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Mental prompts for aural questions
This article (written by Paul Owens from Sydney Technical High School) provides a series of prompts and possible discussion points for each of the musical concepts. The material will be particularly useful for Music 1 students who are preparing for the aural section of their examination. However, it is also a useful tool for Music 2 students.
Concept: Pitch (Melody)
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Strands | Themes; statement; tune; subject; counter-melodies; focus lines; competition. |
| Contour | Intervals (conjunct/disjunct); shape (angular, undulating); direction (ascending/descending); intervals (focus/central tone(s), simple/compound, microtones); predictability (consistent/inconsistent); harmonic implications (arpeggio, broken chord, triadic). |
| Structural divisions | Phrases (symmetrical/asymmetrical; regular/irregular; predictable/unpredictable; short/extended; sub-phrases; cells. |
| Structural features | Climax; question & answer; internal variations; repetition; subsequent contrasts (diminution, augmentation, inversion, retrograde); sequence; imitation; cadential points; recognition (conventional/unique); use of motifs/riffs; function (ostinato). |
| Interpretation | Performance techniques (ornamentation, e.g. trills, turns, sliding, vibrato); timbral effects; stylistic features. |
| Pitch dimensions | register; definite/indefinite; intonation; tuning. |
| Pitch organisation | Diatonic (major, minor); other (modal, jazz scale, whole tone, ethnic scale, alternative, chromatic); atonal (12 tone, aleatoric, electronic); traditional/non-traditional; weakened/ implied; key schemes (relationships, modulation). |
| Melodic timbre | Individual/group; exploration; programmatic; articulation. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Pitch (Harmony)
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Chords | Vocabulary (primary/secondary, extended, altered, chromatic, poly); alternative (clusters, quartel, open fifths). |
| Pitch organisation | Modulation; reinforcing tones; pedal/drone. (See melody for further information). |
| Progression | Established (12 bar blues); repetitive; focal chords; modulation; regular/irregular; cadences; motion. (See texture for further information). |
| Voicing | General spread (closed/open, sparse/compact); range/register; patterns (arpeggios/broken chords; triads; alberti bass); number of parts (2, 3, 4 etc); inversions. |
| Textural emphasis | Voice leading; linear/vertical; type (monophony, polyphony, homophony, heterophony); counterpoint. |
| Rate / rhythm | Rapid/slow; rhythmic patterns, regular/irregular harmonic change; pedal point/drone; ostinato. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Duration
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Beat/pulse | Regular/irregular; reinforced (strong/well marked), suppressed (weak/unmarked); agogic; sub-pulse; changing pulse; pace (level of activity in relation to the beat). |
| Tempo | Static; changing (abrupt, ritenuto, accelerando, rubato); relationship to pace. |
| Metre | Time signatures (simple/compound); hemiola; triple, quadruple etc; regular/irregular (isometric/multimetric); groupings; suppressed/implied; ambiguous; superimposed; anacrusis. |
| Note values, rhythm | Note values (unity, contrast, recurrence); notational methods (conventional, graphic); average lengths (short/long); note types (dotted, sustained). |
| Patterns | Riffs; important figures; polyrhythms; syncopation; key groupings; unusual figures (couplets, duplets); known patterns (waltz, rap etc). |
| Levels (texture) | Cohesive;
fragmented; prominent/secondary. |
| Articulation | Accents; staccato; legato; slur; attack/decay; vibrato. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Tone colour
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Category | Brass, woodwind, strings, chordophone/electrophone etc; traditional/non-traditional. |
| Ensemble | Established (string, orchestra, rock band etc); traditional/non-traditional. |
| Instrumentation | Identification (tenor sax, soprano, didjeridoo etc); traditional / non-traditional. |
| Orchestration | role (individually and in combination); effects. |
| Technique and effects | Mute; glissando; double stopping; flutter tonguing; pizzicato; harmonics; vibrato; sliding/ bending; virtuosity; dexterity; intonation; ornaments (trill, turn etc, appoggiatura). |
| Quality | Breathy, penetrating, resonant, mellow, majestic, piercing, sonorous, piercing, oily, rich, shrill; harsh. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Dynamics and expressive techniques
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Level | f, p (and their multiples and subdivisions); relative change; terraced/block; internal variation. |
| Gradations | Crescendo, decrescendo, diminuendo. |
| Silence | Pause; rests; textural definition; highlighting; tension/resolution. |
| Orchestration | Blend, contrast, manipulating dynamic levels; balance; acoustical properties. |
| Articulation, tempo | (See Duration) |
| Stylistic indications | Swing, electronic. |
| Technique and effects | (See Tone colour) |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Texture
Sub-concepts |
*Possible
points of discussion |
|---|---|
| General type | Homophonic; polyphonic; monophonic; heterophonic; contrapuntal; antiphonal; number of lines; foreground/background emphasis; opposing/complementary; solo; accompaniment. |
| Motion | Contrary; similar; oblique; parallel; imitative; sequential; staggered; cascaded; discrete; continuous. |
| Level of activity | Sparse/dense;
cluttered; busy; confused; well-defined. Role Linear dependence/independence; harmonic; melodic; |
| Role | Linear dependence/independence; harmonic; melodic; accompaniment; rhythmic support; pulse reinforcing; countermelodic; doubling; backing; open/close harmony. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
Concept: Structure
Sub-concepts |
*Possible
points of discussion |
|---|---|
| Macro | Binary; ternary; rondo; sonata; theme & variation; fugal; strophic; through composed; episodic; 12 bar blues; organic. |
| Micro | Introduction; coda; verse; chorus; bridge/transition; phrase; motif; riff/ repetitive pattern; call & response/question & answer; fragment; theme; statement; exposition, development,recapitulation; growth; dialogue; refrain. |
| Repetition | Music is either through-composed or dependent in some way on repetition. The repetition may be:
Is
it the material the same? |
| Unity | Repetition of a melody or phrase; use of a rhythmic motif; consistent style and use of concepts; repetition of a harmonic pattern (e.g. ground bass; rhythmic or melodic ostinato); drones or pedal point; sequences or modified patterns; static instrumentation; modulation (same material); structural repetition e.g. rondo, theme & variation; instrumentation changing roles but using previously heard material. |
| Contrast | Modulation; one line may be conjunct whilst the other is disjunct; introduction of new material; change in metre, tempo or rhythmic patterns/feel; changes in the accompaniment or in one part; moving from one register to another; tonality (major/minor/modal/pentatonic); harmony (consonance/dissonance); structural (new section); stylistic contrast; differing phrase lengths; dynamic contrast. |
* This is not a definitive list. The possible discussion points should be expanded with personal entries as knowledge of the concept improves.
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