Transcript AP Music Theory Vocabulary

AP Music Theory Vocabulary
Jeopardy style
Musical textureall performers on same notes and
rhythms without harmony
monophonic
(monophony)
--unison/doubled at octave--
Musical texturemelody plus accompaniment
can be chordal
homophonic
(homophony)
Arpeggiation, Alberti Bass
Musical texturechordal
all voices move at the same time
homorhythmic
Musical textureall performers on same melody but
add individual embellishments
heterophonic
(heterophony)
--often Non-Western--
Musical texturemore that one independent line
occurring at the same time
polyphonic
(polyphony)
--imitative and non-imitative—
fugue, canon
can be contrapuntal
Meternote value that gets
1 pulse in the music
macrobeat
Meternote value for the first level of
subdivision
microbeat
(i.e. eighth note in 2/4 time)
Metermacrobeat is divided into
2 equal parts
simple
2/4, 2/2
Metermacrobeat is divided into
3 equal parts
compound
6/8, 3/16
Meterregular grouping of macrobeats in
two’s
duple
2/4, 2/2 = simple duple
4/4 can be called quadruple
6/8= compound duple
Metermacrobeats grouped in three’s
triple
3/4 = simple triple
9/8 = compound triple
Metercombinations of simple and compound
macrobeats within the measure
asymmetrical or
irregular
5/4 (2+3 or 3+2), 7/8
Rhythmplacement of an accent where one
would not normally occur
syncopation
Rhythman 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)
Rhythman 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
Rhythmdoubling the note values
augmentation
Rhythmhalving the note values
diminution
Rhythmtwo groups of three beats are
replaced by three groups of two beats.
hemiola
Rhythmin compound meter, group of 2
notes in the space of 3
duplet
Rhythmin simple meter, group of 3 notes in
the space of 2
triplet
Rhythmin compound meter, group of 4
notes in the space of 3
quadruplet
Rhythmin simple meter, group of 6 notes in
the space of 2
sextuplet
Rhythmmetric 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
RhythmSimultaneous contrasting metric
patterns
polyrhythm
Rhythmrhythmic feel when eighth note pairs
feel like the outer notes of a triplet
group
swing rhythm
Expressionan 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)
Expressionan accent of volume,
emphasis is created because one note
is louder than the others
dynamic accent
Expressionan accent resulting from pattern of
notes in the rhythm
metrical accent
(like in syncopation)
also the ‘downbeat’ accent
Harmonypoint at which a phrase comes to
rest
cadence
HarmonyV – 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 ending
V-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-triad
M3 & P5 above root
(M3 plus m3)
Major
Harmony-triad
m3 & P5 above root
(m3 plus M3)
minor
Harmony-triad
m3 & d5 above root
(m3 plus m3)
diminished
Harmony-triad
M3 & A5 above root
(M3 plus M3)
Augmented
HarmonyMajor triad plus minor 7th
Dominant 7th
HarmonyMajor Triad plus Major 7th
Major 7th
Harmonyminor triad plus minor 7th
minor 7th
Harmonydiminished triad plus minor 7th
½ dim
Ø
m7♭5
th
7
Harmony4 notes, all minor thirds
fully diminished 7th
Harmony
6
4
cadential
6---5
4---3
Harmony
6
4
unaccented placement
middle of passing tones in bass
passing 6
4
Harmony
6
4
bass note stays same
upper 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
HarmonyCircle Progression
roots move
up 4 or down 5
HarmonyRetrogression (regression)
roots move
opposite rules of
progression (i.e. ii-I)
Harmonyrd
Raised 3 on tonic chord at end of
passage in minor key
Picardy third
HarmonyFull transcription of harmonies
indicated by Figured Bass
includes Roman numeral analysis
realization
Harmonythe 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/postcadential)
Harmonychord that sounds most stable
(like ‘home’)
tonic function
Harmonychord(s) that sound like they are
travelling or leading to dominant
(vi, ii, iii)
predominant
function
Harmonychord that leads to tonic
(V, vii°)
dominant function
-Harmonic Errorcontradicting accidentals on
same or adjacent beats
false relation
cross relation
-Harmonic Featurestreatment of a new pitch so
that it indicates a change of
key
tonicization
Harmonypace 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 neighbor
cambiata
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 chord
resolves down by step
suspension
-Musical Stylescategory that identifies pieces of
music as belonging to a shared
tradition or set of conventions
genre
-Musical Styleselaborate accompanied song for
solo voice from a cantata, opera, or
oratorio
aria
-Musical Stylesvocal music composition, usually
written for one voice with piano or
orchestral accompaniment
art song
-Musical Stylescomposition featuring one or more
solo instruments with orchestra,
typically in three movements
concerto
-Musical Stylesextended composition in three or
more movements for orchestra
symphony
-Musical Stylesinstrumental composition
(especially of the 17th or 18th century)
consisting of a succession of sections
(dances)
in the same or related keys
suite
-Musical Stylescomposition featuring one or more
solo instruments with accompaniment
(keyboard or continuo),
typically in three movements
sonata
-Musical Stylescomposition 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) continuo
thoroughbass
-Musical Stylesimitative polyphony in which a theme
or themes (subjects) are stated
successively in all of the voices
fugue
-Musical Styleslarge scale theatrical musical work
featuring singing and instrumental
music to relate a story
opera
-Musical Styleslarge scale musical work featuring
singing and instrumental music to
relate a biblical story
oratorio
-Musical Styleslarge scale musical work featuring solo
and ensemble singing and
instrumental music
based on a sacred text
cantata
-Musical Stylesstyle 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 StylesA 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 Stylesa final or concluding piece or
movement
postlude
-Musical Stylesa sonata-like multi-movement
composition for
2 violins, 1 viola, 1 cello
string quartet
-Form2 contrasting sections
binary
-Form2 contrasting sections,
first section repeats
ternary
-Form2 contrasting sections,
second section ends with material
from first section
rounded binary
-Form3 contrasting sections
First section repeats after each
contrasting section
rondo
-FormMain melody repeats with
different lyrics
strophic
(hymn style)
-FormMain melody repeats with changes
including rhythm, meter, mode,
harmonization, embellishment
Theme & Variations
-FormMain melody repeats with changes
including rhythm, meter, mode,
harmonization, embellishment
Theme & Variations
-FormOpening section prior to first main
theme
introduction
-Formending section
Coda
(tail)
-FormAABA
Jazz song form
-Formtransitional section about 2/3
through song, usually in the IV key
bridge
-Formtransitional section of a
composition
interlude
-Formsection of song with same lyrics
each time
(often contains the ‘hook’)
chorus
(refrain)
-Formsection of sing with different lyrics
for each repetition
verse
(stanza)
-FormI I I I IV IV I I V IV I
12 bar blues
-Formrepetition of main song (usually aaba)
featuring whole ensemble,
different combos and solos on
each repetition.
chorus format
-Formsection ending that leads back to
beginning of main melody
(often V - - - with I at start of section)
turnaround
-Formmusical work lacking any
repetition of thematic
material
through composed
-Melodic Featuresdoubling note durations
(or lengthening proportionally)
augmentation
-Melodic Featureshalving or shortening note
durations proportionally
diminution
-Melodic Featuresstepwise melodic motion
conjunct
-Melodic Featuresmelodic motion by skips
and leaps
disjunct
-Melodic Featureswhen the last note of one phrase
serves as first note of next phrase
(phrase) elision
-Melodic Featuresreversal of melodic
direction
melodic inversion
-Melodic Featuresin backwards order
retrograde
-Melodic Featuresdevelopment of melodic
ideas
motivic
transformation
-Melodic Featuresmelodic or rhythmic
figure that recurs
motive
-Melodic Featuresrepetition of a melodic
figure at successive pitch
levels
sequence
-Melodic Featuresprecise repetition of a
melodic figure at successive
pitch levels
(preserves all intervals &
qualities)
real sequence
-Melodic Featuresrepetition of a melodic
figure at successive pitch
levels using only the tones
of the prevailing scale
tonal sequence
-Melodic Featuresrepetition of a melodic
figure at successive pitch
levels with embellishments
but retaining original
character
modified sequence
-Melodic Featuresrepetition of a parts of a
melodic figure and exact
repetition of other parts
of the melody
false sequence
-Melodic Featuresmusical unit formed by 2
(or more) adjacent phrases
period
-Melodic Featuresmusical unit formed by 2
(or more) adjacent phrases
that begin in the same
manner
parallel period
-Melodic Featuresmusical unit formed by 2
(or more) adjacent phrases
that have different melodic
content
contrasting period
-Melodic Featuresmusical unit formed by 4
(or more) adjacent phrases
using repetition and
contrasting melodic ideas
(commonly aaba, abab, etc.)
double period
-Melodic Featuresmelodic elongation, often
through repetition &
sequences
can be at beginning, middle
or cadence
phrase extension
-Melodic Featuresclimax of phrase,
(usually 2/3 through)
focal point
-Melodic Featuresfirst phrase of a musical
period, with a
complementary phrase
following
antecedent
-Melodic Featuressecond phrase of a musical
period that completes or
answers the first phrase
consequent
-Melodic Featuresdeletion of end of phrase
(opening motive is kept)
truncation
-Melodic Featuresadditional independent
melody designed to fit
with the principal melody
countermelody
-Melodic Featuresadditional melody, usually
for a soloist including
embellishment
(not to be left out – can also
indicate an accompaniment)
obbligato