Theory 6 Exam 2 Terms

Binary form

two-part (AB) musical structure, both sections usually repeated

Rounded binary form

binary form where the second section ends with a return to material from the first section

Ternary form

three-part (ABA) musical structure, with an opening section A, contrasting middle B, and a return to section A

Sonata form

musical structure with exposition, development, and recap, often with an optional coda

Introduction

opening section of piece, often sets mood and establishes key theme material

Exposition section

first major section of a sonata form in which you introduce the primary theme and secondary themes, typically in contrasting keys

Development section

middle section of a sonata form, where themes from the exposition are varied/fragmented/modulated through different keys

Recapitulation section

third major section of sonata form, following the exposition and development, where initial themes return, typically in the tonic key

Coda

concluding section that extends and reinforces the final cadence

Primary theme area

in sonata form, the beginning of the exposition that establishes the tonic and introduces the main musical material

Transitional area

in sonata form, a passage that connects the primary and secondary theme, often features modulation and increased harmonic instability

Secondary theme area

occurs after primary theme and transition in sonata form, presents a contrasting theme in a new key, usually the dominant or relative major

Closing area

final part of the exposition in sonata form, often concluding the section with strong cadential material that solidifies the new key and preps for development

Retransition

the last part of the development section, preparing for the recap and return of home key

Modified sonata form

based on traditional sonata form but with changes, most often seen in key and theme structure

Theme group

several themes in the same key that function as a unit within a section of a form

Double-common-chord modulation

?????????????

Direct modulation

sudden shift into a new key without preparation or pivot chords

Sequential modulation

modulate by transposition

Chromatic-mediant relationships

harmonic relationships between two chords or keys a third apart, sharing the same quality and one common tone

Developing variation

a developmental technique where a musical idea is gradually changed until it sounds like something new, can build a more intense development

Equal division of the octave

to divide the octave into equal parts

Motto

short, distinctive musical idea or motive that recurs throughout a piece

Cyclic

recurrence of themes in a single movement/different movements

Program symphony

multi-movement symphony that is written to correspond to a narrative or descriptive program (Berlioz Symphony Fantastique)

Symphonic poem

a single-movement orchestral work in which the music evokes a story, scene, or mood, often based on literature or art. (Liszt Mazeppa)

Music drama

Wagner’s term for opera

Through-composed form

musical structure with continuously new material and little or no repetition of earlier sections

Linear harmony

chord progressions are primarily driven by melodic lines rather than traditional, functional vertical chord changes

Voice-leading chords

similar to linear harmony, chords whose function is defined more by smooth, independent motion of voices than by traditional harmonic progression.

Nonfunctional harmony

a harmony that does not follow traditional tonal rules, avoiding functional chord progressions. (focusing on color or texture)

Idee fixe

recurring theme or melody that represents a specific character or idea in program symphonies

Leitmotif

Wagner’s use of motives, motives that unify expansive music dramas

Thematic transformation

technique where a theme is altered throughout a piece

Characteristic tonality

in addition to the tonic, other notes are highly featured to create more variety in color/tension

Associative tonality

a key/chord is associated with a certain idea

Wandering tonality

keeps modulating, wanders from key to key

Directional tonality

keys are going in a certain direction to create a certain effect (upward excitement, downward depression), recap of Liszt

Suspended tonality

key isn’t that well established, piece that might have functions but no tonic, therefore tonality is unresolved or suspended (intro to Liszt and Berlioz)