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from high school theory Flashcards

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1
Q

Common Practice Period

A

Music from 1650 to 1850; includes Baroque, Classical and Romantic periods

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2
Q

What C “number” is middle C?

A

C4

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3
Q

Anacrusis

A

The “upbeat” pickup note that balances out with the last measure to create one full measure

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4
Q

Duration

A

Length if the time sound (or silence) occurs

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5
Q

Simple meter

A

The beat being divided equally into 2 parts. Top number: 2, 3, or 4

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6
Q

Compound Meter

A

The beat being divded equally into three parts. Top number: 6, 9, or 12

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7
Q

Alla breve

A

Cut time, 2/2

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8
Q

Asymmetrical meter

A

Not equal meter, referring to meter that have beat units of unequal lengthTop number: 5 or 7 usually

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9
Q

Tonic

A

1st scale degree

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10
Q

Supertonic

A

The second scale degree, “above the tonic”

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11
Q

Mediant

A

The third scale degree, “halfway between tonic and dominant”

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12
Q

Subdominant

A

The 4th scale degree, “the 5th pitch below the tonic or the note below the dominant”

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13
Q

Dominant

A

The 5th scale degree, “the pitch dominating the tonality, a perfect fifth above the tonic”

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14
Q

Submediant

A

The 6th scale degree, “the note between the subdominant and the tonic”

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15
Q

Leading tone

A

The 7th scale degree, “leads upward toward resolution to the tonic”

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16
Q

Subtonic

A

The 7th scale degree in a natural minor scale, a note that is one whole steep below the tonic and is therefore not a leading tone

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17
Q

Blues scale

A

1 - flat 3 - 4 - flat 5 - 5 - flat 7 - 1

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18
Q

Pentatonic scale

A

Five note scale containing no half steps (C D E G A [C])

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19
Q

Whole tone scale

A

Seven note scale including the octave, each 1 whole step apart.1 - 2 - 3 - flat 5 - flat 6 - flat 7(C D E G flat A flat B flat C)

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20
Q

Diminished or octatonic scale

A

Scale distinguished with alternating half and whole step intervals

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21
Q

Natural minor scale

A

A scale with half steps between 2 and 3, and 5 and 6. It has a subtonic 7th scale degree.

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22
Q

Harmonic minor scale

A

A minor scale with half steps between 2 and 3 and 7 and 8.

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23
Q

Melodic minor scale

A

A natural minor scale with a raised 6th and 7th scale degree ascending and a natural minor scale descending

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24
Q

Major tetrachord

A

A chord consisting of the pattern W W H

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25
Q

Minor pentachord

A

W W H W W the same first five notes in all minor scales

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26
Q

Parallel minor

A

Major and minor related because they have the same tonic

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27
Q

Relative minor

A

Major and minor tonalities related because they share a key signature

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28
Q

Artificial scales

A

Scales that have altered notes

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29
Q

Resolution tones

A

Scale degrees 1 and 5

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30
Q

Ionian

A

A mode based on scale degree 1; the same as a major scale

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31
Q

Dorian

A

The scale based on the second scale degree in major; lowered 3rd and 7th

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32
Q

Phyrgian

A

A scale based on the 3rd scale degree in major; lowered 2nd, 6th and 7th; “angry” sounding

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33
Q

Lydian

A

A scale based on scale degree 4; major scale plus a sharp 4

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34
Q

Mixolydian

A

A scale based on the 5th scale degree; major scale plus a flat 7

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35
Q

Aeolian

A

A scale based on the 6th scale degree; a natural minor scale

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36
Q

Locrian

A

The scale based on the 7th scale degree; includes a diminished tonic triad, is a natural minor scale plus a flat 2 and a flat 5

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37
Q

Harmony

A

The way notes are simultaneously sounded creating a ventricle element to music

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38
Q

Counterpoint

A

A single line or voice added to another voice

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39
Q

Interval

A

Distance between two pitches

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40
Q

Melodic intervals

A

Sounding notes one after another (as in a melody)

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41
Q

Harmonic interval

A

Two pitches sounding at the same time (creating harmony)

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42
Q

Simple intervals

A

Intervals that are one octave or smaller in quantity

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43
Q

Compound intervals

A

Intervals that are larger than an octave in quantity

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44
Q

Rule of Nine

A

When inverting intervals, the sum of the ascending and descending intervals must add up to nine

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45
Q

Consonant intervals

A

P1, P5, P8, M3, m3, M6, m6, and sometimes P4. Melodically P4 is always a consonance.

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46
Q

Dissonant intervals

A

M2, m2, M7, m7 and all augmented and diminished intervals. P4 is dissonant when used harmonically above the bass

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47
Q

Enharmonic intervals

A

Sound the same but are spelled differently and therefore function differently

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48
Q

Root position triad

A

A triad with the root in the bass voice

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49
Q

Root position 7th chord

A

A 7th chord with the root in the bass. Symbol: 7

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50
Q

1st inversion triad

A

A triad with the 3rd of the chord in the bass. Inversion symbol: 6

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51
Q

1st inversion 7th chord

A

A 7th chord with the third of the chord in the bass. Inversion symbol: 6 5

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52
Q

2nd inversion triad

A

A triad chord with the 5th in the bass. Inversion symbol: 6 4

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53
Q

2nd inversion 7th chord

A

A 7th chord with the fifth of the chord in the bass. Inversion symbol: 4 3

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54
Q

3rd inversion 7th chord

A

A 7th chord with the 7th in the bass. Inversion symbol: 4 2

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55
Q

Triad

A

A 3 note chord made up of two intervals stacked in thirds

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56
Q

7th chord

A

Contains four notes- a 3rd, a 5th, and a 7th

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57
Q

Diatonic triads in major

A

Major 1minor 2minor 3Major 4Major 5minor 6diminished 7

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58
Q

Diatonic triads in harmonic minor

A

minor 1diminished 2Augmented 3minor 4Major 5Major 6diminished 7

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59
Q

Diatonic triads in natural minor

A

minor 1diminished2Major 3minor 4minor 5Major 6Major 7

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60
Q

Dominant chords

A

V and vii dim

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61
Q

Predominant chords

A

IV iv and ii ii dim

62
Q

Cadence

A

A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase.

63
Q

Perfect Authentic Cadence

A

V - I cadence that requires both the dominant and tonic chords to be in root position. The tonic chord must also double the root of the chord in the soprano

64
Q

Imperfect Authentic cadence

A

V - I or vii - I cadence that breaks one or more of the rules of a perfect authentic cadence

65
Q

Plagal Cadence

A

IV - I cadence; “amen” cadence

66
Q

Deceptive Cadence

A

V - vi or V - VI or v - VIA cadence where the dominant chord is unexpectedly resolved to the submediant instead of the tonic

67
Q

Half Cadence

A

Ends in V or V7. The cadence is unresolved and acts as a comma instead of a period and is commonly preceded by IV, ii, ii6, and vi

68
Q

Phrygian Half Cadence

A

A specific kind of half cadence that occurs in harmonic minor. The dominant chord is preceded by the minor subdominant in the first inversion (iv6). The baseline goes from 6 to 5 (a half step).

69
Q

Tonic chords

A

I i and vi VI

70
Q

Cadences end with what 3 chords?

A

I (i), vi (VI), or V (v)

71
Q

Soprano range

A

C to G

72
Q

Alto range

A

G to C

73
Q

Tenor range

A

C to G

74
Q

Bass range

A

G to C

75
Q

Contrary motion

A

Melodic movement where both voices move away from each other

76
Q

Oblique motion

A

Melodic motion where one voice stays the same and the other moves in either direction

77
Q

Similar motion

A

Melodic motion where 2 voices move in be same direction but with different intervals

78
Q

Parallel motion

A

Melodic movement where 2 voices move in be same direction and the same interval

79
Q

Spacing rules?

A

The soprano should be within an octave of the alto; the alto should be within an octave of the tenor. The tenor can be any distance from the bass.

80
Q

Direct octaves or fifths

A

Similar motion into a perfect interval in the soprano-bass pair

81
Q

Contrary octaves or fifths

A

Contrary motion from one perfect interval to another perfect interval of the same size.

82
Q

Sectional binary

A

When the first section ends with an authentic cadence in the original key.

83
Q

Binary form

A

Two sections

84
Q

Continuous binary

A

When a cadence other than a perfect cadence occurs at the end of the first section, or the key modulates so that he first section ends in a different key

85
Q

Strophic form

A

The same music is used for each verse or stanza ( AAAA)

86
Q

Through-composed form

A

Writing new music for each stanza, often written to reflect different moods or changing impossible of each stanza

87
Q

Ternary form

A

ABA form; three parts generally with a recapitulation of the first part.

88
Q

Rounded binary form

A

AB1/2A

89
Q

Sonata-allegro form

A

Found in the first movement if sonatas, ABA rounded binary form

90
Q

Exposition

A

First theme in the tonic key, the second theme in the dominant key or relative major if the first themes is in minor

91
Q

Development

A

Previously presented themes are expanded and developed, often in new keys

92
Q

Recapitulation

A

A restarting of the exposition with the first and second themes in the tonic themes, often with a coda

93
Q

Rondo form

A

A principal theme that alternates with one or more contrasting themes. 5 part (ABACA) or 7 part (ABACABA) usually. Arch form also exists (ABCBA)

94
Q

Theme and variation form

A

One “section” that is repeated indefinitely but is varied each time

95
Q

Texture

A

How much is going on in the music at any given moment

96
Q

Monophonic

A

Music only has one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line has specific pitches.

97
Q

Homophonic

A

One clear melodic line, where all other parts provide accompaniment or fill in the chords

98
Q

Chordal homophony

A

Every line or voice moving with exactly the same or nearly the same rhythm

99
Q

Melody with accompaniment

A

Only melodic line with the melody not limited to chords moving together.

100
Q

Ostinato

A

A short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or portion of it

101
Q

Alberti bass

A

An accompaniment figure where they chords are arpegiated.

102
Q

Walking bass

A

A bass accompaniment or line that creates a feeling if regular quarter-note movement. Uses a mixture if scale times, arpeggios, and passions times to outline the chord

103
Q

Ragtime

A

Features syncopated (ragged) rhythms

104
Q

Polyphonic

A

More than one independent melody is occurring at the same time

105
Q

Countermelody

A

A secondary melody or line written to be played with a more prominent melody

106
Q

Fugue

A

A theme or subject is introduced y one voice, then imitated by other voices in succession.

107
Q

Fugal imitation

A

A type of imitation of the antecedent or subject that enters at a different pitch level. Does not necessarily indicate a fugue (could be imitative polyphony)

108
Q

Heterophonic

A

Only one melody, but different variations if it are being sun it played at the same time.

109
Q

Tessitura

A

The general range of a composition or of a voice

110
Q

Register

A

Range of an instrument or singing voice

111
Q

Timbre

A

Determined by how the sound is produced, what the instrument is made of, and the range of an instrument

112
Q

When to use a 6 4 chord

A

Use it in a passing role, a pedal role, and a arpeggiated role. Usually double the 5th (bass note)Cadential 6 4 chords are also common

113
Q

Do nots of retrogression

A

Follow V with IV, ii6, or ii64Follow vi with I (major or minor)Follow ii with IV

114
Q

Harmonic rhythm

A

Rate at which the harmony changes

115
Q

Conjunct

A

Stepwise motion

116
Q

Disjunct

A

Skipwise motion

117
Q

Phrase

A

Single coherent musical thought

118
Q

Sub-phrase

A

A melodic unit that is smaller than a phrase

119
Q

Period

A

Pairs of phrases that create an answer and question

120
Q

Antecedent

A

The first phrase in a period

121
Q

Consequent

A

The second phrase in a period.

122
Q

Parallel period

A

Occurs when the beginning of the melody is the same in both phrases

123
Q

Contrasting period

A

Occurs when the beginning of the melody in each phrase is different

124
Q

Repeated parallel period

A

Two phrases that form a parallel period exactly

125
Q

Double period

A

Group of four phrases in which the only PAC appears in the conclusion of the 4th phrase

126
Q

Introduction

A

Material added to the beginning of a phrase

127
Q

Cadential extensions

A

Expansions at the end of phrases

128
Q

Internal expansion

A

Lengthens the phrase anywhere other than the beginning or end

129
Q

Elision

A

Occurs when one phrase ends and the next phrase begins simultaneously

130
Q

Motive or motif

A

A short group of notes that is repeated throughout the melody to establish its identity

131
Q

Theme

A

A complete melodic phrase anywhere from two to eight measures

132
Q

Leitmotif

A

A recurring motive (Star Wars)

133
Q

Melodic sequence

A

Repeating the original motive starting on a different pitch

134
Q

Inversion (melodic inversion)

A

The imitation of the melody performed upside down from the original melody

135
Q

Mirror inversion

A

The inverted intervals in a melodic inversion are exact, i.e. a major third inverts down to a major third

136
Q

Retrograde

A

The melody is played backwards

137
Q

Retrograde inversion

A

Plays the pitches of the original theme exactly backwards and inverted

138
Q

Rhythmic displacement

A

Repeats the original melody but at a different place in the measure

139
Q

Augmentation

A

A form of rhythmic variation where the pitches remain the same but the rhythms are lengthened- note values are made longer

140
Q

Diminution

A

The opposition of augmentation where the note values are shortened

141
Q

Modulation

A

Repeats the same theme or motif exactly but in a different key, usually a closely related key

142
Q

Mode mixture

A

Combining chords from the parallel major or minor to increase harmonic resources

143
Q

Ornamentation

A

The technique of adding or decorating the melody with non-chord tones such as passing tones, neighboring tones, and suspensions

144
Q

Passing tone

A

Melodic embellishments that full in-between the preparation and resolution by stepwise motion

145
Q

Neighbor tones

A

Non-chord tones that decorate a line by moving from one pitch to another one-step above (upper neighbor) or below (lower neighbor) and then returning to the original pitch

146
Q

Neighbor group or changing tone

A

Two consecutive non-chord tones: the first moves up by a step from a chord tone, then skips down to another non-chord tone, then resolves to the original chord tone

147
Q

Appoggiatura

A

A specific kind of incomplete neighbor that leaves the preparation by the leap then resolves in the opposite direction by a step

148
Q

Escape tone

A

A form of incomplete neighbor that leaves the chord time by a step then resolves in the opposite direction by a leap

149
Q

Suspension

A

Occurs when a note in the preparation chord is held over, creating a momentary accented dissonance that is resolved downward by a step to the resolution

150
Q

Retardation

A

A suspended note that resolves upward

151
Q

Anticipation

A

Leaves early from the preparation chord by a step to become part of the resolution chord

Music Theory (2 decks)

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