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| Beggining of the note is strong. Sustained part of note is soft. |
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| speed of the pulse. Measured in beats per minute (BPM) or metronome marking (MM) |
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| Less motion. A little slower |
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| More Mottion. A little Faster |
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| With Motion. a little faster |
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| return to the previous tempo |
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| Return to the first tempo of the piece |
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| return to the first tempo of the piece |
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gradually getting slower
Rit. Ritard. |
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gradually getting faster
Accel. |
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| Hold a note or rest longer than usual value. Usually hold 1 1/2 times normal value |
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| slow, broad tempo. MM = 60 plat tenuto style unless marked otherwise |
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| "little' allegro. quick and lively. MM = 100-108 |
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| Quick lively tempo. Play seperated unless marked otherwise. MM = 108-120 |
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| "like a march" Play seperated unless marked otherwise. MM = 108-120 |
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| A repeating rhythm or harmony pattern. Usually used as a backround or transition. |
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| the secondary melodic line.occurs "against" a primary melody |
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| Backround parts that provides the chord structure. Usually made up of sustained notes. |
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| A 'musical sentence' A compleate musical thought tha should be shaped by the player |
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| Featured part for one player |
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| featured part for one section or a small group of players |
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| a single part divides into more than one note and/or rhythm |
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Joins a divisi part back into a single part.
a2. |
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| all players play the same pitch |
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| Matching single pitches with other players or a tuner. |
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| Adjusting pitches so they match horizontally with other players AND are adjusted vertically within each chord. |
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| pitch is higher than other players with the same note. |
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| pitch is lower than other players with the same note |
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| Lower the uper note ofa major third by13 cents to get it perfectly in tune. |
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| How each note is started. |
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Continue in same style
Sim. |
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playnote for full value with no decay. touches surrounding notes. use a "D" articulation
Ten. |
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light, seperated style. 75% sound, 25% silence with a little decay and a "D" articultion
Stacc. |
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| Emphasized note, seperated from surronding notes. 75% sound, 25% silence with decay and a "T" articulation < |
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| "Marked" very emphasized and seperated from surrounding notes. 50% sound, 50% silence with decay and a "T" articulation Marc. |
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| How we organize beats into larger groups |
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| how we divide beats into smaller pieces. |
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| accenting weak beats or parts of beats |
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| dividing beats into two or four pieces. Time signatures using this are 2/4, 4/4, 3/4, 2/2, and 3/2. |
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| dividing beats into three or six pieces. Time signatures using this are 6/8, 9/8, and 12/8 |
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| simple subdivision within a "compound" time signature |
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| compound subdivision within a "simple" time signature |
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| Time signature- top number |
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| Time signature- bottom number |
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| tells us the value of the whole note. |
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| sign that indicates the start ofa repeated section |
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| sign that indicates the end of a repeated section. go back to starting repeat one time when this is printed. |
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| a short 2-4 bar section of music that is only played once on the first time through a repeated section |
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| symbol that indicates a jump to the "coda" section of the piece. |
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"go to thesign, then to the coda"
D.S.al Coda |
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"Go to the beginning, then to the coda"
D.C al coda |
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"Go to the beginning, then to the end"
D.C. al fine |
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"Go to the sign, then to the end"
D.S. al Fine |
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| first 4 to 8 bars of a march. usually tutti pitch and rhythm. introduces the style and key. |
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| follows the introduction. usually 16 to 32 bars long. repeated one time and aggressive in style. |
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| soft lyrical section. 16 to 32 bars long. sometimes repeated. features the woodwinds. changes key and adds one flat from the srain before it. |
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