TExES 177 Music EC-12
The 3 main vocal parts involved in creating sound - • air supply
• vibrator
• resonator
The vocal folds vibrate within the - Voice box or larynx
Tends to form the basis of many orchestral textures - strings
What gives instruments their unique timbres and tone? - partial frequencies and
overtones
single-reed woodwind instruments - clarinet, saxophone
double-reed woodwind instruments - oboe, bassoon, sarrusophone
transverse flutes - produce sound when the player blows across an opening; held
sideways
Idiophones - produce vibrations without the aid of air, string, or membranes
Concussion Idiophones - two objects that are struck together
percussion idiophones - struck by mallets
louder dynamics while playing the violin with a bow - faster with greater pressure
plucking is notated in the score as - pizzicato (pizz.)
1st inversion seventh chord - 6/5
2nd inversion seventh chord - 4/3
3rd inversion seventh chord - 4/2
Authentic Cadence - dominant sounding harmony resolving to the tonic
Authentic Cadence - V - I or V - i
Perfect Authentic Cadence - has both the roots of the two chords sounding in the bass,
and the tonic as the highest sounding note on the final chord
Imperfect Authentic Cadence - V - I or V - i, but does not have the roots in the bass or
the tonic as the highest note in the resolution
,Plagal Cadence - subdominant harmony resolving to the tonic
Plagal Cadence - IV - I or iv- i
Plagal Cadence - the "amen cadence"
Deceptive Cadence - V - VI or V - IV or V - iv
Half Cadence - any harmony progressing to a dominant harmony
Half Cadence - ends on V
scale degree 1 name - tonic
scale degree 2 name - supertonic
scale degree 3 name - mediant
scale degree 4 name - subdominant
scale degree 5 name - dominant
scale degree 6 name - submediant
scale degree 7 name - supertonic
minor scale - WHWWHWW
harmonic minor scale - a minor scale with a raised 7th scale degree
melodic minor scale - minor scale with a raised 6 and 7, but reverted to naturals when
descending
chromatic scale - Includes all twelve notes of an octave
developed 12-tone music - Schoenberg
when was 12 tone music developed - 1920s and throughout the 20th century
the ways rows can be manipulated in 12-tone music - inversion, retrograde, retrograde
inversion, transposition
Fugue - one or more themes are developed by imitative counterpoint
Fugue - each voice chases the previous one
, the leader/dux - the initial subject in a fugue
real answer in a fugue - theme is transposed exactly note to note in the dominant key
tonal answer in a fugue - theme is transposed loosely in the dominant key
tone clusters were termed by - Henry Cowell in the 1920s
used by western composers such as Ives, Bartók, Cowell, Messiaen, and Stockhausen
as well as jazz and popular music - tone clusters
very slow and solemn - grave
medium slow - andante
moderate or medium - moderato
slow and broad - largo
not quite as slow as largo - larghetto
slow, "at ease" - adagio
slow - lento
not as fast as allegro - allegretto
fast - allegro
lively and brisk - vivo, vivace
very fast - presto
very, very fast - prestissimo
Hemiola - a shift of the rhythmic pulse from a division of 2 to a division of 3
Horizontal Hemiola - refers to a change in note values where, for example, 3 half notes
follow a measure of 2 dotted half notes in 6/4 meter
Vertical Hemiola - occurs simultaneously; 3 quarter notes played over 2 dotted quarter
notes in 6/8 meter
binary form - AA'
The 3 main vocal parts involved in creating sound - • air supply
• vibrator
• resonator
The vocal folds vibrate within the - Voice box or larynx
Tends to form the basis of many orchestral textures - strings
What gives instruments their unique timbres and tone? - partial frequencies and
overtones
single-reed woodwind instruments - clarinet, saxophone
double-reed woodwind instruments - oboe, bassoon, sarrusophone
transverse flutes - produce sound when the player blows across an opening; held
sideways
Idiophones - produce vibrations without the aid of air, string, or membranes
Concussion Idiophones - two objects that are struck together
percussion idiophones - struck by mallets
louder dynamics while playing the violin with a bow - faster with greater pressure
plucking is notated in the score as - pizzicato (pizz.)
1st inversion seventh chord - 6/5
2nd inversion seventh chord - 4/3
3rd inversion seventh chord - 4/2
Authentic Cadence - dominant sounding harmony resolving to the tonic
Authentic Cadence - V - I or V - i
Perfect Authentic Cadence - has both the roots of the two chords sounding in the bass,
and the tonic as the highest sounding note on the final chord
Imperfect Authentic Cadence - V - I or V - i, but does not have the roots in the bass or
the tonic as the highest note in the resolution
,Plagal Cadence - subdominant harmony resolving to the tonic
Plagal Cadence - IV - I or iv- i
Plagal Cadence - the "amen cadence"
Deceptive Cadence - V - VI or V - IV or V - iv
Half Cadence - any harmony progressing to a dominant harmony
Half Cadence - ends on V
scale degree 1 name - tonic
scale degree 2 name - supertonic
scale degree 3 name - mediant
scale degree 4 name - subdominant
scale degree 5 name - dominant
scale degree 6 name - submediant
scale degree 7 name - supertonic
minor scale - WHWWHWW
harmonic minor scale - a minor scale with a raised 7th scale degree
melodic minor scale - minor scale with a raised 6 and 7, but reverted to naturals when
descending
chromatic scale - Includes all twelve notes of an octave
developed 12-tone music - Schoenberg
when was 12 tone music developed - 1920s and throughout the 20th century
the ways rows can be manipulated in 12-tone music - inversion, retrograde, retrograde
inversion, transposition
Fugue - one or more themes are developed by imitative counterpoint
Fugue - each voice chases the previous one
, the leader/dux - the initial subject in a fugue
real answer in a fugue - theme is transposed exactly note to note in the dominant key
tonal answer in a fugue - theme is transposed loosely in the dominant key
tone clusters were termed by - Henry Cowell in the 1920s
used by western composers such as Ives, Bartók, Cowell, Messiaen, and Stockhausen
as well as jazz and popular music - tone clusters
very slow and solemn - grave
medium slow - andante
moderate or medium - moderato
slow and broad - largo
not quite as slow as largo - larghetto
slow, "at ease" - adagio
slow - lento
not as fast as allegro - allegretto
fast - allegro
lively and brisk - vivo, vivace
very fast - presto
very, very fast - prestissimo
Hemiola - a shift of the rhythmic pulse from a division of 2 to a division of 3
Horizontal Hemiola - refers to a change in note values where, for example, 3 half notes
follow a measure of 2 dotted half notes in 6/4 meter
Vertical Hemiola - occurs simultaneously; 3 quarter notes played over 2 dotted quarter
notes in 6/8 meter
binary form - AA'
