Terms : Hide Images
| 6146062349 | a b | Indicates a contrasting phrase | 0 | |
| 6146062350 | a b a | phrase, contrasting phrase, original phrase | 1 | |
| 6146062351 | a a' | phrase and a varied restatement | 2 | |
| 6146062352 | A B | larger pieces of a composition | 3 | |
| 6146062353 | Cadence | melodic or harmonic configuration that creates a sense of resolution | 4 | |
| 6146062354 | Cadential extension | delay of cadence by addition of material | 5 | |
| 6146062355 | Coda | ending phrase in a piece of music following a restatement of the original melody | 6 | |
| 6146062356 | Codetta | "little coda" brief conclusion, a dominant tonic cadence at the end of the exposition that may be repeated several times for emphasis | 7 | |
| 6146062357 | Contour | the shape of the melody as rising or falling | 8 | |
| 6146062358 | Countermelody | sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent melody. | 9 | |
| 6146062359 | Elision | when the last note of one phrase serves as the first note of the next phrase | 10 | |
| 6146062360 | Fragmentation | use of fragments or the "division of a musical idea" into segments | 11 | |
| 6146062361 | Introduction | passage or section which opens a movement or separate piece, preceding the theme or lyrics. | 12 | |
| 6146062362 | Bridge | theme following the main melody, often uses different chord changes, known most times as the B section | 13 | |
| 6146062363 | Chorus | main melody of a pop or jazz song, known as the A section | 14 | |
| 6146062364 | Song form (AABA) | chorus repeated twice, most times with a different lyrics, followed by the bridge, then another chorus | 15 | |
| 6146062365 | Turnaround | Passage at the end of a section which leads to the next section, the next section is often a repeated section of the song | 16 | |
| 6146062366 | Twelve Bar Blues | Most well-known chord progression in western music (I|IV|I|%| IV|%|I|%| V|IV|I|%|) | 17 | |
| 6146062367 | Augmentation | compositional device where a melody or theme is presented in longer note values than were previously used | 18 | |
| 6146062368 | Conjunct (motion) | a step, the difference in pitch between two notes in a musical scale | 19 | |
| 6146062369 | Diminution | form of embellishment when a long note is divided into a series of shorter, more melodic, values | 20 | |
| 6146062370 | Disjunct | any leap in music larger than one step | 21 | |
| 6146062371 | Extended version | longer version of a song via the addition of new phrases or lyrics | 22 | |
| 6146062372 | Interval expansion | phrase extends beyond the expected phrase length | 23 | |
| 6146062373 | Inversion | rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music | 24 | |
| 6146062374 | Literal repetition | often indicated by a repeat sign, or a DS or a DC | 25 | |
| 6146062375 | Motivic transformation | change of rhythmic theme | 26 | |
| 6146062376 | Octave displacement | taking a melodic line and moving some notes into a different octave | 27 | |
| 6146062377 | Retrograde | "backwards and upside down", sounded in reverse order | 28 | |
| 6146062378 | Rhythmic transformation | multiplication, rotation, permutation and combinations thereof involving rhythm | 29 | |
| 6146062379 | Sequence | pattern that is repeated immediately in the same voice but that begins on a different pitch class | 30 | |
| 6146062380 | Sequential repetition | transposing a longer sequence to a different scale degree; may be diatonically or intervalically exact | 31 | |
| 6146062381 | Shortened version | abbreviated reiteration of material already presented | 32 | |
| 6146062382 | Transposition | to write or play music in a different key than the original | 33 | |
| 6146062383 | Truncation | utilizing a melody with a part of the end omitted | 34 | |
| 6146062384 | Motive | smallest identifiable music idea, can consist or pitch pattern, rhythmic pattern, or both | 35 | |
| 6146062385 | Period | two or more phrases in antecedent-consequent relationship, ends in a cadence | 36 | |
| 6146062386 | Antecedent | First phrase in a period | 37 | |
| 6146062387 | Consequent | terminal phrase in a period | 38 | |
| 6146062388 | Contrasting period | period where phrase beginnings are not similar | 39 | |
| 6146062389 | Double period | Four phrases in two pair, cadence at end of second pair is stronger than cadence at the end of the first pair | 40 | |
| 6146062390 | Parallel period | melodic material that begin the two halves of the periods are similar | 41 | |
| 6146062391 | Phrase Group | group of phrases seem to belong together without forming a double period | 42 | |
| 6146062392 | Refrain | music that is repeated after each verse, also called chorus or burden | 43 | |
| 6146062393 | Small Form | in reference to binary or ternary forms | 44 | |
| 6146062394 | Binary form | Two complementary sections of music or more or less equal duration that may be represented as ab. Two sections are distinguished by double bars and repeat signs which denote an aabb structure | 45 | |
| 6146062395 | Rounded binary | often continuous or open form meaning the two principle sections modulate, first section, may cadence on tonic. | 46 | |
| 6146062396 | Ternary Form | Musical form consisting of three sections, third section is often a literal or varied version of the first. | 47 | |
| 6146062397 | Solo | when one musician has the melodic line | 48 | |
| 6146062398 | Soli | when one section has a prominent melodic line | 49 | |
| 6146062399 | Stanza | Verse, repeated passage, recurring rhythms and chords | 50 | |
| 6146062400 | Strophic | when all verses or stanzas of text are sung to the same music. | 51 | |
| 6146062401 | Theme | melody of a piece of music | 52 | |
| 6146062402 | Thematic transformation | when a theme is developed via changing the theme by using permutation | 53 | |
| 6146062403 | Through-composed | when new music is written for each stanza | 54 | |
| 6146062404 | Tutti | when all musicians are playing | 55 | |
| 6146062405 | Variation | a change in a melodic passage or theme | 56 | |
| 6146062406 | Verse | Same as stanza | 57 | |
| 6146062407 | Capital Roman Numerals | Denote major chords or keys | 58 | |
| 6146062408 | Lowercase Roman Numerals | Denote minor chords or keys | 59 | |
| 6146062409 | C is relative to... | a | 60 | |
| 6146062410 | G is relative to... | e | 61 | |
| 6146062411 | D is relative to... | b | 62 | |
| 6146062412 | A is relative to... | f# | 63 | |
| 6146062413 | E is relative to... | c# | 64 | |
| 6146062414 | B/C♭ is relative to... | g#/a♭ | 65 | |
| 6146062415 | F#/G♭ is relative to... | d#/e♭ | 66 | |
| 6146062416 | C#/D♭ is parallel to... | a#/b♭ | 67 | |
| 6146062417 | A♭ is relative to... | f | 68 | |
| 6146062418 | E♭ is relative to... | c | 69 | |
| 6146062419 | B♭ is relative to... | g | 70 | |
| 6146062420 | F is relative to... | d | 71 | |
| 6146062421 | + | Denotes an augmented chord, (M3, M3) | 72 | |
| 6146062422 | o | Denotes a diminished chord (m3, m3) | 73 | |
| 6146062423 | 6 | Denotes a first inversion triad | 74 | |
| 6146062424 | 6 4 | Denotes a second inversion triad | 75 | |
| 6146062425 | 7 | denotes a root position seventh chord | 76 | |
| 6146062426 | o7 | denotes a fully diminished seventh chord (m3, m3, m3) | 77 | |
| 6146062427 | ø | Denotes a half diminished seventh chord (m3, m3, M3) | 78 | |
| 6146062428 | 6 5 | Denotes a first inversion seventh chord | 79 | |
| 6146062429 | 4 3 | Denotes a second inversion seventh chord | 80 | |
| 6146062430 | 4 2 | Denotes a third inversion seventh chord | 81 | |
| 6146062431 | Ionian | 1 | 82 | |
| 6146062432 | Dorian | 2 | 83 | |
| 6146062433 | Phrygian | 3 | 84 | |
| 6146062434 | Lydian | 4 | 85 | |
| 6146062435 | Mixolydian | 5 | 86 | |
| 6146062436 | Aeolian | 6 | 87 | |
| 6146062437 | Locrian | 7 | 88 | |
| 6146062438 | I | Anything | 89 | |
| 6146062439 | ii | viiO, V | 90 | |
| 6146062440 | iii | IV | 91 | |
| 6146062441 | IV | ii, I, viiO, V | 92 | |
| 6146062442 | V | vi, I | 93 | |
| 6146062443 | vi | ii, IV | 94 | |
| 6146062444 | viiO | I | 95 | |
| 6146062445 | i | Anything | 96 | |
| 6146062446 | iiO | viiO, V | 97 | |
| 6146062447 | III | VI, iv, iiO | 98 | |
| 6146062448 | iv | i, viiO, V | 99 | |
| 6146062449 | V (minor key) | VI, i | 100 | |
| 6146062450 | VI | iv, iiO | 101 | |
| 6146062451 | viiO (minor key) | III, i | 102 | |
| 6146062452 | 8-7 | indicates melodic movement from an octave to a seventh above the bass | 103 | |
| 6146062453 | 9-8, 7-6, 4-3 | Indicate a suspension or harmonic resolution | 104 | |
| 6146062454 | Slashed figures or pluses | interval in question to be raised a half step | 105 | |
| 6146062455 | # | raise the third | 106 | |
| 6146062456 | Authentic cadence | V-I, sometimes even V7-I | 107 | |
| 6146062457 | PAC | Authentic cadence that requires the dominant and tonic chords to be in root position | 108 | |
| 6146062458 | IAC | Has either the V or I inverted or has a chord member other than the root in the soprano of the tonic chord | 109 | |
| 6146062459 | PC | "Amen Cadence" IV-I or iv-i | 110 | |
| 6146062460 | DC | V-vi, or V-VI, or v-VI | 111 | |
| 6146062461 | HC | ends with a V or V7, preceded by Iv, ii, or ii6 and vi | 112 | |
| 6146062462 | PHC | Occurs in harmonic minor: iv6-V | 113 | |
| 6146062463 | mm, m7 | Minor Minor Seventh Chord | 114 | |
| 6146062464 | Mm7 | Dominant or Major Minor Seventh Chord | 115 | |
| 6146062465 | mM7 | Minor Major Seventh Chord | 116 | |
| 6146062466 | Tonic | 1 | 117 | |
| 6146062467 | Supertonic | 2 | 118 | |
| 6146062468 | Mediant | 3 | 119 | |
| 6146062469 | Subdominant | 4 | 120 | |
| 6146062470 | Dominant | 5 | 121 | |
| 6146062471 | Submediant | 6 | 122 | |
| 6146062472 | Subtonic, Leading Tone | 7 | 123 | |
| 6146062473 | Tonic Function | Referring to the chords in a diatonic mode | 124 | |
| 6146062474 | Dominant Function | has the role of creating instability that requires the tonic for resolution | 125 | |
| 6146062475 | Predominant Function | a chord that resolves to a dominant chord, most times is a V7/V | 126 | |
| 6146062476 | Circle of Fifths | C, G, D, A, E, B/Cb, F#/Gb, C#/Db, Ab, Eb, Bb, F | 127 | |
| 6146062477 | Deceptive Progression | V, vi in a progression to seem like it is going back to the tonic | 128 | |
| 6146062478 | Harmonic Rhythm | The rhythm created by changes in harmony | 129 | |
| 6146062479 | Modulation | key change | 130 | |
| 6146062480 | Common Tone Modulation | Using one or more tonalities that are common to both keys as an intersection between them | 131 | |
| 6146062481 | Phrase Modulation | When the phrase cadences in one key and then the phrase after immediately follows in another key | 132 | |
| 6146062482 | Pivot Chord Modulation | A type of modulation that moves from the original key to the destination key (usually a closely related key) by ways of a chord both keys share | 133 | |
| 6146062483 | Neighboring Chord | chords which are next to one another in scale degree ranking, their notes separated by a half or whole step | 134 | |
| 6146062484 | Rate of Harmonic Change | Rate at which chords change. Usually used when the rate is constant | 135 | |
| 6146062485 | Realization of a figured bass or four-part Roman numeral progression | to write out a figured bass part or Roman numeral progression | 136 | |
| 6146062486 | Retrogression | A harmonic motion in which each chord moves to a new chord more distant from the tonic as measured in ascending 5th root movements, such as a supertonic to a supermediant | 137 | |
| 6146062487 | Secondary dominant | The V or dominant of a key other than the tonic | 138 | |
| 6146062488 | Secondary Leading Tone Chord | A leading tone chord that functions as an applied or secondary dominant; usually a fully diminished seventh chord leading to a key other than the tonic | 139 | |
| 6146062489 | Tonicization | Temporarily allows a chord other than the tonic to function as a goal of motion or point of stability and therefore, function as a temporary tonic | 140 | |
| 6146062490 | Aria | One single song done with no accompaniment , now taken as a lyrical piece for vocals generally having two contrasting parts | 141 | |
| 6146062491 | Art Song | song, featuring poetic text, written for performance outside popular tradition | 142 | |
| 6146062492 | Concerto | a solo piece for an instrument and orchestra. Often consist of a fast, a slow, and a fast section | 143 | |
| 6146062493 | Fugue | Composition that features a number of voices , entering one after another in imitation, after which each continues independently but in accordance with counterpoint | 144 | |
| 6146062494 | Genre | style, manner | 145 | |
| 6146062495 | Interlude | any piece of music sung or played between the movements of a larger composition | 146 | |
| 6146062496 | Opera | large play-like work done without dialogue and communicated entirely with music | 147 | |
| 6146062497 | Prelude | Composition done to set up another larger composition or set of compositions | 148 | |
| 6146062498 | Postulate | Composition that concludes another composition or a larger set of compositions. Usually done at the end of a church service | 149 | |
| 6146062499 | Sonata | multi-movement piece for soloist and piano of three or four different movements | 150 | |
| 6146062500 | Song | Piece of music | 151 | |
| 6146062501 | String quartet | group of four string players that consist of a cello, a viola, and two violinists | 152 | |
| 6146062502 | Symphony | very large piece of music for an orchestra, generally in three or four, sometimes five movements. | 153 | |
| 6146062503 | Relative key | Major and minor keys that share the same key signature | 154 | |
| 6146062504 | Parallel key | Keys that share the same starting note | 155 | |
| 6146062505 | Cadencial 6 4 chord | Delays the arrival of the V chord that proceeds it | 156 | |
| 6146062506 | Passing 6 4 chord | Harmonizes the middle note of a three-hour scalar figure in the bass | 157 | |
| 6146062507 | Pedal 6 4 chords | Elaborates the root position chord that precedes it and usually follows it as well | 158 | |
| 6146062508 | Submetrical NCT | Less than a beat in duration and occurring on either accented or unaccented portions of the beat | 159 | |
| 6146062509 | Metrical NCT | One beat in duration and occur in on either accented or unaccented beats | 160 | |
| 6146062510 | Supermetrical NCT | More than one beat in duration | 161 | |
| 6146062511 | Enharmonically equivalent keys | Sound the same but are spelled differently | 162 | |
| 6146062512 | Change of mode | 163 |
