1. AP Music Theory Vocabulary Jeopardy style

2. Musical texture- all performers on same notes and rhythms without harmony monophonic (monophony) --unison/doubled at octave--

3. Musical texture- melody plus accompaniment can be chordal homophonic (homophony) Arpeggiation, Alberti Bass

4. Musical texture- chordal all voices move at the same time homorhythmic

5. Musical texture- all performers on same melody but add individual embellishments heterophonic (heterophony) --often Non-Western--

6. Musical texture- more that one independent line occurring at the same time polyphonic (polyphony) --imitative and non-imitative— fugue, canon can be contrapuntal

7. Meter- note value that gets 1 pulse in the music macrobeat

8. Meter- note value for the first level of subdivision microbeat (i.e. eighth note in 2/4 time)

9. Meter- macrobeat is divided into 2 equal parts simple 2/4, 2/2

10. Meter- macrobeat is divided into 3 equal parts compound 6/8, 3/16

11. Meter- regular grouping of macrobeats in two’s duple 2/4, 2/2 = simple duple 4/4 can be called quadruple 6/8= compound duple

12. Meter- macrobeats grouped in three’s triple 3/4 = simple triple 9/8 = compound triple

13. Meter- combinations of simple and compound macrobeats within the measure asymmetrical or irregular 5/4 (2+3 or 3+2), 7/8

14. Rhythm- placement of an accent where one would not normally occur syncopation

15. Rhythm- an accent of length, rather than volume agogic accent perceived accent because this longer note is surrounded by faster notes or is deliberately lengthened by performer. (Viennese Waltz, Mazurka)

16. Rhythm- an accent resulting from pattern of notes in the rhythm metrical accent (like in syncopation) also the ‘downbeat accent’

17. Rhythm- ‘pick up’ notes incomplete measure as the start of a phrase anacrusis

18. Rhythm- doubling the note values augmentation

19. Rhythm- halving the note values diminution

20. Rhythm- two groups of three beats are replaced by three groups of two beats. hemiola

21. Rhythm- in compound meter, group of 2 notes in the space of 3 duplet

22. Rhythm- in simple meter, group of 3 notes in the space of 2 triplet

23. Rhythm- in compound meter, group of 4 notes in the space of 3 quadruplet

24. Rhythm- in simple meter, group of 6 notes in the space of 2 sextuplet

25. Rhythm- metric note groupings within the measure that are different from typical metric pattern cross rhythm (as in hemiola) 9/8 = 2+2+2+3 rather than 3+3+3

26. Rhythm- Simultaneous contrasting metric patterns polyrhythm

27. Rhythm- rhythmic feel when eighth note pairs feel like the outer notes of a triplet group swing rhythm

28. Expression- an accent of length, rather than volume agogic accent perceived accent because this longer note is surrounded by faster notes or is deliberately lengthened by performer. (Viennese Waltz, Mazurka)

29. Expression- an accent of volume, emphasis is created because one note is louder than the others dynamic accent

30. Expression- an accent resulting from pattern of notes in the rhythm metrical accent (like in syncopation) also the ‘downbeat’ accent

31. Harmony- point at which a phrase comes to rest cadence

32. Harmony- V – I or V-i authentic cadence

33. Harmony-phrase ending V-I or V-i both chords in root position, soprano ends on tonic perfect authentic cadence (PAC)

34. Harmony- - phrase ending V-I or V-i both chords in root position, soprano ends on 3 rd or 5th imperfect authentic cadence (IAC)

35. Harmony-phrase ending on V half cadence (semi cadence)

36. Harmony-phrase ending IV – I or iv-i plagal cadence

37. Harmony-phrase ending V-vi, V-ii (when V-vi, vi is in root position) deceptive cadence

38. Harmony-phrase ending iv6 – V (in minor key only) [slow mvt. of Baroque concerti] phrygian half cadence

39. Harmony-triad M3 & P5 above root (M3 plus m3) Major

40. Harmony-triad m3 & P5 above root (m3 plus M3) minor

41. Harmony-triad m3 & d5 above root (m3 plus m3) diminished

42. Harmony-triad M3 & A5 above root (M3 plus M3) Augmented

43. Harmony- Major triad plus minor 7 th Dominant 7th

44. Harmony- Major Triad plus Major 7th Major 7th

45. Harmony- minor triad plus minor 7th minor 7th

46. Harmony- diminished triad plus minor 7th ½ dim 7 th Ø m7 ♭ 5

47. Harmony- 4 notes, all minor thirds fully diminished 7th

48. Harmony 6 4 cadential 6---5 4---3

49. Harmony 6 4 unaccented placement middle of passing tones in bass passing 6 4

50. Harmony 6 4 bass note stays same upper notes of harmony (root & 3 rd ) move by step & return pedal 6 4

51. Harmony-Progression up 2, down 3, up 4, down 5, up 6, down 7 except V or vii never goes to iii/III

52. Harmony- Circle Progression roots move up 4 or down 5

53. Harmony- Retrogression (regression) roots move opposite rules of progression (i.e. ii-I)

54. Harmony- Raised 3 rd on tonic chord at end of passage in minor key Picardy third

55. Harmony- Full transcription of harmonies indicated by Figured Bass includes Roman numeral analysis realization

56. Harmony- the prolongation or delay of a cadence by the addition of material beyond (i.e. before or after) the point at which the cadence is expected cadential extension (pre-cadential/post- cadential)

57. Harmony- chord that sounds most stable (like ‘home’) tonic function

58. Harmony- chord(s) that sound like they are travelling or leading to dominant (vi, ii, iii) predominant function

59. Harmony- chord that leads to tonic (V, vii°) dominant function

60. -Harmonic Error- contradicting accidentals on same or adjacent beats false relation cross relation

61. -Harmonic Features- treatment of a new pitch so that it indicates a change of key tonicization

62. Harmony- pace at which harmonies change harmonic rhythm

63. Non-Harmonic Tone (NCT) accented or unaccented connect notes to create stepwise melodic motion passing tone

64. Non-Harmonic Tone (NCT) accented or unaccented move by step away from chord tone & back to same note by step neighbor tone (upper or lower)

65. Non-Harmonic Tone (NCT) belongs to the next chord (usually in soprano) anticipation

66. Non-Harmonic Tone (NCT) accented approach by skip, resolve by step (usually in soprano) appogiatura

67. Non-Harmonic Tone (NCT) unaccented approach by step, depart by skip escape

68. Non-Harmonic Tone (NCT) usually unaccented notes above & below chord tone (upper & lower neighbor – by step) double neighbor cambiata changing tones

69. Non-Harmonic Tone (NCT) tone that remains the same even though upper harmonies are changing (as if you exclude bass from harmony) pedal tone (pedal point) [if in another voice, inverted pedal tone]

70. Non-Harmonic Tone (NCT) accented held over from previous chord, resolves up by step retardation

71. Non-Harmonic Tone (NCT) accented held over from previous chord resolves down by step suspension

72. -Musical Styles- category that identifies pieces of music as belonging to a shared tradition or set of conventions genre

73. -Musical Styles- elaborate accompanied song for solo voice from a cantata, opera, or oratorio aria

74. -Musical Styles- vocal music composition, usually written for one voice with piano or orchestral accompaniment art song

75. -Musical Styles- composition featuring one or more solo instruments with orchestra, typically in three movements concerto

76. -Musical Styles- extended composition in three or more movements for orchestra symphony

77. -Musical Styles- instrumental composition (especially of the 17th or 18th century) consisting of a succession of sections (dances) in the same or related keys suite

78. -Musical Styles- composition featuring one or more solo instruments with accompaniment (keyboard or continuo), typically in three movements sonata

79. -Musical Styles- composition for an orchestra and one or more solo instruments, typically in three movements (ripieno=tutti, concertino=soli) concerto grosso

80. -Musical Styles- ‘rhythm section’ of the baroque bass line instrument like cello plus a chordal instrument like harpsichord, lute or guitar to realize the figured bass (basso) continuo thoroughbass

81. -Musical Styles- imitative polyphony in which a theme or themes (subjects) are stated successively in all of the voices fugue

82. -Musical Styles- large scale theatrical musical work featuring singing and instrumental music to relate a story opera

83. -Musical Styles- large scale musical work featuring singing and instrumental music to relate a biblical story oratorio

84. -Musical Styles- large scale musical work featuring solo and ensemble singing and instrumental music based on a sacred text cantata

85. -Musical Styles- style of singing in operas, oratorios, and cantatas in which the text is declaimed in the rhythm of natural speech with slight melodic variation and little orchestral accompaniment. recitative

86. -Musical Styles- A piece or movement that serves as an introduction, precedes a fugue, opens a suite, or precedes a church service; also a short piece for solo instrument in this style. prelude

87. -Musical Styles- a final or concluding piece or movement postlude

88. -Musical Styles- a sonata-like multi-movement composition for 2 violins, 1 viola, 1 cello string quartet

89. -Form- 2 contrasting sections binary

90. -Form- 2 contrasting sections, first section repeats ternary

91. -Form- 2 contrasting sections, second section ends with material from first section rounded binary

92. -Form- 3 contrasting sections First section repeats after each contrasting section rondo

93. -Form- Main melody repeats with different lyrics strophic (hymn style)

94. -Form- Main melody repeats with changes including rhythm, meter, mode, harmonization, embellishment Theme & Variations

95. -Form- Main melody repeats with changes including rhythm, meter, mode, harmonization, embellishment Theme & Variations

96. -Form- Opening section prior to first main theme introduction

97. -Form- ending section Coda (tail)

98. -Form- AABA Jazz song form

99. -Form- transitional section about 2/3 through song, usually in the IV key bridge

100. -Form- transitional section of a composition interlude

101. -Form- section of song with same lyrics each time (often contains the ‘hook’) chorus (refrain)

102. -Form- section of sing with different lyrics for each repetition verse (stanza)

103. -Form- I I I I IV IV I I V IV I 12 bar blues

104. -Form- repetition of main song (usually aaba) featuring whole ensemble, different combos and solos on each repetition. chorus format

105. -Form- section ending that leads back to beginning of main melody (often V - - - with I at start of section) turnaround

106. -Form- musical work lacking any repetition of thematic material through composed

107. -Melodic Features- doubling note durations (or lengthening proportionally) augmentation

108. -Melodic Features- halving or shortening note durations proportionally diminution

109. -Melodic Features- stepwise melodic motion conjunct

110. -Melodic Features- melodic motion by skips and leaps disjunct

111. -Melodic Features- when the last note of one phrase serves as first note of next phrase (phrase) elision

112. -Melodic Features- reversal of melodic direction melodic inversion

113. -Melodic Features- in backwards order retrograde

114. -Melodic Features- development of melodic ideas motivic transformation

115. -Melodic Features- melodic or rhythmic figure that recurs motive

116. -Melodic Features- repetition of a melodic figure at successive pitch levels sequence

117. -Melodic Features- precise repetition of a melodic figure at successive pitch levels (preserves all intervals & qualities) real sequence

118. -Melodic Features- repetition of a melodic figure at successive pitch levels using only the tones of the prevailing scale tonal sequence

119. -Melodic Features- repetition of a melodic figure at successive pitch levels with embellishments but retaining original character modified sequence

120. -Melodic Features- repetition of a parts of a melodic figure and exact repetition of other parts of the melody false sequence

121. -Melodic Features- musical unit formed by 2 (or more) adjacent phrases period

122. -Melodic Features- musical unit formed by 2 (or more) adjacent phrases that begin in the same manner parallel period

123. -Melodic Features- musical unit formed by 2 (or more) adjacent phrases that have different melodic content contrasting period

124. -Melodic Features- musical unit formed by 4 (or more) adjacent phrases using repetition and contrasting melodic ideas (commonly aaba, abab, etc.) double period

125. -Melodic Features- melodic elongation, often through repetition & sequences can be at beginning, middle or cadence phrase extension

126. -Melodic Features- climax of phrase, (usually 2/3 through) focal point

127. -Melodic Features- first phrase of a musical period, with a complementary phrase following antecedent

128. -Melodic Features- second phrase of a musical period that completes or answers the first phrase consequent

129. -Melodic Features- deletion of end of phrase (opening motive is kept) truncation

130. -Melodic Features- additional independent melody designed to fit with the principal melody countermelody

131. -Melodic Features- additional melody, usually for a soloist including embellishment (not to be left out – can also indicate an accompaniment) obbligato