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Music Flashcards

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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
Q

Killer queen:melody

A 
Anacrusis
Sequence bar 12-13 and bar 20-21
Word setting - syllabic
Nonsense phrases like 'ooh' or 'ahh' are vocables
Word painting
26
Q

Killer queen:Harmony

A 
Not all chords in tonic key
Extended chords
Harmonic pedal bar 5-6
Chromatic bassline
Circle of fifths movement in bar 20
27
Q

Killer queen:Structure

A 
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
Q

Killer queen:Dynamics

A

Not notated but is considered MF

29
Q

Killer queen:Meter rhythm and tempo

A

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
Q

Killer queen:Texture

A

Melody-dominated homphony
Block chords
Imitation bar 62 beat 4

31
Q

Defying gravity:tonality

A

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
Q

Defying gravity:Melody

A

Leitmotifs

Leaps of 4ths/5ths (note if they are perfect)

33
Q

Defying gravity:Structure

A 
introduction
verse 1
chorus
verse 2
chorus
bridge
chorus
introduction reprise
verse 3
chorus
coda
34
Q

Defying gravity:harmony

A

Perfect cadence
Chords with no connection
Chromatic basslines

35
Q

Defying gravity:dynamics

A

Crescendos, chest voice is powerful, accents, staccato

Mp-FF

36
Q

Defying gravity:Tempo, Rhythm and metre

A

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
Q

Defying gravity:texture

A

Monophonic spoken word section

38
Q

Main rebel theme:Tonality

A 
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
Q

Main rebel theme:Melody

A 
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
Q

Main rebel theme:Harmony

A 
Diatonic
Melody is accompanied by major/minor chords
There aren't many perfect cadences
Complex harmony
Quartal harmony
Descending bassline
Tritones
41
Q

Main rebel theme:structure

A

AABA structure

42
Q

Main rebel theme:Tempo, rhythm and metre

A 
Fast
4/4 is marchlike
Triplets
Anacrusis
Syncopated blocks
Tempo change
43
Q

Main rebel theme:texture

A

Homophonic

44
Q

Samba em preludio:Tonality

A

B minor with lots of chromaticisms

45
Q

Samba em preludio:Melody

A

Melodic phrases are triaidic in verse 1
This is a descending sequence
Verse 2 employs stepwise movement
Flattened fifth

46
Q

Samba em preludio:harmony

A

Extensions, diminished notes, chromatic chords

Flattened fifths

47
Q

Samba em preludio:Structure

A 
introduction
verse 1
linking section
verse 2
guitar solo
voice and bass guitar duet
coda
48
Q

Samba em preludio:dynamics

A

Piano/mp

49
Q

Samba em preludio:Metre and rhythm and tempo

A 
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
Q

Samba em preludio:Texture

A

Monophonic
Melody and accompaniment
Polyphonic

51
Q

Release:Tonality

A

Aeolian mode of C

Dorian Mode is implied at times through the use of A naturals

52
Q

Release:Melody

A

Descending vocal melody phrases

53
Q

Release:Harmony

A

Sucks

54
Q

Release:Structure

A 
introduction
verse 1
break section
verse 2
solos
verse 3
drum break
outro
55
Q

Release:Dynamics

A

Mezzo forte

56
Q

Release:Tempo, rhythm and metre

A 
Free time
4/4
100 bpm
Triplet
Syncopation
Ostinato
57
Q

Release:texture

A

Melody and accompaniment
Samples
Heterophony

Music (10 decks)

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