Michael Huerta

AP Music Theory Vocabulary

Form
Cadence: A stylized close in music which divides the music into periods or brings it to a full
conclusion.
Cadential extension: delay of cadence by addition of material
Coda: conclusion of a composition
Codetta: marks end of sonatas, ends in a perfect cadence; not necessarily signals the end of
the piece; a smaller version of a coda
Contour: shape of the melody
Countermelody: A second but subordinate melodic line sometimes found in music which has a
melody and an accompaniment
Elision (phrase elision): the shortening of a theme or phrase by removing particular notes; see
also 'interpolation'
Fragment (fragmented motive): a small part, particularly a part broken off
Introduction: A preparatory movement, usually in a slow tempo to introduce a larger
composition. The term is chiefly applied to Classical and Romantic music, but is not exclusively
applicable to those eras.
Jazz and pop terms
bridge: Transitional passage connecting two sections of a composition.
chorus: A fairly large company of singers who perform together, usually in parts.
-A composition to be performed by a chorus.
-The refrain of a song.
song form (AABA): this type of song has an opening section (A), a bridge (B) before
transitioning to the final A section. This song form is used in a variety of music genres
including pop, gospel and jazz.
turnaround: passage at end of a section which leads to the next section, often repetition
of previous section
twelve-bar blues: three four-bar phrases, aab or abc patter, most commonly I/I/I/I/IV/IV/I/
I/V/IV/I/I
Melodic procedures
augmentation: Statement of a melody in longer note values, often twice as slow as the
original.
conjunct: Stepwise
diminution: division
disjunct: motion or movement where the notes in a melody move in leaps, intervals
greater than a tone, rather than from note to neighbouring notes only a semitone or tone
different
extension, phrase extension:
fragmentation: division of a musical idea into segments
internal expansion: phrase extends beyond the expected phrase length
inversion, melodic inversion:
literal repetition: sequences are repeated, indicated by repeat sign, capo, or segno
motivic transformation: when rhythmic theme is changed
 octave displacement: taking a melodic line and moving some of the notes into a
different octave
retrograde: This occurs when in a melodic line is performed backwards.
rhythmic transformation: multiplication, rotation, permutation (i.e. transposition, inversion,
and retrograde), and combinations thereof involving rhythm
sequence: pattern that is repeated immediately in the same voice but that begins on a
different pitch class
sequential repetition: Transposing a longer sequence to a different scale degree; may be
diatonic or intervalically exact.
transposition: to write or play music in some key other than the original
truncation: utilizing a melody with part of the end omitted
Motive: A short tune or musical figure that characterizes and unifies a composition. It can be of
any length, but is usually only a few notes long. A motif can be a melodic, harmonic or rhythmic
pattern that is easily recognizable throughout the composition.
Period: A complete musical thought, concluded by a cadence, having two phrases, each usually
two to eight measures in length, called the antecedent and the consequent.
antecedent: The subject of a fugue or canon; the first phrase of a musical period
consequent: The answer in a fugue, or point of imitation. A musical phrase which follows
another, similar phrase. In a musical period, the antecedent and consequent are two
balancing halves, somewhat like a rhymed couplet in poetic verse, with the movement of
the first half completed by the second.
contrasting period: period in which phrase beginnings are not similar
double period: four phrases in two pair, cadence at end of second pair is stronger than
cadence at the end of the first pair
parallel period: melodic material that begin the two halves of the periods are similar
Phrase group: group of phrases seem to belong together without forming period or double
period
Refrain: music that is repeated after each stanza (verse); Also called the chorus or burden
Small forms: I didn't find a definition for this one (type small forms)
binary: movement with two main sections
rounded binary: A B 1/2 A almost identical to ternary
simple binary: no return in part two of thematic material (in the tonic) from part one
ternary: A B A, or statement-contrast-return
Solo: a musical composition or a passage or section in a musical composition written for
performance by one singer or instrumentalist, with or without accompaniment
soli: A directive to perform the indicated passage of a composition with an entire section of an
ensemble as opposed to the directive solo where only one member of the section performs.See
also solo. the whole section plays
Stanza: two or more sections of a song have similar music and different lyrics
Strophic: A A' A''-repetition of one formal section
Theme: The musical basis upon which a composition is built. Usually a theme consists of a
recognizable melody or a characteristic rhythmic pattern. The theme may sometimes be called
the subject.
thematic transformation: The alteration of themes for the sake of changing their
character while still having the base identity.
Through-composed: coninuous, non-sectional, non-repetitive
Tutti: every instrument playing together
Variation: material is altered during repetition
Verse: 1. Solo passage from the Gradual which precedes the response.
Cadence Types:

Authentic: last two chords are V then I, does not meet perfect authentic cadence requirements
imperfect authentic: Does not have the tonic in the soprano. Anything that's not a perfect
authentic but is V to I.
perfect authentic: last two chords are V then I, both are in root position and the soprano
holds the tonic of the i chord
Conclusive cadence: a cadence ending with the tonic triad. The choice of melodic pitch,
penultimate chord, and the metric placement of the tonic triad are three
among many factors that determine the relative strength of a conclusive
cadence. The conclusive cadences are the authentic (V-I) and plagal
(IV-I).
Deceptive: chord moves from V to anything other than I (or i in minor)
Half: Last chord is V
Phrygian half:
1) In harmonic minor
2) iv^ -> V
3) Bass moves from 6 ->5
Inconclusive cadence: a cadence ending with a chord other than the tonic triad. The
inconclusive cadences are the half ( -V) and the deceptive (V-vi, or,
more generally, V followed by some chord other than the expected I).
Plagal: last two chors are IV then I

Chord Quality

Triads: a triad is a set of three notes that can be stacked in thirds.

augmented or +: A major third under a major third
diminished or : A minor third under a minor third
major or M: A major third under a minor third
minor or m: A minor third under a major third
Seventh chords: A seventh chord is a chord consisting of a triad plus a note forming an interval
of a seventh above the chord's root.
major seventh (MM; M7) (major-major): major triad with major seventh, seventh chords
resolve down
dominant seventh (Mm7) (used for major-minor seventh chords exercising a
dominant function):
major-minor seventh (Mm7) (same quality as dominant seventh without
denoting function): also called dominant chord, major triad with minor seventh
minor seventh (m7; mm) (minor-minor): minor triad with minor seventh
half-diminished seventh ( 7 ; dm) (diminished-minor): diminished triad with minor
seventh
fully-diminished seventh ( 7; dd) (diminished-diminished): diminished triad with
diminished seventh
Functions and Progressions

Scale degrees/diatonic chord names

tonic: The first scale degree (Do)
supertonic: The second scale degree (Re)
mediant: The third scale degree (Mi)
subdominant: The fourth scale degree (Fa)
dominant: The fifth scale degree (So)
submediant: The sixth scale degree (La)
subtonic: The diminished seventh scale degree in a minor scale (Te)
leading tone: The seventh scale degree (Ti)
Functions
tonic function: Leads to tonic, sets up PAC or IAC
dominant function: leads to tonic, sets up half cadence
predominant function: sets up dominant tonic tonailities
Circle of fifths: keys or tonalities ordered by ascending (for sharp keys) or descending (for flat
keys) intervals of a fifth
Deceptive progression: The root of a secondary dominant can move up stepwise in its own
deceptive progression
Harmonic rhythm: The rate of chord change, or the series of durational patterns formed by the
chord changes in a musical work.
Modulation: change of tone within a piece
common tone modulation: using one or more tones that are common to both keys as an
intersection b/w them
phrase modulation: modulations without common chords or tones
pivot chord modulation: using one or more chords that are common to both keys as an
intersection b/w them
Neighboring chord: A Passing or Neighbour chord is a chord used with the same function as a
linking or prolonging chord.
Rate of harmonic change: How fast or slow chords modulate or change.
Retrogression: series of chords that weaken tonality
Secondary dominant: the V or Dominant of a key other than Tonic
Secondary leading tone chord: A leading-tone chord that functions as an applied, or secondary,
dominant; usually a fully diminished seventh chord.
Tonicization: a chord other than tonic that seems to the ear to be a temporary tonic
Nonharmonic Tones (Nonchord Tones)
Anticipation: approached by step or leap, same tone as following note
Appoggiatura: approached by leap, resolved by step
Embellishment: melodic decoration
Escape tone (chappe): approached by step, resolved by leap
Neighboring tone (auxiliary tone, embellishing tone, neighbor note)
double neighbor: involves one note on top of the other
lower neighbor: approached by step down, resolved by step to the original note
upper neighbor: approached by step up, resolved by step down to the original note
neighbor group (cambiata, changing tones, changing notes): consists of two consecutive
non-chord tones. The first moves in one direction by a step from a chord tone, then skips by a
third in the opposite direction to another non-chord tone, and then finally resolves back to the
original chord tone.
Ornament: nonharmonic tones
Passing tone (accented, unaccented): approach my step, resolve by step, moving in the same
direction
Pedal point: suspension of same note throughout
Preparation: tone preceding suspension
Resolution: When the dissonant note is changed to a consonant one.
Retardation: opposite of a suspension; resolves up instead of down
Suspension: a tone held from one chord into another, and then resolved down to the chordal
note
rearticulated suspension: suspension that is rearticulated on the beat
suspension chain: resolution of one suspension serves as preparation for another

Spacing/Voicing/Position

Close position: less than an octave b/w soprano and tenor

Doubling: only double root
Open position: an octave or more b/w soprano and tenor

Voice Leading

Common tone: In a chord progression, a note which belongs to both chords

Contrary motion: voices moving in different direction
Cross relation (false relation): simultaneous or adjacent occurrence of anote in its natural and
chromatically inflected (#/b) form in different voices (sounds dissonant)
Crossed voices (voice crossing): do not allow any poart to cross above soprano or below bass
Direct fifths (hidden fifths): results when the outer parts move in the same direction into a P5,
with a leap in the soprano
Direct octaves (hidden octaves): results when the outer parts move in the same direction into a
P8, with a leap int he soprano
Oblique motion: one voice stays the same, the other moves
Overlapping voices: One voice crosses above or below the previous note of another voice: For
example, the bass note moves above the previous tenor note. Objectionable.
Parallel motion: Two lines moving together in the same direction; thus, the interval separating
them remains constant (though not necessarily matching in quality.)

Miscellaneous Harmonic Terms

Arpeggio, arpeggiation: is a type of broken chord whose notes are played quickly in order as
opposed to simultaneously; to give a chord a harp-like effect (arpa is Italian for harp).
Chromatic: The chromatic scale is a musical scale with twelve pitches, each a semitone above
or below another. On a modern piano or other equal-tempered instrument, all the semitones
have the same size (100 cents). In other words, the notes of an equal-tempered chromatic scale
are equally spaced.
Common Practice Style: The composition techniques and harmonic language of the Baroque,
Classical, and Romantic eras
Consonance: pleasing to the ear
Diatonic: In the scale
Dissonance: unpleasing to the ear

Performance Terms

Antiphonal: Responsive
Articulation: the style in which an individual note is played
 arco: Directive for a musician to play a stringed instrument with a bow as opposed to
plucked or pizzicato
legato: A directive to perform a certain passage of a composition in a smooth, graceful,
connected style, as opposed to staccato. It is often indicated by a slur over the effected notes or
as an accent mark with a line over the notes to be performed in this manner.
marcato: Marked, accented, emphatic, stressed.
pizzicato: A directive to a bowed string instrument performer that the indicated notes are
to be plucked with the fingers rather than bowed (arco). The abbreviation for this term is pizz.
slur: A sign in musical notation consisting of a curved line drawn over or under a series
of notes, indicating that those notes should be played legato
staccato: A style of playing notes in a detached, separated, distinct manner, as opposed
to legato. Staccato is indicated by dots directly above or below the notehead.
tenuto: A directive to perform a certain note or chord of a composition in a sustained
manner for longer than its full duration.
Call and response: Performance style with a singing leader who is imitated by a chorus of
followers; also responsorial singing.
Dynamics: Volume and Intensity of a note
crescendo: A directive to a performer to smoothly increase the volume of a particular
phrase or passage.
diminuendo: smoothly decrease the volume of the specific passage of a composition.
terrace dynamics: Expressive style typical of some early music in which volume levels
shift abruptly from soft to loud and back without gradual crescendos and decrescendos.
pianissimo pp: A directive to a musician to perform a certain passage very softly, even
softer than piano (p ), but not as soft as pianississimo (ppp)
piano p: quiet
mezzo piano mp: Moderately soft
mezzo forte mf: Moderately loud
forte f: loud
fortissimo ff: very loud
sforzando sf; sfz: start of the note forte then drastically drop in dynamics suddenly
Improvisation, improvisatory:
Phrasing: A musical unit, often a component of a melody.
Tempo: The speed of the rhythm of a composition. Tempo is measured according to
beats per minute
adagio: A slow tempo marking between Largo and Andante; a composition
written in a slow tempo, frequently the second movement of sonatas,
symphonies
allegro: a fast tempo marking between allegretto and vivace; a comp in fast t
empo usually the first or last movement of a sonata or a symphony
andante: A moderate tempo marking between Largo and Moderato. This tempo
typically has between 76 and 108 beats per minute.
andantino: A moderate tempo marking slightly faster than Andante and slower
than Moderato
grave: The slowest tempo in music.
A directive to perform a certain passage of a composition in a solemn, grave, or
slow manner.
An extremely low pitch.
largo: A slow and solemn tempo marking, having between 40 and 60 beats per
minute.
 lento: slow
moderato: A directive to perform the designated passage of a composition in a
moderate tempo; moderately, restrained.
presto: A directive to perform the indicated passage of a composition very
quickly.
vivace: A directive to perform a certain passage of a composition in a lively or
brisk manner.
accelerando: Gradually accelerating or getting faster
ritardando: A directive to perform a certain passage of a composition with a ritard
the tempo, to gradually delay the tempo
ritenuto: A directive to perform a certain passage of a composition with a slowing
of the tempo more suddenly and extremely than a ritardando
rubato: A practice common in Romantic compositions of taking part of the
duration from one note and giving it to another. It involves the performer tastefully
stretching, slowing, or hurrying the tempo as she/he sees fit, thus imparting
flexibility and emotion to the performance.
Tremolo: a rapid reiteration
Trill: a musical ornament consisting of a rapid alternation between two adjacent notes,
usually a semitone or tone apart

Rhythm/Meter/temporal organization

Accent
agogic accent: An accent created by duration, rather than loudness or metrical position
dynamic accent: To play an indicated note louder.
metrical accent: Any beat that is strong within its metrical context.
Anacrusis (pickup; upbeat): Upbeat; a beat preceding beat one of a complete measure; a
conductor's
upward sweeping gesture prior to the downbeat
Asymmetrical meter: Time signatures with 5 or 7 as the top number
Augmentation: Statement of a melody in longer note values, often twice as slow as the original.
Bar line: The common term meaning bar or the lines drawn perpendicularly across the staff to
divide it into measures.
Beat: The regular pulse of music which may be dictated by the rise or fall of the hand or baton of
the conductor. by a metronome, or by the accents in music. See conducting patterns.
Beat type
compound: Meter in which each beat is divisible by three rather than two.
simple: Meter in which each beat is divisible by two
Changing meter: The meter changes regularly, from measure to measure, and can be indicated
by a double time signature
Cross rhythm: The simultaneous use of two or more different rhythmic patterns. Study this
excerpt from Debussy's Arabesque No. 1; note that the left hand plays in
eighth-note pairs, while the right hand plays triplets.
Diminution: A Renaissance and Baroque ornamentation which consists of the restatement of a
melody in which the note values are shortened, usually by half.
Dot, double dot: A mark that represents a duration directive in musical notation. When placed to
the right of the notehead, the dot indicates that a note should have half again its original
duration. For example, if a dot is placed to the right of a half note, the note would then have the
duration of a half note plus a quarter note.
Dotted rhythm: Rhythms that consist basically of a dotted note and a neighboring note worth
one third the duration of the entire duration of the dotted note. For example a succession of
notes composed of two note clusters, a dotted quarter note followed by an eighth note, or a
quarter note followed by a dotted half note, etc.
Duplet: A group of two notes played in the time usually taken to play three
Duration: The length of time that a note is sounded. This term can also refer to the notation of
the length of time that a note is to be sounded or the length of time that a rest should be
observed (silence).
Hemiola: the rhythmic relation of three notes in the time of two, i.e., the triplet.
Irregular meter: The time signature changes frequently -- often every measure -- and serves
more as an organizational guide than an indication of strong downbeat
Meter: Measure of time; arrangement of poetical feet; the grouping of beats into regular
patterns. The organization of rhythmic patterns in a composition in such a way that a regular,
repeating pulse of beats may continue throughout the composition.
duple: A rhythmic pattern with the measure being divisible by two. This includes simple
double rhythm such as 2/2, 4/4, but also such compound rhythms as 6/8.
quadruple: Metrical pattern with four beats to the measure; 4/4 or common time, etc
triple: A metrical pattern having three beats to a measure.
Note value: he note value is the duration of a note, or the relationship of the duration of the note
to the measure.
Polyrhythm: The use of several patterns or meters simultaneously, a technique used in 20th
century compositions.
Pulse: Music's underlying, ongoing beat
Rhythm: The subdivision of a space of time into a defined, repeated pattern. Rhythm is the
controlled movement of music in time. It may be defined as the division of music into regular
metric portions; the regular pulsation of music.
Swing rhythm: American style of jazz music originating in the 1930's. Swing was characterized
by "big band" instrumentation, a greater emphasis on solo passages, and a 4/4 tempo with an
almost even emphasis on each beat of the measure.
Syncopation: Deliberate upsetting of the meter or pulse of a composition by means of a
temporary shifting of the accent to a weak beat or an off-beat.
Tempo: The speed of the rhythm of a composition. Tempo is measured according to beats per
minute.
Tie: A curved line drawn over or under the heads of two notes of the same pitch indicating that
there should be no break between them but they should be played as a single note.
Time signature (meter signature): A symbol placed at the left side of the staff indicating the
meter of the composition. For example, a time signature of 3/4 would indicate that there are
three quarter notes in each measure and the quarter notes receive the main pulse (or beat).
Triplet: Three notes of equal length that are to be performed in the duration of two notes of
equal length.

Scales/Keys/Modes

Chromatic, chromaticism: Refers to a scale based on all 12 half-steps within an octave

Diatonic: Refers to the notes that are in the scale as indicated by the key signature
Mode:
Ionian: Sounds the same as a major scale, and follows the same step pattern.On a
piano, an Ionian mode scale is played on the white keys from C - C
 Dorian: The step pattern: whole-half-whole-whole-whole-half-whole Dorian mode can be
played on a piano on the white keys, from D - D
Phrygian: Step pattern: half-whole-whole-whole-half-whole-whole Phrygian mode can be
played on a piano on the white keys from E - E
Lydian: Step pattern: whole-whole-whole-half- whole-whole-halfLydian mode can be
played on a piano on the white keys from F - F
Mixolydian: Step pattern: whole-whole-half-whole-whole-half-whole Mixolydian mode can
be played on a piano on the white keys from G - G
Aeolian: Aeolian mode is the same as the natural minor scale. The step pattern
is:whole-half-whole-whole-half-whole-wholeAeolian mode can be played on the
piano on the white keys from A - A
Locrian: Step pattern: half-whole-whole-half-whole-whole-whole Locrian mode can be
played on a piano on the white keys from B - B
Modality: The ability of music to conform to modes other than major and minor.
Parallel key, parallel major or minor: Major and minor keys that start on the same note.
Pentatonic: scale that has five notes to an octave (think Asian music)
Relative key, relative major or minor: Major and minor scales that have the same key signature
Tetrachord: Series of four notes having a pattern of whole step, whole step, half step
Tonal/tonality: Principle of organization around a tonic, or home, pitch, based on a major or
minor scale.
Whole-tone scale: moving only by whole steps

Text/Music Relations

Lyrics: Words of a song

Melismatic: Singing one word or syllable over several notes. Study the next part of the
recitative from "Messiah:" The bass must sing the word "shake" through 21
notes. Note also the text painting: The word "shake" looks and sounds shaky!
Stanza: Poetic lyrics (or verses) which alternate with a repeating refrain. If the music is
the same for each stanza, the form is called strophic. This is like a hymn in a
hymnbook.
Syllabic: Music sung with one note per word or syllable. Study this bass recitative from
Handel's "Messiah:"

Texture

Alberti bass: An accompaniment derived from broken chords. The note sequence is:
bottom-top-middle-top. Alberti bass is generally for a keyboardist's left hand and
is characterisic of keyboard music of the Classical period.
Canon: Melody sung against itself in imitation. Canons have definite endings, vs. the
round, which can continue on and on; for example, "Row, row, row your boat."
Canonic: Also called "strict imitation", the imitation of one part by another, note for note
and interval for interval. This excerpt from Bach's Two-Part Invention No. 8 stays
in strict imitation until measure 8.
Chordal accompaniment: The underlying harmonic support for a melody; chords may be
blocked or
broken.
Contrapuntal: Pertaining to counterpoint
Counterpoint
 imitation: The linear consideration of two melodic lines sounding together
imitative polyphony: Lines sounding together using the same or simlar melodies, with the
second voice entering soon after the first.
nonimitative polyphony: Two melodies are essentially different, but are harmonious when
performed contrapuntually.
countermelody: In a piece with a prominant melody, a second melody -- the
countermelody -- is distinct but clearly subordinate to the first.
fugal imitation: Imitation of the subject which enters at a different pitch level, usually the
fourth or fifth.
Heterophony, heterophonic: Literally "different sounds." Simultaneous performance of modified
versions of the same melody. Uncommon in Western music.
Homophony, homophonic: Melody supported by accompaniment.
chordal homophony: The same, or almost the same rhythm is applied to all voices of the
musical texture, like a hymn.
chordal texture (homorhythmic): a texture where there is a "sameness of rhythm in all
parts"
melody with accompaniment: Melody is clearly prominant; supported by chordal
accompaniment
Instrumentation
brass: Division of the orchestra: Tubular wind instruments usually made of brass.
Common members are trumpet, cornet, horn, trombone, euphonium, and tuba.
continuo: Two performers who play continually throughout a performance; a cellist and a
keyboardist, both reading from figured-bass scores. Essential to ensemble music from
about 1600-1750 (the Baroque era.)
percussion: Division of the orchestra: Any instrument that makes its sound by being
struck. Common members are drums; cymbals; timpani (kettle drums); xylophones;
marimbas; and various small, unpitched instruments such as maracas, bell trees
and wood blocks.
rhythm section: That part of the band or orchestra composed of unpitched instruments
which produce their sound by being struck. The backbone of a rhythm section is the
drums.
strings: Division of the orchestra: Instruments that make their sound from strings which
are bowed or plucked. The string section is composed of violin, viola, cello, and
double bass.
timbre: The quality of a sound; "tone color"; i.e.; the reediness of an oboe; the warmth of
the cello; the brassiness of a trumpet. Pronounced tam-ber.
woodwinds: A woodwind instrument is a musical instrument which produces sound when
the player blows air against an edge of, or opening in, the instrument, causing the air to
vibrate within a resonator
Melody: A succession of single notes; the tune; the part of a song that sticks in the
memory.
Monophony, monophonic: A single melodic line with no other support
Obbligato: A part which cannot be omitted from performance; essential part; often a
descant or countermelody.
Ostinato: A melodic, rhythmic, or harmonic pattern that is repeated throughout an entire
composition or some portion of a composition.
Polyphony, polyphonic: Two or more melodies are combined; multiple melodies have equal
importance.
Bach inventions and fugues are polyphonic.
Register: Part of the range of an instrument or voice that is different from other parts; for
example, singers speak of their "head voice" and "chest voice."
Solo, soli: Individual performer (solo); or small ensemble, one performer per line (soli)
Tessitura: The general range of a composition in relation to the performer's range; i.e.; high
tessitura, low tessitura.
Tutti: italian for "all"
Walking bass: a bass line that moves steadily in a rhythm contrasting to that of the upper parts

Other Terms

Aria: A solo song within an opera or oratorio

Art song: A solo song not from an opera; often from the Romantic era
Concerto: A large-scale, multi-movement piece written for a solo instrument and orchestra
Fugue: A piece employing imitative counterpoint based on a subject that is presented
and expanded upon by two or more voices
Genre(s): Broad category
Interlude: Music written to be played between acts of a play, opera, or ballet.
Opera: Large-scale musical/theatrical piece; a play set to music and presented with full
orchestra, singers, sets, and costumes.
Prelude: A piece written to precede some other musical work or worship service; also, a
short, self-contained musical piece.
Postlude: Usually, recessional music for a worship service
Sonata: A piece written for solo instrument (such as piano) or a single-line instrument
(such as flute or cello) and piano.
Song: A song is a metrical composition intended or adapted for singing, especially one in
rhymed stanzas; a lyric; a ballad
String quartet: An ensemble of four stringed instruments: Two violins, viola, and cello. Also,
music written for this ensemble.
Symphony: Large-scale, multi-movement work for full orchestra.

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