Grad Tonal Theory Exam #1

theme

a complete formal unit, which includes its particular melodic-motivic content, its accompanimental texture, and its supporting harmonic progressions. themes usually end with cadences.

idea

short grouping units that contain the motivic material for the work. they are often two measures long, but they may be longer or shorter. ideas need not end in a cadence.

motive

a regularly recurring unit of music that’s typically smaller than an idea and that usually undergoes transformations.

form units from larger to smaller (with cadences)

piece, movement, section, phrase (end with cadences)
phrase, subphrase, idea, motive (need not end with cadences)

sentence

1 phrase (continuation + fragmentation). continuation is bi + bi.

period

2 phrases (antecedent + consequent). both are bi + ci.

what kind of cadence do antecedent phrases end with?

HC or IAC (weak cadence)

what kind of cadences do consequent phrases end with?

PAC (strong cadence)

hybrid theme types

antecedent + continuation, antecedent + cadential, compound basic idea + continuation, compound basic idea + consequent

compound basic idea

resembles an antecedent, but does not achieve a cadence

framing functions

before-the-beginning (prefix)
after-the-end (suffix)

phrase deviations

expansions, compressions, interpolations

cadential deviations

evaded cadences

expansion

a formal function is expanded when its constituent members are internally lengthened.

compression

a formal function is compressed when its constituent members are shortened in relation to the norms.

interpolation

when entirely new, unrelated material is inserted between two logically succeeding formal functions.

evaded cadence

an evaded cadence arises when either:
1. the final cadential tonic of an implied authentic cadence fails to appear.
2. the cadential dominant is undermined by appearing in inversion.

one-more-time technique

the one-more-time technique commonly involved three steps:
1. the music tries to cadence.
2. the attempted cadence is evaded.
3. the music retries the cadence.

hypermeter

meter at levels higher than the notated measure.

phrase rhythm

the interaction of hypermeter and phrase structure.

repetition (hypermeter)

when you interpret that a hypermeasure has been expanded beyond its expected number of measures.
- usually associated with phrase overlaps, phrase expansions, or evaded cadences.

reinterpretation (hypermeter)

when you hear a single hyperbeat simultaneously doing different things.
- usually associated with phrase overlaps.

shifted hypermeter

when a hypermetrical downbeat and a metrical downbeat are misaligned.

half cadence

weak. V(not 7) in root position.

authentic cadence

strong. V(7) - I in root position.