Praxis 5113 - Theory and Composition

Root position triad

Root, third, fifth

First inversion triad

Third, fifth, root

Second inversion triad

Fifth, root, third

Third inversion seventh chord

Seventh, root, third, fifth

Authentic Cadence

V-I or V-i

Which cadence is the strongest?

Authentic cadence

Perfect Authentic cadence

V to I; in root position; melody ends on tonic

Imperfect authentic cadence

V-I not in root position, or soprano doesn't end on tonic

Plagal cadence

IV-I or iv-i

Which cadence is closely associated with Protestant hymns?

Plagal cadence

Deceptive cadence

V-VI or V-vi

What is another name for the deceptive cadence?

Interrupted cadence

Half-cadence

Any chord to V

Scale degrees

Assigned number to the sequential notes of any major or minor scale

Tonic

I

Supertonic

II

Mediant

III

Subdominant

IV

Dominant

V

Submediant

VI

leading tone

viio

Subtonic

VII

Circle of fifths

The relationship and pattern of major and minor keys from one to the next as they move up or down in fifths.

Natural minor scale

whole, half, whole, whole, half, whole, whole

Harmonic minor scale

a natural minor scale with a raised 7th scale degree

Melodic minor scale

a minor scale with raised 6th and 7th scale degrees ascending

Whole tone scale

A scale where each pitch is separated by a whole step

Chromatic scale

Each pitch is separated by a half step

12-tone music

A type of composition in which 12 pitches are used in a specific order. Uses serial rows.

How can serial rows be manipulated in 12-tone music?

Retrograde, inversion, or retrograde-inversion

Fugue

A form of imitative counterpoint in which a theme is introduced at the beginning of the work and then echoed in all of the other voices through imitation and development.

Where does the term "fugue" originate?

Latin for "to flee."

Initial subject of a fugue

Known as the leader or dux. Presented in the tonic key.

Real answer to a fugal subject

Theme is transposed note by note in the dominant key

Tonal answer to a fugal subject

Theme is transposed loosely in the dominant key. Modified to maintain harmonic congruity or to facilitate modulations.

Tone cluster

A group of closely spaced notes played simultaneously, usually with adjacent seconds and groupings.

Diatonic tone clusters

Only neighboring notes in the diatonic key are used

Chromatic tone clusters

Notes that are separated by a half-step are used

Dia-chromatic tone clusters

Both diatonic seconds and chromatic notes are used.

Who termed the concept of tone clusters?

Henry Cowell

Which western composers utilize tone clusters?

Charles Ives, Bela Bartok, Lou Harrison, Henry Cowell, Oliver Messiaen, Karlheinz Stockhausen, and George Crumb.

Adagio

"At ease." Slower than andante, but faster than largo.

Moderato

"Moderately." Faster than andante, but slower than allegro.

Presto

"Very fast." Much faster than allegro.

Andante

"At a walking pace." Faster than adagio but slower than allegro.

Allegro

"Lively, merry." Fast or moderately fast.

Hemiola

Greek for "one and a half." Rhythm of three notes in a space that usually only has two notes.

Horizontal hemiola

Switching from groups of three notes to two notes or vice versa.

Vertical Hemiola

Rhythmic syncopation where groups of two and three notes are played simultaneously.

Another term for vertical hemiola

Sesquialtera

Metrical accenting

The natural stresses on certain beats of a meter.

Compound meter

Each beat can be divided into three notes.

Examples of compound meter

6/8, 9/8, 12/8

Simple meter

Each beat can be divided into two notes.

Examples of simple meter

2/4, 4/4, 2/2, 4/2, 3/4, 5/4

Binary form

Contains two repeated sections. Section A is in the tonic key while section B is a modified version of the A but in the dominant key. Each section is repeated. AA'

Rounded binary form

Like binary form, but returns to the original key. AA'A

Ternary form

Three sections where the first and third are almost identical with a contrasting middle section. ABA

Monophony

A single melodic line

Homophony

Melody with accompaniment

Polyphony

Multiple melodies

Heterophony

Multiple improvised interpretations of the same melody at the same time.

Equal-voice polyphony

Maintains the same thematic material in all voices.

Example of equal-voice polyphony

Canon, fugues, inventions, and imitation

Unequal-voice polyphony

One or more melodic lines are more important.

Example of unequal voice polyphony

Medieval-era cantus firmus

Parallel motion

Musical lines moving in the same direction while maintaining the same interval.

Contrary motion

Musical lines moving in opposite directions

Similar motion

Musical lines moving in similar directions without maintaining the same interval.

Oblique motion

One line remains stationary while the other moves.

Passing tone

Approached by step, left by step in the same direction

Neighbor tone

Approached by step and left by step in opposite directions.

Anticipation

Approached by step and remains the same. A note of the next chord played early.

Appoggiatura

Approached by leap and left by step in the opposite direction.

Suspension

Note stays the same and then resolves down.

Retardation

Note stays the same and then resolves up.

Double neighbor or neighbor group

C-D-B-C

Types of dissonance found in tonal counterpoint

Anticipation, cambiata, appoggiatura, suspension, passing tone, neighbor tone, and escape tone.

Escape tone

Approached by step and left by leap in the opposite direction.

Relative minor

Same key signature as the major scale

Parallel minor

Shares the same tonic as the major scale.

Four main clefs used in orchestral writing

Treble, alto, tenor, and bass

Alto clef

Middle point rests on the third line as middle C. Used by violas

Treble clef

Spiral circles the G line. Used by violins, woodwinds, high brass, and the treble range of keyboards.

Tenor clef

Middle point is on the fourth line as middle C. Used by cello, bassoon, and trombone.

Bass clef

Two dots surround the F line. Used by double bass, cello, bassoon, trombone, low brasses, and the bass range of keyboard instruments.

Concert band instruments

Two flutes, two oboes, two bassoons, three clarinets, one bass clarinets, four saxophones, four horns, three trumpets, three trombones, one baritone horn, one tuba, and three or four percussion instruments. 40-50 performers.

Symphonic band instruments

90-120 performers. Same as concert band with string bass, piccolo, English horn, harp, bass trombone, and contrabassoon.

General vocal range of a soprano

C4 to A5

General vocal range of an alto

F3 to D5

General vocal range of a tenor

C3-C5

General vocal range of a bass

E2 to C4

General range of a baritone

G2 to E4

General range of mezzo-soprano

A3 to F5

Classical singing timbre

High palate to create an open sound. Vibrato is encouraged. Use pure vowel tones and clear consonants.

Popular singing timbre

Use both high and low palates. Less vibrato. Use variety of sounds, timbres and techniques to achieve emotional range.

Chest register

Lower ranges of the voice that have a heavier tone quality similar to that of the talking voice.

Head voice

The upper ranges of the voice that has a lighter tonal quality, but is not falsetto.

Falsetto

Highest ranges of the voice with a breathy tonal quality that lacks overtones.

What are the three main vocal parts involved in creating sound?

Lungs, vocal folds, and pharynx/mouth cavities.