| Term | Definition |
|---|---|
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| alto clef | A type of C clef with C positioned on the middle line of the staff, commonly used for viola. |
| bass clef | A musical clef symbol used to notate pitches in the lower register, commonly used for bass voices and lower-pitched instruments. |
| C clef | A clef symbol that assigns letter names to the lines and spaces of the staff, with C positioned on a specific line or space. |
| cadential note | The final notes of a phrase or melody that mark a point of rest or conclusion. |
| clef | A symbol placed at the beginning of the staff that assigns specific letter names to the lines and spaces. |
| contour | The shape or outline of a melody created by the pattern of ascending and descending pitches. |
| enharmonic equivalents | Tones of the same pitch spelled differently according to their musical contexts, such as C# and Db. |
| flat | An accidental that lowers a pitch by one semitone. |
| improvisation | The creation and performance of music in real-time without prior written notation, allowed in certain musical styles. |
| melodic interval | The distance in pitch between two consecutive notes in a melody. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| musical score | A written representation of music that specifies the pitches and other musical elements to be performed. |
| natural | An accidental that cancels a previous sharp or flat, restoring a pitch to its original letter name. |
| notehead | The oval-shaped part of a note symbol on which accidentals are placed to the left. |
| octave | The interval spanning eight letter names, representing a doubling or halving of frequency. |
| ornamentation | Decorative notes or embellishments added to a melody, allowed in certain musical styles as deviations from the written score. |
| pitch | The highness or lowness of a sound, determined by its frequency. |
| pitch discrepancies | Differences between the pitches as written in a musical score and the pitches as actually performed. |
| sharp | An accidental that raises a pitch by one semitone. |
| sight-sing | To perform a notated melody at first sight without prior rehearsal or familiarity, reading and singing the music as it is presented. |
| staff | A set of five lines and four spaces on which musical notes are written to indicate their pitch. |
| tenor clef | A type of C clef with C positioned on the second line from the top of the staff, commonly used for cello and trombone. |
| tonic pitch | The first scale degree and the central pitch of a key, serving as the tonal center of a melody. |
| transposed | Shifted to a different key or pitch level while maintaining the same intervallic relationships and contour. |
| treble clef | A musical clef symbol used to notate pitches in the higher register, commonly used for soprano, alto, and tenor voices and many instruments. |
| Term | Definition |
|---|---|
| accent | A marking that indicates a note should be played with emphasis or stress. |
| articulation | An aspect of performance that describes the way a sound starts (its attack) and ends and how detached or connected adjacent pitches are. |
| attack | The way a sound begins or starts in performance. |
| crescendo | A gradual increase in volume indicated by Italian words or graphic symbols. |
| decrescendo | A gradual decrease in volume indicated by Italian words or graphic symbols. |
| dynamic accent | A momentary increase of volume applied to a specific note or notes, indicated by sf or sfz. |
| dynamics | Musical markings that describe in relative terms how loud or soft music is. |
| forte | A dynamic marking abbreviated as f that indicates loud volume. |
| fortissimo | A dynamic marking abbreviated as ff that indicates very loud volume. |
| legato | An articulation indicated by a line that indicates notes should be played in a smooth, connected manner. |
| marcato | An articulation marked with an accent that indicates notes should be played with emphasis and separation. |
| metric framework | The underlying pattern of beats and measures that organize the rhythm and structure of a musical composition. |
| mezzo forte | A dynamic marking abbreviated as mf that indicates moderately loud volume. |
| mezzo piano | A dynamic marking abbreviated as mp that indicates moderately soft volume. |
| phrase slurs | Curved lines in musical notation that indicate notes should be performed smoothly and connected within a musical phrase. |
| pianissimo | A dynamic marking abbreviated as pp that indicates very soft volume. |
| piano | A dynamic marking abbreviated as p that indicates soft volume. |
| sforzando | A dynamic accent indicated by the abbreviations sf or sfz that creates a sudden emphasis on a note. |
| sight-sing | To perform a notated melody at first sight without prior rehearsal or familiarity, reading and singing the music as it is presented. |
| slur | A curved line in musical notation that indicates notes should be played smoothly and connected together. |
| staccato | An articulation marking indicated by a dot that indicates notes should be played in a detached manner. |
| steady tempo | Maintaining a consistent speed throughout a musical performance without acceleration or deceleration. |
| subito | An Italian term indicating a sudden change in dynamics. |
| tempo | The speed at which music is performed, indicated by markings such as moderato or allegro. |
| tenuto | An articulation indicated by a line that indicates notes should be held for their full value in a connected manner. |
| terraced dynamics | The sudden contrast between loud and soft passages of music, rather than gradual changes in volume. |
| tremolo | The rapid and continuous repetition of a single pitch. |
| Term | Definition |
|---|---|
| augmentation dots | Dots placed after a note or rest that extend its duration by half of its original value. |
| double dots | Two dots placed after a note or rest, where the second dot adds half the value of the first dot, further extending the duration. |
| duration | The length of time that a note or rest is held or sustained in music. |
| note | Symbols in musical notation that represent the pitch and duration of sounds to be performed. |
| rest | Symbols in musical notation that represent periods of silence with specific durations. |
| rhythmic value | The relative duration of a note or rest, such as whole note, half note, quarter note, or eighth note. |
| tie | Curved lines connecting two notes of the same pitch, indicating that the duration should be combined into one continuous sound. |
| Term | Definition |
|---|---|
| half step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| interval | The distance in pitch between two notes, designated by both size (such as second or fifth) and quality (major, minor, perfect, diminished, or augmented). |
| pitch | The highness or lowness of a sound, determined by its frequency. |
| scale | A sequence of pitches arranged in ascending or descending order, a fundamental pitch pattern in music. |
| seventh chord | A chord containing four notes built in thirds, consisting of a triad plus an additional note a seventh above the root. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| half step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| leading tone | The seventh scale degree in a major scale, located one half step below the tonic with a strong tendency to resolve upward to the tonic. |
| major scale | A diatonic scale consisting of eight pitches with a specific pattern of intervals that serves as the basis for music in a major key. |
| mediant | The third scale degree, located in the middle between the tonic and dominant. |
| minor scale | Scales consisting of pitches arranged in a specific pattern of whole and half steps that differs from major scales, creating a different tonal quality. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| submediant | The sixth scale degree, located one step below the leading tone. |
| subtonic | The seventh scale degree in a minor scale, located one whole step below the tonic. |
| supertonic | The second scale degree, located one step above the tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| bass clef | A musical clef symbol used to notate pitches in the lower register, commonly used for bass voices and lower-pitched instruments. |
| central pitch | The primary pitch around which a musical passage is organized, typically the tonic or first scale degree of a key. |
| chromatic | Pitches that do not belong to a given major or minor scale. |
| circle of fifths | A visual diagram that illustrates the degree of relatedness among keys, with closely related keys appearing in close proximity to each other. |
| diatonic | Pitches that belong to a given major or minor scale. |
| dictation | The process of listening to performed music and notating the pitches and rhythms heard. |
| flat | An accidental that lowers a pitch by one semitone. |
| key signature | A grouping of sharps or flats presented in a specific order at the beginning of a musical staff that indicates which pitches belong to a particular major or minor scale. |
| major key | A key or tonal center based on a major scale, characterized by a specific pattern of whole and half steps. |
| major scale | A diatonic scale consisting of eight pitches with a specific pattern of intervals that serves as the basis for music in a major key. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| minor key | A key or tonal center based on a minor scale, characterized by a different pattern of whole and half steps than major keys. |
| octave | The interval spanning eight letter names, representing a doubling or halving of frequency. |
| pitch | The highness or lowness of a sound, determined by its frequency. |
| rhythm | The pattern of durations of notes and rests in music. |
| sharp | An accidental that raises a pitch by one semitone. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| treble clef | A musical clef symbol used to notate pitches in the higher register, commonly used for soprano, alto, and tenor voices and many instruments. |
| Term | Definition |
|---|---|
| beat | The primary pulse in music that serves as the foundation for meter and rhythm. |
| beat division | The subdivision of the beat into smaller rhythmic units; in simple meter the beat divides into two parts, and in compound meter into three parts. |
| compound meter | A meter in which the upper number of the time signature is 6, 9, or 12, and each beat divides into three equal parts. |
| measure | A unit of meter containing a specific number of beats, marked by bar lines in musical notation. |
| meter | A layered structure of interrelated pulses that governs rhythm in music, based on beat, beat division, and measure. |
| meter type | The classification of meter as either simple (beat divided into two) or compound (beat divided into three). |
| simple meter | A meter in which the upper number of the time signature is 2, 3, or 4, and each beat divides into two equal parts. |
| Term | Definition |
|---|---|
| beat | The primary pulse in music that serves as the foundation for meter and rhythm. |
| common time | A time signature of 4/4, representing simple quadruple meter. |
| compound meter | A meter in which the upper number of the time signature is 6, 9, or 12, and each beat divides into three equal parts. |
| division | The subdivision of the beat into smaller rhythmic units. |
| dotted-quarter beat | In compound meter, a beat equal to three eighth notes, as occurs in meters such as 9/8. |
| downbeat | The first beat of a measure, which is always the strongest beat in a meter. |
| duple meter | A meter with two beats per measure, indicated by an upper number of 2 or 6 in the time signature. |
| lesser strong beat | A beat in a measure that receives more emphasis than weak beats but less emphasis than the downbeat, such as beat three in 4/4 meter. |
| measure | A unit of meter containing a specific number of beats, marked by bar lines in musical notation. |
| meter | A layered structure of interrelated pulses that governs rhythm in music, based on beat, beat division, and measure. |
| meter type | The classification of meter as either simple (beat divided into two) or compound (beat divided into three). |
| metrical accent | The emphasis or stress that occurs on certain beats in a measure due to the regular pattern of strong and weak beats in a meter. |
| offbeat | A division or note that occurs between the main beats of a measure, creating a weaker rhythmic emphasis compared to divisions that fall directly on beats. |
| quadruple meter | A meter with four beats per measure, indicated by an upper number of 4 or 12 in the time signature. |
| rhythmic value | The relative duration of a note or rest, such as whole note, half note, quarter note, or eighth note. |
| simple meter | A meter in which the upper number of the time signature is 2, 3, or 4, and each beat divides into two equal parts. |
| time signature | A notational symbol consisting of two numbers that indicates the meter of a piece, showing how many beats are in a measure and which rhythmic value receives one beat. |
| triple meter | A meter with three beats per measure, indicated by an upper number of 3 or 9 in the time signature. |
| weak beat | A beat in a measure that receives less emphasis than the downbeat or other strong beats. |
| Term | Definition |
|---|---|
| beaming | The connection of note stems with beams to group notes and clarify the beat structure of a measure. |
| beat structure | The organization of beats within a measure that determines the meter and rhythmic clarity of music. |
| compound meter | A meter in which the upper number of the time signature is 6, 9, or 12, and each beat divides into three equal parts. |
| dotted rhythm | A distinctive rhythmic pattern consisting of a dotted note followed by a shorter note, creating an uneven rhythmic division. |
| improvisation | The creation and performance of music in real-time without prior written notation, allowed in certain musical styles. |
| notated rhythm | Rhythms that are written down in musical notation on a score. |
| ornamentation | Decorative notes or embellishments added to a melody, allowed in certain musical styles as deviations from the written score. |
| performed rhythm | Rhythms as they are actually played or sung by musicians, which may differ from the written notation. |
| rest | Symbols in musical notation that represent periods of silence with specific durations. |
| rhythmic discrepancies | Differences between the rhythms as written in a musical score and how they are actually performed. |
| rhythmic pattern | A specific arrangement of rhythmic values that fills up a beat or measure in music. |
| rhythmic value | The relative duration of a note or rest, such as whole note, half note, quarter note, or eighth note. |
| sight-sing | To perform a notated melody at first sight without prior rehearsal or familiarity, reading and singing the music as it is presented. |
| simple meter | A meter in which the upper number of the time signature is 2, 3, or 4, and each beat divides into two equal parts. |
| swing rhythm | A musical style in which offbeat notes are performed later than their written notation indicates, creating a syncopated feel. |
| tie | Curved lines connecting two notes of the same pitch, indicating that the duration should be combined into one continuous sound. |
| Term | Definition |
|---|---|
| accelerando | A direction to gradually increase the speed of the music. |
| adagio | A slow tempo marking. |
| allegretto | A faster tempo marking, moderately fast. |
| allegro | A fast tempo marking. |
| andante | A moderately slow tempo marking, at a walking pace. |
| andantino | A moderately slow tempo marking, slightly faster than andante. |
| grave | A very slow tempo marking, often with a serious or solemn character. |
| larghetto | A very slow tempo marking, slightly faster than largo. |
| largo | A very slow tempo marking. |
| lento | A slow tempo marking. |
| metronome marking | A notation indicating a specific note value as the beat-note and the number of beats per minute, such as quarter note = 88. |
| moderato | A moderate tempo marking. |
| prestissimo | An extremely fast tempo marking, faster than presto. |
| presto | A very fast tempo marking. |
| ritardando | A direction to gradually slow down the music. |
| ritenuto | A direction to abruptly slow down the music. |
| rubato | A term indicating general freedom with respect to tempo, allowing for expressive flexibility. |
| tempo | The speed at which music is performed, indicated by markings such as moderato or allegro. |
| vivace | A fast tempo marking with a lively character. |
| Term | Definition |
|---|---|
| half step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| harmonic minor scale | An altered form of the natural minor scale with a raised seventh scale degree, creating a leading tone and a characteristic augmented second interval. |
| melodic minor scale | An altered form of the natural minor scale with raised sixth and seventh scale degrees in ascending form, typically returning to natural minor in descending form. |
| natural minor scale | A minor scale built on the natural minor (Aeolian) mode, containing the same pitches as the relative major scale but starting from the sixth scale degree. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| intervallic content | The specific intervals (distances between pitches) that make up a melody, which remain unchanged during transposition. |
| key | The tonal center or home pitch around which a melody or piece of music is organized. |
| melodic transposition | The process of moving a melody or melodic segment to a new pitch level while maintaining its intervallic and rhythmic content. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| pitch level | The absolute height or frequency of a note or melody in relation to a reference point. |
| pitch transformation | Compositional procedures that alter the pitches of a melodic idea while maintaining its rhythmic structure. |
| rhythmic content | The pattern of note durations and timing in a melody, which remains unchanged during transposition. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| call and response | A texture technique in which one musical phrase (call) is answered by another phrase (response). |
| canon | A compositional technique in which a melodic line is imitated by one or more other voices entering at staggered intervals. |
| chordal homophony | A homophonic texture in which the accompanying lines move together in chords beneath a melody. |
| counterpoint | The practice of composing polyphonic music using historical conventions, and the resulting texture of independent melodic lines. |
| heterophony | A texture type in which variations of the same melodic line are performed simultaneously. |
| homophony | A texture type in which one melodic line is accompanied by other lines, including chordal homophony and melody with accompaniment. |
| imitative | A polyphonic texture type in which melodic lines imitate or echo each other. |
| melody with accompaniment | A homophonic texture consisting of a primary melodic line supported by accompanying harmonic material. |
| monophony | A texture type consisting of a single melodic line without accompaniment. |
| nonimitative | A polyphonic texture type in which melodic lines are independent and do not imitate each other. |
| polyphony | A texture type consisting of multiple independent melodic lines combined simultaneously, either imitative or nonimitative. |
| texture | How musical components combine simultaneously to form an overall sound, influenced by timbres, density and spacing of pitches, and pitch range. |
| timbre | The unique quality of sound produced by a voice or instrument, determined by how the sound is produced and affected by register. |
| Term | Definition |
|---|---|
| accompaniment | A texture device consisting of the supporting musical material that underlies and supports the main melody. |
| Alberti bass | A texture device in which the notes of a chord are broken up and played in a specific arpeggiated pattern, typically used in accompaniment. |
| canon | A compositional technique in which a melodic line is imitated by one or more other voices entering at staggered intervals. |
| countermelody | A texture device in which a secondary melody is performed simultaneously with the main melody, creating polyphonic texture. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| imitation | A polyphonic texture device in which one voice presents a melodic idea that is then repeated or echoed by another voice. |
| ostinato | A texture device consisting of a short musical phrase or pattern that is repeated continuously throughout a passage. |
| soli | A texture device in which a small group of instruments or voices performs together as a unit, distinct from the full ensemble. |
| solo | A texture device in which a single voice or instrument performs alone, often standing out from the accompaniment. |
| texture device | Compositional techniques used to create and shape the texture of music, including devices associated with bass lines, polyphony, and overall musical texture. |
| tutti | A texture device in which all voices or instruments perform together as a full ensemble. |
| walking bass | A texture device in which the bass line moves in a steady, continuous pattern, typically in quarter notes, creating forward motion in the music. |
| Term | Definition |
|---|---|
| agogic accent | A note that naturally receives more emphasis due to its extended or longer duration compared to surrounding notes. |
| anacrusis | A rhythm or rhythms that start before the first downbeat of a phrase. |
| asymmetrical meter | A meter that does not have regularly periodic accent patterns at all levels of pulse, such as 5/8 with unequal beat sizes. |
| borrowed divisions | Rhythmic divisions where compound meter divisions (three per beat) substitute for simple meter divisions (two per beat), or vice versa, such as triplets and duplets. |
| changing meter | A compositional technique where time signatures shift frequently between measures, such as alternating between 3/4 and 4/4. |
| compound division | Beat divisions that divide into three equal parts, typically used in compound meters. |
| compound duple meter | A meter that combines compound (divided into three) and duple (two beats) characteristics, such as 6/8 time. |
| cross-rhythm | A simultaneous occurrence of two or more rhythmic patterns that do not derive from one another and are not rooted in the same meter. |
| duplet | Two equal divisions occurring in the time normally occupied by three divisions, representing borrowed divisions in compound meter. |
| fermata | A symbol placed over a note or rest that indicates it is to be held longer than its normal duration. |
| hemiola | An arrangement of rhythm and meter that articulates a 3 to 2 ratio, occurring when three notes of equal duration take up the time previously held by two notes of equal duration, or vice versa. |
| irregular division | Beat divisions into portions other than two or three, such as divisions into 5s or 7s. |
| simple meter | A meter in which the upper number of the time signature is 2, 3, or 4, and each beat divides into two equal parts. |
| simple triple meter | A meter with three beats per measure, each beat divided into two equal parts, such as 3/4 time. |
| symmetrical meter | Meters created by regularly spaced patterns of accent that recur consistently across division, beat, and measure levels. |
| syncopation | A rhythmic device in which accent is placed on weak beats or divisions of the meter, challenging the regularity of an established meter. |
| triplet | Three equal divisions occurring in the time normally occupied by two divisions, representing borrowed divisions in simple meter. |
| two-against-three polyrhythm | A polyrhythmic texture in which two rhythmic patterns are heard simultaneously against three rhythmic patterns, creating a hemiola effect. |
| Term | Definition |
|---|---|
| change in mode | A shift between major and minor keys, such as moving from G major to G minor. |
| key relationship | The harmonic connection between two keys, such as relative keys, which share the same key signature but different tonics. |
| key signature | A grouping of sharps or flats presented in a specific order at the beginning of a musical staff that indicates which pitches belong to a particular major or minor scale. |
| major key | A key or tonal center based on a major scale, characterized by a specific pattern of whole and half steps. |
| minor key | A key or tonal center based on a minor scale, characterized by a different pattern of whole and half steps than major keys. |
| mode | A classification of keys as either major mode or minor mode, indicating whether a piece is in a major or minor key. |
| relative key | A key that shares the same key signature as another key but has a different tonic note; for example, D major and B minor are relative keys. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| closely related keys | Keys whose key signatures differ from the original by no more than one accidental; the most common keys to which a musical passage might shift. |
| distantly related keys | Keys whose key signatures differ from the original by more than one accidental. |
| dominant key | The closely related key built on the fifth scale degree of the original key. |
| key signature | A grouping of sharps or flats presented in a specific order at the beginning of a musical staff that indicates which pitches belong to a particular major or minor scale. |
| mediant key | The closely related key built on the third scale degree of the original key. |
| parallel key | A key that shares the same tonic as the original key but has a different key signature, such as D major and D minor. |
| relative key | A key that shares the same key signature as another key but has a different tonic note; for example, D major and B minor are relative keys. |
| subdominant key | The closely related key built on the fourth scale degree of the original key. |
| submediant key | The closely related key built on the sixth scale degree of the original key. |
| supertonic key | The closely related key built on the second scale degree of the original key. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| Term | Definition |
|---|---|
| chromatic scale | A scale consisting of twelve pitches, each separated by a half-step. |
| half-step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| pentatonic scale | A scale consisting of five pitches derived from the seven pitches of a major or minor scale. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| whole-tone scale | A scale consisting of six notes, each separated by a whole step. |
| Term | Definition |
|---|---|
| augmented | A quality designation for intervals that are one semitone larger than perfect or major intervals (e.g., augmented fourth, augmented second). |
| consonance | The quality of intervals that are inherently stable and have no natural inclination to move or resolve to other sounds. |
| diminished | A quality designation for intervals that are one semitone smaller than perfect or minor intervals (e.g., diminished fifth, diminished seventh). |
| dissonance | The quality of intervals that are inherently unstable and have a natural inclination to move or resolve to more stable sounds. |
| enharmonic equivalents | Tones of the same pitch spelled differently according to their musical contexts, such as C# and Db. |
| harmonic interval | An interval formed between two simultaneous pitches sounding at the same time. |
| interval | The distance in pitch between two notes, designated by both size (such as second or fifth) and quality (major, minor, perfect, diminished, or augmented). |
| leap | A melodic interval larger than a step, traversing pitches that are not adjacent letter names. |
| major | A quality designation for intervals, indicating a specific interval size larger than minor intervals (e.g., major second, major third). |
| melodic interval | The distance in pitch between two consecutive notes in a melody. |
| minor | A quality designation for intervals, indicating a specific interval size smaller than major intervals (e.g., minor second, minor third). |
| perfect | A quality designation for certain intervals (unison, fourth, fifth, octave) that are considered inherently stable and consonant. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| tritone | A unique interval name designating an augmented fourth or diminished fifth, spanning six semitones. |
| unison | An interval between two identical pitches, also called prime, representing no distance between notes. |
| Term | Definition |
|---|---|
| augmented interval | An interval quality that becomes diminished when inverted. |
| compound interval | An interval larger than an octave, created by adding an octave to a simple interval. |
| diminished interval | An interval quality that becomes augmented when inverted. |
| interval inversion | The result of transferring the lower note of an interval up an octave, creating a new interval where the original interval and its inversion together equal a perfect octave. |
| major interval | An interval quality that becomes minor when inverted. |
| minor interval | An interval quality that becomes major when inverted. |
| octave | The interval spanning eight letter names, representing a doubling or halving of frequency. |
| perfect interval | A harmonic interval (unison, fourth, fifth, or octave) that is considered consonant and stable. |
| simple interval | An interval whose size is smaller than or equal to an octave. |
| Term | Definition |
|---|---|
| direction of transposition | Whether a transposing instrument sounds higher or lower than its notated pitches. |
| level of transposition | The interval distance by which a transposing instrument's notated pitches differ from its sounding pitches. |
| notated pitches | The pitches as written in a musical score for a transposing instrument. |
| sounding pitches | The actual pitches that are heard when a transposing instrument is played. |
| transposing instruments | Musical instruments whose notated pitches differ from the actual pitches that sound when played. |
| Term | Definition |
|---|---|
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| basso continuo | The core sound of a Baroque ensemble, typically consisting of a harmony instrument and bass instrument providing harmonic and bass support. |
| bassoon | A woodwind instrument with a low register and warm, reedy timbre. |
| brass | An instrumental family that includes trumpet, French horn, trombone, euphonium, and tuba. |
| brass quintet | A standard ensemble consisting of five brass instruments. |
| cello | A string instrument with a low-to-middle register, played with a bow. |
| clarinet | A woodwind instrument with a warm, mellow timbre and wide range. |
| cymbals | Percussion instruments consisting of metal plates that produce sound when struck together. |
| drum set | A collection of percussion instruments used in jazz and popular music, typically including drums and cymbals. |
| drums | Percussion instruments that produce sound when struck. |
| euphonium | A brass instrument with a warm, mellow timbre and mid-to-low register. |
| flute | A woodwind instrument with a bright, high register timbre. |
| French horn | A brass instrument with a warm, mellow timbre and wide range. |
| guitar | A string instrument with a wide range, played by plucking or strumming strings. |
| harp | A string instrument with a wide range, played by plucking strings. |
| harpsichord | A keyboard instrument with strings plucked by quills, used especially in Baroque music. |
| instrumentation | The selection and arrangement of instruments and voices used in a musical work or ensemble. |
| jazz trio | A standard jazz ensemble typically consisting of three instruments. |
| keyboards | An instrumental family that includes piano, harpsichord, and organ. |
| marimba | A percussion instrument with wooden bars struck by mallets to produce pitched sounds. |
| oboe | A woodwind instrument with a warm, reedy timbre. |
| organ | A keyboard instrument that produces sound through air flowing through pipes. |
| percussion | An instrumental family that includes drums, cymbals, marimba, and other instruments struck to produce sound. |
| performance media | The specific combination of voices and instruments used in a musical ensemble or composition. |
| piano | A dynamic marking abbreviated as p that indicates soft volume. |
| register | The relative span of pitch (high, medium, or low) of notes in a given melody or part thereof. |
| rhythm section | The core instrumentation of a jazz ensemble, typically consisting of a harmony instrument, bass instrument, and drum set. |
| SATB choir | A standard vocal ensemble with four parts: soprano, alto, tenor, and bass. |
| saxophone | A woodwind instrument available in several sizes covering different registers with a warm, bright timbre. |
| string orchestra | A standard ensemble composed primarily of string instruments. |
| string quartet | A standard chamber ensemble consisting of two violins, a viola, and a cello. |
| strings | An instrumental family that includes violin, viola, cello, bass, harp, and guitar. |
| tessitura | The most comfortable and frequently used range of a voice or instrument. |
| timbre | The unique quality of sound produced by a voice or instrument, determined by how the sound is produced and affected by register. |
| trombone | A brass instrument with a slide mechanism and a warm, mellow timbre. |
| trumpet | A brass instrument with a bright, high register timbre. |
| tuba | A brass instrument with the lowest register in the brass family. |
| viola | A string instrument with a register between violin and cello. |
| violin | A string instrument with a high register, played with a bow. |
| winds | A combined assemblage of woodwind and brass instruments. |
| woodwinds | An instrumental family that includes flute, oboe, clarinet, saxophone, and bassoon. |
| Term | Definition |
|---|---|
| conjunct | Melodic movement by steps, where consecutive pitches are adjacent to each other. |
| contour | The shape or outline of a melody created by the pattern of ascending and descending pitches. |
| disjunct | Melodic movement by leaps, where consecutive pitches skip over intervening pitches. |
| melisma | An instance of one syllable of text sung with multiple pitches in vocal music. |
| melismatic | A text setting in vocal music where a syllable of text is sung with two or more pitches. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| motive | A small musical idea that recurs and is developed through the course of a musical composition or passage. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| pitch | The highness or lowness of a sound, determined by its frequency. |
| range | The overall compass of pitch in a melody, measured from its lowest to its highest pitch. |
| register | The relative span of pitch (high, medium, or low) of notes in a given melody or part thereof. |
| rhythm | The pattern of durations of notes and rests in music. |
| scales | Ordered sequences of pitches arranged in ascending or descending order, forming the basis for melodic and harmonic content in music. |
| syllabic | A text setting in vocal music where each syllable of text corresponds to a single pitch. |
| Term | Definition |
|---|---|
| arpeggiation | The use of arpeggios, where successive pitches of a chord are played individually rather than simultaneously. |
| augmented triad | A three-note chord indicated by an uppercase Roman numeral with a plus sign (+), consisting of a root, major third, and augmented fifth. |
| chord | Three or more pitches sounding simultaneously, or successive pitches that form a perceived grouping, often through arpeggiation. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| diminished triad | A three-note chord built on a root with a minor third and a diminished fifth. |
| fifth | The interval of a fifth above the root of a chord, or the note that is a fifth above the root. |
| major triad | A three-note chord built on a root with a major third and a perfect fifth. |
| minor triad | A three-note chord built on a root with a minor third and a perfect fifth. |
| root | The fundamental note of a chord upon which the chord is built. |
| seventh | The fourth pitch of a seventh chord when stacked in thirds above the root. |
| seventh chord | A chord containing four notes built in thirds, consisting of a triad plus an additional note a seventh above the root. |
| third | The interval of a third above the root of a chord, or the note that is a third above the root. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| Term | Definition |
|---|---|
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| augmented triad | A three-note chord indicated by an uppercase Roman numeral with a plus sign (+), consisting of a root, major third, and augmented fifth. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| diatonic chords | Chords built on the scale degrees of a given key using only the notes of that key. |
| diminished triad | A three-note chord built on a root with a minor third and a diminished fifth. |
| dominant seventh chord | A seventh chord built on the fifth scale degree of a key, typically used to create harmonic tension that resolves to the tonic. |
| major triad | A three-note chord built on a root with a major third and a perfect fifth. |
| mediant | The third scale degree, located in the middle between the tonic and dominant. |
| minor triad | A three-note chord built on a root with a minor third and a perfect fifth. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root | The fundamental note of a chord upon which the chord is built. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| supertonic | The second scale degree, located one step above the tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| Term | Definition |
|---|---|
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| chord quality | The classification of a chord based on the specific intervals between its pitches, such as major, minor, diminished, or augmented. |
| figured bass | A notational system using Arabic numerals below a bass note to indicate the intervals and pitches of the chord to be played above that bass note. |
| first inversion | A chord voicing in which the chordal third appears in the bass. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| intervals | The distance in pitch between two notes, indicated by figured bass numbers to show the relationship between the bass note and upper voices. |
| lead sheet | A notated musical score that includes melody with chord labels (letter-name and quality abbreviations) appearing above the staff to indicate chord progressions. |
| plus sign | A symbol used in figured bass to indicate that a pitch denoted by a figure should be raised a half step. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root position | A chord voicing in which the chordal root appears in the bass (lowest part) of the chord. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| second inversion | A chord voicing in which the chordal fifth appears in the bass. |
| slash | A symbol used in figured bass to indicate that a pitch denoted by a figure should be raised a half step. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| Term | Definition |
|---|---|
| chordal dissonance | A chord member, such as a chordal seventh, that possesses a natural inclination to resolve. |
| dominant seventh | A major-minor seventh chord that exercises a dominant function, built on the fifth scale degree and resolving to the tonic. |
| fully-diminished seventh | A seventh chord with a diminished triad and a diminished seventh interval above the root, notated as °7 or dd. |
| half-diminished seventh | A seventh chord with a diminished triad and a minor seventh interval above the root, notated as ø7 or dm. |
| major seventh | A seventh chord with a major triad and a major seventh interval above the root, notated as MM or M7. |
| major-minor seventh | A seventh chord with a major triad and a minor seventh interval above the root, also called a dominant seventh, notated as Mm7. |
| minor seventh | A seventh chord with a minor triad and a minor seventh interval above the root, notated as mm or m7. |
| seventh chord | A chord containing four notes built in thirds, consisting of a triad plus an additional note a seventh above the root. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| Term | Definition |
|---|---|
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| quality | The characteristic sound of a chord determined by the intervals between its notes (major, minor, dominant, half-diminished, diminished). |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root | The fundamental note of a chord upon which the chord is built. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| third inversion | A chord inversion in which the chordal seventh appears in the bass, occurring only with seventh chords. |
| Term | Definition |
|---|---|
| 18th-century chorale | A hymn-like composition from the Baroque period, typically featuring four-part harmony with a soprano melody and supporting bass, alto, and tenor lines. |
| Arabic numerals | Numbers (1, 2, 3, etc.) used in figured bass notation to denote specific intervals above a given bass note. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| change in direction | A shift in melodic contour from ascending to descending motion or vice versa. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| chord spelling | The correct arrangement of the notes of a chord, including all necessary accidentals, to properly represent the harmonic function indicated by Roman numerals or figured bass. |
| chord tone | Any of the individual notes that make up a harmonic chord. |
| chromatically altered pitches | Pitches that are raised or lowered by a semitone from their diatonic position within a key. |
| chromatically inflected pitch | A note that has been altered from its diatonic pitch by the addition of an accidental. |
| close position | A chord spacing where all upper parts are placed as close together as chord tones will allow. |
| common practice era | The period of Western classical music, roughly from 1650 to 1900, characterized by specific conventions of harmony and voice leading. |
| common tones | Pitches that are shared between adjacent chords and should be retained in the same voice part to ensure smooth voice leading. |
| conclusive cadences | Cadences that provide a sense of finality and closure, including perfect authentic and plagal cadences. |
| contrary motion | Movement of two voices in opposite directions. |
| counterpoint | The practice of composing polyphonic music using historical conventions, and the resulting texture of independent melodic lines. |
| cross relation | The prohibited occurrence of a preinflected pitch in one voice directly preceding a chromatically inflected version of that same pitch in another voice. |
| deceptive cadence | A cadence that avoids the expected V-I resolution of an authentic cadence by substituting a non-tonic chord for the tonic. |
| dictation | The process of listening to performed music and notating the pitches and rhythms heard. |
| diminished fifth | An interval spanning five letter names that is one semitone smaller than a perfect fifth, typically requiring proper resolution in counterpoint. |
| dominant triad | A chord built on the fifth scale degree, which creates tension and typically resolves to the tonic. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| downward motion | Melodic movement in which successive pitches descend in pitch. |
| eighth notes | Musical notes with a duration equal to one eighth of a whole note. |
| half cadence | An inconclusive cadence that typically ends on the dominant chord (V). |
| half notes | Musical notes with a duration equal to half of a whole note. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| imperfect authentic cadence | An inconclusive cadence created by a V-I progression where chords may be inverted and any chord tone may appear in the soprano. |
| inconclusive cadences | Cadences that do not provide a sense of finality, including half, imperfect authentic, and deceptive cadences. |
| leading tone | The seventh scale degree in a major scale, located one half step below the tonic with a strong tendency to resolve upward to the tonic. |
| major key | A key or tonal center based on a major scale, characterized by a specific pattern of whole and half steps. |
| melodic interest | The quality of a melody that engages the listener through varied and compelling musical ideas. |
| melodic leaps | Movement between non-adjacent pitches in a melody, typically larger than a second. |
| minor key | A key or tonal center based on a minor scale, characterized by a different pattern of whole and half steps than major keys. |
| neighboring ⁶₄ chord | A second-inversion chord that functions as a passing or embellishing chord, typically supported by a pedal tone in the bass. |
| note values | The relative duration of musical notes, such as whole notes, half notes, quarter notes, and eighth notes. |
| note-against-note dissonances | Dissonant intervals that occur between outer voices simultaneously and must imply an acceptable harmonic progression. |
| oblique motion | Movement where one voice remains stationary while the second voice moves up or down. |
| octave leap | A melodic jump spanning eight letter names, requiring a change in direction in the bass line. |
| open position | A chord spacing where the upper parts are spaced more widely apart than in close position. |
| outer voices | The soprano and bass lines in a harmonic progression, which provide structural and harmonic information. |
| parallel fifths | The prohibited motion of two voices moving in the same direction to consecutive perfect fifth intervals. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| parallel octaves | The prohibited motion of two voices moving in the same direction to consecutive perfect octave intervals. |
| passing ⁶₄ chord | A second-inversion chord that connects two root-position or first-inversion chords in stepwise bass motion. |
| perfect authentic cadence | A conclusive cadence created by a V-I progression with both harmonies in root position, ending with scale degree 1 in the soprano. |
| perfect fifth | An interval spanning five letter names with a frequency ratio of 3:2, considered a perfect consonance in tonal music. |
| perfect fourth | An interval spanning four letter names with a frequency ratio of 4:3, considered a perfect consonance in tonal music. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| Phrygian half cadence | A cadence that moves from a subdominant chord in first inversion (iv⁶) to a dominant chord (V), used in minor keys only. |
| plagal cadence | A cadence that moves from a subdominant chord (IV or iv) to a tonic chord (I or i), also known as an 'Amen cadence.' |
| quarter notes | Musical notes with a duration equal to one quarter of a whole note. |
| repeated bass notes | The same pitch sounded consecutively in the bass line, subject to specific restrictions regarding beat placement. |
| rhythmic profile | The characteristic pattern of note values and rhythmic patterns that define the style of a musical line. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root position | A chord voicing in which the chordal root appears in the bass (lowest part) of the chord. |
| SATB order | The arrangement of voices from highest to lowest as soprano, alto, tenor, and bass to maintain proper voice crossing conventions. |
| scale degree 1 | The tonic note, the first degree of a musical scale. |
| similar motion | Movement of two voices in the same direction but not by the same melodic interval. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| spacing | The vertical distance between adjacent voices in a chord, which affects the clarity and balance of the harmonic sound. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| strong beat | A beat in a measure that receives primary emphasis, typically the first beat or other metrically accented beats. |
| subdominant triad | A chord built on the fourth scale degree, typically used to move toward the dominant or return to the tonic. |
| supertonic triad | A chord built on the second scale degree of a major or minor scale. |
| suspension | A nonharmonic tone created when a note from a previous chord is held or rearticulated over a new chord before resolving downward by step to a chord tone. |
| tendency tones | Scale degrees that have a strong inclination to resolve to a specific neighboring pitch, such as the leading tone resolving upward to the tonic. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| upward motion | Melodic movement in which successive pitches ascend in pitch. |
| voice crossing | The inappropriate overlap of pitch ranges between adjacent voices, which should be avoided for clarity of voice leading. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| weak beat | A beat in a measure that receives less emphasis than the downbeat or other strong beats. |
| Term | Definition |
|---|---|
| 18th-century voice leading | The normative conventions and procedures for connecting chords and moving voices established during the Common Practice Period of the 18th century. |
| ⁶₄ chord | A second-inversion triad where the fifth of the chord appears in the bass, notated with the figured bass symbols 6 and 4. |
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| alto | The second-highest voice part in SATB four-voice texture, positioned between soprano and tenor. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| chorale harmonization | The process of arranging a melody with harmonic accompaniment in SATB four-voice texture, commonly used in music theory exercises. |
| chord spelling | The correct arrangement of the notes of a chord, including all necessary accidentals, to properly represent the harmonic function indicated by Roman numerals or figured bass. |
| chord tones | The individual pitches that make up a harmonic chord. |
| chord voicing | The arrangement and distribution of the notes of a chord across different voices and pitch ranges. |
| contrary motion | Movement of two voices in opposite directions. |
| diminished fifth | An interval spanning five letter names that is one semitone smaller than a perfect fifth, typically requiring proper resolution in counterpoint. |
| direct fifths | A voice-leading error where two voices approach a perfect fifth by similar motion, also called hidden fifths. |
| direct octaves | A voice-leading error where two voices approach a perfect octave by similar motion, also called hidden octaves. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| fifth | The interval of a fifth above the root of a chord, or the note that is a fifth above the root. |
| figured bass | A notational system using Arabic numerals below a bass note to indicate the intervals and pitches of the chord to be played above that bass note. |
| first inversion | A chord voicing in which the chordal third appears in the bass. |
| four-voice texture | A musical arrangement consisting of four distinct voice parts or lines, typically organized as SATB. |
| harmonic intervals | The vertical distance between two notes sounding simultaneously in different voices. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| inverted triad | A triad in which a note other than the root appears in the bass, either first inversion (⁶) or second inversion (⁶₄). |
| leading-tone | The seventh scale degree, which has a strong tendency to resolve upward to the tonic. |
| musical lines | Individual melodic strands or voices that can be identified and tracked within a musical composition. |
| oblique motion | Movement where one voice remains stationary while the second voice moves up or down. |
| outer voices | The soprano and bass lines in a harmonic progression, which provide structural and harmonic information. |
| overlapping voices | A voice-leading error where one voice crosses above or below the pitch of an adjacent voice. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| perfect fifth | An interval spanning five letter names with a frequency ratio of 3:2, considered a perfect consonance in tonal music. |
| perfect interval | A harmonic interval (unison, fourth, fifth, or octave) that is considered consonant and stable. |
| pitch position | The relative height or register of a musical line in relation to other lines in a composition. |
| Roman numeral progression | A harmonic progression notated using Roman numerals to indicate chord function and quality. |
| root | The fundamental note of a chord upon which the chord is built. |
| root-position seventh chord | A seventh chord with the root in the lowest voice. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| similar motion | Movement of two voices in the same direction but not by the same melodic interval. |
| sixths | An interval spanning six letter names, such as C to A. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| spacing | The vertical distance between adjacent voices in a chord, which affects the clarity and balance of the harmonic sound. |
| tendency tone | A note that has a strong inclination to resolve to a specific neighboring pitch, typically the leading tone resolving to the tonic or the fourth scale degree resolving downward. |
| tenor | The second-lowest voice part in SATB four-voice texture, positioned between alto and bass. |
| third | The interval of a third above the root of a chord, or the note that is a third above the root. |
| thirds | An interval spanning three letter names, such as C to E. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| unequal fifths | A voice-leading error where fifths of different quality (perfect and diminished, or perfect and augmented) occur in succession. |
| V⁷ | The dominant seventh chord, built on the fifth scale degree with an added minor seventh above the root. |
| voice independence | The clarity and distinctness of individual voices maintained through proper voice leading and spacing. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| common practice | The system of tonal musical organization that prevailed in Western music from approximately 1650 to 1900. |
| conclusive cadence | A cadence that provides a strong sense of harmonic repose and finality, typically ending on the tonic. |
| deceptive cadence | A cadence that avoids the expected V-I resolution of an authentic cadence by substituting a non-tonic chord for the tonic. |
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| half cadence | An inconclusive cadence that typically ends on the dominant chord (V). |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| harmonic rhythm | The rate at which chords change in a given musical passage or composition. |
| imperfect authentic cadence | An inconclusive cadence created by a V-I progression where chords may be inverted and any chord tone may appear in the soprano. |
| inconclusive cadence | A cadence that does not provide a sense of finality or completion, typically ending on a non-tonic harmony. |
| inversions | Different voicings of a chord where the root is not in the lowest voice, indicated by Arabic numerals in harmonic analysis. |
| musical form | The overall structural organization and design of a musical composition. |
| perfect authentic cadence | A conclusive cadence created by a V-I progression with both harmonies in root position, ending with scale degree 1 in the soprano. |
| phrase structure | The organization and division of musical material into distinct sections or phrases. |
| Picardy third | A major tonic chord that ends a section in a minor key, creating a distinctive harmonic effect. |
| plagal cadence | A cadence that moves from a subdominant chord (IV or iv) to a tonic chord (I or i), also known as an 'Amen cadence.' |
| predominant | A harmonic function that typically occurs between the tonic and dominant, preparing for the resolution to the dominant. |
| retrogression | A chord progression that deviates from common-practice norms, such as V to IV, which is generally avoided in traditional tonal composition. |
| Roman numeral analysis | A system of notation using Roman numerals to identify chords and their harmonic function within a key. |
| root position | A chord voicing in which the chordal root appears in the bass (lowest part) of the chord. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| tonal | Music organized around a central pitch (tonic) where all other pitches relate hierarchically in a pre-established system. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| ascending leap | Movement upward by an interval larger than a step. |
| common tone | A note that appears in both consecutive chords and can be retained in the same voice to create smooth voice leading. |
| contextual listening | The practice of listening to and analyzing music within its historical and stylistic context. |
| descending leap | Movement downward by an interval larger than a step. |
| descending step | Movement downward to an adjacent lower scale degree. |
| dominant seventh chord | A seventh chord built on the fifth scale degree of a key, typically used to create harmonic tension that resolves to the tonic. |
| doubled | When a note appears in more than one voice in a chord. |
| error detection | The identification of voice-leading mistakes or violations of compositional conventions in musical writing. |
| fifth of a chord | The interval of a fifth above the root of a chord. |
| four-voice texture | A musical arrangement consisting of four distinct voice parts or lines, typically organized as SATB. |
| I-V⁴₃-I⁶ progression | A specific chord progression from tonic to dominant seventh in second inversion to tonic in first inversion. |
| inverted seventh chord | A seventh chord with a note other than the root in the lowest voice. |
| leap | A melodic interval larger than a step, traversing pitches that are not adjacent letter names. |
| part-writing | The process of composing individual melodic lines for each voice in a multi-voice musical texture. |
| root | The fundamental note of a chord upon which the chord is built. |
| root-position seventh chord | A seventh chord with the root in the lowest voice. |
| score analysis | The examination and study of musical scores to understand compositional techniques and voice-leading procedures. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| V⁴₃ chord | A dominant seventh chord in second inversion, with the seventh in the bass and specific voice-leading conventions. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| diminished seventh chord | A four-note chord built on a root with a minor third, diminished fifth, and diminished seventh. |
| dominant function | The harmonic role of chords built on the fifth scale degree that create tension and pull toward resolution to the tonic. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| leading-tone seventh chord | A seventh chord built on the seventh scale degree (vii°⁷ or vii⁰⁷), functioning either as a dominant substitute or as a tonic prolongation. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| tendency tone | A note that has a strong inclination to resolve to a specific neighboring pitch, typically the leading tone resolving to the tonic or the fourth scale degree resolving downward. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| harmonic background | The fundamental harmonic structure of a phrase, typically following the tonic-predominant-dominant-tonic progression. |
| harmonic foreground | The surface-level harmonic elaboration of a phrase in which chords are ordered in various combinations while maintaining underlying functional harmony. |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| predominant | A harmonic function that typically occurs between the tonic and dominant, preparing for the resolution to the dominant. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| supertonic | The second scale degree, located one step above the tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| deceptive progression | A harmonic progression where the dominant chord is followed by a chord other than the expected tonic, typically the submediant chord. |
| dominant chord | The fifth scale degree chord (V) that naturally resolves to the tonic, creating a strong sense of harmonic closure. |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| predominant chord | A chord that typically precedes the dominant chord and prepares harmonic movement toward resolution. |
| submediant chord | The chord built on the sixth scale degree, commonly used in deceptive progressions to replace the expected tonic resolution. |
| tonic chord | The chord built on the first scale degree, which establishes the tonal center and provides harmonic stability. |
| tonic substitute | A chord that can replace the tonic chord and provide a sense of resolution or stability, such as the vi chord. |
| vi chord | The chord built on the sixth scale degree, typically a minor chord in major keys and a major chord in minor keys. |
| Term | Definition |
|---|---|
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| predominant seventh chords | Seventh chords built on the fourth scale degree (or ii) that function as predominant harmony, preparing the dominant chord before a cadence. |
| predominant triads | Three-note chords (typically IV or ii) that function to prepare and lead toward the dominant chord in a harmonic progression. |
| seventh chords | Chords built on a triad by adding a note a seventh above the root, creating four-note harmonies with specific qualities. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| harmonic function | The role a chord plays in a harmonic progression, such as tonic, predominant, or dominant function. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| mediant triad | A triad built on the third scale degree (iii in minor keys, III in major keys), which functions as a secondary harmony in tonal music. |
| relative major key | The major key that shares the same key signature as a given minor key, located a minor third above it. |
| Term | Definition |
|---|---|
| authentic cadence | A cadence that moves from a dominant chord (V) to a tonic chord (I or i), creating a sense of strong harmonic resolution. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| deceptive cadence | A cadence that avoids the expected V-I resolution of an authentic cadence by substituting a non-tonic chord for the tonic. |
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| Phrygian half cadence | A cadence that moves from a subdominant chord in first inversion (iv⁶) to a dominant chord (V), used in minor keys only. |
| plagal cadence | A cadence that moves from a subdominant chord (IV or iv) to a tonic chord (I or i), also known as an 'Amen cadence.' |
| predominant function | A harmonic function that typically occurs between the tonic and dominant, preparing the resolution to the tonic through subdominant chords. |
| subdominant | The fourth scale degree and its associated chord (IV or iv), which functions as a predominant harmony leading toward the dominant or tonic. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| ⁶₄ chord | A second-inversion triad where the fifth of the chord appears in the bass, notated with the figured bass symbols 6 and 4. |
| arpeggiated ⁶₄ | A ⁶₄ chord that results from triad arpeggiation in the bass, where the bass arpeggiates a complete triad or oscillates between the root and fifth while upper voices remain static. |
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| cadential ⁶₄ | A sixth-four chord that occurs on a strong beat, typically preceding a V-I cadence in 18th-century harmonic practice. |
| cadential ⁶₄ chord | A second-inversion chord that typically appears before a V-I cadence, functioning as an acceptable harmonic pattern in voice leading. |
| dominant | The fifth scale degree and its associated chord (V), which creates tension and typically resolves to the tonic. |
| figured bass | A notational system using Arabic numerals below a bass note to indicate the intervals and pitches of the chord to be played above that bass note. |
| neighboring ⁶₄ | A ⁶₄ chord that occurs when the third and fifth of a root-position triad are embellished by their upper neighbor tones while the bass remains stationary, typically appearing on a weak beat. |
| passing ⁶₄ | A ⁶₄ chord that harmonizes a passing tone in the bass, typically occurring on a weak beat as part of a three-note ascending or descending scale fragment. |
| pedal ⁶₄ | A ⁶₄ chord in which the bass note remains stationary while upper voices move, often used interchangeably with neighboring ⁶₄ when describing embellished triads. |
| resolution | The movement of a chord tone, typically by step, to another chord tone, often from a dissonant interval to a consonant one. |
| second-inversion triad | A triad with the fifth of the chord in the bass position, creating a ⁶₄ figured bass notation. |
| tonic triad | A chord built on the first scale degree, serving as the primary harmonic center and point of rest in a key. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| arpeggiated ⁶₄ | A ⁶₄ chord that results from triad arpeggiation in the bass, where the bass arpeggiates a complete triad or oscillates between the root and fifth while upper voices remain static. |
| bass passing tone | A non-harmonic tone in the bass that moves by step between two chord tones, harmonized by a passing ⁶₄ chord. |
| cadential ⁶₄ | A sixth-four chord that occurs on a strong beat, typically preceding a V-I cadence in 18th-century harmonic practice. |
| chord succession | The progression from one chord to another in a harmonic sequence. |
| diatonic sequence | A harmonic progression that uses chords built on consecutive scale degrees within a key. |
| first-inversion chord | A chord with its third as the lowest note, notated with a ⁶ symbol. |
| neighboring ⁶₄ | A ⁶₄ chord that occurs when the third and fifth of a root-position triad are embellished by their upper neighbor tones while the bass remains stationary, typically appearing on a weak beat. |
| neighboring ⁶₄ chord | A second-inversion chord that functions as a passing or embellishing chord, typically supported by a pedal tone in the bass. |
| parallel motion | Movement of two voices in the same direction by the same melodic interval. |
| passing ⁶₄ | A ⁶₄ chord that harmonizes a passing tone in the bass, typically occurring on a weak beat as part of a three-note ascending or descending scale fragment. |
| passing ⁶₄ chord | A second-inversion chord that connects two root-position or first-inversion chords in stepwise bass motion. |
| pedal ⁶₄ | A ⁶₄ chord in which the bass note remains stationary while upper voices move, often used interchangeably with neighboring ⁶₄ when describing embellished triads. |
| root-position triad | A triad with its root as the lowest note, providing the fundamental harmonic foundation. |
| stepwise motion | Movement in a melodic line by adjacent scale degrees, either ascending or descending. |
| triad arpeggiation | The breaking up of a triad into individual notes played in succession, typically in the bass of an arpeggiated ⁶₄ chord. |
| upper neighbor tone | A non-harmonic tone that is one scale degree above a chord tone and returns to that chord tone. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| augmentation | A rhythmic transformation procedure in which the note values of a melody are proportionally lengthened. |
| diminution | A rhythmic transformation technique in which the durations of notes in a rhythmic pattern are proportionally shortened. |
| fragmentation | A motivic transformation procedure in which a motive is broken into smaller fragments. |
| fragments | Smaller pieces resulting from the fragmentation of a motive. |
| literal repetition | A motivic transformation procedure in which a motive is repeated exactly without change. |
| melodic inversion | A pitch transformation procedure in which the direction of melodic intervals is reversed, so ascending intervals become descending and vice versa. |
| melodic procedures | Compositional techniques used to transform and develop melodic ideas, including rhythmic, pitch, or combined transformations. |
| motives | Short melodic and/or rhythmic ideas that serve as the basic building blocks of musical phrases. |
| motivic transformation | The process of developing and altering musical motives through various compositional techniques to create variation and development. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| pitch transformation | Compositional procedures that alter the pitches of a melodic idea while maintaining its rhythmic structure. |
| retrograde | A transformation procedure that reverses the order of notes in a melody, presenting it backwards from end to beginning. |
| rhythmic patterns | Sequences of durations and accents that form the rhythmic structure of a musical phrase or composition. |
| rhythmic transformation | Compositional procedures that alter the rhythmic values and patterns of a melodic idea while maintaining its pitch content. |
| sequential repetition | A motivic transformation procedure in which a motive is repeated at different pitch levels, typically ascending or descending. |
| thematic transformation | The process of developing and altering complete themes or melodies through compositional techniques. |
| Term | Definition |
|---|---|
| 18th-century harmony | The harmonic practices and conventions of common-practice period music from the 1700s, including rules for chord construction and voice leading. |
| 4-3 suspension | A suspension where a fourth above the bass is held and resolves to a third, commonly notated in figured bass as 4-3. |
| accented nonharmonic tone | A nonharmonic tone that falls directly on a beat, making it rhythmically prominent. |
| anticipation | A nonharmonic tone that sounds before the chord it belongs to, typically resolving by step to a chord tone. |
| appoggiatura | A nonharmonic tone that is approached by leap and resolved by step to a chord tone, typically creating emphasis or dissonance. |
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chain of suspensions | A series of successive suspensions that occur in sequence, creating a continuous pattern of suspended and resolving tones. |
| chorale style | A compositional style featuring four-part harmony with block chords, typically used in 18th-century German hymn settings. |
| embellishing tones | Pitches that do not belong to the underlying harmonic chord and serve to embellish or decorate the melody. |
| embellishing tones | Pitches that do not belong to the underlying harmonic chord and serve to embellish or decorate the melody. |
| embellishing tones | Pitches that do not belong to the underlying harmonic chord and serve to embellish or decorate the melody. |
| embellishing tones | Pitches that do not belong to the underlying harmonic chord and serve to embellish or decorate the melody. |
| embellishment | A decorative musical element used to enhance or ornament a melodic line. |
| escape tone | A nonharmonic tone that is approached by step and left by leap, creating a sense of escape from the expected resolution. |
| figured bass | A notational system using Arabic numerals below a bass note to indicate the intervals and pitches of the chord to be played above that bass note. |
| lower neighbor | A type of neighbor tone that approaches and resolves from a pitch below the main melodic note. |
| neighbor tone | A type of nonharmonic tone that includes lower neighbor and upper neighbor classifications based on melodic approach and resolution. |
| neighbor tones | Embellishing tones that move by step away from and then back to the same harmonic tone. |
| ornament | A decorative musical figure or embellishing tone used to enhance a melodic line. |
| parallel sixths | Two melodic lines moving in the same direction with a consistent interval of a sixth between them. |
| parallel thirds | Two melodic lines moving in the same direction with a consistent interval of a third between them. |
| passing tone | A type of nonharmonic tone that is melodically approached and resolved in a specific manner, classified as either accented or unaccented based on its rhythmic placement. |
| pedal point | A sustained or repeated pitch in the bass that remains constant while harmonies change above it, creating a nonharmonic relationship. |
| preparation | The approach or introduction of a nonharmonic tone, establishing how it enters the melodic line. |
| rearticulated suspension | A suspension in which the suspended tone is restruck or rearticulated rather than held continuously from the previous chord. |
| resolution | The movement of a chord tone, typically by step, to another chord tone, often from a dissonant interval to a consonant one. |
| retardation | A nonharmonic tone that delays the resolution of a chord tone by resolving upward by step to a chord tone, the opposite of a suspension. |
| Roman numeral progression | A harmonic progression notated using Roman numerals to indicate chord function and quality. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| suspension | A nonharmonic tone created when a note from a previous chord is held or rearticulated over a new chord before resolving downward by step to a chord tone. |
| trill | An ornament consisting of the rapid alternation between a note and the note above or below it. |
| unaccented nonharmonic tone | A nonharmonic tone that falls on a division between beats rather than directly on a beat. |
| unaccented passing tones | Embellishing tones that occur on weak beats and connect two harmonic tones by stepwise motion. |
| upper neighbor | A type of neighbor tone that approaches and resolves from a pitch above the main melodic note. |
| voice exchange | A technique where two voices exchange their melodic material or swap positions in the harmonic texture. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| harmonic sequence | A harmonic progression that corresponds to and accompanies a melodic sequence, using the same transposition pattern. |
| melodic sequence | A melodic procedure in which a melodic segment is followed immediately by one or more transpositions of the same segment at a constant interval. |
| transposition | The shifting of a melodic segment to a different pitch level while maintaining the same intervallic relationships. |
| Term | Definition |
|---|---|
| harmonic sequence | A harmonic progression that corresponds to and accompanies a melodic sequence, using the same transposition pattern. |
| interval of transposition | The consistent pitch distance by which a melodic segment is repeated in a sequence, such as up a third or up a second. |
| melodic segment | A distinct musical phrase or pattern that serves as the basis for a melodic sequence. |
| melodic sequence | A melodic procedure in which a melodic segment is followed immediately by one or more transpositions of the same segment at a constant interval. |
| transposition | The shifting of a melodic segment to a different pitch level while maintaining the same intervallic relationships. |
| Term | Definition |
|---|---|
| chordal sevenths | The seventh note of a chord that typically resolves downward by step in proper voice leading. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| leading-tone chords | Chords built on the seventh scale degree that typically resolve upward by half step to the tonic, creating strong harmonic motion. |
| part-writing | The process of composing individual melodic lines for each voice in a multi-voice musical texture. |
| secondary leading-tone chords | Chords built on scale degrees other than the tonic that function as leading-tone chords, creating chromatic voice leading to their resolution chords. |
| voice leading | The technique of moving individual melodic lines (voices) in a musical composition, including considerations for smooth transitions and proper resolution of chords. |
| Term | Definition |
|---|---|
| bass line | The lowest melodic line in a musical composition that often implies harmonic progressions through its note choices. |
| chordal sevenths | The seventh note of a chord that typically resolves downward by step in proper voice leading. |
| chromatic pitches | Pitches that fall outside the prevailing major or minor scale, typically used to create harmonic color or suggest tonicization. |
| dominant chords | Chords built on the fifth scale degree that have a strong tendency to resolve to the tonic chord. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| harmonic progression | A sequence of chords that move from one harmony to another, creating the harmonic structure of a musical passage. |
| part-writing | The process of composing individual melodic lines for each voice in a multi-voice musical texture. |
| secondary dominants | Dominant chords that resolve to chords other than the tonic, creating temporary tonicization of those chords. |
| soprano line | The highest melodic line in a musical composition, typically sung by the highest voices or played by the highest instruments. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| tonicization | The process of making a scale degree or chord other than the tonic sound like a temporary tonic, creating a brief harmonic event that does not change the primary key of the music. |
| V/V | The secondary dominant of the dominant chord, which resolves to the V chord and tonicizes it. |
| voice-leading | The technique of moving individual melodic lines smoothly and logically between successive chords. |
| Term | Definition |
|---|---|
| accidentals | Sharps, flats, or naturals that alter the pitch of a note from its diatonic position in the primary key. |
| cadence | A harmonic progression that marks the end of a phrase and provides punctuation in musical flow. |
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| diatonic scale degrees | The pitches and chords that naturally occur within a given key without accidentals. |
| dominant chord | The fifth scale degree chord (V) that naturally resolves to the tonic, creating a strong sense of harmonic closure. |
| dominant seventh chord | A seventh chord built on the fifth scale degree of a key, typically used to create harmonic tension that resolves to the tonic. |
| harmonic context | The surrounding chords and harmonic progression that determine how a chord functions and is voiced within a musical passage. |
| primary key | The main key of a musical work, established at the beginning and end of the piece. |
| secondary dominant | A chord that functions as the dominant of a chord other than the tonic, allowing that chord to be tonicized; also called an applied dominant. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| tonicization | The process of making a scale degree or chord other than the tonic sound like a temporary tonic, creating a brief harmonic event that does not change the primary key of the music. |
| triad | A chord whose essence consists of three distinct pitches stacked on adjacent lines or spaces in thirds. |
| V/ii | The secondary dominant of the ii chord, which resolves to and tonicizes the ii chord. |
| V/IV | The secondary dominant of the IV chord, which resolves to and tonicizes the IV chord. |
| V/V | The secondary dominant of the dominant chord, which resolves to the V chord and tonicizes it. |
| Term | Definition |
|---|---|
| chord inversion | A chord voicing in which a chord member other than the root appears in the bass, resulting in first or second inversion. |
| diminished seventh chord | A four-note chord built on a root with a minor third, diminished fifth, and diminished seventh. |
| diminished triad | A three-note chord built on a root with a minor third and a diminished fifth. |
| first inversion | A chord voicing in which the chordal third appears in the bass. |
| half-diminished chord | A seventh chord with a minor third, diminished fifth, and minor seventh, also called a minor seventh flat five chord. |
| harmonic context | The surrounding chords and harmonic progression that determine how a chord functions and is voiced within a musical passage. |
| leading tone | The seventh scale degree in a major scale, located one half step below the tonic with a strong tendency to resolve upward to the tonic. |
| major mode | A scale and harmonic system built on a major scale with a major third above the tonic. |
| major triad | A three-note chord built on a root with a major third and a perfect fifth. |
| minor triad | A three-note chord built on a root with a minor third and a perfect fifth. |
| secondary diminished seventh chord | A diminished seventh chord built on the leading tone of a chord being tonicized, functioning as an applied leading-tone chord. |
| secondary leading-tone chord | A diminished triad or diminished seventh chord built on the leading tone of a chord being tonicized, used to emphasize that chord temporarily. |
| tonicization | The process of making a scale degree or chord other than the tonic sound like a temporary tonic, creating a brief harmonic event that does not change the primary key of the music. |
| Term | Definition |
|---|---|
| antecedent | The first phrase of a period that ends with an inconclusive cadence, setting up expectation for resolution. |
| conclusive cadence | A cadence that provides a strong sense of harmonic repose and finality, typically ending on the tonic. |
| consequent | The second phrase of a period that provides stronger harmonic repose and typically ends with a conclusive cadence. |
| contrast | The juxtaposition of dissimilar melodic phrases to create distinction and highlight differences. |
| contrasting period | A period in which the two phrases are melodically contrasting while maintaining the antecedent-consequent harmonic relationship. |
| inconclusive cadence | A cadence that does not provide a sense of finality or completion, typically ending on a non-tonic harmony. |
| literal repetition | A motivic transformation procedure in which a motive is repeated exactly without change. |
| melodic relationships | The connections between melodies in different phrases, such as similarity, variation, or contrast. |
| melodically contrasting | Phrases that differ significantly in their melodic content, creating variety and interest. |
| parallel period | A period in which the two phrases are melodically similar while maintaining the antecedent-consequent harmonic relationship. |
| period | A musical structure consisting of two phrases that combine to create a complete harmonic and melodic unit. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| unity | The musical quality of coherence and cohesion created when phrases sound similar to one another. |
| varied repetition | A restatement of a musical phrase with some melodic, rhythmic, or harmonic modifications while maintaining its essential character. |
| variety | The musical quality of diversity and interest created when phrases sound dissimilar to one another. |
| Term | Definition |
|---|---|
| Aeolian | The sixth mode, equivalent to the natural minor scale, with the pattern of intervals: whole, half, whole, whole, half, whole, whole. |
| Dorian | The second mode, characterized by a minor quality with a raised sixth scale degree compared to natural minor. |
| Ionian | The first mode, equivalent to the major scale, with the pattern of intervals: whole, whole, half, whole, whole, whole, half. |
| Locrian | The seventh mode, characterized by a diminished quality with both a lowered second and fifth scale degree compared to the major scale. |
| Lydian | The fourth mode, characterized by a major quality with a raised fourth scale degree compared to the major scale. |
| melodic passages | Sequences of individual notes or pitches that form a recognizable musical line or tune. |
| Mixolydian | The fifth mode, characterized by a major quality with a lowered seventh scale degree compared to the major scale. |
| Phrygian | The third mode, characterized by a minor quality with a lowered second scale degree, giving it a Spanish or exotic sound. |
| scales | Ordered sequences of pitches arranged in ascending or descending order, forming the basis for melodic and harmonic content in music. |
| Term | Definition |
|---|---|
| bridge | A contrasting section in a musical piece that typically appears in the middle, connecting different sections and often leading to a return of earlier material. |
| chorus | A section of music that repeats with the same lyrics and melody, typically containing the main hook or memorable idea of a song. |
| coda | A concluding section added at the end of a musical piece to provide closure or extend the ending. |
| codetta | A short concluding section or passage, typically smaller than a coda, used to end a piece or section of music. |
| interlude | A section of music that occurs between other sections, often providing contrast or transition within a piece. |
| introduction | An opening section of a musical piece that typically establishes the musical context before the main material begins. |
| refrain | A recurring section or phrase that repeats at intervals throughout a musical piece. |
| verse | A section of music that typically contains lyrics or melodic material that changes with each repetition, often contrasting with the chorus. |
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