Theory and Composition 1 Flashcards
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Classical singing timbre vs. popular music timbre: In classical singing, the mouth cavity is trained to have a ____ to create an open, formal sound. In popular singing, there is much more flexibility to the ___ of the mouth and many singers use both _____ to manipulate different vocal sounds.
high palate;
shape;
high and low palates
The register of a voice refers to a range of pitches that have a similar ______ produced by similar vocal production. In singing, there are three general registers: for men, they are typically the _______; for women, they are called the ______ voices.
Falsetto, or head voice (for women) refers to the highest ranges of the voice and is said to have a breathy, fairy tonal quality that lacks a lot of _____.
tonal quality;
chest, head, and falsetto;
chest, middle, and head;
overtones
The three main vocal parts involved in creating sound are the a___s___, the v____, and the r____. Air supply is taken into the lungs by the inspiratory muscles, especially the DIAPHRAGM, and emptied from the lungs by the expiratory muscles.
The vibrators for singing are the _____. When air passes through the vocal folds through the opening called the GLOTTIS, the vocal folds vibrate and produce sound. The sound passes through the resonators, principally the ____ and the _____.
air supply;
vibrator;
resonator;
vocal folds;
pharynx;
mouth cavities
The ORCHESTRATOR uses the tonal characteristics of the different instrument families to meticulously layer each sound into a collective whole.
The strings tend to have a r____ tonal quality and form the basis of many orchestral t______. Strings have a variety of sounds and techniques and can easily function as melody, supporting harmony, or rhythmic texture.
HIGH brasses have a c__, f__ tonal quality and many times are used MELODICALLY or as a crisp, _____.
LOW brasses tend to provide _____ lines as well as _____ motives.
Woodwinds have held various roles within the orchestra and can easily function as melody, supporting harmony, or rhythmic texture, similar to strings.
Percussive instruments have historically held a RHYTHMIC role in orchestral writing, but have also been used as ____ through the marimba, timpani, and other melodic percussion instruments.
rich;
textures;
clear, focused;
rhythmic flourish;
bass;
rhythmic;
melodic interest
For brass instruments, the lips act as a vibrating _____ that produces o_____ air and p_____. As the air vibrates through the tubular instrument, some of the energy is _____ as VISCOUS and THERMAL energy, while the rest EMERGES from the instrument as _____.
valve; oscillating; pressure; lost; sound
In string instruments, as the string sets the surrounding air in motion, it also vibrates the S_____ through the bridge (which acts as the r____v____), and the AUDIBLE ___ effuses out of the instrument through a sound hole.
The longer the string, the _____ the pitch.
soundboard;
resonant vibrator;
tone;
lower;
Single-reed woodwind instruments produce sound when air is blown through a single reed that VIBRATES against the m_____.
Single reed instruments include the ___ and the ___.
Double-reed woodwind instruments produce sound when air is blown through two reeds that are TIED TOGETHER and vibrate.
Double reed instruments include the ___, ___, and ___.
mouthpiece;
clarinet; (squidward is single)
saxophone; (fat sax dude is single)
oboe;
bassoon;
sarrusophone (dOuBleS)
Some percussion instruments produce vibrations WITHOUT the aid of air, string or membranes; these instruments are known as _____ and include 5 types: concussion idiophones, percussion idiophones, rattles, scrapers, and friction idiophones: .
_____ are two objects that are struck together;
_____ are those struck by mallets;
____ are shaken;
_____ are stroked across a notched surface;
______ are played by rubbing
idiophones;
concussion idiophones; percussion idiophones; rattles; scrapers; friction idiophones
On a stringed instrument, many techniques can be applied to produce dynamic changes. When playing with a bow, the variables that affect DYNAMICS are the ___ and ____ of the bow. When playing LOUD, the bow must move ____ across the strings with ____ pressure to produce greater amplitudes.
When stringed instruments are plucked, this is often notated in the score as ____. When plucking a stringed instrument, the sound produced has a _______; dynamic changes are produced similarly: a heavier pluck at a greater speed _____ dynamics, while a softer, slower pluck _____ dynamics.
speed;
pressure;
faster;
greater;
pizzicato;
sharper attack;
increases;
diminishes
Dynamics for the brass instruments are a product of the _____ of air moving through the instrument, sometimes referred to as ____. Careful attention must be placed on lip technique when performing dynamic changes, due to the interaction of e_____ and b______.
The tendency of a pitch when moving from SOFT TO LOUD, if the embouchure remains steady, is for the pitch to _____, or even move to the NEXT PITCH “SHELF” due to the _____ in velocity.
At lower dynamic ranges, the player must _____ airflow velocity, which requires additional support through the diaphragm as well as a _____ embouchure, or else the pitch will FALL FLAT.
volume;
velocity;
embouchure;
breath;
go sharp;
increase;
decrease;
tighter;
Chords are related by inversion if they contain the same pitches with the same _____, but have different pitches sounding in the _____.
For triads, a chord is considered to be in root position if the root of the chord is the _____ pitch. A triad is considered to be in FIRST inversion if the ____ is the lowest sounding pitch. A triad is considered to be in SECOND inversion if the ______is the lowest sounding pitch.
For seventh chords, there is an addition of a THIRD INVERSION, indicating that the ______ is the lowest-sounding pitch. Thus, for the root position seventh chord G-B-D-F, first inversion becomes B-D-F-G’, second inversion becomes D-F-G’-B’, and third inversion becomes F-G’-B’-D’.
root; bass (sounding lower); lowest; third; fifth;
seventh;
The authentic cadence is defined as a _____harmony resolving to the ____, notated as ____. The authentic cadence is considered to be the ______cadence because of the presence of the ______ progression as well as the _____ progression.
In VOICE LEADING, these two progressions exhibit the highest _____ movements within music theory. An authentic cadence can be either perfect or imperfect.
A perfect authentic cadence has both the ____ of the V and I chords sounding in the bass, and the _____ as the highest sounding note on the final chord.
An imperfect authentic cadence does not involve all the conditions required to be a perfect cadence, and so may not have the ____ sounding in the HIGHEST note of the final chord, or may have _____chords.
dominant; tonic; V-I (or v-i); strongest; super-tonic to tonic (ii-I); leading tone-to-tonic progression (vii-I);
tension-and-release;
roots;
tonic;
tonic;
inverted
The plagal cadence is defined as the _____ harmony resolving to the _____ harmony, notated as _____. Since there is the absence of a _____ RESOLUTION in a plagal cadence, it is not considered as final or as strong of a cadence as the authentic cadence.
Oftentimes, the plagal cadence is found as an EXTENSION of an authentic cadence, EMBELLISHING the final tonic through the neighboring notes of the ___ and ___ scale degrees and of the ___ and ___ scale degrees. The plagal cadence is a common ending to many _____, and is also known as the AMEN cadence, as the cadence is set to the word AMEN. The plagal cadence is so closely associated with Protestant hymns that some composers have used the IV-I progression as an ALLUSION to its sacred usage.
subdominant;
tonic;
IV-I (or iv-i);
leading tone;
third and fourth;
fifth and sixth;
Protestant hymns;
The deceptive cadence is defined as the _____ harmony PROGRESSING to ____.
The _____ of the dominant DOES resolve to the tonic of the key, but the tonic pitch acts as either the ____ of the chord, instead of the root.
The dominant chord in deceptive cadences most commonly progresses to the ____harmony, notated as V-VI, or sometimes to the _____ harmony, notated as V-IV.
The deceptive cadence is an important compositional tool in avoiding an ending and in transitioning to another section of music. It is considered to be a WEAK cadence. Another name for the deceptive cadence is the ______ cadence.
dominant;
any harmony EXCEPT the tonic;
leading tone;
third or fifth;
submediant harmony;
subdominant;
weak;
interrupted
The half cadence is defined as ____ harmony progressing to the ____ harmony.
A common half cadence is the ____ in ____ inversion resolving to the DOMINANT, notated as ____ in Western tonal theory. This particular half cadence is known as the CADENTIAL TONIC SIX-FOUR, and shares the ____note from the six-four chord with the resulting DOMINANT.
Oftentimes, the cadential tonic six-four progression occurs at the END of the___section in a ____(or binary) piece of music.
Other types of half cadences include the Phrygian half cadence, in which a FIRST inversion ___ harmony proceeds to the ____harmony, and the Lydian half cadence in which a FIRST inversion ____ chord is ___ by a half step and then resolved to the ______.
any;
dominant;
tonic;
second;
I64 - V;
bass;
first;
two-part;
subdominant; dominant; subdominant; raised; dominant
