AP Music Theory vocabulary list – Flashcards

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Cadence
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Ending of a musical phrase
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Cadential extention
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Extension of a cadence using the same chords
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Coda
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Closing musical material, not included in the main idea.
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Codetta
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A small coda
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Contour
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Shape of a melody
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Countermelody
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Melody that is equally important to the main melody; usually provides consonace
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Elision
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One phrase connecting to the other
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Fragment
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Part of a motive
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Introduction
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A preparatory movement, usually in a slow tempo to introduce a larger composition. The term is chiefly applied to Classical and Romantic music, but is not exclusively applicable to those eras.
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Bridge
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Connects the B and A section
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Chorus
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A group of people singing a song, usually with multiple parts, together. The main tune.
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Song Form (AABA, ABA, ABA', etc.)
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The form a song is in.
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Turnaround
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Gets you back to the beginning
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Twelve-bar blues
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I,I,I,I,IV,IV,I,I,V,V,IV,IV,I
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Augmentation
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When the notes in a melody are increased, generally by half, in value. Antonym: Diminution
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Conjunct
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Stepwise melodic motion
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Diminution
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When a melody played in such a way that the time value of every note is shortened, generally halved, in value. Its antonym is ' augmentation'
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Disjunct
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Melodic motion in intervals larger than a 2nd
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Extended version
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wat
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Fragmentation
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When part of the song is broken into parts
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Internal expansion
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Expands beyond expect phrase length
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Inversion, Melodic inversion
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When you take one of the upper notes of a chord or interval and take the notes bellow it and put them on top.
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Literal Repetition
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When sequences are repeated exactly.
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Motivic repetition
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When the rhythmic theme is changed
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Octave displacement
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Taking a melodic line and moving the notes to a different octave
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Retrograde
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Backwards modulation
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Rhythmic transformation
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rhythm changes
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Sequence
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pitch and rhythmic pattern, repeated and different pitch levels
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Sequential repetition
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A sequence that repeats
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Shortened version
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When a song is shortened
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Transposition
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Change of key in the entire work
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Truncation
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To shorten, fragment
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Motive
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Smallest musical idea
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Antecedent
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The "Call" in a call and response
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Consequent
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The "Response" in a call and response
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Contrasting period
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When two phrases begin different
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Double period
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2 periods put together
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Parallel period
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When two phrases begin the same
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Repeated period
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Exact repetition
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Phrase group
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Group of phrases that seem to belong together without forming a period
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Refrain
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Similar to a Chorus; the main tune
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Binary small form
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Movement with two main sections (AB)
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Rounded binary small form
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A B1/2 A
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Ternary
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Statement, contrast, return (ABA)
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Solo, Soli
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Group of soloists
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Stanza
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Different verses
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Strophic
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Music repeats, lyrics change
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Theme
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Main idea of the song, what it's about
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Thematic transformation
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When the theme changes in the song
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Throuhg-composed
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No form
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Tutti
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All, everyone
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Variation
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Material is altered during repetition
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Capital roman numerals
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Indicate major triads
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Lowercase roman numerals
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Indicate minor triads
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Capital roman numeral with *
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Augmented triad
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Lowercase roman numeral with °
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Diminished triad
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Arabic numerals or figured bass numerals do what?
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Denote intervals above the bass and hence indirectly indicate chord inversion. Arabic numerals may indicate voice leading and/or nonharmonic tones.
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Figured Bass 6
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Inidicates first inversion triad (third on bottom)
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figured bass 6/4
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indicates second inversion triad (5th on bottom)
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Figured bass 7
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Indicated root position seventh chord (root on bottom)
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figured bass °7
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Fully diminished seventh chord (diminished triad with minor third on top)
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figured bass ø7
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Half diminished seventh chord (diminished triad with major third on top)
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figured bass 6/5
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first inversion seventh chord (3rd on the bottom)
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figured bass 4/3
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second inversion seventh chord (5th on the bottom)
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figured bass 4/2
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third inversion seventh chord (7th on the bottom)
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figured bass 8-7
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suspension where the 8 moves to the seven
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9-8. 7-6, 4-3 figured bass
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All indicate suspension and a melodic resolution
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accidental before Arabic numeral
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alteration of an interval
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a slash through one of the arabic numerals or a plus after the arabic numeral
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indicates that the note creating the interval in question is raised a half step
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imperfect authentic cadence
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must end on I chord
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perfect authentic cadence
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V to I; in root position; melody ends on tonic
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conclusive cadence
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cadence ends on tonic triad
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deceptive cadence
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V to vi
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half cadence
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ends on V
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Phrygian half cadence
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iv6 to V/V7
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inconclusive cadence
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ends in something other than the tonic chord
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Plagal
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IV to I
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Augmented triad (*)
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two major thirds make up the triad
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diminished triad (°)
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Two minor triads make up the triad
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Major triad (M)
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a major then a minor third makes up the triad
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Minor triad (m)
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a minor then a major third makes up the triad
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Major seventh chord (
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Major triad with major third on top
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dominant seventh chord
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a major triad with a minor third on top
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minor seventh chord
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minor triad with minor third on top
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Half diminished seventh chord
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diminished triad with major third on top
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fully diminished seventh chord
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diminished triad with minor third on top
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Tonic
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first scale degree
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supertonic
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second scale degree
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mediant
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third scale degree
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subdominant
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fourth scale degree
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dominant
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fifth scale degree
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submediant
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sixth scale degree
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subtonic
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whole step bellow the tonic
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leading tone
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half step below tonic
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tonic function
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ha
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dominant function
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leads to tonic, sets up half cadence
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predominant function
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sets up dominant tonic tonailities
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Circle of fifths
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keys or tonalities ordered by ascending (for sharp keys) or descending (for flat keys) intervals of a fifth
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deceptive progression
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The root of a secondary dominant can move up stepwise in its own deceptive progression
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Harmonic rhythm
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The rate of chord change, or the series of durational patterns formed by the chord changes in a musical work.
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modulation
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change of tone within a piece
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common tone modulation
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using one or more tones that are common to both keys as an intersection b/w them
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Phrase modulation
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modulations without common chords or tones
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Pivot chord modulation
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using one or more chords that are common to both keys as an intersection b/w them
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Neighboring chord
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lol
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Retrogression
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series of chords that weaken tonality
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secondary dominant
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the V or Dominant of a key other than Tonic
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secondary leading tone chord
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A leading-tone chord that functions as an applied, or secondary, dominant; usually a fully diminished seventh chord.
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tonicization
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a chord other than tonic that seems to the ear to be a temporary tonic
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Arpeggiating 6/4 chord
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a 6/4 created by arpeggiation of the triad in the bass
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cadential 6/4 chord
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a 1 6/4 preceding the dominant, often at a cadence, although it contains the notes of the tonic triad, it doesn't 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.
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Neighboring of pedal 6/4 chord
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(embellishing 6/4, auxilary 6/4) occurs when the third and the 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.
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passing 6/4 chord
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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.
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anticipation
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approached by step or leap, same tone as following note
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appoggiatura
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approached by leap, resolved by step
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escape tone
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approached by step, resolved by leap
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embellishment
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melodic decoration
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neighboring tone can be known as...
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(auxiliary tone, embellishing tone, neighbor note)
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double neighboring tone
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involves one note on top of the other
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lower neighbor
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approached by step down, resolved by step to the original note
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upper neighbor
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approached by step up, resolved by step down to the original note
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neighbor group (cambiata, changing tones, changing notes)
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oh
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ornament
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nonharmonic tones
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passing tone
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approach my step, resolve by step, moving in the same direction
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pedal point
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suspension of same note throughout
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preparation
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tone preceding suspension
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resolution
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When the dissonant note is changed to a consonant one.
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retardation
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opposite of a suspension; resolves up instead of down
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suspension
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a tone held from one chord into another, and then resolved down to the chordal note
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closed position
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notes placed as close as possible on the staff
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doubling
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to duplicate a note into another octave
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open position
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wide intervals between parts
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root
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the note a chord is built on
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root position
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root is in the bass
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common tone
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a tone that is common in two chords
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contrary motion
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when two parts move in opposite directions
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cross relation
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when a note sounds with its altered equivalent
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crossed voices
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when an upper voice goes bellow a note used previously in a lower voice, and vice versa
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direct fifths/direct octaves
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when the outside voices move in the same direction
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oblique motion
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the relative motion of two melodic parts in which one remains in place or moves relatively little while the other moves more actively.
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overlapping voices
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when an upper voice is lower than a voice lower than it, and vice versa
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parallel motion
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when two voice parts move in the same direction
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objectionable parallels
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no
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parallel fifths
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when two parts move in the same direction, staying in fifths
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parallel octaves
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when two parts move in the same direction, staying in octaves
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similar motion
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In part-writing, similar motion is the situation in which two voices of the composition move in the same direction, either ascending or descending, but they do not necessarily cover the same interval.
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tendency tone
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note that tends to move in one direction or another
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unresolved leading tone
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when the leading tone isn't resolved up to the tonic
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unresolved seventh
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when the seven in a chord isn't resolved down by step
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voice exchange
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the repetition of a contrapuntal passage with the voices' parts exchanged. EX: Voice 1: a b voice 2: b a
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arpeggio
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broken chord
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chormatic
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not in the key a scale that moves by half steps
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common practice style
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obeys two different kinds of musical norms: first, it uses conventionalized sequences of chords, such as I-IV-V-I. Second, it obeys specific contrapuntal norms, such as the avoidance of parallel fifths and octaves.
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consonance
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pleasing to the ear
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diatonic
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in the key
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dissonance
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not pleasing to the ear
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figured bass
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arabic numerals that tell where the notes in the chord are placed
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flatted fifth
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flatted fifth note
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lead sheet
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sheet containing words and melody for a song written in simple form
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picardy third
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major third in tonic chord of minor key
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resolution
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do i really need to define this
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compound interval
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distance between two notes that exceeds an octave
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half step
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when you move from one note directly to the next
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interval
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distance between two notes
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inversion of an interval
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to turn an interval upside down
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perfect interval
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unison, fourth, fifth
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major interval
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second, third, sixth, seventh
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minor interval
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second, third, sixth, seventh. Lowers them by one half step.
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diminished interval
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second, third, sixth, and seventh are lowered another half step from minor. unison, fourth, fifth are lowered from their perfect form
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augmented interval
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when any interval is raised from its original form
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Tritone
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augmented fourth, or diminished fifth
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unison
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one note is played/sung
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whole step
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two half steps
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antiphonal
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responsive
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articulation
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the style in which an individual note is played
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arco
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with the bow
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legato
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smoothly
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marcatto
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marked
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pizzicato
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plucking the strings
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slur
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to sing to a single syllable or play without a break (two or more tones of different pitch)
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staccato
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short, detached
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tenuto
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hold
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call and response
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what the name says?
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dynamics
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marks the volume of the song
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crescendo
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gradually louder
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diminuendo/decrescendo
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gradually softer
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terrace dynamics
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volume levels shift quickly
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pianissimo
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pp very soft
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piano
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p soft
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mezzo piano
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mp medium soft
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mezzo forte
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mf medium loud
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forte
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f loud
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fortissimo
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ff very loud
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phrasing
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a division of a composition, commonly a passage of four or eight measures, forming part of a period.
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tempo
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the speed of the piece
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adagio
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slow and stately
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allegro
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fast and bright
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andante
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walking speed
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andantino
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slightly faster than andante
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grave
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slow and solemn
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largo
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very slow
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lento
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very very slow
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moderato
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moderately
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presto
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very fast
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vivace
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lively and fast
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accelerando
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gradually speed up
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ritardando
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gradually slower
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ritenuto
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gradually decreasing tempo
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rubato
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to be played with a flexible tempo
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accent
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stress
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agogic accent
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stress given to a note through prolonged duration.
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dynamic accent
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occurs when performer emphasizes a tone by playing it more loudly than the tones around it
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metrical accent
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The pattern of strong and weak beats based on the "weight" of the downbeat and the "lift" of the upbeat.
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anacrusis
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pickup note or figure
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asymmetrical meter
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A compound meter with beat units of unequal duration. These irregular beat lengths are typically (though not always) created by five or seven beat divisions, grouped into beat lengths such as 2 + 3 or 2 + 3 + 2.
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bar line
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the line that shows where one measure stops and one begins
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beat
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the pulse in a song
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compound beat
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a beat that subdivides into three parts
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simple beat
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a beat that subdivides into two parts
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changing meter
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a common trait in 20th-century music; time signature changes frequently and unpredictably; a rejection of standard metrical patterns in favor of non-symmetrical groupings (Bartok & Concerto for Orchestra)
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cross rhythm (polyrhythm)
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Two conflicting rhythms used at the same time. Also known as polyrhythm.
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dot on the side of a note
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takes half the length of the note its beside
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dotted rhythm
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long-short rhythmic pattern in which a dotted note is followed by a note that is much shorter
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duplet
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A group of two notes played in the time usually taken to play three
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hemiola
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a shift in the rhythmic pulse from a division of 2 to a division of 3, or vice versa. i.e. 6-8 time meter into 3-4 time meter.
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irregular meter
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asymmetrical groupings with different numbers of beats per measure
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meter
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how the pulse/beat is established
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duple meter
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2 beats per measure
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quadruple meter
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four beats per measure
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triple meter
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three beats a measure
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rhythm
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the rate at which notes are played
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swing rhythm
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Rhythm where notes with equal written time values are performed with unequal durations, usually as alternating long and short.
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syncopation
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the accenting of musical beats not normally accented; notes that aren't played on the beat.
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tempo
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the rate at which music is played
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tie
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when a note in one measure is held into the next
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time signature
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the top number is the number of beats in the measure. the bottom number is the note that gets the beat.
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triplet
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three notes played in the space of one or two.
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accidental
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alters a note up or down a half step
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major scale
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In the key of C (up and down): C D E F G A B C B A G F E D C
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harmonic minor scale
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In the key of a (up and down): a b c d e f g# a g# f e d c b a
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Melodic minor scale
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in the key of a (up and down): a b c d e f# g# a g f e d c b a
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Ionian scale
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A major scale
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Dorian scale
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natural minor with a raised 6
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phrygian scale
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natural minor with a flat 2
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lydian scale
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major scale with raised 4
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mixolydian scale
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major scale with flat 7
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aeolian scale
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natural minor scale
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locrian scale
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natural minor scale with a flat 2 and 5
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modality
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the state of being modal
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parallel key
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two keys that share the same tonic but NOT the same key
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pentatonic
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scale that has five notes to an octave (think Asian music)
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relative key
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2 scales that have the same key, but not the same tonic.
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tetrachord
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Series of four notes having a pattern of whole step, whole step, half step
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tonality, tonal
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Principle of organization around a tonic, or home, pitch, based on a major or minor scale.
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whole tone scale
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moving only by whole steps
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melismatic
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notes sung to one syllable
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syllabic
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one note per syllable
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alberti bass
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1 5 3 5; broken base
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canon
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a contrapuntal piece of music in which a melody in one part is imitated exactly in other parts, starting at different points.
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chordal accompaniment
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The underlying harmonic support for a melody; chords may be blocked or broken.
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contrapuntal, counterpoint
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voices working against each other
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imitation
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a copy that is represented as the original
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imitative polyphony
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technique in which each phrase of a composition is addressed by all the voices, which enter successively in imitation of each other
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nonimitative polyphony
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two or more melodic lines playing distinct melodies
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countermelody
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Accompanying melody sounding against the principle melody
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fugal imitation
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imitation of the subject which enters at a different pitch level; almost like a sequence
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heterophony, heterophonic
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one melodic line being improvised upon
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homophony, homophonic
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melodic accompaniment
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chordal homphony
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sameness, regarding rhythm and melody
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chordal texture (homorhythmic)
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a type of homophonic texture, with pitches sounding simultaneously
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brass
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the section of a band or orchestra that plays brass instruments
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continuo
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a bass part written out in full and accompanied by numbers to indicate the chords to be played
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percussion
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the section of a band or orchestra that plays percussion instruments
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rhythm section
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the section within a jazz band, usually consisting of drums, double bass, piano, banjo, and/or guitar, that establishes the harmony and rhythm
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strings
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the section of an orchestra that plays stringed instruments
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timbre
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the distinguishing quality of a sound
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woodwinds
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wind instruments that include the piccolo, flute, oboe, english horn, clarinet, bassoon, and saxophone
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monophony, monophonic
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one tone
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obbligato
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a part of the score that must be performed without change or omission
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ostinato
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a musical phrase repeated over and over during a composition
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polyphony, polyphonic
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many voices/tones
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contrapuntal
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having two or more independent but harmonically related melodic parts sounding together
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tessitura
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most widely used range of pitches in a piece of music
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walking bass
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a bass line that moves at a moderate pace, mostly in equal note values, and often stepwise up or down the scale
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Aria
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A song from a larger work
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Art song
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a song that stands alone
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concterto
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solo instrument and orchestra
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fugue
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a musical form consisting of a theme repeated a fifth above or a fourth below its first statement
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genre
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style, category of music
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opera
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staged vocal work
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prelude
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a part of a song before the main section
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postlude
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a part of the song after the main section
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sonata
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ABA form
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string quartet
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2 violins, a viola, and a cello
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symphony
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a piece for an orchestra with many movements.
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modulation
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a change of key within a piece
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pizzicado
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plucked string (tighten or loosen pegs to change pitch)
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Changing tone
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Approach by step, jump a third, resolve by step to the original note.
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