Question
INTRODUCTION
Answer
Section which opens a piece & establishes melodic, harmonic, and/or rhythmic elements.
|
View material related to this flashcard |
|
Search learning materials, communities and people |
|
Signup for free and create your own materials to learn or teach |
|
Try YoYoBrain's Memorization Tool to learn these flashcards |
| If you want to see what else we have to help you learn or teach: Take a Tour! |
Other flashcards from AP Music Theory Vocabulary
:
CADENCE CODA CADENTIAL EXTENSION CODETTA COUNTERMELODY ELISION FRAGMENT INTRODUCTION CONTOUR BRIDGE CHORUS TWELVE BAR BLUES SONG FORM TURNAROUND DIMINUTION AUGMENTATION FRAGMENTATION EXTENDED VERSION/ PHRASE EXTENSION LITERAL REPETITION INTERNAL EXPANSION OCTAVE DISPLACEMENT RETROGRADE MELODIC INVERSION SEQUENCE SEQUENTIAL REPETITION SHORTENED VERSION TRANSPOSITION TRUNCATION MOTIVE PERIOD ANTECEDENT PHRASE CONSEQUENT PHRASE CONTRASTING PERIOD DOUBLE PERIOD PARALLEL PERIOD PHRASE GROUP REFRAIN BINARY FORM ROUNDED BINARY FORM TERNARY FORM SOLO; SOLI STANZA STROPHIC THEME THEMATIC TRANSFORMATION RHYTHMIC TRANSFORMATION MOTIVIC TRANSFORMATION THROUGH-COMPOSED TUTTI VARIATIONS VERSE CONJUNCT DISJUNCT ROMAN NUMERALS + o FIGURED-BASS NUMBERS INVERTED TRIADS SEVENTH CHORD SYMBOLS 8-7 9-8 7-6 4-3 2-3 Figured bass with slashed numbers or ... M m PERFECT AUTHENTIC CADENCEPAC IMPERFECT AUTHENTIC CADENCEIAC CONCLUSIVE CADENCE DECEPTIVE CADENCE HALF CADENCE PHRYGIAN HALF CADENCE PLAGAL CADENCE MAJOR SEVENTH CHORD DOMINANT SEVENTH CHORD MAJOR-MINOR SEVENTH MINOR SEVENTH HALF-DIMINISHED SEVENTH FULLY-DIMINISHED SEVENTH TONIC SUPERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT SUBTONIC LEADING TONE TONIC FUNCTION DOMINANT FUNCTION PREDOMINANT FUNCTION CIRCLE OF FIFTHS DECEPTIVE PROGRESSION HARMONIC RHYTHM MODULATION COMMON TONE MODULATION PHRASE MODULATION PIVOT CHORD MODULATION NEIGHBORING CHORD FIGURED BASS REALIZATION RETROGRESSION SECONDARY DOMINANT SECONDARY LEADING TONE CHORD TONICIZATION ARPEGGIATING 64 CADENTIAL 64 NEIGHBORING OR PEDAL 64 PASSING 64 ANTICIPATION APPOGGIATURA EMBELLISHMENT ESCAPE TONE NEIGHBORING TONE LOWER NEIGHBOR UPPER NEIGHBOR NEIGHBOR GROUP ORNAMENT PASSING TONE PEDAL POINT PREPARATION RESOLUTION RETARDATION SUSPENSION SUSPENSION CHAIN SOPRANO ALTO TENOR BASS CLOSE POSITION OPEN POSITION DOUBLING FIRST INVERSION SECOND INVERSION THIRD INVERSION INVERSION; INVERSION OF CHORDS ROOT POSITION INVERSION COMMON TONE CONTRARY MOTION OBLIQUE MOTION PARALLEL MOTION SIMILAR MOTION CROSS RELATION(false relation) CROSSED VOICES(voice crossing) VOICE EXCHANGE OVERLAPPING VOICES DIRECT FIFTHS(hidden fifths) DIRECT OCTAVES(hidden octaves) PARALLEL INTERVALS PARALLEL FIFTHS PARALLEL OCTAVES TENDANCY TONE UNRESOLVED LEADING TONE UNRESOLVED SEVENTH ARPEGGIO, ARPEGGIATION CHROMATIC DIATONIC COMMON PRACTICE STYLE CONSONANCE DISSONANCE FIGURED BASS FLATTED FIFTH LEAD SHEET PICARDY THIRD RESOLUTION COMPOUND INTERVAL HALF STEP (semitone) WHOLE STEP INTERVAL INVERSION/ INVERSION OF AN INTERVAL NUMERICAL NAMES INTERVAL QUALITY TRITONE UNISON ANTIPHONAL ARTICULATION -- ARCO ARTICULATION -- PIZZICATO LEGATO MARCATO SLUR STACCATO TENUTO CALL AND RESPONSE CRESCENDO DIMINUENDO (DECRESCENDO) TERRACE DYNAMICS PIANISSIMO PIANO MEZZO FORTE FORTE FORTISSIMO MEZZO PIANO IMPROVISATION PHRASING TEMPO ADAGIO ALLEGRO ANDANTE ANDANTINO GRAVE LARGO LENTO MODERATO PRESTO VIVACE ACCELERANDO RITARDANDO RITENUTO RUBATO ANACRUSIS AGOGIC ACCENT DYNAMIC ACCENT METRICAL ACCENT ASYMMETRICAL METER AUGMENTATION DIMINUTION BAR LINE BEAT BEAT TYPE/ simple SIMPLE DUPLE TIME SIMPLE TRIPLE TIME SIMPLE QUADRUPLE TIME BEAT TYPE/ compound COMPOUND DUPLE TIME COMPOUND TRIPLE TIME COMPOUND QUADRUPLE TIME METER (duple) METER (triple) METER (quaduple) CHANGING METER/ multimeter CROSS RHYTHM POLYRHYTHM IRREGULAR METER DOT; DOUBLE DOT DOTTED RHYTHM DURATION HEMIOLA NOTE VALUE PULSE RHYTHM SWING RHYTHM SYNCOPATION TEMPO TIE TIME SIGNATURE DUPLET TRIPLET STRETTO ACCIDENTAL DIATONIC KEY SIGNATURE MAJOR NATURAL MINOR HARMONIC MINOR MELODIC MINOR MODES IONIAN MODE DORIAN MODE PHRYGIAN MODE LYDIAN MODE MIXOLYDIAN MODE AEOLIAN MODE LOCRIAN MODE PENTATONIC SCALE WHOLE-TONE SCALE CHROMATIC SCALE/ CHROMATICISM MODALITY TONALITY PARALLEL KEY RELATIVE KEY SCALE DEGREES/ Tonic SCALE DEGREES/ Supertonic SCALE DEGREES/ Mediant SCALE DEGREES/ Subdominant SCALE DEGREES/ Dominant SCALE DEGREES/ Submediant SCALE DEGREES/ Subtonic SCALE DEGREES/ Leading tone TETRACHORD TONAL TONIC LYRICS STANZA SYLLABIC MELISMATIC ALBERTI BASS CANON CANONIC IMITATION CHORDAL ACCOMPANIMENT CONTRAPUNTAL COUNTERPOINT TIMBRE OSTINATO REGISTER WALKING BASS TESSITURA COUNTERPOINT: imitative polyphony COUNTERPOINT: nonimitative polyphony COUNTERMELODY FUGAL IMITATION HETEROPHONY, HETEROPHONIC HOMOPHONY; HOMOPHONIC POLYPHONY; POLYPHONIC MONOPHONY; MONOPHONIC CHORDAL HOMOPHONY/ HOMORHYTHMIC MELODY AND ACCOMPANIMENT MELODY OBBLIGATO TUTTI SOLO; SOLI ARIA ART SONG CONCERTO FUGUE GENRE INTERLUDE OPERA PRELUDE POSTLUDE SONATA STRING QUARTET SYMPHONY AUGMENTED TRIAD DIMINISHED TRIAD MAJOR TRIAD MINOR TRIAD BRASS CONTINUO PERCUSSION RHYTHM SECTION STRINGS WOODWINDS
CADENCE CODA CADENTIAL EXTENSION CODETTA COUNTERMELODY ELISION FRAGMENT INTRODUCTION CONTOUR BRIDGE CHORUS TWELVE BAR BLUES SONG FORM TURNAROUND DIMINUTION AUGMENTATION FRAGMENTATION EXTENDED VERSION/ PHRASE EXTENSION LITERAL REPETITION INTERNAL EXPANSION OCTAVE DISPLACEMENT RETROGRADE MELODIC INVERSION SEQUENCE SEQUENTIAL REPETITION SHORTENED VERSION TRANSPOSITION TRUNCATION MOTIVE PERIOD ANTECEDENT PHRASE CONSEQUENT PHRASE CONTRASTING PERIOD DOUBLE PERIOD PARALLEL PERIOD PHRASE GROUP REFRAIN BINARY FORM ROUNDED BINARY FORM TERNARY FORM SOLO; SOLI STANZA STROPHIC THEME THEMATIC TRANSFORMATION RHYTHMIC TRANSFORMATION MOTIVIC TRANSFORMATION THROUGH-COMPOSED TUTTI VARIATIONS VERSE CONJUNCT DISJUNCT ROMAN NUMERALS + o FIGURED-BASS NUMBERS INVERTED TRIADS SEVENTH CHORD SYMBOLS 8-7 9-8 7-6 4-3 2-3 Figured bass with slashed numbers or ... M m PERFECT AUTHENTIC CADENCEPAC IMPERFECT AUTHENTIC CADENCEIAC CONCLUSIVE CADENCE DECEPTIVE CADENCE HALF CADENCE PHRYGIAN HALF CADENCE PLAGAL CADENCE MAJOR SEVENTH CHORD DOMINANT SEVENTH CHORD MAJOR-MINOR SEVENTH MINOR SEVENTH HALF-DIMINISHED SEVENTH FULLY-DIMINISHED SEVENTH TONIC SUPERTONIC MEDIANT SUBDOMINANT DOMINANT SUBMEDIANT SUBTONIC LEADING TONE TONIC FUNCTION DOMINANT FUNCTION PREDOMINANT FUNCTION CIRCLE OF FIFTHS DECEPTIVE PROGRESSION HARMONIC RHYTHM MODULATION COMMON TONE MODULATION PHRASE MODULATION PIVOT CHORD MODULATION NEIGHBORING CHORD FIGURED BASS REALIZATION RETROGRESSION SECONDARY DOMINANT SECONDARY LEADING TONE CHORD TONICIZATION ARPEGGIATING 64 CADENTIAL 64 NEIGHBORING OR PEDAL 64 PASSING 64 ANTICIPATION APPOGGIATURA EMBELLISHMENT ESCAPE TONE NEIGHBORING TONE LOWER NEIGHBOR UPPER NEIGHBOR NEIGHBOR GROUP ORNAMENT PASSING TONE PEDAL POINT PREPARATION RESOLUTION RETARDATION SUSPENSION SUSPENSION CHAIN SOPRANO ALTO TENOR BASS CLOSE POSITION OPEN POSITION DOUBLING FIRST INVERSION SECOND INVERSION THIRD INVERSION INVERSION; INVERSION OF CHORDS ROOT POSITION INVERSION COMMON TONE CONTRARY MOTION OBLIQUE MOTION PARALLEL MOTION SIMILAR MOTION CROSS RELATION(false relation) CROSSED VOICES(voice crossing) VOICE EXCHANGE OVERLAPPING VOICES DIRECT FIFTHS(hidden fifths) DIRECT OCTAVES(hidden octaves) PARALLEL INTERVALS PARALLEL FIFTHS PARALLEL OCTAVES TENDANCY TONE UNRESOLVED LEADING TONE UNRESOLVED SEVENTH ARPEGGIO, ARPEGGIATION CHROMATIC DIATONIC COMMON PRACTICE STYLE CONSONANCE DISSONANCE FIGURED BASS FLATTED FIFTH LEAD SHEET PICARDY THIRD RESOLUTION COMPOUND INTERVAL HALF STEP (semitone) WHOLE STEP INTERVAL INVERSION/ INVERSION OF AN INTERVAL NUMERICAL NAMES INTERVAL QUALITY TRITONE UNISON ANTIPHONAL ARTICULATION -- ARCO ARTICULATION -- PIZZICATO LEGATO MARCATO SLUR STACCATO TENUTO CALL AND RESPONSE CRESCENDO DIMINUENDO (DECRESCENDO) TERRACE DYNAMICS PIANISSIMO PIANO MEZZO FORTE FORTE FORTISSIMO MEZZO PIANO IMPROVISATION PHRASING TEMPO ADAGIO ALLEGRO ANDANTE ANDANTINO GRAVE LARGO LENTO MODERATO PRESTO VIVACE ACCELERANDO RITARDANDO RITENUTO RUBATO ANACRUSIS AGOGIC ACCENT DYNAMIC ACCENT METRICAL ACCENT ASYMMETRICAL METER AUGMENTATION DIMINUTION BAR LINE BEAT BEAT TYPE/ simple SIMPLE DUPLE TIME SIMPLE TRIPLE TIME SIMPLE QUADRUPLE TIME BEAT TYPE/ compound COMPOUND DUPLE TIME COMPOUND TRIPLE TIME COMPOUND QUADRUPLE TIME METER (duple) METER (triple) METER (quaduple) CHANGING METER/ multimeter CROSS RHYTHM POLYRHYTHM IRREGULAR METER DOT; DOUBLE DOT DOTTED RHYTHM DURATION HEMIOLA NOTE VALUE PULSE RHYTHM SWING RHYTHM SYNCOPATION TEMPO TIE TIME SIGNATURE DUPLET TRIPLET STRETTO ACCIDENTAL DIATONIC KEY SIGNATURE MAJOR NATURAL MINOR HARMONIC MINOR MELODIC MINOR MODES IONIAN MODE DORIAN MODE PHRYGIAN MODE LYDIAN MODE MIXOLYDIAN MODE AEOLIAN MODE LOCRIAN MODE PENTATONIC SCALE WHOLE-TONE SCALE CHROMATIC SCALE/ CHROMATICISM MODALITY TONALITY PARALLEL KEY RELATIVE KEY SCALE DEGREES/ Tonic SCALE DEGREES/ Supertonic SCALE DEGREES/ Mediant SCALE DEGREES/ Subdominant SCALE DEGREES/ Dominant SCALE DEGREES/ Submediant SCALE DEGREES/ Subtonic SCALE DEGREES/ Leading tone TETRACHORD TONAL TONIC LYRICS STANZA SYLLABIC MELISMATIC ALBERTI BASS CANON CANONIC IMITATION CHORDAL ACCOMPANIMENT CONTRAPUNTAL COUNTERPOINT TIMBRE OSTINATO REGISTER WALKING BASS TESSITURA COUNTERPOINT: imitative polyphony COUNTERPOINT: nonimitative polyphony COUNTERMELODY FUGAL IMITATION HETEROPHONY, HETEROPHONIC HOMOPHONY; HOMOPHONIC POLYPHONY; POLYPHONIC MONOPHONY; MONOPHONIC CHORDAL HOMOPHONY/ HOMORHYTHMIC MELODY AND ACCOMPANIMENT MELODY OBBLIGATO TUTTI SOLO; SOLI ARIA ART SONG CONCERTO FUGUE GENRE INTERLUDE OPERA PRELUDE POSTLUDE SONATA STRING QUARTET SYMPHONY AUGMENTED TRIAD DIMINISHED TRIAD MAJOR TRIAD MINOR TRIAD BRASS CONTINUO PERCUSSION RHYTHM SECTION STRINGS WOODWINDS
