Definition:
'... we could legitimately call it [the note] an accented passing note
because:
a) it falls 'on the beat', with the sounding of the chord
b) it is a non-harmony note
c) it occurs in a stepwise melody
Taken from: Unit 17, p.22
Definition: The acciaccatura looks rather like the appoggiatura. In fact, you have to look carefully for the oblique line in order to distinguish the two. The name is Italian again, and derived from the verb 'to crush': the ornamental note is squashed in as quickly as possible at the start of the main note. The oblique line 'crosses it out', if you like, to signify that the ornament note takes hardly any time at all.
Taken from: Unit 3, p.69
Definition: Accidentals are the signs used in staff notation to alter the pitch of a note by 1 or 2 semitones. A sharp raises the pitch a semitone, a flat lowers the pitch a semitone. A natural cancels a previous sharp or flat. Double sharps or double flats raise or lower a note respectively by 2 semitones.
Taken from: Unit 3, p.69
Definition: ... piece begins with an anacrucis - an incomplete bar (with only one beat in it). It is customary in such pieces to include a correspondingly incomplete bar at the end, and to count the first complete bar as bar 1.
Taken from: Unit 10, p.44
Definition: Antecedent means tension (or question)
Further info: music moves to the dominant note
See also: Consequent
Taken from: Unit 4, p.18
Definition: ...a dissonant note on a strong beat that resolves onto a harmony note. Because it is approached by leap, it cannot be described as a passing note: it is called an appoggiatura.
... the ornamental note can be written in almost any note value, irrespective of how it will eventually be played. The ornamental note could be taken as half (or, in the case of a dotted note, two-thirds), of the value of the main note.
Taken from: Unit 17, p.23 and p.26 - 7
Definition: in arpeggios, the notes of a chord are sounded in ascending or descending order
Taken from: Unit 9, p.9
Definition: the essential point about an arrangement is that, in using pre-existing material, theh arrange does a certain amount of recomposing. Such recomposition may take many forms: shortening, lengthening, reharmonizing, simplifying, adding extra parts and so on.
(Liszt's arrangements are sometimes called paraphrases)
Taken from: Unit 15, p.30
Definition: ... might qualify as a passing note because it is approached and left by step. But, melodically speaking it is not really 'passing': it is not going anywhere because it just returns from whence it came. This sort of passing note is more accurately described as a returning note or auxiliary note.
Taken from: Unit 17, p.22