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| sliding from one note to another |
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| and accent that is produced by note duration, not by dynamics nor stress |
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| music that has elements of chance in either the composition or the performance |
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| Duple time, with the half not receiving one beat. |
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| seguing/ begin the next section without pausing |
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| increasing the time value of the notes of a theme or melody |
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| music from the approximate time of 1600-1750 |
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| German word for animated or agitated |
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| discordant sound/harsh sound |
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| instrumental piece of a humerous or capricious character |
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| low register of the clarinet |
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| high register of the clarinet |
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| with the bow (opposed to pizzicato) |
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| striking the strings with the wood of the bow, not the hair of the bow |
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| chord progression in which a note in one part of the first chord is followed by a chromatic alteration of the same note in the second chord. It can also be the simultaneious sounding in a single chord of a note and its chromatic alteration. |
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| a surgical procedure not a musical procedure |
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| within the tones (or using the tones) on the standard major or minor scales |
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| pertaining to twelve-tone technique |
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| the playing of two or more notes at the same time. |
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| group of two notes played in the time of three notes of the same value |
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| music performed between acts of a ballet, drama, or opera. |
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| in sonata form, the first section containing the statement of the themes. |
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| cadence ending on a weak beat |
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| end of the bow that is at the bower’s hand |
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| German for stopping notes on a horn (with the player’s hand, which creates a buzzed muted sound) |
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| end of a bow opposite from the player’s hand |
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| just/right (“tempo giusto” means strict tempo) |
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| hollow dot placed over a note to be touched, not stopped on string instrument |
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| rhythmic pattern that is the result of the changes in harmony |
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| text of an opera, oratorio, etc. |
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| a cadence that falls on a strong beat |
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| to pass from one key to another/change keys |
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| bass accompaniment in broken octaves (used most in 18th century music) |
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| Italian for “change”. Usually this is an indication for a change of tuning in the timpani during a piece or movement. |
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| horn or tumpet consisting of tubing (relying on overtones) because there are no valves. |
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| French for “shading” — subtle change of intensity, tempo, touch, or phrasing. |
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| when one part ascends or descends while the other part remains the same pitch |
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| repeated rhythmic feature |
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| an indication that the voice must approximate speech (as apposed to sing) |
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| Italian for the passage between vocal tessituras. |
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| Abbreviation for the piano part in orchestral scores |
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| The use of a major third in the final chord of a composition in a minor key. |
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| cadence going from IV chord to the tonic (“Amen” chord) |
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| at the point of the bow, tip |
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| Italian for “full”, in jmusic meaning full ensemble, as opposed to the solo part |
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| continue in the same manner (usually for articulation purposes) |
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| French for muffled or muted |
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| voice production halfway between sung and spoken |
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| imitation in close succession, which produces and increase in intensity |
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| comfortable range of a vocal part |
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| the augmented fourth, or the diminished fifth (the octave split in half) |
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| play under (softer than) the singer |
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