Music Theory Exam 1

Sectional, continuous, balanced

Name the three binary formal structures

A (harmonically complete) B (or A1)

Sectional Binary Form

Sectional Binary Form

A (harmonically complete) B (or A1)

A (harmonically incomplete) B (or A1)

Continuous Binary Form

Continuous Binary Form

A (harmonically incomplete) B (or A1)

A (harmonically complete) B repeating cadence from A

Balanced Binary Form

Balanced Binary Form

A (harmonically complete) B repeating cadence from A

Sectional, continuous

Name two rounded binary formal structures

A (harmonically complete) B A1

Sectional Rounded Binary

Sectional Rounded Binary

A (harmonically complete) B A1

A (harmonically incomplete) B A1

Continuous Rounded Binary

Continuous Rounded Binary

A (harmonically incomplete) B A1

Sectional, Full Sectional, Continuous

What are the three ternary formal structures

A (harmonically complete) B (harmonically incomplete) A1

Sectional Ternary Form

Sectional Ternary Form

A (harmonically complete) B (harmonically incomplete) A1

A (harmonically complete) B (harmonically complete) A1

Full sectional Ternary form

Full sectional Ternary form

A (harmonically complete) B (harmonically complete) A1

A (harmonically incomplete) B A1

Continuous Ternary form

Continuous Ternary form

A (harmonically incomplete) B A1

2 “chunks” of music in 2 sections; rondo forms

binary

3 “chunks” of music in 2 sections; sonata forms

Ternary

3 “chunks” of music in 3 sections; compound ternary forms

Ternary

Parallel period

Antecedent-consequent relationship of phrases; consequent section begins with same/similar material but ends more conclusively; converse is contrasting period

symmetric period

contains phrases of same length; converse is asymmetric period

Lied

German solo song normally written with piano accompaniment, furnished many nineteenth-century composers with a perfect vehicle for the expression of love, joy, remorse, longing, and other sentiments; Composers: Schubert, Schumann, Brahms, Liszt, Tchaikovsky, Wolf; nineteenth-century harmonic techniques in concise, texturally uncomplicated form

text setting

prime determinant of a song’s form, since composers usually attempted to reflect and enhance its meaning through music

through-composed

texts that contain no large-scale repetitions

strophic

texts of several stanzas containing the same number of lines

Song form

ABA form called this

syllabic

one syllable is set to one note of music

melismatic

one syllable is set to many notes

text painting

the reflection of the meaning of a text by some musical device

compound ternary form

A three-part structure in which one or more of the parts is itself a sectional form; the most common example is the minuet and trio movement, in which both the minuet and trio are rounded binary structures, creating a form within a form

augmentation

a contrapuntal device in which a melodic/rhythmic figure appears in longer note values than its original form

close (closing area)

The final musical passage in the exposition of a sonta-form movement

Coda

A final tonic prolongation which occurs at the end of the recapitulation

codetta

A closing passage within the exposition of a sonata-form movement, which imparts a degree of finality to the section by prolonging its final tonic harmony

Development

That area within a sonata-form movement comprising a working out of the harmonic and melodic potential of the material presented in the exposition, usually with a certain amount of tonal exploration and sometimes with the addition of new material

diminution

A contrapuntal device in which a melodic/rhythmic figure appears in shorter note values than its original form

Exposition

The first principal division of a sonata-form movement, featuring the initial presentation of thematic material, eventual departure from the principal tonality, and establishment of a second tonal area

First tonal area

The first part of a sonata-form exposition, in which the principal thematic material is heard in the home key

Fragmentation

A technique wherein small portions of a melodic idea are heard in isolation and used in sequences, imitation, or other developmental ways

melodic inversion

Turning a melodic figure “upside down” so that its contour and interval structure are a mirror of the original form, with upward steps and leaps becoming downward steps and leaps of the same interval and vice versa

monothematicism

Containing or based on a single theme

recapitulation

The concluding portion of a sonata-form movement, comprising a restatement of the material from the exposition, either in part or in whole, perhaps with other modifications, but transposed so as to remain in the home key

retransition

The preparation, usually by means of dominant harmony, for the recapitulation, occurring at the end of the development section in a sonata-form movement

Retrograde

A technique of cell transformation in which the pitches are stated in reverse order

second tonal area

In a sonata-form exposition, the second most important tonal region, typically, the dominant, or if the principal tonality is minor, the relative major. This area may contain a new theme as well

transition

A passage that provides a connection between one tonal area and the next, often involving a modulation; In sonata-form movements, t occurs between the first and second tonal areas

rounded binary

Sonata form is an expansion of this form

binary

Rondo is an expansion of this

ternary

compound ternary is an expansion of this song form

fa, le

Predominant function includes chords containing __ and/or __

borrowed

These chords are sometimes used in major keys but are diatonic in minor

augmented

The __________ mediant chord is rare because it contains me and ti

tonicizations

High chromaticism often consists of a series of ____________ in various keys

V7

The most common clue chord is this

ti, re

Half-diminished 7th chords occur on in major mode and in minor

mi, me

A chord commonly borrowed from major to minor contains __ instead of __

Trio

The large B section in compound ternary form is known as a _____

minuet, scherzo, march

Three of the more well-known compound ternary forms are _____ & trio, ______ & trio, and _____ & trio

da capo

Compound ternary forms may also be called __ ____ forms due to the exact repeat of their opening A sections

tonic-dominant

Harmonically, a _____-_______ tonal polarity characterizes compound ternary forms, particularly those in major keys

ternary

Compound ternary forms are expanded versions of the simpler _______ song form common in the Baroque era

homophonic

Texture in compound ternary forms is almost exclusively _________

cadences

Strong ______ punctuate the ends of formal sections in compound ternary form

melody

When analyzing form, the _______ of a piece is the most useful element in quickly determining its sectional divisions

clue

When we encoutner extend chromaticism in a piece, “____” chords help us determine tonal centers

cadential

In rapidly changing tonal centers, we are most likely to find simple progressions which are nothing more than extended _______ formualas

double

Four closely-related phrases are often combined to form a ______ period.