|
|
| Vibrations that are transmitted, usually through air, to the ear drum, which then travels to the brain |
|
|
|
| relative highness or lowness of sound |
|
|
|
| Sound that has a definite pitch or frequency |
|
|
|
| “Distance” in pitch between any two tones |
|
|
|
| distance between highest and lowest notes played by an instrument |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Dynamics, decrescendo (dimuendo) |
|
| gradual softening of music |
|
|
|
| gradual loudening of music |
|
|
|
| quality of sound that distinguishes one instrument from another |
|
|
|
| Soprano
Mezzo-soprano
Hire a custom writer who has experience.
It's time for you to submit amazing papers!
order now
Alto |
|
|
|
|
|
|
| the tone color of which the instrument is played
High tone means cheerful
low tone means sad |
|
| Percussion definite pitch |
|
| Kettle Drums
Glockenspiel
xylophone
celesta
chimes |
|
| Percussion Indefinite pitch |
|
| Snare drum
bass drum
tambourine
triangle
cymbals
gong |
|
|
|
| Melody that serves as a starting point for an extende piece of music |
|
|
|
| varied repititions of the theme |
|
|
|
| flow of music through time |
|
|
|
| organization of beats into regular groups |
|
|
|
| first or stressed beat of a measure |
|
|
|
| unaccented pulse preceding the downbeat |
|
|
|
|
|
|
| Italian words at beginning of piece that tell speed |
|
|
|
|
|
|
|
|
|
| apparatus that produces ticking sounds at any desired bpm |
|
|
|
| system of writing so that specific pitches and rhythms can be communicated |
|
|
|
| lines used in sheet music to show notes below or above the staff |
|
|
|
|
|
|
| combo of the treble and bass staves |
|
|
|
| Verticle line on note that shows the note is relative to notes around it |
|
|
|
| Wavy line on note that shows how long the note is to be played relative to notes around it (shorter) |
|
|
|
| connects eighth notes and sixteenth notes |
|
|
|
| note played for half a beat longer |
|
|
|
| long-short rhythmic pattern |
|
|
|
| Shows the music for each instrument in a group |
|
|
|
| a series of single tones that add up to a recognizable whole |
|
|
|
| melody moves by small intervals |
|
|
|
| melody moves larger than 2 notes (do-mi) |
|
|
|
| smooth connected manner of playin a melody
opposite of staccato |
|
|
|
|
|
|
| resting place in a melody |
|
|
|
| inconclusive resting point that sets up expectations on another part |
|
|
|
| Definite resting place that gives finality |
|
|
|
| repeat of the melody in a higher or lower pitch |
|
|
|
| how chords are constructed and how they follow each other |
|
|
|
|
|
|
|
|
|
| tone combination that is stable and restful |
|
|
|
| tone combination that is unstable and tense |
|
|
|
| when a dissonance moves to a consonance |
|
|
|
| most basic chord, 3 notes |
|
|
|
| triad built on the first note of a scale |
|
|
|
| triad build on the fifth note of a scale |
|
|
|
|
|
|
|
|
|
| central note* of a melody
“in the key of…” |
|
|
|
| Sharps or flats immediately following the sign at the beginning of the staff |
|
|
|
| All keys on the piano in a scale
all twelve tones of the octave |
|
|
|
| shifting from one key to another in the same piece |
|
|
|
| key where the song always returns to |
|
|
|
| Number of layers of a song
1 unaccompanied melody, several melodies, or melody with supporting chords |
|
|
|
| texture of a single melodic line without accompaniment |
|
|
|
| performance of a single melodic line at the same pitch by more than one instrument |
|
|
|
| performance of relatively 2 or more melodic lines of relatively equal interest |
|
|
|
| technique of combining 2 or more melodic lines into a meaningful whole |
|
|
|
| melodic idea is presented by one instrument and is then restated immediately by another |
|
|
|
| When one main melody is accompanied by chords |
|
|
|
| organization of musical elements in time |
|
|
|
| reiteration of a motive, phrase, or section used to create a sense of unity |
|
|
|
| striking differences of pitch, dynamics, rhythm, and tempo that provide a change in mood |
|
|
|
| changing certain elements in a melody while keeping others |
|
| Three-part (ternary) form (A B A) |
|
|
| Two-part (binary) form (A B) |
|
|
|
|
|
|
|
| leader of a group of musicians |
|
|
|
| stick used by conductors to conduct |
|
|
|
| Principle first violinist |
|
|
|
| insertion of sounds post recording |
|
|
|
| characteristic way of using melody, rhythm, tone color, dynamics, harmony, texture, and form |
|
|
|
| Lohengrin, Prelude to act III |
|
|
|
| Prelude in C minor for piano
Prelude in E minor for piano |
|
|
|
|
|
|
|
|
|
| Young persons guide to the orchestra
long as fuck |
|
|
|
| Stars and stripes forever |
|
|
|
| I got Rhythm from Girl Crazy |
|
|
|
|
|
|
|
|
|
| L’Arlesienne Suite no. 2, Farandole |
|
|
|
| Nutcracker Suite, Dance of the Reed Pipe |
|
|
|
| Suite for Lute in E minor, Bourree |
|