AP Music Theory Vocab Review Flashcards

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