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134 Cards in this Set
- Front
- Back
L'istesso tempo
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At the same tempo
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Sempre
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Always
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Simile
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In the same manner
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poco a poco
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little by little
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subito
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suddenly
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non troppo
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not too much
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poco
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little
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un poco
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a little
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assai
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very
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molto
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very
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meno
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less
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mezzo
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half
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piu
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more
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con
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with
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rallentando
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gradually slow down
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ritenuto
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suddenly slow down
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forzando fz
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forced...sudden accent
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sforzato (sfz, sf)
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sudden emphasis
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fzp forzando piano
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played with a sudden accent and immediately becoming piano
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arco
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bowed
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caesura/rr track
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complete break in sound
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con sordino, senza sordino
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play with/remove mute
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Cadenza
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solo section used to display the performer's technique
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tre corde/una corde
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release/press the soft pedal
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Canon
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more than one statement of theme that start at different times and end at same time (round)
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Cambiata
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Non chord tone skips in same direction as the 2 tones before and after it (appogiatura)
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Embellishment
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Nonharmonic tones...sometimes specific to upper/lower neighbors
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Contrary motion
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both notes move in opposite directions
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Parallel motion
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both notes move the same direction in same interval
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Diminution
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shortening of time values of the notes in a melodic passage
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Neighboring tone
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non chord tone a step higher or lower between two same notes
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augmentation
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lengthening of time values of the notes in a melodic passage
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inversion
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upward movement becomes a downward movement and vice versa
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appogiatura
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a rhythmically strong dissonant note a 2nd above or below the harmonic tone (skip-step)....cambiata
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a b c
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three different melodies
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homophonic
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chordal
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Conjunct motion
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stepwise movement
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retrograde
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stating the theme backwards
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inverted retrograde
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stating the theme backwards and upside-down
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tonality
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based on major/minor
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similar motion
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both notes move the same direction but different intervals
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modality
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based on church modes (not major or minor)
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disjuct motion
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movement by skips
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diatonic
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5 whole steps and two half steps in any combo
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Anticipation
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non chord tone that precedes the chord it belongs to
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Lydian mode
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major scale with raised 4th
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primary chords
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I, IV, V
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Secondary chords
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ii, iii, vi, viio
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transposition
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change to different key signature
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passing tone
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non chord tone between two chordal tones
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polyphony
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all parts contribute more or less equally (fugue)
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motivic development
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variation on a motif
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E' chappee' (Escape tone)
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non chord tone that moves away from the direction of the 2 chordal tones before and after it
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oblique motion
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one note stays the same, the other moves
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compound triple
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three groups of 3
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triple meter
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3 units to each measure--3/2, 3/4, 3/8
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Duple Meter
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2 units to each measure--2/2, 2/4, 2/8
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Quadruple Meter
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4 units per measure--4/2, 4/4, 4/8
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Hemiola
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in two measures of 3/4 time there are 3 strong beats
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metric shifts
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when the time signature changes
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syncopation
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displacement of a strong beat
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Alle Breve
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2/2
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Compound Duple
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Two groups of 3
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Simple Quadruple
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Four groups of 2's
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Compound beat
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divisible into 3 but not 2 or 4...6,9,12 on top
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Simple triple
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3 groups of 2's
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Simple Duple
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Two groups of 2's
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Simple Beat
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Divisible into 2 or 4 but not 3
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Subdominant
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IV
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Leading Tone
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1/2 step below tonic...7/vii
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Half Cadence
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I-V, IV-V
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Subtonic
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1 full step below tonic
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Consequent
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phrase that starts same as antecedent but ends in PAC
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Close position
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octave or less between soprano and tenor
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Open position
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more than an octave between soprano and tenor
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period
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antecedent and consequence
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Consonant Intervals
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Unison, 3rd, 4th, 5th, 6th, Octave
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Dissonant Intervals
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2nd, 7th, tritones, Aug/Dim
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Super tonic
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Scale pitch 2
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Picardy Third
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Raised major third used in the final chord of a minor piece
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mediant
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scale pitch 3
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antecedent
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phrase that usually ends in a half cadence
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Anacrusis
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pick up note
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thesis
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downbeat
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imperfect authentic cadence
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V-I with 3rd or 5th in soprano or inversion
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thorough bass
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figured bass
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rondo
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ABACA
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through composed
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new music provided for each stanza
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Imitation
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Restatement in close succession of a melody (theme/motif)
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Sequence imitation
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repetition in a single part of a short musical phrase at another pitch
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melodic patterning
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figuration (like a sequence) except no harmonic
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rhythmic augmentation
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making stated rhythm longer-ratio between notes are the same
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textural inversion
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spirit of inversion is there but not literal?
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realization
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the interpretation of the continuo part either as written or played
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melisma
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extended notes on one syllable
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harmonic intensity
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established harmony occurring closer together
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octatonic scale
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8 pitches to the octave...alternate whole and half steps
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cadential extension of a phrase
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at the end, longer statement of the phrase through repetition of V-I
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direct octave
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hidden octave
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asymmetric meter
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varying meters within a piece
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double period
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similar periods repeated
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strophic
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every stanza sung to same melody (like a hymn)
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countermelody
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harmony part that could be the melody itself
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ostinato
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repeating pattern
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elongation
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like augmentation...makes the theme longer
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internal extension
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inner voices...longer theme
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phrygian cadence
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lowest voice descends to final note or tonic by .5 step (upper leading tone)....iv6-V
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Postlude
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ending/coda
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phrase group
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musical thought
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Theme and variation
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statement of melody, then melody altered by different accompaniement, or harmony, texture, rhythm, etc
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rounded binary
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ABA'...large scale sonata form...end of B section not harmonically closed
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Perfect Authentic Cadence
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V-I with tonic in soprano
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IV-I
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Plagal Cadence
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Aeolian mode
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Natural minor scale
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Natural minor scale
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Scale built on 6th of relative major
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Melodic minor scale
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raise 6th and 7th going up, regular coming down
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submediant
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6 scale degree
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relative minor
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minor scale containing the same key signature as its major, different starting note
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parallel minor
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minor scale built on same tonic as major
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timbre
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tone color (instruments)
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texture
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position of voices, amount of independence, presence of imitation, density
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Harmonic minor
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raised 7th
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monophony
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single melodic line
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a a' a"
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melody, melody with alteration, melody with different alteration
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stanza
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one versa
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homophony
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chordal with one voice leading...hymns
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cross relations
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one chord to another?
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cadential 64
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I64 V I
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Arpeggiated 64
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Root--first inversion--second inversion--prolongs chord (expands)
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mixolydian mode
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major scale with lowered 7th
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locrian mode
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diminished scale (lowered second, third, sixth and seventh?)
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secondary dominant
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V/V or V7/V
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melodic (horizontal interval)
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don't line up together
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vertical interval
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line up together
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