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1
Q

What does PPSS stand for?

A

Perfect(cadence), pedal(harmony), sequence(melody), syncopation(rhythm)

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2
Q

What does MOMOMAMI stand for

A

Modulation, modal, major, minor

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3
Q

Bradenburg concerto:Tonality

A

D major/B minor (switches to parallel minor briefly in section b)
Section A:D major, modulates to E major and A major
Section B:B minor, modulates to F# minor, A minor and E minor

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4
Q

Bradenburg concerto:Melody

A

Starts with the subject, Anacrusis, Stepwise melody, Countermelody, Triplets, motifs, rising sequence bars 114-118, fugal writing(repeating the same line after an amount of time), harpsichord acts as a continuo in certain moments, chromatic melodies at times, Ornamentations like trills from bars 19-21, Canon

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5
Q

Bradenburg concerto:Harmony

A

Diatonic harmony, perfect cadences at the end of section A in bar 78, certain moments of chromatics, figured bass, section B has a pedal

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6
Q

Bradenburg concerto:structure

A

Concerto Grosso-baroque piece for a group of soloists and orchestra
Concerto Grosso main groups-Concertino(Group of soloists in a concerto grosso), Ripieno(A group of instruments that consists of non-soloists. The opposite of the concertino), Continuo(Repetitive line in the bass that’s goes on in bass instruments or chordal instruments)
Stretto-overlapping subject in the fugue
Ternary form:A section bars 1-78, B section bars 79-232, A section 233-310

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7
Q

Bradenburg concerto:Dynamics

A

Terraced dynamics

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8
Q

Bradenburg concerto:Tempo, Meter and Rhythm

A

Triplets, allegro, 2/4, compound-like sound

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9
Q

Bradenburg concerto:Texture

A

Monophonic texture in the first 2 bars
Homophonic moments in section B
Contrapunctual (polyphonic) texture is fugal (Section A)

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10
Q

Pathetique:Tonality

A

Intro-C minor, tonic key, chromatic notes woth diminished chords
Transition-Modulates through Ab and Bb before the second subject begins in Eb minor. The key becomes Eb major (relative major) in bar 89

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11
Q

Pathetique:Melody

A

Bar 1 has a dotted semiquaver motif, Bar 10 features long, rapid, descending chromatic run, staccato theme over 2 octaves, transition is based on the first theme subject and employs chromatic harmony. Second subject is lyrical, legato phase and contrasting spiky, staccato phrase. Acciaccaturas and mordents
Development contains fragments of the introduction melodies. Bar 137 based on first subject and bars 140 and 141 are based on the second subject

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12
Q

Pathetique:Harmony

A

Perfect(bar 18-19)/imperfect(bar 27) cadences, diminished 7ths, pedals,

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13
Q

Pathetique:Structure

A

Sonata-into, exposition, development and recapitulation with coda

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14
Q

Pathetique:Dynamics

A

Extreme dynamics from pp to ff with accents, crescendos and diminuendos

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15
Q

Pathetique:Tempo, Rhythm and Meter

A

Dotted notes are in the introduction with a vast contrast of semiquavers dotted crotchets
Continuous quavers run throughout
The introduction is in Grave which is so slow, it is left up to interpretation how fast it actually is
The first subject accelerates to allegro di molto y con brio which means fast with vigour
2/4 or cut common(idk just say 2/4 or 2/2 idk boomer)

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16
Q

Pathetique:Texture

A

Homophonic

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17
Q

Music for a while:Tonality

A

A minor modulations through E minor, G major and C major in middle section
Chromaticism

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18
Q

Music for a while:Melody

A

Melody is mostly scalic with many passing notes (bar 5-for descending phrase)
Ground bass
Sequence from bar 20-22 in voice
Word painting bar 24-25 with ‘drop’
Bar 20-‘Eternal’ is melisma
Harpsichord lower mordent bar 1
An appoggiatura in bar 2 and grace note in bar 7 and trill in bar 13(voice)

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19
Q

Music for a while:Harmony

A

Chromaticism in ground bass bar 1-2
Dissonance in bar 12 (E in melody clashes with D in bass)
Suspensions in bar 13
Tierce de picardie
False relations(two clashing chromatic notes heard very close together

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20
Q

Music for a while:Structure

A

Da capo aria form (baroque structure similar to ternary form)
Ground bass throughout
Perfect cadence

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21
Q

Music for a while:Dynamics

A

Not notated, could be terraced

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22
Q

Music for a while:Metre, tempo and rhythm

A

4/4 simple time
Could be considered largo but doesn’t have a written tempo
Quaver pulse in Ground bass

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23
Q

Music for a while:Texture

A

Melody dominated-homophony
Unison(left hand harpsichord and bass viol)
Imitation

24
Q

Killer queen:Tonality

A

Brief moment of C minor in the beginning which quickly moves to Bb major in choruses, this creates a general relation of Eb major

25
Killer queen:melody
``` Anacrusis Sequence bar 12-13 and bar 20-21 Word setting - syllabic Nonsense phrases like 'ooh' or 'ahh' are vocables Word painting ```
26
Killer queen:Harmony
``` Not all chords in tonic key Extended chords Harmonic pedal bar 5-6 Chromatic bassline Circle of fifths movement in bar 20 ```
27
Killer queen:Structure
``` introduction - bars 1 and 2 verse 1 - bars 2 to 14 chorus 1 - bars 15 to 22 instrumental link - bars 23 to 26 verse 2 - bars 27 to 38 chorus 2 - bars 39 to 43 guitar solo - bars 44 to 61 verse 3 - bars 62 to 69 chorus 3 - bars 70 to 78 outro - from bar 79 until the end ```
28
Killer queen:Dynamics
Not notated but is considered MF
29
Killer queen:Meter rhythm and tempo
Time signature is 12/8 giving a swung feel compound quadruple Change to 6/8 in 10-11 (not an additive) A tempo at 112 bpm =dotted crotchet Syncopation
30
Killer queen:Texture
Melody-dominated homphony Block chords Imitation bar 62 beat 4
31
Defying gravity:tonality
Tonality is ambiguous at beginning with no clear sense of where it will go Verse/chorus are in D major Modulations in bridge to G major and intro reprises in F major Bitonality in bar 88
32
Defying gravity:Melody
Leitmotifs | Leaps of 4ths/5ths (note if they are perfect)
33
Defying gravity:Structure
``` introduction verse 1 chorus verse 2 chorus bridge chorus introduction reprise verse 3 chorus coda ```
34
Defying gravity:harmony
Perfect cadence Chords with no connection Chromatic basslines
35
Defying gravity:dynamics
Crescendos, chest voice is powerful, accents, staccato | Mp-FF
36
Defying gravity:Tempo, Rhythm and metre
4/4 with certain spoken bars with 3 crotchets Syncopation Crossrhythms 2 or more conflicting rhythms repeated at the same time Colla voce Andante, allegro, moderato, maestoso
37
Defying gravity:texture
Monophonic spoken word section
38
Main rebel theme:Tonality
``` Main theme bb major Tonality is less clear at finish Use of dissonance and considered partially atonal Bitonal C major Bass pedal on c ```
39
Main rebel theme:Melody
``` The piece is a fanfare Leitmotif Use of 4ths and 5ths and 7ths Scalic Descending scales A theme returns Rapid repeated notes Use of imitation 7th intervals Triplets ```
40
Main rebel theme:Harmony
``` Diatonic Melody is accompanied by major/minor chords There aren't many perfect cadences Complex harmony Quartal harmony Descending bassline Tritones ```
41
Main rebel theme:structure
AABA structure
42
Main rebel theme:Tempo, rhythm and metre
``` Fast 4/4 is marchlike Triplets Anacrusis Syncopated blocks Tempo change ```
43
Main rebel theme:texture
Homophonic
44
Samba em preludio:Tonality
B minor with lots of chromaticisms
45
Samba em preludio:Melody
Melodic phrases are triaidic in verse 1 This is a descending sequence Verse 2 employs stepwise movement Flattened fifth
46
Samba em preludio:harmony
Extensions, diminished notes, chromatic chords | Flattened fifths
47
Samba em preludio:Structure
``` introduction verse 1 linking section verse 2 guitar solo voice and bass guitar duet coda ```
48
Samba em preludio:dynamics
Piano/mp
49
Samba em preludio:Metre and rhythm and tempo
``` The opening of the song is in free time The piece is in 4/4 but sounds like 2/2 Verse 1 is rubato Verse 2 has a bossa nova tempo Coda is also in free time Syncopation and triplets Cross-rhythms ```
50
Samba em preludio:Texture
Monophonic Melody and accompaniment Polyphonic
51
Release:Tonality
Aeolian mode of C | Dorian Mode is implied at times through the use of A naturals
52
Release:Melody
Descending vocal melody phrases
53
Release:Harmony
Sucks
54
Release:Structure
``` introduction verse 1 break section verse 2 solos verse 3 drum break outro ```
55
Release:Dynamics
Mezzo forte
56
Release:Tempo, rhythm and metre
``` Free time 4/4 100 bpm Triplet Syncopation Ostinato ```
57
Release:texture
Melody and accompaniment Samples Heterophony

Music (10 decks)

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