Theory III Midterm

What is a harmonic sequence?

When an entire texture is transposed instead of one voice/line.

Model/copy

Model-the original line of music

Copy-the transposed version

Linear intervallic pattern

The numeral interval between the lower/upper voices in the model vs the copy in a melodic/harmonic sequence. Ex: a 10-8 LIP

Harmonic sequence #1: Pachelbel’s Sequence

Descending 3’rds sequence. -4/+2

Harmonic sequence #2": Descending 5th’s

Descending 2nds sequence. -5/+4

Closely related key

A key within one sharp/flat of each other

Tonicization

Temporarily making a non tonic chord tonic by preceding it with a dominant or leading-tone chord. Ex: secondary dominants.

Transient modulation

Quickly/temporarily switching to a new key/new tonal center before going back to the previous key or a new key.

Modulation

A longer/more long term change to a new key.

Modulation techniques

Sectional modulation (switch to a new key at a section break or after a cadence), modulation by a pivot chord (switch to a new key by a common chord between two keys usually with predominant function), chromatic modulation (modulating key with no good pivot chord candidate).

Sectional variation

Ends on the tonic, with a strong feeling of completion/cadence.

Continuous variation

Ends on the non-tonic (usually V), with musical ideas flowing more freely together with less senses of strong cadences.

Harmonic disturbance/digression

Beginning of the second large section in a binary form - unstable.

Simple Binary

AABB - both sections repeat.

Rounded binary

||:A:||:B A’:||

Balanced Binary

Same as simple binary ( ||:A:||:B:|| ) but with cadences at each section.

Simple Ternary

ABA

Minuet/Trio

||:A:||:B:||:C:||:D:||:A:||:B:||

Formal structure

Subject

Primary thematic material of a fugue

Countersubject

Another regular recurring motive outside of the subject in a fugue

Answer

Transposed version of the subject up a 5th/down a 4th

Real vs. Tonal answer

Real - exact intervals in the transposition. Tonal - generic changes, same intervals (3rds), keeps it in the key.

Stretto

Overlapping entries of motive or subject or counterpoint before first line has finished

Imitation

Repetition of the main theme in different voices/instruments in a fugue

Fortspunning

Uneven phrasing, rhythmic activity, associated with Baroque, usually less moments of repose.

Types of motivic manipulation

Transposition, inversion, extension, truncation, fragmentation, retrograde

Sectional variation (theme and variation)

A form of music where a theme is followed by independent variations. It can be varied through rhythm, texture, articulation, mode/key, reharmonize, tempo, and time signatures.

Continuous variation

Variations over the top of repeated iterations of the bassline.

Ostinato

Repeated short rhythmic/melodic idea throughout a piece, typically in the bassline

Ground bass

A set of continuous variations built on a repeated bassline.

Passacaglia

Descending tetrachord (four note musical sequence spanning a perfect fourth) in minor

Theme

Melodic idea that serves as the basis for a composition

Modal mixture

Shifting temporarily from a major key to the parallel minor (or backwards). ALSO mixing the parallel major and minor modes w/scale degrees b3, b6, b7

Borrowed keys in major

i, half diminished ii^7, bIII, iv, v, bVI, bVII, fully diminished vii^7

How are chromatic mediants used?

Expand tonic

What is the neopolitan 6th chord? How does it function?

Major triad built on bII, appearing in first inversion. They function as a predominant chord.

How is Italian +6 spelled?

b6, #4, double 1

How is French +6 spelled?

b6, 1, #4, 2

How is German +6 spelled?

b6, 1, #4, b3

What is a common tone augmented 6th chord?

A collection of neighbor tones that makes an augmented 6th chord. Shares one pitch with preceding or following chord.

Common tone diminished augmented 6th chord?

Collection of neighbor tones that makes a diminished seventh chord. Shares one pitch with preceding or following chord