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| A system of alternating lines and spaces. It can be ordered from lowest to highest and highest to lowest. |
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| A scale containing only the 7 unaltered pitches. |
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| The 7 pitches of the diatonic scale. They are: C D E F G A B. |
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| It is the pitch C4 in the middle of the staff. |
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| A system consisting of 5 lines and 4 spaces where notes are placed. |
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| Lines that can extend notes above or below the staff. |
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| Clefs are used to indicate which notes correspond to the lines and spaces on the staff. |
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| Also known as G cleff. It shows where pitch G is notated. |
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| Also known as F clef. Shows where f is notated. |
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| Connects 2 staves by a brace. |
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| Divides the octave into twelve equal parts. |
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| A scale containing 12 equal parts. |
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| Distance between 2 adjacent notes on the chromatic scale. |
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| Raises a note by a half step. |
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| Lowers a note by a half step. |
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| Cancels out any previous accidental. |
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| Raises note by a whole step. |
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| Lowers a note by a whole step. |
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| Shows the different spelling for notes that sound the same but have two different spellings. |
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| A half step spelled using different letter names. |
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| A half step spelled using the same letter names. |
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| The distance between two pitches. |
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| Pitches that sound simultaneously. |
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| Pitches that sound one after the other. |
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| Term determining the distance between intervals such as a 2nd, third or 4th interval and so on. |
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| Is what determines the type of interval. It will decide if an interval is perfect, augmented, diminished, major and minor. |
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| The interval with the same notes such as C-F will be notated differently depending on if it is going higher or lower on the scale. |
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| Certain intervals with a pure and essential sound. |
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| An interval which is larger than minor by a half step. |
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| And interval which is smaller than major by a half step. |
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| It is a half step larger than the corresponding perfect or major interval. |
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| Is a half step smaller than the corresponding perfect or minor interval. |
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| An augmented 4th that consists of 3 whole tones. |
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| Intervals that are no larger than an octave. |
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| Intervals that are larger than an octave. It results from the addition of the simple interval plus an octave. |
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| Two different intervals are possible with any two pitches. An example would be C-F changing to F-C. |
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| Intervals are consonant if they produce a sense of stability. |
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| Intervals that create a sense of tension or instability. |
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| The most stable consonances. They are the U, 8ve and P5. |
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| Instable consonances. The imperfect consonances are 3rds and 6ths. |
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| Refers to the grouping, patterning and partitioning of musical events. |
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| Refers to the measurement of the number of pulses between reguarly recurring events. |
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| Symbols that express the relative duration of notes. |
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| It is the base and rounded part of the note. |
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| The straight line connecting to the note head. |
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| An addition to the top of the note that expresses a notes such as the 8th and 16th notes. Each added flag changes the duration of the note. |
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| Connects two notes together to make one. |
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| A dot added to a note increases its duration by half its value. |
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| Increases the duration of the note by 3 quarters of its value. |
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| Reguarly recurring time points in music. It is compared to the heart beat of music. |
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| Pulses in a metric context. Regularly reccuring accents that provide a metric frame. |
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| Are used to describe the tempo of a movement or composition. |
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| Meters that have a triple division. |
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| Meters that have a duple division. |
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| Are used to indicate measures. |
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| Meter Signature/ Time Signature |
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| Consists of two numbers written one over the other. Top number explains how many beats in a measure while the bottom number explains which note gets the beat. |
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| The bottom number that represents what note gets the beat. |
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| Any meter with two beats. (3/4, 3/2, 3/8 ) |
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| Meter that has 3 beats. (3/4, 3/2, 3/8) |
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| Quadruple Meters/ Common Time |
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| Duple meter in which the half note is the unit of time. |
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| The beat in compound meter signatures is a dotted quarter. 6/8 9/8 12/8 |
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| Beats that are naturally more accented than others. |
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| The last beat in a measure. |
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| Is a note or group of notes that begins a melodic phrase on an upbeat. |
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| Melody which begins on an upbeat. |
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| Is the rhythmic contradiction of a metrical pattern of strong and weak beats. This occurs when a metrically weak beat or beat division is emphasized by a rhythmic and/or dynamic accent. |
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| Cosists in the juxtaposition of three and two beats at the metric level. An example of a usual pattern is based on the alternation of 6/8 and 3/4. |
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| Accents that result from grouping, note length, a sense of harmonic or tonal arrival, and other nonmetrical factors. |
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| A rhythmic accent produced by the duration of a note that is of a longer duration. |
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| An accent which is created by a dynamic mark. |
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| One pitch that seems to be most important. |
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| Pitch that provides a sense of stability, repose and closure. |
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| The span between the lowest and highest pitches of a melody. |
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| Collection of three pitches which include the root, third above the root and a 5th above the root. |
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| Pitches are organized heirarchically. |
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