AP Music Theory Terms

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 –

marks end of sonatas, ends in perfect cadence

Contour –

shape of the melody

Conjunct –

stepwise

Disjunct –

with leaps

Focal point –

highest note of the melody

Countermelody –

accompanying melody sounding against the principal melody

Elision –

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

Introduction –

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

Bridge –

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

Chorus (refrain) –

line or lines that are repeated

Song form (AABA) –

most popular structure

Turnaround –

passage at the end of a section leading to the next section, often a repetition of the previous section

Twelve-bar blues –

three four-bar phrases, AAB or ABC pattern, most commonly I | I | I | I | IV | I | I | V | IV | I | I |

Fragmentation –

division of a musical idea into segments

Internal expansion –

phrase extends beyond expected length

Inversion –

any arrangement of a chord other than root position

Root position –

1 in the bass

First inversion –

3 in the bass

Second inversion –

5 in the bass

Third inversion –

7 in the bass (N/A for triads)

Literal repetition –

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

Motivic transformation –

rhythmic theme is changed

Truncation –

the removal of the last piece of a motive, cutting it off before the expected completion

Octave displacement –

moving some notes into a different octave

Sequence –

pattern repeated immediately in the same voice, beginning on a different pitch class

Circle-of-fifths progression –

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

Transposition –

writing or playing music in a key other than the original

Motive –

smallest identifiable musical idea, consisting of pitch, rhythm, or both

Phrase –

a series of notes that sound complete even when played apart from the main song

Subphrase –

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

Authentic cadence –

V or vii° → I

Deceptive cadence –

V → anything but I (usually vi)

Half cadence –

ends on V

Phrygian half cadence –

iv⁶ → V

Plagal cadence –

IV → I

Modulation –

shift of tonal center within a movement

Enharmonic keys –

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

Parallel keys –

major and minor keys with the same tonic (C major & c minor)

Relative keys –

major and minor keys with the same key signature (C major & A minor)

Common (pivot) chord modulation –

uses a chord common to both keys as a transition

Phrase modulation –

modulations without common chords or tones

Passing tone –

chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone

Neighboring tone –

approached by step and then returns by step to the original note

Suspension –

prolonging a consonant note while the underlying harmony changes

Anticipation –

approached by step and then remains the same. It is basically a note of the second chord played early

Pedal point –

CT → NCT → CT, a note that is held through changing harmonies, starting as a chord tone before becoming a non-chord tone.

Hemiola –

rhythmic pattern in which the core beat is displaced and grouped differently than usual

Syncopation –

stress on a normally unstressed beat or missing a stressed beat

Monophony –

melody without accompaniment

Homophony –

a musical texture where a primary melody is supported by harmony

Polyphony –

multiple independent melodies