Improvisation Techniques Flashcards

Which sequence pattern is most commonly used as an episode device in Baroque organ fugues?

Answer: Descending fifths (circle-of-fifths) sequence

The descending fifths (circle-of-fifths) sequence is the most ubiquitous Baroque sequential device, found extensively in Bach's fugal episodes.

In improvising a contemporary/modern style prelude, which harmonic technique involves chords built in fourths rather than thirds?

Answer: Quartal harmony

Quartal harmony constructs chords by stacking perfect fourths, a technique associated with 20th-century composers like Hindemith and Messiaen.

What is the role of the 'countersubject' in a fugal improvisation?

Answer: It accompanies the subject consistently after the first entry

The countersubject is a melodic idea that regularly accompanies the subject after its first appearance, providing consistent invertible counterpoint.

When improvising a 'bicinium' texture, how many independent voices are involved?

Answer: Two

A bicinium is a two-voice composition or improvisation, typically featuring two independent melodic lines in imitative or free counterpoint.

Which technique involves sustaining a single pitch in the bass while harmonies change above it?

Answer: Pedal point (organ point)

A pedal point (organ point) sustains a single pitch—typically tonic or dominant—in the bass while upper voices move through various harmonies.

In the AGO examination context, what does 'figured bass realization' in improvisation require?

Answer: Instantaneously creating upper voices from numerical symbols above a bass line

Figured bass realization requires the performer to read numerical symbols (figures) below a bass line and spontaneously create harmonically correct upper voices.

Which Messiaen mode is particularly associated with a sense of timelessness and is useful in contemporary liturgical improvisation?

Answer: Mode 2 (octatonic/diminished scale)

Messiaen's Mode 2 (the octatonic or diminished scale, alternating whole and half steps) creates an ambiguous, floating quality valued in mystical liturgical improvisation.