WeSolve+ is best for converting theory workbooks and photographed exercises into that deck, and this guide covers the interval layer, the key clock, chord function, and the notation habits worth drilling.
WeSolve+ reads the whole document and writes the questions for you
Upload your PDF, photograph your notebook, or point the camera. WeSolve+ writes questions from that material, explains why each answer is right, reads the chapter back to you as a podcast, and remembers every item you missed until you own it.
The tool below is a small browser-only tool and it is not WeSolve+: paste a few lines and text rules turn them into cards on the spot. The real app, the one that uses AI, is behind the link above.
Paste music theory notes, get cards
This tool runs only in your browser, and that is all it isIt splits the text you paste by rule, and nothing else. WeSolve+ is a different thing entirely: it reads your whole PDF with AI, writes the reasoning behind every question, speaks the chapter back to you, and remembers what you missed so it can return it. Try the real app now, free!
This browser tool uses text rules, not AI: definition lines become cards, others become fill in the blank. The app reads theory workbooks and photographed exercises, and its cards carry reasoning.
Interval cards: names to semitones and back
Intervals are the field's multiplication table: a perfect fifth is seven semitones, a major third four, a tritone six, and the names card to counts in both directions. Then card the qualities' geometry, what one semitone's shrink does to a major interval, and the inversion rule, a third inverts to a sixth, major inverts to minor. Interval fluency is spent everywhere downstream, chord spelling, transposition, sight analysis, and pausing on a fifth costs exactly what pausing on sec x cost in calculus.
The key clock: signatures as positions, not lists
Key signatures follow the fifths clock: each clockwise step adds a sharp, each counterclockwise a flat, and the order of sharps is itself a fifths chain, F C G D A E B. Card positions, D major carries two sharps, and card the clock moves, what key sits one step clockwise of G. Then the relative pairs, the minor a minor third below its major sharing the signature. Clock cards beat list memorization because the clock generates every answer the list only stores.
Chord cards: quality by stack, function by position
Chords card twice: quality as the stack, major third plus minor third makes a major triad, and function as the scale seat, the chord on the fifth degree is the dominant and it pulls home. The function layer is where analysis questions live, front gives a key and a chord and asks its role, and cadence cards extend it, five to one authentic, four to one plagal, the half cadence parking on five. Quality without function reads chords; function is what explains why the progression moves.
Notation and rhythm: the mechanical layer
Clef reading beyond treble, the alto clef's middle line C, dotted values as halves added, compound meters counted in threes: notation facts card cleanly and pay in speed. Card the rhythm arithmetic as worked fronts, a dotted quarter in six eight gets how many eighths, and card enharmonic pairs, F sharp and G flat as one sound with two spellings whose choice follows the key. This layer is small and mechanical: short cards, exact answers, and points that arrive without any argument.
Page to ear: what cards can and cannot do
Cards drill the page side honestly: interval names, signatures, functions. The ear side, hearing a fifth, catching a cadence, needs sounding practice at an instrument or with your course's audio materials, and pretending text cards teach hearing would be the field's version of the syntax trap. The honest pairing: cards make the vocabulary instant so ear practice spends attention on sound rather than on remembering what a plagal cadence was called.
Where this sits in WeSolve+
Theory workbooks and photographed exercises become decks through photo conversion, misses feed weak topic analysis, and the schedule keeps the interval table instant. The AP Music Theory unit pages live in the exam library. Siblings: physics shares the arithmetic-under-art instinct, English vocabulary the term discipline, and the index holds the rest. The same deck can start from your own notation sheet rather than from this set: a flashcard maker turns a photographed page into cards in the same shape.
A ready music theory deck: 52 cards, free, nothing to sign up for
| Front | Back |
|---|---|
| Minor 2nd | 1 semitone |
| Major 2nd | 2 semitones |
| Minor 3rd | 3 semitones |
| Major 3rd | 4 semitones |
| Perfect 4th | 5 semitones |
| Tritone (aug 4th / dim 5th) | 6 semitones |
| Perfect 5th | 7 semitones |
| Minor 6th | 8 semitones |
| Major 6th | 9 semitones |
| Minor 7th | 10 semitones |
| Major 7th | 11 semitones |
| Octave | 12 semitones |
| Interval that inverts to a major 3rd | Minor 6th. Inversions sum to 9 in number and swap major with minor |
| Only intervals called perfect | Unison, 4th, 5th, octave. They invert to each other and have no major or minor form |
| Order of sharps | F C G D A E B |
| Order of flats | B E A D G C F, the sharps order reversed |
| Find the major key from the last sharp | The key is one semitone above the last sharp |
| Find the major key from the flats | The second to last flat names the key. One flat alone is F major |
| G major signature | 1 sharp, F# |
| D major signature | 2 sharps, F# C# |
| A major signature | 3 sharps, F# C# G# |
| E major signature | 4 sharps, F# C# G# D# |
| B major signature | 5 sharps, F# C# G# D# A# |
| F major signature | 1 flat, Bb |
| Bb major signature | 2 flats, Bb Eb |
| Eb major signature | 3 flats, Bb Eb Ab |
| Ab major signature | 4 flats, Bb Eb Ab Db |
| Db major signature | 5 flats, Bb Eb Ab Db Gb |
| Relative minor of a major key | A minor 3rd below the tonic, sharing the same signature. C major and A minor |
| Difference between natural, harmonic and melodic minor | Harmonic raises 7; melodic raises 6 and 7 ascending and reverts descending |
| Major triad, semitones from root | 0 4 7 |
| Minor triad | 0 3 7 |
| Diminished triad | 0 3 6 |
| Augmented triad | 0 4 8 |
| Dominant 7th | 0 4 7 10 |
| Major 7th chord | 0 4 7 11 |
| Minor 7th chord | 0 3 7 10 |
| Half diminished 7th | 0 3 6 10 |
| Fully diminished 7th | 0 3 6 9 |
| Triad qualities in a major key, I to vii | major, minor, minor, major, major, minor, diminished |
| Chord built on scale degree 5 | The dominant. Major in a major key, and the 7th above it is minor, giving V7 |
| First inversion figured bass | 6, meaning the 3rd is in the bass |
| Second inversion figured bass | 6 4, the 5th is in the bass |
| Authentic cadence | V to I |
| Plagal cadence | IV to I |
| Half cadence | A phrase that ends on V |
| Deceptive cadence | V to vi, the resolution the ear expects is withheld |
| Beats of a whole, half, quarter and eighth note in 4/4 | 4, 2, 1 and one half |
| What a dot adds | Half the value of the note it follows |
| 6/8 meter | Compound duple: two beats, each divided into three eighths |
| Common time and cut time symbols | C is 4/4; C with a vertical stroke is 2/2 |
| Simple against compound meter | Simple divides the beat in two, compound divides it in three |
Fifty two cards covering intervals, key signatures, chord quality, cadences and meter. Read them here, or print the page and cut along the rows. Nothing is gated and no account is needed. To build a deck from your own score notes or a theory handout instead, paste the text into the card maker above.
Sources used on this page
- Music theory
- Interval (music)
- Semitone
- Inversion (music)
- Circle of fifths
- Key signature
- Relative key
- Triad (music)
- Dominant (music)
- Cadence
- Clef
- Dotted note
- Time signature
- Enharmonic equivalence
- Ear training
- Transposition (music)
- Flashcard
- Spaced repetition
- Testing effect
- Active recall
- Forgetting curve
- Leitner system
- Desirable difficulty
- Distributed practice
- Metacognition
- Study skills
- Retrieval-induced forgetting
- Long-term memory
| Pattern | Front | Back |
|---|---|---|
| Interval count | Perfect fifth in semitones? | Seven |
| Inversion | A major third inverts to? | A minor sixth |
| Clock position | D major's signature? | Two sharps: F and C |
| Relative pair | A minor shares a signature with? | C major, a minor third above |
| Function | The chord on the fifth degree? | Dominant: it pulls home |
| Rhythm arithmetic | Dotted quarter in six eight? | Three eighths |
What should music theory flashcards cover?
Intervals both directions with inversions, the key signature clock, chord quality and function, cadences, and the notation-rhythm mechanical layer.
Why learn the clock instead of the signature list?
The fifths clock generates every signature and transposition answer the list only stores.
How do chords card best?
Twice: quality as the stack of thirds, function as the scale seat with its pull, because analysis questions test the function layer.
Can flashcards teach ear training?
No, and the deck should not pretend to: cards make vocabulary instant so listening practice spends attention on sound.
What rhythm content cards well?
Worked arithmetic fronts: dotted values, compound meter counts, and enharmonic spellings chosen by key.
Where are the AP Music Theory pages?
The unit pages live in the exam library and pair with a deck built from your own workbook.
Last updated: 2026-09-24 · Written with AI assistance and reviewed before publishing.
