Chapter 3 Flashcards
Firmly Tonal
A piece is firmly tonal when it has a strong sense of key and does not modulate too frequently or ambiguously. The harmony and melody clearly establish the tonic (home key), and the music does not include excessive chromaticism or modal influences that could blur the key. This is important in classical-style composition, where a clear tonal structure helps the listener recognise harmonic progressions and cadences.
Tonality
Tonality refers to the key system in which a piece of music is composed. It determines the hierarchical relationship of pitches, with a central pitch (the tonic) serving as the anchor. There are different types of tonality:
Major and minor tonality: Based on the major and minor scales.
Modal tonality: uses modes like Dorian or Mixolydian instead of traditional major or minor keys.
Atonality: Lacks a clear tonal centre.
Bitonality: Uses two different keys simultaneously.
In harmonicization, understanding tonality helps determine chord choices, modulations, and harmonic stability.
Double-Stopping for Strings
Double-stopping is a technique where a string player plays two notes simultaneously on different strings. It is commonly used in violin, viola, cello, and double bass music. This technique can create fuller harmonies or emphasise melodic lines within a polyphonic texture. In harmonization and composition, knowing where double-stopping is possible helps when writing for string instruments, ensuring that the notes are playable and idiomatic
. Relative Major
Each minor key has a relative major that shares the same key signature but starts on a different note. For example, C major is the relative major of A minor because both have no sharps or flats. In harmonization, moving between relative major and minor is a common technique to add variety while keeping a sense of connection between sections.
Relative Minor
Conversely, each major key has a relative minor that shares the same key signature. For example, A minor is the relative minor of C major. Using relative minor keys can introduce contrast without requiring a full modulation, which is useful in composition and harmonization.
Harmonic Foundation
This refers to the underlying chord progression that supports a melody. A strong harmonic foundation ensures that a piece is structurally sound and that cadences, modulations, and voice leading work smoothly. In harmonisation, selecting appropriate chords (I, IV, V, vi, etc.) provides the harmonic framework that guides the melody.
Skeleton Plan
A skeleton plan is a simplified version of a composition or harmonisation that outlines the basic structure, often using only the essential harmonic framework or melody. This is useful for sketching out ideas before adding details like passing notes, suspensions, and decorations. In harmonisation exercises, creating a skeleton plan helps establish a clear harmonic progression before adding inner voices or melodic embellishments.
Phrase Structure
Phrase structure refers to how musical phrases are organised and how they relate to one another. A phrase is typically 4 or 8 bars long and ends with a cadence. Common phrase structures include:
Period structure and Sentence structure
Understanding phrase structure is crucial in harmonisation, as it helps determine how cadences and modulations fit within the music.
Period Structure
Period structure: Two phrases where the first ends inconclusively (half cadence) and the second resolves it (authentic cadence).
Sentence Structure
Sentence structure: A phrase pattern where an initial idea is repeated and then expanded.
Interrupted Cadence
An interrupted cadence (also called a deceptive cadence) occurs when the expected perfect cadence (V–I) is “interrupted” by another chord, usually V–vi in major keys or V–VI in minor keys. This creates a sense of surprise and prolongs harmonic tension.
For example, in C major:
Expected cadence: G (V) → C (I) → strong resolution.
Interrupted cadence: G (V) → A minor (vi) → unexpected, softer resolution.
In harmonisation, using an interrupted cadence adds variety and avoids predictability.
Scope
Scope
Scope refers to the range or extent of something. In music theory, this could mean:
The scope of a melody (its highest and lowest notes).
The scope of a piece’s harmonic vocabulary (how many chords or modulations it uses).
The scope of an exam question (how many bars need to be harmonised, which keys are allowed, etc.).
Understanding scope ensures that a harmonisation remains stylistically appropriate and within practical limits.
Adhere
To adhere means to follow or stick closely to a set of rules or guidelines. In music theory, adhering to harmonic conventions means following traditional rules of voice leading, chord progression, and modulation. In harmonisation, it is important to adhere to stylistic guidelines to create a musically convincing result.
Anacrusis
An anacrusis is an upbeat or pickup note(s) that occur before the first strong beat of a musical phrase. It leads into the main part of the phrase, creating a sense of forward motion. In harmonisation, recognising an anacrusis helps in determining how a phrase begins and which chords support it. An anacrusis often resolves onto a strong beat, influencing harmonic choices.
How This Is Useful in Harmonization (ABRSM Question 3)
When harmonising a melody or filling in missing chords, you need to consider:
Firmly tonal structure: Ensure the key is clear.
Tonality and modulations: Use relative major/minor to add interest.
Harmonic foundation: Establish strong progressions.
Phrase structure and cadences: Place cadences correctly.
Anacrusis and scope: Plan how phrases begin and develop.
Melodic Opening
The melodic opening refers to how a piece or phrase begins melodically. It sets the character of the music.
Common types include:
Anacrusis opening: Starts with an upbeat (e.g., “Happy Birthday”).
Strong tonic opening: Begins on the first beat with the tonic note (e.g., Beethoven’s Ode to Joy).
Leap-based opening: Starts with an intervallic leap for dramatic effect.
Musical Progression
Musical Progression
Musical progression refers to how a piece of music develops over time. It can apply to:
Harmonic progression: The movement from one chord to another (e.g., I–IV–V–I).
Melodic progression: The way a melody moves (stepwise, leaps, sequences).
Rhythmic progression: how rhythm evolves, such as increasing complexity.
Understanding musical progression is key in harmonisation, as it ensures a logical and smooth flow from one phrase to another.
Climax Point
The climax point is the highest moment of intensity in a musical phrase, section, or entire piece. It is often marked by:
A high pitch in the melody.
Increased dynamics (e.g., fortissimo).
A harmonic shift or modulation.
Rhythmic tension (e.g., syncopation, triplets).
In harmonisation, placing the climax point strategically can enhance musical expression.
Orthodox Harmonic Basis
An orthodox harmonic basis follows traditional harmony rules, typically using:
Diatonic chords (I, IV, V, vi, ii, etc.).
Conventional cadences (perfect, imperfect, plagal).
Standard voice leading (avoiding parallel fifths/octaves).
This is important in classical-style harmonisation, where traditional harmonic structures are preferred.
Neglect
To neglect something in music theory means to ignore important elements, such as:
Neglecting voice leading leads to poor harmony.
Neglecting key changes, causing harmonic instability.
Neglecting performance directions, affecting expression.
In an exam, neglecting musical details (e.g., dynamics, phrasing) can result in lower marks.
Penalise
To penalise in a music theory exam means to lose marks for errors such as:
Incorrect harmony (e.g., improper cadences).
Poor voice leading (e.g., parallel fifths/octaves).
Ignoring musical details (e.g., dynamics, articulation).
Paying attention to examiners’ marking criteria helps avoid penalties.
Ledger (Ledger Lines)
Ledger lines are short lines used to extend the staff above or below its normal range.
For example:
Middle C is written on a ledger line below the treble staff.
High A (above the treble staff) requires two ledger lines.
Understanding ledger lines helps in reading and writing extended-range music.
Convincing
A convincing harmonisation or composition means it sounds natural, stylistically appropriate, and musically effective.
Convincing chord progressions: Avoid awkward modulations or unresolved dissonances.
Convincing melody: flows logically and fits the harmonic structure.
Convincing phrasing: uses cadences correctly and maintains balance.
Slur
A slur is a curved line connecting two or more different notes, indicating they should be played smoothly (legato).
In string playing: Play in one bow stroke.
In wind instruments: Play in one breath.
In piano: Do not separate notes with articulation.
Slurs contrast with staccato (short and detached) and help shape musical phrasing.
Examples of Rhythmic Aspects
Rhythmic aspects define how the rhythm shapes a piece. Examples include:
Syncopation: emphasising weak beats (e.g., jazz music).
Dotted rhythms: lengthening a note by half (e.g., “God Save the King”).
Triplets: Three notes in the time of two.
Hemiola: A temporary shift in meter (e.g., 3/2 feeling within 6/8).
Polyrhythm: Two conflicting rhythms played together (e.g., 3 against 2).
Define the term “Define Key”
To define a key, you must identify:
Key signature: The number of sharps or flats.
Tonic: The main note and chord of the key.
Typical cadences: common chord progressions in that key.
Scale structure: whether it’s major, minor, or modal.
For example, defining G major:
Key signature: F♯.
Tonic: G.
Dominant chord: D (V).
Relative minor: E minor.
Character of a Melody or Piece
The character of a melody or piece refers to its overall mood, style, and expression.
Lively and energetic: fast tempo, staccato articulation, major tonality (e.g., a gigue).
Sad and expressive: Minor tonality, slow tempo, legato phrasing.
Majestic and grand: Bold dynamics, wide intervals, strong rhythm (e.g., a march).
The character influences articulation, dynamics, and tempo choices in performance.
Performance Directions
Performance directions are written instructions in music that tell musicians how to play.
Dynamics: p (piano), f (forte), crescendo (gradually louder).
Tempo: Allegro (fast), Adagio (slow), Rubato (flexible timing).
Articulation: Legato (smooth), Staccato (short), Marcato (accented).
Understanding these ensures a piece is played expressively.
Expression Marks
Expression marks indicate emotional and stylistic interpretation.
Dolce (sweetly).
Espressivo (expressively).
Con fuoco (with fire, energetic).
Misterioso (mysteriously).
Cantabile (in a singing style).
Expression marks add depth and musicality to a performance.
Gigue
Gigue
A gigue is a lively dance, usually in compound time (6/8 or 12/8).
Originated from the Baroque period.
Often features quick, energetic rhythms and imitative counterpoint.
Commonly used as the final movement in a Baroque suite.
Example: Bach’s Gigue from French Suite No. 5 in G major.
