Basic Music II Flashcards
modes/modal scales
Church modes, ecclesiastical modes, and medieval modes.
Modes with a predominantly major sound
lydian
ionian
mixolydian
modes that sound predominantly minor
dorian
aedian
phrygian
locrian (sounds neither major nor minor, but tend towards minor).
position
close position
open position
chromatic scale
consists entirely of half steps.
13 pitches (12 half steps) in one octave.
whole tone scale
consists entirely of whole steps.
seven pitches in a scale.
pentatonic scales
Consists of 5 notes (6 pitches including the octave).
Two forms: major and minor.
No half steps occur in either form.
pentatonic minor
Contains tonic, meidant, subdominant, dominant, and subtonic of parallel minor scale.
elision
Occurs when one chord group is skipped in left to right movement.
Must be followed by normal chord progression.
pentatonic major
Contains tonic, supertonic, mediant, dominant, and submediant of parallel major scale.
simple interval
hen interval tones encompass an octave or less.
qualities of intervals
perfect
major
minor
augmented
diminished
compounding and simple interval
Moving the upper note UP an octave or moving the lower note DOWN an octave.
Add the number 7.
3 simple intervals that don’t invert
P1, P8, Aug 8
chromatic intervals
When one of both the notes of an inverval are not found in the key.
reducing a compound interval
Moving the upper not DOWN an octave or moving the lower note UP an octave.
Can only be done until interval becomes simple.
Subtract the number 7.
dissonant intervals
Tends to be unstable.
P4
Maj 2, Maj 7
min 2, min 7
All augmented intervals
All diminished intervals
diatonic intervals
When both the upper and lower tones of an interval are found in the key.
minor intervals
min 2 - minor second, contains 1 half step
min 3 - minor third, contains 3 half steps
min 6 - minor sixth, contains 8 half steps
min 7 - minor seventh, contains 10 half steps
major intervals
Maj 2 - major second, contains 2 half steps
Maj 3 - major third, contains 4 half steps
Maj 6 - major sixth, contains 9 half steps
Maj 7 - major seventh, contains 11 half steps
perfect intervals
P1 - perfect prime, no half steps
P4 - perfect fourth, contains 5 half steps
P5 - perfect fifth, contains 7 half steps
P8 - perfect octave, contains 12 half steps
interval
The difference in pitch between 2 tones
melodic interval
When interval tones sound in succession.
compound interval
When interval tones encompass a ninth or more.
The sum of a simple interval and its inversion is always…
nine
consonant intervals
Tend to remain stable
P1, P5, P8
Maj 3, Maj 6
min 3, min 6
harmonic interval
When interval tones sound simultaneously
dimininshed intervals
dim 2 - dimininshed second, contains 0 half steps
dim 3 - diminished third, contains 2 half steps
dim 4 - diminished fourth, contains 4 half steps
dim 5 - diminished fifth, contains 6 half steps
dim 6 - diminished sixth, contains 7 half steps
dim 7 - diminished seventh, contains 9 half steps
dim 8 - diminished octave, contains 11 half steps
augmented intervals
Aug 1 - augmented prime, contains 1 half step
Aug 2 - augmented second, contains 3 half steps
Aug 3 - augmented third, contains 5 half steps
Aug 4 - augmented fourth, contains 6 half steps
Aug 5 - augmented fifth, contains 8 half steps
Aug 6 - augmented sixth, contains 10 half steps
Aug 7 - augmented seventh, contains 12 half steps
Aug 8 - augmented octave, contains 13 half steps
inversion of simple intervals
A change in the relative position of the notes in a simple interval.
Accomplished by moving the lower note up an octave or the upper note down an octave.
enharmonic intervals
Intervals that have different names but sound the smae.
Have the same number of half steps but different notation.
chord
A combination of 3 or more different notes sounded simultaneously or in succession.
triad
A chord of 3 tones spelled in 3rds.
the overtone series
The first 16 partials of the generating tone.
partial
Pitches producted by a sound wave.
fundamental
The pitch of the generating tone.
The fundamental is the 1st partial
lowest frequency/pitch
greatest amplitude/intensity
overtones
Fractional vibrations of a sound source.
dominant partials
3, 6, of 12 partials are the dominant degrees in the second (3), third (6), and fourth (12) octaves.
The dominant degrees are derived by doubling the partial numbers starting with the third partial.
mediant (major) partials
5, 10 partials are the mediant (major) degrees found in the third (5) and fourth (10) octaves.
The upper partial is derived by doubleing the lower partial.
closely related keys
Those adjacent to a key on the circle of fifths and their relative eys.
Any one key has 5.
tonic partials
1, 2, 4, 8, and 16th partials are the tonic degrees in successive octaves.
The tonic degrees are derived by doubling partial numbers starting with the first partial.
original key
The beginning key.
mediant (major) partials
5th and 10th
Found in third octave and fourth octave.
The upper partial is derived by doubling the lower partial.
dominant partials
3rd, 6th, 12th
Found in second octave, third octave, and fourth octave.
Derived by doubling the partial numbers starting with the 3rd partial.
converting partial to overtones / overtones to partials
partials to overtones - subtract 1
overtones to partial - add 1
generating tone
produced by the vibration of the whole unit.
fundamental
Pitch produced by the generating tone
tonic partials
1st, 2nd, 4th, 8th, and 16th
Tonic degrees in successive octaves.
Derived by doubling partial numbers sarting with the first partial.
partial
All of the pitches produced by the generating tone.
pivot chord
Used to effect a modulation.
A common chord (diatonic in the old and new keys).
overtones
A sound source vibrates as a whole unit, in halves, thirds, fourths, fifths, sixths, etc.
Containing indefinitely by fractions.
fourth octave partials
Subtract 7 from partials 9 - 14 to get scale degree.
subtonic partials
7, 14 are the out of tune subtonic degrees found in the third (7) and fourth (14) octaves.
The upper partial is derived by doubling the lower.
