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.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
transposition <\/p>\n<\/p><\/div>\n
the repetition of a musical idea at a different pitch level.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
fragmentation <\/p>\n<\/p><\/div>\n
the truncation of a motive through subtraction\/deletion, the inclusion of rests, or other means.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
retrograde <\/p>\n<\/p><\/div>\n
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.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
inversion <\/p>\n<\/p><\/div>\n
a motivic development technique wherein the melodic intervals of a motive are maintained while their directionality is reversed.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
augmentation <\/p>\n<\/p><\/div>\n
the lengthening of a motive via a systematic increase in its durational values.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
diminution <\/p>\n<\/p><\/div>\n
the reduction of a motive\u2019s length via a systematic decrease in its durational values.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
sentence <\/p>\n<\/p><\/div>\n
a phrase that is dedicated to the development of a motive in a specific pattern of presentation and continuation.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
antecedent <\/p>\n<\/p><\/div>\n
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).<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
consequent <\/p>\n<\/p><\/div>\n
the final phrase or set of phrases within a multi-phrase structure that ends in a relatively conclusive manner.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
period <\/p>\n<\/p><\/div>\n
a multi-phrase structure that features related ideas structured such that the final cadence is the most conclusive.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
parallel period <\/p>\n<\/p><\/div>\n
a period whose antecedent and consequent begin in the same way or in a similar manner.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
contrasting period <\/p>\n<\/p><\/div>\n
a period whose antecedent and consequent differ significantly.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
modulating period <\/p>\n<\/p><\/div>\n
a period that features a change of key within its duration.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
three-phrase period <\/p>\n<\/p><\/div>\n
a period that possesses three phrases, typically consisting of a two-phrase antecedent and single consequent phrase.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
double period <\/p>\n<\/p><\/div>\n
a period composed of a two-phrase antecedent and two-phrase consequent.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
independent phrases <\/p>\n<\/p><\/div>\n
temporally adjacent phrases that do not relate to one another motivically.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
phrase group <\/p>\n<\/p><\/div>\n
a set of phrases that cohere in a manner similar to a period, yet do not conclude with a relatively strong cadence.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
musical form <\/p>\n<\/p><\/div>\n
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.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
binary form <\/p>\n<\/p><\/div>\n
a two-part form, with contrasting sections that are labeled A and B.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
rounded binary <\/p>\n<\/p><\/div>\n
a two-part form featuring a return of the initial theme at the end of the second reprise.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
simple binary <\/p>\n<\/p><\/div>\n
a two-part form whose second reprise consists entirely of new material.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
ternary form <\/p>\n<\/p><\/div>\n
a form that includes three complete, independent sections that each end with a conclusive cadence.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
simple ternary form <\/p>\n<\/p><\/div>\n
a three-part form whose constituent sections (ABA) are composed of phrases and periods that do not represent complete forms themselves.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
composite ternary form <\/p>\n<\/p><\/div>\n
a three-part form whose constituent sections are complete binary forms.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
sonata <\/p>\n<\/p><\/div>\n
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).<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
exposition<\/p>\n<\/p><\/div>\n
the initial formal section within a sonata or fugue that contains the main melodic ideas to be used throughout the form.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
primary theme <\/p>\n<\/p><\/div>\n
in a sonata form, the initial theme or group of themes that exists within the tonic key area.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
secondary theme <\/p>\n<\/p><\/div>\n
in a sonata form, the theme or group of themes representing a non-tonic key within the exposition.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
transition <\/p>\n<\/p><\/div>\n
in a sonata, a subsection whose function is to modulate to the secondary key area within the exposition.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
closing area <\/p>\n<\/p><\/div>\n
a subsection within a sonata that takes place after the secondary theme and remains in the secondary key area.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
closing theme <\/p>\n<\/p><\/div>\n
a new theme introduced within the closing area of a sonata, after the secondary theme yet within the secondary key area.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
\n \n
\n \n
codetta <\/p>\n<\/p><\/div>\n
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.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n