AP Music Theory Vocabulary

Jeopardy style

Musical texture-all performers on same notes and

rhythms without harmony

monophonic

(monophony)--unison/doubled at octave--

Musical texture-melody plus accompaniment

can be chordal

homophonic (homophony)

Arpeggiation, Alberti Bass

Musical texture-chordal

all voices move at the same time

homorhythmic

Musical texture-all performers on same melody but

add individual embellishments

heterophonic

(heterophony)--often Non-Western--

Musical texture-more that one independent line

occurring at the same time

polyphonic

(polyphony)--imitative and non-imitative—

fugue, canoncan be contrapuntal

Meter-note value that gets 1 pulse in the music

macrobeat

Meter-note value for the first level of

subdivision

microbeat(i.e. eighth note in 2/4 time)

Meter-macrobeat is divided into

2 equal parts

simple

2/4, 2/2

Meter-macrobeat is divided into

3 equal parts

compound

6/8, 3/16

Meter-regular grouping of macrobeats in

two’s

duple

2/4, 2/2 = simple duple4/4 can be called quadruple

6/8= compound duple

Meter-macrobeats grouped in three’s

triple

3/4 = simple triple9/8 = compound triple

Meter-combinations of simple and compound

macrobeats within the measure

asymmetrical or irregular

5/4 (2+3 or 3+2), 7/8

Rhythm-placement of an accent where one

would not normally occur

syncopation

Rhythm-an accent of length, rather than

volume

agogic accent

perceived accent because this longer note is surrounded by faster notes or is

deliberately lengthened by performer.(Viennese Waltz, Mazurka)

Rhythm-an accent resulting from pattern of

notes in the rhythm

metrical accent

(like in syncopation)also the ‘downbeat accent’

Rhythm-‘pick up’ notes

incomplete measure as the start of a phrase

anacrusis

Rhythm-doubling the note values

augmentation

Rhythm-halving the note values

diminution

Rhythm-two groups of three beats are

replaced by three groups of two beats.

hemiola

Rhythm-in compound meter, group of 2

notes in the space of 3

duplet

Rhythm-in simple meter, group of 3 notes

in the space of 2

triplet

Rhythm-in compound meter, group of 4

notes in the space of 3

quadruplet

Rhythm-in simple meter, group of 6 notes

in the space of 2

sextuplet

Rhythm-metric note groupings within the measure that are different from

typical metric pattern

cross rhythm(as in hemiola)

9/8 = 2+2+2+3 rather than 3+3+3

Rhythm-Simultaneous contrasting metric

patterns

polyrhythm

Rhythm-rhythmic feel when eighth note pairs feel like the outer notes of a triplet

group

swing rhythm

Expression-an accent of length, rather than

volume

agogic accent

perceived accent because this longer note is surrounded by faster notes or is

deliberately lengthened by performer.(Viennese Waltz, Mazurka)

Expression-an accent of volume,

emphasis is created because one note is louder than the others

dynamic accent

Expression-an accent resulting from pattern of

notes in the rhythm

metrical accent

(like in syncopation)also the ‘downbeat’ accent

Harmony-point at which a phrase comes to

rest

cadence

Harmony-V – I or V-i

authentic cadence

Harmony-phrase ending V-I or V-i

both chords in root position,soprano ends on tonic

perfect authentic cadence (PAC)

Harmony- - phrase endingV-I or V-i

both chords in root position,soprano ends on 3rd or 5th

imperfect authentic cadence (IAC)

Harmony-phrase ending on V

half cadence(semi cadence)

Harmony-phrase ending IV – I or iv-i

plagal cadence

Harmony-phrase ending V-vi, V-ii

(when V-vi, vi is in root position)

deceptive cadence

Harmony-phrase ending iv6 – V (in minor key only)

[slow mvt. of Baroque concerti]

phrygian half cadence

Harmony-triadM3 & P5 above root

(M3 plus m3)

Major

Harmony-triadm3 & P5 above root

(m3 plus M3)

minor

Harmony-triadm3 & d5 above root

(m3 plus m3)

diminished

Harmony-triadM3 & A5 above root

(M3 plus M3)

Augmented

Harmony-Major triad plus minor 7th

Dominant 7th

Harmony-Major Triad plus Major 7th

Major 7th

Harmony-minor triad plus minor 7th

minor 7th

Harmony-diminished triad plus minor 7th

½ dim 7th

Øm7♭5

Harmony-4 notes, all minor thirds

fully diminished 7th

Harmony64

cadential6---54---3

Harmony64

unaccented placementmiddle of passing tones in bass

passing 6 4

Harmony64

bass note stays sameupper notes of harmony (root & 3rd)

move by step & return

pedal 6 4

Harmony-Progression

up 2, down 3, up 4, down 5, up 6, down 7

except V or vii never goes to iii/III

Harmony-Circle Progression

roots moveup 4 or down 5

Harmony-Retrogression (regression)

roots moveopposite rules of

progression (i.e. ii-I)

Harmony-Raised 3rd on tonic chord at end of

passage in minor key

Picardy third

Harmony-Full transcription of harmonies

indicated by Figured Bassincludes Roman numeral analysis

realization

Harmony-the prolongation or delay of a cadence

by the addition of material beyond (i.e. before or after) the point at which

the cadence is expected

cadential extension(pre-cadential/post-

cadential)

Harmony-chord that sounds most stable

(like ‘home’)

tonic function

Harmony-chord(s) that sound like they are travelling or leading to dominant

(vi, ii, iii)

predominant function

Harmony-chord that leads to tonic

(V, vii°)

dominant function

-Harmonic Error-contradicting accidentals on

same or adjacent beats

false relationcross relation

-Harmonic Features-treatment of a new pitch so that it indicates a change of

key

tonicization

Harmony-pace at which harmonies change

harmonic rhythm

Non-Harmonic Tone (NCT)accented or unaccented

connect notes to create stepwise melodic motion

passing tone

Non-Harmonic Tone (NCT)accented or unaccented

move by step away from chord tone & back to same note by step

neighbor tone(upper or lower)

Non-Harmonic Tone (NCT)belongs to the next chord

(usually in soprano)

anticipation

Non-Harmonic Tone (NCT)accented

approach by skip, resolve by step(usually in soprano)

appogiatura

Non-Harmonic Tone (NCT)unaccented

approach by step, depart by skip

escape

Non-Harmonic Tone (NCT)usually unaccented

notes above & below chord tone(upper & lower neighbor – by step)

double neighborcambiata

changing tones

Non-Harmonic Tone (NCT)tone that remains the same even

though upper harmonies are changing(as if you exclude bass from harmony)

pedal tone(pedal point)

[if in another voice, inverted pedal tone]

Non-Harmonic Tone (NCT)accented

held over from previous chord,resolves up by step

retardation

Non-Harmonic Tone (NCT)accented

held over from previous chordresolves down by step

suspension

-Musical Styles-category that identifies pieces of music as belonging to a shared tradition or set of conventions

genre

-Musical Styles-elaborate accompanied song for solo voice from a cantata, opera,

or oratorio

aria

-Musical Styles-vocal music composition, usually

written for one voice with piano or orchestral accompaniment

art song

-Musical Styles-composition featuring one or more

solo instruments with orchestra, typically in three movements

concerto

-Musical Styles-extended composition in three or more movements for orchestra

symphony

-Musical Styles-instrumental composition

(especially of the 17th or 18th century)

consisting of a succession of sections (dances)

in the same or related keys

suite

-Musical Styles-composition featuring one or more

solo instruments with accompaniment (keyboard or continuo),

typically in three movements

sonata

-Musical Styles-composition for an orchestra and one or more solo instruments, typically in

three movements(ripieno=tutti, concertino=soli)

concerto grosso

-Musical Styles-‘rhythm section’ of the baroque

bass line instrument like cello plus a chordal instrument like harpsichord,

lute or guitar to realize the figured bass

(basso) continuothoroughbass

-Musical Styles- imitative polyphony in which a theme

or themes (subjects) are stated successively in all of the voices

fugue

-Musical Styles-large scale theatrical musical work featuring singing and instrumental

music to relate a story

opera

-Musical Styles-large scale musical work featuring singing and instrumental music to

relate a biblical story

oratorio

-Musical Styles-large scale musical work featuring solo

and ensemble singing and instrumental music

based on a sacred text

cantata

-Musical Styles-style of singing in operas, oratorios,

and cantatas in which the text is declaimed in the rhythm of natural speech with slight melodic variation and little orchestral accompaniment.

recitative

-Musical Styles- A piece or movement that serves as an introduction, precedes a fugue, opens a suite, or precedes a church service; also a short piece for solo instrument

in this style.

prelude

-Musical Styles-a final or concluding piece or

movement

postlude

-Musical Styles-a sonata-like multi-movement

composition for 2 violins, 1 viola, 1 cello

string quartet

-Form-

2 contrasting sections

binary

-Form-

2 contrasting sections, first section repeats

ternary

-Form-2 contrasting sections,

second section ends with material from first section

rounded binary

-Form-3 contrasting sections

First section repeats after each contrasting section

rondo

-Form-Main melody repeats with

different lyrics

strophic (hymn style)

-Form-Main melody repeats with changes

including rhythm, meter, mode, harmonization, embellishment

Theme & Variations

-Form-Main melody repeats with changes

including rhythm, meter, mode, harmonization, embellishment

Theme & Variations

-Form-Opening section prior to first main

theme

introduction

-Form-ending section

Coda(tail)

-Form-AABA

Jazz song form

-Form-transitional section about 2/3

through song, usually in the IV key

bridge

-Form-transitional section of a

composition

interlude

-Form-section of song with same lyrics

each time (often contains the ‘hook’)

chorus(refrain)

-Form-section of sing with different lyrics

for each repetition

verse(stanza)

-Form-I I I I IV IV I I V IV I

12 bar blues

-Form-repetition of main song (usually aaba)

featuring whole ensemble, different combos and solos on

each repetition.

chorus format

-Form-section ending that leads back to

beginning of main melody(often V - - - with I at start of section)

turnaround

-Form-musical work lacking any

repetition of thematic material

through composed

-Melodic Features-doubling note durations

(or lengthening proportionally)

augmentation

-Melodic Features-halving or shortening note durations proportionally

diminution

-Melodic Features-stepwise melodic motion

conjunct

-Melodic Features-melodic motion by skips

and leaps

disjunct

-Melodic Features-when the last note of one phrase serves as first note of next phrase

(phrase) elision

-Melodic Features-reversal of melodic

direction

melodic inversion

-Melodic Features-in backwards order

retrograde

-Melodic Features-development of melodic

ideas

motivic transformation

-Melodic Features-melodic or rhythmic

figure that recurs

motive

-Melodic Features-repetition of a melodic

figure at successive pitch levels

sequence

-Melodic Features-precise repetition of a

melodic figure at successive pitch levels

(preserves all intervals & qualities)

real sequence

-Melodic Features-repetition of a melodic

figure at successive pitch levels using only the tones

of the prevailing scale

tonal sequence

-Melodic Features-repetition of a melodic

figure at successive pitch levels with embellishments

but retaining original character

modified sequence

-Melodic Features-repetition of a parts of a melodic figure and exact repetition of other parts

of the melody

false sequence

-Melodic Features-musical unit formed by 2

(or more) adjacent phrases

period

-Melodic Features-musical unit formed by 2

(or more) adjacent phrases that begin in the same

manner

parallel period

-Melodic Features-musical unit formed by 2

(or more) adjacent phrases that have different melodic

content

contrasting period

-Melodic Features-musical unit formed by 4

(or more) adjacent phrases using repetition and

contrasting melodic ideas(commonly aaba, abab, etc.)

double period

-Melodic Features-melodic elongation, often

through repetition & sequences

can be at beginning, middle or cadence

phrase extension

-Melodic Features-climax of phrase,

(usually 2/3 through)

focal point

-Melodic Features-first phrase of a musical

period, with a complementary phrase

following

antecedent

-Melodic Features-second phrase of a musical period that completes or answers the first phrase

consequent

-Melodic Features-deletion of end of phrase (opening motive is kept)

truncation

-Melodic Features-additional independent melody designed to fit

with the principal melody

countermelody

-Melodic Features-additional melody, usually

for a soloist including embellishment

(not to be left out – can also indicate an accompaniment)

obbligato