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OAE Music > Music Theory and Composition > Flashcards

Music Theory and Composition Flashcards

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1
Q

Refers to the motion of two musical lines that moves in opposite directions.

A

Contrary Motion

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2
Q

Refers to the motion of two musical lines that move in the same direction, whether upwards or downwards, while maintaining the same interval between two lines.

A

Parallel Motion

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3
Q

Refers to the motion of two musical lines that move in similar directions, whether upwards or downwards, but without maintaining the same interval between lines.

A

Similar Motion

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4
Q

refers to the motion of two musical lines which one line stays stationary while the other musical line moves in an upward or downward direction.

A

Oblique Motion

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5
Q

Allowable dissonance where there is a leap to a dissonance followed by a descending step.

A

Appoggiatura

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6
Q

Allowable dissonance where a dissonance tone sounds on a downbeat and is then resolved downward by step.

A

Suspension

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7
Q

Movement through stepwise motion through two consonant tone.

A

Passing tone

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8
Q

Moves in a stepwise motion but returns to the original consonant tone.

A

Neighbor Tone

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9
Q

Dissonant note that is approached by step and resolved by a leap in the opposite direction.

A

Escape Tone

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10
Q

Interval referring to the unison, fourth, fifth, and octave.

A

Perfect Interval

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11
Q

When a perfect interval is lowered by a half-step.

A

Diminished Interval

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12
Q

When a perfect interval is raised by a half-step.

A

Augmented Interval

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13
Q

Interval in a diatonic major scale and measures the relationship between those two pitches. Can refer to the second, third, sixth, and seventh intervals.

A

Major Intervals

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14
Q

When a major interval is lowered by a half-step.

A

Minor Interval

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15
Q

When any minor interval is lowered by a half-step.

A

Diminished Interval

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16
Q

When any major interval is raised a half-step.

A

Augmented Interval

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17
Q

Minor scale that shares the same key as the major scale

A

Relative minor

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18
Q

Minor scale that shares the same tonic pitch.

A

Parallel minor

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19
Q

G-Clef; used by violin, woodwinds, and high brasses.

A

Treble clef

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20
Q

C-Clef; Middle point sits on the third line, used by viola

A

Alto clef

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21
Q

C-Clef; Middle point sits on the fourth line, used by cello, bassoon, and trombone

A

Tenor clef

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22
Q

F-Clef; two dots of the symbol surround the F-line, used by double bass, cello, bassoon, trombone, and low brasses

A

Bass Clef

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23
Q

F3 to D5 voice range

A

Alto

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24
Q

C4 to A5

A

Soprano

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25
Q

B3 to G4

A

Tenor

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26
Q

E2 to C4

A

Bass

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27
Q

G2 to E4

A

Baritone

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28
Q

A3 to F5

A

Mezzo-soprano

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29
Q

Music became highly homophonic with a focus on melody and accompaniment textural form

A

Classical Era

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30
Q

Strings and winds were double to play certain lines.

A

Baroque era

31
Q

Technique that allows students to learn progressions, melodic contour, and rhythmic patterns of improvisers of the past.

A

Imitation

32
Q

Thematic, melodic, rhythmic, stylistic and harmonic

A

Musical variations

33
Q

Served as primarily religious element in the churches of the time.

A

Baroque improvisation

34
Q

Born in the bars and alleyways of New Orleans

A

Jazz improvisation

35
Q

This is a musical form composed of 32 measures, typically in 4/4 time. This song form consists of four sections: an eight-bar A section; a second eight-bar A section; an eight-bar contrasting B section; and a final eight-bar A section.

A

32-Bar jazz

36
Q

Developed in the Baroque period. It is characterised by a recurring A section in between new sections of music, and is often described as ‘ABACA’, where the A section contains a distinctive theme.

A

Ritornello form

37
Q

Connecting two chords together smoothly.

A

Voice Leading

38
Q

Closely tied with meter, and consists of the aspect of rhythm associated with patterns of duration, emphases, and groupings.

A

Durational rhythm

39
Q

Does not arise from patterns of stress and duration, and is essentially independent of meter. (Ex. recurrence of a single tone, the octave relationship, chordal and linear associations, consonances, and dissonances).

A

Tonal rhythm

40
Q

Meaning force, directs the musician to strongly accent the notes over which the marking occurs.

A

Forzando (z)

41
Q

Meaning reinforcing or strengthening. Dynamic marking means to increase in volume of a group of notes throughout a phrase and is played increasingly louder similarly to a cresc. but over a shorter length of time.

A

Rinforzando (rinf)

42
Q

Similar to forzando, and the two terms can be interchanged to mean a sudden increase in loudness of the note or notes over which the marking occurs.

A

Sforcando (sfz)

43
Q

“with” indicates each of these terms as descriptions or instructions of a performer’s phrasing.

A

Con

44
Q

“with bravery”

A

Con bravura

45
Q

“with love”

A

Con amore

46
Q

“with spirit”

A

Con Biro

47
Q

“with fire”

A

Con fuoco

48
Q

“with grace”

A

Con grazia

49
Q

“with tenderness”

A

Con Tenerezza

50
Q

Italian word meaning “to hold”, directs the player to hold the notes for its full value.

A

Tenuto

51
Q

Italian word meaning “to carry”, directs the player to smoothly detach the notes similarly to a legato, but shorter in length and longer than a staccato. (both dots and a slur over or under the notes)

A

Portato

52
Q

Italian word meaning “to detach”, directs the player to shortly detach the note.

A

Staccato

53
Q

An extremely shortened note and is notated by a wedge or pike above or under the note head.

A

Staccatissimo

54
Q

Italian meaning “very or extremely broad”, should be played very slowly.

A

Larghissimo

55
Q

Italian meaning “broad”, and should be played slowly.

A

Largo

56
Q

Slightly faster than largo

A

Larghetto

57
Q

Italian meaning “in a walking manner”, and should be played slightly faster than adagio, but slower than moderato.

A

Andante

58
Q

Italian meaning “moderately” and should be played at an easy comfortable tempo.

A

Moderato

59
Q

Italian meaning “fast” and should be played at a quick tempo.

A

Allegro

60
Q

Italian meaning “lively” and should be played faster than allegro but slower than presto.

A

Vivace

61
Q

Italian meaning “very fast” and should be played very quickly.

A

Presto

62
Q

Italian meaning “to hurry”, indicates a quickening of the tempo and also a character or mood of agitation.

A

Affretando

63
Q

Italian meaning “to slow down”, the player should gradually decrease the tempo of the section as the music slows down.

A

Slentando

64
Q

Italian meaning “to widen:, the player should gradually decrease the tempo in a deliberate and imposing character.

A

Allargando

65
Q

Italian meaning “to let down”, the player should gradually decrease both the tempo and the volume, indicates a mood of calming and dying away.

A

Calando

66
Q

Requires players to detach the notes by playing one note per bow stroke

A

Detache

67
Q

A bow stroke in which the bow plays two adjacent strings like a tremolo.

A

Ondule

68
Q

The bouncing of the notes by the middle of the bow that is typically played at a fast tempo.

A

Sautille

69
Q

Refers to the use of the bow close to the bridge in which a harsh grating sound is produced.

A

Sul ponticello

70
Q

Refers to the use of the bow over the end of the fingerboard to produce a light airy sound.

A

Sul tasto

71
Q

Refers to the abrupt release of a stroke in a forceful manner

A

Martele

72
Q

Refers to the rapid bouncing of the upper third of the bow as the player drops the bow on a down-bow

A

Ricochet

73
Q

Refers to the slight detachment of the notes without changing the direction of the bow.

A

Loure

74
Q

Refers to using the stick of the bow on the strings instead of the hair.

A

Col Lengo

OAE Music (2 decks)

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