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  1. AP Music Theory
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Glossary

4

4-3 Suspension

Criticality: 3

A specific type of suspension where the suspended note is a fourth above the bass and resolves down to a third.

Example:

Over a G bass, a C held over from the previous chord that resolves to B creates a 4-3 suspension.

4-3# Suspension

Criticality: 2

A specific type of 4-3 suspension where the resolution note (the third of the chord) is raised by a half step, often indicating a modulation to a major key.

Example:

In D minor, a G7 chord resolving to a D major chord might feature a C# resolving to D, creating a 4-3# Suspension over the D bass.

6

6-5 Suspension

Criticality: 2

A specific type of suspension where the suspended note is a sixth above the bass and resolves down to a fifth.

Example:

Over a C bass, an A held over from the previous chord that resolves to G creates a 6-5 suspension.

7

7-6 Suspension

Criticality: 3

A specific type of suspension where the suspended note is a seventh above the bass and resolves down to a sixth.

Example:

Over a C bass, a B-flat held over from the previous chord that resolves to A creates a 7-6 suspension.

9

9-8 Suspension

Criticality: 3

A specific type of suspension where the suspended note is a ninth (or compound second) above the bass and resolves down to an octave (eighth).

Example:

Over a C bass, a D held over from the previous chord that resolves to C creates a 9-8 suspension.

A

Accented beats

Criticality: 2

The stronger beats within a musical measure, typically the first beat and sometimes the third beat in common time.

Example:

In 4/4 time, the first beat is always an accented beat.

B

Bass Suspension

Criticality: 2

A suspension where the suspended note occurs in the bass line, often resolving upwards, and is conventionally notated with the first number being one less than the second (e.g., 2-3).

Example:

In a progression where the bass holds a C over a D minor chord, then resolves up to D, this creates a bass suspension often notated as 2-3.

C

Cadence

Criticality: 2

A melodic or harmonic configuration that creates a sense of resolution or conclusion at the end of a phrase, section, or piece.

Example:

The final two chords of a hymn often form a perfect authentic cadence.

Chains of Suspensions

Criticality: 2

A series of suspensions occurring in succession, where each resolution note becomes the suspended note for the next dissonance.

Example:

A sequence where a 9-8 suspension is immediately followed by a 7-6 suspension, then a 4-3 suspension, forms a chain of suspensions.

F

Figured bass notation

Criticality: 2

A shorthand system used in Baroque music to indicate the harmony and non-chord tones above a given bass note using numbers.

Example:

A bass note with a '6' above it in figured bass notation indicates a first inversion chord.

N

Neighbor tone

Criticality: 1

A non-chord tone that moves by step from a chord tone and then returns to the same chord tone, typically on an unaccented beat.

Example:

In a C major chord, playing C-D-C, the D is a neighbor tone.

Non-chord tone

Criticality: 2

A note that is not part of the prevailing harmony (chord) at a given moment, used to create melodic interest or tension.

Example:

In a C major chord (C-E-G), an F played melodically would be a non-chord tone.

P

Passing tone

Criticality: 1

A non-chord tone that connects two chord tones by step, typically occurring on an unaccented beat.

Example:

Moving from C to E in a C major chord, the D in between is a passing tone.

R

Rearticulated Suspension

Criticality: 2

A suspension where the suspended note is played again on the beat of the new chord, rather than being tied over from the previous chord.

Example:

Instead of tying a held note from beat 4 to beat 1, a composer might play the note again on beat 1 to create a rearticulated suspension.

Retardation

Criticality: 1

A type of non-chord tone similar to a suspension, where a chord tone is held over into the next chord, creating a dissonance, but resolves upwards by step.

Example:

If a B from a G major chord is held into a C major chord, creating a B-C dissonance, and then resolves up to C, that's a retardation.

S

Suspension

Criticality: 3

A type of non-chord tone where a chord tone from a previous chord is held over into the next chord, creating a dissonance that then resolves by step to a chord tone.

Example:

In a G major chord, if the C from a preceding C major chord is held over, creating a C-G dissonance, and then resolves down to B, that's a suspension.

U

Unaccented beats

Criticality: 2

The weaker beats within a musical measure, where non-chord tones often resolve or occur.

Example:

In 4/4 time, the second and fourth beats are typically unaccented beats.

V

V7-I Cadence

Criticality: 3

A specific type of authentic cadence where a dominant seventh chord (V7) resolves to a tonic chord (I), creating a strong sense of resolution.

Example:

In C major, a G7 chord resolving to a C major chord forms a V7-I Cadence.

Voice leading

Criticality: 2

The melodic and harmonic movement of individual musical lines (voices) within a polyphonic texture, aiming for smooth and logical progression.

Example:

Avoiding parallel octaves and fifths is a fundamental rule of good voice leading.