MARK ALBURGER, 2019: March 2019

[Things are not always what they seem, when George Gershwin paints a picture of Arnold Schoenberg, or when Quiz 10 (Counterpoint) takes place, some time after 7:55am, Thursday, April 11, at Diablo Valley College Music, Pleasant Hill, CA]

C#, G#, D# Minor; B Major

https://en.wikipedia.org/wiki/C-sharp_minor

https://en.wikipedia.org/wiki/G-sharp_minor

https://en.wikipedia.org/wiki/D-sharp_minor

https://en.wikipedia.org/wiki/B_major

Added Tone Chords

Any Chord with non-tertian (non-3rd) elements (usually 2nds)
in a tertian setting (stack of thirds)

Added Sixth Chord = Root, 3rd, 5th, 6th (ex. C-E-G-A)
Traditionally, this would be considered a First-Inversion Seventh Chord
(Root Position of above ex. A-C-E-G), but 20th/21st-Century usages suggest otherwise...

https://en.wikipedia.org/wiki/Added_tone_chord

https://en.wikipedia.org/wiki/Sixth_chord

Four Textures of Music

Monophony - one line of music, strictly performed
Heterophony - one line of music, freely performed
Polyphony - more than one line of music, lines of relatively equal importance
Homophony - more than one line of music, with one line predominating

https://en.wikipedia.org/wiki/Monophony
https://en.wikipedia.org/wiki/Heterophony
https://en.wikipedia.org/wiki/Polyphony
https://en.wikipedia.org/wiki/Homophony

Harmony

The vertical aspects of simultaneously sounding pitches,
particularly in homophonic writing.

https://en.wikipedia.org/wiki/Harmony

Counterpoint

The horizontal (melodic) aspects of simultanously sounding pitches,
particularly in polyphonic writing, including added-tone considerations.

Species Counterpoint (codified by Johann Joseph Fux in Gradus ad Parnassum, 1725),
are stylistic conventions based upon Giovanni Pierluigi da Palestrina's late-Renaissance compositions,
most easily evaluated in two-part writing (ex. Soprano against Bass)

     First Species - Note against Note (ex. Quarter above Quarter)

     Second Species - Two Notes against One Note (ex. 2 Eighths above a Quarter)

     Third Species - Four Notes against One Note (ex. 4 Sixteenths above a Quarter)
           (so much for triplets, quintuplets, etc.!)

     Fourth Species - Notes offset against one another in Suspensions (see below)

     Fifth Species - Florid Counterpoint, a combination of all of the above.

https://en.wikipedia.org/wiki/Counterpoint

https://en.wikipedia.org/wiki/Johann_Joseph_Fux

Even More on Non-Chord / Non-Harmonic / Embelishing / Added Tones

Added Tones may be Accented (downbeats / strong beats) or Unaccented (upbeats / weak beats).

In multiple part-writing (ex. SATB),
it is possible to have multiple simultaneous Passing and/or Neighboring Tones.

An Incomplete Neighbor which follows Chord Tone may be called an Escape Tone (Echapee)

It is possible to have sequential Upper and Lower Incomplete Neighbors both referring back to the
same chord tone - these can also be called Changing Tones (and non-strictly as a Cambiata)

Suspension - the prolongation of a chord tone over a change of harmony
usually a suspension will resolve by dropping stepwise eventually into the new chord,
however, if the original chord is re-established, the tone can remain static.
A suspension that resolves upward can be called a retardation.

https://en.wikipedia.org/wiki/Nonchord_tone#Escape_tone

https://en.wikipedia.org/wiki/Changing_tones

https://en.wikipedia.org/wiki/Nonchord_tone#Suspension

More Intervals

Augmented Unison = A1 = 1/2 step notated as two versions of the same letter name
     (ex. A A#) = a Chromatic Half-Step - Enharmonic equivalent of m2 (ex. A Bb)

Augmented Second = A2 = 1 1/2 steps notated with 2 letter names
    (ex. A B#) - Enharmonic equivalent of m3 (ex. A C)

Diminished Fourth = d4 = 2 1/2 steps notated over a span of 4 letter names
    (ex. A Db) - Enharmonic equivalent of M3 (ex. A C#)

Keyboard-Solfege

Sergei Prokofiev (1891-1953) - Peter and the Wolf, Op. 67 (1936): Peter's Theme