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134 Cards in this Set

  • Front
  • Back
L'istesso tempo
At the same tempo
Sempre
Always
Simile
In the same manner
poco a poco
little by little
subito
suddenly
non troppo
not too much
poco
little
un poco
a little
assai
very
molto
very
meno
less
mezzo
half
piu
more
con
with
rallentando
gradually slow down
ritenuto
suddenly slow down
forzando fz
forced...sudden accent
sforzato (sfz, sf)
sudden emphasis
fzp forzando piano
played with a sudden accent and immediately becoming piano
arco
bowed
caesura/rr track
complete break in sound
con sordino, senza sordino
play with/remove mute
Cadenza
solo section used to display the performer's technique
tre corde/una corde
release/press the soft pedal
Canon
more than one statement of theme that start at different times and end at same time (round)
Cambiata
Non chord tone skips in same direction as the 2 tones before and after it (appogiatura)
Embellishment
Nonharmonic tones...sometimes specific to upper/lower neighbors
Contrary motion
both notes move in opposite directions
Parallel motion
both notes move the same direction in same interval
Diminution
shortening of time values of the notes in a melodic passage
Neighboring tone
non chord tone a step higher or lower between two same notes
augmentation
lengthening of time values of the notes in a melodic passage
inversion
upward movement becomes a downward movement and vice versa
appogiatura
a rhythmically strong dissonant note a 2nd above or below the harmonic tone (skip-step)....cambiata
a b c
three different melodies
homophonic
chordal
Conjunct motion
stepwise movement
retrograde
stating the theme backwards
inverted retrograde
stating the theme backwards and upside-down
tonality
based on major/minor
similar motion
both notes move the same direction but different intervals
modality
based on church modes (not major or minor)
disjuct motion
movement by skips
diatonic
5 whole steps and two half steps in any combo
Anticipation
non chord tone that precedes the chord it belongs to
Lydian mode
major scale with raised 4th
primary chords
I, IV, V
Secondary chords
ii, iii, vi, viio
transposition
change to different key signature
passing tone
non chord tone between two chordal tones
polyphony
all parts contribute more or less equally (fugue)
motivic development
variation on a motif
E' chappee' (Escape tone)
non chord tone that moves away from the direction of the 2 chordal tones before and after it
oblique motion
one note stays the same, the other moves
compound triple
three groups of 3
triple meter
3 units to each measure--3/2, 3/4, 3/8
Duple Meter
2 units to each measure--2/2, 2/4, 2/8
Quadruple Meter
4 units per measure--4/2, 4/4, 4/8
Hemiola
in two measures of 3/4 time there are 3 strong beats
metric shifts
when the time signature changes
syncopation
displacement of a strong beat
Alle Breve
2/2
Compound Duple
Two groups of 3
Simple Quadruple
Four groups of 2's
Compound beat
divisible into 3 but not 2 or 4...6,9,12 on top
Simple triple
3 groups of 2's
Simple Duple
Two groups of 2's
Simple Beat
Divisible into 2 or 4 but not 3
Subdominant
IV
Leading Tone
1/2 step below tonic...7/vii
Half Cadence
I-V, IV-V
Subtonic
1 full step below tonic
Consequent
phrase that starts same as antecedent but ends in PAC
Close position
octave or less between soprano and tenor
Open position
more than an octave between soprano and tenor
period
antecedent and consequence
Consonant Intervals
Unison, 3rd, 4th, 5th, 6th, Octave
Dissonant Intervals
2nd, 7th, tritones, Aug/Dim
Super tonic
Scale pitch 2
Picardy Third
Raised major third used in the final chord of a minor piece
mediant
scale pitch 3
antecedent
phrase that usually ends in a half cadence
Anacrusis
pick up note
thesis
downbeat
imperfect authentic cadence
V-I with 3rd or 5th in soprano or inversion
thorough bass
figured bass
rondo
ABACA
through composed
new music provided for each stanza
Imitation
Restatement in close succession of a melody (theme/motif)
Sequence imitation
repetition in a single part of a short musical phrase at another pitch
melodic patterning
figuration (like a sequence) except no harmonic
rhythmic augmentation
making stated rhythm longer-ratio between notes are the same
textural inversion
spirit of inversion is there but not literal?
realization
the interpretation of the continuo part either as written or played
melisma
extended notes on one syllable
harmonic intensity
established harmony occurring closer together
octatonic scale
8 pitches to the octave...alternate whole and half steps
cadential extension of a phrase
at the end, longer statement of the phrase through repetition of V-I
direct octave
hidden octave
asymmetric meter
varying meters within a piece
double period
similar periods repeated
strophic
every stanza sung to same melody (like a hymn)
countermelody
harmony part that could be the melody itself
ostinato
repeating pattern
elongation
like augmentation...makes the theme longer
internal extension
inner voices...longer theme
phrygian cadence
lowest voice descends to final note or tonic by .5 step (upper leading tone)....iv6-V
Postlude
ending/coda
phrase group
musical thought
Theme and variation
statement of melody, then melody altered by different accompaniement, or harmony, texture, rhythm, etc
rounded binary
ABA'...large scale sonata form...end of B section not harmonically closed
Perfect Authentic Cadence
V-I with tonic in soprano
IV-I
Plagal Cadence
Aeolian mode
Natural minor scale
Natural minor scale
Scale built on 6th of relative major
Melodic minor scale
raise 6th and 7th going up, regular coming down
submediant
6 scale degree
relative minor
minor scale containing the same key signature as its major, different starting note
parallel minor
minor scale built on same tonic as major
timbre
tone color (instruments)
texture
position of voices, amount of independence, presence of imitation, density
Harmonic minor
raised 7th
monophony
single melodic line
a a' a"
melody, melody with alteration, melody with different alteration
stanza
one versa
homophony
chordal with one voice leading...hymns
cross relations
one chord to another?
cadential 64
I64 V I
Arpeggiated 64
Root--first inversion--second inversion--prolongs chord (expands)
mixolydian mode
major scale with lowered 7th
locrian mode
diminished scale (lowered second, third, sixth and seventh?)
secondary dominant
V/V or V7/V
melodic (horizontal interval)
don't line up together
vertical interval
line up together