| Across |
| 2. | capacity to think sound |
| 4. | short, showy tune usually written for brass |
| 5. | vocal ranges |
| 7. | ballroom dance that originated in Cuba |
| 9. | vertical blocks of different tones that sound simultaneously |
| 13. | Latin American dance performed at a moderately slow, walklike tempo |
| 14. | a musician who reworks preexisting musical material |
| 19. | highest male voice |
| 20. | "grabber" phrase of a song, often accompanies the title words of the song |
| 22. | athletic dance that includes kicks and inward leg rotations (popular during the 1920s) |
| 23. | a musical form in which a melodic idea is stated then varied |
| 24. | the craft of putting together sounds to create a musical work |
| 25. | distance between the lowest and highest pitches of the voice |
| 26. | vocal improvisation with nonsense syllables |
| 28. | juxtaposing 2 or more different rhythms |
| 29. | the way sounds are woven together |
| 30. | jazzy dance in which couples swing, balance, and twirl |
| 31. | rhythmic Latin American dance with the basic pattern of 3 steps and a shuffle |
| 32. | step dance in which foot movements produce audible rhythms |
| 38. | musical group with several violins, trumpets, large bass guitar, and special 5 and 6 string guitars |
| 40. | sequence of 8 pitches built on the pattern of WHWWHWW |
| 41. | "beautiful singing" style of singing used in opera |
| 42. | low male range |
| 44. | free treatment of tempo |
| 45. | musical style distinguished by its reliance on improvisation |
| 47. | controls the listener's sense of how much time has passed |
| 49. | special rhythmic character that jazz musicians add to the music |
| 50. | a connective part of the composition |
| 51. | low female register |
| 52. | high female register |
| 53. | director of an orchestra, choir, or other performing group |
| 54. | African-Brazilian dance that is faster and jazzier than the tango |
| 55. | high male range |