Terms : Hide Images
| a harmonic goal, specifically the chords used at the goal | ||
| delay of cadence by addition of material | ||
| conclusion of a composition | ||
| marks end of sonatas, ends in a perfect cadence; not necessarily signals the end of the piece; a smaller version of a coda | ||
| shape of the melody | ||
| accompanying melody sounding against the principal meolody | ||
| when the last note of one phrase serves as the first note of the next phrase | ||
| section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements | ||
| contrasting section which opens a movement, establishes melodic, harmonic, and/or rhythmic elements | ||
| line or lines that are repeated | ||
| most popular structure | ||
| passage at end of a section which leads to the next section, often repetition of previous section | ||
| three four-bar phrases, aab or abc patter, most commonly I/I/I/I/IV/IV/I/I/V/IV/I/I | ||
| division of a musical idea into segments | ||
| phrase extends beyond the expected phrase length | ||
| any arrangement of chord other than root position | ||
| 1 in bass | ||
| 3 in bass | ||
| 5 in bass | ||
| 7 in base | ||
| multiplication | ||
| stepwise | ||
| division | ||
| Once the composers establishes a phrase length, it can be extended in the up-beat, body, or cadence portions of the phrase. | ||
| phrase extends beyond the expected length | ||
| retains the rhythm and the basic contour of the material, but flips it upside down: where the original moves up, the inversion moves down just as down changes to up; to render the inversion more palatable or melodic. | ||
| sequences are repeated, indicated by repeat sign, capo, or segno | ||
| when rhythmic theme is changed | ||
| taking a melodic line and moving some of the notes into a different octave | ||
| This occurs when in a melodic line is performed backwards. | ||
| multiplication, rotation, permutation (i.e. transposition, inversion, and retrograde), and combinations thereof involving rhythm | ||
| pattern that is repeated immediately in the same voice but that begins on a different pitch class | ||
| Transposing a longer sequence to a different scale degree; may be diatonic or intervalically exact. | ||
| abbreviated reiteration of material already presented | ||
| to write or play music in some key other than the original | ||
| utilizing a melody with part of the end omitted | ||
| smallest identifiable musical idea, can consist of pitch pattern, rhythmic pattern, or both | ||
| two or more phrases in antecedent-consequent relationship, ends in cadence | ||
| "qustion,"; first phrase in a period | ||
| "answer,' terminal phrase in a period | ||
| period in which phrase beginnings are not similar | ||
| four phrases in two pair, cadence at end of second pair is stronger than cadence at the end of the first pair | ||
| melodic material that begin the two halves of the periods are similar | ||
| group of phrases seem to belong together without forming period or double period | ||
| music that is repeated after each stanza (verse); Also called the chorus or burden | ||
| ? | ||
| movement with two main sections; sectional binary: first section ends on tonic triad or main key; continuous binary: first section ends on any other chord (AB) | ||
| A B 1/2A slmost identical to ternary | ||
| A B A, or statement-contrast-return | ||
| alone | ||
| alone | ||
| two or more sections of a song have similar music and different lyrics | ||
| A A' A''-repetition of one formal section | ||
| initial or primary melody | ||
| The alteration of themes for the sake of changing their character while retainingential identity."Unity within variety" | ||
| coninuous, non-sectional, non-repetitive | ||
| every instrument playing together | ||
| material is altered during repetition | ||
| Same as stanza | ||
| V or vii dim=> I | ||
| all ACs that are not PACs | ||
| V7=>I (with tonic in soprano) | ||
| Any cadence ending on the tonic chord | ||
| V=>anything but I (usually vi) | ||
| ends in V | ||
| iv6=>V | ||
| any cadence not ending on the tonic chord | ||
| IV-I | ||
| 5th is raised 1/2 step from major | ||
| 3rd and 5th are lowered 1/2 steps from major | ||
| 3rd is lowered 1/2 step from major | ||
| major triad+major third | ||
| major triad+minor third | ||
| Mm7; same quality as dominant seventh without denoting function; major triad topped with a minor third. For example: A C# E G | ||
| minor triad+minor third | ||
| diminished triad+major third | ||
| diminished triad+minor third | ||
| Ionian; First degree of a scale; keynote | ||
| Dorian; Second degree of a scale | ||
| Phrygian; Third degree of a scale | ||
| Lydian; Fourth degree of the scale | ||
| Mixolydian; Fifth degree of a scale | ||
| Aeloian; Sixth degree of scale | ||
| 7-flat; Seventh degree of scale if natural minor (a whole step from tonic) | ||
| 7, Locrian; Seventh degree of scale (major or harmonic or melodic minor scale); a half-step below tonic | ||
| "closer," place where progression finishes; Progression leads to conclusion or resting chord | ||
| leads to tonic; Progression leads to half cadence | ||
| Progression sets up the dominant-tonic tonality | ||
| right to left: C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F with minor keys | ||
| V=>vi (makes you think you're going to I) | ||
| rate at which chords change | ||
| using one or more tones that are common to both keys as an intersection b/w them | ||
| modulations without common chords or tones | ||
| using one or more chords that are common to both keys as an intersection b/w them | ||
| formed by 2-3 neighbor notes occurring at the same time in similar motion to make a new chord | ||
| the rate at which chords change | ||
| structure of a figured bass | ||
| ? | ||
| series of chords that weakens a tonality | ||
| V or V7 of a major or minor triad, to spell it: Find the root of the chord that is to be tonicized, go up a P5, using that note as the root, spell a major triad (for V of) or a major-minor seventh chord | ||
| vii dim of or vii dim7 | ||
| A chord other than tonic seems to the ear to be a temporary tonic; usually set up by a secondary dominant | ||
| approached by leap, left by step | ||
| approached by leap, left by step | ||
| melodic decoration (an ornament note) | ||
| approached by step, left by leap in opposite direction | ||
| approached by step, left by step in opposite direction | ||
| ? | ||
| Embellishes a single note. Can be accented or unaccented. Can be diatonic or chromatic. Approached by step down, left by step up. Abbreviation: LN | ||
| Embellishes a single note. Can be accented or unaccented. Can be diatonic or chromatic. Approached by step up, left by step down. Abbreviation: UN | ||
| passing tone | ||
| CT-NCT-CT | ||
| tone preceding the suspension (same pitch as suspension) | ||
| tone following the suspension (2nd below it) | ||
| appraoched by same tone, left by step up | ||
| approached by the same tone, left by step down | ||
| suspension that is rearticulated on the beat | ||
| resolution of one suspension serves as preparation for another | ||
| The lower female voice. In standard four-voice partwriting, the third note from the bottom. | ||
| The lower male voice. In standard four-voice partwriting, the bottom note. | ||
| less than an octave b/w soprano and tenor | ||
| only double root | ||
| when the third of teh chord is in the root | ||
| Placing another chord member below the root | ||
| an octave or more b/w soprano and tenor | ||
| the bottom voice in standard four-voice partwriting | ||
| when the bottom voice is the same as the letter-name of the chord | ||
| The third of the chord is on top, making the fifth the bottom note. The figured bass is 6/4 if a triad; 4/3 if a seventh chord. | ||
| The higher female voice. In standard four-voice partwriting, the top note. | ||
| The higher male voice. In standard four-voice partwriting, the second note from the bottom. | ||
| Only applies to a seventh (four-note) chord. The seventh is on the bottom. Figured bass: 4/2 | ||
| In a chord progression, a note which belongs to both chords | ||
| voices moving in different direction | ||
| simultaneous or adjacent occurrence of anote in its natural and chromatically inflected (#/b) form in different voices (sounds dissonant) | ||
| do not allow any poart to cross above soprano or below bass | ||
| results when the outer parts move in the same direction into a P5, with a leap in the soprano | ||
| results when the outer parts move in the same direction into a P8, with a leap int he soprano | ||
| one voice stays the same, the other moves | ||
| One voice crosses above or below the previous note of another voice: For example, the bass note moves above the previous tenor note. Objectionable. | ||
| Two lines moving together in the same direction; thus, the interval separating them remains constant (though not necessarily matching in quality.) | ||
| P5, P8 | ||
| two parts that are separated by P5 move to new pitch classes separated by the same interval | ||
| two parts that are separated by P8 move to a new pitch | ||
| both voices move in the same direction | ||
| 7=>1 except in 1=>7=>6=>5, 4=>3 | ||
| Leading tones want to resolve upward to tonic; it is very unsatisfactory and objectionable not to do so. | ||
| The seventh of a seventh chord wants to resolve downward; it is very unsatisfactory and objectionable not to do so. | ||
| When voice parts exchange notes in order to prolong a chord: For example, a I chord moving to a I6 chord could exchange the root and the third with the bass and soprano voices. | ||
| notes that outline a chord | ||
| chords that contain notes not found in the scale | ||
| the pre-eminence of key signatures and tonic-dominant harmony. | ||
| pleasing to the ear, major and more 3rds and 6ths and perfect 5ths and 8ves | ||
| chords that contain only notes found in the scale | ||
| unpleasant to the ear, all other intervals, except P4, which is only dissonant int he bass | ||
| Numerical shorthand which denotes intervals above the bass note and thus indicates chord inversion. Common scoring for continuo keyboardists of the Baroque era, who would "realize" a complete harmonic rendering while reading from a score of only bass notes and figured bass numbers. | ||
| diminished fifth (dissonant) | ||
| an abbreviated musical score, consisting of a melody line with chord names or symbols, and sometimes lyrics | ||
| suddenly ending a minor composition in a major triad | ||
| A progression from a dissonant tone or harmony to one that is consonant. | ||
| interval greater than a P8 | ||
| The smallest interval possible; from one tone to the next possible tone | ||
| The distance from one tone to another, as determined by the two tones' letter names and half-steps spanned. | ||
| 9 minus the number and the opposite of the quality gives u the inversion ex. M2=>m7 | ||
| i.e. third, fifth, octave | ||
| e.g. perfect, major, minor, diminshed, augmented | ||
| interval that spans 3 whole tones, +4 or dim 5 | ||
| same note | ||
| a musical interval of two semitones | ||
| A performance style in which an ensemble is divided into two or more groups, performing alternately as separate groups and in unison. | ||
| Directions to a performer typically through symbols and icons on a musical score that indicate characteristics of the attack, duration, and decay (or envelope) of a given note. | ||
| Directive for a musician to play a stringed instrument with a bow as opposed to plucked or pizzicato | ||
| A directive to perform a certain passage of a composition in a smooth, graceful, connected style, as opposed to staccato. It is often indicated by a slur over the effected notes or as an accent mark with a line over the notes to be performed in this manner. | ||
| Marked, accented, emphatic, stressed. | ||
| A directive to a bowed string instrument performer that the indicated notes are to be plucked with the fingers rather than bowed (arco). The abbreviation for this term is pizz. | ||
| A sign in musical notation consisting of a curved line drawn over or under a series of notes, indicating that those notes should be played legato | ||
| A style of playing notes in a detached, separated, distinct manner, as opposed to legato. Staccato is indicated by dots directly above or below the notehead. | ||
| A directive to perform a certain note or chord of a composition in a sustained manner for longer than its full duration. | ||
| Performance style with a singing leader who is imitated by a chorus of followers; also responsorial singing. | ||
| A directive to a performer to smoothly increase the volume of a particular phrase or passage. | ||
| smoothly decrease the volume of the specific passage of a composition. | ||
| Expressive style typical of some early music in which volume levels shift abruptly from soft to loud and back without gradual crescendos and decrescendos. | ||
| A directive to a musician to perform a certain passage very softly, even softer than piano (p ), but not as soft as pianississimo (ppp) | ||
| quiet | ||
| Moderately soft. | ||
| Moderately loud | ||
| loud | ||
| very loud | ||
| Term referring to the spontaneous performance of music without previous preparation or any written notes | ||
| A musical unit, often a component of a melody. | ||
| The speed of the rhythm of a composition. Tempo is measured according to beats per minute | ||
| 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 | ||
| A moderate tempo marking between Largo and Moderato. This tempo typically has between 76 and 108 beats per minute. | ||
| A moderate tempo marking slightly faster than Andante and slower than Moderato. | ||
| The slowest tempo in music. A directive to perform a certain passage of a composition in a solemn, grave, or slow manner. An extremely low pitch. | ||
| A slow and solemn tempo marking, having between 40 and 60 beats per minute. | ||
| slow | ||
| A directive to perform the designated passage of a composition in a moderate tempo; moderately, restrained. | ||
| A directive to perform the indicated passage of a composition very quickly. | ||
| A directive to perform a certain passage of a composition in a lively or brisk manner. | ||
| Gradually accelerating or getting faster | ||
| A directive to perform a certain passage of a composition with a ritard the tempo, to gradually delay the tempo | ||
| A directive to perform a certain passage of a composition with a slowing of the tempo more suddenly and extremely than a ritardando | ||
| A practice common in Romantic compositions of taking part of the duration from one note and giving it to another. It involves the performer tastefully stretching, slowing, or hurrying the tempo as she/he sees fit, thus imparting flexibility and emotion to the performance. | ||
| An accent created by duration, rather than loudness or metrical position | ||
| To play an indicated note louder. | ||
| Any beat that is strong within its metrical context. | ||
| Upbeat; a beat preceding beat one of a complete measure; a conductor's upward sweeping gesture prior to the downbeat | ||
| Time signatures with 5 or 7 as the top number | ||
| Statement of a melody in longer note values, often twice as slow as the original. | ||
| The common term meaning bar or the lines drawn perpendicularly across the staff to divide it into measures. | ||
| The regular pulse of music which may be dictated by the rise or fall of the hand or baton of the conductor. by a metronome, or by the accents in music. See conducting patterns. | ||
| Meter in which each beat is divisible by three rather than two. | ||
| Meter in which each beat is divisibel by two | ||
| The meter changes regularly, from measure to measure, and can be indicated by a double time signature | ||
| The simultaneous use of two or more different rhythmic patterns. Study this excerpt from Debussy's Arabesque No. 1; note that the left hand plays in eighth-note pairs, while the right hand plays triplets. | ||
| A Renaissance and Baroque ornamentation which consists of the restatement of a melody in which the note values are shortened, usually by half. | ||
| A mark that represents a duration directive in musical notation. When placed to the right of the notehead, the dot indicates that a note should have half again its original duration. For example, if a dot is placed to the right of a half note, the note would then have the duration of a half note plus a quarter note. | ||
| Rhythms that consist basically of a dotted note and a neighboring note worth one third the duration of the entire duration of the dotted note. For example a succession of notes composed of two note clusters, a dotted quarter note followed by an eighth note, or a quarter note followed by a dotted half note, etc. | ||
| A group of two notes played in the time usually taken to play three | ||
| The length of time that a note is sounded. This term can also refer to the notation of the length of time that a note is to be sounded or the length of time that a rest should be observed (silence). | ||
| the rhythmic relation of three notes in the time of two, i.e., the triplet. | ||
| The time signature changes frequently -- often every measure -- and serves more as an organizational guide than an indication of strong downbeat | ||
| Measure of time; arrangement of poetical feet; the grouping of beats into regular patterns. The organization of rhythmic patterns in a composition in such a way that a regular, repeating pulse of beats may continue throughout the composition. | ||
| A rhythmic pattern with the measure being divisible by two. This includes simple double rhythm such as 2/2, 4/4, but also such compound rhythms as 6/8. | ||
| Metrical pattern with four beats to the measure; 4/4 or common time, etc | ||
| A metrical pattern having three beats to a measure. | ||
| he note value is the duration of a note, or the relationship of the duration of the note to the measure. | ||
| The use of several patterns or meters simultaneously, a technique used in 20th century compositions. | ||
| Music's underlying, ongoing beat | ||
| The subdivision of a space of time into a defined, repeated pattern. Rhythm is the controlled movement of music in time. It may be defined as the division of music into regular metric portions; the regular pulsation of music. | ||
| American style of jazz music originating in the 1930's. Swing was characterized by "big band" instrumentation, a greater emphasis on solo passages, and a 4/4 tempo with an almost even emphasis on each beat of the measure. | ||
| Deliberate upsetting of the meter or pulse of a composition by means of a temporary shifting of the accent to a weak beat or an off-beat. | ||
| The speed of the rhythm of a composition. Tempo is measured according to beats per minute. | ||
| A curved line drawn over or under the heads of two notes of the same pitch indicating that there should be no break between them but they should be played as a single note. | ||
| A symbol placed at the left side of the staff indicating the meter of the composition. For example, a time signature of 3/4 would indicate that there are three quarter notes in each measure and the quarter notes receive the main pulse (or beat). | ||
| Three notes of equal length that are to be performed in the duration of two notes of equal length. | ||
| A mark placed before a note which indicates that the previously understood pitch of the note should be altered by one or two half steps (semitones). | ||
| Refers to a scale based on all 12 half-steps within an octave | ||
| Refers to the notes that are in the scale as indicated by the key signature | ||
| An unchangeable ordering of sharps or flats indicated at the beginning of a piece that defines the diatonic pitches for that piece. | ||
| A scale step pattern of whole-whole-half-whole-whole-whole-half | ||
| The harmonic minor scale raises the 7th scale degree. The scale step pattern is:whole-half-whole-whole-half-augmented 2nd-half | ||
| The melodic minor scale raises the 6th and 7th scale degrees ascending; the scale is in the natural form descending. The ascending scale step pattern is:whole-half-whole-whole-whole-whole-half | ||
| a | ||
| A scale step pattern of whole-half-whole-whole-half-whole-whole | ||
| Sounds the same as a major scale, and follows the same step pattern.On a piano, an Ionian mode scale is played on the white keys from C - C | ||
| The step pattern: whole-half-whole-whole-whole-half-whole Dorian mode can be played on a piano on the white keys, from D - D | ||
| Step pattern: half-whole-whole-whole-half-whole-whole Phrygian mode can be played on a piano on the white keys from E - E | ||
| Step pattern: whole-whole-whole-half- whole-whole-halfLydian mode can be played on a piano on the white keys from F - F | ||
| Step pattern: whole-whole-half-whole-whole-half-whole Mixolydian mode can be played on a piano on the white keys from G - G | ||
| Aeolian mode is the same as the natural minor scale. The step pattern is:whole-half-whole-whole-half-whole-wholeAeolian mode can be played on the piano on the white keys from A - A | ||
| Step pattern: half-whole-whole-half-whole-whole-whole Locrian mode can be played on a piano on the white keys from B - B | ||
| Words of a song | ||
| Singing one word or syllable over several notes. Study the next part of the recitative from "Messiah:" The bass must sing the word "shake" through 21 notes. Note also the text painting: The word "shake" looks and sounds shaky! | ||
| Poetic lyrics (or verses) which alternate with a repeating refrain. If the music is the same for each stanza, the form is called strophic. This is like a hymn in a hymnbook. | ||
| Music sung with one note per word or syllable. Study this bass recitative from Handel's "Messiah:" | ||
| An accompaniment derived from broken chords. The note sequence is: bottom-top-middle-top. Alberti bass is generally for a keyboardist's left hand and is characterisic of keyboard music of the Classical period. | ||
| Melody sung against itself in imitation. Canons have definite endings, vs. the round, which can continue on and on; for example, "Row, row, row your boat." | ||
| Also called "strict imitation", the imitation of one part by another, note for note and interval for interval. This excerpt from Bach's Two-Part Invention No. 8 stays in strict imitation until measure 8. | ||
| The underlying harmonic support for a melody; chords may be blocked or broken. | ||
| Pertaining to counterpoint | ||
| The linear consideration of two melodic lines sounding together | ||
| Lines sounding together using the same or simlar melodies, with the second voice entering soon after the first. | ||
| Two melodies are essentially different, but are harmonious when performed contrapuntually. | ||
| In a piece with a prominant melody, a second melody -- the countermelody -- is distinct but clearly subordinate to the first. | ||
| Imitation of the subject which enters at a different pitch level, usually the fourth or fifth. | ||
| Literally "different sounds." Simultaneous performance of modified versions of the same melody. Uncommon in Western music. | ||
| Melody supported by accompaniment. | ||
| The same, or almost the same rhythm is applied to all voices of the musical texture, like a hymn. | ||
| ? | ||
| Melody is clearly prominant; supported by chordal accompaniment | ||
| Division of the orchestra: Tubular wind instruments usually made of brass. Common members are trumpet, cornet, horn, trombone, euphonium, and tuba. | ||
| Two performers who play continually throughout a performance; a cellist and a keyboardist, both reading from figured-bass scores. Essential to ensemble music from about 1600-1750 (the Baroque era.) | ||
| Division of the orchestra: Any instrument that makes its sound by being struck. Common members are drums; cymbals; timpani (kettle drums); xylophones; marimbas; and various small, unpitched instruments such as maracas, bell trees and wood blocks. | ||
| That part of the band or orchestra composed of unpitched instruments which produce their sound by being struck. The backbone of a rhythm section is the drums. | ||
| Division of the orchestra: Instruments that make their sound from strings which are bowed or plucked. The string section is composed of violin, viola, cello, and double bass. | ||
| The quality of a sound; "tone color"; i.e.; the reediness of an oboe; the warmth of the cello; the brassiness of a trumpet. Pronounced tam-ber. | ||
| A woodwind instrument is a musical instrument which produces sound when the player blows air against an edge of, or opening in, the instrument, causing the air to vibrate within a resonator | ||
| A succession of single notes; the tune; the part of a song that sticks in the memory. | ||
| A single melodic line with no other support | ||
| A part which cannot be omitted from performance; essential part; often a descant or countermelody. | ||
| A melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or some portion of a composition. | ||
| Two or more melodies are combined; multiple melodies have equal importance. Bach inventions and fugues are polyphonic. | ||
| Part of the range of an instrument or voice that is different from other parts; for example, singers speak of their "head voice" and "chest voice." | ||
| Individual performer (solo); or small ensemble, one performer per line (soli) | ||
| The general range of a composition in relation to the performer's range; i.e.; high tessitura, low tessitura. | ||
| italian for "all" | ||
| a bass line that moves steadily in a rhythm contrasting to that of the upper parts | ||
| A solo song within an opera or oratorio | ||
| A solo song not from an opera; often from the Romantic era | ||
| A large-scale, multi-movement piece written for a solo instrument and orchestra | ||
| A piece employing imitative counterpoint based on a subject that is presented and expanded upon by two or more voices | ||
| Broad category | ||
| Music written to be played between acts of a play, opera, or ballet. | ||
| Large-scale musical/theatrical piece; a play set to music and presented with full orchestra, singers, sets, and costumes. | ||
| A piece written to precede some other musical work or worship service; also, a short, self-contained musical piece. | ||
| Usually, recessional music for a worship service | ||
| A piece written for solo instrument (such as piano) or a single-line instrument (such as flute or cello) and piano. | ||
| A song is a metrical composition intended or adapted for singing, especially one in rhymed stanzas; a lyric; a ballad | ||
| An ensemble of four stringed instruments: Two violins, viola, and cello. Also, music written for this ensemble. | ||
| Large-scale, multi-movement work for full orchestra. |
