Terms : Hide Images
| 19812991 | Appoggiatura | An NCT that is approached by leap and resolved by step. | 0 | |
| 19812992 | Escape Tone | Approached by step and resolved by leap in the opposite directions. | 1 | |
| 19812993 | Neighbor Group | Embellishes a single pitch by sounding its upper and lower neighbors in succession (in either order). | 2 | |
| 19812994 | Anticipation | Anticipates a tone that belongs to the next chord. | 3 | |
| 19812995 | Free Anticipation | An anticipation that resolves by leap. | 4 | |
| 19812996 | Pedal Point | A stationary pitch that begins as a chord tone, then becomes an NCT as the harmonies change, and finally ends up as a chord tone again. | 5 | |
| 19812997 | Inverted Pedal Points | pedal point that occurs in a part other than the bass. | 6 | |
| 19812998 | Double Pedal Point | When pedal points contain more than one pitch class. | 7 | |
| 19813615 | Non-Chord Tone (NCT) | A tone, either diatonic or chromatic, that is not a member of the chord. | 8 | |
| 19813616 | Passing Tone | Used to fill in the space between two other tones. | 9 | |
| 19813617 | Neighboring Tone | A non-chord tone approached by step and left by step in the opposite direction. | 10 | |
| 19813618 | Suspension | Holds on to, or suspends a chord tone after the other parts have moved on to the next chord. | 11 | |
| 19813619 | Preparation | The tone preceding the suspension, and it is the same pitch as the suspension | 12 | |
| 19813620 | Resolution | The tone following the suspension and lying a 2nd below it | 13 | |
| 19813621 | Bass Suspension | When the bass voice is suspended, creating a 2nd (or 9th) with an upper voice, resulting in a 2-3 suspension. | 14 | |
| 19813622 | Suspension with Change of Bass | When a suspension occurs in one of the upper voices and the bass moves on to another chord tone at the same time as the suspension resolves | 15 | |
| 19813623 | Retardation | A suspension with an upward resolution. | 16 | |
| 19813624 | Submetrical | Less than a beat in duration | 17 | |
| 19813625 | Metrical | One beat in duration. | 18 | |
| 19813626 | Supermetrical | More than one beat in duration. | 19 | |
| 19813892 | Cadence | The harmonic goal, specifically the chords used at the goal. | 20 | |
| 19813893 | Authentic Cadence | A tonic triad preceded by some form of V or vii. | 21 | |
| 19813894 | Perfect Authentic Cadence (PAC) | Consists of a V-I (or V7 - I) progression, with both the V and I in root position and 1 in the melody over the I chord. | 22 | |
| 19813895 | Imperfect Authentic Cadence (IAC) | Any authentic cadence that is not a PAC. | 23 | |
| 19813896 | Deceptive Cadence (DC) | Results when the ear expects a V-I authentic cadence but hears V-? instead. The ? is usually a submediant triad, but others are possible. | 24 | |
| 19813897 | Half Cadence (HC) | A very common type of unstable or "progressive" cadence. The HC ends with a V chord, which can be preceded by any other chord. | 25 | |
| 19813898 | Phrygian Half Cadence | A special name give to the iv6-V HC in minor. The name refers to a cadence found in the period of modal polyphony (before 1600), but it does not imply that the music is actually in the Phrygian mode. | 26 | |
| 19813899 | Plagal Cadence (PC) | Typically involves a IV-I progression | 27 | |
| 19813900 | Conclusive Cadences | Includes authentic and plagal cadences. | 28 | |
| 19813901 | Progressive Cadence | Includes deceptive and half cadences | 29 | |
| 19813902 | Motive | The smallest identifiable musical idea. | 30 | |
| 19813903 | Phrase | A relatively independent musical idea terminated by a cadence. | 31 | |
| 19813904 | Subphrase | A distinct portion of a phrase, but it is not a phrase either because it is not terminated by a cadence or because it seems too short to be relatively independent. | 32 | |
| 19813905 | Elision | When the last note of one phrase serves as the first note of the next phrase. | 33 | |
| 19813906 | Period | When phrases are combined to form a larger structural unit. | 34 | |
| 19813907 | Repeated Phrase | When both phrases are identical. | 35 | |
| 19813908 | Parallel Period | When both phrases begin with similar or identical material, even if the material is embellished. | 36 | |
| 19813909 | Double Period | Just like a period, except that each half of the structure consists of two phrases rather than just one. | 37 | |
| 19813910 | Contrasting Period | A period in which the phrase beginnings are not similar. | 38 | |
| 19813911 | Three-Phrase Period | Has three different phrases - two antecedents and a consequent or one antecedent and two consequents, as determined by the cadences. | 39 | |
| 19813912 | Phrase Group | Transitional passages that connect more significant thematic areas. They seem to belong together without forming a period or double period. | 40 | |
| 19813913 | Musical Form | The ways in which a composition is shaped to create a meaningful musical experience for the listener. | 41 | |
| 19814274 | Counterpoint | The combining of relatively independent musical lines. | 42 | |
| 19814275 | Canon | A contrapuntal procedure in which the instruments or voices have identical rhythms and contours but are offset by one or more beats. | 43 | |
| 19814276 | Rounds | Canons that are perpetual - there is no notated ending for the ensemble. | 44 | |
| 19814277 | Fugue | A piece in which each voice states a short theme (the subject) in turn, after which it is tossed about among the voices, fragmented, and developed. | 45 | |
| 19814278 | Sixth Chord | A triad in first inversion. | 46 | |
| 19814279 | Imitative Counterpoint | Counterpoint in which similar material is passed from part to part. | 47 | |
| 19814280 | Neighbor Motion | Motion from a given tone up or down one step followed by a return to the first tone. | 48 | |
| 19814281 | cadential six-four chord | A tonic six-four that delays the arrival of the V chord that follows it. | 49 | |
| 19814282 | Passing six-four chord | Harmonizes the middle note of a three-note scalar figure in the bass. | 50 | |
| 19814283 | Pedal six-four Chord | Elaborates the root position chord that precedes it and usually follows it as well. | 51 | |
| 19814366 | Deceptive progression | The progression V -vi (or V-VI). | 52 | |
| 19814367 | Crook | A piece of tubing of a precisely calculated length. | 53 | |
| 19814368 | Fundamental | The lowest tone in a harmonic series. | 54 | |
| 19814369 | Score Order | The normal order in which the instruments are listed in a score. | 55 | |
| 19814370 | sequence | A pattern that is repeated immediately in the same voice but that begins on a different pitch class. | 56 | |
| 19814371 | Diatonic sequence | Keeps the pattern within a single key | 57 | |
| 19814372 | real sequence | Transposes the pattern to a new key. | 58 | |
| 19814373 | Modified Sequence | A sequence where the repetitions of the pattern are neither tonal nor real. | 59 | |
| 19814374 | Circle-of-fifths progression | Consists of a series of roots related by descending 5ths (and/or ascending 4ths). | 60 | |
| 19814375 | Plagal Progression | When IV proceeds to a I chord. | 61 | |
| 19814377 | Diatonic | Chords made up only of notes from the scale on which the passage is based. | 62 | |
| 19814378 | Altered or Chromatic | Chords using notes not in the scale. | 63 | |
| 19814379 | Harmonic Progression | The ways in which chords are selected. | 64 | |
| 19814380 | Voice Leading | The ways in which chords are produced by the motions of individual musical lines. | 65 | |
| 19814381 | Counterpoint | Refers to the combining of relatively independent musical lines. | 66 | |
| 19814382 | Focal Point | The highest note of the melody. | 67 | |
| 19814383 | Voicing | How the chord is to be distributed or spaced. | 68 | |
| 19814384 | Musical Score | A tool used by a composer, conductor, or analyst that shows all the parts of an ensemble arranged one above the other, enabling the experienced reader to "hear" what the composition will sound like. | 69 | |
| 19814385 | Full Score | All or most of the parts of a score are notated on their own individual staves. | 70 | |
| 19814386 | Reduced Score | The score is notated at concert pitch on as few staves as possible. | 71 | |
| 19814387 | Close Structure | Less than an octave between soprano and tenor. | 72 | |
| 19814388 | Open Structure | An octave or more between soprano and tenor. | 73 | |
| 19814389 | Objectionable Parallels | Parallels What results when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval. | 74 | |
| 19814390 | Direct (or hidden) 5th or 8ve | What results when the outer parts move in the same direction into a P5 or P8, with a leap in the soprano part. | 75 |
