Appendix 3: Musical vocabulary - Organisation of pitch — Edexcel GCSE Music

Pitch is the musical term for how high or low a sound is. It is a property of the sound itself, not of loudness or duration: a note can be played quietly or loudly and still keep the same pitch. Pitch depends on the frequency of the vibration producing the sound, so a faster vibration gives a higher pitch and a slower vibration gives a lower pitch. In listening questions you may be asked to identify which of two notes is higher, whether a melody moves up or down, or whether a phrase ends higher or lower than it began. To answer, compare the sounds directly rather than guessing from the instrument or the volume. A reliable method is to hum or sing back the two notes in turn and notice which feels higher in your voice. Remember that pitch describes height only; words such as loud, soft, fast and slow describe different elements of music.

A chord is a set of notes sounded together. An arpeggio takes the same notes but plays them one after another, and strictly in continuously ascending or descending order, so the listener hears each note of the chord in turn rather than as a block. For example, a chord built on C, E and G played as C then E then G is an arpeggio going up; played G then E then C it is an arpeggio going down. The term ‘broken chord’ is sometimes used as a synonym, but with a looser meaning: the notes of the chord are broken apart and may occur in any order, not necessarily a continuous rise or fall. In listening questions, decide first whether the notes sound together (a chord) or one at a time (arpeggio or broken chord), then check whether the order moves steadily in one direction. If the notes leap about in mixed directions, ‘broken chord’ is the safer description.

A cadence is the pair of chords that closes a musical phrase, and its job is to signal how final the ending feels. Learn the four types by their chord movement in a key. A perfect cadence moves from chord V to chord I and sounds finished. An imperfect cadence ends on V, approached from I or another non-dominant chord, and sounds unfinished. A plagal cadence moves from IV to I, the familiar 'amen' close. An interrupted cadence usually moves from V to VI, sidestepping the expected tonic. To identify one, find the key, label the last two chords with Roman numerals, then name the movement. For example, in C major, G to C is perfect; F to C is plagal; G to A minor is interrupted.

The bass is the lowest part in a musical texture, and because it sits underneath the other parts it often determines or generates the harmony above it. Two named types matter here. A Baroque figured bass is a bass line with numerals written underneath; these numerals tell the continuo keyboard player which chords to realise, that is, to fill in above the given bass. A murky bass is a bass that moves in a pattern of broken octaves, leaping between a note and its octave; the specification cites parts of Beethoven's Pathétique sonata as an example. To answer questions, decide whether the bass is a plain lowest line, a figured bass with numerals for realisation, or a broken-octave murky bass, and link each to its harmonic role.

A chord is produced when two or more notes sound at the same moment, so the defining feature is simultaneity rather than melody, which moves one note after another. In the harmony questions of this specification the term most often points to triads: three-note chords built in thirds, such as the tonic triad of C major (C–E–G) or of A minor (A–C–E). Recognise a chord by hearing or seeing the notes stacked vertically, then identify its quality and key function. Distinguish a chord from an interval (two notes) and from a scale (notes in succession). When labelling, state the notes sounding together and, where asked, the triad and key it belongs to.

This vocabulary item asks you to recognise a word meaning the same as ‘stepwise’. Stepwise motion moves by adjacent notes of a scale, one degree at a time, as in the opening of a scale or a passing figure such as C–D–E. The synonym used in this specification is ‘conjunct’. Contrast it with ‘disjunct’, which describes movement by leaps over one or more scale degrees, for example C up to G. In a listening or score question, trace the pitch of successive notes: if each move is to the neighbouring scale note the motion is conjunct, that is, stepwise. Use the term accurately when describing a melodic line and distinguish it from leaping motion.

Conjunct motion, also called stepwise motion, moves by adjacent notes of the scale, such as C–D–E or G–F–E. The term asked for here is the opposite: disjunct motion, also called leaping or angular motion, where the melody jumps between notes that are not adjacent, for example C up to G or D down to A. To answer, look at the interval between consecutive notes: a step of a second is conjunct, while a leap of a third or more is disjunct. A melody can mix both, so judge the specific movement described rather than the whole tune. Remember the vocabulary pair: conjunct/stepwise versus disjunct/leaping.

In traditional harmony, a consonance is a note that belongs to the prevailing common chord or triad and sounds stable; a dissonance is a note outside that chord, creating tension. Traditional practice usually governs how a dissonance is approached (for example by step) and how it resolves, normally moving by step back to a consonance within the chord. For instance, in C major a held F over a C major triad clashes and typically resolves down to E. To answer, check whether the note belongs to the stated chord: if it does, it is consonant; if not, it is dissonant and will usually be resolved.

A chord sequence is an ordered series of chords heard one after another, and in many styles the same series is repeated as a loop that underpins a whole section or piece. The 12-bar blues is the classic example: twelve bars of chords in a fixed order, repeated for each verse, so the harmony cycles while melody and lyrics change above it. To identify a chord sequence by ear, track the bass line and the changing harmony bar by bar, then check whether the pattern returns. Naming it means describing the chords in order and stating whether the series repeats, not just labelling one chord.

This vocabulary item sits under Organisation of pitch in Appendix 3. It describes a device common in non-classical genres: a note, or a harmonic interval, is sustained for a long time or repeated many times. The interval most often treated this way is a perfect 5th, the distance of seven semitones, for example from C up to G. Learn to hear such a drone or repeated figure and to name it accurately, noting whether it is a single note or an interval and whether it is sustained or repeated. Distinguish it from a melody: the point is persistence of pitch, not a tune. Practise identifying the interval by counting semitones and by ear, and describe its effect, such as creating a stable or static harmonic backdrop.

A fanfare is a flourish written for brass instruments, often reinforced by percussion, used to create a ceremonial or celebratory effect. The same word also covers any short passage for brass within an orchestral work, even where no ceremony is implied. To recognise one, listen for bright, brilliant brass timbres, often trumpets and horns, playing rhythmic, triadic figures at a confident dynamic; percussion such as timpani or side drum may add weight and pulse. The texture is usually homophonic and the mood is bold and public. In a listening question, decide which definition fits: a standalone ceremonial flourish, or a brief brass episode inside a larger orchestral piece. Link your identification to audible evidence such as instrumentation, rhythm and dynamics rather than guessing from the title alone.

A ground bass is a repeating phrase in the bass line, a specific type of ostinato. The pattern repeats while the upper parts change, so the harmony and melody above develop over a fixed bass. It is especially associated with some Baroque pieces, notably by Purcell, whose works use such repeating bass patterns. To recognise one, track the lowest line: if the same short phrase returns again and again, unchanged, while the music above varies, that is a ground bass. Distinguish it from a general ostinato, which can occur in any register, and from a sequence, which moves to a new pitch level rather than repeating exactly. In a listening question, describe the bass pattern, note its repetition and explain how the upper parts change over it.

This vocabulary item concerns harmony built from chords: a succession of chords, and sometimes a single chord on its own. A chord is two or more notes sounded together; a succession is one chord following another, as in a cadence or a repeated four-chord pattern. The statement allows that the term can also refer to single chords, so an isolated chord still counts. To answer, choose the option describing chords sounded together or in sequence, rather than a single melodic line or a sustained note. For example, a I–V–vi–IV progression in a pop song is a succession of chords, while one held triad is a single chord.

An interval is the distance between two notes. The two notes may be neighbouring in a melody, heard one after the other, or sounded simultaneously as a harmonic interval. To name an interval, count the letter names inclusively from the lower to the upper note to give an ordinal number such as a 2nd, 3rd, 4th or 5th, then add an adjective describing its quality: major, minor, diminished or augmented. For example, C up to E spans three letter names (C, D, E), so it is a 3rd, and its quality makes it a major 3rd; C up to E♭ is a minor 3rd. Practise counting inclusively, because a common slip is to count the steps between notes rather than the notes themselves. Then check the exact size in semitones to decide the quality.

This term describes melodic motion by a leap: the second note lies more than a tone or a semitone from the first, so the interval is larger than a step. To identify it, name the two pitches and measure the distance between them; if that distance exceeds a whole tone, the movement is a leap. For example, moving from C up to E spans two tones, so it is a leap, whereas C to D (a tone) or E to F (a semitone) is a step. The definition is relational: the same pair of notes can be a leap in one direction and part of a stepwise line elsewhere, so always compare each note with the one immediately before it. Recognising leaps helps you describe contour and shape a melodic line accurately.

A melody, also called a melodic line, is a succession of single sounds heard one after another. It is most often one individual strand or part within a fuller musical texture, such as the top line above accompanying chords, though it can stand alone. A melody is usually tuneful, or otherwise prominent or memorable, which is why listeners can often recall or hum it. To identify a melody in a texture, listen for the single line of successive notes that stands out or sticks in the memory, and distinguish it from accompanying parts and chords. Recognising the melodic line helps you describe how pitch is organised and how a part functions within the whole texture.

This term names a compositional device that operates within one melodic line, not across the whole texture. A melodic sequence is the model case: a short melodic idea is restated at a different pitch level, keeping its interval pattern and rhythm, so the line seems to climb or fall in steps. The key test is scope. Ask whether the device concerns what one part does on its own; if so it belongs here. If it concerns how all the parts combine, it belongs to texture vocabulary instead. So a sequence in the violin part is this kind of method, while a passage where all parts move together homophonically is a textural matter. To answer, identify the single line, trace its repeated shape at a new pitch, and confirm the rest of the ensemble is not the focus.

This vocabulary item describes a melodic part that keeps returning to one pitch, so the same note is sounded again and again rather than moving up or down. It is a pitch device within a single part, so the focus is on what that line does, not on how the whole texture is built. A useful method is to isolate the part, mark each note, and check whether one pitch dominates through repetition. Contrast it with a sequence, where the shape moves to a new pitch level, and with a stepwise melody, where the line changes pitch each time. In a listening question, track the repeated note by ear and confirm it stays the same rather than shifting. The answer is the term for repeated use of one pitch in a melodic part.

This term names what a composer or performer does when adding extra pitch detail to existing musical ideas, most often to a tune. The core idea is elaboration: the underlying line stays recognisable while added notes give it colour, movement or expressive weight. Decoration can be written into the score by the composer or added by a performer within the style. Conventional ornaments are the standardised examples, and the specification names trills and turns. A trill alternates rapidly between a main note and the note above it; a turn circles around a main note using the notes above and below before returning. Recognise these aurally and in notation, and distinguish decoration of a melody from structural change such as reharmonisation or a new melody.

This vocabulary item names the device of the ostinato: a short musical pattern that is repeated throughout a section or across a complete piece. The pattern may be melodic, rhythmic or a combination, and it is the persistence of the repetition, not the length of the idea, that defines it. A riff is a closely related term, typically a repeated melodic or chordal figure in popular styles. To recognise an ostinato, listen for the same short idea returning while other parts change around it. For example, a two-bar bass figure cycling under a developing melody is an ostinato; a single held note is not, because it is not a pattern. In an MCQ, match the definition to the correct term rather than choosing a term that merely sounds musical.

A pedal (pedal point) is a single note held or reiterated while the harmony above it moves. It usually sits in the bass, and is generally the tonic or dominant of the key, so it anchors the ear to the home key even as chords change. Because the changing chords bring notes that clash with the fixed note, dissonance often results; the pedal then resolves when the harmony settles onto a chord that agrees with it. To identify one by ear, listen for a low note that stays constant while the chords above shift, then name it as tonic or dominant and describe the clash and its resolution.

In popular styles the term riff describes a short repeated melodic or rhythmic figure, functioning much like an ostinato in classical music. The key idea is repetition: a recognisable pattern is stated and then repeated, often in the bass or as a hook, providing structure and identity to a pop, rock or similar track. To recognise a riff, listen for a brief figure that returns recognisably, then describe its rhythm, pitch shape and instrumentation. Distinguish it from a pedal, which is a single sustained or repeated pitch, because a riff is a pattern of several notes.

Roman numerals label triads in traditional harmony by the scale degree that forms the chord's root, not by the lowest sounding note. Number the degrees of the key from tonic upwards: in C major, C is 1, D is 2, E is 3, F is 4, G is 5, A is 6 and B is 7, written I to VII. Build the triad on the chosen degree using notes of that scale, then name it with the numeral of its root. The chord D–F–A has root D, the second degree of C major, so it is labelled II. If the same notes appeared with F in the bass, the root would still be D and the label would remain II, because inversion changes the bass, not the root. Work method: identify the key, find which scale degree matches the chord's root, then write the matching numeral.

A scale is a succession of pitches moving mainly by step, and it usually spans an octave from a starting note back to the same letter name. In the example, C D E F G A B C moves stepwise through seven different letter names and returns to C an octave higher, giving eight written notes that cover one octave. The pattern of whole and half steps between successive degrees gives each scale its character; the major scale follows the familiar arrangement of tones and semitones that produces its bright, stable sound. To recognise or write a scale, start on the named tonic, move up or down by step, keep each letter name in order without skipping, and finish on the octave. Check the interval pattern to confirm whether the scale is major or another type.

The glossary term for this definition is a sequence. A sequence restates a melodic idea, or a chord progression, starting on a different pitch level from the first statement, so the shape and intervals are kept while the actual pitches shift up or down. For example, a melody rising a tone then falling a third can be repeated a step higher, giving the same contour at a new pitch level. The key contrast in the definition is between different pitch levels and the same pitch: a literal repeat at the identical pitch is not a sequence. Sequences may move by step or by leap and may be diatonic or chromatic, but the identifying feature is the shifted pitch level of the repeated material.

This vocabulary item describes melodic movement that proceeds by steps rather than by leaps. A step is a move to the next note up or down, and it may be a tone or a semitone; both count as steps. A leap is a move of a third or more, so any interval larger than a second takes the melody outside this description. To test an example, look at each pair of consecutive notes and measure the interval: seconds (major or minor, i.e. tones or semitones) keep the melody moving by step, while thirds, fourths, fifths and larger intervals are leaps. A melody that mixes steps and leaps is not purely stepwise, so check whether the question asks about the whole line or a passage. Naming the movement correctly depends on measuring intervals accurately between adjacent notes.

The glossary term defined here is a subject. A subject is a melody, or occasionally another form of musical material, on which part or all of a piece is built. The definition has two parts to hold together: the material is melodic (with the occasional alternative of other material), and it may underpin only part of a piece or the whole of it. A fugue, for instance, is constructed from a subject that is stated and then developed, so the subject is the melodic idea the rest of the music grows from. The term is about the foundational material of a piece, not about a passing phrase or accompaniment figure.