Vocabulary and
Quizzes for all 10 chapters. / (?)
These tables will probably print right from
your browser. Or, simply paste into a word processing program and create a new document
and print from there. All together with the diploma and stapled together make a nice
booklet.
"Silent Architecture" vocabulary and
quiz / chapter 1.
| equal
tempered tuning |
divides
the octave into 12 equal parts |
| chromatic
scale |
consecutive
half step sequence of our 12 pitches |
| fundamental |
the
actual pitch we hear created by a full length of string or column of air |
| overtone |
a
pitch created from the fundamental |
| interval |
the
distance between pitches |
| octave
interval |
a
perfect doubling of the cycles per second of a pitch, contains 12 half steps |
| perfect
fifth |
created
by dividing our pitch or string length into three equal parts |
| circle
of fifth's |
a
representation of our 12 pitches that resembles our hour clock, whereby the pitches are
arranged clockwise by the interval of a perfect fifth |
| half
step |
smallest
theoretical interval of equal temper tuning |
| Pythagoras |
early
Greek philosopher credited with original ideas of acoustics and how our music theory
system could be organized |
Matching quiz for chapter 1.
| The
"silent architecture" of our music today is based on a system of theory that
contains |
12
distinct pitches. |
| We can
trace our origins of Western Music back to the _______ _______ |
ancient
Greeks |
| We
credit _________ with the organization of our 12 musical pitches. |
Pythagoras |
| The
full length of string produces the __________ pitch. |
fundamental |
| Pitches
created from within the fundamental are called _______ . |
overtones |
| Dividing
a full string length perfectly in half creates the ______ _______ and it's mathematical
ratio is ___ : ___. |
octave
interval / 2 : 1 |
| Dividing
a full string length three equal parts creates the interval of the _______ _____ and it's
vibrational ratio is ___ : ___. |
perfect
5th / 3 : 2 |
| Pythagoras
is credited with creating the _____ __ _____. |
cycle
of 5th's |
| The
cycle of fifths contains our __ _______. |
12
pitches |
| The
_________ _____ arranges our 12 pitches by consecutive half steps into a perfectly closed
loop of pitches. |
chromatic
scale |
"Loops of Pitches" vocabulary and
quiz / chapter 2.
| tuning pitch A |
vibrates at 440
cycles per second |
| n'est pas ? |
French language
quip meaning "isn't that so" |
| perfect closure |
describes how a
sequence of elements perfectly returns to it's starting point |
| "a
cappella" |
Italian term
meaning "without accompaniment" |
| leading tone |
a pitch a half
step below the final pitch |
| penultimate |
the second to last
element in a series of elements |
| 88 |
standard number of
keys on a piano |
| seven full octaves |
number of octaves
on a piano keyboard |
| 2 / 3 sequence |
number pattern of
the black keys of a piano |
| chromatic
enhancement |
adding half steps
into musical patterns |
Matching quiz for chapter 2.
matching quiz |
| always lands on
it's feet |
a cat |
| cycles per second |
measurement of
vibrations of a pitch |
| perfect doubling of
cycles per second |
octaves |
| equal temper tuning |
divide octave into
12 tempered pitches |
| half step interval |
smallest interval
in equal temper |
| chromatic scale |
12 consecutive half
steps |
| without
instrumental accompaniment |
a cappella |
| 88 keys |
number of keys on
standard piano |
| 7 complete octaves |
pitch range of the
piano |
| natural sequence of
the black keys |
2 / 3 / 2 / 3 etc. |
|
"Groups of Pitches" vocabulary and
quiz / chapter 3.
| pentatonic scale |
so named by virtue
of it's five ( penta ) pitches. |
| interval formula |
the set sequence of
intervals we use to create a scale or chord |
| major scale |
most commonly used
group of pitches used by composers to create the music we love. |
| musical colors |
the different
sounds of the various scales and chords |
| muse |
our own inner
creative energy |
| non-pentatonic
pitch |
a pitch not
normally found in a particular pentatonic scale |
| key signature |
accidentals placed
by the clef to determine pitches |
| group of pitches |
a way to describe a
select set of pitches |
| 5 + 2 = 7 |
simple math
equation showing that we add 2 pitches to the 5 of the pentatonic group to create the 7 of
the major scale |
| white keys |
no sharps or flats |
Here is the matching quiz for chapter 3.
matching quiz |
| scale that has 12
pitches |
chromatic scale |
| musical distance
between pitches |
interval |
| has five pitches |
pentatonic scale |
| the part of a song
we usually sing or hum |
the melody |
| half step interval |
smallest interval
in equal temper |
| carefree and
whimsical |
major pentatonic
scale sounds ... |
| major scales |
the scale most
composers most use |
| white keys of the
piano from C to C |
the C major scale |
| half step + half
step = ...? |
whole step |
| # of eggs in a
dozen |
# of major scales |
|
"Major / Minor tonality" vocabulary
and quiz / chapter 4.
| tonality |
overall sound of a
piece of music, or to describe a key center, i.e., C major or minor |
| run |
a slang term for
practicing, also to practice without the music being written out. |
| scale degree |
giving each pitch
in a scale a sequenced numerical value |
| root |
the fundamental
pitch of a scale or chord, designated by the number one |
| scale formula |
series of musical
intervals used to construct a scale |
| triads |
three note chords
consisting of the root or 1st, 3rd and 5th |
| flat |
musical symbol (b)
that lowers a written pitch by half step |
| opus |
Latin for
"work" |
| opera |
performance art
that can combine elements of music, theatre, art and dance together |
| relative |
a term to describe
two different scales that have the exact same pitches |
Matching quiz for chapter 4.
matching quiz |
the 2 main tonalities or "ying and yang" of our 12 tone, equal tempered
musical system are the ... |
major
and minor tonalities |
| stepwise
motion |
melodic
motion whereby each pitch of a scale is sounded in succession |
| scale
degree |
numbering
the pitches of a scale by it's interval from the root or fundamental pitch |
| half
step interval |
numerically
represented by "1/2" |
| whole
step interval |
represented
by "1" |
| w
w 1/2 w w w 1/2 |
major
scale interval formula |
| projecting
an equally, perfectly temper tuned major scale from each of the 12 pitches of the
chromatic scale |
revolutionary
... the theoretical perfection created by equal temper tuning |
| 3rd
scale degree above the root |
determines
whether the scale, arpeggio or chord when sounded is of the major or minor tonality |
| the C
major and A minor scales are said to be "relative" because _____________. |
they
share the exact same pitches |
| all of
our different mixes of musical colors are all extracted exclusively from ... |
the 12
pitches of the chromatic scale |
|
Bonus question!
| three note chords are
called ________ . |
triads |
"Evolution of scales" vocabulary and
quiz / chapter 5.
| penta |
five |
| tritone |
musical
interval that splits the octave perfectly in half, the tritone interval consists of 3
whole tones or whole steps |
| blues
scale |
5
minor pentatonic pitches plus one tritone pitch |
| vamp |
short
musical phrase repeated |
| antecedent |
first
half of a musical phrase |
| consequent |
second
half of a musical phrase |
| call
and response |
vocalization
between two voices, often part of spiritual ceremonies |
| major
scale |
5
major pentatonic pitches plus a two pitch tritone interval |
| tonic |
the
first or main note in a particular key of musical, the root note of a chord |
| love |
essential
component in all of life's endeavors |
Matching quiz for chapter 5.
matching quiz |
| smallest functioning scale
grouping of pitches within equal temper tuning is the ________ _______. |
5 pitch pentatonic
scales |
| the minor pentatonic color evokes
______ ________ music. |
images of Native
American and indigenous music from around the globe |
| combining in tune chords with
variably tuned melody creates the ________ _____. |
American blues |
| the _______ interval perfectly
splits the equal tempered octave in half and creates sound tension. |
tritone |
| 5 note minor pentatonic scale +
one note tritone = the _____ ______ scale. |
minor Blues scale |
| the major pentatonic scale color
creates .... |
a joyous, happy go
lucky feel, also the Eastern musical sounds of China and Japan |
| the 5 note major pentatonic scale
+ the 4th and 7th scale degree two note tritone creates the ______ ______. |
major scale |
| the white keys of the piano are
the ______ and ________ _______ scales. |
C major scale / A
natural minor scale |
| the black keys of the piano create
the _______________ and the ________________ scale. |
F# / Gb major
pentatonic scale / D# / Eb pentatonic minor scale |
| What are the last two words of our
national anthem "The Star Spangled Banner"? _____ _____ ! |
play ball! |
|
"Evolving scales into arpeggios"
vocabulary and quiz / chapter 6.
| linear |
left
to right, horizontal motion |
| vertical |
up
and down motion |
| arpeggio |
harplike,
a scale in thirds or chord tones |
| off
beat |
describes
rhythms or accents off of the main beats or 1 and 3 in 4 / 4 time |
| triplet |
rhythmic
figure that places three notes in the space of two |
| device |
an
artistic element or technique |
| chord
scale |
creating
a scale in thirds |
| non-diatonic |
pitches
that are not part of a key center |
| altered
chords |
chords
that contain non-diatonic pitches |
| hybrid |
merging
elements and properties of two unique items into one |
Matching quiz for chapter 6.
| the term arpeggio is an Italian
word for ________. |
harplike |
| we can extract the pitches of the
_____ ______ from the pitches of the chromatic scale. |
major scale |
| music theorists use numbers called
_____ _______ to numerically identify each of the pitches of a scale. |
scale degrees |
| the _____ ____ of the piano can
play the C major scale. |
white keys |
| the magic of converting a scale
into an arpeggio is to simply create a new sequence of pitches by ______ every other note
in the stepwise scale. |
skipping |
| arpeggios could be said to be an
______ ______ between scales and chords. |
organic bridge |
| arpeggios are a good way for ___
_______ __________ to out line the harmony of a song. |
non chordal
instruments |
| an example of a non chordal
instrument is the __________. |
saxophone |
| understanding arpeggios is a good
way to spell out the _______ of a chord. |
pitches |
| arpeggios can be a ______________
for vaulting our melodic lines into musical orbit. |
springboard |
"Evolving arpeggios into chords"
vocabulary and quiz / chapter 7.
Vocabulary for this chapter.
| transformation |
when
the same elements become another entity |
| muse |
that
inner creative light that commutes between our hearts, minds and souls |
| chromatic
scale |
the
12 pitches of equal temper |
| major
scale |
an
essential group of pitches in Western music |
| arpeggio |
harplike,
a chord scale, a scale in 3rds |
| diatonic
triads |
using
only the pitches of our parent scale to build our chords |
| root
/ 3rd / 5th |
the
three pitches of the triad |
| chord
progression |
the
sequence of chords in a song or style |
| color
tones |
the
pitches beyond the triad in the arpeggio |
| dominant
7th chord |
triad
+ 7th built on the 5th scale degree, main chord color of the blues style |
Matching quiz for chapter 7.
fill in the blank quiz |
| one of equal temper tunings
greatest gifts to Western music is __________. |
harmony |
| early, pre-equal temper scales
were called the ______ ______. |
church modes |
| music conceived of as independent
melodic lines sounded together is called _________. |
polyphony |
| our musical scale built in major
and minor thirds is called an _________. |
arpeggio |
| the three notes of the major triad
are it's ____, _________ and _______ _______. |
root, major 3rd and
perfect 5th |
| writing music with a distinct
melody line supported by a distinct harmony is termed __________ _________. |
homophonic music |
| the quality of the 3rd of a
three note chord determines whether it is a ______ or _______ triad. |
major or minor |
| complexity of chords and
progressions correlates directly to _________ of _______ _____. |
complexity of
musical style |
| pitches used to extend chords past
the three note triads are called ______ _____ _____________. |
color tone
extensions |
| that every possible scale and
chord available within equal temper tuning can be equally projected from each of the
_______________________________________. |
12 pitches of the
chromatic scale |
|
Second quiz. Spell out the letters
for each of the seven diatonic triads in the key of D major.
| chord
scale |
D |
F# |
A |
C# |
E |
G |
B
... (loops) |
| 7
triads |
D
major |
E
minor |
F#
minor |
G
major |
A
major |
B
minor |
C#
minor |
| root |
|
E |
|
|
A |
|
C# |
| 3rd |
F# |
|
|
|
|
|
|
| 5th |
A |
|
C# |
|
E |
F# |
"Rhythm" vocabulary and quiz / chapter 8.
Vocabulary terms
for this chapter.
| music
notation |
the
musical symbols we use to preserve our musical ideas in writing |
| time
signature |
a
fractional representation of numbers that defines the number of beats per measure and
which note value gets the beat |
| value |
the
duration of time assigned to a rhythmic symbol based on the time signature |
| subdivide
the beat |
breaking
down any rhythmic note value into it's smaller rhythmic components |
| tempo |
the
rate of speed in which the music flows |
| interpretation |
how
the musical artist aurally portrays musical symbols into musical phrases |
| metronome |
musical
device for measuring time and tempo |
| forward
motion |
a
sense of energy in a musical line |
| artistic
signature |
a
musical artists aural identity |
| rush
/ drag |
two
slang terms that imply speeding up or slowing down the original tempo |
Matching quiz for this chapter.
matching / fill in quiz |
| time signature fraction |
shows the metrical
rhythm of a song |
| top # of time signature fraction |
beats per measure |
| bottom # of time signature
fraction |
note value that
gets the beat |
| the part of a song we usually sing
or hum |
the melody |
| each musician has their own sense
of ______. |
phrasing |
| dividing long notes into shorter
notes is _________ the beat. |
subdividing the
beat |
| musicians transfer the
"feel" of a melody or phrase into _______ and create a time signature. |
numbers |
| the length of time a note is held
is it's _______ _______. |
note value |
| sing the line ... _____ ___ _____. |
play the line |
| tempo |
the rhythmic slow
or fast pace of the music |
|
Bonus!
| eighth notes can give the music a
_____ ____. |
jazzy feel |
| A _______ ___ _____ is one who
interprets and creates a melody line in rhythm and sync with the other musicians in the
group. |
"master of
time" |
"Seven highlights of music history"
vocabulary and quiz / chapter 9.
Vocabulary terms
for this chapter.
| archeology |
the study of
human cultures from artifacts (5) |
| computer
modeling |
using our modern
technology of computers to recreate, speculate, invision and expand the "what
if" possibilities of information and material fragments we do have |
| cycle
of fifths |
a "pitch
clock" that includes our 12 pitches, arranged clockwise by the interval of a perfect
fifth, that pictorially resembles our 12 hour "face" clock |
| fundamental
pitch |
the pitch created
by the entire length of a taut string, column of air etc., also the root pitch of a key
center within the 12 tone system |
| overtones |
tones that
naturally exist over the fundamental pitch |
| music
notation |
symbols used to
preserve in writing our musical sounds |
| monophonic |
music with one
melodic line |
| polyphonic |
music with two or
more melodic lines |
| homophonic |
music with one
melody line supported by chords |
| New
World |
a phrase used by
folks the world over, say starting 500 years ago, to describe the existence of a
continental land mass that would be called the "Americas", north and south, that
became the vision of a new home for people from every part of our world where they could
live in a world of opportunity |
Matching quiz for this chapter.
matching quiz |
| Neanderthal flute |
50,000 year old flute which may
have sounded the natural minor scale still in use today. |
| Pythagoras |
ancient Greek musician,
mathematician and philosopher who created the cycle of fifths for the 12 pitches we use
today. |
| monophonic music |
music with only one melody line,
examples include Native American music and European Gregorian chant. |
| polyphonic music |
two or more melody lines often
rhythmically independent of each other. |
| homophonic music |
uses vertically stacked pitches
creating chords or harmony to support a single melody line. |
| standard musical
notation |
the symbols we use to write down
our musical idea, evolved from mensural notation in the 9th century, about 1200 years ago. |
| J.S. Bach |
German Baroque composer and
champion of the then new equal temper tuning. |
| American music |
a cultural mix of sounds from
around the globe. |
| early blues |
combined African melodic and
rhythmic and European harmony elements, in part evolved from revival meetings where
everyone involved sang the melody. |
| the "piano
forte" (soft/loud) |
a keyboard instrument invented in
the early 1700's in Italy that could play each pitch with dynamic shadings from soft to
loud, depending on how hard the key was struck, became the champion of the equal tempered method of
tuning. |
|
"Composing" vocabulary and quiz / chapter 10.
Vocabulary terms
for this chapter.
| muse |
that
inner artistic sense that directs our creativity |
| hook |
slang
term for a "catchy" melody |
| motif |
the
"cell" of an original artistic or intellectual idea that gets developed |
| vamp |
slang
term usually denoting a shorter, complete musical phrase oft repeated |
| musical
form |
a
musical structure of phrases, measures and sections |
| antecedent |
the
first part of a musical or intellectual statement |
| consequent |
the
second part of a musical or intellectual statement that usually brings to us a sense of
closure to the whole idea |
| Iambic
pentameter |
a
style of spoken rhythm, articulated through inflexion and emphasis of syllables that is
used with writing, poetry or prose |
| 12
bar blues |
three
/ four bar phrases to complete the form |
| song
form |
usually
32 bars comprised of four / eight bar phrases or two / sixteen bar phrases |
| through
composed |
allowing
our muse to dictate how a musical composition unfolds |
Matching quiz for this chapter.
fill in quiz |
| composing is simply
about putting our ideas into ________ _______. |
reality of sounds |
| the words of a pop
song that get stuck in our heads is called the _______. |
hook |
| the __________ and
____________ phrases are the two parts of musical phrase |
antecedent and
consequent |
| the song "Happy
Birthday" is an _______ ____ __________ . |
eight bar phrase |
| most blues songs use
the _________ ______ form. |
12 bar |
| a common 32 bar form
where the first melodic idea ( A ) is repeated three times in the form is __ __ __
__. |
A / A / B / A |
| a common 32 bar form
of two 16 bar sections is identified by the letters ___ ___ . |
A / B |
| in composing there is
no ______ and _______. |
right and wrong |
| that composing is 10
% inspiration and 90% perspiration is a quote attributed to _________. |
Beethoven |
| potentially the most
destructive force to individual development and getting on with one's life in high school
is ____ _______ . |
peer pressure |
|
So there it is ...