1
Q
sight-singing
A
- performing a piece of music you have never seen before in a short amount of time
2
Q
how to practice sight-reading
A
- do not have to use solfege or special words when you sing but they are helpful tools
3
Q
solfege
A
- specific syllables that represent a specific scale degree
- Do-Re-Mi-Fa-Sol-La-Ti-Do
- can sing numbers as well
AP Music Theory
flashcards
Decks in class (118)
# Cards
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Essential Music Theory Skills5
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What to Expect4
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Sight-Reading Practice3
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Dictation Practice7
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Ear Training Practice3
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Essentials - Reminders1
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The Musical Alphabet4
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The Chromatic Alphabet11
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Staff and Clef Signs5
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Meter: Rhythmic Values and Beat Units6
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Meter: Time Signatures and Conducting Patterns9
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Meter: Counting Systems and Metric Hierarchy8
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Registers and Ledger Lines9
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Dynamic and Tempo Markings8
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Listening: Texture Examples9
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Rhythm: Dots, Ties, and Slurs3
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Rhythm: Syncopation and Hemiola5
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Anacrusis Notation: Pick-ups4
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Pitch Collections: Chromatic and Diatonic10
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Scales: Ordered Pitch-Class Collections5
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Scales7
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Key Signature12
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Key Signatures: Scale Degree Names2
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Meter Identification - Duple, Triple, Quadruple9
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Introduction: Compound Meter5
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Syncopation and Hemiola2
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Metrical Accents12
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Minor Scales: Parallel and Relative8
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Forms of Minor10
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Identifying Major/Minor Keys4
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Modes8
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Binary and Ternary Forms8
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Vocal Forms10
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Combining Pitches10
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Interval Qualities5
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Augmented and Diminished Intervals7
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Consonant/Dissonant Intervals7
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Chords and Triads above the Scale6
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Triad Qualities7
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Spelling Triads9
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Scale-Degree Triads - Roman Numerals5
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Figured Bass and Triad Inversions7
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Seventh Chords in Major and Minor Keys13
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Seventh Chord Inversions6
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Uncommon Seventh Chords8
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Spelling Seventh Chords9
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Connecting Melodic Intervals13
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Labeling Harmonic Intervals9
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Harmonic Intervals - Consonant and Dissonant8
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Note-to-Note Counterpoint in Strict Style6
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Invertible Counterpoint7
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Motives and Ground Bass7
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Second-Species Counterpoint - Non-Chord Tones9
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Writing Second-Species Counterpoint9
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Third-Species Counterpoint8
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Fourth and Fifth Species Counterpoint8
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Listening: Rondo Form7
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18th Century Counterpoint: Contrapuntal Motion10
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Chordal Dissonance6
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Bass and Melodic Lines7
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Writing with a Given Line5
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Non-Chord Tones - Embellishments8
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Four-Part Harmony - SATB and Keyboard13
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Basic Phrase8
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Tonic and Cadential Areas4
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Connecting Dominant and Tonic Areas6
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Harmonizing Folk Songs9
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V7 Inversions6
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Expanding the Phrase6
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Realizing Figured Bass7
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Harmonizing Melodies: Process8
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Harmonizing Melodies: Example5
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Using Six-Four Chords7
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Neighboring Six-Four5
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Arpeggiating and Passing Six-Four6
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Extending the Tonic5
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Introducing the Submediant5
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Additional Cadences9
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Root Progressions8
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Motion by Descending Third6
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Motion by Second7
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Mediant Triads and Parallel Six-Three Chords6
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Listening: Fugue5
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Embellishing Tones: Passing and Neighbor8
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More about Suspensions7
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Incomplete and Double Neighbor Tones6
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Other Embellishments5
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Non Chord Tones: Summary5
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The viio6 - Doubling and Resolving6
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The viio7 and viiø7 - Doubling and Resolving5
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The viio6, viio7 and viiø7 - Chords in Context6
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Neighboring and Passing Four-Two Chords6
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Phrase Analysis6
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Smaller Segments of Phrases5
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Parallel and Contrasting Periods6
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Extended Periods7
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Phrase Rhythmic - Structure and Hypermeter6
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Sequences9
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Descending-Fifth Sequences10
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Descending-Third Sequences7
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Sequences Based on Seconds7
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Sequences in Musical Context8
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Intensifying the Dominant8
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Modulation and Tonicization8
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Writing and Resolving V/V to V8
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Secondary Leading Tones to V7
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Secondary Chords in Dominant Expansions6
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Secondary Chords in Basic Phrases10
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Secondary Chords in Musical Contexts12
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Spelling Secondary Chords6
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Resolving Secondary Chords6
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Modulations9
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Modulations - Examples6
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Section I, Part A6
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Section I, Part B1
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Section II, Part A (Aural Stimulus)2
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Section II, Part A (No Aural Stimulus)2
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Section II, Part B (Sight-Singing)7
