Texture
The horizontal and vertical relationships of musical elements such as monophonie, homophonic and polyphonic textures.
Density
The instrumentation of a composition: light texture uses few instruments whereas heavy texture uses many instruments.
Range
The notes that an instrument or voice is capable of creating, from the lowest to the highest. The notes of a composition, from the lowest to the highest.
Monophonic (Monophonie)
A single melodic line without any additional parts or accompaniment.
Polyphonic (Polyphony)
When two or more melodic lines are combined.
Homophonic (Homophony)
One melodic part that is supported by accompaniment.
Homorhythmic
When all the voices or parts move in the same rhythm.
Primary Melody (PM)
The most significant melodic idea in a given musical texture.
Secondary Melody (SM)
Other melodic lines that are not equal in significance to the primary melody.
Parallel Supporting Melody (PSM)
Melodies that are similar in contour to a primary melody or secondary melody. They often maintain a constant interval relationship with the melody they support.
Static Support (SS)
Sustained tones or chords, and repeated melodic and rhythmic figures that support the melody.
Harmonic and Rhythmic Support (HRS)
Combined harmonic and rhythmic elements supporting the melody. If separated, they are labeled as harmonic support (HS) or rhythmic support (RS).
Motive
A short, recurring figure that appears throughout a composition of section of music; a distinctive melodic and/or rhythmic pattern.
Sequence
The immediate restatement of a melodic motive or longer figure at a higher or lower pitch.
Segment
A separate unit of a sequence.
Phrase
A substantial musical thought ending with a cadence.
Period
A group of two or more phrases.
Antecedent-Consequent
A group of two phrases where the first phrase forms a "question" by ending with a half cadence and the second phrase forms an "answer" by ending with an authentic cadence.
Parallel Period
A group of two phrases where the phrases are similar to one another.
Contrasting Period
A group of two phrases where the phrases are contrasting of one another.
Three-Phrase Period
A group of three phrases in which the last cadence is the strongest (stronger than the first two cadences).
Double Period
Also known as a four-phrase period. A group of four phrases where the four phrase is the strongest (stronger than the first three cadences).
Extended Phrase
A phrase that has been elongated (beginning extension, internal extension, or cadential extension).
Cadence
The melodic, harmonic, and/or rhythmic ending of a phrase, section, movement or composition.
Perfect Authentic Cadence (PAC)
The harmonic cadence, V I, where the chords are in root position and the highest note of the final chord is the tonic.
Imperfect Authentic Cadence (IAC)
The harmonic cadence, V I, where the chords are NOT in root position and/or the highest note of the final chord is NOT the tonic. Also, if vii is used in place of V chord.
Half Cadence (HC)
The harmonic cadence that ends on the V chord.
Phrygian Half Cadence (PHC)
The harmonic cadence, vi V, in a minor key.
Deceptive Cadence (DC)
The harmonic cadence that does not end on I or V chord. Commonly this cadence ends with vi chord.
Plagal Cadence (PC)
The harmonic cadence IV I.
Passing Tone (PT)
Approached by step and then continues by step in the same direction.
Neighboring Tone (NT)
Approached by step and then returns by step to the original note.
Escape Tone (ET)
Approached by step and then skips in the opposite direction.
Appogiatura (APP)
Approached by skip and then steps in the opposite direction.
Anticipation (ANT)
Approached by step and then remains the same. It is basically a note of the second chord played early.
Suspension (SUS)
Approached by the same note and then steps downward.
Retardation (RET)
Approached by the same note and then steps upward.
Changing Tones/Neighbor Group (CT or NG)
Two nonharmonic tones in succession sometimes called double neighboring tones or a neighbor group.
Pedal Tone (PED)
Is a sustained tone, typically in the bass, during which at least one dissonant harmony is sounded before it resolves back to a consonance harmony.
Harmony
The result produced when tones are sounded simultaneously.
Triad
A three-note chord consisting of a root, third and fifth The four kinds of triads are major, minor, diminished and augmented.
Major Triad
A triad consisting of a root, major third and perfect fifth.
Minor Triad
A triad consisting of a root, minor third and perfect fifth.
Diminished Triad
A triad consisting of a root, minor third and diminished fifth.
Augmented Triad
A triad consisting of a root, major third and augmented fifth.
Root Position
A chord that has the root in the bass.
First Inversion
A chord that has the third in the bass.
Second Inversion
A chord that has the fifth in the bass.
Seventh Chord
A chord consisting of a root, third, fifth, and seventh.
Figured Bass
A bass part with numbers that indicate the intervals of harmony that are to be played above the bass note.
Roman Numerals
Used to represent a chord, indicating the scale degree corresponding to its root note. Focuses on the function and key relationship of the chord in harmony.
Third Inversion
A seventh chord that has the seventh in the bass.
Macro Analysis
The method of writing down chord names that may be used along with or instead of Roman numeral harmonic analysis.
Circle Progression
A harmonic progression when root motion is equal to up a fourth or down a fifth.
Interval
The space between two notes
Consonance
Intervals that sound stable: P1, m3, M3, P5, m6, M6, and P8
Dissonance
Intervals that sound less stable: m2, M2, P4, TT, m7, M7
Unison
An interval of the same note (P1).
Octave
An interval of eight notes (P8).
Enharmonic Intervals
Intervals that sound the same but are written differently.
Tritone
Another term for an interval of diminished 5th or Augmented 4th.
Compound Interval
An interval larger than an octave.
Simple Interval
An interval smaller than an octave.
Melodic Interval
An interval when one note is played after the other note.
Harmonic Interval
An interval when both notes are played at the same time.
Transposition
The process of rewriting a piece of music so that is sounds higher or lower in pitch.
Scale
A collection of pitches in ascending and descending order.
Pitch Class
All notes of the same name regardless of octave.
Diatonic
Literally means "across the tones" defines a scale of mixed half and whole steps in which each tone has a role/function.
Scale Degree Names
Each degree of the seven-tone diatonic scale has a name that relates to its function. They are: tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone, and subtonic.
Major Scale
A seven-tone scale with the following pattern of whole (W) and half (H) steps = WWHWWWH
Natural Minor Scale
A seven-tone scale with the following pattern of whole (W) and half (H) steps = WHWWHWW
Harmonic Minor Scale
A minor scale with a raised seventh scale degree. This raised seventh scale degree gives more melodic pull/thrust toward the tonic. Accidentals used to raise the seventh are not included in the key signature.
Melodic Minor Scale
A minor scale that shifts the sixth and seventh scale degrees based on the melodic line. When ascending the sixth and seventh scale degrees are raised. When descending the natural minor scale pattern is used. Accidentals used to raise the sixth and sevent
Relative
Major and minor scales with the same key signature.
Parallel
Major and minor scales with the same tonic.
Chromatic Scale
A scale consisting of only half steps.
Blues Scale
A variant of the Major scale adding "blues notes" of flat third and flat seventh.
Tonic
1st scale degree (DO or DI)
Super Tonic
2nd scale degree (RE, RI, or RAH)
Mediant
3rd scale degree (MI or ME)
Subdominant
4th scale degree (FA or FI)
Dominant
5th scale degree (SO, SI, or SE)
Submediant
6th scale degree (LA, LI, or LE)
Leading Tone
7th scale degree, half step below tonic (TI)
Subtonic
7th scale degree, whole step below tonic (TE)
Circle of Fifths
A method of visualizing Major and minor key signatures.
Key/Tonality.
The scale or group of notes used in a composition. The sum of relations (melodic and harmonic) that exist between tones of a scale or musical systems.
Key Signature
The arrangement of sharps or flats after the clef at the beginning of each stave indicating the key of a composition.
Staff
Treble Clef
Bass Clef
Grand Staff
Alto Clef
Tenor Clef
Ledger Line
Octave Identification
Accidentals
Sharp
Flat
Natural
Double Flat
Double Sharp
Time Signature
The top number indicates how many beats per measure, the bottom number indicates which note value gets the beat.
Simple Duple
Simple Triple
Simple Quadruple
Compound Duple
Compound Triple
Compound Quadruple
Rhythm
The pattern(s) of sound and silence.
Beat
The ongoing pulse of a song.
Tempo
The rate (speed) of the beat.
Meter
The reoccurring pattern of accented beats. Groupings of 2 (duple), 3 (triple), or 4 (quadruple).
Enharmonic
Pitches that sound the same but are notated differently
Syncopation
A rhythmic pattern that temporarily stresses weaker beats.
Whole Note
Half Note
Quarter Note
Eighth Note
Sixteenth Note
Whole Rest
Half Rest
Quarter Rest
Eighth Rest
Sixteenth Rest
Pitch
The frequency of the sound; the highness or lowness of a sound; in music a system of letter names and accidentals is used (pitch class and octave identification)
Dynamic Markings
Indicates relative volume of sound (loudness)
Pianissimo
Very soft (very quiet)
Piano
Soft (quiet)
Mezzo Piano
Medium soft (medium quiet)
Mezzo Forte
Medium loud
Forte
Loud
Fortissimo
Very loud
Measure
Double Bar Line
Bar Line
Tie
Slur
Dot