GACE Music Aural Skills & Analysis

Describe the use of vowel modification, dynamics and vocal vibrato to achieve choral blend

Vowel Modification - adjusting the acoustics of vowels to attain a pleasant vowel

Pure Vowels - A E I O U : Raised Palette

Dynamics Adjusted for Weaker singers and Stronger singers

Choral setting Needs Self-monitoring - Adjusting based on other musicians

Minimum Vibrato for Choral Blend : Vibrato can give texture

Choral Blend is Uniform Sound, Texture, and Tone

Describe the negative results of a singer who cannot hear themself in a choral setting

Not hearing themselves = BAD INTONATION ; Affects the whole group

They Cannot actively listen or adjust

Self-Monitoring is key - Ability to adjust and listen critically to others

One singer is out of tune = WHOLE Chorus is out of tune.

Describe the negative results of an instrumentalist who cannot hear themself in an ensemble

Self-Monitoring is KEY - Ability to listen and adjust to others

Cause Inaccurate tuning, rhythm, Phrasing

There is no Productive Collaboration

No Active listening and adjusting

Whole ensemble is out of tune

Identify key musical elements of a unified ensemble performance

Tuning, Balance, Phrasing, Articulation, Cut-offs - UNIFIED

Sound intensity Balanced - Clear Melody & Supportive Accompaniment

Phrasing creates Cohesion - NO Phrasing NO Cohesion

Articulation creates Cohesion but NO Articulation = Muddled Texture

Cut-Offs Must be SIMULTANEOUS ; Not together = Disunity of Sound 

Compare and Contrast choral balance and choral blend

Choral Balance =  Equal levels from all ranges

Top Heavy = TOO MUCH Soprano or Alto

Bottom Heavy = TOO MUCH Tenor or Bass

Choral Blend - Uniformity of Vowel Formation and tone

Uniform Choral Blend - achieved by singer’s diligence to Tone Production

Compare and contrast the desired timbre for classical singing traditions and popular music traditions

Classical: Mouth high palate (like a yawn shape), open & formal

Lots of Vibrato

Pure Vowels & rich vibrato

Pop: flexible mouth shape, High & low palates

Less Vibrato

Wide variety of sounds

Name and describe the three principal registers commonly referred to in the classically trained voice

The register is the range of pitches with a similar tone quality

3 General Registers

Men: Chest, Head, Falsetto

Women: Chest, Middle, Head

Chest: Low range, Heavy TQ, similar to Talking

Head: (Middle for Women) High range, Light TQ

Falsetto: (Head for Women) Highest range, breathy TQ, Lacks overtones

Describe the physiological mechanisms of singing

3 Main Vocal Parts: Air Supply, Vibrator, Resonator

AIr Supply: taken into the lungs by the inspiratory muscles and emptied by the expiratory muscles

Vibrators: Vocal folds in the voice box, on top of the Trachea, When air goes through the folds through the opening called the Glottis, they vibrate and produce sound.

Resonators: The Pharynx and Mouth Cavity, they influence the tone quality by the cavity shapes.

Describe how the tonal characteristics of instruments relate to their use in orchestration

Strings: Rich tone quality, can Function as: Melody, supporting Harmony, Rhythmic texture.

High Brass: Clear & Focused Tonal Quality: Melody, Rhythmic flourish

Low Brass: Bass lines & Rhythmic motives

Woodwinds: Melody, Harmony, rhythmic textures (Similar in their function to strings)

Percussive: Mainly Rhythmic, Melody as well 

Describe how sound is produced on brass instruments

Through buzzing their lips, through a tube.

Lips act as a vibrating valve that produces air.

Brass has certain frequencies that resonate easier.

Valves and Slides allow them to produce other tones.

Trumpets & Trombones: Sharp & Clear

French Horns & Euphoniums: Warmer & Darker

Describe how sound is produced on a stringed instrument

Strings produce sound through vibrations of the strings through the resonating body of wood.

Played by plucking, bowing or striking.

As the string vibrates, the soundboard vibrates through the bridge which creates a tone out of the sound hole.

Pitches are modified by string tension, and length.

High tension = High pitch

Thicker string = Low pitch

Longer string = Low pitch

Describe how sound is produced on woodwind instruments

Woodwinds produce sound through vibrations in a tube. The vibrations caused by a vibrating reed across an opening. Air is blown through the reed which vibrates against the mouthpiece.

Players change pitch by shortening or lengthening the air column through covered holes or keys. 

Describe how sound is produced on percussion instruments

Produce sound by being Hit, Scraped, Shaken.

Drums produce sound through the vibration of a membrane around a resonating body. (Membranophones)

Idiophones - produce sounds without air or strings

Concussion Idiophones - Rattles & Scrapers

Percussion - Marimbas & Xylophones

Friction - Scraping or Rubbing

Describe how to manipulate stringed instruments to produce dynamic changes

Speed and Pressure affect Dynamics

Forte = fast Bow & more pressure

Piano = slow bow & less pressure 

Plucked Strings - Pizzicato = Sharp attack

Heavy pluck = great speed & loud dynamics

Describe how to manipulate brass instruments to produce dynamic changes

Dynamics - The product of volume of air

Steady Embourche = Sharp pitch

Lower dynamics = less airflow ; Needs tight embouchure or will fall flat

Describe how eight to ten dynamic markings commonly used in music

Markings are 17th century Italian musical tradition

Pp p mp mf F FF

Crescendo

Decrescendo or diminuendo

Briefly explain the physical properties behind sound production

Sound needs vibration to produce, through a medium, through air, to the ear, to the brain being perceived as sound

Simple resonator = creates fluctuations in the pressure of the air

The Vibrations through the air are Complex Sound Waves

The eardrum determines these frequencies where its a tone or noise

Describe the difference between a pure tone and one produced by an instrument

Pure tone - A simple sine wave; Constant frequency 

An instrument produces Complex Waves

It produces a Fundamental Frequency (joined by harmonics & overtones)

The Harmonic Frequency resonates at integer multiples of the fundamental

Pure tones = NO Harmonics or Overtones

Describe the role of resonance in enabling a singer’s voice to “carry” better

Resonance is when an instrument vibrates in response to a specific sound wave which amplifies it sound.

Resonance = enables the voice to “carry” with more Vibrance and Richness

Singers should try and maximize the resonances. They do this by creating more space in their oral cavity & relaxing their vocal tract. 

Describe the most important properties of sound that contribute to an instrument’s tone quality

An instrument's tone is a Complex Wave of many different partial frequencies.

The body of an instrument affects its tone.

Formants = Each body has different complex resonances

Describe the acoustical implications of blocked section, mixed, and column choral formations

Choral Blocked = Vocal parts separated from front to back in Blocks

Sound better for homophonic pieces

Not great for blend and tuning

Choral Column = Vocal parts separated into column sections

Good balance for harmonics and tuning

Not good for section support

Mixed Formation = SATB Alternating pattern

Good for intonation and mixing; May require more training

Describe key acoustical considerations for instrumental ensemble arrangement

Softer instruments = Melody lines ; Near front

Instrument groups with similar lines; Sit together

List the following in order of increasing reverberation time, and explain: rehearsal room, concert hall, football field, and cathedral

Football field = little reverb, no ceiling

Rehearsal room = more reverb; has ceiling

Concert hall = Even more reverb; design increases blend

Cathedral = Most reverb; Reflective walls, and Intricate ceilings

Describe reverberation time

Reverb time = Time it takes for sound to decay by 60 decibels from its origin

Some sound gets Absorbed into objects, while the rest is Reflected. 

Sound waves bounce off of surfaces; the sound waves are known as Reverberation

Describe how reflected sound interacts with direct sound within a performance space

Sound waves go through - Reflection, Diffraction, Refraction

Direct sound continues till it hits a surface

Sound gets absorbed into heat or it reflects off a hard surface

Describe the relationship between frequency and perceived pitch

Frequency =  is the number of cycles of a waveform per second

Pitch = the perception of fundamental frequency of a sound wave

Avg Human = 16 hz -> 20,000

Relevant frequencies = 20 hz to 5000

High frequency = High Pitch

Concert “A” 440 HZ standard pitch for 20th Century

Describe how variations in amplitude are perceived

Sound Wave has 2 Aspects = Frequency and Amplitude

Frequency =  is the number of sound waves per second

Amplitude = the height of the sound wave (Measured in decibels) 

Variations in Amplitude are Loudness.

Higher Amplitude = Louder the sound

Vibratos = Frequency Modulation

Tremolos = Amplitude Modulation

Define and explain partials

All of the sine waves that make up a single sound are Partials

In Partials, there are a Fundamentals and Overtones

The lowest frequency partials is known as the Fundamental

The Partials with a higher frequency are the Overtones

Partial frequencies give the timbre of instruments

Define and explain overtones

Overtones are the higher frequencies that sound along with the fundamental.

Overtones are partial frequencies - Can be Harmonic or Non-Harmonic

Harmonic Overtones = Integral multiples of the fundamental

Non-Harmonic Overtones = not Integral.

Define and explain harmonics

Harmonics are the overtones that are the multiples of the fundamental.

Every frequency has a series of other - Harmonic Set

Harmonic frequencies have pure tones

1st Harmonic is one octave above

2nd Harmonic is a fifth above

The Harmonic series helps define the perception of pitch

Name all scale degrees and describe how they are usually indicated in musical notation

Scale Degree = An assigned number to a major or minor scale

They are labeled 1-7 ; Roman numerals are used

Major key: I ii iii IV V vi viiᵒ 

minor key: i IIᵒ III iv V(v) (rare) VI VII - Natural minor

I - Tonic
II - Supertonic
III -  Mediant
IV - Submediant
V - Dominant
VI - Subdominant
VII - Leading tone or Subtone

Western music has a stable Tonic & for the Leading tone to progress to the Tonic

List and name all inversions of triads and seventh chords

Chords are related by inversion if they contain the same pitches with the same root

Root position = Root is lowest pitch

1st Inv = Third is Lowest

2nd Inv = Fifth is Lowest

Seventh Chords have 3rd Inv

3rd Inv = Seventh is Lowst

Describe the nomenclature used in harmonic analysis

diminished triad = “ᵒ” (viiᵒ)

1st inversion = “6” (I⁶)

2nd inversion = “6/4” (IV⁶⁄₄)

Seventh chord in Root position = “7” (V⁷)

Seventh chord in 1st inversion = “6/5” (V⁶⁄₅)

Seventh chord in 2nd inversion = “4/3” (V⁴⁄₃)

Seventh chord in 3rd inversion  = “4/2” (V⁴⁄₂)

Define the authentic cadence and its role in tonal music

Dominant harmony progressing to Tonic harmony (V-I) (V-i)

Strongest Cadence = Highest tension & Release

Either Perfect or Imperfect

Perfect = (PAC) Both roots in bass

Imperfect = (IAC) no roots in bass

Define the plagal cadence and its common usage in Protestant hymns

Plagal Cadence Sub Dominant to Tonic (IV-I) (iv-i)

No leading tone = Not as Strong

Used as an extension of the Authentic Cadence 

Common in Protestant Hymns - “Amen Cadence”

Describe the half cadence

Half Cadence any Harmony progressing to the Dominant

Common one = Tonic in 2nd Inv resolving to Dominant

Phrygian Half Cadence = 1st inv Subdominant to Dominant

Lydian half Cadence = 1st inv Subdominant raised a half step then resolves to Dominant

Describe the deceptive cadence

Dominant harmony progressing to the unexpected.

Most commonly = the Submediant

The leading tone of the dominant resolves to the Tonic but the Tonic does not act as the Root.

Used to delay or avoid the ending of a piece, Also used to transition to another section

Weak Cadence - No resolution 

The interrupted Cadence

Describe the circle of fifths

The relationship and pattern of Major and minor keys. 

The Keys on the right side move in 5ths. The Keys on the Left move in 4ths.

Eventually goes through all 12 keys back to C

A sharp or flat is added depending on the direction. 

Compare and contrast the natural, melodic, and harmonic minors

minor scale no alterations = Natural minor

minor scale with raised 7th scale degree = Harmonic minor

minor with raised 6th & 7th scale degree in ascending motion, but lowered in descending motion = Melodic minor 

Compare and contrast the whole tone scale and the chromatic scale

Whole tone scale =  every pitch is separated by Whole step

Used for a feeling of spaciousness

Chromatic scale = every pitch separated by Half step

Used to increase complexity of a piece

Both lack a tonal center

Describe 12-tone music and its origin

All 12 notes of the chromatic scale are sounded equally Without a Tonal center

Arising from the disdain of traditional music, music was made in an abstract manner. Schoenberg was the leading composer

Describe the difference between a tonal and real answer to a fugal subject

Fugue - Form of imitative counterpoint. A Fugue theme is introduced (Exposition), which is echoed in all voices through imitation and development

Each voice chases the previous.

The initial subject is the (Dux) presented in the Tonic key.

After the Dux, the (Comes) follows in the Dominant key. 

This can be presented as either Real or Tonal

Real Answer = Theme is transposed exactly note to note in the Dominant key

Tonal Answer = Theme is transposed loosely in Dominant key

Describe a tone cluster and the origin of the term

Group of closely spaced notes played at the same time

Diatonic clusters = diatonic neighboring notes

Chromatic clusters = notes separated by half steps

Dia - Chromatic clusters = both chromatic & diatonic tones

List four to five Italian tempo markings and their relative designations

Adagio “at ease” Slower than Andante; Faster than Largo

Moderato means “moderately” Faster than Andante; Slower Allegro

Presto “very fast” Much faster than Allegro

Prestissimo as fast as possible.

Andante “walking pace” Faster than Adagio; Slower than Allegro

Allegro means “lively” Fast tempo. 

Define hemiola

The rhythm of 3 notes in a space of 2 notes.

Horizontal Hemiola = 3 Half notes follow a measure of 2 Dotted Half notes in 6/4 meter

Vertical Hemiola = 3 Quarter notes play over 2 Dotted quarter notes in 6/8 meter

Describe the different forms of metrical accenting

The Natural stresses on certain beats of a meter.

In 3 / 4 Meter, the stress is on the 1st beat of the measure

In 4 / 4, the stress is on the downbeats (1&3) In Jazz its (2&4)

In Compound meters 6 / 8, the stress is on the 1st beat on each group of three notes

Compare and contrast compound and simple meters

Simple meters cannot be subdivided 2 / 4, 3 / 4, 4 / 4

Compound meters Can be subdivided into groups of three 6 / 8 9 / 8 12 / 8 

Discuss simple and compound musical form, giving examples of each

Simple Form = a work NOT divisible into smaller works

Binary & Ternary are examples 

With sections labeled “A” or “B”

Compound Form = works that CAN be divided into smaller works

Sonata movements, & Symphony movements

Compare and contrast binary and rounded binary form

Form = the structure of a musical composition

Binary Form = 2 sections, both repeated.

“A” Home key “B” Dominant Key

Simple Binary = Open form, Cannot exist by itself

Rounded Binary = Returns back to original ABA

Describe ternary form

Ternary form 3 sections.

1st & 3rd nearly identical - HOME key

Contrasting 2nd section - Closely related key

Considered a Closed form, all sections could exist independently.

Describe monophony, homophony, polyphony, heterophony

Monophony = Music made of a single melodic line

Homophony = Music made of a main melodic line with supporting accompaniment. 

Polyphony = Made of all equal melodic lines

Heterophony = Multiple improvised interpretations of melody played at the same time

Define equal and unequal-voice polyphony

Equal-Voice Polyphony = Same thematic material in ALL VOICES

Unequal-Voice Polyphon = Greater importance to One or more Melodic Lines