NCEA Level 2 Music key terms

The distance in pitch between two notes, measured in scale steps and described by quality, such as a major third or perfect fifth. Intervals may be sounded together (harmonic) or one after another (melodic).

The numbered position of a note within a scale, from 1 (tonic) to 7 (leading note). Scale degrees are often labelled with solfège syllables or Roman numerals to show harmonic function.

The first and central note of a key, giving the music a sense of home or rest. A piece usually begins and ends on the tonic, and other notes are heard in relation to it.

A change from one key to another within a piece, usually prepared by a chord or cadence in the new key. It creates contrast and is common in sonata-form and popular song structures.

Two or more notes sounded together. Chords are named by their root, quality and inversion, and their progression underpins harmony in both classical and popular styles.

A three-note chord built from stacked thirds: a root, a third and a fifth. Major, minor, diminished and augmented triads differ by the size of those thirds.

A four-note chord made by adding a seventh above the root of a triad. Common types include dominant seventh, major seventh and minor seventh, each with a distinct sound and function.

A major triad with a minor seventh added, built on the fifth degree of a key. It sounds tense and strongly pulls toward the tonic chord, so it often appears before a perfect cadence.

A chord rearranged so a note other than the root is in the bass, or a melody moved to a different octave. First and second inversions change the chord's bass and stability.

A harmonic formula that closes a phrase or section. Perfect, imperfect, plagal and interrupted cadences differ in strength and in whether the music feels finished or unresolved.

A series of chords played in order, often described by Roman numerals such as I–V–vi–IV. The progression shapes the harmony, mood and direction of a passage.

A chord shared by the old key and the new key, used to make a smooth modulation. It sounds natural in both keys and bridges the harmonic change.

A system of numbers written under a bass line to show which intervals above the bass should be played. It is a shorthand for harmony used in Baroque music and analysis.

The sharps or flats placed at the start of each staff to show the key of the music. It tells performers which notes are raised or lowered throughout the piece.

A single line of notes heard as a musical shape, with its own rhythm, contour and phrasing. Melodies can be conjunct (stepwise) or disjunct (with leaps).

A short, recognisable musical idea, such as a rhythmic pattern or melodic fragment. Motifs are repeated, varied and developed to give a piece unity and structure.

A melodic or harmonic pattern repeated at a higher or lower pitch, often several times in succession. Sequences create momentum and are common in Baroque and Classical music.

When one voice or instrument repeats a melodic idea soon after another has played it. It is central to canons, fugues and many contrapuntal textures.

The art of combining two or more independent melodic lines so they sound well together. Each line has its own shape while the harmony between them remains coherent.

A longer melodic subject, usually more developed than a motif, on which a movement or section is built. Themes are often stated, contrasted and then returned to in altered form.

A short musical thought or sentence, often ending in a cadence. Phrases combine into periods and sections, and their lengths and endings shape the music's flow.

The overall plan or structure of a piece, such as binary, ternary, rondo, sonata or verse–chorus. Form is shown by how sections repeat, contrast and return.

A two-part structure, usually written AB, where each section is repeated. The second part often returns to the home key, providing balance and closure.

A three-part structure, ABA, in which a contrasting middle section is followed by a return of the opening material. It is common in short piano pieces, minuets and da capo arias.

A form built on a recurring main theme that alternates with contrasting episodes, often ABACA or ABACABA. The repeated return gives the form its circular, unifying shape.

How musical lines are woven together, described as monophonic, homophonic, polyphonic or heterophonic. Texture also covers density, spacing and the number of active parts.

A texture in which a melody is supported by chords or accompaniment moving largely together. The melody stands out while the other parts provide harmonic backing.

A texture with two or more independent melodic lines sounding at once, each with its own interest. It is typical of fugues, motets and much Renaissance vocal music.

The tone colour or quality of a sound that distinguishes one instrument or voice from another, even at the same pitch and volume. It is shaped by overtones and playing technique.

The craft of choosing and combining instruments to present musical material. It considers range, balance, blend, colour and the effect each instrument produces in context.

How notes are played or sung, such as staccato, legato, accent or marcato. Articulation markings shape attack, length and character of individual notes.

The loudness of music, shown by markings from pianissimo to fortissimo, plus crescendo and diminuendo. Dynamics create expression and shape phrases and climaxes.

The pattern of strong and weak beats organised into bars, shown by the time signature. Simple, compound and irregular meters each give a different pulse feel.

The deliberate placing of accents on weak beats or between beats, unsettling the expected pulse. It is common in jazz, funk and many popular styles.

The arrangement of note lengths and accents in time, giving music its movement and groove. Rhythm is notated with note values, rests, ties and dots.

The speed at which music is performed, given in beats per minute or by terms such as allegro and andante. Tempo changes affect mood and energy.

Changing music to a different key while keeping the same relative pitches, or writing a part for an instrument that sounds at a different pitch from written. It suits different voices and instruments.

A combination of notes that sounds tense or unstable and seems to want resolution. Dissonance is relative to context and is used to create tension and release.

A combination of notes that sounds stable and at rest, such as a perfect fifth or third. Consonance and dissonance work together to give harmony its sense of movement.