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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. |
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