Motive Manipulations Flashcards

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1
Q

Sequence

A

When a motive is repeated but begins at a different pitch, it is called a sequence.

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2
Q

Real Sequence

A

If the repetition is exactly the same, that is, all the notes are the same distance apart from each other (intervals), then that sequence is said to be “real.” This is very useful when moving from one key to another (modulation).

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3
Q

Tonal Sequence

A

Sometimes one or more of the intervals have been adjusted. Most often this is done to stay diatonic (in the key), rather than to modulate. This type of sequence is called “tonal.”

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4
Q

Rhythmic Augmentation

A

To rhythmically augment a motive each note’s duration is proportionally increased. The most frequent application is to make each note twice as long.

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5
Q

Rhythmic Diminution

A

Another rhythmic permutation is to “diminish” the length of the motive.

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6
Q

Intervallic Augmentation

A

Intervallic augmentation occurs if that distance is increased

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7
Q

Intervallic Diminution

A

intervallic diminution occurs if that distance is decreased

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8
Q

Inversion

A

The notes go in the opposite direction but maintain the same (intervallic) distance from each other.

For example, if the original motive went down a third, the inversion would go up a third.

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9
Q

Retrograde

A

This means, simply, going backwards.

The last note becomes the first and so on and so forth until the first is the last. As you can hear, the Bach Ricercar’s motive works quite well backwards

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10
Q

Repetition

A

Repetition of a motive, phrase, or musical section is another way to extend the gesture or idea. This may be considered a manipulation, as the same idea is repeated at a different place in time. But because there is no change to the motive itself, it is a different type of manipulation.

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