50 terms

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Monophony
Single Voice Part
Polyphony
Multiple Voice Parts of Equal Importance
Homophony
Melody with Accompaniment
Oblique Motion
One Voice Part Stays the Same and another moves
Similar Motion
Intervals move in the same direction, but at different intervals
Parallel Motion
Intervals move in the same direction and at the same interval
Contrary Motion
Intervals move in opposite directions
Perfect Authentic Cadence (PAC)
V to I, both in root position and tonic in soprano voice of I
Imperfect Authentic Cadence (IAC)
V to I, inversions, substitutions, or tonic not in soprano voice of I
Plagal Cadence
IV to I "Amen"
Half Cadence
Any Predominant ending with a V
Deceptive Cadence
V to vi
Phrygian Half Cadence
iv6 to V in minor keys
Passing Tone
NCT that moves stepwise between 2 chord tones
Neighbor Tone
NCT that moves stepwise and returns to the original tone
Suspension
NCT that delays the stepwise resolution to the next chord - resolves down
Retardation
NCT that delays the stepwise resolution to the next chord - resolves up
Appoggiatura
NCT that is approached by a leap/skip and resolved by a step in the opposite direction
Escape Tone
NCT that is approached by a step and resolved by a leap/skip in the opposite direction
Neighbor Group or Changing Tones
NCT that invovles the combination of two NCT's in succession - usually one above and one below
Period
Phrase containing two smaller phrases of equal length, one antecedent and on consequent - weak cadence followed by a stronger cadence
Tonic
1st Scale Degree
Supertonic
2nd Scale Degree
Mediant
3rd Scale Degree
Sub Dominant
4th Scale Degree
Dominant
5th Scale Degree
Sub Mediant
6th Scale Degree
Sub Tonic
7th Scale Degree
Harmonic Rhythm
Rate of harmonic change
Hemiola
Rhythmic idea where the music feels in one meter, but sounds in a different meter
Cross Voicing
When, in 4-part writing, the soprano part is written lower than the alto line
Anticipation
The non-chord tone that is approached by step and then remains the same. It is basically a note of the second chord played early
Ostinato
A repeated musical figure
Song Form
This form is known as "AABA"
Diatonic
Pitches that naturally occur in a given key
Arpeggio
A broken chord
Tessitura
The general range of pitches for one voice part
Picardy 3rd
When a minor selection of music resolves to major on its last chord
12 Bar Blues
The harmonic structure of the music is as follows: four measures of I, two of IV, two of I, one of V, one of IV, two of I.
Inversion
When a melody is turned upside down so that what were rising intervals in the original melody are now descending by the same distance and vice-versa
Fragmentation
Parts of a motive are used, rather than the entire melody, to create a new musical idea. This technique is often used in the development section of a sonata-form piece.
Augmentation
When notes in a melody are doubled in duration, but maintain their intervallic relationships.
Strophic
What form are hymns most commonly known for. Hint: Each verse is set to the same music.
Elision
When two phrases overlap, so that the chord or chords that finish the first idea simultaneously begin the second.
Rounded Binary or Ternary
ABA form, in which the B section contrasts with A
Retrograde
Proceeding from the last note of a given melody to the first
Truncation
The act of shortening, or removing part of, a musical motive.
Tonicization
The treatment of a non-tonic pitch or chord as a temporary tonic.
Sequence
When a melodic or harmonic idea is successively repeated at different pitch levels (transposed)
Alberti Bass
Arpeggiated bass line