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Terms

Terms. By: Katie Romano. “A”. Ambit - the range of pitches Arch-form - symmetric in time & climaxes in the middle Attack - initial growth of sound Avant-garde - style considered to be experimental or advanced. “B” .

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Terms

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  1. Terms By: Katie Romano

  2. “A” Ambit- the range of pitches Arch-form- symmetric in time & climaxes in the middle Attack- initial growth of sound Avant-garde- style considered to be experimental or advanced

  3. “B” Blues Progression- 12 bar sequence of seventh-chord changes in jazz based on I, IV and V Blues-Scale- C, D, Eb, E, F, F#, G, A, Bb and C Borrowed Chords- taken from parallel major or minor key

  4. “C” Cambiata- pair of non-harmonic-tones separated by a 3rd, approached by a step then resolved to the note in between the 3rd Chromatic Semitone- half step notated with the same letter name; C and C# Consecutive-octaves and 5ths- similar to parallel 5ths and octaves but in contrary motion Cross-relation- 2 voices encounter contradictory chromaticism

  5. “D” Density- number of different sounds at a time within a given time and spatial interval Dominant-function- any chord or sound that implies motion to the tonic Dominant-Preparation- any chord that acts as a link between the I and V chord, usually the IV chord

  6. “E” Elision- omission of pitches from a melodic line Equal-temperament- most pervasive contemporary tuning system in which the octave is divided into 12 semitones

  7. “F” Fragmentation- use of part of a melodic line Fugue- contrapuntal form that is built from a single subject and has an exposition where all the voices state the subject in turn, alternating the tonic and dominant entrances

  8. “G” Ground bass- a series of notes that is repeated over and over again in the bass

  9. “H” Harmonic-rhythm- the rate of chord change Hemiola- a metric pattern of triple in a normally duple meter or vice versa “America” by Leonard Bernstein

  10. “I” Idiom- aspect of composition that is especially adapted to or explores an instrument’s capabilities

  11. “L” Leitmotif- a brief musical used to symbolize a character, feeling, or thought in a vocal genre Locrian- a seldom used mode, B-B with all white keys S-T-T-S-T-T-T

  12. “M” Microtone- an interval smaller than a semitone Minimalism- style if music that uses a very small amount of material, repeats it and gradually varies Motet- vocal genre with words, contrapuntal work for voices without instrument parts Motive- brief melodic line or rhythmic idea

  13. “O” Oblique-motion- voice-leading in which one voice moves against another Overlapping-voices- normal positions of voice is violated Overtone-series- order of overtones ascending from the fundametal

  14. “P” Parallel-harmony- chords whose voices are in parallel motion

  15. “R” Root-movement- the change of roots indicated by a directional-interval-class

  16. “S” Smooth-voice-leading- voice leading where there is no leap greater than a P4 in soprano, alto, or tenor and no greater than a P5 in the bass Sonority- sound usually consisting of a combination of other sounds Syaesthesia- perceiving a mixture of sensory phenomena as one Synthesis- creation of complex sounds by mixing sounds of a simpler nature selective elimination of elements of a complex sound to create a simpler one

  17. “T” Timbre- the “tone color” of an instrument defined by the overtone series Tonicization- transient tonics normally created by a secondary-dominant emphasis Twelve-tone-composition- serial composition based on repetition and transformations of an ordered-set of 12 equal tempered pitch-classes Twelve-tone-row- specific ordering of the twelve equal-tempered pcs that are used to generate a musical composition Two-voice Framework- structural outline of the bass line and the most important upper voice

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