AP Theory Vocab Review

Cadence

The harmonic close of a musical phrase, signifying either the end of the piece or the end of a phrase

Cadential Extension

Compositional technique that serves to lengthen the cadence of a phrase (usually before the resolution to the tonic). Often creates a sense of anticipation and enhances the emotional impact of a piece and uses secondary dominant chords.

Contour

The outline/shape of a piece’s melody, like whether it moves up/down in stepwise motion (conjunct) or makes jumps in pitch (disjunct)

Countermelody

A second but subordinate/supporting melodic line used to enhance the depth and intrigue of a melody.

Genres

Different categories of music that group pieces of similar style, form, or emotion.

AABA

Classification of song structure defined by a twice repeating strophe/idea (‘A’) which is then contrasted by a bridge (‘B’) before revisiting the original idea to finish the piece.

Strophic

A song form characterized by different verses (strophes) are all sung over the same melody (AAA form)

Through

composed

Introduction

A preparatory movement, mostly found in Classical and Romantic era music, that prepares the listener for the key and tonality of the piece. In modern music, this includes the first few bars of a song that intros the verses.

Verse

A repeated section of a song that features new lyrics every repetition

Chorus

The refrain (repeated section) of a song

Motive/motif

A short musical figure that is easily recognizable throughout a piece

Period

Complete musical thought concluded with a cadence, having two phrases (antecedent & consequent) each 2

Phrase

Music unit or melodic divide in the music, often a component of a melody

Augmentation

A compositional technique that lengthens a melody or theme by increasing its note values, typically doubling or tripling their original duration

Diminution

The process of restating a melody or theme using faster rhythms, typically halving the original note durations, to increase energy, momentum, and complexity

Chord Inversion

When a chord’s lowest not is not the root

Interval inversion

taking the lower note of a two

Melodic inversion

All intervals in a melody are inverted and instead move in the opposite direction of the original

Sequence

A progression of chords that ends in a cadence

Sequential repetition

a restatement of a melody or motif on a different starting pitch

Transposition

Shifting a composition to a different pitch level

Modulation

The process of changing from one key to another (usually via chord progressions)

Theme

Recognizable melody or rhythmic pattern that serves as a basis for the piece

Variation

A deviation from a theme that uses the same bass pattern or harmonic progression that the theme used, and usually having the same number of measures as the theme

Diminished Seventh chord

Diminished triad with a minor 3rd stacked on top (dm)

Dominant/Major

Minor Seventh Chord

Half

Diminished Seventh Chord

Major Seventh Chord

Major triad with a major third stacked on top (MM)

Minor Seventh Chord

Minor triad with a minor 3rd stacked on top (mm)

Minor

Major Seventh Chord

Major Triad

Major 3rd + Minor 3rd

Minor Triad

Lowered Chordal 3rd; Minor 3rd + Major 3rd

Augmented triad

Raised Chordal 5th; Major 3rd + Major 3rd

Diminished Triad

Lowered Chordal 3rd and 5th; Minor 3rd + Minor 3rd

Leading tone

Seventh scale degree

Submediant

Sixth scale degree

Dominant

Fifth scale degree

Subdominant

Fourth Scale Degree

Mediant

Third scale degree

Supertonic

Second scale degree

Tonic

First/Eighth scale degree

Subtonic

Flat Seventh Scale Degree

Perfect Authentic Cadence (PAC)

V → I or v → i, both chords in root position, soprano note on the tonic

Root Position: Imperfect Authentic Cadence (IAC)

V→I or v →i, both chords in root Position, soprano note does NOT land on the tonic

Inverted: Imperfect Authentic Cadence (IAC)

V→I or v→i, at least one chord is inverted, soprano note does NOT land on the tonic

Leading Tone: Imperfect Authentic Cadence (IAC)

vii° → I instead of V →I

Deceptive Cadence

V → VI or v→vi

Half Cadence

any chord → V

Phrygian Half Cadence

iv

6

→V specifically in a minor key

Plagal Cadence

IV→I; “Amen Cadence”

Unison/Prime Unison

The musical interval formed by two or more voices or instruments playing the exact same pitch at the same time

Closed Positioning

Writing harmony with the upper three voices as close together as possible (with no space for more chord tones in between)

Open Positioning

Writing harmony with the upper three voices with space for additional chord tones in between notes

Chord Doubling

Adding a second note of a chord that is either the first or fifth to the music (do NOT double the third unless needed)

Root NOTE

Refers to the bottom note of a chord (the note that the chord is built upon)

Root POSITION

Refers to a chord that has the bass voice playing the root of the chord

Voice Leading

Refers to part writing

Cross Relation

A note that creates a subtle tension in the music using dissonance

Direct Fifths

When voices move in similar motion INTO a perfect fifth (meaning they weren’t previously a perfect fifth)

Direct Octaves

When two independent parts move INTO a perfect octave by similar motion (meaning they weren’t in a perfect Octave previously)

Contrary Motion

Simultaneous movement of at least two voices where both head in opposite directions

Oblique Motion

Simultaneous movement of two voices where one remains on the same note while the other moves

Parallel Motion

Simultaneous movement of at least two voices where both head in the same direction in identical intervals

Similar Motion

Simultaneous movement of at least two voices where both head in the same direction in NON

Voice Crossing

Intersection of parts, where a lower voice part is playing a higher pitch than its higher counterpart

Interval Inversion

The process of reversing the order of two notes in an interval by moving the lower note up an octave, or the higher note down an octave

Tritone

Interval of an augmented 4th/Diminished 5th known for it’s dissonance

Arpeggio

A "broken chord" where the individual notes of a chord are played in succession—ascending or descending—rather than simultaneously

Consonance

Satisifying or pleasing sounding

Dissonance

Tense or unpleasant sounding

Picardy Third

A composition is ended with a major I chord despite being in a minor key

Realization of Figured Bass

The lead

Resolution

The resolving of a dissonant sound to a consonant sound in the following chord. Typically a conclusive statement

Legato

Playing smoothly and connected

Pizzicato

Indication to string players that the following passage should be played by plucking the strings rather than with a bow

Slur

Musical notation indicating that two notes are to be played without separation

Ritenuto

Held back A tempo In time Ad libitum (ad lib.) or A piacere At the performer's pleasure

Staccato

Indication that the affected note should be separated/detached

Accelerando

Speed up

Ritardando

Slow down

Rubato

Performer tastefully pushing and pulling the tempo as they see fit to give the piece more emotion

Adagio

Slowly or at ease

Allegro

Fast tempo

Andante

Walking pace

Andantino

Slightly faster than andante

Largo

Really slow

Lento

Slow

Moderato

Moderately fast

Presto

Very fast

Vivace

Very fast and lively

Embellishment

Notes, usually of short duration, that are added to the main melody of a piece to decorate it. They can be written in or improvised by the performer

Medieval Period

500

Renaissance Period

1400

Baroque Period

1600

Classical Period

1750

Romantic Period

1825

Impressionist Period

1880