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| Is the line or tune in music. |
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| Is a succession of single pitches that we perceive as a recognizable whole. |
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| A part of the melody in its overall shape as it turns upward, downward, or remains static. |
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| Is the distance between the lowest and highest notes. |
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| The distance between any two pitches. |
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| Melodies that move principally by small intervals in a joined connected manner. |
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| Melodies that move in larger disconnected intervals. |
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| Is a unit of meaning within a larger structure. |
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| The phrase ends in a resting place. |
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| A melody may be accompanied by a secondary melody. |
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| More complex music can feature several simultaneous melodies. Sometimes the relative importance of one melody over the other is clear, and the added tune is called a _________. (Against the melody.) |
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| The high point in a melodic line, which usually represents a peak in intensity as well as in range. |
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| A poem describes the similarity in sound of the last syllables in each line. |
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| Is what moves music forward in time. |
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| Music is propelled forward by _________, the movement of music in time. |
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| is the basic unit of rhythm, it is a regular pulse that divides time into equal segments. |
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| Some beats are stronger than others. |
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| Organizing patterns of rhythmic pulses. |
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| In notation, are marked off. |
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| Regular vertical lines through the staff. |
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| The first accented beat of each pattern referring to the downward stroke of a conductor’s hand. |
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| Alternates a strong downbeat with a weak beat. |
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| A basic pattern has three beats to one measure- one strong beat and two weak beats. |
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| Contains four beats to one measure, with a primary accent on the first beat and a secondary accent on the third. |
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| Meters in which the beat has duple subdivisions. |
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| Meter in which each beat is subdivided into three rather than two. |
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| Most common compound meter that has 6 beats to the measure, with accents on beats one and four. |
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| A deliberate upsetting of the normal pattern of accents. |
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| Instead of falling on the strong beat of measure, the accent is shifted to a weak beat, inbetween the strong beats. |
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| The simultaneous use of rhythmic patterns that conflict with the underlying beat, such as ‘two against three” or “three against four” the left hand might play two notes to a beat, while the right hand plays three notes to the same beat. |
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| The rhythmic organization is even more complex or grouping of irregular numbers of beats that add up to a larger overall pattern. |
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| Some music moves without any strong sense of beat or meter, or that the pulse is veiled or weak. |
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| When three or more tones are sounded together. |
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| Describes the vertical events in music, or how they sound together. |
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| The sitmultaneous sounding of notes to form cords and the progression from one chord to the next. It implies movement and progression. |
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| The intervals from which cords and melodies are built are chosen from a particular collection of pitches arranged in ascending or descending order. |
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| An interval of eight notes. Do~Re~Mi~Fa~Sol~La~Ti~Do |
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| A particular combination of three tones. |
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| Common chord in Western music which has three notes built on alternate pitches of a scale. |
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| Is the central tone around which a melody and its harmonies are built. |
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| The first note of the scale, “Do”, serves as a home base around which the others resolve and to which they ultimately gravitate. |
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| The principle of organization around a central tone. |
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| Is created by an unstable, or discordant, combination of tones. |
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| As music moves in time, we feel moments of tension and release. The tension is a perceived instability, a combination of tones that sounds discordant, in need of resolution. ________ introduces conflict into music in the same way that suspense creates tension in drama. |
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| Occurs with a resolution of dissonance, producing a stable or restful sound. |
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| A concordant, or agreeable, combination of musical tones that provides a sense of relaxation and fulfillment. At their extremes, dissonance can sound harsh, while ____________ is more pleasing to the ear. |
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| A harmony consisting of a single sustained tone. |
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| The octave (interval of 8 notes of the scale) is divided into 12 half steps, the smallest interval used. |
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| 12 equal semitones, from these are built the major and minor scales (each with a different combination of 7 notes). |
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| Two half steps make a whole. |
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| Is made up of 12 half steps. |
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| Raises a tone by a half step. |
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| Lowers a tone by a half step. |
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| Defines the relationship of tones with a common center or tonic. Also a lever on a keyboard or woodwind instrument. |
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| Is built on patterns of seven whole and half steps that form major and minor scales. |
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| Diatonic Music, both the melody and the harmony are firmly rooted in the key. |
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| 5 notes scale, most common in African, Asian, and Native American musics. ________ ________ can be formed in a number of patterns, each with its own unique quality sound. |
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| A 3 note pattern found in the music of some African Cultures. |
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| Some scales are not easily playable on Western Instrument because they employ intervals smaller than our half step, and may sound “off-key”. |
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| One way of producing microtonal music by an inflection of pitch, or making a brief micro-tonal dip or rise from the original pitch. |
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| In the diatonic system, chords which need to resolve to the tonic cord. These include the dominant chord and the subdominate chord. |
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| The triad built on the fourth scale (fa) is known as the ________ (IV). The movement from the _________ to the tonic (IV to I) is familiar from the chords accompanying the “Amen” sung at the close of many hymns. |
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| Composers begin by establishing a home key. Then change to a related key, perhaps the dominate, in doing so creates tension, because the dominate key in unstable compared to the tonic. |
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| Composers may take an entire work and set it or transpose it, in a new key. This is convenient when a song’g original key is too key or low to sinf or play easily. You could begin on a different pitch and shift all the tones a uniform distance to a different level. |
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| Refers to the interweaving of the melodic lines with harmony in music. |
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| Is the simplest texture or single-voiced music without accompaniment. |
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| Refers to multiple voices elaborating the same melody at the same time. |
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| In which some of the music is created on the spot. |
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| “Many-Voiced” textures, in which two or more different melodic lines are combined, thus distributing melodic interest among all the parts. |
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| One musical line set against another. |
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| A single voice takes over the melodic interest, while the accompanying lines are subordinate. |
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| In which a melodic idea is presented in one voice and then restated in another. While the imitating voice restates the melody, the first voice continues with new material. |
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| Is strictly imitative work. |
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| Is the simplest and most familar form of a canon. In which each voice enters in succession with the same melody that can be repeated endlessly. Think Row Row Row Your Boat. |
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| Is the organizing principle in music, its basic elements are repetition, contrast, and variation. |
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| Fixed on the material in our minds and satisfies our need for the familiar. |
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| Stimulates our interest and feeds our desire for change. |
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| One of the most common in vocal music, both popular and classical, in which the same melody is repeated with each stanza of the text. |
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| One principle of form that falls between repetition and contrast, where some aspects of the music are altered but the original is still recognizable. |
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| Two-part, is based on a statement and a departure, without a return to the complete opening section. (A-B) |
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| Three Part, form extends the idea of statement and departure by bringing back the first section. (A-B-A) |
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| Is a melodic idea in a large-scale work. |
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| When a melodic idea is used as a building block in the construction of a larger musical work. |
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| Is the smallest fragment of a theme that forms a melodic-rhythmic unit. Motives are the cells of musical growth, which, when repeated, varied, and combined into new patterns, impart the qualities of evolution and expansion. |
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| Results when a motive is repeated at a different pitch. |
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| Repetition, which may be either exact or varied. Or the idea may be restated at higher or lower pitch level. |
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| Call-and-Response or Responsorial Music |
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| A repetitive style involving a soloist and a group. |
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| The expansion of a theme, achieved by varying its melodic outline, rhythm, or harmony. |
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| Is the repetition of a short melodic, rhythmic, or harmonic pattern. |
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| Large-Scale compositions, such as symphonies and sonatas, are divided into sections. |
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| Is the rate of speed, or pace, of the music. |
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| Denotes the volume (degree of loudness or softness) at which music is played. |
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| Properties of sound include pitch, duration, volume. |
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| Is the mechanism that generates musical vibrations and launches them into the air. |
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| Describes a specific area in the range of an instrument or voice, such as a low, middle, or high. |
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| How high or low a voice is sung. |
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| Musical instruments that produce sound by using air blown into or over a pipe. |
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| Musical instruments that produce sound from vibrating string stretched between two points. The string may be set in motion by bowing, plucking, or striking it to cause it to vibrate. |
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| Musical instruments that produce sound from the substance of the instrument itself. They maybe struck, shaken, scraped, or rubbed. |
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| Musical instruments that produce sound are drum-type instruments that sound from tightly stretched membranes. These instruments can be struck, plucked, rubbed, or even sung into, thus setting the skin in vibration. |
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| All chorophones that are bowed or plucked. |
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Violin, Viola, Cello (violoncello), Double Bass== Bow or plucked
Harp== Plucked
Guitar== Plucked |
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| Areophones, produce a sound with a column of air vibrating within a pipe that has fingerholes along its length. |
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Flute
Oboe
Clarinet
Bassoon
Saxophone |
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| Areophone, have a cup shape mouth piece attached to a length of metal tubing that flares at the end into a bell. |
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Trumpet
French Horn
Trombone
Tuba |
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| A variety of idiophones and membranophones. |
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Timpani/Kettle Drum
Snare Drum
Tenor Drum
Bass Drum
Tom-Tom |
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| Strings that are struck with hammers. Cannot sustain tone. |
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| type of areophone/wind instrument. Air flows into many of its pipes. |
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| quills pluck metal strings. |
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Singing without accompaniment.
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Is a fairly large body of singers who perform together, their music is usually sung in several voice parts.
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is traditionally a smaller group of singers.
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Is ensemble singers for small groups, with one singer per part. (SATB)
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Is ensemble music for small groups, with one player per part.
String Quartets
Woodwinds Quintets
Brass Quintets
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Modern, features 80 to 100 players.
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Leads by use of a baton to keep beats to help performers keep the same tempo.
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Strings coupled with an assortment of woodwinds, brass, and percussion.
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Sometimes called wind ensemble. 40-80 players- secondary schools, colleges, universitities.
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For non-religous functions.
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Borrowing elements of one style for use in another.
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Is a genre designation for a standard format- usually a four-movement orchestral work.
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also implies Medium, or specific group that performs the peiece in this case, an orchestra.
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Some music is not written down but is known. It is passed down and played from memory.
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The distinctive features of any artwork. A musical _____ is created through individual treatment of the basic musical elements.
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Organize styles of artwork, each with its own characteristics.
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