Basic Music Flashcards
(116 cards)
0
Q
Cadential Dissolution
A
The harmonic progression is characteristic of a cadence, but the rhythm is not interrupted.
The cadential measure is broken up into notes of small value.
1
Q
Cadential Elision
A
The last chord of one phrase is used as the first chord of the next.
2
Q
Motive
A
A short, meaningful melodic fragment which contains, in essence, the musical idea of the whole composition.
3
Q
Phrase
A
A unit of musical structure–ending in a cadence.
4
Q
Period
A
Made of two phrases (antecedent and consequent)
A parallel period is comprised of 2 phrases which begin alike.
5
Q
Chain of Phrases
A
Several dissimilar phrases which appear consecutively in a composition. Does not end with a conclusive cadence.
Frequent in the expositions of sonatas by Haydn and Mozart.
6
Q
Form
A
The way in which music is organized. Dependent on unity and variety
Unity- achieved by repetition, in some manner, of musical ideas.
Variety- using new material or alternating existing material to provide contrast.
7
Q
Deceptive Cadence
A
Usually ends on VI
Prepared as a PAC but ends on a non-tonic chord
8
Q
Episode
A
In a fugal work, an interlude between statements of the subject.
Purposes:
- Bringing a section of a work to a close
- Modulation
- To provide formal balance
9
Q
Cadence
A
An interruption to the movement of music, usually at the end of a phrase.
Harmonic punctuation
10
Q
Perfect Authentic Cadence
A
Root position V to root position I - V may be a V7
Typical cadence for ending a piece, often proceeded by a I chord in second inversion (I 6/4)
11
Q
For a triad, what does the following figured bass indicate?
5
3
A
Root position triad
12
Q
Which triadic inversion is indicated by the figured bass:
6
3
A
First Invertion (3rd in the bass)
13
Q
Which inversion is indicated by the figured bass:
6
4
A
Second Inversion triad (5th in the bass)
14
Q
Name the types of six-four chords
A
Cadential
Passing
Pedal (Auxiliary)
Arpeggiated
15
Q
What type of six-four chord is implied:
I6-V6/4-I
A
Passing six-four
16
Q
When realizing figured bass, what does a slash through a figure indicate?
A
A slash through a number indicates that the corresponding note is raised by a half step.
17
Q
Which mode is neither major nor minor?
A
Locrian, though it tends towards minor
18
Q
In writing a melody, which intervals are forbidden?
A
Augmented Intervals
Compound a Intervals
Major Sevenths
19
Q
Name the minor modes
A
Dorian
Aeolian
Phrygian
20
Q
Name the major modes
A
Lydian
Ionian
Mixolydian
21
Q
What is the name of the theoretical construction consisting of eleven lines and ten spaces with middle C as the middle, or sixth, line?
A
The Great staff
22
Q
When placed after a note or rest, what is the function of a dot?
A
A dot placed after a note or rest increases duration by one half the original value.
An additional dot increases value by one half the value of the previous dot.
23
Q
Which chord is indicated:
b6 - 1 - b3 - #4
A
The German Sixth
24
What is a simple interval?
An interval the encompasses an octave or less is a simple interval.
25
The following figured bass indicates what chord?
7
5
3
Root position seventh chord
26
What is a compound interval?
An interval in which the encompassing tones are greater than an octave is a compound interval.
27
Neapolitan Sixth Chord
A major chord built on e lowered second scale degree (supertonic), most commonly occurring in first inversion.
Notated as bII6 or N6. (Example in C major. F - Ab - Db)
28
Name the pivot chord relationships for modulation to distantly related keys.
```
Old key - New Key
Diatonic - Diatonic
Diatonic - Chromatic
Chromatic - Diatonic
Chromatic - Chromatic
```
29
Change of Mode
Change of Mode occurs when a major or minor key modulates to its parallel key
30
Enharmonic Modulation
Occurs when the pivot chord sounds the same in both keys and is enharmonically spelled in the new key.
31
How many tendency tones may occur in succession?
No more than two
32
Which chord is indicated:
| b6 - 1 - #4
Italian sixth
33
Which chord is indicated:
| b6 - 1 - 2 - #4
French sixth
34
Suspension
Non-harmonic tone held over from the previous chord resolving down by step to a chord tone.
35
Retardation
Non-harmonic tone held over from the previous chord resolving up by step to a chord tone.
36
Anticipation
Non-harmonic tone which becomes a chord tone in the following chord.
Generally occur in the soprano voice at cadence points.
37
Appoggiatura
Non-harmonic tone a step above or below a chord tone resolving to the chord tone.
Approached by leap, left by step in the opposite direction.
38
Pedal Tone
A held tone, in the bass voice, occurring through three or more chords.
Begins and ends as a chord tone.
39
Cambiata
A non-harmonic tone approached by disjunct motion and followed by conjunct motion in the opposite direction.
(Appoggiatura to normal people). ;)
40
Escape Tone
(E/chape/e)
Non-harmonic tone approached by conjunct motion and left by disjunct motion in the opposite direction.
41
Diatonic Passing Tone
A diatonic passing tone occurs between two chord tones a third apart on a weak rhythmic position.
Example: on beat 2 between beats 1 and 3 in 4/4 or on the "and" of 1 between beats 1 and 2
42
Accented Passing Tone
A passing tone occurring on a strong rhythmic position
43
Chromatic Passing Tone
A passing tone occurring between two chord tones a major second apart.
44
Double Passing Tones
Fill the interval between two chord tones a perfect fourth apart.
45
Upper Auxiliary Tone
Upper Neighbor Tone
Occurs between two chord tones of the same pitch
46
Lower Auxiliary Tone
Lower Neighbor Tone
Same as Upper Neighbor (Auxiliary) tone, but occurs below the repeated chord tones.
47
Changing Tones
(Also known as a Double Neighbor)
Two non-harmonic tones approaching a chord tone, one above and one below.
The 1st tone must occur in a weak rhythmic position, the 2nd may occur in either a weak or a strong rhythmic position.
48
Passage
When a motive is used sequentially in a florid manner, or dissolves into a scale or arpeggio figure for the sake of brilliance.
49
Monophony
A texture in which all parts move in parallel rhythm and pitch
50
Polyphony
A texture in which parts move with rhythmic independence
51
Homophony
A texture in which two or more parts move together in harmony. Often with the same rhythm.
52
Half Cadence
A cadence ending on V.
| Or III in minor.
53
Stretto
A type of imitation, common in fugues, in which the follower begins the imitation while the first statement is in progress.
Serves to create increased tension or excitement.
54
The Figure
Resembles the motive in that it is a short group of notes. It differs in that it only serves a subsidiary roll as accompaniment.
55
3 Factors essential to a musical experience
1) a composition to be performed
2) a medium of performance
3) a listener
56
Imperfect Authentic Cadence
V(V7) - I with one chord being in an inversion, or the soprano containing a chord tone other than the root.
Considered weaker than the PAC
57
Plagal Cadence
Four moving to one (IV - I)
"Amen" cadence
58
Cadential Elision
The last chord of one phrase is used as the first chord of the next.
59
Cadential Dissolution
The harmonic progression is characteristic of a cadence, but the rhythm is not interrupted.
The cadential measure is broken up into notes of small value.
60
Motive
A short, meaningful melodic fragment which contains, in essence, the musical idea of the whole composition.
61
Phrase
A unit of musical structure--ending in a cadence.
62
Period
Made of two phrases (antecedent and consequent)
A parallel period is comprised of 2 phrases which begin alike.
63
Chain of Phrases
Several dissimilar phrases which appear consecutively in a composition. Does not end with a conclusive cadence.
Frequent in the expositions of sonatas by Haydn and Mozart.
64
Form
The way in which music is organized. Dependent on unity and variety
Unity- achieved by repetition, in some manner, of musical ideas.
Variety- using new material or alternating existing material to provide contrast.
65
Deceptive Cadence
Usually ends on VI
Prepared as a PAC but ends on a non-tonic chord
66
Episode
In a fugal work, an interlude between statements of the subject.
Purposes:
1. Bringing a section of a work to a close
2. Modulation
3. To provide formal balance
67
Cadence
An interruption to the movement of music, usually at the end of a phrase.
Harmonic punctuation
68
Perfect Authentic Cadence
Root position V to root position I - V may be a V7
Typical cadence for ending a piece, often proceeded by a I chord in second inversion (I 6/4)
69
For a triad, what does the following figured bass indicate?
5
3
Root position triad
70
Which triadic inversion is indicated by the figured bass:
6
3
First Invertion (3rd in the bass)
71
Which inversion is indicated by the figured bass:
6
4
Second Inversion triad (5th in the bass)
72
Name the types of six-four chords
Cadential
Passing
Pedal (Auxiliary)
Arpeggiated
73
What type if six-four chord is implied:
| I6-V6/4-I
Passing six-four
74
When realizing figured bass, what does a slash through a figure indicate?
A slash through a number indicates that the corresponding note is raised by a half step.
75
Which mode is neither major nor minor?
Locrian, though it tends towards minor
76
In writing a melody, which intervals are forbidden?
Augmented Intervals
Compound a Intervals
Major Sevenths
77
Name the minor modes
Dorian
Aeolian
Phrygian
78
Name the major modes
Lydian
Ionian
Mixolydian
79
What is the name of the theoretical construction consisting of eleven lines and ten spaces with middle C as the middle, or sixth, line?
The Great staff
80
When placed after a note or rest, what is the function of a dot?
A dot placed after a note or rest increases duration by one half the original value.
An additional dot increases value by one half the value of the previous dot.
81
Which chord is indicated:
b6 - 1 - b3 - #4
The German Sixth
82
What is a simple interval?
An interval the encompasses an octave or less is a simple interval.
83
The following figured bass indicates what chord?
7
5
3
Root position seventh chord
84
What is a compound interval?
An interval in which the encompassing tones are greater than an octave is a compound interval.
85
Neapolitan Sixth Chord
A major chord built on e lowered second scale degree (supertonic), most commonly occurring in first inversion.
Notated as bII6 or N6. (Example in C major. F - Ab - Db)
86
Name the pivot chord relationships for modulation to distantly related keys.
```
Old key - New Key
Diatonic - Diatonic
Diatonic - Chromatic
Chromatic - Diatonic
Chromatic - Chromatic
```
87
Change of Mode
Change of Mode occurs when a major or minor key modulates to its parallel key
88
Enharmonic Modulation
Occurs when the pivot chord sounds the same in both keys and is enharmonically spelled in the new key.
89
How many tendency tones may occur in succession?
No more than two
90
Which chord is indicated:
| b6 - 1 - #4
Italian sixth
91
Which chord is indicated:
| b6 - 1 - 2 - #4
French sixth
92
Suspension
Non-harmonic tone held over from the previous chord resolving down by step to a chord tone.
93
Retardation
Non-harmonic tone held over from the previous chord resolving up by step to a chord tone.
94
Anticipation
Non-harmonic tone which becomes a chord tone in the following chord.
Generally occur in the soprano voice at cadence points.
95
Appoggiatura
Non-harmonic tone a step above or below a chord tone resolving to the chord tone.
Approached by leap, left by step in the opposite direction.
96
Pedal Tone
A held tone, in the bass voice, occurring through three or more chords.
Begins and ends as a chord tone.
97
Cambiata
A non-harmonic tone approached by disjunct motion and followed by conjunct motion in the opposite direction.
(Appoggiatura to normal people). ;)
98
Escape Tone
(E/chape/e)
Non-harmonic tone approached by conjunct motion and left by disjunct motion in the opposite direction.
99
Diatonic Passing Tone
A diatonic passing tone occurs between two chord tones a third apart on a weak rhythmic position.
Example: on beat 2 between beats 1 and 3 in 4/4 or on the "and" of 1 between beats 1 and 2
100
Accented Passing Tone
A passing tone occurring on a strong rhythmic position
101
Chromatic Passing Tone
A passing tone occurring between two chord tones a major second apart.
102
Double Passing Tones
Fill the interval between two chord tones a perfect fourth apart.
103
Upper Auxiliary Tone
Upper Neighbor Tone
Occurs between two chord tones of the same pitch
104
Lower Auxiliary Tone
Lower Neighbor Tone
Same as Upper Neighbor (Auxiliary) tone, but occurs below the repeated chord tones.
105
Changing Tones
(Also known as a Double Neighbor)
Two non-harmonic tones approaching a chord tone, one above and one below.
The 1st tone must occur in a weak rhythmic position, the 2nd may occur in either a weak or a strong rhythmic position.
106
Passage
When a motive is used sequentially in a florid manner, or dissolves into a scale or arpeggio figure for the sake of brilliance.
107
Monophony
A texture in which all parts move in parallel rhythm and pitch
108
Polyphony
A texture in which parts move with rhythmic independence
109
Homophony
A texture in which two or more parts move together in harmony. Often with the same rhythm.
110
Half Cadence
A cadence ending on V.
| Or III in minor.
111
Stretto
A type of imitation, common in fugues, in which the follower begins the imitation while the first statement is in progress.
Serves to create increased tension or excitement.
112
The Figure
Resembles the motive in that it is a short group of notes. It differs in that it only serves a subsidiary roll as accompaniment.
113
3 Factors essential to a musical experience
1) a composition to be performed
2) a medium of performance
3) a listener
114
Imperfect Authentic Cadence
V(V7) - I with one chord being in an inversion, or the soprano containing a chord tone other than the root.
Considered weaker than the PAC
115
Plagal Cadence
Four moving to one (IV - I)
"Amen" cadence
