MUS 103 Terms for Final Exam

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MUS 103 Terms for Final Exam 1. pitch - the relative highness or lowness of a sound 2. pitch class – a note without reference to its octave location or spelling 3. enharmonic – same sound, different spelling 4. interval – the distance between two pitches 5. compound interval – an interval wider than an octave 6. perfect consonances – unisons, octaves, and fifths 7. imperfect consonances – thirds and sixths 8. dissonances – seconds, sevenths, and any augmented or diminished interval 9. tritone – interval of an augmented fourth or diminished fifth 10. tonic – scale degree 1 11. dominant – scale degree 5 12. subdominant – scale degree 4 13. mediant – scale degree 3 14. submediant – scale degree 6 15. supertonic – scale degree 2 16. leading tone – scale degree 7 a half step below tonic 17. subtonic – scale degree 7 a whole step below tonic 18. scale degrees – the various steps in a scale 19. rhythm – the temporal aspect of music 20. beat – a regular pulse underlying music 21. downbeat – the first beat of a measure 22. meter – the grouping of beats 23. tempo – the speed of the beat 24. duple meter – two beats per measure 25. triple meter – three beats per measure 26. quadruple meter – four beats per measure 27. simple meter – the beat is divided in two 28. compound meter – the beat is divided in three 29. relative keys – same pitch classes (signature), different tonics 30. parallel keys – same tonics, different pitch classes (signature) 31. motive – a brief musical idea with distinctive character 32. phrase – a complete musical thought 33. period – a group of phrases 34. antecedent – the first phrase in a period 35. consequent – the second phrase in a period 36. cadence – a point of repose 37. parallel period – a period in which the beginning of each phrase is identical 38. contrasting period – a period in which the beginnings of the phrases are different 39. three-phrase period – a period with three phrases 40. double period – a period with four phrases 41. chord – three or more pitches played simultaneously 42. tertian harmony – chords built on consecutive thirds 43. triad – a chord with three different pitches 44. seventh chord – a tertian chord with four different pitches 45. root – the pitch on which a chord is built when stacked in consecutive thirds 46. bass – the lowest sounding note in a chord, regardless of inversion 47. root position – the root of the chord is in the bass 48. first inversion – the third of the chord is in the bass 49. second inversion – the fifth of the chord is in the bass 50. third inversion – the seventh of the chord is in the bass .

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Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale.
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Document généré le 1 oct. 2021 12:21 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19 Kenneth L. Hicken Numéro 1, 1980 URI : https://id.erudit.org/iderudit/1013738ar DOI : https://doi.org/10.7202/1013738ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Hicken, K. L. (1980). Tonal Organization in Schoenberg's Six Little Piano Pieces, Op. 19. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 130–146. https://doi.org/10.7202/1013738ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1980 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ TONAL ORGANIZATION IN SCHOENBERG'S SIX LITTLE PIANO PIECES, OP. 19 Kenneth L. Hicken What is the nature of Schoenberg's so-called atonality? Does his atonal organization of pitch truly involve abandonment of tonality and tonal functions, as is widely believed? Or can and should this type of organization be understood as an exten• sion of traditional tonal practice? An appropriate work to examine in consideration of these questions is the Six Little Piano Pieces, Op.
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