Solution Manual for Materials and
Techniques of Post-Tonal Music Covering
Chapters 1-15 | Includes Rationales
post-tonal - answersmusic that does not follow the traditional conventions of tonal
harmony
chromatic mediant relationship - answerswhen two triads or chords are of the same
quality and their roots are a major third or minor third apart
pitch class - answersany of the 12 notes of the equal-tempered scale regardless of
spelling or octave placement
double chromatic mediant relationship - answersthird related triads or chords of
opposite quality and sharing no pitch classes
tritone relationships - answersroot movement between tritones
real sequence - answersa sequence in which the pattern is transposed exactly
brief tonicizations - answersa new root exists for a short period without modulating
suspended tonality - answerspassages that are tonally ambiguous
non-functional chord successions - answerschords that do nothing to help establish the
key
voice-leading chords - answersgoal-directed motion in individual voices rather than an
attempt to express some traditional harmonic progression
unresolved dissonances - answersoften the juxtaposition of apparently independent
musical ideas with no attempt to put them into a traditional context
equal division of the octave - answersdivide the octave into equal parts, such as an
augment triad or a fully diminished seventh chord (the same interval between all
consecutive pitches)
interval cycle - answerstransposition of a pitch class two or more times by the exact
same interval
C1 cycle - answers0 1 2 3 4 5 6 7 8 9 10 11 (chromatic scale)
,C4 cycle - answers0 4 8 or 1 5 9 (augmented triad)
C3 cycle - answers0 3 6 9 or 1 4 7 10 (fully diminished seventh chord)
atonality - answerssystematic avoidance of those musical materials and devices which
have traditionally been used to define a tonal center
anhemitonic pentatonic scale - answers"the" pentatonic scale; contains no half steps; in
a C5 cycle--4 9 2 7 0
Hirajoshi pentatonic - answers9 11 0 4 5
Kumoi pentatonic - answers2 4 5 9 11
whole-tone scale - answersconstructed entirely of major seconds, although one is
notated a diminished third
augmented scale (hexatonic) - answersalternating half steps and minor thirds
modes - answersIonian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian
octatonic scale - answersalternating whole and half steps; also called whole-step-half-
step scale or diminished scale
microtone - answersany interval smaller than a minor second
quartal chord - answersbuilt from fourths and can have as few as three pitch classes
quintal chord - answersbuilt from fifths
mystic chord - answersbuilt with some (or all) intervals as tritones; Scriabin
secundal chord - answersbuilt from major or minor seconds
cluster or tone cluster - answerssecundal chords placed adjacent to one another
I - answerspianist plays black keys with the left hand
mixed-interval chord - answerscombines any intervals
whole-tone chord - answersmembers come from a single whole-tone scale
polychord - answerscombines two or more chords into a complex sonority
Petrushka chord - answerstwo triads a tritone apart
, pitch-class cell - answersa motive that is a collection of intervals that can be rearranged
and inverted
twelve-tone melody - answersa melody in which every pitch class is used only once
(tremolos and immediate repetitions excluded)
chordal parallelism - answersvoices moving in the same direction by the same interval;
can be diatonic, real, or mixed
planing - answersharmonic parallelism
pitch-centric - answersmusic that has a tonal center established through non-traditional
means
pitch center by assertion - answersestablishes a pitch center through the use of
reiteration, return, pedal point, ostinato, accent, formal placement, register, etc.
polytonality - answerssimultaneous use of two or more aurally distinguishable pitch
centers
bitonal - answerspolytonic music with two pitch centers
pandiatonicism - answersuses only the tones of some diatonic scale by does not rely on
traditional harmonic progressions and dissonance treatment
linear counterpoint - answerscompositional method is based on individual lines
syncopation - answersan accent where one is not expected, or the lack of an accent
where one is expected
changing time signatures - answersshifting from one time signature to another has
become more used in post-tonal music; may include changing meter, mixed meter,
variable meter, multimeter, etc.
nontraditional time signatures - answerschanging the top number used in the time
signature
asymmetric meter - answersusing odd numbers like 5 and 7 on the top
complex meter - answerstransforming a traditional time signature by using a
nonstandard metric accent
fractional time signatures - answersthe top number is a fraction
additive rhythm - answersa short note value remains constant but is used in groups of
unpredictably varying lengths
Techniques of Post-Tonal Music Covering
Chapters 1-15 | Includes Rationales
post-tonal - answersmusic that does not follow the traditional conventions of tonal
harmony
chromatic mediant relationship - answerswhen two triads or chords are of the same
quality and their roots are a major third or minor third apart
pitch class - answersany of the 12 notes of the equal-tempered scale regardless of
spelling or octave placement
double chromatic mediant relationship - answersthird related triads or chords of
opposite quality and sharing no pitch classes
tritone relationships - answersroot movement between tritones
real sequence - answersa sequence in which the pattern is transposed exactly
brief tonicizations - answersa new root exists for a short period without modulating
suspended tonality - answerspassages that are tonally ambiguous
non-functional chord successions - answerschords that do nothing to help establish the
key
voice-leading chords - answersgoal-directed motion in individual voices rather than an
attempt to express some traditional harmonic progression
unresolved dissonances - answersoften the juxtaposition of apparently independent
musical ideas with no attempt to put them into a traditional context
equal division of the octave - answersdivide the octave into equal parts, such as an
augment triad or a fully diminished seventh chord (the same interval between all
consecutive pitches)
interval cycle - answerstransposition of a pitch class two or more times by the exact
same interval
C1 cycle - answers0 1 2 3 4 5 6 7 8 9 10 11 (chromatic scale)
,C4 cycle - answers0 4 8 or 1 5 9 (augmented triad)
C3 cycle - answers0 3 6 9 or 1 4 7 10 (fully diminished seventh chord)
atonality - answerssystematic avoidance of those musical materials and devices which
have traditionally been used to define a tonal center
anhemitonic pentatonic scale - answers"the" pentatonic scale; contains no half steps; in
a C5 cycle--4 9 2 7 0
Hirajoshi pentatonic - answers9 11 0 4 5
Kumoi pentatonic - answers2 4 5 9 11
whole-tone scale - answersconstructed entirely of major seconds, although one is
notated a diminished third
augmented scale (hexatonic) - answersalternating half steps and minor thirds
modes - answersIonian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian
octatonic scale - answersalternating whole and half steps; also called whole-step-half-
step scale or diminished scale
microtone - answersany interval smaller than a minor second
quartal chord - answersbuilt from fourths and can have as few as three pitch classes
quintal chord - answersbuilt from fifths
mystic chord - answersbuilt with some (or all) intervals as tritones; Scriabin
secundal chord - answersbuilt from major or minor seconds
cluster or tone cluster - answerssecundal chords placed adjacent to one another
I - answerspianist plays black keys with the left hand
mixed-interval chord - answerscombines any intervals
whole-tone chord - answersmembers come from a single whole-tone scale
polychord - answerscombines two or more chords into a complex sonority
Petrushka chord - answerstwo triads a tritone apart
, pitch-class cell - answersa motive that is a collection of intervals that can be rearranged
and inverted
twelve-tone melody - answersa melody in which every pitch class is used only once
(tremolos and immediate repetitions excluded)
chordal parallelism - answersvoices moving in the same direction by the same interval;
can be diatonic, real, or mixed
planing - answersharmonic parallelism
pitch-centric - answersmusic that has a tonal center established through non-traditional
means
pitch center by assertion - answersestablishes a pitch center through the use of
reiteration, return, pedal point, ostinato, accent, formal placement, register, etc.
polytonality - answerssimultaneous use of two or more aurally distinguishable pitch
centers
bitonal - answerspolytonic music with two pitch centers
pandiatonicism - answersuses only the tones of some diatonic scale by does not rely on
traditional harmonic progressions and dissonance treatment
linear counterpoint - answerscompositional method is based on individual lines
syncopation - answersan accent where one is not expected, or the lack of an accent
where one is expected
changing time signatures - answersshifting from one time signature to another has
become more used in post-tonal music; may include changing meter, mixed meter,
variable meter, multimeter, etc.
nontraditional time signatures - answerschanging the top number used in the time
signature
asymmetric meter - answersusing odd numbers like 5 and 7 on the top
complex meter - answerstransforming a traditional time signature by using a
nonstandard metric accent
fractional time signatures - answersthe top number is a fraction
additive rhythm - answersa short note value remains constant but is used in groups of
unpredictably varying lengths
