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Basic Music Flashcards

0
Q

Cadential Dissolution

A

The harmonic progression is characteristic of a cadence, but the rhythm is not interrupted.

The cadential measure is broken up into notes of small value.

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1
Q

Cadential Elision

A

The last chord of one phrase is used as the first chord of the next.

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2
Q

Motive

A

A short, meaningful melodic fragment which contains, in essence, the musical idea of the whole composition.

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3
Q

Phrase

A

A unit of musical structure–ending in a cadence.

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4
Q

Period

A

Made of two phrases (antecedent and consequent)

A parallel period is comprised of 2 phrases which begin alike.

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5
Q

Chain of Phrases

A

Several dissimilar phrases which appear consecutively in a composition. Does not end with a conclusive cadence.

Frequent in the expositions of sonatas by Haydn and Mozart.

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6
Q

Form

A

The way in which music is organized. Dependent on unity and variety

Unity- achieved by repetition, in some manner, of musical ideas.

Variety- using new material or alternating existing material to provide contrast.

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7
Q

Deceptive Cadence

A

Usually ends on VI

Prepared as a PAC but ends on a non-tonic chord

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8
Q

Episode

A

In a fugal work, an interlude between statements of the subject.

Purposes:

  1. Bringing a section of a work to a close
  2. Modulation
  3. To provide formal balance
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9
Q

Cadence

A

An interruption to the movement of music, usually at the end of a phrase.

Harmonic punctuation

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10
Q

Perfect Authentic Cadence

A

Root position V to root position I - V may be a V7

Typical cadence for ending a piece, often proceeded by a I chord in second inversion (I 6/4)

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11
Q

For a triad, what does the following figured bass indicate?
5
3

A

Root position triad

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12
Q

Which triadic inversion is indicated by the figured bass:
6
3

A

First Invertion (3rd in the bass)

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13
Q

Which inversion is indicated by the figured bass:
6
4

A

Second Inversion triad (5th in the bass)

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14
Q

Name the types of six-four chords

A

Cadential
Passing
Pedal (Auxiliary)
Arpeggiated

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15
Q

What type of six-four chord is implied:

I6-V6/4-I

A

Passing six-four

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16
Q

When realizing figured bass, what does a slash through a figure indicate?

A

A slash through a number indicates that the corresponding note is raised by a half step.

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17
Q

Which mode is neither major nor minor?

A

Locrian, though it tends towards minor

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18
Q

In writing a melody, which intervals are forbidden?

A

Augmented Intervals
Compound a Intervals
Major Sevenths

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19
Q

Name the minor modes

A

Dorian
Aeolian
Phrygian

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20
Q

Name the major modes

A

Lydian
Ionian
Mixolydian

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21
Q

What is the name of the theoretical construction consisting of eleven lines and ten spaces with middle C as the middle, or sixth, line?

A

The Great staff

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22
Q

When placed after a note or rest, what is the function of a dot?

A

A dot placed after a note or rest increases duration by one half the original value.

An additional dot increases value by one half the value of the previous dot.

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23
Q

Which chord is indicated:

b6 - 1 - b3 - #4

A

The German Sixth

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24
Q

What is a simple interval?

A

An interval the encompasses an octave or less is a simple interval.

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25
Q

The following figured bass indicates what chord?
7
5
3

A

Root position seventh chord

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26
Q

What is a compound interval?

A

An interval in which the encompassing tones are greater than an octave is a compound interval.

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27
Q

Neapolitan Sixth Chord

A

A major chord built on e lowered second scale degree (supertonic), most commonly occurring in first inversion.

Notated as bII6 or N6. (Example in C major. F - Ab - Db)

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28
Q

Name the pivot chord relationships for modulation to distantly related keys.

A 
Old key - New Key
Diatonic - Diatonic
Diatonic - Chromatic
Chromatic - Diatonic
Chromatic - Chromatic
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29
Q

Change of Mode

A

Change of Mode occurs when a major or minor key modulates to its parallel key

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30
Q

Enharmonic Modulation

A

Occurs when the pivot chord sounds the same in both keys and is enharmonically spelled in the new key.

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31
Q

How many tendency tones may occur in succession?

A

No more than two

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32
Q

Which chord is indicated:

b6 - 1 - #4

A

Italian sixth

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33
Q

Which chord is indicated:

b6 - 1 - 2 - #4

A

French sixth

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34
Q

Suspension

A

Non-harmonic tone held over from the previous chord resolving down by step to a chord tone.

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35
Q

Retardation

A

Non-harmonic tone held over from the previous chord resolving up by step to a chord tone.

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36
Q

Anticipation

A

Non-harmonic tone which becomes a chord tone in the following chord.

Generally occur in the soprano voice at cadence points.

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37
Q

Appoggiatura

A

Non-harmonic tone a step above or below a chord tone resolving to the chord tone.

Approached by leap, left by step in the opposite direction.

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38
Q

Pedal Tone

A

A held tone, in the bass voice, occurring through three or more chords.

Begins and ends as a chord tone.

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39
Q

Cambiata

A

A non-harmonic tone approached by disjunct motion and followed by conjunct motion in the opposite direction.

(Appoggiatura to normal people). ;)

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40
Q

Escape Tone

A

(E/chape/e)

Non-harmonic tone approached by conjunct motion and left by disjunct motion in the opposite direction.

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41
Q

Diatonic Passing Tone

A

A diatonic passing tone occurs between two chord tones a third apart on a weak rhythmic position.

Example: on beat 2 between beats 1 and 3 in 4/4 or on the “and” of 1 between beats 1 and 2

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42
Q

Accented Passing Tone

A

A passing tone occurring on a strong rhythmic position

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43
Q

Chromatic Passing Tone

A

A passing tone occurring between two chord tones a major second apart.

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44
Q

Double Passing Tones

A

Fill the interval between two chord tones a perfect fourth apart.

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45
Q

Upper Auxiliary Tone

A

Upper Neighbor Tone

Occurs between two chord tones of the same pitch

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46
Q

Lower Auxiliary Tone

A

Lower Neighbor Tone

Same as Upper Neighbor (Auxiliary) tone, but occurs below the repeated chord tones.

47
Q

Changing Tones

A

(Also known as a Double Neighbor)

Two non-harmonic tones approaching a chord tone, one above and one below.

The 1st tone must occur in a weak rhythmic position, the 2nd may occur in either a weak or a strong rhythmic position.

48
Q

Passage

A

When a motive is used sequentially in a florid manner, or dissolves into a scale or arpeggio figure for the sake of brilliance.

49
Q

Monophony

A

A texture in which all parts move in parallel rhythm and pitch

50
Q

Polyphony

A

A texture in which parts move with rhythmic independence

51
Q

Homophony

A

A texture in which two or more parts move together in harmony. Often with the same rhythm.

52
Q

Half Cadence

A

A cadence ending on V.

Or III in minor.

53
Q

Stretto

A

A type of imitation, common in fugues, in which the follower begins the imitation while the first statement is in progress.

Serves to create increased tension or excitement.

54
Q

The Figure

A

Resembles the motive in that it is a short group of notes. It differs in that it only serves a subsidiary roll as accompaniment.

55
Q

3 Factors essential to a musical experience

A

1) a composition to be performed
2) a medium of performance
3) a listener

56
Q

Imperfect Authentic Cadence

A

V(V7) - I with one chord being in an inversion, or the soprano containing a chord tone other than the root.

Considered weaker than the PAC

57
Q

Plagal Cadence

A

Four moving to one (IV - I)

“Amen” cadence

58
Q

Cadential Elision

A

The last chord of one phrase is used as the first chord of the next.

59
Q

Cadential Dissolution

A

The harmonic progression is characteristic of a cadence, but the rhythm is not interrupted.

The cadential measure is broken up into notes of small value.

60
Q

Motive

A

A short, meaningful melodic fragment which contains, in essence, the musical idea of the whole composition.

61
Q

Phrase

A

A unit of musical structure–ending in a cadence.

62
Q

Period

A

Made of two phrases (antecedent and consequent)

A parallel period is comprised of 2 phrases which begin alike.

63
Q

Chain of Phrases

A

Several dissimilar phrases which appear consecutively in a composition. Does not end with a conclusive cadence.

Frequent in the expositions of sonatas by Haydn and Mozart.

64
Q

Form

A

The way in which music is organized. Dependent on unity and variety

Unity- achieved by repetition, in some manner, of musical ideas.

Variety- using new material or alternating existing material to provide contrast.

65
Q

Deceptive Cadence

A

Usually ends on VI

Prepared as a PAC but ends on a non-tonic chord

66
Q

Episode

A

In a fugal work, an interlude between statements of the subject.

Purposes:

  1. Bringing a section of a work to a close
  2. Modulation
  3. To provide formal balance
67
Q

Cadence

A

An interruption to the movement of music, usually at the end of a phrase.

Harmonic punctuation

68
Q

Perfect Authentic Cadence

A

Root position V to root position I - V may be a V7

Typical cadence for ending a piece, often proceeded by a I chord in second inversion (I 6/4)

69
Q

For a triad, what does the following figured bass indicate?
5
3

A

Root position triad

70
Q

Which triadic inversion is indicated by the figured bass:
6
3

A

First Invertion (3rd in the bass)

71
Q

Which inversion is indicated by the figured bass:
6
4

A

Second Inversion triad (5th in the bass)

72
Q

Name the types of six-four chords

A

Cadential
Passing
Pedal (Auxiliary)
Arpeggiated

73
Q

What type if six-four chord is implied:

I6-V6/4-I

A

Passing six-four

74
Q

When realizing figured bass, what does a slash through a figure indicate?

A

A slash through a number indicates that the corresponding note is raised by a half step.

75
Q

Which mode is neither major nor minor?

A

Locrian, though it tends towards minor

76
Q

In writing a melody, which intervals are forbidden?

A

Augmented Intervals
Compound a Intervals
Major Sevenths

77
Q

Name the minor modes

A

Dorian
Aeolian
Phrygian

78
Q

Name the major modes

A

Lydian
Ionian
Mixolydian

79
Q

What is the name of the theoretical construction consisting of eleven lines and ten spaces with middle C as the middle, or sixth, line?

A

The Great staff

80
Q

When placed after a note or rest, what is the function of a dot?

A

A dot placed after a note or rest increases duration by one half the original value.

An additional dot increases value by one half the value of the previous dot.

81
Q

Which chord is indicated:

b6 - 1 - b3 - #4

A

The German Sixth

82
Q

What is a simple interval?

A

An interval the encompasses an octave or less is a simple interval.

83
Q

The following figured bass indicates what chord?
7
5
3

A

Root position seventh chord

84
Q

What is a compound interval?

A

An interval in which the encompassing tones are greater than an octave is a compound interval.

85
Q

Neapolitan Sixth Chord

A

A major chord built on e lowered second scale degree (supertonic), most commonly occurring in first inversion.

Notated as bII6 or N6. (Example in C major. F - Ab - Db)

86
Q

Name the pivot chord relationships for modulation to distantly related keys.

A 
Old key - New Key
Diatonic - Diatonic
Diatonic - Chromatic
Chromatic - Diatonic
Chromatic - Chromatic
87
Q

Change of Mode

A

Change of Mode occurs when a major or minor key modulates to its parallel key

88
Q

Enharmonic Modulation

A

Occurs when the pivot chord sounds the same in both keys and is enharmonically spelled in the new key.

89
Q

How many tendency tones may occur in succession?

A

No more than two

90
Q

Which chord is indicated:

b6 - 1 - #4

A

Italian sixth

91
Q

Which chord is indicated:

b6 - 1 - 2 - #4

A

French sixth

92
Q

Suspension

A

Non-harmonic tone held over from the previous chord resolving down by step to a chord tone.

93
Q

Retardation

A

Non-harmonic tone held over from the previous chord resolving up by step to a chord tone.

94
Q

Anticipation

A

Non-harmonic tone which becomes a chord tone in the following chord.

Generally occur in the soprano voice at cadence points.

95
Q

Appoggiatura

A

Non-harmonic tone a step above or below a chord tone resolving to the chord tone.

Approached by leap, left by step in the opposite direction.

96
Q

Pedal Tone

A

A held tone, in the bass voice, occurring through three or more chords.

Begins and ends as a chord tone.

97
Q

Cambiata

A

A non-harmonic tone approached by disjunct motion and followed by conjunct motion in the opposite direction.

(Appoggiatura to normal people). ;)

98
Q

Escape Tone

A

(E/chape/e)

Non-harmonic tone approached by conjunct motion and left by disjunct motion in the opposite direction.

99
Q

Diatonic Passing Tone

A

A diatonic passing tone occurs between two chord tones a third apart on a weak rhythmic position.

Example: on beat 2 between beats 1 and 3 in 4/4 or on the “and” of 1 between beats 1 and 2

100
Q

Accented Passing Tone

A

A passing tone occurring on a strong rhythmic position

101
Q

Chromatic Passing Tone

A

A passing tone occurring between two chord tones a major second apart.

102
Q

Double Passing Tones

A

Fill the interval between two chord tones a perfect fourth apart.

103
Q

Upper Auxiliary Tone

A

Upper Neighbor Tone

Occurs between two chord tones of the same pitch

104
Q

Lower Auxiliary Tone

A

Lower Neighbor Tone

Same as Upper Neighbor (Auxiliary) tone, but occurs below the repeated chord tones.

105
Q

Changing Tones

A

(Also known as a Double Neighbor)

Two non-harmonic tones approaching a chord tone, one above and one below.

The 1st tone must occur in a weak rhythmic position, the 2nd may occur in either a weak or a strong rhythmic position.

106
Q

Passage

A

When a motive is used sequentially in a florid manner, or dissolves into a scale or arpeggio figure for the sake of brilliance.

107
Q

Monophony

A

A texture in which all parts move in parallel rhythm and pitch

108
Q

Polyphony

A

A texture in which parts move with rhythmic independence

109
Q

Homophony

A

A texture in which two or more parts move together in harmony. Often with the same rhythm.

110
Q

Half Cadence

A

A cadence ending on V.

Or III in minor.

111
Q

Stretto

A

A type of imitation, common in fugues, in which the follower begins the imitation while the first statement is in progress.

Serves to create increased tension or excitement.

112
Q

The Figure

A

Resembles the motive in that it is a short group of notes. It differs in that it only serves a subsidiary roll as accompaniment.

113
Q

3 Factors essential to a musical experience

A

1) a composition to be performed
2) a medium of performance
3) a listener

114
Q

Imperfect Authentic Cadence

A

V(V7) - I with one chord being in an inversion, or the soprano containing a chord tone other than the root.

Considered weaker than the PAC

115
Q

Plagal Cadence

A

Four moving to one (IV - I)

“Amen” cadence

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