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| the quality of sound, as distinct from its pitch; (page 8) |
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| the use of a wide range of timbres for expressive purposes (Page 9) |
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| in jazz, instruments that are played by blowing air into a tube; as known as jazz as horns. (Page 9) |
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| any instrument in the jazz ensemble whose improvisation is featured in a performance. (Page 9) |
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| instruments that provide accompaniment for jazz soloing: harmony instruments (piano, guitar), bass instruments (string bass, tuba), and percussion (drum set)(Page 9) |
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| a slight wobble in pitch produced naturally by the singing voice, often imitated by wind and string instruments (Page 10) |
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| the shaping and positioning of the lips and other facial muscles when playing wind instruments (Page 10) |
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| wind instruments, some of which are indeed made of brass, that use a cuplike mouthpiece to create the sounds. (Page 10) |
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| on a brass instrument, a cuplike rest for the musician’s lips, into which air is blown; on a reed instrument, the piece of hard plastic to which a reed is attached. (Page 10) |
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| an orchestral mute with an extension that more or less covers the bell of the instrument (Page 11) |
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| a hollow mute, originally with a short extension but usually played without it, leaving a hole in the center and creating a highly concentrated sound (Page 11) |
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| the bottom end of a sink plunger (minus the handle), used as a mute for a brass instrument. |
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| sliding seamlessly from one note to another, as exemplified on the trombone; glissando |
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| an amplified metallophone (metal xylophone) with tubes below each slab; a disc turning within each tube helps sustain and modify the sound. (Page 13) |
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| the technique of playing a string instrument by plucking the strings with the fingers; usually the preferred method in jazz for playing the string bass (page 14) |
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| the large drum front and center in a jazz drum kit, struck with a mallet propelled by a foot pedal; it produces a deep, heavy sound (Page 15) |
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| smaller drum in a jazz drum kit, either standing on its own or attached to the bass drum, and emitting a penetrating, rattling sound. (Page 15) |
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| broad-rimmed, slightly-convex circular plates that form part of the jazz drum kit. (Page 15) |
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| a cymbal with a clear, focused, timbre that’s played more or less continuously (Page 15) |
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| a cymbal that produces a splashy, indeterminate pitch, not unlike a small gong, used for dramatic punctuations. (Page 15) |
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| – two shoulder-level cymbals on an upright pole with a foot pedal at its base; the pedal brings the top cymbal crashing into the lower one with a distinct thunk.(Page 15) |
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| volume, or loudness (Page 16) |
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| a classical-music word for a monophonic solo passage that showcases the performer’s virtuosity. (Page 17) |
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| the simultaneous use of contrasting rhythms; also known as rhythmic contrast (Page 18) |
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| a pervasive principle of interaction or conversation in jazz; a statement by one musician or group of musicians is immediately answered by another musician or group (Page 18) |
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| jazz from the period 1935-1945, usually known as the Swing era; (2) a jazz-specific feeling created by rhythmic contrast within a particular rhythmic framework (Page 20) |
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| a jazz soloist’s flexible division of the beat into unequal parts. |
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| a diatonic scale similar to the major scale, but with a different pattern of half steps and whole steps (W H W W H W W); normally used in Western music to convey melancholy or sadness. (Page 23) |
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| the pitches in frequencies (Page 23) |
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| notes in which the pitch is bent expressively; using variable intonation; also known as blue notes (Page 24) |
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| a musical utterance that’s analogous to a sentence in speech (Page 24) |
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| a short, catchy, and repeated melodic phrase (Page 25) |
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| the basic interval for tonal harmony; in a major scale, it’s formed by skipping over a scale degree (e.g., moving from do to mi) |
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| distributing the notes of a chord on a piano, or to different instruments in an arrangement (Page 25) |
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| interval one step smaller than an octave, often used as an extension for chords (Page 26) |
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| in homophonic texture, an accompanying melodic part with distinct, through subordinate, melodic interest; also known (especially in classical music) as obbligato. |
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| a short two- or four-bar episode in which the band abruptly stops playing to let a single musician solo with a monophonic passage. (Page 28) |
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| a technique in which a band plays a series of short chords a fixed distance apart (e.g., a measure), creating spaces for an instrument to fill with monophonic improvisation; often used in early jazz. (Page 28) |
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| texture in which two or more melodies of equal interest are played at the same time. (Page 28) |
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