Term
|
Definition
| opening section of a fugue, each of the voices states the subject or transposted version of the subject (called the answer). |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| exact intervallic transpostion of the subject |
|
|
Term
|
Definition
| Modified version of the subject, for purpose of conforming to the new tonal area |
|
|
Term
|
Definition
| subject rested in various keys |
|
|
Term
|
Definition
|
|
Term
|
Definition
| prepares entrance of third and fourth voices, functions as sequence that modulates back to the tonic key |
|
|
Term
| second countersubject (occasionally) |
|
Definition
| introduced as the final subject statments occur |
|
|
Term
|
Definition
| marked by sequential transitions |
|
|
Term
|
Definition
| composed of fragments of the subject and countersubject material, bridge between transposed subject entries |
|
|
Term
|
Definition
| overlapping imitative entries that add further complexity to the development of the subject material |
|
|
Term
|
Definition
| final section, marks return to the tonic key, must halt the momentum and bring work to successful conclusion |
|
|
Term
|
Definition
| D-D all white notes, minor, raise 6th |
|
|
Term
|
Definition
| E-E white notes, lower 2nd |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
| Minor, lowered 2nd and lowered 5th |
|
|
Term
|
Definition
| final pitch of a given mode, determines identity of the mode |
|
|
Term
|
Definition
| Range of pitches employed in a given voice, provides clarity regarding mode type |
|
|
Term
| Rules for writing melodic line |
|
Definition
Begin/end on same note
ONE high point
Each voice stay w/in its ambitus according to mode, range should not exceed octave, exception of step at either end
Leaps other than octave shouldn;t exceed P5, m6 if ascending
Leap followed by step in opp. direction
No more than 2 skips (3rds) in same direction
DON'T OUTLINE TRI-TONE (fill line and follow by step in opp. direction)
Avoid repeating any note 3x in a row
Avoid repeated note patterns
Predominantly use stepwise motion
Penultimate note of cantus firmus must be modal step above finalis |
|
|
Term
|
Definition
| both voices move in same direction |
|
|
Term
|
Definition
|
|
Term
|
Definition
| one voice in either direction, while other sustained |
|
|
Term
| 4 Fundamental rules of counterpoint |
|
Definition
1. perfect consonance to perfect consonance= only conrary or oblique
2. perfect " " to imperfect " "= any type of motion
3. Imperfect " " to perfect " "= only contrary or oblique
4. " " to imperfect consonance= any type of motion |
|
|
Term
|
Definition
| P8, unison 3rds, 6ths, P5 |
|
|
Term
|
Definition
|
|
Term
|
Definition
| fixed melodic voice, often derived from pre-existing material, to which other voices are added |
|
|
Term
|
Definition
| "Cadence"...expansion of 6th to octave, marking closure of a contrapuntal passage, contraction of 3rd to unison also acceptable |
|
|
Term
|
Definition
| Chromatic alterations of the modal system used under specific circumstances, particularly when approaching cadence points, or when avoiding interval of tri-tone |
|
|
Term
|
Definition
| when both the upbeat and downbeat of tied note are consonant |
|
|
Term
|
Definition
| consonant upbeat becomes dissonnt while sustaining through downbeat of following measure |
|
|
Term
|
Definition
Form consisting of 2 sections (AB), may include brief intro, and 1 sect. may be slightly longer than another
||: A :||: B :||
Major Keys: I-----V (V)-----I
Minor Keys: i----III (III)-----i |
|
|
Term
|
Definition
Form with 3 sections (ABA). B section provides contrast before return of A section
||: A :||: B A' :||
Major Keys: I----V (V)---I---(I)
Minor Keys i----i (III)-----i----(i)
SECTIONAL OR CONTINUOUS
MINUET AND TRIO |
|
|
