MUS 2302 Theory IV - Test #1

Question 1

Implied Tonality

Answer 1

frequent modulation/tonicization (implied tonality w/o confirmation of key; “on” vs “in” for tonal center vs tonal focus)

Question 2

Non-Functional Harmonic Successions

Answer 2

Retrogrades, or setting a sequence with a functional pattern, then repeating it in another set of chords that aren’t considered functional; doubly chromatic mediant relationships; tritone relationships; free anticipation, complex NCT, not resolving 7ths

Question 3

Tritone Substitutions

Answer 3

Tritone sub = V7 chord subsituted w/a V7 whose root is a tritone away

Question 4

Parsimonious Voice Leading

Answer 4

chords that seem to make no sense except through voice leading

Question 5

Unresolved Dissonance

Answer 5

7ths that do not resolve in typical fashion, or at all

Question 6

Mediants

Answer 6

Roots must be m3 or M3 apart (enharmonic spellings too)

Diatonic Mediants (two possibilities: two tones shared, opposite quality)

Chromatic Mediants (four possibilities: one tone shared, same quality)
Functional examples = IV -> V/V, I -> bIII, I -> bVI

Doubly Chromatic Mediants (two possibilities: no tones shares, opposite quality)

Doubly chromatic are never functional

Question 7

Pentatonic Scales

Answer 7

Major (12356)
Kumoi (dorian) (12 b3 56)
Hirajoshi (Aeolian) (12 b3 5 b6)
Phrygian (1 b2 b3 5 b6)
Locrian (1 b2 b3 b5 b6)

Question 8

Hexatonic Scales

Answer 8

WT-0, WT-1
AUG (0,1)(1,2)(2,3)(3,4)

Question 9

Octatonic Scale

Answer 9

OCT (0,1)(1,2)(2,3)

Question 10

Extended tertians

Answer 10

mm13 (R, m3, P5, m7, M9, P11, M13)
Mm13 (R, M3, P5, m7, M9, P11, M13)
MM13 (R, M3, P5, M7, M9, P11, M13)

5th can be omited

Question 11

Symmetrical Collections

Answer 11

WT, AUG, OC, Hungarian minor scales; Dim7 chords, AUG triads

Question 12

Scales to know

Answer 12

Melodic minor (minor w/raised ^6,^7)
Lydian-Mixolydian (major w/#4,b7)
Hungarian minor scale (harmonic minor w/#4)
Pentatonic (5)
Hexatonic (6)
Oct (3)
Modes (7)

Question 13

New techniques of late tonal period

Answer 13

Music inspires musical tradition; “training and history; Composers using old systems, but breaking small pieces and still being able to recognize some of the old vestiges; CPE was searching for one system, modern era changed to using several systems

“Parsimonious” voice leading - chords that seem to make no sense except through voice leading; non-functional harmony; free anticipation; parallel 5ths; complex NCT; not resolving 7ths; atypical voice leading; withholding PAC; frequent modulation/tonicization (implied tonality w/o confirmation of key; “On” vs “in” for tonal center vs tonal focus); tritone relationships

Question 14

Pitch class 11

Answer 14

B

Question 15

Pitch class 4

Answer 15

E

Question 16

Pitch class 9

Answer 16

A

Question 17

Pitch class 2

Answer 17

D

Question 18

Pitch class 6

Answer 18

F#

Question 19

Pitch class 10

Answer 19

Bb

Question 20

Pitch class 7

Answer 20

G

Question 21

Pitch class 3

Answer 21

Eb

Question 22

Pitch class 5

Answer 22

F

Question 23

Pitch class 8

Answer 23

Ab