VII. Analysis Tips
Relative Major/minor keys that have the same key signatures (C major vs a minor)
Parallel Major/minor keys that have the same root (C Major vs c minor)
Enharmonic Key F# and Gb have the same pitch

VIII. Music History

Baroque Period (1600-1750) use of ornamentation, major/minor tonalities developed, polyphony
J.S. Bach, Handel, Vivaldi
-Prelude: precedes the dance movements, improvisatory character, free phrasing, establishes tonality and
character of the suite, dominant pedal usually appears near the end.
-Allemande: German dance, moderate tempo, usually the first dance movement, duple meter, one or three
sixteenth note pickups, binary form
-Courante: running dance at a fast tempo, triple meter, follows the Allemande, binary form
-Sarabande: slow and serious dance, triple meter, emphasis on beat two, four bar phrases, follows the
courante, often ornamented on the repeat, binary form
-Gigue: upbeat/lively fast dance, starts with a pickup, compound meter, generally the final mvmt of a
Baroque suite, binary form
-Minuet: dignified and graceful dance at a moderate speed, clarity of rhythm and phrase, triple meter,
generally paired I and II then da carpo (ternary form), optional mvmt which follows the Sarabande
-Gavotte: folk dance with a simple texture, four bar phrases, moderate to moderately fast, tempo in cut time,
starts on the second half of the bar, gernerally paired I and II then da capo (ternary form), optional mvmt
which follows the Sarabande
Classical Period (1750-1830) emotional restraint, sonata form developed, homophony
Beethoven, Mozart, Haydn
Romantic Period (1830-1900) lyrical melodies, use of colorful harmonies
Mendelssohn, Burch, Tchaikovsky
Contemporary Period (1900-present) irregular and changing time signature, bitonality/polytonality
Stravinsky, Britten, Prokofiev
Impressionism (late 19th century) unresolved dissonances, irregular phasing, ambiguous musical form

Terms
Syncopation change from the normal meter
Tacet silent
Ad libitum freedom to alter rhythm, tempo
Repetition exact repeating of notes or rhythmic patterns
Agitato excited, agitated
Sotto voce in an undertone, subdued sound
Col legno use wood of the bow, strike the string
Sequence repeating a melodic pattern at a higher or lower pitch
Jete bow thrown at the string, allowed to rebound
Semplice simply
Loure somewhat detached notes within a slur
Sautille arpeggio bouncing bow, slurred with one note per string
Artificial/false harmonic harmonic note played with the 4 th finger while pressing the 1st finger
Hemiola rhythmic relation of three to two; often occurs in sudden shifts from 6/8 meter into met

Continuo bass part played by harpsichord and cello or organ in baroque music
Fugue form of music with theme stated successively in all voices
Ripieno in baroque concertos and concerto grossi, the full orchestra
Rondo - piece with repetition of principal theme after each new theme is introduced (Section A, B, A, C, A, D, etc.)
Theme and variations consists of a melody and different versions of the melody
Whole tone scale- a six-note scale consisting entirely of major 2 nd (whole steps)
Affetuoso tenderly, affectionately
Bartok (snap) pizzicato string is plucked vertically and rebounds off the fingerboard
Giocoso playful, humorous
Glissando a technique of sliding between notes, either up or down a scale
Ossia or, alternate
Scordatura unconventional tuning of stringed instruments
Tempo guisto in a strict tempo (non-rubato)
Slow to fast Largo, Lento, Adagio, Andante, Andantino, Moderato, Allegretto, Allegro, Vivace, Presto

P4, P5, P8

Harmonic Minor Scales raise 7th note a half step. Melodic Minor Scales 6th and 7th, return at descent.
Perfect Intervals are 4th 5th 8th
Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone
Authentic- any inversions of V followed by I ; Plagal IV followed by I; Half- ends with a V or V7; Deceptive- V or IV followed by a vi

For Major Minor, lower the middle note a half step.

For MajorAugmented, raise the top note a half step.
For MajorDiminished, lower the middle note and the top note a half step.
Inversions: V7 (7/5/3), V6/5 (6/5/3), V4/3 (6/4/3), V2 (6/4/2)
Diminished Seventh Chord consists of a diminished triad with the interval of a diminished seventh added to the top
Relative Major/minor keys that have the same key signatures (C major vs a minor)
Parallel Major/minor keys that have the same root (C Major vs c minor)
Enharmonic Key F# and Gb have the same pitch
VIII. Music History
Baroque Period (1600-1750) use of ornamentation, major/minor tonalities developed, polyphony
J.S. Bach, Handel, Vivaldi
-Prelude: precedes the dance movements, improvisatory character, free phrasing, establishes tonality and character of the
suite, dominant pedal usually appears near the end.
-Allemande: German dance, moderate tempo, usually the first dance movement, duple meter, one or three sixteenth note
pickups, binary form
-Courante: running dance at a fast tempo, triple meter, follows the Allemande, binary form
-Sarabande: slow and serious dance, triple meter, emphasis on beat two, four bar phrases, follows the courante, often
ornamented on the repeat, binary form
-Gigue: upbeat/lively fast dance, starts with a pickup, compound meter, generally the final mvmt of a Baroque suite, binary
form
-Minuet: dignified and graceful dance at a moderate speed, clarity of rhythm and phrase, triple meter, generally paired I
and II then da carpo (ternary form), optional mvmt which follows the Sarabande
-Gavotte: folk dance with a simple texture, four bar phrases, moderate to moderately fast, tempo in cut time, starts on the
second half of the bar, gernerally paired I and II then da capo (ternary form), optional mvmt which follows the Sarabande
Classical Period (1750-1830) emotional restraint, sonata form developed, homophony
Beethoven, Mozart, Haydn
Romantic Period (1830-1900) lyrical melodies, use of colorful harmonies
Mendelssohn, Burch, Tchaikovsky
Contemporary Period (1900-present) irregular and changing time signature, bitonality/polytonality
Stravinsky, Britten, Prokofiev
Impressionism (late 19th century) unresolved dissonances, irregular phasing, ambiguous musical form
Continuo bass part played by harpsichord and cello or organ in baroque music
Fugue form of music with theme stated successively in all voices
Ripieno in baroque concertos and concerto grossi, the full orchestra
Rondo - piece with repetition of principal theme after each new theme is introduced (Section A, B, A, C, A, D, etc.)
Theme and variations consists of a melody and different versions of the melody
Whole tone scale- a six-note scale consisting entirely of major 2nd (whole steps)
Affetuoso tenderly, affectionately
Bartok (snap) pizzicato string is plucked vertically and rebounds off the fingerboard
Giocoso playful, humorous
Glissando a technique of sliding between notes, either up or down a scale
Ossia or, alternate
Scordatura unconventional tuning of stringed instruments
Tempo guisto in a strict tempo (non-rubato)
Slow to fast Largo, Lento, Adagio, Andante, Andantino, Moderato, Allegretto, Allegro, Vivace, Presto