| A | B |
|---|
| Pitch | Refers to the highness or lowness of a sound |
| What are the names of the pitches? | A, B, C, D, E, F, G |
| What is the C closest to the middle of the piano called? | C4 |
| What are the higher C's called (higher than C4)? | C5, C6, C7, C8 |
| What are the lower C's called (lower than C4)? | C3, C2, C1 |
| What is the name of the notes below C1? | The note followed by a 0 (EX: B0) |
| Octave | Is the distance from anyone one note up/down to the next very same note (EX: C4-C5 or C4-C3) |
| Octave Register | Are all of the pitches from one note (i.e. C) up to, but not including, the next-same note (i.e. C) |
| Staff | Used in music to indicate the precise pitch desired= Consists of 5 lines and four spaces |
| Ledger Lines | Can extend a staff indefinitely |
| Clef | Must appear at the beginning of a staff in order in indicate which pitches are to be associated with the lines and spaces |
| Grand Staff | Is a combination of 2 staves joined by a brace with the top and bottom staves using treble and bass clefs |
| Major Scale | A specific pattern of half steps and whole steps encompassing an octave |
| Half Step | Distance from a key on the piano to the very next key (whether white or black) |
| How many Half Steps are there (when just dealing with the white keys and no black keys)? What are they? | There are 2 half steps between E-F and B-C |
| Whole Step | Skips the very next key and goes instead to the following one |
| How many whole steps are there (when just dealing with the white keys and no black keys)? What are they? | There are 5 whole steps between [C-D], [D-E], [F-G], [G-A], [A-B] |
| What do the carets above numbers (i.e. ^) mean? | They represent scale degree numbers |
| What is the pattern of Half Steps and Whole Steps in major scales | W-W-h-W-W-W-h |
| Where do the half steps occur in major scales? | Between scale degrees [3-4] and [7-1] |
| What can the major scale be thought as? | 2 identical 4 note patterns separated by a whole step |
| Tetrachords | Are 4 note patterns (i.e. like the major scale which is 2 identical 4 note patterns separated by a whole step) |
| Accidental | A symbol that raises or lowers a pitch by a half or whole step |
| Where do we write accidentals? | When we write or say the names of notes and accidentals, we put the accidental last (i.e. F# or F-sharp) but in staff notation the accidental always precedes (i.e. is written before) the note that it modifies |
| Key | Used in music to identify the first degree of a scale (EX: Key of G major refers to the major scale that begins on G) |
| Key Signature | A pattern of sharps or flats that appears at the beginning of a staff and indicates that certain note are to be consistently raised or lowered |
| What are the 3 major enharmonic keys? | B major=Cb major || F# major=Gb major || C#=Db major |
| Enharmonic | Notes that are spelled differently but sound the same |
| Transpositions | If 2 major/minor keys are not enharmonic |
| Transpose | To write or play music in some key other than the original |
| What are the names of the staff lines and spaces in the treble clef? | Lines= E, G, B, D, F || Spaces= F, A, C, E |
| What are the names of the staff lines and spaces in the bass clef? | Lines= G, B, D, F, A || Spaces= A, C, E, G |
| What are all of the sharps? | F, C, G, D, A, E, B |
| What are all of the flats? | B, E, A, D, G, C, F |
| Natural Minor Scale | Is like the major scale with a lowered 3, 6, and 7 |
| Harmonic Minor Scale | Is like the major scale with a lowered 3 and 6 |
| Melodic Minor Scale | ASCENDING= lowered 3||||DESCENDING=lowered 3, 6, 7 (same as natural minor scale) |
| Relatives | 2 different keys/scales that share the same key signature (i.e. same use of sharps and flats) |
| What is the relative major scale of a minor key? | The 3 of any minor key is the 1 of its relative major |
| What is the relative minor scale of a major scale? | The 6 of any major key is the 1 of its relative minor |
| Parallels | When a major scale and a minor scale share the same 1 (EX: C major is the parallel major of c minor) |
| What do minor key signatures conform to? | The natural minor scale |
| How can you find the minor key signature (other than g#, d#, a#)? | Begin with the key signature of the parallel major and ADD 3 FLATS and/or SUBTRACT 3 SHARPS |
| What are the name of the scale degrees (starting on C in Treble Clef)? | 1=tonic, 2=supertonic, 3=mediant, 4=subdominant, 5=dominant, 6=submediant, 7b=subtonic, 7natural=leading tone |
| What are the names of the 5 scale degrees (starting on the F-space in Treble Clef)? | 1(F)=subdominant, 3(A)=submediant, 5(C)=tonic, 7(E)=mediant, 9(G)=dominant |
| Interval | Is the measurement of the distance between 2 notes |
| Harmonic interval | Results if the notes are performed at the same time |
| Melodic Interval | Results when the notes are played successively (i.e. one after the other) |
| Unison | Is used in stead of 1 when talking about intervals (distance between the 2 notes= 1) |
| Octave (8ve) | Is used instead of 8 when talking about intervals (distance between the 2 notes= 8) |
| When dealing with intervals, what do we call an interval whose distance is 2, 3, 4, etc.? | We say 2nd, 3rd, 4th, etc. |
| Simple Intervals | (Is an interval term) Intervals that are smaller than an octave |
| Compound Intervals | (Is an interval term) Intervals that are equal to or bigger than an octave |
| Perfect | (Is an interval term) Is a modifier used only for unisons, 4ths, 5ths, octaves, and their compounds (11ths, 13ths, etc.)= Is abbreviated "P#" |
| How can you construct a P1, P4, P5, P8? | By using scale degree 1 in the major scale as the bottom note |
| Major Interval | (Is an interval term) Is a modifier used only for 2nds, 3rds, 6ths, 7ths ([1-2], [1-3], [1-6], [1-7])= Is abbreviated "M#" |
| Minor Interval | (Is an interval term) Is a modifier used only for major intervals that are made a half step smaller without altering its numerical name (deals with sharps and flats)= Is abbreviated "m#" |
| Augmented Interval | (Is an interval term) Is a modifier used only for a perfect or major interval that is made a half step larger without altering its numerical name (abbreviated +) |
| Diminished Interval | (Is an interval term) Is a modifier used only for a perfect or minor interval that is made a half step smaller without altering its numerical name= Is " ˚# " |
| Tritone | (Is an interval term) Is a modifier used for +4 or its enharmonic equivalent, the ˚5 |
| Interval Inversion | Is used to spell and identify descending intervals (especially large ones) |
| How do you invert an interval? | By putting the bottom pitch above the top one (EX: D-A becomes A-D) |
| What happens why you invert an interval? | The resulting numerical name is always different from the old one |
| How can you find the new numerical name of an inverted interval? | 9 - (old numeric name) = (new numeric name) |
| What happens to modifiers when you invert intervals? | They all change to their opposites except Perfect intervals= [m-M], [M-m], [P-P], [+ - ˚], [˚ - +] |
| Consonant | Describes a harmonic interval as pleasing |
| Dissonant | Describes a harmonic interval that is displeasing and eventually resolves to a consonant sound |
| What are the C registers on the piano (from lowest to highest)? | [Sub-Contra C], [Contra C], [Great C], [Small C], [MIDDLE C], [C-1], [C-2], [C-3], [C-4], [C-5] |
| What is the pattern of Half Steps and Whole Steps in natural minor scales | W-h-W-W-h-W-W |
| What are the dissonant intervals? | All intervals except major/minor 3rds, 6ths, and Perfect 5ths, 8ves= P4 is dissonant only when it occurs above the bass (a.k.a. lowest voice) and is otherwise consonant |
| What are the consonant intervals? | Major/minor 3rds, 6ths, and Perfect 5ths, 8ves= P4 is dissonant only when it occurs above the bass (a.k.a. lowest voice) and is otherwise consonant |
| Rhythm | Is a general term used to refer to the time aspect of music contrasted with the pitch aspect |
| Durations | Symbols that are organized so that each symbol is twice the duration of the next shorter symbol and half the duration of the next longer symbol |
| Tie | (Is a type of duration) Is a curved line that connects 2 notes of the same pitch creating a new duration that is equal to their sum |
| Dot | (Is a type of duration) Always adds to the duration 1/2 the value of the note, rest, or dot that precedes it |
| Where do you notate a dot on the staff? | To the right of the note that it modifies= It is never written on a staff line but rather always in a space (if the note is on a line, then the dot is written the the closest-upper space) |
| Beat | The basic/steady pulse of a musical passage= Can be found by tapping your foot, etc. |
| Tempo | The rate at which the beats occur in a musical passage |
| What are the tempos and what do they mean? | Grave (=solemn), Largo (=broad), Lento (=slow), Adagio (=slow), Andante (=moderately slow), Moderato (=moderate), Allegretto (=moderately fast), Allegro (=fast), Vivace (=lively), Presto (=very fast) |
| Meter | Pattern of beats (which is consistent throughout a passage) |
| Measures | Groups of beats |
| Bar Line | Is a vertical line through the staff that indicates the end of a measure |
| Duple Meter | Is a 2 beat measure= Metric accent pattern is "strong-weak" |
| Triple Meter | Is a 3 beat measure= Metric accent pattern is "strong-weak-weak" |
| Quadruple Meter | Is a 4 beat measure= Metric accent pattern is "strong-weak-less strong-weak" |
| Divisions of the beat | Durations that are shorter than the beat |
| Simple Beat | (Is a type of beat division) Beats that divide into 2 equal parts |
| Compound Beat | (Is a type of beat division) Beats that divide into 3 equal parts |
| Beat Type | Refers to how the beat divides (simple or compound) |
| Meter Type | Refers to how the measure divides (duple, triple, or quadruple) |
| Time Signature | A symbol that tells the performer how many beats will occur in each measure, what note value will represent the beat, and whether the beat is simple or compound |
| Describe the time signature for a simple beat | Has 2, 3, or 4 as the top number |
| What does the top number of the time signature indicate? | Indicates the number of beats in the measure |
| What does the bottom number of the time signature indicate? | Indicates the beat note |
| What are some typical simple time signatures? | 2/4, 2/2, 3/16, 3/4, 4/8, 4/4 |
| What happens if the beat divides into 3 equal parts (as in a compound beat)? | The note value representing the beat will be a dotted value |
| What does a compound time signature tell the performer? | What the division duration is (i.e. the top number of a compound time signature will be 6, 9, or 12 because 2 beats time 3 divisions equals 6, 3 beats times 3 divisions equals 9, and 4 beats times 3 divisions equals 12) |
| What are some typical compound time signatures? | 6/8 (has 2 beats per measure), 6/4 (has 2 beats per measure), 9/16 (has 3 beats per measure), 9/8 (has 3 beats per measure), 12/8 (has 4 beats per measure), 12/4 (has 4 beats per measure) |
| What are the types of beat? | Simple and Compound |
| What are the types of common meter and in how many ways can they be combined? | Duple, Triple, and Quadruple= Can be combined in 6 ways |
| What is the duple, triple, and quadruple of a simple beat? | Duple= 2, Triple= 3, Quadruple= 4 |
| What is the duple, triple, and quadruple of a compound beat? | Duple= 6, Triple= 9, Quadruple= 12 |
| What does the bottom number of a time signature stand for in a simple time signature and in a compound time signature? | Simple= stands for the beat || Compound= stands for the division value |
| Grouplet/Tuplet | Refers to the divison of an undotted value into some number of equal parts othern than 2, 4, 8, etc. or the division of a dotted value into some number of equal parts other than 3, 6, 12, etc. |
| What is the most common type of grouplet? | The superimposition of triplets on a simple beat |
| What direction should the stem of a single note go when notated? | Stem should go up if the note is below the middle line and down if the dote is above the middle line (a note on the middle line can go up or down but typically goes up) |
| Beams | Are used to connect durations shorter than a quarter note when the durations occur within the same beat |
| What direction should the stems of many notes connected by a beam go when notated? | Is determined by the note farthest from the middle line (i.e. if the note that is farthest from the middle line is below it, all the stems that are to be beamed together will point upward) |
| Tertian Chord | A chord built of 3rds |
| What is the fundamental tertian? | The Triad |
| Triad | A 3 note chord consisting of a 5th divided into 2 superimposed 3rds |
| Augmented Triad (+) | M3-M3 (is an Augmented/+ 5th) |
| Major Triad (M) | M3-m3 (is a Perfect/P 5th) |
| Minor Triad (m) | m3-M3 (is a Perfect/P 5th) |
| Diminished Triad (˚) | m3-m3 (is a diminished/ ˚ 5th) |
| Seventh Chord | An extended tertian triad/4 note chord (with a 3rd on top of the 5th of the triad) whose interval between the added note and the root is some kind of 7th (major, minor, or diminished) |
| Major Seventh | [M7] Construction: (Major Triad)--(Major 7th) |
| Major-Minor Seventh | [Mm7] Construction: (Major Triad)--(minor 7th) |
| Minor Seventh | [m7] Construction: (minor Triad)--(minor 7th) |
| Half-Diminished Seventh | [ø7] Construction: (Diminished Triad)--(minor 7th) |
| Diminished Seventh | [˚7] Construction: (Diminished Triad)--(Diminished 7th) |
| Root Position | (Is a type of bass position) The root is the lowest tone (the root is in the bass) |
| First Inversion | (Is a type of bass position) The 3rd is the lowest tone (the 3rd is in the bass) |
| Second Inversion | (Is a type of bass position) The 5th is the lowest tone (the 5th is in the bass) |
| Inversion | To transfer the lowest note to some higher octave |
| What determines the inversion of a triad or 7th chord? | Which member of the chord is in the bass |
| What is the inversion phone number? | (636) 465-4342 |
| Describe: Root Position Triad | Root= Bass note, [Symbol= none] |
| Describe: First Inversion Triad | [Root= 6th above bass], [Symbol= 6] |
| Describe: Second Inversion Triad | [Root= 4th above bass], [Symbol=6/4] |
| Describe: Root Position 7th | [Root= Bass note], [Symbol= 7] |
| Describe: First Inversion 7th | [Root= 6th above bass], [Symbol=6/5] |
| Describe: Second Inversion 7th | [Root= 4th above bass], [Symbol=4/3] |
| Describe: Third Inversion 7th | [Root= 2nd above bass], [Symbol=4/2] |
| Diatonic Chords | Chords that are made up of notes that are only in a given scale |
| Chromatic Chords | (A.K.A. Altered Chords) Chords that are made up of notes that are not in a given scale |
| How does a raised 6 and 7 in a minor scale ascend and descend? | Ascend= by step || Descend= by step |
| What happens if a 6 or 7 in a minor scaleis left by leap instead of by step? | There will be an eentual stepwise goal for that scale degree and the 6 and 7 will probably be raised or left unaltered according to the direction of that goal |
| What type of roman numeral do you use for a Major Triad? | Uppercase |
| What type of roman numeral do you use for a Minor Triad? | Lowercase |
| What type of roman numeral do you use for a Diminished Triad? | Lowercase with a˚ |
| What type of roman numeral do you use for a Augmented Triad? | Uppercase with a+ |
| What are the major scale degrees in the major scale? | I, IV, V |
| What are the minor scale degrees in the major scale? | ii, iii, vi |
| What are the diminished scale degrees in the major scale? | vii˚ |
| What are the augmented scale degrees in the major scale? | none |
| What are the major scale degrees in the minor scale? | III, V, VI, VII |
| What are the minor scale degrees in the minor scale? | i, iv |
| What are the diminished scale degrees in the minor scale? | ii˚ |
| What are the augmented scale degrees in the minor scale? | none |
| What type of roman numeral do you use for a Major 7th? | Uppercase with/raised to the M7 |
| What type of roman numeral do you use for a Major-minor 7th? | Uppercase with/raised to a 7 |
| What type of roman numeral do you use for a Minor 7th? | Lowercase with/raised to a 7 |
| What type of roman numeral do you use for a Half-diminished 7th? | Lowercase with/raised to a ø7 |
| What type of roman numeral do you use for a Diminished 7th? | Lowercase with/raised to a ˚7 |
| What are M7 in the major scale? | I^(M7), IV^(M7) |
| What are Mm7 in the major scale? | V^(7) |
| What are m7 in the major scale? | ii^(7), iii^(7), vi^(7) |
| What are ø7 in the major scale? | vii^(ø7) |
| What are ˚7 in the major scale? | none |
| What are M7 in the minor scale? | III^(M7), VI^(M7) |
| What are Mm7 in the minor scale? | V^(7) |
| What are m7 in the minor scale? | i^(7), iv^(7) |
| What are ø7 in the minor scale? | ii^(ø7) |
| What are ˚7 in the minor scale? | vii^(˚7) |
| What are the major and minor scale degrees (for triads) in the major scale? | I, ii, iii, IV, V, vi, viiº |
| What are the major and minor scale degrees (for triads) in the minor scale? | i, iiº, III, iv, V, VI, VII |
| What are the major and minor scale degrees (for 7th chords) in the major scale? | I(M7), ii(7), iii(7), IV(M7), V(7), vi(7), vii(ø7) |
| What are the major and minor scale degrees (for 7th chords) in the minor scale? | i(7), ii(ø7), III(M7), iv(7), V(7), VI(M7), vii(º7) |
| Step | (Deals with scale degrees) The movement from one scale degree to the very next scale degree (EX: C Major Scale= C to D) |
| Leap | (Deals with scale degrees) The movement from one scale degree that skips the very next scale degree and goes to the following scale degree (EX: C Major Scale= C to E) |
| Voice Leading | (A.K.A. Part Writing) The ways in which chords are produced by the motions of individual musical lines |
| Counterpoint | The combining of relatively independent musical lines |
| What do you do with the Rhythm when part writing? | Keep the rhythm simple with most durations being equal to or longer than the duration of the beat= The final note should occur on a strong beat |
| What do you do with the Harmony when part writing? | Every melody note should belong to the chord that is to harmonize it |
| What do you do with the Contour when part writing? | The melody should be primarily conjunct (stepwise)= The shape of the melody should be interesting but clear and simple with a single focal point (i.e. the highest note of the melody) |
| What types of Leaps should be avoided and/or used in part writing? | Avoid augmented intervals, 7ths, and intervals larger than a P8= Diminished intervals may be used if the melody changes direction by step immediately after the interval |
| How is a melodic interval (larger than a P4) usually best approached and left in part writing? | Is approached and left in the direction opposite to the leap |
| When should leaps outline a triad in part writing? | When smaller leaps are used consecutively in the same direction |
| Scale degree 7 has the tendency to do what it part writing? What is an exception? | To move up to scale degree 1= An exception is the scalewise line descending from scale degree 1 (EX: 1-7-6-5) |
| Scale degree 4 has the tendency to do what it part writing? | To move down to scale degree 3 |
| Musical Score | A tool used by a conductor that shows all the parts of an ensemble arranged one above the other (enabling the experienced reader to "hear" what the composition will sound like) |
| Full Score | Musical score where all or most of the parts are notated on their own individual staves |
| Reduced Score | Musical score that is notated at concert pitch on as few staves as possible |
| What are the voices? | Soprano, Alto, Tenor, Bass |
| Voicing | Is how a chord is distributed/spaced on a staff |
| Close Structure | The voicing of a chord in 4 part texture where the distance between the soprano and tenor is less than an octave |
| Open Structure | The voicing of a chord in 4 part texture where the distance between the soprano and tenor is an octave or more |
| Crossed Voices | Do not allow any part to cross above the soprano or below the bass because the essential soprano/bass counterpoint might become unclear= The alto and tenor lines may cross briefly if there is a musical reason to do so |
| What should the spacing be like when part writing for 3 or more parts? | Avoid overly spacious sounds by keeping adjacent upper parts (excluding the bass) within an octave of each other (EX: there should be no more than an octave between the soprano and alto or between the alto and tenor= You can have more than an octave between the tenor and bass) |
| Objectionable Parallels | Result when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval (parallel unisons should also be avoided) |
| Unequal 5ths | Result when a P5 is followed by a ˚5, or the reverse, in the same 2 voices |
| In what case are unequal 5ths unacceptable? | When they involve a ˚5-P5 betwen the bass and another voice |
| Direct/Hidden 5th or 8ve | Results when the outer parts move in the same direction into a P5 or P8 with a leap in the soprano part |
| How many different intervals are there that can separate the roots of any two chords? What are they? | 4 combinations= 2nd apart (=same as a 7th apart), 3rd apart (=same as a 6th apart), 4th apart (=same as a 5th apart), same roots (=a repeated chord) |
| What does it mean to say a note is being doubled or tripled? | That 2 or 3 of the parts are given that pitch class, although not necessarily in the same octave |
| Four-Part Textures | All members of the triad are usually present= The final I chord is sometimes incomplete (consisting of a 3rd and a tripled root)= The root is usually doubled= The leading tone (7) is almost never doubled because it is such a strong tendency tone |
| Three- Part Textures | The 5th of the triad is often omitted= The final I chord may consist only of a tripled root= An incomplete triad will usually have the root doubled= The leading tone (7) is almost never doubled |
| Describe the upper voices and the bass when a root position triad is repeated | The upper voices may be arpeggiated freely (as long as the spacing conventions are followed)= The bass may arpeggiate an octave |
| What are some of the most fundamental root movements in tonal music? | Descending P5 (or ascending P4) [is most basic]= Ascending P5 (or descending P4)= Resolution of 7 to 1 when 7 occurs in the melody |
| Four Part Textures: Root position part writing with roots a 4th/5th apart (when common chord is kept) | Keep the same voice in the tone that is common to both chords while the remaining 2 upper parts move by step in the same direction= The stepwise motion will be ascending for root movement of a P5 down and descending for root movement of a P5 up |
| Four Part Textures: Root position part writing with roots a 4th/5th apart (when all 3 upper parts move)) | Move all 3 upper parts in the same direction (with no leap larger than a 3rd)= The motion will be descending for a root movement of a P5 down (or a P4 up) and ascending for a root movement of a P5 up (or a P4 down)= (Leading tone can leap down to 5 (instead of resolving to 1) if it occurs in an inner voice) |
| Four Part Textures: Root position part writing with roots a 4th/5th apart (when kept in same voice/tone) | (Not very smooth but useful for changing between close and open structures) Keep in the same voice and tone that is common to both chords BUT the voice that has the 3rd in the first chord leaps to provide the 3rd in the second chord= Remaining voice moves by step (leading tone can leap up to 3 (instead of resolving to 1) if it occurs in an inner voice) |
| Three-Part Textures: Root position part writing with roots a 4th/5th apart | Each chord must contain at least a root and 3rd |
| Describe voice leading that involves root position triads a 3rd or 6th apart | Is smooth voice leading because the two triads will always have two tones in common |
| Four-Part Textures: Root position part writing with roots a 3rd/6th apart | (Assuming that the first of the two root position triads has a doubled root) Only one of the upper voices needs to move= The two upper voices that have tones in common with the second chord remain stationary, whereas the remaining voice moves by step= The stepwise motion will be upward for roots a descending 3rd apart and downward for roots an ascending 3rd apart |
| Three-Part Textures: Root position part writing with roots a 3rd/6th apart | In ascending root movement, do not omit the 5th of the second chord (because it sounds like the music has only progressed from a root position triad to an inverted form of the same triad) |
| Describe voice leading that involves two triads with roots a 2nd (or 7th) apart | Have no tones in common (thus every part must move from the first chord to the second chord)= Bass moves by 2nd rather than by 7th |
| Four-Part Textures: Root position part writing with roots a 2nd/7th apart | If the root is doubled in the first chord, the voice leading is: If the bass moves up by step, the upper voices move down to the next chord tone= If the bass moves down by step, the upper voices move up to the next chord tone |
| Deceptive Progression | (Deals with Four-Part Textures: Root position part writing with roots a 2nd/7th apart) Progression V-vi (or V-VI)= Presents problems because, mostly, the leading tone (7) moves parallel with the bass, resolving up to tonic (1), whereas the other two voices move down (contrary to the bass) to the next available chord tones= Results in a doubled 3rd in the vi (or VI) chord |
| Deceptive Progression: Leading tone (in the major mode) that is in an inner voice | (Deals with Four-Part Textures: Root position part writing with roots a 2nd/7th apart) The leading tone may move down by step to 6 (because the lack of resolution is not so apparent to the ear)= This is not acceptable in the minor mode because of the awkward interval of a +2 that results |
| Three-Part Textures: Root position part writing with roots a 2nd/7th apart | (Either has a complete triad followed by a triad with two roots and a 3rd or a triad consisting of two roots and a 3rd followed by a complete triad) With roots a 2nd apart, the sequence will usually be complete to incomplete or incomplete to complete (7 resolves to 1 in the V-vi progression with the possible exception of cases in which 7 is in the inner voice in a major key) |
| Describe the resolution of 7 in the V-vi progression | 7 resolves to 1 (with the possible exception of cases in which 7 is in the inner voice in a major key) |
| Written Range and Sounding Range | A written range is given next to the sounding range for each instrument because players of certain instruments don't read music at concert pitch (meaning the notes they read in their parts produce higher/lower pitches than the notes that have the same names on the piano) |
| Transposing: Concert Pitch to Instrument's Pitch | Take instrument's name and count the intervals up until you reach C= That is your "interval of transposition" (EX: trumpet= up a M2)= Apply "interval of transposition" to each pitch= Move the key up using the "interval of transposition" |
| Transposing: Instrument's Pitch to Concert Pitch | Use the instrument's name and count the intervals up until you reach C= That interval of transposition will then be applied in the opposite direction (EX: trumpet= down M2)= Apply to all notes= Move the key down using the "interval of transposition" |
| Sequence | A pattern that is repeated immediately in the same voice but that begins on a different pitch class= Can be melodic, harmonic, or both |
| Tonal Sequence | Will keep the pattern in a single key (meaning that modifiers of the intervals [major, minor, etc.] will probably change) |
| Real Sequence | (A.K.A. Modulating Sequence) Transposes the pattern to a new key |
| Real Imitation | When an instrument (in a different voice) plays an exact transposition of another instrument's melody (this scenario is not a real sequence because the repetition of the pattern occurs in a different voice) |
| Modified Sequence | A sequence where the repetitions of the pattern are neither tonal nor real |
| Circle-Of-Fifths Progression | Consists of a series of roots related by descending 5ths (and/or ascending 4ths) |
| What happens if a diatonic circle-of-fifths progression goes on long enough? | Although most of the 5ths (and 4ths) will be perfect, a º5 (or +4) will appear= Often appear in connection with melodic sequences |
| What is the most basic progression in tonal harmony? | The root progression of a 5th down (or 4th up) |
| What is the strongest root movement? | A descending 5th (the V-I progression) |
| What is the ultimate harmonic goal of any tonal piece | The tonic triad |
| What is the tonic triad usually preceded by? | V (or V7) chord |
| What are the most essential elements of a tonal work? | V (or V7) and I= I and V chords are the most important |
| What is the most important progression? | I-V-I |
| The ii Chord | ii--V--I (I can be followed by anything) |
| The vi Chord | vi--ii--V--I (I can be followed by anything)= In root position, this progression illustrates an ostinato/repeated bass pattern |
| The iii Chord | iii--vi--ii--V--I (I can be followed by anything)= When the iii chord follows the natural descending 5ths progression, it goes to vi= The III chord in minor is used more frequently= The iii chord is useful for harmonizing a [1--7--6] soprano line |
| What happens when scale degree 3 is found in a major-mode bass line? | The chord above it is almost always I6 rather than a iii |
| The viiº Chord | Usually acts as a substitute for V (although the viiº--iii progression does occur in sequential passages)= V, V7, and viiº are so similar that moving from one to another is not considered a progression (since they all share the dominant function, which is to define the tonality by resolving to the tonic triad)= Goal of the viiº is not iii or III, but the tonic triad= If V and viiº are used next to each other, V will usually follow the viiº because the V is the stronger sound |
| The IV Chord | Lies a P5 below the tonic= Can proceed to a I chord (called a plagal progression), can be linked with ii, can substitute for ii (going directly to V or viiº), or can be followed by ii (as in IV--ii--V) |
| Normative Harmonic Functions In Major Keys | Any chord can follow the I chord= When vi subsitutes temporarily for I in a deceptive progression, it may be followed by any chord |
| Mediant Triad | (Is the main difference between the major and minor mode) Is commonly used in the minor mode and rarely used in the major mode= It represents the relative major key, and minor-key music tends to drift in that direction |
| How does the Minor Mode differ from the Major Mode? | Uses the mediant triad= The variability of 6 and 7 occasionally produces chords of different quality and function |
| What is the result of the variability of 6 and 7 in the minor mode? | (Produces chords of different quality/function) The subtonic VII, sounding like the V in the key of the relative major (that is, a V of III)= The minor v (usually v6) after which [down 7] will move to [down 6], usually as part of a iv6 chord (the minor v chord does not have a dominant function) |
| What do seventh chords act similarly to? How? | Seventh chords function in the same way as triads= EX: Both V and V7 tend to be followed by the I chord (or sometimes by the vi chord) |
| What is the only seventh chord that progresses differently than the common seventh chord? | The tonic seventh chord (IM7 or i7) which loses its stability as a harmonic goal= The tonic seventh is usually followed by a subdominant chord |
| How do you harmonize a simple melody? | Select the chords for the very beginning and for the last two or three chords= Write out the possibilities for each remaining chord= Write the rest of the bass line (avoiding parallel or direct 5ths and 8ves)= Then add one or two inner voices |
| Give an example of a common sequential harmonic pattern | [I--V]--[vi--iii]--[IV--I] |
| What is the most common use of viiº ? | First inversion between two positions of the tonic triad: [I--vii(º6)--I(6)] or [I(6)--vii(º6)--I] |
| Why are inverted chords helpful when part writing? | When inverted are used (instead of root position chords) in a musical piece, they create a bass line with more interesting contour and variety (all without changing the harmony [which is a good thing]) |
| What is one way in which first inversion triads often originate? | Through bass arpeggiation= When looking at music with bass arpeggiation, the other pitches played by the left had should be considered as inner voices that are simply filling in the chords (they aren't part of the bass line and thus aren't creating inversions at all) |
| Textural Reductions | Are to simplify the texture (of a musical passage) and make the voice leading easier to understand |
| How are first inversion triads often used? Why? | Used as substitutes for root position triads instead of coming about through bass arpeggiation= Reasons for using such inversions are to improve the contour of the bass line, to provide a greater variety of pitches in the bass line, and to lessen the importance of V and I chords that do not serve as goals of harmonic motion |
| What first inversion triad should not be freely substituted for the root position? Why? | The vi6 (or VI6)= Because when, for example, you play a V-vi progression, it sounds fine, while when you play a V-vi(6) progression, the vi(6) sounds like a mistake |
| What should the V in root position never be followed by? Why | Shouldn't be followed by vi6 (or VI6)= The reason is because the V--vi progression sounds fine (an example of the deceptive progression) while the vi6 sounds like a mistake |
| Where can the vi6 chord be correctly used | Between a root position I and a root position ii= Can also occur occasionally as part of a sequential pattern |
| How many first inversion triads used in musical passages? | Passages can have a reasonable balance of root position and first inversion triads, or can call for more root position chords than inverted chords= However, a whole series of parallel first inversion triads (a.k.a. sixth chords) is often found especially in sequences |
| Describes chords that are used in parallel motion | (The specific chords do not act how they normally do) They serve as passing chords, connecting some chord at the beginning of the passage to some chord at the end of it |
| How do you avoid parallel 5ths in a sixth-chord passage? | Put the root of each chord in the melody (thus producing acceptable parallel 4ths instead of objectionable parallel 5ths) |
| How do you avoid parallel 5ths in a four-voice passage? | Put the root of each chord in the melody (thus producing acceptable parallel 4ths instead of objectionable parallel 5ths)= At least one voice will have to use leaps to avoid parallels |
| Four-Part Textures: Part Writing Inversion Triads | Inverted triads are usually complete= Because there are four voices and only three chord members, one of the members must be doubled |
| Four-Part Textures: Contrapuntal Texture | (A texture consisting of relatively independent melodic lines) The doubling to use is the one that results from the best voice leading (used in Four-Part Textures) |
| Homophonic Texture | (A texture that is primarily chordal or consists of a melody with chordal accompaniment) The doubling selected should be the one that provides the desired sonority (used in Four-Part Textures) |
| What should not be doubled in any type of texture? | The leading tone |
| What is the result of a doubled leading tone? Why? | Usually results or implies parallel 8ves because of the strong tendency of 7 to resolve to 1 |
| Three-Part Textures: Part Writing First Inversion Triads | Inverted triads are usually complete= If a member of the triad is omitted, it will almost always be the 5th (the omitted member cannot be the 3rd because that is the bass note)= If the root is omitted, the resulting sonority might be heard not as an inverted triad but as a root position triad |
| What does the "relative" mean when we say that counterpoint is "relatively independent"? | "Relatively" has to do with the style of the music in which the counterpoint is found (EX: in tonal music, contrapuntal relationships are governed by certain voice-leading rules [restrictions against parallel 5ths, etc.] and by conventions of harmonic progression) |
| What does the "independent" mean when we say that counterpoint is "relatively independent"? | "Independent" means that each line in a contrapuntal texture will ideally have its own unique contour and rhythm |
| What makes a musical passage contrapuntal? | When the lines of the musical passage do not have identical contours and rhythms and don't just move in parallel motion throughout the entire passage |
| Canon | (Make use of a special type of counterpoint called imitative counterpoint) Is a type of contrapuntal form when a musical passage, consisting of identical rhythms and contours (which does not make a passage contrapuntal) is offset by one measure |
| Rounds | (Make use of a special type of counterpoint called imitative counterpoint) Are canons that are perpetual (meaning that there is no notated ending for the ensemble) |
| How do we show the relationships between two lines in music? | By writing "p" (=parallel), "s" (=similar), "c" (=contrary) |
| 1:1 Counterpoint | (A.K.A. One-to-one counterpoint / first species counterpoint) Where the two parts move with identical rhythms |
| Neighbor Motions | Motion of a step down and back up in the soprano and a step up and back down in the bass |
| How are both first and second inversion triads created? | Through bass arpeggiations |
| How do second inversion triads differ from first inversion triads? Why? | Second inversion triads are not used as substitutes for the root position because the second inversion of a triad is considered to be a much less stable sonority than either of the other two bass positions |
| When is the P4 interval considered a dissonance? | If the lowest voice in the texture was sounding the bottom pitch of the P4 |
| What would a diminished and or augmented six-four chord contain? | Dissonant intervals above the bass (an +4 and a º4) |
| How can six-four chords come about? | Through a bass arpeggiation involving a root position triad, a first inversion triad, or both= Can also be formed through a melodic bass |
| Describe melodic bass lines | Is a bass line that has an important melodic line instead of fulfilling its usual supporting role (meaning that because this type of bass line is not the harmonic foundation of the texture, no inversions should be indicated in passages that have a melodic bass) |
| Cadential Six-Four | A tonic six-four that delays the arrival of the V chord that follows it= It depends totally on the V chord for its meaning, and should not be thought of as a substitute for a tonic triad in root position or first inversion= It occurs in a metrically stronger position than the V chord that it delays |
| How can you analyze the cadential six-four? | As I6/4--V or simply as V (treating 1 an 3 as non-chord tones) |
| Describe the voice leading in the upper parts as they lead into and away from the cadential I6/4 | Is smooth and the resolution of the I6/4 to V (or V7) usually sees scale degrees 1 and 3 moving down by step to 7 and 2 |
| Describe cadential six-four in triple meter | If the V chord occurs on the third beat of a measure, the I6/4 will frequently appear on the normally weak second beat |
| Passing Six-Four | When second inversion triads are encountered harmonizing the middle note of a three-note scalar figure in the bass= The figure can be ascending or descending= Any triad may be used as a passing six-four chord (but [V 6/4] and [I 6/4] are the most common and are found in both major and minor modes)= Usually falls on a weak beat and typically features smooth voice leading |
| What do we use to indicate a passing six-four? Why? | Because of their weak harmonic function, we put the chord's roman numerals in parentheses |
| What types of motions are typically used by passing six-four chords? | Longer stepwise motions in the bass |
| Pedal Six-Four | Highlights a static root position triad by moving the 3rd and 5th of the triad up by step and back down by step to their original positions |
| What do we use to indicate a pedal six-four? Why? | Because of their weak harmonic function, we put the chord's roman numerals in parentheses |
| What do pedal six-four chords usually involve? | Either a I--(IV 6/4)--I progression or a V--(I 6/4)--V progression, with the six-four chord falling on a weak beat and with stepwise voice leading into and away from the six-four chord |
| What is the exception to the pedal six-four rules/characteristics? | The bass may move after the six-four chord and before the return of the root position triad |
| Part Writing for Second Inversion Triads: Four-Part Texture | The bass (5th of the chord) should be doubled= The other voices move as smoothly as possible and by step both into and out of the six-four chord |
| Part Writing for Second Inversion Triads: Three-Part Texture | All members of the triad should be present (but sometimes the root or 3rd can be omitted in which case the 5th is then doubled) |
| Musical Form | The ways in which a composition is shaped to create a meaningful musical experience for the listener |
| What is the ultimate harmonic goal of a tonal composition? | The final tonic triad |
| Cadence | Means a harmonic goal (specifically the chords used at the goal) |
| Perpetuum Mobile | A musical piece that never slows down |
| Authentic Cadence | Consists of a tonic triad preceded by some form of V or viiº |
| Perfect Authentic Cadence | (PAC) Consists of a V--I (or V7--I) progression with both the V and I in root position and scale degree 1 in the melody over the I chord= Is the most final sounding of all cadences (most musical compositions end with a PAC) |
| Imperfect Authentic Cadence | (IAC) Any authentic cadence that is not a PAC |
| Root Position IAC | (Is a subcategory of the imperfect authentic cadence) Is similar to a PAC, but 3 or 5 is in the melody over the I chord |
| Inverted IAC | (Is a subcategory of the imperfect authentic cadence) V--I (or V7--I) but with either or both of the chords inverted |
| Leading-Tone IAC | (Is a subcategory of the imperfect authentic cadence) Some form of viiº--I, the viiº substituting for a V chord |
| What is the most final sounding IAC? | The root position IAC (other IAC's are limited to less important interior cadences) |
| When do we term a V--I progression a cadence? | Only when the I chord seems to serve as the goal of a longer passage (usually at least a few measures) |
| Deceptive Cadence | (DC) Results when the ear expects a V-I authentic cadence but hears V--? instead (the ? is usually a submediant triad)= Produces a very unstable feeling and would never be used to end a tonal work |
| When is a Deceptive Progression usually used? | Is used not to really end a phrase but to extend it a few measures until it reaches the true cadence |
| Half Cadence | (HC) Very common type of unstable/progressive cadence= Ends with a V chord, which can be preceded by any other chord |
| Phrygian Half Cadence | Name given to the iv6--V Half Cadence in minor |
| Plagal Cadence | (PC) Typically involves a IV--I progression= Although plagal cadences are usually final sounding, they aren't as important as the authentic cadence (in tonal music)= Is usually added on as a kind of tag following a PAC |
| Conclusive | (Group of cadences) Authentic, plagal |
| Progressive | (Group of cadences) Deceptive, half |
| Describe the last chord of a cadence | Usually falls on a stronger beat than the chord that precedes it (this assumes that the rate at which the chords change [the harmonic rhythm] is faster than one chord per measure) |
| Harmonic Rhythm | The rate at which the chords change |
| Motive | Smallest identifiable musical idea= Can consist of a pitch pattern or a rhythmic pattern or both= is best to use to refer only to those musical ideas that are "developed" (worked out or used in different ways) in a composition |
| Compare pitch and rhythm in a pitch/rhythm motive | Rhythm is the stronger and more easily identified when it reappears later in a composition |
| Phrase | A relatively independent musical idea terminated by a cadence= Is a harmonic event= Is usually labeled with lowercase letters (i.e. "phrase a") |
| Subphrase | A distinct portion of a phrase (but is not a phrase either because it is not terminated by a cadence or because it seems to short to be relatively independent)= Is a melodic event |
| What can't you just do in order to identify phrases? Why? | You cant just find cadences because subphrases frequently end with progressions that could be cadences |
| How are phrases often extended? | By means of a deceptive progression followed by an authentic cadence (or through the repetition of a cadence) |
| Elision | When the last not of one phrases serves as the first note of the next phrases |
| Period | (Consists of combined phrases that form a larger structural unit called the period) Typically consists of two phrases in an antecedent-consequent (or question-answer) relationship, with the relationship being established by means of a stronger cadence at the end of the second phrase |
| Describe the phrase endings in a period | They must be different because if both phrases were identical, the result wouldn't be a period but a repeated phrase |
| Repeated Phrase | When the phrase endings in a period are the same |
| Parallel Period | When both phrases begin with similar or identical material (even if that material is embellished) |
| Parallel Double Period | Are two-measure phrases |
| How do you show the parallel relationship between phrases? | By labeling them [ a ] and [ a' ] |
| Contrasting Period | A period in which the phrase beginnings are not similar |
| What is a common way of expanding a two-phrase period? | By repeating the antecedent phrase (as in aab) or the consequent phrase (abb)= Is also possible to repeat both (aabb), which is not the same as a repeated period (abab) |
| Three-Phrase Period | Has three different phrases consisting of two antecedents and a consequent or one antecedent and two consequents (as determined by the cadences) |
| Double Period | Consists typically of four phrases in two pairs, the cadence at the end of the second pair being stronger than the cadence at the end of the first pair |
| How is the Double Period structured? | Structure is similar to a period with the only difference being that each half consists of a pair of phrases instead of one phrase= Also the first two phrases will probably not form a period |
| In what way is a repeated period not the same as a double period? | A double period requires contrasting cadences |
| Double periods are called parallel or contrasting according to what? | To whether the melodic material that begins the two halves of the double period is similar |
| When will several phrases seem to belong together structurally while clearly not constitution a period or double period? | When the final cadence is not the strongest one (very common in transitional passages that connect more significant thematic areas) |
| Phrase Group | Used for situations when several phrases seem to belong together structurally while clearly not constitution a period or double period (typically when the final cadence is not the strongest one [which is very common in transitional passages that connect more significant thematic areas]) |
| Cadence | Refers to a harmonic goal or the chords that are used at a harmonic goal |
| Authentic Cadence | Some form of V or viiº followed by I or I(6) |
| Perfect Authentic Cadence | (PAC) Root position V or V(7) followed by a root position I with 1 in the soprano over the chord |
| Imperfect Authentic Cadence | (IAC) Any authentic cadence that is not a PAC |
| Deceptive Cadence | (DC) V followed by some chord other than I, usually vi |
| Half Cadence | (HC) A cadence that ends on V |
| Phrygian Half Cadence | (HC) iv(6)--V in minor |
| Plagal Cadence | (PC) IV--I |
| Motive | Smallest identifiable musical idea |
| Phrase | Relatively independent musical idea terminated by a cadence= Are usually made up of 2 or more distinct portions (a.k.a. subphrases) |
| Subphrases | Distinct portions of a phrase |
| Period | Two phrases that are combined (can only be combined together if they seem to go together as a musical unit and if the second phrase ends with a more conclusive cadence than the first = May be either parallel or contrasting (according to whether the two halves begin with similar melodic material) |
| Double Periods | Just like periods except that each half of the structure consists of two phrases rather than just one= May be either parallel or contrasting (according to whether the two halves begin with similar melodic material) |
| Repeated Phrase/Period | Does not produce a new kind of formal unit and should not be confused with a period or double period |
| Phrase Group | Group of phrases that seem to belong together without forming a period or double period |
| Describe: Motive (smallest to greatest) | Motive--subphrase--phrase--period--double period |
| Authentic Cadence | First Chord= Contains leading tone || Second Chord= Tonic |
| Plagal Cadence | First Chord= Does not contain leading tone || Second Chord= Tonic |
| Deceptive Cadence | First Chord= Contains leading tone || Second Chord= Not Tonic |
| Half Cadence | First Chord= Does Not contain leading tone || Second Chord= Not Tonic |
| Non-Chord Tone | (NCT) Is a tone (either diatonic or chromatic) that is not a member of the chord= The tone might be an NCT throughout its duration, or, if the harmony changes before the tone does, the tone might be an NCT for only a portion of its duration |
| How can you classify NCTs? | According to the ways in which they are approached and left, their duration and relative degree of accent, and whether they are diatonic, chromatic, ascending, descending, upper, or lower |
| NCT: Passing Tone | (p) Approached by= STEP || Left by= STEP in SAME direction |
| NCT: Neighboring Tone | (n) Approached by= STEP || Left by= STEP in OPPOSITE direction |
| NCT: Suspension | (s) Approached by= SAME TONE || Left by= STEP DOWN |
| NCT: Retardation | (r) Approached by= SAME TONE || Left by= STEP UP |
| NCT: Appoggiatura | (app) Approached by= LEAP || Left by= STEP |
| NCT: Escape Tone | (e) Approached by= STEP || Left by= LEAP in OPPOSITE direction |
| NCT: Neighbor Group | (n.gr) Embellishes a single tone by moving STEPWISE AWAY FROM and then BACK TO THE TONE |
| NCT: Anticipation | (ant) Approached by= STEP OR LEAP || Left by= SAME TONE (or LEAP) |
| NCT: Pedal Point | (ped) Begins as a chord tone, then becomes an NC as the harmonies around it change, and finally ends up as a chord tone when the harmony is once more in agreement with it |
| Submetrical | (Further classifies NCTs according to their duration and relative degree of accent) Less than a beat in duration and occuring on either accented or unaccented portions of the beat |
| Metrical | (Further classifies NCTs according to their duration and relative degree of accent) One beat in duration and occurring on either accented or unaccented beatas |
| Supermetrical | (Further classifies NCTs according to their duration and relative degree of accent) More than one beat in duration |
| Passing Tone | Used to fill in the space between two other tones= The two other tones may belong either to the same or to different chords, or they might be NCTs themselves= The space usually between them is a 3rd, either up or down, and the passing tone is given whatever scale degree lies in between (can sometimes fill the space between two notes that are only a M2 apart) |
| What are the types of NCTs that involve only stepwise motion? | Passing tones, neighboring tones, suspensions, and retardations |
| Neighboring Tone | Used to embellish a single tone= May appear above the main tone (upper neighbor) or below it (lower neighbor), and it may be diatonic or chromatic |
| When are neighboring tones accented? | When they fall on stronger metrical positions than the notes they resolve to |
| Chromatic Neighbor Tone | Lends more tonal color to a passage and it tends to draw more attention to the pitch that it is embellishing |
| Chromatic Lower Neighbor Tone | Acts (like those above) as a leading tone to the tone it ornaments |
| Suspension | Holds on to, or suspends a chord tone after the other parts have moved on to the next chord= Is the primary source of dissonance on the accented beat= Can be submetrical, metrical, or supermetrical= Almost always fall on accented beats or accented portions of beats |
| Preparation | The tone preceding the suspension and has the same pitch as the suspension (the suspension itself may or may not be tied to its preparation)= (Is usually a chord tone) |
| Resolution | The tone following the suspension and lying a 2nd below it (usually a chord tone but can also be a NCT) |
| Why is suspension terminology helpful? | Provides a means of categorizing suspensions according to the vertical intervals created by the suspended tone and the resolution (EX: If the harmonic interval above the bass created by the suspension is a 7th and that created by teh resolution is a 6th, then the entire figure is referred to as a 7--6 suspension) |
| Bass Suspension | When the second number is larger than the first in the suspension description (EX: 2--3 suspension) |
| How are vertical intervals calculated in textures involving more than two parts? | Between the bass and the suspended part= If the bass itself is suspended, the interval is calculated between the bass and the part with which it is most dissonant (generally a 2nd or 9th above in a 2--3 suspension) |
| What note should not be present anywhere in the texture when a suspension occurs? What is the exception? | The note of resolution should not be present anywhere in the texture when a suspension occurs, with the exception of the 9--8 suspension |
| Describe the names of suspension | The names of most suspensions remain constant even if compound intervals are involved (EX: even if the 4--3 is actually an 11--10, it is still referred to as a 4--3)= The exception to this is the 9--8, which is always called a 9--8 suspension unless it does not involve a compound interval (in which case it is labeled a 2--1 suspension) |
| Suspension With Change of Bass | When a suspension occurs in one of the upper voices causing the bass to move on to another chord tone at the same time as the suspension resolves |
| What are suspensions most of the time? | Dissonant (although they can be consonant suspensions) |
| In what way are suspensions often embellished? | Other tones (some chord tones and some not) may appear after the suspended tone but before the true resolution |
| Suspension Figures | A suspension that is actually a chord tone |
| Chain of Suspension | The resulting figure of when the resolution of one suspension serves as the preparation for another |
| Retardation | A suspension with an upward resolution= May occur anywhere in a passage but are especially common at cadences (where they appear in combination with suspensions) |
| When does a pedal point become dissonant? | A pedal point starts out as a chord tone and only later becomes dissonant against the chords above it |
| Modulate | To change keys |
| Suspension: 9--8 | Symbol: 9 8 |
| Suspension: 7--6 | Symbol: 7 6 or [(7/3)(6/-) |
| Suspension: 4--3 | Symbol: 4 3 or 4# |
| Suspension: 2--3 | Symbol: 5/2 under first bass note, 6 under the next |
| How do you represent change of bass suspensions? | Can be recognized by such combinations as "7 3" or "9 6" appearing over a moving bass |
| How doe we represent a sound that is related to the traditional 4--3 suspension? | We add "sus" to the symbol (EX: C7sus whcih calls for a chord containing C, F, G, and Bb) |
| Describe a sound that is related to the traditional 4--3 suspension | The "suspension" may or may not have been prepared in the previous chord and will not necessarily resolve in the traditional sense= If the "suspension" does resolve, this could occur within the same chord or it may resolve in the next chord like a change of bass suspension= There is often no resolution of the 4th at all and instead it is carried into the next chord |
| How do you compose in the tonal style? | Begin with a simple texture that has an interesting soprano/bass counterpoint and then embellish it |
| What are two common types of NCT embellishments? | The neighbor and the passing tone |
| What is a common type of embellishment that is not an NCT? | Arpeggiation which can be used in any part to create motion or a more interesting line |
| How can you add suspensions to textures based on the bass? | Find a step down in the bass= If the harmonic interval between the second note and the bass note is a 3rd (or 10th), then the 2--3 suspension will work |
| How can you add suspensions to textures based on upper voices? | Find in one of the upper voices a step down= If the harmonic interval between the second note and the bass is a 3rd, 6th, or 8ve, then the 4--3, 7--6, or 9--88 suspension will work= EXCEPTION: Do not use the 4--3 or 7--6 if the resolution of the suspension would already be present in another voice (because it creates a displeasing sound) |
| Appoggiaturas | (A.K.A. Incomplete Neighbors) Are accented, approached by leap and left by step (but the sequence is not always ascending leap followed by descending step) |
| Escape Tone | (A.K.A. Incomplete Neighbor) The contour of the escape tone is the reverse of that of the appoggiatura because the escape tone is approached by step and left by leap in the opposite direction= Escape tones are usually submetrical, unaccented, and diatonic= They are often used in sequence to ornament a scalar line= Is also frequently used at cadences to ornament the scale degree progression 2--3 |
| Neighbor Group | (A.K.A. Cambiata or "Changing Tones") Embellishes a single tone by involving two NCTs in succession with the first being an escape tone and the second an appoggiatura |
| Anticipation | Anticipates a chord that has not yet been reached= Moves by step or by leap to some pitch that is contained in the anticipated chord but that is not present in the chord that precedes it= Is mainly approached by step but the approach by leap is not rare |
| What is the least commonly encountered variety of NCT? | Is the anticipation approached and left by leap= Is sometimes referred to as a free anticipation |
| Pedal Point | Is a compositional device that begins as a chord tone, then becomes an NCT as the harmonies around it change, and finally ends up as a chord tone when the harmony is once more in agreement with it= Has such tonal strength (unlike the other NCTS which are always dependent on the harmony for their meaning) that the harmonies seem to be embellishing the pedal point rather than the other way around |
| What symbols do we use to represent inverted chords which are altered by the pedal? | None |
| Describe the sustained pitch in Pedal Point | The sustained pitch is most frequently the tonic or the dominant (and thus the musical passage often includes the triad whose root is a P4 above the pedal point [hence the term pedal six-four chord]) |
| What happens if the tonic pitch is the pedal? | The IV chord will often be used above it and if the dominant pitch is the pedal, the I chord will often be used above it |
| Inverted Pedal Points | Pedal points that occur in parts other than the bass |
| Double Pedal Point | When the pedal point contains more than one pitch class |
| When might something appear to be a pedal point or an anticipation but really isn't? | In authentic cadences, the notes of the V or V7 chord sometimes recur over the tonic pitch in the bass |
| What are the most common seventh-chord qualities? | Major seventh, Major-minor seventh, minor seventh, half-diminished seventh, diminished seventh chords |
| What type of seventh-chord is the most frequently encountered? Describe it | The Major-minor seventh= Is built on 5, with the result that the terms dominant seventh and major-minor seventh are used interchangeably |
| Describe Dominant seventh chords | Are almost always major-minor sevenths (meaning that when spelled in root position, they contain a major triad plus the pitch a m7 above the root) |
| What type of seventh chord is a seventh chord that is built on 5 in major keys? | Will be automatically a major-minor seventh chord |
| What type of seventh chord is a seventh chord that is built on 5 in minor keys? | You must raise 7 (the leading tone, not the seventh of the chord) to obtain the major-minor seventh= The seventh chord built on 5 without the raised 7 (v6 instead of V7) is hardly used (it serves only as a passing chord and not as a true dominant because it lacks the tonic-defining leading tone essential for a chord with a dominant function= When it does occur, it is the result of a descending line) |
| How does the 7th of a seventh-chord usually resolve? | The 7th almost always resolves down by step |
| How can the 7th be resolved in music? | As a downward-resolving suspension or descending passing tone= Simply, it resolves down |
| How does the leading tone of a V7 resolve? | When the leading tone is an outer part, the leading tone almost always resolves up by step |
| Describe the V7 Chord | The V7 chord is a major-minor seventh chord, the 7th of the chord (4) resolves down to 3, the 3rd of the chord (7) resolves up to 1 especially when it is in an outer part |
| How do you resolve the dominant seventh in root position to the tonic in root position? | The 7th (4) must resolve down by step to 3 and the 3rd of the chord (7), when in the top part, must resolve up by step to 1 |
| Describe the resolution of a tritone | The +4 tends to resolve outward to a 6th, the º5 tends to resolve inward to a 3rd= As a result of these principles, we find that the tonic triad is incomplete (specifically, it has no 5th) |
| The resolution of V7 is to what and is this weird? | The resolution of V7 to an incomplete triad is not an "error" and is a very common occurrence (especially at final cadences) |
| How do you resolve the root position V7 in four-parts to a complete tonic triad? | Use an incomplete V7 (omitting the 5th [or, less commonly, the 3rd] and doubling the root), use a complete V7 but put the leading tone (3rd of the V7) in the inner part and "frustrate" its natural resolution by taking it down a M3 to the 5th of the tonic triad |
| How do you resolve a complete V7 in four-parts to a complete tonic triad while still resolving both the leading tone and the 7th of the chord? | If the 5th of the V7 leaps to the 5th of the tonic triad, the complete tonic triad is obtained (but at the expense of parallel 5ths= This can be fixed by having the 5ths taken by contrary motion) |
| What do you do with the 5th and 7th when trying to achieve a complete tonic triad? | Use contrary 5ths or resolve the 7th up |
| How does the V7 appear in a three-part texture? | Will have to appear with one of the chord tones missing (unless one part articulates two pitches) |
| What cannot be omitted without losing the flavor of a V7 chord? | The root nor 7th can be omitted |
| What can be omitted from a V7 chord without affecting the flavor of the seventh chord? | The 5th (more commonly omitted) and the 3rd |
| How does a V7 in root position usually move? Describe the voice leading in this progression. What is the only exception to this? | It moves deceptively to the submediant triad= The voice leading in this progression is just like that of the V--vi (or V--VI) progression for the leading tone (7) resolves up by step to tonic, and the other upper voices move down to the nearest chord tone, resulting in a doubled 3rd in the vi (or VI) chord)= The only exception is when the leading tone is in an inner voice in the major mode in which case it may move down by step to 6 instead |
| What is the V7 chord always like in four-voice versions? | The V7 is always complete= An incomplete V7 chord does not work well in a deceptive progression in four parts= Also in almost every case it is only the bass that "deceives" (meaning all other voices move as they normally would in an authentic cadence) |
| What are the only diatonic triads that commonly follow the V7 chord? | The root position tonic and submediant triads (specifically: V7--I(i) and V7--vi(VI) |
| Compare the inversions of the V7 chord to the root position V7 | The inversions of the V7 chord are actually easier to hand than the root position V7 (however, no inversion of the V7 should be considered to be a possible substitutin for the root position V7 at an important cadence) |
| What are the voice leading principles dealing with the resolution of inverted dominant sevenths? | The 3rd (7) resolves up by step to 1 and the 7th (4) resolves down by step to 3= The other members of the V7 have greater freedom but generally move up by stem (2--1) or are retained (5--5) |
| The V(6/5) Chord | Is often used in a relatively weak position in the phrase |
| The V(4/3) Chord | (Used similarly to that of the passing V(6/4)) Used to harmonize 2 in a 1-2-3 or 3-2-1 bass line= Is hardly used in three-part textures (with the V(6/4) or viiº6 being used instead) |
| The V(4/2) Chord | Because of the downward resolution of the 7th, the V(4/2) is almost always followed by a I6= The V(4/2) is often preceded by a I6 or by some form of IV or ii chord but it may also be preceded by a passing I(6/4) or a cadential I(6/4)= A less conventional but effective treatment of the upper voices is where the 5th of the V(4/2) leaps to the 5th of the I6 chord |
| Describe the resolution of the 7th of the V7 (or of any seventh chord)? | Is usually down by step |
| Suspension Figure | If the chord tone preceding the 7th is the same pitch class as the 7th |
| Passing Tone Figure | If the chord tone preceding the 7th is a step above the 7th |
| Neighbor Tone Figure | If the chord tone preceding the 7th is a step below the 7th |
| Appoggiatura Figure | If the chord tone preceding the 7th is neither the same pitch class as the 7th nor a step above nor below the 7th (is the least common approach to the 7th) |
| Where do 7ths and leading tones resolve? | 7ths resolve down and leading tones resolve up |
| How may a diatonic triad appear? | With a 7th added |
| What is the most common type of seventh chords? | Dominant sevenths that appear either as a V7 or as a secondary V7 |
| What is the most common diatonic seventh chord in the major mode? | ii7 (other than the V7) |
| What are the types of seventh chords that are used frequently in the major mode (from most frequent to least frequent)? | V(7), ii(7), vii(ø7), IV(M7), vi(7), I(M7), iii(7) |
| How does the 7th of the seven chord almost always resolve? | Resolves down by step |
| How is the 7th of the seventh chord approached? | Can be approached in many ways (with the suspension figure [along with the passing tone figure] being most common and the neighbor and appoggiatura figures less common) |
| What must incomplete seventh chords contain? | At least the root and the 7th |
| What tones should not be doubled in the seventh chord? | The 7th or the leading tone |
| The II(7) Chord | Most common of nondominant diatonic seventh chords |
| The II(7) In Major | (Looks like ii7) Is a minor seventh chord |
| The II7 In Minor | (Looks like the iiø7) The iiø7 is almost always used= Can also be the ii7 (which is created by a raised 6) |
| How frequently is the ii7 in minor used? Why? | The ii7 chord in minor (created by a raised 6) is rarely used because the linear tendencies of both the ([up]6) and the chord 7th would usually lead to a doubled leading tone in the V chord |
| What does the supertonic seventh typically move to? How can this thing be delayed and or represented? | The supertonic seventh (like the supertonic triad) moves to V= The root position V may be delayed by the appearance of a cadential I(6/4), or the V may be represented by a viiº6 |
| What inversion of the ii7 is the most common bass position? | The first inversion of the ii7 |
| What is the result of using a supertonic seventh chord as a substitute for a IV chord in a plagal cadence? | (This use is very rare) The ii7 is usually in first inversion where its close resemblance to the IV is most obvious |
| What is the leading-tone seventh in a major? How does it resolve? | A half-diminished seventh chord that posses (like the viiº triad) a dominant-like function= It normally resolves directly to the tonic (but it may first move to the V7 simply by taking 6 (the 7th of the chord) down one step |
| What are typical resolutions of the vii7 in four parts in Major? | vii(ø7)--I, vii(ø7)--V(6/5)--I, vii(ø[6/5])--I(6), vii(ø[4/3])--I(6) |
| What resolutions of the vii7 in major must be handled carefully? How do you do this? Why do you do this? | The vii(ø7) and the vii(ø[4/3]) must be handled carefully to avoid parallel 5ths= This can be done by doubling the 3rd of the I chord or by revoicing the leading-tone chord so that parallel 4ths replace the parallel 5ths |
| Describe the approach and resolution of the vii(ø[4/3]) in major. What is the result of this? | Resolution of vii(ø[4/3]) is to a root position I chord (which is not very common)= The vii(ø[4/3]) is typically brought about by a IV chord that is left by parallel 3rds or 6ths outlining 1--2--3 in one voice and 6--7--1 in another (the two alto lines)= The result is an interesting combination of plagal and authentic cadences |
| How common is vii(ø7) compared to other chords with dominant functions? | vii(ø7) is much less common than other chords with dominant functions (specifically, V, V7, and vii(º6) |
| The VII(7) Chord In Major | (Looks like vii[ø7]) The leading-tone seventh in major is a half-diminished seventh chord that posses (like the viiº triad) a dominant-like function |
| The VII(7) Chord In Minor | (Looks like viiº7) The leading-tone seventh appears as a fully diminished seventh chord (viiº7) |
| When is the subtonic seventh chord used? | In sequences or as a secondary dominant seventh (V7 of III) |
| What does the viiº7 tend to resolve to? | The viiº7 (whether in root position or inverted) tends to resolve to tonic= The viiº7 (just like the viiø7) amy move first to the V7 by moving to the 7th of the chordº down to 5 |
| What does the viiº7 contain? | Two tritones |
| How does the tritone typically resolve? | Inward by step when spelled as a º5, outward by step when spelled as a +4 |
| What will the tonic triad contain if the tendencies of the tritone are followed in four parts? | If the tendency of tritones (which is to resolve inward by step when spelled as a º5, outward by step when spelled as a +4) are followed, then the tonic triad will have a doubled 3rd |
| What is a type of resolution of the the viiº7 that does not follow the tendencies of tritone resolution? What is the result? | You can sometimes take 2 down to 1 instead of moving the 2 up to 3= This can sometimes result in unequal 5ths (which is not good) |
| How do the members of the viiº7 usually move when the chord is inverted? | In the same way as when the chord is in root position (specifically, resolving inward by step when spelled as a º5, outward by step when spelled as a +4) |
| What is the viiº(6/5) usually followed by? Why? | Is usually followed by i(6) because resolution to the root position tonic creates unequal 5ths involving the bass |
| How and what does the viiº(4/3) move to? | Moves smoothly to the i(6)= The movement can sometimes be a viiº(4/3)--i (which is similar to the viiø(4/3)--I cadence) |
| What is the viiº(4/2) usually followed by? | Is usually followed by V7 or by a cadential or passing i(6/4) |
| The IV(7) Chord | The diatonic subdominant seventh chord can be found as IV(M7), iv(7), IV(7)= The subdominant seventh (like the subdominant triad) moves to V (or vii[º6]) often passing through some form of the ii chord on the way |
| Describe the resolution of the IV(7) subdominant seventh to ii(7) | The resolution to ii(7) (possible inverted) is easy to handle because only the 7th needs to move |
| What may result if iv(7) moves directly to V? How can this result be corrected? | Parallel 5ths may result if the 7th of the chord is placed above the 3rd= This can be corrected through the use of a cadential six-four or by doubling the 5th of the V chord |
| Describe a IV(7) subdominant seventh in minor with a raised 6 | Has the same sound as that of a dominant seventh chord but does not have a dominant function= Instead, it results from ascending motion toward the leading tone ([up]6--[up]7--1) |
| The VI(7) Chord | The submediant seventh seventh is found as either vi(7) in major, VI(M7) in minor, #vi(ø7) |
| Where does the vi(7) and the VI(M7) typically move? | Toward V (usually passing through subdominant or supertonic chords, or both, on the way) |
| What are some possible resolutions of the vi(7) in major and the VI(M7) in minor to IV and ii? | MAJOR: vi(7)--ii(7), vi(7)--ii(4/3), vi(7)--IV(6), vi(7)--ii(6) MINOR: VI(M7)--ii(ø7), VI(M7)--ii(ø[4/3]), VI(M7)--iv(6), VI(M7)--ii(º6) |
| When root position vi(7) or VII(M7) move to what are parallel 5ths apt to result? How can this be avoided in major? | If a root position vi(7) or VI(M7) moves to a root position V, parallel 5ths are apt to result= In major, this can be avoided by moving to V6 or V(6/5) |
| What must be raised (and why) when the root of the submediant seventh moves up by step to 7? What is the result? | The 6 must be raised to avoid the interval of a +2= The chord that results when 6 is raised is a half-diminished seventh (#vi[ø7]) |
| Describe the #vi[ø7] | Serves as a passing chord between two chords of dominant function (V or viiº)= It moves most smoothly to the otherwise unusual root position viiº but can move to V(6/5) if 1 leaps to 5 |
| The I(7) Chord | The tonic seventh chord in its diatonic form is a M7 chord in a major key and a m7 chord in a minor key |
| What is the result of adding a 7th to the tonic triad? | It deprives it of tonal stability |
| What does the tonic seventh like and want? | Rather than being a harmonic goal or resting place, the tonic seventh is an active chord that demands resolution= It tends to move to a IV or sometimes to a ii or vi (any of which might also contain a 7th)= The chord of resolution must be one that contains 6 so that the chord 7th (7) can resolve down to it |
| What are some possible resolutions of the tonic seventh in major and minor? | MAJOR: I(M7)--IV(M7), I(M7)--ii(4/2), I(M[6/5])--IV, I(M[4/3])--IV(M7), I(M[4/2])--ii(4/3) MINOR: i(7)--iv(7), i(7)--ii(ø[4/2]), i(6/5)--iv, i(4/3)--iv(7), i(4/2)--ii(ø[4/3]) |
| The III(7) Chord | These chords occur most often in sequences of seventh chords= The diatonic mediant seventh chords can be iii7 in major, III(M7) in minor |
| What are the usual harmonic functions of most diatonic chords closely related to? | The circle-of-fifths sequence |
| If the seventh chords are in root position in a four-part texture, what will complete chords do? | (Deals with seventh chords in a circle-of-fifths sequence) Complete chords will alternate with incomplete chords (5th omitted) |
| If the seventh chords are inverted in a four-part texture, what will the [6/5] chords do? | (Deals with seventh chords in a circle-of-fifths sequence) The [6/5] chords will alternate with [4/2] chords, or [4/3] chrods will alternate with 7 (root position) chords |
| Describe a circle-of-fifths sequence in three-part textures? | A circle-of-fifths sequence will usually be in root position |
| What do the voices in the circle-of-fifths sequences typically do? What sequence is an exception to this general principle? | Each voice either stays the same from one chord to the next or it moves down by step (with the exception of the bass in a root position sequence) |
