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| frequency, duration, wave-shape |
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| rate of a sound's vibration |
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| selected set of frequencies that are legitimatized when the others are filtered out |
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| referential system of tonal music |
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| class of octave-related pitches, including enharmonic pitches |
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| momentary durational recalibration |
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| stretch or compress not slightly to make musical point |
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| tone-color; quality of any musical sound that enables us to distinguish between different instruments playing the same pitch |
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| lowest pitch heard, single pitch |
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| typically changes key, accidentals; moves all notes up/down by same exact interval |
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| maintain same key, no accidentals; moves most notes up or down a generic size |
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| only notes within collection |
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| outside of collection or scale |
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| accent by virtue of duration |
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| accent based on register on the scale, up or down |
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| short clipped idea; "word" in a sentence |
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| complete idea; "sentence" |
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split in 2; 2/8, 2/4, 2/2;
example: Flintstones |
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split in 3; 3/8, 3/4, 3/2
example: Popeye |
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split in 4; 4/4, 4/2, 4/8
example: |
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6/8, 6/2, 6/4, 6/16
example: Mr. Ed |
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9 eighth notes; 9/8, 9/2, 9/4, 9/16
example: Vaughner |
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12 eighth notes; 12/2, 12/4, 12/8, 12/16
example: Mr. Rogers |
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| hear a greater meter, small grouping, little different meter than what is written |
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| breakdown measures; 5/4 breaks into 2/4, 3/4 |
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| two different meters played at the same time |
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| scale degrees 4, flat 6, and 7 |
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| a melody's relative position within the universe of pitches |
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| melody's spread of pitches through the register |
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| where a melody lies within its range; high, low, middle |
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| motion by repetition or step |
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| motion by intervals larger than a M2 |
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| scale degrees 1, 3, flat 3, and 5 |
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| three tones in a row in descending or ascending order, middle tone unstable |
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| go up or down by a step for middle note then back to the original note; neighbors always unstable |
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| leap then second half of a neighbor, middle note unstable |
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| note that doesn't resolve |
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| hear two lines and two melodies when one instrument is playing |
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| starts together then moves away |
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| completely different lines and voices apparent |
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| consonant vertical intervals |
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Definition
| primes/8ves, 3rds/10ths, 5ths and 6ths; perfect, major, and minor, simple and compound |
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| when melodies are combined so that harmonic sonorities appear between them; in counterpoint, contrapuntally related |
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| hear tones all together, not as distinct voices |
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| each pitch in either voice is directly and exactly aligned with another pitch in the other voice |
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| lowest and highest voices in a passage |
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| 3rds/10ths and 6ths predominate |
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| 5ths and 8ves allowed, beginnings and ends of phrases |
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| bass moves from scale degree 5 to 1, 10th, 5th, or 8ve above both 5 and 1 |
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| bass ends on scale degree 5, same rules as authentic cadence |
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| immediate change of direction |
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| 2 voices moving in opposite directions |
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| when one voice stationary, other moves |
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| both voices moving in same direction |
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| two voices moving in same direction by same generic interval; no 5-5 or 5-8 or 8-5 parallel motion |
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Definition
| upper voice contains pitch that is lower than that of lower voice |
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Definition
| upper voice contains pitch that is lower than that of previous or following lower voice |
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| stereotypical contrapuntal patterns |
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Definition
| 5-6/6-5 pattern, parallel motion, voice exchange |
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