Play two octaves higher than written.
Play one octave higher than written. 8vb (or 8va bassa) means one octave lower.
Negligent; free and easy.
To couple (in organ music). So accouplé, coupled; accouplement, coupling, coupler (nouns); accouplez, couple (imperative).
In an agile manner, implying speed and nimble execution.
Agility.
Agitated, in an agitated manner.
1. Going, i.e. active, brisk. 2. Continuing, e.g. Debussy's allant grandissant—going on growing.
Brightly.
Animated.
Torn. Extreme form of pizzicato.
Well-articulated.
Enough, fairly; e.g. assez vite, fairly quick.
Play with the wood of the bow.
Off. In organ music, applied to a stop no longer required.
To damp off; to mute, especially in connection with timp.
To loosen from one another; to separate the notes (i.e. to play staccato).
Off-taking; diminuendo.
1. To detach notes from one another; to play staccato. 2. In organ playing, to cease to use a stop.
To change. Used of orch instr alternating with another in the hands of the same player.
Care.
Full of fervour.
Agitated, in an agitated manner.
All. Alle ersten means all the first vns and alle zweiten all the 2nd.
As, like, when, than.
At the, on the, to the, by the, near the.
At the frog; at the nut of the bow (in string playing).
On the bridge (of vn, etc.); same as sul ponticello.
On, by, to, at; in organ music it signifies that the stop in question is to be drawn.
At the point (of the bow).
Beginning. Anfangs, at the beginning.
To tear at; use a very forceful pizzicato.
On, etc. e.g. auf der G, on the G (string).
In the middle of the bow.
Up-soaring, flight, e.g. mit aufschwung, in a lofty (impassioned) spirit.
Expression. Ausdrucksvoll, expressively.
Held out; sustained.
To hold out; to sustain.
1. Two instrs that normally play separate parts to play in unison. 2. Two or more instrs that normally play in unison to divide to play separate parts.
With the beat; return to strict tempo.
Abandon; free, impassioned style.
To lower; to tune down a str of an instr of the vn family.
Caressing, caressingly.
Accented.
Broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top.
To couple (in organ music). Hence accoppiato, coupled; accoppiamento, coupling.
Slow, but less so than adagio.
At ease. Slow (not so slow as largo, but slower than andante).
Very slow.
Extremely slow.
Becoming dolce (gentle or sweet).
Grieved; in a saddened style.
1. Divide between 2 instruments or voices. 2. 2 instruments or voices join in playing the same line.
On 2 strings (in music for str instrs).
Affectionate, with tenderness.
Affectionately.
Affection.
Hurrying, quickening; increase tempo, implying also an increase in nervous energy.
Exact (in point of rhythm).
Comfortably, freely; with suitable liberty as regards speed.
In an agile manner, implying speed and nimble execution. Agilità, agility.
Agitated, in an agitated manner. Agitazione, agitation.
At the, to the, in the, in the style of, etc.
To the, at the, on the, with the, in the manner of.
Indicates 2/2 time when the tempo is so fast that the measure may be considered to have 2 beats.
Enlarging; getting slower and broadening, without loss of fullness in tone.
In the German style.
Brightly.
Moderately quick, pretty lively (but not so much as allegro).
Mirth, cheerfulness.
Merry; i.e. quick, lively, bright.
Superlative of allegro.
Slowing down.
At the place; return to octave as written.
High.
Raised, lifted off (of a mute or mutes, etc.).
Lovableness.
Loving, affectionate.
Still loud.
Even louder.
Going (i.e. running). A fugue subject of above average length, often of a running character.
From andare, to go. Moving along, flowing (slowish but not slow).
A diminution of andante. Commonly accepted modern usage means a little quicker than andante.
Flowing and songlike.
Flowing and smooth.
Becoming animated. Animato, animated.
Spirit, spirited. Animosamente, spiritedly.
Open. 1. Clear, distinct. 2. Broad in style.
Impassioned; appassionatamente, passionately; appassionamento, passion.
Leaning; leaned. 1. Each note passing very smoothly to the next (portamento). 2. Stressed.
At the point of the bow (in str playing).
Stroke of bow (in str playing), often followed by in giù (down), or in su (up).
Bowed (used after a passage of pizzicato).
Up-bowed.
Bow (used after a passage of pizzicato).
In the spirit of a harlequinade.
To play chords as arpeggios. Present and past participles, arpeggiando, arpeggiato.
Well-articulated.
Very, extremely.
In time; resume original speed.
Attack (imperative); start the next movement without a break. Also attacco subito.
A very short grace note played as quickly as possible immediately before the main note; sometimes called a crushed note. Notated with a slashed stem.
A grace note, usually a step above or below the main note, that takes a significant portion of the main note's value. Unlike the acciaccatura, it is leaned upon.
The notes of a chord played in rapid succession from lowest to highest, rather than simultaneously. Indicated by a vertical wavy line before the chord.
> (standard accent), ^ (marcato, a strong attack), sf or sfz (sforzando, a sudden strong accent on a single note).
A dot placed after a note head increases its duration by half its original value. A double dot adds a further quarter.
Presenting a theme in longer note values than originally stated.
A moderate duple-meter Baroque dance of German origin; typically the first movement of a Baroque suite.
A light, ornamental character piece; associated with Schumann and Debussy.
Same as natural minor scale.
V (or V7) to I; the most conclusive cadence. A perfect authentic cadence has both chords in root position with the tonic in the soprano.
Chords built on the lowered 6th scale degree containing an augmented 6th interval above the bass; types include Italian, French, and German. They resolve outward to V.
A non-chord tone that anticipates (arrives early) the following chord.
A non-chord tone approached by leap and resolved by step (usually downward); creates a strong dissonance on a metrically accented beat.
Gradually speeding up.
The first phrase of a period; typically ends on a half cadence, creating a sense of question.
The manner in which notes are attacked, sustained, and released; includes legato, staccato, accent, tenuto, etc.
Gentle womanliness and a mild character.
The funereal key. Death, the tomb, decay, judgment and eternal life are all encompassed in this key.
Declarations of innocent love and contentment; the hope of a reunion when lovers part; youthful happiness and confidence in God.
A dark, deep and profound key, apt for expressing horror, the silence of the night, quietness, fear, terror.
Highly euphonious, expressive, passionate, playful, smiling and lively.
Deeply lugubrious and sad. Little used, except to express such things as slaughters, massacres and funeral laments.
Academy of Ancient Music
Australian Broadcasting Commission
Accompanying/accompanied (by)/accompanist
Accordion
Academy of St Martin-in-the-Fields
Arranged (by, for)/arrangement (by, of)
1. Two instrs that normally play separate parts to play in unison. 2. Two or more instrs that normally play in unison to divide to play separate parts.
On 2 strings.
For 2 hands.
In 2/2 time.
At the string. Indication that the bow should be kept on the str, to ensure legato movement from note to note.
Same as a tempo.
At the point of the bow.
At one's own pleasure; same as ad libitum.
To beat.
To beat 2 in a measure.
Closed-mouth singing; humming (in choral music).
Stopped notes in horn playing.
Trembling; tremolo.
Trembling. Tremolo effect obtained by a rapid shaking movement of the finger on a str of a bowed instr or on a key of a clavichord.
Make ready, prepare (an organ stop).
1. Decided (in style). 2. Prominent.
Agility.
Quicker.
Remains. In organ music, the stop in question is to remain in use.
Broad. Sometimes the equivalent of largo; e.g. breit gestrichen, broadly bowed.
In a dance style.
Good pleasure. At one's own pleasure; same as ad libitum.
Closed mouth; a wordless humming (in choral music).
Vigour, spirit, fire. Adjective brioso.
Jestingly.
A vertical line crossing the staff to divide music into measures.
A thick horizontal or diagonal line connecting the stems of eighth notes or shorter notes within a beat group.
A two-part structure: A-B, each section often repeated. Common in Baroque dances.
A lively French Baroque dance in duple meter, beginning with an upbeat.
A large-scale narrative character piece, typically for piano; associated with Chopin and Brahms.
A piece imitating the song of a Venetian gondolier, in lilting 6/8 or 12/8 meter.
A lullaby; a gentle piece in a rocking rhythm, typically in 6/8.
A chord taken from the parallel major or minor key; e.g., a flat VII chord in a major key borrowed from the parallel minor.
The basic unit of rhythmic pulse in music.
Emphasis on beats 2 and 4 in 4/4 meter; fundamental to jazz, blues, and rock.
Happy love, good conscience, hope and longing for a better world.
An oddity, mostly clothed in the garment of the night. Mockery of God and the world, displeasure with itself and everything else, preludes to suicide echo in this key.
Strong color, announcing tempestuous passions. Anger, fury, jealousy, madness, desperation, every burden of the heart lies in its domain.
At once the key of patience, of quiet expectation of one's fate and submission to the divine order. The lament is so gentle and never breaks out in grumbling or whimpering.
A tender, soft, sweet, effeminate key, apt for expressing love's transports, charms and graces.
A harsh key, shriller than E, and apt for expressing the cries of the desperate, shouts, roars and the like.
Proscribed from music in good taste.
Born
Baritone
Bass-baritone
British Broadcasting Corporation
BBC Philharmonic Orchestra
BBC Symphony Orchestra
Basso continuo / Before Christ
Bassoon
Bach Werke-Verzeichnis
Capricious; in a lively, informal, whimsical style.
Give way; diminish the speed.
In a singing style.
Open string.
Brassy; tones are to be forced, with a harsh, ringing timbre.
Cadenced; rhythmic.
Lowering. Diminuendo, with also rallentando.
Trampling; much the same as accelerando.
Calmed, calming.
Heat. Passion. So the adjective caloroso.
Singingly.
Capricious; in a lively, informal, whimsical style. Adverb capricciosamente.
Caressing, caressingly.
Quick, speedy, hence celerità, speed; celeramente, with speed.
Closed, stopped, with special reference to the horn.
With the, e.g. col basso, with the bass; colla voce, with the voice.
With the song; the acc. to take his tempos from the perf of the melody.
With the part.
With the point of the bow.
With the bow (used after a passage of pizzicato).
With the voice; the acc. to take his tempos from the soloist.
With the wood; striking the str with the stick of the bow.
As, like, as if. Come prima, as at first; come stà, as it stands.
Leisurely, convenient; without any suspicion of strain. Adverb comodamente.
With some licence; freedom as to tempo and rhythm.
With feeling.
Spiritedly.
Longingly.
With a combination of force and speed.
With motion; quickly.
With impetuosity.
Covered; used of drums muted by being covered with a cloth.
Empty string; open str (in music for str instrs).
Short.
Dark, sombre.
A target-like symbol marking the beginning of a coda section, used with the instruction al coda.
Gradually getting louder; indicated by a hairpin opening to the right.
A symbol at the beginning of a staff indicating the pitch of the lines and spaces. Common clefs: treble (G clef), bass (F clef), alto and tenor (C clefs).
With mute.
A work for one or more soloists with orchestra; typically in three movements (fast-slow-fast), featuring alternation between soloist and orchestra.
A Baroque form in which a small group of soloists (concertino) alternates with the full orchestra (ripieno or tutti).
An 18th-century outdoor entertainment piece, similar to a serenade or divertimento.
1. A Renaissance and Baroque instrumental piece derived from the French chanson; important precursor to the sonata and fugue. 2. A lyrical song-like piece.
An organ work based on a chorale melody; a central form of Baroque organ music (Bach).
Similar to a passacaglia; a set of variations over a repeating harmonic progression or bass.
A concluding section added after the main structure of a movement or piece; brings the work to a definitive close.
A brief closing passage at the end of a section (rather than a full movement); smaller than a coda.
A recurring contrapuntal accompaniment to the answer or subsequent subject entries in a fugue.
A running Baroque dance in triple or compound meter with hemiola; typically the second movement of a Baroque suite.
A short, lively, whimsical piece in free form; characterized by its capricious character.
A scale using all 12 semitones of the octave in succession.
An interval larger than an octave; e.g., a 9th = an octave plus a 2nd.
Intervals that sound stable and resolved; traditionally: perfect 4th, 5th, octave, and major/minor 3rds and 6ths.
A Baroque performance practice in which a bass line is performed by a low instrument while a keyboard player improvises harmonies based on the figured bass.
A harmonic formula creating a sense of rest or punctuation. Types: authentic (perfect), half, plagal, deceptive (interrupted).
The art of combining two or more independent melodic lines simultaneously. Species counterpoint codifies this in graduated stages (1st through 5th species).
The use of notes outside the diatonic scale of the current key; introduces color, tension, and ambiguity.
A diagram showing the 12 major (and minor) keys arranged by their distance in perfect fifths; adjacent keys share all but one pitch.
Each beat divides naturally into three equal parts; e.g., 6/8, 9/8, 12/8.
A rhythmic pattern that conflicts with the prevailing meter; a form of polyrhythm.
The second phrase of a period; typically ends on an authentic cadence, creating a sense of answer.
1. A virtuosic solo passage near the end of a concerto movement. 2. A flourish or ornamental passage at a cadence point.
Utterly pure. Its character connotes innocence, simplicity, naivete, the language of children.
At once a declaration of love and the lament of ill-fated love — all the languishing, longing and sighing of a soul drunken with love.
A penitential lament, intimate dialogue with God, a friend or one's life-long companion; sighs of unrequited friendship and love lie within its range.
A grandiose, military key, apt for expressing great happenings, serious, majestic and sonorous.
A tragic key, apt for expressing great misfortunes, the deaths of heroes and great actions that are mournful and lamentable.
Circa (Latin = about)
Cor anglais
Celesta
Covent Garden (Royal Opera House), London
Clarinet
Conductor (of)/conducted (by)
Countertenor
Decided. With decision (i.e. firmly, not flabbily).
Prominent; a melody that the composer intends to be particularly prominent.
Untied. 1. The notes separated from each other; staccato. 2. Unconstrained in style. 3. Supple (fingers).
1. To move the left hand along the neck of a str instr. 2. To move the left hand closer to the bridge.
Half-play; at half power (in organ and harmonium music, etc.).
Half voice; half the vocal power.
Detached; staccato.
Hammered; see martelé.
Sweet, gentle. doucement, sweetly, gently.
Muting, or (piano) soft-pedalling.
Thereto; (in organ playing) the stops mentioned are now to be added to the others.
Urging forward, hurrying.
Through-forcing; penetrating, shrill.
1. Throughout, altogether. 2. Generally, nearly always.
From the head; repeat from the beginning.
To nothing; fade out to nothing.
Decided. With decision (i.e. firmly, not flabbily). Superlative decisissimo.
Delicate. So delicatamente, delicately; delicatissimo, as delicately as possible; delicatezza, delicacy.
Frenzied.
Dissolving; dying away.
Lengthening.
Of much; very. Augments the word to which it is applied, e.g. allegro di molto, very fast.
Sweet (also with the implication of soft) or gentle. Hence dolcissimo, very sweet; dolcemente, sweetly; dolcezza, sweetness.
Doleful, sorrowful. Adverb dolentemente.
Sorrow, dolour, pain. Hence doloroso, dolorous, painful. Adverb dolorosamente.
After.
Double movement; at twice the preceding speed.
The graduated levels of loudness and softness: ppp, pp, p, mp, mf, f, ff, fff.
Gradually getting softer; indicated by a hairpin opening to the left.
Two vertical lines marking the end of a section or a change of key or time signature.
Two dots after a note head; adds half plus a quarter of the original value (i.e., 1.75x the original duration).
Divided; indicating that a section of instruments playing the same part should split into two or more groups.
Playing two notes simultaneously on a str instr by bowing two strings at once.
A light, multi-movement instrumental work intended for entertainment; common in the Classical period (Haydn, Mozart).
A three-part form (A-B-A) in which the first section is repeated after a contrasting middle section; indicated by the marking da capo (D.C.).
In sonata form: the central section in which themes from the exposition are fragmented, combined, and subjected to harmonic exploration.
Presenting a theme in shorter note values than originally stated.
Like natural minor but with a raised 6th degree; common in folk, jazz, and medieval music.
Intervals that sound tense and require resolution; traditionally: 2nds, 7ths, and the tritone.
A major triad built on scale degree 5, plus a minor 7th; the most harmonically active chord, strongly resolving to the tonic.
V to any chord other than I (usually VI); creates surprise. Also called interrupted cadence.
The fifth scale degree; its chord (V or V7) creates the strongest harmonic tension leading back to the tonic.
Meter with two beats per measure; e.g., 2/4, 2/2 (alla breve).
The first beat of a measure; typically the strongest beat.
Melancholy womanliness, bitterness and bad temper.
A key of yearning which is resolved in sorrow or ecstasy. This key cannot laugh, but it smiles; it cannot weep, but it can at least make the face of one who might cry.
The key of triumph, of hallelujahs, of the battle cry and the shout of victory. Thus introductory symphonies, marches, festive songs and jubilant choruses are set in this key.
The most lively and gay key that music possesses. It is sonorous to the highest degree, apt for expressing festivities, weddings, rejoicing, merriment, celebrations, exultations.
Totally opposite to D major, being extremely melancholic and somber; it is therefore of little use except in modulations.
Died
Deutsch catalogue number (Schubert works)
Double bass
Chain together, join up; next movement to be played without break.
From the outside; prominent.
Take up; remove (e.g. pedal or mute).
1 beat as previously 2; 1 beat allowed as much time as 2 beats previously.
Feeling, sentiment; hence empfindungsvoll, feelingly.
To lower (pitch).
Dying away.
Widened, broadened; slower and with steadiness.
Some, something, somewhat.
Elegiac.
Energy. Energico, energetic.
Expression. Espressivo, expressively.
Extinguishing; dying away.
Extinct; as soft as possible.
1. In sonata form: the opening section in which the main themes are presented. 2. In fugue: the opening section in which the subject is stated in each voice in turn.
1. In fugue: a passage between entries of the subject. 2. In rondo: a contrasting section between returns of the main theme.
A study piece designed to develop a specific technical skill; elevated to concert status by Chopin and Liszt.
Two intervals that sound the same but are spelled differently; e.g., an augmented 6th and a minor 7th.
A non-chord tone that moves by step away from a chord tone and then leaps in the opposite direction to the next chord tone.
Two notes that sound the same but are written differently; e.g., C# and D flat are enharmonic equivalents.
The modern tuning system in which the octave is divided into 12 equal semitones; allows music in any key to sound equally in tune.
The key of love, devoutness, of intimate dialogue with the divine; its three flats represent the Holy Trinity.
Anxiety born of the very deepest spiritual distress, increasing desperation, blackest melancholy, the gloomiest state of mind. Every imaginable fear breathes out of this most terrible of keys.
A shout of jubilation, laughing joy, but not quite complete fulfillment.
Naive, feminine, innocent declarations of love, lament without complaint, sighs accompanied by a few tears. A hope of happiness soon to be fulfilled.
A heroic key, majestic in the extreme, solemn and serious: in all these qualities it is superior even to C major.
Little used on account of its difficult execution; it is extremely melancholic and induces sleep.
A rather shrill key, piercing and child-like, trifling and somewhat harsh.
Well nigh banned from music in good taste, except for modulations.
Editor/edited (by)
English National Opera
Euphonium
To stifle; to damp, e.g. with vn mute, pf pedal, etc.
Easy. facilement, easily; fluently and without an effect of striving.
To close. In organ music: 1. Close the swell box. 2. Put a particular stop out of action.
End.
Solemn (for religious occasions), festive (for secular).
Flowing. Fliessender, more flowing.
Fluently and without an effect of striving.
As far as, e.g. fino al segno, as far as the sign.
Flexible, flexibility.
Fiery.
Strong; loud. Fortissimo, very loudly.
Fury. So furioso, furibondo, furious; furiosamente, furiously.
In a flute-like manner; bowing over the fingerboard but emphasizing the resulting timbre.
A hold sign placed over a note or rest, indicating that it should be sustained beyond its normal value at the performer's discretion.
Bracketed sections (marked 1. and 2.) indicating different endings for repeated sections.
Same as sforzando; a forced, strongly accented note.
A thin and thick barline marking the end of a piece.
A curved line attached to the stem of an eighth note or shorter note when it stands alone (not beamed).
A free-form instrumental piece not bound by strict formal conventions; improvisatory in character.
A contrapuntal composition in which a subject is introduced in one voice and imitated by successive voices; the most fully developed form of imitative counterpoint.
The main melodic idea of a fugue, stated at the outset and imitated throughout.
In fugue: the second statement of the subject, in a different voice, typically at the interval of a fifth above or fourth below the subject.
The last movement of a multi-movement work.
A chord with its 3rd in the bass.
A Baroque notation system in which numbers are written below a bass line to indicate the intervals (and thus chords) to be realized by the continuo player.
The system of tonal harmony in which chords have specific functions (tonic, subdominant, dominant) and progression is governed by the tendency to resolve tension toward the tonic.
Amiable and calm.
Deepest melancholy, funereal lament, groans of misery and longing for the grave.
A dark key: it tears and pulls at the passions like a vicious dog at one's clothing. Resentment and displeasure is its language.
Majestic, but less so than either E flat or C. It too is piercing, but not shrill.
Most apt for expressing tears, pain, anxiety, anguish, violent transports, agitation.
Floruit (Latin = flourished) / Flute
First performance(s)/first performed (by, in)
Staccato with a full bow for each note.
Slow and solemn.
Whole bow.
Completely.
Damped. When applied to str and brass instrs, it means muted; to drums, muffled; and to pf, soft-pedalled.
Going; same as andante.
Usual; countermands previous indication that the instr concerned was to be played in some unusual way.
Drawn. 1. Drawn out, sustained. 2. Same as portamento.
Jocose, merry, playful. Adverb giocosamente.
Joy. So gioiante, gioioso; gioiosamente, joyful.
With exactitude; unvarying speed and rhythm.
Just, strict. Thus allegro giusto, a strict allegro or a moderate allegro.
Grandeur, dignity.
With dignity.
Slow and solemn.
A rapid slide through a series of adjacent pitches between two notes. On piano, executed by dragging the fingernail across the keys.
A very short ornamental note printed in small type, performed quickly before the main note. See also acciaccatura and appoggiatura.
A repeating bass line over which variations or other material is developed.
A lively Baroque dance in compound meter (6/8, 9/8, 12/8), often contrapuntal; typically the last movement of a Baroque suite.
A moderate French Baroque dance in duple meter, beginning on the third beat of the measure.
Displeasure, uneasiness, worry over an unsuccessful plan, sullen champing at the bit — resentment and listlessness.
Triumph over obstacles, a deep breath at the top of the hill, the echoes of a soul that has struggled long and hard and at last gained the victory.
Heavy affliction, a heart nearly overwhelmed by grief, lamentation which sighs in the double sharp; a hard fight — all that is only accomplished with great pains.
Suits all things rural, idyllic and pastoral, any quiet, contented passion, every tender word of thanks for true friendship; every gentle, easy movement of the heart.
An innocent key, simple, cold and indifferent, of little effect.
Has the same character as C minor, but is a little less grandiose, and thus apt for restlessness, for desperation, agitation and so forth.
Glockenspiel
Guitar
Hopping; same as spiccato.
Nimble, quick; same as allegro.
Produced on str instrs by lightly touching the string at a node point; the resulting pitch is a higher partial. Notated with a small circle above the note.
Produced by stopping a string fully with one finger and lightly touching it at a fourth or fifth above; allows harmonics on any pitch.
A light, whimsical character piece; associated with Schumann and Dvorak.
The smallest interval in Western equal temperament; the distance between adjacent keys on the piano.
Any cadence ending on V; an open, questioning close.
A rhythmic device in which two groups of three are replaced by three groups of two (or vice versa), creating a sense of metric displacement; common in Baroque music and Brahms.
A texture in which one voice carries the melody while others provide chordal accompaniment; the most common texture in tonal music.
A texture in which two or more performers simultaneously present different versions of the same melody.
The simultaneous sounding of two or more pitches; the vertical dimension of music.
Horn (French)
Harp
Harpsichord
In time; same as a tempo.
In the manner of.
A short contrapuntal keyboard piece; Bach's Two- and Three-Part Inventions are the most famous examples.
An opening section preceding the main body of a movement; often slow and preparatory.
Presenting a theme upside down (intervals reversed).
1. A short movement between larger movements. 2. A standalone character piece (Brahms, Schumann).
A seemingly improvised short character piece; associated with Schubert and Chopin.
The distance in pitch between two notes; measured in number of scale steps and quality (perfect, major, minor, augmented, diminished).
Turning an interval upside down by transposing one note by an octave; a major interval inverts to a minor, perfect to perfect, augmented to diminished.
A medieval compositional technique in which a fixed rhythmic pattern (talea) is repeated with a separate, repeating pitch pattern (color); used in the motet.
Instrument(s)/instrumental
A tuning system based on pure (whole-number ratio) intervals; produces purer consonances but is not equally in tune in all keys.
Plucking; same as pizzicato.
Sharps or flats placed at the beginning of each staff indicating the key of the piece.
Koechel catalogue number (Mozart works)
Keyboard
Slow. So lentement, slowly; lenteur, slowness.
Bound. 1. Slurred. 2. Tied.
Slow. Langsamer, slower.
Empty; open (as in strings of vn, etc.).
Soft, gentle. Leiser, softer.
Airy.
Lachrymose, tearful.
Broadly; slowish and dignified.
Broad; slow, dignified in style. Diminutive larghetto.
Bound together; in a smooth manner.
Lightly. leggerezza, lightness; leggerissimo, as light as possible.
Gracefully.
Slow. So lentando, slowing; lentamente, slowly; lentezza, slowness; lentissimo, very slow.
Quick. So lestamente, quickly; lestissimo, very quickly.
To lift, or take off (pedal, mute, etc.).
Freely (with regard to tempo, rhythm, etc.).
Licence, freedom.
The same speed; retain the same duration of the beat even though its nominal value may have changed.
Place; return to the octave as written.
Same as loco.
Flattering; play in a coaxing, intimate manner.
Mourning. So luttoso or luttuoso, mournful; luttosamente, mournfully.
Short lines added above or below the staff to extend its range for very high or very low notes.
A slow, dotted French Baroque dance in 6/4 time; related to the gigue.
Like major but with a raised 4th degree; a bright, ethereal quality.
Like natural minor but with a lowered 2nd and 5th degree; rarely used as a primary mode due to the diminished 5th on the tonic.
Scale degree 7; a half step below the tonic, creating strong upward pull toward the tonic.
A recurring theme associated with a character, object, idea, or emotion; systematically used by Wagner in his music dramas.
Libretto/library
London Philharmonic Orchestra
London Symphony Orchestra
Hammered. Manner of playing bowed instrs by a series of short, sharp blows with the bow upon the str.
Restrained, moderate; same as moderato.
Mighty, powerful.
Time, in such contexts as Erste Mal, 1st time; Zweimal, twice, etc.
Marked; clearly accented, or brought out.
Vigorous. Directive frequently found in Bruckner scores.
1. Moderate, moderately. 2. In the style of (e.g. marschmässig, in march style).
With warmth or passion.
In a lofty (impassioned) spirit.
With mutes.
Majestic, dignified, hence allegro maestoso.
But not too much.
Marking, marked; each note emphasized. Superlative is marcatissimo.
Bring out the tune.
Hammered. Same as martelé, though sometimes also applied to pf playing and even singing.
Martial.
Same, e.g. medesimo movimento, the same speed.
Half voice; half the vocal power.
Less, as in meno mosso, less moved, i.e. slower.
Mournful, sad. So mestizia, sadness.
Menacing, menacingly.
Mystery. Misterioso, mysteriously; misteriosamente, in a mysterious manner.
Restrained, moderate.
Much, very, e.g. allegro molto, very quickly.
Soft, gentle; morbidezza, softness, gentleness.
Dying; fade away gradually.
Moved (of tempo, e.g.).
Change, e.g. muta D in C, change tuning from D to C. Plural mutano.
A rapid alternation between a note and the note a half or whole step below it (lower mordent), or above it (upper mordent, also called an inverted mordent or pralltriller).
A self-contained section of a larger work, with its own tempo, key, and character; separated from other movements by a pause.
A stately dance in triple meter; common as the third movement of Classical symphonies and chamber works, typically in ternary form with a trio.
A Polish folk dance in triple meter, with an accent on the second or third beat; famously developed by Chopin.
A diatonic scale following the interval pattern: W-W-H-W-W-W-H (whole and half steps). The basis of major key harmony.
A diatonic scale following the interval pattern: W-H-W-W-H-W-W. The basis of minor key harmony.
A minor scale with a raised 7th degree, creating a leading tone and an augmented 2nd between scale degrees 6 and 7.
A minor scale with raised 6th and 7th degrees ascending, reverting to natural minor descending.
Diatonic scales built on each degree of the major scale: Ionian (=major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (=natural minor), Locrian.
Like major but with a lowered 7th degree; common in folk and rock music.
A whole step (2 semitones).
A half step (1 semitone).
4 semitones (e.g., C to E).
3 semitones (e.g., C to E flat).
9 semitones (e.g., C to A).
8 semitones (e.g., C to A flat).
11 semitones (e.g., C to B).
10 semitones (e.g., C to B flat).
The process of moving from one key to another within a piece.
The third scale degree; its chord (iii in major) has a mediating function between tonic and dominant.
The organization of beats into regular groups; indicated by the time signature.
A single melodic line without accompaniment; the simplest texture.
A linear succession of pitches perceived as a single coherent entity.
A short, recurring melodic, rhythmic, or harmonic idea; the smallest structural unit of musical thought.
Mandolin
Marimba
Metropolitan Opera House, New York
Mezzo-soprano
Movement(s)
Manuscript(s)
After, in the manner of, according to, towards, to.
Bit by bit.
According to one's wish; same as ad libitum.
Natural; return to a natural style of performing. Same as naturale.
Natural; return to a natural style after performing in some unusual way.
Nothing; used to indicate that the sound is gradually to fade out of hearing.
Nobly, in a noble style.
Not dragged.
Without vibrato.
A lyrical character piece evoking the night; developed by John Field and perfected by Chopin.
A major triad built on the lowered second scale degree; most often appears in first inversion (Neapolitan sixth). Associated with pathos and chromatic color.
A non-chord tone one step above (upper neighbor) or below (lower neighbor) a chord tone, returning to the same chord tone.
Narrator
Undulating; tremolo, vibrato or any swaying effect.
Or else; an alternative version of a music passage.
High octave; one octave higher than written.
Octave. Coll'ottava, with the octave (i.e. double the note at the octave).
An alternative version of a passage, usually printed on a smaller staff above the main staff.
1. An orchestral introduction to an opera, oratorio, or play. 2. A standalone orchestral piece (concert overture).
An eight-note scale alternating whole and half steps; common in 20th-century music and jazz.
A persistently repeated rhythmic, melodic, or harmonic pattern.
Oboe
Opus
Orchestra/orchestral
Overture
To take off; discontinue use of a stop; ôtez les sourdines, take off the mutes.
Not too fast.
Staccato with the point of the bow for each note.
Pricked; same as spiccato.
Non-arpeggiated; notes of a chord should be played simultaneously.
Steadily, sedately.
Pressing on; accelerando.
To play spiccato.
Suddenly.
Speaking. 1. In vocal music, tone approximates to speech. 2. In instrumental music, expressive freedom greater than cantabile.
Divided.
Losing oneself; gradually dying away.
Heavy or heavily; opposed to marcato.
Agreeable.
Weeping. Piangevole, piangevolmente, plaintive, plaintively.
Soft, quiet. Pianissimo, very softly.
Knocked, knocking; detaching the notes (for bowed str instrs).
More.
More moved; quicker.
A little, rather. Pochetto, pochettino, very little; pochissimo, the least possible.
Little by little.
A little less moved; a little slower.
Then, e.g. poi la coda, then the coda.
Carrying, carried; see portamento.
Rushed; impetuously.
Pressing on; accelerando.
Quick. Prestezza, quickness; prestamente, quickly; prestissimo, very quick.
A very short, rapid trill, usually beginning on the upper auxiliary; essentially a two- or three-note trill. Common in Baroque keyboard music.
A smooth, continuous glide from one pitch to another. Distinguished from glissando by its more expressive, vocal character.
Plucked; indicating that str instr players should pluck the strings with the finger rather than using the bow.
1. A set of variations. 2. In Bach's usage, essentially synonymous with suite.
1. An introductory piece preceding a fugue, suite, or other work. 2. A standalone short piece (Chopin, Debussy).
A set of variations over a repeating bass line or harmonic progression, typically in triple meter.
A fast French Baroque court dance in triple meter, similar to but faster than the minuet.
A stately Polish processional dance in triple meter; elevated to an art form by Chopin.
A five-note scale; the major pentatonic (1-2-3-5-6) and minor pentatonic (1-3-4-5-7) are the most common.
Like natural minor but with a lowered 2nd degree; characteristic Spanish/flamenco quality.
5 semitones (e.g., C to F).
7 semitones (e.g., C to G).
12 semitones; the same note class one octave higher or lower.
IV to I; often called the Amen cadence due to its use at the end of hymns.
A chord that belongs to both the original and new key, used to smooth the transition in a modulation.
The motion of two voices in the same direction by the same interval of a 5th or octave; generally avoided in common-practice counterpoint.
A sustained or repeated note (usually in the bass) held through changing harmonies above it; creates tension when the sustained note is dissonant with the upper voices.
A non-chord tone that moves stepwise between two chord tones; may be accented or unaccented.
The simultaneous use of two or more different meters.
The simultaneous use of two or more contrasting rhythmic patterns.
A texture in which two or more independent melodic lines sound simultaneously; characteristic of Renaissance and Baroque counterpoint.
A relatively complete musical thought, typically four measures long; analogous to a sentence in language.
A pair of phrases (antecedent + consequent) forming a complete musical statement.
Percussion
Pianoforte
Piccolo
Meter with four beats per measure; e.g., 4/4 (common time).
Quintet
Quartet
Remain. 1. Linger on a note. 2. In str music, remain in the same position for the duration of a passage.
Holding back, held back (immediately, like ritenuto, not gradually, like rallentando).
Quick, quicker.
Doubling.
Slowing down, gradually. Virtually the same as ritardando.
Reviving, brightening up; quickening, quickened.
Resolute.
Holding back; same as ritardando.
Same as spiccato.
Resolute, resolutely. Risoluzione, resolution.
Holding back, to hold back, held back; same as rallentando.
Double barlines with dots indicating that the enclosed section should be repeated.
Reinforcing; a sudden increase in loudness on a note or short passage, similar to sforzando but sometimes applied to a group of notes.
A contrapuntal Baroque instrumental piece; an early form of fugue, typically learned and elaborate. Bach's Musical Offering contains famous examples.
A formal structure in which a main theme (refrain) returns repeatedly between contrasting episodes; scheme: ABACADA etc.
A Baroque concerto/aria form in which an orchestral refrain (ritornello) alternates with solo episodes.
In sonata form: the return of the exposition's material, typically with both themes now in the tonic key.
A theme stated backward (last note first).
A theme stated both backward and upside down.
A lively Provencal Baroque dance in duple meter.
A lyrical, song-like instrumental piece of moderate tempo.
A chord with its root (fundamental note) in the bass.
Flexible tempo; slight speeding up and slowing down for expressive effect, not strictly metered.
Gradually slowing down.
Immediately (suddenly) slower, as opposed to the gradual slowing of rallentando.
The pattern of durations and accents in music; the temporal dimension.
A recurring orchestral refrain that alternates with solo episodes in Baroque concerto/aria form.
The total span from lowest to highest note of a voice or instrument.
A specific portion of an instrument's or voice's range, characterized by a particular quality of tone (e.g., chalumeau register of the clarinet).
Royal Academy of Music, London
Royal College of Music, London
Recorder
Revised/revision (by, in, for)
Royal Opera House, Covent Garden
Royal Philharmonic Orchestra
Springing; type of bowing with the bow lightly rebounding off the str; like spiccato.
Dry. 1. Note to be played and released sharply. 2. In perc playing, the note should be damped.
Separated; uncoupled (organ music).
Losing oneself; gradually dying away.
Tightened; with increasing tension and speed. Same as stringendo.
Sonorous; so sonorité, sonority.
Sustained; notes must be sustained to their full value in a smooth flow.
Suppress; in organ music, to put out of use the stop in question.
On the fingerboard; bow over the fingerboard. Same as sul tasto.
On the bridge; bow on or near the bridge. Same as sul ponticello.
Sharply. Schärfe, sharpness, definiteness, precision.
Given out with emphatic accent.
Jocular.
Dragging. Often found in Mahler's scores in the negative, i.e. nicht schleppend.
Yearning, longing.
Quick, quicker. Schnelligkeit, speed.
Tacet.
1. Heavy (in style). 2. Difficult. Schwermütig, heavy-hearted.
Diminishing (in volume of tone); diminuendo.
Playing, playful.
Strong, loud. So stärker, stronger, louder.
Strongly blown (wind instrs).
Dying away.
Leaping, leapt. In str playing, with a springing bow; same as spiccato.
Diminishing (in volume of tone); same as diminuendo.
Playful, playfully. Thus scherzando, scherzante, joking, playful.
Untied; in a free and easy manner. Noun is scioltezza.
Sliding; glissando.
1. Gliding from note to note; glissando. 2. In a flowing style.
Sliding; glissando.
It follows; next section is to follow without a break.
Simple, simplicity. Semplicemente, simply; semplicissimo, extremely simple.
Always.
Without.
1. Without mute(s) (of str instrs). 2. Without dampers, i.e. use the right pedal (of the pf).
Airy, evaporated; light and easy in style.
The mutes are taken off.
The same; phrase is to be performed in same manner as preceding phrase.
Left (hand).
Slowing, broadening, widening; same as rallentando.
Becoming slower; same as rallentando.
Frenzied; with furious excitement.
Suave, suavity (or gentle, gentleness). Soavemente, suavely.
Sonorous; so sonorità, sonority; sonoramente, sonorously.
1. On one string (of vn, etc.) 2. Use the soft pedal (in pf music).
Sighing; plaintive in style.
Sustained; notes must be sustained to their full value in a smooth flow.
Below the voice; in an undertone or barely audible.
Planed, levelled, smoothed.
Separated; form of staccato bowing in which the bow is allowed to bounce on the string. Same as saltando.
Spirit, spirited.
Clanging; applied to cymbals, means they should be suspended and struck with drumsticks.
Detached; method of playing a note so that it is detached from its successor by being held for less than its full value. Superlative staccatissimo.
Extending; spacing out the notes. Same as rallentando.
Spread out; slow.
Same.
Extinguishing; fading out.
Stretching, stretched; making the music last out. Same as ritardando.
Stretched out; same as ritardando.
Dragging, dragged; heavily slurring notes in bowing, singing portamento, etc.
Noisy, loud; play forcefully, with the implication of headlong excitement.
Squeezing; increase the intensity of the music by quickening the tempo.
Trailing, smooth. Correct Italian term for glissando.
Suddenly. Quickly, immediately. Also subitamente.
On G (etc.); on the G str (vn, etc.).
On the fourth (str).
On the fingerboard; same as sul tasto.
On the bridge; bow as near as possible to the bridge, producing a rather metallic but mysterious sound-effect.
On the touch; bow over the fingerboard, giving a rich, mellow sound.
Its own place; return to normal octave after transposition up or down an octave.
Whispering.
Awakening, awakened; brisk, alert.
German term for an inverted mordent or pralltriller; a rapid single alternation with the upper note.
A grace ornament consisting of two (or more) notes sliding up or down into the main note.
A sign used with dal segno (D.S.) to indicate a repeat from that point.
A sudden, strong accent on a single note or chord, regardless of the prevailing dynamic level.
A curved line over or under a group of notes indicating they should be played legato. Distinguished from a tie, which connects two notes of the same pitch.
A dot above or below a note indicating it should be played short and detached.
An even shorter staccato, indicated by a wedge; the note is played as briefly as possible.
Without mute.
A pizzicato in which the string is pulled upward and snapped back against the fingerboard, producing a sharp crack.
1. An instrumental composition for one or two instruments, typically in three or four movements. 2. In Baroque usage, an abstract instrumental piece as opposed to a cantata.
Chamber sonata; a Baroque work for one or more instruments and continuo, typically consisting of dance movements.
Church sonata; a Baroque work for one or more instruments and continuo, typically in four movements (slow-fast-slow-fast).
A large-scale orchestral work, typically in four movements (fast-slow-dance-fast), though the number and character of movements varies widely.
1. Baroque/Classical term for an orchestral introduction (precursor to the symphony). 2. A short instrumental interlude within a larger work.
A collection of instrumental pieces (often dance forms) in the same or related keys, intended to be performed as a unit.
Similar to a divertimento; an evening entertainment piece, typically for small orchestra or chamber ensemble.
The most important formal structure of the Classical period, typically comprising exposition, development, and recapitulation; often with an introduction and coda.
A song form in which the same music is repeated for each stanza (verse) of the text.
In fugue: overlapping entries of the subject in close succession, before the previous entry has finished.
1. A lively, often humorous movement in triple meter, typically replacing the minuet in Classical/Romantic symphonies. 2. A standalone character piece (Chopin).
A slow, stately Baroque dance in triple meter, with an emphasis on the second beat; typically the third movement of a Baroque suite.
A four-note chord: a triad plus a 7th above the root. Types: major 7th, dominant 7th, minor 7th, half-diminished, fully diminished 7th.
A chord with its 5th in the bass.
A dominant seventh chord built on a scale degree other than 5, which resolves to a chord other than the tonic; e.g., V7/V (the dominant of the dominant).
The repetition of a melodic or harmonic pattern at a different pitch level; a fundamental device of tonal composition.
A non-chord tone created when a note from a previous chord is held over into the next chord, creating dissonance, before resolving downward by step. Common types: 4-3, 7-6, 9-8, 2-1.
The second scale degree.
The fourth scale degree; its chord (IV) has a pre-dominant function.
The sixth scale degree; its chord (vi in major) is a common substitute for the tonic.
The lowered seventh scale degree (in natural minor and Mixolydian); lacks the strong leading-tone pull.
Each beat divides naturally into two equal parts; e.g., 2/4, 3/4, 4/4.
Displacement of the regular accent, placing emphasis on weak beats or between beats.
Soprano, alto (contralto), tenor, bass
Saxophone
Soprano
String(s)
Symphony, symphonies
Synthesizer
Time-firm; in steady time.
To hold (keep) time.
Time moderated; generally the same as tempo comodo.
Resume original speed; same as tempo primo.
So much, as much, too much. Non tanto, not too much.
Slow. So tardamente, slowly; tardando, slowing gradually.
Play the key alone; only the bass line, without adding chords (in figured bass).
Please yourself what speed.
At a comfortable, moderate speed.
In dance time.
In gavotte tempo.
In minuet time.
In exact time, or at speed the style of the music demands.
Take the semibreve as the beat unit; same as alla breve.
Resume original speed.
Ordinary time; at the same speed as before or at a moderate speed.
In rubato time.
Dark. Gloomy.
Sustaining. Tenendo il canto, sustaining the melody.
Tender. So teneramente, tenderly; tenerezza, tenderness.
Held; hold note to its full value, sometimes even longer.
Take away; in organ music to shut off a stop.
1. Rapid, quick. Tostissimo, very rapid. 2. Sooner, at once.
Tranquil. So tranquillamente, tranquilly; tranquillità, tranquillezza, tranquillity.
Dragging, holding back; same as rallentando.
1. Held back. 2. Sustained.
3 strings. Cancels the term una corde (in pf music).
Trembling. With tremolo effect.
Shaking, trembling. On str instrs, the rapid reiteration of a note or chord by back-and-forth strokes of the bow.
All the strings. Cancels the term una corde (in pf music).
All, everybody; all play.
Same as tutte le corde.
Rapid alternation between a written note and the note a half or whole step above it. Also called a shake. In Baroque practice, trills typically begin on the upper auxiliary note.
An ornament consisting of four notes: the note above, the main note, the note below, and the main note again. An inverted turn reverses the figure.
A short horizontal line above or below a note indicating it should be held for its full value and slightly emphasized.
A curved line connecting two notes of the same pitch, indicating the second note should not be rearticulated; the duration of both notes is combined.
A short dash above or below a note indicating it should be held for its full value and given slight weight.
Two numbers placed at the beginning of a piece indicating the number of beats per measure (top number) and the note value receiving one beat (bottom number).
Three notes played in the time of two of the same value; indicated by a bracket with the number 3.
Any grouping of notes played in the time of a different number; e.g., quintuplet (5 in time of 4), sextuplet (6 in time of 4), etc.
Indicated by slashes through the stem; the number of slashes indicates the subdivision. Unmeasured tremolo means as fast as possible.
Playing three or four strings simultaneously on a str instr; the bow usually rolls slightly across the strings.
A virtuosic keyboard work emphasizing touch (Italian: toccare, to touch), typically featuring rapid passage work, often paired with a fugue.
A formal structure in which a theme is stated and then repeated in varied forms.
A three-part structure: A-B-A (or A-B-A'), where the opening material returns after a contrasting middle section.
A musical form with no large-scale repetition; the music continues to develop new material throughout (German: durchkomponiert).
A passage connecting two sections or themes, often modulating from one key to another.
1. The contrasting middle section of a minuet or scherzo. 2. A piece for three performers.
6 semitones; the interval that divides the octave exactly in half. Also called augmented 4th or diminished 5th. Historically called diabolus in musica.
A three-note chord built in thirds. Types: major (M3 + m3), minor (m3 + M3), diminished (m3 + m3), augmented (M3 + M3).
A seventh chord with its 7th in the bass.
Briefly treating a chord other than the tonic as if it were a temporary tonic, typically through use of its own dominant; does not constitute a full modulation.
The first scale degree; the home pitch and chord of a key, providing a sense of rest and finality.
Meter with three beats per measure; e.g., 3/4, 3/8.
A more extended and complete musical idea than a motive; the basis for development.
The general range within which a voice or instrument most comfortably and effectively operates.
The quality of sound that distinguishes one instrument or voice from another, independent of pitch and loudness.
Trombone
Tenor
Timpani
Trumpet
Translated (by, for)/translation
A little (often in the sense of 'rather').
1. One string. 2. Use the soft pedal (in pf music).
United; used to revoke a direction such as divisi.
A little (often in the sense of rather).
Two notes of the same pitch. Perfect unison = 0 semitones.
One or more notes preceding the first downbeat of a phrase; a pickup.
Unaccompanied
To double. Verdoppelt, doubled; verdoppelung, doubling.
Dying away.
Losing itself; dying away.
Extinguished; dying away.
Shoving away. Soft pedal.
Disappearing; dying away.
Full organ.
Repeat from the beginning.
Vibrated; undulation of pitch produced in str instr by controlled vibration of player's finger and in wind instr by breath-control.
Vivacious; fast and lively. Vivacissimo, very fast.
Lively. Vivissimo, very lively.
Flying; swift, light. In vn playing, a bow-stroke in which the bow bounces from the str in a slurred staccato.
Time, in sense of prima volta, 1st time.
Turn over (page) at once.
One of a series of transformations of a theme in a theme-and-variations form.
The smooth, independent movement of individual melodic lines within a harmonic texture; governed by principles of contrary/oblique/parallel motion and resolution of dissonances.
Voice, voices
Various/variation(s)
Cello(s)
Vibraphone
Viola(s)
Violin(s)
As at the beginning.
A dance in triple meter at a moderate to fast tempo; dominant form of 19th-century ballroom music and concert piano writing.
A scale consisting entirely of whole steps (6 notes per octave); produces an ambiguous, dreamy quality. Associated with Debussy.
Two half steps; e.g., C to D.
Welsh National Opera
Werk ohne Opuszahl (work without opus number)
Woodwind
Xylophone
To draw out.
Trembling; same as tremolando.
1. 2 instruments to play the same part. 2. All the instrs in question to divide into 2 parts.
Going back (i.e. to orig. tempo).
Holding back; same as rallentando.