| Term | Definition |
|---|---|
| half step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| harmonic minor scale | An altered form of the natural minor scale with a raised seventh scale degree, creating a leading tone and a characteristic augmented second interval. |
| melodic minor scale | An altered form of the natural minor scale with raised sixth and seventh scale degrees in ascending form, typically returning to natural minor in descending form. |
| natural minor scale | A minor scale built on the natural minor (Aeolian) mode, containing the same pitches as the relative major scale but starting from the sixth scale degree. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| intervallic content | The specific intervals (distances between pitches) that make up a melody, which remain unchanged during transposition. |
| key | The tonal center or home pitch around which a melody or piece of music is organized. |
| melodic transposition | The process of moving a melody or melodic segment to a new pitch level while maintaining its intervallic and rhythmic content. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| pitch level | The absolute height or frequency of a note or melody in relation to a reference point. |
| pitch transformation | Compositional procedures that alter the pitches of a melodic idea while maintaining its rhythmic structure. |
| rhythmic content | The pattern of note durations and timing in a melody, which remains unchanged during transposition. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| Term | Definition |
|---|---|
| call and response | A texture technique in which one musical phrase (call) is answered by another phrase (response). |
| canon | A compositional technique in which a melodic line is imitated by one or more other voices entering at staggered intervals. |
| chordal homophony | A homophonic texture in which the accompanying lines move together in chords beneath a melody. |
| counterpoint | The practice of composing polyphonic music using historical conventions, and the resulting texture of independent melodic lines. |
| heterophony | A texture type in which variations of the same melodic line are performed simultaneously. |
| homophony | A texture type in which one melodic line is accompanied by other lines, including chordal homophony and melody with accompaniment. |
| imitative | A polyphonic texture type in which melodic lines imitate or echo each other. |
| melody with accompaniment | A homophonic texture consisting of a primary melodic line supported by accompanying harmonic material. |
| monophony | A texture type consisting of a single melodic line without accompaniment. |
| nonimitative | A polyphonic texture type in which melodic lines are independent and do not imitate each other. |
| polyphony | A texture type consisting of multiple independent melodic lines combined simultaneously, either imitative or nonimitative. |
| texture | How musical components combine simultaneously to form an overall sound, influenced by timbres, density and spacing of pitches, and pitch range. |
| timbre | The unique quality of sound produced by a voice or instrument, determined by how the sound is produced and affected by register. |
| Term | Definition |
|---|---|
| accompaniment | A texture device consisting of the supporting musical material that underlies and supports the main melody. |
| Alberti bass | A texture device in which the notes of a chord are broken up and played in a specific arpeggiated pattern, typically used in accompaniment. |
| canon | A compositional technique in which a melodic line is imitated by one or more other voices entering at staggered intervals. |
| countermelody | A texture device in which a secondary melody is performed simultaneously with the main melody, creating polyphonic texture. |
| doubling | The practice of having two or more voices or instruments play the same pitch or pitch class in different octaves. |
| imitation | A polyphonic texture device in which one voice presents a melodic idea that is then repeated or echoed by another voice. |
| ostinato | A texture device consisting of a short musical phrase or pattern that is repeated continuously throughout a passage. |
| soli | A texture device in which a small group of instruments or voices performs together as a unit, distinct from the full ensemble. |
| solo | A texture device in which a single voice or instrument performs alone, often standing out from the accompaniment. |
| texture device | Compositional techniques used to create and shape the texture of music, including devices associated with bass lines, polyphony, and overall musical texture. |
| tutti | A texture device in which all voices or instruments perform together as a full ensemble. |
| walking bass | A texture device in which the bass line moves in a steady, continuous pattern, typically in quarter notes, creating forward motion in the music. |
| Term | Definition |
|---|---|
| agogic accent | A note that naturally receives more emphasis due to its extended or longer duration compared to surrounding notes. |
| anacrusis | A rhythm or rhythms that start before the first downbeat of a phrase. |
| asymmetrical meter | A meter that does not have regularly periodic accent patterns at all levels of pulse, such as 5/8 with unequal beat sizes. |
| borrowed divisions | Rhythmic divisions where compound meter divisions (three per beat) substitute for simple meter divisions (two per beat), or vice versa, such as triplets and duplets. |
| changing meter | A compositional technique where time signatures shift frequently between measures, such as alternating between 3/4 and 4/4. |
| compound division | Beat divisions that divide into three equal parts, typically used in compound meters. |
| compound duple meter | A meter that combines compound (divided into three) and duple (two beats) characteristics, such as 6/8 time. |
| cross-rhythm | A simultaneous occurrence of two or more rhythmic patterns that do not derive from one another and are not rooted in the same meter. |
| duplet | Two equal divisions occurring in the time normally occupied by three divisions, representing borrowed divisions in compound meter. |
| fermata | A symbol placed over a note or rest that indicates it is to be held longer than its normal duration. |
| hemiola | An arrangement of rhythm and meter that articulates a 3 to 2 ratio, occurring when three notes of equal duration take up the time previously held by two notes of equal duration, or vice versa. |
| irregular division | Beat divisions into portions other than two or three, such as divisions into 5s or 7s. |
| simple meter | A meter in which the upper number of the time signature is 2, 3, or 4, and each beat divides into two equal parts. |
| simple triple meter | A meter with three beats per measure, each beat divided into two equal parts, such as 3/4 time. |
| symmetrical meter | Meters created by regularly spaced patterns of accent that recur consistently across division, beat, and measure levels. |
| syncopation | A rhythmic device in which accent is placed on weak beats or divisions of the meter, challenging the regularity of an established meter. |
| triplet | Three equal divisions occurring in the time normally occupied by two divisions, representing borrowed divisions in simple meter. |
| two-against-three polyrhythm | A polyrhythmic texture in which two rhythmic patterns are heard simultaneously against three rhythmic patterns, creating a hemiola effect. |
| Term | Definition |
|---|---|
| change in mode | A shift between major and minor keys, such as moving from G major to G minor. |
| key relationship | The harmonic connection between two keys, such as relative keys, which share the same key signature but different tonics. |
| key signature | A grouping of sharps or flats presented in a specific order at the beginning of a musical staff that indicates which pitches belong to a particular major or minor scale. |
| major key | A key or tonal center based on a major scale, characterized by a specific pattern of whole and half steps. |
| minor key | A key or tonal center based on a minor scale, characterized by a different pattern of whole and half steps than major keys. |
| mode | A classification of keys as either major mode or minor mode, indicating whether a piece is in a major or minor key. |
| relative key | A key that shares the same key signature as another key but has a different tonic note; for example, D major and B minor are relative keys. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| Term | Definition |
|---|---|
| accidental | A symbol that modifies the pitch of a note, such as a sharp, flat, or natural. |
| closely related keys | Keys whose key signatures differ from the original by no more than one accidental; the most common keys to which a musical passage might shift. |
| distantly related keys | Keys whose key signatures differ from the original by more than one accidental. |
| dominant key | The closely related key built on the fifth scale degree of the original key. |
| key signature | A grouping of sharps or flats presented in a specific order at the beginning of a musical staff that indicates which pitches belong to a particular major or minor scale. |
| mediant key | The closely related key built on the third scale degree of the original key. |
| parallel key | A key that shares the same tonic as the original key but has a different key signature, such as D major and D minor. |
| relative key | A key that shares the same key signature as another key but has a different tonic note; for example, D major and B minor are relative keys. |
| subdominant key | The closely related key built on the fourth scale degree of the original key. |
| submediant key | The closely related key built on the sixth scale degree of the original key. |
| supertonic key | The closely related key built on the second scale degree of the original key. |
| tonic | The first scale degree and the primary harmonic center of a key, providing the sense of resolution and stability. |
| triads | Three-note chords consisting of a root, third, and fifth. |
| Term | Definition |
|---|---|
| chromatic scale | A scale consisting of twelve pitches, each separated by a half-step. |
| half-step | The smallest interval in Western music, representing the distance between adjacent pitches on the chromatic scale. |
| pentatonic scale | A scale consisting of five pitches derived from the seven pitches of a major or minor scale. |
| scale degree | The position of a pitch within a scale, identified by name or number relative to the tonic. |
| whole step | An interval equal to two half steps, representing the distance between pitches separated by one chromatic pitch. |
| whole-tone scale | A scale consisting of six notes, each separated by a whole step. |
| Term | Definition |
|---|---|
| augmented | A quality designation for intervals that are one semitone larger than perfect or major intervals (e.g., augmented fourth, augmented second). |
| consonance | The quality of intervals that are inherently stable and have no natural inclination to move or resolve to other sounds. |
| diminished | A quality designation for intervals that are one semitone smaller than perfect or minor intervals (e.g., diminished fifth, diminished seventh). |
| dissonance | The quality of intervals that are inherently unstable and have a natural inclination to move or resolve to more stable sounds. |
| enharmonic equivalents | Tones of the same pitch spelled differently according to their musical contexts, such as C# and Db. |
| harmonic interval | An interval formed between two simultaneous pitches sounding at the same time. |
| interval | The distance in pitch between two notes, designated by both size (such as second or fifth) and quality (major, minor, perfect, diminished, or augmented). |
| leap | A melodic interval larger than a step, traversing pitches that are not adjacent letter names. |
| major | A quality designation for intervals, indicating a specific interval size larger than minor intervals (e.g., major second, major third). |
| melodic interval | The distance in pitch between two consecutive notes in a melody. |
| minor | A quality designation for intervals, indicating a specific interval size smaller than major intervals (e.g., minor second, minor third). |
| perfect | A quality designation for certain intervals (unison, fourth, fifth, octave) that are considered inherently stable and consonant. |
| step | A melodic interval that traverses adjacent pitches with neighboring letter names. |
| tritone | A unique interval name designating an augmented fourth or diminished fifth, spanning six semitones. |
| unison | An interval between two identical pitches, also called prime, representing no distance between notes. |
| Term | Definition |
|---|---|
| augmented interval | An interval quality that becomes diminished when inverted. |
| compound interval | An interval larger than an octave, created by adding an octave to a simple interval. |
| diminished interval | An interval quality that becomes augmented when inverted. |
| interval inversion | The result of transferring the lower note of an interval up an octave, creating a new interval where the original interval and its inversion together equal a perfect octave. |
| major interval | An interval quality that becomes minor when inverted. |
| minor interval | An interval quality that becomes major when inverted. |
| octave | The interval spanning eight letter names, representing a doubling or halving of frequency. |
| perfect interval | A harmonic interval (unison, fourth, fifth, or octave) that is considered consonant and stable. |
| simple interval | An interval whose size is smaller than or equal to an octave. |
| Term | Definition |
|---|---|
| direction of transposition | Whether a transposing instrument sounds higher or lower than its notated pitches. |
| level of transposition | The interval distance by which a transposing instrument's notated pitches differ from its sounding pitches. |
| notated pitches | The pitches as written in a musical score for a transposing instrument. |
| sounding pitches | The actual pitches that are heard when a transposing instrument is played. |
| transposing instruments | Musical instruments whose notated pitches differ from the actual pitches that sound when played. |
| Term | Definition |
|---|---|
| bass | The lowest voice part in SATB four-voice texture, typically the lowest musical line. |
| basso continuo | The core sound of a Baroque ensemble, typically consisting of a harmony instrument and bass instrument providing harmonic and bass support. |
| bassoon | A woodwind instrument with a low register and warm, reedy timbre. |
| brass | An instrumental family that includes trumpet, French horn, trombone, euphonium, and tuba. |
| brass quintet | A standard ensemble consisting of five brass instruments. |
| cello | A string instrument with a low-to-middle register, played with a bow. |
| clarinet | A woodwind instrument with a warm, mellow timbre and wide range. |
| cymbals | Percussion instruments consisting of metal plates that produce sound when struck together. |
| drum set | A collection of percussion instruments used in jazz and popular music, typically including drums and cymbals. |
| drums | Percussion instruments that produce sound when struck. |
| euphonium | A brass instrument with a warm, mellow timbre and mid-to-low register. |
| flute | A woodwind instrument with a bright, high register timbre. |
| French horn | A brass instrument with a warm, mellow timbre and wide range. |
| guitar | A string instrument with a wide range, played by plucking or strumming strings. |
| harp | A string instrument with a wide range, played by plucking strings. |
| harpsichord | A keyboard instrument with strings plucked by quills, used especially in Baroque music. |
| instrumentation | The selection and arrangement of instruments and voices used in a musical work or ensemble. |
| jazz trio | A standard jazz ensemble typically consisting of three instruments. |
| keyboards | An instrumental family that includes piano, harpsichord, and organ. |
| marimba | A percussion instrument with wooden bars struck by mallets to produce pitched sounds. |
| oboe | A woodwind instrument with a warm, reedy timbre. |
| organ | A keyboard instrument that produces sound through air flowing through pipes. |
| percussion | An instrumental family that includes drums, cymbals, marimba, and other instruments struck to produce sound. |
| performance media | The specific combination of voices and instruments used in a musical ensemble or composition. |
| piano | A dynamic marking abbreviated as p that indicates soft volume. |
| register | The relative span of pitch (high, medium, or low) of notes in a given melody or part thereof. |
| rhythm section | The core instrumentation of a jazz ensemble, typically consisting of a harmony instrument, bass instrument, and drum set. |
| SATB choir | A standard vocal ensemble with four parts: soprano, alto, tenor, and bass. |
| saxophone | A woodwind instrument available in several sizes covering different registers with a warm, bright timbre. |
| string orchestra | A standard ensemble composed primarily of string instruments. |
| string quartet | A standard chamber ensemble consisting of two violins, a viola, and a cello. |
| strings | An instrumental family that includes violin, viola, cello, bass, harp, and guitar. |
| tessitura | The most comfortable and frequently used range of a voice or instrument. |
| timbre | The unique quality of sound produced by a voice or instrument, determined by how the sound is produced and affected by register. |
| trombone | A brass instrument with a slide mechanism and a warm, mellow timbre. |
| trumpet | A brass instrument with a bright, high register timbre. |
| tuba | A brass instrument with the lowest register in the brass family. |
| viola | A string instrument with a register between violin and cello. |
| violin | A string instrument with a high register, played with a bow. |
| winds | A combined assemblage of woodwind and brass instruments. |
| woodwinds | An instrumental family that includes flute, oboe, clarinet, saxophone, and bassoon. |
| Term | Definition |
|---|---|
| conjunct | Melodic movement by steps, where consecutive pitches are adjacent to each other. |
| contour | The shape or outline of a melody created by the pattern of ascending and descending pitches. |
| disjunct | Melodic movement by leaps, where consecutive pitches skip over intervening pitches. |
| melisma | An instance of one syllable of text sung with multiple pitches in vocal music. |
| melismatic | A text setting in vocal music where a syllable of text is sung with two or more pitches. |
| melody | A succession of pitches through time, produced by pitch and rhythm together, that expresses a musical statement. |
| motive | A small musical idea that recurs and is developed through the course of a musical composition or passage. |
| phrases | Complete musical utterances that form syntactical units in music and typically conclude with a cadence. |
| pitch | The highness or lowness of a sound, determined by its frequency. |
| range | The overall compass of pitch in a melody, measured from its lowest to its highest pitch. |
| register | The relative span of pitch (high, medium, or low) of notes in a given melody or part thereof. |
| rhythm | The pattern of durations of notes and rests in music. |
| scales | Ordered sequences of pitches arranged in ascending or descending order, forming the basis for melodic and harmonic content in music. |
| syllabic | A text setting in vocal music where each syllable of text corresponds to a single pitch. |