Music Glossary: [Page 20]

Anchors strings to body; affects sustain, intonation, and feel (fixed, tremolo, TOM, etc.). more

Foot-operated effects (drive, modulation, delay, reverb, etc.) shaping tone before/after the amp. more

TAB lines, bends, slides; chord grids with fingerings. more

Localization dominated by the first-arriving sound; later reflections add spaciousness without shifting image. more

Diminished triad + minor seventh; functions as leading-tone to minor tonic (viiø7). more

Replace mechanical runs with pattern-based, musical shapes and transposition. more

Grittier bebop variant incorporating blues, gospel, and R&B elements. more

Identifying chord progressions and cadences from listening. more

Re-label chord function by context (e.g., bVI as IV of II). more

Natural minor with raised 7th for a leading tone; creates V–i and the augmented second. more

Sustained backdrop (strings, pads, choir) supporting harmony and mood. more

Rate of chord changes; faster in pre/chorus to increase momentum. more

Count chord-change rate independent of surface rhythm. more

Sing inner guide-tone lines (3rds/7ths) against a recorded progression to feel resolution. more

Intentionally imply substitute chords (triads, pentatonics) over the harmony. Use sparingly and resolve to chord tones to “come home.” more

Overtone tones produced by lightly touching nodes (strings/winds); ethereal color and reduced volume. more

Plucked string instrument with pedals for chromatic alteration; rich resonance and glissandi. more

Standardized enharmonic diagrams; preface and update at modulation points. more

Main theme/melody statement—often heard at the start and reprised at the end in jazz and instrumentals. more

Leave 250–500 ms of headroom and natural tails in prints; avoid chopping reverbs and delays. more

Ensure players hear time, pitch, and self; separate cue buses as needed. more

Checking mixes on neutral headphones and consumer earbuds to ensure balance holds outside the studio. more

Margin between nominal operating level and the clip point; prevents overload on peaks. more

Leave -1 dBTP true peak and mix around -16 to -9 LUFS short-term before mastering. more

Conservative peaks (-12 to -6 dBFS) on digital capture to prevent intersample and plug-in overload. more

Keep peaks under -6 dBFS on tracks/buses; leave -3 to -1 dBTP for mastering. more

Musicians/crew should use molded plugs or IEMs responsibly; OSHA/venue limits apply. more