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Karteikarten

KEY MUSICAL TERMS

carlacamilleri Music Englisch 197 Karten

KEY MUSICAL TERMS

Karten in diesem Stapel (197)

  1. 1ACCIDENTALSUSE OF SHARPS AND FLATS THAT ARE OUTSIDE THE NORMAL NOTES OF THE KEY/SCALE
  2. 2KEY SIGNATURETHE SHARPS AND FLATS OF A KEY/SCALE
  3. 3ASCENDINGA SET OF NOTES MOVING UP USUALLY FOR A SCALE/ARPEGGIO
  4. 4DESCENDINGA SET OF NOTES MOVING DOWN, USUALLY FO R SCALE/ARPEGGIO
  5. 5DIATONICNOTES WITHIN THE KEY
  6. 6CHROMATICA SET OF NOTES MOVING UP/DOWN IN SEMITONES. IT ALSO MEANS NOTES OUTSIDE OF THE KEY.
  7. 7PRIMARY CHORDSI, IV, V
  8. 8CADENCESIGNAL END OF A MUSICAL SECTION. USUALLY ENDS WITH A LONG NOTE AND CADENTIAL CHORD PROGRESSIONS
  9. 9MODULATIONCHANGE FROM ONE KEY TO ANOTHER
  10. 10FIGURED BASSUSED IN THE BAROQUE PERIOD, NUMBERS UNDERNEATH THE BASSLINE TELL THE PERFORMER WHICH CHORDS THE PLAY
  11. 11TRILLEXTENDED ALTERATION OF NOTES (ORIGINAL NOTE, ONE NOTE LOWER, BACK TO ORIGINAL) REPEATED 3 - 4 TIMES
  12. 12MORDENTEXTENDED GRACE NOTE (ORIGINAL NOTE, ONE NOTE LOWER, BACK TO ORIGINAL)
  13. 13TURNEXTENDED GRACE NOTE (4 - 5 NOTES IN TOTAL - HIGHER, ORIGINAL, LOWER, ORIGINAL)
  14. 14APPOGIATURASGRACE NOTE - DECORATIVE NOTE TO TAKE HALF OF THE VALUE OF THE MAIN NOTE (ACTS AS A SUSPENSION)
  15. 15ACCIACCATURACRUSHED NOTE - VERY QUICK NOTE PLAYED BEFORE THE MAIN NOTE
  16. 16ARPEGGIOBROKEN CHORDS - NOTES OF A CHORD PLAYED ONE AT AA TIME MOVING UP/DOWN
  17. 17GLISSANDOGLIDING OR SLIDING FROM ONE NOTE TO ANOTHER, USUALLY SHOWN BY A LINE ACROSS TWO NOTES
  18. 18TREMOLORAPID REPETITION OF A SINGLE NOTE
  19. 19TEMPOTHE SPEED OF THE MUSIC
  20. 20M.MMAELZELS METRONOME
  21. 21GRAVESOLEMN
  22. 22LENTOSLOWLY
  23. 23LAROBROADLY
  24. 24ADAGIOSLOW
  25. 25ANDANTEAT A WALKING PACE
  26. 26MODERATOMODERATELY
  27. 27ALLEGRETTOA LITTLE SLOWER THAN FAST AND LIVELY
  28. 28ALLEGROFAST AND LIVELY
  29. 29VIVACEVIVACIOUS
  30. 30PRESTOVERY FAST
  31. 31PRESTISSIMOAS FAST AS POSSIBLE
  32. 32ACCELERANDO (ACCEL.)GRADUALLY GETTING FASTER
  33. 33RALLENTANDO (RALL.) OR RITARDANDO (RITARD.)GRADUALLY GETTING SLOWER
  34. 34RITENUTOIMMEDIATELY SLOWER/HELD BACK
  35. 35RUBATORHYTHMICALLY FLEXIBLE
  36. 36TEMPO RUBATOAT "ROBBED" TIME
  37. 37A TEMPORETURN TO ORIGINAL SPEED
  38. 38TEMPO PRIMOFIRST SPEED
  39. 39STRINGENDOHURRYING
  40. 40ALLARGANDOBROADENING
  41. 41MOSSOMOVEMENT
  42. 42MENO MOSSOLESS MOVEMENT
  43. 43PIU MOSSOMORE MOVEMENT
  44. 44CON MOTOWITH MOVEMENT
  45. 45COMMON TIME4/4
  46. 46CUT TIME2/2
  47. 47DOUBLE TIMETWO NOTES ARE PLAYED AT HALF THE VALUES
  48. 48ANACRUSISPICK UP BAR: PARTIAL BARS AT THE START. THE INCOMPLETE BAR IS MADE UP AT THE END.
  49. 49IRREGULAR RHYTHMCONSTANT CHANGES IN RHYTHM GROUPING OR PHRASES (DIVISIONS OF THE BEAT OUTSIDE SIMPLE AND COMPOUND TIME)
  50. 50SWINGA RHYTHMIC STYLE IN JAZZ WHERE 2 EQUAL NOTES ARE PLAYED UNEVENLY (LONG SHORT)
  51. 51SYNCOPATIONPLAYING ON AN OFF BEAT
  52. 52TRIPLETTHREE NOTES PLAYED IN THE TIME OF TWO
  53. 53FERMATAPAUSE
  54. 54PIANISSIMO (PP)VERY SOFT
  55. 55PIANO (P)SOFT
  56. 56MEZZO PIANO (MP)MODERATELY SOFT
  57. 57MEZZO FORTE (MF)MODERATELY LOUD
  58. 58FORTE (F)LOUD
  59. 59FORTISSIMO (FF)VERY LOUD
  60. 60FORTEPIANOLOUD THEN SUDDENLY SOFT
  61. 61CRECENDO (CREC.)GRADUALLY GETTING LOUDER
  62. 62DECRECENDO/DIMINUENDOGRADUALLY GETTING SOFTER
  63. 63ACCENTPLAY WITH EMPHASIS
  64. 64SFORZANDOFORCED, ACCENTING THE NOTE
  65. 65FORZANDOFORCED, ACCENTING THE NOTE
  66. 66MORENDO/SMORZANDO/PERDENDOSIDYING AWAY
  67. 67SOTTO VOICEUNDER THE BREATH
  68. 68STACCATOSHORT, DETACHED NOTES
  69. 69MARCATO/ACCENTMARKED
  70. 70TENUTOHOLD FOR FULL VALUE
  71. 71SLURNOTES ARE PLAYED SMOOTHLY IN ONE BREATH/BOW OR JOINED = LEGATO
  72. 72TIESOUND IS HELD OVER FOR THE LENGTH OF THE TIE
  73. 73LEGATOSMOOTHLY
  74. 74CONWITH
  75. 75SENZAWITHOUT
  76. 76MABUT
  77. 77PIUMORE
  78. 78MENOLESS
  79. 79MOLTOMUCH
  80. 80ASSAIVERY
  81. 81NON TROPPONOT TOO MUCH
  82. 82MEZZOHALF
  83. 83POCOLITTLE
  84. 84POCO A POCOLITTLE BY LITTLE
  85. 85SUBITOSUDDENLY
  86. 86SEMPREALWAYS
  87. 87SIMLETHE SAME
  88. 88AGITATOAGITATED
  89. 89ANIMATOANIMATED
  90. 90APPASSIONATOPASSIONATELY
  91. 91CANTABILEIN A SINGING STYLE
  92. 92CON BRIOWITH VIGOUR
  93. 93CON FUOCOWITH FIRE
  94. 94CON SPIRITOWITH SPIRIT
  95. 95DOLCESWEETLY
  96. 96ENERGICOWITH ENERGY
  97. 97ESPRESSIVOWITH EXPRESSION
  98. 98GIOCOSOPLAYFUL
  99. 99GRAZIOSOGRACEFUL
  100. 100LEGGIEROLIGHTLY
  101. 101MAESTOSOMAJESTICALLY
  102. 102PESANTEHEAVILY
  103. 103SCHERZANDOPLAYFULLY
  104. 104SEMPLICESIMPLY
  105. 105SOSTENUTOSUSTAINED
  106. 106BINARYA,B (2 PART FORM)
  107. 107TERNARYA,B,A (3 PART FORM)
  108. 108RONDOA,B,A,C,A (THE MAIN THEME A ALTERNATES WITH NEW SECTIONS)
  109. 109BLUES12 BAR BLUES, USES THE BLUE SCALE, PRIMARY CHORDS (I, IV,V)
  110. 110ALBERTI BASSFOR CLASSICAL MUSIC, A PATTERN OF BROKEN CHORDS USED TO ACCOMPANY THE MELODY
  111. 111CONCERTOFEATURING A SOLOIST WITH AN ORCHESTRA, USUALLY IN THREE MOVEMENTS
  112. 112CHAMBER MUSICMUSIC PLAYED BY A SMALL GROUP OF INSTRUMENTALISTS/VOICE
  113. 113SYMPHONYLARGE PIECE FOR ORCHESTRA, USUALLY IN 4 MOVEMENTS, AND THE FIRST MOVEMENT WILL BE IN SONATA FORM
  114. 114ORATORIOLARGE WORK (MULTIPLE MOVEMENTS) FOR SOLO SINGER, CHORUS AND AN ORCHESTRA WITH SACRED WORDS, SUNG RELIGIOUS DRAMA
  115. 115OVERTUREORCHESTRAL INTRODUCTION TO AN OPERA OR BALLET
  116. 116OPERALARGE WORK (MULTIPLE MOVEMENTS) FOR A SOLO SINGER, CHORUS, AND AN ORCHESTRA. SUNG MUSICAL DRAMA USUALLY BASED ON SECULAR THEMES
  117. 117JAZZHAS IMPROVISING SECTIONS FOR THE SOLOIST, HAS CHROMATIC HARMONIES AND FREQUENT USE OF SYNCOPATION
  118. 118REPEAT SIGNSAT THE SECOND SIGN, GO BACK TO THE FIRST SIGN AND REPEAT THE MUSIC THERE. IF THE FIRST SIGN IS LEFT OUT, THEN REPEAT FROM THE BEGINNING
  119. 119DA CAPO (D.C)FROM THE BEGINNING
  120. 120FINETHE END
  121. 121DA CAPO AL FINEREPEAT FROM THE BEGINNING AS FAR AS THE WORD 'FINE' (THE END)
  122. 122DAL SEGNO (D.S)REPEAT FROM THE SIGN WITH THE CROSSED S
  123. 123CODA SIGNINDICATES WHERE TO GO TO THE CODA
  124. 124—REPEAT THE PREVIOUS BARREPEAT THE PREVIOUS BAR
  125. 125—REPEAT THE PREVIOUS 2 BARSREPEAT THE PREVIOUS 2 BARS
  126. 126—1ST TIME AND 2ND TIME BARS1ST TIME AND 2ND TIME BARS
  127. 127FLAUTO PICCOLOPICCOLO
  128. 128FLAUTI Fl.FLUTE
  129. 129OBOI Ob.OBOE
  130. 130CORNO INGLESE C.ACOR ANGLAIS
  131. 131CLARINETTO Cl.CLARINET
  132. 132CLARINETTO BASSOBASS CLARINET
  133. 133FAGOTTI Fg.BASSOON
  134. 134CONTRA FAGOTTIDOUBLE BASSOON
  135. 135CORNI Cor./HnHORN
  136. 136TROMBE/TROMBA Tpt.TRUMPET
  137. 137TROMBONI Tbn.TROMBONE
  138. 138TUBA Tba.TUBA
  139. 139TIMPANI K.Dr/TimpKETTLE DRUMS/TIMPANI
  140. 140TRIANGOLO Tri.TRIANGLE
  141. 141PIATTI Cym./Ptti/PiatCYMBALS
  142. 142GRAN CASSA B.D/Ca/G.CBASS DRUMS
  143. 143TAMBURO PICCOLO/TAMBURO S.D/T.piccSNARE DRUM
  144. 144TAMBURO BASCO/TAMBURINOTAMBOURINE
  145. 145CASTAGNETTECASTANETS
  146. 146TAM TAMGONG
  147. 147CAMPANETTE/CAMPANELLIGLOCKENSPIEL
  148. 148SILOPHONO/XILOFONO Xyl.XYLOPHONE
  149. 149CELESTA Cel.CELESTA
  150. 150PIANOFORTE Pn.PIANO
  151. 151ARPA Hp.HARP
  152. 152VIOLINO Vln.VIOLIN
  153. 153VIOLA Vla.VIOLA
  154. 154VIOLINCELLO Vc.CELLO
  155. 155CONTRABASSO Db./CB.DOUBLE BASS
  156. 156SOPRANOHIGH FEMALE VOICE
  157. 157MEZZO SOPRANOIN BETWEEN A SOPRANO AND AN ALTO
  158. 158ALTOLOW FEMALE VOICE
  159. 159TENORHIGH MALE VOICE
  160. 160BARITONEIN BETWEEN A TENOR AND A BASS
  161. 161BASSLOW MALE VOICE
  162. 162DIVISIDIVIDE NOTES BETWEEN PLAYERS ON A DESK
  163. 163PRINCIPALETHE SOLO INSTRUMENT IS INDICATED BY THE WORD PRINCIPALE
  164. 164SORDINOMUTE
  165. 165CON SORDINIWITH A MUTE
  166. 166SENZA SORDINIWITHOUT A MUTE
  167. 167VIBRATOWARMING THE TONE BY WOBBLING ON THE NOTE (WIND, STRINGS, VOICE)
  168. 168TUTTIEVERYBODY PLAYS
  169. 169UNISONALL PLAY THE SAME TUNE
  170. 170'BREATHING MARK
  171. 171PIZZICATOPLUCKED
  172. 172ARCOBOWED
  173. 173DOUBLE STOPPINGPLAYING 2 NOTES AT THE SAME TIME
  174. 174VUP BOW
  175. 175nDOWN BOW
  176. 176SUL TASCOPLAY ON THE FINGERBOARD
  177. 177SUL PONTICELLOPLAY NEAR THE BRIDGE
  178. 178SUL GPLAY ON THE G STRING
  179. 179HARMONICSLIGHTLY TOUCHING THE STRING WITH A FINGERTIP AT A HARMONIC NODE CREATES HARMONICS. INSTEAD OF THE NORMAL TONE, A HIGHER PITCHED NOTE SOUNDS
  180. 180WAH WAHUSE OF MUTE ON BRASS TO MAKE A WAH SOUND
  181. 181PED.USE OF THE SUSTAIN PEDAL
  182. 182UNA CORDASOFT PEDAL
  183. 183TRE CORDARELEASE SOFT PEDAL
  184. 184SYLLABICSING A DIFFERENT NOTE FOR EACH SYLLABLE
  185. 185MELLISMATIC/MELLISMASING A SYLLABLE OVER SEVERAL NOTES
  186. 186PIANO TRIOPIANO, VIOLIN, CELLO
  187. 187PIANO QUARTETPIANO, VIOLIN, VIOLA, CELLO
  188. 188STRING QUARTET2 VIOLINS, 1 VIOLA, 1 CELLO
  189. 189STRING TRIO1 VIOLIN, 1 VIOLA, 1 CELLO
  190. 190CLARINET QUINTETCLARINET, STRING QUARTET
  191. 191VOCAL QUARTETSOPRANO, ALTO, TENOR, BASS
  192. 192A CAPELLAUNACCOMPANIED SINGING
  193. 193SYMPHONY ORCHESTRALARGE ENSEMBLE CONSISTING OF WOODWIND, BRASS, PERCUSSION, STRING SECTION
  194. 194JAZZ COMBOCONSISTS OF A RHYTHM SECTION (BASS GUITAR, DRUM, PIANO) + MELODY INSTRUMENTS (EG. SAXOPHONE, TRUMPET)
  195. 195ROCK BANDBASIC LINEUP = DRUMS, BASS, RHYTHM GUITAR, LEAD GUITAR. OTHER INSTRUMENTS SUCH AS A KEYBOARDS CAN BE ADDED
  196. 196BIG BANDA TYPE OF JAZZ BAND. THE USUAL COMBINATION INCLUDES MULTIPLE SAXOPHONES, TRUMPETS, TROMBONES AND A RHYTHM SECTION
  197. 197CONCERT BANDIS MADE UP OF WOODWIND SECTION, SAXOPHONES, THE BRASS SECTION, THE BASS AND PERCUSSION. A CONCERT BAND SOMETIMES CALLED A SYMPHONIC BAND DOES NOT HAVE STRINGS

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Beschreibung
Music (Score Reading) Karteikarten am KEY MUSICAL TERMS, erstellt von carlacamilleri am 19/09/2013.
Erstellt von
carlacamilleri · Sep 2013
Aktualisiert
4 Feb 2018
Aufrufe
151
Tags
musicscore reading
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