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Music MTEL > Music Theory and Analysis > Flashcards

Music Theory and Analysis Flashcards

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Ultimate Music Theory 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
Q

countersubject

A

in a fugue, when one voice plays the subject, another plays this different melodic idea

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26
Q

parallel motion

A

two voices move in the same direction by the same generic interval

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27
Q

similar motion/direct motion

A

two voices move in the same direction but by different intervals

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28
Q

contrary motion

A

two voices move in opposite directions

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29
Q

oblique motion

A

one voice is stationary while the other voice moves

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30
Q

turn

A

a note above the main note, the main note, then the note below followed by the last note which is the main note again

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31
Q

inverted turn

A

start on the note below the main note, followed by the main note, then the note above, finishing on the original note

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32
Q

mordent (upper mordents)

A

starts on the main note, goes up to the note above then back to the main note again

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33
Q

lower mordent

A

starts on the main note, goes down to the note below then back to the main note again

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34
Q

trill

A

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

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35
Q

acciaccatura

A

“grace note” or “crushed note,” played as quickly as possible before the main note

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36
Q

sequence

A

a short melodic phrase that is repeated multiple times

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37
Q

harmonic sequence

A

repetition of a series of chords

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38
Q

diminution

A

a melody, theme or motif is presented in shorter note-values than were previously used

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39
Q

augmentation

A

a melody, theme, or motif is presented in longer note-values than were previously used

40
Q

binary form

A

a musical form in two related sections, both of which are usually repeated. Usually performed as AABB

41
Q

ternary form

A

three part musical form consisting of an opening section, a following section, and then a repetition of the first section. ABA

42
Q

strophic form

A

verse-repeating form, song structure in which all verses or stanzas of text are sung to the same music. AAA

43
Q

variations

A

material is repeated in an altered form

44
Q

twelve-bar blues

A

one of the most prominent chord progressions in popular music, predominantly based on the I, IV, and V chords AAB

45
Q

rondo

A

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
Q

ritornello form

A

a type of rondo form of the Baroque concerto grosso, alternation between tutti and solo sections, having recurring theme

47
Q

Arch form

A

ABCBA form, a symmetric rondo with intermediate repetitions of the main theme

48
Q

Sonata-allegro form

A

form with Exposition, Development, and Recapitulation (and coda), exists within one movement

49
Q

cadenza

A

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
Q

equal-voice polyphony

A

polyphony that maintains the same thematic material in all the individual voices, like a canon

51
Q

unequal-voice polyphony

A

polyphony in which greater importance is given to one of more melodic lines

52
Q

cambiata

A

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
Q

four main clefs used in orchestral writing

A

treble, alto, tenor, bass

54
Q

What instruments read treble clef in an orchestra?

A

violin, woodwinds, high brasses, and treble range of keyboard instruments

55
Q

What instruments read alto clef in an orchestra?

A

viola

56
Q

What instruments read tenor clef in an orchestra?

A

sometimes cello, bassoon, and trombone

57
Q

What instruments read bass clef in an orchestra?

A

double bass, cello, bassoon, trombone, low brasses, and the bass range of keyboard instruments

58
Q

rounded binary form

A

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
Q

hemiola

A

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
Q

tone cluster

A

a group of closely spaced notes played simultaneously

61
Q

dux

A

the initial subject of a fugue, the leader

62
Q

comes

A

the companion answer to the dux (in a fugue) in the dominant key

63
Q

whole tone scale

A

every pitch is separated by a whole step

64
Q

chromatic scale

A

every pitch is separated by a half step

65
Q

twelve-tone music

A

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
Q

natural minor

A

has a flattened 3rd, 6th, and 7th, the Aoelian mode

67
Q

harmonic minor

A

natural minor scale with a raised 7th scale degree

68
Q

melodic minor

A

natural minor scale where 6th and 7th are raised in ascending motion, and lowered to the natural minor in descending motion

69
Q

tonic

A

first scale degree

70
Q

supertonic

A

second scale degree

71
Q

mediant

A

third scale degree

72
Q

subdominant

A

fourth scale degree

73
Q

dominant

A

fifth scale degree

74
Q

submediant

A

sixth scale degree

75
Q

leading tone/subtonic

A

seventh scale degree

76
Q

perfect cadence

A

cadence in which both of the chords are in root position and the tonic is in the highest voice

77
Q

imperfect cadence

A

cadence in which either of the chords are in an inversion and/or the tonic isn’t in the highest voice

78
Q

authentic cadence

A

cadence that is V-I

79
Q

plagal cadence

A

cadence that is IV-I

80
Q

deceptive cadence

A

cadence that is V-vi (or VI), defying expectations

81
Q

half cadence

A

cadence ending on V

82
Q

stretto

A

in a fugue, when a subject is imitated before it is completed (one voice tries to catch the other)

83
Q

pedal point/organ point

A

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
Q

inversion

A

when a subject is turned upside down, reversing each interval in direction

85
Q

retrograde

A

when a subject is presented backwards - beginning with the last note and proceeding backward to the first

86
Q

motif

A

short musical idea developed within a composition

87
Q

through-composed form

A

form in which new music is written for every stanza

88
Q

modified strophic form

A

form in which a three stanza poem is set as follows: A (stanza 1) - B (stanza 2) - A (stanza three)

89
Q

period

A

a unit of melodic organization made up of two balanced phrases in succession: the antecedent and consequent

90
Q

simple musical form

A

can be seen as a complete and self-contained work that is not divisible into other, smaller self-contained works, ex: binary form

91
Q

compound musical form

A

a composite form that is made up of other, smaller simple forms, ex: symphony

92
Q

Landini cadence

A

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
Q

lament bass

A

ground bass that descends from the tonic to the dominant, with each step harmonized

94
Q

Italian 6th chord

A

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
Q

French 6th chord

A

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
Q

German 6th chord

A

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
Q

Neapolitan 6th chord

A

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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