Musical

Diction a ry

Ever wondered how performers stay in time with each other? Bars are a big part of it. Also known as measures, bars are like small boxes for musical notes and rhythms – each containing a specific number of beats.  

Within a piece or section, these musical segments typically have the same number of beats as each other, which is determined by the time signature at the start. Together, they provide a structure that helps to organise the music and keep the musicians in time by counting the beats in the bar together. 

A concerto is much like a symphony – in that it’s a large-scale work written for orchestras. Except this time, a soloist takes the spotlight out front. They might be a violinist, pianist or even xylophone player – anything’s possible! As well as telling a story, the music showcases their impressive skills, usually over three different movements – each highlighting different strengths. But they can’t do this without the orchestra. Far more than just a ‘backing band’, the orchestra are collaborative partners – engaging in a musical conversation that enhances the fireworks coming from the front of the stage.

Put simply, counterpoint is like a musical conversation between different melodies that all have their own distinct character. Imagine a group of friends engaging in a lively discussion, each person contributing their unique perspective while still listening and responding to others. Similarly, in counterpoint, different musical lines intertwine and interact, creating a rich tapestry of sound. One melody might answer or echo another, creating pleasing harmony or intriguing contrasts. The effect dates back to medieval times, but it reached its peak during the Renaissance and Baroque periods, as people like Johann Sebastian Bach mastered the intricate technique. But ever since, composers have explored how to use counterpoint to add depth and complexity to classical music, creating compositions where melodies intertwine in captivating ways. 

Dynamics are all about volume: how loud or quiet a piece of music is, and how players transition between the two. Like tempo, we still use the Italian words. Here are the most common examples: 

• Forte: Literally translates as strong, i.e., forceful, or loud! 
• Piano: Not the instrument this time… Pronounced «pi-AH-no», it means soft, or in other words, quiet. 
• Crescendo: When players gradually increase their volume from piano (quiet) to forte (loud). It can happen quickly or slowly, and getting a smooth transition with no sudden changes in level takes immense skill!
• Diminuendo: Like a crescendo, but in the other direction – decreasing volume from forte to piano. Often takes even more skill than a crescendo and can either release musical tension or when done well, increase it! 

Very simply, an ensemble is a group of musicians performing together as a unified entity. Ranging from singer/pianist duos and string quartets to big bands and full symphony orchestras, an ensemble can contain any number of musicians and any combination of instruments. In fact, the world’s largest ensemble recorded to date was in Venezuela in 2021 and included 8,573 musicians, aged between 12 and 77, all playing Pyotr Ilyich Tchaikovsky’s Slavic March!  

Just as in a sports team, each musician in an ensemble has a specific role to play, whether it’s taking charge of the melody, harmony or rhythm. Through collaboration and teamwork, together they bring compositions to life, blending individual voices into one collective sound.

Fugues are a prime example of a piece of music that uses counterpoint. The main theme, known as the «subject» – i.e. the subject of the piece – is introduced at the start. Then one by one, other melodies enter, each with their own unique interpretation of the subject. As the fugue progresses, the lines overlap and weave in among each other, building intensity as they unfold, leading to moments of great drama and excitement! As the King of Counterpoint, Johann Sebastian Bach wrote fugues that are still considered to be some of the best in the genre despite being nearly 300 years old. So, if you want to hear a fugue in action, why not check out his famous Toccata & Fugue in D minor? 

Ever had a piece of music hit you right in the feels when you weren’t expecting it? That’s the power of harmony! 

Harmony happens when two or more notes are played or sung at the same time, adding richness and depth to a tune in order to enhance music’s beauty and emotional impact.  

It all started in the Renaissance era when rebel monks started «harmonising» their plainchant. And ever since, composers have experimented with different techniques and sounds, whether it’s building rich warm chords or combining clashing notes for effect. But whatever the style, the challenge is the same – to weave multiple musical elements together to create something greater than the sum of its parts.

The key of a piece of music tells us which scale the main notes of the melody and chords come from. In other words, a piece in C major is mainly made up of the notes from the C major scale – bar a few fruity exceptions for interest! The same would be true of a piece in E minor, Ab major, and so on – with 24 key options in total.  

But why is this important? Well, for composers, choosing what key to compose a piece of music in is, well, key… Some instruments, including voices, sound different in some keys than others according to their range (how high or low they can play) and their timbre (how vibrant, rich or bassy they sound). This means different keys give the music distinct characteristics. 

Some composers have even been known to have a favourite key. For instance, it’s thought that Ludwig van Beethoven liked to use C minor to create an intense and stormy mood. Have a listen to his famously dramatic Symphony Nᵒ5 in C minor to see what we mean.

A mode is simply a type of scale. As with major and minor scales, they each have a specific pattern of spaces – or intervals – between the notes. Each mode’s pattern evokes a specific emotional quality, such as the bright and uplifting Ionian mode, or the melancholic and introspective Dorian mode.  

Just like their names – others include Phrygian, Mixolydian, Aeolian and Locrian – their patterns can be quite complex. But once you’ve learned them, there’s a whole host of diverse musical flavours at your fingertips. Composers use modes to create specific atmospheres, like tense, grandiose, or serene. So, that beauty we talked about in «Harmony»? Often, a clever choice of mode has a lot to do with it!

A book has chapters, a movie has scenes, a play has acts... and a piece of music has movements! Whether it’s a symphony, a concerto or a sonata, a classical composition is typically divided into various sections which each give off a different vibe and bring the musical narrative forward in their own, unique way.  

And remember – movements are often set up to create an emotional journey, so it’s best to wait until the very end of the piece to clap so you can appreciate the full effect.