theory IV final

Dorian- minor scale with a raised 6th

phrygian- minor scale with a lowered 2nd

Lydian- major scale with a raised 4th

mixolydian- major scale with a lowered 7th

major pentatonic- Do, Me, Sol, La, Do

minor pentatonic-Do, Me, Fa, Sol, Ti

whole-tone scale- a 6-note scale of whole steps only

octatonic scale- an 8 note scale of a mixture of whole and half steps

blues scale- includes the Dorian scale, minor pentatonic, and minor pent. +1

borrowed harmonies- refer to the practice of using chords from a parallel mode

chromatic mediant- movement between 2 chords (or keys) whose roots are a third apart and whose chord qualities are not diatonic with each other.

altered dominant- a dominant triad or dominant-seventh chord that has been colored and intensified by raising or lowering the 5th by a half step

embellishing diminished-seventh chords- #ii dim7— resolves to I; #iv dim7—resolves to V

extended dominant harmonies- V9, V13 (must include the 7th of the chord)

harmonic sequence- circle of 5ths

extended harmonies- tertian chords extended above the 7th

the 7th in extended harmonies resolves- downward

9th chords- in 4 voices it includes the 1, 3, 7 and 9

the 9th and 13th in extended harmonies resolves- downward

11th chords- in 4 voices the 5th or 9th may be omitted to avoid dissonance

13th chords- in 4 voices includes 1, 3, 7, 13

quartal harmonies- chord that is made up of stacked 4ths

secundal harmonies- harmonies based on the interval of a 2nd

clusters- chord consisting of at least three adjacent notes in a scale

added-tone harmonies-chords that include one or more notes in addition to the basic triad (2, 4, 6,9)

split 3rd chord- both the M3 and m3 are present, with the m3 above the M3

omit 3 chords- open 5th chord

modal cadences- cadence within the mode (instead of traditional PAC, etc)

tritone substitution- a bass line in jazz, adding a ____ to make it more chromatic in the circle progression

phrase modulation- at the beginning of a phrase without a single tone that connects the two key areas

diatonic pivot tone modulation- at the beginning of a phrase with a single tone that connects the two key areas

diatonic pivot chord modulation - one of the chords at the point of modulation has a diatonic function in both keys

chromatic pivot chord modulation/mode mixture- has a diatonic function in both keys with recognizable function in both keys

diatonic planing- same chord inversion, different chord qualities within the key or mode

chromatic planing- same chord inversion, same chord quality regardless of key or mode mixtures above

ostinato- a repeated rhythmic and/or pitch pattern (including pedal tones)

additive processes- addition of material to a basic element to create a larger structure

additive rhythm- usually through number of pulses/beats either sounds or rests

additive melody- usually an initial motive that is repeated and expanded to create a longer idea

additive layers- usually the addition of identifiable material in layers (or strata)

golden mean- the use of numbers to create musical structures, whether rhythmic patterns, choice of pitches, or formal designs

polyrhythm (cross-rhythm)- simultaneous use of non-corresponding rhythm patterns, usually dealing with subdivision of the beat

polymeter- simultaneous use of (2 or more different meters) either notated or implied

mixed meter- sequential use of different meters within the same piece

symmetric meters- meter in which all beats have the same sub-division (2/4, 6/8, 9/8)

asymmetric meter- meter in which the beats have different sub-division (5/4, 7/8)

chord mutation- a gradual and subtle means of chord change, in which one member (or 2) of the harmony changes at a time, generating unusual harmonic successions in the process.

linear harmony- harmonies that are generated as the by-products of chromatic melodic motion in one or several voices

tonality- large umbrella term that refers to any music with a ____ center

functional tonality- refers to music with a tonal center, based on major/or minor scales, and using tertian chords that are related to one another and to the tonal center in various ways. Heigh Arcy of chord function in the key

non-functional tonality- a harmonic style in which tonal centers are established by means other than harmonic function, e.g. by the use of linear harmony

free tonality- tends to be highly chromatic, tonal center is present, traditional harmonic function is avoided, P4 and P5

pandiatonicism- it refers to the attempt to equalize more evenly the 7 tones of the scale or mode, absence of accidentals outside of the scale. Absence of functional harmonic movement.

polytonality (bitonality)- the simultaneous use of 2 tonalities. either or both areas could be any of several types of tonality

bimodality- the use of 2 modes simultaneously or of a single mode based on two different pitches

atonality- applied to any music that lacks identifiable tonal centers

verse- introductory section of a song

chorus- the main section of a piece, where the primary melody or theme is stated and often repeated

bridge- circle of 5ths used here

turnaround- quick circle progression to a repeat sign

head- beginning of a jazz tune or the top of the tune

12-bar blues form- 4 measures of a, a’ and b. A is a I chord, A’ is IV for 2 to I, and B is V for 2 to I

16 bar form and 32 bar from- standard forms, dances, marches, heritage of ragtime

rhythm section- drum, bass, piano/keys (guitar)