AP Music Theory Organized by: Vincent Zhang

Difficult/forgettable terms
Chapter 1
Cautionary Accidental: specify accidental used early in the measure by adding parentheses.
Example: (b), (#), (♮)...
Ledger Lines: are small lines that extend the staff while keeping the five lines and
four spaces.

Chapter 2
Duration: the length of time sound (or silence) occurs.
Subdivision: the division of the beat into two or three equal parts.
Duple: two beats per measure OR Strong weak.
Triple: three beats per measure OR Strong weak weak.
Quadruple: four beats per measure OR Strong weak Less strong Weak.

Duple Triple Quadruple

Simple 2 3 4

Compound 6 9 12

Alla Breve: cut time, a substitute signature for 2/2.

Asymmetrical Meter: meters that have beat units of unequal length. Example: ⅞, this could
mean 2+3+2 OR 3+4.
Anacrusis: songs begin on a beat that precedes the first beat; pick-up note(s).

Chapter 3
Scalar Variance: the use of natural, harmonic, and melodic minor within one composition.
Solmization: a system of designating notes of the scale by the solfege syllables
Solfeggio: term for the method of sight-singing using these syllables.

Chapter 5
Doubly Augmented: when a major or perfect interval is made one whole step larger, without
changing the letter names of the pitches.
Doubly Diminished: when a minor or perfect interval is made one whole step smaller,
without changing the letter names of the pitches.
Compound Interval: intervals that are larger than an octave.
Tertian Harmony: harmony built on thirds.
Chapter 6
Imperfect Authentic Cadence (IAC): vii0 OR viio6-I is considered an imperfect IAC. Also,
the note in soprano isn’t a tonic note of the chord and is also considered an IAC.
Phrygian Half Cadence (PHC): only occurs in harmonic minor; iv6-V.

Chapter 8
Contrary Motion: opposite directive of melody and bass.
Oblique Motion: one voice remains on the same note, and the other melody has the option to
move either up or down.
Similar Motion: bass and soprano move in the same direction but at a different interval.
Parallel Motion: when bass and soprano move in the same direction and at the same interval.

Chapter 9
Circle Progression: is the movement of chords where the root (not necessarily the bass) of
each chord is a diatonic fifth above the next chord.
Progression by Second: is the movement of chords where the root of each chord is either up
or down to the next note in the scale.
Progression by Third: is the movement of chords where the root of each chord is either up or
down by a third.

Chapter 10
Leitmotif: a motive thematically associated with a person, place, or idea is called a leitmotif.
Literal Repetition: is exact repetition in the same voice
Octave Displacement: refers to moving one or more notes of the melody to a different octave
Rhythmic Displacement: keeps the original rhythmic structure intact but moves it to a
different place in the measure

Chapter 16
Alberti Bass: accompaniment figure played on a keyboard instrument with the left hand. The
chords of the Alberti bass are played as arpeggios, or broken chords, usually(1-5-3-5-3-5-).
Contour: refers to the sequence of motions between notes of a melody. In other words, the
contour is a measurement of how a melody moves between individual notes.
Instrumentation Continuo: an accompaniment part in Baroque music, which provides a
bassline for the other parts and adds harmony.
Obbligato: an elaborate especially melodic part accompanying a solo or principal melody and
usually played by a single instrument.
Tessitura: general range of a performer (usually vocal) that is the most comfortable, and
presents the best-sounding, most characteristic tone quality (timbre).
Heterophony/heterophonic: in heterophonic music, there is only one melody, but different
variations of it are being sung or played at the same time.
Antiphonal: antiphonal singing, alternate singing by two choirs or singers (monophonic
texture).