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APMT > 10. Melodic Compostion > Flashcards

10. Melodic Compostion Flashcards

1
Q

Anacrusis

A

-melody begins before the beat

+ pickup note(s)

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2
Q

Augmentation

A

Form of rhythmic variation where the pitches remain the same but the rhythms are lengthened
-note values are made longer

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3
Q

Conjunct

A

Stepwise motion

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4
Q

Diminution

A

Note values are shortened

Opposite of augmentation

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5
Q

Disjunct

A

Skip-wise motion

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6
Q

Elision

A

Occurs when one phrase ends and the next begins simultaneously with one note or chord functioning to overlap the phrase

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7
Q

Expansion

  • internal
  • cadential
A

Phrase expansion is when the phrase is expanded beyond normal phrase length by adding material to the beginning, middle, or end.

  • introduction- added at beginning (prefix)
  • cadential- added at the end (suffix)
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8
Q

Fragmentation

A

Division of a musical idea (motive, theme, etc.) into segments.

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9
Q

Imitation

A

a melody repeats in a different voice but varied a bit

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10
Q

Leitmotif

A

A motive thematically associated with a person, place, or idea

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11
Q

Literal Repetition

A

Exact Repetition in the same voice

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12
Q

Melody

A

Logical progression of pitches and rhythms.

Linear succession of notes that form a recognizable unit

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13
Q

Mode Mixture, Modal Borrowing

A

Combining chords from parallel major or minor mode to increase harmonic resources.
Provides more variation in harmonies by occasionally borrowing a chord from the parallel minor or major mode.

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14
Q

Non-Chord Tones

A
  • notes that don’t belong in the chord

- create a temporary dissonance

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15
Q

Non-Harmonic Tones

A

Not part of the harmony

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16
Q

Appoggiatura

A

Specific type of incomplete neighbor that leaves the preparation by a leap up and then resolves down by a step.
- this is an accented nct bc it occurs on the beat

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17
Q

Anticipation tone

A

Tone that leaves early from the preparation chord by step to become part of the resolution chord. It anticipates the pitch to come in the next chord.

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18
Q

Escape Tone (échappée)

A

Form of incomplete neighbor that leaves the chord tome by step them resolves in the opposite direction by a leap

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19
Q

Incomplete Neighbor (Cambiata)

A

Non harmonic tone appeared by a skip or leap in one direction and resolved by stepwise motion in the opposite direction. (Occurs in a weak rhythmic position)

20
Q

Passing Tones

  • accented
  • unaccented
  • chromatic
A
  • accented passing time occurs when the passing time is not a part of the chord OCCURS ON THE BEAt
  • chromatic passing tone is a non-diatonic note (requiring an accidental) connecting two chord tones, one whole step a part

PT are melodic embellishments that fill in between the preparation and resolution by stepwise motion

21
Q

Neighbor Tones

-upper and lower

A

NCT that decorate a line by moving from one pitch to another one step above (upper neighbor) or below (lower neighbor) and then returning to the original pitch

22
Q

Suspension

A

When a note in the preparation of the chord is HELD over, suspended, creating a momentary accented dissonance (on the beat) then resolved downward by step to the resolution.

23
Q

Retardation

A

Suspended note that resolves upward

24
Q

Octave Designation

A

Octave designations provide a method to correctly identfy every possible musical note from the lowest to highest pitches.

Middle C= C4

25
Q

Phrase

A

Coherent musical thoughts that move toward a goal: the cadence.

26
Q

Phrase Structure

A

Phrases typically occur in pairs

27
Q

Symmetrical and Asymmetrical

A

Same or different length

28
Q

Periodic Structure

A

How phrases are grouped

29
Q

Antecedent- Consequent

A

When the first phrase of a pair ends with a weaker cadence and the second ends with a stronger harmonic conclusion (pac)

30
Q

Parallel Period

A

When the two phrases making up the period begin identically or the second is a variation of the first

31
Q

Contrasting Period

A

When the two phrases are different from each other

32
Q

Double Period

A

Group of four phrases in which the only pac occurs at the conclusion of the fourth phrase. The first two and last two phrases are paired to form an antecedent- consequent relationship

33
Q

Repeated Period

A

Two phrases that form a parallel Period exactly. (Same melodic structure, different cadence, harmonized different)

34
Q

Modulating Period

A

The modulating period starts the same as the ordinary period and the consequent phrase finishes with a perfect cadence in a new key, usually the relative major or dominant.

35
Q

Retrograde

A

Melody is played backwards

Retrograde inversion plays the pitches of the original theme exactly backward and inverted

36
Q

Rhythmic Displacement

A

Keeps the original Structure intact but moves to a different place in the measure

37
Q

Sequence

A

Melodic sequence refers to repeating the original motive, starting on a different pitch

38
Q

Transposition

A

Musical transposition is a type of repetition where the starting point (or pitch) of a chord or melody is restated at a different level than the original segment. This restatement may be higher or lower and may occur as many times at different levels as a composer thinks is appropriate.

39
Q

Variation

A

The original motive is used as the basis for related musical ideas

40
Q

Tonic

A

Tonal center of the melody

41
Q

Mediant

A

Defines the harmonic nature, (major or minor) (3rd)

42
Q

Dominant

A

Fifth scale degree, sol

43
Q

Seventh

A

Positions your melody to return to the tonic. Leading tone adds tension to the melody

44
Q

Sub-phrase

A

Melodic unit smaller than a phrase, doesn’t end with a cadence

45
Q

Theme

A

Compatible melodic phrase anywhere from 2-8 measures

46
Q

Inversion or melodic inversion

Mirror inversion

A

Imitation of melody upside down from original melody.

If inverted intervals are exact mirror inversion

47
Q

Ornamentation or Embellishment

A

Technique of adding or decorating the melody with ncts such as passing tones, neighboring tones, and suspensions

APMT (9 decks)

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