Theory Comp

Part-Writing Rules (there are 8 total)

• Spacing - no more than 8ve between S, A, T (T + B okay)

• 3rd needs to be there, no incomplete chords

• no parallel 8ves, 5ths, unisons

• no double leading tones

• leading tone resolves to tonic in outer voices

• 7ths resolve down by step

• no voice crossings

• avoid melodic augmented 2nds

3 main kinds of sequences

ascending/descending 5ths, ascending/descending 5-6, other patterns (2nds, 3rds, etc)

Phrygian half cadence

iv6-V in a minor key

augmented 6 chords

• 1, b6, #4

• French - 2

• German - b3

• predominant function

• in minor key, 6 and 3 are already flat

• b6 is often in the bass

What are the two main augmented 6 chord inversions?

FrV4/3 - when 2 is in the bass

Ger3 - when #4 is in the bass

Neopolitan Chord

bII - usually major, predominant function

usually in 1st inversion - N6

b2 resolves down to 7

often used as a modulation tool

mode mixture

borrowing chords from another key

vii°7 enharmonicism

the spelling of a vii°7 chord tells you where it resolves to

Ger6 and V7 enharmonicism

you can use Ger6 and V7 as a pivot (Ger6 to V7 = ½ step up; V7 to Ger6 = ½ step down)

CT dim7 chords

dim7 chords that don’t act as a dim7 in that given key; serve to prolong chord on either side

rules for 9th/11th/13th chords

never double anything, always include 7th and omit the 5th

altered chords

altered chords still function as the function of the og chord (ex V#5 still acts as a dominant)

omnibus progression

chromatic motion from root to 3rd of the V7 chord- usually in contrary motion with bass and one other line. Serves to prolong V.

chromatic mediants

• roots are a 3rd away

• one pitch in common

• same quality

• 4 possibilities for every key

sentence

1 phrase with two parts - presentation and continuation

presentation - has two basic ideas

continuation - continues to a cadence

period

2 phrases with an antecedent and consequent phrase. Each phrase ends with a cadence and the second cadence must be stronger than the first.

parallel period - a and a’ phrases

contrasting period - a and b phrases

Rounded Binary

||: A :||: B A’ :|| (A comes back at the end of B)

Simple Binary

||: A :||: B :|| OR ||: A :||: A’ :||

Balanced

both A and B end the same

Continuous Binary

modulates and A is harmonically open

Sectional Binary

A is harmonically closed

Compound Ternary

at least one section is a complete form; usually binary

Simple Ternary

A B A; no parts are a complete form

Sonata form

• Exposition

  • Primary theme (key I or i)

    • transition → Medial cesura, which unlocks the secondary theme

  • Secondary theme (V or III)

    • EEC at the end - first satisfactory PAC after secondary theme

    • closing material

• Development

  • starts in the key of secondary theme, then explores many key areas

  • retransition

• Recapitulation

  • Primary theme (key I or i)

    • transition → Medial cesura, which unlocks the secondary theme

  • Secondary theme (I or i)

    • ESC at end - first satisfactory PAC after secondary theme

    • closing material

Rondo Form

5 part - ABACA

7 part - ABACABA (or ABACADA)

A is the refrain, other sections are episodes

Sonata Rondo

ABACABA

ABA - exposition and recap (extra primary theme with A)

C - Development

Invertible Counterpoint

no parallel 5ths or 8ves

4ths are okay, but don’t invert them!

consonances - 3rds and 6ths

Invertible - Inverting intervals and melodic lines

Invertible intervals add up to 9 but create an 8ve if stacked

can be invertible at 8ve (adds to 9), 10th (adds to 11), or 12th (adds to 13)

fugue- subject

the main theme that enters, ends when the answer starts

fugue - answer

the version of the subject in the second voice, usually V

fugue - countersubject

the first voice’s material when the answer comes in the second voice

fugue - exposition

the first section of a fugue that ends when all voices have stated the subject

stretto

when the voices in a fugue stack up upon themselves by the subject imitating quickly in different voices before the first voice finishes the subject

blues scale

minor pentatonic with additional #4 or b5

acoustic scale

1, 2, 3, #4, 5, 6, b7, 1 - a hybrid “supermode” of lydian and mixolydian

octatonic scale

scale that alternates half and whole steps

hexatonic/augmented scale

scale alternating half steps and minor 3rds

ametric

music without a consistent, repeated, or audible beat

asymmetrical/irregular meter

measures contain unequal beats, typically alternating between groups of two and three

polymeter

when two or more different time signatures or measure lengths, such as 4/4 and 3/4, occur simultaneously over the same pulse (tempo)

perceived polymeter

when the listener hears polymeter when it isnt written in the score

additive meter

a meter that groups unequal small pulses together (usually groups of 2 and 3) instead of dividing a bar equally (such as 2+3/8)

metric modulation

new tempo is established by transitioning through a shared rhythmic value (like a triplet or sixteenth note) from the original tempo, allowing for a seamless change in speed or feel

non-retrogradable rhythm

a rhythmic palindrome - same forwards and backwards

voice exchange

when two voices swap notes, usually over a stationary harmonic background

fugato

fugue-like passage that doesn’t follow all the rules of fugue

contrapuntal resolution

the melodic movement from a dissonant interval to a consonant one between independent voices in polyphonic music

fugue - real answer

answer that us transposed by a perfect fifth throughout

fugue - tonal answer

answer is not a literal transposition of a perfect fifth, usually when the subject has scale degree 5 at or near the beginning.

rotational arrays

a hexachord of 1st 6 pitches from the row that is transposed to start on the second note of the og chord

anhemitonic

any scale that contains no half steps (ie. pentatonic, whole tone, etc)

fugue - bridge/link

segment between the first answer and the second subject

ritornello

baroque form where recurring partial main theme is played by entire orchestra (tutti)

fauxbourdon

musical technique characterized by a three-voice texture, often based on a plainchant melody, that moves primarily in parallel first-inversion triads

passacaglia

a Baroque musical form consisting of continuous variations over a repeated, short theme, typically in the bass (ground bass)

phrase group

Scale degree names

1. Tonic

2. Super tonic

3. Mediant

4. Subdominant

5. Dominant

6. Submediant

7. Leading tone (or subtonic if whole step)