from high school theory Flashcards
Common Practice Period
Music from 1650 to 1850; includes Baroque, Classical and Romantic periods
What C “number” is middle C?
C4
Anacrusis
The “upbeat” pickup note that balances out with the last measure to create one full measure
Duration
Length if the time sound (or silence) occurs
Simple meter
The beat being divided equally into 2 parts. Top number: 2, 3, or 4
Compound Meter
The beat being divded equally into three parts. Top number: 6, 9, or 12
Alla breve
Cut time, 2/2
Asymmetrical meter
Not equal meter, referring to meter that have beat units of unequal lengthTop number: 5 or 7 usually
Tonic
1st scale degree
Supertonic
The second scale degree, “above the tonic”
Mediant
The third scale degree, “halfway between tonic and dominant”
Subdominant
The 4th scale degree, “the 5th pitch below the tonic or the note below the dominant”
Dominant
The 5th scale degree, “the pitch dominating the tonality, a perfect fifth above the tonic”
Submediant
The 6th scale degree, “the note between the subdominant and the tonic”
Leading tone
The 7th scale degree, “leads upward toward resolution to the tonic”
Subtonic
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
Blues scale
1 - flat 3 - 4 - flat 5 - 5 - flat 7 - 1
Pentatonic scale
Five note scale containing no half steps (C D E G A [C])
Whole tone scale
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)
Diminished or octatonic scale
Scale distinguished with alternating half and whole step intervals
Natural minor scale
A scale with half steps between 2 and 3, and 5 and 6. It has a subtonic 7th scale degree.
Harmonic minor scale
A minor scale with half steps between 2 and 3 and 7 and 8.
Melodic minor scale
A natural minor scale with a raised 6th and 7th scale degree ascending and a natural minor scale descending
Major tetrachord
A chord consisting of the pattern W W H
Minor pentachord
W W H W W the same first five notes in all minor scales
Parallel minor
Major and minor related because they have the same tonic
Relative minor
Major and minor tonalities related because they share a key signature
Artificial scales
Scales that have altered notes
Resolution tones
Scale degrees 1 and 5
Ionian
A mode based on scale degree 1; the same as a major scale
Dorian
The scale based on the second scale degree in major; lowered 3rd and 7th
Phyrgian
A scale based on the 3rd scale degree in major; lowered 2nd, 6th and 7th; “angry” sounding
Lydian
A scale based on scale degree 4; major scale plus a sharp 4
Mixolydian
A scale based on the 5th scale degree; major scale plus a flat 7
Aeolian
A scale based on the 6th scale degree; a natural minor scale
Locrian
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
Harmony
The way notes are simultaneously sounded creating a ventricle element to music
Counterpoint
A single line or voice added to another voice
Interval
Distance between two pitches
Melodic intervals
Sounding notes one after another (as in a melody)
Harmonic interval
Two pitches sounding at the same time (creating harmony)
Simple intervals
Intervals that are one octave or smaller in quantity
Compound intervals
Intervals that are larger than an octave in quantity
Rule of Nine
When inverting intervals, the sum of the ascending and descending intervals must add up to nine
Consonant intervals
P1, P5, P8, M3, m3, M6, m6, and sometimes P4. Melodically P4 is always a consonance.
Dissonant intervals
M2, m2, M7, m7 and all augmented and diminished intervals. P4 is dissonant when used harmonically above the bass
Enharmonic intervals
Sound the same but are spelled differently and therefore function differently
Root position triad
A triad with the root in the bass voice
Root position 7th chord
A 7th chord with the root in the bass. Symbol: 7
1st inversion triad
A triad with the 3rd of the chord in the bass. Inversion symbol: 6
1st inversion 7th chord
A 7th chord with the third of the chord in the bass. Inversion symbol: 6 5
2nd inversion triad
A triad chord with the 5th in the bass. Inversion symbol: 6 4
2nd inversion 7th chord
A 7th chord with the fifth of the chord in the bass. Inversion symbol: 4 3
3rd inversion 7th chord
A 7th chord with the 7th in the bass. Inversion symbol: 4 2
Triad
A 3 note chord made up of two intervals stacked in thirds
7th chord
Contains four notes- a 3rd, a 5th, and a 7th
Diatonic triads in major
Major 1minor 2minor 3Major 4Major 5minor 6diminished 7
Diatonic triads in harmonic minor
minor 1diminished 2Augmented 3minor 4Major 5Major 6diminished 7
Diatonic triads in natural minor
minor 1diminished2Major 3minor 4minor 5Major 6Major 7
Dominant chords
V and vii dim
Predominant chords
IV iv and ii ii dim
Cadence
A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase.
Perfect Authentic Cadence
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
Imperfect Authentic cadence
V - I or vii - I cadence that breaks one or more of the rules of a perfect authentic cadence
Plagal Cadence
IV - I cadence; “amen” cadence
Deceptive Cadence
V - vi or V - VI or v - VIA cadence where the dominant chord is unexpectedly resolved to the submediant instead of the tonic
Half Cadence
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
Phrygian Half Cadence
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).
Tonic chords
I i and vi VI
Cadences end with what 3 chords?
I (i), vi (VI), or V (v)
Soprano range
C to G
Alto range
G to C
Tenor range
C to G
Bass range
G to C
Contrary motion
Melodic movement where both voices move away from each other
Oblique motion
Melodic motion where one voice stays the same and the other moves in either direction
Similar motion
Melodic motion where 2 voices move in be same direction but with different intervals
Parallel motion
Melodic movement where 2 voices move in be same direction and the same interval
Spacing rules?
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.
Direct octaves or fifths
Similar motion into a perfect interval in the soprano-bass pair
Contrary octaves or fifths
Contrary motion from one perfect interval to another perfect interval of the same size.
Sectional binary
When the first section ends with an authentic cadence in the original key.
Binary form
Two sections
Continuous binary
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
Strophic form
The same music is used for each verse or stanza ( AAAA)
Through-composed form
Writing new music for each stanza, often written to reflect different moods or changing impossible of each stanza
Ternary form
ABA form; three parts generally with a recapitulation of the first part.
Rounded binary form
AB1/2A
Sonata-allegro form
Found in the first movement if sonatas, ABA rounded binary form
Exposition
First theme in the tonic key, the second theme in the dominant key or relative major if the first themes is in minor
Development
Previously presented themes are expanded and developed, often in new keys
Recapitulation
A restarting of the exposition with the first and second themes in the tonic themes, often with a coda
Rondo form
A principal theme that alternates with one or more contrasting themes. 5 part (ABACA) or 7 part (ABACABA) usually. Arch form also exists (ABCBA)
Theme and variation form
One “section” that is repeated indefinitely but is varied each time
Texture
How much is going on in the music at any given moment
Monophonic
Music only has one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line has specific pitches.
Homophonic
One clear melodic line, where all other parts provide accompaniment or fill in the chords
Chordal homophony
Every line or voice moving with exactly the same or nearly the same rhythm
Melody with accompaniment
Only melodic line with the melody not limited to chords moving together.
Ostinato
A short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or portion of it
Alberti bass
An accompaniment figure where they chords are arpegiated.
Walking bass
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
Ragtime
Features syncopated (ragged) rhythms
Polyphonic
More than one independent melody is occurring at the same time
Countermelody
A secondary melody or line written to be played with a more prominent melody
Fugue
A theme or subject is introduced y one voice, then imitated by other voices in succession.
Fugal imitation
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)
Heterophonic
Only one melody, but different variations if it are being sun it played at the same time.
Tessitura
The general range of a composition or of a voice
Register
Range of an instrument or singing voice
Timbre
Determined by how the sound is produced, what the instrument is made of, and the range of an instrument
When to use a 6 4 chord
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
Do nots of retrogression
Follow V with IV, ii6, or ii64Follow vi with I (major or minor)Follow ii with IV
Harmonic rhythm
Rate at which the harmony changes
Conjunct
Stepwise motion
Disjunct
Skipwise motion
Phrase
Single coherent musical thought
Sub-phrase
A melodic unit that is smaller than a phrase
Period
Pairs of phrases that create an answer and question
Antecedent
The first phrase in a period
Consequent
The second phrase in a period.
Parallel period
Occurs when the beginning of the melody is the same in both phrases
Contrasting period
Occurs when the beginning of the melody in each phrase is different
Repeated parallel period
Two phrases that form a parallel period exactly
Double period
Group of four phrases in which the only PAC appears in the conclusion of the 4th phrase
Introduction
Material added to the beginning of a phrase
Cadential extensions
Expansions at the end of phrases
Internal expansion
Lengthens the phrase anywhere other than the beginning or end
Elision
Occurs when one phrase ends and the next phrase begins simultaneously
Motive or motif
A short group of notes that is repeated throughout the melody to establish its identity
Theme
A complete melodic phrase anywhere from two to eight measures
Leitmotif
A recurring motive (Star Wars)
Melodic sequence
Repeating the original motive starting on a different pitch
Inversion (melodic inversion)
The imitation of the melody performed upside down from the original melody
Mirror inversion
The inverted intervals in a melodic inversion are exact, i.e. a major third inverts down to a major third
Retrograde
The melody is played backwards
Retrograde inversion
Plays the pitches of the original theme exactly backwards and inverted
Rhythmic displacement
Repeats the original melody but at a different place in the measure
Augmentation
A form of rhythmic variation where the pitches remain the same but the rhythms are lengthened- note values are made longer
Diminution
The opposition of augmentation where the note values are shortened
Modulation
Repeats the same theme or motif exactly but in a different key, usually a closely related key
Mode mixture
Combining chords from the parallel major or minor to increase harmonic resources
Ornamentation
The technique of adding or decorating the melody with non-chord tones such as passing tones, neighboring tones, and suspensions
Passing tone
Melodic embellishments that full in-between the preparation and resolution by stepwise motion
Neighbor tones
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
Neighbor group or changing tone
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
Appoggiatura
A specific kind of incomplete neighbor that leaves the preparation by the leap then resolves in the opposite direction by a step
Escape tone
A form of incomplete neighbor that leaves the chord time by a step then resolves in the opposite direction by a leap
Suspension
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
Retardation
A suspended note that resolves upward
Anticipation
Leaves early from the preparation chord by a step to become part of the resolution chord
