harmony

Function

Refers to three categories of chords: tonic, predominant, and dominant. A chord's membership within a category indicates something about how that chord typically behaves in tonal harmonic progressions in Western classical music. For example, tonic function chords are stable and tend to represent points of resolution or repose.

Schema

A prototypical chord progression or formal structure.

Chord Substitution

Replacing a standard chord (i.e., within a harmonic schema) with a different chord. The substituted chord is typically identical in harmonic function to the standard chord, and often shares at least two notes with the standard chord.

Chord Rotation

Beginning a harmonic schema on a different chord within the schema, but proceeding through the harmonies in the same order.

Doo-*** Schema

I - VI - IV - V , or C - Ami - F - G in C major. Common alterations: substituting ii for IV; rotation.

Singer-Songwriter Schema

I-V-vi-IV in major, or III-VII-i-VI in minor (C-G-Ami-F, for example). This chord progression often loops throughout a pop song. Frequently, this progression begins on the vi/i chord instead of the I/III chord.

Hopscotch Schema

IV-V-vi-I. This four-chord schema has become increasingly common in pop music since 2010.

Motive

A regularly recurring unit of music that's smaller than an idea, and which is typically transformed across a work. The word 'motive' usually refers to pitch material, but other kinds of motives such as rhythmic or contour also exist.

Types of Motivic Transformation

Different methods of transforming a motive in music.

TRANSPOSITION

Moving the motif to a different pitch.

AUGMENTATION (ENLARGEMENT)

Making the durations of a motive longer than the original.

DIMINUTION (CONTRACTION)

Making the durations of a motive shorter than the original.

INVERSION

Changing the direction of the motive (e.g., instead of going up, it goes down).

RETROGRADE

Stating the motive backward in comparison to the initial statement.

DISPLACEMENT

Changing the metric position of the motive relative to its original statement.

INTERVALLIC MANIPULATION

Changing the size of the intervals that comprise the motive (e.g., mi2 becomes ma2).

EMBELLISHMENT

Adding embellishing tones to the underlying basic shape of the motive.

Phrase

A relatively complete musical thought that exhibits trajectory toward a goal (often a cadence).

Period

A phrase-level form that consists of two phrases: an antecedent and a consequent.

Antecedent Phrase

A phrase consisting of a basic idea followed by a contrasting idea that ends with a weak cadence (usually a Half Cadence or sometimes an Imperfect Authentic Cadence). Also called an OPEN phrase.

Consequent Phrase

A phrase consisting of a basic idea followed by a contrasting idea that ends with a strong cadence (an Authentic Cadence). It usually forms the second half of a phrase-level form. Also called a CLOSED phrase.

Parallel Period

When the melody of two phrases is identical or quite similar. Can be identical (a) or a variation (a1).

Contrasting Period

When the melody of the first phrase is different from the melody of the second.

Quartenary Song Form

A Song containing 4 phrases.