AP Music Theory Review

AP Music Theory Study Guide Flashcards

Form

Ways in which a composition is shaped.

Cadence

A harmonic goal, specifically the chords used at the goal.

Cadential Extension

Delay of a cadence by addition of material.

Coda

The conclusion of a composition.

Codetta

Marks the end of sonatas, ending in a perfect cadence.

Contour

The shape of the melody.

Conjunct

Stepwise melodic motion.

Disjunct

Melodic motion with leaps.

Focal Point

The highest note of the melody.

Countermelody

An accompanying melody sounding against the principle melody.

Elision (Phrase Elision)

When the last note of one phrase serves as the first note of the next phrase.

Introduction

A section that opens a movement, establishing melodic, harmonic, and/or rhythmic elements.

Bridge (Jazz/Pop)

A contrasting section which also prepares for the return of the original material section.

Chorus (Refrain)

A line or lines that are repeated in a song.

Song Form (AABA)

A popular song structure (AABA).

Turnaround

A passage at the end of a section which leads to the next section, often a repetition of the previous section.

Twelve-Bar Blues

A common blues progression consisting of three four-bar phrases, typically in an aab or abc pattern. Example: I|I|I|I|IV|IV|I|I|V|IV|I|I|

Fragmentation

Division of a musical idea into segments.

Internal Expansion

A phrase that extends beyond the expected phrase length.

Inversion

Any arrangement of a chord other than root position.

Root Position

Chord with the root in the bass.

First Inversion

Chord with the third in the bass.

Second Inversion

Chord with the fifth in the bass.

Third Inversion

Chord with the seventh in the bass (not applicable for triads).

Literal Repetition

Sequences are repeated; indicated by repeat sign, capo, or segno.

Motivic Transformation

A rhythmic theme is changed.

Augmentation

Multiplication of rhythmic values.

Diminution

Division of rhythmic values.

Retrograde

Playing a melodic line backwards.

Extension (Melodic)

Addition to a melodic idea.

Truncation

Subtraction from a melodic idea.

Octave Displacement

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

Sequence

A pattern that is repeated immediately in the same voice but that begins on a different pitch class.

Tonal Sequence

Keeps pattern in a single key; interval modifiers (major, minor, etc.) change.

Real Sequence

Transposes pattern to a new key.

Modified Sequence

Neither tonal nor real sequence.

Circle-of-Fifths Progression

A series of roots related by descending 5ths (and/or ascending 4ths).

Transposition

To write or play music in some key other than the original.

Motive

The smallest identifiable musical idea, which can consist of a pitch pattern, rhythmic pattern, or both.

Phrase

A relatively independent musical idea terminated by a cadence.

Subphrase

A distinct portion of a phrase, usually not terminated by a cadence.

Period

Two or more phrases in an antecedent-consequent relationship, ending in a cadence.

Antecedent

The 'question' phrase, the first phrase in a period.

Consequent

The 'answer' phrase, the terminal phrase in a period.

Parallel Period

Both phrases begin with similar material.

Contrasting Period

A period in which phrase beginnings are not similar.

Three-Phrase Period

Three different phrases, 2A/1C or 1A/2C.

Double Period

Four phrases in two pairs, where the cadence at the end of the second pair is stronger than the cadence at the end of the first pair.

Parallel (Melodic)

Melodic material that begins two halves similarly.

Contrasting (Melodic)

Melodic material that begins two halves differently.

Repeated Phrase/Period

Two identical phrases.

Phrase Group

A group of phrases that seem to belong together without forming a period or double period.

Binary Form

A movement with two main sections.

Sectional Binary

The first section ends on the tonic triad or main key.

Continuous Binary

The first section ends on any chord other than the tonic triad.

Ternary Form

A form with three sections: A B A, or statement-contrast-return .

Rounded Binary

Form: A B 1/2A, almost identical to ternary.

Solo, Soli

Alone.

Stanza (Verse)

Two or more sections of a song that have similar music and different lyrics.

Strophic Form

Repetition of one formal section: A A' A''…

Theme

The initial or primary melody.

Through-Composed

Continuous, non-sectional, non-repetitive.

Tutti

Every instrument playing together.

Variation

Material is altered during repetition.

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The use of different pitches simultaneously.

Authentic Cadence

V or vii° → I

Perfect Authentic Cadence (PAC)

V(7) → I (with tonic in soprano)

Imperfect Authentic Cadence (IAC)

All authentic cadences that are not PACs.

Root Position IAC

V→ I (w/ 3 or 5 in melody)

Inverted IAC

V(7) → I (w/ at least one inversion)

Leading Tone IAC

vii° → I

Deceptive Cadence

V → anything but I (usually vi)

Half Cadence (HC)

Ends on V.

Phrygian Half Cadence

iv6 → V

Plagal Cadence

IV → I

Major (Chord Quality)

Major triad.

Augmented Triad

5th is raised 1/2 step from major.

Minor Triad

3rd is lowered 1/2 step from major.

Diminished Triad

3rd and 5th are lowered 1/2 step from major.

Major Seventh Chord

major triad + major third

Major-Minor Seventh Chord (Dominant 7th)

Major triad + minor third.

Minor Seventh Chord

minor triad + minor third

Half-Diminished Seventh Chord

diminished triad + major third

Fully-Diminished Seventh Chord

diminished triad + minor third

Tonic Scale degree/Diatonic Chord Name

(1) - Ionian.

Supertonic Scale degree/Diatonic Chord Name

(2) - Dorian.

Mediant Scale degree/Diatonic Chord Name

(3) - Phrygian.

Subdominant Scale degree/Diatonic Chord Name

(4) - Lydian.

Dominant Scale degree/Diatonic Chord Name

(5) - Mixolydian.

Submediant Scale degree/Diatonic Chord Name

(6) - Aeolian.

Subtonic Scale degree/Diatonic Chord Name

(7-flat).

Leading Tone Scale degree/Diatonic Chord Name

(7) - Locrian.

Tonic Function

Closes off a section and allows for progression to finish.

Dominant Function

Leads to tonic.

Subdominant Function

Prepares for the dominant.

Deceptive Progression

V→vi (makes you think you're going to I).

Harmonic Rhythm

The rate at which chords change.

Modulation/Tonicization

A shift of tonal center that takes place within a movement.

Enharmonically Equivalent Keys

Two keys that sound the same (C# major and Db major).

Parallel Keys

Major and minor keys with the same tonic (ex. C major and c minor).