Final

Question 1

Eight approaches to Melodic Paraphrase

Answer 1

Rhythmic Alteration (Rhythmic)
Fragmentation (Rhythmic)
Connecting Tones (Melodic)
Neighbor Tones (Melodic)
Fills (Melodic)
Articulations (Nuance)
Dynamics (Nuance)
Ornaments & Inflections (Nuance)

Question 2

Rhythmic Alteration (Rhythmic)
(Approach to Melodic Paraphrase)

Answer 2

Creation of syncopation using Anticipation and Delay.

Question 3

Fragmentation (Rhythmic)

Approach to Melodic Paraphrase

Answer 3

Shortening of note values for the purpose of creating space in a melody.

Question 4

Connecting Tones (Melodic)
(Approach to Melodic Paraphrase)

Answer 4

Used to fill gaps between melody tones (diatonic, chromatic, or both).

Question 5

Neighbor Tones (Melodic)
(Approach to Melodic Paraphrase)

Answer 5

Non-harmonic tones inserted between two repeated pitches.
Upper and lower neighbors.
Occur a half or whole step above or below the given pitch.
Changing tone=upper and lower neighbor combined (double neighbor).

Question 6

Fills (Melodic)

Approach to Melodic Paraphrase

Answer 6

Fragments of newly composed music inserted into periods of inactivity.

Question 7

Articulations (Nuance)

Approach to Melodic Paraphrase

Answer 7

Ensures correct interpretation by defining note length and emphasis.
Types of articulations: legato, staccato, accent, accent w/legato, “cap” accent.

Question 8

Dynamics (Nuance)

Approach to Melodic Paraphrase

Answer 8

Define overall volume (p, mf, f, etc.), gradual changes in volume (crescendos and decrescendos), and attack nuances (fp, sfz, etc.).

Question 9

Ornaments & Inflections (Nuance)

Approach to Melodic Paraphrase

Answer 9

• Ghost/swallowed note
• Shake
• Turn
• Smear/gliss
• Short fall and Long fall
• Rip (upward gliss)
• Drop
• Doit
• Grace note
• Scoop

Question 10

Three Types of Tones

Answer 10

Basic Tones
Guide Tones
Color Tones

Question 11

Basic Tones

Answer 11

Roots and perfect fifths; epitomize firmness and stability (based on first two overtones of a given note)

Question 12

Guide Tones

Answer 12

Thirds and sevenths (both major and minor) (Diminished fifths in half diminished chords and perfect fourths in dominant sus chords); Define basic chord quality

Question 13

Color Tones

Answer 13

Ninths, elevenths, and thirteenths; Add complexity and density to a chord

Question 14

Four Types of Movement (Two-part harmonization)

Answer 14

Parallel
Similar
Oblique
Contrary

Question 15

Parallel Movement

Answer 15

• Two voices move at the same interval in a diatonic fashion

* The quality of the interval (major/minor) may be adjusted to fit the chord-scale of the moment

Question 16

Similar Movement

Answer 16

Two voices move in the same direction; intervals can be mixed

Question 17

Oblique Movement

Answer 17

One voice moves while the other is stationary

Question 18

Contrary Movement

Answer 18

As one voice moves upward, the other moves downward

Question 19

Ways of providing contrast (Countermelody)

Answer 19

Relative Motion
Rhythmic Activity
Register
Timbre

Question 20

Relative Motion (Contrast in countermelody)

Answer 20

Refers to the contrasting contours (melodic curves) of the two melodies (Gradual ascent from low to high, Gradual descent from high to low, Ascending line followed by a descending line, Descending line followed by an ascending line).
Cycle progressions=chords that progress via fourths or fifths

Question 21

Rhythmic Activity (Contrast in countermelody)

Answer 21

Each line has its own rhythmic pattern

Question 22

Register (Contrast in countermelody)

Answer 22

Register of the countermelody may be predetermined by the range and tessitura (general/overall range) of the instrument assigned to play it

Question 23

Timbre (Contrast in countermelody)

Answer 23

Aka. Tone color, two instruments with different ranges and timbres will provide greater contrast than two like or two closely pitched instruments

Question 24

Unifying devices in contrapuntal writing

Answer 24

Augmentation
Diminution
Inversion
Retrograde

Question 25

Augmentation (contrapuntal writing)

Answer 25

Multiplying the note values

Question 26

Diminution (contrapuntal writing)

Answer 26

Dividing the note values

Question 27

Inversion (contrapuntal writing)

Answer 27

Arranging the intervals in contrary motion (upside down)

Question 28

Retrograde (contrapuntal writing)

Answer 28

Beginning with the last note and proceeding to the first (backwards)

Question 29

Three Steps for Writing a Countermelody

Answer 29

Melodic Curves Rhythmic Content Target Notes

Question 30

Melodic Curves (Writing a Countermelody)

Answer 30

Both overall and secondary curves will be identified so that contrasting ones can be employed in the countermelody

Question 31

Rhythmic Content (Writing a Countermelody)

Answer 31

Characteristic rhythmic patterns as well as areas of rhythmic activity and inactivity

Question 32

Target Notes (Writing a Countermelody)

Answer 32

Harmonizing notes to establish harmonic progression and identifying shifts in tonality. Will eventually be weakened and potentially abandoned by other forces at work

Question 33

Component Parts of an Arrangement

Answer 33

* Introduction * Melody Chorus * Interlude * Solo Chorus w/ backgrounds * Shout Chorus w/ recapitulation * Ending

Question 34

5 things for Planning an Arrangement

Answer 34

``` Choice of Key Choice of Style and Tempo Choice of Meter Melodic Paraphrase Reharmonization ```

Question 35

Choice of Key (planning an arrangement)

Answer 35

“Standard key” should never be chosen automatically unless there is a very good reason (such as being difficult to play)

Question 36

Choice of Style and Tempo (planning an arrangement)

Answer 36

* Ballad to bolero, bossa nova, or medium swing feel=ballad to samba by doubling the note values (32 measures to 64 measures) * Fast swing to samba or other fast Latin groove=retain the swing feel and decrease the tempo * Standard to Afro-Cuban=mambo * Bebop to funk=highly syncopated bebop and be easily converted to funk by syncopating the melody

Question 37

Choice of Meter (planning an arrangement)

Answer 37

Metric modulation=changing tempo through the extension or diminishing of the value of the basic time unit

Question 38

Reharmonization (planning an arrangement)

Answer 38

* Start with turnarounds (at the ends of cadences and phrases) * Expand existing tonicizations * Look for new areas of possible tonicizations * Learn to alternate progressions for blues and “rhythm” changes

Question 39

Formal Structure of an Arrangement

Answer 39

o Introduction o Setting of melody (exposition) o Improvisation section (development) o Ensemble or “shout” section (continuation of development) o Restatement of the melody, in part or whole (recapitulation) o Ending (coda)