MATSEC AM Music key terms

A large-scale structure built on exposition, development and recapitulation, usually with an introduction and coda, in which two contrasting key areas are stated, worked and resolved.

The opening section of a sonata-form movement that presents the main themes, moving from the tonic to a contrasting key, then closing that new key with a cadence.

The central sonata-form section that fragments, sequences and recombines exposition material, often visiting remote keys and building tension before the return of the tonic.

The sonata-form section that restates the exposition material with the second subject now in the tonic key, so that both key areas are reconciled and the movement can close.

A passage that links two formal sections or themes, often modulating to prepare the new key, as between the first and second subjects in a sonata exposition.

The modulating link within an exposition that carries the music from the tonic to the key of the second subject, often built from the first subject's motives.

A closing passage added after the main structure has reached its final cadence, confirming the tonic and giving the movement a sense of rounding off.

The contrasting theme group of a sonata movement, usually lyrical and in a related key, whose reconciliation with the tonic is the formal goal of the recapitulation.

A structure in which a recurring principal theme alternates with contrasting episodes, commonly as ABACA or ABACABA, giving a refrain-and-departure shape.

A three-part structure ABA in which a contrasting middle section is followed by a return of the opening material, often varied or abbreviated on its return.

A two-part structure AB, each part usually repeated, in which the second part often develops material from the first and ends in the tonic key.

A form in which a stated theme is followed by a series of variations that alter its melody, harmony, rhythm, texture or timbre while keeping its identity recognisable.

A short repeated bass pattern over which upper parts vary, common in Baroque music and a bass-driven form of continuous variation.

A short rhythmic or melodic figure repeated persistently, usually in the same part, while other parts change around it.

A harmonic formula that closes a phrase, such as perfect, imperfect, plagal, interrupted and half cadences, each giving a different degree of finality.

A closing progression from dominant to tonic chord, with the melody ending on the tonic, giving the strongest sense of final resolution.

A cadence ending on the dominant chord, often V after I or IV, that leaves the phrase open and expects continuation rather than final closure.

A deceptive progression in which the expected dominant-to-tonic close is replaced, typically by V to VI, producing a surprise and postponing resolution.

A change of key within a piece, achieved by introducing the new key's dominant or pivot chords so that the new tonic becomes established.

A chord shared by the old and new keys, used to make a smooth modulation by reinterpretation rather than abrupt juxtaposition.

The keynote of a key, the chord and scale degree around which a tonal piece is organised and to which it ultimately returns.

The fifth degree of a scale and the chord built on it, whose strong pull towards the tonic underpins cadences and key definition.

A major or dominant-seventh chord that temporarily tonicises a degree other than the tonic, written as V of that degree and often used to colour a progression.

A Baroque shorthand in which numbers under a bass note indicate the intervals to be played above it, leaving the keyboard player to realise the chords.

A supporting accompaniment of bass instrument plus chordal instrument, playing from a figured bass line, central to Baroque ensemble texture.

The act of turning a figured bass into actual chords at the keyboard, deciding voicing, doubling and texture according to style and context.

The art of combining independent melodic lines so that they sound well together, governed by rules of consonance, motion and imitation.

The restatement of a melodic idea in another part, either at the same pitch or transposed, a device central to fugue and canon.

A contrapuntal composition built on a subject stated in successive voices, developed through episodes and entries, with tonal answers and stretto possible.

The principal melodic idea of a fugue or other imitative work, stated first alone and then taken up by each entering voice.

The second entry of a fugue subject, usually in the dominant, either real, transposed exactly, or tonal, adjusted to fit the key.

A secondary melodic line that accompanies the subject or answer and is designed to combine with it in invertible counterpoint.

A strict imitative form in which one voice repeats the melody of another after a fixed time interval, often at a stated pitch level.

The immediate repetition of a melodic or harmonic pattern at a higher or lower pitch level, often used to build momentum or modulate.

A short, distinctive rhythmic or melodic fragment that is recognisable and can be developed, repeated or transformed within a movement.

A complete, self-contained melodic idea that forms the basis of a piece or movement and is subjected to development or variation.

Relating to the notes of a single key or mode without added accidentals, in contrast to chromatic writing that uses notes outside it.

The use of notes that lie outside the prevailing diatonic scale, creating colour, tension or smoother modulation in tonal music.

A Baroque aria in ternary shape in which the singer repeats the opening section from the start, adding improvised ornaments on the return.

A speech-like vocal style that follows the natural rhythm and accent of the text, used to advance narrative, often accompanied only by continuo.