Basso (bass) Ostinato

It is an Italian word that means "stubborn." It's a bass line that is repeated (in this case, it is still a melodic fragment, only instead of being in a higher voice, is in the grave) implemented it 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 varying slightly (changes or variations of the original can not be drastic, because would still be an ostinato and be heard as something else). In general, must remain identifiable.

Embroidery

The approach Embroidery Embellishment is a technique that connects two notes Melodic embroidering with a note above and below (or vice versa) Note halftone target interval.

Melodic Cadence

The melodic cadence refers to the way a melody ends with respect to harmony. This produces three possible 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, we get 7 scales different, they all 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.

Quintas Cycle

Management of major scales in response to the emergence of a new sharp or flat in the key signature. He is usually depicted as a circle, whose 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 with C major, found the scales to add 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 recall the changes which have given a larger scale, key to improvise when to avoid errors.

Login

La Conexion is a melodic cadence special effect that happens when a melody or musical phrase ends with the chord change of harmony or harmonic change before Upbeat.

Consistent

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

Eighth Swing

The Eighth of Swing, or ternary quaver is an eighth special type used to improvise in many styles. He writes like the eighth binary (which is the exact division into two one black), but does not play well, 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 "roll", a word from which comes its name in English (swing = swing).

Coro

In improvised music, choir is called the harmonic sequence of a theme from start to ending. A soloist can improvise several choirs, ie you can safely complete harmony improvising a topic and start again completing the cycle several times.

Quad

The Quad are chords 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: the Directorate in which the melody moves (toward the acute or towards the grave) and the distance between adjacent notes (range).

Octave Displacement

Octave Displacement is a melodic embellishment technique is to repeat the first note but octave distance and direction of the note target.

Rhythmic Displacement

Rhythmic Displacement occurs when the rate of a motif is repeated but previously executed once the compass. If, for example. The original reason was played starting at the first time or beat of the rhythm, rhythmic displacement occurs when repeating the same rhythmic pattern of the original motive, but beginning at another time, as may be the second time in another bar.

Dynamics

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, for example. p (piano, ie, smooth, low volume) f (strong, with more volume than other surrounding notes).

Double Chromatic Approach

The dual approach is a technique Chromatic Melodic Embellishment connecting two notes separated by minor third, with two chromatic notes (two consecutive semitones).

Paso Doble Note

The Paso Doble Note Beautification is a technique that connects two notes Melodic distance of third or fourth by two diatonic notes toward the target note.

Parent (Piano)

Chord built on the fifth level of a tone, and has the minor seventh. It is very unstable, they tend to move (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 resolve on 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 sounds are played successively one after another). Mainly we can distinguish two main types of Harmony: Tonal Harmony (based on the tone), and Modal Harmony (based on anyway). Other types of harmonic composition least used (Multitone, Harmony in Mirror, Twelve-tone technique, serialism, etc.).

Secondary Dominant (Piano)

Dominant chords are built on some other level than the V of a tone, so 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. As amended, this DominänteSecundario (not the main, which is built on the V degree), usually resolves to the sixth degree of tonality, which is also a minor chord.

Downbeat

In the Swing call Eighth Downbeat the first, of longer duration, which coincides with each beat (in the event that the meter is determined in black). By being aligned with the beat of the measure, 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 and medium tempos.

Echap

It's called the technique Echap Melodic Embellishment notes that connects two distant second or longer interval by an interval leap from the first note, a note found in the opposite direction to the target. From there resolved by semitone to the note target.

Melodic Embellishment

Melodic Embellishment technique is to add notes or to take notes to a given melody or phrase, as amended. As a result the basic rhythm of the melody is affected by the Beautification Melodic, because when you add or remove notes the rate changes. The Melodic Embellishment can have different degrees, from mild to extreme, provided the original melody can be recognized by the ear.

Scale

The scale is a succession of ascending or descending sounds that begin and end on the same note. The most common scales are 7 sounds like the major scale, minor, or the mixolydian, etc.. But others may have 5 sounds: pentatonic, 6 sounds: Hexatonic (whole tone), 8 sounds: symmetrical. The chromatic scale is the 12 sounds in which divides an octave.

Fantasma (Note)

Ghost Note, also called "muteada" is played with an attack that almost imperceptibly, at a very low volume, and its presence heard more than we could say that it is sensed. Note the sound of a ghost often can not be recognized as a certain height. The Ghost Notes is used mainly to contrast with the marked, and thus enhance its effect, and is written in parentheses convention in 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 to outside Cuba Contradanza, ballroom dancing was common among the bourgeoisie and the aristocracy of the island by averaging the 19th century. He later 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 song.

Interval

The distance between two notes and sounds (commonly called "high") and can be ascending or descending. The minimum distance between two sounds is the semitone (eg do-do #). The sum of two semitones is called tone (eg, do-re) There are intervals, children, fair, augmented and diminished.

Legato

The attached note legato or attacking the note runs smoothly, no percussion, and maintaining sound written throughout its duration. Among tied notes there is no separation or audible silence, but none succeed without a perceptible pause between them.

Linked (or Linked Note)

The bound (or legato) attacking the note runs smoothly, no percussion, and maintaining sound written throughout its duration. Among tied notes there is no separation or audible silence, 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 are not the most common (major scale, minor scale). The best known are the Greeks, those from just the major and minor scale. But there are many others from different fields harmonics.

Greek Mode

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

Ionian Mode

The Ionian Mode is the first Greek and scale model from which other modes are constructed.

Reason

One reason is a little thematic unity of melody and rhythm, between about two to eight sounds. We can think of why a short musical idea, not normally exceed two bars. The reason is delimited at the beginning and the end by a brief pause, silence or inactivity, which defines the idea and allows it to be recognized as such. Usually the reason includes that period of inactivity that immediately follows it. It is an important element of improvisation, very versatile that can be used as such or develop materials for making more extensive changes or ideas.

Note Assistant

The Note Assistant is a technique Melodic Embellishment connecting two notes of the same height by a higher or lower note diatonic (Senior Assistant or Assistant Inferior).

Step Note

Step Note Beautification is a technique that connects two notes Melodic remote third by interval diatonic second major or minor and toward the target note.

Note Non-Harmonic

A Non-harmonic note is any note that does not match the scale or chord, such as for example, the third largest on a minor chord. While it may be diatonic, usually not, and is a semitone above or below a note or a chord tension.

Notes of Chord

Melodic Embellishment technique called Chord Notes is to connect any two notes through several notes of diatonic chord or tension or unresolved properly.

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 fields 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 the plan, and the result takes a form that we recognize intentional. That intentionality adds interest to one (just one speaker if you do not bore us find an intention to his speech, no matter how beautiful they are metaphors or how rich is their lexicon, a musician can be boring if not transmitting a "intent").

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 pentatonic major, and the pentatonic minor blues pentatonic.

Chopped, note (Staccato)

See definition of joint.

Poliacorde

A hybrid Poliacorde is generally consistent with more than five notes. It is represented by two or more triples or quad bars separated by dividers. Poliacordes Examples are Dm7/G7, D/Cmaj7, E / D, and there are more parties, as D/Cmaj7/F #. Slash Chord is similar to but more complex. Used mostly for pianists, each hand takes care of 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, it usually indicates the note is to play bass 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

Harmonic progression is a sequence of chords or link, also called "harmonic motion", which produces the feeling that music is not static but move, which has a direction. Among the most common progression is the 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 give, 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 in 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.

Register

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

Delay

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

Syncopation

The 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 base note or chord whose investment 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. very common Dm7 / G, where we have a D minor seventh, with the sun low in the note is usually low and the bass playing 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 in playing in another facility or harmonic progression different tonal harmony based on a theme. There are many types of superposition, 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 in playing in another facility or harmonic progression different tonal harmony based on a theme. There are many types of superposition, according to the harmonic and melodic material used.

Staccato

The staccato (it. staccare: break) is a mode of musical performance which shortens the note on 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 dictionary does not include the term in staccato Italian but proposes to replace it by the Castilian "stung". But among musicians pitting refers to another sign of joint applied to the figure: the dive is written as the staccato point but over a sign is added for greater than (>), which implies an accentuation in the dynamics (volume) of Fig.

Subdominant (Piano)

Chord that appears as the fourth grade in a major key.

Superdominante (Piano)

Chord that appears as the sixth grade in a major key.

Tritonal Surrogate

The Tritonal Surrogate is a dominant chord that replaces the main dominant, and is a semitone above the tonic into 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 Qb7 substitute (or C # 7), progression then changes to: Qb7 - C maj7.

Voltage

Voltage is called the interval that exceeds the eighth, and is usually added to chords triad or quad. The usual tensions, the ninth, eleventh and thirteenth, major, minor, sustained or flats respectively.

Musical Texture

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

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

Tonality

Hue is a way of organizing 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 is then automatically the name of Grade, on which chords are built to perform one specific function in tonal harmony. Grades are usually represented by Roman numerals (as distinct from the intervals). Grade I: root (the height that gives the name of the scale, eg in the C scale is the note C). Grade II: Second Supertones (in the C scale: re). Grade III: Third through or (in the C scale: ml). Fourth grade: Sensible subdominant or modal (in the C scale: fa). Fifth grade: dominant (in the range of C: sun). Sixth grade: superdominante or sixth in the C scale: the. Seventh grade: sensitive tonal or seventh (in the C scale: yes). eighth grade: eighth, or tonic (on a scale of do, do) (or better, Table with the degrees of tonality)

Chord Tone

It's called chord tone to a note written or improvised a melody that matches a note chord time when touched.

Triad

Triads are chords of three sounds, willing to distance third. Triads can be major, minor, augmented or diminished.

Tritone

Interval augmented fourth or diminished fifth. In the major scale appears between the fourth and seventh grades. 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). Tends to be unstable to settle at an interval of major third or minor third. The tritone interval is characteristic of a dominant chord and is 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 standpoint. In practice the location of Upbeat about the time the compass is not always the same as in the case which 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 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 hear as a sixteenth binary). For the improvisers that 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 meter, Upbeat gives the feeling of being "on air". Upbeat accentuation of the effect of "moving forward", although there is a risk that the time begins to gain speed if they are stressed many consecutive Upbeat.

Voicing

The Voicing is an incomplete line, which lacks the tonic. We usually choose 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 distrubuyen the notes of a chord. For example, the triad Sun - Wed - Sun, 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 Chamber may have high or low MPV (Value for musician) as whether or not dressing room or not pay the artists, right or good promotion of Events and more. This MPV does not necessarily mean VPA. The Board will have good VPA if admission is free, drinks are cheap or sink hygienic.

VPM (Value for musician)

A room can have high DPM, and therefore possess characteristics that make it attractive to 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 Board for Hearing (VPA) if it has features that make it attractive to the public. VPM and VPA can occasionally be the same (a good sound is important for both musicians and the public), or not (that the Board will pay the musician is good but not VPM VPA). The MPV can be numerically (VPM5, VPM8), depending on your interest: a chamber with VPM8 will be more interesting for a group of VPM3, either because they involve better promotion, because the Board pays well to groups , has good acoustics or renown locally, nationally or internationally.