Basso (bass) Ostinato

It is an Italian word that means "stubborn." It's a bass line that is repeated (in this case, no longer a melodic fragment, only instead of being in a higher voice, is in the grave) implemented in exactly the same way. The ostinato can be melodic, rhythmic or affect any parameter of sound, and although in its simplest version is a mere repetition, there is the possibility of building ostinatos to be varied slightly (changes or variations of the original can not be drastic, because would be an ostinato and listen as otherwise). In general, must remain identifiable.

Embroidery

The approach Embroidery is a technique of melodic embellishment stitching that connects two notes with a note above and below (or vice versa) note semitone interval objective.

Melodic Cadence

The melodic cadence refers to the way a melody ends with respect to harmony. This produces three effects: Anticipation (if completed before a chord change), Delay (if it ends after a chord change) or connection (when completed along with the change of harmony).

Harmonic Field

The harmonic field is a set of scales that are formed from each of the other scale degrees chosen as basic. If we take eg. Basic Major Scale, and on each of his notes make a scale, get 7 on different scales, all of these are the harmonic field of the Major Scale. Greek modes are an example of harmonic field, but we can choose any other scale than the major scale, and build your harmonic field.

Fifth Cycle

Ordering of the larger scales in response to the emergence of a new sharp or flat in the key signature. Usually depicted as a circle, in which highest point is the C Major scale, which has no alteration. If we move in the direction of clockwise major scales go about achieving sustained adding first G Major (1 sharp: F #), then D Major (2 sharps: F #, C #), then the Mayor (3 sharps: F #, C #, G #, etc.). If we move in the opposite direction clockwise always starting from C major scales are adding flats. The first is F Major (1 flat: Bb), then Bb Major (2 flats: Bb, Eb), then Eb Major (3 flats: Bb, Eb, Lab, etc.). The cycle of fifths is useful to remember the changes that have a particular major scale, key to improvise when to avoid mistakes.

Connection

The connection is a special effect Melodic Cadence happens when a melody or musical phrase ends with the chord change of harmony or harmonic change before Upbeat.

Consequent

The musical phrases form a single unit of meaning that is usually divided into two semifrases, the first purposeful character (question) and the second of a rather more conclusive (response). In this pair is also called "antecedent-consequent."

Swing Eighth

The Eighth of Swing, or ternary eighth, is a special kind of quaver that is used to improvise in many styles. It is written as the eighth binary (which is the exact division of a black two), but do not touch the same, which often lead to confusion. The ternary quaver comes from a triplet of eighth notes (by dividing the length of a quarter in three equal parts), but playing the first linked to the second, so that only the first and third ring. The sensation produced is of a slight "bounce", a word from which comes its name in English (swing = roll).

Choir

In improvised music, is called the sequence CHORUS harmonica theme from start to finish. A soloist can improvise several choirs, ie can pass through the complete harmony improvising a topic and start again completing the cycle several times.

Quad

The quad is in line of four sounds, and are constructed from the triads, which are adding a fourth note, usually the seventh major or minor.

Melodic Curve

In a given melody, the melodic curve refers to two dimensions: Direction in which the melody moves (toward the acute or to the serious) and the distance between adjacent notes (range).

Octave Shift

Octave Displacement is a melodic embellishment technique that involves repeating the first note but at a distance of an octave and note the direction of the goal.

Rhythmic Displacement

Rhythmic Displacement occurs when the rhythm of a previously executed plea is repeated but once the bar. If, for example. the original plea was played starting in the first half and beat the beat, a rhythmic movement occurs when repeating the same rhythmic pattern of the original motive, but beginning at another time, as may be the second time for another bar.

Dynamic

The intensity changes in the volume of music is called dynamics. One can distinguish two kinds of dynamics: applied to an individual note, it is called Dynamic Natural (natural accent), and is determined by the melodic contour and range. On the other hand the dynamics applied to a phrase, passage or section of music, called General Dynamics. In the latter case, there are indicators of intensity, eg. p (piano, or soft, with low volume) f (strong, with higher volume than the rest of the surrounding notes.)

Double Chromatic Approach

The dual approach is a technique of chromatic melodic embellishment that connects two notes separated by minor third, with two chromatic notes (two consecutive semitones).

Note Double Step

The Paso Double Note a melodic embellishment technique that connects two notes at a distance of third or fourth by two diatonic notes in the direction of the note target.

Parent (Chord)

Chord built on the fifth level of a tone, and has the seventh lowest. It is very unstable, tending to move it (solve) to the tonic, or to some other chord. This is because among its notes contains a tritone, or interval of three whole tones, which is very tense and dissonant (augmented 4th interval). The dominant chord can be replaced by a chord that contains the same tritone, and is called Tritonal Surrogate, but both have the same function of "tender" to solve in the tonic. Harmony Harmony, in music, is the combination of notes played simultaneously (chords). The term harmony is used both in the general sense of a set of letters or sounds that sound at the same time, as in the succession of these sets of sounds. Harmony would be the word contrasts with melody (in which the sounds are played in succession one after the other). Mainly we can distinguish two main types of Harmony: Tonal Harmony (based on the key), and Modal Harmony (based on modes). There are other less frequently used harmonic composition (Multitone, Harmony Mirror, twelve tone serialism, etc).

Secondary Dominant (Chord)

Dominant chords are built on some other level than the V of a key, so they are called "secondary." Eg. the third degree of a diatonic tonality is always less, but we can alter and become dominant, changing her third child by adding a major third and minor seventh. Thus modified, this DominänteSecundario (not the principal, which is built on the V degree), usually resolves to the VI degree of tonality, which is also a minor chord.

Downbeat

In the Swing call Eighth Downbeat the first, of longer duration, and that coincides with each beat (in the event that the meter is given in black.) To be aligned with the time of the compass, its implementation is simpler than the Upbeat. While in theory Downbeat duration is two thirds of the time, many improvisers do not maintain their sound all over it should be, often being able to recognize a slight separation hearing, a noticeable silence from Downbeat and Upbeat, especially in slow tempos and media.

Echapé

Echapé is called a melodic embellishment technique that connects two notes at a distance of second or longer interval by a interval jump from the first note, a note found in the opposite direction to the target. From there semitone away by the note target.

Melodic Embellishment

Melodic Embellishment technique is to add notes or to take notes to a given melody phrase or alters it. As a result the basic rhythm of the melody is affected by the melodic embellishment, because when you add or remove notes the rate changes. The melodic embellishment can be of varying degrees, from mild to extreme, if the original melody can be recognized by ear.

Scale

The scale is a succession of ascending or descending sounds begin and end on the same note. The most common scales are seven sounds, like the major scale, minor, or the mixolydian, etc. But others may have 5 sounds: Pentatonic, 6 sounds: hexatónica (whole tone), 8 sounds: symmetrical. The chromatic scale is the 12 sounds that divides an octave.

Ghost (Note)

Ghost Note, also called "muteada" is played with an attack that almost imperceptible, at a very low volume, and its presence rather than heard we might say that is sensed. The sound of a ghost note is often not recognizable as a certain height. Ghost Note is mostly used to contrast with the marked, and thus enhance its effect, and is conventional in parentheses write a score.

Glissando

The action of moving from one note to another by sliding your finger without interrupting the sound, but through all the intermediate sounds. (Also: Portamento.)

Habanera

Name given out of Cuba to the Contra, ballroom dancing was common between the bourgeoisie and the aristocracy of the island by averaging the 19th century. It received the name of the song habanera cultured for voice and piano that the composer Sebastian Iradier defined as "slow dance", and has its first score of well-known author in his composition entitled "La Paloma".

In Cuba, dance dancing became Havana Danzon and the song was being replaced by the bolero, the Creole and other genres of Cuban music.

Interval

The distance between two notes or sounds (commonly called "height") and may be up or down. The minimum distance between two sounds is the semitone (eg do-do #). A sum of two semitones is called tone (eg, do-re) intervals exist major, minor, fair, augmented and diminished.

Legato

The attached note legato or attacking the note runs smoothly, no bump, and maintaining the sound throughout its duration writing. Among tied notes there is no separation nor silence audible, but none succeed without a perceptible pause between them.

Linked (or Linked Note)

The bound (or legato) attacking the note runs smoothly, no bump, and maintaining the sound throughout its duration writing. Among tied notes there is no separation nor silence audible, but none succeed without a perceptible pause between them.

Marcato

Marking, stressed, stressed.

Mode

Mode is another name for scale, but the word is generally used to refer to the scales that are the most common (major scale, minor scale). The best known are the Greeks, who come from just the major and minor scale. But there are many others, derived from different harmonic fields.

Greek Mode

Scales studied by the ancient Greeks such as Pythagoras. There are seven, and all come from harmonic field of the major scale. (Ionian Mode, Dorian Mode, Phrygian Mode, Lydian Mode, Mixolydian mode, Aeolian mode, Mode Locrio.)

Ionian Mode

The Ionian Mode is the first Greek and scale model from which to build other modes.

Reason

One reason is a little thematic unity of melody and rhythm, from about two to eight sounds. We can think of why a short musical idea, often not to exceed two bars. The subject is defined at the beginning and the end by a brief pause, silence, or period of inactivity, which defines the idea and allows it to be recognized as such. Usually the reason for including this period of inactivity that immediately followed. It is an important element of improvisation, very versatile that can be used as such or giving material developed for more extensive changes or ideas.

Note Assistant

The Note Assistant is a melodic embellishment technique that connects two notes of the same height by means of an upper or lower note diatonic (Senior Assistant or Assistant Lower).

Step Note

Step Note is a melodic embellishment technique that connects two notes at a distance third, second interval diatonic major or minor and the note toward goal.

Note Non-Harmonic

Non-Harmonic A note is any note that does not match the scale or chord, such as for example, the third largest on a minor chord. Aunque puede ser diatónica, generalmente no lo es, y se encuentra a un semitono por encima o por debajo de una Nota de Acorde o de una Tensión.

Notas de Acorde

La técnica de Embellecimiento Melódico llamada Notas de Acorde consiste en conectar dos notas cualesquiera por medio de varias notas de acorde o tensiones diatónicas o no resueltas apropiadamente.

PDS

Only One Plan (PDS) is a preconceived idea of what is going to be improvisation. It is a structure or model that the soloist is, you can define aspects as varied as the different rhythmic approaches, the emphasis on certain patterns interval or even the use of one type of sound. (Term coined by AIMEF) The various tools, harmonic, rhythmic, melodic or sound, are arranged in a particular way, responding to that plan, and the result takes a form we recognize intentional. That intentionality adds interest to solo (just as a speaker we get bored if you do not find an intention of his speech, no matter how beautiful they are his metaphors or how rich is their lexicon, a musician can get bored if it conveys a "intention").

Pentatonic (Scale)

Pentatonic scales are scales of five sounds, very used to improvise in certain musical styles. They come in many types, the most used the major pentatonic, the minor pentatonic and blues pentatonic.

Minced note (Staccato)

See definition of joint.

Poliacorde

A hybrid is a chord Poliacorde usually more than five notes. It is represented by two or more triples or quad bars separated by dividers. Examples are Dm7/G7 poliacordes, D/Cmaj7, E / D, and there are also more parties, as D/Cmaj7/F #. Slash Chord is similar to but more complex. Used mostly for pianists, each hand is responsible for the triads or forming the poliacorde quad, which is before the bar touches your right hand, and behind the bar with his left hand. If there is a third bar, usually indicates the note is to play bass guitar or bass.

Portamento

The action of moving from one note to another by sliding your finger without interrupting the sound, but through all the intermediate sounds. (Also: Glissando)

Harmonic Progression

The harmonic progression is a succession of chords or link, also called "harmonic motion", which gives the impression that music is not static, but moves, which has a direction. Among the most common progression is that of V-I, II-VI, III-VI-II-V, among others.

Range (of an instrument)

The interval between the lowest note and sharper than an instrument can deliver, regardless of quality or expressive timbre. In the case of voice, often used "vocal range."

Melodic Range

The distance between the highest note and most serious of a phrase or melodic line is known as melodic range. This distance can vary from minor intervals of the octave, intervals exceeding several times the eighth.

Record

The interval between the notes more severe and acute that an instrument can be issued, being used for music (they have the necessary quality or expressive timbre).

Delay

The delay is a special effect Melodic white heat that occurs when a melody or musical phrase ends one or two days after a change of chord in harmony.

Syncopation

Syncope is an important rhythmic technique of improvisation, which is created asentuando certain times of the compass (downbeats and upbeats) that normally are not emphasized. Produces an effect of rhythmic fluidity and sense of forward motion.

Slash Chord

In popular music, a Slash Chord (line hybrid) is a chord whose notes or investment base is indicated by adding a slash and the bass note to be played. For example: Cmaj7 / E, is a C major chord with major seventh, but with the low in the note Mi. Another example. common is Dm7 / G, where we have a D minor seventh, with the sun low in the note is usually the low or bass he plays the note after the divider, and the only harmonic instrument touches the chord before of the bar.

Superimpose

The superimposition is a special technique of improvisation and is part of Playing Outside techniques. It consists of playing another chord progression or tonal center other than the base line of a topic. There are many types of superimposition, according to the harmonic and melodic material used.

Superimposition

The superimposition is a special technique of improvisation and is part of Playing Outside techniques. It consists of playing another chord progression or tonal center other than the base line of a topic. There are many types of superimposition, according to the harmonic and melodic material used.

Staccato

The staccato (it. staccare: break) is a way of playing which shortens the note about its original value. Its symbol in music notation is a point. There is also a superlative Staccatissimo. "

The term "staccato" is considered the opposite of legato articulation on a note which ends at the precise moment of the start of the next, that is, lasting the entire written value.

The staccato does not increase the dynamics (volume) of sound. Rather, the idea is that the note staccato and the following must generate a very short silence, without affecting the overall pace and volume of sound.

The Royal Spanish Academy's dictionary does not include the Italian word staccato but proposes to replace it by the Castilian "crushed." But among musicians chopping refers to another sign of joint applied to the figure: the mincing is written as the staccato point but over a sign is added for greater than (>), which implies an emphasis on dynamic (volume) of the figure.

Subdominant (Chord)

According to fourth grade appears as a major key.

Superpredominant (Chord)

According to sixth grade appears as a major key.

Tritonal Surrogate

The Substitute Tritonal is a dominant chord that replaces the main dominant, and is a semitone above the tonic towards it solves. It shares with the main dominant tritone interval, which is the same in both, and therefore can be replaced. If, for example. We are in C Major (C), the main dominant G7, and the progression dominant - tonic would be: G7 - C maj7. The G7 is DB7 replacement (or C # 7), progression then changes to: DB7 - C maj7.

Tension

Voltage is called the interval that exceeds the eighth, and is often added to chords triad or quad. Common voltage, the ninth, eleventh and thirteenth, major, minor, sustained or flat respectively.

Musical Texture

We call the design musical texture created by the interaction of multiple voices or instruments. The traditional classification of the musical texture is:

• Mono: that produced by an instrument or voice a melodic line running multiple instruments or voices, or running the same melodic line.
• Polyphonic: The texture produced by two or more independent melodic lines running instruments.
• Homophonic: that produced by two or more instruments or voices, one of which runs a main melody, running the rest subsidiaries to provide accompaniment figurations.
• Mixing: The texture produced by the mixture of the types mentioned above.

Tone

Hue is a way to organize the eight scale heights, the first and most important of which is called the tonic (key note in English) and all other work in connection therewith. Each note then receives the name of Grado, which are built on chords that play a specific role in Tonal Harmony. Grades are usually represented by Roman numerals (to differentiate intervals). Grade I: root (the height that gives the name of the scale, eg on the scale of C is the note C). Grade II: supertonic or second (in the scale of C: D). Grade III: Third through or (in the scale of do-my). Fourth Grade: Sensible subdominant or modal (on the scale of C: F). Fifth grade: dominant (in the scale of C: sun). Sixth Grade: Sixth superpredominant or, in the range of C: la. Seventh Grade: Seventh sensitive tonal (in the scale of C: yes). eighth grade: eighth, or tonic (in the scale of do, do) (or better, Table of degrees of tonality)

Chord Tone

It's called Chord tone to a note written or improvised a melody that matches one of the chord of the moment in which it is played.

Triad

Triads are chords of three sounds, arranged at a distance third. Triads can be major, minor, augmented or diminished.

Tritone

Range augmented fourth or diminished fifth. In the major scale appears between the fourth and seventh grade. Interval is a highly unstable, very dissonant, that divides the scale into two equal parts (the chromatic scale has 12 semitones, the tritone is 6 semitones). Because it is so unstable it tends to resolve within a range of third-largest or third child. The tritone is the interval characteristic of a dominant chord and is located between the third and seventh of the chord.

Upbeat

Of shorter duration, is called the second Eighth Upbeat Swing. In the ternary division of time, Upbeat for the last third, from a theoretical point of view. In practice the location of Upbeat about the time bar is not always up to date as of which concerned improviser. For musicians who improvise so often ternary Upbeat placement is one of the hallmarks of his personal way of playing, his voice. Some place the Upbeat in the second half of the time not far from downtown (closer to the binary form of touch), while others play to coincide with the last third of the time, or even a little closer to the end (without you get to sound like a sixteenth binary). For improvisers who do not have much experience playing Swing Eighth, the location of Upbeat is often a challenge of varying difficulty depending on the speed of execution. Unlike the Downbeat, which coincides with the time of the meter, Upbeat gives the feeling of being "in the air." Upbeat The accentuation of the effect of "forward movement", although there is a risk that the time begins to gain speed if you are accentuated many consecutive Upbeat.

Voicing

The Voicing is an incomplete line, which lacks tonic. It usually chooses the third of the chord, and one or two strains to form the voicing, leaving the tone to be heard in the bass or bass. Voicing is also called to the particular way in which he distributes the notes of a chord. For example, the triad Do - Mi - Sol, voicing can be done the following: Do - Sol - Mi.

VPA (Value for Hearing)

One aspect may be important for musicians and yet not be for the public. A room can have either high or low MPV (Value For Musician) according to whether or not dressing room or not pay the artists, right or good promotion of events, etc. This MPV does not necessarily mean VPA. The Board will have good VPA if the entry is free, drinks are cheap or sink hygienic.

VPM (Value For Musician)

A Chamber may have high VPM, and therefore have characteristics that make it attractive for musicians (good acoustics, rename, etc.).. Playing with a famous artist is also a high MPV (CV gives the musician). In contrast, a high value can Chamber for Hearing (VPA) if it has features that make it attractive to the public. VPM and VPA can sometimes be the same (a good sound is important for both musicians and the public), or not (the room pays off the musician is VPM but not VPA). The MPV can have a numeric value (VPM5, VPM8), depending on your interest: one room with VPM8 will be more interesting for a group of VPM3, either because it means better promotion, because the Board pays well to groups , has good acoustics or renown locally, nationally or internationally.