Glossary
Accent (>) / Sforzando (sfz)
A dynamic marking indicating that a note should be played louder and more pronounced than its surrounding notes.
Example:
The brass section might hit a sudden, loud chord marked with an sfz, making it stand out dramatically in the orchestral texture.
Agogic Accents
Emphasis on a note due to its longer duration, rather than dynamic marking or articulation.
Example:
A composer might write a series of short notes followed by a single, sustained whole note; that whole note naturally receives an agogic accent due to its length.
Anacrusis
Notes that begin a phrase before the first full measure's downbeat, also commonly known as a pickup.
Example:
The familiar 'Happy Birthday' song starts with 'Happy' before the first full measure, which is an anacrusis leading into the main melody.
Asymmetrical and Irregular Meters
Meters with uneven subdivisions that cannot be divided into equal groups of two or three, such as 5/8 or 7/8.
Example:
A modern jazz piece might feature a drum solo in 7/8 time, creating an exciting and unpredictable feel due to its asymmetrical meter.
Changing/Mixed Meter
Frequent shifts in time signatures within a piece, where the meter changes from one measure to the next or within a phrase.
Example:
A film score might use changing meter, alternating between 4/4 and 3/4, to heighten tension and reflect shifting moods in a scene.
Fermata
A symbol ( 𝄐 ) placed over a note or rest, indicating that it should be held longer than its normal duration, at the performer's discretion.
Example:
At the end of a grand symphony, the final chord might have a fermata, allowing the conductor to hold it for a dramatic, prolonged conclusion.
Hemiolas
A rhythmic device that creates the feeling of a meter shift without actually changing the time signature, often an aural illusion.
Example:
In a waltz (3/4 time), if the melody emphasizes every two beats for a few measures, it creates a hemiola, making it temporarily feel like 2/4 time.
Marcato
An articulation marking similar to an accent, often used for multiple accented notes in a row, indicating a strong, separated attack.
Example:
A marching band piece might feature a melody played with marcato markings, giving each note a powerful, detached punch.
Polyrhythms
The simultaneous use of two or more conflicting rhythms, where different voices subdivide the beat in non-aligning ways.
Example:
A classical guitarist might play a melody in groups of three notes while the bass line plays in groups of two, creating a fascinating 3 against 2 polyrhythm.
Staccatissimo
An articulation marking (a wedge above or below a note) indicating that a note should be played very short and sharply detached.
Example:
For a truly abrupt and spiky sound, a composer might use staccatissimo on a series of quick, percussive chords.
Staccato
An articulation marking (a dot above or below a note) indicating that a note should be played shorter than its written value, with separation.
Example:
A pianist playing a light, bouncy tune might use staccato on the melody notes, making them sound crisp and detached.
Syncopation
Shifting the accent from a strong beat to a weak beat or an off-beat, creating a rhythmic surprise.
Example:
In a jazz piece, a drummer might place a snare hit on the 'and' of beat two, creating a lively syncopation that makes you want to tap your foot.
Tenuto
An articulation marking (a horizontal line above or below a note) indicating that a note should be played for its full length, but with a slight separation or emphasis.
Example:
A cellist might play a lyrical phrase with a tenuto marking on certain notes, giving them their full value while still articulating them clearly.