Solutions
Pitch ✔️Ans - is the relative highness or lowness that we hear in a sound.
No doubt you've noticed that most men speak and sing in a lower range of
pitches than women or children do.
Interval ✔️Ans - distance in pitch between any two tones
Octave ✔️Ans - interval between two tones in which the higher tone has
twice the frequency of the lower tone
Dynamics ✔️Ans - degrees of loudness or softness in music
Crescendo ✔️Ans - gradually louder
Diminuendo ✔️Ans - gradually softer
Tone color ✔️Ans - succession of varying tone colors serving as a musical
idea in a composition, used by Schoenberg and his followers
Timbre ✔️Ans - quality of sound that distinguishes one instrument or
voice from another
voice ranges female; soprano ✔️Ans - female voice of high range
voice ranges female; alto ✔️Ans - female voice of low range
voice ranges male; tenor ✔️Ans - male voice of high range
Instrument families: strings ✔️Ans - instrument whose sound is produced
by the vibration of strings
Instrument families: woodwinds ✔️Ans - instrument whose sound is
produced by vibrations of air in a tube; holes along the length of tube are
opened and closed by the fingers, or by pads, to control pitch.
,Instrument families: percussion (unpitched & pitched) ✔️Ans -
instrument of definite or indefinite pitch whose sound is produced by striking
by hand, or with a stick or hammer, or by shaking or rubbing.
Instrument families: brass ✔️Ans - Instrument, made of brass or silver,
whose sound is produced by the vibrations of the player's lips as he or she
blows into a cup- or funnel-shaped mouthpiece. The vibrations are amplified
and colored in a tube that is flared at the end
voice ranges male; bass ✔️Ans - male voice of low range
Instrument families: Keyboard instruments ✔️Ans - instrument, such as
the piano, organ, or harpsichord-- played by pressing a series of keys with the
fingers.
Instrument families: Electronic Instruments ✔️Ans - instrument whose
sound is produced, modified, or amplified by electronic means.
Beat ✔️Ans - regular, recurrent pulsation that divides music into equal
units of time
Meter ✔️Ans - organization of beats into regular groups
Tempo ✔️Ans - basic pace of the music
Melody ✔️Ans - series of single tones that add up to recognizable whole
Step ✔️Ans - interval between two adjacent tones in the scale
Leap ✔️Ans - interval larger than that between two adjacent tones in the
scale.
Phrase ✔️Ans - part of a melody
Consonance ✔️Ans - tone combination that is stable and restful
Dissonance ✔️Ans - tone combination that is unstable and tense
, Harmony ✔️Ans - how chords are constructed and how they follow each
other.
Chord ✔️Ans - combination of three or more tones sounded at once.
Major scale ✔️Ans - series of seven different tones within an octave, with
an eighth tone repeating the fist tone an octave higher, consisting of a specific
pattern of whole and half steps; the whole step between the second and third
tones is characteristic.
Chromatic scale ✔️Ans - scale including all twelve tones of the octave;
each tone is a half step away from the next one.
Monophonic textures ✔️Ans - single melodic line without accompaniment
Homophonic textures ✔️Ans - term describing music in which one main
melody is accompanied by chords
Polyphonic textures ✔️Ans - performance of two or more melodic lines of
relatively equal interest at the same time.
Aspects of Form: Repitition ✔️Ans - reiteration of a motive, phrase, or
section, often used to create a sense of unity.
aspects of form; contrast ✔️Ans - striking differences of pitch, dynamics,
rhythm, and tempo that provide variety and change of mood
aspects of form; variation ✔️Ans - changing some features of a musical
idea while retaining others
Ternary ✔️Ans - Three-part (ternary) form: A B A′
Binary ✔️Ans - Two-part form, gives a sense of statement (A) and
counterstatement (B). Usually, the compositon in two-part form repeat both
parts: A A B B.
Characteristicis of Baroque music: unity of mood ✔️Ans - A baroque piece
usually expresses one basic mood: what begins joyully will remain joyful
throughout.. (Read p. 122-123, 153)