AP music theory terms

Cadence

Ending of a musical phrase

Cadential extension

Extension of a cadence using the same chords

Coda

Closing musical material, not included in the main idea

Codetta

A small coda

Contour

Shape of a melody

Countermelody

Melody that is equally important to the main melody; usually provides consonance

Elision

One phrase connecting to the other

Fragment

Part of a motive

Introduction

A preparatory movement, usually in a slow tempo, to introduce a larger composition.

Bridge

Connects the B and A sections

Chorus

A group of people singing a song, usually with multiple parts, together; the main tune

Song Form

The structure of a song (AABA, ABA, ABA', etc.)

Turnaround

Gets you back to the beginning

Twelve-bar blues

I, I, I, I, IV, IV, I, I, V, V, IV, IV, I

Augmentation

When the notes in a melody are increased in value, generally by half.

Conjunct

Stepwise melodic motion

Diminution

When a melody is played in such a way that the time value of every note is shortened, generally halved.

Disjunct

Melodic motion in intervals larger than a second.

Fragmentation

When part of the song is broken into parts.

Internal expansion

Expands beyond the expected phrase length.

Inversion, melodic inversion

When you take one of the upper notes of a chord or interval and place the notes below it on top.

Literal repetition

When sequences are repeated exactly.

Motivic repetition

When the rhythmic theme is changed.

Octave displacement

Taking a melodic line and moving the notes to a different octave.

Retrograde

Backwards modulation.

Rhythmic transformation

Rhythm changes.

Sequence

A pitch and rhythmic pattern repeated at different pitch levels.

Sequential repetition

A sequence that repeats.

Shortened version

When a song is shortened.

Transposition

Change of key in the entire work.

Truncation

To shorten; fragment.

Motive

Smallest musical idea.

Antecedent

The 'call' in a call and response.

Consequent

The 'response' in a call and response.

Contrasting period

When two phrases begin differently.

Double period

Two periods put together.

Parallel period

When two phrases begin the same.

Repeated period

Exact repetition.

Phrase group

Group of phrases that seem to belong together without forming a period.

Refrain

Similar to a chorus; the main tune.

Binary small form

Movement with two main sections (AB).

Rounded binary small form

A B 1/2 A.

Ternary

Statement, contrast, return (ABA).

Solo, soli

Group of soloists.

Stanza

Different verses.

Strophic

Music repeats, lyrics change.

Theme

Main idea of the song; what it's about.

Thematic transformation

When the theme changes in the song.

Through-composed

No form.

Tutti

All; everyone.

Variation

Material is altered during repetition.

Capital Roman numerals

Indicate major triads.

Lowercase Roman numerals

Indicate minor triads.

Capital Roman numeral with *

Augmented triad.

Lowercase Roman numeral with °

Diminished triad.

Arabic numerals or figured bass numerals

Denote intervals above the bass and hence indirectly indicate chord inversion.

Figured bass 6

Indicates first-inversion triad (third on bottom).

Figured bass 6/4

Indicates second-inversion triad (5th on bottom).

Figured bass 7

Indicates root-position seventh chord (root on bottom).

Figured bass °7

Fully diminished seventh chord (diminished triad with minor third on top).

Figured bass ø7

Half-diminished seventh chord (diminished triad with major third on top).

Figured bass 6/5

First-inversion seventh chord (3rd on the bottom).

Figured bass 4/3

Second-inversion seventh chord (5th on the bottom).

Figured bass 4/2

Third-inversion seventh chord (7th on the bottom).

Figured bass 8-7

Suspension where the 8 moves to the 7.

9-8, 7-6, 4-3 figured bass

All indicate suspension and a melodic resolution.

Accidental before Arabic numeral

Alteration of an interval.

A slash through one of the Arabic numerals or a plus after the Arabic numeral

Indicates that the note creating the interval in question is raised a half step.

Imperfect authentic cadence

Must end on I chord.

Perfect authentic cadence

V to I; in root position; melody ends on tonic.

Conclusive cadence

Cadence ends on tonic triad.

Deceptive cadence

V to vi.

Half cadence

Ends on V.

Phrygian half cadence

iv6 to V/V7.

Inconclusive cadence

Ends in something other than the tonic chord.

Plagal

IV to I.

Augmented triad (*)

Two major thirds make up the triad.

Diminished triad (°)

Two minor thirds make up the triad.

Major triad (M)

A major third, then a minor third, makes up the triad.

Minor triad (m)

A minor third, then a major third, makes up the triad.

Major seventh chord

Major triad with major third on top.

Dominant seventh chord

A major triad with a minor third on top.

Minor seventh chord

Minor triad with minor third on top.

Half-diminished seventh chord

Diminished triad with major third on top.

Fully diminished seventh chord

Diminished triad with minor third on top.

Tonic

First scale degree.

Supertonic

Second scale degree.

Mediant

Third scale degree.

Subdominant

Fourth scale degree.

Dominant

Fifth scale degree.

Submediant

Sixth scale degree.

Subtonic

Whole step below the tonic.

Leading tone

Half step below tonic.

Tonic function

The function of establishing the tonic.

Dominant function

Leads to tonic; sets up half cadence.

Predominant function

Sets up dominant-tonic tonalities.

Circle of fifths

Keys or tonalities ordered by ascending or descending intervals of a fifth.

Deceptive progression

The root of a secondary dominant can move up stepwise in its own deceptive progression.

Harmonic rhythm

The rate of chord change, or the series of durational patterns formed by the chord changes in a musical work.

Modulation

Change of tone within a piece.