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Theory > Modes > Flashcards

Modes Flashcards

1
Q

What are the 8 modes

A

Dorian, hypodorian, Lydian, hypolydian, mixolydian, hypomixolydian, Phrygian, hypophrygian,

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2
Q

What notes is the tonic of Dorian and hypodorian

A

D

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3
Q

What note is the tonic of Phrygian and hypophrigean

A

E

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4
Q

What note is the tonic of Lydian and hypolydian

A

F

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5
Q

What note is the tonic of mixolydian and hypomixolydian

A

G

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6
Q

What centuries were largely tonal

A

17-20

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7
Q

What centuries were largely modal

A

10-12

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8
Q

Diatonic

A

Not straying from the key

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9
Q

Monophonic

A

Singular melodic line

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10
Q

Conjuct

A

Mostly stepwise

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11
Q

Neumatic

A

Few notes per syllable

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12
Q

Malismatic

A

Over 6 notes per syllable

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13
Q

Syllabic

A

One note per syllable

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14
Q

Centonization

A

Patchwork of motifs previously played

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15
Q

Secular monophony and what it looks like

A

Monophony references single line music and secular means religious or sacred in nature.
Easily identifiable meter. Clear cut phrases. Not modal. Sup Bitch!!!!!

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16
Q

What is the dominant of a Phrygian scale

A

C or scale degree 6

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17
Q

What is the dominant of a mixolydian scale

A

D or scale degree 5

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18
Q

What is the dominant of a hypodorian scale

A

F
6th scale degree
3rd below dominant of authentic

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19
Q

What is the dominant of hypophrygian

A

A
7th scale degree
Third below dom of authentic

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20
Q

What is the dominant of a hypolydian scale

A

A
6th scale degree
Third below dom of authentic

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21
Q

What is the dominant of a hypomixolydian scale

A

C
7th scale degree
Third below dom of authentic

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22
Q

What is the finalis of a Dorian scale

A

D

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23
Q

What is the finalis of a Lydian scale

A

F

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24
Q

What is the finalis of a mixolydian scale

A

G

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25
Q

What scale degree is the finalis of a plagal mode scale

A

4

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26
Q

What is the first note of the hypodorian scale

A

A

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27
Q

What is the first note of the hypophrygian scale

A

B

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28
Q

What is the first note of the hypolydian scale

A

C

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29
Q

What is the first note of the hypomixolydian scale

A

D

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30
Q

What number is the Dorian mode

A

1

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31
Q

What number is the Phrygian mode

A

3

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32
Q

What number is the Lydian mode

A

5

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33
Q

What number is the mixolydian mode

A

7

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34
Q

What number is the hypodorian mode

A

2

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35
Q

What number is the hypophrygian mode

A

4

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36
Q

What number is the hypolydian mode

A

6

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37
Q

What number is the hypomixolydian mode

A

8

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38
Q

What does the dominant do when switching from an authentic mode to a plagal mode

A

Moves up a scale degree….except in hypomixolydian where you jump to scale degree 7 to avoid B

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39
Q

Which mode is likely to have Bbs and why

A

Lydian. To avoid Tritones (the devils interval)

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40
Q

Ambitus

A

Range

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41
Q

Does the chant always end on finalis

A

Yes (for now)

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42
Q

Dorian mode in major/minor system

A

Minor with raised 6th

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43
Q

Phrygian in major/minor system

A

Minor with lowered 2nd

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44
Q

Lydian in major/minor system

A

Major with raised 4

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45
Q

Mixolydian in major/minor system

A

Major with lowered 7

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46
Q

Dorian mode solfège

A

Do re me fa so la te do

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47
Q

Phrygian solfège

A

Do RA me fa so le te do

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48
Q

Solfège of Lydian

A

Do re mi fi so la ti do

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49
Q

Solfège of mixolydian

A

Do re mi fa so la te do

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50
Q

Solfège of hypo Dorian. HYPOS ARE THE SAME

A

So la te do re me fa so

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51
Q

Solfège of hypo Phrygian

A

So le te do RA me fa so

52
Q

Solfège of hypo Lydian

A

So la ti do re mi fi so

53
Q

Solfège of hypomixolydian

A

So la te do re mi fa so

54
Q

Locrian mode in major minor system

A

Minor with a lowered 2nd and 5th

55
Q

Ionian

A

“Major”

56
Q

Aeolian

A

“Minor”

57
Q

What note does aeolian start on

A

A

58
Q

What note does Ionian start on

A

C

59
Q

What note does locrian start on

A

B

60
Q

Composite organum

A

Lower voice doubled up the octave

61
Q

Clausula

A

Optional. Later in piece of notre dame organum. Vox principalis (chant line) gets its own rhythm.
Chant line moves rhythmically faster. Repetitive rhythm.

62
Q

What are the four types of organum

A

Parallel, free (free errr), Notre Dame (rhythm), and melismatic (polyphony)

63
Q

Double leading tone cadence

A

Upper two voices up semitone. Lower voice down whole step

64
Q

Diminution

A

Shortening note length by 2, 3, etc

65
Q

Panisorhythm

A

All voices utilize isorhythmic technique

66
Q

Isorhythmic technique

A

Composition technique. Uses pre existing excerpt of chant for tenor. This melody (color) combined with talea (rhythmic texture) creates the tenor line. Duplum and triplum written above

67
Q

Talea

A

Repeated rhythm in isorhythmic technique

68
Q

Color

A

Repeated pitch collection

69
Q

Tenor

A

Written first, longer duration. Pre-existing melody. In isorhythmic technique and cantus firmus

70
Q

Musica ficta

A

Accidental added in by editor or someone not the editor. Accidental were just assumed by Ensemble back then.

71
Q

Faux Bourden

A

Perfect 4th down from melody. Not always written, improvised. Helps get to 8/5 cadence

72
Q

What do major keys modulate to

A

5

73
Q

What do minor keys often modulate to

A

3rd or 5th

74
Q

Parts of a sentence

A

2 measure basic idea repeated twice (creates presentation), then a four measure continuation (faster, more rhythmic/interesting). Ratio must stay the same
Basic idea can be varied by harmony or transposition

75
Q

Basic idea and how it’s harmonized

A

Can be varied. Often repeated twice. Often harmonized 1 to 5 in first and 5 to 1 in second.

76
Q

Phrase

A

Ends with cadence

77
Q

Double period

A

To phrases end with HC, then two with pac. Second phrase is unstable

78
Q

What are the types of periods

A

Symmetrical, asymmetrical, continuous, interrupted, modulation/progressive, parallel, contrasting, sectional,

79
Q

Symmetrical period

A

Phrases are the same lenth

80
Q

Sectional period

A

Antecedent ends with IAC

81
Q

Interrupted period

A

Antecedent ends on HC, consequence starts on 1

82
Q

Modulating/progressive period

A

Consequent modulates and ends on new key on PAC

83
Q

Parallel period

A

Melodic stuff is shared

84
Q

Contrasting period

A

Melodic information is different

85
Q

Continuous period

A

Antecedent ends on HC, and consequent picks back up on 5

86
Q

Modulation

A

Change in key confirmed by cadence

87
Q

Hocket

A

Rapid alteration of voices. Melodic fragments.

88
Q

Phrygian half cadence

A

Upper voices up whole step. Lower, down half

89
Q

Single leading tone cadence

A

Upper voice up whole step (to five)
Other up half step to octave
Lower voice down whole step

90
Q

Landini cadence

A

Double leading tone cadence
Embellishing tone in top voice that adds a third under final cadence

91
Q

Tonal cadence

A

5-1 cadence not in og key

92
Q

Cantus firmus technique

A

Full existing melody in tenor. Rhythm is same, longer duration
Upper and lower voices added
Tune in a tune

93
Q

Paraphrase technique

A

Sacred
Entire chant in upper voice. Can add rhythm and ornaments
Then everything lower around it

94
Q

Parody

A

Entire section of polyphonic work. Uses all four parts of composition to make new four part piece…identical little chunk
That is basis for new piece

95
Q

Imitation

A

Short melodic fragment, immediately repeated in other voices.

96
Q

Five parts of mass

A

Kyrie, Gloria, credu, Sanctus, angus dei

97
Q

Motet

A

Polyphonic vocal, sacred text
Cannot use text from Mass ordinary (other religious stuff is cool)

98
Q

Madrical

A

Not sacred/secular, polyphonic vocal
Love, death, and crickets

99
Q

Masss and it’s five parts

A

Vocal work for worship in church service. Monophonic or polyphonic, chant.
Kyrie, Gloria, Credu, Sanctus, Angus Dei

100
Q

Natural minor wolf edge

A

Do re me fa sol le te do

101
Q

Natural minor

A

No leading tone.
Le te do

102
Q

Melodic minor

A

Me fa so La ti do

103
Q

Locrian mode solfedge

A

Do RA Me Fa say Le te do

104
Q

Scale degree closely related keys thing MAJOR

A

ii, iii, IV, V, vi,

105
Q

Scale degree closely related keys thing MINOR

A

III, iv, v, VI, Vll

106
Q

Modal system

A

Method of composing plainchant and classifying melodies by finalis

107
Q

Motives

A

Short bits of melody

108
Q

How do augmented intervals resolve

A

Out

109
Q

How do diminished intervals resolve

A

In

110
Q

Parallel organum

A

Pick a perfect interval. Two voice most often. Octave or unison to end

111
Q

Melismatic organum

A

Vox principalis slow, long values
Vox organalis is faster
End on octaves or unisons
“Free” intervals between voices

112
Q

Notre Dame Organum

A

Melismatic but with exact rhythm!

113
Q

Cambiata figure

A

Step down, third down, then step back up

114
Q

What’s the difference between canon and imitation

A

Canon is strict repetition- same notes and rhythms. More freedom with imitation
Leap frog technique can be used on both

115
Q

What are the duplem and triplem

A

Voice parts! Du is slightly faster than tenor, trip slightly faster yet

116
Q

Portage to suspense

A

Anticipated resolution. Note is immediately repeated

117
Q

Embellished resolution

A

Extended with lower neighbor…typically around leading tone

118
Q

Plagal cadence

A

Root goes up 4 or down 5th

119
Q

Pre dom

A

2 and 4

120
Q

Homophonic

A

One melody and chords

121
Q

Real sequence

A

Intervals are the exact same in repetitions

122
Q

Sequential period

A

Melody in antecedent, transposed for consequent

123
Q

How do you find the dominants of authentic modes

A

P5 up from finalis

124
Q

How do you find dominant of plagal mods

A

Up P5 from finalis and down a 3rd (MAJOR OR MINOR THO?)

125
Q

What voice leading do borrowed chords follow

A

The key they are borrowed from

Theory (7 decks)

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