In music, the conclusion is the ending of a composition and may take the form of a coda or outro.
Pieces using sonata form typically use the recapitulation to conclude a piece, providing closure through the repetition of thematic material from the exposition in the tonic key. In all musical forms other techniques include "altogether unexpected digressions just as a work is drawing to its close, followed by a return...to a consequently more emphatic confirmation of the structural relations implied in the body of the work."
Coda (Italian for "tail", plural code) is a term used in music in a number of different senses, primarily to designate a passage which brings a piece (or one movement thereof) to a conclusion.
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An outro (sometimes "outtro", also "extro") is the opposite of an intro. "Outro" is a blend as it replaces the element "in" of the "intro" with its opposite, to create a new word.[ clarification needed ]
The term is typically used only in the realm of popular music. It can refer to the concluding track of an album or to an outro-solo, an instrumental solo (usually a guitar solo) played as the song fades out or until it stops.
Repeat and fade is a musical direction used in sheet music when more than one repeat of the last few measures or so of a piece is desired with a fade-out (like something traveling into the distance and disappearing) as the manner in which to end the music. It originated as a sound effect made possible by the volume controls on sound recording equipment and on the sound controls for speaker output. No equivalent Italian term was in the standard lexicon of musical terms, so it was written in English, the language of the musician(s) who developed the technique. It is very difficult to approximate this effect on an instrument such as the piano, but instrumentalists can simulate it by thinning the musical texture while applying diminuendo within the limits of their instruments, and by taking advantage of the open-ended feeling of an unresolved harmony or melodic tone at the end.
It is in the family of terms and signs that indicate repeated material, but it does not substitute for any of them, and it would be incorrect to describe it as a "shortcut" to any of the other repeat signs (such as Dal segno ).The direction is to be taken literally: while repeating the music contained within the section annotated "repeat and fade", the player(s) should continue to play/repeat, and the mixer or player(s) should fade the volume while the player(s) repeat the appropriate musical segments, until the song has been faded out (usually by faders on the mixing board).
Repeat and fade endings are rarely found in live performances, but are often used in studio recordings.Examples include:
In music performances, rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section ; and to provide all or part of the harmony, i.e. the chords from a song's chord progression, where a chord is a group of notes played together. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, and complex strums.
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a music composition in classical, Western art, and Western pop music.
In music, an ostinato[ostiˈnaːto] is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions, such as Ravel's Boléro and the Carol of the Bells, and popular songs such as Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Henry Mancini's theme from Peter Gunn (1959), and The Verve's "Bitter Sweet Symphony" (1997).
In music, a coda is a passage that brings a piece to an end. Technically, it is an expanded cadence. It may be as simple as a few measures, or as complex as an entire section.
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords, or sequences of chord tones, may also be considered as chords in the right musical context.
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord. Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music.
This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by "Fr." and "Ger.", respectively.
In music, form refers to the structure of a musical composition or performance. In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments, or the way a symphonic piece is orchestrated", among other factors.
In Western musical theory, a cadence is "a melodic or harmonic configuration that creates a sense of resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase.
In music, a pedal point is a sustained tone, typically in the bass, during which at least one foreign harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance".
A guitar solo is a melodic passage, instrumental section, or entire piece of music written for a classical guitar, electric guitar or an acoustic guitar. In 20th and 21st century traditional music and popular music such as blues, swing, jazz, jazz fusion, rock and metal, guitar solos often contain virtuoso techniques and varying degrees of improvisation. Guitar solos on classical guitar, which are typically written in musical notation, are also used in classical music forms such as chamber music and concertos.
Song structure is the arrangement of a song, and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs. Common forms include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues. Popular music songs traditionally use the same music for each verse or stanza of lyrics. Pop and traditional forms can be used even with songs that have structural differences in melodies. The most common format in modern popular music is introduction (intro), verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, verse, chorus and outro. In rock music styles, notably heavy metal music, there is usually one or more guitar solos in the song, often found after the middle chorus part. In pop music, there may be a guitar solo, or a solo may be performed by a synthesizer player or sax player.
Étude Op. 10, No. 12 in C minor, known as the "Revolutionary Étude" or the "Étude on the Bombardment of Warsaw", is a solo piano work by Frédéric Chopin written circa 1831, and the last in his first set, Etudes, Op. 10, dedicated "à son ami Franz Liszt".
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that is made to function like the original. Usually substituted chords possess two pitches in common with the triad that they are replacing."
In its broadest sense, the head of a piece of music is its main theme, particularly in jazz, where the term takes on a more specific set of innovation . In other types of music, "head" may refer to the first or most prominent section of a song. The term may, though obtusely, be applied to classical music, insofar as classical pieces generally bear similar thematic elements, but the preferred term in this instance is (main) theme or subject. The term "head" is most often used in jazz and may refer to the thematic melody, an instance of it in a performance of the song, or a more abstract compilation of ideas as to what the song is. It may also, though uncommonly, refer to the first section of the melody, or the theme riff in the melody.
In music, a section is a complete, but not independent, musical idea. Types of sections include the introduction or intro, exposition, development, recapitulation, verse, chorus or refrain, conclusion, coda or outro, fadeout, bridge or interlude. In sectional forms such as binary, the larger unit (form) is built from various smaller clear-cut units (sections) in combination, analogous to stanzas in poetry or somewhat like stacking Lego.
"Cliffs of Dover" is an instrumental composition by guitarist Eric Johnson which appeared on his 1990 Ah Via Musicom album although the song had frequently been played live by Johnson as early as 1984. The album version of the song is composed in the key of G major. The song was played with a Gibson ES-335 through a B. K. Butler Tube Driver and an Echoplex plugged into a 100-watt Marshall amplifier. The song takes its name from the White Cliffs of Dover, an extensive and visually stunning chalk outcrop that runs along the southeast coast of England. It is also featured on the video game Guitar Hero III and is available as DLC for the game Rocksmith 2014.
The Scherzo No. 1 in B minor, Op. 20, is a composition for solo piano written by Frédéric Chopin between 1831 and 1832 and dedicated to Thomas Albrecht. The piece begins with the tempo marking Presto con fuoco. The piece is dark, dramatic, and lively. It is complex and considered to be one of Chopin's more difficult works.
This is a list of jazz and popular music terms that are likely to be encountered in printed popular music songbooks, fake books and vocal scores, big band scores, jazz, and rock concert reviews, and album liner notes. This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered.
Musicians use various kinds of chord names and symbols in different contexts to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and its corresponding symbol typically indicate one or more of the following: