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Theory > Post tonality > Flashcards

Post tonality Flashcards

1
Q

Tonal

A

Functional. Leads towards cadential goals. Established norms

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2
Q

Scale

A

Collection of notes usually ascending order. In reference to central pitch and used as a base for composition

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3
Q

Collection

A

Group of distinct notes that don’t have specific order

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4
Q

How many transpositions of a diatonic collection

A

12

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5
Q

How are diatonic collections labeled

A

DIA, number of flats/shards, and on starting note

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6
Q

How many scalar ordering a for diatonic

A

7

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7
Q

What is the centric tone

A

First scale degree

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8
Q

Intervalic distances of pentatonic scale

A

Major- 22323
Minor- 32232

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9
Q

How many transpositions of pentatonic scale

A

12

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10
Q

How many offerings of pentatonic scale

A

5

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11
Q

How are pentatonic scales labeled

A

Pent, the major scale relative and what note it starts on
Pent C (no sharps/flats) on D (centric tone)

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12
Q

How are diatonic and pentatonic related

A

Complimentary- together make chromatic
Inclusion- every diatonic contains 3 pent
Every pent can be made diatonic with 2 notes

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13
Q

Pentatonic in relation to circle of fifths

A

Any 5 note segment

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14
Q

Diatonic in relation to circle of fifths

A

Any seven notes segment

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15
Q

Alternative way to label diatonic collections

A

Letter in relation to major/minor scale and which scale degree it starts on A Lydian. A major scale starting on scale degree 4

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16
Q

Ionian

A

Scale degree one

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17
Q

Dorian

A

Scale degree 2

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18
Q

Phrygian

A

Scale degree 3

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19
Q

Lydian

A

Scale degree 4

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20
Q

Mixolydian

A

Scale degree 5

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21
Q

Aeolian

A

Scale degree 6

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22
Q

Locrian

A

Scale degree 7

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23
Q

Centric in relation to tonal music

A

All tonal music is centric but not all centric is tonal

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24
Q

Things with limited transpositions

A

Whole tone scale, chromatic scale

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25
Q

How many octonic collections? What are

A
  1. OctCDb, OctC#D, OctDEb
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26
Q

How build octonic

A

Alternate whole and half steps

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27
Q

What chords common in octonic

A

2 o7 chords half step apart

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28
Q

How many hexatonic? What are

A
  1. C#D, CDb, D#E, DEb
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29
Q

How build hexatonic

A

Alternate 1 and three half steps

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30
Q

Chords in hexatonic

A

2 Aug triads half step apart

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31
Q

What compliments hexatonic

A

Complimentary in pairs

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32
Q

How many/what are whole tone scales?

A

2
WTC and WTC#

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33
Q

Given clearly audible root and third, what notes can be added to triad without changing sense of chord

A

Any.
Commonly extended with more thirds

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34
Q

What is triadic transformation

A

Non traditional way of relating triads

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35
Q

What are the types of triadic transformation

A

L (leading tone)
R (relative)
P (parallel)
Slide

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36
Q

Triadic transformation L

A

Leading tone
Minor third remains

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37
Q

R triadic transformation

A

Relative
Major third remains

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38
Q

P triadic transformation

A

Parallel
P5 remains, 3rd moves

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39
Q

Slide

A

Third remains

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40
Q

Two most common triadic chains

A

L- P
P- SLIDE

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41
Q

L-P

A

3 major/ 3 minor triads
4 versions. One for each hexatonic

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42
Q

P- Slide

A

12 major/12 minor triads
1 version
Roots move chromatically

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43
Q

Tonnetz

A

Map of all transformations of major and minor triads. Rows related by minor thirds. Columns by Major third

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44
Q

Planing

A

Parallel/similar motion often of triads to amplify melody.
Often follow familiar scale
Traditional voice leading rules of parallel 5/8 does not apply

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45
Q

Bitonality

A

2 keys at same time

46
Q

Bitriadic and how related

A

Harmony built around clash between two triads
Related by P, R, L, SLIDE or intervals

47
Q

L-P-R chains

A

12 chains of 6 triads that share a single note

48
Q

Enharmonics in post tonal music

A

Convenience

49
Q

How are intervals identified in post tonal

A

By number of semi tones

50
Q

Ordered pitch intervals

A

Number of semitones and direction moved
Labeled with +/- in semitones on bracket

51
Q

Unordered pitch intervals

A

Semitones moved. Which notes comes first is irrelevant

52
Q

Intervalic motives and how labeled

A

2+ intervals
Labeled over bracket with < #1 +/-, #2 +/-, etc>

53
Q

Pitch class

A

One pitch in octaves
Pitch class clockface

54
Q

Pitch class interval

A

Distance between two pitch classes
Ex G-A# in different octaves, orderings, and spellings

55
Q

Ordered pitch class intervals

A

Number of semitones between two notes. Put into same octave as first note (ascending from first note. Second note moves octaves)
Go around on pitch class clockface

56
Q

How to use pitch class clockface

A

Move clockwise or subtract first note from second
Add 12 if negative. Minus if over 12
Same as changing octaves

57
Q

Unordered pitch class intervals
Also called?

A

Shortest distance between two notes
Pitch class

58
Q

How many different ordered pitch class intervals? What happens if we add interval inversions together?

A

11 (semitones)
Interval inversion cuts to 6 (semitones). Makes ordered pitch class intervals (IC)

59
Q

Interval symmetry

A

Intervals bottom to top are same as top to bottom

60
Q

Interval cycles. How many? How labeled?

A

Start and end in same place moving repeatedly by same interval
6 options
Labeled C1-C6 + interval class

61
Q

Retrograde

A

Backwards

62
Q

Retrograde inversion

A

Inverted then played backwards

63
Q

Tone row

A

Must use all 12 and cannot repeat

64
Q

Row form- how many and transpositions

A

4 flavors 12 transpositions each and 48 total

65
Q

Pitch class sets

A

Basic building blocks of post tonal
Unordered collections of pitch classes
Trichords most common

66
Q

Normal form

A

How we write notes in pitch classes
Ascending order, same octave, smallest interval between, has commas

67
Q

Transposition
How labeled

A

Move each note by same ordered pitch class interval
Tn with n being semitones

68
Q

Inversion

A

Invert around C
Note number of semitones above C becomes note semitones below C
First interval becomes last interval
Notes reflected across pitch class clockface

69
Q

Compliment

A

Notes reflected by inversion

70
Q

How invert

A

Find compliment then reverse order- that’s the normal form

71
Q

Index of inversion

A

N in Tn of a TnI
Semitones transposed of something that is inverted then transposed

72
Q

12 tone row

A

Must use all 12 pitches and cannot repeat

73
Q

Series

A

Ordered line of notes sometimes called row

74
Q

Prime form

A

Original or transposed version

75
Q

Inversion of row

A

Invert around first note of form
D-E becomes D-C

76
Q

Retrograde inversion

A

Invert then do it backwards

77
Q

Prime form label

A

Px where x is the letter it starts on

78
Q

Retrograde prime label

A

RPx with x being the note it ENDS on

79
Q

12 tone matrix

A

Convenient way of presenting all 48 row/series forms

80
Q

Set class and label

A

All pitch class sets related by transposition or inversion
The charrrtttt
LABELED WITH PRIME FORM Intervals (0XX)

81
Q

Prime form

A

(0 then the interval between 1/2 and 2/3 ordered smallest to largest)
For set class

82
Q

How make prime form

A

Transpose to start on c, subtract that number of semitones from “pre prime for” all numbers, will start on 0. check the charrrttt

83
Q

Three ways to relate sets belonging to same class

A

Common tones, motivic transposition, and longer referential collections via some combinations of trichords from diatonic, hex, pent etc

84
Q

How is sound of pitch class set determined

A

Interval classes

85
Q

Invariance

A

Preservation of a collection of pitch classes when a 12 tone series is transposed and inverted

86
Q

Combinatoriality

A

Combining a pitch class set with one or more transposed or inverted forms of itself or it’s compliment to create a collection of all 12 pitches

87
Q

Aggregate

A

Collection of a 12 pitches

88
Q

4 ways in which a series of three notes can be related

A

Inversion, transposition, retrograde, and retrograde inversion

89
Q

Axis of symmetry

A

Also known as inversional axis
Centric tone or 2 a half step apart

90
Q

Post tonal modulation

A

Shift from one axis of symmetry to another

91
Q

Pitch symmetry

A

Notes that are inversional partners balance around central pitch (axis of symmetry)

92
Q

Pitch class symmetry

A

Notes that are inversional partners around inversional axis on pitch class clockface

93
Q

Inversional symmetry

A

An arrangement of notes that have same intervals going up as coming down

94
Q

Expanding wedge progression

A

Notes move symmetrically outward from central pitches

95
Q

Contracting wedge progression

A

Notes move symmetrically inward towards centric pitches

96
Q

Other symmetric progressions

A

Notes don’t HAVE to be consistent as long as every pitch is as far above centric as another below (inversional partner)

97
Q

Inversional partner

A

Two pitches equal distant above and below centric pitches

98
Q

How labor interval classes

A

1-6
And technically 0 too

99
Q

What interval class is half step

A

1

100
Q

Interval class for 11 half steps

A

1

101
Q

Interval class for whole step

A

2

102
Q

Interval class for 10 semitones

A

2

103
Q

Interval class for minor 3 (3 semitones)

A

3

104
Q

Interval class for 9 semitones

A

3

105
Q

Interval class for Major third (4 semitones)

A

4

106
Q

Interval class for octave

A

4

107
Q

Interval class for P4 (5 semitones)

A

5

108
Q

Interval class for P5 (7 semitones)

A

5

109
Q

Interval class for A4/D5 (6 semitones)

A

6

110
Q

Interval class vector

A

How many uses per interval type
Labeled with 6 integer string each number representing interval classes 1-6

Theory (7 decks)

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