Mus 242: Music Theory Iv Midterm

Front 1

How many movements are in a Sonata Cycle?

Back 1

4

Front 2

What is the tempo pattern of the movements in a Sonata Cycle?

Back 2

Mvt 1: Fast
Mvt 2: Slow
Mvt 3: Moderate/Lively

Mvt 4: Fast

Front 3

What is the mood pattern of the movements in a Sonata Cycle?

Back 3

Mvt 1: serious and substantive
Mvt 2: lyrical

Mvt 3: usually light and elegant, sometimes spirited; dancelike
Mvt 4: bright, lighthearted, sometimes humorous

Front 4

What is the form pattern of the movements in a Sonata Cycle?

Back 4

Mvt 1: sonata-allegro

Mvt 2: ternary, theme & variations, or rondo
Mvt 3: ternary form (minuet & trio or scherzo)
Mvt 4: sonata-allegro, theme & variations, rondo

Front 5

List the characteristics of the first movement of a Sonata Cycle

Back 5

Form: sonata-allegro
Mood: serious and substantive
Tempo: fast

Front 6

List the characteristics of the second movement of a Sonata Cycle

Back 6

Form: ternary, theme & variations, or rondo
Mood: lyrical
Tempo: slow

Front 7

List the characteristics of the third movement of a Sonata Cycle

Back 7

Form: ternary form (minuet & trio or scherzo)

Mood: usually light and elegant, sometimes spirited; dancelike

Tempo: moderate/lively

Front 8

List the characteristics of the fourth movement of a Sonata Cycle

Back 8

Form: sonata-allegro, theme & variations, or rondo

Mood: bright, lighthearted, sometimes humorous
Tempo: fast

Front 9

phrase

Back 9

the shortest passage of music which, having reached a point of relative repose (usually a cadence), has expressed a sense of completeness and unity

*comparable to a verbal sentence

T_______(PD)__D"____T
(HC) (AC)

Front 10

sentence

Back 10

often consists of a 2-measure basic idea followed by a 2-measure repeat or varied repeat of the basic idea (bi + bi)

ends with a 4-measure drive to the cadence (possibly using fragments of the basic idea)

Front 11

period

Back 11

a typical period consists of two phrases in an antecedent-consequent (or question-answer) relationship,that relationship being established by a stronger cadence at the end of the second phrase

cadences have a WEAK / STRONG relationship

Front 12

antecedent-consequent

Back 12

aka: question-answer

the two phrases that make up a period

each ends in a cadence, arranged in a WEAK / STRONG relationship

Front 13

What are the possible melodic relationships between antecedent and consequent in periods?

Back 13

Parallel (P) : Ant. and Cons. BEGIN w/similar melody

Contrasting (C) : Ant. and Cons. BEGIN w/diff melody

Front 14

What are the possible harmonic relationships between antecedent and consequent in periods?

Back 14

> Interrupted (I) : Cons. BEGINS w/tonic harmony

> Continuous (C) : Cons. BEGINS w/non-tonic harmony

> Sectional (S) : BOTH phrases end w/an authentic cadence (IAC/PAC)

> Progressive (P) : period MODULATES (usually in 2nd phrase)

Front 15

What are the 8 types of categorizations of periods based on the possible melodic and harmonic relationships between the antecedent and consequent?

Back 15

PIP (Parallel Interrupted Period)
PCP (Parallel Continuous Period)
PSP (Parallel Sectional Period)
PPP (Parallel Progressive Period)
CIP (Contrasting Interrupted Period)
CCP (Contrasting Continuous Period)
CSP (Contrasting Sectional Period)

CPP (Contrasting Progressive Period)

Front 16

What are the typical characteristics of Binary Form?

Back 16

1. each of the two sections is repeated

2. music of the "b" section is motivically related to the "a" section—not a significant contrast of material—similar material

3. "a" section is usually harmonically “open”

4. "b" section forms the logical and necessary completion of "a". It begins in a contrasting key and modulates back to the original key.

5. "b" section is often longer than the "a" section

Front 17

What does harmonically "open" mean?

Back 17

The section (typically the a section in binary) may modulate to a new key or, less often, end on a half cadence

a b (on a)
II:____________________:II II:___________________:II

(PAC) (PAC)

I --------------------------> V -----------------------------> I

Front 18

What does harmonically "closed" mean?

Back 18

section begins and ends in tonic key

sense of completion

Front 19

Continuous binary

Back 19

first section is harmonically open

Front 20

Sectional binary

Back 20

first section is harmonically closed

Front 21

Rounded Binary

Back 21

repeats the beginning in the original key in the second section (usually only 1/2a’)

partial (or complete repetition) of the first part

Front 22

What are the typical characteristics of Ternary Form?

Back 22

1. three sections

2. "b" is contrasting to "a"

3. "a" section is harmonically closed

4. often, a retransition occurs at the end of "b", moving into and preparing for the return of "a"

5. reprise (da capo-- no changes) / (written out repeat w/possible embellishments) / (a' -- possible structural change)

6. “a” and reprise (a1) are proportionally the same; “b” is often shorter

Front 23

Sectional ternary

Back 23

"a" section is harmonically closed

Front 24

Continuous ternary

Back 24

"a" section is harmonically open

Front 25

Compound (composite) ternary

Back 25

A B A coda

Front 26

Rondo Form

Back 26

The rondo principle can be considered as an expansion of the ternary principle insofar as it involves statement followed by alternating contrasts and restatements

A B A B A
A B A C A

A B A C A B A

A B A C A D A

Front 27

How many main parts typically comprise Rondo movements?

Back 27

five, seven, nine, or more

A B A B A

A B A C A

A B A C A B A

A B A C A D A

Front 28

What is the A section in a Rondo movement called?

Back 28

refrain, ritornello, rondo theme, or primary section

Front 29

What is the B section in a Rondo movement called?

Back 29

episode, digression, or alternating section

Front 30

What is a "false return" in the context of Rondo form?

Back 30

After an alternating section, the retransition is designed to lead not back to tonic, but to another key (often subdominant) in which the refrain seems to return. Soon, the real refrain begins in the tonic key, and the listener discovers the false return was merely an anticipation of the main melody.

Front 31

When and why was Sonata Form developed?

Back 31

developed in the mid-18th century a means of incorporating more drama and conflict into a single movement of music

Front 32

Sonata Form > "Introduction"

Back 32

(OPTIONAL)

may precede exposition

* slower tempo than that of the main body of the movement

* motivic material unrelated to the material of the exposition

* tonal activity prepares the exposition

* phrase structure, tonal activity, and motivic treatment suggest a combination of expository, developmental, and transitional functions

Front 33

Sonata Form > "Exposition"

Back 33

PURPOSE: to present, or expose, the main thematic/motivic material of the movement

*usually repeated*

COMPONENTS

1. main tonal area/main theme group/first tonal group (MT)

2. bridge/transition (TRANS)

3. second tonal area/second theme group/second tonal group (ST)

4. closing theme/group/or section (CT)

Front 34

Sonata Form > "Exposition" > (MT)

Back 34

main tonal area

* first group of considerable tonal stability and is in the tonic key

* may consist of any of the small structural units such as a sentence, phrase group, or period

Front 35

Sonata Form > "Exposition" > (TRANS)

Back 35

bridge/transition

PURPOSE:

* carry music from the tonic to a closely related key (I to V, or i to III/v)

* prepare for the arrival of the second tonal group

CHARACTERISTICS:
* often made up of rapidly moving figural patterns such as scales or arpeggios in sequences

* usually ends with a cadence (medial caesura)

Front 36

What are the 6 functions of the "transition" in Sonata Form?

Back 36

1. Modulation (How does the composer prepare the new key?)

2. Developmental

3. Expository (introduces new material that contrasts w/both MT and ST

4. Introduces a new mood that contrasts w/both MT and ST

5. Preparation of the new theme group by a gradual change in tension/mood

6. Preparation of the new theme group by anticipation of its characteristic rhythm or melodic motive

Front 37

Sonata Form > "Exposition" > (ST)

Back 37

second tonal area

can be one section OR consist of several subsections

Relationship to MT:

* can be closely related to the MT (“monothematic”)

* often ST contrasts with MT in mood and character

* contrast of key always distinguishes the ST from the MT (typically V for major mode sonatas and III or v for minor mode ones )

* in fast mvts, MT is more active; ST is more lyrical

ST often ends w/ an authentic cadence or an elided cadence into the closing section (essential expositional closure)

Front 38

What is a medial caesura?

Back 38

The medial caesura is the cadence that ends the "transition" in the Exposition of Sonata Form. It leads into the "second tonal area", meaning that the cadence is likely in a key other than the tonic key of the movement.

Front 39

What is an essential expositional closure?

Back 39

The essential expositional closure (EEC) is the cadence that wraps up the "second tonal area" and leads into the "closing theme". It can either be an authentic cadence or an elided cadence.

Front 40

Sonata Form > "Exposition" > (CT)

Back 40

closing theme

* often has a character of its own
* MOTIVICALLY, CT is often related to one or more of the previous themes

* clear in its delineation of key

* codetta often follows, leading into repeat of exposition

* sometimes two endings are needed-- one to set up expositional repeat, and one to move to the next movement

Front 41

Sonata Form > "Development"

Back 41

* ideas from the exposition are elaborated on through a variety of rhythmic, melodic, and harmonic treatments; some new ideas

* constitutes an area of dramatic contrast between the exposition and the recapitulation

* SEQUENCE and IMITATION of expositional motifs

* frequently articulated into several subsections, each of which is usually based on one or more fragments from the exposition-- sometimes transition between fragments

* less tonally stable than the exposition or the recapitulation; transient modulations

* key-defining chords are common

* counterpoint vs homophonic form

Front 42

What are transient modulations and their significance in the context of Sonata Form?

Back 42

brief modulations, often found in the "Development"

the "Development" often passes through multiple tonalities-- key centers may be touched upon sequentially

Front 43

What is a fugato in the context of Sonata Form?

Back 43

imitative counterpoint being used in a fugue-like way within a basically homophonic composition

typically found in the "Development"

Front 44

Sonata Form > "Recapitulation"

Back 44

PRIMARY FUNCTION: to express the feeling of RETURN

* commonly restate the themes of the exposition in the tonic key, often in their original order

* RETURNS TO THE TONIC KEY

* contrasts the harmonically unstable development, providing balance and stability by STRESSING the tonic key (though not necessarily staying in the tonic key throughout)

Front 45

Sonata Form > "Coda"

Back 45

sections that extend beyond that part of the recapitulation that refers explicitly to structural units found in the exposition

* vary greatly in length

STANDARD CHARACTERISTICS

* principle tonality is reaffirmed by passages that emphasize dominant and tonic harmony

* fragmentation of previously stated themes

* absence of clear phrase structure

* sudden changes of dynamics, register, and texture

* tonal movement rarely strays far from the tonic

* may be based partially or entirely on new material

* beginning of coda is often difficult do clearly identify

* a transition may lead into the coda

Front 46

Sonatina

Back 46

1. a relatively short movement in sonata form in which the main sections that subdivide the structure are present

2. binary movements in which the tonal and motivic elements of sonata form are present, but which lack a development section

Front 47

Neapolitan

Back 47

major triad built on a lowered second scale degree

most frequently found in first inversion, and so is most commonly referred to as an N^6

Front 48

What are the three types of Augmented 6th chords?

Back 48

Italian 6th (It^6)

French 6th (Fr^6)

German 6th (Ger^6)

Front 49

How does one build an Italian 6th?

Back 49

fi

do

do

le

Front 50

How does one build a French 6th?

Back 50

fi

re

do

le

Front 51

How does one build a German 6th?

Back 51

fi

me

do

le

Front 52

To what diatonic chord is the German 6th enharmonically equivalent?

Back 52

Mm 7th

Front 53

When part-writing resolutions for Augmented 6ths, where must the outermost voices resolve?

Back 53

fi resolves up a half step to sol

le resolve down a half step to sol

resolves to a V chord

AUG6>V

Front 54

What special consideration needs to be taken into account when part-writing the resolution for a German 6th?

Back 54

Ger^6 MUST move to a I6/4 before moving to the V chord in order to avoid undesirable parallel motion between voice parts

Front 55

To what do the terms "mixed mode" and "borrowed chords" refer?

Back 55

the switching between or the borrowing of diatonic chords from the parallel major or minor of the tonic key

(eg: c minor might borrow F-A-C from the parallel major to function as the dominant triad, even though c minor has an A-flat rather than the A natural that occurs in C major and defines the dominant triad)

Front 56

What is a chromatic mediant and how does it function in a modulatory context?

Back 56

A chromatic mediant refers to a pair of triads, existing a third apart and sharing the same quality.

This functions in a modulatory context by facilitating a modulation to what would be considered a distantly related key.

(eg: C major [0 sharps] and E major [4 sharps] are distantly related keys. However, in chromatic mediant modulation, the diatonic iii triad in C major would be altered to become a III triad and to function as the tonic of the new key, E major)

Front 57

How can a dim7 chord function as a pivot chord for 4 different keys simultaneously?

Back 57

All pitches in a dim7 chord are a minor third apart (the augmented 2nd between the 7th of the chord and the root is enharmonically equivalent to a minor third). Therefore, the chord can be enharmonically rewritten four different ways, functioning as a leading tone 7th chord for four different keys in root position or any of the three inversions, depending on the key.

Front 58

How can a Ger^6 chord be used in enharmonic modulation?

Back 58

Because a Ger^6 chord is enharmonically equivalent to a Mm7, it can be used as an enharmonic pivot chord in order to modulate to the key of the Neapolitan of the original key.

(eg: the Ger^6 of c minor is enharmonically equivalent to the V7 of D-flat major, which would be the Neapolitan of c minor, so rather than resolving to the i6/4 in c minor, it would resolve to the I in D-flat major, effectively modulating the piece to the key of the Neapolitan)

Front 59

What is an elided cadence?

Back 59

The new phrase begins simultaneously with, or before, the cadence chord of the first phrase