Pitch 6
From the syllabus:Pitch refers to the relative highness and lowness of sounds. Important aspects include high, low, higher and lower pitches, direction of pitch movement, melody, harmony, indefinite and definite pitch.
Students should be able to discuss the following aspects of pitch as relevant to the music studied:
• high/low: pitches can be comparatively high or low
• direction of pitch movement: up, down, same level
• melody: a horizontal succession of pitches
• harmony: two or more pitches sounding together
• indefinite pitch: untuned sounds, for example, the speaking voice
• definite pitch: tuned sounds, for example, the singing voice.
Students should understand and apply the following (where appropriate to the musical context):
• definite and indefinite pitch
• pitch direction and contour
• pitch patterns
• pitch range and register
• harmony
• methods of notating pitch, both traditional and graphic
•various scales, modes and other ways of organising pitch.
Students should be able to discuss the following aspects of pitch as relevant to the music studied:
• high/low: pitches can be comparatively high or low
• direction of pitch movement: up, down, same level
• melody: a horizontal succession of pitches
• harmony: two or more pitches sounding together
• indefinite pitch: untuned sounds, for example, the speaking voice
• definite pitch: tuned sounds, for example, the singing voice.
Students should understand and apply the following (where appropriate to the musical context):
• definite and indefinite pitch
• pitch direction and contour
• pitch patterns
• pitch range and register
• harmony
• methods of notating pitch, both traditional and graphic
•various scales, modes and other ways of organising pitch.
Tonality
Major Minor Modulation Atonality (Atonal) Definite Pitch Indefinite pitch Scales Semitone Tone Blues Scale/Blue Notes Chromatic scale Modal (Modes) Pentatonic Whole tone Harmony & Chords Harmony Chords - Major - Major 7th - Minor - Minor 7th - Dominant 7th - Diminished |
Arpeggio/Broken Chord
Chromatic Harmony Cluster chord Consonance Diatonic Dissonance Primary Triads Rate of chord change Repeating chord progressions Cadence - Perfect - Plagal - Interrupted - Imperfect Melody and Direction Ascending Descending Intervals Leaps Melody Octave Phrase Range Register |
Pitch Devices
Alberti Bass Cadenza Call and Response Canon Counter Melody Drone Imitation Inversion Melodic Contour Motif/Fragment Ornamentation - Appoggiatura - Grace Note - Mordent - Trill - Turn Ostinato Pedal Point Question and Answer Retrograde Repetition Riff Sequence Walking Bass Line |
PITCH DEVICES
Alberti Bass
The Alberti bass is an ‘arpeggio related’ accompaniment. It usually appears in the left-hand of piano pieces from the Classical period. The Alberti uses a repetitive rhythm and pitch shape. The when the notes of the chord change the composer tries to use a similar shape in the Alberti bass.
Alberti Bass
The Alberti bass is an ‘arpeggio related’ accompaniment. It usually appears in the left-hand of piano pieces from the Classical period. The Alberti uses a repetitive rhythm and pitch shape. The when the notes of the chord change the composer tries to use a similar shape in the Alberti bass.
Cadenza
A cadenza is a portion of a concerto (piece for solo instrument with orchestral or piano accompaniment) in which the orchestra stops playing, leaving the soloist to play alone in free time (without a strict, regular pulse). Cadenzas and can be written or improvised, cadenzas usually develop some material already heard throughout the piece. If you hear a cadenza it is important that you discuss the specific features of it. They are often virtuosic, stepwise/scalic, use rubato and pauses, etc…
This is an example from Grieg’s Piano Concerto First Movement. In the recording you will hear the opening of the work. It will then jump to the long cadenza at the end. The cadenza is quite long so only the start of the score is given. You know the cadenza starts when the orchestra plays a loud chord and stops while the solo piano continues (This is at 1:48).
A cadenza is a portion of a concerto (piece for solo instrument with orchestral or piano accompaniment) in which the orchestra stops playing, leaving the soloist to play alone in free time (without a strict, regular pulse). Cadenzas and can be written or improvised, cadenzas usually develop some material already heard throughout the piece. If you hear a cadenza it is important that you discuss the specific features of it. They are often virtuosic, stepwise/scalic, use rubato and pauses, etc…
This is an example from Grieg’s Piano Concerto First Movement. In the recording you will hear the opening of the work. It will then jump to the long cadenza at the end. The cadenza is quite long so only the start of the score is given. You know the cadenza starts when the orchestra plays a loud chord and stops while the solo piano continues (This is at 1:48).
Here is an example from the Opera ‘Lucia di Lammermoor’. In this
cadenza the flute and voice interact until the orchestra enters for the final
chord. You will hear the first 30 seconds of the piece before the cadenza
starts.
Call and Response
The call is a melodic phrase that changes and is followed by a response that stays the same. The response is usually performed by a different instrument or groups of instruments.
The call is a melodic phrase that changes and is followed by a response that stays the same. The response is usually performed by a different instrument or groups of instruments.
Canon
A canon is the exact repletion of a melody after (sometimes a few beats or bars later) the melody has been introduced. The repetitions may be in the same or different octaves but are still the same pitch. The most famous canon is by Pachelbel. The canon is based on one long melody that is re introduced every 2 bars. Parts/layers that are introduced in succession are known as a ‘Staggered Entry’
A canon is the exact repletion of a melody after (sometimes a few beats or bars later) the melody has been introduced. The repetitions may be in the same or different octaves but are still the same pitch. The most famous canon is by Pachelbel. The canon is based on one long melody that is re introduced every 2 bars. Parts/layers that are introduced in succession are known as a ‘Staggered Entry’
Counter Melody
A counter melody is a melody that plays as the same time as another melody. The counter melody is not the main melody. It must be independent from the main melody. In this example the piano is the main melody and the flute is the counter melody. Make sure you discuss the pitch features of the counter melody if you discuss it in a pitch question.
A counter melody is a melody that plays as the same time as another melody. The counter melody is not the main melody. It must be independent from the main melody. In this example the piano is the main melody and the flute is the counter melody. Make sure you discuss the pitch features of the counter melody if you discuss it in a pitch question.
Imitation
Part or whole of a melody is copied/imitated by another instrument. Imitation can be at the same, higher or lower pitch. You may find that melodic fragments/motifs are imitated and passed around. Here is an example where the trumpet and strings imitate the soprano melody at the same pitch. There is also a sequence at ‘Their loud uplifted angel trumpets blow’ and there are many more sequences and imitations.
See ‘Fugue’ in STRUCTURE. The fugue uses a lot of imitation.
Part or whole of a melody is copied/imitated by another instrument. Imitation can be at the same, higher or lower pitch. You may find that melodic fragments/motifs are imitated and passed around. Here is an example where the trumpet and strings imitate the soprano melody at the same pitch. There is also a sequence at ‘Their loud uplifted angel trumpets blow’ and there are many more sequences and imitations.
See ‘Fugue’ in STRUCTURE. The fugue uses a lot of imitation.
Inversion
In maths when you invert something you turn it upside-down. In music the definition is similar. Chords and melody can be inverted. To invert a chord you take the bottom note and put it on the top an octave higher. Here is an example
In maths when you invert something you turn it upside-down. In music the definition is similar. Chords and melody can be inverted. To invert a chord you take the bottom note and put it on the top an octave higher. Here is an example
N.B. if a chord has 4 notes the chord and be inverted to 3rd inversion
An example of a chord being inverted (ascending)
An example of a chord being inverted (ascending)
Melisma
Singing one word or syllable over many notes.
Singing one word or syllable over many notes.
Melodic Contour
This is a fancy way of describing the shape of a melody.
This is a fancy way of describing the shape of a melody.
Motif/Fragment
A motif is a part of a melody that has an important roll in a piece. It is repeated, imitated, transposed, developed and shared from instrument to instrument. The first movement of Beethoven’s 5th Symphony starts with this motif.
A motif is a part of a melody that has an important roll in a piece. It is repeated, imitated, transposed, developed and shared from instrument to instrument. The first movement of Beethoven’s 5th Symphony starts with this motif.
Listen now to the whole opening. You can hear the motif in different registers. It is used throughout the movement. It is heard at various speeds. It overlaps etc…
Here is a Bass Clarinet piece called ‘Twist’ by Brophy. It is based on a motif. At the start of the excerpt you will her the motif. As the piece progresses the motive is retrograded (reversed) and notes in the motif are repeated as the motif is extended and developed.
Ornamentation
Are ‘frilly bits’ added to a melody to create interest. They are extensively used in the Baroque period. Here are some ornaments that you may encounter.
Appoggiatura
To lean on a note. It is like a grace note but longer. It is usually the note below or above the main note.
Are ‘frilly bits’ added to a melody to create interest. They are extensively used in the Baroque period. Here are some ornaments that you may encounter.
Appoggiatura
To lean on a note. It is like a grace note but longer. It is usually the note below or above the main note.
Grace note
A little short note use to emphasise a main note.
A little short note use to emphasise a main note.
Mordent
A single repetition of the upper or lower note in relation to the given note. The first is an upper mordent the second is a lower mordent.
A single repetition of the upper or lower note in relation to the given note. The first is an upper mordent the second is a lower mordent.
Trill
Rapid alternation between the given note and the note above it.
Rapid alternation between the given note and the note above it.
Turn
Start on the note - up - back to the note - 1 down - back to the note
Start on the note - up - back to the note - 1 down - back to the note
Here is a nice little piece called ‘When William at eve’. Follow the time line and listen out for the ornamentation.
See the ‘Alberti Bass’ example for another short piece that uses ornamentation.
The following page provides another example of a piece that uses ornamentation.
The following page provides another example of a piece that uses ornamentation.
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