Chapter 10 - Melodic Composition

NCTs

________ may occur in any voice, but are more common in the melody.

strong cadence

When two phrases both end with a(n) ________, there is no antecedent- consequent relationship.

Imitation

________- In multiple- voice compositions, when the melody repeated in the second part ________ the one in the first.

stronger harmonic conclusion

Period- When the first phrase of a pair ends with a weaker cadence and the second with a(n) ________ forming an antecedent- consequent relationship.

contrapuntal motion

Creating ________ between the bass and the soprano impacts your choice of melody notes.

PT

Passing tones (________)- Melodic embellishments that fill in between the preparation and the resolution by stepwise motion.

Melodies

________ are constructed in phrases.

tone

Accented passing ________- Occurs when the passing tone that is not part of.

parallel period

Repeated ________- Two phrases that fomr a(n) ________ repeated exactly.

NCT

________- The dissonant tone.

Tonic

________- Its the ________ center of the composition.

Melody

A logical progression of pitches and rhythms

Anacrusis (Pick-up notes)

When the melody begins before the first full measure

Conjunct

When the melody uses stepwise motion

Disjunct

When the melody uses skipwise motion

Tonic

Its the tonal center of the composition

Mediant

Defines its harmonic nature whether its major or minor

Dominant

Fifth grade of the scale

Seventh degree

It positions the melody to return to the tonic

Phrases

Single coherent musical thoughts that move toward a goal, the cadence

Sub-phrase

A melodic unit smaller than a phrase and doesnt end with a cadence

Period

When the first phrase of a pair ends with a weaker cadence and the second with a stronger harmonic conclusion forming an antecedent-consequent relationship

Parallel period

When two phrases making up the period begin identically, or the second phrase is a variation of the first

Contrasting period

When the two phrases are different from each other

Repeated parallel period

Two phrases that fomr a parallel period repeated exactly

Phrase expansion

Expanding phrases beyond normal phraselenghts by adding material to the beginning, middle, or end

Introduction (Prefix)

Material added to the beginning

Literal repetition

Exact repetition in the same voice

Imitation

In multiple-voice compositions, when the melody repeated in the second part imitates the one in the first

Melodic motif

Short group of notes repeated throughout the melody to establish its identity and provide thematic unity

Leitmotif

A motif thematically associated with a person, place, or idea

Musical theme

A complete melodic phrase anywhere from two to eight measures

Motivic trasformation

Changing or transforming the original motif by using these compositional devices

Fragmentation

When a portion of a motif or a larger musical idea is used, often repeated, and/or varied

Melodic sequence

A form of variation that refers to repeating the original motif starting on a different pitch

Melodic inversion (Inversion)

The imitation of the melody performed upside down from the original melody

Mirror inversion

If the inverted intervals are exact

Retrograde

When the melody is played backwards

Retrograde inversion

It plays the pitches of the original motif backwards and inverted

Modulation

The process of changing from one key or tonal center to another

Ornamentation (Embellishment)

The technique of adding or decorating the melody with non-chord tones such as passing tones, neighboring tones, and suspensions

Octave displacement

Moving one or more notes of the melody to a different octave

Mode mixture

Involves combining chords from the parallel major or minor mode to increase harmonic resources

Rhythmic transformation

Changes the motif or themes rhythm in order to vary it from previous statements of the motif

Augmentation

A form of rhythmic variation where the pitches remain the same but the rhythms are equally lenghtened (note values are made longer)

Diminution

The opposite of augmentation, note values are made shorter

Rhythmic displacement

Keeps the original rhythmic structure intact but moves it to a different place in the measure

Non-chord tones (Non-harmonic tones)

Notes that dont belong and create a temporary dissonance against against the members of the chord

Preparation

The first chord tone

Resolution

The chord tone it leads or resolves to

Passing tones (PT)

Melodic embellishments that fill in between the preparation and the resolution by stepwise motion

Accented passing tone

Occurs when the passing tone that is not part of

Chromatic passing tone

A non-diaronic note (requiring an accidental) connecting two chord tones, one whole step apart

Neighbor tones (NT)

Non-chord tones that decorate a line by moving from one pitch to another one-step above (upper neighbor) or below lower neighbor) and then returning to the original pitch

Chromatic neighbor

When the neighboring tone is an accidental a half-step above to below the chord tone (but not the leading tone in minor)

Incomplete neighbor

Non-harmonic tone approached by skip or leap in one direction and resolved by stepwise motion in the opposite direction

Appoggiatura

A specific kind of incomplete neighbor that leaves the preparation by leap up and then resolves down by step

Escape tone

Another form of incomplete neighbor that leaves the chord tone by step then resolves in the opposite direction by leap

Suspension

Occurs when a note in the preparation chord is held over (suspended), creating a momentary accented dissonance (on the beat) that is resolved downward by step to the resolution

Rearticulated suspension

When the suspended note is not tied to its preparation

Retardation

Suspended note that resolves upward

Anticipation tone

It leaves early from the preparation chord by step to become a part of the resolution chord

most important part of the composition

melody

best melodies are

contoured and contained or limited in range usually within an octave.

longer melodies use

repetitions, have a distinct form and are built from simple motifs and short melodic phrases.

four scale tones that define the tonality and mode

tonic

medianet

dominant

seventh degree

purpose of a melody

to move from unstable to stable

most common antecedent phrase ending

a half cadence followed by the consequent phrase ending with a perfect authentic cadence.

two phrases ending with a strong cadence

no relationship

phrases are labeled with

lowercase alphabet letters

phrases similar but not identical

receive the same letter with the prime mark or numbers

melodic motif can be

harmonic, melodic or rhythmic

musical theme is a main

musical idea that defines the composition, reinforces it through repetition and serves as the basis for expanding and elaborating the melody, often through variation.

inversion moves

in the opposite direction by the same diatonic interval.

most common types of suspension

9-8

7-6

4-3