Study terms for Ms. Kimball's AP Music Theory class
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| 344086771 | Monophony | a musical texture consisting of a single unaccompanied line of melody |  | 0 |
| 344086772 | Polyphony | a texture consisting of two or more independent melodic voices, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony) |  | 1 |
| 344086773 | Homophony | a musical texture that involves only one melody of real interest, combined with chords or other subsidiary sounds |  | 2 |
| 344384143 | Alberti Bass | an accompaniment pattern using a 3-note chord. (root-fifth-third-fifth). Usually in 8th notes. | 3 | |
| 344384144 | Anacrusis | pick up note | 4 | |
| 344384145 | Anticipation | is approached by a step and then remains the same. It's basically the note of the second chord played early | 5 | |
| 344384146 | Appoggiatura | An NCT that is approached by leap and resolved by step. | 6 | |
| 344384147 | Binary Form | a musical form consisting of two units (A and B) constructed to balance and complement each other | 7 | |
| 344384148 | Compound Meter | A meter whose main beats are divisible by 3 (examples: 6/8, 9/8, 3/8, 12/8) | 8 | |
| 344384149 | Simple Meter | A meter whose main beats are divisible by 2 (examples: 4/4, 2/2, 2/4, 6/4, 5/6) | 9 | |
| 344384150 | Duple Meter | basic metrical pattern of two beats to a measure | 10 | |
| 344384151 | Triple Meter | basic metrical pattern of three beats to a measure | 11 | |
| 344384152 | Counterpoint | Two or more distinct melodic lines sung or played at the same time | 12 | |
| 344384153 | Deceptive Cadence | A cadence in which the V goes to something other than I, most often vi or VI | 13 | |
| 344384154 | Half Cadence | a phrase ending using V (or V7) as the final chord | 14 | |
| 344384155 | Plagal Cadence | nearly always IV to I or iv to i, or ii6 to i | 15 | |
| 344384156 | Perfect Authentic Cadence | Progression from V to I in major keys and V to i minor keys. Both chords must be in root position. The tonic note must also be the highest sounding pitch in the tonic triad. This is the strongest cadence of all. | 16 | |
| 344384157 | Imperfect Authentic Cadence | A PAC, except if the highest-sounding tone in the tonic triad is a tone other than the tonic note, The viiº triad is substituted for the V, making the cadence viiº6 to I, or One or both of the chords is inverted | 17 | |
| 344384158 | Elision | The simultaneous ending of one phrase and beginning of another, articulated by the same pitches. | 18 | |
| 344384159 | Escape Tone | "escape" from the harmony by step, then leap in the opposite direction to the next chord. Step, skip. (C-D-B) | 19 | |
| 344384160 | Fugue | a musical form consisting of a theme repeated a fifth above or a fourth below its first statement | 20 | |
| 344384161 | Half Diminished | 7th chord with a diminished triad and minor 7th interval | 21 | |
| 344384162 | Fully Diminished | 7th chord with a diminished triad and diminished 7th interval | 22 | |
| 344384163 | Hemiola | a rhythmic device superimposing two beats in the time of three or three beats in the time of two | 23 | |
| 344384164 | Heterophonic | 2 or more voices elaborate the same melody at the same time | 24 | |
| 344384165 | Melismatic | In vocal music, a passage of many notes sung to a single syllable, Singing a word or syllable over MANY notes | 25 | |
| 344384166 | Motif | a recurring theme | 26 | |
| 344384167 | Neighboring Tone | nonharmonic tone occurring a second above or below a harmonic tone and then returning to the same pitch. | 27 | |
| 344384168 | Opus | A musical work or composition | 28 | |
| 344384169 | Ornamentation | decorative notes used to emphasize other notes and add flavor to the melody. Ex. trills, grace notes | 29 | |
| 344384170 | Parallel Minor | Major and minor keys with the same letter names (such as C Major and c minor) | 30 | |
| 344384171 | Relative Minor | Minor key having the same key signature as a Major key. Minor key's tonic is the sixth degree of the Major scale. | 31 | |
| 344384172 | Parallel Period | When both phrases begin with similar or identical material, even if the material is embellished. | 32 | |
| 344384173 | Contrasting Period | A period in which the two phrases are not similar in melodic content. May be caused by a change in melodic contour or dissimilar rhythmic figure, or could simply have nothing to do with the first one. | 33 | |
| 344384174 | Passing Tone | Approached by step, left by step in same direction.Can be accented (on the beat), or unaccented (between beats.) Abbreviation: P or PT | 34 | |
| 344384175 | Pedal 6/4 | least common, pedal in bass. elaboration, similar to pedal point. either I to IV 6/4 to I, or V to I 6/4 to V | 35 | |
| 344384176 | Pentatonic | 5-tone scale within an octave such as G, A, B, D, E, or those keys with flats., 5 note scale without 4th or 7th scale degree. useful in blues | 36 | |
| 344384177 | Phrygian Half Cadence | iv6-V in minor, A half cadence in which a iv6 goes to a V in a minor key. | 37 | |
| 344384178 | Picardy Third | suddenly ending a minor composition in a major triad | 38 | |
| 344384179 | Pivot Chord | a chord that precedes a key change (modulation), and is common to both the original key and the key to which the music changes | 39 | |
| 344384180 | Pizzicato | (of instruments in the violin family) to be plucked with the finger | 40 | |
| 344384181 | Ritardation | Non-chord tone that retains a common tone from the previous chord and then resolveds upward by a step. | 41 | |
| 344384182 | Rounded Binary Form | ||: A :||: B A' :|| (Statement, Digression, Re-statement). Return of A material (A') is accompanied by an immediate return to the home key after a harmonic, large scale interruption. Will always modulate. | 42 | |
| 344384183 | Ternary Form | Three-part (A-B-A) form based on a statement (A), contrast or departure (B), and repetition (A). Also three-part form. | 43 | |
| 344384184 | Syllabic | one note per syllable | 44 | |
| 344384185 | Rubato | making the established pulse flexible by accelerating and slowing down the tempo, an expressive device | 45 | |
| 344384186 | Secondary Dominant | A dominant chord that belongs to a different key from the main key of the passage, and temporarily tonicizes a note other than the tonic of the main key. | 46 | |
| 344384187 | Solfege | do re mi fa sol la ti do | 47 | |
| 344384188 | Sequence | the repetition of a phrase at different pitch levels using the same or similar intervals | 48 | |
| 344384189 | Suspension | A non-chord tone that retains a tone from the previous chord and then resolves downward...the opposite of a retardation. | 49 | |
| 344384190 | Syncopation | Deliberate upsetting of the meter or pulse through a temporary shifting of the accent to a weak beat or an offbeat. | 50 | |
| 344384191 | Tertian | A chord structure built of thirds. | 51 | |
| 344384192 | Tessitura | the general pitch level or average range of a vocal or instrumental part in a musical composition | 52 | |
| 344384193 | Timbre | quality of a musical tone produced by a musical instrument (which distinguishes it from others of the same pitch) | 53 | |
| 344384194 | Tremolo | rapid ("trembling") repetition of a tone or chord, without apparent breaks, to express emotion, (music) a tremulous effect produced by rapid repetition of a single tone or rapid alternation of two tones, rapid repetition of a tone or chord | 54 | |
| 344384195 | Tritone | the interval of an augmented 4th or a diminished 5th (spanning 3 whole tones). | 55 | |
| 344384196 | Variation | Modification of a melody or theme after the initial statement | 56 | |
| 344384197 | Whole tone scale | six consecutive whole steps within the range of an octave | 57 | |
| 344401469 | Ionian | Major Scale C to C | 58 | |
| 344401470 | Dorian | major flattened 3 flattened 7, D to D | 59 | |
| 344401471 | Phrygian | Natural minor scale with a lowered second degree, E to E | 60 | |
| 344401472 | Mixolydian | Major scale with lowered seventh degree, G to G | 61 | |
| 344401473 | Lydian | Major scale with raised fourth degree, F to F | 62 | |
| 344401474 | Aeolian | Same as natural minor scale, A to A | 63 | |
| 344401475 | Locrian | Minor scale with lowered 2nd scale degree and lowered 5th scale degree, B to B | 64 | |
| 344401476 | Tonic | (music) the first note of a diatonic scale, 1st scale degree | 65 | |
| 344401477 | Supertonic | (music) the second note of a diatonic scale, 2nd scale degree | 66 | |
| 344401478 | Mediant | 3rd scale degree | 67 | |
| 344401479 | Subdominant | 4th scale degree | 68 | |
| 344401480 | Dominant | 5th scale degree | 69 | |
| 344401481 | Submediant | 6th scale degree | 70 | |
| 344401482 | Subtonic | Used only to designate the seventh degree of the natural minor scale (7) | 71 | |
| 344401483 | Leading Tone | the seventh degree of the diatonic scale, when it is only a half-step below the tonic, gives the feeling of wanting to move up a half-step to the tonic | 72 | |
| 344401484 | Root Position | The triad position in which the root is on the bottom. Notated I, IV, V. In a V7 chord, it is notated V7 | 73 | |
| 344401485 | First Inversion | A triad written with the third as the lowest note. Notated I6, IV6. In a V7 chord, it is notated V6/5 | 74 | |
| 344401486 | Second Inversion | A triad written with the fifth as the lowest note. Notated I6/4, IV 6/4. In a V7 chord, it is notated V4/3 | 75 | |
| 344401487 | Third Inversion | A seventh chord with the 7th as the lowest tone. Notated as V4/2 or V2. | 76 |
