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