Motive Manipulations

Question 1

Sequence

Answer 1

When a motive is repeated but begins at a different pitch, it is called a sequence.

Question 2

Real Sequence

Answer 2

If the repetition is exactly the same, that is, all the notes are the same distance apart from each other (intervals), then that sequence is said to be “real.” This is very useful when moving from one key to another (modulation).

Question 3

Tonal Sequence

Answer 3

Sometimes one or more of the intervals have been adjusted. Most often this is done to stay diatonic (in the key), rather than to modulate. This type of sequence is called “tonal.”

Question 4

Rhythmic Augmentation

Answer 4

To rhythmically augment a motive each note’s duration is proportionally increased. The most frequent application is to make each note twice as long.

Question 5

Rhythmic Diminution

Answer 5

Another rhythmic permutation is to “diminish” the length of the motive.

Question 6

Intervallic Augmentation

Answer 6

Intervallic augmentation occurs if that distance is increased

Question 7

Intervallic Diminution

Answer 7

intervallic diminution occurs if that distance is decreased

Question 8

Inversion

Answer 8

The notes go in the opposite direction but maintain the same (intervallic) distance from each other.

For example, if the original motive went down a third, the inversion would go up a third.

Question 9

Retrograde

Answer 9

This means, simply, going backwards.

The last note becomes the first and so on and so forth until the first is the last. As you can hear, the Bach Ricercar’s motive works quite well backwards

Question 10

Repetition

Answer 10

Repetition of a motive, phrase, or musical section is another way to extend the gesture or idea. This may be considered a manipulation, as the same idea is repeated at a different place in time. But because there is no change to the motive itself, it is a different type of manipulation.