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Terms in this set (50)
Single Voice Part
Multiple Voice Parts of Equal Importance
Melody with Accompaniment
One Voice Part Stays the Same and another moves
Intervals move in the same direction, but at different intervals
Intervals move in the same direction and at the same interval
Intervals move in opposite directions
Perfect Authentic Cadence (PAC)
V to I, both in root position and tonic in soprano voice of I
Imperfect Authentic Cadence (IAC)
V to I, inversions, substitutions, or tonic not in soprano voice of I
IV to I "Amen"
Any Predominant ending with a V
V to vi
Phrygian Half Cadence
iv6 to V in minor keys
NCT that moves stepwise between 2 chord tones
NCT that moves stepwise and returns to the original tone
NCT that delays the stepwise resolution to the next chord - resolves down
NCT that delays the stepwise resolution to the next chord - resolves up
NCT that is approached by a leap/skip and resolved by a step in the opposite direction
NCT that is approached by a step and resolved by a leap/skip in the opposite direction
Neighbor Group or Changing Tones
NCT that invovles the combination of two NCT's in succession - usually one above and one below
Phrase containing two smaller phrases of equal length, one antecedent and on consequent - weak cadence followed by a stronger cadence
1st Scale Degree
2nd Scale Degree
3rd Scale Degree
4th Scale Degree
5th Scale Degree
6th Scale Degree
7th Scale Degree
Rate of harmonic change
Rhythmic idea where the music feels in one meter, but sounds in a different meter
When, in 4-part writing, the soprano part is written lower than the alto line
The non-chord tone that is approached by step and then remains the same. It is basically a note of the second chord played early
A repeated musical figure
This form is known as "AABA"
Pitches that naturally occur in a given key
A broken chord
The general range of pitches for one voice part
When a minor selection of music resolves to major on its last chord
12 Bar Blues
The harmonic structure of the music is as follows: four measures of I, two of IV, two of I, one of V, one of IV, two of I.
When a melody is turned upside down so that what were rising intervals in the original melody are now descending by the same distance and vice-versa
Parts of a motive are used, rather than the entire melody, to create a new musical idea. This technique is often used in the development section of a sonata-form piece.
When notes in a melody are doubled in duration, but maintain their intervallic relationships.
What form are hymns most commonly known for. Hint: Each verse is set to the same music.
When two phrases overlap, so that the chord or chords that finish the first idea simultaneously begin the second.
Rounded Binary or Ternary
ABA form, in which the B section contrasts with A
Proceeding from the last note of a given melody to the first
The act of shortening, or removing part of, a musical motive.
The treatment of a non-tonic pitch or chord as a temporary tonic.
When a melodic or harmonic idea is successively repeated at different pitch levels (transposed)
Arpeggiated bass line
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