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| 1063800250 | smallest interval used in the Western system; the octave divides into twelve such intervals; on the piano, the distance between any two adjacent keys, whether black or white | half step | 0 | |
| 1063800251 | half step | semitones | 1 | |
| 1063800252 | melody or harmony built from many if not all twelve semitones of the octave | chromatic | 2 | |
| 1063800254 | consists of an ascending or descending sequence of semitones | chromatic scale | 3 | |
| 1063800255 | musical symbol that indicates raising a pitch by a semitone | sharp | 4 | |
| 1063800257 | musical symbol that indicates lowering a pitch by a semitone | flat | 5 | |
| 1063800258 | interval consisting of two half steps | whole step | 6 | |
| 1063800282 | defines the relationship of tones with a common center or tonic; also a lever on a keyboard or woodwind instrument | key | 7 | |
| 1063800283 | melody or harmony built from the seven tones of a major or minor scale | diatonic | 8 | |
| 1063800284 | encompasses patterns of seven whole tones and semitones | diatonic scale | 9 | |
| 1063800285 | five-note pattern used in some African, Far Eastern, and Native American music; can also be found in Western music as an example of exoticism | pantatonic | 10 | |
| 1063800286 | three-note scale pattern, used in the music of some sub-Sharan African cultures | tritonic | 11 | |
| 1063800288 | seven-note scale; in non-Western music, often fashioned from a different dcdombination of intervals than major and minor scales | heptatonic | 12 | |
| 1063800289 | musical interval smaller than a semitone, prevalent in some non-Western music and in some twentieth-century art music | microtone | 13 | |
| 1063800292 | small alteration of the pitch by a microtonal interval | inflection | 14 | |
| 1063800294 | in the diatonic system, chords which need to resolve the tonic chord; these include the dominant chord and the subdominant chord | active chords | 15 | |
| 1063800297 | a chord that achieves a sense of resolution of completion, normally the tonic | rest chord | 16 | |
| 1063800300 | the fifth scale step (sol) | dominant | 17 | |
| 1063800302 | the fourth scale step (fa) | subdominant | 18 | |
| 1063800305 | the process of changing from one key to another | modulation | 19 | |
| 1063800693 | shifting a piece of music to a different pitch level | transposition | 20 | |
| 1063800939 | rate of speed or pace of music | tempo | 21 | |
| 1063802527 | element of musical expression relating to the degree of loudness or softness, or volume, of a sound | dynamics | 22 | |
| 1063802528 | vocal style established in the Baroque, with a solo singer(s) and instrumental accompaniment | monody | 23 | |
| 1063802529 | literally Italian for salon; a gathering for literary, artistic, musical, or philosophical discussions, notably the Fliorentine Camarata at the end of the sixteenth century | camerata | 24 | |
| 1063802935 | Baroque practice consisting of an independent bass line that often includes numerals indicating the harmony to be supplied by the performer | figured bass | 25 | |
| 1063802937 | figured bass | thorough-bass | 26 | |
| 1063802938 | Italian for "continuous bass"; also refers to the performance group with bass, chordal instrument (harpsichord, organ) and one bass melody instrument (cello, bassoon) | basso continuo | 27 | |
| 1063802939 | a harmonic system based on the use of the major and minor scales, widely practiced from the seventeenth to the late nineteenth century | major-minor tonality | 28 | |
| 1063802945 | tuning system based on the division of the octave into twelve equal half steps; the system used today | equal temperament | 29 | |
| 1063802946 | Baroque doctrine of the union of text and music | doctrine of affections | 30 | |
| 1063802948 | male singer who was castrated during boyhood to preserve the soprano or alto vocal register, prominent in seventeenth and early eighteenth century opera | castrato | 31 | |
| 1063802961 | French monophonic or polyphonic song, especially of the Middle Ages and Renaissance, set to either courtly or popular poetry | chanson | 32 | |
| 1063802962 | Renaissance secular work originating in Italy for voices, with or without instruments, set to a short, lyric love poem; also popular in England | madrigal | 33 | |
| 1063802963 | musical pictoralizing of words from the text as an expressive device; a prominent feature of the Renaissance madrigal | word painting | 34 | |
| 1063823801 | a striking effect designed to depict the meaning of the text in vocal music; found in many madrigals and other genres of the sixteenth through eighteenth centuries | madrigalisms | 35 | |
| 1063823802 | one of the church modes often associated with a somber mood; built on the pitch E using only white keys | phrygian | 36 | |
| 1063824181 | stately Renaissance court dance in duple meter | pavane | 37 | |
| 1063826484 | Italian "jumping dance," often characterized by triplets in a rapid 4/4 time | saltarello | 38 | |
| 1063826485 | lively, triple meter French court dance | galliard | 39 | |
| 1063826639 | German dance in moderate duple time, popular during the Renaissance and Baroque periods; often the first movement of a Baroque suite | allemande | 40 | |
| 1063826640 | lively Renaissance "round dance," associated with the outdoors, in which participants danced in a circle or a line | Ronde | 41 | |
| 1063826642 | melodic decoration, either improvised or indicated through ornamentation signs in the music | embellishment | 42 | |
| 1063826948 | musical drama that is generally sung throughout, combining the resources of vocal and instrumental music with poetry and drama, acting and pantomime, scenery and costumes | opera | 43 | |
| 1063827021 | solo vocal declamation that follows the inflection of the text, often resulting in a disjunct vocal style; found in opera, cantata, and oratoria; can be secco or accompagnato | recitative | 44 | |
| 1063827022 | recitative singing style that features a sparse accompaniment and moves with great freedom | secco | 45 | |
| 1063827024 | accompanied; also a recitative that is accompanied by orchestra | accompagnato | 46 | |
| 1063827025 | lyric song for solo voice with orchestral accompaniment, generally expressing intense emotion; found in opera, cantata, and oratorio | aria | 47 | |
| 1063827026 | lyric in ternary, or A-B-A form, commonly found in operas, cantatas, and oratorios | de capo aria | 48 | |
| 1063827266 | an introductory movement, as in opera or oratorio, often presenting melodies from arias to come; also an orchestral work for concert performance | overture | 49 | |
| 1063827267 | short orchestral work, found in Baroque opera, to facilitate scene changes | sinfonias | 50 | |
| 1063827273 | the author of a libretto | librettist | 51 | |
| 1063827451 | text or script of an opera, oratorio, cantata, or musical (also called the "book" in a musical) | libretto | 52 | |
| 1063827453 | English genre of aristocratic entertainment that combined vocal and instrumental music with poetry and dance, developed during the sixteenth and seventeenth centuries | masque | 53 | |
| 1063827537 | country dance of British Isles, often in a lively triple meter, optional dance of movement of solo and orchestral Baroque suite; a type of duple meter hornpipe is still popular in Irish traditional dance music | hornpipe | 54 | |
| 1063828452 | a repeating melody, usually in the bass, throughout a vocal or instrumental composition | ground bass | 55 | |
| 1063828453 | vocal genre for solo singers, chorus, and instrumentalists based on lyric or dramatic poetic narrative; it generally consists of several movements, including recitatives, arias, and ensemble numbers | cantata | 56 | |
| 1063828456 | large-scale dramatic genre originating in the Baroque, based on a text of religious or serious character, performed by solo voices, chorus, and orchestra; similar to opera but without scenery, costumes, or action | oratorio | 57 | |
| 1063828457 | congregational hymn of the German Lutheran Church | chorale | 58 | |
| 1063828458 | three-part A-B-A form, frequently used in music and poetry, particularly in Germany | bar form | 59 | |
| 1063828459 | an association of amateur musicians, popular in the Baroque era; also a modern university ensemble dedicated to the performance of early music | collegium musicum | 60 | |
| 1063828460 | short, recurring instrumental passage found in both the aria and Baroque concerto | ritornello | 61 | |
| 1063828461 | tragic Italian opera | opera seria | 62 | |
| 1063828578 | a form of English street song, popular from the sixteenth through the eighteenth centuries; ballads are characterized by narrative content and strophic form | ballad | 63 | |
| 1063828581 | English comic opera, usually featuring spoken dialogue alternating with songs set to popular tones | ballad opera/dialogue opera | 64 | |
| 1063828586 | French Baroque dance, a standard movement of the suite, in triple meter at a moderate tempo | courante | 65 | |
| 1063828616 | stately Spanish Baroque dance type in triple meter, a standard movement of the Baroque suite | sarabande | 66 | |
| 1063828617 | a vigorous dance developed in the British Isles, usually in compound meter, became fashionable on the continent as the gigue; still popular as an Irish traditional dance genre | jig | 67 | |
| 1063828618 | popular English Baroque dance type, a standard movement of the Baroque suite in a lively compound meter | gigue | 68 | |
| 1063828622 | an elegant triple-meter dance type popular in the seventeenth and eighteenth centuries; usually in binary form | minuet | 69 | |
| 1063828624 | duple-meter French Baroque dance type with a moderate quick tempo | gavotte | 70 | |
| 1063828627 | lively French Baroque dance type in duple meter | bourree | 71 | |
| 1063828629 | French Baroque court dance type; a faster version of the minuet | passepied | 72 | |
| 1063828630 | musical form in which the first section recurs, usually in the tonic; in the classical multimovement cycle, it appears as the last movement in various forms including A-B-A-B-A, A-B-A-C-A, and A-B-A-C-A-B-A | rondo | 73 | |
| 1063828632 | instrumental genre in several movements of concertos that combines elements of Baroque ritornello | concerto | 74 | |
| 1063828635 | Baroque concerto type based on the opposition between a small group of solo instrumentals (the concertino) and orchestra (the ripieno) | concerto grosso | 75 | |
| 1063828636 | solo group of instruments in the Baroque concerto grosso | concertino | 76 | |
| 1063828646 | all; the opposite of solo | tutti | 77 | |
| 1063828649 | the larger of the two ensembles in the Baroque concerto grosso; also tutti | ripieno | 78 | |
| 1063828650 | instrumental music endowed with literary or pictoral associations, especially popular in the nineteenth century | program music | 79 | |
| 1063828651 | Baroque form (similar to chaconne) in moderately slow triple meter, based on a short, repeated base-line melody that serves as the basis for continuous variation in other voices | passacaglia | 80 | |
| 1063828652 | Baroque form similar to the passacaglia, in which the variations are based on a repeated chord progression | chaconne | 81 | |
| 1063828653 | instrumental work preceding a larger work | prelude | 82 | |
| 1063828654 | virtuoso composition, generally for organ or harpsichord, in a free and rhapsodic style; in the Baroque, it often served as the introduction to a fugue | toccata | 83 | |
| 1063828655 | polyphonic form popular in the Baroque era in which one or more themes developed by imitative counterpoint | fugue | 84 | |
| 1063828656 | main idea or theme of a work, as in a fugue | subject | 85 | |
| 1063828657 | second entry of the subject in a fugue, usually pitched a fourth below or a fifth above the subject | answer | 86 | |
| 1063828660 | opening section; in the fugue, the first section in which the voices enter in turn with the subject, in sonata-allegro form, the first section in which the major thematic material is stated | exposition | 87 | |
| 1063828661 | exposition | statement | 88 | |
| 1063828662 | interlude or intermediate section in the Baroque fugue that serves as an area of relaxation between statements of the subject | episode | 89 | |
| 1063828663 | statement of a melody in longer note values, often twice as slow as the original | augmentation | 90 | |
| 1063828664 | statement of a melody in shorter note values, often twice as fast as the original | diminuition | 91 | |
| 1063828665 | backward statement of the melody | retrograde | 92 | |
| 1063828666 | mirror or upside-down image of a melody pattern, found in fugues and twelve-tone compositions | inversion | 93 | |
| 1063828667 | in a fugue, when entries of the subject occur at faster intervals of time, so that they overlap forming dense, imitative counterpoint; usually occurs at the climactic moment near the end | stretto | 94 |
