AP Music Theory Unit 5

Contextual Analysis - Harmonic analysis that shows how passing chord (and other voice leading chords) function to expand the basic phrase model

Basic Phrase Model - T - PD - D - T

Resolution - End of a music thought (cadence, or end of a piece) / whenever something (ex. Leading tone/chordal 7th) gets resolved

Tendency Tones - any note that needs to be resolved (ex. Leading tone or chordal 7th ARE BOTH examples of tendency tones)

Transferred resolution - when you resolve the leading tone/tendency tone before the resolution of the piece ; OR when the leading tone moves to another voice in the next chord THEN gets resolved

Voice crossing - when ranges of two voices (ex tenor and alto) overlap each other WITHIN 1 CHORD/BEAT

Voice overlap - when ranges of two voices (ex tenor and alto) overlap each other ACROSS 2 CHORDS (ex. Tenor of one chord is higher than the alto in the next chord)

Parallel 5ths and 8ths - 5ths/8th —> 5th/8th moving by parallel motion

Contrary 5ths and 8ths - 5ths/8th —> 5th/8th moving by contrary motion

Direct (Hidden) 5ths and 8ths - When the soprano note is a 5th above the bass notes OR moving into a 5th/8th by similar motion

Unequal 5ths - perfect 5th -→ diminished 5th (or vice versa)

Half Cadence - ends on V

Strong Imperfect Authentic Cadence (IAC) - V - I ; both chords are in root position but the melody doesn’t end on Do

Contrapuntal Imperfect Authentic Cadence (IAC) - V - I ; when 1 or both chords are in an inversion

Perfect Authentic Cadence (IAC) - V to I ; both chords must be in root position and the melody must end on Do

Plagal Cadence - IV to I