Music Theory

Front 1

Cadence/cadential extension

Back 1

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Front 2

Coda/codetta

Back 2

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Front 3

Contour: conjunct/disjunct

Back 3

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Front 4

Melody/countermelody

Back 4

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Front 5

Elision (phrase elision)

Back 5

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Front 6

Fragment (fragmented motive)

Back 6

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Front 7

Introduction/bridge/chorus

Back 7

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Front 8

Twelve-bar blues/song form

Back 8

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Front 9

Melodic procedures

Augmentation

Diminution

Fragmentation

Internal expansion

Inversion

Literal repetition

Octave displacement

Retrograde

Truncation

Back 9

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Front 10

Extension

Back 10

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Front 11

Motive

Back 11

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Front 12

period

Back 12

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Front 13

Antecedent/consequent

Back 13

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Front 14

Phrase group

Back 14

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Front 15

Refrain

Back 15

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Front 16

Small forms

Binary

Rounded binary

Simple binary

Ternary

Back 16

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Front 17

Solo (soli)

Back 17

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Front 18

Strophic/through-composed

Back 18

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Front 19

Theme (thematic transformation)

Back 19

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Front 20

Theme and variations

Back 20

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Front 21

Root position inversions: 6 / 64 and seventh chord inversions: 7/ 65 / 43 / 42

Back 21

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Front 22

8-7, 9-8, 7-6, 4-3

Back 22

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Front 23

Triads in major (I, ii, iii, IV, V, vi, vii° and triads in minor (i, ii°, III, iv, V, VI, vii°, VII)

Back 23

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Front 24

Cadence types

perfect

imperfect (leading tone, inverted, root position)

deceptive

half (phrygian half)

plagal

conclusive/inconclusive

Back 24

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Front 25

1. augmented/diminished/major/minor

Back 25

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Front 26

Seventh chord types

M7 (major-major)

Mm7 (major-minor, sometimes Dominant 7

m7 (minor)

°7 (half-diminished)

°7 (fully-diminished)

Back 26

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Front 27

Function

tonic function

dominant function

predominant function

Back 27

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Front 28

Circle of fifths

Back 28

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Front 29

Harmonic rhythm

Back 29

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Front 30

Modulation

Common tone

Phrase (direct)

Pivot chord

Back 30

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Front 31

Tonicization

Back 31

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Front 32

Neighboring chord

Back 32

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Front 33

Retrogression

Back 33

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Front 34

Secondary Dominant/ Secondary Leading Tone Chord

Back 34

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Front 35

Second inversion triads

Arpeggiating

Cadential

Neighboring/Pedal

Passing

Back 35

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Front 36

Non-Chord Tones

Anticipation

Appoggiatura

Escape Tone

Neighboring tone

Double neighbor

Lower neighbor

Upper neighbor

Neighbor Group

Back 36

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Front 37

Spacing/Voicing

Alto, Soprano, Tenor, Bass

Close/open

Doubling

Inversions (1st, 2nd, 3rd, root)

Back 37

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Front 38

Voice leading

Common tone

Motion

Contrary

Oblique

Parallel

Similar

Objectionable parallels

parallel 5ths/8ves

Cross relation

Voice crossing

Direct (hidden) 5th

Unequal 5th

Unresolved leading tone/7th

Tendency tone

Back 38

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Front 39

Arpeggio/arpeggiation

Back 39

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Front 40

Consonance/dissonance

Back 40

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Front 41

Figured bass

Back 41

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Front 42

Lead sheet

Back 42

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Front 43

Picardy third

Back 43

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Front 44

Resolution

Back 44

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Front 45

Intervals

Compound

Half step (semitone)

Inversion

Types (perfect, major, minor, diminished, augmented)

Tritone

Unison (prime)

Whole step (whole tone)

Back 45

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Front 46

Accent

agogic/dynamic/metri-cal

Back 46

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Front 47

Anacrusis (pickup/upbeat)

Back 47

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Front 48

Meter

asymmetrical

simple

compound

changing meter

duple/triple/quadruple

Back 48

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Front 49

Bar line

Back 49

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Front 50

Beat/pulse

Back 50

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Front 51

Cross rhythm

Back 51

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Front 52

Dot/double dot/dotted rhythm

Back 52

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Front 53

Duplet/triplet

Back 53

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Front 54

Duration/rhythm

Back 54

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Front 55

Hemiola

Back 55

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Front 56

Note value

Back 56

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Front 57

Polyrhythm/cross rhythm

Back 57

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Front 58

Swing

Back 58

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Front 59

Syncopation

Back 59

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Front 60

Tempo

Back 60

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Front 61

Tie

Back 61

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Front 62

Time signature

Back 62

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Front 63

Accidental (sharp/flat/natural)

Back 63

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Front 64

Chromatic/diatonic

Back 64

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Front 65

Key signature

Back 65

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Front 66

Major scale

Back 66

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Front 67

Minor scale

Harmonic

Melodic

Natural

Back 67

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Front 68

Modes

Ionian

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Back 68

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Front 69

Modality

Back 69

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Front 70

Parallel key/relative key

Back 70

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Front 71

Pentatonic scale

Back 71

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Front 72

Whole tone scale

Back 72

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Front 73

Chromatic scale

Back 73

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Front 74

Scale degree names

tonic

supertonic

mediant

subdominant

dominant

submediant

subtonic

leading tone

Back 74

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Front 75

Tetrachord

Back 75

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Front 76

Tonal/atonal

Back 76

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Front 77

C

ounterpoint (contrapuntal)

imitation

imitative polyphony

nonimitative polyphony

fugal imitation

Back 77

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Front 78

Heterophony (heterophonic)

Back 78

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Front 79

Homophony (homophonic)

chordal homohony

chordal texture (homorhythmic)

melody with accompaniment

Back 79

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Front 80

Polyphony (polyphonic)

Back 80

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Front 81

Chordal accompaniment

Back 81

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Front 82

Instrumentation

brass

continuo

percussion

rhythm section

strings

timbre

woodwinds

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Front 83

Canon/canonic

Back 83

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Front 84

Obbligato

Back 84

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Front 85

Ostinato

Back 85

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Front 86

Register

Back 86

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Front 87

Tessitura

Back 87

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Front 88

Alberti bass/Walking Bass

Back 88

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Front 89

Lyrics

Back 89

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Front 90

Melismatic/melisma

Back 90

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Front 91

Stanza/verse

Back 91

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Front 92

Syllabic

Back 92

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Front 93

Aria

Back 93

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Front 94

Art song/song

Back 94

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Front 95

Concerto

Back 95

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Front 96

Fugue

Back 96

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Front 97

Genre(s)

Back 97

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Front 98

Opera

Back 98

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Front 99

Interlude/prelude/postlude

Back 99

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Front 100

Sonata/String quartet/symphony

Back 100

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