Melodic Composition Terms

Anacrusis

Also called pick-up note(s), when the melody begins before the first full measure

Phrase

Single coherent musical thought that move towards the cadence.

Conjunct

Stepwise motion

Disjunct

Skipwise motion

Stepwise

Movement by ascending or descending steps

Antecedent-consequent

Pair of phrases within which the antecedent (first phrase) ends with a weak cadence, and the consequent (second phrase) ends with a strong harmonic cadence.

Period

The pair of antecedent-consequent phrases

Parallel Period

Periods within which the two phrases begin identically/with slight variation

Contrasting period

A period within which the two phrases are different

Repeated Parallel Period

Two phrases that form a parallel period repeated exactly

Double period

Two periods that form another period through antecedent-consequent structure

Introduction

The beginnings phrases of a piece

Internal expansion

Expanding the area between the beginning and cadence of a phrase

Cadential extension

Extra area added after the cadence

Elision

Overlap of two phrases where the ending note of one phrase begins another

Literal Repetition

Exact repetition in the same voice

Imitation

Melody repeated in another part

Motive/motif

A short group of notes (often 2-8) that is repeated throughout the melody to establish its identity and provide thematic unity.

Theme

A complete melodic phrase anywhere from 2-8 measures, often a recognizable melody or a characteristic rhythmic pattern.

Motivic Transformation

Changing or transforming the original motive through repeated variation

Inversion/melodic inversion

Repetition of a melody upside down, with the same intervals in the opposite direction

Mirror inversion

Inversion where the intervals are exactly the same (i.e. major 3rd ascending → major 3rd descending)

Rhythmic Variation

Variation of rhythm within a the motive

Augmentation

Rhythmic variation where pitches stay the same but notes are equally extended in length

Diminution

Rhythmic variation where pitches stay the same but note values are equally shortened

Rhythmic Displacement

Keeps the original rhythmic structure but shifts it to a different starting beat

Modulation

Shifting keys within a piece

Mode mixture/modal borrowing

Combining chords from the parallel major or minor to increase harmonic resouces

Ornamentation/Embellishment

Technique of adding or decorating the melody with non-chord tones such as passing tones, neighboring tones or suspensions

Melodic Sequence

The repetition of a melodic motive in a higher or lower pitch

Passing tone

Melodic embellishments that fill in between the preparation and the resolution by stepwise motion

Accented passing tone

Passing tone that occurs on the beat

Chromatic passing tone

Non diatonic note connecting two chord tones, one whole step apart

Upper neighbor

Moving from the original pitch up one, then back to the original pitch

Lower neighbor

Moving from the original pitch down one, then back to the original

Chromatic neighbor

Half step neighbor tone marked by an accidental (not the leading tone though)

Incomplete neighbor

Non-harmonic tone approached by skip or leap in one direction, resolved stepwise in the other direction. Occurs on a weak beat.

Neighboring group/changing tone/double neighbor

Two neighbor tones working in tandem (i.e 1 2 7 1)

Appoggiatura

Incomplete neighbor that leaves the preparation by leap up and then resolves down by step

Escape Tone

Incomplete neighbor that leaves the preparation by step, then resolves via leap

Suspension

Occurs when a note in the preparation chord is held over, created a momentary accented dissonance

Rearticulated suspension

Suspension where the suspended note is not tied to the preparation chord, meaning it is played again

Retardation

Suspended note that resolves upward

Anticipation

Leaves early from the preparation chord by step to become part of the resolution chord, anticipating the next chord.