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Music Theory > Ch. 1-12 > Flashcards

Ch. 1-12 Flashcards

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
What part writing rules can NEVER be broken?
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
26
What is a tritone?
A4 or D5, which divides the octave into 2 equal parts
27
What is a phrase?
a substantial musical thought, which ends with a cadence
28
What is a harmonic cadence?
closes a phrase or section of music
29
What is an imperfect cadence? List the 3 qualifications for an imperfect cadence.
V to I. Does not meet requirement for PAC. Tonic is highest sounding note in tonic or both are in root position.
30
What is a half cadence and a plagal cadence?
HC - anything to V | plagal - IV to I
31
What is a phrygian half cadence?
iv6 to V
32
What is a deceptive cadence?
V to anything but I
33
What is an escape tone?
approached by step and left by skip in opposite direction
34
What is an anticipation?
note in the next chord that is played before the chord
35
What is a suspension? Include how many parts and the name of each part.
note from previous chord held into the next. | 3 parts = preparation, suspension and resolution
36
What is an appoggiatura?
approached by skip and left by step in opposite direction
37
What are changing tones?
two successive nonharmonic tones
38
What is a motive?
a melodic or rhythmic pattern occurring throughout a piece
39
What is the difference between a real sequence and a tonal sequence?
a real sequence contains continuing segments that are exact transpositions or the first segment. a tonal sequence accommodates the diatonic scale
40
What is a modified sequence?
some of the segments may be decorated or embellished in a way that does not destroy the original character
41
What is a false sequence?
repeats part of a figure and states the remainder in sequence
42
What is a phrase member?
individual units of a phrase sufficiently separated, usually by a longer note value or rest
43
What is a period (parallel and contrasting)?
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
What is a double period?
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
What is a phrase extension?
phrase whose length has been increased through the elongation of some part
46
What is a climax tone?
the highest sounding note
47
Name all four kinds of texture and define each of them
Monophonic - one distinct melody Homophonic - one melody + accompaniment Polyphonic - two or more distinct melodies Homorhythmic - similar rhythmic material in all parts
48
What is textural reduction?
removing parts to only block chords
49
What is first species counterpoint?
one note in the counterpoint for each note in the cantus firmus
50
Give the range, final and relationship to a major scale for the Dorian mode.
Range - D to D Final - D Relationship - flat 3rd and 7th
51
Give the range, final and relationship to a major scale for the Lydian mode.
Range - F to F Final - F Relationship - sharp 4th
52
Give the range, final and relationship to a major scale for the Mixolydian mode.
Range - G to G Final - G Relationship - flat 7th
53
Give the range, final and relationship to a major scale for the Phrygian mode.
Range - E to E Final - E Relationship - flat 2nd, 3rd, 6th and 7th
54
Give the range, final and relationship to a major scale for the Aeolian mode.
Range - A to A Final - A Relationship - nat minor scale
55
Give the range, final and relationship to a major scale for the Ionian mode.
Range - C to C Final - C Relationship - major scale
56
What is open position?
When soprano, alto, and tenor span more than an octave
57
What is timbre?
characteristic sound of a voice or instrument
58
What are partials?
The overtones also sounding in a pitch
59
What are augmented intervals?
a perfect interval raised a half step and a major interval raised a half step
60
What is a period?
2 musical phrases in which the second phrase ends in a stronger cadence
61
What is a sequence?
the immediate restatement of a melodic motive or longer figure in the same instrumental or vocal part at a higher or lower pitch
62
What are pedal tones?
The bass plays the same note several times in a row
63
What is texture?
the way the melodic, rhythmic, and harmonic materials are woven together in a composition
64
What are inversions of intervals? Describe, and give 2 examples.
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
Name 2 tuning systems.
Equal temperament and Pythagorean tuning and Unequal temperament
66
What is harmonic progression?
The way in which chords succeed each other in a piece of music
67
What are root relationships?
the ability to analyze individual chord progressions in terms of the interval formed between their roots
68
What is a circle progression?
adjacent chord roots in ascending fourth or descending fifth relationship
69
What are noncircle progressions?
a progression that is not a circle progression
70
What is an ascending fifth progression?
adjacent chords whose roots lie an ascending fifth or descending fourth apart. I - V is most common
71
What is an ascending second progression?
adjacent chords whose roots lie in the relationship of an ascending second. Most common is IV - V
72
What is a descending third progression?
adjacent chords whose roots lie in a relationship of descending thirds. Often used I - vi
73
What is harmonic rhythm?
the frequency of harmonic changes in a composition
74
What is style?
a certain standard of musical communication
75
What is a seventh chord?
a triad with an added note a seventh degree above the root
76
What is a dominant seventh chord?
Major triad + m7 built on the fifth scale degree
77
What is major-minor?
describes the dominant seventh chord because it consists of a major triad and a minor seventh
78
What is a blues scale?
flat 3rd and 7th
79
What is a diminished scale?
eight note scale composed of alternating whole steps and half steps
80
What are nondiatonic scales?
a scale that does not observe the interval sequence of the diatonic or pentatonic scales
81
What are augmented triads?
M3 + A5
82
What is a second inversion of a chord?
The fifth factor is in the bass and is identified by a 6/4
83
What is organum?
early form of polyphony from medieval period in which chant moved in P5s or P8s, then later involved contrary motion and melismas.
84
What are parallel fifths?
moving the harmonic interval of a P5 from one chord to the next
85
What is an alto clef?
a C clef on the 2nd line of a staff
86
What is a double sharp?
Raises a note a whole step
87
What is meter?
The time signature of a piece | beats per measure, what note gets a beat
88
What is the difference between a triad and a chord?
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
What is a perfect authentic cadence?
V to I. The tonic must be the highest sounding note in tonic triad AND both chords must be in root position
90
How is a diminished seventh chord formed?
diminished triad + m7 = half diminished | diminished triad + d7 = fully diminished
91
What chords are used in a complete circle progression?
I - IV - vii* - iii - vi - ii - V - I
92
Give three examples of an ascending fifth or descending fourth progression.
I - V IV - I V - ii
93
Give two examples of ascending second progressions.
IV - V | vii* - I
94
For what purpose are ascending second progressions used?
to prepare a shift from one circle progression to another
95
Give the macro symbol for each of the following chords in the key of Bb: tonic subdominant, 1st inv dominant seventh, root
tonic = Bb subdominant = Eb dominant seventh = F7
96
What is a dominant seventh chord?
Major triad + m7
97
What are the symbols for inversions of the dominant seventh chord?
first inv = 6/5 second inv = 4/3 third inv = 4/2
98
To what chord does the dominant seventh chord most commonly resolve?
tonic
99
What rules must be followed when the dominant seventh chord resolves?
resolve the seventh factor down one scale degree
100
What is a "noncircle resolution"?
When a chord does not resolve using a circle progression
101
How is a half-diminished seventh chord formed?
diminished triad + m7
102
To what chord do diminished seventh and half-diminished seventh chords resolve?
to the tonic or through the V7
103
What rules must be followed when resolving diminished seventh and half-diminished seventh chords?
resolve the seventh factor down one diatonic scale degree | resolve the root upward to the tonic

Music Theory (7 decks)

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