Across
- 2. A ___________ extension extends a phrase after the cadence, usually by repeating it.
- 4. A motivic transformation in which a small piece of the motive is repeated and/or varied
- 6. A motivic transformation in which the motive starts on a different pitch but preserves the intervals, so the motive is still recognizable
- 7. The first part of a sentence, in which a basic idea is presented (often over a tonic harmony), and then is repeated or varied, often over a dominant harmony. This part will be harmonically incomplete.
- 8. Type of phrase common in the Classical period, in which an element is repeated, followed by an expansion of the idea leading to a cadence. They may consist of patterns of 1+1+2 or 2+2+4 measures
- 9. When part-writing leading-tone seventh chords, you should avoid ________ fifths (d5 to P5) between soprano and bass.
- 12. _________ period: a period in which the two phrases begin the same way (a-a’)
- 14. Phrase ______: the interaction of hypermeter and phrase structure. It considers how harmony, melody, and motives fit (or not) within the hypermeter
- 17. A section at the end of a piece, which may consist of a tonic expansion or a cadential extension
- 19. _______ four-two chord: a seventh chord in third inversion that results from a passing tone in the bass
- 20. High-level metric organization of a work considering measures, rather than beats, in which each measure is one beat, and groups of strong and weak measures result in this
- 22. Two pairs of phrases, in which the second pair ends with a stronger cadence. They may be parallel or contrasting.
- 23. When used as a tonic expansion, the leading-tone chord often appears in _______ inversion, as a contrapuntal chord (rather than as a conclusive cadence), or as an anacrusis to tonic.
- 26. The rate at which chords change, or the rhythmic patterns formed by chord changes. It creates accents.
- 27. _____ or neighboring four-two chord: a ii seventh chord in third inversion functioning as a tonic expansion, with neighbor tones in the upper parts moving above a tonic pedal point.
- 31. The second phrase of a period, which ends on a strong cadence
- 32. A motivic transformation in which the motive is made longer, usually through repetition
- 34. If the two phrases in a period are the same length, it is said to be _________. If they are different lengths, it is said to be asymmetrical.
- 37. A cadential _________ extends a phrase by either repeating the cadence or delaying the approach to the cadence. The melody, motives, harmonies and/or the entire texture may be repeated.
- 38. In dominant function seventh chords, the leading tone forms a __________ with scale degree 4, which needs to be resolved, usually inwards to a third. It can also resolve outward to a sixth.
- 39. _________-Cadence: The second part of a sentence, during which the motive(s) may be developed through fragmentation, inversion, extension etc. before the cadence
Down
- 1. Leading-tone chords often appear as _________ substitutes, where they replace V for counterpoint reasons.
- 3. _________ period: a period in which the two phrases are different (a-b)
- 5. Distinctive, short melodic and/or rhythmic figure that repeats throughout a composition, creating unity. It’s the smallest recognizable musical idea, and they can be repeated, varied, or transformed.
- 10. A musical passage that connects the end of one phrase with the beginning of the next. It may or may not be part of the hypermeter
- 11. Metric _______ happens when the established hypermeter is disrupted. It can happen due to phrase elision or at cadences.
- 13. Two or more related phrases that end with equally strong cadences
- 15. The _______ diminished seventh chord contains two tritones, which should both resolve inward by resolving the seventh down and the leading tone up. The other two voices move stepwise.
- 16. Phrase _______: also known as phrase overlap, this happens when the beginning of one phrase overlaps with the end of the previous phrase. It can disrupt the hypermeter
- 18. The first phrase of a period, which ends on a weak cadence
- 21. In seventh chords in any inversion, the seventh should resolve ____________ by step.
- 24. A basic unit or musical thought that ends with a cadence. It’s longer than a motive, but expresses a more or less complete musical idea. It may have internal repetitions that create unity.
- 25. Correctly resolving the leading tone up and the seventh down sometimes creates non-standard ________ in the resolution chord
- 28. A ____________ extension prolongs or delays the approach to a cadence by repeating the motive or the harmonies leading up to the cadence.
- 29. A motivic transformation in which the direction of each interval is reversed
- 30. ________ period: a period in which one of the phrases changes key (usually the second one)
- 33. _________ tone chords function as dominants. They usually appear in three main contexts: expansion of tonic between I and I6, as dominant substitutes between a predominant and tonic, or as an incomplete V7.
- 35. A short coda, which may happen at the end of a section or at the end of the piece
- 36. A group of two phrases (antecedent and consequent), in which the second one ends on a stronger cadence. Two phrases are most common, but three phrases are also possible, with the last phrase ending on the stronger cadence.