AConciseDictionaryofMusicalTerms PDF

Pr i n t e d i n E n gl a n d .
by
AU GE N E R Lt d
Ac t o n L a n e , L on d on , W . 4 .
A UGE N E R S E D I TI O N No 9 1 80
’
.
,
A C O N C I SE
D I C T I O N A RY
U SI C A L T E RM S
TO WH I C H I S PRE FI XE D AN I N T R O D U C TI O N
TO T H E E LE ME N TS O F M US I C
FR E D E R I C K N I E C KS
T HI RT E E N TH I M PR E S S I O N
AU G E N E R LT D .
LI B RA RY
B RI G HANI Y O U N G U N I VE RSI T E
'
PR O VO , U TA H
C O N T E N T S .
I N TROD U C TIO N .
S E CT I O N PA C E
I . WH A T Is MU SI C ?
II . THE M A T ER I A L OF M U SIC
III . Ho w Is TH E P I T C H OF M U S I C AL S O U N DS R E PKE
S EN T E D IN WR T NG ? I I
IV . S H A R PS , F LA T S, N TU R
AN D A A LS
V . S CA L ES
VI . KE YS AN D TH E I R S I G N AT U RE S
VI I . I N T E R V ALS
V I II . C H O R DS
IX . VAL U E OF N O T ES AN D R E S TS
X T IM E
. AN D AC C EN T
XI D I FFE REN T
. K I NDS OF AC C EN T
XII T I M E.
, IN T HE S EN S E OF M O V E M EN T
XII I F O R M
.
XI V . O RN A M EN TS OR G R AC ES
XV . S I GNS N ow OR FO R M E R L Y USED IN MU S I C
XV I . AB B REV I A T I O N S
A C O N C I S E DI C TI O N A R Y OF M U S I C AL TER MS
AP P EN DIX
PR E F A C E
TO T HE SECO ND EDITIO N .
T H AT a fe w m o n th s a ft e r t h e p ub l i ca t i o n o f t he “C o n c i s e
D i c t i o n a ry o f M u s i ca l T e rm s a S e c o n d E d i t i o n w a s a l re a d y
ca l l e d for c o u l d n o t b u t b e g ra t i fyi n g t o t h e Au t h o r a n d s p u r ,
h i m o n t o i m p ro v e h i s w o rk a s m u c h a s h e w a s a b le Th e
.
S e co n d E d i t i o n w h i ch I n o w l a y b e fo re t h e p ub li c d i ffe r s fro m
t h e Fi rs t b y a c o m p l e m e n t a ry A p p e n d ix b y a fe w c o r r e c ti o n s
,
o f m i s p ri n t s a n d b y s o m e a dd i t i o n s t o a n d e m e n d a t i o n s o f t h e
,
o ri gi n a l m a tt e r . I s h a l l t a k e a d v a n t a g e o f t h i s o ppo r t u n i ty ,
an d s ay a w o rd o r t w o a b o u t t h e p l a n o f t h e w o rk . T hi s ex p la
n a t i o n o f m y i n t e n t i o n w i ll a t t h e s a m e t i m e s e rv e a s a d i re c ti o n
t o t h e rea d e r h o w t o u se t h e
“ C o n c i s e D i c t i o n a ry ” .My c hi e f
e n d ea v o ur i n w ri t i n g t h e b o o k w a s t o g i v e t h e m o s t e x a c t i n fo r
m a t i o n i n t h e fe w e s t p o s s i b le w o rd s . I p re fi x e d a n I n t ro d u c
” “
t i o n t o t he E l em e n t s o f M u s i c t o t he C o n ci se D i c t i o n a ry ”
b e c a u s e t h i s e n a b le d m e t o re fe r i n m a n y s h o r t a rt i c l e s t o c o m .
p l e t e e x p o s i t i o n s o f t h e b r a n c h e s o f m u s i c a l t h e o ry i n
q u e s t i o n ,
a n d t h u s t o a v o i d o n t h e o n e h a n d re p e t i t i o n s a n d o n t h e o t h e r
, , ,
h a n d o b s cu ri t y a n d fra gm e n t a ri n e s s
,
. T he l e n gth o f s ome
a r ti c l e s a s c o m p a re d wit h t h a t o f o t h e r s m a y a t fi rs t S i gh t a p
e a r e x c e ss ive but I t h i n k a c l o s e r e x a m i n a ti o n w i l l s h o w t h a t
p , , ,
t h e i m p o rt a n c e o f t h e s u b j e c t s o r t h e ha z i n e s s o f t h e k n o w
l e d g e t h a t p re v a il s a b o u t t h e m j us t i fi e s t h e a p pa re n t d i s p ro p o r
t i o n La s tly a g r e a t e r n um b e r o f Ge rm a n w o rd s a n d phrase s
.
,
th a n h a v e ap p e a re d i n a n y o t h e r D i ct i o n a ry a re exp la i n e d in
fifi P R EF A C E .
t he p res ent one . S om e r ti c s

c i ho l d thi s o m m eto
n d a bl
be e a c ,
o t he r s a ce n s urab l e fe a t ure B u t i n a n s w e r t o t h e o bj e c ti o n s
.
o f t h e l a tt e r I m a y s a y t h a t a le x i c o g r a p h e r h a s n o t h i n g t o
d o wi t h t h e q ue s t i o n w h e t h e r t h e u s e o f G e r m an te rm s i s re
re h e n s i b l e o r n o t : h e h a s o n l y t o t a k e i n t o a cc o u n t e x i s t i n g
p
c ir c u m s t a n c e s — t h e p r a c t i c e o f c o m p o s e rs a n d t h e w a n t s o f
p ro fe s s o r s a n d a m a t e u rs M.o re o v e r m y a tt e n,t i o n t o G e rm a n
t e rm s h a s n o t m a d e m e n e g l e c t I t a li a n Fre n ch a n d E n gli s h , ,
on e s .
An t
a s e ri s k at t he en d of an ar ti c e l i n t he b o d y of t he
Co n c i s e D i c ti o n a ry
”s i i fi e s t ha t t he a r c e ti l is ti n ue d in
g n co n
t he Ap p en d i x ; an t i
a s e r sk a t t he c o mm e n ce m e n t o f an ar ti c l e
i n t h e A p p end i x s i gn i fi e s th t a t he a r ti l
c e is a co n ti n ua t i o n of
o n e i n t h e b o dy o f t he Co n c i s e D i c ti o n a ry
FR . N IE CKS .
December 2 1 , 1 8 84.
I N T RO D U C T I O N
T HE E LE ME N T S OF MUS IC .
W HA T I S M U S I C ? I —
.
AN de qu te defi itio o f music is prob ably an i mpossibility t

a a n n , a
any r te h s n o t yet bee

a formul
a t ed Those who h a e m de e ffort n a . v a s
i thi directio n h e defi ed r ther their o w

n s c p cities th the
av n a n a a an
c p city o f the thi g they i te ded to defi e But wh a t si gle

a a n n n n . a n
defi ition f ils to do p rh ps se era l defi itio s m ay e ffect— m l y

n a ,
e a v n n na e ,
gi e v pproxim te ide f the a st n ess n d multiplex ture f the

an a a a o v a na o
a rt
Mu sic is the t f combi i g sou n ds i n m er gr e ble to

ar o n n a an n a e a
”
the e J
ar . R
“ I co ider mu ic
O U S S E A U . .
ns t merely s a a t to ple e the

s no but a n r as e a r,
as e f the most power ful me s o f mo i g the he r t

on o d e x cit i g an v n a an n
”
fe li gs
e n C W VO N GLU C K
.
- . .
“
M u ic is the t
s f ple si g the e a r touchi g the he rt e x cit i g
ar o a n ,
n a ,
n
th i t llect to gree”ble a cti ity an d e li e i g the im gi ti

e n e a a v , n v n n a na on
with riety f ide s

a va C LO B Eo a . . .
Mu sic i the li k which con n ects t he spiritu l with the e suous

s n a s n
li f e Music is higher re el tion than wi dom n d philosophy

a v a s a .
L V AN B EE TH O V EN
. .
Not less high th Beetho e n s is R ich rd W g n er s co ceptio

an v
’
a a
’
n n
f wh t he c a lls “
o a the most superhum a o f al l a rts di i n e mu ic n , v s ,
this secon d re el a tion f t he w orld the u n spe k able sou di g secret

v o a n n
o f existe n ce
” .
,
The organ o f t he he art is t on e its a rtistic ally con scious l gu ge - an a ,
music The l a t t er is t he full o erflowi g he a rt -lov e w hich e obles

.
,
v n nn
the se n suous feelin g o f ple asure an d hum a ises the n o n se n suou n - s
though t — Ri C HA RD WA G N ER
,
. .
A fter W g er let u he a r his m a s t er i n philosophy

a n S
Music di ffers from other a rts i n this th t it i s n o t im ge ,

a an a
o f a ppe a r n ce or more correctly o f the objecti i t y of Will but

a , , , v ,
an immedi a t e im age of Will itsel f an d there fore represe ts to l l , n a
the physica l of the world the met a physic al to a l l a ppe r ce t he , a an
thi ng i n itsel f He n ce o"n e might s well cal l t he w orld embodied

. a
m usic as em b odied W ill — A R TH U R S C H O PEN H A U E R . .
Thus we have rise n from the a t th a t combi es sou n ds i n a r n
B
2 I NT R ODU C TION .
m er gree able to the e a to the t th t con ects t he spi ritu al

an n a r, ar a n
with the e suous li fe d by im gi g Will re e ls t h e esse ce o f

s n , an a n v a n
thi g n B u t music is n t o l y a
s . t it is l o a scie ce an d o n n ar : a s n ,
thi l tter con cer s us here more th the former

s a n an .
Mu ic con idered s n A t combi es the sou ds which philo

s , s a a r , n n ,
sophy di ti gui he i uch m er s to gr ti fy our e rs or e ct u t

s n s s, n s a ann a a a , a o
im gi tio
a or by u iti g both obj ects to c pti te the f cy while
na ns, , n n , a va an
it p le ses the e a a d pe ki g s it were the l a gu ge o f be uti ful

s nse , n , s a n , a , n a a
na ture to r i e corre po de t ide

, d em t i o s i the mi d o f the
a s s n n as a n o n n n
be a re r Mu ic be l o g
. S i to a i tere ti g pa rt f tural
s n s , as a c en ce , n n s n o na
philo ophy which by m them tic l deductio from co t t phe o

s , , a a a ns n s an n
me e x pl i the c u e d propertie f sou d limit the n umber o f

na, a ns a s s an s o n , s
mixed or h rmo ic o u ds to cert i eries which perpetu lly recurs

, a n , s n a a n s , a ,
an d fi x e the r tio which they be r to e ch other or to o n e le di g

s a a a a n
term — S I R W I L L I A M J O N E S
. .
M A TE R IAL O F M U S I C II — T HE
. .
V ibr tory motio n s f bodie

a prop g ted by the i or some other o s, a a a r
el stic medium produce by their ctio

a the e the e tion
,
a n on ar s n sa
o f ou d if u fficie tly forcible

s n ,
d either too slow
s too r pid
n , an n no r a .
Mu ic l sou nd ( to e s disti gui hed from ois e ) is produced by

s a n a n s n
r pid periodic ibr tio s

a ibr tio s which succeed e ch other
v a n v a n a
with ra pidity d t e q u l i ter l an a a n va s .
A mu ic l ou d m y be co idered u der three aspects its

s a s n a ns n :
pitch ( poi t f ele tio or depre io ) i t i te sity ( degree o f

n o va n ss n , s n n
loud ess or so ft e s )
n d its t i m b e ( q u lity C h r cter )
n s The pitch, an r a ,
a a .
of sou d de pe ds o the r pidity f the ibr tio

a n n the i te sity n a o v a n s, n n
o ntheir m p l itude d the t i m b e

a their form ,
an r on .
With i te ity d t i m b e we eed t further trouble oursel es

n ns an r n no v
here but pitch must yet occupy our tte tion f

,
while a n or a .
The more r pid the ibr tio s e the higher ( cuter) is the a v a n ar , a
correspo di g sou d ( to e ote ) ; the slower the ibr tio s are the
n n n n , n v a n ,
lower ( gr er) i the corre po di g sou d ( to e ote )

av s s n n n n ,
n .
The r w m t eri l o f mu ic m y be s id to be the s t re t ch of

a a a s a a
mu ic l sou d th t e x te ds from the lowe t to the highest perceptible

s a n a n s
t i me The e limits— which howe er can o ly b e pp i m t l y

. s ,
v , n a ro x a e
sta ted seei g th t the org s f he ri g e n o t e q u lly cute i n

.
, n a an o a n ar a a
a ll m — e the to e produced by 1 6
en ar d by ibr tio s n s an v a n
i
n a eco d But the ele e oct e compri ed withi n these limits
s n . v n av s s
con t i much e peci lly i the higher regio

a n — — th t is n o t be uti ful
s a n ns a a ,
an d ot little th t is ctu lly p i ful Helmholt fi x es the limits

n a a a a a n . z
o f music a lly ser ice ble sou ds t 40 d vibration s i n a a n a an v
secon d ( 3 3 gi e the con tra C n d vthe four times cce ted ,

a a n
—
A the lowest C a d the highe t A o the pi oforte ) r duci g n s n an ,
e n
thu the tretch f el e oct es to e e

s s O f course opi io
o ev n av s v n .
,
n ns
di ffer s to wh t is a d wh t i
a t musi c l ou d d the gre a t
a n a s no a a s n , an
“w t m y h e n rrowed the bou d ries more th a n othe rs will

an a av a n a
a ck n o w led g e to be ece ry n ssa .

I NT R O D U C T I ON .
Gi e the a bo e -me tio n ed stretch of music l sou n d somethi n g

v n v n a ,
h d till to be do n e to m ake it a a il ble fo a rti tic purposes it h ad

a s v a r s :
t obe di ided ccordi g to n a ture s l ws a n d m a n s i n n te feeli g f

v , a n
’
a
’
a n o
be uty i to sectio
a , m ll e ough to gi e scope fo r riety n d yet
n ns s a n v va , a
su fficie tly l rge to be e sily a ppreci able by the e ar Thus c ame i n to

n a a .
e x i te ce s t nsucce sio s f steps formi g l d ders The rel tion

rea es , s n o n a . a
i nwhich two mu ic al sou ds ( two such steps—degr ees is the tech n ic a l

s n
t erm ) st a d to e ch other with reg rd to pitch is c a lled i n t e

n a l The a r va .
s m lle t i ter
a ls u ed i n our o w modern music a e the ton e a d the
s n va s n r n
semito e ( the pi oforte you h a e from o n e key to its n ext n eighbour

n on an v
a semito e d where er there is other key betwee two key you
n , an v
'
an n s
h e to e ) The mu ic l system o f the cie t Greeks a d those f

av a n . s a an n ,
n o
the I l i d s C hi e e A r bs d some other peoples i n clude sm a ller

n oo , n s ,
a , an ,
i ter l th t h emito e Be fore we proceed w ith the co sidera tio

n va s an e s n . n n
o f sc le d i ter l
a s somethi g must be s aid a bout our prese t
an n va s n n
m i l u s cat ti which i the te th ce n tury beg an t o de elop out o f

no a on ,
n n v
t h the e pre ili g eum tic ( e me: con sisted o f d a shes dots hook s
n va n n a n u , , ,
s croll & c ) d liter l sy tems

s, . an a s .
[ I L— HO W TH E PIT C H OF M U S I C AL S O U N D S IS
REPRE S ENTED I N W RITI N G ?
The ch r cters by which music a l sou n ds a e represe n t ed i n music
a a r
ar e c lled at A ote has a two fold sign i fi c tion by its lower
n o es . n a :
or higher po ition it i dic tes the rel a ti e pitch an d by its sh pe the

s n a v , a
rel ti e dur tion o f a music a l sou n d To secure precision with reg a rd

a v a .
to the rel ti e po itio n of the n ot s a s t a r/e con sisti g f p ra llel

a v s e ,
n o a
hori on t al li n es w i troduce d Except the four -li n ed st a e still

z as n . v
ret i eda n i m y pl i son g b ook s t he on ly st av e n o w ge n erally

-n an a n ,
e mploye d is t h a t o f fi e li es v n .
No . I .
the li n es an d i n the sp ces ( both a e cou n t e d from

On a r be lo w
t he lowest bei g the first ) o f this st e a e placed the n ot es
n av r .
,
how e er such a st e o f fi e li es c a n o t a ccommod at e all t he

As, v ,
av v n n
n otes re u ired fo r the represe n t a tio n o f the music a l sou n ds i n use an d
q
t h e dditio n o f more li n es o f the s me k i n d would m ak e t he re adi n o f
,
a a
v i
g
mu sic ery di ff cult musici an s h ave rec ours e t o s hor t a uxili a y l i nes
, r
I N T R OD U C TIO N .
( b elow bo e the fi e li es o f the st e ) t o which the n me

an d a v v n av , a
o f l dg eor l g ( from the Fre ch l g light light & c ) li e s
er e er n e er , , s , . n
h bee gi e
as d which i p rt t le t — upply wh t is w ted
n — v n , an n a , a as s a an
without the d r wb ck l l uded to a a a .
-o - P
No 3 .
Thus we h a e fou n d room f t we ty -se e otes w hi ch the e x t

v or n v n n , n
i llustra t o shows i n a co t uous sce di g series
i n n in a n n .
No 4 . .
This howe er is n o t yet e ough For e e i f we co fi e oursel es

, v , n . v n n n v
to se e oct es we re q uire room f forty - i n e otes Now lthough

v n av or n n .
, a
one might go a ddi g ledger li es could o t d d m y more
on n n , one n a an
without fi di g o n e s sel f i the s me predic me t which thus far

n n
’
n a a n .
w s a oided by usi g them There fore some co tri an ce h d to

av n . n v a
be sought by which the r ge o f the ot tion would be exte ded an n a n ,
an d yet the eye n o t further t ked S uch a co tri a ce a e the as . n v n r
d y a }. A cle f determi es the bsolute pi t ch o f on e o f the otes o n the
n a n
t e nd i doi ng this it determi n es o f course the pitch f all

s av , a n , , o
the other f s h s a lre dy bee n s id
s, o r, the positio f the otes
a a a a , n o n
i dic tes their rel ti e pitch I n short the cle f as its me implies
n a a v .
, , na ,
is the key which u n locks the re a l me i g f the series o f n otes to an n o g
be fou d n st e on a av .
The most common cle fs i n our time— the o ly two n o w employed n

i n writi g fo r the pi an o forte h rmo ium an d organ— a re t he G or
n
,
a n , ,
t rebl e cle f a d the F or b a s s cle f
, , n , , .
T re bl e C le f . B a ss C lef .
By the help o f these t wo cle fs we are e n bled t o n ot e dow n a co n

ve n i e n t l y lmost all the n otes o f the o fte n -me n tion ed se en octa es
a v v .
6 INT RODU C TION .
The questio n m y be ked Wh a t is the good o f l l the e c l e fs ?

a as , a s
Well th ks to them it is po ible to write f the rious cl e
,
an ss or va a ss s
o f oices
v d to cert i exte t lso f the rious cl s es f i t u
an , a a n n , a or va a s o ns r
me t without h a i g recourse to an i co e ie t umber f ledger
n s v n n nv n n n o
l i es
n The followi g comp r ti e t ble will gi e cle r iew f t he
. n a a v a v a a v o
va rious ot tio o f the to e ccordi g to the cle f employed N t
n a n n s a n . o es
represe ti g to es f the s ame pitch e pl aced below e ach other a d
n n n o ar n
con n ected by ertic l rows of dots v a .
No 8 . .
Trebl e C le f .
e f g a b '
c d l
e
l
f g l t
a
!
b l
c
u
d ll
c
u
f t!
—
5 1V S HARP S ,
. F LAT S , AN D N ATU RAL S .
Before we proceed t o t he discussion o f sc ales we h a e to m ak e v
oursel es a c qu i ted with some sign s which a re employed t o l t e r

v a n a
the pitch o f n otes The l a p . r ises t he ote be fore which i t

s z r a n
s t a ds a semi t o e t he d ble M j ) ( x ) t wo semiton es ; t he fl at

n n , ou ar
( I?) lowers t he n ote be fore w hich i t s ta n ds a semit the dou ble o ne,
fl t ( bD) tw o semito e s ; an d t he at u al (
h ) re okes precedi g
m
a n a n r v n
sh rp or fl t the double n at ur l ( a a d ouble sh rp o r doubl e fl a t

a a ,
a a .
I f o f a double sh a rp or dou b le fl t o n l n e sh r p or fl t is t o be re o ked

a o
i
a a v ,
t h is i s i n dic a ted thus (

h# ) or t hus ( h ) a s t he cas e ma
y b e N a t u a l s , . r
I N T R ODU C TI O N .
7
bec a me eces ry whe cert a i n rules were i troduced fo r t he purpose of

n sa n n
a oidi g the l bour

v n f writi g ag a i n
a d g i sh rps an d fl ts be fore
o n an a a n a a
the me ote sa The e rule

n w sts . d thus n d re two i n s s no an . a a
n umber —( I ) S h rp a n d fl ts m rked a t the begi i g o f a com

a s a a nn n
positio or p rt f n compo itio ( formi g i n this c a se part o f

a o a s n n
wh at is c lled the I y g t ) ffect u n less re oked a ll t he

a c -s i n a u re a , v ,
n ot e s o f the co m po itio or p rt o f the compositio which be a r

s n, a n,
the me o f th t ote who e li e or sp ace o f the st a e they o c

na a n s n v
cupy ( 2 )
. S h rp d double sh rps
a fl tss a d double
an fl a ts a tur a ls a ,
a n ,
n
an d double tur ls occurri g i n the course o f a compo ition

na a ,
n s
( i n which c a se they e c lled cci l t a l ) ff ec t n o t

ar o n ly the n ote
a a c en s a
be fore which they a e pl aced but u less re oked all the su b s e r , , n v ,
q ue n t otes fnthe s me n me i
o the b an d if the l a st n ote o f the
a a n a r,
ba is r ffected by aa ccid e t a l d tied to a n ote o f the s ame pitch

n a n an
i n the ext b r the power f the ccide n t a l is exte ded t o th a t o t e

n a ,
o a n n
a lso To the bo e h s yet to be dded as a c auti o n th a t the sh rps ,

*
. a v a a a
fl a ts d n turals ffect on ly the otes o n abov e n d below the st ave

,
an a a n , ,
a
o n which they t n d For i st ce whe n fou n d on the treble st a e o f

s a . n an , v
a pi oforte score they do n t a ffect the n otes o f the b ss st a e an d

an o a v ,
whe n fou d i an orchestr l score the st a e o f o n e p rt t hey do n o t

n n a on v a
a ffect the n otes o the t e o f other p a rt n s av an .
5 V .
— S C AL E S .
We m k e use o f t wo ki ds o f sc les the d i t i n d the h oma t i

a n a , a on c a c r c.
The former is a uccessio chiefly o f to es the l tter a succession purely

s n n , a
o f semito es There a e t wo modes f the di a ton ic sc ale t he m aj or

n . r o ,
an d the mi or Eight degrees form a complete di to ic sc ale con sist

n . a n ,
i g o f fi e to n es a d two emito es
n v The two semito es re i the
n s n . n a n
m aj or mode betwee n the third d fourth a d the se e n th a nd eighth an n v
degrees The eight degrees o f the orm a l di ton ic m jor s a le are

. n a a c
n med re pecti ely C D

a E F G A B C the n a me o f t he eigh t h
s v , , , , , , , ,
degree bei g th t o f the first I deed fo r a l l the music a l sou n ds there

n a . n ,
a e o ly
r e e mes which as illustr tion N o 6 sho w s re ppe a r i n
n s v n na , ,
a .
, a
a l l oct es The repetitio f the mes is howe er by n o me an s

av . n o na , v ,
a rbitra ry f n t o ly e the
, umber d rder o f the t on es a nd semi
or o n ar n an o
T he a b o v e -gi v e n ru l e i s t h e s a fe s t a n d m o s t g e n e ra l l y a c ce p t e d B u t i t ha s t o .
be k e p t i n m i n d t ha t t he re a re g re a t d i v e rg e n ce s i n t he t e a c hi n g o f t he t he ori s t s a n d
“
i n t he p ra c t i c e o f t he c o m p o s e rs o mm e r s a y s : D
Ac c i d e n t a l s hol d g o od o n l y i n
.
t he b a r i n w h i c h t he y o cc u r, e x c e p t a n o t e ma rke d w i t h a fl a t o r s ha r be t i ed
p
t hro u g h se v e ra l i mm e d i a t e l y s u c c e s s i v e ba rs I n s u c h a ca se t he s i g n i s n o t t e .
n e w e d i n e v e ry b a r , t he t i e p ro a g a t i n g t he a cc i d e n t a l a s w e ll a s t he n o t e
p M a rx .
ma ke s n o m e n t i o n o f a n y e x c e p t i o n , b u t ri g i dl y la y s d o w n t he ru l e t hu s : E v e ry
c h ro ma t i c S i g n a p p e a ri n g be fo re a s i n g le n o t e ho ld s g o o d t hro u g ho u t t he w h o l e ba r
”
a n d n o t fa r t he r O n t he Ot he r ha n d , i t i s s o m e t i me s t a u g ht t ha t i f t he l a s t n o t e o f
.
a ba r i s m a rk e d w i t h a n a c c i d e n t a l a n d t i e d t o t he rs t n o t e o f t h e n e x t ba r , fi
t h e a cc i d e n t a l ho l d s g o o d fo r t he w ho le o f t ha t ba r ; a n d a ls o , t ha t i f t he l a s t
n o t e o f a b a r i s m a rk e d w i t h a n a c c i d e n t a l a n d t he n e x t b a r be g i n s w i t h t he
sa m e n o t e , t he a cc i d e n t a l s t i l l ho l d s g o o d
“ I f o n e me a s u re e n d s , a n d t h e n e x t
“
.
be g i n s , w i t h t he sa me n o t e , w ri t e s D r C a l l co t t , t he a cc i d e n t a l c ha ra c t e r w h i c h
.
a l t e rs t he fi
rs t n o t e I S u n d e rs t oo d t o a ffe c t t he se co n d
. .
8 I N T R OD U C TION .
to es the me i e ery oct e but there is also a close rel tio hip
n sa n v av , a ns
betwee e ery ote d the eighth degree abo e an d below it I f ct

n v n an v . n a ,
the di ffere t oct e e as it were di ffere t ge er tio

n av li k e i e y
s ar , ,
n n a ns a n ve r
re pect except i st a ture The C m j or sc le c lled the m l m j or

s n— . a a a n or a a
sc le bec u e al l other m ajor sc les a e ruled by it f shio ed fter

a a s a r , a n a
i t di fferi g from it i n pitch but t i structure will w be gi e

,
n — no n no v n
i n ot a tio n with the degrees n umbered a n d the semito es m rked w ith

n n a
slurs .
1 2 3 4 5 6 7 8
The mi n or c le is n ot so e ily described as the m ajor Its

s a as .
origi n a l is the ZE ol i C hurch mode s the Io ic or I t i is th t

an , a n , as an , a
o f the m ajor I this oldest an d fu d me t l form the semito es

n n a n a n a re
be twee n the secon d an d third an d the fi fth a d sixth degrees o f t h

.
n e
sc ale .
No . t o .
h rmo ic te n d e cy o f m oder mu ic c lled fo r a l e di g

B ut t he a n n n s a a n
n ote a semito e betwee n the se e th

, d eighth degrees f the sc le
n v n an o a .
Thus c me i n to e x iste ce th a t form o f the mi or sc le which i

a n n a s
d en omi ted t he na mo i c
na r n .
N0 0 11 0
2
3 4 5 6 7 8
This form o f the mi n or sc le the b i f the mi or h rmo i a ,

as s o n a n es ,
h s howe er melodic a lly

a ,
vdr wb ck— mely the wkw rd i ter l
, a a a na ,
a a n va
ofa ugme ted eco d ( to e d hrom tic emito e ) Fre from

n a n s n a n an a C a s n . e
this dr wb ck the two form f the mi or sc le di ti gui hed by

a a a re s o n a s n s
the epithet m l d i o e f which i chiefly used i sce ndi g the

e o c, n o s n a n ,
t he i de ce di g this l a tter bei g the bo e -me tio ed origi l

r n s n n na
porm
, n a v n n
INT R OD U C TION .
9
But lthough the e melodic form a e chiefly used the o n e i n s s ar
a sce di g d the other i desce di g they m y be

n n an d e used n n n , a , an ar ,
i n both w y A d the h rmo ic form a t o n ly ser es as

s . b i f n a n no v a as s or
the mi or h rmo i s but i lso utilised f melodic purpose

n a n e ,
s a or s .
The ch m t i l e which ha s lre dy bee described s suc

ro a c s ca , a a n a a
ce io n o f semito n es o ly di ides the oct a e i to twel e e qu a l i ter a ls

ss n ,
v v n v n v .
No . 1 3 .
Those s e miton es which a e n o t e d o n the s a me li n e or i n the r
s me sp ce by me n f sh rps d fl ts ( a d
il nd d o & c )
’
a a a s o a an a s c an c , a a , .
a re c lled l m t or m
a em t
c cro tho e wh ch e oted o n
a zc, i n or , s i on es s i ar n
di ffere t li n es or i n di ffere t sp ces ( as e d f b d c f }; d g

n n a an , an , an ,
a an d b l) & C ) a e c lled d i t ,
i or m j semito es
. r a a on c, a or , n .
O e pe ks lso o f an
n s / m ic a l but thi is o t a sc le i the
a en za r on s ca e , s n a n
se n e f the chrom tic still less i the e se f the di to ic c le I t

s o a ,
n s n o a n s a .
is o t i n pr ctic l
n c le a d h o ly theoretic l or educ tio l
a a us e as a s a ,
n as n a a a na
sig ific ce which howe er i imp ired by its i com plete e

n an , ,
The v ,
s a n n ss .
e h rmo ic sc ale co t i s the ote f the di to ic c le h rpe ed

n a n n a n n s o a n s a s a n
an d fl tte ed well s tur l To co mplete thi

a n ,
as c lled c le doublea na a . s so - a s a
sh rp d double fl ts would h e to be dded E h rmo ic to es or

a s an a av a . n a n n
n otes uch s di er i ot tio but

ff
a re s the s me pitc th t is to
a i
a h — n n a n a re n a
sa y e the
, arme i pitch i the pre ili
sa g y tem f e q u l
n temper a n va n s s o a
me t which remo e
n ,
tur l di ffere ce d di ides the oct e i tov s na a n s an v av n
twel e e q u l e m i t o
v Th e o t es which e ide tic l i pitch e
a s n es . os n ar n a n ar
i dic ted i n the followi g illustr tio n o f the e h armo ic sc le with

n a n a n n a
br cketsa .
NO . I 4 .
VI .
—K E S A N D Y T HE I R S IGN A TU R E S .
T h ere a re o n ly two modes o f the di to n ic c le the m jor nd a s a , a a

the m or but e ch o f these may ppe r i m y keys ; th t is to
in , a a a n an a
you m ay form a m j or or m n or sc a le a s well i st rti g from a i n a n
D1 7 D D # E b or a y other ote as i st a rti g from C

, , I , , n n , n n . n
short t he di ffere n t ke vs di ffer o ly i pitc h n t i structure t he

, n n , o n :
0 INT R OD U C TION .
in ter ls b etween t he degrees are t he s me i n a l l m j or an d the

va a a
sa me i ll mi or sc les
n a C m ajor is the n o ma l m j or a d A
n a . r a , n
mi or the m l min or scale a d a fter them al l the other m j or a d

n no r a ,
n a n
mi or sc les a e f shio ed The key S ig tures ( sh a rps d fl ts ) d

n a - r a n . na an a an
the E glish Fre ch It li n an d Germ n mes o f the se er l keys

n ,
n ,
a a , an a v a
w i ll be gi e i n the followi g lists The mi or sc les re q uire o f cour e

v n n . n a , s ,
besides the sh a rps an d fl ats o f the S ign ature a ccide t a ls A mi or , n . n
sc le is s id to be the el t i e or p a l l l m i o sc ale o f a m jor sc le

a a r a v ,
ra e , n r a a
whe it h s t he s me signature a d the t i c m i

n a a sc le whe it ,
n on n or a n
st a rts from the s ame ote Thus A D an d E are the rel a ti e mi or n .

, , v n
sc ales o f C F d G m jor an d C F n d G the to ic mi or c les

, , an a , , a , n n s a
of C F n d G m aj or I n il l ustra tio No 1 5 those keys which h e

, ,
a . n . av
di ffere t sig a tures but coi n cide a s reg rds pitch are pl c ed o e below
n n a a n
the other .
NO . 1 5 .
E ma j o r .
F s rp m i n or. C s
C s h a rp maj o r .
m i n or . m i n or .
C fl a t maj or . Gfl at m aj or . Dfl at maj o r .
B fla t mi n or .
A fl a t ma or j . E fl a t ma o r j . B fl a t m a or j
G
.
F mi nor . C mi n or . mi n o r .
INT R OD U C TIO N . I I
No 1 6.
N
.
A M ES OF T HE KE YS iN
E N GLI S H . I TA L I AN . G ER M A N .
sh rp m ajor U t di ese m ajeur

C a Do diesis m ggiore a Cis dur .
sh rp mi or La d i és e mi n eur
A a n L a die i m i ore
s s n
6 S ha p s
F h rp m j or
s Fa d i ese m jeur
a a a Fa diesis m ggiore a Fis dur .
D h p mi n or Ré d i é se mi eur Re diesis mi ore Dis moll

r
s ar n n .
S h rps B m jor S i m aj eu
a S i m aggiore
5 a
G s h p mi or S o l di ese mi n eur
ar n S o l diesis mi n o re
4 S h a
E m j or Mia m jeur
r p s C sh rp mi n or U t di ese mi eur a Mi m ggiore a
a n Do diesis mi n ore
A m j or L a m ajeur
a L a m aggiore
3 S h rps
a
F sh rp min or F di ese mi n eur
a a Fa diesis mi n or e
2 S h rpsa
D m j or a Re m ggiore a
B mi or n S i mi ore n
1 S h a rp
G m j or a S o l m ggiorea
E mi or n Mi mi n ore
No S ig C m ajor Do m ggiore a
na ture A mi or n La mi eur
n L a mi ore n
1 Fl t a
Fa m ggiore
a
Re mi ore n
2 Fl a ts B fl at m aj or S i b é mol m ajeur S i bemolle m aggiore B dur .
G mi or n S l mi eur o n S o l mi ore n G moll .
Fl ts E fl t major Mi b é mol m jeur

a a Mi bemolle m aggiore Es dur .
3 a
C mi or n U t mi n eur Do mi ore n C moll .
Fl a ts A fl t m ajor La b é mol m ajeur

a L a bemolle m a ggiore As dur .
4 F mi or n Fa mi n eur Fa mi n ore F moll .
F l t s D fl t m jor Ré b é mol m j eur

a a a R e bemolle m ggiore a Des d ur .
5 a
B fl a t mi n or S i b é mol mi eur n S i bemolle mi ore n B moll .
6 Fl tsa
G fl t m jor S l b é mol m jeur
a a o a S o l bemolle m ggiore a Ges dur .
E fl t mi or Mi b é mol mi n eur
a n Mi bemolle mi n ore Es moll .
C fl t m j or U t b é mol m ajeur Do bemolle m ggiore C e s dur

7 F l a ts a a
A fl t mi or L a b é mol mi n eur
a n L bemolle mi n or e
a
a
A s moll
.
.
12 INT R ODU C TION .
VI I — . INTE RV A L S .
me suri g i ter l
In e ge er lly cou n ts the d i t o ic degrees
a n n va s on n a a n
from the lower ote ( which is reg rded s the first degree ) upw rds
n a a a .
The i ter l i n the m j or c le re m j from the fir t degree to the

n va s a s a a a or s
seco d third sixth

n ,
d se e n th ; p f e t fi om the fi r t degree to
, ,
an v er c s
the fourth fi fth d eighth A n i ter l i c a lled m i

, , an whe it is . n va s n or n
a chrom tic semiton e sm ller than a m aj or dimi i hed whe it i two

a a ,
n s n s
chrom tic semito es sm aller th an a m j or or e chrom a tic semito e

a n a on n
sm aller th an a per fect n d augme ted wh en i t is a chrom tic semiton e , a n a
gre ter th an a m j or or a perfect i n terv l A m j o e o d is e qu l to

a a a . a r s c n a
on e to e a m j t h i d to two to e
n , a p er fi ct f
a or t / to two to es n d
r n s, ’
ou r z n a
a di to ic semito e a p erfl fif t /z to three to es d a di to ic

a n n ,
rc.
‘
n an a n
semito e a m j i t /z to four to es d di to ic emiton e a m j

n , a or s x n an a a n s ,
a or
s eve t h t o fi e to e
n d a di to ic semito n e
v t a e to fi e to es
n s an d a n ,
an oc v v n an
two di ton ic semito es The l rger i ter ls n eed t be speci ally

a n . a n va no
described fo the n i n th is n othi g but n oct e with seco d dded

, r n a av a n a
to it te th oct a e with third dded to it n d so forth He ce

, a n an v a a , a . n
these l a rger i n ter a ls a e sometimes c lled omp v i t l r a c ou n a

I
n erv a s .
An i ter l is s a id to be i
n t d whe
va the upper n ote is m de t h n v er e n a e
lower or t h e lower the upper by tr posi g the o n e or the other a

, , ans n n
o ct e The followi g two rows f figures how at a gl ce how by

av . n o S an
i n ersion a u iso becomes n oct e

v n eco d se e th and so
n a av , a s n a v n ,
forth
I , 3 4 5
2, 6 , 7
, , 8 , ,
8 7 , 6, 5 ) 4, 3 , 2 , I ‘
By i er io m j or i n ter ls become mi or mi n or i n t er a ls m j or
nv s n, a va n , v a ,
augme ted i ter ls dimi ished dimi i hed i ter ls augme n ted but
n n va n ,
n s n va ,
the C h r cter f per fect i ter a ls rem i s u n a ltered

a a o n v a n .
The followi g t able con ta i n s b ot h t he origin al and t he in erted

n v
i ter ls
n va .
No . 1 7 .
PR I M E S . SE CO N DS .
O CT A V E S .
D i mi n s he d i .
b i a ti on o f t hree four or fi e to es m ade a ccordi g t o cert i l ws and

n , ,
v n ,
n a n a ,
in te ded fo simulta eou perform ce — A chord is a com b i tion o f

n r n s an . na
ton e reducible to a n umber f third pl ced o e bo e the other

s o s a n a v .
A chord co n sisti n g f fu d me t l to e third d fi fth i c a lled a

o a n a n a n , , an s
t r i ad I f t he third is m j or or mi or a d the fifth p er fect the chord

. a n n ,
is l o c lled a common c/ d ( fir t se te ce p
a s a zo r . v . s n n on .
Formi g a t ri ad o e ch degree o f the m j or scale we fi d th t thos e

n n a a , n a
o n the fir t fourth sa d fi fth h

,
e m j or thirds d perfect fift hs
,
n ,
av a an
a e m j or tri d ; those
r a athe seco d third and sixth h e mi o r
s on n , , , av n
thirds d perfect fi ft h
an
— mi or tri d n d th a t f the e e n th
s a re n a s a o s v
a mi n or third d dimi i hed fifth

an — is a dimi i hed tri d n s n s a .
NO . 1 8 .
’
11 1 11 IV V VI vn
the mi or mode we fin d tw o mi or tri ds ( n the fi rst an d

In n n a o
fou rth degree ) two m j or tri d ( the fi fth d i x th degrees ) t w

s , a a s on an s , o
d imi i hed tri ds (

n s the seco d d e e th degrees )
a on d o ne n an s v n , an
augme ted tri d n o e with a m jor third a n d a ugme n ted fi ft h ( on

a n a
the third degree ) .
“
11
°
II I ’
Iv V VI VI I
A / o d of t lze ve t l co sists of a fu d ame n t al t on e third fi fth

ct r se n t n n , , ,
an d se e th As we formed a tri a d on e a ch degree o f the m ajor

v n .
a d mi or sc a le so we can a lso form chords o f the se e n th o n e a ch

n n , v
degree The most impo rt an t o f these chords is the cho d of t he

. r
dom i t eve t / ( thus n a med fter the domi an t the fi fth degree } o n
n an s n z a n ,
which it st an ds ) which has a m jor third perfect fi fth

, d mi n or a , , an
s e e n th
v The other chords o f the se e th n amed like t he chord o f
. v n ,
the domi an t se e n th a fter the d egree o n which they st n d are

n v a ,
d ist ributed as follows ( 1 ) O n the fi rst an d fourth degrees o f the m jor a
sc a l e a n d o n the sixth degree o f the mi n or sc a le a chord co n sisti g o f a n
The s e v e n d e g re e s o f t he s ca l e are d i s t i ng u i s he d n o t o n l y by
n u mb e rs , b u t a l s o lw t he fo l l o w mg n a mes : t on i c ( fi rs t ) , s up er t o n ic ( s ec o n d ) , med i a n;
t h i rd ) , s u bd o m i na n t ( fo u rt h) , d o m i na n t ( fi ft h ) , s up ertdo m i m t , o r s u bmed i a n t
(s i xt h ) , s u bt on i c, o r l ea d i ng no t e ( s e v e n t h d e gr ee ) .
I N TROD U C TION . I S
m jor
a tri d n d ma j or ae th ; ( )
2 athe seco n d
se v third n d si x th on , ,
an
degrees o f the m ajor sc a le a d o n the fourth degree o f the m or sc le n in a
a chord co sisti g o f a mi or tri d an d m or se e n th ; ( 3 ) n the

n n n a a in v o
e e th degree the m or sc le the seco d de ree f the m or

.
s v n o f i a d na
g o a n in
sca le a chord co i ti g of a dimi ished triad an d a m or e e th ( 4 )

ns s n n in s v n
o n the s ev e th degree o fn the mi or sc le a chord co s t g o f n a n is in a
d imi ishe
n d tri d d a dimi n ished
a eane th ; ( 5) o n the first degree o f s v n
the mi or scale a chord co sisti g o f mi or tri d a d m jor se e th

n n n a n a n a v n
(6) a dn o the third ndegree o f the mi n or sc a le a chord co si ti g o f n s n
an a ugme ted tri d a nd m jor se e th

n a a v n .
No . 20 .
Mi no r .
“ 1 " I V
I ?’
v,
we dd a fourth third to the three third f a chord o f the se e n th

If a s o v
we get a cho d f t he i t h The domi t chords are a s i n the c a se

r o n n . n an ,
of the chords o f the se e th the most import a n t the h d of t he maj

v n ,
c or or
i t h i n m aj o r a d the h d f t he m i
n n r n i n th i
,
n mi n or c or o no n .
No 9 1.
As the fu d me n t al n o t e is i n the b ass t he u pper n otes o f a

lo g
n as n a
chord m y be distribu t ed i n an y way w i t hou t ery much a ffecti n g its c ha

a v
r a ct e r .These va ri o us d istri bution s where n o w the third n o w the fi fth , , ,
n o w the oc t a e o f t he fu n d a me n t a l n ote & c

v is a t the t op a e c lled its , .
, , r a
i t i C hords u n dergo a more t horough ch n ge by i v i

p os o s n . a n er s on .
A chord is s a id t o b e i n v e t ed w he n a n o t her th an t he fu n d me t a l n ote

r a n
is i n the b ass is t he low es t or bass -n o t e The fi rs t in ersio o f a tri d

, . v n a
( the third i n t he b a ss ) b e a rs t he n a me o f cho d of t he i t h ( or gt ) r s x

6
the secon d i nv ersion of a t ri ad ( t he fi fth i n the bass) chord of t he f t h , ou r
and si x th
The fi rs t i n ersio n o f a chord o f the se e n th ( the third
v v
i n t he b ass ) b e a rs the n a me o f ch o d of t he fif t h a n d s i t h ( g) the r x
secon d i n ersion ( the fi fth i n the b ass ) chord of t he t hi d f u t h

v , r , o r ,
a nd i t h ( g or
s x an d t he third i n ersion ( t h e se v e n t h i n the b a ss ) v ,
A l arg e R o m a n fi g u re i n d i ca t es a maj o r t ri a d , a s ma ll R o ma n fi g u re a m i n o r
A l arg e R o ma n figu re w i t h a n a cc e n t i n d i ca t e s a n a u g m e n t e d t ri a d , a
s m a ll R o ma n fig u re w i t h a c i p he r a d i mi n i s he d t ri a d A 7 i n d i ca t e s a mi n o r .
se v e n t , w i t h an a cce n t i t i n di ca t e s a m aj o r s ev e n t h, w i t h a c i p he r a d i m i n i s he d
se ve n t h
f T he n u mb e rs
w i t hi n p a re n t he s e s a re t h e s i g n s by w hi ch t he re s p e c t i v e c h o rd s
are i n d i ca t ed i n t he m u s i ca l s ho rt -h a n d s y s t e m k n o w n by t he na me of F i g u re d B as s,
T B
ho ro u g h ass . or e n e ra l as s G B .
16 I NT R O D U C TION .
chor d qf t he s econ d , or ch or d
of t h e s econ d ,
j b urth, a n d s i x t h
( 2 or ‘
or
O f cours e the chord of the i n th dmit

n a s of f our i nv ersion s .
No . 22.
chords which co t i
D i ss on a n t chords or e er l disso n t
are n a n one s v a na
i t er ls Al l dis o n t i ter l re q uire to be

n a v . l s d — th t is
na n va s r eso v e a ,
followed by co so a t i ter a ls A lthough es p eci lly

n n th
n l tter d y
n v .
, a in e a a
music o n e dis o t chord i s ofte followed by other the re ol utio

, s n an — n an s n
bei g either o ly p a rti l or a ccomp ied by the i troductio f

n n a w an n n o a ne
disson ce— the e r does n o t fi d re t fter the u rest f di so t

an a n s a n o a s n an
chord u til it he rs m j or or mi n or tri d which e the o ly c

n a a a
.
a , ar n on
son t chords Ge er lly S pe ak i g dimi i hed i ter l h e a

an . n a n ,
n s n va s av
te de cy to con tract ugme ted i ter ls

n n te de cy to e x p d, a n n va a n n an .
U n less rem i i g st tio ry the e e th d n i n th proceed a d egree

a n n a na ,
s v n an
down wa rds a d the third a degree upw rd Besides rem i g

, n a . ai n n
st ationa ry the fi fth m ay either sce d or de ce d degree d the a n s n a , an
fu n d a me t a l n ote sce d
n degree or proceed a fourth upw rds or
a n a a
a fi fth d ow n w a rds The most tis factory resolutio o f the domi a t

. sa n n n
chord o f the se e n th is th a t where the fu d me t l ote i t he b as

v n a n a n n s
proceeds t o t he ton ic a fourth a bo e or fi fth below the se e th v a ,

v n
desce ds a degree the third a sce ds degree a d the fi fth either

n , n a , n
desce n ds or scen d a degree The followi g dis o t chords a d

a s . n s n an n
their resolutio n s will illu tr te the a bo e rem rks ( ) C hord o f the s a v a : a
domi t se e n th ( 6) chord f the domi t m j or d mi or n i n th

n an v s o n an a an n
( ) chord o f the dimi i hed se e th ( d ) chord o f the seco d degree o f

c n s v n n
the m aj or sca le (e) chord o f the third degree o f the mi n or sca le .
No . 23 .
ourse these a e either l l the po ssib l e resolution s of dissonan t

Of c r n a
chords n o r al l the possible progressio s o f the p rts The former a re

,
n a .
almost i fi n ite an d t he l at ter admit of freer tre tme t Fu r t h er o n e

n . a a n ,
I N TROD U C TIO N . 17
or more n ote o f a chord a r ofte n omitted ; the chord o f the n i n th

s e ,
e speci lly w n e i n erted r rely a ppe a rs without such a omissio n

a n v ,
a n .
A bout other chords which a e n t me tio n ed i n this i n troductio n r o n
f r i st a n ce the gre a t
o n umber o f those th a t belon g t o the cl ss o f
,
n a
“chrom tic lly a ltered Chords
a a ( a cl ssi fi c tion an d n me co n dem ed a a a n
by some theori ts ) somethi g will be s id i n t he diction ry He

— s n a a .
,
howe er who wishes f r a thorough expl n a tion an d e e mp l ifica t i on of

v , o a x
the subject touched upon i this ch pter must get a good book o n n a
h a rmo y ( E F R ichter S is o n e o f t he cle rest a n d most practica l)

n . .
’
a .
With reg rd to P epa a t i on of D i d Ret d t i on and A t i i

a r r s cor s, ar a n c
p a t i ou , E Un ess en t i a l N ot es , Pa ss i ng N ot es , A u x i l i a ry
ss en t i a l an d
N ot es , a nd Cha ng i ng N ot es , co n sult the respecti v e a rticles i n t he

d ic t io
n ar y .
—
5 I X VA L U E O F
. RE S T S N OTE S AND .
T he a lue or dura tio n o f a sou n d is i n dic a ted by the sh a p e o f t he

v
not e T he lo n gest n ote n o w e er used is t he b eve but it is o f such

. v r ,
ra re occurre n ce t h a t it is omit t ed i n m a n y primers an d schools The .
lo gest o f the otes commo n ly i n use is the semi b eve The ote o f
n n r . n
h l f the le gth f a semibre e is a m i m a n d goi n g on h al i n g

a n o v nz
'
, v
this a d e ery subse q ue n t n ote w e get a c ot het a qu a ve a sem i

n v r c , r,
q u v
a e a d
r,em i s em i qu v er a n d a s em i d em i en
a u a ver , S ome o f t he s .
t erms o f this a w kw a rd n ome n cl a ture a re relics o f t he medi aeva l

‘
me surable music which had a ma i ma ( a longest n ote ) a l g ( a

n ,
x , on a
lo g ote ) a b ev i ( shor t n ote ) a semi br ev i s ( a h al f short n ote )

n n , r s a , ,
a m i i ma ( a S h ortest n ote ) an d so forth

n O f these w e h av e ret i n ed
, . a
h rdly more th an the l t tw o an d spe ak a bsurdly e n ough o f our

a as ,
lo n gest n ote a s the h al f shor t S i mpler an d more descripti e th an the

- . v
E glish is the Germ an n omen cl a ture a ccord i n g to which the semibre e

n , v
is c lled a whole n ote the m i n im a h a l f the crotche t a fourth the

a , , ,
q u a er
v a n eighth t he semi q u av
, er a six t ee n th a n d so forth , .
N o. 2
4 .
A bre e I I
O v
A semibre e O v
A mi im n 7 or d
A crotchet
A q u a erv
A semi qu av e r
A d emisemi qu a er v
A sem i demisemiq u a er v p or
E
I N T R ODU C TION . 19
Thu s far we h a e di ided the ote i to two p rts but we m ay lso

v v n s n a , a
d i ide them i n to three a semibre e will the gi e a t ip l et o f mi n ims

v v n v r ,
a mi im a triplet o f crotchets an d so o n
n , .
A q ui ntu p l et i s t he
o t n t o fi e i n s t e ad o f fou r
d i v is i o n o f a
e i n v
a rt s of e q u l le gth n di; a s ept up l et , the

isio n o f a n ote i n to se e n
p a v v
i n ste a d o f six or eight p a rts The term e t upl et properly used . s x , ,
a pplies n o t t o two triplets but t o a group formed by the di isio n o f

, v
ea ch u it o f a triplet i to two sm a ller p rts

n n A group f four n otes i s a . o
ca lled a qu d up let whe they h a e to be pl yed i n the time o f three

a r n v a
fo r i n st a n ce w he n four q u av ers o ccur i

, b r o f a piece i n
3 tim e n a a .
Oct upl et s , n on u p l et s ,
d ecnp l et s ,
n n d ecn p l et s ,
d od ecup l et s , an d t r edecnpl et s
a re irre gul r groups o f 8 9 1 0
a , otes S uch irre
, , 1 1 , 1 2 , an d 1 3 n .
g ul a r di isio svare disti guished i n

n ot tio rom
n t he regul a r di isio n n a n f v
a n d subdi isio n i to two p rts by the figures 3 4
v n
5 a 6 7 & c a bo v e o r , , , , , .
,
below the groups i n q uestion .
The ch a ra cters employed to in dic te the res t s correspond i ng t o t he a
a bo e -di cussed n otes o f the s a m e n a me a re a s follo ws

v s
No . 27.
A bre e v
A s emibre e v
A min im
A cr ot che t
A qua v er
A se mi q u er av
A de m i emi qus a ve r
A semidemi emi q u er s av
T he ch r cters
a a fo r lo ger re t
n s s a re gi ven in the e x t ill tr tio n
n us a .
NO . 2 8.
Two b r rest a s
F our b r re t
a s s
S ix b rs re t
a s
Eight b rs rest a
By comb i i g the abo e sig s— the l ast t wo o f which howe er a e

n n v n ,
v ,
r
o w h rdly e er used — a n umber b rs rests m ay be i n d i c a ted Thus

.
n a
y n v o f a .
we get i n illu s tr tion N o 2 9 a b se e eight an d th rteen bars

a .
, , ,
c, v n, ,
i
respec t i vely But m n y b a rs rest a re ge n er lly i n dica t ed by n e or two

. a a o
obli que or hori o t al li es with t he re q uisite n umber ab ove or below ( as

z n n
at d a nd e ) .
No . 29
(d ) 25 (4 ) 3 °
22 I N T R ODU C TION .
1 . S I M PL E TI ME S O R M E AS U R E S .
( ) a S I M PL E B I N A R Y TI ME .
N O 31
. .
2
1 time ( l o m rk ed ( D
a s) two sem i a ,
bre es i b v n a ar
3 time ( a lso m rked a two mi n im s

in a ba r
time two crotchets i

,
n a ba r
3 time two q u
,
ers i av n a ba r
b
( ) S I M P L E T ERN A RY T I M E .
2time thre e mi im
,
n s in a b ar
time three crotchet

,
s in a ba r
3 time thre
, e q u er av s in a ba r
time three ,
se m q u ers
i av in a ba r
II . C O M PO U N D TI ME S .
D U PL E B I N A RY T I M E
( ) a .
or or
t i me ( also m rked C or (R ) a , ,
four mi im i b r n s n a a
0
T he F re n ch i n d i ca t e d fo rme rl y 2 t i me a l w a y s by 2 ( o r (B
) a nd
2“m e by 3 .
INT R ODU C TION . 23
4
4
time ( lso m a rked C ) four
a ,
crotchets i n b ar a
4
8
im t e four qu a ers i n
,
v a bar
6
( ) D U PL E T E RN A RY T I M E .
6
2
time six mi n i ms
,
in a
ba r
6
4
time six crotchets
,
in a
bar
6
8
time six qu a ers
,
v in a
bar
6
16
time six semi qu a ers
,
v
in a b ar
( )
c T RI PL E T E RN A RY T I M E .
ti me , n n i e cro t che t s in
a b ar
9
8
t ime , i e qu avers
n n in a
b ar
9
16
t ime , n n i e semi qu a ers v
in a b ar
( d ) Q U A D RU PL E T E RN A R Y T I M E .
12
4
t ime , twel e cro t che
v
in a ba r
INTRODU C TION .
12
8 _ t ime , twel e qu er v av
in a bar
'
{3 tim e t wel ve semi ,
q u a ers i n a b ar v
E glish cl assific tion is a s fol l o ws

n a
2 2 2
2 4 8
3 3 3
Tr ple i
2 4 8
Q u druple 3i g a :
6 6 6
g f Dupl 4 8 1 6 e
I 5
9 9 9
Tr ple
4 3 l
j 8 16 i
g ,
12 12 12
o l
The Germ an cl s ific tio
a s a n
S imple duple time

S imple trip l e ti me
C ompou n d duple time
C ompou d triple time
n
ometime b i ry a d ter ry time a e compou n ded t ogether O

S s na n na r . ne
me ts f i t ce with 2time w hich m ay be a compou n d either o f f

e ,
or ns an , ,
an d i or o f 2a d i ; i
’
the former case the a ccen ts a e o the fi rst
n n r n
an d third i n the l a tter c se o the first a d the fourth member o f the a n n
I n the s m e w y 1t me i s a co m pou d either f i a d i or f 2

’
b ar . a a i n o n o
d t h e cc n ts re a ccordi g l y ei t her o n the fi rst a n d the fourth

an d
i ,
an a e a n
( orfirst fourth n d
,
S i x th ) or o the fir
,
tan d the fi fth ( or fi rst third
,
d n s a , , an
fi ft h ) me m ber o f the b ( Q ui tuple and S e t pl e ti m

are i
.
A pp ) v. n n .
B i d e the p i m y c t ( b a r a cce ts ) w hich rticul te the

es s r ar a c en s n a a
prim ry co stitue ts o f b there e e d y t t i y & c

a n n a e t a r, ar s con ar , er ar , .
, a cc n s
( m ember a cce ts ) which a rticul te the di isio s

n d ubdi isio s f the a v n an s v n o
prim ry co sti t u ts f the b
a n The di i ion s d subdi isio s f the
en o a r. v s an v n o
prim ry co titu t i n to two three four fi e six & c p rts e

a ns en s , , ,
v , , .
, a , ar
s imply reproductio s o reduced c le f simp l e bi a ry d tern ry

n n a s a o n an a
time a n d o f compou d bi ry d tern ry time S ometimes howe er

, n na an a .
, v ,
I NT R OD U C TION . 2 5
t h ere occur irregul a r groups o f 7 9 1 1 1 3 & c otes which e , , , , .

, n ar
no t me ble to y trict rule o f acce tu tio n It is h rdly ece ry
a na an s n a . a n ssa
t o y th t the seco d ry cce ts
sa a e i ferior i n force to the prim ry
n a a n ar n a ,
t h e terti ry to the seco d ry
a n d so forth The rel a ti e f rce f
n a , a . v o o
the cce ts is show i the followi g illustr tio by the umber o f dot
a n n n n a n n s,
both b a a d member cce ts bei g t ake i to a ccou n t For the s ake
r n a n n n n .
o f gre ter cle r n ess the

a otes which h a e the b cce t a e m rked
a n v ar a n r a
w ith A A o f di ffere n t S es ; but these S ig should be reg rded

iz ns a
as disti ct from the dots
n which by themsel e represe n t a complete
, v s
sy tem f ot a tio i dica ti n g t he full dy amic l a lue of e a ch p rt

s o n n n n a v a
an d p rticle o f a b a r
a .
N o 32 .
26 I N TROD U C TIO N .
In t he
e xt sectio n we sh ll see th a t there e se er l ki ds of
n a ar v a n
a cc en ts d th t the o e we h a e n o w co idered i the lowe t o f them

, an a n v ns s s ,
an d h s to ccommod te itsel f to the re quireme ts o f the higher

a a a n
on es sometimes by gi i g w y ltogether o fte n by subordi ti g

,
v n a a , na n
itsel f Except n d a ces d ce like composition s or o n occa sio s

. i - n , an , n
where speci l e ffect is to be obt i ed this a cce t ought t to m ake

a a a n , n no
itsel f too promi e n t— i deed should m ke itsel f ra ther felt th n he a rd

n n ,
a a ,
re e a li g itsel f by somethi g so subtle as t O be m a teri a lly a lmost

v n n
imp a lp ble though spiritu a lly disti n ctly perceptible

a , .
XI .
—DI FFE R E NT K IN D S OF AC C ENT .
Music al cce t is three kin ds which h e bee n more or less

a n of , av
h ppily de omi ted

a met i l ( or gr a mm t i a l )
n na hy t h m i l ( or y r ca a c ,
r ca s n
t
ac ti l)ca d p t h t i ( or het i l )
,
an a e c r o r ca .
( I ) The m t i a l ( or g mm t i l ) a ccen t is the regul rly recurri n g

e r c ra a ca a
emph i ( stress ) which a rticul tes the bar I t is the cce t which we
as s a . a n
h a e co idered i n the precedi g section

v ns n .
( )
2 Rhy t h m i c l ( or y t act i l ) cce t — W h ils
a t t he metric a l ccesn t n ca a n . a
is regul ted by fi xed scheme and con fin ed t o si gle ba rs the

a a n ,
rhythmic l a ccen t is u fettered by rules a d its scope embra ces whole

a n ,
n
se te ces an d complex periods It a rticul a tes these l a tter and their

n n
di ision s d ubdi isio s— phrases section s an d moti es—and t hus

.
,
v an s v n , ,
v
forms the ba is f wh a t is c a lled the a t o f phrasi n g

s o I n short r .
,
the word m t i a l an d hy t h m i a l a re employed to disti n guish the

s e r c r c
fi x ed mech ic l b r accen t n d the free poetic moti e a cce n t As

, an a a - -
, a ,
v .
to how the rhythmic l cce t sometimes modifies an d e en a ltoge ther a a n v
s et ide d re er e the metrica l a cce t some examples will be gi en

s as an v s s n ,
v
i n the followi n g illustr tio n The fi rst ex mple is n i n st an ce o f th a t

a . a a
ki d o f d i p l em t o f cce n t which is termed sy n cop t i on an d w hich

n s ac en a a ,
a ppe rs a lso i n some of the l ter ex amples

a a .
NO 33 . .
INT R O D U C TIO N . 27
(3) The P t het i c ( or het i ca l ) a cce t is n o t dic t ted by rule s the

a r or n a
, a
metrical solely by i n tellige ce a s the rhythmical but by i n t el l i
, nor n ,
ge ce combi n ed with ta ste feeli g a n d im gi a tion Its i m is

,
n n
, , a n . a
the re el a tio o f the spir i tu a l co te n ts o f a composition a d to
v n n
, n
a tt i n this i m more is re q uired th n a correct re n deri n g o f metrica l
a a a
a n d rhythmic l forms Bei g the highest ki n d o f a cce t the pa thetic
a n
.
n
a cce n t ha s the righ t to dispose freely though
,
n o t c a priciou s ly o f the , ,
lower on es the rhythmica l may modify the metrica l the p a thetic b oth ,
the rhythmic a l d metrica l Although the music l ot a tio n d

an .
a n n a
m a rks o f expressio n ca n sugges t i n some measure the re q uisite p a thetic
a cce n t t hey a e n o t subtle e n ough a d moreo er t oo v gue to be
, r
, n v a
s a tis fa ctory i n terpreters o f the a u t hor s mean in g
, ,
’
.
XII .
—TIM E , I N THE S E N S E OF M O V EM E NT .
Wh a t has bee s id bout t i me i n X has re fere n ce to el t i v t i me

n a a . r a e .
A b ol u t e t i m is i dic a ted by words an d phr ses ge er lly t ke

s e n a n
a n , a
from the It li a l n gu ge such A d gi slow
a n
( ) A ll g o m d
a a
te , as a o e r o er a
The followi g words form a gradu a t ed serie s
,
( modera tely q uick ) & C , . n
from S lowe t to q uickest mo em t
s v e n
S lo w Gr a v e, L a rg o , A d ag i o , L en t o .
Moder tely a slo w L a rg het t o , A n d a n t e, A n d a n t i n o .
Moder tely uick a

q A l l eg r et t o, M oder a t o .
Q uick A l l eg r o , Vi v a ce, Vi v a ci s s i mo P r es t o P r es t i s s i mo
, , .
I n termedi te degrees a ormed ddi g modi yi g words a d

a re f by a n f n n
phr ses to these terms
a uch i dic tio s the r te speed
S n how
a
.
n of a of a re ,
e er
v
e ry g
v le e much to the decisio
v a ue, an d the rtistic eeli g
, av n of a f n
a n d j udgme t the per ormer Fre ue t ly the time is more defi itely
n of f q n .
n
i dic ted by the utilis tio
n a the a mech ic l i trume n t
n of met r on ome, a an a ns
fo r be a ti g t ime n .
The possible forms which music l composi t io n may ume re a a ass a

i n fi ite
n We c n here o n ly throw out few hi ts d gi e two
. a a n an v
or three illustra tion s T he first f t h followi g ex mp l es ( ) shows us
. o e n a a
a c m let e
o
p mu ic l t h ght a period Th i s p e i d ( or e t e e) of
s a ou u
. r o s n nc
e
ight b rs is di i ible i to t w o ph
a
o f f ur b
v s s e ch o f the se n r a s es o ar , a
phr es i to two
as two b rs a d e ch of t hes ct i om in t o t wo
n s ect i on s o f a ,
n a e se
m ti
o f
v es b The co d e x mple ( 5 ) show w
o one aromp ou n d
. se n a s e 4 c
p i d comp i i g two c o ordi te i mp l e p e i od

er o r s n the l atter o f which - na s r s,
is the cou terp rt f the former Mo t d ce tu es an d m any songs

n a o . s an n
c o ist f
ns or se er l imple or compou n d periods such as these
o one v a s .
But periods d their member e n t lw ys o f the s me le gth

an s ar o a a a n ,
n o r phr es a d ectio s a lw ys cle rly di ti guish ble I f al l

a re as n s n a a s n a .
periods were co structed after n e p atter n l rger works bei n g m ade

n o ,
a ,
up o f gre ter umber o f periods would f course be terribly

a a n , o
mo oto ous But a simp l e period may h e fewer d more th n

n n . av an a
e ight b rs d a compou d period m y be compou ded o f p eriods

a an n a n
”
,
f “
rious le gths The ope i g o f God S e the K i g
o va n . fo r n n av n ,
i t ce fur i hes us with n e x mple f a period o f si b rs

n s an ,
n s a a o x a
d i i ible i to three sectio s o f two b rs e ch fol l owed by a perio d

v s n n a a ,
o f eight b rs The structure o f periods is mo tly symmetric l

a . s a ,
but is t eces rily so Whilst we fi d o fte e t four d four

no n sa . n n s an ,
two n d two three n d three & c b rs cou terb l ci g e ch other

a , a , .
, a n a an n a ,
we meet lso n o t u fre q u en tly with four d three four n d fi

a n an , a ve ,
t wo d three & c
an coupled together Moreo er the most common
, .
, . v ,
period th a t o f eight b rs m y be shorte ed by the omission o f a b

,
a , a n ar
or two or i t m y be le gth e ed by the addition o f e t w o three or

,
a n n on , , ,
—
four b rs for i st a ce by repetitio
a e x ct or modified o f its l atter
n n ,
n, a ,
portio The n i n combi i g periods they may be do et iled — th a t i

n. n n v a s,
the l ast b ar o f the first period m y be m ade to coi cide w ith the a n
first b r o f the secon d period But who could e umer te l l the

a . n a a
possible ri ation s o f con struction ?

va
Me sure howe er is n o t the o ly fa ctor which produces riety i n

a ,
v ,
n va
the tructure o f periods V ery import a t factors re the melodic d

s . n a an
h rmo ic c de ce the i flectio s th t a rticul te the music l form

a n a n s, n n a a a s .
The e c de ces m y be co fi ed to the s me keys or digress ( mod u l t )

s a n a n n a a e
i to other ke y s
n Our first e x mple rem i s throughout i n the key
. a a n
o f G m j or the fir t phr se closi g with the chord f the domi a n t ( the

a , s a n o n
fi fth o f which is i the m elody ) preceded by th a t f the to ic n d o n , an
the seco n d with the chord o f the to ic ( the fu n d me ta l n ote o f n a n
which is i n the melody ) preceded by th a t o f t he domin an t A lso .
the seco d e x mple is i n the key o f G m j or but i t does o t rema i n

n a a ,
n
throughout i n the s ame key d the c de ces a e di ffere n t fo ,

an a n r : r
i st ce the fir t phr se closes with the chord f the to ic o f G m j or

n an , s a o n a
( the third o f which is i the melody ) preceded by th a t f the domi t n o nan ,
a n d the seco d with the chord f the to ic f D m j or ( the fu d me t l

n o n o a n a n a
n ote f w hi ch is i the melody ) preceded by the chord o f the domi t

o n n an .
( v C d e i n t he dictio ry )
. a en c na .
N o 34 . .
(a)
3 0 INT R ODU C TION .
phraseology ) which co sists i the e ol ution o f more or less di ffer

, n n v
e t i t e d thoughts out o f
n a e or f w fu d ame t l thought or e en on a e n n a s, v
germs f thought Th em tic work h s bee defi ed

o . the melodic a a n n as ,
h rmo ic n d rhythmic l tr sform tio o f theme The defi ition is

a n , a a an a n s . n
u doubtedly correct but a p t to mi le d by sugge ti g mech ic l pro

n ,
s a s n a an a
ce ss.S uch howe er it is o ly with the mere cr ftsm

,
vt with t h e ,
n a an , no
to e poet S omethi g o f uch them tic work but o ly i its simplest

n -
. n s a ,
n n
an d most rudime t ry form m ay be see n i n o u ex mples Obser e

n a , r a . v ,
fo i st ce how the eco d o f them is co n structed out o f two moti e

r n an ,
s n v s
( b ars e d two ) which recur g i n d g in the first o l y a ltered i n

on an a a n a a a , n
p itch the seco d lso melodic lly remoulded I ge iou s them tic
,
n a a . n n a
w ork is e O f the chie f disti gui hi g m rks o f true m ter s ’

on n s n a a as
productio ; i deed without it ti f ctory compositio i n the l rger

ns n ,
sa s a n a
form e peci lly i t h e bran ch f i strume t l mu ic is h rdly

s, s a n o n n a s , a
im gi ble O e f he most striki g i n t n ce o f them tic work

a na . n o
‘
n s a s a
is the first mo eme f Beetho e s C mi or sym phon y which is

v n
t
o v n
’
n ,
m i ly e ol ed from simple moti e o f four n otes three o f which a e

a n v v a v , r
o f the me pitch sa .
To illu tr te se er l poi n t s which h a e b een touched upon i n

s a v a .
v
the bo e rem rks h pe n d co c te tion o f periods a d their

a —v a s a a n a na n
subdi i io s key rel tion

v s nd them tic work — I sh a ll a na lyse a d
,
- a , an a n
i n ert here compo ition i n o n e o f the l rger forms the fi rst mo emen t
s a s a ,
v
o f Mo rt s so t i C mi n or
’
za na a n .
The first mo eme t o f a so a t a co sists o f two p arts f which

v n n n , o
the first co t i the e x positio n o f the subject -m at ter a nd t he s econ d

n a ns ,
the de elopme n t a nd rest atemen t

v .
I — E X PO S I T I O N
. .
( ) a The fi mi n or ex
rs t t e ds
su up t o
bj ect , i n
t h e fi rs t n ot e C , n
o f the l gt h b a a d co ists o f a period r, f 8 b a rs ( 1 8 ) a n d

n — ns period o a
O f I I b rs ( 9 a the l tter bei g further lys able i to an i n ter a n an a n
cal t e d b ar ( l st crotchet o f b
a 8 d first three o f b r 9 ) an d a period
a ar an a
o f 8 b rs ( from l a st crotchet
a f b 9 to first n ote o f b r 1 9 ) prolo ged o ar a n
by two b rs a .
( 6) The t n i t i on which begi s with the closi g n ote o f t he

ra s ,
n n
fi rst subject ( we h a e here on e o f se er l i n st n ces to be fou d i n

v v a a n
the mo emen t u n der discussion o f periods o erl ppi g e ch other ) n d

v v a n a , a
con sists on ly o f four b a rs ( 1 9 forms the co ecti g li k between nn n n
the first n d secon d subjec t It modul at es from C mi n or i to E

a . n
fl t m j or
a a .
( ) The
c s c o n d s u b
j e t i n E fl aet m a jor co sists o f perio dc o f
, eight ,
n a
b a rs ( 2 3 which is prolo ged by fi e b a rs ( 3 1 le ding to n v a
an other melodious str ai i the s ame key likewise a pe riod o f eigh t n n ,
ba rs ( 3 6 this l tter bei n g followed by a period o f 1 6 b a rs ( 44— 5 9 )

a
cle a rly a rticul a t ed i n t o moti es section s an d phra ses o f I 2 an d 3 v , , , ,
ba rs .
IN T ROD U C TION . 3 :
d
( ) The c o l u i o f the e
nc x po itio n
s on the firs t n ote o f which s ,
c oi n cides with the l st o f the eco d ub jaect co sists f four

s phr a ses onf s ,
n o
four b rs ( 5 9 a the l a st b a modul a ti g i to C mi n or r n n .
IL — D E V E L O PM E N T .
There a e ltogether 2 5 b a rs i n thi di ision ( 7 5

r a which prese n t s v
themsel e — excepti g the l t fi e b r — i sectio s f two b rs o f

.
v s n as v a s n n o a ,
which the first six group themsel e i to phr es o f four b rs T he v s n as a .
subject -m atter o f thi di isio is deri ed from the first ubject the
s v n v s ,
tr sitio a n d the seco n d subject e ach o f them con tributi n g a sectio n

an n, ,
.
II I .
- M O D I F I E D R E S TA T E M EN T OF TH E F I R S T D I V I S I O N .
( )
a The fi rst s u b ect ,
j in C mi or re appe a rs
n ,
in t he s me form
a
( 10 0
( b) The t iti m y be s ai d to co ist o f I 3 b rs ( 1 1 8
ra n s on a as ns a
t he l t fi e b rs ( 1 2 6
as v a though ori gi lly fo mi g p rt o f the na r n a
secon d subject will be here more properly co idered s p rt o f

,
ns a a
the tr itio n which fi r t modul tes i to D fl a t m jor n d the n return s

ans ,
s a n a , a
to C mi n or .
( )
c S e on d u
c bj e t i C
s mi or c The ,
fir
n t melodic n str i is
. omitted s a n ,
the fi e b rs le di g up to the seco d h e lre dy bee me tio ed i n

v a a n n av a a n n n
con ectio with b the rest o f the subj ect ppe rs tr n po ed i n t o

n n ,
a a a s s
a n other key but otherwise ,

ery n e rly a before ( 1 3 1 v a s
d
( ) C l s i
on c u i C mi n or
on , The n first 1 2 b rs ( 1 5.6— 1 6 7 ) f t he a o
3 0 b rsa ( 1 5 6 — 1 8 5 ) wh ch it co t i n s di ff er
i lmost i n n othi g but the
n a a n
key from the correspo di n g portio f the expo itio n Wh t follows n o s n . a
( 1 6 8— 1 8 5) f orms brilli t d a disti ctly rticul

an tedco i to
a, e -b a r n a a n on
moti e n d two b section s which group themsel es i n to two o er

v s a - ar
,
v v
l a ppi g periods ( 1 68— 1 7 6 a n d 1 77— 1 8

n
No 35 . .
E x p o sI T I O N .
rs t S u bj e ct , i n C mi n or .
3 2 INTROD U C TIO N .
I N TROD U C TION .
33
re t u rn i n
g i n t h e l ast ba r t o C m i n or
I N TROD U C T I O N .
I I D E V E LO PM EN T
. .
INT R OD U C TION .
35
lll . M O DI FI ED RE S TA T E M EN T OF D I VI S IO N I .
I N TROD U C TION .
38 I N T RO DU C T IO N .
XI V — O . R N AM ENT S OR G RAC E S .
The subject f gr ces is e o f the mo t di ffi cult im gi ble It is

o a on s a na .
too complic ted to be tre ted fully a d briefly t the me t i m e

a a n a sa ,
too O bscure to be tre ted s tisf ctorily u der a y ci cum t

a a ce n an r s an s .
Or a me ts e modified a d a ltogether ab n do ed o t o l y by the

n n ar n a n n n
c price o f age a d tio n s but lso by the Caprice f i d i idu a l

a s n na ,
a o n v s .
A n d o f these i n umer ble modifica tio s n d ch ge we h e either

n a n a an s av
n orecord a t a l l or with a fe
,
w exceptio
,
s b u t ery imper fect n ,
a v o ne .
He n ce t o spe ak dogm a tically o n this subjec t to l ay down ha rd nd f t

,
-
,
-a as
rules a rgues ig or
,
ce n o t k owledge
n an ,
n .
The most importan t or me ts e the l o g d h t pp g gi t na n ar n an s or a o a u ra ,
the d ou bl e app gg i a t the N h / l g the d bl e [ V b / l g t h

o u ra , ac sc z a ,
ou ac sc z a , e
tu rn the ,
n k or
s t ai l l
e,the P l l t
r i l l e or
,
i v t d m d
ra t r d t hr, n er e or en ,
an e
Before we e ter o n the co n sideration o f these or me n ts let us o t e

n na n ,
as u
f n a
a d me t
n a l nd u i er l rule
a
— a rule which h as h rdly
n v sa y a an
e ceptio
x n s — t h a t the time re q uired f r the execu t io n o f gr ce n otes has
o a
I NT RODU C TIO N .
39
to be sup plied by the pri ci p l ote to which they b elo ng ; it m tter n a n a s
no t whether the gr ce ote e prefixed or a ffixed to the pr n cip l

a n s ar i a
note .
T H E A PPO GG I AT U R A AN D N A C H S C H L AG .
T he s i a r tpp
‘ ‘
lso c a lled a
a i c t u a ( i n Germ a n ku
ogg i a t u ra , a e cc a c a r ,
rz r
Vor s cb l ag —s
hort fore be a t ) is o w lw ays writte
- s a sm ll S i ed qu a er
-
,
n a n a a z v
or semi q u a er n ote with a stroke crossi g the stem a d the hook

v n n .
Formerly howe er the short ppoggi tur w as n oted W thout such

,
v ,
a a a i
a stro ke This circumst an ce c auses per formers much trouble fo r they

. ,
av
—
h e to ask themsel es i n e ery ca se Is this ppoggi a tura a lo g or a
v v a n
short o n e ? The short ppoggi a tura should n o t t k e up much o f t he

a a
time O f the pri n cip al ote It a ries little i n le gth ; I deed I t h s

.
n . v n n , a
bee c lled i n disti n ctio n fro m the va ryi ng lo n g a ppoggia tura t he

n a , ,
i n ri ble a ppoggi a tura

va a .
N O 36 .
The l g pp gg i a t u a ( i n Germ an
on a o l g or Vor / l t )
r , a za
should lw ys be writte
a a sm ll
a i ed n o t e correspon di n g i n va lue t o
n as a -s z
its i n te n ded le n gth but sm ll ote o f less th a n the i n t e n ded value e a n s ar
v ery O fte n to be met with Like the short a ppoggi a tura t he lo g .

,
n
a ppoggi tura eed t be o n e o f the adjoi n i g n otes a degree below or
a n no n ,
a bo e the pri cip l ote al though the e l tter a re the most common
v n a n , s a .
\Vith reg a rd to the le gth f the lo g a ppoggi a tur a the fo l l owi n g thre e
n o n
ru l e s h a e to be remembered
v ( 1 ) Whe the pri n cip a l n ot e is di isibl n v e
i to two e qu a l p rts the ppoggi tura recei es e o f them ( 2 ) whe n

n a , a a v on
the pri n cip l n ote is dotted a d n o t di isible n to two e q u l p a rts t he

a , n v I a ,
a ppoggi tur a recei es t h

a lue o f the n o t e wi thou t the d o t or dots ( 3 )
v e va
0 INT R ODU C TIO N .
whe the pri n cipal n ote is tied to a shorter n o t e o f t he s am e pi t ch t h

n ,
e
a ppoggi a tur a recei es the a lue o f the whole o f t he lo n g n ote a n d if th at

v v ,
n ote ha s a dot the a lue o f t he dot a lso ( a ) I n t hose cases where strict
, v . a
a dheren ce to these rules w ould le ad t o f ults i n the h a rmon ic progres ion a s ,
the lo g a ppoggi tur has t o b e pl ayed shorter An other m a tter w hi cl

n a a . .
has to be co sidered is the rhyt hmic design which sometimes dem ds

n ,
an
a shorte n i g o f the lo
n n g a ppoggi a tur a Further B ch Mo rt . a d ,
a , za ,
n
o t her composers m ade ofte n use o f a sho t en ed or sho t e t lo ng pp o g r r s a
g i a t u ra ( a lw a ys writte a s a sm ll -siz ed q u a er or semi q u

n a er ) which v av ,
is e q u a l i n le gth to a third a fourth a d e en less o f the pri cip l

n , ,
n v ,
n a
n ote ( b) L stly a few o f the older composers used occa sio ally a
. a ,
n
l eng t he ed pp gg i t u a
n a o lo g a ppoggi tur which is e qu l i
a r a n a a a n
le n gth to three -fourths of the prin cipa l n ote This le n gthe i g w s some . n n a
times an d ough t to h a e been a l ways i n dicated by dot after the sm ll

,
v ,
a a
n ote ( c) The n otation o f the lo g a ppoggi tura w s i n e ted d n a a v n an
ser ed the older m as t e rs fo r n o other purpose th an th t o f co ce li g

.
v a n a n
the t he n forbidde n u nprepa red i n troduction o f disso an ces After n .
M a o z rt composers beg a n t o gi v e up t he sm a ll fo r full -si ed n otes z ,
a n d t o use the former o n ly occ a sion a lly fo r lo g ppoggi tura s o f n o n a a
gre at l en gth and for t he so c alled s hort es t long a ppoggia tura

- .
N O 37 . .
INT R ODU C TION .
41
The double ppoggia tura co sis t s o f t wo shor t gra ce n otes pre fi xed
a n
to a pri cip a l ote a is show n i the n ext illustr tio ( ) Two gr ce

n n
- ,
s n a n a . a
n otes a ce di g or desce n di g by degrees ( b)

s n n e a ki n d o f double
n ar
a ppoggi a tur which the Germ a s c ll S hl if e ( slide ) More th an

a n a a c e r a .
two such gra ce otes sce n di n g or descendin g by degrees may likewise

n a
be cl a ssed a s slides ( c) .
N o 38
. .
The N achs ch l ag ( af ter bea t ) is t he opposi t e o f t he ppoggi a tura

-
a
V
( r
o s h l — f ore be
- t) It co ists o f a short gra ce ote pl yed afte r
c a
g a . ns n a
pri n ci p a l n ote ( a ) The dou ble N a ch chl ag co sists f course o f
O
a . s n o
two short n otes ( b)
, ,
.
N o 39 . .
42 I N T R OD U C TIO N .
T HE T U RN .
The a ppell a tion t u rn d scribes the n ture o f t he orn ame t w hich

e a n
win d s rou d the pri n cipal n ote The turn forms a g O II p o f four or fi e
n . r v
n otes , i n which the pri n cip a l n o t e appe a rs t w o or three times d , an
a lter n a tes wi t h t he a uxili a ry o tes a degree a bo v e an d below it

n The .
sign fo r the t urn is S h a rps fl a ts an d a tura ls u d

, ,this sig n n n er
re fer to the low er a uxili a ry ote ; sh a rps fl a ts a d turals b

n , ,
n na a ov e
it to t he upper auxili a ry n o t e Formerly t hese a ccide n t als were lso

. a
p l a ced b e fore a n d a fter the sig n an d fo r b oth a uxili ry

, otes bo e a n a v
It
. S ometimes ho w e v er they were n o t m a rked a t l l the per former
, ,
a ,
h a i g to decide fo r himsel f whether ot her n o t es t h n those belo gi g to

v n
'
a n n
the key had to be i n t roduced i n t o the turn The execution o f the turn .
depe ds ( I ) o n t he t ime of the piece i n which it occurs ; ( 2 ) o the

n n
posi t ion o f the sig n — when i t st n ds abo e the ote the tur is executed
a v n n
at o ce whe n it st an ds sideways t he pri cip l ote is sust i ed

n ,
n a n a n
fo r some time ; ( 3 ) o n the ki d o f n ote to which it re ers n a mely

n f — ,
whe t her the n ote is do tt ed or n o t ( ) I n our time t he tur is ofte n begu

a . n n
with the pri n cipa l n o t e e v en t hough t he sign st an ds a bo e it ( b) The

,
v .
i n erted turn ( c) is ge n er lly writte out i n full but it h s occ sio lly
v a n ,
a a na
bee n i n dica ted by I or m w hich sig s howe er h e formerly bee

,
n ,
v , av n
sometimes employed also fo r t he commo n turn A pp e d d ( d ) will be . n e
fou n d some ex mples o f t he combi na tion f t h i ve t e d morde n t with

a o e n t
the t urn— the p l l en de o r gep a l l t e D oppel hl g ( the rebou di ng tur

ra r sc a n n,
or t he trilled turn ) .
N o 40
. .
INTROD U C TI O N .
43
Be ethove n .
T HE S H AK E .
The h he or t i l l is a q uick an d e e n lter tio n o f a pri n cip l n ot e

s a ,
r , v a na a
with n auxili ry n ote a ton e or semito e bo e it The degree o f
a a n a v .
q uick n ess with which it shou l d be executed depe d s o the ch a r cter o f n n a

the compo ition the pl ace o f the perform ce n d the ture o f the
s , an , a na
v oice or i trume n t I n olde n times the sh ke w as l w ys begu with
ns . a a a n
the auxili ry n ote Both B rossa rd ( 1 70 3 ) d W lther ( 1 7 3 2 ) t te i n
a . an a s a
their dictio ries th a t i n si n gi g or pl yi n g a sh k e n e begi s with t he
na n a a o n
higher d e ”ds with the lower n ote Hummel writes i n his Pi n o
an n . a
forte S chool published i n 1 828 “ Hitherto e h s n o t dep a rted
:
, on a
,
44 INT R O D U C TION .
as rega rd s t he sh”ak e from use an d won t an d beg n i t with the upper

, , a
a uxili ry n ote
a This st a temen t howe er is n o t q uite correct as
.
, v ,
“
,
the M é thode de C h a t d u C on ser toire de Musi que ( P ri 1 8 20 ) n va a s,
an d K al kb re nn e r s
”
Pi n oforte S choo l ( 1 82 4 ) pro e N oteworthy
’
a v
is lso the compl ai n t o f M arpu g i n 1 7 5 5 about the i c o u s i o tio

a r , , v I nn va n
o f begi i g the P ll t i l l e agai st the rule o f how sh ke should

nn n ra r r, n a s
be executed with t he pri n cipa l n ote The m ajority o f musici i our

, . an s n
d ay seem t o sh a re Hummel s O pi n io n w h s i d The sh ake begi s

’
a
’
, O n
ge erally with the pri n cip l n ote a nd a lso a lw ays e ds with it i f it i

n a , n s
to b egi n with the upper or lower a uxili a ry n ote this h s to be i dic ted a n a
”
,
by an a ppoggi tur from abo e or from belowa a Formerly the c as e v .
w a s the re er e o f this fo r w e fi n d composers — Mo a rt a mo n g the rest

v s , z
m ki g occ sio l use o f a sm a ll n ote t o i n dica te t h a t the sh ke has

a n a na a
t o begi n with the pri n cipal n ote An other deb ted question is whether . a ,
whe n a sh ke is begu n with t he prin cip al n ote the a cce n t is t o be l id on

a , a
the auxili ry— the pri n cipa l n ote bei g n its firs t occurre n ce p l ayed as
a n o
a ligh t a ppoggi tur a a — o r o n the pri cip a l n ote The t heori ts wh n . s , o
1 0 0 k a t the m tter from the historic l poi t o f View a e apt t o

a a n , r
ign ore or t o con dem n the pre a ili g pr ctice o f our time forgetti g v n a ,
n
th a t the f shion o f o e age i s no t a st a d a rd fo r a l l subse quen t ges

a n n a ,
a n d th a t n o t a fe w o f our gre a t v i t u os i a e n o t o n ly musici a s o f t a ste r r n ,
but a lso epoch -m aki g composers cre a tion goi n g h a d -i n -h an d with

n , n
execution N ow i n con sideri n g the pre a ili n g practice o f the l st

. v a
tw o or three gen erat ion s on e can n o t help comi g t o the con clusio n , n
a t w hich Th Lem ire an d H ”La o i fi ls h e a rri ed a The v x, av v .
”
. .
,
“
sh ake they s ay i n Le C h an t “ m ay begi n with the auxili ry or a
, ,
pri n cip al n ote I t w oul d n o t be possible to determi e by rules i n

. n
which c ases i t ough t t o be b egu n ”w ith the o n e or the other o f these

no tes : this is a q ues t io n o f t aste B u t it is n o t a questio n o f t a ste .
a lo n e con en ie ce too has a voice i n the m t t er For i sta ce

v n , ,
a . n n ,
where i n pia oforte music a sh ake accompan ies a melody or other suc
n
c essio n o f n otes pl a yed by the s a me h a n d the m jority o f t he pi a ists ,

a n
o f our t ime pre f r begi nn i n g i t w ith the a uxili a ry n o t e

e Ge n era lly .
s pe a ki n g w e may s ay t h a t un less a n a ppoggi a tura b e prefixed the

, , ,
s h a ke is n o w a d a ys i n mos t ca ses b egu n with the pri n cip l n ote

, ,
a .
B ut whether a sh ake begi n s or d oes n o t begi n with the pri cip a l n o t e i t n ,
mus t en d w ith it U less v ery short a sh ke is ge erally con clud ed

. n ,
a n
with a t urn which howev er b ecomes superfluous whe n the sh ake is

, , ,
followed by cert a i n progression s of n otes o f which o n e or two ex amples ,
will be gi en ( b) This turn i s often in dic ted by two small n otes

v . a
aft er t he writte n pri n cip a l n o t e The sign fo r the sh ake is t r ; n ow . .
o b solete sig s re t n an d wa S h a rps

. fl ts
,
or n a tur ls a bo e .
,
a ,
a v
the sig n o f the s h ake re fer t o the uppe r a uxili a ry n ote sh a rps fl a ts o r , ,
n a tur ls below the sign t o the lowe r auxili a ry n ote

a Where there .
is on ly n accide n t l below the sign i t may a lso a pply to the uppe r

a a
a uxili ry ote I n old music the a cciden t als a e someti mes but ra rely
a n . r , ,
f ou dn to the le ft a d righ t o f the sign t

n he former re ferri n g to the uppe r , ,
the l a tter to the lower auxilia ry At ( c) t he re ader will find a cha i n . .
of h kes wit h two modes o f e xecu t io n

s a .
46 I N TROD U C TION .
Lis t s Edition o f Weber

z
’ ’
s S o nat as .
T H E M O R D EN T .
Th e i ver t ed mo de t a lso c a lled p as i g s ha ke ( i n Germ

n r n ,
s n an ,
P a l l t r i l l e an d S hn ell
r r c i n Fre ch p i e! r e v sé ) co n sis t s o f three
er n ,
n n er ,
n otes — ,
a —
the pri n cip al upper uxili ry an d pri n cip a l Of which the a ,
two fi rst mus t be pl ayed q uickly n d the third h s to be o f lon ger ,

a a
dura tion th an the precedi g on es The sign fo r t he i n erted morde n t

n . v
is M . The n ex t illustr tion shows fi rs t ( a ) t he modern form of the

a
assi g sh ake
n an d t he n the origi n a l form ( b) For ex a mples o f the
p
.
,
combi n a t ion of t he i n v er t ed mord en t w i th t he t urn see illust ra ti o n

N o 40 ( d )
. .
I NTROD UC T IO N . 47
( b)/ W
The re al erm Al d t or B ei s e
m or d e n t (in Gi n Fre n ch an , or en s r ,
p n ce
i ) m
’
y be either si gle
a or double or s others s ay nshort or , ,
a ,
otes —
. n
l
lo g The s i gl e m o d t which i i n dic a ted by A v con sists o f three
r en ,
the pri n cipa l lower auxili ry an d pri n cip l the dou bl e mo de t a

s
a
,
r n
n , , ,
—
w hich is in d ic ated by AA co sists o f fi e n otes pri n cipal lower
A ,
n v ,
a uxili ry pri cip l lower a uxili a ry pri n cip a l

a , n a ,
The first n otes h e to ,
. av
be pl yed q uickly the l ast ote must be sust ai n ed Both ki ds o f

a , n . n
morde t re fre que n tly preceded by lo g ppoggi tura I n our tim e

n a a n a a .
t his orn me n t i r rely u ed nd the n ge er lly written out i n full

a s a s , a n a .
O RN A M EN TS O LD .
The followi g E x plic tion o f Di erse S ign s which

n B ch a v ,
a
beg n to write j u ry 2 2 1 7 2 0 f his so F i ed e m

a on an a will m ke , , or n r an n , a
t h stude n t c q u i n ted with the most commo n o f the or

e a a me ts the n i n na n
use He will ote th t the upw rd hook o n the le ft or right side o f

. n a a
the sig f the sh ake i dic a tes the upper auxili a ry ote n d th t t he
n o n n ,
a a
dow w a rd hook i dic tes the lower a u x ili ry ote The ertica l strok
n n a a n . v e
a cro the sig n i n dica tes likewise the lower u x ili ry n ot e

ss a a .
N O 44 . .
2 . Mord an t .
3 . Trillo 8: M ord an t .
4 C a
. de n c e .
Mo d t r an .
8 . Doppelt -C de n ce a 9 . Dopp lt -C de ce
e a n 10 . A cc ten
Mord t an . Mo d t r an . s t e I ge n d .
11 . A cce t
n 12 . cce t
A n 13 . A cce t
n 14 . Acc e n t 8:
fa ll den . Mord t an . T l ri lo . Tri l lo .
The F re n ch f hio o f i trume t l or me t tio i the e r l y p t

as n ns n a na n a n n a ar
o f the e gh t ee t h ce tury is e x emplified by the followi g
I n n E x plic ti n a on
n s
”
des A gré me t e t des S ig e i the fir t book f Fr coi C u p i s ’
n s, n s o an s o er n
”
P eces de C l a ec
‘
publi hed t P ri i n 1 7 1 3
.
i v In, s a a s .
N o 45 . .
Pin cé simple . Pi n c é double .

P ort de
I N T R OD U C TIO N .
49
Port de voi x double .
Tremble men t ppuy é a et lié . Trembleme t o u er t

n v .
Trem bleme n t fi rm é . Tremb l eme t n li é s an s etre a p puy é .
Trembleme n t d é t ché a . A cce n t .
A rp é ge m en t
Pi n cé d i es é Pi n cé s bé mo l l i sé s
. .
en d esce d
n an t
5 0 I N TR O D U C TION .
(f )
Tierce coul é e T i erce coul é e Doubl e ’
e n mo t n t en desce n d n t
n a . a .
.
Double '
. Asp ira tion .
( )
a U n isson .
S uspe n s io n .
I N T ROD U C TION .
5 .
C ouperi nwrites I t is the alue o f n otes which mus t d etermi n e

v
he dur tio o f the pi cés p o t de voi x

a n n d t em bl em n t s
,
r s By the ,
an r e .
w ord dur tio n is to be u n derstood the gre ter or less n umber o f be a ts

‘ ’
a a
OI ibr tio s
v a
” I n expl a a tio
n . f the ot a tio n o f m it has t o be
n n o n
re membered th a t fl a t a fter a sh a rp h d the e ffect o f a a tura l

a a n .
To supple m e t the a bo e i form a tio a bout Fre n ch” orn a me n t tio

n v n n a n,
Je n Philippe R m e ”
a u s
“ Table pour le s A gré me n ts prefixed to hi
a a
’
s
,
P ieces de C l eci which were publi hed t P ris n 1 7 3 1 will n o w

av n, s a a I ,
b e q uoted .
NO .
4 6.
Ca de cen . C a de n ce a ppuyé e . Double ca le n ce .
Doubl é . Pin cé . Port de v oix . C oul é s .
Pi n c é et por t dé v oix . S on coup é . S uspe n sio n .

5 : INT R ODU C TION .
’
Ca de ce li é e
n . PI n cé l i é . Li i a son.
§ X V .
— S IG N S NOW OR FORME R LY U S ED I N MU S I C .
( I ) A dot a bo v e or below a n ote sig ifies s t t n a cca o
( 2 ) A fter a n ote or rest it is a sig of prolon ga tion n .
A d sh bo e or below ote sig ifies t t i i mo

a a v a n n s a cca ss .
A lur bi d tie
s ,
n , .
A slur d dots a bo e o r below tw o or more n otes ( o n e do t

an v
to e ch n ote ) i d ic a t e t h a t the l a t ter h e to be pl yed

a n av a
somewh at det ached ( v S t ac t o . . ca .
S e era l dots an d a slur o er a n o t e de n o t e t he B l n ce

v v a a
m en t or B ebu g ( ob solete ) n .
S ust i n e d
a — Hori on tal d shes abo e or b elow a series o f
z a v
n otes i n dic a te th a t they h av e t o be sust a i n ed but n o t
slurred .
D she bo e or below n otes w hich h a e a lso a slur h e t o

a s a v v av
be pl yed lmost but n o t q uite l eg t

a a a o.
A cce ted an d ust i ed b n p

n s i t ( ra re )
a n ,
e r on u n z a o .
W ith a weighty a n d well su t i ed touch pe t ( e y

- s a n , sa n e v r
ra re ) .
3 ”
D ecr es cen do .
and ! R i n for z a n do .
A V F or za n do, or Sf orz a t o.
V Upbow . A Dow bo w i n Violo cel l o music

n n .
P0 9 4 d e voi x — M t el l m t ( ob ol t e )
. ar e en s e .
W
V V M t l l m t d ou bl e an d t r i
p l ( O bsolete )
—D
a r e e en e .
U or l l o wn bo w .
54 I N T R OD U C TIO N .
I \I I A bo e a n ote
v , a S i n gl e an d a Double Relish ( obsolete ) .
Abo e n otes the former has b ee used to i n dic a te S

v ,
n a on
up
co the l tter t o i dic a t e a U i o two n otes o f t h e
e,
’
a n n ss n ,
s me pitch t o be pl ayed on the s me key ( obsolet e d

a a an
r re )
a .
( )
1 A bo e or belo w avn ote i t i n dic a tes i n E n glish fi n geri n g
the thumb ( 2 ) Ab ov e a n ote it sig n ified a sh ke ( o b s

. a o
lete ) ( 3 ) Be fore n otes it w as used as the s g n f the

.
,
i or
sh ke by the Fre n ch music m sters of the eightee n th cen

a a .
tury ( obsolete a d ra re ) ( 4 ) Abo e a n ote i old E glish

n . v n n
mus c an Ele a tion ( obsolete ) ( 5 ) A n O l d form f t he

.
i , v . o
double sh a rp ( 6 ) R Wag n er i dic tes by it t he n ote i n

. . n a s
the horn p a rts whose sou n d ha to be d mped s a .
These an d oth er simil a r sig s i n dicate or me ts n na n .
(v X I V o f this I troductio )
. . n n .
S h a ked gr ce ( obsolete )
a s
Obsolete form of the h rp s a .
Obsolete form s of the double sh rp a .
A st a e
v . A b ar . A double b a r.
R epe a ts .
9 5
The dots or trok e the ide f t he p rt
s s are o n s o a of the compo i s
tio which i to be r pe ted Fou dots

n s e a . t ar e fte f u d
O n o n
i n ste d O f two dot

a s .
These ig s o f repetitio a
s n n re e x pl i ed
a n
i the dictio ry u der

n na n al s eg n o a nd
da l s eg n o .
S ig n s
i dic ti g th t b or p rts f b h e to be
n a n a a ar a o a ar av
repe ted ( v XV I ) a . . .
I n dic te
a oc l music th t word or short phr e h t
s In v a a a as as o
b e repe ted a .
I N TROD U C TI O N .
55
t i} The e sig n s re fer to t he pia o forte ped a l The firs t 1 5

s n .
the o ly o e n o w i n use a n d i ndica tes where t he foo t

n n ,
i to be r aised a fter t he ped a l ha s b ee pressed dow n

s n .
Formerly it h d the opposite me a n i g The secon d an d

a n .
the third sig n s are sy o n ymous w ith t he fi rs t sig n a n s
u derstood i n our d ay
n .
Time sig tures na .
0 0 0 0 0
IO O
Notes
‘
( VB
I
? .
“
4 ‘
3
3
1
I
f R et
s s .
Ma xim a
( Duplex lo n ga ) .
Lo ga
n .
B re v I s .
S e m i b re vi s .
Notes of the l d me n su
o ra b le
Mi im a
n . music .
S emimi n im a .
Fus a .
S e mi fusa .
5 6 I N T R ODU C TIO N .
Ti me sig a tures m e n su rab l e

0 Q musm .
n of t he o ld
B re v is .
S e m i b revis .
M i n im a .
S ig n s employed i n t he o l d Tab l a tures

s e m ’ m ’ mm
to i dic a te the time lue o f t he
n va
n otes ( first row ) a d rests ( seco d

'
n n
ro w ) the pitch b ei n g n oted b y lette rs

,
o r n umbers
Fusa .
.
S emi fusa .
or Two s e mi mi ni ms .
F our F us ac ( comp a re w ith t he p rece d ing signs an d ex

pl an a tion ) .
a, b, c, d , &c . C a pit a l sm all le t ters h a e o fte n bee n used

and v in
music l ota tion ( v N ot t i o
a n d T bl t u re )
. . a n an a a .
A sh arp C sh arp
i
a; c\_
a f c f A fl at C
,
fl at
.
In t he o ld Germ an organ Tabl ature .
.
,
C. C c c H elmholtz s system ot a tion con sis t ing of le tt ers a nd

’
of n ,
acce ts is to be fou d o n p age 5 The followi n g

n , n .
,
which has li n es i ste d o f acce ts is an O lder system

n a n , .
The li es a e pl ced by some below by o t he rs abo v

n r a ,
e
the letters .
C , D , E , F, G A B , , C o n tra Oc t ave .
C, D E F G
, , , , A, B Gre t Oct ave
a .
c , d, e, f, g , a, b S m a ll Octa ve .
c , d, e, f, g , a, b O e n
n - li ed Octa e v .
INT R OD U C TIO N .
57
c, d, e ,
f, g , a, b Two li ed Oct e
- n av .
An d so forth .
( v. A ppe n di x. )
I
‘
Gamm a (a v . .
Figure e used i n music fo r arious purposes

s ar v
To i ndic te the f geri g i i trume t l composi

a in n n ns n a
tio s ( 2 ) To i dic te the rhythmic l di i io

n . n a a v s ns
c lled triplet q u dru plets q ui tuplets & c ( 3 )

a s, a , n , .
To i dic te the chords I n Thorough B ss ( 4 ) To

n a a .
in dica te the pitch f n o t es a s i n the method i n o ,
e n ted by J J R ou se au nd de eloped by G lin

v . . s a v a ,
P ris a d C he é ; or i n the old It li n lute T abl a

a , n v a a
ture .
2 an d 3 on the st av e re fer t o t ime ,

a n d a re syn on ymous with 2
2
and
3
0 i n dic a tes ( I ) t a st o Thorough B ss ( 2 ) t he ope n stri n g

sol o in a ,
in
mu ic fo r stri n ged i n strume n ts ( 3 ) h a rmon ics
s , or
fl g o l e t otes i music fo r stri ge d i n s t rume n t s

a e n n n .
6 I n dic a tes the t humb position in Violo cello pl a yi ng n .
6 5,, &c . A s t roke through a figure i n dic a t es n Figured B ass th at I
the i n terva l i n q uestion has t o be take n a semi t on e

higher .
2 3 12
2 4 8 &c . Fr act o a l n umb e rs o n t he st av e I n d c a te t he t me
i n i i of t he
p i ece .
I, I I I II
, , &c . Rom an fi gures a re used t o in dica te the degree f the s o
sca le a d their respecti e chords m ajor tri ds bei g

n v , a n
m arked with l a rge figures ugme ted with d di ,

a n an a
ti a l a cce n t
on mi n or with sm ll figures dimi i hed
, a , n s
with an a dditio n l cipher Other i ter ls besides a . n va
those con t ain ed i n a t riad are i ndic ated by a s mall

7 9
Q
&c
I “ I m
‘
: Primo Prim , a ( p ma
ri vol t a ) .
II d Il da
: S eco n do , S eco n d a ( s econ da v ol t a ) .
MM J . . 1 20 . R e fer to M l l Metro ome Thi or y other figur

s a ze
’
s n . s an e
i dic tes to which p rt f t he pe dulum the regu l tor is
n a a o n a
t o be mo ed d this or y other ote i dic tes

v , an an n n a
wh ether it be a t cro t chets mi ims or q u er s , n , av s .

INT R ODU C TION .
5 XV I .
—A BB R E V I A TION S .
On the P i a ort e
no f . O n t h e V ioli n .
I NT R O D U C TION .
S9
60 I N T R OD U C TION .
The abbre i tio s i t ced u der h i j h l m

v a n ns a n n a e lo n g
, , , , , , n, r
a go e tirely
n obso l ete E x.cept the bbre i tio n s o nad the seco
v a
n d a
e x mple u n der d the otes f a compositio

a , n o o w ge n er lly pri ted
n a re n a n
i n full . I n m uscri pt music the b b e i tio n
a n —
g a a er still
v a ery s a r v
co mmo n .
A list o f the most import t bbre i tio s O f words u ed i mu ic

an a v a n s n s
will n ow co n c ude this i troductio n

l n .
se n za t e mp o
s t a c ca t o
s t o p pe d d i a p a s o ns
s t ri n g e n d o
s w e l l o rg a n
s y mp ho n y
t e n o r, t e mp o , 0)
t ut t i
t re co rd e
t e mp o
t e mp o p ri mo
t e nu t o
t i mba l l e s
t i mpa n i
t empo p ri mo
t r i ll o
t re m o l a n d o
t ro m b o n e
t ro m pe t e
t a s t o s ol o
S z
s e n a o r s i n s t rai
z
.
s che r a n d o u n a co rd a
s c h e rz
s eg . seg u e i
u n s on o
mp
.
se m . or se .
se mp re v o c e or v o lt i
s fz .
s fo rz a n d o i l
v o a
v ari a t i o n
si m .
s i m i le
Si p .
s i n i s t ra
S In f s i n fo n i a i
v o l no i
smo rz z
s mo r a n d o
t
.
o
.
s s or s o s t en s os t e nu t o
z
. .
S p sen a p ed a l e
pi i
.
s p i ri t s r t oso
z
.
a s e ed
.
se n a s o rd i n i
CON CIS E D I C T I O N A RY OF
M U S I CA L T E RMS .
A .
A ( I ) T he me o f the sixth d gree o f t he C m j r t he n orm l

na e a o , a
m aj or c le ; a d o f the fir t d gree f A mi n or the n orm l

,
, s a n s e o , a
mi or sc le ( 2 ) The n ote gi e by the oboe or org n to which

n ,
a . v n a
the i n s t rume ts f the orchestra e tu d n o ar ne .
A TO t in for,
by & c A pi
a — ,
a t ple
, ure ; t emp
, , . a cer e, as a o,
In t m i e.
A (F ) L T. at i n fo r by
O, & c — A p em er v
, , a t first , ight , . r z e u e, s
l q t e m
c ua r fo r four h a n ds ai ns , .
A b a ll a t a .I the b all a d style n .
A b a t t ut a I n strict time
, This term which liter lly me .
, a a ns
by the be a t is employed a fter a recit ti e ,

d or y a v , a ca en z a , an
other i terruptio o f the regul ar time o f a mo eme t

n n v n .
A b b a n d o n a t a m e n t e or co n a b b a n d o n o ( It ) With sel f
,
.
b do me t u restra i n edly
a an n n ,
n .
A b b a s s a me nt o The ac t f loweri g or the st at e o f bei g o n n
lowered — A bb a m t o d i m n loweri g o f the h a n d i n L a t

. as s en a o, n e
i n time a b ze t o d i v ce loweri g o f the oic n n

g a ssa r o , v e .
A b b e lh m e n t o ( I t ) Embellishm en t or ame n t .
, n .
A b b e ll i re To embellish to or ame n t ,
n .
A b b e ll i t ur a Embellishme n t or n me n t
. ,
a .
A bb r e vi a z i o n i A bbre i tio n s F or a list f bbre t i v a . o a vi a o ns
I troductio
s ee n n X V I —
pp , 5 8 6 2 , .
, .
A -b -c d i re n
- To use i S n gi n g exercises the le tt er n ame f n i s o
the otes i n st ad o f the syll ables d e m i f a ol l s i or n y
n e o, r , , , s , a, ,
a
other ystem o f desig a ti g the n otes
s n n .
A b e ne p l a oi t o A t ple a s re u .
A b g e s t os s e n Det a ched ; t ca t o s ac .
A b i ni t i o From the begi i g ; da c p nn n a o .
A b k i i rz u n g e n Abbre i a tion s v .
A b r é é s ( FL ) Tra ckers . .
“
A b s o u t e mus i c Music de fi n es S i r F A ( o O us e l y ‘
. , . . x re e ,
“ which depe n ds so l el
y o n itsel f fo r its e ff ects n d is i n n o . a
64 AB S —
TO S S E N A C C E N T U S E CC LE S I A S TI C I .
e depe n de n t o n”words sce ery ctin g or an y other e x

wi s , n , a ,
t ra n eo u co ditio s nA bsolut e pure u n con n ected n othi g

n .
, , n
but ) mu ic the opposite o f programme -music is either a purely

s , ,
form l pl y with sou n ds or a

a a u co n scious reflection o f some n n
p rt o f the dim r gio n s o f the emotio s

a e n .
A b s t os s e n To det a ch to pl y st a cca t o a .
Ab s t ra c t e n Tr ckers P a rt o f the m echa ni sm of t h e
—
a .
org which co nn ects the keys with t he p alle ts

an .
A b w e ch s e l n d Altern a ti n g .
A c a d é mi e d e Mus i q ue ( F A ca d em o f Mus i c r
A oa d é m i e R o y a l s ( or N a t i o n a l e or Imp eri a l
.
accordi n g ,
to the Go ern men t o f the d ay ) d e Mus i q ue

v The
pri cip al opera house i n Paris Ge n er lly ca lled l O p é r
n
” . a
’
a.
Thi in stitution was fou n ded i n t he y ea r 1 669

s .
A c a d é mi e S i ri t u e ll e A con cer t o f sa cred music .
A c a d e my 0 Mu s i c ( 1 ) A society o f musici a n s or m a teurs fo r

. a
the culti a tion o f musi c ( 2 ) A music school ( 3 ) A n O pera t i c

v . .
in stitution ( 4 ) A con cer t i n stitution ( 5 ) A con cert ( 6 ) A

- . . .
buildi n g i n w hich musica l pe rform an ces are held .
A ca p e ll a
.
v A ca ppell a . .
ll ( I ) I n the style o f church music ( 2 ) For ice

pp e a o . v s
without i strume n t al a ccomp an ime n ts Whe i composition s

n . n n
i n this style i n strume n t s a re joi ed t o t he voices they p ro c e ed n ,
wi t h them i n u n ison s an d oc ta es ( 3 ) S ometimes this term i s v .
sy o ymous wi t h a l l a b eve
n n r
A c a ri cci o
, A t w ill a ccordi n g to t he f cy o f the per former
, an .
A c a t i s t u s ( La t from A hym n f pr ise su n g i the Greek

.
, o a n
C hurch i n hon ou r o f t he B lessed Virgi n .
A cc a r e zzev ol e I n a ca ressi n g i n si n u ti n g m a n n e r a
A oo a re z z e v ol m e n t e (I r )
.
,
.
A cc e l e ra n d o A ccelera ti n g the time .
A cce n t ( 1 ) The regul a rly recurri n g stress o n cert i n p rts o f a a a
by which b a rs n d t heir di isio n s are articul a ted ( 2 ) The

.
b ar a v .
emph sis l aid o n cert ai n n otes with a iew o f a rticul ati g mot i e s
a v n v ,
phrases periods & c ( 3 ) The modific a tio s o f to n e th a t ai m

, , . n
a t bri n gi n g out the i tel lectu l nd emotion al co ten ts o f a

n a a n
composition ( v I n troductio . X d XI pp 2 1
. n, . an .
, .
A cc e nt ( )
1 Acce n t ( )
2 Either a n app gg i t u a o r a o a r
N h chl g
ac s ( v I n troductio n pp 4 8 a d
a . .
, . n
A cc e n t u s U n der the n ame A c en t u s were cl sse d t hose c a
portion s o f the Ritu al S o n g [ f the Rom n C a tholic C hurch] o a
ch a ted or i t o ed by the o ffici ati n g Priest t he De con S ub

n n n ,
a ,
De con or other S a cred Mi i ters a t t he a lt a r ; i n co n t radi c

a ,
n s
t in ction to Co t u s which refe rred t o all th t ”should be su ng

n cen , a
by the Assist n ts or by a spe ci al t rained C hoir

a ( Re F H . v. . .
H b l ) S ee the n ex t a rticle
a er . .
Ac o e n t u s e cc l e s i a s t i c i Ecclesi a stic l cce t a e melodic a a n s r
form used i n the R om n C atholic C hurch i n ch an ti g r

s a n ,
o
ra ther reciti n g the collects epist l es go s pels & c These melodic

, , , , .
T R —
A CC I A C C A U A A C C ORD .
65
i n flec t io
which y t he mo n oto e recit t i o n correspo n d with
ns va r n a
t he comm co l e micolon period m k f I terrog t &

a, on, s , , ar o n a io n, c .
S e e the prece d i g rticle n a .
A cc i a cc a t ura ( )
1 A. short pp go g a t ( 2 ) For m r l y a a i u ra . e
short gr ce n ote lyi g be ide d truck together wi t h lo ge

a n s an s a n r
ri n ci p l n ote a .
A cc i e n t a l s ( )
1 S h a.
rps fl t or t ur l th t occur i
, n the cour e
a s, na a s a s
o f a piece i n co n tr di ti n ctio
,
to t ho e th t a i the ig t u re
s n s a a re n s na .
( v I
. n troductio n § I V pp 6 d , ( 2 ) Thi term
.
,
h s l o . an s a a s
bee n pplied W t h u t e x ceptio to ll sig f r i i g nd

a I o n a ns or a s n a
loweri g n otes d re oki g prec d i g ig s— n mely bot h

n an v n e n s n a ,
to those i n the sign ture a d tho e occurri g i n the cour e a n s n s

”
o f a piece The origi n o f ll thes ig s a e t he rou n d B
. a e s n r
( B r o t u d u m )n n d s q u re B a ( B q u d t u m ) by which ai n a ra ,
t he middle a ges B fl a t w as disti gui hed from B tura l B y n s na .
a n d -b y the two forms o f t he le t ter B bec me commo ig n s a n s
o f ele tio n d depre io bei g pplied n t o ly t o B bu ’

va an ss n, n a o n , .
l o to other ote The sq u re B a ssumed ri o us sh pe

a s n s. a va a s,
two f them like our h rp nd n a tur l ; but n o disti n ctio n

o s a a a
w asm de betwee them till tow rds the e d o f the se e n tee n th

a n a n v
c e tury —
n fl t o t o ly fl a tte ed a n tur l
a a n n ote nbut l o n a a , a s
re o k d
v e prece d i g h rp ; a sh a rp o t o n ly sh a rpe ed
a n s a n n a
n t ur l
a t
a b t
no lso re oked a precedi g fl a t ( s e e a l ter
e, u a v n a
i t ce i the I troduction p 4 9 m ) Double sh a rps n d

ns a n n n , .
,
. a
fl t d i d t come i to use till bout 1 70 0 I n e a rlier time

a s no n a . s,
more e peci lly be fore 1 60 0 composers le ft it ery much to

s a , v
the per formers to fi d out wh t c cide n t als were re q uired F or n a a .
a lo g time if there w a s a n y sig

n , ture a t a l l it co n sisted o f a na ,
fl t o n ly
a Be fore the e e n tee n th ce n tury it w as n o t custom a ry
.
s
v
to put more th n o n fl t or o n e sh arp i n the sign a ture E e

a e a . v n
a s l te as the firs t h l f
a f the eightee n th ce n tury we meet with
a o
a rious a n om a lies
v B ach H a del n d their con tempor ries
.
, n , a a ,
fo r i n st a n ce fur n ish ex a m p les o f pl a ci n g o n e fl t

, d o n e sh a rp a an
le s s i n the sig n a ture th the key req uired a ccide n t als b ei n g an ,
used i n the course o f the piece i n ste ad o f t he sh a rp or fl t a

i n the sig n a ture I n short our prese n t system f usi n g sh a rps
.
, o ,
fl ts a d n a tur ls w s n t fixed till the secon d h l f o f t he

a ,
n a ,
a o a
eightee n th ce n tury .
A cc i d e nt s Accide n t als .
A cco l a d e A brace which co n ects t wo or more st a es as i n n v ,
pi a oforte h a rp organ n d h a rmo ium music n d i n oc l nd

n , , ,
a n ,
a v a a
full core s s .
A c c o m m o d a re To me d rep air put i n order n , , .
A ccom p a g n a me nt o A ccomp an ime n t .
A ccomp a g n a t o Accompa ied ( v R ecit a ti e ) n . . v .
A 0 0 0 m p ag n em en t ( F Accomp n ime n t a .
A C C Op ) i at o C ou p led joi n ed
A C0 0 rd
, .
( 1 ) A chord ( 2 ) Agreeme n t i n pitch ( 3 ) Mod e of . .
tu n i n g n i ns trume n t
a .
66 AC C ORD A NDO — A DEUX Q U A T R E .
A ccord nd o Tu i g or h g i t u e greei g
a n n a n n n ,
a n .
A ccord r To tu e or t o be i tu e
a e n n n
i s t rume t i tu d —t h
.
A ccord t ura Mode i which

a . n an n n s ne e
ioli f i st ce i fifths ( g d
v n, or n an , n ,
'
, a
'
,
A ccord ur A tu er
e n .
A ccor d i o n A port ble music l i s t rume t i e ted by D mi

.
a a n n nv n a an ,
of ie n a i n 1 82 9 the sou ds o f which e produced by the

V n , , n ar .
Vibra tion o f met llic ton gues ( free reeds ) set i motion by the a , n
wi n d a s it is dr wn i n by exp di g the sm ll bellows or forced

a an n a ,
out by compressi n g them ( v C on certin a ) . . .
A ccord o A chord .
A ccord o i r ( )
1 A tu i g -key or h a mme r
( )
2 A t u n i n g -fork n n . .
A u gme ted n
”
.
A ch t e l A q u er Lit an eighth — A c h t el no t e av
q u av e r . .
, .
,
ote A cht elp u q u er rest

n a se , av .
A cou s t i c s The scie ce o f sou d ; or more explicitly defi n ed t he

,
n n , ,
scie ce w hich tre a ts o f the n a ture phe n ome a a n d l aw s o f

n , n ,
s ou n d A few acoustic l f cts a me tio ed i n I I f t he

. a a re n n . o
I n troduc t i on C o sult a l so the rticles H mo i s Ti m b e

. n a ar n c ,
r ,
Res u l t a n t Ton es , & C .
A ct ,
The l a rg s t di ision o f a pl ay or O pera I t is subdi ided in to
e v . v
scen es .
A ct e d e c a d e n ce The t wo chords th t form a c de n ce a a .
A ct i o n The mech a n ism o f the pia oforte org h armo ium &c
.
n ,
an , n , .
( keys j a cks h mmers d mpers tra ckers rollers p llets

, ,
a , a , , ,
a ,
by me an s f which t he pl ayer a t upo the sou n d -ge n er tors

o c s n a
( stri gs pipes reeds

n , , ,
A o ut a A mi x ture stop i the org n an .
A cut e High i n re fere ce to pitch

. ,
n .
A cut u s ( I ) S h rp cute ( 2 ) The ame o f o ne o f t h a , a . n e
a ccen t u s eccl es i a s t i ci .
e o
A d ag i t t ( ) A short d g i ( ) A mo eme t somewh1 a a o . 2 v n a t
less slow th d gi an a a o .
A d ag i o S low This term i dic tes mo eme t q uicker th . n a a v n an
l g d slower th
ar o an d It is lso used subst t i ely an a n a n t e. a an v .
A d ag i o i (Ir)
l
assa
V ery low
.
S
A d a g i o d i mol t o
'
A d a g i i mo ss E x tremely slow .
A d d ol or t o S orrow ful with

a expressio f grief , an n o .
A d emi j e u W ith h l f the power f the i strume t a o n n .
A d mi v o i x
e With h l f the power f the oi ( m a o v ce ez za
) voce .
A d ux e For two i strume ts or oi e Th i p w n n v c s. s ex res s n 13
lso used f d d
a t mp or eu x e s.
d eux h ui t
Z ux m n
A I time
F or two h d
n .
A de i s a an s.
A d eux q u t r —
I 2 im a o n t e .
A DE U X —
TEMP S A E U S S E RE S TI MM E N . 67
A d e ux t emp s I n atime .
A di a p h o n o n A n i n strumen t i n e n t d by S chuster o f Vie nn a i n

.
v e ,
It has a keyboa rd like the pi an ofor t e bu t i n stea d of

,
1819 .
,
s t ri gs met a l rods O n e o f its best q u alities is t h a t o f a lways

n .
keepi n g i n tu n e I n the l a t est de elopme n t o f t his i n s t rume n t

. v
,
the A d i pho n e t he h a mmers a ct o n tu i n g -forks
a , n .
A d i ra t o Irrit at ed i n n n gry m an n er a a .
A d j un c t n o t e s N otes n o t essen ti l t o the ha rmon y and occurri ng

.
a
on u acce ted p rts O f t he bar

n n a .
A d l i b i t um A t will ( ) This term implies t ha t t he t ime

I .
a n d the re deri g ge er lly o f a p a ss ge is le ft to t he judgme n t

,
n n n a a ,
o f the per former ( 2 ) I titles an d i sc o res the phra se is us e d

. n n
to i dic te th t e or more p a rts m ay be performed or le ft out

n a a on
t
.
3 ) C d e a d l i bi t m
n za a
u m e s either th a the per former has t o an
pro ide v d himsel f or th t he may at his pleasure i n t ro

a ca en z a , a
duce o n e or n o t .
A d orn a m e n t o A n orn me n t a .
A due F or di vi ded bet w ee n two oices or i n trume n ts

or .
,
v s .
A d u e cor d e O n two str n gs i .
A d u fe T mbouri n e timb rel a ,

.
A dur A m ajor .
E oli a n cie n t Gree k sys t em t he nam e of t he oct ave

.
, ( I ) I n the an ,
species a b c d e f g a also ca lle d Hypodorian an d of o n e o f t he , ,
tra sposition scales ( 2 ) I n the mediaeva l ecclesia s t ic a l sys te m

n .
the n mes o f the oct a e species a b c d e fg a t he n in th ( fifth

a v ,
a uthe tic ) mode ( v C hurch M odes )

n . . .
E o l i a n h a rp A box i n or o n w hich are s t re t ched stri n gs The .
sou n ds o f this i strume n t a re produced by t he a ction o f the win d

.
n .
Ail o l i a n p i a n o v Aeolskl a ier . . v .
E o l o d i c o n or E o l o d i o n,
A k eyb oa rd wi n d i n strume n t o f .
the h rmo ium cl ss

a n a .
E o l o m e l o d i c o n or C h ora l eo n ,
This i n strume n t i n e n ted by .
,
v
Profes or Ho ffm an n an d i n 1 82 5 con structed by the mech an ici n

s , a
B ru nn er o f W a rs a w w a s a ki n d o f sm ll org n
,
Its to e wa
,
a a . n s
c ap able O f modifica tion as rega rds ch ara cter a s well a s loud n ess .
ol o p a n t a l o n A com bi na t ion o f the [ E o l o m el od i co n with t he

.
pi a oforte
n .
A eo l s kl a vi er [ Eoli an pi an o An obsolete keyb o a rd wi nd .
i strume t i n v e n te d i n 1 82 5 by S cho rt man n o f B u t telstedt

n n , , .
It had reeds o f wood i n s t ea d of me t al by t he Vib ra t ion o f w hich ,
a so ft ple a si g to n e w a s pro d ucedn
A c q u a l ( Ger from .
, This t erm sign i fi es of eight fe e t and ,
is a pplied to organ s t ops .
E q u is on u s U n ison .
E s t h e t i cs The philosophy of art t he t heory of t ast e t he sci ence

. , ,
o f the be uti ful i n art a .
A e u s s e re S t i mme n T he e x t reme p a r t s
68 —
A E U S S E RS T A LI VRE OU V ERT .
A e u s s e rs t Extremely ; as u t as h ex t remely q uic k a ss er s r c

” , .
A eu ia , A n a bb re i tio n f the word A llelui a

v a form ed b y t he s up o ,
»
p re io n
ss o f the co o ts ns n an .
A fi a b i l e ( It I n a ple i g ki n dly m n e r
'
. as n , an .
A ffa n a t o ( It I n a distre. ed sorrow ful m nn er ss , a .
A ffa n o s a m e n t e An xiously restlessly , .
Afi a n o s o A xious restless
'
n , .
Afi et t o Pa ssion ectio te er es
f
f d — Co with emo
fi
'
n n s t t o , a n, . n a ,
t i o na l w rmth wi t h heartfel t t en der feeli g with a p s io te

a , n a s na
e x pressio n.
A fi et t u o s am en t e
2
'
W i t h p as s m n d te der feel
0
t
Af fe t t uo s o ( It
na e a
g n in .
A ffl i t 0 0 11 i fdi z i o n e S orrow fully

Afl r e p pa n 2 1o 1 t s 1 fi u r n
0 .
,
’
r
y’ g
A ffr e t t o s o
'
j
o
A g e v l e , o r c o n a g v l e a ( It Lig htly with ea se e o zz .
, .
Ag g i u s t at a m e n t e ( It S trictl y I n tim e .
j
.
Ag a ve r
l a f g e ( Fr .
—
u u
To a ugme n t the sub ect I n a fugu e . .
i t é ( It Light n ess imble ess Con ag i l zt d , with a gi lity

. n n , . .
A g i l i t é ( Fr Agility n imble n ess

.
, .
m
A g il e n t ( It e
imbly . N .
g i t a m e n t o ( It A git a tio n restless n es s . , .
A gi t a t a m e n t e , o r n a g i t a zi n ( I: I co
i h a git a tio n , o e . .
'
t ex
Ci t ed l y .
A g i t a t ( It o Agit ated restless

. , .
A g i t a zi n o e A git tio n — C ag i t a on e with agit tio n a . on zz , a .
u
Ag n s D e i L mb o f God O n e o f the pri cip l pa rt s a . n a
f the m a ss
o (0 M s ) . . as .
“
A g og e ( Gk (1) C o duct o f t he melody melodic motio n
. T he n , .
s me as d u t u s ( q v ( 2 ) Rhy t h mi l gog e corre po ds to wh t

a c . . ca a s n a
we c ll t mp o mo eme t
a e ,
v n
Ag ré me nt s Orname n ts gra ces ( 0 I n t roducti on 5 XI V ) , . .

, .
Ai g u S h rp pierci g cute high a , n , a ,

.
Ai r Air t u n e melody so n g ri a , , , ,
a .
A sh a rp
A i s ( G er .
I ) ( A
t ) .
Ai s d u r ( Ger A sha p m ajor . r .
Ai s mo ll ( Ger A sh rp mi o r . a n .
A k k ord ( Ger A chord . .
A l ( It . To the at the I n the , ,

.
A l a me s ure
, I n time Thi s ph r s e h as t he same mean i n g . a
t empo or a b t t u t a
as a a .
Al b ert i B a s s A b ss co sisti n g o f broke . hords I t deri es i t s

a n n C . v
n me from Dome n ico A lberti a t a le ted dilett an te who first I n

a , n ,
t o d u ce d or e x te n si ely used i t i n compositio s f r t he em ba l o

r v n o c .
Albert i w a s bor n i n Ve n ice at t he begi nn i g o f the ei ghtee nt h n
ce ury an d died t Formio about 1 7 4 0

n t
,
a .
O erton es upper p a rti ls h a rmoni cs v , a , .
A t sight .
70 A LLEGRO —
GI U S TO A L S EGN O .
Al l g e ro u o
g i s t Q uic k a n d i n strict time ( v Giu s to ) . . .
Al l e g ro m o o
a est s (I t Q uick but m a estic . j .
A ll g e ro o ro o
m a n n t p p ( It . Li v ely but n o t too quick .
, .
A ll g e ro m o d e r a t e ( It Mod e ra t ely q uick . .
Al l g e ro 111 0 1130 ( It V ery q uick . .
Al l e g ro r o u o
i s l t ( It Q uick a n d with decisio
. n .
A11 6 0 V i va ce ( It V ery q uick a n d li v

. ely .
e
Al l u i a ( L at
. j
H a llelu ah P ra ise ye the Lord
. . .
Al l ema nd e .A llem a n de
Al l em e
an d ( )
1 A Germ an n a tio n a l d a n ce still i n v o gu e
mo g t he pe s ts f B ri
a n a an o Norther
av a a, S u ab i a , B de a n , an d n
S wit erl d
z anI t i ge er lly i
s . n n o g t i m e ( i n some
a p rts o f r a
these cou tries howe er i n n , an d f a q uiet co t e tedly

v
, o ,
n n
cheerful ch ra cter The Fre n ch l l m de is an imit tion o f the

a . a e an a
Germ an d an ce ( 2 ) A serious a d el bor te piece f music m

. n a a o
time t o be met wi th m t he m i t e and pa t t e o f B ch H an del s r z

'
a , ,
a n d o t he r composers .
A ll e nt a me nt o ( I t A sl a ck e n i n g i n time
. .
Al l e nt a n d o ( I t Ab at in g the speed
. .
A ll e n t a t o S l a ck e n ed sl a cken i n g , .
Al l i m p rovi s t a Ex t emporan eously

A ll m fifil i g ( Ger
. .
Grad u a lly by e a”sy an d slow steps

This t erm is use
.
,
“
.
A]l oco Li t a t t he pl a ce
.
, d t o i form . n
t he per former a fte r he has bee n pl ayi n g a n oc t a e higher r

, v o
lower t h at the n o tes hav e t o b e pl ayed i n the usu a l and prope r

,
p l a ce .
Al l ot t a va At t he oc ta e ( I ) A direc t ion t o pl ay an oct a e

’
. v . v
higher or lower I n t he former case t he words a re p l a ced a bo e v
the n o“ t e or n ot es i n the la tter case below t hem The word .
bassa ( low — at t he l o w oc t av e ) is sometimes a dd e d I n ste d . a
o f a l l ot t a va t he abb re v i a t io n s a l l 8
’ ” an d 8
“ a re o fte n used
’
.
( )
2 This expressio n i s a l s o u se d i n s c ores t o i n di cate th at o ne
i n strume n t h a s t o pl ay w i t h an o t her i n oc t av e s .
Al l uni s o n o ( It I n u n iso n o r a t t he u n ison

’
. .
Al ma n d . All em an d e ( g
Al p e nh orn or A l p h orn ( Ger Alpi n e horn A primiti e wi nd . . v
i strume n t con sisti n g of a wooden tube from t hree t o eight feet

,
n ,
lon g I t I S i n use a mong t he S wiss herdsme n O n ly n otes from

. .
t he n a tura l h a rmo n ic series can b e produce d o n t his i n s t rume n t .
Al p i a cere ( I t At ple asure

. .
A1 ri g ore d i t em p o I n s t ric t time .
Al ri v ers o a nd Al rov e s ci o ( 1 ) B y con t rary motio n .
( 2 ) By re t rogr de mo t io n a ( v Ro escio ) . . v .
AI s eg n o ( I t To or t the sign A more commo n expression sig u i

. a .
fyi n g the s ame t hi n g 1 8 a l seg n o ( from the sig n ) The perform er

'
a . .
on meeti g this expressio n h a s t o go b ck t o w here t he sig n

n or a
68 o r alt ) i s m rked a nd t h e n ce repe t w h a t he ha s pl a yed or

5
a , a
A LT — A LTO C LEF .
7 1
su g till he comes t o t he word fi e or a d ouble ba with a

n n r
m
a bo e i t n e o f t he a bo e sig s t akes a lso o fte n t he
p a use B v O . v n
pl a ce o f the words a l eg n o ( v D l segn o ) s . . a .
Al t Alto v oice or p a rt .
Al t a High — 0 t t va a l l a a n oct a e higher

. a ,
v .
A l t c l a r i n e t t e ( Ger A lto cl a ri n et A
. cl ri n et which i s a fi fth . a
lower i n pitch t h an the ordi n ry B fl t or C cl ri et st an di n g i n a a a n ,
E fl t or i n F
a .
Al t e ra t i o I n the old me n ur ble music the doubli n g o f t he s a
va lue o f a n ote u n der cert ai co ditio n s n n .
A l t er a t i o n ( Ger A l t era t i o n ( Fr .
( I ) The s ame me i n g as . an
a ll z o
er u z ( 2 ) Altera tio n f the pitch o f a n ote by r a isi n g or
. o
loweri g it a semiton en .
A l t era t o ( It A l t ere . Altered i n pitch raised o r lowered ,
a semi t o n e .
A l t ern a me nt e A lter a ti ely n v .
A l t ern a n d o Al t erna t i n g .
A l t ern a t i ve ( 1 ) Alter n te ( 2 ) A p rt o f a c m positio a

n t . a o o
be performed a l t ern at ely with an other .
Al t g e i g e ( Ger The t e n or v ioli n the” iol

.
, v a .
A l t 1 n a t ura li ( It N tural altos ( Alt o )

. a . v. .
A l t i s s i mo ( I t The highest Extremely high ( v I n a l t issimo )

. . . . .
A l t i s t a ( It A n a lto si ger
. n .
Al t o m Al t a f
.
,
High ; loud ( v I n a l t o )
. . . .
Al t o ( 1 ) O ne o f the four chie f cl a sses o f t he hum an v oice ;

the d eeper o f the two cl asses o f t he fem ale oice w hich i n v ,
E n gl an d is more common ly c alled co t ra l t o There are t o be n .
d isti guished three di ffere n t ki ds o f a lto

n oices thos e of n v :
wome boys a d m n Amo g the l a tt er are ag ai n t o b e

n, ,
n e . n
disti guished those o f the cas t a t i an d o f the a lt n a t u a l z l en ar z

n r
'
z r ,
’
acu t or f a l ett
e, The l a st men tion ed m ale a l t os i n E n gl an d
s z
'
.
,
a lso c a lled cou n ter te n ors m ke use o f a de eloped f a lset l o

-
, a v
( he da oice )
-v The E n. glish music ”
writ t e n for t his k i n d o f v oi ce
dem n ds a comp a ss from g t o
a The lt n t u ra l w ho t ill e . a z
'
a
'
z,
the i troduc t ion o f the ca t t san g i n the churches of I taly a n d

n s ra e
'
elsewhere ”
the sopr an o an d a lto p a rts a re s a id to h av e su n g u
p ,
to a For t he comp ass o f the fem a le a lto see C on tra l t o

. .
( 2 ) A lto is a lso o n e o f t he n a mes o f the stri n ge d i n strume n t

which 18 a little l a rger a nd a fifth lower n pitch th an a n ordi na ry 1
v ioli n. Vi ol a Te o n d B a l selze a re sy n o n ym s
,
n r, a r .
A l t o b a s s o ( It A primiti e i n s t rume n t formerly i n use i n

. v
Northern It aly co sisti n g o f a w ooden box o er which were

, n ,
v
stretched a few gu t stri n gs w hich the perfor mer s t ruck wi t h a ,
s t ick held 1n his le ft h an d while he pl ayed o n a fl ge o l et held i n a
his right h an d .
Al t o cl e fg The C cle f o n the t hird li e whic h m kes t he n o t e n ,

a
o n th t li n e Ca It 15 used fo r t he al t o v oic iol a & c

( e, v , .
72 A LTPO S A U N E— A N A K R U S I S .
Al t p o a un e ( Ger
s . Al to t ro m bo ne .
Other .
O t h ers .
Alt ro ( It Other
. .
A l t s c hl ii s s e l ( Ger Al o cl ef . t .
A l t Vi o l e Viol a .
A lt z ei ch en A lto clef .
Alz ame o n t A r a isi n g — A l z a mm t o d z m a m , .

’
ra isi n
g of t he
h d an .
A m b i l e ( It
a S weetly mi bly .
, a a .
A m a rev o l S d bittere T h is word a is o fte n re dered n

”
.
,
lo i gly d the h
v n to b eg rded
, an n as e r a as a corru ptio f t h n o e
w ord m l a or evo e.
m
A a re zz a Bit t er ess s, d ess — C m n , a n . on a a r e xz a , with s d e a n ss .
A m t eur
a A lo er f music who does v o not pursue the an
pro fessio lly na .
A m b l t u s ( L at C omp as s . .
A b m ro s i a n C h a nt The most an cie n t form o f chu rch .

o
s o n g,
i n troduced by S t Am b rose ( Bishop o f Mil an from 3 74 to .
bu t con cern n g which n othi g defi ite 5 k owni n n 1 n .
“
A m b ro s i a n Hy mn The Te Deum l ud m s the authorship .
a a u ,
o f which h ad o n ce bee n erro n eously a ttributed to S t A mb ro e . s .
Who the uth or o f it re lly w as is a q uestion that has n o t yet

a a
bee n d ecided n o r can it e er b e decided ,

v .
Am e ( Fr The s ou n d pos t of the violi n a nd o ther stri n ged i s t u

. n r
me n ts o f t h at cl ass .
A meri c a n org a n This keyboa rd wi d i strum n t i s a a riety f . n n e

v o
the h armon ium from which it di ffers s reg rd s co tructio by , , a a ns n,
t he cur ture an d the greater sm ll e s o f the reeds d by the

va a n s ,
an
a ctio n o f the bellows which do n o t dri e but dr w ( suck ) t he , v a
wi n d through the a pertures g in st which the reeds e pl aced a a ar .
A m e z z a v oce With h l f the power f the oice This a o v .
expr ion is pplied lso to the ton e o f i n strume ts

es s a a n .
A moll ( Ger A mi or . n .
A mor e L o v e a ffec t io n — C mo e w ith te n d r n ess wi th

, on a r , e ,
de otion v .
A more v ol e Te derly lo i gly ff bly

A more v ol m e nt e
n , v n ,
a a .
A moro s a m e n t e A morously lo i n gly with ffectio n

A mo o o r s
,
v , a .
A mp h i b r ch A m t i l foot composed f three syll bles t h

a . e r oa o a , e
middle lo g the first d l st short
one n , an a
Am p h i m cer A metric l foot composed f thr e syll bl

a . a o e a es ,
the middle short the fi rst d l st lo g o ne , an a n
A mus m nt e A compositio m
e sy ple si g style n a n ea , a n .
A n a crou s e A krusis v. na .
An a k ru s i s ( Ger from T h u cce t ed o t e . otes whic h

, e na n n or n
p recede the first a cce n ted n ote o f a phr se ; the n ot e

a n otes
e d e the i n iti l f t u s rh y thm
h
i ch p
w of
‘
re c a e a .
A N A P E S T — AN N O N E R .
73
Ana p e st . A me t ric l foot c on sisti n g o f

a t wo short syll ble fo l l ow ed a s
by lo n g
a o ne .
v v
A n ch e ( Fr ) The reed or mouthpiece o f a n oboe bas soon & c , , .
a lso the reeds 1 n t he org n ha rmo n ium & c a , , .
A n ch e ( It A lso s till likewi e

.
, , s .
A n c i a ( It The s ame as t he F re n ch a n t /re a reed

.
, .
A n cora Ag i n a lso yet a , , .
A n d a c h t ( Ger .
—
De out n ess M it A n da elzt de v outl y
v .
, .
d ac h t i g ( Ger De outly . v .
A n d a m e nt o ( I t ( )
1 Mo eme. n t as a d a m e n t o p i d o a q uick v n ra ,
mo eme n t ( 2 ) A lon g subj ect o f a fugue

v . .
A n d a n t e ( It This term which me an s litera lly w lki g

.
,
a n ,
implies somewh a t l ow mo eme n t

a s v .
A n d a n t e a ff e t t uo s o ( It S low n d with te n der feeli g . a n .
A n d a n t e c a nt a b i l e ( I t S low a n d i n a si n gi n g style . .
A n d a n t e ma e s t o s o S low d m jestic an a .
Andant m o This is t he dimi uti e o f t Opi io n s n v anaan e

'
. n
di ffer a s to whether the mo eme n t is q uicker or sl w r th v o e an
an d te
an It li a n lexicogra phers a n d li guists a d t h m j orit y
. a n n e a
o f musi c i an s s y a t m o i n dic tes a q uicker mo em t th

’
a ana n a v en an
an d te
an We h a e to remember that c ompo ers di ffer much
. v s as
o n this poi n t a s the rists o .
A n emoc h or d o r A n i mo - cord e A keybo rd wi n d i n strumen t a
which had stri n gs i te d o f pipes or reed Its i n e tor w as

ns a s. v n
Joh a n j co b S ch ell a Germ who m 1 7 77 settled i Pa ris

n a n ,
an , n ,
fter four ye rs l a bour completed i n 1 7 89 this d e elop m e n t

’
an d a a v
o f the { E oli an h a rp .
A n fa n g B egi n n i g n
—
.
g e l i c a ( L t A
a n gelic . Vo x a n el i ca
g a n org n stop .
,
a .
A n g el i q u e ( Fr ) A n obsolete i strume n t o f t he lu t e cl ass

. n .
A ng e me s s e n ( Ger Appropri te s uitable

. a , .
A ng l a i s e ( )
1 The n a me formerly gi e n to three E n gl i s h v
d n ces : the C ou n try d an ce the B ll a d an d t he H orn pip e

a ,
a , .
( 2 ) A li ely Fre ch d an ce i n 3: t ime

v n .
A ng o s c i o s a me n t e With a n expression of su fferi n g and

A ng o s c i o s o a n guish .
A nh a l t e n d e C a d e n z A ped l poi n t The expre ssi on i s a - .
o b olete
s .
A n h a ng C od a
n
A i am S oul spirit li fe — Con a m ma wi t h a n i ma tio n wit h
, ,
’
, ,
A ni m t o ( It
a .
A ni mo-cord e An emochord (a
A ni m o s o ( It . E ger spiri t ed
a , .
A mnu t h ( Ger . Gr ce sweet ess

a , n .
An o n n e r T o st mm r to pl y a e , a in a s t umbli n g hesit a ti ng ,
way .
74 A N S A TZ—A PFELREGAL .
A ns a t z Mode o f produci n g the to n e o f a w ind i n stru m en t .
c
A n s hl a g Touch Mod e o f strikin g the k eys of an y key.
b o rd i n strume n t more especi a lly the pi an o fo t e

a ,
r .
A n s ch w el l e n To i n cre ase i n loud n ess .
A n s t i mme n To i n ton e .
A n t e l u dj u m Prelude i n trod u ct ion , .
A nt h em A v o ca l composition i n t he s acred s tyl e set t o w ord s

. ,
ge n era lly t ake n from the Bible There are an them s wi th a nd .
without a ccomp an imen t The forms i n which t his ki n d o f co m .
position prese” ts itsel f are v ery va riedn There are fi e species . v
o f an thems s ays Dr B usby : ( I ) The Verse a nd C/ or us

, . z
an them con sisti n g o f v erse an d chorus but begin n i n g i n

, ,
v erse ; ( 2 ) the Ve se an t hem con tai n i ng v erse an d chorus bu t

r , ,
begi nn i n g i n verse ; ( 3 ) t he F u ll an them con sistin g wholly ,
o f chorus ; ( 4 ) the S ol e an t hem co n sisti n g o f solos n d , a
choruses bu t wi thou t v erse an d 5 ) t he I n t r u men t a l an them

, s .
Ve s e a re t hose por t ion s o f an an t hem th a t are me an t t o be

r s
performed by a si n gle v oice t o ea ch p art .
A n t h ol og i e ( F r an d An t hology a collec t ion o f choi ce

”
.
,
compositions Li t a ga t heri n g o f fl o w ers

. .
,
.
An t h ol o gi u m The na me o f a book i n which are collec ted

t he hymn s prayers and lec tion s of the Greek C hurch
, , .
A n t h r o p o gl o s s a The vox Ii a m n a s t op i n the organ a .
A n t i ci p a t mn The i n t roduction of a n o t e p re vious t o the e n tran ce

.
o f t he h a rmo n y t o which i t b elo n gs The an ticip a tion s are

i n dic a t ed i n the illus t ra tion s by
A n t i e nn e A n the m A n t pho
o
A nt i f n a
i n.
A nt i p h n o A hort se te ce from the Bible su ng before or ft er t he

.
s n n a
P a lms i n the R om n C atholic C hurch — An tiphon l si n gi ng i s

s a . a
a lter te si gi g betwee two choir
na n n n s .
t i p h o n a i re ( Fr
A n tipho ry
i
.
na
A n t l p h o n a rl u m
.
A n t i p h on a ry The service book which co t a i n s a ll t he ch ts o f

.
- n an
the Di i n e O ffi cev o f the C n o n ica l Hours ) as the Gr du l e a ,

a a
con t a i n s those o f the M ss a .
Ant i s t ro p h e v S trophe . . .
An t i t h e s I S A con tra sti n g thought a cou n tersubject i n a fu gu e

. .
A nt w ort A n swer ( v Fugue ) . . .
Ap e rt u s Ope n A term pplied to org pipes th a t a e

. a an r
open t the t op to disti gu ish them from stopped pipe
a , n s .
A p fel r e g a l A n obsolete reed stop i n the org usu ally of - an,

-fe e t pitch s ometimes o f 8 fee t
4 , .
A P I AC E R E —AR DE N T E .
75
A p ia cere A t t h ple sur f t h p erform e a e o e er.

A p ia i c me o
nt
A p oco oco
a p B y d egrees ; li tt le by li tt le .
o o
A p ll , or A p ll o o n A i strume t f the lute cl ss wi th twe t y n n n o a , n
s t ri gs i e ted m 6 78 by Promp
n ,
nv n musici f P ris 1 t, a an o a .
A p oll o ni co n A ombi t io .
f org c d gig tic orches t rio
na n o an a n an an n.
The i strume t w hich h d
n pipes fi m u ls ped l
n , a ,
ve an a , a a
k eyb o rd d th ee b rrels w
a , an i 8 7 d f
r
q u rter a , as n 1 1 an or a a
f o e tury ft erw rds exhibited by the org builders Messr

a c n a a an - s .
Fligh t d Rob so an n.
A p ot ome The m jor semito e f t h Greeks t he gre te a n o e , a r
h l f f t o e ( Limm )
a o a n . v. a
—
.
A p p a s s i ona t o W ith p ssio d stro g emotio App a n an n n ar
t is the femi i e form f the word

’
s zon a a n n o .
A p p a s s i o n a me nt o P ssio rdour a n, a .
A p p a s i on t a me nt e
s a P ssio tely rde tly a na , a n .
A p p el l A bugle ll The s me A t t t f ll i
ca . a as n r e en , o a n.
pp e n
a t o D istressed i sorrow ful m er , n a a nn .
Ap p li c t ur a W y f fi geri g music l i s t rume t

a o n n on a a n n .
A p p o g gi n d o a Le i g d le ed g i st These t erm an n an an a a n . s
A p og g t o la pplied to otes which co ected
a re a n a re nn
wi t h others—t sy cop tio s d suspe sio s— d o n l a n an n n an a re a so

sy o ymous wi th l p m
n n i ( Port me t o )
eo or za
‘
en t o a
’
voee. v . a n .
A p p og g i t ura a A le i g A ote le i g g i s t o the an n . n an n a a n an r

A g ce o t e ( I t roductio
ra -n . X I V pp 3 9 v . n n, .
, .
A p p re s t a re ( I t -l
l }
T p t i order to m ke fit f o u n a o r use .
A p p re t l e ( G - , ,
r n er
A p r mi er vue
e e
i “ h S‘ t
A p ri m v i t f g '
a s a
A p un t a d a rco
’
W h the poi t f the bow 1t n o .
A p u n t o Ex c t i ccur te time a ,
n a a .
A q u t re m a i n s
a For four h d Expressio s used i an s. n n
A q u a t t ro m m p
a k g
.
f pi o f orte d org due t s ea ln o an an an s.
A q u a t re v o i x F or four oices
A q ua t t ro v oci
v .
r
A bit i r o Free w ill power —A bi t i- o e s ple sure
, . sub a r r o, a t n
’
a .
This expressio is ide tic l with p i n d d l i bi w n a a a cer e a n a t n
A rc t o
.
a B owed Pl yed with the bow . a .
A rc h t e The b w with which i strume ts f the ioli cl s o n n o v n a ~
pl yed
a re a .
A rch i l ut e Archlute .
A rch l ut Lu t e d Th orb o
e . v. an e .
A ro i e m b l o
c a A i s t rume t i e t e d by D N icolo Vi
n n n nv n on ce n
t the t t h ce tury
1n o 1 n which it w possible to pl y
s 1 x e en n , on as a 11 1
ll the g
a — the di t o ic hrom t ic
en er a d e h rmo ic a n , c a , an n a n .
Archlu t e .
A rco The bow .
A r d nt
e e With fi re d d ou an ar r.
76 A R DITO— A R P EGGI A R E .
Ar d i t o With S pirit bol d e s an d n s .
r
A e t i n i a n S y ll a b l e s Th m Ut R M i F S ol L . e na es , e, ,
a, , a,
gi e n to the ote f the H x chord by Guido d A

v n s o Th e a
’
re z z o . e se
syll ables occur i n a hym to S t J oh n N ere coi cide wit h n . n, a n
the six n ote they n o w de ig te s s na .
( It . A n i r ; a so g a ocal com po ition fo r a si gle oi cen a v s n v
with i n trume n t l ccomp n ime n t The r such s we fi d it

s a a a . a ia a n
i the O pera or torio c t t

n ,
& c i n t he tructure f which it
a , an a a , . s o
forms o e o f the most import n t eleme n ts w s de eloped i t h

n a , a v n e
s e e
v n tee th ce n t ry
n O f the a rietie f the
u ri a -form o e is
. v s o a n n
hi toric lly more oteworthy th the ri a with

s a n
p
— th t is an a
’
a a ca o a ,
a compo itio co sisti g o f a more or less e x te ded first p rt

s n n n n a , a
short er seco n d pa rt a n d a repetition o f t he first p a rt f , . or a
lo g period i t w as the pre le n t type Mos t f the t h r

n va . o o e
va ir et es o f the a ri a -form spr g out f this o n

i For i n t c an o e. s an e,
t h t i n which a free modified repetitio n took the pl a ce o f t h

a , e
d a p oca or th a t i n which the repetitio n w a s ltogether d i a s
p en sed with ; or th a t m which the C CII C o f gr a ity w as to b U

'
v e
fou d n the seco n d p a rt ; d so fo rth Ari s howe er h e

1n an . a , v , av
o fte bee writte n i n the ro n do form an d a lso i n wha t we m y

n n , a
ca ll the bridged aso n a t a -form S i n ce Mo a rt the gre a t m aste s . z r
h a e dep rted more a d more from the co e n tio l pattern

v a n nv na ,
a d hn e t ke f r their guides as reg rds form as well as se ti

av a n o a n
me t the ch r ct e r d mood o f the perso f r whom d t he

n a a an n o , an
na ture o f the situ a tio fo which the ri is i te n ded n r , a a n .
A ri a co n cert a nt e A a ri with bbl g t o i nstrumen t l n a o z ra a
a ccomp ime t an a n a ri a i n which

n n e or more i strume n t o n s
i with the oice

v e v .
A ri a d i b ra vur a A n a ri a florid i n styl e an d wit h r pid

, a
brilli t p s gesan as a .
A ri a p a rl a nt e A decl m atory ri a ( v Pa rl n te ) a a . . a .
A ri e t t a A short a ri a
”
.
A ri et t e A lthough the word sig ifi s a shor t a ri a t he n e ,
Fre n ch g e thi me to a lo g oc l compositio n ge erally f

av s na n v a , n o
a n a im a ted ch r cter
n a a .
Ar i o s o I n the tyle f i r melod ou s o an a i s.
A rme r l a cl ef To i dic te t h key by me n s o f the sig nat u e n a e a r .
A rm e n i a H a rmo y n .
A rmo ni c a ( 1 ) H rmo n ic ( 2 ) H rmo n ica a . a
A rmo ni o s a m e nt e ( I t ) H rmo iously . a n .
A rmo ni o s o ( It H a rmo ious . n .
A rp a ( It .A h a rp .
Ar p a d o p p i a ( It A double h a rp ( v S pi t h rfe )
. . . z a .
A r p a n e t t a or A r p a n e ll a
, A sm ll h rp ( S pit h f ) a a . v . z ar e .
A r p eg e ( Fr A rpeggio
. .
A rp e g g i a n d o P l ayi g the n otes o f a chord i succ io n n e ss n .
( v A rpeggio )
. .
A r p eg g i a re T o pl a y t he n ote s o f a chord i n s cces i u s on .
( v.A rpeggio ) .
8 A T RE —
MA N I A U M E N TA N D O .
A t re m a ni ( I or hree h a n d st . F t .
A r
t re p a t i ( I I n hree p a rts t . t .
A t re v oc i (I For three v oices t . .
A t ro F
is ( r F
or three v oices or i n st rumen s
. t .
ro m
A t i s a i n s ( Fr ) For hree h an ds . t .
ro r
A t i s p a t i s ( Fr e
I n hree p a rts . t .
ro
A t i s V Oi X ( r For three v oi cesF . .
At t a cc t
a (I t
At a ck , begi n the n ext p a r 1mm edi at e ly
. t
At t a cc u
a s bit ( I A tt a c k o t
immedi a tely ( v A .t a cc a ) . . t .
It
g cco i
tta T o a a ck , o b egm a t on ce tt t
t
.
At t a ( It A shor subjec
. o f a fugue It co n sis s o f n t
o t . t more
th an a few n o t es a mot i v e and is n o t restric ted by all t he
, ,
o f a regul
g a r fugue .
A t t e n d a n t k ey s Rel at i e keys ( o v . v . .
A t t o (It An act o f an ope ra or pl a y

. .
A t t ore Ac t or A si n ger m an O pe ra
}
.
A t t ri ce Ac t ress .
A ub a d e Morn i n g music C ompa re wi t h s ade .

'
er en
’
.
A ud a ce Bold aud a cious , .
A uffa s s ung C on cep t io n re ad i n g o f a w ork

'
.
,
A u fi t i h ru n g ( Ger Perform an ce
'
. .
A u fg e r e g t ( Ger Excit ed a gi tat ed

.
, .
ew e ck t Brisk li vely
A u fi a l t ( Ger
.
,
S uspe n sio n
. .
A uf h a l t e n ( Ger
'
To ret a rd t o k eep ba ck t o suspe nd

.
, , .
A uf h a l t ung ( Ger S uspe n si o n ret a rd tio n

.
, a .
A u fl a g e ( Ger E ditio . n.
A u fl os u n g ( Ger Resolu t ion o f a discord

. .
A uf s ch l a g ( Ger A n upbe a t an u cce ted bea t

.
,
na n .
A u f s t ri c h A n upbo w i n v ioli n Violo n cello & c p l ayi ng , , .

, .
A uf t a k t The u acce ted p a r t o f a bar esp eci ally t he n n
comme n ceme n t o f a piece or di ision o f a piece whe n it does , v ,
no t ope n w i t h a n o t e o n the fi rs t a cce n t ed p a r t o f t he b a r but ,
on a l a ter u n a cce n t ed on e .
A uf t ri t t ( Ger
‘
A sce n e . .
A u fz u g ( Ger A c t o.f a
p l a y or oper a .
u
A g m e n t a t i o n A n im i t a t io n b
.y ugm e t a t i on i n t rod uces a t he m e a n
or subj ec t i n n o t es of gre at er le gth t h an those i which i t w as n n
fi rs t p roposed .
A ug me nt e d i nt erv a l s I n ter a ls one semi t on e grea t er t h an v
m or r perfec t i n t er a ls ( v I nt rod u ct ion VI I ppv 1 2

j 3q
a
. .
, .
, .
an 1
A ul e t e s A flu t e pl aye r - .
o
A ul s A flu te .
A ul o z o n u m The t u n i n g w ire of organ ree d s .
A ume nt a n d o Augmen ting in creas ing S ometi mes , . used

in s t ea d o f er eseen a o
'
A U MENTA TO —B A G ATELLE .
79
A ume nt t o m A ume nt a t f ( I t
a .
, a ,
. . . Augme t ed n .
u a cor d a ( It
,
A n O stri g I . n on e n . n pi o forte music

an , a d i re c
tio to use t he so ft ped l
n a .
A us d ruc k Expre sio — Mit s n . i n n igem A u s d r u ek, wi th

he art felt mn
p
ex re s s .
A u s d ru c k s v o l I n a n expressi v e m a nn er .
f ii h r u n g Perform an ce , execution .
A u s h a l t u n g ( G er S ust a i n i n g a n ote . .
A u s h a lt u n g s z ei ch en A p a use : m
u c u
A s w e i h ng ( Ger Modul ation , ch a n ge o f key . .
u e c c e ce
A t h nt i ad n The c a den ce i n which the chord of t he
to ic is preceded by the chord
n the domi a t of n n .
A ut h e nt i c mo d e s A uthe tic a c lled those ecclesi astical n re a
modes or ton es ( sca les ) which a e composed o f a fi fth an d a r
fourth ( fo r i n st a ce 1 e f g a b d h e t heir fi n a l o n t he
n ,
( e an av
fi rst degree f the c le The Pl g l modes which were con

o s a . a a ,
structed the uthe n tic modes

on e composed o f a four t h
a , ar
an d a fi fth ( fo r i st n ce a b e a
j g ) an d h a n
v e t heir fian a l ,
’
e a ,
o n t he fourth degree o f the sc a le .
A ut h e n t i c p a rt o f t h e s c a l e Th a t p art which ex t en d s from .
the to ic to t he domi nan t T he expres sion is used 1n C ou n ter

n .
oi n t an d Fugue .
A u x i a ry n o t e s N otes n o t belo n gi n g t o t he h a rmon y w hich lie

ei ther immedi a tely abo e or below a n essen tia l n o t e They v .
differ from p ssi n g n o t es i n th a t they d o n o t proceed by degrees

a
from o ne esse n ti a l n ote to n other a .
Ave l ri H ail M ry ! A hym n o f t he Rom an C a tholic

ga fi
, ,
a
u rc
Av e ma ri s st ell a t la il s ta r
, of t he s ea 1 A Rom an
tholic hym
Ca n .
A ve c ( F With — A v ee a eeom/ g
i a n emen t w i t.h a ccomp a n ime n t ,
A vi s t a ( It A t sight .
( v A p rim a is ta ) . . v .
A v oce 8 0 18 ( I t For o n e oice a lo n e

. . v .
Az m n e s a cra A s cred dram a a .
B .
B ( )1 T hena me eve n t h d egree of t he n ormal m aj o r sca l e

of t he s .
Germ an n ame of B fl at B n at ura l bei n g ca lled H

.
( 2 ) The , .
B a cc l i u s . A me t rica l foo t o f o n e shor t and tw o lon g syll a

g les
c e or o f Mus i c The low e
Ba h l r of the two music al degree s ,
Doctor f Music b mg t h high o e e er.

Ba g a t ell e l F A t ifl t . r e .
80 —
B A G PIPE B A N DOR A .
B ag p i p e
or B a g p i p e s A n an cie n t wi n d i st rum t s t il l i u e .
n en n s
i m y cou tries co n i ti g o f a le ther b g ( i to which t h

n an n , s s n a n a n e
win d 15 con eyed through a tube o n e n d o f which the p l y r

v , e a e
holds i n his mouth ) an d from two to fi e pipe ( t h s h rt t v s on e o es
o f them the ch t ” which has se er l fi g holes the p

,
an ,
v a n er , er
former pl a ys the tu e the others the d e produce e ch o l y

n ,
r on , a n
o e n ote
n which they ust i n throughout ) The form
, d s a . an
structure o f this in strume n t ary i di ffere n t cou trie d v n n s an
e e n i n o n e an d the s me cou try

v B gpipes with more th a n . a an
o dron e pipe h e the sm ller dro e pipe ge era lly tu e d

ne av a n s n n
a fi fth or an oct a e or o e a fi fth a d other a oct e b e

v ,
n n an n av , a ov
the fu n d me n t l n ote produced by the lo gest pipe two f

a a n , o
the sm ller pipes bei g o fte tu n ed i n u iso

a n n n n .
et t es Drum tick s s .
B a alaik a
. A primiti e Rus i
. i n trume t a ki n d o f guit r v s an s n , a
B a l a nc e m n ( e t Fr The m a s B b mg ( 9 v . sa e e z . .
B al g The bellow o f the org s an.
B al re t e r B ellows tre der - a .
B al en The b -b as s ar .
B a ll a d This word is deri ed from b ll t ( d ci g o g ) wh i h i n

.
v a a a an n s n , c
its turn is deri ed from b l l ( to d ce ) The p pul r me i g

v a a re an . o a an n
“
f b l l d i n E glish
o a a ,
simp l e o g ; the p ci fi c d
n ,
a s n s e an
“
m ore widely a cc e pted me n i g s a l y r co n rr ti e poem or a n i i a a v
” B
the music to uch poem ll d s h e bee compo ed f
s a . a a av n s or a
si gle oice ( which is the mo t r o b l e cour e ) f e er l

n v s e as na s ,
or s v a
oices fo r cho us with d withou t cc mp ime t d l f r

v ,
r an a o an n , an a so o
si gle i strume n ts with nd without ccomp ime t nd f

n n a a an n , a o r
orchestr a .
B a fl a d e n m as s i g A fter the m e o f b ll d an n r a a a .
B a ll a t a ( It A b ll d ( q v
. a a . .
B a ll et ( 1 ) An a rti tic s disti gui hed from

.
soci l d ce p
s ,
a n s a a , an er
formed by se er l per o ( 2 ) A ki n d f oper i which t h

v a s ns . o a n e re
w s o t much
a n f a plot but grea t de l o f d ci g ( 3 ) The
o a a an n .
repre e n t tio n o f a
s ctio n by a tomime d d ci g ( 4 ) A n a p an an an n .
sprightly ki d o f compositio f e er l oices which bec m

n n or s v a v a e
o p l r a t the e d o f t he sixtee n th ce tury

u a As m
n y o f th m n an
had Fa l burden they were i n Englan d commo ly c lled

. e
a a , , , n a
B a ll e t t o
A b llet
—
a .
Ba ll i D n ces B l l i g l e a E glish d an ces ; b l l

.
g e a z
°
n s z,
’
n a
'
z un ar n
’
Hu g ri d ce n a an an s .
B a n d ( Ger A olume . v .
B a nd .
A comp n y o f i stru me n t l per former a n a s .
B a n d a ( )
I A b n d o f wi d i strume ts d i tr me t a n n n an ns u n s
f percuss o n The i strume t s o f percussio i t he

.
o ( 2 ) n i . n n n
orche tr s a.
B a nd e A ba d n .
Ba n d or a A i n strume n t o f the cith e rnki n d 0 C ither d . . an
P do ra an .
B A NJ O — B A RREL -OR G A N . 8!
B a nj o A .
lo g - ec ked stri ged i trume t the bod y o f which c n
n n n ns n o
ists f a bro d hoop with a skin stretched o er it The stri gs

s o a v . n ,
from fi e to n i e a re a riously tu ed v n ,
v n .
B a n k e l s an g e r A n iti n er t b ll d si g e r
'
an a a n .
B ar . ( )
1 The n a me f t h perpe dicul r li n es crossi n g the t o e n a s ave
which di ide mu ic al compo itio s i to sm a ll portio s f e q u l

v s s n n n o a
le gth ( 2 ) A lso the n me commo ly gi e n to the sm ll

n . a n v a
portion s formed by the di idi g perpe n dicul a r li n es which v n , ,
howe er are more properly c lled me sures ( v I troductio

v ,
a a . . n n,
X p .
, .
B rs did n o t com e i n to more ge n era l use t ill about the middl e

a
o f the se e n tee th ce n t ury I n scores th e y are to be met with ce

v n . n
t u ies be fore th t t ime but f

t the most p a rt o n ly i n theore t ic l
a , or a
books as it w a t th e n the custom to pri t composition s i n score

, s no n .
W ith the rise o f the mo odic s t yle i It aly tow rds the d n n , a en
o f the sixtee n th ce n tury b a rs c me to the fore as t he public tio ns ,

a , a
with a b o on t i ua prove The syst ems o f n otation c lled

a ss c n . a
T bl a ture h a e lmos t always m ad e use o f ba rs

a v a .
B a rc a r ol a or B a r c a r u o l a B a rc a roll e B ar .
ca rol e ,
A n It li a n m ore especi lly a V e n eti a bo t a ,

a n, a
m n s so g A lso
a
’
oca l or in strume n t l piece i n imit tio f
n . a v a a n o ,
or simil a r i n ch a ra cte r t o s uch son gs They are ge n er lly i n , . a
compou n d t er na ry time oft e n e s t i n 3 time

—
, .
B a rd .
A poet d mi strel mo n g the a rious C el t ic n a tio n s
an n a v .
B a r d i e t or B a r d i t A w a so n g o f the an cie n t Germ n s r- a
B a rd o n e
,
This is a corruption o f B af d m
. a
B a re m A old me fo r t he organ st p S t i l égea bt ’

n na e ac
B a ri b a s s o A deep b ass oice v .
B a ri t e n o re A low te n or ice vo .
B a ri t o n ( Fr d B rito n e or B a ryton e
. an a ,
B a ri t o n e v B ryto e . . a n .
B a ri t o n o B ryto e a n .
B a rocco B a ro ok B a ro q ue S t ra n ge whi m ,
s i c l ecce t r i c
a ,
n .
A b li e a r- n .
B a rr e ( F ( ) A
I b -li n e S ome bbre i a tio s a re likew i s e ar . a v n
c lled b
a ( 2 ) The low bridge o f some stri ged i n strume n ts ;
a r r es . n
a lute bridge
’
s b
a e ae l t /
arr a z, .
B a rr e I n guit a r pl ayi g the pl a ci g o f the forefi n ger o f t he n n
le ft h n d o n se er l stri gs The pl ci g ”o f t he forefi n ger n

a v a n . a n o
more th three stri gs is c lled g n d ba an n a ra rn .
B a rre d e m e s ur e A b -li e ar n .
B a rr e d e re p et i t i o n A double b ar wi t h d o t s i n d ic a t i n g a ,
repe t a .
B a e l org a n
rr - A org an i n which t he keys which gi e t he wi n d
.
n v
cce s to the pipes e a cted upon by pi n s ( st aples ) fix ed

a s a ar on
cyli nder which is m de t o re ol e by tur n i n g a h dle This a v v an .
tur i g f the h dle sets l o t he wi n d -produci g mech i m

n n o an a s n an s
i motio
n Beside : port ble tree t b rrel orga s there e l
n . a s a - n , ar a so
G
82 B A RY PH O N U S — B A S S E T A ILLE
- .
port able church b rrel org s

non - a da n ci ng- an and ba r rel -orga n s fo r
s a loo s & c n ,
.
B a ry p h o n u s A b ass si n ger .
B a ry t o n or B a ry t o n e
, ( I ) The m ale voi ce w hich is higher i n
.
pitch th the b ss d lower th n the te n or an d p a rticip tes t o

an a an a , a
some exte n t i n the ch a ra cter o f both Its usu a l comp s i from . a s s
A to f ( 2 ) A br ss i n strume n t with a l es h a ” i n g a comp ss o f

a v v v a
three octaves from to b D or from C to c ( 3 ) The vi ol

,
’
, . a
b do
a z
’ '
( or
or ba ra o )
ne a stri n ged i n strumen t which w e n t out o f
’
ne ,
use i n the seco n d h al f o f the eightee n th ce n t ury It ha d six or .
se e n c tgut stri gs a bo e the fi nge r bo rd which were pl yed

v a n v - a , a
with the bow a nd from eigh t to twe n ty se v e n wire s t ri g below

,
- n s
the finger boa rd which were plucked and sou n ded sym pat het i
-
,
cally w ith t he uppe r on es ( 4 ) The word ba n t om is o fte n used . /
as an e p i t he t to i n dic a t e a n i n s t rume n t rel a ted t o o t her i n s t ru

me n t s as t he b a ry t on e v oice t o other oices v .
B a ry t o n e cl ef The F clef on t he t hird li n e o f the st av e

.
I t is n ow n o lon ger used ( v In troduction I II . .

,
B - f
a s c es s u s sopran o M ez z o
B as e An obsole te form o f t he word b ss a .
Ba s s ( 1 ) The low es t p a r t i n composition ( 2 ) The lowes t me m

.
.
a .
ber of e v ery family o f in strume n ts ( 3 ) The lowest m le oic e . a v .
( v B a ss oice )
. v .
B ass a ( It Lo w — 0 t l a va b sa or l l ot t va ba a i n dic tes th t t he

. . as ,
a
’
a ss ,
a a
n o tes thus m a rked h av e t o be pl yed or su n g an oct a e lowe r a v
th an t hey are writte n.
B as s b ar
- A t hi strip o f wood glued to the i nn er side of t he
.
n
belly of a violin a d simil a rly co struc t ed i strume n ts n n n .
B as s cl e f The F cle f on the fourth lin e ( v I n troduction I II

.
. .
, .
,
p
B as s e ch
n t a nt e a The high ba s oice or a si n ger who has
“
s v ,
such a oice The more flexible si n gi g bass ( b

v . c t n t e) n a ss e an a
a s disti guished from the deep b ass ( b so p f o o) ’

n as n na .
B a s s e ch i ffr é e ( Fr F igured b ss . a
B a s s e co nt i n ue Thorough b ss ( v B asso c on tin uo ) a . . .
B a s s e co nt ra i nt e Grou n d b ss a
B a s s co nt re
e - The s me s b sse b ass a a a .
Ba s s e d e cromorn e ( a lso writte cre morn e ) a d de n n
h a ut b o i s O l d Fre n ch n mes fo the b a ssoo ; but a lso a r n
the n ames of t he low es t members o f t he oboe an d cromor e n
fa milies .
B a s s e d e vi ol e B a ss v iol .
B a s s e fi g u ré e Figured bass
B a s s e f on d a me nt al e Fu n d ame n t a l bass .
B a s s e ré c l t a n t e ( F A solo bass .
B a s s t a i ll e ( F
e - The n ame o f the m le oice th a t lies be t wee n a v
the b e ( b a ss ) and l k ( t e n or ) amely the b a ryto e T he

a ss m i — n ,
n .
e xpressio n is a lso u sed sy n o ny mousl y with b m t nt e ar ca n a .

B A S S ET - —
H O RN BA S S V OI C E . 83
e
B as s t h
- or n A riously be t d co s t ruc t ed i s t rume
va t f t h n an n n n o e
l ri e t f mily lo ger used by composers I t is s id t o h

.
c a n a no n . a av e
b e i e t ed i 7 7
e n nv nI ts com p ss ex t e d s from F t n 1 0 . a n o
Bas s e o
t t ( ) A m l l dou b l e b ss ( ) T h lowest
I p rt wher s a a . 2 e a e
the ba ss is sile n t ( 3 ) An 8 or eet reed stop i n the org n

. 16 f
- - a .
B a s s fl ot e ( Ger A b ss flute the lowest member o f the old f mil y

'
. a a
o f str ight or direct

a flutes ( Pl at e a bee) s
—
.
, ,
B a s s g ei g e V iolo cello Gro s s e B a s s g ei g e d ouble

n .
,
b ss
a .
B a s s h or n A w i n d.
i n s t rume n t i n for m like a l a rge b as soo n with ,
a com p a ss o f four oct av es from C or B l7 upw a rds , ,

.
B as s o ( I ) A b a ss oice or si n ger ( 2 ) A b a ss i n s t rume v n t more .

,
es eci ll y the double b a ss (3 ) The b a ss p a rt

a
B a s s o gu ffo
. .
A bass si n ger who si n gs comic p a r t s .
B a s s o c a n t a nt e ( )
I The v oc a l b ss i n c o tr a dis t i n
“
ctio n t o a
‘
the i n strumen tal ( 2 ) The higher a nd more flexible si nging .
b ass i n con t radi s t i n c t ion t o t he heavy deep bass ( bas o s

’
p f
r o on a o ) .
B as s o co nt i nuo A con t i n uous o r t borong b b a ss which may , , ,
be fi gured or not F ormerly when accompa imen ts were n o t

. .
,
n
a lw ys wri t te
a n i n full such ba o c n t i n u a ser ed the cc m ,
a ss o v a o
i t a s a guide It c a me i n t o use t ow a rds the e n d o f the s i x

p an s .
t ee t h ce n tury
n .
B a s s o fi g u ra t o A fi gured b a ss
B a s s o f o n d a me nt a l e A fu n d a men ta l bass .
B a s s on A b assoon .
B a s s o n umera t o ( I t A fi gure d b ass . .
B a s s oo n A wood wi n d i n strume t with a double reed mou t h n
piece i n e n t ed about 1 5 39 a n d si n ce t he much impro ed

.
,
v ,
n v .
The It li a me f got to ( f got bu n dle o f sticks ) describes some

a n na a a ,
wh a t i t s ou t w a rd appe a ran ce I t s usu a l”comp a ss e x te ds from . n
B b t o b b i t s ex t reme upper limit is b Music f r the b as

’
e . o
soon is w ritte n i n t he b ss an d te n or cle fs t he l tter cle f bei n g

,
a , a
used fo r t he higher n o t es .
B a s s o o s t i n a t o lso b a s s o ob b l i g a t o a Grou n d b ass .
B a s s o p ro f o n d o
,
A deep b ss ( B ss o c ” n t n te ) a . v . a a a .
“
B a s s o r1 p 1 e n o Lit the filli g up b ss n amely the — .
,
n a ,
b a ss pl yed by al l t he performers i n co tradistin ction to th a t

a n
pl ayed on ly by o ne or a few ( Ripie n o ) . v. .
B as s p om m er The lowes t member o f the P mmer f mily o a .
( Pommer )
v. .
B a s s p o s a un e B ass t rombon e ( v Trombon e ) . . .
B ass s t ii s s e l B s s cle f a .
B a s s s t i mme B ass oice v .
B a s s t ub a v Tuba . . .
B a s s V i ol v V iol . .
B a s s v o1 ce The low es t k” 1u d o f t he hum a n v oic e I ts mos t common

.
compa ss is from F t o or e b w hich how e er is ofte n exce e de d

,
’
a , , v ,
at on e or t he o t her e nd o r a t b o t h en d s O n e disti guishes , . n

as B AT O N — B E LLEZZA .
t wo speci es
b ass voice : t he bas so can t a t n d the bas so f o
of n e a r
f o d ( v nB a sso
o.c an t a te ) . n .
B At o n A stick used fo r b e a ti n g t me 1 .
B a t t eme nt A n obsolete trill lik e orn me t

- It co sist ed a n . n
i n the repe ted a ltern tion o f a pri cip l a d n a u x ili ry ot

a a n a n a a n e,
the l tter a degree belo w the former begi i g t he trill As

a , , nn n .
there w s n o ign fo r this ornamen t it had to be wri tte n i full

a s , n .
B a t t i me nt o B t t em e t a n
—
.
u
Bat t t a
“
( )
1 A b a me a s u re ( )
2 A b e a t A b t t u t ina r, . a a,
time ( lit by the be a t .

,
B au S tructur e — B ei e Vi l i structure o f a ioli an n r o n e, v n .
“
B a u e rfl ot e B a u e rn fl d t e or B a u e rp fe i f e
,
Ru tic '
,
s
flute A n ob olete org

. st p f stopp e d pipes o n the ped l
s an 0 o a s .
It occurred f I 2 d 4 feet pi t ch o , , an - .
Eh .
The Germ n ame o f B double fl t an a .
B o a n c e ll a t u m ( L t -l The sh a rp ( it) a
B dur B fl t m ajor a .
B d urum The ote B n a tur l n a .
B e a rb e i t e t Re ised ad a pted o r t ouched up v , , .
B e a rb ei t ung Re ision or a d pta tio v a n .
B eat ( 1 ) A melodic or ame t by some de cribed s

.
mo d t b y
n n , s a a r en ,
othe rs a s a b t t me t ( 2 ) The mo e m e t o f the h d or foot i n

a e n . v n an
m rki ng the time an d the corre po di g di i io n f the b

a , s n n v s o a r.
B ea t s The pulsa tio or throbbi g most di ti ctly he rd whe n t wo

.
n, n , s n a
n otes slightly di fferi g i n pitch e sou ded together n ar n .
B e b u ng T m l A mode o f i gi g or pl a yi g by which
re o o. s n n n a
tremulous e ffect is produced O the old cl ichord thi w s . n av s a
do e by the q uick b l ci g o f a fi ger a key O n stri ged

n a an n n on . n
i strume ts without keys it is don e by t he q uick bal an ci g f a

n n n o
fi ger n a stri g
n o n .
B é c a rre ( F The tur fl

al ( ) na
”
.
B ec Lit “
be k A mouth p iece like th a t o f t he cl ri n et
.
,
a . a ,
fl ageo l e t , & c .
B e cco The s me B a as er.
B e cco p ol cco A l rge ki d f b gpip

a a n o a e.
B e ck n e C ymb ls a .
B e d ck t
e S t opped S id f stri gs i c tr disti . a o n , n on a n ction to
l ope
eer , n.
B e g i
e s t ru n g
e E thusi sm p i t i n a , 1ns ra on .
e g l i
e t en T ccom p y o a an .
B e g l i
e t u n g A ccomp ime t an n .
B ei s s r e A morde t ( l d i XI V p n . v . n t ro uct o n , .
, .
B e ll , ( ) The more or le s bell like e x p

1 io which termi s - ans n na tes t he
tube o f mo t wi d i trume ts ( 2 ) A i tr me t o f p
s ss n ns n . n ns u n e rcu
sio co sisti g o f hollow e sel f m et l or gl

n n which i e t
n a v s o a as s , s s
i ibr tion either by cl pper h a gi g withi or by ep r te

n v a a a n n n a s a a
h ammer .
B e n d i a p a s on A ope org an stop ge er ll y f 8 feet p itc h

,
n n , n a o -
B e ll e zz a Be uty a .
86 R —
BI S C H E O BOMBA R DO N E .
B is h c ero pegs t o which on e en d of t he

B zre/zer i
’
a re t he
stri n gs f s t ri ged i st ume n ts ( ioli n guit a r &c ) are fas t ened
o n n r v , , .
,
an d by me s o f which they a re t u n ed
an .
B is crom a B is crome. A d emi se mi quaver

'
B is diap a s n o fi
The double o ct av e , or ftee n th
. .
B isse r To e n core .
e
B i s s x ( L at t t
An i n s rume n of t he gui ta r c l ass
. i hw t tw l e ve
stri gs n .
B i un c
s a A semi qu er av .
B i z z rr m nt e
a a Oddly s t r gely
e , an .
B lzza rm Od d i ty whim ex t r g c
a , , a va an e .
B i z z rro
a Odd whimsic l ,
a .
B lan h e c A mi im ote n n .
B l as er A performer or performers wi d i stru me t on n n n s.
B l s i n s t rume nt e
a Wi d i strume ts n n n .
B lat t A le f ; reed The si gle reed f the l ri t d a a . n o c a ne an
f t he b sset hor
o a - n.
B l ech i n s t rum n t e Br ss i strume ts e a n n .
B l o o h fl ot e or B l k fl ot e ( ) A str ight or direct flut

’ '
oo 1 a , , e,
with plugged mou t hpiece fl dt a b ( ) A soft t o ed
,
a a e ee. 2 - n
,
org stop an .
B moll B fl t mi o B moll e B ro tu d um ( a l a n r. n . v.
B oc l a The mouthpiece f the hor trombo e & o n, n , c .

*
B occ a The mou th .
B occh i n o The mou t hpiece f the t rumpe t hor trombo e o , n, n ,

& c .
B ock s t rill er Li t go t trill A b d sh ke .

, a a - . a a , an
iter tio f a ote i ste d fn o lter t io f two one n n a o an a na n o .
B od en The b ck f the sou d box f music l i strume t a o n - o a a n n
f i st ce f ioli
or n an , o a v n.
B og n e ( ) A bow such the ioli d o t her stri ged

1 , as v n an n
i strume ts a
n pl yed with ( 2 ) A slur or tie A
n re a .
B o g e n f i i hr u n g The art or mode o f bowin g .
B o e n s t ri oh A stroke o f the bo w .
B 0 ero A S p n ish n a tion l d n ce i n ti me rhythmica lly a a a ,
somewh a t resembli g t he polon ise bu t o f a m ore li ely n a , v
ch r c t er It is ge er lly ccomp ied with cas t an ets

a a . n a a an .
B omb a r d ( I ) An obsolete f mily o f i trume n ts o f the h wm or

.
a ns s a ,
oboe cl ass The Germ n s ca ll i t Po

,
mm .
( ) A reed top i n
2 - a er . s
the organ .
B omb a r d e ( Fr A bomb rd . a .
B omb a r d i n o A sm ll bomba rd t he s m lles t o f the fa mily a ,

a .
B omb a r d o A bomba rd .
B omb a r d o n A powerful br ss wi n d i strume n t either oblo g o r

.
a n , n
circul r i sh ape There is o n e i n E fl t d a l rger o e i n B

a n . a , an a n
fl a t ( co tr b a ss bomb a rdo n )n Bomb rdo i n F e less

a . a ns ar
com mon These i n strumen ts a re used as b asses i n milit a ry

.
b ds an .
B om b a r d o n e A l a rge bomba rd the l rges t o f t he f mil y , a a .

B O MB I X— BRO K EN C A DE NCE . 87
B ombix A Greek ree d i n s t rumen t . Also a na me of t he

bomb a rd .
B on t e mp s d e la me ure
The a cce ted p a rt o f a ba r s n .
B our d o n dron e b a ss ( 2 ) A n organ st 0 p o f stoppe d

(1) A .
pipes mostly o f wood nd of I 6 feet pitch ( 3 ) The lowest ( C )

, , a - .
strin g o f t he Violo cello n .
B ourr é e A li ely o l d F re n ch d an ce i n {7 o r at ime

v ;
.
B out a d e ( F A n i n strume n t a l piece like a ca price or fa n t asi a .
2 ) A n old F re n ch d a n ce ( 3 ) A ki n d o f short b allet w hich w a s .
per formed as if t he performers set a bout i t impromptu .
B ow .
A i n strume n t co n sisti n g o f a n el stic w oode n ro d a n d a n um
n a
ber o f horse h a irs s t retched from the ben t he ad t o t he mo b l e

- va
ut
n I t is used i n pl ayi n g o n the ioli n an d m an y other s t rin ged
. v
i n strume n ts which are m a de t o sou n d by fric t ion the bo w be i n g ,
draw n o er the stri n gs a n d setti n g them i n ibra tion

v v .
B q u a d r a t um or B q ua d rum , ( 1 ) The n ot e B na t ura l .
( 2 ) The sig n nthe n a tur a l , .
B ra c e . A br cket co n ecti n g two or more s t a v e s

a n .
B r a n l e or B ra n s l e ( Fr A b ra wl . .
B r a t s c he The iol a or t en or iolin v ,

v .
B ra v o m si n g
, B ra va f sin g
. .
B ra vi m plu r B ra v e f ,
. .
,
.
,
.
plur . Br e courageous skil ful An excl am a tion e x

av , , .
pressi e o f pproba tion sig ifyi n g W ell don e

v a ,
n
B ra v our e ( F Bra ura v .
B ra vura .Bra ery spirit brillian t sk il ful exe cu t ion

v , ,
.
r
B aw l A
. n old cou n try -d an ce A rou n d . .
B rei t In bro d s t a tely m an n er

a a , .
B re ve The o t e which has double the le n g t h o f a semibre e nd

. n v a
four times the le gth o f a mi im ; the lo n ges t n o t e n o w e e r

n n v
used ( I troduction IX pp I 7
. v. n , .
, .
,
B r e vi s A bre e ( v I n troduction p v . .
, .
B ri d g e A piece o f wood o n which the s t ri n gs f stri n ged i n strume n ts

. o
rest an d which itsel f res t s on t he reson ce box or reso n ce

'
an - na
, ,
bo r ( sou d box or sou n d boa rd ) to which it tra n mits t h e

a d n - -
, ,
s
ibra tion s of t he s t ri gs
v n .
B ril l a n t ( FL ) B ril l a nt e , Brillian t sp rk lin g ,

a .
B ril l e n b as s e Lit spect a cle b asses A ki n d o f b a ss

'
.
, .
ca lled t hus o n a ccou n t o f i t s resembl n ce to a p a ir o f spect cl e a a s .
B ri n d i s i A dri ki g so g n n n .
B ri o Vi city fi — C o n b i o with fi re
va ,
re r a n d v vac i i ty .
B ri o o
s Fiery i spirited m er , n a an n
,
B ri s e Broke pl yed p ggi n, a ar e o.
B ro d ri e ( F
e Or me ts
s na n .
B rok en c d e nce A i t rrupted c de ce (

a . n n e a n . v. C a de n ce ) .
88 B RO K E N C HORD — C A B I S CO L A .
B rok en ch ord Arpeggi o
rot und um The L t m f the t

,
B a 1n na e o no t e B fl a , a n d a l so
f the sig D the fl t

o ( A ccide t ls ) n , a . v . n a .
B rumme i s e n A Jew s h rp ’
- a .
B ucc i na A wi d i strume t f t he n n n o an cie n t Rom a ns , 3
trumpet hor , a n .
B u oo o li c o B u c o o li a B ucoli q ue
,
c B ucolic p stora l a ,
rustic .
( 1 ) C omic , humorous A si ger

‘ ‘
ufi o , m .
, B ufi a , f . .
(2) n of
comic p rt
a a .
B ufi on e
'
A bu fo
‘
on, a jes t er .
B u fi o n e s c o , m , B ufi o n e s o a , f
'
Droll , ludicrous
.
'
. .
B u fl o n e s c a m en t e I n a droll , ludicrous m a n n er .
B glu e ( )
I .
A br a ss wi n d i n strume n t ; the sign a l bo rn fo r t he i n
fan t ry Two ki n ds o f brass wi n d i n strume n ts t he o n e wit h
.
(2) ,
keys ( t he K en t bu gle ) and the other with al es v v .
“
Lit S tage con secra t i n g fe ti a l
B u h n e n w e i h fe s t s p l e l - s v
”
.
,
pl y Thus W gn er c lled his l ast dram tic work P if l

a . a a a , ars a .
B u n d f r e i ( Ge r U n fretted A cl ichord was said to be

. . av
b t/ d w hen i t had a s e pa ra t e stri n g fo r ea ch n ote

u rn r (v . .
Gebu n den ) .
B u o n a c c o rd o A sm a ll spi n e t wi t h na rrow keys fo r t he use

f hildre n
o c .
B uo n a n o t e Accen t ed n o te . .
B uo n g us t o Good t aste .
B urd e n ( 1 ) C horus or refrai n o f a s ong ( 2 ) A d ron e fo r i n s t a nce

. , , .
,
th t o f t he b gpipe
a a .
B url a , A joke .
B url a n d o J es t t ng
j o k mg ro m m
p g , ,
.
B url e s c a m e nt e I n a burles q ue merry comic a l m an n e r , , .
B url e s co m B url e s c a f Burles q ue f cetiou s com ic . a

burle q ue ch a r c t er
,
.
, , , , ,
me rry — B u l a p ece o f
. r es ea , 1 a s a .
B url e t t a A burlesq ue operetta whi msic l f rce a a a .
C .
more wo r ds n ot g i v en u nd e r 0 s lzou ld be soug ht u n ae r K ) .
C The ame o f the first degree o f the n orm a l m ajor sca le

. n .
Ca b a l e t t a A ery melodious an d rhythmic l music a l t hought v a
t ki n g as t o impress itsel f a t on ce e en o n the m emory f t he

,
so a v o
le ast mu ica l bea e r It is ge n erally employed as a con clu io n
s r .
s
to a ri as n d duet i n the It lia n st y le
a s a .
C a b i n e t d o rg u e An org
’
c se an a .
C a b i n e t p i a n o fo r t e An upright pi a n o fort e a bou t 5 1x fe e t high .

,
i n troduced i the ea rl y p rt o f this ce n tury
g
n a .
Ca b is co la A prece n or o r le der o f cho i r t

, a a .
90 CA DEN C E —C A LAM U S PA S T O RA L I S .
C a d e n ce ( Fr I ) A s h a ke
.
( 2 ) The h a rmon ic close o f a mus ical .
ph ase an d t he resolution o f a disson n t chord ( 3 ) Mea sure

r , a .
,
regul ted mo eme t a v n .
C a d e nc e b ri s e e ( Fr A n a brupt s h ke it begi n s with the uppe

’
. a . r
au x ili ry ote bu t is n o t like the de p l ei e preceded by i t

a n , , ca n ce n ,
as a lo n g pp gg i t a o a u ra .
C a d e nce é vi t é e ( Fr Li t a oide d ca de n ce . A dis o na n t .

, v . s
chord followed by an o t he r disson an t chord i n s te ad of the ex

p ec t e d co n so n t tri d an a .
C a d en ce i mp a rf a i t e ( F r ) An imperfec t cade n ce a h al f clos e .

,
( to ic
n domi n a
, n t) .
C a d e n ce i nt e rromp ue ( Fr An i n t erru p t ed c ade n ce A . .
chord o f the domin an t se ve n t h followed by a other chord f t he n o
domi n t se e th who e fu n d me t l n ote lies a third lower or

na v n s a n a
higher seco d lower & c , a n , .
C a d e n c e i rr e u l i er e ( F The s me a s c d i mp fi i t a a en ce a a e .
C a d e nc e p a r a i t e A perfect ca de n ce ; a full close ( domi

n n t t o n ic )
a , .
C a d en ce p l ei n e ( I ) A sh ke w hich i s preceded by t he a
upper auxili ry n o t e as lo g pp ggi t u a ( 2 ) A disson t

a a n a o a r . an
chord followed by a co n so a t chord n n .
C a d e n c e romp ue A “ broke c ade n ce A chord f the n . o
domin n t se e th fo l lowed by n other con son an t chord th th t

a v n a an a
o f the to n ic .
Ca d en z A c ade n ce .
C a d enza A c de ce I n E n glish the word c d en

a n is a za
u ed i n t he se e f a shor t or a more less e x te ded flouri sh

s ns o or n
which does n t form p rt of the rhythmica l tructure o f a com

o a s
po ition but is mere i n t ercal a t ion S uch flourishes m y be

s , a . a
met with ywhere n the course o f oc l an d i trume n t l com

an 1 v a ns a
po itio more es peci a lly howe er a t t he e d o f the l st solo o f

s ns , ,
v ,
n a
p ece f solo o ces or i n strume ts I n the ri a n d ki dred

.
i s or v i n . a a n
form the ad s wa promi n e t fe ture It ssumed how

c en z a s a n a . a ,
e er the gre te t import ce i the co certo there the flourish

v , a s an n n
e x p d o ften i to a brilli t f n ta sia n th emes o f the com

an s n an a o
position i to which it is i troduced — a fan t si a either impro i ed

n n a v s
by the per former or written ou t i n full by the composer These .
lo g co n certo d n occur i n the fi rst a d l st mo emen ts t

n ca e za s n a v ,
a
the e d o f the l a s t solo d begin usu ally o the chord o f t h

n ,
an n e
fourth d ixth precedi g the full close ( domi

an s ,
t ton ic ) n n an , .
C ad en z a d ingan n o
’
or c a d e n z a fi n t a ( 1t . A d e ce p t i v e ca d e n ce
Ca s ur a music the bre k or p ause
( La t . In t ,
, a , , which i n he cours e
o f perio d m rks the e d o f phr se
a a n a a .
C a i s s e ( Fr A drum — G e i e b ss drum
. . r osr ca rs , a .
C a i s s e roul a nt e ( Fr ) The lo g ide drum . n s .
C a l a mu s ( L t A reed pipe aki d o f sh wm

.
, a n a .
C a l a mus p a s t o r a l i s C a l a mus t i b i a li s ( La t ) or u O ne o f
the most c e t wood wi n d in strume n ts It h d t hree
,
an i n . a o r fo ur
s ou d h ol n d w - m d e f re d es an as a o e .
C A L A N D o —CA u
NON E C H IUSO .
9!
C a l a n d o ( I t Decre i n g i n loud e s sy n o ymous with d i mi n u e do

. as n s ,
n n .
S ome t imes i t i cludes lo n g with a decre se i loud ess l so a

n a a n n a
sl cken i n g o f the p ce
a a .
C a l a n d ro n e A reed i n strume n t with hoa rse bu t ple as i n g a
ton e i n use amon g t he It li an pe asan t s

,
a .
C a l a s ci o n e A n i n strume t o f the lute ki n d with a lo n g n eck n ,
a sm all body a n d two or three stri gs

,
n .
Ca l a t a A n It li a n d an ce i n 2 time a -
.
C a l ca n d o Hurryi n g the time .
C a l oa n t Bellows tre ader - .
C a l ma t o C lmed q uieted a ppe a sed

a , , .
C a l ore Hea t a ffection Co c l ore wi th wa rm t h wi th

— ,
n a , ,
p ssion
a .
C a l oro s o With w a rmth with p a sion ,

s .
C a m e ra C h a mber — M i d c me a ch ambe r music ;

. u s ca a a r ,
s o ta d
na me ch mber son t a
a ca ra , a a .
C a mp a n a A bell .
C a mp a n ell a A sm a ll bell .
C a m p a n et t a A se t o f bells a c rillo n ,
a .
C a na ri e C a n a ri e o r C a n a ri e s An old d an ce a kin d of
, . ,
i
j g i n 3 {or ‘
time
-
3 .
C a n a mo The s me as C a i e a an r .
C an c ell en Groo es the sm a ll ch a n els i the organ w hich

v , n n
con duc t the win d from the win d chest to t he pipes - .
C a n cr i z a ns Retrogressi e v .
C a n o ri z a m e n t e o r c a n o r i z z a n t e
z
,
Re versed re t ro ,
g re s s w e .
C a nna A reed ; a pipe org an pipes ; c n n e — Ca n n e d ar a n a,

.
g a
d a n i ma fl u e pipes ; c n n l i g u a reed pipes

’
- a e a n -
, , .
C a n o n A composition i n which the n otes o f o n e pa rt a e strictly

. r
imi t a t e d by o n e or more other p a rts The imita t ion m ay be a t .
the oc tave fifth or an y other i n ter al There a e a lso c an on s

, , v . r
by dimi n u t io n by a ugme n t a t ion by retrogressio n & c

, I n t he , , .
fi rs t ki d the n o t es o f the n t e ede t a re dimi ished i n le gth i

n a c n n n n
t he con equ en t ; i n the secon d ki d they a e a ugmen ted a d i

s n r n n
the third kin d t hey ppea r i n re t rogressi e order A c n o a v . a n
t wo i n o n e is a c n on fo two p arts an d with on e subject a

a r
ca n o n four i n tw o is a c a n on fo four p a r t s an d wi t h two sub r
j e c t s an d so on For further i n form a t.io n see t he n ex t a rticles .
C a n o n ca n cri z a n s C n o n by re t rogressio n t h a t is t o say a

,
the con se q ue n t performs t he n o t es o f t he an t eceden t b a ckw a rds .
Ca n o n e A c an o n .
C a n o n e a p ert o ( I t An ope n c an on . on e w ri tt e n ou t i n fu l l .
C a n o n e c a n c ri z z a n t e The crab -like can on can on by

re t ro gr es s1o n .
Ca n on e ch i u s o A close o ; t h t is f w hich o ca n n a , one o n ly

on e p rt h bee wr tte ou t the umber d t h
a as n tr c 1 n , n an e en an e of
the o t h p t s bei g i dic t d by sig or words
er ar n n a e ns .
92 CA N ONE ENIGM A —
TI C O C A NTIN O .
C a n o n e e ni g m a t i co E n igm tic c on ; c o i n whic h a an a an n
h. umber a d the e tr ce f the p rts a e n t i dic ted o

e n n n an s o a r o n a , r
o ly hi ted t by n ob cure motto

n n a a s .
"
C a n o n e i n fi n i t o or c a n o n e p e rp e t uo A n i fi n it e n
ca on n w t h ut a c
,
o ne l 1 o o n c us 1o n .
C a n o n e s ci o l t o A free c o o n e i n w hich t he imit tio n is an n, a
no t e x ct a .
C a n o ni ca l Hours The d a ily offi ces o f de otion pre cribed to t he

.
v s
R om C tholic clergy They a e ( I ) M ti s d L d s ;

an a . r : a n an an
( )
2 P rime ; (3 ) Tierce ; ( 4 ) S ext ; 5 ) No e ; ( 6 ) V e per ; ( 7) n s s
C ompli e O f these M ti
n . d L ud V esper , d C m a ns an a s, s, an o
p l i e e c lled t he gre a ter hours a d the others t he lesser hou rs

n ar a ,
n .
C a nt a b i l e I si gi n g style n a n .
C a n t am en t o S i gi n g an ir n a .
C a nt a n d o S i gi n g i a si gi g style
'
n ,
n n n .
C a nt a r e To si g n .
C a nt a t a The word origi lly mean t somethi g su n g i n co n na n
t d i s t i n ct i o n to somethi n g pl a yed (
ra t ) So ried e t h s on a a . va ar e
in n umerable e emp l i fi c t i o ns o f the c t t th t it is im po ibl e

x a an a a , a ss
t o defi e i t ch r cter n Now this n me i gi e n to oc l com

s a a . a s v a v a
position o f some e x te t co i ti g f recit ti n ri as choru es ns s n o a ves, a , s ,
&c with orchestr l ccomp ime t i most c ses forme ly

.
,
a a an n n a r
it o fte n sign ified sho t oc l compo itio f r o e v oice with a r v a s n o n
org n h rpsichord or some other imple ccomp n ime t

a ,
a ,
s a a n .
I n deed the r ge o f the an t t m y be s id to e x te d from a n ca n a a a a n
el bor te so ng to short or torio d oper n o t i n te ded fo r

a a a a an an a n
the st age (v C an t t d c mer i A ppe n dix )

. . a a a a a n .
C a n t a t ill a n d C a nt a t i n a a A h ort c a n t t a s a .
C a n t a t ore A m le si ger a n .
C a nt a t ri ce A fem le si ger a n .
C a n t a t o ri u m A ser ice book i n t he Rom n C a tholic v - a
C hurch co n t i i n g the music o f the An tipho a ry a well as th t

a n n s a
f the Gradu a l
o .
C a n t e ll e ra n d o S i n gi g i n a lo w o1 ce w rbli n g n v a .
C a n t e ri n a A fem le si ger a n .
C a nt e ri n o A m l e si ger a n .
C a nt i c a r n a s c i a l e s c h i ( I t S o gs th a t u ed t o be su n g om e . n s s
ce turies g t Flore ce duri g c r i l time

n a o a n n a n va .
C a nt i c a C a n t i ci C ticle hym n s an s, .
C a n t i co C ticle hym an , n .
C a nt i l e n a A hort so g -like compositio

s ; sometimes lso n n a a
short c t at a fo n e oice ; but more e speci lly a striki gly

an r o v a n
o g -like ( t bi l ) melody
s n ca n a e .
C a nt i l e n a re To i g s n .
O a n t il e n a c c i a Ab d g a so n .
C a n t 1l l a t 1o The re d i g i n a si gi g style ; fo in st n ce of a n n n r a , .
the Epi tles Gospels C ol lects ( v Acce tu eccle i tici )

s , , . . n s s as .
C a nt i n o The highest stri g o f in trum e t : fo r in s t a c e n an s n n ,
t he E s tri n g f the i oli n o v .

94 C A PO — C A S T A G N ETTE .
Ca p o T he hea d ; t he begi i nn n g —D a ca p o, f rom t he be

g1n n1n g .
C a p ot a s t o ( )I The n u t o f stri ged i n strume ts with a n ec k n n .
( 2 ) A sm ll piece o f ebo y or i ory screwed o er the stri n gs o n t o

a n v v
the fi ge r-boa rd o f a guit r i n order to r i e its pitch

n a a s .
C a p p e ll a A ch pel choir The musici an s collecti ely who

a ,
. v
perform i n the choir The members f an orchestr t aken o a
collecti ely
_
This
v . word is o fte n writte n
p l l ( v A c ppell a ) ca e a. . a .
C a p ri c c i et t o A short p i i ca r cc o.
C a p ri cci o A c a price A sort o f f t i . compositio i n an as a, a n
which the composer follows the dict te f hi f cy more th n a s o s an a

the prescriptio s f co e tio l form A l o stud y
n o nv n na . s a .
C a p ri o o i o s a m e n t e C priciou ly i n f ci fu l styl e a s , a an .
C a p ri cci o s o C priciou f ci ful

a s, an .
Ca p ri ce ( F v C priccio . a .
C a ra ct er e s d e mu s i q ue ( Fr The ig u ed i the ot tion f . s ns s n n a o
mu m s .
C a r e s s a nt ( Fr-l
C a re zz a n d o I n a ca s s m g nu t i g m n er
re , 1n s 1 a n an .
C a r e zz e v ol e ( I t -l o
C a ri c a t o O erlo ded with reg rd to em b l l i hme ts d i so

v a a e s n , s
na n ces i n strume t tio n or a y other me

,
n a f mu ic l e x pre sion
, n an s o s a s .
C a ri l l o n ( 1 ) A chime set f tu ed bell which e a o n s ar
pl ayed upon either by clockwork or by me s f k ey ction an o a -a

.
( )
2 It is lso the
a n a me o f i strume t i this cou tryanmor e n n n n
ge n er lly called Gl o be p iel

a or chime co i ti g o f a se t
c ns , ns s n
o f tu ed met l b a rs
n a .
C a rill on e ur A bell pl ayer - .
C a ri t a C h rity a ff ectio n —, C a i t d with te n der n ess on ca r , .
C a rm a g n o l e A f mou Fre ch re olutio

a ry so g s It c a m e n v na n .
in to ogue i 1 7 9 2 d deri es its me from the P iedmo n tese

v n ,
an v na
t ow C a rm ag ol
n n a .
C a rol A son g f e x ult a t ion or mirth T he custom f si n gi ng

o . o
C hris t m a s c a rols i
.
f ery a cie t origi n

s o v n n .
C a rol a A rou d ( d n ce ) ccompa ied with i gi g

n a a n s n n .
C a rt e ll e s L rge le a es f hide or cloth prep red a rn ished

a v o a , v ,
an d pro ided with music a l st a es

v which otes could be v , on n
writ t e n an d at ple sure e ff ced The It a li n s c ll these lea e

a a . a a v s
ca r t el l e .
C a rt e ll o n e A pl ca rd The prospectus o f n oper tic seaso n

a . a a .
Ca s s a or c a s s a g ra n d e
,
The bi or b ss drum a , .
Cas s at io C a s s a zi on e a s s a t i on Li t
”
,
.
dismiss al O g . l l y the con cludi g piece o f

r1 1n a musical n a
perform an ce afterw rds a kin d of ser enade co sisti g o f se eral

,
a n n v
i trume n t al p i eces
ns .
C as t e t t e I
( lt - C a s t a g n e t,t e s ( F r-l C a s t a fi e t a s o r , ,
a s t a fi u el a s C ast a ets S m a ll cl ppers i the form n . a n
f con c a e shells m a de o f h a rd wood or i ory They a e used by

o v v . r
t he S pa n ia rds a s a n a ccomp a n ime n t t o t heir d an ce s a d son gs n .

C AS TR A —
TO C HA GON A .
95
C as t r to
a A eu n uch A m ale si n ger w ith a sopran o or .
co tr lto oice
n a v .
C a t c h A ki d o f rou n d a can on a t the u n ison fo r three or more

. n ,
v oices A s o ly one pa rt w as writte out ea ch succe ding

. n n , e
si n ger had to t clz his p rt The fir t pri ted collection f

ca a . s n o
c tches is o f the ye r 1 60 9 L ater n comic eleme n t w

a a . o a as
i troduced d the ca tch w s so co tri ed th t the words were

n , an a n v a
m ug/ t u p by the si ng ers an d a ludicrous me i g thereby gi e n

i an n v
t o them Rou d d C t h w .
g n l l y s y o y mous ter ms
an a c e 1 e o r1 1n a n n .
C a t e na d i t ril l i A ch a i n or ucce s i o o f trills , s s n, .
C a t g ut s t ri ng s Wh t the E glish c ll c a tgut stri gs the

.
a n a n
Fre ch Germ n s & c c ll simply an d more correctly gut

n ,
a , .
, a
s tri gs ; fo r these stri n gs a re m de n o t o f guts o f c a ts b ut

n a ,
mo tly of gu t s o f sheep Ita lian gut stri n gs

s the best . a re .
C a va ll e t t o The s ame a s po t i el l n c o
C a v al q u e t A cava lry trum p et ca ll .
C a va t a ( 1 ) Production o f to e ( 2 ) The word h s a lso bee n . a n
used sy n on ymously with a t i c va na .
C a va t i n a A shor t an d simple ki n d o f a ri mostly f a te der a, o n
a n d a ffec t io n at e ch a r cter a .
C b a rr e T he which i n dic a tes a ll a br ev e t ime ,
31 an d
1 a { All a bre ve a(v
n d .I n troductio p n, .
C cl ef The clef which in dic a t es which pl a ce o n the st av e i s occupied

by c The S opran o C le f st an ds o the first li e t he Me o
.
’
. n n , zz
S o p r an o C lef o n t he seco n d the Alto C le f the t hird t he ,

on ,
Te n or C le f on the four t h ( v I n t roduction I I I ) . .

, .
C dur C m j or a .
C el ere Q uick n im b le , .
C el eri t a C eleri t y s w i ft n ess - Con cel er i t a wi th swi ft n e ss

, .
, ,
q uic k ly n imbly , .
C é l es t e C eles t i a l The j eu cél est e or p da l e c l es t e w as a ’ ’

. e e
mech an ica l a rran geme n t by w hich o n t he draw in g ou t o f a

s t op or t he pressin g dow n of a ped a l t he sou n d of t he pian ofor te
c ould b e mo d i fi ed — The voi x c l es t e is a s t op o n t he organ an d
’
. e
ha rmon ium .
C ell i Abbre via t ion o f v i ol on cel li .
C el l o Abbre vi a t ion o f v i ol on cel l o .
C emb a l i s t a A pl ayer on t he cemba l o .
C emb a l o A ha rpsichord The same as cl a vi cembalo . .
C es C fl at .
e era
C t A ci the r.
e era t e d es ca
C t Th Ge m i ther t s t ri ge d i t e r an c , a en - n ns ru
me t f t he lu t e l ss
n o c a .
C h ac o n a Ch a co nn e C i a co na C i aoo n n a or
A low d ce m é time t he origi f w hich ( whethe
,
s an , n o r
I t li S p ish or S r ce ic ) c
a an , ot with r t i ty b d e t
an , a a n an n ce a n e er
mi d I t w co s t ruc t e d
ne . grou d b as n on a n ass .
9 6 C l l A L U M E A U—C HA P EA U C H INOI S .
Ch a l um e a u ( 1 ) The sh wm ( 2 ) The lowest register o f a .
a n
“
the cl ri et The word ch lume u i n cl ri et mu ic a a a n s 1n
.
d ic t th t the n ote h e to be pl yed a oct e lower 3 )

a es a s av a n av .
S e er a l u import n t wi d i strume n ts be r this n me likewi e

v n a n n a a s .
Ch a ng e r d e j e u ( Fr To ch ge the stops o f n org n o . an a a r
h rmo ium
a n .
Ch a ng i ng n ot e ( I ) A p s in g n ote on t he cce n ted pa rt f a s

’
a o a
b ar( 2 ) W
. t h the old co tr pu n tist 1 a p ssi g disco rd o n t h n a s, a n e
u acce n ted p rt f the b which does n t proceed by degre

n a o ar o e,
bu t by le p an d co n e q ue tly is
a ,
t regul rly resol ed Th s n no a v . e
secon d n ote i n the followi g series is such a ch a gi ng n ot n

'
n e
’ ’
( n ot a ca m bza t a ) : d c a b c.
Ch a n s o n ( Fr A son g . .
Ch a ns onet t e A little son g .
Ch a nt A shor t compositio to which t he Psalm s an d C an t icles a e

.
n r
su n g There a e two ki ds of ch an ts Gregori n nd An glic n

. r n , a a a .
The l a tter a e either si gle or double ch an ts A single ch n t

r n . a
co sists f str in o f three a d o n e o f four b rs Doubl e

n o a a n a .
ch n ts con sist f four str i s respecti ely o f three an d four a d

a o a n v , n
a g i n three
a d four b rs Q u druple ch ts h e l tterly a ls
an a . a an av a o
bee i n troduced Ap rt from to lity d rhythm the n cie t

n . a na an ,
a n
Gregori ch t differs from the moder A glic n ch n t by

an an n n a a
cert i ope i g n otes c lled the z t o t on The se er l p rts '
a n n n fl a n na z v a a
o f the Gregori an ch t e t he i n ton tio fir t reciti g ote an ar : a n, s n n ,
medi tion secon d reciti g ote d termi a tio The An glic n

a , n n , an n n. a
ch t begi s t o ce with the reciti g n ote Mo oton e recit

an n a n n . n a
tio ( on the recitin g n ote ) followed by melodic modul tio n s

n a
( the medi a tio n an d termi tio ) i n the middle a n d a t the d na n en
of a ch e erse a re the ch r cteristic o f ”wh t i the re tricted

v a a s a , n s
se n se o f the w ord is c lled ch n ti g ”the origi a l d wide r , a a n , n an
me i n g o f the word bein g “ so g or si gi n g

an ( v n n . .
Ambrosian C h an t Gregori C h n t d Pl i n C h n t ) , an a , an a - a .
C h a nt S on g ; tu n e ; melody ; si n gi n g .
Ch a nt e r To sin g .
Ch a nt e r a l i vre ouvert To sin g a t sight .
Ch a nt e re ll e The highest strin g o f t he in strume n t s o f t he

iolin d lute cl asses
v an .
Ch a nt e ur A m le sin ger a .
Ch a nt eu s e A fem ale si ger n .
Ch a nt p a s t ora l A pa tor l song s a .
Ch a nt re C horis t er prece tor si ger , n ,

n .
Ch a nt ry An e n dowed ch pel where m asses a re s ai d fo r the soul s

.
a
o f the do or n s.
Ch a nt s u r l o l i vre A n extempor eous cou n terpoi t added an n
by o n e or more si gers t o t he a m t of e mo su n g by others I t is

n r .
iden t ic a l with con t pp u m o l l ma t a ra

‘
a a n .
Ch pa e a u c h i n o i s ( Fr A cres ce n t A n i n strume n.t to be met .
with m some milit ry b an ds ( i f try ) whi eh co sists f a st ff a n an , n o a
( c rri age ) a cresce t with two hor e t ils

a ,
d nme tal orn me t s a , an a a n
9 8 C HOI R O R G A N —C H R OM A TI C .
Ch oi r org n A por t ion of t he organ con sisti n g o f a se t o f stops

a . ,
an d corre spon di n g keyboa rd c”

a a lled thus i n d isti n ctio n fro m ,
the more powerful gre a t org n a .
C h or ( )
I A choir ( ) A chorus
2 . .
Ch or s The le ader of the a cie n t dr m a tic chorus n a .
Ch or Belon gi n g to a choir ; wri tt e n fo r or su n g by a choir ( v . .
C horus ) .
Ch ora l A psa l m o hymn t u n e ; a lso pl a i n ch a n t

r - .
Ch ora l e E n glish spellin g of the Germ an word Chora l .
Ch oral e Plur o f Cho a l Ps alm or hymn t u nes

.
. r . .
Ch ora l i s t A member o f a choir a choris t er

. ,
.
C h o ra l i t e r I n t he s t yl e o f Pl a n -S o n g i
C h o r a l m as s i g ( G
.
Ch ora l mus i c Musi c wri tt en fo r choir ( o C horus ).

a . . .
Ch ord Two or more sou n ds combi ed ccordi g to the l aws o f h r n a n a
mo n y n d simul t an eously performed (71 I troductio n V I II

.
a . . n ,
.
,
p . To wh a t has been s id i n the I n troductio n m ay be a
a dded here t h a t some theoris t s gi e the n mes chords f the v a o
v
” ,
ele e n th thir t ee n th & c to combi n a tio s o f sou n ds which o the n r

, , .
,
theorists do n o t regard s in depen de n t chords a .
Ch ord a . ( I ) A stri n g ( 2 ) A ton e or n o t e . .
C h o rd m Plur o f ho da . c r
Ch ord ae e s s e n t i a l e s The t on i c third a nd fi fth o f an y key , , .
C h ore C hoirs choruses ,

.
Ch ori a mb us A metric l foo t co n sistin g of t wo shor t syll a bles

.
a
betwee two lon g on es n v v
Ch ori s t e r A member of a choir or chorus .
Ch ort o n
,
The obsolete choir pitch which pre va iled

formerly i n Germ an churches I t a ried a t di ffere t times . v n ,
a nd w s s much a s ato e n d e e n a mi n or third higher th n

a a n a v a
the secul r pitc h the [ ( m m t a ch mber pitch

,
a cr on , a .
Ch orus ( I ) A choir b d f i g r ( 2 ) A composition su n g by a

. , a an o s n e s .
b a nd o f si gers e ch p rt bei n g performed by multiplicity o f oices

n , a a a v .
C h r i s t a e l ei s o n A p rt f the which is the first a o
pri n cip l portion o f the music l m

a a a ss .
Ch roma ( Gk a n d .
( 1 ) A q u er ( 2 ) A chrom tic semi av . a
t on e .
Ch roma s i mp l e x ( L t A si gle sh rp ( it) Ch roma d up l ex

a . n a .
A double sh a rp x
Ch roma t i c This word d ri ed from the Greek h ma colour
, , e v c ro , ,
h as two fold me an i g
a ( 1 ) I n moder n m usic progres i n g by
n .
, s
semito es chrom tic i n di t in ction from di to n ic

n ,
a s a
Ch om t c n ot es a re n otes o f the di to ic sc a le lter ed by sh a rps

'
r a z a n a
—
,
fl a t s or n
,
a tur a l s A h m ti l e is o n e which proceed s c ro a c s ca
throughout by semiton es ( Di to ic sc le ) — A h om t ca l ly . 0 a n a . c r a z
'
a l t ed cho d is
er chord which co t ir a e or more n otes foreig n n a ns o n
to the k ey t o which it b lo g or more ote proper t o t he e n s, one n s
k y bei n g sh rpe ed or fl tte ed a emito e

e a n ( 2 ) I n t he music ala n s n .
e us c a lled by the n cie t G eek h m ti the

a tetr chord ( a
n r s c ro a c, a
g n
C l l RO MA T I Q U E — C ITH E R .
99
s eries of four n o t es a di ision o f t he sc ale ) a ce ded by t wo ,

v s n
semi t on es an d a t on e a nd s e m t o n e fo r 1n s t an ce b c a h 1 ,
’
c.
C hr o m a t i q u o ( Fr C hrom a t i c
}
.
C h roma t i s ch ( G er .
C h r o t a C h ro t t a
, Rot d C row d , 7x. a an .
Ch urch mo d e s The sc les or oct e species i n use b e fore our a av
p rese t m jor nan d mi or modes pre a iled

a t h t is up t o an d n v , a ,
i n to the se e n tee th ce tury v These sc ales which re purely

n n .
,
a
di to n ic a d di ffer o ly l n the position o f the tw o semiton es re

a n n , a
either authe n tic or p l g al E a ch authe n t ic mode h s a corre a . a
s p o d i n g pl g l a n d both co n t a i n the s a me n o t es
n a a , bu t w hils t i n
the former t he ton ic i the fi rst degree o f the sca le i t is t he s ,
fourth i n the l a tter S t A mbrose is s a id t o h a e i t roduced t he

. . v n
fi rst four authen tic sc les Gregory the Grea t pa ired them w ith a ,
four pl g l o n es a d subse q ue n tly three more

a a ,
uthe tic and n a n
three more pl g al modes were a dded a As howe er the .

, v ,
ele e n th a d twel fth e seldom m de use o f t hey a re ofte n

v n ar a ,
le ft out o f ccou n t d those which are properly spe aki n g the

a , an
thirtee th an d fourtee th a e c lled the ele e n th an d twel fth

n n r a v .
I n st rti g from the followi n g fourtee n n o t es an d ru n n i n g o er

a n v
the n e x t se e white keys o f the pi an oforte you ge t the fourtee n

v n ,
C hurch modes ( t e or sca les ) an authe n tic bei g lw ays on s, , n a
f ll w e d b y a p l g l — D A ; E B ; F C ; G D ; A E ; B F
o o a a z , , , , , ,
C G , The C hurch modes a e either c alled the firs t secon d

. r , ,
third fourth & c or recei e the Greek epithe t s ( I ) Dorian

, ,
. v .
,
( 2 ) Hypodori ( 3 ) Ph rygi n (4 ) Hypophrygi a n ; ( 5 ) Lydi an

an a , ,
( 6 ) l l yp l yd i n ( 7) \
o l i o lyd i n ( 8 ) Hypomixolydi an
a (9) x a ,
Ai l i o ( I O ) Hypo aeolian ; ( I 1 ) H y p e raeo l i an

an, ( 1 2 ) Hyper ,
phr ygi ; ( I 3 ) Io n i n ( I 4) Hypoion i an

an Au t he n t ic Pl aga l
a , .
, ,
Fi l n d Domi n t )
na , a na .
Cl a o o n a
c C h co n n e ( a n ) a .
Ci m b a l A dulcimer .
C i mb a l i C ymb ls a .
C i mb e l ( Ger A mi x ture s t op i n t he org an

. .
C i rc u l a r c a n o n This is a c an on w hich i s so con s t ruc t e d t h a t

.
e a ch repe t itio n a ppea rs a secon d or third or four t h & c higher , , , .

,
or lower the origi n l key mus t t herefore b e re a ched a nd t hu s a ,
the circle comple t ed after a ce r tain numb er of repe t i ti ons , .
C i s ( Ger C sh a rp
. .
C i s d u r ( Ger C sh a rp m ajor
. .
C i s i s ( Ger C dou b le sh a rp
. .
C i s mol l ( Ger C sh a rp mi n or
. .
C i t a ra C ith r a o . a .
C i t h a ra , ( ) A ki n d o f lyre i n use a mo n g the Greeks

I d an
R om n s ( 2 ) The n am e o f ariously sh aped in strume n ts f the

a . v o
lyre species i n m ed l ae al t ime 3 ) A cither v s . .
C i t h a ra b ij u g a ( L a t
. A double n ecked cither
. . .
C i t h er A i trume t i n form like the lute bu t s tru n g w i t h wire

n ns n ,
s tri g i n ste d f c atgut strin gs T h ei t h w a ge n er a l ly

n s a o . e er s
t oo C ITOLE —C LAV I C H OR D .
p l a ye d with or plectrum bu t there we e a lso keyed

a q u i l l , r
cither n d cithers pl yed with

s, a bow &c ( z Zithe r a a , . ) . .
Ci t ol e A sm ll bo x sh ped ps ltery
.
a a a .
C i t t e rn .
o C ither
. .
Cl a i ro n C l ri o a n .
C l a q u e b o i s ( Fr A gige l ir xylophon e or S t hfie el ( g o ’

. a, , ro a . .
Cl a ra b e ll a A soft sweet ton ed org n stop i e ted by Bishop

.
a , nv n ,
us u a l l o f 8 feet pitch .
Cl a ri b e l u t e An org n stop simil a r t o t he C l rabell a bu t a a ,
ge n er lly o f 4 -feet pitch

a .
Cl a ri ch ord 21 C l ichord . . av .
C l a ri n C l ri n o a .
Cl a ri n e t O n e o f t he most import n t wood wi n d i n strume ts whi ch

.
a n ,
is s aid to h a e bee i n e ted bout 1 70 0 by ] C De er f

v n v n a . nn , o
N uremberg It co i ts f cyli ndrical tube with fi ger holes d

. ns s o a n an
keys which termi n tes i n a bell d h s a be k like mouth a , an a a
piece with a si n gle be ti g reed Its e x treme comp ss exte ds a n . a n
from c t o There e cl ri ets o f di ffere t pitch ; tho e ar a n n s
commo ly used i n the orchestr

n e the cl a ri ets n C in E h a ar n i , ,
an d m A The cl ri ets i n D E fl t F A fl t & c a re r rely

. a n , a , , a ,
.
, a
used excep t i n milit ry b n ds A ll cl ari n ets the ne i C a a .

, o n
excepted a e tra sposi g i strumen ts ; th a t is to s y they d o

,
r n n n a ,
n o t sou n d the otes which re writte n f i st a ce the B fl t

n a : or n n , a
cl ari et sou d them a to e low r an d the A cl ri et a mi or

n n s n e a n n
third lower Mu ic f the cl ri et i writte n i the G cle f

. s or a n s n .
( v. C h lume a u ) Be ides t h a bo .e me tio ed cl ri s ets there e a v - n n a n
a e
r b s cl ri et nd a baryto n e cl ri n et N ow cl a ri ets e
a as a n a a . n ar
a s l o m de o f ebo ite
a n .
Cl a ri ne t t o C l ri n et a .
C l a ri n o ( I ) A hrill to n ed n rrow t b e cis trumpe t ( 2 ) A -

, a - u .
na me ometim e gi e to the ordi y trumpet ( 3 ) A bugle

s s v n na r . .
( 4 ) A reed top i the org -s u lly f 4 feet pitch

n an , sua o -
.
Cl a ri o n A hril l to ed trumpet
,
s - C l ri n o )
n . a .
Cl a ri on e t 71 C l ri et . a n
Cl a s s i c or C l a s s i c a l These words re used i n mus c as i n t h( . a 1
t l ie
,
o rts d i n liter ture i n a rious se e which o fte more
r a an a v ns s n
“
or le s o erl a p ( I ) O f the first cl

s v . f t h fir t r k ; more as s , o e s an
esp eci lly pplied to t he older u i er lly ck owledged m sters

a a , n v sa a n a
an d their works those o f the be t epoch ,

f the t ( 2) H i g s o ar . av n
or resembli g the sty le a d temper o f these m ter a d their

n n as s n
works—their perfectn ess o f form “n d sobrie ty a d ide l be ut y a n a a
o f co n te n ts The O pposite o f cl ssical i n this se se is a n

”
.
rom a tic n
Cl a us ul a A co cludi n g music al phrase a cade n ce n ,

.
C l a ve ci n A h a rp ichord s .
Cla v i a t u r The keybo rd o f a pi an o fo rt e or ga n h a rmo n ium & c a , , ,

.
Cl a vi c e mb a l o The h arpsichord .
Cl a vi ch or d O ne f the precur ors o f the pi n oforte A keybo rd o s a . a
s t ri ng ed i n s t rume n t
.
t he to n e f which w s produced by t a ge t
, o a n n s
02 C M OLL— CO M PI A C E V O L E .
C moll mi or C n .
Cod a , Lit t il S omethi g dd d t the en d o f a p i ece o

.
,
a a . n a e a r
p rt o f a piece
a f music as co clu io o a n s n .
C o d e izt a A short Fugue ) ’
( coa a . v . .
C o gl i s t r o m e n t i With the i strume ts n n .
001 With the ; as c o i s or d i ni with the mutes , .
Col ol l col l a With the ; as 0 0 1 b a s s o with t he

’
,
g ass .
, ,
C o l ci o n e
as C l scio e a a n .
C l c nt o
o a With the oc l p t or with the melody v a ar .
C oll d t r
a With the right h d
es a an .
C o l l p rt e
a With the pri cip l p rt
a n a a .
C oll p unt a d ell a ro o

a With the poi t f the b w ’
n o o .
C ol l r o o
’
a With the bow .
C o l l i n i s t ra
a s W ith the le ft h d an .
C ol l v oce
a With t he oice v .
“
0 0 1 l g no e Wi t h t he wood with the s t ick with ,
no t
the h ir f t he b w a o o .
C ol l o t t va
’
With t he oct e t o be pl yed i oct es
a av a n av .
C ol o f o ni a
C ol o p h a n e used f rubbi g t he h ir f bows n, or n on a o .
C ol p h m u m
o o ( R osi ) 71 . n.
C ol o p h o n y .
C ol or t ur a Or me t l p ge ru a d i isio & i na n a assa s, ns, v ns , c .

, n
oc l music This word the plur l form o f which is l t
v a .
, a co o r a a , c,
is le s properly but ery co e n i tly used lso i n co ectio n

s ,
v nv en , a nn
W t h i strume t l music
1 n n a .
C omb i n a t i o n or C omb i n a t i o n a l t on e s 0 R esultan t

, , . .
to es n .
C om e A s like , .
C ome p ri m a A s t first a .
C ome s The comp n ion or an swer to the d u ( guide ) o r a , ,

o: ,
subj ect o f a fugue ,

.
C om e s op ra As bo e a v .
C om e s t a As it st a ds as i t is writ te n n ,
.
C omma This is the n ame o f a rious sm all i n t er als no t used i n

.
v v
practical music formin g the diff ere n ce betwee n two n ote o f s
n e a rly t he s a me pitch Two of these sm ll i ter a ls a re ( 1 ) The . a n v
om ma c y t o u m or the comm s a o fn Didymus which is the

n , ,
di fferen ce be tw een a m ajor an d a min or to e ( 2 ) The m m n . co a
or comm a o f P y t h agora s which is the di ffere ce ,

n
betwee n the t wel fth fi fth (jus t i n ton a tion n o t tempered ) a d t he ,

n
se e n th oc ta e bo e a gi en n ote
v v a v v .
C om m o d am en t e W i th ease q uiet ly in a com fort ble , ,

a
C o m mo d o ( It m an n er . .
C ommo n ch or d A chord composed o f a b ass n o t e 1t s m aj or o r . ,
mi or third an d perfect fi fth

n , .
C omo d o The ame as ommodo s c .
C o m p i a oev o l e I n n gree a ble pl e as a n t m an n e r a a , .

CO M PL E T O RI U M— C O N C E RTI NA . 10 3
C o m p l e t o ri u m C ompli n e .
C om p l i n e The e e i n g pr yer or service

v n a , t he l t as of t he h or a
ca n on zca .
C om p oun d i nt e rv I n t er vals which e gre ter th n an

al s .
ar a a
oct e a n i n th bei g fo r in st an ce co n si d ered the compou d o f

av ,
n , , n
n oct
a e n d secon d a tw el fth o f an oct a e an d a fi fth a
av a a ,
v ,
fi ftee th o f two octa es

n v .
C omp oun d t i me s Times i n which se v eral simple times e

. ar
grouped together : time fo r in s t n ce is simple time ; 3 time , a ,
i compou n d time
s ( 71 I n t roduction
. X pp 2 1
.
, .
, .
C on With .
C on a b b a n d on o Wi t h sel f-ab an d on me n t with p io , a ss n .
C o n a ffet t o W ith passion with ten dern ess ,

.
Con a fl e z i o n e
‘
With a ffection wi t h te n der es ,
n s .
C o n a fii i z i o n e S orrow fully .
C o n a g il i t a With n imblen ess wi th ligh tn ess , .
C on t az i on e W i th agi ta t ion excitedly

°
, .
C o n cun a li ce nz a W i th a cer tai n degree o f lice nc e .
C o n a ll eg r e zz a Joy fully g a ily ,

.
C o n a l t erez z a Proudly .
C o n a m a r e zz a B i tt erly s adly , .
C o n a more W i th lo e ffection d e o t l on v ,
a ,
v .
C o n a ni ma W i th an im tion with spiri t a , .
C o n b ri o Wi t h fi re with i city ,
v va .
Con o al o re W ith warmth .
C o n c e l e ri t a With celerity .
C o n c e nt o C o n cord h a rmo n y , .
C o n ce n t u s ( )
1 C o n cord ; h rmo n y Pa r t music ( 2 ) o a . . .
A cce n tus .
C o n cert ( 1 ) A con cer t ( 2 ) A co n certo . .
C o n c e rt a n t e ( I ) A b rilli an t compo itio n fo two or more s r
solo i strume n t s wi t h or without orchestr l ccomp n ime t

n a a a n .
( )
2 A composi t io n i n which e or more in strume ts pl ay on n
romi n e t p a r t s — A p a r t is a id to be o ce t a n t e ( t a t o or
p n . e s c n r con c r
o ce t a n a o) w he n i t st an ds out from the rest o f the co m p a n i

'
c n r ac
me n t d con cer ts i e s t ri es with t he pr i n cip a l p art

an , . .
,
v ,
.
C o n cert e d m u s i c Music fo r se er l oices or i n trume n ts the

. v a v s ,
p arts o f wh1ch do n o t s tan d 1n t he rel at ou o f solo an d ecom 1 a
i m e n t b u t are o f n e a rly e q u a l import a ce

p an , n .
C o n c e rt i The plural o f con ce to r
C o n cert i na A sm all mu ic a l i n strum e n t hex agon l i n form

.
s , a ,
which a s rega rd co truc t ion is somewh a t simil r to the

s ns a
a ccordio n The E glish t reble co certi n a ha comp ss o f n n s a a
a bou t three a n d a h a l f or four oct a es ( from g to with l l the v a
in t ermedia te semiton es an d is a doub e ct o n i n strume t th a t

l ,
— a
.
i n
is o n exp an din g a nd c ompressi n g the bellows the s me ote

,
a n
i s produced The te n or ba ss an d double bass co c rti

.
, e ,
n e na ar ,
li k e t he a ccordio n si ng le a c t io n i n s t ru m e n t s produci g di ffere t

, ,
n n
104 CO N C ERTI N —
O C ON C E RTO DA C H I E S A .
ote o n e x p di g d compr i g the bellows C h rl es

n s an n an ess n . a
Whe tston e pate ted the co certi i 1 82 9 The Germ n

a n n na n . a
con certi n a is a less perfect i t rume n t th the E n gli h n ns an s co
ce rt i n ; it
a i s a si gle a ctio i trume t nn d i t s sc ale is no t
- n ns n , a
chrom tic a .
C o n c ert i n o ( 1 ) A sm al l con certo

“ “
( 2 ) The ”
opposite of .
ip i
r —
en o n am ely pri n cip l or ,
t t ; f i t ce a ,
co n cer a n e or ns an ,
i ol i
v no o ti pri ncip l i o li n 3 ) The me
c n cer n a, ti a a v . na con cer n
is sometimes pplied to a first io l i n p rt i which ar e tered

a v a n e n
the bb/ g t o pa ssages o f the oth e r p rts ( 0 C o n cert o grosso )

o z a
’
a . . .
C o nc e rt mei s t er The le ader o f the orch stra the fir t f e , s o
the first violi n s .
C o n c e rt o ( 1 ) A co n cert ( 2 ) A compositio n co n i s ti g . s n
gen erally f three ra rely o f fou r mo eme n ts fo r o e or more

o , ,
v
, n
solo in strume ts with orchestral ccomp n ime n t Its form i o n

n a a . s
the whole th t o f the so a t ; its disti n cti e fe tures

a the
n a v a a re
t u t t i ( the orchestr a l l l i ) a n d cert i n peculi ritie ri i g

'
to rz rue a a s a s n
from the i te n tio to di pl y the solo i n strume n t

n n d the powers
s a an
o f the pl yer A s o n e o f the e peculi rities m y be me ti

a . ed s a a n on
the c de s pl yed by the performer f the solo p rt ju t be fore

a nz a a o a s
the co c l udi n g t u t t i o f the first n d the l st mo eme t

n So t a a v n . na a
an d C de a ) The cus t
nz a om .a ry t u t t i which fo i t ce i n , , r n s an ,
Mo art s co certos a ppe a r i n di ffu i e ful e

z
’
n e i n more s v n ss , ar
modern times ofte n curt a iled or ltogether omitted This i s a .
e s p ec l l y the c ase with the lo g i troductory t u t t i

1a which n n ,
ge n er l l y prese n ted both the first a d the seco n d ubj ect fter
a n s a
w a rds t ke n up by the so lo p rt or olo pa rts Al so the c ade as

a a s . nz
h e lost much o f t heir former import ce I other word the

av an . n s,
c o certo at o n e time a show piece h s more

n ,
- n d more becom e , a a
a to e -poem C o certos without orchestr al ccomp a ime n t

n . n a n
n eed h a rdly be me n tio n ed t hey e e x ceptio n l d o f ery ra re

, ar a , an v
o ccurre n ce .
I n its e a rliest pplic tio the word co

a n certo wa s syn o n y
a n
”
mous with co n ce t sig i fyi g no t a defi ite form but com n n n n a
, ,
position i n pa rts either purely ocal or oc l a n d ,

v v a
G iuseppe To relli who died i n 1 7 0 8 is reg rded s the i n e tor o f

, , a a v n
the m odern con certo The de elo pme n t o f the con certo ru s . v n
pa rallel o ne may s y is ide tic l with th a t o f the son a t a The

,
a n a ,
.
e a rlier e em p l i fica t i o n s o f the e forms differ in deed oft en o n ly i n

x s
n a me With Mo ar t ( 7 5 6 1 79 1 ) the co certo reached o t o

. 1 — z n ,
s
spe k m turity ( S ee the followin g a rticl es )

a ,
a . .
C o n c e rt o d a ca mera C h a mber co n cer t o (o C on certo . .
an d C o n certo ros o )
g s .
C o n c e rt o d a c h l e s a C hurch co n certo This was a t first .
simply a sacred composition without a y fixed form an d fo r se er l n v a
p a rts either solely oc al or oca l and i n strume n ta l ; fterwa rds

,
v v a
the n ame was give n t o a composition f r a so lo oice with organ o v
a ccom pan imen t fin ally i t mean t a composi tio n fo r a solo i ns t ru

m en t w ith s o me kin d o f ac comp an im e n t .
10 6 CO N M A NO S IN I S T R A— C ONT R A B A S S I S T .
Con m n o s i ni t r ( It With the le ft h

a s a . an d .
Con mol t o p i o n ( It \V h much p as s e . 1t ass io n.
Con p r ci i on ( It With preci io

e s e . s n .
Con p r t zzes With r pidity

e a a .
C o n r b b i ( It
a With r ge furiously
a . a ,
.
Con ra p i d i t With r pidity

a
reg
a .
Con o l uz i o n e ( It With resolution firmly .

, .
C o n s d e g no ( It S cor n fully gri l y

.
, an .
C o n s e cut i ve s A term chiefly p p l ied to progre ion s o f perfect a ss
fi fth d oct a es which

s an p r mi ible o ly u n der cert i c n
v ,
a re e ss n a n o
diti s or fo
on speci l purpo They e most objectio bl e
r a s es ar na
whe the p rts which thu o ffe

.
n nd re e x treme p rts
a Co s a a . n
sec u t i e u i o n
v e lik w
p
n srohibited Bu t the prohibitio
s ar n f e 1s e . o
co n e ut h e
s c oct es d u son s pplies o n ly to i di idu al av an ni a n v
p rt o t to the doubli g rei forci n g o f o n e p art by a other

a s, n n , n , n .
Hidde co ecuti esn discussed i n the a rticle s e F f t h:

ns v a re a n
’
and s d en Oct a ves .
Con s e m c p l i i t a ( lt With simplicity . .
C o n s e n s 1 b i l i t a ( It With se n sibility with feeli g te d r e s

o
.
,
n , n e n s .
C o n s e nt i m e nt o ( It With se n time n t with feeli g .

,
n .
C o n s e rva t o i r e ( Fr A public chool f mu ic f

.
s
C o n s e rva t ori o
o s or
d ced stude n ts a van

C o n s e r v a t o r m m ( Ger from La t
.
.
,
C o n s ol a n t e C o n soli g n .
C on s ol e nni t a Wi th solem ity n .
C o ns on a n c e A h rmo iou s ti fyi g restful combi tion of

.
a n s, a s n , na
s ou d The opposite o f
n s . i di con so n a n ce s s s on a n ce .
C on s o n a n t C on cord t h rmo ious ( C on o ce ) an ,

a n . o . s n an .
C ons on a nz a
.
Con s o nan z A co o ce ns n an .
C on s o n o r i t a S o orou l y n s .
Con s o rd i no With the mute This i n dic tes ( I ) i pi n o . a . n a
forte pl yi g th t the o ft ped l h s to be used ; ( 2 i

a n a iolin s a a n v ,
v iol & c pl y i g th t mute h s to be pl ced o n the bridge ;

a, a n a a a a
d
.
,
3) i n hor trumpet & c n,pl yi g th t mute h to be i n serte , .

,
a n a a as
i n to the bell S d is the plur l of d .

( 71 S o
orrd m zn z
H
a sor zn o . . o .
m
C o n s p i ri t o ( I t I a pirited m . n er n s an .
C o n s t r e p i t o ( It N i ily . o s .
C o n s u a v i t a ( It With su ity with ”

weet
. n ess av ,
s .
C ont a n o ( It Lit “
they cou n t This e x pression i n d icat es 1n .
cor th t cert i p rt h e to be sile t

. .
s es a a n a s av n .
C o n t e ne r e zz a With t der e en n ss .
C o n t i mi d e z z a I timid m er n a an n .
C o n t i nt o With riou sh des f e x pression va s a o .
C o n t i n ua t o C o ti ued held dow sust i n ed n n ,

n, a .
C o n t i n ue d b a s s to B so co ti uo . as n n .
O er g i st f ci g opposi te to T he
.
C o n t ra ( L t ad . an v , a a n , a n , .
follo wi n g a rticles will show the riou me i gs o f t he word va s an n
whe n prefi x ed to other words .
C o nt ra b a s s i s t A double b pl yer a ss a .
C O N TR A BB A S S O —C ONTRE -T E MP S . 10 7
C o nt ra b b a s s o or C o nt ra b a s s o ( I t T he double b s s a .
C o nt r a d d a nz a ( It
,
A cou try -d ce . n an .
C o n t r a ffa g o t t o or C o nt ra f a g ot t o ,
A double b ass oo n
(q a
C o n t na i n t e ( Fr ) B t i t (q )
. arre con r a n e ua .
o r o t The deepest d most full to ed species f fem l

C nt a l t ( I . an n o a e
oice the higher bei m p d p Its er ge n ezz o s o r a n o an so r a n o. av
comp ss is from f t o g exce ptio l

v a
,
” "
a df g & For ’
na a re e a n c
chor l purposes c omposers should
, , , .
a e x ceed the limits g d not an

Al sed sy o ymously with to i s u lt n n co n t r a o.
C o n t r n q ui l li t a ( I t
a With t r q uillity c lmly . an a .
C o nt r oct v The oc t from C up to but

a a e i clusi f C av e , ,
not n ve o , .
I troduc tio p 5
n n, . .
C ont r p o u n e ( Ger
a sa A 3 fee t ree d stop i the org . 2- - n an .
C o nt ra p p u n t i s t a ( I t A d ep t i cou terpoi t co t r . n a n n n , a n a
pu t st n i .
C o n t ra p p u n t o C ou t r p oi t n e n .
C o nt r p p unt o ll ment e ( It
a Impromptu cou t erpoi t
a a . n n .
The Fre ch c lled it Ch n l li (g

a a n t su r o vr e .
C o t r p p unt o d o p p i o ( I t
n a Double cou terpoi t . n n .
C o n t ra p p unt o s o p r il s og g t t o ( It C ou t rpoi t b e a e . n e n a ov
the subj ect .
C o n t r a p p u nt o s o t t o i l s og g e t t o C t p mt below o un er o
the subjec t .
C on t r p un k t
a C ou t erpoi t n n .
C o n t r p u nt l Pert i i g t o or f t he ture f cou terpoi t (

a a a n n , o na o , n n . v.
C ou terpoi t ) n n .
C on t r p unt i s t O skilled i cou terpoi t ( C ou terpoi t )

a . ne n n n . o . n n .
C ont r ’
co ( It Bowi g ( the ioli & m m er co tr ry
ar . n on v n, c . a an n n a
to rule .
C o nt r ry mo t i o n C o tr ry mo t io occurs whe
a p rt sce d
. n a n n o ne a a n s
an d other desce ds From co t r ry motio
an di ti gui hed
n . n a n a re s n s
si mi l d bl i q
a r an motio o ue n .
C o nt r s o g g t t o ( I t
a s C ou tersubject
e . n .
C o nt r t n or
a- e The p rt bo e the t e or but belo w h a a v n t e
high st p rt i c ompositio f se er l oices The l t
e a n a n or v a v . a o .
C o nt r t t mp o ( It
a e A ote which b egi s u cce t e d p r t
. n n on an na n a
o f b a d e ds a r an cce ted A sy cop t io n o n an a n . n a n .
C on t ra to
'
( Ger ne The o t es belo gi g to th o tr oc t

. n n n e c n a ave .
C on t r b s e ( Fr
e - a The double b ss
s . a .
C o nt d n e ( Fr
re a A cou try d ce
s . A soci l d ce i n - an a an n
which couples f d cers pl ced i m ke co t r ril y simil r
'
o an a en s -a v : a n a a
ste ps d fi gures ”
an The mos t impor t t t r ther con r ea a n se, o r
’
a
. an
ser es fi d o f our d y the Qu drille ( o
con t r e a n s es , o a 18 a . v.
C on t re p rt i e ( Fr
- a A p rt opposed t o o ther . a an .
C o nt r p o i nt ( Fr ) C ou terpoi t
e . n n .
C on t re p i t i t
o n ( F r C o tr pu
s tis t e . n a n .
C o nt r q e - t ( Fr C ou tersubject
e . n .
C on t re t m p ( F r
- e C o tr t t em p
s . v. n a o .
10 8 —
CO N V E RS I O C O RN O A LTO .
C o n v e rs i o I r io n n ve s .
C o p e rt o C o er d mu
v ff
ile d
p
— Ti mp
t i m u
e ffled kett
, le an co er ,
drum s.
C o p ul a A coupler .
C o p y ri g h t The exclusi e right which an author has o f pu bli h g

.
v s in
hi works f
s a umber o f ye r or right which he m y ll
n a s, a , a se
bsolutely or co ditio lly to publisher or a y ot her pers o n

a n na a n .
C or A hor n .
C ora l e A hym n tu n e pl a i -ch a”n t n .
C or a ng l a i s “ E glish horn This i n strume t is a l a rg en n

”
.
si ed oboe with a comp ss from e to

z But the o g l a is a a . as c r an
is a tran sposin g in strume t d sou ds per fect fi fth lower than n an n a
the n otes writte n fo r it these l a tter exten d from b to ,
C ora nt o A C u ra n t e o
C ord a A stri g n .
C ord e S t ri n gs
A stri ng — Co i e aj ou an d co de a wi de O pen s t ri n g
.
C ord e
“
rr r, r , .
C or d o ch a s s e A hu ti n g hor n n .
C ord e fa us s e ( F A f lse s t rin g a .
C or d o s i g na l ( Fr A bugle . .
C or d e va ch e s A cow horn used by herd smen -

, .
C ori feo C orypheus ( a n ) .
C ori s t a , ( I ) A m a le or fem a le chorus si ger ( 2 ) A tu n i g n . n
C o rm o r n e C romorn e .
C orna mus a The b ipe a r

s
C orna r e ( L t n d It ) a n d o r n 1 c a r e
a . a . C orn e r To
ou d a horn
s n .
C orn e mus e T he b gpipe a s .
C orn e t ( 1 ) An obsolete wi d i strume n t ge n er lly m de o f wood

. n n , a a ,
o f which there were se er a l ki ds o f di ffere n t si e vC or et t o ) n z s . n .
( 2 ) The n me o f s e era l org a stop ( 3 ) A br s i trume t o f

v an s . a s ns n
the trumpet f mily a C or n et a pi to n s ). s .
C orn e t a p i s t o n s A b rass in strume n t o f t h trumpet fa mily with

.
e
a l es ( a n ) by me an s o f which a chrom a t ic sc a le ca n be
v v ro
, p
d uced I t i s usu ally i n the key o f B Dan d has on e or more
.
c rook s ( A A D G ) a n d there fo re the n otes writte n fo r it ( fro m

, , ,
f# t o sou n d a t o n e mi n or third m jor third or per,

f ec t , a ,
fourth lo w e r The S op an o Co et is i n the key o f E fl t

. r rn a .
C orn ets i n other keys a e a lso t o b e me t wi th but a re less com mon r ,
th an those abo e men tion ed v .
C orn et t a ( I ) A sm a ll hor n ( 2 ) A cor n et . .
C orn e t t i n o A sm all corn et t o .
C orn et t o ( 1 ) A cor n e t ( 2 ) An obsolete wood wi nd

—
i n strume n t Co e o n t t. m u t o a rmu t e so t to e
f n d — ho rn ; ,
-
cor n et t o t ort o or s t or t o a cro o k ed h o rn

, , .
C orn o A hor n .
C orn o a l t o T he high ho rn .
n o C OU N TE R S U BJE C T—C R OMO R N E .
Co u nt ers ubj ect ( I ) The secon d theme i n dou b le fugues an d

.
fugues with t wo s ubj ec t s i n d isti n ctio n from the p i n ip al r c
subject ( 2 ) The subj ect accomp n yi g the swer ( the t e

. a n an
s umptio n by o n e p a rt o f t he subject proposed by an other ) o f

a fugue B u t the a ccomp n ime n t o f the a n swer gets this n m e
. a a
on ly whe n i t is ret i ed throughou t t he fugue ( 3 ) A melody a n .
formi n g cou n terpoi n t g i n st a a t u fi m s

a a a c n s r u .
C ount er-t e n or M a le lto oice . Alto ) a v . .
C ount ry -d a” n ce Whether cou n try mean s here simpl y

“
.
rustic or has t o be reg rded as a corruption o f con tr

,
a a,
i s s t ill a m t t er o f co t ro ersy a Bu t wh a t e ver the right i ter

n v . n
re t a t i o n m y be a cou n t ry d n c e is a co n tr d a n ce O - a a-
p “
a , e . n
writer defi es it s a”dan ce i n which partn ers a e arr ged

n a r an
o pposite t o e a ch other An other wri ter fter rem rki g th at

.
,
a a n
a t the comme n ceme n t the ge n tleme n are a rr a n ged o n o ne side

an d the l dies the other proceeds thus i n his description f
a on , o
the d n ce a I n its figures the d cers a re con s t an tly ch n gi n g an a
pl ces le ad i n g o n e n other b ack n d fo r wa rd up an d dow n

a ,
a a , ,
p arti g an d u n itin g g a i n The n umerous di ffere n t figures

n a .
,
which gi e n in terest t o t his d ance are gen erally desig t ed

v a ,
na
with a particul ar n ame The music is some times i n and .
sometimes i n { t ime ( C hamb ers s En cyclop aedi a

‘
3 To
’
thi has howe v er t o be a dded th a t these are t he mos t common

s , , ,
but t the on ly t imes i n w hich cou n t ry -d an ce tu n es h a e bee n

no v
composed .
C oup d a r c h e t
’
A stroke of the b ow i n violi n Violon cell o , ,
& c pl yi n g
.
,
a .
C oup e r l o s uj et To abbre iat e t he subjec t v .
C oup l er The mech an is m i n an org an w hich conn ec ts di ffere n t

m n u als together or t he ped a ls with the m u als ; so th t i n
.
a ,
an a
pl yi ng o n o n e m an u a l you act lso upon a n other or i n pl ayi ng

a a ,
on the pe d a ls you a c t a lso on a m n u a l a .
C oup l e t ( 1 ) A s tan a o f a so g ( 2 ) A a ri a t ion

z n . v .
C oup l e t ( )
1 T w o erses w hich rhyme v ( 2 ) Two n o t es t he .
,
di vis1 on of a bar or p a r t of a b ar in t o t w o i n ste ad o f three e q u al

.
p rts a .
C oura nt e A me rry ru nn in g o l d d an ce i n or t ime ,

.
C ouro nn e A pause .
C ra covi e nn e A Polish d an ce i n time

C re d o The t hird prin cip al di vision of t he music a l mas s .
C re mb a l um A Jew s h a rp - ’
.
C re s cen o d Gr du lly i n cre a si n g 1na loud an ess .
C re s ce n t .
C h a pea u chi n ois .
Cr h F
C ro m a t i o o
A qu av er
C hrom
'
a
}t ic
l
C romorn e The n a me o f a fa mily o f obsole t e reed w m d

ins t rumen t s I n Germ n y i t w as called K ru mmho n (crooked
. a r
C ROO K —
S DA CA P O . 1 1 1
hor ) C romor n e i s s a id t o be a corruptio n o f cor m orn e ( cor ,

n .
h ro n morn e, dim , gloo my ) .
C ro o ks .
t
C ur v ed ubes which a re i n serted i n to hor n s , trumpets , & c , .
fo r the purpose o f a lteri n g the key The A crook , fo r i n st an c e , .
i n m aki n g the tube o f a n i n strume n t i n E hlo n ger , m a kes i t s pitch

l o semito e lower
a s a n .
C ro t a l um ( L t from A species
a . f cl a pper used by t he
,
o ,
n cie t Greeks to m rk the time i n d n ci g

a n a a n .
C ro t ch e t A n ote or correspo di g res t e four t h the value o f a

.
n n o - n
s mibre e ( I troducti
e v . IX pp 1 7 0 . n on, .
,
.
C r o w d ( E gl C rw t h ( Welsh ) A more or less lyre sh a ped

n .
-
i n strume t the stri gs o f which were origi n lly tw n ge d after

n n a a
w rds i t w as a lso pl yed upo wi t h bow modific a t ion s of s t ru c

a a n a ,
ture bei n g con se q ue n tly i n troduced .
C ru c i fi x u s A p rt o f the C redo i n the m a s a s .
C rw t h . C rowd .
C s ar d as Appe di x
. n .
C S o hl ii s s e l The C cle f .
Cu e To i sure a correct e n try o f p rt a fter a lon g res t n o t es

n a a ,
belon gi n g to o ther p rts r ofte n i ser t ed ; t hese are c a lled a

,
a a e n
cu e .
C um n o t o s p i ri t u
sa P rt o f the Gloria on e o f t he a ,
d i ision s o f the music al m ss

v a .
C us t o s A direct the sig n w pl aced t the en d o f a lin e or ,

e a
page An o ther sig n will be fou d mo g the ign s n ow or

. n a n s
m e ly u sed o n p 5 5 o f t he I n troductio
Cy mg
or r . n .
al es C ymb a ls .
C y m b a li s t a A cymb l pl a yer a .
Cy mb a l s Music a l i n stru me n ts of percussion m ade of me ta l an d

. , ,
i form n o t u n like b a si n s or pl a t es
n T he soun d is produced by .
cl shi n g t hem t oge t her

a .
Cy m b e l C imbel .
C z a k a n ( C ech ) A flu te a nd w a lki g s t ick combi n ed

z . n - .
C z a rd a s o c s ard a i A ppe dix

. . s n n .
D .
The me of t he seco n d degree of C m jor the o rm l m j or

na a , n a a
sc le a .
From by a b ou t o fo S t d h i
f —
, church son t ;
, , , r . on a a a c esa , a a
t a d a ca mer a c ha mber so
son a ta ,
na .
ca p o or abb re v ia ted D C From the begi n n in g The , . ,

.
words a t fi n e or a l egn o D a c po l fi e an d D a c po a l s a a n , a
segn o) a e ge n er lly u derstood A s a e x cl m a tion afte r a

r a n . n a
per form n ce this e x pre io n is sy on ymou with

a ss n s en cor e .
1 12 D A C APO A L FINE— D E C A C H O R D .
D a ca p o al fi n e ( It From t h e begi n i n g to the

. e n d — i e repe t n . . a
t he p ece from t he beginn in g t o the e d or to where the word

i n
F i ne or a m st an ds .
D a ca p o a l s eg n o
. F rom the begin n ing to the sign“ This .
expressi on has”howe v er a lso bee n used 1n the se n se f Repe t

.
, , o a
from the sign .
D a ca p o a l s e g n o p o i [s e g ue ]l a co d a ,
From t he be
g m m g nto the si gn the n [f ollows ] the od , c a
D a ca p o s e nz a rep li c a o r s e nz a r i p e t i z 1 o n e ( I t F rom the .
begi n n i n g wi t hou t repetition F or n st a ce M i u et t o da c p o . i n . n a
s ep l i ca [o r s en
en z a r r ip et i z i one] Pl ay the mi nue t agai n but
za .
,
do t repe t t he p arts
n
’
a .
D a ccord
’
I n tu n e .
Da C h Li t roof The upper p rt o f t he sou d bo of a

.
, . a n - x
stri ged in strumen t The belly f ioli n &

n . o a v , c .
D a ct y l A metrical foot con si ti g o f three syll bles the first long s n a , ,
the t wo others short

.
: v v
D a c t y l i o n ( Gk An 1n st rume n t n en t e d by H Her with a e w

. 1 v . z, v1
to ss t pi n ists n m ki n g their fi gers i de pe de t n d f e q u l

a is a i a n n n n a o a
stre n gth n d supple n ess It con s sts o f t e r g th t h g bo e

a . i n in s a an a v
the keybo rd a d a e f te n ed to steel p ri gs

a n r as s n .
D a i na A ki d o f Lithu ia folk son g th t has lo e d frie ndship

n an n - a v an
fo r its subj ect D a i n os 5 the plur l f d . 1 a o a zn a .
( It C o tr ctio . n a ns
o f the prepositio n d a an d the m sculi e d femi i e si gul r a n an n n ,

n a
an d plur l forms o f the defi ite a rticle i l l

a , (m s g i gli ( m n , o . in , .
l (f si n g ) l e (f a .
, .
D al s e g n o ( I t From t he sign Da l s e g no a l s e g no ,
from the sign t o t h e sign This l st e x press o implies th a t there . a i n
a e two sig s i n the piece

r d t h t the portio n lyi g betwee
n , an a n n
them is to be repe ted I t roductio n p a . n , .
D a mp e r ( I ) Th t p rt o f the mech n ism f the pi oforte which

,
a a a o an
checks the ibr tio f the tri g a d co seq ue tly stops the
v a n o s n s, n n n
sou n d ( 2 ) The mute o f br ss wi n d i strume ts

. a n n .
D a mp f‘er ( Ger A d amper a mute . .
D a m p f u n g ( Ger D mpi g m fil i ( ) The pa rt o f t h

'
( )
1 u .
g 2 a n , n . e
pi oforte a ct on which stops the vi bra tion s of the s t rin gs

an i .
D a rms a i t e n ( Ger C a tgut stri g . n s.
D a ume n The thumb .
D a umena ufs a t z ( Ger Thumb position . .
D d u r ( Ger D m aj r . o .
D e b i l e or d eb ol e ( l t Feeble we k .
,
a .
D eb ut ( Fr A firs t appe r n ce. a a .
Dé b ut a nt ( FL ) A m le performer who a ppears fo r the first time a .
D eb ut a nt e A fem le p r former who ppe rs fo r the fi rs t a e a a
time .
De ca ch ord D é c a c o rd e A n 1n s t ru 1 t o f t he gui t a r n en
fa mily with t e n t ug s r1 s.
11a D EM I -C A DEN C E— DEXTRA .
Demi ca d nc
- e A h l f c de ce (v C de n ce )
e a a n . . a .
D mi j u
e - e This term i used i i strume t l mu ic an d corre s n n n a s 1
s o dnwith ms o e d m f t
ez z a v c It i especi a lly t o be me t
an ez z o or e s
p .
with i n org d h rmo ium mu ic s ig i fyi g with ha l f t h e

an an a n s , n n
power o f the i trume t ns n .
D e mi -me s ure H al f a b ar .
D e mi p a us e ( F
- A mi im re t n s .
D e mi -q ua rt d e s oup i r A demisemi q u a er res t v .
D e mi s e mi q ua ve r A ote equ l i n dur tio to on e fourth o f

.
n a a n
a q u e a avd o n e
r twe ty -fourth
n f emibre e A demi
n o “
a s v .
s mi qu er ote h s this form Q a demisemi qua e r res t this

e av n
a
a
a , v
I troduction IX p
n
Demi —
.
, , .
s oup i r ( Fr ) A qu er res t av .
D e mi t o n
- A se mito e n .
D e ri va t i ve s C hords der i ed from others by in ersio Thus fo r v v n .

,
i st ce the chords o f t he sixth an d o f t he fourth an d six th are

.
n an , .
deri ti esva I n t ro duction é V III pp 1 5

v .
, .
,
.
,
De s D fl at .
D e s ca nt o Disc a t
. . n .
Des d u r D fl t m j or a a .
De s s i n Desig or pl n an .
D e s s us The treble the highes t v ocal part ,

.
S righ t ly .
D e s t ra i ght ; m d t the right h nd

as ano es r a , a .
D é t a ch é Det ch d t t a e ,
s a cca o .
Det e rmi na t o Determi te i resolute m n n er na ,

n a a .
D et o n a t i o n ( F The a ct o f si n gi g out of tu n e False ln n .
to tio na n .
D é t onn er To si g ou t o f tu e n n .
De t t o S id n a med ; a s i l det t o s t romen t o

a , the s id i a , a
strume n t .
D e ut s c h e Deutsche Ta e nz .
Deut s ch e FIOt e The Germ n flu te a .
Deut s ch e r B a s s Germ a b ss A obsolete i n stru m e t n a . n n ,
a lmos t e q u a l i s u e t o t he double b a ss w ith fi e or si x c tgu t

n ,
v a
stri gs n .
De ut s ch e Ta nz e or simply Deut s ch e ,
Li t German .
,
d an ces A n a me o f the old slow w a lt es

. z .
D ouz i eme p os i t i o n The seco n d posi t ion of the h an d t he ,
h al f shift on i n strume n t s o f the v iolin cl ass

,
Position ) . .
Deux q ua t re T he mesu re a deu x qu a t e is 2 7 t ime r 7 .
D e v ot o D e ou t ; de vo t e d v .
Devozi on e De v o t io n — Con devo i o e with de otio z n ,

v n .
Dext ra ( La t ) Righ t ; as ma n u s de t ra t he right h an d ; m n

. x ,
a u
dex t a w 1 t h the righ t ha n d

r ,
.
D I — DI A ZEUX I S . 1 15
Di O f, f rom to , , &c .
Di a g r mm a di gr m This term h d di ff r
a A a a . a t m i gs e en ean n
di ffere t times The G r eks pplied it to their c

at n . e a le f fi fte s a o en
o t es d its di i io i to tetr chords d their ome

n an v s n n a an cl t re I n
n n a u .
l a ter times it w s a pplied to the st e an d a av the sig n ture d t o a a . an
score or a pa t copied out o f a score r .
Di a l o g o D i a l o g ue A di a logue A compositio i n . n
which two si gle p a rts or t w o choirs ( oices or i n strume t ) dis

n v n s
course with e ach other n o w al t ern tely n o w co joi tl y ,

a , n n .
Di a p a s on ( )
1 A n oc t a v e ( 2 ) The comp a ss o f oice or . a v
i trume t (3 ) P itch ; as the d i p on o m l o f the Fre ch

ns n . a as n r a n .
(4 ) The E glish n a me o f n t he org n stops which the It li s a a an
a d n Germ a n s c all ch a ra c t eristic a lly pri n cip l ( P i ip i a r nc a e,
P i ip l )
r nc The Di a p son s are t he mos t import an t fou d atio n
a a n
”
.
stops o f t he org n a .
6
Di a p a s o n cum di a p ent e O ctave wi t h the fi fth the ,
i ter a l o f a t wel fth

n v .
D i a p a s o n cum d i a t e s s a ro n Oc t e with t he four t h av
the i ter l o f an ele e th

n va v n .
D i a p e nt e ( Gk and . The i n ter l o f a fi fth va .
Di a p e nt e cum d i t o no A m ajor se e n th v .
Di a p e nt e cum s e mi dl t q n o A m mo r se ve nth .
D 1 a p e n t e cum s e m 1 t o n 1 0 A mm e r s 1 t h
o
x .
D i a p e nt e cum t on o A m ajor six t h .
Di a p e n t l s a r e ( )
1 To m a ke progressio s o f fi fth s ( ) To
2 n .
proceed by fi fths i n t u n i ng a pian o .
D i a p h ony ( 1 ) I n Greek music i t me an t d issonan ce as sympho y , n
me a t co n sonan ce (2 ) O n e o f t he e arlies t a ttempts a t simul

.
n .
t a n eo u s c ombi na t io n o f n o t e s i n t he middle a ges It preceded .
di c t which i n i t s t ur n was followed by cou n terpoi n t

s an ,
.
Di a s ch i s ma This term is to be met with i m a them tical n a
c lcul tion o f the r tios o f i ter ls It is t he n ame o f a rious

a a s a n va . v
sm ll i ter l s o t used i pra ctica l music

a n va n n .
Di a s t e ma A i n ter a l n v .
D i a t e s s a ro n The i n ter l o f a fourth va .
Di a t o n i c ( 1 ) I n modern music we c a ll di a to n ic the sc le i which

. a n
to es predomi te i n disti ctio from t h e chrom tic sc le which

n na , n n a a
co sists e n tirely o f semiton es There a re t wo modes o f the d i a

n .
t on ic sc le the m aj or d the mi n or
a , I n troduc t io n V )
an .
, .
Dia ton i c n otes a d i ter al e such n o t es

n d i ter a ls as t he
n v ar an n v
di at o n ic sc le con t a in s a d dia t on ic progression s or chords are

a n
s uch progressio n s a d chords a s co n sis t o f i n t er a ls an d n otes

n v
belo n ging to the dia t on ic sca le ( 2 ) The Greek s c a lled o n e o f .
their three gen e a of music di at on ic— t he o ther tw o they called

r
chrom tic d e h rmo ic t he te t ra chord o f t his gen us con sis t ing

a an n a n —
o f a semi t o n e a n d tw o to n es ( fo r i n s t an c e e j g a ) , , ; , .
Di a ul o s Double flu t e .
Di az euxi s ( Gk I n t he Greek sys t e m t he sep a r at io n o f t wo tetra

.
chor d s by t he i n t er va l o f a t o n e .
t 16 D I C HORD - DIRITTA .
Di ch ord ( ) A two stri ged i trume t

. I - n ns n .
( 2 ) An i n strume n t t he
stri gs f which
n tu ed i p ir
o a re n n a s .
D i e s re ( I t
a To put sh rp i the sig t
. a a n n a ur e or before a n ot e .
D i é s e ( Fr A sh rp. a .
Di é s er ( Fr The s me d i . a as es a r e .
D i e i ( Gk ( ) A term which h bee

s s . I p plied to rious sm ll as n a va a
i ter va ls mostly to i n tervals sm ller th

n ,
semito e ( 2 ) The a an a n .
n a me gi e n to t he sh a rp i v It ly n d lso i Fr ce n a a a n an .
Di e z eug me n o n ( Gk Disju ct Thus the Greeks c a lled t he . n .
tetr chord w hich was sep ra ted from the one below i t by t he
a a
i n ter al o f a t on e
v Greek Music ) . .
D i ffere n ce t on e s v R esu l t n t t on es . . a .
D ifi c il e ( It a n d Fr . Di ffi cult . .
Di g i t ori um A sm l l port ble dumb i n strumen t with fi e k eys f r

.
a , a , v o
e x erci i n g the fi gers

s n .
D i g r a d o ( It By degrees step by step

. .
Dfl e t t a n t e A lo er d dmirer o f o e o f the fi e rt v O e who

an a n n a s . n
more or less occupies him el f with n rt but does n o t follow i t

.
s a a ,
profe io ally n o seriously

ss n r .
D il u d i u m ( L t A i n terlude a . n .
D il ue n d o ( It Dimi ishi g i n loud es dyi g w y

. n n n s n a a .
D i mi ni s h e d i nt e rva l s Those which a e a emiton e less t han .

r s
mi or n d perfect i n ter l
n a va s .
Di mi n u e n d o ( It Dimi ishi n g i n loud n ess . n .
Di m i n u t i o ( Lat Dimi n ution I n the pl u ral D i m i n u t one

.
’
z s.
Di mi nut i on ( I ) The ch n gi g o f the n ot e f a subj ect or theme

.
a n s o
i n to n otes o f shorter dura tion while keepi g i n ta ct t heir melodic , n
progression ( 2 ) Fl o i d di vision o f pri cip a l n otes i n to rhy t h

. r s n
mi c ll y sm a ller n d m elodic a lly di ffere n ti ted n otes ; ol o t u e

a a a c ra r .
(3 ) The shorte n i g ge n er a lly by n e h a l f o f the ntime - a lue o f

, o , v
n otes i n the old me sur ble music n a .
D i mi nuzi on e ( It Dim n utio n I n the plura l

. i
D i mo l t o ( It V ery a s A l l eg o d mol t o ery q uick '
. r z ,
v .
D i o x i a ( Gk The me gi e n by the Greeks to the i n t er va l o f t he

. na v
fifth be fore the i n t roductio o f the term pe t n a za

' '
n e.
D i p h o n i u m ( Lat A piec o f music fo two voice s . e r .
Di r e ct The sign W which u ed t o be pl aced a t the e nd o f lin e or

. , s a
p ge to i dic a t e the followi n g n o t e An other sig n will

a n
”
be fou n d .
a mo
g t he
n S ig n s n o w or f ormerly used i n Mus c ( 71 I n tr o i . .
d uction p , .
Di rect eur ( Fr A direc t or a con duc t or . .
Di re ct mot i o n S imil r motio Motio f se er l p r t i n t he .

a n . n o v a a s
sa me directio n ( 71 Motio ) . . n .
Di rg e A son g or i n st rumen tal piece f a mournful ch r cter i n te nded o a a
to commemorat e de a t h or a ccompan y fu n era l ri t es

.
B fl gfegiée r To co n d uc t t o direct
' ’
, .
Di ri t t a ( I t S t r ight direct A l l d t ”
. .
— a i n direct motio n
, in . a
'
zr zz a ,
‘
,
t he se n se of b y degr e e s not by le ps , a .
H8 DITH YR A —
MBU S DOL C I S S IMO .
Di t h y r mb us
a hym n i n hon our o f B cchus The epi t he t A a .
d i t by a mbi e i
r pplied to lyric l compo itio ( i w rd
s a d a s ns n o s an
ton es ) o f wild impetuous a n d e n thusi tic ch r cter

a , ,
as a a .
Di t o ( I t . A fi n ger .
D i t o ne The m j or third the in ter l co s ti ng o f t w to e s

,
a ,
va n is o n .
Di t o n o s Di t on u s Diton e .
Di t t y A shor t simple son g ,

.
Di ve rt i me nt o ( It ( I ) A ligh t e n tert a i n i n g compo ition

.
.
, s ,
Di ve rt i s s ement con sisti n g o f serie o f piece which a s s,
may be i n an y form ( ) A composition co isti g f a n umbe r

‘
2 . ns n o
o f mo v eme n ts or simple t u n es loosely stru n g together A p ot .
p o u m 3 ) F
’
ormerly
. the n me o f a series o f d a n ces or so gs i n a n
set t e d i n the a cts o f oper s balle t s an d pl ys ( 4 ) Now a short a , , a .
b lle t w i t h little or n o ac t ion ofte n mere medley o f d an ces

a , a .
Di vi s i The plural form of d i v i o di vided This term occurs r , .
fre q ue n t ly i n orchestra l scores an d the p a r t s o f the stri n ged

i n strume n t s I t sign i fi es th a t where two or more simult an eou
. s
n o t es a re wri tt e n these h a e to be di v ided betwee n the se er a l v v
er formers o f t he p a r t i n q uestio n
p .
D i v i mo n ( )
I A a ri a tio n o f a simple theme ( 2 ) A lo g n ote
v . n
di vide d i n t o short n o t es A series o f n otes formi n g a ch i n o f

.
. a
sou n ds a n d i n oc l music su n g to e yll ble To u a v a on s a . r n
d i v i s i o is to execute such
n serie o f n otes a s .
D i v o t a m e n t e ( It De outly ; ffectio a tely . v a n .
D i vo t o De ou t ; affectio te I n a de out v a ff ectio n t e na . v or a
m n era n .
Di x i em e ( Fr Te n th The i n t er l o f te n th
. . va a .
D 111 0 11 ( Ger D min or . .
Do ( I ) The n ame gi en by the Itali n s t o t he n o t e C It took i n v a .
t h e se e n t ee n th ce tu ry the pl ce o f t he e rlier a t which i s

.
v n a a ,
s t ill re ta i n ed i n Fr n ce ( 2 ) I the To n ic S o l fa syst em D o is a . n -
the n ame o f the fi rs t n ot e of e ery sc le v a .
D oct or o f Mus i c ( La t : D oct or M i ) The high er o f t he two . u r cer .
music a l d egrees con ferred by t he U n i ersities n d Roya l C ollege v a
o f M usic the other is t h at o f B a chelor o f Musi c .
D o d e c a oh o r d o n ( Gk ( l ) A tw el e stri ged i n strume n t ( 2 ) A

. v - n .
celebra t ed t rea t ise by He n ricus G l n us are a .
Do d ecup l et A group of n ot es formed by the di vi sion o f a b r or

.
a
pa rt of a b ar i n t o tw el ve por t ion o f e q ua l le gth s n .
Doi g t ( F r F inger . .
Doi g t é Fin gered .
Dol ce S weet so ft , .
D ol cem e nt e ( I t S wee t ly so ftly .

, .
Dol ce zz a ( I t S wee t es
n . s — Co d l with weet n e s n o cez z a , s s .
Dol ci a n o) o r D ol ci n o ( I t ( I ) Du l ci n or Dulci an o b so . a , ana , .
lete i n strume n t o f t he ba ssoon pecie ( 2 ) Dulci na soft s s . a , a
t on ed organ s t op .
D o l ci s s i mo S upe rl a t i ve o f d l V e ry s we t n d soft wi t h o ce . e a
re t sweet n ess
a
g .
DOLENTE — DOU BLE B AR . n o
Do l e n t o Dole ful pl i n ti e d ,
a v ,
sa .
Dol e nt e me nt e ( I t Dolefully pl i n t i ely s dly .

,
a v ,
a .
Dol ore P i n grie f p a n g s — C n ol o ae w ith ,

e xpressio o f ,
o a
’
r ,
an n
grie f distress orrow

, ,
s .
D ol oro s a m e nt e ( It S orrow fully . .
Dol oro s o Dolorous a ffl ic t ed sorrow ful , ,

.
Do l z fl ii t e ( Ger ( 1 ) A n obsolete ki .d o f c ro fl ut e ( 2 ) A o ft n ss - . s
to n ed org stop an .
D omch or ( Ger A c thedr l choir . a a .
Domi n a nt ( I ) The fi fth degree o f the sc l e ( 2 ) I n Pl ai n C h n t a .

- a
the d omi t i o ly i ome f the mode the fi ft h deg ree o f the

.
nan s n n s o s
c le i n others it is the third the fourth & ( 0 A ppe di x )

s a , , c . . n .
Dop o ( It After . .
Dop p e l -B ( Ger A d ouble fl at ( bb) . .
D o p p e l fi d t e ( G er Double flu t e An org n s t op
'
. . a .
Dop p el fug e ( Ger Double fugue Fugue ) . . .
D o p p e lfl ii g e l Double gr n d pi o f rte ( I ) An i t a an o . n s ru
me t i e ted i n the l a st ce t ury lso c l l ed D i p l a i

n nv n d n ,
a a a r on an
Vi a v i s It had a t both e d
- s . or t w keybo rds which n s one o a
a c t ed upon two sep a r a te ets o f stri g ( 2 ) P i o a l '
s n s . an c a o ze r r
’
r en verrer
D o p p el g ei ( Ger
’
e . Vi ol a cl a rn or e
o p p e l g ri
’
e D ouble stops on the violi n , Vl o l a , Violo n
cello , &c .
Dop p el k reuz ( Ger A double sh rp . a x
Do p p l t
e oo av e ( Ger The i ter l f t wo oct s
‘
. n va o a ve .
Dop p l s ch l g ( Ger A tur

e a . n.
D op p i o Double .
Dop p i o movi m ent o Double mo eme t A mo eme t v n . v n
twice q uic k the as recedi g it as one p n .
Dop p i o p e d l e This sig ifie i org mu ic t he ped l

a n s, n an s ,
a
p t i oct es
ar n av .
Dori a n ( ) I the cie t Greek syst em t he oct e species

. I n an n , av
fg c o d d a f the t rc spositio c les

e, a n ( ) I t h on e o an n s a . 2 n e
ecclesi stic l system t h o t a species fg b

a the first , e c av e a
’
e a c a,
’
( uthe t ic ) mode
a n .
D ot . ( ) A poi1 t pl ce d ft er ote i cre ses its dur tio

n , h lf a a a n , n a a n one a .
( ) A poi t pl ced bo e or below

2 n ote i dic te th t h a a v a n n a s a t e
l tter h t o be pl yed t
a t ( det c h ed )
as I f there i t the a s a cca o a . s a
s me timea slur the otes thus m rked a pl yed m , n a a re a ez z o
t ( li t
s a cca t o h l f det ched ( 3) p 5.6 , a -
a . .
Doub l e ( Fr V ri tio D bl. m y be defi ed a a n . ou e: a n as re
petitio s o f a so g d n ce tu e or i trume n t l i or me n t d
n n , a n , ns a a r na e
with figures gra ces dimi n utio ru &c The te rm is , , ns, ns, .
ob olete s .
Doub l e b a r Two thick li e dr w ert ic ll y thro gh the s ta e

,
n s a n v a u v
,
howi g the e n d f p rt or p iec

s n o a a e .
rzo DO U BLE B AS S — D OU B L E -TO N G U ING .
Doub l e This i n st rume n t the l a rges t member o f t he ioli n

bass . , v
f mi l y
a d the fu d a me t l p a rt o f the orchestra ha s ge n er ll y
an n n a , a
either three or four stri gs I n Germ n y the dou bl bas is tu ed n . a e s n
as u n der ( ) i E n gl d mos t fre que t ly s u n der ( o)

a ,
n d in an n a , an
It ly d Fr ce s u n der ( c) The double b ass sou ds t he

a an an a . n
n otes oct e lower th n they are wri t te

an av a n .
*
Doub l e bass oon

This i trume t is oct e lower i pitc h ns n an av n
th t he b ssoon Its e x treme comp s e x te ds from the d u ble

.
an a . as n o
co tr B fla t to the sm ll F ( B b to f ) T h comp
n a f double a . e ass o a
b assoo n design ed by Dr W H S ton e d m de by l l e i e . . .

,
an a as ne r
o f C oble t exte n ds from C to '

n z, ,
c .
Doub l e B é mol ( Fr Do uble fl t ( bu) . a .
Doub l e ch a nt v C han t . .
Doub l e ch orus A chorus fo two di ti ct bodies f si nge rs

.
.
r s n o .
Doub l e count erp oi nt v C ou n terpoi t . . n
Doub l e croch e ( Fr A sem i q u er . av .
Doub l e d e mi s e mi q ua ve r A semidemisemi q u a er A n ote of v .
h l f the dura tion f dem i emi q u er the 64 t h p a rt o f a semi

a o a s av ,
bre e ( I ntroductio pp 1 7
v . 71 . n, .
Doub l e di a p a s o n A org n stop o f I 6 feet pitch .

n a - .
Doub l e d i es e ( Fr Double sh rp ( . a x
Doub l e d rum A d rum bea te n a t bo th en ds .
Doub l e fl a g e o l e t A flageol e t w ith t wo tubes an d o ne mou t h

.
piece o n which tu n es i n thirds or si x th can be pl ayed

, s .
Doub l e fl a t The sign Db which i n dic tes tha t the n o te before ,

a
which it is pl ced has t o be su g or pl yed two semi t on es lower

,
a n a .
Doub l e fu e Fugue v . .
The i n ter a l o f a fi ft ee n th
.
Doub l e o c a v e .
v .
Doub l e p e d a l -p oi nt The sustain ing o f the ton ic and domin an t .

"
by two p rts whilst ot her pa r t s a bo e the m mo e o n i n a ryi n g

a v v v
h a rmon ies ( o Ped al -poi n t an d S us t i n ed n o t es )

. . a .
D o ub l e q ua rt et A piece fo r tw o se t s o f four voices or i n st ru

.
m ts
en .
Doub l e re e d Reed .
Doub l e s h a rp The sign which i ndicat es th t the n o te be fore

.
x a
which it i s pl c d h s t o be su n g or pl yed t wo semiton e s

.
a e a a
higher .
D o u b l e s t op p i ng
- The simul tan eous pl ayi n g of two n otes n t he
.
o
v ioli n i ol a Violon cello &c ( 71 S top )

,
v , , . . .
Doub l e t ong u i ng A n action o f the to gue employed i n flut e

- n
d trumpet pl a yi n g fo r the purpose o f produci n g a cle r a r t icul a

.
an a
tio n o f r pid n ote I n di ffere n t cou n tries a n d by differe n t t e achers

a s .
di ffere n t sy ll ble a re recomme n ded fo r d ouble -t on gui ng

a s ,
1 22 —
DU C TU S DUX .
Duct us Melodic mo veme n t o r o rd e r o f successi e n o t es , v ,
which m y be ( I ) rect m direct a sce din g ( 2 ) “ , a n r ever s e
or ev t e re ersed — i e desce n din g or ( 3 ) ci rcu mcu rr c r

,
r er n s, v . . n ,
ci rcu m cu e t — i ce n di n g a n d desce n di ng
rr n . e .
,
as .
Dud el s a ck ( Ger B gpipe . a .
Du e Two A due . .
D u e cor d e ( It T w o tri n gs . s .
Duet ( 1 ) A co mpo t o n f two vo rces o r 1 s t en t s ( 2 ) A com

,
s1 1 or n ru n1 .
position fo r two per formers o n the pi n o forte h rmo ium o r a , a n ,
org n ( 3 ) A compo tio f the org i n two p t to b

a . s1 n or an ar s e
l ayed o n two m u l an a s.
Du e t f ( Ger ) A d u e t
Due vol t e ( I
j Twice t .
'
Dul ci a n Dolci o
,
an .
Du l c 1 m e r A ery cie t i n trume t who e pri n c i p l p rt e

.
v an n s n s a a s ar a
wooden frame a sou d bo rd with o n e or e er l ou d -holes , n - a s v a s n ,
two bridges n d a ppli ces fo r the f ste n i g d tu i g o f t he

,
a an a n an n n
wire stri gs with which it is stru g The dulc mer pl yed upo
n n . i ls a n
with two h mmers a .
Duo ( It A duet . .
Duo d e ci ma ( It Twel fth The in ter al o f a twel fth

, . . v .
D u o d e o i rn o l e ( Ger o Dodecuplet . . .
D u o d ra m m a ( It Duodr m A dr m a tic piece fo r t wo p e r

. a a . a
formers more e peci lly a spoke n dra m with music al aecom s a a
n i m e n t s a ki d f melodr m a (
q 11 n o a
p a , . .
D uoi ( I t The me d u
. sa as e.
Duol o ( It C i f —C d u olo wi th an expression o f grief

. r e . on
, .
M j or a
Dura me nt e ( I t H shly . ar .
D u r c h c o rn p o n i r e n ( Ger Li t t o compose through A . .

, .
/ mp i t a t hrough composed so n g is a son g o f

’’
L i ed
’
a u r c zco on r es
,
,
which e ch erse has a setti g o f its o w n whilst i n o th e r son gs
a v n ,
o e etti g
n er es fo r al l er e
s n s v v s s.
D u ro h fi i h ru n g (
'
Ger W orki n g -o ut d ev e lopme n t o f a su bje c t or.
,
ubj ects
s I troduction XI I I pp 2 9 3 0 & c
. n , . .
, , .
Du r o h g a n g s t on e ( Ger a n n o —
P ssi g tes D u c/zgel end p assi ng . . r z ,
.
Dur e zz a ( It H a rd n ess ha rshness

, .
, .
Duro H a rd h a rsh , .
Duru s d ura d ur um
,
H rd B du r u m B natural
a
,
- .
,
C t d m
a n u: nd fi /zor du m d u u m a hex a chord a n d musi c
a s a ex ac r ,
co isti n g o f the notes g b c d c The fi rs t fo ur t h and se ven th

ns a .
, ,
hex a chords were ca lled h ard ( 11 Mol l i s N a tu ra lis an d . .

, ,
S olmisa tio n ) .
Dus t er ( Ge r Glo “
o my . .
Dux ( Lat Li t l e der gui d e T he p ropos1t 1o n or subj ect o f

. .
,
a , .
, , a
fugue .
E— E INGE S T R I C HE N . 1 23
E ,
me o f the third d egree o f C m jor t he n ormal m ajor sca le
The na a , .
nd f the fi fth degree o f A mi n or the n orm a l mi n o r sc l e

a o , a .
E ( It A nd
. Ed ge
g er a lly used.be fore a owel 15 n v .
E b o lli m e n t o or E b o ll i z i o n e ( I t ,
Ebulli t ion . .
Ec a rt ( Fr A stretc h f the h d pl ayi g

. o an 1n n .
E cc e d e nt e E x ceedi g A pplied to i ter ls thi expressio n n . n va s
h the m i g f ugme ted uper fl uou

as ea n n o : a n , s s .
E cc l e s i a s t i c a l mo d e s The s me as church modes ( qua ) ,

a .
13 0 0 0 ( I t A echo . n .
Ec h e ll e ( F A sc le a .
Ec h e ll e t t e ( F r The s me s Cl a qu ooi Xylopho e an d S t ol

. a a e r, n ,
r l
fi
’
ea e l
E h c o sou n d re erber ted or reflected from a solid surf ce

(1) A v a , , a .
( 2 ) I n music the o fter repetitio n o f an immedi tely precedi n g

s a
str i n moti e or i gle n ote ( 3 ) An old org stop ( 4 ) A

a ,
v , s n . an .
stop o f the h rpsichord a .
Ec li s s e s ( F r ) The sides of a vi o li n Violo n cello doubl e b ss , , a ,
guit a r & c , .
Ecl o g ue A p stor l .
a a .
E c o ( It An echo
. .
Ecol e ( F r A school . .
Eco s s a i s e ( Fr A n o l d d a n ce o f S co t ch origi n
. I t w as of a grave .
ch a r ac t er an d ei ther i n or t ime ( 2 ) The modern E coss i se

, . a
is li vely o t e e i n 37 time for m erly popul a r i n F r a n ce

’ 2
a c n r aans ,
Germ an y an d o t her coun t n es , .
E d ( It v E
. . .
E d el ( Ger N oble . .
E d u r ( Ger ) E m aJjor .
Elfi e t t o ( I t An e ffe ct a re sul t ob t a i ned a n i mpre s

i
E fi et
'
.
,
si on produced .
E g u a l e ( It
'
E qu al e en .
, v .
E g ua lm e n t e ( I t E q u a lly ev e n ly , .
E m c h o ri g ( G er This t erm i s a pplied ( 1 ) t o a n y i n s t rumen t w hich

.
has bu t o n e s t ri n g t o e ach n o t e ; ( 2 ) t o a composi t ion fo r o ne

c hoir to dis t i n guish i t from a compo si t io n for tw o or more di s
,
t i n c t choirs .
E i n fa ch ( Ger S imple . .
E i ng a n g I n t rod uc ti on .
E i n g e s t ri c h e n H a i g o n e s t roke li n e or a ccen t as v n , , : ,
ci g e t i / e e Oct ve t he
n r r cz nn e li n ed or o n ce -a cc e n t e d oct a ve
a (0 , o -
, , . .
I n trodu ction I I I p 5 an d XV p , .
, .
, . .
1 24 EIN K LA NG— EN E R GI C O .
E i n kl a n g U n i s on .
e u
E i nl i t ng ( Ger I n troducti o n . .
m
E i n a l ( Ger O n ce . .
mm
E i ns t i en To put i n tu n e S a id . of t hetu i n g f n o
se v era l i n strume n t s ( their mutu al ad ustme n t j as reg rd pitch )

a s
b f e ore perform an ce
a .
E i n s t i mmi g ( Ger For o e p rt . n a .
E i nt ri t t ( Ger E tra n ce begi n i ng

. n , n .
E i s ( Ger . E h rp s a .
E i s e n v i o l i n e ( Ger N a il fid d l e
- . .
Eisis E double sh rp a .
E l e g a n t e ( It Eleg n t . a .
E l e g a n t em e nt e ( It Eleg tly . an .
E l e g i a ( It
, El eg i e
. A n elegy poe m o r mus1e l co mpo , a a
s i t i on expres i e f orrow t e n der egret s v d lo n gi ng

o s ,
r ,
an .
E l eg i a c .Expressi g sorrow n .
E l ev a t i o Ele tion ( 1 ) The upbe t i be ti g time ( 2 ) va . a n a n .
The u n cce n ted p a rt o f a bar ( 3 ) The ri i g f mel od y

a . s n o a
beyon d the mbi t u ( compa ss ) o f the mode ( 4 ) A motet or

a s .
an y other v oc l or i n strume n t a l compositio a per formed durin g n
the ele va tion of the Host .
El eva t i o n To the four mean in gs gi e n i n the precedi n g a rticle i s

.
v
to be added this 5 ) The obsolete E gli” h n me of two or na : n s a
men ts A s o e o f the smooth gr ces i t is sy n on ymous wit hn a

”
.
,
a n a sce n di g double ppoggi a tur a a s o n e o f the

n
“ S h ked gr a c es
a a
, ,
it is more complica ted .
E l e v a t o It Ele ted lofty sublime

. va , , .
E l e va z i o n e ( I t Ele a tion ( o E l e t i o ) . v . . va .
El eve A pupil .
E m b e lh r ( Fr To embellish to or ame n t
.
, n .
E mb ouch ure ( F r ( I ) The mouthpiece o f n y wi n d i tru me n t

. a ns .
2 ) The mode or a rt o f produci n g the to n e o f wi n d i strume n t a n
E mol l ( Ger E mi or . n .
E m p at e r l e s s o n s ( Fr To s ug or pl y the n ote mooth l y n d i n . 1 a s s a
a sweet mellow m ,
n er — V i mp ci t d e i t mp at
an ‘ . o x e
’
ee , a n ex cu on e ce ,
a v oice n d n execution tha t l ack e t es d cle rn e ss

a a n a n s an a .
E m p fi n d u n g ( Ger Feeli g . n .
p fi n d u n g s v o l l Full o f feeli g f eeli gly n ,

n .
E mp h a s e ( Fr Emph a sis . .
E mp h a s i s A s t ress
.
.
E mp ort é ( F r C a rried w a y by p . ion a ass .
E m p r e s s é ( Fr E ger i n h st e . a a .
E n a rmoni co En h rmon ic a .
E n c h i ri d i o n ( rom the Greek )

f A h d book m anual
- . an , a .
E n core ( Fr Ag i n yet lso

. a , , a .
E n e rg i a En e rgi e ( Fr E ergy . n .
E n e rg l c a m e n t e E n erge t l c l l y with e n e rgy a ,
E n e rg i co ( It
,
E n e ge uc . r .
1 26 EPINETTE E S E C U ZIO N E .
Ep i n e t t e A spi n et .
E p i ni ci o n ( from the Greek ) A s on g o f vi ctory . .
E p i o di o n ( Gk A fu n er a l so n g
. .
E p i s od e An i n cide n t a l a cce ss ory p a rt o f a com po sition as d i s

, ,
t i n gui sh e d from t he pri n cip a l theme o r themes a n d thei r

.
de v elopmen ts .
E p i s t ro p h e ( from t he Greek ) Li t a wheeli n g a bou t a retur n . .

, , .
I n music the recurre n ce a t the en d o f a mo v eme n t o f a

melody which ha d a ppe a red i n an other mov emen t o f the s ame
work .
E p i t h a l a mi o n E p i t h a l a m i um ( La t A n upti a l s o n g . .
E p od e ( f rom the Greek ) Lit a fter -s o n g

. The con cludi n g pa rt .
, .
o f an ode wh a t follows after the strophe an d an tistrophe A lso .
a ki n d o f lyric a l poem i n v e n ted by Archilochus a n d culti va ted by
Hora ce .
E p t a cord o ( Fr E p t a cor d o .
( 1 ) A sc a le o f s e v e n n ot e s .
( 2 ) The i n ter va l o f a se e th 3 ) The se e n stri nged lyre o f t he

v n v - .
Greeks .
E q u a b il e E q u a ble simil a r , .
Eq u a b i l m e n t e E q u a bly simil a rly , .
E q u i s o n n a n c e ( F1 C o n so n an ce o f u n ison s a n d o f oc t a v es .
E q ui s o n o E q ui s on an t i n u n i s o n or i n oct a v e s doubl e ,
oct a es treble oct a v es & c

v , , .
r r
E g i ffe ( n Ger S truck .a ffected mo v ed -
,1Vi t gr oss e E gr fi en / ei t , . r r z
'
z ,
d e e p l y a ffected mo v ed , .
E r h a b e n ( Ger S ublime e x a lted

.
, .
E r h oh u n g ( Ger The ra i si n g o f the pitch o f a n ote E lzo/zu g r

. . r n
ze i c/ en zthe s ign which i n dic a tes such a ra i s i n g

, a sh a rp ( )
i
or double sh a rp x
E rn i e d ri g u n g ( Ger The loweri n g o f the pi t ch o f a n ot e
. .
— E n i e l z u n s ei clzen the sig n which i n dic a tes such a lower

r
g g cr z ,
in g a fl a t ( b ) or double fl a t ( H 7) .
E rn s t ( Ger E a rn e s t serious gra v e

.
, , .
E ro i co Heroic E r oi ca is the femi n i n e form o f the word

. .
E ro t i c ,
T ake n a dj ecti v ely this word s ign i fi es a m a tory perta i n i ng , ,
to or tre a ti n g o f lo v e A s a substan ti ve it de s ign a te s : a n .
a morous poem or compositio n .
E ro c
ti a ( ,It A lo
. v e -so n g .
E rs t Firs t — E r s t e v i ol i n o firs t v ioli n

.
, .
E r w e i t e rt ( Ger Ex t e ded E rw ei t er t e H a r mon i e exte n ded

n .
— .
,
h a rmo n y .
E rw e i t e rung Ex t e n sion e n l a rgeme n t By E rw ei t e u ng , . r
o f the theme o f a fu gue is me an t the e n l a rgeme n t o f on e o f i t s
in ter va ls .
Es E fl at .
Es a cor d o ( 1 ) The i n ter v a l o f a sixt h ( 2 ) A h e x a chord .
ES d u r E fl a t m aj or .
E s e c u z i on e Execution .
E S E R C IZIO— E X E Q U I /E . 1 27
rc o t E x ercise
E s e i zi ( I . .
ES mo l l ( Ger E fl mi or . at n .
Esp a ce( Fr S p ce — f . i st ce sp c be t wee t ha l i es f t h or n an , a a e n e n o e
st e av .
E p ag
s n o l ( Fr E p g
a l ( I t.
) S p ish s no o . an .
Esp l ra n d ( It Expiri g dyi g w y

o n , n a a .
—
.
E s p r s on
e i s Expre e sio C p i with expre sio s n on es r es s on e, s n.
E p re s s i v o
s E x pres i e with expressio s v ,
n .
s s e n t i a l n ot N tes belo gi g to the h rmo y

es .
p ssi g o n n a n , no t a n or
ch gi g otes
an n n .
E s t n i on ( I t
e s C omp s
e . a s.
E s t i n ue n d o Dyi g w y dimi i”hi g i loud ess n a a n s n n n
g
.
,
E t
s i n o ( It Lit exti
. gui hed de d I music l phr
.
,s olog y n s , a . n a a e ,
t he utmos t degree f pi i i m o a n ss o .
E s t r vag nz a ( It
a ( ) Extr
a g ( ) A x tr g t m
. I a va a n ce . 2 n e a va an co
po mo s n.
Et d u ( F r
en e C omp s . as .
Elt o u fi é D amped
'
Et o u ffo i r s ( Fr The d a mpers . of t he pi an oforte .
Etta cord o ( I t The s me E p t . a as a cor a o

’
.
Et d u e A study S trictly spe ki g compositio f pr c t ic . a n a n or a e

i which t he o ercomi g f some
n tech ic l di ffi culty i v n o one n a s
imed t There
a how e er lso t
a . which studies i a re , v , a
'
e u a es
’
a re n
expressio or i phr si g Further duri g the l st h l f ce tury
n n a n .
, n a a - n
it h bee the f shio t o wri t e t
as n t co cert studie a n
’
e zca es a e
’ ’
con cer , n s
studies i te ded t merely f pri te pr c t ice but lso n n no or va a , a ,
perh a ps chiefly fo public displ y Not few of th ese t , de r a . a

’
c n a es
’
e t a e i deed works o f im gi n a tio n a n d ex q uisite musici a n

c nc r r n a
sap 1 .
E u f o ni a ( I t Euphon y . .
E uou a e A colloc tion o f t he v ow els

.
”
co n t a i n ed i n a n d i n dic a ti e o f
a v
the words S eculorum Amen Accordin g to the old form .
o f the letters E vov ae .
E up h o n A ki n d o f gl ss h a rmon ic wi t h a comp a ss from to a a c
i n en t ed by the gre a t physicis t E F F C hl d n i a bout 1 7 90

.
v , . . . a , .
The ton e o f t his i n strume n t is produced by rubbi n g wi th

moisten ed fi gers s t rips o f gl a ss which commu n ica te t heir vi bra
n
tion s to rods o f metal .
E up h o n i e ( Fr Euphony ag reea ble sou n d .

, .
E up h o ni um A b r ss win d in strume n t with l es used i n milit a ry

.
a va v
b ds I t s t an ds mos t fre que n tly ei t her i n t he key o f C or o f

an .
B fl t The euphon ium is a b a ryton e i n s t ru me n t

a . .
v
E a cu n
a t ( G e r The w a ste -p llet i n the bellows o f t h
. e org an a .
E v 1 ra t o . A eu n uch a c str to ,
a a .
E v e rs i o n d E v o l u t i o ( La t
,
a I n v ersion o f the p rt i n do u bl e . a s
cou n terpoi t n .
E v o va e Euou ae
.
v. .
E z e q ui a ( L a t Exe quies fun era l rit es .

, .
1 28 E XP R E SS ION — FA FEI N T .
E xp r es s i on
The ct of re e a li g the S piritu l t he emo t ion al co n
, a - v n a ,
te ts f a compositio
n f i terpreti g the co n ceptio n s
o f n n, o n n o a
uthor R e d i co ectio with this XI p 2 6 o f the

a . a n nn n .
, .
,
I n troductio Mo t i f t l l f the m rks o f expression u ed

n . s , no a , o a s
i mu ic e to be fou d i XV d XV I ( pp 5 2 — 6 2 ) f
n s ar n n . an . . o
the I troductio n n .
E xp re s s i o n s t o p H rmo iu m .
v . a n .
E xt e m p ore ( L t Without prep r tio wi t hou t premedit tio

a . a a n, a n,
on the spur f the mome t o n .
E x t e m p o r i r e n ( Ger To extempori e to improvise to pl ay . s , ,
t m e
ex e without pre ious prep r tion
or v a a .
E xt e n d e h a rmo n y C lose h rmo y .

a n .
E x t r a n e u s s h a rp s n d fl a t s a e such as do n o t belo g t o
the lp
a r n
ey .
E xt ra n eous mo d u l a t i o n A modul a tion t o a remote non

0
. ,
rel ted key a .
E xt re m e ( )
1 A ugme ted
,
i spe ki n g o f i n t er a ls ( 2 ) T he n ,
n a v .
lowest a n d t he highes t p a r t s i n spe kin g o f p r t -wri t i n g o r ,

a a
pa r t -mu sic .
F ,
The me of t he fourth degree f the n orm l m j or sc al e
na o a a .
Fa ( )
I
,
The fourth f the A reti i syll bles o ( 2 ) The n a m e o f t h e n an a .
n ote F i n It ly Fr n ce n d some other cou tries

a ,
a ,
a n .
F a b é mo l ( F F a b e mo ll e F fl t a
F a b l i a u ( Fr A t le i erse ki n d f p o et ca l composition mu ch .
. a n v ,
a o 1
i ogue i n the e a rly ges o f Fre ch poetry

n v a n .
F a b urd e n v F lso bordo e . a n .
F a c e s d u n a ccord ( Fr
,
’
Positio s o f a chord A chord has a s . n .
l
“
m ny spects s it has ton es

a a a .
F a ci l e ( Fr an d I t Ba flue t f cil e , n a
F a c ilm e nt e ( It
. .
.
,
F a ci l em e nt E sily fl u en t y . a ,- .
F a c il i t a ( It F a ci li t e ( Fr . E asi n ess ; fa cility flue cy .

,
n .
F a c k el t a nz ( Ger A d an ce with torches a ki n d o f Po l o i e

.
, na s .
F a ct ure ( F r ( )
I The m a ke . co n structio n o f a mu ic l co rn , , s a ~
posi t ion ( 2 ) The sc ale of organ pipes ( 71 S c a le )

. . . .
Fa d i
, e s e F sh a rp — F a d i e e m j eu F sh a rp m ajor ;
. F a o i és e s a r,
’
m i n eu F sh rp min or—
r, a .
Fa d i e, s i s ( I t F sh a r p F a . l i es i s m agg i o e F sh a rp m jor ; F a c r ,
a
d i es i m i n o e F sh a rp mi n or
'
s r ,
.
Fa f a i n t F a n o t um Li t feig
. ed F No t es .
,
n a .
lowered semiton e by a fl a t were c alled thus i the old theory of

a n
music I f fo r in st n ce you fl tte the n ote B thi B fl t will as

.
,
a ,
a n , s a ,
rega rds pitch be i n the s me rel tio n t o A . s F ( F ) to E ( Mi l a a a a .

[3 0 FA M I — FEI ERLI C H .
the oct e an d the middle p rt ge er lly t h f l t h f t he te n o r

av a n a e . o
i . the p rt which holds the t u fi m s Or the melod y

.
, e a ca n s r u .
( t
ca n u s fi m ) w i t h highe t p rt n d w s a ccomp n ied by
r us as n e s a , a a a
fourth d i x th below e x ce t t the clo e where the lowe t

an s s
s
p , a s , s
p rt took the oct e ( 2 ) Rhyth mic lly u me a ured oc l com

a av . a /
n s v a
po itio s i n simple cou terpoi t co si ti n g f progre io s of

s n n n , n s o ss n
co nso n t chord who e e e cour e howe er is i terrupted at

na s, s v n s , v , n
the c de ce by pre p red su pe n io s

a n s a s s n .
Fa m i , ,
I the old olmi tio n the
n me o f the semiton e progre ssi n
s sa na o
— i the first pl ce f F— E the n f E h— A E h— D &c

n a o , o , , .
F a n d a ng o ( S p A S p ish . tio l d ce i ter ry time ( 42 an na na an n na ,
and l o i 3 time )
a s Like the S eg uidill s d Bolero i t i s
n . a an ,
d ced with the ccomp n ime n t o f c t ets

an a a as an .
Fa nf a re ( Fr A flourish c ll or short tu e ou d d by t rumpets

.
, a , n , s n e
,
bugle or hu ti g hor s s, n n n .
F a nt a i s i e F a nt a s i e F a nt a s i a F n t sy a a ,
f cy c price whim
an ,
a ( 1 ) The , me f j a t i is gi e t o . na o n as a v n
a ri ous ki ds o
v f n —
compo itio to prelude co n isti g f a f w s n s s n o e
a p egg i os
r n d ru s to le gthy works full
a f th ught
n , d le rn i g n o o an a n ,
t o p t po- i s o f oper tic tu n e & c

o u rr — which howe er ll agre e a s, . v a
, ,
i n bei n g fre e i n style n o t re tricted by y defi n ite for m , s an .
( )
2 A n impro v is a tio n ( v F A pp d ) . . a n c 1e s 1 n en l x.
F a n t a s i r e n ( Ger To impro . vi s e .
Fa nt a s t i c a me nt e ( It F t tic lly . a n as a .
F a nt a s t i co F a nt a s t i q u e F a nt a s t i s c h ( Ger .
Fan t a s t ic c p ricious whim ic l followi g the

,
a g ri f ,
s a ,
n va a es o
im agi na tion .
F a ra n d ol a F a ra n d ol e r F a ra n d o ul e ( Fr
,
A P ove c l ,
o . r n a
d an ce i n time .
Fa rs a ( It A fa rce
. .
F a s ci e The ides o f a violi n Violo n cello guit r o r s imil rl y

s , ,
a , a
con st ructed i n trume n t s .
F a s t o s a m e nt e ( It P ompously i n a st a tely m n n er .
,
a .
F a s t o s o ( It Pompous s ta tely
.
, .
F a t t ura The m ke con struc t ion o f a music a l compos iti o a , ,

n .
Fa us s e 11 F ux . a .
F a u s s e q u i nt e ( F r A dimin ished fifth . .
F a us s e re l a t i on F l e rel tion a s a .
F a us s et ( Fr Voi x de f . e t he d oice
- a u ss ,
a v ,
F a ux m f a u s s e f ( Fr F l e out f tu e . . a s o n .
,
F
.
, ,
F a u x b our o n (
- d Fr F a burde ( v lso b ordo . e ) n . . a n .
F c l ef N o w t his cle f which i dic tes t h ote f is o ly u ed

I n troductio n }“
n e n o n a n s
”
. , ,
the fourth li n e a d c lled b ss cle f ,

n La a .
,
t
,
pp 4 .
Formerly it w s lso used on the t hird lin e ( b ry a a
’
ton e cle f) and o n the fi fth li n e ( con t rab ass cle f) .
d u r ( Ger F m jor . a .
Fe e d r o l a v i e r ( Ger A s p i n et . .
F ei erli c ( F s l m
.
h G e r e t i v e so e. n , .
F EI N — F IFTEENTH . t gt
F e i n ( Ge : F in e delicate , .
F e i nt F e i nt e ( Fr
,
F e ign ed ( v Fi ct um F iet a )
. . .
, .
F e l d fl ot e F e l d p fei fe or F e l d p i p e
,
B aue rn fl o t e
,
.
F e l d s t uc k e ( Ger Trumpet sig n a ls o f t he cava l ry

. .
F e rm a m e nt e ( It Firmly . .
F e rm a t a F e rm a t e ( Ger A pa use A .
F ermo Firm .
F e rn e ( Ger Di s t a n ce — Wi e ans der Fer n e as i f from a dis ta nce

. .
, .
F e roc e ( It F ierce viole n t , .
F iercen ess vi olen c e —Con f er oci t a fiercely

.
F e roci t a ( It .
, , .
F e rt i g ( Ger Re a dy prompt fi n ished skil ful dexterous

.
, , , .
F e r t i g k e i t ( Ger S kill dexteri t y tech n ic a l a ccomplish me nt

.
, , .
F erv e n t e ( It Fer ve n t a rd e n t p a ss ion a te

.
, , .
F e s e s ( Ger F doubl e fl at .
A fes t i val — M us i kf es t a music fes ti val

.
F e s t ( Ger . .
, .
F e s t a ( It A fest i v l
. a .
F e s t i va me nt e ( I t I n a fes t i v e m a nn er . .
F e s t i vi t a ( I t Festi vi t y festi val mirth

.
, , .
F e s t i v o ( It .
F e s t li c h ( G er Fe s ti ve . .
Fe s t os o
F e u e r ( Ger Fire a rd our spiri t p a ssi on
.
, , , .
F e u e ri g or F euri g ( Ger
, F iery a rde n t pa s sion a te .
, , .
F i a cco l I t Tir ed w ea k l anguishi n g

.
, , .
F i a s co Fai lure .
Fl a t o ( I B re a th respira tio n — S t om en t i d fi t o wi n d i n strume n ts

, . r a a , .
F i ct a ( L a t . n —
Feig ed M u s i ca fi ct a feig n ed music w a s the n am e .
, ,
for merly gi v e n t o music i n a tr a n s po s ed key which o f course ,
re quired a ccide n t a ls .
Pi ct um ( L a t Feign ed ( 0 Fa fict u m )
. . . .
Fi d d l e A violin
. .
Fid es ( )
1 A c a tgut stri n g ( 2 ) A stri n ged i n strume n t . .
F i di c e n A lyre h a rp or lute pl ayer ; i n deed a pl aye r o n , , ,
an
y stri n ge d i n stru me n t .
F i d i c i n a ( La t A fem a le pl ayer o n a stri n ged i n strume n t

. .
F i d i cul a ( La t A sm a ll stri n ged in s trume n t

. .
F i d uc i a ( It C o n fide n ce a s s ur a n ce
.
, .
F i e d e l ( Ger A fiddle . .
F i e r fi er e ( Fr Proud h a ug h ty .
, .
F i era me nt e ( It
,
Fe ro c 1o u s l y h a ughtily prou d ly
.
, .
F i ero ( It . F e ro c1 o u s ha ughty proud , .
F i fe . A simple cros s flute ( o F lute ) ge n era lly either i n the key o f .

,
F or B fl a t an d chiefly used i n milita ry m u ic i n combi na tio n

, s
w i t h t he s ide drum i n wh a t are c a lled Drum a n d Fi fe B a n d s

-
, .
F i fre ( F r . A fife .
F i f t ee nt h ( )
1 The
. i n t er va l o f a fi ft ee n t h a lso c a lle d a double ,
oc tave ( 2 ) An orga n stop of 2 -feet pitch which sou n d s the

.
,
n ot e s t w o oc t ave s higher t h a n th e y a re writte n .

t 3a F IG U R— F INT O .
Fi g ur ( Ger A figure .
, a roup of n ot es .
F i g u ra l Ge s a ng
- or
, ig a ra l - Mus i k ( G er
. o. C a n t us
figura l i s .
Fi g u ra mut a ( Lat an d I t
. A rest . . . .
Fi g u ra t i o n Rhy t hmica l a n d melod ical solution

. , dimi n ution ,
or nam en ta t ion o f simpl e e leme n t s , .
F
F Figura te or figura ti e ,
v .
ré ( Fr-l
Fi g ur ed bass A short -h a n d system o f n oti n g h a rmo n ies
. It .
con s ists o f a ba ss pa rt with figures which i n dic a te t he pri n cipa l

i n terva ls o f the i n te n ded chords I n the ca se of triads u n less .
,
they are i n verted the bass is ge n e ra lly l eft w i t hout figu res , .
Accid e n tals a ffect the corre s pon ding i n terva ls o f t he figure s

beside which they st a n d An a cci d en t a l s tan din g by itsel f .
a ffec t s t h e t hird a bov e the b a ss n ot e A s t roke t hrough a fi gur e .
show s th a t the i n terva l is sh a rpe n ed a semi t one An obliq ue .
s t roke u n d e r or a bo v e a bass n ote i n dica tes th a t n o t t h e n o t e t hu s

m a rked bu t the fo llow i n g o n e is t he bas i s o f t he h a rm o n y t o be
,
taken ; horiz on ta l line s in dicate t hat a harmony has to be co n

t i n ued whilst the b a ss proc eed s an d t he w ords t as t o sol o or t he
sign 0 in dic a te t h a t no thi n g but the b a ss n ote s is t o be played .
( 11 I n.troduc t io n V I I pp 1 5 an d 1 6 a n d, X V p .
, .
, . .
l a V 0 0 6 a n d fl l a r il s uon o
.
,
To sust a i n a sou n d an d
( ge n er a lly though n o t n ece s s a rily ) gra du a lly i n cre a se an d decrea se
,
its loud n ess either i n sin gi n g or i n pl a yi n g o n a n in s t rume n t

, .
Fil er l a v oi x , 0 Filar la voce . .
Fi n ( Fr .The e n d .
Fi n ( I t . v Fin o . .
F i n a l The fi n a l is i n t he C hurch m od es wh at t he t on ic is i n o ur
mod e rn musica l sys t em I n the a uthe n t ic modes the fi n al is o n
.
the firs t d egree i n the pl aga l modes o n the fourth d egree o f the
,
”
sc a l e B esides t hese r egu l a r fi n a ls
. con cludi n g n otes )
t here a re a l so i rr egu l a r o n es ( cmfi n a l s ) which occur fre q ue n tly ,
i n t he e n di n gs o f t he Ps a lms a n d i n t he section s o f t h e
R es pon so ries Gradu als an d Tra cts , , .
Fi n a l e ( It ( )
I The
. co n cludi n g mo v eme n t o f a so n a t a sympho n y , ,
& c a n d t he co n clu d i n g di visio n s o f the a c t s o f a n oper a

.
,
Thi s .
l at ter kin d of fin a l e is a culmi n a ti n g ens emble piece m an y ,
me mbered i n mo v eme n t a n d m a tter an d ge n er a lly with chorus .
( 2 ) A final
Fi n a l i s ( La t ) The n a m e of o n e o f t he A ccen t us eccl es zas t i ei
'
. .
Fi n e The end .
F i n g e rl e i t e r The same as C hi ropla st .
F i n ge rs a t z Finge rin g .
F i ni t e Fin ished .
Fi n o Till a s far as
—
.
,
Fi n t o F n i t a F ei gn e d , C a d en z a fi n t a a d ecepti v e c a de nc e. 1 ,
a fi n t o t h e s a m e as F a fl i n t
,
1 34 —
F LA UT O N E F L U TE HARM ON I Q U E .
Fl a u t o n e A l a rge flu t e a b ass fl ut e , .
e e t
Fl b il ( I . D ole ful mour n ful , .
e e
Fl s s i b il Flexible pli an t , .
L c er
F o h T he f o r soun d -hol e s o f i n trume n ts s of the vi oli n
cl a ss .
Fl ot e ( Ger . A flu te .
Fl b t e n b a s s ( G e r A ba ss flu e t
'
. .
Fl fi c h t i g Fug1t 1ve Ligh , n imbly H a s ty sup e fic1 l c rele s t .

, r a a s .
Fl ue e- i s Those org a n p i pes ( met a l as well as w oode n ) which

p p
a re m de t o sou d by forci g the wi d through a slit ( the wi n d
a n n n
w y ) a t t he t op o f the foot
a d g i n st a h rp edge ( the upper , an a a s a
lip ) w hich di vi des the wi n d p a rt o f w hich on ly e ters the bod y

, , n
o f the pipe A f l ue-w or k”1s t he aggreg te of such pipes

. a .
“
Fl ug 6 1 Li t w in g A gran d pi n oforte Formerly a
. . a .
,
h rp ichord
a s .
Fl ug el h or n ( 1 ) A bugle ( 2 ) A keyed br ss i n strume n t . a
which is m a de i n a i o us keys an d for ms The K n t h n v r . e or ,
K l ppe n horn a n d C rn et belon g t o t he g e u F l ii ge l h

a , o n s o rn .
Fl ut e There are t wo kin d o f flu t e : the fl fl t e a be ( b e k fl ut e ) o r s e a i

,
direc t flute an d the fl fi t e t ve e e or cross -fl u t e ; the forme r

,
'
,
ra rs z r ,
has plugged mouthpiece t o n e e d o f the tube the l a t t er i s

a a n ,
bl o wn t hrough a l tera l hole Excep ti n g the fl geo l e t the fl fit e

a . a ,
a bee h a s e n tirely dis ppe red a t l e st mo g t he a t -produci n g

a , a a n ar
Europe an n a tion s The i n strumen t un derstood whe n we n w . o
s pe a k o f t he flu t e s t he
i c ross fl ut e l o c a lled Germ n flute It
-
, a s a .
i s ge n er a lly m a de o f wood sometimes o f met l a n d co si ts o f , a , n s
a co n ic l tube s t opped a t i t s wider e d an d pro ided with six

a ,
n , v
fin ge holes an d a n umber o f keys

r- A s impro ed by B ohm i t . v ,
ha s a comp a ss from e to Music f thi i strume n t which

’
or s n ,
i s o n e o f t he mo t import a n t members o f the orchestr

s s writte n a, l
as i t sou n ds A sm a ll"”or oct e flute t he fl t o p eeolo ( with a ’
av an z
writte n d —
.
, , ,
comp ss from a to a a
’
18 a l o somet i mes use d
’
a s
i n the orchestr a I n milit a ry b n ds flutes i n E fl t a n d i n F

. a a ,
an d sm ll flu t es an oct a e higher a e to be me t with

a N ow
v ,
r .
flutes a e a lso m a de cylin drica l an d o f ebon ite

r .
F l fi t é ( Fr The s me as fl u t o n d fi u t t ’
. a a ana a a a o
“ ”
Fl fi t e a b e e ( , F r B e k -fl u t e
. A direc t flute I t has a b e k
a . . a
sh ped mouthpiece with a plug which le a es on ly a n arrow

a v
aperture fo r the bre a th t o p ass t hrough There w as a who l e .
f mily o ffi fi t e a bee : ba s t en or a lto & c

a s Flute ) s, , , . .
Fl fi t e h P a vil i o n
. An org n s t op o 8 feet pitch
a f - .
F l fi t e d a mour ( Fr ( I ) A flu t e i n t he key o f B fl a t
’
.
( 2 ) A so ft .
ton ed orgg n stop a .
F l fi t e d A n g l e t e rr e ( Fr The s me as fl d t a b
’
. a e ee
F l fi t e d ouc e ( Fr The same as f l u t o a l e ’

. a o e
Fl fi t e h a rmo ni q u e ( Fr A11 orga n s top o f 4 feet p it ch . (9 - . .
H rm o n ic sto p s )
a .
F L OTE O C T AV I A N T E — FORZAR LA V OC E . 1 35
F l fi t e t v
oo i t e ( F ra an . An org an stop of 4
-f eet pitch . li a r
mo ic stop )
n s .
Fl fi t e t r v r re (
a i e
e s F r C ross -fl u t e The G e r m fl u t e
. the . an ,
commo n flute which is blow n through a hole i n t he s de o f 1t a 1
tube ( 71 Flute )
. . .
moll ( Ger F mi or . n .
F oco ( It The s me as f u oco

. a
F oco s a me nt e Fiery passion atel y , .
F oco s o ( It Fiery p a ssion te

.
,
a .
F og li e t t o ( It A n a me gi e n t o a first vi oli n p a rt w h ch con t ai ns

. v 1
l l the bbl g t p ss ges f the other p rts A j bg l t t is use d

°
a o z a o a a o a . ze o
by t he pl yer who a ssi ts t t he rehe rs ls f ba llets sometime s

a s a a a o ,
by con ductors i n ste a d o f a score an d a lso by the le der o f t he ,

a
orchestr a.
F oi s ( F r . Time — P em e ef o first t i me eeon ef o s secon d t1me

. r
°
z r zs ,
’
s a
’
z , .
F ol i e s d E s p a g n e s F ol l i a ( I t A S p an ish
’
.
d nc i
a time
e n .
F on d a me n t a l ( Fr F o n d a m e n t a l e ( It Fu
. n d me n t l . a a .
F o n d a m e nt o ( I t Fun d m t fu n d me n t l p art
. a en a a .
F o n d s d o rg u e
’
The ggreg te o f the fou d a tio n stops f a a n o
th org
e — mely t h e ope
an d topp d flue stops o f 3 2 I 6 8
na ,
n an s e , , .
a d 4 feet
n .
-
F o xl a ma , F orl a n e ( Fr A g y li ely d a n ce ge n er a lly i n . a , v ,
sometimes i n 3 time which origi n t ed i n F iul i n d has i t s hom e

3 , a r ,
a
i n the n orth -e t f It ly as o a .
F orm The e p o t i d groupi n g o f music a l t hough t s ; t he co n

x s1 on an
c a t e tion n d b l n ci g f p a rts o f a co m p o si t i o n S ymmetry is

.
na a a a n o .
an import a n t but n either t h e sole n o r perh a ps the chie f eleme n t o f

, ,
form I n deed strict symmetry produces mon o t on y Ma t ter

. .
,
moreo v er h s to be weighed s well , a me sured Bu t form of a as a .
s ome ki n d i i di pe n s ble f without it n o work c n be

s n s a , or a
i n telligible A n d i f the compo itio n is to be

. work o f t i t s s a ar ,
form must be n t o ly cle r but a lso be uti ful o This be autyn a a .

,
howe er is secre t the k owledge o f which n on e bu t he a e n

v ,
a ,
n v
born a rti ts pos ess With reg rd to the mech ism o f form co n
s s . a an
sul t : I n troductio pp 2 7 — 3 8 ; S on t ; Ron do ; S o n g -form ; & c

n, . a a .
F ort ( Fr . S tro g — Temp f o l cce ted p r t o f a bar

n s r ,
a n a .
F ort e Loud stro g ,

n .
F ort em e nt e ( It Loudly stron gly .

, .
F ort e p i a n o ( I ) The t o f sh di n g o f i n cre i g an d ar a as n
decre i g the sou n d ( 2 ) The pi n oforte 3 ) The comme n cing

as n . a .
o f ote loud d becomi g o ft immedi a tely aft er

a n an n s .
F ort i s s i mo V ery loud .
F o r t s o h r e l t u n g ( Ger Progression . .
F orz a , Force igour C ”j with igour v -

on b r za , v
”
.
, .
F orz a n d o Lit “f
orci g F orz a t o ( It Li t “ forced n
.
, . . .
, .
The e e x pre io n s i n dic te th t stres h s to be l a id o n a n o t e

s ss a a a s a .
F orz a r l a V O C 6 . To fo rce the oic e v .

FOU R NIT U R E —J U GA ‘
CO N TRA RI A .
F our ni t ure ( F r A mixture stop i n t he organ . .
F ourt h The n ame o f a m usi cal in ter va l ( 71 I n troduction pp 1 2

.
. .
, .
,
Fra n ca i s e ( Fr ( I ) A li v ely d an ce i n . time ( 2 ) I n s t e a d o f .
Con t r eda m e fra nea zs e the fo rm er w ord bei n g u n ders t ood

'
, .
F ra n ch ezz a ( I t F r an” k n ess bold n ess freedom.

, , .
F ra p p é ( F S t ruc k Tak e n subs tan ti v ely this te rm sign ifies .
the acce n ted part o f a bar Its opposi t e is l eve .

'
.
F ra s e ( It Phras e — Fr an , phrases
. .
F ra s e g g i a re ( It To phra se t o ren de r a music al period prop e rl y

.
,
.
F re d d a ment e ( It C oldly . .
F re d d o C old .
F re d o n ( Fr An a lmos t obsole t e w ord s ig n i fyi n g

. 1 ) a ra pid run ,
i n mos t c as e s di a ton ic a n d o n t he s ame syll a ble ( z ) a q u a v eri n g

o f the v oice i n si n gi n g .
F re d o nn eme nt ( F r H ummi n g . .
F re d o nn e r ( Fr T o hum t o si n g i n an u n derto n e
.
, .
F re e re e d 0 Ree d . . .
F ren ch h orn v Horn . . .
F re n ch S l x t h The chord of t he F re n ch six t h con sis t s o f a ba ss

.
n o t e its m ajor t hird , a ugme n ted four t h a n d a ugm e n t e d s ix t h , ,
- fo r i n s t an ce a be l
f# e .
Fr e n ch vi oli n cl e f The G clef on the firs t li n e ( 0 G cle f ) . . . .
F ret s Thin strips o f w ood met al or i vory i n serted tran s versely in

, , , , ,
an d slightly proj ecti n g from the fin ge r-boa rd o f v a rious stri n ge d ,
i n s t ru me n ts — t he old v iols lutes theorbos a n d the still flourishi n g , , ,
g uit a r — i n order t o fa cilit a te correct stoppi n g C a tgut frets t oo .

, ,
a re fou n d o n old i n s trume n ts S tri n gs bou n d rou n d t he n eck s .
o f i n strume n ts were i n deed t he e a rliest fret s .
F ret t a ( It , H a ste celerity — Con f et t a with h as te

.
, . r , .
F ri s ch ( Ger Brisk li vely vi gorous

.
, , .
F rohl i ch ( Ger Joyous gl a dsome ga y

'
. .
, ,
F ro s ch The n u t o f a bow .
F S c hl ii s s e l F cle f .
F rot t ol a ( It A b a ll a d a son g F rot t ol e is the plura l o ff rot t ola

, .
, . .
Fug a ( L a t a n d It
, A fugue
. . .
F ug a a d o c t a v a m ( L a t
. A fugue a t the oct av e . .
F u g a a d q u i nt a m ( L a t A fugue a t the fi fth . .
“
Fug a aeq ua li s mot u s ( La t A fugue o f simil a r motion .
a fugue i n which the a n swer a sce n ds an d desce n ds i n the s a m e
w a a s the subj ect I t is syn on ymous with fuga r eet a . .
uga a , cont ra ri o or a l r zw rso or a l r ovesezo

,
,
Fuga '
,
'
con tra ri a .
F ug a a u t h e n t i c a ( Lat A fugue w i t h an a sce n din g subjec t . .
F ug a c a n o n i c a ( L at A can on
F ug a c o m p o s ma ( La t
. .
A fugue the subj ect of w hich proce ed s .
by d egree s no t by le a ps ,
.
F ug a co nt ra ri a ( La t A fugue i n which t he a n swer imi t a t e s t he

. .
s ubj e c t a t on ce b y co n tra ry mo t io n .
r3 8 F U GA S C IOLTA— F U G U E .
o ic imit a tion a n d imit tio n by ugme n t a tion d imi ution

ca n n ,
a a , n ,
a d by co n tr a ry
n n d retrogr de mot o a a i n .
F ug a s ci ol t a ( It
. The s me as f ug l b
. . a a z era
F ug a s o l u t a ( L a t The s me a s f ug l be a '
. a a z r
u g a t ot a l i s ( L at
. A c on . an .
n g a t o ( It A irregul r fugu e
. An i depe de t compo itio n or
n a . n n n s , a
mo eme n t or p rt o f mo eme n t o f l a rger work i n the fuga l styl e

v a a v a .
u A fu gu e .
Fu e g h t t a ( I t F u g h e t t e. A shor fu gu e This erm i s t . t

a lso u s ed 1 n the se n se o ff ug a t o
Fu ue g This
. word is deri v ed from he L a ti n f ug a , fligh , a n d a t t
cert a i n ki n d o f music a l composi ion ha s bee n c a lled thus
“
t
tw
bec ause : O n e pa r , a s i ere , t ri es to flee a n d esc a pe from t
the others ; but is pursued by them u til they fterw rds meet , n a a
i n mic ble w y
an d fi lly come to
a a s ti f cto y u der
a an na a a s a r n
”
,
t di g
s an The t ech ic l descriptio must ece rily be les
n . n a n n ss a s
simple th this poetic l an a one.
There fugues f i s t r me t s f
are oices d f i t or n u n , or v , an or n s ru
me ts d oices combi ed A fugue m y be i two three four
n an v n . a n , , ,
fi d more p r t s
ve , an The w ord fugue h d t lw ys t he s m
a . a no a a a e
me i g i our t ime
an n d si ce the d ys f J S B ch
as n d an n a o . . a an
H del t he m sters f m sters bu t it lw ys ig ified imit

an , a o a a a s n an a
ti e orm c o
v f — somethi g more or les like wh t we c ll
a an n or
’
n s a a
a fugue V rious ki ds f fugues

. ae umer ted u der F g n o a re n a n u a
w ith its ccomp yi g epithets A fugue i i t s fi l l

a an n .
,
n na evo u
tio co i t s f
n, p t i b
ns s d t wo or more
o d l p
anm ex os z
' '
n an ev e o en t s ,
which ge er lly co ected by p i d

n a I fugue i
are nn e so es . n a n
four p rts the e x positio is somewh t like this

a O p rt pro n a . ne a
pose the bj t ; s seco d p rt follows with the

su ec w er a n a a ns
( e the imit tio f the subject t the fi fth bo e or fourth

'
z. . a n o a a v
be low ) a third p rt re umes the ubj ect

, oct e higher or
a s s an av
lowe th n the p rt which comme ced n d a fourth p rt bri gs

r a a n , a a n
up the re r with the n wer a oct e higher or lower th an a s an av
the p rt which w a econ d i n the order f succession T he as s o .
cou t erpoi n t with which the p a rt th t first e n u n ci tes the ubj ec t

n a a s
a ccomp ie the swer is c lled u t u bj eet ; but t i pro

an s an a eo n er s i s
perly so c lled on ly whe n it recurs s an cco m p mmen t wit h

a a a a
the ub e q ue t e n u ci tio s o f the ubj ect an d an swer S ome

s s n n a n s .
t ime the ubj ect d cou tersub j ect a re simu l t an eously i t ro

s s an n n
d uced Whe fter n episode shor t or lo g t h first de velop

. n a a , n , e
me n t begi the ubj ect is take n up n d an swered by t he

ns, s a
p art i n other order o f succes ion S uppo i n g t he a lto t o

s n a s . s
h a e begu be fore the te n or or sopran o or b s will begi n

v n , as
n w o Further the imit t ion will be t d i fl e t i t er ls

.
, a s a er n n va
o f pitch n d time The dr wi n g close togeth r f t h u bject

a . a r e o e s
a n d its n wer so th t the l at t er begi be fore t he former

a s , a ns
has completed its cou rse is c lled the t et t o This con tri ce ,
a s r . van
i s e peci a lly resorted to i n the l t de e l p m e t

s Other c as v o n . on
t ri v nce s t h t m y be utili ed a re the g m t t m
a a a d mm u t s : au en a eon , z zon ,
FUH RER — F U RORE . 1 39
i n ver s i on , and subject The t t t o is fre

r et r ogr ess i on of t he . s re
q ue tly ollowed by a peda l -poi n t o n which the subj ect is pil ed

n f ,
u p i n va rious l ayers so as t o form a stri k i n g con clusion t o t he ,
w hole The m tter out o f w hich the episod es are w rough t may
. a
be n e w bu t o fte n er ( in order to i n sure u n i t y ) is d e ri ve d from t he

,
s u bjec t cou n tersubject or other a ccomp an i me n t s o f the subjec t

, , .
A n impor t a n t di vision o f fugues rem ai n s ye t t o be n otice d

n a mely t h a t i n to r ea l a n d t on a l fu gues
, A r ea l fi gu e is one i n . e
which t he n swer is n ex ct t ran sposi t ion o f t he subj ect ; a t on a l

a a a
f gu u e is o n e i n which the an swer i an imit a t io n o f t he subjec t s
s lightly modified fo the purpose o f keepi n g wit hi n the s a me k ey r .
Two words o fte n he rd i n con n ection with fugu es m ay b e a
here expl a i n ed Cod or eodet t a is the n a me gi v e n t o t he

. a, ,
n otes which a e a ppe n ded t o the subj ect whe n a t its co n clusio n
r
t he answer does n o t strike i n t on ce R ep e eu o is the re a . r rs z n

'
a ppe r n ce o f t h e subj ect a d a

a a wer i n n e w order wi t h n ns a
reg rd to succession a d pitch i n the riou de elopme n ts f

a n va s v o a
fugue .
D u bl o t i pl e an d q u d up le fugue
e, r e fu g ues with two
,
a r s ar ,
three d four su bj ects S e e howe er the rticle D u bl f g e

, an .
, v , a o e u u
i n Appe dix Va rious ki n ds f fugue
n . e d scribed u der F
g o ar e n u a.
F uh r e r ( Ger ”
Lit guide
. The subj ec t o f a fugue
.
, . .
Full A n t h em v An them . . .
F ul l c a d e n ce or F ull cl o s e 0 Ca de n c e
, . . .
F ull s core 71 S core . . .
F iil l s t i m m e n Filli n g -up p ar t s n o t prin cipal part s , .
F un d a me n t a l b a s s A ba ss p art which con t a i n s the fu n d ame n t al

.
n ote s of chords .
F un d a me nt a l n ot e or t o n e The lowes t n o te o f a chord reduced .
to a eries o f thirds pl aced on e a bove the other S ee a lso

s .
H a r mon i es .
Fu r
n eb e ( Fr F un eb re F u n era l e
.
Fun e real fu n eral , , ,
mourn ful lugubr1 ous M a e/ze f u nebr e fu n era l ma rch
, .
- r
, .
F u n ffa c h ( Ger Fi e fold An a djec t i v e a pplied by orga n builders

v - . .
a n d org a n pl a yers to a mix t ure stop t ha t h a s fi v e r an ks o f pipes

.
F u n f e t l m m rg ( Ger I n fi v e p a rts .
F u n z i o n i ( It Fu ctio s
n n .o fli c e s service s fo r i n s ta n ce i n t he
— , , ,
R o m a n C a t ho l l c C hurch .
F n o o o ( It .Fi re — Con f u oeo w i t h fi re , .
FHO C O S O ( It Fiery a rde n t.

, .
F uri a
O
Fury rage pa ssion — Con f u rza pas sionately

, , .
°
,
F uri b on d o
.
Furious p a ss ion a te , .
F uri o s a m e n t e Fu ri o u sl y p assion a t ely , .
F u r l o s o ( It Furious p a ssion a te
.
, .
F url a na ( It The s a me a s For l a n a

.
F urn i t ure A mixture stop o f t he org an

, a stop co n s ist i n
g o f
se vera l ra n ks o f pipes .
F urore ( I t Fury rage pa ssi on - Con f u o p s io n a tely

.
, , . r re
, as .
1 40 F US A— G A R BO .
F u e a ( La t A q u a ver . .
F us ee Lit “ a s uib a rocke t A r pid seri e f otes

q a o n
, , .
s
as ce n di n g or de s ce n di n g by degrees .
F u s e ll a ( L a t A demi s emi q u a v er . .
F u s e ll a l a ( La t A semidemi s emi q u a e r . v .
F us s Foot F u S S i g i s the c orr espondi ng adjecti ve bo th

.
,
words bein g used i n con n ection with organ pipes and stops .
8 o r o f 8 feet pitch
- .
G .
G T h m f the fifth d egree f C m jor t h orm l m j sc l

. e na e o o a , e n a a or a e .
Ga gli a rd a ( I t Ga g li rd e ( Ger A g lli rd a . a a .
G l ( Fr
a G y merry li ely
. a , , v .
G i eme nt ( F r G ily merrily li ely

a . a , , v .
G i l l rd e ( F r A g lli rd
a a . a a .
ad m e t e ( I t
a G ily merrily li ely
n . a , , v .
Ga o ( It G y li ely me ry
G a j m e rl t ( F
. a ,
v , 1 .
Ga l nt ement e Prettily ple si gl y

rp tl
a r a , a n ,
a an
G a l a n t m G a l nt e f ( F G a l n t e
.
, Pre t ty ple si g
a ,
r a ,
a n ,
g ll t gr ce ful
a an , a .
Ga lli a rd A old d c f li ely igorous ch r c t er i t im

. n an e o a v , v a a n e.
It w f It li origias o a an n.
Ga l o p Ga l op d e ( F Ga l op p Ga l op p d e
,
a A r
, a
g lopp q uick d ce
a , t im e
a an 1n 7; .
Ga l oub t G a l u b é ( Fr ) A sm ll fif with three fi g hol

e 01
'
o . a e n e r- es ,
tio l i strume t f the P
,
a na na c l n n o r ov en a s.
Ga mb e ( Ger V iol d g mb . v . a a a a.
Ga mma The Greek me f the le tt er G ( P) I musi l

.
na o . n ca
termi ology the w ord g mm h bee employed riously ( )
n a a as n va : 1
asthe me f the lowest o t e ( G) f the Guido i sc le ( )
na o n o n an a 2
the me f th t sc le ; 3 ) i the se se f sc le or g mut
as na o a a n n o a , a ,
ge er lly ; ( 4 ) i t he se se f comp ss f
n a oice or i strume t n n o a o a v n n ,
the successio f o t es from the lowes t t o t he highest n o n .
Ga mma u t or I u t The me f the o te G the l owest ote i ‘

na o n ,
n n
the old solmis tio F rom this me i deri ed the E glish a n. na s v n
word g m t G mm ) a u . a a.
Ga mme G mm a a.
Ga ng ( Ger ( ) A p ss ge .
( ) A period t symmetric lly
1 a a . 2 no a
rticul ted
a a .
Ga nz ( Ger Whole Ga nz e N ot e whol e ote semibr e

— . .
,
a n , a ev
g T
a n z erkt whole b a a ar.
Ga nzt o n ( Ger The i ter l f t o e . n va o a n .
Ga rb o ( I t Gr ce eleg c C g b wi th g
. a l g , an e . on a r o, ra ce , e e . a nc c .
14 3 G E M UT H—G IG U E .
G e m u t h ( Ge r Min d soul heart .

, , .
Ge er
n a ( La t The plura l o f gen us ki n d The n cie n t Gree k s
.
, . a
disti guished t hre e musical g ener a

n d i t o n ic chrom tic nd a , a , a
en h rmon ic
a .
Genera l b a s s ( Ger Thorough b s - . as .
Ge nera l p a us e ( Ger A re t i all t he par ts . s n .
Ge ne r a l p rob e ( Ger A ge er l or pri ncip l rehe r l . n a ,

a , a sa .
Gé né ra t e ur G e n e ra t or Fu d me t l n ot e root .
n a n a ,
.
Ge n e re ( It Ge n u ki d . s, n .
Ge ne ro s o ( I t Ge n erous n oble magn imou

.
, , an s.
Ge ni a l ( Ger Pert i i n g to ge ius cle er i gen ious s pirited

. a n n , v , n , .
G en i e ( F r Ge ni e ( Ger Ge ius
. . n .
Ge nre ( Fr Gen us ki n d sort style

.
, , .
G e n t il m G e n t i ll e f ( Fr Ge nt il e ( I t
,
. Pre t ty t e n d e r d el i c te
,
. . .
, , a .
G e n t i ll e m e n t ( F G e n t il ni e n t e Pre t tily te n de l y , r ,
delic tely a .
Genus ( Lat v Gen era . . .
Gera d e B e w e g u ng ( Ger S imil r motion . a .
Gera d e Ta k t a rt ( Ger Binary time . .
Germa n fl ut e The cross -fl ut e ( u Flute ) . . .
Germ a n S i xt h The chord o f the Germ n six th con sists f a

.
.
a o
n a —
m ajor tri d an d an augme te d sixth fo i t ce f f ? r ns an , a e i
G e s ( Ger . Gfl t a .
Ge s a ng ( Ger S ingin g ; a son g oc l compo ition a melody

.
,
4 v a s .
Ge s a ng b uch ( Ger A so g book a hym book

n - .
,
n- .
Ge s a ng s g rup p e The secon d subj ect f a fir t o n a t o s s a
mo eme tv n .
Ge s a e r e i n ( Ger A chora l socie ty . .
G e s c e ch t Ge n us .
G e s C hl e i ft S lurred .
Ge s ch ma ck ( Ger T te . as .
Ge s ch w i n d Quick .
G e s d u r ( Ger G fl at m j or . a .
Ges es G double fl t a .
Di vi ded Get / ei l te Vzol ne t he me i l i i d ml i z

'
z
'
n, sa as v o n e
’
r
”
. .
Ge t ra g e n ( Ger Lit ca rried S ust i ed an d well co ec ted

. .
,
. a n nn .
S os t en u t o e l eg a t o .
Ghi r i b i zz o ( I t Wh im f cy humour . is the plur l ,

an , . a
form f the word o .
Ghi ri b i zz os o ( It Wh imsic l c pricious f t st ic l . a , a , an a a .
Gi g a A j g ( Gigue ) l . v. .
Gi g eli ra ( I t A Xylopho e or S t bfi d l

. n ,
ro e e
Gi g ue ( F r A jig.A ery li ely old d ce i duple or q u drupl . v v an n a e
te rn ry time — as
a 7 ( or w ith q u av er triplets )
1 ,
a n d a lso ,
in an d E x a mples i n simple tern a ry time ( 5? e co m ar
pa ra t i v e l y r a re a n d a j ig i n (
D with triplets
, is somethi g e ce p n x
t i o na l . N othing cert in ca n be id bo ut t he o igi n of this d nce a sa a r a .

G I O C H E VO L E - GLO R IA . 14 3
Gi o c h e v o l e I
( )t Pl a y ful mer ry . . .
G oco
i n ad n t me e P l a yfully j oyou s ly , .
G oco
i n d ( It Pl a yful j oyous gay
o .
, , .
G oco
i sa nt me e Joco s ely g al ly me rn ly , , .
G oco
i s ( It o Jocos e ga y merry .
, , .
Goi j a (I t
Joy , mirth
. delight , .
Goi i a nt ( I e t Mirth ful . .
Goi l os am en t e (It J O yfu ll y . .
Goi j o s ( It o Joyful mirth fu l .

, .
Goi vi a l ( It e Jo vi a l ple a s a n .
, t .
Gri s ( Ger G sh a rp
. .
Gi S i S G double sh a rp .
Gu
G i u b il i o , i b i l , or i b i l a zi n ( I o
J ubil a ion , rej oi ci ng Gu o e t . t .
Gu o o
i b il s ( It Jubil a n t . .
Gi u oca n t e P l a yful .
G i u o c h e v o l e ( It P l a yful , gay , mer ry . .
G u me e
i st a nt Ex a ctly , pre c1se l y .
Gu o
i st x E a ct precise Ju s t ,
a ppropri a e Tempo ,
giu s to ) . t . .
G rmo c
las s ha ni a A n i n strume n t the sou n ds o f hich are pro .
w
by frictio from gl ass bells the performer m ak i n g us e eithe r
d uce d n ,
fi ger ( which must be moiste n ed ) or some me chan i cal

o f hi s n s
me n s ( H rmo ic an d Eupho n )
a . a. a n a .
Gl e e A secu l r oc l composi tion peculi ar t o E ngl an d i n three or

a v a , ,
more p rt ne oice on ly t o a p a r t I t con sis t s ge n era lly of

,
a s, o v .
more th n o n e mo eme n t an d may b e of an y ch a ra cter—gay or

a v ,
eri ou te der or b cch n a lian The w o rd g l ee is deri ve d from

s s, n a a .
the A n glo -S xon g l eb g leow g l i w joy m ir t h music a , , , , , , .
Gl e i ch ( Ger E qua l Gle elzer Con t apu n kt

. e q u a l co un t e r .
- z
'
r ,
oi t n o te a
n i n st n o t e a .
G l e i c s c h w eb e n d e e m p e r a t u r ( Ge r E q ual t e m p e ram e n t . .
( Temper
v . me n t) a .
G l i ( It The m a culi n e plura l o f t he d e fi n i te a rt icl e i n I t ali an

. s .
Gli s s a n d o Gl i s s a t o G l i s s i c a n d o G li e s i c a t o Words , , .
with It ali an t ermin a tion s which h av e be en sometimes us ed i n the

,
se n se o f g l s s! N on e of t hem i s a genuin e I tali an word

'
z ,
but g l zs do is t o b e me t with i n I tali an music a l pub lic at io s

'
san n .
Gl i s s e ( Fr S lid ing This expression in dica t es tha t a passage thus

. .
m a rk e d has t o be pl aye d smoothly ; i n pian ofor t e music th t a , a
series o f n o te s has t o b e pl aye d w i th on e finger w hich t he pe r ,
former dr a ws o v er t he re q uire d keys .
Gl o c k ch en A li tt l e bel l .
Gl ock e ( Ger A be ll . .
Gl ock e n s p i el ( Ger ( 1 ) A set o f b ells a cari ll on ( 2 ) An i nst ru

.
, .
me n t con sis t i ng o f a s e ri es o f sm a l l b el l s or m ore common l y , ,
n o w o f a s e ri es of me t al b ars w hi ch t he p erform er s t ri k es wi t h
, ,
a sm a l l hamme r o r act s u po n b
y m e an s o f keys T hi s i n st r u me n t .
i s al s o k n o w n by t he n ame s o f Ca rillon a n d C himes ( 3 ) An

—
.
an s t o Th l i t e ra l m e a n i n f h w r d i pl f b ll ’
t
org p e g o . e o s a
y o e s
G l o r1 a ( L t O n e o f t he d i vi si o n s o f t he mass
.
a . .
1 44 G MOLL— GREA T O C TAVE .
G moll G min or .
G n a c c a re C st ets a an .
G o n d e lh e d Go dol so ng n a .
G o rg h e g g a m e n t o The a t o f performi n g flori d passages

t n éc
r ,
n 5
G o r g h e g g i a re ( It To pe rform florid p age trills & c . as s s, , .
Gorg h e g g i o ( It A florid p ge Go g / ggr s the plural . a ssa . r ze i .
Gra ce s Orn me t otes f melodic em b lli hme n t uch as t he

.
a n s, n o e s , s
pp gg
a t otur '
h kes & c (
za u r e , I troductio n X I V p ns , s a , . v . n , . .
Gra ci e ux m Gra ci e us e f ( Fr ) Gr ceful

.
,
.
, ,
. a .
Gr a cil e S m ll thi n delic te a , , a .
Gra d ( Ger Degree . .
Gra d e vol e Ple si n g gr te ful a , a .
Gra d e vol men t e ( I t Ple i ngly gratefully . as , .
Gra d o ( It A degree step G d o

.
— t ce n din g step , . ra as een a en e,
’
as
g a d d r d e toe desce n di g step

es c en n , n .
Gra d ua l e A gr du l ( 1 ) Wh t is su g i n the m a ss a a . a n
betwee n the E p st l e n d Go pel ( 2 ) The book which co n t i n s .
1 a s . a
wh t i su n g i n the m s by t h choir (u C o n ce t u )
a s as e . . n s.
Gra d ue ll e me nt ( Fr Gr du lly . a a .
Gra n ca s s a ( It The big or b s dru m .

, as , .
Gr a n d m Gra nd e f
,
.
,
L rge great ,
. a , .
Gr a n d b a rre a B rr é . a .
Gra n d org u e The gre t org n a a .
Gra n d e zz a Gr deur dig ity an , n .
Gra nd i o s o Gr n d m g ifice t sple n did m jest i c a ,

a n n , , a .
G r a n d i s p n a n t e ( It Loud ou di n g re echoi g .
-s n , n .
Gra nd J e u ( Fr ( 1 ) The n me o f a h rmonium s t o p w hich . a a
bri g t p l y t ful l power f the i trum nt

n s 1n o a ( )
2 F u l l ne o ns e .
org n ; a combi tio n f a ll or most f the stop

a na o o s .
Gra p p a ( It The brace which co ct two or more st es

. nne s av .
Gra s s e y e ment A f ulty ( guttur l ) pro u ci tio n a a n n a .
Gra s s e y er ( Fr To pro ou n ce gutturally . n .
Gra ve ( 1 ) Low gr e i n p 1 t ch ( 2 ) He a vy pon derou i n ,

av , .
,
s,
mo eme t G ve is n ext to l ge the slowest mo eme n t 3 )

v n . ra ar v .
Gr e erious i n e p ess n
av ,
s x r 1o .
Gra ve ( ) F m S erious He y po derous Low deep reg r d

i
a . n s a s. v , .
, ,
a
p i t c l
G ra v e c e m b a l o or ,
h rpsichord
A a .
G ra v e r n en t ( Fr ) , G ra vem e nt e He ily po derou ly

av , n s
s e i r ou l y s .
Gra v i s ( Lat . Hea vy po derou ,

n s. The na me of o n e o f the aeeen t zes
Gr zi aa
—
Gr ce eleg ce comeli ess C a ,
an , n . on gr a s t a ,
‘
wi th gr a ce
Gra zi as Gr ce ful a .
Gra zi o m nt e saGr ce fully e a .
Gr zi o o ( It Gr ceful
a s . a .
G t oct v
re a I troductio p 4 a e .
n n, . .
1 46 GRE G O R I A N C H A NT- G U ITA R .
Greg ori a n C h a nt The chie f ch r cteristics o f this mu ic which

.
a a s ,
owes t me bu t n t i t e x i te n ce t o P ope Gregory I ( 5 90

i s na ,
o s s , .
e the e ar it i trictly di to ic o t i n h rmon y n d with

s s s a n , n a , a
out pre c ribed rhythmic s

”
l me sure the text bei g the m ster a a n a ,
h
t e n ot e the sl a es s C hurch Mode n d Pl a i -
vCh nt ) . s a n a .
G ri fi b r e t t ( Ger The g bo rd o f strin ged i n strumen ts such as

fi
'
e - . n r a
the violin guit r lute & c , a , , .
G ro p p e t t o ( I t The s me g upp et t o ( 4 1L )
. a as r .
Grop p o T he s me as gr upp o a
Gro s s ( Ge r ( 1 ) Great l rge gran d ( 2 ) M jor —fo r i nstance

.
, a , . a ,
Gros s e Terz a m jor third ,

a .
Gro s s e ca i s s e ( F r The big or bas s drum .

, , .
Gro s s o ( 1 ) Big gre t l rge ( 2 ) Deep , a , a . .
Gro e t a mb our ( Fr The me s g e . sa a r oss e ea zs s

'
Groun d b a s e A b s p ge o f f w b r which is again an d

,
as assa a e a s
g i n rep e ted whilst the other p rts e ried t e ery repetition

a a a , a ar va a v .
Grun d a k k ord A chord with its fu d me n t l ote i n t he n a a n
b chord which is t i erted

as s , a no nv .
Gr u n d b a s s ( Ger A fu d men t l b ss . n a a a .
Grund s t i mme ( Ger The lowest fu d men t l p rt .

, n a a , a .
Grun d t o n ( Ger ( 1 ) The fu d men t al ote o f a chord ( 2 ) T he

. n a n .
to ic o f a sc ale ( 3 ) The ton i c o f the pri cip l key i n a com

n . n a
position .
Gru p p et t o A t ur n .
Grup p o A group o f n o t es A dimi n ution of a n ote i to fou r . n
shorter n otes o f e q u l le n gth — fo r in st an ce the n ote e e ithe r a ,

'
G S c hl ii e l ss The G cle f .
Gua r ch ( S p A gr ce ful g y S p ish t io l d ce

a a . p rt a , a an na na an , one a
f which is i f ( or it ) d the other i time }

o n an n .
Gu r ni t Gua r na or G
a a a ,
it A riety f t h
a , a ra n a va o e
S p ish guit ran a .
Gu rri ero
e W rlike m r t a , a
Gui d a ( ) The subj ec t f fugueI d tecede t f c o o a an an n o a an n
d y k
an i d f imit
an tio ( ) A direct
n (3 ) o P res i App a n . 2 . a . a n .
Gui d e ( Fr S ubjec t
. f fugue d t ecede t f c o o a an an n o a an n .
Gui d o n A dir t ec .
Gui d oni n s y ll a b l es
a A t i syll bles . v. re l n an a .
Gui mb a rd e ( F A Jew s h rp r.
’
- a .
Gui t ar A lo g ecked i strume t w

n hich i -nmoder t imes h n n n n as
b e s t ru g ge er lly with six stri gs

.
e n n d who e fi g n a n , an s n er
b o rd is pro i ded with fre t s

a The t mg whichv plucke d . s r s, a re
with the fi gers f the righ t h d n tu ed i E A d g b o an , a re n n e

’
bu t gui t r music is writ t

as oc t e higher th i t sou d
a en an av an n s,
th i ot tio is follo w s
e r n a n as
G U IT A RE —H A RMO N I CA . 1 47
Gui t a re ( F ) Gui t rra L G u i t a rr e ( Ger

, A g it r a . u a .
Gui t re d a mour
a A
’
i strume t ( i e t ed by Georg n n n nv n
S t u fer
a f V ie i 8 3 ) with six stri gs tu e d like those f
, o nn a, n 1 2 n n o
the guit r but pl yed with bow I some f its fe tures it

a a a . n o a t e
embles t he guita r i n others the Violon cello It h s n o t i ptly

s , . a na
bee n described a s a v i ol bas t d The Germ an s c ll it l o a ar a. a a s
B g gen
o u i t ( B o w -
guit a r ) K
a r re i u i t a e ( K n ee guit r ) n d n e rr - a
i
, a ,
vi l el lg u i t a
o on e e ( Violo n cello gu i t a f rr .
Gus t o ( It Tast e -Go g t with t aste ; d i bu n gu s to taste ful

. . n u s o, o , .
Gut er T a k t t h e i l ( Ger The good p a rt o f the b r —i e t he . a . .
cce n ted p a rt
a .
Gut t ura l Forme d i n t he throa t A gu t tural sou n d is pro duced i n

. .
si gi n g w he n respirat ion i s ob s t ructed i n t he t hro t

n a .
H The Germ me f t h ote B t he me B bei g an na o e n , na n

reser ed f B b
v or .
H ck b r t t ( Ger A dulcim
a e . er .
H lb
a H lf a .
H lb a d en z
a c H l f close semi c de ce ( C d e c ) a ,
or - a n . v. a n e.
H a l b N ot e ( G
e A h l f ote mi im er . a n a n .
H l b e P us e ( Ger A h l f re t
a a mi im res t . a s a n .
H l b r To n or H lb t o n ( Ger A semito e
a e ,
a . n .
H l b p i i p l ( Ger
a r nc A org t op f 4 fe t p h
a . n an s o - e l tc .
H l f h i ft
a s S hi ft . 0 . .
a ll e l uj ha The s me A llelui. a as a .
H le
a The eck f i strume t such th i olind o an n n as e v n an
gu i t a r .
alt ( Ger . A p use The s me s F ma t e a . a a er .
Ha mme rs A part o f the pi n oforte ction

. a a .
Ha n a k i s c h A H cca A Morav i an d n ce i n 7 t ime an a . a ,
rhythmic ally omewh a t re embli g t he Polon ise but q uicker

s s n a
“ ” , .
B a n dl e i t er A h an d guide a Chi ro p l t A mech ic al , as . an
co n tri n ce fo r promo t i n g a good posi t ion f the h n ds d

va o a an a
good t ouch 1n pi an oforte pl a ying
g .
Ha n d s t ii c k e ( Ger Tech n ic a l e xercise s . .
H a r di me nt ( F r ) B oldly . .
H a rfe ( Ger A h arp . .
H a r f e n b a s e ( Ge r A ba ss con sisti n g of broken cho rds ( 0 A lber ti

. . .
B a ss )
.
H a rmo ni a ( Gk Lat a n d 17 H a rmo n y

. .
, . .
Ha r mo ni ca ( 1 ) The n am e o f various i n strume n ts t he to es o f

. n
mos t o f w hich a re p roduc e d from gl a ss bell pl t e s or bars by s, a , ,

1 48 —
H ARMONI C H ORD J I A RM O N I C S .
friction which c se either moi te n ed fi gers or som e

( in a s n
m ech n ic l me n s is used ) or by the impa ct o f

a a a h mmer or , a a
h ammers held i n the h n ds o f the performer or cted upon by

,
a a
me n s o f a keybo rd ( 2 ) I n Germ n y H mon i e more

a a . a ,
ar a,
c orrectly Ha n d/t m i a or Z i / lza m n i e ar i a n am e o f t he

on e , e z r o a, s
Accordion .
Ha rmo ni ch ord A keybo a rd stri ged in strumen t i n en ted by

.
n , v
Fr K u fm n f Dre de n i n 1 8 1 0 the to es o f which a e

. a an , o s , , n r
produced by the ction o f re ol in g cyli der o n the tri n g a a v v n s s,
which e brought i n co t ct with it by pressi g dow n t he

ar n a n
key s
H a rmo ni co n The ge eric n me o f i n s t rumen ts t he ton es o f

,
n a
which e produced from series o f pieces o f met l wood o r

ar a a , ,
to e
s n .
Ha rmo ni cs ( 1 ) The sou n ds produced by t he i br tion s o f

, v a
di i io n s ( liq uot p rt ) o f stri g co l umr o f ar &c S imple

v s a a s a n , r. .
s ou n ds re ery ra re Wh t we reg rd s ne soun d is i n re lity

a v . a a a o a
a compou n d o f a multiplicity f sou n d produc e d b y multiplicity o s a
of rious simult n eous ibr tion l forms I f fo r in st n ce n

va a v a a .
, a , a
i mpa ct is gi e n to a stri ng it vibr tes n o t o n ly i n its full le gth

v , a n ,
but t the me time l o i n di isio s T h e ibra tion s o f the full

a sa a s v n . v
le ngth f the stri g gi e the fu n d me n t a l t on e the doubly -q uic k

o n v a ,
vi br tio n s o f the h a l es o f the stri n g gi e the oc t

a v e bo e t he v av a v
fu n d me n t l to n e t he t rebly q uick vi bra tio n s o f the tri n g t he

a a -
, s
fifth bo e the oct e n d so n The se era l to n es which

a v av , a o . v
make up the compou n d sou n d a re c lled p t i l t one o r a ar a s
p a t i ls
r a the lowe t o f them is c lled f d sm e t l t n e p r i me a un a n a o , ,
o r p r i ne ip a l t o e ; tho e bo e t he fu d me t a l ton e a e c lled

n s a v n a n r a
t h e upp pe - t i l t
r es u
pp p
are - t i
a l e t o
on e or b a m
, o i s r ar a s , ov r n s, r n e .
The fu n d me n t l ton e i ge n er lly the loudest o f the pa rtial

a a s a
t on es an with i t the upp p t i ls ble d so s to be in dis

d ,
- er ar a n a
t i gu i sha bl e
n or on ly i n p rt di ti n gui h ble u n der cert i n
,
a s s a a
con dition s The n umber n d rel ti e stre gth o f the p rti a l

. a a v n a
to n es ries i n the di ffere n t cl a s es o f i n strume n ts n d oices n d

va s a v a
i n the di ffere t i n di vidu ls o f the s me cl a ss ; it is o n t he

n a a
n umber n d the rel ti e s t re n gth

a f the p rti ls th t the t i mb e
a v o a a a r
(q u lity
a ch r a cter
, o f to n e )
a o f i n trume ts n d oices chiefly s n a v
depe d I n the followi n g illustr tion which show the fir t six

n s . a ,
s s
tee n p rti l ton e o f the sou n d C the figures i dic te the e que ce
a a s ,
n a s n
o f the p rti ls i n the series

a a d lso the rel ti e umber f their an a a v n o
vi bra tio n s i n a gi e n time A the a ctu l sou dv f the 7 t h . s a n s o ,
1 1 t h 1 3 th
,
1 4 th d 1 st h p rti ls can o ly be pproxim tely
, , an a a n a a
represe n ted they h e bee n disti nguished by a steri ks ( v A pp )

,
av s . . .
rso H A R PE—HA UT .
to es t he performer w as of course u n bl e t o modul te T o

n a a .
remedy t his de fect rious con tri ces h e been resorted t o va v an av .
The mos t perfect i n trume”n t hitherto con structed is E rd s s ra

’
double -actio ped l h rp a de elopme n t o f the si ngle - ction

n a a ,
v a
ped l h rp It h s se e n ped l by which the stri gs may be

a a . a v a s n
rai sed either semiton e or whole to e n d thus l l the keys

a a n ,
a a
b ecome pr ctic able This double-action h rp h s compa ss of

a . a a a
”
”
more th an six an d h a l f oct a es—from C b t o f b an d as each a v ,
s t rin g can be r i ed two semiton e e e n to a s The se ve n s, v
ped a ls a ct respecti ely throughout ll the octa es e ch o n o n e of v a v ,

a
t he se e n degrees f the C fl t m j or sc a le this bei g the key i n

v o a a , n
which t he h a rp i s tu n ed The si gle -a ction h rp w s i n t he k ey . n a a
o f E fl a t an d its comp ss exte n ded from F t o d

,
a ,
H a rp e A h rp a .
Ha r p i c o r d o ( I t A h a rpsichord . .
a rp s i oh o r d A keyboard i strume n t o e o f the predeces ors of n ,

n s
the pi n ofor t e The str n gs i n ste d o f bei n g truck by t gen t s

a . i ,
a s an ,
as i n the cl ichord or by h mmers av i n the pi n o forte were,

a , as a ,
plucked by q uills or piece o f h rd le ther ( v J ck The pi t s a a . . a . s ne
an d v i g i l a e
r r eties f the h rpsichord di fferi g from t i n
na r va i o a , n i
si e n d form The form f the h rp ichord i s i dic ted by t he

z a . o a s n a
Germ n me o f the i n trume t — Fl gel wi g The h p i

a na s n u ,
n . ar s
chord h d ofte n more tt o e keybo rd a d l o w s pro ided

a n a , n a s a v
wi t h s t ops by which the t on e could be modifie d .
Ha rt ( Ger H a rd This word is l o used i the e n se f

. . a s n s o
m j or a .
au p t C hie f pri cip l ,

n a .
Ha u p t g e a n g nd H a up t m e l o d i e The pri cip l n a
melo gy
a
,
H a u p t m a n u a l ( Ger The pri n cip l m u l the keybo rd o f t he

. a an a , a
gre t org a an.
Ha u p t n o t e ( 1 ) An e n ti l n ote ( 2 ) An a cce ted n o t e sse a . n .
( 3 ) A pri cip l ote n a n .
H a up t p a r t i e ( Ger A pri cip l p rt . n a a .
H a u p t p rob e ( G The pri cip l rehe ars l

er . n a a .
B a up t s a t z ( Ger ( 1 ) The pri cip l p rt or di i ion o f

. com n a a ,
v s , a
po
p itio
s n ( 2 ) The . first ubj ect f double fugue s o a .
B a up t s c h l u s s ( Ger A full close . .
a u p t s t i m m e ( Ger The pri cip l pa r t . n a .
H a up t t h e m a The pri cip l them e ; t he first subj ect f n a o a
double fugu e .
Ger The key -n o t e S ometime lso h

au p t t on ( ( )
1 .
( )
2 a t e . s
fu n d me n t l to n e
a a .
a u p t t o n a rt ( G er The prin cip l the pre le n t key o f a co m

. a ,
va
po tion si .
B a u p t w e r k ( Ger The gre t org n . a a .
H a us s e ( Fr ) The n ut of bow . a
H a ut High acute , .
HA U TBOI S — H IDDE N F I FT H S . 15 1
H ut b o i s
a A obo n e.
H d mour ( Fr Oboe d more

’ ’
utb I
a o S a . v . a .
H ut b o y
a Oboe .
v . .
H ut d u
a - es s A high sopr o
s an .
H ut e
a t
-o o n ( Fr ( ) A high
re te or or t he p sses or
. f 1 n v 0 1ce o s o
h
suc oice ( ) Also t he lto or co tr lto oice ( 3 ) A member
a v . 2 a n a v .
f the iol f mily

o v a .
H ut t il l ( F r A high te or
a e - a e . n .
H d u ( Ger B m jor
r . a .
Hea d vo i ce The high regist er f t h hum oic T h m

- o e an v e. e na e
does t i dic te t he pl ce f i t s produc t io b t t h ccom p
no n a a o n, u e a an y ~
i g se s t io
n ( V oice
n a d C hes t oice )
n . v . an -v .
H ef t i ( G V eheme t impe t uous

er . n , .
H e l m c h ( Ger S ecre t furti e s t e l t hy

.
, v ,
a .
Hei t r ( Ger S ere e cheerful merry

e . n , ,
e m i di a p e n t e ( Gk A imperfec t fift h . n .
Hemi d i t on e A mi or third n .
Hemi oli ( L t The propor tio f t hree t o tw o

.
a a . n o .
H emi t o n e A semito e n .
He p t a ch ord ( ) The i t er l f se e th ( ) A di t o i s ri s
.
1 n va o a v n . 2 a n c e e
o t es 3 ) A i s t rume t wi t h se e s t ri gs
.
f se e
o v n n . n n n v n n .
He ra b s t i c h ( Ger The s me H tm b
'
r t . a as er u n er s e
H roi ch ( Ger Heroic

e s
“
. .
H e rs t i h r c A hi ther s t roke t he dr wi g f t he bow i -

,
a n o n
th direc t io from the t t o t he poi t This term is used i

e n nu n . n
co ectio with the iolo cello double b ss

nn n d i s t r me ts v n ,
a , an n u n
held like them I t correspo ds wi t h t he dow bow f the . n n o
ioli i t
v n s s .
He u t r n t i h e rs A dow bow i pl yi g t h ioli

r c d n n a n e v n an
i strume t held like it

n n s .
He s B fl t S ometimes used i s t e d f B a . n a o .
He xa ch ord A di to ic series f six o tes— f i st ce G A B C d

.
a n o n or n an , e.
( S olmi tio )
v . sa n .
Hi d d e n F i ft h s d H i d d e n O ct v e s I t he rticle “C
an a n a on
”
.
ti
secu it h bee st ted th t progressio s f perfec t fifths
v es as n a a n o
d oct es
an prohibited Hidde fi fths d oct s — which
av a re . n an av e
occur whe t he seco d f t wo i t er l formed by two p rt s

n n o n va s a
progressi n g i n simil r motion i perfect fi fth or oct e — e a s a av ar
lik ewise prohibited but n o t so strictly M y o f these pro , . an
i n s a e i n deed q uite h rmless They b rri g some

g r
ess o r e a . ar , a n
exception s le a st objection a ble whe n the upper o f the two p a rts

,
proceeds a degree upw rd or dow w rd n d the lower t kes a a n a , a a
le p o f a t hird fourth or fi fth The more or le o f their

a , , . ss
i nn ocuousn ess depe n ds upon the close n es f the h a rmo n ic co n s o
n ect i o n n d t he progressio n o f t he other p a r t s

a Much moreo er .
, v ,
is permissible i n the middle p rts which would i n cur ce n ure i n a s
t he ex t reme par ts These rog si o n s re prohibited n d c lled

b ec use the e ar fills up as it were
. re s a a a
l d de
u n a the g p or g ps , , a a
5: H I N A U FS T R I C H— HO RN .
betwee n t he ctu l sou n ds n d he rs fifths or oc taves w hi ch

a a a a
otherwi e a e n t ob ious For i n t n ce i f t he actu a l sou n d s

r o v s. s a ,
at ( a )
a re a s the ear he rs s a t ( b)
, a a .
Hi n a u fs t r i c h ( Ger . An upbow in pl yi nga t he i

vi o l n a nd i n s t ru
men ts held lik e i t
”
.
n r c Ger A “ t hi t her s t rok e t he d rawi n g o f t he bow i t

Ei s i h (
t .
-
, .
the direction from t he poin t t o t he n ut This term is used i n co n .
n e ct i on with t he v iolo n cello d uble b a ss a n d i n strume n ts held lik e , o ,
them It correspon ds w i t h t he upbow o f t he vi o li n ist s

. .
Hi s ( Ger . B sh a rp .
Hi s i s ( Ger B double sha rp

. .
H mol l ( Ger B min or . .
Hob oe ( Ger An oboe . .
Hoch ( Ger High cu t e .

, a .
Hoch a mt ( Ger High mass . .
Hoch z ei t s ma rs ch ( Ger A we d din g ma rch . .
H oh e
'
Heigh t ele tion a cu t e n ess

”
, va , .
H o hl fl at e Hollow flute A u t e stop i n t he o rgan

fl - .
,
which is t o be ou d rom 1 6 feet to 1 -foot pitch
f n f - .
Hol d A pause Thi term is obsolete . s .
H o l d i n g n o t e A n o t e sust a i n ed by o n e p a rt whilst o t he r p a r t s a re
.
mo ng
vi
o
H o l z b l as e r ( Ge r A pl ayer or p layers on w ood wi n d i n st ru

.
, ,
me tn s .
Hol zb l a s i ns t rument A wood win d in trume n t s .
Homo p h ony ( Gk ( 1 ) Music i n u n ison i n co tradi ti nc tion t o

. n s
mu ic i n h a rmon y ( 2 ) Music con sisti g o f an a ccomp ied

s . n an
pri n cip al pa r t i n con t radisti ction to con tr pu t l music i which n a n a n
a ll the p a rts re o f e u a l import

q a ce ( v Polypho n y ; n d C ou n t e r an . . a
poi t )
n .
Ho ra c a n o n i c m The c an on ic l hour ( q v a s . .
Horn A br ss wind i strumen t con si ti g f lon g twisted tu be

,
a n s n o a
te rmi nati ng i n wide outspreading bell There are two ki ds of

a , . n
hor n s : the n a tura l hor n a n d t he va l e -hor n T he follow i ng v .

H U RTIG — H Y PODORIAN .
keys act on two of t he stri n g s, the tw o o thers ser ve as a

dron e .
Hurt i g ( Ger Q uick

. bri k imble , s ,
n
Hy d ra ul i c org a n An organ i n which t he pressure o f t he air .
w as regul a ted by w a ter .
Hy mn An ode a so g o f pr ise N ow especi ll y pp li ed as t he

. ,
n a . a a
name o f religious o gs s n .
Hy m n a i r e ( Fr A hym book . n - .
Hy m n o s ( Gk Hy m n u s . A hym n .
Hy p e r ( Gk O er“ abo e”— Applied

.
“
v to the n mes o f i n terv ls thi s
,
v . a a
word sig ifie super or upper n s pplied to the n mes f , a a o
the Greek tr po itio c les d eccle i tic l oct e pecies i t

an s s n s a an s as a av s
sig ifie n fourth higher

s a pplied to the Greek oct e specie a av s
i t sig i fi e a fi fth higher or wh a t ( with reg rd to the n mes

n s , , a a
o f the otes a n d the ucce sion o f the in ter ls ) comes to t he

n s s va
s ame thi n g fourth lower

” a .
,
Hy p e r a o l i a n ( I ) I n the n cie n t Greek system the n me o f o n e a ,

a
o f the tr n spositio n sc a les

a ( )
2 I n the m e di ae l eccle i stic a l . va s a
system the oc tave species 6 o a e fg a b the ele en th ( six t h

,
’
,
v
authe n tic ) mode C hurch modes ) . .
Hy p erd ori a n I n t he an cie n t Greek system the n me o f t he

. ,
a
oct a e species 6 c a e fg a 6 a lso c lled M x olyd za rz an d o f o n e

' '
’
v ,
a z ,
o f t he tr a n spositio n sc a les .
Hy p erl y di a n I n t he an cie n t Greek sys t em the n ame o f t he

. ,
oc t ave species g a b c d ef g an d o f on e f t he t r n spositi on ,

o a
sc ales .
Hy p erp h ry g i a n ( I ) I n t he an cie n t Greek ys t em the n ame o f

'
.
s ,
the octave species a b c d e fg a a lso c lled L oo n an d o f o n e ,

a r za ,
o f the t r an spositio n sc les ( )

2 I n t he medi ae l ecclesi a s t ic aal . va
system the n ame o f the oct a e s pec es fg a b c l of t he twel fth

A
, v 1 c ,
( six t h pl ag a l ) mode C hurch modes ) . .
Hy p o ( Gk U n der A pplied to i ter ls t his word sig ifies

— n va n
“sub ” or “low er
. .
, pplied to the n mes of t he Greek tr n s a a a
position sc les an d ecclesi stic l oc t e species it sig ifies a

a
“ a a av n
fourth belo w a pplied to the n a mes o f the Greek oct a e species

’’
v
”
,
“
i t sign ifies a fifth below or wh a t ( with reg rd to the n a mes a
, ,
o f t he n otes an d the succe ion o f the i n ter l ) comes t o t he ss va s
a me thi g
s a fourth a bo e
n
” v
, .
H y p o ae ol i a n ( 1 ) I n the n cie n t Greek system the n a me f o n e

. a , o
o f t h e tr n spositio n sc a les
a ( 2 ) I n the mmedi l ecclesi a stic al . aev a
sy tem the name o f the octa e specie e f g b e t he t e n t h

\
’
s , v s a a ,
( fi fth pl ag l ) mode a .
Hy p o d i a p e nt e ( Gk “ ”
The lower fi fth the ubdomi n t .
, s na .
Hy p o d ori a n ( I ) I the n cie n t Greek system the me f t he n a

, na o
oc t e pecies b d e fg
av s lso ca l l ed E ol n n d f o n e o f
a o a, a ( za , a o
HY PO I AS T I AN —IMBROGLI O . 155
t he tr
sposi t ion sc ales
an mediaeval ecc l esias tic al .
sy stem t he oct a e species ,

v the secon d ( fi rs t pl ag l ) a a
mode .
HYDO i a s t i a n or Hy p oi o n i a n , ( I ) I n t he a n cie n t Greek .
system the n a me o f o e o f the tran sposition sc les ( 2 ) I n t he

, n a .
mediae l ecclesia s t ic a l sys t em t he n me o f the oc tav e specie s

va , a
g bae d e 7 t h e four t ee n t h ( se v e n t h pl a g l ) mo d e ( 0 C hurch a . .
modes ) .
Hy p ol y d i a n ( I ) I n t he a n cie n t Greek system t he n a me o f t he

. ,
oc t a e species fg
v b c e f also c lled Sy t o ob a i a n an d o f
a
’
a ,
a n n f
’
o n e o f the tr a n spositio n sc a les ( )

2 I n the medi ae a l ecclesi as tical . v
s ys t em t he n a me o f t he oc t a e species o d e f g a b c t he sixth
, v ,
( t hird pl ag l ) mode a .
H y p omi x o l y di a n I n the medi ae a l ecclesi a s t ic a l sys t em t he

.
v ,
n a me o f t he oct a ve S pecies e fg a b e a t he eigh t h ( four th a

’ ’
,
pl g l ) mode
a a .
Hy p o p h ry g i a n ( I ) I n t he a n cie n t Greek sys t em t he n ame o f t he

. ,
o ct a e species g a b c d e fg a lso c a lled I on i

v an d o f o n e o f ,
an ,
t he tr a n sposition sc a les ( 2 ) I n the mediae a l ecclesi a stica l . v
sys t em t he n me o f the oc ta e species 5 c e fg a b th e fo ur th

,
a v a
’
,
( secon d p l l ) mode
V V
a a .
Hy p o p ro s l a m a n o m e n o s ( Gk T he n o te b elow t he Pros .
l m b o m e n o s — n mely G
a an a , .
I The m culi n e plura l form o f the defi n ite a r t icle i n It li n

as a a .
I am b us A metrical foot con sisti g o f a short an d long syl

.
n a
l a ble : v
Ia st ian .O n e o f t he Greek modes a n d ide n tic l w i t h I i n , a on a .
I d ill i o ( I t An idyl
. .
I Li t a l i t t l e i mag e
.
, A shor t pa s t or l composition . a .
I ( Fr An idyl
. .
II The m a sculi n e si n gul a r form o f t he d efi n ite rticle i n It a li an a .
I ] d o p p i o movi me nt o ( It
. A mo eme t twice a s fast as t he . v n
precedi n g n e The time tw ice as fa st a s be fore

o . .
1 1 fi n e ( It The e n d
. .
I ]p i h T he mos t — l l p i ¢ p e t o p o s i bi l e a s q uick a s possibl e

. z
‘
r s s , .
I mb occa t ura ( I ) The mouthpiece o f a wi n d i n strume n t .
( 2 ) The mode o f produci g the to e o f a wi n d i n strume t n n n .
I m b rog l i o ( It Embroilme n t con fusio n I trica te rhy t hmica

.
, . n r
combi n a t io n s .
1 56 IMITA N DO — I N FER N A L E .
m
I i t a nd o Imit ti n g
—
a .
I m i t a t i o ( La t Imit tio. n l mi t t i o c i c n o ic imit tion

a . a a no n ca , a n a .
C a n o n ) Other e x pres io
. ccomp yi g the word i m i t t i o s ns a an n a
a e expl ai ne d i n c o n ectio n with the word f g

r or i pecialn u a n s
a rticles .
I mi t a t i o n The ex ct or modified repetition f phr se or subj ect

a o a a
by an ot her p rt th n th a t by which it was propo ed ( 11 C an on

.
a a s . .
,
Fug n d Fugue )
a, a
I m i t a z i o n e ( It Imit tion . a .
I mm e r ( Ger .A lw y co ti uously I mm — a fi w /ze be c omi n g

s, n n . er re ae r,
so fter an d so fter .
I m m u t a b il i s ( L t O n e o f the e t
a . l i ar t i i acc n u s eoo es c .
I m p a z i e nt e ( It Imp tie n t . a .
I m p a z i e n t e m e n t e ( It Imp tie tly . a n .
I m p e r f e ct c a d e n c e C de ce .
o . a n .
I m p e r f e t co n s o n a n c e s The m w o n d m j or t hird s and

i t fs
.
t a a
I m p e rf e c t i n t e rva l s Thus e ometimes c lled the d imi n ished ,

ar s a
oct e fifth an d fourths

av s, s,the perfect i ter a ls less en ed by n v
a s
emito e n .
I m p e r i o s o ( It Imperiou h ughty
.
. s, a .
I m p e t c ( It . Impetuo ity C i p t with impetuosi t y s .

- on nz e o, .
I m p et u o s a m en t e Impetuou ly s .
I mp e t uo s i t a ( It Impetuosity . .
I m p e t uo s o ( It Impetuou . s.
I m p o n e nt e ( It Imposin g . .
I mp r e s a r i o ( It A m n ger f a the tre or co cert

. a a o a n .
I m p rom p t u A piece composed o ff h d or h a i ng t h ppe a ran ce

.
- an
,
v e a
o f bei g thu composed

n s .
I m p r o v i s a t e u r ( Fr A m ale impro iser . v .
I m p r o v i s a t r i c e ( Fr A fem le impro i er . a v s .
I mp ro vi s e r ( Fr To 1mp i se . ro v .
I m p r o vvi s a me n t e ( It Extempor eou ly . an s .
I m p r o vvi s a r e ( It To mpro e . i vi s .
I m p ro vvi s a t a ( It A i m promptu A impro vi tion

. n . n sa .
I m p r o v v i s a t o re ( I t A im p ro i er O n e w ho cre te an d n v s . a s
per form ff h n d d imult eou ly

s o a an s an s .
I m p r o v v i s a t ri c e ( It A fem le mp o vi e ”
. a 1 r s r .
I n a l t i s s i mo ( t
I Thus e c lled the n ote from g tof " ar a s
’
”
.
I n a l t o ( It . or i n 8 1 13 Thus e c lled the n otes from g to j ar a
I n ca l z a n d o ( It
.
S purri n g n h te i n g
. o ,
as n .
I n c a rn a t u s ( L t A p rt o f the C a b
a . a r .
I n croci a me nt o C rossi n g .
I n d eci s o ( It U n decided
. .
I n d i fi e re n t e I n d i ffe r e n t e me nt e C o n i n d i ffe re n z a ( I t
‘
.
, ,
C reless with i n di ffere nc e

a , .
In d i s t a n z a ( It I dic tes th .t a p a ss ge h to nb e pe rform e d as a a a as
i f the sou n d c me from a di t ce a s an .
I nfe r na l e I fern l helli h n a , s .

r5 8 —
I N TIMO I S TE S S O .
n
I ti mo ( It I n w rd
. he rt felt -Co i ti m a t i me t o , wi th a . n n o sen n ,
deep ge ui e feeli g
, n n n .
I nt o na re ( It To i to e . n n .
I nt o n a t i o n ( I ) The ct a n d art o f produci n g sou n d from t he

.
a
v oice or an i trume n t both reg rds q u lity d pitch ( 2 ) A

ns ,
as a a an .
voice s or i trume t s c p city f yieldi g sou d ( 3 ) T he

’
ns n
’
a a o n n .
i iti l phr e u g lo e by the o ffi ci ti g prie t or le di ng

n a as s n a n a n s a
chori ter o f the tipho

s d oth r portio n f the di vi e er ic e
an n an e s o n s v
i n R om n C tholic churche a ( 4 ) The ope i g n ote

a those s . n n s,
before the reciti g ote f t h G regori ch t n n , o e an an .
I nt o n a t ura I nt o n a z i o n e ( It ,
I to tio . n na n .
I n t ra d a A prelude i troductory piece ; flourish o f trump e ts n .
I nt re p i d a m e n t e ( It Fe rle ly boldly . a ss , .
I n t r e p i d e zz a I trepidity bold e s
. n , n s .
I nt r e p i d o Fe rle s bold i t repid a s , , n .
I n t ro d uz i o n e ( It I troductio . n n.
I nt r oi t .
The tipho with which the m s ope n an n It is begu n as s.
whe the i e t ppro che the tep f the a lt a r

n r s a a s s s o .
I nt ro i t o n t rm t u s I troit n .
I nv e n t i o n s The n me o f thirty pieces by J S B ch imit ti e

,
a . . a ,
a v
i form a n d o f a n impromptu ch r cter

n ,
a a .
I nv e rs i o n ( I ) A n i ter l i i n erted by tr n sposi g the lower o f

,
n va s v a n
two otes an oct e higher or the upper n oct e lower

n av a av .
I n trod uction V I I pp 1 2 n d I ( 2 ) A chord is i erted

, .
, . a nv
by pl ci n g the third fifth se en th or n i n th i n the b i n ste d o f

a , ,
v , ass a
the fu d me n t al n ote n a I n troduction V I I I pp I 5 &c ) .

, .
, .
, .
( 3 ) A u bj ect is i n erted whe n its motion is co n tr ry to th a t o f

s v a
the origi n l when the otes th a t be fore ce n ded desce d n d

a ,
n as n , a
the n otes th t be fore descen ded a ce d ( 4 ) I n double cou n t e r

a s n .
poi t i ersion is the pl ci n g f

n ,
nv upper pa t u der lowe r a o an r n a
p rt or a lower p a rt abo e higher o e by t spo i g them an

a ,
v a n , ra n s n
oct e te n th or other i n t er l higher or lower

av , ,
va .
I n v i t a t o ri u m ( L t A erse su n g i n the R om a . C tholic C hurch v an a
a t the begi i g f M ti n s lter tely with two er e o f the 9 4 t h

nn n o a a na v s s
Ps lm The co cludi g words e ge n er lly Ve ite d o emus

a . n
“ n ar a n a r .
I o ni a n , ( I ) I n the cie t Greek system the n m o f the oct e an n , a

f
e av
species ( i n l a ter times c lled Hypophrygi n ) g o d e fg a d of a a a } , n
o n e o f the tr n spo itio n sc les I t i n ) ( 2 ) I n the medi ae l

a s a . as a . va
eccle i tic a l system the n a me of t he octa e species e fg b c

A
’
s as , v c a a ,
t he thirteen th ( se en th authe tic ) mode C hurch modes )

v n . .
I ra .
A n ger w r t n p s io n — C on i
, ngrily p assio n tely
a ,
a s . ra, a , a .
I ra t o A n gry p a ssion a te , .
I rl a n d a i s i rl a n d a i s e
,
Irish .
l ro n i c a m e n t e Iron ica lly .
I ro n i co Iro ic n .
I rre s ol ut o Irresolute u n de e1 ded , .
Istes s o a —
The s m e L i t o t empo t he sam e t im e t he m .
’
r err , , sa e
mo v emen t .
l s T RU M E N T A Z I O N E — JODEL N . 1 59
I st rum e nt a zi n e o
I n s trume n t a tion .
I s t r u m e n t i ( It P lur a l o f i s t r u men t o
. .
I st rum e nt ( It o
A n i n s trume n t ( 0 S
. trome n o) . . t .
I t a h a n s 1x t h The chord o f the It a li an sixth con sis s o f

. t a b a ss
n ote , m j or third
a a n d a ugme ted sixth
n — fo r i n s an ce , a t) ,
, t '
c , f
I t ali an , o f
. It li n
a a .
I t ah en , m .
, 1t a l 1 e n n e , f
. It li a an — f l l ’ i t a l i en ne, i n t he
It li a n style
a .
I te mi s s a. e s t L
( ta . The con cludi n g words of t he m a ss .
J .
J a ck , ( ) In the h rp ichord t he u prigh t slip o f wood n the b c k

I a s o a
e n d o f t he key le er to which is tt ched crow -q uill or piece

- v a a a
of h rd le ther proj ectin g a t right gles The q uill or piece o f

a a ,
an .
le ther ser e s a plect um with which the correspon d i g stri n g

a v s a r n
w as plucked ( 2 ) A p rt f the a ction o f the”pi an oforte the

. a o
,
e c peme n t le er which is l o c lled hopper

s a v ,
a s a .
J a g d h orn A hu n ti g hor n n .
J a e rc h o r ( Ger
. Hu ti g choru . n n s .
J eo (S A S p n ish tio l d ce of li ely ch r cter a na na an a v a a .
J a n i t s c a r e n m u s i k ( Ger The music i n troduced i to Europe . n
by the J n i a ries Milit a ry music con si ti g f wi d i n s t u

a z . s n o n r
me n t s a n d i n strume n t s o f percus ion such drums cymbals s , as , ,
tri n gl e s & c
a , .
J eu ( )
1 M n n er o f pl a yi n g ( 2 ) A org
a h rmo ium or . n an , a n ,
cl a eci n stop f v le
-s t op
J e n a b ouc h e ( F r A fl ue . .
J eu C el e s t e ( Fr v C é leste . . .
’
Fr A reed -s t op
J en d a n ch e s ( . .
J eu d a n e ( Fr The vox gel i stop

’
. an ca .
Jeu d e fl t e A flu te stop - .
Jeu d e V i ol e s A con sor t o f iols v .
J e n d e v o i x h uma i n e ( F r The m x Izu m stop . ana .
Jeux ( Fr Plur l o fj en . a .
Jeux d ou x ( Fr S oft swee t stops .

, .
or t rump A simple met l i trume n t co n

’
J e w s j h a rp J eW
’
s - . a ns
The pl yer ta kes the

,
s 1s t 1 g o f a fr me
n n d an el a stic to n gue a a . a
i n strume n t i his mou th k eeps its to n gue i n vibrat io n by

n ,
twitchi n g i t with o ne of his fin gers an d a l t ers the pi t ch o f t he ,
sou n d by modific a t ion s of t he c avi ty o f hi s mou t h .
J ig v Gigu e
. .
J o d el n A s t yle o f si n gi n g pr a c t ised by the S wiss t he Tyroles e t he , ,
i n h a bit an ts o f t he B a ri an A l p s &c the p e culi a ri ty of w hich

.
av , .
,
t oo —
JO N GLE U R S K ERA S .
o n sis ts i n freq uen t and sudde n change s fro m t he ches t to t he

c ,
he d oice a -v .
J on gl eu rs ( F Thus w ere c lled i n t he t ime of t he t rou badou : a -

r
an d t v e es t he pro fessi o n l mi n strels a n d pl ayers o n i n s t ru

r ou r a
me t s who e i t her were i n the service o f t he form e r o r t r velled

n a
a bout the cou n try i n depe n de n t ly Their perform ances w ere n o t .
co n fi n e d t o si n gi n g pl ayi n g an d recit a t ion but compris ed

, ,
—especi ally i n l a ter times legerdem a i n t u mbl i ng ro pe
,
, ,
d n ci ng &c
a , .
J us t e ( Fr C orre ct wi t h re g rd t o i n t ona t io n pi t ch
.
,
a , .
J u s t e s s e ( Fr C orrec t n e ss w i t h re gard t o i n t o na ti on
.
, .
K .
( Thou words no t gi v en u nd er K s hou ld be s o ug lz t u n d e r
Kal a ma i k a .
A Hu n ga ri an d an c e in t ime full o f a ni m at ion an d
a ss ro n
p .
K m
a m e r c a n t a t e ( Ger . C hr mber c an t a t a .
K a m m e rc o m p o n i s t ( Ger C h a mber composer A compose r

N
. .
who h d t o fur n sh t he c omposi t ion s re q uired fo r

a i a pri n ce s
’
pri te p rtme n ts
va a a .
K a m m e rc o n c e r t ( G e r A c h a mber c o n cer to ; o r a ch amb e r

.
con cert .
K a m m erd u et t C h a mber due t .
Ka mmermus ik C h a mber music .
K a m m e r m u s fl i e r ( Ger C h a mber musici a n . A t i t le of t he .
pri cip l members o f cou r t o rches t ras

n a .
K a m m e r s a n g e r A si ger i n t h e ser v ice o f a pri n ce n

”
.
Ka mme rt o n ( Ger “ C h ambe r pi t ch con cer t pi t ch C hor t o n ) . .

.
,
K a m m e rw rt u o s e A vir tuoso i n t he ser vice of a pri n ce .
Ka n o n ( Ger A c an on
. .
Ka p e ell A ch a pel A m usic a l es t ab lishme . n t — co n sisti g o f n _
a choir o f si n gers o f a b an d o f i n s t rume n t a lis t s

,
or o f both ,
conn ec t ed w i t h a church or a cour t or i n t he pay of a n oblem n , a .
N ow the e xpression is gen era lly appli ed t o a band o f i s t ru n
me n ta lis t s .
K ap e ll k n a b e n C hoir boys .
K ap el lm e l s t e r A ch a pel -m a s t er A direc t o r o f a choir o r .
o f a b an d K pelle )
. a .
Kec k F o rw a rd bold per t , , .
K eck h ei t Forw a rd n ess bol dn ess pe rtness , , .
K e nner A con n oisseur .
Ke nt B ug l e A k eyed bugle .
.
Ke n t h o rn ( G e r The K e n t bugle
. .
Ke ra s H o rn a wi n d i n s t rume ,
n t o f t h e a n ci e n t G ree k s .
[ 62 K L A P P E — K UN S T L E R .
Kl a p p e ( Ger A key o f wi n d i trume t like the flute cl a ri n e t

. ns n s , ,
b ssoo K e n t bugle & c

a n, , .
Kl a p p e nh orn ( Ger A met l win d i trume t with keys T he

. a ns n .
key -bugle .
Kl a ri n e t t e ( Ger The cl ri et . a n .
Kl a vi e r ( Ger ( I ) A keybo rd
.
( 2 ) A k eybo r d s t ri ged in a . a n
strume t a cl ichord pi n oforte & c ; w especia lly q u re

n : av , a , . no a s a
p i o
anforte .
K l a v 1 e r a u s z u g ( Ger A pi o forte score ( v C l i u ug ) . an . . a v e ra sz .
Kl e i n ( Ger ( )
.1 S m a ll little ( 2 ) Mi n or with re fere n ce to , .
,
i ter l
n va s .
Kni e g e i g e ( Ger A v i ol g
. m b ( a v a aa
’
a a .
K n o p f r e g a l ( Ger The s me Apf l g l . a as e re a
K o ll e c t i v z u g ( Ger C ompo itio ped l . s n a .
K o m p o n i r e n ( Ger To compose . .
K o m p o n i r t ( Ger C omposed . .
Ko p fs t i mme ( Ger He d - oice f l et to . a v , a s .
Ko p p e l ( Ger A coupler
. .
K o s a c k i s c h ( Ger i the C o ck tyle ( l l C

.
) n r ss a s a a osaoca ,
o
“
K o s a c k i s c h e r Ta nz Co ck d ce A tio l d ce ,
ssa an . na na an
of the C o cks It is i n time moder tely q uick n d ge er lly

s sa .
, a , a n a
1 n m or in .
Kra ft S t re n gth igour e n ergy — M i t gr o K f t w ith

,
v , . s s er ra ,
gre t igour
a v .
K r é ft i g ( Ger V igorous . .
Kra k ow i a k A P olish d n ce i n i time f stro gly m rked a t o a n - a
rhythm The me s C . i sa a r a cov en n e.
K r e b s g an g i g ( Ger R etrogr de b ckw rd i n re fere ce to

. a ,
a a , n
mo t io n .
Kre i s ch e n d ( Ger S hrieki g creechi g . n , s n .
Kre uz ( Ger A sh rp ( it)

. a .
Kri e g s li e d ( Ger A w so g . a r- n .
K r u m m b o g e n ( G er A crook fo r ch a n gi n g t he key ( pitch ) o f a

.
hor or trumpet
n .
K rummh or n Li t crooked h r ( I ) A cromor e .

,
o n . n .
The me o f a family o f obsolete wood wi d i trume t ( 2 )

na n ns n s.
A n org n stop a .
K ru s t i s c h e I n s t rum e nt e ( Ger I trume t f percu io . ns n s o ss n.
Kuh h orn A cow hor A l p i e hor - n, n n
Kuh re i h e n or Kuh re i g e n ( G
,
The me o f the simple er . na
m l die su g or pl yed
e o s n the hor by the S wiss herd me a on n s n
wh dri i g the c ttle out or i

en v n a n.
Kun s t ( Ger A t . r .
s t f u g e ( Ger A fugue i n which the composer i n troduces ll

. a
i m gm a h l chol
a tic c e tri
s ce — /l/ i t fi g
as d Ai t on van s . e s er i e an
’
ee r ca a
a re sy o y m n u e
n x pre io o s ss n s.
K fi n s t le r ( G
‘
A rti t A musici n s w ell as

e r. n p i t r
a s . a a a a n e ,
scul p tor & .

c.
.
K U RZ — LA NG U ETT E . 1 63
Kurz ( G e r . S hor t — A u r z u n a
’
bes t i m m t , shor a n d de erm i n ed
’
t t .
Ku a rd e n t A s hort morde n t ( v I n roductio n , X I V , t

go
rz e r . . . .
P 4 s e )
Ku z r er V or c
s h l a g ( Ger A s ho rt a p p o ggi a t u ra ( v I n troductio n , . . .
K y me ( Gk . The firs t p r1 nc1

p al p a r t o f t he m ass .
La .
i th f the Guido i n or Are t i n i n syll bl e s used
( I ) T he s x o n a , a , a ,
i n solmi tio ( 2 ) The

sa me gi e by the It li n s Fre n ch
n . na v n a a , ,
d ome other
an s tio to t he n ote A ( 3 ) I It li n an d na ns . n a a
Fre ch the femi i e ge der o f the defi n ite rticl e

n n n n a .
L a b é mo l
. The ote A fl t n a .
L a b é mol m aj e ur ( Fr A fl at m jor . a .
L a b é m ol mi n e ur ( Fr A fl a t mi or . n .
I- a b e mo ll e ( It
. . The n ot e A fl t . a .
La b e mo ll e m a g g i or e ( I t A fl t m j or
.
. . a a .
L a b e mo ll e m i n or e A fl t mi or a n .
L a b i a l p fe i f e A fl ue p i pe i the org n - n a .
L a b i a l s t i m m e ( Ger A flue top i the organ .

-s n .
La b i um ( L t The lip o f n org n pipe

a . a a .
L a cri mo s o ( I t Te rful woeful . a , .
L a d i es e ( F r The n ot e A sh rp
. a .
L a d i es e mi n eur ( Fr A sh rp min or . a .
La d i es i s
. The n ote A sh rp a .
L a d i e s i s mi n ore ( I t
. A sh rp min or . a .
La g e Po ition ( 1 ) o f a chord ( v I n t ro duc t ion

s VI I I .
,
I ( 2 ) o f t he h n d i pl yi g o n stri n ged i n s t rume n t s a n a n

p . .
L a g r l m a n d o ( It Weepi g w a ili n g l me n tin g

. n , , a .
L a g ri mo s o ( It Tea rful woeful .

, .
L a m a gg i ore ( I t
. A m j or . a .
L a m ag e u r ( Fr
. A m j or . a .
L a m e nt a b i l e Mour ful doleful n , .
L a me nt a nd o ( It L me ti g mour i n g . a n n , n .
L a me nt evol e L a m e nt o s o ( It Dole ful mournful .

, .
L a mp o ns ( Fr A ki n d o f dri nki n g son gs

.
,
Land l er ( Ger A kin d o f slow w alt i n i ; or 3; t ime peculiar t o

.
f z
3
,
S outh Germ a y more especi a lly to t he Aus t ri a n pro vi n c es

n , .
L a ng s a m ( Ger S low L g a me slower — . . an s r, .
L a n g ue nt e ( It ( I ) L n guishi n g fai n t ( 2 ) Amorous

. a , . .
La n g ue t t e ( F r ( I ) The ton gue o f a h arpsichord j ck ( 2 ) The

. a .
to n gu e o f reed pipe i n t he org n ( 3 ) The tem f t he k eys

a - a . s o
o f wi n d i n trume t s n s .
1 64 L A N G U I D A ME N TE — LEGAT U RA D I vo cn .
.
L ng ui d me nt e ( Fr L guidly f i t ly
a a . an , a n .
L ng ui d o ( It L guid f i t
a . an , a n .
L rg m nt e ( It Bro dly l rgely

a a e . a , a .
L rg A m i m the lo ge t ote f the old me sur ble music

a e . ax a, n s n o n a .
L rg h t t o ( It The dimi uti e f l g It i dic t es q uick

a e . n v o ar o. n a a er
mo eme t th the l tter term
v n an a .
L rg h i i mo ( It V y bro d ery l rge This word is t h

a ss . cr a , v a . e
superl ti e f l g a v o ar o
La rg o ( It Bro d l rge L g i dic tes bro d st t ely d

. a , a . ar o n a a a , a , an
ery slow mo eme t — i deed it is the slowest music l mo eme t

v v n n , a v n .
L rg o
a i assa V ery slow bro d d st tely ( L rgo ) , a , an a . v. a .
L rg o d i mol t o
a V ery slow bro d d st t ely i deed , a , an a n .
( L rgo )
v. a .
L g o m no n t ro p p o ( It S low bro d d st tely bu t t

ar a .
, a , an a , no
too much so ( L rgo ) v . a .
L a ri g ot ( Fr ( ) A shepherd s pipe or sm ll fl g l t ( ) A
. I
’
a a eo e . 2 n
org n stop o f I 6 -i n ches pitch which sou ds t w oct es an d
a , n o av a
fi th higher th a 8 feet stop

f n n - a .
La u d a ( It . A hym n a c a ticle
.
, n .
L a ud e s L uds a .
La ud i s p i ri t ua li S piritu l hym n s a .
La ud s With M ti immedia ely fter which they follow L uds

.
a ns, t a ,
a
form the first o f the Rom n C tholic o ffi ces c a lled C a n o n ic a l a a
Hour s .
La uf ( 1 ) A run a ( 2 ) Th t p art o f a vi oli n o r

’
ul d e , ro a . a
i mil r stri ged i strume t which holds the pegs

s a n n n .
La ut ( Ger ( I ) Loud ( 2 ) A sou n d

. .
L a ut e A lute .
L a ut e ni s t A lute pl ayer .
L a u t e n m a c h e r ( Ger The me s tu t /t i er . sa a
L ay A er e poem a son g ba l l d
v s , a , , a a .
L e a d i ng not e The n ote which te ds t oward an d lies semiton e

,
n , a
below the t on ic ( key n ote ) the firs t degree o f a sc le or i t s

.
- a
, ,
oct e I n C m jor t he lea di g n o t e an d t on ic are b c i n A

av . a n ,
mi or a n , .
Le b e n d i g Li ely a cti e vi a ciou s v , v ,

v .
L e b h a ft ( Ger Li ely an im ted . v ,

a .
L e o n ( Fr A les o . s n.
L e g e r li n e s or Leg e r li n e s The shor t auxili ary li n es above

, .
and below the st e ( v I n trod uction II I pp 3 4 & c ) av . .

, .
, .
, , .
L e g a nd o S lurri n g bi di g ; pl yi n g or si n gi g smoothly , n n a n
Le g a t i s s i mo ( I t The superl ti e o f l eg a to Very smoothly . a v .
( v Leg to ) . a .
Le g a t o S lurred bou n d t oge t her This t erm i n dic a t es t h at , .
ucce si e n o t es h a e to be pl ayed con n ec t edly Leg a to i s t he

s s v v .
opposite o f s t t o det ched a cca , a .
Le g a t ura ( I t A bi n d a syn cop tion lig ture

. .
, a , a a .
Leg a t ur a d i voc e ( I t S m ooth e x ecution of s ucce ss io n o f . a
n ote s i n n e br th o ea .
1 66 LE S S E R — LIM M A .
”
L r
esse ,
Thi word w fo m r l y u ed i t h e
s f mi or as r e s n e s nse o n .
L to
es Nimble q uick ,
.
Levé The upw rd mo eme t t the fo t or h d i be t a v n

‘
o o an n a
ing time ; it corre po d with the u cc n ted p rt f the s n s na e a o
bar .
L zi on
e e A les on s .
Li i o n
a s bi d a y cop tio ( 2 ) The pl yi g
( ) A I n , s n a n . a n or
i gi ng o f erie o f otes with

s n troke f the bow i
a s s n o ne s o , n o ne
bre th ( 3 ) A li ture
a . a .
Li b era m e nt e i b rem e n t Freely .
Li b i t um ( L t v Ad libitum a . . .
Li b re t t o Lit a little book The book o f words f a n .

, . o
exte n de d v oc l compositio especi lly f oper a n, a o an a.
Li ce nz a ( I t Lice n ce A olu t ry dep rture from rule n d

. . v n a a a
cu tom s .
Li ceo Lyceum c demy The me o f some It li mu ic ,

a a . na a an s
schools an d other musical i n s t itution s .
Li e S lurred tied , .
Li eb li ch ( Ger S wee t lo ely deliciou s This word occurs ofte n

—
.
,
v ,
as a n epithe t i n the n mes o f org n stops ; s L i bl i l G d kt a a a c c z- e ac .
L i ebl i clt -B ou r d on , & c .
Lei d n
g
— L i ed er A so is t he plur l f L i d a o e .
L i e d e rc y k l u s A cycle serie o f son gs , a s, .
Le r r nz chora l ociety ( 2 ) A “wre a th

i de k a (I) A s .
, or
series , o f s n o gs .
L i e d e rk r e i s A cycle series o f so n gs , a , .
L i e d e r s p i e l ( Ger A v ud i ll dr m tic piece i n ter persed

. a ev e, a a a s
with light e si l y comprehe n sible music — so g duets choruses

,
a n s, , ,
&c .
Li e d rte a fe l A si n gi n g socie ty f m en who e n de our t o

( Ger . o av
combi n e the e nj oyme n t o f the ple asure o f mus1c so e t y n d s , c1 , a
perh ps the p l te tooa a a .
Li e d form ( Ger S o g -form . n
Li e d oh n e W ort e A so g wi thou t words n .
Li g a t ur Li g a t ura Li g a t ure ( 1 ) I n the old . .
me n sur ble mu ic ucces ion o f two or more n otes su g t

a s a s s n o
n e syll ble
o As i n tho e d y the lur w s n t i use the otes
a . s a s s a o n , n
were either brought i to clo pro x imi t y or j oi ed t g t her i n se n o e n
riou w y ( 2 ) I n moder mu ic ucce i

va s a s f ot
. g n s a s ss o n o n es su n
to e yl l ble or i
on e bre th ;
s d l o a ucce io f ote n on a an a s a s ss n o n s
pl yed with
a troke o f t he bow or i bre th 3 ) A y
one s n one a . s n
c p ti0 ote a the u cce ted p rt f b tied to n f

on , a n on na n a o a ar o e o
the s me pitch o the followi g cce ted p rt A di o c

a n n a n a . ss n an e
with i t prep r tio A di o

s ce i s id to be prep red w h
a a n . ss n an s a a en
the dis o n t ote ppe red i n the precedi g chord as a n

s na n a a n co
so n ce na .
Li g n e ( Fr A li e— fo r in sta ce o f the st a e
. n n ,
v .
Li mma . The n me f e er l m ll i ter l n t u d i n a o s v a s a n va s o se
pr ctic l mu ic O
a a f them the P y th gore l i mm
s is . ne o , a an a.
LI N E A— L U TE . 16 7
t hele er h l f o f to n e a mi or semi t on e
ss a the Greek a ,
n —i n
e the p t m bei g the gre ter h l f a m ajor semito n e
se n s a o o e n a a , .
Li n e a A li e — f r i t n ce f the st av e n o ns a ,
o .
L i ni e ns y s t e m The t e s av .
L i nk e H a n d ( Ger Left h an d . .
Li ra . A lyre .
Li ra d a b ra cci o An obsolete bow i n s t ru me n t o f the si e z
d h pe f the te n or iol with se e n stri gs fi e bo e

an s a o d v ,
v n ,
v a v an
two beside the fi ge r-bo rd n a .
L i r a d a a mb a a lso c lled L i r o n e p e r f e t t o an d A rci a

,
v i o a d i li r a An ob olete i trume n t i sh a pe like the s ns n
i but l rger It w pl yed like the v iolo cello

’
li ra b aa r a cc o a . as a n ,
d h d fourtee
an or i x tee n stri g two o f which lay be ide t he
a n s n s, s
fi g n bo rd e r- a .
Li ra p a a na Li ra ru s t i ca or Li ra t e d e s ca ( I t A hu dy
gurgy
. . . r
, ,
Li ri co m Li ri ca f ( I t Lyrical
,
.
, ,
. . .
L i ro n e A gre t lyre a .
L i s ci o S mooth .
L ist es s o
’
The same— fo r i n s t an ce L i t e so t empo the m e ,
’
s s ,
sa
time th t i to s y the same mo em e t

, a s a ,
v n .
Li t a n e i Lit a n i m Li t a n i e A lit y an .
Li t a ny A solemn supplic t ion al t er ti n g between the i n voc tion

.
a na a .
f the priest n d t he respo n ses o f the choir or con greg tion

o a a .
Li ut o I t A lute . .
Li vr e ouvert ( Fr 3 l i vre ou e t sign ifies at sigh t . v r .
Li vre t ( Fr The same as l i b t t o

. re .
Lob g e s a ng ( Ger A hym n f praise . o .
Loco ( It Pl ce This w ord is used t o in d icat e aft er a p s age

. a .
, a s
m rked 8 ( tt v sign ifyi n g either an oc t a e higher or lower )

a va o a a, v ,
th t the otes h e ag i n to be t ake n at their proper pi t ch

a n av a .
Locri a n v Hyperphrygi n . . a .
Long a . The seco d lo n gest n o t e o f t he o ld me n sur ble music n a .
“
Lont a n o Dist n t a .
Loure ( )
I A n obsolete ki d o f b a gpipe a m u et t e ( 2 ) An n , s .
old F re n ch d a ce ra ther low a n d ge n era lly i n sometimes

n ,
s ,
howe er a lso i i t ime v ,

n t .
Lug ub re ( It Lu gubriou doleful . s, .
Lung a p a us a ( It A lo n g p use or rest . a , .
v Loco . .
Lus i ng and o Lus i ng a nt e Lus i n g h evol e,

C o ax i n g , ,
c a re s s m g.
“
Lu s i n g h ev o l m en t e C o a xi n gly , c a re s si n gly .
Lu s i ng h i e, 01 er
s i ng h i e ( It Lu
C o a xi n g sed ucti v e
’
ro .
, .
Lu s t ig Merry gay cheerful , , .
L i l t e . A n obsolete i n strume n t w h i c h h a s a body wi h a va ulted t bac k

an d a fl a t belly eck f moder te le gth fretted fin g
, a n o a n , a er
b oa rd , and gut s t ri n gs — some f them lyi ng i n t he l ater n d l rger o a a

1 68 —
L U T H MA D R IG AL .
in s t rume t s b
es ide the fi n ge r bo rd
n I n t he belly a e o n e t w o - a r , ,
o r three rou n d sou n d holes The 1n st ru me n t i s m a de t o so u n d .
by plucki n g the s t ri ngs w i th t he fingers .
Lut h A lu t e .
Lut h e ri e ( Fr ( I ) The p o fess o n of musical in strum en t m k r ;

. r r a a e
t hat i o f i n strume ts o f the v ioli n

s, d lute cl
n ( 2 ) Th e an a ss .
o bjects which o n e followi g thi p o fess i d m ke n d n ell — uch s r n a s a s s s
as vi oli n s v iolo n cello double b sses guita r & c

,
s, a , s, .
Lu t h i e r ( Fr ) A m ker o f in strumen ts o f the i olin d lute kin d

. a v an .
Lut t uo s a ment e ( I t Mournfully sorrow fully .

, .
Lut t uo s o ( It Mourn ful sorrowful .

, .
Ly di a n ( I ) I n the an cien t Greek syst em the n me o f the octave

. ,
a
species c d e fg a b c n d a l o o f n e o f the tr n positio n sc les a s o a s a
W
.
,
( )
2 I n t he m e c l e i s t i ca l ystem the me f t
s ah e s ,
na o
o c t a e species v
fg a b e d e
j t he fi ft h ( the t
y
hird uthe n tic ) ;
a
mode .
L y ra ( Gk a n d L t
a . A ly re — L y a . I ex ac l t or d i s six -stri ged
. lyr e r r ,
n .
— For other ki n ds o f lyre see L i ra .
Ly r e An an cie n t stri n ged i n strume n t

. The Greeks h d se er l . a v a
k i n ds di ff re n t t n si e sh pe n d n umber f stri n gs The e l st

,
e z ,
a , a o . s a
w ere tretched from sou n d box up to cro s-b r which was

s a a s a ,
s upported by t wo rms risi n g from the sou d box The i na n .
s t rume n t w as m a de t o sou n d bv s t riki n g the stri n gs with a

plectrum .
Ly ri c“ or Ly ri ca l These words
,
”
— w hi ch i n the fir t pl ce sig n i fy
“
s a
pert” i i g to the lyre the n lso fitted to be u n g to t he

a n n ,
a s
lyre an d l a stly a propri te to so g — e e peci ll y n

’
ar s a
,
p , , a
pplied to poetry d mus c which e x pres e i di idu l emotion s

a an i s s n v a .
The lyric l i n poetry a n d music has bee de cribed as t he

a n s
perfect d most eupho iou expressio n

an the ide al e p e
n s , as r r
se t t i o n
n a or obj ecti tio o f subj ecti e feeli gs The words
,
va n, v n .
ly i n d ly i
r c l are used i n disti n ctio
a r ca from p i c ( rr ti e ) n e na a v
a d d am t i c
n A ly i d m is a sy o yme fo r oper ; the
r a r c ra a n n a
l y i t
r c
g f r oper a tic
s a st e, ge oA oper a s c lled ly i c
a whe n n i a r
—
.
the lyric elemen t predomi a tes o e r t he heroic s en time n t o e r n v v
ction
a .
Ma B ut .
M a d ri a l e A madrig a l .
M a d ri a l e t t o ( It A sh o rt ma d n ga l
’
. .
M d ri g
a al Thi word s of u cert i d i t t o n ( m
n a n er v a a n dr a , fl ock ?)
ha s
two s i gn i fi c a t i o n s : ( I ) A hort l y ric l poem o f
s a no fix e d for m A .
70
—
MA N C H E MAR S E I LLAI S E .
M a n ch e Th ek f i s t rume t f t h ioli or l ute e n c o an n n o e v n
cl sa s .
M n d ol
a a A i s t rume t i si e like l rge lute w ith c tgu t
n n n n z a a , a
d wire stri gs pl yed wi t h

an plec t rum n , a a .
M n d ol i n o ( It A m doli e sm ll m d l ( q
a . an n , a a an a a . v.
Ma n d or ( It The s me m d l
a . a as an o a.
M a ni ch ord A cl i chord ,
av .
Ma ni co ( I t The eck f i strume t s f t he i oli

. d l t n o n n o v n an u e
cl as s .
M ni er
a ( ) M er ( ) A gr ce or me t 1 an n . 2 a , an na n .
M a ni er M ni ere
a. M er a ann .
M ni ere n ( Ger The plur l f M i

a . a o a n er .
M an n e rc h o r A chorus f r m ale v oices o r a chor al body of o
m le i gers
a s n .
M a n n e rg e s a n g v e r e i n A society fo r the culti tion va of

music for men s oices ’
v .
- M a no d e t a t he right h an d
Ma n o The h an d m o si i t a
. s r ,
an n s r ,
the le ft h n d a .
Ma nua l A keybo rd pl yed upo with the h d i n con t r di t in ction

.
a a n an s, a s
to p ed l a keybo rd pl yed upo wit h the feet M u al i s

a s, a a n . an
c hiefly i n deed lmost o ly u ed i p e k mg o f t he orga or any

,
a n , s n s a n
other i n strume n t with a ped l keybo rd a a .
M a n u a l c o p p el A coupler co ectin g di ffere n t m an ual s nn .
Ma nua l e ( It A m n u l . a a .
Ma nub ri um The h n dle k ob o f org n sto ps a , n , a .
Ma rca n d o M rki g cce tu ti g a n , a n a n .
Ma rca t i s s i mo V ery tro gly m rked a cce n tu te d s n a , a .
a rc a t o ( It M rked cce tu ted . a , a n a .
a rc h .
A music l compo itio n i te ded to a ccomp n y m rching
a s n n a a ,
more especi lly f soldiers There a two ki n ds o f m rches
o . a re a
t h e q uick m rch or quick tep d the

a low or pro ,
s ,
an s ,
ces i l m rch
s ona S low m rches m y be di ided i to fest l
, a . a a v n a
a n d fu er l m rches n The e two l t me tio ed species e

a a . s as - n n ar
much more solem d dig ified i their mo eme t th n the n an n n v n a
q uick m rches but l l fathem e mo tly i i, time Q uick a o ar s n .
m rche co i t o fte e t o f two h l e e ch f two p rts n d

a s ns s n s a v s, a o a , a
e ch p rt f eight twel e or i x tee b rs The ec d h l f is

a a o , v ,
s n a . s on a
c lled the t i
a For the mo t p rt proce io a l m rches h e
r o . s a ss n a av
likewi e this sym metric l rhythmic l rr geme n t f the d a ce

s a a a an o n
form ; but they e n o t strictly bou n d to it q uick m

ar rches as a
a re Although time is the usu a l m rch me ure m rches i n

. a as ,
a
g an d e e {2 , 7 e to be met with v n ar .
M arch e ( 1 ) A m rch ( 2 ) The successio or progressio o f a . n n
chord s .
Ma rch e t r i omp h a l e ( Fr A tri mph l m rch . u a a .
M a rci a ( I t A m rch
, a .
M rk d cce tu at ed
.
M a r k i rt M a r q u e ( Fr . a e a n .
M a r s eil l a i s e A Fre n ch popul r re volutio ry o ng o f which

.
a na s
—
M ARTEL E M E I S T E RS AN G E R . 1 71
Rouge t d e Lisle an c fli cer i n t he army compose d t he w ords an d , ,
music i n 1 79 2 .
Ma rt e l é h a mmere d ; M a rt e ll a n d o h ammeri n g ; a nd ,
M a rt e ll a t o h mmered a e i n dic tion s sometimes fou n d a ,

r a
i n music writte n fo stri n ged i n s t rume n ts pl a yed w ith a bo w r .
Ma rzi a l e M a r t i l w a rlike a , .
M a s c h e ra t a A m ask or m asq u e , .
Ma s q u e A dram at ic e tert ain me t most freq uen tl y wi th an al l e

.
n n ,
i a l or mythologic a l subject d i cludi n g poetry oc al nd an n v a

g cor , ,
i n trume n t a l music d n ci n g n d bo e a l l brilli an t costumes

s , a , a a v ,
fi n e decor tio n a n d wo der ful m chi n ery

a The m a sq ue w as
s, n a .
one f the predece sors o f the oper

o s a .
Ma s s The chie f di isio s f the music l m a ss a re : ( I ) t he [ ( y r i e

,
v n o a ,
( 2 ) the Gl i a 3 ) the C edo ( 4 ) the S ct u a n d B e ed i ct u s

or ,
r ,
an s n ,
an d 5 ) t he A g n u s D ei Further m a y be me n t io n ed t h e .
I t i tu n ro which precedes the K yrie t he G a d u a l e which in t e r

s, , r ,
v e es betwee the Epi tle a d Gospel a n d t he Ofi r t or i u m

n n s n , ,
which i ter e e betwee n t he C redo an d S an ctus

n v n s .
M a s s ( Ger Me ure . as .
Mas s i g ( Ger Moder t e . a .
M a s s i ma ( It The M a i ma ( a n ) . x .
Ma s s i mo Augme ted a rega rd s in t er va ls n , s .
M a s ur M a s u r”e k M a s urk a
,
Germ an forms of t he w ord , .
M urk az a .
M a t e l ot t e A s ilor s d n ce a
’
a .
M a t i n ee mu s i c a l e A morn i ng co n cer t .
M a t i ns The fir t f the c n o ic l hour morn i n g prayer s o a n a s .
M a ul t r omm e l
,
A Jew -h rp
’
s a .
M a xi ma ( L t The lon ge t ote o f the old me n surable music ( 0

a . s n . .
pp 1 7 d 5 5 f I troduction )
. an o n .
M a xi m e A m x im a a .
M a zur e k d M a zurk more properly d commo l y Ma zurk a

an
,
an n ,
A li ely Poli h v tio a l d n ce i n 5; or time s na n a .
M e a n An ob olete me fo r middle p rt or middle tri g s na a a a s n .
M e a s ure ( 1 ) A t tely d an ce ( 2 ) Time the rhyt hmic l di vi sion

.
.
s a .
, a
o f the portio n o f music betwee two b -li n e ( 3 ) A bar t he n ar s. ,
portio o f music l yin g betwee two b li e

n n ar- n s .
M e d e s i mo ( It The s m — [ l m d s i mo t emp o t he same t ime

. a e e e , .
M e d i a nt The third degree o f sc le a a .
M e d i us ( L at The n ame o f o n e o f the accen t u e l e i t i ci

,
. s cc s as .
r
M e h fa h ( c Ger M an i fold — M ln f b e ] t . l l compou d i n ter . e ac n erv a e, n
va l —M l rf l er K
s a c o with more th an two subjec t s
e t ac z a n on , an n
—
.
.
M b rf l e S t i mme an org
e stop wi t h se era l s e t s o f pipes
ar z , an v .
Me h rs t i mmi g ( Ger I n se era l p rts . v a .
Me i s t e r fu g e ( Ger The same a s F ug a i cer ca t a . r .
M e i e t e r s an g e r or M e i s t e rs i ng er ,
M s t er sin gers t he
a -
,
burgher poet d m u ici — t h cce or f the oble [ Wi e s an s an s e su ss s o n nn
i g — who fl
s n er h d i the fourt e th fi ft ee n th n d sixtee th
oun s e n e n , , a n
1 72 M ELA N C OLI A — M EN ETRIE R S .
ce n turies
They formed guild ( Z f t ) i n se er l Germ n
. s un
'
e v a a
t ow s f r t he culti
n otio o f the t w rt ccordi g to trict rul
va n o a s a n s es ,
which were l id dow n i n the T b l t The member o f th e e

a a u a ur. s s
g u ild were fsdi ff ere t gr de A fter tohe si x tee th ce tury n a s . n n
t he a t o f the M ei t
r i g beg to d ec y d their guild s
s ers n er an a , an
gr du lly di ppe red th t f Ulm how e e r con ti n ued till 1 83 9

a a sa a a o , v , .
Mel a ncol i a v M li co i . a n n a.
M é l a n coli e ( Fr Mel choly . an .
M el a n g e ( Fr A medley p t ou i .
, a o rr .
Meli s ma ( Gk A gr ce the or m e t tion o f pri n cipal n ote by

. . a , na n a a
uxili ry n o t es which i n si n gi g e ge n er lly executed n o e

a a , n ar a o n
syll ble a .
Mel o di a . Melody .
Mel o d i co n An i trume t the sou ds of which were produce d

.
ns n n
from a series o f tu i g -fork which were struck by me n s o f n n s a
keys I t wa s i n e ted by Peter Ri ff l n o f C ope h ge n i n

. v n e se n a
1 80 0 .
Mel o d i co Melodic b l gmg to melody , e on .
M el d i ( Fr
o e Melody . .
Mel o d i k ( Ger The i f melody . s c e n ce o .
Mel o d i o n A keybo rd i trume t i which met l b r

. a ns
t
n n a a s a re m d a e
to sou d by rot ti g cyli der I e ted i 8 6 b y Diet

n a a n n . nv n n 1 0 z.
Mel o d i os ment e a Melodiou ly s .
Mel o d i o s o Melodious full f melo dy , o .
M el o d i um ( Fr A ki d f h rmo ium . n o a n .
Mé l o d r m a Mel o d ram m e A melodr m (

“
a a a . I ) T he
”
origi l me in g o f the word w s sy on ymous with opera
na an a n .
( 2 ) The me has been further pplied t a spoke n dr m a

na a o a
a ccomp a ied with i n strume t l mu ic

n B l l a ds d p rts o f n a s . a an a
O per a d other oc l works h e l o bee n sometimes tre a ted

s an v a av a s
m elodra m a tic a lly 3) A t hird me i g is th t. f a pl y ( mostl y an n a o a
o f a rom an tic a n d se n s a tio n a l n ture ) with i n cide n t l a d n o w a a n
a n d t he a ccomp yi n g voca l a d i n strume n t l mu ic

n an n a s .
Mel o d y A succession of n otes pleasin gly ordered with regard t o

—
pitch n t ime s t ric tly spe ki g on ly with reg rd t o pitch
.
d a a n a .
Mel og ra p h An in strumen t which whe a tta ched t o a pi n oforte n a
dow n wh a t is pl yed o n t he l tter

.
n ote s a a .
M é l oma n e ( Fr O n e who has an i ordi te p s ion a ma i

. n na a s ,
n a,
fo mu icr s .
M el om a ni e ( Fr I n ord in ate p s ion f mu ic . a s or s .
Mel op i a n o A keybo rd i strume t i n e ted by C ld ra o f Turin

.
a n n , v n a a
i n 1 8 7 0 the peculi r h mmer ctio n o f which e ble the pl aye r t o

, a a a na s
produce sust i n ed sou n d d a e ce d d de a e do s an cr s n o an cr esc n .
M e 10 p oe1 a
' '
The a rt o f formi n g melody .
.a —
M eme ( Fr The s me M eme m eme t the sa me t im e .
‘
ou v n , .
Me n ( I t The elided form o f meno

.
M é n e s t re l s ( F r Min strels . .
M é né t ri ers Mi strels Now the expression has b d n . a a
m e n i n g n d i s pplied to wretched fidd l e s

a , a a r .
1 74 M1 D I ES E — MI S S A L E .
M i di es e ( Fr . m i d i es i s E sh a rp .
Mili t i r m
a nt ( Fr M il i t a r e n d M ih t a rm e n t e ( I t
e e . In a
'
a milit ryy w a -like stylea ,

r .
M il i t a i r m u s i k ( 1 ) Milit ry mu ic ( ) A milit ry ba d
2 a s . a n .
Mi na cc e vol e Mi n a cc e vo l me nt e ( It ,
In thre te i g . a a n n
m er ann .
Mi na cci a n d o ( It Thre te i g . a n n .
Mi n a cci o s o Mi na cci o s a me nt e ( It ,
I n a t hre te n i g . a n
m er an n .
M i ne ur Mi or n .
M i u 1 m O o f the time lue i n music ; n ote h l f s lo g a

.
ne va s a a a n as
emibre e d twice s lo g s crotchet ( v I n troductio n

P
s v , an a n a a .
,
IX p 1 7 , .
Mi ni m a ( L t A m m i m ( 1 t d uct n pp 5 5 d
a . . v . n ro 10 , . an
M i nn e s ang e r or Mi nn e s i ng e r The Germ t uba an ro
dour the ob l e poet mus c

s, who flouri hed the twel fth d
n i i an s s ln an
thirtee th ce tur e ( of Mei ter i ger

n n i s. . s s n .
Mi n or Le sm l ler Like m j thi term pplies to i n ter ls

.
ss, a . a or , s a va ,
chords or sc les ( v I n troductio n

,
V I I an d V II I pp 1 2
a . .
, . .
, .
,
1 3, &c .
)
Mi or n .
Mi nue t A d ce f Fre n ch origi n i n t ern ry ti me — usu ally i n 37

.
an o a ,
sometimes i time I t mo eme t d ch ar c er ch ged i t he

n . s v n an a t an n
course f its c reer A courtly t teli e s n d well -regul ted

o a . s a n s a a
g iety e i t most promi e t fe tures By its i n troductio first

a ar s n n a . n
ni to the S i t d P ti t nd fterw rds i n to t he S

u e an ta ar a, a a a on a ,
Sy mph y & c it h s become

on , rtistic form o f import n c e
.
, a an a a .
I the o t
n nd ympho y it ge er lly co i ts o f two mi uet s
s na a a s n n a ns s n ,
e ch f two p rts the fir t mi uet bei g repe ted fter t he
a o a , s n n a a
seco d which is c lled the t i

n , The composers i n thu s a r o
tre ti g t he mi uet rti tic lly h a e by o me n s a lw y ret i ed

a n n a s a v n a a s a n
the origi l ture f the d ce ; o n the co tr ry h a e produced

na na o an n a , v
u der this n me piece ery d iffere n t i n mo eme t d ch ra cter

n a s v v n an a .
Mi nu e t t o A mi uet n .
Mi ra cl e -Pl a y s The mir cle pl y is distin gui hed from t he

.
a a s
my t ery bec use it co ect it el f less clo ely with the S criptures
s a nn s s s
an d the ser ices f the C hurch d embodies f

v the mos to , an ,
or
p rt ”rious pocryph al lege ds bout the s in ts a n d t he

a ,
va a n a a
Virgi ( v Mysteries
n .
) . .
M i s c e ll a A mi x ture stop i n t he org an .
M i s e d e vo i x The s me ”s me i voce ( gun ) a a ss a a

’
.
M i s e r e re ( L t H e mercy the first word o f the 5 o t h Psal m

a . av ,
( the 5 1 5 t i n t he E gli h er ion ) an d t he n ame gi e n t o co m n s v s ,

v
po ition s f th t P s lm
s o a a .
Mi s s a ( La t The m ss . a .
Mi s s a b rev i s ( L t A shor t m ass a . .
M i s s a ca nt a t a A ch n ted m ass . a .
Mi s s a l e A mi l T he Rom C tholi c m -b o ok It ssa . an a ass .

M I S S A PRO D E FU N C T I S — MOLL A K K OR D . 1 75
o t i s t he words o f l l th at is re ad or su g i n the m
c n a n bu t a n a ss
t he music o nly o f tho e p rts th t ppert ai n to the cele br t o r s a a a an
s cred mi i ters ( v Acce tu )

a n s . . n s .
Mi s s a p r o d e fu n c t i s ( L t A Req uiem mas a mas s fo t he a . s, r
de d a .
Mi s s a s o l e m n i s or s o l e n n i s ( L t High m s a . as .
Mi s s k l a ng ( Ger A di cord t sou d e th t 5 out o f h“ rmo ny

.
,
s an n , on a 1 a
with the rest The word h t the me

. i ng f d i as no an o ss o n
a n ce .
Mi s t e ri o s a m e nt e My teriously s .
M i s t e rl o s o ( It My t e . s n ous .
M l s u r a ( It . A me ure b. as ,
a a r.
Mi s ura t o ( It Me ured . as .
M i t ( Ger With M i t A u ck with expres ion m i t B g lei t u ng

. .
- u sa r
’
, s e ,
with a ccomp n ime n t ; mi t E mpfi d g with feeli g

a n un ,
n .
Mi t k l a ng ( Ger Reso ce . n an .
M i t kl i n g e n d e T on e O erton es uppe r p rti a ls v , a .
Mi t t e l c a d e n z The semi c de ce or as some c ll i t t he - a n , , a ,
imperfect c de ce ( v C de ce ) a n . . a n .
Mi t t e l s t i mm e n The middle or i n er p rts , n , a .
Mi x o l y d i a n ( 1 ) I the n cie n t Greek sy tem the n ame o f one o f

.
n a s ,
the oct e pecie b d fg 0 l o c lled Hyp d i

av s s nd c e a , a s a er
‘
or a n , a
of f the tr
one o po itio n sc ales ( 2 ) I n the old eccle i tic al
ans s . s as
system it i the me f the se e n th ( the fourth uthe tic ) m de

s na o v a n o ,
or to e n
Mi xt ure A n org
,
n stop co n 5 1 s t i n g o f s e er a lar n ks o f pipes — from v a
two to fi e pipe ou di n g di ffere n t h armo n ic n o t es correspon d

v s s n
i g to e ch key
n a .
Mo d e S p cies f sc ale I n the modern syst em o f music there a e

e o . r
o n ly two mode the m j or a n d mi n or i n the an cie t Greek d

.
s, a n an
t he medi e l eccle i astic al y t em t here w s a much gre ter

a va s s s a a
n umber .
Mo d e r a t a me nt e Modera tely .
M o d e ra t i s s i m o Very moder a t ely .
Mo d e r a t o Moder t e This term refers ge n er lly to time a . a ,
mo eme t v n .
Mo d o ( It Mode . .
Mo d ul a t e Mo d ul a t i o n The prim ary me n i g o r t o modu l t e

, . a n a
i s to form fter cert i n mode to me sure o ff properly

a a In a a
”
, .
s
“
mu ic it origi n lly me a t to me sure rhythmic lly the n ls a n a a a
, o
“ to me sure melodic lly — melodic me ureme n t bei n g s n o n
a a
y y as
“
mous with i n flection I n moder n tech ic a l termi n ology t o . n
modu l a t e sig n ifies to ch an ge t he key ; m d u la t i on a ch nge o , a
of k ey .
Mo d ul er ( F r M o d u li r en . To mo d ul at e .
Mo d u ( L t Mode
s a . .
M 0 11 ( Ger Mi or . n .
Moll a k k ord ( G A mi o e r. n r cho rd .

76
—
MOLLE MO S T RA .
Moll e ( Lat an d S o ft ge n tle In -

mediasv a l music t he La t in
” B moll e z B fl a
. .
,
word mol l e w as fl at u s ed i n the s e n se o f . t

B d u r u m ( h a rd B ) B n a tura l .
Mo m ll e e nt e S oftly , ge n tly .
Mo Mo
l li s , ll e So tf — B moll e, B fl a t . . Ca n t u s m ol li s
and lt ex a c/zor d u m m ol l e, a he a chord a n d mu ic con isti g x s s n
o f the n ote fg a bl) d The third an d s i x th he x chords were

s c a
”
.
“
c lled o ft Durus N tur li olmi tio
a ( v s .n d S n ) .
, a a s, a sa .
Moll t o na rt A mi or key n .
Mo ll t o nl e i t e r A mi or sc le n a .
Mol t o Much ery e x tremel y — M l t a ad g i , e ry sl ow ;

v , a a o, v
m lt o im t
o an e y im ted m l t l l g a o, v ery q uick
r an a o o a e r o, v .
Mo n och ord ( I ) A i trume t formerly u ed f the me ure

.
n ns n s or as
me t o f i ter l
n It h d n stri g n d va s mo ble bridge
. a one n a a va .
( )
2 A l o mes o f the T
a na m b m i or T m l ei t ( 3 ) A ro a ar na ru sc t .
cl ichord
av .
Mo n oco r d e ( Fr Mon ocord o .A mo ochord n .
Mo n o d i a Mon o d i e ( Fr A mo ody A oc l compo ition . n . v a s
f or one oice without or with cc mp ime t

v a o an n .
Mon o d ra ma A dr m i which there i o ly ne ctor S uch a

.
a a n s n o a .
dr m tic perform ce h s bee n ofte n combi ed with mu ic thus

a a an a n s ,
becomi n g m l d m (o a e o ra a . v .
Mo n ot o n e O f o e to e A mo oto e recit ti e i o n e withou t n n . n n a v s
melodic i n flectio the oice preser i g throughout t he sa m e

.
n, v v n
pitch .
Mo nt a nt ( Fr Asce di g . n n .
Mo nt e r ( 1 ) To put tri n gs n n i n trume n t To t u them s o a s . ne .
( 2 ) To put the p rts f wi d i trume t together ( 3 ) To a o a n ns n .
asce d n .
Mora li t é s Mora l i t i e s Allegoric l pl ays popul r i n t he a

'
a
Middle Ages The obj ect f the e pl ys w to poi t mor l

.
. o s a as n a a ,
a dn mon g the ch a r cters th t ppe red therei were p

a ifia a a a n e rso n
c tio n o f the irtues ices &c T he Mor litie were an o ff

a s v ,
v , . a s
shoot o f the Mysteries

Morce a u A piece .
Mord a n t A morde n t .
Mord e nt A gra ce an orn men t For de cri ption d illustr

. ,
a . a s an a
tio n see I n troduction X I V p 46 .

, . .
Mord ent e ( It A morde t . n .
More nd o ( It Dyi g w y be comi g f in ter i n ton e dimi i hin g

. n a a , n a ,
n s
i n loud n ess .
Mormora nd o Mormorevol e ,
Murmu r ,
i g b u i g whi peri g
n ,
zz n , s n .
Morri s d a nc e A d ce i n imitation o f the Moors I n E ngl and

. an .
the Morris d n ce formed a p rt o f t he May -gam es al t hough i t s

a a ,
use w as n t co n fi ed to these occ sion s

o n a .
Mo s s o ( It .
—
Mo e d Pi n m so lit m or e mo ed
v w i th os , .
,
v
more mo eme n t im a tio n v , an .
Mo s t ra A direct .
1 78 MO V I M E N T O - M YS TE R E S .
ow mo
sl v eme t f sym pho n y S ome t imes a di vi ion o f a wo rk
n o a . s
5 c lled
1 a a mo eme t whe m re ality i t con sis ts o f s e ve ral mo ve
v n n
me t n s .
Movi me nt o ( It
Mo eme n t tim e . v , .
Mua n c e s Mut tio a ns .
Mun d ( Ger Mouth . .
M u n dh a rm o n i c a Mouth h a rm o ni ca
- .
M u n d s t ii c k ( Ger Mouthpiece . .
Murk y An ob olete ki d f pi n of rte pieces in which t he ba ss

. s n o a o ,
proceed co ti n u lly i broke oct es s n a n n av .
Mus et t e ( F ( I ) A m ll imper fect i strume n t o f the oboe ki d s a n n .
( 2 ) A Fre ch b gpipe ( 3 ) A p tor l i r i n imit tion o f t h

n a . as a a a e
music f the l tter i trume n t with a dron e b ss i n 3

o a
3 ns d , a , 3 35 , an
a lso i n and time S uch irs h e also bee n u ed s d c . a av s a an e
tu n es .
Mus i ca ( L t n It Mu ic M u i d ( or d i ) me ch mber
d a . a— . s . s ca a ca ra, a
mu ic mu i da cl is church mu ic m i a da t ea t o musi c
s ca z esa , s us c r ,
f the st ge
or a .
Mus 1 co ( I ) A mu ici n ( 2 ) A c st to s a . a ra .
M u s i k dj r e c t o r A mu ic l co ducto r s a n .
Mus i k e r or Mus i k us A mu ici n s a .
Mus i k f e s t ,
A mu ic l fe ti l s a s va .
Mut a C h ge ! This word is to be met with i n so me o ch e s t ral

an r
p rt ( hor s trumpet cl ri et
a s n , a d i dic a tes th a t the k e ys, a n s, n n
ha s to be ch ged which is do e either by putti n g o a di ffere n t

an , n n
c rook ( hor n an d trumpet ) or by t ki ng a n other i n strume nt , a
( cl ri et ) a n .
Mut a t i o n I n t he old system o f solmis tion the change o f syll bles a a
which had t o be re orted to i n order th a t m i a n d f shoul d

.
s a
alw ys coi n cide with di to ic semi t on e ( v S olmisation )

a a a n . . .
Mut a zi o n e Mut tio n a .
Mut e The me f rious ppli an ces fo damping music l i n st ru

na o va a r a
me n t The most import t on es a e these two : ( I ) A co n tri a ce

.
s. an r v n
like a sm ll comb with three teeth sli t le n gthwise m de of

a , , a
wood hor or met l n d pl a ced o n the bridge o f a v ioli n

,
n, a , a ,
viol a violo cello or double b ss

,
n ( )
2 A rou n d piece
,
f wood a . o
with per tures which is pl a ced i n the bell o f wi n d i n strumen ts

a .
Mut h i g ( Ger S pirited . .
My s t ere s My s t eri e n My s t eri e s A kind o f .
religious dra m rude the trica l represe n ta tio n s f sacred history

a, a o
i n ogue duri n g the middle a ges an d deri i n g their n a me fro m

v , v
the mysteries o f the C hrist ian fa i th of which they t rea t T he .
sc ope o f their subjec t s exte n ds from t he C re t io n t o t he L s t a a
udg m e n t comprehe n di n g
“ t he whole scheme o f m a n s f ll nd
’
j ” ,
a a
redemptio n The Pa ssion Pl ays s t ill performed a t Amm e g u

. r a
an d som e o ther pl a ces are s u r v i a ls o f t he old mysteries As v .
a n ces t o rs o f o ur o per a an d ora t orio these l a t t er cann o t but

re a t l y i n t e res t t e s t u e t o
h d n f m usic l history ( v M i r a cl e - Pl ays a
g . . ,
an d Mor a li t i es ) .
N AC AI RE — N AT U KALM E N T E . 1 79
Na c a i r e Form erly the na me of a ke ttl e- drum sm a ll , as w el l

as l rge
a .
N a cc a re , G n a c c a re , or N a c c h e r e ( 1 ) Ca s t n e ts (2) a .
I the i gul r
n N s n & c a ki n d o f Turkish drum
a a cca r a , .
, .
N a ch a h mu ng ( Ger Imit tion . a .
N a c h B el i e b e n ( Ger The s me s d l i bi t u m . a a a .
c
Na hd ruc k Emph is — M i t N aclt d u cb wi t h emphasi s as . r , .
N a c h d rt i c kl i c h With emph asis

'
N a c h l a s s e n d ( Ger S l cke i g i n tim e . a n n .
N a c hl as s i g ( Ger C re l e ly eglige n tly

. a ss , n
Na ch s ch l a g Lit fter -be t The opposi t e o f t he .

, a a .
app gg i t u a
o I t co n sists f o n e or t w short gr ce ote ex
a r . o o a n s
ecu t e d fter a pri n cip l n ote

a N l l / g is l o the n me o f a . a c zs c t a a s a
t h e t wo n otes dded t the e n d o f a sh ke to rou d it o ff ; they

a a a n
form t oget her with t he l s t two n o t es o f the sh ke a tur n (v a a . .
I n troductio n X I V p , .
, .
Na c h s p i e l A pos tlude .
N a c h u n d n a ch — B y degree s — N ae }: u n d n a lt s clt n el l e c r,
gra du lly q uicker a .
N aen i a ( L t N a n i e
. a . v N e n i (in Appe dix) . a n .
N ag el g e i g e N a il fi d dl e
- The to es o f this i n t rume nt . n s
e produced from
ar series o f n a ils by frictio n ge n era lly by a ,
me a s o f bown a .
N a 1f m ,
na i ve f
.
, N a I V ( Ger ,
U naffec t e d a r t less
. .
, ,
simple .
N al v em en t U ffectedly rtlessly simply na ,

a , .
N a rra n t e I n the m a er o f rr ti e nn a na a v .
N a s a r d N a s a r d e N a s s a r t N a s a t or N a z a d ( Fr G e r .
, .
,
stop which i fou d o f va rious p i t ch some t imes
, , , ,
A org n an s n ,
o f 4 or 2 feet pitch more fre q ue n t ly o f I % 2 3

-
, and ,
2
,
feet The l s t -me n tio n ed is a ped a l s t op a n d c alled i n

-
. a ,
Germ G an t r oss n a sa .
Na t ura l The sig ( a, ) which re okes a precedi n g sh rp or fl at

n v a
an d thus restore the sh rpe n ed or fl t te ed n ote t o its n t u al

s a a n a r
st te ( v A ccide n t l
a . d I n t roductio n
. I V p 6 &c ) a s , an , . .
, .
Na t u r a l e N tura l a .
N a t u ral h a rmo n i c s e ri e s if H rmo n ics . . a .
a t u ra h s N a t ura l e N tur l C t u s n a t u l i an d
—
.
a a . an ra s
be aclio d u m n t u a l a hex a chord an d music co n si ti g o f t he

x r a r e, s n
n otes c d e g a The seco n d an d fi fth hex

. a chords we r e ca l l e d
n a t ura l ( v Durus M ollis a n d S olmis tion )
’
. .
, ,
a .
N a t u ra l me nt e N aturally .
1 80 N AT U R EL—N O C H .
N a t ure ] ( Fr N atural -I n t e va l l e n a t u e] an i n ter a l which i s

. . r r ,
v
u n a ltered th a t is n either a ugme n ted n or dimi n is hed To

, , . n
n a t u el a key without fl a ts or sh a r s
r , p .
N a t urh orn ( Ger The n a tura l horn t he horn without a l v es

.
,
v .
N a t ti r l i c h e I nt e rva ll e N a tural i n ter a l s i n tervals v ,
proper to the key n o t such a s a re a ltered by s h a rps or fla ts , .
More e s peci a lly a re so n a med thos e belon gi n g to the C m aj or

sc a le without a ny sh a rp s or fla t s a t a l l .
'
N a t u r t on e ( G e r N a tura l or open n otes The na tural h a rmon ic

.
, , .
s erie s the n o t es which fo r i n s t a n ce o n the horn

, ca n be,
produced without stoppi n g or a n y mech a n ic a l me a n s .
N a t urt romp e t e A n a tura l trumpet o n e without v a l v e s , .
e a p o l i t a n s i xt h The n a me o f a chord o f t he si x th who s e b a ss

.
n ote is the s u bdomi n a n t the fourth d e gree o f a sc a le It occurs . .
most fre q ue n tly i n mi n or a n d con s i s t s o f a ba ss n ote mi n or , ,
—
third an d mi n or sixth fo r i n s t an ce i n C mi n or f a ? d b
, , , .
N e b e n ( Ger This word which ha s the me a n i n g f a ccesso ry

.
, o ,
occurs i n m an y c ompou n d s a s : N ebe ged a n be acce s s ory n ,
thought N eben l i n i en ledger li n es N eben not en a u x ili a ry n ote s , ,
N ebens t i mm en a cces s ory p a rt s , .
N e c k O n ly stri n ged i n s trume n ts which a re stopped with the fi n gers

.
hav e n ecks The Fre n ch c a ll the n eck o f an i n strume n t m n cice

. a
( h a n dle ) I t is a more
. or less sle n der piece o f wood o f more o r
l ess le n g t h which is fi x ed t o the sou d box n - The stri g a t

n s — .
le ast thos e th a t a re stopped— a re s tretch e d o ver the n eck which ,
either ser ves a s a fin ge r-boa rd or fo r the support o f a fi nge r

boa rd A s i n strume n ts with n eck s may b e i n s t an ced t he violi n
. .
v iolo n c ello double b a ss guita r lute a n d theor bo

, , , , .
e
N g g li e n t e N eglige n t c a rele ss , .
Ne l i g e n t em en t e Neglige n tly c a rele ss ly , .
Ne n e ll n ell o n e l l a n e l n e ll e n e g l i
’
I n the .
e l b a t t ere A t t he dow n be a t th a t i s o n the a cce n t e d

, , , , ,
, ,
p a r t o f the b a r .
Ne t t a m e n t e N eatly cl early , .
N et t o ( I t . N eat clea r , .
N eum e s ( I ) A n e a rly syst em o f n o ta tion by me a n s o f poi n ts

.
,
c omm a s hooks &c , B y

-a n d -b y o n e two
, a n d more li n e s w e r e
.
, ,
i n troduced to remedy the a gu e n ess o f the s ign s an d fin a lly o ur v ,
prese n t n ot a tion de el ped out o f it ( 2 ) M e lodic phra s e s a t v o .
the clo s e o f a v ers e mos t fre q ue n tly fou n d o n t he l a s t syll a ble o f

,
A ll el u i a .
N e uvi eme ( Fr The i n ter a l o f a n i n th

. v .
Ni ch t ( Ger N ot -N i clzt z u s c/t n el l n o t t o o q uick

. .
, .
N i e d e rs chl a g ( Ger Dow n be at the a cce n ted p a rt .

, of a but .
Ni e d e rs t ri ch Do w n bow .
N ob i l e ( It N obl e
. .
N o b il m e n t e ( It Nc—hl y . .
N och ( G e r S t ill y e n N od : s cl mel l er still q uicker

.
, , .
1 82 —
NO U RR I OBOE D ’
A MORE .
N c urri ( Fr . N ou ri s he d . — A s on n ou r r i is a f ull or w ell -sus tai ned

ton e .
N o v e m o l e ( Ger on uplet
. A n .
N u m e m s ( L at Number R hythm
. . .
N uov o ,
m .
, nuo va f —
New D i ,
. . n u ovo, a gai n .
0 .
0 Or — Vi oli no ofl a u t o
ioli n or fl ut e v
”
. .
,
Ob b l i g a t o ( I t Li t “ obliged bou d
. I n di pe n sabl e Gen e n s
.
, , . .
ra lly spe akin g e ery i n depe n de t p r t is bbl g t o The e v n a o i a . x
ressio n org obbl ig a t o fo r i n st ce i n dic tes th t t he organ

an
p , an , a a
1 8 n o t simply a rei n forceme n t f the other p rts bu t has some o a ,
thing of its own to s y -The bbl ig t in strumen tal part fre a . o a o
q ue n tly t o be met with i n t he ri f older oper s or a torios & c a as o a , , .

,
v ied conce t ed with the

, oc a l p rt Titles such as the e w e re
r , v a . s
v ery commo n A i a con v i ol i n o bbl ig t o or fl u t o bbl g t o

r o a , a o i a .
O b b li q uo Ob li q uus ( L t Obli que a
Ob er ( Ger Above o er upper —0 be omi nt e the d omin nt

.
’
.
, v , . ra na , a
i e . t he domi n an t a bo e t he t on ic ; Obe m
.
, u l the upper v r an a ,
m n u al ; Obe st i mme t he highest p a r t ; Obe t one overt on es

a r , r
'
, ,
upper p a rtial ton es ; Ober we k u er m u a l

O b li g a t o ( I t g l i g e ( Fr
r , an .
Ob li g a t T he s a m e as . .
Ob li q u The mo t io f two p rt s is c lled bl i q whe

e . n o a a o ue n o n e of
them rem i s st tio ry d the other mo es ( Motio )

a n a na an v . v. n.
O b oe ( ) A wood wi d i s t rume t with mouthpiece co sisti g

,
I n n n a n n of
a double reed Its extreme comp ss exte n ds from b l) or but o

. a
Music f r the oboe is writte i n the G cle f an d writte n

o n ,
as it sou ds Thi is the oboe f our orche tr s I n milit ry

n . s o s a . a
b d an l o ometime to be met with oboe i B fl t n d

s a re a s s s s n a a a
sopr n o oboe i n E fl t which e f cour e tr po i g i n

a a , ar o s
“
ans s n
st um e t r ( 2 ) There likewi e org

n s . top o f the m f a re s an s s na e o
b e o f 8 -feet
o o d more r rely f 4 feet pitch an( 3 ) For oth r a o - e
"
, , .
ki d o f oboe oboes w o b olete

n s the followi n g rticles
, no s ,
see a .
Ob oe b a s s o Thi ob olete i strume t tood mi n or third s s n n s a
lower th the ordi ry oboe an na .
O b oe d a c a cci a ( It A sm ll b soo n a fi fth or fourth highe r

. a as
th n the ordi ry b oo
a It tood i n F or i E fl t Others
na a ss n. s n a .
s y th t it w s like the
a a or a g l i d th t the l tter is but
a c n a s, an a a
an i mpro ed boe d i v o a cacc a .
O b oe d a more’
This i strume n t stood like the b e b o a n ,
o o as s ,
mi n or third lower th the ordi n ry obo e bu t differed from i t an a ,
an d other oboes i n the form o f i t bell n d t he q u a li ty o f its ton e s a ,
which was mellower .

0 13 0 11 L U N GO —ONDEGGI A N TE . 1 83
O b oe l un g o The m b d m sa e as o oe
’
a or e.
O b o p i cco l o
e The ordi ry oboe na .
O b oi t a ( It A oboi t oboe pl yer

s . n s , an a .
Occh i li a The s me B i l l b a as r en a ss e.
O t aV h e
c C Ott i n v . av na .
Oct v ( ) The i ter l f eigh th ( ) A

a e . I n va o an . 2 n oct ave , an org an
stop f 4 feet pitch o - .
O ct a v fl u t e A piccolo m ll flute whose e , , a s a pitch is an oct a ve
h igher th the ordi ry fl ute an th t a of na .
O C t a V fl ot e ( 1 ) An oct e flute ( 2 ) A n oct v e an org av . a , an
t p
s o f 4 fee t pitch
o - .
O c t a v f o l g e n ( Ger C o n secuti e oct es . v av .
O c t a v i a n a Oc t a vi n a O c t a v i n e
,
v Ott a vi n a
, . . .
O ct a vi n o v Ott i n o . av .
Oc t e t A compo ition fo eight voices or in trume n ts

.
.
s r s .
Oct e t t ( Ger An oc tet . .
O ct o b a s s e A mo ster double b ss twel e feet high i ted n a v , n ven
by V u i l l um e It is m n g ed by me an s o f key d ped l
a . a a s an a s .
Oct oc h ord An i n strumen t with eight st ri n gs

. .
Oct uo r A oc t e t n .
Oct u p l e t A group f n otes which di vi des a bar or p rt f b r

.
o a o a a
i to eight i st e d f six e q u l p rts

n n a o a a .
Ode A o g A oem lyric a l i n m tt er a n d dig n ified i tre tme t

s
p n . a n a n .
A music l ett g f uch a poem a s in o s .
O d e o n ( Gk O d eum ( L t A public building fo r music l per

. a . a
fo rm a n ce s .
CE u v r e ( Fr A work compositio
. n — C l z
ef-d u v e m ster , a .
’
a r , a a
piece G v p t / u m . po thumous work u re os t e, a s .
O ff e n ( Ger Op e A term a pplied to org n pipes

. n . a .
O ffe nb a re O c t a v e n Offe nb a re Qui nt e n Lit ,

‘
.
,
m i fe t oct es m i fe t fi fths
an s C o ecuti e oct e av d ,
an s . ns v av s an
fi fth which e t hidde n

s ar no .
O ffe rt o i re ( Fr-l O ffe rt ori o ( I t -l O fi e rt o ri u m ( L t The

. .
'
a .
offertory or the mu ic su g or pl yed duri g the o ffertory which s n a n ,
is the p a rt f the m betwee n the C d d S

o t whe as s re o an a nc u s , n
the prie t prep res the eleme ts n d o ffers them upo the lt r
s a n a n a a .
O fi cl e i d e ( It Ophicleide . .
Oh n e ( Ger Withou t — 0 /t n e B eg l i t u g without ccomp ime n t

. . e n , a an .
Oli e D mpf e n without the mute withou t mu t es i pi o forte

a r, , n an
music withou t d mpers— i e with the c l l d loud ped l

, a . .
, so - a e a .
Ol i v et t e s A d an ce i n use mo n g the Pro e c l fter t he a v n a s a
oli e h ar v es t
v .
Om n e s ( Lat All The same s t t t i . . a u

—
.
O m nit on iq u e H i g a ll ton e s Co om i t i q
a n ch o v r n on u e, a t
m tic hor n a .
O n c e-a cce nt e d oct a ve I troduction p 5 . n . .
O n d e g g i a me nt o ( It U n dul tion w vi n g . a , a .
O n d e o g i a n t e ( It
'
U n dul ti n g w vi g . a , a n .
1 84 ONDU LA TION — O P HI C LE I D E .
On d ul t i on ( F r U dul tio w i g
a . n a n, av n .
O n d u l é ( Fr U dul ted w ed . n a , av .
Ong r a U g
es e . v. n a re s e .
O nzi em ( Fr The i ter l f ele e th

e . n va o an v n .
Op n d i p s o n
e Di p o
a d Ope s t op
a . v . a as n an n s.
O p n n ot
e ( ) O stri ged i trume ts those o t es whi ch
es 1 n n ns n , n a re
produced without s t oppi g th t is without pl ci g the fi ger
.
n , a , a n n s
the stri gs fo r the purpo e o f horte i g their sou di g
on n s s n n n n
le gth d thus ch gi g their pitch ( 2 ) O n wi d i t u

n an an n . n ns r
me t the tural n ote tho e produced without y rtifici l

n s, na s, s an a a
or mech ic l me n s ( toppi g or l e ) imply by the m ge

an a a s n va v s , s an a
me t f the bre th ( v Hor )

n o a . . n .
Op e n p i p e s Org n pipes the upper en ds f which e p n t

.
a o ar o cn , o
clo ed tho e f t pp d pipe

s as s o s o e s .
O p e n s t op s S tops sets o f pipes con si ti g o f op en p ipe ( o v

. , s n s . .
Op e r Oper a .
O p e ra ( It A mu ic l dram a This at any r te the oper pre

. s a . a a
te ds to be ; it i howe er ofte n merely st ge co cert with

n s, v , a a n
some sort f dr m tic ctio fo prete x t The chie f co stitue t s

o a a a n r . n n
o f the oper p rt from the o erture e the recit ti e ri

a, a a v , ar a v , a a,
choru d the rious ki n ds o f e m bl — duet trio qu rtet

s, an va ns e e , , a ,
ui tet e tet & — f which t he fi le i the most import t

q n c , s s , . o na s an .
The fi le is ge er lly o f complex form duet trios & c

na n e a a s, , .
, ar
m o tly d choruses ometime

s , an modelled n the a ri form or s s, o a ,
ra ther forms ( A ri R ecit ti e n d Fin a le ) Opera c me. v . a, a v , a . a
i n to e x iste n ce bout 1 60 0 n d si ce the n h u n dergon e m n y

a , a n as a
ch ges Its l tes t e former w s R ich rd Wag er who o the

an . a r a a n , , n
on h n d p id spe ci l reg rd to the dr m tic an d poetic pec t

e a , a a a a a as
o f the oper a nd o n the other h n d b n do ed in depe n de n t

a, , a , a a n ,
se l f co n t i n ed form
- an d to some e x te t le elled
a s it were s, n v , a ,
recit ti e n d a ri a I n the followi n g rticles some o f the

v a rious
a. a va
ki ds o f oper are me n tion ed

n a .
Op é ra b o u fi e ( Fr A comic opera bu t one o f a much ligh te r

'
.
,
ch r cter th an op ra comi q
a a an e u e.
O p e ra b uffa ( It A comic oper . a.
O p er a comi q ue ( 1 ) A comic opera An oper a wi t h .
poke n di logue s disti n gui hed from the g d p

s a which
,
a s ran o er a ,
’
h o spoke
as n di logue ( 2 ) N me o f the seco d oper -house
n a . a n a
i P ri n There opera with spok en dia logues are performed

a s . s .
O p er a l y ri q u e ( Fr A lyric opera ” . .
Op e ra s e ri a “
A serious oper t he cou n terp r t o f n opera a, a a
b fl ju t
u a, tr gedy is the cou n terp rt o f a comedy
s as a a a .
Op e re t t a O p e re t t e ( Ger A short or light opera some . a ,
time n oper both light d short L tterly the word has

s a a an . a
become lmost yn o ymous with op ba j e a s n

’
er a u
'
Op hi cl e i d e A keyed wi d i n strume n t o w ge n er ally m de wholl”

.
y n n a
o f br s The ophicleide i C h
a s . comp from B to n as a ass ,
c .
Thi is the mo t common

s bu t O phicleides o f higher an d
s one,
1 86 O R GA N .
Org a n A keybo rd i n s t rume n t with more or le gre t n mbe

a a ss a u r
f pipes which
o e m de to ou n d by me s f com pre d iar a s an o ss e a r
ro ided by bellow The pipe —o f which it co t e

s r l s n ai n s a
p s
v . ve
if t mno y sets ( r n ks ) e er l or m n y pipes to e ch k y

an a s v a a a e
—
,
st an d o n a d b d bo e the w n d l t whither t h
sou n i oa r a v a c zes , e a r
is co n v eyed from the bel l w s through a w i d t k Tw o n - ru n . o
o b t cles hs a e to be remo e d be fore the i r i n the wi d c he t

av v a n ~
s
ca nre a ch the p p e P ll et closi g gr e h e to be pulled e s. a s n oov s av
d ow n nd l d e below the mouths o f the pipe h e to be

a s z s s av
shi fted E ch key S by a complex mech i m ( t i ke

. a ll I , an s s c r , ro er ,
t k
r ac er , &c i commu ic tio w t h . p llet As
n key n a n i a a . so o n a s a
i s pre sed dow the corre po di g p llet gi e the i

s n cce to s n n a v s a r a ss
a groo e a bo e which v e pl ced

, ll the pipe belo gi g to the
v ar a a s n n
key S till
. o sou d is produced , s the
n i i i terc pte d by
n , a a r s n e
the slide each o f which ru s below the mouth o f whole r k

s, n s a an
o f pipes ( complete r k f pipe bei g e q u l i

a umber to the an o s n a n n
k eys o f the keybo rd ) Now by pulli g ou t a t p o e f t he a .

, n s o , n o
slides which re l th with hole i n them —is shi fted i n uch

— a a s s s a.
w ay s to bri n g the holes j ust below the mouths f the pipes

a o .
O n dr wi g out n e s t op you c n by pl yi g
a n the keybo rd
o a a n on a
m ke o a o f the r ks f pipes spe k ; o n dr wi g out two tops

ne an o a a n s ,
t wo r ks o f pipe ; d so o n P ipe e m de f wood d

an s an . s ar a o an
o f met l The most import t disti ctio howe er is th t o f

a . an n n, v , a
i fl -pipes the wi d ru hes g i n st

fl pp u e - e es d ed pp s I n anu e re - e . n s a a
ash rp edge i ree d pipes g i st met l to gue A othe r

a ,
n - a a n a a n . n
import t di ti ctio is th t f op
an s d t pp d p ip
n ; a n a o en an s o e es
stopped pipe f the s me le gth s ope pipe bei g an oct eo a n a an n n av
l ower i n pitch S tops an d pipes a e s id to be f 8 4 2 1 6

. r a o , , , ,
3 2 & c, feet pitch . With

, 8 feet stop you get n pres
. i g an - o s n
dow a key a sou n d corre po di g to the n ote i dic ti n g th a t

n s n n n a
k e y ; with a 4 feet stop sou n d oct e higher with a

- a an av ,
2 feet stop a
- ou d two oct e higher with 1 6 feet stop s n av s , a -
a ou d s oct e lower & c Very m ll org n s h e on ly

n an av , . s a a av
on keybo rd or m u l ; e ry l rge org s h e s m a y as

e a , an a v a an av a n
four or e e fi e They e re pecti ely c lled

v n v the gre t choir
. ar s v a a , ,
swell d olo org n Moreo er there e ped l — La key

,
, an s a . v , ar a s , a
b o rd f a the feet By pl e se er l keybo rd m y be

or . co u rs v a a s a
combi ed so th t i n pl yi g
n , e o f them you a ct lso o n t he a n on o n a a
other The di ffere t r ks f pipes or t p di ffer i n q u a lity o f

. n an o , s o s,
t on e which depe ds upo the m teri l they are m de o f a d

, n n a a a , n
e speci lly their form d s l e ( rel ti e proportio o f l en gth

a on an ca a v n
a d width )
n The riety o f stops an d their n ame is ery gre t
. va s v a .
H ere e a fe w ope di p so stopped di p o double

ar n a a n, a as n,
di p on pri n cip l fi ftee n th flute dulci n a g mb b oon

a as ,
a , , , a , a a, a ss .
Mixture sesq ui lter , d some others e stops co

a i ti g o f a, an ar ns s n
se v er l r ks o f pipe ou di n g the fifth third & c o f t he

a an s, s n , , .
,
fun d me n t l n ote i
a higher oct e The organ c a me i n to use
a n a av .
a mon g the people f We tern Europe i n the middle ages o T he s .
comp ss of t he prin cipal m n u l key bo rds is n ow usu a lly a bout

a a a a
O RG AN ETTO — O V E R TU R E . 1 87
f our oct e d h l f ( from C to f or g

av s an t h t of t he ped al
a a a
k y bo rd bout t w oct e
e a a d h l f ( from C to o The av s an a a
a c t u l comp
a ( the sou d comp )
a ssf org n s wi th s to ps of n - as s o a
di ffere t pitch th t i o f l l but the sm lles t org n s is of course

n ,
a s a a a ,
gre t er th n th t f their keybo rd s

a a a o a .
O rg a n e t t o ( It A sm ll org . a an .
Org a n i s t a ( L t a n d It A n org i t
a . . an s .
Org a n i s t rum A burdy gurdy - .
O r g a n o ( l t Org —O g p . full orga nan . r a no

’
zen o , .
O r g a n o p ort a b il e A port ble org n a a .
Org a num ( L t ( I ) A i strume t ; n org n ( 2 ) The me o f t he

a . n n n a a . na
fir t ttempts t h rmo ic combi tio n ( bout 90 0 ) th a t h ave

s a a a n na a
come dow to us Its most primiti v e for m con sis t ed i n suc

n .
ce io n o f fi fths a d fourths
ss s n .
Or g e l A org n n a .
Org e l p unk t ( Ger A ped l poi n t ped al - ote o r o g n -poin t . a - , n , r a .
O rg e l r eg i s t e r ( Ger A n org stop . an .
Org ue ( Fr An org n . a .
Org ue e xp re s s i f ( Fr A ha rmon ium . .
Orna m e nt i Orn men ts gr ce n o t es a ,

a .
Orn a t a me nt e ( I t Wi t h embellishmen t s gr ce ful l y .

, a .
Orna t o Adorn ed .
O r n am e n t s ( F r Embellishme n t s gra ce n ote

.
, s.
O rp h é o n The n a me o f chora l socie t ies f me n i n Fr c o an e .
O s s erva nz a ( I t Att en tion obser c e — C

, . wit h ,
van on os s erv a n z a ,
obser van ce o f wh t perta in s t o a proper ren deri n g a .
Os s i a ( I t
, O r — This word is fou n d where two rea di n gs are gi e n
. . v
an d t he pl a yer or si n ger m y choose the o n e which suits him best a .
O s t i na t o —
Obsti n te B o o t t : ( I ) a grou d bas s ; ( 2 ) '
a . a ss s zn a o n
a b a ss t h a t a dheres ob ti tely t o o n e rhythm s na .
Ot t a va ( I t
, An oct av e
.
— 0 tt v lt the high oc t av e or an oct e . a a a a, , av
higher ; ot t av bas a the low oct e or oct e lower a s ,

av , an av .
Ot t a vi n a . ( )
I A sm a ll spi et n oct e higher i n pitch th n n a av a
the largest k in d o f spin e t ( 2 ) A register fou d i n h rp ichords .

,
n a s
a n d other keybo a rd stri n ged i st rume ts co n sisti g f a set o f n n ,

n o
s t ri gs t u n ed a n oct a e higher th
n the other stri gs which it v an n ,
rei forces
n S ometimes t his register could be brought i n to a d n
o ut o f a ct o n by a s t op ( 3) zn a h a s a l o bee n u ed i n the
'
i Ot ta . v s s
s en se o f superocta e v .
Ot t a vi n o ( I ) An oc tav e flu t e ( )
2 A s m ll spi n et a .
( v Ott v i n a )
. a .
O t t e m o l e ( Ger An o ct uple t . .
Ot t e t t o An oc t e t .
O t t o n e ( It Br ss — S t ome t o d ot t one a br ass i n s t rumen t

. a . r n
’
, .
Ouvert ure An o v erture .
Ov ert ure The n ame o f the O pe i n g orchestr l piece o f an opera

,
n a ,
or torio c n ta t a or other l rge oc a l work Formerly thi s

a , a , a v .
t e r m wa s some t imes a pplied to t he fi rs t n umbe r o f se ries of

( 88 P A DIGLIONE— PA NT A LEON .
ieces or se v era l i n t ru men t uch as S uit e s n d

fo r s s, s
pa t t t s n w freq uen tly to i depe n den t orche tra l composition s

on e a
r a o n s ,
the c l l ed co cert o ertures

so - a n - v .
The modern o erture — i n pl ce of w hich o n e fin ds oft en v a

— pre en ts
,
i n O per s or torio a &c ,

a prelude or i n troductio n
a s, .
, s
i t sel f ge n er lly i n o e o f the follo wi n g forms

a n
( 1 ) I the so n t a form or to be more explici t i n t he firs t

n a , ,
m o eme n t form o f
v o t N e rly ll con cert o ertures n d a
a s n a a. a a - v a
gre t n umber O f o ertures t o oc l works

a i thi form v( 2) v a a re n s .
I n the so n ti form th t i ai the fi t -mo eme t form f t he

na ,
a s, n rs v n O
son t without the middle di vi io — the de elopme t or worki g

a a s n v n , n
out sectio — i n te d f which a few i ter e i g b rs or p as ge s

n s a O n v n n a sa
a e i n troduced
r ( 3 ) I n a form n t cla ifi ble u n der n y f t he
. o ss a a o
ge er lly ccepted p ttern n d b ed i n p rt or wholly o n

n a a a s, a as a
moti es deri ed from the work to which i t is p refi x ed ( 4 ) I n

v v .
the form O f p t p f oper tic irs

a o - ou r r z o
'
a a .
O f the O lder o erture a e especi lly n ot a ble t hese t w o v r a
s pecie s
( I ) The Fre nch or Lu ll y s o erture which lw ays begi n s

’
, , v ,
a
with slow t tely mov eme t followed by q uicker mo e

a , s a n , a v
me t i the fu g l style
n n d o fte n but n t lw y con clude s
a ,
an ,
o a a s,
with n other slow mo emen t modific tion o f the first ( 2 )

a v , a a .
The It li or S c rl tti Overture which co sists Of n low

a an ,
'
a a
’
s, , n o e s
an d two q uick mo eme n t s t he former bei ng pl a ced bet wee v ,

n
the e l tter
s a .
P d i g l i on
a The bell f wi d i trume ts
e o n ns n .
P d ov n
a a a Pa d ova n e or Pa d ua ne ( Ger A Padu
.
,
. ana,
or P du a A l d It lian d ce i n ter ry time S ome thi nk

. n O a an an na .
it the s me s the P a which howe er i i bi n ry time

a avan , ,
v , s n a .
Paea n ( Gk ( 1 ) A religious hym i ho our f some god ori gi n

. n n n o ,
ally f Ap llo ( 2 ) A o g f rej oici g O f triumph
O o . s n O n ,
.
P a l co A t ge s a .
P a n d e a n p i p e A primiti e wi d i trume t con i ti g Of a series

.
v n ns n s s n
of tube f gr du ted le gth fa te n ed together

s o a a n s .
Pa n d ora P a n d ura Pa n d u ri n a ( It S tri ged i t umen ts o f

, ,
, . n ns r
the cither ki d pl yed with quill n a a .
Pa n fi Ot e ( Ger A P d pipe
’
. an e an .
Pa n h a rm o n i k o n A n uto m tic i tru me n t ki n d o f Orche trion

.
a a ns , a s ,
i e ted i 1 80 0 by M l l f V ie
nv n n a ze o nn a .
Pa n t a l e o n or P a nt a l o n A impro ed dulcimer i e t d by
, ,
n v nv n e
P t leon Hebe tr it tow rd s t h

an a d f the s t ns th e a e en o e ve n e e n
ce n tury .
1 90 PA S S ION A T A M ENTE— P ED A L .
P as si o n t m nt
a a e ( It
P ass ion a tely i n a n imp ss io n ed m an n er
e .
,
a .
Pas s i on t o
a P ss io n a te impa io n ed a ,
ss .
P as s i o n ( It
e P .a s sio n .
P as t i ci o
c P a s t i ch e Lit a pi e A medley ; a .
, .
work compo s d by s e vera l compo e rs or co n si s ti n g O f pi e c e s

e s ,
t a ke n from d 1 t te re n t work s o f o n e or more compos rs e .
“ ”
P a s t o r a l Li t a shephe d s piece Musica lly t he word sig i fie s
,
.
,
r
’
. n
three thi n gs : ( I ) A i m p l e compo s itio n id y llic i n ch c t r s , a ra e ,
modera te i n mo eme n t a n d i n compou n d t ern ry time ( u s u l l y

v ,
a a
in g) ( 2 ) A compo s itio n de s cripti e o f p a s tor a l s ce n e s li fe v , ,
a n d m a n n er s 3 ) A ru s tic .a n idyllic oper a To thi s m a y e b , .
a dded ( 4 ) a p a s tor a l d a n ce
as .
P a s t o r a l e ( I t a nd Fr A p a s toral
. . .
P a s t or e l l e ( Fr A little pa s tor l . a .
Pa s t o u r e l l e O n e o f the figures a n d mo v e m e n t s o f t h e
ua d i l le
r
q .
P a t e t i c a m e nt e P thetic lly
a a .
P a t h e t u e ( Fr P a thet i c pas s1 o n a t e
.
Pat et l co .
, .
P a t h é t i q u e m e nt ( F P a thetic a lly p a s sion a tely , .
P a t i me nt o S u fferi n g grie f a ffl ictio n , , .
Pa uk e ( Ger . K —
ettle drum P u é en is the plura l - . a , .
Pa u s a P a us e ( Fr a n d Ger A rest I n Fren ch t he t erm . .
a u s e is a p lied especi a lly to a b a r rest

p
Pa va na ( It pa va n e
.
. A P a v a n or P a v i n a n O l d grav e , , ,
st a tely d an ce i n bi n a ry time a n d o f u n cert a i n origi n .
Pa ve nt a t o P a ve nt o s o ( It A fraid fe a rful—
,
.
, .
Pa v fl l o n ( Fr The he ll o f wi n d i n s trume n ts Pa v i l lon c/ i n oi s a

. . z ,
cre s ce n t the s a me a s Cl p ea u c/ci n o i s

,
za .
P e d a l A key or le v er a cted o n by the foot a co n tri va n ce b y whic h

, ,
a pl ayer commu n ic a te s with the i n ter n a l mech a n i s m O f a n i n s t ru
me n t The mo s t import an t i n s trume n ts with ped a l s a re the organ

.
,
pi an oforte an d h arp ( 1 ) Most org an s h av e as m a n y as three ki n d s

, .
0
o f ped a l s : ( a ) the p ed a l s ( i n the restricted se n s e an d p a r ex cel l en ce) ,
the keyboard pl ayed on with the feet which is gen erally i n con ,
n e c t i o n with speci a l r a n ks O f pipe s but i n ery sm a l l orga n s ,

v
merely with the b a ss key s o f the m a n u al ; the ompos t i n f z

'
d a l s keys pl a ced a bo v e the ped a ls j u s t de s cribed by me ns of

p e , a ,
which group s o f s tops a re throw n out or dra w n i n ( c) the s w el l

ed a l a tre a dle o n the right o f the pl yer which s er es to O pe n
p , a v
a n d close the shutters o f the swell org a n ( 2 ) Le a vi n g out O f .
a ccou n t O bsolete a n d little u s ed ped a ls we may s ay th at t he ,
pi an oforte ha s two ped a ls— n amely the l ou d a n d t h e s of t ped al , .
By the former the d ampers a re ra i s ed a n d the sou n d o f t he ,

’
s tri n gs struck i s a llowed to co n ti n ue u n checked an d to becom e ,
rei n forced by the symp a thetic re s o n a n ce o f other stri n gs by t he

l a tter the h a mmer mech a n ism is ge n er a lly shi fted s idew a ys s o .
t h a t i n ste a d o f two or three u n iso n stri n g s o n ly o n e or two a e r
s t ru c k ; where t he h a mmers a re n o t shi fted the force o f th e i r

PE D AL C LA V E S — Pl 19 :
l m pa c t i s reduced 3 ) T he p d l O f the h rp r i e t he pitch . e a s a a s
Of c t i tri g
er a n d thus ch ge the sc le f this di to n ic
s n s, an an a O a
i n trume t
s E ch f the e e n ped ls f the si gle ctio n h rp
n . a o s v a o n -
a a
r i e i l l the oct
a s s n ote emito e ; e ch f the se e n
a a ves o n e n a s n a O v
ped l f the dou bl ctio h rp r i e i n l l the oct es e

a s o e -a n a a s s a av on
n ote either emito e or two emito e ( 4 ) An other me n in g

a s n s n s . a
of d l i e x pl i ed u der P d l p
e a ts a n n e a - a n .
P e d al o a v e s P ed l key p d ls a s, e a .
P e d a l o l a v i a t u r ( Ger P ed l keybo rd . a a .
Pé d a l e A ped l a .
Pe d a lfl u g o l A gr n d pi o forte with ped l keybo ard a an a a
att ch d to it
a e .
Pé d a l i e r ( F ( I ) A ped l keybo rd without ep r te e t o f a a ,

a s a a s
tri g
s tt ched to
n s, pi forte ( 2 ) A i n strume n t which
a a a a no . n
co i ts f ped l keybo rd d corre po di n g set o f b ss

ns s o a a a an a s n a
stri gs n d i i te ded to be u ed with pi oforte Its i n ven

n , a s n n s a an .
tio i due t o MM P leyel Wol ff d C i e f P ri s

n s .
, ,
an .
, o a .
P e d a l i e ra ( It The ped l f i trume t . a s O an ns n .
Pe d a l -p oi nt A u t i ed b s ote bo e which other pa rts mo ve

.
s s a n as n a v
a n d form riety o f h rmo ies Ped l poi ts o n the to ic n d

a va a n . a - n n a
domi t ( the fir t d fi fth degree f

n an c le ) e the most s an s o a s a ar
c ommo S imil r u t i ed ote i

n . the upper pa rts a e more a s s a n n s n r
p roperly c lled Holdi g Note lthough they

a t oo recei e n s, a , , v
sometime the n a me Ped al poi n t ( Double ped l -poi t )

s - . v . a n .
P e nt a ch ord A series O f fi e di t n ic degree

,
v a o s .
Pe nt a t o ni c s ca l e A sc le
’ '
o f fi v e
’
—
degree s fo r i st ce .
a n an ,
d
'
a c e g .
P e n t a t o n o n ( Gk An i n ter v a l o f fi v e to n es . .
Per ( L a t By , . throug h — P er a u
g m en t a t i on e m by augme n t a tion ; ,
r di m i n u t i on em , by dimi n utio n
p e .
er F or , by , from — Per l arga n o, fo r t he orga n ; per i l l a u t o .

’
j
l f
so o, the flute lo e or a n .
P er d e n d o or P r d n d o s i ( I t
,
Dy i g w e e . n a a y . S trictly spe a k
i g the me i g f the word is
n more th an n O no an di mi n i s hi n g i n
”
,
loud ess but i t h bee n d is used i, as n an n a se n se in cludin g a

sl cke i g f the peed f the mo eme t
a n n o s o v n .
Perf et t o ( It Per fect . .
é r ig o u r d i n e ( F A n old Fre n ch d a n ce im e 1
in } t .
e rl o d v .I n troduction , X II I p 2 7 , & c
. .
, . .
Per uo
p e t Perpetu al ( v C a n o ne ) . . .
e s a n t e ( It He a vy weighty . a po n derous emph as i s , .

.
P o
et t The che s t — V oce d i p et t o the che s t -voice .
, .
P zz co c
e i n e r t a n t i ( It C o n certed piece s . .
P zzo
e A piece — P i is the plur l . ez z a .
Pf i f
e e A pipe fif — 0 g {pfl tf org pipe a e . r e en , an s.
Ph nt i ( Ger ( ) A f t si ( ) Im gi t i o
a as e . I an a a . 2 a na n .
Ph n t a i b i l d r
a s e P ictures f the im gi tio e o a na n .
”
Ph a n t a s l e s t u c k e ( G e r . Li t .
, p ha n t z sv .
pieces This ti tl e
.
,
no w so o ft en to be m e t t
.
h . do s e n o t i n d i ca
o
t e a distin cti ve fo rm .
1 9 2 PH I L HA R M O N I C — P A I N O FO R T E .
Phil h rmoni c Music lo

a i g .
- v n .
Ph o n e ( Gk S ou d to e n . oice , n ,
v .
Ph o n o m et r e ( Fr A n i trume n t fo r me asuri n g sou n d

. ns .
Ph r a s e . I troductio
v. XI II p 2 7 & c
n n, .
, .
, .
Ph ra s i ng The proper rticul tion n d cce n tu a tion o f mu i ca l

,
a a a a s
thoughts ( o f periods n d their subdi i ion phr ses section s a v s s, a , ,
moti e v it is in mu ic wh t stops an d the ra i i g d

s, s a s n an
loweri g f the v oice a e i spe aki g n d re di n g ( v I t o d uc

n o r n n a a . . n r
tio n, XL pp 2 6 n d 2 7 n d XIII p 2 7 & c )

, . a , a .
, .
, .
Ph ry g i a n ( 1 ) I n t he an cien t Greek system the n ame Of t he

. ,
oct e species d e f g a b c d an d O f o n e O f the t ran sposi t ion

av ,
sc le ( 2 ) I n the ecclesi stic l system the n ame O f t he oct e

a s. a a , av
species fg a d e the third ( seco n d a uthe n tic ) mode

e c , .
Ph y s h a r m o n i k a ? A wi n d i n s t rume n t wi t h keybo rd n d bellow

’
a a s
the sou n ds f which re produced by the ibr tio Of met a i

o a v a n
t on gues It w s con st ructed by An ton H ackel i n 1 8 1 8

. a .
.
—
Pi a cere ( It Ple sure A p i ace e at pleasure a r , .
Pi a ce vol e ( I t Ple sing . a .
Pi a ce vol m e nt e ( It P le sin gly . a .
Pi a ci me nt o ( It Pleasure — A p i aci men to at pleasure

.
, .
Pi a ne t t e A low upright pi n oforte

.
a .
Pi a ng e nd o ( It Wailin g l men tin g weepi ng

.
, a , .
P i a n g e v ol e T ea rful pl i ti e , a n v .
Pi a n g e v o l m e n t e ( I t Te rfully pl ain ti ely . a ,

v .
Pi a n l n o A n upri ght pi an o forte

.
Pi n i n o is d imi n u ti ve Of p i a no . a a .
Pi a ni s s i mo ( I t ) Very soft . .
Pi a n o ( )
1 S o ft ( )
2 I n F r a n ce t he n a me O.f t he pi an o fo rte ,
a n d a lso i n this cou try used s uch n a s .
Pi a n o a cl a vi e rs re nve rs é s This is a double gr d an
pian o with two keybo rd o e b o e t he other the a sce di g a s, n a v , n n
sc le O f the upper o e run n i g from the righ t t o t he left

a n n .
Pi a n o a q ue ue ( Fr A gran d pian ofor te . .
Pi a no ca rré ( Fr A squ are pian ofor t e . .
Pi a n o d roi t ( Fr An upright pi an ofor te . .
Pi a n o fort e This stri ged i n stru me n t wi th k eyboard i s d is t in

.
n
u i h d from the lder i n strume ts o f t his cl ss — such a s t h e

g s e O n a
h rp ichord spin e t an d cl a ichord— by its h ammer mech ism

a s , , v an .
Formerly the Germ n S chrOt r was credited by most writers o n a e
th ubj ect with h i g i n 1 7 1 7 in en t ed the h ammer mech ism

e s av n v an ,
but n o w it i a scert i ed th t the I t a li an C ris t o fori

s h rp ichor d
a n a , a a s
m ker O f Flore ce w a s the first i n e n tor fo r a h mmer mech an

a n , v , a
i s m O f hi w describe d i n an It ali n public tion as e rly s

s as a a a a
1 71 1 The a ction O f the pi n oforte is too complic ted nd t

. a a a oo
va ried t o be here expl i n ed i n det a il S u ffice it to say th a t by a .
s triki n g a key n o t o n ly a h a mmer is t hru t g in s t a trin g ( o r s a a s
ra ther a g i n st t wo or three stri n gs t u n ed i n u n i o n ) but a lso

a s , a
da mper is r i ed abo e the stri n gs the d mper f lli g dow n

a s v , a a n
ag i n a n d checki ng t he vibr ti n whe n the fi ger is li fted fro m

a a o n
194 —
PIT C H POLO N A I S E
Pi t ch .
De gre e o f gravi ty or a cu t e n ess o f a ny sou n d .
Pi fi ( It . M r e — Pi n a ll egr o q uicker p i z m o o more a n im a t ed

o ,
‘
c ss , .
P i va ( )
1 A b a gpipe ( 2 ) A composi t io n i mi t a t i ng t he s tyl e .
O f b gpipe music
a .
Pl a ci d a me nt e ( It Placidly q uie tly .

, .
Pl acid q uiet , .
Pl a g al v Authen tic modes Church modes and Cad e nce

.
, , .
Fl a l n - C ha t n or P lai n - S o ng The n me o f the O l d ecclesi a s t ic al a
mu ic which I n o t subj ect to strict rules O f time but obey solely

s , s , s
the dict tes o f t he word cce n t This i wh t di ti ngui he t he

a a . s a s s s
c a t u s pl
n u pl i n - on g from the t u s me u bi l i me ur
an s, a s , ca n ns ra s, ns
able so g For further i n form a tion con sul t a rticles Gregori n

n . a
Ch t d C hurch modes
an an .
Pl a i nt e A l me t a n .
P l a i s a nt e ri e A light dr wi g room piece This n o w

- a n .
O b olete t erm is sy o ymous with mu em t a n d di ve t i sse

s n n a s en r
m en t .
Pl ect r a The plur l o f p l t m a ec r u .
Pl e ct rum (L t A q uill or sm ll piece O f i ory or some other

a . a a v
h rd subst an ce with which m y tri ged i trume n ts used to be

a an s n ns
pl yed a N ow the i n strume t thu pl yed e n o t very

. n s s a ar
n umerous .
Pl ei n j e u ( Fr The full power o f the org n or h rmon iu m

. a a .
P l us More — Pl u l t slower ; p l v i t e q uicker . . s en , us , .
Po och i s s i m o ( I t A ery little . v .
Poch e t t e ( Fr A sm ll pocket fiddle a kit . a , .
Poch e t t i n o an d Poch e t t o ( It Dimi uti es f poco . n v o .
Poco ( It A little Poc p o little by little poco a ll egr o

.
- . o a oc , ,
s omewh a t q uick ; po o f o t somewh t loud ; p o me l legr o c r e, a oc no a ,
somewh a t less q uick p o pi l t o somew h t slower oc ze

‘
en ,
a .
Pogg i a t o ( It Le n t upon . a .
P0 1 ( It The.n a fter — D p l eg no p i s
, egu e l a cod a from . t he a ca o a s o ,
begin n in g to the sign a n d the n follows t he oda c .
P oi nt ( Fr A dot . .
Poi nt d a rr é t ( Fr ) T he sign m pla ced ab ove a res t which i t

’
.
,
prolon gs i defi n itely A p use n . a .
Poi nt d o rg u e ( Fr ( 1 ) The sign m pl aced abo e a n o te which

’
. v ,
it prolo g i n defi n itely A pause ( 2 ) A brillian t ca de n c e

n s . .
duri n g the time O f a p ause .
Poi nt d o re p o s A p ause .
Poi nt é ( Fr Dot ted . .
Poi nt fi na l ( Fr The co cludi ng pause n

—
. .
Pol a cca A Poli h d ce a Polo n a is e A l l a Pol c i n t he s an ,

a ca ,
style o f P olo n i e a a s .
Pol k a A moder d ce o f Bohemi n o r1g1n i n ti me and of

.
n
a an a 4
moder te mo eme n t a v .
Po l on a i s e ( Fr A chi lrous P olish d n ce i n . time and of va a
dign ified but n im ted mo eme n t a a v .

POL Y MORPH O U S —PO S ITI V . 1 95
o morp h ous H i g m y forms A expressio use d i

P ly . av n an . n n n
c o an d cou terpoi t
n an d pplied to mu ic l phr se
n n an a a s a a or
theme th t dmit f rious tr sform tio s such i ersio

a a s o va an a n , as nv n,
ugme t tio
a n a d dimi utio n , an n n .
Pol y p h o ny ( ) A simult eous multiplici ty f sou ds ( ) C 1 an O n . 2 on
t
.
t pra t l style
un a This l t e i the tech
. i l me i g f t h a r
"
s n ca an n o e
w ord Polypho ic d co t r pu t l homopho ic d h rmo ic
. n an n a n a ,
n an a n ,
a resy o ymous expressio s ( C ou terpoi t d Homopho y )

n n n . v. n n , an n .
Pomm r e A bsolete f mily f i strume t s f t he bo n O a o n n o O e

ki d Its It li
n . me is B mb d a an n a o ar o
Pomp o me nt e sa P ompously i g r d iose style , n a an .
Pom oso Pompous gr diose , an .
Po n ro o e s Po derous
—
n .
Po nt i c l l o ( It The bridge f bow i s t rume t s S l p t i l l

e . o n n . u on ce o,
on the bridge This phr se i dic tes th t t he performer h i
. a n a a as n
pl yi g to keep his bow clo e to the bridge
a n s .
Po nt n euf ( Fr Popul r ir th t
- . su g i t he s t ree t The a a s a a re n n .
name is deri ed from the well k ”ow P ris bridge v - n n a .
Port a me nt o “
A c rryi g f t he oice from ote to a n o v on e n
another I t i t he highe t perfec t io f l g t

. s The word is s n O e a o.
chiefly used i o ectio with si gi g b t is lso p plic ble ton c nn n n n , u a a a
t he pl i g f wi d d bow stri ged i st rume t s

a n O n an n n n .
Port a nd o a voce C rr i
y g t he oice — P t l t a n v . or a r e a voce, o
c rry t he oice P t t c rri ed ( Port me t o )
a v . or a o, a . v. a n .
Port t i f ( F r Port a t i v ( Ger A port ti e org

a . ki d f org . a v an , a n o an
f m l y i use which w
or er so sm ll th t it could be c rried bout
n as a a a a .
Port d e vo 1x ( Fr ( ) Port me to .
.
( ) A or me t 1 a n 2 n na n
which is either i mp l or d bl ( I t roduc t io pp 4 8
s e ou e . v . n n, .
Port é e The s t e av .
P ort r l a v oi x ( F r
e To c rry t h oic ( Port me t o )
. a e v e. v. a n .
Pos t o a S ed t e a .
Po un e ( Ger A t rombo
sa . ne.
Po s é me nt S ed tel y a .
P os i t i f ( F Posi t i v. v.
P os i t i o n This word is se d t ech ic lly i t wo se ses

. ) uI n a n n . 1 n
co ec t io wi th chords ( I t roductio
nn n V I II pp 5 . v . n n, .
, . 1 and
A d ( ) i co
n 2 ectio w i t h s t ri ged i s t rume ts— the first or
n nn n n n n ,
natur l posi t io f the h d bei g th t close to the t ; the seco d

a , n o an n a nu n
ositio th t i which the fi rs t fi ger occupies the pl ce occupied

p n a n n a
the first positio by the seco d fi ger ; t he third positio th t

111 n n n n a
i which the first fi ger occupies t he pl ce occupied i t he first
n n a n
p o itio s by the n third fi g er ; d n an so o n .
P os i t v ( Ger
i A positi e i . s t t io y org i d isti ctio v , . e .
, a nar , an n n n
from p t a t i The
or a t e m i pplied
ve ( ) t
o ne . sm ll r s a 1 o a a , a
ch mber org a ( ) t o
, hoi g
an , — more e peci lly to
2 a c r or an s a a
sm ller p rt f
a rg st di g i fro t f the pri cip l p r t
a o an o an an n n n o n a a ,
d which
an it is ge er lly t t h b k f th org is t t h
, as n a a e ac o e an , e
Germ ans cal l als o Rik kpo i t i v s .
1 96 PO S S IBILE— PREPARATIO N .
P o s s ib i l e P ossible .
—1 1 p i n pr es t o p oss i oi l e , as
q uic k as
po ible
ss .
Pos t h orn ( Ger A sm ll horn formerly u d by po tillion Al so

. a se s s.
a sm ll buglea .
Pos t h umous Published a fter the thor s de th au

’
a .
Po s t l ud e An after -piece co cludi g olu t ry

,
. , a n n v n a .
Po s t l ud i um A po tlude s .
Po t p ourri ( Fr
- A medley f tu e . o n s .
Poul o ( Fr The third figure d m o em n t f the qu dri lle

. an v e O a .
Pous s é ( Fr Thi term ign ifie i mu ic f bow tri ged i t u

.
s
s s n s or s n ns r
me ts upbow
n .
Pra o h t i g I sple did pompou m g ifice t m er n a n , s, a n n a nn .
Praci s E x ct a .
Praoo o n t o r P rece tor n .
Pra ll t ril l e r ( Ger An i erted morde t short sh ke ( v I tro

. nv n , a a . . n
duction p , .
Pr al u d i r e n To prelude .
Pre c e nt or The director o f choir or the le der O f co greg tio l

.
a a n a na
S g g
in in .
Pr e c i p i t a t a m e n t e ( It P recipit tely . a .
Pre ci p i t a t o ( I t P r é o rp i t é ( Fr Precipit te ‘
. . a .
Pre ci p i t o s o P cipitou re s
P r e ci s i o n e —
P r ci ion Con p eci i on e with precision e s r s , .
Pre c i s e P recise e x ct , a .
Pr o h i o r a A pr yer a .
Pr e u d e S omethi g pl yed be fore the re l per form n ce or the m i n

n a a a a
portio f the work to be e x”

.
n o ecuted begi The term is u ed i n ns . s
the “
e f i troductio l o i n a wider se e mely as
n ns na
sens o n a s , ,
an i troductory piece n o erture to a opera or torio & c

n ,
a v ,
n ,
a , .
Origi lly preludes co isted o ly O f a fe w prep ra tory chord s

na ns n a ,
ru ns , and p ggi ar e os .
Pre l u d i o ( I t ) Pr ol u d i u rn , A prelude .
Pre mi e r d e s s us ( Fr F t treble . l rs .
Pre mi er e foi s ( F Fir t time s .
Pr e p a r a t 1 o n
.
A d l sso a ce or di cord i s s id t o be prep red n n , s , a a
whe the disson n t or di cord t n o t e h s a p p e red i t he

.
n a , s an , a a n
precedi g chord s a co son ce For i n st n ce i n t he f l

n a n an . a ,
o
lowi g illu tra tion the n ote m rked wi th n s terisk i s t he

n s a a a
rep r tio n O f t he disso n n t c o f the n ext chord a

p a a .
9 8 PRO PO RT I O — Q U A D R ILLE .
Pr o p o r t i o ( L at The rel tio O f i ter l ( 2 ) The rel tio n o f

.
(1) a n n va s . a
time lue i n the rhythmic l theory f t h old m ur ble m ic

va s a o e ens a us .
Prop os t a ( It The subj ect f fugue the n tecede t o f a

. O a , a n
c n on & c
a , .
P ro s a A pro e ( v S e q ue ce ) s . . n .
“
Pro s l a mb a n ome no s ( Gk T he acquired ton e the lowe t . s
,
n ote i n the Greek sy tem s .
P ro s o di a ( La t n d Pr o s o d i c (
. aGer n d Fr P ro ody — th t . a . s a
p rt O f gramm r which tre t o f the q u an tity o f syll bles o f

a a a s a ,
acce n t a nd O f the l aws f e s i ficat i on

, o v r .
Prova A rehe rs l a trial a a , .
Ps a l t é ri o n ( Fr Ps a l t eri um ( L t A ps ltery An c en t
. a . a . an i
stri n ged i n strume n t which h s bee n c alled a ha rp an d lyre a a ,
a n d described s a
“ dulcimer pl yed with the fi gers or a
a a n
”
,
plectrum in ste d o f wi t h ha mmers a .
Ps a ume ( F A ps lm a .
P s a u t l e r ( Fr Psa lter . .
Pul s a t i l e i ns t rume nt s The i n st rumen ts Of percussion such as . ,
the rious ki ds O f drums cymb ls tri ngle &c

va n , a , a , .
Pun ct us Punk t ( Ger A dot . .
P u n k t i rt e N ot e n ( Ger Do t ted n otes . .
Punt a ( I t Poin t Col la pu n t del l ea wi th t he poin t of t he

.
— . a
’
ar ,
bow .
Punt a re T O pl a ce do ts a ft er o r ab o ve n o t es .
Pu nt o A do t .
Pu i t re ( Fr A music desk
Pu ft i
. .
B oys choir boys , .
Py rrhi c A me t ric a l foo t co n sis t i n g o f t wo shor t syll abl es :

.
v v
Q .
Qu a d r a t ( G e r . T he sign w hich re voke s sh arps an d flats , t he

tur l (h)
na a .
Q u a d ra t m u s ik S q u a re music mu i ca qu ad a t a T he , s r .
O ld me surable music has

n bee n thus c lled because o f t he sh a pe a
Of i t sn otes .
a d ri c i n i u m A composition i n four pa rts .
A q u a drille .
A f ouri t e d n ce which co sis t s av a , n of a seri es of

fi ve or six co t e d s e respecti ely c lled L P Etl ,
’
n r - an s v a e a n t a l on , L
L a Pou l e, L a Pa s t ou r ell e, L a Tr en i s e, a n d L a F i n a l e Although
’
.
L a Pa s t ou r el l e an d L a Tr en i s e a re properly a lter n a ti v e figures ,

they a re sometimes i n cluded i n o n e an d the s a me q u adrille .
T he m o veme n ts of the se er l figures av a re in an d if time .

U A DR U P L E C O U N T RPOINT — U INTE
Q E Q . 1 99
Qua d rup l e count e rp oi nt C ou n terpoi n t i n four p a r ts t h t ar .

a e
mutu lly i ertible a nv .
Qua d ru p l e cr och e ( Fr A emidemi emi qu er . s s av .
Qu a r t a ( L t a d It . an T n e i n ter l O f . fourth — Qu t mod i va a . ar a , 0 1
q t
u ar a t i the
on f our t
, h degree f a sc le the subdomi n an t o a , .
a r t d o s ou p i r ( Fr ) A emi q u er re t . s av s .
a rt e ( F 1. d G an The i ter
er l . f fourth — Q u t e d a t
n a x va o a . ar ,
th f u th d g e f
e o r ec le the ubdomi n t
re o a s a , s na .
Q u a r t o n f o l g e n d Q u a r t ean n p a r a l l e l e n ( Ger C o n secu t i e . v ,
orp r ll
a a l f u e th , o r s .
Q ua rt e t t ( G Q u er a. r t e t t o ( 1 t A q u rte t a compositio n f r . a , o
fo ur voic or t rum t es i ns en s .
Q u a r t f a g o t t ( Ger A b oo n . l rger th a n t he ordi nassry o n e an d a a
fourth lower i n pitch

a .
Q u a r t fl o t e ( Ger A flute . sm ller th n the ordi n ry o n e nd a a a a a
fourth highe pitch r in .
vi oli sm ller th the ordi ry

Q u a r t g g e i e ( G
:
A er n o n
n e a n d a a a na
fourth higher pitch The i l i p i l 1n . v o no cco o
Quas i ( L t a .d It
an A lmo t ; . if j ust s s i t were A d t e
a — s as , a , n an
q u as i l l g a t t n
e re d t o, a lmo t s q uickan s a n a
an ell eg r e t t o a s a a .
S t q
on a a i u as F t i una o t somewh t like a f t i a
a n as a , a s na a a a n as .
Qua t orzi em e ( Fr ) The i ter l o f fourtee n th . n va a .
Qu a t r e ( Fr . Four i q t m . fo four h n ds
-x u a re a i ns , r a .
Q u a t r i c i n i u m ( L t A compo a tio . n i four p r t s si n a .
Q u a t t r l c r o m a ( It A semidemi . emi q u er s av .
Qu a t t ro ( It .Four A qu t t m i fo four h an ds
— . a ro an , r .
Qua t uor ( Fr A q u rtet

. a .
Qua v e r A ote or re t e q u l to e h l f o f a cro t chet a n d one

.
n s a on - a
’
eighth f emibre e ( I n troducti n IX p

O a s v . v . o , .
, .
e rfl o t o ( Ger The cro

. s -fl u t e Germ n flu t e flut e t a v e i er e s , a , r rs .
e rp f e i fe ( G The m ll cro s fl ut e the fife

e r. s a s - , .
e rs t a n d ( Ger F l” e rel tio

. a s a n .
eu e ( Fr ) Lit . t il ( )1. The t il -piece o f a ioli n vi olo cell o

a . a v , n ,
or imil rly co n tructed i n strume t ( 2 ) The stem O f a n o te

s a s n
”
. .
3 ) A p i a ano
q u i gr due pi n o at e pi o
s a
n wi t h a t a i l an a , a .
Qui e t o ( It .
Q ui t c lm pe cee ful , a , a .
Q u i n d e c i m e ( Ger The i ter . l o f a fi ft ee n t h n va .
Qui nt ( Ger .
Q ui te v . n .
Qui nt a ( L t n d a a The i n ter a l o f fifth — Qu i t m t i or v a n a ot

“
. .
,
Q u i t t
n a i theon fi fth degree
, o f a sc le t he domi n n t a , a .
9
Q u i n t a b s o h l u s s ( Ger A semi c a de n ce . a close on t he ,
dom t ( C a de ce )
i n an . v . n .
Qui nt a d e ci ma ( L a t d The i t erva l o f a fi ft ee n th

. an n .
Q u i n t a t O n A org n top f stopped n pipes which a sou s nd o
the twel fth with the fu d me t l to n e n a n a .
Qui n t e ( Ger ( 1 ) The i ter l f fi fth

.
( 2 ) The n me O f organ
va O a . na
stop f rious pitch l l f them howe er sou n di n g a fi fth

s o va , a o ,
v ,
higher th n the fou d tio top ( 3 ) The E tri n g o f the vi oli n

a n a n s s . s .
Q U l N I E — ' ‘
RA LLENTA NDO .
Qui nt e ( Fr . v . 1 an d 2 o f the precedi

g rticle n a .
Q u i n t e n f o l g o n an d Q u i n t o n p a r a l l e l e n ( Ger . C o n secu ti ve ,
or p r llel fi fths
a a , .
Qui nt er ( Fr To si g i n fifths
. n .
Qui nt e rn a An O bsolete species o f guita r The s me a s C/ i t e a

. . a z rn .
Qu i n t e s o a c h é e s Hidde n fifths .
Qui nt et t ( Ger Qui nt e t t o . A q ui n t e t a compositio n i n ,
fi ve p rts or fo fi e oi ces or i n trume ts

a r v v s n .
Q u i n t f a g o t t ( Ger A b ssoo n sm ller th

. n the commo n d a a a o ne an
a fi fth higher t n pi t ch .
Q u i n t f u g e ( Ger Fugue a t t he fi.f t h — i our ordi ry fugu e . e. , na .
Q u i n t o i e r or ,Q u i n t o y e r v Q ui n ter . .
Qui nt ol e ( Ger A q ui n tuplet. .
Q u i n t u o r ( Fr A q ui n tet
. .
Qui nt up l et A group f five n o t es which di i de b or p rt f a

.
o v a ar a o
b a i to fi e e q u l portio n s
r n v a .
i i Ger n org n s t op o f 2 % feet pitch

Q u n t v o l e ( A . a - .
Qui nzi em e ( F r The i ter a l f fifth . n v o a .
Qui re A choir .
Quo d l i b e t ( L at Li t wh t you ple se A medley co i ti g

.
. .
,
a a . ns s n
O f a imul t
s eous or co n ecuti e j oi i g together f rious tu n es
an s v n n o va .
I mo t c es a comic l e ffect is
n s as im d t The o ly ki d o f a a e a . n n
q uod l i b t o w sur
e i i ng i the p p t i v v n s o ou r r .
Ra b b i a Fury v iole n t p io n — C a bbi furiously very

, as s on r a, ,
p io tely
ass na .
R a o k e t t or R a n k o t t
, ( )
1 A f m l y o f wood w i n d i n s t ru a l
m t lo g g b ol ete ( 2 ) Ob olete org n tops ge n er lly o f

en s n a o O s . s a s a
reed pipe f 8 or 1 6 feet pitch

- s O .
R a c k o t t fa g o t t A ki d f b oon an impro eme t o f n o ass ,

v n
the l k t t i n troduced by C hrist De n er t the begi i g O f

x ac e , . n a nn n
the l t ce tury
as n .
R a cl e r ( Fr To .c p — R l scr per The e words re

s ra e a c eu r , a a . s a
u ed i n spe ki g f b d pl yi n g o n n d b d pl yers o f stri n ge d

s a n o a a ,
a a a ,
i n trume t
s n s .
R a d d ol c e n d o R a d d o l c e n t e ,
Becomi n g softer growi n g ,
ge
g t l
n r weeter
e , s .
R a d d o p p i a m e n t o ( It ( 1 ) Doubli g the n otes o f chords ( 2 ) . n .
Mul t i ply g the copies f p rts

in O a .
B add o Doubled .
R a ll e n a m e nt o ( It A s l cke n i g o f the time . a n .
R a ll e nt a n d o Gr d u lly sl cke n i g the time modera ti ng t he a a a n ,
p ac e .
2
+
RE C ORDER— RE G I ST RI RE N .
R ecord e r An O bsole t e i n s t rume n t o f t he flu t e

. k i nd , one Of t he
specie s direc t flu t e flut e a oec , .
R ect e I n a a n r —
str igh t li e ; ightly Per . r ect e et r et r o, by
re t ro g re s s ro n .
R ect us M ot u s r ect u s , simil r mo t ion a .
R é d i es e D sh rp — P di e e m i D sh rp mi n or a .
’
e s n eu r , a .
R e di e s i s —
D sh a rp Re di es i s mi o e D sh rp mi or n r ,
a n .
R e d i t a or R e d di t a
,
A return a repe at , .
R e d ow a R e d o w a k R e d o w a z k a A Bohemi d n ce i n , . an a
_ _
3
1,
time resembli n g t he M a urk a An O lder form lter ted
,
z . a na
between i and 42t ime f .
R e d u ci re n R é d ui re Li t t o reduce .
, .
a rr ge a w ork i n m an y p a r t s fo r fewer
an
°
R ee d s S lips O f can e or met a l which a e se t i n ibr t ion by the r v a
bre th f the pl ayer or t he wi n d O f bellows The oboe b assoon

.
a o .
, ,
an d cl a ri n e t h a e reeds O f c n e — the first two a d u bl e e d the

v a o r e ,
t hird a s i g l e eed The harmo ium a d the reed -pipes O f the

n r . n n
o rg n h a e met la eeds t hose o f the former a e f e d those

v a r r re r ee s ,
O f the l a tt er a re be t i g or s t i ki g r eeds Both these ki ds o f

a n ,
r n , . n
reeds a e pl a ced i n fro n t O f a pertures an d fi x ed

r t o e O f thei r a n
en ds ; but the free reed is sm ller th n t he per t ure n d can a a a a
m o e hither a n d t hither while the be a t i n g r e ed is l a rger and

v ,
c o n se q ue n tly ca n mo e o n ly on e w ay v .
R eel A spirited d an ce especi lly i n f our wi t h t he S cot ch an d

.
a av ,
ei t her o f N or wegi an or C eltic origin I t is ge n er lly i n . a
ometimes howe v er i n 2 t ime

-
s —
.
Re fi a m A b urde o n e or se er a l words t h a t a e repe te d a t t he

'
. n v r a
e n d O f e a ch st an O f a so n g b all d or o t her poetic al co m

za , a ,
) o si t i o n
l
.
R eg a ( ) The n a me
1 O f a n O bsolete ki n d o f ery sm a ll org n w i th v a
o n e or t wo reed - tops ( 2 ) The word occurs lso i n conn ect ion

.
s . a
with t he n me f v rious reed stops i n l rge org n s

a s o a - a a .
R e g el Rule —Regel de O t ve rule f the oct e . r c a ,

O av
R eg e n s ch ori ( L t C o n ductor O f a church choir

a . .
R eg i s t e r ( 1 ) Thus are n amed the se er l p a rts Of t he compass Of v a
the hum an oice n d a lso O f wi d i trume n ts m a rked by t hei r

.
v , a n ns ,
disti cti e t i mb e For i n st ce the chest medium an d he d

n v r s. an , , , a
regi ters O f the hum a n v oice

s the ck l u me u regi ter o f t he ,
a a s
c l ri n et a I n co n ection wi t h the org n this word has t w o n a

”
.
s i g i fic a t i o n s
n o n e o f them is sy n o n ymous wi t h
, s t op (2) .
A pa rt o f the mech n ism O f the org n a boa rd through a a ,
which p ss an d which steadies lon g trackers

a .
R eg i s t e r An org an stop th a t is the r an k O f pipes belon gi ng

t o top —Regi st e ug a draw -st op th at p ar t O f the mechan ism
, ,
a s . rz , ,
o f the org n which a cts upo n t he sliders a .
R eg i s t ra t i o n The art Of usin g the st o ps O f t he organ Of sel ect i ng

. ,
a n d combi i n g t hem n .
Re g i s t ri r e n ( G er T o use t he s t o p s O f an orga n
. .
R G S
E I T R I R N
U G — R ELA TION OF K EYS . 20 3
R e g i s t r i ru n g Registra tion .
R egl e d e l o c t a v e ( F r
’
Rule o f the oc t ve . a .
Re l n ( Ger Pure cle a r perfect ; correct s rega rd s in t on ati on

.
,
a .
R e l a t i o n o n h a rmo ni ca ( L t F lse rel tion a . a a .
R e l a t i o n O f k ey s Opi n ion s widely di erge o n t he subjec t of v
key rel ti n an d n o e o f them is justified by a wholly sa t is

.
- a o n
,
fa ctory pri ciple H ere 18 o n e o f the most simple o f the theories

n .
hitherto set for t h Those chords o f a key e n e rest rel te d

. ar a a
w hich ha on e or more n otes i n commo S imil rly those keys

ve n. a
a e n e re t rel a t ed whose chords o f the to ic h av e o n

r a s or more n e
n otes i n commo n From thi follows th a t t he keys whose to n ics

. s
c oi cide with or lie a fi fth or third a bo v e or below the to n ic o f a

n
key a e n e re t rel ted t o th a t key The followi n g t ables a e

r a s a r
”
.
from C F W i t m n s . H a rmo iesystem

. e z I t will be seen
an
’
n .
th t he exclude the mi n or domi n t key o f a m j or key ( G

a s na a
mi or )
n d the m j or ubdomi
,
an n t key o f a m i n or k e a
y ( D s na
m jor ) i n lid ati g thereby the prin ciple

a ,
va n .
M AJ O R .
C m jor a .
F mi n or F m jor A mi or . E mi n or G m aj o r
a . n . . .
A m jor E m aj or a . .
C mi n or .
A b m ajor . Er ; m aj or .
M I NO R .
A mi or n .
D mi n or F m jor C m ajor E mi n or E m ajor

. a . . . .
F mi n or C m i n or . .
A m jor a .
F mi n or C mi n o r
it .
# .
An older d more widely curre n t theory 15 t h a t t he k ey s

an
i n t he fi r t degree o f rel a tio ship to a m aj or key a e the m ajo r

s n r
k eys a perfect fi fth bo e a d below i t an d the rel a ti e a n d a v n , v
t o ic mi or keys ( f
n i n t a ce t o C m j or : G m j or an d F
n or s n ,
a a
m jor a n d A mi or an d C min or ) t o a mi or key the min or

a ,
n n ,
keys a perfect fi fth bo e an d below it n d the rel a ti e a n d a v , a v
t o ic m j or key
n ( o r i t n ce to A mi n or E mi n or
f a s d D ns a , . an
mi or a d C m ajor n d A m jor ) I f n e o f the rel a ted keys

n , n a a . o
i s m de the ce n tre o f uch

a group we ge t the k eys i n t he s a ,
seco d degree f rel tio ship to the first key an d so n

n o a n o .
Other theori ts ag i n s y th t el a t ed ( l s c a lled t t en da n t

s a a a r a r‘ a
an d l i y ) l y a e those whose to ic chord is

aux i ar ac s rel a tive
r n a
h d ( a chord co sisti n g o f n otes belo gi n g to t he sc le o f the

z or n n a
k e y u der co n ider tio n )

n —fo r i n st an ce o f C m ajor : D mi n or
s a , ,
E mi or F m aj or G m j or an d A mi n or
n , ,
a , .
A de criptio n o f ll the existi g theories an d a disc us sio n

s a n
o f t heir i co siste cies n d i n s uffi ci en ci e s c a n n o t b e u n d e rt a ke n

n n n a
I n a C o n cise D c t o nary 1 1 .
20 4 R ELIGIO S A M E NT E— R E S ON A NZ B OD E N .
R e l i g i os a ment e Re ligiou sly de voutly , .
R e l i g i os o R eligious d vout , e .
R el i s h Double Relis h .
R emp l i s s a g e
.
The filli n g u p— n amely the middle p a rt s , .
U s ed i n a ba d se n se it me an s middle p a rts a dded u n n ecessa ril y

an d u n skil fully .
R e nt r é e ( F T he re e n t ry o f a p art a fter a rest

- .
R e nve rs em e nt I n v ersion .
R e nv oi Li t se n di n g b a ck
.
, The sign which s e n d s .
the performer b a ck to a simil a r sign i n an e a rlier pa rt o f t he

piece . D a l seg n o a n d A l s eg n o ) .
Re p e r c u s s i o R epercussion The rea ppe a ran ce o f he .

'
subject o f a fugue after the exposition ( a Fugue ) . . .
Rep et i t i o n ( F r ( )
I Repetitio
. n ( 2 ) R ehe a rs l . a .
R e p e t i t o re A rehe a rser a pri a te te a cher ,

v .
R ep e t i z i o n e Ripeti z ion e .
R ep l i c a , ( )
I A repe a t ( )
2 A n s wer — S
. en z a r ep l i ca withou t .
,
repetition .
R ep li c a t o ( I ) Repe a t ed ( 2 ) Doub l ed . .
R é p l i q ue ( )
1 Oct a v e ( )
2 A n swer (
.
3 ) The i n ter v a l r e .
s u l t i n g from an i n v er s io n ( 4 ) S m a ll n otes i n s erted i n a p a rt fo r

.
the guidan ce o f the per former .
R ep l y The an swer i n a fugue

. .
Ré p o n s A re s pon se
R ep o n s e Reply an swer , .
R ep o s ( F Repose rest pa use Termi n at ion of a music a l phra se

, , .
or perl o
R e p ri s e ( 1 ) A repe at ( 2 ) The resum p tio n o f a work n o t
.
er formed fo r some t ime a re vi v a l

p .
R eq u l em A m ass fo r the de a d Its music al di vi s io n s a re .
( I ) The i n troit Requ i em et e n a m ( 2 ) the [ ( y r i e e 3r ) the tr a c t )
A bs ol ve ( 4 ) the s e q ue n ce D i es i r e 5 ) the o fl e rt o ri u m D m i n e e o
f em C h r i st e ( 6 ) the S a n c t u s ( 7) the B en edi ct u s ; ( 8 ) the

Ag n u s D ei (9) t he commu n io n L u x w t e r n a .
Res i n R osin .
R e s e rvoi r A s t or e fo r com p ressed a i r a p a rt o f the wi n d p ro vi d

.
-
,
i n g a pp a r a tus o f t he org a n an d h a rmo n ium

.
R e s ol ut i on The success ion o f a co n cord to a discord the pa s sin g ,
( 0 I n t roduc t ion p
.
o f a dis s o n a n t i n to a co n s o n a n t chord . .
, .
R e s o n a n c e ( I ) R eflection re v erbera tion o f sou n d ( 2 ) R e in , .
forceme n t o f sou n d by other bodie s t h an those from which it

.
origi n a ted Thu s fo r i n t an ce the sou n d -boa rd ( res o n an ce

.
,
s ,
o
b a ) rd o f the pi a n o forte a n d t he sou n d -box ( re s on an ce bo x ) o f the -
vi oli n owi n g to their bro a d el a stic sur fa ce rei n force the vi bra
, ,
ti on s impa rted t o them through the bridge by the strin gs an d i n ,
re i n fo rc i n the vibra tion s rei n force o f course the s ou n d .
R e s o n a n z b o e n ( Ger R eso ce bo rd sou d boa rd

n an .
- a n -
, .
20 6 —
RI C E RC ATA RI S U O N A N ZA
- .
Ri cerc a t a or R i cerca re
more mode rn mean in g ( 1) T he
a fugu e i n which are employed t he mo t
,
o f these words is : s
le a rn ed de vices o f t he con tra pu tist— augme t tio n s d i mi n u n n a ,
t ion s t et t i &c This ki n d o f fugue Germ s c ll lso

,
s r , . an a a
M i t f uge s er m s t er fugue ( 2 ) I n e rlier time the t erms

e, a . a s
occur s the titles o f i strume n t al pieces mostly fug l t h at may

a n , a ,
be cl ssed with f n t si s n d c pr i cci

a a a a a a .
Ri d o t t o R educed a rranged ( o Re duci en ) , . . r .
R i g a ( It The t e
. s av .
R i g a u d o n or R i g o d o n A Rig doon a v e ry an im at ed a ,
d n ce o f Fre n ch origi n i n duple time or i

a ,
.
R i g ore ( It R igour trictn ess ex ct ess -Con igo e w i th st ric t

.
, s ,
a n . r r ,
ne s a l ri go e d i t emp i strict time

s r o, n .
R i g oro s o ( I t Rigorou e x ct strict fo r i n s t n ce as reg rd s

— . s, a ,
a , a
time .
Ril a s ci a n d o o r Ril a s ci a nt e ( It S y n on ymous w i t h

,
lle . ra n
R i n f or z a m e nt o R ei nforceme n t .
R i n forz a n d o ( It R ei n forcin g l ayi n g an a ddi t ional s t ress o n a

.
,
n ote .
Ri nf or z a re ( I t To rein force t o lay an a ddi t ion al s t ress o n a

.
,
n ote .
Ri nf orz a t o ( I t Rei n forced with a n a ddi t ion a l s t ress o n a n ote

.
, .
Ri nf orzo —
Rein orcemen t Per r i nfor z o fo r the purpose o f
f ,
rei n forceme n t .
R e r ou s s i o n e
'
Repercussion ( v Repe rcussi o ) . . .
R e t e re To repe a t .
R et i z i o n e R epetition — S en za mpet i z i on e wi t hou t repe .

’
titio n .
R i p i e ni s t a ( It R ipie n ist
, ( v Ri pie n o ) . . . .
Ri p i e n o ( It Li t “ filli n g up
. I n music a l t ermi n ology r ip i eno
.
, .
is u sed i n con tra disti n ctio n t o solo con cer t a n t e obbl i ga t o A , , .
r ip i en pa rt i s o n e th a t is executed by se v era l performers or 15

o ,
em ployed on ly i n the t u t t i p a ssages o f a con certo or v oc a l com

po i tion R ip i en i s t : a re the performers o f such p a r t s I n
s . . .
scores r ip i en o is o fte n used syn on ymous ly w ith t u t t i .
Ri p re s a . A repetition a repe a t I n music al t ermin ology , .
more especi ally the sign me n tio n ed u n der D a l seg n o ( q 71 . .
R i s e nt i t o Li v ely poig n a n t v igo r ous —S t i l e r i s en t i t o a , , .

,
V i gorous s
u
e
Ri s o l t a m e n te ( I t Resolutely determin a tely .

, .
Ri s ol ut o ( It R esolu t e determin a te
.
, .
R i s ol uz i o n e ( )
1 R esolutio n — fo r i n stan ce o f a di ss o n a n ce , .
( 2 ) Determi n a tio n .
R i s on a n z a ( It Reson an ce
. . .
Ri s p os t a ( I t The a n swer i n a fugue . .
R i s t re t t o ( I t The s t et t o i n a fugu e . r .
Ri s u o n a n z a ( I t R eso n a n ce . . .
RI S V EGLI A TO —ROM A N TI C . 20 7
R i e ve li a t o Li vely im ted ,
an a .
o t
R i t a r a nd ( I . Gr du lly sl cke n i n g the p ce
a a a a .
r o t
Ri t a d a t ( I . This expression is used syn on ymousl y w i th
R i t rd o ( I t
a R e t rd tio. a a n.
Ri t ene nd o R i t e n e nt e
,
or or R i t e nu t o ( I t Holdi g b ck ,
. n a ,
held ba ck S trictly spe ki g the e word sig i fy sl cke n i g

. a n , s s n a n
the speed a t on ce a ssumi g lower p ce ccordi g to the

,
n a s a a n
“
more c o mmo n us age t hey sig n i fy gradu ally sl cke i g the a n n
”
,
sl e ed
Ri t o r xie ll o ( I t
.
( I ) R i t or n el l i
. the sympho ies o f a ccomp n ie d a re n a
v oc a l pieces t he i strume t a l prelude , i ”terludes n d postludes

n n s, n , a .
( 2 ) R i t e l l sig n
or nifies a lso repetitio
”
o d is the n me o f the n, an a
sign c lled i n E n gli h a repe t

a ( 3 ) The burden o f so n g
s a . a .
( 4 ) An It a li an popul r form o f poetry ; it co n sists o f t hree a
l i n es .
As r i t o n el l ( d imi uti e o f i t r return ) sign ifies t

o n v r or n o , e
etitio n
” i t sho uld a pply o ly to i n terludes a d postludes which n n
p ,
repe a t p a r t o f wh a t goes be fore bu t the c tu a l use f t he word , a o
i s s a bo e me n tio ed
a v It 13 howe er lso used i n the se n se
n .
, v , a
o f t u t t i i n co n ectio n with i n st rume n t l solo pieces wi t h

n e com a a
p an i m en t s .
R i vers o ( It R e ersed as rega rds t he mo tion o f pa rts ; it may

. v ,
me a n ( I ) con tra ry a n d ( 2 ) re t rogra de , .
iv olg i m en t o ( It I n version of the p a rts i n double cou n t erpoi n t

. .
R i v ol t a t o ( It I n v er t ed . .
R i vol t o I n v ersion .
R oh r ( 1 ) Reed ( 2 ) The double ree d o f the oboe an d .
b a ssoon .
R o h r fl ot e R eed -fl u t e an org an stop

, .
R oh rw erk ( Ger The reed -stops o f an orga n t a ke n collecti v ely

. .
“ ”
A rolli n g p assage of q uick n otes o f e q u a l va lue
R o ll o ( Ge r .
,
proceedin g by degrees upw a rds a n d dow n w a rds .
R oll o The roll o f a drum .
R om a n ce ( ) 1 .A n epico -lyric a l poem an d a mu s ic al setti n g o f ,
such a poem ( 2 ) An i n s t rume n t a l piece i n the ch a ra cter o f

.
such a poem a n d se t ti n g ( 3 ) I n F ra n ce t he n a me o f r om a nce .
is gi v e n t o an y s hort sim ple son g ( 4 ) There a re a l s o n u m e u u s .
i n s trume n t a l pieces i n im i t a t i o n o f t his l a s t ki n d o f r oma n ce .
R om a n e s ca ( It An old d a n ce tu n e a ki n d o f g a lli a rd
.
, .
R om a nt i c Wh a t is peculia r or simil a r to t he litera ture a n d a rt

.
o f the middle a ges i n co n tra distin c t io n t o cl a s sic a l wh a t is

, ,
peculia r or simil a r t o t he litera t ure an d art o f a n ti q uity The .
rom a n tic comprehe n ds the n ov el u n common stra n ge fa n t astic ,

“
, , ,
supern”a t ura l an d t he like The rea l and proper use o f the

, .
w ord says Rusk in 1s simp ly an i m rob abl e or u n a ccustomed

, ,
d egree o f be a uty sublimity or vi r t ue Weber and S pohr a re ’

.
, ,
rom an tici s ts Beetho v e n is at le a st as much a roman t ic is t as

.
208 —
ROM A N Z A RO S IN .
l sicis t Bu t whe we n o w spe k o f rom ticis t s or t he

a c as . n a an
rom tic school we thi k f the compo ers th t began t o

an ,
n o s a
flouri h i n the se co d q u rte r f thi ce tury f the n eo

s n a o s n , o
rom tici tsan S chum s C hopi n B erlio Li t &c ( t o an n , , z, sz , . .
C l sic )
as .
R oma n z a R oma n z e ( Ger A rom an ce . .
R o n d e ( Fr A emibre e
. s v .
R on d e a u ( F A ro do n .
B o u di n o t - t o R o n d i n o or R o n d ol e t t o A hort ro d o s n .
R o nd o R o n d e a u ( Fr
, ,
The di ffere t poetic l forms which . n a
go by the me f o d gree i thi th t e or se er l

na o r n ea u a n s, a on v a
word e or
s, on e er l er e ge er lly the fir t recu r t cert i n
s v a v s s, n a s , a a
poi t i the cour e f the poem d form i t co clu io

n s n s oIn an s n s n.
the rietie f mu ic l
va d ths o me greeme t e x i t T he s a r on os e sa a n s s .
simple t ki d o f s i th t i n w hich pri cip l theme i s

ro n a o
'
s a n a n a
repe ted fter n i ter e i g cce ory o — n rr geme n t

a a a n v n n a ss ne a a an
which m y be cle rly how by the lette

a o a Ge er lly s n rs : a, ,
a . n a ,
howe er the me f ro do i co fi ed to tho e compo itio s

v ,
na o n s n n s s n
i which the pri cip l theme pre e t it el f t l e t three time

n n a s n s s a as s,
a d n lter tes with two cce ory or

a na we m y l o c ll them a ss , , as a a s a ,
s
A
eco n d y themes Thu f i st ce
ar
A
b . Or thus : s, or n an : a, , a , c, a .
a b a, o Or thu
c, a t
a . I the l t o f the se s : a a , c, a ) . n as
ro do forms the theme 5

n - which fir t ppe r i other key , s a a s n an ,
re ppe rs t the d i n the pri cip l key t he key f

a a a en The n a , o a.
abo e forms v e t the o ly o e but e e the e three e i n

ar no n n s. v n s ar
ca lcul bly ri ble by me s f tr iti

a va a epi o d e d nd an o a ns o ns , s s , co as , a
modific tio s f the repe ted p r t

a n For f cour e the gre t
o a a s . o s a
m sters do n t re t s ti fied with le i g the p rt g i st e ch

a o s a s an n a s a a n a
o t her but mould or t le t j oi n them i to whole R o dos

,
a as n a . n
occur as i n depe de t pieces a d lso as p rt o f son t a sn n , n a a s a ,
sympho n ie & c The l st mo eme t f such l rger works is

s, . a v n o a
ofte n a ron do bu t the slow mo eme t too h s n o t u n fre

,
v n , , a
ue tly o n e or t he other ro do form I deed m an y pieces n - n

q n .
,
which do t be r the n me a i n thi fo m

no a a re s r .
R o n d ol e t t o A hort ro n do s .
R oot The fu d me t l n ote o f a chord

.
n a n a .
R os a li a The ucce i e repetitio f a melodic moti e or s ss v n o v
phr e o n se er l higher or lower degrees S trictly spe ki g

as v a . a n
this ick me c o ly be pplied whe there is more th

n na an n e a n an o n
immedi tely succeedi n g repetition a d e ch f them a tr ns

a , n a o a
positio o e degree higher r lo wer

n n o .
“The re i le ft fter distilli n g o ff the ol tile oil from t he

Ro s i n .
s n a v a
d i fl e en t species o f turpe n ti e
r The rosi n with which violi n . n,
viol a n d Vi olo n cello

a, pl yer rub ( d thereby roughen t h e a s an
surf ce o f) t heir bows is n o t the ordi y rosi n The l tter has

a n ar . a
t o be purified be fore i t becomes uit ble fo r t he ir purpo s a s e.
Double b s pl ayers use a co mposition o f ord i a ry rosi n an d

as n
w hit p itch e .
2 10 S A L C I O N A L— S B A LZO .
S a l o i o n a l f or S a l i i c on
A swee t organ s t op f al , S al i c et ,
&c . o
ope fl u e -pipes It occurs f rious pitch
n . o va .
S a l mo A ps lm The plur l umber is sa l mi a . a n .
S a l t a r e ll a ( It The s me s S l t ll. a a a a re o
.
S a l t a re l l i The plural f S l t l l o a a re o .
S a l t a r e ll o ( It ( 1 ) The secon d di vi sion o f It li n d n ces i n t h e

. a a a
fi ftee th n d sixtee th ce turie ; it w s i n triple time where s

n a n n s a , a
the fir t di i io w i n duple time ( 2 ) A It li d ce

s v s n as . n a an an
still i n fa our especi l l y with the R om n s The mu ic is i n

v ,
a a . s
an d time n d ch a r cteri ed by skippi g triplets , a a s n .
( 3 ) The word is used a lso i n t he se n se o f s l t et t o ( 4 ) S ee a er .
S a l t er el l i .
S al t e r ll i ( It
e J acks o f the h rp ichord &c
. a s , .
S al t e r ll o
e ( I ) An It ali an d an ce ( 71 S a l t rello ) ( 2 ) A j ack . . a .
o f a h a rp ichord & c s , .
The rhythmic al figure f or r 5 r

.
I
S a l t e r l o or S a l t ero
, ( )
I The p s a lter boo k o f Ps lms ( z ) , a .
A ps ltery a(3) A dulci m er .
—
.
S alt o Le p j ump skip D i s l t o proceedi n g by a skip

a , , . a , .
S a l ve R e g i n a ( L t O n e o f t he a n t iphon s o f t he Blessed V irgi n

a . .
S a mp o g n a ( It A b gpipe . a .
S a n ct u s A di i io f t he m ass v s n o
S a nf t ( Ger S oft ge n tle pl cid

.
, , a .
S a n ft g e d a o k t A so ft to n ed org n s t op o f s t opped pipes - a .
S a n s ( Fr Without S ns ccomp gn emen t w ithou t accomp an imen t ;

. . a a a ,
sa p
ns d l without ’
e a e, ped l a .
S a q u e b o u t e or S a q u e b u t e ( F r A sa ckbu t . .
S a ra b a n d a S a ra b a n d e A S a r b an d a s ta t ely o ld a ,
d n ce which first bec me popul a r i n S p ain an d t h en i n o ther

a a ,
Europe n cou n tries It is either i n or 2t ime

a .
1
7
} -
.
S a rru s op h o n e s A f mily o f reed brass in s t rumen t s with mou t h

.
a
pieces like those o f the b assoon an d ob oe S a rrusophon es re . a
m ade o f eight si es z .
S a t t el ( Ger The n u
. t o f t he fi n ge r-bo a rd o f t he vi oli n violo cello
, n ,
guit a r an d simil r i n s t rumen t s — S t t el m / e i n Violon cell o

,
a . a ac z n ,
pl yi g to pl ce the t humb crosswise o n a s trin g an d thu form

a n , a , s
a tempor ry n u t a .
S at z ( )
1 S ub j ect or t heme ( 2 ) A phr a se ( 3 ) A di i io , . . v s n
o f mo eme t or piece ( 4 ) A mo eme t

.
a v n di visio n complet . v n a , e
i it el f f l rger work ( 5 ) S tyle o f composition co t e xtur e

n s , o a a .
,
n .
S a ut ( Fr A skip
. .
S a ut e r e a u ( Fr A j a ck f h rp ichord & c
. o a a s , .
S a xh o r n s A family f br ss wi d i trume n ts with a l es 0 !

.
o a n ns v v ,
w hich the Te n or S xhor i n E fl t or F is the mo t common a n, a , s .
S a x op h o n e s A f mily f reed br s i n s t rume ts w ith mou th a o a s n
pieces like th t o f the cl ri e t They are m ade of fi ve i es

.
a a n . s z .
S b alz o A leap j ump sk i p , , .

S BA RRA — S C H E RZO . 21 t
S b a rra Ab ar- nli e — S ba rr d pp i a double bar

. a o a, .
S cag n ell o ( I t . The bridge o f t he ioli n violo n cello v , , and si mil a r
i stru m e n ts
n .
S ca l a ( It . A sc le a .
S cem a dn o ( I t Dimi n i shi n g. decre si n g — fo r i n st n ce i n loud n es s , a a ,
o f to n e .
S ce n a A sce n e This word i s used i n a rious se n ses ( 1 ) . v .
The s t ge ( 2 ) The the tre 3 ) The sce ery d decor tio n s o f

a . a . n an a
a the a tre (4) A p a rt

. f a pl y or O per a per f ormed without o a
ch n ge o f sce ery
a 5 ) A portio n o fn a pl y .or oper n t a a o
i n terrupted by the e n tr ce or exi t o f a n y a cto r I t is t h e an
e n tr a n ces a n d exits th t di ide a pl ay or oper a i n t o sce n e s a ( 6) v .
A n a ccomp n ied recit ati e with a i o p ss ges gen era lly v a r os a a ,
followed by an i S ometimes t he term s ar a. comprehe n ds cen a
the i a o fte n er the word sce ed r i a e used

ar , s na a ar .
S ce n a ri o ( I t ( )
I A skeleto
. n l i o e t t o which ser v es as a guid e r
to performers m gers & c ( 2 ) A pl ay bill ( 3 ) I n t he ,

- an a , . .
plura l s ce i i sce n es decor ation s

,
n ar , , .
S c en e S ce n e —
( 11 S ce n a ) H i n t er der S cen e ( Ger. . be hi n d . .
the scen e .
S c h a fe rl i e d ( Ger A shepherd s son g

’
. .
S c h af e rp fe i fe ( Ger A shepherd s pi pe ’
. .
S c h afe r t a n z A shepherd s d an ce ’
.
S ch a l k h a ft ( Ger Roguish pl ayful w an t on .

, , .
S o h a ll ( Ger S ou n d
. .
S ch a ll b ech er ( Ger The bell o f win d i n s t rumen ts . .
S c h a l ll och ( Ger S ou d hole

n - . .
S c h a l l t ri ch t e r ( Ger The sa m e as S clt a l l oeclze . r.
S ch a l mei or S ch a l mey ( Ger ( I ) A reed pl p e ( 2 ) A s hawm . .
(3)
,
The ch n ter o f t he b a gpipe (4) A reed s t op i the
a - . n
org o f 1 6 8 or 4 -feet pitch

an , , .
S ch ell e nb a um ( Ger A cre ce n t . s .
S ch er z a n d o or S ch e rz a nt e ( I t ,
Frolicki n g t oyi n g i n a .
, ,
pl yful m nn er
a a .
S ch erz e v ol e or S ch e r z o s o ( I t ,
Pl yful . a .
S ch erzh a ft ( Ger Pl a yful sporti v e .

, .
c
S h er z i ( I t The
. plur l o f sei e o — S l e i u s i cal ia ligh t secul a r z rz . c z rz rz ,
son gs can on ets Applied t o i strumen t a l pieces t hese w ords

,
z . n
are syn o n ymous w i t h cap r i cci .
S ch erz o ( It Pl ay spor t jes t A n ame gi ve n t o a gre at va rie t y o f

.
, , .
i strumen t a l composition s an d i n dic ti e o f t heir ch a ra c t er

n , a v
r ther th n their form S che i occur a s i n gle pieces as items

a a . rz s ,
o f sets o f pieces ( P tit nd s mo eme ts o f l rger

ar e, a a v n a
compositio n T he s / e o w as i n troduced i n to t he o na t a t ow rds

s . c z rz s a
t h e e n d o f the l st ce n tury an d soon fter a l o i n to the sy mpho n y

a , a s
an d other ki n dred forms where it freq uen tly tak es the pl a ce ,
o f t he mi n ue t I t s form i n the son at & c w as a t first t h a t of

. a, .
,
t he mi n ue t ( a fi rs t di v isio n o f tw o p r t s ; a seco n d di vision o a ,

r
212 SC H IETTO — S C H N E L L .
t r i o, o f two p
rts ; an d a repetition of the first di vision ) a fte
a r
w rds this form w as de eloped an d tre ted with gre ter freedom
a v a a .
This de eloped mi n uet -form i the mo t common form o f t he

v s s
s l
c zer z o; but there e l e i with two trios l i i n a for m
ar sc i rz , sc zer z
re embli g th t o f the fir t mo eme n t o f a s on ta an d he i

s n a s v a ,
sc rz
irregu l a rly d fan ta stic lly co structed Triple time is often es t

an a n .
to be met with more e peci lly time but a lso 32t ime occurs ,
s a , .
( 71 S cher i )
. z .
S ch i e t t o or S ch i e t t a me n t e
,
U n a dorn ed without a dded ,
embelli hmen t s s .
S ch i s m a The n me o f se era l ery m ll i ter ls t used a v v s a n va no
in pr ctic l music ; o e o f them i the di ffere n ce be twee n t he

a a n s
di t icon d the y n to ic comm

an ( 7 C omm )
s n a . 1. a.
S chl a g ( Ger A blow stroke be t pul tio n

.
, , a ,
sa .
S chl a g fe d e r ( Ger A plectrum . .
S o h l a g i n s t r u m e n t e ( Ger ( )1 I n strume n ts o f percus io n ( 2 ) . s .
Formerly lso keybo ard i trume ts such a s the org n

a d ns n a an
pi oforte
an .
S chl a g z i t h er ( Ger The ordin ry cither who e stri gs e . a s n ar
plucked i n co n tr disti n ctio to B oge i t /z bow e ither ( v

, a n nz er , - . .
Zither ) .
S chl ech t er T a k t t h e i l ( Ger U na ccen ted p rt o f b . a a a r.
S c hl e i f b o g e n ( Ger A slur . .
S chl e i f e n ( Ger To slur . .
S chl e if e r ( Ger A slide a n or n a men t co s1s t i n g o f two or more

.
,
n
n otes a sce n di g or de ce n di n g by degrees ( I troduction

n s . 71 . n ,
p .
S o hl e i fe z e i c h e n ( Ger A slur . .
S chl e p p e n d ( Ger Dr ggi g with reg rd to t im e . a n , a .
S chl us s ( Ger C o n clu io n. s .
S c hl ii s s e l ( Ger A cl ef . .
S c hl u s s fa ll ( Ger A c de ce . a n .
S chl u s s s a t z ( Ger C o cludi n g or l a st m eme n t or d i isi o n o f

. n , , ov v
a work .
S chl u s s z e i ch e n ( Ger A p use m . a
S ch m e i c h e l n d ( Ger C oa x i g c ressi g i n i n u ti n g . n , a n , s a .
S ch me r z P i sorrow grie f a n, , .
S c h m e rzh a ft S ch m e rzl i ch P i ful orrow fu l a n s

”
.
, ,
S ch na b e l Lit be k A mouthpie ce uch s nd .

, a a .
, s a a
simil r to th t o f t he cl a ri n et
a a .
S c h n l e l fl t eo A be k -fl ut e direct flute [l ute

gg
a a ,
ec.
S ch n rrw erk ( G
a e r. T he reed -stops of an organ t ak en co l
l t i ly
ec ve .
S ch n eck e ( Ger Li t a s a il The scroll t the top o f t he

. .
, n . a
box o f a vi oli n or si mil a rly co n structed i n s t rume n t
S oh n e li (
p e
—
.
Ger Q uic k S el¢r s cl mel l

. ery q uick m ss ig s lme ll .
, v a
’
e ,
mo d e ra te l y q uic k .
2 14 SC OR R E N —
DO S EH R .
orchestr l ccomp n ime ts a e repre en ted by an a rr ngemen t

a a a n r s a
f the pi n oforte or org

or &ca (3) A v l e i either, an , . oca s cor s
a score f a oc l compo itio n without i trume t l cc m p i

o v a s ns n a a o an
me t i n which ll the p rts e et forth i n ful l n d sep r te

n s, a a ar s a on a a
st e or a other me f
av s, pi o forte or org n core ( 4 ) A
n na or a an a s
”
.
/z t
s or e u n les cor
“
u ed i the se n se o f compre ed score i s ss s n ss
, ,
an rr geme t f l l the p rts o f a compo itio n fo o n e i n

a an n o a a s r
tru men t — org pi oforte & c 5 ) A mp

s d s
an , e u les s an , . co r ess e cor ,
n
s
“
u ed i n the e e f hort score is a core i which se eral s ns o s s n v
,
p rts e set forth n fewer li n es t han usu l — fo i n st a ce fou r

a ar o a r n ,
oc a l p rts o two t ves

v a n s a .
S corre n d o ( It Glidi g . n .
S co z z es e ( It S cotc h — All
. i n the S cotch style a s coz zese, .
S d eg n o ( It Disd i n i
. n dig tio n — C i d g n o with di sd a i n
a ,
na on s e , ,
i dig tion
n na .
S d eg n o s a m e nt e ( It Disd i fully scor fully . a n ,

n .
S d e g n o s o ( It Di d i ful scor ful . s a n , n .
S d rucci ol a n d o ( It S lidi g . n .
S e ( It . If — S bi g n a i f ece
. ry ; se p i
e i f you li k e
so , n ss a a ce, .
S ec S e cco ( It D ry ; pl i n withou t embellishme n t s .

( 71 a , . .
Recit ti e a v .
S e ch s a ch t el t a k t ( Ger S i -eigh t t ime . x .
S e oh s v i e rt e l t a k t ( Ger S i -four time . x .
S o c h s z e h n t h e i l n o t e ( Ger A semi q u v er n o te . a .
S e c h s z e h n t h e i l p a us e ( Ger A semiq u er res t . av .
S e co n d m S e co n d e f .
, S eco d — S c d des u s seco n d . n e on s ,
tre ble e de f oi econ d time As a n ou

s con d e sig n ifie s
s, s . n secon
the i n ter l f a econ d va o s .
S eco n d a The i ter a l of seco d d t he femi n i n e form o f

n v a n an
s econ d o .
S econ d ( F r a . 71 . S eco n d an d S eco n do .
S econ d o m . si gg
n ; Se co nd a , f 5 n Se
. nd i , m co . plur
p
.
S co n d
,
e o, f. l ur . S eco n d — Cor n o s econ do, s econ d

. horn ;
s econ d a d on n a , s eco d n pri n cipa l fem a le s i n ger secon d o vol t a ,
secon d time ; i l i e di secon d violi s 71 o n z s con ,
n .
S ecun d e ( Ger The i n ter l f a secon d . va o .
S e d e c i m a ( Lat an d ( )
I The i ter a l o f.a si x tee th ( 2 ) An n v n .
obsolete n me f the Fi ftee th top f the org n which would

a o n s o a ,
h e bee more properly c lled Q i

av n a u n
S eg no A ig n S e D l g o nd A l s g o s . e a se n a e n .
S e g ue ( It —
Follows S gu l i fo l lo w s the ri a ; e poi gu e Ia ’
. . e e ar a, \ a se
d n d the
co a , a follows the d n co a.
S eg u e n d o or u
S eg e t en F ollowi n g
— [ l s g u e t e or la e n ,
g
seu t e the
enfollowi g , n .
S eg u e nz a ( It A e q ue ce . s n .
S eg ui d il l a ( S p A S p i h d ce i n 2 ; or . time It is mo t fre an s an 3 8 . s
q ue tly 1n mi or
n n d pe formed with guit a n d v oc a l
n e c o,m a r ar a
an i m e n t .
p
S e h r ( Ger . V ery .
- S e/zr l a ng s a m , v e ry s low .
S E I — S EPT U PLET . 2 10
S ei ( It . Six .
S eit enb ew eg un g ( Ger Obli que motion . .
S ei t e n s a t z ( Ger The seco d subject m son t a ; the subjec t o r. n a a
ubj ects which m ron do ltern te with the pri n cip a l subj ec t a
s a a a
seco d ry subj ect n a .
S emi b i s crom a A semidemisemi qu a er v .
S e mi b rev e The ame o f o n e o f the mu ic l t ime va lues ( 71 I n tro

.
n s a . .
ductio pp 1 7 2 0 a d 5 5 an d 5 6
n — , .
, n .
S e m i b re v i s ( L t A semibre e a . v .
S e m i crom a ( It A semiq u er . av .
S em i d em i s e m i q ua v er The n ame o f on e o f the music a l t ime .
lues the sixty -fourth p ar t o f a semibre e ( 2 I n troduc t ion

va ,
v . 1. ,
p 1 7 &c .
, .
S e m i d i a p a s on ( L t The i n ter l o f a dimi i hed oct v e a . va n s a .
S e m i d i a p e nt e ( L t The i ter l o f a dimi n ished fi fth a . n va .
S e mi d i a t e s s a ro n The i ter l f dimi i hed fourt h n va o a n s .
S em i di t on u s (L t The i ter l o f a mi or third a . n va n .
S e m i d i t o n u s cum d i a p e n t e ( L a t The i n t erva l of a min or .
e e n th
s v .
S emi fu s a ( L a t A semi q u aver . .
S e m i mi n i m a ( L t a d I t A cro t che t . a . n . .
S e m i p a u s a ( Lat A semi b re e rest . v .
S e m i s u s p i ru m ( La t I n t he old me n sur abl e mus i c a se mimi n i m .

, ,
i e a crotche t res t
.
. .
, .
S em l t on i u m (
.
L t A semi t o n e a h l f-t o n e a .
,
a .
S e m i t o n i u m fi c t u m ( La t A chrom a tic semiton e o n e o b t a i n ed .

,
by sh rp or fl ta a a .
S e m i t o n i u m mo di ( L at The le adi n g n o t e . .
S e m i t o n i u m n a t ura l e ( Lat A di aton ic semi t one n o t a emi .

, s
t on i u m ct u m
fi
S emp l ice ( It S imple pl i ,
a n.
S emp li ceme nt e ( It S imply pl i ly .

, a n .
S emp re ( 1 Al w ys co ti u lly — S mp l g t lw ys slurred

smoo t11l y
. a , n n a . e re e a o, a a ,
S ens i b i l e ( I t N t ibi l the le di g ot e

. a a s en s e, a n n .
S ens i b l e N t i bl the le di g o t e o e s en s e, a n n
S e n ti me n o
t ( I t F eeli g — C tim t w t h feeli g n on sen en o , 1 n
—
. . .
S e nz a ( I t W ithou t. S d i i w i t hou t mute or i the c se . en z a s or n , s, , n a

f the pi ofor t e w i t hou t d mpers
o an with the c lled loud , a so - a
ped l ( t his expressio pplied origi lly t o stop ) S

a
g n a na a . en z a or a no ,
withou t org an .
S ep t et t ( Ger S e p t et t o ( It .
S ep t uor ( F r A composi t io . n
f se e oices or i strume t s
or v n v n n .
S e p t i eme ( F S e p t i m e ( Ger r. The i ter l f se e th . n va o a v n .
S op t i m a k k o d ( Ger
en A chord f the se e th r . o v n .
S ep t i mol e or S ep t ol e ( Ger ,
A septuplet . .
S ep t uor S e pt et t 71 . .
S e p t up l e t The di i io f b or p rt f b i to group f
. v s n o a ar a o a ar n a o
e e o t e f eq u l le gth
s v n n s o a n .
216 S E Q U EN C E - S EXT .
S eq u nc e e repetition f a progre ion f chords or f

(1) A o ss o o a
m l o d c phr se or figure t a d i ffe e t pitch

e 1 a ( 2 ) A ki d f a r n . n o
hym n su g i n the R om C t h l i c C h h O f the m n y

n an a o , u rc . a
se q ue n ce th t c me i to exi te ce i n the middle ge o ly fi e

s a a n s n a s n v
were ret in ed whe the C ou n cil o f Tre t re i ed the li t urgy

a n n v s .
O e f these i
n o the D i i a n other the S t b t
s Al t es ra ,
a a er er .
The e hym s were med eq ue ces fter the melodic tr i ns

s n na s n a s a
( su n g to the Alleluj a t the clo e f the Gr du le ) t which the y a s o a a o
w ere writte They were c lled p n .

( i g p pro e ) n o t a r osa s n . r os a , s
bec u e they l cked the rhythmic l eleme t but i order to d i

a s a a n ,
n s
t i n gu i h them from the cl

s ic metric l style f poetry a ss a o .
S e q u en t i a ( L t A se q uen ce
, a . .
S é ré na d e S ere n a t a ( It A seren de ( from e e e n in g ) . a s ra , v .
( 1 ) A music l perform n ce i n the open a i r at n ight u der t he

a a n
w in dows o f per on o n e wi hes to ho our or propiti te mor

a s s n a , e
e speci lly u der the wi n dows o f a belo ed l a dy

a n ( 2 ) A com v .
p o itio ns f e or se er l mo eme ts fo r
o on n e or more oicev a v n ,
o v s or
1n s t u me n t s or both i n te n ded for such a purpose or i n imit ti

r , ,
a on
o f compositio n s i n te n ded for such a p rpo e I trume t l u s . ns n a
c ompositio n s h e a i n g this t itle an d co i ti g f 4 5 6 7 8

r ns s n o , , , ,
mo eme n ts o f rious ch r cter were forme l y ery common

v va a a r v ,
bu t n o w a re o f r re occurre n ce a .
S e re n o S ere n e c a lm t r q uil , ,
an .
S e ri a ( It S eriou s
.
— Op e a i tr gic oper r s er a , a a
S e r i n et t e ( F r A sm ll b rrel org . bird organ a a - an , a - .
S e ri o s o ( It Gra ve serio us
.
, .
S er pe t n ( )
I . A n a lmost ob olete le ther -co ered wood wi n d i n s a v
strume n t with a cup - h ped mouthpiece which deri es its m e s a ,

v na
from the erpen ti n e be d sf its tube The comp s riou ly n s o . as , va s
st a ted by di ffere n t writer i ccordi n g to B rl i o from A t s, s, a e z, ,

o
1 flat
1
'
( )
2 A reed
.
-stop i old org s n an .
S e rp e nt o n e A serpe t n
S e s q ui a l t e r 71 S esq ui lter . . a a .
S e s q ui a l t era ( I ) The rel tion o f t w o n um bers t he gre a ter a
o f which co n t i n s the sm ller e n d a h l f times — fo i n st

a ce a on a a r an ,
3 2 ( 2 ) A n. org n stop n w ge n er lly f two r a k f pipe s o a o an s o
sou n di n g the fi fth an d te th ( or r ther twel fth a n d se e n tee n th ) n a v
a n d rei n forci n g the grou n d t o n e S ome t imes the S e q ui a ltero . s .
stop has as m a y a s fi e and e e se e n r k o f pipes n v v n v an s .
S es t e t t o A se tet composition f six oices or in trume n ts s , a or v s .
S e s t i n a ( It A sextuplet . .
S es t o m S es t a .
,
f ( It S ix t h — S t the i.n ter l o f . i x th . es a , va a s .
S e t t i m a S e t t i mo ( It
, ,
—
,
,
S e e n th S tt i m the i ter l o f a
. v . e a, n va
se e th v n .
S e t z a r t ( Ger S tyle o f compositio n

. .
S e t z k u n s t ( Ger A t o f composition . r .
S e v e ra m e n t e S e erely trictly v , s .
S e xt . O e f the C n i ca l Hour
o an o n s .
218 S I DE - —
D R U M S I N G S P IE L .
S i d d rum
e - A milit ry i .
a n strume t n , a sm ll drum b ea t en w ith
a t wo
tick ( Drum )
s s . 71 . .
S i g e li d ( Ger
e s So g e ictory . n of v .
S i ffl ot e ( Ger A fl ue - top i n old

. org n s o f z -feet an d I -foot pitch s a ,
ometime l o o f 1 % feet
s s a s - .
S i g n a l ho rn ( Ger A bugle . .
S i g n a t ure The sig s pl ced o n t he st a e t the begi n i g f a

.
n a v a n n o
piece or p rt f piece O n e disti guishes two ki ds o f

a o a . n n
sig ture— the key ig n t u e an d the t i m - g t e The k y

na -s a r e si na u r . e
s ig t e comprehe n ds the cle fs

na ur n d the h rp d fl ts T he a s a s an a .
sh rp n d fl ts o f the sign a ture di ffer from sh rps n d fl t s

a s a a a a a
occurri n g i n the course o f a mo eme n t ( which e c lled ci v ar a ac
d n t l ) i n th t they a ffec t a ll t he n otes be ri g the

e a s a me f th t a n na o a
n ote whose li n e or sp a ce o f t he s t a e t hey occupy t lz ug l u t t h e v ro zo
piece u n less they be re v oke d fo r good by a other sig a ture o r

,
n n ,
f the spa ce o f a bar by n a cciden t a l The t i me-s g n a t u e

or a . i r
i n dic tes t he me a sure o f a piece or p r t o f a piece by me n s

a a a
o f figures an d other sig n s ( 0 3 z z 7 g S ee I n

'
, ,
t ro d u ct i o n I V V I an d X , .
, .
S i g n a t ure n ( Ger The figures ab o e or b elow b s p rt which

. v a a s a
i dic te the ccomp n yi g h a rmo ies

n a a a n n .
S i g n e ( Fr A sign . .
d il l a ( S p 71 S egui d illa
°
Si . . .
S o n c e ( Fr A res t
.
. .
S i l e n z i o ( It A rest . .
S i l e va il s or d i n o ( It
. T k e o ff the mut e . a .
S i l e v a n o i s or d i n i T ke o ff the mu t es a .
S i m a gg l o r e B m j or a .
S i m aj o u r B m j or a .
S i mi l a r mo t i o n The progre sion of t w or more pa rts i n the

.
s o
me directio
sa n .
S i mil e i g S i mi li plur ( I t
,
s n .
, S imil a r i n the s ame m an n e r ,
. .
, .
( I troductio
71 . np n, .
S i mi n e u r ( F r B mi or . n .
S i mi n ore ( It B mi or . n .
S in al fi n e
’
To the en d ( 71 S in o ) . . .
S i n a l s e g no To the sign ( 71 S in o )
’
. . .
S i n a t ur a l ( Fr B n atur l . a .
S i n f o n i a ( It ( )
1 A n o erture .
( )
2 A sy m yp h o n v . .
S i n fo n i e A symphon y .
S i ng a k a d e mi e ( Ger A socie ty for t he culti t ion of cho ral . va
s rn g mg .
S i ng e n d ( G er S i n gi n g , ca n t a bi l e . .
S i ng h i a nd ozz S obbi n g , s ighin g o .
S i n g m a n i e r e n ( Ger Voca l o r n a me n ts , o r gr aces . .
S i ng s h l e c u A si n gi n g -s c ho o l .
S i ng s p i e l ( Ger I n the wide s t s e n s e a dr

. a m a ti c , represe n t ti on a
with m usic . More esp eci l ly a , a light oper an operet ta with a, ,

S I N GS T I M M E — S MAL L O C TAV E . 219
s
p o k e di a logu e
n i n ste a d of recit ti e a v , and a pl a y w i t h in ci d e n t a l
m u s rc .
S i ngs t i mme A v oice .
S in i st a r , Le ft —M i i t
.
~
the le ft h n d ano s n s ra , a .
S i n k a p a ce A ci q ue p ce g lli rd ( qua )
- n a ,
a a a .
o
.
S in To till S m ffine to the en d ;

—
'
, a fa as s r ,
. a a ,
. rzn o a l s eg n o,
to the sig n.
S i p i e c e ( It At ple sure. a .
S i re p li c a Repe t ! A expression which i n dica t es th a t a

, a n .
piece or p a rt o f a piece h to be repe ted as a .
S i s e g ue Go n proceed o , .
S i s t rum An cie t i trume n t o f percus ion con sis t i n g of

an n ns s
a met l fr me i n which were loo ely i serted se er l met l b a rs

a a s n v a a ,
sometimes with met l ri g h gi g n the m B y sh aki n g t he a n s an n o .
i n strume t a ti gli g oi e w as produced

n n n n s .
S i t a c e ( It K eep si l e t
. n .
S it ol e The s a me s C itol e
.
a .
S i v ol t a ( It , Tur o er . n v .
S i xi em e ( Fr S ixth The i n ter a l o f a six th

. . v .
S i xt e The i n terva l o f a sixth .
S i xt h a —
The i n t erv l o f a sixth Cl w d of fl u z t l t he fi rs t i n ver r s x
’
z,
sron o f a t ria d C/z d f t il e a dded the chord f t he

. or o o
subdomi n an t wi t h the six t h a dded t o i t fo i st n ce i n C

— r n a ,
m ajor f a e d Cko d of t he N eapol i t a s z t /z v N e poli tan

’
,
r n x , . a
sixth .
S k al d A n n cien t S c an di n a vi an b a rd
a .
The progre sion of a pa r t by a l a rger in t erva l th n o ne

,
S kip ,
s a
degree .
S k i zz e ( Ger A ske t ch . .
S l a rg a n d o ( I t Bro de n i n g sl ack e n in g i n t im e
. a , .
S l e n t a n d o ( It Becomi g slower sl cke n i g i n t ime

. n , a n .
S li d e ( )
I The mo ble p rt f the t rombo e an d slide t rumpe t by
va a o n
which the le gth o f the tube c n be i n cre sed A slide co n sis ts

,
n a a .
o f a tube i n the h pe o f a U with prolo ged sh an ks wide e n oug h

s a , n
t o admit o f the in ertion o f t wo sh k f the rem in in g par t o f s an s o a
the i strume t Wh t on t he horn n d the ordin ary t rumpe t is

n n . a a
e ffected by crooks an d l e c n be e sily an d more pe rfectl y va v s a a
a ccompli hed o n t he trombo e an d slide trumpet by the slide

s n .
I n the c se o f the B fl a t trombo n e fo r i n st n ce the pl yer ca n

a , a , a
ch ge the key o f the i trume t by dr wi g the slide more d

an ns n a n an
more out i to A A fl t G G fl t F a d E ( 2 ) An or me n t
n ,
a , , a , ,
n . na
co i ti g f two or more q uick otes proceedi ng di l t o i c lly t o

ns s n o n z n a
the pri cip l ote n I n troductio n p a n (3) Organ

.
, . .
S l ur ,
The cur ed li e pl ced a bo e or below se er l n o t es to i n di
v n a v v a
c te th t they h e to be pl yed con n ectedly n o t det a ched

a a av a , .
Leg t o ) a .
S m a ll oct a v e The sm ll oc t e begin s a t t he e i n the second

,
a av
sp ce o f the b s cle f an d e x te ds up to but n o t in cl usi ve o f

a a s , n , .
22 0 S M A N I A N TE — S OLM I S A TIO N .
t he e
’
( the o ce - cce ted
) a bo v e it S m l
n l letter wiat h out n . a s
an y a cce n t e m de use o f to i dic a te it

ar I n troductio
a n . n,
i
S m ar ian t e Fran tic furious ,
.
S m u o m u o
i n e nd , S i n i t ( It Dimi n ishi n g , decre a si ng . .
S mo o
re nd ( It Dyi n g a w ay . .
S m O I fi O S O ( It
'
A ff e cted prim .
, .
S mo o morz o
r za n d S a t D y i n g a w a y c a lmi n g dow n , .
o
S a ve
,
S weet s o ft ge n tle , , .
o me e
S a ve nt S weetly softly , ge n tly , .
S og o t t ( j
It A sub ect
g
e . .
S o ( It ( )
I
. The fi fth o f the Areti n i a n s yll a bles ( 2 ) The n a me . of
the n ote G in It ly Fr ce
a , an ,
and s ome other cou trie n s .
S ol bé mol ( F r .
) S ol b e mol l e Gfl t a .
S ol b é mol m aj e ur ( FL ) S o l b e , mol l m e aggi o re G

flat m jor a .
S ol di é s e S o l di es is ( It . G h rp s a .
S o l di é s e mi n ur e S o l di e sis m i n o rs G s h rp
a
m n or i .
S o l e m n i s ( Lat S olem n . .
o
S l e nn ( I e t
S olem n , S ple n did
. .
o
S l e nn e e n t ( It m S olem n ly , pompously e . .
S o l e n m s ( L at S olem n . .
o
S l e nn i t a ( I t
S olem n i y , pomp . t .
o
S l fa , ( ) G mu
I a a n a —
sc le ( 2 ) Music ge er lly B a t t er e 1a t , . .
s o fa
l to be a t time
, .
n The E g ish erb “ o sol sig n ifies t o t

S o l fa , S o l fa i g
- - n l v -fa
t t
.
pro n ou n ce i n si n gin g t he s yll a bic n a mes o f he n o es s u ng — a s do

( or a t ), r e, mi , f a , s ol , la , si .
S o l fé g e ( Fr si gi n g exercise or collection f sin gi g e x ercises

. A n a o n
in s n i gi g which the yll a bic n mes o f t he n o tes re pron ou n ced

n s a a
—do , r e, mi , f a , s ol , la , si.
S ol f
eggi a re ( It
To sol f .
-a .
S ol f
eg gi o A si gi g e x ercise i n si gi n g which t he yll bi c n n n s a
me f the n otes d
na s o mi f l l i or y other s y ll bl es o , r e, ,
a , so , a, s , an a ,
owel or letter e pro ou ced S olf eggi is the plur l form of

v s, s ar n n . a
the word .
S olfi er ( Fr To sol -f . a .
S ol mi s a t i o n A n old sy t em o f tea chi n g musi c which con sis t e d i n s
t o se en
.
the a pplic tion f the syll bles z mi f

a ol l a o a u
‘
, r e, ,
a, s , ,
v
series o f six n ote These series of six n ot es co n s
s isted o f di to n ic degree succeedi n g e ch other by t on e s an d

a s, a
o n e semito n e the l tter bei ng from the third to t he fo ur th

, a
degree an d coi n ciding with the yll a bles m i f a Wh en e ver t he

, s .
music exceeded the limits o f a he x chord or a y ton e foreign t o a , n
it occurred it w a n ece s ry to ch ge the syll bles n d p ss

,
s s a an a a a
in to a n other he chord thi ch ge w s c lled mu t t i o

— xa T he s an a a a n.
S ON A I A
’
22 2 .
( chur ch son ta ) and t he o a t a da a me a ( ch mber son t )

a
‘
s n c r a a a .
B oth con isted f a succession f slow an d q uick mo eme ts ( a

s o o v n
slow mo eme t bein g sometime fol lowed by two q uick mo e

v n s v
me ts ) mostly four or fi i n umber d ge er lly l l o f th e m

n ,
ve n ,
an n a a
( with an occ sio l e x ceptio o f o e ) i n the s me key T he

a na n n a .
d ifl e en ce betwee n the
r t d e/ i an d the t d m
s on a a a z es a son a a a ca er a
has bee n roughly i dic ted by Bross rd who wrote a t t he n a a ,
begi n n i g o f the eightee th ce tury

n s follow
“ The mo e n n a s v
,
me n ts f the former e d g i l g & c lter ted w ith

o ar a a os , ar os , .
,
a na
fugues [r ther pieces i n the fug l style] which form its ll gr o

a a , a e s
whil t the mo eme ts f the l tter e composed fter t he

s v n o a ar ,
a
a d g i s o f a irs
a o ,
f regul ted mo emen t such s an A l l m nd e
o a a v , a e a ,
a Co te
u ra n a S b d Gig or after 3 P l d an
a ra an e, a u e, re u e,
,
”
, .
A l l m de an
e an d gi o a G
,
tt aa B o a e or a M i t ,
a vo e, u rr e,
’
n ue .
S c n ti n ess o f sp ce which forbids t o gi e a more det iled

a a , v a
a ccou t o f the e forms does o t d mi t o f e e n a p i g otice

n s ,
n a v a ss n n
o f other ob olete co tempor ry e rlier

s n d l ter ki d
n f son a ta a ,
a ,
a a n s o
( for in st n ce a
o f Dome ico S ,c rl a tti o e -mo eme t o t as )
n a
’
s n v n S na .
The form which we e n o w ccustomed t o co ect wi th ar a nn
t he ide a o f son t w s de eloped i n the cour e o f the eightee n th

a a a a v s
c e n tury A son t a m y h e four three n d two mo emen ts

. a a av , , a v .
S on a t s o f t wo mo eme n t commo n i n the l a s t ce n tu ry

a v e now s, , ar
v ery r a re The first mo eme t gen er lly an a l l gr ometimes

. v n , a e o, s
preceded by a short low i n troduction is i n wh t is c lled on ta

s ,
a a s a
form which w s illu tr a ted n d n lysed i n the I troduction pp

,
a s a a a n , .
3 0 — 3 8 A. rec pitul tio n o f wh tah s bee n s id there

a n d a fe w a a a a
a dditio n a l rem rks will there fore a u ffi ce here The d isposi tion s .
o f a first so n a t mo emen t is ge era lly s follows

a v n a
I . E xp os i t i on .
F t
( a ) ir s subjec t .
( 6 ) Tr a n s itio n o t
( )
e S eco n d subjec ( i the first subj ec t i i m jo
f t s n a r,
f
the seco d is i t he m j or key f t h domi n n a o e

t i f the fir t subj ect is i mi or the seco d
n an s n n , n
i i the
s p r llel
n m j or key — f i st ce if a a a or n an :
t h first subj ect is i

e C m jor the seco d is i n a , n n
G m j or ; i f the fi rs t is i A mi or the seco d
a n n ,
n
is i C m j or ) n a .
d
( ) C o clusio n( ge er lly i t he key f the seco d
n n a n o n
ubj ect d o fte modul ti g to the key f

s , an n a n o
the first subj ect ) .
II . D eve l p m t f t h two
o en bjec t s or f p rts f them
o e su o a o .
This di vi ion is a lso c lled worki g out secti on

s a n - .
Rest t m t o f the first di isio

a e en con si tin g o f v n, s
( a ) F irs t subj ect ( i n t he origi na l key ) .
6
( ) Tr n sitio n t o a
( )
e S eco n d su bje ct ( i n t he s a me key a s t he fi r st
subj ect ) .
C o n clusio n ( i n t he key of t he fir s t subjec t ) .

SO N ATA DA C A M E R A— S O NG . 22 3
I t has howe er t o be kep t i n min d th t the su bjec t s a re oft en

,
v ,
a
g roup o f themes r a ther th n o n e theme ; th a t episodes s om e

s a
t imes i n ter e e betwee n the a bo e me n tio n e d p r t s ; th a t t he

v -n v a
t r n itio s m ay be suppressed or con fi n ed to a few n o t es th t

a s n a
i n light textured so t a s a free middle sec t io n wo v e n out o f n e w

- na
m a teri l takes the pl ace o f a regul r de v elopme n t ( v S o n a ti n )

a a . a
th t other con tr sts f keys th n those specified are permissible

a a o a
an d f fre q ue n t occurre n ce & c & c

o , . .
The l st m men t m y be i n the s me form a s the firs t

a ov e a a
mo eme n t or i n ron do -form ( v Ro n do ) or i n the form o f a

v , .
,
theme with a ri a tion s Where there is on ly n e other mo e

v . o v
me n t this is ge era lly a sl ow m m n t I t m ay be i n a impl e

n ove e . s
so g form
n - or i n the form less de eloped howe er o f ,
v , v ,
t he first mo eme n t ; further it m y be a t heme with v a ri

v , a a
t ion s an d e en ron do which l tt er c se howe er is ex

,
v a ,
a a , v ,
c e p t i on a l Whe n t he son t a con sists o f four mo veme n ts o n e

. a
o f the middle mo eme ts is either a m i u t or v i o n n e a se zer z
I ste d o f t he scher o which m y precede or follo w

n a z , a
t he slow mo emen t o e fin ds also occ sion ally some other piece

v ,
n a
o f a sprightly ch r cter a a .
The se er l mo eme ts o f a son a t a a re i n di ffere n t but

v a v n
rel a ted keys n d betwee n them must be a lso

, a ki n hip o f a s
co n te n t s The word o a t a is a pplied to w orks o f the de cribed

. s n s
co n s t ruc t io n i f writte n fo r pi an oforte or org an a lo n e or fo r ,
i an o fort e w ith an other i s t rume n t S uch works fo two other

p n . r
ms t u men t s e ge n er lly c lled duets n d f r more i n strume n ts

r ar a a , a o
they are called t rios qu rtets q uin tets & c Form erly n e , a , , . o
ma d e use o f the expressio n o a t a d e a t e & c son t a s n a u ,

r , . a
fo r two t hree & c i n strume n t s

, A sympho n y is a gra n d so n a t a
, .
, .
fo r o rchestra The n oblest ki n d o f ov er ture i s th a t i n t he

.
son a t a form .
S o n a t a d a c a m e ra an d S o n a t a d a ch i e s a v S on a t a . .
S o n a t a ( Fr an d Ger . A so n a t a . .
S ona t i n a , S o n a t i n e ( Fr an d Ger A short light simple . .

, ,
kin d o f son t a S on ti n a is the dimi n uti e f son a ta By

a . a v o .
so ti orm is me t the
n ana - f n fi rs t mo eme n t form o f
- son a t aa v a
withou t t he middle di vision — the de elopmen t or worki n g ou t v -
section — i n ste d f which a few i n ter ve n i g p ss ges or b rs a re

,
a o n a a a
i troduced M n y son t s o ertures & c a e i n t his form

n . a a a , v , .
, r .
Mo a rt s son t s fo r i n st an ce furn ish ex mples

z
’
a a , , a .
S o n a t ore A pl a yer a n i n strume n t a l per former , .
S o n e v o l e ( It S ou di g resou n di g so n orous
. n n , n , .
S o ng , (I) Th a t which is su g or uttered with musica l modul tion s n a

o f the v oice whether o f the hum n oice or th t o f a bird
, a v a
( V ebs t e r s Diction ry ) ( 2 ) V oca l musi c ge n era lly (3) A

V ’
a .
.
lyrical poem i n ten ded t o be su n g a n d the m usica l se tt i n g of ,
su ch a poem .
The term so g is vulg rly a pplied t o any t u n e se t t o any k in d

n a
of w ords B u t a per fect so ng i s a p oe t ico musi ca l cry s ta ll i sa t io n of

.
-
22 4 SO N G FO R M — S O R DAM E N T E
- .
a mood or emotion
O n e dis i n gu i shes wo cl a sses o f son gs
an . t t
f olk -son s a n d a r t -
g s on s
g A n other di v isio n is h a t i n to s t r op lzi e
. t
song s ( i n which the music a l setti n g of o n e strophe ser v es fo r a l l
t he other ) s a n d t a r ou
g l z -com osed
p s o n
g s ( i n which e a ch stroph e
h as a di ffere n t mu s ic a l setti n g ) olk -s o n gs are a lw ays strophic ; . F ”
a rt -s on gs either strophic r
a re -
s o through compo ed .
S o n g - f orm This .co n e ie n t if n o t a ltogether u n objec t io n ble

v n , a ,
term h been pplied to music l composition i strume t l as

as a a s, n n a
a
“
well s v oc l th t h e on ly n e pri cip l thought which
a a av o n a
, ,
pre e n ts it el f either as an el bora te str in or a s a peri o d (with

s s a a ,
prot i a nd p odo is) or l o a s a period s o to spea k broken up

as s a s ,
a s
i to two or three p rt ( the third p rt bein g mostly a repetition

n a s a
o f the Mo t son g h e this form n d d n ces m a rchess s av ,

a a , ,
an d other pieces re complexes o f music a l though t s i n this

a
form .
S o n i a l t era t i ( Lat an d C hrom a tic a lly ltered n otes

. a .
S o nn e ri e s ( Fr Trumpet sign ls
. a .
S on o S ou n d .
S o n ora me n t e S on rously o .
S o n oro S o n orous .
S o n s h a rmo ni q ue s H rmon i cs fl age o l et to nes a ,
S o nn e S ou n d .
S op ra ( It . O n upo n a bo ev — ,
S p d mi a n t , t he upper fifth . o ra o n e, ,
or fi fth degree o f t he sca l e ; sopr t on i ea the superton ic t he a
secon d degree o f t he scale —8 0p m u n a eorda on ne strin g

, ,
, o .
C m sop a as a bo v e
o e r , .
S op ra n ( Ger S opra n o
. .
S o p ra n i s t ( G e r A sopran o sin ger m ore especi lly a m a l e

.
, a
sopr o an .
o
S p r a n o ( It The highes
. t ki n d o f v oice The er ge comp . av a ass
of opr n o or t reble oice is from ! t o a higher voices re ch

a s a , , v c a
u p to an d exceptio n a l v oices e v e n t o a n d hig h s :
s t ill The a er ge comp ss o f the me o op no which is a

. v a a zz -s ra ,
lower sopr n o d f a fuller an d more mellow q u a lity exten ds

a an o ,
"o "
,
from a to f higher v oices re ch up to b O e disti nguishes a a , . n
t w o ki n d o f sopr n os s the p no d mm t i eo n d the sop a no

a so ra ra a a r
legg i e o the peculi rity o f the former bei n g power th a t o f t he

r ,
a ,
l a tter a s the n ame implies light n ess There are further to b e

, , .
dis t in guished the opr n o voice o f wome n o f boys an d o f mens a , , ,
t h e m le s p a i bei n g agai n di v isible i n to f l t t i ( op n i

o ra n a se s ra
na t u l i ) an d
ra st a t i T he t erm p
ca a ris pplied to
. t h e so r no a
possessor f such a oice s well s to the ice it el f

o v a a vo s .
o
S p r a n o c l e f The C cle f.
o n the first li n e ( v I n troductio pp . . n, .
an d
5
S o p r n o n t ura l
a a Af l tt e a se o, a m a le opr o who pr od uce s
s an
the ote f the highest k i d f f m

n s o n o e a le oice with the he d voice
v - a .
S or d a S ordo v . .
S ord me nt e ( It
a Mu ffl e d eil d .
, v e .
226 S O U R D ELI N E —S TAC C A TI S S I MO .
S our e e
d li n A ki n d of bagpipe .
S our e F
di n ( r A mute ( v Mute an d S ordi no )
. . .
—
.
S ou F
s ( r U n de n S ou s domi n a n t e, subdomi n an
. t .
Spa ce
s The i n ter vals between t he li n es o f t he
. s t av e .
t d ti
ro uc III p on, . .
S p a g n ol t t a ( It e A S pp . . an ish d an ce .
S p a g n o l o or S p g n u l ,
a o o, m .
, S p ag n la , o or S p ag n uol a, t .
Sp i h an s .
S p a ll a ( I t
, S houlder.
( . v. V iol a d a sp ll ) a a .
S p rt i t o ( It
a S p r t ( Ger . a . A score .
S p a s s a p e n s i e ro (1) Diversion a musemen t , .

(2) A J ew s ’
h a rpp .
S p a s s h a ft ( Ger J ocul ar, merry, droll . .
S p at ium ( L a t A sp a ce be wee n. he li n es o f he s t a v e t t t .
o
S p i a na t m S p i a na t a f .
,
“
E v en , sm oot h ; lit , le velled , . . .
S pi cc oat ( It Di s ti n ctly det a ched

. .
S p i e l a rt ( Ger M an n er , style , o f pl ayi ng

. .
S p i e l e n ( Ger To pl a y . .
Spi l e er ( Ger A pl ayer . .
S p i e l m a n i e r e n ( Ger I n s rume
”
n a l or n a me n ts gra ces . t t , .
S p i n ae Li horn s t
The q uills o f a ha rpsicho rd an d
. t .
spi e t n .
S p i n et . A sm all ki n d o f h rpsichord with on ly o n e s t rin g to each a
n ote B ut w hile t he S pi n e t resembles the h a rpsichord i n i t s

.
mech an ism i t di ffers from it i n its form bei g rect ngul ar

, ,
n a ,
t rian gul a r pen tan gula r &c or somewha t wi ng -sha ped but with
, , .
,
the keyboard placed t ran s ersely I n Engl n d rectangul ar v . a
( oblo n g sq u a re ) sp in e ts w er e common ly c lled V irgi na l s (v a . .
H rpsichord
a .
S p i n et t ( Ger S p i n et t a A spi n et
S p i n e t t oh e n ( G3
. .
An oc t ave s t op o f keybo a rd stri n ged i n st ru

.
men ts ( v Ott avi na ) . . .
S p i ri t o ( I t S pirit —
. Co sp i rzt o w i t h pirit spirited . n , s , .
S p i ri t o s a me nt e ( I t S piri t edly . .
S p i ri t o s o ( It S pirited . .
S p i ri t ua l e ( It S p i ri t u e l S piri t u a l
”
.
S p i t z fl ot e ( G e r Poi n ted flu t e . A n org a n s t op o f 8 o r 4 eet

-f .
itch .
S p i t z a r fe ( Ger Poi ted h a rp A m ll h arp with two

. n . s a
s ou d bo a rds a n d t wo rows o f stri n gs — the o n e row o f s t eel w ire

n ,
the other of brass wire This in strumen t is lso called a p net ta . a r a
( sm llah a rp ) a n d a p a d opp i a ( double h rp ) r a .
S p o n d ee A me t ric al foo t o f t wo lon g syll bles

.
a .
S r u n g ( Ger A skipp . .
S a b a t M a t er ( L a t ) T he n a me an d t he firs t tw o w o rd s o f a
. . .
Rom an C a tholi c La t in hymn I t is one o f the se q ue n ces . .
S t a b il e ( I t S ta ble firm
.
, .
Sta cc at i s s m
i o ( I t Ve r y de t a ched Thi s. i s the sup e rl a ti e o t .
v
s t acca t o .
S TACC ATO — S T I N G U E N DO . 3 27
Sta cc o
at De a ched t .
S t a ff .
The sa me as stav e ( 9 v . .
S t ag gi on e ( I
'
S e a so n t . .
S t a m m a k k o r d ( Ger A fu n d ame n a l n o t an in ver . t , ted , chord .
m
S t a p i t a ( It An a i r, so n g , stra i n , so n a t a
. .
S t an d o h o n ( Ger A sere n a de . .
S t a ng h t t a e
A ar li n e
b - .
S t a nz a ( I , t
A divi sion o f a poem con sis i n g o f
. t se era l li n es
v
grouped a ccordin g to a cert i n pl which m y a an , a be either purely

metri cal o r i n cl ude bo t h me asure d rhyme an .
Sta k r S t ro n g ; lou d — S t a k a n d k fi g
a i lou d a n d vigorous r r , .
S t a ve Pa ra llel hori on t l lin es o n a bo e n d below which the z a ,

v , a
n o t es are pl ced
.
There e or h e bee t a es o f four fi

a . ar av n s v , ve ,
six t en & c li es The common fi e -li ed st e is describe d

, , .
,
n . v n av
i n t he I n t roductio I II p 3 & c n, .
, .
, .
S t e o h e r ( Ger A sticker . .
S t eg The bridge o f i n strumen t s o f t he v ioli n cl ass an d a l o , s
o f t he pi an o for t e .
S t em The perpe n dicul r li n e a ffixed to the hea d o f n otes a .
S t e nt a n d o ( I t
.
Del yi n g a s if held ba ck or l abo uri n g u n der

. a ,
di fficul t ies .
S t e nt a t o ( I t Lab oured studied .

, .
S t e rb e n d ( Ger Dyin g aw ay The s ame as moren do

. . .
S t e s o ( It Ex t en ded ; diff use ; l a rge

. .
S t e s s o ( It The s ame . .
S t i cc a t o Xylophon e or S t onfied l ,
r e
S t i ck e r A p a r t o f the organ a c t ion w hich in ter e n es betwee n t h e v
key an d p alle t ( v Organ )

.
. . .
S t i el ( Ger S te rn o f a n o t e
. .
S t il S t i l e ( It S tyle . .
S t il l g e d a o k t A soft t on ed organ stop - .
S t i mme ( 1 ) V oice ( 2 ) Org n stop ( 3 ) Pa r t ei t h e r . a .

,
v oc l or i n s t rume n t l
a a (4) S ou n d -post . .
S t i m m fii hr u n g ( Ger C o n duc t o f t he p a r t s p a rt -writi n

g
.
, .
S t i mmg a b el Tu n in g fork
- .
-key or t u n i n g -h a mmer
S t i mmh a mmer Tu n i n g , .
Sti mm h or n Tu n i n g -co n e n i n strume n t used f tu n ing , a or
t he me t l pipes of organ s a .
S t i mm s t ock ( Ger S ou d pos t

n - . .
S t i mmum fa n g ( Ger C omp a ss o f a o l ce . v .
S t im mu n g ( Ger ( )
I The a c t o f t u n i n g or t he st te o f bei n g in a
tun e or at a cer tai n pitch —S t i mmu ng ka l ten t o keep i n tu n e

.
,
. .
,
( 2 ) Mood fra me o f mi n d , .
S t i m m w e i t e ( Ger C om pa ss a mbi t zcs .

, .
S t i mmw erk z eug e ( Ger V oc a l org an s

”
. .
“ Tu i g t on gs an i n s t rume n t fo r tuni ng
S t 1m m z a n g e ( Ger n n - .
,
the reed -pipes o f organ s .
S t i n g ue n d o D yi n g a w ay .
22 8 S T I RAC C H I A T —
O S TREPITO .
Sti r cch i t o” S t i r t o ( I t Li t str i ed dr gg d wi th

a a a . .
, a n , a e
Holdi g b ck r t rdi g the mo eme t
,
iole ce
v n . n a , e a n v n .
S t o n nt ea Dis o t s n an .
S t op , ( ) This word me s i
1 t wi t h t h org ( ) an , n co n n ec l o n e an a a .
h dle by dr wi g t whi h row f pipes correspo di g wi h

an a n ou c a o n n t
f t he keybo rds
on e o b brought i to pl y ad ( b) the row ca n e n a , an
f pipes itsel f S tops m y be complete or i comple t e ; the form er

o . a n
ompri e pipe f e ch o t e f the keybo rd t he l tter o ly f

c s a or a n o a , a n or a
p r t f t he keybo rd N ot l l stops
a o sou di g stops”
a . a a re n n
i s t ops cti g
e. , pipes ; f i st ce the coupler
a n
“ on or n an s are
.
,
tno I .co ectio with t he h rmo ium d simil r i

n nn n a n an a n
me t t he word pplies t h dle d t o t he se t f reeds

.
'
n s a o a an an o on
which t h t h dle c t s B t here g ” a i

an t ll stops a . u a a n no a are
sou di g stops — t he expressio s t p f i st ce is

n n n 0 , or n an ,
no t.
N or doe the t m l stop t s set f reeds The old key

re o o ac on a o .
bo rd stri ged i strume ts h d lso s t op ; by me s f the m

a n n n a a s an o
the to e could be modified or e ffect dded ( ) Pre ure f

n an a . 2 ss o
the fi ger nstri g f t he purpo e f shor t e i g its ibr ti g

on a n or s o n n v a n
le gth C lo i g
n .perture i the tube f wood wi d i
s n an a n o a n n s t ru
me t S t oppi g i these c ses is sy o ymous with fi geri g

n . n n a n n n n .
I co n ectio with the hor

nn d some other br ss wi d i t
n n an a n n s ru
me ts stoppi g me s i serti g the h d i the bell f t h

n ,
n an n n an n or e
pur f modi fyi g the pitch
o se o ( Hor ) n . v . n .
S t op p e S t pp d p ip pipes closed t the top Wh t t pp d

o e es a re a . a s o e
n ot es is expl i e d i t h l t ter p r t f the l st rticle d

are a n n e a a o a a an
u der Horn n.
S t o p p i ng S t op .
v. .
S t ort o C rooked t wis t ed , .
St rac c i a c l a d o ( It a P r t t li g h tt eri g
n . a n , c a n .
St i
ra c n a n do S t r sci do v. a n an .
St rain I popul r p rl ce s t r i m y me
n a prolo ged ote
a an a n a an a n n , a
tu e d portio f tu e I t ech ic l l gu ge the wor d
,
n , an a n o a n . n n a an a
h bee pplied to
as n or more periods f mu ic l compo
a on e o a s a
itis termi ted by double b

on na d lso t o rious bd i i a a r, an a va su v
sio f period
ns o a .
S t r c i c a n d o S t r s ci n n d o
as ,
Dr ggi g a a a n .
S t r a t h e
p y s A spirited S cotch d ce i time which i disti an n T
i
, s n
R
,
g i hu sd from the e
e e p ced eel by somewh t slowerv mo n- a a a ve
me t d the l ter tio f dotted q u ers d semiq u er

n an a na n o av an av s .
S t r v g nt e ( I t
a a a Ex t r g t f t stic l ecce tric
. ava an , an a a , n .
S t r v g nz ( It
a a a A extr ag t f t tic l composi t io
. n a va an , an a s a n .
S t r e i c h m s t ru m e n t ( Ger S tri n ged i trume n t S t r ei c/zi n st r a

’
. ns .
men t a i s
the plura l form f the word o .
S t rei ch q ua rt et t ( Ger S tri n g q u a r t et . .
S t rei ch t ri o ( Ger A s t ri n g trio . .
S t rei ch z i t h er ( Ger A ither pl yed with a . z a bo w .
S t r o n g ( Ger S trict se ere . , v .
S t re p i t o ( I t N oise . .
2 30 S TROPHE — S U ITE .
St rop h e A d i vi si on f a poem con sis t i n g of se veral l i n es grouped

.
o
a ccordi n g t o a cer t a i n pl an which m be ei t her purely metric l a

y , a
or i n clude bo t h me sure an d rhym e I n the Greek dr m a 3 a a
st ap /re w a s w h a t t he chorus s a g i n tur n i n g from the right to

,
r n
the le ft an d an t i st rop/z wh t i t s an g i n turn in g from the l eft

, an e a
to the right The p ode followed aft er t hese t wo The literal

. e .
me an i ng o f s t rophe is a tu rn i n g .
S t uck ( Ger A piece

. .
S t u di o S tudy — S t n d i en s t ud i e s ( v E tu d ) .
, . . e .
S t ud i o ( I t A study
—
. .
S t uf e ( Ger .A degre e S t uf en degrees , .
S t ii r m i s c h Impe t uous furious , .
S t i i r z e ( Ger The he ll o f wi n d i n s t rumen ts

. .
S u ( It . O n upon , .
S ua ve S wee ple a s a n t delicious ge t l e t , , , n .
S u a ve me nt e ( I t S weetly ple a s an t ly ge n t l y d li ci o usl y

.
, , u
e .
S u b ( Lat . U n der .
S ub b a s s .A ped l s t op n the org

a i n o f 1 6 or 3 2 fee t pi t ch
- a .
S ub di a p e nt e The u n der fift h

.
- .
S ub d omi n a nt The u n der fifth . The four t h degree o f a sca le - . .
S ub i t a me nt e ( I t Q uickly sudde n.ly , .
S ub i t o Q uic k sudde n immedi a tely — V

,
o l t i b t o turn o e
, . sn z , v r
[the le af]q uickly .
S ubj ect . T he pri n cip l theme o f fugue or a n y other music l com

a a a
p ositio n ( v I n troductio
. n pp .
3 3
—
3 8 the rticles S o t an d , .
, a na a
Ron do ) .
S ub me d i a n t The third below the key n ote the six t h degree o f

.
-
,
the c le s a .
u
S bp i r n c i p al A n org a n stop
.
o f 3 2 -feet pi t ch .
S ub s e mi fus a A demisemi q u a er n ote v .
S ub s e m i t o n e The le a din g n ote

.
S u b s e m i t o n i u m mo d i The le din g n ote a
S ub t o n i c The le di g n o t e a n
ucce or -ch an t er t he precen t or

.
S n t ( La t ( )
I A sub . deputy o f , a .
( 2 ) A b ass si n ger .
S u ffi ot e ( Ger The s me as S fi ot e '
. a .
Sui v S ul . .
u
S it e ( r F A ser1es , a se , i e , a
. series or se t o f pieces ( s u i t e de t . .
, ,
p i eces ) I n he . e t
a rlier p a r t o f t he eigh teen th cen tury and
a n terior t o t h a t time a suite co n sis t ed i n mos t c a ses o f d ces t o an ,
which howe er was often a dd ed a Prelude s an i n t ro ductory

, v ,
a
fi rst piece O ther pieces than d n ces were a lso occ sio lly
. a a na
—
i n terspersed fo r i n st ce i n ome o f J S B a ch s suite we an , s . .
’
s
fin d an A i As to the d n ces they were a r t is tic lly t re ted

r. - a ,
a a ,
di fferi n g from t ho e i te ded t o be d an ced t o both i n form n d s n n a
s t yle a n d no t u fre q ue t ly a lso i n ch a r a c t er B ach s S u i t ’

,
n n . es
A ng l a i ses a l l ope n with Prelude bu t his S u i t es F r i s a e a ,

ra n a es r
w i t hou t such n i n troductory piece The firs t of B ch s S i t ’

a . a u es
S U I V EZ — S U S PE N S IO N . 23 1
Ang l a i ses i s t he followin g pieces : ( 1 ) Prelu d e ; ( 2 ) All e

c nt a no
ma n de ; ( 3 ) C our an te ; ( 4 ) S ra b an de ; ( 5 ) Bourr é e ( 6 ) Gigu e a .
I n stea d o f the Bourr é e w e fi n d i n others o f t he m ster s sui t es a

’
a
G otte o r a Me n ue t o r a Pa ssepied The Allem an de is ge n e

av , , .
r lly the fi rs t o f t he d an ces t he order an d selection o f the othe r

a
d ces were less settled bu t the C ouran te an d S a ra b de were

an ,
an
v e y common a s t he seco n d a n d third co n s t itue n ts

r a s w a s a ls o ,
the Gigue as the l st Other d an ces to be me t wi t h i n suites a .
a e the Loure
r An gl aise P olon ise Pa an e & c A s a rule
, , a ,
v , .
t he pieces a re a ll i n the s me key Their n umber di ffered I n a . .
rece n t t 1 m e s composers h a e t ke n t he suite g i n i n to fa our v a a a v .
B ut the modern sui t e is more va ried t h an the old ; its con sti
t u e n t s comprise n o t o n ly d n ces o f t he p a s t a n d prese n t bu t a ,
a lso ch a r a cteris t ic pieces o f a l l sorts e e n fugues It n eed , v .
h rdly be a dded th a t t he mode m s do n o t like their fore f thers

a , a ,
a dhere t o u ity o f key n .
S ui vez F ollow A direction t o the ccom p is t or cco m . a an a
p i s t
ans t o a ccommod a t e them el es t o t he solo ger or pl yer s v si n a .
S U J e t ( Fr A subj ec t or theme
.
, .
S u i s u ll s ull a s u i s u g l i s ull e ( It o n the —

’
S l p o t i ell o . . u n c ,
n e a r t he bridge ( a directio to pl yers o f how i strumen t s )

, , , , ,
n a n ,
o d a o n the stri
c r g u l l t t
,
i a o n t he fi n g e -bo rd n s a as er , r a .
S umm a t i o n or S umm a t i o n a l t o n e s ,
v Result n t ton es , . . a .
S uo n a re ( I t The s me s . a a
S uo n a t a a n d S uo n a t i n a ( It The same s S o t an d S ona . a na a
ti na .
S uo rmo c
ni a ni i H a rmon ics Fl a geolet ton es . .
S uo on ( It S ou n d . .
u r
S p e ( Lat Abo v e , o ver . .
c e
S u p e ra c u t ae l a v s , or v oce oca ( L t
s , or S u p e r a c u t a l a .
The fi highes t otes f the h ve h d l ystem n o e x ac or a s .
S up er d om i n n t The o t e bo e the domi t t he sixth degre

a n a v nan , e
f the sc le
o a .
S u p rfl u o u s i nt erva l s
e The s me A g m t d i t l .
a as u en e n er v a s .
S up roct ve ( ) A org a s t op two oct es higher i pitch th

e .
I n an av n an
the di p so s ( ) Also coupler which c uses keys oct e

a a n . 2 a a an av
higher th those struck t o be pulled dow an n .
S u p ert o ni c The o t e b o e the to ic the seco d degree f t h

. n a v n , n o e
sc le a .
S u p p l i ch v o l e S upplic t e tre ti
e
g an , n a n .
S u p p li ch e v ol m n t e ( I t E t re ti gly m supp l i t m ere . n a n , a c an an n .
S u ( Fr
r O upo o er
. n, n, v .
S u rd l i a ( I t
e A ki d f b gpipe
n . n o a .
S u s p e n d e d c a d e n ce The s me i t errup t ed c de ce . a as n a n .
S us p en s i o n A suspe sio is ote which del ys t he e t r c f

.
n n a n a n an e o
h rmo ic ote —
a a f ote which forms co stitue t f
n n i c . .
, o a n a n n o a
hord I f the suspe ded o t e ppe rs i the precedi g cho d
c . n n a a n n r
h rmo ic ote it is s id t o be p p d ( ) t he whole pro

as a a n n a r e a re a ,
cess con sisti n g of the three st g e a s :

p p r e a r a t i on ,
p er cu ss i on , an d
3 3 3 —
S US PI R U M S
I Y MPHO NY .
resol u t i on o f scord I f t he suspen d e d n ote d oe s n ot ap pear

t he d i .
i n t he precedi n g chord as a h a rmon ic n o t e it is s ai d t o b e am

p p
r e a d or f
reee S uspe n sio n s which
r m ay occur i n an
y p a r t , ,
a re s a id to be do u ble whe n tw o n d t ri ple w he n t hre e n ot es a re , a
su spen ded .
S u s p i r i u m ( L at A crotchet rest . .
S ii s s ( Ger S weet , sweetly

a n d , O l S il s u rr a n t e ( It
. .
S s u urr o '
Murmuri n g whi s peri n g .

, .
S ve li a t ( It o Brisk , li v ely , sprightly

g
. .
S v e t o ( It ree , ea sy , n imble F .
S w ll e t
A con ri van ce i n he orga n by which a cr escen do a n d de
. t
be produced It con i t o f
cr es cen d o ca n umber f row f . s s s a n o s o
pipes i n a box w ith shutters th t c be ope ed d clo ed by a an n an s
the pl yer by mean s o f a peda l This bo x n d n umbe r f rows

a . a o
o f pipes w ith t he correspo n di n k eybo rd dr w top & i -s

g a , a s, c .
, s
c a lled the S well O ga n r .
S y m p h o ni a ( Gk ) ( I ) Agreeme n t i n sou n d con on a n ce

.
(2) A , s .
b gpipe This n ame w as a pplied 111 t he middle age to a a ri ety

a . s v
o f i str ume n ts : the b urdy gurdy a k eybo rd i n trume n t & c

n , a s , .
3 ) A c mposi t io n foo r se er a l oice or i n strume ts or fo r both v v s n ,
oices n d i n strume ts ( v S ymphon y )

v a n . . .
S y m p h o ni s ch ( 1 ) S ymphon ious h rmo i us con so nan t , a n o , .
S
( ) y p
2 m h o ni c — i e i n the tyle f a sympho n y . . s o .
S y mp h o ni s ch e D i ch t u n g A symphon ic poe m An .
orchestr l composition with a poetic ba sis ( a programme ) a nd o f

a
free form — the l a tter bei g determi n ed by the subj ect n o t by

a n ,
ru l e n d custom
a Lis t is the origi a tor o f the ki n d a n d the
. z n
n me a Be fore him Berlio h d writte y mpl o i with a poetic

. z a n s z n es
b sis n d diff eri n g more or less from the orthodox com posi tio
a a ns
o f th t ppell tion Ne ertheless Lis t w s n o ri gn a t o r f

a a a . v z a a o
more than the n me f r his sympho n i c poems are pe culi r i n a , o a
va rious w a ys e peci lly i n t he e t w o their co ti uity ( th ey

, s a s . n n
a re n o t broke up i n to sep a ra te di v isio n s ) an d t he e xte n si ve

n
employmen t o f t r n sform a tion o f themes ( melodic ha rmon ic a , ,
a n d rhythmic modific a tio n o f t he themes fo the purpose o f r
ch an gi n g t heir expression ) This l a tter ser es t o gi e u n ity to . v v
the rious consti tuent s o f t he composition

va .
S y m p h o ny T he Greek w or d sy mp /i
. (y n with ; p l wne to n e ) on za s , ,
ign i fi ed c on sonan ce
s I n a n cie n t times a n d i n t h e m d d l e
. i
e t w l o the n me f riou i struments h ba pi e

ag s i as a s a o va s n : t e g p .
34 T A B A L LO — TAIL -PIE C E .
T .
Ta b a ll o ( I t s ame as Ti mba ll o ( o
. Th e .
Tablat ure ( 1 ) Music l n o t a t ion ge n era lly

.
( 2 ) A score es pe ci a lly
a .
,
a score o f a oc l work m a de fo r the use o f an i n strumen t l p e r '
v a a
former 3 ) .Further n d more p a rticul rly t he n a mea o f se er a l a , v
k i n ds o f musica l n o t tio n n o w fo a bout two ce n turies obsolet e a r .
There were a rious ki n ds o f organ lu t e & c tabl a tures They

v , , .
, .
may b e di v ided i n t o t wo cl a sses t hose i n w hich the p i t ch o f :
n o t es w as i n dic t ed b y le t ters a n d t hose i n w hich i t w a s i n di

a ,
cat e d by n umbers The sign s w hich i n dica t ed the dura tion o f

.
the n otes an d rest s w ere common t o bo th classes ( For some o f .
t he sign s see p 5 6 of the I troduction ) This defin ition t kes

. n . a
i n to ccou n t on ly the most import an t sys t ems an d t heir gen er l

a a
fe a tures Duri n g the l st two ce n turies va rious n ew systems o f

. a
n o t a tio n co n sis t i n g o f le tt ers

,
n umbers an d othe sign h a e , ,
r s, v
come in t o existen ce bu t a lthough t abl a tures li k e the abo e , ,

v
men t ion ed n ot a tion s t hey a re n o t gen er lly so c lled O f those ,

a a .
a t pre e n t i n u se m ay be me n t io n ed the To n ic S l fa n ot a tio n

s o -
n d C he e-G l i n s n umer l sys t em The Fi gured B ss ( g ) w a

’
a v a a a v s
”
. . .
formerly k ow n by the n me o f n It a li an T bl ture S e e lso

a a a a
T ou l t u fi"
.
a a r
Ta b l e d h a rm o n i e ( Fr A sou n d b oard
’
- . .
Ta b or A sm ll drum
.
a .
Ta b oret A sm ll tabor.
a .
Ta b re t A small t bor a .
Ta b ul a t ur Tabl at ure ( q v
.
Ta bu l t u r w a s a lso t he . . a
na me o f the rules o f the t o f the M i st i g ( 9 v ar er s n er . .
T a b ul a t u ra T bl ture a a .
Ta ce Ta cet “ Is silen t These words i n dic te th a t . a
a p a rt ( i strume n t or n oice ) is u n employed i n a mo em t or v v e n
p ece i .
Ta c e n t A re sile n t ( v T a ce ) . . .
T a ci Be sile t n .
Ta ct ( Ger The s me“ s Ta k”

. t a a .
T a ct u s Lit t ouch ( 1 ) I n mediae al music the time

.
, . v ,
me asure ob ta i n ed by moder te dow n w rd n d upw rd mo e a a a a a v
men t o f the h a d The t t u correspon ded t o a em i b i

n . ac ( 2) s s r ev s .
I n moder n music be t me sure ,

a , a .
Ta f e l mu sik ( Ger T a ble -musi c. Music su ng or pl ayed at .
me l -time a .
Ta i ll e ( )
1 The te n or v oice o r a t e n or si n ger ( 2 ) A me m b e r .
o f t he v iol fa mily v iol , a a .
-
T a il p i ece Th a t
. p rt o f t h i t u me t a f the ioli n c l a ss
e to w h1ch
ns r n s o v
t h e low e r d f t h tri g s en fa t
s o ed e s n a re s en .
T A K T— T A N G E N T E N FL fi G E L . 3 35
Ta k t ( Ger Me asure b oth i n the se n se o f ( 1 ) t ime an d o f ( z ) a ba r

.
,
the portion o f mu ic betwee tw o b li n es

n ar- s .
T a k t a c c e n t ( Ger Ba cce n t . r a .
Ta k t a rt ( Ger S pecies o f time . .
Ta k t fe s t S te dy 1 11 keepi n g ti me a .
T a k t li e d Member o f a b ar
Ta k t g
.
al t e n To keep time .
T a k t i r e n ( Ger To be t t ime . a .
T a k t m as s i g I time n .
Ta k t me s s er ( Ger A metron ome . .
T a k t n o t e ( Ger A semibre e . v .
T a k t p a us e ( Ger A b rest . ar .
Ta k t s chl a g e n ( Ger To be t t ime . a .
T a k t s t o c k ( Ger A co ducti g stick a s t ick fo r b e at i n g t im e

n -
. n , .
Ta k t s t ri ch A b li e ar n .
Tak t t h e i l P a rt f b r — Gu t e T l t t /z i l ccen t ed p rt
o a a . r a e e , a a
of a b r scnl e lzt e
a T et t / i l u n a cce n t ed p rt o f a b a
c r a te a r.
”
,
T al on Heel The n u t o f the bow . .
T a mb our ( 1 ) A drum ( 2 ) A drummer Ta mb u de . . o r
b qu e a t a mbouri n e ; t m bou r ou l a n t a side drum o f gre ter

as ,
a r ,
a
l e g t h th an
n the ordi n a ry side drum but o f t he s me ,
a
di meter
a .
Ta mb oura An an cien t i n s t rumen t o f the gui ta r k i n d st ill i n use

. ,
a mo g m n y e a ster
n an tio s n a n .
Ta mb ouri n ( F r ( I ) A light drum lon ger n d n a rrower th an the

. a
ordi ry side drum I t is suspe n ded from the left a m f the

na . r o
p er former w ho pl a ys a t t he s a me time o n t he g l ou bet fif e a ,

a .
( )
2 A li ely F re n ch
v d a n ce i n t ime w hich w a s either c c m , a o
a i e d with the t a m bou r i n an d l ou bet or by music imit ti e

p n
g a , a v
o f these i n strume n ts .
Ta mb ouri n e A t imbrel An i n st rumen t co sist i n g o f a wooden

. . n
hoop o v er which is s t retched a piece o f p rchme n t an d i n

,
a ,
which a re holes wi t h jin gles ( sm a ll pieces f met l ) i n serted o a .
The ji gles a e m a de t o sou d by h a ki n g the i trume n t an d

n r n s ns ,
t he stretched p a rchmen t l s struck with the right han d .
T a mb ouri n eur ( F r A tambouri n e pl ayer . .
T a mb ura v Ta mboura . . .
Ta mb ure l l o A t ab or .
T a mb uri n o ( I ) A drummer ( 2 ) A t a mbouri n e . .
I a mb a ro A side drum
‘ ‘ - .
Ta mb uro ne The big or b a s drum Also c a lled cassa , s, .
g r a n de.
Tam t a r
-
p . A go n g . A me t al i strume n t n of percussion of I n di an
o r1g1 n .
T an d e l n d I n a pl ay ful , toyi g m n a nn er .
T e e
a ng nt n Tan ge n s t
T a n g e n t e n fl ii g e l A wi n g sh a pe d
- k eyboa rd stringed
in strume n t with t an g en t s .
236 T A NGENT S TEM P E
— RA M ENT .
T n g e nt s Me t al pi n ; th t pa r t o f the ctio o f cl ichord

a .
s a a n a av
which strike g i t the stri gs The word is deri ed from t h

s a a ns n . v e
La tin t a ng e to touch strike I n the pi oforte h mmer

er , , . an , a s
t k e t he pl ace o f t gen t ( v C l a vichord )

a an s. . .
Ta n t i n o A little .
Ta nt o ( I t S o much s much A ll eg o t a n t o no t t oo quick

.
,
a . r n on , .
Ta nz ( Ger A dan ce . .
T a ra n t e l l a A ery li ely N ea polit n d an ce The mo dern v v a .
Ta a t l l a is i the old T a t l l w s i n tim e T he }

r n e n r ar n e a a o 7 .
l tter d n ce w thought t o be remedy g i n t t r ti m d i

a a as a a a s a an s , a s e a se
the c u e f which w sc i bed to the bite o f the t r tul

a s o as a r a an a .
Ta rd a m e nt e S lowly li geri n g ,
n .
T a r d a n d o T a rd a t o ,
R et rdi g li ngeri g l ck g t h a n , n , s a eni n e
time .
Ta r d o S low li n geri n g , .
Ta rt i ni s t o n e s Di ffere ce to es ( v Re ult n t t on es )
’
n n . . s a .
Ta s ch e ng e i g e ( Ger A pocket -fiddl e ; m l l t h e e stri n ged vi oli n

.
. as a r - .
Ta s t a t ur ( Ger A keybo rd . a .
-bo rd keybo r
T as t a t u r a A fi n g a a d er a .
Ta s t e ( Ger A key . .
Ta s t i era ( I t A keyboa rd . .
Ta s t o A key o f pi n o forte org n h rmo ium or simil a a , a ,

a n , ar
i trume t
ns n .
T a s t o s ol o O n e key a lon e This e x pres io occurs i n . s n
figured b a ss n d directs the performer to pl y simply the b s

, a a as
n o t es without ddi n g chords a .
Ta t t oo The bea t o f drum at n ight which w r s soldier th t it is

. a n s a
time t o repair to their q u rter a s .
Tech ni k ( Ger Techn ic Those m tter that pert i to the

. s . a s a n
pra ctice of n t or scie n ce a ar
Te d e s co m Te d e s ca f ( I t Germ n A ll t d s i t he
,
.
,
— . . a a e e ca , n 3
Germ n s tyle
,
a .
Te D e um A hym n o f th an ksgi v i ng ; the s c a lled A mbro o-
i hym n ( q
s an .
Tema It A theme or subj ect

.
“
, .
Temp era me nt Thi term has been defi ed as the di i io of. s n v s n
the oct e i to n u m b r o f i n ter ls such th a t the ote which

av n a e va ,
n s
sep a r te them m y be suit ble i n n umber a n d a rra geme t f the

a a a n n or
purposes o f pra ctic l h a rmon y ” To obtai n such a di vi ion i t is a . s
n ecess a ry t o modi fy the n a tur a l a coustic a l ro ortio s f the

p p o , n
i n ter va ls The system n o w pre a ili n g a ccordi n g to which ll our

. v ,
a
k eyboa rd i n strume n ts a re tu n ed is t h a t o f eq u l t mp m t , a e e ra en .
I t di vides t he oct e i n to twel v e e q u a l semito es The old av n .
s ystems f u qu a l or me -t ne t mpe me t — the n ture o f

o ne ,
an o , e ra n a
w hich is i n dic ted by the n me — e i n p r t more i n p rt less

a a s ar a ,
a ,
sa tis fa c t o ry th n the e q u a l temper me n t For i f some i ter l s

a a . n va
o r some key c me n e rer to j u t i n to n tio n other i ter

s a l o a s a , n va s r
oth e r key were much the f rth r r mo ed from i t

s so a e e v .
238 TE M P U S — T E R N A I R E .
Temp ue Time m ea sure — I n the old m en surab l e musi c

( Lat .
, ,
t emp u s w a s t he t ime a lue o f a br ev i which i n the t empus pe v s, r
f ec t u m is e q u al t o thre e s emibre v es a n d i n t he t empu s i mp f

e e r c
t u m to t wo .
Temp us b i n a ri um ( Lat Bin a time . .
Temp us i m p e rfe c t u m and p e r e ct u m ( Lat v Tempus . . .
Tem u s t e rn a n u m ( Lat Ternary time . .
Te n e m e n t ( Fr Te n derly . .
T e ne ra ( It v Ten ero . . .
Te n e ra ment e ( I t Tenderly . .
Te nerezza ( I t Ten dern ess Co. t e e ez a wi th ten der . n n r z ,
n ess .
Te n ero m Te n era f ( I t Ten der soft delica te

.
, ,
. .
, , .
Te n or The highest kin d o f m ale v oice ( leavi n g ou t of accou n t f a l

.
,
et t i an d
s tr ti ) or t he possessor o f such a v oice Its com
ca s a , .
pa ss exte n ds from c t o a an d some ti mes re a ches up t o b (7 b h ’

,
’
,
’
,
an d c
" O n e dis t i n guishes especi a ll y t w o species o f te n or v oic e
.
the t enore obu st o which is full an d powerful n d the t enore

r , , a
l eggi e o w hich i s ligh t an d s wee t

r , ( 2 ) O n e o f the n a mes o f .
the v i ol a ( 3 ) Adj ec t i ely t he w ord is pplied to th a t v a
member of families o f i n strumen t s which occupies i n those l tte r a
a pl a ce lik e t he o n e which the t e n or occupies a mo n g hum a n

o1 ces
v .
Te n or C The sm all C ( e) (v I n t roduction p

. . .
, .
Te n or cl e f The C clef on the four t h lin e ( v I n troduc tion I I I

. . .
,
P Sl
-~
Te n ore ( I t A t e o oice p t or si ger

. n r v , ar , n .
T n ore b uffo
e A te or who si gs comi c p r t n n a s.
Ten ore l o g i ero ( I t Te or . v. n .
T n or
e u to
e ro Te or s v . n .
T e o fa g o t t
n r A t e or b ssoo A b ssoo n a n. a n a fifth highe r
th t he ordi ry b ssoo
an na a n.
T e o rfl ot e
n A t e or flu t e member f the n , a o fa mily of t he
flut a b es ee.
Ten orh orn ( Ger A br s w i d i strume t with "

. as n n n va v l es . I t has
comp ss ex t e di g from E t o b d e e d
a a n n
’
an v n
T n ori a cut i ( L t d High te ors ”

e a . an n .
Te n ori s t A t e or si ger n n .
T e n o rp o s a u n e A te n or trombon e .
(v . Trombo n e. )
T e n o r s c hl i i s s e l
’
Te or cle f n .
Te or rom o e
n t b n .
v. Trombon e .
Te or u
n t ba v Tub . . a.
T e n o rz e i c h e n Te or cle f n .
e u Te ue
T n , n Held sust i d , a ne .
Te nue ( Fr A holdi g o t e. n n .
Te nut o Held sus t i ed , a n .
Ter Th ic r e.
Tern ai r e Terna ri o ( I t Ter . na ry

TE R N AR Y TIM E — TI BI A UT R I C U L A R I S . 2 39
T ern a ry me or me a s ure Th t time which co sists f t hre

ti . a n o e
members w i t h t he ce t t he fi rst ( I troductio § X
,
ac n on . v . n n,
p . & )
21, c .
Terp o di o n ( ) A k eyb rd i st rume t w hose sou ds produced

. I oa n n n a re
from b rs f w ood by me s f a re ol i g cyli der ( ) A

o an o a v v n n . 2 11
org s t op f 8 fee t pitch

an o - .
Tert i a The t hird the i t er l f t hird n va o a .
Tert i a mo d i The third degree f sc le o a a .
T eru n ca A demisemi qu er av .
Terz Terza The i ter l f third n va o a .
T e rz a d e c i m a Ter d e ci m The i t er l f z e n va o a
thirtee th n .
T e rz d e c i m o l e ( G A group f otes di idi g b or p r t f e r. o n v n a ar a o
ab i to thirtee eq u l portio s
ar n n a n .
Terz et t T rz et t o A compositio f three oices

e n or v
or 1n s t ru m en t C ompos t on s fo r three i trume n ts a e howe er

.
s. i i ns r , v ,
n o w ge n er a lly c a lled t i o r s .
T e rz fl ot e ( Ger A Third Flu t e a flu t e mi or third higher i n pi t ch

.
,
a n
th an t he ordi n a ry flu te .
Terzi n a A t riple t .
Terz o s uo n o ( I t A d iffere n ce t on e ( v Resul t n t ton es )

. . . a .
Tet ra ch ord A se ri es o f four n otes wi th a comp ss o f a perfect

.
a
fourth The an cie n t Greeks di i ded t heir t on l sys t em i n to

. v a
tetrachords .
T e t ra t o n o n An i n t e rva l co n sis t i n g o f four whole t o nes .
Th e il ( Ger A pa rt . .
T h e i l t on e P r t i a l t on e s a li q uo t t on es a , .
Th o m a Th e me A t heme or subj ect

‘
Th eorb e ( Ger Th é orb e ( F r A t heorbo . . .
Th eorb o A l a rge species of lu t e w i th m- n y s t rings so me bei ng

.
‘
a ,
stre t ched a bov e some beside t he fi nge r bo a rd Its fret t ed n eck

, .
ha d two se t s o f pegs t he lower fo r the high s t ri n gs the higher , ,
fo t he lower
r The t heorbo chiefly employed fo r t he acco m
.
,
p a n i m e nt o f v oc l music w as on e of t he mosat impor t a n t ,
members of t he e a rly orches t ra I t was on e o f t he i n strumen ts .
t o which t he execu t ion o f t he ba sso con t i n u a use d t o be en

t rusted .
‘
I h e o ret i k e r
‘
Th é ori ci e n A t heorist .
Th e s i s T h e d o wn be t the cce n te d p a r t o f a bar a , a .
Th j o r b o The s me a s Theorbo
.
a .
Th oro u g h b a s s ( 1 ) A con t in uous b ss with or wi thou t figures

. a .
The s ame a s ba so con t i u a ( q v ( 2 ) The scie n ce o f h armo n y

s n . . .
Th re n o d y A son g o f l amen ta tion

.
.
Th ri ce-a cce nt e d oct a ve ( v In t rodu ction p . .

, .
Ti b i a A flu t e .
Ti b i a a ng us t a a-p ert a m aj or s y l ves t ri s vu lg ari s &c

, , ,
.
Flute s t ops i n t he organ

, ,
.
Ti b i a ut ri cul a ri s A b a g p i pe .
24 0 TI B ICE N ~
T O C C AT I N A .
Ti b i ce n ( L A fl u t e -pl yer — Ti bi ci nes fl ut e -pl ayers

at . a .
, .
Ti e A cur ed li e bo e or below t wo n otes f the sa me pitc h

v n a v o
which i n dica tes th a t they h e to be pl ayed like o n e ote e q u l

.
av n a
i n le n gth to the t wo This cur ed li n e i s lso c alled bi n d

. v a a .
Ti e f ( Ger Deep low

.
, .
T i e rce ( F r and .
( I ) The i n ter a l o f a t hird ( 2 ) An org v . an
stop tha t sou n ds a se en teen th higher t h an t he di p ason 3 ) O e v a . n
o f the C o ica l Hours an n .
Ti e rce d e Pi ca rd i e ( Fr The m jor t hird i n the con cludi g . a n
chord o f a compo iti n i n a mi or key s o n .
Ti mb a l e A kettle -drum — Ti mb l i a pl yer o n the kettle . a er , a
drums .
Ti mb a ll o ( I t A ke tt le drum .
- .
Ti mb re ( F Qu lity f to e cl g colour ( v H rmon ics ) Ti m b

a o n ,
an - . . a . rr
depe d chiefly upon the form o f the vibr tio o f sou di g

n s a ns a n n
body th a t i o n the n umber selection d stre gth f the upp

, s, , ,
an n o er
p a rti ls ccompanyi n g the fu n d me t a l ote ( v H rmo ics )

a a a n n . . a n .
Ti mb rel A t mbouri n e
. a .
Ti moros a me nt e ( It Timorously . .
Ti moro s o ( It Timorous . .
Ti mp a ni ( It K ettle -drums . .
Ti nt a ma rre A gre a t n oise a ccomp n ied with co fusio n a n .
Ti nt eme nt ( Fr The prolon ged soun d o f bell & c. a , .
Ti nt i nn a b ol o Ti nt i nn a b ul um ( L t A sm ll bell a . a .
Ti n t i n n a m e n t o Ti nt i nn i o A ti kli n g a j i gli n g n , n
Ti orb a A t heorbo .
Ti ra d e ( Fr A quick succession o f n ote f equ l le gth sce di ng

. s o a n ,
a n
or desce n di n g by degrees which bridge o er gre t i te l ,

v a a n 1 va
betw ee n two n otes .
Ti ra na s ( S p A kin d o f S pan ish n tio a l son gs

. a n .
Ti ra t o ( I t A down bow i n violi n pl yin g & c

.
,
a , .
Ti ra t ut t o A draw -stop or ped l which throw u t l l t he a s o a
stops o f the organ thus bri gi g i to ctio n the whole power f ,

n n n a o
the i n strume n t .
Ti ré ( Fr A dow n bow i n violi n pl yi g & c

.
, a n , .
Tocca t a ( It A purely i trume t l form o f which we he r a l re dy

. ns n a a a
i n the l a tter p rt o f the sixtee th ce tury a Th ame is deri ed n n . e n v
from t cc e to touch to pl y
o ar , I n i t ol d er form t he t c t i , a . s oc a a s a
prelude con isti g f a fe w chords n d l t u e or some t hi g

s n o a co o r a r , a n
be tw ee prelude d f t i m de up f ru n a rpeggio
n a an d a a n as a , a o s, s, a n
short p p a A ch a ra c t eri tic o f t h t

er u s . t i th t it h s the s e occa a s a a
a ppe r ce o f an impro i s tio n Although ery di ffere n t t he

a an v a . v ,
m oder n t occ t a sh r e yet to a gre ter or le

a exte n t the chie f
a s a ss
c h a r acterist i cs o f its predece sor It is ge n er lly co structed t s . a n ou
o f a n imb l e figure which is kept up through out ; melodic ff u e
si o n s are excluded n d t ech ic l di pl y an d rhythmica l mo e

, a n a s a v
men t a re m i n ] a imed a t I n hort the mo d er n t

a t p rt k . s , occa a a a es
o f t he n ture 0 t he prelude s t udy

a d im p r i ti n , ,
an o v sa o .
T occ a t i n a ( I t A s h ort tocc t

. a a .
24 2 T O N FALL—T O N ZEI C H E N
t he l tte r
a whe n t re ted a rti tic ally n d kept i n due subo r
. B ut a s a
d i n t i o n t he p a i n ti ng o f e x t er n a l phe n ome n a mu s t b e ad mitt e d t o

a
be q uite legitim a te .
Tonfal l ( Ger A cadence . .
To nfa rb e ( Ger C l an g-colou r t i mbr e qu ali ty of t one

.
, , .
Tonfol g e ( Ger A succession o f sou n ds . .
T o n f ii hr u n g ( Ge r M elodi c an d harm o mc progressi on

. .
To n g é né ra t e ur The fu n d amen t a l n o t e or roo t o f a chord

—
.
, ,
T o n g e s o hl e c h t A mode fo r i n st n ce t he m ajor a n d a ,
mi n or modes which are the tw o To gesel l ee/t t o f our mode rn

, n z er
music The litera l me n i g o f t he word 1s t o na l ge n us

.
“ a n .
Ton i c T he basis t he fi rst or key -n ote o f a sca le N at a fi l i s and

, , . na
n ot a p r i cip a l e} ( fi n a l
n an d pri cip l n ote ) are syn on ymous n a
expression s I n con n ection wi th t he l a s t rem a rk read however

.
, ,
wh a t 18 said un der F i n a l .
To ni c a ( It
. .The t on ic .
To n i c S o l f a - v S olmis a tio n
. . .
To n i fi c t i ( L t The t ran spose d e cclesi as ti cal t o n es o r modes

a .
, .
To n i k a ( Ger T o n i q 11 9 ( Fr The ton ic

Perta
, . . .
To ni s ch ( Ger . in i n g to the to ic n .
To n k u n d e ( Ger The scie n ce o f music

” ”
. .
To n k u n s t ( Ger Music lit . ton e rt o r t onal a rt .

,
-a
, .
Ger musici lit t o e - r t is t ”

To n k i i n s t l e r ( A a n .n .
, a .
I o n l e i t e r ( Ger A sc ale
‘ ‘
. .
To n m aj eur ( F r M ajor k e y . .
To nma l erei ( Ger Ton e -p i n tin g . a .
To n m es s er A mo ochord or a so n ometer n .
Ton mi neur Min or key .
To n os A to n e .
To n s a t z ( 1 ) Music a l composition ( 2 ) A mu ic l co mpo . s a
si t io n.
T o n s ch l u s s A c a de n ce .
To ns d é g l i s e
’
The C hurch modes .
To ns d e l a t romp e t t e ( F
. C rooks o f t he tr mpe t fo al t eri n g u r
the key f the i strumen to n .
To ns d u cor ( Fr C rooks o f the horn fo r al t erin g the key of t he

.
i n strume n t .
To ns et z e r A composer .
To n s et z k u n s t The a t o f compositio r n .
To n s ouve rt s ( F r The n tur l n otes f hor & c . a a o a n, .
T o n s t ti c k ( Ger A piece o f music a compo itio n

.
, s .
Tons t ufe ( Ger A degree o f a sc le . a .
Ton s y s t em ( Ger A ton al system . .
Tonumfa ng ( Ger C ompass

—
. .
T o n u s ( L a t To n e
. To u cu en s t he reci t i n g n o t e . n s rr , .
To n w erk z e u g ( Ger A n a tura l or a rtifi ci a l music l i ns tru me nt

. a
t he hum a n v oice a v ioli n flute & c & c , , , .

, .
I o n z e i c h e n ( G er An y sig n used 1 11 music al not a t io n

'
. .
TOPH —TRA N S PO S E . 24 3
Top h A t imbrel a h an d d rum , .
To s t o ( It Q. uick r a pid — q t a t o q uic k er ( v Piut

,
t os t o 111 App ) . s , . .
Touch e ( Fr F i n ger boa rd o f the“ vi oli n or”s1mi lar i n strumen t

-
. .
Touch er To pl ay Li t t o t ouch . .
, .
Touch s e ( I ) The keys o f a pia n ofor t e o rgan h a rmo ni um o r , , ,
other keyb oa rd i n strumen t ( 2 ) The fre t s o f a gui ta r lu te .

, ,
Viol &c , .
Touch e t t es ( Fr This name is some t imes given t o t he fre t s o f t he

.
guita r ,
Tou 11 9 1: The s a me as t oeea to .
Tra c ar e A par t o f t he mechan ism o f the organ through which the

pl yer a ctsp o n t he pa lle t s which shu t out t he wi n d from t he
a
pipes The t r ckers a re l on g s t rips o f w ood t heir n ame d e

. a ,
scribes t heir o ffi ce .
Tra ct v T ract us
. . .
Tr a c t u r ( Ger The mech an i sm o f the organ be tw ee n t he k eys an d

.
t he p a lle t s .
Tra ct us A t ra ct Tra c t s are melodies or n eum a t i se d .

,
ch n t s o f a sorrow ful c a s t of expression su n g i n t he Rom n

a , , a
Ca tholic C hurch a fter the G ad u a le a n d i n s t e a d o f t he A l l el u i r a,
durin g Len t i n t he Re q uiem Ma ss an d o n some other occ asion s

, , .
The words t o which they are su n g re take n from t he psalms a

”
.
Tra d ot t o ( I t Li t tran sl at ed t ran sferred Tran sposed ar

. .
, , .
,
r n ged
a
”
.
“
Tr a l n é ( F r ) Li t d ragge d t ra ile d
. This t erm i n d ica t es a k i n d
.
, , .
of l eg a t o .
Tra i t ( Fr ( ) A t r c t
. T t ) ( ) A successio f q uick
I a . ra c us 2 n o
n o t es su g or pl ye d formi g i t w ere
, n t it a , n as on e ra .
Tr a i t d e ch a nt ( F r A m elodic phr se . a .
Tra i t d h a rmo ni e ( Fr A successio f hord

’
. n o c s.
Tra i t é A t re t ise a .
Tra n q ui ll a me nt e ( I t Tr quilly pe ce b ly . an , a a .
Tr n q ui ll i t a
a —
Tr q uilli t y c lm q uie t C t q l l t a an , a , on ra n uz
’
z
'
with tr q uillity c lmly an , a .
Tr a nq ui l l o Tr q uil pe ce ble an , a a .
Tra n s cri p t i o n ( ) A rr geme t f composi t io f . I oice n a an n o a n or a v

or oices v i s t rume t or i s t ume t s other th
, an those f
n n n r n , an or
which i t w origi lly wri tt e ( ) A ki d f f t sias na n. 2 n o an a a on
themes from w ork or w orks f o t her composer a o an .
Tra n s i t i o ( L t M odul t io i t o a o ther k y

. a n n an e .
Tra ns i t us ( L t A p ssi g er t r si t io — T t g
a . a n ov , a an n. r a n s z u s re u
l a rzs , ap ss g o t t t a i g l i
in h gi g n o t e e ,
r a usz u s rr e u a r s , a c an n n .
Tra n s p o n i r e n ( G To t r spose er. an .
Tra n s p o s e To re d e omposi t io i higher l o w er k y

n r a c n n a or e
th t h t i whi h i t i w rit t e
an a n i o t her w ord t o opy t s n , o r, n s, c ,
i g
s n , pl y or om positio t a diffe e t pi t ch
a c semito n a a r n , a n e,
to e mi o m j or third & higher low e
n , a n r or t he a , c .
, or r, as case
ma y b e .
244 T RA N S PO S I N G IN S T R U M ENT S —TRI A D .
Tra n p os ng i n s t rume nt s
si Thus e c a lled those i s t u .
ar n r
me n ts which produce sou n ds di fferi g i n pitch from the n ote s n
writte n fo r them To giv e some i n tan ces : the cl a ri n et i A

. s n
sou n ds a mi n or third lower the t rumpet i n E fl t mi n or third , a a
higher t he horn i n D a se ve n th lower the piccol o a n oct e

, , av
higher an d the double ba ss an oct e lower

,
av .
Tra ns p o s i t eur or Pi a n o t ra n s p o s i t e ur ( Fr A t ranspo s

,
.
i n g pi a ofort e a pi a o forte with a mo a ble keybo rd

n ,
n v a .
Tra n s p os i t i o n v Tran spose .
Tra ns p o s i t i o n s ca l e s The Greek tr po iti o sc les re tr s

.
.
an s s n a a an
position s to a higher pitch f the Hypo -Dori n sc le ( A B d e o a a e
fg a b e d e f g
’
I clusi
’
e '
f thi '
prototype
’
they re fi f n v o s a
t ee n i n n umber S t rti g e ch time a semito n e higher we get

. a n « a
t he Hypo I s i
- t an ( E U) Hypo a Phrygi an ( B ) Hypo -ZE o l i n , ( C) -
, a ,
Hypo -Lydi n ( Cit) Dori an ( D ) &c These tr n sposition sc le s

a , , . a a
( keys we m,
a y c a ll t hem ) mus t n o t b e co n fou n ded with the d i f
feren t oct a v e species ( modes ) .
Tra s ci n a n d o ( I t Draggi n g traili ng .

,
Tra t t a t o A t rea ti e s .
Tra ue rma rs ch ( Ger A fu n eral m rch . a .
Tra uri g ( Ger S ad sorrow ful mel n choly

.
, , a .
Tra ve rs i ere C ross — Fl ut e t ve é cro s -flu t e G e r m n . ra

'
r s z r e, s ,
a
fl ut e our ordin a ry fl ute n o t the flut e a b e , e .
Tra v e rs o C ross — Fl a u t o t a ve o the s ame as flut e t ver

. r rs , ra
'
s zé r e.
T re ( I t ) Three
. three voices or i n strumen ts
.
-A t r e, for .
Tr e
eb l ( I ) The highest kin d o f v oice S opran o ) ( 2 ) The . .
highes t v oca l n d i strumen t l p rts 3 ) The highes t regi s t er

.
a n a a .
o f the comp a ss o f an i n strume n t (4) The highest member o f .
some f milies o f i n s trumen ts

a .
Treb l e cl ef The G clef on the secon d li n e i t i s a lso c lled vi ol i n

.
a
f
cl e I n troductio n I I I p 4 & c , . .
, .
Trei b e n d ( Ger Hurryi n g pressing urgi ng .

, , .
Trema n d o ( I t The s me as the more common t r emol ndo

. a a .
Tre mb l ement ( F r A shake . .
Tr emol a n d o ( It Tremblin g q ui ering .

, v .
Tre mol o Tremol a nt e ( It Tre mol a nt Tr emu l a nt .

, .
A n org n a n d h a rmo n ium s t op which produces a tremulous

,
a
e ffec t O n bow i n strume n ts t he t emol o 1 5 produced by a light

. r s
ra pid mo eme n t o f the bow hither an d t hither o n keybo rd

v , a
i n strumen t s like the pi n oforte by a ra pi d a ltern tion o f n ote s a a .
Tremol o Tremol os o ( It Tremblin g shak in g qui verin g .

, ,
.
Tre n ch more A n old E n glish

. c ou n try -d an ce .
T ré n i s e ( F r O n e o f t he figures o f t he q u ad rille
.
T r e p o di o n v Te r odio n
‘
p , . .
Tri a d A chord con si st i ng o f three di ffere n t otes th t re red uci ble n a a
t o a fu n d ame n t a l n ot e a n d t w o su perimpose d third s ( 0 I n tro . .
d uct i o n V III p , . .
24 6 I KIPOLA—TROMBO N E
“
.
h ighest p rt composition s the highest pa rt be i ng i n t hese

111 fi v e - a ,
ca ses r es p ecti v ely c a lled gu a up l u m a n d qu m t up l u m

’
a r .
Trip o l a ( I t . The s ame a s Tr ep l a

.
T ri s e mi t o n i u m ( L at A mi or t hir d n
Tri s t e zza ( I t S ad n ess mel choly —Con t r zstez a sadly

. .
'
. .
, an z , .
Tri t o n ( F r Tri t o n o ( I t Tri t onus ( Lat Tri t o n e The

. . . .
a ugme n t ed fourth which 1 s e q u l t o three whole to n es a .
T ri t t ( )
1 S tep tre d ( 2 ) Tre dle ped l ,
a . a , a .
T r i t t h a r fe ( Ger Ped l h rp . a a .
T ri t u s ( L at T he t hird a uthe n tic C hurch mode c lled t he Lydi n

.
, a a
Troch e e A metrica l foot con sisting o f o ne long d on e short

. an
syll able .
v
Troi s ( Fr Three — Me u e a t ozs deux t ime ; a t o qua t e

. . s r r
'
, r
'
zs r ,
—
} time ; a t o b u t t 3 time
5 '
7 r zs , .
Tromb a A trumpet .
Tromb a b a s s a B ass t rumpe t

. .
Tromb a croma t i ca ( I t The ch o m t c or l trumpet . r a r ,

va ve , .
Tromb a ma ri n a ( I t A bow i n strumen t with o n e stri ng

. . . .
Tromb a s p ezz a t a ( I t An old n ame o f the bass trumpe t

. . . .
Tromb e t t a ( It ( I ) A sm ll t rumpe t ( 2 ) A t rumpeter

, . a . .
T r o m b e t t a t o r e or Tromb et t i ere ( I t A t rumpeter . .
Tromb e t t i n o ( It A ery sm all trumpe t ,

. v .
Tr omb on e A br ss wi n d in strumen t wi th a slide ( a rm) by which

a ,
me n s 1 t can exte d its comp ss down w ards n d produce a l l t he

a n a , a
chrom a tic n otes withi n t his compa ss The most import n t . a
members o f t he trombon e fa mily re t he a lto the ten or an d t he a , ,
ba s trombon es the sopr n o trombon e bei n g n o lo ger used

s , a n .
The trombo es used 111 the orchestr n e t he a lto t rombo n e i n a ar
the key o f E fl at which h s a comp ss from A to e b ( and " a a

,
higher ) ; the t e n or t rombo e i n the key o f B fl a t which h s n , a a
comp ss from E t o l D( n d higher ) n d t he b ss trombo e i n

a
’
a a a n
o
the k ey o f G F or E fl at t he l s t o f which h s comp ss from

, , , a a a a
t o e b ( an d higher ) Besides the n ote comprised i n t he

’
A ,
. s
c omp ss a bo e gi e n e a ch o f the three t rombo n es has four so

a v v
c lled
a
“ ped l otes those o f the a l t o an d bass t rombon es
a n .
,
howe er are b d n d n o t ea sily pra ctic able an d o f those o f t he

v , a a ,
ten or t rombon e ( B b A A b G ) o ly the firs t three re good n a
h bein g di ffi cul t t o produce The t rombo es re n o t

, , , , ,
. n a
t r an sposi n g i n strume n ts bu t sou n d the n otes a s they e writ t e n , ar .
The a lto trombon e is ge n era lly n o t ed i n the a lto cle f the te n o r ,
trombon e i n the ten or ( or bass) clef n d the bass trombon e , a
ss cle f Three is the usu a l number o f trombon es

.
e mployed i n the orches t r a But the ba ss trombon e is be .
co m i n g more an d more r a re an d i n s t e a d o f i t a seco n d te n o , r
trombon e is freq uen tly employed I n Fran ce we fin d e en . v
three t en or t rombon es Besides the slide t rombon es there re . a
a l so a l ve t rombon es which ho w e ver a e i n ferior w i t h reg a r d

v , , ,
r
to t on e .
T ROM M EL—TR U M PET . 24 7
Trommel A drum . or kl ezn e Tr om mel ,

'
a
side -drum g r os se Tr o m mel , a big drum .
T r o m m e l k l o p p e l , or T r o m me l s t oo k e ( Ger . Drum -sticks .
Trom e p ( Fr A hu n ti n g
. hor n , cor d e c ha s se
'
.
Trom e p d o B ea n ( r A Jew s -h a rp r F .
’
.
Trom p e t e ( 1 ) A rumpet ( 2 ) A reed -s t . t op i n the organ of
8, an d sometimes a lso of 1 6 and 4

-f eet pitch .
Tro m p et en g e i g e The t ro mba ma r i n a .
Trom p e t t e ( 1 ) A ( ) A milit ry t rumpeter ( 3) trumpe t . 2 a .
A reed s t op i t he org - n an .
Tromp et t e ma ri n e The t mb m i ro a ar na.
Trop i Tropus v .
—
.
t
.
Trop p o Too muc h A ll g m t pp q uic k bu ot e ro a non ro o, ,

n
too q uick .
Trop u s I the pl ur l t p ( ) I the R om C tholic n a ro z.

'
- l n an a
Li turgy i t erc l t io s ersicles before b e twe

, n d fter the
a a n ,
v , e n , an a
o t her ecclesi stic l ch t s ( ) Melodic formul s ch r cteri tic

a a an . 2 a a a s
of the se v era l C hurch mo d es .

(3) A syn o ym n fo r mode or
ton e .
Troub a d ours Trouvere s Trouv urs ( F Trova d ore s e r
Trov t ori A l l the e words

,
d d from
a
,
s a re e rl v e
t or t
r ou ver t o fi d d r dic lly me the s me thi g
r ova r e, n ,
an a a an a n .
The t b d were t he poet musici

r ou aouth f the Loir who
ou r s - ans s o e,
flourished especi lly i the t wel fth d thirtee th ce tur i e a n an n n s .
The t q d t ro were t he poe t s f Norther

res an r ou v eu r s o n
Fr ce an .
Trug s ch l us s ( Ger A decepti e or i t errupted c de ce ( . v , n , a n . v.
C de ce )a n .
Trum p t A b r ss wi d i strume t w ith bou t t he s me co m p s

e .
a n n n a a as
as the horn but an oct e higher i n pitch There e two ki ds

,
av . ar n
o f trumpet the n a t u a l a n d the v l ve trumpet O the former

s, r a . n
ca be produced by t he a djus t me n t o f the lips a n d modific tio n

n , a
o f t he bre th the follo w i n g n a tur l n otes

a C eg e e g bb
” " a
’ ’ ’ ’
e a
’
,
" " " M ” Bu t t he l st our o t es di cult
e f g D b a a f are ffi a n d n ,
the firs t t wo b o th di ffi cu l t d b d Further t he b D is too fl a t an a

’
"
.
,
an d the f t oo sha rp With the help o f toppi n g lmost a l l the . s , a
in termedia t e n otes from upw rd c n be produced but these e

'
a s a ,
s t opped n otes re e e n less good th n t hose f the horn The

a v a o .
n a tur a l t rumpe t is m a de i n m y keys o f m an y si es ) which an z ,
ca n be a l t ered by crooks The keys ofte n es t used e ar
those i n B b bas so c D E D E F G A b A B } ; alt

, Two
, , , , , , , , o.
trumpets o f the s m e n ame o n e an oc tav e h i gher th n the othera , a ,
a e disti n guished by t he epithe t s ba s o ( low ) a d a l t o ( high )

r T he s n .
v a l v t r u m et w hich is a chrom a tic i n strume n t is m de likewi e

pe , , a s
i n se er a l keys the o n e i n F is the most commo n ; tho e i
v D s n ,
E D a n d E come n ex t
, The l i de t mp t s its me implies . s ru e ,
a na ,
is fur n ished with a sli d e ( o v ) by w hich its tube can be le gth n ed . . n e

24 8 TRU M P ET M A R IN E —TU ON I T RA S P O R TA TI .
an d the pitch ltered The music f the trumpet i writte i

a . or s n n
th G clef : f the t rumpet i n C j ust s the ote ou d f

e or a n s s n , or
th t i n B l? ba o a to n e higher fo r th t i n D to e lower fo r
a ss , a a n ,
tha t i n E U mi n or third lower n d so o n a , a .
Trump e t ma ri n e v Tromb m ri a . a a n .
Trums ch e i t ( Ger The s me s t mba m i n

.
. a a ro ar a .
T ub a , ( I ) The war trumpet f the R om n s which w as l o a , a so
used at religious fe ti l n d o n other olem n oc ca io s va s a s s ns .
( )
2 The tub i n our time is a br
a s wi d i strume t with v l e as n n n a v s .
The mo t impo rt n t o f the e er l tub th t ofte n est used i n

s a s v a as, a
the orche tr is the b tuba It occurs i n rious key ( f

s a, a ss . va s o
which F i the most commo ) but ge era lly is n t tre ted s

s n , n o a a a
tr sposin g in strume n t Its comp s i n the orche tr i from

an . as s a s
bout F to f — these howe er

a
’
e n ot the extreme limits ,
v ,
ar .
Rich a rd Wagn er i n his R i g e N i bel u g employs tw o t e

,
’
,
n a s n , n or
t u bas t wo b t b s
,
nd e o t a bass t u ba
a ss u a ,
a on c n r .
T ub i c e n A tub pl yer a a .
Tuc k e t A flouri h o f trumpets

.
s .
Tum ul t uos o Tumultuous .
Tun e ( I ) A melody an i r ; more espemal ly a rhythmi cal e r

. ,
a ,
a
c tchi g e ily i n telligible melody The word is a lso a pplied

a n , as .
to composition s i n pa rts ( 2 ) The expression t o be i n t u . ne
ign ifies when pplied

s to per formers “ to produce
a t he n otes a t
”
,
t heir
“
roper pitch or t o gree with e ch other as reg rds a a a
,
itch whe pplied to i trume t “ t o be djusted

p ; n a n as an ns , a
a
“
reg rds pitch to some other i n trume n t or t o h a e i t se er l s v s v a
n ote properly a djusted to e ach other

s To t u ne n i n t r u m t a s en
”
.
i “ to a dj ust it as reg rds pitch to an other i n strume n t or to

s
“ a ,
djust its e er l pa rts ( stri n gs pipe s reeds &c ) to ch

a s v a , , , . ea
other .
Tu ni n g -con e An in strumen t i n the sha pe of a hollow con e use d ,
tu n i g the me t l pt p e o f organ s
.
f or n a s .
Tuni ng -crook v Tu i g wire . n n - .
u i g f ork
.
T n n - An i strume n t used fo r t he a cert i me n t o f pitch

.
n s a n ,
the tu n i n g o f i n strume n ts a d scie n tifi c purpo es It i u u lly ,

n s . s s a
m de o f t eel n d con sists f t wo pron gs ( or r ther o n e be t

a s , a o a n
ro d ) a n d a h n dle The common E glish tu n in g forks gi e the

a . n - v
ton e the common C on ti n en t l o es the t on e a

e
’
a n
’
.
n n
Tu i g h a - mmer or Tu n n
i g k ey
- An i n st rumen t used fo r
, .
tu i g the pi oforte It is a combi a tion o f key an d

n n an . n a
h mmer The key is u ed fo r turn in g the wrest -pi ns

a . s
nd
a the h mmer to dri e them i n an d fix them more firmly
a v
'
T ip g -k ey
un a re a lso used f r the h rp
s n d s ome othe r o a a
i strume n t
n s .
Tu n i ng -W ir e Th at pa r t o f an organ ree d -pipe by m e f whic h

.
ans o
the reed is t u n ed
Tuoni e c c l e s i a s t i c n The C hurch to n es or mod es , .
T uo n i t r a s p ort a t i ( It Tr posed t o n es o r m od es . an s , .
25 0 U E B E R M ASS I G — U N I C H O RD U M .
U e b e rm as s i g ( Ger . S u p erfl uo us , a ugme n ted , as reg rds i n ter

a
l
va s an d chords .
U e b e rs o h l a g e n ( Ger . The crossi n g o f the h an ds i n pian o forte ,
org pl ayi n g
an , &c . .
U e b e r s e t z e n ( Ger I n pi n ofor t e org n & c . pl a yi n g t he a ,

a , .
, ,
i g of
a ss n fi ger o v er t he t humb I n ped a l pl ayi n g t he p ass
p a n .
in
g o f o n e foo t o v er a n o t her .
U eb u n g en Exercises .
U g u a l e ( It E q u al a like e ve n
.
, , .
Ug ua l i t a ( I t E qu ality liken ess

, .
, .
Ug ua l me nt e ( It Eq u lly like a a
—
. .
,
Uma n o uma n a ( ,
I t Hum n Voee u ma a t he hum an v oi ce
. a . n , ,
the n me o f an org an stop ( vox I mma n a ) n d o e o f the n ames

a , a n
o f the co ng l i r a a s.
Umfa ng C omp a ss .
Umk eh rung I n ersion v .
Umore ( I t Humour . .
m
U sti mmu n g A ch a n ge o f t u n i n g or o f k ey
— fo i n st n c e r a ,
f the kettle drums or f the hor

o o n.
U n U n e ( Fr The i n defi n ite rticle

. a .
U n u n un o u n a
,
The i n defi n ite a r t icle
,
.
Una , v. Uno .
Un c ( L t a A q u av er
a . .
Und m ri s
a a (L t Li t w ave o f t he s ea aAn organ s t op
. .
, .
which bein g tu n ed little t oo sh rp produces n u dul a t in g

,
a a , a n
e ffect when used wi t h an other s t op S e e lso Vo g l i . a x an e ca .
U n d eci ma ( Lat and The ele v en th t he i n ter l o f n

.
,
va a
ele e th v n .
Un d eci mol e A group o f n ot es w hich di ides b or p r t v a ar a
of b i n to ele e n e qu l portion s
a ar v a .
Un e i g e nt li ch e F u g e ( Ger A f uga i g u l a ri . r re s
Un en d l i ch er C a n o n An i n fi ite c n on ( v C on e n a . . an
i n fin i t o .
U n e q ua l t emp r me nt Temper me t e a . v. a n .
Un s s ent i al n ot e s No t es t formi g p rts co st itue t f

e no n a , n n s, o
the h rmo y p ssi g o t es ch gi g otes &

.
a n a n n , an n n , c .
U g ri s ch
‘
n a H g i fi un ar an
Ung d ul d i g e Imp tie t a n .
Ung era d er Ta k t ( Ger Ter ry or t riple t im . na , , e.
U g e s t um
n Impetuous .
Ung l ei ch er C o t p u k t ( Ger U e q u l cou terpoi

n ra n . n a n nt .
A cou t erpoi t whose otes

n f di ffere t lue from thos
n n a re o n va e
f t heo t f m it is t he opposi t e f g l i l C t p l t
ea n o er o o e e zer on ra nn e ,
u l cou terpoi t
c a— i ote g i s t o t en n . e. , n a a n n .
U g
n l i c
e oh w b n d es Tem p er a t ur e U e q u
e l t m n a e
p m e ra en t .
Unh rmoni ch er Quers t a n d ( Ger A f ls rel t io

a s . a e a n.
U n i c h o rd u m (1) A mon ochord . .

( 2 ) The t r omba mar i n a .
U NI S O N — U T SUP RA 25 1
U ni s o n .
O n e n ess of sou n d coi n cide n ce , of sou n ds of the s mea
pitch .
U ni s o n o U mso n . A ll
’
u n zson o, 1n u n1son , and at t he
u n ison .
U n is onu s U n ison .
U n 1s s o n U m so n — A l u n zss on .
’
,
0
1 11u mson an d a t the umso n

0
, .
U m e
n i t a e nt U n itedly joi n tly , , t ogether w i th .
U o U
n i t , ni t a ( I U n ited join t .
, t .
U o
n , Una One — Un a eora a , s t ri n g an e x pres io ’
on e ,
s n
which i n pi a n o for t e music dem a d s t he use f the shi fti ng n o
pe d a l —These w ords are a lso forms o f the i n defi i t e a rticle

. n .
( v Un )
. .
Un u e nt
p en p l s l A little slowe
Un p o oh e t t l n o A ery ery l t t l v , v 1 e .
Un oc op h i n A ery little v .
Un p oco —
A li tt le U p l cceler t i g t h . n oco a eee er a n a o,
’
a a n e
t ime li tt le a p p i n m li tt le
unq uicker oco oss o, a .
U n re i n Ou t f t u e o n .
U ru hi
n Restless dis quie t , .
U nso h di g I oce t nn n .
Unt erb a s s A sub b ss t he deepes t f the fl s t ops f - a

, o ue - o an
org I t mus t b t le s t f 6 feet pitch
an . e a a o I - .
U nt erb roch e n O d e A i t errupted c de ce

e a nz n n a n .
U t e d omi a t
n r The subdomi t
n n n an .
Un t e h lb t r a The le di g ote
on a n n .
U t e l it t o
n r e The fourth degree f t he sc le
n o a .
U t e rm e di n t e ( Ger
n The submedi t
a . an .
Unt r t z e sa The s me U t b a as n er a ss .
U n t rs e t z e n
e P ssi g the thumb u der the o ther fi ge a n n n rs
i pi o forte org
n an & pl yi g I ped l pl yi g the p ssi g
, an , c .
,
a n . n a a n a n
f o foot below t he o t her
on e .
U nt ers t i mme The lowest p rt f composi t io a o a n .
Unt rt s t n
e a e The lower ( w lw ys white ) k eys f no a a o a
pi o forte org &

an , an , c.
U nverzi ert U or me ted simple n na n , .
Unv oll k omm n Imper ec t U ll / m m C d

f —
e . n vo eo en e a en z , or
U ll l mm
n vo T eol l imperfec t c de ce
en er on se z u ss , a n .
Uomo A m P im
m — m m le sopr o
a r a uo o, a a an , a ca s t r a t o .
U p b ea t ( ) The r isi g f t he foo t h d or stick i be ti g time

. I a n o , an , , n a n .
( ) The u cce ted p r t or p r t s f b

2 na n a a o a ar.
Up b ow I ioli pl yi g t he bow s t roke i t he d irec t io from t h

. n v n a n - n n e
poi t t o t he t n nu .
Ut ( )
. TheI fi rs t f t he Are t i i syll b les ( ) The me f t h
o n an a . 2 na o e
o t C i F r ce
n e n an .
U t b é mol C fl t — Ut bém l m j C fl t m jor a . o a eu r , a a .
U t di es e ( Fr C sh rp — Ut i e m
. C sh rp m i a . d
'
se i n eu r , a n or .
U t s up r a A bo s a ve .
252 —
VA C ILL A NDO V A R I A TO .
V .
c
V a il l a n d o cill a tin g hesit ti g w eri g
Va , a n , av n .
V a g a ns The old composers c alled thus t he fifth pa rt i n five

pa r t voca l music s it migh t be a secon d a l t o a s econ d t eno r or
, a , ,
an y other p ec1 e s o f 0 1 ce s v .
V o Va e i n determi n a te ra mbli n g , , .
V a e ur ( Fr . a l ore ( It Val ue — f r i n t an ce o f a n ot e . o s , .
Vals e A w a lt z.
V a l ve s .
I n the mech n ism o f wi n d i n tru me n ts wi t h b ellow ( org n
a s s a ,
h rmon ium & c ) re t o be fou n d rious ki ds o f l es f r

a , . a va n va v o
shutti g out n d letti n g i n the wi d Here howe er o n ly t he

n a n .
, v ,
a ctio o f br as s wi n d i n t rume n ts which a e m de to sou d by

n s r a n
t he pl yer s o w n bre th sh ll be de cribed The l e o f

’
a a , a s . va v s a
br as s i strume n t shut out the wi n d from cert in p rt f i t s

n a a s o
twisted tube By open i ng o n e or more f them the pl yer

. o a
i n cre es the le gth f the tube t o which the wi d has acce s

as n o n s ,
an d thus lowers the pitch I f with a l l the l es shut h c an

-
. va v e
p roduce t he n o t es e g e e g
’ ’ ’
o f the va l es ope n the n ote v is

he produces the former By
O pe n i g n e f the others or se er l at the s me time he c n
on o , v a a , a
further lower the pitch by a to n e mi n or third a m j or third , a , a ,

a
perfect fourth an d a dimi n ished fi fth Thu the pl yer o f

, . s a a
va l e hor nv l e t rumpet & c has i n his h n d a s it were

, va v , .
, a , ,
se era l n tural horn s or trumpe t s & c of di ffere t pitch T he

v a , , .
, n .
most u u l n umber of l e i three There e howe er lso

s a va v s s . ar , v , a
i strume t w i t h two four d more

n n s , , an .
V a ri a m e n t e or V a ri a t a m e nt e ,
Di ffere tly riously n ,
va .
at i on en V ri tio s a a n .
V a ri a t i o n s Melodic h rmo n ic
.
d rhythmic tr n s form tio
, a of ,
an a a ns
a theme Va ri tio n m y be form l or ch r cteristic

. a s I t he a a a a . n
form er c se they co ist f e x ter l m d i fi t i n s — gr ces p

a ns o na o ca o a , as s
i n g n d ch n gi n g
a te sc les rpeggios with n d withou t
a no s, a , a a
a uxili a ry n otes &c &c ; i the l tter c ase they c ist of

, .
, . n a o ns
in tern a l mo d i fi t i n s - de elopme n t f n ew moods u expect ed

ca o v s o , n
though t s an d striki g con ceits These two cl es howe er

, n . ass ,
v ,
more o r less coi n cide ; f good form l ri tio c n n ot be or a va a ns a
ntirely v oi d o f t he ch a ra cteristic e l eme t n

'
e c n g d h c n , or a oo c a ra
t e ri s t i c ri at ion s altogether d i S p S with the form l eleme n t

va el l
‘
C a .
V a ri a tio n s o ccur s sep r te piece s di isio n s o f l rger work s

a a a s, a v a
( fo r i n st a n ce a s m eme n ts o f son t s ymphon ies

,
ov d s a a , s , an a
p rts o f such d
a ns 1 v1 5 1 0 .
V a r i a t o ( It V ried
. a .
—
VER S O V IGORO S O .
Ve sr o A verse , a tu n e .
er
V sti mm t Out o f tu n e .
V ter e Turn ov er .
er
V w a dt n Rel a e d — t
Verw a n d t e Ton a r t en , re l a i ve k eys
'
t .
er c u
V w e h s l n g ( Ger C h a n ge , i n version
. .
er r
V zi e t ( Ger Orn a men ted , florid
. .
er
V zi eru e
ng n Orn a men s , gra ces t .
Ve rz og e ru n g Ret a rd a tion .
V e rz w e i fl u n g s v o l l Full o f despa ir .
e ero
V sp V espers .
e er
V sp s O n e o f the C a n o n ic a l Hours , e v e n i n g ser vi ce
. .
e o me e
V zz s a nt Gra ce fully , ple asi ngly .
ez o o
V z s Gra ce ful , ple asi n g .
r re
Vi b a To vi bra te .
r o t
Vi b a t ( I Tremulous As a n ou n his erm sig n i es he m a n n er
. . t t fi t
o f pl ayi n g with a tremulous to n e ( produced by the b a l a n ci n g o f a
t
fin ger o n a s ri n g ) or o f si n gi n g with a tremulous v oice T he .
v i br a t oshould be employed spa ri n gly especi lly th t o f the , a a
voice I n highly emotion a l p a ss a ges i t is ery e ffecti v e a n d n u

. v
o bjec t ion a ble bu t when h abi tu ally i n dulged i n i t becomes n

, a
i n suppor t a bl e a bomi n a t io n .
V i b ra zi o n e ( I t V ibra t io n
. .
V i c e n d a ( It C h an ge
. .
Vi ce nd e vol e — I n tercha nge ble a .
Vi d e O pe n a s a pplied to stri n gs .
Vid e V l di S ee .
Vl e l M u c h — [ Wt v i el em A u r u ek w i t h much expressi o n sa
’
, .
V i e l c h ori g For se eral choirs v .
V i e l fa c h e r C o n t r a p u n k t Polymorphous cou n terpoi n t .
V i e ll e The b urdy - gu rdy .
V i e l s t i mmi g I n se v era l p rts polypho n ic a , .
V i er Four .
V i e r d o p p e l t e r O o n t ra p u n k t Q u a druple cou n terpoi n t .
V i e rfi i s s i g O f four feet This expressio n is used i n co n n ec .
tion with organ pipes an d stops .
V i e rg e s t ri o h e n e Oct a v e T h four li n ed or four t i mel e -

,
-
a cce n t ed o c t av e , ( v I n troduc
. t io n pp 5
. an d 5 6 n d , .
,
a
V i e rh an di g For four han ds .
erk l a ng A chord of the se ve n t h .
Vi e rs t i mmi g I n four p r t s a .
V i ert e l A ourth portio

f n - Vi e t l ot e a c ro t c h et n ot e ; . r e n ,
'
Vi e t elp a u se
r c rotche t rest
, a .
V i ervi ert el t a k t time .
V i e rz w e i t e l t a k t i tim e .
Vif m ViV e f
,
.
, ,
.Li ely v .
Vi g oro s a me nt e Vigor usl y o
Vi g oros o V i gorou s .
V I LLA N I
C C O — V IOLA DA S PA LLA . 3 55
Vil l a n ci co ( ) A d ompositio ki d
I f motet ( ) s a cre c n, a n o . 2
A S ish l ic l form an t a .
Vil l a n e a V o t a ( ) A rus
'
t ic homel y so g d d ce I , n an an .
( ) A2 compositio i
,
se er l p rts simple i i t s nh rmo icn t re t v a a , n a n a
m t popul r i s t yle
en ,
d with the me l ody i
a n the highest p rt , an n a ,
t h t c me i to ogue i the sixtee th ce tury

a a n v n n n .
V il l a r e c c i Rur l r s t ic
o a , u .
Vi na A Hi doo i st rume t w ith se e wire st ri gs (which m de

n n n v n n a re a
sou d by pluck i g t hem ) s t re t ched o er lo g woode b

.
t o n n ,
v a n n ar
wi t h mo ble b i dg t t h der p r t f which fixed t w

va r es , o e un a o a re o
hollow gourds .
Vi na t a A i t ge so g dri ki g so g v n a n a n n n .
V i n et t a ( I t Dimi ut i e f i t
. n v o v na a .
Vi ol T h me f f m ily f s t ri ged i st ume t s pl yed with

. e na o a a o n n r n a a
b w o ( V iol )
. v . a.
Vi o l a ( I t ( ) Origi lly t his w

. 1 th m f f mily f bow
na as e na e o a a o
i s t um t s w i t h
n r ryi g umber f s t ri gs ( 4 5 6
en a va d n n o n , , , an
ge er lly w ith fretted fi g bo rd Their e rly hi t ory t k es

n a a n e r- a . a s a
us b ck to medi e l t imes The iols w hich i E gl d

a a va . v n n an co n
ti ed t o be i f ou
nn l t e the e rly p t f t he eigh t ee t h
n av r as a as a ar o n
ce tury were t hree i umber t he b
n i l t he t i l
n n d ass v o , en or v a , an
the t bl i l The s t ri g f t he b ss iol w ere

re e v o .
”
tu ed i D G n s o a v n n e
e ad t hose f the t e or" iol i G f

’
o g ; t hose f t he n v n e a a
'
o
t bl i ol i d g
re e v d Two cl sses f iols h e especi lly
n e e
' '
a
'
. a o v av a
t be dis t i guished
o to t h n b elo gs t he i l d g m b ( li t e o ne n v o a o a a .
,
l g Viol e ki d t o t h o ther t he i l
- b n i ( li t
, m e v o a aa
’
r aee o .
, ar
iol ki d ( ) I our t ime i l ( E glish t

v n . 2 ; Fre ch
n lt ; v o a n , en or n ,
a o
Germ B t / ) is the me f bow i strume t with four s t ri gs

an , ro se ze na o a n n n
which i li t tle l rger t h t he ioli I t s stri gs t u ed m
s a a an v n . n are n
ge d The music
'
f
a
'
t h.i s i s t r m e t i w ri tt e i t h lto cle f
or n u n s n n e a ,
t he C cl f the third li e 3 ) A org s t op f 8 or 4 fee t pitch

e on n . n an o - .
Vi ol a a l t a ( ) A member f t he i ol f mily I ( ) A old o v a . 2 n

me f wh t we w usu lly c ll simply i l or t
na o a no ( 3) A a a v o a en or . n
e l rged iol l tely i t roduced by Herm
n a v a Ri t ter
a n an n .
Vi ol a b a s t a rd a A ki d f i l g mb n o v o a d a
’
a a .
Vi ol a d b ra cci o
, a, Li t m Vi ol iol whic h .
, ar - a v
whe n bei n g pl yed upon a w as hel d by the ar m, not by the legs as
t he v i ol a da g a mba .
Vi ol a d a g a mb a Li t leg -Viol a vio r which whe n .

,
bein g pl yed upon wa s pl aced b e tw een t he kn ees (v G mb

a . . a a
i n Appe dix ) n .
Vi ol a d a more ’
A bo w s t ri nged i n s t ru me n t a lit tle l a rger th an
the v iol a with se en ( some t imes fewer) c a t gu t s t ri gs a bo e the

,
v n v
fin ger bo a rd a n d se v en symp a t he t i c w i re s t ri ngs b elow it

- The .
"
,
s t rin gs are t u n ed i n a f # a d f il a d ' ' '

‘
'
.
Vi ol a d a s p a ll a L i t
“ shoulder Vi ol
- Accordi n g to C . . .
,
E n gel this i n s t ru men t was a k i n d o f vi ol a da g a mb T he a .
vi o l a -d i spa l a [thus i t s n a m e is o fte n wri t t e n ]w a s c a rri ed by t he

-
er be or him p a r t ly resti n g o n his s hould e r
”
p e r fo rm f e .
25 6 V IOLA DI B A R DONE — V IOLON C ELLO .
o
Vi l a di b a d n e r o B ry to e v. a n .
o
Vi l a p p sa om o A fi e tri ged bow i n strume n t i n 1 e v -s n , s z
betwee n Violo cello an d a viol i n en ted by J S B ch I ts

a n a, v . . a .
stri n g were t u n ed i n C G a a e
s
' ’
.
V i ol e ( Fr The iol or te n or
. v a, .
V i ol e d a mour ( Fr The s me as vi ol d m re
’ ’
. a a a o .
V i ol e n t a m e n t e Viole n tly impetuously , .
V i ol e n t o V iole t impetuous n , .
V i ol e t t a A sm ll iol a v .
V i ol i n . The chie f o f the stri nged i n s t rume n t s pl ayed wi th a bow

The me is deri ed from the It alia n v i ol i no which is a dimi n u
na v o
ti e o f v i l sig i fyi g there fore sm”a ll v"

v o a, n i ol
” n The ioli n h
,
. v as
four stri n gs which e tu n ed i n

, g a a e I
ar t s pri n cip l p rt s
'
. a a
ar e the sou d -box con si ti n g o f a b a ck b elly an d sides ; t he

: n , s , ,
n eck o the upper p r t o f which is fixed the fin ge r-boa rd ; the t ail

, n a
piece to which the lower e n ds of the tri n g are f ten ed t he

, s s as
bridge which t ran smits t he ibr tion s o f the stri gs to t he

. v a n
so u d bo
n t he
o
pegs i n serted
x i n a peg -box ( the he d ) to which
, a ,
the upper en ds o f the strin gs are f sten ed an d by me of a , an s
which they are tu n ed ; the nut a slight ele va tion at the peg bo ,
- x
e n d o f the fi g bo rd on which the stri n gs rest Further may

n e r- a .
yet be me n tio ed the two sou d holes ( from their form c lled
n n - a
f hole ) i n the belly

s a n d the sou n d -post d
, b b a r an as s -
i n side the v ioli n The music f this i trum t i writte . or ns en s n
i n the G cle f o n the seco d li e n n .
V i ol i n e The ioli n v .
V i ol i n o ( It The ioli. v n .
V i o l i n o d i f e r ro N ai l fi dd l e - .
Vi ol i n o p l oc o l o A sm ll ioli n tu n ed fourth hi gher t h n a v a a
the ordi ry ioli n na v .
V i ol i n o p omp o s o A viol with n dditio n l high r tri g a a a a e s n
Its stri gs e tu ed i n g n
"ar
" n e a a
’
e .
.,
V i ol i n o p ri mo Fir t ioli s v n .
V i o l i n o s e co n d o S eco d ioli n v n.
V i o li H S C h l us s e l The treble cle f the G cle f the eco d , on s n
li en .
V i ol o n ( )
1 The ioli n ( )
2 A org n stop
v f 8 or l o feet
. n a o -
pitch .
Vi ol once ll o V i ol o n c e ll V i o l o n c e ll o A
bow tri ged i trume n t Vi l cel l is dimi uti e f v i l ( big
s n ns . o on o a n v o o on e
Viol ) which it el f is n ugme t ti e o f ”i l ( iol ) ; its literal

,
s a a n a v v o a v
me i g therefore is sm ll big fiddle

an n
“ It h four stri gs a . as n ,
re pecti ely tu n ed i n C G
s v n d whe n bei g pl yed upo is a a
’
a n a n
take n between t he k ees Its co n structio is like th t f t he n . n '

a o
v ioli n Music fo r the Vi olon cel l o is writte n i n the ba s s
clef ten or cle f d violi n cle f t h e two l t cle fs bei g u ed fo

, , an , as n s r
t he high n otes The otes i n t he iol i n cle f o fte ( e peci lly

. n ,
v a re n .
s a
in o lder work s ) writte n n oct e higher th n the sou n ds a av a
i n t en d e d .
25 8 VOI C E — VORTR A G .
V i o ce . This”w ord may be defin e d as sou n d th t issues f om t h a r e
mou t h T he pri n cip a l org a n s employed i n the productio n o f t he

.
vo i c e are t he l u n gs t he l a ry n x a n d the mouth W ithout a l a ry nx

, , .
there can be no oice “ The v oice is formed sa ys Pro fesso v . r

,
Tyn d ll by urgi n g ai r from t he l un gs through n org n c lled

a , a a a
t he l a ryn x w here i t is t h ro w n i n t o vibr a tion by the v l b o ds oca e r

”
, ,
son orous wa es b ei n g thus ge era t ed v Mos t si n gi n g m a s t ers n .
di ti gu ish three registers : the ches t the medium a n d the head

s n , ,
register o f a v oice The di fferen t ki n d o f m a le n d fem l . s a a e
v o i ces are described 1 11 t he a r t i cles B a s B a ryto n e Te nor C n s , , , o
t a l t o Alto a n d S opr n o
r , ,
a .
Voi ci ng Regul ti ng the ton e o f a n org n pipe

.
a a .
V oi l é ( Fr V eile d
.
— Voi x voi l e a v ei le d ( n t cle r ) o i ce
‘ . e , o a v .
Voi x ( Fr Voice . .
Voi x a ng eli q ue ( Fr The s me a s o angeli a . a v x c .
Voi x C el e s t e ( Fr A stop simila r to t he vox b um n a

,
. a .
Voi x d e t é t e ( F r I I e a d -v o 1 ce . .
Vol a nt e Flyi ng light , .
V ol a t a ( It Li t . a fligh t a v olley A series o f q uick no t es

.
, , .
formi n g a n embellishme n t o f a melody

Vol a t i na ( I t A dimi nutive o f vol a t a . .
o
V l k s li e d ( G e r A fo lk -so n g . .
Vol k s t o n ( Ger [ m Volkst on in the s tyle o f a folk -song

.
, .
Vo ll ( Ger Fu . ch e s t a mi t ll em Clzor r vo ,
with fu l l chorus
Voll k omme n ( Ger m Cad perfec t en e en z ,
c a d ce en .
Vo ll s t i m m i g ( Ger Polypho n ous . .
Vol t a ( I t Turn time P i ma v l t a first time secon da volt a w

—
.
.
, . r o ,
s eco n d time ; u v l t a on ce ; u e vol /e twice na o ,

a
’
, .
V o l t e ( It The plur l o f vol t

. a a ,
o
V lt i ( It . Tur n o er — Vol t i s u bi t o t ur n o v er q uickly v .
, .
V ol unt a ry Thus e c lle d t he organ solos pl yed before duri ng

.
ar a a , ,
an d fter di i n e ser vice

a t he n me bei ng deri ed from t he
v a v
r a ctice formerl ymore co mmo n mo g org a n ists th n n o w o f a

p , a n ,
i mpro vi i n g such piece s s .
Vom A nfa ng ( Ger From the begin i g . n n .
V o m B l a t t e ( Ger At first sight . .
V ora us n a h me ( Ger A n ticip a tio n . .
V orb e rei t un g ( Ger —

Prep aration fo i st an ce o f a di scord . r n , .
V o r e l er ( Ger The le ader the firs t o f t he first vi oli ns

Vor a i ( Ger A suspen sion lon g a ppoggiatura
.
,
.
, a .
or
V ig ( Ger Pre v i ous .precedi n g — Vo iges Z ei t mas s t he preced i ng , . r ,
time .
V o r s an e r ( Ger Prece n tor . .
V o r s c h a g ( Ger An ppoggi a tura . a .
V o rs p i e l ( Ger A pre l ude n i n troduc t i on

. a .
V ort ra g ( Ger Re nderi n g i n terpret a tion

. , .
VO RTRA G S BEZEI C HN U N GEN — W IEDE R . 259
Vo rt r g b ez i ch nung n ( Ger
a s I dic tio s
e e . n a n o cern in g t he
c n
re deri g f compositio — m rk s f expre si
n n o a n a o s o n an d i n dic a
t io s f time &
n o , c .
ei h u gc S ig ture
n n na .
V O X ng el i c
a (L ( ) A st op imil r t o t h
a at . I s a e vox b u ma na .
( )
2 A sweet w y stop , av of t wo ran ks of pipes , o ne tu n e d a e li tt l
to o h rp
s a .
V o x a n t e c e d e n s ( La t The n tecede n t
. a .
Vo x c o n s eq u en s The co e q ue
”
t ns n .
Vo x h um a na Hum n oice A swee t -t o ed reed -st o p

a v . n
i the org
n an , o f 8 feet pitch
- .
V u l g ri
a s A flute stop i n the org an t i bi a ( flute ) bei n g
-
,
u derstood
n .
V uo t o m v u o t t (I t Ope n -Cor a a open s t ri n g

'
.
, a . . .
~
v u ot a , an .
, ,
W ai t s ( ) A ki n d 1 f sh a wm ( 2 ) Pl a yers on this i n strumen t

o . .
per formi g t n igh t i n

.
( 3 ) Mu ic l w a tchme s ( 4 ) Musici
a n . an s n a
t he ope a i r —The word is s id to ha e n o si n gul r O n e of

n . a v a .
its old pelli gs is w y g ats n a / es .
W ald fi ot e A flute -stop i n the org n

'
a .
W a l d h orn ( Ger The Fre ch horn the n tur l horn. t he n ,

a a
hor without l es
n va v .
W al t z A d ce f Germ n origi i n 2or i n g time O n e has

an o a n 7 .
to di ti guish b twee the old low w lt n d the moder q ui ck

s n e n s a z a n
w lt a z.
W a lz e A oller A ce di g or desce rdi g tur n -li ke . n as n n n n
fi g re u .
W a l ze r ( G A w lt er . a z.
W a nk e n d I i it ti g w eri g totteri g es a n , av n , n .
W arm e W rmth /l[ i t g I V me with gre t w rmth

a .
- r os s er /
ar ,
a a .
W a s s e r org e l Hydr ulic o g a r an .
W e ch s e l n ot e A ch gi g ote an n n .
W eh m ii t hi g S a d sorrow ful mel n choly , , a .
W e i ch ( Ger ( )
1 S o ft. te n der mellow ( 2 ) Mi or , , . n .
W e i ne nd Weepi n g .
W e i t e H a rmo ni e ( Ger Exte ded or di s persed h rmo y . n , , a n .
W en ig —
Little E i w e ig l l l e li t t l f ter ei klei
. n n se zne r, a e as n n
ig l
v fe n
g m anery l ittle slower
sa er , a v .
W e s e n t l i ch ( Ger Es e ti l . s n a .
W h o l e n o t e A semibre e ote .
v n .
i e d e r h o l u n g ( Ger Repetition '

. .
W i e d er s ch n e ll ( Ger Ag i q u i ck . a n .
W i e d e r z u ri i c k h a l t e n d ( Ger Ag i n ret rdin g . a a .

26 0 WI E OB E N — X Y L O S I S T RO N .
W i e ob e n As bo e a v .
W i e vorh er As be fore .
W i n d b a nd t i ) A b n d f pl yers o n win d i stru men t s ( 2 ) T he a o a n .
pl yers o n wi d i tru me ts i n an orche tr or t heir pa r ts

a n ns n s a, ,
t ke n collecti ely
a v .
W i nd -ch e s t A pa r t o f t he org n n d other wi n d i n stru me ts wit h

.
a a n
bellows .
W i n d h a rfe ( Ger i E o l i an h a rp . .
W i n d i ns t rume nt s This cl ss o f mu ic l i t rumen t s m y be . a s a ns a
subdi ided in to those whose sou n d s are produced by the bre th

v a
o f the pl ye r ( flu t e cl ri et horn trumpet

a a n d t hose ,
a n , , ,
who e sou nd s are produced by me an s o f bellows ( org n h r

s a ,
a
m o i m co n certi n
n u , The former subdi ision m y be a, v a
fu r t her ubdi vi ded i to wood n d br s i st ume n ts ;

s d br n a a s n r an ass
i trume n ts in to i n strume ts with l es or key

ns d n tu l n va v s, an a ra
i n strume n ts i trume n ts without l e or key ns va v s s .
W i d la d (
n e Ger Wi n d -chest . .
W i rb e l ( 1 ) Peg f iolin guit a r or other imil r tri ged o a v , , s a s n
i n stru me n t ( 2 ) R oll o f drum 3 ) Drum tick

. a . s s .
W i rb e l k a s t e n Peg b - o x.
W ol f The wolf m d it el f he rd i n the d ys f u e q u l t emp r

.
a e s a a o n a e a
me t whe n i org n pl yi n g tho e otes were employed w h e

n n a a s n os
i n ton tio n h d bee m de le correct i order th t the oth r

a a n a ss n a e
n o t es might be more so ( Temper me t ) . v . a n .
W ord p a i nt i ng T he illu tr t io by the c c omp yi g m ic f .

s a n a an n us o
i di idu l word i te d f the e e f the word co l l cti ely

n v a s ns a o s ns o s e v .
Thi i the me i g f this x pre io n i co ctio with mu ic

s s an n o e ss n n ne n s .
W uc h t i g ( Ger W eigh t y with m s i e i gour

'
.
,
a a s v v .
W urd e D g ity i n .
W ur d e v o ll Di g i fi d n e .
W ut h e n d Fu riou fr tic s, an .
X .
a o rp n i c a A bo w s t ri ged 1n t u m n t wi t h a k eybo rd i h
n s r e a ,
L R ollig o f Vi
.
ve n e d t in 1 80 1 by C . . Th tri g w e re et e nna . e s n s s
in i b r ti
v a on by v ioli n bows o f w hic h th r w r m y s
, e e e e as an a
S tri g n s .
X y l o h a rm o n i c a A k eybo rd i n trume n t i n e n t e d i n 1 8 1 0 by
.
a s v
J .A U the .It w as n impro veme n t o f the Xy l o i s t m

. a s r
co truct d by t h m i
ns t or t hree ye rs pre iously
e e sa e n ve n a v .
X y l op h o n e X y l o r g a n u m T h s me S t obfi e a el
’
.
e a as r
,
X y l o s i s t ro n A n i n strume n t i .
t d i n 1 80 7 by J A Uthe I t s n ve n e . . .
to n e w a produced by t h fri io o f wo od n b rs with ro i e d

s e ct n e a s n
g lo v e s.
26 2 ZI T TE R ND —ZW EI V I E RTELTA K T .
Zit t ernd Tremblin g t remulous

( Ger .
, .
o e rn d Li geri n g hesit a ti n g sl acke n i n g i n t i me n , , .
O fa ( It . The same as S ol f a
. .
. a,
—
Zop p o m Zop p a ( It L me A ll a opp a i n a l me ho b
f , . . . z , a ,
bli n g m n n er This expression is pplied t o a rhythmica l figure

,
a . a
i n which betwee n two n o t es t here o c cu rs a n o t e t w i ce t hei r
l e n gth For in st an ce .
Z u ra ll i g ( Ger Accid e n a l . t . Vers et z u ngrzezc/zm ,

’
a cci
de n t a ls ( sh a rps fl a s n a tura l s ) , t ,
.
Z ug ( )
I A dr a w -stop i n the org an , h rmon ium h rpsichord
a , a ,
&c ( 2 ) A pi an oforte ped a l

. .
(3) The slide o f a trom
bon e , &c .
Zug t romp t ( Ger Li t slide t rumpe t e e . .

, . The sopr n o trom a
bo e n
—
.
Zun h m nd ( Ger I cre si g f i st ce

e e . n a n or n an , in loud n ess . Cn
Zung e T o gue n .
Zung nb l t t
e The c l ri et ree d
a a n .
Z u r ii c k g e h e n d Goi g b ck n a to the o rigi l t ime na af t er an

’
a ccel er a n a o.
Z u ru c k h a l t e n To hol d b ck to ret rd the time a , a .
Z u r i i c k h a l t u n g (Ger . Ret rd a tion l cke n i n g the time

a , s a .
Zu mm
sa e n ( Ger . Together — B C/ b u m mm m . e za e
’
’
z re
'
z , bo h t
chor es together us .
Zu mm ng t zt
sa e es e C ompou n d .
—
Z m a m mm g es et z t e Ta kt
compou d time
a rt , n .
Zw i ( G
e Two er . .
Zw e i c h o ri g ( ) For t wo choruses
1 .
(2) With two gs
s t ri n
to e ch ote a n . Fo r i n st n ce E m w e / a . z zc zow es
g l Cl a m er , a bichord
) ia n o fo rt e .
Zw ei Double . Z w ezf a c}zer Con t r apzm kt ,

-
°
double cou n
t e rp o i n t f compou d i ter ls
z w ez a c/ze I n t er v a l /e , n n va .
Z W ei fi i S S ig ( Ger O f t w feet a pplied to org pipes

. o , s a an .
Z w e i g e s a ng ( Ger A duet . .
Zw e i g e s t ri ch e ne Oct a ve The t wice -li n ed or twice ,
c ce n ted oct e
a , av .
Z w e ih a l b o T a k t ( Ger time . .
Z W ei h fi n d i g For two h ds an .
Zw e i s t i mmi g I two p rt or fo r two oices or i n s t ru n a s, v
me ts n .
Z w o i u n d d r e i s s i g s t e l ( Ger A demi emi q u e r . s av .
Zw e i vi e rt el t a k t ( Ger if tim . e .
—
Z W I S C H ENA C T Z WO L I ‘
26 3
Z w i s c h e n a c t ( Ger . An i n t er va l betwee n t he t
ac s o f a dr m a tic
a
perform an ce ,
’
a n en t r a ct e.
Z W i s c h e n a c t m u s i k ( Ger . Music be tw e en t he act s of a dram a t i c

per form n ce
a .
Z W i s ch e n h a rm o n i o The sa me as s s izem t ’
c a z .
Z c r m
w i s h en a u The p ce betwee n t w o li n es o f the s t e
. s a av .
Z W i S C h e n S tt t Z An episode a p a r t i n t er v e n i g be tw een
,
n
the de elopme n t s o f the subj ect o f a fug ue

v .
Zw i s ch en s p i e l ( Ger An i n terlude
. .
Z w ol fa c h t e l t a k t ( G er 3. time 1 2
.
266 A PPE N DIX .
Au C on t r c t io
a n of the prepositio n a an d t he m a sculin e form
( le) of the defi n ite a rticle sig ifyi g to the i n , n n .
,
the .
Au t h en t e Authe tic n .
A v i ci n i u m An org st p th t imit tes the w rbli g

an 0 a a a n of
bird s.
c
B a k fa ll ( ) , the old E gli
1 h gr ces O ne
n ppoggi tur of n s a , a a a a.
( )
2 A member o f th t p rt o f t h e org mech i m which i ter a a an an s n
e n es betwee n key a d the corre po di g p l l et it is hori

v a n s n n a a
z on t l le er which
a whe n r ised t the v n d by ticker ,
a a o ne e a s ,
dra w down with the other n d (which f ll b ck

s
“ the e a s a
trac k er commu ic ti g with the p llet Org ) n a n a . an .
Ba rb i t o n B a rb i t o s ( G k d L t
,
This i trume t is held t o r . an a . ns n
h e bee n by some ki d o lo g bodied lyre by other

av f - ki n d a n n , s a
f dulcimer
o .
B a s s o co s t r e t t o ( It The me bas o o t i t (o o . sa as s s na o . .
B ebi s a t i o n A y tem f olmi tio ( origi n t ed by D a iel Hit l e r

s s o s sa n a n z
i the fir t h l f o f the se e tee n th ce tury ) i n which the n ot e s

n s a v n n
recei ed the followi g syll bic n a mes 1 ( a )

v
( b) e c)
i
r n a . a , , c ,
w ( e) .
i
m z ( e) . f e ( f ) . re ( g ) , b: ( b) , a . V )» dz it) . me (e 1 .
fi (f fi ) it
a n d g (g )
t
“B e d eck t ( Ger M u fll e.d I nthis w o d i sed i

this sen se . r s u n con
ti
n ec wi t h the ke t tle drums
on .
B fa m i
- - I solmis t io t he n me f t w o t es f b ( Ef mi
a n t m) na o o n , o o acn u
m )
'
d f b ( Bf m i
an o p t a su er acu u .
B i fa r a . A ope stop co sis t i g f pipe w ith t wo mouth

n n n n o s s,
by which dul t i g sou d produced
a n un a n n IS .
B i n a ry f orm A form co sis t i g f t wo p rts or built up from

.
n n o a ,
t w subjec t Th h i t i the defi itio f ‘

o ts .t e e o r s s a re n o a one n n n o
t his by me s mm expressio Used co ectio with

no an co o r. n. in nn n
mo d er music bi n yf m is sy o ymous with so

nar t ( fir t mo e or n n na a s v
me t ) for m n S i F A Gore O l y describes

. r hi . Tre tis . us e e in s a e
Music l F or m t wo rieties f the

on a i t b y f m d va o a n c en i nar or an
“
,
em rks
r a M os t old so gs . e wri t te this mod l d w n ar n on e , an e
fi d it i n G o tt s C o tos Rig doo s Jigs
n av e d other old
,
ra n , a n , ,
an
f shio ed d c t u es such
a n were u ed t o m ke up ”ets
an e- n , as s a s or
suites de p i é
‘
dow t o the d ys f B ch d H del ces ,
’
Th n a o a an an . e
fi rst rie ty h this s t cture ( ) Pri cip l subj ect combi i g
va as ru : 1 n a ,
n n
p ss ges
a ( ma odul t i g i t o domi t key ) seco
a d subject
n ( i n n an , n n
domi t k y) ( ) pri c i p l melody ( tr sposed i to domi t
n an e 2 n a an n n an
k y ) combi i g p ss ges ( modul t i g i t o pri cip l key )

e , n n a a d a n n n a , an
co d melody (i pri cip l key ) The seco d r e ty prese t

se n n n a . n va i n s
i t el f t h s ( ) Pri cip l melody le di g i to seco d ry melody

s u : 1 n a a n n n a
( i d omi
n t k y d retur i
na n g t o pri cip e l key ) ( )
an w n n n a ,
2 ne
m lody (i rel ti e mi or or m j or ) with seco d y melody (

e n a v n a n ar as
i the fi rst di isio )

n fter which the fi rst di isio
v n repe ted
, a v n 1s a .
Bi s b i g l i a n d o Whisperi g murmuri g n , n .
B -m i . I n solmi s a tio n t h e n ame o f t h e n ote B .
B o b i s a t i o n or B o c e di s a t i o n A s y s t e m o f s olmi s a tio n ( a ttri b uted

, .
APPE N D I X . 26 7
to H uber t W a e l ran t six t ee n th ce n tury) wh i ch sub s t i t u t ed

; fo r
t he six Guido i an n the follow i g se e n syll ables : be cc i n v , ,
a
’
, g ,
a
l o, ma , ui
“
.
B oc a l ( F lthough this w ord is commo n ly a pplied as expl a in ed

A
i n the body o f the Dictio na ry t he more proper pplic a t io is to ,
a n
t he cur ed met l tube o n which the reed o f the b assoon

v a , cor
an g l a i s & c is stuck , .
, .
B o g o n ol a v i e r , B o g on fl ii g e l B og en k l a w er B ow
p a o Thus e c lled keybo rd i n trume n ts stru g with gu t
,
i n . ar a a s n
stri gs t he to e o f which i produced by cyli n der ( k ept e l

n ,
n s a r vo v
i n g by me n s o f a ped l ) m de o f gut t a perch a or o f a ny other

a a a -
m teri l co ered with horse -h a ir an d i n either c a se well rubbed

a a v ,
with rosi n .
B o g e n g u i t a rr e Gu i t re d a mour a
’
.
B o u rl e s c a 71 Burlesca . . .
C a nt a t a d a c a mera A ch a mber c a t a t a
, A vo cal com
, n .
position (i n ogue i n the se e n tee n t h n d i n the firs t h a l f o f

v v a
the eightee th ce n t ury ) co isti g f mixture o f recita t i e an d

n ns n o a v
i
a r, o fte es t fo r o n e oice sometimes fo r t wo a n d e ve n m ore
n v ,
v oices with i n strume t a l ccomp n ime t

, n a a n .
C a n t a t a d a ch i e s a , A church
”
, c t t , an a a
the u cc ted p a r t o f a bar

.
C a t t i v o t emp o B d time a na en .
C a ud a , Ta il The stem o f ote . a n .
C fa u t
- - I n solmisa tio n t he n ame o f the n ote
. c.
Ch a n s o nni er ( )
1 A so n g -writer
( )
2 A collectio n a boo k .
, ,
o f o gs s n .
Ch eck -a ct i o n The check is co n tri a ce i the pian ofor te

.
a v n n
mech ism by which the h mmers re pre e n ted from rebou n d

an a a v
ing I n gr n d pi an os the checks

. b ehi d i n cott ge pi n o s
a a re n , a a
be fore the h mmers a .
C i f ra t o Figured .
C i n e lli or r ther Gi n ell e ( It

,
a C ymb l s The word is n a” bb e a . a r
v ai t i on o f b i el l e which prim rily sig ifies ac n little b i n s

, a n as .
C ol ora t o C oloured Co t app t l t florid cou n ter . n r un o co or a o ,
poi n t .
C o m m o d et t o S omewh t com m odious leisurely a ,

.
Comp on ist a A composer .
O o m p o s nz m n e co m po s mo n
. 0
A .
C om p o s t o C ompo ed s .
C o n d uct us C o n d ui t A o t cle a rly defi b le n na
mediae l form o f music l composition i n p a rts

va It is d is a .
t i n g i he d from other forms i n th t the c o u n terpoi t w s dde d

u s a n a a
to me l ody compo ed fo the purpose n o t to a

a tusfi m or
s r , ca n rn s
an
y lr a dy e xaisti g melody
e n .
C o n s ort This w ord is syn on ymo u s with conce n t a n d con cert n d

, ,
a
formerly w as use d i n the fol lowi n g se n ses ( 1 ) H a rmo y o f n
s ou n ds ( )
2 a compositio n fo r se er a l i n strume ts (3 ) a set — fo r v n
i n st a ce a co n sor t o f iols
n (
, 11 C h st f iol ) v . . e o v s .
2 68 APPE N DIX .
C o n t ra p u n c t u s vi d e n d um ( Lat ad C o nt r a p p u n t o .
( It a d vi d
. e nd um Written cou n t erpoi n t i n con t di s o
, ra
ti ctio n to impro ised cou n terpoi t ( o t pp u t l l a me t e )

n v n c n ra n o a n .
C o r e f a v o ri t e The selec t choru i con tradis ti nction t o s, n
the full chorus .
C oro s p e zz a t o ( It A “ broke n u p chorus — i e a composition

.
- .
.
,
f or se er l choi rs which re pl ced i di ffere n t pa rts o f t he

v a a a n
church .
Ru n i ng n .
C o s t re t t o C o str i ed forced oblig ed ( o B

n a sso c ostre tt
a n o ) , , . . .
C oul i s s e ( Fr A slide f — i n st n ce th t of a trom b on e

. or a , a .
C ount e r-t e n or cl e f The s me s the a lto cle f— n amely t he .

a a ,
C cle f o n the third li e p 5 n . . .
C s ard a s ( M gya r ) A Hu n g ri n ( M gy r ) d an ce i n 2 or t im e
a . a a a a .
Triple time is ery exception al a nd n t true t o the n at io na lv ,

o
cha racter T he C s rd as ( from C a d . n o n the he a th ) S o ft e n

a s r a , 1n l
preceded by a modera te mo emen t c lled La s s u ( from L a ssa n v a ,
slow ) the q uick mo emen t is c alled F i s ( from the Germ an

,
v r
f i
r sc/ f resh brisk
z, li ely ) , ,
v .
C ui vre ( F Bra s The br ss i trume n ts o f n orchest r o r

s . a ns a a
b d an .
C ui v r e r Thi word occurs sometimes i n scores an d t he pa r ts

s
fo r br a ss i n strume ts more especi lly the horn F a i n cu i or e

n ,
a . r
sig ifies t o produce a br ssy sou n d to m ke the brass ring

n : a , a .
Cy cl i ca l f orms Ex t en si e compo itio n s con sistin g of se eral v s v
sepa ra te mo emen ts such as the so ta symphon y an d conce rto

v ,
na , ,
of mod ern times n d the suite n d p rtit a o f a more remo t e age

, a a a .
C y mb a l om Cy mb a l o n A dulcimer , .
.
D a ns e ma ca b re ( Fr Dan ce o f Death . .
D é coup l e z ( Fr U n couple A expression used i n organ music

. . n .
‘
D i a p a s o n ( Fr ( 1 ) Exten t o f a voice or in strumen t ( 2 ) Tun ing .
fork 3 ) Pi.t ch ”
.
D la s ol
- - I n solmis a t ion t he n a me o f t he n o t e d
D -l a —
. .
s o l -re I n solmis t io n t he n a me o f t he n o t e 1 a
“
.
Domi na nt The domin n t s o f the se er l C hurch Modes ( a n ) a e

.
,
a v a r
as follows : ( 1 ) Dori a n a ( 2 ) Hypodori an f ; ( 3 ) Phrygi n c , , ,

a ,
(4 ) Hypophrygi n a ; ( s) Lydi a n 6 6
; ( ) Hypolydi
a .a n ; ( 7) . .
a
Mi x olydi n a ( 8) Hypomixolyd i an c (9 ) o l i an e ( l o )
a ,
’
, , ,
Hypo eoli an c ( 1 I ) Hy p eraeo l i an g ; ( 1 2 ) H yp erphrygi n f

a , , ,
a ,
d
[ ] ( 3)1 Io n i a n g ( 1 4 ) Hypoio n i an e , , , .
‘
Doub l e b a s s Double basses wi t h fo ur s t ri ngs are howe ver n ow , ,
to be fou n d m almost a l l good orches t ras .
Doub l e fug ue A fugue with two subjec t s S ome t imes the name .
is l o gi e n t o fugues with more than two subjec t s Two ki n ds

.
a s v .
o f double fu gue h a e to be disti n guished ( 1 ) Th a t i n w hich t wo

v
su bjects a e first sepa rat ely w orked ou t a nd o n ly subseq u en t ly

r
co m bi n ed 2 ) th a t i n w hich t he seco n d su bjec t e n t e rs at o n ce

wi th t he fi rst subj ec t as a co n s t an t c o un t e r -subj ect .
2 70 A PP ENDI X .
‘
H a rmo ni cs I n ser t i n te n th li e f t he a rticl e H rmon ics i n n o a ,
“
.
“
the body o”f the Dictio ry a fter ibr t io the words o i na ,
v a ns
the thirds an d fter stri g ,

comm a a n a .
Ha rp e aeo l i e n n e ( )
1 A n o l i ha rp ( 2) A h en ar
mo um stop n1 .
Hi t ch -p i n v P ia oforte . . n .
Hop p e r o Jack . .
Ho p s e r
.
An ob olete d ce i n 1 time There w as also a s an .
H p w l e ( hoppi g w lt ) i n triple time

o s a z r n a z .
Hoq u t e Ho q u t u e s ,
B o e ot u s , Ho c k ot u s ,
Hoc
qu tu e s 71 . O ch e t u s .
I n omi n e
n term some ob curi ty o f which the followin g
A of s ,
me i gs m ay be i n dic ted ( 1 ) A ki n d o f motet which de ri es

an n a v
its n me from some Bibl e te x t i n which the words occur ( 2 ) An

a .
irregul r fugue compo itio which is a fugue on ly i n na m e

a a
“ s n
,
Thi word i used 111 se ver l compou d expression s i n

.
‘
Jeu ( F s
—
s a n
the se se o music l i strume t

f n n fo i st an ce j eu de cl oc/ es
a n r n , z ,
j eu d e t i m b e c rillo G l oc k
r s,
p i e l a n, en s .
Jeu d o rg u e
’
The s a me s arg u e— n a mely org an a , .
Jus t i nt o na t i on We spe k o f ” “ j ust in ton tion in co n t rad i s a a

,
tin ctio n to tempered in to a tion The o n e is gi e n by n a ture n . v ,
the other uggested by art n d dem an ded by in s t ru me n t s wi th

s a
fixed to es ( org n pi n on Besides this specific mean ing

a ,
a , ,
the phr se h s lso ge er l o n e j us t bei g i n t he l a tter cas e

a a a a n a ,
n
sy n o y mous with correct or a ppropri te (71 Temper am en t and

n a . .
I n to a tion )
n .
K n i e g u i t a rr e Guit re d a mour a
’
.
La cri mo s a A p rt o f the eq ue n ce D i i a which is su ng a s es r ,
i the m a ss fo r the d
n ( v Re q uiem ) ea 1 . . .
Le s s o n A me formerly gi e to piece writte f n i strume t

na v n s n or a n n .
The word did n t ig i fy a fi x ed form

.
— o di ti n ct style f compo
s n a s o
sitiou A les o n w s o ly s m t i m
. s study a n o e es a .
L e ut o 1 Liuto 1 . .
Li t i c e 2 Lituu 1. s .
Li t i c en A lituus p l yer a .
Li t uus ( 1 ) A cur ed trumpet f the R o m ( )

2 T hv e o a ns.
L tia me o f t he cor n etto and sh awm ( 3 ) An org an st o p

n na . .
Lo ng 7) Longa an d p 5 5
.
. .
Ma i t ri s e ( F A school i n which the choir boys o f a c a thedra l get

t heir mu ic l educ a tio s a n.
Ma n o a rmoni ca H a rmo ic h n d n a
M a nus H n d h a rmon ic h d a an
M é lop las t e F A co tri ce from which the m t /zo e e ’ ’ ’

n van e a a
p / t
a s e,i n e ted b y P i
v rre G
n li f B orde ux i 1 8 1 7 t
e kes i t s a n, o a ,
n ,
a
na me It con sists f a bo rd with a st e o f fi e li n es an d some

. o a av v
auxili a ry li es o n which t he te cher shows the n otes he wi h e s

n ,
a s
his cl a ss t o si ng by me n s o f a rod whic h has t n e e n d sm all a a o a
kn o b .
A P P EN DIX . 3 71
M o n f e ri n a A gay It li n d n ce i n a t ime especia lly d n ced

. a a a , a
i n Piedmo t d Lomb a rdy n an .
Mo nt re A n org n stop t he pipes o f which are pl a ced i n a ,
fro n t o f the i n strume n t— a mou n ted di pa son ( 8 fee t ) doubl e a ,
di p ason ( 1 6 feet ) or double d ouble di a p a son ( 3 2 f e t )

a ,
e .
Mu s i ci s t a A musici an M u s i ci st i is t he plural . .
N e ni a A fu era l son g a n elegy

.
n , .
‘
O b oi The plura l o f ob oe
Oca ri na A f mily o f rece n tly i n ven t ed primiti ve wi n d i s t ru

a n
me n ts o f t err -cotta i n sh pe n o t u n like t he b od y o f a bird

a ,
a .
They h a ve a hollow flu t e -like t on e .
The prim a ry me a i n g o f Izoqu et is hiccup “

O oh e t u s I n n
”
.
med i ae l music t his term was pplied t o a t ru n c a ted d isc an t

va a ,
n a mely a disc an t to use C o uss m k e r s de fi n itio i n which

’
, , e a n,
t he otes”o f o ne or o f se eral pa rts we re in t ersected or in terrup t ed

n v
by re ts s .
O rch es t ri n a d i c a m e ra This sm ll eybo r ree ree d i n s t ru

a k a d f -
,
m e n t w a s i n e n ted abou t t w e n t -fi v e ye a rs ago by W E E a n s

who m ade i t wi t h oboe flu t e y
v . . v ,
or ioli n ) b a ss o on v iolon cello , v , , ,
cl a ri et a n d I re n ch hor n comp a ss
n ,
Thus there w a s a f mily of . a
si members The orches t ri n a s di c a mera were i n t e n ded bo th

x .
fo solo a d e em bl e pl a yi n g ( t rios q u a rtets

r n ns I n t he , ,
o rchestr a they h a v e bee n e mployed a s subs t i t utes fo r t h e obo e ,
c l a ri n et & c , .
O rch e s t ri n o An i n s t ru m en t o f t he cl ass d escribed u n der Bogen

.
cl a ier (to Appe n di x ) I t w as in e n t ed in 1 80 8 by Po u l e u

v . . v , , a ,
o f P a ris a d imit a t ed t he t o n e o f t he v ioli n v i o l a d a more an d

’
,
n , ,
iolon cello
v .
O rg a n o g r a h i a . T he d e scrip t io n o f i n s t ru m e n t s
. .
O rg ue d o a rb a ri e A b rrel organ - a
Orp h a ri o n or Orp h a ri o n A t backed 1nst rumen t w ith m any

fl -
.
a
cur ed sides belo gi g to t he cither kin d ; t h a t is t o s ay i t wa s

,
v n n ,
tru g with wire stri ngs

s n .
O s s e rva t o C re fully obs e rv ed p ra c t ised a ccordi n g t o rule

a , .
S t i l o e o a t o strict style
e ss r
'
,
.
O vert o n e s H a rmo”ics o . n .
“
Pa i r The word p ir w s i n former times of“
,
te n used with t he
a a
”
.
n me a f cert i o i n strume n t s — fo in st n ce
a n p ir o f org s r a a an
“p ir o f irgi a ls ” This howe er h ad n t the me i n g o f
, ,
a v n v o an
”
.
, ,
“
double or couple It w s w y o f spe ki g implyi g
a . a a a a n ,
n
a n umber f thi gs re embli n g e ch other just a s i n

o n p ir f s a a o
st irs a
” p ir o f c rds ” p ir o f che sme n (i n te d o f
a a a
,
s s a
” ”
, ,
flight d p ck a n d set
, an The n umb e r o f thi g re
a ,
n s
se mbli g e ch other w ere n o d ou b t i n t he org n the pipes i n

n a , ,
a ,
the virgi n l the stri g a n s.
Pa l l e t s . Org n a .
Pa n mel o di o n The to ne o f this keyb oa rd i n strume n t is p ro d uc d

. . e
27 2 APPE N DIX .
r t i on of a cyli n der o n me tal ba r It w as i e ted in

by t he f i c s . nv n ,
1 810 , by F ran Le ppi ch o f Vie nn z ,

a.
Pa n t a l o n z u g ( Ger A stop i n the o l d cl a eci s by which t he

. v n ,
ton e o f the Pa n taleon (a n ) was imit ted a .
a rt h e y e n P a rt i e n ,
The same as P t i t ar a
a rt i n l t o n e s o H a r m o n ics . . .
Pa v i li o n e n l a i r With the bell turn ed upw rds A d i rce

’
a .
tio n t o horn pl ayers .
Ph ormi n x A s t rin ged i n strume n t o f cie n t Greece ki nd an , a
o f lyre .
Pi a n i s t a ( )
I A pi n i t ( 2 ) A m ech ic l co t ria ce f s . an a n va n or
pl ayi g t he pi n o T he m hi e is t i motio n by a h dle

n a . ac n se n an ,
an d the music is per formed by me an f per for ted c rd -bo a rd s o a a .
Pi n . Pin s are t o be fou n d i n t he mech ism o f rious i nstrume ts an va n
fo r i n st an ce t he i an f t e , o or
Pi ut t os t o or Pi fi o s t o S oo n er r a ther , .
Pi zzi ca t o ,
Pi ched A directio to pl yers o n i strume n t s
n . n a n
o f t he violi n f mily t o produce the n otes thus m ar ked by pluck

a
i n g t he stri gs with the fi n ger i n ste a d o f setti n g them i n ibr a

n , v
tion by me an s o f t he bow The use o f the l a tter is i n dica t ed .
a fter t he occurre n ce o f p i i c t o by c l l a ( with the bow ) or by

’
zz a o are
aroo ( bow ) .
Pli q ue A m ediae al gr ce con sisti g o f an v a n
a sce di n g or desce d i n g a p p oggi a tura

n It was i n dic ted i t he
n . a n
n eum tic n ot a tio n by a cur e i n the

a q u a re n ot tio n mostly by a v ,
s a
seco n d ste rn .
Po e m e s y m p h o n i q ue S ympho n i c poem ( o S y m . .
pho i che Dichtu n g )

n s .
‘Po i n t A obsolete E n glish term ig n i fyi g a ubj ec t o f a fugue o r

n s n s
j
,
an
y ki d f imi t
n tio n o This sub ect m a y co sist o f two thre e
a . n , ,
four or , y um b er anf n ote n o s .
Poi nt i ng A n obsolete E gli h term syn o ymous wi th fugui g

,
n s n n .
P o rt u n a l A w ,
et -to n ed cl sri n et -li k e ope n wood stop the pipe s
e , a ,
o f which l rger a t the 10 p th a t the bottom

a re a an .
Pré a mb ul e A pre a m ble an ,
i n troductio n .
Pre s a A ta ki g The ign ( this 5 o r n y other ) which

n . s a
i n dic tes i n a c an on the tr n ces f the se er l p rts the co m

a en a o v a a ,
me n c m e n t s o f t he a wers It is l o c alled g u m ’
e ns . a s a .
Qua d ru p l e t A group f fou n otes th t d i ides a bar or p rt o f a

.
o r a v a
b ar i to four eq u al portio
n ns .
a rt o l e A qu drupl e a “
n t a d en a The sa me as Qu t n t t n a o
n t u p l e t i me - &c
2 g R ea d wh t h s b ee s
. a i d a b out
«
t h i
,s . a a n
k i n d o f time o n p 2 4 an d add thereto th t qui tuple tim e ma y .

, a n
h a e a lso o ne acce n t on ly na mely n the fi rst me mbe r o f t he

v ,
o
bar .
27 4 A PP ENDIX .
T r ry form
e na term t i common use S i r F A Gore
.
A no n . . .
O u l y c lls thu a form which di ides piece i to three por t io ns

se e a s v a n ,
o f which the first co t i n the e x po itio f some themes t he n a s s n o ,
seco d ome more theme i rel ted key d the third mod u
n s s n a a , an
l a ti n g de elopme t f pre ious the me d

v n s o
o co cludi ng v s an a c aa,
’
n ,
o f cour e i n the pri n cip a l key

s ,
T e s s i t ur a Lit “ te x ture The comp s embr ced by the

.
, . as a
n ote mo t fre que tly u ed i a oc l com p o itio

s s n The t e i t a s n v a s n. ss ur
doe o t i clude the highest a n d lowest n otes which e but

s n n ar
r r ly d i n cide n t lly used

a e an
”
a
“
.
Te s t ud o “
P rim rily to toise the n tortoi e shell a A r ,
s - .
lyre ; ei t her ; lute

“T i mb re ( F
.
( )
I A bell without a cl pper ; a lso a b a o f met a l a r
u ed f mu ica l purposes
s or Jeu i n A ppe dix ) ( 2 ) The c t
s .
, n . a
gut tri gs s f u g a cross the lower he ad f side drum ; the

s n r n o a -
E gli h e q ui le t is s res “ ” The k ow irs to which

n s (3 )
va n
n n na . a
a uthor f u o i ll es write the words o f their so gs re a lso

s o oa ae
’
n a
c lled t i mb e
a r s .
Ti ra s s e ( F Ped ls which d r w dow n the b a ss keys o f t he

a a
m u l i org a s without ped a l stops

an a n n .
To n a ri u m A pitch pipe - .
T ra t t i m e n t i Amu e m e ts di ersion s s n ,
v .
Tr e mb l a nt A org n n d h a rmo n iu m s t op ( 0 Tremolo )

n a a . . .
U nb e d e ck t U co ered un mu ffl ed S id o f drums n v ,
. a .
‘
U n g a r i s ch H u g ri an A Hu g ri d ce o r d n ce n a . n a an an , a
tu e i t h Hu g ri style
n n e C s ard s )n a an . a .
U p p e r p a rt i a l s H rmo ics .
a n .
V e n e t i a n s w e ll S well o. .
V e n t il p o s a un e
.
A l e trom bo e va v n .
V i o l o n c e l l g u i t a rre Guit a re d a mour t u

.
’
.
W a s e p a l l e t A l e i the org bellows which llows super

t -
,
va v n an a
fl i to esc pe
uo us a r a .
W i n d -t r unk Org . an .
W re s t p i n s
- P i oforte v. an .
W r e s t p l a nk Th t p rt o f the pi o fort e i n which t e res t pins

.
- a h w a
- an
fi x d ( P i o forte )
.
a re e . 71 . an .
Z u ru c k h a l t e n d K eepi n g b ck it t a , r e n u o.
E VE TT S, E AR DG
T h e V o c a l S t u d e n t s Pra c t i c e T .
’
R e g i s t e r w i t h V o c a b u l a ry
M o d u l a t o r fo r u s e o f S t u d e n t s o f t h e Nu m e ra l a n d
R h y t h m i c M e t h o d s ( Vo c a l )
9 179 GO O DW I N Pra c t i c a l H i n t s
, A on t he Te chn i q u e a nd
Touch o f Pi a n o f o r t e Pl a y i n g W ith I l l u s t ra t i o n s .
S i x t h I m p re s s i o n B o und
1 01 12 HE ALE , H . A S h o rt T r e a t i s e on t he Ru d i m e n t s of M u s 1c
l o
T
.
1 01 17 H ULL, A E AG L E F I E L D O r g a n Pl a y i n g ; I t s e ch
x
. .
niqu e and E p re s si o n 7 t h I m p re s s i o n B oun d .
1011 8 M o d e rn H armo n y I t s e pla na t i o n x a n d a p p l i ca t i o n

S e v e n t h I m p re s s ro n
1 0 1 20 H a rm o n y f o r S t u d e n t s . S e c o n d I m p re s s m n
Al s o i n 3 p a r t s
1 0 120 a Pa r t I . S i m p l e H a rm o n y up t o t he D o mm an t Se v e n th
10 1 20 1) Pa r t II . M o d ul a t i o n S u s p e n s i o n , , Pa s s i n g- N o t e s ,
Pe d a l s E ssent ial D i s c o rd s an d
1 01 200 Pa r t I I I C h r o m a t i c H a rm o n y a n d H i n t s o n C o m p 0 3 1 t i o n
T
,
w i t h a p p e n d i c e s o n E a r- ra i n i n g a n d M u s i c a l C a l t gr a p h y .
1 0 1 19 25 0 Q u e s t i o n s o n Mus i cal F o rm i n 25 t a b u l a t e d p a p e rs
w i t h ap p e nd i x
10 1 13 Q ue s t i o n s o n
800 Pi a n o fo r t e T ea c hi n g . S e c o n d I m p re s s i o n
1 0 11 1 HUN T E M, . . S ca l e Ar p e g g i o F i n ge r i n g C l a s s i fied .
10 1 10 KN O
fo
WLE S
u d d
n e on
, C H .
D r Pro u t s.
“
. G
Rh y m e s 0 11 t h e Ru l e s o f H a r m o n
H arm o n y
.
2n d I m p re s s i o n
'
. .
y ,
B ound
9 1 77 LA M A RA . T h o u gh t s o f G r e a t M u s i c i a n s . 2u d I m p r e s s i o n .
Pa p e r
1 0 1 22 LIN DO AL E RN O N H G . Pi a n o fo r t e T
S t u d y fo r e a c h e r s
u
,
an d S t d en ts B ound Pa p e r .
1 0 140 McE W E N JO HN B T h e Pr i n c i p l e s o f Ph ra s i n g and

u
.
,
Ar t i c u l a t i o n i n M s 1c . T h t rd I m p r e s s i o n
M AC PH E RS O N , C . H a rm o n i c Tho u gh t . Pa s t 8: Pr e s e n t
9 21 4 MA T T H E W S , J . A H and book of t h e O rg a n . S ev e n th
I m p re s s i o n . B ound
101 14 1 00 E x a m i n a t i o n Q ue s t i o n s fo r Ogr an S t ud e n t s
1 0 1 00 M O Z A RT Pra c t i c a l E l e m e n t s o f h o r o u gh B T as s w 1t h
e x amples
.
o f H a r m o n y a n d C o u n t e rp o i n t
9 1 93 M U S IC AN D ITS M AS TE RS . A c o n v e rs a t i o n by
A Ru b i n s t e i n
. T h i rd I m p re s s mn
. B o und
M U S I CAL C A R D S fo r l e a rn i n g t o re ad t he n o tes
qu i c kl y
a t s i gh t Pri c e p e r s e t i n case
9 1 80 N IE CKS PRO F F , . . A C o n ci s e D
i c t i o n ary o f M u s ica l
T e rm s t o w hich i s p re fi x e d a n i n t ro d u c t i o n to t he
E le m e n t s o f M u s i c . T
w e l f t h I m p re s s i o n . B o u nd
9 1 8 0a I n t ro d u c t i o n t o t h e E l e m e n t s of M us i c . T h i rd I m p re s s i o n .
B our d
8 23 4 a P A U E R , E H a rm o n i o u s I d e a s . . Mo t t o es fo r M e n d e l s s o h n s
’
S o n gs w i t h o u t w o rd s
919 1 PE TE R S O N F RA N K L I N
u B
.
,
E le ment s o f M s i c F i ft e e n t h I m p re s s i o n o und
u
.
919 2 An I n t ro d u c t i o n t o t h e S t d y o f h e o r T
S even th I
1 0 101 T r
A h e o e t i c C o mp ani o n t o P a c t i c e r .
RI E MAN N ,
Dr H . .
C at e chi s m of O rc h e s t r a t i o n B oun d
I n t ro d u c t i o n t o p l a y i n g fro m S c o r e
a ch s
’
An a l y s i s of J . S . B 48 Pre l u d e s and F u gu e s .
Pa r t I . 24 Pr e l u d e s an d Fug ue s . S e v en t h I mp r e s s i on .
B oun d
Pa r t I I . 24 Pre l u d e s a nd F u gu e s . x
S i t h I m p re s s i o n .
B oun d
RU B I N S T E I N , A Music . a n d i t s M a s t e rs A C o n v e rs a .
t io n T h i r d I m p re s s m n
. B ound
S C H RO E D E R C H a n db o o k of Va o l i n 81 V i o l a Pl a y i n g
B
. .
,
F i ft h I m p r e s s i o n oun d
C a t e ch i s m o f V i o l o n c e l l o Pl a y i n g F i ft h I mp re s s i o n
. .
B o un d
H and bo ok of C o n d u c t i n g (J . M a t t h e w s ) S e v e n t h I m p re s
.
s io n B o u nd
A
SCHU MAN N . Ad v i c e t o Y o u n g Mu s i c i a n s
S HE D
LO C K , J 8 B e e t h o v e n Pi a n o fo r t e S o n a t a s
. T he . .
O ri gi n a n d R e s p e c t i v e V a l u e s o f V a ri o u s R e a d i n g s
S HIN N , Dr F . . G .
El e m e n t a ry E a r- T ra i n i n g .
I . Me l o d i c . F i ft h I m p re s s i o n B o und
II .
H a rm o n i c a n d C o n t r pua n t al . F o u rt h I m p re s s i o n . Bd .
A Me t h o d of T e ac h i n g H a rm o n y b a s e d u p o n E ar T ra i - n n
g i
I Diat onic H a rm o n y . S ec o n d I m p re s s i o n . B o u nd
II . C h ro m a t i c H a rm o n y and E x c e p t i o n a l Pro g re s s i o n .
S e c o n d I m p re s s i o n B ound
M u s i c a l Me m o ry and i t s C ul t iv a t i o n B o un d
E xa m i n a t i o n Au ra l h o w t o s t u d y t h e m i n p re p a Te s t s and
r a t i o n f o r t h e t e s t s gi v e n i n t h e E a m i n a t i o n o f t h e x
As s o c i a t e d B o a r d , a n d I n t h e i p l o m a E a mi n a t i o n s o f D x
the R A M and t he R C M. . F o u r t h I m p re s s ro n
. B o und . . . .
10 13 1 S I M PS O N , J 3 00 Q u e s t i o n s o n t h e . a m m ar o f M u s i c Gr .
B a s e d o n t h e S y l l a b u s o f t h e As s o c i a t e d B o a r d o f t h e
R A M an d R C M
. . . w e n t i e t h I m p re s s i o n . . . T
K e y t o t h e a b o v e E i gh t h I m p re s s i o n .
400 Q u e s t i o n s o n t h e R u d i m e n t s o f M u s i c E i gh t e e nth I m p
Ke t o t h e a b o v e
y S i t h I m p re s s i o n x . .
x
.
A c o n c i s e t e t b o o k o n t h e R u d i m e n t s o f Mu s 1 c 1 5 t h I m p .
WA R RE N J C , . a t e ch i s m of t h e H a rm o n i u m
W E S T G F Hi , . . nts Te a che rs o f t h e Pi a n o fo rt e
t o Yo u n g
W H I TE M O R E , C U T H B E RT C o mm o n s e n s e i n .
Pi a n o fo r t e Pl a y i n g . F i ft e e n t h I m p re s s i o n
W H I TT I N G H A M , A 20 0 .
Q ue s t i o n s a nd E x e rc i s e s on
D a e n p o rt s
F . v
’
E l eme n t s o f Mu s i c
W O O D H O U S E G E O RG E C re a t i v e T e ch n i q u e Fo r
r
.
, .
a r t i s t s i n g e n e a l a n d p i a n i s t s i n p a rt i c u l a r
r
.
S e c o n d I mp es s i o n .
T h e Mut an o S y s t e m A n e w p a t h fo r p i a n i s t s T he . .
Mu t a n o ( m u t e p i a n o ) S y s t e m e m p l o y i n g m e c h a n i e d z
m u s i c f o r t h e c u l t i v a t i o n o f p e rs o n a l p e r fo rm a n c e
A U G E N E R Lt d .
18 G R E A T M A R L B O RO U G H ST RE E T .
LO NDO N W . l .

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Pr i n t e d i n E n gl a n d .

t he p res ent one . S om e r ti c s

AN de qu te deﬁ itio o f music is prob ably an i mpossibility t

any r te h s n o t yet bee

i thi directio n h e deﬁ ed r ther their o w

c p city o f the thi g they i te ded to deﬁ e But wh a t si gle

deﬁ ition f ils to do p rh ps se era l deﬁ itio s m ay e ffect— m l y

gi e v pproxim te ide f the a st n ess n d multiplex ture f the

Mu sic is the t f combi i g sou n ds i n m er gr e ble to

ns t merely s a a t to ple e the

as e f the most power ful me s o f mo i g the he r t

th i t llect to gree”ble a cti ity an d e li e i g the im gi ti

with riety f ide s

Mu sic i the li k which con n ects t he spiritu l with the e suous

li f e Music is higher re el tion than wi dom n d philosophy

Not less high th Beetho e n s is R ich rd W g n er s co ceptio

this secon d re el a tion f t he w orld the u n spe k able sou di g secret

The organ o f t he he art is t on e its a rtistic ally con scious l gu ge - an a ,

music The l a t t er is t he full o erflowi g he a rt -lov e w hich e obles

the se n suous feelin g o f ple asure an d hum a ises the n o n se n suou n - s

A fter W g er let u he a r his m a s t er i n philosophy

Music di ffers from other a rts i n this th t it i s n o t im ge ,

o f a ppe a r n ce or more correctly o f the objecti i t y of Will but

an immedi a t e im age of Will itsel f an d there fore represe ts to l l , n a

the physica l of the world the met a physic al to a l l a ppe r ce t he , a an

thi ng i n itsel f He n ce o"n e might s well cal l t he w orld embodied

m usic as em b odied W ill — A R TH U R S C H O PEN H A U E R . .

Thus we have rise n from the a t th a t combi es sou n ds i n a r n

m er gree able to the e a to the t th t con ects t he spi ritu al

with the e suous li fe d by im gi g Will re e ls t h e esse ce o f

thi l tter con cer s us here more th the former

Mu ic con idered s n A t combi es the sou ds which philo

sophy di ti gui he i uch m er s to gr ti fy our e rs or e ct u t

it p le ses the e a a d pe ki g s it were the l a gu ge o f be uti ful

na ture to r i e corre po de t ide

philo ophy which by m them tic l deductio from co t t phe o

me e x pl i the c u e d propertie f sou d limit the n umber o f

mixed or h rmo ic o u ds to cert i eries which perpetu lly recurs

an d ﬁ x e the r tio which they be r to e ch other or to o n e le di g

V ibr tory motio n s f bodie

el stic medium produce by their ctio

o f ou d if u fﬁcie tly forcible

Mu ic l sou nd ( to e s disti gui hed from ois e ) is produced by

r pid periodic ibr tio s

with ra pidity d t e q u l i ter l an a a n va s .

A mu ic l ou d m y be co idered u der three aspects its

pitch ( poi t f ele tio or depre io ) i t i te sity ( degree o f

of sou d de pe ds o the r pidity f the ibr tio

o ntheir m p l itude d the t i m b e

With i te ity d t i m b e we eed t further trouble oursel es

here but pitch must yet occupy our tte tion f

lower ( gr er) i the corre po di g sou d ( to e ote )

The r w m t eri l o f mu ic m y be s id to be the s t re t ch of

mu ic l sou d th t e x te ds from the lowe t to the highest perceptible

t i me The e limits— which howe er can o ly b e pp i m t l y

sta ted seei g th t the org s f he ri g e n o t e q u lly cute i n

con t i much e peci lly i the higher regio

an d ot little th t is ctu lly p i ful Helmholt ﬁ x es the limits

o f music a lly ser ice ble sou ds t 40 d vibration s i n a a n a an v

secon d ( 3 3 gi e the con tra C n d vthe four times cce ted ,

thu the tretch f el e oct es to e e

“w t m y h e n rrowed the bou d ries more th a n othe rs will

a ck n o w led g e to be ece ry n ssa .

Gi e the a bo e -me tio n ed stretch of music l sou n d somethi n g