MUS-101 Part #1: The Basics
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| Music | Sound organized in time
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| Melody (2 definitions) | 1) A series of notes which add up to form a recognizable whole, or 2) A coherent succession of single pitches
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| 4 Aspects of Melody | Range, shape, motion, articulation
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| Range | Distance between the highest and lowest notes of a melody
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| Shape | Static, arch, rising/falling line, wave
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| Motion | How the melody moves from one note to the next
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| 2 Types of Motion | Conjunct: Moves in stepwise fashion; Disjunct: Moves mostly by leaps
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| Articulation | Staccato vs. legato
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| 4 Elements of Melodic Structure | Motive, phrase, cadence, rhyme scheme
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| Motive | Smallest recognizable unit of a melody
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| Phrase | A larger structure, analogous to a sentence in spoke language
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| Cadence | A resting point at the end of a phrase
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| 2 Types of Cadence | Full cadence: Sounds complete; Half cadence: Sounds incomplete
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| Rhythm | The flow of music through time
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| Beat | Regular pulse dividing music in to equal parts
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| Tempo | Speed of the beat
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| 3 Words for Changing Tempo | Accelerando: Getting gradually faster; Ritardando: Getting gradually slower; A tempo: Returning to the original tempo
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| Meter | The organization of beats into distinguishable patterns
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| Measure | Unit separated by barlines that contain a specific number of beats
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| Time Signature | Two numbers at the beginning of a piece of music, one on top of the other, that tell how many beats are in each measure and what kind of note equals one beat
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| 3 Types of Simple Meters | Duple, triple, quadruple (these refer to the number of beats per measure: 2, 3 and 4)
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| Simple Meter | "Simple" refers to the fact that each beat can be broken into two notes
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| Compound Meter | "Compound" refers to the fact that each beat can be broken into three notes (compound meters will always involve dotted notes)
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| Additive Meter | "Additive" refers to the fact that the beats can be subdivided into smaller, irregular groups
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| Syncopation | Accent on an unexpected beat
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| Polyrhythm | Two or more concurrent divisions of the same beat
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| Harmony | "The vertical dimension"
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| Consonance | A sound of rest or repose
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| Dissonance | An active, unsettled sound
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| Harmonic Interval | The distance between two notes that sound together
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| Chord | Three or more notes sounding together
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| Triad | A particular kind of chord made up alternate notes of scale
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| Progression | A series of chords
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| 3 Types of Chords | Tonic (I), subdominant (IV) and dominant (V)
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| 2 Types of Harmonic Cadences | Authentic (V-I), Plagal (IV-I)
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| Tonic Note | "Keynote" - The central note in a piece
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| Scale | A grouping of notes that focuses attention to the tonic
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| Modulation | The change from one key to another within a piece or movement
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| Texture | Refers to the layers of sound and how they interact
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| 4 Types of Texture | Monophonic, heterophonic, homophonic, polyphonic
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| Monophonic | One voice (sound)
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| Heterophonic | Two or more voices simultaneously ornamenting the same melody
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| Homophonic | One primary voice (melody) accompanied by subordinate voices
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| Polyphonic | Simultaneous performance of 2 or more voices of equal or near equal interest
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| 2 Ways to Describe Texture | "Thick" or "thin" depending on how many voices are involved and their level of activity
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| Dynamic | Volume
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| 2 Types of Changing Dynamics | Crescendo (getting louder) and decrescendo (getting softer)
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| ff | Fortissimo
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| f | Forte
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| mf | Mezzo-forte
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| mp | Mezzo-piano
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| p | Piano
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| pp | Pianissimo
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| 3 Vocal Ranges for Women | Soprano, mezzo-soprano, alto
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| 3 Vocal Ranges for Men | Tenor, baritone, bass
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| 4 Categories of Instruments | Aerophones, chordophones, idiophones, membranophones
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| 4 Categories of Instruments in a Contemporary Western Orchestra | Strings, woodwinds, brass, percussion
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| Form | The structure of music as it plays out in time
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| 2 Constructs to Help Define Form | Repetition, contrast, variation
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| Purpose of Repetition | Binds the composition together
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| Purpose of Contrast | Changes moods and moves the music forward
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| 2 Common Forms | Binary (A B) & Ternary (A B A)
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