For those of you who missed classes today it was awesome...
We began studying music devices. Here are the notes you missed.
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Imitation |
In music, imitation is when a musical gesture is repeated later in a different form, but retains its original character. When a phrase recurs exactly as before, it is called strict imitation. A canon exists solely by grace of strict imitation. Repetition is defined as the repetition of a phrase or melody often with variations in key, rhythm, and voice. In counterpoint, imitation occurs in a second voice, usually at a different pitch. Imitatitive writing was featured heavily in the highly polyphonic compositions of the renaissance and baroque eras. In pop music a much clichéd form of imitation consists of a background choir repeating — usually the last notes — of the lead singer's last line. |
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Canon/Round |
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration (e.g. quarter rest, one measure, etc.). The initial melody is called the leader (or dux), while the imitative melody, which is played in a different voice, is called the follower (or comes). The follower must imitate the leader, either as an exact replication of its rhythms and intervals or some transformation thereof (see "Types of canon", below). Repeating canons in which all voices are musically identical that repeat are called rounds – "Row, Row, Row Your Boat" and "Frère Jacques" being widely known examples. Accompanied canon is a canon accompanied by one or more additional independent parts which do not take part in imitating the melody. |
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Figured Bass |
Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and nonchord tones, in relation to a bass note. Figured bass is closely associated with basso continuo, an accompaniment used in almost all genres of music in the Baroque period, though rarely in modern music. |
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Inversion First & Second |
In music theory, the word inversion has several meanings. There are inverted chords, inverted melodies, inverted intervals, and (in counterpoint) inverted voices. The concept of inversion also plays a role in musical set theory.
Inversions In an inverted chord, the root is not in the bass (i.e., is not the lowest note). The inversions are numbered in the order their bass tones would appear in a closed root position chord (from bottom to top). In the first inversion of a C major triad, the bass is E—the
3rd of the triad—with the 5th and the root stacked above it (the root now
shifted an octave higher), forming the intervals of a 3rd and a 6th above the
inverted bass of E, respectively. A first-inversion triad is also known as a
In the second inversion, the bass is G—the 5th of the
triad—with the root and the 3rd above it (both again shifted an octave
higher), forming a 4th and a 6th above the (inverted) bass of G,
respectively. A second-inversion triad is also known as a
Third inversions exist only for chords of four or more tones, such as 7th chords. In a third-inversion chord, the 7th of the chord is in the bass position. For example, a C major 7th chord in third inversion consists of B in the bass position, with C, E and G above it— being intervals of a 2nd, 4th and 6th above the (inverted) bass of B, respectively. |
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Fugato |
A passage in fugal style within another work that is not a fugue |
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Repetition |
Repetition is important in music, where sounds or sequences are often repeated. One often stated idea is that repetition should be in balance with the initial statements and variations in a piece[citation needed]. It may be called restatement, such as the restatement of a theme. While it plays a role in all music, in fact most musical sounds are periodic[citation needed], it is especially prominent in specific styles. A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. |
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Similar/Contrary Motion |
In music theory, contrary motion is the general movement of two melodic lines in opposite directions. That is, when one of the lines moves up, the other line moves down. If the voices always move by the same intervals (in opposite directions) they are said to be in strict contrary motion. The following example shows two voices in contrary motion:
Contrary motion is contrasted with:
Contrary motion is important to maintain independence of melodic movement in contrapuntal writing. |
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Modulation |
In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Common chord modulation (also known as diatonic pivot chord modulation) moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major share 4 chords in common: G, Bm, D, Em. This can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G Major—a G major chord—is also the IV chord in D major, so I in G major and IV in D major are aligned on the chart. n enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. Common-tone modulation uses a sustained or repeated pitch from the old key as a bridge between it and the new key. Usually, this pitch will be held alone before the music continues in the new key. For example, a held F from a section in B♭ major could be used to transition to F major. This is used, for example, in Schubert's Unfinished Symphony. A chromatic modulation is so named because a secondary dominant or other chromatically altered chord is used to lead one voice chromatically up or down on the way to the new key. (In standard four-part chorale-style writing, this chromatic line will be in one voice.) For example, a chromatic modulation from C major to d minor: Phrase (also called direct or abrupt) modulation is a modulation in which one phrase ends with a cadence in the original key, and begins the next phrase in the destination key without any transition material linking the two keys. This type of modulation is frequently done to a closely related key -- particularly the dominant or the relative major/minor key. Sequential modulation is also called rosalia. It is also possible to modulate by way of a sequence. The sequential passage will begin in the home key, and may move either diatonically or chromatically; harmonic function is generally disregarded in a sequence, or, at least, it is far less important than the sequential motion. For this reason, a sequence may end at a point that suggests a different tonality than the home key, and the composition may continue naturally in that key. A sequence does not have to modulate; a modulating sequence is known as a rosalia. |
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Ostinato |
n music, an ostinato (derived from Italian: "stubborn", compare English: obstinate) is a motif or phrase which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds. Each note always has the same weight in an ostinato. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody.[1] Both "ostinatoes" and "ostinati" are accepted English plural forms, although the latter better reflects the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.
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Sequence |
A sequence in music occurs when a given melodic or harmonic passage is immediately repeated at a different pitch level. It is possible for melody or harmony to form a sequence without the other participating. A sequence can be described according its direction (ascending or descending in pitch) and its adherence to the diatonic scale -- that is, the sequence is diatonic if the pitches remain within the scale, but chromatic (or non-diatonic) if pitches outside of the diatonic scale are used and especially if all pitches are shifted by exactly the same interval (i.e., they are transposed). The non-diatonic sequence tends to modulate to a new tonality or to cause temporarily tonicisation. At least two instances of a sequential pattern -- including the original statement -- are required to identify a sequence, and the pattern should be based on several melody notes or at least two successive harmonies (chords). Although stereotypically associated with Baroque music, and especially the music of Antonio Vivaldi, this device is widespread throughout Western music history.
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Unison |
In music, the word unison can be applied in more than one way: Unison may refer to the pseudo-interval formed by a tone and its duplication (in German, prime), for example c-c, as differentiated from the second, c-d, etc. In orchestra music unison can mean the simultaneous playing of a note (or a series of notes constituting a melody) by different instruments, either at the same pitch; or in a different octave, for example, cello and double bass (all'unisono). When several people sing together, as in a chorus, the simplest way for them to sing is to sing in "one voice", in unison. If there is an instrument accompanying them, then the instrument must play the same notes being sung by the singers (in order for there to be unison). Otherwise the instrument is considered a separate "voice" and there is no unison. If there is no instrument, then the singing is said to be a cappella. Music in which all the notes sung are in unison is called monophonic. |
chord.
chord. This
inversion can be either 
