text
stringlengths 18
678
|
|---|
The cadence resolves to the tonic.
|
Modulation is used to shift the key center.
|
Counterpoint involves the combination of independent melodies.
|
The harmonic progression builds tension.
|
A diminished chord sounds unstable.
|
The melody is ornamented with trills.
|
Voice leading ensures smooth transitions between chords.
|
A perfect fifth is considered consonant.
|
The fugue subject is stated in the soprano voice.
|
The dominant seventh chord resolves to the tonic.
|
Rhythm gives the music its sense of motion.
|
The ostinato repeats throughout the piece.
|
A cadence marks the end of a phrase.
|
The modulation moves to the relative minor.
|
The motif recurs in different voices.
|
The harmony supports the melody.
|
The chord progression follows a ii–V–I pattern.
|
The tempo accelerates before the coda.
|
The tonic is the home key of the piece.
|
Syncopation disrupts the regular rhythm.
|
The exposition introduces the main theme.
|
The texture is homophonic.
|
An arpeggio plays the notes of a chord in sequence.
|
The bass line outlines the harmonic structure.
|
A trill alternates quickly between two notes.
|
The interval between the notes is a major third.
|
The coda concludes the movement.
|
The theme undergoes variation.
|
The counterpoint adds depth to the composition.
|
The meter changes to 3/4 time.
|
The overture introduces musical material.
|
Articulation marks indicate how notes are played.
|
The harmonic rhythm slows down in the second section.
|
A sequence repeats a motif at different pitches.
|
The tonic triad consists of the first, third, and fifth scale degrees.
|
The piece modulates to the dominant key.
|
An appoggiatura creates a dissonant tension.
|
The sonata form includes exposition, development, and recapitulation.
|
Polyphony features multiple independent voices.
|
The glissando slides between two pitches.
|
Instrumentation affects the color of the sound.
|
The syncopated rhythm creates excitement.
|
The tempo is marked allegro.
|
Suspension delays the resolution of a dissonance.
|
The timbre distinguishes instruments from each other.
|
The melody uses a pentatonic scale.
|
Improvisation is common in jazz.
|
A plagal cadence moves from IV to I.
|
The music features call and response.
|
The phrase ends with a half cadence.
|
The notation includes staccato and legato markings.
|
The melody outlines the tonic triad.
|
Rests are as important as notes.
|
The composer uses chromaticism to add tension.
|
The harmonic series defines overtone structure.
|
The prelude sets the mood of the piece.
|
The variation maintains the theme's identity.
|
The music modulates to a remote key.
|
A dominant preparation leads into the cadence.
|
The cadenza showcases the performer's virtuosity.
|
The form is ternary: ABA.
|
The tonic returns at the end.
|
Interval training improves aural skills.
|
Secondary dominants enrich the harmonic palette.
|
The scherzo replaces the minuet.
|
The melody is doubled in the flute and oboe.
|
The bass provides a pedal point.
|
The theme is inverted in the development.
|
The dynamics shift from piano to forte.
|
A fermata holds the note longer.
|
Binary form consists of two sections.
|
Syncopation is a key feature of jazz rhythm.
|
The music builds to a climax.
|
The modulation creates a sense of movement.
|
Cadences provide musical punctuation.
|
Tonality is the foundation of Western music.
|
The counter-melody complements the main theme.
|
Improvisation requires deep harmonic knowledge.
|
Polyrhythm involves multiple rhythmic layers.
|
The melody ascends by step.
|
Phrase length can vary greatly.
|
The bridge contrasts with the main section.
|
A canon involves strict imitation.
|
Augmentation lengthens note values.
|
The instrumentation includes strings and brass.
|
Suspensions delay harmonic resolution.
|
The tonic-dominant relationship is central.
|
The rhythm section supports the soloist.
|
The cadence gives closure to the section.
|
The piece begins with a soft adagio movement.
|
The violinist played the allegro passage with great precision.
|
The conductor signaled a crescendo in the brass section.
|
The soprano's aria was full of beautiful arpeggios.
|
The pianist used a brisk staccato technique in the sonata.
|
The orchestra played the finale with a strong fortissimo.
|
The melody was accompanied by a gentle pizzicato on the strings.
|
The composer included a sudden sforzando to emphasize the climax.
|
The choir sang the andante section with deep emotion.
|
The flute solo was performed with a delicate vibrato.
|
The piece modulates from a major to a minor key.
|
End of preview. Expand
in Data Studio
README.md exists but content is empty.
- Downloads last month
- 18