Music Theory Notes 3

Question 1

Define Static Motion

Answer 1

Definition: Static motion occurs when neither of the musical voices (parts) moves—they both stay on the same note.

Question 2

Where are static motions found in music, and by which composer?

Answer 2

• Use in Music: Often found in drone-based music (e.g., in early music, like plainchant, or in sections where a pedal point is used).
• Example Composer: Johann Sebastian Bach often used pedal points (a type of static motion) in his fugues and organ works.

Question 3

Oblique Motion

Answer 3

Definition: One voice remains on the same note (static) while the other moves either up or down.

Question 4

Where does oblique motion usually be used in music? Provide a composer who used them.

Answer 4

• Use in Music: Common in organum during the Medieval period and later in counterpoint, where it adds contrast and interest.
• Example Composer: Guillaume de Machaut in the Medieval period and Palestrina in Renaissance polyphony.

Question 5

Contrary Motion

Answer 5

Contrary Motion
* Definition: Both voices move, but in opposite directions—one goes up while the other goes down.

Question 6

Where is Contrary motion used in music and give a composer who commonly uses them in their works.

Answer 6

• Use in Music: Often found in homophonic textures where chords or melodies are harmonized.
• Example Composer: Ludwig van Beethoven used similar motion in his piano sonatas, especially in chordal passages.

Question 7

Similar Motion

Answer 7

• Definition: Both voices move in the same direction (up or down), but not necessarily by the same interval.

Question 8

Similar Motion: Use in music and example composer

Answer 8

• Use in Music: Vital in counterpoint (used to create balance) and frequently found in fugues and inventions.
• Example Composer: J.S. Bach’s inventions and fugues use contrary motion extensively to create a sense of balance and complexity.

Question 9

Define Parallel Motion

Answer 9

Parallel Motion
* Definition: Both voices move in the same direction and by the same interval.

Question 10

Parallel Motion: Use in Music and Example Composer.

Answer 10

• Use in Music: Found in parallel harmony, such as parallel fifths or octaves (though avoided in strict counterpoint due to rules about independence).
• Example Composer: Claude Debussy used parallel motion extensively in impressionist music, such as in Clair de Lune and other works.

Question 11

Define Passing Tones, use in music, and example.

Answer 11

• Definition: A passing tone is a non-chord note that connects two chord tones by step. It creates a smooth transition between two notes.
• Use in Music: Passing tones fill in the gap between two chord tones, often used in melodic lines to make them sound more fluid.
• Example:
  In C major:
  o Chord: C (C-E-G)
  o Melody: C → D → E
  The note D is a passing tone because it connects C and E, moving by step.

Question 12

Define Neighbouring Tones, Use in Music, and Example

Answer 12

Neighboring Tones
* Definition: A neighboring tone (or auxiliary tone) is a non-chord note that moves away from a chord tone by step and then returns to the original chord tone.
* Use in Music: Neighboring tones add decorative movement to a melody while maintaining a sense of stability because they return to the original note.
* Example:
In C major:
o Chord: C (C-E-G)
o Melody: C → D → C
The note D is a neighboring tone because it moves one step up from C and then back to C.

Question 13

What are the Key differences between a passing tone and neighbouring tone?
(Hint: Think about the direction of movemet and purpose)

Answer 13

Key Difference
1. Direction of Movement:
o Passing Tone: Moves in one direction (up or down) and connects two different chord tones.
o Neighboring Tone: Moves away from a chord tone and then returns to the same chord tone.
2. Purpose:
o Passing Tone: Bridges two notes.
o Neighboring Tone: Embellishes a single note.

Question 14

What are parllels 5ths?

Answer 14

• Parallel 5ths: When two voices move in the same direction and maintain a perfect fifth interval between them.
  For example, if one voice moves from C to D and another from G to A, the interval (C to G and D to A) stays as a perfect fifth.

Question 15

What are parallel 8ves?

Answer 15

• Parallel 8ves (or Octaves): When two voices move in the same direction and maintain a perfect octave interval between them.
  For example, if one voice moves from C to D and another from the higher C to D, the interval (C to C and D to D) stays as a perfect octave.

Question 16

Why are Parallel 5ths and 8ves Avoided?

Answer 16

In traditional Western classical music (especially in strict counterpoint):
* They are avoided because they can weaken the independence of the voices. Parallel motion in perfect intervals creates a “hollow” sound, making the parts feel like they’re doubling each other instead of acting independently.

Question 17

How to Identify Parallel 5ths and 8ves in Written Music

Answer 17

1. Look at Two Adjacent Notes in Two Different Voices:
   o Check the interval between the two notes. Is it a perfect fifth (e.g., C-G) or a perfect octave (e.g., C-C)?
2. Follow the Same Voices in the Next Chord:
   o If both voices move in the same direction and the interval remains the same (perfect fifth or octave), it’s a parallel 5th or 8ve.
3. Mark Movement Across the Same Interval:
   o For parallel 5ths: Draw lines between the notes that form fifths and see if both move the same way.
   o For parallel 8ves: Do the same for octaves.

Question 18

How to Fix Parallel 5ths and 8ves

Answer 18

• Change one voice to move in contrary motion (opposite direction).
• Use oblique motion (one voice stays static, and the other moves).

Question 19

What is Modulation?

Answer 19

• Definition: Modulation is the process of changing from one key to another within a piece of music.
• Purpose: It adds variety, emotional contrast, and interest to a piece of music by moving to a new tonal center (key).
• Types of Modulation:
  o Closely Related Keys: Keys that share many common notes (e.g., moving from C major to G major).
  o Distant Keys: Keys that share fewer common notes, often used for dramatic effect (e.g., C major to F# major).

Question 20

How to Modulate

Answer 20

1. Choose a Target Key: Decide which key you want to move to.
   o For smooth transitions, start with a closely related key (e.g., the dominant or relative major/minor).
2. Find a Pivot Chord:
   o A pivot chord is a chord that belongs to both the original key and the new key.
   o For example, in modulating from C major to G major:
    The chord Am (A minor) works as a pivot because it belongs to both C major and G major.
3. Move to a Chord Exclusive to the New Key:
   o After the pivot chord, use a chord that establishes the new key (e.g., a dominant or tonic chord in the new key).
   o In the example of modulating from C major to G major:
    C → Am (pivot) → D (dominant of G major) → G (new tonic).
4. Confirm the New Key:
   o Use cadences in the new key to firmly establish it (e.g., a V-I cadence in the new key).

Question 21

List the Types of Modulation

Answer 21

There are several types of modulation:
1. Direct Modulation: Also known as abrupt modulation, this type of modulation changes keys without any preparation, moving directly from one key to another.
2. Pivot Chord Modulation: This is a smoother transition where a chord common to both the original key and the new key is used to bridge the change. The shared chord acts as a pivot, making the modulation more seamless.
3. Chromatic Modulation: This involves changing keys by altering one or more notes chromatically (by a half step) to shift to a new key.
4. Sequential Modulation: This type uses a repeated musical sequence that is transposed to different keys, gradually leading to the new key.

(Modulation is used to create contrast, maintain listener interest, and develop musical ideas by exploring different harmonic landscapes within a piece.)

Question 22

Define a pivot chord

Answer 22

**Definition: A pivot chord is a chord that serves as a bridge between the original key and the new key. It functions diatonically (naturally) in both keys. **

Question 23

How to Identify a Pivot Chord?

Answer 23

• How to Identify a Pivot Chord:
  1. Look for a chord in the original key that also belongs to the target key.
  2. Ensure the pivot chord logically leads to a chord that establishes the new key.
• Example:
  o Modulating from F major to C major:
   Original Key: F major (Chords: F, Gm, Am, Bb, C, Dm, Edim)
   Target Key: C major (Chords: C, Dm, Em, F, G, Am, Bdim)
   Pivot Chord: Am (functions as vi in F major and iii in C major).

Question 24

Examples you should know about the types of modulation

Answer 24

Examples in Music
1. Smooth Modulation:
o Beethoven’s Symphony No. 5: Modulates from C minor to E-flat major using a pivot chord and strong cadences.
2. Dramatic Modulation:
o Franz Liszt often used distant modulations to unrelated keys for expressive and dramatic effects.

Question 25

Define Direct (Hidden) 5ths and 8ves, and give special considerations

Answer 25

Direct (Hidden) 5ths and 8ves
Definition:
* Occurs when the outer voices move in the same direction into a P5 or P8, with a leap in the soprano part.

Special Considerations:
* Avoidance of parallels is more relaxed in instrumental music compared to vocal music.
* Example 5-22: Beethoven’s Symphony demonstrates rare instances of parallel 5ths and 8ves used effectively for a rustic atmosphere.