Cadence
a two-chord progression that occurs at the end of a phrase
Cadential Extension
the delay of a cadence by addition of material
Coda
used to indicate the section that ends a piece
Codetta
a brief conclusion with a dominant-tonic cadence that may be repeated several times for emphasis
Contour
the shape of a melodic line
Countermelody
an accompanying melody that contrasts against the main melody
Elision (phase elision)
the simultaneous use of the last note in one phrase as the first note of the next phrase
Fragment (fragmented motive)
a small but recognizable part of the motive
Introduction
the beginning of a piece
Bridge
the contrasting section of a song which prepares for the return of the main section
Chorus
A large organized group of singers
Song Form (AABA)
This type of song has an opening section (A), a bridge (B) before transitioning to the final A section. This song form is used in a variety of music genres
Turnaround
A passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. It may lead back to the section either harmonically, as a chord progression, or melodica
Twelve-bar Blues
In its basic form, it is predominantly based on the I-IV-V chords of a key
Augmentation
Melody, theme or motif presented in longer note-values than were previously used
Conjunct
The interval between two consecutive scale degrees
Diminution
A long note is divided into a series of shorter, usually melodic, values
Disjunct
A larger interval between scale degrees, also called a skip
Phrase Extension
Once the composer establishes a phrase length, it can be extended on the upbeat, body, or cadence portions of the phrase.
Fragmentation
Division of a musical idea into small sections
Internal Expansion
Phrase extends beyond the expected phrase length
Melodic Inversion
Where the original melody goes up by an interval, the inverted melody goes down by the same interval
Literal Repetition
Often indicated by the use of a repeat sign, or the instructions da capo or dal segno
Motivic Transformation
Change of rhythmic theme
Octave Displacement
Taking a melodic line and moving some of the notes into a different octave
Retrograde
The inverse of the series is sounded in reverse order
Rhythmic Transformation
Multiplication, rotation, permutation (i.e. transposition, inversion, and retrograde), and combinations thereof involving rhythm
Sequence
The restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice
Sequential Repetition
Transposing a longer sequence to a different scale degree; may be diatonic or intervocalically exact.
Transposition
The process of rewriting a piece of music or a scale so that is sounds higher or lower in pitch. This involves raising or lowering each pitch by the same interval
Truncation
Utilizing a melody with part of the end omitted
Motive
short, recurring, musical idea
Antecedent
1st phrase of a period (less complete cadence)
Consequent
2nd phrase (more complete cadence)
Contrasting Period
periods with a different melody (especially beginning)
Double Period
two periods (4 phrases) joined together where the first acts as the antecedent and the second acts as the consequent
Parallel Period
beginning of the melody SAME in both phrases (but ending different)
Phrase Group
Any grouping of phrases defined by a terminal cadence
Refrain
a repeated line or phrase incorporated lyrically and musically within the verse itself
Binary Form
two sections often repeated (AABB)
Rounded Binary
between binary and ternary where only part of A is played, usually the latter part with a PAC (AB 1/2A)
Simple Binary
binary form that does not return to the A section
Ternary
three parts usually returning to A (AABA) or (ABA)
Solo
one voice alone in a featured section
Soli
a group alone in a featured section
stanza
a group of lines forming the basic recurring metrical unit in a poem; a verse.
Strophic
(AAAA) same music used for each verse (hymn)
Theme
melodic subject of a musical composition
Thematic Transformation
a musical technique in which a theme is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation.
Through-composed
new music for each stanza (ABCD)
Tutti
(especially as a direction after a solo section) with all voices or instruments together
Variation
a change or difference in condition, amount, or level, typically with certain limits.
Verse
poetic stanza repeated in a song
Imperfect Authentic Cadence
A medial musical cadence where either or both chords are in inversion and a note other than tonic is sung by the top upper voice (Soprano) (i.e. V [or V7]-I)
Perfect Authentic Cadence
A final musical cadence where both chords are in root position and the tonic note in the I chord is in the top upper voice (Soprano) (i.e. V [or V7]-I)
Conclusive Cadence
A musical cadence that ends on a tonic triad
Deceptive Cadence
A musical cadence that ends on a triad other than tonic (i.e. V-vi or V-IV6)
Half Cadence
A musical cadence that is medial and includes and cadence ending on a dominant function chord (i.e. IV-V, ii-V, I-V, vi-V, or V/V-V)
Phrygian Half Cadence
A musical cadence involving the progression of iv6-V in a minor key
Inconclusive Cadence
A musical cadence in which the soprano or bass voices end on a scale degree other than tonic
Plagal Cadence
A final musical cadence that is authentic and involves the progression of IV-I, ii-I, or ii7-I
Augmented Triad
Triad consisting of stacked major thirds (M3) or a major third with an augmented fifth (A5)
Diminished Triad
Triad consisting of stacked minor thirds (m3) or a minor third with a diminished fifth (d5)
Major Triad
Triad consisting of a major third (M3) with a perfect fifth (P5)
Minor Triad
Triad consisting of minor third (m3) with a perfect fifth (P5)
Major Seventh Chord
Chord with an added major seventh (M7)
Dominant (Major-Minor) Seventh Chord
Major chord with a minor seventh (m7)
Minor Seventh Chord
Chord with an added minor seventh (m7)
Half-Diminished Seventh Chord
Diminished chord with a major seventh (M7)
Fully-Diminished Seventh Chord
Diminished chord with a minor seventh (m7)
Tonic
Scale degree one
Supertonic
Scale degree two
Mediant
Scale degree three
Subdominant
Scale degree four
Dominant
Scale degree five
Submediant
Scale degree six
Subtonic
Scale degree seven
Leading Tone
Raised scale degree seven
Tonic Function
A chord that functions as a tonic chord, (I VI)
Dominant Function
A chord that functions as a dominant chord (V vii)
Predominant Function
A chord that prepares the V chord (ii IV)
Circle of Fifths
A visual representation of the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys
Harmonic Rhythm/Rate of Harmonic Change
The rate at which the chords change in a musical composition (TWO NAMES for this term)
Modulation
The process of moving from one tonal center to another
Common Tone Modulation
A form of modulation in which a key change occurs by using a note from the old key to transition into the new one.
Phrase Modulation
A form of modulation in which the key changes abruptly after a cadence with no common chord.
Pivot Chord Modulation
A form of modulation in which a chord that is shared by both keys is used to transition into the new key
Neighboring Chord
Chord where the bottom lower voice (bass) remains stationary while the upper voices move to neighboring tones and back (occasionally one or more upper voices may have passing tones).
Passing Chord
Bass motion in passing tones
Retrogression
A series of chords that weakens tonality
Secondary Dominant Chord
A chord that is the V (or V7) chord of a certain key other than the tonic key ("the key within a key")
Secondary Leading Tone Chord
A chord that is the vii�, vii�7, or vii�7 of a certain key other than the tonic key ("the key within a key")
Tonicization
Process in which a chord other than tonic is usually set up by a secondary dominant chord to sounds like a temporary tonic chord
Arpeggiating 6/4 Triad
Second inversion triad created by arpeggiation of the triad in the bass
Cadential 6/4 Triad
Second inversion triad that precedes the dominant and is often found at a cadence
Neighboring/Pedal 6/4 Triad
Second inversion triad that occurs when the third and fifth of a root position triad are embellished by their upper neighboring tones while the bass remains stationary
Passing 6/4 Triad
Second inversion triad that harmonizes the bass passing tone; usually placed on an unaccented beat and upper voice motion is ordinarily by step
Anticipation
Unaccented non-chord tone that foreshadows a chord tone
Appoggiatura
Accented non-chord tone that is approached by skip and resolved by step
Escape Tone
Unaccented non-chord tone that is approached by step and resolved by skip
Neighbor Tone
Non-chord tone used between a chord tone and its repetition
Double Neighbor Tone
Two neighbor tones that around the same pitch (i.e. one note is higher and the other is lower)
Lower Neighbor Tone
Non-chord tone where the dissonant note is lower than the chord tone
Upper Neighbor Tone
Non-chord tone where the dissonant note is higher than the chord tone
Neighbor Group (Cambiata)
Two non-consecutive non-chord tones in which the first tone moves up a step from the chord tone, skips down to another non-chord tone, and resolves to the original chord tone
Embellishment/Ornament
Musical flourishes that serve to decorate the main melodic line (TWO NAMES for this term)
Passing Tone
Non-chord tone used stepwise to fill in gaps between chord tones
Pedal Point
Chord tone that serves to prolong the harmony through a passage; usually on tonic or dominant note
Preparation
The tone that precedes the suspension
Resolution
The tone that follows the suspension
Retardation
Accented non-chord tone that keeps a note the same and then steps upwards
Suspension
Accented non-chord tone that keeps a note the same and then steps downward
Rearticulated Suspension
A suspension that is rearticulated on the beat
Suspension Chain
A combination of suspensions in which the resolution of each one prepares the next
Close Position
Less than an octave between the soprano and tenor voices
Open Position
An octave or more between the soprano and tenor voices
Doubling
Common part-writing rule that specifies what note should be used twice (root)
Root Position
Root of the chord is in the bass.
First Inversion
Third of the chord is in the bass.
Second Inversion
Fifth of the chord is in the bass.
Third Inversion
Seventh of the chord is in the bass (applies only to chords with added sevenths)
Common Tone
Note that is shared by two different chords
Contrary Motion
Voices move in opposite directions
Cross Relation
A harmonic clash that occurs when a note in one part sounds simultaneously with or immediately before or after its chromatically altered equivalent.
Crossed Voices
Part-writing error where voices are singing in one another's ranges
Oblique Motion
One voice moves while the other remains stationary
Overlapping Voices
Part-writing error where one voice crosses above or below the previous note of another voice
Parallel Motion
Voices move in the same direction by the same interval
Parallel Fifths
Part-writing error where two voices that are a P5 above each other move to another P5
Parallel Octaves
Part-writing error where two voices that are a P8 above each other move to another P8
Similar Motion
Voices move in the same direction
Tendency Tone
A tone that is harmonically or melodically unstable and tends naturally to resolve itself either upward or downward
Unresolved Leading Tone
Part-writing error that involves scale degree seven not being resolved to tonic
Unresolved Seventh
Part-writing error that involves the seventh of a chord not being resolved downwards
Arpeggiation
The process of spreading a chord out instead of playing the notes simultaneously
Chromatic
Scale that includes every single note and lacks a tonal center
Consonance
A simultaneous combination of tones conventionally accepted as being in a state of repose
Diatonic
Involving only notes proper to the prevailing key without chromatic alteration
Dissonance
A simultaneous combination of tones conventionally accepted as being in a state of unrest and needing completion
Figured Bass
A kind of musical notation in which numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones
Picardy Third
Raised third of a major tonic triad that is used to end a work in the minor mode
Antiphonal
Alternate singing by two choirs or singers.
Articulation
How a note is played
Arco
Articulation where note is played with the bow
Legato
In a smooth, flowing manner
Marcato
Strongly accented
Pizzicato
Articulation where note is plucked
Slur
Connecting two or more notes in a single bow
Staccato
Playing notes in a sharply detached manner.
Tenuto
Emphasis in the value of a note.
Call and Response
A succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first
Crescendo
Gradually getting louder
Diminuendo
Gradually getting softer
Terrace Dynamics
Volume levels shift abruptly from soft to loud.
Pianissimo
Very softly.
Piano
Softly.
Mezzo Piano
Mildly soft.
Mezzo Forte
Mildly loud.
Forte
Loud.
Fortissimo
Very loud.
Adagio
Slowly; often indicates a speed somewhere between andante and largo
Allegro
Fast
Andante
Moderately slow; walking speed
Andantino
Slightly slower or faster than andante; like walking speed
Grave
Very slow; solemn
Largo
Rather slow; stately
Lento
Slow
Moderato
Moderate speed
Presto
Very fast
Vivace
Lively
Accelerando
An increase in the speed of the music; gradually getting faster
Ritardando
A decrease in the speed of the music; gradually getting slower
Ritenuto
Held back
Rubato
With some freedom of time
Tremolo
A trembling effect in a musical tone; rapid reiteration of a single note or between two notes or chords
Trill
A musical ornament consisting of a rapid alternation between two adjacent notes (usually a semitone or tone apart)
Accent
Emphasis placed on a note
Agogic Accent
Natural accent
Dynamic Accent
Emphasis using louder sound; typically most pronounced on the attack of the sound
Metrical Accent
Stress based on division of the beat
Anacrusis
One or more unstressed notes before the first bar line of a piece or passage
Asymmetrical Meter
A regular metric pattern that is established from a sequence of two or more irregular time signatures
Augmentation
The lengthening of the time values of notes in a melodic part
Bar Line
Vertical line used to mark the division of bars
Beat
Rhythmic movement
Compound Meter
Beat subdivided into three parts.
Simple Meter
Beat subdivided into sections of two.
Cross Rhythm
The use of two or more rhythms simultaneously
Diminution
Long note is divided into a series of shorter, usually melodic, values
Dot
Extends note value by one half.
Dotted Rhythm
Beat is unequally subdivided into a long dotted note and a short note.
Duplet
Two notes fit into one beat.
Duration
How long something lasts.
Hemiola
A rhythmic pattern of syncopated beats with two beats in the time of three or three beats in the time of two
Duple Meter
Primary division of two beats per bar.
Triple Meter
Primary division of three beats per bar.
Quadruple Meter
Primary division of four beats per bar.
Polyrhythm
The simultaneous use of two or more conflicting rhythms
Pulse
A regular, reoccuring emphasis of a fixed interval of time; how one feels the beat
Swing Rhythm
A rhythmic feel in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short
Syncopation
Displacement of the normal metric accent.
Tie
A line connecting two note heads indicating that they should be played as one note.
Triplet
A group of three notes played in a specific time value (i.e. two, four, etc.)
Chromaticism
The use of altered tones.
Harmonic Minor
Minor scale in which the seventh scale degree is raised one half-step
Melodic Minor
Minor scale in which the sixth and seventh scale degrees are raised one half-step
Natural Minor
Minor scale in which the diatonic intervals are whole steps except for between scale degrees 2-3 and 5-6; also known as an aeolian church mode
Ionian Mode
Church mode in which a scale starts on scale degree one
Dorian Mode
Church mode in which a scale starts on scale degree two
Phrygian Mode
Church mode in which a scale starts on scale degree three
Lydian Mode
Church mode in which a scale starts on scale degree four
Mixolydian Mode
Church mode in which a scale starts on scale degree five
Aeolian Mode
Church mode in which a scale starts on scale degree six; also known as a natural minor scale
Locrian Mode
Church mode in which a scale starts on scale degree seven
Modality
Organized scales based on the displacement of the tonic note along an arrangement of seven natural tones.
Parallel Key
A major and a minor scale with the same tonic
Pentatonic
Scale of five notes (Do Re Mi So La)
Relative Key
A major and a minor scale with the same key signature
Tetrachord
Series of four notes
Tonality
The arrangement of all the tones and chords of a composition in relation to the tonic
Whole-Tone Scale
Scale in which each note is separated by a whole step
Melismatic
Singing one syllable on multiple notes
Syllabic
Singing one syllable per note
Alberti Bass
accompaniment pattern in the bass using an arpegiated three note chord
Canon
multiple voices play the same musical line at different places (round is a type of canon)
Canonic
in canon form
Chordal accompaniment
when the harmonies are in forms of chords
Contrapuntal
with 2 or more different melodic lines
counterpoint
playing a melody in conjunction with another
imitation
EXACTLY THE SAME
Imitative polyphony
the individual lines are similar in their shapes and sounds (though not exactly the same)
Nonimitative polyphony
the voices show little resemblance to each other
fugal imitation
Imitation of the subject which enters at a different pitch level, usually the fourth or fifth.
Heterophony
only one melody, but different variations being sung or played a the same time
Homophony
one clear melody line
Chordal homophony
every line or voice moves together with the same rhythm
Chordal Texture (homorhythmic)
a texture with the same rhythm throughout
Melody with accompaniment
one melodic line but not limited to chords moving together
Brass
Division of the orchestra: Tubular wind instruments usually made of brass. Trumpet, cornet, horn, trombone (Paul), euphonium, and tuba.
Continuo
Two performers who play continually throughout a performance; a cellist and a keyboardist, both reading from figured-bass scores. Essential to ensemble music from about 1600-1750 (the Baroque era.)
Percussion
Division of the orchestra: Any instrument that makes its sound by being struck. Common members are drums; cymbals; timpani; xylophones
Rhythm Section
That part of the band or orchestra composed of unpitched instruments which produce their sound by being struck. The backbone of this is the drums.
Strings
Division of the orchestra: Instruments that make their sound from strings which are bowed or plucked. The string section is composed of violin, viola (Joey), cello, and double bass.
Timbre
The quality of a sound; "tone color"; i.e.; the reediness of an oboe; the warmth of the cello; the brassiness of a trumpet.
Woodwinds
musical instruments which produce sound when the players blow air against an edge of, or opening in, the instruments, causing the air to vibrate within a resonator
Monophony
music with only one melody line
Obbligato
an integral part to a piece of music (obligate)
ostinato
continually repeated musical phrase or rhythm
Polyphony
more than one independent melody occuring at the same time
register
division of the range of an instrument
Tessitura
general range of a composition
Walking bass
a bass line that moves steadily in a rhythm contrasting to that of the upper parts
Aria
A solo song within an opera or oratorio
Art Song
A solo song not from an opera; often from the Romantic era
Concerto
A large-scale, multi-movement piece written for a solo instrument and orchestra
Interlude
Music written to be played between acts of a play, opera, or ballet.
Opera
Large-scale musical/theatrical piece; a play set to music and presented with full orchestra, singers, sets, and costumes.
Prelude
A piece written to precede some other musical work or worship service; also, a short, self-contained musical piece.
Postlude
Usually, recessional music for a worship service
Sonata
A piece written for solo instrument (such as piano) or a single-line instrument (such as flute or cello) and piano.
String Quartet
An ensemble of four stringed instruments: Two violins, viola, and cello. Also, music written for this ensemble.