Music Flashcards
What does PPSS stand for?
Perfect(cadence), pedal(harmony), sequence(melody), syncopation(rhythm)
What does MOMOMAMI stand for
Modulation, modal, major, minor
Bradenburg concerto:Tonality
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
Bradenburg concerto:Melody
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
Bradenburg concerto:Harmony
Diatonic harmony, perfect cadences at the end of section A in bar 78, certain moments of chromatics, figured bass, section B has a pedal
Bradenburg concerto:structure
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
Bradenburg concerto:Dynamics
Terraced dynamics
Bradenburg concerto:Tempo, Meter and Rhythm
Triplets, allegro, 2/4, compound-like sound
Bradenburg concerto:Texture
Monophonic texture in the first 2 bars
Homophonic moments in section B
Contrapunctual (polyphonic) texture is fugal (Section A)
Pathetique:Tonality
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
Pathetique:Melody
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
Pathetique:Harmony
Perfect(bar 18-19)/imperfect(bar 27) cadences, diminished 7ths, pedals,
Pathetique:Structure
Sonata-into, exposition, development and recapitulation with coda
Pathetique:Dynamics
Extreme dynamics from pp to ff with accents, crescendos and diminuendos
Pathetique:Tempo, Rhythm and Meter
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)
Pathetique:Texture
Homophonic
Music for a while:Tonality
A minor modulations through E minor, G major and C major in middle section
Chromaticism
Music for a while:Melody
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)
Music for a while:Harmony
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
Music for a while:Structure
Da capo aria form (baroque structure similar to ternary form)
Ground bass throughout
Perfect cadence
Music for a while:Dynamics
Not notated, could be terraced
Music for a while:Metre, tempo and rhythm
4/4 simple time
Could be considered largo but doesn’t have a written tempo
Quaver pulse in Ground bass
Music for a while:Texture
Melody dominated-homophony
Unison(left hand harpsichord and bass viol)
Imitation
Killer queen:Tonality
Brief moment of C minor in the beginning which quickly moves to Bb major in choruses, this creates a general relation of Eb major
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
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
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
Killer queen:Dynamics
Not notated but is considered MF
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
Killer queen:Texture
Melody-dominated homphony
Block chords
Imitation bar 62 beat 4
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
Defying gravity:Melody
Leitmotifs
Leaps of 4ths/5ths (note if they are perfect)
Defying gravity:Structure
introduction verse 1 chorus verse 2 chorus bridge chorus introduction reprise verse 3 chorus coda
Defying gravity:harmony
Perfect cadence
Chords with no connection
Chromatic basslines
Defying gravity:dynamics
Crescendos, chest voice is powerful, accents, staccato
Mp-FF
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
Defying gravity:texture
Monophonic spoken word section
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
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
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
Main rebel theme:structure
AABA structure
Main rebel theme:Tempo, rhythm and metre
Fast 4/4 is marchlike Triplets Anacrusis Syncopated blocks Tempo change
Main rebel theme:texture
Homophonic
Samba em preludio:Tonality
B minor with lots of chromaticisms
Samba em preludio:Melody
Melodic phrases are triaidic in verse 1
This is a descending sequence
Verse 2 employs stepwise movement
Flattened fifth
Samba em preludio:harmony
Extensions, diminished notes, chromatic chords
Flattened fifths
Samba em preludio:Structure
introduction verse 1 linking section verse 2 guitar solo voice and bass guitar duet coda
Samba em preludio:dynamics
Piano/mp
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
Samba em preludio:Texture
Monophonic
Melody and accompaniment
Polyphonic
Release:Tonality
Aeolian mode of C
Dorian Mode is implied at times through the use of A naturals
Release:Melody
Descending vocal melody phrases
Release:Harmony
Sucks
Release:Structure
introduction verse 1 break section verse 2 solos verse 3 drum break outro
Release:Dynamics
Mezzo forte
Release:Tempo, rhythm and metre
Free time 4/4 100 bpm Triplet Syncopation Ostinato
Release:texture
Melody and accompaniment
Samples
Heterophony
