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A slow tempo marking between Largo and Andante; a composition written in a slow tempo, frequently the second movement of sonatas, symphonies�
a fast tempo marking between allegretto and vivace; a comp in fast tempo usually the first or last movement of a sonata or a symphony�
• Upbeat; a beat preceding beat one of a complete measure; a conductor's upward sweeping gesture prior to the downbeat�
• A moderate tempo marking between Largo and Moderato. This tempo typically has between 76 and 108 beats per minute.�
• A performance style in which an ensemble is divided into two or more groups, performing alternately as separate groups and in unison. �
• DirecGve for a musician to play a stringed instrument with a bow as opposed to plucked or pizzicato �
The subject of a fugue or canon; the first phrase of a musical period.
-‐ Antecedent and consequent: A pair of musical statements that complement one another in rhythmic symmetry and harmonic balance�
• DirecGons to a performer typically through symbols and icons on a musical score that indicate characterisGcs of the aOack, duraGon, and decay of a given note�
• A chord progression where the dominant chord is followed by the tonic chord (V-‐I or V-‐i). The dominant to tonic progression (V-‐I) represents the strongest sound of all cadences. �
• Two-‐part (A -‐ B) structure of music; usually each part is repeated. The term can also mean any form with two periods, or secGons�
• A stylized close in music which divides the music into periods or brings it to a full conclusion. �
• a I (6/4) preceding the dominant, oTen at a cadence. Although it contains the notes of the tonic triad, it does not exercise a tonic funcGon but rather serves as an embellishment of the dominant. �
• The prolongaGon (post-‐cadenGal extension) or delay (pre-‐cadenGal extension) of a cadence by the addiGon of material beyond (i.e. before or aTer) the point at which the cadence is expected�
• Strict counterpoint in which each voice exactly imitates the previous voice at a fixed distance. �
• Chordal texture is also known as homorhythmic texture. This texture is present when all parts have the exact same rhythmic material. This texture is widely used in church hymn music. �
• Any music or chord that contains notes not belonging to the diatonic scale. Music which proceeds in half steps. �
• Harmony wriOen so that the parts are as close together as possible, usually with the upper voices very Gght together, and the bass somewhat more distantly spaced. �
• The closing few measures of a composiGon, usually not a part of the main theme groups of the standard form of a composiGon, but a finishing theme added to the end to give the composiGon closure; in sonata form, the coda is anything that occurs aTer the recapitulaGon. �
• A passage within a composiGon of sonata form which resembles a coda, but occurs at the end of the exposiGon rather than at the end of the composiGon. In a fugue, a codeOa is the linking passage between the entries of the subject or theme.�
• The nearest degree in the scale, whether the scale is chromaGc or diatonic, to a given degree (stepwise movement). �
• The answer in a fugue, or point of imitaGon. A musical phrase which follows another, similar phrase. In a musical period, the antecedent and consequent are two balancing halves, somewhat like a rhymed couplet in poeGc verse, with the movement of the first half completed by the second. �
• Simultaneous musical moGon of at least two voices, one of which is in opposiGon to the other, with one voice rising in pitch while another voice falls in pitch.�
• A second but subordinate melodic line someGmes found in music which has a melody and an accompaniment. �
• The art of combining two or more melodies to be performed simultaneously and musically. In counterpoint, the melody is supported by another melody rather than by chords. �
• In music, voice crossing is the intersecGon of melodic lines in a composiGon, leaving a lower voice on a higher pitch than a higher voice (and vice versa). �
• A chord progression where the dominant chord is followed by a chord other than the tonic chord, usually the sixth, or submediant chord (V-‐VI), but someGmes something else. Also called interrupted cadence�
• A melody played in such a way that the Gme value of every note is shortened, generally halved, in value. Its antonym is 'augmentaGon'�
• An ornamentaGon; notes, usually of short duraGon, that are added to the main melody of a composiGon to decorate or ornament the melody. �
• Breaking up a subject into small segments, any one of which may form the basis for further development�
• A rhythmic paOern of syncopated beats with two beats in the Gme of three or three beats in the Gme of two�
• The pracGce of two or more musicians simultaneously performing slightly different versions of the same melody. Each version would be characterized as improvised or ornamented versions of the melody as opposed to harmonized versions of a melody�