|
A major scale |
scale comprised of the notes: A - B - C# - D - E - F# - G# - A |
Scales |
5 |
Theory |
|
A minor scale |
scale comprised of the notes: A - B - C - D - E - F - G - A |
Scales |
3 |
Theory |
|
Ab major scale |
scale comprised of the notes: Ab - Bb - C - Db - Eb - F - G - Ab |
Scales |
6 |
Theory |
|
a tempo |
resume the original tempo |
Tempo |
1 |
Theory |
|
accelerando (acc.) |
gradually increasing in speed |
Tempo |
3 |
Theory |
 |
accent |
play the note louder |
Articulation |
1 |
Theory |
|
accidental |
a sign placed before a note: flat, sharp or natural |
Notes and rests |
1 |
Theory |
|
accidentals |
sharps or flats not given in the key signature, occur during the piece |
Notes and rests |
1 |
Theory |
|
adagio |
slowly |
Tempo |
1 |
Theory |
|
aeolian |
church mode comprised of the notes: A - B - C - D - E - F - G - A |
Scales |
8 |
Theory |
|
agitato |
agitated |
Tempo |
7 |
Theory |
 |
alla breve |
two-two meter; 2 beats per measure, a half note gets one beat |
Measure and meter |
5 |
Theory |
|
allargando |
becoming slower and broader |
Tempo |
4 |
Theory |
|
allegretto |
a little slower dan allegro |
Tempo |
5 |
Theory |
|
allegro |
quickly, happily |
Tempo |
1 |
Theory |
|
allegro moderato |
moderately quick |
Tempo |
1 |
Theory |
|
alteration |
accidental raising or lowering of a tone |
Notes and rests |
7 |
Theory |
|
altered tones |
notes which are not diatonic to the given scale |
Chords |
8 |
Theory |
|
andante |
moving along, walking |
Tempo |
1 |
Theory |
|
andantino |
slightly faster than andante (but it can also mean slightly slower) |
Tempo |
7 |
Theory |
|
animato |
animated, lively |
Tempo |
5 |
Theory |
|
anticipation |
nonharmonic tone, a note of the new harmony played early |
Chords |
7 |
Theory |
|
appassionato |
with passion |
Tempo |
8 |
Theory |
|
aria |
music for voice and instrumental accompaniment or instrumental composition with song-like character |
Musical forms |
5 |
Theory |
 |
arpeggio |
play the notes from bottom to top in rapid succession |
Ornaments |
4 |
Theory |
|
atonal |
piece of music not in any definite key; all twelve chromatic notes are equally important |
Scales |
6 |
Theory |
|
augmented |
major or perfect interval, which is raised a half step |
Intervals |
6 |
Theory |
|
augmented fifth |
fifth made up of eight half steps (four whole steps) |
Intervals |
6 |
Theory |
|
augmented fourth |
fourth made up of six half steps (three whole steps) |
Intervals |
6 |
Theory |
|
augmented seventh chord |
seventh chord with a augmented triad and a major seventh |
Chords |
7 |
Theory |
|
augmented six-four chord |
second inversion of a major flat-fifth triad |
Chords |
8 |
Theory |
|
augmented sixth chord |
first inversion of a double-diminished flat-fifth triad |
Chords |
8 |
Theory |
|
augmented triad |
triad with a major third and an augmented fifth |
Chords |
6 |
Theory |
|
B major scale |
scale comprised of the notes: B - C# - D# - E - F# - G# - A# - B |
Scales |
7 |
Theory |
|
B minor scale |
scale comprised of the notes: B - C# - D - E - F# - G - A - B |
Scales |
5 |
Theory |
|
Bb major scale |
scale comprised of the notes: Bb - C - D - Eb - F - G - A - Bb |
Scales |
4 |
Theory |
|
Bb minor scale |
scale comprised of the notes: Bb - C - Db - Eb - F - Gb - Ab - Bb |
Scales |
8 |
Theory |
|
ballad |
instrumental (mostly piano) music in free form with narrative character |
Musical forms |
6 |
Theory |
 |
bar line |
divide the music into measures |
Measure and meter |
1 |
Theory |
|
barcarolle |
boat song |
Musical forms |
6 |
Theory |
|
blues scale |
scale used in blues; pentatonic scale with additional tone between fourth and fifth |
Scales |
8 |
Theory |
|
borrowing from the major |
the raised sixth tone of the minor scale in order to get a major effect |
Chords |
8 |
Theory |
|
borrowing from the minor |
the lowered sixth tone of the major scale in order to get a minor effect |
Chords |
8 |
Theory |
 |
brace |
joins the G-clef and F-clef staffs together |
Musical notation |
1 |
Theory |
|
broken chord |
chord played one note at a time |
Chords |
2 |
Theory |
|
C major scale |
scale comprised of the notes: C - D - E - F - G - A - B - C |
Scales |
1 |
Theory |
|
C minor scale |
scale comprised of the notes: C - D - Eb - F - G - Ab - Bb - C |
Scales |
5 |
Theory |
|
C# minor scale |
scale comprised of the notes: C# - D# - E - F# - G# - A - B - C# |
Scales |
6 |
Theory |
 |
C-clef |
indicates the location of the Middle C |
Musical notation |
1 |
Theory |
|
cadential six-four chord |
second inversion of the first degree, always followed by the fifth degree and has a dominant function |
Chords |
8 |
Theory |
|
cantabile |
in a singing style |
Tempo |
5 |
Theory |
|
change of meter |
changing from one meter to another within a piece of music |
Measure and meter |
2 |
Theory |
|
chord |
group of three or more notes, stacked in thirds |
Chords |
2 |
Theory |
|
chord symbols |
a shorthand indication of chords |
Chords |
3 |
Theory |
|
chromatic scale |
scale entirely made up of half steps |
Scales |
3 |
Theory |
|
chromatic semitone |
semitone contains two notes with the same letter name, for example f-f# |
Scales |
3 |
Theory |
|
church modes |
the 7 scales of modal music, from medieval to baroque |
Scales |
8 |
Theory |
|
circle of fifths |
scheme of key signatures and the associated major and minor keys |
Scales |
8 |
Theory |
|
coda |
an added ending |
Abbreviations and signs |
4 |
Theory |
|
con brio |
with vigor |
Tempo |
5 |
Theory |
 |
crescendo (cresc.) |
gradually getting louder |
Dynamics |
1 |
Theory |
|
D major scale |
scale comprised of the notes: D - E - F# - G - A - B - C# - D |
Scales |
2 |
Theory |
|
D minor scale |
scale comprised of the notes: D - E - F - G - A - Bb - C - D |
Scales |
3 |
Theory |
|
Da Capo (D.C.) |
from the beginning |
Abbreviations and signs |
1 |
Theory |
|
Da Capo al Fine |
repeat from the beginning and play to the end |
Abbreviations and signs |
1 |
Theory |
 |
Dal Segno |
from the sign  |
Abbreviations and signs |
4 |
Theory |
|
Dal Segno al Fine |
repeat from the sign and play to the end |
Abbreviations and signs |
4 |
Theory |
|
Db major scale |
scale comprised of the notes: Db - Eb - F - Gb - Ab - Bb - C - Db |
Scales |
7 |
Theory |
|
decime |
interval of 10 steps |
Intervals |
6 |
Theory |
|
decrescendo (decresc.) |
same as diminuendo; gradually getting softer |
Dynamics |
6 |
Theory |
|
degree |
position of a chord in a scale, indicated by roman numerals |
Chords |
2 |
Theory |
|
diatonic scale |
scales built on alternating whole and half steps |
Scales |
3 |
Theory |
|
diatonic scale |
order of whole and half steps of the scale; major and minor scale |
Scales |
3 |
Theory |
|
diatonic semitone |
semitone in a diatonic scale |
Scales |
3 |
Theory |
|
diminished |
minor or perfect interval, which is lowered a half step |
Intervals |
6 |
Theory |
|
diminished fifth |
fifth made up of six half steps (three whole steps) |
Intervals |
6 |
Theory |
|
diminished fourth |
fourth made up of four half steps (two whole steps) |
Intervals |
6 |
Theory |
|
diminished seventh chord |
seventh chord with a diminished triad and a diminished seventh |
Chords |
7 |
Theory |
|
diminished triad |
triad with a minor third and a diminished fifth |
Chords |
6 |
Theory |
 |
diminuendo (dim.) |
gradually getting softer |
Dynamics |
1 |
Theory |
|
dolce |
sweet, soft |
Tempo |
5 |
Theory |
|
dominant chord |
chord on the fifth tone of a scale, the fifth degree |
Chords |
2 |
Theory |
|
dominant seventh chord |
chord on the fifth tone of a scale with the seventh tone added |
Chords |
2 |
Theory |
|
dominant seventh chord |
seventh chord with a major triad and a minor seventh |
Chords |
7 |
Theory |
|
dominant seventh flat five chord |
seventh chord with a major third, diminished fifth and minor seventh |
Chords |
8 |
Theory |
|
dominant tone |
the fifth tone of a scale |
Scales |
2 |
Theory |
|
dorian |
church mode comprised of the notes: D - E - F - G - A - B - C - D |
Scales |
8 |
Theory |
 |
dotted eighth note |
eighth note increased by a sixteenth note; note played for the value of three sixteenth notes |
Notes and rests |
4 |
Theory |
 |
dotted half note |
note played for the value of three quarter notes, three counts |
Notes and rests |
1 |
Theory |
 |
dotted quarter note |
quarter note increased by an eighth note; note played for the value of three eighth notes |
Notes and rests |
2 |
Theory |
 |
dotted sixteenth note |
sixteenth note increased by a thirty-second note; note played for the value of three thirty-second notes |
Notes and rests |
6 |
Theory |
 |
dotted whole note |
whole note increased by a half note; note played for the value of three half notes |
Notes and rests |
6 |
Theory |
 |
double bar line |
used to separate different sections of a musical passage |
Measure and meter |
2 |
Theory |
 |
double flat |
lowers a note two half steps |
Notes and rests |
6 |
Theory |
 |
double sharp |
raises a note two half steps |
Notes and rests |
6 |
Theory |
|
double-diminished flat-fifth triad |
triad with a diminished third and a diminished fifth |
Chords |
8 |
Theory |
|
double-diminished seventh chord |
seventh chord with a diminished third, diminished fifth and diminished seventh |
Chords |
8 |
Theory |
|
duodecime |
interval of 12 steps |
Intervals |
6 |
Theory |
 |
duplet |
a pair of equal notes to be performed in the time of three |
Notes and rests |
8 |
Theory |
|
E major scale |
scale comprised of the notes: E - F# - G# - A - B - C# - D# - E |
Scales |
6 |
Theory |
|
E minor scale |
scale comprised of the notes: E - F# - G - A - B - C - D - E |
Scales |
4 |
Theory |
|
Eb major scale |
scale comprised of the notes: Eb - F - G - Ab - Bb - C - D - Eb |
Scales |
5 |
Theory |
 |
eighth note |
note played for half the value of a quarter note |
Notes and rests |
1 |
Theory |
 |
eighth rest |
rest played for half the value of a quarter rest |
Notes and rests |
1 |
Theory |
|
embellishing tone |
nonharmonic tone: a melody tone that is not part of the functional chord |
Chords |
7 |
Theory |
|
enharmonic |
notes with the same pitch but different names, as F# and Gb |
Scales |
8 |
Theory |
|
espressivo |
expressively |
Articulation |
6 |
Theory |
|
F major scale |
scale comprised of the notes: F - G - A - Bb - C - D - E - F |
Scales |
3 |
Theory |
|
F minor scale |
scale comprised of the notes: F - G - Ab - Bb - C - Db - Eb - F |
Scales |
7 |
Theory |
|
F# major scale |
scale comprised of the notes: F# - G# - A# - B - C# - D# - E# - F# |
Scales |
8 |
Theory |
|
F# minor scale |
scale comprised of the notes: F# - G# - A - B - C# - D - E - F# |
Scales |
6 |
Theory |
 |
F-clef (bass clef) |
indicates the location of the F below the Middle C |
Musical notation |
1 |
Theory |
 |
F-clef with a figure 8 symbol added above |
play all notes one octave higher than written |
Musical notation |
2 |
Theory |
 |
F-clef with a figure 8 symbol added below |
play all notes one octave lower than written |
Musical notation |
2 |
Theory |
|
Fine |
end |
Abbreviations and signs |
1 |
Theory |
|
French sixth chord |
second inversion of a dominant seventh chord with flat fifth |
Chords |
8 |
Theory |
 |
fermata |
hold the note longer than its value |
Abbreviations and signs |
1 |
Theory |
|
fifth |
interval of 5 steps |
Intervals |
1 |
Theory |
|
fifth degree (V) |
chord on the fifth tone of a scale |
Chords |
2 |
Theory |
 |
final bar line |
end of the piece |
Measure and meter |
1 |
Theory |
|
fingering |
each finger has a number, from 1 for thumb to 5 for little finger |
Musical notation |
1 |
Theory |
|
first degree (I) |
chord on the first tone of a scale |
Chords |
2 |
Theory |
|
first inversion |
chord played with the third as lowest tone |
Chords |
4 |
Theory |
 |
flat |
lowers a note a half step |
Notes and rests |
1 |
Theory |
 |
forte |
loud |
Dynamics |
1 |
Theory |
 |
forte-fortissimo |
very very loud |
Dynamics |
7 |
Theory |
 |
forte-piano |
loud, then immediately soft |
Dynamics |
7 |
Theory |
 |
fortissimo |
very loud |
Dynamics |
2 |
Theory |
 |
forzato, forzando |
sudden strong accent |
Dynamics |
8 |
Theory |
 |
four-four meter |
4 beats per measure, a quater note gets one beat |
Measure and meter |
1 |
Theory |
 |
four-four meter |
4 beats per measure, a quater note gets one beat |
Measure and meter |
4 |
Theory |
|
four-three chord |
second inversion of a seventh chord |
Chords |
5 |
Theory |
|
fourth |
interval of 4 steps |
Intervals |
1 |
Theory |
|
fourth degree (IV) |
chord on the fourth tone of a scale |
Chords |
2 |
Theory |
|
funebre |
funeral; indicating a stately and plodding tempo |
Tempo |
8 |
Theory |
|
G major scale |
scale comprised of the notes: G - A - B - C - D - E - F# - G |
Scales |
1 |
Theory |
|
G minor scale |
scale comprised of the notes: G - A - Bb - C - D - Eb - F - G |
Scales |
4 |
Theory |
|
G# minor scale |
scale comprised of the notes: G# - A# - B - C# - D# - E# - F# - G# |
Scales |
7 |
Theory |
 |
G-clef (treble clef) |
indicates the location of the G above the Middle C |
Musical notation |
1 |
Theory |
 |
G-clef with a figure 8 symbol added above |
play all notes one octave higher than written |
Musical notation |
2 |
Theory |
 |
G-clef with a figure 8 symbol added below |
play all notes one octave lower than written |
Musical notation |
2 |
Theory |
|
Gb major scale |
scale comprised of the notes: Gb - Ab - Bb - Cb - Db - Eb - F - Gb |
Scales |
8 |
Theory |
|
German sixth chord |
first inversion of a double-diminished seventh chord |
Chords |
8 |
Theory |
 |
glissando (gliss.) |
a continuous slide upwards or downwards between two notes |
Abbreviations and signs |
8 |
Theory |
|
grave |
very slow, solemn |
Tempo |
7 |
Theory |
|
grazioso |
gracefully |
Articulation |
6 |
Theory |
|
gypsy scale |
scale used in folk music from Eastern Europe |
Scales |
8 |
Theory |
 |
half note |
note played for the value of two quarter notes, two counts |
Notes and rests |
1 |
Theory |
 |
half rest |
rest played for the value of a half note |
Notes and rests |
1 |
Theory |
|
half step |
distance from any key to the very next key up or down, with no key between |
Intervals |
1 |
Theory |
|
half-diminished seventh chord |
seventh chord with a diminished triad and a minor seventh |
Chords |
7 |
Theory |
|
harmonic interval |
the two notes of the interval are played together |
Intervals |
1 |
Theory |
|
harmonic minor scale |
minor scale with a raised seventh tone |
Scales |
3 |
Theory |
|
intermezzo |
originally, music played between acts of an opera; now often used as the title of a short, independent piece |
Musical forms |
3 |
Theory |
|
interval |
the name of the distance between two notes |
Intervals |
1 |
Theory |
|
inversion |
when the lowest note is not the root of the chord |
Chords |
2 |
Theory |
|
ionian |
church mode comprised of the notes: C - D - E - F - G - A - B - C |
Scales |
8 |
Theory |
|
key |
the scale in which a piece of music is written |
Scales |
3 |
Theory |
|
key signature |
accidentals placed at the beginning of each staff and affects all of the notes of that name throughout the piece |
Notes and rests |
1 |
Theory |
|
l'istesso tempo |
at the same speed |
Tempo |
8 |
Theory |
|
larghetto |
rather slow, but slightly faster than largo |
Tempo |
7 |
Theory |
|
largo |
slow, stately |
Tempo |
7 |
Theory |
|
leading note |
the seventh tone of a scale and is a half step under the root |
Scales |
2 |
Theory |
|
ledger lines |
additional line above or below the staff |
Musical notation |
1 |
Theory |
|
legatissimo |
as smooth as possible |
Articulation |
7 |
Theory |
|
legato |
play the notes smoothly connected |
Articulation |
1 |
Theory |
|
leggiero |
lightly |
Articulation |
6 |
Theory |
|
lento |
slow |
Tempo |
7 |
Theory |
|
loco |
as written, at the normal pitch |
Abbreviations and signs |
6 |
Theory |
 |
long appoggiatura |
the small note is played on the beat, borrowing its time from the following large note |
Ornaments |
5 |
Theory |
|
lydian |
church mode comprised of the notes: F - G - A - B - C - D - E - F |
Scales |
8 |
Theory |
|
maestoso |
majestically |
Tempo |
4 |
Theory |
|
major flat-fifth triad |
triad with a major third and a diminished fifth |
Chords |
8 |
Theory |
|
major scale |
scale with steps: whole - whole - half - whole - whole - whole - half |
Scales |
1 |
Theory |
|
major second |
second made up of two half steps (one whole step) |
Intervals |
1 |
Theory |
|
major seventh |
eventh made up of ten eleven steps (five whole steps and one half step, or a half step below the octave) |
Intervals |
4 |
Theory |
|
major seventh chord |
seventh chord with a major triad and a major seventh |
Chords |
7 |
Theory |
|
major sixth |
sixth made up of nine half steps (four whole steps and one half step, or a perfect fifth and a whole step) |
Intervals |
4 |
Theory |
|
major third |
third made up of four half steps (two whole steps) |
Intervals |
3 |
Theory |
|
major triad |
triad with a major third and a perfect fifth |
Chords |
3 |
Theory |
 |
marcato |
emphatic, accented |
Articulation |
6 |
Theory |
|
measure |
the notes between the bar lines |
Measure and meter |
1 |
Theory |
|
melodic interval |
the two notes of the interval are played one after the other |
Intervals |
1 |
Theory |
|
melodic minor scale |
minor scale with a raised sixth and seventh tone |
Scales |
3 |
Theory |
|
meno |
less |
Tempo |
3 |
Theory |
|
meno mosso |
less quickly |
Tempo |
3 |
Theory |
|
menuet, minuet |
ancient dance at moderate pace in three-four meter |
Musical forms |
5 |
Theory |
|
mesto |
sad |
Tempo |
8 |
Theory |
 |
mezzo forte |
moderately loud |
Dynamics |
1 |
Theory |
 |
mezzo piano |
moderately soft |
Dynamics |
2 |
Theory |
|
minor major seventh chord |
seventh chord with a minor triad and a major seventh |
Chords |
7 |
Theory |
|
minor scale |
scale with steps: whole - half - whole - whole - half - whole - whole |
Scales |
3 |
Theory |
|
minor second |
second made up of one half step |
Intervals |
1 |
Theory |
|
minor seventh |
seventh made up of ten half steps (five whole steps, or a whole step below the octave) |
Intervals |
4 |
Theory |
|
minor seventh chord |
seventh chord with a minor triad and a minor seventh |
Chords |
7 |
Theory |
|
minor sixth |
sixth made up of eight half steps (four whole steps, or a perfect fifth and a half step) |
Intervals |
4 |
Theory |
|
minor third |
third made up of three half steps (one whole step and one half step) |
Intervals |
3 |
Theory |
|
minor triad |
triad with a minor third and a perfect fifth |
Chords |
3 |
Theory |
|
misterioso |
mysteriously |
Tempo |
5 |
Theory |
|
mixolydian |
church mode comprised of the notes: G - A - B - C - D - E - F - G |
Scales |
8 |
Theory |
|
mode |
any of several ways of ordering the notes of a scale; major and minor |
Scales |
3 |
Theory |
|
moderato |
moderately |
Tempo |
1 |
Theory |
|
modulation |
the process of changing from one key to another |
Scales |
8 |
Theory |
|
molto |
much, very |
Tempo |
4 |
Theory |
|
molto maestoso |
very majestically |
Tempo |
4 |
Theory |
 |
mordent |
alternates the written note with the tone below; played quickely written-note, lower-note, written-note |
Ornaments |
5 |
Theory |
|
morendo |
dying away |
Dynamics |
4 |
Theory |
|
mosso |
with motion, animated |
Tempo |
3 |
Theory |
|
moto |
motion |
Tempo |
6 |
Theory |
 |
multiple measure rests |
rest of more then one bar |
Notes and rests |
7 |
Theory |
|
Neapolitan sixth chord |
the second degree with a lowered root, played in the first inversion |
Chords |
8 |
Theory |
|
natural minor scale |
another name for the minor scale |
Scales |
3 |
Theory |
|
natural notes |
the 7 notes (white keys) with the names A, B, C, D, E, F and G |
Musical notation |
1 |
Theory |
 |
natural sign |
cancels any previous accidental (a note after a natural is always a white key) |
Notes and rests |
1 |
Theory |
|
neighboring tone |
nonharmonic tone, that occurs between two of the same chord tones |
Chords |
7 |
Theory |
 |
nine-eight meter |
9 beats per measure, an eight note gets one beat; divided into three groups of three |
Measure and meter |
7 |
Theory |
|
non legato |
not legato |
Articulation |
6 |
Theory |
|
none |
interval of 9 steps |
Intervals |
6 |
Theory |
|
nonharmonic tone, nonchord tone |
notes that do not belong in a certain chord |
Chords |
7 |
Theory |
|
octatonic scale |
scale comprised of alternating a whole step and a half step |
Scales |
8 |
Theory |
|
octave |
interval of 8 steps |
Intervals |
2 |
Theory |
|
octave designation |
organisation of notes in exact pitches |
Musical notation |
7 |
Theory |
|
ostinato |
obstinate, persistent; constantly repeated melodic or rhythmic figure |
Musical forms |
6 |
Theory |
 |
ottava |
play the notes one octave (8 notes) higher than written |
Abbreviations and signs |
1 |
Theory |
 |
ottava bassa |
play the notes one octave (8 notes) lower than written |
Abbreviations and signs |
2 |
Theory |
|
overture |
orchestral introduction to an opera, but also an independent instrumental work |
Musical forms |
6 |
Theory |
|
Picardy third |
major third of the final chord in a minor composition |
Chords |
8 |
Theory |
|
parallel keys |
major and minor scales that have the same key signatures |
Scales |
8 |
Theory |
|
passing tone |
nonharmonic tone, that occurs between two different chord tones |
Chords |
7 |
Theory |
|
pentatonic scale |
scale comprised of five notes, made of major seconds and minor thirds |
Scales |
8 |
Theory |
|
perfect fifth |
fifth made up of seven half steps (three whole steps and one half step) |
Intervals |
3 |
Theory |
|
perfect fourth |
fourth made up of five half steps (two whole steps and one half step) |
Intervals |
4 |
Theory |
|
perfect octave |
interval between two tones of the same name |
Intervals |
4 |
Theory |
|
phrygian |
church mode comprised of the notes: E - F - G - A - B - C - D - E |
Scales |
8 |
Theory |
 |
pianissimo |
very soft |
Dynamics |
2 |
Theory |
 |
pianissimo possible |
very very soft |
Dynamics |
7 |
Theory |
 |
piano |
quiet |
Dynamics |
1 |
Theory |
|
più |
more |
Tempo |
6 |
Theory |
|
poco |
little |
Tempo |
3 |
Theory |
|
poco a poco |
little by little |
Tempo |
3 |
Theory |
|
poco meno mosso |
a little less motion, a little slower |
Tempo |
6 |
Theory |
|
poco piu mosso |
a little more motion, a little faster |
Tempo |
6 |
Theory |
|
polyphony |
polyphonic music, each voice is independent |
Musical forms |
4 |
Theory |
|
polytonal |
piece of music in two or more keys at the same time |
Scales |
6 |
Theory |
 |
portato |
carried, in an unconnected manner |
Articulation |
6 |
Theory |
|
prelude |
short composition in a free form, also preface, introduction |
Musical forms |
3 |
Theory |
|
prestissimo |
very fast |
Tempo |
7 |
Theory |
|
presto |
fast, faster then allegro |
Tempo |
3 |
Theory |
|
prima volta, seconda volta |
play the measures under bracket 1 the 1st time only, the measures under bracket 2 the 2nd time |
Abbreviations and signs |
1 |
Theory |
|
primary degrees |
the first, fourth and fifth degree are called primary degrees |
Chords |
2 |
Theory |
 |
quadruplet |
a group of four notes to be performed in the time of three |
Notes and rests |
7 |
Theory |
 |
quarter note |
note played for one quarter of the duration of a whole note, one count |
Notes and rests |
1 |
Theory |
 |
quarter note triplet |
playing three quarter notes in the time of a half note |
Notes and rests |
5 |
Theory |
 |
quarter rest |
rest for the value of a quarter note |
Notes and rests |
1 |
Theory |
 |
quindecima |
play the notes two octaves (15 notes) higher than written |
Abbreviations and signs |
8 |
Theory |
 |
quintuplet |
a group of five notes to be performed in the time of three or four |
Notes and rests |
8 |
Theory |
|
rallentando (rall.) |
gradually getting slower |
Tempo |
2 |
Theory |
|
relative keys |
major scale and a minor scale that have the same tonic |
Scales |
8 |
Theory |
 |
repeat |
repeat from the beginning |
Abbreviations and signs |
1 |
Theory |
|
rhythm |
alternation of short and long notes |
Measure and meter |
1 |
Theory |
|
risoluto |
resolutely |
Tempo |
5 |
Theory |
|
ritardando (ritard. rit.) |
gradually slowing the tempo |
Tempo |
1 |
Theory |
|
ritenuto |
held back, slowing down immediatly |
Tempo |
5 |
Theory |
|
rondo form |
musical form, the main theme (chorus) is varied by alternating verses, ABACADA etc. |
Musical forms |
5 |
Theory |
|
root |
the first tone of a chord |
Chords |
2 |
Theory |
|
root position |
when the lowest note is the root of the chord |
Chords |
2 |
Theory |
|
rubato |
with some freedom of time (lit. robbed) |
Tempo |
8 |
Theory |
|
scale |
the tones of a piece of music arranged in a row. A scale has a fixed sequence of whole and half steps. |
Scales |
1 |
Theory |
|
scale tones |
the notes of a scale |
Scales |
3 |
Theory |
|
scherzando |
playful, joking |
Tempo |
8 |
Theory |
|
scherzo |
a musical jest or joke |
Musical forms |
3 |
Theory |
|
second |
interval of 2 steps |
Intervals |
1 |
Theory |
|
second degree (II) |
a chord built on the second tone of a scale; this chord has a subdominant function |
Chords |
5 |
Theory |
|
second inversion |
chord played with the fifth as lowest tone |
Chords |
4 |
Theory |
|
secondary degree |
the second (II), third (III), sixth (VI) and seventh (VII) degree called secondary degrees |
Chords |
5 |
Theory |
|
secondary dominant |
a dominant chord set to resolve to a degree that is not the tonic |
Chords |
8 |
Theory |
|
semplice |
simple, plain |
Tempo |
8 |
Theory |
|
sempre |
always |
Abbreviations and signs |
6 |
Theory |
|
seventh |
interval of 7 steps |
Intervals |
2 |
Theory |
|
seventh chord |
a four note chord, stacked in thirds |
Chords |
5 |
Theory |
|
seventh degree (VII) |
a chord built on the seventh tone of a scale; this chord has a dominant function |
Chords |
7 |
Theory |
 |
sforzando |
forcing; suddenly loud on one note or chord |
Dynamics |
3 |
Theory |
 |
sforzato |
forcing; suddenly loud on one note or chord |
Dynamics |
3 |
Theory |
 |
sforzato-piano |
strong accent followed immediately by piano |
Dynamics |
8 |
Theory |
 |
sharp |
raises a note a half step |
Notes and rests |
1 |
Theory |
 |
short appoggiatura |
the small note is played very quickly, almost together with the following large note |
Ornaments |
5 |
Theory |
|
simile |
continue in the same manner |
Abbreviations and signs |
6 |
Theory |
 |
six-eight meter |
6 beats per measure, an eight note gets one beat; divided into two groups of three |
Measure and meter |
3 |
Theory |
|
six-five chord |
first inversion of a seventh chord |
Chords |
5 |
Theory |
|
six-four chord |
another name for the second inversion of a triad |
Chords |
4 |
Theory |
 |
sixteenth note |
note played for half the value of an eighth note; four sixteenth notes have the same duration as one quarter note |
Notes and rests |
4 |
Theory |
 |
sixteenth rest |
rest played for half the value of an eighth rest; four sixteenth rests have the same duration as one quarter rest |
Notes and rests |
4 |
Theory |
|
sixth |
interval of 6 steps |
Intervals |
2 |
Theory |
|
sixth chord |
another name for the first inversion of a triad |
Chords |
4 |
Theory |
|
sixth degree (VI) |
a chord built on the sixth tone of a scale; this chord has a tonic function |
Chords |
6 |
Theory |
 |
sixty-fourth note |
note played for half the value of a thirty-second note |
Notes and rests |
7 |
Theory |
 |
sixty-fourth rest |
rest played for half the value of a thirty-second rest |
Notes and rests |
7 |
Theory |
 |
slur |
play legato |
Articulation |
1 |
Theory |
|
smorzando |
dying away in tone and speed |
Tempo |
7 |
Theory |
|
sonata |
musical composition that consists of three or four contrasting movements |
Musical forms |
7 |
Theory |
|
sonata form |
musical form, consists of three parts: exposition, development and recapitulation |
Musical forms |
7 |
Theory |
|
sonatina |
a short sonata |
Musical forms |
7 |
Theory |
|
song form |
musical form, usually a simple ABA form |
Musical forms |
5 |
Theory |
|
sostenuto |
sustained |
Tempo |
8 |
Theory |
|
staccatissimo |
very short |
Articulation |
7 |
Theory |
 |
staccato |
detached, short |
Articulation |
1 |
Theory |
|
staff |
the five lines and four spaces on which music is written |
Musical notation |
1 |
Theory |
|
subdominant chord |
chord on the fourth tone of a scale, the fourth degree |
Chords |
2 |
Theory |
|
subito |
suddenly |
Tempo |
5 |
Theory |
|
suspension |
nonharmonic tone, played a second above or below a chord tone against this chord |
Chords |
7 |
Theory |
|
syncopation |
when notes are played between the main beats of a measure and held across the beat |
Measure and meter |
4 |
Theory |
|
tarantella |
fast folk dance in three-eight meter or six-eighth meter, virtuoso instrumental work |
Musical forms |
4 |
Theory |
|
tempo guisto |
in strict time |
Tempo |
8 |
Theory |
|
tempo primo |
return to the original tempo (first tempo) |
Tempo |
4 |
Theory |
 |
tenuto |
held; hold the note for its full value |
Articulation |
5 |
Theory |
|
tetrad |
another name for a seventh chord |
Chords |
5 |
Theory |
|
third |
interval of 3 steps |
Intervals |
1 |
Theory |
|
third degree (III) |
a chord built on the third tone of a scale; this chord has a tonic or a dominant function |
Chords |
7 |
Theory |
 |
thirty-second note |
note played for half the value of a sixteenth note; four thirty-second notes have the same duration as one eighth note |
Notes and rests |
6 |
Theory |
 |
thirty-second rest |
rest played for half the value of a sixteenth rest; four thirty-second rests have the same duration as one eighth rest |
Notes and rests |
6 |
Theory |
 |
three-eight meter |
3 beats per measure, an eight note gets one beat |
Measure and meter |
3 |
Theory |
 |
three-four meter |
3 beats per measure, a quater note gets one beat |
Measure and meter |
1 |
Theory |
 |
tie |
curved line connecting notes on the same line or space, notes are held down for the combined value of both notes |
Notes and rests |
1 |
Theory |
|
time signature |
the number of beats in the measure and the note value that represents one beat |
Measure and meter |
1 |
Theory |
|
tonal |
piece of music in a definite key |
Scales |
6 |
Theory |
|
tonic |
the first tone of a scale |
Scales |
2 |
Theory |
|
tonic chord |
chord on the first tone of a scale, the first degree |
Chords |
2 |
Theory |
|
tranquillo |
calm |
Tempo |
6 |
Theory |
|
transpose |
transposing a melody or chord progression into a different key |
Scales |
8 |
Theory |
 |
tremolo |
trembling; a tremulous effect produced by rapid alternation of two tones |
Ornaments |
6 |
Theory |
|
triad |
a three note chord, stacked in thirds |
Chords |
2 |
Theory |
 |
trill |
rapid alternation of the written note with the note above it |
Ornaments |
5 |
Theory |
 |
triplet |
a group of three notes to be performed in the time of two |
Notes and rests |
4 |
Theory |
|
troppo |
too much |
Tempo |
7 |
Theory |
 |
turn |
consisting of the note above the one indicated, the note itself, the note below, the note itself |
Ornaments |
7 |
Theory |
 |
twelve-eight meter |
12 beats per measure, an eight note gets one beat; divided into four groups of three |
Measure and meter |
7 |
Theory |
|
two chord |
third inversion of a seventh chord |
Chords |
5 |
Theory |
 |
two-four meter |
2 beats per measure, a quater note gets one beat |
Measure and meter |
1 |
Theory |
|
undecime |
interval of 11 steps |
Intervals |
6 |
Theory |
|
unison |
interval of 1 step |
Intervals |
4 |
Theory |
|
upbeat |
incomplete measure at the beginning of a piece. The incomplete measure and the last measure are together a whole measure. |
Measure and meter |
1 |
Theory |
 |
upper mordent |
consisting of (the note above the one indicated), the note itself, the note above, the note itself |
Ornaments |
7 |
Theory |
|
vivace |
lively, faster then allegro and slower then presto |
Tempo |
6 |
Theory |
 |
whole note |
note played for the value of four quarter notes, four counts |
Notes and rests |
1 |
Theory |
 |
whole rest |
rest played for the value of a whole note |
Notes and rests |
1 |
Theory |
|
whole step |
equal to 2 half steps, with one key between |
Intervals |
1 |
Theory |
|
whole-tone scale |
scale entirely made up of whole steps |
Scales |
8 |
Theory |