Table of Contents

Section 3: 

Set theory
Rhythm/ form 
12- tone 
Polyrhythm
Metric modulation
Meter

Section 4: 

Basic Assumptions 
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5: 

Basic assumptions 
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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Glossary

Authentic Cadence:  A cadence that resolves V or V7 to tonic.

Bass: The lowest sounding note in a chord. Do not confuse this with the root; the bass note is the root of the chord only when the chord is in root position.

Cadence:  A harmonic and rhythmic object that signals the end of a phrase, period, section, movement.  It is usually a place of rest, a resolution of tension. 

Close Position: All chord tones sounding without gaps between (ascending vertically C-E-G). Open position will have gaps between the chord tones (ascending vertically C-G-E).

D.C. al Fine: Da Capo al Fine translates "the head to the end." This mark means to return to the beginning and play to the end (signified by a double barline; this is often somewhere in the middle of the piece).

D.S. al Fine: Dal Segno al Fine translates "from the sign to the end." This mark means to return to the sign and play to the end.

Diatonic: Pertaining to a key.  Diatonic notes are those that belong to the key, diatonic chords are those built with these notes.

Dissonant: Not consonant. Historically, the dissonant intervals are seconds, augmented fourth/diminished fifth, sevenths, and the compounds of these.

Dominant: The fifth degree of the scale and the chord built on that degree.  Roman numeral V. Also, the vii° chords are often termed dominant because of their function.

Resolution: The resolving of dissonance to consonance.

Ritornello: Term characterizes first movement concerto form, particularly during the Classical era. The ritornello is the primary theme, which recurs in various keys in alternation with the soloist.

Secondary Dominant: A chord that functions as the dominant (V or vii°) of a note other than the prevailing tonic.

System: One line of music, whether a single stave in a solo score or 20 staves of an orchestral score.

Tonic: The primary note of the key (in A major, tonic is A). The first degree of the scale and the chord built on that degree.

Tonicization: Making a non-tonic note into a tonic. This often involves a secondary dominant setting up the new tonic by a V-I (i) harmonic progression.