SK: AP Music Theory 2025

Cadence

type of resolution signaling the end of a phrase/piece (made up of 2 chords)

Coda

A concluding section of a musical piece that provides a sense of closure or resolution and may contain a recapitulation of earlier themes or melodies

Codetta

A brief conclusion

Contour

General dissection of the melody

Countermelody

A second melody that typically played in conjunction to the main melody

Fragment (fragmented motive)

a small part of a musical idea; a fragmented motive is when a motive is broken up into smaller pieces and used in different parts of the music

Interlude

A short passage between other, bigger passages; used to provide contrast or to transition between different moods or tempos

Introduction

The beginning section

Bridge

A passage, typically between choruses, that adds variation/contrast

Chorus

repeating melody in the song/ “catchy” component usually

Verse

A repeating melody/musical structure but different lyrics

Augmentation

the length of the notes in a melody are prolonged.

Conjunct

melody that by steps of major or minor 2nds.

Diminution

the length of the notes in a melody are shortened.

Disjunct

melodic motion that is larger than a second

Embellishment

added notes to enhance a melody (ornaments)

Fragmentation

When a portion of a motif or a larger musical idea is used, often repeated, and/or varied

Inversion

flips the intervals of a melody or chord, so that ascending intervals become descending and vice versa.

Melodic inversion

when the direction of each interval in a melody is reversed to create a mirror image.

literal repetition

repeating a musical idea exactly as it was originally heard

motivic transformation

alters a short musical idea (motif) through techniques like inversion, augmentation, or fragmentation.

octave displacement

shifts one or more notes of a melody into a different octave while keeping their pitch class the same.

Retrograde

plays a melody or motive backward, starting with the last note and moving to the first.

rhythmic transformation

changes the rhythm of a motive while keeping the pitch content the same.

Sequence/melodic sequence

the repetition of a melodic idea at a higher or lower pitch level, usually in the same voice.

sequential repetition

when a motive or phrase is repeated at a different pitch level, typically following a pattern like up a step or down a step.

Transposition

shifts an entire melody or set of pitches up or down by the same interval, maintaining the same relative structure.

Motive

a phrase that is repeated and expanded on throughout a piece.

Period

Two phrases, one antecedent (unfinished) and one consequent.

Antecedent

Unresolved or uncomplete phrase

Consequent

complete phrase

contrasting period

When phrases begin differently

parallel period

Phrases are identical except for the cadences.

Refrain

Repeated lyrics in a song at the end of verses.

Solo, soli

A passage played by one person or small group on their own.

Thematic transformation

When a motif is developed through melodic procedures like augmentation or transposition.

Tutti

Everyone plays together

Variation

The material of a theme is altered by rhythm, harmony, melody etc.

Roman and Arabic numerals

I, ii, V, e.t.c

Capital Roman numerals in chords

denote major chords

Lower

case Roman numerals in chords

A capital Roman numeral with a "+" in chords

an augmented triad.

A lower

case Roman numeral with a "o" in chords

Arabic numerals or figured

bass symbols in chords

indirectly indicate chord inversion. Arabic numerals may also indicate voice leading

and/or non

harmonic tones.

6

first inversion triad

6/4

second inversion triad

7

root

°7

diminished (fully diminished) seventh chord

∅7

half

6/5

first inversion

4/3

second inversion

4/2

third inversion

8

7

9

8, 7

2

3

An accidental before an Arabic numeral

altering the interval involved.

A figure with a slash (e.g. à ) or a plus (e.g., 4+)

the note creating the interval in question is raised a half

Authentic

V to I chord

Imperfect authentic

V or V7 to I, in any inversion

Perfect authentic

V7 or V to I in root position, root note in the soprano

Conclusive cadence

cadence that typically ends in a I chord

Deceptive

V or V7 to vi or VI in minor

Half

ends on a V chord

Phrygian half

In minor: iv6 to V

Inconclusive cadence

a cadence that doesn’t end on the tonic

Plagal

IV to I

Triads

a chord containing three notes

Augmented,(+, aug., or A)

triad consisting of two major thirds

Diminished (°, dim., or d)

triad that has two minor thirds

major or M

triad that has a major third followed by a minor third

minor or m

triad that has a minor third followed by a major third

major seventh (MM; M7)

Major-major

dominant seventh (Mm7)

Major + minor 3rd

half-diminished 7th

diminished + Major

fully diminished seventh

diminished + minor

Tonic

1st scale degree

Supertonic

2nd scale degree

Mediant

3rd scale degree

Subdominant

4th scale degree

Dominant

5th scale degree

Submediant

6th scale degree

Subtonic

flat 7th

leading tone

7th scale degree

tonic function

I chord, resolution

dominant function

V or vii chord, creates tension that wants to resolve to the tonic

predominant function

ii or IV chord, wants to resolve to the dominant

Circle of fifths

The circle of fifths is a visual diagram showing all twelve keys arranged by perfect fifths, used to understand key relationships and modulations.

Deceptive progression

A deceptive progression is when the dominant chord (V) resolves to a chord other than the tonic, most often vi (in major) or VI (in minor), creating a surprise.

Harmonic progression / chord progression

A harmonic (or chord) progression is a sequence of chords played in a particular order to establish and move through a key.

Harmonic rhythm

Harmonic rhythm is the rate at which chords change in a piece, whether fast, slow, or varied.

Neighboring chord

chords built from adjacent scale degrees

Rate of harmonic change

harmonic tempo, how quickly the chords change

Realize / Realization of a figured bass: write out the actual chords and voices implied by the bass line and figures, typically in four

part harmony.

Realization of a four

part Roman numeral progression: involves writing SATB (soprano, alto, tenor, bass) parts based on the given chord symbols, following voice

Retrogression

Using the harmonic flow chart (what chords go to what) in the opposite direction

Secondary (applied) dominant

The five (V) of the chord you want to go to

Secondary (applied) leading tone

The tone a half step below the 1 you are resolving too.

Chord

a group of three or more pitches sounded together, typically built by stacking intervals of a third above a root note.