MELODIC

Words in this section describe what is happening in the melody.

The melody can move in a variety of ways:

ASCENDING Moving in an upward direction

DESCENDING Moving in a downward direction

STEPWISE Moving by step to the note directly above or below

LEAPING Jumping between high notes and low notes

The melody can move in patterns:

REPETITION Musical idea heard more than once in exactly the same
way by exactly that same instrument/voice

IMITATION Musical idea played by one instrument/voice and then

repeated exactly the same way by another
instrument/voice

SEQUENCE A pattern of notes repeated higher or lower

PHRASE Short musical idea, part of the melody

THEME A clear recognizable melody which is the main idea for a

composition

QUESTION An opening phrase in a melody

ANSWER Reply to an opening phrase or musical answer

The melody can be measured in distance:

INTERVAL The distance between 2 notes

SEMITONE The shortest distance in music – half a tone (eg C to C#

or B to Bb, etc)

TONE An interval of 2 semitones (eg from C to D or F to G etc)

BROKEN CHORD Notes of the chord played separately

MICROTONE An interval smaller than a semitone. Used in Eastern

European music and also Indian Music. Sometimes found
in music of the 20th Century.
TRITONE Interval made up from three whole tones (eg F-B)

The melody can be decorated in order to make it more interesting:

VARIATION When the main theme is developed by adding extra notes

or changing the speed or tonality

ORNAMENT A decoration added to the melody using different or

additional notes

GRACE-NOTE A type of ornament played quickly before the note. Used

mainly as a decoration

TRILL A rapid repeated movement between 2 notes

TURN An ornament – 4 notes turn around the main note.

Played as: the note above – the main note – the note
below – the main note again.

MORDENT An ornament. Played as: the main note – the note above
– the main note again. (upper and lower mordents)

ACCIACCATURA An ornament which sounds like a ‘crushed note’. The

note is played very quickly on or before the note

APPOGGIATURA An ornament which sounds like a ‘leaning note’. It takes

on half the value of the main note that follows it. (eg 1
minim becomes 2 crotchets)

Melodies can be played using different scales:

MODE Usually refers to an early form of scale or in reference to

a major mode (major key) or minor mode (minor key).

MAJOR SCALE A row of notes built on an order of tones and semitones.

Major scales can be described as bright and happy

MINOR SCALE A row of notes built on an order of tones and semitones.

Two main types – Melodic Minor and Harmonic Minor.
Minor scales can be described as sad and dull.

HARMONIC MINOR Scale sharing the same key signature as its relative
major but raises the 7th note by one semitone

MELODIC MINOR Scale sharing the same key signature as its relative
major but raises the 6th and 7th notes by one semitone
ascending and similarly lowers them when descending.

CHROMATIC A scale built entirely on semitones

PENATONIC A scale based on 5 notes. Very popular in folk music

WHOLE TONE SCALE A scale built entirely on tones. Popular in 20th Century
music and sometimes sounds strange to the ear.

BLUES SCALE A scale used in Blues music. In the scale of C the main
blues scale uses the notes C, Eb, F, Gb, G, Bb, and high C.

TONAL Music based on a Major or Minor key

ATONAL Music based on no particular key. Sounds dissonant and

is heard to listen to. Very popular in 20th Century

MODULATING Moving from a higher key to a lower key and vice versa

RELATIVE MAJOR A change from a minor key to the major key with the
same signature. The major key is found 3 semitones
higher

RELATIVE MINOR A change from the major key to the minor key with the
same key signature. The minor key is found 3 semitones
lower.

TONE ROW The 12 notes found in a chromatic octave are arranged in

a particular order appearing once only in the row. Each
note is as important as the other. Found in Serialism.

In vocal music we can describe the word setting of melodies as follows:

SYLLABIC One note for each syllable

MELISMATIC Several notes sung to one syllable

WORD PAINTING The music can illustrate the word or the phrase, (eg the
words ‘running down the hill’ may be sung as a
descending scale)

SCAT SINGING Nonsense words and sounds made up by a singer usually

found in Jazz music.
HARMONIC
Words in this section describe what is happening in the harmony

Harmony can be split into two areas of TONALITY:

MAJOR The music sounds in a major key – bright and happy

sounding

MINOR The music sounds in a minor key – sad and dull sounding

POLYTONALITY Two or more keys played at the same time. (eg. 1 part in
C major/1 part in F major)

Harmony is built in the following way:

CHORD Two or more notes sounding together

CHORD CHANGE Moving from 1 chord to a different chord

DISCORD A chord in which certain notes clash producing an

unpleasant sound. Popular in 20th Century music

CONSONANCE Notes which sound well together, pleasant on the ear

DISSONANCE Notes which do not sound pleasant when played

together

INTERVAL The distance between 2 notes

SUSPENSION An effect created when a note from 1 chord is held over

to the next chord creating a discord. The note is then
resolved

PASSING NOTE A note moving between 2 notes from the same chord,
(eg. D is the passing note between C and E)

VAMP A rhythmic accompaniment with a bass note played on

the strong beat and a chord played off the beat

Chords:

DOMINANT 7TH Chord built upon the dominant (5th) note of the key
which adds the 7th note above the root (the 7th note of
the scale).

DIMINISHED CHORD A chord built from two minor 3rd intervals.

DIMINISHED 7TH Chord build from three minor 3rd intervals one on top of
the other. The interval between the lower note and the
top note is a diminished 7th

AUGMENTED CHORD Chord formed from the major chord where the 5th is
raised a semitone.

ADDED 6TH Chord made from a major chord with the 6th note added
to the top.

Harmony changes in the following way:

MODULATION A change of key

MODULATION TO THE RELATIVE A change from the major key to the minor key
with the same key signature (or visa versa)

Concepts affecting harmony are:

PERFECT CADENCE 2 chords at the end of the phrase. Chord V to chord I –

the dominant to the tonic

PLAGAL CADENCE 2 chords at the end of the phrase. Chord IV to chord I.

Sounds finished and is known as the ‘Amen’ effect.

IMPERFECT CADENCE 2 chords at the end of a phrase. Chord I to chord V – the

tonic to the dominant

INTERRUPTED CADENCE 2 chords at the end of a phrase. Chord V to chord VI

(minor chord). Known as the ‘surprise’ cadence as it
interrupts the flow of the music (always ends in a minor
chord!)

TIERCE DE PICARDIE The final chord in a piece of music played in the minor
key is changed to major.

DRONE One note held on or repeated in the bass. Commonly

found on a bagpipe
RHYTHMIC
Words in this section describe what is happening in the rhythm and tempo.

Rhythm falls into 2 areas:

SIMPLE TIME Music with 2, 3 or 4 beats in the bar. Each beat is

usually 1 crotchet

COMPOUND TIME Each beat is divided into groups of 3 pulses

Speed changes are described in the following way:

ACCELERANDO Music gets gradually faster

RALLENTANDO Music gets gradually slower

RUBATO The performer plays in a very free way and is able to pull
the music about to suit the situation

Rhythm effects can be described in the following way:

ON THE BEAT The main accents are on the beat

OFF THE BEAT The main accents are on the weak beat or against the
beat.

SYNCOPATION Accented notes playing off or against the beat. Same as

above.

SCOTCH SNAP A rhythmic figure with a short accented note followed

by a longer note. Mostly found in a Strathespey.

CROSS RHYTHMS Effect where 2 notes are played against 3

DOTTED RHYTHMS Long notes followed by short notes and vice versa giving
a jolty effect

TRIPLETS Group of three notes played in the space of 1 beat

DOWN BEAT The first beat of each bar, which the conductor would
show with a downward stroke.

UP BEAT The last beat in the bar, which the conductor would
show with an upward beat

ANACRUSIS Notes which appear before the first strong beat of the
bar. Almost like a very short lead-in
THREE AGAINST TWO One line or part playing quavers in groups of two while
another part plays triplets

Concepts affecting the rhythm:

DRUM FILL A rhythmic decoration played on the drumkit

BEAT/PULSE The basic pulse you hear in music

PAUSE The musical flow/rhythm is held up by a long note or

silence

ACCENTED Notes that are slightly stressed sounding louder than

others.

HEMIOLA Often appears in Baroque music where music which has

3 beats in a bar moves to 2 beats and creates a cross
rhythm over a bar line. This often happens to emphasise
a cadence. Almost gives a Rallentando effect.

AUGMENTATION The note values are increased affecting the length of the
notes. The music sounds slower when repeated.

DIMINUTION The note values are decreased. The music sounds faster
when repeated.

TIME CHANGES Changes in time signature

IRREGULAR METRES Regular time changes

STRUCTURE
Words in this section describe how a piece of music is put together or constructed.

All music falls into one of 3 categories:

MONOPHONIC One single line or part

POLYPHONY Texture consisting of two or more melodic lines which

weave independently of each other

CONTRAPUNTAL Similar to above

HOMOPHONY Texture where all the parts move together rhythmically

These categories are either:

ACCOMPANIED One or more instruments/ voices support the main

melody

UNACCOMPANIED The melody is not supported by any other instruments or

voices

Music is constructed in the following ways:

SINGLE LINE One musical part

SOLO Single line/performer

UNISON/OCTAVE Two or more parts performing the same named note at

the same pitch or 8 notes apart.

HARMONY Two or more parts performing different notes at the

same time

ENSEMBLE Group of musicians performing together

CLUSTER A group of notes played on a keyboard instrument with

the palm of the hand. A 20th Century technique – harsh
on the ear

DESCANT Another melody above the main tune, mainly in vocal

music

COUNTERMELODY A melody played against the main melody

OBBLIGATO A prominent solo instrument part in a piece of vocal

music. Almost like an instrumental descant
CONTRARY MOTION Two parts moving in opposite directions (eg one
ascending, one descending)

PEDAL A note which is held or repeated continuously in the bass

part while the harmony changes over it

INVERTED PEDAL A note which is held or repeated continuously in the

upper part while the harmony changes around it

CHORD Two or more notes sounding together

ARPEGGIO Notes of the chord played one after the other – can be
spread beyond an octave

ANTIPHONAL One group of voices or instruments answers another.

Like an echo effect.

INVERSION the music is mirrored or turned upside down

RETROGRADE To go backwards – a musical section is played from the

end to the beginning

SUBJECT The main theme in a composition or the main themes in

Sonata Form or the main theme on which a Fugue is
based

COUNTERSUBJECT Found a Fugue. After the subject or answer has been

played, the continuation on that same voice or
instrument is called the countersubject

REAL ANSWER Found in a Fugue after the subject is played, the same
tune appears in another voice or part in the dominant
key. This is called the answer. If the intervals are
exactly the same as the subject then this is called a Real
Answer.

TONAL ANSWER Found in a Fugue. If the intervals in the answer are not
exactly the same as the subject then this is a Tonal
Answer.

EPISODE A section linking two appearances of the same material.

In a fugue, an episode can be used as a modulating link
between entries of the subject.

STRETTO Where the voices or parts enter very quickly one after
another as in a Fugue

Music is also constructed using different sections

REPETITION A section repeated in exactly the same way by exactly

the same instrument

OSTINATO/RIFF A short musical pattern repeated many times

SECTIONAL FORM Made up of connected sections

DEVELOPMENTAL FORM Thematic (based on a musical idea such as a melody) and
consists of several layers of sections

IMPROVISATIONAL FORM Improvises on a theme called a “motive” (musical idea)

and usually makes up a single movement

BINARY A form where the music is made up from 2 sections – A

&B

TERNARY A form where the music is made up from 3 sections – A

BA

RONDO A form in music where the first section comes back

after each contrasting section A B A C A D A E A etc

ARCH Five sections with the 4th and 5th in retrograde A B C B A

THEME AND VARIATIONS A form in music where each section changes the main
theme through speed, tonality, time signature or rhythm

ROUND Each part sings or plays the melody entering one after
the other

CANON Strict imitation where one part sings or plays the

melody with another part entering shortly afterwards
with exactly the same melody.

MINUET & TRIO A dance with 3 beats in the bar. The trio is a contrasting
minuet after which the first minuet returns

PROGRAMME Music which tells a story or describes a scene or picture

MIDDLE 8 Modulating 8 bars connecting 2 related sections

STROPHIC Music with recurring verse and Chorus

THROUGH – COMPOSED Music that does not have a chorus or repeat

CODA The concluding section at the end of a movement or

section to give a final effect.

CADENZA A show-off passage in a Concerto where the soloist

performs a solo passage showing how well they play the
instrument

LEITMOTIV A recurring theme throughout a work which represents a

person, event or idea

RITORNELLO Returning passage. In a Concerto Grosso it is the main

theme played by the orchestra.

SONATA FORM Often describes the form of the first movements of

sonatas, symphonies and overtures. Falls into 3 section:
Exposition – Development – Recapitulation

SONATA-ALLEGRO A more complex form of thematic material (Introduction,

Exposition, Development, Recapitulation, Coda)

EXPOSITION The first section of a movement in Sonata Form or the

first section of a Fugue
BRIDGE A link between 2 themes. In Sonata form the transition
or bridge passage links the first subject group to the
second subject group and also modulates to the key of
the second.

TRANSITION Similar to above

Bass lines can be constructed in different ways:

WALKING BASS A moving bass line with notes of the same value. They
usually move in step.

GROUND BASS A theme repeated in the bass many times while the
upper parts are varied

ALBERTI BASS Broken chords played in the left hand while the right
hand plays the melody. Usually found only on piano

BASSO CONTINUO Found in Baroque Music. Consists of a Bass Line usually

played by cello, bass, viola or bassoon in addition to a
keyboard part – harpsichord or organ. The players would
fill in missing harmonies.
TIMBRE
Words in this section describe instruments, ensembles and how they are used.

Voices are as follows:

SOPRANO The highest range of female voice

MEZZO-SOPRANO Female voice range lying between a soprano and alto

ALTO The lowest female voice

COUNTERTENOR Male adult voice range higher than a tenor. Can

sometimes sound like a female. Sound is produced by
singing in what is called the ‘head voice’.

TENOR A high adult male voice

BARITONE Male voice range lying between a tenor and a bass

BASS The lowest male voice

Concepts describing vocals are:

A CAPPELLA Unaccompanied singing

LEAD VOCALS The main singers in a group

BACKING VOCALS Singers who support the main singer usually by singing
in harmony in the background

CHORAL Music for voices with more than one singer on each part

COLORATURA Term used to describe highly decorative, florid, vocal

singing involving scales and ornaments. The singer
would sometimes exceed their vocal range.

SPRECHGESANG Technique used in vocal music where the singer is

required to use the voice in an expressive manner half
way between singing and speaking. 20th Century
technique.

Sections of the Orchestra:

STRINGS Consisting: Violin, Viola, Cello, Double Bass and Harp

WOODWIND Consisting: Piccolo, Flute, Oboe, Clarinet, Saxophone and

Bassoon
BRASS Consisting: Trumpet, Trombone, Horn and Tuba

PERCUSSION Consisting: Tuned: Glockenspiel, Xylophone, Marimba,

Metalophone etc Consisting: Untuned: Drumkit, Timpani,
Triangle, Cymbals, Tambourine etc

Each section has concepts associated with them:

STRINGS:

BOWING When strings are played with a bow

ARCO Another word for Bowing

PLUCKING Using fingers to pick the strings

PIZZICATO Sound made by plucking the strings with fingers

STRUMMING Sound produced by drawing fingers or a plectrum across

the strings

SLAPPING Method of playing a bass guitar where the thumb is used

to hit the strings

DOUBLE STOPPING Sound produced by bowing more than one string at a

time

COL LEGNO Sound produced by bouncing the wooden side of the bow
on the strings – gives a clicking sound

TREMOLANDO Trembling, quivering effect

TREMOLO Rapid up and down movement on the strings creating an

agitated effect. Can also be produced by playing
different notes at least a 3rd apart on piano or wind
instruments

VIBRATO A rapid but minute fluctuation in pitch to give an

expressive quality to a note

HARMONICS The high eerie like sounds produced on a bowed string

instrument by lightly touching the string at certain
points. On a guitar this will sound “bell like”

WOODWIND:

BLOWING Sound produced by blowing into or across the mouth

piece

FLUTTER TONGUING The method of tonguing in which the player rolls the
letter ‘r’. it is particularly effective on flute but also
used on brass
BRASS:

BLOWING Sound produced by blowing into or across the mouth

piece

MUTED Using a device which reduces the volume or alters the

sound of an instrument

CON SORDINO Musical term for muted

PERCUSSION:

STRIKING Sound is produced by hitting an instrument

ORCHESTRA SECTIONS:

CONSORT An old English word, from the Renaissance and early

Baroque periods for a group of instruments or chamber
ensemble. A Whole consort applies to one family of
instruments such as Viols or Recorders, while a broken
consort applies to mixed families.

RIPIENO The main, larger group of instruments in a Concerto

Grosso

CONCERTINO The smaller, solo, group of players in a Concerto Grosso

SCOTTISH INSTRUMENTS:

ACCORDION Instrument with a keyboard in which the sounds are

produced by squeezing bellows with the arms

FIDDLE Another name for the violin

PIPES Short for bagpipes

BENDING Changing the pitch of a note – for example by pushing a

guitar string upwards

ROLLS A very fast repetition of a note on a percussion

instrument like snare drum or timpani

DISTORTION An electronic effect used in rock music to colour the

sound of the electric guitar

REVERB An electronic effect which can give the impression of

different hall acoustics

DELAY An electronic effect which repeats a note or a phrase

General instrumental concepts:

GLISSANDO Rapid sliding up or down the notes popular on piano,

harp and trombone

SUSTAINED When the sound is held on

STACCATO Short, crisp, detached notes

LEGATO Notes played smoothly

CRESCENDO Getting louder

DIMINUENDO Getting quieter

Individual instruments:

ELECTRIC GUITAR Guitar which requires an amplifier to produce sound

ACOUSTIC GUITAR A guitar which does not require an amplifier to produce

the sound

12-STRING GUITAR A guitar that is double strung having 2 notes per pitch

SLIDE GUITAR A method of playing a guitar whereby the player uses a

metal tube or bottleneck around his finger and slides it
across the frets to change the pitch

FRELESS BASS GUITAR A bass guitar with no frets – closer in tone to a double
bass

DRUMKIT Percussion instrument were tuned skins are hit with

sticks

ELECTRONIC DRUMS Drumkit where the sounds are electronically recreated

along with other percussion sounds

PIANO Keyboard instrument where the sound is produced by

hammers hitting sticks

ORGAN A keyboard instrument usually found in churches – often

more than 1 keyboard

SYNTHESISER Keyboard instrument capable of making new and

unusual electronic sounds

RECORDER Early woodwind instrument sound produced by blowing –

four types, descant, treble, tenor and bass

PAN PIPES Pipes which are graded in size and bound together with
the sound produced by blowing across the top of the
pipes

SITAR A string instrument from India. In addition to melody

strings it has a drone and strings which vibrate with
each other
TABLA Two Indian drums tuned to different pitches and often
used to accompany a sitar

Bands and ensembles:

BRASS BAND A band containing brass instruments and percussion

CEILIDH BAND A band containing fiddles, drums and accordion. Mainly

used to accompany dancing

MILITARY BAND A band containing woodwind, brass and percussion

PIPE BAND A band containing Bagpipes and drums

ROCK BAND A band containing guitars, bass guitars, drums and

vocals

STEEL BAND A West Indian band containing instruments made out of

oil drums. Each drum is hammered into panels to make
different pitches

SCOTTISH DANCE BAND A band containing fiddle, accordion, piano and drums

WIND BAND A band containing woodwind, brass and percussion

instruments. Usually intended for performance in
Concert Hall

FOLK GROUP A group of instrumentalists and singers performing songs

from a particular country

JAZZ GROUP A group which performs jazz containing, drumkit, piano

and trumpet

POP GROUP A group of instrumentalists and singers performing

modern day popular music

GHANAIAN DRUM ENSEMBLEWest African percussion instruments drums, bells and

shakes which are played together

LATIN PERCUSSION ENSEMBLEA set of percussion instruments playing music from

Latin America, Brazil and Cuba

CHAMBER MUSIC Music written for a small instrumental ensemble with

one player to a part
STYLES/FORMS
Words in this section describe the original form/style of the music in relation to the
history of music

Musical Periods:

BAROQUE Music written between 1600-1750. Popular composers

were Bach and Handel

CLASSICAL Music written between 1750-1810. Popular composers

were Mozart, Haydn and Beethoven

ROMANTIC Music written between 1810-1900. Popular composers

were Chopin, Schubert and Tchaikovsky

LATE ROMANTIC Music of the late 19th Century and early 20th Century
which retains the dramatic intensity of the earlier 19th
Century. Music contains vast instrumental forces and
large scale compositions.

NATIONALIST A term used to describe music which incorporates

elements of folk music of the composers’ country. It
emerged around the second half of the 19th Century.

Vocal styles/forms:

HYMN TUNE A simple melody used in the church

OPERA A secular drama set to music featuring vocals with

orchestral accompaniment

ORATORIO A musical setting of a biblical story featuring vocals and

orchestra. no acting or staging.

RECITATIVE Vocal writing found in Opera, Oratorio and Cantata

following the rhythm or speech. It is often half sung/half
spoken in order to move on the story or plot

ARIA A song found in an Opera, Oratorio and Cantata usually

with orchestral accompaniment

DA CAPO ARIA An aria in ternary form. The 3rd section is not written
out but the instruction Da Capo (from the beginning) is
given instead. The first section is repeated in a highly
ornamented fashion.

CHORUS A group of singers with several voices to each part. Used

in Opera, Oratorio and Cantata
PLAINCHANT Also known as Plainsong. Unaccompanied melody set to
words of the Roman Catholic liturgy such as the Mass.
Plainchants are Modal and have no regular meter. Sung
in Latin.

CHANT Unaccompanied vocal music to which the words of

psalms are sung in the Church Of England

MASS From Renaissance period, a large scale sacred choral

work featuring a Latin text and polyphonic texture.
Usually performed a cappella. Listen for eg, Kyrie,
Benedictus, Gloria etc

MOTET From the Renaissance period, a religious choral

composition, usually unaccompanied (a cappella) for the
Roman Catholic Church in Latin and is the equivalent of
the Anthem of the reformed church

ANTHEM Short sacred choral work sung in English. Sometimes

unaccompanied but sometimes accompanied by organ

MADRIGAL From the Renaissance period, a non-religious work,

polyphonic in style and using imitation

BALLETT A madrigal easily recognized by it’s ‘Fah-la-la’ chorus

CANTATA A small scale Oratorio

PASSION Type of Oratorio describing the Crucifixion. Sung in

German and features a Chorale

CHORALE German Hymn tune written in four parts for Soprano,

Alto, Tenor and Bass. Usually Homophonic in texture

MUSICAL Popular musical play featuring vocals and orchestra

LIED From the Romantic period, music for solo voice and
piano sung in German

SONG CYCLE A group of songs linked by a common theme or with a

text written by the same author usually accompanied by
piano or sometimes small ensembles or full orchestra.

Instrumental styles/forms:

PAVAN A Renaissance court dance linked with the Galliard. The

pavan is slow and stately with 2 beats in the bar.

GALLIARD A Renaissance court dance which follows a Pavan. The

Galliard is quick and lively and has 3 beats in the bar.

OVERTURE A piece of orchestral music which introduces a large-

scale work such as an opera, oratorio or musical

SONATA A work for solo piano of solo instrument and piano

SUITE A set of dances or a collection of pieces that stand on
their own or are part of a larger scale work

CONCERTO A work for solo instrument and orchestra

CONCERTO GROSSO From the Baroque period, a concerto in which a group of

soloists (concertino) is combined and contrasted with a
larger group (ripieno)

FUGUE A contrapuntal piece based on a theme (subject)

announced in one part alone and then imitated by others
in close succession

CHORALE PRELUDE An extended work for organ based on a chorale melody.

Usually found in the Baroque era

SYMPHONY A large work for orchestra in four movements

FANFARE A short piece played on trumpets usually indicating an

important occasion or event

SCHERZO A lively movement in triple time often found in a

symphony, sonata or chamber music

AIR A song or simple melody, sometimes the title of a

movement or suite.

SYMPHONIC POEM A full symphonic work in one movement which tells a

story in sound, often called a tone poem. 20th Century.

CHACONNE A vocal or instrumental composition in slow, stately

three-beat time with a Ground Bass. Popular in the 17th
Century in keyboard music

PASSACAGLIA Originally a slow stately dance of the 17th century, this

term now applies to a piece with a theme which is
continually repeated, but not necessarily in the bass like
a Chaconne

Scottish styles/forms:

BOTHY BALLAD Folk song with many verses telling a story of rural or
farming/working life

GAELIC PSALMS Unaccompanied songs sung in gaelic. One member of the

congregation starts and the rest follow

MOUTH MUSIC Gaelic nonsense words sung in imitation of the sound of

bagpipes as an accompaniment to dancing

SCOTS BALLAD A slow Scottish song telling a story

WAULKING SONG Gaelic work song by women. One woman leads and the
others follow. The sound of the tweed being ‘waulked’ or
hit against the work surface is heard in the background
JIG A fast Scottish dance in compound time

MARCH Music with a strong steady pulse with two or four beats
in the bar

STRATHSPEY A Scottish dance with four beats in the bar featuring

dotted rhythms and a Scotch Snap

REEL A fast Scottish dance in simple time with two or four

beats in the bar

WALTZ A dance in simple time with three beats in the bar

PIBROCH Classical music for the solo bagpipe usually in variation

form

SLOW AIR A slow traditional song usually played on the fiddle or

the bagpipes

Jazz styles/forms:

BLUES Music written in 4/4 time and mostly patterned in a 12-

bar structure and on a scale where some notes are
flattened – the blues scale

BOOGIE-WOOGIE Blues style for the piano where the left hand plays an
Ostinato with the right hand improvising freely

DIXIELAND Performed by a small group of players where group

improvisations and solos are popular

IMPROVISATION Music made up on the spot by the performer

RAGTIME A style of dance music popular at the end of the 19th

Century. Often played on the piano and featuring a
strongly syncopated melody in the right hand against a
steady vamp in the left hand

SWING A jazz style started in the 1930’s usually performed by

Big Bands

JAZZ FUNK A combination of Jazz improvisation and the amplified

instruments and character of rock

Latin American styles/forms:

SAMBA Very lively, syncopated dance with 2 beats in the bar

featuring a set of percussion instruments as the
foundation

SALSA A musical style originating in Cuba. An important

element is the rhythm provided by a large percussion
section
20TH Century styles/forms:

IMPRESSIONIST A term borrowed from painting in which musical ideas

merge to create a rather blurred and vague outline.
Debussy was an important composer of this style

MINIMALIST A 20th Century development where simple rhythmic and

melodic figures are repeated very slight changes each
time

ALEATORIC Chance music. Players have a free choice as to the

rhythm and pitch of the music. No two performances
will be exactly the same

NEO-CLASSICAL Music written from 1929 onwards as a reaction to

Romanticism. Composers returned to the structures and
styles of the earlier period but included dissonant, tonal
and atonal harmonies.

SERIAL Method of composition in which the twelve notes of the

chromatic scale are organized into a series or tone row.
The row can be transposed, inverted or played in
retrograde

MUSIQUE CONCRETE Recorded natural sounds which are transformed using

simple editing techniques such as playing backwards,
slowing or speeding.

General styles/forms:

COUNTRY An American style of popular music featuring banjo,

guitar, drums and sometimes vocals

GHANAIAN Music from West India

INDIAN Music from India using instruments such as the sitar and
tabla

INDONESIAN GAMELAN Type of percussion instruments from Indonesia. The

instruments are usually metal and tuned and the music
is built up in layers

POP Popular music performed by a group of musicians.

Usually music that has been in the charts

ROCK Popular music with a steady driving beat

SOUL Afro-American popular music including elements of

blues, gospel and conveying strong emotions
TEXTURE
MONOPHONIC TEXTURE Music with a single melodic line and no harmonic or
melodic accompaniment. It may, however, involve non-
pitched rhythmic accompaniment

HOMOPHONIC TEXTURE Consists of a melody with chordal or harmonic

accompaniment, such as when a pianist plays a melody
with the right hand and chords with the left

POLYPHONIC TEXTURE Describes music that has two or more independent

melodic lines of relatively equal importance performed
simultaneously. Two common forms of polyphonic
texture are counterpoint (melody against melody) and
imitation, such as canon or a round

HETEROPHONIC TEXTURE Consists of a melodic line performed by two or more

musicians simultaneously with variations from
performer to performer.