{"id":4007,"date":"2023-10-27T01:29:33","date_gmt":"2023-10-27T01:29:33","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/?post_type=back-matter&p=4007"},"modified":"2023-10-27T01:29:59","modified_gmt":"2023-10-27T01:29:59","slug":"glossary","status":"publish","type":"back-matter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/glossary\/","title":{"raw":"Glossary","rendered":"Glossary"},"content":{"raw":"","rendered":"
\n
2-3 SUS<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

32-bar song form<\/dfn><\/dt>\n
\n

type of rounded binary form with an internal structure of 8 bars (A), 8 bars (A'), 8 bars (B, or bridge), 8 bars (A'')<\/p>\n<\/dd>\n

4-3 SUS<\/dfn><\/dt>\n
\n

type of suspension in which the suspended note forms a fourth, resolving to a third, above the bass<\/p>\n<\/dd>\n

7-6 SUS<\/dfn><\/dt>\n
\n

type of suspension in which the suspended note forms a seventh, resolving to a sixth, above the bass<\/p>\n<\/dd>\n

9-8 SUS<\/dfn><\/dt>\n
\n

type of suspension in which the suspended note forms a ninth, resolving to an octave, above the bass<\/p>\n<\/dd>\n

AABA form<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

additive ternary form<\/dfn><\/dt>\n
\n

ternary forms that have successive contrasting sections, A B C<\/p>\n<\/dd>\n

aeolian<\/dfn><\/dt>\n
\n

modal scale identical to the natural minor scale, with the following interval content: whole - half - whole - whole - half - whole - whole<\/p>\n<\/dd>\n

Alberti bass<\/dfn><\/dt>\n
\n

special type of arpeggiated accompaniment where each chord is iterated in the following pattern: lowest note \u2013 highest note \u2013 middle note \u2013 highest note; used in European classical music<\/p>\n<\/dd>\n

altered dominant<\/dfn><\/dt>\n
\n

chord built on scale degree 5, with an added note and\/or chromatically altered chord tone<\/p>\n<\/dd>\n

ANT<\/dfn><\/dt>\n
\n

abbreviation for anticipation, which is a type of non-chord tone that is prepared by step and resolves to the same note<\/p>\n<\/dd>\n

antecedent<\/dfn><\/dt>\n
\n

first phrase of a period<\/p>\n<\/dd>\n

anticipation<\/dfn><\/dt>\n
\n

type of non-chord tone that is prepared by step and resolves to the same note<\/p>\n<\/dd>\n

APP<\/dfn><\/dt>\n
\n

abbreviation for appoggiatura, a type of non-chord tone that is prepared by leap and resolves by step in the opposite direction<\/p>\n<\/dd>\n

appoggiatura<\/dfn><\/dt>\n
\n

type of non-chord tone that is prepared by leap and resolves by step in the opposite direction<\/p>\n<\/dd>\n

arpeggiated<\/dfn><\/dt>\n
\n

chords played one note at a time<\/p>\n<\/dd>\n

asymmetrical (binary form)<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

attack<\/dfn><\/dt>\n
\n

the initial onset of a sound<\/p>\n<\/dd>\n

augmented<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

augmented sixth chord<\/dfn><\/dt>\n
\n

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\")<\/p>\n<\/dd>\n

authentic cadence<\/dfn><\/dt>\n
\n

cadence type that features dominant to tonic<\/p>\n<\/dd>\n

balanced binary<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

bar lines<\/dfn><\/dt>\n
\n

in Western musical notation, vertical lines within the staff that demarcate the end of each measure<\/p>\n<\/dd>\n

bass<\/dfn><\/dt>\n
\n

with regard to chords, the lowest sounding note of a particular chord; with regard to voices, the lowest voice part notated in bass clef<\/p>\n<\/dd>\n

beam<\/dfn><\/dt>\n
\n

in Western musical notation, a line connecting two or more notes that have flags<\/p>\n<\/dd>\n

beat<\/dfn><\/dt>\n
\n

the primary tactus, or fundamental recurring pulse in a meter<\/p>\n<\/dd>\n

binary form<\/dfn><\/dt>\n
\n

form design consisting of two large parts<\/p>\n<\/dd>\n

borrowed chord<\/dfn><\/dt>\n
\n

chromatic chord taken from the parallel minor or major mode<\/p>\n<\/dd>\n

bridge<\/dfn><\/dt>\n
\n

in form design, term denoting a contrasting section; used when discussing 32-bar song form and forms in popular music<\/p>\n<\/dd>\n

C instrument<\/dfn><\/dt>\n
\n

instrument that sounds at the pitch in which it is notated<\/p>\n<\/dd>\n

cadence<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

cadential six-four<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

canon<\/dfn><\/dt>\n
\n

imitative piece with two or more parts that uses the melody of the leading part in one or more successive following parts<\/p>\n<\/dd>\n

chord<\/dfn><\/dt>\n
\n

any combination of more than two notes<\/p>\n<\/dd>\n

chord loop<\/dfn><\/dt>\n
\n

system of harmonic organization that uses a repeating chord progression, often four chords long<\/p>\n<\/dd>\n

chord tones<\/dfn><\/dt>\n
\n

notes belonging in a chord; e.g., the chord tones in a major triad are C, E, and G<\/p>\n<\/dd>\n

chorus<\/dfn><\/dt>\n
\n

in popular music, the section \u201cin which the lyrics remain constant each time it sounds\u201d (Covach 2005, 67) or \u201cthe section of the song that resolves any lyrical and\/or musical tension established in previous sections\u201d (Endrinal 2011)<\/p>\n<\/dd>\n

chromatic<\/dfn><\/dt>\n
\n

term referring to notes outside of a key<\/p>\n<\/dd>\n

chromatic mediant<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

circle of fifths<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

clef<\/dfn><\/dt>\n
\n

in Western music notation, a symbol that represents a particular range of pitches<\/p>\n<\/dd>\n

close position<\/dfn><\/dt>\n
\n

position for chords with less than an octave between the soprano and tenor voices<\/p>\n<\/dd>\n

closely related<\/dfn><\/dt>\n
\n

type of key relationship in which the key signatures differ only up to one sharp or flat<\/p>\n<\/dd>\n

closing theme<\/dfn><\/dt>\n
\n

designation for optional closing material at the end of a sonata form exposition; abbreviated as \"K\"<\/p>\n<\/dd>\n

coda<\/dfn><\/dt>\n
\n

ending section of a piece or movement<\/p>\n<\/dd>\n

codetta<\/dfn><\/dt>\n
\n

closing sub-section at the end of a section in a compound form<\/p>\n<\/dd>\n

common-tone fully diminished seventh chord<\/dfn><\/dt>\n
\n

an embellishing fully diminished seventh chord that contains at least one tone in common with the chord(s) it embellishes; abbreviated as CTo7<\/p>\n<\/dd>\n

complete<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

composite meter<\/dfn><\/dt>\n
\n

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\"<\/p>\n<\/dd>\n

compound intervals<\/dfn><\/dt>\n
\n

intervals larger than an octave<\/p>\n<\/dd>\n

compound melody<\/dfn><\/dt>\n
\n

single-line (monophonic) melody that implies more than one voice, usually through wide leaps<\/p>\n<\/dd>\n

compound meters<\/dfn><\/dt>\n
\n

meters that divide each beat into three equal divisions<\/p>\n<\/dd>\n

compound ternary form<\/dfn><\/dt>\n
\n

form of pieces in three large sections, each of which has its own internal organization (usually a binary or ternary form)<\/p>\n<\/dd>\n

concert pitch<\/dfn><\/dt>\n
\n

the sounding pitch we hear, regardless of how it is notated<\/p>\n<\/dd>\n

consequent<\/dfn><\/dt>\n
\n

second phrase of a period<\/p>\n<\/dd>\n

consonance<\/dfn><\/dt>\n
\n

tonal stability, agreement, and\/or that which brings tonal resolution<\/p>\n<\/dd>\n

consonant intervals<\/dfn><\/dt>\n
\n

intervals that are considered stable, or those that function as \u201cagreement,\u201d bringing tonal resolution; consonant intervals are P1, P5, P8, mi3, MA3, mi6, and MA6<\/p>\n<\/dd>\n

continuous<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

contrary<\/dfn><\/dt>\n
\n

motion resulting from two parts moving in opposite directions (one up, the other down)<\/p>\n<\/dd>\n

contrasting period<\/dfn><\/dt>\n
\n

unit of form with the following features: (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014and (2) antecedent and consequent phrases that begin differently<\/p>\n<\/dd>\n

contrasting verse-chorus form<\/dfn><\/dt>\n
\n

type of verse-chorus form featuring musical material in the verses that differs from the music in the chorus<\/p>\n<\/dd>\n

counterpoint<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

CTo7<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

DC<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

deceptive cadence<\/dfn><\/dt>\n
\n

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

descending tetrachord bass line<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

development<\/dfn><\/dt>\n
\n

the second main large section of a sonata form, which features motivic development of both primary and secondary theme groups and sequence<\/p>\n<\/dd>\n

diatonic<\/dfn><\/dt>\n
\n

term referring to notes within a key<\/p>\n<\/dd>\n

diatonic half step<\/dfn><\/dt>\n
\n

a minor second (mi2) that is spelled with two successive letter names, for example, C-sharp and D<\/p>\n<\/dd>\n

diatonic scale<\/dfn><\/dt>\n
\n

any seven-note scale in which each letter name is used once<\/p>\n<\/dd>\n

diminished<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

direct fifths<\/dfn><\/dt>\n
\n

type of motion occurring when the soprano voice is approached by leap resulting in a P5 between soprano and bass<\/p>\n<\/dd>\n

direct octaves<\/dfn><\/dt>\n
\n

type of motion occurring when the soprano is approached by leap resulting in a P8 between soprano and bass<\/p>\n<\/dd>\n

dissonance<\/dfn><\/dt>\n
\n

tonal instability, disagreement, and\/or that which brings tonal tension<\/p>\n<\/dd>\n

dissonant intervals<\/dfn><\/dt>\n
\n

intervals considered to be unstable, or those that function as \u201cdisagreement,\u201d bringing tension, impelling the music forward to a more stable point; dissonant intervals include the P4, mi2, MA2, mi7, MA7, and tritone<\/p>\n<\/dd>\n

distantly related<\/dfn><\/dt>\n
\n

type of key relationship in which the key signatures differ by more than one accidental<\/p>\n<\/dd>\n

division<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

DN<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

dominant chord function<\/dfn><\/dt>\n
\n

the most unstable tonal function characterized by tension, setting up a listener\u2019s expectation to hear tonic as a resolution; chords with dominant function include the dominant triad, dominant seventh, and chords built on the leading tone<\/p>\n<\/dd>\n

dominant seventh chord<\/dfn><\/dt>\n
\n

major-minor seventh chord built on scale degree 5; spelled as a major triad with minor seventh between root and seventh<\/p>\n<\/dd>\n

dorian<\/dfn><\/dt>\n
\n

scale that features the following interval pattern: whole - half - whole - whole - whole - half - whole<\/p>\n<\/dd>\n

dot<\/dfn><\/dt>\n
\n

in Western music notation, a symbol placed to the right of a note or rest that increases its duration by half of its value<\/p>\n<\/dd>\n

double neighbors<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

double period<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

duration<\/dfn><\/dt>\n
\n

the length of a sustained sound<\/p>\n<\/dd>\n

enharmonic<\/dfn><\/dt>\n
\n

term describing the relationship of notes or chords that sound the same, but are spelled differently<\/p>\n<\/dd>\n

enharmonically equivalent<\/dfn><\/dt>\n
\n

term referring to two notes, intervals, or chords that sound the same, but are spelled differently<\/p>\n<\/dd>\n

escaped tone<\/dfn><\/dt>\n
\n

type of uncommonly used non-chord tone that is prepared by step and resolves by leap in the opposite direction<\/p>\n<\/dd>\n

ET<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

exposition<\/dfn><\/dt>\n
\n

the first main large section of a sonata form, which contains the primary and secondary theme groups<\/p>\n<\/dd>\n

extended tertian chords<\/dfn><\/dt>\n
\n

chords that use ninths, elevenths, or thirteenths above the root<\/p>\n<\/dd>\n

fifth<\/dfn><\/dt>\n
\n

with regard to chords, the note that appears a fifth above the root when the triad is in its most compact form<\/p>\n<\/dd>\n

figured bass<\/dfn><\/dt>\n
\n

symbols used in European Baroque music, appearing beneath a bass line, upon which musicians would realize chords<\/p>\n<\/dd>\n

first inversion<\/dfn><\/dt>\n
\n

position of a chord when its third is the lowest sounding note<\/p>\n<\/dd>\n

flag<\/dfn><\/dt>\n
\n

in Western musical notation, an added shape placed at the end of a stem, used in durations of an eighth note and shorter<\/p>\n<\/dd>\n

French +6<\/dfn><\/dt>\n
\n

type of augmented sixth chord containing scale degrees flat-6, 1, 2, and sharp-4; abbreviated as \"Fr.+6\"<\/p>\n<\/dd>\n

frustrating the leading tone<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

fugue<\/dfn><\/dt>\n
\n

compositional process using short musical subjects, alternating sections using strict imitation and episodic sections in free counterpoint<\/p>\n<\/dd>\n

fully diminished seventh chord<\/dfn><\/dt>\n
\n

seventh chord spelled as a diminished triad with diminished seventh between root and seventh, forming a stack of all minor thirds<\/p>\n<\/dd>\n

functionally modal harmony<\/dfn><\/dt>\n
\n

system of harmonic organization that draws its chords from any modal scale<\/p>\n<\/dd>\n

functionally tonal (alternative progressions)<\/dfn><\/dt>\n
\n

system of harmonic organization that draws chords from major or minor keys, but uses alternative progressions that differ from European classical models<\/p>\n<\/dd>\n

functionally tonal harmony<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

functionally tonal or modal with absent tonic<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

German +6<\/dfn><\/dt>\n
\n

type of augmented sixth chord containing scale degrees flat-6, 1, flat-3, and sharp-4; abbreviated as \"Ger.+6\"<\/p>\n<\/dd>\n

grand staff<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

half cadence<\/dfn><\/dt>\n
\n

cadence type that ends with a dominant chord; abbreviated as \"HC\"<\/p>\n<\/dd>\n

half diminished seventh chord<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

half step<\/dfn><\/dt>\n
\n

In the 12-note Western chromatic scale, the smallest interval between two notes<\/p>\n<\/dd>\n

harmonic intervals<\/dfn><\/dt>\n
\n

two notes played simultaneously (in contrast to melodic intervals, which are played successively)<\/p>\n<\/dd>\n

harmonic minor scale<\/dfn><\/dt>\n
\n

scale that features the following interval pattern: whole - half - whole - whole - half - A2 - half<\/p>\n<\/dd>\n

harmonic rhythm<\/dfn><\/dt>\n
\n

the rate of chord change<\/p>\n<\/dd>\n

harmonic sequence<\/dfn><\/dt>\n
\n

process in which a repeating pattern of root motion appears in a harmonic progression<\/p>\n<\/dd>\n

HC<\/dfn><\/dt>\n
\n

abbreviation for \"half cadence,\" the term referring to a cadence type that ends with a dominant chord<\/p>\n<\/dd>\n

head refrain<\/dfn><\/dt>\n
\n

recurring line that appears at the beginning of each verse<\/p>\n<\/dd>\n

heterophonic<\/dfn><\/dt>\n
\n

textures that feature all or most parts playing the same melody but embellished or varied simultaneously<\/p>\n<\/dd>\n

homophonic<\/dfn><\/dt>\n
\n

textures that feature a melody with an accompaniment<\/p>\n<\/dd>\n

homorhythmic<\/dfn><\/dt>\n
\n

a type of texture where all parts use the same rhythm, or mostly the same rhythm<\/p>\n<\/dd>\n

hook<\/dfn><\/dt>\n
\n

term related to form in popular music, referring to \u201cthe 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\u201d (Endrinal 2011)<\/p>\n<\/dd>\n

IAC<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

imitation<\/dfn><\/dt>\n
\n

textural device in which parts play the same melody with staggered entrances<\/p>\n<\/dd>\n

imperfect authentic cadence<\/dfn><\/dt>\n
\n

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\"<\/p>\n<\/dd>\n

imperfect consonances<\/dfn><\/dt>\n
\n

intervals including mi3, MA3, mi6, and MA6<\/p>\n<\/dd>\n

incipient ternary form<\/dfn><\/dt>\n
\n

ternary form in which there is insufficient contrast between sections or some other aspect of ternary form is not present<\/p>\n<\/dd>\n

incomplete triad<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

interval<\/dfn><\/dt>\n
\n

the measure of distance between two pitches<\/p>\n<\/dd>\n

interval inversion<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

intro<\/dfn><\/dt>\n
\n

abbreviation for \"introduction,\" which refers to a section at the beginning of a piece or movement<\/p>\n<\/dd>\n

introduction<\/dfn><\/dt>\n
\n

beginning section of a piece or movement<\/p>\n<\/dd>\n

inverted<\/dfn><\/dt>\n
\n

designation for chords that feature a member other than the root as the lowest note<\/p>\n<\/dd>\n

ionian<\/dfn><\/dt>\n
\n

modal scale identical to the major scale, with the following interval content: whole - whole - half - whole - whole - whole - half<\/p>\n<\/dd>\n

Italian +6<\/dfn><\/dt>\n
\n

type of augmented sixth chord containing scale degrees flat-6, 1, and sharp-4; abbreviated as \"It.+6\"<\/p>\n<\/dd>\n

key signature<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

lead sheet<\/dfn><\/dt>\n
\n

type of score that usually contains a melody with or without lyrics on a single staff and chord symbols appearing above the staff<\/p>\n<\/dd>\n

leading tone<\/dfn><\/dt>\n
\n

scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic<\/p>\n<\/dd>\n

leading-tone triad<\/dfn><\/dt>\n
\n

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

ledger lines<\/dfn><\/dt>\n
\n

in Western music notation, lines that extend an existing 5-line staff to notate notes above or below the given staff lines<\/p>\n<\/dd>\n

leg<\/dfn><\/dt>\n
\n

with regard to melodic sequence, term referring to each subsequent iteration of sequential material, following the initial model<\/p>\n<\/dd>\n

locrian<\/dfn><\/dt>\n
\n

infrequently used modal scale with the following interval content: half - whole - whole - half - whole - whole - whole<\/p>\n<\/dd>\n

lydian<\/dfn><\/dt>\n
\n

modal scale that features the following interval pattern: whole - whole - whole - half - whole - whole - half<\/p>\n<\/dd>\n

major<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

major pentatonic<\/dfn><\/dt>\n
\n

five-note scale that uses scale degrees 1, 2, 3, 5, and 6 from the major scale<\/p>\n<\/dd>\n

major scale<\/dfn><\/dt>\n
\n

arrangement of stepwise notes using the following interval pattern: whole - whole - half - whole - whole - whole - half<\/p>\n<\/dd>\n

major\/minor<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

mediant<\/dfn><\/dt>\n
\n

scale degree 3<\/p>\n<\/dd>\n

melisma<\/dfn><\/dt>\n
\n

a group of two or more notes that are sung on a single syllable<\/p>\n<\/dd>\n

melodic minor scale<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

melodic sequence<\/dfn><\/dt>\n
\n

process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level<\/p>\n<\/dd>\n

meter<\/dfn><\/dt>\n
\n

periodic measure for organizing rhythmic durations in time; sometimes also used as a synonym for \"time signature\"<\/p>\n<\/dd>\n

minor<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

minor pentatonic<\/dfn><\/dt>\n
\n

five-note scale featuring scale degrees 1, 3, 4, 5, and 7 from the natural minor scale<\/p>\n<\/dd>\n

mixolydian<\/dfn><\/dt>\n
\n

scale that features the following interval pattern: whole - whole - half - whole - whole - half - whole<\/p>\n<\/dd>\n

mode mixture<\/dfn><\/dt>\n
\n

use of chromatic chords that exist diatonically in the parallel major or minor mode<\/p>\n<\/dd>\n

model<\/dfn><\/dt>\n
\n

with regard to melodic sequence, the first iteration of sequential material<\/p>\n<\/dd>\n

modes<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

modified strophic form<\/dfn><\/dt>\n
\n

strophic form in which settings of one or more strophes are varied<\/p>\n<\/dd>\n

monophonic<\/dfn><\/dt>\n
\n

texture consisting of a single melody (no accompaniment)<\/p>\n<\/dd>\n

Nashville Number System<\/dfn><\/dt>\n
\n

system for labeling chord progressions, using Arabic numbers and symbols to show chord function and alterations<\/p>\n<\/dd>\n

natural minor scale<\/dfn><\/dt>\n
\n

scale that features the following interval pattern: whole - half - whole - whole - half - whole - whole; also the scale that corresponds with the minor key signature<\/p>\n<\/dd>\n

Neapolitan sixth<\/dfn><\/dt>\n
\n

striking major triad with predominant function built off the root of lowered scale degree 2 (\u201cra\u201d), most often found in first inversion<\/p>\n<\/dd>\n

neighboring tone<\/dfn><\/dt>\n
\n

non-chord tone that is approached by step and resolved by step in the opposite direction<\/p>\n<\/dd>\n

neutral position<\/dfn><\/dt>\n
\n

position for chords with exactly an octave between soprano and tenor<\/p>\n<\/dd>\n

non-chord tones<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

notehead<\/dfn><\/dt>\n
\n

in Western musical notation, a circular shape that is placed on a space or line of a staff to represent a pitch<\/p>\n<\/dd>\n

NT<\/dfn><\/dt>\n
\n

abbreviation for neighboring tone, which is a non-chord tone that is approached by step and resolved by step in the opposite direction<\/p>\n<\/dd>\n

oblique<\/dfn><\/dt>\n
\n

motion in which one part moves, while the other stays on the same pitch<\/p>\n<\/dd>\n

octave designations<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

open position<\/dfn><\/dt>\n
\n

position for chords with more than an octave between soprano and tenor<\/p>\n<\/dd>\n

outro<\/dfn><\/dt>\n
\n

synonym for \"coda\" used in pop music analysis, which refers to a section at the end of a piece<\/p>\n<\/dd>\n

PAC<\/dfn><\/dt>\n
\n

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 (\u201cdo\u201d) in the soprano melody or main melodic part<\/p>\n<\/dd>\n

parallel<\/dfn><\/dt>\n
\n

the relationship between keys that have the same tonic, but a different key signature<\/p>\n<\/dd>\n

parallel fifths<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

parallel motion<\/dfn><\/dt>\n
\n

motion resulting from two parts moving in the same direction (both up or both down) by the same \u201camount\u201d such that the starting and ending intervals are of the same number\/size (e.g., parallel thirds)<\/p>\n<\/dd>\n

parallel period<\/dfn><\/dt>\n
\n

unit of form that features (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014in which (2) both the antecedent and consequent phrase begin the same way melodically<\/p>\n<\/dd>\n

passing four-three<\/dfn><\/dt>\n
\n

seventh chord in second inversion whose bass note is preceded by step and resolves by step in the same direction<\/p>\n<\/dd>\n

passing six-four<\/dfn><\/dt>\n
\n

type of second inversion triad whose bass note is preceded by step and resolved by step in the same direction<\/p>\n<\/dd>\n

passing tone<\/dfn><\/dt>\n
\n

non-chord tone that is approached by step and resolved by step in the same direction<\/p>\n<\/dd>\n

PC<\/dfn><\/dt>\n
\n

abbreviation for \"plagal cadence,\" which refers to the cadence type that features subdominant to tonic<\/p>\n<\/dd>\n

PED<\/dfn><\/dt>\n
\n

abbreviation for pedal non-chord tone, which is a type of non-chord tone that is prepared and resolved by same note<\/p>\n<\/dd>\n

pedal six-four<\/dfn><\/dt>\n
\n

type of second inversion triad with an embellishing function by keeping the bass note of the chord preceding and following it<\/p>\n<\/dd>\n

pedal tone<\/dfn><\/dt>\n
\n

type of non-chord tone that is prepared and resolved by same note<\/p>\n<\/dd>\n

pentatonic scale<\/dfn><\/dt>\n
\n

five-note scale; two primary types in tonal music\u2014the major pentatonic, a subset of major (1 2 3 5 6), and minor pentatonic, a subset of natural minor (1 3 4 5 7)<\/p>\n<\/dd>\n

perfect<\/dfn><\/dt>\n
\n

with regard to intervals, the quality of simple intervals of unisons, fourths, fifths, and octaves, as well as their compound interval equivalents<\/p>\n<\/dd>\n

perfect authentic cadence<\/dfn><\/dt>\n
\n

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 (\u201cdo\u201d) in the soprano melody or main melodic part; abbreviated as \"PAC\"<\/p>\n<\/dd>\n

perfect consonances<\/dfn><\/dt>\n
\n

the intervals P1, P5, and P8, as well as their compound interval equivalents<\/p>\n<\/dd>\n

period<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

periodicity<\/dfn><\/dt>\n
\n

the phenomenon of regularly recurring rhythmic or durational cues signaling a stable meter<\/p>\n<\/dd>\n

phrase<\/dfn><\/dt>\n
\n

musical passage that concludes with a cadence<\/p>\n<\/dd>\n

phrase group<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

phrygian<\/dfn><\/dt>\n
\n

scale that features the following interval pattern: half - whole - whole - whole - half - whole - whole<\/p>\n<\/dd>\n

phrygian half cadence<\/dfn><\/dt>\n
\n

special type of half cadence that can occur in minor keys, which features iv6 - V<\/p>\n<\/dd>\n

pitch<\/dfn><\/dt>\n
\n

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)<\/p>\n<\/dd>\n

pivot chord<\/dfn><\/dt>\n
\n

chord that enacts a modulation by possessing one function in the old key and another function in the new key<\/p>\n<\/dd>\n

plagal cadence<\/dfn><\/dt>\n
\n

cadence type that features subdominant to tonic; abbreviated as \"PC\"<\/p>\n<\/dd>\n

plagal expansion<\/dfn><\/dt>\n
\n

progression that uses the supertonic chord followed by the subdominant to extend predominant function before resolving to tonic<\/p>\n<\/dd>\n

polyphonic<\/dfn><\/dt>\n
\n

textures that feature two or more independent parts, all generally equal in importance<\/p>\n<\/dd>\n

power chords<\/dfn><\/dt>\n
\n

open fifth chords, usually played on guitar with distortion<\/p>\n<\/dd>\n

pre-chorus<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

predominant chord function<\/dfn><\/dt>\n
\n

a tonal function that typically precedes dominant function; chords with predominant function include the subdominant triad and chords built on scale degree 2<\/p>\n<\/dd>\n

primary diatonic chords<\/dfn><\/dt>\n
\n

the chords built on scale degrees 1, 4, and 5<\/p>\n<\/dd>\n

primary theme group<\/dfn><\/dt>\n
\n

the first theme or set of themes presented in a sonata form exposition, which are in the tonic key; abbreviated as \"P\"<\/p>\n<\/dd>\n

primary tonal functions<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

PT<\/dfn><\/dt>\n
\n

abbreviation for passing tone, which is a non-chord tone that is approached by step and resolved by step in the same direction<\/p>\n<\/dd>\n

quality<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

quantity<\/dfn><\/dt>\n
\n

for intervals, the number of steps between two notes, including the starting and ending note<\/p>\n<\/dd>\n

re-transition<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

real sequence<\/dfn><\/dt>\n
\n

type of melodic sequence that replicates the exact intervallic profile (both quantity and quality) of all intervals of the model, regardless of the key<\/p>\n<\/dd>\n

recapitulation<\/dfn><\/dt>\n
\n

the third main large section of a sonata form, which restates the primary and secondary theme material, but now in the tonic key<\/p>\n<\/dd>\n

refrain<\/dfn><\/dt>\n
\n

\"a line or pair of lines that recur throughout the song\" (Endrinal 2011)<\/p>\n<\/dd>\n

relative<\/dfn><\/dt>\n
\n

the relationship between keys that have different tonics but share the same key signature<\/p>\n<\/dd>\n

relative scales<\/dfn><\/dt>\n
\n

the relationship between scales that have different tonics but the same collection of notes or key signature<\/p>\n<\/dd>\n

rest<\/dfn><\/dt>\n
\n

symbol denoting a duration of silence<\/p>\n<\/dd>\n

RET<\/dfn><\/dt>\n
\n

abbreviation for retardation, which is a type of non-chord tone that is prepared by same note and resolves up by step<\/p>\n<\/dd>\n

retardation<\/dfn><\/dt>\n
\n

type of non-chord tone that is prepared by same note and resolves up by step<\/p>\n<\/dd>\n

retrogression<\/dfn><\/dt>\n
\n

term used by some scholars to describe the progression I - V - IV - I<\/p>\n<\/dd>\n

rhythm<\/dfn><\/dt>\n
\n

musical organization of attacks and durations in time<\/p>\n<\/dd>\n

riff<\/dfn><\/dt>\n
\n

short repeated musical gesture<\/p>\n<\/dd>\n

Roman numeral<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

root<\/dfn><\/dt>\n
\n

the fundamental note from which a chord is built<\/p>\n<\/dd>\n

root position<\/dfn><\/dt>\n
\n

designation for chords whose lowest note is also the root of the chord<\/p>\n<\/dd>\n

round<\/dfn><\/dt>\n
\n

imitative song in which the melody may be sung by more than one person with regularly staggered entrances to create harmony<\/p>\n<\/dd>\n

rounded binary<\/dfn><\/dt>\n
\n

term describing pieces in binary form in which a portion of the A section returns at the end of the B section<\/p>\n<\/dd>\n

SATB<\/dfn><\/dt>\n
\n

abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/dd>\n

scale<\/dfn><\/dt>\n
\n

arrangement of stepwise notes, from which melodies and harmonies are formed<\/p>\n<\/dd>\n

second inversion<\/dfn><\/dt>\n
\n

position of a chord when its fifth is the lowest sounding note<\/p>\n<\/dd>\n

secondary diatonic chords<\/dfn><\/dt>\n
\n

chords built on scale degrees 2, 3, 6, and 7<\/p>\n<\/dd>\n

secondary diminished chord<\/dfn><\/dt>\n
\n

chords built on a secondary leading tone that tonicize any non-tonic major or minor triad<\/p>\n<\/dd>\n

secondary dominant<\/dfn><\/dt>\n
\n

any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic<\/p>\n<\/dd>\n

secondary leading tone<\/dfn><\/dt>\n
\n

in a secondary dominant chord, the leading tone of the tonicized key<\/p>\n<\/dd>\n

secondary theme group<\/dfn><\/dt>\n
\n

the second theme or set of themes in a sonata form exposition, presented in a key other than tonic; abbreviated as \"S\"<\/p>\n<\/dd>\n

sectional<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

sequence<\/dfn><\/dt>\n
\n

a common compositional process that uses a series of successively occurring rhythmic, melodic, and\/or harmonic patterns<\/p>\n<\/dd>\n

seventh<\/dfn><\/dt>\n
\n

with regard to chords, the note that appears a seventh above the root when the chord is in root position<\/p>\n<\/dd>\n

seventh chords<\/dfn><\/dt>\n
\n

chords consisting of four notes stacked in thirds<\/p>\n<\/dd>\n

shuttle<\/dfn><\/dt>\n
\n

system of harmonic organization in which two chords alternate for the entirety of a recording or section of a recording<\/p>\n<\/dd>\n

similar<\/dfn><\/dt>\n
\n

motion resulting from two parts moving in the same direction (both up or both down)<\/p>\n<\/dd>\n

simple binary<\/dfn><\/dt>\n
\n

term describing pieces in binary form that do not feature material from the A section in the B section<\/p>\n<\/dd>\n

simple intervals<\/dfn><\/dt>\n
\n

intervals smaller than a ninth: unisons (1), seconds (2), thirds (3), fourths (4), fifths (5), sixths (6), sevenths (7), and octaves (8)<\/p>\n<\/dd>\n

simple meters<\/dfn><\/dt>\n
\n

meters that divide each beat into equal groups of two<\/p>\n<\/dd>\n

simple ternary<\/dfn><\/dt>\n
\n

designation for three-part (ABA) forms whose sections do not have internal forms<\/p>\n<\/dd>\n

simple verse-chorus form<\/dfn><\/dt>\n
\n

type of verse-chorus form that uses the same harmonic material in both verse and chorus; the only difference between sections is lyrical content<\/p>\n<\/dd>\n

six-four chord<\/dfn><\/dt>\n
\n

triad in second inversion, meaning the fifth of the chord is the lowest sounding note<\/p>\n<\/dd>\n

slur<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

solfege<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

sonata form<\/dfn><\/dt>\n
\n

sophisticated formal design in which two theme groups are presented in contrasting keys, developed, and returned to in the tonic key<\/p>\n<\/dd>\n

staff<\/dfn><\/dt>\n
\n

in Western musical notation, a set of lines and spaces, each representing a different pitch<\/p>\n<\/dd>\n

stanza<\/dfn><\/dt>\n
\n

synonym for strophe; refers to a formal section that recurs with the same melody and harmonic material, but with different lyrics in each iteration<\/p>\n<\/dd>\n

stem<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

strophe<\/dfn><\/dt>\n
\n

term referring to one section in a strophic song; also called a verse or stanza<\/p>\n<\/dd>\n

strophic<\/dfn><\/dt>\n
\n

form consisting of repeating sections (called strophes, verses, or stanzas), each with different lyrics set to the same melody and harmonic content<\/p>\n<\/dd>\n

submediant<\/dfn><\/dt>\n
\n

scale degree 6, or the chord built on scale degree 6<\/p>\n<\/dd>\n

subtonic<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

subtonic triad<\/dfn><\/dt>\n
\n

triad built on the scale degree a whole step below tonic (\"te\" in moveable-do solfege), derived from the natural minor scale<\/p>\n<\/dd>\n

supertonic<\/dfn><\/dt>\n
\n

scale degree 2, or the chord built on scale degree 2<\/p>\n<\/dd>\n

SUS<\/dfn><\/dt>\n
\n

abbreviation for suspension, a non-chord tone that is prepared by same note and resolves down by step<\/p>\n<\/dd>\n

suspension<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

symmetrical<\/dfn><\/dt>\n
\n

term used to describe pieces in binary form in which the length of the sections is the same, or nearly the same<\/p>\n<\/dd>\n

syncopation<\/dfn><\/dt>\n
\n

the process of placing rhythmic attacks in metrically weak positions, or \"off\" the beat<\/p>\n<\/dd>\n

T-P-D<\/dfn><\/dt>\n
\n

abbreviation for tonic - predominant - dominant harmonic function<\/p>\n<\/dd>\n

tail refrain<\/dfn><\/dt>\n
\n

optional device used in some strophic forms in which each verse concludes with the same lyrics<\/p>\n<\/dd>\n

tempo<\/dfn><\/dt>\n
\n

speed at which a piece of music is played; often measured in beats per minute (bpm)<\/p>\n<\/dd>\n

terminally climactic form<\/dfn><\/dt>\n
\n

form design in popular music that features an \"expected memorable highpoint (the chorus)\" balanced with a \"thematically independent terminal climax, the song\u2019s actual high point, which appears only once at the end of the song\u201d (Osborn 2013, 23)<\/p>\n<\/dd>\n

ternary form<\/dfn><\/dt>\n
\n

formal design in which the piece comprises three large sections, where the outer sections are roughly equivalent in proportion<\/p>\n<\/dd>\n

tetrachord<\/dfn><\/dt>\n
\n

synonym for the interval of a fourth<\/p>\n<\/dd>\n

textural rhythm<\/dfn><\/dt>\n
\n

rate of textural change<\/p>\n<\/dd>\n

third<\/dfn><\/dt>\n
\n

with regard to chords, the note that appears a third above the root when the triad is in its most compact form<\/p>\n<\/dd>\n

third inversion<\/dfn><\/dt>\n
\n

position of a chord when its seventh is the lowest sounding note<\/p>\n<\/dd>\n

tie<\/dfn><\/dt>\n
\n

symbol that connects two durations together, with no separation between them or attack on the second duration<\/p>\n<\/dd>\n

timbre<\/dfn><\/dt>\n
\n

\"the perceptual quality of sound\u201d (Eidsheim 2008, 158)<\/p>\n<\/dd>\n

time signature<\/dfn><\/dt>\n
\n

in Western musical notation, a symbol containing two numbers, which shows how the meter is organized<\/p>\n<\/dd>\n

tonal cell<\/dfn><\/dt>\n
\n

short passage of music in a new key, longer than a tonicization but not a full modulation<\/p>\n<\/dd>\n

tonal sequence<\/dfn><\/dt>\n
\n

type of melodic sequence that maintains the quantity (number) of each interval, but not necessarily the quality, in order to fit within a key<\/p>\n<\/dd>\n

tonic<\/dfn><\/dt>\n
\n

the first note of a tonal scale, or the chord built on the first note of a tonal scale<\/p>\n<\/dd>\n

tonic chord function<\/dfn><\/dt>\n
\n

the most stable tonal function of repose, resolution, or conclusion, exemplified by the triad built on scale degree 1<\/p>\n<\/dd>\n

tonicization<\/dfn><\/dt>\n
\n

process in which a secondary dominant appears, temporarily destabilizing the tonic key and resolving to a different, albeit momentary, new tonic<\/p>\n<\/dd>\n

transitional theme<\/dfn><\/dt>\n
\n

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\"<\/p>\n<\/dd>\n

transposing instrument<\/dfn><\/dt>\n
\n

instrument that sounds at a different pitch than notated<\/p>\n<\/dd>\n

triad<\/dfn><\/dt>\n
\n

type of chord that consists of three notes, stacked in thirds<\/p>\n<\/dd>\n

tritone<\/dfn><\/dt>\n
\n

term referring to the dissonant interval, the A4, and its enharmonic equivalent, d5<\/p>\n<\/dd>\n

twelve-bar blues<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

two-reprise form<\/dfn><\/dt>\n
\n

binary form whose large sections use repeat signs<\/p>\n<\/dd>\n

types of motion<\/dfn><\/dt>\n
\n

the four ways in which two melodic lines may interact with one another: (1) parallel, (2) similar, (3) contrary, or (4) oblique<\/p>\n<\/dd>\n

unequal fifths<\/dfn><\/dt>\n
\n

motion between two voices that move from a d5 to P5 or vice versa<\/p>\n<\/dd>\n

verse<\/dfn><\/dt>\n
\n

in form, the sections that feature different lyrics in each iteration, but with the same melody and harmonic content<\/p>\n<\/dd>\n

verse-chorus form<\/dfn><\/dt>\n
\n

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<\/p>\n<\/dd>\n

whole step<\/dfn><\/dt>\n
\n

interval that spans two half steps<\/p>\n<\/dd>\n

whole tone scale<\/dfn><\/dt>\n
\n

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