Music Glossary: [Page 4]

Axial involve one dimension; tangential two; oblique three—each with decreasing strength. more

Income paid after recoupment or post-use, e.g., performance royalties or sync back-end. more

Emphasis on beats 2 and 4 in 4/4; core of rock, pop, funk feel. more

Consistent 2 & 4 with micro-variations; lock with bass and guitars. more

bVII7 resolving to I (e.g., B♭7→C); soulful alternative to V7. more

IVm7–bVII7→I (or bVIImaj7→I) as a softer resolution to tonic. more

Pre-recorded parts used to augment live performance; typically routed to IEMs with click/cues. more

Turkish long-neck lute with movable frets; modal makam repertoire. more

Russian triangular lute family; sharp strum and percussive style. more

Relative loudness among parts so primary lines project while accompaniment supports. more

Faders first: achieve a solid rough mix without EQ or compression to ensure source and arrangement work naturally. more

Two-opposed signal lines and a shield reject common-mode noise over long runs (XLR/TRS). more

Slang for a track with big impact on the dancefloor/radio; high energy and memorable hooks. more

Side-blown bamboo flute from India; expressive meend and breathy tone. more

Psychoacoustic frequency scale dividing the spectrum into 24 critical bands. more

Add a passing diminished scale to harmonize and voice-lead between diatonic chords. more

Alternation of major sixth and fully diminished chords for bebop voice-leading. more

Staccato/legato, slides, dead notes, palm mutes for contour and space. more

Low single-reed with dark, rich tone; transposes (usually in B♭, down major 9th). more

Low, unpitched drum for weight and dramatic hits; orchestral and drum-set contexts. more

Low-end support outlining roots/guide-tones; locks with rhythm. more

Electric/ acoustic bass tuned like double bass (E–A–D–G); anchors groove and harmony. more

Two/three-finger, raking, and floating thumb for speed and control. more

Balance pickup blend, plucking position, compression, and HPF/LPF to sit with kick and avoid mud. more

Low-frequency absorber (porous, panel, or resonant) targeting modal peaks/nulls. more

Thick porous absorbers in corners/edges that reduce low-frequency decay and smooth the response. more

Root movement vs upper extensions; avoid muddy low mids by spacing voicings. more