CONCEPTS OF MUSIC

DURATION
Long
Short
Rhythm
Metre
Beat
Time signature
Ostinato
On the beat
Syncopated
rhythm patterns
accent
percussion non melodic
rests
drums
tempo
rhythmic tension
polyrhytms
cross rhythms
hemiola
motivic development
free time
beat foundation
improvisation
presto
a tempo
accelerando
rallentando
rubato
fermata
flexible
pauses
silence
pulse
divisions of a beat
semibreve

minum
crotchet
quaver
semi-quaver
unmetered
duple metre
triple metre
quadruple metre
bar lines
simple metres
climax
changing vs. constant
metre
fast slow
compound time
simple time
feel
shifting metre
DYNAMICS AND EXPRESSIVE TECHNIQUES
forte
fortissimo
mezzo forte
mezzo piano
piano pianissimo
crescendo
diminuendo
staccato
legato
tenuto
glissando
mute
distortion
guitar pedal
special effects
growls
rubato
accelerando
flutter tongue
improvisation
subito piano
sfp
sfz (sfortzando)
PITCH
high
low
minor
major
melody
harmony
flat
sharp
melodic Ostinato
key signatures
accidentals
atonal
tonal
octaves
range
alto
soprano
chordal
free key
consonant
dissonant
mode music
intervals
riffs
Ostinato
definite pitch
indefinite pitch
high pitch
low pitch
medium pitch
pitch placement
contour
static line
ascending line
descending line
wavy contour
jaggered contour
smooth contour
steps
leaps
shape
triads
phrases
slurs
skips
huge range
limited range
free range
motifs
sequencing
single pitch
call and response
rock riff
jazz riff
tonality
blues tonality
absence of tonality
major tonality
minor tonality
chromatic tonality
improvisation
solo
ornaments
homophonic
arpegiated chords
broken chords
alberti bass
modes
pentatonic
bi-tonal
harmonic rhythm
drone
12 bar blues
Bass notes
Root notes
Alternating bass
Walking bass
Pedal bass
Imitation
Question and answer
canon
Countermelody
Dominant
tonic
Vocal melismas
Even phrasing
Symmetrical phrasing
Asymmetrical
phrasing
Long phrasing
Short phrasing
Cadence
Perfect cadence (VI)
Plagal cadence (IV I)
Interrupted cadence
(V VI)
Imperfect cadence (I
V)
Strophic
Balance
Unity vs. variety
Diatonic major
Diatonic minor
Whole tine
Chordal patterns
Added note chords as
used in jazz (7ths,
9ths, 11ths)
Modulations
Atonality
Polytonality
Parrelism
Tone clusters
Scale
Sub-dominant
Chromatic harmonies
STRUCTURE
Timeline
Sections
Architecture
AB Binary
ABA Ternary
Intro
Verse
Chorus
Bridge
12 Bar Blues
Improvisation
Solo
Canon
Imitation
Repetition
Ostinato
Melody
Harmony
Call and Response
Question and Answer
Strophic
Them of variation
Contrast between
sections
ABACA Rhodo
Sonata
Fugue
Chaconne
Phrases
Motifs
Riffs
Repetitive patterns
Symphony
Coda
themes
TEXTURE
layers
roles
monophonic
homophonic
polyphonic
heterophonic
rich
full
thick
dense
light
airy
sparse
transparent
changing densities
sound source
melodic layer
harmonic layer
bass layer
rhythmic layer
sound effect layer
thin
fat
solid
doubling
imitation
call and response
similar motion
contrary motion
canon
build up
changes
power chords layer
riff layer
rapping layer
polyrhythm layer
vocal layer
guitar layer
bass layer
drum layer
vocal track
guitar track
bass track
drum track
dominate layer
subordinate layer
unison
heavy
wispy
background
foreground
solo
unison
counter point
contrapuntal
interlock
staggered entries
staggered exits
fills
parallel harmonies
stabs
rhythmic unison
call and response
TONE COLOUR
harsh
bland
airy
thin
smooth
resonant
piercing
rich
vibrant
strong
dominant
supportive
falsetto
mellow
sweet
nasal
sharp
flat
buzzing
clear
pure
majestic
grand
booming
eerie
haunting
muddy
rumbling
percussive
sombre
electronic
artificial
dry
brassy
distorted
coarse
dark
aggressive
muted
muffled
light
glittery
sound waves
suspended
clicky
vibrations
wheezy
sustain
reverberation
synthetic
futuristic
buzzing
beeping
panting
sparkling
shimmering silvery
main melody
counter melody
harmonic
accompaniment
bass line
rhythm
meter
pulse
rhythmic Ostinato
wind ensemble
brass band
string orchestra
percussion band
recorder consort
steel drum band
fife and drum band
drum corps
a cappella choir
duo
trio
quartet
quintet
sextet
septet
octet
big band
piano trio
string quartet
wind quintet
jazz band
symphony orchestra
rock band
folk group
Latin band
country and western
band
blues band
soul band
funk band
marching band
bush band
barber shop quartet
chamber ensemble
stage band
church choir
Indonesian gamelan
orchestra
Greek folk group
Mexican marching
band
Aboriginal ensemble
Scottish pipe band
Character of music
Sound sources
Lead instrument
Woodwind section
Brass section
Saxophones
Percussion section
String section
Role of instrument
Register of
instrument
Playing techniques
Bowing
Plucking
Strumming
Harmonics
Muting
Sliding
Pizzicato
Glissando
Slapping
Bending
Vibrato
Flutter tonguing
Pitch bends
Multiphonics
Corohphones
Aerophones
Membranophones
Striking
Rubbing
Idiophones
Wood
Metal
Skin
String
Electronic
Vocal
Scraping
Shaking
Single vs. multiple
Accompanied
Unaccompanied
Small ensemble
Large ensemble
Sythesisers
Koto didgeridoo
Double reed
Distortion
Wah wah
Chorus
Electronic
modification
Phaser
Reverb
Delay
Played backwards
Layered
Looped
Edited
Reproduced
Register
Bright Timbre
Mellow timbre
Dull timbre


Instrument, Role, Register, Playing Technique, Electronic Modification, Timbre, Section , Ensemble
TENSION AND CLIMAX
DURATION
A small division of beats per bar
A change in metre
No meter can also create tension for its unpredictability
A change in tempo/pace
Tempo speeds and gradually accelerates
Rhythmic patterns are varied and repeated
Note values are altered such as doubling in time.
Feeling of displacement from syncopation and anticipation and a hemiola can contribute to tension in
a piece of music
Repetition and recurrence of an Ostinato, imitation and riffs build much tension for the listener who
expects more to come
Accents, cross rhythms, polyrhythm, diminution and augmentation can also create tension
Building of rhythmic layers
Silence
Change of metre
Laboured rhythm persistent
Not values lengthened or shortened
Short not values
Long not values
Syncopation
Rhythmic augmentation to prolong a rhythm
Anticipation
PITCH
TONALITY
Modulation of any kind creates tension.
Change in key creates build-up in a repeated chorus in a piece of mainstream music. It can build
tension and create excitement towards the end of a piece, it also emphasises for the listener that the
chorus is a main feature in the piece of music
A change in tonality, such as major to minor can create a climax
MELODY
An increase in pitch creates tension and climax and excitement
The repetition of one pitch occurs much in jazz music when the performer uses on note to create
tension and prolong the piece of music until a release occurs.
Repetition of one melody or melodic phrases
The use of indefinite pitch sounds may create tension in a piece because of how different they sound
from definite pitches.
In the melodic arrangement, there may be repetition of a counter melody
The relationship between the main melody and the countermelody can also create an element of
tension
A melodic contour that builds in tension may also have a shape that is ascending, building higher in
pitch; angular, for unpredictability; or static, for lack of movement and narrow pitch range
Extremes of melodic movement contribute to suspense, such as a melody with mostly steps and then
one with mostly leaps.
Sudden changes in register
Extremes of register
Extremes of range
Melodic features: melodic Ostinato, motif or riff creates tension through its repetition.
Melismas or ornamentation may create suspense, as these features tend to hold up the melody
An ascending sequence creates tension for its increase in pitch and build-up


HARMONY
Rapid change of harmony
Faster harmonic rhythm
Unexpected change of accompaniment
Simple to more complex chord styles
Rapid chord changes
Frequent modulation
Sudden dissonance
Harmonic features: harmonic Ostinato, riff dance and pedal point create tension through repetition.
Pedal point is very good for creating tension
An interrupted or imperfect cadence and an unresolved Plagal or perfect cadence create climax.
Prolonged cadence for tension.
DYNAMICS AND EXPRESSIVE TECHNIQUES
Sudden changes in dynamic levels
A very slow and gradual build-up of dynamics
Making sounds louder than the established level
A loud volume throughout
Change or frequent changes in tempo
Ornamentation such as trill or glissando can provide tension
Instrumental techniques add suspense such as tremolo or vibrato can provide tension
TONE COLOUR
Changing tone colours or quality of sound
Change in type of sound such as melody played by an acoustic instrument then repeated by an
electronic instrument
Unconventional sound sources
TEXTURE
the building of texture
increase in density
Polyphony creates tension, as the layers are intertwined and it is difficult to hear an ending or
resolution.
STRUCTURE
Sections that do not repeat or recur can create a sense of non-resolution. Through-composed vocal
structure can create this uncertainty.
UNITY, VARIETY AND CONTRAST
UNITY: a sense of sameness or belonging to the one thing, i.e.: choosing the musical materials which make the
individual sections sound as if they belong to the one piece. E.g. development of motifs
VARIETY: diversity or change, i.e.: introducing new material, or presenting old material in a new way. E.g.
variation form, development sections, same material with changes in metre and tonality.
CONTRAST: showing differences or opposites in the mood or character of the music (as they apply in any of
the elements/concepts). E.g. loud vs. soft, long notes vs. short notes, polyphonic texture vs. homophonic
texture
UNITY CAN BE ACHIEVED THROUGH:
Repetition
Repeating one melody and changing it to a greater or lesser degree
o Using inversion
o Using different instruments
o Changing certain intervals
o Using ornaments
o Changing between major and
minor
o Augmenting or diminishing the
note values
o Developing only part of the motif
o Using sequences
o Using imitation
o Using repetition
Repeating a rhythmic motif
Maintain the same rhythmic feel
Repeating a harmonic pattern
Repeating a harmonic Ostinato
Using a drone/pedal point
Maintaining one performing medium
Repeating sections of the music
Using melodic sequences
Maintaining one texture/layer =
consistency
Repeating a pattern of dynamics
Repeating a pattern of changing tempi
Repeating a pattern of changing tone
colours
VARIETY CAN BE ACHIEVED THROUGH:
Using changes in key signatures by modulation or change of tonality
Using changes in time signatures
Using different instruments or tone colours
Using different dynamics in contrasting sections
Using new material, either motifs or sections
Presenting the same material in a different way e.g. developing a motif
Changing the texture e.g. thick/thin, homophonic/polyphonic
Using different rhythmic patterns
Using different chord progressions and/or harmonic styles
CONTRAST CAN BE ACHI EVED THROUGH:
Repeating the same melody in different keys or registers
Introducing new musical data e.g.: new motifs or themes, syncopated rhythms etc
Melodic or rhythmic variation
Modulation to a different key
Changing the metre
Changing the accompaniment
Contrasting the tone colours
Altering the formal structure different sections of music
Changing the texture/layers
Introducing a counter melody
Changing the dynamics, tempi etc
Altering methods of sound with an instrument = expressive techniques
Contrasting the phrase lengths
Melodies may contrast of one is conjunct and the other disjunct
Introduction of dissonance or consonance