DMA Common Exam — Music Theory Terms

1. 5-6 technique

1. Model: Also referred to as the “falling 3rds” sequence, this sequence occurs when there
is a descending stepwise line in one of the voices (often times the bass) occurring
between two chords. These two chords are repeated, along with the stepwise melodic
line, now a third lower. (Ex. F — C/E, Dm — Am/C, etc.). It is referred to as the 5-6
sequence because of the 5-6 interval relationship that occurs between the bass and one
of the other voices.

2. Variant: The same basic progression, but this time the descending melodic line is not in
the bass. This version of the 5-6 progression will feature a leaping bass, skipping down
a fourth then up a second to begin the iteration of the sequence.

2. 9:8 ratio - In 5-limit tuning, a 9:8 ratio refers to a major second. In other words, a 9:8
ratio refers to any whole step, taking the frequency of the higher tone and dividing it by
the frequency of the lower, you are left with 1.125, which converts to the fraction of 9/8.
Put simply, for every 9 cycles of vibration for the higher tone, there are 8 cycles for the
lower tone.

3. A2 - Refers to an augmented second, which sounds like and is enharmonically equal to a

minor 3rd. In common practice part-writing, the use of augmented seconds are to be
avoided.

4. A Capella - Literally “in the manner of the chapel” in Italian, is a piece or section
intended to be sung without any instrumental accompaniment. Samuel Barber “Agnus
Dei” is a wonderful example of a capella singing.

5. Additive Meter - A time signature that the beats subdivide into smaller, irregular groups.
There are a number of options of how the beats can subdivide. For example, ⅝ could be
subdivided into 3+2, or 2+3. Additionally, ⅝ could also subdivide into 4+1, or 1+4. Bela
Bartok frequency used additive meter in his compositions. Additive meter is also an
essential component of Math Rock.

6. Aggregate - A set of pitches containing all twelves pitch classes. A chromatic scale is an
example of an aggregate (C, C#, D, D#, etc.).

7. Agogic Accent - The emphasizing of a beat by altering its duration, making it longer
relative to surrounding notes of the same note value. Usually placed on a strong beat,
agogic accents are typically implied rather than directly indicated in the music.

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8. All-Interval Row - A tone row that contains 12 distinct pitch classes arranged in such a
way that it contains an example of all of the intervals within the octave.

9. All-Interval Tetrachord - A series of four pitch classes that contains all six intervals
classes (M/m 2nds, 3rds, 6ths, 7ths; Perfect 4ths & 5ths).

10. Anticipation - A non-chord tone that “anticipates” a tone that belongs to the next chord.
It may be approached by step or leap, and it resolves to the tone that it anticipates. An
example would be if the harmony sounding was a C major triad and one of the voices
plays/sings a D, anticipating the fifth of the next chord, G major. This NCT can be often
found at cadences, sounding the tonic just before the V chord resolves to I.

11. Appoggiatura - A non-chord tone that is approached by leap and resolved by step. An
example would be if the harmony sounding was a C major triad and one of the voices
leap

12. Augmentation - A compositional device in which melody, theme, or motif is presented

and developed utilizing longer note values that were previously used. An example would
be a melody that was first presented using only quarter notes which is later presented
using half-notes.

13. Axis of Symmetry - An axis of symmetry (also known as axis of inversion) refers to the
pitches around which a pitch-class set can be inverted (“flipped”) while retaining the
same pitch-class sets, making them inversionally symmetrical.

14. Balanced Binary - Balanced Binary refers to a composition that is in binary form (AB),
with each section being of equal length. A basic example would be a short 16-measure
binary piece, with sections A and B consisting of two 4-measure phrases, totally 8
measures per section. A and B are balanced by being of equal length.

15. Baßbrechung - In Schenkerian analysis, the Baßbrechung (also known as Bass

Arpeggiation) refers to the fundamental I-V-I bass pattern of a piece, which forms the
deep background of tonal works.

16. Basso Continuo - Literally “continuous bass” in Latin, this refers to a given bass line on
which harmonies are built upon. It is the “backbone”, if you will, of figured bass.

17. Bitonality vs. Polytonality - Bitonality is the simultaneous use of two keys at once (C
major and E minor); Polytonality is the use of more than two keys at once (C major, E
minor, and G major). The two keys are typically separated by voice/instrument.

18. Blues Pentatonic Scale - An adapted from of the minor pentatonic scale, the blues scale
consists of the following scale degrees: 1, b3, 4, s4, 5, b7, 1.

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19. Cantus Firmus - Literally “firm singing” or “firm chant” in Latin, cantus firmus refers to
a fixed, pre-existing melody taken from plainsong which forms the basis of a polyphonic
composition against which other lines are set in counterpoint.

20. Cardinality - Cardinality refers to set classes that have the same number of pitch classes
in them. All trichords contain three pitch classes; therefore, they are said to share the
same cardinality.

21. Chaconne - A musical dance form, typically set at a brisk tempo in triple meter,
containing a series of variations set over a short repeated ostinato in the bass.

22. Chord Planing (explain distinctions between diatonic vs. chromatic versions) - Chord
planing, also known as parallel harmony, refers to the parallel movement of two of more
lines, keeping the intervalic relationship between one another. In diatonic planning, the
voices move around according to the given key; chromatic planning introduces
accidentals foreign to the given key. Debussy often used planning, such as in The Girl
with The Flaxen Hair, and is also prominently used in Jazz.

23. Chromatic Voice Exchange - Voice exchange occurs when two separate voices switch
pitch classes through contrary motion. For example, if the bass voice is on a C and the
soprano is on an E, the bass would step up through the D to the E, and the soprano would
step down through the D to the C. The “chromatic” modifier simply means that one of the
voices introduces an accidental to the switch, such as the bass going to an Eb instead of
the En.

24. Clausula Formalis - Literally “formal close” in Latin, this refers to the end of a
composition in species counterpoint, bringing the composition to a strong and conclusive
ending by utilizing a perfect unison or octave.

25. Closely Related Keys - This refers to two separate keys which are only one accidental
apart. Any given key signature will have five closely related keys. For example, C Major
is closely related to the following keys: Dm/FM, GM/Em, and Am.

26. Coda - A coda is the closing section added on to the end of a work, forming an addition
to the basic structure. Beethoven is well known for having added long, extended codas at
the end of his pieces.

27. Combinatoriality - A twelve-tone row whose first hexachord, tetrachord, or trichord

shares no pitch class with the first hex/tetra/trichord of either its transformation or
inversion.

28. Common-Tone Augmented Sixth Chord - An augmented sixth chord utilized to prolong
another chord, sharing the third of the augmented sixth chord. It is not given a Roman

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 numeral of its own, but is simply abbreviated at CT followed by the type of augmented
sixth chord (It., Fr., Gr.). For example, a root position C major chord could be prolonged
by using a Gr+6 (Ab-C-Eb-F#), while keeping the shared C in the bass. This essentially
functions as a “neighbor chord.”

29. Common-Tone Diminished-Seventh Chord - A fully diminished seventh chord utilized

to prolong another chord with which it shares one note, specifically the root of the chord
that it is prolonging. It is not given a Roman numeral of its own, but is simply
abbreviated CT°7. For example, a root position C major chord could be prolonged by
using F#°7 (F#-A-C-Eb) serving as the CT°7, with C being kept in the bass. This
essentially functions as a “neighbor chord.”

30. Common-Tone Modulation - A modulation that takes place utilizing an isolated, shared
tone between the two keys, referred to as the pivot note. This typically modulated to a
key that is a 3rd away from the tonic. For example, if modulating between C major and E
major, the pitch class of E will be sustained/repeated, becoming the new tonic,
functioning as the pivot note.

31. Composing Out - In Schenkerian analysis, the process of how a background structure
can expand until it becomes featured on the surface of the composition. An example of
this is how the tonic triad can control or lead sections of music even when it is not
actually sounding. This can also be described as prolongation.

32. Compound Intervals - Compound intervals are used to describe the space between two
pitches with a distance greater than the octave. For example, C4 to Db5 would be a minor
9th; C4 to Dn5 would be a major 9th, etc.

33. Compound Melody - A melody that is characterized by frequent leaping between two or
more registers, implying two or more simultaneous melodic levels even though there is
actually never more than one tone being sounded at a time.

34. Concert Pitch - Concert pitch refers to the actual sounding pitch that is being produced
by any given instrument. For example, when a Bb Trumpet plays a written D, the actual
pitch produced (concert pitch) is a C.

35. Conjunct vs. Disjunct - Conjunct motion is movement by whole and/or half steps;
disjunct motion is movement by larger intervals.

36. Continuous Binary - Refers to a work in binary form, with the first section (A)
cadencing in a key other than the tonic. For example, if the A section begins in the key of
D major, but changes key and cadences in A major at the end of the A section, it is said to
be in continuous binary form.

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37. Crotchet - The British term for a quarter note.

38. Diegetic/Non-Diegetic Music - Diegetic music, also referred to as “source music” is

music in a drama (film, opera, theatre, video game, etc.), that is part of the fictional
setting and is heard by the character(s). Non-Diegetic music is music that is not part of
the fictional setting.

39. Diatonic, Chromatic, and Enharmonic Tetrachords -

1. Diatonic Tetrachord - contains an interval that is less than or equal to half the total
interval of the tetrachord.

2. Chromatic Tetrachord - contains an interval that is greater than half the total interval of
the tetrachord, but not great as fourth-fifths of the interval.

3. Enharmonic Tetrachord - contains an interval tat is greater than about four-fifths the
total tetrachord interval.

40. Diminished Third Chord - A diminished third chord is a type of modified augmented
sixth chord, in which the characteristic +6th is inverted, resulting in a °3rd. An example of
this is as follows: In C major a Ger+6 is Ab-C-Eb-F#; a Gerº3 would be F#-Ab-C-Eb,
with the F# and Ab forming the °3rd.

41. Directional Tonality vs. Implicit Tonality -

1. Directional Tonality - Also known as “progressive tonality”, this refers to a work that
begins and ends in different but equally plausible keys (yet not a change of mode, such
as a Picardy third). An example would be a work that seems to start in F major, but
ends in A minor, such as Chopin’s Ballade No. 2.

2. Implicit Tonality -

42. Dissonance - Dissonant intervals and harmonies are ones that cause tension and desire to
be resolved to consonant intervals, which are described as being more stable.

43. Dodecaphony - Another term for 12-tone music, this refers to using all 12 pitch-classes
of the chromatic scale in such a way that they are equal, having no tonic, dominant, etc.

44. Double Dotting - Double dotting a note refers to extending the durational value of a
given note by 1.75. Just like a dot to the right of a note extends it by an additional half,
the second dote adds an additional quarter of the dotted note. Example: A double dotted
quarter note is equal to: one quarter note, one 8th note, and one 16th note.

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45. Double Period - A double period consists of at least four phrases organized into an
antecedent group (phrases one and two) and consequent group (phrases three and four).
The cadences of a double period will consist of some type of weak/weak/weak/strong
relationship (or some other variation), as long as the strongest cadence occurs at the end
of the last phrase. An example of possible cadential organization of a double period is as
follows: HC, IAC, HC, PAC. The first two cadences would belong to the antecedent
group; the second two to the consequent. A double period, then, forms a type of musical
question and answer.

46. Doubly Augmented Fourth Chord - Essentially an enharmonic equivalent to the Ger+6
(marked as an EnGer+6, or even the Swiss sixth, proposed by Walter Piston), containing
a doubly augmented fourth. An example in C major is as follows: Ab-C-D#-F#, where
normally an Eb would be used instead of a D# in a Ger+6. The doubly augmented fourth
occurs between the Ab and D#.

47. Dux and Comes - In a canon or fugue, “dux” refers to the initial entering of the subject
(melody), and “comes” refers to the entering of the imitative melody in a different voice.
These words literally translate to “leader and follower” in Latin.

48. Dyad - A set of two notes sounding together. This can also be thought of and referred to
as an interval.

49. Elision - An elision occurs when phrases are joined together in an overlapping manner.
The result is that the final bar of one phrase serves also as the first bar of the next phrase.
This can result in what would typically be two phrases spread across eight measures into
seven measures.

50. Échappé - More commonly referred to as an “escape tone”, the échappé is a non-chord
tone that is approached by step and resolved by leap.

51. Enharmonic - An enharmonic refers to a tone, harmony, or key that can be written or
expressed by two different names but sounds the same. An example of this would be C#/
Db, or the kay of F# Major/Gb Major.

52. Extended tertian chords - Extended tertian chords are characterized by adding tones on
top of a seventh chord by successive thirds, resulting in a 9th, 11th, or 13th. An example
would be an F9 chord: F-A-C-Eb-G. There are many different extended tertian chords,
and the higher up on goes from the root, the more possibilities there are.

53. Fauxbourdon - Literally “false bass” in French, Fauxbourdon is a 15th century term used
to describe a style of composition in which the melody, utilizing a plainsong tune, is
moved to a lower voice.

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54. Fibonacci series - A mathematical series that continues infinitely in which the next
number in the sequence is the result of the product of the previous two: 1, 1, 2, 3, 5, 8, 13,
21, etc.

55. Figured bass (define and provide example) - A baseline with intended harmonies
indicated by figures below the notes rather than written out chords, typically found in
basso continuo parts in Baroque music. For example, if a root position triad is desired,
simply the root of the triad in the bass line is needed (such as C for the C triad); if a first
inversion is desired the third of the chord (such as E for a C triad) with 6; if a 2nd
inversion, then the fifth of the chord (G for a C triad) with 6/4.

56. Fixed do vs. moveable do - Two different systems employed for sight singing.

1. In fixed do, C is always do, regardless of the C. For example, the key of G would start
on sol, and sol would be the tonic. Do is permanently affixed to C.

2. In movable do, the do is moved around based upon what key you are in, always
representing the tonic. For example, the key of G would start on do, and do would be
the tonic. Do is not permanently fixed to C.

57. Folia Bass - An ostinato (repeated) bass line upon with a melody is built, typically in a
slow triple meter.

58. Fortspinnung - Literally “spinning forth or out” in German, this refers to the process of
developing a short motif by using sequences, intervalic changes, and repetitions.

59. Fragmentation vs. liquidation -

1. Fragmentation - the use of pieces or fragments of a musical idea, gesture, motif, or

theme.

2. Liquidation - This is when a larger musical idea, gesture, or motif is reduced to its most
essential and simplest structure.

60. Fugato - In the style of a fugue, but not in strict or complete fugal form.

61. Golden Mean - A ratio forming 1:1.618, deprived from the Fibonacci sequence.

62. Grundgestalt; Developing Variation - A term coined by Arnold Schoenberg, this refers
to the continuous reshaping of the basic shape of a piece. It is the belief that everything in
a piece can and should be traced back to the theme itself, accomplished most directly by
the repetition of the basic motif, sometimes exact, but more often involving variation.

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63. Harmonic rhythm - The rate at which harmonies change. Typically speaking, the
harmonic rhythm increases the closer one gets to a cadence.

64. Harmony vs. harmonic function - Harmony refers to a specific chord or sonorities in
question; harmonic function refers to how given chord operates within a certain key. For
example, a given harmony may be an F chord, but one does not know how that F chord
will operate unless a key is given. If we then say that that F chord is taking place within
the key of C major, then we can then understand that it is the pre-dominant IV chord,
which will generally progress either to V, or directly to I, forming a plagal cadence/
progression.

65. Hauptstimme - Literally “primary or head voice” in German, this refers to the main or
primary voice, as opposed to the secondary line or part, referred to as the Nebenstimme.

66. H-dur - B major, in German. “H” is used to refer to B in German, and “dur” is major.

67. Hemiola - This refers to the ratio of 3:2. In pitch (just intonation), it refers to the perfect
fifth, as the upper note makes three vibrations in the same amount of time that the bottom
note makes two. However, more commonly used to describe a rhythmic phenomenon,
this refers to the technique that superimposes three notes in the time of two or vice versa.
For example, in a measure of 6/8, there could be three quarter notes in the time of two
dotted quarter notes. Furthermore, in 3/4 there could be two dotted quarter notes in the
time of three quarter notes. Both examples form the ratio of 3 against 2.

68. Hexatonic collection - A six pitch-class scale, such as the whole tone, blues scale, or hexatonic
scale (alternating between half steps and minor 3rds).

69. Hypermetric techniques of contraction and expansion - Expansion refers to the

increasing of a phrase or sub-phrase lengths by the use of repetition; contraction refers to
the decreasing of a phrase or sub-phrase length.

70. Imitation vs. Sequence - Imitation is a repeated pattern by another part. A sequence
(specifically a melodic sequence) is a repeated pattern in the same voice that is repeated
beginning on a different pitch class.

71. Incremental Phasing (cite associated composer and piece) - A compositional technique
in which, typically two or more instruments, begin by playing the same musical phrase or
gesture, and incrementally offset the tempos, resulting in a phasing effect where one part
purposely falls behind the other. Steve Reich is the composed credited for having first
incorporated this in his music, and Piano Phase is one of the most notable works,
displaying this compositional device.

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72. Inégale - Literally “unequal notes” in French, this refers to a performance practice
mainly form the Baroque and Classical music eras, in which some notes with equal
written time values are performed with unequal durations.

73. Integral Serialism - A method of composition in which the twelve-tone technique is

applied to as many musical factors as possible, such as dynamics, timbre, and
articulation. Messiaen and Boulez are two composers who frequently composed in the
integrated serial idiom.

74. Intertextuality - Intertextuality describes the way in which interconnection between

works of art take place, either purposefully or accidentally. Various forms of
intertextuality include allusion, quotation, homage, or parody.

75. Interval Class Vector - An array of numbers that summarize the intervals contained in a
pitch class set consisting of 6 categories: M/m 2nds; M/m 3rds; 4ths; 5ths; M/m 6ths; and
7ths.

76. Invariance - In general, invariance describes the pitch classes that two musical events
have in common. In twelve-tone music, this refers to identical segments of different row
forms.

77. Invertible Counterpoint -A way of composing using two or more voices so that their
registral positions can be reversed, so that the higher voice becomes the lower and vice
versa, without breaking the typical conventions of counterpoint.

78. Index vs. Icon vs. Symbol -

79. Integer Notation - Integer notation is used to refers to a pitch or pitch collection with
mod 12 numbers, in which C is 0, C#/Db is 1, D is 2, etc.

80. Interruption (in the Schenkerian sense) - An interruption occurs whenever the
fundamental structure is prolonged in its descent to the tonic. For example, if the
Kopftone of a fundamental line begins on 3 and pauses on 2 (typically harmonized by a
V), then subsequently starts on 3, progresses through 2 and ends on 1, then the
fundamental line has been interrupted in its descent to 1.

81. Just Intonation - Also known as pure intonation, this is the tuning of intervals resulting
in whole number ratios (9:8=whole step, 3:2=perfect fifth, etc.)

82. Klangfarbenmelodie - Literally “sound-color-melody” in German, this is a compositional

technique that involves splitting a musical line or melody between several instruments or
voices, rather than just one, resulting in an array of different types of tone colors.

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83. K-net - Short for Klumpenhouwer Network, this is a tool of musical analysis that uses T
and/or I operations (Transposition and/or inversion) to interpret interrelations amount
pitch class sets.

84. Kopfton - In Schenkerian analysis, Kopfton refers to the starting note of the fundamental
line. It is also known as the primary tone, or literally “head tone” in German.

85. Lament Bass - A descending bass line from scale degree 1 to 4, with each step being
harmonized. This bass line could be with our without chromatic semitone An example in
C minor would be C-B-Bb-A-Ab-G, with a possible harmonization being: Cm, G/B, Bb,
Am, AbM, G (i, V6, VII, vi, VI, V).

86. Linear Intervallic Pattern (LIP) - The LIP identifies the first notes in the outer voices
for each chord in a sequence. For example, the LIP for the falling fifths sequence (I - IV -
vii° - iii, etc.) is 10-8.

87. Linear Progression (Zug) - Scalar motion that unfolds the interval(s) of an underlying
chord, and referred to by the interval that the motion spans as well as the direction of the
movement; ascending third-progression, or descending fifth-progression.

88. Linkage Technique -

89. Medial Caesura - Refers to the moment that ends the first part of the exposition in
Sonata form, and signals the upcoming arrival of the secondary theme. This moment
occurs at the end of the transition from the primary theme to the secondary theme.

90. Melodic Diminution (in the Schenkerian sense) - The four basic linear units found in
tonal music. These include the arpeggiations, consonant skips, neighbor notes, and linear
progressions (passing tones).

91. Melodic Inversion - A technique of melodic development which takes a given melody
and inverts the contour. For example, if the original melody begins with and ascending
line (i.e., C-D-E), then the melody inversion would be C-B-A. Melodic inversion can
either keep the exact semitones (which would be C-Bb-Ab), or keep it within the same
key (C-B-A).

92. Messa di Voce - Literally “placing of [the] voice” in Italian, this is a singing technique
that requires the performer to sustain a single pitch while gradually getting louder and
then softer.

93. Meter vs. Hypermeter - Meter is another term for time signature, into which beats are
organized into measures; hypermeter refers to the grouping of measures into larger
structures, into which groups of measures are organized.

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94. Metric Modulation - Also referred to as “tempo modulation,” this is a change in tempo
by pivoting on a common durational unit. For example, if the first tempo is quarter = 60
in 4/4 time, and there are two sets of quarter note triples, then a possible metric
modulation would be quarter note triplets = quarter notes, which would result now in
quarter = 90. Utilizing metric or tempo modulation enables the composer to increase or
decrease the tempo without and new tempo marking. This technique was pioneered first
by Elliot Carter in his Cello Sonata (1948).

95. Modes of Limited Transposition (cite composer and example) - Modes or scales for
with transpositions are limited, having less than 12 possibilities, unlike the major scale.
Messiaen was the first to theorize about this in his book The Technique of my Musical
Language.” The whole tone scale is one of the modes of limited transposition, as it only
has only two versions: WT0 and WT1.

96. Modulation vs. Tonicization - Tonicization occurs when a chord or short succession of
chords are borrowed from another key in order to temporarily emphasize [tonicize] a
chord in the home key. Modulation occurs when a longer succession of chords
emphasizes a new tonic, leading to the perception of a new key.

97. Modulus 12 - The system in which set theory is calculated. Essentially a clock-face with
12 replaced with 0, representing the pitch class C, all calculations are made using
modular arithmetic, as the numbers wrap around and restart when they reach 12. For
example, in mod 12, 10 + 4 is not 14, but 2. (10…11…0…1…2). In other words, what is
four hours later than 10AM? The answer is 2pm.

98. Mono-thematic - Refers to a work constructed upon a single theme. The last movement
Haydn’s Op. 74 String Quartet in C is a wonderful example of this.

99. Mordent - A rapid alteration between either the note above (upper mordent) or the note
below (lower or inverted mordent).

100. Musical Borrowing - A composition that incorporates material from one or more earlier
works, either form that composer’s own opus or from another.

101. Nachschlag - The closing note or notes typically played at the end of a trill.

102. Non-retrogradable Rhythm - A rhythm that is the same forwards and backwards. Four
quarter notes is a very simple example of a non-retrogradable rhythm.

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103. Oblique Motion - Occurs when one or mores voices/parts remain on the same pitch
while the other ascends or descends.

104. Omnibus Progression - A special type of chromatic sequence in which the bass and
another voice move in contrary motion.

105. Ordered Pitch Interval - The number of semitones from one pitch to another. For
example, C4 to E4 has the ordered pitch interval of 4.

106. Ostinato - A repeated motif, phrase, gesture or pattern in the same voice/part. This can be
repeated exactly, or slightly varied.

107. Overtone Series (write out example) - Also referred to as the harmonic series, this is the
series of notes resonating above any given note that adhere to a specific pattern. If C was
the sounding/played pitch, then the overtone series to the 8th partial would be as follows:
C2 (fundamental)…C3…G3…C4…E4…G4…B4…C…

108. Pandiatonicism (cite associated composer and piece) - Refers to the use of all diatonic
notes without the need for scale degrees or harmonies to progress or function tonally.
Copland made use of this technique in works such as Appalachian Spring.

109. Pedal Point - Occurs when a stationary pitch begins as a chord tone, becomes a NCT as
the harmonies change, and finally ends up as a chord tone again. Typically this occurs in
the bass, but can occur in any voice (inverted pedal point). Additionally, this is generally
one stationary pitch, but could occur in multiple voices at different interval levels, such as
open fifths both serving as the pedal point.

110. Pentatonic (major vs. minor) - A five note scale consisting of scale degrees 1 - 2 - 3 - 4 - 5
(major), or 1 - b3 - 4 - 5 - 7. In the key of C it would be the following: C - D - E - G - A; C - Eb -
F - G - Bb.

111. persona vs. protagonist vs. character

1. Persona - the aspect of one’s character that is presented or perceived by others

2. Character - the mental or moral qualities of an individual; the person in a novel, play,
film, or story.

3. Protagonist - the main character in a novel, play, film, or story.

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112. PLR - Utilized in Neo-Riemannian analysis, this refers to the three basic transformations
present in that system: Parallel (major/minor), Leading tone exchange, and Relative
(Major to relative minor, vice versa). For example, a C Major chord after undergoing a
PLR transformation would be an F minor chord. (C…Cm…Ab…Fm).

113. Phrase Overlap - An phrase overlap occurs when phrases are joined together in an
overlapping manner. The result is that the final bar of one phrase serves also as the first
bar of the next phrase. This can result in what would typically be two phrases spread
across eight measures into seven measures.

114. Phrase Rhythm - The rhythmic aspect of phrase contraction and the relationships
between phrases.

115. Phrygian Cadence - Also refereed to as the Phrygian Half Cadence, this is a iv6 to V cadence.

116. Pitch Centricity - Refers to a single pitch class being focused upon and considered
“home,” but specifically not a key signature. For example, C could be considered a pitch
center, yet it could be unclear if it is C major or minor. The first movement of Piston’s
third symphony features C as its pitch center throughout large sections of the work, but it
is unknown whether or not it is C major or minor.

117. Pitch vs. Pitch Class - Pitch refers to a very specific note, such as C4 (middle C). Pitch
class, on the other hand, refers simply to the note name, such as C. It is not specific to
register, as the pitch class could refer to C4, or C5, or C1 for that matter.

118. Poetic Progression vs. Stimmung -

119. Polyphonic Melody - A melody that articulates two or more distinct voices/registers,
such as the fugue subject, is called a polyphonic melody, and different voices can be
widely separated.

120. Polyrhythm vs. Polymeter - Polyrhythm is the combining of different subdivisions that
fit in the same measure. Polymeter is different voices/instruments that play different
meters at the same time.

121. Portamento - A slide from one note to another.

122. Prosody - The way in which a composer sets the text of a vocal composition with the
assignment of syllables to the notes in the melody.

123. Quartal - Harmony built upon stacked fourths, as opposed to stacked thirds (as in tertian
harmony). The sonority of C-G-D-A-E would be analyzed as: 5x4 on C.

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124. Register Transfer - This occurs when a voice maintains is relation or “status” within the
original register, but is transferred up or down an octave. For example, if the harmony is a
V and the melody is on scale degree 7, yet drops down an octave before resolving to the
tonic, that would be considered as a transfer of register.

125. Retransition (i.e., in sonata form) - In sonata form, the retransition is the concluding
part of the development section, leading back to the tonic of the main key before the
recapitulation section.

126. Retrograde Inversion - A transformation of a motif, melody, or series of pitches that

literally means “backwards and upside down.” This results in the inverse of a series of
pitches being sounded in reverse.

127. Rhythmic Modes - In medieval music, these were set patterns of long and short rhythms.
The value of the note is note determined by its appearance, but rather by its position
within a group of notes.

128. Ripieno - Literally “stuffing” or “padding” in Italian, this refers to the ensemble of
instruments accompanying a concertino, thus not the soloist(s), specifically in Baroque
music.

129. Rotational Array (cite relevant composer) - A series of six pitch classes which
undergoes transformations by moving the first pitch to the last, then the set transposed so
that the new first pitch is the same of the original set. Stravinsky often employed this
method of composition.

130. Rubato - The temporary disregarding of strict tempo in order to allow for expressive
increases and decreases in tempo, without changing the overall pace.

131. Scansion and Poetic Feet

132. Secondary Mixture - This refers to altering the quality of a given chord without using
scale degree from the parallel scale or mode. For example, starting with this progression
in major: I-vi-IV-V-I, and changing it to I-VI-IV-V-I. In C it would be: C-A-F-G-C.
Notice that the Am transforms to A major, not to Ab major, which would simply be a
borrowed chord from the parallel minor.

133. Secundal, Quartal, Quintal chords

1. Secundal - Harmony build on seconds, i.e., C-D-E-F

2. Quartal - Harmony built on fourths, i.e., C-F-Bb-Eb

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 3. Quintal - Harmony built on fifths, i.e., C-G-D-A

134. Sentence - A phrase structure characterized by a melodic statement (can either be short
motif or longer), which is immediately repeated (either exactly or with variation), leading
to a movement towards a cadence. This phrases structure can vary in length from 4
measures to 15 or more. The section that typically constitutes the bulk of this phrases
structure is the “continuation” section, which is what moves the music onwards to the
cadence.

135. Septachord - A set consisting of seven pitch classes.

136. Solmization - The process of assigning solfege syllables to each note in a musical scale.

137. Solo vs. Soli - Solo refers to a piece or section played or sung by an individual performer,
with or without the accompaniment of other instruments. Soli can be used to refer to a
small number of simultaneous parts assigned to single players throughout the ensemble.
For example, it would be a solo if a single cellist plays the melody while the orchestra
accompanies; it would be a soli if a cellist and a clarinetist played a solo while being
accompanied.

138. Song Cycle - A set of interrelated songs unified by one overarching theme, intended to
form a single musical work.

139. Spectral Composition - A technique of composing that takes the acoustical properties of
sound, such as sound’s evolution over time, as its basic material. In short, it is utilizing
sound itself (often times digitally) as the main element of composition.

140. Step Progression - A series of nonadjacent notes in a melody that form a stepwise
succession, either ascending or descending.

141. Stratification - The process of layering of musical texture and material, either rhythmic,
melodic, harmonic, or different timbres, or a combination thereof.

142. Stretto - In counterpoint, this refers to the imitation of a subject in close succession after
the subject itself, resulting in the answer entering before the subject is completed.

143. Strophic - A song form that features the same melody (or slightly varied) for all of the
verses, yet with different text. Typical strophic format is AAA, AA’A’’, or any other
variation.

144. Subset - A group of pitch classes that forms parts of a given set. For example, C-D-Eb is
a subset of C-D-Eb-F-G#-B.

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145. Symmetrical Set - This refers to a set that is either transpositionally or inversionally

146. Temperament - A system of tuning that compromising pure intervals in order to meet
other requirements, such as the ability to play within any and all keys, not needing any
new tuning between keys.

147. Tertian Chords with Added Tones - Refers to a simple chord from tertian harmony
along side a tone or tones added to it. For example, Cadd9 (or C9) would be C-E-G-D,
technically at least a 9th above the root, whereas Cadd2 (or C2) would be C-D-E-G, with
the D added a 2nd above the root. They both have the same “DNA,” if you will, but with
different distribution.

148. Tessitura - Literally “texture” in Italian, this refers to the general range of pitches found
in a vocal parts. This is separate from range, which refers to the highest and lowest note
possible for a vocalist. Though a soprano may be able to singe a A5, for example, she
may not be able to sing extended passages in that register because the tessitura is too
high.

149. Text-to-music vs. Music-to-text approach -

150. Third Species - A form of counterpoint which involves four subdivisions against every
note of the cantus firmus. For example, if the cantus firmus utilizes whole notes, then
there would be four quarter notes set against every whole note.

151. Tintinnabuli - Borrowing its name from the Latin word for a bell used in Roman
Catholic ceremonies, this is style of composition where one voice or group of voices only
articulates notes form the tonic triad, while the other voice or group of voices explores a
given scale, mostly with stepwise motion. Arvo Pärt is the composed who pioneered this
method of composition.

152. Tonal Answer (what are the specific conditions for a tonal answer vs. real answer?)

1. Tonal Answer - In a fugue, if the answer stay in the same key by altering the intervals,
then it is a tonal answer.

2. Real Answer - In a fugue, if the answer is an exact copy, using identical intervals as
the first statement, then it is a real answer.

153. Tonality - The arrangement of pitches and/or chords in a hierarchy of perceived

relationships, stabilities, attractions, and directionality, all revolving around and leading
to the tonic triad, specifically its root. The root and quality of the tonic triad (the triad
built on scale degree one) is what defines the key. For example, if the triad built upon

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 scale degree one is a C major triad, then the key is C major. All chord and melodic
progressions have a tendency to led back to the tonic note/triad, in this case C.

154. Tonnetz - Also known as a “tone net” or “tone grid,” this is a representation of the notes
in a plane revealing the structures and relationship between pitches. This grid can prove
useful in Neo-Riemannian analysis.

155. Trichord - A grouping or set of three different pitch classes.

156. Tritone Substitution - The substitution of one dominant seventh chord for another that is
three whole steps (a tritone) away from the original chord. For example, a tritone
substitution for G7 in the key of C would be Db7. The function of this Db7 is that of a
dominant, as the Db resolves down to C, the F down to E, the Ab to G, and the Cb up to
C. Another way of looking at this same harmony would be as an augmented 6th chord on
scale degree 4.

157. Unfolding (in the Schenkerian sense) - Another term for a compound melody, which is
the implication of more than one melody or line by skipping back and forth between the
notes of the two melodies.

158. Urlinie - The fundamental melodic line of a tonal composition featuring a descending
stepwise motion beginning and ending on one of the notes from the tonic triad.

159. Ursatz - The fundamental structure of a tonal work as it occurs in the background level
and in the most abstract form.

160. Viennese Trichord - A trichord named after the Second Viennese School, it is a pitch
class set with the prime form of (0,1,6).

161. Voice Crossing vs. Voice Overlap -

1. Voice crossing is when an adjacent voice goes above or below another adjacent voice.
For example, it would be voice crossing if the tenor was on a C4 and the bass was on a
E4. This is to be avoided in part-writing.

2. Voice overlap is essentially a rhythmically offset voice crossing. It is when an adjacent

voice goes above or below a pitch that was just articulated in another adjacent voice.

162. Voice Exchange - Refers to two voices (typically the bass and another voice) that move
in stepwise contrary motion the distance of a third, resulting in a swapping of their pitch
classes. For example, if the bass line is ascending on quarter notes from C-D-E, and the
soprano is descending from E-D-C, then they have undergone a voice exchange.

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163. Voice-Leading - This is the linear progression of individual lines, parts, or voices, in
accordance to common-practice counterpoint, and their interaction with one another,
creating harmony.

164. Z-related Sets - This refers to two different pitch class sets having the same intervallic
content (the same interval vector), but are not transpositionally or inversionally related.

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