Minor Scales and Key Signatures, Melody, Timbre, and Texture
How does counterpoint affect the texture of a piece when multiple voices work independently but harmoniously together?
When a single melody stands alone without harmonic support, what is this texture called?
When analyzing a chorale by J.S Bach, you notice that all voices move together with the same rhythm but have different notes; what is this texture called?
Which non-harmonic tone involves stepping away from a melodic line to an adjacent note and then returning by step to the original note?
Which textural change would most effectively highlight a moment of tension in a sonata-allegro form during the development section?
How does an imitative counterpoint affect the perception of formality and complexity in Baroque chamber music compared to non-imitative counterpoint?
Which textural change would most likely create a dramatic increase in tension during the climax of a symphonic movement?
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How does frequent modulation within a passage most likely influence textural clarity?
In which scenario would you expect an example of imitative counterpoint rather than non-imitative textures when examining choral compositions?
How does the use of modal mixture in a piece primarily in a major key affect its overall texture?