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OAE Music > Aural Analysis Skills > Flashcards

Aural Analysis Skills Flashcards

1
Q

Mouth cavity trained to have a high palate to create an open, formal sound

A

Classical singing

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2
Q

More flexibility to shape of the mouth, use high and low palates to manipulate vocal sounds.

A

Popular singing

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3
Q

Lower ranges of the voice have a heavier tonal quality similar to natural talking.

A

Chest register

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4
Q

Upper ranges tone quality (Men/Women)

A

Head voice/ Middle voice

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5
Q

Highest ranges above the normal speaking voice. More breathy tone quality.

A

Falsetto/Head voice

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6
Q

Membranophones (Drums), Idiophones (vibrates)

A

Percussion

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7
Q

Buzzing of lips, Conical bore/Cylindrical bore, Dynamics produced by velocity of air.

A

Brass instruments

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8
Q

Instrument is not all the same size (mellow round sound), French Horn and Tuba

A

Conical Bore

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9
Q

Instrument is the same size (Bright sound), Trumpet and Trombone

A

Cylindrical Bore

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10
Q

Vibration of Strings produce sound, made of nylon, steel or silk, Higher tension higher the pitch, Thicker string lower the pitch, Speed and pressure affect the dynamics.

A

Sting Instruments

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11
Q

Vibrations of reed, reeds, or splitting of air, Single reed vibrates with mouthpiece, double reeds vibrate together, Dynamics affected by how fast air is moving and how much.

A

Woodwind Instruments

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12
Q

The back and forth oscillation of pressure produces a sound wave.

A

Pressure oscialltion

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13
Q

Source of oscillation (ex. reed on a ww.)

A

Simple resonator

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14
Q

Simple sine wave whose frequency stays constant. Contain no harmonies.

A

Pure tone

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15
Q

Vocal parts separated in blocks front to back (normal arrangement) best for homophonic pieces.

A

Choral Block

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16
Q

Choral music in which the parts have mostly the same rhythms at the same time.

A

Homophonic

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17
Q

Separated in columns best suits polyphonic music

A

Choral columnar

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18
Q

Two or more voices sing different things at the same time.

A

Polyphonic choral music

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19
Q

Mixed together best for intonation and audience sound

A

Mixed formation

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20
Q

Root of the chord is the lowest sounding pitch (I)

A

Root postion

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21
Q

Third is the lowest sounding (I6)

A

First inversion

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22
Q

Fifth of the chord is the lowest sounding (I6/4)

A

Second inversion

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23
Q

The same plus third inversion

A

Seventh Chords

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24
Q

Seventh is the lowest sounding (I 6/4/2)

A

Third inversion

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25
Q

I7/5/3

A

Root position Seventh Chord

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26
Q

I6/5/3

A

1st inversion seventh chord

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27
Q

16/4/3

A

2nd inversion seventh chord

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28
Q

I6/4/2

A

3rd inversion seventh chord

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29
Q

Dominant sounding harmony resolving to the tonic harmony V-I or V-i

A

Authentic cadence

30
Q

Roots of the V and I chords sounding in the bass and the tonic as the highest sounding note on the final chord

A

Perfect authentic cadence

31
Q

May not have the tonic sounding in the highest note or is inverted

A

Imperfect authentic cadence

32
Q

Subdominant sounding harmony resolving to the tonic harmony, IV-I or iv-i

A

Plagal cadence

33
Q

The major 7th of a scale, wants to be raised a semitone to end up on the root.

A

Leading tone

34
Q

Dominant-sounding harmony progressing to a harmony that defies the expected tonic harmony, most commonly the submediant harmony. V-VI or V-iv or the subdominant V-IV V-iv.

A

Deceptive cadence

35
Q

Little to no sense of resolution of the music.

A

Weak cadence

36
Q

Harmony progressing to a dominant harmony. The preceding harmony can be the tonic, subdominant, supertonic, or any other harmony. I64-V (I64 and V share the bass note when moving through this progression)

A

Half Cadence

37
Q

First inversion subdominant chord proceeds to the dominant.

A

Phrygian half cadence

38
Q

First inversion subdominant chord is raised by a half step and then resolved to the dominant.

A

Lydian half cadence

39
Q

A piece that has two main parts, which are often called reprises since they usually repeat.

A

Binary form

40
Q

A piece of music that can be started at different times and sung simultaneously. (Canon)

41
Q

Imperfect and perfect cadences

A

Authentic and plagal cadences

42
Q

Both of the chords are in root position and the tonic pitch sounds in the highest voice

43
Q

Either chord is in an inversion and/or the tonic pitch does not sound in the highest voice.

44
Q

Similar to the Aeolian mode of the half-whole-whole-half-whole-whole. (three half steps down C-A)

A

Minor Scale

45
Q

Minor scale without alterations

A

natural minor scale

46
Q

Seventh of the scale is raised

A

Harmonic minor

47
Q

Seventh and sixth scale degree is raised going up, but lowered going down.

A

Melodic minor

48
Q

Scale made of whole steps

A

Whole tone scale

49
Q

Scale with every pitch separated by a half step

A

Chromatic scale

50
Q

System of musical theory in which a composition is based on a serial ordering of all 12 pitches that stipulates the sequence in which those 12 pitches should appear in the composition.

A

12-tone music

51
Q

Form of imitative counterpoint in which a fugue theme is introduced at the beginning of the work, also known as the exposition, and is echoed in all the voices through imitations and development.

52
Q

A group of closely spaced notes played simultaneously, usually in intervals of adjacent seconds and groupings.

A

Tone clusters

53
Q

Only neighboring notes in the diatonic key are used.

A

Diatonic tone cluster

54
Q

Notes are separated by a half-step are used.

A

Chromatic tone clusters

55
Q

Both chromatic and diatonic notes are used.

A

dia-chromatic tone clusters

56
Q

“At ease” understood to mean a slower tempo than andante, but faster than largo.

57
Q

Moderately, is a relative tempo designation that is faster than andante, but slower than allegro.

58
Q

Very fast, generally treated as a very quick tempo, much faster than allegro.

59
Q

As Fast as possible

A

Prestissimo

60
Q

At a walking pace, ambiguous can be thought as faster than adagio but slower than allegro.

61
Q

Lively and merry, generally treated as a fast or moderately fast tempo.

62
Q

A rhythm of three notes in a space that usually only has two notes.

63
Q

A change in note values where, for example, three half notes follow a measure of two dotted half notes in 6/4 meter.

A

Horizontal hemiola

64
Q

A rhythmic syncopation where, for example, three quarter notes play over two dotted quarter notes in 6/8 meter.

A

Vertical hemiola

65
Q

The numbers in the meter refers to the subdivision of beats within a musical measure.

A

Simple and compound meters

66
Q

A tonal work that can be seen as a complete and self-contained work that is not divisible into other, smaller self-contained works. Include binary and ternary forms

A

Simple musical forms

67
Q

A tonal work that can be seen as a composite form that is made up of other, smaller simple forms such as binary and ternary forms. Minuetto and trio

A

Compound musical form

68
Q

A return to the original thematic material of A. ABA or AA’A.

A

Rounded binary form

69
Q

Refers to the structure of a musical composition with regard to thematic, tonal, dynamic, and textural structure. Consists of three main sections in which the first and third sections are nearly identical with contrasting second section. A (tonic Key) B (in a related key and cadences in the same key or another closely related key) A

A

Ternary Form

70
Q

Refers to the texture of any music made up of a single melodic line.

71
Q

Refers to the texture of any music with a main melodic line over a supporting accompaniment line.

72
Q

Refers to the texture of any music that is made up of multiple improvised interpretations of the same melody played at the same time.

A

Heterophony

OAE Music (2 decks)

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