Secondary Function, Modulation, and Form: every key term you need (+ practice quiz)
34 flashcard terms for AP Music Theory Unit 6, written to match the course framework. Study them here, then drill them as interactive flashcards, or test yourself with the 20-question quiz — free, no account needed.
A chromatic chord that acts as V (or V7) of a diatonic chord other than tonic, written V/x — e.g., V/V in C major is a D major chord resolving to G.
Tonicization
Briefly treating a non-tonic chord as a temporary tonic with its own dominant, without abandoning the home key.
Modulation
An actual change of key center, confirmed by a cadence in the new key; longer-lasting than tonicization.
V/V
The dominant of the dominant: built on 2̂ with a raised 4̂ (e.g., D–F♯–A in C major), resolving to V.
V7/IV
The tonic triad with an added minor 7th (I with ♭7̂), pushing toward IV — in C: C–E–G–B♭ to F.
Secondary Leading-Tone Chord
vii°/x or vii°7/x: a (fully or half) diminished chord a half step below the tonicized root, e.g., vii°7/V in C is F♯–A–C–E♭.
Spelling a Secondary Dominant
Find the target chord's root, go up a perfect 5th, build a major triad (add a minor 7th for V7/x); accidentals create the temporary leading tone.
Resolution of V/x
The secondary chord resolves like any dominant: its temporary leading tone rises, its seventh falls, and it moves to the tonicized chord.
Common-Chord (Pivot) Modulation
Modulation through a chord diatonic in both keys, analyzed with a dual label at the pivot point.
Closely Related Keys
The five keys whose signatures differ by at most one accidental from the home key: V, IV, vi, iii, ii of major (i.e., relative minors/majors of I, IV, V).
Direct (Phrase) Modulation
A key change without a pivot chord, typically at a phrase boundary.
Chromatic Modulation
Modulation signaled by a chromatic inflection in one voice, often via a secondary dominant becoming the new V.
Recognizing Modulation
Look for consistent new accidentals, a cadence in the new key, and a new leading tone; a single accidental usually means only tonicization.
Mode Mixture (Borrowed Chords)
Using chords from the parallel key, e.g., iv, ♭VI, or ii° borrowed into major from the parallel minor.
Neapolitan Chord
A major triad on the lowered 2nd scale degree, almost always in first inversion (♭II6), functioning as a dramatic predominant.
Motive
The smallest recognizable melodic/rhythmic idea, developed through repetition, sequence, inversion, and fragmentation.
Fragmentation
Developing a motive by breaking it into smaller pieces and repeating them, often driving toward a cadence.
Melodic Inversion
Restating a motive with its intervals turned upside down: each ascent becomes an equivalent descent.
Stating a melodic idea backwards, from last note to first.
Augmentation and Diminution
Restating a motive in proportionally longer note values (augmentation) or shorter ones (diminution).
Binary Form
Two-reprise form (AB or AA′): rounded binary brings the opening material back after the digression; simple binary does not.
Ternary Form
ABA design with a contrasting middle section and a full return, as in minuet and trio or da capo aria.
Strophic Form
Song form repeating the same music for every stanza of text (AAA).
Theme and Variations
A theme followed by a series of restatements, each altering melody, harmony, rhythm, texture, or mode.
Rondo Form
A recurring refrain alternating with contrasting episodes: ABACA (five-part) or ABACABA (seven-part).
12-Bar Blues
A standard harmonic frame: four bars of I, two of IV, two of I, then V–IV–I–I (with many variants), underlying much popular music.
Ostinato
A short musical pattern repeated persistently, often in the bass (ground bass).
Imitation
A polyphonic device where one voice restates another voice's idea shortly after it, as in canon and fugue.
Countermelody
An independent melodic line sounding against the principal melody.
Coda
A concluding section added after the main formal design has closed.
Introduction
Opening material before the first main theme, establishing key, tempo, or mood.
Sectional vs. Continuous Form
Sectional divisions end with conclusive tonic cadences; continuous ones end away from tonic (e.g., on V or in a new key), pushing forward.
Analyzing V/x on the Exam
An unexpected accidental that forms a major triad or Mm7 chord usually signals a secondary dominant; identify its target a perfect 5th below.
Aug6 Awareness
Augmented sixth chords (It6, Fr6, Ger6) intensify predominant function, with ♭6̂ and ♯4̂ expanding outward to an octave on 5̂; beyond core CED but common in repertoire.