Terms : Hide Images
| 1925346991 | alberti bass | continuous broken chord: R-5-3-5, R-5-3-5, ect | 0 | |
| 1925346992 | canon | same as a round | 1 | |
| 1925346993 | chordal accompaniment | accompaniment that is made up of chords | 2 | |
| 1925346994 | counterpoint | independent melodies that work together harmonically | 3 | |
| 1925346995 | imitation | a melody repeats in a different voice but varied a bit | 4 | |
| 1925346996 | heterophony | more than one voice, moving together (not precisely) | 5 | |
| 1925346997 | homophony | more than one voice, moving precisely together | 6 | |
| 1925346998 | monophony | only one "voice" (or line of music) | 7 | |
| 1925346999 | polyphony | more than one voice, moving independently | 8 | |
| 1925347000 | melody with accompaniment | texture with obvious melody and separate accompaniment | 9 | |
| 1925347001 | melody | collection of pitches that make up a theme | 10 | |
| 1925347002 | homorhythmic | more than one voice, moving rhythmically together | 11 | |
| 1925347003 | timbre | the sound of the instrument or voice being used | 12 | |
| 1925347004 | obbligato | part of the voicing that is mandatory | 13 | |
| 1925347005 | ostinato | continuously repeated motive, usually throughout | 14 | |
| 1925347006 | walking bass | continuous bassline , almost entirely stepwise (esp. jazz) | 15 | |
| 1925347007 | Antiphonal | Occurring or responding in turns; alternating | 16 | |
| 1925347008 | Articulation | different ways a note can be attacked and connected to other notes | 17 | |
| 1925347009 | arco | use bow | 18 | |
| 1925347010 | legato | highly connected notes | 19 | |
| 1925347011 | marcato | emphasize each note | 20 | |
| 1925347012 | pizzicato | pluck the string | 21 | |
| 1925347013 | slur | indicates that notes should not be separated | 22 | |
| 1925347014 | staccato | played very short | 23 | |
| 1925347015 | tenuto | played held | 24 | |
| 1925347016 | call and response | a song style in which a singer or musician leads with a call and a group responds | 25 | |
| 1925347017 | Dynamics | degree of loudness/softness of playing | 26 | |
| 1925347018 | crescendo | get louder | 27 | |
| 1925347019 | diminuendo | get softer | 28 | |
| 1925347020 | dynamics | pianissimo-very quiet piano-quiet mezzopiano-slightly soft mezzo forte-comfortable volume forte - loud fortissimo- very loud | 29 | |
| 1925347021 | phrasing | basic unit of musical thought, similar to a sentence with a beginning, middle, and end | 30 | |
| 1925347022 | tempo | how fast or slow. | 31 | |
| 1925347023 | tempos | o adagio - slow o andante - medium speed o allegro - fast o andantino - medium o grave - slow o largo - slow o moderato - medium o presto - fast o vivace - fast o accelerando o ritardando - to get slower o ritenuto - immediately slowwer, held back at certain pace o rubato - slightly slowing down or speeding up at discretion of soloist or conductor | 32 | |
| 1925347024 | Accent | stress given to a note or other musical element that brings it to a listener's attention | 33 | |
| 1925347025 | Agogic accent | stress given to a note through prolonged furation | 34 | |
| 1925347026 | Dynamic accent | created when one note is longer than the other | 35 | |
| 1925347027 | metrical accent | a note that is on a strong beat, such as the first beat of a measure | 36 | |
| 1925347028 | Anacrusis | "pick-up" | 37 | |
| 1925347029 | Assymetrical meter | compound meter with beat units of unequal duration | 38 | |
| 1925347030 | Augmentation | process of systematically lengthening the duration of pitches in a musical line. | 39 | |
| 1925347031 | Bar line | vertical line that indicates end of measure | 40 | |
| 1925347032 | Beat | primary pulse in musical meter | 41 | |
| 1925347033 | beat type | meter in which beat is divided | 42 | |
| 1925347034 | Changing Meter | In contemporary pieces, meter that changes from measure to measure. | 43 | |
| 1925347035 | Cross rhythm | rhythm in which regular pattern of accents of the prevailing meter is contradicted by conflicting pattern and not merely displacement that leaves the prevailing meter fundamentally unchallenged. | 44 | |
| 1925347036 | Diminution | process of systematically shortening duration of pitches in a melodic line. Usually a consistent proportion in relation to original melody | 45 | |
| 1925347037 | Dot | rhythmic notation that adds a note 1/2 its value. | 46 | |
| 1925347038 | Double Dot | rhythmic notation that adds to a note 3/4 of its note value | 47 | |
| 1925347039 | Dotted Rhythm | rhythm with dotted notes in itq | 48 | |
| 1925347040 | Duplet | division of beat into two equal parts | 49 | |
| 1925347041 | Duration | Length of note/rest | 50 | |
| 1925347042 | Hemiola | special type of syncopation in compound meters in which the normal 3 part division of the beat is temporarily regrouped into twos. | 51 | |
| 1925347043 | Irregular meter | A compound meter with beat units of unequal duration. These irregular beat lengths are typically (though not always) created by five or seven beat divisions, grouped into beat lengths such as 2 + 3 or 2 + 3 + 2. | 52 | |
| 1925347044 | Meter | grouping and divisions of beats in regular, recurring patterns | 53 | |
| 1925347045 | Duple | Meter in which beats group into units of two | 54 | |
| 1925347046 | Quadruple | Meter in which beats group into units of four | 55 | |
| 1925347047 | Triple | Meter in which beats group into units of three | 56 | |
| 1925347048 | Note value | length of note | 57 | |
| 1925347049 | Polyrhythm | Music with two or more different simultaneous metric streams | 58 | |
| 1925347050 | Pulse | What listeners entrain to as they tap their foot or dance along with a piece of music, is also colloquially termed "the beat" | 59 | |
| 1925347051 | Rhythm | patterns made by duration of pitch and silence (notes and rests) in a piece | 60 | |
| 1925347052 | Swing Rhythm | Rhythm where notes with equal written time values are performed with unequal durations, usually as alternating long and short. | 61 | |
| 1925347053 | Syncopation | Off-beat rhythmic accents created by dots, ties, rests, dynamic markings, accent marks | 62 | |
| 1925347054 | Tempo | How fast/slow the music is played. | 63 | |
| 1925347055 | Tie | small arc connecting note heads of two or more identical pitches, adding up the duration | 64 | |
| 1925347056 | Time Signature | indicates the beat unit and grouping of beats in the piece or movement; also called "meter signature." | 65 | |
| 1925347057 | cadence | the close of a musical section; the end of a phrase | 66 | |
| 1925347058 | cadential extension | A type of extension occurring at the end of a phrase. Typically the cadence is repeated with little new or elaborative melodic material. | 67 | |
| 1925347059 | coda | Closing section of a composition. An added ending. | 68 | |
| 1925347060 | codetta | A short coda | 69 | |
| 1925347061 | contour | direction and shape that the notes move in | 70 | |
| 1925347062 | countermelody | Accompanying melody sounding against the principle melody | 71 | |
| 1925347063 | elision | a deliberate act of omission | 72 | |
| 1925347064 | fragment | division of musical idea | 73 | |
| 1925347065 | introduction | the act of beginning something new | 74 | |
| 1925347066 | bridge | contrasting section which also prepares for the return of the original material section. | 75 | |
| 1925347067 | chorus | reptitive phrase in music | 76 | |
| 1925347068 | song form | A structure of a song in which the first section of a simple ternary from is repeated, for example AABA | 77 | |
| 1925347069 | turnaround | turnaround is a passage at the end of a section which leads to the next section | 78 | |
| 1925347070 | twelve-bar blues | standard formula for the blues with a harmonic progression in which the first four measure phrase is on the tonic the second phrase begins on the subdominant and ends on the tonic and the third phrase on the dominant and returns to the tonic. | 79 | |
| 1925347071 | motive | short melodic or rhythmic pattern. | 80 | |
| 1925347072 | antecedent period | the first phrase in a period | 81 | |
| 1925347073 | consequent period | the second or last phrase in a period | 82 | |
| 1925347074 | contrasting period | When two phrases are different from each other | 83 | |
| 1925347075 | double period | a group of four phrases in which the only PAC appears at the conclusion of the fourth phrase. The first two phrases form the antecedent and the second two form the consequent | 84 | |
| 1925347076 | parallel period | both phrases begin with similar or identical material (even if that material is embellished) | 85 | |
| 1925347077 | phrase group | group of phrases seem to belong together without forming period or double period | 86 | |
| 1925347078 | refrain | A short section of repeated material which occurs at the end of each stanza. | 87 | |
| 1925347079 | binary form | a musical form consisting of two units (A and B) constructed to balance and complement each other | 88 | |
| 1925347080 | rounded binary | Musical form similar to ternary but first section isn't fully repeated (A | Ba) | 89 | |
| 1925347081 | simple binary | has two distinct sections. The B section is typically in a key other than tonic but returns to tonic by the end. | 90 | |
| 1925347082 | ternary | Three-part form in which the middle section is different from the other sections. Indicated by ABA | 91 | |
| 1925347083 | augmentation | the statement of a theme in notes of greater duration (usually twice the length of the original) | 92 | |
| 1925347084 | conjunct | smooth, connected melody that moves principally by small intervals | 93 | |
| 1925347085 | diminution | the statement of a theme in notes of lesser duration (usually half the length of the original) | 94 | |
| 1925347086 | disjunct | progressing melodically by intervals larger than a major second | 95 | |
| 1925347087 | phrase extension | a phrase whose length has been increased through the elongation of some part of it, but which would be complete without whatever has been added. | 96 | |
| 1925347088 | fragmentation | the use of fragments or the "division of a musical idea (gesture, motive, theme, etc.) into segments." It is used in tonal and atonal music, and is a common method of localized development and closure | 97 | |
| 1925347089 | internal expansion | phrase extends beyond the expected phrase length | 98 | |
| 1925347090 | melodic inversion | melodic transformation in which successive intervals change direction | 99 | |
| 1925347091 | literal repetition | Repeating a melody at the same pitch level | 100 | |
| 1925347092 | motivic tranformation | change of rhythmic theme | 101 | |
| 1925347093 | octave displacement | taking a melodic line and moving some of the notes into a different octave | 102 | |
| 1925347094 | retrograde | form of motivic transformation; "backwards" | 103 | |
| 1925347095 | rhythmic transformation | Theme's rhythm is changed in order to vary it from previous statements. | 104 | |
| 1925347096 | sequence | The repetition of a melodic pattern on a higher or lower pitch level | 105 | |
| 1925347097 | sequential repetition | transposing a longer sequence to a different scale degree; may be diatonic or intervalically exact | 106 | |
| 1925347098 | transposition | playing in a different key from the key intended | 107 | |
| 1925347099 | truncation | Form of motivic transformation; "subtraction" | 108 | |
| 1925347100 | solo/soli | melodic line solo: one person soli: the section | 109 | |
| 1925347101 | stanza | an arrangement of a certain number of lines, usually four or more, sometimes having a fixed length, meter, or rhyme scheme, forming a division of a poem. | 110 | |
| 1925347102 | strophic | describes a song where the stanzas are all sung to the same music | 111 | |
| 1925347103 | theme | The musical subject of a piece (usually a melody), as in sonata form or a fugue. An extramusical concept behind a piece | 112 | |
| 1925347104 | thematic transformation | musical expansion of a theme by varying its melodic outline, harmony, or rhythm | 113 | |
| 1925347105 | through-composed | a term used to describe music that exhibits no obvious repetitions or overt musical form from beginning to end | 114 | |
| 1925347106 | tutti | All together | 115 | |
| 1925347107 | variation | The manipulation of a theme by the use of melodic, rhythmic, and harmonic changes | 116 | |
| 1925347108 | verse | one line of poetry | 117 | |
| 1925347109 | authentic cadence | A V-I cadence (in harmonic minor, V-i) | 118 | |
| 1925347110 | perfect authentic | Major: V-I Minor: v-i | 119 | |
| 1925347111 | imperfect authentic | V-I progression ending on another note except for tonic | 120 | |
| 1925347112 | conclusive cadence | Any cadence ending on the tonic chord | 121 | |
| 1925347113 | deceptive cadence | V - vi | 122 | |
| 1925347114 | half cadence | A cadence which ends with the V chord | 123 | |
| 1925347115 | phrygian half cadence | A half cadence from iv to V in a minor key | 124 | |
| 1925347116 | inconclusive cadence | any cadence not ending on the tonic chord | 125 | |
| 1925347117 | plagal cadence | IV-I | 126 | |
| 1925347118 | tonic | the first note of a diatonic scale | 127 | |
| 1925347119 | supertonic | scale degree 2 | 128 | |
| 1925347120 | mediant | scale degree 3 | 129 | |
| 1925347121 | subdominant | scale degree 4 | 130 | |
| 1925347122 | dominant | fifth scale degree | 131 | |
| 1925347123 | submediant | sixth scale degree | 132 | |
| 1925347124 | subtonic | (1) Scale-degree 7 of the natural minor scale, so called because it is a whole step below tonic. (2) The triad built on 7 of natural minor. | 133 | |
| 1925347125 | leading tone | seventh scale degree | 134 | |
| 1925347126 | tonic function | when two notes are played successively, that is a melodic interval. two notes played simultaneously is a harmonic interval. | 135 | |
| 1925347127 | dominant function/family | leads to tonic | 136 | |
| 1925347128 | circle of fifths | A circular diagram showing the relationships between keys when sharps or flats are added to the key signature. The sharp keys appear around the right side of the circle, with each key a fifth higher. The flat keys appear around the left side of the circle, with each key a fifth lower. | 137 | |
| 1925347129 | deceptive progression | The progression V -vi (or V-VI). | 138 | |
| 1925347130 | harmonic rhythm | the rhythm created by changes in harmony | 139 | |
| 1925347131 | common tone modulation | A type of modulation in which only a single pitch of a chord or melodic line in the initial key functions as a "pivot" between the two keys. Other pitches of this modulating chord may shift up or down a half step, making a chromatic connection. | 140 | |
| 1925347132 | phrase modulation | When the phrase cadences in one key and then the phrase after it immediately follows in another key. | 141 | |
| 1925347133 | pivot chord modulation | a type of modulation that moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share | 142 | |
| 1925347134 | neighboring chord | A chord whose notes arise from the neighboring chord or that embellishes the chord that it neighbors | 143 | |
| 1925347135 | four-part realization | ... | 144 | |
| 1925347136 | secondary dominant | the V or Dominant of a key other than Tonic | 145 | |
| 1925347137 | secondary leading tone | In a secondary dominant or leading tone chord, the note that serves momentarily as the leading tone to the root of the tonicized chord. | 146 | |
| 1925347138 | tonicization | Treatment of a chord as the tonic for less than a phrase | 147 | |
| 1925347139 | anticipation | leaves early from the preparation chord by step to become part of the resolution chord. It anticipates the pitch to come in the next chord. | 148 | |
| 1925347140 | embellishment | ornamentation added to music to make it more beautiful or effective, or to demonstrate the abilities of the performer | 149 | |
| 1925347141 | appoggiatura | A nonharmonic tone, usually a half or whole step above the harmonic tone, which is performed on the beat and then resolved | 150 | |
| 1925347142 | escape tone | another form of incomplete neighbor that leaves the chord tone by step then resolves in the opposite direction by leap | 151 | |
| 1925347143 | neighbor tone | A nonchord tone that embellishes a single tone by moving stepwise away from and then back to the tone. | 152 | |
| 1925347144 | double neighbor | The combination of successive upper and lower neighbors (in either order) around the same pitch. | 153 | |
| 1925347145 | lower neighbor | A nonchord tone that embellishes a single tone by moving stepwise away from and then back to the tone. goes down | 154 | |
| 1925347146 | upper neighbor | A nonchord tone that embellishes a single tone by moving stepwise away from and then back to the tone. goes up | 155 | |
| 1925347147 | ornament | Melodic embellishments, either written or improvised. | 156 | |
| 1925347148 | passing tone | Unaccented notes which move conjunctly between two chords to which they do not belong harmonically | 157 | |
| 1925347149 | accented vs unaccented passing tone | accented is on the strong beat, unaccented is on the weak beat | 158 | |
| 1925347150 | pedal point | a note, usually in the bass, sustained or continually repeated for a period of time while the harmonies change around it | 159 | |
| 1925347151 | preparation | the initial, consonant attack | 160 | |
| 1925347152 | resolution | when the suspension proceeds down to the consonant chord tone a second below | 161 | |
| 1925347153 | retardation | is similar to a suspension except that the resolution is up a step, not down. | 162 | |
| 1925347154 | suspension | holds a consonant chord tone beyond the chord to which it belongs and into the next chord before "dropping" down a step to resolve | 163 | |
| 1925347155 | close position | chord spelling with no interval larger than a 3rd between each chord degree | 164 | |
| 1925347156 | doubling | Occurs when the same melody is played by more than one instrument an octave apart | 165 | |
| 1925347157 | open position | an octave or more b/w soprano and tenor | 166 | |
| 1925347158 | common tone | In a chord progression, a note which belongs to both chords | 167 | |
| 1925347159 | contrary motion | voices moving in different direction | 168 | |
| 1925347160 | cross relation | The sudden chromatic alteration of a pitch in one voice part, immediately after the diatonic version has sounded in another voice. | 169 | |
| 1925347161 | crossed voices | A voice-leading error in which one voice moves into the register of an adjacent voice. For example, if a pitch in the alto line sounds simultaneously with a lower pitch in the soprano line, the voices are crossed. | 170 | |
| 1925347162 | direct fifths | Similar motion into a perfect interval (the fifth or the octave), permitted only in the inner voices or if the soprano moves by a step. | 171 | |
| 1925347163 | direct octaves | Similar motion into a perfect interval (the fifth or the octave), permitted only in the inner voices or if the soprano moves by a step. | 172 | |
| 1925347164 | oblique motion | occurs when one voice (or more) remains on the same pitch while the other ascends or descends. | 173 | |
| 1925347165 | overlapping voices | one voice crosses above or below the previous note of another voice | 174 | |
| 1925347166 | parallel motion | Contrapuntal, or voice-leading, motion in which both parts move in the same direction by the same generic interval. | 175 | |
| 1925347167 | parallel fifths | Two voices that travel in fifths relative to each other. | 176 | |
| 1925347168 | parallel octaves | two voices that travel in octaves relative to each other. | 177 | |
| 1925347169 | similar motion | Contrapuntal, or voice-leading, motion in which both parts move in the same direction, but not by the same generic interval. | 178 | |
| 1925347170 | tendency tone | A chord member or scale degree whose dissonant relation to the surrounding tones requires a particular resolution in common practice style (i.e., chordal sevenths resolve down, and leading tones resolve up). | 179 | |
| 1925347171 | arpeggio | a broken chord | 180 | |
| 1925347172 | chromatic | half step scale | 181 | |
| 1925347173 | common practice style | The composition techniques and harmonic language of the Baroque, Classical, and Romantic eras | 182 | |
| 1925347174 | consonance | Intervallic relationships which produce sounds of repose. Frequently associated with octave, third and sixth intervals; however, fourths and fifths may be sounds of consonance, as in both early and 20th-century music. | 183 | |
| 1925347175 | diatonic | based on the standard major or minor scales consisting of 5 tones and 2 semitones without modulation by accidentals | 184 | |
| 1925347176 | dissonance | Sounds of unrest, e.g. intervals of seconds and sevenths; the opposite of consonance | 185 | |
| 1925347177 | figured bass | a bass part written out in full and accompanied by numbers to indicate the chords to be played | 186 | |
| 1925347178 | flatted fifth | diminished fifth (dissonant) | 187 | |
| 1925347179 | lead sheet | a sheet containing the words and melody for a song (and some indication of harmony) written in simple form | 188 | |
| 1925347180 | picardy third | suddenly ending a minor composition in a major triad; raising the third of the chord | 189 | |
| 1925347181 | resolution | comes after the non chord tone | 190 | |
| 1925347182 | imitative polyphony | a technique in which each phrase of a compostion is addressed by all of the voices, whitch enter successively in imitation of each other | 191 | |
| 1925347183 | non imitative polyphony | a polyphonic musical texture in which the melodic lines are essentially different from one another | 192 | |
| 1925347184 | counter melody | a secondary melodic line beneath the melody - important but not distracting | 193 | |
| 1925347185 | fugal imitation | imitation of the subject which enters at a different pitch level | 194 | |
| 1925347186 | chordal homophony | the melody is carried in one voice with a chord | 195 | |
| 1925347187 | instrumentation | the act of providing or using the instruments needed for some implementation | 196 | |
| 1925347188 | brass | the metal instruments in a band....with mouthpieces that you buzz into | 197 | |
| 1925347189 | continuo | a bass part written out in full and accompanied by numbers to indicate the chords to be played | 198 | |
| 1925347190 | percussion | the instruments that hang out in the back of the band hall-can make or break the band imo | 199 | |
| 1925347191 | rhythm section | the section of a band or orchestra that plays percussion instruments | 200 | |
| 1925347192 | strings | the section of an orchestra that plays stringed instruments | 201 | |
| 1925347193 | woodwinds | probably the best part of the band.... lots of them have annoying reeds, then theres the flutes. | 202 | |
| 1925347194 | register | the place on the staff that you play...? | 203 | |
| 1925347195 | tessitura | most widely used range of pitches in a piece of music | 204 |
