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<blockquote data-quote="AFam" data-source="post: 120286" data-attributes="member: 1316"><p>Και συνεχίζουμε :</p><p></p><p>Grand Staff: The complete 11 line staff encompassing the treble, alto, tenor and bass cleffs.</p><p></p><p>Go out: Take the final chorus, end.</p><p></p><p>Groove: An infectious feeling of rightness in the rhythm, of being perfectly centered. This is a difficult term to define. A Medium Groove is a tempo of, say, 112, with a slinky or funky feeling.</p><p></p><p>Ground beat: The basic metric beat, most often in quarter-notes, whether explicitly stated or not.</p><p></p><p>Half-diminished ( ψ ): The chord with a minor third, a lowered (diminished) fifth, and a minor seventh. Formally called 'minor 7 flat 5'. This chord probably evolved from the IV minor 6th chord, which was common in the swing period; if its sixth is taken to be the root, a half-diminished chord results. The symbol is a small O with a diagonal slash. It is most often the harmony of the ii in a ii-V-I progression in a minor key. Two different scales have been commonly used for this chord; one with a flat 9th, the 'locrian', and one with an unflatted ninth, the latter scale being more modern.</p><p></p><p>Half time: A tempo half as fast.</p><p></p><p>Half time feel: A time feel half as fast, while the chords go by in the same amount of time. Occurs in the intro to Chick Corea's Tones for Joan's Bones.</p><p></p><p>Hard Bop: The style of the late 50s, engineered by Horace Silver, Art Blakey, etc. Still essentially Bebop, the style used hard-driving rhythmic feel and vehement, biting lines and harmony drenched with urban blues, rhythm 'n blues and gospel. Original compositions were stressed over the old standards used in Bebop, ranging from simple riff-based blues to elaborate compositions, sometimes using whole-tone scales. Hard Bop had a black, street flavor, a reaction, in part, to the intellectuality of the Cool School.</p><p></p><p>Harmonic rhythm: The structural organization of chord progressions in time; the rate at which the chords pass by. Since this may not be related to the rhythms of the actual notes, it is an abstract concept.</p><p></p><p>Head: The first (and last) chorus of a tune, in which the song or melody is stated without improvisation or with minimal improvisation.</p><p></p><p>Hip (or Hep): Keenly aware of or knowledgeable about life's developments, especially in the arts. "Hipness is what it is. But sometimes hipness is what it ain't..."</p><p></p><p>Horn: A wind instrument; or any instrument.</p><p></p><p>Improvisation (improv): The process of spontaneously creating fresh melodies over the continuously repeating cycle of chord changes of a tune. The improviser may depend on the contours of the original tune, or solely on the possibilities of the chords' harmonies, or (like Ornette Coleman) on a basis of pure melody. The 'improv' also refers to the improvisational section of the tune, as opposed to the head.</p><p></p><p>Inner voice: A melodic line, no matter how fragmentary, lying between the bass and the melody.</p><p></p><p>Interlude: An additional section in a tune, especially one between one person's solo and another's. The Dizzy Gillespie standard A Night In Tunisia has a famous interlude.</p><p></p><p>Intro (Introduction): A composed section at the beginning of a tune, heard only once.</p><p></p><p>Inversion: (1) In traditional music theory, a chord with a note other than the root in the bass. (2) With regard to any particular voicing, especially a left-hand rootless voicing, a rearrangement of the voicing by moving the bottom note up an octave. Or, any one octavewise arrangement of a voicing.</p><p></p><p>Jazz: (1) A style of American music that originated in New Orleans circa 1900, characterized by strong, prominent meter, improvisation, distinctive tone colors and performance techniques, and dotted or syncopated rhythmic patterns. (2) In a big band chart, a rhythm indication for medium to up-tempo swing (as opposed to latin).</p><p></p><p>Jazz Standard: A well-known tune by a Jazz musician. See Standard.</p><p></p><p>Jump: A very fast 4/4, usually in a dance-band context.</p><p></p><p>Latin: (1) Afro-Cuban, Brazilian or other South American-derived. There are many special terms used in Latin music and I haven't tried to include them here. (2) Played with equal eighth notes as opposed to swung (see swing def. 2). Also 'straight-8'. The feel of bossa novas and sambas.</p><p></p><p>Lay out: Not play. See stroll.</p><p></p><p>Left hand rootless voicing ('LHRV'): A close-position voicing without a root, played mainly in the octave of middle C. In a style perfected by Bill Evans, these left-hand chords are sprinkled in irregular syncopations under the right-hand melody. The absence of roots both frees the bass player and allows a richer harmony in the voicing. This has become the mainstream style of left-hand playing.</p><p></p><p>Legit: The Jazz musician's somewhat ironic term for music, or a gig, that is not Jazz.</p><p></p><p>Line: (1) A melody of successive, single notes. (2) A composed melody over predetermined chord changes, such as 'a line on Cherokee'. (3) One of the different voices, such as the bass or the melody.</p><p></p><p>Line-up: The personnel of a band.</p><p></p><p>Long Meter: A chart in 4/4 time is said to be written in long meter when a written eighth-note feels like a quarter-note, and a written half-measure feels like a whole measure. In this way, for example, a 64-bar tune can be written as if it were a 32-bar tune, which may make it easier to read. The term, though useful, is little-known.</p><p></p><p>Lydian: A major scale or chord with a raised 4th; the mode of the major scale built on 4. Regarded as the most fundamental Jazz scale by influential theorist George Russell.</p><p></p><p>Lydian Dominant: A dominant 7th scale with a raised 4th (11th). One of the fundamental forms of the dominant chord; also sometimes called 'lydo-mixian'. The scale/chord most appropriate for non-V dominants, such as II7 or bVII7.</p><p></p><p>Mainstream: The style of Jazz regarded by the average player as today's norm, as opposed to fusion, rock, avant-garde, etc.; sometimes the term implies a somewhat conservative, relatively diatonic vocabulary exemplified by Oscar Peterson. Mainstream Jazz is in a highly evolved state, having incorporated virtually the entire harmonic language of 20th century tonal music. In timbre, phrasing, form and rhythmic feel mainstream Jazz still rests on a basis of Bebop, which is why 'modern' Jazz is considered to have started with Bebop in the early 40s.</p><p></p><p>Medium: One of the standard Jazz tempos, neither 'up' nor 'ballad'.</p><p></p><p>Melodic minor: In Jazz, a scale with a minor 3rd but a major 6th and 7th (both up and down). This scale and its modes (Altered, Half-diminished and Lydian Dominant are the familiar ones) make up a realm called melodic minor harmony. Also called 'tonic minor'.</p><p></p><p>Melody: Specifically, the topmost line or voice.</p><p></p><p>Meter: A basic music term, but sometimes not fully understood. The organization of the beats of time (or ground beat), moving at a certain rate (the tempo), into groupings which are heirarchical, that is, there is a unit of a stated number of beats (the bar) which includes strong and weak beats in an organized pattern. All this is implied by a 'meter' of 4/4, 3/4, etc.</p><p></p><p>Modal: (1) Said of a section, or a whole tune, having static harmony (using one chord) and using scales from a particular mode, most typically the Dorian. (2) Having a key feeling derived not from dynamic chord progressions (like circle-of-fifths) but rather from repetition, monotony, and weight. (3) Loosely, a harmonic style that is diatonic and makes use of quartal harmony.</p><p></p><p>Mode: An incarnation of a scale in which a certain note is taken as the root. Thus, each scale has as many different modes as it has different tones. In common usage, the major scale and the melodic minor scale are regarded as 'given' and the scales constructed with other notes as the root are called modes. The modes of the major scale have names (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian); these names were applied in the Renaissance and have no relationship to the Greek originals. Some of the melodic minor scale's modes have names in today's theory: mode 3, the augmented major 7th; mode 4, the lydian dominant; mode 6, the half-diminished; mode 7, the altered.</p><p></p><p>Modern: The styles of Jazz since 1945. Especially applied to Bebop, Cool Jazz, and Hard Bop.</p><p></p><p>Modulation: The establishment of a new key. This is mainly a matter of harmonic progression, but expectation, emphasis and phrasing also enter into determining whether a new key has really been established. In standards, a modulation to the beginning of the bridge is strongly expected. Typically, a II - V or a iii - VI - ii - V progression in the new key is used.</p><p></p><p>Moldy Fig: A term used by the Beboppers to deride players and fans of older styles, especially trad. Someone whose tastes are not up to date.</p><p></p><p>Monster: A superior player.</p><p></p><p>Montuno: A term of Latin music which crops up in other Jazz. (1) An indefinitely repeated pattern of 1, 2 or 4 bars in the piano, typically with ingeniously syncopated moving inner voices and a differently syncopated bass line. (2) Incorrectly, a pyramiding vamp in which one instrument enters alone, then another is added, and so on at regular intervals.</p><p></p><p>Moving inner voice: A momentarily prominent line played by a voice in between the melody and the bass.</p><p></p><p>Neo-bop: The conservative Bebop style of several successful players in the 90s, like Roy Hargrove.</p><p></p><p>Open voicing: One in which the chord tones are spread out over a greater range.</p><p></p><p>Original: A tune composed by a Jazz musician and played by him but perhaps not well-known to others.</p><p></p><p>Out: The last chorus of a tune, when the head is played for the last time. On the stand the gesture of a raised clenched fist or a finger pointing to the head indicates that the out chorus is coming up.</p><p></p><p>Outer voice: The melody line or the bass, the top or bottom line.</p><p></p><p>Outro: A jocular term for coda; an added ending section.</p><p></p><p>Outside: (1) The A sections of a tune, the parts other than the bridge. (2) A manner of playing over changes that avoids using the normal scales, or has no relationship to the changes. (3) A style of playing without using conventional Jazz chords.</p><p></p><p>Pattern: A pre-planned melodic figure, repeated at different pitch levels. Something played automatically by the fingers without much thought. Reliance on patterns is the hallmark of a weak player.</p><p></p><p>Pedal: A bass line that stays mainly on one note (or its octaves) under several changes of harmony. Also pedal-point. The most typical situation is when a dominant pedal (bass on V) underlies a turnaround progression like I - VI - ii - V. The root of the I chord can also act as a pedal.</p><p></p><p>Pentatonic: Pertaining to scales of 5 notes to the octave, in particular 1-2-3-5-6 of the major scale. Pentatonic melodies are typical of much indigenous music around the world, and these scales are also an important part of the modern Jazz sound. Pentatonic melodies and patterns were especially typical of Jazz and fusion in the seventies.</p><p></p><p>Pickup: A phrase beginning that comes before the beginning of the first bar. A pickup can be one note or a longer phrase.</p><p></p><p>Pocket: In the pocket means perfectly in time, especially bass playing that is 'in the center' of the beat (rather than slightly leading or dragging the beat).</p><p></p><p>Polytonality: The use of two different keys simultaneously. Despite much loose talk, true polytonality is rare. Upper structures (q.v.) and outside playing do not usually qualify because there is always a strong single underlying tonality.</p><p></p><p>Progression: A definite series of chords, forming a passage with some harmonic unity or dramatic meaning. One speaks of the progressions that crop up repeatedly in different tunes, and studies how to negotiate them. Chords in progressions are labelled with Roman numerals (I, II, etc.) while scale degrees, and upper structures (q.v.), are labelled with arabic numerals (1, 2, etc.).</p><p></p><p>................</p></blockquote><p></p>
[QUOTE="AFam, post: 120286, member: 1316"] Και συνεχίζουμε : Grand Staff: The complete 11 line staff encompassing the treble, alto, tenor and bass cleffs. Go out: Take the final chorus, end. Groove: An infectious feeling of rightness in the rhythm, of being perfectly centered. This is a difficult term to define. A Medium Groove is a tempo of, say, 112, with a slinky or funky feeling. Ground beat: The basic metric beat, most often in quarter-notes, whether explicitly stated or not. Half-diminished ( ψ ): The chord with a minor third, a lowered (diminished) fifth, and a minor seventh. Formally called 'minor 7 flat 5'. This chord probably evolved from the IV minor 6th chord, which was common in the swing period; if its sixth is taken to be the root, a half-diminished chord results. The symbol is a small O with a diagonal slash. It is most often the harmony of the ii in a ii-V-I progression in a minor key. Two different scales have been commonly used for this chord; one with a flat 9th, the 'locrian', and one with an unflatted ninth, the latter scale being more modern. Half time: A tempo half as fast. Half time feel: A time feel half as fast, while the chords go by in the same amount of time. Occurs in the intro to Chick Corea's Tones for Joan's Bones. Hard Bop: The style of the late 50s, engineered by Horace Silver, Art Blakey, etc. Still essentially Bebop, the style used hard-driving rhythmic feel and vehement, biting lines and harmony drenched with urban blues, rhythm 'n blues and gospel. Original compositions were stressed over the old standards used in Bebop, ranging from simple riff-based blues to elaborate compositions, sometimes using whole-tone scales. Hard Bop had a black, street flavor, a reaction, in part, to the intellectuality of the Cool School. Harmonic rhythm: The structural organization of chord progressions in time; the rate at which the chords pass by. Since this may not be related to the rhythms of the actual notes, it is an abstract concept. Head: The first (and last) chorus of a tune, in which the song or melody is stated without improvisation or with minimal improvisation. Hip (or Hep): Keenly aware of or knowledgeable about life's developments, especially in the arts. "Hipness is what it is. But sometimes hipness is what it ain't..." Horn: A wind instrument; or any instrument. Improvisation (improv): The process of spontaneously creating fresh melodies over the continuously repeating cycle of chord changes of a tune. The improviser may depend on the contours of the original tune, or solely on the possibilities of the chords' harmonies, or (like Ornette Coleman) on a basis of pure melody. The 'improv' also refers to the improvisational section of the tune, as opposed to the head. Inner voice: A melodic line, no matter how fragmentary, lying between the bass and the melody. Interlude: An additional section in a tune, especially one between one person's solo and another's. The Dizzy Gillespie standard A Night In Tunisia has a famous interlude. Intro (Introduction): A composed section at the beginning of a tune, heard only once. Inversion: (1) In traditional music theory, a chord with a note other than the root in the bass. (2) With regard to any particular voicing, especially a left-hand rootless voicing, a rearrangement of the voicing by moving the bottom note up an octave. Or, any one octavewise arrangement of a voicing. Jazz: (1) A style of American music that originated in New Orleans circa 1900, characterized by strong, prominent meter, improvisation, distinctive tone colors and performance techniques, and dotted or syncopated rhythmic patterns. (2) In a big band chart, a rhythm indication for medium to up-tempo swing (as opposed to latin). Jazz Standard: A well-known tune by a Jazz musician. See Standard. Jump: A very fast 4/4, usually in a dance-band context. Latin: (1) Afro-Cuban, Brazilian or other South American-derived. There are many special terms used in Latin music and I haven't tried to include them here. (2) Played with equal eighth notes as opposed to swung (see swing def. 2). Also 'straight-8'. The feel of bossa novas and sambas. Lay out: Not play. See stroll. Left hand rootless voicing ('LHRV'): A close-position voicing without a root, played mainly in the octave of middle C. In a style perfected by Bill Evans, these left-hand chords are sprinkled in irregular syncopations under the right-hand melody. The absence of roots both frees the bass player and allows a richer harmony in the voicing. This has become the mainstream style of left-hand playing. Legit: The Jazz musician's somewhat ironic term for music, or a gig, that is not Jazz. Line: (1) A melody of successive, single notes. (2) A composed melody over predetermined chord changes, such as 'a line on Cherokee'. (3) One of the different voices, such as the bass or the melody. Line-up: The personnel of a band. Long Meter: A chart in 4/4 time is said to be written in long meter when a written eighth-note feels like a quarter-note, and a written half-measure feels like a whole measure. In this way, for example, a 64-bar tune can be written as if it were a 32-bar tune, which may make it easier to read. The term, though useful, is little-known. Lydian: A major scale or chord with a raised 4th; the mode of the major scale built on 4. Regarded as the most fundamental Jazz scale by influential theorist George Russell. Lydian Dominant: A dominant 7th scale with a raised 4th (11th). One of the fundamental forms of the dominant chord; also sometimes called 'lydo-mixian'. The scale/chord most appropriate for non-V dominants, such as II7 or bVII7. Mainstream: The style of Jazz regarded by the average player as today's norm, as opposed to fusion, rock, avant-garde, etc.; sometimes the term implies a somewhat conservative, relatively diatonic vocabulary exemplified by Oscar Peterson. Mainstream Jazz is in a highly evolved state, having incorporated virtually the entire harmonic language of 20th century tonal music. In timbre, phrasing, form and rhythmic feel mainstream Jazz still rests on a basis of Bebop, which is why 'modern' Jazz is considered to have started with Bebop in the early 40s. Medium: One of the standard Jazz tempos, neither 'up' nor 'ballad'. Melodic minor: In Jazz, a scale with a minor 3rd but a major 6th and 7th (both up and down). This scale and its modes (Altered, Half-diminished and Lydian Dominant are the familiar ones) make up a realm called melodic minor harmony. Also called 'tonic minor'. Melody: Specifically, the topmost line or voice. Meter: A basic music term, but sometimes not fully understood. The organization of the beats of time (or ground beat), moving at a certain rate (the tempo), into groupings which are heirarchical, that is, there is a unit of a stated number of beats (the bar) which includes strong and weak beats in an organized pattern. All this is implied by a 'meter' of 4/4, 3/4, etc. Modal: (1) Said of a section, or a whole tune, having static harmony (using one chord) and using scales from a particular mode, most typically the Dorian. (2) Having a key feeling derived not from dynamic chord progressions (like circle-of-fifths) but rather from repetition, monotony, and weight. (3) Loosely, a harmonic style that is diatonic and makes use of quartal harmony. Mode: An incarnation of a scale in which a certain note is taken as the root. Thus, each scale has as many different modes as it has different tones. In common usage, the major scale and the melodic minor scale are regarded as 'given' and the scales constructed with other notes as the root are called modes. The modes of the major scale have names (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian); these names were applied in the Renaissance and have no relationship to the Greek originals. Some of the melodic minor scale's modes have names in today's theory: mode 3, the augmented major 7th; mode 4, the lydian dominant; mode 6, the half-diminished; mode 7, the altered. Modern: The styles of Jazz since 1945. Especially applied to Bebop, Cool Jazz, and Hard Bop. Modulation: The establishment of a new key. This is mainly a matter of harmonic progression, but expectation, emphasis and phrasing also enter into determining whether a new key has really been established. In standards, a modulation to the beginning of the bridge is strongly expected. Typically, a II - V or a iii - VI - ii - V progression in the new key is used. Moldy Fig: A term used by the Beboppers to deride players and fans of older styles, especially trad. Someone whose tastes are not up to date. Monster: A superior player. Montuno: A term of Latin music which crops up in other Jazz. (1) An indefinitely repeated pattern of 1, 2 or 4 bars in the piano, typically with ingeniously syncopated moving inner voices and a differently syncopated bass line. (2) Incorrectly, a pyramiding vamp in which one instrument enters alone, then another is added, and so on at regular intervals. Moving inner voice: A momentarily prominent line played by a voice in between the melody and the bass. Neo-bop: The conservative Bebop style of several successful players in the 90s, like Roy Hargrove. Open voicing: One in which the chord tones are spread out over a greater range. Original: A tune composed by a Jazz musician and played by him but perhaps not well-known to others. Out: The last chorus of a tune, when the head is played for the last time. On the stand the gesture of a raised clenched fist or a finger pointing to the head indicates that the out chorus is coming up. Outer voice: The melody line or the bass, the top or bottom line. Outro: A jocular term for coda; an added ending section. Outside: (1) The A sections of a tune, the parts other than the bridge. (2) A manner of playing over changes that avoids using the normal scales, or has no relationship to the changes. (3) A style of playing without using conventional Jazz chords. Pattern: A pre-planned melodic figure, repeated at different pitch levels. Something played automatically by the fingers without much thought. Reliance on patterns is the hallmark of a weak player. Pedal: A bass line that stays mainly on one note (or its octaves) under several changes of harmony. Also pedal-point. The most typical situation is when a dominant pedal (bass on V) underlies a turnaround progression like I - VI - ii - V. The root of the I chord can also act as a pedal. Pentatonic: Pertaining to scales of 5 notes to the octave, in particular 1-2-3-5-6 of the major scale. Pentatonic melodies are typical of much indigenous music around the world, and these scales are also an important part of the modern Jazz sound. Pentatonic melodies and patterns were especially typical of Jazz and fusion in the seventies. Pickup: A phrase beginning that comes before the beginning of the first bar. A pickup can be one note or a longer phrase. Pocket: In the pocket means perfectly in time, especially bass playing that is 'in the center' of the beat (rather than slightly leading or dragging the beat). Polytonality: The use of two different keys simultaneously. Despite much loose talk, true polytonality is rare. Upper structures (q.v.) and outside playing do not usually qualify because there is always a strong single underlying tonality. Progression: A definite series of chords, forming a passage with some harmonic unity or dramatic meaning. One speaks of the progressions that crop up repeatedly in different tunes, and studies how to negotiate them. Chords in progressions are labelled with Roman numerals (I, II, etc.) while scale degrees, and upper structures (q.v.), are labelled with arabic numerals (1, 2, etc.). ................ [/QUOTE]
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