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Music Yr 11 > Music Mind Map Techniques (Term 1,2,3) > Flashcards

Music Mind Map Techniques (Term 1,2,3) Flashcards

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1
Q

Electronic

Fade in/out

A

To fade in or out with dynamics or volume. This is produced by electronically altering the sound, rather than playing live crescendos or decrescendos.

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2
Q

Electronic

Saturation

A

Altering the tone colour or harmonic complexity of a track to make it sound more “warm” or “analog” or “simple”.

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3
Q

Electronic

Panning

A

Panning the sound from left to right in headphones or speakers.

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4
Q

Electronic

Overdrive

A

Giving an electric guitar a distorted or over-amplified sound through distortion.

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5
Q

Electronic

Distortion

A

To alter the sound to produce of fuzzy, growling or gritty tone.

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6
Q

Electronic

Reverb

A

Echoing the sound.

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7
Q

Electronic

Use of
turntables

A

Scratching records, manipulating a record or turntable platter. Often used in combination with a DJ mixer, to create unique sound effects and rhythms.

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8
Q

Electrinic

MIDI control

A

Use of a MIDI instrument or controller, plugged in to the electronic device.

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9
Q

Vocals

Falsetto

A

A method of singing to allow the vocalist to sing notes higher than their normal range; very high..

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10
Q

Vocals

Belting

A

When a singer carries their chest voice above the “break”, pushing it to the limit.

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11
Q

Vocals

Chest voice

A

To sing with the lower register of the voice; the same region used for regular speaking or singing.

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12
Q

Vocals

Head voice

A

To sing with the high register of the voice, above the chest voice.

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13
Q

Precussion

Method of
sound
production

A

Hitting, striking, clapping, tapping, shaking, bending.
Use of sticks, hands, body, mallets, cymbals, brushes.

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14
Q

Precussion

Pitch bends

A

On mallet percussion, e.g. vibraphone, marimba, glockenspiel, xylophone.

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15
Q

Precussion

Resonance
effects

A

Changing the way a sound rings out by altering the way the instrument is played,
e.g. cymbal played on a timpani; cow bell struck against a bass drum, etc.

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16
Q

Vocals

Melisma

A

To sing multiple pitches for one syllable.

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17
Q

String

Tapping

A

Tapping on the strings to create a light, percussive effect whilst also playing different notes/pitches.

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18
Q

String

Strumming

A

Strumming strings

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19
Q
A
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20
Q

String

Plucking

A

Plucking strings (on guitars on non-orchestral instruments).

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21
Q

String

Slides

A

Sliding fingers down the fretboard after plucking a string, to create a ‘glissando’

sound.

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22
Q

String

Palm mute

A

Muting the strings with the palm during performance, to create a damp or muffled

sound to make your playing sound ‘cleaner’.

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23
Q

String

Percussive
sounds on the
body

A

Hitting, tapping or striking the instrument to create a drum-like, percussive sound.

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24
Q

String

Pull Offs

A

Picking a string and then simultaneously lifting your finger off the fret in a slight

downwards direction, creating a slight pitch bend

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25
Q

String

Hammer On

A

Picking a string and then bring the finger quickly and forcibly down onto a fret, to

create a harsher, accented sound

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26
Q

String

Slaps

A

Forcefully striking or ‘slapping’ the strings with the hand or another object to

produce a louder, percussive sound.

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27
Q

String

Scratch tone

A

Scratchy tone producing by bowing the instrument in normal playing position, but
applying VERY hard pressure to the bow to produce a loud, grating sound.

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28
Q

String

Tremolo

two types

A

Bowed tremolo - using the bow to repeat notes at a fast speed.

Fingered tremolo - using the fingers to alternate rapidly between two notes.
Common on guitar and orchestral string instruments.
Both can be measured (a specific note value such as semiquavers) or
unmeasured (the notes are played as fast as possible).

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29
Q

String

Vibrato

A

Steady fluctuation in pitch by pivoting on the relevant finger, causing the notes

pitch to bend above and below the main note.

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30
Q

String

Double, triple
and quadruple
stopping

A

Playing several notes at the same time by playing multiple strings at once to
create richer textures. A technically challenging skill. Can be played on all
stringed instruments (orchestral or guitars, lutes, etc)

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31
Q

String

Arco

A

Playing with the bow.

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32
Q

String

Pizzicato

A

Plucking strings with fingers rather than drawing the bow across the string.

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33
Q

Ornimentation

Turn

A

To do a “turn” or wave-like rotation around the note by
playing the note above, the main note, the note below,
and the main note again.

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34
Q

Ornimentation

Mordent

A

To play the note, the note above it, and the note again.

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35
Q

Ornimentation

Mordent

A

To play the note, the note above it, and the note again.

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36
Q

Ornimentation

Glissando

A

A fast scale with no stops between the notes.

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37
Q

Ornimentation

Acciaccatura

A

Two short notes before the “main note”.

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38
Q

Ornimentation

Appoggiatura

A

A short note before the “main note”.

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39
Q

To fade in or out with dynamics or volume. This is produced by electronically altering the sound, rather than playing live crescendos or decrescendos.

A

Electronic

Fade in/out

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40
Q

Altering the tone colour or harmonic complexity of a track to make it sound more “warm” or “analog” or “simple”.

A

Electronic

Saturation

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41
Q

Panning the sound from left to right in headphones or speakers.

A

Electronic

Panning

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42
Q

Giving an electric guitar a distorted or over-amplified sound through distortion.

A

Electronic

Overdrive

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43
Q

To alter the sound to produce of fuzzy, growling or gritty tone.

A

Electronic

Distortion

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44
Q

Echoing the sound.

A

Electronic

Reverb

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45
Q

Scratching records, manipulating a record or turntable platter. Often used in combination with a DJ mixer, to create unique sound effects and rhythms.

A

Electronic

Use of
turntables

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46
Q

Use of a MIDI instrument or controller, plugged in to the electronic device.

A

Electrinic

MIDI control

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47
Q

A method of singing to allow the vocalist to sing notes higher than their normal range; very high..

A

Vocals

Falsetto

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48
Q

When a singer carries their chest voice above the “break”, pushing it to the limit.

A

Vocals

Belting

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49
Q

To sing with the lower register of the voice; the same region used for regular speaking or singing.

A

Vocals

Chest voice

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50
Q

To sing with the high register of the voice, above the chest voice.

A

Vocals

Head voice

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51
Q

Hitting, striking, clapping, tapping, shaking, bending.
Use of sticks, hands, body, mallets, cymbals, brushes.

A

Precussion

Method of
sound
production

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52
Q

On mallet percussion, e.g. vibraphone, marimba, glockenspiel, xylophone.

A

Precussion

Pitch bends

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53
Q

Changing the way a sound rings out by altering the way the instrument is played,
e.g. cymbal played on a timpani; cow bell struck against a bass drum, etc.

A

Precussion

Resonance
effects

54
Q

To sing multiple pitches for one syllable.

A

Vocals

Melisma

55
Q

Tapping on the strings to create a light, percussive effect whilst also playing different notes/pitches.

A

String

Tapping

56
Q

Strumming strings

A

String

Strumming

57
Q

Plucking strings (on guitars on non-orchestral instruments).

A

String

Plucking

58
Q

Sliding fingers down the fretboard after plucking a string, to create a ‘glissando’

sound.

A

String

Slides

59
Q

Muting the strings with the palm during performance, to create a damp or muffled

sound to make your playing sound ‘cleaner’.

A

String

Palm mute

60
Q

Hitting, tapping or striking the instrument to create a drum-like, percussive sound.

A

String

Percussive
sounds on the
body

61
Q

Picking a string and then simultaneously lifting your finger off the fret in a slight

downwards direction, creating a slight pitch bend

A

String

Pull Offs

62
Q

Picking a string and then bring the finger quickly and forcibly down onto a fret, to

create a harsher, accented sound

A

String

Hammer On

63
Q

Forcefully striking or ‘slapping’ the strings with the hand or another object to

produce a louder, percussive sound.

A

String

Slaps

64
Q

Scratchy tone producing by bowing the instrument in normal playing position, but
applying VERY hard pressure to the bow to produce a loud, grating sound.

A

String

Scratch tone

65
Q

Bowed tremolo - using the bow to repeat notes at a fast speed.

Fingered tremolo - using the fingers to alternate rapidly between two notes.
Common on guitar and orchestral string instruments.
Both can be measured (a specific note value such as semiquavers) or
unmeasured (the notes are played as fast as possible).

A

String

Tremolo

two types

66
Q

Steady fluctuation in pitch by pivoting on the relevant finger, causing the notes

pitch to bend above and below the main note.

A

String

Vibrato

67
Q

Playing several notes at the same time by playing multiple strings at once to
create richer textures. A technically challenging skill. Can be played on all
stringed instruments (orchestral or guitars, lutes, etc)

A

String

Double, triple
and quadruple
stopping

68
Q

Playing with the bow.

A

String

Arco

69
Q

Plucking strings with fingers rather than drawing the bow across the string.

A

String

Pizzicato

70
Q

To do a “turn” or wave-like rotation around the note by
playing the note above, the main note, the note below,
and the main note again.

A

Ornimentation

Turn

71
Q

To play the note, the note above it, and the note again.

A

Ornimentation

Mordent

72
Q

To play the note, the note above it, and the note again.

A

Ornimentation

Mordent

73
Q

Sliding smoothly between pitches.

A

Ornimentation

Glissando

74
Q

Two short notes before the “main note”.

A

Ornimentation

Acciaccatura

75
Q

A short note before the “main note”.

A

Ornimentation

Appoggiatura

76
Q

Pitch

What is the difference of definite and indefinite pitch?

A

A note played by an instrument or voice is considered a definite pitch when a human ear can distinguish the pitch itself.

By contrast, indefinite pitch occurs when a human ear cannot identify a tone as a pitch such as in the pitch of a snare drum or gong.

77
Q

Pitch

whole tone scale

A

A whole tone scale contains six notes and is made up entirely of whole-steps. For example: C–D–E–F♯–G♯–A♯.

78
Q

Pitch

twelve tone row

A

The row is a specific ordering of all twelve notes of the chromatic scale (without regard to octave placement).

79
Q

Pitch

ostonato

A

a continually repeated musical phrase or rhythm.

80
Q

Pitch

Cadence

A

the ending of a phrase, perceived as a rhythmic or melodic articulation or a harmonic change or all of these

81
Q

Pitch

Drone

A

ong and sustained sounds, such as notes and chords. They carry on for long periods of time without variation and are most often used for an atmospheric or ambient effect.

82
Q

Pitch

Pedal Point

A

note that is held through changing harmonies, starting as a chord tone before becoming a non-chord tone.

83
Q

Pitch

Riff

A

a melodic lead line that is repeated throughout a song, to a particular chord progression, to even just a single note played with a unique rhythm.

84
Q

Pitch

Broken Chords

A

Constructed by sequentially playing the notes of a chord. When these notes are played one after the other, they form a broken chord. This pattern can be ascending, descending, or any combination thereof

85
Q

Pitch

Blockchords

A

Uses simple chordal harmony in which “the notes of each chord may be played all at once” as opposed to being “played one at a time (broken or arpeggiated chords).

86
Q

Pitch

Microtonal

A

music using tones in intervals that differ from the standard semitones (half steps) of a tuning system or scale.

87
Q

Duration

Hemiola

A

a pattern of grouped accents that change the implied pulse or create a secondary rhythmic pattern.

88
Q

Duration

Cross Rhythms

A

Conflicting rhythmic patterns played simultaneously (e.g. three against four) or conflicting metres.

89
Q

Duration

Diminution

A

A pattern that is repeated with the notes half their previous duration. Crochet 4x bar Quaver 8x

90
Q

Duration

Augmentation

A

A pattern that is repeated with the notes double their previous duration. Quaver to crochet

91
Q

Tone colour

Idiophone

A

an instrument the whole of which vibrates to produce a sound when struck, shaken, or scraped, such as a bell, gong, or rattle.

92
Q

Tone colour

Membranophone

A

an instrument in which the sound is produced by a stretched membrane, such as a drum.

93
Q

Tone colour

Aerophone

A

A wind instrument

94
Q

Tone colour

Chordophone

A

A stringed instrument

95
Q

A whole tone scale contains six notes and is made up entirely of whole-steps. For example: C–D–E–F♯–G♯–A♯.

A

Pitch

whole tone scale

96
Q

The row is a specific ordering of all twelve notes of the chromatic scale (without regard to octave placement).

A

Pitch

twelve tone row

97
Q

a continually repeated musical phrase or rhythm.

A

Pitch

ostonato

98
Q

the ending of a phrase, perceived as a rhythmic or melodic articulation or a harmonic change or all of these

A

Pitch

Cadence

99
Q

ong and sustained sounds, such as notes and chords. They carry on for long periods of time without variation and are most often used for an atmospheric or ambient effect.

A

Pitch

Drone

100
Q

note that is held through changing harmonies, starting as a chord tone before becoming a non-chord tone.

A

Pitch

What is a Pedal Point?

101
Q

a melodic lead line that is repeated throughout a song, to a particular chord progression, to even just a single note played with a unique rhythm.

A

Pitch

Riff

102
Q

Constructed by sequentially playing the notes of a chord. When these notes are played one after the other, they form a broken chord. This pattern can be ascending, descending, or any combination thereof

A

Pitch

Broken Chords

103
Q

Uses simple chordal harmony in which “the notes of each chord may be played all at once” as opposed to being “played one at a time (broken or arpeggiated chords).

A

Pitch

Blockchords

104
Q

music using tones in intervals that differ from the standard semitones (half steps) of a tuning system or scale.

A

Pitch

Microtonal

105
Q

a pattern of grouped accents that change the implied pulse or create a secondary rhythmic pattern.

A

Duration

Hemiola

106
Q

Conflicting rhythmic patterns played simultaneously (e.g. three against four) or conflicting metres.

A

Duration

Cross Rhythms

107
Q

A pattern that is repeated with the notes half their previous duration. Crochet 4x bar Quaver 8x

A

Duration

Diminution

108
Q

A pattern that is repeated with the notes double their previous duration. Quaver to crochet

A

Duration

Augmentation

109
Q

an instrument the whole of which vibrates to produce a sound when struck, shaken, or scraped, such as a bell, gong, or rattle.

A

Tone colour

Idiophone

110
Q

an instrument in which the sound is produced by a stretched membrane, such as a drum.

A

Tone colour

Membranophone

111
Q

A wind instrument

A

Tone colour

Aerophone

112
Q

A stringed instrument

A

Tone colour

Chordophone

113
Q

Strings

Detache

A

Playing every note seperatley

114
Q

Strings

Legato

A

Smoothley connect notes together

115
Q

Strings

Tenuto

A

Playing the note for its full value

116
Q

Strings

Spriccato

A

Faster sticcato. Bouncing on the stringd

117
Q

Strings

Ricochet

A

A bouncy arpeggio. Bouncing the bow on the violin.

118
Q

Strings

Marcato

A

Accent on every note.

119
Q

Strings

Sul Ponticello

A

Playing close to the bridge. Sounds like winter, sqeaky and a bird.

120
Q

Strings

Sul Tasto

A

Playing the bow over the fingerboard. Can create an airy affect.

121
Q

Rubato

A

subtle rhythmic manipulation and nuance in performance

122
Q

What is the difference between ralentando and ritardando?

A

Ritardando seems to be a deliberate slowing or being late.

While rallentando seems to be more of a letting go or dying away

123
Q

Playing every note seperatley

A

Strings

Detache

124
Q

Smoothley connect notes together

A

Strings

Legato

125
Q

Playing the note for its full value

A

Strings

Tenuto

126
Q

Faster sticcato. Bouncing on the stringd

A

Strings

Spriccato

127
Q

A bouncy arpeggio. Bouncing the bow on the violin.

A

Strings

Ricochet

128
Q

Accent on every note.

A

Strings

Marcato

129
Q

Playing close to the bridge. Sounds like winter, sqeaky and a bird.

A

Strings

Sul Ponticello

130
Q

Playing the bow over the fingerboard. Can create an airy affect.

A

Strings

Sul Tasto

131
Q

subtle rhythmic manipulation and nuance in performance

A

Rubato

Music Yr 11 (1 decks)

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