AP Music Theory Terms Flashcards
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| 149902964 | FORM | ways in which composition is shaped | |
| 149902965 | Cadence | a harmonic goal, specifically the chords used at the goal | |
| 149902966 | Cadential extension | delay of cadence by addition of material | |
| 149902967 | Coda | conclusion of composition | |
| 149902968 | Codetta | "small coda" marks end of sonatas, ends in perfect cadence | |
| 149902969 | Contour | shape of the melody | |
| 149902970 | Conjunct Contour | stepwise | |
| 149902971 | Disjunct Contour | with leaps | |
| 149902972 | Focal point Contour | highest note of the melody | |
| 149902973 | Countermelody | accompanying melody sounding against the principle melody | |
| 149902974 | Elision (phrase elision) | when last note of one phrase serves as first note of next phrase | |
| 149902975 | Introduction | section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements | |
| 149902976 | Bridge | contrasting section which also prepares for the return of the original material section | |
| 149902977 | Chorus (refrain) | line or lines that are repeated (starts off a jazz song) | |
| 149902978 | Song form (AABA) | most popular structure | |
| 149902979 | Turnaround | passage at end of a section which leads to the next section, often repetition of previous section, vi ii V I | |
| 149902980 | Twelve-bar blues | three four-bar phrases, aab or abc pattern, most commonly I|I|I|I|IV|IV|I|I|V|IV|I|I| | |
| 149902981 | Melodic Fragmentation | division of a musical idea into segments | |
| 149902982 | Melodic Internal expansion | phrase extends beyond the expected phrase length | |
| 149902983 | Root position | 1 in bass | |
| 149902984 | First inversion | 3 in bass | |
| 149902985 | Second inversion | 5 in bass | |
| 149902986 | Third inversion | 7 in bass (n/a for triads) | |
| 149902987 | Literal repetition | sequences are repeated, indicated by repeat sign, capo, or segno | |
| 149902988 | Motivic transformation | rhythmic theme is changed | |
| 149902989 | Melodic Inversion | melody flipped upside down | |
| 149902990 | (Motivic transformation) Augmentation | multiplication | |
| 149902991 | (Motivic transformation) Diminution | division | |
| 149902992 | (Motivic transformation) Retrograde | backwards | |
| 149902993 | Retrograde Inversion | upside-backwards melody | |
| 149902994 | (Motivic transformation) Extension | addition | |
| 149902995 | (Motivic transformation) Truncation | subtraction | |
| 149902996 | Octave displacement | taking a melodic line and moving some of the notes into a different octave | |
| 149902997 | Sequence | pattern that is repeated immediately in the same voice but that begins on a different pitch class | |
| 149902998 | Tonal sequence | keeps pattern in single key, interval modifiers (major, minor, etc.) change (C-D-E to D-E-F) | |
| 149902999 | Real sequence | transposes pattern to new key (C-D-E to D-E-F#) | |
| 149903000 | Modified sequence | neither tonal nor real | |
| 149903001 | Circle-of-fifths progression | series of roots related by descending 5ths (and/or ascending 4ths) | |
| 149903002 | Transposition | to write or play music in some key other than the original | |
| 149903003 | Motive | smallest identifiable musical idea, can consist of pitch pattern, rhythmic pattern, or both | |
| 149903004 | Phrase | relatively independent musical idea terminated by a cadence | |
| 149903005 | Subphrase | distinct portion of a phrase, usually not terminated by cadence | |
| 149903006 | Period | two or more phrases in antecedent-consequent relationship, ends in cadence | |
| 149903007 | Antecedent | "question," first phrase in a period, weaker cadence | |
| 149903008 | Consequent | "answer," terminal phrase in a period, strong cadence | |
| 149903009 | Parallel period | both phrases begin with similar material | |
| 149903010 | Contrasting period | period in which phrase beginnings are not similar | |
| 149903011 | Three-phrase period | three different phrases, 2A/1C or 1A/2C | |
| 149903012 | Double period | four phrases in two pairs, cadence at end of second pair is stronger than cadence at the end of the first pair | |
| 149903013 | Parallel double period | melodic material that begins two halves similar | |
| 149903014 | Contrasting double period | melodic material that begins two halves different | |
| 149903015 | Repeated phrase/period | two identical phrases | |
| 149903016 | Phrase group | group of phrases seem to belong together without forming period or double period | |
| 149903017 | Binary | movement with two main sections | |
| 149903018 | Sectional binary | first section ends on tonic triad or main key | |
| 149903019 | Continuous binary | first section ends on any other chord | |
| 149903020 | Ternary | A B A, or statement-contrast-return | |
| 149903021 | Rounded binary | A B 1/2A - almost identical to ternary | |
| 149903022 | Solo, soli | alone | |
| 149903023 | Stanza (verse) | two or more sections of a song have similar music and different lyrics | |
| 149903024 | Strophic form | A A' A''- repetition of "one formal section": music, verses of songs, like nat'l anthem | |
| 149903025 | Theme | initial or primary melody | |
| 149903026 | Through-composed | continuous, non-sectional, non-repetitive, :different music for each stanza | |
| 149903027 | Tutti | every instrument playing together | |
| 149903028 | Variation | material is altered during repetition | |
| 149903029 | HARMONY | use of different pitches simultaneously | |
| 149903030 | Authentic cadence | V or viio to I | |
| 149903031 | Perfect authentic cadence | V(7) to I (with tonic in soprano) | |
| 149903032 | Imperfect authentic cadence | all ACs that are not PACs, with also viio - I | |
| 149903033 | Root position IAC | V to 1 (w/ 3 or 5 in melody) | |
| 149903034 | Inverted IAC | V(7) or V to I (w/ at least one inverted) | |
| 149903035 | Leading tone IAC | viio I | |
| 149903036 | Deceptive cadence | V to anything but I (usually vi) | |
| 149903037 | Half cadence | ends in V | |
| 149903038 | Phrygian half cadence | iv6 to V in minor | |
| 149903039 | Plagal cadence | IV to I | |
| 149903040 | Major Triad | M3, P5 | |
| 149903041 | Augmented Triad | M3, A5 | |
| 149903042 | Minor Triad | m3, P5 | |
| 149903043 | Diminished Triad | m3, d5 | |
| 149903044 | Major seventh | major triad + M3 | |
| 149903045 | Major minor seventh (Dominant 7th) | major triad + m3 | |
| 149903046 | Minor seventh | minor triad + m3 | |
| 149903047 | Half diminished seventh | diminished triad + M3 | |
| 149903048 | Fully diminished seventh | diminished triad + m3 | |
| 149903049 | (1^) | Tonic - Ionian | |
| 149903050 | (2^) | Supertonic - Dorian | |
| 149903051 | (3^) | Mediant - Phrygian | |
| 149903052 | (4^) | Subdominant - Lydian | |
| 149903053 | (5^) | Dominant - Mixolydian | |
| 149903054 | (6^) | Submediant - Aeolian | |
| 149903055 | (7-flat) | Subtonic | |
| 149903056 | (7^) | Leading tone - Locrian for "guitarists" | |
| 149903057 | Tonic function | "closer," place where progression finishes | |
| 149903058 | Dominant function | leads to tonic | |
| 149903059 | Subdominant function | prepare for the dominant | |
| 149903060 | Deceptive progression | V to vi (makes you think you're going to I) | |
| 149903061 | Harmonic rhythm | rate at which chords change | |
| 149903062 | Modulation/tonicization | shift of tonal center that takes place within a movement | |
| 149903063 | Enharmonically equivalent keys | two keys that sound the same (C# major and Db major) | |
| 149903064 | Parallel keys | major and minor keys with same tonic (ex. C major and c minor) | |
| 149903065 | Change of mode (mode mixture) | switch between parallel keys | |
| 149903066 | Relative keys | major and minor keys with same key signature (ex. C major and a minor) | |
| 149903067 | Closely related keys | two keys that have similar amount of sharps or flats (ex. Eb major and Ab major) | |
| 149903068 | Common (pivot) chord modulation | using one or more chords that are common to both keys as an intersection between them | |
| 149903069 | Common tone modulation | using one or more tones that are common to both keys as an intersection between them | |
| 149903070 | Phrase modulation | modulations without common chords or tones (as opposed to common/pivot modulation) | |
| 149903071 | Neighboring chord | formed by 2-3 neighbor notes occurring at the same time in similar motion to make a new chord | |
| 149903072 | Realization | structure of figured bass | |
| 149903073 | Retrogression | series of chords that weakens a tonality | |
| 149903074 | Secondary dominant | V or V7 of a major or minor triad, to spell it: | |
| 149903075 | Secondary leading tone chord | viiº of or viiº7 of V? | |
| 149903076 | Arpeggiating 6/4 | created by arpeggiation of the triad in the bass | |
| 149903077 | Cadential 6/4 | I6/4 to V to I, precedes the dominant, often at a cadence, embellishes dominant | |
| 149903078 | Pedal (or "neighboring") 6/4 | 3rd and 5th of a root position triad are embellished by upper neighboring tones, bass is stationary, usually occurs on weak beat | |
| 149903079 | Passing 6/4 | "melodic bass", harmonizes a bass passing tone, usually on unaccented beat | |
| 149903080 | Nonharmonic tones | tone that is not a member of the chord | |
| 149903081 | Passing tone | approached by step, left by step in same direction | |
| 149903082 | Neighboring tone | approached by step, left by step in opposite direction | |
| 149903083 | Neighbor group | escape tone + appoggiatura | |
| 149903084 | Suspension | approached by same tone, left by step down | |
| 149903085 | Preparation | tone preceding the suspension (same pitch as suspension) | |
| 149903086 | Resolution | tone following the suspension (2nd below it) | |
| 149903087 | Rearticulated suspension | suspension that is rearticulated on the beat | |
| 149903088 | Chain of suspensions | resolution of one suspension serves as preparation or another | |
| 149903089 | Retardation | approached by same tone, left by step up | |
| 149903090 | Appoggiatura | approached by leap, left by step | |
| 149903091 | Escape tone (échappeé) | approached by step, left by leap in opposite direction | |
| 149903092 | Anticipation | approached by step or leap, left by same tone | |
| 149903093 | Pedal point | held note (which is rearticulated with chord changes) CT becomes NCT becomes CT | |
| 149903094 | Embellishment | melodic decoration (an ornament note) | |
| 149903095 | Close structure | less than an octave between soprano and tenor | |
| 149903096 | Open structure | an octave or more between soprano and tenor | |
| 149903097 | Voice leading | ways in which chords are connected | |
| 149903098 | Crossed voices | do not allow any part to cross above soprano or below bass | |
| 149903099 | Static motion | no movement (pedal) | |
| 149903100 | Oblique motion | one voice stays the same, one moves | |
| 149903101 | Similar motion | both voices in move in same direction | |
| 149903102 | Contrary motion | voices move in different directions | |
| 149903103 | Parallel motion | voices move together | |
| 149903104 | Unequal 5ths | result when a P5 is followed by a º5, or the reverse, in the same two voices | |
| 149903105 | Direct (hidden) fifths | results when the outer parts move in the same direction into a P5, with a leap in the soprano | |
| 149903106 | Direct (hidden) octaves | results when the outer parts move in the same direction into a P8, with a leap in the soprano | |
| 149903107 | Cross relation (false relation) | Najar: "chromatic resolution in different voice" Kirkpatrick: "simultaneous or adjacent occurrence of a note in its natural and chromatically inflected (#/b) form in different voices (sounds bad)" | |
| 149903108 | Arpeggio, arpeggiation | notes that outline a chord | |
| 149903109 | Consonance | pleasing to the ear, major and more 3rds and 6ths and perfect 5ths and 8ves | |
| 149903110 | Dissonant | unpleasant to the ear, all other intervals, except P4, which is only dissonant in bass | |
| 149903111 | Diatonic | chords that contain only notes found in the scale | |
| 149903112 | Chromatic | chords that contain notes not found in the scale | |
| 149903113 | Lead sheet | an abbreviated musical score, consisting of a melody line with chord names or symbols, and sometimes lyrics | |
| 149903114 | Figured bass | baroque shorthand, with Arabic numeral chords | |
| 149903115 | Picardy third | suddenly ending a minor composition in a major triad | |
| 149903116 | Compound interval | interval greater than a P8 | |
| 149903117 | Inversion of an interval | 9 minus the number and the opposite of the quality gives you the inversion ex. M2 to m7, +6 toº3, P4!P5 | |
| 149903118 | Tritone | interval that spans 3 whole tones, +4 or º5 | |
| 149903119 | Unison (prime) | same note | |
| 149903120 | Agogic accent | longer than surrounding notes | |
| 149903121 | Dynamic accent | louder than surrounding notes | |
| 149903122 | Metrical accent | accent on the beat | |
| 149903123 | Anacrusis | pickup measure, lead-in syllables that precede 1st full measure | |
| 149903124 | Asymmetrical meter | meters that have an odd number of subdivisions, measure cannot be divided into equal beats (ex. 5/8) | |
| 149903125 | Simple beat | beats divide into two equal parts | |
| 149903126 | Compound beat | beats divide into three equal parts | |
| 149903127 | Cross rhythm (polyrhythm) | simultaneous combination of contrasting rhythms | |
| 149903128 | Hemiola | two bars in simple triple time are articulated as if they were three bars in simple duple time | |
| 149903129 | Duple Meter | two beats per measure | |
| 149903130 | Triple Meter | three beats per measure | |
| 149903131 | Quadruple Meter | four beats per measure | |
| 149903132 | Multimeter | changing meter | |
| 149903133 | Swing rhythm | duration of the initial note in a pair is augmented and that of the second is diminished | |
| 149903134 | Syncopation | stress on a normally unstressed beat, or a missing beat where a stressed one would normally be expected | |
| 149903135 | Melismatic | changing the note of a single syllable of text while it is being sung | |
| 149903136 | Syllabic | each syllable of text is matched to a single note | |
| 149903137 | Alberti bass | arpeggiated accompaniment, 1^ 5^ 3^ 5^ | |
| 149903138 | Canon | contrapuntal composition, which employs a melody with one or more imitations (Pachelbel, row your boat) | |
| 149903139 | Counterpoint, polyphony | relationship between two or more voices independent in contour and rhythm | |
| 149903140 | Imitation | musical gesture is repeated later in a different form, but retaining its original character | |
| 149903141 | Imitative polyphony | two or more equally prominent, simultaneous melodic lines, those lines being similar in shape and sound | |
| 149903142 | Nonimitative polyphony | two or more melodic lines playing distinct melodies | |
| 149903143 | Fugal imitation | each phrase of text is assigned a musical subject that is then taken up by each of the voices | |
| 149903144 | Heterophony | single melody with drone/percussion, Eastern and strange | |
| 149903145 | Homophony | two or more parts move together, Chordal homophony, Chordal texture, homorhythm- sameness of rhythm in all parts, melody with accompaniment | |
| 149903146 | Monophony | melody without accompaniment, unison | |
| 149903147 | Obbligato | played exactly as written | |
| 149903148 | Ostinato | motif or phrase that is persistently repeated in the same musical voice | |
| 149903149 | Tessitura | the pitch range that predominates in a particular piece | |
| 149903150 | Polyphony | multiple melodies |