Agogic: is an emphasis by virtue of being longer in duration

Antecedent phrase: is the firat phrase within a period.

Applied dominant: also known as a secondary dominant. Is a v7 chord that tonicizes a scale
degree other than the tonic.

Articulation: is the direction or performance technique which affects the transition or continuity
on a single note or between multiple notes or sounds

Augmented sixth chord: contains the interval of an augmented sixth, usually above its bass tone.

Conventionally used with a predominant function (resolving to the dominant), the three more
common types of augmented sixth chords are usually called Italian sixth, French sixth, and
German sixth.

Authentic cadence: V7-I in root position

b-Moll: minor; used in key signatures as, for example, a-Moll (A minor), b-Moll (B♭ minor), or
h-Moll (B minor) (see also Dur (major))

Borrowed chord: is a chord borrowed from the parallel key

Broken chord style: arpeggiation or presentation of a chord grdually

Canon at the fifth: repetition of the same intervallic relations a fifth above the original or prime
motive..

1. Cantus firmus: an existing melody used as the basis for a polyphonic composition.

Chaconne : much used as a vehicle for variation on a repeated short harmonic progression, often
involving a fairly short repetitive bass-line (ground bass) which offered a compositional outline
for variation, decoration, figuration and melodic invention.

Closely related keys: a closely related key is one sharing many common tones with an original
key,

Coda: is an added passage that brings a piece (or a movement) to an end. Sometimes appears as
an extension of the final cadence

Codetta: has a similar purpose to the coda, but on a smaller scale, concluding a section of a work
instead of the work as a whole
Combinatoriality: s a quality shared by twelve-tone tone rows whereby each section of a row and
a proportionate number of its transformations combine to form aggregates (all twelve tones)

Common (or pivot) chord modulation: It moves from the original key to the destination key
(usually a closely related key) by way of a chord both keys share.

Common key relationships: relative, parallel, enharmonic, closely related, distant

Composite (compound) ternary: is a ternary piece in which at least one of its part can be
subdivided into two or more parts:

Compound melody: implication of more than one melody or line by a single voice through
skipping back and forth between the notes of the two melodies.

Consequent phrase: Second phrase of a period

Contrasting Period: A period consisting of two phrases not similar to one

Con sordino: with mute

Couplet: two equal notes inserted in the midst of triple rhythm to occupy the time of three; a
temporary displacement of triple by duple rhythm.

Da capo aria: Aria with three sections in which the third section is a more elaborated versión of
the first.

Deceptive Cadenc: V-vi

Development: In this section, the music modulates to foreign keys, new themes appear, and the
melody often sounds much like an improvisation. It is exciting and vivid, taking the listener on a
whirlwind aural journey that is loosely based on the themes established in the exposition. When
these themes appear, they are usually fragmented, turned inside out and upside down, and can be
difficult to recognize. Secodn section of sonata form.

Dissonance: the opposite of consonance, used to build tension before a resolution

Dominant-Tonic relationship: V-I

Enharmonic: same note with a different spelling c#-db

Episode: Section of a fugue that does not employ the subject. Each episode has the primary
function of transitioning for the next entry of the subject in a new key,[14] and may also provide
release from the strictness of form employed in the exposition
Exposition (sonata form) Section of the Sonata in which the primary thematic material is
introduced. First section of the sonata in the absence of an introduction.

 First subject group, P (Prime) – this consists of one or more themes, all of them in the
tonic key. Although some pieces are written differently, most follow this form.

 Transition, T – in this section the composer modulates from the key of the first subject to
the key of the second. If the first group is in a major key, the second group will usually be
in the dominant key. However, if the first group is in minor key, the second group will
usually be the relative major.

 Second subject group, S – one or more themes in a different key from the first group. The
material of the second group is often different in rhythm or mood from that of the first
group (frequently, it is more lyrical).
 Codetta, K – the purpose of this is to bring the exposition section to a close with a perfect
cadence in the same key as the second group. It is not always used, and some works end
the exposition on the second subject group.

Figured bass : Compositional technique in which the harmonies were filled in over a written-out
bass. musical notation in which numerals and symbols (often accidentals) indicate intervals,
chords, and non-chord tones. Figured bass is closely associated with basso continuo, a
historically improvised accompaniment used in almost all genres of music in the Baroque period
of Classical music (c.1600–1750), though rarely in modern music.

First-species counterpoint: In first species counterpoint, each note in every added part (parts
being also referred to as lines or voices) sounds against one note in the cantus firmus. Notes in all
parts are sounded simultaneously, and move against each other simultaneously. Since all notes in
First species counterpoint are whole notes, rhythmic independence is not available

Golden mean ; 1.618. Proportional approach for composition

Ground bass: a short theme, usually in the bass, that is constantly repeated as the other parts of the
music vary.

Half cadence: I-V

Harmonic series: sequence of sounds in which the frequency[2] of each sound is an integer
multiple of the fundamental, the lowest frequency.

Harmonic rhythm: the rate at which the chords change (or progress) in a musical composition, in
relation to the rate of notes
Interval vector : In musical set theory, an interval vector is an array of natural numbers which
summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves
are disregarded (m2,M2,m3,M3, p4,tt)

Inversion (harmonic): Chord in which the root of the chord is not in the bass or lowest voice
(6/3/ 6/4 4/2)

Inversion (melodic): the inversion of a given melody is the melody turned upside-down. For
instance, if the original melody has a rising major third, the inverted melody has a falling major
third

Isorhythm: Isorhythm is a compositional technique developed during the fourteenth and fifteenth
centuries. It involves repetitive use of rhythmic patterns. Rhythmic pattern is called talea and the
melodic is called color

Klangfarben melodie: (German for sound-color melody) is a musical technique that involves
splitting a musical line or melody between several instruments, rather than assigning it to just
one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic
line.

Klarinette in Es : eb clarinet

Lydian mode: Lydian mode is often described (or learned) as the scale that begins on the fourth
scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree
raised half a step.

Mediant relationship:chords or key that are a third apart.

Mensural notation: is the musical notation system used for European vocal polyphonic music
from the later part of the 13th century until about 1600. The term "mensural" refers to the ability
of this system to describe precisely measured rhythmic durations in terms of numerical
proportions between note values.

Meter: a recurring pattern of stresses or accents that provide the pulse or beat of music. Meter is
notated at the beginning of a composition with a time signature.

Minuet and trio: Third movement in the classical symphony. Ternary form in which the trio is
the b section (usually in the dominant key) and the minuet is repeated da capo

Mode mixture: Employing chords from the parallel key

Neapolitan chord: BII

Neighboring:
P x I Matrix: utilized in 12 tone technique to indentify the prime form, inversions, retrogrades
and retrograde inversions

Parallel key: key that is in the other tonal mode. Major/minor

Parallel period: Period in which the antecedent and consequent phrase have the same lenght

Passacaglia: is a musical form that originated in early seventeenth-century Spain and is still used
today by composers. It is usually of a serious character and is often, but not always, based on a
bass-ostinato and written in triple metre.

Passing: tone in between two structural tones

Period : consists of two phrases, antecedent and consequent, each of which begins with the same
basic motif." [3] Earlier usage varied somewhat, but usually referred to a similar notions of
symmetry, recurrence, and closure.

Phrase model: Tonic, subdominant, dominant, tonic

Pitch-class set: a pitch-class set is a numerical representation consisting of distinct integers (i.e.,
without duplicates) (Forte 1973, 3). The elements of a set may be manifested in music as
simultaneous chords, successive tones (as in a melody), or both

Plagal cadence: A chord progression where the subdominant chord is followed by the tonic chord
(IV-I).

Proportional notation: use of note values in the proportion of 2.1 or 3.1

Quartal: In music, quartal harmony is the building of harmonic structures with a distinct
preference for the intervals of the perfect fourth, the augmented fourth and the diminished fourth.

Real answer: re-introduction of the subject in a few in which none of the intervals are alterated.

Recapitulation: The recapitulation occurs after the movement's development section, and
typically presents once more the musical themes from the movement's exposition. This material
is most often recapitulated in the tonic key of the movement, in such a way that it reaffirms that
key as the movement's home key.

Refrain: Transitional repeated material that is added between verses of a song form

Relative key: Key in major/minor mode that shares the same key signature

Retransition: The last part of the development section is called the Retransition: It prepares for
the return of the first subject group in the tonic, most often through a grand prolongation of the
dominant seventh. In addition, the character of the music would signal such a return.
Ripieno: the body of instruments accompanying the concertino in baroque concerto music.

Ritornello: is a recurring passage in Baroque music for orchestra or chorus.

Scherzo: is a piece, sometimes a movement from a larger work such as a symphony or a sonata,
usually written in 3
4 time. The precise definition has varied over the years, but scherzo often refers to a movement
that replaces the minuet as the third movement in a four-movement work, such as a symphony,
sonata, or string quartet.[1] The term can also refer to a fast-moving humorous composition that
may or may not be part of a larger work.[2]

Secondary Dominant: Same as applied dominant, used to tonicize another scale degree that is not
the tonic

Sequence: a motivic pattern of two or more harmonies in succession that is restated in

Serialism: serialism is a method or technique of composition that uses a series of values to

Species counterpoint: developed as a pedagogical tool in which students progress through several
"species" of increasing complexity, with a very simple part that remains constant known as the
cantus firmus (Latin for "fixed melody"). Species counterpoint generally offers less freedom to
the composer than other types of counterpoint and therefore is called a "strict" counterpoint.

Spectral music spectral music is an acoustic musical practice where compositional decisions are
often informed by sonographic representations and mathematical analysis of sound spectra, or by
mathematically generated spectra

Strophic: also called verse-repeating or chorus form, is the term applied to songs in which all
verses or stanzas of the text are sung to the same music

Suite: is an ordered set of instrumental or orchestral pieces. It originated in the late 14th century
as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a
prelude, by the early 17th century. The separate movements were often thematically and tonally
linked.[1] The term can also be used to refer to similar forms in other musical traditions

Sul ponticello: Over the bridge. Technique used in string instruments to bring out the higher
harmoncis and achieve a brighter/ thiner sound
Suspension: a means of creating tension by prolonging a consonant note while the underlying
harmony changes, normally on a strong beat. The resulting dissonance persists until the
suspended note resolves by stepwise motion into a new consonant harmony.

Symmetrical scale: scale which equally divides the octave. Chormatic and octatonic scales

Tempo modulation: is a change in pulse rate (tempo) and/or pulse grouping (subdivision) which
is derived from a note value or grouping heard before the change. Examples of metric
modulation may include changes in time signature across an unchanging tempo, but the concept
applies more specifically to shifts from one time signature/tempo (metre) to anothe

Ternary form: is a three-part musical form where the first section (A) is repeated after the second
section (B) ends. It is usually schematized as A–B–A. Simple and compound

Tertian: describes any piece, chord, counterpoint etc. constructed from the intervals of (major
and minor) thirds

Tessitura: is the most esthetically acceptable and comfortable vocal range for a given singer or,
less frequently, musical instrument; the range in which a given type of voice presents its best-
sounding (or characteristic) timbre.

Tetrachord: is a series of four notes separated by three smaller intervals. In traditional music
theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion—
but in modern use it means any four-note segment of a scale or tone row, not necessarily related
to a particular tuning system.

Texture: is how the tempo, melodic, and harmonic materials are combined in a composition, thus
determining the overall quality of the sound in a piece. Texture is often described in regard to the
density, or thickness, and range, or width, between lowest and highest pitches, in relative terms
as well as more specifically distinguished according to the number of voices, or parts, and the
relationship between these voices.

Theme Group (Subject Group): Several themes in the same key that function as a unit within a
section of a form, particularly in sonata-allegro form.

Through-composed: not based on repeated sections or verses, especially having different music
for each verse.

Tonal answer: In fugue composition, a reiteration of the subject that has been altered to maintain
its directional qualities or to convey proper resolution.

Tone cluster: is a musical chord comprising at least three adjacent tones in a scale

Tone poem : is a piece of orchestral music, usually in a single continuous movement, which
illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-
musical) source.
Transition: in this section the composer modulates from the key of the first subject to the key of
the second. If the first group is in a major key, the second group will usually be in the dominant
key. However, if the first group is in minor key, the second group will usually be the relative
major.

Tromba in Re . D trumpet

Urlinie: The fundamental line (German: Urlinie) is the melodic aspect of the Fundamental
structure (ursatz)

Ursatz: the fundamental structure (German: Ursatz) describes the structure of a tonal work as it
occurs at the most remote (or "background") level and in the most abstract form.

Variations - constant harmony

Variations - melody outline