Minor Scales and Key Signatures, Melody, Timbre, and Texture
Which compositional technique involves stretching out or compressing melodic material without changing its general shape or intervals?
In a minor key piece, if the leading tone appears in an inner voice on the penultimate chord of a phrase, what voice leading consideration must be applied to maintain proper resolution?
Which harmonic progression would be most likely to precede a perfect authentic cadence in a piece composed in the Classical period?
Which melodic characteristic is most likely to create a sense of tension and drive when leading up to a climactic point in a Baroque concerto grosso?
What term defines how high or low pitches sound based on their frequency?
When analyzing a piece, what indicates that a secondary key has been utilized?
If the melody continues its direction after incorporating an unaccented non-chord tone, yet skips back to rejoin the harmony, what type of non-harmonic tone is this described as?
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When going from G up to Bb, which interval would this be?
What is the term for the end of a melodic phrase where the music rests?
How might a performer enhance the expressiveness of an ascending melismatic passage in a Baroque aria without altering rhythmic values or pitches?