Term
| The ____ __ ___ ______ (___) allies the Harmonic model to the bass voice generating specific harmonies and inversions for each note of the scale. |
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Definition
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Term
| The ____ __ ___ ______ (___) is a fixed harmonization for ascending and descending scales that dictates harmonies and inversions that are to be used for each degree of the scale. |
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Term
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Definition
| the conclusion or punctuation point in a musical phrase; the formula upon which such a conclusion is based |
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Term
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Melodic motion? |
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Definition
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Term
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Harmonic motion? |
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Definition
Root position V-I
Bass: 5-1 |
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Term
Perfect Authentic Cadence (PAC) (also called authentic, final, full, or closed)
Function? |
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Definition
| Reserved for the end of a phrase, a period, or the end of a piece. They are the most conclusive cadence. |
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Term
Imperfect Authentic Cadence (IAC)
Melodic motion? |
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Definition
| Soprano: 2-3, 4-3, or 5-5. |
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Term
Imperfect Authentic Cadence (IAC)
Harmonic motion? |
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Definition
V-I or V-i.
Most often in root position, but V may be inverted. |
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Term
Imperfect Authentic Cadence (IAC)
Function? |
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Definition
| Often appear internally in phrase groups. When scale degrees other than the tonic appear in the soprano voice, the cadence is less conclusive than PAC. |
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Term
Half Cadence (HC)
Phrygian Half Cadence
Melodic motion? |
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Definition
| 2 or 5 are common at the chord of the resolution |
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Term
Half Cadence (HC)
Phrygian Half Cadence
Harmonic motion? |
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Definition
| Any chord leading to the V of the key (x-V). Phrygian half cadence uses iv6-V in a minor key. Half-step (Bass: b6-5) gives the cadence its name. |
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Term
Half Cadence (HC)
Phrygian Half Cadence
Function? |
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Definition
| HC's appear at the ends of phrases where continuation is implied. They are inconclusive with respect to the home key. |
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Term
Plagal Cadence
(Plagal)
Melodic motion? |
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Definition
| No specific requirement. Soprano is often 1. |
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Term
Plagal Cadence
(Plagal)
Harmonic motion? |
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Definition
IV-I or iv-i
Plagal cadences may employ root position or inverted chords |
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Term
Plagal Cadence
(Plagal)
Function? |
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Definition
| May embellish the final arrival of the tonic. "Amen" cadence. Considered less conclusive than PAC or IAC. |
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Term
Deceptive Cadence (DEC)
Sometimes called Interrupted
Melodic motion? |
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Definition
| Tones of V or V7 resolve as if going to I except bass 5-6 |
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Term
Deceptive Cadence (DEC)
Sometimes called Interrupted
Harmonic motion? |
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Definition
V-vi or V-VI
Deceptive resolution of V-vi usually employs root position chords (Bass: 5-6 or 5-b6) |
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Term
Deceptive Cadence (DEC)
Sometimes called Interrupted
Function? |
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Definition
| The unexpected resolution from V to vi/VI gives the cadence its name. DEC often precede IAC or PAC interrupting the arrival of the Tonic chord. |
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Term
| ___ are any authentic cadence (V-I/i) that does not follow the PAC formula. |
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Definition
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Term
| When the _______ ____ (_) is an outer voice (soprano or bass) it must always be resolved to the tonic (1). |
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Definition
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Term
| _________ and ____ ________ are the 2 most common cadence types. |
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Definition
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Term
| In the _________ cadence the dominant (V) moves to vi instead of I. |
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Definition
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Term
| In practice, the _________ for each voice is in the middle of the given range except for the bass. |
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Definition
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Definition
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Term
| Stems go __ for top voice on each staff (soprano, tenor). |
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Definition
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Term
| Stems for the bottom voices (alto, bass) go ____. |
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Definition
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Term
| Distribute the notes of a chord on the staff so that there is an ______ or less between adjacent Soprano, Alto, and Tenor voices. |
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Definition
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Term
| The interval between Bass and Tenor may exceed an ______. |
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Definition
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Term
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Definition
| an octave or less between adjacent voices, and more than an octave between an octave |
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Term
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Definition
| an octave or less between the soprano and tenor |
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Term
| The interval between Bass and Tenor may exceed an ______. |
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Definition
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Term
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Definition
| an octave or less between adjacent voices, and more than an octave between an octave |
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Term
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Definition
| an octave or less between the soprano and tenor |
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Term
| The interval between the bass and tenor often exceeds an ______. |
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Definition
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Term
| The interval between the bass and tenor generally does not exceed ___ octaves. |
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Definition
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Term
| If the interval between adjacent voices exceeds an ______, whenever possible re-voice the chord by "switching"chord members between voices. |
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Definition
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Term
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Definition
| Contrary, parallel/similar. oblique |
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Term
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Definition
| Voices move in opposite directions (ascending or descending); preferred in most cases; in particular between outer voices (soprano bass) |
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Term
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Definition
| On voices moves against a stationary note. Used when chords share common tones and frequently at cadence. |
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Term
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Definition
| When voices move in the same direction, by the same interval (parallel); or same direction, by a different interval (similar). |
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Term
| Avoid ________ motion when approaching or leaving perfect intervals. |
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Definition
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Term
| ________ (stepwise) motion is preferred for note-to-note connections in one voice. |
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Definition
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Term
| Parallel perfect octaves, fifths, and unisons are to be _______. |
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Definition
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Term
| Approach and leave perfect intervals using ________ motion. |
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Definition
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Term
| Double the ____ voice except when it is a tendency or chromatically altered tone. |
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Definition
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Term
| Double the ____ as an alternate to doubling the bass. |
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Definition
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Term
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Definition
| Leading tone, chordal seventh, or a chromatically altered tone |
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Term
| In four-part writing, avoid ________ one voice over another y keeping voices in their appropriate ranges, and avoiding leaps into the register formerly occupied by another voice. |
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Definition
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Term
| When connecting ______ one to the next, keep common tones in the same voice, and move other voices by step whenever possible. |
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Term
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Definition
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Term
| Consecutive leaps of a _____ (arpeggio) in one voice may be used sparingly. |
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Definition
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Term
| Leaps of a ______ or greater must be followed by a step in the opposite direction. |
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Definition
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Term
| ____ motion by ascending fourth/descending fifth is the most common harmonic motion in tonal music and all chords in the key can be related by that interval. |
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Definition
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Term
| When connecting triads related by the interval of a fifth: |
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Definition
keep common tones in the same voice
move other voices by step in contrary motion to the bass if possible
resolve tendency tones |
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Term
| When connecting triads related by the interval of a third: |
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Definition
keep common tones in the same voice
move the other voices in contrary motion to the bass whenever possible |
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Term
| The V7 chord has two tendency tones: |
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Definition
| the leading tone and the chordal 7th |
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Term
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Definition
| A non-chord tone that passes between two chord tones connecting them through ascending or descending motion; can occur on weak or strong beats |
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Term
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Definition
| A non-chord occurring a step above or a step below a chord tone whose resolution is to the same chord tone; may also be referred to as upper or lower depending on their relationship to the chord tone they embellish |
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Term
| Three stages of realization of suspension: |
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Definition
Preparation
Suspension
Resolution by step |
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Term
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Definition
| Upward resolving suspensions |
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Term
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Definition
| Occurs when a melodic line leaps to a dissonance and resolves by step (in opposite direction) to a consonant chord tone |
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Term
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Definition
| Occurs when a line steps to a dissonance and then leaps to a consonance |
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Term
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Definition
| The incidence of a tone before the arrival of its supporting harmony |
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Term
| The _____ pitch is the most common tone employed as an anticipation. |
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Definition
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Term
| Sometimes the anticipation is an entire harmony. This is called a ________ anticipation. |
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Definition
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Term
| The chordal seventh often arises as a _______ tone. |
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Definition
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Term
| Criteria for chordal seventh or passing tone: (1) the roots of the two harmonies must be separated by a descending _____, an ascending ______, or an ascending ______. |
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Definition
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Term
| Criteria for chordal seventh or passing tone: (2) the chordal seventh must resolve ________. |
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Definition
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Term
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Definition
| Occurs as the middle chord of a three pitch scalar ascent or descent in the bass voice |
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Term
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Definition
| Part of an authentic cadence |
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Term
| The _______ and _________ 6/4 are the two most common uses of second inversion triads. |
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Definition
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Term
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Definition
| The bass voice is typically the root of the tonic chord, and the second inversion IV chord comes about by raising the 3rd and 5th of the tonic chord by on step |
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Term
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Definition
| The second inversion triad arises when the bass voice arpeggiates a triad |
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