Music Theory Final Exam Key Terms
Terms in this set (35)
Chromatic Mediant Relationships
1. Keys must be a M3 or m3 apart
2. Must be the same quality (major or minor)
Rounded Binary vs. Ternary
Rounded Binary's B section could not stand alone as its own piece while Ternary's B section could stand by itself
Reiterating a cadence
Comes at end of PART of piece
Comes at the end of piece
Differences between Sonata Form and Concerto-Sonata Form
Differences - 01 and S1 would act as a double exposition in some cases. Possibility of a venturing spirit in concerto, dialogue between soloist and orchestra in concerto.
Similarities - Solo sections patterned after the exposition, S2 often goes to V (just like the developmental section), 03 and S3 are combined to form a type of Recapitulation, 04 to function as CODA.
From major to paralell minor mode (except for I m.b. in a minor key)
From minor to melodic minor scale (III is untouched, because it is resemblant of the relative major)
Progressive Harmonic Movement
When you begin a phrase in one key and in the middle modulate and PAC the phrase in the key of the new key.
The primary melodic idea of the fugue, comparable to the theme of the theme of an invention, could start in any voice
The subject presented at a new tonal level, most likely the dominant level. It may be a real answer or a tonal answer
Real Answer (Fugue)
The intervallic content remains the same, at the possible sacrifice of the key
Tonal Answer (Fugue)
One of more intervals are altered in some way; typically, this is done to maintain the key
If there is one (and it is more likely in a fugue than in an invention), it is that material which is consistently found accompanying the subject. Check the middle entries.
Same as in an invention. The subject (or countersubject - or perhaps even material outside of sub/c.s.) may include one or more motives which can be identified throughout the piece.
We mark the exposition of a fugue by its end, which is the point whereupon all voices have entered the piece and stated Subject/Answer. There is such thing as a Double Exposition (basically a repeated exposition following the first, but perhaps with the voices entering in a different order), which is also a possibility, though uncommon
Middle Entries (Fugue)
Complete statements of the subject or answer in the middle parts of the fugue (i.e. after the exposition) - usually in other key areas.
Areas of free counterpoint not involving the subject or answer (linking or transitory material), typically found after the exposition and in-between the various middle entries
Faux Entry (Fugue)
The entry of part of the subject/answer (often it is the "head of the subject") that does not follow through, thereby "fooling" the listener - this would be found during an episode
The entrance of the subject (or answer, or both) in overlapping fashion, usually found as a middle entry.
The changing of note values and/or the addition of notes to ornament the melody of the theme - e.g. from eighth notes to sixteenth notes.
Usually involves the simplification of the rhythm of the theme - e.g. from sixteenth notes to eighth notes. Rather the opposite of "Ornamental Variation."
When the variation is constructed with set figures (such as triplets or scalar runs, etc.) which may or may not be part of the original theme. It is a systematic change, not an ornamental one.
When the variations involve new melodies over an existing harmonic plan of bass line (a little like the chaconne idea).
When the variations are derived from counterpoint techniques, including imitation, canon, fugue, etc.
Variations that take on special characters, such as march or a gigue, or a French overture, or "in the style of...(Mozart)"
Inserting new material. Expanding from the inside
Starts in bass and moves up and can be passed to any voice
Repeating chord progression
Ground Bass (Variations)
Repeated line where variations are in other voices
Theme, exposing material of piece
Traveling from one phrase of place in piece to another
Coda, brining something to a close
Phrases/Phrase Group (Chain)
Musical phrase has a beginning, comes to an end.