Music Glossary
A
Played strictly in tempo, or as beaten.
Vocal music performed without instrumental accompaniment. Italian for in chapel style.
Resume earlier tempo.
Music without text or a literary, dramatic, or pictorial program.
A gradual increase in speed. Often abbreviated to accel.
An emphasis or weight given to a particular note or rhythmic value.
At the performer’s discretion.
Somewhat faster than adagio.
A slow tempo. Faster than largo, and slower than andante.
A triad that incorporates an added note that lies a sixth above the root.
To perform a passage tenderly and with passion.
In an agitated, hurried, or excited manner.
Accent established by lengthening the duration of a note.
To the end. Usually with the da capo or del segno designations.
A type of left-hand piano accompaniment that was popular in the Classical period consisting of triads played as arpeggios, or broken chords, in repeated patterns. Named after Domenico Alberti (1710-1740).
A compositional technique that features unpredictability by making use of elements left to chance.
A meter that employs the half note as the metric unit (beat).
Getting slower, broader, and louder. Often abbreviated to allarg.
Moderately fast. A fairly brisk tempo. Somewhat slower than allegro.
Quick, lively, and bright. A brisk tempo.
The first movement of a Baroque dance suite in a moderate duple meter.
Chords that contain chromatically altered tones.
A Medieval term that refers to the pitch range of a melodic line.
An upbeat or pickup. An unstressed note (or notes) at the beginning of a composition occurring prior to the initial downbeat.
Moderately slow. A walking tempo.
A little faster and more lighthearted than andante.
Animated. Full of life.
A responsory by a choir or congregation (usually in Gregorian chant) to a psalm or other text in a Christian religious service or musical work. The word antiphon gives rise to the general term antiphony, which is often used as a label for any call and response style of singing.
With passion. Strong feeling.
A directive to play with the bow as opposed to plucked or pizzicato. It cancels a pizzicato directive.
The tones of a chord sounded melodically one after the other instead of simultaneously. A broken chord.
Very or rather. A term used to modify a tempo marking. For instance, the directive allegro assai would mean very fast.
A directive for the performer to continue to the next movement, or section, without pause. Commonly used in the performance of classical music and Broadway shows.
With expression.
B
A musical form of the pattern AAB used by the Meistersinger of the 15th to 18th century. The AAB pattern of the bar form denotes each musical stanza: two Stollen (A), called the Aufgesang, followed by one Abgesang (B). The musical form thus contains two repetitions of one melody followed by one statement of a different melody.
When an instrumental bass line doubles the lowest sounding voice part. The term derives from the Italian seguente meaning follower.
Italian term for beautiful singing. A style of operatic singing that emphasizes the beauty of sound and is characterized by smooth phrasing and a pure, full tone.
A directive to perform a passage in an animated manner or with motion. The German equivalent to the Italian term animato.
A movement (or portion of a movement) that consists of two main sections. Note that periods and double periods are not usually referred to as binary forms.
Broad or largo (slow).
C
Getting weaker and slower.
A compositional technique that involves a melody stated in one voice that is successively imitated by the remaining voices. Derives from the Greek term for law or rule.
Singing or song-like.
In counterpoint, the fixed, given melody to which other parts are written.
Slow down.
A French song, usually polyphonic and secular, especially from the late Middle Ages and the Renaissance. A singer specializing in chansons is known as a chanteur (male) or chanteuse (female).
The relationship between two major triads, or two minor triads, with roots a minor third or major third apart.
Refers to the use of pitches that do not belong to the key of the passage.
In late medieval music, a clausula (plural clausulae) was a newly composed polyphonic section for two or more voices sung in discant style (note against note) over a cantus firmus taken from the plainchant repertory. Clausulae were later used as substitutes for passages of the original plainchant. They were composed of melismatic figures based on a single word or syllable within an organum (a composition where one or more voices have been added to a plainchant melody to create polyphony). The text of a clausula differs from that of the plainchant melody underneath it. Each clausula is clearly delineated by a final cadence. The term derives from Roman rhetoric, where a clausula was a rhythmic figure used to add finesse and finality to the end of a sentence or phrase.
Keys that have different tonal centers but that have no more than one accidental difference between their key signatures.
A special concluding section found at the end of a musical form.
To be played with the wood of the bow.
In imitative counterpoint, a second voice that enters copying the musical subject that was stated by the leading voice.
A modulation that uses a chord that is diatonic to both keys as a hinge or pivot to link the two tonalities.
When a single tone serves as the common element between the two keys. Common-tone modulation often makes use of chromatic mediant relationships.
Leisurely.
With spirit or vigor.
With fire.
With dignity, grandeur.
With style, taste.
With the mute.
In medieval music, conductus (plural: conductus) is a type of sacred, but non-liturgical vocal composition for one or more voices. The word derives from Latin conducere (to escort), and the conductus was most likely sung while the lectionary was carried from its place of safekeeping to the place from which it was to be read. The conductus was one of the principal types of vocal composition of the ars antiqua period of medieval music history. Almost all composers of conductus are anonymous.
When the first section of a binary form ends with any other chord other than the tonic triad of the main key.
When the first section of a ternary form ends with any other chord other than the tonic triad of the main key.
Gradually getting louder. Often abbreviated to cresc.
D
Repeat from the beginning. Often abbreviated to D.C.
A type of vocal composition found in operas, cantatas, and oratorios that is set in a ternary design (ABA). After the A and B sections are sounded, the performers are directed to go back to the beginning (da capo) to repeat the A section.
One of the three foot pedals located under the piano that effects the sound. This pedal, located on the right, lifts felt dampers from the piano strings allowing them to sustain.
Gradually getting softer. Often abbreviated to decr.
Repeat from the sign. Often abbreviated to D.S.
Broad, separate bow strokes.
Gradually getting softer. Often abbreviated to dim.
A systematic dividing of note durations; usually a halving of note values.
When modulations occur without any attempt to smooth them over through the use of common chords or common tones. Often called phrase modulation when it occurs between two phrases or two formal divisions of music.
Discant (Latin for singing apart) was a style of liturgical music setting of the Middle Ages. It is a type of organum that includes a plainchant tenor part and a note-against-note upper voice that moves in contrary motion. It is a compositional technique, not a musical form. Discant can be identified by the following characteristics: Both the tenor and upper part move at about the same rate, with between one and three notes in the upper part to every note in the tenor part. At the end of a phrase, however, the upper part may have more notes. This produces a melismatic cadence. The consonant intervals of the octave and fifth are used, as are the so called rhythmic modes (a way of notating rhythm developed by the Notre Dame composers that uses ligatures and six different rhythmic patterns). Discant is associated with the development of the Notre Dame school of polyphony.
The Divine Office, or Liturgy of the Hours, or canonical hours, (also referred to as the Breviary) is the official set of daily prayers prescribed by the Roman Catholic Church to be recited by clergy, religious institutes, and laity. It is comprised of a series of eight services performed each day and night: 1) Matins (or Vigils) at 3 a.m., Lauds at daybreak Prime at 6 a.m., 4) Terce at 9 a.m., 5) Sext at noon, 6) None at 3 p.m., 7) Vespers at twilight, 8) Compline before going to sleep. Prime, Terce, Sext, and None are referred to as the Little Hours. The Divine Office includes the use of psalms and canticles (with antiphons), lessons followed by responsories, hymns, versicles with responsories, and prayers. Together with the Mass, it constitutes the official public prayer life of the Church. Upon ordination to the Diaconate, the daily recitation of the Divine Office becomes a canonical obligation. It also forms the basis of prayer within Christian monasticism.
Sweetly.
Sorrowful.
Gently or sweetly.
In imitative counterpoint, the leading voice that states a musical subject to be copied by reaming voice parts.
E
French term for escaped note. A non-chord tone that is approached by step and left by skip.
German term for hurried or hasty. Directs the musician to perform a passage in a hurried, urgent manner.
Keys which sound the same but are spelled differently.
Serious.
Expressively. Often abbreviated to espr.
Refers to the use of tones that do not belong to the scale as members of chords.
F
Directs the musician to perform a passage in a light, easy manner.
A composition that follows no particular pattern or form allowing the composer to follow his imagination.
Solemn, exalted.
Festive.
End.
Keys that differ by more than one accidental. Foreign key relationships involve two keys that are not enharmonic, parallel, relative, or closely related.
Loud.
Very loud.
G
Often called style galant, is an elegant, uncomplicated style of music composition that arose in contrast to the complex style of Baroque counterpoint. It is light, graceful, and pleasing.
German term for whole rest.
Playful.
Sliding.
Solemn, serious.
The Guidonian hand was a mnemonic device used in the Middle Ages to assist singers in learning to sight-sing. It is attributed to Guido of Arezzo, a medieval music theorist. Each portion of the hand represents a specific note. An instructor could indicate a series of pitches by pointing to them on their hand and the students would sing them.
H
German term for half rest.
A harmonic cadential formula that concludes with a dominant harmony.
Mysterious.
Heartily, affectionate.
I
J
An itinerant entertainer of medieval France that would provide entertainment for courts.
Joyous.
A tuning system in which the fifths are tuned smaller in order to produce pure thirds. In this system, the intervals do not beat.
K
German term for chapel master. The director of music for a bishop, king, or nobleman.
German term for timpani or kettledrums.
The pitch relationships that establish a tonal center.
The sharps or flats appearing at the beginning of each staff to indicate the key of the composition.
Mourning, sad, gloomy.
Short, crisp.
L
Tearful.
Slow.
Broadly.
Slow, dignified tempo.
Smooth, connected.
Light.
Slow.
The same speed.
Heavy.
Merry, cheerful.
M
A Renaissance vocal form popular in Italy and England written for four to six voices. Madrigals are usually set to short love poems and are characterized by word painting and harmonic and rhythmic contrast.
Majestic.
Part of the Roman Catholic service of vespers, a composition sung antiphonally in plainsong based on the words of the Virgin Mary. During the Renaissance, and after, it was usually set polyphonically and often based on a chant tune.
Marked.
Less.
Mournful.
Half.
Half voice. In instrumental music, half volume.
With feeling.
Moderate tempo.
A shift of tonal center that takes place within an individual movement.
Very.
When a single unharmonized line establishes a new tonal center.
Typically, a polyphonic vocal composition based on a sacred text (usually Latin) and most often sung without accompaniment. The motet has undergone numerous transformations through the centuries. The term derives from the French mot (meaning word).
N
An early French horn without valves, keys, or slides.
A style of plainchant melody writing that sets one syllable of text to one neume. A single neume denotes two to four notes, thus each syllable of text is set to two to four notes.
Not dragging.
The use of chromatically altered tones as non-chord tones.
Not too much.
O
Indispensable part. Opposite of ad libitum.
Motion between two parts whereby one part is static and the other moves either toward it or away from it.
A scale of eight pitches per octave arranged by alternating half steps and whole steps.
A drama set to music for voices and instruments.
The numbered grouping of written compositions.
An extended dramatic vocal composition for soloists and chorus with orchestral accompaniment based on a sacred text.
Often considered synonymous with pedal point or pedal tone. Organ point differs from these in that it is a nonharmonic-tone entity consisting of a perfect fifth interval, usually the tonic and fifth of the prevailing key.
An early form of counterpoint where voices sound against the main chant voice in parallel motion at fixed intervals (usually perfect fourths, fifths, and octaves).
Either written or improvised, ornamentation is essentially a decorative process in which a note is preceded and/or followed by musical flourishes.
Or.
A short reiterated musical pattern or figure.
Octave.
The additional pitches generated by a fundamental pitch. They are fainter and much weaker than the fundamental pitch, but add to it, the characteristic timbre.
P
Major and minor keys that have the same tonic note.
Speech like.
A direct modulation that occurs between phrases.
Agreeable.
Soft.
Very soft.
More.
Plucked instead of bowed. Often abbreviated to pizz.
Little.
The first chord of the new key that affects the shift from the former key to the latter in a modulation.
Q
The regular grouping of rhythmic units by four.
Chords structured primarily on intervals of fourths.
As if, nearly.
Chords structured primarily on intervals of fifths
A piece of music combining several different melodies, usually popular tunes, in counterpoint and often in a light-hearted or humorous manner. The term is Latin, meaning whatever, or literally, what pleases.
R
Gradually slowing. Often abbreviated to rall.
Quick.
Two major and minor keys that share the same key signatures.
Gradually slowing. Often abbreviated to rit.
Immediately slower.
A form in which the first theme is heard three or four times with contrasting material occurring between its appearances.
Refers to music in which the opening A section returns after contrasting material often in an abbreviated form.
Flexible melody against an inflexible accompaniment.
Peaceful.
A preset format for a document or file, used so that the format does not have to be recreated each time it is used.
