MUS 1751 Chapter : Chapter 2 & 3 Notes
⚫ Chapter 2: Melody
A series of notes forming a distinctive, recognizable unit
Can produce an overwhelming emotional experience
The lyrical character of music
⚫ Pitch
The relative position of a musical sound
Based on the vibrations per second of sound waves
Tone: sound with a definite, consistent pitch
⚫ The Octave
Duplication of a pitch at a higher or lower level
The pitch A can occur at 440 vibrations per second
The A an octave lower is 220 vibrations per second
All cultures use the octave, but subdivide it differently
⚫ Tonality
Organization of music around a central tone
Central tone called the Tonic
Establishes tonality
Melodies gravitate around the tonic
⚫ Key
A specific tonal center built on the tonic
Makes use of a scale
⚫ Key Signature
Indicates the specific tonality of the composition
Identified by a pattern of musical symbols (sharps and flats)
Placed at the beginning of the score
⚫ Modulation
Changing the key, or tonality, within a composition
⚫ Scale
A sequential arrangement of pitches
Ascend and descend in an unvarying pattern
Mode: term describing a general type of scale: major, minor, etc.
Major and minor scales used in almost all Western melodies
⚫ Scale
⚫ Major
A seven-note scale
Order of whole and half steps: 1-1-1/2-1-1-1-1/2
Usually associated with joy, confidence, tranquility, etc.
⚫ Scale
⚫ Minor
A seven-note scale
Order of whole and half steps: 1-1/2-1-1-1/2-1-1
Usually associated with fear, anxiety, sorrow, despair, etc.
⚫ Scale
⚫ Diatonic:
Notes that make the major and minor scales
⚫ Chromatic
Term derived from the Greek chroma, “color”
Scale divides the octave into twelve half steps
More intense than diatonic melodies
⚫ Melodic structure
How melodies move
Conjunct motion
Disjunct motion
Melodies often combine conjunct and disjunct motion
One style typically predominates
How melodies are organized
Phrase
A segment, or self-contained, portion of a melody
Functions much like a dependent phrase or clause in a sentence
Musicians identify phrases by lower case letters
“a” for the first, “b” for the second, etc.
If a phrase repeats, the letter is used again
“Ode to Joy” theme: a b c b
Theme for The Flintstones: a a b a
⚫ Melodic structure
Melodies organized by phrases
A segment, or self-contained, portion of a melody
Phrases identified by lower case letters
“a” for the first, “b” for the second, etc.
If a phrase repeats, the letter is used again
“Ode to Joy” theme: a b c b
Theme for The Flintstones: a a b a
Cadence: the concluding part of a phrase
⚫ Phrase
Antecedent and consequent phrase
Work in tandem
Antecedent phrase
Ends on a note other than the tonic
Sounds incomplete
Consequent phrase
Ends on the tonic
Concludes the antecedent phrase
⚫ Motive
A short distinctive melodic gesture
Serves as the basis for creating melodies
⚫ Chapter 2: Harmony
Harmony
Results when multiple pitches sound simultaneously
Document Summary
A series of notes forming a distinctive, recognizable unit. Based on the vibrations per second of sound waves. Duplication of a pitch at a higher or lower level. The pitch a can occur at 440 vibrations per second. The a an octave lower is 220 vibrations per second. All cultures use the octave, but subdivide it differently. A specific tonal center built on the tonic. Identified by a pattern of musical symbols (sharps and flats) Changing the key, or tonality, within a composition. Mode: term describing a general type of scale: major, minor, etc. Major and minor scales used in almost all western melodies. Usually associated with fear, anxiety, sorrow, despair, etc. Notes that make the major and minor scales. Scale divides the octave into twelve half steps. Functions much like a dependent phrase or clause in a sentence. A segment, or self-contained, portion of a melody. A for the first, b for the second, etc.
