The Vocabulary from Module 3.6 for the AP Music Theory Exam
Terms : Hide Images
| 63503178 | Chromatic-third relationship | Two chords with roots a third apart, in which one chord contains a chromatic alteration of one or both common tones. The term also refers to two tonalities in which the tonics are in a chromatic-third relationship. | 63503178 | |
| 63503179 | Church modes | Scales that formed the basis of much medieval and Renaissance music and evolved into our present-day Major and minor scales. They have been used again by composers of the twentieth century. | 63503179 | |
| 63503180 | Clef | A sign placed at the left side of a staff to indicate which lines and spaces represent the various pitches. | 63503180 | |
| 63503181 | Closely related keys | The five tonalities that differ from a given tonality by no more than one flat or sharp — thus the relative Major or minor, the dominant and its relative key, and the subdominant and its relative key. | 63503181 | |
| 63503182 | Coda | An extension of the ending of a composition, which helps to create a convincing close by prolonging and reaffirming the tonic. | 63503182 | |
| 63503183 | Common Chord Modulation | A change of tonality aided by a chord diatonic in both keys that acts as a pivot between the two. | 63503183 | |
| 63503184 | Common Practice Period | The period of musical history, roughly 1650-1900, in which composers used functional tonality as the harmonic basis of their music. | 63503184 | |
| 63503185 | Common Tones | The pitches shared between two chords in any harmonic relationship. | 63503185 | |
| 63503186 | Compound Interval | Any interval exceeding the octave in size. | 63503186 | |
| 63503187 | Compound meter | A meter in which the primary division of the beat is into three parts. | 63503187 | |
| 63503188 | Conjunt | Melodic motion involving stepwise intervals. | 63503188 | |
| 63503189 | Consecutive perfect consonances | A succession of perfect 5ths, octaves, and unisons between the same two voices, considered objectionable practice in strict part writing. | 63503189 | |
| 63503190 | Consequent | The final phrase of a period, which, because of its more conclusive cadence, provides a greater sense of completion than the preceding (antecedent) phrase(s). | 63503190 | |
| 63503191 | Consonance | The effect of two or more pitches sounding together that produce a sense of stability and repose. | 63503191 | |
| 63503192 | Continuo | The name given to the figured-bass line in baroque-era compositions. | 63503192 | |
| 63503193 | Contrary motion | The movement by two voices from one tone to the next in the opposite direction. | 63503193 | |
| 63503194 | Contrasting double period | Four phrases that form two pairs, the second pair substantially different from the first and arriving at a more conclusive cadence. | 63503194 | |
| 63503195 | Contrasting period | Phrases in antecedent-consequent relationship that are composed of different material and differ in general character. Counterexposition:In a fugue, a group of subject-answer entries in the tonic, usually appearing immediately after the exposition or separated from the exposition by a brief episode. | 63503195 | |
| 63503196 | Countermelody | A secondary melody set as counterpoint against a principal melody. The term is used more in popular music and jazz arrangements than in art music. | 63503196 | |
| 63503197 | Countermotive | A distinctive counterpoint that appears more or less consistently against the principal motive in an invention. | 63503197 | |
| 63503198 | Counterpoint | Music consisting of two or more melodic lines heard simultaneously but displaying a certain degree of independence (of contour and rhythm). | 63503198 | |
| 63503199 | Countersubject | A counterpoint that is employed frequently against the subject or answer in a fugue, providing a contrasting idea and additional material for development. | 63503199 | |
| 63503200 | Deceptive cadence | A two-chord formula punctuating a musical thought, in which the dominant moves to any chord but the tonic. The chord most often substituted for the expected tonic is the subdominant. | 63503200 | |
| 63503201 | Development | A section of a musical work where a musical idea is worked out and its potential realized through various compositional devices such as imitation, inversion, rhythmic variation, and so on. | 63503201 | |
| 63503202 | devlopmental process | The musical process involved in working out a musical idea. It usually involves rapid tonal changes, abrupt shifts in tempo, dynamics, and texture, and unstable harmonies with infrequent resolutions. | 63503202 |
