Ch. 1-12 Flashcards

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1
Q

What is four-voice texture?

A

four separate moving voices forming chords

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2
Q

What is a chorale?

A

used in German protestant churches during the time of Bach

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3
Q

What is stylistic practice?

A

rules for writing four voice texture

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4
Q

What is a common tone?

A

a note that is in two successive chords

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5
Q

What is doubling?

A

In a chord, a note that is sounding in two voices

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6
Q

What is the stylistic practice when both chords are in root position and the two chords lie a perfect 4th or 5th apart?

A

keep the common tone and move all other voices to closest tone in the chord, otherwise use good voice writing by moving each voice to the closest tone

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7
Q

What is overlap in four part writing?

A

when a voice goes higher than the note previously sang by an adjacent voice

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8
Q

What are crossed voices?

A

when the voices are not in SATB order

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9
Q

What is proper spacing in four part writing?

A

no more than an octave between soprano, alto and tenor. between tenor and bass doesn’t matter

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10
Q

What are unequal fifths?

A

one voice moves a P5 and the other moves a d5

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11
Q

What is close position?

A

when soprano, alto and tenor are within an octave

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12
Q

What is a circle progression?

A

chords moving in ascending fourths or descending fifths

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13
Q

What are perfect intervals?

A

P1, P4, P5, P8

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14
Q

What are diminished intervals?

A

a perfect interval lowered a half step or a major interval lowered a whole step

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15
Q

What is a macro analysis?

A

naming the chord with the letter corresponding to the roman numeral

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16
Q

What are diminished triads?

A

m3 + d5

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17
Q

What is the stylistic practice when both chords are in root position and the two roots lie a 3rd apart?

A

Keep both common tones and move the remaining upper voice stepwise

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18
Q

What is the stylistic practice when the roots lie a 2nd apart?

A

Move the upper 3 voices in contrary motion to the bass making sure that each moves to the nearest chord tone

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19
Q

What is the stylistic practice when chords are repeated?

A

Maintain proper doubling and range of voices, and keep the usual order of voices

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20
Q

What is the stylistic practice for voice leading in first-inversion major and minor triads (not dim)?

A

Double any triad factor that facilitates smooth voice leading. Never double the leading tone.

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21
Q

What is the stylistic practice for the leading tone triad (vii*)?

A

most often progresses to the tonic. doubling the bass is preferred, but also 5th factor

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22
Q

What is the stylistic practice for the ii*6 triad in minor keys?

A

most often progresses to the dominant. double the bass note, or the root

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23
Q

What is tonality?

A

an organized system of tones in which one tone (the tonic) becomes the central point to which the remaining tones are related

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24
Q

What are the four ways you may use a 6/4 chord?

A

cadential
passing bass
arpeggiated bass
pedal bass

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25
Q

What part writing rules can NEVER be broken?

A

no parallel P5s, P1s, or P8s
use a voice’s proper range
do not write melodic A2s or A4s
never double the leading tone of a scale

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26
Q

What is a tritone?

A

A4 or D5, which divides the octave into 2 equal parts

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27
Q

What is a phrase?

A

a substantial musical thought, which ends with a cadence

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28
Q

What is a harmonic cadence?

A

closes a phrase or section of music

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29
Q

What is an imperfect cadence? List the 3 qualifications for an imperfect cadence.

A

V to I. Does not meet requirement for PAC. Tonic is highest sounding note in tonic or both are in root position.

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30
Q

What is a half cadence and a plagal cadence?

A

HC - anything to V

plagal - IV to I

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31
Q

What is a phrygian half cadence?

A

iv6 to V

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32
Q

What is a deceptive cadence?

A

V to anything but I

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33
Q

What is an escape tone?

A

approached by step and left by skip in opposite direction

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34
Q

What is an anticipation?

A

note in the next chord that is played before the chord

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35
Q

What is a suspension? Include how many parts and the name of each part.

A

note from previous chord held into the next.

3 parts = preparation, suspension and resolution

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36
Q

What is an appoggiatura?

A

approached by skip and left by step in opposite direction

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37
Q

What are changing tones?

A

two successive nonharmonic tones

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38
Q

What is a motive?

A

a melodic or rhythmic pattern occurring throughout a piece

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39
Q

What is the difference between a real sequence and a tonal sequence?

A

a real sequence contains continuing segments that are exact transpositions or the first segment. a tonal sequence accommodates the diatonic scale

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40
Q

What is a modified sequence?

A

some of the segments may be decorated or embellished in a way that does not destroy the original character

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41
Q

What is a false sequence?

A

repeats part of a figure and states the remainder in sequence

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42
Q

What is a phrase member?

A

individual units of a phrase sufficiently separated, usually by a longer note value or rest

43
Q

What is a period (parallel and contrasting)?

A

Parallel - a motive that is repeated exactly the same at a different pitch
Contrasting - has a relationship to the motive but is not the same

44
Q

What is a double period?

A

AKA 4-phrase period; allows for a variety of phrase relationships. the 4th phrase must bring the period closure and be at least as strong as any of the other 3

45
Q

What is a phrase extension?

A

phrase whose length has been increased through the elongation of some part

46
Q

What is a climax tone?

A

the highest sounding note

47
Q

Name all four kinds of texture and define each of them

A

Monophonic - one distinct melody
Homophonic - one melody + accompaniment
Polyphonic - two or more distinct melodies
Homorhythmic - similar rhythmic material in all parts

48
Q

What is textural reduction?

A

removing parts to only block chords

49
Q

What is first species counterpoint?

A

one note in the counterpoint for each note in the cantus firmus

50
Q

Give the range, final and relationship to a major scale for the Dorian mode.

A

Range - D to D
Final - D
Relationship - flat 3rd and 7th

51
Q

Give the range, final and relationship to a major scale for the Lydian mode.

A

Range - F to F
Final - F
Relationship - sharp 4th

52
Q

Give the range, final and relationship to a major scale for the Mixolydian mode.

A

Range - G to G
Final - G
Relationship - flat 7th

53
Q

Give the range, final and relationship to a major scale for the Phrygian mode.

A

Range - E to E
Final - E
Relationship - flat 2nd, 3rd, 6th and 7th

54
Q

Give the range, final and relationship to a major scale for the Aeolian mode.

A

Range - A to A
Final - A
Relationship - nat minor scale

55
Q

Give the range, final and relationship to a major scale for the Ionian mode.

A

Range - C to C
Final - C
Relationship - major scale

56
Q

What is open position?

A

When soprano, alto, and tenor span more than an octave

57
Q

What is timbre?

A

characteristic sound of a voice or instrument

58
Q

What are partials?

A

The overtones also sounding in a pitch

59
Q

What are augmented intervals?

A

a perfect interval raised a half step and a major interval raised a half step

60
Q

What is a period?

A

2 musical phrases in which the second phrase ends in a stronger cadence

61
Q

What is a sequence?

A

the immediate restatement of a melodic motive or longer figure in the same instrumental or vocal part at a higher or lower pitch

62
Q

What are pedal tones?

A

The bass plays the same note several times in a row

63
Q

What is texture?

A

the way the melodic, rhythmic, and harmonic materials are woven together in a composition

64
Q

What are inversions of intervals? Describe, and give 2 examples.

A

The lower tone of the interval becomes the higher tone or the higher tone becomes the lower tone. P5 becomes P4. M6 becomes m3

65
Q

Name 2 tuning systems.

A

Equal temperament and Pythagorean tuning and Unequal temperament

66
Q

What is harmonic progression?

A

The way in which chords succeed each other in a piece of music

67
Q

What are root relationships?

A

the ability to analyze individual chord progressions in terms of the interval formed between their roots

68
Q

What is a circle progression?

A

adjacent chord roots in ascending fourth or descending fifth relationship

69
Q

What are noncircle progressions?

A

a progression that is not a circle progression

70
Q

What is an ascending fifth progression?

A

adjacent chords whose roots lie an ascending fifth or descending fourth apart. I - V is most common

71
Q

What is an ascending second progression?

A

adjacent chords whose roots lie in the relationship of an ascending second. Most common is IV - V

72
Q

What is a descending third progression?

A

adjacent chords whose roots lie in a relationship of descending thirds. Often used I - vi

73
Q

What is harmonic rhythm?

A

the frequency of harmonic changes in a composition

74
Q

What is style?

A

a certain standard of musical communication

75
Q

What is a seventh chord?

A

a triad with an added note a seventh degree above the root

76
Q

What is a dominant seventh chord?

A

Major triad + m7 built on the fifth scale degree

77
Q

What is major-minor?

A

describes the dominant seventh chord because it consists of a major triad and a minor seventh

78
Q

What is a blues scale?

A

flat 3rd and 7th

79
Q

What is a diminished scale?

A

eight note scale composed of alternating whole steps and half steps

80
Q

What are nondiatonic scales?

A

a scale that does not observe the interval sequence of the diatonic or pentatonic scales

81
Q

What are augmented triads?

A

M3 + A5

82
Q

What is a second inversion of a chord?

A

The fifth factor is in the bass and is identified by a 6/4

83
Q

What is organum?

A

early form of polyphony from medieval period in which chant moved in P5s or P8s, then later involved contrary motion and melismas.

84
Q

What are parallel fifths?

A

moving the harmonic interval of a P5 from one chord to the next

85
Q

What is an alto clef?

A

a C clef on the 2nd line of a staff

86
Q

What is a double sharp?

A

Raises a note a whole step

87
Q

What is meter?

A

The time signature of a piece

beats per measure, what note gets a beat

88
Q

What is the difference between a triad and a chord?

A

a triad is just the root, 3rd, and 5th factors

a chord uses those notes and doubles and can also include a 7th factor

89
Q

What is a perfect authentic cadence?

A

V to I. The tonic must be the highest sounding note in tonic triad AND both chords must be in root position

90
Q

How is a diminished seventh chord formed?

A

diminished triad + m7 = half diminished

diminished triad + d7 = fully diminished

91
Q

What chords are used in a complete circle progression?

A

I - IV - vii* - iii - vi - ii - V - I

92
Q

Give three examples of an ascending fifth or descending fourth progression.

A

I - V
IV - I
V - ii

93
Q

Give two examples of ascending second progressions.

A

IV - V

vii* - I

94
Q

For what purpose are ascending second progressions used?

A

to prepare a shift from one circle progression to another

95
Q

Give the macro symbol for each of the following chords in the key of Bb:
tonic
subdominant, 1st inv
dominant seventh, root

A

tonic = Bb
subdominant = Eb
dominant seventh = F7

96
Q

What is a dominant seventh chord?

A

Major triad + m7

97
Q

What are the symbols for inversions of the dominant seventh chord?

A

first inv = 6/5
second inv = 4/3
third inv = 4/2

98
Q

To what chord does the dominant seventh chord most commonly resolve?

A

tonic

99
Q

What rules must be followed when the dominant seventh chord resolves?

A

resolve the seventh factor down one scale degree

100
Q

What is a “noncircle resolution”?

A

When a chord does not resolve using a circle progression

101
Q

How is a half-diminished seventh chord formed?

A

diminished triad + m7

102
Q

To what chord do diminished seventh and half-diminished seventh chords resolve?

A

to the tonic or through the V7

103
Q

What rules must be followed when resolving diminished seventh and half-diminished seventh chords?

A

resolve the seventh factor down one diatonic scale degree

resolve the root upward to the tonic