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Music MTEL > Music Theory and Analysis > Flashcards

Music Theory and Analysis Flashcards

1
Q

conjunct motion

A

melody moves in half or whole steps, like a scale

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2
Q

disjunct motion

A

melody moves in larger intervals

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3
Q

antecedent phrase

A

a phrase that seems to ask a question

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4
Q

consequent phrase

A

a phrase that seems to answer a question

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5
Q

focal point

A

the highest note of the melody

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6
Q

monophonic texture

A

a texture that includes only a single melody line

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7
Q

polyphonic texture

A

a texture that consists of two or more independent melody lines

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8
Q

homophonic texture

A

a texture that consists of a primary melody line with accompaniment

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9
Q

homorhythmic accompaniment

A

in homophonic texture, accompaniment has the same rhythm as the melody line

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10
Q

heterophonic texture

A

a texture consisting of multiple performers playing/singing a single melody all at once, each adding their own subtle variation

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11
Q

passing tone

A

approached by step then continues by step in the same direction

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12
Q

accented passing tone

A

approached by step then continues by step in the same direction, occurs with the second chord instead of the middle of the two chords

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13
Q

neighbor tone

A

approached by step and returns by step to the original note

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14
Q

accented neighbor tone

A

approached by step and returns by step to the original note, occurs with the second chord instead of the middle of two chords

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15
Q

anticipation

A

approached by step and remains the same - note of the second chord played early

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16
Q

escape tone

A

approached by step then skips in the opposite direction. Not accented - occurring between two chords

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17
Q

appoggiatura

A

approached by skip and then steps in the opposite direction. It is accented, occurring with the second chord

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18
Q

suspension

A

keeps a note the same and then steps downward - accented

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19
Q

retardation

A

keeps a note the same then steps upward - accented

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20
Q

changing tones

A

use two non harmonic tones in succession

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21
Q

double neighbor tones/neighbor group

A

first non harmonic tone approached by step then skips in the opposite direction to the second non harmonic tone

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22
Q

imitation

A

the repetition of a melody in a polyphonic texture in a different voice. May vary through transposition or inversion

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23
Q

fugue

A

a subject is introduced then imitated in multiple voice parts, typically at different interval

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24
Q

subject

A

the material, usually a recognizable melody, upon which part of all of a composition is based

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25
countersubject
in a fugue, when one voice plays the subject, another plays this different melodic idea
26
parallel motion
two voices move in the same direction by the same generic interval
27
similar motion/direct motion
two voices move in the same direction but by different intervals
28
contrary motion
two voices move in opposite directions
29
oblique motion
one voice is stationary while the other voice moves
30
turn
a note above the main note, the main note, then the note below followed by the last note which is the main note again
31
inverted turn
start on the note below the main note, followed by the main note, then the note above, finishing on the original note
32
mordent (upper mordents)
starts on the main note, goes up to the note above then back to the main note again
33
lower mordent
starts on the main note, goes down to the note below then back to the main note again
34
trill
alternate between the given note (the principal note) and the note above it (the auxiliary note) quickly and repeatedly. starts on the note above in music from before the 1800s
35
acciaccatura
"grace note" or "crushed note," played as quickly as possible before the main note
36
sequence
a short melodic phrase that is repeated multiple times
37
harmonic sequence
repetition of a series of chords
38
diminution
a melody, theme or motif is presented in shorter note-values than were previously used
39
augmentation
a melody, theme, or motif is presented in longer note-values than were previously used
40
binary form
a musical form in two related sections, both of which are usually repeated. Usually performed as AABB
41
ternary form
three part musical form consisting of an opening section, a following section, and then a repetition of the first section. ABA
42
strophic form
verse-repeating form, song structure in which all verses or stanzas of text are sung to the same music. AAA
43
variations
material is repeated in an altered form
44
twelve-bar blues
one of the most prominent chord progressions in popular music, predominantly based on the I, IV, and V chords AAB
45
rondo
form with a recurring, tuneful theme alternating with different (usually contrasting) sections called "episodes," if not an independent piece, it often serves as a finale
46
ritornello form
a type of rondo form of the Baroque concerto grosso, alternation between tutti and solo sections, having recurring theme
47
Arch form
ABCBA form, a symmetric rondo with intermediate repetitions of the main theme
48
Sonata-allegro form
form with Exposition, Development, and Recapitulation (and coda), exists within one movement
49
cadenza
a section in a large concerto or ensemble work in which the soloist plays without any accompanying instruments. Can be improvised or written out, and became increasingly virtuosic in the 18th and 19th centuries. Usually occur at the end of a prominent cadence
50
equal-voice polyphony
polyphony that maintains the same thematic material in all the individual voices, like a canon
51
unequal-voice polyphony
polyphony in which greater importance is given to one of more melodic lines
52
cambiata
a figure that moves down a second to a dissonant pitch, down another third to a consonant pitch, then up a second that can be dissonant or consonant
53
four main clefs used in orchestral writing
treble, alto, tenor, bass
54
What instruments read treble clef in an orchestra?
violin, woodwinds, high brasses, and treble range of keyboard instruments
55
What instruments read alto clef in an orchestra?
viola
56
What instruments read tenor clef in an orchestra?
sometimes cello, bassoon, and trombone
57
What instruments read bass clef in an orchestra?
double bass, cello, bassoon, trombone, low brasses, and the bass range of keyboard instruments
58
rounded binary form
type of binary in which the B section (or really, A', because its more of a modified version of A) is followed by the return of (typically half of) the A section
59
hemiola
two measures of triple meter as if they were three measures of duple meter, giving the effect of a shift between triple and duple meter; three against two rhythm
60
tone cluster
a group of closely spaced notes played simultaneously
61
dux
the initial subject of a fugue, the leader
62
comes
the companion answer to the dux (in a fugue) in the dominant key
63
whole tone scale
every pitch is separated by a whole step
64
chromatic scale
every pitch is separated by a half step
65
twelve-tone music
a system in which a composition is based on a serial ordering of all 12 pitches; the pitches appear in this sequence in the composition
66
natural minor
has a flattened 3rd, 6th, and 7th, the Aoelian mode
67
harmonic minor
natural minor scale with a raised 7th scale degree
68
melodic minor
natural minor scale where 6th and 7th are raised in ascending motion, and lowered to the natural minor in descending motion
69
tonic
first scale degree
70
supertonic
second scale degree
71
mediant
third scale degree
72
subdominant
fourth scale degree
73
dominant
fifth scale degree
74
submediant
sixth scale degree
75
leading tone/subtonic
seventh scale degree
76
perfect cadence
cadence in which both of the chords are in root position and the tonic is in the highest voice
77
imperfect cadence
cadence in which either of the chords are in an inversion and/or the tonic isn't in the highest voice
78
authentic cadence
cadence that is V-I
79
plagal cadence
cadence that is IV-I
80
deceptive cadence
cadence that is V-vi (or VI), defying expectations
81
half cadence
cadence ending on V
82
stretto
in a fugue, when a subject is imitated before it is completed (one voice tries to catch the other)
83
pedal point/organ point
in a fugue, a single tone usually in the bass is held while the other voices produce a series of changing harmonies against it
84
inversion
when a subject is turned upside down, reversing each interval in direction
85
retrograde
when a subject is presented backwards - beginning with the last note and proceeding backward to the first
86
motif
short musical idea developed within a composition
87
through-composed form
form in which new music is written for every stanza
88
modified strophic form
form in which a three stanza poem is set as follows: A (stanza 1) - B (stanza 2) - A (stanza three)
89
period
a unit of melodic organization made up of two balanced phrases in succession: the antecedent and consequent
90
simple musical form
can be seen as a complete and self-contained work that is not divisible into other, smaller self-contained works, ex: binary form
91
compound musical form
a composite form that is made up of other, smaller simple forms, ex: symphony
92
Landini cadence
in a typical Medieval cadence, a major sixth musical interval is expanded to an octave by having each note move outwards one step. In Landini's version, an escape tone in the upper voice narrows the interval briefly to a perfect fifth before the octave
93
lament bass
ground bass that descends from the tonic to the dominant, with each step harmonized
94
Italian 6th chord
derived from iv6 with an altered fourth scale degree, ♯4. This is the only augmented sixth chord comprising just three distinct notes; in four-part writing, the tonic pitch is doubled. Conventionally used with a predominant function (resolving to the dominant)
95
French 6th chord
is similar to the Italian (built on an altered fourth scale degree, ♯4), but with an additional tone, scale degree 2. The notes of this chord are all contained within the same whole tone scale, lending a sonority common to French music in the 19th century (especially associated with Impressionist music). Conventionally used with a predominant function
96
German 6th chord
like the Italian (built on an altered fourth scale degree, ♯4), but with an added tone, ♭scale degree 3. It appears frequently in the works of Beethoven and in ragtime music, enharmonically equivalent to a dominant seventh chord though it functions differently. Conventionally used with a predominant function
97
Neapolitan 6th chord
a major chord built on the lowered (flatted) second (supertonic) scale degree, its function is to precede the dominant, substituting for the IV or ii (particularly ii6) chord

Music MTEL (9 decks)

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