Glossary

type of suspension in which the suspended note is in the bass voice and forms a second, resolving to a third, against another voice above it

type of rounded binary form with an internal structure of 8 bars (A), 8 bars (A'), 8 bars (B, or bridge), 8 bars (A'')

type of suspension in which the suspended note forms a fourth, resolving to a third, above the bass

type of suspension in which the suspended note forms a seventh, resolving to a sixth, above the bass

type of suspension in which the suspended note forms a ninth, resolving to an octave, above the bass

form design in which A sections are verses, featuring the same melodic and harmonic content with different lyrics, and the B section is a bridge, containing contrasting material

ternary forms that have successive contrasting sections, A B C

modal scale identical to the natural minor scale, with the following interval content: whole - half - whole - whole - half - whole - whole

special type of arpeggiated accompaniment where each chord is iterated in the following pattern: lowest note – highest note – middle note – highest note; used in European classical music

chord built on scale degree 5, with an added note and/or chromatically altered chord tone

abbreviation for anticipation, which is a type of non-chord tone that is prepared by step and resolves to the same note

first phrase of a period

type of non-chord tone that is prepared by step and resolves to the same note

abbreviation for appoggiatura, a type of non-chord tone that is prepared by leap and resolves by step in the opposite direction

type of non-chord tone that is prepared by leap and resolves by step in the opposite direction

chords played one note at a time

term used to describe pieces in binary form whose large sections are different lengths (usually the B section will be longer than the A section)

the initial onset of a sound

term denoting quality of an interval (one half step larger than its major or perfect counterpart), or quality of a triad (comprising two major thirds)

predominant chord resulting from chromatic voice leading that intensifies the approach to the dominant by using half-step motion; all augmented sixth chords contain an augmented sixth interval between scale degrees flat-6 ("le") and sharp-4 ("fi")

cadence type that features dominant to tonic

technique found in some Baroque dance movements, in which a brief portion of the end of the A section (usually stated in the key of the dominant) is restated at the end of the B section in the tonic key

in Western musical notation, vertical lines within the staff that demarcate the end of each measure

with regard to chords, the lowest sounding note of a particular chord; with regard to voices, the lowest voice part notated in bass clef

in Western musical notation, a line connecting two or more notes that have flags

the primary tactus, or fundamental recurring pulse in a meter

form design consisting of two large parts

chromatic chord taken from the parallel minor or major mode

in form design, term denoting a contrasting section; used when discussing 32-bar song form and forms in popular music

instrument that sounds at the pitch in which it is notated

the end of a phrase, defined by its harmonic motion into one of the following categories: authentic cadence (V - I), plagal cadence (IV - I), half cadence (end on V), or deceptive cadence (V - vi)

type of second inversion triad that has scale degree 5 in the bass and resolves to a dominant chord, extending dominant function, usually at a cadence

imitative piece with two or more parts that uses the melody of the leading part in one or more successive following parts

any combination of more than two notes

system of harmonic organization that uses a repeating chord progression, often four chords long

notes belonging in a chord; e.g., the chord tones in a major triad are C, E, and G

in popular music, the section “in which the lyrics remain constant each time it sounds” (Covach 2005, 67) or “the section of the song that resolves any lyrical and/or musical tension established in previous sections” (Endrinal 2011)

term referring to notes outside of a key

any major or minor triad whose root is related by major or minor third to tonic, and which contains at least one chromatic note; also refers to a key relationship in which the tonics are related by major or minor third and the keys are not closely related

a pattern that shows the system of key signatures in Western tonal music, whereby moving clockwise along the circle each key signature gains one sharp and moving counter-clockwise each key signature gains one flat; tonics of each adjacent key along the circle are related by P5; also refers to a harmonic sequence that features root motion by fifth

in Western music notation, a symbol that represents a particular range of pitches

position for chords with less than an octave between the soprano and tenor voices

type of key relationship in which the key signatures differ only up to one sharp or flat

designation for optional closing material at the end of a sonata form exposition; abbreviated as "K"

ending section of a piece or movement

closing sub-section at the end of a section in a compound form

an embellishing fully diminished seventh chord that contains at least one tone in common with the chord(s) it embellishes; abbreviated as CTo7

term referring to a triad that has all members (root, third, and fifth) or a seventh chord that has all members (root, third, fifth, and seventh)

system of metric organization that combines two or more simple meters resulting in unequal, asymmetric beats; the most common composite meters have 5 or 7 as the top number in the time signature; also called "asymmetric meters"

intervals larger than an octave

single-line (monophonic) melody that implies more than one voice, usually through wide leaps

meters that divide each beat into three equal divisions

form of pieces in three large sections, each of which has its own internal organization (usually a binary or ternary form)

the sounding pitch we hear, regardless of how it is notated

second phrase of a period

tonal stability, agreement, and/or that which brings tonal resolution

intervals that are considered stable, or those that function as “agreement,” bringing tonal resolution; consonant intervals are P1, P5, P8, mi3, MA3, mi6, and MA6

term describing pieces in binary form whose A section does not stand on its own harmonically, meaning the A section ends with either an open cadence in the tonic key, or any cadence in a key other than tonic

motion resulting from two parts moving in opposite directions (one up, the other down)

unit of form with the following features: (1) two phrases—the first ending with a weaker cadence, followed by a second ending with a stronger cadence—and (2) antecedent and consequent phrases that begin differently

type of verse-chorus form featuring musical material in the verses that differs from the music in the chorus

any process in which two or more melodies sound at the same time, usually according to a system of rules specific to a particular tonal style

abbreviation for common-tone fully diminished seventh chord, an embellishing fully diminished seventh chord that contains at least one tone in common with the chord(s) it embellishes

abbreviation for "deceptive cadence," the term referring to a cadence that consists of two chords: dominant (V or V7) to a chord other than tonic, usually the submediant triad

cadence which consists of two chords: dominant (V or V7) to a chord other than tonic, usually the submediant triad; abbreviated as "DC"

bass line that descends from the tonic to dominant scale degree; may be diatonic (do te le sol), chromatic (do ti te la le sol), or any variation on these models

the second main large section of a sonata form, which features motivic development of both primary and secondary theme groups and sequence

term referring to notes within a key

a minor second (mi2) that is spelled with two successive letter names, for example, C-sharp and D

any seven-note scale in which each letter name is used once

term denoting quality of an interval (one half step smaller in size than its minor or perfect counterpart), quality of a triad (comprising two minor thirds), or quality of a seventh chord

type of motion occurring when the soprano voice is approached by leap resulting in a P5 between soprano and bass

type of motion occurring when the soprano is approached by leap resulting in a P8 between soprano and bass

tonal instability, disagreement, and/or that which brings tonal tension

intervals considered to be unstable, or those that function as “disagreement,” bringing tension, impelling the music forward to a more stable point; dissonant intervals include the P4, mi2, MA2, mi7, MA7, and tritone

type of key relationship in which the key signatures differ by more than one accidental

how the beat level is divided in a meter: simple meters divide each beat into equal groups of two, and compound meters divide each beat into equal groups of three

abbreviation for double neighbors, which is a term for successive non-chord tones that embellish a single note; the first note of the double neighbor is prepared by step, moves by third to the second note of the double neighbor, and then resolves by step to the initial note of approach

the most unstable tonal function characterized by tension, setting up a listener’s expectation to hear tonic as a resolution; chords with dominant function include the dominant triad, dominant seventh, and chords built on the leading tone

major-minor seventh chord built on scale degree 5; spelled as a major triad with minor seventh between root and seventh

scale that features the following interval pattern: whole - half - whole - whole - whole - half - whole

in Western music notation, a symbol placed to the right of a note or rest that increases its duration by half of its value

type of successive non-chord tones that embellish a single note; the first note of the double neighbor is prepared by step, moves by third to the second note of the double neighbor, and then resolves by step to the initial note of approach

unit of form in which two periods or a phrase group and a period combine into a larger antecedent-consequent relationship, where the second cadence is open (like a HC) and the fourth cadence is closed (like a PAC)

the length of a sustained sound

term describing the relationship of notes or chords that sound the same, but are spelled differently

term referring to two notes, intervals, or chords that sound the same, but are spelled differently

type of uncommonly used non-chord tone that is prepared by step and resolves by leap in the opposite direction

abbreviation for escaped tone, which is an uncommon type of non-chord tone that is prepared by step and resolved by leap in the opposite direction

the first main large section of a sonata form, which contains the primary and secondary theme groups

chords that use ninths, elevenths, or thirteenths above the root

with regard to chords, the note that appears a fifth above the root when the triad is in its most compact form

symbols used in European Baroque music, appearing beneath a bass line, upon which musicians would realize chords

position of a chord when its third is the lowest sounding note

in Western musical notation, an added shape placed at the end of a stem, used in durations of an eighth note and shorter

type of augmented sixth chord containing scale degrees flat-6, 1, 2, and sharp-4; abbreviated as "Fr.+6"

part-writing process in which instead of the leading tone resolving up to tonic, it resolves to the fifth of the tonic chord (scale degree 7 goes to 5 instead of 1), possible only when the leading tone is in an inner voice (alto or tenor)

compositional process using short musical subjects, alternating sections using strict imitation and episodic sections in free counterpoint

seventh chord spelled as a diminished triad with diminished seventh between root and seventh, forming a stack of all minor thirds

system of harmonic organization that draws its chords from any modal scale

system of harmonic organization that draws chords from major or minor keys, but uses alternative progressions that differ from European classical models

system of harmonic organization that draws from major or minor keys and uses T-P-D type progressions and/or sequences that conform to European classical models

system of harmonic organization that draws chords from major, minor, or modal systems but implies the presence of tonic without articulating it, or significantly delays its appearance

type of augmented sixth chord containing scale degrees flat-6, 1, flat-3, and sharp-4; abbreviated as "Ger.+6"

in Western music notation, a commonly used two-staff system, connected with a bracket, in which the top staff uses treble clef and the bottom uses bass clef; often used for piano music notation

cadence type that ends with a dominant chord; abbreviated as "HC"

seventh chord spelled as a diminished triad with minor seventh between root and seventh, forming a stack of two minor thirds, plus a major third

In the 12-note Western chromatic scale, the smallest interval between two notes

two notes played simultaneously (in contrast to melodic intervals, which are played successively)

scale that features the following interval pattern: whole - half - whole - whole - half - A2 - half

the rate of chord change

process in which a repeating pattern of root motion appears in a harmonic progression

abbreviation for "half cadence," the term referring to a cadence type that ends with a dominant chord

recurring line that appears at the beginning of each verse

textures that feature all or most parts playing the same melody but embellished or varied simultaneously

textures that feature a melody with an accompaniment

a type of texture where all parts use the same rhythm, or mostly the same rhythm

term related to form in popular music, referring to “the main theme or motive around which the song is based. The hook often is presented in the introduction, although this material frequently is featured in the chorus. A song may have multiple hooks, which may be of musical character or lyrical content, or both” (Endrinal 2011)

abbreviation for "imperfect authentic cadence," which refers to any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 ("do") is in the highest part or melody with the tonic chord

textural device in which parts play the same melody with staggered entrances

any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 ("do") is in the highest part or melody with the tonic chord; abbreviated as "IAC"

intervals including mi3, MA3, mi6, and MA6

ternary form in which there is insufficient contrast between sections or some other aspect of ternary form is not present

a triad that has the root and third, but omits the fifth; or a seventh chord that has the root, third, and seventh, but omits the fifth

the measure of distance between two pitches

property of interval relations that occurs when the lower note of an interval is placed an octave higher, or the higher note is placed an octave lower; this relation makes major intervals minor, minor intervals major, diminished intervals augmented, and augmented intervals diminished; perfect intervals invert to perfect intervals, unisons invert to octaves, seconds invert to sevenths, thirds invert to sixths, and fourths invert to fifths

abbreviation for "introduction," which refers to a section at the beginning of a piece or movement

beginning section of a piece or movement

designation for chords that feature a member other than the root as the lowest note

modal scale identical to the major scale, with the following interval content: whole - whole - half - whole - whole - whole - half

type of augmented sixth chord containing scale degrees flat-6, 1, and sharp-4; abbreviated as "It.+6"

symbol that summarizes all of the flats or sharps used in a particular key, which is placed at the beginning of every system in Western musical notation

type of score that usually contains a melody with or without lyrics on a single staff and chord symbols appearing above the staff

scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic

triad built on the scale degree a half step below tonic ("ti" in moveable-do solfege), derived from the major and harmonic minor scales

in Western music notation, lines that extend an existing 5-line staff to notate notes above or below the given staff lines

with regard to melodic sequence, term referring to each subsequent iteration of sequential material, following the initial model

infrequently used modal scale with the following interval content: half - whole - whole - half - whole - whole - whole

modal scale that features the following interval pattern: whole - whole - whole - half - whole - whole - half

term denoting quality; related to triads, it refers to the chord with a MA3 between root and third and mi3 between third and fifth; related to seventh chords, it refers to the chord with a MA3 between root and third, mi3 between third and fifth, and MA3 between fifth and seventh; related to intervals, it refers to any second, third, sixth, or seventh that derives from the major scale of the lower note of the interval

five-note scale that uses scale degrees 1, 2, 3, 5, and 6 from the major scale

arrangement of stepwise notes using the following interval pattern: whole - whole - half - whole - whole - whole - half

qualities that can describe intervals, scales, or chords; with regard to intervals, this pairing refers to simple intervals of seconds, thirds, sixths, and sevenths and their compound interval equivalents

scale degree 3

a group of two or more notes that are sung on a single syllable

scale that has the following interval pattern: ascending whole - half - whole - whole - whole - whole - half; descending whole - whole - half - whole - whole - half - whole; resembles the parallel major when ascending, except for scale degree 3, and resembles natural minor in its descending form

process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level

periodic measure for organizing rhythmic durations in time; sometimes also used as a synonym for "time signature"

term denoting quality; related to triads, it refers to chords with a mi3 between root and third and a MA3 between third and fifth; as it relates to seventh chords, it refers to those with a mi3 between root and third, MA3 between third and fifth, and mi3 between fifth and seventh; as it relates to intervals, it refers to seconds, thirds, sixths, and sevenths that are one half step smaller than their major interval equivalents

five-note scale featuring scale degrees 1, 3, 4, 5, and 7 from the natural minor scale

scale that features the following interval pattern: whole - whole - half - whole - whole - half - whole

use of chromatic chords that exist diatonically in the parallel major or minor mode

with regard to melodic sequence, the first iteration of sequential material

scales that originated from a system developed in the Middle Ages by monks to classify different chants by their melodic properties; mode names include ionian (major), dorian, phrygian, lydian, mixolydian, aoelian (natural minor), and locrian (rarely used)

strophic form in which settings of one or more strophes are varied

texture consisting of a single melody (no accompaniment)

system for labeling chord progressions, using Arabic numbers and symbols to show chord function and alterations

scale that features the following interval pattern: whole - half - whole - whole - half - whole - whole; also the scale that corresponds with the minor key signature

striking major triad with predominant function built off the root of lowered scale degree 2 (“ra”), most often found in first inversion

non-chord tone that is approached by step and resolved by step in the opposite direction

position for chords with exactly an octave between soprano and tenor

notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad

in Western musical notation, a circular shape that is placed on a space or line of a staff to represent a pitch

abbreviation for neighboring tone, which is a non-chord tone that is approached by step and resolved by step in the opposite direction

motion in which one part moves, while the other stays on the same pitch

system that allows us to differentiate among different octave placements of the same letter name (e.g., C4 refers to middle C; A4 refers to the A above middle C, while A3 refers to the A below middle C)

position for chords with more than an octave between soprano and tenor

synonym for "coda" used in pop music analysis, which refers to a section at the end of a piece

abbreviation for "perfect authentic cadence," which is the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (“do”) in the soprano melody or main melodic part

the relationship between keys that have the same tonic, but a different key signature

motion between two parts in which the harmonic interval formed between them is a P5 going to another P5; this motion is generally avoided in European tonal music

motion resulting from two parts moving in the same direction (both up or both down) by the same “amount” such that the starting and ending intervals are of the same number/size (e.g., parallel thirds)

unit of form that features (1) two phrases—the first ending with a weaker cadence, followed by a second ending with a stronger cadence—in which (2) both the antecedent and consequent phrase begin the same way melodically

seventh chord in second inversion whose bass note is preceded by step and resolves by step in the same direction

type of second inversion triad whose bass note is preceded by step and resolved by step in the same direction

non-chord tone that is approached by step and resolved by step in the same direction

abbreviation for "plagal cadence," which refers to the cadence type that features subdominant to tonic

abbreviation for pedal non-chord tone, which is a type of non-chord tone that is prepared and resolved by same note

type of second inversion triad with an embellishing function by keeping the bass note of the chord preceding and following it

type of non-chord tone that is prepared and resolved by same note

five-note scale; two primary types in tonal music—the major pentatonic, a subset of major (1 2 3 5 6), and minor pentatonic, a subset of natural minor (1 3 4 5 7)

with regard to intervals, the quality of simple intervals of unisons, fourths, fifths, and octaves, as well as their compound interval equivalents

the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (“do”) in the soprano melody or main melodic part; abbreviated as "PAC"

the intervals P1, P5, and P8, as well as their compound interval equivalents

unit of form in which a phrase with greater openness is followed by one with greater conclusiveness (for example, a phrase ending with a HC followed by one with a PAC)

the phenomenon of regularly recurring rhythmic or durational cues signaling a stable meter

musical passage that concludes with a cadence

unit of form consisting of two phrases that do not have an antecedent-consequent relationship; occurs when two successive phrases end with the same cadence (for example, two phrases both ending with IACs) or when a phrase with greater conclusiveness is followed by one with greater openness (for example, a phrase ending with an IAC followed by one with a HC)

scale that features the following interval pattern: half - whole - whole - whole - half - whole - whole

special type of half cadence that can occur in minor keys, which features iv6 - V

term referring to how listeners perceive sound frequencies, in absolute terms as letter names (A, B, C, etc.) and in relative terms ("higher" or "lower" pitch)

chord that enacts a modulation by possessing one function in the old key and another function in the new key

cadence type that features subdominant to tonic; abbreviated as "PC"

progression that uses the supertonic chord followed by the subdominant to extend predominant function before resolving to tonic

textures that feature two or more independent parts, all generally equal in importance

open fifth chords, usually played on guitar with distortion

in popular music, an additional section between the verse and chorus, usually brief, containing the same lyrics in each iteration, with a typical formal function to set up the appearance of the chorus

a tonal function that typically precedes dominant function; chords with predominant function include the subdominant triad and chords built on scale degree 2

the chords built on scale degrees 1, 4, and 5

the first theme or set of themes presented in a sonata form exposition, which are in the tonic key; abbreviated as "P"

the three typical chord functions in tonal music, which are tonic (T), representing closure and stability; predominant (P), signaling a shift prior to dominant function; and dominant (D), representing tension and instability

abbreviation for passing tone, which is a non-chord tone that is approached by step and resolved by step in the same direction

for intervals and chords, the specific configuration of interval content resulting in a unique and identifiable sound; for intervals, quality may be major, minor, perfect, diminished, or augmented; for triads, quality may be major, minor, diminished, or augmented; and for seventh chords, quality may be major, major-minor (dominant), minor, half-diminished, or fully diminished

for intervals, the number of steps between two notes, including the starting and ending note

portion near the end of the development section in a sonata form, in which the dominant chord of the tonic key is stated in order to set up the return to tonic in the recapitulation

type of melodic sequence that replicates the exact intervallic profile (both quantity and quality) of all intervals of the model, regardless of the key

the third main large section of a sonata form, which restates the primary and secondary theme material, but now in the tonic key

"a line or pair of lines that recur throughout the song" (Endrinal 2011)

the relationship between keys that have different tonics but share the same key signature

the relationship between scales that have different tonics but the same collection of notes or key signature

symbol denoting a duration of silence

abbreviation for retardation, which is a type of non-chord tone that is prepared by same note and resolves up by step

type of non-chord tone that is prepared by same note and resolves up by step

term used by some scholars to describe the progression I - V - IV - I

musical organization of attacks and durations in time

short repeated musical gesture

in music theory, a symbol that shows both the scale degree number and the quality of a chord in a key; e.g., in C major, the Roman numeral I represents any C major triad

the fundamental note from which a chord is built

designation for chords whose lowest note is also the root of the chord

imitative song in which the melody may be sung by more than one person with regularly staggered entrances to create harmony

term describing pieces in binary form in which a portion of the A section returns at the end of the B section

abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts

arrangement of stepwise notes, from which melodies and harmonies are formed

position of a chord when its fifth is the lowest sounding note

chords built on scale degrees 2, 3, 6, and 7

chords built on a secondary leading tone that tonicize any non-tonic major or minor triad

any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic

in a secondary dominant chord, the leading tone of the tonicized key

the second theme or set of themes in a sonata form exposition, presented in a key other than tonic; abbreviated as "S"

term describing pieces in binary form in which the A section can stand on its own harmonically, meaning that the A section ends with an authentic cadence in the tonic key

a common compositional process that uses a series of successively occurring rhythmic, melodic, and/or harmonic patterns

with regard to chords, the note that appears a seventh above the root when the chord is in root position

chords consisting of four notes stacked in thirds

system of harmonic organization in which two chords alternate for the entirety of a recording or section of a recording

motion resulting from two parts moving in the same direction (both up or both down)

term describing pieces in binary form that do not feature material from the A section in the B section

intervals smaller than a ninth: unisons (1), seconds (2), thirds (3), fourths (4), fifths (5), sixths (6), sevenths (7), and octaves (8)

meters that divide each beat into equal groups of two

designation for three-part (ABA) forms whose sections do not have internal forms

type of verse-chorus form that uses the same harmonic material in both verse and chorus; the only difference between sections is lyrical content

triad in second inversion, meaning the fifth of the chord is the lowest sounding note

symbol that connects two or more different notes together in a unit, either suggesting connected or legato playing, a single bow stroke for stringed instruments, or a melisma for singers

system of associating pitches with syllables, also referred to as "solmization"; with movable-do solfege, the major scale uses "do," "re," "mi," "fa," "sol," "la," and "ti," and "do" is always tonic; with fixed-do solfege, "do" is always C

sophisticated formal design in which two theme groups are presented in contrasting keys, developed, and returned to in the tonic key

in Western musical notation, a set of lines and spaces, each representing a different pitch

synonym for strophe; refers to a formal section that recurs with the same melody and harmonic material, but with different lyrics in each iteration

in Western musical notation, a vertical line that is placed on the left side beneath a notehead, or on the right side above a notehead

term referring to one section in a strophic song; also called a verse or stanza

form consisting of repeating sections (called strophes, verses, or stanzas), each with different lyrics set to the same melody and harmonic content

scale degree 6, or the chord built on scale degree 6

the scale degree a whole step below tonic, sung as "te" in moveable-do solfege, and featured in the natural minor scale and the descending melodic minor scale

triad built on the scale degree a whole step below tonic ("te" in moveable-do solfege), derived from the natural minor scale

scale degree 2, or the chord built on scale degree 2

abbreviation for suspension, a non-chord tone that is prepared by same note and resolves down by step

type of non-chord tone that is approached by same note and resolved down by step; 9-8, 7-6, and 4-3 suspensions are labeled by the interval between the suspended note and the bass, while the bass suspension, 2-3, is formed between the bass and another upper voice

term used to describe pieces in binary form in which the length of the sections is the same, or nearly the same

the process of placing rhythmic attacks in metrically weak positions, or "off" the beat

abbreviation for tonic - predominant - dominant harmonic function

optional device used in some strophic forms in which each verse concludes with the same lyrics

speed at which a piece of music is played; often measured in beats per minute (bpm)

form design in popular music that features an "expected memorable highpoint (the chorus)" balanced with a "thematically independent terminal climax, the song’s actual high point, which appears only once at the end of the song” (Osborn 2013, 23)

formal design in which the piece comprises three large sections, where the outer sections are roughly equivalent in proportion

synonym for the interval of a fourth

rate of textural change

with regard to chords, the note that appears a third above the root when the triad is in its most compact form

position of a chord when its seventh is the lowest sounding note

symbol that connects two durations together, with no separation between them or attack on the second duration

"the perceptual quality of sound” (Eidsheim 2008, 158)

in Western musical notation, a symbol containing two numbers, which shows how the meter is organized

short passage of music in a new key, longer than a tonicization but not a full modulation

type of melodic sequence that maintains the quantity (number) of each interval, but not necessarily the quality, in order to fit within a key

the first note of a tonal scale, or the chord built on the first note of a tonal scale

the most stable tonal function of repose, resolution, or conclusion, exemplified by the triad built on scale degree 1

process in which a secondary dominant appears, temporarily destabilizing the tonic key and resolving to a different, albeit momentary, new tonic

musical material connecting the primary and secondary theme groups in a sonata form, with the purpose of bringing about the modulation to the key of the secondary theme group; abbreviated as "T"

instrument that sounds at a different pitch than notated

type of chord that consists of three notes, stacked in thirds

term referring to the dissonant interval, the A4, and its enharmonic equivalent, d5

a form design based on a repeating progression, I (IV) I I IV IV I I V IV I (V), where each Roman numeral is one bar long

binary form whose large sections use repeat signs

the four ways in which two melodic lines may interact with one another: (1) parallel, (2) similar, (3) contrary, or (4) oblique

motion between two voices that move from a d5 to P5 or vice versa

in form, the sections that feature different lyrics in each iteration, but with the same melody and harmonic content

form design that alternates between verse and chorus sections, where the verses feature different lyrics set to the same melody and harmonic content, and the chorus sections feature the same lyrics, melody, and harmonic content in each statement

interval that spans two half steps

scale consisting of whole steps exclusively