Login / Register  0 items | $0.00 New#KVRDeals
PaulG
KVRian
 
1293 posts since 30 Jan, 2004

Postby PaulG; Mon Mar 19, 2007 12:56 pm

Hey, Jack,

Wonderful that you did this!

I don't know if you're located anywhere outside of the USA - and don't take that personally - but in every theory class, both secondary and college, and every book I've got on theory use "step" instead of "tone".

You'll find a lot more of "half-step" and "whole-step" than otherwise, at least in the US from what I've encountered. I've studied theory since '85 so when I see something off-verbiage it kind of sticks out.

Otherwise, great explanations - you put more in these posts then in a couple of chapters in some books I've seen!

Take care,

- Paul
Toxikator
KVRAF
 
1975 posts since 4 Feb, 2005

Postby Toxikator; Mon Mar 19, 2007 1:02 pm

In the US it's step and half-step, and half-note, quarter-note, eighth-note.

Across the pond in the UK it's tone and semitone, and minim, crotchet, quaver, etc.

Both are equally valid, and since the KvR community seems largely European I'd try to get accustomed to seeing both systems ;).
Image
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Mon Mar 19, 2007 1:39 pm

PaulG wrote:Hey, Jack,

Wonderful that you did this!

I don't know if you're located anywhere outside of the USA - and don't take that personally - but in every theory class, both secondary and college, and every book I've got on theory use "step" instead of "tone".

You'll find a lot more of "half-step" and "whole-step" than otherwise, at least in the US from what I've encountered. I've studied theory since '85 so when I see something off-verbiage it kind of sticks out.

Otherwise, great explanations - you put more in these posts then in a couple of chapters in some books I've seen!

Take care,

- Paul


Thank you very much.

I must admit that, although I have heard the terms, I didn't realise Americans used step and half-step instead of tone and semitone (respectively).

You're right, I am from England, where we use Tone (or occasionally Whole Tone) and Semitone. - Different words meaning the same thing are always a problem in understanding, and this is certainly no exception.

To clarify:

Whole Tone = Tone = Whole Step = Two Semitones = Major Second = A sixth of one octave
-
Semitone = Half Step = Minor Second = Half a Tone = A twelfth of one octave

There is also a problem as sometimes the word 'step' means different things:

Usually, when I talk about a 'step', I mean a diatonic step. - That means going from one note to the nearest note within the key/scale in use at that point. Thus the interval may be either a tone or a semitone (either a major second or a minor second).

Therefore, all Americans please take note: In my posts whenever I use the word 'step', I do not necessarily always mean a 'Whole Step' (= whole tone = Major Second). Sometimes the 'step' will in fact be a 'Half Step' in your language.

I apologise for any confusion that has or may cause(d). In future I will have to be more careful about my terminology. (As if worrying about the use of 'quarter notes' and the like didn't already annoy me enough! :dog: ).

Thanks for bringing this to my attention.
exquisiteoath
KVRist
 
79 posts since 1 Mar, 2005, from Toronto Ontario

Postby exquisiteoath; Tue Mar 20, 2007 2:53 pm

Also, not sure what the population of Canadians on here is, but in Canada we use the British Tone Semi-Tone system for notes but the american Note/Half Note/Quarter Note/Eigth note for time measurements.

Caused me no end of confusion last time I visited england and talked music.
Accept no substitutes
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Sat May 05, 2007 9:03 am

Glossary of musical terms (theory, harmony and notation) (part 1)

Have I ever mentioned a musical term that you didn't fully understand? If so, you will be pleased to know that I have compiled this glossary of musical terms, to provide simple definitions of some words which keep cropping up in this forum which might not be immediately obvious to someone with limited knowledge of music theory.

Words and terms are listed in alphabetical order and cross-referenced. - Any words in bold contain their own entry, and you can look them up separately (in fact, you should do so if you don't understand them). Although useful for a variety of purposes, this in primarily intended as a quick reference point for musical terms which I use in my posts. Therefore, the definitions listed provide the meaning and sense in which I generally use the words. In some cases, alternative definitions are possible, but these are usually irrelevant in the intended context. Also, I have avoided cluttering things up with extended explanations, examples or exceptions. - For all that stuff you should buy a proper book!

NOTE: This post only contains terms from A to T. The remaining terms (T to Z), can be found here, in the next post below.

More detailed information can usually be found in my other posts, the most relevant of which are:
An Introduction to Music Theory
Scales, Modes and Chords
An introduction to cadences
An introduction to modulation (changing key)
Sharps, Flats and how to work out Keys
An intro to ornamental, unessential, and non-harmony notes
Melody Construction and Voice Leading / Part Writing
Introduction to Chromatic Harmony
An introduction to music notation -How to read & write music

Accented: This is where a note or chord has more emphasis than other notes (or chords). This occurs naturally on the strong beats of the bar, but can also be indicated by symbols in music notation. Not unaccented.

Accidental: Sharp, flat, natural, double-sharp or double-flat signs in music. These are chromatic notes; modifications to the normal notes of the key-signature. See here for more details.

Aeolian Mode: This is the mode on the sixth note of the major scale. It is therefore identical to the ordinary natural minor.

Alto: A high male voice, or a low female voice. In four-part harmony, this refers to the second-highest voice, between the soprano and tenor, with a rough range from the G below middle-C to the C an octave above it.

Anacrusis: Where a musical piece or phrase starts with one or more unaccented notes. Usually this occurs just before the barline, as an 'upbeat'. The music effectively starts before the first bar, and the initial notes do not form a complete bar (this is made up at the end, as the phrase also generally finishes before the normal end of the last bar - the phrasing therefore overlaps the barlines).

Appoggiatura: An accented non-harmony note, resolving by step to a consonance. (Basically, an unprepared suspension or retardation). See here for more details.

Arpeggio: Similar to a chord, only with the notes played in succession rather than simultaneously (usually starting at the bottom and ascending). See here for examples.

Articulation: Markings indicating how to play notes or chords. Including the amount of attack, emphasis, and/or sustain, and the transition between consecutive notes. See here for more details.

Atonal: Music where no single prevailing key can be identified. Not tonal.

Augmented: This term can refer to a scale, chord, arpeggio or interval. Augmented triads have a major 3rd and an augmented 5th above the root. Augmented intervals are one semitone larger than perfect or major intervals.

Bar: The distance from one barline to the next. The duration of the bars is given by the Time Signature. Also called a measure.

Baroque: The period of musical history between 1600 and 1750, including music by J.S. Bach and Handel.

Bass: The lowest voice, below tenor, with a rough range from middle-C down to the F a 12th below this.

Bass Clef: The symbol at the start of the music which indicates the pitch range of the stave, and thus tells you which notes go where. From bottom to top, the notes on the lines are G, B, D, F, A, and the notes in the spaces are A, C, E, G. Also called 'F clef'. See here for more details.

Beam: A line connecting the stems of a group of quavers or smaller notes. This joins together (and replaces) the individual tails of the relevant notes. See here for more details.

Beat: The basic rhythmic pulse or metre of the music, given by the Time Signature.

Cadence: A progression of chords at the end of a musical phrase or section. See here for more details.

Cadential 6/4: A second-inversion chord used in a cadence. Typically this refers to the tonic chord, Ic, which is followed by V, to create an imperfect cadence, or a perfect cadence (if V is followed by I). Can also (less often) refer to IVc, forming a plagal cadence.

Chord: A group of (typically 3 or more) notes sounded together. All triads are chords, but not all chords are triads. See here for examples.

Chord Progression: A series of chords, one after the other.

Chromatic: Notes which are not contained within the key, the opposite of diatonic. The chromatic scale consists of every single note, moving up entirely in semitones.

Classical: The period of musical history from 1750 to around 1820 (historians argue as to the exact date the period ends), including works by Mozart and Haydn. The term 'classical' is also used more generally to refer to any (generally highbrow) music which is not in modern popular styles (thus encompassing other music periods too, such as the Baroque and Romantic).

Clef: The symbol at the start of the music which indicates the pitch range of the stave, and thus tells you which notes go where. The two most common clefs are Treble Clef and Bass Clef, although there are others.

Coda: Extra music (usually a short section), written after the normal end of the piece, to round-off and conclude the music.

Compound: Indicates something (usually an interval) larger than one octave.

Compound Time: Where the basic beat (a dotted note) is divisible by 3. See here for more details.

Conjunct: Notes move by step. The opposite of disjunct.

Consecutives: This refers to parallel fifths and/or parallel octaves.

Consonance: A consonant interval or a note forming a consonant interval with another. Also called a concord.

Consonant: A settled and stable interval or chord which is not unpleasant to the ear. The opposite of dissonant. What exactly constitutes a consonance varies considerably between different styles, cultures and time periods. Generally however, perfect fifths and octaves are the most consonant ('perfect concords'), while major and minor thirds and sixths are also usually consonant ('imperfect concords').

Contrapuntal: Two or more independent parts, moving in different rhythms with each other, sometimes inter-playing. Often these parts are of equal importance, - they all sound good in their own right. The harmony is generally a by-product of the part-writing. Also called polyphonic.

Contrary Motion: Where two or more parts move in opposite directions. - One goes up while the other goes down.

Counterpoint: The relationship between (or the art of combining) two or more independent melodic lines. Music written in this way is said to be contrapuntal, or polyphonic.

Crotchet: A filled-in note with a stem, lasting for two quavers or half a minim. Also called a Quarter Note.

Diatonic: Using only notes which are contained within the key. The opposite of chromatic.

Diminished: This term can refer to a scale, chord, arpeggio or interval. Diminished triads have a minor 3rd and a diminished 5th above the root. The diminished scale is made up of alternate tones and semitones (usually in that order, but occasionally semitone-tone is used) Every other note forms the notes of a diminished seventh chord. Diminished intervals are one semitone smaller than perfect or minor intervals. See here for more details.

Diminished Seventh: This is a four-note chord, with a minor third (3 semitones) between each note. (So, a diminished triad with an added diminished seventh above the root).

Disjunct: Notes move by leap. The opposite of conjunct.

Dissonance: A dissonant interval or a note forming a dissonant interval with another. Also called a discord.

Dissonant: An unsettled tension or clash resulting from two or more notes that, by themselves, are not generally pleasing to the ear. This is the opposite of consonant, and can refer to an interval or chord, or even the general characteristics of a particular melodic line. What exactly constitutes a dissonance varies considerably between different styles, cultures and time periods. The term is often used in diatonic tonal music to refer to notes which are not contained within the basic prevailing harmony at any given point. In classical music, dissonant notes were required to be prepared and/or resolve correctly. Generally, seconds and sevenths are usually dissonant, fourths are also considered dissonant in some styles of music.

Dominant: The fifth note of the scale, or a triad built using this note as the root.

Dominant Seventh: The fifth chord in a key (always a major triad), with an added minor seventh above the root (V7).

Dorian Mode: This is the mode on the second note of the major scale. It is therefore the natural minor scale with sharpened sixth.

Dot: A dot adds half the value to the thing immediately before it (to its left). A note or rest with a dot is said to be 'dotted'. Properly called an Augmentation Dot. This is not the same thing as staccato. See here for more details.

Dynamics: The volume of the music; how loud it is, and if there is any change to this. See here for more details.

Enharmonic: A note, chord or key which can be interpreted in different chromatic spellings, but sounds the same. Two notes are 'enharmonically equivalent' if they sound the same in equal temperament but are notated differently (they may be related to two keys or chords in different ways).

Equal Temperament: A tuning system whereby the octave is divided into twelve semitones, each of which are exactly equal. This contradicts natural physical laws to basically make life easier.

Exposed Fifths: Where the soprano and bass approach a perfect 5th (or 12th) in similar motion, and the soprano does not move by step.

Exposed Octaves: Where the soprano and bass approach a perfect octave (or 15th) in similar motion, and the soprano does not move by step.

False Relation: When two different chromatic spellings of a note occur in different parts. These can be either simultaneous or successive. Also called 'cross-relation'.

Figured Bass: A notation system whereby numbers represent intervals over a particular bass note. All notes belong to the key unless otherwise specified. The third of chords can generally be assumed even when not specifically figured. 5/3 represents a root position chord (although when no figure is given, a root position chord is automatically assumed), 6/3 represents a first inversion chord, 6/4 represents a second inversion chord, etc.

First Inversion: A chord in which the third (not root or fifth) is the lowest note. The other notes are therefore a 3rd and 6th above this, hence the alternative name; 6/3 chord. (Except the first inversion of a seventh chord, which is figured 6/5).

Flat: A b sign. Indicates you lower the note by one semitone.

Flatten(ed): Lower(ed) by one semitone.

French Sixth: A four-note chord consisting of a root, and a major third, augmented fourth, and augmented sixth above that. See here for more details.

German Sixth: A four-note chord consisting of a root, and a major third, perfect fifth, and augmented sixth above that (enharmonic notes may be used). See here for more details.

Harmonic Minor: The minor scale according to key-signature, but with the seventh note raised by one semitone. From the bottom upwards, the pattern of intervals goes: Tone, Semitone, Tone, Tone, Semitone, Tone+Semitone, Semitone.

Harmony: A group of notes sounding at the same time which are musically significant. This leads to chords, and chord progressions. Harmony can also be implied from a single line.

Homophonic: Where a melody is harmonised with chords, and all parts generally move together in the same rhythm (or only one part moves while the rest play chords). Generally, the other parts are purely accompanimental, and support the melody rather than provide any interest in themselves. Any counterpoint grows out of the harmony as a by-product. Not monophonic or polyphonic.

Imperfect Cadence: The progression of any chord to V at the end of a phrase. See here for more details.

Interrupted Cadence: The progression of V to any chord except I (usually VI or IVb) at the end of a phrase. Also known as a 'deceptive cadence'. See here for more details.

Interval: The distance between any two notes, whether the notes are horizontal, as part of a melodic line (successive), or vertical as part of a chord (simultaneous). Intervals can be major, minor, perfect, diminished or augmented. See here for more details.

Inversion: In relation to chords, this indicates which note of the chord is the lowest. If the root is the lowest note, the chord is said to be in root position. If the third is the lowest note, the chord is said to be in first inversion. If the fifth is the lowest note, the chord is said to be in second inversion (and so on).

Ionian Mode: This is the mode on the first note of the major scale. It is identical to the ordinary major scale.

Italian Sixth: A three-note chord consisting of a root, and a major third and augmented sixth above that. See here for more details.

Key: This indicates the scale (either major or minor) around which the music is written. This in turn dictates which chords are available (basically diatonic triads formed on each note of the scale). If no one key can be established, the music may be Atonal.

Key-Signature: Normally written at the start of every line of music, this indicates what sharps or flats there are in the prevailing key. Every key signature has one major key and one minor key associated with it. With minor keys, the key signature gives you the natural minor. See here for more details.

Leading Note: The seventh note of the scale, or a triad built using this note as the root.

Leap: Any horizontal interval of a third or more. Not a step.

Ledger Line: A small horizontal line added above or below the stave in music notation, on which notes that sound above or below the normal range of the stave can be placed. Sometimes spelt 'Leger Line'.

Locrian Mode: This is the mode on the seventh note of the major scale. It is therefore the natural minor scale with flattened second and flattened fifth.

Lydian Mode: This is the mode on the fourth note of the major scale. It is therefore the major scale with sharpened fourth.

Major: This term can refer to a scale, chord, arpeggio, key, or interval. Major triads have a major 3rd, and a perfect 5th above the root. The major scale consists of the intervals: Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. Major intervals relate to intervals of seconds, thirds, sixths or sevenths. These intervals are major if the higher note is normally contained within the diatonic major scale built from the lower note (using the lower note as the tonic). Major intervals are one semitone larger than minor intervals, and one semitone smaller than augmented intervals.

Mediant: The third note of the scale, or a triad built using this note as the root.

Medieval: The period of musical history before around 1430 (historians argue over the exact date).

Melodic Minor: The minor scale according to key-signature, but with the sixth and seventh notes raised by one semitone when ascending. (Descending it is purely according to key-signature). From the bottom upwards, the pattern of intervals when ascending goes: Tone, Semitone, Tone, Tone, Tone, Tone, Semitone.

Metre: The basic pulse or beat of the music. This is the relationship between accented and unaccented notes, given by the Time Signature. Also spelt 'meter'.

Middle-C: This is the note that falls on the first ledger line below the Treble-clef stave, and the first ledger line above the Bass-clef stave. It has the frequency of 261.626 Hz and generally lies around the centre of a standard piano keyboard.

Minim: A hollow note with a stem, lasting for two crotchets or half a semibreve. Also called a Half Note.

Minor: This term can refer to a scale, chord, arpeggio, key, or interval. Minor triads have a minor 3rd and a perfect 5th above the root. There are different forms of the minor scale; Natural Minor, Harmonic Minor and Melodic Minor. Minor intervals relate to intervals of seconds, thirds, sixths or sevenths. Minor intervals are one semitone larger than diminished intervals, and one semitone smaller than major intervals.

Mixolydian Mode: This is the mode on the fifth note of the major scale. It is therefore the major scale with flattened seventh.

Mode: Where the major (or natural minor) scale is started with (and ended on) a note other than the normal tonic. This then produces a new scale which is neither major nor minor, and in which the usual tonal relationships may not apply. In modern times there are seven different modes, each of which has its own unique pattern of intervals. These are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. See here for more details.

Modern: The period of musical history from around 1900. Some people end this period at 1970, then start with the Post Modern period, others refer to it all under the same name, also calling it '20th Century'.

Modulation: The movement or transition from one key to another. This may involve a pivot chord, and can last varying amounts of time. See here for more details.

Monophonic: A single self-sufficient melodic line, completely alone, or accompanied by a simple drone or percussion. Sometimes the melody may be doubled exactly in octaves (or in unison). Not polyphonic or homophonic.

Natural: An accidental sign which cancels out a sharp or a flat.

Natural Minor: The minor scale purely according to key-signature, with no accidentals. From the bottom upwards, the pattern of intervals goes: Tone, Semitone, Tone, Tone, Semitone, Tone, Tone.

Neapolitan Sixth: A major chord in first inversion, using the the flattened supertonic as the root. See here for more details.

Non-harmony Note: A note which is not part of the harmony (chord) at any given point. Examples include Passing Notes, Suspensions, and Appoggiaturas. These may be diatonic or chromatic, and either accented or unaccented. See here for more details.

Octave: Twelve semitones or 8 steps. An octave is the distance between two notes of the same name, so the note an octave above C is also C (the distance between the two C's is one octave).

Off-beat: Notes, rests or chords that start either after or before the beat (as given by the time-signature). These are generally unaccented, but can be accented in some cases, producing syncopation.

Ornament: One or more notes which decorate or embellish a musical line. These may or may not involve non-harmony notes. See here for more details.

Parallel Fifths: When two parts move in similar motion or contrary motion, and the interval between each part is a perfect fifth (or 12th) in each case. Can also refer even to non-perfect fifths between the bass and any other voice. Also called 'consecutive fifths'. See here for examples.

Parallel Octaves: When two parts move in similar motion or contrary motion, and the interval between each part is a perfect octave (or 15th) in each case. Also called 'consecutive octaves'. See here for examples.

Part-Writing: The relationship between consecutive notes in the individual parts (or 'voices'). Also called voice leading. See here for more details.

Passing Modulation: A type of modulation where a new key is approached and left quickly, without being firmly established as a definite key change. See here for more details.

Passing Note: A non-harmony note, filling in the gap between two notes. They can be ascending or descending, diatonic or chromatic, accented or unaccented. See here for more details.

Perfect: This related to intervals of unisons, fourths, fifths and octaves. These intervals are perfect if the higher note is normally contained within the diatonic major scale built from the lower note (using the lower note as the tonic). Perfect intervals are one semitone larger than diminished intervals, and one semitone smaller than augmented intervals.

Perfect Cadence: The progression V-I (or V7-I) at the end of a musical phrase or section. See here for more details.

Perfect Pitch: The ability to recognise and name or sing a note based solely on hearing it in isolation, without any prior reference point. (i.e., not relative to anything else). Also called 'Absolute Pitch'.

Phrase: A section or natural division of a melody forming a recognised structural unit, usually complete in itself. Phrases often end with a cadence and/or a long note, and a phrase generally corresponds to the notes that a singer or wind-instrumentalist would play before taking a breath. A common phrase length is four or eight bars, and a common device is to have a 'question' phrase followed by an 'answer' phrase.

Phrygian Mode: This is the mode on the third note of the major scale. It is therefore the natural minor scale with flattened second.

Pitch: How high or low notes are (in relation to each other). This is determined by the frequency of the notes.

Pivot Chord: Used in a modulation to a new key, a pivot is a chord which belongs to both the original key and the new key. Sometimes the pivot is chromatic to one or both keys, but is still related to the overall tonal hierarchy. See here for more details.

Plagal Cadence: The progression IV-I at the end of a musical phrase or section, producing an 'Amen' feel. See here for more details.

Polyphonic: Two or more independent parts, moving in different rhythms with each other, sometimes inter-playing. Often these parts are of equal importance, - they all sound good in their own right. The harmony is generally a by-product of the part-writing. Also called contrapuntal. Not monophonic or homophonic.

Post Modern: The period of musical history from around 1970 to the present day. Also called 'Contemporary Music', or even lumped in with Modern Music under the coverall title of '20th Century'.

Prepare: In tonal music, many dissonances are often 'prepared'. Generally, this means the dissonant note should occur as a consonance in the same part in the previous chord. This preparation softens the dissonance to make it sound more acceptable. The dissonance may also need to resolve in a certain way.

Primary Triads: Triads built using the tonic, subdominant or dominant notes of the scale as the root (I, IV or V), in either major or minor keys. In a major key, these are the three major triads (other triads are either minor (called Secondary Triads), or diminished).

Quaver: A filled-in note with a stem and one tail, lasting for two semiquavers or half a crotchet. Also called an Eighth Note.

Real Sequence: A sequence where the intervals between notes are kept exactly the same each time, so that the music usually modulates through different keys. Unlike a Tonal Sequence.

Relative Major: This is the major key a minor-third above the minor key. The two keys share the same key-signature.

Relative Minor: This is the minor key a minor-third below the major key. The two keys share the same key-signature.

Renaissance: The period of musical history from around 1430 to 1600. (Historians argue about the exact date for the start of the period).

Resolve: In tonal music, this is where a dissonant note moves to a note which is consonant. Most often, this involves the dissonant note falling a step to a consonance. Less often, the dissonance may resolve upwards by step, or even remain at the same pitch as a consonance in the next chord. Resolution is often expected, and when it occurs it provides relief and satisfaction.

Rest: A notated period of silence, where a part contain no notes.

Rhythm: The arrangement or pattern derived from the length of different notes (and rests), and which are more accented or unaccented. This is dependant on such factors as metre, articulation and any syncopation. This is completely independent from pitch.

Roman Numerals: A numbering system used to identify diatonic triads (and occasionally other chords). I, II, III, IV, V, VI and VII corresponds to 1, 2, 3, 4, 5, 6 and 7 respectively. This indicates the root note on which the chord is based, with I meaning a chord formed using the tonic as the root, up to VII meaning a chord formed with the leading note as the root. Sometimes (but not always), upper-case numerals are used to represent major (and augmented) chords, while lower-case numerals are used for minor (and diminished) chords (i, ii, iii, iv, v, vi, and vii). Letters are commonly added just after the numeral to indicate the inversion of the chord, with the letter a referring to a chord in root position, the letter b referring to a chord in first inversion, the letter c referring to a chord in second inversion, and the letter d referring to a chord in third inversion. However, the letter a is normally omitted, so a numeral without any letter after it may also refer to a chord in root position.

Romantic: The period of musical history from around 1820 to around 1900, although historians argue over the exact dates.

Root: The lowest note of a triad (or other chord) when the notes are arranged so there is a third between each one. It is the note that the chord is named after.

Root Position: A chord in which the root (not third or fifth) is the lowest note. The other notes are therefore a 3rd and 5th above this, hence the alternative name; 5/3 chord. (Except the root position of a seventh chord, which is simply figured 7).

Scale: A progressive sequence of notes moving upwards and/or downwards. The most common scales are the major scale, and the minor scale. Each has seven different notes (one chromatic spelling of each) spanning one octave, and is named after the note it starts on. See here for examples.

Second Inversion: A chord in which the fifth (not root or third) is the lowest note. The other notes are therefore a 4th and 6th above this, hence the alternative name; 6/4 chord. (Except the second inversion of a seventh chord, which is figured 4/3).

Secondary Dominant: The fifth chord of a key other than the tonic. So, if any of the diatonic triads were extended into an entire new key, the fifth chord of any of those keys is a secondary dominant in the original key (thus one or more notes in the original key may be chromatically altered). The most common secondary dominant is the fifth chord in the dominant key, in other words, the dominant of the dominant, notated as V of V, or sometimes V/V, which is often used in approaching a cadence. Sometimes the seventh is also added, producing a dominant seventh.

Secondary Seventh: This is a diatonic seventh chord formed on any note of the scale other than the dominant. As the seventh is diatonic, the resultant chord may be a major seventh, minor seventh, or even a half-diminished seventh. Probably the most common in classical harmony is the chord based on the supertonic triad, with an added diatonic seventh above the root. This technically forms a minor seventh chord, but is nevertheless often notated simply as II7 in traditional analysis of tonal classical music (frequently occurring in first inversion preceding a perfect cadence).

Secondary Triads: In a major key, these are triads using the supertonic, mediant or submediant notes of the scale as the root, all of which are minor triads (ii, iii, vi). In a minor key, this refers only to the triad built using the submediant as the root (which, in the harmonic minor, is a major triad, VI). Other triads which do not contain a dissonance are called Primary Triads.

Semibreve: A hollow note without a stem, lasting for two minims or four crotchets. Also called a Whole Note.

Semiquaver: A filled-in note with two tails, lasting for half a quaver. Also called a Sixteenth Note.

Semitone: The smallest distance possible between any two consecutive notes (higher or lower). One twelfth of an octave. Also called a 'half-step'.

Sequence: Where a melodic and/or harmonic section of music is repeated successively at different pitches. There are two types of sequence; a Tonal Sequence (where the music remain in the same key), or a Real Sequence (where the music modulates).

Sharp: A # sign, indicating you raise the note by one semitone.

Sharpen(ed): Raise(d) by one semitone.

Similar Motion: Where parts move in the same direction, either both going up, or both going down - the intervals between the parts do not have to remain constant.

Simple Time: Where the basic beat is divisible by two. See here for more details.

Soprano: Generally, the highest voice, above alto, with a rough range from middle-C up to the G a 12th above this.

Staccato: Notes played shorter than their normal value, and detached from the other notes. Indicated by a dot above (or below) the note-head. See here for more details.

Staff: The five horizontal lines on which musical notes are written. Also called the stave.

Stave: The five horizontal lines on which musical notes are written. Also called the staff.

Stem: The vertical line that comes out from the corner of the note-head. When a single part is written on one stave, the stems of every note below the middle line of the stave come from the right-side of the note and go upwards. The stems of every note above the middle line of the stave come from the left-side of the note and hang downwards. The stem of a note on the middle line can go up or down, but going down is usually preferred. The stems should generally all be about the same length (normally about the span of one octave), and should be straight, and exactly perpendicular to the lines of the stave. Where two parts (or voices) are written on the same stave, the stem direction indicates which part the note belongs to; stems going up belong to the upper line, stems going down belong to the lower line (this enables parts to be crossed while still being relatively clear).

Step: The interval of a second; either major, minor, diminished or augmented. Thus it can be either a tone or a semitone (or, rarely, it can even be three semitones, as for example with the 6th to sharpened 7th notes of the harmonic minor). Usually I mean a 'diatonic step', which means it moves to the next adjacent note in the scale/key (either up or down). Not a leap.

Strong Beat: A naturally accented beat in a bar. The first beat of any bar is always strong, the second is usually a weak beat. In 4/4, the strong beats are beats 1 and 3.

Subdominant: The fourth note of the scale, or a triad built using this note as the root.

Submediant: The sixth note of the scale, or a triad built using this note as the root.

Supertonic: The second note of the scale (after the tonic), or a triad built using this note as the root.

Suspension: An accented non-harmony note creating a dissonance which resolves down by step to a consonance. The suspension must be prepared by having the dissonant note in the preceding chord as a consonance in the same part. See here for more details.

Syncopation: Where a note (or chord) which would normally be unaccented becomes accented. This can arise when an accented note falls on a weak beat or off-beat. This relates to rhythm.

Tail: A line or curve added on the right side of the stem of un-beamed quavers and smaller note values, indicating the duration of the note. Quavers have one tail, semiquavers have two tails, one underneath the other. When groups of quavers occur consecutively, the relevant tails may be joined together. This is called beaming, and the beam replaces the tails. See here for more details.

Tempo: The speed of the music; how fast it goes. Usually measured in beats per minute (BPM). See here for more details.

Tenor: The second-lowest voice, between alto and bass, with a rough range from the C an octave below middle-C to the G a 12th above this.

Third Inversion: This occurs in chords with four or more notes, typically seventh chords where the seventh (not root, third or fifth) is the lowest note. The other notes are therefore a 2nd, 4th and 6th above this, hence the figured bass notation 4/2.

Tie: Where two adjacent notes of the same pitch are joined together so that they form one continuous sound. The second note is not played separately, instead the two notes are performed as one unbroken note. See here for more details.

Timbre: The quality or character of musical sounds and tone. Each instrument has a characteristic timbre, determined by the harmonics present in the sound. This is independent from pitch and dynamics, so different instruments playing the same note at the same volume will have different timbre.

Time-Signature: Two numbers (or occasionally a symbol) at the start of the music indicating the metre. Usually consists of two numbers, the top number represents the number of beats in one bar, and the bottom number represents the 'type' of beat, expressed as a fraction of a semibreve. See here for more details.

Tonal: Music which is based in only one identifiable key at any given time, either major or minor. Music may change key any number of times, either directly or by using passing modulations, and still remain tonal. The vast majority of the notes in tonal music are diatonic, but chromatic notes may still be used so long as they do not upset the overall key too much. In strictly tonal music, any chromatic notes should be explainable as modulation, non-harmony notes, or a special type of chord (such as a diminished seventh, or Neapolitan sixth). Generally most chromatic notes only occur fleetingly, and dissonances are usually prepared and resolve correctly. Not Atonal.

Tonal Hierarchy: The relationship and relative importance of different notes, chords or keys to the tonic. In tonal music, the tonic is usually the most important note (and chord), which everything else ultimately gravitates towards (and is explained in relation to). The dominant is the next most important note (and chord), then probably the subdominant. Similarly, notes, chords and keys which are a fourth or fifth apart are generally strongly related, whereas others, particularly chromatic notes, are more distantly related.

CONTINUED IN MY NEXT POST BELOW...
Click here for part 2; T to Z.
Last edited by JumpingJackFlash on Sat May 05, 2007 9:19 am, edited 5 times in total.
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Sat May 05, 2007 9:11 am

Glossary of musical terms (theory, harmony and notation)
Part 2

Unfortunately, my glossary was too long to be contained within one post, so I have had to post the final section (from T to Z) here.

The first half, from A to T, can be found here, in the post directly above.


Tonal Sequence: A sequence where the exact intervals between notes are modified so that the music remains in the same key throughout. Unlike a Real Sequence.

Tone: Two semitones, one sixth of an octave. Also called a 'whole tone', or 'whole step'.

Tonic: The first note that the scale starts on, or a triad built using this note as the root. This is the note that the scale (and key) is named after.

Transpose: The notation and/or performance of the music in a key other than the original. The pitches are all modified by the same amount, so the intervals between the notes remain the same. This is necessary when altering the music so it fits within the range of a particular voice or instrument, when the same musical phrase occurs in a different key, or when writing for or performing on a transposing instrument.

Transposing Instrument: An instrument on which the note performed is not the same as the note which is heard. The part may be deliberately transposed to make it easier for the player, or the player may be expected to transpose himself as he goes along. See here for examples.

Treble Clef: The symbol at the start of the music which indicates the pitch range of the stave, and thus tells you which notes go where. From bottom to top, the notes on the lines are E, G, B, D, F, and the notes in the spaces are F, A, C, E. Also called 'G clef'. See here for more details.

Triad: A three-note chord made up of two superimposed thirds (a root, a 3rd above the root, and a 5th above the root). Triads can be built from any note of the scale. Triads can be major, minor, diminished or augmented and are named after the root note.

Triplets: Three in the time of two. Written with a '3' above the notes (may also include rests).

Tritone: The interval of three tones. (6 semitones, half of an octave). Also called an augmented 4th or a diminished 5th. This occurs between the subdominant and leading notes in a major key, and also between the root and fifth of a diminished triad.

Unaccented: This is where a note or chord has less emphasis than other notes. This occurs naturally on the weak beats of the bar and also generally occurs when the note or chord is played on an off-beat.

Unison: The same note, as an interval, or when more than one player is playing the same exact music.

Voice: One individual part. In four-part harmony, the voices are called Soprano, Alto, Tenor and Bass, in that order from highest to lowest, even when the music is not intended to be sung.

Voice Leading: The relationship between consecutive notes in the individual parts (or 'voices'). Also called part-writing. See here for more details.

Weak Beat: A naturally unaccented beat in a bar. In 4/4, the weak beats are beats 2 and 4. Not a Strong Beat.

Western: Referring to culture from the part of the world including Western Europe, North America, and possibly other countries such as Australia. Countries from Asia, Africa and South America are instead included in the separate category of World Music, although there may be influences between the two groups.

World Music: Referring to music from non-Western countries and cultures, usually including music from Asia, Africa and South America.
Last edited by JumpingJackFlash on Sun Jun 03, 2007 9:03 am, edited 2 times in total.
tradivoro
KVRist
 
72 posts since 11 May, 2005

Postby tradivoro; Sat May 05, 2007 10:13 am

Hey Jumpin, you've done a fantastic job in putting this up... I just had one correction, this isn't an intro into music theory, this is an intro to music facts... :D
Reverse Engineer
KVRAF
 
5013 posts since 22 Sep, 2003, from Glasgow

Postby Reverse Engineer; Wed Aug 22, 2007 2:39 pm

Just bumping this very helpful topic.

:tu: @ JumpingJackFlash
geralds
KVRer
 
11 posts since 21 Jun, 2007

Postby geralds; Thu Aug 23, 2007 3:20 pm

Excellent thread. Just one thought: just like scansion, I sometimes wonder if different people will interpret different chords (T, S, D, Tp and so on) in their own way. Whenever the ear is involved, we all have a very different perception of what's going on...

Not suggesting music theory is as subj. as scansion btw: I do realise there's a lot of stuff that's beyond dispute. It's just that some examples have baffled me for a long time:

If I play C-7 to Bb-7 it's fairly clear which scales to apply.

If the bass plays F to Bb underneath I'm likely to start grounding solos in F- dorian; after all, Ab sounds just fine in solos in this situation, and D is preferable to Db.

I realise it's a really trivial example; but I do think lots of chords when played can be interpreted in a number of ways.
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Fri Aug 24, 2007 9:48 am

geralds wrote: I do think lots of chords when played can be interpreted in a number of ways.


That's very true, they can be. But there is still a logic, or a reasoning behind why the chords can be interpreted in different ways, and that is what music theory is all about. - Explaining how the process works rather than providing specific answers.

Incidentally, I've been thinking about updating the initial post a little, if anyone has anything they would like to see included, PM me and let me know.
Unfamiliar words can be looked up in my Glossary of musical terms.
Also check out my Introduction to Music Theory.
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Sun Dec 23, 2007 3:49 pm

First anniversary bump!
Unfamiliar words can be looked up in my Glossary of musical terms.
Also check out my Introduction to Music Theory.
User avatar
jancivil
KVRAF
 
13258 posts since 20 Oct, 2007, from No Location

Postby jancivil; Tue Dec 25, 2007 9:28 am

very exhaustive one-stop-shopping, kudos!

ONE question: I thought this: let's say C minor, V to i; a d in the alto moves to an eb in the tenor, this too is a 'cross-relation', yes-no?

I'd like to see musical examples of the things you brought up from chromatic usage, eg., the famous french sixth delayed resolution (love-death) in Wagner: Tristan und Isolde.
JumpingJackFlash
KVRian
 
1218 posts since 10 Oct, 2004

Postby JumpingJackFlash; Fri Dec 28, 2007 1:11 pm

jancivil wrote:ONE question: I thought this: let's say C minor, V to i; a d in the alto moves to an eb in the tenor, this too is a 'cross-relation', yes-no?


Thanks. A 'cross-relation', also called a 'false relation', is where you have different chromatic spellings of the same note in different (horizontal) parts, either at the same time (simultaneous) or next to each other (consecutive).

Examples:
D-natural in a piano part, followed by a D-sharp in a vocal part.
E-flat in a violin part, and E-sharp in a tuba part at the same time.

D-natural to E-flat is NOT a False Relation because they are not versions of the same note (both have to be either D-something or E-something).


Also, chromatic movement in the SAME part is NOT a false relation; the two notes have to be in different parts.
Unfamiliar words can be looked up in my Glossary of musical terms.
Also check out my Introduction to Music Theory.
Km7
KVRist
 
149 posts since 27 Jan, 2007, from Eyeth

Postby Km7; Wed Jan 02, 2008 9:48 am

Maybe it would be nice to add that cross-relation resulting from natural-harmonic-melodic minor switching is acceptable.
User avatar
jancivil
KVRAF
 
13258 posts since 20 Oct, 2007, from No Location

Postby jancivil; Wed Jan 02, 2008 10:43 am

JumpingJackFlash wrote:
jancivil wrote:ONE question: I thought this: let's say C minor, V to i; a d in the alto moves to an eb in the tenor, this too is a 'cross-relation', yes-no?


Thanks. A 'cross-relation', also called a 'false relation', is where you have different chromatic spellings of the same note in different (horizontal) parts, either at the same time (simultaneous) or next to each other (consecutive).

Examples:
D-natural in a piano part, followed by a D-sharp in a vocal part.
E-flat in a violin part, and E-sharp in a tuba part at the same time.

D-natural to E-flat is NOT a False Relation because they are not versions of the same note (both have to be either D-something or E-something).


Also, chromatic movement in the SAME part is NOT a false relation; the two notes have to be in different parts.


I erred badly in my post, I was thinking about a horizontal move to Eb in a different register.
(in a different part, as I did manage to specify); not stepwise, it's a maj seventh jump.

So, if I call the Eb a D# in an ambiguous, like a deceptive move it's a no go, because of spelling?
eg., D moves down a major seventh to Eb, alto to tenor. Eb suspends over a B entering in the bass. let's say that the resolution only becomes 'complete' a couple harmonies down the road, so that Eb/D# is an ambiguous spelling.

It's undesirable because it's called a D#, regardless of the rest of the context?

this is where theory proves to be merely a way of explaining what was done, and trying to make rules out of it, when the composer was 'playing it by ear'. happens a lot when the tonal practice was stretched in the nineteenth century.

the context which is missing in this discussion is 'smooth according to 18th century sort of tastes', this and /or that move is undesirable according to this criteria, and formulae are described in order to codify the style/preference.

it tends to be important to put this in context for a student, I believe.
PreviousNext

Moderator: Moderators (Main)

Return to Music Theory