Theory and composition 2 Flashcards
study
The term monophony refers to the texture of music that is made up of a SINGLE melodic line. The melodic line can be performed by a___ musician or a ____ of musicians. Examples include plainchant, m___singer, m_____singer, and t_____ music.
The term homophony refers to the texture of music that is made up of a MAIN melodic line over a s______ a_______. Examples include: most rock, pop, country, and jazz music.
The term heterophony refers to the texture of music that is made up of multiple i____ i_____ of the same melody played at the same time. Heterophony mostly occurs in______ such as those of East Asia, South Asia, Southeast Asia, and the Middle East.
solo;
group;
minnesinger, Meistersinger, and troubadour;
supporting accompaniment;
improvised interpretations;
non-Western music cultures
The term polyphony refers to the texture of music that is made up of many EQUALLY ____ melodic lines. Examples include much of ____ and ____ music. Within polyphony, there exists equal-voice polyphony and unequal-voice polyphony.
Equal-voice polyphony refers to polyphony that maintains the same _____ material in all the individual voices. A prime example of equal-voice polyphony is the c___, in which the exact same melodic material enters sequentially after a uniform time interval. Other examples of equal-voice polyphony include f____, in____, and other forms of im_____.
Unequal-voice polyphony refers to polyphony in which _____ importance is given to one or more melodic lines. Examples of unequal-voice polyphony include Medieval-era c___ f____ compositions that give musical precedence to the____ voice.
important;
Renaissance and Baroque music;
thematic; canon; fugues; inventions; imitation;
greater;
cantus firmus;
tenor
Contrary motion, parallel motion, similar motion, and oblique motion all refer to the s_____ m____ of two or more musical lines. The terms can describe both v____ and i____ musical lines moving in parts at the same time.
Contrary motion refers to the motion of two musical lines that move_____
Parallel motion refers to the motion of two musical lines that move______, whether ____or____, while maintaining the same _____ between the lines.
Similar motion refers to the motion of two musical lines that move______, whether ____or_____, but WITHOUT maintaining the same ____ between the lines.
Oblique motion refers to the motion of two musical lines in which ________.
simultaneous movement;
vocal;
instrumental;
in opposite directions;
in the same direction;
upwards or downwards;
interval;
in a similar direction;
upwards or downwards;
interval;
one line remains constant while the other moves in an upward or downward direction
In tonal counterpoint, careful regulations have been made to avoid DISSONANCES; however, certain types are allowed, in the form of ____-____ treatments. If an ANTICIPATION tone is dissonant yet UNACCENTED, it is allowed IF it is then directly _________.
Dissonance is also allowed in the c______, a figure that usually moves ____ a 2nd to a DISSONANT pitch, _____ 3rd to a CONSONANT pitch, then ____ a 2nd that can be DISSONANT OR CONSONANT.
Another form of allowable dissonance is the a______, in which there is a ___ to dissonance followed by a _____.
Also allowed is a s______, in which a dissonance tone sounds on a ____beat and is then RESOLVED ____ by a _____.
A passing tone moves in a STEPWISE motion through two consonant tones.
A neighbor tone also moves in a stepwise motion, but RETURNS to the original consonant tone.
An ESCAPE tone is a dissonant note that is approached by a ____ and resolved by _____ in the OPPOSITE direction.
voice-leading;
reharmonized;
cambiata; down; down another; up dissonant or consonant.
appoggiatura;
leap;
descending step;
suspension;
downbeat;
downward;
step;
step;
leap;
Intervals measure the ______ between any two tones;
A perfect interval only refers to the UNISON, 4TH, 5TH AND OCTAVE intervals. When any PERFECT interval is lowered by a half step, it becomes a _____interval. When any PERFECT interval is raised by a half step, it becomes an _____ interval.
Major intervals include the _____ intervals. Major intervals occur in a ______ scale. When any MAJOR scale interval is lowered by a half step, it becomes a ____interval.
When any minor interval is lowered by a half step, it becomes a _____ interval.
When any major interval is raised by a half step it becomes an ______ interval.
semitones (or half steps);
diminished;
augmented
2ND, 3RD, 6TH, AND 7TH;
diatonic major;
minor;
diminished;
augmented
For any diatonic MAJOR scale, there exists a RELATIVE minor and PARALLEL minor of that scale. The relative minor scale shares the same ______ as the major scale. The parallel minor scale shares only the same ______ as the major scale (F Major, for example, has the relative minor scale of ____, which shares the same key signature of one flat, and the parallel minor scale of _____ shares the same tonic pitch of f).
Both the relative minor and the parallel minor scales are frequently used as common keys to MODULATE to within a composition.
Composers can easily modulate to a relative minor by using any of the shared ____ since the _____ is identical for the relative major and minor keys.
Parallel minor keys offer the same _____ chord as the parallel MAJOR key, but have less in common, since the key signatures of parallel major and minor chords are ______.
key signature;
tonic pitch;
d minor;
f minor;
chords;
key signature
dominant;
unrelated
The treble clef, aka the ______, is shaped so that the spiral of the symbol circles the__ line on the staff. The instruments that typically employ the treble clef include: ___3__, and the treble range of keyboard instruments.
The alto clef, aka the ___, is shaped so that the middle point of the symbol rests on the ___line as ____. The instrument that typically employs the alto clef is the ____.
The tenor clef also uses the ______, but is places so that the middle of the symbol rests on the ___line as___. Instruments that sometimes use the tenor clef include the___3___.
The bass clef, aka the ____, is shaped so that two dots of the symbol surround the ____-line. Instruments that typically employ the bass clef include: ___5___and the bass range of keyboard instruments.
G-clef;
G;
violin, woodwinds, high brasses;
C-clef;
third;
middle C.;
Viola.
C-clef;
fourth;
middle C.;
CELLO, bassoon, and trombone
F-clef;
F;
double bass, cello, bassoon, trombone, low brasses
Both concert bands and symphonic bands employ a wide range of instruments that include the brass, woodwind, and percussion families as well as a wide variety of timbres, colors, and ranges. (no strings in CONCERT bands)
The concert band focuses on _______music and o___t___. It has prescribed parts for __ flutes, __ oboes, __ bassoons __ clarinets, 1 bass c__, __ saxophones, __ horns, ___trumpets, __ trombones, 1 b___h__, 1 t___, and ___ percussion instruments, with a total of __ performers.
The symphonic band is more comparable to a symphonic ____ in range. The symphonic band tends to have LARGER sections, and has a total of ___ performers which may include the STRING b__, pi__, English h__, h__, bass tr___, con___, and/or a sa___.
popular band; orchestral transcriptions; 2 flutes 2 oboes 2 bassoons 3 clarinets 1 bass clarinet 4 saxophones 4 horns 3 trumpets 3 trombones 1 baritone horn 1 tuba 3-4 percussion instruments; 40-50 performers.
orchestra;
90-120 performers;
the string bass, piccolo, English horn, harp, bass trombone, contrabassoon, and/or a saxophone.
General vocal ranges: Soprano:\_\_\_\_\_\_ Mezzo-sop:\_\_\_\_\_\_\_\_ Alto:\_\_\_\_\_\_ Tenor:\_\_\_\_\_\_ Baritone:\_\_\_\_\_\_\_ Bass:\_\_\_\_\_\_\_
c', middle C to a" (C' it A"ll) A to f" (lit AF'') F to d": (it's a FaD") B to g' (high notes in the BaG') G to e' (...more like GaritonE') E to c' (EtC')
The standard instrumentation of the concert band as prescribed by members of the AMERICAN BAND ASSOCIATION helped to c___ the concert band as an ESSENTIAL performing ensemble in American musical culture.
With the standardization of concert band instrumentation in the early 20th century, publishers B____ and Co. and C______ helped to grow the REPERTOIRE of concert bands, especially for the school and community settings.
The American Band Association prescribed the concert band as having part for 1 (bc, bh, t), for 2 (fob), for 3 (ctt), for 4 (sh),and for 3-4 percussion instruments, with a total of 40-50performers.
cultivate;
Boosey and Co.;
Chappell;
bass clarinet, baritone horn, and tuba; flutes, oboes, and bassoons; clarinets, trumpets and trombones; saxophones and horns; percussion instruments
In the CLASSICAL era, music became highly _____ with a focus on m____ and a_____t____ form. To accommodate for the change in form, the Classical orchestra shifted the way it used certain INSTRUMENT FAMILIES.
In the BAROQUE era, ___and___ were often DOUBLED to play certain lines.
IN THE CLASSICAL ERA, with the advent of m___a___, first _____ were now the dominant string section, while the ____ strings became the supporting background harmonically and rhythmically.
WIND parts were simplified from the BAROQUE ______ lines and were now supporting b_____ harmonies for the CLASSICAL era.
As the CLASSICAL era progressed, _____ eventually restored the _____ section’s melodic role within the orchestra.
During the Classical era, the ______ became increasingly independent, as opposed to the previous Baroque setting of this instrument as a part of the bass line.
The _____ family also began to be used in a greater INDEPENDENT capacity during the _____ period.
homophonic;
melody;
accompaniment textural;
strings and winds;
melodic authority;
violins;
lower;
contrapuntal (in counterpoint);
background;
Mozart;
wind;
bassoon;
Brass;
Classical
Improvisation cannot exist without imitation. As the very basis of improvisation, imitation allows students to learn t___, p___, melodic c____, and r____ patterns of improvisers of the past.
Once the student has immersed herself in studying improvisation through imitation, she will be much better able to assimilate (fully understand) improvisation techniques for in___ and new musical ideas.
The process of teaching musical imitation should focus on musical selection to imitate, allowing the students to EXPLORE p____ in various k___ and m___. The musical selections should give the students TOTAL immersion, so that the learned framework becomes a launching point for f___e____ in the next step towards full improvisation.
techniques,
progressions,
contour,
rhythmic
innovative;
phrases;
keys;
moods;
free exploration
Much of improvisation consists of variation. Examples of improvisational variations include: t____ variation, m____ variation, r____variation, s____variation, and h_____variation.
When teaching musical variation to students, the instructor should begin with only ____ variations within a CONTROLLED framework. The student may start exploring variation through _____ variation first; ALL other aspects of the music should remain c____, so the student has a foundation from which to diverge.
When teaching musical variation, Melodies may introduce a___, s___, and added n____notes until the melody is so varied that the only recognizable aspects are the constant h_____.
Educators can also use the c_____ technique for group improvisation, with each c___ and each r____ of the students, a continued _____ of the riff.
Educators should incorporate improvisations by _____ in EVERY concert or project as an extra motivator as students learn how to improvise through techniques such as variation.
thematic; melodic; rhythmic; stylistic; harmonic
slight;
melodic;
constant;
appoggiaturas;
silence;
neighbor;
harmonies
call-and-response;
call;
response;
variation
students;
BAROQUE improvisation and JAZZ improvisation are separated by more than 2 centuries of musical development and share WIDELY different ORIGINS. Baroque improvisation served a primarily ______element while jazz improvisation was born in the b___ and a___ of N___.
Instruments used in Baroque improvisation centered on ____ instruments, while jazz improvisation used a wide array of instruments from _____ instruments and v____ to drum kits and banjos.
Baroque and jazz improvisation also SHARE many similar traits. BOTH styles feature a more p___ section as well as a s___h___section. Also, BOTH follow a s_____ form in performance, whether a ____ form in jazz or a ____ form in Baroque music. Throughout both genres, improvisations are based on outlined c___s___ that direct the MELODY.
religious;
bars and alleyways of New Orleans
string;
brass;
voices;
prominent; supporting harmonic; standard; 32-bar; ritornello; chord symbols;
When teaching basic composition, the curriculum should entail several introductory concepts that sequentially lead to the understanding and creation of musical p____. The beginning lessons should cover elements of n____ as well as the understanding and appreciation of musical patterns.
When teaching basic composition, students should learn treble clef, meter, bar line, measure, staff, octave, and intervals. Students should also examine t___ and v___ to learn how musical patterns can function.
When teaching basic composition, students should start with short (_____) phrases, working on the s___ and p___ of music. The instructor should use highly i____ examples to demonstrate s___p___ such as a percussive interpretation of a thunderstorm.
As the students learn to integrate their imagination with musical sounds, the lesson sequencing can focus more on musical compositional techniques such as t___, c___, and different t___.
patterns;
notation;
theme;
variation.
eight-measure; sequencing; patterning; imaginative; sound patterning;
transcriptions;
cadences;
tonalities
