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AP Music Theory > AP Test Terminology > Flashcards

AP Test Terminology Flashcards

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1
Q

cadence

A

a melodic or harmonic configuration that creates a sense of resolution or ending

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2
Q

cadential extension

A

prolongation or delay of a cadence by addition of material

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3
Q

coda

A

a passage that brings a piece to an end

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4
Q

codetta

A

a small, brief coda - literally “little coda”

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5
Q

contour

A

shape of a melody

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6
Q

countermelody

A

a subordinate melody accompanying a principle one

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7
Q

elision (phrase elision)

A

the omission of pitches from a melodic line, thereby shortening it

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8
Q

fragment

A

division of a musical idea or motive into segments

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9
Q

introduction

A

the passage which opens a movement or piece

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10
Q

bridge

A

a passage used to prepare for a verse or chorus

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11
Q

chorus

A

a part of a song that recurs at intervals

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12
Q

song form

A

the form or layout used to compose a song

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13
Q

turnaround

A

(in jazz) a section that is preparation for the next

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14
Q

twelve-bar blues

A

one of the most prominent structures in popular music

I-I-I-I7-IV7-IV7-I-I-V7-IV7-I-I

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15
Q

augmentation

A

multiplying note values in a phrase by a constant

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16
Q

diminution

A

dividing note values in a phrase by a constant

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17
Q

conjunct

A

motion between consecutive pitches (also known as a step)

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18
Q

disjunct

A

motion between non-consecutive pitches (also known as skips and leaps)

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19
Q

fragmentation

A

division of a musical idea into segments

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20
Q

internal expansion

A

the extension of phrase length with something added or repeated (not at the cadence)

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21
Q

octave displacement

A

taking a melodic line and moving its notes to a different octave

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22
Q

inversion

A

switching the order of pitches through octave displacement

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23
Q

melodic inversion

A

the inversion of a melody by turning it upside-down

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24
Q

literal repetition

A

a repeated passage, notated by a repeat sign

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25
Q

sequence

A

repetition of a motive in a different place on the staff

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26
Q

sequential repetition

A

repetition of a motive that has been transposed to different scale degrees

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27
Q

motivic transformation

A

any strategy used to develop or alter a motive for melodic interest

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28
Q

retrograde

A

the inverse of a series played in reverse order

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29
Q

motive

A

a short musical idea

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30
Q

transposition

A

shifting a composition to a different pitch level

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31
Q

truncation

A

shortening of a musical idea

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32
Q

period

A

a musical statement (group of phrases) that ends with a cadence

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33
Q

antecedent phrase

A

the first phrase of a two-phrase period

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34
Q

consequent phrase

A

the second phrase of a two-phrase period

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35
Q

contrasting period

A

period of two different phrases

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36
Q

double period

A

a parallel period of two antecedent and two consequent phrases

a | b | a | b1

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37
Q

parallel period

A

period of two similar phrases

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38
Q

phrase group

A

group of phrases that seem to belong together without forming period or double period

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39
Q

refrain

A

verse which repeats throughout a piece at given intervals

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40
Q

binary

A

a musical form in which the A and B sections are repeated (resulting in AABB)

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41
Q

rounded binary

A

a variation of binary form in which a form of the A section returns after the B section

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42
Q

ternary

A

a three-part structure in which the A section is repeated after the B section (resulting in ABA)

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43
Q

solo, soli

A

a passage to be performed by a soloist or multiple soloists

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44
Q

verse

A

musical equivalent of a poetic stanza

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45
Q

strophic

A

structure in which all verses and choruses are played to the same music (opposite is through-composed)

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46
Q

theme

A

material (usually a melody) on which a composition is based

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47
Q

thematic transformation

A

technique in which a theme is modified over time

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48
Q

through-composed

A

a form in which new music is used for every stanza (opposite is strophic)

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49
Q

tutti

A

a passage performed together by all voices and/or instruments

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50
Q

variation

A

a technique in which material is repeated in an altered form

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51
Q

perfect authentic cadence

A

V-I or V-i movement with both chords in root position (also soprano moving from scale degree 7 to scale degree 1)

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52
Q

imperfect authentic cadence

A

V-I or V-i movement with one or both chords being inverted

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53
Q

conclusive cadence

A

a cadence that sounds complete because it ends on tonic

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54
Q

half cadence

A

any cadence ending on V

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55
Q

Phrygian half cadence

A

a cadence with movement from iv6 to V (also with downward motion of a m2 to scale degree 5 in the bass)

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56
Q

inconclusive cadence

A

a cadence that sounds incomplete because it ends on dominant

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57
Q

plagal cadence

A

“amen cadence” - moves from IV-I or iv-i

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58
Q

root-position triad

A

triad with three stacked pitches and the root in the bass (indicated by no symbol)

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59
Q

first inversion triad

A

triad with three stacked pitches and the third in the bass (indicated by a 6)

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60
Q

second inversion triad

A

triad with three stacked pitches and the fifth in the bass (indicated by a 6/4)

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61
Q

major seventh chord

A

M3/m3/M3

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62
Q

dominant seventh chord

A

M3/m3/m3

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63
Q

minor seventh chord

A

m3/M3/m3

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64
Q

half-diminished seventh chord

A

m3/m3/M3

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65
Q

fully-diminished seventh chord

A

m3/m3/m3

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66
Q

augmented major seventh chord

A

M3/M3/m3

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67
Q

minor-major seventh chord

A

m3/M3/M3

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68
Q

root-position seventh chord

A

seventh chord with four stacked pitches and the root in the bass (indicated by a 7)

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69
Q

first inversion seventh chord

A

seventh chord with four stacked pitches and the third in the bass (indicated by a 6/5)

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70
Q

second inversion seventh chord

A

seventh chord with four stacked pitches and the fifth in the bass (indicated by a 4/3)

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71
Q

third inversion seventh chord

A

seventh chord with four stacked pitches and the seventh in the bass (indicated by a 4/2 or a 2)

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72
Q

deceptive cadence

A

movement from IV or V to vi; it sounds like it’s headed towards tonic but it doesn’t

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73
Q

tonic function

A

a chord that serves a tonic function, such as the tonic or submediant

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74
Q

dominant function

A

a chord that serves a dominant function, such as the dominant or leading tone seventh chord

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75
Q

predominant function

A

any progression that sets up dominant-tonic movement

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76
Q

augmented triad

A

stacked thirds arranged in M3/M3

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77
Q

diminished triad

A

stacked thirds arranged in m3/m3

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78
Q

major triad

A

stacked thirds arranged in M3/m3

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79
Q

minor triad

A

stacked thirds arranged in m3/M3

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80
Q

tonic

A

scale degree 1

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81
Q

supertonic

A

scale degree 2

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82
Q

mediant

A

scale degree 3

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83
Q

subdominant

A

scale degree 4

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84
Q

neighboring tone

A

embellishment approached by a step in one direction and resolved by a step in the opposite direction

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85
Q

circle of fifths

A

visual representation of the relationships between the twelve tones of the chromatic scale

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86
Q

dominant

A

scale degree 5

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87
Q

submediant

A

scale degree 6

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88
Q

subtonic

A

scale degree 7 in minor

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89
Q

leading tone

A

scale degree 7 in major

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90
Q

pedal point

A

embellishing sustained pitch that does not adjust to surrounding harmonies

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91
Q

retardation

A

like a suspension but resolves up rather than down

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92
Q

deceptive progression

A

a movement of V to vi (you think it will go to tonic)

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93
Q

harmonic rhythm

A

the rate at which chords change

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94
Q

modulation

A

large-scale tonicization (temporarily moving tonic to a different key) for longer periods of time

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95
Q

common tone modulation

A

using common tone(s) to introduce a modulation (also known as a “pivot chords”)

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96
Q

phrase modulation

A

modulation without pivot notes

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97
Q

pivot chord modulation

A

the use of chords common to both keys in order to introduce a modulation (also known as common tone modulation)

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98
Q

neighboring chord

A

a chord formed by 2-3 neighbor notes occurring at the same time in similar motion to make a new chord

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99
Q

rate of harmonic change

A

like harmonic rhythm; the rate at which chords change

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100
Q

retrogression

A

a series of chords moving backwards towards tonic, typically weakening tonality

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101
Q

secondary dominant

A

chords functioning as a dominant chord in the dominant area (V/V or V7/V)

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102
Q

secondary leading tone chord

A

chords functioning as a leading tone chord in the dominant area (viiº/V or viiº7/V)

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103
Q

tonicization

A

temporary displacement of tonic to a different key area

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104
Q

direct fifths

A

a perfect fifth approached in similar motion by two voices

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105
Q

direct octaves

A

a perfect octave approached in similar motion by two voices

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106
Q

arpeggiating 6/4

A

6/4 triad created by arpeggiation of the triad in the bass

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107
Q

cadential 6/4

A

6/4 triad that serves as an embellishment of the dominant area

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108
Q

neighboring or pedal 6/4

A

6/4 triad that occurs when the third and fifth of a root position triad are embellished by their respective upper neighboring tones

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109
Q

passing 6/4

A

6/4 triad created by harmonizing a three-note scale fragment of the bass

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110
Q

anticipation

A

an embellishment that arrives at a note of a chord early before the other members do

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111
Q

appogiatura

A

embellishment approached by a skip, resolved by a step

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112
Q

embellishment

A

melodic decoration

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113
Q

escape tone

A

embellishment approached by a step, resolved by a skip

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114
Q

double neighbor

A

embellishment created by two voices stepping in one direction and resolving in the opposite

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115
Q

cambiata

A

broader term for escape tone or appogiatura

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116
Q

ornament

A

another word for embellisment

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117
Q

dissonance

A

sound that is generally regarded as unpleasant or harsh to hear

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118
Q

passing tone

A

embellishment that is approached by a step and resolved by a step in the same direction

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119
Q

preparation

A

the set-up for dissonance

120
Q

resolution

A

the conclusion of dissonance to a consonant interval

121
Q

suspension

A

dissonant embellishment approached by a common tone and resolved down by a step

122
Q

close position

A

compact voicing of a chord

123
Q

doubling

A

the process of repeating a tone in a chord in a second (or third) voice

124
Q

root

A

the bottom, naming note of a chord

125
Q

open position

A

spread out voicing of a chord

126
Q

common tone

A

a pitch class that is a member of or common to two or more entities

127
Q

cross relation (false relation)

A

the occurrence of a tritone between two notes of adjacent chords

128
Q

voice crossing

A

intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa)

129
Q

interval

A

the difference between two pitches

130
Q

overlapping voices

A

voices do not cross (unlike voice crossing), but they move together, and the lower voice passes where the upper voice was (or vice versa)

131
Q

rearticulated suspension

A

suspension is rearticulated rather than slurred

132
Q

parallel intervals

A

intervals approached by similar motion

133
Q

suspension chain

A

consecutive suspensions where the resolution of one serves as preparation for the next

134
Q

tendency tone

A

scale degrees that tend to resolve in a certain direction

135
Q

voice exchange

A

switching of a pitch between voices

136
Q

alto

A

the second highest pitch or instrument of a group

137
Q

chromatic

A

involving a modification of the normal scale by the use of accidentals

138
Q

common practice style

A

pertaining to the styles of the common practice period

139
Q

consonance

A

sound that is generally regarded as pleasant or easy to hear

140
Q

diatonic

A

involving only notes proper to the prevailing key without chromatic alteration

141
Q

bass

A

the lowest pitch or instrument of a group

142
Q

figured bass

A

a kind of musical notation in which numerals and symbols indicate intervals, chords, and non-chord tones in relation to the bass note they are placed above or below

143
Q

flatted fifth

A

chromatic passing note between the four and the five in the scale

144
Q

Picardy third

A

use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key

145
Q

compound interval

A

an interval that is larger than an octave

146
Q

inversion of an interval

A

switching the order of an interval to its opposite (ex: P5/P4)

147
Q

soprano

A

the highest pitch or instrument of a group

148
Q

tenor

A

the second lowest pitch or instrument of a group

149
Q

contrary motion

A

movement of voices in opposite directions

150
Q

oblique motion

A

movement of one voice while another sustains

151
Q

arpeggio

A

the notes of a chord played in succession, either ascending or descending

152
Q

parallel motion

A

movement of voices from and into the same interval in the same direction

153
Q

similar motion

A

movement of voices in the same direction but not at the same interval as the previous interval

154
Q

lead sheet

A

a form of musical notation that specifies essential elements of a popular song: the melody, lyrics and harmony

155
Q

half step

A

a minor second, also known as a semitone

156
Q

tritone

A

dissonant interval of three adjacent whole tones or six half steps

157
Q

unison

A

two or more parts played at the same pitch

158
Q

whole step

A

a major second spanning two semitones

159
Q

antiphonal

A

sung, recited, or played alternately by two groups

160
Q

articulation

A

relating to any technique that affects how a note is played

161
Q

arco

A

played with the bow

162
Q

legato

A

in a smooth, flowing manner without breaks between notes

163
Q

marcato

A

played with emphasis

164
Q

pizzicato

A

played by plucking without the bow

165
Q

slur

A

a marking indicating that notes should be played together in one breath

166
Q

staccato

A

played with each sound or note sharply detached or separated from the others

167
Q

tenuto

A

a note or chord held for its full time value or slightly more

168
Q

call and response

A

a succession of phrases played with the second being a response or commentary to the first

169
Q

dynamics

A

the volume of sounds or notes

170
Q

crescendo

A

gradual increase in volume

171
Q

diminuendo

A

decrease in loudness

172
Q

terrace dynamics

A

abrupt shifts in volume without crescendos or decrescendos

173
Q

pianissimo

A

very soft

174
Q

piano

A

soft

175
Q

mezzo piano

A

moderately soft

176
Q

mezzo forte

A

moderately loud

177
Q

forte

A

loud

178
Q

fortissimo

A

very loud

179
Q

improvisation

A

immediate, on-the-spot musical composition

180
Q

phrasing

A

concepts and practices related to grouping consecutive melodic notes, both in their composition and performance

181
Q

irregular meter

A

meter that doesn’t fit duple/triple categories

182
Q

duple meter

A

meter with primary division of two beats to the bar

183
Q

quadruple meter

A

meter with primary division of four beats to the bar

184
Q

triple meter

A

meter with primary division of three beats to the bar

185
Q

polyrhythm

A

simultaneous use of two or more conflicting rhythms

186
Q

pulse

A

beats in a (repeating) series of identical yet distinct periodic short-duration stimuli perceived as points in time

187
Q

tempo

A

the speed at which a passage of music is played

188
Q

adagio

A

a slow tempo

189
Q

key signature

A

the sharp/flat markings after the clef that indicate the key of a piece

190
Q

allegro

A

a brisk tempo

191
Q

andante

A

a moderately slow tempo

192
Q

andantino

A

a tempo slightly quicker than andante

193
Q

grave

A

a very slow, solemn tempo

194
Q

largo

A

a slow, dignified tempo

195
Q

lento

A

a slow tempo

196
Q

moderato

A

a moderate tempo

197
Q

presto

A

a quick tempo

198
Q

vivace

A

a lively and brisk tempo

199
Q

accelerando

A

gradually increasing in speed

200
Q

ritardando

A

gradually decreasing in speed

201
Q

ritenuto

A

an immediate reduction of tempo

202
Q

rubato

A

brief relaxation of a strict time (either temporarily increasing or decreasing in speed)

203
Q

changing meter (multimeter)

A

meter changes periodically throughout the music

204
Q

cross rhythm

A

two contrasting divisions sounding at the same time (ex: Carol of the Bells)

205
Q

dotted rhythm

A

a rhythm consisting of dotted notes (a dot adds half of the note value)

206
Q

agogic accent

A

an accent by difference in duration

207
Q

duration

A

time a pitch is held

208
Q

hemiola

A

augmentation of a meter with a temporary adjustment in beat groupings (ex: “America” from West Side Story)

209
Q

dynamic accent

A

an accent by difference in volume

210
Q

metrical accent

A

an accent by placing a note on a strong beat of a measure

211
Q

anacrusis

A

a pickup note

212
Q

asymmetrical meter

A

a meter that can not be divided into equal beats, creating compound and simple meter within one measure

213
Q

bar line

A

indicates the end of a measure

214
Q

beat

A

a rhythmic unit

215
Q

compound meter

A

meter where beats are subdivided in threes

216
Q

simple meter

A

meter where beats are subdivided in twos

217
Q

duplet

A

a pair of equal notes performed in a time of three

218
Q

rhythm

A

combinations and sequences of note values

219
Q

swing rhythm

A

slight adjust of written rhythms to give them a jazzy vibe; characterized by eighth notes being played “long-short”

220
Q

syncopation

A

rhythms that are accented on offbeats

221
Q

tie

A

a slur between notes of the same pitch; played by adding their values together

222
Q

time signature

A

a numerical sign indicating the rhythm and beat division of a piece

223
Q

triplet

A

a group of three notes played in a time of two

224
Q

accidental

A

an altered note that is not part of the most recently applied key signature

225
Q

harmonic minor

A

minor scale with lowered 3 and 6 compared to major

226
Q

melodic minor

A

minor scale with lowered 3 (ascending) compared to major and lowered 3, 6, 7 (descending) compared to major

227
Q

natural minor

A

minor scale with lowered 3, 6, and 7 compared to major

228
Q

mode

A

a type of scale

229
Q

Ionian

A

mode associated with scale degree 1 in C

230
Q

Dorian

A

mode associated with scale degree 2 in C

231
Q

Phrygian

A

mode associated with scale degree 3 in C

232
Q

Lydian

A

mode associated with scale degree 4 in C

233
Q

Mixolydian

A

mode associated with scale degree 5 in C

234
Q

Aeolian

A

mode associated with scale degree 6 in C

235
Q

Locrian

A

mode associated with scale degree 7 in C

236
Q

lyrics

A

the words of a song

237
Q

melismatic

A

singing styles of multiple notes per syllable (opposite of syllabic)

238
Q

stanza

A

another word for verse (equivalent of a poetic stanza)

239
Q

syllabic

A

singing style of one note per syllable (opposite of melismatic)

240
Q

modality

A

system of organized scales based on the displacement of the tonic note along a arrangement of seven natural tones

241
Q

parallel key

A

major and minor scale sharing a tonic

242
Q

pentatonic

A

related to a scale of five notes

243
Q

relative key

A

major and minor scale sharing the same key signatures

244
Q

tetrachord

A

a scale of four notes with the interval between the first and last being a perfect fourth

245
Q

tonal

A

pertaining to or having tonality

246
Q

tonality

A

musical system in which pitches or chords are arranged so as to induce a hierarchy of perceived relations, stabilities, and attractions

247
Q

whole-tone scale

A

a scale consisting entirely of intervals of a tone with no semitones

248
Q

Alberti bass

A

a kind of broken chord or arpeggiated accompaniment where the notes of the chord are presented in the order of lowest, highest, middle, highest (then repeated)

249
Q

canon

A

a piece of music in which two or more voices sing or play the same music starting at different times

250
Q

canonic

A

resembling a canon

251
Q

contrapuntal

A

following the rules and standards of counterpoint

252
Q

counterpoint

A

the technique of setting, writing, or playing a melody or melodies in conjunction with another, according to fixed rules

253
Q

imitation

A

repetition of a melody in a polyphonic texture shortly after its first appearance in a different voice (usually at a different pitch)

254
Q

imitative polyphony

A

when overlapping melodies are similar or the same

255
Q

nonimitative polyphony

A

when overlapping melodies are different

256
Q

fugal imitation

A

a contrapuntal compositional technique in two or more voices, built on theme that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition

257
Q

heterophony

A

a type of texture characterized by simultaneous variation of a single melodic line

258
Q

homophony

A

texture in which two or more parts move together in harmony with the relationship between them creating chords (also known as chordal homophony)

259
Q

chordal texture

A

texture in which the musical material is concentrated into chords with relatively little melodic activity

260
Q

melody with accompaniment

A

a structure consisting of a melody and underlying accompaniment

261
Q

brass

A

any instrument that produces sound through the vibration of a player’s lips

262
Q

continuo

A

an accompanying part consisting of bass line and harmonies; usually played by a keyboard or bass

263
Q

percussion

A

musical instruments played by striking with a hand, stick, or shaking

264
Q

rhythm section

A

drums and bass - supplying the basis of a piece

265
Q

strings

A

musical instruments that produce sound via vibrating strings

266
Q

timbre

A

the character or quality of a musical sound

267
Q

woodwinds

A

any instrument that produces sound through the vibration of a reed; though they do not work this way, flutes are included in this category

268
Q

melody

A

a sequence of single notes that is musically satisfying

269
Q

monophony

A

the simplest of textures: a melody without accompanying harmony

270
Q

obbligato

A

a part, usually instrumental, that is integral to a piece and should not be omitted

271
Q

ostinato

A

a continually repeated musical phrase or rhythm

272
Q

polyphony

A

a texture consisting of two or more lines of simultaneous, independent melodies

273
Q

intervallic contraction

A

making an interval (of a motive) smaller

274
Q

intervallic expansion

A

making an interval (of a motive) larger

275
Q

rhythmic metamorphosis

A

slight change of a motive

276
Q

register

A

the range of a set of pitches

277
Q

tessitura

A

the general range of pitches found in a vocal or instrumental part

278
Q

walking bass

A

a bass part in 4/4 time in which a note is played on each beat of the bar and which typically moves up and down the scale in small steps.

279
Q

aria

A

any expressive melody, usually performed by a singer

280
Q

art song

A

a song written to be sung in recital, typically with piano accompaniment and often set to a poem

281
Q

concerto

A

a musical composition for a solo instrument or instruments accompanied by an orchestra

282
Q

fugue

A

a contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part and successively taken up by others and developed by interweaving the parts

283
Q

genre

A

a conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions

284
Q

interlude

A

music written to be played between acts of a play, opera, or ballet

285
Q

opera

A

a dramatic work in one or more acts, set to music for singers and instrumentalists

286
Q

prelude

A

an introductory piece of music, commonly used before an act of an opera or as the first movement of a suite

287
Q

postlude

A

a concluding piece of music, especially an organ piece played at the end of a religious service

288
Q

sonata

A

a piece of music written for one or two instruments (with accompaniment) that has usually three or four large sections that are different from each other in rhythm and mood

289
Q

song

A

a short poem or set of words that’s meant to be sung

290
Q

string quartet

A

a chamber ensemble consisting of two violins, a viola, and a cello

291
Q

symphony

A

an elaborate musical composition for full orchestra, typically in four movements

292
Q

symmetrical period

A

phrases of an antecedent/consequent period are of equal length

293
Q

asymmetrical period

A

phrases of an antecedent/consequent period are of unequal length

294
Q

Baroque Era

A

era of late 1600s to 1760s; characterized by exaggerated motion but clear, easy-to-interpret detail

composer: Bach, Handel, Vivaldi

295
Q

Classical Era

A

era of 1750s to 1830s; characterized by a light, clear, simple, predictable structure

composers: Mozart, Haydn, Beethoven

296
Q

Romantic Era

A

era of 1780s to 1910s; characterized by expressive and passionate sounds

composers: Chopin, Mendelssohn

297
Q

Modern Era

A

era of 1920s to present; characterized by more abstract composition

composers: Prokofiev, Copland

AP Music Theory (1 decks)

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