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frequency, duration, wave-shape |
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rate of a sound’s vibration |
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selected set of frequencies that are legitimatized when the others are filtered out |
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referential system of tonal music |
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class of octave-related pitches, including enharmonic pitches |
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momentary durational recalibration |
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stretch or compress not slightly to make musical point |
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tone-color; quality of any musical sound that enables us to distinguish between different instruments playing the same pitch |
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lowest pitch heard, single pitch |
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typically changes key, accidentals; moves all notes up/down by same exact interval |
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maintain same key, no accidentals; moves most notes up or down a generic size |
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only notes within collection |
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outside of collection or scale |
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accent by virtue of duration |
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accent based on register on the scale, up or down |
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short clipped idea; “word” in a sentence |
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complete idea; “sentence” |
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split in 2; 2/8, 2/4, 2/2; example: Flintstones |
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split in 3; 3/8, 3/4, 3/2 example: Popeye |
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split in 4; 4/4, 4/2, 4/8 example: |
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6/8, 6/2, 6/4, 6/16 example: Mr. Ed |
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9 eighth notes; 9/8, 9/2, 9/4, 9/16 example: Vaughner |
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12 eighth notes; 12/2, 12/4, 12/8, 12/16 example: Mr. Rogers |
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hear a greater meter, small grouping, little different meter than what is written |
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breakdown measures; 5/4 breaks into 2/4, 3/4 |
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two different meters played at the same time |
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scale degrees 4, flat 6, and 7 |
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a melody’s relative position within the universe of pitches |
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melody’s spread of pitches through the register |
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where a melody lies within its range; high, low, middle |
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motion by repetition or step |
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motion by intervals larger than a M2 |
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scale degrees 1, 3, flat 3, and 5 |
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three tones in a row in descending or ascending order, middle tone unstable |
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go up or down by a step for middle note then back to the original note; neighbors always unstable |
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leap then second half of a neighbor, middle note unstable |
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note that doesn’t resolve |
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hear two lines and two melodies when one instrument is playing |
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starts together then moves away |
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completely different lines and voices apparent |
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consonant vertical intervals |
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primes/8ves, 3rds/10ths, 5ths and 6ths; perfect, major, and minor, simple and compound |
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when melodies are combined so that harmonic sonorities appear between them; in counterpoint, contrapuntally related |
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hear tones all together, not as distinct voices |
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each pitch in either voice is directly and exactly aligned with another pitch in the other voice |
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lowest and highest voices in a passage |
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3rds/10ths and 6ths predominate |
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5ths and 8ves allowed, beginnings and ends of phrases |
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bass moves from scale degree 5 to 1, 10th, 5th, or 8ve above both 5 and 1 |
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bass ends on scale degree 5, same rules as authentic cadence |
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immediate change of direction |
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2 voices moving in opposite directions |
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when one voice stationary, other moves |
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both voices moving in same direction |
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two voices moving in same direction by same generic interval; no 5-5 or 5-8 or 8-5 parallel motion |
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upper voice contains pitch that is lower than that of lower voice |
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upper voice contains pitch that is lower than that of previous or following lower voice |
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stereotypical contrapuntal patterns |
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5-6/6-5 pattern, parallel motion, voice exchange |
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