Documente Academic
Documente Profesional
Documente Cultură
DICTIONARY
OF
MUSICAL TERMS
Containing upwards of 9,000 English, French, German, Italian,
Latin and Greek words and phrases used in the art and
WITH A
SUPPLEMENT
CONTAINING
BT
12655
Panted in the U. S. A.
PREFACE.
meet with, The English vocabulary will be found practically exhaustive, Want
sistent
polyglot character so far as necessary limitations permitted.
The scope of the work, which is rather a dictionary than a lexicon, rendered
the editor's task more that of a compiler than of an original investigator. Most of
the material here presented has been gleaned from numerous standard works of
ever, are, for obvious reasons, not so credited, and must, therefore, be included
under this general acknowledgment. The information so gathered has been care-
fully sifted, and supplemented by the personal researches of over ten years.
Due credit should be given to Dr. William Mason for suggesting the Supple-
" lf
" Diphthongs :
g g hard before 0,0, tf, or another ai and ei like long I in bite.
consonant ; except before / (pro-
ae like a.
nounce gl like l-y [consonant], "
au <w in brow.
e.g. sugli, [pron. sool'-ye]),
and
eu and au like ri (more exactly atfrf,
n (pronounce #
like?? in caJion '
drawn
closely together).
[kan'-yon]).
" Consonants
z in azure (or a very soft j) be-
g :
fore e or i.
f, h, k, 1, m, n, p, t, as in English.
h is mute. b and d, beginning a word or syllable,
j like y in you. as in English ; ending a word
of tongue
r, pronounce with a roll (tip or syllable, like /and t respec-
syllables Italian in ;
i or i like ee in beet ;
short I as in
j
like ^(consonant).
" to. English,
qtt i t .
stress, as in English.
In com-
a like ah.
c
" u in but ^-final is dmost silent Accentuation, The strong English
;
MUSICAL TERMS.
A-ABBREVIATIONS.
A. Abbandonatamen'te )
(It.) In an im<
Abbando'no, con jpassioned style,
A* i. (Ger. A; Fr. and It. la.) The as if carried away by emotion subordi-;
sixth tone in the typiui diatonic scale nation of rhythm and tempo tc expres-
1
of C-major. ^"Le tone a (see Pitch, sion.
absolute) is that sounded by the oboe or c<
other fixed-tone instr. (pfte., organ) to
Abbassamen'to (It., abbr. alb.) Lov/>
"
for the other instr. s of ering indicates in pfte.-playing that
give the pitch
;
the orchestra or militarv band. 2. In one hand is to play below the other,
mus. theory, capital A otten designates opp. to alzamen'to...A. di ma'no, sink-
the A -major triad, small a the rt-minor ing of the hand in beating time ; A. di
the capitals, or vo'ce^ diminution (in volume) of the
triad. 3. In scores,
voice.
doubled letters (A a Z z), are often set
at the head of main divisions or at any Falling of the
at Abbattimen'tp (It)
critical point to facilitate repetition hand in beating time ;
the down-beat.
rehearsal, 4. As an Italian (or French)
Abbellimen'to) (It.) Embellishment,
preposition,
a (or a) signifies to, at, for, Abbellitu'ra ^ } ornament, grace;
by, in, etc. 5. Aft ajji a|j, see Sharp,
from abbelfrre, to embellish.
Flat, Natural 6. At the head of
etc., A means Abljetont (Ger.)
'
digitals and pedals of a mus. instr. mus. for musical, ffte. for pianoforte,
A, See A.
Abb. Abbassamento
Ace. )
Accom. > Accompaniment
Accomp. J
Accres. Accrascendo
Adg,orAd, Adagio
Ad lib. Ad libitum
Aevia Alleluia
Affett. Affettuoso
Affrett. Affrettando
. or Agit . Agitato
ABBREVIATIONS.
ABBREVIATIONS.
(B) Of notes:
(a) Of single notes.
(Triplets.)
(b) Of doubled notes (see Tremolo), [Note to (b). When the abbreviation
consists of two consecutive notes, the sum of the notes in the solution is equal
to only one of them, unless specially marked.]
[pianoforte] [violin]
4 ABC, MUSIKALISCHES-ABGEBROCHENE KADENZ.
(c) Of figures and phrases,
or
specifically,;
Ab'losen (Ger.) To change fingers qui- the measure or measures marked secunda.
or organ.
etly on a digital
-of the pfte. wlta in a repeat.
Ab'nehmen, Ab'nehmung (Ger.) Dimi- Ab'ziehen (Gen) i. See Abgleiten.2.
nuendo. To unstring (in the sense of taking off
worn-out a
Abre"g6s (Fr.) Trackers. strings) violin, harp, etc.
tion through emotion without the in- regular accent is varied by the rhyth
mical accent, which brings out mpr*
terposition of or definite interpretation musical dm
by the intellect, infecting and influenc- prominently the broader
sions of a composition by special cm
ing the soul directly.. .Absolute Pitch,
see Pitch. phasis at the entrance or culminating
points of motives, themes, phrases,
Ab'stammen (Ger.) To be derived from.
the rhythmical
passages, sections, etc.;
Ab'stand (Ger.) See Tonabstand. a. is nearly synonymous with the
Ab'stimmen (Ger.) i. To tune. 2. To patheticor a., as an aid in inter-
poetic
lower the pitch (of instr.s).. .Ab'siim* preting the meaning
and making plain
the construction of a work. 3. An ir-
mtnd, Ab'stimmig, discordant, dissonant
ACCENTOR ACCORD.
laid
upon any tone o a or chord-note being
regular stress melody-note
beat at the composer's pleasure, is th struck with the latter, but instantly
rhetorical or esthetic a. , indicated eithe released :
o
by a special sign (sfz.fz, >, A), written :
played :
of the natura
by an interruption
flow (syncopation), whereb
rhythmical
the natural a. is thrown back to a
otherwise less accented or non-accente
beat 4. See Accentus. 5. An obso
2. Same as short appoggiatura. 3 (in
lete harpsichord-grace resembling th Ger. usage). Same as Acciaccatur.
appoggiatrura ;
Accident (Fr.) Accidental.
Accidental. (Ger. zu'falliges Verse'-
tzungszeichen ; Fr. accident, or sight
accidents I; It. acdden'te.) chro- A
matic sign not found in the signature;
:
set before a note in the midst of a com-
ig.
CrlCF4t^P position. (See Chromatic Signs.)
ing to the reciting-note ; (6) a. inter- accompagnatiur m., *trice f.; It. ac+
rtigati'vusr at a question, first falling a
compagnato'rem.,-tri'ce f.) One who
executes an accomp.
second, then rising to the reciting-note ;
(7) #. fwjflis, falling at the end of a Accompany. (Ger. begin' ten ; Fr. ac-
sentence by a fourth, by a diatonic pas- compagner ; It. accompagna're?) To
sage through the intervening tones. perform an accompaniment.
Accessis'ten. (Ger.)
"
Unpaid choir- Accoppia'to coupled.") Tied. * .
(It.,
singers, supernumeraries. Accoppiamen'to, pedale di, see Pedal,
Accessory note. In a trill, the higher sustaining.
auxiliary. .ccord (Fr.)
I. chord. A
A. a Vou-vert,
chord produced by sweeping
Awacca'to,-a{It.) Vehemently. only open
Acciaccatur' (Ger.) In
organ-playing,
strings,.. A
fondamental, or nature!,
fundamental chord... A. parfait
the doubling by lie left hand of the (or
f
chord on the dominant, its resolution
triade
karmonique\ common chord,
triad... A, plaqu/, a solid chord (not
to the dominant chord
being effected f
arp eggio d). . .A. 1
renverse*, inverted
by the right nand alone. t ,
of prolongation (J.).
for Accordatura ; used in GROVE, vol.
IV, 187^, l.Q-io, and foot-note.
p. Accresciu'to (It.) Augmented,
Accordance (It.) Accordant, in tune, Aceta'bulum. Latin name for an an-
.tuned together ; applied also to comic cient Gk. instr., of percussion. The
scenes in which the tuning of an instr. acetabula were earthen or metallic ves-
or instr.s is imitated by the orchestra. sels struck with sticks, like a carillon,
Accorda're (It.) To tune, tune to- Acht (Ger.) Eight. .Achtf&ssig, 8-foot .
*> & 8 10 ii 12 13 14 15 16
4 5 9
7
C: I- Ill (= major triad).
* are only approximately
(Notes marked correct.)
the timbre peculiar to the several instr.s; dence recurring regularly at every 22ist
thus the tone of the stopped diapason vibration of the first tone and 220th
are weak, is soft vibration of the second. As soon
(organ), in which they
(b)
and "hollow"; the tone of an old as the number of beats per second
nant intervals are such as are derived Addition. * Obsolete term for the dot
from these chords or their inversions ;
^Eolopaa'talon. An ^Eolomelodicon
combined with a pfte., constructed
about 1830 by Dlugosz of Warsaw. (Compare Anticipation)
(Ger., from Lat. agen'da.) Bre-
Aeqnal' (Gen) Formerly, an independ-,
cnt 8-foot prgan-stop 4
viary, more especially of the Ger. Re-
(Aequal 'stimme) \
still used as formed Church, containing in regular
prefix to names of organ-
'
order the formularies, prayers,
stops, indicating that they belong to respons-
the standard 8-foot registers, as
Aequa?-
es, collects, etc., employed in religious
exercises.
prinzipal^ etc.
jEquiso'nus (Lat. ; Ger. dquison') Uni- AgeVole (It.) Easy, light.. .AgevokJ.
son (of either primes or za, con, easily, lightly.
octaves).
JEquiva'gans (Lat.) Denotes simultau
Agiustataraen'te (It.) Strictly in time
AGGRAVER LA FUGUE-ALLEGRETTO, xi
Aggraver la fugue (Fn) To aug- Ajoute,-e (Fr.) Added. (See Ligne, Six.
ment the theme of & fugue. 4
' "
te.\ . .
Ajoutez, add (organ-mus.) ;
Agiatamen'te (It) abbr. ajout.
Easily, indolently
Agilitt' (It.}) Agility, sprightliness, vi- Ajuster (Fr.) See Accorder.
Agilit^ (Fr.)j vacity; con a., in a
light and lively style.
Akkord' i.(Ger,) A
chord... Akkonf*
A
passage, arpeggio. . . kkord''zither, the
Agilmen'te (It.) Nimbly, lightly, vi- A set of several instns
autoharp. 2.
vaciously. of one family, but different in size,
Agitamen'to (It.) Agitation.;. Agita- as made from the 15th to the i8th
tamen'te, conagitazio'ne, excitedly, agi- century (cornp^ Engl. chest or consort
tatedly. .Agita'to, agitated ; a. con pas-
.
of viols). (Also
Stimm'werk)
sio'ne, passionately agitated... Agita- Akkor'dieren (Ger.) r. To tune an
zio'ne, agitation.
reference to the harmony of
jnstr.,with
Ag'nus De'i (Lat. "Lamb of God.")
t its
principal chords. 2. To- get the
Closing movement of flie mus. Mass. pitch (said of the orchestra),
Ago'ge (Gk.) The order, with refer- AkroamVtisch (Ger.) Pleasing to the
ence to pitch, in which the tones of a ear said of music depending more up.
;
*
melody succeed each other.. .A. rhytkf- on outward effect than on depth.
mica, their succession with reference to Akt (Ger.) Act.
accent and rhythm ;
tempo.
Aku'stik (Ger.) Acoustics; akufstiseA,
Ago'gik (Ger.)Theory of the tempo acoustic.
rubato...Ago'gisch, relating to such de-
viations from the Al (It.) To the, up to the, at the, ia
teEB$o...Ag*fgi$cher
Accent* (RIEMANN), a etc.../// al (or alia) fine,
sign(A)over a the,
note indicating the slight pianissimo to the end
prolongation
of its value required, in certain
rhythms, Albertischer Bass (Ger.) Albert!
to mark the
culminating point of the bass* (See JBass.)
measure-motive.
Alcu'no (It.) Some, certain.
Agraffe'. Inthepfte,, a small metallic Alexandre
organ. See American o#*
support of the string, between bridge
and pin, serving to check vibration m
that part Al'iquot (Lat.) Forming an exact mea-
sure of something ; a- factor, or even
Agr&nens (Fr., pi.) Harpsichord- &\<xx...A'liquotflilgel (Ger.) A
graces.
grand piano, invented by Julius Bltith-
Acute ; also used ner of Leipzig, the tone of which is
Aigu, ai^uS (Fr.)
reinforced and enriched by an addition-
substantively, e. g* passer de Faigu au
grave.
al sympathetic string stretched over,
and tuned in the higher octave to, each
Air. (Gex.MebdiSt Wei'se, Sing'tveise ; unison. These added strings are not
Fr. air, mtfodie; It. atria?) I. A struck by the hammers, and are called
rhythmical melodious series of single A' liquotsaiten. ..A'liquottheorie, theory
tones in a metrical
(symmetrical) group- of overtones produced by the vibration
ing easily recognizable by the ear a of strings or of wind-instr.s.
; Such
tune or melody. 2. The highest overtones or harmonics are called A'li*
part
in a harmonized
composition. . . Nation- quottone.
al air, a melody become
thoroughly
All', al'la (It.) To the, at the, in the;
popular through long usage and pecu-
in the style of.
liar fitness,
recognized as a national
emblem, and performed at public festi-
Allabre've (Ger.) See A Ha breve, under
vals, etc. Breve. .Allabrefvetakt, alia breve tim.
.
Qui tol -
Us fee - ca - ta
ATpetthorn, Alpliorn (Ger.) The
alp-horn, an instr. made of strips or i.e., in notes :
ascending or descending as the voice term being reserved for the lower alto
was to rise or fall. Our present theo
voice). Ordinary compass from g to
retical division of the octave is firs
which, in voices of unusual
found fully developed in the works of range, may be extended
Praetorius (1619) ; side by side with down to d and up to
which the old method of writing music A
/*, or even higher. a. high head-
(A-G, a-g etc.) still occurred, until the voice in men (It afti natura'li) for-
various systems of tablature were given
merly cultivated for the performance
up (comp. Tablaturt). Letters are no of church-music (in England for secu-
longer used in practical mus. notation,
g, glees), but now
lar music as well, e.
except by Tonic Sol-fa, in which, how* generally superseded by the female alto
ever, they represent no fixed pitch, as or high tenor. 3. (Ger. Bra'tsche, Alf-
formerly, but are mere abbreviations oJ viok; Fr. alto> quinte^ basse de violon;
the movable solmisation-syllables. In
It. a?to> vio'ta.) The tenor violin, or
modern theory, letters are variously em- viola.
ployed (comp. Pitchy absolute).
Al'to,-a (It.) High...0/fo'w alia, an
Alt (Ger.)Alto (voice or part). ..In octave higher. ^Altavicfla^ tenor violin.
compound words, the alto instr. of any .Atto basfso, an obsolete variety of
.
velopment of Plain Chant. Nothing the first 2 short, the last long (^ ^ *^);
the reverse of the DactyL
positive is known
about these melodies
except that St. Ambrose introduced
the Anche (Fr.) Reed .A.
(of any instr.). .
the
antiphonal songs and hallelujahs -of libre, free reed.. ./<? d'atiche, Teed-
Eastern Church, and himself composed stop.
numerous hymns, (Comp* An'che (It.) Also, too, likewise ; even,
An'cia(It.) Reed.
Arabrosian hymn (kym'nus Amlrosia'-
;
nus). The "Tedeum laudamus,"oi Anco'ra (It.) Again,' also, yet, still,
even. . .Ancor* pifrmos'sQ, still faster.
which St. Ambrose is the reputed
'
Author.
*
AnMacht (Ger.) Devotion. .An'ddchtig, .
ous, loving.
A'morschall, A'morsklang (Ger.-) A
Andante (It., lit. ", going, moving.")
? French horn with valves, 'invented by
* A tempo-mark indicating, in modern
,
*
Kdlbe'l, of St. Petersburg (1760); its usage, a moderately slow mpvement,
,
..
tone was lacking in purity, and the Between Adagio and 'Allegrettp ; often
valve-mechanism did not quite do away mocljfied by qualifying words, as A.
v with
*l
maesto'sQ) A. sostenitfto, a stately and
stopping."
A metrical foot of tranquil movement; J. con. moty, A.
Am'pnibrach.
'
3 un poco a comparatively ani-
"
allegretto,
^); opp. to amphim'acer.
syllables if-' mated movement'; A. cantafMle, a
Also amphibrafckys.
smoothly flowing and mejodious move-
Am'phichord. See Lira barberina. ment etc. In earlier usage often em-
;
"
Amphim'acer. A metrical foot of 3 ployed in its more literal sense, as 'A.
*
syllables { >> ) opp, to am'phibracJi.
; allegro, "moving rapidly ;"" me*no
[Also atnphimacrus^\ andante ("less moving "), slower.
Ampho'ter (Ger.) Amphoteric said^of Andantemen^e
;
(It.) Flowingly, unin-
. eft series of tones "conmioa to two"
terruptedly.
registers of the same voice.
Andanti'no (It.) Dimin. of Andante;
Amplitude of vibration. ^Vibration. slower than andante, but; often
strictly,
Amts'pfeiffer (Ger.) See Stadtpfeifer. used in the reverse sense.
Amusement (Fr.) See Divertissement.
Anda're (It.) To move on A dirit'to,. . . .
lish usage, the term auftakt is often keyboard wind-instr. with, strings:, in-
met with. vented by J. J. Schnell, of Paris,- in'
1789, as an attempt to imitate the tone
-Analytical programs are an English of tie ^Eolian harp by means of small .
invention; analyses of the mus, form
;
bellows forcing a current of air against
of compositions on the concert-pro- the strings ; a pneumatic harpsichord.
gram, with quotations from the music,
f
The piano eolienne of Henri Here
ctate from 1845 (Ella, matinees of Mus.
(1851) was a similar instr. (Also
Union), The most ambitious attempts
'
rf
-Animfocorde.)
of &is kind are probably H, v. Wolzo-
Ane'sis (Gk,) The passage from a high
.geu^ "Filkrtr* (Guides) "through" tone to one lower in pitch; also, the tun-
Wagner's mus. dramas.
ing of strings to a lower pitch, Opp.
Aasetricalfootof ssylkbles, to eptfasis* [STALER AKD
BARRETT.]
ANFANG-ANTHEJVf.;
strike
An'gemessen (Ger.) Suitable, appro- up.. . -:,
priate.
Answer. (Lat. cp'mes; Gen Gefdhr'te,
Anglaise (Fr.) The English country- Anfwortj; i* rfyomk wtyiqve ; It.
dance (contredanse\ of lively character,
ripo'sta, comegUetfTe.\ -J-n- i' fugue,
sometimes in 2-4; at others in 3-4 or the taking-up of the subject, proposed
.time. It resembles the
5j-8 closely by the first part, by the second part, at
Ecossaise, and most probably took its a different- pitch.
'"
^
(See Antecedent^
origin from the older form of the
Antecedent. (Ger. Ftth'rer; Fr. \hlme;
French Rigaudon. [GROVE.] It. antecedence^ fropd*sth, gui'<?&$
Angoscjosamen'te / (It.}. Expressive of The theme or subject of a fugue t)ij
Angoscio'so j anguish, agony. .
canon, as proposed by the first .part.'r
Angst'lich (Ger.) Fearfully (It. timida- Also, any theme or motive-proposecl for
f
men te\ 'wrongly tramidamentfy imitation, or imitated later..
i. Spirit ;", con a., with Anthem. A pi'ece of sacred music usual-
spirit, animation. 2*
Soundpost. ly founded on biblical' words, with .or
Animan'do With growing anima- without instrumental accomp./and of
(It.)
.tion,; livelier.. .A nimato^ in an ani*
various forms, (i) : Anthems for double
choiry the, choirs frequently Answering
mated, spirited style. ,
enter later:
or harmonium ; hence Antiphonel-har-
gressed simultaneously,
Orgue-antiphonel^ etc.
(or theorbo) having 20 single strings, and part of the time-value of the latter,
invented in 1678 by Prompt of Paris. (a) The long appoggiatura t now obso-
often occurs in earlier music ; it
Apollo- Lyra. See Psalmmslodicon.
lete,
Appena'to
(Fr.),
signal to troops to fall in.
(It.) Distressed ; in a style
;
ES3
expressive of distress or suffering. performed :
written :
Aretin'ian syllables. (Ger. areti'nisch*
Sil'ben.) The syllables /, re, mi, fa,
sol^ la, first used as solmisation-sylla-
bles by Guido d'Arezzo.*
A'ria (It.; Ger. A'rie.) Primarily, an
air, or rhythmic melody. As a technical
term, an aria is an extended lyrical
vocal solo in various forms, with in-
strumental accompaniment. With the
To set tip and finish
Appresta're (It.) rise of homophonic music in the opera
aninstr. and oratorio, the aria developed, from
Appretie'ren (Ger.) Same as Affre- a mere plain-song melody with basso
siart^tAppretur*, the proper adjust- continue into the aria gran'de (the
t
Arpe'ger, to arpeggio.
Arpeggian'do (It.) Playing arpeggio,
in harp-style, or in broken chords; Stauffer, of Vienna.
from arpeggia're^ to play on the harp. .
Arpicofdo (It.) Harpsichord.
x
Arpeggia'to, (a) arpeggiated, arpeg-
Arpo xie (It.) An instr, played like the
gio'd ; (b) as a noun, same as Arpeggio.
harp, but having the strings adjusted
Arpeggiatu'ra (It.) A series of arpeg- horizontally instead of vertically; inv.
gios. by Barbieri of Palermo, towards the end
of the 1 8th century.
Arpeggio arpeg*gi Engl. pi,
(It., pi. t
Arranger (Fr.),
ing execu-
'
:
arrange. (See Arrangement)
tion:
Ar'sis (Gk.) Up-beat.
i. e. thearpeggio-note falls on the
first
tho* there are occasional exceptions Articola're (It.; Fr. articuler; Ger.
f
N.B. Pfte.-ar- 'artikulie ren^ To articulate, utter dis-
for soldiers to rally and fall in. Aufsatz (Ger.) Tube (of a reed-pipe in
Assez rather. the organ).
(Fr.) Enough ;
Assoln'to (It.) Absolute, positive \printo Aufschlag (Gen) Up-beat... Auf-
uom& assoluto* a male singer for lead- schlagende Zung'e^ beating reed.
ing roles. Aufschnitt (Gef.) Mouth (of an organ-
as-
As'sonance* (Ger. Assonant \ Fr. pipe).
sonance; It. assonan'za.) Agreement Aufstrich (Ger.) Up-bow.
or resemblance in sound. Auftakt (Ger.) Up-beat, anacrusis a ;
),
and ied by music and dances setting forth
the thread of the story. 3, compo- A
sition of a light character, but somewhat
Baguette (Fr.) Drumstick fiddlestick ;
in the madrigal style, frequently with, a
Baisser (Fr.) To lower (as a tone by a (7),
"fa la" burden which could "be both
See Bayadm.
Bajadere. sung and danced to these
" pieces,
c '
were ; ,
posed of ballads and folk-songs (e. g, Bandura.) Instr.s of the lute family,
Gay's "Beggar's Opera"). with a greater or smaller number of
Balla'ta (It.) A halkd. .A ballata, in steel or gut strings, and
. played with a
ballad-style.
plectrum ; like the Pandora, Pandura^
Bafleri'na (It) A female ballet-dancer, Pandwina, Mcfndora, Mandola, Man-
doer, Mandura, Mandilrchen^ all es-
Ballet. (Ger. */&'/ Fr. laUet; It. sentially identical with the Mandolin
BANDONION-BARRA.
"
calledby performers. [STAINER AND
Banlcelsanger (Ger. ; bench-singers," BARRETT.]
from their mounting on benches, the Bariteno're A low tenor voice, a
(It.)
better to gain a hearing.) Strolling
tenor-barytone (second tenor)
singers of a low class, who frequent
and other places of public resort,
.fairs
Ba'riton (Ger.), Bariton (Fr.), Ban7-
and recount, partly singing and' partly tono Barytone. [An attempt has
(It.)
been made to confine the spelling bari*
.speaking, romantic tales taken from
tone to instruments, and barytone
to the
.history or adventure, stirring events of
voice ; the idea is not yet generally
the day, etc., usually explanatory of a
accepted.]
picture which they display.
Bar. (Ger. Takfstrich; ?T.barrej It.
Baroc'co (It.; Gen baroctf; Fr.. baroque.)
f
li nea> baSra, sba^ra.) i. vertical A Eccentric, odd, strange, whimsical,
line dividing measures on the staff, and "the deep and high-
Barox'yton (Gk.,
indicating that the strong beat falls on toned. ") A brass wind-in,
the note immediately following. 2.
4
str. of broad scale, inv. j__
Hence, the popular name for 'measure". ia 1853 by Cerveny of gjgj
. . .Bar-line, a barbarism evoked
by the Kbniggratz; compass from
*
Bart
,
^
t^AT
The unwieldy length of the
parent-
I. Old term for the 'cello. 2. As a the bombardo, led in 1539 to the
instr.,
prefix to the names of other instr.s, idea of bending the tube back upon
same as Tenor. 3. A 4-foot flute- and from the faggot-like appear-
itself,
stop on the organ-pedal. ance of the new instr. its Italian name
Basset'to (It.) I. small bass viol A is derived. The tone is far softer and
with three strings (obs.) 2. When mellower than that of the bombardo,
the bass rests, the lowest harmonic and its expression is entirely under the
Tenor violin
part. 3. (rarely). 4. player's control.
An 8 or i6-foot reed-stop in the organ.
Bass'pommer (Ger.) See Bomhart.
Bass'flote (Ger. "bass flute.") See
Bass'posaune (Ger.) A bass trombone.
Fldtenbass.)
(See Trombone?)
Bass'geige (Ger.) Familiar term for the
Bass'schliissel (Ger.) Bass-clef.
'cello; gro'sseBassgeige, the double-bass.
Bass'stimme (Ger.) Bass voice,
Bass'horn (Ger.) See APPENDIX. Bass'tuba (Ger.) See Tuba.
Bass'klausel The cadence-like
(Ger.) Bass viol. See Viol
leading of the bass at a close, from "the deep-toned.")
Ba'thyphon (Gk.;
dominant to tonic. A wood-wind instr.inv. in 1829 by
Bass'lade (Ger.) See Windlade. Wieprecht (or Skorra?) of ., .. to
'
vision, a working-over.
*
notes : played :
instead of legato. 2.
Striking instead ,
written: ;
played :
sense of
" " tremulous effect, either vocal or instru-
down-beat ; see Rtfmo di
due battute\-^ In medieval counter- mental, given to a sustained tone for
:
point, the forbidden progression from the sake of expression. 2.
Specifically,
a tenth on the up-beat to an octave on the an effect obtained on the clavichord by
clown-beat, between 2 outer parts ; e. *e. holding down a key after striking it,
-
* i :- ,
and balancing the finger upon it in
such a way as to produce a prolonged,
tremulous tone. (On modern piano-
fortes having the Erard action, a stts-
tained tone can be produced in a some-
what similar manner.)
Bee (Fr., "beak.") A mouthpiece (of a
^>flageolet> clarinet).
BECARRE-BERGKREYEN.
Bcarre (Fr.) The natural (fl). Bell-harp. An old variety of harp with
an alarm-bell, a tocsin.
Btll open diapason. Same as Bell-dia-
Befil'zen (Ger.) To felt (put felt on pason.
pfte.-hammers) . .
.BefFzung, felting. Bellows. Balg; Fr. soufflet ; It.
(Ger.
Begei'sterung(Ger.) Enthusiasm, spirit. soffit? to?) The mechanical contrivance
Beglei'teii (Ger.) To accompany... for gathering and propelling the wind
Begldt'stimmen, Beglei'tung, accompa- supplying the pipes or reeds of the
niment accompanying parts subordi-
; organ, harmonium, concertina, bagpipe,
nate to a principal melody. and the like. See Organ.
Bei'sser (Ger.) A mordent. Bell-piano. See Glockenspiel (2).
Bi'fara (also biffara, bi'fra, ftffara, then mean the third and fourth parts,
An
organ-stop, the pipes of
pifjero)* respectively, of such a scene.
which are either double-mouthed or
Bis'chero Peg (tuning-peg) of a
paired ; the two' members of each pair (It.)
violin, lute, etc.
being tuned at slightly different pitches,
the interference of the sound-waves Biscn/ma (It.), Biscrome (Fr.) A
produces' a gentle tremolo. (Also Ce- i6th-note.
Itstina, Unda marls, etc.)
!
The interval of a
Bisdiapa'son. fif-
Bifari'a. Title of a Presto in 3-mea- teenth, or double-octave.
snre rhythm, in an Invention or Suite
Biso'gtui(It.) "Is necessary," "must";
ascribed to J. S. Bach. as si bisogna da capo al segno, must be
; " "
BSn ga(Lat.) The 2-necked cither. repeated from the beginning to the sign.
Bimolle (It.) Sameas&maft. Bisqua'drd* (It.) Same as Bequadro.
W'na. ,See Vina. Bissa'xe (It.), Bisser (Fr.) To encore.
" "
Bi'nary, Dual; two-part... Binary form, Bisscx (Lat., twice six ; Ger. Zwolf-
a form of movement founded on 2 prin- sathr.) A kind of guitaV having.- 12
cipaJ themes (comp. Sonata), or divided strings, of which .the 6 highest ones
JBto 2 distinct or contrasted sections.. could be stopped on a fretted finger-
.
) A
sixteenth-note.
Bind. i. Properly, a tie (a curved line Bit. A short additional piece of tube
connecting 2 notes of like. pitch, orM used to lengthen a crook in the cornet a
BIZZARRAMENTE BOMBARD.
pistons^ etc., for slightly modifying the mouth,'* the position necessary for the
pitch. production of beautiful tones.
Bizzarramen'te (It.) Bizarrely, whim- Bocchi'no (It) Mouthpiece of a wind*
sically, fantastically... Bizsarri'a, a instr.
freak, whim, fancy, extravagance... Bocedisa'tion. See Solmisation.
Bizzar'ro^-a^ bizarre, fantastic, etc.
Bock (Ger.; dsbpol'nischer Bock, Gross-
Blanche (Fr., "white".) A half-note. Bock.) The bagpipe.
Bla'ser (Ger., "blower.") A player on Bocks'triller (Ger., "goat's-trill"; Fr.
any wincUinstr. chevrotement ; It. tril'lo cafri'no.) A
Blas'instmment (or Bla'seimtrument) trill like a
goat's bleat ; the repeated
(Ger.) Wind-instrument. .Bla'sebalg, .
"interruption of one tone instead of the
bellows. alternation of two.
Blatt (Ger.) Reed a wind-instr.; also Bo'den (Ger.) Back (of violin,
(of etc.)
Rohr'blatt}.. .Dop'pelblatt, double reed. Body. i.
(Ger. Corpus, Schall'kasten;
Blech'instrument (Ger.) Brass instru- Fr. coffre, corps; It. cor*po.) The re-
ment, metal wind-instr. sonance-box of a stringed instr. 2.
" That part of a wind-instr. remaining
Blind (Ger.) Blind". .Blinde Pfeife,
.
'
B molle. See B. verti, open swell fermez ;
la botte, close
swell.
Boat-song, i. A song intentfed to be
Bole'ro (Span.) i. A Spanish national
sung in a boat, especially in time with
the oars. 2 A
vocal or instrumental dance in 3-4 time and* lively tempo (al*
soon, which is a bombard with the tub having stopped wooden pipes, some*
doubled upon and thusshortene
itself, times with metallic tops ; tone usually
"
by half. The bombardo'ne or contra hollow or fluty'," i. e. deficient in har-
bombard (Ger. Bass'bomkart) was th monics. The French also have open
deepest, followed by the bass bonibar bourdons of 8 and 4-foot pitch (bour-
(Bomhart), the tenor or basset-bombar dons de huit^ de quatre ouverts). 3,
(Bassettfbomharl), and the alto or bom In French usage, the lowest string of
bar'do piccolo. the 'cello and double-bass; also, a
Branle, Bransle (Fr.) A brangle or (or must) take breath at that place ;
brawl; an old French dance in 4-4 written variously (', *, i/, V, //).
time, in which several persons joined Breit (Ger.) Broad, stately, slow.
hands and took the lead in turn. Branle
(Gen; also Sack'geige, Spitz*-
was the generic name of all dances in Brett'geige
violgeige Stoctfgeige, Tafschengtige.) t
Bravour' (Ger.) See Bravura... Bra- ; also called alia cafpellaj opp. to
vour'arie, aria di bravura... Bravour*-
Tempo ordinario I.
st&ck) a vocal or instrumental piece of
a brilliant and florid character. Brev'is(Lat) A breve.
Bravoure (Fr.) See Bravura. Valse de Bridge. (Ger. Steg; Fr. chevalet; It.
. .
brio, or brio'so, with fire and vivacity, Buffet (Fr.) Organ-case, or case of any
a
partial organ. . .Buffet d'orgues, smafi
spiritedly.
Broken (as chords)... organ complete, its case and all within.
Brise>e (Fr.)
Cadence bris/e, a grace consisting of a Buf'fo,-a (It.) Comic, humorous ; hence
short trill beginning on the higher aux- Buffo, Bu/o-singer, the comic actor in*.
an opera ; a comic singer.. .Aria buffa,
iliary note
:
comic air or aria. . . Opera buffa, comic
opera.. .Buffone, comic opera-singer.
Buffone'scora (It.) Droll, ludicrous.. .
B rotnn'dum.
iiil Klappen; Fr. bugle a eMs) ; it has 6
keys and jfc ;
inv. by Halli-
See B. a compass
[ ^ . / E
day ^ n I ^ I 5-
passage written out by the composer Cal'ma (It) Calm, tranquillity... CW.
himself or some other musician. Such man''do , calm, growing quieter. . . Csl-
cadenzas are for the most part built up ma'to, calmed, tranquilized.
of themes or reminiscences from the
Calo're (It,) Warmth, passion ; con c.,
work to which they are appended, an<i
with warmth, etc. Caloro'so, warmly, . .
light.
Cambia're (It.) To alter, change...
Nota camlia'ta, changing-note.
Caden'za (It) A cadence. . .
C.fin'ta or amera (It.) Chamber, room. Mu'sica .
a deceptive cadence...
d'injran'no^ C.
die., chamber-music... Sonata di c^
fantu'ra, an ornamented cadence. chamber-sonata.. .Alia in the style of
c.,
Caesura. See Cesura* chamber-music.
Caisse (Fr.) A drum,.. flate, the Camminan'do "
(It.) Walking," mov-
shallower side-drum... Croulante,
ing, flowing. (See Andante.)
drum with wooden cylinder, that of the
Campa'na(It) A bell; in eccles. usage,
ordinary caisse being of copper.. . Grosse
c. t bass drum
a church-belL. Campanel'lo,-a, a small
.
(also Gros-tambour).
bell..
.Camfanelli'no^
a very small belL
Calamellus. See Calamus. . .
Campani'sta, a bell-ringer.
Calamus (Lat) A
reed-flute or reed- Campanefta (It.) See Glockenspiel.
pipe (chalumeau ; shawm). . C.pastoraf- .
Campanology. Theory of the con-
Ks, or tibia'Us, a very ancient wood- struction and use of bells.
wind instr., a reed with 3 or 4 finger- "
Canarder (Fr.) To produce a * l
couac
holes.
on the clarinet or oboe.
Calan'do (It.) Decreasing. An expres- , Canary /It Cana'rio).
sion-mark denoting a decrease in loud- A livelydance of French or English
ness, usually coupled with a slackening origin, the melody being in 6-8 or 4-4
of the tempo. time and having 2 phrases.
Caiandro'ne (It.) A small variety of Cancel. See Natural i.
chalumeau or clarinet, a favorite among Cancrizans '
imitation.
Cantato'rium (Lat.) A music-book,
book of song ; a service-book of the R.
Canonical hours. The canonical
7 C. Church containing the music of the
hours of the R. C.- Church are the
Antiphonary and Gradual.
established times for daily prayer;
Canterellan'do (It.) Singing softly;
"called matins (incl. nocturns and lauds) ,
minora are taken from various parts of the musical rendering of a liturgy, opp.
the Old Testament, to merely reading 1t...C. fgura'lis,
mensurable music. C. figura'tus, a . .
"a
1
Cfrac'tus, a broken melody; a term
Canttle'aa (It, little
song' ;
Ger.
applied to a tune which proceeded
Cantilene; Fr. cantilene.) I, In me-
either by perfect or imperfect conso-
dieval music, a solfeggio ; also, a can-
nances. When accomp. by a faux bour-
tus firmus as used in church-music,
don, it was
called Cantus corona' tus.
2. Formerly, the higher or solo part of
a madrigal a small cantata or [STAINER AND BARRETT.]... C. Grego-
; also,
ria'nuS) Gregorian chant. C. mensura- . .
short vocal solo. In modern usage,
bilis, see Notation, 3 . . . C. mol'lis, see
a ballad or light popular song ; also, in
Moll . . C. natura'lis, see Mutation. . .
instrumental music, a flowing melodious
C. pla'nus^
plain song.
phrase of a vocal character ; often used
to define a smooth and voice-like ren- Canun 7 ,
Canti'no Same as Chanterelle. liofni, etc. many such songs closely re-
;
(It.)
semble the. madrigal. The name was
Caa'tio (Lat) A song, an air.
sometimes applied - to instrumental
1
Capric'cio (It.) Title frequently given Ca'rynx (Gk.) An ancient Greek trumpet
to instrumental pieces of free, uncon- Cas'sa (It.) A bass drum, (Also cassa
ventional form, and distinguished by armonica^ body (of
gran'de.)...C. ,
'
Carmagnole (Fr.) A
dance and song
Catgut, Popular term forGutsfringsfa.v.)
in great vogue during the Reign of
Terror ; it dates from the taking (1792) Catlings. Lute-strings of the smallest size,
of Carmagnola, a town in Piedmont, Catti'vo (It, "bad.") Cattivo tempo,
the weak beat,
though the connection between the town "
-
and the air is not clearly established. Cau'da (Lat, tail.") The stem of a
Carol I. A circle-dance (obs.) 2. A note.
"
joyous song or ballad, particularly one Cavallet'to little horse.")
(It.,
1. A..
ing the fiat keys (rendering them darker Chevrotement (Fr.) See Boekstrilkr. . .
characteristic differences ;
menfte, clearly, limpidly, distinctly...
highly cultivated practical musicians
Chiaresfza, clearness, etc.
(not to speak of aesthetic enthusiasts of
all stripes) are equally positive that
Chia've (It.) I. A clef. 2.
Key of an
instr. 3. Tuning-key.
such differences exist.
Chiavet'te, or Chiavi trasporta'ti
Characteristic; piece. A character-
A
(It, "transposed clefs.") system of
piece one depicting a definite mood,
;
transposing clefs, freely used in the
scene, or event T Character-
'
.
impression, i6th century. As it was then a rule,
istic tone, (i) the leading-tone (2) that
;
but seldom infringed, that no vocal part
tone in any key which specially distin-
should overstep the limits of the 5-line
gu:shes it from nearly related keys, as
staff, and the modern system of chro-
y$ in the key of , distinguishing it matic transposition being undeveloped,
from C-major.
composers often employed, in the nota-
Characters* See Signs. tion of the various parts, clefs differing
Charak'terstinime (Ger,) Solo-stop (or- from those customarily used for the
<gan),. Characterstiick a characteristic >
several voices, these unusual clefs indi-
Chiffre (Fr.) A figure, as in thorough- a church ; hence, the part of the church
which they occupy. 2. A choral sod*
Chifonie (Fr.) Old name of 'the hurdy- t
y- 3- (In the Anglican Church.) A
body of whose function is the
officials
gurdy.
Chikar a. A Hindu violin having 4 or 5
sitting divided on the decani and can-
horsehair strings. toris sides of the chancel, 4, sub- A
Chime. I. A set of from 5 to 12 bells division of a chorus, e. g. the ist and
tuned to the tones of the scale, and em- 2nd^ choirs (coro primo e secondo} in 8-
the chimes by swing-
ployed in playing part music. 5. Same as Band$.
or clap-
ing either the bells themselves,
pers hung
within them. 2. set of A Choir-organ. (Se"e Organ.} . . . Choir-
of a *set of petenchor.
pfte. or organ, consisting
rings attached by springs to a cross-bar. Chora'gus, Chore'gus (Gk.) The lead-
Hand*leitir, i. e.
er or superintendent of the ancient
Chi'roplast. (Ger.
An inv,
dramatic chorus. Hence, in Oxford
.
hand-guide.) apparatus by
(England), the title of a functionary
Logier
about 1814, consisting of 2
smooth wooden rails attached in front
who has charge of the' mus. services in
church.
of and parallel with the pfte. -keyboard,
and a pair of open gloves, the whole Cho'ral (adj} Relating or pertaining to
a chorus or vocal concerted music.'..
serving to hold both hands in the proper
the Choral notes, see Note. .'.Chora I service
position for playing, by hindering
^
c: IT II?
f
III 7 IV 7 V7 VI 7 vii? simple triad ; 9, (? or a, according as
Chords of the Ninth the fifth or seventh is dropped), for the
:
*
chord of the ninth. 8 } J were for- V
merly used to show that the tenth and
octave, eleventh and ninth, etc. of the
bass note were to be taken instead of
the third and prime," fourth and second,
etc. Where there is a choice, the
etc.
simpler figuring is preferable, unless
some interval is chromatically altered.
When the root of a chord is the lowest A M* *
ft> b or bb ah** over a bass
,
tone, the chord is said to be in the note signifies that the third'in the 'chord
fundamentalposition; when some other is
correspondingly altered chromatic-
tone is the lowest, the chord A
Each triad has 2
inversions,
is inverted.
and each
ally. crossed figure (^ etc.) &#
indicates that. the interval is
chord of the 7th has sharped.
3. The inversions A dash (-) after a figure
prolongs the
are limited neither to the
given number tone into the next chord. The Roman
of tones, nor to
any particular order of ,
C:_:I IT 1 I I
minor third with an accent (III 7 the
;
matic alterations, and consequent in- Chords essentiofles, the key-note with
ability to cope with the exigencies
of free its third and fifth, the tonic triad.
tonality) is felt by all theorists; Ja- Chordaulo'dion, or Chordomelo'dion.
dassohn solves the problem empirically A kind of automatic barrel-organ hav-
his highly elas-
by stretching r-f J ing pipes and strings combined inv. ;
ma-
the soloists and orchestra. 3. refrain. A
maly.. .Augmented ch., having
4. A composition, or any part of one,
jor third and augm. fifth. .Broken ch., .
both 5th and 7th diminished. Domi- Chorus-master. The leading singer in
. .
,
"
tirval, an interval chromatically aug- Cico'gna (It., stork.") The mouth-
lit.
combined sign tftf (or Bb) signifies that Cheque (It.) A fifth part in concerted
.A cinque\
music. for or in 5 parts.
a note previously sharped (or flatted) is .
tura either above or below the melody- in vogue during the i6th and zyth cen*
"
note ; (es
,turies. Zither.)
Citole. A small dulcimer.
Civetteri'a (It.) Coquetry. . . Con c t
,
in
played: a coquettish, trifling style.
Clairon (Fr.) i. A
clarion (either the
^Also, a slide instr.or the organ-stop) . . Cl. chro- .
trabass, bass, barytone, tenor, alto, and holes, and a beating reed; its entire
soprano.) 2. Clarinetto register of the scale
clarinet. 3. Bugler (for infantry).
*
I
J J atafc
j *
Clang-color, Timbre,
Clang-tint.
i:
^ "5 7 8 9
44
tone-color ;" the quality of a tone, was composed of the prime tones pro-
dependent on the number and intensity duced by successively opening the
of its harmonics. holes. The modern clarinet differs
from the chalumeau chiefly in its abili-
Claquebois (Fr.) Xylophone. .
ty to reproduce the prime tones of its
Clarabella. An organ-stoj) having open scale (or rather their third partials) a
wooden pipes of 8-foot pitch and soft, twelfth higher; this result is due to the
mellow tone. addition of a small hole, covered by an
extra key, at the nodal point dividing
Claribel-flute. A 4-foot Clarabetta,
the air-column into 3 equal portions,
Clarichord. An instr. of the late middle an improvement attributed to Joh. Chr.
ages, apparently a variety of harp, Denner of Nuremberg about 1 700. The
though thought by some to have been higher scale or register thus obtained
identical with the clavichord. was termed, by reason of its bright and
Clarin See Clarion. piercing qualify, darinetto (whence the
(Fr.) name of the modern instr.); the origin-
.Clarinet', i. (Ger. Klarinette; Fr. al lower scale retained the name of the
clarinette; It. clarinet'to.) The parent old chalumeau. The soprano clarinet
instr. of the clarinet family was the in Cis the typical instr. of the family;
chalumeau, a primitive wind-instr. hav- compass 3 octaves and a sixth (with
ing a cylindrical tube with 9 finger- chromatic intermediate tones):
It has a cylindrical wooden tube pierced the soprano instr.s of the symphony-
by 1 8 holes, 13 of which are closed by orchestra). The cL is a transposing
keys, yielding a chromatic series of 19 instr., and its music is written in the C-
clef. The fingering is very complicated
prime tones \e to b^)\ it is composed
that style. In a broader sense, any of strings, which were pressed against
ompositioa may be termed, classic the revolving cylinder on touching the
which, in its kind, might be taken as a digitals, and thus made to sound com- ;
kind of harpsichord, but with the called the Aw-clef and Treble-dti re-
strings stretched in a vertical frame in- spectively, because they fix the position
stead of horizontally. of the bass and treble notes. The C-
clef is
variously called the Tenor-, Alto-,
Clavicor (Fr,) A kind of cor a pistons. and Soprano-dei) according as it is set
Ckvicylin'der(Ger.) A keyboard instr. on Lhe 4th, 3d, or 1st line of the staff ;
inv. by Chladni about 1800,
containing a wherever placed, it marks the
position
glass cylinder caused to revolve by a of Middle-C* A view of the
(Tenor-C)
treadle, and steel wands or bars instead clefs used at present is appended.
Bass-clefs. C-clefs. Treble-clef. Tenor-clef (recent).
sionally). The mfo: used in vocal Close harmony or position. See Har*
double 'G-clef : \} \j music as a ten- monytt Close play, a style of lute-
.
or-clef, signifying that the part lies an playing in which the fingers were Kept
octave lower than written, Our modern on the strings as much as
possible.
forms of the clefs are Co'da "
corruptions of (It., tall.") Specifically, a pas-
CCELESTINA-COMPLIN. 47
Coffre (Fr.) Case (of a pfte.) ; body (of quietly, leisurely.., Commode? to, rather
a violin). easy or leisurely.
Co'gli stromenti (It.) With the instru- Common chord. A major or minor
ments. Common hallelujah metre, or
triad...
Common long metre, a 6-line stanza
Coi, col, coll', colla, col'le, col'lo (It.)
formed of a common-metre stanza with
With the.
halfa long-metre stanza added ; thus,
Colascio'ne (It.) See Calascione. 868688... Common measure, see
Collet de violon (Fr.) Neck of a violin. time. . . Common metre, a form of iambic
Collinet (Fr.) A flageolet named after ;
stanza, of 4 lines containing alternately
a celebrated player. 8 and 6 syllables ; thus, 8686.. .Double
common metre, a stanza formed of 2
Corophony. Kolophon' ; Fr.
(Ger.
common-metre stanzas. . . Common par-
colophane ; eolofJnia; from Lat.
It.
ticular metre, a 6-line stanza, the 3rd
colopho'nium.) Resin or rosin.
and 6th lines having 6 syllables, and
Color, i. Timbre (tone-color). 2. The the others 8 each ; thus, 886866...
characteristic rhythms, harmonies, and
Common time, a measure containing 2
melodies of a composition. 3. (Lat.)
(or 4) half-notes or 4 quarter-notes,
See Notation, 3. with 2 or 4 beats respectively duple ;
Componi'sta Composer.
(It.)
out and on pushing in the bellows.
In the organ, Tenor, bass, and double-bass concertinas
Composition pedal. A
are also made. great variety of music
pedal which draws out or pushes i
can be played, and the literature is quite
several stops at once. (Comp. combina
tim pedal.) extensive; the instr. is, likewise capable
of great expression, and the tone is sus-
Composizio'ne (It.) Composition..
ceptible of considerable modification.
C di tavoli'no, table-music. A
Concertino (It.) i. small concert.
Compound interval. See Interval, .
2. Equiv. to concertan'te, i. e. lead-
Cl measure, rhythm, time^ see Time..
ing, principal ; as violino concertino,
stop, an organ-stop having more than here opp. to rifie'no.
principal violin ;
one rank of pipes,
Concerti'sta (It.) Concert-player, solo
Con (It.) With.
performer, virtuoso.
Concave pedals. See Radiating.
Concert-master. See Konzert'meister.
Concen'to Concord, harmony
(It.) i.
Komert ^) An ex- f
Concerto. (Ger.
2. The simultaneous sounding of a]
tended composition for a solo instr. ,
the tones of a chord ; opp. to arpeggio,
commonly with orchestral accomp., in
Concensus (Lat.) i. Concord, har sonata-form modified to suit the char- ,
mony, 2, Part-music. 3. See Ac acter of the solo instr. (e. g. the cadenza);
centus.
pfte. -concertos in which the pfte.-part
Con'cert. i, A set of instr.s of the same is comparatively inconspicuous are jocu-
"
family but different in size (see Chest larly called symphonies with pfte.-
Consort]. .2. concerto. A
3. (Ger. Kon accomp," The earlier concertos were
zerf; Fr. concert; It conce/to^ in concertante style, 2 or more instr.s or
public mus. performance... Dutch con voices bearing leading parts ; Viadana's
cert, the singing of an entire company concer'ti ecclesia'stici, or da chiefsa,
in which each person
sings whatever he were simply motets with organ-accomp:;
pleases ; or the persons present sing in Torelli was the first (1686) to write
alternation any verse that comes into concerti da ca'mera (for 2 violins and
their heads, the refrain by the whole double-bass).
company being a regular repetition of Concert-pitch, See Pitch.
some popular verse.. Concert sfirituel .
Concert/stiick (Ger.) A concert-piece ;
(Fr.), sacred concert.
a concerto.
Concertan'te (!t.) Concordant, har- Concitaxto
monious. Hence: r.
Moved, excited, agi-
A concert-piece.
(It.)
tated.
2. A
composition for two or more
solo voices or instr.s with
Concord, i.
Harmony; opp. to dis-
accpmp. by cord, 2. See Consonance.
organ or orchestra, in which each solo
part is in rum brought into prominence. Concordant, i. Consonant. -2, (Fr.)
3- A
composition for 2 or more
A barytone voice.
solo instr.s without orchestra.. . Cancer- Conductor. (Ger. Kapellmeister, Diri-
f
tante parts, parts for solo instr.s in
gent ; Fr, chef d'orchestrej It. capo
orchestral music... Cancertante
style , a
d1
'
factory opp. to dissonance. (Comp.
;
terpoint.
Acoustics, 3.). .
.Imperfect consonances,
the majorand minor thirds and sixths.
Contrapuntal. Pertaining to the art
..Perfect consonances, the octave, or practice of counterpoint.
fifth, and fourth.
Contrapuntist. One versed jn the
Consonant chord. One containing no practice and theory of counterpoint,
interval, a con-
1'
dissonant interval.. . C.
Contr'arto (It) "Against the bow,
sonance.
up-bow for down -bow, or nice versa.
Con'sort. I. See Chest (of viols). 2. Contrary motion. See Motion.. , .
s
"
names of instr.s, it signifies an octave Contre-(Fr.) Contra-, counter-?., '.Coo*
below ; e. g. contrabbas'so, a double- ire-bam, double-bass. . Contrfdqnse, j .
instr. in a family of instr.s. Contra- were but 2 dancers there are ilow 8','
. . ;
country-dance.
Contre-partie> a mus. part opp. to- ,p|
Contraffagot'to (It.) I. A double-bas- contrasted with another, as bags,.snd
spon. 2. A reed-stop in the organ soprano; said especially of .either. of
^ imitative of i. the parts in a duet.*
Contral'to (It) The .lowest female t$rpoint ;
.
CONVERSIQ-CORNO.
'
muffled kettledrums.
tom'pani coper's,, the bent cornet (cornetto cu/vo, com-
Co'pula {Lat.) I. (also Fr.) A coupler pass a a? ; and c. tor'to [or corno, cor
(organ). 2. A name for certain flue- non], compass dd*). The cornon
stops ; (a) the 8-foot open diapason ; (cornetto basso) was the prototype of the
(t) the 8-foot Hohfjiote or Kop'pel- Serpent* 2. A
reed-stop in the organ,
fiote. imitating the blaring tone of I (see 4),
wind-instr. of broad scale, inv. in 1844. counter, a second bass part, either
/ vocal or instrumental. . . Counter-exposi-
Corno pean. i. Cornet a pistons. 2.
a selected chorus, as opp. to the full sodes. . Counter -subject, a fugal theme
.
parallel or reverse progression, tenor or alto voice ; hence, the part sung
the other half sings.
by such a voice, or the
Corona (It.) A hold (O). singer. It is the highest
[
the dimin, 7th dimin. 7th and 5th, a machine with spiral turns of fine sil-
and also the dom- ver or copper wire, the process being
augm. 2nd and 4th "
inant 7th, are now allowed to enter termed string-spinning."
even in "strict" counterpoint; Crackle. In
freely lute-playing, to play the
and preparation is often effected by a chords brokenly (en batterie) instead of
tone in a different part and octave from
simultaneously,
the one in which the following disso-
Cracovienne (Fr.) Polish dance for A
nance enters.]. TripUc.,.counterpoint
.
scklag. .
Coup
. de ktngue, a thrust or
r. Crescendo-
stroke of the tongue, tonguing ; double Crescen'dozug (Ger.)
pedal. 2. A kind of organ-swell with
coup de langue, double-tonguing. a contrivance
shutters, inv. by Abbe
Couper le sujet (Fr,) To cut or cur- Vogler.
tail the subject
Crescent ;
also Chinese crescent, or
Coupler* (Ger. Kopptl; Fr. copula; It.
pavilion. (Ger. HaWmond; Fr.
unione.) See Organ.
chapeau chinois; It. cappel'lo 'chine*se.)
Couplet. I. Two successive lines form- An instr, of Turkish origin used in
ing a pair, generally rhymed. 2. In military music, consisting of several
triple times, 2 equal notes occupying crescent-shaped brass plates hung
the time of 3 such notes in the regular around a staff and surmounted by a cap
or pavilion; around the plates little
rhythm ;
Coc'rant
f time with the music.
[Koo'-]. (Fr. courantt; It.
Cre'ticus (Lat.) A metrical foot con-
ccrrttfte.) An
old French dance in
sisting of a short syllable between 2
v
taining the reed. 3. In the old harp- formed in single file; each dancer in
action, a crotchet engaging a string turn drops a cushion before one of the
and raising its pitch by a semitone. opposite sex, at a regularly recurring
strain of the music, whereupon the two
Croque-note (Fr.) A player of facile kneel and kiss each other, after which
execution, but little taste and judgment.
the dance proceeds as before.
Cross-relation. See False relation,
Cus'tos (Lat.) A direct
Cro'talum (Lat.) A kind of clapper
Cuvette (Fr.) Pedestal (of a harp).
used by the ancient Greeks to mark the
time of a dance. Cyclical forms. (Ger. cyclischt For-
men.} Forms of composition embrac-
Crotchet, i. A quarter-note ; cr. -rest,
ing a cycle or series of movements,
a quarter-rest, 2. See Crook 3. such as the old suite or partita, or the
Crowd sonata, symphony, and concerto.
;
also Croud, Crouth. (Welsh
crwth; Lat, chrofta.) An ancient Cylinder (Ger.) Valve (in horns, etc.;
bow-instr., apparently of Welsh or usually Veniil).
Irish origin, and regarded as the oldest
Cymbale (Fr.) i. Cymbal. 2. A steel
European instr. of the class ; still found
rod bent to a triangle, and bearing a
early in
the igth century among the number of rings, which are struck by
'
peasantry of Wales, Ireland and Brit- a steel wand, the cymbale itself being
Its body was square, and termin-
any. dangled on a cord.
ated, instead of by a neck, by 2 parallel
arms connected at the end by a cross- Cymbals, i. (Ger. BecKen; Fr. cyin-
bar, the centre of which supported the
hales ; It. piafti, dnel'li.) A
pair of
end of the narrow fingerboard ; it had concave plates of brass or bronze, varying
in sizefrom finger-cymbals something
originally 3, in modern times 6, strings,
over an inch in diameter to the large
4 lying over the unfretted fingerboard
and 2 beside it. The strings passed orchestral cymbals, which have broad,
over a bridge, whica rested on the flat rims, and holes toward the middle
guished by its passionate character am ply repeated over and over in the above
changing tempo. order, whatever may be the notes sung.
Deck'e (Ger.) Belly (of the violin, etc.) (metre) into a musical one a song is ;
zied passion.
De.cimole, Dezimole.)
Delivery, Style (method and manner of
Deduc'tio (Lat.) i. The ascending
singing); restrictedly, the enunciation
series of syllables or tones in the hexa- of a singer.
chords of Guido d'Arezzo. 2. Ace. to
later theoreticians, the resolution of a De'manche',
Demanchement (Fr.) "Off
the neck"; the thumb-positions in
dissonance to a consonance.
'cello-playing.. .D/manchcr, to quit the
Defective. Same as Diminished.
neck of the 'cello.
Defiden'do (It.) Dying away. Demande (Fr.) "Question," L e. the
De'gli Of the; than the.
(It.) subject of a fugue. (Usually sujet.)
Degree.f
(Ger. Stuffe, Ton'stufe; Fr. Demi (Fr., "half".) DemMton, 2-
degre ; It. gra'do.) i. One of the 8 measure rest... Demi-cadence, half-ca-
consecutive tones in a major or minor dence... Demi-croche, a i6th-note...
diatonic scale. Degrees are counted A demi-jeu (a direction found mostly in
from below upward, the key-note being
reed-organ or harmonium-music), with
the first degree. 2. A
line or space of half the power of the instr. mezzo
forte.
the staff. 3. A
step. (The prevailing .
.Demi-mesure, half-measure. .Demi-
,
, . Jfc/tf, devozio'nt).
Des(Ger,) Dfc
Dex'tra (Lat.) Right . . . Manus d. % right
Des'cant. See Discant.
hand. . .Manu d< t with the right hand.
Descend. To pass from
a higher to a
lower pitch. . .Descent, descending pro-
De'zem (Ger.) See Dedma.
De^ime (Ger,) The interval of a tenth.
gression.
Deside'rio (It.) Desire, longing. . .Con Di (It.) Of, from, to, etc.
</., in
a style expressive of longing >
Diagram'ma (Gk.) diagram, i. The A
yearning. Greek written scale of 15 notes, divided
See Disin- into the various tetrachords. In
De*sinvoltnre, avec (Fr.) 2.
De'sto(iy Sprightly.
con dia-
Met no fason diafentf, or diapason
De'stra (It)* Right... .destra,
an octave plus a fifth, a twelfth.
colla de- fente,
right hand (also
dtstra mano>
iDiap. diatessaron (diap.
con diates- .
whole (stroke of the) bow to each note. stops of the organ, the open diapason
and the stopped diapason, both com-
Detennina'to(It) Determined, resolute.
7
monly of 8-foot pitch; if there are 2 op.
Detonation (Ger.), D&onnation (Fr.) diap.s on a manual, one is sometimes of
False intonation, singing out of tune. . . 1 6' pitch pedal-diapasons are generally
;
Detonieren (dttonner), to sing false ; 1 6' stops. The open d. has metal pipes
lower the
especially, to flat (gradually open at the top, and usually of large
pitch) in a cappella, singing. scale, though the scale differs when 2
Dtet'to (It) Aforesaid the same. or more diapasons are on one manual ;
;
the tone is bright, full, and sonorous.
Detttsch (Ger.) German . . . Deu'tsche
..The stopped d. has wooden pipes of
Fl$te^ the orchestral flute. . .Deuftscher
large scale, closed at the top by wooden
Bass, an obsolete kind of double-bass, and yielding a powerful fluty,
plugs,
saving from 5 to 6 gut strings. .Deu- .
and somewhat hollow, tone. 3. Com-
tscke Tabulatur', see Tablaiure*.*
Deutsche Ttin'ze^ German dances, i. e. pass of a voice of instr. ; chiefly poetical.
the old-fashioned slow waltzes, Diapason (Fr.) 1. Compass of a voice
Deux Two... .4 deux mains, for
or .instr, 2. A rule or scale, ace. to
(Fr.)
which makers of various instr.s regu-
'2 1naabds.. jDeux*2uafre, 2-4 (see Me-
t
Diapen'te (Gk. and Lat.) The interval Diesa're (It.) To sharp... Die'sis, a
of a fifth. .D. cum
. ditono, a major 7th. sharp.
. .D. cum semiditono, minor 7th. ,D. Die*ser
(Fr.) To sharp. . . Diese, a sharp.
.
a 6th.
Dies ira (Lat. day of wrath ".) The ,
Diatonic instr., one yielding only the transition was to be effected. (Also
tones of that scale of which its funda- disiinctio^)
mental tone is the key-note. .Diatonic Diffi'cile
(It.), Difficile (Fr.) Difficult
.
Di^brach, Di'brachys.
consisting of 2 short syllables (^ ~) ; a Diligen'za (It) Diligence, care.
pyrrhic. Dilli'diura (Lat.) An interlude, espe-
Di'chord. I. An ancient species of cially that between the separate lines
of
harp or lute having 2 strings. 2. Any chorals.
instr. having 2 strings to each note, Diluen'do (It.) Decreasing in loudness,
Dicho'ree, Dichore'us. A double cho- dying away.
ree or trochee ; a metrical foot consist- Dim/eter. i.
Consisting of 2 measures ;
ing of 2 long and 2 short syllables in al- divisible into 2 feet. 2. A verse or
ternation ( ^ ~).
period consisting of two feet
Dicte"e musicale (Fr:, "musical dicta- Diminished.
(Ger. verkld'nert; Fr. di-
tion".) A
modern method of training f
It, diminu to.) Dim. inter-
minu/(e) ;
phrases which the pupils take down on chord, a chord, the highest and lowest
4
or imitated in diminution. .Dim. triad, . which parallel motion was the rule.
a root with minor third and dimin. fifth. 2. (Fr. dessus.) Treble or soprano
voice; the highest part in part-music.
Diminuendo (It) Diminishing in loud-
ness, . .Dim. pedal, see Pedal Discord, r. A dissonance. 2. Caco-
phony.
Diminner (Fr.) To diminish (in loud- Discrete
(It.) Discreet ;
ness}...^ diminuant beaucoup, ?=.&.- comparatively
subdued... Discrezio'ne, discretion; con
minuendo molto.
discrezione, with discretion or due re-
Diminution. (Ger. Verklei'nerung ; Fr. serve ; with judicious subordination to
diminution; It. diminuzio'ne.) I. The a leading part or parts.
repetition or imitation of a theme in Disdiapa'son (Gk., Lat.) In medieval
notes of smaller time-value (}, ^, or
music, the interval of a double octave.
% that of the original). 2. See Nota-
Dis'dis (Ger.) Dx (usually Disis).
tion, 2.
Disinvol'to Free, easy, graceful.
(It.)
Dioxia (Gk.) Less common term for . Con
.
disinvoUu'ra, with ease, grace ;
Dis'is (Ger.) x. D [flowingly!
Dip. The vertical fall of a digital or pedal
when depressed to the full extent
Disjunct'. (Fr. disjoint,-*^ See Motion,
: also
Tetrachord (disjoined).
key-fall
Diskant x i. Discant, treble.
Dipho'nium (Lat) A composition for
(Ger.)
Diplas'ic. Two-fold... A
foottx rhythm,
Dispera'to (It.) Desperate, hopeless. . .
Disperazio'ne, con, in a style expres-
that in which the thesis has twice the
sive of desperation or
length of the arsis, despair.
A Dispersed. See Harmony.
Dip'ody. group of 2 similar metrical r
feet, ^or
^
double foot, especially when DisponMee, Disponde us. A double
constituting a single measure. spondee; a compound metrical foot
Direct. I. (Ger. and Lat. Cus'tos ;
containing 2 spondees.
7
Fr. guidon ; It. gui'da,
mo'stra) The Disposition (Ger.) The D. of an organ
sign /w or </ set at the end of a staff to is
properly the preliminary estimate of
show the position of the first note on itscost, fixing the varieties of
stops,
the text (N. B. The Germans number of manuals, etc.; but also
^staff.
often use it as a mere mark of continu- signifies a concise description of the
ation equivalent to
"etc.", without working parts of a finished organ,
reference to the pitch of
any note.) 2 especially an enumeration of the stops,
See Motion and Turn. couplers, combination-stops, etc.
Directeur (Fr.) Conductor, director Disposition (Fr,) Gift, talent, genius.
Dirge. A funeral hymn, or similar
music.
Dissonance. (Ger.
Dissonant*; Fr.
dissonance; It. dissonan'za.) i. In
Diriment' (Ger.) Conductor, director. the
theory, simultaneous sounding of
Dinger (Fr.), Dirigie'ren (Ger.) .To tones so Temotely related that their
direct, conduct. combination produces beats. 2. In
Dirit'to ra (It.) .Alia a combination of 2 or more
practice,
Direct, straight, ,
the dominant triad ; (b) the dom. chord often set in the next
measure, quite
of the 7th. ,>. section^ of a movement,
. away from the note ; e. g.
a section written in the key of the domi- -
x X
nant, lying between and contrasting
with two others in the key of the tonic. |S
..D. triad) that having the dominant as which we now write :
root. 2. The
reciting-tone in the Gre-
gorian modes.
Dona nobis pacem. See Mass.
Doodlesack. See Ger. Dudelsack. 2. A dot set over or under a note in-
dicates that it is to be executed staccato:
Do'po(It.) After.
a slur
Dop'pel- (Ger.) Double,.. Dop'pd-B, (J p ;
connecting several such
the double-flat. dots calls for the mezzo-staccato.
Dop'ptlbe, ..Dop'pel- (Some-
blatt, double reed. . -Dop'pelchor, double times, especially in earlier authors, the
chorus staccato-dot calls rather for a
Dop'pelfagott, double-bassoon.
. . .
. sforzando
' than a stacfato ) 3. In old musio, sev-
(Dmfidte
(Dmfidte\ (It.fla'uto eral dots set above a note indicate that
doppia\ an organ-register of 8- foot
it is to be subdivided into so
stopped pipes, each pipe having 2
= many short
mouths, 2 windways, etc, one on either
side (behind and
,
). 4. Two
or four dots (the German tuning).
set in the spaces of the staff, before or
after a double-bar, form a Repeat. Double-stop. Dop'pelgriff; Fr.
(Ger.
double-corde; It. dop'pia ferma'ta.) In
Double, i. A variation. 2. A repetition
violin-playing, to stop 2 strings to-
of words in a song. 3. In organ-play-
gether, thus obtaining 2-part harmony.
ing, a 1 6-foot stop (as accompanying or
Double-tongue. (Ger. Dop'pekunge;
doubling the 8-foot stops in the lower Fr. double coup de langue.) In play-
octave). 4. a sub-
In the opera, etc.,
ing the flute, and certain brass instr.s,
stitute singer. 5. (Also Grandsire) In
applying the tongue in rapid alterna-
change-ringing, changes on 5 bells. 6. tion to the upper front teeth and the
As an adjective with names of mus.
hard palate, to obtain a clear-cut and
instr.s, double signifies "producing a
" brilliant staccato. (Also
tone an octave lower ; e. g. doitbk- '
the principal thems and retaining the mon mouthpiece a valve operated by
;
harmonic basis of the latter. 3. As an the left thumb throws the current of
double ; as double-ban*<?, air from the mouthpiece into the tube
adjective,
of either instr. at will. Inv. by Fon-
double-bar ; coup de langue, double-
d.
taine Besson of Paris in 1891.
tonguing ; double-croche^ a l6th-note ;
etc ... Double - corde^ double-stop Doublure (Fr.) See Double 4 (Engl.)
. . .
..Double-octave, double octave.. Don- Deux, douce soft, gentle, sweet. >
progression as d. rec'tu$
three-r>art, in 3 parts, stepwise ; l
for 3 voices.
ascending d. rever'tens^ descending ;
;
fipe, same
as Drone. on a separate
parts, each to be played
Drfick'balg (Ger.) Concussion-bellows. manual.
Druck'er (Ger.) A specially brilliant Duettftio (It., dimiri. of duetto.) A
(sometimes a forced) effect; einen short and simple duet.
Drucker aufsetsen^ to bring out such Dulcian' (Ger,) See Dolcum.
an effect.
Dulcian^a. I. An organ-stop having
Drfi'cker (Ger.) See Steelier. metal pipes of narrow scale and yield-
Druck'werk (Ger.) An organ-action ing a somewhat sharp, thin tone. 2. A
operating by the pressure of stickers on reed-stop of delicate tone. 3. small A
the remoter parts of the mechanism, bassoon.
(See Zugwerk.) Dulcimer. (Ger. ffatWrett; Fr. (rw-
Drum. An of percussion, consist-
instr.
paiwn ; It. cem'balo.) A very ancient
ing of a hollow body of wood or metal, stringed instr., greatly varying in con-
over one or both ends of which a mem- struction and form ; typical character-
brane (the head) is stretched tightly by the wire strings stretched over a
istic,
means of a kwp< to which is attached an soundboard or resonance-box and struck
DUMB PIANO-DURUS. 63
or free
chord* though properly an anticipation
Dummy pipes. Pipes which do not suspension.
in the front of an i. Passing, as
speak, displayed Durch'gehend (Ger.)
Durch'gehender Akkerd', passing-
organ.
chord. 2. Transitional, as durchge-
Dump. An obsolete dance in slow tempo
hende Au/weichungen, the transitional
and common time.
or continuous modulations necessary in
Du'o (It.
and Fr.) A duet. (In English
passing to a key harmonically
remote.
usage, duo is sometimes distinguished 3. Complete; as durch'gehettfe
from duet by applying the former term Stim'men, complete (organ-) stops.
to a 2-part composition for 2 voices or
Durable omponieren (Ger.} In song-
instr.s of different kinds, and the latter to differ-
writing, to set each strophe
to such a composition for 2 voices or
ent music, thus following the changing'
instr.s of the same kind.)
mood more than in the ballad or
closely
The interval of a
Duode'cima (It.) i.
folk-song, where melody and harmony
'twelfth. 2. A Twelfth (organ-stop). are generally the same for each verse.
"
Duodecimo'le (Ger.) Dodecuplet, .Durchkompoftitrt, through-corn-
.
valent to major in the phrases cantus Eclisses (Fr,) Ribs (of a violin)..
a Contre-tclisscs, linings.
{turns, hexachor'dttiti durum; i.e.^
chant (vocal music) and hexachord with Eclogue. See glogue.
major third ; opp. to Mottis.B durum, Ec'lysis (Gk.) The flatting or depression
B natural, of a tone ; opp. to EC' bolt.
Gloomy, mournful.
Dii'ster (Ger.) E'co (It.) Echo.
Dutch concert. See Concert. Ecossaise (Fr.) Originally, a Scotch
*'
Dux (Lat., leader, guide".) Subject round dance in 3-2 or 3-4 time now, a ;
in a box within the organ, or placed at a having one string to each note ; for
(^)
distance from the latter, to
produce the single (or undivided) chorus (choir) , . .
or fall
in; Hornist', a Elegan'te (It.)
eiri'setzender Elegant, graceful...
horn-player
who sets the mouthpiece Elega.ntemen'te) elegantly, etc.
rather within than against his lips ; a
(Ger.) See Zither.
lipping sometimes necessitated thick Elegie'zither by
El'egy. (Fr. Mgie; It. ekgi'a.)
A
lips. .Ein'ringen, (a) to sing to sleep
.
;
Ein'spielen, (a)
. . .
play
a new instr. till it works smoothly ; (t>) to giac, a pentameter, i.e.
a verse com-
or
practise a part or piece until confidence posed of 2 dactylic penthemims
is attained Ein stimmen, to tune (in
. . .
written in elegiac metre. .Elegiac verse, .
concert with other instr.s). .Ein'stim- that in which elegiac poems or verses
'.
written :
&
played :
Iil6vation (Fr.) I.
Up-beat or weak Embouchure (Fr.) i. The mouthpiece
beat (also lev/) ; opp. to Frappe*. 2. of a wind-instr., or the oval orifice of
Same as Ehvatio 2 and 3. a flute. 2. See Lip.
Eleva'to Elevated, lofty, sublime.
(It.)
Empater les sons (Fr.) To produce a
.
.Elevazio'ne^ see Elevation, -
very smooth and suave legato. . .Ex/-
Embellir (Fr.) To embellish, orna- cution (yoix) empdtfe, an instrumental
ment.
(vocal) style lacking in neatness and
Embellishment. See Grace. j distinctness.
66 EMPFINDUNG ENTREE.
a man who sits at the end of the semi- see Diesis .Enharm.
di'esis, .
interval,
circle formed by the
company on com- one derived from an enharm. change. . .
Enharmonic,
trance (of a part or
actor). 3. division A
(Ger. enkarmo'nisch; of a ballet '* "
'
corresponding to a stene
Fr. enharmoniqut ; It.
tnarmo'nico.) in a dramatic
In Greek music, the tnh. performance ; also, the
genus was dance-music
accompanying it. 4. An
distinguished by a tetrachord, the first old dance
2 steps in which were resembling the Polonaise in
(approximately) character, usually in 4*4 time; often
ENTRY ESPRESS10NE.
occurs as first movement in the Sere- (or boys') voices (contralto and soprano),
or men's voices (tenor, bass) ;
nata. opp. to
-
"
Entry. Anact of an opera, burletta, etc. unequal voices," a term equivalent to
mixed chorus.
(Obsolete.)
Entschlos'sen E'quisonance. In medieval music, the
(Ger.) Resolute(ly), de-
unison (of primes or octaves).
termined, in a determined manner. ^
Entwurf (Ger.) Sketch, plan t design. Equisonnance (Fr.) The unison (of
octaves, double octaves, etc.)
Eo'lian. See Molian.
Equi'sono (It.) In unison or octaves.
Ep-icede. (Lat. epicJdium; Fr. epi-
It. A funeral song, Equivocal or doubtful chord. See
cede; epice'dio.)
Chord.
dirge.
Epigo'nion (Gk.) The ancient Greek Ergrif'fen (Ger.) Affected, stirred, mov-
lyre with 40 strings, named after its re- e&...Ergrif'fenheit, emotion, agita-
tion.
puted inventor Epigonos.
Erha'ben (Ger.) Lofty, exalted, sub-
lipinette (Fr.) Spinet.
lime. .
.Erhafbenheit^ sublimity, etc.
Epini'cion (Gk.) i.
triumphal songA
in celebration of a victory. 2. In the Erhoh'ung (Ger.) Raising (the pitch of);
Greek Church, the triumphal hymn, the sharping. , .Erhdk'ungszeichen, sign of
Sanctus. raising, as the J, or a |J after a [7.
tersubject.
An amatory poem, a love-song.
That on the
Epistle side (of the altar).
f
priest's left, when he is facing the con- Er'st err e,-es (Ger.) First ...Et ste
gregation ; the south side ; opp, to the Stim'me^ the highest part or voice.
gospel or north side. Erwertern (Ger.) To extend, expand.
Epis'trophe (Gk.) In a cyclic composi- Erwei'terte Harmonie', see Lags, write*
tion, a refrain. ..Erwei'terter Satz a movement in y
Epit'asis (Gk.) The raising of the voice, which there is a full exposition of the
or the strings of an instr., from a lower subject by development, repetition, etc.
to a higher pitch. (See Anesis.) .
.Erwei'terung (of a fugal theme), the
Epithala'mium (Lat.), Epithala'mion widening of any of its intervals,
A nuptial song or poem.
(Gk.) ErzaMer (Ger.) The Evangelist or
Epito'nion (Gk.) A tuning-wrench ;
a Narrator in a Ptoion-play.
pitch-pipe. Erz'laute (Ger.) Archlute.
'
the moistened
fingers, and connected stop, in the harmonium, a stop which
with steel rods.
(Also Euphon.)z. closes the
escape-valve of the bellows,
The bass Saxhorn, so that the
wind-pressure, and conse-
Euter'pe. One of the nine Muses, the quently the intensity of the tone, is
inventress of the double flute, and
pa- partly under the control of the pedals.
troness of
flute-players and of primitive Expressive organ.
and simple melody. (Ger. Expressii/-
orgel; Fr. orgue exprcssif.) The har-
Evacua'tio (Lat.) In mensurable nota- monium.
tion, writing only the outlines of solid
xtem'pore. Without previous prepar-
notes, thus reducing their value one- ation ; on the
by spur of the moment off- ;
half.
hand.
Evakuant' (Ger.) The exhaust-valve
1
i TBjg
A A ~
or with progression to major (-fib). improvised. 3. A
drone-bass, a bur*
The first form is called the Italian den. 4. The intonation of the Psalms,
sixth; the second, the French^ sixth; Face (Fr.) The position of a chord, either
and the third, the German sixth. 2 as a fundamental chord or inversion ;
In part-music, the outer parts.
(pi.) e. g. a triad has 3 faces.
3. Extreme kty, a" remote key. u
-fach (Ger., -fold ".) When compounded
with a numeral, equivalent to ranks, i.e.
F. in a mixture-stop zwei'fack=wth 2
;
ly during the 1 2th and I3th centuries. military band, and in minuet-form.
..Fablier (Provenjal), a Trouvere.
Facture (Fr.; Gtx.Faktur'; It/atiS-i
Fa'burden. (Fr. faux bourdon; It. ra.) I. The plan, build, structure,
f
In medieval music, construction of a composition. 2.
fal so lordo'ne^) I. (Fr.
the primitive harmonization of a <:./. and It.) Scale (of organ-pipes),
by adding the third and the sixth above, -fa/dig (Ger.) Equivalent to threads (of
and progressing in parallel motion violin-strings), as ^fadig, having 4
throughout, only the first and last threads.
chords having key-note, fifth, and oc-
tave. 2. Later, the setting of a simple
Fading. An Irish dance; also, the
burden of a song.
(note against note) counterpoint to the
Fagott' (Ger.) Bassoon... Fagotfzug
c. /., strict parallel motion being given
Fal'sa (Lat. and It; Gtt.falscL) False, and 1 8th centuries, an instrumental
wrong. .Mufsica, falsa, see Pitta. .
. . composition in free imitation, as con-
trasting with one in strict imitation.
Quiiftd falsa (Ger. faFschc Quin'te),
diminished fifth. 3. Later, a composition free 'in form
and more or less fantastic in character.
False. (Ger. falsch ; Fr, faux, fausse;
4. Aterm loosely applied to pot-
It. falso,-a.) Wrong; not true to
out of tune. ..False cadence\ pourris and paraphrases. ..Free fa n-
pitch,
tasia, that part of the first movement of
chord, fifth, harmony> see the nouns.. .
a symphony or sonata which follows the
False relation, also inharmonic rel.,
an double-bar (repeat of first part) and
cross-rel., harmonic discrepancy
precedes the reintroduction of the prin-
arising from the chromatic contradiction
of a tone in one part by another part. cipal theme ; it consists chiefly of a free
In equal counterpoint it is apt to occur development of motives taken from the
first
at a modulation, and consists in sound- part,
either simultaneously or success- Fantasie'rea (Ger.) StePhantasieren.
' ing,
a tone and its
. .Fantasie'stuck, see Phantasiestuck.
ively, chromatically al-
tered octave. The former .case is Fanta'stico (It), Fantastique (Fr.),
generally confined to passing-notes in Fantas^isch (Ger.) Fantastic, giving
figuration, and then has no ill effect ;
free rein to the
fancy.
the latter case- occurs ? an'tasy. when a chromatic-
See Fantasia.
ally changed tone, which might have A circle,
Farando'la, Farando'le.
been reached in one part by the step of
dance of southern France and the ad-
a chromatic semitone, enters in another
joining Italian provinces, in 6-8 time
octave in another part ; the effect is
and very rapid tempo.
harshest in passing from a major chord 7 arce.
toaparal- J
i. (It
far'sa.) one-act opera A
1*1 J
& /)
-tf
i ,
J \
or operetta of ultra-comical or
burlesque
lei
,
mmor|^zrz,,'>s | J_Jg_j A
chord, or 1(0) L >' I
M**==\
character. 2.
in the vernacular
(Itfarsia.) canticle
vice versa: v 1
'
|
P intermingled witli
Latin, formerly sung at the principal
Falsetto (It ; Ger. Fahttt; Fr. mix festivals of rteR. C. Church, and later
'
Ferraa'ta Ferma'te
i. A Fier, Fiere (Fr.) Proud, haughty.
(It.), (Ger.)
Wild, fierce
pause, stop, or interruption, as that be- Fie'ro,-a (It.) ; bold, vig-
fore the cadenza of a concerto. 2. A orous. <, Fieramen'te, wildly, boldly. . .
hold (>r\). 3. A stop (on the violin). Fieretfza, fierceness, boldness, vigor.
Ferraez'za, con (It.) In a firm, de- Fife. (Ger. Quer'ffeife; Fr. Jtfrtj It.
cided, energetic style (deciso). tiffi") I- An octave 8w
cross-flute with 6 holes anq JL
Fer'mo (It.) Firm, decided ; fixed, un-
without keys (thus differ- i
foot pitch.
ferocita^ wildly, vehemently.
Fifth. (Ger. Quin'tt;"$r. qwnte;\\..
Fer'tig (Ger.) Ready; done, finished ;
mus. festival* 2. Firm, steady. (Also (^), the vibrational ratio being :
. .IHminisked (imperfect, defective >
FIFTHY FINGER-CYMBALS.
minor, or false) fifth, an interval nar- Filar' il tuo'ao, la voce (It.) In the
rower by a semitone than a perfect fifth. Italian method of singing, to produce
..Augmented (pluperfect, superfluous, an even, sustained tone, without cre-
or extreme) fifth, one wider by a chro- scendo or diminuendo. (Also aj/fHar*
matic semitone than a perfect. fifth. . . iltuono; Fr. filer un son, la voix.)
Cometutive(vt parallel) fifths, see Con- See Fistulieren.
secutive. . Covered (concealed or hidden)
.
Fil'pen (Ger,)
fifths,
see 0rto<r. . . Circle of fifths, Fi'lum (Lat.) Stem (of a note).
see Temperament.
Fin (Fr.) End, close.
Fifthy. Having the second harmonic
(fifth above the octave
of the generator) Final. In Gregorian music, that tone
(in any mode) on .which the melody
specially prominent.
/ must end (equiv. to key-note or tonic);
Figur (Gen) See Figure 2.
in the authentic modes it was the low-
Figu'ra mu'ta (Lat. and It.) A rest. est tone in the modes, the ; plagal 4th
Figu'ra obli'qua (Lat.) The "oblique tone from below. Irregular final tones
figure" of Plain chant and mensurable were called confinals. . .Final close,
music wlis a simple ligature formed by closing cadence.
uniting 2 notes ; (a) in Plain chant, it A final
was written in 2
Fina'le (It.) i. 2. The con-
ways :
movement of a
I. 2. cluding sym- sonata,
or the closing number of
phony^ etc.,
sung ; an act in an opera. An operatic finale
is generally an ensemble for soloists
(b) in mensurable notation thus :
same class, the highest; e. g. first so* of a note before which it is set by a semi-
prano, first violin,-2. In the staff, the tone, and, when set in the signature,
lowest ; as first line, first space. 3, has a like effect on notes occurring on
The first string of an instr. is the high- -its line or space (and every octave of
est. 4. As the name of an interval, such line or space) unless cancelled.
the prime or unison. Some earlier composers used the [7 in-
Fis(Ger,) Eft... #'/*>, Fx. stead of a R whenever a note was to be
Fis'telstimme Falsetto.
lowered by ,a semitone. The double
(Ger.) (Also
FisteL) fiat fy lowers a note by 2 chromatic
Fis'tula (Lat.) Pipe. semitones ; for it the great flat 7 was
duce a somewhat flute-like tone. . . Also wind-pressure, the second an3 third by
occasional lot flageolet. augmenting and forcing it, thus causing
1
the tone to change (by to
Fla'uto (It.) Flute.../ /, a becco, fluti overblowing)
1
the higher octave. It is anon-trans-
a bee.../ /, pic? cob, see Piccolo... Fl
trover*so, cross or transverse flute. . . posing instr., and its musiq is therefore
? a name
also frequently occurs as
written at the pitch at which it is to be
for organ-stops, e. g. flauto ama'bik played. Together with the octave-flute
a smal or piccolo it forms an incomplete family,
flauto dol'ce, ete...Flauti'no,
flute.. .Flauti'sta, a flute-player, flutist
made in 6 sizes :
ful.
the typical member of which is -the C-
Flessi'bile (It) Flexible. fiute. Its powerful and mellow tone
Flick/oper (Ger.) See Pasticcio. (more reedy than that of the old flute) v
A spirited Scotch and extraordinary and agility, flexibility
Fling, dance, resem-
render it the leader of the wood-wind.
bling the Reel, and in quadruple time.
The piccolos in D\) and Jfy are chiefly
FMocher (Ger.) /-holes. used in military music. In the I5th and
Florid. Embellished with figures, runs, 1 6th centuries complete families of flutes
flute. * * Flo tenstimme, a fltite-stop (or- the flageolet and^& & bee, having a
gan).. .Flo'tenwerki a small organ hav- mouthpiece at the end*
ing only flue-pipes (opp. to Schnarr- Flute (Fr.) Flute.../ /, h lee, a direct
1
way
'that within a *oIi'a{Span.; It.folli'a; usually in the
Sva "
ein theor- plural, as Fr. folks d'spagne'\} A
rom
from Spanish dance for one person, in slow
(rare __
Si=
ex-ESE tempo and 3-4 time.
- >-,
ftVftT
trames^and^)':
the first octave
Folk-song. (Ger. Volktfacl) A song
is obtained by moderate of the
people, tinged by the musical
FONDAMENTAL-FORM. 75
of other instr. s, and of the several oc- forms depend, fa varying degree, for
taves of the musical scale f
thus an 8-
\
on rhyth-
their 'distinctive features, (i)
foot is one whose longest mical and metrical grouping ; (2) on the-
(8') stop
and is about 8 feet matic construction (3) on melodic and
pipe pro- p^ :
:
;
upwards (comp. Pitch, i); 'the flute ordinary dance-airs and simple songs ;
is an 8-foot instr. (because the pitch the following example exhibits its sim-
of its tones is the -same as that indi- plest form ;
Period.
I
Phrase /.J |
Pbrase
|
section
Period.
musical sentence presents a striking hibits the peculiar feature of the song
analogy to that of the grammatical with refrain j once repeated, after any
sentence from which its terminology is in digression (interlude, or second theme),
part borrowed Phrase I
:
subject and it
produces the "so-called Song-form
predicate [commaV^ Phrase 2 limiting = (Liedform, A+B+A), or that of the
clause \semuolon\ Phrase 3, further
y
Minuet with Alternativo. With 2 dis-
modification \CQmmd\, Phrase 4, second tinct themes alternating as follows:
limiting clause and conclusion of sen- (|:
A+B [A]
:| + B B [i n +A+
tence [ptriod~\ The exact symmetrical the key of A]), it has the
original
balance here observable, of 2+2, 4+4, Sonata-form, or First-movement Form;
and 8 + 8, though of very common oc- while the Rondo-form has the following
currence, is not the general rule, and alternations :
( A+B+B
[A] A B + +
would engender wearisome monotony [62 in same key as A
development- ;
(inverted) th (inverted)
u " 7
. .
III. Second
:ond Development " "
Development:: ist
sth
Scretco
Stretto;; Theme brought out on the 4th
"
(with modulation to the subdominant)
-Coda.
II, (i.) The element of harmonic con- + S + F) or, in 5 movements, (F -f S
;
trast is derived in from part
contrasting '+ F + S + F) etc. a slow closing
; ;
movement, either slow or fast, was in- on and fugue) gradually near
perfection,
serted after (seldom
before) the 2nd slow finally attained by J. S. Bach
one. The Sonata and through ;
are
Symphony the adoption
by artists of the rhythmic
essentially alike in plan ; either +
(F melody and monodic style of the hitherto
S+ F), or more commonly (F + S +F despised natural music (folk-music),
), or (S + F + S + F) or (F +F and the recognition of its harmonic
FORMARE IL TUONO-FREE CHANT. 77
combination produces the Sonata and Four-part. (Ger. vier 'stimmig ; Fr. a
quatre wix ; It. a quat'tro vo'd.) Set
Symphony; which latter, discarding the
for, or performed by, 4 parts in har-
scheme of 4 formal movements, and
flow and mony.
aspiring to the uninterrupted
Fourth. (Ger. Quar'te; Hr.quarte; It.
sweep of an epico-lyrical drama without
words, becomes the Symphonic Poem. quanta) i The fourth degree in the dia- .
at the unison.../
impro'pria (Lat.),
reed, see Reed., .Free style (of compo-
,
gerboard of the mandolin, guitar, zither, parts may appear in contrary motion.
etc.,' against which the strings are
. ./.
irregula'ris (Lat,), a fugue irregu-
lar in form. .F. li'bera (Lat and It),
pressed by the fingers to shorten their
.
the Pan's-pipe with 7 reeds. Some- episodes, strictly developed from its
Fricassee (Fr.) i. A
sort of popular Hgata...F. partia'lis (Lat), a fugue
dance interspersed with pantomime, in proper, in contradistinction to a canon,
f
vogue in the i8th century in the tkM- .
.F.per augmentatio'nem \diminutio -
tres des boulevards at Paris. 2. A kind nem\ (Lat.), a fugue in which the answer
of part-song of the i6th century, each is in augmentation
[diminution] either
part having different words. throughout, or as a rule. . F. per the'sin, .
the vUlanella and the madrigal; in (Lat.), a fugue with subject descending
below the key-note.. .F.pro'pria (Lat.),
great vogue during the i6th century.
see F. regularis. ../. rea'le (It.), a real
F'-Schlussel (Ger.) F-clef.
fugue. .!/. re<fta (Lat), see F. csquafis
Fu'ga and It)
(Lat. A fugue.. ./". ad motu$..,F. redi'ta or redditaQt.), a
eetafvam [guin^am] fugue at the middle or end of which
(Lat.), fugue at
the octave [fifth].. ./. aqua'lis mo'tiis
allor some of the parts progress in .
composite (Lat.), a fugue whose subject whose working-out the rarer and more
progresses by conjunct degrees.../. elaborate contrapuntal devices are
contra'ria (Lat.), a
" "
fugue having, the sought out for display; a long and
answer in
contrary motion to the sub- elaborate master-fugue . F. sdalfta . .
ject.../, del Wiw(It.) f tonal fugue. (It), or solu'ta (Lat.), see F. li'bera. . .
organ -stop having metal flue-pipes gen- ing counterpoint, the countersubject, in
erally of
small scale and 8 or 4-foot the first
part ; if there are 3 parts, the
u
of a sharp,
pitch; tone stringy" 3rd resumes the subject at the octave of
quality,
its
original pitch, followed (if there are
4 parts) by the answer in the 4th, This
Fuga'to(It., "in fugue style
1
bridging over the interval sometimes winding-up or stretto and coda are
;
~
left between the true end of the latter identical; etc., etc. The modern fugue
and the entrance of the Answer. Ths has 2 principal varieties (i) The Real :
subject is usually short and suggestive ; Fugue, in which the original form of
after its proposition by the part taking the subject is in the answer
preserved
the lead, it is taken up by the part next (i. e. the latter is an exact transposition
following as the answer, and at a differ- of the former) and (2) the Tonal
;
ent interval (usually a fifth higher or a Fugue, in which the subject is modified
fourth lower than the original one), in the answer in order to return to the
Answar (Tonal).
Subject. Not;
Further varieties are the Double Fugue Fuga). Fugues may be written for
t
(with 2 subjects,' the exposition of the voices or instr.s, or for solo instr.s
1st being followed by that of the* 2nd, (pfte., organ). (Compare Form I, 2.)
and finally by the combination of both) ;
Fugued, Fuguing. See Fuga'to. Writ-
the Triple Fugue (with 3 subjects) ;
ten in either strict or free fugal style.
etc.; a fugue with 2 or more subjects is "
sometimes called a Manifold Fugue. Fiih'rer (Ger.) Leader, dux", subject
A fugue in which the countersubject is (of a fugue.), .Fiih'rung, leading.
retained and developed together with Full anthem. See Anthem. Fullband, . ,
fugal form is the Fuga ricercata (comp. close, -see the nouns,. .Full Choir (di-
So FtfLLPFEIFE-GALANT,
stop (in lute-playing), a full chord fol- Fuse (Fr.) An ornament consisting of
lowed by a pause also, a chord in
; a rapid ascending or descending dia-
which all available fingers are occupiec tonic series of notes ; a slide.
in stopping the strings... Full Swell
Fusel (Ger.) Same &s-Fusa.
(organ), draw all stops of swell-organ,
. .Full to fifteenth (in
Fusel'la (Lat.) 32nd-note.^. .Fuse^lala,
organ-playing),
draw 64th-note.
all
stops but mixtures and reeds.
Fuss (Ger.) Foot \-fusstg, the adjective-
Fiill'pfeife (Ger.) A dummy pipe...
ending corresponding to -foot, as<P/#,r-
F&Hfquinte, a very sharp-toned organ-
.
f
the 1 8th century ;
ppp.
to gebun'dcner dence. . . Ganz ton, or gan'zer Ton,
Stil, strict which a certain
style, in
whole tone. 2. Very.
number of contrapuntal parts was ad- Gar'bo (It.) Grace, elegance.
hered to throughout.
Gas'senhauer (Ger.) In the i6th cen-
Galant,-e (Fr.), Galan'te (It.) Gallant, a designation for popular songs or
tury,
graceful, pretty. foik-songs
(Gasfsenhawerliri) ; the word
Gal'liard. (Ger. Gagliar^de; Fr. gait- now signifies a trite and threadbare
larde; It. gagliar'da.) An old French tune, and at the same time something
dance for 2 dancers (also called Roma- vulgar and unworthy of art. [RIEMANN. J
ne*$ca\ of a gay and spirited character, Gathering-note. In chanting, an irreg-
though not rapid, and in 3-4 time like ;
ular fermata on the last syllable of the
the Pavan, it had 3 reprises of 4, 8, or to enable the
recitation, body of the
12 measures. It was the precursor of
singers to catch up and begin the ca-
the Minuet. dence together.
Gal'op. (Fr. galop, gabpade ; Gr. Gauche (Fr.) Left; maing. (abbr. m.
Galopp') A
very lively and spirited g), left hand.
round dance in 2-4 time ; supposed to
have been derived from the old German Gaudio'so (It.) Joyous, jubilant."
Hop'ser or Rutschfer (names descrip- Gau'menton (Ger.) A guttural tone.
tive of the step). Introduced into Gavot'. (fv. gavotte; iLgavofta) An
France early in the igth century. old French dance-form in strongly
Galoub6, Galoubet (Fr.) A land of marked duple time ((J} alia breve), be-
small fife, the shrillest of all wind-in-
ginning with an auftakt, of a lively
str.s, with 3 holes and a compass of 17
though dignified character, and resem-
notes ; found only in Provence.
bling the Minuet. (See Suite.) The
GanVba. i. See Viola da gamba. 2. Gavot has latterly been revived as an
An organ-stop similar in tone to the instrumental piece.
viola da gamba. Gaz'el. A
piece with a short and oft-rt-
Gam'be (Ger.) Viola da
gamba. Gam'* curring theme or refrain. . .
usually Balg)*
ward, the lowest tone of the mus. sys-
Gebroch'en (Ger.) Broken.
tem then obtaining was called F ; the
letter was together with the F-
,
Gebun'den (Ger.) i. Tied. 2. Legato,
^ n1<f H"<an/A its
ite IICA
<
01<r
u- .*
to un'gebunden or bund'frei (i. e.
"fretted" or "fret-free" [GROVE]).
Gamme (Fr.) A
scale (see Gamma) .. .
G. diatonique (ckromatique\ diatonic (Comp, Bundfrei.)
(chromatic) scale.
Gedackt/ (Ger.) Stopped (of organ-
strument. Ganz'sMuss
, . whole ca- position).
GEFALLEN-GESCHLEIFT.
(in
rehearsal.
iugit)...Ge'gensatz, (a) contrast; (b)
contrasting movement or effect. . . Ge'- Generator. (Fr. [son] gMrateur.} j.
genstimme^ contrapuntal part ; counter- A fundamental torie. 2. A
root, or
subject. tone which produces a series of har-
.
bpw-instr.
.
Gei'genprindpal, violi G6nie (Fr.), Genie' (Ger.) Genius.
diapason (organ-stop). . Gei'genwer .
Gems'hom " /
(Ger., chamois-horn/') In Gesang Singing, song ; a song,
(Ger.)
the organ, a metal vocd composition
flue-stop having ta- melody, air...<?-
;
3. Crossed ,
or jf #- 4. Cut merry ones.
p-0
with a stroke or[_ (m ~(as a scene in f
Equal. .. GM'cfor Kon
Gleich -
(Ger.)
line across, as \j an opera).
trafunkt, equal counterpoint. . - Gld'cht
Get(h)eilt' (Ger.) Divided, separated.. .
Stimmen, equal voices. . . Gidch'sckwe-
Geteil'te Violi'nen^ violini divisi. Ge- . . bende Temperatur', equal temperament.
tetfteStim'men, partial stops (organ). Gli (It.) The (masc. pi.).
Getra'gen(Ger.) Sostenuto. See Tragen. Glicibarifo'na (It.) A wind-instr. inv.
"
Geworfener Strich (Ger.) Thrown in Italy about 1827 by Catterini a ;
"
stroke ; in violin-technics, a form of small 4-octav expressive organ.
the saltato* Glide. The smooth connection of 2 tones
Ghaz'al, Ghaz'el (Arabic.) See Gaul by slurring.
Ghiribiz'zo (It.) Whim, 'fancy, caprice. Glissan'do (also glissa'to, glissican'do^
* forms imitated
. .
Ghiribizzo'so, whimsical, etc. glissica'to ; spurious It.
Giocon'do,-a (It,) Jocund, gay, playful. (easier and more effective on the Jank6
. . Giocondamen'te^ joyously, merrily. keyboard).
the tone of the clarinet, oboe, or bas- The graces for^ harpsichord, clavichord^
pianoforte and voice, enumerated t below in
soon, caused by a defective reed or im- alphabetical order, are given according to the
proper manipulation. owmgai
following J. H. d'Anglebert, 1689
authorities : v .
vocal music; also see Fredonner... Ihomas Busby, 1786 (Bu.); Francois Co up erin,
17*3 (C.)l ] W. Callcott, i8i7(Ca.)j Etienne
GorghtggiamenftO) art of singing florid Loulitf, 1696 (L.) ; N.
de S. Lambert, 1607 (La.);
passages, ttz.*.Gorgheg'gio t a florid F. W. Marpurg, 1762 (M,) ; PJ.
Mikhmeyer,
passage. 1797 (Mi.); J. S. Petri, 1782 (P.); Fr.Pomni,
See Epistle
1711 (Po, st>. Rameau, i Christ-
Gospel side. side. opher Simpson, 1659(8.); G. olf, 1783-89
(W.) ; and J. G. Walther, 1732 (Wa.).
Gout (Fr.) Taste. In every case, the special article in the
body
of the book should also be consulted, the pri-
Grace. (Ger. Verzie'rung; Fr. orne- mary intention of this article being to give a
t) agrtment; It. adbellimen'to, fa- list of signs for ready reference.
Beat.
GRACE.
(5.)
MI ir I
Shaked Beat. Bebung. Beisser. Brechung.
(d'A.) ^ (B.)
Cadence.
(N (B.)
Doppelt-Cadence. Doppelt-Cadence
and Mordant.
(B.)
schlag. Doppelschlag.
;
^ (d A.) ^ (d'A.)
Double*.
Umgekehrter Doppelvorschlag.
Doppelschlag.
Shaked
D. sur une tierce. Elevation.
GRACE.
(Po.)
Pince* double.
(W*
Pince continu.
(R.) (R.)
(La) (La)
H
double. 6touff^
)or
Plain-beat
or (Q A
Port de voix.
(C.)
f Double Relish.
fcp=
'I II jvyII
Schleifer.
^ill
[Code.] [Slide.]
(S.) ^ ^ (Bu.)
Springer. Passing
(M.)
fiv~(C.) (P.)
(1 g (BL) tf (BL)_
=?
dignity.
Gradevolmen'te, pleasingly.
Grandio'so (It) Grand, pompous, ma*
Gra'do (It.) Degree, step Gr. ascen* . . .
jestic.
den'te, ascending step... Gr. descended te,
Grandisonan'te (It.) Loud or long.
descending step. .Digrado, by a step,
.
i. Dorian. 2. Phrgian.
(The signs and ^ indicate the step of a whole tone and semitone respectively.)
The prefix hypo signifies " a fifth be- ant modes is composed of 2 similar con-
low "ifyper," a fifth above". (Compare joined tetrachords, united by one com-
Mode.) The character and name of mon tone, and preceded or followed by
each mode depended (a) upon the form the diazeuxis. The character of the te-
of the tetrachord, and (b) upon the trachord depends on the position of the
position of the diaztuctic tone. While semitone ; e. g. in' the Dorian tetra-
each of the 3 primitive modes is com- chord, found in the Dorian and attend-
posed of 2 tetrachords of like name and ant modes, the semitone occurs between
form, which are disjoined (separated) by^ the third and fourth tones. This Do-
the diazeuctic tone (marked f from dia- J rianmode is an exact inversion of the
xeuxis,* separation), each of its 2 attend- modern major mode :
2, The Perfect
System is based on \ following two octaves, in which the Do-
the Dorian tetrachord ; it rian mode occupies the central
comprises the \
portion;
a g f*~* e d c *-* B
Dorian Mode,
GREEK: MUSIC. .
This system is formed by adding, at (which to the Greeks was the most
either extreme of the Dorian scale, a natural transition, just as that to the
conjoined tetrachord,
and completing key of the higher quint is to us), they
the 2-octave system by the addition of used the semitone above the highest
A called Proslambanomenos, tone of the middle tetrachord, and con-
(hence '*
"the acquired tone") in the lower sequently distinguished a special"
con-
octave, thus forming a complete a- joined tetrachord (tttrachordon synem-
menon) d -c -fy*~>a, in opposition to the
l l
minor descending scale. The 2 central
**
tetrachords were therefore disjoined ; disjoined tetrachord" (tetr. diezcug-
but, for modulations to the lower quint menon)
Full Names of all Degrees in the Perfect System.
Nete hyperboleon a1 (highest of the high)
1
Paranete hyperb. f (next-highest of th<
1
Trite hyperboleon I
(third of the high)
Nete diezeugmenon
(highest of the disjoined)
Paranete diezeugmenon d1 'd
1
Nete synemmenon
(next-highest of the disjoined) (highest of the conjoined)
1 1
Trite diezeugmenon c c Paranete synemmenon
(third of the disjoined) (next highest of the conjoined)
Paramese Trite 3
synemmenon
(the [tone] next the middle) (third of the conjoined) si
8
Mese Mese
(middle tone)
Lichanos meson or (forefinger-tone of the middle)
" F (next-lowest of the middle)
Parhypate
Hypate
- C (lowest of the middle)
Lichanos hypaton d (forefinger-tone of the low)
" C (next-lowest of the low)
Parhypate
Hypate B (lowest of the low)
Proslambanomenos A (acquired tone) [in no tetrachord]
The theorists attributed special impor- enharmonic genus by dividing the
tance to the middle tone Jlfese, as the trite or the parhypate -into 2 tones -
tonic of the perfect system. This sys- (as a e$f^e}\ while the chro-
,
tem also forms the foundation of me- matic genus, also omitting the dia-
dieval mus. theory even the compass
;
tonic second degree,, was expressed
either trite or parhypate
given above was not overstepped till the by sharping
introduction of the F
(gamma). Gre- (as a ^ffy^f^e); etc.]
within these limits, Transposing Scales. While
gorian music keeps 3.
and the notation in Latin letters retains the perfect system remained the standard
this same diatonic scale even to the in theory, the progress of Grecian musical
chromatic alteration of Paramese to art widened its application in practice
Trite synemmenon. This perfect sys- until all flatand sharp semitones were
ex-
tem (system* teleion) was also styled the employed, and its range likewise
tended. The chromatic alterations were
system* metabolon, the "mutable (i. e.
modulatory) system," with reference to expressed in the Greek alphabetical
the modulation to the subdominant notation by different letters and differ-
ent positions of the same letter, which
1
with tip belongs to a transposed Doria The system d$d*$, with 6 sharps, is
mode, having not A, but d, far pros
lambanomenos. Greek music was no
enharmonically identical with
with 6 flats both are named Hyper-
^ ^
;
tied, likethe Gregorian, to the diatoni dorian here closes the circle of fifths.
;
scaled a 1 without chromatics, but em The names of the sharp scales re-
ployed transpositions of the perfec emerge as those of church-modes (the
2-octave system parallel to our 12 o number of which was increased to 12
'
more sharp and flat keys ; finally, thes in the i6th century) ; namely, the
transpositions numbered 15 in all, thos Ionian (= lastian), and Hypoionian,
first in vogue
bearing the same name ^Eolian, and Hyposeolian.
as the first 7 octave-scales. In th
Gregorian chant. The forms of mus.
Greek method of alphabetical notation
worship as revised and established by
the natural scale (without chromatics
was the Hypolydian : Pope Gregory I, (the Great, d. 604) for
the R. C. Church, and known collect-
ively under the name of Plain Chant
fi~*d l
tion).
In solfeggio, a tone 6r tones through boyau; It minu'gia), popularly kaown
as catgut, are ordinarily manufactured
which the voice glides^ from one inter-
1 from the entrails of sheep, those 6f
tai-tone teethe other,
young lambs yielding the even^st'and
Guide* i. Gulda i and 2, 2.
" (Fr.) finest strings because they do not bare
"Guida I and 4. . Guide-main, hand-
.
to be split. The best are' the genuine
guide/' chiroplast. Roman strings.
Guidon (Fr.) A direct Gut (Ger,) Good... Gutter' Takfteil,
Guido'nian hand. The Guidonian Hand strong beat
was a diagram, for memorizing the spl-
misation-syllables of the 2o-tone dia- H.
tonic scale (r to ee\ in the shape of an
outstretched left hand with the sylla-
H (Ger.) The note 3. . .In scores, H fo
rest. .
.Halb'prinzipal, an organ-stop oJ bertinian bass. , .Harfenetr, see Spitz-
4-foot pitch (disused)... Halb'schluss, harfe. .Hw'feninstrumente, stringed
.
Hammer. 1. (Ger. ffam'mer; Fr. mar- see H. tone. . .H. reed, see ff. .
stop. .
14
fifth,
" " " twelfth; lectively.Harmoaie'eigtni harmonic ,
Clarion Piccolo
Harmonichord. See Piano-violin.
Bassoon Oboe
Harmo'nici. Aristoxenos and his fol- An for
Harmonpm'eter. appliance
lowers, who deduced the rules of har- measuring the harmonic relations of
mony from musical practice ; opp. to tones (intervals). See Monochord,
Canonici (Pythagoras and his disciples),
who derived their rules from the math- Har'mony. (Ger. and Fr. HarmoniJ;
ematical determination of the intervals.
It. armoni'a) In general, a combina-
tion of tones or chords producing mu-
Harmon'icon. I. A mouth-harmonica. sic. Specifically, a chord, either con-
3. An orchestrion. 3. A keyed har- sonant or dissonant, though usually
HARP-HARP-WAY TUNING.
former kind, especially this is the fundamental diatonic scale ;
applied to the
to the triad. Applied to an entire com- the intermediate chromatic tones are ob-
struc- tained by the use of 7 pedals adjusted in
position, the chordal (harmonic)
ture, in contradistinction to the melody
the pedestal, each pedal acting on all the
and rhythm ; hence, 2-part^ 3-fart
har- strings of the same letter-name in such
mony^ according to the number 01 away that, when pressed to its first posi-
parts present... Chromatic h.,
that in tion, the pitch of every string affected is
which many chromatic tones and mod- raised a semitone, and, when the pedal
ulations are introduced; opp. to dia- is pressed down to its second position, a
figuration and ornaments, . .Figured h. t harmonic (the octave of the tone of the
that in which the simple chords are va- open string) is that almost exclusively
ried or broken up by foreign and pass- employed. Music for the harp is
ing tones, anticipations, suspensions, written on 2 staves as for the pfte. In
and other devices ; opp. to flam h... the old single-action harp each pedal
Open h. .(in 4-part writing), that in can change the pitch of BV&
which the 3 highest parts spread be- its note by only one semi-
h.i music performed with pure intona- pass, 5 octaves and a' J^
tion (motet, string-quartet;) opp, to sixth, from F\ to d*: %va
tempered h... Spread L, open.h... A Double Harp has 2 rows of strings
Strict h., composition according to . tuned dissimilarly ; a Triple Harp has
strict rules for the
preparation and reso- 3 such rows. .Jfcolian h., see Molian.
.
..Haupt'ton, (a) root (of a chord'; in Helper. An octave-pipe set beside and
recent theory, the fifth of the minor sounding with another of 8-foot pitch,
for the sake of brilliancy.
triad) ; (b) key-note ; (c) see Haupt-
note... Haupt' tonart, the principal or Hemidemisemiqua'ver. A 64th-note.
ruling key in a composition. . .Haupf- .
.H.-rest, a 64th-rest.
werk (abbr. H. ^.), great organ.
Hemidiapen'te, In Gk. music, a dimin-
Hausse (Fr.) Nat '(of a bow). .Hausser,
. ished fifth.
Her'zig (GerM "hearty," "heartily". Hohl'fiote (Ger. Fr. fldte creuse; the
;
high Mass . . .
ffoch'xeitsmarsch, wed- phony, homophonic music; opp. to an-
ding-march. tiphony and polyphony. (See Monody.)
Hocfet. An early form of contrapuntal Hook. (Ger, Fatfne, Fahn'chen; Fr.
vocal composition in 2 or
acterized by the
3 parts, char- crochet; It. co'da uncina'ta.) stroke A
frequent and sudden attached to the stems of eighth-notes, '
;
difficult
VsT^
:
^
" "
1 6th tones of the harmonic scale. The Thus the highest safetones on the
older natural or French Horn> yielding horns in common use would be (accord-
only the natural tones supplemented by ing to GEVAERT):
:
Actual p tch:
Horn in Bb CD E F G Ab A Bb (C)
L -SL jfi.
Notation :
Partial tonei6 16 15 14 13 13 12 10 10 10 10
The stopped tones have a peculiarly same manner as on the natural horn
sombre quality, and are often utilized (also comp. Trumpet). This modern
for special effects ; they can be pro- Valve-horn is usually constructed in
duced on the valve-horn in exactly the the following sizes [RIEMANN]:
Bb C D Eb E F G Ab A Bb C
high
low
the given pitch-note being in each case Horning
1
of 3 octaves.
apairof|||3|
horns; 'y
Homer (Ger.) Plural of Horn, equiv. to
cornL (Abbr. Hr.) Horn'sordin (Ger,) Mute for a horn.
Hosan'aaj Hosian'na (Hebr.) Lit The hurdy-gurdy was in great vogue
44
save, I pray"; an interjection used as from the loth to the 12th century.
a prayer for deliverance or as an accla Hur/tig(Ger.) Quick, brisk, swift ;/rfr.
mation. In the Mass, a part of th<
Hydrau'licon. An hydraulic organ.
Sanctus.
Hydraulic organ. (Ger. Was'serorgel;
Huelmetl (Aztec.) (Also hnehuitl, wvtl Gk. hydrau'los; Lat. or'ganum hydravf-
tfopanhuchuttl.) Drum
of the abori
licum.) A
small kind of organ, inv. by
gines in Mexigo and Central America Ktesibios of Alexandria (180 B. C.), in
consisting of a section of a log hollowec which -the wind-pressure was regulated
out, carved on the outside, from 3 to 4 by water.
feet in height, as thick as a man's body
Hymn. (Ger. and Fr. Hymne; It. in'no!)
and set upon a tripod. The upper en<
was furnished with a head of leather or
A religious or sacred song ; usually, a
metrical poem to be sung by a congre-
parchment which could be tightened or
gation...^ foreign usage, a national
relaxed, thus raising or lowering the
tone. It was struck with the fingers song of lofty character, such as the
Marseillaise.
and considerable skill was required to
play it. From the indistinct accounts Hy'per (Gk) Over, above ; often occurs
of the old Spanish writers it appears to in compounds, as hyperdictpa'$on^ the
have yielded, in conjunction with the octave above ; hyperdiapen'te, the fifth
Teponaztli, a rude harmonic bass accom- above, etc. .In the Greek transposing
.
"
with or without modification.../, at
jor third in |<gfl: fljg .
.Implied in-
the fifth, octave, etc., that in which the the chord: h* Urval tho-
(in
consequent follows the antecedent at rough-bass), an interval not indicated
the'interval of a fifth,
octave, etc ... by L by a figure, but understood,
augmentation, that in which the time- e. g. the sixth and fourth^
value of each note of the antecedent 'is in a chord of the second : I
increased according to a certain ratio in
the consequent (J = J, or
Imponen'te (It,) Imposing, impressive.
J. etc). J=
, .,/. by diminution, that in which the Irapresa'rio (It.) The agent or mana-
time-value of each note in the ante- ger of a traveling opera or concert-com-
cedent is decreased according to a cer- pany. Occasionally, an' instructor of
the consequent (J=J singers in opera or concert.
'tain ratio in
which Impromptu. I. An improvisation.
etc.).../, by inversion, that in
each ascending interval of the ante- 2. A composition of loose and extem-
cedent is answered by a like descend- poraneous form and slight develop-
ment ; a fantasia.
ing interval in the consequent, and
descending intervals by ascending ones. Imprope'ria (Lat, "reproaches".) In
..Canonic i., strict imitation (see C0- the Roman ritual, a series of antiphons
non)...Free i., that in which certain and responses forming part of the
modifications of the antecedent are per- solemn service substituted, on the
mitted in the consequent (e. g. augmen- morning of Good Friday, for the usual
tation, diminution, reversed imitation, daily Mass.
as explained above ; or when certain
Impropri'etas (Lat) A term applied
intervals are answered by others, the to a ligature when its first note is not a
time-value of certain notes altered, etc. ) ;
breve, ]j>ut a long ; indicated, when the
opposed to Strict imitation, in which second note ascends, by a descending
the consequent answers the antecedent tail to the right or left of the first;
note for note and interval for interval. when the second note descends, by the
..Retrograde i., that in which the absence of the tail. Opp. to Proprietay.
theme is repeated backwards (recte e
Improvisation. Extemporaneous music-
retro)', see Cancrizans.
al performance.
Irn'mer (Ger.) Always; continuously;
To improvise... Im*
immer starker werdend, continually Improyiser (Fr.)
immer provisateur (-trice], a male (female) im-
growing louder; langsamer, *
slower and slower; immer langsam, proviser.
with 4 strings
j vJcYonWlo^bouble-bass
2. with more than j *Viola d'amore
4 strings j [Viols, various]
Ji.bywithout
a crank Hurdy-gurdy^ Piano-violin
t \ v" v j i. fingerb. Harp
a) by the fingers 1 2. with fingerboard *Guitar, *Mandolin, *Zithers [Lute]
B.Strings,plucked \
by a keyboard-mechanism
1
b) [Harpsichord]
C.Strings, percuss- j a) directly by the player *ZJmbalon (or Tympanon), xylophone
ed tb) by a keyboard-mechanism Pianoforte
II. Wind-instruments.
A. With mouth- j a) lateral Flutes, Piccolos, Fife
hole ,b) whistle-like a bee] . *Flageplet
alumeau], clarinets, *alt-da-
'a) cylindrical tube -j- beating reed ict (basset-horn), bass-cl.
*Post-horn
*Bugle, military
C. With mouth-
i.' with slide
r '
iones, slide-trumpet
piece [Cornetto, Serpent]
*Key-bugle, or key-trumpet
-
2. with holes (keys)
b) chromatic .
*Ophicleide
'Valve-horn
Valve -trumpet
3. with valves (pis- ,
Valve-trombone, (*alto, tenor, *bass)
tons) Cornet a pistons
Valve-bugles or saxhorns ; Tubas or
saxhorns
D.PolyPhonic
with keyboard
} ^ ^itho^tubes HOTwnium, *VocaHon
III. Instruments of Percussion.
A. With a mem- J a) with tones of determinate pitch Kettledrums
-
brane 1 b) witn
b; with of" indeterm.
tones 01 inaecerm. pitch
piccn Bass
ju>i* ui um, atuc-ui
drum, um, ci-u.
side-drum, etc^
[ " " " " '
la*
a) with tones of determinate pitch Bells, canllons^GIockenspiel
j
B. Autophonic (
Tnangle, cymbals, tam-tam,
j
b) with tones of indeterm. pitch tancts, etc.
instrumental strain or passage connect- Having reached this stage, they merely
ing the lines or stanzas of a hymn, etc. had to be detached from the larger work
3. An instrumental piece played to form a self-existent operetta or opera
between certain portions of the church Instrumental music sometimes
fajfo.
service (Lat. interlu'dium). takes the place of the old intermezzi in
4<
-JJ
(i) The
^
older system, that in general
In this Dictionary the older system is
adhered to throughout. An interval is :
Augmented, when wider by achroma-
tic semitone than
major or perfect. .
Chromatic, when occurring between a
.
vals and their direct derivatives between quiring resolution (comp. Consonance).
.
.Diatonic, when occurring between 2
tones belonging to the same key (ex-
ceptions, the augm. 2nd and 5th of
the harmonic minor scale). ..Dimin-
Table III shows (A) that each major
ished, when a chromatic semitone nar-
or perfect interval, when widened
by a rower than minor or perfect. , .Disso-
becomes augmented; that
semitone,^
each major interval, narrowed nant, when requiring resolution (comp.
by a Dissonance) , . Enharmonic, when both
.
i a 3 4 5 6 7 8 Flat, see
Diminished* . .ffarmonic,
^
a _Perfect
, 87/54321
interval becomes perfect
when both tones are sounded together. . .
41
a Major ** minnv
minor Imperfect, see Diminished. . .Inverted,
a Minor when the higher tone is
an Augmented " major lowered, or the
u diminished lower tone raised, by an octave
a Diminished augmented (see
;
Table I). .
.Major; according to Table
{) the regular order of the standard
I, the major intervals of the major
intervals
according to their pitch (com- scale are the Second,
Third, Sixth, and
pare Vibration), both Just Intona- m Seventh ; ace. to Table II, all its inter-
tion and Equal Temperament, inter- vals are major. .
vals bracketted
when the 2
^Melodic,
together being Enhar- tones are sounded in succession...
INTERVAL. 103
* The
greater chromatic Second ;
the lesser (e. g. <W#) is 24 : 25.
f The greater whole tone ;
the lesser (e. g. d-e) is 9 10.
INTIMO-ISORRHYTHMIC.
Minor, when a chromatic semitone nar- or its higher note an octave lower (see
rower than major or perfect. .Perfect: .
Interval); compound intervals must first
the Prime, Fourth, Fifth, and Octave. be reduced to simple ones, and tl\en in-
..Redundant, see Augmented. Sharp, . . verted (B) ; A
chord is inverted when
see Augmented.' 'Simple, when not its lowest note is not the root ; thus. any
wider than the Qcteve... Superfluous,
see Augmented.
abed
;
e.
rect, pure, just, true, etc., in opposition inversions, g. :
b, ist inversion, or
In'tonator. See Monochord i.
chord of the fifth and sixth ; c, 2nd in-
Intonatu'ra, Intonazio'ne (It.) intona- version, or chord of the third and fourth ;
voice (as organ-pipes) ; voicing. position of 2 parts, the higher being set
below the lower, or vice versa this trans-
Intra'da. (It. intra'ta, entra'ta; Ger. ;
dramas and operas ; hence applied to in the tenth ", etc. 3. The repetition
of a theme in contrary motion, ascend-
opening movements of various descrip-
tions. 2. See Entr/e. ing intervals being answered by de-
scending ones, and vice versa; also
Intre'pido,-a (It.) Bold . . .
Intrepida- called imitation in contrary 'motion, or
mertte, boldly. Jntrepidez'za, boldness. imitation by inversion. 4. An organ-
.
fa) The transposition of the notes form- Irregular cadence. See Cadence.
ing an interval or a fundamental chord ; Irresolir'to (It.) Irresolute, undecided,
(A) A simple interval is inverted by hesitating. .
ble into 2 parts containing an equal tation t (a) mutation-stop (b) mixture-
;
Istes'so tempo, 1*
4<
The same
.
.Demi-jeU) half power.
(It.)
Jew's-harp. (Ger. Maultrommel; Fr.,
tempo" (or time) ; signifies (i) that the
tempo of either the measure or measure- trompc^ guimbarfc;
It. trom'ba.) A
note remains as before, after a change small instr. a rigid iron frame,
with
of time-signature or (2) that a move- within which is adjusted a thin, vibra-
;
ment previously interrupted is to be re- tile metallic tongue the frame is held
;
sumed. (Also Lo stesso tempo?) between the teeth, and the metallic
Istrumen'to (It.) Instrument. ..Istru- tongue, being plucked with the finger,
menti a pufzico (Ger. Kneifinstru- produces tones reinforced in loudness
and determined in pitch by the cavity
mente), stringed instr.s plucked with
f
- (air-space) of the mouth. Formerly also'
fingers or ^\^ir^m...Istrumentazio
jezv's-trumf, trump, tromp.
ne, instrumentation.
Italian sixth. See Extreme. Jig, (Fr, and Ger. Gigue; It.^V-) A
species of country-dance, though with
Italien,-ne (Fr.) Italian ;
h Titalienne, all conceivable modifications of step
in the Italian style. and gesture, usually in triple or com-
I'te, mis'sa est. See Mass. pound time, and in rapid tempo. In
the Suite, the Gigue is generally the
last movement.
.
J.
Jingles. The disks of metal attached at
Jack, i. In the harpsichord and clavi- intervals to the hoop of the tambourine,
chord, an upright slip of wood on the
J
rear end of the key-lever, carrying (in Jocula'tor (Lat.) See Jongleur.
the former) a bit of crow-quill set at a A
JoMeln (vat), Jo'dler (noun) (Ger.) _
right angle so as to pluck or twang the favorite style of singing among the in-
string, or (in the latter) a metallic tan- habitants of the Alps, characterized,by
gent 2. Inthepfte., the escapement- a frequent arid unprepared alternation
lever, usually called the hopper or grass- of fal$etto tones with those of the chest-
hopper, register. A
Jodler is a song or refrain
Jagd'horn (Ger.) Hunting-horn,. .Jvgd'- sung as above.
stuck, hunting-piece,
Jongleur (Fr.) !A wandering minstrel in.
Ja'gerchor (Ger.) Hunters' chorus; medieval France, and also in England
' '
" tertades.
Jalnizary tand contained I large and
3small oboes, and i piccolo flute, all of Jouer (Fr.) play (any instrument) ; To
used with de, du, de F.
very sTirill character; I large and 2 "
small kettledrums, one big and 3 small Jour (Fr., day.") corde hjour is an A
long drums, 3 cymbals, and 2 triangles". open string. ,
Kalama'ika, A
Hungarian national confidence.
dance in 2-4 time and rapid tempo, of
Kelrte (Ger.) Throat... Kttffertig.
an animated and passionate character.
keit, vocal &Wi...Jeh?kopf
larynx.
" t
Kettledrum. (Ger. Pau'ke; Fr. tim indirectly related key (comp. Phone, 4).
bale; It.
tim'fano.) only
orches The
tral drum tuned to accord with othe Key (2). (Ger. Tas'te; Fr. touch* j It
instruments. It consists of a hollow ta'sto.) I. A digital or finger-lever in
brass or copper hemisphere (the kettle
a pfte., organ, etc. 2. A pedal orfoot-
the heai
produced. The key here replaces the
is relaxed or tightened. The timpan it is
finger-tip; attached to a lever
were formerly noted as transposing in
worked by the finger or thumb, and
str.s (i. e. in 6", with the added direction
" differs in principle from the valve in
Timpaniin Ify, inZ>fr," etc.), butnow flat outside the tube.
lying
the notes desired are generally written
As used at first, they took only the toni< Key (4). A tuning-key.
and dominant of the movement, chiefl]
as a rhythmical reinforcement; now
Key (5). A clef. (Obsolete.)
they take very various intervals, anc Key-action. In the pfte. or organ, the
are employed to obtain musical anc entire mechanism connected with and
dramatic effects. They are struck with set in action by the keys,
including the
2 sticks having elastic handles and soft latter themselves.
knobs of felt, sponge, and the like.
Keyboard. (Ger. JKlaviatur*; Fr. cla-
Key (Ger. Ton'art; Fr. mode, ton;
(l). vier; It. tastatu'ra, tastiira.) The
It. mo' do, to'no.) The series of tones keys or digitals of the pfte., organ, etc.,
forming any given major or minor taken collectively. The modern stand-
scale, considered with special reference ard keyboard is the product of an evo-
to their harmonic relations, particularly lution extending over 1,000 Its
years.
the relation of the other tones to the
only successful rival at present is the
tonic, or key-note; the term "scale" Jank6 keyboard, inv. by Paul yon
indicates simply their melodic succes-
Jankoof Totis, Hungary, in 1882, which
sion. (Comp. Tonality^ Each key is
presents to the eye the appearance of
named after its key-note, as (7-major, rows of keys arranged step-
six different
tf-minor. See General View, page 108. wise, one above the other. But the
The following keys :
corresponding keys in the 1st, 3rd, and
E A* : (
c7-sharpmaj.[=:Z>-flat maj.l
5th rows are all fixed on one key-lever ;
A -sharp min.[=j5-flat min.J thus, if C be struck in the 1st (lowest)
: \
row, the corresponding keys 'in the 3rd
C-flat -and 5th rows are depressed ; further,
( maj.r=^-major]
the 2nd, 4th, and 6th rows are
\ .4 -flat inin.t=<-sharp min. J similarly
connected so that any given tone can
;
j B-major H
dur Si majeur ^ Si
^
"j G-sharp minor Gis moll Sol diese mineur Sol diesis minore
j G-flat major Ges dui* Sol bemol majeur Sol bemolle maggiore
| E-flat minor Es moll Mi bemol mineur Mi bemolle minore
upper row
'*
of keys
" "
(in pair)
" CJ DJ F G A B cij
.
lower lt
( D E FjfGjf Afl c.
Keyship. Tonality. I
3. .
.JClan^verivandschaft^ chord-re-
-
Key-stop; A
key (digital) attached to Klap'pe (Ger.) Key 3 ... JCla/fetthdrn,
the fingerboard of a violin so as to re- key-bugle.
naive effect.
on the keyboard ; inv. 1893 by Ignaz
King. An ancient Chinese instr., con- Lutz of Vienna.
2. A
6
sisting of a graduated series of 1 sonor- Klavier' (Ger.) I.
ous stones (or plates of metal), sus-
^A keyboard.
keyboard stringed instr.; specifically, in
pended by cords and struck with a the j8th century, a clavichord ; now, a
mallet.
pfte. of any Y\rA.*.Klamer'auszv.gy
Kir'ch enmusik (Ger,) Church-music. (a) pfte. -arrangement ; (b) vocal score .. ;
Ki'thara (Gk.) A harp-like instr. of the tion, in" 1893, of Prof, de Vlaminck of
ancient Greeks ; \ancestor (in name) of Brussels. To a 'cello, fixed on a hor-
the guitar, cithern, zither^ etc. izontal frame about the height of the
Klein (Ger.) Small; minor. . *Kldn' both hands ; the chromatic tones are
gedaekt^ flute (organ-stop). produced by pressing the strings behind
the bridges.
KHng'ende Stim'raen (Ger.) Speaking
or sounding stops (of an organ) ; opp, to Kraft (Ger.) Force, vigor, energy..
stum'me Register* Kraf'tig, forceful, vigorous. (Also
stuck, (a) a short concerto in one move- 4-foot pitch, on the pedal also of 16-
ment and free form ; (b) any short solo foot pitch as
Krumm'hornbass}\ a
piece for public performance. reed-stop, the tubes of which were fre-
Kopf'stimme (Ger.) Head-voice. quently half-covered, or conical below
and cylindrical above.
Kop'pel (Ger.) Coupler... Koppd ab, [RIEMANN.]
coupler off. . .K. an, draw coupler. Krus'tische Instrument See
(Ger.)
Kornett' (Ger.) Cornet. Scklagfinstrumente.
Kosalcisch (Ger.) A
national dance of Kuh^orn (Ger.) The alp-horn... Kuh^
the Cossacks, the
melody of which con- rdgen, Kuh'rdhen^ Ranz des vaches.
sists of 2 8-measure
repeats in 2-4 time.Kunst (Ger.) Art; science... Jfunstf.
/
Ko'to. The Japanese fugue, fuga ricercata...iTtfj/ ^, artist,
2ither-harp, with
13 silk strings stretched over an arching Kunsfiled, an a r/-song, opp. to folk-
. .
Germany and Austria (whence the Fr. Lau'da (Lat.) A laud (hymn or song of
name Tyrolunne), in 3-4 or 3-8 time, praise). .Lau'des, lauds'; together with .
fixed. 2.
Tongue of a reed in the imtrumente... Lanterns?, lute-player.
harmonium or reed-organ. Pallet
3. ...Lau'tenmacher, see Luthier.
CI2 LAVOLTA LEITMOTIV.
LavoTta (It.) An
old Italian dance in Leger, le"gere (Fr.) Light, nimble...
the waltz. Le'gerement, lightly, nimbly,
>
triple time, resembling
/
Lay. A
melody or tune. Leg er-line. (Ger; Hilfs'linie; Fr. ligne
ajoutte; It. ri'go aggiun'to
or finto.)
Le (Fr. and It.) The.
One of the short auxiliary lines used for
Lead. I. The giving-out or proposition
A cue writing notes which lie above or below
of a theme by one part.
2.
the staff. Leger-lines are counted away
(comp. Presa). from the staff, either up_or down...
Leader, i. Conductor, director. 2.
Leger-space, a space bounded on either
In the orchestra, the first violin ; in a side or both sides by a leger-line.
band, the first cornet ; in a mixed
Leggerez'za (It.) Lightness, swiftness.
chorus, the first soprano. (In small
orchestras the leader [ist violin] is still,
.
.Leggermen'te, lightiy, swiftly. . .Leg-
as was the rule in earlier times, also giro, same as Leggiero.
the conductor,) Leggiadramen'te. (It.) Neatly, ele-
InIa gantly, gracefully.. .Leggia'dro, neat,
Leading. (noun). composition,
the melodic progression of any part or graceful, elegant ; in a brisk and cheer-
ful style.
parts. 2 (adjective). Principal, chief;
guiding, directing. .Leading-chord, the Leggieramen'te, Leggiermen'te (It.)
.
dominant chord, as leading into that of Lightly, swiftly, .Leggie're, light, etc. .
"
from one note or chord to another, in Le'gno, col (It.) "With the stick" ; in
which the hand is lifted clear of the violin-playing, a direction to let the
keyboard. 2. See Skip. stick of 'the bow fall on the strings.
Leben'dig, -
Leb'haft (Ger.) Lively, Leicht(Ger.) i. Light, brisk.--2. Easy,
animated. (Also adverb.). . .Leb'kaftig- facile. . .Leicht bewegt, (a) leggiero con
keit, animation ; Mit L.
und durchau/ moto ; (b) with slight agitation.
mit Empfndung vnd Ausdruck, with
Lei'denschaft (Gen) Passion, fervency,
animation, and with feeling and ex- vehemence. Mit t or lei' denschaft- . .
passage so marked in
a smooth
ing to the scale. .Lefterfremd, foreign .
slur.
inence by Wagner's musical dramas,
Lega'fabogen (Ger,), legato-mark, and applied to any striking mus. motive
Legatu'ra (It.) A tie a syncopation.. .
(theme, phrase) characteristic of or
;
Le'no
man song-form is that of the durchf-
(It) Faiat, feeble.
komponiertes Lied, which differs from
Lent,-e (Fr.) Slow. .Lentement, slowly. .
the ballad (Stro'phenlied) in not repeat-
. .Lenteur, slowness.
ing- the same melody for each stanza,
Len'to (It.) Slow ; a tempo-mark inter- but following closely the sense of the
mediate between 'Andante and Largo words by changing melody, harmony,
(comp. art Tempo-mavlt). Also used and rhythm... Kims?lied, Yolks'lied,
as a qualifying term, as Adagio non Yolks' t(K)iimliches Lied, see those
lento. .Lentamen'te, slowly. .Lentan'-
. . words.. .LiefdercycluS) a cycle (set) of
do, growing slower, retarding ; a direc- songs. ,Lie*derkranz, (a) a choral so-
tion to perform a passage with increas- ciety; (), also Lie'derkreis, a set or
ing slowness (ritardando, rallentando)* series of songs.. . Lie*der
spiel, see
Vau-
. .Lentes^za^ con, slowly, deliberately. deville.. .Li?dertafel, a singing-society
Ligature. (Gtr.Ligatur' ;
Lesson. (Fr. fyon.) In the ryth and It. legatu'ra) i. In mensurable music,
1 8th centuries, the name of the several a connected group of notes to be sung
pieces for the harpsichord, etc., which, 'to one syllable. Ligatures were de-
when combined, formed a Suite, rived from the compound neumes ;
their
Le'sto (It.) Lively, brisk. simplest form is the Figura olliqua
Letter-name. A letter used to desig- (q. v.) (Comp. Proprietas, Improprietas,
License. (Ger. Frei'heit; Fr. licence ; pL La'bien; Fr. biseau [upper lip].)
It. An intentional deviation
The lips of a flue-pipe are the flat
Kcen'za.)
Con surfaces above and below the mouth,
from established custom or rule. . .
gam'ba^ knee-lyre.. .L. tede'sca^ hurdy- dance named from the instr., on which
gurdy. it was
formerly played, in 6-4 or 3-4
Li'rico,-a (It.) Lyric, lyrical, time and slow tempo, the down-beat
Liro'ne (It.) The
great bass lyre (also strongly marked.
Accor*do, Archivi&la di lira)) with as Lour6 non staccato.
(Fr.) Slurred, legato,
many as 24 strings.
Low. I. lei'se Fr. douce;
(Ger. ; It.
Li'scio Smooth, flowing.
(It.)
pia'no.) Soft, not loud. 2. (Ger. tief;
L'istes'so. See Istesso. Fr. bas,-se ; It. basso, -a!) Grave in
Litany. (Gk. lifanei'a; Lat. and It. /z- pitch, not acute.
tani'a; Fr. (pi.) litanies; Ger. Litanei'.) Lugu'bre (Fr. and It.) Mournful.
A song of supplication; "a solemn
Lullaby. Cradle-song, berceuse,
form of prayer, sung, by priests and
choir, in alternate invocations and re- Lun'ga (It.) Long. Written over or
under a hold, it signifies that the latter
sponses, and found in most Office-
is to be
books, both of the Eastern and West- considerably prolonged. .Lun- .
ern Church" [GK.OVE]. Litanies were gapa'usa, a long pause or rest. Lun-
originally employed in processional ghe (pi. of lunga), drawn out, pro-
supplications for averting pestilence longed "note" (notes) being implied.
;
and other dangers, and later adopted Luo'go (It.) Same as Loco.
by the Church as portions of the reg- Lur
ular service at certain seasons.
(Danish, from Old Norse ludr, a
hollowed piece of wood.) I. unique A
Lit'tera significati'vae (Lat,) Single pre-historic wind-instr. of bronze (alloy
letters, or abbreviations, of doubt- of copper 88.90$, tin io.6i#, nickel
ful significance, employed in medie- and iron 0.49$), numerous well-pre-
val neumatic notation.
(Ger. Roma'- served specimens of which have been
nusbuchstaben.) found, but only in Denmark, southern
Liu'to (It.) A lute. Sweden, and Mecklenburg. The long,
Livre Book..^ livre ouvert, at slender, exactly conical tube, varying
(Fr.)
in length from 5 ft. to 7 ft.
sight. in., 9^
forms a sweeping, graceful curve (for-
Livret (Fr.) Libretto.
ward from the player's lips, upward
Lo(It) The. and backward over his left shoulder,
Lob'gesang or and forward again over his head), and
(Ger.) Song hymn of
praise. terminates with a broad circular flat
Loch in der Stinime (Ger.) plate (about 10 in. in diam.) in lieu of
"
"Hole a flaring bell. This
in the voice said of that part of a
;
plate is ornamented
with bosses in front, and on the rear
register in which certain tones cannot
be made to " with several small bronze
tassels, de-
speak" on account of a
morbid state of the vocal pending loosely. The Lur has a cupped
organ.
mouthpiece, shallower and more nearly
Lo'co (It) Place; signifies, following V-shaped than that of the trombone.
LUSINGANDO-MACHtTE.
The tone is powerful and mellow. 2. 10 in number, were stretched from this
The modern Lur of Norway and Swe-
, cross-bar to or over a bridge set upon
den, is
usually made of birch bark, and the soundboard, and were plucked with
is allied to the Swiss alp-horn. a plectrum. The names of the strings
Lusingan'do, Lusingan'te (It.) Coax- (whence were derived the names of most
also lusinghSvoh. of the tones in the Greek modes) on the
ing, caressing ; , .
1'
JV/fr, "last, or "lowermost" (the high-
or At 0^.:.The body has no ribs, est in pitch).
the back being, like that of the mando-
The Kithara may be considered as &
lin, in the vaulted shape of half a pear.
large form of the lyre, the Chelys as a
The strings, attached to a bridge fixed treble lyre. The lyre differed from the
on the face of the instr., and passing
harp in having fewer strings, and from
over or beside the fretted fingerboard, the guitar, lute, etc., in having no fin-
were plucked by the fingers, and varied
gerboard ; its compass and accordatura
in number from 6 up to 13, the highest
varied greatly. It was chiefly used to
or melody-string (treble, canto) being
accompany songs and recitations. 2.
single, and the others in pairs of uni- An used in military bands, con-
instr.
sons. Bass strings off the fingerboard,
sisting of loosely suspended steel bars
each yielding but one tone, were gener-
tuned to the tones of the scale and
ally attached to a second neck ; they struck with a hammer. 3. See Re bee.
were in later times covered with silver
Lyric, lyrical. Pertaining to or proper
wire, the other strings being of gut.
These bass strings were introduced in
for the lyre, or for accompaniment on
the i6th century, and led to divers modi- (by) the lyre ; hence, adapted for singing
or for expression in song. The term is
fications in the build of the instr. the ;
various forms of large double-necked applied to music and songs (or poems)
lutes then evolved (theorbo, archiliuto, expressing subjective emotion or special
moods, in contradistinction to epic (nar-
chitarrone) being general favorites, and
and dramatic (scenic, accom-
rative),
holding, from the isth to the I7th cen-
panied by action)... Lyric drama, the
tury, the place in the orchestra now oc-
opera. .Lyric ofera^ one in which the
.
" "
Mad'rigal, (Ger, and Fr. Madrigal'; the Magnificat anima mea dominum
It. madrigqfk, madriafle, mandria'le.) (my soul doth magnify the Lord), the
a short poem of an or song of the Virgin Mary (Luke
Originally, lyrical hymn
amorous, pastoral, or descriptive char- I, 46-55), sung in the daily service of
acter. Hence, a poem of this kind set th Church.
to music, which is polyphonic, with in-
Main (Fr.) Hand . . . M. droite (gauche),
cessant contrapuntal variations, and
harmonique, right (left) hand...^f.
"based (in the stricter style) on a caritus
harmonic hand,
frmusj-'it is without instrumental ac- Maitre
(Fr.) Master.. JIT. de chafette,
companiment, and differs from the
Motet in being of a secular cast. This Kapellmeister, conductor. ..M.de mit~
sique, (a) conductor ; () music-master,
style of composition appears to have
teacher.
,
had its rise in the Low Countries to-
wards the middle of the I5th century, Maitrise (Fr.) In France, prior to 1789,
a music-school attached to a cathedral,
-
spreading thence to other European
and cultivated with suc- for the education of young musicians,
States, peculiar
cess in and well into the who were called enfants de chaur. Some
Italy England
few were reestablished, and still eadst.
i8th century ;
in England the Madrigal
x
Society still flourishes. Madrigals are Majesta tisch (Ger.) Majestically).
written in from 3 to 8 or more parts, Fr. majeur ; l\*mag-
Major. (Gvc.dur; "
and are best sung by a chorus, which
' gio're.) Lit. greater", and thus opp, to
**
feature forms one of the chief distinc- minor lesser." (Comp. Phone Inter-
, ^
, tions between the M. and the Glee (for val?) .Major cadence, one closing on a
. ,
solo voices).
major triad. .M. chord or triad^ one
.
osity.
co'nico {-nio'sO) -no* so), melancholy,
Mae'stro (It.) A master. . .M. alcem'- dejected. Also Melanconi'a, etc.
fo/<?;term formerly applied to the con- Mancan /do (It.) Decreasing in loud-
ductor of an orchestra, who sat at the
ness, dying away, decrescendo; usually,
harpsichord instead of wielding the a combination of decrescendo and ral-
"
baton. . .M. dd$u1?ti, master of the leniando is intended (v. Tempo-mark).
1
dolin.
. . M.
di capptfla, (a) choir-master ; ()
Man'dolinfe). (It mandoli'no.) Aninstr.
-conductor; (f) Kapellmeister (conduc-
tor of chofus and orchestra). of the lute family, the body shaped like
that of a lute, though smaller, having
i(Gk.) An ancient Greek instr. wire strings tuned pairwise, played with
-with ao strings tuned in, octaves two
by a plectrum, and stopped on a fretted
two* ; hence the term mag'adize, to
'
and (2) the Milanese (mand. lumbar*do), Para'dtmarsch ; Fr. Pas ordinaire) has
which has 5 or 6 pairs, ? about 75 steps to the minute ; the Quick-
tuned g-^-cfi-d*-? (orr ., n step (Ger. Geschwind'marsch; Fr, Pas
g-b-e -a -d*-e*). Com- .'fly
l l
redoubti), about 108 ; while fora Charge
-
.'
pass aout
about 3 octaves :^J' (Gen Sturm'marsch ; Fr. as charge) P &
some 1 20 steps per minuteare reckoned.
Mandolina'ta (It.) A
piece for mando- ..Besides these military marches of a
lin, or played with mandolin-effect.
bright and martial character, Funeral
Mando'ra,Mando're, SzmeasMand'ota. or Dead Marches are composed, slower
Ma'nico (It.) Neck (of a lute, violin, etc.) in movement and more solemn in effect,
vided with a mechanism for the rapid Matins. The music sung at morning
adjustment of the pitch. prayer, the first of the canonifal hours.
diapason nearly resembling the Clara- % record can be made to reproduce the
by means of a treadle worked by the The attack and increase was formerly
player. Crescendo and dfcrescendo effects called forma're il tuono ; the sustaining
are producible at will, and the tone is 02 of the ff tone, ferma're il tuono ; and
delightful quality. the decrease and close, fini're il tuono.
MeToplaste. A
simplified method for Messan'za (It) A quodlibet
learning the rudiments of music, inv Me'sto (It) Pensive, melancholy*..
by Pierre Galin about 1818. Instead of Mestamen'te, plaintively, grievingly.
teaching the notes, clefs, etc., at first, (Also con mesti'zia.)
he took merely the 5 lines of the staff,
Mesure (Fr.) Measure ; a measure ; a
singing familiar airs to the syllables do, la m., in time (i. e. a
re, mi, etc., at the same tune showing tempo, a battu'ta).
with a pointer the position on the staf
.
.Mesure*, measured. (See Time,)
of the notes sung. For teaching rhyth- Metallo (It,
"
"metal".) A ringing,
mical relations he used a double metro- "metallic quality of voice.
nome marking both measures and beats, A in which
Metal'lophone. pfte.
Me1os(Gk.) "Song". The name be- graduated steel bars take
the place of
stowed by Wagner on the style of reci- strings. 2. An instr. like the xylo-
tative exemplified in his later mus phone, but with bars of metal instead
dramas. (See Recitative.) of wood.
i clarinet 2 and
Aj> piccolo
2
Rhine, Thuringia, and Saxony ; in the
.
3 ]$. clarinets trumpets
8 jst Bb- clarinets 2 flugeihoras hands of their successors, the Mei'ster-
"
4 and " 4 French horns singer, it
degenerated past recognition,
u 2 EK alto horns
4 3rd " x
i alto
u '
a Bfr tenor horns Mi nor. (Ger. klein, moll; Fr. mineurj
i bass 2 euphoniums It. mino're.) Lesser ; smaller (comp.
i sopr. saxophone 3 trombones
-
ilto bombardons Interval, Major\ Phone). . .Minor tone^
S
tenor
u drums the lesser whole tone 10:9,
i 3
"
1 bass i pair cymbals
2 bassoons Minstrel The minstrels of the middle
In France, in accordance with the ages were professional musicians who ,
(2) suppression of 4 saxophones, and England they coalesced with the Anglo*
Saxon "gleemen". Their favorite
substitution of 4 more clarinets; (3)
instr. was the rebec.
suppression of 2 barytone saxhorns, for Negro Minstrels\
. .
which 2 bass saxhorns are substituted. singers and actors portraying (originally)
scenes from Southern plantation-life.
Mimodranuu (Fr. mimodramt^ A pan- The chief performers of the troupe are
tomimic dramatic performance, often the middle-man or interlocutor and the
accomp. by music. two end-men (so called from their re-
Minacce'vole (It) In a menacing or spective positions in the semi-circle of
threatening manner. (Also minacce-uol- performers on the stage); the former
men'te minacdan'do^ minacdo'so, min-
}
leads the talk and gives the cues, while
acciosamen'te.) the latter preside over the tambourine
"
Mineur Minor. and bones", and crack the jokes.
(Fr.)
Min'im* Minuet'. (It. minuet*to; Fr. menuet; Ger.
(Lat mi'nima; It, mi'nima or
-
bian'ca; Fr. minime <x blanche; Ger. Menuetf^ One of the earlier French
hafbeWte.) i. half-note. 2. See A dance-forms* supposed to have orig-
inated in Poitou ; it dates as an art-
Notation, 3.. .Minim-rest, a half-rest.
product from about Lully's period (end
_ i,-aauger (Ger,, sing, and of 17th century), and, as such^
prop-
pi.) One of the German troubadours, erly consists of 2 minuets, or a double
or lyric poets and
singers of the I2th minuet with contrasted sections of 16
and i sth centuries, who were measures each, the second forming the
exclusively
of noble lineage;
distinguished from Trio, after which the first 'is
repeated.
theirSouthern contemporaries by their It is in. and has a
triple time, slow,,
chaster conception of -love
(Min'ne, stately movement, eschewing prn4- a.11
-
'
Suite, Sonata, and Symphony Bee%h ;
in ffc Swabta"flalect) on 'the ven was the first' to introduce hv'itfi
Chiefly
MIRACLE-MODE. 123
stead, in the 2 latter, the livelier and canon, one in which the successive parts
freer Scherzo ; in the Suite it figures, enter at different intervals. ..Mixed
by way of contrast, between the Sara- chorus, quartet, voices, vocal music
bandeand Gigue. combining male and female voices.
Rome. 8 4
^Wfrot^-f -^ ). In some old German
Mis'sa (Lat.) The Mass. . . M. brei/is, organs mixtures are found having from
short rnass...^/. canta'ta, chanted 8 up to 24(1) ranks, there being, of
mass. ,M.pro defunStis, see Requiem.
. course, several pipes to each harmonic.
..M. sohmfntSy wsolen'nis, high mass. Mixtures are used to reinforce and
Miss'klang (Ger.) Discord, cacophony. Mode. i. For Greek nwdes, see Greek
music. 2. (Lat. mo'dus.) The medie-
Misterio'so (It.) Mysterious... Miste- val church-modes were octave-scales,
riosamen'te, mysteriously.
like theGreek modes, and also borrowed
Mistichan'za"(It.) A quodlibet theirnames (see below) from the latter;
Misu'ra (It) A
measure. .Misura'to,
<
. but they, and the fundamental diatonic
measured, in exact time. scale A-a, were conceived as ascending
^
I (Do'rian). Mode II (Hypodo'rian).
r r i
'
^
Modelll (Phrygian).
,
" r r r =
124 MODE HELL^NIQUE MODERATO.
AUTHENTIC MODES, PLAGAL MODES.
Mode X (Hyposeolian).
Mode IX
^
Mode XI (Lo'crian).
?^& EE==!
Mode XIII [or XI}(Io'nian).
S
Mode XIV [or XII] (Hypoio'nian).
S
In the authentic modes the Final major and (A-) minor scales of modern
(what we should call the key-note) is the music ; then, however, the last 4 modes
lowest tone ; in the plagal modes, a were added. The Locrian (B-b) and
fourth above the lowest ; it is marked Hypolocrian (F-f) were rejected as
by a whole note in the Table. Each useless, neither fulfilling the law that
plagal is derived from a parallel authen- each authentic mode should be divisible
tic; St. Ambrose is supposed to have into a perfect fifth plus a perfect fourth,
established the first 4 authentic modes, and each plagal mode into a fourth plus
to which St Gregory added the corre- a fifth. Both the names, and the pre-
sponding plagals ; these 8 were exclu- fix hypo-, are used in a sense different
sively employed in serious composition from that of the original Greek modes
down to the i6th century, despite the the medieval theorists having misinter-
kck of any scale similar to the (C-) preted the Greek nomenclature.
g a b c 1 d 1 e 1 f1 g
1
Hypophrygian
n Mixolydian (Mode VII, 4th authentic)
I* ii
c d e f g a b c
1
Hypolydian (Mode VI, 3 rd plagal)
The gradual development of monodic, mode). The inverted major scale, be-
harmonic, and chromatic music, the ginning on the 3rd degree :
Moder'ao,-a (It) Modern ; alia moder- be isolated, and intervals of true pitch
na, in modern style. obtained. Anof the same name,
instr.
and Fr. Modulation'; Fr. also transi- lengthwise to the top of an oblong re-
tion; It. modulaziqfne) Passage from sonance-box.
one key to another change of tonality.
;
A modulation may be either final or Mon'ody. (Ger. and Fr. Monod^; It. A
monodi'a) style of composition
transient ; it is final when the new
(monod'ic or monophon'ic) in which one
tonic is permanently adhered to, or still
another follows ; transient (transitory, part, the melody, predominates over the
rest, they serving as a support or ac-
passing) , when the original tonic is
comp. to it. It took its rise in Italy
speedily reaffirmed by a cadence... about 1600, in the form of a vocal solo
Chromatic modulation, one effected by
with instrumental accomp., the latter
the use of chromatic intervals ; diatonic
being at first a mere figured bass exe-
m., one effected by the aid of diatonic cuted on the harpsichord, theorbo, etc.
intervals ;
enharmonic m,, one effected
Its novelty lay, not in its newness, but
through employing enharmonic changes
to alter the significance of tones or
in its employment and recognition by
intervals.
artists. developed info the opera,
It
cantata, and
oratorio on the one hand,
Mod'ulator. See Tonic Sol-fa. and, on the other, into all those forms
of instrumental music in .which the ele-
Mo'dus(Lat) Mode.
ment of accompanied melody is found,
Moll (Ger.) Minor. .Moll'akkord, mi- .
as the suite, symphony, etc. (Also
nor <hoi:d....Mollfdreiklang, minor
triad. . .Moll'tonart, minor Homophony^ Monophony.)
key. . .
Moll'tonleiter, minor scale etc. , etc. ; Monoph'onous. Capable of producing
"
MoI'le (Lat., soft".) A term probably but one tone at a time opp. to poly- ;
first used in the loth century to desig- fhonous. .MonQph'cny, see Monody. .
to the minor key and triad (with flat cending. 2. To raise the pitch of. 3.
To put strings on an instr.; also, to
third).
put an instr. together, to set it up.
Mollemen'te (It.) Softly, gently.
Montre (Fr.) In the organ, the. dia-
Mol1is(Lat> Seelfe/&, so called because
"
shown" or
A metrical pason ;
itself.
Music-wire. Steel wire for the strings
Muances (Fr.) See Mutation 2. of mus. instr.s.
Mund (Gen) Mouth. ..Mund'harnio- Musik' [-zeek'] (Ger.) Music. .Miui#- .
atre (theatrical) music... M. di gatfti, the foundation- (8-foot) stops; i. e., all
charivari (see KatzenmusiK). tierce and quint-stops, and their octaves.
Musical box, Music-box. The so- Mnte. I.
Ddm'pfer; Fr. sour-
(Ger.
called Swiss music-box consists of a dine; It. sordi'no.) The mute for the
metallic cylinder or barrel studded with violin, etc., is a piece of brass or other
small pins or pegs, and caused to re- heavy material, having cleft projections
which permit of its firm adjustment on
volve by clockwork. In revolving, the
the bridge without touching the strings ;
pins catch and twang a comb-like rpw
of steel teeth arranged in a graduated its weightdeadens the resonance of the
scale, each tooth producing a tone of
sound-box. (Recently made ia the
form of a spring clip.) The direction
very accurate pitch. In the larger instr.s
the barrel may be shifted so as to play for putting on the mutes is "con sor-
several tunes, or is made exchangeable dini"; for taking them off, "senza
for others. For the newer music-boxes, sordini". 2. A
pear-shaped, leather-
compare Symphonion, Libellion, co.veredpad introduced into the bell of
the horn or trumpet to modify the tone.
Musician. (Ger. Mu'siker; Fr. musi- Other forms of this mute are (for the
den; It mufsico, musid'sta!) One horn) a pasteboard cone with a hole at
who practises music in any of its the apex, and (for the trumpet) a cylin-
branches as a profession. drical tube of wood pierced with holes.
Music-pen, i. A
soft-nibbed, broad- Mu't(hjig (Ger.) Spirited, bold. (Also
pointed pen for writing notes, etc. 2. adverb^
128 MUTIERUNG-NATURAL.
Mtttie'rung (Ger.) Mutation I. rosin ;
the tone is like that of the har-
monica. Inv. by Johann Wilde of St,
Mysteries. (Ger. Myste'rien; Fr. mys-
tires.) Medieval scenic representations Petersburg, toward the middle of the
of biblical events, arranged originally l8th century,
by the monks, and generally accom- Naked fifth (fourth). A fifth (fourth)
Auflosungszeichen;
..Nachfruf) a farewell, leave-taking. Fr. be'carre; It. bequa'dro?) The sign ft
. .Nactfsatx,
after-phrase, second phrase (see Chromatic Signs). 2. white A
or theme, contrasting with Vor'dersatz. on the keyboard. . . Natural har~
digital
Nactfschlag, (a) the unaccented
" appog- monies, those produced on an open
giatura () "after-beat of a trill (also which are
;
string; opp, to artificial,
Nach*schleife)... Nach'spiel, a post-
produced on a stopped string. . .Natu-
lude. . .Nach'tanz, see Saltarello 2. . .
'ral hexachord, that
beginning on C. . .
Nach und nach', step by step, gradu- Natural horn, the French horn without
ally. valves... Natural interval^ one found
Nacht (Ger.) Night. .
.Nachfhorn, between any 2 tones of a diatonic major
Nach?schall, a flue-stop in the organ, scale. .Natural key, see Nat. scale. . .
,
QuintatBtt or the HoMfioU. . .NacJiif- C-major, having neither sharps nor flats,
hornbass, the same stop on the pedal. ..Natural tone> a tone producible, on a
. .Nacht'stuck, a nocturne, wind-instr. with cupped mouthpiece, by
Nania, simply modifying the adjustment of the
-
Nicht(Ger.) Not.
klang, secondary triad, . .Nibtnge-
danke, accessory theme or idea. . . Ni'colo A large tind of bombardon
(It.)
benklang, accessory tone (either^
es-
(iyth century) ; precursor of the, bas-
sential, as harmonics, or unessential). soon.
, .Nebennote, auxiliary note. . .Nefben-
form.
Nota contra notam (Lat.), note against
Noc'turns. Services of the Church held note, equal counterpoint. . . ^V. d*abbelli-
Psalm set aside for this purpose being a passing-note. .N. falsa, a changing-
.
EC - ce* Ve - re Is - ra - he - li -
ta, in quo do - lus non est.
dots on the lines. To Guido d'Arezzo ing from that of Plain Chant by express-
is generally ascribed the systematization
ing a determinate (relative) time-value
of the tones in its notes, which were
and introduction (about 1026) of the
invented for the exact indication of
4-line staff> in which both lines and
rhythmic relations, appeared near the
spaces were at length utilized; he re-
tained the red and yellow lines, added a beginning of the I2th century. The
notes" in use for some 200 years, and
third (black) line between them for a, imitated from Plain Chant, were the
and a fourth (black) line either above or
below these three, according to the Large (*^) or duplex longa or maxima;
l
range of the melody written, for e or d; the Long or knga; the Breve (p),
He did not use notes, but either letters (^
and the Semibreve (+ or jr) to which ;
or neumes.
A were then added the Minim ( 1) and
2. being thus established,
staff
and 'affording a firm basis for exactly Semiminim (1). Early in the I5th'
fixing the pitch of written music, the were supplanted
century the first five
neumes hitherto in ordinary use gradu- 1
Perfect Imperf. Perf. Imperf. Breve- Semibr.- Minim-rest Semiminim- Croma- Semicr.-
Large- Large- Long- Long- rest rest (Suspirium) rest rest rest
rest. rest rest, rest. (Pausa) (Semipau.) (Semisuspirium).
fe|
132
NOTATION.
and (diminutio) an acceleration of the equal notes, and occurred either when
1
tempo, generally reducing the integer the next largest kind of note was per-
valor by one-half. The diminutio was fect, and the 2 (smaller) notes stood
first expressed by a vertical line through between two such large ones, or when
or the 2 notes were separated from a
thetempus-signature ( (J ft) (f),
following note of equal or smaller
by inverting the semicircle (j )f also value by a punctum divisionis; e.g.
by adding to the te#z/#,r-signature, in
the midst of a composition, numerals HOO |=4
in tempus perfectum (Q)
would be expressed thus in modern
or fractions (3, 2, f, f, f,) 2 or Jthen
signified that 2 /<zr/^ (semibreves ^)
notation ( e \
d & o \
*
)
were equal toi Oof the preceding tem- The PunStum or Punc'tus (point,
po ; Augmentatio was gen-
etc., etc. dot) had various uses ; (a) Punctum
erallyemployed to reverse a preceding augmentation nis equivalent to our dot ,
diminutio; the sign for which was sim- of prolongation ; (o) Punctum altera*
ply annulled by the usual sign for the tio'nis, which, placed before the first
integer valor (Q ) or by the in- of 2 short notes lying between 2 long
version of the fraction ( J, \ etc.) These
, ones, doubled the value of the second
fractions, however, were properly short note and restored the perfection
termed signs of Proportion. of the 2 long ones (c) Punctum per- ;
'
. . .Hold*
qualities of the
tones other than their
NOTE-OBBLIQUO.
"ing-note,a tone sustained in one part time, triple timeflte, $tte, to quartet,
;
while the other parts move*. .Leading quintet... (It) 3% 4*, 5', 6% 7*, con-
note, Master-note, see Leading-note. . . tractions of Terza, Quarta, Quinta,
Open nqic, a white note . . . Passing note, Sesta, and Settima respectively; <?or <$**,
see Passing-note * . .Redting-note, see "all'ottava"; 75, "allaquindecima,"
Rtdting* . . White note, see Black note. .
,(Fr.) 2p,4p, 8p, i6p,equiv. to 2-foot,
Note A
.N, acddentfe, an
note. 4-foot, etc. . .Roman numerals are used,
(Fr.) .
etc.; or, finally, any single piece on a Obbliga'to (It.) Required, indispensa-
program. 2. Equivalent to Opus-num- ble. An obbl. part is a concerted (and
ber, therefore essential) instrumental part;
OTjer (Ckr.) Over, above, higher... 0'- pipe. It has an elongated bird-shaped
berdominance, the dominant (opp. to terra-cotta body 5 or more inches long,
Unf terdominante, the subdominant) . . .
provided with a varying number of fin-
tfberlabium, upper lip (organ-pipe) . . .
ger-holes, and with a mouthpiece like a
Q'bermanual, upper manual . O'ber- . . whistle projecting from the side. The
stimme, highest part. O'bertaste, black
. . tone is mellow and fluty. The better
key. ,
O'bertdne, overtones, harmonics;
, kinds are provided with a tuning-slide.
pMnischer Oberton, the 1 5th partial.. Occhia'li (It.) Same as Brillenbasse.~
.O'berwerk Germany), ^0z>-organ
(in Also, recent name for the white notes
(when organ has 2 manuals); swell-vc- (o and J,
ean (when organ has 3) ; .M/0-manual
Ochet'to Oche'tus See
(when organ has 4 manuals). (Abbr. (It.), (Lat.)
Hocket,
Obw,, or 0. W,)
Oblig6 (Fr.) Ob- Octachord, i. An 8-stringed instr. 2.
Obljgat',-o (Ger.),
bligato.
A series of 8 consecutive diatonic tones.
of conical bore; the keys are so arr. ries are also composed with instrumental
that the fingering is similar to that of accomp.
the clarinet, oboe, etc. The tone is Oficle'ide (It.) Ophicleide.
quite powerful ;
the timbre between
oboe and horn. Made in 2 sizes, Ify
Oh/ne(Ger.) Without.
cl c\
"
and ; compass 3 octaves, Oh'renquinten (Ger., ear-fifths ".)
Octavo attachment. See Octave-pedal, Covered fifths, the ill effect of which
under Pedal. the ear detects (or is supposed to de-
tect) ;
sometimes used to designate
Octet^ (Ger. Oktetfj Fr. octette; It. mere theoretical finicalities.
ottetto) A composition for 8 voices
Okta've (Ger.) Octave. .. Oktaviiren,
orinstr.s.
to produce, when overblown, the higher
Octo-basse (Fr.) The octo-bass, an octave of the lowest natural tone of the
immense 3-stringed double-bass 4 me- tube (w\K&-m*ti.*)...Okta'i/chen, Ok-
tres in height, provided with a median- ..
tat/flote, piccolo. Oktafvengattungen,
ism of digitals and pedals for stopping octave - scales . .
.
Okta'venverdof'pelun-
the strings ; it is a third lower in pitch f
gen, OktaT/folgen,-paralle len, parallel
than the ordinary double-bass (Ci-d-C), or consecutive octaves . . Oktatf- Wald- .
Oc'tuplet. A
group of 8 equal notes
O'lio. A medley, or mus. miscellany.
having the same time-value as 6 notes Olivettes (Fr.) Dances after the olive-
of the same kind in the regular rhythm. harvest.
Ode. A lyric
poem intended for singing,
Om1>ra (It.) A shade, shading, nuance.
and expressive of lofty and fervent
Om'nes, Om'nia (Lat.) All. See TuttL
emotion; it has no set characteristic me-
Om'nitonic. (Sr.omnitonique^ Having
tricalform. Also, the musical setting
or producing all tones, chromatic; as
of such a poem. -
(q. v.) as an art-style, and its application ticularly of Wagner). France continues
to dramatic purposes. The first in the footsteps of her national
opera compos-
given was probably "Dafne" (music ers (Gretry, Mehul, Boieldieu, Adam,
by Peri and Caccini, book by Rinuccini) Herold, Halevy, Auber, Meyerbeer,
in 1594, which was lauded to the skies
Gounod). To the purification, or rather
as a successful return to the musical
annihilation, of the quasi-dramatic form
declamation of the ancient Greek trag- of the grand opera, Richard
Wagner
edy. The dry stilo rappresentati-vo of (1813-1883) devoted all the powers of
the earliest operas was improved upon his marvelous genius. The guiding
"
by Monteverde (1568-1643), who em- principle in his Musikdramen" (musi-
ployed vocal and orchestral resources cal dramas) is the harmonious
coSpera-
with a freedom undreamed of up to his tion of the dramatic, poetic, scenic, and
time, justly earning him the title of musical elements ; thus, the action of the
'*
father of the art of instrumentation". drama must never be checked or veiled
His orchestra for the opera "Orfeo" by purely musical episodes, however
(1608) is given below :
charming in themselves the music must ;
Viole da Braccio, x Arpa doppia, A Violin! pic- fects of the action, and nothing else.
coli alia francese, 2 Chitarroni, 2 Organi di Hence the discontinuance of cut-and-
legno, 3 BassidaRamba, 4 Tromboni, i Regale,
a Cornetti, x Flautina alia aada, x Clarino, con driedmovements and leveling of tradi-
3 Trombe sorde. tional forms, the rarity of full cadences
With Alessandro Scarlatti and harmonic sequences, the richly
(1659-
modulated flow of inspired melos, the
1725) begins the era of modern Italian "
absence of vain repetitions" of words
opera ; the sensuous charm of melody
asserts itself more and more strongly and phrases, the uninterrupted dramatic
;
the singer becomes master of the situ- interpretation by the orchestra of scenes
and moods. Both the grand opera and
ation, and operas are written to his
order. This tendency, early transplant- the Wagnerian drama find zealous ad-
ed with Italian opera to France and vocates and imitators ; these, together
with operettes of most various com-
Germany, was combatted by leading
composers of those countries; Lully plexion, are the typical forms of musico-
dramatic composition at present. The
(1633-1687) and Gluck (1714-1787)
were reformers of the musical drama in comedy-opera, varies the form of grand
ridding vocal diamatic music of super- opera by the interpolation of spoken
fluous melismasand coloraturas, making dialogue . . .
Opfra-boujfe [formerly &?#/"-
it follow throughout the course and fon\ (Fr.), light comic opera. .. Opera
sense of the action. The grand or bttjfa (It.), Italian opera
of a light and
Aeroie opera, with its full choruses and humorous cast, comic opera in which
and recitatives, and all the dialogue is carried on in recitative
finales, its arias
varieties of ensemble (duets, trios, secco, instead of being spoken. , .
Optra
. .
quartets, etc.) is a growth due to the comique (Fr.), comedy-opera . Opera
of Italian opera upon the scri<t(lt*)t serious (grand, heroic, tragic)
grafting
French musical stock, and is the style opera ; opp. to opera bufa.
especially affected by modern French Ger. and Fr. Operefte.)
Operet'ta (It.;
composers ; the formal plan of Italian A "little opera", with reference either
opera was likewise adopted by the great to duration or style of composition.
German composers, but with an infusion The text is in a comic, mock-pathetic,
of artistic potency and sincerity which
parodistic, or anything but serious vein;
raise their productions far above the
the music light and lively, in many
earlier level (Mozart, Beethoven), and cases interrupted by dialogue. The
a tinge of German romanticism which
English Ballad-operas and the German
lends them a truly national color (Weber,
Singspiele are varieties of the operetta.
Marschner). In comedy-opera the Ital-
Modern masters of this style are Offen- -
ians were also pioneers (Pergolesi, bach, Lecocq, Strauss, Sullivan, etc.
Cimarosa) ;
then follow the French
(Gretry), and lastly the Germans (Mo- Oph'icleide. (It Ojick'ide^ The bass
zart), all inthe i8th century. Recent instr.of the key-bugle family (brass in-
Italian operas show a distinct reaction struments with keys), now little used; it
against the old type, and bear witness was made in various sizes and of differ-
to the strong influence of Germany (par- ent pitch ; (i) as bass ophicleide in C %
138 OPPOSITE MOTION ORCHESTRATE.
a semi- rg_. (
2 ) as ^~ ancient -Greek theatre,, for the chorus,
,tone,chro- p B: j |~ ophicleide
between audience ^and stage ; () Jn
matically
ascend-
3 ^C ^
-F and
com-
ancient Rome, for seats for distin-
guished personages,
in the same
place ;
"fj |b ^ the (c) in the modern theatre,
for the band
ing from: pass
as of instrumentalists, placed in front. of
same,
u tE
but
gp upward
cmtraha,
, (3)
the stagehand either just below the level
|^ ^p^ contrabass _
,
j
|
2#
than the alt-ophicleide. Only the bass Jialf-roof concealing the musicians from
their solemn and majestic breadth the jng others. On the other hand, by Je^v-
fundamental characteristic of oratorio- ing out the trombones, 2 of the horns,
style), is a product of the early i8th and even the kettledrums and clarinets,
century (Haydn, Handel). (Coiop.Mys- we get the small orchestra. Groups 2
Urifs^ Passion, Opera.} Rubinstein's and 3 constitute what is called the
"
"geistlkhe Opera (sacred operas, "wind-band".
P#radis;e Lost% Tower of Babel, Moses,
Orchestral flute. An organ-stop dosely
Ghristus) are also called oratorios-, al- "
Tu pa - tris sem *
pi
- ter - nus H - us.
Tu pa - tris sem -
pi ter - fi
-
H
(Ger.) Organ. . .
OSgelgehause, ground bass hence the use of ostinato^
;
Or"'gelmetall, organ-metal.
organ-case. substantively, as a technical term for
. .
. .
organ-point Or*gel- . . .
the incessant repetition of a theme with
Ofgelpunkt,
register, organ-stop .
Or'gel'wolf, ci-. .
a varying contrapuntal accomp.
phering (also Heu'leri).
Otez (6tez) (Fr.) Off (in organ-mus.)
Orgue (Fr.) Organ... 0. de Barbarie,
otacylindre, barrel-organ. Otta'va (It.) Octave. .All'ottava (usu-
, . 0. expres- .
"
sif, (a), an harmonium; () swell-or- ally abbr. to 8va or 8 or #-""*), at
rations admitting the reeds and rhyming alternately and the last 2 form-
wind^'to
thus producing music. ing a couplet.
Overstring'. To
arrange the strings of Pae'an (Gk.) hymn* to Apollo ; aA
a pfte. in 2 so that one set lies
sets, hymn of invocation or thanksgiving to
over and diagonally crossing the other ; Apollo or other help-giving god.
a pfte. so strung is called an overstrung Pae'on
(Gk,) A
metrical foot of 4 syl-
in contradis- It has 4
pfte. (Ger. krcusfsaitig), lables, i long and 3 short.
tinction to vertical* forms according to the place occupied
Overtone. See Acoustics. by the long syllable; namely, first
OVertnre. (Ger. Oiwertii're; Fr. ouver-
It. ovcriu'ra , sinfoni'a?) A
mus. third '
*-'), and fourth paon
turt;
preludeor introduction. The first Ital-
ian opera-overtures were simple vocal Paired notes. A proposed equivalent, in
(sung) prologues, or instrumental pre- pfte.-technic, for the term double-stops
ludes in vocal (madrigal-) style ; with on the violin, and for the G.er. Dop'pel-
Scarlatti the overture or sinfonia as- griffe; i.e. 2parallel series of notes
sumed a purely instrumental character, played with one hand, as thirds, sixths,
and was written in three divisions (I and octaves.
allegro, II slow, III vivace, presto) ;
Palalalka.
See Balalaika.
hence the overture in with
sonata-form^
2 or 3 contrasting themes following a PaTco (It.) A
stage ; a box (theatre).
short and slow introductory passage, Palestri /nastil (Ger., "Palestrina-
and repeated after a more or less ex- style ".) Equiv. to a cappella style (It.
tended development-section, but differ- alia Palestrina).
ing from the true sonata-form in lack- Palettes The white keys of
(Fr., pi.)
ing the characteristic reprise before the the keyboard ; opp. to feintes t the black
development. This overture in sonata-
-
keys.
form is the parent both of the modern
Palimbac'chius. See Antibacchius and
Symphony and of the Concert-overture Bacchius.
(a term derived from the custom of per-
forming real opera-overtures as separate PanMeaa Pipes, (Also Pan's-pipe$ r
era-overtures not in this form are either antiquity it consists of a set of gradu-
;
yieldingly and discreetly the solo part of staves scored (hence Engl Score) by
or voice. 2. A
movement. the vertical lines of the bars drawn from
Partial stop. See Stop. .Partial tone,
. top to bottom.,
see Acoustics. . .Partial
turn, see Part-music. Concerted or harmonized
Turn I. music; a term, properly applied to vocal
music of this description, (See Part-
Participating-tone. See Accessory. *
. .The
structure. part-song being essen- pany, and passing by steps from one
tiallya melody with choral harmony, chord to another. They differ from
the upper part is in one sense the most suspensions in not being prepared, and
important. .The words may be either
, in entering (usually) on an unaccented
amatory, heroic, patriotic, didactic, or beat.
even quasi-sacred in character... The
Passion, Passion-music. A musical
part-song. ..is one of three forms of setting of a text descriptive of Christ's
secular unaccompanied choral music,
sufferings and death (passion). Its be-
the others being the madrigal, and the
ginnings are traceable back to the 4th
glee... Like the madrigal and unlike
century; the oldest music extant is a
the glee, the number of voices to each
solemn plain-song melody of uncertain
part may be multiplied within reason- date In a (can'ius passio'nis). quasi-
able limits. [GROVE,] dramatic form the passion is of later
Part-writing. The art and practice of origin and possibly directly derived
;
see Organ-point*
Coupler... Pedal-keyboard, the organ-
Pastori'ta. See Nachthorn. pedals (see Organ)... Pedal-note, see
Pedal-tone. ..Pedal-organ, the set of
Pastourelle (Fr.) i. A bucolic song, as
sung by the troubadours. 2. A figure stops (partial organ) controlled by the
in the quadrille. pedal-keyboard in playing. ..Pedal-pi-
ano, a pfte. provided with a pedalier. . .
Pateticamen'te (It.), Pathe*tiquement Pedal-pipe -soundboard, -stop, one be-
',
Pearly. (Ger. per' lend; Fr. perle ^ In see Loud pedal. . Harp-pedal, same as
.
piano-technic, a style of touch produc- soft pedal . . . Loud or open pedal, the
ing a clear, round, and smooth effect of
damper-pedal on the ^.^..Octave-
tone, especially in scale-passages ("like
pedal (A. B. Chase Co.'s, for pfte.),
a string of pearls "),
acts, when depressed, in such a way
Pedal. (Ger. Pedal'; Fr. ptdak; It that when a key is struck, the higher oc-
peda'le.) I. A
foot-key; opp. to digi- tave of the tone is also sounded. (Usu-
tal (see Organ and Pedal-piano). 2. A ally Octavo attachment^... Prolonga-
foot-lever ; as the swell-pedal of the tion-pedal, see Sustaining-pedal..
.Re-
organ, the loud and soft pedals of the versible pedal, a pedal-coupler. . . Sfor-
pfte., or the pedals of the harp. 3. A zando-pedal, a pedal in the organ
which
treadle, as those used for blowing the brings out the full power of the instr.
reed-organ, etc. 4. stop-knob or A for the production of a sudden and for-
lever controlled by the foot, as a cora- cible accent. . Soft pedal, the left pedal
.
-
opened ; they close Percussion, i. The striking or sound-
when the pedal
is released. ing of a dissonance, contradistinguished
Balance swell-pedal, the
modem form of organ, swell-pedal a from its preparation and resolution. 2.
:
lever in the shape of an iron plate made The act of percussing, or striking one
to fit the shoe-sole, and placed above body against another. The instruments
the centre of the pedal board. Depres- of percussion are the various drums,
sion of the toe-end of the plate opens the tambourine, cymbals, bells, triangle,
the swell-shutters; depression of the etc., and the dulcimer and pianoforte.
heel-end closes them. Called balance ..Percussion-stop^ a reed-organ stop
s.-p.because it remains at rest (bal- used to strike the reed a smart blow
anced) wherever the foot leaves it. simultaneously with sounding it, thus
Pdak(Fr.) "i. A pedal-key, the pedal- rendering -its vibration prompter and
keyboard being clavier des ptdales. 2. stronger.
Pedal (of the pfte.) ; petite ptdale, soft Percussive. An instr. of percussion.
pedal, "una corda". 3, pedal- A Perden'do, Perden'dosi (It.) Dying
point. morendo or diminuendo, to-
away j
Peda'le dop'pio (It.) Same as Doppio gether (in modern music) with a slight
pedale. rallentando.
tones ; pentatonic scale, see Scale. the chest h i. e. in a natural voice, not
Per (It.) For, by, from, in, through. . .
falsetto. . . Voce di petto, chest-voice.
Per ?or*gano, for the organ. .Per il Peu
. a'
peu (Fr.) Little by little, grad-
Jlauto s0& for solo
t flute. a little,
PEZZO^PHONE. 147
Pez'zo (It.) r. A piece. . .Pezzt concer- partials of the 'root are reinforced by
tan'ti, concerted -pieces. 2. A number actual tones. E. g. ,
(of an opera, etc.)
^ jppj
undertones (Tyndali's "clang"), but harmony: mony:
specifically themajor triad (generator The consonance of the minor triad is,
and higher and 5) or
partials [2] 3 [4] not derivable from the series of higher t
is <
, partials, o|
ator and lower partials [2] 3 [4] and 5) lower partials (undertones) diametricalfly v,
chord and under-chord respectively. 6, 8, 10, 12, 16, etc., in fact all tones (
modern theory of chords, RIEMANN is lower octaves of the 1st, 3rd, and
followed,] lower partials, are constft
2. There can be no doubt, that the ents of the minor triad below |
phone i"J
r~ planatioiu
148 PHONE.
-4-minor chord ;
in the former case, i minor chord, the over-phones (major
ismost closely related to ty and thej? phones) of its phonic root, quint, and
major chord ; in the latter, to anc , tierce; to which must be added the
the chords of -E-major and .E-minor under-phones of the respective leading*
Every tone may form an integral par tones. Thus, the following chords are
of 6 different phones ; for instance, th directly related to the C-major chord:
tone C
in the C over-phone (C-majo (7-major, /'-major, .E-major, \) -major,
A
chord) as major root, in the F over .Ep-major, /'-minor, C-minor, Jtf-minor,
phone as major quint (over-quint), in and .E-minor ; whereas, to the ^-minor
the Aj over-phone as major tierce chord, are 'directly related the chords
(over-tierce), in the C under-phone (F of :
jZXminpr, .E-minor, /'-minor, C#-
minor chord) as minor root, in the G minor, C-minor, /$-minor, .E-major,
as minoi ,4 -major, C-major, and /'-major. The
under-phone (6-minor chord)
quint (under-quint), and finally in th< relation of the tones depending on that
E under-phone (A -minor chord) as mi- of the the tonics (tonic phones), it fol-
nor tierce (under-tierce) :
lows, ^that any key is directly related to
Major chords Minor chords C-major (or ^-minor), whose tonic is
(read up). (read down). one of the phones (chords) given above
as directly related to the chord of
C-major
(or ./4
-minor).
5. PHONIC PROGRESSION (Klang-
folge) is the progression between two
Whenever the tone C enters into any chords with reference to their signifi-
other chord as a dissonant tone, or is cance as phones. 'The ordinary method
substituted for some chord-tone as a of marking the phones (major and mi-
suspended or altered tone, it is never- nor triads) b> the Roman numerals I,
theless always to be conceived as be-
II, III, IV, etc. (comp. Chord) is
longing to one of the above 6 phones, inadequate from the standpoint of free
i. e, to the one most
nearly related in tonality; e.g. this'passage:
any given case.
example, the'C-major triad is through- not, however, counting from the bass
out the tonic phone, to which the others note, but from the phonic root ; Arabic
are referable the A\> -major chord is
; numerals [read up !] for over-phones
its under-tierce phone, the j0-minor
(major triads), Roman numerals [read
chord is its second over-quint phone, down !] forunder-phones (minor triads).
and the -major chord its over-quint Thus i (I) =phonic root 2 (II) ;ma- =
phone. The first progression (C-major jor second ; 3 (III) =
major tierce
to A$ -major) reaches over to the under- 4 (IV) = perfect quart ; 5 (V) per-
=
;
Piace're, a (It) "At pleasure";^ piano "] Tr.piano [more rarely piano*
;
It. can'na dWgano.) (a) FLUE-PIPES lengthwise opening along one side cov-
are those in which the tone is produced ered by the tongue (the vibrating reed
of metal made
by the vibrationt4 of
a column of air proper), an elastic strip
fast at the top, but free below to vi-
within a tube or body ", the vibration
set up by an air-current forced brate >cross its upper portion passes
being ;
^ iy ** **
:
i
cj di ei
JL|.
NOTE. The double contra-octave is often written CCC^ DDD, etc., and the contra-octave
CC> DD, etc. ; also, instead of small figures, accents or lines are employed to mark the letters, as
C,, D,, or CD for C3 D a etc.; c' d', or c d, for c l d* etc.;-c" d", or c d, for c a d a etc.^-hcrice
the terms one-lined octave, two-lined octave, and once-accented octave, twice-accented octave, etc.
thirds). For instance, the tone e may by how many commas the tierce-tone
be reached either as the fourth quint obtained is lower or higher than the
above C (C-G-D-A-E), or by ascending corresponding quint-tone.
tf f3
PITCH-PIPE-PLAISANTBR1E.
Planchettc. i. A
board studded with Points (Fr.) Dotted.
pins or pegs, an essential part of the Pointer (Fr.) i. To dot. 2. To ex-
mechanism of the piano m&anique. 2. ecute staccato.
See Pianista 2.
Poitrine (Fr.) Chest; voix de p., chest-
Plantation. In the organ, the dispo- voice.
sition or arrangement on the soundboard
Polac'ca (It.) Polonaise... Alia p, in
of the pipes composing a stop.
the style of a polonaise.
Plaque* (Fr.) Struck at once; as un
accord plaqud, a
*
solid
" 4
chord ; opp.
Polichinelle (Fr.) A grotesque clo|-
dance; also, the tune to which it is
to arptgt, arpeggio'd, broken.
performed.
'Plec'trum (Lat.; Gk. ptecfron.) small A Polka. A lively
(Bohemian pulka.)
piece of ivory, tortoise-shell, or metal,
round dance in 2-4 time, originating
held between the forefinger and thumb,
about 1830 as a peasant-dance in Bo-
or fitting to the latter by a ring, and
hemia.. .Polka-mazurka, a form of
used in playing certain instr.s to pluck
mazurka accommodated to the steps of
or twang the strings (mandolin, zither ;
* the polka.
the zither-plectrum is called the 'ring").
Polonaise (Fr.; Gen Polonafse; It. po-
Plcin-jeu (Fr.) i. A
stop or combination A dance of Polish origin, in 3-
latfca^
of stops bringing out the full power of
4 time and moderate tempo, formerly in
the organ, harmonium, etc. 2. Same
animated processional form, but in the
as Pourniture.
modern ball-room merely a slow open-
Pli'ca (Lat.) One of the neumes.
ing promenade, supplanting the old
Plus(Fr.) More. Entree. The rhythm is characterized
Pneu'ma (Gk. "breath".) The long by the commencement on the strong beat
coloratura or vocalise on the last syllable with a sharp accent
of the Alleluia (early Christian Church),
STrTpH
so called because taxing the singers' and by the close on the last beat
lungs; a jubilation.
Pneumatic action. See Organ . Pneu- . .
tsrf H-
matic. organ, the ordinary pipe-organ, Polska. A Swedish dance in triple time,
as contradistinguished from the early somewhat like the Scotch reel, and
hydraulic organ. generally in minor.
Pochette (Fr.) A kit Polychord. ("Having many chords
Po'co [strings]".) An instr. in the shape of
superl. pochis'simo; dimin.
(It.;
A a bass viol, with movable fingerboard
pocJutti'no, packer to; abbr. po\) and 10 gut strings ; played either with
little. ..Poco a poco, little by little,
a bow or by plucking with the fingers.
gradually, . . Poco allegro\ rather fast ;
Inv. by Fr. Hillmer of Berlin, first half
poco largo, rather slow. of 'igth century. It never became pop-
Poggia'to (It.) Leaned or dwelt upon. ular.
'
posi-
and dignified style. tive or stationary organ opp. to for-
;
Ponctuation(Fr.) Phrasing. . .Ponctuer, tatif. Also, the French term for choir-
to phrase. organ ; and (in German) a small partial
Pondero'so organ in front of the main instr. was
(It,) Ponderous, heavy, often called Ruckpositiv^ because usual-
very strongly marked.
ly behind \hs organist.
Ponticel'lo i. The bridge of bow-
(It.) Position, i. (Ger. La'ge; Fr. position;
instr.s. near the bridge ; a di-
,,Sulp t,
The place of the left
It. posiziofne.)
rection to play near the bridge, the
Tiand on the fingerboard of the violin,
tones resulting having a more or less
etc.' In the istpos., the forefinger
stops
strident and metallic sound; abbr. j,
the tone or semitone above the open
mt.\ opp. tosultasto. 2. The break
string; by shifting up (see Shift) so
in the voice.
that the 1st finger takes the place pre-
Pont-neuf (Fr.) Generic title for popular viously occupied by the 2nd, the 2nd
street-songs in Paris. pos. is reached; and so on for each
Portamento (It; equiv. to portal la succeeding position. There are n
positions in all, but only 7 are commonly
voce, to carry the voice ; see Port de
A
smooth gliding from one employed. The
half-position is the
VMJC.)
same as the 1st pos., except that in it
tone to another ; an effect attained in
the 2nd, 3rd, and 4th fingers occupy
great perfection on bow-instr.s, the
the places taken, in the i*t pos., the
melody-strings of the zither, and with by
the human voice. It differs from the le- ist, 2nd, and 3rd fingers. 2. The
arrangement of notes in a chord with
gato not only in its more deliberate execu-
reference to the lowest part in the ist,
tion, but also in the actual (though very
;
marked precipita'to (also predpito'$o\ a degree of speed above allegro and be-
;
low prestissimo. .P. assa'i, very rapid.
.
(Fr.pre'cipite'), precipitate.
2. A rapid movement, most frequently
Precisio'ne, con (It.) With precision.
concluding a composition.
. .Preci'so, precise, exact.
Prick. In earlier terminology, the dot
Preghie'ra (It.) A prayer; a modern or mark forming the head of a note
titlefor certain melodious salon-pieces ;
lous, not having been intended for in- See Interval. . .Prime tone, same as
troductory pieces. An organ-prelude generator. 3. The 2n$ of the canon-
to the church-service is commonly called ical hours.
a voluntary. Leader (ist
Prim'geiger (Ger.) violin).
Premier (Fr., premiere.) First. .
fern, .
is one prefaced by a
the first male soprano (castra'to\ or
g. a prepared trill
turn or other grace. first tenor. (Obsolete in both senses.)
Pre'sa A sign marking the succes- Pri'mo (It., noun) A first or leading
.
(It.)
sive entrance of the parts of a canon, part, as in a duet.
open metal pipes, of 4-foot pitch on the attachment in the reed-organ for hold-
manual, and 8-foot pitch on the pedal. ing down single keys after the fingers
(In Ger., Principal' is the open dia- are raised, 2. Sustaining-pedal.
pason*) 2, Theme of a fugue (obso-
Prontamen'te
Promptement (Fr.),
lete).
(It.) Promptly, swiftly.
Principal chords. The basic chords of
a key, i. e,on the tonic, Pron'to,-a (It.) Prompt, speedy.
the triads
dominant, and subdominant, with the
Pronunzia'to (It.) Pronounced, marked;
dom. chord of the 7th. (Also called benpr*, well, clearly enunciated,
'
Quadrici'nium (Lat,)
A
4 parts. Quarto'le (Ger.)quadruplet
As if, as it were ;
and
Quadrille, (It. quadri'glia.) A square
Qua'si (Lat. It.)
like ; nearly, approaching. E. g., An-
dance consisting of 5 (or 6) figures
dante quasi allegretto, andante approach-
named h Pantalon, /'.//, la Pauls, la
Pastourelle, (la Trenise), and la Finale. ing allegretto.
The time alternates between 3-8 (6-8) Qua'ter, See Bis 3.
and 2-4. Quatorzieme (Fr.) The interval of a
fourteenth.
Quadruple counterpoint. See Counter-
feint. .
^Q. croche (Fr.), a 64th-note. . . Quatre (Fr.) Four. .A quatre mains,
.
2.
Tailpiece. .Piano a queue, see
.
It. quintet to.) i. A concerted instr'l
Piano (Fr.) comp. for 5 performers, in symphonic
form. 2. A
comp,, movement, or num-
Quickstep. See March, vocal or instr'l, in 5 .parts.
ber,
Quie'to (It.) Calm, quiet ; opp. to agi-
ta'to. Quintie'ren (Ger.) To overblow Dy a
twelfth, like the clarinet and other instr.s
Quinde'cima (It.) A fifteenth (either with single reed.
the interval or the organ-stop)., *A lla
q. (abbr, ij**), two octaves higher (or Quintoier (Fr.) j. To quinible (also
lower). quintoyer). 2. See Quintieren*
pitch.
ditto for Chorister.
Quinte (Fr.) See i and 2 below...
Quintes cachtes, covered fifths. Quod'libet (Lat, "what you please";
also Quoflibet, "as
many as you
Quitt'te(Ger.) I. The interval of a fifth. please'*; It. messan'm, mistichan'za,
2, See Quint 2. a mixture.) A humorous combination
3. The ^-string of
the violin (Fr. chanterelle} Quin'ten- .of various airs, performed either si-
.
fotgm, -parallen^ consecutive fifths. multaneously or one after the other; the
. .
to grow slower ;
senza ralttntare, with-
Re. Second of the Aretinian syllables,
out slackening the pace.
and name of the note D
in Italy, etc.
Rang (Fr.) Rank. In French, Rt.
Rank. A
row of organ-pipes. mix- A Rel>ec(k). The primitive violin of me-
.
ture-stop is said to have 2, 3, or more dieval Europe, known in Italy as the
ranks according to the number of pipes rilefba or ribfca, and in Spain as the
sounded by each digital. rabe, rabeL The body was shaped like
Rant. An old dance ; a name given to a half-pear ; it had 3 gut strings, which
die tunes of various country-dances, yielded a powerful, strident tone.
and also to reels (e. g. the Cameronian 'f
exchange"). The corps
Rechange (Fr. ,
Recht (Ger.) Right ; rechtt Hand, right Reddi'ta, Redi'ta (It.) A repeat.
hand. Redoubled interval. A compound in-
Recital. In the usual acceptation of the lively tempo. In Bohemia there are 2
term, a concert at which either (a) all varieties, the Rejdovak in 3-4 or 3-8
the pieces are executed by one perform- time,and the Rejdovacka in 2-4 time.
er [as zpfte. -recital}, or (b) all pieces ReMiiire (Fr.), Reduzie'ren (Ger.) To
performed are by one composer. reduce the volume of a composition by
Recitan'do (It.) In declamatory style.
rearranging it for a smaller number of
while preserving its form as far
instr.s,
Recitaflt,-e (Fr.) One who sings or as possible.
plays a solo. Same
Redundant. as Augmented (of
Recitati'vetteevO. li.Reeitati'vo; Fr. r&- chords and intervals).
citatif; Ger. Recitatii/. A
style of de- Reed. Fr.
(Ger. Rohfblatt, Zung>e ;
clamatory singing,, dating from 1600 A thin
anche; It. an'tia, lin'gua.)
(the earliest operas), and springing of cane, wood, or metal, so ad-
strip
from the efforts to emancipate dramatic
justed before an aperture as nearly to
song from the contrapuntal forms then close it, fixed at one end, and set by an
in vogue. The first recitatives had a
air-current in vibration, which it com-
very simple accompaniment, a mere fig-
f municates either to an enclosed column
ured bass (redtatiw sec co) ; this broad-
of air (organ-pipe, oboe, etc.), or direct-
ened into the redtatiw accompagna'to
ly to the free atmosphere, ^thus produc-
(or obbligcfto, stromenta'to ; Fr. equiv.
.
There may be one or many sets of reeds stop mechanism... Stum me Register
or vibrators, each controlled by a 'stop (pi.), mechanical stops ;
ionende Regis-
and slider-mechanism. The timbre of ter (pi), speaking stops.
the various orchestral instr.s is now i. A 2.
Registre {Fr.) stop-knob.
very successfully imitated. Common
Register 3.
mechanical devices are the percussion-
Registration, i. The art of -effectively
stop, expression-stop (harmonium), knee-
swell (Amer. org.), tremulant, double- employing and combining the various
2. The combina-
stops of the organ.
touche, and prolongement.T'fat first
tion or combinations of stops employed
reed-organ was invented by Grenie in for -any given composition.
1810, and' named by him orgue expressif
on account of the crescendo and decre- Registrie'ren (Ger,) To registrate or
scendo obtainable on it ; other inventors register (see Registration). Registrie'-
constructed the aoline, ceolodikon, phys- rung, registration.
karmonica, etc.; the Harmonium, the Regie (Fr.) Rule,
first instr. of the class having several Rein Perfect
(Ger.) (of intervals) ; just,
was patented in Paris by A. De-
stops, true, correct (of pitch or intonation).
bain in 1843.
Rein'greifen (Ger.) Accurate stopping
Reed-pipe, Reed-stop. See Pipe 2, b. (violin) ;
accurate playing (in general).
Reed-work. See Stop (noun) 2.
Clarion, clarina,
Rei'tertrompete (Ger.)
Reel. A lively dance, probably of Celtic clarino. (Medieval trumpet, with
origin, still in vogue in Scotland and straight tube about 30 inches long.)
Ireland, and usually in 4-4 (sometimes Rela'tio non harmo'nica (Lat.) In-
in 6-4) time,with reprises of 8 measures; harmonic relation.
danced by 2 couples.
Relation. (Ger. Verwand'schaft; Fr.
Refrain . A burden.
7
'
keyboard for the right hand, and a bel- neo-harmonists (comp. Phone^ 4).
lows worked by the left. According to Also Relationship, Tone-relationship
the number of pipes sounded by each (Ger. Ton'verwandschaft).
digital, it was called a single or
double
Relative key. (Ger. Parallel'tonart;
regal The .old English name was Fr. mode relatif; It. tono rektti'vo.) A
regall, or a pair of regalls. (See Har- minor key is relative to that major key,
monium.} A Bibelregal (Ger.) was one the tonic of which lies a minor third
folding up like -a large bible
a bible-
;
above its own a major key is relative;
with
stop; in this sense synonymous
stop (organ-stop). 2. A board with
perforations for guiding
and steadying
the trackers of an organ-action. 3. A
portion of the range
and compass of
the voice, and of certain instr.s ; (a)
see Voice; (b) comp. Chalumeau.
Agnus Dei,
Repercussion. (Lat. repercus'sio.) i.
The repetition of -a tone or chord. 2- Resin. See Rosin.
The regular reentrance, in a fugue, of Resolution. (Ger. Aufldsvng; Fr.
the subject and answer after the epi- resolution; It.' risoluzio'ne.) The pro-
sodes immediately following the expo- gression of a dissonance, whether a
sition, 3. In Gregorian music, the simple interval or a chord, to a conso-
dominant of the mode, as being the nance.
tone most reiterated.
Resoluzio'ne, con (It) See Risoluto.
.
Repetie'ren (Ger.)break (see
i. To Res'oaance-boac. A hollow resonant
Break 3). . .Einerepetie'rende Stim'me, body, like that of a violin or zither.
a mixture-stop with a break. 2. To re-
Resonanz'boden (Ger.) Soundboard or
peat
belly. ..Resonanthasten, resonance-box.
Repetition, i. The
very rapid reiter- . .Resonanz'
saite^ sympathetic string.
ation of a tone or chord,
producing Respi'ro (It.) A i6th-rest
almost the effect of a sustained sound.
See Responsory 3.
2. Repeating action, one in which Respond.
the rebound of the hammer admits of Response. (Lat respon'sum.) i. The
the instant restriking of the key and musical reply, by the choir or congre-
repetition of the tone (pfte.) gation, to what is said or sung by the
priest or officiant, either in the Anglican
Re"pe"tition (Fr.) Repetition ; rehearsal. or R. C. Church. 2. See
Responsory.
Repetition' (Ger.) Repetition i and 2 ; 3. Same as Answer.
tween the missal lessons. 2. The Grad- Rest. Pau'st; Fr. silence; It
(Ger.
ual. 3. A
Respond i. e.* a part of a ;
pa'usa.) A pause or interval of
(i)
psalm (formerly an entire psalm) sung silence between two tones; hence (2)
between the lessons at the canonical a sign, indicating such a pause. The
'
I. 6.
Rests:
^or-SE^'
Time-value
...J3reve-: ^=. equal in time-value Reveille (Engl. and Ger.; from Fr. r/.
=2 to I breve ( ^sj ), or veil.) A mSitary signal for rising.
2 semibreves or whole notes An instrumental comp. of a Reverie.
.
.Large-rest^ Long-rest\ see Notation^
dreamy cast, without characteristic form.
3, p. 131... Measure-rest^ a pause Reversion. See Imitation^ retrograde.
throughout a measure. The whole rest ..Reverse motion^ same as Contrary
is often used as a measure-rest, regard-
motion.
less of the measure-value expressed in
Rhapsodie (Fr.) In ancient Greece,
the time-signature ; the
2-measure rest
is then writ- the 3-measure rhapsodies were fragments from the
ten thus :
*
r e s t t h u s : great epics, sung by the rhapsodes to
- etc.
the cithara. In modern music, the
, the 4-measure
-' rest thus:
B *
But, rhapsodic is generally an instrumental
fantasia on folk-songs or motives taken
for rests longer than one measure, any
from primitive national music ; an ex-
one of the following conventional signs
is usually employed, with a numeral above
ception is Brahms' Op. 53. (Also Rhap*
to show the number of measures rested: sody.)
38 Rhythm.
It.
(Ger. Rhyth'mus; Fr, rythmej
ritfmo) i. The measured move-
ment of similar tone-groups ; i. e M the
effect produced by the systematic group-
Restric'tio (Lat.) Stretto (of a fugue). ing of tones with reference to regularity
both in their accentuation and in their
Resultant tones. See Acoustics, 3.
succession as equal or unequal in time-
Retard. To
suspend... Retarded pro- value.< A Rhythm is, therefore, a tone-
"
c66 RIBS-RIPRESA.
(3)
<| ^ ^
'etc.
Bolero^
5 I|U"
The vertical bars divide the measures; origin, generally in 4-4 time (sometimes
the connect notes forming one
slurs' 2-2, rarely 6-4) with an auftakt of a
rhythmic group or rhythm. The differ- quarter-note it consists of 3 or 4 reprises, ;
sponding (at least in the simple times) Rilascian'do, Rilasdan^'te (It.) Ral-
to the same number of regular beats to lentando.
a measure ; with which regular beats "
Rimetten'do (It.) Resuming" the
the pulsations of the rhythm are by no former tempo (after -accel. or roll}.
means required to coincide. It must
RJnfprza're (It) To reinforce (by ad-
be added, however, that the above defi-
ditional stress) ;
to emphasize. , .JRirt*
nitions are not universally accepted,
forzamento, reinforcement ; rinfor-
and that great confusion prevails in this zan'do or rinforzafto, with
special
department of English mus. termi-
emphasis indicates a sudden increase
;
nology, as in others ; they are given in loudness, either for a tone or chord,
simply as valid for this Dictionary. 2. or throughout a phrase or short passage
Rhythm, in a wide sense, is the accent- (abbr. rinf., rfz., rf.}; rinfo^zo, re-
uation marking and defining broader
inforcement ; per rinforzo, by way of
mus. divisions in the flow and sweep of
reinforcement.
a composition by special emphasis at the
entrance or culminating points Ripercussio'ne Repercussion.
of mo- (It.)
Sp.
RISE-ROMANCE. 167
Risoluzio'ne
f aches Rohrblati). Zung'e is the usual
(It.) r. Energy, decision. term for Reed. . .Rohr'fiote (Fr.Jldte h
2. A resolution.. .Risolu'to^ energetic,
chemine't; Engl. reed~jlute\ a half-
decided, strongly marked... Risoluta- covered flue-stop in the organ, with a
men'te, with energy, decision.
hole or chimney in the cover, and of 8,
Risonan'za, Risuonan'za (It.) Reso- 16, or 4-foot pitch ; the tone is brighter
nance. than when the pipes are wholly cover-
Rispo'sta (It.) Answer (in a fugue) ; con- ed; the lower half of the rank, how-
sequent (in a canon). ever, is wholly covered. Of 2 or i-foot
I
I
^* I
I
^ I
I
^ ^*1
Jf ^^
rit. (See Tempo-marks^ tion is: p
Rit'mo Rhythm. R. di due (tre)
. .
(It.) . .
Long roll, the prolonged and reiterated
battrfte [= 2-measure (s-measure)
drum-signal to troops, either for the
rhythm], a phrase indicating that not attack, or the rally. 2. In .organ-play-
one measure, but 2 (3) measures, are to a rapid arpeggio. 3. On the tam-
ing,
be considered as forming a great mea- bourine, the rapid and reiterated hither-
sure or metrical unit. [An identifica- and thither-stroke with the knuckles.
tion of rhythm with metre; comp.
Rhythm 2.J
Rorie (Ger.) A
succession of rapid un-
is the
i ^
blend to form an harmonious fundamental " root | the triad
spirit
Romantic was an
hE-g-
whole).
inally derived
epithet orig-
from Romance poems of
position; e.g. ivy 2
^MW .
asm, or strong subjective and senti- Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa!)
mental emotion of an uncommon type, The ornamental pattern bordering the
the term romantic was .naturally trans- sound-hole in the belly of 'the guitar,
1
ferred to composers and their 'works mandolin, etc. ; often used not merely
that depart from the beaten track, and as an ornament, but as a trade-mark.
aim at emotion in a style Rosin.
expressing (Ger. K&kphori'; Fr. colophane;
and with means from those
differing It. The residue of turpen-
colofo'nia)
employed by their predecessors. Thus, tine, after distillation toobtain the oil
old forms are broadened, new forms
. of turpentine. That used for violin-
and types created, and also many ec- bows is the refined article.
centric and ill-conceived productions A round,
Ro'ta. i. rondeau, or piece of
brought to light. Hence it comes, too, similar construction. 2. (Also Rote^
that the Romanticists of to-day are the See Crowd.
Rotta, Rotted)
Classicists of to-morrow ; that Haydn
Roton'do (It.) Round, full (of a tone).
and Mozart, Beethoven, Weber,
Chopin, and Schumann, Berlioz, Roulade (Fr.) A grace consisting of a
Liszt, and Wagner, are all in turn run or arpeggio from one principal tone
decried, listened to, tolerated, admired, to another ;
a vocal or instrumental
worshipped, and imitated. And the flourish.
imitators of original genius are simply Roulement (Fr.) Roll.
post-classicists,who, in full accord with Round, I. A species of vocal rhythmical
the form and mode of expression em- canon at the unison, differing from the
ployed by their models, seek to
elabo-
regular canon in having no coda, thus
rate and finish both in a manner suited '
passages calling for the display of in- Segno dal Segno; Sema, in the phrases ',
tense or passionate feeling, that, the senza Pedale, sensa Sordini j of Sini-
performer should modify the strict stra; Solo; Sordini and of Subito, in
rhythmical flow of the movement by the phrase volti subito,
dwelling on, and thus (often almost in- Sabot (Fr.) i. In the double-action
sensibly) prolonging, prominent mel-
harp, one of the movable disks, each
ody-notes or chords, this in turn re- provided with 2 projecting studs, which
quiring an equivalent acceleration of make a partial revolution on depressing
less prominent tones, which are thus
a pedal, the studs engaging and thus
robbed of a slight portion of their time-
shortening the string. 2. An inferior
value. fiddle. .
(verb). The wind in the windchest (or- unison of strings (group of 2 or 3 tutted
gan) is said to run when it leaks into a in unison). . .
Sai'ienfessel> usually Sai'-
groove ; running causes a more or
this tenhalter, tailpiece. . .
Sai'tenharmonika,
less distinct sounding of the pipes on a keyboard stringed instr. inv. by J. H.
that groove, and is a serious defect. Stein in 1788, with diminuendo attach-
Rund'gesang {Ger.)
1
For the orchestra there are also made a in turn comprising 2 individuals a
bass in ,
a contrabass in C\ and a ,
whole tone apart :
quality partaking of that of the clari- trumpet family, inv. by Ad. Sax, inter*
mediate in quality of tone and scale of
net, cor anglais* and violoncello, but
and of remarkable tube between the Horn and Saxhorn ;
very sonorous,
constructed, like the latter, in 7 sizes.
homogeneity in all registers and sizes ;
6 principal sizes are made, at intervals Sbal'zo (It.) A skip or leap. . . Sfafaf-
of a fourth and fifth apart, each size to- dashingly impetuously.
172 SBARRA SCHERZO.
Sbar'ra (It) Bar ;
sb> dop'fia, double- ing the full dialogue, and directions for
bar. the actors, etc.
chromatic scale also had five tones. Schall' becken, cymbals . Schalf loch, . .
Scotch style.
Schwung'voll (Ger.) With sweep and
passion. Scroll. (Ger. Schnecke; Fr. volute; It
Scialumo' (It!} Chalumeau. voluta.) The terminal curve of the
head in the violin^ etc.
Scintillan'te (It. and Fr.) Brilliant,
sparkling. Sde'gno (It.) Scorn, disdain; wrath
Scioltamen'te indignation . . .
Sdegnosamen'te, scorn-
(It.) Freely, fluently,
nimbly. . .
Scioltezfza^ freedom, fluency* fully, etc. ,
.Sdegno'so, scornful, etc.
..Sdol'to,-a, free, fluent, agile \fuga Sdrucciolan'do Sdruc-
(It.) Sliding . . .
sciolta, freefugue, opp. to fuga obbli- ciola're, to slide, by pressing down the
ga'ta. pfte.-keys in a rapid sweep with the
Seorda'to'(It) Discordant, out of
I.
finger-nails,
tune. 2, Tuned in a manner deviat- Se If. Se biso'gna, if
(It,) . .
necessary ;
performer in a duet.
(a) score of an a cappella composition ;
Semidi'tas (Lat.) The diminution caused device for preventing the great-organ
action from sounding its stops ; used
by a vertical stroke through the time-
signature.
when the action is pneumatic and
Semi-di'tone. (Lat. semidi'tonus!) The coupled to other manuals of heavier
touch.
minor &{*&.,. Semiditonus cum dia-
pente> ininor 7th. Sept-chord. Chord of the yth.
settimi'no.) A l
of the same kind ia the regular grand or tragic opera opp. to Opera ;
rhythm;
written: Ml*"+*
Trip
buffa. . Tenore serio, dramatic tenor.
Serio'so (It.) In a serious, grave, im*
Sequence. (Lztsequenftia;lt.seguen'- pressive style.
za; Ger. Sequent.) i. The repetition, Serpent. (It, serpen'te) A nearly obs.
oftener than twice in succession, of a wood-wind instr., still used in some
melodic motive, the repetitions ascending French churches, but seldom met with
or descending byxmiform intervals, The in the orchestra inv. by Canon GuiU ;
ing of chords necessitated by the reiter- to the Zinke (Cornetto) family; the
ation of the rridodic figure* diatonic A modern forms have a recurvate bell,
or tonal sequence employs only tones and a cupped mouthpiece set in a brass
proper to the key ; achromatic or modu- crook forming a right angle with the
lator^ sequence is one in which acciden- first bend of the serpentine tube. The
used more or less freely ; a se-
tals are tube is of wood, covered with leather,
quence progressing by a whole tone or about 8 feet long, and 8va.
semitone is called a Rosalia. (Also provided with 6 finger- ... h* '
by a lover before his lady s window. are excluded. The full list for morning
2. An instrumental composition imi- and evening prayer, and communion,
tating the above in style. From these includes the exultemus, Te
Venite
was evolved the Deum, Benedictus (domi-
Benedicite,
Sesquino'na. The lesser whole tone, Sex'tus (Lat.) A sixth part (see Sexto).
u 1
its ratio being 9 : 10. Sfoga'to (It, exhaled '). In vocal
The greater whole tone, music, a direction to render the passage
Sesquiocta'ya. so marked in a light and airy manner.
its ratio being 8 :
9.
. .
Soprano sfogato, a high soprano ;
Sesquiquar'ta. The major third, its l 3
ratio being 4: 5. compass from c to <? (/ ) .
Sforzan'do (It, "forcing, pressing").
The minor its
Sesquiquin'ta.
ratio 6.
third,
A direction commonly applied to a
being 5 :
single tone or chord, indicating that it
Seventh.,, Seftima
ing of anything so near the top of an
Set'timo,-a (It.)
a organ-pipe as to affect the vibrating
(noun), interval of 7th. column of air which it contains.
Setz'art (Ger.) Style of composition . . ,
[STAINER AND BARRETT.]
Setfkunst, art of composition. .. Shaked grace*
Shake. Same as Trill. . .
h^ crook.
(obs.), thesnaked Beat, Backfall, Ca-
solo.
Seul,-e (Fr.) Alone, dent, and Elevation, and the Double
Seventeenth, i. Interval of 2 octaves Relish.
plus a tierce. 2. Same as Tierce (organ-
Shalm. A shawm.
stop).
Sharp (noun). (Ger. Kreuz; Fr. ttiesej
Seventh. (Ger. Sep'time; Fr. seftilme; It. The which, set
die'sis.) sign Jf,
It setftima.) See Interval. . . Seventh- before a note 'or on a degree of the staff,
chord) a chord of the 7th, composed of raises its pitch by a chromatic semitone.
a root with its third, fifth, and seventh.
.*DoubU-sharfrti& sign x (formerly
Severamen'te (It) Strictly, with rigid also
J, ;$ etc.), raising the pitch of
observance of tempo and expression- its note by 2 chromatic semitones (= 1
marks. tone on tempered instr.s}.
Sext. I, The interval of a sixth. 2. Sharp (adj.) I. (Of tones or instr's.)
The office of the fourth canonical hour. Too high or acute in pitcL-^ (Of in-
3. A
compound organ-stop of 2 ranks tervals.). Major or augmented. }* (Of
a twelfth and a seventeenth) a sixth keys.) Having a sharp or sharps in the
apart. signature. 4, (Of organ-stops.; Shrill.
Balancemmt. Tremble-
ment* _
_
^etc. (See Pitch, i.)
Tremblement. abc
A, B, C, J
Arpeggio. r '
Gamma.
from one staff to another, * m m
shows (a) in pfte.-mu-
p ^ [See Tambourine.)
|jp
;
(see Abbreviation), [Simile^ be- Sis'trum (Lat.) An ancient mus. instr
: ing an adverb, is indeclinable, of Egypt and the East : a sort of rattle
SITOLE SNARE-DRUM. 181
written:
played;
-Smanian'te, Smanio'so In an
Sliding relish. An old harpsichord-
(It.)
Soa've (It.) Suave, sweet, soft. . . Soave- are performed simultaneously opp. to ;
"When a melody overstepped the com- set of syllables to another; the change
pass of one hexachord, a transition, of syllables was preferably effected be-
termed a mutation, was made from one tween the natural and soft, or natural
SOLO SONG. 183
and hard, hexachords (a direct transi- tion for 4 instns, one of which has a
tion from hard to soft, or vice versa, leading part. . . Solo
stop, see Stop.
being less smooth because of the clash- So'los&iger (Ger.) A solo singer..
ing significance of fy and Bty, ^d So'lospiekr, a solo player. . . So'lostim*
player for obtaining unusual effects. . . tive poem with a musical setting char-
Solo quartet, (a) a quartet consisting of, acterized by a structure in simple
u
4 singers (4 solo voices"); (b) a com- periods. Songs .may be divided, ac-
position or passage in 4 parts for 4 cording as they are classed as spon-
singers; (c) a non-concerted composi- taneous popular productions or the re-
i8 4 SONNANTE-SOSPIRANDO.
'
bells), 2.
at will
call or signal.
Sordino (It., ^sordini; Ger. pi. Sord?-
So'no Sound tone.
(It.) ;
nen.) I. A mute con sordini, with
;
Sonom'eter. An apparatus for acoustic the mutes senza sordini, without ths
;
experiments with strings, consisting of mutes; si tfuano i sordini, take off the
a sounding-board provided with bridges mutes. 2 Damper (of the pfte, ) ; senza
.
syllables, the singer catching his breath ly beneath) the treble foot of the bridge.
as if deeply moved. Its function is not only to brace the
ing" or prolonging the tones, such as tercepts the wind-supply, so that full
the numerous piano-violins, the lyri- chords can be played softly. 3, Same
chord, celestina, claviol, etc. teptdaltc&este (of the pfte.) 4. For*
Sot'to (It.) Below, under. . Sottwoce, . merly, a spinet (or lute) of veiled, muf-
fled tone.
in an undertone, os>ife...Sottodomi-
nan'te, subdominant. ,
Sous (Fr.) Under, below. . . Sous-chan-
tre,stibcan.tOT.*.S0us-d0minanff, sub-
Soubasse (Fr.) Subbass.
submedi-
dominant . . . Sous-mldiante^
Soubrette (Fr.) In comedy and comic an.t...Sous~fomgtie subtonic, leading- t
a keyboard instr.),
wooden prop set insicfe the body, be- ing; (b) touch (of
vio?
tween belly and back, just behind (near- ..SpieHar, handy to play (on
SPINA-STANZA.
Often abbr. Sp. 2. Toe (in organ- cians, belonging to a privileged guild
playing). which originated in the i$th (?) century,
Spitz'flote (Ger.) In the organ, an open and under obligations to furnish music
flue-stop of organ-metal, tin, or wood for civic ceremonies ; their leader had
of 8, 4, 2, and i-foot pitch ; tone some- the title of Stadifmusikus. (AlsoXiw//-
what thin, but pure and reedy. The pfeiftr, Kunsi'pfeifer.)
pipes are conical, whence the name
Staff, Stave. (Ger. Li'niensystem, Sys-
(Also SpiWJlote^ Spin'delflote; Lat
tem'; r.J>ort&; It. rfy.) The 5 (in
ti'bia
Gregorian music 4) parallel horizontal
Spitz'harfe (Ger.; It. arpanefta^ A linesused in musical notation. . Grand .
conveys the vibr. of the latter to the cords. Stimm'bildung, training or de-
. .
by pressing the root of the tongue too chen, soundpost.'. .Stimm'horn, tuning-
far back into the pharynx. cone . . . Stimm'keil, tuning - wedge . .
accordatura
Stentan'do (It.) Dragging and heavy, (a) tuning ; pitch ; ; (o)
ritenufto epesan'te. Also Stenta'to. Stimmung halten^Q keep in tune; (c) a
A
melodic pro-
mood, frame of mind Stim'mungsbild, ;
the tones.)
Flue-stop, one composed of flue-pipes.
.
.Foundation-stop^ one of normal 8-foot Strathspey. An animated Scotch dance,
pitch..* Half-stop, incomplete or im- somewhat slower than the reel, and like
perfect stop, one producing (approxi- it in 4-4 time, but
progressing in dot-
mately) half the tones called for by the ted eighth-notes alternating with i6ths,
full scale of its manual. ..Mechanical the latter frequently preceding the for-
stop, one not having a set of pipes, but mer, then producing the peculiar jerky
governing some mechanical device; rhythm of the Scotch snap.
such are the couplers, tremulant, bell-
Stravagan'te (It.) Extravagant, eccen-
signal, and the \iks. ..Mixture-stop, tric, fantastical.
one with 2 or more ranks of pipes, thus
Stravagan'za (It.) An extravaganza.
producing more than one tone for each
key (as the Mixture, Carillon, Cornet, Straw-fiddle. See StrohfiedeL
Cymbal).* .Mutation- stop, one produc- Str.ei'chen (Ger.) i. To bow (draw the
ing tones a major 3rd or perfect 5th bow across). 2. To cut (as a scene in
(or a higher octave of either) above an opera)... .SVra'M^ (Ger.; lit.
the 8' stops (as the Tierce, Twelfth, u
drawing [as a bow]"), the quality of
Quint)... Partial stop, see. Half-stop. tone called in English
stringy (opp.
.Pedal- stop * a stop on the pedal.'.. to reedy, fluty, etc.) . . Streichende .
by
the finger or a key, to alter the Stretch. On a keyboard or fingerboard,
on wind-instr.s of the trumpet a wide interval whose tones are to, be
pitch ;
the partial closing of the bell by taken
family, simultaneously by the fingers of
inserting the hand, thus raising the pitch one hand.
and modifying the quality of the tone.
Stret'ta, commonly Stret'to (It.; Fr.
4t
Stop (verb). To vary the pitch of instns strette; Ger. Eng*fuhrung.) Nar-
as described under Stop 3 above... row, drawn together". I. division A
Stopped notes, notes obtained by stop- of a fugue (usually a final development,
ping; ppp. to open... Stopped fifes, for the sake of effect) in which subject
organ-pipes closed (plugged or covered) and answer follow each other in such
at the top ; opp. to open. close succession as to overlap...^.
maestra'le, one constructed in strict
Stephen (Ger.) To stop (bell of horn
canon... Alia stretta, in, or after the
witft the hand)...##/&X stopped
*' manner of, a stretto. . .Andante stretto,
tones, hand-notes" (horn).
same as andante agitato* 2. con- A
Stop-knob. The projecting handle of a cluding passage taken, to -enhance the
Stop*. effect, in faster tempo.
STRETTE-STUFE.
Strette (Fr.) Stretto... magistrals, These are the most usual combinations,
same as Stretto maestrale. which may be variously extended to
Strich (Ger.) I. Stroke;
form string-sextets, septets, etc. 2.
Strich'art,
Bowing 2. 2. A line, dash, or stroke.
The string-group in the orchestra, when
-3. A "cut". considered as composed of (i) 1st and
Striden'te
" " (2) 2nd violins, (3) violas, (4) 'cellos,
noisy,"
(It. ;- harsh".) In
and (5) double-basses ; called string-
pfte.-playing, equiv. to martellato
quartet when considered as composed
(comp. Beethoven, op. 76, Var. VI).
of (i) violins, (2) violas, (3) 'cellos, and
String. (Ger, Sai'te; Fr, corde; It. cor'- (4) double-basses.
da.) The materials chiefly used for
Having the quality of tone
Stringy.
manufacturing musical strings are gut
(** string-tone") peculiar to bow-instr.s.
(entrails of lambs and sheep), cast
steel (drawn out for Striscian'do (It.) Gliding, smooth,
piano-strings, etc.),
silver (mostly for covering or winding legato.
around a cor* steel wire or Stro'fa(It) Strophe.
spirally
silk cord to make the string thicker Stror/bass The deep, husky
(Ger.)
and heavier in proportion to its length, tone of the lower chest-register (male
and consequently deeper-toned), and
voice) produced by forcing the breath
silk (as a core in covered strings, es- between the vocal chords when the
pecially for the guitar and zither). Cop- latter, though brought near together
per and brass are also employed. . . The are in a state of relaxation. . .
Stroh'fa-
Strings, technical term for the string- . del, the xylophone.
group in the orchestra. . .First string,
Stroke. The' sweep and
(fall rise) of a
the highest of a set. .. Open string, one
not stopped or shortened... Silver digital or pedal.
/
string, one covered with silver wire. . . Strombetta re (It.) To sound a trum-
.. Strombettie're,
Soprano string, the chanterelle. pet. trumpeter.
2nd violin, viola, and 'cello ; hence, Abgesangoi the German Meistersinger;
the Bar being the group formed by the
the instr.s themselves, or the players
2 Stollen and the Abgesang,
on them ; and, by extension, the string-
Stiick (Ger.) A piece; a number (as
group in the orchestra (see String-quin-
on a program).
tet).
Star's^ in die Hoh'e, "turn the bell Subsemitone. The subtonic, or lead-
.
upwards!" ing-tone (Lat. subsemito'nium modi).
Stuttgart pitch. That proposed by Substitution. In contrapuntal progres-
Scheibler at the Q to make sion, the resolution (or preparation) of
Stuttgart Congress jju <a 400 vi- a dissonance by substituting, for the
in 1834, the a 1 tf b rations proper tone of resolution (preparation),
second at a temperature of 69 its higher or lower octave in some other
per
Fahrenheit. (Comp. Pitch, Absolute.) part.
Sujet(Fr.) Subject.
Sul, suir, sul'la, sul'le (It.) On the;,
near the (all contractions of su t on,
with the definite article) Sulla corda
. .
^Suspension.It,
(Ger. VoShalt; Fr. sus- minuendo { * ri Z= ) . Swell-
- .
Symphonic, (Ger. sympho'nisch; Fr. veloped" from the Overture (q. /.), the
symphonique; It. sinfo'nico.) Relating
3 divisions of which latter were separ-
or pertaining to a symphony. . . Sym- ated towards the middle of the i8tb
phonic poem (Ger. sympho'nische Dick'- century, by composers writing purely
tung; Fr. poeme symphonique) an or- , orchestral pieces, into 3 distinct move-
chestral composition allied, both in .
ments the 4th (the Minuet) being in-
;
its
length and in the power and variety troduced by Haydn, who thus consum-
of its instrumentation, to the sym-
mated the modern 4-movement form.
phony; but radically differing from This form is identical with that of the
the latter by discarding the orthodox
Sonata (comp. Form}* For the Minuet,
form (division into the regular move- Beethoven substituted the Scherzo,
ments), and in being directly based on which since then has been the typical
and repeiving its inspiration from a form of the 3rd movement. Haydn
program fat poem; i. e., it is conceived also transferred the"first-movement"
as aa instrumental poem,
depicting form of the 'sonata to the symphony,
events, scenes, or moods like a word- and utilized the individual timbres of
poem). This "fairest flower" of pro-
the various instr.s for contrasts in or-
gram-music can necessarily have no chestration; the perfection of instru-
fixed form, but its continuous flow is
mental individualization is the work of
moulded into a sort of unity by the
Mozart and Beethoven, and the latter
repetition of the same theme variously
enlarged the symphony-orchestra to its
modified and transformed,
modern status (comp. Orchestra). The
Symphonic (Fr.) i.
Symphony. 2. usual plan of the
symphony is now I
Harmony, euphony. 3. An instrumen- (Allegro [in first-movement form, often
tal accornp. 4. The string-group in with a slow introductory division]) ; ll
the orchestra. Orchestra.
(Adagio)] III (Scherzo) \ IV (Allegro
5.
Synem'menon. See Greek music. i.) indicating the frets at which the
strings were to be stopped, and were
Syncope (Ger.) Syncopation ...Syn- written on the lines or in the spaces of
kopie*ren, to syncopate. a kind of said lines or spaces
staff,
Synonyme Same as Homophone^
(Fr.) showing the number of strings on the
which latter term is more correct. instrument. The pitch of the tones
Synton'ic comma. See Comma, represented by the letters or figures
Same as ffypofydian would therefore vary with the size of
Syntonolyd'iaxu
the lute/and was not a staff-notation in
(see Mode}.
the modern sense. Three leading fea.
Syringe (Fr.) Syrinx. tires were common to nearly ali systems
Syrinx. See Pandean pipes. of tablature: (i) The vertical disposi-
System, i. A number of staves braced tion of the characters representing one
together for writing out a full score. . . chord ; (2) the use of bars to divide th
2* (Gen) See Liniensystem. measures ; (3) a system of signs for
given instr.
Semibrevis
Syzygi'a (Lat.) A chord ; specifically,
a triad. .. compo'dta, triad with
doubled tone. . .* perfe^ta^ triad. . . Mmma(J)
*S,
propin'qua^ chord in close harmony.
... remffta^ chord in open harmony. ( j)
. .5.
$im'plexv the simple trjad without
doubled tones.
F
.11 i
T.
T. An abbr. of Talon, Tasio (t.
s. = ') | Semifnsa(^)
tasto solo), Tempo (a t. =a tempo),
Tendre, Tenor; Toe (in organ-music), The hooks of consecutive
equaHiotej
Tre(T. C* =
tre corde), and Tutti. were often run together thus 05E3
194 TABLE-TANDELND.
or Arbitrary variations from
'-. baton. . .
Takfstrich, a bar. . . Takf
::{..[ {
these general rules were, however, of tett, beat, count ; guter Taktteil^ strong
frequent occurrence. new develop- A beat; scklechter Taktteil^ weak beat.
ment of tablature is the Tonic Sol-fa . .
Takfvorzeichnung, Takfzeichen^
system of notation. time-signature Ein Takt wie worker*
. . .
u
zwei one measure like two before"),
(
Table Soundboard
tabk tfh&r monie^
(Fr.)
. .
; belly. (Also
Table de des$ous>
same as Doppio movimento. Takt, . Jm
a tempo.
back.
Talon (Fr., "heel"), i. Nut (of the
Table-music. See Tafelmudk.
bow.) -2. In pedal-playing, heel;
Tabor. A
small drum, like a tambour- abbr. / (compare Pointe 2). Talon de
ine without jingles; formerly much la manche
(in the violin, etc.), heel (end
used by pipers, who beat the tabor with of neck joining the body).
the right hand as an accompaniment to
Tambour fFr.) i. A drum. 2. A
a flageolet or pipe manipulated by the
drummer (also Ger,) Tambour cHro-
left. .
Taboret, Tabret, a small tabor.
.
music its time-value was styled tactus time and lively tempo, often accomp.
major when it marked a breve to a by the tambourin and galoubet (tabor
measure, and tactus semi- 0wwhena and pipe).
breve.
Tambourine'. (Ger. Tamlurin'\ Fr.
Ta'felklavier (Ger.) A square pfte. tambour de basque; It. tamburi'no.)
Also ta'jelformigts Khmer* Taffel- . . .
A small drum played by striking it with
musik, "table-music"; (a) music per- the right hand, consisting of a shallow
formed during repasts; (&) music so circular hoop of wood metal with
or^
printed that several performers, sitting one head of parchment ; in apertures
around a square table, could read their made around the hoop are fastened sev-
several parts from the same book. See eral pairs of loose metallic plates,
'Part-book* called jingles from the noise they pro-
Tail. Same as Stem. . .
Tailpiece. (Ger.
duce. Used principally in Spain and
Sai'tenkalter; Fr. cordier, southern France as an accomp. to danc-
queue.)
In the violin, etc., the piece of wood ing ; occasionally employed in the (op-
(usually ebony) to which the strings are eratic) orchestra. In tambourine-mtu
attached behind the bridge.
sic, notes with wavy stems f f fcali
Taille (Fr.) Tenor voice (now used only for the roll; notes with short vertical
for church-music; otherwise t/nor). strokes over them
Also, the tenor violin. . Taille de bas- . ^ p
for the
Tamis (Fr.)
keep time ; keeping time. . Tatftieren, . Pipe-rack (organ).
to beat time. Tatftierstab, a baton.
. . Tam-tam. I, A gong. 2. A Hindu
. .
Takt'm&ssig, in time. . .
Takfmesscr,
drum of elongated form. (Also Ton*
metronome... Takt note ^ whole note. torn.)
* . Takfpause, measure-rest. . . 7W- Tan'delnd (Ger.) In a toying, banter-
to beat time. . . TaMstock, a ing style.
TANGENT-TEMPERAMENT. 195
<
pressing the key, the tangent struck apd formance. In some German works
. rubbed across the string, and remained treating on pfte.-technique, a distinc-
bearing on it until the finger was lifted, tion is made between Mecha'nik (the
thus both producing the tone and fixing merely mechanical drill of fingers and
its pitch.Tangen'ten/Mgel (Ger.), a
. . from its application in play-
wrist, apart
clavichord shaped like a grand piano. ing), and Technik (the acquired skill
Tanti'no (It.) A little ; very little. and dexterity in actual performance).
Tati'to. (It.) As much, so much ;
too Tech'nicon. A
finger-gymnasium, or
(much); allegro non tanto> not too fast apparatus for training and strengthen*
(here equiv. to troppo); a tanto possi'- ing the hands and fingers of players on
bile, as much as possible. keyboard instr.s ; inv. in 1889 by J.
Tanz (Ger.) A dance. ,. Tawfliedtr, Brotherhood of Montreal, Canada.
dance-songs Tanz'st&cke, dance-tunes
; Earlier name of the (im-
Techniphone.
(instrumental); the former were the proved) Virgil Practice-Clavier (q, v.)
original form of dance-music (Tanz'- Tede'sco,-a'(It.) German... Alia b-
musik), the latter being at first mere im- "
desca, in the German style ; the term
itations of them. (Comp. Form II, 3.) *
tedesca \ says Bulow, has reference to
Tarantel'la (It), Tarentelle (Fr.) A and invites changes of
waltz-rhythm,
dance of southern Italy, in 6-8 time, time". [Quoted from GROVE .]..Zim
the rate of speed gradually increasing, tedesca^ hurdy-gurdy.
and the mode alternating irregularly Te
deum. See Ambrosian Hymn.
between major and minor. In modern
,
music, an instrumental piece in 3-8 or Teil (Ger.) part. . . TeU'tone, partial A
and tones.
6-8 time, very rapid tempo (presto),
bold and brilliant style. An instr. so connect-
Telephone-harp.
Tardamen'te Slowly, lingeringly.
(It.) ed with a telephone as to render music
to an
. . Tardan'do, Tarda'to, see Riiardan-
performed at a distance audible
<&. . . Tar* do, slow, lingering. audience.
TartinPs tone. A differential tone Telltale. See APPENDIX.
(comp. Acoustics). Te'ma. (It) Theme.
Tasch'engeige (Ger.} kit. A Temperament. Temperater*;
(Ger.
Tasseau(Fr.; Ger. -#*.) The "mould" Fr. temperament; temperamen' 10)
It.
on which ribs and blocks of a violin are A compromise between the acoustic
set up. purity of theoretically
exact intervals,
Tastatur' (Ger.), Tastatu'ra (It) and the harmonic discrepancies arising
from their practical employment. E.
Keyboard, fingerboard.
Tas'te (Ger.) or pedal) . .
Key (digital
.
g. taking the tone C as a starting-point,
,
corre- ^
sponding lower octave of C, Now, bj
a direction in thorough-bass, signifying
that the bass part is to be played, either
setting =$ = DV\) , and equally dis-
7 am OI1
tributingthe deviation Vrs .
g tllc
as written or in octaves, without chords 12 quint-tones in either series, i. e. by
(sign 0, or ^). tempering each fifth, the deviation
for
Tattoo'. Military drum-signal or bugle- each becomes practically unnoticeable
call for retiring at night on keyboard ;
such equal distri-
instr.s
[HELMHOLTZ], an interval close to the brive, see Breve; alia semibrSve, see
extreme limit of perceptible differences T.ordina'rio. . Tempo bina'rio duple .
%
in pitch, and the use of such an inter- time. Tempo com'modo, at a conven-
. .
'mean-tone system, once extensively em- steady rate of speed; (2) indicating
ployed, the major thirds were tuned acceleration ; (3) indicating a slackening
, true, and divided into two equal tones of the pace. They do not in them-
forming a mean between the greater selves indicate a fixed and positive rate
and lesser whole tone, hence the term of speed, but only the general character
mean-tone; each fifth was comma % of the movement;
consequently, for
too flat, making the I2th in the series the sake of precision, a metronome-
about 2 commas out of tune, this . mark is often added to the tempo-mark ;
error being usually laid upon the fifth e.
g. "Adagio, M. M. J= 56," sig-
the system also had 4 thirds a tranquil movement in which a
J nifies
_j which were too sharp by near- quarter-note has the time-value of one
-*-ly the same interval. The beat of the metronome set at 56. Fur-
TEMPORISER-TENORIST. 197
"
thermore, various qualifying words are In the R. C. Church, the lamentations
added (comp. the several Key-words).
(matins and lauds) sung especially on
Good Friday in the Sistine Chapel,
CLASS I.
while the candles burning at the altar
(Indicating a steady rate of speed.)
"
are extinguished one by one.
Larghis'simo, molto largo
Lar'go (broad, stately) Te'nero,-a (It.) Soft, tender, delicate.
Largamen'te Group I. . . or con teneretfza,
Teneramen'te,
Larghet'to General
Gra've (heavy, dragging)
m
tenderly, delicately; nearly equiv. to dol-
signification
Len'to (slow) of terms ce, but with somewhat more of passion.
is
Adaeis'simo SLOW. Teneur (Fr.) The canto fermo in a
Ada'gio (slow, tranquil)
choral or hymn-tune.
Adagiet'to
9
Andanti'no Ten'or. (Ger. Tenor ; Fr. t/nor or
Andan'te (moving, going along) taille; It. The high
i. nat-
teno're.)
[Modera'to] ural male voice. The Germans dis-
Allegret'to Group II.
Allegramen'te General tinguish 2 classes of tenors, the Hef-
m
Allegro (brisk, lively) [con signification dentenor (dramatic tenor), and ly'rischer
mo'to, viva'ce] of terms *
[agita'to, is Tenor tenor)
appassiona'to] FAST. (lyric ;
^. j
Pre'ito (rapid) [con fuo'co, the compass of tneSEESE^
velo'ce] former is from c to fffy *,
Prestissimo the voice full and powerful throughout,
CLASS II.
with a barytone timbre ; the range of '
the latter is 9 t h e
1
(Indicating acceleration.)
Acceleran'do (gradually accelerating) about from ^
fr):
P""^Y I
(jfari
n~ low-
d to c* (
2
#) e s t tJ
tSSto&i^^y
Wlth a
accelerating, usually
cr<*cendo.)
tones usually rather weak, the
high tones
Incalzan'do f
brilliant, and the timbre generally bright
Dop'pio movimen'to (twice as fast)
Piumos'soHa steady rate of speed, faster and pleasing. The Italian terms near-
Velo^ce than preceding movement)
J
ly corresponding to the above are (i)
tenure robu*sto, tenore di foSza, and
CLASS III.
(2) tenore di gra'zia, t. leggiJro; but
(Indicating a slackening in speedj
Rallentan'do they are very variously and arbitrarily
Ritardan'do employed. The part taken by a
2.
Largan'do tenor voice hence, by transference, a
;
Tardan'do (gradually growing slower)
Slentan'do prefix to names of instr.s taking parts
Strascinan'do of similar compass, as tenor trombone;
Ritenu'to (a sudden drop to a slower rate specifically, the tenor violin (viola). 3.
Me'no mos'so of speed)
Tenor (from Lat. tenere, to hold),
Calan'do
Deficien'do originally "a
holding, holding fast",
Mancan'do was applied to the melody (as the tin-
Moren'do (growing slower and softer)
Sminuen'do changing part) of the Gregorian chants
Smorzan'do sung by men, and hence to the high
male voice. In medieval music,
4.
Tcmporiser To play an accomp, (a) a hold; (b)
(Fr.) tenor also signified
colla parte. ambitus (of a mode); (c) the initial
Temps (Fr.) Beat. T. foible (secon-
. . tone of the EVOVAE. Tenor-C, small
daire)) weak beat; /. fort (sensible) ^ c.
Tenor-clef^ see Clef.
. . . . Tenor vio-
strong beat* lin, the viola.
(| r
tion, from 2 to 5 feet long, hollowed tones.
-
Terce. i. See Tierce 4. 2. The 3rd any extent adopted, for chord of the
of the canonical hours. seventh; analogous to Triad.
Tercet (Fr.) A triplet; in poetry, a Tetradiapa'son. The interval of 4
group of 3 rhyming lines. octaves. (Also quadruple diapason^
octave^ eighth.) or
Tefnary. (Fr. temaire; It Urntfrio)
Composed of, or progressing by, threes. Tet'raphone. See Tetratone.
Ternary form^ Rondo-form. . . Ter- Tetrapho'nia. See Organum.
..
form, proposed as a groundwork for cula'ris, the bagpipe ... Tibi'cen (pi.
elaborate variations (tema con wria- a flute-player.
tibi'cines),
zio'ni). Tie. (Ger. Bin'debogen; Fr. liaison;
Theorbo. (Ger. TheoSbe; Fr. thtorbe, It.
fa'scia) A
.curved line joining 2
It. tioSba, tuor^ba.) One of the various notes of like pitch which are to be
double -necked bass lutes so popular in sounded as one note equal to their
the i yth
century, the bass strings (ac- united time- value... Tied notes, (a)
companiment-strings, diapasons), of notes joined by a tie (), notes (like ;
octave and a sixth a compound sixth. Tierce (Fr.) Tierce i and 4..:7V<#
;
tem'po) The division of the measure In Duple time the number of beats \&
into equal fractional parts of a whole the measure is divisible by 2 ; in Triple
note (^), forming a standard for the time, by 3. There are also 2 sub-
accentuation or regular rhythmic flow classes, Compound Duple time, and
of the movement. The sign for time Compound Triple time. In compound
is called the time-signature^ and is duple time the number of beats to each
usually in the form of a fraction set measure is still divisible by 2, but each
immediately after the clef at the begin- beat contains, instead of an ordinary
ning of the movement, the numerator note divisible by 2, a dotted note (or fts
indicating the number of notes of a equivalent in other notes or rests) divis-
given kind in each measure, while the ible by 3 ; hence the term compound^
denominator shows the kind of notes each simple beat being represented by
taken as the unit of measure; e.g. \ a dotted or compound note divisible by
(three-four time) means 3 quarter-notes 3, instead of a simple note divisible by
to a measure,
| J J J j; }| (twelve-six- 2. In compound triple time not only
teen time) means 12 sixteenth-notes to a the number of beats in each measure is
O e-
S3 3 S >4 H H s
Nin
???e 1 1 ?? 2 ^ j
3
1
I | Nine-
^
II
? ? -1:11 f 2. 1 H & v
L ns i S* |. |.
i
1
Three-tw
2. J? rt
flft*^lJ
Three-eig Three-fou
Three-one fr
& <-
? 2 -
w en
If <%% 9 8
g
1
?. siilll If II s S 5:
II rs-ll Us | g ^-
&
S*
n
r
sf r ? s
II
2.
JL
II il lirr
ff
?g .
- !T 17
ff
B-
II I! II I
^ I
B- B-
cinq rois
cinq trois trois trois
hui qua
r huit quat
deu
un Hill
f
000 00 H B >-
HNlU'lI
5
*
o 9 t>d 3 5 C ^
SL I |l I I .
f fsigm? ?
(or
SHtTT|
O^e^.^Pw X
5
|
otto-cin
quattroci
psodmo^
variety of autoharp.
tuted for time; duple and triple retained
for the simple forms of the measure
Tocca'ta (It., from tocca're, to touch.y
;'
while the complex forms are called An early species of composition for
quadruple rhythm, sextuple rhythm, keyboard instr.s, originating in Italy
toward the close of the i6th
octuple rhythm^ etc. However, the de- century.
sideratum of any new system, i, e. the In style it is free, and bold,
approach-
ing the (old) fantasia it has no dis-
of the number of ;
plain expression tinctive form, but consists of runs and
beats to the measure as well as of the
number -of notes of a given kind, is not passages alternating with 'fugued 'or
yet attained ; and well-meant half-re- contrapuntal work, built up in the more
elaborate" specimens on a
forms serve only to make confusion figure or
worse confounded. . .s-time, j-time, ab- theme, generally in equal notes, with a
breviations of duple and triple time flowing style and lively, rapid move-
ment. Toccati'nai Toccatel'la, diminu-
respectively.
tives of Toccata.
rimidamea'te (It.) SttAngstlich. Tocca'Jfco (It.) In trumpet-music, a
Timidez'za, con (It.) In a
style ex- fourth (bass)
trumpet-part added as a
pressive of timidity or hesitation. substitute for the' kettledrums,
tfaffam.)
drum... Timpani muffled' >' give the pitch ; den Ton Halten, to keep
coper*ti^
drums. .
-
. tte pitch. .. Ton'atistand, interval...
_
_
. .
Ton'kunde, science of music.
. Ton'- .
depart and whither they return, whereas
kunst, art of music, musical art ; musici tonality, taking this same tonic chord
Ton'kUnstler, musician. . Ton'lage, as a starting-point, includes
any and
. .
.
. tern or theory of musical tones. . . Tan'- pipe, the tongue is the vibratile slip of
metal producing the tone. 2 (verb).
umfang, compass . . .
Ton'unterschied, To employ the tongue in producing,
interval . . .
Ton'verwandschaft, relation
or affinity of tones. . . modifying, or interrupting the tone oi
Ton'verziehung, certain wind-instr.s.
tempo rubato . . Ton'iverkzeug, a mu- .
. .
Tonguing, the
sical instr., either natural production of effects of tone, on wind-
(voice) or arti-
by the aid of the tongue. $inglc+
instr. s,
ficial. Ton'zeichen, a note or other
. .
not overstepping the limits of the key cadence to the tonic of that Jcey. . .
of a composition ; non-modulating imi- Tonic Sol-fa, a method of' teaching?
tation.
vocal music, inv by Miss Sai^ah Ann
f
distinguished by
the method in 1841. Its formal basis
and wider scope. Key de-
significance
is the "movable-Do" system ; jthe 7
notes simply the mode (of a piece) and
usual solmisation-syllables are employ-
the pitch of that mode strictly, it re- ;
from the tones of its own diatonic scale. doh ray me fah soh lah tei
TONIC.
higher or lower octave is entered ; thus the tonic principle"-. The system of
d d a soprano upon the mental
1
in ./a tonic sol-fa insists'
s, .
I
T fl
t - m* -1
former lying to the right, the latter to
the left of the central column. Sharped
i -=- r -s tones take the sharp vowel e t flat tones
s DOH' f the broad vowel a (ah). In modulating,
TE m so-called bridge-tones are added in the
i ta I* notation in the form of small letters in-
s,
- deDOH - f,
the printed notation, equal spaces rep-
resent equal times, and fractions of
t, m, time are shown by fractions of space ;
the beats (" pulses") are represented
nij 1|
-=r
T| by regular intervals of space. A
thick
T{ bar marks the primary accent (strong
S, d!
pulse) ; the weak pulse is preceded by
a colon a shorter bar marks the sec-
;
ta m la
ondary accent a dot midway in a pulse-
;
t
space marks a half-pulse ;
and quarter-
pulses are marked by commas. The
continuation of a tone is indicated by a
This arrangement shows the exact dash, while a rest (silence) is left simply
position of each tone in its relation to as a blank space. In lieu of protracted
ll "
the key-tone ; in fact, the fundamental explanations, the hymn America is
: 1
: 1,
Sweet land
TONISCH-TRACT. 205
Touch. (Ger. An'schlag; Fr. toucher; whistle, and a triangle), with 2 violins
It. ta'sto.)The method and manner of and a double-bass. Key, C-major. It
has been variously imitated.
applying the fingers to the digitals of
keyboard instr.s. Trackers. (Ger. Abstratften; Fr.
Touche (Fr.) i. A key (digital). 2. A a&r/g/s.) See Organ.
fret. 3. A fingerboard, either with or Tract. (Lat. tractus.) An anthem on
without frets, verses usually taken from the Psalms,
Toucher <Fr.) i (verfy. To play, as substituted, from Septuagesima to
206 TRADOTTO-TREIZIEME.
Easter eve, for the Gradual, or for the EQ raised the new pitch by a fourth,
Alleluia following the Gradual, in the 1. e. lowered the original pitch by a tone,
R. C. and some other services.
Transposing Instruments, r. Those
Tradot'to (It) Arranged ; transposed. the natural scale of which is always
written in C-major, regardless of the
Tra'gea der Stimme (Ger.) Port de
actual pitch. 2. Instruments (chiefly
voix.
with keyboards, as the pfte., harpsi-
TrainS (Fr.) Slurred. . . Trainee, same chord, etc.) having some device by
as Sckleifer(b). which the action or strings can be
shifted so that higher or lower tones are
Trait (Fr.) i. Tract. 2. Passage vocal
produced than when they are in the
;
method. "
Travailler (Fr.) To work". An in-^
Transient, Passing, not principal ; in- strumental part is said to fravailler t
i. Written: played :
2. Written: played:
J
(This last is simply a trill without after- Tres (Fr.) Very; molto.
[N.B. The pfte.-tremolo is not al- Triad. (Ger. Drei'klang\ Fr. and It
beat.)
" "
ways, written as an exact abbrevia-
^ triafde?)of aA three-tone
^j -
chord com-
tion (comp. Abbreviation 2); e. g,, &
posed given tone (root) with its
may ^BaHESsTSEPSS third and fifth in ascending diatonic
signify JgSajgJgJgpJgJg order. .Harmonic triad^ a major triad
.
instead. 11111111,
^ in case the
Triangle. (Ger. Triangel; Fr. triangle;
s
of J^J J^J*
tempo is It trian'golo.) An orchestral instr.
slow enough to admit of the former of percussion, consisting of a steel rod
reading.] 4. A fluttering effect pro- bent into triangular shape, one corner
duced by the tremolo-stop or tremu-
being left slightly open it is struck with ;
being the rapid and even alternation of sic, the trill generally begins on the
the latter with a higher auxiliary (the principal note (a), and ends with an
maj. or miru second above); except after-beat (), which should be written
when the time for its execution is so out ; if to be begun on the
auxiliary, an
brief as to reduce it to a mere turn, or appoggiatura should be set before the
an inverted mordent. In modern mu- *
a
A ( ) fr ft) tr
tr
rrprfl
A
dotted quarter-note would call These are the typical forms of the long
forone more group of 4 i6th-notes ; a
trill; they differ in different kinds of
I for 2 such additional groups ; etc. time; e.g.
the tempo also exercises a controlling time-value of the principal note per-
mits of such extension, e.g.
influence, the per-
following trill: formed :
E' into
,
(All commodo)
would be
executed :
(adagio)
It is often in place when not written it being usually required where the trill
put (comp. Ex. b under chain of trills)\ is followed by an accented note ; though
its introduction is then either a matter the next three examples require no
of taste, or depends on what follows, after-beat :
Successive trills, even though alike in i reason of the notes immediately prt-
notation, may diffe* in execution by I
ceding them:
the following requires short trills like cable to the execution of the trill is one
inverted mordents :
equally applicable to all other graces ;
namely, that it must exactly fill out the
time allotted to it, neither accelerating
(all-.)
nor retarding the rhythm. peculiar A
mode commencing the trill, called
of
the ribattuta\ and still sometimes em-
ployed by vocalists, flutists, and violon-
cellists on account of the smoothness
attainable thereby, has the following
The only rule now universally appli- forms :
'
0) ,
5g5S
In the lyth and i8th centuries, and Tril'lerkette (Ger.) Chain of trills.
end on the principal note. For varieties scribed in Caccini's Singing Method
of
"
the "
trill indicated by the signs (1601) consists of the rapid repetition
^
A*V, etc.,
compare Graces of a single note. ..He also mentions
Double and Trifle
Mordent^ Signs.,. another grace which he calls the Gruppo,
Trills, in alternate thirds, sixths, etc.,
for both hands, frequently occur in
which closely resembles the modern
modern pfte. -music. shake :
Trine. A 3-tone group, or triad, com- a more tranquil movement and canta-
bile style ; called "trio" because writ-
posed of any given tone (the rooi) with
its major thirds above and below (as
ten in 3 parts, in contrast to the ordi-
tri'pla.).
A
group of 3 equal notes to additional octave-string, and some speci-
be performed in the time of 2 of like mens were provided with sympathetic
value in the regular rhythm ; written strings within the body. . . TV. sorda,
muted trumpet. Tr. spezza'ta, earlier
. .
pet).
Trip'lum (Lat.) In medieval music, a
Trombet'ta (It.) i.
(Also trombettattfre^
third part added to the original Altus
and Bass'us of the organum, and gener-
trombettiefre^ trombetti'no.) trum- A
peter. 2. A small /trumpet (dimin,
ally the highest of the 3 ; hence, Engl.
trombetti'na).
treble.
gn*
tirarsi of Bach's scores was possibly a
soprano tr., the place of which was usu-
ed fourth ; as \j '
It is a
ally supplied by the cornetto*
Tritt (Ger.) Treadle or pedal. ... Tritt'- non-transposing instr., and is written
in the or tenor) for the alto
-clef (alto
harfe, pedal-harp.
and tenor instr.s, and in the ^-clef for
Tri'tus (Lat.) The third authentic
the bass and contrabass. In playing,
church-mode (Lydian).
there are 7 positions, obtaine on suc-
Tro'chee. (Lat. trocha'us^ A metri- cessive descending semitonic degrees
cal foot of 2 syllables, long and short,
by gradually drawing out the slide, the
with the ictus on the first (-^ ^).
istfos. being when the slide is pushed
Trois Three. .Mesure a trois-
(Fr.) .
completely in, i. e. when the tube is
deux, 3-2 time a trois~huit, 3-8 time
; ;
shortest in each position the tones
;
\-
Ity
this is
chromatic trumpet, valve-trumpet.
tica^
Tromba rnari'na compass of ,
y lljKT^
^ e re ~
. . (Sea-trumpet, 2! C5 '
ular or-
Marine trumpet, Nun' s-Jiddle; Ger.
octaves, j Jnf
chestral
Non'nengdge, Trum'$chdt\ a very
compass, above which are the 4 difficult
ancient single-stringed bow-instr., hav-
ing for a body a long thin wooden shell
tones J 1 , A
**fc and #; while below,
separated by a tritone from the rest of
made of several staves, a flat betly, the scale, are the so-called pedal-tone$
short neck, and I thick gut string gen-
The orchestral
gy
erally tuned to C (sometimes
one or
of the
sS?
^
1
|~" compass
i .
troi't. Originally, there was but one pette; It. trom'ba.) An orchestral metal
for each mode; the different. formulas wind-instr. having a tube of somewhat
are now termed differentia. narrow scale, and a cupped mouthpiece ;
trovato're; comp, Trouvere.) One of prime tone in the natural trumpet may
a class of poet-musicians originating in be modified to any degree of the 12*
Provence, and flourishing in southern tone chromatic scale (A, Jty, B, C, Efy,
France, northern Spain, and Italy from D, fy, E, F, /J{, G, A\> and also to
;
the nth century till toward the close of high A and Jfy). The natural trumpet
the I3th. The chief theme of their has the following scale
lyrical effusions was love (comp. Meis-
tersinger\ Their art, at first cultivated
by princes and knights, gradually de-
cayed, passing into the hands of their
former attendants, the Me'nestrels.
which, by combining the tones obtained
Troupe (Fr.) A band or company of by using- the various crooks, gives the
musicians. following complete compass :
possess all the qualities of timbre metal, used in tuning metal flue-pipes
u coned
proper to the natural instr.s, in addition in the organ.
"
Their tops are
to their own resources ".] 2. In the out by inserting the point of the cone f
organ, an 8-foot ree^i-stop of powerful this increasing the flare and raising the
"
tone. pitch; and coned in" by
jjushing
the inverted cone down over their tops,
Trum'scheit (Ger.) Tromba marina.
decreasing the flare and lowering the
TVba, i. The straight trumpet of the pitch. . . Tuning-crook, a crook. . Tun- .
The original tubas inv. by Wieprecht Tonic Sol-fa, 2 ), and employed to give
of Berlin in 1835, are of broad scale the pitch for tuning an instr., begin-
and have 4 valves, giving a complete ning a vocal performance, etc. . . Tun-
chromatic scale of about 4 octaves. ing-kabtmer, a hand-wench used in
The bass tuba in -5ft, and contrabass tuning pftes. . . Tuning-horn, a tuning-
tuba in^i|7,are the ordinary orchestral cone. . . Tuning-key, a tuning-hammer.
sizes in Germany ; these, and also some . .
Tuning-slide, a sliding U-shaped
others, are general use in military
in section of tne tube in certain brass
bands. . . Tuba curva, a species of nat- instr.s, used to adjust their pitch to
ural trumpet of very limited compass, that of other instr.s. . Tuning-wire, .
ous
and somewhat monotonous 'harmonic
; agitated.
accomp.
Tun. Drum of the aborigines of Yuca-
tan;
Turkish music. See Janizary music.
air, chiefly
It. gruppet'to.) Sign fiv; obs. GO, $ g ,
Except in extremely rapid move- 1 before the turn, for one-half or % of its
and the turn is executed in equall usually loses a larger proportion of its
notes. But a dotted principal note! value:
III. The Back Turn (sign the in- on the lower auxiliary, and the principal
j
verted or vertical turn-sign GO g) begins 1 note is generally dwelt on after the turn :
I co
IV. The sign for the Double Turn Twenty-second, A triple octave.
v(f) calls for a turn in 2 parts at once.
Twice-accented (a", b", etc.) See
Tusch (Gen) A thrice-repeated flourish Pitch, absolute.
of trumpets accomp. by the roll of the' Two. Two-time, 2-time^ duple time. . ,
gefiihrte ^Stimmen, divided stops (or- Uncoupled. (Ger. Koppel ab.) In or-
gan). . .
tjr'bergreifen, (a) to cross the
1 gan-music, a direction to push in a
hands in pfte. -playing ; (&) same as De- .
coupler previously drawn. (Usually
mancA/;' ubergreifendes System^ , in "off" ;
as a to Pel
"
off)
Hauptmann' s theory of harmony, a key- 7
Un da raa'ris (Lat. wave of the sea".), ,
G'ber- of an eleventh.
leitung, transitional passage. . .
keyboard, or one foot over the other on (from Ger. Un'tertone), the lower par-
the pedals) . . ff'bersteigen, to rise
.
tials. (See Acoustics.)
above said of a vocal part which tem-
;
Underline (Ger.) The interval of an
porarily ascends above one naturally
eleventh.
higher.
Undezimo'le (Ger.) An unde.cuplet
tilmng (Ger.) Exercise ; practice.
Undulazio'ne (It.) On bow-instr.s, the
Ugua'le(It.) Equal, like, even. . .
Ugua> vibrato effect.
lita\ equality, conformity. . .
Ugual-
men'te, equally, alike, evenly. Un'eigentliche Fu'ge (Ger.) Fuga
Human. irregularis.
Uma'no,-a (It) . .
Voceumana,
Un'endlich Infinite.
(a) vox humana ; (b) cor anglais. (Ger.)
f
Un'harmonisch (Ger.) Inharmonic. . . Un'tersatz, subbass. . . Un tersetzen,
Unichord. I. Mono- to pass under (see Oberseteeri). . Un'- .
(Lat. unickor'dum)
chord. Tromba marina, terstimme, lowest part; bass
2. part.,.
Un'tertaste, a key (digital) belonging
Unio'ne (It.) Coupler. to the lower or white row ; a white key.
Unison, (Lat. uniso'nus; Ger. Unison'; . . Un'tertone Un'ter tonreike, the
(pi.),
Fr. unisson; It. uni'sono.} Properly, series of lower harmonics of a given
a tone of the same pitch as a given tone ;
the undertones; opp. to Qber-
tone ; by extension, a higher or lower tone.
octave of a given tone as alVunhono
Un'vollkommen (Ger.) Imperfect.
;
out and the 'cello has merely the direc- beating time; opp. to down-beat. 2.
tion col basso alVunisono [c. B. alFuni- An unaccented part of a measure. '
sono\, i. e., the same part an octave Up-bow. (Ger. Hinaufstrich; Fr.
higher). Also, in the pianoforte, a jboussJ; It. arco in su.) In playing bow-
of 2 or 3 strings struck by one
group instr.s, the stroke of the bow in the
hammer and yielding one tone; one direction from point to nut ; sign V or
such string is called a unison-string.
A, which is called the up-bow mark.
Finally, sometimes equiv. to Prime. See Pianoforte.
Upright piano.
Unitamen'te (It.) Unitedly, together
f Ut. I. The first of the Aretinian syllables
with. Uni to,-a,
. . united, joined.
(see Solmisation). 2. Name in France
U'no (It.) See Un. of the note C. . .In the French system
Unrein (Ger.) Impure, false; out of of marking the absolute pitch, the sev-
tune. eral octaves are marked as follows :
English system Ca Ci C e c3 c1
V, An abbrey.
for Vide (v. s. vide = better, the fcW-valu'e) of a note or rest,
In certain brass
scendo, go on increasing (the power). val'vola, pisto'ne.)
wind-instr.s, a device for diverting the
Vacillan'do (It.) Vacillating ; noting a
air-current from the main tube
to^an
passage to be performed in a wavering, additional side-tube, thus lengthening
hesitating style. !
pass.
Key 3.)The valves are operated by the sole limitation being that a memory
the fingers of the right hand; their so to speak of the theme shall in
usual number is 3, No. I -lowering the one way or another be kept alive
pitch by (approximately) I tone, No. throughout.
by a semitone, and No. 3 by i^ tones. Varia'to (It), Van* (Fr.) Varied...
Two systems are in ordinary use ; the Air van/, Mme van/, same as tema
1
cylinder which communicate with the sung about town ; by the introduction
main tube, so that the open (natural) of such verses into light plays and
tone of the tube can be sounded on operas the way was paved for the mod-
;
the organ, the principal valves are the Vela'to Veiled (see Veil).
(It,)
suction-wives or sitckers admitting
.
Venu'sto (It) Graceful, elegant. Verte (Lat.) Turn oven (See Volti.)
Vepres(Fr.) Vespers. Vertical. Lying in one plane (said of
Veran'derungen (Ger.) Variations. pfte.-strings) ; opp. to overstrung.
Vers. Lord, save Thy people, thrill, or series of very rapid partial in-
Rtsp. And bless Thine inheritance. terruptions of the tone. [Not to be
A verse or stanza. 2 confounded with Tremolo in either
Ver'so (It.) I.
The ill-managed vibrato de-
,
-
An air or tune. sense.]
Vigorosamen'te (It) With vigor, ener- cles, and the upper half of the body
position resembling the English anthem, ever, together with the number and
sung in Spain at the principal festivals peculiar tuning of the strings, greatly
of the Church.
facilitated chord-playing, in which the
Villanel'la (It.) An Italian folk-song violin is comparatively at a disadvan-
of the 1 6th century, differing from the The tuning was as follows :
tage.
8fa lassa. . . .
i.e. in fourths with one third treble viol; gradually the larger violin-
midway.^
The violsformerly held, in conjunction types were invented, with the above-
with the lutes, the position in the or- mentioned result. During the transi-
chestra now occupied by the violin,
etc., tion, the frets were gradually discarded.
and were not ousted by the latter Vic/la
fairly r. The tenor violin. 2. "A
(It.)
till the
beginning of the i8th century. viol... V, alta, (a) treble viol hence ;
The Bass Viol(i.& in viol-shape, but (b) tenor violin (obsolete name)... V.,
with fewer strings) is, indeed, still
bastai'da, an enlarged viola da gamffoi
found in England, though superseded
originally with 6 or 7 stopped Strings^
elsewhere by the double-bass of violin- to which were added kter :an- equal
The violin first supplanted the
type-
^number of sympathetic strings stretched
VIOLE-VIOLONCELLO. 221
beneath bridge and fingerboard. . . V. viola... Viole amour, see Viola da-
**
da brac'cio, arm-viol" (hence Ger. more.
Brcttsehe), a viol held on the arm
while playing ; opp. to v. dagamba. . .
Violentamen'te (It.) Violently, impet-
" uously. . . Violent to , violent
V. da gamba, leg-viol/' a large viol
held, like the 'cello, between the knees ; Violet. The viola d*amore. (Sometimes
the bass instr. of the viol family. V. , .
English Violet.)
d'amo'reffi- violed"amour), a tenor viol
similar to the v. bastarda in stringing
Violette (Fr.) Small viola.
trabbas*so di vio'la, see Viol. proved viol*), and the leading orchestral
instr.;constructed in 4 principal sizes
Vio'le (Ger.) Viol.
(the so-called string-quartet of the or-
Viole (Fr.) Formerly, a viol; now, a chestra), with the following accordature:
A description of the treble violin, the est,because the highest string is that
typical instr. of the family, will suffice next the bow-hand. (Compare also
for all its members. The resonance- Bow, Bowing, Position, Shift.)...
box, or body, is formed by a vaulted Violin-clef, the -clef .
Violin-diapa- . .
belly (bearing the bridge) and back, son, a diapason-stop of narrow scale
joined by narrow sides called ribs; the and stringy tone.
waist is the narrow middle portion be- Violi rna. A metal
flue-stop in the organ,
tween the incurving bouts, at the corners
generally of 4-foot pitch, of small scale
of which, and also at other points with- and stringy timbre.
in the body, are glued triangular pieces
of wood called blocks, to strengthen the
Violinette, i. A kit. 2. Same as
molino piccolo.
frame. Also inside, just beneath the
treble foot of the bridge, is set a round Violi'no (It) Violin. .. K di fer>ro,
rectly to the
strengthens the
;
apertures cut in either side of the belly string (c* *T end) violin.
are the f-holes, or sound-holes. At the Violin'schliissel (Ger.) tfdef.
,
VioL 2. In the organ, a stop on the Vivacet'to, less lively than vivace, about
accurately timing the practice, for written for or executed by the voice, as
acquiring promptness of down-stroke a solo or with accompaniment.. Vocal
and up-stroke, and for determining the
registers, see Voice... Vocal score, se-
different styles of touch (e. g. for the
duction of orchestral score with voice-
Ttrict legato the click on depressing
one digital exactly coincides with the part(s) to piano-score with same,
Vocation. See Reed-organ.
release-click of the one preceding) ; (2)
-
from the very lightest pfte.-touch up to cording to the rules of vocal art, using
5 times that of the average pfte, -action, only the vowels a and e. . . Vocalises\
<?rmore than the heaviest organ-touch. vocal exercises or etudes, generally sung
voce, see Messa...Mezza vocet sottovoce, vocal music, with or without accomp. .-.
see Mezza t Sotto. Vokal'stil, a cappella style ; vocal style.
Vo'ces (Lat) Plural of Vox. Volan'te (It., "flying".) Light, swift
Vo'gelflote,-pfeife (Ger.) A bird-call, Vola'ta (It; Ger. Vola'te\ Fr. Volatim.)
like that played on by Papageno in A
short vocal run, or trill ; a run, or
The Magic Flute. . . Vo'gelgesang, a division a light and rapid series of
;
Voice. (Lat. vox; It. vo'ce; Fr. voix; man) folk-song, or popular music in
Ger. Stim'me, specifically Sing*, general ; opp. to Kunstlied. yolks'- A
For the several classes of the human tkumliches Lied is a product of art in the
voice comp. Soprano, Mezzo-soprano, style of the folk-song... Yolks'ton, im, in
the style having the general character
Contralto, Tenor, Barytone, Bass.
The word voice is often made synony- of a folk-song. (It in mo'dopopola're?)
4t . . * Yolks' weise, same as Volkslied.
mous with part", in imitation of for-
eign usage ; the practice cannot be Voll (Ger.) Full . . arches'ter. . ^/^
recommended. .Vocal .
registers. full orchestra; vol'ks Wcrk> full or-
There is hardly any subject on which gan ; mit vofleni Cko're, with full
4
opinions are more irreconcilably op- chorus.. Vollgriffig ( 'with full hands"),
.
" Mechanism of the Human of full harmonies ; () for many parts, poly-
4<
Voice")
the term register a series of tones phonous. [ Voll frequently occurs as a
which are produced by the same mech- suffix with the sense of the Engl. -julj
.
Vom
(It.), (Fr.)
From the. Vom An'fang,
w.
(Ger.) . .
J=da capo; vom Blat'te ("from the W (as a double V, in Fr. usage). Marks
page"), at sight violin-parts copied from a score.
Voraus'nahme (Ger.) Anticipation. Waits. [Also Waytes, Wayghtes, etc.]
Originally, a class of street-watchmen
Voi^bereitung (Ger.) Preparation.
in England, who gave notice of their
VorMersatz (Ger.) First subject or
approach by sounding horns or other
theme ; fore-phrase [PROUT]. instr.s. The name then appears to have
Ordinary Waltz 1. r. L r. L
'
Warmc, with great warmth. note^ one having an open (not solid)
Was'serorgel (Ger.) Hydraulic organ. ^ad (^ J).
Waste-pallet. See Valve. Whole note. See Note. . . Whole shift,
see Shift. . . Wholea step of a
step, (a)
Water-organ. Hydraulic organ. whole tone a whole tone . . . Whole
; (b)
Wayghtes. See Waits, tone (Ger. Ganz'ton ; Fr. ton plein y
Weak accent, beat, pulse. See Accent. It. tonff interc), see Footnote, p. 103.
choly. . .
Weh'milt(Ji)ig^ sad, mournful, performance, production, rendering, in-
melancholy. (Also adverb^) terpretation, reading. Wiederher*'stel- . .
'
atu^, system of rollers. on, the water rises in the outer arm of
. .
Wel'lenbrett,
roller-board. the U-shaped tube, indicating the wind-
pressure by the height in inches to
Well-tempered. In equal, and conse- which it is forced. (Comp. Weight.)
quently satisfactory, temperament; as . . Wind-instruments
.
(Ger. &lasfin-
J. S. Bach's Well-tempered Clavichord
strumentej Fr. instruments & ventj It.
(Ger. Wohl'temperirtes Clavier*). stromen'ti da fia'to), instruments, the
We'nig (Ger.) Little ; ein. klein wenig tones of which are produced by wind
lang'samer^ a very little slower. (i. e. compressed air), the vibrations
Werk (Ger.) In the organ, (a) the set excited in the latter being transmitted
of stops controlled by one keyboard to an air-column enclosed in a tube (e. g.
;
"
Zerstreut' (Ger.) Dispersed, open. Zither (Ger., pron. tsifter; EngL pro.
Zieh'harmonika (Ger.) Accordion.
nun. xith'er) [The Ger. Zither is a very-
different instr. from the old
Ziem'lich (Ger.) Somewhat, rather. EngL cither
or cittern; to prevent confusion, it
Zier'lich (Ger.) Neat, delicate ; grace- would be well to adopt the Ger. spelling
ful, elegant. (Also adverb.) for themodem instr.] i. (Scklag zither,
Zif'fer(Ger.) Figure...^m/'/^, figured; i.
plucked zitker.) The zither, as
e.
>
Eff
marked J
*
|
are plucked by the fore-, middle, and fretted fingerboard, and 4 strings in
ring-fingers of the right hand, the lit- violin-tuning, the and E
of steel, A
tle finger resting behind the bridge to the D
of brass, and the of silk silver- G
steady the hand. They are of gut, or covered; but the bow-zither is held
covered silk, variously colored to guide quite differently from the viol, its head
the player's eye and fingers. The 3 being furnished with a little foot which
ordinary sizes of zither are the Treble rests on the edge of the table before the
Zither (Prim'zither}, Concert-Zither, player, who holds the body in his lap.
and ElegiS-Zither (also called -4//-or Zifternd
(Ger.) Trembling, tremulous.
Liederzither, and tuned a fourth be-
low the ?rim- and Concertzither). Zo'gernd (Ger,) Hesitating, lingering,
2. (Streich'zither-i Bow-zither^
i. retarding.
e.
etc.
haltung, retardation . . .
Zurftctfschlag, Zwit'scherharfe (Ger.) See Spitz*harfe.
same as Ribattufta. Zw51f Twelve... Zwolfah'tel
(Ger.)
Zusam'men (Ger.) Together, simultane- takt, 12-8 tiB&...Zwolf$aiteft see
ous(ly); bei'de Cho're zusammen^ both Bissex.
APPEND IX
OF
ADDITIONS AND CORRECTIONS
APPENDIX.
* refers to an earlier article in body of
(An asterisk Dictionary.)
nic).
A fior' laVbra (It; Fr. au bout des
di
Ifares; Ger. gekaucht) Very lightly
Ab'schleifer (Ger.) Staccato-dash (I I).
and softly sung or spoken.
Accenta'te (It; plural form otacctnta'ta,
i. Ac-
Aggiim'to,-a (It) Added, interpolated.
"le note" being implied.)
. .Arie aggiunte (pi.), airs interpolated
.
out using the keyboard. Motive-power the end of the third foot The second
and wind are supplied by two pedals line of the following extract is an ex-
worked by the feet ; the time-
(treadles) ample :
broader.
the pedal-movement, (b) by two knee
and the registration. In Amu'sia. Loss of the musical faculty.
swells, (c) by
Dec. 22,
the largest instr.s there are ten speaking [BRITISH MEDICAL JOURNAL,
stops, and a Tremolo. The JBolian 1894.]
ANCORA PIANO-BASSHORN.
Anco'ra pia'no (It) Still
[sing or play A'spro,-a (It.) Harsh, rough.
softly; equiv. to sempre piano. Assie'me Same as Ensemble. ,.
(It)
Andan'do (It) Same as Andante. Pezxo (Tassieme, a concerted
piece.
An'denken (Ger.) Recollection, souvenir Astuc'cio (It.) Music-roll, music-case.
*A'nima (It) 3. Core (of a covere Anda'cia, con (It) With boldness.
string).
Aufhebungszeichen (Ger.) The " can.
A par'te (It.) Aside ; e.g., sottwoce eel "or natural
(!]).
A quat'tro parti (sole) (It) For fou Aufschwung (Ger.) Lofty flight, soar-
(solo) parts.
ing impetuosity mit A., in a- lofty, im-
;
master.
the stage.
Conductor of an
Bun'te Rei'he (Ger,) The phrase means, Capo-orchestra
(It.)
orchestra.
the alternation, in a company
literally,
seated at table, of a lady with a gen- Capophone.
A set of musical glasses
inv. by M. F. Coelho, on which he
tleman hence, as a mus. title, a series
;
produced remarkable
effects.
of contrasted cnaracteristic pieces.
*34 CARATTERISTICO-CORTO.
/
4 5
*Esprcssio ne (It.) Expression-stop. 182
Esquisse (Fr.) Sketch.
mnfte t extremely.
" label " on a
Etichet'ta (It.) Maker's or thus:
violin.
" 243 12 4 321
toffer (Fr.) To stuff, fill out to
; pad/' 2.35432
Exaltation, avec Same as con A
(Fr,)
1
change of fingers, temporarily de-
csaltaziont,
layed, may be indicated thus ;
Exhibition. A scholarship at an Eng- 5 &
lish university or music-school, inde-
with a swift crescendo, the highest note A trill on the pfte. is sometimes fingered
tf.~ thus :
f or f or
, , |, etc.
e. g.,
pipes) j "/%**, 3 file XV,
XXir "
XIX, signifies Mixture, 3 flying leaves.
ranks (Fifteenth, Nineteenth, and ^olatrerie (Fr.)
triple Whim, caprice, bizarre
octave)". fancy.
*Filer un son (Fr.) Also means to sus- Forte generate (It.) The full-organ
tain a tone with a gradual crescendo combination - stop . .Forte Vappoggia* .
and decrescendo.
tura, accent the appoggiatura strongly.
Fi'lb di voce (It) The very softest and ciner Dissonanz'
l-orfschreitung
lightest vocal tone. (Gen) Is not necessarily the resolution
FORTTNOR-HOCHFORMAT.
/
of the dissonance, as one dissonance Gix er(Ger.) Same as JSTtV^
may progress to another; Auflosung Glottis. See Vocal glottis.
is the exact German equivalent of Gosier
(Fr.) Throat... hthme du g. %
"resolution."
isthmus of the throat.
ForttSnor (Fr.) Dramatic tenor. " La Poule "
*Graces. In (a piece for
See WKp-
Fouett6(Fr.; "whipped.") harpsichord, by Rameau), the following
ping bow. grace occurs \.
coolly, indifferently.
In the Rappel des oiseaux :
Fremen'te (It.) Furiously. Written:
Frettolo'so (It.) Hurried. . .Fretiolosa-
menfte, hurriedly.
boys voices.
I. 7
Kokett (Ger.) Coquettish(ly).
Iipi&(It.) The most.
Im (Ger.; contraction of in *&.) In the. L.
. , Jm TfmfO) in the (regular) tempo ; a
Lamen'to
'
(It.) Lamentation, dirge, eU
egy-
Inci'soy* (It) Incisive, sharp ; sharply
Lam'penfieber (Ger.) Stage-fright
emphasized ; ind'se [It note}, [the notes]
sharply marked. Languo're, con (It.) With languor, lan-
guidly.
Ingennamen'te (It) Ingenuously, nat-
Larghez'za, con (It.) Same as Largo.
urally.
mente.
Ingranag'gio (It.) Gear, gearing ;
ma-
chine-head. Leer (Ger.) i. Empty, hollow (of a tone).
2. Open (of a string).
Insceni'ning, Inszenie'nmg(Ger.) See
Mist en scene. Legan'do (It; "binding.") i. Equiva-
lent to Legato. -2. An expression-mark,
Intar'sio,Intar'zio (It.) Purfiing.
in vocal or instr.l music, calling for the
Space (between lines of
'
Lun'ga e diminuendo [morendo] (It.) Mol'to sot'tovoce (It) Very softly in.
Long sustained and diminishing in force. deed.
(Here "nota" is implied.) Mon'do picci'no (It.) " Little Folks,"
"
Little People"; title equiv. to the
M. German 4t
Kinderszenen/' "Kinder-
stucke."
Macchinet'ta (It.) Machine-head.
Madrile'fla (Sp.) A dance of Madrid. Montatu'ra (di corde) (It.) Set of
strings.
*Mandolina'ta (It.) 2. Title for a man-
Mor'bido Soft, tender ; morMdis-
dolin-piece of a quiet character, such
(It.)
tenderness, softly.
Mandoloncerio, Mandolo'ne (It.)
Large styles of the mandolin." Man- *Morden'te. G. "Ele-
NAVA, in his
ments of Vocalization," an un- calls
dolina, Mandola, Mandoloncello and
accented double -appoggiatura (e. M
Mandolone do not differ one from the
other in form, but only in size." [GAZ- -
\ imordente,
ZETTA MUSICALE.]
Manua'liter (Lat.) On the manual(s)
alone (organ-music).
*Mos /so(It) Occurring alone as a
tempo-mark, Mosso is equiv. to Con
Marca'te (It. ; pi. of marca'ta) direc- A moto. [Verdi: "Ai'da," pf.^score, p.
tion 'signifying :
" The notes are to be
285.]
marked"; the words "If note" being 1
Mu'sica fic'ta (Lat.; "feigned music/ )
implied. Mediaeval name for scales transposed by
" "
with strong
Mar'kig (Ger.) Marrowy ; the use of the or \) such scales being
ft ;
emphasis; sturdy, strong, vigorous. considered irregular (" feigned ") in con-
(Also adverb.) trast with the regular ones.
Mediation. See Chant $. Musical Dictation. See Dictic must-
Melo'logo (It.; pi. mek'loghi?) Melo- cale.
drama ; a spoken dramatic scene accom- Mu'sico
(It.) An artificial male soprano j
panied or illustrated by music. a castrato or evirato.
M es'sa da re'quiem (It.) Requiem mass.
Musique de scene (Fr.) Incidental
Mes'sa in sce'na (It.) Same as Miss en music.
scene. The art of correctly
Musurgia (Gk.)
*Mesur6 (Fr.) Equivalent to moderate; employing the musicaLconsonances and
e.g., A$egro piesure'. dissonances.
piano-music, stand for Una corda and separate parts... Partition et parties^
rr* ^^respectively. Alsor/. Divise score and parts.
and Fingering, in Appendix. Partitionnette (Fr.) A little (or slight)
*0perettc [witfi /] is the correct spelling Pedale o'gni battu'ta (It) "Take
of the French word. pedal with each measure."
Qperi'sta (It) Opera-composer. Pedalet'to (It.) A
mechanical^ stop
on
Order. The arrangement of chord-tones the organ ; e. g., p. di accoppiamen'to^
above a given bass, "open" and coupler ; p, <di combinAzio'ne^ combina*
" "
"close order" being equiv. to open tion-stop.
u
and close harmony ". Pedali'no (It.) Same as Ptdaletto.
Orecchian'te (It) One judging of Pedal-sign. A sign for the loud pedal,
u "
music by ear ; one lacking theoretical (a) O)
and practical training in the art written has been introduced
p" J,
Orieo'nico to the a showing
(It) Pertaining by Arthur Foote of Boston ;
wind. mandolin.
PENNA-PROGRESSIVE COMPOSITION. 241
Pen'na (It.) Pick, plectrum. Plein (Fr.) Full ; a pten son, with ftf
Pensie'ro (It) tone (sonoramtntt).
Thought ... Pensiero
del(la)t Souvenir of Recollections Plet'tro (It.) Plectrum, pick.
,
by the feet ; these pedals actuate (a) a Porta'te la vo'ce (It) " Carry the
revolving music-roll of perforated paper, voice"; a direction to more than one
whose perforations control the time-
singer to sing portamento.
value of the notes ; and () the pneu-
matic action, consisting of 65 felt- Post-horn. A horn without valves or
covered levers, or automatic fingers, keys, capable of producing the natural
harmonics of its fundamental tone;
"which command a compass of five 1
used on post-coaches.
octaves and four semitones (from A\ to
<*$), and act with all the delicacy and
Premier dessus (Fr.) Soprano.
precision of a trained pianist's digits, Pressan'do (It.) Same as Pressante.
besides being able to play any 4-hand
Pr estissimamen'te> (It.) With extreme
pieces. The apparatus is not attached
to the pianoforte, but set in front of it rapidity (equiv. to Prestissimo).
* *
in such .a position that the 65 automatic Presto parlan'te (It) Speaking rap.
fingers engage the proper keys. The idly (volubly) "; a direction in recita-
"
Roman'za sen'za parole (It.) Song ure ; i.e., not in strict time ; equiva-
without words. lent to the tempo-mark a piacere, and
Romanze'ro (It.) A suite or cycle of opposed
"
to misurato...Senza suono*
"
romantic pieces for pfte. without tone ; i.e., spoken.
Sept'akkord(Ger.) Seventh-chord. (Also
Sep'timmakkord.)
s.
Serenatella (It.)' Little serenade.
Sag'gio (It.) Examination.. (Concerto
1 Sereuita', con (It) With serenity, se.
di saggio, pupils concert given for
.renely, tranquilly.
practice in ensemble, or quasi public,
Serieta', con (It) Seriously.
performance; equivalent to the German
tjbungsabend'or Abendunterhaltung). Settimi'no (It.) A piece for 7 perform-
ers.
*Sampo'gna (It.) A variety of the Italian
bagpipe, having (in a specimen examined Severity con; Seve'ro (It) In ase*
in the United States) 2 drones, and 2 vere (stern, austere) manner.
melody-pipes fingered by the right and Sfuma'to (It; pi. sfuma'te \le note im-
left hands respectively ;
on it was played
plied].) Very lightly, like a vanishing
f ' 4
the accompaniment to a shrill reed-pipe smoke-wreath. Bfumatu ra t Smoke- . .
which the performers called a coma- wreath" (title of a light, airy composi-
musa. The bag is inflated by the breath tion), ,., 4 .,. e
every 7 years.
Schie'ber (Ger.) Same as Schub.
times writ-
Schiette'z'za, con (It) Simply ; neatly, ten at a single bar.
deftly.
i
pfte.-technic. -
This sign
Scoop. Vocal tones are said to be =used; (i)
is
*'
scooped" when taken, instead of by As a breath.
firm and just attack, by a rough por- to mark a very brief
ing-mark; (2)
tamento from a lower tone.
pause, together with the interruption
Secondan'do (It.) Supporting, follow- caused by taking breath.
ing; secondando la voce (or il canto}, * Another sign for the Back Turn.
yieldingly following the principal part
.
(with the accompaniment).
Second dessus (Fr.) Mezzo-soprano. mezzo staccato
nifies
Semitril'Io (It) Inverted mordent. e pesante (marcato) ;
Sentimental (It.) Feelingly. e.g.:
"
Sen'za misu'ra (It.) Without meas-
SILENZIQ-SyiZZERA.
*Sinfimi'a (It) This term is still used Stornello (It) A form of song in which
in Italy to designate an opera-overture ; each 8-line stanza rhymes thus : 1-3 2-4
e.g., la sinfoniadel Tannh&uscr. 5-6 7-8.
Siflfoni'sta (It) A
writer of sympho- Strambot'to (It.) Folk-song; rustic
Sinj^mftrcken,
vocal ballad... Sing*- Strascina're la vo'ce (It.) To sing a
master* singing- master. ..Singmesse, portamento with an exaggerated drag-
a-cappella mass...pSz^flzV/, treble ging or drawling.
string, chanterelle. . .
Sing'stund*, sing- Strei'cher (Ger.) Player(s) on any bow-
ing-lesson, vocal instruction... Sing-
instns.
jibungi singing-exercise. . .
Sin^verei^
singing-society.
Strefta (It.) A closing passage (coda)
in swifter tempo than the movement
Singtioz'zo (It) Sob.
preceding.
Slaacian'tejSlancia'toCt) "Thrown Strich'-Staccato A staccato in:
off" lightly and deftly, or forcibly and (Ger.)
dicated by wedge-shaped dashes ( f 1 ).
vehemently.
* Strict style (of composition). See Coun-
Slarga'to (It) Slower, f& sostcnufa
terfioint, strict.
*Slide. 4. On a violui-bow, that part of r
the nut which slides along the stick.
Strie se (Ger.; It. capoco'mico) The
leading comic actor or singer in a com-
Splmizza're (It) Same
as Solfeggiare. pany, either gentleman or (It. capoco'-
Sopranisf(in) (Ger. j Soprano singer. mica) lady.
ond time.
Table du fond (Fr.) Back (of violin).
Trito'nikon (Ger.) A modern form of
Ta'glio(It) A "cut"
double-bassoon, made of metal.
Tallo'ne (It.) Nut (of bow). Trom'ba reale (It,; "royal trumpet")
Tarantelli'na (It.) Little tarantella. An 8-foot trumpet-stop in the organ.
Telltale. A small weight moving verti- Trompe des Alpes (Fr.; It trombadelle
cally ina groove, and so connected with A Ipi.) " T he hollowed trunk or branch
the bellows of an orgafi that, bv rising of a tree, from which the old moun-
and falling, it shows the organist or taineers draw strange tones." [Rein-
*'
blower" the amount of wind in the troduced lately into Switzerland by Prof.
fellows. Heim of Zurich.]
Terzetti'no (It.) A short tercet. Tron'co,-a (It.) Cut off short ; stopped
a series abruptly. . . Suoni tronchi^ tones cut off
Tetralogie' (Ger.) Tetralogy ;
fftit vngehaukncm Humor, with uncon- Tone full in lowest register, mellow and
hmnor, burlando.
strained tender ia'the medium, and the 2?-string
Uaioa des registres (Fr.) Blending of well-adapted for sustained melody. Suc-
cessful concerts have been given with
the (vocal) registers,
" " the Violotit and 'Cellone (g.v.) in Dres-
Ufli'ti (It., pi) United ; this direc-
den Dr. S, claims to nave obtained
tion in a score, after signifies 4Mn^ the most equable and powerful reson-
that the instr.s or voices again perform the violin-type.
ance from Instr.s of
their pert in unison.
Virtuose de pijpitre (Fr.)
SeeP#/ft*V-
UnvocaL i. Not suitable for singing.
tucs.
2* Not vibrating with tone ; unvocal air
is breath escaping with a more or less
Vitesse (Fr.) Rapidity, swiftness.
'
audible sigh or hiss, due to unskilful Vivement Same as Vivace.
(Fr.)
management of the vocal apparatus, *Vocal cords.
" The
free median bor-
ders of 2 folds of mucous membrane
V. within the larynx, bounding the ante^
rior two-thirds of the glottis on either
Val'zer(It) Waltz.
side. Each is formed by the free me-
Veris'mQ(It) Naturalism. ,. Vtrtfiiscli dian edge of an elastic (inferior thyro-
(Ger.), pertaining to or affected by arytenoid) ligament running from
the
naturalism; naturalistic. angle of the thyroid cartilage to the
Verstarlcen (Ger.) To reinforce. vocal process of the arytenoid, and cov-
ered with thin and closely adherent
(It.; pi vibrate [If
note im-
mucous membrane." [CENTURY DICT,]
].) Strongly accented, and dimin-
g in intensity^ ; vocal or instr.l). 2. stop in an
*Vo'gelgesang (Ger.) A
Vibmsitfne di wce^ the attack of a
. . .
organ (" bird-stop").
tone/or/* or $f, and diminishing while Voile du palais (Fr.) Veil of the palate.
holding it. Vor'setzungszeichen (Ger.) Chromatic
*'
Vi'de se'quens (Lat.) See the follow-
sign.
same dimensions ; but its accordatura posers on account of its rough, harsh
i a fourth tower than the viola. effect*
ZARAMELLA ZITTERA. 247
Composers.
ABOVE-BELOW.
affettazione). 1
tananza ;
da lontano.
Agreeable. Gradevole; piacevole. [See
At A piacere ad libitum a
pleasure. ; j
Pleasing.] bene placito; senza tempo; a suo
Air. [SteJfttofy.] arbitrio.
All together. Tutti. At sight, A prima vista.
Also. Anche. Attack. Attacca, attaccate (pl)\ at*
1
soft, sempre. con agevolezza e soito- Tempo I moto precedente.
;
voce,
; risvegliato. , * Btfi*
svegliatp attaccate... To begin again, ripigljare.
,
.animation^ animandosi.
An octaye higher. AlTottava Beginning. Principle; capo.
j^r 8 ,
or gva Below. Sotto ; below the left hand% sotto
(8v'a ,
la mano sinistra.
alia).
250 BITTERLY DIVIDED.
Bizzarre fonescamente).
Bizarre(ly). (bizzarramente,
con bizzarreria). Complaining. Lamentando, lamente-
vole ; lagrimando, lagrimoso.
Boisterous(ly). Strepitoso (strepitosa-
mente, constrepito) ; brioso (con brio); Connectly. Legato.
tempestoso (tempestosamente). Consoling(ly). Consolante.
c. lentando ; slentando ;
strascinando ;
"
rilasciando; rilasciante. ,
con tenerezza).
Carefully. Con diligenza; con osser-
vanza ; con precisione. Desperate(ly). Disperato (con dispera-
zione).
Careless(ly). Negligente (negligente-
mente). Detached. Staccato, distaccato ; pic-
Change 1 Muta. ,
mente).
Chant. Dignified. Posato grave.
[$te Melody] ;
Dreaming. So&nando.
Dreamy. Vago... Dreamily, quasi so- F.
gnando. Fading away. [See Dying away*]
Drinking-song. Brindisi. Faint. Fiacco; debile; estinto.
Droll. Buffonesco. Fantastic. Fantastico.
Dry. Secco. Fast. Allegro ; vivace ;
vivo ; presto.
Dwelt upon. Temito, sostenuto. , . Very fast, allegro molto, allegro
Morendo smorzando assai, allegro vivo vivacissimo ; pre-
Dying away. ; ;
;
facile ;
mobile. . *
Easily, con agevolezza, sempre accelerando; pressando, pres-
sante.
agevolmente agiatamente ; commoda-
;
con timore).
Elegant(ly). Garbato (congarbo). [See
Feeble. Debile, debole.
Graceful,}
Feelingly. [See Expressively]
Emphatic(ally). Enfatico (conenfasi);
marcato ; sforzato. Fervent(ly). Fervente (con fenrore) ;
mente.
Imperious(ly). Imperioso (imperiosa-
Grand{ly). Grandiose; nobile (nobil-
mente).
mente, con nobilta).
Impetuously). Impetuoso (con impeto,
Grave(ly). Grave (gravemente, con con impetuosha) ;
impetuosamente,
gravita). sbalzr;ato; tempestoso (tempestosa-
Grotesque(ly). Grottesco ; burlesco (bur- mente).
lescamente). Imposing. Imponente.
Growing. [See Decreasing and Increas- In a festive manner. Con festivita,
ing^ In a gentle, quiet manner. Con lenezza,
In a sweet manner. Con dolce maniera.
H. Accelerando
Increasing (in speed}. ;'
crescendo rinforzando.
Harsh(ly). Aspro (con asprezza); duro ;
affrettando ; calcandc-. ,
recitando; narrante; parlandb, t
V;
Heartfelt. Indiffererite
Intimo, intimissimo ; affet- Indifferent(ly). (indiffe.
tuoso, con affetto. rentemente ;
con indifferenza) ; tepido
Ponderoso (tepidamente),
Heavy. pesante ; grave. . ; .
to soft, forte
Intense (intensamente, con piano (fp).
tntense(ly).
Louder. Piii forte crescendo rinfor-
intensita). ; ;
zando.
In the same manner. Simile.
Love. Amore.
In the same time. L'istesso
tempo ;
moto precedents Loving(ly). Amorevole, amoroso (con
In the style of a. Alia. amore, amorosamente) ; amabile.
In time. A tempo; Lullaby. Ninnerella, ninna-nanna.
Tempo 1; misurato
(after a recitative). Lyric. Lirico.
J. Manner. Maniera ;
in a quiet manner^
con dike maniera. [See /.]
Jesting(ly). Scherzando ; giocoso (gio-
cosamente). Marked. Marcato; con forza; rinfor-
-
mente)* * addolorato; amarevole (a mare vol.
Little by little. A poco a poco. mente) ; flebile ; funebre ; lugubre ;
Muted. Con sordino (pL con sordini). (con giuoco) ; giocoso (giocosamente) ;
Other, AItro,-a.
R.
P.
Rapid(ly)'. Rapido (rapidamente, con
Passionately), Passionato (passionata- rapidita) ; celere ; veloce (velocemente,
mente) ; appassionato (appassionata- con velocita, velodssimamente) ; mosso
mente) ; (con passione) ; ardente (con (in phrases like meno mosso, piti mosso,
ardore) ; fervente (con fervore) \ furioso etc.) ; tosto (tostamente),
[quanto.
(con furore) ; caloroso (con calore). Rather. Quasi'; piuttosto ; poco ; al-
Pastora1 . Pastorale ; rustico ; campestre.
Refined. Nobile (nobilmente).
Pathetic(ally). Patetico (patetica-
.^Hgious(ly), Religiose (religiosa-
mente); doloroso (dolorosamente, con
mente) ; devoto (devotamente).
dolore).
Pensive, Pensieroso, Reposeful(ly). Riposato (ri.posata-
Phrase (to). Fraseggiare . . . W e 11
mente).
Resonant(ly). Sonoro; sonante (con
pbrostdi ben fraseggiando.
risonanza sonoramente, con sonorita).
;
Piece. Pezzo.
Restless. Inquieto.
Pi^uantly. Con piccanteria.
Resume (to). Ripigliare ; riprendere.
Placid(ly). Placido(pkddamente). [See
Reverie. Meditazione.
Tranquil]
Rhythmized. Ben ritmato.
Plaintive(ly). Lamentando; dolendo,
dolente, doloroso (con dolore, dolorosa- Right hand. Mano destra.
mente) j addolorato; flebile; piangendo. Ringing(ly), Sonoro (sonoramente, cou
[See JTMTnful.] sononta). .
ROMPING-THAN, 255
Sketch. Bozzetto.
cezza, con dolce maniera).
Sliding. Sdrucciolando. Sublime. Elevato ;
nobile.
soave stri
slissato; (soavemente) ;
sciando.
Tastefully). Gustoso (con gusto).
Sobbing. Singhiozzando.
Soft(ly). Piano; dolce (dolcemente Tearful(ly). Lagrimoso, lagrimandoj
flebile (con pianto).
mollemente) ; very soft, pianissimo piangendo ; ;
dolcissimo ; estinto.
Tempestuously). Tempestoso (ten-
Softer. Meno forte. [See Decreasing. pestosamente).
Solemn(ly). Solenne (solennemente Tender(ly). Tenero (teneramente, con
con solennita). dolce (dolcemente, con
tenerezza) ;
u. Whimsical. Ghiribizzoso.
With emotion. Con affetto; con (usually simply m.s^ or colla sinistra
affezione. (r. A)
With energy. Conenergia, With the loud pedal. Ped.; tre corde
With expression, Con espressione,
(afUr una corda) ;
with pedal
through*
out) sempre pedale,
expressivo; sensibile, sentito.
With Con agevokzza, With the octave, Coll'ottava
facility.
(coirs
With feeling, Sensibile, sentito.
),
oso.
With warmth. Con calorositl ; con
With grief, Con duolo, con dolore. calore.