Chapter 11

a short, distinctive motive or portion of a larger theme that becomes associated with a particular character, place, object, emotion, or idea by consistently recurring along with it in a dramatic setting.

the repetition of a musical idea at a different pitch level.

the truncation of a motive through subtraction/deletion, the inclusion of rests, or other means.

a motivic development technique that refers to the recurrence of a motive in reverse, such that the first note becomes the last note, the second note becomes the penultimate note, and so on.

a motivic development technique wherein the melodic intervals of a motive are maintained while their directionality is reversed.

the lengthening of a motive via a systematic increase in its durational values.

the reduction of a motive’s length via a systematic decrease in its durational values.

a phrase that is dedicated to the development of a motive in a specific pattern of presentation and continuation.

the initial phrase or set of phrases within a multi-phrase structure that ends in a relatively inconclusive manner, leaving space for the more conclusive consequent phrase(s).

the final phrase or set of phrases within a multi-phrase structure that ends in a relatively conclusive manner.

a multi-phrase structure that features related ideas structured such that the final cadence is the most conclusive.

a period whose antecedent and consequent begin in the same way or in a similar manner.

a period whose antecedent and consequent differ significantly.

a period that features a change of key within its duration.

a period that possesses three phrases, typically consisting of a two-phrase antecedent and single consequent phrase.

a period composed of a two-phrase antecedent and two-phrase consequent.

temporally adjacent phrases that do not relate to one another motivically.

a set of phrases that cohere in a manner similar to a period, yet do not conclude with a relatively strong cadence.

the term used to describe the overall shape of a piece, which is created via the combination of sections that contrast one another due to changes in thematic design, harmonic structure, and/or other parameters.

a two-part form, with contrasting sections that are labeled A and B.

a two-part form featuring a return of the initial theme at the end of the second reprise.

a two-part form whose second reprise consists entirely of new material.

a form that includes three complete, independent sections that each end with a conclusive cadence.

a three-part form whose constituent sections (ABA) are composed of phrases and periods that do not represent complete forms themselves.

a three-part form whose constituent sections are complete binary forms.

a musical form featuring the exposition of contrasting themes and key areas, the development of themes, and the recapitulation of themes (typically within a single key area).

the initial formal section within a sonata or fugue that contains the main melodic ideas to be used throughout the form.

in a sonata form, the initial theme or group of themes that exists within the tonic key area.

in a sonata form, the theme or group of themes representing a non-tonic key within the exposition.

in a sonata, a subsection whose function is to modulate to the secondary key area within the exposition.

a subsection within a sonata that takes place after the secondary theme and remains in the secondary key area.

a new theme introduced within the closing area of a sonata, after the secondary theme yet within the secondary key area.

a short, post-cadential subsection within a musical form that clearly and emphatically terminates the larger formal section without introducing any new, substantial thematic material.

an altered restatement of a piece’s exposition section (such as in a sonata or fugue) in the tonic key.

the initial part of the B section in a sonata form that often features the extensive motivic manipulation of earlier themes (though some developmental sections develop new material that is not necessarily associated with any previous theme).

a subsection within a musical form that sets up the return of the tonic key, often via a dominant pedal.

a formal section that takes place at the outset of a piece, prior to the exposition of the piece’s primary themes (or, in the case of pop/rock music, prior to the song’s first verse).

a substantial, post-cadential subsection within a musical form that clearly and emphatically terminates the larger formal section while often introducing new thematic material or developing earlier themes.

the main contrasting section within a song form.

the composed melody of a jazz composition.

a term used in jazz to describe the main body of the common head/solos/head out form, wherein individual instrumentalists take turns improvising over one or more choruses apiece.

the final performance of the head in a jazz form.

the standard form in popular music, featuring primary verse and chorus sections that are paired together to form a large, repeated A section that is contrasted by a bridge section (B).

a formal section in a pop song that typically features different lyrics each time it recurs, while the music remains the same (or is similar).

a section in a pop song that returns several times throughout the form, usually with the same lyrics and music each time; the chorus often includes the song’s main hook. In jazz, however, a chorus describes one complete instance of the tune’s form.

a memorable motivic/thematic unit in a popular song.

a contrasting section within a popular song that is similar to a bridge but is entirely instrumental.

a transitional section that is formally positioned before the chorus in a popular song.

a short instrumental passage within a popular song that is transitional in nature.

an instrumental section that serves as a popular song’s conclusion.