7-10 vocab

Song Form

A song form where the B section is usually the bridge, also referred to as the '32 bar form'.

Binary

A musical structure consisting of two sections, often repeated, labeled AABB.

Continuous Binary

A type of binary form where the first section ends with any cadence other than an authentic cadence.

Sectional Binary

A binary form where the first section ends with an authentic cadence.

Ternary

A musical structure of three sections, ABA, typically with a recapitulation of the first section.

Rounded Binary

A form that combines features of binary and ternary structures, represented as AB(A), where part of the A section returns after the B.

Through-Composed

A musical form that features new music for each stanza.

Strophic

A form where the same music is used for each verse.

Sonata Allegro Form

A common structure for the first movement of a sonata, typically well-known in classical music.

Exposition

The section in sonata form where the first theme is in the tonic key, and the second theme is in the dominant key or relative major.

Development

The section where previously presented themes are expanded and explored, often in new keys.

Recapitulation

The section of sonata form where the first and second themes are restated in the tonic key.

Rondo

A musical form that alternates with a recurring theme, structured as ABACA.

Arch Form

A musical structure represented as ABCBA.

Basso Ostinato

A repeating bass line that provides a foundation for a piece.

Theme and Variations

A form where one theme is repeated in slightly different ways.

Passacaglia

A type of theme and variations characterized by a consistent basso ostinato.

Chaconne

A form of theme and variations that also features a basso ostinato.

Coda

The concluding measures of a composition that follow the PAC, often not part of the main thematic material.

Codetta

Similar to a coda, it refers to closing measures that follow the PAC.

Cadenza

Typically improvised or composed ornamental material performed by a soloist in a free style.

Texture

Describes the complexity of layers in music at any given moment.

Monophonic

A musical texture with one melodic line and no harmony or counterpoint.

Homophonic

A texture with one prominent melodic line accompanied by other parts that fill in the chords.

Chordal Homophony

A form of homophony where all voices move together with the same rhythm.

Melody with Accompaniment

A type of homophony with an independent melody where the accompaniment is not limited to chordal movement.

Ostinato

A repetitive short rhythmic, melodic, or harmonic pattern.

Alberti Bass

An accompaniment style using broken chords or arpeggios, typically following a 1-5-3-5 pattern.

Walking Bass

A bass line characterized by regular quarter note movement, resembling walking.

Polyphonic

A musical texture involving multiple independent melodies being played simultaneously.

Counterpoint

A type of polyphony where distinct musical lines harmonically complement each other.

Contrapuntal

Relating to counterpoint, a texture involving independent musical lines.

Imitative Polyphony

A texture where a main idea is echoed or imitated across different voices.

Fugue

A type of imitative polyphony where a theme is introduced in one voice and imitated by others.

Fugal Imitation

Imitative polyphony that mirrors the antecedent at different pitch levels.

Non-Imitative Polyphony

A polyphonic texture where the independent lines differ in rhythm and contour.

Counter Melody

A secondary melody played alongside the primary melody.

Heterophonic

A texture with a single melody being sung or played in various forms simultaneously.

Ragtime

An American musical style that features syncopated or 'ragged' rhythms.

Parallel Motion

Both voices move in the same direction by exactly the same interval.

Oblique Motion

One voice moves in any direction by any interval while the other remains on the same pitch, not moving at all.

Contrary Motion

The voices move by any interval in the opposite direction.

Similar Motion

When both voices move in the same direction, but by different intervals.

Disjunct Motion

Moving by skips and leaps.

Conjunct Motion

Moving by steps.

Static Motion

No movement.

Cadence

A progression of (at least) two chords that concludes a phrase, section, or piece of music.

Authentic Cadence (AC)

it occurs whenever a phrase ends with a Major FIVE Chord or Diminished SEVEN Chord leading to a Major/Minor TONIC Chord.

Perfect Authentic Cadence (PAC)

For an AC to be considered a PAC three things must occur: 1. The penultimate chord must be a Major FIVE not LEADING TONE. 2. Both chords must be in root position. 3. The highest note of the ONE CHORD must be the tonic of the scale.

Imperfect Authentic Cadence (IAC)

best separated into three categories: 1. Leading Tone - The FIVE chord is replaced with the LEADING TONE chord - the cadence still ends on TONIC chord. 2. Inverted ___ - Similar to PAC but the one or both chords are inverted. 3. Root Position _ - similar to PAC but the highest voice is NOT the tonic of the scale.

Deceptive Cadence (DC)

A chord progression that ends with the SUBMEDIANT chord. (usually V to vi).

Plagel Cadence (PC)

A chord progression where the SUBDOMINANT chord is followed by the TONIC chord (IV to I).

Half Cadence (HC)

A chord progression that ends with the DOMINANT chord (anything to a V).

Phrygian Half Cadence (PHC)

A chord progression where the subdominant chord (in first inversion) is followed by the dominant chord (IV6 -V). The root (not the bass note) of the final chord is approached from a half step above.

Motive or Motif

The smallest recognizable musical idea. A figure is not considered motivic unless it is repeated in some way.

Motivic Development

A restatement of the motive in some way. Examples include: 1. A motive can feature rhythm, pitch, and intervalic elements. 2. Any part of the motive can be varied in its repetitions (including pitch and rhythm).

Phrase

A set of notes that combine to make a musical sentence, which leads to a cadence.

Phrase Modification

A modification, in some way, of the original phrase.

Sub-Phrase

Some phrases have detectable divisions made of two or so motives. They might consist of two or three motives or be a particularly long motive with strong than usual closure.

Augmentation (Phrase)

A compositional device where a melody, theme or motif is presented in longer note-values than were previously used.

Diminution

The shortening of the time values of notes in a melodic part.

Elision

The process of joining together or merging two musical ideas.

Expansion

The interpolation of extra material prior to the cadence of a phrase.

Extension

The addition of extra material at the cadence

Introduction

A bar or two of accompaniment prior to the start of the phrase itself

Internal Expansion

the extension of phrase length with something added or repeated not at the cadence

Cadential Extension

Delayed a cadence by the addition of material just before the cadence.

Fragmentation

The division of a musical idea into fragments

Imitation

The repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice.

Retrograde

Reverses the order of the motive's pitches: what was the first pitch becomes the last, and vice versa.

Inversion (Phrase)

To change its ascending intervals to descending ones, and vice versa

Mirror Inversion

a type of canon which involves the leading voice being played alongside its own inversion (i.e. upside-down).

Retrograde Inversion

a musical term that literally means "backwards and upside down

Melodic Variation

Material is repeated in an altered form. May involve melody, rhythm, harmony, etc.

Embellishment

Notes, usually of short duration, that are added to the main melody of a composition to decorate or ornament the melody.

Ornamentation

Notes, usually of short duration, that are added to the main melody of a composition to decorate or ornament the melody.

Rhythmic Displacement

Where the motif is moved to different beats in a bar, keeping the motif's rhythmic structure intact.

Repetition

Musical ideas, phrases or motifs, that are repeated

Theme

A subject is the material, usually a recognizable melody, upon which part or all of a composition is based

Leit Motif

A recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation.

Sequence

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

Truncation

Shortening of a musical phrase.

Transposition

The process, or operation, of moving a collection of notes (pitches or pitch classes) up or down in pitch by a constant interval.

Real Transposition

Transposing into a new key - (D-R-M to M-Fi-Si)

Tonal Transposition

Transposing, but doing it within the same key (diatonically) - (D-R-M to M-F-S)

Period

A group of phrases consisting usually of at least one antecedent phrase and one consequent phrase totaling about 8 measures in length

Antecedent

The first phrase in a musical period

Consequent

The second phrase in a musical period

Parallel Period

The first phrase ends with a half cadence. The second phrase ends with a perfect authentic cadence.

Contrasting Period

A period consisting of two phrases not similar to one another with respect to surface design.

Double Period

A group of at least four phrases in which the first two phrases form the antecedent and the third and fourth phrases together form the consequent.

Phrase Group

Two phrases in which the first (antecedent) promises a continuation and the second (consequent) provides a conclusive cadence.

Asymmetrical Period

A period whose antecedent and consequent phrases are similar in content.

Symmetrical Period

A period whose antecedent and consequent phrases are of the same or similar length.

Interpolation

occurs during restatement of a phrase: Some material is interpolated between phrase members, i.e., when a motive from the first phrase member is repeated before the second phrase member is stated.

Cadential Phrase Group

groups of phrases that end primarily with P.A.C. (Cadential function)

Phrase Elision

When the cadence of one phrase occurs at the same time with the beginning of the next phrase.