Music Theory and Analysis Flashcards
conjunct motion
melody moves in half or whole steps, like a scale
disjunct motion
melody moves in larger intervals
antecedent phrase
a phrase that seems to ask a question
consequent phrase
a phrase that seems to answer a question
focal point
the highest note of the melody
monophonic texture
a texture that includes only a single melody line
polyphonic texture
a texture that consists of two or more independent melody lines
homophonic texture
a texture that consists of a primary melody line with accompaniment
homorhythmic accompaniment
in homophonic texture, accompaniment has the same rhythm as the melody line
heterophonic texture
a texture consisting of multiple performers playing/singing a single melody all at once, each adding their own subtle variation
passing tone
approached by step then continues by step in the same direction
accented passing tone
approached by step then continues by step in the same direction, occurs with the second chord instead of the middle of the two chords
neighbor tone
approached by step and returns by step to the original note
accented neighbor tone
approached by step and returns by step to the original note, occurs with the second chord instead of the middle of two chords
anticipation
approached by step and remains the same - note of the second chord played early
escape tone
approached by step then skips in the opposite direction. Not accented - occurring between two chords
appoggiatura
approached by skip and then steps in the opposite direction. It is accented, occurring with the second chord
suspension
keeps a note the same and then steps downward - accented
retardation
keeps a note the same then steps upward - accented
changing tones
use two non harmonic tones in succession
double neighbor tones/neighbor group
first non harmonic tone approached by step then skips in the opposite direction to the second non harmonic tone
imitation
the repetition of a melody in a polyphonic texture in a different voice. May vary through transposition or inversion
fugue
a subject is introduced then imitated in multiple voice parts, typically at different interval
subject
the material, usually a recognizable melody, upon which part of all of a composition is based
countersubject
in a fugue, when one voice plays the subject, another plays this different melodic idea
parallel motion
two voices move in the same direction by the same generic interval
similar motion/direct motion
two voices move in the same direction but by different intervals
contrary motion
two voices move in opposite directions
oblique motion
one voice is stationary while the other voice moves
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
inverted turn
start on the note below the main note, followed by the main note, then the note above, finishing on the original note
mordent (upper mordents)
starts on the main note, goes up to the note above then back to the main note again
lower mordent
starts on the main note, goes down to the note below then back to the main note again
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
acciaccatura
“grace note” or “crushed note,” played as quickly as possible before the main note
sequence
a short melodic phrase that is repeated multiple times
harmonic sequence
repetition of a series of chords
diminution
a melody, theme or motif is presented in shorter note-values than were previously used
augmentation
a melody, theme, or motif is presented in longer note-values than were previously used
binary form
a musical form in two related sections, both of which are usually repeated. Usually performed as AABB
ternary form
three part musical form consisting of an opening section, a following section, and then a repetition of the first section. ABA
strophic form
verse-repeating form, song structure in which all verses or stanzas of text are sung to the same music. AAA
variations
material is repeated in an altered form
twelve-bar blues
one of the most prominent chord progressions in popular music, predominantly based on the I, IV, and V chords AAB
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
ritornello form
a type of rondo form of the Baroque concerto grosso, alternation between tutti and solo sections, having recurring theme
Arch form
ABCBA form, a symmetric rondo with intermediate repetitions of the main theme
Sonata-allegro form
form with Exposition, Development, and Recapitulation (and coda), exists within one movement
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
equal-voice polyphony
polyphony that maintains the same thematic material in all the individual voices, like a canon
unequal-voice polyphony
polyphony in which greater importance is given to one of more melodic lines
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
four main clefs used in orchestral writing
treble, alto, tenor, bass
What instruments read treble clef in an orchestra?
violin, woodwinds, high brasses, and treble range of keyboard instruments
What instruments read alto clef in an orchestra?
viola
What instruments read tenor clef in an orchestra?
sometimes cello, bassoon, and trombone
What instruments read bass clef in an orchestra?
double bass, cello, bassoon, trombone, low brasses, and the bass range of keyboard instruments
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
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
tone cluster
a group of closely spaced notes played simultaneously
dux
the initial subject of a fugue, the leader
comes
the companion answer to the dux (in a fugue) in the dominant key
whole tone scale
every pitch is separated by a whole step
chromatic scale
every pitch is separated by a half step
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
natural minor
has a flattened 3rd, 6th, and 7th, the Aoelian mode
harmonic minor
natural minor scale with a raised 7th scale degree
melodic minor
natural minor scale where 6th and 7th are raised in ascending motion, and lowered to the natural minor in descending motion
tonic
first scale degree
supertonic
second scale degree
mediant
third scale degree
subdominant
fourth scale degree
dominant
fifth scale degree
submediant
sixth scale degree
leading tone/subtonic
seventh scale degree
perfect cadence
cadence in which both of the chords are in root position and the tonic is in the highest voice
imperfect cadence
cadence in which either of the chords are in an inversion and/or the tonic isn’t in the highest voice
authentic cadence
cadence that is V-I
plagal cadence
cadence that is IV-I
deceptive cadence
cadence that is V-vi (or VI), defying expectations
half cadence
cadence ending on V
stretto
in a fugue, when a subject is imitated before it is completed (one voice tries to catch the other)
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
inversion
when a subject is turned upside down, reversing each interval in direction
retrograde
when a subject is presented backwards - beginning with the last note and proceeding backward to the first
motif
short musical idea developed within a composition
through-composed form
form in which new music is written for every stanza
modified strophic form
form in which a three stanza poem is set as follows: A (stanza 1) - B (stanza 2) - A (stanza three)
period
a unit of melodic organization made up of two balanced phrases in succession: the antecedent and consequent
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
compound musical form
a composite form that is made up of other, smaller simple forms, ex: symphony
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
lament bass
ground bass that descends from the tonic to the dominant, with each step harmonized
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)
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
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
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
