A capella
Sung without instrumental accompaniment. Literally "of the chapel" in Italian. Orthodox choirs are always a capella ensembles.
Accelerando
Gradually getting faster. Often abbreviated accel.
Adagio
Slowly.
Allegro
Italian for "happily". NOTE: This term does NOT mean "fast", although it is often (mis)used that way.
Analogion
A wooden stand with a sloping top, used to hold the Gospel book or an icon. Large analogia, usually with integrated shelving, may also function as music stands for the choir(s).
Andante
Italian for "walking tempo".
Antiphon
A hymn or section of the Psalter intended to be sung or chanted alternately by both choirs. See kathisma.
A tempo
Indicates a return to the previous established tempo. Appears after a temporary tempo change such as a rallentando.
Catch breath
A quick breath, not indicated in the score, usually taken mid-phrase at the discretion of the individual singer.
Con moto
With motion.
Crescendo
Gradually getting louder. Often abbreviated cresc.
Decrescendo
Gradually getting slower. Often abbreviated decresc.
Diminuendo
Gradually getting softer. Often abbreviated dim. Synonymous with decrescendo.
Dynamics
Symbols and text expressions indicating how loudly or softly to sing.
Dolce
Sweetly.
Ekphonesis
A chant style often heard in the priest's/deacon's exclamations at the ends of prayers and litanies, and used for Scripture readings; it's also used for certain prayers said by the priest and deacon. Ekphonesis is more elaborate than straight chant, but lacks the precise rhythm and melodic structure of true liturgical singing. Many common ekphonesis patterns are found in early Russian liturgical books; these ancient melodies are most thoroughly preserved by the Old Believers.
Fermata
Indicates that a note or rest should be extended past its written duration at the conductor's discretion. May also be placed over a barline to indicate a pause between measures.
Flessibile
Flexibly.
Irmos
From the Greek word for "link". In a canon, a short verse sung by the choir that links the content of the given biblical ode (presently omtted in most parish churches) with the subject of the current feast, which is in turn expounded upon by the following troparia. When an irmos is sung after the final troparion, it is called the katavasia.
Katavasia
In a canon, an irmos that is sung after the last troparion of a given ode. The katavasia may be a repeat of a previously-sung irmos, or may be taken from an upcoming Great Feast. For example, the katavasiae sung at Matins on the Feast of the Nativity of the Theotokos are taken from the canon of the Exaltation of the Precious Cross.
Kathisma
One of 20 sections into which the Psalter is divided. Each kathisma is further divided into three subsections called antiphons.
Kievan chant
One of three chant systems that emerged in 'Rus (modern-day east Ukraine) during the 17th century. Kievan melodies are generally shorter and less elaborate than those of Znammeny chant, and are essentially simplifications of Znammeny.
Kliros
In an Orthodox Church, the area where the choir/chanters stand. Traditionally this area is towards the east end of the temple, in front of the iconostasis on the right-hand side. When there are two choirs, the second kliros is on the left, directly across from the first.
Larynx
The anatomical structure near the front of the throat that houses the vocal folds and associated muscles. Colloquially called the "voice box".
Legato
Sung smoothly, with long vowels and quick consonants.
Leggiero
To be sung lightly. Note: this term refers to vocal weight, NOT tempo or dynamics.
Lento
Very slowly.
Metronome
A device that produces clicks or beeps at regular intervals determined by the user. Metronomes may be mechanical (wound by hand, like a wristwatch) or electronic. Many smartphone metronome apps also incorporate other useful features, such as pitch identification and pitch-pipe functionality.
Moderato
At a moderate tempo.
Obikhod
chant
One of the most common tonal systems used in modern slavic Orthodox Churches (and the Orthodox Church in America, whose mother church is the Russian Orthodox Church). Also known as common chant, Bakhmetev-Obikhod and L'vov-Bakhmetev-Obikhod. Originally the term obikhod referred to three chant systems that appeared in 'Rus during the 1600's, eventually spreading to Muscovite Russia: Kievan chant. Bulgarian chant and "Greek" chant. (The latter is not actually Greek and sounds nothing like it.)
Parlando
To be sung according to the rhythm and natural inflections of speech. Often applies to sections of chant on the reciting tone.
Pesante
Heavy, weighty. Rarely, if ever, appropriate in Orthodox liturgical singing; usually appears n the phrase "non pesante" ("not heavy or weighty").
Poco a poco
Bit by bit. Appears in constructions such as ritardando poco a poco.
Reciting tone
In chant, a single pitch on which multiple words are sung. In the Gregorian chant of the Latin church, this is called recto tono.
Rallentando
Gradually slowing down. Usually appears mid-score, although it technically may be used at the end. Abbreviated rall.
Ritardando
Gradually slowing down. Abbrevated rit.
Staggered
breathing
A choral technique for very long phrases, in which singers on a single voice part will breathe at different times, ensuring that the sound continues while individual singers breathe.
Soft palate
The soft portion of the roof of the mouth, located behind the teeth, from which the uvula is suspended. In the classical singing tradition, the soft palate remains raised throughout. The soft palate naturally lifts during yawning. A useful technique for learning to raise the palate at will is to yawn while keeping the lips closed. After several repetitions, it's easy to raise the soft palate without actually yawning.
Solenne
Solemnly.
Solfege
Also called solfeggio or solfege syllables. A system of syllables representing the notes of a given scale. These are the syllables at the heart of the song "Do-Re-Mi" from the popular musical, "The Sound of Music". There are two basic solfege systems: movable Do and fixed Do. In the movable Do system, the syllable "Do" represents the first note (the tonic) of the scale. In the fixed Do system, the syllable "Do" always represents the pitch C.
Sostenuto
Sustained. Interchangeable with legato.
Straight chant
Chanted on a single pitch (either unison or in harmony), often with a slightly higher or lower pitch on the penultimate syllable.
Tempo
Musical speed.
Tempo primo
Resume the previous established tempo. Occurs after a temporary tempo modification such as a rallentando. NOTE: this term isn't needed after a fermata unless it (the fermata) was accompanied by a tempo modifier.
Tonic
The first pitch in a given scale. For example, in the key of G major, the tonic is G.
Vibrato
Regular, minor fluctuations in pitch. Vibrato is a natural function of a healthy singing voice. However, because by virtue of its definition vibrato distorts pitch, it's often wise to minimize it in choral singing. Healthful vibrato occurs at a consistent rate, with equal deviations above and below the true pitch. Furthermore, it does not include oscillations in volume.
Vocal cords
See vocal folds.
Vocal folds
Anatomical structures located in the larynx (or "voice box"), composed of layers of muscle and mucous membrane. When the folds are relaxed and open, air flows freely through the throat. When the folds are closed (or more accurately, brought into close proximity with each other) and air passes through them, the folds vibrate, producing vocal sound.
Voice box
See larynx.
Voiced consonant
Voiced consonants are those that have musical pitch, such as the "th" in "thou" and the "m" in "mercy". It's very important that voiced consonants have the same pitch as the following vowel.
Zadostoinik
A hymn sung in place of "It Is Truly Meet" in the Divine Liturgy. Usually consists of the irmos of the ninth ode of one of the relevant festal canons, preceded by its magnification verse.
Znamenny chant
The ancient unison chant of the Russian Orthodox Church. In contemporary Orthodoxy, this chant style is preserved most completely among the Old Ritualists (or "Old Believers"). Traditional Znamenny notation, often called "hook" notation, is descended from traditional Byzantine chant notation. Some Znamenny melodies have also been transcribed into traditional Western musical notation.
Musical and Liturgical Glossary
A combined glossary of musical and Orthodox liturgical terms. Many musical definitions are tailored to their use in Orthodox music. This is, and probably will always be, a work in progress.
A capella
Sung without instrumental accompaniment. Literally "of the chapel" in Italian. Orthodox choirs are always a capella ensembles.
Accelerando
Gradually getting faster. Often abbreviated accel.
Allegro
Italian for "happily". NOTE: This term does NOT mean "fast", although it is often (mis)used that way.
Andante
Italian for "walking tempo".
A tempo
Indicates a return to the previous established tempo. Appears after a temporary tempo change such as a rallentando.
Catch breath
A quick breath, not indicated in the score, usually taken mid-phrase at the discretion of the individual singer.
Con moto
With motion.
Crescendo
Gradually getting louder. Often abbreviated cresc.
Decrescendo
Gradually getting slower. Often abbreviated decresc.
Diminuendo
Gradually getting softer. Often abbreviated dim. Synonymous with decrescendo.
Dynamics
Symbols and text expressions indicating how loudly or softly to sing.
Dolce
Sweetly.
Ekphonesis
A chant style often heard in the priest's/deacon's exclamations at the ends of prayers and litanies, and used for Scripture readings; it's also used for certain prayers said by the priest and deacon. Ekphonesis is more elaborate than straight chant, but lacks the precise rhythm and melodic structure of true liturgical singing. Many common ekphonesis patterns are found in early Russian liturgical books; these ancient melodies are most thoroughly preserved by the Old Believers.
Fermata
Indicates that a note or rest should be extended past its written duration at the conductor's discretion. May also be placed over a barline to indicate a pause between measures.
Flessibile
Flexibly.
Kievan chant
One of three chant systems that emerged in 'Rus (modern-day east Ukraine) during the 17th century. Kievan melodies are generally shorter and less elaborate than those of Znammeny chant, and are essentially simplifications of Znammeny.
Kliros
In an Orthodox Church, the area where the choir/chanters stand. Traditionally this area is towards the east end of the temple, in front of the iconostasis on the right-hand side. When there are two choirs, the second kliros is on the left, directly across from the first.
Legato
Sung smoothly, with long vowels and quick consonants.
Leggiero
To be sung lightly. Note: this term refers to vocal weight, NOT tempo or dynamics.
Obikhod
chant
One of the most common tonal systems used in modern slavic Orthodox Churches (and the Orthodox Church in America, whose mother church is the Russian Orthodox Church). Also known as common chant, Bakhmetev-Obikhod and L'vov-Bakhmetev-Obikhod. Originally the term obikhod referred to three chant systems that appeared in 'Rus during the 1600's, eventually spreading to Muscovite Russia: Kievan chant. Bulgarian chant and "Greek" chant. (The latter is not actually Greek and sounds nothing like it.)
Parlando
To be sung according to the rhythm and natural inflections of speech. Often applies to sections of chant on the reciting tone.
Poco a poco
Bit by bit. Appears in constructions such as ritardando poco a poco.
Reciting tone
In chant, a single pitch on which multiple words are sung. In the Gregorian chant of the Latin church, this is called recto tono.
Rallentando
Gradually slowing down. Usually appears mid-score, although it technically may be used at the end. Abbreviated rall.
Ritardando
Gradually slowing down. Abbrevated rit.
Staggered
breathing
A choral technique for very long phrases, in which singers on a single voice part will breathe at different times, ensuring that the sound continues while individual singers breathe.
Straight chant
Chanted on a single pitch (either unison or in harmony), often with a slightly higher or lower pitch on the penultimate syllable.
Solenne
Solemnly.
Sostenuto
Sustained. Interchangeable with legato.
Tempo primo
Resume the previous established tempo. Occurs after a temporary tempo modification such as a rallentando. NOTE: this term isn't needed after a fermata unless it (the fermata) was accompanied by a tempo modifier.