1/13 In-Class MUS 303
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This 3 page One Day of Notes was uploaded by Cassandra Flores on Sunday February 1, 2015. The One Day of Notes belongs to MUS 303 at University of Alabama - Tuscaloosa taught by Dr. Zaheri in Spring2015. Since its upload, it has received 66 views. For similar materials see 16th Century Counterpoint in Music at University of Alabama - Tuscaloosa.
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Date Created: 02/01/15
113 lnClass Covers material from Ch 1 Sunday February 1 2015 752 PM One Peron in each voicing keeps time not a conductor think more like section leader Not actually a capella in many cases gtUsually organ or string parts gt This is a fallacy Rhythm Note types and modern equivalents o Maxima Longa longer than breve relatively uncommon o Breve double whole note equivalent of one measure Semibreve whole note Minim half note Semiminim quarter note Fusa eighth note rare Semifusa sixteenth note extremely rare almost nonexistent Because this is vocal music and typical quottime signaturequot gives minim the beat Would be dif cult to execute with accuracy 00000 Time 0 Semibreve gets the beat generally Semibreve 48 Sometimes 64 less often More melismatic passages move quickly Mensurstriche 0 Early barlines Vertical line extending halfway down the measure Allows for original dot notation Mensurstriche follows beat that brings the total of beats to 4 If over 4 beats the overage is corrected in the next bar possible Ecclesiastical Modes Dodan o Finalis D o Reciting tone A Phrygian o Finalis E o Reciting tone C Lydian o Finalis F o Reciting tone C Mixolydian o Finalis G o Reciting tone D Note review plainsong and Gregorian chant Each mode has 2 forms 0 Authentic or plagal Plagal is transposed up a P4 0 Finalis Important note in mode Will be the tone that the nal cadence resolves to o Reciting tone also called tenor or repurcussio usually a 5th of nalis in authentic mode Bb 0 Only accidental in chant To avoid the tritone quotdiabolous en musicaquot devil in music Always xed with Bb and never F Hexachord Naturale System C Ut D Re E Mi F Fa G Sol A La Solmazation modal relationships moving hexachords to utilize range Mutation processes like movable do 0 When transposed to G durum hard bc of B natural 0 When transposed to F molle soft bc of Bb Ex In gure 16 Raising accidentals F C G only at certain times 0 To create a leading tone if nalis is G D or A 0 quotColor tonesquot Mostly in homorhythmic settings 0 To preserve intervals in imitative passages