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| General pitch level of a piece of vocal music: an uncomfortably high tessitura; range of a voice |
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| Mentally hearing and comprehending music, even when no physical sound is present |
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| The movable fold, consisting of muscular fibers enclosed in a mucous membrane, that is suspended from the rear of the hard palate and closes off the nasal cavity from the oral cavity during swallowing or sucking. |
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| Texas Essential Knowledge and Skills state standards for Texas public schools. |
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| Marking signifies that on a staff that normally carries parts for two players, both players are to play the single part in unison |
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| Gradually increasing the tempo |
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| Play quickly; with agitation and excitement. |
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| Broadening, becoming a little slower each time |
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| A little lively, moderately fast |
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| Slightly slower than andante, in which case its BPM is between 64-72. |
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| the bow used for playing some string instrument; i.e., played with the bow, As opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction |
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| go straight on; i.e., at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause |
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| A complete break in sound (sometimes nicknamed “railroad tracks” in reference to their appearance |
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| Falling away, or lowering; i.e., getting slower and quieter; ritardando along with diminuendo |
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| Capriciously, unpredictable, volatile |
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| With a mute, or with mutes |
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| Brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] |
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| to the finish; to the end |
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| Slow and dignified (faster than largo) |
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| At the performer’s pleasure |
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| Sustaining all the notes full value |
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| A musical work or composition |
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| Intensely; passionately; with deep feeling |
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| Vocal style; similar to cantabile |
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| The final added measures of a musical composition |
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| Vocal range where the voice ‘shifts’ or transitions into a different register |
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| Male singing voice, falsetto denotes a specific timbre or vocal sound (differentiated from head voice, or voce piena in testa) in the male upper-range that is imitative of upper-range female voice quality, although it is not solely such. The term itself – derived from the Italian word for ‘false’ – suggests a departure from timbre reality; from true or legitimate vocal timbre. |
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| The part of the respiratory tract between the pharynx and the trachea, having walls of cartilage and muscle and containing the vocal cords enveloped in folds of mucous membrane. |
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| Either of two pairs of mucomembranous folds in the larynx. The upper pair (false vocal cords) are not concerned with vocal production; the lower pair (true vocal cords or vocal folds) can be made to vibrate and produce sound when air from the lungs is forced over them. |
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| A tough, elastic, fibrous connective tissue found in various parts of the body, such as the joints, outer ear, and larynx. A major constituent of the embryonic and young vertebrate skeleton, it is converted largely to bone with maturation. |
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| The section of the alimentary canal that extends from the mouth and nasal cavities to the larynx, where it becomes continuous with the esophagus. |
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| Anterior bony portion of the roof of the mouth, extending backwards to the soft palate |
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| Something that resonates; An instrument for detecting the presence of a particular frequency by means of resonance; Hollow enclosure designed to cause energy of a certain frequency, as sound waves or microwaves, to resonate; An electrical circuit that exhibits resonance at a certain frequency. |
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| Upon two strings; lengthen the bow stroke |
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| A bowing in which the string is pinched lightly, followed by a lift to prepare for the next stroke |
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| With the wood part of the bow |
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| The notes to which the strings, any strings, are tuned |
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| Wood or stick part of the bow |
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| Smooth or sometimes tied together |
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| Playing simultaneously on two strings |
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| Literally ‘detached’; any form of separated bowing on the string |
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| The bow is drawn from the hand away from the instrument |
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| Light, airy; played over the fingerboard |
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| The lower end of the bow, to which the hair is fastened |
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| Slide the fingers in gliding manner |
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| Bowing style for pulsed or legato notes |
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| Leaping, skipping the bow |
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| Order of the Cello strings |
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| Order of the bass strings |
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| very fast; more so than presto |
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| a steady pace, but slower than preceding tempo |
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| Temporary irregularity of time, lengthening certain notes at the expense of others |
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| Playfully; usually in rapid tempo with rhythmic and dynamic contrasts |
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| the same; continue in same manner |
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| more than one performer in unison |
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| a composition or passage for one one performer |
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| notes of a chord played in broken fashion |
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| Refers to an accentuated or well-marked style of bowing |
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| Hammered or sharply accented style of bowing |
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| A small clamp made of various metals or wood and placed on the bridge to dampen the sound of the instrument |
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| That part of a string instrument extending from the head to the body; the fingerboard is attached to it |
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| The small bridge at the upper end of the fingerboard over which the strings pass into the peg box; sometimes it is used synonymously with the frog |
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| in a declamatory style using a variety of expressive bowings as if “to speak” |
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| a martele style of bowing at the tip |
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| bow close to the bridge to produce a “squeky” effect |
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| gliding effect from note to note for expressive purposes |
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| a bouncing style of bowing that involves two or more slurred notes; the bow is dropped on the string so that it ricochets |
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| a rapid bouncing bow that occurs through the natural resiliency of the stick |
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| a special tuning of the open strings |
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| a bouncing bow that is controlled by the hand |
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| a note or chord reiterated at a rapid rate; it may or may not be measured |
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| the sign is V; start at the point of the bow and move the hand toward the instrument |
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| Renaissance (time period) |
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Macro rhythm (basic meter)
Macro rhythm (agogic accent) |
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| Triads, first inversions, and non-harmonic on a polyphonic base |
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| Mass, Motet, Chanson, Canon, Madrigal, Toccata, Ricercare, Fantasia |
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| Vibrato and pizzicato on string instruments |
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3 to 6 voices
polyphony imitation
polychoral style |
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contrast in number of voices
mf, p, f in the bar form of the master singers |
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Dunstable
Dufay
Ockeghem
Josquin
Tavener
Tye
Cabezon
Lassus
Vittorio
Binchoirs
Obrecht
Milan
Tallis
Palestrino
Byrd
Morenzio
Gabrieli
Frescoboldi |
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Sacbut
Slide trumpet
Timpani
Bassoon
polish geigs
bass trombone
french horn
circular horn
oboe |
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Bar line regularity
Simple and compound meters |
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Development of major and minor tonalities
Development of instrumental character |
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Thorough bass
Dominance of major and minor tonalities
Functional harmony, triads, seventh chords
Modulation to closely related keys |
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| opera, ballet, oratorio, sinfonia, overture, choral prelude, choral, fugue, prelude, concerto grosso, suites |
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instrumental
Beginnings of orchestration |
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Vocal and instrumental contrast
Development of a distinctly instrumental style |
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| Contrast of large and small groups, loud and soft instruments, loud and soft keyboards |
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Violin
Flute
2-key oboe
3-key bassoon
2-key clarinet
cello
pianoforte |
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Monteverdi
Gibbons
Schutz
Corelli
Lully
A. Scarlatti
Vivaldi
Bach
Handel
Purcell |
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Bar line regularity
Dominance of simple meters |
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Diatonic lines in major and minor modes
Tuneful, singable melodies |
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Triads
Seventh chords
Chromatic alteration
Modulation to foreign keys |
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Development of sonata form
Sonata
Trio
Quartet
Concerto
Opera
Oratorio
Quintet
Symphony |
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| Secondorization of instrumental combinations |
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homophony
solo quartet
trio quartet
quintet
symphony
concerto |
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from pp to ff
crescendo and diminuendo
Sudden changes |
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double bass
keyed trumpet
valve horn
valve trumpet
english horn |
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Gluck
Hayden
J.C Bach
Cimorosa
Paganini
Sammartini
Mozart
Weber
Beethoven |
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bar line regularity
simple meters with misplaced accents
exploitation of ritardando and accelerando |
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diatonic and chromatic lines in major and minor modes
singable melodies of a more emotional character |
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emphasis on seventh, ninth, and eleventh chords
chromatic progressions |
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Traditional forms
art song
character piece
music drama
symphonic poems
cyclic form
leit motif |
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development of the possibilities of each instrumental and vocal type
rise of the virtuoso |
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fuller orchestras
larger choral groups
larger combinations of voices and instruments |
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from ppp to ffff crescendo and diminuendo
more sensitive changes |
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albert system clarinet
piccolo
alto and bass clarinet
heckel system bassoon
eb bass
saxaphone
BBb bass
boehm system flute and clarinet
modern oboe
machine-tuned tempani
alto flute
celesta
contrabassoon
marimba
mellophone |
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Czerny
Schubert
Chopin
Verdi
Gounod
Bruckner
Mussorgksy
Puccini
Sousa
Mahler
Elgar
Dvorak
Tchaikovsky
J. Strauss
Berlioz
Liszt
Wagner
Brahms
Grieg
Rimsky-korsokoff |
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syncopation
asymmetric meters
mixed meters |
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whole tone scale
modes
synthetic scales
serial technique
micro-tones
angular melodic lines |
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impressionists
polytonality
atonality
changing tonalities
chords of 4ths and 5ths
added notes
tone clusters
denial of functional harmony |
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forms from old, previous periods
arch form
jazz |
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| Exploitation of instrumental and vocal color |
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from monophony to huge masses of sound
Renewed emphasis on polyphonic style |
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| From a whisper to the extreme possibilities of loudness |
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Complete families of wind instruments
electronic instruments |
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Complete families of wind instruments
electronic instruments |
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MacDowell
Sibelius
Schoenberg
Berg
Stravinsky
Barber
Holst
Debussy
Vaughn-williams
Copland
Ravel
R. Strauss
Ives
Prokofieff
Hindemith
Schuman
Shostokovich
Hanson |
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(major)
Do, Re, Mi, Fa, Sol, La, Ti, Do
1, 2, 3, 4, 5, 6, 7, 1 |
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Re, Mi, Fa, Sol, La, Ti, Do, Re
2, 3, 4, 5, 6, 7, 1, 2
becomes–
1, 2, b3, 4, 5, 6, b7, 1 |
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Mi, Fa, Sol, La, Ti, Do, Re, Mi
3, 4, 5, 6, 7, 1, 2, 3
becomes–
1, b2, b3, 4, 5, b6, b7, 1 |
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Fa, Sol, La, Ti, Do, Re, Mi, Fa
4, 5, 6, 7, 1, 2, 3, 4
becomes–
1, 2, 3, #4, 5, 6, 7, 1 |
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Sol, La, Ti, Do, Re, Mi, Fa, Sol
5, 6, 7, 1, 2, 3, 4, 5
becomes–
1, 2, 3, 4, 5, 6, b7, 1 |
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(natural minor) La, Ti, Do, Re, Mi, Fa, Sol, La
6, 7, 1, 2, 3, 4, 5, 6
becomes–
1, 2, b3, 4, 5, b6, b7, 1 |
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Ti, Do, Re, Mi, Fa, Sol, La, Ti
7, 1, 2, 3, 4, 5, 6, 7
becomes–
1, b2, b3, 4, b5, b6, b7, 1 |
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a metrical pattern in which two bars in triple time (3/2) or (3/4) are articulated as if they were three bars in duple time (2/2) or (2/4)
“123, 123, 12, 12, 12” |
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| Lengths of the notes are prolonged. A melody originally consisting of four eighth-notes for example, is augmented if it later appears with four quarter-notes instead. |
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| Repeating a pattern at a higher or lower pitch level |
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| root, major third, minor third (CEG) |
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| root, minor, third, major third (CEbG) |
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| Major/minor seventh chord |
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| root, major third, perfect fifth, minor seventh |
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root, minor third, diminished fifth (tritone), diminished seventh (sixth)
(CEgGbBbb) |
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| V to i. the phrase perfect cadence is sometimes used as a synonym for authentic cadence, but can also have a more precise meaning depending on the chord voicing |
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| Any cadence ending on V, whether preceded by ii, IV, I, or any other chord |
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| IV to I, also known as the ‘amen cadence’ because of its frequent appearance in hymns |
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| V to any chord except I (typically vi or VI). This is considered one of the weakest cadences because of the ‘hanging’ (suspended) feel it invokes |
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the most common musical form of blues. 12 refers to the number of measures.
I IV I I
I IV I I
V IV V I |
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| refers to a non-repetitive ordering of the twelve notes (pitch-classes in musical set theory) of the chromatic scale. Tone rows are the basis of Schoenberg’s twelve tone technique. |
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| a motif or phrase which is repeated over and over again at the same pitch. musical pattern that is continuously repeated during a sections or throughout a complete piece of music. the repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. |
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| head, (mouth, nose, sinuses), throat, chest |
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| tongue, teeth, jaw, hard and soft palates |
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| soprano, mezzo soprano, alto, tenor, baritone, bass |
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| Choral performance criteria |
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correct notes and rhythms
phrasing
balance
blend
intonation
tone quality
stage prescence/facial expressions |
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| hydration, overuse or abuse, illness, talking at clubs or on bus trips, medications |
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posture and breathing
range extension and flexibility needs
register changes
breathy, strident, tense tone
vibrato unevenness
intonation
diction |
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perception
creative expression/performance
historical/cultural heritage
response/evaluation |
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| Fundamental principles of music |
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rhythm
texture
dynamics
melody
timbre
form |
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