![]() Answering phrase a short phrase in response to a previous one Thematic relating to a unifying motif or idea Fanfare a flourish for trumpets, or other instruments emulating the trumpet's character Major based on a major scale Minor based on a minor scale Modulation the process of changing from one key to another Dominant fifth degree of the scale Relative major/minor keys with the same key signature Primary chords I/IV/V Secondary chords II, II, VI Inversion rearrangement of chords diatonic pertaining to a major/minor scale tonic first degree of the scale subdominant fourth degree of the scale dominant 7th I, III, V, VII♭ perfect cadence V-I imperfect cadence I-V, II-V, IV-V plagal cadence IV-I interrupted cadence V-VI chord progression a succession of chords providing harmony that is repeated throughout harmonic rhythm the rate of chord change drone long, sustained note accompanying a melody pedal note long, repeated note (usually tonic or dominant) dissonance unharmonious sound, clashing notes power chords open fifths (tonic and dominant only) binary AB ternary ABA rondo ABACA. begin filling the middle, considering both the harmonic intervals between the two parts and the shape of the line.Leitmotif a motif assigned to a character Motif a repeated idea Semitone half a tone Microtone an interval of less than a semitone Chromatic movement adjacent semitones Pentatonic a scale with five notes per octave/a scale using just the black keys on the piano Blue notes III♭/IV♯/V♭/VII♭ a note sung at a different pitch than standard for expression Trill/ornamentation/decoration embellishments and decorations of a melody Countermelody accompanying melody sounded against the principal melody. ![]() sketch out a general shape for the line, a good contour is important 5. try to create opposite figures contrasting the given line, use skips and leaps when there are steps in the given line, and viceversa 4. look at the beginning and the end where cadences and so V7 and I chords are present 3. identify the key and mode and write the scale degree over each note 2. For the bass the most conclusive is 5^-1^, usually approached by 1^,2^,4^,6^, or b6^ in minor.Ħ - Unlike the species style, embellishments like P, N, and CS may appear in different voices on different beats, creating rhythmic variety between the two lines.ħ - Steps to follow: 1. So we can have chords patterns like V-I6, V6-I, V43-I, or a rest note in the bass line, and a skip 5^ - 1^ in the soprano part.ĥ - The conclusive cadences imply a V-I chord progression and for the soprano line usually we use patterns which end on 1^ : 3^-2^-1^ 2^-7^-1^ 6^-7^-1^ 2^-2^-1^. Phrase: in music, a unit of musical thought that ends with a point of closure or repose.ġ - the main differences are: the duration of the notes are not only whole notes pitches, especially within a measure, are often repeated creating more oblique motion there are consonant and dissonant harmonic intervals that are created due the presence of seventh chords the voices are not equal: soprano voice is the melody while the bass builds the harmonic progression.Ģ - in a dominant seventh chord we have the presence of the 4th degree of the scale (the chordal seventh) which resolves down to the 3rd degree, and we have the leading tone (7th of the scale) which resolves up to the root.ģ - We try to avoid similar motion when we approach perfect intervals.Ĥ - Usually, on the anacrusis, we use the dominant chord and, on the downbeat of the first measure we have the I chord. ![]() Reticulated Suspensions: it is a type of suspension when the suspended note is not tied to its preparation. Homorhythmic: a texture which means that there is the same rhythm in all the parts. However, the dissonant unaccented passing tone remains the most common.Ĭadence: the combination of melodic, harmonic, and rhythmic elements that create a sense of closure at the end of a musical phrase.Ĭhordal Dissonance: a new dissonant interval that is built up from seventh chords.Ĭhordal Skip: a consonant skip that spans members of the same implied harmony. Accented Passing Tone: in an 18th-century choral style, we can have embellishments such as dissonant passing tone on unaccented and accented position as well.
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