Music Theory Terms PDF

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Comprehensive list of terms for the final exam...

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AP Music Theory Terms Cadence- In Western musical theory, a cadence (Latin cadentia, "a falling") is "a melodic or harmonic configuration that creates a sense of resolution [finality or pause]." A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadential extension- Cadential Extension. the prolongation (post-cadential extension) or delay (pre-cadential extension) of a cadence by the addition of material beyond (i.e. before or after) the point at which the cadence is expected. Coda- Coda (Italian for "tail", plural code) is a term used in music primarily to designate a passage that brings a piece (or a movement) to an end. Technically, it is an expanded cadence. It may be as simple as a few measures, or as complex as an entire section. Codetta- A codetta (“little coda”) is a brief conclusion, a dominant–tonic cadence at the end of the exposition that may be repeated several times for emphasis. Contour- The shape of the melody as rising or falling. Countermelody- A counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody: a secondary

melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and is typically heard in a texture consisting of a melody plus accompaniment. Elision (Phrase elision)- When the last note of one phrase serves as the first note of the next phrase. Fragment (Fragmented motive)- In music composition, fragmentation is the use of fragments or the "division of a musical idea (gesture, motive, theme, etc.) into segments." It is used in tonal and atonal music, and is a common method of localized development and closure. Fragmentation is related to Arnold Schoenberg's concept of liquidation, a common compositional technique that describes the reduction of a large-scale musical idea to its essential form (such as a contour line, a specific harmonic motion, or the like). Liquidation shapes much thematically-driven music, such as that by Béla Bartók, Stravinsky, and Schoenberg himself. It is important to understand that, although they are related, fragmentation and liquidation are separate processes and concepts. Turnaround- In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. The turnaround may lead back to this section either harmonically, as a chord progression, or melodically. Twelve-bar blues- The twelve-bar blues or blues changes is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.

Augmentation- In Western music and music theory, the word augmentation (from Late Latin augmentare, to increase) has three distinct meanings. Augmentation is a compositional device where a melody, theme or motif is presented in longer note-values than were previously used. Augmentation is also the term for the proportional lengthening of the value of individual note-shapes in older notation by coloration, by use of a sign of proportion, or by a notational symbol such as the modern dot. A major or perfect interval that is widened by a chromatic semitone is an augmented interval, and the process may be called augmentation. Conjunct- In music, a step, or conjunct motion, is the difference in pitch between two consecutive notes of a musical scale. In other words, it is the interval between two consecutive scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion. Diminution- In Western music and music theory, diminution (from Medieval Latin diminutio, alteration of Latin deminutio, decrease) has four distinct meanings. Diminution may be a form of embellishment in which a long note is divided into a series of shorter, usually melodic, values (also called "coloration"). Disjunct- See Conjunct Extension, phrase extension, sub phrase extension- When a two-measure basic idea or contrasting idea is expanded, that expansion is often accomplished through motivic repetition within the basic idea: a motive or other small melodic figure is repeated, either exactly or with simple embellishment, causing the overall length of the sub-phrase to be larger than the expected. Phrases are often expanded by repetition as well—most often in the concluding portion of a theme as a means to delay cadential arrival. Fragmentation- See Fragment.

Internal expansion- See Phrase expansion. Inversion, melodic inversion- Inversion, in music, rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. The inversion of chords and intervals is utilized for various purposes, e.g., to create a melodic bass line or (with certain chords) to modulate to a new key. Literal repetition- A literal repetition of a musical passage is often indicated by the use of a repeat sign, or the instructions da capo or dal segno. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. Octave displacement- Octave Displacement, also known as Octave Dispersion. It means placing notes in different octaves. Retrograde- Retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order." Retrograde reverses the order of the motive's pitches: what was the first pitch becomes the last, and vice versa. Sequential repetition- Usually, there's a "pattern" involved in a sequence. If you want to get technical, C-D-E-F-G-A-B-C is a "sequence" but we don't usually call it that. But we will say C-A-F-D-B-G-E-C is a "sequence of falling thirds" for example. " C-D-E-F-G-A-B-C is a sequence as a whole without having a looping algorithm. Transposition- Transposition or transposing in music means playing or writing music in a different key. Transposing music means making it sound higher or lower. Transposing is a useful skill for people who play an instrument, especially the piano or organ. Truncation- The shortening of a musical phrase

Antecedent- The period is generally eight measures long and contains two four-measure phrases, called antecedent and consequent. The period is characterized by balance and symmetry. Its antecedent phrase is initiated by a basic idea that recurs at the beginning of the consequent phrase. Consequent- A cadence is the end of a musical phrase. ... When two phrases are put together and the first ends on a weak cadence, and the second ends on a strong cadence, it is called a period. In a period, the first phrase is called an antecedent phrase, and the second phrase is called a consequent phrase. Double period- A period similar to the parallel period, but in which there are two antecedent and two consequent phrases. The result can be diagrammed as a | b | a | b' || Here, an antecedent phrase (a) ending in a relatively inconclusive cadence (an IAC or HC) is followed by a consequent (b) whose cadence is weaker than expected. Phrase group- Three or more phrases, at least two of which are similar, only the last of which ends with a conclusive cadence. Binary- Binary form is a musical form in two related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance. In music this is usually performed as A-A-B-B. Binary form was popular during the Baroque period, often used to structure movements of keyboard sonatas. Rounded binary- Rounded Binary Form. Like binary, rounded binary is often a continuous or open form meaning the two principle sections modulate. However, the first section may cadence on tonic. Like ternary, rounded binary features a recapitulation of the opening material. Simple binary- See Binary.

Ternary- Ternary form, sometimes called song form, is a three-part musical form where the first section (A) is repeated after the second section (B) ends. Strophic- Strophic form (also called "verse-repeating" or chorus form) is the term applied to songs in which all verses or stanzas of the text are sung to the same music. The opposite of strophic form, with new music written for every stanza, is called through-composed. Thematic transformation- Thematic transformation (also known as thematic metamorphosis or thematic development) is a musical technique in which a leitmotif, or theme, is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation. Through composed- In music theory about musical form, the term through-composed means that the music is relatively continuous, non-sectional, and/or non-repetitive. A song is said to be through-composed if it has different music for each stanza of the lyrics. Tutti- Tutti is an Italian word literally meaning all or together and is used as a musical term, for the whole orchestra as opposed to the soloist. It is applied similarly to choral music, where the whole section or choir is called to sing. Cadence Types 1. Authentic- Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the soprano of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. 2. Imperfect authentic- Imperfect authentic cadence (IAC), best divided into three separate categories: 1. Root position IAC: similar to a PAC, but the highest voice is not the tonic

("do" or the root of the tonic chord). 2. Inverted IAC: similar to a PAC, but one or both chords is inverted. 3. Perfect authentic- See Authentic. 4. Conclusive cadence- A cadence ending with the tonic triad. The choice of melodic pitch, penultimate chord, and the metric placement of the tonic triad are three among many factors that determine the relative strength of a conclusive cadence. The conclusive cadences are the authentic (V-I) and plagal (IV-I). 5. Deceptive- A chord progression where the dominant chord is followed by a chord other than the tonic chord usually the sixth chord or superdominant chord or submediant chord (V-VI), but sometimes something else. 6. Half- A chord progression where the dominant chord is the final chord of the cadence and is preceded by the tonic chord in second inversion (6/4-V). It should be noted that this pattern produces two chords with the same bass note in both chords. 7. Phrygian half- A chord progression where the subdominant chord (in first inversion) is followed by the dominant chord (IV6 -V). The root of the final chord is approached from a half step above. The Phrygian cadence is a special type of half cadence. 8. Inconclusive cadence- A cadence ending with a chord other than the tonic triad. The inconclusive cadences are the half ( -V) and the deceptive (V-vi, or, more generally, V followed by some chord other than the expected I). 9. Plagal- A chord progression where the subdominant chord is followed by the tonic chord (IV-I). The "IV" represents the chord based on the fourth step of the scale and the "I" represents the chord based on the first step of the scale.

Chord Quality 1. Triads- In music, a triad is a set of three notes (or "pitches") that can be stacked vertically in thirds. The term "harmonic triad" was coined by Johannes Lippius in his Synopsis musicae novae (1612). When stacked in thirds, notes produce triadic chords. 2. Seventh chords- A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chord's root. When not otherwise specified, a "seventh chord" usually means a dominant seventh chord: a major triad together with a minor seventh. Functions and Progressions Scale degrees/ diatonic chord names 1. Tonic- The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced. 2. Supertonic- In music or music theory, the supertonic is the second degree or note of a diatonic scale, one step above the tonic. It is sung as re in solfege. ... If in major or minor, through the lowering of the second scale degree (also the sixth in major), the chord is major (D♭-F-A♭) then it is a Neapolitan 6th chord, N6 or ♭II6. 3. Mediant- In music, the mediant (Latin: to be in the middle) is the third scale degree of a diatonic scale, being the note halfway between the tonic and the dominant. It is sung as mi in solfege. Similarly, the submediant is halfway between the tonic and subdominant. 4. Subdominant- In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the

tonic as the dominant is above the tonic – in other words, the tonic is the dominant of the subdominant. 5. Dominant- In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic, and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale. 6. Submediant- In music, the submediant is the sixth scale degree of the diatonic scale, the 'lower mediant', halfway between the tonic and the subdominant or 'lower dominant'. It is also the third factor of the subdominant (IV) triad. 7. Subtonic- In music, the subtonic is the scale degree below the tonic or, more specifically, the flattened seventh (♭VII): the lowered or minor seventh degree of the scale, a whole step below the tonic, as opposed to the leading tone, which is only a half step below the tonic. 8. Leading tone- In music theory, a leading-tone chord is a triad built on the seventh scale-degree in major and the raised seventh-scale-degree in minor (the leading-tone). The quality of the leading-tone triad is diminished in both major and minor keys. Circle of Fifths- In music theory, the circle of fifths (or circle of fourths) is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys.

Modulation 1. Common tone modulation- Typically, a common-tone modulation does not use a pivot chord. Its mechanism is — on the surface — very simple: the listener first hears a chord in an established key; then, one note of that chord is sustained (or simply repeated), while all the other notes in that chord change to a chord in another key. 2. Phase modulation- In music, modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be

accompanied by a change in key signature. ... Treatment of a chord as the tonic for less than a phrase is considered tonicization. Modulation is the essential part of the art. 3. Pivot chord modulation- Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. Neighboring chord- A chord tone steps to a nonchord tone which skips to another nonchord tone which leads by step to a chord tone, often the same chord tone. They may imply neighboring tones with a missing or implied note in the middle. Also called double neighboring tones or neighbor group. Rate of harmonic change- In music theory, harmonic rhythm, also known as harmonic tempo is the rate at which the chords change (or progress) in a musical composition, in relation to the rate of notes. Retrogression- A harmonic motion in which each chord moves to a new chord more distant from the tonic as measured in ascending-5 th root movements, such as a supertonic to a submediant. A term referring generally to the temporal aspects of music — the duration of its sounds and silences. Two chords whose roots are a second apart. Secondary dominant- A secondary dominant is an altered chord having a dominant or leading tone relationship to a chord in the key other than the tonic. An altered chord is a chord containing at least one tone that is foreign to the key. Secondary leading tone chord- In music theory, a secondary leading-tone chord or secondary diminished seventh, as in seventh scale degree or leading-tone, is a secondary chord but rather

than being a dominant it is a leading-tone seventh chord or triad, which are similar in function to dominant chords. Tonicization- In music, tonicization is the treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition. In Western music that is tonal, the song or piece is heard by the listener as being in a certain key. Nonharmonic tones (nonchord tones) 1. Anticipation- In music, anticipation is defined as a term for when a chord is played and one or two notes in the chord coming after it are played early, thus creating momentary dissonance. An example of anticipation is when a violinist plays a note before the chord, and the effect is a moment of disagreeable sound. 2. Appoggiatura- A grace note performed before a note of the melody and falling on the beat. 3. Embellishment- In music, ornaments or embellishments are musical flourishes that are not necessary to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note. 4. Escape tone (échappée)- An escape tone (ET) is approached by step and then skips in the opposite direction. Escape tones are not accented – they occur in between the two chords. ... Appoggiaturas are accented – they occur with the second chord. Some theorists use a broader definition: “an accented non-harmony note that resolves by step”. Neighboring tone

1. Double neighbor- In music, changing tones (also called double neighboring tones and neighbor group) consists of two consecutive non-chord tones. ... The changing tone functions as a way to decorate, or embellish, a chord tone and are also used to provide rhythmic interest between common tones. 2. Lower neighbor- See Upper neighbor. 3. Upper neighbor- A neighboring tone that is a step higher than the surrounding chord tones is called an upper neighboring tone or an upper auxiliary note while a neighboring tone that is a step lower than the surrounding chord tones is a lower neighboring tone or lower auxiliary note. 4. Neighbor group- See Double neighbor. Ornament- See Embellishment. Passing tone- A passing tone is a melodic embellishment (typically a non-chord tone) that occurs between two stable tones (typically chord tones), creating stepwise motion. ... A passing tone can be either accented (occurring on a strong beat or strong part of the beat) or unaccented (weak beat or weak part of the beat). Pedal point- In tonal music, a pedal point (also pedal tone, pedal note, organ point, or pedal) is a sustained tone, typically in the bass, during which at least one foreign, i.e., dissonant harmony is sounded in the other parts. Preparation- In music theory, a predominant chord (also pre-dominant) is any chord which normally resolves to a dominant chord. ... The submediant (vi) may be considered a predominant chord or a tonic substitute. The dominant preparation is a chord or series of chords that precedes the dominant chord in a musical composition.

Resolution- Resolution in western tonal music theory is the move of a note or chord from dissonance (an unstable sound) to a consonance (a more final or stable sounding one). Dissonance, resolution, and suspense can be used to create musi...