from high school theory Flashcards
(151 cards)
1
Q
Common Practice Period
A
Music from 1650 to 1850; includes Baroque, Classical and Romantic periods
2
Q
What C “number” is middle C?
A
C4
3
Q
Anacrusis
A
The “upbeat” pickup note that balances out with the last measure to create one full measure
4
Q
Duration
A
Length if the time sound (or silence) occurs
5
Q
Simple meter
A
The beat being divided equally into 2 parts. Top number: 2, 3, or 4
6
Q
Compound Meter
A
The beat being divded equally into three parts. Top number: 6, 9, or 12
7
Q
Alla breve
A
Cut time, 2/2
8
Q
Asymmetrical meter
A
Not equal meter, referring to meter that have beat units of unequal lengthTop number: 5 or 7 usually
9
Q
Tonic
A
1st scale degree
10
Q
Supertonic
A
The second scale degree, “above the tonic”
11
Q
Mediant
A
The third scale degree, “halfway between tonic and dominant”
12
Q
Subdominant
A
The 4th scale degree, “the 5th pitch below the tonic or the note below the dominant”
13
Q
Dominant
A
The 5th scale degree, “the pitch dominating the tonality, a perfect fifth above the tonic”
14
Q
Submediant
A
The 6th scale degree, “the note between the subdominant and the tonic”
15
Q
Leading tone
A
The 7th scale degree, “leads upward toward resolution to the tonic”
16
Q
Subtonic
A
The 7th scale degree in a natural minor scale, a note that is one whole steep below the tonic and is therefore not a leading tone
17
Q
Blues scale
A
1 - flat 3 - 4 - flat 5 - 5 - flat 7 - 1
18
Q
Pentatonic scale
A
Five note scale containing no half steps (C D E G A [C])
19
Q
Whole tone scale
A
Seven note scale including the octave, each 1 whole step apart.1 - 2 - 3 - flat 5 - flat 6 - flat 7(C D E G flat A flat B flat C)
20
Q
Diminished or octatonic scale
A
Scale distinguished with alternating half and whole step intervals
21
Q
Natural minor scale
A
A scale with half steps between 2 and 3, and 5 and 6. It has a subtonic 7th scale degree.
22
Q
Harmonic minor scale
A
A minor scale with half steps between 2 and 3 and 7 and 8.
23
Q
Melodic minor scale
A
A natural minor scale with a raised 6th and 7th scale degree ascending and a natural minor scale descending
24
Q
Major tetrachord
A
A chord consisting of the pattern W W H
25
Minor pentachord
W W H W W the same first five notes in all minor scales
26
Parallel minor
Major and minor related because they have the same tonic
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Relative minor
Major and minor tonalities related because they share a key signature
28
Artificial scales
Scales that have altered notes
29
Resolution tones
Scale degrees 1 and 5
30
Ionian
A mode based on scale degree 1; the same as a major scale
31
Dorian
The scale based on the second scale degree in major; lowered 3rd and 7th
32
Phyrgian
A scale based on the 3rd scale degree in major; lowered 2nd, 6th and 7th; "angry" sounding
33
Lydian
A scale based on scale degree 4; major scale plus a sharp 4
34
Mixolydian
A scale based on the 5th scale degree; major scale plus a flat 7
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Aeolian
A scale based on the 6th scale degree; a natural minor scale
36
Locrian
The scale based on the 7th scale degree; includes a diminished tonic triad, is a natural minor scale plus a flat 2 and a flat 5
37
Harmony
The way notes are simultaneously sounded creating a ventricle element to music
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Counterpoint
A single line or voice added to another voice
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Interval
Distance between two pitches
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Melodic intervals
Sounding notes one after another (as in a melody)
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Harmonic interval
Two pitches sounding at the same time (creating harmony)
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Simple intervals
Intervals that are one octave or smaller in quantity
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Compound intervals
Intervals that are larger than an octave in quantity
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Rule of Nine
When inverting intervals, the sum of the ascending and descending intervals must add up to nine
45
Consonant intervals
P1, P5, P8, M3, m3, M6, m6, and sometimes P4. Melodically P4 is always a consonance.
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Dissonant intervals
M2, m2, M7, m7 and all augmented and diminished intervals. P4 is dissonant when used harmonically above the bass
47
Enharmonic intervals
Sound the same but are spelled differently and therefore function differently
48
Root position triad
A triad with the root in the bass voice
49
Root position 7th chord
A 7th chord with the root in the bass. Symbol: 7
50
1st inversion triad
A triad with the 3rd of the chord in the bass. Inversion symbol: 6
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1st inversion 7th chord
A 7th chord with the third of the chord in the bass. Inversion symbol: 6 5
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2nd inversion triad
A triad chord with the 5th in the bass. Inversion symbol: 6 4
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2nd inversion 7th chord
A 7th chord with the fifth of the chord in the bass. Inversion symbol: 4 3
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3rd inversion 7th chord
A 7th chord with the 7th in the bass. Inversion symbol: 4 2
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Triad
A 3 note chord made up of two intervals stacked in thirds
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7th chord
Contains four notes- a 3rd, a 5th, and a 7th
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Diatonic triads in major
Major 1minor 2minor 3Major 4Major 5minor 6diminished 7
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Diatonic triads in harmonic minor
minor 1diminished 2Augmented 3minor 4Major 5Major 6diminished 7
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Diatonic triads in natural minor
minor 1diminished2Major 3minor 4minor 5Major 6Major 7
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Dominant chords
V and vii dim
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Predominant chords
IV iv and ii ii dim
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Cadence
A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase.
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Perfect Authentic Cadence
V - I cadence that requires both the dominant and tonic chords to be in root position. The tonic chord must also double the root of the chord in the soprano
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Imperfect Authentic cadence
V - I or vii - I cadence that breaks one or more of the rules of a perfect authentic cadence
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Plagal Cadence
IV - I cadence; "amen" cadence
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Deceptive Cadence
V - vi or V - VI or v - VIA cadence where the dominant chord is unexpectedly resolved to the submediant instead of the tonic
67
Half Cadence
Ends in V or V7. The cadence is unresolved and acts as a comma instead of a period and is commonly preceded by IV, ii, ii6, and vi
68
Phrygian Half Cadence
A specific kind of half cadence that occurs in harmonic minor. The dominant chord is preceded by the minor subdominant in the first inversion (iv6). The baseline goes from 6 to 5 (a half step).
69
Tonic chords
I i and vi VI
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Cadences end with what 3 chords?
I (i), vi (VI), or V (v)
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Soprano range
C to G
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Alto range
G to C
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Tenor range
C to G
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Bass range
G to C
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Contrary motion
Melodic movement where both voices move away from each other
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Oblique motion
Melodic motion where one voice stays the same and the other moves in either direction
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Similar motion
Melodic motion where 2 voices move in be same direction but with different intervals
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Parallel motion
Melodic movement where 2 voices move in be same direction and the same interval
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Spacing rules?
The soprano should be within an octave of the alto; the alto should be within an octave of the tenor. The tenor can be any distance from the bass.
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Direct octaves or fifths
Similar motion into a perfect interval in the soprano-bass pair
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Contrary octaves or fifths
Contrary motion from one perfect interval to another perfect interval of the same size.
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Sectional binary
When the first section ends with an authentic cadence in the original key.
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Binary form
Two sections
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Continuous binary
When a cadence other than a perfect cadence occurs at the end of the first section, or the key modulates so that he first section ends in a different key
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Strophic form
The same music is used for each verse or stanza ( AAAA)
86
Through-composed form
Writing new music for each stanza, often written to reflect different moods or changing impossible of each stanza
87
Ternary form
ABA form; three parts generally with a recapitulation of the first part.
88
Rounded binary form
AB1/2A
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Sonata-allegro form
Found in the first movement if sonatas, ABA rounded binary form
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Exposition
First theme in the tonic key, the second theme in the dominant key or relative major if the first themes is in minor
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Development
Previously presented themes are expanded and developed, often in new keys
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Recapitulation
A restarting of the exposition with the first and second themes in the tonic themes, often with a coda
93
Rondo form
A principal theme that alternates with one or more contrasting themes. 5 part (ABACA) or 7 part (ABACABA) usually. Arch form also exists (ABCBA)
94
Theme and variation form
One "section" that is repeated indefinitely but is varied each time
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Texture
How much is going on in the music at any given moment
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Monophonic
Music only has one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line has specific pitches.
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Homophonic
One clear melodic line, where all other parts provide accompaniment or fill in the chords
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Chordal homophony
Every line or voice moving with exactly the same or nearly the same rhythm
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Melody with accompaniment
Only melodic line with the melody not limited to chords moving together.
100
Ostinato
A short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or portion of it
101
Alberti bass
An accompaniment figure where they chords are arpegiated.
102
Walking bass
A bass accompaniment or line that creates a feeling if regular quarter-note movement. Uses a mixture if scale times, arpeggios, and passions times to outline the chord
103
Ragtime
Features syncopated (ragged) rhythms
104
Polyphonic
More than one independent melody is occurring at the same time
105
Countermelody
A secondary melody or line written to be played with a more prominent melody
106
Fugue
A theme or subject is introduced y one voice, then imitated by other voices in succession.
107
Fugal imitation
A type of imitation of the antecedent or subject that enters at a different pitch level. Does not necessarily indicate a fugue (could be imitative polyphony)
108
Heterophonic
Only one melody, but different variations if it are being sun it played at the same time.
109
Tessitura
The general range of a composition or of a voice
110
Register
Range of an instrument or singing voice
111
Timbre
Determined by how the sound is produced, what the instrument is made of, and the range of an instrument
112
When to use a 6 4 chord
Use it in a passing role, a pedal role, and a arpeggiated role. Usually double the 5th (bass note)Cadential 6 4 chords are also common
113
Do nots of retrogression
Follow V with IV, ii6, or ii64Follow vi with I (major or minor)Follow ii with IV
114
Harmonic rhythm
Rate at which the harmony changes
115
Conjunct
Stepwise motion
116
Disjunct
Skipwise motion
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Phrase
Single coherent musical thought
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Sub-phrase
A melodic unit that is smaller than a phrase
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Period
Pairs of phrases that create an answer and question
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Antecedent
The first phrase in a period
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Consequent
The second phrase in a period.
122
Parallel period
Occurs when the beginning of the melody is the same in both phrases
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Contrasting period
Occurs when the beginning of the melody in each phrase is different
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Repeated parallel period
Two phrases that form a parallel period exactly
125
Double period
Group of four phrases in which the only PAC appears in the conclusion of the 4th phrase
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Introduction
Material added to the beginning of a phrase
127
Cadential extensions
Expansions at the end of phrases
128
Internal expansion
Lengthens the phrase anywhere other than the beginning or end
129
Elision
Occurs when one phrase ends and the next phrase begins simultaneously
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Motive or motif
A short group of notes that is repeated throughout the melody to establish its identity
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Theme
A complete melodic phrase anywhere from two to eight measures
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Leitmotif
A recurring motive (Star Wars)
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Melodic sequence
Repeating the original motive starting on a different pitch
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Inversion (melodic inversion)
The imitation of the melody performed upside down from the original melody
135
Mirror inversion
The inverted intervals in a melodic inversion are exact, i.e. a major third inverts down to a major third
136
Retrograde
The melody is played backwards
137
Retrograde inversion
Plays the pitches of the original theme exactly backwards and inverted
138
Rhythmic displacement
Repeats the original melody but at a different place in the measure
139
Augmentation
A form of rhythmic variation where the pitches remain the same but the rhythms are lengthened- note values are made longer
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Diminution
The opposition of augmentation where the note values are shortened
141
Modulation
Repeats the same theme or motif exactly but in a different key, usually a closely related key
142
Mode mixture
Combining chords from the parallel major or minor to increase harmonic resources
143
Ornamentation
The technique of adding or decorating the melody with non-chord tones such as passing tones, neighboring tones, and suspensions
144
Passing tone
Melodic embellishments that full in-between the preparation and resolution by stepwise motion
145
Neighbor tones
Non-chord tones that decorate a line by moving from one pitch to another one-step above (upper neighbor) or below (lower neighbor) and then returning to the original pitch
146
Neighbor group or changing tone
Two consecutive non-chord tones: the first moves up by a step from a chord tone, then skips down to another non-chord tone, then resolves to the original chord tone
147
Appoggiatura
A specific kind of incomplete neighbor that leaves the preparation by the leap then resolves in the opposite direction by a step
148
Escape tone
A form of incomplete neighbor that leaves the chord time by a step then resolves in the opposite direction by a leap
149
Suspension
Occurs when a note in the preparation chord is held over, creating a momentary accented dissonance that is resolved downward by a step to the resolution
150
Retardation
A suspended note that resolves upward
151
Anticipation
Leaves early from the preparation chord by a step to become part of the resolution chord
