Vocabulary, Terms & Symbols
Vocabulary, Terms, & Symbols | |
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Symbols
Lowercase letters indicate musical phrases or subsections: for example, a b indicates a contrasting period;
a b a indicates a phrase, contrasting phrase and return to the original phrase. A prime (as in a a' ) denotes
a phrase and a varied restatement. Capital letters are used to indicate larger sections of compositions.
Terms
Cadence
Cadential extension
Coda
Codetta
Contour
Countermelody
Elision (phrase elision)
Fragment (fragmented motive)
Introduction
Jazz and pop terms
bridge
chorus
song form (AABA)
turnaround
twelve-bar blues
Melodic procedures
augmentation
conjunct
diminution
disjunct
extension, phrase extension
fragmentation
internal expansion
inversion, melodic inversion
literal repetition
motivic transformation
octave displacement
retrograde
rhythmic transformation
sequence
sequential repetition
transposition
truncation
Motive
Period
antecedent
consequent
contrasting period
double period
parallel period
Phrase group
Refrain
Small forms
binary
rounded binary
simple binary
ternary
Solo, soli
Stanza
Strophic
Theme
thematic transformation
Through-composed
Tutti
Variation
Verse
Harmony
Symbols
Roman and Arabic numerals
Capital Roman numerals denote major triads.
Lowercase Roman numerals denote minor triads.
A capital Roman numeral with a “ + ” indicates an augmented triad.
A lowercase Roman numeral with a “ ø ” indicates a diminished triad.
Arabic numerals or figured-bass symbols denote intervals above the bass and
hence indirectly indicate chord inversion. Arabic numerals may indicate voice leading and/or non-harmonic tones.
Triads
6 indicates a first inversion triad
6
4 indicates a second inversion triad
Seventh Chords
7 indicates a root-position seventh chord
ø7 indicates a diminished (fully-diminished) seventh chord
Ø7 indicates a half-diminished seventh chord
6
5 indicates first inversion
4
3 indicates second inversion
4
2 indicates third inversion
Other figures
8–7 indicates melodic movement from an octave to a seventh above the bass.
9–8, 7–6, 4–3 indicate a suspension and melodic resolution.
An accidental before an Arabic numeral indicates alteration of the interval involved.
A figure with a slash (e.g., ) or a plus (e.g., 4+) indicates that the note creating the interval in question is raised a half step.
Cadence Types
Authentic Cadence
Imperfect authentic Cadence
Perfect authentic Cadence
Conclusive cadence
Deceptive
Half
Phrygian half
Inconclusive cadence
Plagal
Chord Quality
Triads
augmented or +
diminished or ø
major or M
minor or m
Seventh chords
major seventh (MM; M7) (“major-major”)
dominant seventh (Mm7) (used for "major-minor" seventh chords exercising a dominant function)
minor seventh (m7; mm) (“minor-minor”)
half-diminished seventh (Ø7; dm) (“diminished-minor”)
fully-diminished seventh (ø7; dd) (“diminished-diminished”)
Functions and Progressions
Scale degrees/diatonic chord names
tonic
supertonic
mediant
subdominant
dominant
submediant
subtonic
leading tone
Functions
tonic function
dominant function
predominant function
Circle of fifths
Deceptive progression
Harmonic rhythm
Modulation
common tone modulation
phrase modulation
pivot chord modulation
Neighboring chord
Rate of harmonic change
Realize, realization of a figured bass, realization of a four-part Roman numeral progression
Retrogression
Secondary dominant
Secondary leading tone chord
Tonicization
Treatment of second inversion ( 6/4 ) triads
Arpeggiating 6
4—a 6/4 created by arpeggiation of the triad in the bass (e.g., 1a).
Cadential 6
4—a I 6/4 preceding the dominant, often at a cadence. Although it contains the notes of the tonic triad, it does not exercise a tonic function but
rather serves as an embellishment of the dominant. It occurs in a metrically stronger position than the dominant, and the upper voices most often move by
step to the tones of the dominant. May also be written as V6/4 = 5/3 , including the resolution of the cadential 6/4 to the dominant (e.g., 1b).
Neighboring or pedal 6
4 (embellishing 6/4, auxiliary 6/4 )—occurs when the third and fifth of a root position triad are embellished by their respective upper
neighboring tones, while the bass is stationary, usually occurring on a weak beat (e.g., 1c).
Passing 6
4—harmonizes the second note of a three-note ascending or descending scale fragment in the bass; that is, it harmonizes a bass passing
tone. The usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step (e.g., 1d).
EXAMPLES
1a. Arpeggiating 6
4
1b. Cadential 6
4
1c. Neighboring or Pedal 6
4
1d. Passing 6
4
Non-harmonic Tones
Anticipation
Appoggiatura
Embellishment
Escape tone (échappeé)
Neighboring tone (auxiliary tone, embellishing tone, neighbor note)
double neighbor
lower neighbor
upper neighbor
neighbor group (cambiata, changing tones, changing notes)
Ornament
Passing tone (accented, unaccented)
Pedal point
Preparation
Resolution
Retardation
Suspension
rearticulated suspension
suspension chain
Spacing/Voicing/Position
Soprano
Alto
Tenor
Bass
Close position
Open position
Doubling
Inversion, inversion of chords
Root
Root position
First inversion
Second inversion
Third inversion
Voice Leading
Common tone
Contrary motion
Cross relation (false relation)
Crossed voices (voice crossing)
Direct fifths (hidden fifths)
Direct octaves (hidden octaves)
Oblique motion
Overlapping voices
Parallel motion
Parallel intervals
objectionable parallels
parallel fifths
parallel octaves
Similar motion
Tendency tone
Unresolved leading tone
Unresolved seventh
Voice exchange
Miscellaneous Harmonic Terms
Arpeggio, arpeggiation
Chromatic
Common Practice Style
Consonance
Diatonic
Dissonance
Figured bass
Flatted fifth
Lead sheet
Picardy third
Resolution
Intervals
Compound interval
Half step (semitone)
Interval
Inversion, inversion of an interval
Numerical names (i.e., third, fifth, octave)
Quality or type (e.g., perfect, major, minor, diminished, augmented)
Tritone
Unison (prime)
Whole step (whole tone)
Performance Terms
Antiphonal
Articulation
arco
legato
marcato
pizzicato
slur
staccato
tenuto
Call and response
Dynamics
crescendo
diminuendo
terrace dynamics
pianissimo pp
piano p
mezzo piano mp
mezzo forte mf
forte f
fortissimo ff
Improvisation, improvisatory
Phrasing
Tempo
adagio
allegro
andante
andantino
grave
largo
lento
moderato
presto
vivace
accelerando
ritardando
ritenuto
rubato
Rhythm/Meter/Temporal Organization
Accent
agogic accent
dynamic accent
metrical accent
Anacrusis (pickup; upbeat)
Asymmetrical meter
Augmentation
Bar line
Beat
Beat type
compound
simple
Changing meter (multimeter)
Cross rhythm
Diminution
Dot, double dot
Dotted rhythm
Duplet
Duration
Hemiola
Irregular meter
Meter
duple
quadruple
triple
Note value
Polyrhythm
Pulse
Rhythm
Swing rhythm
Syncopation
Tempo
Tie
Time signature (meter signature)
Triplet
Scales/Keys/Modes
Accidental
Chromatic, chromaticism
Diatonic
Key signature
Major
Minor
harmonic minor
melodic minor, ascending/descending natural minor (Aeolian)
Mode
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Modality
Parallel key, parallel major or minor
Pentatonic
Relative key, relative major or minor
Scale degrees
tonic ^1
supertonic ^2
mediant ^3
subdominant ^4
dominant ^5
submediant ^6
leading tone ^7
Tetrachord
Tonal
Tonality
Tonic
Whole-tone scale
Text/Music Relations
Lyrics
Melismatic
Stanza
Syllabic
Texture
Alberti bass
Canon
Canonic
Chordal accompaniment
Contrapuntal
Counterpoint
imitation
imitative polyphony
nonimitative polyphony
countermelody
fugal imitation
Heterophony, heterophonic
Homophony, homophonic
chordal homophony
chordal texture (homorhythmic)
melody with accompaniment
Instrumentation
brass
continuo
percussion
rhythm section
strings
timbre
woodwinds
Melody
Monophony, monophonic
Obbligato
Ostinato
Polyphony, polyphonic
Register
Solo, soli
Tessitura
Tutti
Walking bass
Other terms that may be used on the AP Music Theory Exam
Aria
Art song
Concerto
Fugue
Genre(s)
Interlude
Opera
Prelude
Postlude
Sonata
Song
String quartet
Symphony
Symbols
Lowercase letters indicate musical phrases or subsections: for example, a b indicates a contrasting period;
a b a indicates a phrase, contrasting phrase and return to the original phrase. A prime (as in a a' ) denotes
a phrase and a varied restatement. Capital letters are used to indicate larger sections of compositions.
Terms
Cadence
Cadential extension
Coda
Codetta
Contour
Countermelody
Elision (phrase elision)
Fragment (fragmented motive)
Introduction
Jazz and pop terms
bridge
chorus
song form (AABA)
turnaround
twelve-bar blues
Melodic procedures
augmentation
conjunct
diminution
disjunct
extension, phrase extension
fragmentation
internal expansion
inversion, melodic inversion
literal repetition
motivic transformation
octave displacement
retrograde
rhythmic transformation
sequence
sequential repetition
transposition
truncation
Motive
Period
antecedent
consequent
contrasting period
double period
parallel period
Phrase group
Refrain
Small forms
binary
rounded binary
simple binary
ternary
Solo, soli
Stanza
Strophic
Theme
thematic transformation
Through-composed
Tutti
Variation
Verse
Harmony
Symbols
Roman and Arabic numerals
Capital Roman numerals denote major triads.
Lowercase Roman numerals denote minor triads.
A capital Roman numeral with a “ + ” indicates an augmented triad.
A lowercase Roman numeral with a “ ø ” indicates a diminished triad.
Arabic numerals or figured-bass symbols denote intervals above the bass and
hence indirectly indicate chord inversion. Arabic numerals may indicate voice leading and/or non-harmonic tones.
Triads
6 indicates a first inversion triad
6
4 indicates a second inversion triad
Seventh Chords
7 indicates a root-position seventh chord
ø7 indicates a diminished (fully-diminished) seventh chord
Ø7 indicates a half-diminished seventh chord
6
5 indicates first inversion
4
3 indicates second inversion
4
2 indicates third inversion
Other figures
8–7 indicates melodic movement from an octave to a seventh above the bass.
9–8, 7–6, 4–3 indicate a suspension and melodic resolution.
An accidental before an Arabic numeral indicates alteration of the interval involved.
A figure with a slash (e.g., ) or a plus (e.g., 4+) indicates that the note creating the interval in question is raised a half step.
Cadence Types
Authentic Cadence
Imperfect authentic Cadence
Perfect authentic Cadence
Conclusive cadence
Deceptive
Half
Phrygian half
Inconclusive cadence
Plagal
Chord Quality
Triads
augmented or +
diminished or ø
major or M
minor or m
Seventh chords
major seventh (MM; M7) (“major-major”)
dominant seventh (Mm7) (used for "major-minor" seventh chords exercising a dominant function)
minor seventh (m7; mm) (“minor-minor”)
half-diminished seventh (Ø7; dm) (“diminished-minor”)
fully-diminished seventh (ø7; dd) (“diminished-diminished”)
Functions and Progressions
Scale degrees/diatonic chord names
tonic
supertonic
mediant
subdominant
dominant
submediant
subtonic
leading tone
Functions
tonic function
dominant function
predominant function
Circle of fifths
Deceptive progression
Harmonic rhythm
Modulation
common tone modulation
phrase modulation
pivot chord modulation
Neighboring chord
Rate of harmonic change
Realize, realization of a figured bass, realization of a four-part Roman numeral progression
Retrogression
Secondary dominant
Secondary leading tone chord
Tonicization
Treatment of second inversion ( 6/4 ) triads
Arpeggiating 6
4—a 6/4 created by arpeggiation of the triad in the bass (e.g., 1a).
Cadential 6
4—a I 6/4 preceding the dominant, often at a cadence. Although it contains the notes of the tonic triad, it does not exercise a tonic function but
rather serves as an embellishment of the dominant. It occurs in a metrically stronger position than the dominant, and the upper voices most often move by
step to the tones of the dominant. May also be written as V6/4 = 5/3 , including the resolution of the cadential 6/4 to the dominant (e.g., 1b).
Neighboring or pedal 6
4 (embellishing 6/4, auxiliary 6/4 )—occurs when the third and fifth of a root position triad are embellished by their respective upper
neighboring tones, while the bass is stationary, usually occurring on a weak beat (e.g., 1c).
Passing 6
4—harmonizes the second note of a three-note ascending or descending scale fragment in the bass; that is, it harmonizes a bass passing
tone. The usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step (e.g., 1d).
EXAMPLES
1a. Arpeggiating 6
4
1b. Cadential 6
4
1c. Neighboring or Pedal 6
4
1d. Passing 6
4
Non-harmonic Tones
Anticipation
Appoggiatura
Embellishment
Escape tone (échappeé)
Neighboring tone (auxiliary tone, embellishing tone, neighbor note)
double neighbor
lower neighbor
upper neighbor
neighbor group (cambiata, changing tones, changing notes)
Ornament
Passing tone (accented, unaccented)
Pedal point
Preparation
Resolution
Retardation
Suspension
rearticulated suspension
suspension chain
Spacing/Voicing/Position
Soprano
Alto
Tenor
Bass
Close position
Open position
Doubling
Inversion, inversion of chords
Root
Root position
First inversion
Second inversion
Third inversion
Voice Leading
Common tone
Contrary motion
Cross relation (false relation)
Crossed voices (voice crossing)
Direct fifths (hidden fifths)
Direct octaves (hidden octaves)
Oblique motion
Overlapping voices
Parallel motion
Parallel intervals
objectionable parallels
parallel fifths
parallel octaves
Similar motion
Tendency tone
Unresolved leading tone
Unresolved seventh
Voice exchange
Miscellaneous Harmonic Terms
Arpeggio, arpeggiation
Chromatic
Common Practice Style
Consonance
Diatonic
Dissonance
Figured bass
Flatted fifth
Lead sheet
Picardy third
Resolution
Intervals
Compound interval
Half step (semitone)
Interval
Inversion, inversion of an interval
Numerical names (i.e., third, fifth, octave)
Quality or type (e.g., perfect, major, minor, diminished, augmented)
Tritone
Unison (prime)
Whole step (whole tone)
Performance Terms
Antiphonal
Articulation
arco
legato
marcato
pizzicato
slur
staccato
tenuto
Call and response
Dynamics
crescendo
diminuendo
terrace dynamics
pianissimo pp
piano p
mezzo piano mp
mezzo forte mf
forte f
fortissimo ff
Improvisation, improvisatory
Phrasing
Tempo
adagio
allegro
andante
andantino
grave
largo
lento
moderato
presto
vivace
accelerando
ritardando
ritenuto
rubato
Rhythm/Meter/Temporal Organization
Accent
agogic accent
dynamic accent
metrical accent
Anacrusis (pickup; upbeat)
Asymmetrical meter
Augmentation
Bar line
Beat
Beat type
compound
simple
Changing meter (multimeter)
Cross rhythm
Diminution
Dot, double dot
Dotted rhythm
Duplet
Duration
Hemiola
Irregular meter
Meter
duple
quadruple
triple
Note value
Polyrhythm
Pulse
Rhythm
Swing rhythm
Syncopation
Tempo
Tie
Time signature (meter signature)
Triplet
Scales/Keys/Modes
Accidental
Chromatic, chromaticism
Diatonic
Key signature
Major
Minor
harmonic minor
melodic minor, ascending/descending natural minor (Aeolian)
Mode
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Modality
Parallel key, parallel major or minor
Pentatonic
Relative key, relative major or minor
Scale degrees
tonic ^1
supertonic ^2
mediant ^3
subdominant ^4
dominant ^5
submediant ^6
leading tone ^7
Tetrachord
Tonal
Tonality
Tonic
Whole-tone scale
Text/Music Relations
Lyrics
Melismatic
Stanza
Syllabic
Texture
Alberti bass
Canon
Canonic
Chordal accompaniment
Contrapuntal
Counterpoint
imitation
imitative polyphony
nonimitative polyphony
countermelody
fugal imitation
Heterophony, heterophonic
Homophony, homophonic
chordal homophony
chordal texture (homorhythmic)
melody with accompaniment
Instrumentation
brass
continuo
percussion
rhythm section
strings
timbre
woodwinds
Melody
Monophony, monophonic
Obbligato
Ostinato
Polyphony, polyphonic
Register
Solo, soli
Tessitura
Tutti
Walking bass
Other terms that may be used on the AP Music Theory Exam
Aria
Art song
Concerto
Fugue
Genre(s)
Interlude
Opera
Prelude
Postlude
Sonata
Song
String quartet
Symphony