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We have also put together a list of website addresses that we have found useful when looking at various aspects of music. This list is selective, not extensive. We hope you will contribute too: if you know of another quality web site, please let us know and we'll take a look with a view to adding it to our selection. The resources and website addresses on this page are by no means exhaustive. We hope to update this space as often as possible, so please excuse if, for any reason, the contents are slightly out of date or need amending. 1(a) – Pitch Pitch Names C D E F G A B Sharp Raises the note by a semitone – white to black or black to white (B to C or E to F) Flat Lowers the note by a semitone – black to white etc. (C to B or F to E) Octave Two pitches with the same name, 12 semitones apart. 8va = Octave up / 8vb= Octave down from written Interval The gap between two pitches. Measured in semitones e.g. C to E = 4 semitones = Major 3rd Range The difference between the highest and lowest note possible on an instrument or voice. Register The area/range of notes that produces a particular tone for an instrument or voice. E.g. Falsetto for male voices Tessitura A term referring to vocal registers e.g. high tessitura = a soprano singing notes above the treble clef. Diatonic Key When the music is in a major or minor key – two notes with same name = Tonic e.g. C in C major/Minor Tonic The foundation note (1st note) of a scale based in a major, minor or modal key. A is the tonic of A maj/min Sub-dominant The 4th note/chord of the scale in a maj/min key e.g. D is the sub-dominant in the key of A maj/min Dominant The 5th note/chord of the scale in a maj/min key e.g. E is the dominant in the key of A maj/min
1(b) Melody / Theme Movement by -
– Step “Conjunct” movement – using the scale’s next door notes sequentially
- Leap, interval - “Adjunct” movement – using arpeggios etc rather than the scale in melodic movt
- Scalic - The same as stepwise but involving the whole of the scale rather than a part of it Chromatic - Using semitone steps in the melody or adding extra semitones between scale notes Pentatonic - Using a 5 note scale (e.g. the piano’s black keys) as the basis for melody e.g. Folk Whole tone - Each note of the scale is a whole tone apart (7 notes in the 8ve). "Oriental" flavour. Raga - Special scales used in Indian Music. Non-musical meaning attached. Varying intervals between pitches. Can have different intervals when ascending/descending. Pitch bend - The gaps between semitones are “smeared” across. E.g. pulling a vibrating string Glissando - A series of notes are “smeared” into each other seamlessly e.g. Trombone “tailgating” in Jazz Meend (Indian) - The practise of pitch bending when playing melody in an Indian Classical piece. Commonly heard on sitar or violin, but can be vocal or wind (e.g. flute)
1(c) Harmony Consonance - An interval that sounds completely at rest. These are unison, third, fifth, sixth, octave. Dissonance - An interval that “clashes” and needs to “resolve” or change to other notes – 2nd,4th, 7th. Major - A scale with the notes arranged as follows – T-T-S-T-T-T-S (T=tone, S=semitone) Minor - Harmonic=T-S-T-T-S-Tr-S (Tr=3 semitones), Melodic=Up T-S-T-T-T-T-S/DownT-T-S-T-T-S-T Modal - Scales based on special patterns of semitones & tones – see class notes for 7 common modes Atonal - Music that does not refer to any key. No one note is more important than another – no tonic.Schoenberg often used the term “Pantonal” meaning “in all keys at the same time” Cadences :
Perfect Cadence - Fullstop = Chords V-> I. Often preceded by chord Ic Imperfect Cadence - Comma = Chords I, II, or IV -> V. Most Common = I -> V Plagal Cadence - Fullstop = Chords IV-> I. Often preceded by chord Vb or Vc Interrupted Cadence - Hyphen = Chords V-> VI is most common. Can be V -> II Modulation - When you change from one key to another i.e. another note becomes the “Tonic”. New accidentals. Related Keys - Keys that are a 5th or 4th higher/lower than the original or the maj/min key that shares the same key signature Chords I, IV, V - The “PRIMARY” chords - tonic (note 1), sub-dominant (note 4), and dominant (note 5). Relative key - The same key signature as the major or minor key you’re in. Minor will include an extra accidental. e.g. C maj & A min have no #’s or b’s in the key sig, but A min includes a G# accidental. Transpose - To move a whole passage of music up or down a number of semitones. Intervals within stay the same. Pedal - A sustained or repeated note played to emphasise a particular pitch e.g. dominant pedal in C plays a G. Drone - A sustained pitch or pitches played as an accompaniment e.g. Bagpipes or Indian Classical Music. Continuo - The use of a solo low string instrument (usually ‘Cello) and a keyboard (usually harpsichord or organ) to play chords as an accompaniment to BAROQUE music. The chords are written by the composer in a shorthand known as FIGURED BASS, where each bass note has (a)number(s) with or without accidentals. These numbers tell the player which notes to play to form the chords. The style and actualaccompaniment is left up to the performer.
1(d) Notation Stave - The set of 5 lines and four spaces used to write music on. Extended up or down via LEGER lines. Score - When multiple staves are printed on a page to run simultaneously. Each stave = different part. Clef - The symbol at the start of every stave line showing which lines/spaces mean which note names. Pitch Positions (& treble clef/? bass clef) &= Lines – EGBDF, Spaces – FACE
? = Lines – GBDFA, Spaces - ACEG Bar - A subdivision of a stave, each containing the same number of beats/counts. Shown by vertical line Double Bar - Two parallel, vertical lines denoting the end of a section of music. Always put at the end of a piece Key Signature - The sharps(#) or flats(b) used throughout a piece, written next to the clef before the time sig. Time Signature - The numbers after the clef & key sig. that show the number of beats per bar & how its counted. Note Values - 0 = Semibreve/Whole note = 4 counts, h = Minim/Half note = 2, q = Crotchet/Quarter note = 1,e = Quaver/Eighth note = ½ count, x = Semi-quaver/Sixteenth note = ¼ count. Phrase marks - Curved lines written above/below notation to indicate shaping of dynamics, articulation & breath. Articulation Marks - Symbols placed above/below note heads to indicate how the note should be begun / finished: V - Super-staccato – play the note very short with emphasis dynamically, well separated/tongued. > Accent – Play the note with emphasis dynamically, separated/tongued distinctly. . Staccato – Detach each note. Play the note value shorter than written to separate from neighbours. - Tenuto – Play the full length of the note value. Perhaps a little emphasis on the note. Dynamic Signs - Tell the performer what VOLUME to play or sing at. p, pp, mp - piano (soft/quiet), pianissimo (very soft/quiet), mezzo piano (moderately soft/quiet) f, ff, mf - forte (loud), fortissimo (very loud), mezzo forte (moderately loud) sfz - sforzando – suddenly loud / with sudden emphasis Ornament Signs - Symbols that tell the performer to add extra notes in a certain manner: tr or ~~~~~ (trill) - Alternate between note written & the note above/below (depending on period of comp)very fast.
M or m (mordent) - Play the note written, then the note above/below, then the note written again, very quickly. ~ (turn) - Play the pattern: – note written-above-note-below (or note-below-note-above) quickly. (appoggiatura) Play the two notes written (small & large) with equal time values (usually same as small note). (acciaccatura) Play the small note (usually has a crossed tail) very quickly, then play the larger note (longer).
2 – Duration and Tempo Notes Values : - (See section above)
English names - Semibreve, Minim, Crotchet, Quaver, Semi-quaver, demi-semi-quaver, hemi-demi-semi quaver
American Names - Whole note, Half note, Quarter note, Eighth note, Sixteenth note, Thirty-second note, 64th note Pulse / Beat - The (usually) inaudible steady, regular and unchanging rhythm that regulates the speed/tempo. Triplet - Three notes are played in the same of two e.g. triplet crotchet fills the space where two normally go. Dotted rhythm - A dot increases a note length by half again e.g. dotted crotchet = 1 + ½ beats = 1½ beats. Syncopation - When emphasis is deliberately placed on the weaker beats of a rhythm e.g. 2 & 4 in 4/4 . Off-beat - Similar to syncopation but often notes are joined together Cross Rhythm - When one part uses syncopation/off beat patterns to deliberately contrast with another part. Phrase (length & shape) - A unit of musical expression, denoted by a long slur mark. Dynamics & articulation shaped like line Phrase structure - Units of bars during which phrases occur in patterns e.g. 4 bar structure = new phrase every 4 bars. Tala (Indian) - The Indian Classical music way of dividing beats – like time sig’s in the West. Each tala is built on a different number of beats e.g. tin thal = 16 beats. These then cycle round so beat 1 follows the last beat of the cycle. Emphasis is provided on strong/weak beats by either playing a note or leaving a space or silent beat. Metre - The way a beat is counted and how it is subdivided: Simple Duple - Each bar has 2 counts/beats, each count/beat subdivides into 2 – 1 2 2 2 | 1 + 2 + | etc. Simple Triple - Each bar has 3 counts/beats, each count/beat subdivides into 2 – 1 2 2 2 3 2 | 1 + 2 + 3 + | etc Simple Quadruple - Each bar has 4 counts/beats, each count/beat subdivides into 2 – 1 2 2 2 3 2 4 2 | 1 + 2 + 3 + 4 + | etc Compound Duple - Each bar has 2 counts/beats, each count/beat subdivides into 3 – 1 2 3 2 2 3 | 1 + a 2 + a | etc. Irregular - The main pulse does not divide by 2 or 3 e.g. 5/4, 7/4, 5/8, 1/4, etc. This usually results in the beats being sub-grouped e.g. 5/4 is usually treated like 3+2 or 2+3, 7/4 is usually 3+4 or 4+3 Italian Terms - Due to the fact that many musical developments (esp. in the Renaissance/Baroque) started in Italy. Adagio - Slowly Largo - Slow and usually stately Andante - Literally “at a walking pace” – means moderate speed Moderato - A moderate speed, moderately Allegro - Fairly quickly, with some speed Vivace - Fast, with speed Presto - Very Fast, with great speed Accelerando - Think “accelerating” – getting faster Ritardando - Think “retarding” – means getting slower or “held back” in terms of speed/tempo Rallentando - Slowing down gradually – opposite of “accelerando” Allargando - “Broadly” – emphasis on each note and steady speed, like a stately march or parade Rubato - Think rubber – it literally means “elastic” – it’s when you hold back the tempo over a phrase or notes Tacet - Literally “Shut Up” – it means silence or “leave out” Silence - When nothing is making any sound at all, or when no instruments are playing deliberately. A rest. Pause - When a note or rest is held on for longer than the pulse allows, longer than it is notated.
3 – Dynamics and Articulation Fortissimo - Very loud Forte - Loud Mezzo forte - Moderately loud Mezzo piano - Moderately soft/quiet Piano - Soft/Quiet Pianissimo - Very soft/quiet Crescendo - Gradually getting louder Diminuendo - Gradually getting softer/quieter Subito - Sudden, or suddenly e.g. subito f = suddenly loud Accent - Emphasise a note through dynamics and articulation Sforzando - Literally “forced” – striking emphasis on the note dynamically Legato - Smoothly – when notes are played evenly & together Staccato - Detached – when notes are shortened to leave space between each one Tremolo - When 2 or more notes are played repeatedly in succession
4 – Timbre 4(a) – Individual Instrument Sounds
(i) Orchestral Instruments Strings : Violin, Viola, Violoncello (‘Cello), Double Bass Woodwind : Piccolo, Flute, Oboe, Cor anglais, Clarinet, Bassoon, Double/Contra Bassoon Brass : French Horn, Trumpet, Trombone, Tuba Tuned Percussion : Kettle drums / Timpani, Celeste, Piano, Tubular Bells, Crotales (Tuned Cymbals), Xylophone, Glockenspiel, Vibraphone Un-tuned percussion : Snare, Bass, Tom-tom. All types of drum. Snare includes wires on resonating skin. Castenets, Tam-tam, Castanets popular in Spain. Tam-Tam = Gong.Suspended Cymbal (on a stand), Crash Cymbal (in pairs in hands) Triangle, Tambourine (usually complete with skins). Triangle, Bass Drum & Crash Cymbal = “Turkish Percussion”.
(ii) Conventional Band Instruments (Military/Symphonic wind band) Piccolo, Flute, Oboe, (Cor Anglais), Bassoon, Eb Soprano Clarinet, Bb Clarinet,
A Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Eb Alto Saxophone,
Bb Tenor Saxophone, Eb Baritone Saxophone, French Horn in F, Eb Tenor Horn
Piccolo Trumpet (Bb), Trumpet in Bb, Trombone, Bass Trombone (Bb/F)
Bb Baritone, Bb/Eb Euphonium, Eb Tuba Percussion as for orchestra plus Drum Kit and more special effects eg.Vibratone,
Swannee whistle, vibraslap, orchestra whip, temple blocks etc.
(iii) – Western Instruments Recorders - Open holed wind instrument. Forerunner of the “Transverse flute” – today’s modern flute. Bagpipes - Multi-piped wind instruments. Each pipe has a reed. Number of drone pipes and 1 “chanter” for the melody line. Chanter looks like a recorder. Bag filled with air then squeezed out through pipes. Accordion - Air sucked in/out through box. Filters over reeds to produce sound when keys are pressed. Steel Guitar - A guitar strung with “Steel Strings” i.e. metal wires plucked/strummed to produce the sound. Acoustic Guitar - Any non-amplified guitar. Also usually refers to nylon or gut strung guitars with smaller bodies. Electric Guitar - Any amplified guitar. Usually metal strings vibrate above a coil “pick-up”, changing the vibrations into electrical signals for the amplifier (or “amp”) to turn back into sound. Melodeon - A small wind driven organ, works a bit like an accordion but no piano key layout. Harmonica Or “Mouth Organ”. Player blows air across fixed reeds (1 per pitch) to create sound. Piano - Keys activate hammers that strike strings. Invented in 1720's. Allows dynamic variation by touch. Harpsichord - Keys active leather “fingers” which pluck the strings. No dynamic variation. Common in Baroque. Organ - Hand or motor pump forces air through pipes or across reeds. Pipes opened by keys & “stops”. Synthesiser - Keys operate oscillators that generate tones through speakers. Capable of generating new or mimicking pre-existing sounds via control of sound envelope. Usually need external amplification Electronic Keyboard - Keys operate in the same way as a Synth, but the sounds produced are predetermined via a ROM (Read Only Memory) computer chip that has prearranged sounds encoded on it. Usually have speakers and single finger chord accompaniment patterns built in too.
(iv) – Indian Instruments Tabla - Pair of drums – 1 metal, 1 wood. Hard wooden area set into high-tension skin. Hand played. Sitar - Steel strung guitar type instrument. 6 strings for melody. Up to 20 for rhythm/ free resonators. Sarod - Lyre type instrument, usually 4 or 6 strings. Has fixed frets (Sitar’s are movable!) Sarangi - Single stringed instrument played with a bow. Bowl shaped body and round fingerboard. Harmonium - Hand pumped wind organ. Mini-key sized keyboard. Popular in Northern Indian music. Flute - Open holed, closed holed, metal or bamboo, the transverse flute blows the same everywhere! Violin - Indian Violins can sometimes miss the chin rest, or have 3 strings. Bowed or plucked.
(v) - Gamelan Gongs - Bronze tuned gongs hang from or lie horizontally on frames Metallophone - Bronze bars are struck with mallets. Has to be stopped with free hand or notes blur together.
(vi) – Latin American / Caribbean Panpipes - Different length pipes (1 per pitch) are blown across to produce notes. Work in large groups. Samba Whistle - Two different pitches can be produced by opening/closing two holes opposite each other on sides. Bar Chimes - Single bars on resonators are tuned to a pitch then played in sets to produce different scales. Bongos - A pair of drums attached together, one higher pitch than the other. Hand played. Claves - A pair of wooden sticks than are held in the hand and knocked together to produce the sound. Maracas - A hollow, round gourd with a handle filled with beads to produce a shaking sound when moved. Steel Pans - Oil drums whose ends have been stretched/hammered to produce different tensions and different pitch zones. These are then marked out and the players hit the zones with rubber/soft mallets.
(vii) - African Master Drum (Conga) - Largest or lowest pitched drum. Usually keeps the basic pulse for the group. Talking Drum - Double-headed drum with strings on each skin rim. Strings pulled to alter pitch of drum. Kalimba (Thumb Piano) - Small metal strips are attached to resonator (usually a gourd). Plucked with the fingers. Agogo Bells - Two different sized metal cowbells are attached. Each “bell” produces a different pitch.
4(b) – Instrument Families Strings - Length of string vibrates. Bowed = arco, plucked = pizzicato. Plectrum used for guitars. Woodwind - Column of air inside tube vibrates via breath (& usually a reed). Holes open/shut changing pitch. Brass - Column of air vibrates in changing length of tube (via valves or slide) due to player’s lip “buzz” Percussion -
- Membranophones = skins vibrate (drums etc)
- Idiophones = whole instrument vibrates e.g. cymb Electric - Sound generated by speakers whose cones move when electrical signals are sent by an amplifier
4(c) – Vocal Sounds Treble - High-ish unbroken voice. Usually refers to a boy’s voice. Soprano - Highest Female voice type. Alto (male & female) - Mid range voice. Usually lowest female (can be highest male [broken]) Tenor - Highest Male voice type (male alto – “Counter Tenor”) Baritone - Mid range male voice. Written in Bass clef. Bass - Lowest male broken voice type. (“Basso profundo” even lower!) Falsetto - When a broken male voice deliberately forces out the female note range. Weak, thin sound for most. 4(e) – Vocal Combinations A cappella - Any vocal group or section which is not accompanied by any instruments. Mixed choir - A choir consisting of male and female singers. This may also refer to a choir of men and boys e.g. in a Cathedral. Male voice choir - A choir which uses only broken voices – Tenor, Baritone, Bass. Female voice choir - A choir that only uses soprano’s and alto’s voices. Chorus - The choir part in an Opera or Oratorio. Usually SATB – Soprano,Alto, Tenor, Bass. Backing Vocals - A small group (maybe only 2 or 3) who sing to accompany a soloist. This phrase is usually related to popular music, where the “bvox” fill in the gaps or sing harmony to support a featured solo singer/player.
4(f) – Instrumental Combinations / Ensembles Orchestra - Full complement of strings, woodwind, brass and percussion. Lead by a conductor. Chamber Orchestra - May include all sections, but much smaller numbers. Usually only 1 player on each part. Wind Band - Woodwind, brass and percussion only. Often plays “orchestral” music, with flt/clt replacing strings. Brass Band - Brass and percussion only. Grew up in Victorian England after valved brass instruments became widely used. Everything transposes into Bb or Eb (F for French Horns only), so one person (the conductor) is able to teach as well as conduct the instruments in the band. Consort - Renaissance name for a group of similar/identical instruments of different sizes – one for each range e.g. a Recorder consort = descant, alto, tenor, bass recorders. Lean one, play the lot! String Quartet - Violin 1, Violin 2, Viola, ‘Cello. Developed in the Classical period by Joseph Haydn. Duo - When two players play together, with/out accompaniment. Trio - When three players play together, with/out accompaniment. Quartet - When four players play together, with/out accompaniment. Quintet - When five players play together, with/out accompaniment. Sextet - When six players play together, with/out accompaniment. Octet - When eight players play together, with/out accompaniment.
4(g) – Changing Sounds Muted (con sordino) - Using a mute to change the tone of a string inst (on the bridge) or brass inst (inserted in the bell) Double stopping Playing two strings simultaneously to produce a mini chord (interval) on a bowed string instrument Vibrato - When the finger is moved on a string, or throat/breath control, to make a note “wobble” slightly. Arco - When the bow is used on a string instrument Pizzicato - When the fingers are used to pluck the strings individually or more than one at a time (like a strum) Harmonics - When a “false” note is produced by slightly damping the string as it vibrates or overblowing in wind. Harmonics are always higher in pitch than the original note (“fundamental”). Flutter Tonguing - When the tongue is left to literally flap in the mouth to alter the sound, giving a beating effect as the note is blown. Orchestration - When an original piece is written out to be played by any group of instruments, with little change. Arrangement - When an original piece is altered in style as it is re-written for a different group of instruments. Arrangements usually have a sense of style from the arranger who does the work. Cover version - When a different group produces their version of an original piece. Usually refers to popular music especially songs. 5 - Texture Monophonic - Music consisting of only a single line of sound e.g. unaccompanied solo or Gregorian Chant Homophonic - When all the parts in the music move with exactly the same rhythm e.g. parallel block chords Polyphonic - Music made from many parts/voices that act independently creating a more complicated texture Melody & Accompaniment - When there is a clearly identifiable leading instrument/voice playing the tune and a second instrument or group that plays a supporting role. Solo - Either: a single performer performing alone; Or: a major leading role in an accompanied piece Unison - When everyone performing plays exactly the same pitches and rhythm at the same time. Doubling - When another part plays the same as the first, either exactly or transposed at the octave. 2/3/4 part = Music consisting of 2/3/4 independent parts. Polyphonic in nature. Tutti - Literally “Together” – when the whole group is playing at the same time Counter melody - When a second part plays an equally important melody at the same time as the first melody. Counter melodies are usually developments of the original melody. Descant - When a second, independent melody is sung/played at the same time as an original melody. A descant is usually higher and emphasises important points in the original e.g. Christmas Carol Music Contrapuntal - Music that consists of more than one part of equal important. Each part is playable separately,but they are designed to fit together in a complementary way e.g. parts in a FUGUE.
6 - Structure Musical Development
- When motives or phrases are used as the basis of material which seems new to the listener (melody).
- When music is added to in order to change it to avoid repetition (variations).
- When a melody is re-harmonised with chords that are different from the original ones heard (harmony). Motive - A small section (2/3 notes) of pitch and/or rhythm that acts as a building block for development. Pakad (Indian) - A section of a rag melody that is used for development during improvisation. Repetition - When musical material is re-played without any changes occurring at all. Recapitulation - The last section of a Sonata form movement, when thematic material is restated but in the tonic key. Decoration - When extra notes (ORNAMENTS in melody) are added to a melody or harmony for development or variation. Adding musical material without essentially changing it. Sequence - A motive that is repeated a number of times but transposed up/down by a set interval each time. Imitation - When one part copies another either exactly or approximately. Canon - Another name for a musical “Round” e.g. Frere Jacques or London’s Burning. Other parts enter at a set time after the first performer has started the piece. Ostinato - A repeating pattern of pitch and/or rhythm that is used as an accompaniment in a piece. Riff - A short, motivic pattern that is repeated as accompaniment. Used in Pop & Jazz music. Ground Bass - A repeating pattern of bass notes and chords used as the basis for a piece. Common in BAROQUE. Introduction - The start of a piece that establishes the key and sets up the mood for the rest of the composition. Coda - Lit. “Tail” – music written for the end of a piece to give a sense of resolution / finish. Binary - A piece of music in 2 clear sections (AB). Usually goes from tonic to dominant and back again. Ternary - A piece in 3 clear sections (usually ABA). Middle section usually clear contrast in dominant key. Strophic - Music using Verse/Chorus format with possible bridge or “middle 8”. Music repeats to different lyrics. Ritornello - Theme & Episodes. The theme changes on each restatement. The Episodes develop material. Rondo - Theme & Episodes, but the theme is repeated in full – ABACADA etc. Theme ends the piece. Antiphonal - When a motive/the theme is instantly repeated in another part in close order. Call and response - One part/voice performs a theme solo, which the rest of the group repeats or performs either a development of the theme or some new material altogether. Through Composed - When the form of the music constantly develops – no material is repeated/restated entirely. Aleatoric - “Chance” Music – the composer constructs most of the material, but the way it is performed or assembled is left up to the performers. Sometimes further chance elements are involved, giving the performer an almost improvisatory role. Chorus / Refrain - The most memorable part of a song, containing strong thematic material. Repeated unchanged. Cadenza - The section towards the end of a concerto movement or opera/oratorio song when the pulse & accompaniment stops and the soloist is able to display their skills. Recitative - The section that tells the story in an opera/oratorio. Usually has minimal accompaniment and an un-memorable melody. “Secco” = accompanied by keyboard (usually harpsichord) only, “Accompaniato” = accompanied by an orchestra. Aria - Another word for “Song” referring to those in Opera or Oratorio. An expression of thought/feeling. Air - English for “Aria”. Often used to denote a melody in folk music e.g. “Londonderry Air” Variation - When music is changed by addition or alteration but remains recognisable in some way. Minuet & Trio - A ternary form piece in triple time. Minuet = a stately dance. Trio = as Minuet but only 3 parts used. Da Capo form - Ternary form where the second A section is added to via ornamentation or variation in the melody. Fugue - Where a theme is treated contrapuntally in any number of parts. Involves a “Subject” – the main theme, and a “counter-subject” – the material created to fit with the theme. Exposition – states the subject & counter-subject; Episodes – add new material or developed material. 12/16 Bar Blues - Music based on a structure relying on a set pattern of chords I, IV & V, often with a “blue” scale. Middle 8 - The central section of a song where new material contrasts with choruses on each side of it. 8 bars. Bridge - A part of a piece when the music moves from one key area to a new one – modulation passage.
7 – Period / Style / Genre Medieval - From about 1100 – 1400. Music uses simple modes, melody based structures. Lots of vocal music. Renaissance - 1400 – 1600. Modes begin moving to maj/min scales. Instrumental & vocal music. More forms used. Baroque - 1600 – 1750. Characterised by continuo parts as focus moves to use of Harmony as well as melody. Classical - 1750 – 1820. Musical form dominated by Sonata. Beginning of Stg ¼et, symphony. Piano invented. Romantic - 1820 – 1900. More instruments used. More advanced harmony/melody. Personal expression of ideas. 20th Century - 1900 – 1999. Composers follow individual ideas. “Atonal” music. Inaudible structures used often. Minimalism - 20th Cent. idea of using small cells of music to build into a larger piece via repetition. Impressionism - 1880’s – 1920’s French idea similar to art, using music to describe the feelings conjured by experience Traditional Jazz - The Jazz Style of 1900-1920’s. Fast, frenetic, busy sound. Uses smaller groups e.g. 5tet, 7tet etc Blues - The “folk” music of black America from 1890-today! Uses set chord & scale patterns. Lots of feelings and personal expression used, often via improvisation. Swing - 1930 – 1950. A Big Band based style of Jazz. Exploits “shuffle” rhythm – divides beats by 3. Rhythm and Blues - Began in mid-1950’s when Rock rhythm merged with Blues expression. “Rockabilly” style. Elvis Presley. Rock - Pop music that began in mid-1950’s & continues today in various levels of intensity. Based on “square” division of beat (by 2), emphasising “back-beat” – 1 2 3 4 etc Fanfare - Declarative style of usually Brass music, used for special or military occasions. Dotted rhythms. Plainsong - The basis of “Monk Chant” – a single melody line with sacred lyrics and tempo/pulse matching text. Chorale - 16th/17th Century Protestant Hymn in four parts (SATB), often used as the basis for bigger works. Toccata - Lit. “Touch Wood” – a fast piece for keyboard exploiting scales & arpeggios. Takes a lot of skill. March - A military style in 2/4 time with strict tempo and subdivision of beat. Often uses dotted patterns. Waltz - A flowing dance form in ¾ time, popular in late 1800’s in Austria/Germany. Oom-pah-pah rhythm. Folk song - Often no identifiable composer. Often exploits modal or pentatonic scales. Can be dance-like, high tempo, or expressive, slow ballad. Reggae - Originated in the Caribbean in the 1960’s. Exploits a heavy emphasis on the back beat (see above) but often uses a swing pattern in the drum kit. Lyrics may be in patois dialect. Ska - 1970’s Pop corruption of Reggae music, using many similar techniques but rarely swung & often fast. Calypso - A Caribbean folk song style. Usually upbeat, arpeggiated melody
Rumba - A Latin-American dance. Usually up-tempo and energetic. Spiritual - Often very expressive. Began in mid/late 1800’s in south USA slaves. Simple & memorable. Rap - Fast speech replacing singing over an accompaniment. Developed in 1970’s/80’s. Many styles current. Gospel - “Black Church” music, often high energy or very expressive ballad styles. Call & response common. Salsa - Latin American Dance style. Often fast tempo. Uses Piano extensively. Samba - Brazilian (Latin American) dance style – think carnival, drums, whistles, agogo bells, World Cup football terraces. Bossa Nova - Fairly modern (1950’s) Latin style often used in Jazz/MOR music. Distinct rhythm used in accomp. Tango - Seductive dance full of high drama. Latin American. In 3 time – think dum-de-dum dum, dum etc. Improvised - When performers create music during performance, often working from a composed outline. Walking Bass - The bass part moves up/down the arpeggio and scale of the accompaniment chord. Decorative. Vamp - A section of music played repetitively used to fill time during stage musicals. Music continues when a certain “cue” point e.g. part of a speech, has been reached. Opera - Begun in 1600. When a whole story is set to music with no speech used throughout. Operetta - Like an opera but might include spoken text. Often shorter & on light-hearted themes. Ballet - Using dance and music to describe/act out a story and the feelings it expresses. Begun during 1700’s. Lied/Lieder - German Romantic (1820-1900) song for voice (usually solo) with piano accompaniment. Programme Music - Music that is composed to tell a story, or structured by a non-musical idea or ideas. Music Theatre - Any production that includes music (incl. dance) as an integral part of the story/production. Musical - “Modern Opera” – the telling of a story in the theatre, through acting interspersed by songs, chorus & dance numbers. Symphony - Orchestral genre of varying length. A pure or “absolute” musical form, thematic development etc. Sonata - Musical form involving Exposition (statement of themes), Development (of those themes) and Recapitulation (themes restated but in tonic key). ALSO the name given to pieces for piano or soloist accompanied by piano that exploit the Sonata idea of thematic development. First used in the CLASSICAL period (1750 – 1820). Solo Concerto - A piece for Solo Instrument accompanied by Orchestra. Themes stated by both, but mainly developed by the soloist. Contrast between solo & orchestra exploited Concerto Grosso - Mainly used in BAROQUE music, a group of soloists (the Concertino) is contrasted with a string orch (the Ripieno). Otherwise, similar to solo concerto, but more scope for development. Overture - A “one movement” (no breaks used) form, begun in CLASSICAL period & developed further in the ROMANTIC (1820 – 1900). Often programmatic orchestral pieces. Can also refer to the music played at the start of an opera, musical, or oratorio when themes to be heard later on are played as a set piece in their own right. Cantata / Oratorio - A sacred (religious) version of an opera, but without any staging. Similar format of arias, duets etc for singers & orchestra, but often more for the chorus and orchestra to do without the soloists. Anthem / Motet - A song in many parts (often SATB) which sets often sacred (can be secular) lyrics. Popular in the RENAISSANCE period (1400 – 1600), but still written today. Madrigal - Basically, a song written about sacred or (usually) secular matters which exploits the polyphonic / homophonic contrast of having many voice parts. Mainly a RENAISSANCE style. |