AP Music Theory Terms
Terms in this set (29)
A fast tempo
A stylized close which divides the music into periods or brings it to a full conclusion.
The prolongation (post-cadential extension) or delay (pre-cadential extension) of a cadence by the addition of material beyond (i.e. before or after) the point at which the cadence is expected. Codetta.
The concluding passage of a piece or movement, typically forming an addition to the basic structure.
("little coda") A brief conclusion, a dominant-tonic cadence at the end of the exposition that may be repeated several times for emphasis.
The pitch contour of a sound is a function or curve that tracks the perceived pitch of the sound over time.
A subordinate melody accompanying a principal one
The process where the last note of one phrase serves as the first note of the next.
Fragment (fragmented motive)
The use of fragments or the division of a musical idea into segments.
A Renaissance and Baroque ornamentation which consists of the restatement of a melody in which the note values are shortened, usually by half.
A melodic line that moves by leaps and skips rather than in steps.
Shortening of a musical phrase.
A short tune or musical figure that characterizes and unifies a composition.
In jazz, a turnaround is a passage at the end of a section which leads to the next section.
Authentic and plagal cadences.
Deceptive cadence (DC)
A chord progression where the dominant chord is followed by a chord other than the tonic chord usually the sixth chord or superdominant chord or submediant chord (V-VI), but sometimes something else.
Half cadence (HC)
A very common type of unstable or "progressive" cadence. The HC ends with the V chord, which can be preceded by any other chord.
Phrygian half cadence
A special name given to the iv6 - V HC in minor.
A cadence that makes a phrase sound incomplete, as though the music needs to continue further. Generally, either the soprano or the bass ends on a scale degree other than 1.
A IV-I cadence often also called an amen, or church cadence.
These are chords where the bass is arpeggiating the SAME triad.
This type of 6/4 chord behaves like an appogiatura - it falls on a stronger beat than the chord of resolution, and upper voices resolve downwards by step. It may be approached by a leap but is often approached by step in the bass. The cadential 6/4 chord is always a tonic six-four, and the resolution chord is always V or V7.
Neighboring or pedal 6/4
In this type of 6/4 chord, the bass note sustains like a pedal tone, or conversely you might say that two of the upper voices behave like neighbor tones. With a pedal six-four, the bass stays on the same note for three chords in a row - the six-four chord is the middle chord of the three. The bass note is doubled in all three chords.
This type of 6/4 chord is used much like the non-chord tone called a passing tone. The bass note of this six-four chord behaves just like a passing tone - in other words, this bass note, the note before it, and the note after it will make a three note stepwise line, either ascending or descending.
A slow tempo.
A fast tempo.
A moderate, walking tempo.
A moderate tempo, slightly faster than andante.