AP Music Theory Terms

Cadence

a two-chord progression that occurs at the end of a phrase

Cadential Extension

the delay of a cadence by addition of material

Coda

used to indicate the section that ends a piece

Codetta

a brief conclusion with a dominant-tonic cadence that may be repeated several times for emphasis

Contour

the shape of a melodic line

Countermelody

an accompanying melody that contrasts against the main melody

Elision (phase elision)

the simultaneous use of the last note in one phrase as the first note of the next phrase

Fragment (fragmented motive)

a small but recognizable part of the motive

Introduction

the beginning of a piece

Bridge

the contrasting section of a song which prepares for the return of the main section

Chorus

A large organized group of singers

Song Form (AABA)

This type of song has an opening section (A), a bridge (B) before transitioning to the final A section. This song form is used in a variety of music genres

Turnaround

A passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. It may lead back to the section either harmonically, as a chord progression, or melodically.

Twelve-bar Blues

In its basic form, it is predominantly based on the I-IV-V chords of a key

Augmentation

Melody, theme or motif presented in longer note-values than were previously used

Conjunct

The interval between two consecutive scale degrees

Diminution

A long note is divided into a series of shorter, usually melodic, values

Disjunct

A larger interval between scale degrees, also called a skip

Phrase Extension

Once the composer establishes a phrase length, it can be extended on the upbeat, body, or cadence portions of the phrase.

Fragmentation

Division of a musical idea into small sections

Internal Expansion

Phrase extends beyond the expected phrase length

Melodic Inversion

Where the original melody goes up by an interval, the inverted melody goes down by the same interval

Literal Repetition

Often indicated by the use of a repeat sign, or the instructions da capo or dal segno

Motivic Transformation

Change of rhythmic theme

Octave Displacement

Taking a melodic line and moving some of the notes into a different octave

Retrograde

The inverse of the series is sounded in reverse order

Rhythmic Transformation

Multiplication, rotation, permutation (i.e. transposition, inversion, and retrograde), and combinations thereof involving rhythm

Sequence

The restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice

Sequential Repetition

Transposing a longer sequence to a different scale degree; may be diatonic or intervocalically exact.

Transposition

The process of rewriting a piece of music or a scale so that is sounds higher or lower in pitch. This involves raising or lowering each pitch by the same interval

Truncation

Utilizing a melody with part of the end omitted

Motive

short, recurring, musical idea

Antecedent

1st phrase of a period (less complete cadence)

Consequent

2nd phrase (more complete cadence)

Contrasting Period

periods with a different melody (especially beginning)

Double Period

two periods (4 phrases) joined together where the first acts as the antecedent and the second acts as the consequent

Parallel Period

beginning of the melody SAME in both phrases (but ending different)

Phrase Group

Any grouping of phrases defined by a terminal cadence

Refrain

a repeated line or phrase incorporated lyrically and musically within the verse itself

Binary Form

two sections often repeated (AABB)

Rounded Binary

between binary and ternary where only part of A is played, usually the latter part with a PAC (AB 1/2A)

Simple Binary

binary form that does not return to the A section

Ternary

three parts usually returning to A (AABA) or (ABA)

Solo

one voice alone in a featured section

Soli

a group alone in a featured section

stanza

a group of lines forming the basic recurring metrical unit in a poem; a verse.

Strophic

(AAAA) same music used for each verse (hymn)

Theme

melodic subject of a musical composition

Thematic Transformation

a musical technique in which a theme is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.

Through-composed

new music for each stanza (ABCD)

Tutti

(especially as a direction after a solo section) with all voices or instruments together

Variation

a change or difference in condition, amount, or level, typically with certain limits.

Verse

poetic stanza repeated in a song

Imperfect Authentic Cadence

A medial musical cadence where either or both chords are in inversion and a note other than tonic is sung by the top upper voice (Soprano) (i.e. V [or V7]-I)

Perfect Authentic Cadence

A final musical cadence where both chords are in root position and the tonic note in the I chord is in the top upper voice (Soprano) (i.e. V [or V7]-I)

Conclusive Cadence

A musical cadence that ends on a tonic triad

Deceptive Cadence

A musical cadence that ends on a triad other than tonic (i.e. V-vi or V-IV6)

Half Cadence

A musical cadence that is medial and includes and cadence ending on a dominant function chord (i.e. IV-V, ii-V, I-V, vi-V, or V/V-V)

Phrygian Half Cadence

A musical cadence involving the progression of iv6-V in a minor key

Inconclusive Cadence

A musical cadence in which the soprano or bass voices end on a scale degree other than tonic

Plagal Cadence

A final musical cadence that is authentic and involves the progression of IV-I, ii-I, or ii7-I

Augmented Triad

Triad consisting of stacked major thirds (M3) or a major third with an augmented fifth (A5)

Diminished Triad

Triad consisting of stacked minor thirds (m3) or a minor third with a diminished fifth (d5)

Major Triad

Triad consisting of a major third (M3) with a perfect fifth (P5)

Minor Triad

Triad consisting of minor third (m3) with a perfect fifth (P5)

Major Seventh Chord

Chord with an added major seventh (M7)

Dominant (Major-Minor) Seventh Chord

Major chord with a minor seventh (m7)

Minor Seventh Chord

Chord with an added minor seventh (m7)

Half-Diminished Seventh Chord

Diminished chord with a major seventh (M7)

Fully-Diminished Seventh Chord

Diminished chord with a minor seventh (m7)

Tonic

Scale degree one

Supertonic

Scale degree two

Mediant

Scale degree three

Subdominant

Scale degree four

Dominant

Scale degree five

Submediant

Scale degree six

Subtonic

Scale degree seven

Leading Tone

Raised scale degree seven

Tonic Function

A chord that functions as a tonic chord, (I VI)

Dominant Function

A chord that functions as a dominant chord (V vii)

Predominant Function

A chord that prepares the V chord (ii IV)

Circle of Fifths

A visual representation of the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys

Harmonic Rhythm/Rate of Harmonic Change

The rate at which the chords change in a musical composition (TWO NAMES for this term)

Modulation

The process of moving from one tonal center to another

Common Tone Modulation

A form of modulation in which a key change occurs by using a note from the old key to transition into the new one.

Phrase Modulation

A form of modulation in which the key changes abruptly after a cadence with no common chord.

Pivot Chord Modulation

A form of modulation in which a chord that is shared by both keys is used to transition into the new key

Neighboring Chord

Chord where the bottom lower voice (bass) remains stationary while the upper voices move to neighboring tones and back (occasionally one or more upper voices may have passing tones).

Passing Chord

Bass motion in passing tones

Retrogression

A series of chords that weakens tonality

Secondary Dominant Chord

A chord that is the V (or V7) chord of a certain key other than the tonic key ("the key within a key")

Secondary Leading Tone Chord

A chord that is the vii°, vii°7, or viiø7 of a certain key other than the tonic key ("the key within a key")

Tonicization

Process in which a chord other than tonic is usually set up by a secondary dominant chord to sounds like a temporary tonic chord

Arpeggiating 6/4 Triad

Second inversion triad created by arpeggiation of the triad in the bass

Cadential 6/4 Triad

Second inversion triad that precedes the dominant and is often found at a cadence

Neighboring/Pedal 6/4 Triad

Second inversion triad that occurs when the third and fifth of a root position triad are embellished by their upper neighboring tones while the bass remains stationary

Passing 6/4 Triad

Second inversion triad that harmonizes the bass passing tone; usually placed on an unaccented beat and upper voice motion is ordinarily by step

Anticipation

Unaccented non-chord tone that foreshadows a chord tone

Appoggiatura

Accented non-chord tone that is approached by skip and resolved by step

Escape Tone

Unaccented non-chord tone that is approached by step and resolved by skip