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MUSC 1010 Final
Concept and Design I FINAL
31
Music
Undergraduate 1
04/30/2011

Additional Music Flashcards

 


 

Cards

Term
Tertian Harmony
Definition
Harmony built on thirds
Term
Quartile Harmony
Definition
Harmony built on fourths
Term
Rules of Common Tone Voice Leading
Definition

  1. Double the root.
  2. Keep all common tones (CT) in the voices in which they originate; move other voices to the closest note in the new chord. Between two chords there will be one common tone if root movement is by fourth or fifth; two if root movement is by third (or sixth).
  3. There are no common tones if root movement is by step. In this case all three upper voices move in contrary motion to the bass, each upper voice moving to the closest note in the new chord.

Term
V-vi
Definition

Deceptive Cadence

 

No common tones b/t V and vi

Leading tone in V moves up to tonic in vi

Resulting vi chord has doubled third instead of root


Term
VI-V (in minor)
Definition

Normal voice leading creates augmented second

Double the third of VI instead of the root

One doubled third steps down to leading tone

Other two upper voices step up

Term
ii-V
Definition

There is a common tone- but it is not treated as such.

 

In major: use CT voice leading or all descending pattern

 

In minor: diminished ii rarely in root position. If it does all three upper voices much move down to V

Term
Harmonic Progression
Definition

Directed motion, or movement toward a goal, and harmonic progression therefore implies harmonic movement that is goal directed.

 

A progression of chords is moving toward a goal and each harmony in the progression can be understood in terms of its place in that motion.

Term
Tonic Function
Definition
Provides central context and identity for beginning, as well as rest and repose, the ultimate end goal of harmonic motion.
Term
Dominant Function
Definition
Lack of repose; the dominant specifically seeks the tonic for resolution.
Term
Subdominant / Pre-Dominant Function
Definition
Less dynamic than dominant; it seeks the tonic also, but more often than not moves to the dominant before arriving to the tonic.
Term
Primary Chords
Definition

I, IV, V

 

All have major thirds (hence the capitol numerals)

 

I- tonic

IV- subdominant

V- dominant

Term
ii
Definition
in major and minor, generally plays a pre-dominant role.
Term
iii
Definition

in major, having two notes in common with both tonic and dominant triads, lacks strong function. Can be used to progress to vi

 

in minor, III is the tonic of the relative major. Alternative to minor tonic important in harmonic activity.

Term
vi
Definition

In major and minor, usually pre-dominant

 

Can substitute for I in a cadence creating a deceptive cadence

Term
vii0
Definition

Weaker version of the dominant function

 

Seeks resolution to I

Term
V
Definition

Pre-dominant chords ii and IV move to V

 

V does not move to ii or IV

 

V moves to I

Term
Phrase
Definition
A complete musical thought that has a beginning, middle and end (cadence)
Term
V-I
Definition
Full / Authentic Cadence
Term
Perfect Authentic Cadence
Definition

The tonic note is in the soprano of the I chord

 

Most final of all cadences

Term
Imperfect Authentic Cadence
Definition
The 3 or 5 is in the soprano of the I chord.
Term
Half Cadence
Definition

Cadence on V.

 

Not a final cadence; creates the need for an answering full cadence.

Term
First Inversion
Definition

Third is in the Bass

 

Term
Second inversion
Definition
Fifth is in the bass
Term
Why are second inversion chords used less freely than first inversion?
Definition
The fourth between the bass and the root is considered a dissonance.
Term
Why are inversions used?
Definition
To give melodic direction and flexibility to the bass line and lighten the functional weight of some triads.
Term
Why first inversion is written I6.
Definition

Intervals present include sixth and third

 

Since sixth is characteristic to first inversion it is the superscript following the chord.

Term
Why is second inversion written I64?
Definition

intervals present are fourth and sixth.

 

Fourth and sixth are characteristic of second inversion so they are both used.

Term
I6
Definition

more likely to double the root or fifth

 

lighter version of tonic function

 

not a final cadential goal

Term
ii6
Definition

Generally doubles the third (bass note) when going to the V

 

All three upper voices descend to the closest note in the V chord-don't keep the common tone.

 

In other contexts, ii6 may double root or third

Term
iii6
Definition

Unstable chord in major b/c of similarity to V

 

Doubling should promote smoothness

 

In minor, III6 is more strongly functional chord and any doubling is possible.

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