Tagg:EverydayTonalityIIGlossary 479

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Glossary8or8Vn.mus.abbr.octave;8vb=octavabassa(oneoctavelowerthanwritten);15mb=quintesimabassa(twooctaveslower).A.n.mus.abbr.alto(voice).AC.adj.abbr.acoustic[s].

ACAPPELLA[ ]adv.mus.[1]usualsense:voice[s]onlywithoutinstrumentalaccompaniment;etym.It.CAPPELLA=chapel,choir,i.e.inthemannerofachapelchoir;[2]specialistusage:voice[s]accompaniedbyonlychurchorgan.ACCIDENTALn.asignusedinmusicalnotation,typicallyasharp( ),flat($)ornatural(8)sign,indicatingthatthenoteitimmediatelyprecedesdoesnotbelongtotheexpectedtonalvocabularyofthepiece,sectionorpassageinwhichitoccursandthatthenoteitprecedeshasbeenraisedorloweredbyasmallinterval,mostcommonlyasemitone(seealsoENHARMONIC).TheaccidentalWindicatesthatthetoneitprecedesisloweredbyaquartertone.ADELINESLIDEn.ph.mus.neol.(1990)Short,chromaticpassage,usuallycoveringathirdandusuallydescending,asinSweetAdeline.SeealsoMINICHROMATIC.ADSR ENVELOPE.AEOLIANadj.heptatonicdiatonicmodeequivalenttothenaturalminorordescendingmelodicminorofeuroclassicalmusictheory.ItstheCHURCHMODEwhich,withaastonic,runsfromatoaonthewhitenotesofapianokeyboard.Itssevenascendingtones(1)andsemitone()stepsare11111,anditsscaledegrees :a b c d e f ginA).

AESTHESIC adj.(fromFr.esthsique,MolinoviaNattiez);relatingtotheaesthesis[ ](=perception/sensation)ofmusicratherthantoitsproductionorconstruction;cf.POETIC.A.K.A.abbr.alsoknownas,alias.ALEATORIC[ ]adj.basedonelementsofchance;n.ALEATORICS.ANACRUSISn.averyshortmusicaleventhavingthecharacterofan

480 Tagg:EverydayTonalityIIGlossary

upbeatorpickup,i.e.arhythmicfigureand/orshorttonalprocesspropellingthemusicintowhateveritimmediatelyprecedes;adj.ANACRUSTIC;etym.Gk..

ANAPHONEn. neol.(1990);musicalsigntypebearingiconicresemblancetowhatitcanbeheardtorepresent(p.487,ff.);adj.ANAPHONIC[ ];seealsoSONICANAPHONE,TACTILEANAPHONE,KINETICANAPHONE.

ANAPHORAn.rhetoricaldevicebywhichsuccessivesentencesstartidenticallybutenddifferently,asinMartinLutherKingsIhaveadreamspeech;transferredtomusic,amelodicanaphorameansthatsuccessivephrasesstartwiththesamemotifbutenddifferently,whileaharmonicanaphorameansthatsuccessivechordsequencesstartwiththesamechange[s]butenddifferently.AnaphoraistheoppositeofEPISTROPHE(seepp.195,447).

ANHEMITONICadj.(usuallyofmodesorscales)containingnosemitonestep;seePENTATONIC.

ANTITONICn.mus.configurationofthreequartallyspacednotesservingas COUNTERPOISEtothreequartallyspacedtonicnotes,e.g.b$-e$-a$(B$)asantitonictoc-f-b$ (C)astonic;conceptpresentedinChapter3ofSymmetriesofMusic:HarmonicPrinciples(A):ThePentatonicChromaticSystemtonicantitonicrelationsinthepentatonicscale(Lendvai,1993).

ARR.abbr.,arranger,arrangement,arrangedby.

AVEMARIACHORDn.neol.(1989);asubdominant65chordwithfifthinbassheldoverassecondchordinaphrasefromaninitialmajortonicroot.Etym.theDm7(orF6)withc inthebassthatcomesassecondchordinJ.S.BachsPreludeN1inCMajor(Wohltemperiertes,vol.1)andwhichwasusedbyGounodforhissettingofAveMaria;alsothesecondchord(resolved)inMozartsAveverumcorpus.

B.n.,adj.,mus.abbr.bass(voice); DBS,BSGT.

B&Habbr.BooseyandHawkes(musicpublishers,London)

LABAMBALOOPn.neol.(c.1983)CHORDLOOPrunning IIVV ,asinLaBamba(Valens,1958),theIONIAN(majorkey)equivalentoftheCHEGUEVARALOOP.

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BIMODALITYn.(Vega,1944)typeoftonalityinwhichtwodifferentmodes,andthereforetwodifferenttonics,canbeheardeithersimultaneouslyorinsuccessiononeaftertheother(seeChapter14).

BIMODALREVERSIBILITYn.neol.(2009)traitwherebyamelodicorharmonicsequenceinonemodebecomes,whenreversed,asequenceinanothermode(seep.441).

BLUESPENTATONIC pp.158163.BRIT.adj.abbr.British

BS.n.,adj.mus.bass.

BSGT.orBS.GTR.n.abbr.mus.bassguitar.BSN.n.,mus.,abbr.bassoon.

C20FOXabbr.TwentiethCenturyFox(USmediacorporation).CADENCEn.mus.structuralelementindicatingtheendofaphrase,aperiodorapieceofmusic;seePERFECTCADENCE,PLAGALCADENCE,HALFCADENCE,INTERRUPTEDCADENCE,QUARTALCADENCE,MELODICCADENCE.

CF.abbr.Lat.confer=compare,oftenwithsomethingdifferent.

CH4abbr.Channel4TV(UK)CHARITYSTRINGALONGn.neol.(2009)recordingmadeforahumanitariancauseinwhichindividualartistssingordeclaimsinglephrasesinsuccessionandonlyjointogetherinconcertorunisonforthechorusorhookline,e.g.DoTheyKnowItsChristmas?andWeAreTheWorld;etym.STRINGinthesenseofastringorline[succession]ofpersonsorthingsandSINGALONG,meaningcommunitysingingoratunetowhichanyonecansingalongatthesametime,usuallyinunisonratherthaninsuccession(OxfordConciseDictionary,1995).

CHARLESTONDEPARTUREn.neol.(2000)chordsequencestartingI-IIIlikeTheCharleston(Mack&Johnson,1923: B$ D7 G7,etc.),HasAnybodySeenMyGal?(Henderson,1925)andotheroldtimejazzhits.

CHEGUEVARALOOPn.neol.(2008);CHORDLOOPrunning iivV ,asinComandanteCheGuevara/Hastalavictoria!(Puebla,1965;ex.289,p.438);theaeolian/harmonicminorequivalentoftheLaBAMBALOOP.

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CHORDLOOPn.neol.(2009)shortrepeatedsequenceof(almostalways)threeorfourchords.Chordloopsareindicatedby180arrowsateachend.ThefamiliarVAMPloop,forexample,runs{I-vi-ii-V}or{I-vi-IV-V}likethe{B-G#m-E-F#}inSamCookesWhatAWonderfulWorld(1960b)orthe{E$ Cm Fm B$}inBlueMoon(Rodgers,1934).MostchordloopshavenonamebutsomearesocommonthatitsavestimeandspaceiftheyaregivenmnemoniclabelsliketheLaBambaloop({I-IV-V},e.g.{C-F-G})ortheCheGuevaraloop({i-iv-V},e.g.{Am-Dm-E}),socalledbecauseofitsuseinCarlosPueblasComandanteCheGuevara.ChordloopsarediscussedinChaptersand14.SeealsoCHORDSHUTTLE.

CHORDSHUTTLEn.neol.(1993)oscillationbetweentwochords,forexamplethetoandfrobetweentonicminor(i,B$m)andsubmediantmajor($VI,G$)inChopinsMarchefunbre(1839),orDylansAllAlongTheWatchtower(1968:Am?F),a.k.a.aeolianpendulum(Bjrnberg1989);orbetweenii7andVinHesSoFine(Chiffons1963),OhHappyDay(EdwinHawkins1969),orMySweetLord(Harrison1970).Chordshuttlesareindicatedbydoubleendedarrows,e.g.i\$VI orB$m\G$forChopinsfuneralmarch,andarediscussedinChapter12;cf.CHORDLOOP.

CHURCHMODEn.,a.k.a.ECCLESIASTICALMODE;oneofthesevenHEPTATONICDIATONICmodeswhich,whenarrangedinscalarformwiththeinitialnoterepeatedattheoctave,contain,invaryingpositions,twosemitoneandsixwholetonesteps.Thesixmainchurchmodesare:[1]IONIAN(c-conthewhitenotesofthepiano);[2]DORIAN(d-donthewhitenotes);[3]PHRYGIAN(e-e);[4]LYDIAN(f-f);[5]MIXOLYDIAN(g-g);[6]AEOLIAN(a-a);[7]locrian(b-b);seepp.94112.

CIRCLEOFFIFTHSn.ph.mus.SeeKEYCLOCK.

CIT.MEM.abbr.citedfrommemory.

CLASSICALHARMONYmus.generaltermdenotingthewidespreadtypeofTERTIALTONALITY,basedontheIONIANandontheIONIANISEDminormodes,asusedinEUROCLASSICALmusic,inmosttypesofjazz,aswellasinthemajorityofurbanpopularmusicinthenineteenthandearlytwentiethcenturies(seepp.245271).

CLT.n.mus.abbr.clarinet.

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CONJUNCTLINETROPEn.ph.mus.conjunctmotioninanyvoiceorpartthatprovidesthebasisforacommonchordsequence,forexample:[1]the basslinefortheiv-$III-$II-IAndalusiancadence(p.131);[2]theparallelthirdminichromaticruns1 with inbluesturnarounds(pp.367368);[3]thevalsemusettecarousselmotif (pp.361362);[4]theBachAirdescendingbassline

(p.269),etc.

CONSTRUCTIONALadj.,neol.(2001).SeePOETIC.

CORn.mus.abbr.corno/corni,It.forFrenchhorn[s]

COUNTERPOISEn.1aforceetc.equivalenttoanotherontheoppositeside.2acounterbalancingweight(OxfordConciseEnglishDictionary,1995);adapted(2009)todenoteatonal(melodicand/orharmonic)complementarypoletothetonic,typically(thoughnotexclusively)Vintheionianmode,$VIIorIVinthemixolydiananddorian,$VIorivintheaeolian,$IIor$viiinthephrygian,etc.CounterpoisehasbasicallythesamemeaningasANTITONICandisnotaltogetherunliketheNorthernIndianconceptofvadi(kingofthemelodiclineinrelationtomaindronenote,sa)or,perhaps,samvadi(thequeen).Thetonalrhythmgeneratedbyvaryingmetric/periodic/temporalplacementofchangebetweentonicandcounterpoiseisafactorofinterestinpreindustrialpopularmusicfromtheBritishIsles(seeKICKBACKPOINT).

COWBOYHALFCADENCEn.,neol.(1987)harmonicprogressionfrommajortriadontheflatseventhtomajortriadonthedominant($VII-V),asinthemainthemesfromTheMagnificentSeven,Dallas,BlazingSaddles,etc.

CRISISCHORDn.neol.(1991)chromaticallyembellishedchordcontainingatleastonediminishedoraugmentedintervalandoccurringwithinthestandardharmoniccontextoftheEuropeantertialidiom;usuallyoccurringasm6orm7$5,crisischordscanoftenbefoundabout75%ofthewaythroughanineteenthcenturyparlourballad.

CUPabbr.CambridgeUniversityPress.DBS.n.mus.abbr.doublebass.

1. a.k.a.Adelineslides,seeTagg&Clarida,2003:209212.

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DEPARTUREn.mus.whateveroccurswhenmusicleavesanestablishedpointofreference(e.g.afteraninitialtonic);DEPARTURECHORD?OUTGOINGCHORD.

DGGabbr.DeutscheGrammophonGesellschaft.DIATAXIS[ ]n.mus.neol.(2011)longtermarrangement/disposition/orderofmusicalEPISODESintermsofchronologicalplacementandrelativeimportance;incontradistinctiontoSYNCRISIS(q.v.);etym.=disposition,arrangement,orderofevents,runningorder,orderofservice,etc.,asofprocessions,prayers,chants,biblereadings,sacraments,andotherepisodesinByzantineOrthodoxliturgy;adj.DIATACTICAL[ ]);deriv.n.DIATAXEME[ ]identifiableelementofdiatacticalmeaning.

DIATONICadj.conformingtotheHEPTATONICtonalvocabularyofanyoftheEuropeanCHURCHMODESinwhicheachconstituentnoteisinEnglishnamedafteroneofthefirstsevenlettersofthealphabet,forexamplea b c d e f g(AEOLIANinA),d e f# g a b c#(IONIANinD),g a$ b$c d e$ f(phrygianinG).Arrangedinscalarform,alldiatonicmodescontainfivewholetone(1)andtwosemitonesteps(),e.g.c-d(1),d-e(1),e-f(),f-g(1),g-a (1),a-b(1)andb-c()inCIONIAN.SemitonestepsinEuropeandiatonicmodesareseparatedbyafifth(e.g.e-fandb-conthewhitenotesofapianokeyboard).

DOHHEXATONICadj.mus.ofthemajorhexatonicmodecontainingnoseventh( );seep.169,ff.

DOHPENTATONIC