Elements of Melody

Question 1

What is a trill? Explain how it is performed.

Answer 1

A trill is a rapid alternation between an indicated note and the one above, also known as the shake. Usually, if the music containing the trill was written before 1800 the trill is played by starting a note above the written note. If the music was written after 1800 then the trill is usually played by starting on the note written and going up to the note above.

Question 2

Appoggiatura

Answer 2

A pitch that is usually dissonant and occurring in a strong position within the meter. Eventually the appoggiatura resolves moving up or down one step to complete the consonance which is occurring in a weaker position within the meter.

Question 3

Mordent

Answer 3

Rapid alternation between an indicated note and moving above or below. If the squiggle line appears with no line through it, it means to move to the upper note (DED). If the squiggle line has a line through the middle it indicates to move to the note below it (CBC) which is also called a turn.

Question 4

Explain three ways ornamentation/melodic embellishments can be added?

Answer 4

1. Graces - any additional notes written in typical musical figures.
2. variations in rhythm and sound - any changes shifts or amendments to the note values
3. elaborated pauses

Question 5

Explain tremolo

Answer 5

Repeating pitch or pattern that is quick and continuous. A rapid up and down movement with a bow on a string instrument, written with a horizontal wavy line, the shaft of the note can be slashed.

Question 6

Explain how a turn is used as ornamentation.

Answer 6

A turn is a short figure consisting of the main note, the note above the one indicated, the note itself, the note below the one indicated, and the note itself again. It is marked by a mirrored S-shape lying on its side above the staff.

Question 7

Explain melodic sequence.

Answer 7

In music, a sequence is the immediate restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice.[1] It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music[1] (Classical period (music) and Romantic music). Characteristics of sequences:[1]
Two segments, usually no more than three or four
Usually only one direction: continuingly higher or lower
Segments continue by same interval distance

It is possible for melody or harmony to form a sequence without the other participating.

A real sequence is a sequence where the subsequent segments are exact transpositions of the first segment. A tonal sequence is a sequence where the subsequent segments are diatonic transpositions of the first segments. A modified sequence is a sequence where the subsequent segments are decorated or embellished so as to not destroy the character of the original segment. A false sequence is a literal repetition of the beginning of a figure and stating the rest in sequence.[1] A modulating sequence is a sequence that leads from one tonal center to the next, with each segment technically being in a different key in some sequences.[2]

A sequence can be described according to its direction (ascending or descending in pitch) and its adherence to the diatonic scale—that is, the sequence is diatonic if the pitches remain within the scale, or chromatic (or non-diatonic) if pitches outside of the diatonic scale are used and especially if all pitches are shifted by exactly the same interval (i.e., they are transposed). The non-diatonic sequence tends to modulate to a new tonality or to cause temporarily tonicisation.

At least two instances of a sequential pattern—including the original statement—are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies (chords). Although stereotypically associated with Baroque music, and especially the music of Antonio Vivaldi, this device is widespread throughout Western music history.

Question 8

Explain pentatonic scales.

Answer 8

• Constructed from the Greek “Penta” meaning five.
• No 1/2 steps are used
• Used in folk music worldwide
• Ravel and Debussy known for using these scales in their compositions.
• Major: 1 2 3 5 6
• Minor: 1 b3 4 5 b7

Question 9

What is a relative scale?

Answer 9

Same key signature but a different starting note.

Question 10

What is a parallel scale?

Answer 10

Start on the same note, different key signatures.

Question 11

Explain what modes are.

Answer 11

Inverted scales, same 7 notes of the parent scale with a different starting note, the starting note is emphasized as the tonal center.

Question 12

What are the seven modes?

Answer 12

1. Ionian - Major
2. Dorian - minor
3. Phrygian - minor
4. Lydian - Major
5. Mixolydian - Dominant
6. Aeolian - Natural Minor
7. Locrian - Minor diminished

Question 13

List the modes from the darkest dissonance to the brightest.

Answer 13

1. Locrian
2. Phrygian
3. Aeolian
4. Dorian
5. Ionian
6. Mixolydian
7. Lydian

Question 14

Explain the difference between a natural, harmonic and melodic minor scale.

Answer 14

Natural minor - uses the same notes at the major scale but starts on a different tone (Aeolian mode)

Harmonic Minor - natural minor and raise the seventh scale degree

Melodic Minor - natural minor and raise the sixth and seventh scale degree going up, descending with a natural minor scale.

Question 15

Explain the number of half steps between intervals from a 2nd to a 7th.

Answer 15

• A major second is made up of two half steps
• A major third is made up of four half steps
• A perfect fourth is made up of five half steps.
• A perfect fifth is made up of seven half steps
• A major sixth is made up of nine half steps
• A major seventh is made up of eleven half steps.

Question 16

Explain conjunct and disjunct melodic motion.

Answer 16

Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody. This may be described as conjunct or disjunct, stepwise or skipwise, respectively.

Question 17

What is a melodic focal point?

Answer 17

The highest tone of melody/emotional focal point

Question 18

What are some characteristics of melody?

Answer 18

Begins, moves, ends-Has direction, shape and continuity.

Tension and release-Expectation and Arrival.

Stepwise vs. leap motion:

Melodies move by small intervals called steps or larger ones called leaps.

Climax=The highest tone of melody/emotional focal point.

Legato vs. staccato=Note durations can vary the effect of a melody.

Question 19

What is a melodic phrase?

Answer 19

Phrases are melodies made up of shorter parts

Question 20

Explain various types of melodic phrases.

Answer 20

Balanced pairs: Rising pitches followed by falling pitches

Analyze: Lowercase letters to represent sections of a piece: a,b,etc.

Different phrases: a,b Phrase Repeated: a,a

Varied Repetition: a, a’

Sequence within melodies: A repetition of a melodic pattern at a higher or lower pitch.

Cadence: Complete vs. Incomplete: A point of arrival/resting place at end of phrase-Partial, setting up expectations=incomplete; Sense of finality=Complete

Question 21

Explain Binary Form

Answer 21

Binary form is a musical form in two related sections, of roughly the same length, both of which are usually repeated. AABB (more commonly called AB)

If the A and B sections are roughly equal in length, the design is referred to as symmetrical. If the A and B sections are of unequal length, the design is referred to as asymmetrical. In such cases, the B section is usually substantially longer than the A section.

Binary form was popular in the Baroque period, often used to structure movements of keyboard sonatas. It was also used for short, one-movement works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire movements as sonata form and organic development gained prominence. When it is found in later works, it usually takes the form of the theme in a set of variations, or the Minuet, Scherzo, or Trio sections of a Minuet and Trio or Scherzo and Trio movement in a sonata, symphony, etc. Many larger forms incorporate binary structures, and many more complicated forms (such as sonata forms) share certain characteristics with binary form.

Question 22

Explain the common harmonic structure of the binary form.

Answer 22

The first section will start in a certain key, and will usually modulate to a related key:
compositions in major keys will typically modulate to the dominant, the fifth scale degree above the tonic
compositions in minor keys will typically modulate to the relative major, the major key centered on the third scale degree above the tonic; alternatively the first section could close in the dominant minor, or with an imperfect cadence in the original key.

The second section of the piece begins in the newly established key, where it remains for an indefinite period of time. After some harmonic activity, the piece will eventually modulate back to its original key before ending.

Question 23

What is Ternary form?

Answer 23

Ternary form, sometimes called song form,[1] is a three-part musical form, usually schematized as A–B–A. The first and third parts (A) are musically identical, or very nearly so, while the second part (B) in some way provides a contrast with them. The B section is often called the trio, especially in minuets and scherzi.

Question 24

Explain the style of pieces that most often use ternary form?

Answer 24

As well as in marches, ternary form is often found in baroque opera arias (the da capo aria) and in many dance forms, such as polkas. It is also the form used in the minuet (or scherzo) and trio, which, in the Classical era, was usually the third movement of symphonies, string quartets, sonatas and similar works

Question 25

Explain the harmonic structure of the ternary form?

Answer 25

The B section is generally in a contrasting, but closely related key, usually the dominant key of the first section’s tonic (a perfect fifth above) or the relative or parallel minor or major,[

Question 26

What is rondo form?

Answer 26

An instrumental form that was popular in the late 18th to early 19th centuries. A rondo has a main theme (usually in the tonic key) that is restated several times as it alternates with other themes. There are two basic patterns of a rondo: 5 part ABACA and 7 part ABACABA (the A section represents the main theme). The last movement of sonatas, concerti, string quartets and classical symphonies is often a rondo.

Question 27

What is a homophonic texture?

Answer 27

Homophonic (or homophony) is the texture we encounter most often. It consists of a single, dominating melody that is accompanied by chords. Sometimes the chords move at the same rhythm as the melody; other times the chords are made up of voices that move in counterpoint to each other. The important aspect is that the chords are subservient to the melody.

Where might one encounter homophonic texture?
• Most popular music styles (rock, folk, country, jazz,etc.)
• Accompanied vocal music from the Middle Ages to the present
• Hymn singing during a religious service

Question 28

Explain a polyphonic texture.

Answer 28

Polyphonic texture (“many sounds;” noun: polyphony) describes a musical texture in which two or more melodic lines of relatively equal importance are performed simultaneously. This is a fairly complex style which served as a proving ground for composers from around 1500-1800. It is important to note that a group of singers are required in polyphonic music, but polyphony can be performed on some instruments-such as the piano, organ, and guitar-by a single musician.

Related terms include counterpoint and imitation.

Where might one encounter polyphonic texture?
• Vocal and instrumental music from the Renaissance through the Baroque
• Music for large instrumental ensembles
• Religious choral music
• A round or canon

Question 29

Explain a monophonic texture.

Answer 29

Literally meaning “one sound,” monophonic texture (noun: monophony) describes music consisting of a single melodic line. Whether it is sung/played by one person or many, as long as the same notes and rhythms are being performed, monophonic texture results.

Question 30

Minor 2 ascending song

Answer 30

Jaws

Question 31

Minor 2 descending song

Answer 31

Fur Elise

Question 32

Major 2 ascending song

Answer 32

Rudolph the red nosed reindeer

Question 33

Major 2 descending song

Answer 33

Mary had a little lamb

Question 34

Minor 3 ascending Song

Answer 34

So long, farewell from sound of music

Question 35

Minor third descending song

Answer 35

Frosty the snowman

Question 36

Major 3 ascending song

Answer 36

Kumbaya

Question 37

Major 3 descending

Answer 37

Shoo fly, don’t bother me

Question 38

Perfect 4 ascending song

Answer 38

Here comes the bride

Question 39

Perfect fourth descending song

Answer 39

I’ve been working on the railroad

Question 40

Perfect 5 ascending song

Answer 40

Twinkle twinkle little star

Question 41

Perfect 5 descending song

Answer 41

Flinstones

Question 42

Minor 6 ascending song

Answer 42

We are young, Fun

Question 43

Major 6 ascending song

Answer 43

NBC

Question 44

Major 6 descending song

Answer 44

Nobody knows the trouble I’ve seen

Question 45

Octave song

Answer 45

Somewhere over the rainbow

Question 46

Explain a tone row

Answer 46

It’s a way to make patterns to play. I presume there are other types of tone row - but the type I am familiar with is that used in serialism.

You take your 12 chromatic notes and arrange them in any order that sounds best to you.
Now when you write your piece, you can only play the notes in this order. Any octave though.
You can variate the rows in several ways:
-Reverse it, play it backwards

-Invert the intervals - for example...
Lets say your tone row is (on frets) 0 3 5 4 6 7 2 1 9 8 10 11
The first interval is up from 0 to 3...so you go backwards 3 instead.
You now have
0 9
Next was 3 to 5...
0 9 7
5 to 4...
0 9 7 6

And so on. Then you can reverse that.

You’ll have your prime row, reverse prime row, inverted row, and reverse inverted row. You can play these in any order but one must be completed before another is used.

Tone rows are the basis of Arnold Schoenberg’s twelve-tone technique and most types of serial music. Tone rows were widely used in 20th century contemporary music

I should also point out that while some may call twelve-tone music dissonant, there is no dissonance in twelve-tone music. What I am saying is that dissonance implies that there is consonance or resolution, which would mean a tonal centre. As twelve-tone music is atonal, there is neither consonance nor dissonance.

Question 47

cadenza

Answer 47

generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a “free” rhythmic style, and often allowing for virtuosic display. Indicated by a fermata in all parts if improvised, a cadenza is usually over a final or penultimate note in a piece or important cadence and the accompaniment rests or sustains a note or chord.[2] Thus it is often before a final coda or ritornello.

The term cadenza often refers to a portion of a concerto in which the orchestra stops playing, leaving the soloist to play alone in free time (without a strict, regular pulse) and can be written or improvised, depending on what the composer specifies. This normally occurs near the end of the first movement, though it can be at any point in a concerto.

The cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in an aria. It was later used in instrumental music, and soon became a standard part of the concerto.

Perhaps the most notable deviations from this tendency towards written (or absent) cadenzas are to be found in jazz, most often at the end of a ballad, though cadenzas in this genre are usually brief.

Question 48

Explain a fugue

Answer 48

a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.

A fugue usually has three sections: an exposition, a development, and a recapitulation containing the return of the subject in the fugue’s tonic key, though not all fugues have a recapitulation.[4] In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works.[5] Since the 17th century,[6] the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.[7]

Most fugues open with a short main theme, the subject,[8] which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further “entries” of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the “final entry” of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda.[3][9] In this sense, a fugue is a style of composition, rather than a fixed structure.

The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias.[10] The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others.[10] With the decline of sophisticated styles at the end of the baroque period, the fugue’s central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position.[11] Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791)[11] and Ludwig van Beethoven (1770–1827),[11] as well as modern composers like Dmitri Shostakovich (1906–1975

Question 49

Explain the exposition of a fugue

Answer 49

A fugue begins with the exposition of its subject in one of the voices alone in the tonic key.[14] After the statement of the subject, a second voice enters and states the subject with the subject transposed to another (often closely related) key, which is known as the answer.[15][16] To make the music run smoothly, it may also have to be altered slightly. When the answer is an exact copy of the subject to the dominant, it is classified as a real answer; if it has to be altered in any way it is a tonal answer

A tonal answer is usually called for when the subject begins with a prominent dominant note, or where there is a prominent dominant note very close to the beginning of the subject.[14] To prevent an undermining of the music’s sense of key, this note is transposed up a fourth to the tonic rather than up a fifth to the supertonic. Answers in the subdominant are also employed for the same reason.[17]

While the answer is being stated, the voice in which the subject was previously heard continues with new material. If this new material is reused in later statements of the subject, it is called a countersubject; if this accompanying material is only heard once, it is simply referred to as free counterpoint.

Question 50

What are the three sections of a fugue?

Answer 50

Exposition, Development and recapitulation

Question 51

What is the purpose an episode in a fugue

Answer 51

Further entries of the subject follow this initial exposition, either immediately (as for example in Fugue No. 1 in C major, BWV 846 of the Well-Tempered Clavier), or separated by episodes.[14] Episodic material is always modulatory and is usually based upon some element heard in the exposition.[9][14] Each episode has primarily the function of transitioning for the next entry of the subject in a new key,[14] and may also provide release from the strictness of form employed in the exposition, and middle-entries.[24] Gédalge states that the episode of the fugue is generally based on a series of imitations of the subject that have been fragmented.

Question 52

Explain the development section of the fugue

Answer 52

Further entries of the subject, or middle entries, occur throughout the fugue. They must state the subject or answer at least once in its entirety, and may also be heard in combination with the countersubject(s) from the exposition, new countersubjects, free counterpoint, or any of these in combination. It is uncommon for the subject to enter alone in a single voice in the middle-entries as in the exposition; rather, it is usually heard with at least one of the countersubjects and/or other free contrapuntal accompaniments. Middle-entries tend to occur at pitches other than the initial. As shown in the typical structure above, these are often closely related keys such as the relative dominant and subdominant, although the key structure of fugues varies greatly.

Question 53

Explain the history of the fugue

Answer 53

The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias.[10] The famous fugue composer Johann Sebastian Bach (1685–1750)

With the decline of sophisticated styles at the end of the baroque period, the fugue’s central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position.[11] Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791)[11] and Ludwig van Beethoven (1770–1827),[11] as well as modern composers like Dmitri Shostakovich

Question 54

List three contrapuntal techniques

Answer 54

Canon, Fugue, Invention (2 and 3 parts)

Question 55

Explain a canon

Answer 55

A canon is a piece of music in which two or more voices (or instrumental parts) sing or play the same music starting at different times. A round is a type of canon, but in a round each voice, when it finishes, can start at the beginning again so that the piece can go “round and round”.

Question 56

Explain how canons’ have been used throughout history in composition.

Answer 56

Bach was a great master at writing canons and other very complicated musical forms. After 1750 composers became less interested in writing music which was all polyphonic, although many composers still showed an interest in counterpoint. Haydn, Mozart and Beethoven all wrote canons and even Romantic composers like Schumann and Brahms showed an interest

up.

In the 20th century composers such as Schoenberg who wrote serial music were fond of canons

Question 57

What is an ostinato?

Answer 57

short melodic phrase repeated throughout a composition, sometimes slightly varied or transposed to a different pitch. A rhythmic ostinato is a short, constantly repeated rhythmic pattern.

Question 58

describe scale

Answer 58

sequences arrangement of notes/pitches that are located within an octave.

Question 59

chromatic solfege descending

Answer 59

do, ti, te, la, le, sol, se, fa, mi, me, re, ra, do

Question 60

Chromatic solfege ascending

Answer 60

do, di, re, ri, mi, fa, fi sol, si, la, li, ti, do.

Question 61

Heterophonic texture

Answer 61

The simultaneous performance of the same melodic line with slight individual variation by two or more performers.