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Music Notes Q2
| Question | Answer |
|---|---|
| consonant sounds are... | Settled, secure, and peaceful. Don't feel like they need to move. |
| dissonant sounds are... | feeling like they want to go somewhere |
| Major triad | M3 and m3, P5 |
| Minor triad | m3 and M3, P5 |
| Augmented triad | never diatonic, M3 and M3, A5 |
| Diminished triad | m3 and m3, d5 |
| diatonic triads in a major scale | M, m, m, M, M, m d |
| diatonic triads in a minor scale | m, d, M, m, m (always changed to M by raising ^5), M, M |
| I chord name | tonic |
| ii chord name | supertonic |
| iii chord name | mediant |
| IV chord name | subdominant |
| V chord name | dominant |
| vi chord name | submediant |
| vii d chord name | leading tone |
| Triad | Type of chord. 3 notes. Separated by thirds. Root, third fifth. All lines or spaces. |
| The third of the triad... | gives the chord its quality! |
| The root of the triad... | names the chord! |
| The fifth of the triad... | fully voices the chord! |
| Baroque music and seventh chords? | Baroque music mainly used four voices, so they only used a couple types of seventh chords, and no ninth chords. |
| Romantic music said after Baroque music?? | Let's use more notes! |
| Borrowed chords/secondary harmonies | chords or ideas from other keys |
| Tendancy tones | create tonal pull, want to be resolved. ex. ^7 (leading tone) |
| Artistic intent | purpose of a song, how it's executed with chords and such |
| Roman numberal chords | chord IN A KEY. You have to label the key to use roman numerals for keys. Roman numerals accompanying chords help you ANALYZE and understand the music. They aren't necessary for performance. |
| Figured bass | performance tool used by keyboards to fully voice four part harmony with only bass notes and little numbers. Because composers were lazy. |
| Inverted chords... | have weaker stability! |
| 6 | first inversion of a triad |
| 6/4 | second inversion of a triad |
| 7th chords sound... | more dense than triads because with one more note, there's twice as many little interactions |
| Why is the diminished seventh so special? | any note can serve as the bass because it's a symmetrical chord (all minor thirds). Good for changing keys or borrowing chords. |
| Ertext | music exactly how the composer wrote it, printed without editing |
| Inversion is a tool to... | more subtly slip between chords. Everything would be really abrupt without it. Now moving the bass has a much bigger effect. |
| Adults have their own motives... | trust no one |
| It's called protecting yourself... | and monitoring your expectations |
| conjunct melody | steps, no leaps between notes |
| disjunct melody | leaps, bigger intervals between notes |
| VII chord in natural minor chord name | subtonic. no longer leading tone because is has a different purpose. |
| closed position chords | more full, playing every consecutive chord tone, not played low like in left hand piano because it's muddy |
| open position chords | not playing every consecutive chord tone, spice it up |
| 7 | root position of a seventh chord |
| 6/5 | first inversion of a seventh chord |
| 4/3 | second inversion of a seventh chord |
| 4/2 | third inversion of a seventh chord |
| Major seventh chord (MM7) | Major triad, major seventh. M3, m3, M3. Diatonic on I and IV. |
| Dominant seventh chord (7) | Major triad, minor seventh. M3, m3, m3. Diatonic on V. |
| Minor seventh chord (mm7) | Minor triad, minor seventh. m3, M3, m3. Diatonic on ii, iii, vi. |
| Half diminished seventh chord (7(/)) | Diminished triad, minor seventh. m3, m3, M3. diatonic on vii(/). |
| Diminished seventh chord (7( )) | Diminished triad, diminished seventh. m3, m3, m3. |
| Minor Major seventh chord (mM7) | Minor triad, major seventh. m3, M3, M3. NOT used in Baroque! |
| Function | How chords work together. A more macro examination of music, looking at phrases as a whole, not just chord to chord. |
| Typical chord progression for the period we're studying. Same for major and minor, just change cases of chords. | Tonic (Home) (I, vi) -> Pre-Dominant (Long journey) (ii, IV, vi, vii d) -> Dominant (Powerful climax) (V, could sub with vii d because both have tendency tones ^4 & ^7) -> Tonic. You can switch out chords if they have similar notes (vi for I in Tonic) |
| Why do you see a lot of inverted IV in the tonic part of the function? | Because you can change chords but keep the bass the same. |
| What types of chords are used in the Pre-Dominant part of the function? | chords with as few similar notes to tonic as possible. |
| Cadence | Punctuation for music. Musical run-on sentences without them. Points of arrival or decompression. 90% of them are between two chords. Strong and weak types. We learned about four classical cadences. |
| Authentic Cadence | most strong and profound. V->I |
| Plagal Cadence | second strongest. safe, church music. IV->I |
| Deceptive Cadence | second weakest. subvert expectations. V->vi |
| Half Cadence | weakest. empty inside, hate, fear, oh so alone. ?->V (vii) COMMON PATTERN - phrase -> HC -> same phrase -> AC |
| the only types of entertainment people had during Bach's time | music, drama, and church |
| secret recipe | flat VI -> flat VII -> I |
Created by:
mortehay000
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