Idea Transcript
A PPE N DI X 4 : A B B R E V I AT ION S A N D AC RON Y M S
A AC ACN AIN AN ANT AP APP ARP BRD C CCP CF CIP CL CN CPP CPT CSP c.t. D d dig DN DTr EC EPM Fr FTA Ger
ascending; augmented authentic cadence accented chromatic neighbor accented incomplete neighbor accented neighbor anticipation accented passing appoggiatura arpeggiation back-relating dominant consonance contrasting continuous period cantus firmus contrasting interrupted period consonant/chordal leap; closing section chromatic neighbor tone contrasting progressive period chromatic passing tone contrasting sectional period common tone dissonance; descending; dominant diminished digression double neighbor tone dependent transition embellishing chord embedded phrase model French (augmented sixth chord) first tonal area German (augmented sixth chord)
HC IAC IC IN It ITr LN M m N P PAC PC PCP PD PED PIP PPD PPP PSP PT R RTr S SATB STA T Tr UN
half cadence imperfect authentic cadence imperfect consonance incomplete neighbor Italian (augmented sixth chord) independent transition lower neighbor major minor neighbor passing; preparation; perfect perfect authentic cadence perfect consonance parallel continuous period pre-dominant pedal parallel interrupted period pre-pre-dominant parallel progressive period parallel sectional period passing tone resolution retransition suspension soprano, alto, tenor, and bass second tonal area tonic transition upper neighbor
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THE COMPLETE MUSICIAN
Notational Equivalents whole note half note quarter note eighth note sixteenth note thirty-second note half step whole step rest
C D E F G A B-flat B flat sharp natural major minor
BRITISH semi-breve minim crotchet quaver semiquaver demisemiquaver semitone tone
SPANISH la redonda la blanca la negra la corchea la semicorchea la fusa el medio tono el tono entero el silencio
FRENCH la ronde la blanche la noire la croche la double croche la triple croche le demi-ton le ton entier la pause
GERMAN C D E F G A B H -es (except for B) -is
SPANISH do re mi fa sol la si bemol si bemol sostenido becuadro mayor menor
FRENCH ut ré mi fa sol la si bémol si bémol dièse bécarre majeur mineur
dur mol
Octave Designations A0–B0 C1–B1 C2–B2 C3–B3 C4–B4 C5–B5 C6–B6 C7–B7 C8
A2–B2 C1–B1 C–B c–b c1–b1 c2–b2 c3–b3 c4–b4 c5
AAA–BBB CC–BB C–B c–b c⬘–b⬘ c⬘⬘–b⬘⬘ c⬘⬘⬘–b⬘⬘⬘ c⬘⬘⬘⬘–b⬘⬘⬘⬘ c⬘⬘⬘⬘⬘
Cadences authentic cadence half cadence plagal cadence deceptive motion evaded cadence contrapuntal cadence
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perfect cadence; closed cadence; standard cadence semicadence; imperfect cadence; open cadence Amen cadence; church cadence deceptive cadence; interrupted cadence interrupted cadence; irregular cadence inverted cadence
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Appendix 4 Abbreviations and Acronyms
Chord Qualities major triad minor triad augmented triad diminished triad major seventh chord dominant seventh chord minor seventh chord half-diminished seventh chord (fully) diminished seventh chord
M, maj m, min, ⫺ aug, ⫹ dim, °, min(5) major-major seventh chord, M7, maj7, ⌬7, ⌬ major-minor seventh chord minor-minor seventh chord, m7, min7, ⫺7 dim.-minor seventh chord, ø7, min75 dim.-dim. seventh chord, °7, dim7
Chord Inversions I, I6, I64 V 7, V65, V43, V(4) 2
I(a), Ib, Ic V 7(a), V 7b, V 7c, V 7d
Harmonic Function Major key: Minor key: Applied chord: V/V
I T i t V/x
ii iii IV Sp Dp, T1 S II ii° III tP, dL sL S7 Secondary dominant: (D)x DD (overlapping)
V D iv s
vi Tp, Sl v, V d, D
vii° D7 VI sP, tL
vii D1 VII dP
Other applied chord cross relation embellishing tones Ger 43 chord incomplete neighbor leading tone measure modal mixture neighbor tone parallel minor Picardy third pre-dominant similar octave/fifth step-descent bass submediant unison voice exchange
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applied dominant; secondary chord/dominant/ function false relation nonharmonic tones; nonessential tones doubly augmented fourth chord; Swiss/English augmented sixth chord appoggiatura or escape tone (échappée) leading note bar modal borrowing; borrowed chords; modal interchange auxiliary tone tonic minor tièrce de Picardie subdominant direct octave/fifth; exposed octave/fifth lament bass superdominant prime voice interchange
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THE COMPLETE MUSICIAN
Ternary and Rondo Labels episode five-part rondo refrain seven-part rondo ternary form
contrasting theme; couplet; digression second rondo form principal theme; rondo theme; reprise third rondo form first rondo form
Sonata Labels first tonal area (FTA) primary theme (P) theme 1 (Th. 1) A
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transition (Tr) transition (T)
second tonal area (STA) secondary theme (S) theme 2 (Th. 2) B
closing section (CL) closing section (K)
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