Terms : Hide Images
| 6775211694 | Cadence | a two-chord progression that occurs at the end of a phrase | 0 | |
| 6775211695 | Cadential Extension | the delay of a cadence by addition of material | 1 | |
| 6775211696 | Coda | used to indicate the section that ends a piece | 2 | |
| 6775211697 | Codetta | a brief conclusion with a dominant-tonic cadence that may be repeated several times for emphasis | 3 | |
| 6775211698 | Contour | the shape of a melodic line | 4 | |
| 6775211699 | Countermelody | an accompanying melody that contrasts against the main melody | 5 | |
| 6775211700 | Elision (phase elision) | the simultaneous use of the last note in one phrase as the first note of the next phrase | 6 | |
| 6775211701 | Fragment (fragmented motive) | a small but recognizable part of the motive | 7 | |
| 6775211702 | Introduction | the beginning of a piece | 8 | |
| 6775211703 | Bridge | the contrasting section of a song which prepares for the return of the main section | 9 | |
| 6775211704 | Chorus | A large organized group of singers | 10 | |
| 6775211705 | Song Form (AABA) | This type of song has an opening section (A), a bridge (B) before transitioning to the final A section. This song form is used in a variety of music genres | 11 | |
| 6775211706 | Turnaround | A passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. It may lead back to the section either harmonically, as a chord progression, or melodically. | 12 | |
| 6775211707 | Twelve-bar Blues | In its basic form, it is predominantly based on the I-IV-V chords of a key | 13 | |
| 6775211708 | Augmentation | Melody, theme or motif presented in longer note-values than were previously used | 14 | |
| 6775211709 | Conjunct | The interval between two consecutive scale degrees | 15 | |
| 6775211710 | Diminution | A long note is divided into a series of shorter, usually melodic, values | 16 | |
| 6775211711 | Disjunct | A larger interval between scale degrees, also called a skip | 17 | |
| 6775211712 | Phrase Extension | Once the composer establishes a phrase length, it can be extended on the upbeat, body, or cadence portions of the phrase. | 18 | |
| 6775211713 | Fragmentation | Division of a musical idea into small sections | 19 | |
| 6775211714 | Internal Expansion | Phrase extends beyond the expected phrase length | 20 | |
| 6775211715 | Melodic Inversion | Where the original melody goes up by an interval, the inverted melody goes down by the same interval | 21 | |
| 6775211716 | Literal Repetition | Often indicated by the use of a repeat sign, or the instructions da capo or dal segno | 22 | |
| 6775211717 | Motivic Transformation | Change of rhythmic theme | 23 | |
| 6775211718 | Octave Displacement | Taking a melodic line and moving some of the notes into a different octave | 24 | |
| 6775211719 | Retrograde | The inverse of the series is sounded in reverse order | 25 | |
| 6775211720 | Rhythmic Transformation | Multiplication, rotation, permutation (i.e. transposition, inversion, and retrograde), and combinations thereof involving rhythm | 26 | |
| 6775211721 | Sequence | The restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice | 27 | |
| 6775211722 | Sequential Repetition | Transposing a longer sequence to a different scale degree; may be diatonic or intervocalically exact. | 28 | |
| 6775211723 | Transposition | The process of rewriting a piece of music or a scale so that is sounds higher or lower in pitch. This involves raising or lowering each pitch by the same interval | 29 | |
| 6775211724 | Truncation | Utilizing a melody with part of the end omitted | 30 | |
| 6775211725 | Motive | short, recurring, musical idea | 31 | |
| 6775211726 | Antecedent | 1st phrase of a period (less complete cadence) | 32 | |
| 6775211727 | Consequent | 2nd phrase (more complete cadence) | 33 | |
| 6775211728 | Contrasting Period | periods with a different melody (especially beginning) | 34 | |
| 6775211729 | Double Period | two periods (4 phrases) joined together where the first acts as the antecedent and the second acts as the consequent | 35 | |
| 6775211730 | Parallel Period | beginning of the melody SAME in both phrases (but ending different) | 36 | |
| 6775211731 | Phrase Group | Any grouping of phrases defined by a terminal cadence | 37 | |
| 6775211732 | Refrain | a repeated line or phrase incorporated lyrically and musically within the verse itself | 38 | |
| 6775211733 | Binary Form | two sections often repeated (AABB) | 39 | |
| 6775211734 | Rounded Binary | between binary and ternary where only part of A is played, usually the latter part with a PAC (AB 1/2A) | 40 | |
| 6775211735 | Simple Binary | binary form that does not return to the A section | 41 | |
| 6775211736 | Ternary | three parts usually returning to A (AABA) or (ABA) | 42 | |
| 6775211737 | Solo | one voice alone in a featured section | 43 | |
| 6775211738 | Soli | a group alone in a featured section | 44 | |
| 6775211739 | stanza | a group of lines forming the basic recurring metrical unit in a poem; a verse. | 45 | |
| 6775211740 | Strophic | (AAAA) same music used for each verse (hymn) | 46 | |
| 6775211741 | Theme | melodic subject of a musical composition | 47 | |
| 6775211742 | Thematic Transformation | a musical technique in which a theme is developed by changing the theme by using permutation (transposition or modulation, inversion, and retrograde), augmentation, diminution, and fragmentation. | 48 | |
| 6775211743 | Through-composed | new music for each stanza (ABCD) | 49 | |
| 6775211744 | Tutti | (especially as a direction after a solo section) with all voices or instruments together | 50 | |
| 6775211745 | Variation | a change or difference in condition, amount, or level, typically with certain limits. | 51 | |
| 6775211746 | Verse | poetic stanza repeated in a song | 52 | |
| 6775211747 | Imperfect Authentic Cadence | A medial musical cadence where either or both chords are in inversion and a note other than tonic is sung by the top upper voice (Soprano) (i.e. V [or V7]-I) | 53 | |
| 6775211748 | Perfect Authentic Cadence | A final musical cadence where both chords are in root position and the tonic note in the I chord is in the top upper voice (Soprano) (i.e. V [or V7]-I) | 54 | |
| 6775211749 | Conclusive Cadence | A musical cadence that ends on a tonic triad | 55 | |
| 6775211750 | Deceptive Cadence | A musical cadence that ends on a triad other than tonic (i.e. V-vi or V-IV6) | 56 | |
| 6775211751 | Half Cadence | A musical cadence that is medial and includes and cadence ending on a dominant function chord (i.e. IV-V, ii-V, I-V, vi-V, or V/V-V) | 57 | |
| 6775211752 | Phrygian Half Cadence | A musical cadence involving the progression of iv6-V in a minor key | 58 | |
| 6775211753 | Inconclusive Cadence | A musical cadence in which the soprano or bass voices end on a scale degree other than tonic | 59 | |
| 6775211754 | Plagal Cadence | A final musical cadence that is authentic and involves the progression of IV-I, ii-I, or ii7-I | 60 | |
| 6775211755 | Augmented Triad | Triad consisting of stacked major thirds (M3) or a major third with an augmented fifth (A5) | 61 | |
| 6775211756 | Diminished Triad | Triad consisting of stacked minor thirds (m3) or a minor third with a diminished fifth (d5) | 62 | |
| 6775211757 | Major Triad | Triad consisting of a major third (M3) with a perfect fifth (P5) | 63 | |
| 6775211758 | Minor Triad | Triad consisting of minor third (m3) with a perfect fifth (P5) | 64 | |
| 6775211759 | Major Seventh Chord | Chord with an added major seventh (M7) | 65 | |
| 6775211760 | Dominant (Major-Minor) Seventh Chord | Major chord with a minor seventh (m7) | 66 | |
| 6775211761 | Minor Seventh Chord | Chord with an added minor seventh (m7) | 67 | |
| 6775211762 | Half-Diminished Seventh Chord | Diminished chord with a major seventh (M7) | 68 | |
| 6775211763 | Fully-Diminished Seventh Chord | Diminished chord with a minor seventh (m7) | 69 | |
| 6775211764 | Tonic | Scale degree one | 70 | |
| 6775211765 | Supertonic | Scale degree two | 71 | |
| 6775211766 | Mediant | Scale degree three | 72 | |
| 6775211767 | Subdominant | Scale degree four | 73 | |
| 6775211768 | Dominant | Scale degree five | 74 | |
| 6775211769 | Submediant | Scale degree six | 75 | |
| 6775211770 | Subtonic | Scale degree seven | 76 | |
| 6775211771 | Leading Tone | Raised scale degree seven | 77 | |
| 6775211772 | Tonic Function | A chord that functions as a tonic chord, (I VI) | 78 | |
| 6775211773 | Dominant Function | A chord that functions as a dominant chord (V vii) | 79 | |
| 6775211774 | Predominant Function | A chord that prepares the V chord (ii IV) | 80 | |
| 6775211775 | Circle of Fifths | A visual representation of the relationships among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys | 81 | |
| 6775211776 | Harmonic Rhythm/Rate of Harmonic Change | The rate at which the chords change in a musical composition (TWO NAMES for this term) | 82 | |
| 6775211777 | Modulation | The process of moving from one tonal center to another | 83 | |
| 6775211778 | Common Tone Modulation | A form of modulation in which a key change occurs by using a note from the old key to transition into the new one. | 84 | |
| 6775211779 | Phrase Modulation | A form of modulation in which the key changes abruptly after a cadence with no common chord. | 85 | |
| 6775211780 | Pivot Chord Modulation | A form of modulation in which a chord that is shared by both keys is used to transition into the new key | 86 | |
| 6775211781 | Neighboring Chord | Chord where the bottom lower voice (bass) remains stationary while the upper voices move to neighboring tones and back (occasionally one or more upper voices may have passing tones). | 87 | |
| 6775211782 | Passing Chord | Bass motion in passing tones | 88 | |
| 6775211783 | Retrogression | A series of chords that weakens tonality | 89 | |
| 6775211784 | Secondary Dominant Chord | A chord that is the V (or V7) chord of a certain key other than the tonic key ("the key within a key") | 90 | |
| 6775211785 | Secondary Leading Tone Chord | A chord that is the vii°, vii°7, or viiø7 of a certain key other than the tonic key ("the key within a key") | 91 | |
| 6775211786 | Tonicization | Process in which a chord other than tonic is usually set up by a secondary dominant chord to sounds like a temporary tonic chord | 92 | |
| 6775211787 | Arpeggiating 6/4 Triad | Second inversion triad created by arpeggiation of the triad in the bass | 93 | |
| 6775211788 | Cadential 6/4 Triad | Second inversion triad that precedes the dominant and is often found at a cadence | 94 | |
| 6775211789 | Neighboring/Pedal 6/4 Triad | Second inversion triad that occurs when the third and fifth of a root position triad are embellished by their upper neighboring tones while the bass remains stationary | 95 | |
| 6775211790 | Passing 6/4 Triad | Second inversion triad that harmonizes the bass passing tone; usually placed on an unaccented beat and upper voice motion is ordinarily by step | 96 | |
| 6775211791 | Anticipation | Unaccented non-chord tone that foreshadows a chord tone | 97 | |
| 6775211792 | Appoggiatura | Accented non-chord tone that is approached by skip and resolved by step | 98 | |
| 6775211793 | Escape Tone | Unaccented non-chord tone that is approached by step and resolved by skip | 99 | |
| 6775211794 | Neighbor Tone | Non-chord tone used between a chord tone and its repetition | 100 | |
| 6775211795 | Double Neighbor Tone | Two neighbor tones that around the same pitch (i.e. one note is higher and the other is lower) | 101 | |
| 6775211796 | Lower Neighbor Tone | Non-chord tone where the dissonant note is lower than the chord tone | 102 | |
| 6775211797 | Upper Neighbor Tone | Non-chord tone where the dissonant note is higher than the chord tone | 103 | |
| 6775211798 | Neighbor Group (Cambiata) | Two non-consecutive non-chord tones in which the first tone moves up a step from the chord tone, skips down to another non-chord tone, and resolves to the original chord tone | 104 | |
| 6775211799 | Embellishment/Ornament | Musical flourishes that serve to decorate the main melodic line (TWO NAMES for this term) | 105 | |
| 6775211800 | Passing Tone | Non-chord tone used stepwise to fill in gaps between chord tones | 106 | |
| 6775211801 | Pedal Point | Chord tone that serves to prolong the harmony through a passage; usually on tonic or dominant note | 107 | |
| 6775211802 | Preparation | The tone that precedes the suspension | 108 | |
| 6775211803 | Resolution | The tone that follows the suspension | 109 | |
| 6775211804 | Retardation | Accented non-chord tone that keeps a note the same and then steps upwards | 110 | |
| 6775211805 | Suspension | Accented non-chord tone that keeps a note the same and then steps downward | 111 | |
| 6775211806 | Rearticulated Suspension | A suspension that is rearticulated on the beat | 112 | |
| 6775211807 | Suspension Chain | A combination of suspensions in which the resolution of each one prepares the next | 113 | |
| 6775211808 | Close Position | Less than an octave between the soprano and tenor voices | 114 | |
| 6775211809 | Open Position | An octave or more between the soprano and tenor voices | 115 | |
| 6775211810 | Doubling | Common part-writing rule that specifies what note should be used twice (root) | 116 | |
| 6775211811 | Root Position | Root of the chord is in the bass. | 117 | |
| 6775211812 | First Inversion | Third of the chord is in the bass. | 118 | |
| 6775211813 | Second Inversion | Fifth of the chord is in the bass. | 119 | |
| 6775211814 | Third Inversion | Seventh of the chord is in the bass (applies only to chords with added sevenths) | 120 | |
| 6775211815 | Common Tone | Note that is shared by two different chords | 121 | |
| 6775211816 | Contrary Motion | Voices move in opposite directions | 122 | |
| 6775211817 | Cross Relation | A harmonic clash that occurs when a note in one part sounds simultaneously with or immediately before or after its chromatically altered equivalent. | 123 | |
| 6775211818 | Crossed Voices | Part-writing error where voices are singing in one another's ranges | 124 | |
| 6775211819 | Oblique Motion | One voice moves while the other remains stationary | 125 | |
| 6775211820 | Overlapping Voices | Part-writing error where one voice crosses above or below the previous note of another voice | 126 | |
| 6775211821 | Parallel Motion | Voices move in the same direction by the same interval | 127 | |
| 6775211822 | Parallel Fifths | Part-writing error where two voices that are a P5 above each other move to another P5 | 128 | |
| 6775211823 | Parallel Octaves | Part-writing error where two voices that are a P8 above each other move to another P8 | 129 | |
| 6775211824 | Similar Motion | Voices move in the same direction | 130 | |
| 6775211825 | Tendency Tone | A tone that is harmonically or melodically unstable and tends naturally to resolve itself either upward or downward | 131 | |
| 6775211826 | Unresolved Leading Tone | Part-writing error that involves scale degree seven not being resolved to tonic | 132 | |
| 6775211827 | Unresolved Seventh | Part-writing error that involves the seventh of a chord not being resolved downwards | 133 | |
| 6775211828 | Arpeggiation | The process of spreading a chord out instead of playing the notes simultaneously | 134 | |
| 6775211829 | Chromatic | Scale that includes every single note and lacks a tonal center | 135 | |
| 6775211830 | Consonance | A simultaneous combination of tones conventionally accepted as being in a state of repose | 136 | |
| 6775211831 | Diatonic | Involving only notes proper to the prevailing key without chromatic alteration | 137 | |
| 6775211832 | Dissonance | A simultaneous combination of tones conventionally accepted as being in a state of unrest and needing completion | 138 | |
| 6775211833 | Figured Bass | A kind of musical notation in which numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones | 139 | |
| 6775211834 | Picardy Third | Raised third of a major tonic triad that is used to end a work in the minor mode | 140 | |
| 6775211835 | Antiphonal | Alternate singing by two choirs or singers. | 141 | |
| 6775211836 | Articulation | How a note is played | 142 | |
| 6775211837 | Arco | Articulation where note is played with the bow | 143 | |
| 6775211838 | Legato | In a smooth, flowing manner | 144 | |
| 6775211839 | Marcato | Strongly accented | 145 | |
| 6775211840 | Pizzicato | Articulation where note is plucked | 146 | |
| 6775211841 | Slur | Connecting two or more notes in a single bow |  | 147 |
| 6775211842 | Staccato | Playing notes in a sharply detached manner. |  | 148 |
| 6775211843 | Tenuto | Emphasis in the value of a note. |  | 149 |
| 6775211844 | Call and Response | A succession of two distinct phrases usually played by different musicians, where the second phrase is heard as a direct commentary on or response to the first | 150 | |
| 6775211845 | Crescendo | Gradually getting louder |  | 151 |
| 6775211846 | Diminuendo | Gradually getting softer |  | 152 |
| 6775211847 | Terrace Dynamics | Volume levels shift abruptly from soft to loud. | 153 | |
| 6775211848 | Pianissimo | Very softly. | 154 | |
| 6775211849 | Piano | Softly. | 155 | |
| 6775211850 | Mezzo Piano | Mildly soft. | 156 | |
| 6775211851 | Mezzo Forte | Mildly loud. | 157 | |
| 6775211852 | Forte | Loud. | 158 | |
| 6775211853 | Fortissimo | Very loud. | 159 | |
| 6775211854 | Adagio | Slowly; often indicates a speed somewhere between andante and largo | 160 | |
| 6775211855 | Allegro | Fast | 161 | |
| 6775211856 | Andante | Moderately slow; walking speed | 162 | |
| 6775211857 | Andantino | Slightly slower or faster than andante; like walking speed | 163 | |
| 6775211858 | Grave | Very slow; solemn | 164 | |
| 6775211859 | Largo | Rather slow; stately | 165 | |
| 6775211860 | Lento | Slow | 166 | |
| 6775211861 | Moderato | Moderate speed | 167 | |
| 6775211862 | Presto | Very fast | 168 | |
| 6775211863 | Vivace | Lively | 169 | |
| 6775211864 | Accelerando | An increase in the speed of the music; gradually getting faster | 170 | |
| 6775211865 | Ritardando | A decrease in the speed of the music; gradually getting slower | 171 | |
| 6775211866 | Ritenuto | Held back | 172 | |
| 6775211867 | Rubato | With some freedom of time | 173 | |
| 6775211868 | Tremolo | A trembling effect in a musical tone; rapid reiteration of a single note or between two notes or chords | 174 | |
| 6775211869 | Trill | A musical ornament consisting of a rapid alternation between two adjacent notes (usually a semitone or tone apart) | 175 | |
| 6775211870 | Accent | Emphasis placed on a note |  | 176 |
| 6775211871 | Agogic Accent | Natural accent | 177 | |
| 6775211872 | Dynamic Accent | Emphasis using louder sound; typically most pronounced on the attack of the sound | 178 | |
| 6775211873 | Metrical Accent | Stress based on division of the beat | 179 | |
| 6775211874 | Anacrusis | One or more unstressed notes before the first bar line of a piece or passage | 180 | |
| 6775211875 | Asymmetrical Meter | A regular metric pattern that is established from a sequence of two or more irregular time signatures | 181 | |
| 6775211876 | Augmentation | The lengthening of the time values of notes in a melodic part | 182 | |
| 6775211877 | Bar Line | Vertical line used to mark the division of bars | 183 | |
| 6775211878 | Beat | Rhythmic movement | 184 | |
| 6775211879 | Compound Meter | Beat subdivided into three parts. | 185 | |
| 6775211880 | Simple Meter | Beat subdivided into sections of two. | 186 | |
| 6775211881 | Cross Rhythm | The use of two or more rhythms simultaneously | 187 | |
| 6775211882 | Diminution | Long note is divided into a series of shorter, usually melodic, values | 188 | |
| 6775211883 | Dot | Extends note value by one half. |  | 189 |
| 6775211884 | Dotted Rhythm | Beat is unequally subdivided into a long dotted note and a short note. | 190 | |
| 6775211885 | Duplet | Two notes fit into one beat. | 191 | |
| 6775211886 | Duration | How long something lasts. | 192 | |
| 6775211887 | Hemiola | A rhythmic pattern of syncopated beats with two beats in the time of three or three beats in the time of two | 193 | |
| 6775211888 | Duple Meter | Primary division of two beats per bar. | 194 | |
| 6775211889 | Triple Meter | Primary division of three beats per bar. | 195 | |
| 6775211890 | Quadruple Meter | Primary division of four beats per bar. | 196 | |
| 6775211891 | Polyrhythm | The simultaneous use of two or more conflicting rhythms | 197 | |
| 6775211892 | Pulse | A regular, reoccuring emphasis of a fixed interval of time; how one feels the beat | 198 | |
| 6775211893 | Swing Rhythm | A rhythmic feel in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short | 199 | |
| 6775211894 | Syncopation | Displacement of the normal metric accent. | 200 | |
| 6775211895 | Tie | A line connecting two note heads indicating that they should be played as one note. | 201 | |
| 6775211896 | Triplet | A group of three notes played in a specific time value (i.e. two, four, etc.) | 202 | |
| 6775211897 | Chromaticism | The use of altered tones. | 203 | |
| 6775211898 | Harmonic Minor | Minor scale in which the seventh scale degree is raised one half-step | 204 | |
| 6775211899 | Melodic Minor | Minor scale in which the sixth and seventh scale degrees are raised one half-step | 205 | |
| 6775211900 | Natural Minor | Minor scale in which the diatonic intervals are whole steps except for between scale degrees 2-3 and 5-6; also known as an aeolian church mode | 206 | |
| 6775211901 | Ionian Mode | Church mode in which a scale starts on scale degree one | 207 | |
| 6775211902 | Dorian Mode | Church mode in which a scale starts on scale degree two | 208 | |
| 6775211903 | Phrygian Mode | Church mode in which a scale starts on scale degree three | 209 | |
| 6775211904 | Lydian Mode | Church mode in which a scale starts on scale degree four | 210 | |
| 6775211905 | Mixolydian Mode | Church mode in which a scale starts on scale degree five | 211 | |
| 6775211906 | Aeolian Mode | Church mode in which a scale starts on scale degree six; also known as a natural minor scale | 212 | |
| 6775211907 | Locrian Mode | Church mode in which a scale starts on scale degree seven | 213 | |
| 6775211908 | Modality | Organized scales based on the displacement of the tonic note along an arrangement of seven natural tones. | 214 | |
| 6775211909 | Parallel Key | A major and a minor scale with the same tonic | 215 | |
| 6775211910 | Pentatonic | Scale of five notes (Do Re Mi So La) | 216 | |
| 6775211911 | Relative Key | A major and a minor scale with the same key signature | 217 | |
| 6775211912 | Tetrachord | Series of four notes | 218 | |
| 6775211913 | Tonality | The arrangement of all the tones and chords of a composition in relation to the tonic | 219 | |
| 6775211914 | Whole-Tone Scale | Scale in which each note is separated by a whole step | 220 | |
| 6787869769 | Melismatic | Singing one syllable on multiple notes | 221 | |
| 6787870946 | Syllabic | Singing one syllable per note | 222 | |
| 6787882644 | Alberti Bass | accompaniment pattern in the bass using an arpegiated three note chord | 223 | |
| 6787893022 | Canon | multiple voices play the same musical line at different places (round is a type of canon) | 224 | |
| 6787901955 | Canonic | in canon form | 225 | |
| 6787903225 | Chordal accompaniment | when the harmonies are in forms of chords | 226 | |
| 6787904360 | Contrapuntal | with 2 or more different melodic lines | 227 | |
| 6787908833 | counterpoint | playing a melody in conjunction with another | 228 | |
| 6787924198 | imitation | EXACTLY THE SAME | 229 | |
| 6787925211 | Imitative polyphony | the individual lines are similar in their shapes and sounds (though not exactly the same) | 230 | |
| 6787928332 | Nonimitative polyphony | the voices show little resemblance to each other | 231 | |
| 6787935906 | fugal imitation | Imitation of the subject which enters at a different pitch level, usually the fourth or fifth. | 232 | |
| 6787943501 | Heterophony | only one melody, but different variations being sung or played a the same time | 233 | |
| 6787948627 | Homophony | one clear melody line | 234 | |
| 6787950660 | Chordal homophony | every line or voice moves together with the same rhythm | 235 | |
| 6787952854 | Chordal Texture (homorhythmic) | a texture with the same rhythm throughout | 236 | |
| 6787960494 | Melody with accompaniment | one melodic line but not limited to chords moving together | 237 | |
| 6787961960 | Brass | Division of the orchestra: Tubular wind instruments usually made of brass. Trumpet, cornet, horn, trombone (Paul), euphonium, and tuba. | 238 | |
| 6787965076 | Continuo | 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.) | 239 | |
| 6787966652 | Percussion | Division of the orchestra: Any instrument that makes its sound by being struck. Common members are drums; cymbals; timpani; xylophones | 240 | |
| 6787966653 | Rhythm Section | That part of the band or orchestra composed of unpitched instruments which produce their sound by being struck. The backbone of this is the drums. | 241 | |
| 6787968177 | Strings | Division of the orchestra: Instruments that make their sound from strings which are bowed or plucked. The string section is composed of violin, viola (Joey), cello, and double bass. | 242 | |
| 6787969107 | Timbre | The quality of a sound; "tone color"; i.e.; the reediness of an oboe; the warmth of the cello; the brassiness of a trumpet. | 243 | |
| 6787970067 | Woodwinds | musical instruments which produce sound when the players blow air against an edge of, or opening in, the instruments, causing the air to vibrate within a resonator | 244 | |
| 6787971337 | Monophony | music with only one melody line | 245 | |
| 6787978689 | Obbligato | an integral part to a piece of music (obligate) | 246 | |
| 6787978690 | ostinato | continually repeated musical phrase or rhythm | 247 | |
| 6787978691 | Polyphony | more than one independent melody occuring at the same time | 248 | |
| 6787982067 | register | division of the range of an instrument | 249 | |
| 6787983131 | Tessitura | general range of a composition | 250 | |
| 6787984483 | Walking bass | a bass line that moves steadily in a rhythm contrasting to that of the upper parts | 251 | |
| 6787999053 | Aria | A solo song within an opera or oratorio | 252 | |
| 6788000563 | Art Song | A solo song not from an opera; often from the Romantic era | 253 | |
| 6788000564 | Concerto | A large-scale, multi-movement piece written for a solo instrument and orchestra | 254 | |
| 6788002476 | Interlude | Music written to be played between acts of a play, opera, or ballet. | 255 | |
| 6788002477 | Opera | Large-scale musical/theatrical piece; a play set to music and presented with full orchestra, singers, sets, and costumes. | 256 | |
| 6788004059 | Prelude | A piece written to precede some other musical work or worship service; also, a short, self-contained musical piece. | 257 | |
| 6788005632 | Postlude | Usually, recessional music for a worship service | 258 | |
| 6788006944 | Sonata | A piece written for solo instrument (such as piano) or a single-line instrument (such as flute or cello) and piano. | 259 | |
| 6788006945 | String Quartet | An ensemble of four stringed instruments: Two violins, viola, and cello. Also, music written for this ensemble. | 260 |
