MELISMA
The singing of a melodic line on a single syllable or word.

MODE
A scale that shares the same notes of another scale but has a different starting note. For example, G mixolydian mode has the same notes as a C major scale, but it starts and ends on the note “G.”

MOTIVE; MOTIF
A melodic phrase, which often serves as the basis for improvisational repetition and development./p>

MODULATION
Changing from one key to another within a song or arrangement.

NEIGHBOR NOTE
The note that is adjacent (by half step or whole step) to another note.

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OCTAVE DISPLACEMENT
The shifting of a melodic segment, phrase or passage one octave higher or lower.

OFF-BEAT
The weak beats of a measure, such as beats 2 and 4 in 4/4 music, or the “ands” of the beat in a series of eighth notes.

ORNAMENTATION
Melodic decoration of a note by use of inflection, grace notes, surrounding melodic approach notes, or other.

OUTSIDE
Improvisation that utilizes tonalities not traditionally compatible with the tonalities in the accompaniment. For example, if an improviser played/sang an Eb major scale over a D7 chord change, that would be considered playing outside.

PASSING NOTE
A scalar melodic note that passes between two other notes, usually chord tones.

PATTERN; SEQUENCE
A short melodic shape that is repeated on different starting notes multiple times.

PEDAL TONE
A single bass note, usually the root or the fifth of the key center, which remains constant underneath changing chords above.

PHRASING
1. The creative placement of melodic phrases slightly before or after their original start or end points. (See back phrasing and forward phrasing.)
2. The expressive manner in which a melody is performed, especially in the rate of speed of each phrase, the weighting of each note by use of accent or word stress, and the degree of conversational quality.

PHRASING OVER THE BAR LINE
Suspension of a melodic phrase over the predictable 2-, 4-, or 8- bar divisions of the original phrase structure of a song, often a natural result of using back or forward phrasing.

PICKUPS; ANACRUSIS
Melodic notes that occur before the first measure of a phrase. For example, the first three notes of “Autumn Leaves” are pickups.

PIVOT CHORDS
A chord that serves as a link between two implied key centers in a jazz standard song. The pivot chord has an harmonic function in both of the key centers and helps to smooth the transition.

POLYCHORD
The superimposition of one chord over another, played simultaneously. For example, D/C7.

POLYRHYTHM
The juxtaposition of one metric feeling (such as 3/4) over a different meter (such as 4/4). For example, a soloist may imply a feeling of 5/4 temporarily in the context of a tune in 4/4.

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QUARTAL
Chords built primarily with notes in the interval of a 4th, or improvisation where the interval of a 4th is used as a primary melodic component.

QUARTAL VOICING
A voicing built primarily in perfect fourth intervals.

QUOTE
See Compression.

RAILROAD TRACKS; CAESURA
Two short, parallel lines at a slant that indicate for the musicians to pause momentarily.

REHARMONIZE
Creative alterations in the chord progression of a song.

RELATIVE MAJOR
The major key that corresponds to a related minor key and shares the same notes and key signature. For example, F major is the relative major of D minor.

RELATIVE MINOR
The minor key that corresponds to a related major key and shares the same notes and key signature. For example, D minor is the relative minor of F major.

RHYTHM CHANGES
Reference to the chord progression of the song, “I’ve Got Rhythm.” Numerous other songs use the same progression with a different melody.

RHYTHMIC BREAK
See Break.

RHYTHMIC KICK
See Kick.

RIDE PATTERN
A specific rhythm that jazz drummers play on the ride cymbal when in swing feel.

RIFF
A repeated melodic lick or motive. Riffs are usually short and ‘catchy.’

RIM SHOT
A short and loud drum accent sounded by hitting the rim of a snare drum with the middle of a drum stick.

ROOT
The tonic note of a chord.

ROOTLESS VOICING
A chord voicing that does not contain the root of the chord. Rootless voicings are typically used by pianists and guitar players when working with a bass player.

RUBATO
No tempo; freely.

RUSHING
The undesired speeding up of the tempo; the opposite of dragging.

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SAMBA
A rhythmic style and dance originating from Brazil. Samba has a straight eighth, “2” feel in which each measure feels like it has two beats per measure.

SCAT SINGING
Vocal improvisation with use of syllables that emulate instrumental jazz improvisation.

SECONDARY DOMINANT
The dominant seventh chord a perfect fifth above the chord its progressing to, regardless of the key of the song. For example in the key of C major, a D7 progressing to G7 would be referred to as the five of five, meaning it’s a fifth above the V7 chord of the key. (V7/V7)

SET-UP
In a set-up the drummer plays an improvised rhythmic fill leading into, preparing or setting up a rhythmic kick or series of kicks. The set-up may be as short as a single beat or as long as several measures.

SEQUENCE
See Pattern

SEVENTH CHORD
A four-note chord comprised of a triad with an added 7th scale degree. Seventh chords can be major, minor, dominant and so on.

SHAKE
The repeated pitch fluctuation of a held note for stylistic purposes.

SITTING IN
Unrehearsed performance where a musician/singer is invited to perform a tune or two on someone else’s gig.

SLASHES
Short, slanted lines positioned in each measure of a rhythm section lead sheet to indicate the beats of the measure and chord alignment.

SLASH CHORD
A chord played over a bass note that is different than the root of that chord. (Example: G-7/C)

SOLO
Improvisation of new melodic lines over the chord progression of a song.

SONG FORM
The organizational structure of a song. Common song forms in jazz include AABA, ABAB, ABAC and 12-bar blues.

STANDARD
See Jazz Standard.

STRAIGHT EIGHTH NOTES; STRAIGHT 8THS
Eighth notes that evenly divide each beat in half, as contrasted by Swing 8ths which have an uneven division. (See Swing Eighth Notes.)

STOP TIME
An accompaniment pattern where a passage of music is played with a repetitive series of rhythmic breaks, usually occuring on the same beat of the measures.

SUBDIVIDE
The dividing of a rhythmic duration into two or more parts. For example a musician may be improvising on a ballad in 4/4, while also actively feeling a subdivision of 8th notes.

SUBSTITUTION
The replacement of one chord for another in a chord progression for purposes of creative harmonic interest.

SUSTAIN PEDAL; DAMPER PEDAL
The piano foot pedal located on the far right. Use of the sustain pedal helps to connect the chords smoothly in legato playing.

SWING EIGHTHS NOTES; SWING 8THS
Eighth notes that are interpreted with an underlying triplet feel.

SWING “4” FEEL
A driving feeling of four beats per measure. In “4” feel the bassist plays a walking bass line. (See “2” feel.)

SWING “2” FEEL
A rhythmic feeling of two beats per measure. In “2” feel the bassist plays primarily on beats 1 and 3. (See “4” feel.)

SYNCOPATION
Rhythmic emphasis on the weak beats of a measure, such as beats two and four in 4/4.

TAG
The repetition of the last phrase or part of the last phrase of a song, usually 2 or 3 times.

THROUGH-COMPOSED
A song form where no sections are repeated. For example the form ABCD would be through-composed.

TIME
A reference to maintaining steady tempo. It is every musician’s goal to develop a good sense of time.

TONE COLOR
The timbre of a voice or instrument.

TONIC
The first degree of a scale.

TONIC CHORD
The chord built on the first degree of a scale; the “I” chord.

TOP
Slang for the beginning of the tune.

TRADING FOURS
A jazz improviser trading 4-bar solo phrases with a drummer (or other improviser). For example, the improviser plays 4, then the drummer solos on 4, then the improviser, and so on. It is also common to trade eights or sometimes twos.

TRANSCRIBE
Notating music heard from recordings.

TRANSPOSE
The changing a song’s key from one to another.

TRAPS SET
The standard drum set played by jazz drummers. Typically includes a bass drum, one or more toms, a snare drum, one or more cymbals, and a hi-hat.

TRITONE SUBSTITUTION
A dominant seventh chord that substitutes for the chord whose root is three whole steps (a tritone) away. For example, Gb7 is the tritone substitution for C7.

TURN
A specific style of pitch inflection that connects two notes and is commonly used in jazz.

TURNAROUND
Short chord progression that cycles through the circle of 5ths. For example, |Imaj7 |vi-7 |ii-7 |V7 ||

TURNBACKS
See Turnarounds.

TWO-FEEL; 2 FEEL
See Swing “2” Feel.

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UP-BEATS
See Off-Beats.

VAMP
A short chord progression which is repeated either several times, or indefinately until cue. Vamps often serves as intros and/or endings.

VERSE
In jazz standard song forms, an introductory passage occurring before the main body (chorus) of the song, and usually performed rubato. Jazz standard songs that contain verses most often originated from Broadway shows.

VOCALESE
The addition of lyrics to, and performance of, a previously recorded instrumental solo. Well-known writers of vocalese lyrics include King Pleasure, Eddie Jefferson and Jon Hendricks.

VOICE LEADING
Pertaining to arranging or jazz piano (or guitar), the linear continuity between all voices or notes of a chord when moving from one chord to another.

VOICING
Pertaining to arranging or jazz piano (or guitar), the specific arrangement of the notes of a chord, including any extensions or altered notes.

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WALK
To walk is to play a walking bass line.

WALKING BASS LINE
A swing feel bass line characterized by four quarter notes (with possible rhythmic variation) in each measure. Walking bass lines are in “4” feel and consist of a combination of scalar and arpeggiated lines.

WOODSHEDDING
Practicing!

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