Musical Terms Glossary — Intermediate
100+ terms for quick lookup. Organised by category. Find any term in seconds. Includes all beginner terms (expanded where definitions deepen at intermediate level) plus new intermediate terms.
Italian Terms — Dynamics
Section titled “Italian Terms — Dynamics”| Term | Symbol | Meaning |
|---|---|---|
| Pianissimo | pp | Very soft |
| Piano | p | Soft |
| Mezzo-piano | mp | Moderately soft |
| Mezzo-forte | mf | Moderately loud — the most common everyday playing volume |
| Forte | f | Loud |
| Fortissimo | ff | Very loud |
| Sforzando | sfz, sf | A sudden, strong accent on a single note or chord — louder than surrounding notes |
| Crescendo | < | Gradually get louder |
| Diminuendo / Decrescendo | > or dim. | Gradually get softer |
| Subito | sub. | Suddenly — used with dynamics: subito piano (sub. p) = suddenly soft |
| Sempre | — | Always — sempre forte = always loud (maintain the dynamic) |
| Poco a poco | — | Little by little — poco a poco crescendo = get louder gradually |
| Molto | — | Very, much — molto forte = very loud |
Italian Terms — Tempo
Section titled “Italian Terms — Tempo”| Term | Symbol | BPM Range | Meaning |
|---|---|---|---|
| Grave | — | 25-45 | Very slow, solemn, heavy |
| Largo | — | 40-66 | Very slow and broad |
| Adagio | — | 66-76 | Slow, at ease |
| Andante | — | 76-108 | Walking pace |
| Moderato | — | 108-120 | Moderate speed |
| Allegro | — | 120-156 | Fast, lively |
| Vivace | — | 156-176 | Lively and fast |
| Presto | — | 168-200 | Very fast |
| Prestissimo | — | 200+ | As fast as possible |
Italian Terms — Tempo Changes
Section titled “Italian Terms — Tempo Changes”| Term | Symbol | Meaning |
|---|---|---|
| Accelerando | accel. | Gradually speed up |
| Ritardando | rit. | Gradually slow down |
| Rallentando | rall. | Gradually slow down (nearly identical to ritardando) |
| Rubato | — | “Stolen time” — flexible tempo where some beats are slightly longer or shorter for expression. The overall pulse remains. |
| A tempo | — | Return to the original tempo (used after a rit. or accel.) |
Italian Terms — Expression & Character
Section titled “Italian Terms — Expression & Character”| Term | Meaning |
|---|---|
| Cantabile | In a singing style — make the melody flow like a voice |
| Con brio | With brilliance and spirit |
| Con moto | With motion — don’t drag the tempo |
| Dolce | Sweetly, gently |
| Espressivo | (espress.) With expression — play with feeling and nuance |
| Grazioso | Gracefully, elegantly |
| Maestoso | Majestically, with grandeur |
| Animato | Animated, lively |
| Tranquillo | Tranquil, calm, peaceful |
Articulation Terms
Section titled “Articulation Terms”| Term | Symbol | Meaning |
|---|---|---|
| Legato | Curved line (slur) | Play smoothly and connected — each note flows into the next |
| Staccato | Dot above/below note | Play short and detached — lift finger quickly after pressing |
| Tenuto | Short horizontal line above/below note | Hold the note for its full value; also can mean a slight emphasis |
| Accent | > above/below note | Play the note louder/stronger than surrounding notes |
| Marcato | ^ above/below note | Strongly accented — even more emphasis than a regular accent |
| Slur | Curved line over multiple notes | Play the notes smoothly as one phrase (not the same as a tie) |
| Tie | Curved line between same-pitch notes | Hold the note for the combined duration of both tied notes |
| Fermata | 𝄐 | Hold the note longer than written — performer decides how long |
Theory Terms
Section titled “Theory Terms”| Term | Definition |
|---|---|
| Accidental | A sharp (#), flat (b), or natural sign that changes a note’s pitch outside the key signature. Lasts for the rest of that measure. |
| Arpeggio | The notes of a chord played one at a time in sequence, either ascending or descending. |
| Augmented triad | A triad with a root, major 3rd, and augmented (raised) 5th. Sounds tense, unstable. |
| Bar / Measure | A section of music between two bar lines containing a fixed number of beats. |
| Beat | The basic unit of time in music. |
| Chord | Three or more notes played simultaneously. |
| Chromatic | Moving by half steps, using every key (black and white). |
| Circle of fifths | A diagram showing all 12 keys arranged by ascending 5ths (clockwise: C-G-D-A-E-B-F#/Gb-Db-Ab-Eb-Bb-F). Shows key signature relationships. |
| Clef | A symbol at the start of the staff indicating which notes the lines and spaces represent (treble or bass). |
| Compound time | Time signatures where each beat divides naturally into 3 (e.g., 6/8 = 2 beats of 3 eighth notes). |
| Counterpoint | The art of combining two or more independent melodic lines that sound good together. Bach was the master. |
| Diatonic | Notes belonging to a particular key or scale. Opposite of chromatic. |
| Diminished triad | A triad with a root, minor 3rd, and diminished (lowered) 5th. Sounds tense, wants to resolve. |
| Dominant | The 5th degree of a scale, or the chord built on it. Strong pull back to the tonic (I). |
| Dominant 7th | A major triad with an added minor 7th (e.g., G7 = G-B-D-F). The strongest “pull” chord in tonal music. |
| Enharmonic | Two names for the same pitch: F# and Gb, C# and Db — same key on the keyboard, different names. |
| Flat (b) | Lowers a note by one half step. |
| Half step | The smallest distance between two keys on the keyboard (e.g., E to F, C to C#). |
| Harmonic minor | A natural minor scale with the 7th degree raised by a half step, creating a leading tone. |
| Harmony | Two or more notes sounding together. Chords create harmony. |
| Interval | The distance between two notes, named by counting letter names (C to E = a 3rd). |
| Inversion | A chord rearranged so a note other than the root is on the bottom. |
| Key signature | The sharps or flats at the beginning of each staff line indicating the key. |
| Major 7th | A major triad with an added major 7th (e.g., Cmaj7 = C-E-G-B). Warm, dreamy sound. |
| Melody | A sequence of single notes forming a recognisable tune. |
| Melodic minor | A minor scale with raised 6th and 7th ascending, natural minor descending. |
| Minor 7th | A minor triad with an added minor 7th (e.g., Am7 = A-C-E-G). Smooth, jazzy sound. |
| Modulation | Changing from one key to another within a piece. |
| Natural | Cancels a sharp or flat, returning a note to its unaltered pitch. |
| Note | A single musical sound with a specific pitch and duration. |
| Parallel major/minor | Major and minor keys sharing the same starting note (C major and C minor). Different key signatures. |
| Relative major/minor | Major and minor keys sharing the same key signature (C major and A minor). Different starting notes. |
| Scale | A series of notes in ascending or descending order, following a specific pattern of whole and half steps. |
| Secondary dominant | A dominant 7th chord that temporarily “points to” a chord other than the tonic. E.g., D7 in the key of C points to G (V/V). |
| Sequence | A melodic or harmonic pattern repeated at a different pitch level. |
| Sharp (#) | Raises a note by one half step. |
| Tonic | The first degree of a scale — the “home” note/chord that everything resolves to. |
| Transposition | Moving a piece or passage to a different key while keeping all the intervals the same. |
| Voice leading | The way individual notes in chords move from one chord to the next. Smooth voice leading = small movements. |
| Whole step | Two half steps (e.g., C to D, E to F#). |
Mode Names
Section titled “Mode Names”| Mode | Starting Degree | Character | Example from C |
|---|---|---|---|
| Ionian | 1st (= major scale) | Bright, happy | C-D-E-F-G-A-B-C |
| Dorian | 2nd | Minor with a brighter feel, jazzy/funky | D-E-F-G-A-B-C-D |
| Phrygian | 3rd | Dark, Spanish/flamenco flavour | E-F-G-A-B-C-D-E |
| Lydian | 4th | Dreamy, floating, cinematic | F-G-A-B-C-D-E-F |
| Mixolydian | 5th | Major but with a bluesy edge, rock/blues | G-A-B-C-D-E-F-G |
| Aeolian | 6th (= natural minor) | Sad, melancholic | A-B-C-D-E-F-G-A |
| Locrian | 7th | Unstable, rarely used alone | B-C-D-E-F-G-A-B |
Form & Structure Terms
Section titled “Form & Structure Terms”| Term | Definition |
|---|---|
| Binary (AB) | A two-part form: Section A followed by Section B. Common in Baroque dances. |
| Ternary (ABA) | A three-part form: Section A, contrasting Section B, then A returns. Very common in classical music. |
| AABA | A 32-bar song form common in jazz standards and pop: 8 bars A, 8 bars A, 8 bars B (the “bridge”), 8 bars A. |
| Verse-chorus | Modern pop/rock form: alternating verses (changing lyrics) and choruses (repeated hook). |
| Intro | Opening section before the main theme begins. |
| Outro | Closing section that brings the piece to an end. |
| Bridge | A contrasting section that connects other sections — provides variety before returning to familiar material. |
| Coda | A concluding passage that brings a piece to its final end. Marked by the coda symbol. |
| Interlude | A short passage between main sections, often instrumental. |
| Vamp | A short repeated pattern (usually 1-2 bars) used as an introduction or transition. Common in jazz and pop. |
| Tag | A short ending added after the main form — often repeating the last phrase 2-3 times with a final resolution. |
| D.S. al Coda | ”From the sign to the coda” — go back to the segno sign, play until you see “To Coda,” then jump to the coda section. |
| D.C. al Fine | ”From the beginning to the end” — go back to the start and play until the “Fine” marking. |
| Sonata form | A large-scale classical structure: Exposition (themes presented), Development (themes explored/transformed), Recapitulation (themes return). |
Genre & Performance Terms
Section titled “Genre & Performance Terms”| Term | Definition |
|---|---|
| Blues scale | A 6-note scale: root, b3, 4, b5 (blue note), 5, b7. Example in C: C-Eb-F-Gb-G-Bb. The foundation of blues and rock. |
| Chart | Informal term for any written-out music, especially in jazz/pop — “read the chart.” |
| Chorus (jazz) | One complete pass through the song’s chord progression. “Take another chorus” = improvise over the form again. |
| Comping | Short for “accompanying” — playing chords rhythmically behind a soloist or singer. Essential jazz/pop skill. |
| Fake book | A collection of lead sheets (melody + chord symbols only). Called “fake” because you “fake” the arrangement. |
| Head | The main melody of a jazz tune. “Play the head” = play the written melody (as opposed to improvising). |
| Lead sheet | A single-staff chart showing melody with chord symbols above. You create your own accompaniment. |
| Lick | A short melodic phrase used in improvisation — a musical “vocabulary word” you can insert into solos. |
| Nashville number system | A chord notation system using numbers instead of letters: 1=I, 2=ii, 3=iii, 4=IV, 5=V, 6=vi, 7=viio. Key-independent. |
| Ostinato | A short musical pattern repeated persistently throughout a section or piece (e.g., the “Clocks” piano riff). |
| Pentatonic | A 5-note scale. Major pentatonic: 1-2-3-5-6. Minor pentatonic: 1-b3-4-5-b7. Sounds good over almost anything. |
| Riff | A short, catchy, repeated musical phrase — often the hook of a song. |
| Shell voicing | A jazz chord voicing using only root, 3rd, and 7th (omitting the 5th). Lean, clear sound for comping. |
| Shuffle | A rhythmic feel where pairs of 8th notes are played with a long-short swing (like triplets: long-short, long-short). |
| Swing | A rhythmic feel where 8th notes are played unevenly — the first longer, the second shorter. Foundation of jazz rhythm. |
| Syncopation | Emphasising notes on normally weak beats or off-beats. Creates rhythmic tension and groove. |
| Turnaround | A short chord progression (usually 2 bars) at the end of a form that leads back to the beginning. |
| Voicing | The specific arrangement of notes in a chord — which octave, which notes doubled or omitted. Same chord, different voicings. |
| Walking bass | A bass line that moves mostly by step, one note per beat, “walking” through the chord tones. Common in jazz. |
Indian Music Terms
Section titled “Indian Music Terms”| Term | Pronunciation | Definition |
|---|---|---|
| Alankar | ah-lun-KAAR | Melodic exercises/patterns within a raga — the Indian equivalent of scales and arpeggios. |
| Aroha | aa-ROH-ha | The ascending pattern of notes in a raga. May skip notes or use zigzag patterns. |
| Avaroha | ah-vah-ROH-ha | The descending pattern of notes in a raga. Often different from the aroha reversed. |
| Bandish | bun-DISH | A fixed composition in a raga, with lyrics set to a specific taal. The “head” of Indian classical music. |
| Dadra | DAAD-raa | A 6-beat taal: Dha Dhi Na |
| Drut | DROOT | Fast tempo in Indian music. |
| Gamak | guh-MUK | A heavy oscillation between two notes — an ornamental technique adding weight and intensity. |
| Jhaptaal | JHUP-taal | A 10-beat taal: Dhi Na |
| Keherwa | keh-HER-waa | An 8-beat taal: Dha Ge Na Ti |
| Madhya laya | MUD-ya LIE-ah | Medium tempo in Indian music. |
| Matra | MAAT-raa | A single beat in Indian rhythm — the smallest time unit in a taal. |
| Meend | MEEND | A glide/slide between two notes — on keyboard, achieved using the pitch bend wheel. |
| Raga | RAA-gah | A melodic framework defining which notes to use, their ascending/descending order, emphasis, and mood. More than a scale — includes rules for ornamentation and phrasing. |
| Rupak | ROO-puk | A 7-beat taal: Ti Ti Na |
| Sam | SUM | The first beat of a taal cycle — the most important beat where melodies resolve. |
| Sargam | sur-GUM | The Indian note naming system: Sa Re Ga Ma Pa Dha Ni (equivalent to Do Re Mi Fa Sol La Ti). |
| Taal | TAAL | A rhythmic cycle in Indian music — defines the number of beats and the pattern of accents. |
| Taan | TAAN | A fast melodic passage in a raga, often improvised — shows virtuosity and mastery of the raga. |
| Tabla | TUB-laa | A pair of hand drums — the primary rhythmic instrument in North Indian classical music. |
| Tanpura | tun-POO-raa | A drone instrument providing the continuous pitch reference (Sa and Pa) in Indian music. |
| Teentaal | TEEN-taal | The most common taal: 16 beats divided into 4 groups of 4. Clap on beats 1, 5, 13; wave on beat 9. |
| Thaat | THAAT | A parent scale in Indian music theory — 10 thaats classify all ragas (similar to Western modes). |
| Vadi | VAA-dee | The most important note in a raga — the “king” note, emphasised and lingered upon. |
| Samvadi | sum-VAA-dee | The second most important note — the “minister” note, usually a 4th or 5th from the vadi. |
| Vilambit | vi-LUM-bit | Slow tempo in Indian music. |
Keyboard & Technology Terms
Section titled “Keyboard & Technology Terms”| Term | Definition |
|---|---|
| Audio In | A port on the CT-X9000IN that lets you play audio from a phone/tablet through the keyboard’s speakers. |
| DAW | Digital Audio Workstation — software for recording, editing, and producing music (GarageBand, MuseScore, FL Studio). |
| Layer | Playing two tones simultaneously — e.g., piano + strings together on the CT-X9000IN. |
| MIDI | Musical Instrument Digital Interface — a protocol that lets keyboards communicate with computers and other devices. Records note data (which key, how hard, how long), not audio. |
| Modulation wheel | A wheel controller (usually left of the keys) that adds vibrato or other effects. On CT-X9000IN, used with pitch bend. |
| Pitch bend | A wheel that smoothly raises or lowers the pitch — used for meend (glide) effects in Indian music. |
| Polyphony | The number of notes a keyboard can sound simultaneously. CT-X9000IN has 64-note polyphony. |
| Registration memory | Saves and recalls complete keyboard setups (tone, rhythm, tempo, effects) with one button press. CT-X9000IN has 32 registrations (4 banks of 8). |
| Split | Dividing the keyboard so each half plays a different tone — e.g., bass in LH, piano in RH. |
| Transpose | A keyboard function that shifts all notes up or down by a set number of semitones without changing fingering. |
Musical Terms Glossary — Intermediate Course 100+ terms for instant reference