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| The science of the production, propagation and perception of sound. |
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| The perceived quality of a sound that is chiefly a function of its fundamental frequency. |
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| The character of a sound, as distinct from its pitch. See Timbre |
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| The intensity or softness of a sound. |
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| The time that a sound or silence lasts. Can be measured in musical or real Time. |
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| Any means of writing down music. |
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| Any means of producing sounds that are considered to be music by the persons producing them. |
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| Any instrument in which air is the primary sound producer. |
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| Any instrument in which a string is the primary producer of sound. |
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| Any instrument that produces sound by the vibration of its own primary material. |
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| Any instrument that produces sound by a resonating membrane. |
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| The human mechanism for producing sound by the mouth. |
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| A male singe castrated as a boy to preserve his soprano or alto range after his lungs have and chest were those of an adults. |
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| A body of singers who perform together, either in unison or in parts. |
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| Choral music without instrumental accompaniment. |
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| A performing body of diverse instruments. |
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| The art of employing instruments in various combinations, most notably the orchestra; sometimes also termed scoring. |
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| A bowed stringed instrument consisting of a hollow resonating wooden body with an attached neck and peg box. |
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| A device for setting in motion the strings of some types of string instruments. |
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| The technique of using the bow on stringed instruments such as the violin. |
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| Two Violins, viola and a cello. |
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| A work for orchestra in multiple movements. |
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| Music written for and performed by a small ensemble, usually instrumental, with one performer on a part. |
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| The Bow of a stringed instrument; Hence, also an instruction. e.g. Col arco (with the bow) |
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| A device for reducing the volume and or altering the tone color of an instrument |
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| “On the bridge” An indication to bow or sometimes pluck very near the bridge. |
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| An indication to bow or sometimes pluck over the fretboard. (opposite of Sul Ponticello) |
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| To strike the strings with the wood of the bow, producing a percussive sound. |
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| Rapid repetition of the same note. |
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| flutterzunge / fluttertongue |
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| Rapid fluttering of the tongue. |
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| A player of a brass instrument / A harsh or brassy tone, especially on the horn. |
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| The relative volume in a piece of music. |
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| Markings in a piece of music to show change in volume. e.g. Forte, mezzo forte, piano etc. |
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| Dynamic, tempo and articulation marks. Different markings and their abbreviations employed along notation to guide the performance in matters other than pitch and rhythm. e.g. Legato, pizzicato, muta |
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| Similar to expression marks. Indicates aspects of performance. |
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| Dynamics instruction; Loud |
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| Dynamics instruction; Quiet |
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| Dynamics instruction; Start Loudly on a note (usually Fortissimo)and immediately get very soft (Usually pianissimo) and continue into a crescendo) |
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| Dynamics instruction; Gradually get louder |
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| Dynamics instruction; Gradually get softer |
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| The aspect of music concerned with the organization of time |
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| The relative speed of a piece of music |
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| The pattern in which a steady succession of rhythmic pulses is organized |
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| A unit of musical time; has a set number of note values (determined by meter) 4/4 has 4 beats per measure |
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| The practice of making the established pulse flexible by accelerating and slowing down the tempo |
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| A momentary contradiction of the prevailing meter or pulse |
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| The simultaneous use of two or more meters; Sometimes applied to the successive use of different meters in one or more parts |
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| The simultaneous use of two or more rhythms that are not readily perceived as deriving from one another or as simple manifestations of the same meter. |
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| The Ratio 3:2. Referring to the use of three notes of equal vaule in the time normally occupied by two notes of equal value. |
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| Moderate with respect to tempo. Allegro Moderato– Andante Moderato. Not as fast or not as slow as… |
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| Very fast; Faster than Allegro; Prestissimo- as fast as possible |
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| The distance or space between two given notes. |
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| A coherent succession of pitches. |
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| The Span of pitches between highest and lowest; Tessitura- The particular range of a part that is most commonly exploited as opposed to the overall range. |
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| Conjunct- Stepwise Motion; Disjunct- Leapwise Motion |
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| a unit of musical syntax in comparison with language |
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| In terms of language a period is a musical phrase that lets you know the cadence has finished |
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| A short rhythmic or melodic idea that is sufficiently well defined to retain its identity when elaborated or transformed and combined with other material and that thus lends itself to serving as the basic element from which a complex texture or even a whole composition is created |
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| The relationship of tones considered as they sound simultaneously |
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| Three or more pitches sounded simultaneously |
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| A chord consisting of three pitches, the adjacent pitches being thirds |
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| any 2 or more pitches sounded simultaneously |
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| The distance between two notes |
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| When the root note of a chord is swapped with another note within the chord |
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| Consonance and Dissonance |
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| Consonance- The sound will sit without wanting to move up or down; Dissonance- When the sound wants to move up or down |
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| When a piece uses notes from a scale with little or no variance. |
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| When a piece of music uses many variations of a parent scale. |
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| The simultaneous use of two or more tonalities or keys. |
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| A collection of pitches ordered in range lowest to highest or highest to lowest. |
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| A scale with all semitones |
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| A scale with 5 different tones |
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| The pitch relationships that establish a tonal Range |
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| A melodic or harmonic configuration that creates a sense of repose or resolution |
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| A sign placed at the beginning of a staff to establish the position of a certain note. |
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| A single melodic line with no harmony or accompaniment |
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| Music in which melodic interest is concentrated on one voice or part that is provided with subordinate accompaniment |
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| The simultaneous statement of two or more different versions of what is essentially the same melody |
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| Music that simultaneously combines several lines. |
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| The time is stated successively in all voices of the polyphonic texture. |
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| the combination of two or more melodic lines |
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| Two ensembles which oppose each other |
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| Two melodic lines play a similar line |
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| All the musical elements of a composition |
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| made up of units with the same number of lines, rhythm scheme and meter |
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| Binary- music in binary form contains two parts, each usually repeated; Movements in ternary have three parts, the first and third identical or closely related. |
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