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Down With Dobie > Basic Elements of Music Theory > Flashcards

Basic Elements of Music Theory Flashcards

Section I of USAD Music Resource Guide terms and definitions

1
Q

Music

A

Sound organized in time

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2
Q

Sound

A

A wave of energy consisting of both amplitude and frequency

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3
Q

440 Hz

A

Sounds like an A above middle C

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4
Q

Between which cycles per second will the human ear hear a single, sustained pitch?

A

20 and 20,000 cycles per second

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5
Q

Percussion instruments provide most of these sounds in music

A

Non-pitched sounds

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6
Q

Ethnomusicologist

A

The modern term for scholars who study the music of other cultures, or who study multiple cultures comparatively

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7
Q

Curt Sachs and Erich von Hornbostel

A

Created the four Sachs/Hornbostel classifications for instruments

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8
Q

Chordophones

A

Have one or more strings, which are plucked, bowed, or struck (violins, harps, guitars, violas, cellos, double bass, lute, etc.)

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9
Q

Aerophones

A

Brass and wind instruments that feature a vibrating column of air (horns and lutes)

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10
Q

Membranophones

A

Have a skin or other membrane stretched across some frame; the membrane vibrates when struck (timpani, bass drum, snare, tambourines, etc.)

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11
Q

Idiophones

A

The body of the instrument itself vibrates when struck (marimba, xylophone, vibraphone, tubular bells, gongs, cymbals, triangle, wood block, etc.)

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12
Q

Electrophones

A

A later-added fifth category to the Sachs/Hornbostel classifications, which create sound waves using an oscillator and are dependent upon electricity (synthesizers, etc.)

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13
Q

Centuries before Sachs and Hornbostel, Western orchestral instruments were grouped into

A

Families

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14
Q

Strings

A

Usually bowed or plucked; correlate closely to chordophones

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15
Q

Brass

A

Aerophones made of metal, and are sounded by the performer’s buzzing lips (trumpet, trombone, French horn, tuba, flugelhorn, baritone, bugle, etc.)

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16
Q

Woodwinds

A

Aerophones in which the column of air is moved by breath alone or by one or two vibrating reeds made from wood (flutes, recorders, piccolos, oboes, clarinets, bassoons, saxophones, etc.)

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17
Q

Percussion

A

Includes membranophones and idiophones, plus some chordophones that are struck rather than bowed or plucked, such as the piano

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18
Q

Theremin

A

One of the best-known early electronic instruments in which the performer regulates frequency with one hand and amplitude with the other

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19
Q

Musique concrete

A

Electronically generated sounds and sound produced by live instruments were recorded on tape, where they could be edited, manipulated, and mechanically recombined to form collages of sound that were “performed” via loudspeaker

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20
Q

Where were the first practitioners of musique concreté based?

A

Paris

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21
Q

What are the basic techniques of tape music?

A

Looping and splicing

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22
Q

Which four cities had famous postwar centers for electronic music?

A

Rome, Paris, Cologne and New York City

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23
Q

Pitch

A

The highness or lowness of a sound, which consists of a steadily oscillating sound wave

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24
Q

What happens when halve the length of a string on a guitar and play it?

A

The string vibrates twice as fast and plays a pitch that is twice as high

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25
Q

Octave

A

The interval between one pitch and the next higher or lower value of the same pitch

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26
Q

Where is middle C located on a keyboard?

A

To the left of the group of two black keys closest to the middle of the keyboard

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27
Q

Half step

A

The distance between any two adjacent pitches; also known as a semitone

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28
Q

Whole step

A

The distance between every other adjacent pitch

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29
Q

Scale

A

A sequence of pitches in ascending or descending order

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30
Q

Natural keys

A

The white keys of a keyboard, which span through the first seven alphabetical letters

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31
Q

Which French word does clef come from?

A

Key

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32
Q

Treble clef

A

Indicates that the second line from the bottom of the staff is the pitch “G” (also known as the “G-clef” for this reason)

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33
Q

Bass clef

A

Indicates that the fourth line from the bottom of the staff should be read as the pitch “F” (also known as the “F-clef” for this reason)

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34
Q

C-clef

A

It is centered on a line that is read as middle C (also known as alto clef)

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35
Q

Tenor clef

A

When the C-clef is centered on the fourth line from the bottom of the staff

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36
Q

Grand staff

A

Two bracketed staves used in piano music in which the left hand plays the bass clef on the lower staff and the right hand plays the treble clef on the upper staff

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37
Q

Fundamental

A

The lowest sound heard when a pitch is played; the loudest and strongest

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38
Q

Partials

A

The faint presence of higher pitches that “color” the fundamental when the pitch is played

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39
Q

When did equal temperament become the dominant tuning system?

A

After 1750

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40
Q

Chromatic scale

A

The twelve different pitches in ascending order by half steps

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41
Q

Enharmonic pitches

A

Two different labels for the same pitch (e.g. Eb and D#)

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42
Q

Double-sharp

A

Raised by two half steps

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43
Q

Double-flat

A

Lowered by two half steps

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44
Q

Diatonic scale

A

A set of seven pitches as the basis for a piece of music when arranged in ascending order

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45
Q

Tonic pitch

A

Also known as the “resting tone” or “Do,” this is the first pitch in a diatonic scale and anchor

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46
Q

Dominant pitch

A

The fifth scale degree, which acts as a second gravitational center that sets melodies in motion by pulling them away from the tonic

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47
Q

Leading tone

A

The seventh scale degree; it would sound very unstable to stop at this pitch when playing a scale

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48
Q

Interval

A

The distance between any two pitches; any can be performed so that it is harmonic or melodic

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49
Q

What are some intervals that exceed an octave?

A

The major ninth, the minor ninth, the major tenth, and the minor tenth

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50
Q

What is the major scale’s sequence of intervals?

A

whole-whole-half-whole-whole-whole-half (U-U-V-U-U-U-V)

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51
Q

What do all minor scales have?

A

A lowered third scale degree (interval from the tonic to the third pitch is a minor third)

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52
Q

Natural minor scale

A

The half steps are located between pitches 2-3 and 5-6. Additionally, the major scale’s upward pull from 7 to 8 is not present.

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53
Q

Harmonic minor mode

A

Created by raising the seventh scale degree one half step to create that pull from 7 to 8

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54
Q

Melodic minor mode

A

Both the sixth and seventh scale degree are raised a half step as the scale ascends; they are restored to their “natural minor” pitches as the scale descends

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55
Q

Relative major and minor scales

A

A major and minor scale that uses the same seven pitches (just different tonics)

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56
Q

Parallel scales

A

Major and minor scales that begin and end on the same tonic pitch

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57
Q

Blues scale

A

Scale degrees 3 and 7 can be either lowered, normal, or somewhere in between using a pitch “between the keys” of the piano

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58
Q

Melody

A

A series of successive pitches perceived by the ear to form a coherent whole

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59
Q

Conjunt

A

The melody moves smoothly, in a stepwise motion, in mostly half steps and whole steps

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60
Q

Disjunct

A

The melody contains proportionally more leaps (intervals larger than a major second)

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61
Q

What is a viola’s range?

A

C3 to E6

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62
Q

What is a cello’s range?

A

C2 to A5

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63
Q

Soprano

A

Higher-register female singer

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64
Q

Alto

A

Lower-register female singer

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65
Q

Tenor

A

Higher-register male singer

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66
Q

Bass

A

Lower-register male singer

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67
Q

Rhythm

A

The way music is organized in time

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68
Q

Beat

A

The steady pulse that underlies most music

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69
Q

Tempo

A

The speed of the beat

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70
Q

Lento (Grave)

A

Very slow (40 bpm)

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71
Q

Adagio

A

Slow (72 bpm)

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72
Q

Andante

A

“At a walking tempo” (84 bpm)

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73
Q

Moderato

A

Moderate (108 bpm)

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74
Q

Allegro

A

Fast; “cheerful” (120 bpm)

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75
Q

Presto

A

Very fast (200 bpm)

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76
Q

Ritardando

A

Tempo slows down

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77
Q

Accelerando

A

Tempo speeds up

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78
Q

Poco a poco

A

Gradually

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79
Q

Subito

A

Suddenly

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80
Q

Rubato

A

Tempo speeds up and slows down for expressive effect

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81
Q

Unmetered

A

No discernable beat and no steady tempo

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82
Q

Downbeat

A

Also known as the strong beat, it is the first beat of any measure

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83
Q

Meter

A

Describes the pattern of emphasis superimposed on groups of beats

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84
Q

Duple meter

A

Two-beat pattern with a STONG-weak-STRONG-weak pulsation

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85
Q

Triple meter

A

Three-beat pattern with a STRONG-weak-weak-STRONG-weak-weak pulsation

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86
Q

Quadruple meter

A

Four-beat pattern with 1 being the strongest beat, 3 being the second strongest, and 2 and 4 being weak beats (often difficult to distinguish from duple)

87
Q

Irregular (or asymmetrical) meter

A

Groupings that cannot be divided into steady pulsations of two, three, or four beats (most common are five-beat or seven-beat measures)

88
Q

Anacrusis

A

Also known as a “pick-up,” it is when the first word of a song falls before the downbeat

89
Q

Beams

A

These horizontal connecting lines across multiple flagged notes are sometimes easier for a musician to read quickly

90
Q

Dot

A

Adds half the original value to a note

91
Q

Tie

A

A curved line that connects notes of the same pitch so that the note lasts as long as their combined values

92
Q

Rests

A

Symbols for silence

93
Q

Time signature

A

The lower number indicates a durational note value and the upper number indicates how many of those durational values (or their equivalents) will occur in one measure

94
Q

Common time

A

A large capital C indicates this time signature is equivalent to 4/4 time

95
Q

Cut-time

A

A vertical slash through the C indicates this time signature is 2/2A

96
Q

“Alla breve”

A

The original name of cut-time

97
Q

Simple subdivision

A

Each beat is divided in half (1 & 2 & 3 & 4 &)

98
Q

Compound subdivision

A

Each beat is subdivided into three equal parts (ONE-&-a TWO-&-a THREE-&-a)

99
Q

Mixed meter

A

Measures that have different meters occur in rapid succession

100
Q

Irregular meter

A

Measures that have different meters alternate in an irregular pattern (may also mean there is a steady beat but it is grouped unpredictably or inconsistently)

101
Q

Accent

A

Indicates that the note is to receive a greater stress than the notes around it; symbolized by the > symbol

102
Q

Polymeter

A

When two or more meters are operating simultaneously

103
Q

How is swing music notated and played

A

Notated as if rhythms are in 4/4 time, but played as if they are in 12/8

104
Q

Syncopation

A

When accented or emphasized notes fall on weak beats or in between beats

105
Q

Polyrhythm

A

Also called cross-rhythm, this occurs when two conflicting rhythmic patterns are present simultaneously

106
Q

What are the most common polyrhythms?

A

Two against three & three against four

107
Q

Harmony

A

Occurs whenever two or more tones are sounding simultaneously

108
Q

Common-practice tonality

A

The system of organizing pitch and harmony that we find intuitive today in Western cultures

109
Q

When and where did common-practice tonality begin?

A

In Europe during the Middle Ages; codified by about 1750

110
Q

Chord

A

Three or more pitches sounding simultaneously

111
Q

Triad

A

A three-note chord consisting of two intervals of a third

112
Q

Major triad (M)

A

Has a major third on the bottom and a minor third above

113
Q

Minor triad (m)

A

Has a minor third on the bottom and a major third above

114
Q

Diminished triad (d)

A

Built on the seventh scale degree with a minor third between each interval; highly unstable

115
Q

Augmented triad (A)

A

A major third between each interval

116
Q

Root

A

The lowest note of a triad

117
Q

Third

A

The middle note of a triad

118
Q

Fifth

A

The highest note of a triad

119
Q

Root position

A

The root is on the bottom of a chord

120
Q

First inversion

A

The third of a triad is on the bottom; indicated by a 6 following the chord symbol

121
Q

Second inversion

A

The fifth of a triad is on the bottom; indicated by a 6/4 following the chord symbol

122
Q

Key

A

The set of seven notes, or scale, that has been selected for use in that piece

123
Q

Which pitch lends its name to the key?

A

Tonic

124
Q

Which scale degree(s) determine whether a key is major or minor?

A

3, 6, and 7

125
Q

Chromatic pitches

A

Decorative or expressive “extra” pitches that occur outside of a key’s seven pitches

126
Q

Key signature

A

A set of sharps or flats at the beginning of every staff that indicates the key of the music

127
Q

Which two scales need only an F#?

A

G major (7th note) and E minor (2nd note)

128
Q

How many major and minor scales are there each?

A

15

129
Q

Perfect fifth

A

An interval of seven half steps subsumed within five letter names

130
Q

Circle of fifths

A

Moving clockwise, each successive scale is a perfect fifth higher and a sharp is added; counterclockwise, each scale is a perfect fifth lower and a flat is added

131
Q

Which scale is at the top of the major circle of fifths?

A

C major scale

132
Q

Which scale is at the top of the minor circle of fifths?

A

A minor scale

133
Q

Harmonic progression

A

A series of chords or intervals that moves from tension (dissonance) toward resolution (consonance)

134
Q

Dissonance

A

Unstable or tense

135
Q

Consonance

A

A suitable point of rest or resolution, especially if they stress the lower partials on the overtone series (i.e. an octave with a fifth added above the bass or a major triad with the root doubled)

136
Q

Tritone

A

An interval made up of two notes that are three whole steps apart

137
Q

Diatonic

A

“Within the key” (no accidentals are needed other than those already indicated in the key signature)

138
Q

Tonic triad/chord (I)

A

A diatonic triad built on the tonic pitch; it is the most stable chord in a key

139
Q

On which scale degrees do major diatonic triads occur naturally in a major key?

A

4 and 5

140
Q

On which scale degrees do minor diatonic triads occur on a major key?

A

2, 3, and 6

141
Q

Dominant chord (V)

A

It contains the leading tone and the dominant pitch, both of which want to resolve to the tonic pitch

142
Q

Predominant harmonies

A

Harmonies that “pull” to the dominant

143
Q

Supertonic/subdominant (IV)

A

Triads built on the second and fourth scale degrees

144
Q

Chord progression

A

A chain of triads, each pulling to the next

145
Q

What is the most common chord progression?

A

predominant-dominant-tonic

146
Q

Bass line

A

The lowest “voice” in a series of chords (usually play the root of the harmony)

147
Q

What is the strongest kind of bass line?

A

One that descends a fifth (usually from scale degree 5 to 1)

148
Q

Cadences

A

Pausing points

149
Q

Dominant seventh chord

A

Adds a fourth pitch to a dominant triad that is an interval of a minor seventh from the root of the chord (scale degrees 5-7-2 and 4)

150
Q

Between which pitches does a dominant seventh chord contain a tritone?

A

7 and 4

151
Q

What are the most common embellishing notes?

A

A sixth, seventh, and ninth above the root of the chord

152
Q

A brief passage of chromaticism is heard in “Take Me Out to the Ball Game” during the phrase

A

“By me some peanuts…”

153
Q

Modal mixture

A

One or two pitches of the basic triad are altered (usually between a major key and its parallel minor key

154
Q

Modulate

A

To change keys

155
Q

When did Romantic composers seek new ways to portray emotion and individuality in music?

A

The nineteenth century

156
Q

Arnold Schoenberg

A

He concluded in 1910 that music had become so chromatic that the only possible next step forward was to “free” dissonance from the need to resolve to the tonic

157
Q

“Emancipation of dissonance”

A

Term used by Schoenberg to urge composers to abandon the conventions of common-practice tonality

158
Q

Atonal music

A

Music that lacks a fixed tonal center

159
Q

Twelve-tone method

A

Instead of a scale, each piece had a primary “tone row” consisting of all twelve chromatic pitches

160
Q

By what year did Schoenberg develop the twelve-tone method?

A

1925

161
Q

Anton Webern and Alban Berg

A

Schoenberg’s proteges who used his methods extensively in the 1930s

162
Q

When did twelve-tone techniques become popular?

A

After World War II

163
Q

Luigi Russolo

A

Composer who generated and categorized “noises”

164
Q

Non-functional harmonies

A

Familiar chords from common-practice tradition that are never resolved

165
Q

What are some examples of unusual scales?

A

Pentatonic, whole-tone, and octatonic

166
Q

Polytonality

A

Music in two different keys that are performed simultaneously

167
Q

Monophony

A

A single, unaccompanied melodic line

168
Q

Homophony

A

A harmonic accompaniment differs from the melody, but plays a clearly subordinate role

169
Q

Polyphony

A

Two or more separate melodies unfold simultaneously (either counterpoint or imitative)

170
Q

Counterpoint

A

Simultaneous melodies are usually in different registers, but they follow the same beat and fit into the same harmonic progression

171
Q

Imitative polyphony

A

Features only one melody, but is played by multiple people at staggered intervals (i.e. “Are You Sleeping?”)

172
Q

Heterophony

A

Two performers produce versions of the same melody simultaneously, but they are not playing in precise unison (popular in early jazz)

173
Q

Arranging

A

The art of taking an existing piece of music and giving instructions as to what each individuals performer should play

174
Q

Which partials are strongest on a clarinet?

A

The first and third partials

175
Q

Mute

A

Timbre of an instrument can be modified by using this, which not only quiets the volume but alters the tone color

176
Q

What is the full name of the modern piano?

A

Pianoforte

177
Q

Crescendo

A

A gradual increase in dynamics

178
Q

Decrescendo (diminuendo)

A

A gradual decrease in dynamics

179
Q

Staccato

A

Indicates performer should shorten the duration of a note rather than letting it sound for its full value

180
Q

Legato

A

Multiple pitches are played in a smooth, connected but not overlapping manner

181
Q

PIzzicato

A

When the finger is used to pluck a string

182
Q

Ornamentation

A

Localized embellishments, which are often not written down and involve improvisation

183
Q

Trill

A

A rapid oscillation between two adjacent notes

184
Q

Motive (motif)

A

The smallest identifiable recurring musical idea

185
Q

Ostinato

A

A melodic or rhythmic motive that is repeated many, many times in immediate succession (from the Italian word for “obstinate”)

186
Q

Phrase

A

A cohesive musical thought (often come in related pairs)

187
Q

Antecedent phrase

A

The first member of a phrase’s pair

188
Q

Consequent phrase

A

The second member of phrase’s pair that begins with similar musical material (parallel structure)

189
Q

Half cadence

A

Rests on the dominant harmony

190
Q

Full cadence (authentic)

A

Uses the progression V-I

191
Q

Theme

A

A set of phrases that make a complete melody

192
Q

What does coda mean in Italian?

A

Tail

193
Q

Sequence

A

When a musical idea (usually two measures or less) is repeated at a different pitch level

194
Q

Strophic form (AAAA)

A

A song that is made up of a single, multi-phrased melody, repeated four times with different words each time

195
Q

How is a variation diagrammed?

A

By adding a “prime” mark to the same capital letter used for the theme (i.e. A A’ A’’, etc.)

196
Q

Twelve-bar blues

A

Three phrases of four measures (the first line lays out the tonic harmony, the second attempts to escape tonic, and the final begins with a stronger attempt but sinks back to the starting point)

197
Q

Which styles were improvisation popular in?

A

soul, gospel, jazz, and other styles common before 1950

198
Q

Ternary form (ABA)

A

Two sections of very similar music frame a contrasting middle section and each section normally ends with an authentic cadence; used in middle movements of classical works

199
Q

Rondo form (ABACA)

A

Built from distinct sections, one of which keeps returning

200
Q

32-bar form (AABA)

A

Two eight-measure A section that are contrasted with a second eight-measure B idea, with a return to the A melody (sometimes called “song form”)

201
Q

Verse-chorus form (a-B-a-B)

A

Multiple verses, each with different words, and a repetitive chorus, or refrain (only the melody repeats during verses)

202
Q

Fugue

A

A single theme is head alone at the beginning until successive lines imitating the subject create a thick polyphonic texture

203
Q

Fugue subject

A

A single theme that is developed using the technique of imitative counterpoint

204
Q

Countersubject

A

A companion theme to a fugue subject

205
Q

Sonata form

A

A two-section structure consisting of a exposition, development, and recapitulation and has been used for the first movements of many Western classical compositions, beginning around 1730

206
Q

Exposition

A

Presents the first idea in the tonic key, modulates to a different key (usually the dominant), and presents the second idea in the new key

207
Q

Development

A

Harmonically unstable and exploratory portion, which ends in a half cadence on the dominant chord of the original key

208
Q

Recapitualation

A

Idea #1 returns just as it was presented in the exposition, the transition and Idea #2 follow (without the modulation), then a concluding section in the original key brings the entire movement to a close

209
Q

During which time period is the sonata cycle usually seen?

A

From 1730 to 1950

210
Q

Three-movement sonata cycle

A

dramatic sonata form, slower ABA form, lively sonata or rondo form

211
Q

What do most compositions titled “String Quartet” or “Symphony” from 1730 to 1950 use?

A

A four-movement sonata cycle form

212
Q

Four-movement sonata cycle

A

A dance-like “minuet and trio” movement normally appears before the last movement of a regular three-movement sonata cycle

213
Q

Performance practice

A

A subfield that exists to address the question “How did the music really sound?”

214
Q

Christopher Small

A

Critic who proposes we should also study the human activity he calls “Musicking”

Down With Dobie (17 decks)

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