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| set of six pitches where every interval is a whole step apart. this is semeterical due to a lack of interval changes and is without tonal focus |
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| eight pitches arrange whwhwhwh, also two tetrachords piled ontop of each other |
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| all the same notes in octaves. ex: -2c -1c 0c 1c 2c |
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| a group of pitch classes that serve as the source of musical materials for a work or a section of work |
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| a group of pitches or pitch classes can sometimes be used interchangeably with collection but collection tend to be five or more elements |
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| a small group with in a set |
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the number of elements
dyads-2
trichords-3
tetrachord-4
penatchord-5
etc |
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the number of elements
dyads-2
trichords-3
tetrachord-4
penatchord-5
etc |
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the number of elements
dyads-2
trichords-3
tetrachord-4
penatchord-5
etc |
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| means that something has been kept the same. composer use invariance to create uniformity and relate sections in a pieace |
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| a section of pitch classes that are chosen to grouped together for anylasis. ordered means that they appear in the same order as in the score unordered means that they appear in value order |
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| a specific ordering of all twelve pitch classes |
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| the pitch order is reversed from last to first |
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| the direction of each pitch interval reverses |
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| the pitch interval sequence is in reverse order(always inversion first the retrograde) |
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| twelve-tone music. serial music composed with twelve pc segments |
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| music composed with ordered segments, typically pitch or pitch class segments. other elements that can be ordered such as articulations, duration, rythms and dynamics |
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| where one musical stream is in one mode while another is in a different mode |
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| layering of music texture |
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| a compounds rhythm something that cant be divided into symetrical halves |
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| a type of chord connection where a line is doubled in severel voices resulting in parallel motion and is associated particulary with debussy’s style |
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| a chord member or scale degree whose dissonant relation to the surrounding tones requires a particular resolution in common-practice style |
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| music that does not establish a tonic or tonal hierchy and meodies that are built frommajor and mdinor scales whose scale-degree functions point toward the tonic. |
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| something with an odd number of subdivision ex 7/8 |
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| where you take a mode and you start on a different degree of a mode |
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| the pitch-interval sequences were identical |
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| mode that has the same tonic but a different interval ratio |
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