Music Theory Final

Front 1

Discuss five characteristics of Wagner's harmonic style as exemplified in his prelude to Tristan und Isolde

Back 1

1) long appoggiaturas that may obliterate the harmony 2) unresolved V's/ consecutive V's 3) chromatic 3rd progressions 4) Chromatic voice leading 5) Chromatic idiom

Front 2

Discuss the difference between form and design as it relates to the sonata form. Be specific and cite examples.

Back 2

Sonata form: Exposition, Development, and Recapitulation

Design: the order that the themes, codas, liquidations, etc are used in each section of the sonata.

Front 3

coda

Back 3

stays locked in one key, occurs after the statement of theme at the end of a major section, thick harmony, repetitive.

Front 4

transitions

Back 4

even rhythms, thin textures, scale-like movement.

Front 5

development

Back 5

model, then sequences of that model, in which the models are usually longer than the sequences

Front 6

Discuss five characteristics of Wagner's harmonic style as exemplified in his prelude to Tristan und Isolde

Back 6

1) long appoggiaturas that may obliterate the harmony 2) unresolved V's/ consecutive V's 3) chromatic 3rd progressions 4) Chromatic voice leading 5) Chromatic idiom

Front 7

Discuss the difference between form and design as it relates to the sonata form. Be specific and cite examples.

Back 7

Sonata form: Exposition, Development, and Recapitulation

Design: the order that the themes, codas, liquidations, etc are used in each section of the sonata.

Front 8

coda

Back 8

stays locked in one key, occurs after the statement of theme at the end of a major section, thick harmony, repetitive.

Front 9

transitions

Back 9

even rhythms, thin textures, scale-like movement.

Front 10

development

Back 10

model, then sequences of that model, in which the models are usually longer than the sequences

Front 11

liquidation

Back 11

the artistic destruction of an idea by stripping away elements piece by piece until it is in its most basic form. Used to bring things to a conclusion while maintaining the momentum

Front 12

discuss thematic unity in the first movement of the Mozart

Back 12

The notes in the themes are 3rds away, the chords and keys all move in 3rds.

Front 13

Discuss tonal organization of the Mozart.

Back 13

goes 1 -> and 4 <-

see a lot of 3's

Front 14

Diatonic chord

Back 14

come from the key w/o alteration

Front 15

Chromatic Chords

Back 15

have chromatic alterations of the chords in the key

Front 16

Borrowed chords

Back 16

chords that are "borrowed" from the parallel minor or major of the roman numeral you're on. usually the minor iv or the major II.

Front 17

5 types of common chromatic chords

Back 17

1) Np 6 2) #ii dim 7 3) #vi dim 7 4) V/? 5) V (#/flat 5)

Front 18

#ii dim 7 resolves to...

Back 18

I

Front 19

#vi dim 7 resolves to...

Back 19

V

Front 20

V//? resolves to ...

Back 20

whatever the "?" is

Front 21

Np 6 resolves to...

Back 21

V

Front 22

the Italian augmented 6 chord (x6 3) resolves to ...

Back 22

V7

Front 23

The German augmented 6 chord (x6 5 3) resolves to...

Back 23

the second inversion I chord ( I 6 )
4

Front 24

The French augmented 6 chord (x6 x4 3) resolves to...

Back 24

V

Front 25

the V (#/flat 5) resolves to...

Back 25

I

Front 26

What are the 12 functions of a ? diminished 7 chord as #ii, #vi, and vii dim?

Back 26

1) spell the chord out note for note
2) for the vii dim 7, you take each note in the spelling and go up a half step. there ya go.
3) for the #ii dim 7, you take each note of the spelling and that is your key.
4) for the #vi dim 7, you go up a P5 from each note in the spelling and there ya go.

Front 27

How do you tell if a dim chord is vii, #ii, or #vi?

Back 27

If it is a vii, you will see it followed by something that is a half step higher than one of the notes in the chord. If it is a #ii, you will see it followed by a chord that is major and then another that indicated that that major is I. If it is a #vi, you will see a dominant 7 after it.

Front 28

Discuss the unification of the linear and vertical pitch orientation in Schoenberg. How does this relate to earlier music? Why is this piece one of the early 20th century pieces that is considered remarkable?

Back 28

The Schoenberg piece used not tertian harmony, but something different. He aligned instead two distinct melodies to arrange the harmony horizontally, and that created the vertical lineup as a consequence. This relates to earlier music because he did not use the set rules of tertian harmony and was therefore able to create harmonies and patterns that Beethoven and Mozart could never have gotten away with. Vogner paved the way for this remarkable piece, which was remarkable because of its innovative use of harmony.

Front 29

What were the building blocks of Schoenberg's piece?

Back 29

the 3rd and the chromatic steps (either inside or outside the 3rd/chord)

Front 30

Discuss the Sonata form in Schoenberg's piece. How is it the same/different from the Mozart and Beethoven pieces?

Back 30

It was the same because it did use the sonata form of an exposition, a development, and a recapitulation. It is different because the harmony is different, it is diatonic, it is thematically derived, and has 2d framework.

Front 31

chromatic pivot

Back 31

uses a chromatic chord

Front 32

sequential modulation

Back 32

ex: V-I in one key, followed by V-I in another, a sequence.

Front 33

enharmonic pivot

Back 33

when a chord is suddenly spelled differently even though the notes are the same.