the repetition of a musical pattern in the same musical voice is known as restatement.
the repetition of a musical pattern in the same musical voice is known as restatement.
the repetition of a musical pattern in the same musical voice is known as?
restatement
bullet::::- ostinato : obstinate, persistent (i.e. a short musical pattern that is repeated throughout an entire composition or portion of a composition)









































bullet::::- ottava : octave (e.g. "ottava bassa": an octave lower)









































bullet::::- overture : an orchestral composition forming the prelude or introduction to an opera, oratorio, etc.









































section::::p.









































bullet::::- parlando or parlante : like speech, enunciated









































bullet::::- partitur (ger.) : full orchestral score









































bullet::::- passionato : passionately









































bullet::::- pastorale : in a pastoral style, peaceful and simple
glossary of musical terminology
the song follows in the footsteps of the winner takes it all as another abba song that had no "clearly defined verse/chorus structure". the song is deceptively complicated, perhaps due to its length, and is actually one of their simplest tunes melodically. underneath the "rich tapestry" of the three-verse song is a "close-knit series of three-note building blocks", the last block in each statement being repeated at the start of the following one. for example, "i must have left my house/at eight because i always do" has the musical pattern 1-7-6/2-1-7 while the following phrase, "my train, i'm certain left/the station just when it was due" has a musical pattern of 2-1-7/3-2-1. these "descending three-note patterns" go up a note each time a new statement is sung. for example, as the verse is sung, the pattern could go from "do-ti-la" to "re-do-ti" to "mi-re-do" etc., with each new phrase. starting with a "minor anchor power-of-three" (mi-re-do), this pattern "remains intact" during the entire song, with the tune "weaving its soulful way through the hues of its relative keys c minor and e flat major, and their collaborators". after the first two statements, the minor key swaps to the relative major, where it remains until the final few statements, just in time for the title hook. the only time the descending pattern is broken is in the eighth statement of each verse ("the usual place, the usual bunch" in the first verse – 6-5-4/5-6-5 went to 4-3-2).
the day before you came