Ap Music Theory

Cadential 6-4

The Cadential 6-4 is a musical cadence featuring a triad on the tonic in first inversion, where the 6th and 4th scale degrees are above the bass note. It typically resolves to the dominant chord (V), leading back to the tonic (I).

Arpeggiated 6-4

A type of chord where the notes of the triad are played in a broken or arpeggiated manner, creating a 6-4 sonority, commonly used in cadential progressions. Bass moves between notes of the same triad, placing the fifth in the bass, often acting as a decorative extension rather than a structural harmony.

Passing 6-4

A passing 6-4 chord is a type of harmony that connects two chords by using a triad built on the tonic note in first inversion, typically used to smooth transitions between chords.

Neighboring/pedal 6-4

a technique involving a sustained bass note while chords above change, or a melody that alternates between a principal note and a neighboring tone.

Neighbor Tone

Starts on chord tone, moves up or down then returns,

unaccented or accented

Chromatic neighbor when accidental (except the leading tone in minor)

step → step (opposite)

Passing Tone

Fill gap between two chords( Usually 3rd apart) diatonic note connecting two chord tones that are a third,

-unaccented or accented

step → step (Same direction)

Accented V Unaccented

Accented- occurs on the beat (creating greater tensions)

Unaccented- occurs in between beat

Picardy Third

Ending minor phrase using Authentic Cadence using Major Tonic chord

Third of the final chord from major to minor is raised to change triad from major to minor

Mode mixture (Borrow Chords from parallel Major/Minor key)

Phrygian Cadence

iv6-V

occurs in harmonic minor

Bass Sings le-sol

closes a phrase on a major dominant chord.

Homophony

One clear melody with accompaniment

Chordal Homophany- All parts have same rhythm (moves in chords)

Alberti bass

Polyphony

More than one melody occurring at the same time

Rounds, cannons, Fugues

Imitative Polyphony & Non-Imitative Polyphony

Imitative- Counter melodies are similar/same

Non Imitative- Counter melodies are independent

Heterophony

Only one melody, but different variations played/ sung at the SAME time

Ex: Happy Birthday (not all together)

Retrograde

Playing a melody backwards (mirror image of the original melody).

Retrogression

A musical technique involving a sequence of notes played in reverse order, creating a sense of development or descent. Retrogression is the process of reversing a musical phrase or sequence, leading to a sense of movement back to previous tonalities or themes.

Deceptive Cadence

Dominant chord (V) resolves to a chord other than the tonic (usually submediant/vi), defying expectations of a final, resting point. It acts as a musical "comma" rather than a "period,"

V-vi (Major) V-VI (minor)

Half Cadence

Ends on V

Acts as comma (unresolved, suspended feel)

Middle of phrase followed by strong cadence (V-I) (PAC)

IV, ii6, or Vi comes before it

Plagal Cadence

A cadence that resolves from the subdominant chord (IV) to the tonic chord (I), often described as the "Amen Cadence." It provides a finality in music, often associated with a softer resolution than the authentic cadence.

IV-I (Major) iv-i (minor)

Soft stop, comma, slightly weaker than authentic cadence

Imperfect authentic cadence

All other Authentic cadences, moves from dominant(V/V7) to I, but uses inversions

soprano ends on mi, sol, or uses vii7 instead of V7