Minor Scales and Key Signatures, Melody, Timbre, and Texture

Transposition

Retrograde

Inversion

Augmentation/Diminution

The leading tone can resolve down by step to create a seventh chord.

The leading tone should leap up an octave to create emphasis.

The leading tone may stay the same or leap downwards.

The leading tone should resolve up by step to the tonic.

Cadence.

Syncopation.

Ostinato.

Arpeggio.

$V^7/vi - vi^6 - ii^6/5 - I$

$IV - ii^6 - V - I$

$vi - IV^6 - ii^7 - I$

$iii^7 - VI^6 - II - V$

Raised leading-tone seventh chord ($vii^{\circ 7}/VII^{7}$)

Augmented sixth chord (It$^{+6}$/Fr$^{+6}$/Ger$^{+6}$)

Neapolitan sixth chord ($N^{6}$)

Secondary dominant of submediant ($V/VI$)

Use of augmentation

Use of hemiola

Use of diminution

Use of syncopation

Heterophonic

Polyphonic

Homophonic

Monophonic

Modulation to the dominant key in first movement's recapitulation.

Recapitulation that restates the primary theme in tonic key.

Use of sequence in developing motifs from the exposition.

Introduction of non-diatonic chromaticism in the secondary theme.

C# diminished seventh chord

A major seventh chord

E minor seventh chord

B minor sixth chord

Counterpoint

Layered ostinato

Contrapuntal crescendo

Imitative polyphony