Ap Music Theory Vocabulary

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Cadence

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A stylized close in music which divides the music into periods or brings it to a full conclusion.

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Coda

Back 2

The closing few measures of a composition, usually not a part of the main theme groups of the standard form of a composition, but a finishing theme added to the end to give the composition closure; in sonata form, the coda is anything that occurs after the recapitulation.

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Cadential Extension

Back 3

the prolongation (post-cadential extension) or delay (pre-cadential extension) of a cadence by the addition of material beyond (i.e. before or after) the point at which the cadence is expected

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Codetta

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A passage within a composition of sonata form which resembles a coda, but occurs at the end of the exposition rather than at the end of the composition.

In a fugue, a codetta is the linking passage between the entries of the subject or theme.

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Countermelody

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A second but subordinate melodic line sometimes found in music which has a melody and an accompaniment.

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Elision

Back 6

the shortening of a theme or phrase by removing particular notes; see also 'interpolation'

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Fragment

Back 7

a small part, particularly a part broken off

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Introduction

Back 8

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.

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Bridge

Back 9

Transitional passage connecting two sections of a composition.

That part of a stringed instrument which supports the strings.

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Chorus

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A fairly large company of singers who perform together, usually in parts.

A composition to be performed by a chorus.

The refrain of a song.

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12 Bar Blues

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I,I,I,I,IV,IV,I,I,V,V,IV,IV,I

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Conjunct

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the nearest degree in the scale, whether the scale is chromatic or diatonic, to a given degree

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Diminution

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(English, German f) 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'

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Disjunct Motion

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motion or movement where the notes in a melody move in leaps, intervals greater than a tone, rather than from note to neighbouring notes only a semitone or tone different

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Disjunct Interval

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also 'disjoint interval' or 'skip', a melodic interval between two notes that are not immediate neighbours in a diatonic scale

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Fragmentation

Back 16

breaking up a subject into small segments, any one of which may form the basis for further development

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Literal Repetition

Back 17

Note by note restatement; exactly the same

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Octave Displacement

Back 18

Octave displacement is simply taking a melodic line and moving some of the notes into a different octave.

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Retrograde

Back 19

A series of notes played backwards. Retrograde inversion is a series of notes played backwards and upside-down. Both of these are essential in twelve-tone music.

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Sequence

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A restatement of an idea or motif at a different pitch level from the original.

A progression of chords which ends in a cadence.

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Sequential Repetition

Back 21

Transposing an entire melody to a different scale degree

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Shortened Version

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dude idk

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Transposition

Back 23

Shifting a composition to a different pitch level.

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Truncation

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Cutting off note(s) in a phrase with regard to the original statement

http://www.northern.edu/wieland/theory/rhythm/motive_t.htm

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Contour

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Front 26

Turnaround

Back 26

Mr. Hilton snaps

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Augmentation

Back 27

Statement of a melody in longer note values, often twice as slow as the original.

http://www.music.vt.edu/musicdictionary/texta/images/Augmentation.jpg

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Extended Version

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Internal Expansion

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Motivic Transformation

Back 30

Augmentation, Diminution, Truncation, Retrograde, Extension

Umbrella term which includes the above terms.

Better definition?

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Rhythmic Transformation

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Shortened Version

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Motive

Back 33

A short tune or musical figure that characterizes and unifies a composition. It can be of any length, but is usually only a few notes long. A motif can be a melodic, harmonic or rhythmic pattern that is easily recognizable throughout the composition.

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Period

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A complete musical thought, concluded by a cadence, having two phrases, each usually two to eight measures in length, called the antecedent and the consequent.

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Antecedent

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The subject of a fugue or canon; the first phrase of a musical period.

Antecedent and consequent, A pair of musical statements that complement one another in rhythmic symmetry and harmonic balance.

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Consequent

Back 36

The answer in a fugue, or point of imitation. A musical phrase which follows another, similar phrase. In a musical period, the antecedent and consequent are two balancing halves, somewhat like a rhymed couplet in poetic verse, with the movement of the first half completed by the second.

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Contrasting Period

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In the contrasting period, the second phrase is comprised of different melodic material.

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Parallel Period

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In the parallel period, the second phrase is similar to the first phrase.

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Double Period

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Phrase group

Back 40

Group of phrases?

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Refrain

Back 41

A verse which repeats throughout a song or poem at given intervals.

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Binary form

Back 42

Two-part (A - B) structure of music; usually each part is repeated. The term can also mean any form with two periods, or sections.

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Ternary

Back 43

A compositional form which consists of three major sections, an A section which states the thematic material, a B section which presents a contrasting theme, and a final A section which restates the opening thematic material. Also, any three part form.

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Rounded binary

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ccasionally, the B section will end with a "return" of the opening material from the A section. This is referred to as rounded binary, and is labeled as ABA'. In rounded binary, the beginning of the B section is sometimes referred to as the "bridge", and will usually conclude with a half cadence in the original key. Rounded binary is not to be confused with ternary form, also labeled ABA - the difference being the B section in ternary form is completely contrasting with the A material, as in, for example, a minuet and trio.

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Stanza

Back 45

The division of a poem that consists of a series of lines arranged together. This is usually in the form of a recurring pattern of meter and rhyme. In music, a stanza, or verse, is a poem set with a recurring pattern of both rhyme and meter. A "strophic" song (as opposed to a "through-composed" song) has several stanzas or verses set to music that remains the same or similar with each stanza. Many hymns follow this pattern.

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Strophic

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Song structure in which every verse (strophe) of the text is sung to the same musical tune.

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Theme

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The musical basis upon which a composition is built. Usually a theme consists of a recognizable melody or a characteristic rhythmic pattern. The theme may sometimes be called the subject.

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Thematic Transformation

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Musical expansion of a theme achieved by varying its melodic outline, its harmony, or its rhythm.

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Through-composed

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Song form that is composed from beginning to end without repetitions of any major sections; each verse having its own, unique melody.

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Tutti

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A directive to perform a certain passage of a composition with all instruments together. The opposite of solo.

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Variation

Back 51

A deviation from a theme that uses the same bass pattern or harmonic progression that the theme used, and usually having the same number of measures as the theme. Generally, a variation is played after a theme with the variation being slightly more ornate; in several cases there are many variations upon a single theme. Variations are often used as accompaniments to songs that are several verses long, or as dance music. In both cases, the repeating structure is beneficial to the nature of the function.

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Verse

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1. Solo passage from the Gradual which precedes the response. See respond.
2. In poetry or song, a verse is a group of lines which constitutes a unit. Often there are several verses in a single text, and usually the rhyme scheme, rhythm, and number of poetic lines and feet are the same from verse to verse in a single text.

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Authentic

Back 53

A chord progression where the dominant chord is followed by the tonic chord (V-I or V-i). The "V" represents the chord based on the fifth step of the scale and the "I" represents the chord based on the first step of the scale ("i" being the minor version of the chord based on the first step of the scale). The dominant to tonic progression (V-I) represents the strongest sound of all cadences. In the tonality of "C" major, an authentic cadence would be the dominant (V) G major chord (G-B-D) moving to the tonic (I) C major chord (C-E-G).

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Perfect Authentic

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In a perfect authentic cadence, the dominant chord in root position is followed by that of the tonic in root position, and according to some theorists, the cadence is not "perfect" unless the uppermost voice is the tonic in the final chord.

Also Authentic Cadence.

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Imperfect Authentic

Back 55

Authentic Cadence that does not have the qualities of an perfect authentic cadence... root position etc.

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Conclusive Cadence

Back 56

Conclusive cadence: a cadence ending with the tonic triad. The choice of melodic pitch, penultimate chord, and the metric placement of the tonic triad are three among many factors that determine the relative strength of a conclusive cadence. The conclusive cadences are the authentic (V-I) and plagal (IV-I).

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Deceptive

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A chord progression where the dominant chord is followed by a chord other than the tonic chord usually the sixth chord or superdominant chord or submediant chord (V-VI), but sometimes something else. The "V" represents the chord based on the fifth step of the scale and the "VI" represents the chord based on the sixth step of the scale. The dominant to superdominant progression (V-VI) is deceptive to the listener, because the tendency is for the dominant chord to resolve to the tonic chord. In the tonality of "C" major, a deceptive cadence would be the dominant (V) G major chord (G-B-D) moving to the superdominant (VI) A minor chord (A-C-E).

Also called interrupted cadence

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Half Cadence

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A chord progression where the dominant chord is the final chord of the cadence and is preceded by the tonic chord in second inversion (I 6/4-V). It should be noted that this pattern produces two chords with the same bass note in both chords. The "I" represents the chord based on the first step of the scale (with the 6/4 indicating ) and the "V" represents the chord based on the fifth step of the scale. In the tonality of "C" major, a half cadence would be the tonic in second inversion (I 6/4) C major chord (GCE) moving to the dominant (V) G major chord (GBD).

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Phrigian Half

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Phrygian Half Cadences only occur in minor keys, and must consist of a first inversion iv chord that resolves to a root position V or V7 chord

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Inconclusive Cadence

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Ending on anything except the tonic.

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Plagal

Back 61

A chord progression where the subdominant chord is followed by the tonic chord (IV-I). The "IV" represents the chord based on the fourth step of the scale and the "I" represents the chord based on the first step of the scale. The subdominant to tonic progression (IV-I) is also known as an "Amen cadence" or "Church Cadence" because it is sung to the word Amen at the end of Protestant hymns. In the tonality of "C" major, a plagal cadence would be the subdominant (IV) F major chord (F-A-C) moving to the tonic (I) C major chord (C-E-G).

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Antiphonal

Back 62

A performance style in which an ensemble is divided into two or more groups, performing alternately as separate groups and in unison.

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Articulation

Back 63

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. These directions are often interpreted by the conductor for the ensemble. The conductor also provides direction where no articulation markings are provided by the composer.

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Arco

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Directive for a musician to play a stringed instrument with a bow as opposed to plucked or pizzicato.

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Legato

Back 65

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.

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Marcato

Back 66

Marked, accented, emphatic, stressed.

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pizzicato

Back 67

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.

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slur

Back 68

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. The slur also indicates the grouping and phrasing of a passage in a composition.

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staccato

Back 69

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.

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tenuto

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A directive to perform a certain note or chord of a composition in a sustained manner for longer than its full duration.

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call and response

Back 71

Performance style with a singing leader who is imitated by a chorus of followers; also responsorial singing.

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dynamics

Back 72

The loudness or softness of a composition. The term piano (p) is used to indicate softness and forte (f) to indicate loudness. Each of these is augmented if the letter symbolizing it is doubled or tripled (e.g. "pp" - "pianissimo", "very soft"; "ppp" - "pianississimo", "very, very soft"). Each is also lessened if proceeded by mezzo (m) (e.g. "mf" - "mezzo forte", "somewhat loud"). Also included in dynamics are the crescendo ("slowly growing louder"), decrescendo ("slowly growing softer"), and the sforzando ("sudden loudness").

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cresecendo

Back 73

A directive to a performer to smoothly increase the volume of a particular phrase or passage. This can be designated with the word crescendo at the beginning of the passage or with the crescendo symbol consisting of two horizontal lines that start together at a point at the left and spread apart to the left. There is typically a dynamic mark at either end of the symbol indicating the desired volume before and after the crescendo. This is often seen in its abbreviated form cresc.. The symbol is often refered to as a hairpin or a wedge.

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diminuendo

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A directive to a performer to smoothly decrease the volume of the specific passage of a composition. This can be designated with the word diminuendo at the beginning of the passage or with the "hair pin" symbol consisting of two horizontal lines that start apart at the left and come together to a point at the right. There is typically a dynamic mark at either end of the symbol indicating the desired volume before and after the decrescendo. This is often seen in its abbreviated forms dim. or dimin..

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terraced dynamics

Back 75

Expressive style typical of some early music in which volume levels shift abruptly from soft to loud and back without gradual crescendos and decrescendos.

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pianissimo

Back 76

A directive to a musician to perform a certain passage very softly, even softer than piano (p ), but not as soft as pianississimo (ppp). The abbreviation for Pianissimo is pp.

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Tonic

Back 77

The note upon which a scale or key is based; the first note of a scale or key; the keynote.

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Supertonic

Back 78

That tone that is one step above the tonic of a key.

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Mediant

Back 79

The third note of the scale, so called because of its position halfway between the tonic and dominant.

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Subdominant

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That tone that is one step below the dominant of a key.

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Dominant

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The fifth tone of the scale.

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Submediant

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That tone which is positioned as far below the tonic as the mediant is above the tonic, i.e., the sixth step of the scale, the superdominant.

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Subtonic

Back 83

That tone that is one step below the tonic of a key.

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Leading Tone

Back 84

Also called "leading tone"; the major seventh of a scale, so called because it lies a semitone below the tonic and "leads" towards it.

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Tonic Function

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Dominant function

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Predominant function

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Deceptive Progression

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Harmonic Rhythm

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In music theory, harmonic rhythm, also known as harmonic tempo is the rate at which the chords change

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Modulation

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The process of changing from one key to another.

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Three types of modulation

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1. Common Tone Modulation
2. Phrase Modulation
3. Pivot Point Modulation

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Neighboring Chord

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Rate of Harmonic Change

Back 93

Harmonic Rhythm

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Figured Bass Realization

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Using Figured Bass to determine notes in a chord

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Retrogression

Back 95

A relatively weak harmonic movement

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Secondary Dominant

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An altered chord taht functionas as dominant to a diatonic triad other than the tonic.

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Secondary Leading Tone Chord

Back 97

Function as a leading tone chord (7) to a diatonic triad other than the tonic

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Tonicization

Back 98

The technique of treating some note other than the true tonic of the composition as the tonic within a section of a composition.

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Anticipation

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In part-writing, an unaccented, non-harmonic note that belongs to and is repeated in the harmony immediately following; i.e., one or more harmonic voices or parts moving to their particular position in a new chord before the other parts, or before the accent.

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Appoggiatura

Back 100

Leaning note; grace note; note of embellishment usually one step above (sometimes, though seldom, it is one step below) the main note. Before an even or unaltered note, the appoggiatura generally receives its face value, that is one-half the value of the note that follows; before a dotted note it receives more than its face value, that is to say that it should be given two-thirds of the value of the following note. If the note is of the same pitch as the principal note of the appoggiatura, the grace note receives the entire value of its principal note, but is carried to the next note with strong portamento.

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Embellishment

Back 101

An ornamentation; notes, usually of short duration, that are added to the main melody of a composition to decorate or ornament the melody, they may be either written in by the composer or improvised by the performer. Generally, if there is a repeat in a composition, especially in a composition of the Renaissance of Baroque periods (2), the first statement would be played without ornamentation, but embellishments may be tastefully added to the repetition.
See also ornament; ornamentation.

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Escape Tone

Back 102

"Escaped note"; an ornamentation between notes proceeding in a step-wise fashion in which the ornamental note will go the opposite way of the progression, followed by the proper note in the progression.

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Neighboring Tone

Back 103

A nonharmonic tone that is approached and left by step with a change of diretion. Usually occur on unaccented portion of the beat and may be either a step above or below the harmonic tone.

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Double Neighbor

Back 104

Changing Tones:
The middle two notes of a four note figure, of which the first and fourth are chord tonse, and the second and third are nonharmonic tones

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Lower Neighbor

Back 105

Neighbor tone that is approached by downward movement.

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Upper Neighbor

Back 106

Neighbor tone approached by upward movement.

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piano (p)

Back 107

Dynamic marking meaning quiet. A directive to a musician to perform a certain passage softly (abbreviated p).

A musical keyboarded instrument

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mezzo piano (mp)

Back 108

Moderately soft. Not quite so soft as piano.

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mezzo forte (mf)

Back 109

Moderately loud. Not quite so loud as forte

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forte (f)

Back 110

A directive in music to perform a certain passage loudly. Forte is symbolized by the letter "f".

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fortissimo (ff)

Back 111

A directive in music to perform a certain passage very loudly symbolized by "ff". Louder than forte "f".

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improvisation

Back 112

Term referring to the spontaneous performance of music without previous preparation or any written notes. Improvisation can be seen in music of the Medieval era, where singers were trained to improvise additional lines to liturgical chant while it was being performed, in the Renaissance, where a musician would improvise over the written chords usually on a keyboard instrument or on a viol, in the Baroque, where ornamentation and realization of figured bass was common, in the Classical and Romantic eras, where cadenzas of concertos were expected to be improvised, and in 20th century jazz.

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phrasing

Back 113

The art of performing music in a way that allows each phrase to be conceived as a single unit. This involves breathing in the correct places, crescendoing and decrescendoing in the correct places, and using rhythm, dynamics, and musicianship to give the music shape.

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tempo

Back 114

The speed of the rhythm of a composition. Tempo is measured according to beats per minute. A very fast tempo, prestissimo, has between 200 and 208 beats per minute, presto has 168 to 200 beats per minute, allegro has between 120 and 168 beats per minute, moderato has 108 to 120 beats per minute, andante has 76 to 108, adagio has 66 to 76, larghetto has 60 to 66, and largo, the slowest tempo, has 40 to 60.

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adagio

Back 115

A slow tempo marking between Largo and Andante.

A composition written in a slow tempo, frequently the second movement of sonatas, symphonies, etc.

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allegro

Back 116

A fast tempo marking between Allegretto and Vivace.

A composition in fast tempo, especially the first and last movements of a sonata, symphony, etc.

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andtante

Back 117

A moderate tempo marking between Largo and Moderato. This tempo typically has between 76 and 108 beats per minute.

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andantino

Back 118

A moderate tempo marking slightly faster than Andante and slower than Moderato.
Although andantino is the diminutive form of Andante and should designate a slower tempo than Andante, it actually came to mean the opposite. Prior to the late 18th century, andantino may have actually meant slower than Andante.

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grave

Back 119

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.

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largo

Back 120

A slow and solemn tempo marking, having between 40 and 60 beats per minute.

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lento

Back 121

Slow.

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moderato

Back 122

A directive to perform the designated passage of a composition in a moderate tempo; moderately, restrained.

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presto

Back 123

A directive to perform the indicated passage of a composition very quickly.

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vivace

Back 124

A directive to perform a certain passage of a composition in a lively or brisk manner.

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accelerando

Back 125

Gradually accelerating or getting faster. Abbreviated by accel..

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ritardando

Back 126

A directive to perform a certain passage of a composition with a ritard the tempo, to gradually delay the tempo. The abbreviation is rit.

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ritenuto

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A directive to perform a certain passage of a composition with a slowing of the tempo more suddenly and extremely than a ritardando. The abbreviation is riten.

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rubato

Back 128

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.

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accent

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A stress or special emphasis on a beat to mark its position in the measure;

The mark in the written music indicating an accent. There are five basic accents, staccato accents, staccatissimo accents, normal accents, strong accents, and legato accents with several combinations possible;

The principle of regularly recurring stresses which serve to give rhythm to the music.

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agogic accent

Back 130

an accent lengthening the note's value

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dynamic accent

Back 131

an accent affecting the note's volume

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metrical accent

Back 132

an accent affecting the note's time

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anacrusis

Back 133

An Upbeat or a pickup note(s); a term used for unstressed notes at the beginning of a phrase of music.

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asymmetrical meter

Back 134

meters not evenly divisible by 2,3, or 4

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augmentation

Back 135

Statement of a melody in longer note values, often twice as slow as the original.

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Neighbor Group

Back 136

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Front 137

Ornament

Back 137

Musical ornaments (or embellishments) are symbols that provide direction for performers to embellish the written musical notation in specific ways. Each musical period (2) through history has specific ways that the performer is expected to perform each of the ornaments. Also, different countries and even different composers have their own interpretation of how each ornament is to be performed. Since ornaments are part of the written music, they must be performed, and they must be performed using the performance practices of the period and country in which the music was written. Many treatises have been written over the years to detail these performance practices, which is how the modern musician is able to interpret and perform the ornaments as the composer would have intended.

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Passing Tone

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A passing note is a non-harmonic note that appears between two notes in stepwise motion in part writing. Usually a passing note is a link between a melodic interval of a third in one of the voices.

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Pedal Point

Back 139

Term used for a drone (a low, sustained tone) that remains steady in the bass of a composition while other voices move about above it. An organ point is also called a pedal tone, a pedal, or a drone.

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Preparation

Back 140

In part writing, the positioning of the notes in a chord so that one of them, sounding as a consonant note within the first chord, sounds as a dissonant note in the next chord. This note is then resolved in the following chord.

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Resolution

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In partwriting, the resolving of a dissonant sound to a consonant sound in the following chord. Also, the conclusive ending to a musical statement.

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Retardation

Back 142

In partwriting, the resolving of a dissonant sound to a consonant sound in the following chord. Also, the conclusive ending to a musical statement.

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Suspension

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In part writing, a suspension is a situation in which a single note of one chord is held over into another chord, thus creating a dissonance, which is resolved by step in the following chord.

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Suspension Chain

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Front 145

Arpeggiating 6/4

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created by arpeggiation of the traid in the bass

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Cadential 6/4

Back 146

a I (6/4) preceding the dominant, often at a cadence. Although it contains the ntoes of the tonic triad, it does not 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 the the tones of the dominant.

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Neighboring or pedal (6/4)

Back 147

Occurs when the third and fifth of a root positition triad are embellished by their respective upper neighboring tones, while the bass is stationary, usually occuring on a weak beat.

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Passing (6/4)

Back 148

harmonizes the second note of a three note ascending or descending scale fragment in the bass; that is, it harmonizees a bass passing tone. The usual metric placement is on an unaccented beat and the motion of the upper voices is ordinarily by step.

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barline

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The common term meaning bar or the lines drawn perpendicularly across the staff to divide it into measures. The barline came into use in music after 1600. Other variants of the barline are the double barline and the final barline.

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beat

Back 150

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.
A throbbing that is heard when two tones are slightly out of tune.
The English term for mordent, an embellishment consisting of the principal note and the note below it, resembling a short trill.

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simple beat

Back 151

a beat that is divisible by two

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compound beat

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a beat that is divisible by three

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changing meter (multimeter)

Back 153

a meter made up of some combination of simple and compound

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cross rhythm

Back 154

using a simple rhythm in compound time or vice-versa

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diminution

Back 155

A Renaissance and Baroque ornamentation which consists of the restatement of a melody in which the note values are shortened, usually by half.

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dot

Back 156

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.

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double dot

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similar to dot, the note now must add 3/4 of its value to it's original value. Therefore a double dotted quarter note is now worth 1.75 beats

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dotted rhythm

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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.

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duplet

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A group of two notes played in the time usually taken to play three.

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duration

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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).

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hemioloa

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In early music, this term meant the ratio of 3:2, employed musically in two senses: the ratio of the perfect fifth, whose musical value is 3:2, and the rhythmic relation of three notes in the time of two, i.e., the triplet. In the Baroque era hemiola was used in dance music in the sense that it denoted the articulation of two measures of triple meter as if they were three measures of duple meter. In later music, especially Viennese waltzes the use of hemiola was common, in the sense of playing duplets in one part of the music, over which another part of the music is playing triplets.

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duple

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duple meter is a meter based on beats of 2

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meter

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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.

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Alto

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A female voice of low range, (usually about G below the treble clef to C in the treble clef) also called contralto.
Originally the alto was a high male voice, which, through the use of falsetto, reached the range of a female alto (this type of male voice is also called a countertenor).

F below middle C to Third space C

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Bass

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The lowest or deepest male voice usually of a range of F just below the bass clef to the E above middle C.
See also basso cantante and basso profundo.

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Close position

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Harmony written so that the parts are as close together as possible, usually with the upper voices very tight together, and the bass somewhat more distantly spaced.

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Doubling

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Having two instruments playing the same part in ensemble playing. Also, having an accompanying instrument play the same notes that a singer is singing.

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First Inversion

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Third of chord is lowest voice

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Inversion of chords

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The position of a chord when the fundamental is not the lowest note. When the lowest note is the fundamental, the chord is said to be in root position. When the third of the chord is in the lowest voice of the music, the chord is a "first inversion", when the fifth of the chord is in the lowest voice, the chord is said to be a "second inversion".

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Open position

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Indeterminate contemporary music in which some details of a composition are clearly indicated, but the overall form is left to choice or chance.

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Root

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The tonic or fundamental note of a chord.

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Root position

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Root position. The position of a chord when the base pitch of the chord is in the lowest voice.

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Second inversion

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Fifth is in the bass

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Soprano

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Term used to describe the highest pitched vocal range, usually produced by a female voice, but occasionally produced men's and boys' voices of the soprano range. The range of the soprano is from about C above the treble clef to middle C.

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Tenor

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The male voice which has a range of C below middle C to G above middle C.

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Third inversion

Back 176

7th is in the bass

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Common tone

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A note that is the same between two chords

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Contrary motion

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Simultaneous musical motion of at least two voices, one of which is in opposition to the other, with one voice rising in pitch while another voice falls in pitch.

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quadruple meter

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a meter based on 4

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triple meter

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a meter based on 3

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note value

Back 181

how long the note is to be held

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polyrhthm

Back 182

The use of several patterns or meters simultaneously, a technique used in 20th century compositions.

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pulse

Back 183

the rhythmic recurrence of strokes, vibrations, or undulations.

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swing rhythm

Back 184

a 4/4 tempo with an almost even emphasis on each beat of the measure. using syncopation.

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syncopation

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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.

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tempo

Back 186

The speed of the rhythm of a composition. Tempo is measured according to beats per minute. A very fast tempo, prestissimo, has between 200 and 208 beats per minute, presto has 168 to 200 beats per minute, allegro has between 120 and 168 beats per minute, moderato has 108 to 120 beats per minute, andante has 76 to 108, adagio has 66 to 76, larghetto has 60 to 66, and largo, the slowest tempo, has 40 to 60.

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tie

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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.

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time signature

Back 188

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).

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triplet

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Three notes of equal length that are to be performed in the duration of two notes of equal length.

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accidental

Back 190

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). To raise the unaltered pitch by one half step (semitone) the sharp is used, to lower it by one half step (semitone) the flat is used. To raise the pitch by two half steps (semitones), a double sharp is used and to lower it by two half steps (semitones) a double flat is used. If the key signature indicates that a note be played sharp or flat and the unaltered tone is desired, a natural is used to indicate this.

Typically, the accidental alters the pitch of the note that it is attached to as well as any subsequent occurence of the same note (identical line or space) in the same measure. Notes with the same pitch name, but higher or lower octave should not be effected. Any note with an accidental that also has a tie across a barline carries the accidental to the note on the other side of the barline. Notes in the new measure that are not tied to altered notes from the previous measure are performed using the current key signature.

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chromatic/chromaticism

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Any music or chord that contains notes not belonging to the diatonic scale.

Music which proceeds in half steps.

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diatonic

Back 192

Proceeding in the order of the octave based on five tones and two semitones. The major and natural minor scales and the modes are all diatonic In the major scale, the semitones fall between the third and fourth tones and the seventh and eighth tones. In the minor scale, the semitones fall between the second and third tones and the fifth and sixth tones.

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key signature

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The sharp, flat, or natural signs placed at the beginning of a staff indicating the tonality of the composition.

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Major

Back 194

Term referring to a sequence of notes that define the tonality of the major scale. This series consists of seven notes: the tonic, followed by the next note a whole step up from the tonic, the third is a whole step from the second, the fourth is a half step from the third, the fifth is a whole step from the fourth, the sixth is a whole step from the fifth, the seventh is another whole step, followed by the tonic, a half step above the seventh. Thus the first and eighth tones are exactly an octave apart.

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minor

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A series of tones that defines a minor tonality.

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harmonic minor

Back 196

The harmonic minor scale is the same as the natural minor scale, except that the seventh tone is raised by a semitone (half step) both ascending and descending

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melodic minor

Back 197

The melodic minor scale is the same as the natural minor with the exception that the sixth and seventh tones are raised by a semitone (half step) when the scale is ascending. When the scale is descending, the melodic minor is the same as the natural minor,

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natural minor

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The natural minor scale has the same tones as the major scale, but uses the sixth tone of the major scale as its tonic. Thus, the semitones (half steps) are between the second and third tones and the fifth and sixth tones

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Cross relation

Back 199

?

Front 200

Crossed voices

Back 200

In music, voice crossing is the intersection of melodic lines in a composition, leaving a lower voice on a higher pitch than a higher voice (and vice versa). Because this can cause registral confusion and reduce the independence of the voices,[1] it is sometimes avoided in composition and pedagogical exercises.

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Direct fifths (hidden fifths)

Back 201

In part writing, the occurrence of an interval that is not a fifth between two voices, which proceeds to the next chord in similar motion, that produces a fifth in the next chord between the same two voices. In strict counterpoint, hidden fifths are allowed between any two voices except the outer two.

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Direct octaves

Back 202

In part writing, the occurrence of an interval that is not an octave between two voices, which proceeds to the next chord in similar motion, that produces an octave in the next chord between the same two voices. In strict counterpoint, octaves are allowed between any two voices except the outer two.

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Oblique motion

Back 203

In part-writing, oblique motion occurs when one voice (or more) remains on the same pitch while the other ascends or descends.

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Overlapping voices

Back 204

Voice crossing on one chord

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Parallel motion

Back 205

In part writing, parallel motion occurs when two voices move from one position to another, keeping exactly the same interval between them.

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Parallel intervals

Back 206

Intervals that are parallel between voices. Move in parallel motion.

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Objectionable parallels

Back 207

Parallel fifths/octaves

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Parallel fifths

Back 208

?

Front 209

Parallel octaves

Back 209

?

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Similar motion

Back 210

?

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Tendency tone

Back 211

Where a certain tone will tend to lead

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Unresolved leading tone

Back 212

A leading tone that does not fall

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Unresolved seventh

Back 213

A leading tone that does not fall

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Modality

Back 214

Having to do with modes; this term is applied most particularly to music that is based upon the Gregorian modes, rather than to music based upon the major, minor, or any other scale.

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Parallel Key

Back 215

Same letter name.

A major and minor

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Pentatonic

Back 216

A scale of five tones. It is used in Aftican, Far Eastern, and Native American music. The pentatonic scale has been used in 20th century compositions as well.

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Relative Key

Back 217

Same key signature

A minor and C major

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Tetrachord

Back 218

The perfect fourth and the set of four diatonic, chromatic, or enharmonic notes encased therein.

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Tonal

Back 219

# Term referring to music that is based upon major and minor tonalities rather than on modal, twelve-tone, or other musical systems.

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Tonality

Back 220

The principal of organization of a composition around a tonic based upon a major or minor scale.

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Whole-tone Scale

Back 221

A scale built entirely of whole tone intervals. The whole tone scale was used commonly by the French impressionists.

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Lyrics

Back 222

# (plural) term used for the words of a song.
# Term used to describe a certain kind of singing voice, one that has a light, bright, unforced quality; one generally suited more to Baroque than Romantic music.

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Melismatic

Back 223

Describes a melisma

Melisma- A group of many notes (usually at least five or six) sung melodically to a single syllable. Melismas are found especially in liturgical chant.

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Stanza

Back 224

The division of a poem that consists of a series of lines arranged together. This is usually in the form of a recurring pattern of meter and rhyme. In music, a stanza, or verse, is a poem set with a recurring pattern of both rhyme and meter. A "strophic" song (as opposed to a "through-composed" song) has several stanzas or verses set to music that remains the same or similar with each stanza. Many hymns follow this pattern.

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Syllabic

Back 225

The style of chant which sets one note to each syllable of text.

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Alberti Bass

Back 226

stereotyped accompaniment played on a keyboard instrument with the left hand. The chords of the Alberti Bass are played as arpeggios, or broken chords. Named for Domenico Alberti ca. (1710 - 1740) who used them extensively, they are quite common to the works of Franz Joseph Haydn, Wolfgang Amadeus Mozart, and early Ludwig van Beethoven.

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Canon

Back 227

Strict counterpoint in which each voice exactly imitates the previous voice at a fixed distance.

Front 228

Canonic

Back 228

Of or relating to a canon

Front 229

Counterpoint

Back 229

The art of combining two or more melodies to be performed simultaneously and musically. In counterpoint, the melody is supported by another melody rather than by chords.

Front 230

Contrapuntal

Back 230

Using counterpoint. Any music that contains two or more voices heard simultaneously.

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Imitation

Back 231

The repetition in a second voice or part of a theme, motif, or phrase presented by a first voice or part. The first presentation of the theme is called the antecedent, the answer is called the consequent, and is usually a different pitch from the antecedent. The antecedent usually continues while the consequent is coming in, and the consequent need not imitate the antecedent exactly, but may vary the tune slightly.

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Imitative polyphony

Back 232

A musical texture featuring two or more equally prominent, simultaneous melodic lines, those lines being similar in shape and sound.

Front 233

Nonimitative polyphony

Back 233

A musical texture featuring two or more equally prominent, simultaneous melodic lines, those lines not being similar in shape and sound.

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Countermelody

Back 234

A second but subordinate melodic line sometimes found in music which has a melody and an accompaniment.

Front 235

Fugal Imitation

Back 235

in which each phrase of text is assigned a musical subject that is then taken up by each of the voices.

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Heterophony

Back 236

The practice of two or more musicians simultaneously performing slightly different versions of the same melody. Each version would be characterised as improvised or ornamented versions of the melody as opposed to harmonized versions of a melody as in polyphonic music. The term heterophony was coined by Plato and is practiced in many areas of the world today including China, Japan, and Java.

Front 237

Homophony

Back 237

A style of composition in which there is one melody, and all the voices and accompaniments move rhythmically together. This is opposed to polyphonic, in which each voice may move independently. Homophony is not to be confused with monophony, in which all the voices and accompanying instruments are performing exactly the same notes, in homophony there is a distinct melody with accompanying harmony, but all move in the same rhythmic pattern.

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Chordal Homophony

Back 238

?

Front 239

Chordal Texture (homorhythmic)

Back 239

Chordal texture is also known as homorhythmic texture. This texture is present when all parts have the exact same rhythmic material. The melodic lines of each part may differ, and of course they all form the same harmony. This texture is widely used in church hymn music, and many other short compositions. An example is posted below.

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Melody with accompaniment

Back 240

A tune; a succession of tones comprised of mode, rhythm, and pitches so arranged as to achieve musical shape, being perceived as a unity by the mind. In a piece of music where there is more than one voice, or where harmony is present, the melody is the dominant tune of the composition.

The additional but subordinate music used to support a melodic line. In piano music, for example, the left hand often performs chords which serve as an accompaniment for the melody performed by the right hand. Similarly, a solo musician is often accompanied by a piano or an orchestra.

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Continuo

Back 241

Without pausing, continuous.

Front 242

Timbre

Back 242

The quality of a sound; that component of a tone that causes different instruments (for example a guitar and a violin) to sound different from each other while they are both playing the same note.

Front 243

Melody

Back 243

A tune; a succession of tones comprised of mode, rhythm, and pitches so arranged as to achieve musical shape, being perceived as a unity by the mind. In a piece of music where there is more than one voice, or where harmony is present, the melody is the dominant tune of the composition.

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Monophony

Back 244

Music that is written for only one voice or part is said to be monophonic (the music itself is called "monophony"). This is in contrast to polyphonic music, which has more than one part or voice.

Front 245

Obbligato

Back 245

An accompanying, yet very important part of the music that that should not be omitted, such as a countermelody.

Front 246

Ostinato

Back 246

A short melodic, rhythmic, or harmonic pattern that is repeated throughout an entire composition or some portion of a composition.

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Polyphony

Back 247

A style of composition that has many voices, each with its own melody, thus creating a rich texture of sound.

Front 248

Register

Back 248

A division of the range of an instrument or singing voice. Usually registers are defined by a change in the quality of the sound between a lower range and a higher range.

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Solo

Back 249

A single performer or a passage that is to be performed by a single performer.

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Soli

Back 250

directive to perform the indicated passage of a composition with an entire section of an ensemble as opposed to the directive solo where only one member of the section performs.

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Tessitura

Back 251

The general range of a composition (usually vocal) or of a particular voice of a composition.

Front 252

Tutti

Back 252

A directive to perform a certain passage of a composition with all instruments together. The opposite of solo.

Front 253

Walking Bass

Back 253

1. Term used in Baroque music for a bass line that moves steadily in a rhythm contrasting to that of the upper parts.
2. In jazz, a walking bass usually moves by steps played on bass or piano, with each note usually having the duration of a quarter note.