ILTS Music (212) flashcards

31 cards. Read the term and the definition here. The deck at the top of this page is optional.

Harmonic minor scale alteration

The harmonic minor scale raises the seventh scale degree of natural minor by one semitone, creating a leading tone and an augmented second between scale degrees six and seven.

Melodic minor ascending form

Ascending melodic minor raises both the sixth and seventh degrees of natural minor; descending, it reverts to natural minor, lowering both degrees to avoid the augmented second.

Diminished triad interval structure

A diminished triad consists of a minor third plus a minor third above the root, spanning a diminished fifth. It occurs naturally on scale degree seven in major and degree two in minor.

Dominant seventh chord resolution

The chordal seventh of a dominant seventh chord resolves downward by step, and the leading tone resolves upward to the tonic, usually producing a root-position tonic triad.

Deceptive cadence definition

A deceptive cadence moves from the dominant to a substitute for tonic, typically vi in major or VI in minor, instead of resolving to the expected tonic chord.

Rounded binary form

Rounded binary form presents an opening section, a contrasting section, then a return of the opening material, often abbreviated A B A-prime, with the return usually shortened.

Sonata form sections

Sonata form comprises an exposition presenting primary and secondary themes, a development manipulating that material through sequence and modulation, and a recapitulation restating themes in the tonic key.

Secondary dominant function

A secondary dominant is a major triad or dominant seventh built on a scale degree other than tonic, labeled V of a target chord, and it resolves down a fifth to that target.

Parallel fifths prohibition

In common-practice voice leading, two voices moving in the same direction from one perfect fifth to another perfect fifth create parallel fifths, which are avoided in strict counterpoint and part-writing.

Circle of fifths order

The circle of fifths orders keys by ascending perfect fifths: C, G, D, A, E, B, F-sharp; each step clockwise adds one sharp to the key signature.

B-flat clarinet transposition

A B-flat clarinet sounds a major second lower than written, so a written C sounds as B-flat. Its written key signature is one whole step above the sounding key.

French horn transposition

A French horn in F sounds a perfect fifth lower than written, so a written C sounds as the F below. Its written key is a perfect fifth above the sounding key.

Piccolo sounding pitch

The piccolo sounds one octave higher than its written notation, so written middle C sounds as C two octaves above middle C.

Alto saxophone transposition

An E-flat alto saxophone sounds a major sixth lower than written, so a written C sounds as the E-flat below. Its written key is a minor third above sounding key.

Ascending perfect fourth reference

The opening leap of "Here Comes the Bride" is an ascending perfect fourth, a standard aural reference for identifying that interval by ear.

Ascending major sixth reference

The opening phrase of "My Bonnie Lies Over the Ocean" outlines an ascending major sixth, commonly used as an aural anchor for that interval.

Descending major third reference

The opening gesture of "Swing Low, Sweet Chariot" descends by a major third, providing a reliable aural reference for identifying that interval.

Melodic dictation first step

Before notating a dictated melody, identify the tonic by singing the final pitch and determine the mode from the third scale degree; then notate rhythm before pitch.

Four-four conducting pattern

The standard 4/4 pattern moves down, left, right, then up, with the downbeat at the bottom of the pattern and the preparatory beat reflecting the entrance's tempo and articulation.

Three-four conducting pattern

The 3/4 pattern moves down, outward, then up, giving the second beat a lateral rebound and the third beat an upward preparation for the next downbeat.

Compound meter conducting

In 6/8, the conductor typically shows two beats per measure, each subdivided into three, with the ictus marking the macro beat rather than each eighth note.

Rehearsal isolation strategy

Effective error correction isolates the smallest failing unit, such as a single measure or interval, slows the tempo until accuracy is achieved, then restores tempo incrementally.

Sequence versus imitation

A sequence restates a motive at a new pitch level within one voice, while imitation restates the motive in a different voice, as in a fugal exposition.

Phrase boundary identification

Phrase boundaries are identified by cadence points and melodic contour, where the harmony reaches an arrival and the melody typically descends or rests.

Just intonation third tuning

In just intonation, the major third is tuned noticeably lower than its equal-tempered counterpart, roughly fourteen cents flat, to align with the pure fifth above the root.

Balance in homophonic texture

In homophonic texture, the melody voice must project above the accompaniment; inner voices tune to the bass, and accompaniment dynamics stay subordinate to the melodic line.

Error classification in ensembles

Performance discrepancies are classified as pitch, rhythm, articulation, or balance errors by comparing the performed event to the notated score in letter, octave, duration, and dynamic.

Interval quality comparison

To determine interval quality, count diatonic steps for the number, then compare semitones to the perfect or major reference; one semitone narrower is diminished or minor, one wider augmented.

Seventh chord quality types

Stacking four thirds yields major-major, major-minor dominant, minor-minor, half-diminished, and fully diminished seventh chords, distinguished by the quality of each successive third.

Authentic cadence definition

An authentic cadence moves from the dominant chord to the tonic chord. It is perfect when both chords are in root position and the soprano ends on the tonic scale degree.

Theme and variations form

Theme and variations form states a theme, then presents successive variations that alter melody, harmony, rhythm, texture, or timbre while preserving the underlying structure.