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| two vowel sounds on the same syllable |
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| imaginary plane where all icti fall, roughly chest-high |
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| a conducting style where all icti land on the same point |
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| gesture used to control a response after the beat instead of on the beat |
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| precise instant of the rhythmic pulse |
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| having left hand conduct exactly like the right hand |
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| organized sound over time with intent |
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| preparatory beat that coincides with the breath of the performers and should indicate tempo, dynamic, style, etc. (do not confuse with an upbeat) |
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| work load divisions in the score |
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| 2 + 2 = 5; the total is greater than the sum of the parts; combined action or operation; goal of conductors |
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| the steady reiteration of beat points |
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| process of writing music in a key or octave other than that of the actual sound of the instrument |
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| because the baton creates a focus of attention |
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| because the podium makes the conductor the ultimate center of attention and is the workplace of the conductor? |
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| why do we need to wear dark clothing? |
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| because the white stick shows better to the performers |
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| why do we need a left hand? |
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| because the left hand can give cues, mold lines, shape dynamics, and display intensity as well as mirror |
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| because it is a direct line to the composer in study, and a reference tool in rehearsal and performance |
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| why do we need to always be so on-time that we are early? |
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| because a conductor sets and example in every way to the performers as musician and teacher and a conductor must have time to deal with any and all situations that may arise and affect the rehearsal and/or performance |
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| why do we need to seek to create synergy? |
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| because the experience of performing with other people to create a musical performance that goes beyond the level of the players is a most important lesson, no matter what field your students/performers may pursue in life |
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| with the other part; often refers to accommodating the soloist at that place in the score |
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| exactly as written; do not change anything |
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| with; seen in other forms a a contraction (col, coi, colle, cogli, colla etc.) |
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| out in front of; means the part should be projected through the ensemble; must be heard |
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| the same; used usually with the word “tempo” meaning that the new part should be in the same tempo as the preceding part |
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| half; usually mezza voce – softly, as if whispered |
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| otherwise; often refers to a simplified part – otherwise do it so |
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| more; most often seen with mosso, meaning more motion, slightly quicken the tempo. also, plus |
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| similar to tutti, it distinguishes the accompanying instruments from the soloist |
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| tuning contrary to the normal, addressed to the strings |
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| dry, very short, no after-ring |
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| follow, continue in the same manner |
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| without tempo, slightly freer |
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| similar; continue articulation or style indicated in previous measure |
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| in an undertone, soft voice |
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| suddenly; usually with a piano marking |
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| the whole ensemble, everybody |
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| in unison; as violini unisoni: all violins in unison |
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| gradually increasing the tempo |
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| at liberty; take time, permit liberties here |
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| excitedly, increasing the tempo |
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| a general classification for modifying of the tempo in favor of the expression |
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| hurrying, pressing forward |
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| varying the note values within the rhythm, not strictly as written |
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| condensing, accelerating the tempo (do not confuse with the stretto of the fugue form, which is only a condensing of the distance between subject and answer) |
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| silent; usually means the particular instrument does not play in that movement of the work |
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| the time, the measure, rhythmically; sometimes, an accenting of the first beat in the measure |
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| held back, slowed dow; usually a more sudden reduction in tempo than called for by ritard and rallentando |
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| slowing down gradually; also indicated by rallentando |
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| from the beginning and hence an indication that a piece is to be repeated beginning at the place marked with the sign |
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| from the sign, and hence an indication that a piece is to be repeated beginning at the place marked with the sign |
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| a tempo, tempo primo, tempo I |
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| an instruction to return to the original tempo after some temporary departure |
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| sufficiently, rather, e.g. assez vite: rather fast |
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| brioso, with vivacity, spirited |
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1. in a fugue, the imitative treatment of the subject at a shorter interval of time than is employed in the initial exposition.
2. in nominative works, a climactic, concluding section in a faster tempo; often stretta |
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| attack, attack immediately; when placed at the end of one movement, an instruction to begin the next movement immediately without customary pause |
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| divided; an indication in ensemble music that a group of players normally playing the same part are to be divided so as to sing or play different parts sometimes notated on the same staff |
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| held, sustained. in the 18th century notes so marked were to be held to their full value rather than detached somewhat, as was the norm. In music of the 19th century and since, the term may call for a delay of the beat following. It may be indicated by a short horizontal stroke over or under the note |
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| decreasing in loudness and also in tempo |
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1. sweet; usually also soft; dolcemente, sweetly softly; dolcissimo, extremely sweet, soft.
2. an organ stop of soft tone with narrow-scaled open flue pipes, in the late 19th century American organs |
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| expressive, with expression |
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| slow; lentissimo, extremely slow |
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| speechlike; also parlante. the term is used principally with respect to singing, but sometimes also with respect to instrumental music |
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| to be played by both, as by first and second flute |
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| the downbeat; to beat time |
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| laisser vibrer; lasciare vibrare |
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| without; usually ohno Dampfer |
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| work published after the death of the composer |
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| desk; a music stand; usually refers to number of stands that are to play the part |
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| without; usually senza sordini (without mutes) |
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| a single voice or part in the score |
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| a single voice or part in the score |
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| old terminology for the baton |
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| regulate the tempo, usually to accommodate the soloist |
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| five basic elements of a successful preparatory gesture |
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| tempo, dynamics, style (including articulation), when the group begins, and who begins |
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1) to make elements of the piece musically significant
2) to help instruments make difficult entrances
3) to bring in instruments that have not been playing for a while |
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1) always include eye contact well before the actual cue and a visible breath
2) be inviting
3) be clear to the entire ensemble
4) have variety but be used sparingly
5) be consistent from the conductor throughout rehearsals and the concert
6) not get in the way of the music, but be as musically appropriate as possible |
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