All AP Music Theory general vocabulary. 298 words. Have fun.
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| 10815397728 | Cadence | Ending of a musical phrase | 0 | |
| 10815397729 | Cadential extention | Extension of a cadence using the same chords | 1 | |
| 10815397730 | Coda | Closing musical material, not included in the main idea. | 2 | |
| 10815397731 | Codetta | A small coda | 3 | |
| 10815397732 | Contour | Shape of a melody | 4 | |
| 10815397733 | Countermelody | Melody that is equally important to the main melody; usually provides consonace | 5 | |
| 10815397734 | Elision | One phrase connecting to the other | 6 | |
| 10815397735 | Fragment | Part of a motive | 7 | |
| 10815397736 | Introduction | A preparatory movement, usually in a slow tempo to introduce a larger composition. The term is chiefly applied to Classical and Romantic music, but is not exclusively applicable to those eras. | 8 | |
| 10815397737 | Bridge | Connects the B and A section | 9 | |
| 10815397738 | Chorus | A group of people singing a song, usually with multiple parts, together. The main tune. | 10 | |
| 10815397739 | Song Form (AABA, ABA, ABA', etc.) | The form a song is in. | 11 | |
| 10815397740 | Turnaround | Gets you back to the beginning | 12 | |
| 10815397741 | Twelve-bar blues | I,I,I,I,IV,IV,I,I,V,V,IV,IV,I | 13 | |
| 10815397742 | Augmentation | When the notes in a melody are increased, generally by half, in value. Antonym: Diminution | 14 | |
| 10815397743 | Conjunct | Stepwise melodic motion | 15 | |
| 10815397744 | Diminution | When a melody played in such a way that the time value of every note is shortened, generally halved, in value. Its antonym is ' augmentation' | 16 | |
| 10815397745 | Disjunct | Melodic motion in intervals larger than a 2nd | 17 | |
| 10815397746 | Extended version | when a phrase or musical idea or cadence is extended but without any new melodic or harmonic intentions | 18 | |
| 10815397747 | Fragmentation | When part of the song is broken into parts | 19 | |
| 10815397748 | Internal expansion | Expands beyond expect phrase length | 20 | |
| 10815397749 | Inversion, Melodic inversion | When you take one of the upper notes of a chord or interval and take the notes bellow it and put them on top. | 21 | |
| 10815397750 | Literal Repetition | When sequences are repeated exactly. | 22 | |
| 10815397751 | Motivic repetition | When the rhythmic theme is changed | 23 | |
| 10815397752 | Octave displacement | Taking a melodic line and moving the notes to a different octave | 24 | |
| 10815397753 | Retrograde | Backwards modulation | 25 | |
| 10815397754 | Rhythmic transformation | rhythm changes | 26 | |
| 10815397755 | Sequence | pitch and rhythmic pattern, repeated and different pitch levels | 27 | |
| 10815397756 | Sequential repetition | A sequence that repeats | 28 | |
| 10815397757 | Shortened version | When a song is shortened | 29 | |
| 10815397758 | Transposition | Change of key in the entire work | 30 | |
| 10815397759 | Truncation | To shorten, fragment | 31 | |
| 10815397760 | Motive | Smallest musical idea | 32 | |
| 10815397761 | Antecedent | The "Call" in a call and response | 33 | |
| 10815397762 | Consequent | The "Response" in a call and response | 34 | |
| 10815397763 | Contrasting period | When two phrases begin different | 35 | |
| 10815397764 | Double period | 2 periods put together | 36 | |
| 10815397765 | Parallel period | When two phrases begin the same | 37 | |
| 10815397766 | Repeated period | Exact repetition | 38 | |
| 10815397767 | Phrase group | Group of phrases that seem to belong together without forming a period | 39 | |
| 10815397768 | Refrain | Similar to a Chorus; the main tune | 40 | |
| 10815397769 | Binary small form | Movement with two main sections (AB) | 41 | |
| 10815397770 | Rounded binary small form | A B1/2 A | 42 | |
| 10815397771 | Ternary | Statement, contrast, return (ABA) | 43 | |
| 10815397772 | Solo, Soli | Group of soloists | 44 | |
| 10815397773 | Stanza | Different verses | 45 | |
| 10815397774 | Strophic | Music repeats, lyrics change | 46 | |
| 10815397775 | Theme | Main idea of the song, what it's about | 47 | |
| 10815397776 | Thematic transformation | When the theme changes in the song | 48 | |
| 10815397777 | Through-composed | No form - for example, atonal music | 49 | |
| 10815397778 | Tutti | all together, everyone | 50 | |
| 10815397779 | Variation | Material is altered during repetition | 51 | |
| 10815397780 | Capital roman numerals | Indicate major triads | 52 | |
| 10815397781 | Lowercase roman numerals | Indicate minor triads | 53 | |
| 10815397782 | Capital roman numeral with * | Augmented triad | 54 | |
| 10815397783 | Lowercase roman numeral with ° | Diminished triad | 55 | |
| 10815397784 | Arabic numerals or figured bass numerals do what? | Denote intervals above the bass and hence indirectly indicate chord inversion. Arabic numerals may indicate voice leading and/or nonharmonic tones. | 56 | |
| 10815397785 | Figured Bass 6 | Inidicates first inversion triad (third on bottom) | 57 | |
| 10815397786 | figured bass 6/4 | indicates second inversion triad (5th on bottom) | 58 | |
| 10815397787 | Figured bass 7 | Indicated root position seventh chord (root on bottom) | 59 | |
| 10815397788 | figured bass °7 | Fully diminished seventh chord (diminished triad with minor third on top) | 60 | |
| 10815397789 | figured bass ø7 | Half diminished seventh chord (diminished triad with major third on top) | 61 | |
| 10815397790 | figured bass 6/5 | first inversion seventh chord (3rd on the bottom) | 62 | |
| 10815397791 | figured bass 4/3 | second inversion seventh chord (5th on the bottom) | 63 | |
| 10815397792 | figured bass 4/2 | third inversion seventh chord (7th on the bottom) | 64 | |
| 10815397793 | figured bass 8-7 | suspension where the 8 moves to the seven | 65 | |
| 10815397794 | 9-8. 7-6, 4-3 figured bass | All indicate suspension and a melodic resolution | 66 | |
| 10815397795 | accidental before Arabic numeral | alteration of an interval | 67 | |
| 10815397796 | a slash through one of the arabic numerals or a plus after the arabic numeral | indicates that the note creating the interval in question is raised a half step | 68 | |
| 10815397797 | imperfect authentic cadence | must end on I chord | 69 | |
| 10815397798 | perfect authentic cadence | V to I; in root position; melody ends on tonic | 70 | |
| 10815397799 | conclusive cadence | cadence ends on tonic triad | 71 | |
| 10815397800 | deceptive cadence | V to vi | 72 | |
| 10815397801 | half cadence | ends on V | 73 | |
| 10815397802 | Phrygian half cadence | iv6 to V/V7 | 74 | |
| 10815397803 | inconclusive cadence | ends in something other than the tonic chord | 75 | |
| 10815397804 | Plagal | IV to I | 76 | |
| 10815397805 | Augmented triad (*) | two major thirds make up the triad | 77 | |
| 10815397806 | diminished triad (°) | Two minor triads make up the triad | 78 | |
| 10815397807 | Major triad (M) | a major then a minor third makes up the triad | 79 | |
| 10815397808 | Minor triad (m) | a minor then a major third makes up the triad | 80 | |
| 10815397809 | Major seventh chord ( | Major triad with major third on top | 81 | |
| 10815397810 | dominant seventh chord | a major triad with a minor third on top | 82 | |
| 10815397811 | minor seventh chord | minor triad with minor third on top | 83 | |
| 10815397812 | Half diminished seventh chord | diminished triad with major third on top | 84 | |
| 10815397813 | fully diminished seventh chord | diminished triad with minor third on top | 85 | |
| 10815397814 | Tonic | first scale degree | 86 | |
| 10815397815 | supertonic | second scale degree | 87 | |
| 10815397816 | mediant | third scale degree | 88 | |
| 10815397817 | subdominant | fourth scale degree | 89 | |
| 10815397818 | dominant | fifth scale degree | 90 | |
| 10815397819 | submediant | sixth scale degree | 91 | |
| 10815397820 | subtonic | whole step bellow the tonic | 92 | |
| 10815397821 | leading tone | half step below tonic | 93 | |
| 10815397822 | tonic function | I, III, and VI: Used as a resolve | 94 | |
| 10815397823 | dominant function | leads to tonic, sets up half cadence | 95 | |
| 10815397824 | predominant function | sets up dominant tonic tonailities | 96 | |
| 10815397825 | Circle of fifths | keys or tonalities ordered by ascending (for sharp keys) or descending (for flat keys) intervals of a fifth | 97 | |
| 10815397826 | deceptive progression | The root of a secondary dominant can move up stepwise in its own deceptive progression | 98 | |
| 10815397827 | Harmonic rhythm | The rate of chord change, or the series of durational patterns formed by the chord changes in a musical work. | 99 | |
| 10815397828 | modulation | change of tone within a piece | 100 | |
| 10815397829 | common tone modulation | using one or more tones that are common to both keys as an intersection b/w them | 101 | |
| 10815397830 | Phrase modulation | modulations without common chords or tones | 102 | |
| 10815397831 | Pivot chord modulation | using one or more chords that are common to both keys as an intersection b/w them | 103 | |
| 10815397832 | Neighboring chord | lol | 104 | |
| 10815397833 | Retrogression | series of chords that weaken tonality | 105 | |
| 10815397834 | secondary dominant | the V or Dominant of a key other than Tonic | 106 | |
| 10815397835 | secondary leading tone chord | A leading-tone chord that functions as an applied, or secondary, dominant; usually a fully diminished seventh chord. | 107 | |
| 10815397836 | tonicization | a chord other than tonic that seems to the ear to be a temporary tonic | 108 | |
| 10815397837 | Arpeggiating 6/4 chord | a 6/4 created by arpeggiation of the triad in the bass | 109 | |
| 10815397838 | cadential 6/4 chord | a 1 6/4 preceding the dominant, often at a cadence, although it contains the notes of the tonic triad, it doesn't exercise a tonic function but rather serves as an embellishment of the dominant. it occurs in a metrically stronger position than the dominant and the upper voices most often move by step to the tones of the dominant. may also be written as V6/4=5/3, including the resolution of the cadential 6/4 to the dominant. | 110 | |
| 10815397839 | Neighboring of pedal 6/4 chord | (embellishing 6/4, auxilary 6/4) occurs when the third and the fifth of a root position triad are embellished by their respective upper neighboring tones, while the bass is stationary, usually occurring on a weak beat. | 111 | |
| 10815397840 | passing 6/4 chord | harmonizes the second note of a three note ascending or descending scale fragment in the bass; that is, it harmonizes a bass passing tone. the usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step. | 112 | |
| 10815397841 | anticipation | approached by step or leap, same tone as following note | 113 | |
| 10815397842 | appoggiatura | approached by leap, resolved by step | 114 | |
| 10815397843 | escape tone | approached by step, resolved by leap | 115 | |
| 10815397844 | embellishment | melodic decoration | 116 | |
| 10815397845 | neighboring tone can be known as... | (auxiliary tone, embellishing tone, neighbor note) | 117 | |
| 10815397846 | double neighboring tone | involves one note on top of the other | 118 | |
| 10815397847 | lower neighbor | approached by step down, resolved by step to the original note | 119 | |
| 10815397848 | upper neighbor | approached by step up, resolved by step down to the original note | 120 | |
| 10815397849 | neighbor group (cambiata, changing tones, changing notes) | oh | 121 | |
| 10815397850 | ornament | nonharmonic tones | 122 | |
| 10815397851 | passing tone | approach my step, resolve by step, moving in the same direction | 123 | |
| 10815397852 | pedal point | suspension of same note throughout | 124 | |
| 10815397853 | preparation | tone preceding suspension | 125 | |
| 10815397854 | resolution | When the dissonant note is changed to a consonant one. | 126 | |
| 10815397855 | retardation | opposite of a suspension; resolves up instead of down | 127 | |
| 10815397856 | suspension | a tone held from one chord into another, and then resolved down to the chordal note | 128 | |
| 10815397857 | closed position | notes placed as close as possible on the staff | 129 | |
| 10815397858 | doubling | to duplicate a note into another octave | 130 | |
| 10815397859 | open position | wide intervals between parts | 131 | |
| 10815397860 | root | the note a chord is built on | 132 | |
| 10815397861 | root position | root is in the bass | 133 | |
| 10815397862 | common tone | a tone that is common in two chords | 134 | |
| 10815397863 | contrary motion | when two parts move in opposite directions | 135 | |
| 10815397864 | cross relation | when a note sounds with its altered equivalent | 136 | |
| 10815397865 | crossed voices | when an upper voice goes bellow a note used previously in a lower voice, and vice versa | 137 | |
| 10815397866 | direct fifths/direct octaves | when the outside voices move in the same direction | 138 | |
| 10815397867 | oblique motion | the relative motion of two melodic parts in which one remains in place or moves relatively little while the other moves more actively. | 139 | |
| 10815397868 | overlapping voices | when an upper voice is lower than a voice lower than it, and vice versa | 140 | |
| 10815397869 | parallel motion | when two voice parts move in the same direction | 141 | |
| 10815397870 | objectionable parallels | occurs when two parts separated by a perfect fifth/octave, or by their octave equivalents, move to new pitch classes by the same interval | 142 | |
| 10815397871 | parallel fifths | when two parts move in the same direction, staying in fifths | 143 | |
| 10815397872 | parallel octaves | when two parts move in the same direction, staying in octaves | 144 | |
| 10815397873 | similar motion | In part-writing, similar motion is the situation in which two voices of the composition move in the same direction, either ascending or descending, but they do not necessarily cover the same interval. | 145 | |
| 10815397874 | tendency tone | note that tends to move in one direction or another | 146 | |
| 10815397875 | unresolved leading tone | when the leading tone isn't resolved up to the tonic | 147 | |
| 10815397876 | unresolved seventh | when the seven in a chord isn't resolved down by step | 148 | |
| 10815397877 | voice exchange | the repetition of a contrapuntal passage with the voices' parts exchanged. EX: Voice 1: a b voice 2: b a | 149 | |
| 10815397878 | arpeggio | broken chord | 150 | |
| 10815397879 | chormatic | not in the key a scale that moves by half steps | 151 | |
| 10815397880 | common practice style | obeys two different kinds of musical norms: first, it uses conventionalized sequences of chords, such as I-IV-V-I. Second, it obeys specific contrapuntal norms, such as the avoidance of parallel fifths and octaves. | 152 | |
| 10815397881 | consonance | pleasing to the ear | 153 | |
| 10815397882 | diatonic | in the key | 154 | |
| 10815397883 | dissonance | not pleasing to the ear | 155 | |
| 10815397884 | figured bass | arabic numerals that tell where the notes in the chord are placed | 156 | |
| 10815397885 | flatted fifth | flatted fifth note | 157 | |
| 10815397886 | lead sheet | sheet containing words and melody for a song written in simple form | 158 | |
| 10815397887 | picardy third | major third in tonic chord of minor key | 159 | |
| 10815397888 | resolution | Going back to the tonic | 160 | |
| 10815397889 | compound interval | distance between two notes that exceeds an octave | 161 | |
| 10815397890 | half step | when you move from one note directly to the next | 162 | |
| 10815397891 | interval | distance between two notes | 163 | |
| 10815397892 | inversion of an interval | to turn an interval upside down | 164 | |
| 10815397893 | perfect interval | unison, fourth, fifth | 165 | |
| 10815397894 | major interval | second, third, sixth, seventh | 166 | |
| 10815397895 | minor interval | second, third, sixth, seventh. Lowers them by one half step. | 167 | |
| 10815397896 | diminished interval | second, third, sixth, and seventh are lowered another half step from minor. unison, fourth, fifth are lowered from their perfect form | 168 | |
| 10815397897 | augmented interval | when any interval is raised from its original form | 169 | |
| 10815397898 | Tritone | augmented fourth, or diminished fifth | 170 | |
| 10815397899 | unison | one note is played/sung | 171 | |
| 10815397900 | whole step | two half steps | 172 | |
| 10815397901 | antiphonal | responsive | 173 | |
| 10815397902 | articulation | the style in which an individual note is played | 174 | |
| 10815397903 | arco | with the bow | 175 | |
| 10815397904 | legato | smoothly | 176 | |
| 10815397905 | marcatto | marked | 177 | |
| 10815397906 | pizzicato | plucking the strings | 178 | |
| 10815397907 | slur | to sing to a single syllable or play without a break (two or more tones of different pitch) | 179 | |
| 10815397908 | staccato | short, detached | 180 | |
| 10815397909 | tenuto | hold | 181 | |
| 10815397910 | call and response | a song style in which a singer or musician leads with a call and a group responds | 182 | |
| 10815397911 | dynamics | marks the volume of the song | 183 | |
| 10815397912 | crescendo | gradually louder | 184 | |
| 10815397913 | diminuendo/decrescendo | gradually softer | 185 | |
| 10815397914 | terrace dynamics | volume levels shift quickly | 186 | |
| 10815397915 | pianissimo | pp very soft | 187 | |
| 10815397916 | piano | p soft | 188 | |
| 10815397917 | mezzo piano | mp medium soft | 189 | |
| 10815397918 | mezzo forte | mf medium loud | 190 | |
| 10815397919 | forte | f loud | 191 | |
| 10815397920 | fortissimo | ff very loud | 192 | |
| 10815397921 | phrasing | a division of a composition, commonly a passage of four or eight measures, forming part of a period. | 193 | |
| 10815397922 | tempo | the speed of the piece | 194 | |
| 10815397923 | adagio | slow and stately | 195 | |
| 10815397924 | allegro | fast and bright | 196 | |
| 10815397925 | andante | walking speed | 197 | |
| 10815397926 | andantino | slightly faster than andante | 198 | |
| 10815397927 | grave | slow and solemn | 199 | |
| 10815397928 | largo | very slow | 200 | |
| 10815397929 | lento | very very slow | 201 | |
| 10815397930 | moderato | moderately | 202 | |
| 10815397931 | presto | very fast | 203 | |
| 10815397932 | vivace | lively and fast | 204 | |
| 10815397933 | accelerando | gradually speed up | 205 | |
| 10815397934 | ritardando | gradually slower | 206 | |
| 10815397935 | ritenuto | gradually decreasing tempo | 207 | |
| 10815397936 | rubato | to be played with a flexible tempo | 208 | |
| 10815397937 | accent | stress | 209 | |
| 10815397938 | agogic accent | stress given to a note through prolonged duration. | 210 | |
| 10815397939 | dynamic accent | occurs when performer emphasizes a tone by playing it more loudly than the tones around it | 211 | |
| 10815397940 | metrical accent | The pattern of strong and weak beats based on the "weight" of the downbeat and the "lift" of the upbeat. | 212 | |
| 10815397941 | anacrusis | pickup note or figure | 213 | |
| 10815397942 | asymmetrical 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. | 214 | |
| 10815397943 | bar line | the line that shows where one measure stops and one begins | 215 | |
| 10815397944 | beat | the pulse in a song | 216 | |
| 10815397945 | compound beat | a beat that subdivides into three parts | 217 | |
| 10815397946 | simple beat | a beat that subdivides into two parts | 218 | |
| 10815397947 | changing meter | a common trait in 20th-century music; time signature changes frequently and unpredictably; a rejection of standard metrical patterns in favor of non-symmetrical groupings (Bartok & Concerto for Orchestra) | 219 | |
| 10815397948 | cross rhythm (polyrhythm) | Two conflicting rhythms used at the same time. Also known as polyrhythm. | 220 | |
| 10815397949 | dot on the side of a note | takes half the length of the note its beside | 221 | |
| 10815397950 | dotted rhythm | long-short rhythmic pattern in which a dotted note is followed by a note that is much shorter | 222 | |
| 10815397951 | duplet | A group of two notes played in the time usually taken to play three | 223 | |
| 10815397952 | hemiola | a shift in the rhythmic pulse from a division of 2 to a division of 3, or vice versa. i.e. 6-8 time meter into 3-4 time meter. | 224 | |
| 10815397953 | irregular meter | asymmetrical groupings with different numbers of beats per measure | 225 | |
| 10815397954 | meter | how the pulse/beat is established | 226 | |
| 10815397955 | duple meter | 2 beats per measure | 227 | |
| 10815397956 | quadruple meter | four beats per measure | 228 | |
| 10815397957 | triple meter | three beats a measure | 229 | |
| 10815397958 | rhythm | the rate at which notes are played | 230 | |
| 10815397959 | swing rhythm | Rhythm where notes with equal written time values are performed with unequal durations, usually as alternating long and short. | 231 | |
| 10815397960 | syncopation | the accenting of musical beats not normally accented; notes that aren't played on the beat. | 232 | |
| 10815397961 | tempo | the rate at which music is played | 233 | |
| 10815397962 | tie | when a note in one measure is held into the next | 234 | |
| 10815397963 | time signature | the top number is the number of beats in the measure. the bottom number is the note that gets the beat. | 235 | |
| 10815397964 | triplet | three notes played in the space of one or two. | 236 | |
| 10815397965 | accidental | alters a note up or down a half step | 237 | |
| 10815397966 | major scale | In the key of C (up and down): C D E F G A B C B A G F E D C | 238 | |
| 10815397967 | harmonic minor scale | In the key of a (up and down): a b c d e f g# a g# f e d c b a | 239 | |
| 10815397968 | Melodic minor scale | in the key of a (up and down): a b c d e f# g# a g f e d c b a | 240 | |
| 10815397969 | Ionian scale | A major scale | 241 | |
| 10815397970 | Dorian scale | natural minor with a raised 6 | 242 | |
| 10815397971 | phrygian scale | natural minor with a flat 2 | 243 | |
| 10815397972 | lydian scale | major scale with raised 4 | 244 | |
| 10815397973 | mixolydian scale | major scale with flat 7 | 245 | |
| 10815397974 | aeolian scale | natural minor scale | 246 | |
| 10815397975 | locrian scale | natural minor scale with a flat 2 and 5 | 247 | |
| 10815397976 | modality | the state of being modal | 248 | |
| 10815397977 | parallel key | two keys that share the same tonic but NOT the same key | 249 | |
| 10815397978 | pentatonic | scale that has five notes to an octave (think Asian music) | 250 | |
| 10815397979 | relative key | 2 scales that have the same key, but not the same tonic. | 251 | |
| 10815397980 | tetrachord | Series of four notes having a pattern of whole step, whole step, half step | 252 | |
| 10815397981 | tonality, tonal | Principle of organization around a tonic, or home, pitch, based on a major or minor scale. | 253 | |
| 10815397982 | whole tone scale | moving only by whole steps | 254 | |
| 10815397983 | melismatic | notes sung to one syllable | 255 | |
| 10815397984 | syllabic | one note per syllable | 256 | |
| 10815397985 | alberti bass | 1 5 3 5; broken base | 257 | |
| 10815397986 | canon | a contrapuntal piece of music in which a melody in one part is imitated exactly in other parts, starting at different points. | 258 | |
| 10815397987 | chordal accompaniment | The underlying harmonic support for a melody; chords may be blocked or broken. | 259 | |
| 10815397988 | contrapuntal, counterpoint | voices working against each other | 260 | |
| 10815397989 | imitation | a copy that is represented as the original | 261 | |
| 10815397990 | imitative polyphony | technique in which each phrase of a composition is addressed by all the voices, which enter successively in imitation of each other | 262 | |
| 10815397991 | nonimitative polyphony | two or more melodic lines playing distinct melodies | 263 | |
| 10815397992 | countermelody | Accompanying melody sounding against the principle melody | 264 | |
| 10815397993 | fugal imitation | imitation of the subject which enters at a different pitch level; almost like a sequence | 265 | |
| 10815397994 | heterophony, heterophonic | one melodic line being improvised upon | 266 | |
| 10815397995 | homophony, homophonic | melodic accompaniment | 267 | |
| 10815397996 | chordal homphony | sameness, regarding rhythm and melody | 268 | |
| 10815397997 | chordal texture (homorhythmic) | a type of homophonic texture, with pitches sounding simultaneously | 269 | |
| 10815397998 | brass | the section of a band or orchestra that plays brass instruments | 270 | |
| 10815397999 | continuo | a bass part written out in full and accompanied by numbers to indicate the chords to be played | 271 | |
| 10815398000 | percussion | the section of a band or orchestra that plays percussion instruments | 272 | |
| 10815398001 | rhythm section | the section within a jazz band, usually consisting of drums, double bass, piano, banjo, and/or guitar, that establishes the harmony and rhythm | 273 | |
| 10815398002 | strings | the section of an orchestra that plays stringed instruments | 274 | |
| 10815398003 | timbre | the distinguishing quality of a sound | 275 | |
| 10815398004 | woodwinds | wind instruments that include the piccolo, flute, oboe, english horn, clarinet, bassoon, and saxophone | 276 | |
| 10815398005 | monophony, monophonic | one tone | 277 | |
| 10815398006 | obbligato | a part of the score that must be performed without change or omission | 278 | |
| 10815398007 | ostinato | a musical phrase repeated over and over during a composition | 279 | |
| 10815398008 | polyphony, polyphonic | many voices/tones | 280 | |
| 10815398009 | contrapuntal | having two or more independent but harmonically related melodic parts sounding together | 281 | |
| 10815398010 | tessitura | most widely used range of pitches in a piece of music | 282 | |
| 10815398011 | walking bass | a bass line that moves at a moderate pace, mostly in equal note values, and often stepwise up or down the scale | 283 | |
| 10815398012 | Aria | A song from a larger work | 284 | |
| 10815398013 | Art song | a song that stands alone | 285 | |
| 10815398014 | concerto | solo instrument and orchestra | 286 | |
| 10815398015 | fugue | a musical form consisting of a theme repeated a fifth above or a fourth below its first statement | 287 | |
| 10815398016 | genre | style, category of music | 288 | |
| 10815398017 | opera | staged vocal work | 289 | |
| 10815398018 | prelude | a part of a song before the main section | 290 | |
| 10815398019 | postlude | a part of the song after the main section | 291 | |
| 10815398020 | sonata | ABA form | 292 | |
| 10815398021 | string quartet | 2 violins, a viola, and a cello | 293 | |
| 10815398022 | symphony | a piece for an orchestra with many movements. | 294 | |
| 10815398023 | modulation | a change of key within a piece | 295 | |
| 10815398024 | pizzicado | plucked string (tighten or loosen pegs to change pitch) | 296 | |
| 10815398025 | Changing tone | Approach by step, jump a third, resolve by step to the original note. | 297 |
