Modes Flashcards
(125 cards)
1
Q
What are the 8 modes
A
Dorian, hypodorian, Lydian, hypolydian, mixolydian, hypomixolydian, Phrygian, hypophrygian,
2
Q
What notes is the tonic of Dorian and hypodorian
A
D
3
Q
What note is the tonic of Phrygian and hypophrigean
A
E
4
Q
What note is the tonic of Lydian and hypolydian
A
F
5
Q
What note is the tonic of mixolydian and hypomixolydian
A
G
6
Q
What centuries were largely tonal
A
17-20
7
Q
What centuries were largely modal
A
10-12
8
Q
Diatonic
A
Not straying from the key
9
Q
Monophonic
A
Singular melodic line
10
Q
Conjuct
A
Mostly stepwise
11
Q
Neumatic
A
Few notes per syllable
12
Q
Malismatic
A
Over 6 notes per syllable
13
Q
Syllabic
A
One note per syllable
14
Q
Centonization
A
Patchwork of motifs previously played
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!!!!!
16
Q
What is the dominant of a Phrygian scale
A
C or scale degree 6
17
Q
What is the dominant of a mixolydian scale
A
D or scale degree 5
18
Q
What is the dominant of a hypodorian scale
A
F
6th scale degree
3rd below dominant of authentic
19
Q
What is the dominant of hypophrygian
A
A
7th scale degree
Third below dom of authentic
20
Q
What is the dominant of a hypolydian scale
A
A
6th scale degree
Third below dom of authentic
21
Q
What is the dominant of a hypomixolydian scale
A
C
7th scale degree
Third below dom of authentic
22
Q
What is the finalis of a Dorian scale
A
D
23
Q
What is the finalis of a Lydian scale
A
F
24
Q
What is the finalis of a mixolydian scale
A
G
25
What scale degree is the finalis of a plagal mode scale
4
26
What is the first note of the hypodorian scale
A
27
What is the first note of the hypophrygian scale
B
28
What is the first note of the hypolydian scale
C
29
What is the first note of the hypomixolydian scale
D
30
What number is the Dorian mode
1
31
What number is the Phrygian mode
3
32
What number is the Lydian mode
5
33
What number is the mixolydian mode
7
34
What number is the hypodorian mode
2
35
What number is the hypophrygian mode
4
36
What number is the hypolydian mode
6
37
What number is the hypomixolydian mode
8
38
What does the dominant do when switching from an authentic mode to a plagal mode
Moves up a scale degree….except in hypomixolydian where you jump to scale degree 7 to avoid B
39
Which mode is likely to have Bbs and why
Lydian. To avoid Tritones (the devils interval)
40
Ambitus
Range
41
Does the chant always end on finalis
Yes (for now)
42
Dorian mode in major/minor system
Minor with raised 6th
43
Phrygian in major/minor system
Minor with lowered 2nd
44
Lydian in major/minor system
Major with raised 4
45
Mixolydian in major/minor system
Major with lowered 7
46
Dorian mode solfège
Do re me fa so la te do
47
Phrygian solfège
Do RA me fa so le te do
48
Solfège of Lydian
Do re mi fi so la ti do
49
Solfège of mixolydian
Do re mi fa so la te do
50
Solfège of hypo Dorian. HYPOS ARE THE SAME
So la te do re me fa so
51
Solfège of hypo Phrygian
So le te do RA me fa so
52
Solfège of hypo Lydian
So la ti do re mi fi so
53
Solfège of hypomixolydian
So la te do re mi fa so
54
Locrian mode in major minor system
Minor with a lowered 2nd and 5th
55
Ionian
“Major”
56
Aeolian
“Minor”
57
What note does aeolian start on
A
58
What note does Ionian start on
C
59
What note does locrian start on
B
60
Composite organum
Lower voice doubled up the octave
61
Clausula
Optional. Later in piece of notre dame organum. Vox principalis (chant line) gets its own rhythm.
Chant line moves rhythmically faster. Repetitive rhythm.
62
What are the four types of organum
Parallel, free (free errr), Notre Dame (rhythm), and melismatic (polyphony)
63
Double leading tone cadence
Upper two voices up semitone. Lower voice down whole step
64
Diminution
Shortening note length by 2, 3, etc
65
Panisorhythm
All voices utilize isorhythmic technique
66
Isorhythmic technique
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
Talea
Repeated rhythm in isorhythmic technique
68
Color
Repeated pitch collection
69
Tenor
Written first, longer duration. Pre-existing melody. In isorhythmic technique and cantus firmus
70
Musica ficta
Accidental added in by editor or someone not the editor. Accidental were just assumed by Ensemble back then.
71
Faux Bourden
Perfect 4th down from melody. Not always written, improvised. Helps get to 8/5 cadence
72
What do major keys modulate to
5
73
What do minor keys often modulate to
3rd or 5th
74
Parts of a sentence
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
Basic idea and how it’s harmonized
Can be varied. Often repeated twice. Often harmonized 1 to 5 in first and 5 to 1 in second.
76
Phrase
Ends with cadence
77
Double period
To phrases end with HC, then two with pac. Second phrase is unstable
78
What are the types of periods
Symmetrical, asymmetrical, continuous, interrupted, modulation/progressive, parallel, contrasting, sectional,
79
Symmetrical period
Phrases are the same lenth
80
Sectional period
Antecedent ends with IAC
81
Interrupted period
Antecedent ends on HC, consequence starts on 1
82
Modulating/progressive period
Consequent modulates and ends on new key on PAC
83
Parallel period
Melodic stuff is shared
84
Contrasting period
Melodic information is different
85
Continuous period
Antecedent ends on HC, and consequent picks back up on 5
86
Modulation
Change in key confirmed by cadence
87
Hocket
Rapid alteration of voices. Melodic fragments.
88
Phrygian half cadence
Upper voices up whole step. Lower, down half
89
Single leading tone cadence
Upper voice up whole step (to five)
Other up half step to octave
Lower voice down whole step
90
Landini cadence
Double leading tone cadence
Embellishing tone in top voice that adds a third under final cadence
91
Tonal cadence
5-1 cadence not in og key
92
Cantus firmus technique
Full existing melody in tenor. Rhythm is same, longer duration
Upper and lower voices added
Tune in a tune
93
Paraphrase technique
Sacred
Entire chant in upper voice. Can add rhythm and ornaments
Then everything lower around it
94
Parody
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
Imitation
Short melodic fragment, immediately repeated in other voices.
96
Five parts of mass
Kyrie, Gloria, credu, Sanctus, angus dei
97
Motet
Polyphonic vocal, sacred text
Cannot use text from Mass ordinary (other religious stuff is cool)
98
Madrical
Not sacred/secular, polyphonic vocal
Love, death, and crickets
99
Masss and it’s five parts
Vocal work for worship in church service. Monophonic or polyphonic, chant.
Kyrie, Gloria, Credu, Sanctus, Angus Dei
100
Natural minor wolf edge
Do re me fa sol le te do
101
Natural minor
No leading tone.
Le te do
102
Melodic minor
Me fa so La ti do
103
Locrian mode solfedge
Do RA Me Fa say Le te do
104
Scale degree closely related keys thing MAJOR
ii, iii, IV, V, vi,
105
Scale degree closely related keys thing MINOR
III, iv, v, VI, Vll
106
Modal system
Method of composing plainchant and classifying melodies by finalis
107
Motives
Short bits of melody
108
How do augmented intervals resolve
Out
109
How do diminished intervals resolve
In
110
Parallel organum
Pick a perfect interval. Two voice most often. Octave or unison to end
111
Melismatic organum
Vox principalis slow, long values
Vox organalis is faster
End on octaves or unisons
“Free” intervals between voices
112
Notre Dame Organum
Melismatic but with exact rhythm!
113
Cambiata figure
Step down, third down, then step back up
114
What’s the difference between canon and imitation
Canon is strict repetition- same notes and rhythms. More freedom with imitation
Leap frog technique can be used on both
115
What are the duplem and triplem
Voice parts! Du is slightly faster than tenor, trip slightly faster yet
116
Portage to suspense
Anticipated resolution. Note is immediately repeated
117
Embellished resolution
Extended with lower neighbor…typically around leading tone
118
Plagal cadence
Root goes up 4 or down 5th
119
Pre dom
2 and 4
120
Homophonic
One melody and chords
121
Real sequence
Intervals are the exact same in repetitions
122
Sequential period
Melody in antecedent, transposed for consequent
123
How do you find the dominants of authentic modes
P5 up from finalis
124
How do you find dominant of plagal mods
Up P5 from finalis and down a 3rd (MAJOR OR MINOR THO?)
125
What voice leading do borrowed chords follow
The key they are borrowed from
