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AP Music Theory term
| Term | Definition |
|---|---|
| Lower-case letters (a, b) | Indicate phrases or subsections |
| a b | Contrasting phrases |
| a b a | Return to original phrase |
| a a′ | Varied repetition (prime = variation) |
| Capital letters (A, B) | Larger sections of music |
| Cadence | Musical punctuation marking the end of a phrase |
| Coda | Ending section added to conclude a piece |
| Codetta | Short closing passage within a section |
| Contour | Shape of a melody (rising/falling) |
| Countermelody | Secondary melody played with the main melody |
| Fragment | Small part of a motive |
| Interlude | Music between main sections |
| Introduction | Opening section before main material |
| Bridge | Contrasting section |
| Chorus | Main repeated section |
| Verse | Section with changing lyrics |
| Augmentation | Lengthening note values |
| Conjunct | Stepwise motion |
| Diminution | Shortening note values |
| Disjunct | Leaps in melody |
| Embellishment | Decorative notes |
| Fragmentation | Breaking motive into pieces |
| Inversion | Flipping intervals upside down |
| Literal repetition | Exact repeat |
| Motivic transformation | Changing a motive |
| Octave displacement | Moving notes by octave |
| Retrograde | Backwards version |
| Rhythmic transformation | Changing rhythm only |
| Sequence | Pattern repeated at different pitch levels |
| Sequential repetition | Repeating sequence |
| Transposition | Moving to a new pitch level |
| Structure | |
| Motive | Short musical idea |
| Period | Two phrases (antecedent + consequent) |
| Antecedent | Question phrase (ends inconclusively) |
| Consequent | Answer phrase (ends conclusively) |
| Contrasting period | Phrases differ |
| Parallel period | Phrases similar |
| Refrain | Repeated section |
| Solo / Soli | One / small group |
| Tutti | Full ensemble |
| Variation | Altered restatement |
| HARMONY | |
| Roman Numerals | |
| Uppercase | Major chords |
| Lowercase | Minor chords |
| + | Augmented |
| ° | Diminished |
| Figured Bass / Inversions | |
| 6 | First inversion triad |
| 6/4 | Second inversion triad |
| 7 | Root position 7th chord |
| 6/5, 4/3, 4/2 | Inversions of 7th chords |
| Cadences | |
| Authentic | V–I |
| Perfect (PAC) | Strongest (root position, soprano tonic) |
| Imperfect (IAC) | Weaker |
| Deceptive | V–vi |
| Half | Ends on V |
| Phrygian half | iv6–V in minor |
| Plagal | IV–I (“Amen”) |
| Conclusive | Strong ending |
| Inconclusive | Weak/unfinished |
| Chord Quality | |
| Major (M) | |
| Minor (m) | |
| Diminished (°) | |
| Augmented (+) | |
| Seventh Chords | |
| Major 7 (M7) | |
| Dominant 7 (Mm7) | |
| Minor 7 (m7) | |
| Half-diminished (Ø7) | |
| Fully diminished (°7) | |
| FUNCTION & PROGRESSION | |
| Scale Degree Names | |
| Tonic (1) | Home |
| Supertonic (2) | |
| Mediant (3) | |
| Subdominant (4) | |
| Dominant (5) | |
| Submediant (6) | |
| Leading tone (7) | |
| Subtonic (♭7) | |
| Functions | |
| Tonic function | Stability |
| Dominant function | Tension |
| Predominant | Leads to dominant |
| Other Terms | |
| Circle of fifths | Key relationships |
| Deceptive progression | V–vi |
| Harmonic rhythm | Rate of chord change |
| Neighboring chord | Decorative chord |
| Retrogression | Backward progression |
| Secondary dominant | V of another chord |
| Sequence | Repeated progression |
| Tonicization | Temporary key shift |
| NONHARMONIC TONES | |
| Anticipation | Early arrival of chord tone |
| Appoggiatura | Leaped dissonance resolving by step |
| Escape tone | Step away, leap opposite |
| Neighbor tone | Step away and back |
| Passing tone | Step between chord tones |
| Pedal point | Sustained bass note |
| Suspension | Held note resolving down |
| Retardation | Resolves upward |
| VOICE LEADING | |
| Common tone | Same pitch in chords |
| Contrary motion | Opposite directions |
| Parallel motion | Same direction, same interval |
| Oblique motion | One voice static |
| Similar motion | Same direction, different intervals |
| Voice crossing | Voices overlap |
| Parallel fifths/octaves | Forbidden parallels |
| Tendency tone | Needs resolution |
| Unresolved leading tone | Does not resolve to tonic |
| INTERVALS | |
| Interval | Distance between pitches |
| Half step | Smallest interval |
| Whole step | Two half steps |
| Compound interval | Larger than octave |
| Enharmonic | Same pitch, different spelling |
| Quality | Major, minor, perfect, etc. |
| Tritone | Augmented 4th/diminished 5th |
| PERFORMANCE TERMS | |
| Articulation | |
| Legato | Smooth |
| Staccato | Short |
| Marcato | Accented |
| Tenuto | Held |
| Dynamics | |
| pp / p / mp / mf / f / ff | Soft → loud |
| Crescendo | Get louder |
| Diminuendo | Get softer |
| Sforzando (sfz) | Sudden accent |
| Tempo | |
| Adagio | Slow |
| Allegro | Fast |
| Andante | Walking pace |
| Presto | Very fast |
| Ritardando | Slow down |
| Accelerando | Speed up |
| Rubato | Flexible tempo |
| RHYTHM / METER | |
| Beat | Basic pulse |
| Meter | Organization of beats |
| Duple / Triple / Quadruple | |
| Syncopation | Offbeat emphasis |
| Hemiola | 3 vs 2 feel |
| Polyrhythm | Multiple rhythms |
| Anacrusis | Pickup note |
| Triplet | 3 in place of 2 |
| SCALES / KEYS / MODES | |
| Major / Minor | Scale types |
| Harmonic minor | Raised 7 |
| Melodic minor | Raised 6 & 7 ascending |
| Natural minor | Basic minor |
| Mode | Scale type (Dorian, Phrygian, etc.) |
| Relative key | Same notes |
| Parallel key | Same tonic |
| Pentatonic | 5-note scale |
| Whole-tone | All whole steps |
| TEXTURE | |
| Monophony | One melody |
| Homophony | Melody + accompaniment |
| Polyphony | Multiple melodies |
| Heterophony | Same melody varied |
| Counterpoint | Independent lines |
| Canon | Strict imitation |
| Ostinato | Repeating pattern |
| Alberti bass | Broken chord pattern |
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