MU2201 : Analysing Western Art Music
... structure”) combines an upper-voice Urlinie
(“fundamental line”) and a bass Bassbrechung
(“bass arpeggiation”, I-V-I, regarded both
harmonically, as chords on tonic and dominant,
and melodically, as an arpeggiation of the tonic
triad). It can take three main forms, all with
stepwise descents in the ...
... Stems for the soprano and tenor always point up. Stems for the alto and bass always point
down. This helps to make it clear which notes to follow when two parts share a staff.
Each voice or part contributes to a note in the chord, with one note in the chord doubled
(since most chords only need three ...
... Harmony usually split into four voices, each
with distinct vocal ranges: soprano, alto, tenor,
The “leading tone” (ti, or 7) must resolve to
1/do in the soprano
The 7-4-2 chord in early Italian recitative
... There has been a recent vogue to sprinkle these chords liberally throughout early 17 th-century recitatives, although some continuo
players are now restricting their use in music of the very earliest Baroque composers such as Monteverdi.
Common continuo notation for this progression is as follows:
Voice leading from IV-V
... is repeated in the V chord. These progressions are known as parallel fifths and parallel octaves, and
should be avoided when writing homophonic and homorhythmic music.
One correct way of voice leading from IV to V is to use the non-common tone technique, as shown
in bar 2. Raise the bass (we're stil ...
the schenkerian analysis in the modern context of the
... insights. Thus, it is important for analysts to try out
multiple readings of a piece, and work on
incorporating the richness provided by each into a
sort of meta-reading of the surface.
Functions can be any aspect of a Schenkerian
graph including the “effect of being passing”, or
more simple functio ...
... Melodic leaps of an A2 or A4 should be avoided
Consecutive P1, P4,P5, or P8 are forbidden
3. Write the alto and tenor for the second chord in each case without change in structure.
Defintions - WordPress.com
... Form- organizton of musical ideas in time
FanfareHalf Note- quick note
Harmony- how chords are constructed and follew
Home Key- both the beginning and end note of a piece
Homophonic- main melody is accompanied by chords
Indefinite PitchIdiomaticKey Signature- sharp or flat signs following the clef
... chord – two or more notes sounded at the same
dominant – the fifth note of a scale (“SOL”)
harmony – two or more notes played or sung at
the same time
leading tone – the seventh note of a scale (“TI”)
octave – the 8th note above or below a given
pitch; it is the same letter of the music
... Question: A triad is a chord, but is a chord always a
lhs music theory final exam review sheet
... 2. If, when connecting triads whose roots are a 5th (or a 4th) apart the common tone is NOT retained in the
same voice, move all voices to the NEAREST chord tones which result in correct doubling and spacing.
3. When connecting triads whose roots are a second apart, move all the upper voices to the ...
... useful rule applying to all intervals (that is those
of one octave or less). The number of any
interval and the number of its inversion always
add up to nine. Thus a fifth (number 5) and its
inverse or complement, a fourth (number is 4)
add up to 9. Do not forget that chord quality is
still a factor ...
dynamics rhythm pitch articulation texture tempo
... How many layers of sound you
Sections of a piece (intro,
chorus, A, B etc.)
Tune – the main part (does is
What instruments and voices
are used (TIMBRE)
Major key (happy) or Minor
Accompaniment or backing
notes (chords/bass line etc.)
... chord progression is specifically I 6-4, V, I (with respect to the bass notes). The I 6-4
chord occurs on a strong beat or strong portion of a beat. This chord is really an
embellishment of the dominant chord at a cadence.
Passing: The bass steps up (or down) over the three notes. Therefore, the 6-4 ...
Music 11, 7/24/06 Fundamental of harmony Melodies are often built
... Melodies are often built around the triad. This means that by looking at a melody, we
can easily understand the harmony that it expresses. A harmony will often emerge in
melody as an “outline” that fills in the space of the triad. For example, a melody C-D-EF-G might imply a C-major triad by the way ...
Twentieth Century New scales New chords (almost any combination
definitions - St. Joseph`s High School Crossmaglen
... Glissando- a rapid sliding up or down the scale on a musical instrument.
Disco- dance music, melodic with a regular bass beat, intended mainly for dancing.
Hi Hat Cymbal-2 cymbals and a stand used as part of a drum kit.
Harpsichord-a keyboard instrument whose strings are plucked by quills or plectru ...
Tonal Harmony Chapter 5 Pinciples of Voice Leading
... Objectionable parallels: result when two parts that are separated by a P5 or a P8, or by their
octave equivalents, move to as new pitch classes that are separated by the same interval
Parallel 4ths are acceptable
Contrary 5ths and 8ves: also called consecutive 5ths and 8ths by contrary motion ...
Benward Chapter 6
... creating the feeling of a tonal center by using all
the twelve chromatic tones in a prearranged
order that does not lay particular emphasis on
any one pitch in the composition as a whole.
This method of composing is based on a twelvetone row rather than on a scale.
Music that avoids the feelings of ...
Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory's basic tenets can be viewed as a way of defining tonality in music. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker's theory of tonality may be that of tonal space. The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (Ursatz) to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the Ursatz is arrhythmic, as is a strict-counterpoint cantus firmus exercise. Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events.Schenkerian analysis is subjective. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst. The analysis represents a way of hearing (and reading) a piece of music.