MUSI 1530 Lecture Notes - Chest Voice, Chord Progression, Head Voice
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Block chord: most typically, 3-4 notes played at the same time to create harmony. The
simplest form is a “triad” in which three notes play simultaneously, with the interval of a
third between each note: ie) C E G. Singers often accompany themselves on guitar by
strumming block chords.
Broken chord: a pattern in which the notes of a block chord are played in a sequential
pattern of some kind, often repeating certain pitches.
ie) C G E G or D F A F. This technique became popular in classical music in the
Classical period (~1750-1800). Mozart frequently composed using broken chords.
Chord progression: a series of chords that lead one to the next harmonically.
Harmonic cadence: two chords which, when played in succession, signal the end of a
major section of a composition. Eg) V-I is called a “perfect” cadence, and is usually
found at the end of a piece.
Hillbilly music: Rural music recordings by white musicians primarily for a white
audience. AKA old-time music. (87)
Melodic cadence: two successive melodic pitches that signal the end of a major section
of a piece. Typically the notes re-doh (2-1) or ti-doh (7-1) are used to signal the end of
pieces melodically in western music.
Meter: repeated pattern of accentuated beats.
Eg) ¾ = |1 2 3 | 1 2 3 | (95)
Race records: recordings by African-American musicians mainly for an African
American audience. Term popular 1920s-late 1940s. (87)
Rhythmic cadence: a slowing of rhythms that signals the end of a major section of a
piece. EG) a shift from a string of sixteenth notes to half notes at the end of a piece.
Triad: a three note harmonic structure, with the interval of a third between each note: ie)
D F A or E G B.
Twelve bar blues: a three line musical form in 4/4 meter, with three chords (I, IV and V)
arranged in a characteristic period.
Yodelling: A vocal technique common to country music, bluegrass and other genres in
which the singer quickly flips between lower and higher pitches using the thicker-
sounding “chest voice” and the thinner sounding “head voice.” (115)
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