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AP Music Theory Vocab Review
Terms in this set (76)
An NCT that is approached by leap and resolved by step.
Approached by step and resolved by leap in the opposite directions.
Embellishes a single pitch by sounding its upper and lower neighbors in succession (in either order).
Anticipates a tone that belongs to the next chord.
An anticipation that resolves by leap.
A stationary pitch that begins as a chord tone, then becomes an NCT as the harmonies change, and finally ends up as a chord tone again.
Inverted Pedal Points
pedal point that occurs in a part other than the bass.
Double Pedal Point
When pedal points contain more than one pitch class.
Non-Chord Tone (NCT)
A tone, either diatonic or chromatic, that is not a member of the chord.
Used to fill in the space between two other tones.
A non-chord tone approached by step and left by step in the opposite direction.
Holds on to, or suspends a chord tone after the other parts have moved on to the next chord.
The tone preceding the suspension, and it is the same pitch as the suspension
The tone following the suspension and lying a 2nd below it
When the bass voice is suspended, creating a 2nd (or 9th) with an upper voice, resulting in a 2-3 suspension.
Suspension with Change of Bass
When a suspension occurs in one of the upper voices and the bass moves on to another chord tone at the same time as the suspension resolves
A suspension with an upward resolution.
Less than a beat in duration
One beat in duration.
More than one beat in duration.
The harmonic goal, specifically the chords used at the goal.
A tonic triad preceded by some form of V or vii.
Perfect Authentic Cadence (PAC)
Consists of a V-I (or V7 - I) progression, with both the V and I in root position and 1 in the melody over the I chord.
Imperfect Authentic Cadence (IAC)
Any authentic cadence that is not a PAC.
Deceptive Cadence (DC)
Results when the ear expects a V-I authentic cadence but hears V-? instead. The ? is usually a submediant triad, but others are possible.
Half Cadence (HC)
A very common type of unstable or "progressive" cadence. The HC ends with a V chord, which can be preceded by any other chord.
Phrygian Half Cadence
A special name give to the iv6-V HC in minor. The name refers to a cadence found in the period of modal polyphony (before 1600), but it does not imply that the music is actually in the Phrygian mode.
Plagal Cadence (PC)
Typically involves a IV-I progression
Includes authentic and plagal cadences.
Includes deceptive and half cadences
The smallest identifiable musical idea.
A relatively independent musical idea terminated by a cadence.
A distinct portion of a phrase, but it is not a phrase either because it is not terminated by a cadence or because it seems too short to be relatively independent.
When the last note of one phrase serves as the first note of the next phrase.
When phrases are combined to form a larger structural unit.
When both phrases are identical.
When both phrases begin with similar or identical material, even if the material is embellished.
Just like a period, except that each half of the structure consists of two phrases rather than just one.
A period in which the phrase beginnings are not similar.
Has three different phrases - two antecedents and a consequent or one antecedent and two consequents, as determined by the cadences.
Transitional passages that connect more significant thematic areas. They seem to belong together without forming a period or double period.
The ways in which a composition is shaped to create a meaningful musical experience for the listener.
The combining of relatively independent musical lines.
A contrapuntal procedure in which the instruments or voices have identical rhythms and contours but are offset by one or more beats.
Canons that are perpetual - there is no notated ending for the ensemble.
A piece in which each voice states a short theme (the subject) in turn, after which it is tossed about among the voices, fragmented, and developed.
A triad in first inversion.
Counterpoint in which similar material is passed from part to part.
Motion from a given tone up or down one step followed by a return to the first tone.
cadential six-four chord
A tonic six-four that delays the arrival of the V chord that follows it.
Passing six-four chord
Harmonizes the middle note of a three-note scalar figure in the bass.
Pedal six-four Chord
Elaborates the root position chord that precedes it and usually follows it as well.
The progression V -vi (or V-VI).
A piece of tubing of a precisely calculated length.
The lowest tone in a harmonic series.
The normal order in which the instruments are listed in a score.
A pattern that is repeated immediately in the same voice but that begins on a different pitch class.
Keeps the pattern within a single key
Transposes the pattern to a new key.
A sequence where the repetitions of the pattern are neither tonal nor real.
Consists of a series of roots related by descending 5ths (and/or ascending 4ths).
When IV proceeds to a I chord.
Chords made up only of notes from the scale on which the passage is based.
Altered or Chromatic
Chords using notes not in the scale.
The ways in which chords are selected.
The ways in which chords are produced by the motions of individual musical lines.
Refers to the combining of relatively independent musical lines.
The highest note of the melody.
How the chord is to be distributed or spaced.
A tool used by a composer, conductor, or analyst that shows all the parts of an ensemble arranged one above the other, enabling the experienced reader to "hear" what the composition will sound like.
All or most of the parts of a score are notated on their own individual staves.
The score is notated at concert pitch on as few staves as possible.
Less than an octave between soprano and tenor.
An octave or more between soprano and tenor.
Parallels What results when two parts that are separated by a P5 or a P8, or by their octave equivalents, move to new pitch classes that are separated by the same interval.
Direct (or hidden) 5th or 8ve
What results when the outer parts move in the same direction into a P5 or P8, with a leap in the soprano part.
THIS SET IS OFTEN IN FOLDERS WITH...
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