1. Guitar –
A necked string instrument with typically six strings stretched along a fretted fingerboard. It is plucked with either fingers or with a plectrum (pick).

2. Body –
The part of the guitar where the strings attach. On acoustic guitars, this is synonymous with the resonant chamber. On electric guitars, this is the location of the pickups which transfer the sound to an amplifier.

3. Neck –
The long, narrow, extending part of the guitar along which the strings extend to the tuners.

4. Headstock –
The part of the guitar containing the tuning apparatus. Located at the end of the neck, it is where the strings are attached opposite the body.

5. Frets –
Ridges of wood, metal, or string, set across the fingerboard of a guitar, lute, or similar instrument, which help the fingers to stop the strings at the correct points to create the exact desired pitch.

6. Fingerboard/Fretboard –
A narrow strip of wood on the neck of the guitar where the strings are held against the wood with the fingers. It is fitted with frets.

7. Action –
The height of the strings off of the fingerboard. “Low action” results in buzzing and dead frets (frets that do not sound out). “High action” refers to action that is to high to comfortably play and sometimes results in intonation problems. An action setup may solve these issues.

8. Bridge –
A thin, fixed wedge or support raising the strings of a musical instrument above the soundboard.

9. Soundboard –
A thin board forming the upper portion of the resonant chamber in an instrument and serving to increase resonance. On the guitar, it is located on the body.

10. Soundhole –
An opening in the soundboard of a musical stringed instrument for increasing the soundboard's capacity for vibration and resonance.

11. Staff –
A set of horizontal lines and intermediate spaces used in notation to represent a sequence of pitches, in modern notation normally consisting of five lines and four spaces. Also called stave.

12. Treble Clef –
A symbol indicating that the second line from the bottom of a staff represents the pitch of G. Also called a G Clef.

13. Notes –
A sign or character used to represent a tone, its position and form indicating the pitch and duration of the tone.

14. Rests –
A sign or character used to represent an interval of silence between tones, its form indicates the duration of the silence.

15. Ledger Lines –
Short, horizontal lines above or below the staff, use to indicate a pitch that falls above or below the range indicated by the staff.

16. Rhythm –
The ordered flow of music through time; the pattern of durations of notes and silences in music.

17. Time Signature –
A sign placed on a staff to indicate the meter, commonly a numerical fraction of which the numerator is the number of beats per measure and the denominator represents the kind of note getting one beat. Sometimes it is simplified, such as C for common time.

18. Common Time –
A meter of four beats per measure, with each of the four quarter notes receiving a single beat. Symbolized by the letter C.

19. Playing Position –
The position of the guitar and the guitarist while playing the instrument. The guitar should be place on the knee so that both hands can comfortably reach the strings and play the instrument. The guitarist should demonstrate good posture (sitting up, feet flat on floor) and should position himself for optimum reach and access.

20. Rest Position –
The position of the guitar while not playing the instrument. The guitar should be placed strings down on the lap of the guitarist.

21. Frames –
A representation of the fingerboard of the guitar and the placement of the fingers on specific frets used as a visual aid for guitarists.

22. Basic Tablature –
A system of notation for guitar using two numbers divided by a slash. The first number represents the string number. The second number represents the fret. For example, “2/3” would represent the second string, third fret.

23. First Position –
Referring to the first four frets or notes per string on the fingerboard.

24. Hand Position –
Referring to the location, shape, and angle of a guitarist’s hands while playing.

25. Accompaniment –
A musical part that supports or provides background for other, more important, musical parts.

26. Chord –
A combination of three or more pitches sounded simultaneously.

27. Dot –
A small dot placed to the right of a note that increases the duration by half.

28. Tie –
In notation of rhythm, an arc between two notes of the same pitch indicating that the second pitch should not be played but instead should be added to the duration of the first.

29. Waltz Time –
A meter of 3/4 (three beats per measure, quarter note receives one beat) with a quick, dance tempo.

30. Pitch –
Relative highness or lowness of a sound.

31. Pickup Notes –
Notes which begin a piece of music on a beat other than beat number one.

32. Downbeat –
The first, or stressed, beat of the measure.

33. Progression –
A series of chords.

34. Principal Chords –
Referring to the tonic (I), subdominant (IV), and dominant (V7) chords in a given key. For example in the Key of C, the principal chords are C, F, and G7.

35. Eighth Notes –
A musical note having the time value of an eighth of a whole note. In common time an eighth note receives half of a beat.

36. Alternate Picking –
The use of the pick both in a downwards motion and upwards; usually down-picking or downstroking on the downbeat and upstroking on the upbeat.

37. Repeat Sign –
Musical symbol used in place of a bar line to indicate that the performer must repeat the specified enclosed section.

38. DC Al Fine –
Short for “Da Capo al Fine”, it is an abbreviated cue placed in music to indicate that the return to the beginning (Da Capo), and continue playing until the Fine.

39. Octave –
Interval between two tones which the higher tone has twice the frequency of the lower tone. In music these two tones have the same note name but are located a distance of eight steps apart.

40. Scale –
A succession of tones ascending or descending according to fixed intervals.

41. Ensemble –
A group for two or more musicians performing together. Or a piece of music written for a group of two or more musicians.

42. Duet –
A group of two musicians performing together. Or a piece of music written for two musicians.

43. Trio –
A group of three musicians performing together. Or a piece of music written for three musicians.

44. Quartet –
A group of four musicians performing together. Or a piece of music written for four musicians.

45. Canon –
A composition or passage in which a melody is imitated by one or more voices wherein the other voices begin after the each other.

46. Melody –
A rhythmically organized sequence of single tones so related to one another as to make up a particular phrase or idea.

47. Harmony –
The simultaneous combination of tones, especially when blended into chords pleasing to the ear; chordal structure, as distinguished from melody and rhythm.

48. Intonation –
On guitar, referring to the relative tuning of strings to one another and to an absolute reference pitch.

49. Polyphonic –
Performance of two or more melodic lines of relatively equal interest at the same time.

50. Homophonic –
Performance of one main melody with accompaniment usually using the same rhythmic devices.

51. Major –
A tonality based on the major scale. Usually described as “happy”.

52. Minor –
A tonality based on the minor scale. Usually described as “sad”.

53. Dominant –
Chord built on the fifth note of the key which sets up tension that is to be resolved by the tonic chord.

54. Upbeat –
The usually unaccented pulse preceding the downbeat.

55. Syncopation –
The accenting of a note at an unexpected time, such as on the upbeat or on a beat that is usually considered a weak beat.

56. Duple –
Having two or sometimes a multiple of two beats in a measure. Also called duple meter.

57. Triple –
Having three or sometimes a multiple of three beats in a measure.

58. Simple Meter –
In music, simple meter or simple time is a time signature or meter in which each beat (or rather, portion, 1/2 or 1/3 of a measure) is divided into two parts, as opposed to three which is compound meter. For example, 3/4 is divided into three parts, making it triple meter, of two dividends (eighth notes) each, making it simple meter (simple triple meter).

59. Compound Meter –
In compound time signatures, each main beat is divided into three equal parts. Compound time signatures are distinguished by an upper number which is commonly 6, 9 or 12. The most common lower number in a compound time signature is 8, meaning the time is beaten in eighth notes. Unlike simple time, however, compound time uses a dotted note for the beat unit. Consequently, the upper and lower numbers in compound time signatures do not represent the number of beats per bar and the beat unit.

60. Complex Meter -
Signatures which do not fit into the usual duple or triple categories are known as complex, asymmetric, or irregular. Most often these can be recognized by the upper number being 5, 7, or another, larger, prime number, but this is not necessarily so; for example, the addition of two triple beats and a duple beat in a bar gives an upper number of 8.

61. Accidentals –
Any of various signs that indicate the alteration of a note by one or two half steps or the cancellation of a previous sign.

62. Chromatic –
Involving a modification of the normal scale by the use of accidentals.

63. Sharp –
Symbol which notates a pitch a half step higher than the pitch that would otherwise be indicated.

64. Flat –
Symbol which notates a pitch a half step lower than the pitch that would otherwise be indicated.

65. Natural –
Symbol used in notation of pitch to cancel a previous sharp or flat sign.

66. Enharmonic –
Of, relating to, or involving tones that are identical in pitch but are written differently according to the key in which they occur, as C sharp and D flat, for example.

67. Double Sharp –
Symbol which notates a pitch two half steps (one whole step) higher than the pitch that would otherwise be indicated.

68. Double Flat –
Symbol which notates a pitch two half steps (one whole step) lower than the pitch that would otherwise be indicated.

69. Key Signature –
Sharp or flat signs immediately following the clef sign at the beginning of a piece of music, indicating the key in which the music is to be played.

70. Diatonic –
Of or using only the seven tones of a standard scale without chromatic alterations.

71. Tempo –
The speed at which music is or ought to be played, often indicated on written compositions by a descriptive or metronomic direction to the performer.

72. Lento –
A tempo marking indicating exceptionally slow. Metronome marking of less than 40 beat per minute.

73. Largo –
A tempo marking indicating very slow or suspended. Metronome marking of 40 to 60 beats per minute.

74. Grave –
A tempo marking indicating slowly and heavy or seriously. Metronome marking of 60-66 beats per minute.

75. Adagio –
A tempo marking indicating slowly. Metronome marking of 66-76 beats per minute.

76. Andante –
A tempo marking indicating a “walking” tempo. Metronome marking of 76 to 108 beats per minute.

77. Moderato –
A tempo marking indicating moderately. Metronome marking of 90 to 115 beats per minute.

78. Allegro –
A tempo marking indicating quickly. Metronome marking of 120 to 168 beats per minute.

79. Vivace –
A tempo marking indicating lively and fast. Metronome marking of about 140 beats per minute.

80. Presto –
A tempo marking indicating very fast. Metronome marking of 168 to 200 beats per minute.

81. Dynamics –
Degrees of loudness or softness in music.

82. Volume –
The degree of relative loudness or softness in sound.

83. Forte –
A dynamic marking of loud; strong. Symbol: f

84. Fortissimo –
A dynamic marking of very loud; very strong. Symbol: ff

85. Piano –
A dynamic marking of soft; light. Symbol: p

86. Pianissimo –
A dynamic marking of very soft; very light. Symbol: pp

87. Mezzo Piano –
A dynamic marking of moderately soft. Symbol: mp

88. Mezzo Forte –
A dynamic marking of moderately loud. Symbol: mf

89. Crescendo –
A dynamic variance meaning to increase in volume gradually. Often abbreviated “cresc” or symbolized as two joined lines gradually spreading from a point.

90. Diminuendo/Decrescendo
A dynamic variance meaning to decrease in volume gradually. Often abbreviated “dim”/“decresc” or symbolized as two lines gradually coming to a point.

91. Timbre –
The combination of qualities of a sound that distinguishes it from other sounds of the same pitch and volume.

92. Tone Color –
Tone quality; the differentiation between timbres and their inferred qualities.

93. Articulation –
The expression of a note through use of timbre and dynamics.

94. Attack –
The approach and follow through of a sound.

95. Sul Tasto –
Indication to pluck over the fingerboard, giving the tone a much duller, darker, and deeper sound.

96. Sul Ponticello –
Indication to pluck close to the bridge, giving the tone a much sharper, brighter, and higher sound.

97. Pizzicato –
Literally means pinch. Means of playing a string instrument by which strings are plucked. On guitar, this usually means to pinch the string and lightly snap it back. It can also mean to palm mute, while picking.

98. Vibrato –
Small fluctuations in pitch which make the tone warmer, produced in string instruments by rocking the left hand while it presses the string down.

99. Glissando –
A sliding from one pitch to another. Or an incidentally scalular passage while sliding from one melody to another. On guitar this is usually achieved by pressing the finger down on the frets while sliding between notes.

100. Harmonic –
Very high pitched, whistle-like tones produced in bowed string instruments by lightly touching the string at certain ratio division points.

101. Pentatonic Scale –
Scale made up of five different tones, used in folk, rock, and music of the far east.

102. Improvisation –
Creation of music at the same time it is performed.

103. Arpeggio –
Sounding of the individual tones of a chord in sequence rather than simultaneously.

104. Block Chord –
Sounding of a chord all tones simultaneously.

105. Rolled Chord -
Sounding of the tones in a chord simultaneously but with a slight delay between each resulting in a “rolling” sound.

106. Sweep Picking –
Sweep picking is a technique used on the guitar in which a 'sweeping' motion of the pick is combined with a matching fret hand technique in order to produce a specific series of notes which are fast and fluid in sound. Despite being commonly known as sweep picking, both hands essentially perform an integral motion in unison to achieve the desired effect.

107. Riff –
In jazz, blues, rock and other non-classical genres, a short repeated phrase that may be an accompaniment or a melody.

108. Lick –
In jazz, blues, rock and other non-classical genres, a short phrase or part of a phrase that is meant to be an ornament to the melodic line or accompaniment. Usually specific termed for a guitar part.

109. Lead –
In jazz, blues, rock and other non-classical genres, a phrase or group of phrases that serve as a the melody or simulate the melodic line.

110. Solo –
In jazz, blues, rock and other non-classical genres, a section of a composition wherein a specific instrument is featured while all others in the ensemble act as accompaniment. Solos are characteristically virtuosic in nature, or feature advanced playing techniques.

111. Half Step –
The smallest interval traditionally used in Western Music.

112. Whole Step –
An interval twice as large as a half step; for example the interval between the first and second notes of a major scale.

113. Interval –
“Distance” in pitch between any two tones. Traditionally measures in half steps, whole steps, or more in depth, 2nds, 3rds, 4ths, 5ths, 6ths, and 7ths.

114. Minor 2nd –
Intervallic name for the distance of a half step between two tones.

115. Major 2nd –
Intervallic name for the distance of a whole step between two tones.

116. Major Scale –
A series of seven different tones within an octave, with an eighth tone repeating the first tone an octave higher. Consisting of a specific patter of intervals: W-W-H-W-W-W-H, wherein W is a whole step and H is a half step.

117. Tonic –
First tone in a scale; first scale degree. Central to the melody of a piece. Example: In the Key of C, the note C is the tonic.

118. Leading Tone –
The seventh tone or degree of a scale that is a half tone below the tonic; a subtonic.

119. Flat Keys –
Term for key signatures which contain one or more flat signs. Flat signs include the keys: F, Bb, Eb, Ab, Db, Gb, and Cb.

120. Sharp Keys –
Term for key signatures which contain one or more sharp signs. Sharp keys include the keys: G, D, A, E, B, F#, and C#.

121. Fingerstyle –
A method of using the fingers and thumb of the playing hand on the strings rather than a pick or plectrum.

122. Pulgar –
Spanish for thumb. Abbreviated as p. Refers to the thumb of the playing hand and its use in fingerstyle/classical guitar.

123. Indicio –
Spanish for index finger. Abbreviated as i. Refers to the index finger of the playing hand and its use in fingerstyle/classical guitar.

124. Medio –
Spanish for middle finger. Abbreviated as i. Refers to the middle finger of the playing hand and its use in fingerstyle/classical guitar.

125. Anular –
Spanish for ring finger. Abbreviated as a. Refers to the ring finger of the playing hand and its use in fingerstyle/classical guitar.

126. Theme –
Melody which serves as the starting point for an extended piece of music.

127. Counterpoint –
The technique of combining two or more melodic lines in such a way that they establish a harmonic relationship while retaining their linear individuality.

128. Imitation –
Presentation of a melodic idea by one voice or instrument that is immediately followed by its restatement by another voice or instrument, as in around.

129. Study/Etude –
A piece to help a performer master specific technical difficulties.

130. Tremolo –
A tremulous effect produced by rapid repetition of a single tone or rapid alternation of two tones.

131. Accelerando –
Gradually accelerating or quickening in tempo; increasing speed.

132. Ritardando –
Gradually slowing in tempo; decreasing speed.

133. Rubato –
Slight hesitation or pressing forward of tempo to intensify the expression of the music, often used in romantic music.

134. Phrase –
A short passage or segment, often consisting of four measures or forming part of a larger unit.

135. Cadence –
1) Resting place at the end of a phrase in the melody.
2) Progression giving the sense of conclusion, often from the dominant chord to the tonic.

136. Blues –
A style of music that evolved from southern African-American secular songs and is usually distinguished by a strong 4/4 rhythm, flatted thirds and sevenths, a 12-bar structure, and lyrics in a three-line stanza in which the second line repeats the first.

137. Jazz –
Music rooted in improvisation and characterized buy syncopated rhythm, a steady beat, and distinctive tone colors and performance techniques. Jazz was developed in the United States predominantly by African American musicians and gained popularity in the early twentieth century.

138. Bebop –
Complex jazz style, usually for small groups, developed in the 1940s and meant for attentive listening rather than dancing.

139. Rock & Roll –
A style of popular music that derives in part from blues and folk music and is marked by a heavily accented beat and a simple, repetitive phrase structure.

140. Fusion –
Also called “jazz rock”, a style that combines the jazz musician’s improvisatory approach with rock rhythms and tone colors; developed in the 1960s.

141. Rhythm Section –
Instruments in a jazz ensemble which maintain the beat, add rhythmic interest, and provide supporting harmonies. The rhythm section is usually made up of piano, plucked double bass, percussion, and guitar.

142. Swing –
Jazz style which was developed in the 1920s and flourished between 1935 and 1945, played mainly by “big bands.” Also, a verb for what jazz performers do when they combine a steady beat and precision with a lilt, a sense of relaxation, and vitality.

143. Classical –
1) Of, pertaining to, or constituting the formally and artistically more sophisticated and enduring types of music, as distinguished from popular and folk music and jazz. Classical music includes symphonies, operas, sonatas, song cycles, and lieder.
2) of, pertaining to, characterized by, or adhering to the well-ordered, chiefly homophonic musical style of the latter half of the 18th and the early 19th centuries: Haydn and Mozart are classical composers.

144. 12-Bar Blues –
In vocal blues and jazz, a harmonic framework that is 12 bars in length, usually involving only three basic chords: tonic (I), subdominant (IV), and dominant (V).

145. Triplet –
In notation of rhythm, three notes of equal duration grouped together and notated with a numeral 3, meant to last only as long as two notes of the same length would normally last.

146. Open Scale –
Any scale in first position utilizing open strings.

147. Natural Minor Scale –
A series of seven different tones within an octave, with an eighth tone repeating the first tone an octave higher. Consisting of a specific pattern of intervals: W-H-W-W-H-W-W, wherein W is a whole step and H is a half step.

148. Harmonic Minor Scale –
A series of seven different tones within an octave, with an eighth tone repeating the first tone an octave higher. Consisting of a similar pattern to the natural minor scale with one exception, the seventh scale degree is raised a half step creating this pattern of intervals: W-H-W-W-H-1.5-H, wherein W is a whole step, H is a half step, and 1.5 is one and a half steps.

149. Melodic Minor Scale –
A series of seven different tones within an octave, with an eighth tone repeating the first tone an octave higher. Ascending, it consists of a similar pattern to the natural minor scale with one exception, the sixth and seventh scale degrees are raised a half step creating this pattern of intervals: W-H-W-W-W-W-H, wherein W is a whole step and H is a half step. Descending is the same as the natural minor scale, effectively lowering the sixth and seventh.

150. Chromatic Scale -
A scale containing all twelve tones of the octave; each tone is a half step away from the next one.

151. Interval –
“Distance” in pitch between any two tones.

152. Major 3rd –
Intervallic distance of two whole steps (four half steps).

153. Minor 3rd –
Intevallic distance of one and a half steps (three half steps).

154. Diad –
The relationship of two tones. Usually a 3rd or 5th apart.

155. Triad -
Most basic of chords, consisting of three alternate tones of the scale, for example: the 1st, 3rd, and 5th scale degrees.

156. Major Triad –
A triad with a major third on the bottom of the triad and a minor third on the top.

157. Minor Triad –
A triad with a minor third on the bottom of the triad and a major third on the top.

158. Diminished –
A triad wherein both thirds are minor.

159. Augmented –
A triad wherein both thirds are major.

160. Voicing –
1) Tonal quality or blend of an instrument in an ensemble, especially a jazz ensemble, or of the ensemble as a whole.
2) Referring to the distribution of chordal members to achieve a specific tonal quality.

161. Inversion –
The process or result of transposing the tones of an interval or chord so that the original bass becomes an upper voice.

162. Dissonance –
A simultaneous combination of tones conventionally accepted as being in a state of unrest and needing completion.

163. Consonance –
A simultaneous combination of tones conventionally accepted as being in a state of repose.

164. Modulation –
A passing or transition from one key or tonality to another.

165. Resolution -
The progression of a voice part or of the harmony as a whole from a dissonance to a consonance.

166. Stop –
The act of closing a fingerhole or pressing a string of an instrument in order to produce a particular note.

167. Double Stop –
Two notes played simultaneously on a stringed instrument. On guitar, this term is usually specific to playing two notes on adjacent or alternate strings.

168. Triple Stop –
Three notes played simultaneously on a stringed instrument. On guitar, this term is usually specific to playing three notes on adjacent strings.

169. Quadruple Stop –
Four notes played simultaneously on a stringed instrument. On guitar, this term is usually specific to playing the top three notes on adjacent strings.

170. Trill –
The rapid alternation of two tones either a whole or a half step apart.

171. Baton –
A slender wooden stick or rod used by a conductor to direct a musical ensemble.

172. Conductor –
A person who directs a musical ensemble, communicating to the performers by motions of a baton or the hands his or her interpretation of the music.

173. Metronome –
A mechanical or electrical instrument that makes repeated clicking sounds at an adjustable pace, used for marking rhythm, especially in rehearsing music.

174. Score –
A written or printed piece of music with all the vocal and instrumental parts arranged on staves, one under the other.

175. Virtuoso –
A musician who is a consummate master of technique and artistry.