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68 Cards in this Set
- Front
- Back
distance from one pitch to another. building blocks of music in general |
Interval |
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Main tune, organized sequence of notes with some type of pattern |
Melody |
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Large leaps in melody |
disjunct |
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smooth melody |
conjunct |
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two distinct but related melodies heard at the same time |
counterpoint |
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more than one melody at the same time |
polyphony |
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changes based on instrument octave, One single musical sound |
note/tone |
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succession of pitches |
scales |
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scale based on hierarchy that have extra-musical connotations |
modes |
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notes in between half steps |
microtone |
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based on the way in which pitches are sounded simultaneously and how they relate to each other |
harmony |
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sequence of chords in a piece of western music |
chord/harmonic progressions |
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Chords in which the different pitches all fit together nicely, creating a “pleasant” or “settled” effect |
consonance |
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chords that are jarring, creating tension or creating a need for resolution |
dissonant |
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organization of sounds in time |
rhythm |
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The pulse of the music |
beat |
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speed or rate with which beats pass |
tempo |
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type of grouping of beats |
meter |
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Each group of beats in a meter |
measure/bar |
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Specific points in the music that are in some way emphasized |
accent |
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When a beat is divided into smaller units |
subdivision |
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accent falls on a weak beat or in-between beats |
syncopation |
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In complex music, where rhythms based on different subdivisions of the beat are heard simultaneously |
polyrhythm |
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In some types of music or certain compositions, the meter may change within the course of a piece |
polymeter |
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Polymeter done repeatedly in an alternating fashion. one two three four five six, one two three four five six. |
hemiola |
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no discernible organization according to meter |
non-metric music/free meter |
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structure of music |
form |
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Dates of renaissance |
1400-1600 |
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new conviction that solutions to problems and the achievement of personal fulfillment could come from human intellect and effort rather than only from divine revelation or grac |
humanism |
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Libro de la Musica de Vihuela de Mano Intitulado “El Maestro"
Self-taught vihuelist
First to include verbal tempo indications |
Luis Milan |
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Tres Libros en Cifras Para Vihuela Pub
Over 70 works for 4-course guitar, harp, organ, fantasies
Fantasia Que Contrahaze el Harpa en la Manera de Ludovico |
Alonso Mudarra |
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Los Seys Libros del Delphin de Musica 1538
First to have “Diferencias” and symbols indicating tempo |
Luis de Narvaez |
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English composer, lutenist, singer
highest paid court musician in the history of the renaissance
mostly dance music: Pavanes, Galliard, Almaines, and jig-like peices |
John Dowland |
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scale passages, redouble note, ornamentation |
redobles |
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– chordal passages, chord |
consonancias |
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cadences (end of phrase) |
coronadas |
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scale, little fingers, use fingers as picks |
dedillo |
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2 fingers, alternate thumb and index |
dos dedos |
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graphic representation of string where you indicate where to press on the fret |
tablature |
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highly imaginative, elegant and sophisticated while mantaining a free formal structure. |
Renaissance Fantasy |
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Theme and Variations usually based on popular tunes of the time |
Diferencias |
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Dance of slow-moderate tempo that originated in Italy during the late Renaissance and it was in Duple Meter |
Pavanes |
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A leaping dance in quick triple meter also of Italian origin |
Galiards |
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alternation of consonancias and redoubles, exclusively vihuela, alternate chords and scales |
Estilo Galante |
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Baroque dates |
1600-1750 |
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A thorough Bass-line/Continuous Bassline |
basso continuo |
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combination of bass note and numbers in order to decipher the harmonic construction of a chord |
figured bass |
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minor scale sequence |
WHWWHWW |
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major scale sequence |
WWHWWWH |
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the two main models for the Baroque concerto |
Roman and North Italian |
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The Concerto model that was mainly designed for a soloist and/or group of soloists where the orchestration always remained the same (i.e. 4-part string orchestra 2 Violins, Viola, Cello over a Basso Continuo line |
North Italian Concerto |
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The Concerto Model that was mainly designed for a group of soloists where the orchestration was dependant upon the orchestration of the concertino (or group of soloists) over a Basso Continuo group |
Roman Concerto |
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fast tempo dances baroque |
gigue and courante |
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gigue |
fast tempo, English, conpound meter |
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inventive use of binary form |
domenico scarlatti |
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Café where one would go to watch classical guitar performances |
Café Cantantes |
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song part of flamenco |
Cante |
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dance part of flamenco |
Baile |
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guitar part of flamenco |
Toque |
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scratching nails on strings |
rasgueado |
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finger tap on guitar |
golpe |
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type of golpe: finger tap and rasgueado combined |
capriole |
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playing chords in a harp-like effect |
arpeggios |
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slurs produced with left hand |
ligados |
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born in Madrid, 1880-1949, belonged to gypsy family, got his first guitar as a teenager, when he was 20 he was a favorite in café cantantes, he formed cante/toque duo with Antonio Chacon |
Ramon Montoya |
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1904-1974, follower of Ramon Montoya tradition, created fusion of styles from Javier Molina, Manolo de Huelva, and Ramon Montoya, he was much more Flamenco sounding than Montoya, he was king of Flamenco guitar in Spain and started the percussive sound |
Nino Ricardo |
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self-taught, child prodigy, 1912-1991, first to bring Flamenco guitar outside of Spain |
Sabicas |
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1947-2014, revolutionized the way in which Flamenco and Flamenco guitar is played today, paved the way for all new experimentation of the new generation of players, began playing at age 6, at age 9 he was taken out of school to practice 12 hours a day, not educated musically or otherwise |
Paco de Lucia |