Review for Form MidtermChapter

Reviews, Self-Tests, and Book information

Chapter 1- Cadences and Sequences
1. A cadence is a musical gesture that serves to end an idea. There are four common types of
cadences: authentic cadences, half cadences, plagal cadences, and deceptive cadences.
Authentic cadences are further divided into perfect and imperfect.
2. Cadences that do not fit into those four types can be described as progressive cadences if they
do not end on tonic, or conclusive (Bens shining moment) if they do not.
3. Know conclusiveness of cadences(PC, DC, HC)---(IAC)---(PAC)
4. Tricky Things to Remember
--V to IV(6) is deceptive because bass goes (so-la), best example is Largo from Handels Xerxes
--If the cadence is V-I but in any inversion, it is a IAC
--vii can substitute for V but automatically makes it a IAC
--ii6/5 can substitute for IV in a plagal cadence (in which case ii6/5 is really functioning as
IVadd6)
5. KNOW THE SEQUENCES---
--4 versions of Descending 5ths (root, root and 6th chords alternate, 4/2 and 6 alternate, and
secondary dominants)
--Ascending 5ths (just root)
--2 versions of Descending 3rds (RootPachelbels canon , stepping down)
--3 versions of ascending 2nds (Root, root/third alternating, chromatic secondary dominants)
6. An elision is a joining together of two phrases, such that the second phrase begins with the
same note that ends the first phrase.
7. A cadential extension is music that serves to bring a phrase to a more satisfying close after it
has already reached a cadence. A Link is music that serves as a bridge between two phrases, and
is dependent upon what comes both before and after it for its definition.
8. A motive is a short musical idea. A phrase is an independent musical idea terminated by a
cadence. Motives are the building blocks of phrases.
9. A subphrase is a musical idea that sounds independent melodically, but not harmonically, and
that can be understood as part of a phrase. While phrases always end in cadences, subphrases
do NOT end with cadences unless their ending coincides with a phrase ending.
10. A melodic sequence is a patterned series of transpositions of the same melodic fragment in a
single voice or part. A harmonic sequence is a patterned progression of chord roots (down by
fifth, up by step, etc.); a harmonic sequences is often accompanied by a melodic sequence.
11. Harmonic sequences fall into ONE OF SIX categoriesascending and descending FIFTHS,
ascending and descending THIRDS, ascending and descending STEP.
12. Remember, if it alternates different intervals, sequences are labelled by the overall motion.
Chapter 2- Periods, Sentences, and Phrases
1. A period is a pair of phrases in which the second phrase ends with a more conclusive cadence
than the first. Within the pair, the first phrase is called the antecedent and the second phrase is
called the consequent.
PERIOD
Antecedent Consequent
-------------------HC-----------------------------PAC
2. A double period is NOT always composed of two periods. A double period is a group of four
phrases presented as two pairs in which the second pair ends with a more conclusive cadence
than the first pair. Note that, while the double period will be twice the length of a period, it will
not necessarily be made up of two periods.
3. The proportions of a sentence are important to its definition: the first half is divided into 2 + 2,
and the second half is divided into 1 + 1 + 2. The first half is called the presentation and the
second half is called the continuation. In the presentation, a two-measure basic idea is
presented and then repeated in the next two measures, with the repetition often varied to
outline a different harmony. In the continuation, a motive from the basic idea is developed for
two measures (dividing into 1 + 1), and then that development is followed by a two-measure
cadential gesture that brings the sentence to a close. Think Happy birthday song!
SENTENCE
Presentation Continuation
2 + 2 + 1 + 1 + 2
Basic Idea Basic Idea repeated Development Cadential Idea
4. Hybrids are groups of phrases that combine characteristics of periods and sentences in various
ways.
5. A phrase group is two or more phrases that seem to belong together, but dont form a period
because the final cadence of the group is not more conclusive than the first.
6. In a parallel period, the second phrase begins with material from the first phrase, while in a
contrasting period, the second phrase doesnt.
7. A modulating period is a period in which the second cadence is a more conclusive cadence type
than the first, but is in a different key.
8. The primary difference between a period and a sentence is tied to how the two halves of each
relate to one another. In a period, the consequent phrase sounds more like an independent unit
and its cadence must be more conclusive than the one ending the antecedent phrase. In a
sentence, the second half (continuation) sounds more like a development of material from the
first half (presentation).
Chapter 3- Forms
1. One-part forms fall into two general categories: those that flow from beginning to end
uninterrupted by any strong formal division (often because of persistent rhythmic figurations
suggesting perpetual motion), and those that have an A A structure, in which the second half of
the form is a varied repetition of the first. Think preludes and songs.
2. A simple binary form has two distinct sections, labeled A and B, and each section is repeated.
3. A rounded binary form has two distinct sections articulated by repeats (like simple binary) but
the difference is that a modified, usually shortened version of the A section returns after the B
section. The return of the A almost feels like a coda to the first two sections, and is usually set
up at the end of the B section with a motion to the dominant (remember, not a coda though
because it repeats back to B).
4. A balanced binary form has two distinct sections articulated by repeats like those found in a
simple binary form, but in balanced binary forms, cadential material from the end of the A
section returns at the end of the B section.
5. Remember, the B section of a binary form often develops motivic material that was presented in
the A section, BUT it does not sound like a varied repetition of the A section. Use the repeat
scheme to mark the beginning of B section. It could be repeat signs or a written out repetition.
6. A binary form is sectional if the first section ends with an AUTHENTIC cadence in the HOME key.
It is continuous otherwise (half cadence, or cadences in a second key).
7. Examples: If the first section of a binary movement ends on the V chord in the primary key, and
then the same cadential material comes back to end the second section, the form is called
continuous balanced binary. If the first section in a binary movement ends on the I chord in the
primary key, and then the A section comes back after the B section (A B A), the form is called
sectional rounded binary.
8. Movements from Baroque sonatas and dance suites are usually in some kind of continuous
binary form. Minuets, Trios, and Scherzos from the Classical and Romantic periods are usually in
some kind of binary form, though they are often sectional rather than continuous. Lutheran
chorales (like those by Bach) are usually in bar form, which is a binary form with the repeat
scheme AAB instead of the AABB scheme found in simple, rounded, and balanced binary.
9. The third movement of a cour-movement sonata, symphony, or string quartet (when marked
Minuet and Trio or Scherzo and Trio) is typically in a composite ternary form. Marches and
rags are typically in composite binary forms.
10. A ternary form has two distinct sections with a full return of the opening section at the end. The
B section of a ternary form is often in a contrasting key or group of keys. Unlike the B sections of
binary forms, the B sections of ternary forms usually present material that really sounds NEW.
11. A composite form is one with A and B sections that can be broken down into smaller sections
and understood in terms of formal models individually (usually binary).
12. A da capo aria, very common opera aria in Baroque, is in TERNARY FORM. In Classical and
Romantic periods, they still often used arias; however, composers often wrote out a VARIED
repetition of the first section rather than using a da capo marking.
13. AABA song form is a 32 bar ternary form where the music of the first A section is repeated. Each
section is usually 8 bars. In AA, sets new lines of text.
14. 16+16 bar song form is a one-part form in which the last half is a varied repetition of the first
half (AA).
15. In 32-bar song forms, the body of the form is called the chorus, while the rubato introduction is
called the verse. In pop and rock songs, the verse is part of the song that sets different lyrics
each time it returns, whereas the chorus is the part of the song that returns with the same lyrics
each time.
16. Know how to figure out closely related keys!!!
17. Know how to figure out chromatic median keys!
18. Strophic settings in vocal music are those that set different verses of text to the same music (like
church hymns). Through-composed settings in vocal music are those that set each line of text to
new music, without any internal repetitions (like recitatives).
Chapter 4- Sonata Form
1- Sonata Form3 large sections, exposition, development, and recapitulation.
2- What makes sonata form unique? A tonal tension between the primary key and its dominant or
relative major in the exposition, a tension that is resolved in the recapitulation.
3- Expositions have 4 partsprimary theme or theme group, transition, secondary theme, and
closing. Secondary theme is in the dominant in major-mode sonata forms, and
dominant/relative major in minor-mode sonata forms.
4- The exposition is often divided roughly in two by a medial caesura, a strong textural break,
usually preceded by a half cadence in the secondary key, that follows the transition and sets up
the arrival of the secondary theme.
5- In the development section, the primary methods for developing materials are motivic
repetition and sequences. They are tonally unstable with frequent modulations. They often end
on a dominant pedal in the primary key.
6- The recap has the same 4 parts as the exposition but the secondary theme is in the primary key.
Tonal tension resolved.
7- Introductions and codas are usually NOT considered part of the standard musical forms.
8- In Classical/Romantic, composers writing four movement sonatas, symphonies and string
quartets typically began with a fast-paced movement. This was usually followed by a slow paced
movement in a contrasting key, any form. Third movement was minuet in trio (Classical) or
Scherzo and trio (Romantic) in triple meter. Classical in the home key and Romantic sometimes
home key/sometimes contrasting. In both, form is composite ternary (Minuet, trio, minuet).
Sometimes second and third movements can be swapped. Final movement was usually a fast
rondo, sonata-rondo, or sonata form, but always in the primary key.
9- Know how to draw a sonata form model!!!
10- Know how to fill out the chart on page 72 that number 8 of this chapter answers.
Chapter 5Variation Forms
1. Continuous variations are variations in which a relatively short repeated bass line and/or
harmonic progression is repeated continuously while the melodic material changes each time.
Such pieces have been called by many names throughout history; the most common of these
names are ground bass, chaconne, and passacaglia. Both the passacaglia and the chaconne are
typically in a slow triple meter and in the minor mode. (Example: Cruxificus by Bach)
2. Sectional variations are those in which a theme is presented and then followed by a series of
variations based on the melodic/harmonic framework of the initial theme; such pieces are
typically entitled Theme and Variations. In performance, there is a pause after each variation,
very much like the kind of pause that one puts in between movements. (Ex. Variations on a
Theme by Haydn by Brahms)
3. Baroque composers wrote far more continuous variations than sectional, but in the
Classical/Romantic, the reverse is true
4. In sectional variations from the Classical period, one can expect each variations to be in the
same form as the theme (binary or ternary). One can also expect that the tonic will be the same,
but that at least one variation will be in the parallel major/minor.
5. Double variations are like sectional variations, except that two different themes are presented
and then varied in alteration. (Alternation doesnt have to be regular)
6. Free variations are like sectional variations, except that each variation is linked to the theme
only by motivic content; there is no unifying melodic/harmonic framework.
7. 12 bar blues is a kind of continuous variation form with the harmonic structure:
I I I I IV IV I I V IV I I
Each 12 bar unit is called a chorus and the lyrics for a blues typically change for each chorus,
though the melody is the same.
Reminders from Dr. Santas Email
1. Check out Appendix I on Formal Models. It includes
Simple Binary form
Rounded Binary Form
Balanced Binary Form
Ternary Form
Sonata Form
2. Check out Example 2.8 on page 30 of the textbook to see the proportions of a sentence. It
includes both normal and expanded versions.
3. Check out Formal Model 4.4 on page 67 of the textbook, or you can check the website. Check
your graded quiz to see what you missed the first time.
4. Instrumental Transposition. Remember- SEES A C, SOUNDS ITS KEY.
5. Remember the difference between Italian, French, and German augmented sixth chords.
6. Makes sure to review listening strategies on pages 4, 13-15, and 42 of the textbook to help
during scoreless listening.