AP Music Theory

FORM

ways in which composition is shaped

Cadence

a harmonic goal, specifically the chords used at the goal

Cadential extension

delay of cadence by addition of material

Coda

conclusion of composition

Codetta

"small coda" marks end of sonatas, ends in perfect cadence

Contour

shape of the melody

Conjunct Contour

stepwise

Disjunct Contour

with leaps

Focal point Contour

highest note of the melody

Countermelody

accompanying melody sounding against the principle melody

Elision (phrase elision)

when last note of one phrase serves as first note of next phrase

Introduction

section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements

Bridge

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

Chorus (refrain)

line or lines that are repeated (starts off a jazz song)

Song form (AABA)

most popular structure

Turnaround

passage at end of a section which leads to the next section, often repetition of previous section, vi ii V I

Twelve-bar blues

three four-bar phrases, aab or abc pattern, most commonly I|I|I|I|IV|IV|I|I|V|IV|I|I|

Melodic Fragmentation

division of a musical idea into segments

Melodic Internal expansion

phrase extends beyond the expected phrase length

Root position

1 in bass

First inversion

3 in bass

Second inversion

5 in bass

Third inversion

7 in bass (n/a for triads)

Literal repetition

sequences are repeated, indicated by repeat sign, capo, or segno

Motivic transformation

rhythmic theme is changed

Melodic Inversion

melody flipped upside down

(Motivic transformation) Augmentation

multiplication

(Motivic transformation) Diminution

division

(Motivic transformation) Retrograde

backwards

Retrograde Inversion

upside-backwards melody

(Motivic transformation) Extension

addition

(Motivic transformation) Truncation

subtraction

Octave displacement

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

Sequence

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

Tonal sequence

keeps pattern in single key, interval modifiers (major, minor, etc.) change (C-D-E to D-E-F)

Real sequence

transposes pattern to new key (C-D-E to D-E-F#)

Modified sequence

neither tonal nor real

Circle-of-fifths progression

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

smallest identifiable musical idea, can consist of pitch pattern, rhythmic pattern, or both

Phrase

relatively independent musical idea terminated by a cadence

Subphrase

distinct portion of a phrase, usually not terminated by cadence

Period

two or more phrases in antecedent-consequent relationship, ends in cadence

Antecedent

"question," first phrase in a period, weaker cadence

Consequent

"answer," terminal phrase in a period, strong cadence

Parallel period

both phrases begin with similar material

Contrasting period

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, cadence at end of second pair is stronger than cadence at the end of the first pair

Parallel double period

melodic material that begins two halves similar

Contrasting double period

melodic material that begins two halves different

Repeated phrase/period

two identical phrases

Phrase group

group of phrases seem to belong together without forming period or double period

Binary

movement with two main sections

Sectional binary

first section ends on tonic triad or main key

Continuous binary

first section ends on any other chord

Ternary

A B A, or statement-contrast-return

Rounded binary

A B 1/2A - almost identical to ternary

Solo, soli

alone

Stanza (verse)

two or more sections of a song have similar music and different lyrics

Strophic form

A A' A''- repetition of "one formal section": music, verses of songs, like nat'l anthem

Theme

initial or primary melody

Through-composed

continuous, non-sectional, non-repetitive, :different music for each stanza

Tutti

every instrument playing together

Variation

material is altered during repetition

HARMONY

use of different pitches simultaneously

Authentic cadence

V or viio to I

Perfect authentic cadence

V(7) to I (with tonic in soprano)

Imperfect authentic cadence

all ACs that are not PACs, with also viio - I

Root position IAC

V to 1 (w/ 3 or 5 in melody)

Inverted IAC

V(7) or V to I (w/ at least one inverted)

Leading tone IAC

viio I

Deceptive cadence

V to anything but I (usually vi)

Half cadence

ends in V

Phrygian half cadence

iv6 to V in minor

Plagal cadence

IV to I

Major Triad

M3, P5

Augmented Triad

M3, A5

Minor Triad

m3, P5

Diminished Triad

m3, d5

Major seventh

major triad + M3

Major minor seventh (Dominant 7th)

major triad + m3

Minor seventh

minor triad + m3

Half diminished seventh

diminished triad + M3

Fully diminished seventh

diminished triad + m3

(1^)

Tonic - Ionian

(2^)

Supertonic - Dorian

(3^)

Mediant - Phrygian

(4^)

Subdominant - Lydian

(5^)

Dominant - Mixolydian

(6^)

Submediant - Aeolian

(7-flat)

Subtonic

(7^)

Leading tone - Locrian for "guitarists"

Tonic function

"closer," place where progression finishes

Dominant function

leads to tonic

Subdominant function

prepare for the dominant

Deceptive progression

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

Harmonic rhythm

rate at which chords change

Modulation/tonicization

shift of tonal center that takes place within a movement

Enharmonically equivalent keys

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