GLOSSARY OF MUSICAL TERMS and some other handy hints :)

Words to describe the following elements;

Melody: Ascending, Descending, repetitive, short, long, high, low,wide range, small range,
stepwise/smooth, based on a scale, based on a triad, jagged, made up of phrases, uses sequences,
tonality (scale forms-major, minor, modal, chromatic etc), contour, draw a picture of the phrase
shape, upbeat, anacrusis, leaps (angular contour), motive, register, unison, chromaticism.
Rhythm: Riff, straight, shuffle, jazz, swing, latin, describe note values within a phrase, short rhythmic
patterns, call and response, ostinatos, off beat, notation, time signatures, mixed metres,
polyrhythms, dotted rhythms, even, syncopation, tacet, duration, note values, pulse, regular,
irregular, repetitive, hemiola.
Rhythms used....to maintain momentum, as part of the structure/form, ostinato, to provide
pulse/beat, to create unity,to create contrast.
Harmony: chord progression, tonality, primary triads, 7ths, altered chords, describe the chords
within a phrase, modulation, consonance, dissonance, resolution
Dynamics: Loud, soft, crescendo, decrescendo, diminuendo, fade-out, fade-in, moderately loud,
moderately soft, sforzando, smorzando, forte, fortissimo, piano etc, strength, weakness, shape,
contour, range, contrast, volume
Tone Colour: Timbre, warm, cold, shrill, mellow, woody, bright, bleak, dark, light, heavy, percussive,
guitar amp effects, effects units, powerchords, mute, instrumental, voice, growl, slur, smear,
delicate, solid, strong, dense, strained, variation, blend, balance, resonant, brilliant, complex,
emphasis, solo, tutti
Texture/Balance: monophonic, homophonic, polyphonic, thick, thin, complex, sparse, foreground,
background, emphasis, music line, opposing, complimentary, solo, tutti, accompaniment, busy, clear,
articulation, contrary motion (opposite motion), similar motion, parallel, imitative, sequential,
staggered, discrete, independent, dependent, melodic accompaniment, rhythmic support, backing,
cluttered, dense

Interpretation: rubato, rallentando, register, piano pedalling, vibrato, change of register, recording
techniques-effects, reverberation, multitracking,
Ornamentation (melodic/rhythmic/harmonic) trills, mordents, drop offs, smears, pause,
harmonics, melismas, scat, embellishment, passing note(chord), improvisatory, chromatic
movement, diatonic (of the scale) theme, statement, tune, subject, counter-melody, pitch, interval,
phrase, contour, scale form (major, minor, modal, pentatonic) range, direction, shape, predictability,
question/answer, imitation, cadential point (point of cadence), motif, riff, register, intonation,
accent, emphasis, tuning, balance, focus, texture, cyclic, polyrhythm, additive, swung, straight
Articulation legato smooth, semi-legato, staccato, marcato, accents, tenuto, slides, bends,
hammer ons, pull offs, damping, pizzicato, double stop, mute, detache, emphasis, weight, slur,
attack, tremolo, vibrato, smear, tie, lyrical, precise, clean, sharp, dull, rounded, blurry, imprecise

Tempo slow, fast, broadly, lively, accelerando, rallentando, ritenuto, ritardando, largo, andante,
allegro etc, pulse, pace, speed, rhythmic intensity, beat, rhythm, metre, patterns, articulation,
rubato, regular, irregular, restrained, pushing, surging, movement, cantabile, lyricism, broad,
aggressive, suppressed, contained.
Ways to start writing a sentence;
in my opinion......
I feel.....
Gives me the impression......
Recalls.....
Is arguably.....
Using -like correctly, Eg It is like..... or this feature is .....like
Using generic terms (wind, brass, string etc)
Somewhat.......
Think about starting by describing the overall expressive intention ie this interpretation is
fundamentally angry, calm, afraid, joyous, tender, imploring etc Then back up your statement with
three or four well argued examples.
Some examples of points you could make in dot point form (taken from last years exam)
Melody;
Melody is diatonic in major key
The melodic range is a 9th
Most phrases are short and organised as an ascending sequence
The melody in this section ascends for about four bars
Each short phrase starts with an ascending contour
Each short phrase ends with a descending triadic contour
Repeated notes at the beginning of each phrase
More pitch repetition in this section than in section one
The tessitura is higher than in section one
The melodic range is now a 10th, which is slightly higher than in section one.
Rhythm;
Nine-bar phrase
Extensive use of quavers in the hi-hats, bass, keyboards and vocals
Not much use of syncopation, apart from the entries
Snare drum playing on beats 2 and 4 (providing a backbeat) with fills in bars 4 and 9
Use of harmonic rhythm, mostly 2 chord changes per bar
Six and a half bar phrase
Tempo is the same in both sections; however, the first section is busier, with many
instruments playing quavers
Phrase entries likewise on off beats including simple syncopations
This section is comparatively sparse with a stronger emphasis on each crotchet beat
Piano playing strong crotchet pulses in the right hand nearly all the way through
Bass and left-hand piano playing syncopated unison riff/ostinato (three times) short
Melodic line made up of mostly quavers
Phrase lengths are comparatively short

Articulation;
The melody consists of mostly staccato notes throughout
Accented unison staccato notes in rhythm section in the first phrase
The second phrase has less accent with introduction of legato backing vocal line and broken
piano chords
Prominent vibrato in vocal counter melody
Longer note lengths and altered articulation used for emphasis of the given word (you for
example)
Phrasing;
There were three phrases
There were four bars in each phrase
Each phrase becomes more rhythmically active
The first of the three phrases features only stabs on the downbeat
The lead vocal line-ascending-descending phrase contour featuring conjunct antecedent and
disjunct consequent
The second phrase of backing vocals is legato, ascending essentially linear sequence that is
virtually an inversion of the second
A descending sequential phrase of the backing vocals
Dynamics;
The lead vocal was moderately loud, but not increasing in dynamic intensity with each
phrase
The addition of instruments and backing vocals is increasing the dynamic output/volume
level, not the lead vocalist
The backing vocals were increasing in volume throughout each section ending on a loud high
note
The ff downbeats from the instruments in the first phrase
The rhythm section was loud throughout this section, with a crescendo in the last two bars
leading into the next section
Harmony;
The harmonic rhythm is one chord per bar
Four chords are used in this section
The other excerpts have used chords I, IV and V in D major
There is a transition to the tonic minor in the key of D minor chords III, IV, I, V are used
(F,G,Dminor, A)
The backing vocals used in harmonic context
Texture;
This section is mostly homophonic
Layering of instruments and backing vocals used to increase textural density
Backing vocals enter, singing a counter melody, creating polyphony between the lead and
backing vocals
Contrary motion between backing vocals and lead vocals (especially in the third phrase)
highlighting register differentiation and quality of tone (vocal texture)
Falsetto vocals vocal quality used in backing vocals
Close vibrato used in lead and backing
Role of the instruments;

Lead vocals provides melody

Backing vocals supports lead vocal, provides counter melody and harmony, adds stylistic
element, thickens texture and builds section ending on high operatic note
Bass guitar provides harmonic framework, plays accented notes with rhythm section, then
unison quavers in the last two bars to lead into the next section
Keyboard/piano plays unison with organ, then plays broken chords in quavers, then unison
quavers in the last two bars to lead into the next section
Organ plays chords stabs on the same beats
Drums provides accented hits, then plays rock beat to build section, plays quavers in the
last two bars to lead into the next section
Guitar plays unison accented notes/chords, then sustained chords inthe third phrase, then
unison quavers in the last two bars to lead into the next section

Some examples from reviews found in the Age;

songs for the temporally displaced by warwick mcfadyen sat age 18/6/2011
...Her songs are pastoral symphonies of little moments. Theyre old-timey, folky, swinging, jazztinged, rock-bound, rootsy and otherworldy. They contain musical particles of the past and present,
all mingling together, bouncing off each other in, at times, eccentric movements
...the melodies on I love you, go easy, climb and clamber, skate, leap and jump, stretch out, laze
around but it all gels.........evocative piano accompaniment
...Sproules voice is part sweetness and light and part thunder and growl. The backing harmonies,
Curreris guitar work and that of pedal steel player......give it a muscular feel missing from the studio
albums
....warm shimmering harmonies floating over an acoustic guitar and violin
From album review Good times by Melissa jane fulton sat age 18/6/11
.....between horns, strings, harmonies, cowbell and kazoo, the arrangements feel cluttered and a
little burdensome at times......