Review+Chapter+10,11,+and+12+2nd+half+test

__**Chapter 10**__ An important aspect of notation in music is making the notation appropriate for the instrument or voice involved. In instrumental music note beaming usually will reflect the placement of the beat. In vocal music sometimes the notes comprising a beat are not beamed together. The placement of individual stems and flags on separate notes helps to separate the notes associated with individual words or syllables.
 * Notation**

Stem direction can be used to separate two different parts on the same staff. This is often true of a melody and countermelody placed on the same staff.

When the four parts of an SATB selection are written on separate staves this is called an open score.
 * Open Score:**

Classical Guitar is notated in treble clef.
 * Guitar Notation:**

Diagrams of the guitar fretboard to assist players with chord fingers and spacing.
 * Tablature:**

__**Chapter 11**__

Remember in doubling triads, it is important to not double tendency tones. Tendency tones are notes that require resolution such as the leading tone. Review the doubling rules for all inversions remembering this.


 * Tessitura:** this is an instrument's or voice's sound quality(timbre, sound quality) in different registers.

Transposing instruments:


 * C instruments**: the note you see is the note you hear. Ex. flutes, oboes, bassoons, violins, violas, cello, trombone, harp,

Clarinets, trumpets, french horns, saxophones
 * Transposing instruments**: instruments that play from a part whose notated pitches are not the same as the pitches that sound.


 * Full score**: all instruments are listed separately. Generally woodwinds at the top, brass and percussion in the middle, strings at the bottom.

A score that shows what the instruments actually play rather than sounding pitches is called a **transposed score**. A score that only shows what is sounded is a C score.


 * __Chapter 12__**


 * Phrase** is the basic unit of musical thought.

Conclusive or Final cadences are harmonic cadences used to end a composition. Authentic cadences and plagal cadences are final cadences.


 * Authentic cadence**: V - I (V - i) or vii6 - I or vii6 - i (note the vii should have a degree sign to indicate diminished).

Inconclusive cadences or non-final cadences are used to briefly stop the forward harmonic motion of a piece but are not used to end a piece. Half cadences and deceptive cadences are 2 non-final cadences.

Deceptive cadences end on VI or vi - you are expecting the I but get the VI (vi) instead.
 * Half cadences** end on V


 * Dominant seventh chords can be used to replace the V chord in any cadence. When you a V7 to I cadences you have two tendency tones that must be resolved. These two tones are : the leading tone and the chordal seventh. The leading tone must resolve up to tonic; the chordal seventh must resolve down by step in the next chord. (4th scale degree moving to 3rd scale degree)**


 * Perfect Authentic Cadences:**

Must meet the following criterion: Must be a V - I cadence Both chords must be in root position. In the second chord (I) the soprano must double the bass.

There is a specially names half cadence - Phrygian Half cadence It is named for the 1/2 step motion in the bass (much like that at the beginning of a phrygian scale. Phrygian half cadences can only appear in minor keys in the following progression: iv6 - V.