100154

Music is Love in search of a word SYDNEY LANIER.

Thoroughly Raised, and Augmented by an Appendix

of ?00 Additional Words and Phrases

DICTIONARY
OF

MUSICAL TERMS
Containing upwards of 9,000 English, French, German, Italian,
Latin and Greek words and phrases used in the art and

science of music, carefully defined, and with the accent

of the foreign words marked; preceded by rules for

the pronunciation of Italian, German and French.

WITH A

SUPPLEMENT
CONTAINING

An EngUsh-ItaUcpi Vocabulary fof Composers

COMPILED AND EDITED

BT

DR. TH. BAKER

G. SCHIRMER, INC., NEW YORK

 Copyright, 1895, by G. Schirmer, Inc.
Copyright renewal assigned, 1923, to G. Schirmer. Inc.

12655

Panted in the U. S. A.
 PREFACE.

IT is the aim of this Dictionary of Musical Terms to furnish an accurate and

concise explanation of any technical word or phrase which the student is

apt to

meet with, The English vocabulary will be found practically exhaustive, Want

of space forbade making the foreign vocabulary equally so ;

but the editor has

endeavored to preserve a pr&per balance by giving any term, appearing in either

German, French, or Italian, in each of :hose languages, thus maintaining a con-

sistent
polyglot character so far as necessary limitations permitted.

The scope of the work, which is rather a dictionary than a lexicon, rendered

the editor's task more that of a compiler than of an original investigator. Most of

the material here presented has been gleaned from numerous standard works of

reference, such as those of Grove (Dictionary), Riemann (Musik-Lexikon), Gevaert

(Instrumentation), Weitzmann (History of Pianoforte-Playing), Stainer and Barrett,

Ambros (Geschichte der Musik), Paul (Handlexikon), Soullier "(Dictionnaire),

Helmholtz (Tonempfindungen), Niecks, The Century Dictionary, many English,

German, French, and Italian

periodicals and musical journals, etc.,
etc. Literal

quotations are duly credited to their sources ;

condensations and adaptations, how-

ever, are, for obvious reasons, not so credited, and must, therefore, be included

under this general acknowledgment. The information so gathered has been care-

fully sifted, and supplemented by the personal researches of over ten years.

Due credit should be given to Dr. William Mason for suggesting the Supple-

" lf

ment, containing an English-Italian Vocabulary for Composers ,

to which Dn

Mason also contributed valued additions.

 HINTS ON PRONUNCIATION.

ITALIAN. than in English, being prolonged

Vowels : and dwelt upon rather than forci-

General rule: The vowels are very bly marked,

sc like sh, before e and f,
open, and never to be pronounced "
z rfj
(very soft fo).
as impure vowels or diphthongs ;

they are long in accented syllables GERMAN,

which they terminate, short in
Vowels:
unaccented syllables, or in accented
The simple vowels
as in Italian J
ones ending with a consonant.
amare y like German * or 4.
a like ah or ah (never &) ; e.g.

[pron. ali-mah'-rfli], Modified vowels :

"
e ay in bay (without the vanish i}\ a a in bare, but broader /in bed.
like ;

/in bed ; a in bare (before r).

" 5 has no English equivalent ; long 9
i ee in beet ; i in bit i before a ;
can be pronounced by forming
vowel, like y (consonant). the lips to say ok and then
" t

o aw, or oh (without the vanish with the

saying d (as in bay)
6 in Opinion.
tl) ;
in the first position ; short
" win lips
u 00 ia boot; bull.
in bed) instead
0, by saying / (as
Consonants: of &
[N.B. Long o is the

French eu (in /?)]. ^

General rule ; Even the hard con-
ii has np English equivalent; pro-
sonants are somewhat softer' than
nounce long u by forming the
in English; the soft consonants
oo (as in boot), and
-
are very delicate. lips to say
then saying ee (beet) with the
b, d, f, 1, m, n, p, qu, s, t, v, as in
in the first position short ;
lips
English. / (as in bit) instead
u or another n, by saying
C like t, before a, o, t

consonant except c, as "below.

of ee.
[N.B. Long & is the

" ' French

c ch in chair before e or i; cc .]

like t-ch before e or i.

" Diphthongs :
g g hard before 0,0, tf, or another ai and ei like long I in bite.
consonant ; except before / (pro-
ae like a.
nounce gl like l-y [consonant], "
au <w in brow.
e.g. sugli, [pron. sool'-ye]),
and
eu and au like ri (more exactly atfrf,
n (pronounce #
like?? in caJion '

drawn
closely together).
[kan'-yon]).
" Consonants
z in azure (or a very soft j) be-
g :

fore e or i.
f, h, k, 1, m, n, p, t, as in English.
h is mute. b and d, beginning a word or syllable,
j like y in you. as in English ; ending a word
of tongue
r, pronounce with a roll (tip or syllable, like /and t respec-

against hard palate). tively.

Where a doubled consonant oc-
c like k before a, o, and ; like is

curs, the* first syllable is dwelt before *, ,

and &
in' ecco [pronounce but like * in azure in
upon; e.g. g usually hard,
ek'-ko, not ek'-o]. Accented words from the French and
take a less explosive stress which g is so sounded
.

syllables Italian in ;

* These " hints * are offered as an aid for

terminate, at the end of $. word,
tyros, and not in the least as an exhaustive let of
rules. wjth a >5-sound (e.g,
 HINTS ON PRONUNCIATION.

i or i like ee in beet ;
short I as in
j
like ^(consonant).
" to. English,
qtt i t .

or a harsh breath- as in Italian.

r either with a roll,
ii like the German &
ingt
8 beginning a word or syllable, and
Diphthongs;
before a vowel, like * (soft) ;

ai like ai in fair; but before Uinal, or

a word or syllable, like
ending as a diphthong
//, is pronounced
before / and /, begin-
sharp t; drawn closely together).
like $h (alf-eci
ning a word, usually aiandeilTke*.
shtum [ as
(e.g. sfomm, pron.
eu, eii and ceu like German
o.
in bull]) otherwise as in Eng-
;
01 like oMtf (drawn closely together).
lish.
ou and ou like oo in boot.
vlifce/ ,
.

eau like o long, without the vanish #.

w * v and w).
if (but softer, between Modified by a following n, m, nd, nt or
x " jb (also when beginning a word).
mt at the end of a syllable, the
2 " ft.
vowels and diphthongs are nasal
verbal ending of
Compound consonants : (exception,
ch is a sibillant without an English 3rd pers. plural).
when beginning a
equivalent ;
Consonants as in English, with the
or after t, z, fl, <?, , at, 1

syllable, following exceptions :

a, <?, and *, it is ^// (set like s in song before e, /, I, and
et, C t, t.

the tongue as if to pronounce rf, "

ch *h.
and breathe an h through it ; e.g. "
g 'in azure before e, /, ^ ^ and i.

Strith, pron. shtrtd-h); after as in Italian.

and MI, is hard gn
the treatment of initial h
it (a
a, 0, ,
h is mute ;

guttural )- cannot be explained here,

chs like x. i like z in azure,
'*
sch *&.
11 after i is usually sounded like Eng-
st, see j, above, and frequent-
lish;/ (consonant),
Sand
like t. the i (ee) ; e.g.
ly prolongs
Accented have% a forcible trawiller [trah-v&h-a, tran-
syllables ,

stress, as in English.
In com-

pound words there always a is

n see above; otherwise as in
/y nasal,
secondary accent( sometimes a
[The nasal effect is
),
English.
tertiary one('"), depending
on the
accurately obtained by sounding
number of separate words enter- n (or m) together with (instead
of the
ing into the composition of after) the preceding vowel ;

compound' word ; e.g, Zwi'sckwr

but the sound of e is changed
aktf"nudk", Bo'genhamf'merkla- to ah, i to & (in bat), and u
vier"'. The accent is
principal to eu.]
regularly marked Q
in this work.
m, nasal in certain situations.
r with a roll.
FRENCH, *
s-final is silent
ifcwels:
t-final is silent.
a as in Italian, but shorter, often ap-
er, et, es, est, ez, as final syllables,
proaching English & are like
pronounced <

a like ah.
c
" u in but ^-final is dmost silent Accentuation, The strong English
;

in polysyllabic words. stress on some one syllable of a

"
ay in bay, polysyllabic word is wanting in
e
u /in there. French ; the general rule issKf&tfy
" German and to accent the last syllable.
ti, always long.
 A
DICTIONARY
OF

MUSICAL TERMS.
A-ABBREVIATIONS.

A. Abbandonatamen'te )
(It.) In an im<
Abbando'no, con jpassioned style,
A* i. (Ger. A; Fr. and It. la.) The as if carried away by emotion subordi-;

sixth tone in the typiui diatonic scale nation of rhythm and tempo tc expres-
1
of C-major. ^"Le tone a (see Pitch, sion.
absolute) is that sounded by the oboe or c<
other fixed-tone instr. (pfte., organ) to
Abbassamen'to (It., abbr. alb.) Lov/>
"
for the other instr. s of ering indicates in pfte.-playing that
give the pitch
;

the orchestra or militarv band. 2. In one hand is to play below the other,
mus. theory, capital A otten designates opp. to alzamen'to...A. di ma'no, sink-
the A -major triad, small a the rt-minor ing of the hand in beating time ; A. di
the capitals, or vo'ce^ diminution (in volume) of the
triad. 3. In scores,
voice.
doubled letters (A a Z z), are often set
at the head of main divisions or at any Falling of the
at Abbattimen'tp (It)
critical point to facilitate repetition hand in beating time ;
the down-beat.
rehearsal, 4. As an Italian (or French)
Abbellimen'to) (It.) Embellishment,
preposition,
a (or a) signifies to, at, for, Abbellitu'ra ^ } ornament, grace;
by, in, etc. 5. Aft ajji a|j, see Sharp,
from abbelfrre, to embellish.
Flat, Natural 6. At the head of
etc., A means Abljetont (Ger.)
'

Gregorian antiphones, With final accent.

that the first mode
be employed, is to
Abbreviation (Ger. AbbreviatuS, Ab'~
7. In this Dictionary, an -a appended
to an Italian word signifies, that in the
kurzung; Fr. abrMation; It. abbrevia*
tu'ra.) [In this Dictionary, any key-
feminine form a is substituted for the
word recurring in the article which it
masculine termination 0.
heads will be represented by its initial
Ab (Ger.) Off (organ-music). letter or letters ; for instance, Abbassa-
Ab'acus harmon'icus (Lat.) i. A dia- *
menlo above by A. Also, various other
gram of the notes, with their names. abbreviations are used, such as abbr.
2. The structureand disposition of the for abbreviation, instr. for instrument,

digitals and pedals of a mus. instr. mus. for musical, ffte. for pianoforte,

Abandon Unrestrained abandon, opp. for opposed, etc.]

(Fr.)
ment to natural emotion ; avec a., same r. The commonest abbreviations^ of
as con abbandono* musical technical terms are the following :

A, See A.
Abb. Abbassamento

Ace. )
Accom. > Accompaniment
Accomp. J
Accres. Accrascendo
Adg,orAd, Adagio
Ad lib. Ad libitum
Aevia Alleluia
Affett. Affettuoso
Affrett. Affrettando
. or Agit . Agitato
ABBREVIATIONS.
 ABBREVIATIONS.

2. Abbreviations in manuscript or printed music by means of conventional signs.

64 8

(A) Of rests : \^m**\~^ I haJ I cgjl etc* (compare Rest).

(B) Of notes:
(a) Of single notes.

(Triplets.)

(b) Of doubled notes (see Tremolo), [Note to (b). When the abbreviation
consists of two consecutive notes, the sum of the notes in the solution is equal
to only one of them, unless specially marked.]

[pianoforte] [violin]
 4 ABC, MUSIKALISCHES-ABGEBROCHENE KADENZ.
(c) Of figures and phrases,
or

mmz/^ [or segue] simile

(Also compare Arpeggio, Bis,

r, Simile, Ter, Tremolo.)
AB C, masikalisches (Ger., "musi, settled or recognized
A ^1
' J" ~
** AlPh*&fa*ltation. to that of the
form, especially
neo-German school.
to use, in
singing exer- Ab'fallen (Ger.)
tj
ir-names of the notes. To deteriorate said;
of any
part of the compass of an instr.
t(Gr.) Evening bell, cur- or voice
7ifl/, evening song.
showing a falling-off, in quality
or volume of
" tone, as compared with
1
(Ger., Adventurous. ') other parts.
A^catenerlich
Grange, singular, uncoath ; an epithet
sometimes applied to music Kadenz' (Ger.) See
having no
 ABGELEITET ACCENT. 5

Ab'geleitet (Ger.) Derived, derivative. Ab'stossen (Ger.) To play staccato, to

See Strophe. detach. .
.Ab'stosszeichen, staccato-mark.
Ab'gesang (Ger.)
staccato. Abstrak'ten (Ger.) Trackers.
Ab'gestossen(Ger.) Detached, ' '

To slip or slide any Ab'stufung graduation. ") The

(Ger. ,
Ab'gleiten (Ger.)
the keyboard, from a black shading of a passage or piece, either
finger, on
to the next white one. emotionally or dynamically.
digital
Hebrew Abun'dans (Lat.) Superfluous.
Ab'hub, abub. wind-instr. re-

sembling the cornet. Ab'wechseln (Ger.) To alternate ; mit

Ab ini'tio (Lat,) Same as Da capo.
ab' wechselnden Manua'len, with alter-

Abbreviation. nating manuals.

Ab'kiirzung (Ger.)
A
Ab'weichtmg (Ger.) variant a differ-
Ab'leiten (Ger.) To derive from. ent reading or notation
;

specifically,;

Ab'losen (Ger.) To change fingers qui- the measure or measures marked secunda.
or organ.
etly on a digital
-of the pfte. wlta in a repeat.
Ab'nehmen, Ab'nehmung (Ger.) Dimi- Ab'ziehen (Gen) i. See Abgleiten.2.
nuendo. To unstring (in the sense of taking off
worn-out a
Abre"g6s (Fr.) Trackers. strings) violin, harp, etc.

Ab'reichen (Ger ) In violin-playing, to Ab'zug (Ger.) i. See Abgleiten.z. The

take a tone by extending the little fin- lifting of the fingers in playing wind-
or by drawing back instr.s, or of the bow from the strings.
ger (see Extension),
the forefinger. Acathis'tus (Gk.) In the Gk, Church, a
1

Ab'reissung (Ger.) See Abruptio. long -canon or hymn in praise of the

" Virgin, sung by all standing.
Abrup'tio (Lat. a breaking-off.") The
sudden stopping of a melody before Accarezze'vole )
(It.) Caressful-
Accarezzevolraen'te )
reaching the actual close, it being con- ly, caressingly,
tinued after a pause. coaxingly.
" "
Ab'satz (Ger,) i, A thematically or Accelerando (It.) Accelerating,
rhythmically 'well-defined division of a gradually growing lz$\vc... Acceleratio^

piece or movement. 2. melodic A

accelerated, livelier.

phrase. Accent. (Ger. Accent*, Beto'nung ; Fr.

Ab'schwellen (Ger.) Decrescendo. accent; It. accen'to.) I. The natural
stress or emphasis regularly recurring
Ab'setzen (Ger., "to lift from".) To
,

on certain tones in each measure, called

Strike two digitals in succession with the
the grammatical, metrical, or regular
accent ; e.g. that on the first beat in
same finger, to lift ; e.g. (fl)
p-"r every species of time

Absolute Music. In contradistinction

to
"
program-music," which is supposed HBE r nr r
or intended to express (depict, portray)
and on the third beat
something tangible, absolute music (primary accent),
subsists in and for itself, without being in triple or compound duple time
in any way derived from concrete con-
ditions or objects. Program-music
seeks its inspiration in poetry, in art,
in living realities ; absolute music is
itself the inspiration, awakening emo- (sub-accent). 2, The monotony of the

tion through emotion without the in- regular accent is varied by the rhyth
mical accent, which brings out mpr*
terposition of or definite interpretation musical dm
by the intellect, infecting and influenc- prominently the broader
sions of a composition by special cm
ing the soul directly.. .Absolute Pitch,
see Pitch. phasis at the entrance or culminating
points of motives, themes, phrases,
Ab'stammen (Ger.) To be derived from.
the rhythmical
passages, sections, etc.;
Ab'stand (Ger.) See Tonabstand. a. is nearly synonymous with the
Ab'stimmen (Ger.) i. To tune. 2. To patheticor a., as an aid in inter-
poetic
lower the pitch (of instr.s).. .Ab'siim* preting the meaning
and making plain
the construction of a work. 3. An ir-
mtnd, Ab'stimmig, discordant, dissonant
 ACCENTOR ACCORD.
laid
upon any tone o a or chord-note being
regular stress melody-note
beat at the composer's pleasure, is th struck with the latter, but instantly
rhetorical or esthetic a. , indicated eithe released :
o
by a special sign (sfz.fz, >, A), written :
played :

of the natura
by an interruption
flow (syncopation), whereb
rhythmical
the natural a. is thrown back to a
otherwise less accented or non-accente
beat 4. See Accentus. 5. An obso
2. Same as short appoggiatura. 3 (in
lete harpsichord-grace resembling th Ger. usage). Same as Acciaccatur.
appoggiatrura ;
Accident (Fr.) Accidental.
Accidental. (Ger. zu'falliges Verse'-
tzungszeichen ; Fr. accident, or sight
accidents I; It. acdden'te.) chro- A
matic sign not found in the signature;
:
set before a note in the midst of a com-

ig.
CrlCF4t^P position. (See Chromatic Signs.)

Accen'tor. The leading singer in a choi Accolade (Fr.) Brace.

or vocal performance. Accompaniment (Ger. Beglei'tung; Fr.
Accentuie'ren (Ger.) To accent, , . accompagnement ; It, accompagna*
centoae/ier Durch'gang, a passing-note men'to.) The
accessory part or parts
or -chord on a strong beat* attending the voices or instr.s bearing
the principal part or parts in a musical
Accen'tus (Lat) In the R. C. Church
that part of the service which is chanted composition. Its intention may be to
enhance the general or to steady
effect,
-or intoned at the altar by the officiating
the soloists either as regards rhythm or
priest and his assistants ; opp. to Cm-
pitch. Either one or more instr.s, or a
centus* the part taken by the choir,
vocal chorus, may carry out an ace. An
Accen'tus ecclesiastic! (Lat.) The ace. is ad li'hitum when the piece can
musical inflections observed in intoning be performed without it, and obbliga'io
the gospels, epistles, etc., correspond- when of vital importance to the latter.
ing to a certain extent with the punctua- Acc m of the scale, the harmonies as-
tion.There are 7 accents (r) accentus :
signed to the successive tones of the
immutaftilis, the voice neither rising
f ascending or descending diatonic scale.
nor falling ; (2) a, me dius y falling a Additional
tf^ J (3) & gra'vis* falling a fourth accompaniments y parts
; added to a composition by some other
(4) a. acvflus, first fallinga third, then than its original author.
rising to the reciting-note ; (5) a. mode-
reftus, first rising a second, then fall- Accompanist. (Ger. Beglei'ter; Fr. x

ing to the reciting-note ; (6) a. inter-
rtigati'vusr at a question, first falling a
second, then rising to the reciting-note
accompagnatiur m., *trice f.; It. ac+
compagnato'rem.,-tri'ce f.) One who
executes an accomp.
;

(7) #. fwjflis, falling at the end of a Accompany. (Ger. begin' ten ; Fr. ac-
sentence by a fourth, by a diatonic pas- compagner ; It. accompagna're?) To
sage through the intervening tones. perform an accompaniment.
Accessis'ten. (Ger.)
"
Unpaid choir- Accoppia'to coupled.") Tied. * .
(It.,
singers, supernumeraries. Accoppiamen'to, pedale di, see Pedal,
Accessory note. In a trill, the higher sustaining.
auxiliary. .ccord (Fr.)
I. chord. A
A. a Vou-vert,
chord produced by sweeping
Awacca'to,-a{It.) Vehemently. only open
Acciaccatur' (Ger.) In
organ-playing,
strings,.. A
fondamental, or nature!,
fundamental chord... A. parfait
the doubling by lie left hand of the (or
f
chord on the dominant, its resolution
triade
karmonique\ common chord,
triad... A, plaqu/, a solid chord (not
to the dominant chord
being effected f
arp eggio d). . .A. 1

renverse*, inverted
by the right nand alone. t ,

chord. 2, Tune (i.e. the state of being/

Acciaccata'ra (It) x, (Ger. Zusam'- in tune). .Etre d* accord, to be in tune.
.

wnschkg; Vr.fincJ ttwffQ grace A ,

3. Accords (pi., poetical). Strains,
OB keyboard instns, the semitone below
^harmonies. 4. Accordatura,
 ACCORDABLE-ACOUSTICS.
" "
Accordable (Fr.) Tunable, that may be &., coupler.
"
.
.Accouplez> couple,
tuned. (i.e. draw coupler^).

Accordamen'to (It.) Accordance ;

con- Accrescen'do (It.) Same as Crescendo*

sonance. Accrescimen'to (It.) Augmentation (of '

>
a fugal theme). Pun' to d cccr. t ^Q\.
Accord'ance. An English equivalent
. .

of prolongation (J.).
for Accordatura ; used in GROVE, vol.
IV, 187^, l.Q-io, and foot-note.
p. Accresciu'to (It.) Augmented,
Accordance (It.) Accordant, in tune, Aceta'bulum. Latin name for an an-
.tuned together ; applied also to comic cient Gk. instr., of percussion. The
scenes in which the tuning of an instr. acetabula were earthen or metallic ves-
or instr.s is imitated by the orchestra. sels struck with sticks, like a carillon,

Accordant (Fr.) Consonant. or clashed together, like cymbals.

Accorda're (It.) To tune, tune to- Acht (Ger.) Eight. .Achtf&ssig, 8-foot .

gether. ...Achtfstimmig, in or for 8 parts,-

Accordato'io (It.) Tuning-key, tuning- 8-part
hammer. An
Ach'tel, Ach'telnote (Ger.) eighth-
Accordatu'ra (It.; see Accordance.} note. ,
.Ach'tetyause^ eighth-rest.
The series of tones according to which
a stringed instr. is tuned ; thus^v/ -^
1 1
- Ac'ocotl. A wind- instr. of the Mexican
aborigines, consisting of a thin tube
8
is the a. of the violin.
'
or 10 feet long made of the dried stalk
Accorder (Fr.) To
accorder,tune. . . S of the plant acocotl, and played by in-
to tune together, get the pitch (as an haling the air through it. (Also called
orchestra). Ckrin.)
Accprdeur i. Tuner. 2. The
(Fr.) Acoustic color. The timbre (character
monochord. 3. A small instr. contain-
or quality) "of a mus. tone.
set on a sound-
.

ing 12 steel tuning-forks

board and yielding the 12 tones of the Acoustics. (Ger. Aku'stik ; Fr. acaus-
scale. tique ; It. acu'stica.)
The science of
equally tempered
4
the properties and relations of sounds.
Accor'dion. (Ger. Accor 'deon> Akkor*- i. Musical acoustics, the science
'

dion, Zieh'harmmika; Fr. accordton; of mus. tones, distinguishes between

It. accoSdeon.) A
free-reed instr. in-
tones and noises. tone of sustained A
vented by Damian, of Vienna, in 1829. and equal pitch is generated by regular
The elongated body serves as abellows, and constant vibrations of the, air, these
which can be drawn out or pushed to-
being generated by similar vibrations
the bellows is closed at
gether at will ; in the tone-producing body ; whereas a
either end by a keyboard, that for the noise is caused by irregular aftd fluctu-
a diatonic (or incom-
right hand having ating vibrations. Briefly, "the
sen-
plete chromatic) scale, while that for sation caused by a tone is produced by
the left has 2 or more keys for harmonic
rapid periodic movements ;
that caused
"
bass tones. There are two sets of
by a noise, by imperiodic movements
reeds, one sounding when the
bellows But a sonorous or tone-
(HELMHOLTZ).
is opening, by suction, the other
when vibrates not only as a
producing body
it is closing, (Compare Concertina.) whole, but in its various fractional parts
Accor'do I. A chord... A* con'- as well. Take a pfte.-string, for in-
(It.)
sono (di$'sono\ a consonant (dissonant) stance ;
when struck by the hammer it

vibrates, not simply-as a whole in

its
chord, 2. An instr. formerly used in
the bass viol, having entire length, but each half, each , i, J
Italy, resembling as
etc., of the string vibrates by itself,
from 12 to 15 strings, and played with
a bow in such a way that several strings it were (comp. Node), and produces a
were caused to vibrate at once em- ;
tone of a pitch corresponding to its own
thus, produces, be-
harmonies were length the ^string
ployed where powerful
;

modem sides the fundamental tone or generator,

required. (Also called the lyre,
its twelfth g
and Barbary C, its octave c ft of string),
lyre?)
J), fifteenth
^ (i), seventeenth $ (J5,
tun- 1
The points of rest
Aqcordoir (Fr.) Tuning-hammer, nineteenth^- (J),-etc.
or -horn.
ing-key ; (org.) tuning-cone in the string (or other tone-producing

To . . Tirant body) where such vibrating portions

Accoupler (Fr.) couple,
 ACOUSTICS,
of the composite
meet, are called nodes, or nodalpoints; being considered parts
tone (clang) named after the generator.
the tones produced by the vibrating di-
visions are called harmonics, or
over- The series of partial tones may be
as follows, numbered
tones; and the entire series, including given in notes
the generator, are called partial tones, consecutively from C upward

*> & 8 10 ii 12 13 14 15 16
4 5 9
7
C: I- Ill (= major triad).
* are only approximately
(Notes marked correct.)

The intensity of the harmonics ordin- difference, 2, represents the number of

as their pitch beats per second, a beat being the pul-
arily decreases rapidly
becomes higher. sation or throb caused by the coinci-

2. The harmonics are important in dence of, consequent momentary

arid

Their presence in increase of the intensity in, the sound-

many ways, (a)
waves of the two tones this coinci-
varying degrees of intensity produces
;

the timbre peculiar to the several instr.s; dence recurring regularly at every 22ist
thus the tone of the stopped diapason vibration of the first tone and 220th
are weak, is soft vibration of the second. As soon
(organ), in which they
(b)

and "hollow"; the tone of an old as the number of beats per second

violin, in which the lower harmonics

are
well-developed and evenly balanced,
is
mellow, round, and sonorous; that of the
trumpet, in which
the high dissonant
harmonics also make themselves
is ringing, "metallic," and
(Compare Scale.). (b) On
instr.s they yield an additional and
highly characteristic register (see Har-
monic 2). {*) On wind-instr.s, from
which they are obtained by varying the
intensity and direction of the air-cur-
rent, they are indispensable for extend-
ing and completing the natural scale ;
thus the bugle and French horn, which
yield but one fundamental tone (without
keys or valves), depend entirely on the
harmonics for the production of their
scale ; the flute depends upon overblow-
ing, which produces the harmonics of
Its tube, for its upper register;
etc. (d) Musical theory owes highly
amounts to about 32, the ear no longer
distinguishes them as separate throbs,
and they unite to form a very low tone
(32 v. = Ci), called a combinational,
felt, summational) or resultant tone; in fact,
brilliant. the various combinations of interfering
bowed vibrations produce, in their different
combination, a series of harmonics, the
lowest and chief among which is always
the generator of the series to which the
two original tones belong. Thus, accord-
ing to Tartini, the interval ^
produces
the following series of resultant tones ;
^ =^
1
etc.
(<:)
In the series of partials given in
etc., i, those belonging to the major scale
of the generator C are written as half-

important discoveries to the investiga- notes ; the consonance of the major

tion of the harmonics, of which discov- triad is derivable from and based upon
eries practical music in turn reaps the the principal partial tones. In like
benefit (improved construction of many manner, the consonance of the minor
instr.s).(Comp. Scale.) triad is derived from a reverse series of
3. By sounding two tones together, lower partials, the existence of which
various phenomena are produced, (a) 2 is proved by the phenomena of
sympa-
tones of the same pitch produce thetic vibration and of the resultant
nearly
beats. E. g, if the one makes 442 vibra- tones. In this series of lower partials
tions per second and the other 440, the (undertones),
 ACT JEOLIAN ATTACHMENT.

the numerals also represent the relative movement (comp. Tempo-marks)*** A.

length of the strings necessary
to yield assa'i, A. mol'to^ very slow... ntm A
the several tones ; while in the series of tan'to, n0nmoIfo,KQt too slow. . .Adagio

higher partials (overtones)

the string- adagio t very slow. ..Jf
the simple
lengths are represented by
fractions formed by the numerals. (d) Adaptation. Same as Arrangement.
From the relative number and import- Adagio (It.) Same as Adagio.
ance (intensity) of the first 6 partials in Added sixth. See Sixth.
either series, it follows, that the only
consonant chords are the major and Addita'to (It) Provided with a finger-
minor triads^ and that the only conso- ing, fingered.

nant intervals are such as are derived Addition. * Obsolete term for the dot
from these chords or their inversions ;

the addition of any further tone, either Additional accompaniments.

found in or foreign to the series of par- . ..Ad-
produces a dissonance.
tials, ditional keys, those
above /*
Act. (Gen Akt, Aufzug; Fr. acte;
It. at' to.) One
of the principal divi-
Addolora'to (It.) Plaintive ; in a style
sions of a dramatical performance.
expressive of grief.
Acte de cadence (Fr.) A
progression
Adi'aphon. See Ga'belklavier.
in one of the parts, particularly the
bass, which forces the others to join Adi'aphonon. A keyboard Jnstr. in-
either in forming a cadence, or in avoid- vented by Schuster of Vienna in 1820.

ing one apparently imminent. Adira'to (It.) Angry, wrathful.

Actin'ophone. An apparatus for the Ad'junct. Closely related, as one key 01
production of sound by actinic rays. scale to another. .A. note^ an auxiliary .

Action. (Ger. Mecha'nik; Fr. note, unaccented, and unessential to

It. In keyboard the harmony.
nique; mecca'nica.)
instr.s, the mechanism
directly
actuated Ad'juvant. The cantor's assistant, as

by the player's finger, or set in motion sistant teacher.

by the organ-pedals. In the harp, the A'dler (Ger.) An obsolete organ-stop.

fiction (pedals) does not directly produce
Ad libitum (Lat., "at pleasure," "at
the sound, but effects a change of key
will") A direction signifying (i )
that the
by shortening the strings, whereby chro-
matic alterations of a semitone or a performer is free in choice of expression
or tempo ; (2) that any vocal or instru-
whole tone result. (See Pianoforte, mental part so marked is not absolutely
Organ.) essential to a complete performance of
Act-tune. Music performed between a piece. . . Caden'za ad lib. thus means,
the acts of a drama ; an entr'acte. that a given cadenza may be performed'
" In the or not, or another substituted, at the
Acu'ta (Lat., sharp, shrill.")
organ, a mixture-stop having 3 to 5 executant's discretion.
ranks of from if to I foot, usually in- Ad lon'gam "
with the long. *) A
1
(Lat,
cluding a Third ; its compass is higher term applied to certain ancient church-
than that of the ordinary Mixture. music written entirely in equal notes,
Acu'tae elates (Lat.; also acuta loca> generally the longest in use.
acute voces!) Literally, acute keys
*
Adornamen'to (It.) A grace.
(pitch, voices) ; the tones from a
to g
inclusive ; so termed by Guidod'Arezzo.
Adquis'ta or adsum'ta (vox) (Lat,
M the added
tone.") The lowest tone
Acute* (Ger. scharf^ hock; Fr. aigu; of the scale, the Proshmbvnom'enos.
It, actfto, ) High in pitch, sharp, shrill ; See Harmonium.
said of tones ; opp. to grave.
-dEolharmon'ica. See Seraphine.
Acutez'za (It.) Acuteness; sharpness
^Eolian attachment. An attachment
(of pitch).
to a pfte. for directing a current of air
Acu'tus (Lat.) See Accentus eccl, 4.
against the strings, reinforcing thejr vi-
Adagiet'to (It) i. A movement slightly bration and thus prolonging and 'sus-
than adagio. 2. A short Adagio.
faster taining the tones,.. Molian harp or
" A slow
Ada'gio (It, slow, leisurely.") lyre. (Ger. A'okkarfa Wind'-. Wtt*
 10 JEOLINA-AGGIUSTATAMENTE.
- or Gd'sterharfe; Fr. harps eous syncopation, or "deviation from
"
the natural order of the measure, in
A stringed Instr sounded by the wind all the parts.

It consists of a narrow, oblong wooden AEVIA. A frequent abbr. of Allelui&

resonance-box, across the low bridges in MS. music of the middle ages.
at either end of which are stretched gu
Affable (It.) Sweetly and gracefully,
strings in any desired
number and o
gently.
different thickness and tension, but al Affanna'to (It.) Uneasily, distressfully.
producing the same fundamental
tone
When adjusted in an appropriate aper Affannosamen'te (It.) Anxiously, rest-
tare, like a window through which the , lessly .Affanno'so^ anxious, restless.
, ,

air passes freely, the latter causes the Affet'to tender-

(It.) Emotion, passion,
if the
strings to vibrate and to produce, ness. ..Con #., Qiaffettuosamen'tei ajfet*
tension be properly adjusted (rather
tuo'so, with emotion or feeling, very
slack than otherwise), full chords com
expressively. (Compare Innig.)
posed of the harmonics of the funda-
mental tone common to all the strings ;
Affezic/ne, con (It.) In a style express-
ive of tender emotion.
and rising, according to the force of the
wind, from pure, dreamy, deliciously Affilar' (or filarO il tuc/no (It.)
In the
Italian school of singing, to produce a
vague harmonies to a plaintive wail or
a thrilling forte...&olian modt^ see long-sustained and uniform tone near- ;

Grrtek music. , .Mdian piano, see ly the same as metier la voce,

messa di
wee, except that with these a crescendo
or decrtscendo is usually to be combined.
JEoiina, I. A
small instr. consisting of a
Affinitd (Fr.) Affinity, relationship.
graduated series of free reeds set in a
petalplate and blown by the mouth Afflifto (It.) Melancholy, sad...
; 4^
invented by the Messrs. Wheatstone in zio'ne, con, sorrowfully, mournfully.
1829. As the first practical attempt to Affrettan'do (It.) Hurrying (stringendd)
tise free reeds in this way, it maybe re- . .
,AJfretto'$o> hurried (fi& mosso).
garded as the precursor of the accordion After-beat.
and melodion. The Germans, how- (From Ger. Nacttschlag;
Fr. note de contpldment^ terminaison.)
ever, claim the invention for Eschen-
An ending added to a trill, comprising 2
bach, of Hamburg, about 1800. 2. An
notes, the lower auxiliary anc) the main
organ-stop constructed on the same note ; compare Trill.
principle as the above, without (or with
very short) pipe-bodies, and of very After-note. I. Occasional for unae*
soft tone. cented appoggiaiura. 2. The unac-
cented note of a pair.
. A keyboard instr. em-
Nach'sMagenJ
bodying the principle of the JEolina, After-striking, (Ger.
-
and thedirect precursor of the harmo-
The reverse of anticipation by the
nium. (Also JEolodion, KlavdoK'ne. bass; e.g.
,.A further modification was the
etc.).
Mokmel</duon> invented ty Prof.
Hoffmann of Warsaw about 1825, ih
which short brass tabes were a4ded to
the reeds.

^Eolopaa'talon. An ^Eolomelodicon
combined with a pfte., constructed
about 1830 by Dlugosz of Warsaw. (Compare Anticipation)
(Ger., from Lat. agen'da.) Bre-
Aeqnal' (Gen) Formerly, an independ-,
cnt 8-foot prgan-stop 4
viary, more especially of the Ger. Re-
(Aequal 'stimme) \
still used as formed Church, containing in regular
prefix to names of organ-
'
order the formularies, prayers,
stops, indicating that they belong to respons-
the standard 8-foot registers, as
Aequa?-
es, collects, etc., employed in religious
exercises.
prinzipal^ etc.
jEquiso'nus (Lat. ; Ger. dquison') Uni- AgeVole (It.) Easy, light.. .AgevokJ.
son (of either primes or za, con, easily, lightly.
octaves).
JEquiva'gans (Lat.) Denotes simultau
Agiustataraen'te (It.) Strictly in time
 AGGRAVER LA FUGUE-ALLEGRETTO, xi

Aggraver la fugue (Fn) To aug- Ajoute,-e (Fr.) Added. (See Ligne, Six.
ment the theme of & fugue. 4
' "
te.\ . .
Ajoutez, add (organ-mus.) ;
Agiatamen'te (It) abbr. ajout.
Easily, indolently
Agilitt' (It.}) Agility, sprightliness, vi- Ajuster (Fr.) See Accorder.
Agilit^ (Fr.)j vacity; con a., in a
light and lively style.
Akkord' i.(Ger,) A
chord... Akkonf*
A
passage, arpeggio. . . kkord''zither, the
Agilmen'te (It.) Nimbly, lightly, vi- A set of several instns
autoharp. 2.
vaciously. of one family, but different in size,
Agitamen'to (It.) Agitation.;. Agita- as made from the 15th to the i8th
tamen'te, conagitazio'ne, excitedly, agi- century (cornp^ Engl. chest or consort
tatedly. .Agita'to, agitated ; a. con pas-
.
of viols). (Also
Stimm'werk)
sio'ne, passionately agitated... Agita- Akkor'dieren (Ger.) r. To tune an
zio'ne, agitation.
reference to the harmony of
jnstr.,with
Ag'nus De'i (Lat. "Lamb of God.")
t its
principal chords. 2. To- get the
Closing movement of flie mus. Mass. pitch (said of the orchestra),
Ago'ge (Gk.) The order, with refer- AkroamVtisch (Ger.) Pleasing to the
ence to pitch, in which the tones of a ear said of music depending more up.
;

*
melody succeed each other.. .A. rhytkf- on outward effect than on depth.
mica, their succession with reference to Akt (Ger.) Act.
accent and rhythm ;
tempo.
Aku'stik (Ger.) Acoustics; akufstiseA,
Ago'gik (Ger.)Theory of the tempo acoustic.
rubato...Ago'gisch, relating to such de-
viations from the Al (It.) To the, up to the, at the, ia
teEB$o...Ag*fgi$cher
Accent* (RIEMANN), a etc.../// al (or alia) fine,
sign(A)over a the,
note indicating the slight pianissimo to the end
prolongation
of its value required, in certain
rhythms, Albertischer Bass (Ger.) Albert!
to mark the
culminating point of the bass* (See JBass.)
measure-motive.
Alcu'no (It.) Some, certain.
Agraffe'. Inthepfte,, a small metallic Alexandre
organ. See American o#*
support of the string, between bridge
and pin, serving to check vibration m
that part Al'iquot (Lat.) Forming an exact mea-
sure of something ; a- factor, or even
Agr&nens (Fr., pi.) Harpsichord- &\<xx...A'liquotflilgel (Ger.) A
graces.
grand piano, invented by Julius Bltith-
Acute ; also used ner of Leipzig, the tone of which is
Aigu, ai^uS (Fr.)
reinforced and enriched by an addition-
substantively, e. g* passer de Faigu au
grave.
al sympathetic string stretched over,
and tuned in the higher octave to, each
Air. (Gex.MebdiSt Wei'se, Sing'tveise ; unison. These added strings are not
Fr. air, mtfodie; It. atria?) I. A struck by the hammers, and are called
rhythmical melodious series of single A' liquotsaiten. ..A'liquottheorie, theory
tones in a metrical
(symmetrical) group- of overtones produced by the vibration
ing easily recognizable by the ear a of strings or of wind-instr.s.
; Such
tune or melody. 2. The highest overtones or harmonics are called A'li*
part
in a harmonized
composition. . . Nation- quottone.
al air, a melody become
thoroughly
All', al'la (It.) To the, at the, in the;
popular through long usage and pecu-
in the style of.
liar fitness,
recognized as a national
emblem, and performed at public festi-
Allabre've (Ger.) See A Ha breve, under
vals, etc. Breve. .Allabrefvetakt, alia breve tim.
.

Air (Fr.) Air, melody, tune also song,

;
Allargan'do (It.) Same as Largando.
as Airs a boire,
drinking-songs. . .Also, Allegramen'te (It.) Nimbly, lightly,
instrumental melody, as air de yiolon, vivaciously.
deflate ; air de ballet 1 de danse, etc. . .
',
short Allegretto ; A
Allegretti'no (It.)
Also, aria air d^tache, any single aria
also, a movement slower than alle-
;

taken from an opera.

gretto.
A1s(Ger.) A#. ^'IJW.AX. Allegretto (It. f abbr. all* .) Dimin.
 12 ALLEGREZZA-ALPHABETICAL NOTATION.
of allegro; moderately fast, lively wood. The scale of the tube is nar-
faster than andante^ slower than allegro row, and the tones produced are its
Liveliness, vivacity.
natural harmonics. The alpine herds-
Ailegrez'za (It)
men use this horn to play the Ranz des
Altegris'sirao (It,) Superl. of allegro vackes and other simple melodies.
extremely rapid, as quick as possible
Alphabetical notation. Any method
of writing music which uses the letters
AHe'gro (It., abbr. all*.) Lively , brisk
of the alphabet, The earliest known
rapid. Used substantively to designat
method was the ancient Greek, which
any rapid movement slower than pre
sto...^. tfjjfl'i, a, di
moio+ very fas employed two parallel series of letters,
one for vocal and the other for instru-
(usually faster than the foregoing move
mental music, the letters being various-
meut)...^.
di bravu'ra, a technically
ly inverted, accented, or mutilated to
difficultpiece or passage to be executec
indicate the several octaves and chro-
swiftly and boldly, .A. giu'sto, amove
.

matic tones. This method was retained,

ment the rapidity of which is conformec
to the subject.. . A. risolu'to^ rapidly anc
down to the roth
at least by theorists,
century (see Neumes\ when the begin-
energetically; etc., etc.
nings of a new method appeared, em-
AJlein' (Ger.) Alone.
ploying the first 7 letters of the Latin
Alleluia (Hebr.) Lit. "Praise ye the
1
alphabet A B C DEF for theG
Lord,* an exclamation closing various major diatonic scale now
represented
Psalms, or introduced in their midst by C DEF G A
B, and repeating
Taken, by the early Christian Church the same series for the higher octaves.
from the ancient Hebrew ritual, it de- These Latin letters were at first used
veloped into the long jubilations (see for instrumental notation
(psaltery or
Jubilatio] of the early middle ages (on rotta, later the organ). Their significa-
the vowels AEVIA), to the melodies of tionwas soon altered, however, to con-
which were set, after the adoption of form to that of the earlier Greek sys-
the cantus phnu^ special words. (Also, tem (minor), the series then
agreeing
with our present one ; the' Greek r
Allemande (Fr.; It. alternantda.) I. (Gamma, G) was added as the lowest
A Ger. dance in 3-4 time, like the
1
tone, and the octaves above I were
L&ndltr.z. A lively Ger. dance in written ABCDEFG abcdefg aabbccdd
2-4 time, 3. A movement in the etc.
"ffgg (or
ll l\ etc.) ; though
Suite, either the first or immediately
following the prelude, in 4-4 time and sometimes, instead of small letters, the
moderate tempo (andantino), commenc- capitals ran on (HIKLMNOF), in
ing with a short note in the auftakt. which latter system A was equivalent
4. A figure in dancing. to our modern
C, as at first. Arbitrary
innovations led to great confusion in
Allentamen'to (It.) Same as Rallen-
the alphabetical notation, which was in
tando* (Also allentan'do, allenta'to.)
realityrendered superfluous, as a me-
ATte Sai'ten (Ger.) Same as Tutu thod of writing music, by Guido d'Arez-
corde*
zo's invention or systematization
(about
AU'gemeiner Bass (Ger.) Thorough- 1026) of line-notation (see Notation).
bass. (Now General'bass?)
,

When letters were used, without staff-

Altaahlich (Ger.) Gradually, by de- lines, instead of neumes, they were
grees. (Also allm&hfKjr, allma'lig.) often written above the words in this
Allonger 1'archet (Fr.) To prolong wise;
(the stroke of) the bow. O-f EE E E
C
ASo'ra(It.) Then.
Ahaain', Almaad', Almayne'.
as Allemande.
Same 4
>D
//CD/F /D /

Qui tol -
Us fee - ca - ta
ATpetthorn, Alpliorn (Ger.) The
alp-horn, an instr. made of strips or i.e., in notes :

staves of wood firmly bound

together
to form a conical tube from
3 to 8 feet
long, the bell slightly curved upward,
and with a cupped - - Us pec
mouthpiece of hard Qui tol - ca * ta
 ALT-AMBROSIAN CHANT.

ascending or descending as the voice
was to rise or fall. Our present theo
retical division of the octave is
found fully developed in the works of
Praetorius (1619) ; side by side with
which the old method of writing music
(A-G, a-g etc.) still occurred, until the
various systems of tablature were given
up (comp. Tablaturt).
longer used in practical mus. notation,
except by Tonic Sol-fa, in which, how*
ever, they represent no fixed pitch, as
formerly, but are mere abbreviations oJ
the movable solmisation-syllables. In
modern theory, letters are variously em-
ployed (comp. Pitchy absolute).
Alt (Ger.)Alto (voice or part). ..In
compound words, the alto instr. of any
term being reserved for the lower alto
voice). Ordinary compass from g to
firs
which, in voices of unusual
range, may be extended
down to d and up to
A
/*, or even higher. a. high head-
voice in men (It afti natura'li) for-
merly cultivated for the performance
Letters are no of church-music (in England for secu-
g, glees), but now
lar music as well, e.
generally superseded by the female alto
or high tenor. 3. (Ger. Bra'tsche, Alf-
viok; Fr. alto> quinte^ basse de violon;
It. a?to> vio'ta.) The tenor violin, or
viola.
Al'to,-a (It.) High...0/fo'w alia, an
octave higher. ^Altavicfla^ tenor violin.
.Atto basfso, an obsolete variety of
.

family, as Atfgtige, Atfhorn, Alt?- dulcimer, consisting of a square wooden

klarinttte, Alfoboe, AWviolc, etc. box set on legs and strung with gut. It
(Engl.) Hence, the same employment was generally employed to accompany
in English usage [alt-clarinet, alt- simple melodies played by the performer
horn].. .Notes "in alt" are those of on a flageolet held in his right hand, the
the next octave (//*) above
/ left striking the strings,
_ ; notes in the octave above Alto-clet
" SeeC/*/.
: this are said to be in altis-
Alt'posaune (Ger.) Alto trombone.
simo",
Al'tro,-a (It,) Other... Altra vol'ta,
Aitera're (It.) To alter, change. "encore!"
Altera'tio (Lat.) See Notation, 3. Alt'schltissel (Ger.) Alto-clef.
Alteration, i. Same as Alteratio.z. AltMole
(Ger.) Viola.
Chromatic alteration of the pitch of a
note.
Alzamen'to or (It.) raisingA lifting
(opp. to Abbassamento). Abbrcv. Alt.
Altera'to (It.), Alter* (Fr.) Chromatic-
Ama'Mleflt) Sweet, tender.
ally altered.
Amare'vole (It) Bitterly, mournfully.
Alterez'za (It,) Pride, loftiness. Con
(Sometimes written mistakenly for A mo*
a.) in a lofty and dignified style.
riwle, lovingly.). .Amaresfza, bitter-
.

Alternamen'te con a., grievingly.

(It.) Alternatively... ness, sadness ;
Alternantdo, alternating.
Amateur (Fr.) A
"lover" of art, who,
Alternative (It.) See Trio 2. while possessing an understanding for
Alt-horn* (Fr. saxhorn alto; Gen Atf- and a certain knowledge of it, does not
horn.) One of the Saxhorns. pursue it as a profession.
Altieramen'te (It.) In a lofty and ma- Ambitus (Lat,) Compass.
Ambrpsian chant. The style of church-
jestic style.
Alti natura'li (Lat.) Natural (male) music introduced by St Ambrose (d.
altos, or counter-tenors. (See Alto.) 397) from the Eastern Church, and
Altis'simo established by him in the cathedral at
(It.) Highest. (See/4#.)
Alti'sta An Milan, towards the end of the 4th cen-
(It.) alto or contralto
tury. It was based on the 4 authentic
singer.
modes
Alfklausel (Ger.) The leading of the de fgabe d 1 1

alto part in a perfect close.

Alto. I. (Fr. haute-contre / Gen

Alt,
Alfstimmcjlt. afto.) The deeper of
the two main divisions of women's or and was thus essentially diatonic, al-
boys' voices, the contralto Germany
; (in though embellished with occasional
a distinction is sometimes made be- chromatic graces; it was
tween^// and Kon'traalt% the probably
latter- rhythmical, in contrast to the later de-
 AlffBROSIAN HVMN-ANESIS.

velopment of Plain Chant. Nothing the first 2 short, the last long (^ ^ *^);
the reverse of the DactyL
positive is known
about these melodies
except that St. Ambrose introduced
the Anche (Fr.) Reed .A.
(of any instr.). .

the
antiphonal songs and hallelujahs -of libre, free reed.. ./<? d'atiche, Teed-
Eastern Church, and himself composed stop.
numerous hymns, (Comp* An'che (It.) Also, too, likewise ; even,
An'cia(It.) Reed.
Arabrosian hymn (kym'nus Amlrosia'-
;
nus). The "Tedeum laudamus,"oi Anco'ra (It.) Again,' also, yet, still,
even. . .Ancor* pifrmos'sQ, still faster.
which St. Ambrose is the reputed
'

Author.
*
AnMacht (Ger.) Devotion. .An'ddchtig, .

or mit Andac'ht9 devotional)y (It. de-

Ame(Fr.) Soundpost.
uo'tOi can devozio'ne).
American organ* See Reed-organ.
Amo're (It) Love...6? #., with de- Andamen^o (It.) i. Movement,, rate of
speed, 2. A passage, especially an
votion, fondly, devotedly ; tenderjy. . .

episode in a fugue. 3. Specifically, an

Amore'vole, amore-vohien'te^ lovingly,
fondly, etc.. .Amorosamen'te, amorous-
ly, lovingly, fondly. .Amoro'so, amor-
extended fugal theme, usually -consist-
of two distinct and contrasting
ing
. '

members. (See Soggetto.)

-

ous, loving.
A'morschall, A'morsklang (Ger.-) A
Andante (It., lit. ", going, moving.")
? French horn with valves, 'invented by
* A tempo-mark indicating, in modern
,
*
Kdlbe'l, of St. Petersburg (1760); its usage, a moderately slow mpvement,
,
..

tone was lacking in purity, and the Between Adagio and 'Allegrettp ; often
valve-mechanism did not quite do away mocljfied by qualifying words, as A.
v with
*l
maesto'sQ) A. sostenitfto, a stately and
stopping."
A metrical foot of tranquil movement; J. con. moty, A.
Am'pnibrach.
'
3 un poco a comparatively ani-
"
allegretto,
^); opp. to amphim'acer.
syllables if-' mated movement'; A. cantafMle, a
Also amphibrafckys.
smoothly flowing and mejodious move-
Am'phichord. See Lira barberina. ment etc. In earlier usage often em-
;

"
Amphim'acer. A metrical foot of 3 ployed in its more literal sense, as 'A.
*
syllables { >> ) opp, to am'phibracJi.
; allegro, "moving rapidly ;"" me*no
[Also atnphimacrus^\ andante ("less moving "), slower.
Ampho'ter (Ger.) Amphoteric said^of Andantemen^e
;
(It.) Flowingly, unin-
. eft series of tones "conmioa to two"
terruptedly.
registers of the same voice.
Andanti'no (It.) Dimin. of Andante;
Amplitude of vibration. ^Vibration. slower than andante, but; often
strictly,
Amts'pfeiffer (Ger.) See Stadtpfeifer. used in the reverse sense.
Amusement (Fr.) See Divertissement.
Anda're (It.) To move on A dirit'to,. . . .

Anl(GerO On ; add (i.e. draw). go straight on,; a. in tempo, keep to the

Anacru'sis (Gk. ; Ger. Anakru'sis [A uf- tempo.
takt\ \ Fr. anacrouse.) An
up-beat An'derungsabsatz
(Ger.) Half-cadence,
beginning a
verse, containing- 1 or 2
unaccented syllables ; hence transferred encjing on the dominant triad.
to musical rhythms, for which, in
Eng-
AnenVochord. (Fr. anJmocorde.) . A
1

lish usage, the term auftakt is often
met with.
-Analytical programs are an English
invention; analyses of the mus, form
;
of compositions on the concert-pro-
gram, with quotations from the music,
ctate from 1845 (Ella, matinees of Mus.
Union), The most ambitious attempts
'
keyboard wind-instr. with, strings:, in-
vented by J. J. Schnell, of Paris,- in'
1789, as an attempt to imitate the tone
of tie ^Eolian harp by means of small .
bellows forcing a current of air against
the strings ; a pneumatic harpsichord.
f
The piano eolienne of Henri Here
(1851) was a similar instr. (Also

rf
-Animfocorde.)
of &is kind are probably H, v. Wolzo-
Ane'sis (Gk,) The passage from a high
.geu^ "Filkrtr* (Guides) "through" tone to one lower in pitch; also, the tun-
Wagner's mus. dramas.
ing of strings to a lower pitch, Opp.
Aasetricalfootof ssylkbles, to eptfasis* [STALER AKD
BARRETT.]
 ANFANG-ANTHEJVf.;

AirTang (Ger.) Beginning. Vom A. ing, stumbling manner; to read music

same as Da capo. haltingly.,
.

An'satz (Ger.) I. Lip, embouchures (in

An'geben (Ger.) To sound, to strike. . .

JDen Ton #,, to give the pitch (as for an *

playing wind-instr.s). 2. The-trtethod ,

of attacking a vocal phrase,

orchestra). .,

The hymn sung by the

Anxschlag (Ger.) I. Touch (on a key-
Angelic hymn. board instr^) 2. A kind -of double ap^
angels, upon* the announcement of :
Christ's birth ; sung in both the East- poggiatura
ern and Western Churches, extended in written: played:
" "
the latter to the Gloria in excelsis ;
also in the Anglican and Episcopal
Churches, as a song of thanksgiving
after communion.
An'schwellefl (Ger.) To increase -in

Angelica (Lat., "angelic.") See Vox a.

loudness, swell.
Angelique'. (Fr. angttique.) A key- Ansiosamen'te (It.) In $, style expres-
board instr. having 17 strings tuned-in sive of anxiety or hesitation.'.
chromatic order ; inv. early in the I7th
An'sprache~(Ger.) The ".'spe&jkfaig" -

century. Also, a kind of guitar. of

an-ofgan-pipe^wind-instr., s'tJring,
Angelophone. An earlier name for the etc. .
.An'sfrechen] to speak.
'harmonium or parlor-organ.
An'stimraen (Ger.) To intone,
'

strike
An'gemessen (Ger.) Suitable, appro- up.. . -:,

priate.
Answer. (Lat. cp'mes; Gen Gefdhr'te,
Anglaise (Fr.) The English country- Anfwortj; i* rfyomk wtyiqve ; It.
dance (contredanse\ of lively character,
ripo'sta, comegUetfTe.\ -J-n- i' fugue,
sometimes in 2-4; at others in 3-4 or the taking-up of the subject, proposed
.time. It resembles the
5j-8 closely by the first part, by the second part, at
Ecossaise, and most probably took its a different- pitch.
'"
^
(See Antecedent^
origin from the older form of the
Antecedent. (Ger. Ftth'rer; Fr. \hlme;
French Rigaudon. [GROVE.] It. antecedence^ fropd*sth, gui'<?&$
Angoscjosamen'te / (It.}. Expressive of The theme or subject of a fugue t)ij
Angoscio'so j anguish, agony. .
canon, as proposed by the first .part.'r
Angst'lich (Ger.) Fearfully (It. timida- Also, any theme or motive-proposecl for
f
men te\ 'wrongly tramidamentfy imitation, or imitated later..

Anyang "(Ger.) Appendix; coda, co- Antelu'dium (Lat.) Prelude, introdlic-

'
'
" ' " s '
*

detta. tion. * '.'t

i. Spirit ;", con a., with Anthem. A pi'ece of sacred music usual-
spirit, animation. 2*
Soundpost. ly founded on biblical' words, with .or
Animan'do With growing anima- without instrumental accomp./and of
(It.)
.tion,; livelier.. .A nimato^ in an ani*
various forms, (i) : Anthems for double
choiry the, choirs frequently Answering
mated, spirited style. ,

each, other. .(2) Full anthems ^ consjst-

Animocor/ de (It.) See Anemockord,
.

ing whollyof chorus, accompanied ofn'ot

Animo'so (It.) Animated, spirited... (3) Pull anthems with versesjcertqin
.
'
part$ of which are sung by solo voi'ces,
with the utmost .animation, bold-
spirit> although beginning and close are 'cfo-
>ness.
1
ruses(7W/?), and thd- chorus preSbmi,-
An'mut(h) (Ger.) Grace,, nates throughout. .'.(4) Verse ant'kenlj\
.
sweetness,
f
charm, suavity..-;\An mut(Ji)i^ grace- in which the verses (soli, duets; ''trios,
k fully, etc. . quartets) predominate over th'e -Io-
nises... (5) Solo anthems i in- -vtfiicfr a
Anomaly. The slight deviation from sola part predominate?, though :vf#ie
the exact pitch caused by
tempering chorus always comrades them ^ (6) : , . .

intervals on fixed-tone instr.s hence, ;

Instrumental anthems^ ..tnose.^accpjn-
.an anomalous chord is one containing
.

paniedvby instr.s other tjian the- orgaax ;

an interval rendered, by tempering, ex- forme.rlyj so Called. -rTbe.ar;themkn
tremely sharp or flat.
o the Anglican,:^
'
integral .part"
r.) To perform in a hesitat- servjice, i% essentially
 ANTHOLOGIUM APOLLO.

duct, a motet developed on the lines

of phonal songs both in the mass and the
tocal variety and instrumental accomp., offices of the Latin Church ; but now,

approximating to the Ger.

Kantatt. by long-established custom, a separate
The book or col- book called the Gradual contains the
Antholo'gmm (Lat.)
lection of the hymns, etc., of the East-
mass) whereas the responsories of the
;
ern Church.
office, formerly relegated to the Re-
Autibac'clxius (Antibacchy}. A metrical
sponsorial, now form the Antiphonary,
foot of 3 syllables, 2 long and I short,
together with the antiphons proper (i.e.
with the ictus on the first (-* ^), the associated with tht
antiphons
Anticipation. (Ger. AnMpatwn', Vor- psalms of the office). (Also Antiph'-
Fr. It.
awfnahme; anticipation; onaly Antiph'oner.)
antidfanVne.) The advancing of one The planchette-mechan-
or more of the parts constituting a Antiph'onel.
the which ism devised by Alexandre Debain, of
harmony before rest, part
or parts would, if all the parts pro- Paris, when attached to a pfte M organ,

enter later:
or harmonium ; hence Antiphonel-har-
gressed simultaneously,
Orgue-antiphonel^ etc.

Anti'phonon (Gk.) Antiphon, anthem.

Antiph'ony. Responsive singing by

two choirs (or divided choir) of alternate
verses of a psalm or anthem ; opp. to
responsoriaI singing and also to homo-
,

phony (see Homophonic i).

An'tispast. A metrical foot of four

syllables^ the first and last being short
and the two in the middle long
Anti'co (It) Antique, ancient. *AWan- . (-
--w).
tico, in the ancient style. Antis'trophe. See Strophe,
Antienne (Fr.) Antiphon. Ant xwort (Ger.) Answer.
Afttipken, or An'tiphone. (Gk. antf- AnVachsend (Ger.) Same as crescendo*
phona t antifphonon ; Ger. Antiphonie*; Aoli'ne, etc. (Ger.) See Molina.
Fr. vnfanne; It. anti'fona.) Origin-
A'olsharfe (Ger.) ^Eolian harp.
ally, a responsive system of singing by
two choirs (or a divided choir), one of A'olsklavier (Ger.) "^Eolian pfte. ;" a
th earliest features in the Catholic ser- keyboard instr. invented about 1825 by
vice of song hence;
applied
to respon- Schortmann of Buttelstedt, resembling
sive or alternate singing, chanting, or the Physharmonica, but having, as
intonation in general, as practised in tone-producing bodies, wooden wands
the Greek, Roman, Anglican, and instead of steel bars.
Lutheran churches... Also, "a short " " Take the loud
Aper'to (It., open.")
sentence, generally from t Holy Scrip- Clear, dis-
pedal" (in pfte, -music).
ture, sung before and after the Psalms broad, ample; Allegro aperto %
tinct;
for the day, or the Canticles, selected an allegro with broad, clear phrasing.
for its appropriateness to the church
"
season in which it is sung [STAINER Aper'tns (Lat ) i. Open; said of organ-
2, SssAperto.
AND BARRETT]. pipes.

A Ap'felrcgal (Ger.) An obsolete reed-

Antiph'pnaL i. book or collection
of antiphons or anthems. 2. (adj.) In stop in the organ, the narrow pipes of
which were furnished at the top with
the style of an antiphon, responsive,
hollow perforated globes or buttons
alternating.
(hence also called Knopfregal),
Antiph'onary. (Lat antiphona'rium ;
Ger. Antiphmar*'; Fr. antiphonaire ; Aplomb (Fr.) Coolness, self-possession,
steadiness*
It. antifona'rio.)
Properly, a collec-
tion of antiphons, but extended to in- Apoggiatura, Apogiatura. Occasion*
clude the responsories, etc., sung at al spellings of Appoggiatttra (Fr. ap
ecclesiastical celebrations. The origi- pogiature).
nal collections embraced all the anti-
Apollo. (Fr* Apollon^ A large lute
 APOLLO-LYRA AFPOGGIATURA.

(or theorbo) having 20 single strings, and part of the time-value of the latter,
invented in 1678 by Prompt of Paris. (a) The long appoggiatura t now obso-
often occurs in earlier music ; it
Apollo- Lyra. See Psalmmslodicon.
lete,

An was, in point of fact, a. suspension

instr. finished in
1817
Apollonicon. written as a small note in order to evade,
by Flight and Robson of London. It as it were, the rule against the entrance
was a combined organ and orchestrion,
of unprepared dissonances. The dura-
containing about 1900 pipes in tion of the small note properly corre-
stops, with 5 manuals played
on by
sponds to" its time-value if written as a
different performers, and kettledrums
large note ; e. g.
operated by a special mechanism, so written :
that a full orchestral effect was obtain-
able ; it was likewise provided with
various barrels actuated by machinery,
for the automatic performance of sever-
al extended compositions. It was taken
to pieces in 1840.

Apollonion. An instr. consisting of a \J

pfte.with double keyboard, combined
though cases may occur in which the
with an organ flue-work containing
appoggiatura takes more than its ap-
pipes of 2, 4, and
8-foot pitch, together
with an parent value :

automatic player the size of a

boy ; inv. by J. H. Voller of Angers- written :

bach early in the igth century. te

Apostrophe ). Often employed as a
breathing-mark.
performed ; or (ace. to TURK):
Apo'tome (Gk.) In the Pythagorean
system, the chromatic semitone 2048:
2187 the limma, or diatonic semitone,
;

therefore being 243:256 (ff l^ff X

= = the greater
f-
whole
This tone). (b) The short appoggiatura is properly
chromatic semitone (obtained by sub- written as a small eighth-note or i6th-
tracting 2 whole tones 8:9 from a per- note with a slanting stroke through the
fect fourth 3:4) was therefore a wider hook ;
the general rule for its execution
interval than the diatonic ; whereas our to perform it it
is,
very swiftly, giving
diatonic semitone is wider than the the accent of its principal note, and a
chromatic. portion of the latter's time- value differ-
&ppassiona'to,-a (It.) Impassioned, ing according to the speed of the move-
with passion. .
ment somewhat as follows :
.Appassionamen'to, pas-
written
sion, ardor, deep emotion... Appassio- :

Andante. Allegro. Presto.

natamen'te, passionately, ardently.
A
p Jf
.-Jfm.
3
-
r I_J__J? 3
Appel Appell' (Ger.) Assembly

Appena'to
(Fr.),
signal to troops to fall in.
(It.) Distressed ; in a style
;

ES3
expressive of distress or suffering. performed :

Applica'tio (It.) Fingering.

Applikatur' (Ger,) Fingering (usually
Finger$al).
(c) The double appoggiatura contains 2
Appoggian'do (It, 'Meaning on, sup-
or more small grace-notes (commonly
ported.") Said of a tone (note) gliding
written as i6th-notes) before a principal
over to the next without a break, as in .

note ; it is performed rapidly, its Dura-

appoggiaturas and the portamento. tion subtracted from the time-value of
(Also Appoggia'to.)'
the principal note, with tbe accent on
Appoggiatu'ra (It.; Fr. appogiatwe; the first small note (compare Anschlag t
r f
Ger, V or $Mag? Nachf$Mag!) i. The Slide}. 2. The unaccented appoggia*
accented appoggiatura (Ger. tur& (Ger. N&chschlag)\ a rapid single
Vorschlag)
isa grace-note preceding its main note or double grace-noteyb/^wzw^ a princi*
(melody-note), and taking the accent pal note, from the time-value of whici
18 APPREST ARE ARIOSO,
con (It.) Boldly, spirited-
its duration must be subtracted, and Arditez'za,
with which it is connected by a slur : ly.,. .Ardi'to, bold, spirited.

written :
Aretin'ian syllables. (Ger. areti'nisch*
Sil'ben.) The syllables /, re, mi, fa,
sol^ la, first used as solmisation-sylla-
bles by Guido d'Arezzo.*
A'ria (It.; Ger. A'rie.) Primarily, an
air, or rhythmic melody. As a technical
term, an aria is an extended lyrical
vocal solo in various forms, with in-
strumental accompaniment. With the
To set tip and finish
Appresta're (It.) rise of homophonic music in the opera
aninstr. and oratorio, the aria developed, from
Appretie'ren (Ger.) Same as Affre- a mere plain-song melody with basso
siart^tAppretur*, the proper adjust- continue into the aria gran'de (the
t

ment of the parts of an instr. grand or da-capo aria in 3 divisions

Aqaivolcen (Ger., pi.) Meistersinger preceded by an instrumental ritornetta
melodies bearing like names. containing the principal melody ; divi-
An sion I being an elaborate development
Arabesque. (Ger. Arabes'ke.) i.
re- of a theme with frequent repetitions of
occasional title "for pfte. -pieces
the words; II, a more tranquil and
sembling a rondo in form. 2. Arabes-
ken (Ger. pi.) Ornamental passages richly harmonized section followed by
;

III, the repetition da capo of I, with

accompanying or varying a theme. still more florid ornamentation); the
Arbi'trio (It.) Free will, absolute power;
aria di bravu'ra, (similar to the fore-
a suoa.,& pleasure (equiv. to a placere).
going, but overloaded with difficult
Arca'to (It.) Bowed, played with the bow. passages and coloraturas for showing
off the singer's skill); the aria da chi/i
Ardieggia'reyt) To play with the bow.
sa (church-aria, differing from the sa-
Archet (Fr.) Bow.
/ / cred song chiefly in its greater breadth,
Ar/cM-[aryke](Lat), and Ar ci-[ar -tche] and in being accompanied by full or-
(It) (Engl. Arch-) Ger. jSrz-.) A
chestra); and the aria da concerto
prefix signifying "chief, preeminent/' (concert-aria, differing from the others,
formerly applied to names of instr.s in which are portions of operas, oratorios
the sense of "largest" (of the family
etc. ,
in being an independent composi-
in question), and to official titles in the
tion intended for the concert-hall).-^
sense of "head." E. g., Archchanter
The modern aria is freer in form than
(Fr. arcktchantre)) precentor; Arch-
lute (It ardtiu'to, Fr. archiluth, Ger,
the aria grande of the i8th century,
the. ritornello often being omitted,
Ersflaute), a variety of the bass lute ;
greater variety given to the da capo,
Ardccm'balo (It.; Fr. archicembalo,
f and the thematic construction made to
Ger. Arckicym bat) t a keyboard stringed
follow the sense of the, words, sathat it
instr. inv,by Niccold Vincentino (i6th sometimes assumes the form of a rondo,
century), with 6 keyboards, and keys or consists of 2 slow divisions separated
and strings for all the tones of the three
by an movement. .Aria par*
allegro .
ancient Greek modes (diatonic, chro-
a vocal style com-
lan'te (also ario'so),
matic, and enharmonic); Ardmo'la di
Kra (It), same as Lirone. bining the melody of an aria with the
distinct enunciation of a recitative, the
Ar'chi of Arco.)
"
(It., pi. Bows; gli vowels being thrown forward."
archi* "the bows/' L e. bow-instr.s in Smaller arias, nearly in song-form
the orchestra ; Engl. equivalent, "the and with slighter accompaniments, are
called ariettas or cavatinas.

(It) Bow; a pwfia, tfarco, or

Arietta (It.) A small aria,
(See Aria.) ,

coflapunta, dW7*<w#v with the point of Ariette (Fr.) Same

as aria grande, the
the bow ; col^arce, with the bow, i, e. original signification being completely
resume the bow after a pizzicato pas- reversed.
sage. ..Area ingik down-bow ; a. in Ario'so (It.) In vocal music, a style in*
%

jw, up-bow. termediate between aria and recitative

Arden'te (It) Ardent, fiery, passionate. farlantc}\ also, a short mdo.
 ARMER LA CLEF- ASPIRATION.
dious strain interrupting or terminating the a. is written out in full. Obsolete,
a recitative. Also signifies an effective or unusual signs are as follows :
dramatic style suitable for the aria a. A. c. d. e. f.
grande.In instrumental music, same
as cantabik.
Armer la clef (Fr.) See CUf. Add sig,
Arm/geige (Ger.) Viola da braccio.

Armoni'a (It) Harmony . . Armenia

milita're, military band.
Armo'nica (It.) i. Harmonic. 2. Har-
monica. a, t>, r, d are equivalent to the modem
Armonie (Fr,) Probably same as Vielle. sign <?,
; g call for a reversed (de-
/
Arraoniosamen'te (It.) Harmoniously; scending) arpeggio h means either an ;

armonio'sOi harmonious. ascending arpeggio, or a combined a,

and acciaccatura ;
i and k signify a
Armure (Fr.) I. Mechanism, action, 2-
spreading in eighth-notes ; the appog-
Key-signature.
giaturas at / and m delay the perform-
Ar'pa (It) Harp... ,4. do/fia, see
ance of the notes to which they are
Spitzharfe. attached by the time required for play-
Arpanet'ta, Arpanel'la (It.) A small
ing a long or short appogg. respectively.
(See Spitzharfe.)
harp.
Arpeggio'ne, An instr. like- a small
Arpfege (Fr.) Arpeggio. 'cello, with fretted fingerboard and 6
. .

playing arpeggio, breaking a chord. . ,

Arpe'ger, to arpeggio.
Arpeggian'do (It.) Playing arpeggio,
in harp-style, or in broken chords; Stauffer, of Vienna.
from arpeggia're^ to play on the harp. .
Arpicofdo (It.) Harpsichord.
x
Arpeggia'to, (a) arpeggiated, arpeg-
Arpo xie (It.) An instr, played like the
gio'd ; (b) as a noun, same as Arpeggio.
harp, but having the strings adjusted
Arpeggiatu'ra (It.) A series of arpeg- horizontally instead of vertically; inv.
gios. by Barbieri of Palermo, towards the end
of the 1 8th century.
Arpeggio arpeg*gi Engl. pi,
(It., pi. t

arpeg'gios.} "harping."] Playing

[Lit. Arrangement. (Ger. and Fr. ditto; It,
the tones of a chord in rapid and even riduzio'ne). The adaptation of a com-
succession ; playing broken chords. position for performance on an instr.,
Hence, a chord so played, or broken , or by any vocal or instrumental com-
a broken or spread chord, or chord - -
bination, for which it was not originally
passage. The modern sign for the a. intended hence, the composition as so
;

calls for adapted or arranged.

x
the follow.
Arrangie ren (Ger.) To
:

Arranger (Fr.),
ing execu-
'

:
arrange. (See Arrangement)
tion:
Ar'sis (Gk.) Up-beat.
i. e. thearpeggio-note falls on the
first

accent this is the rule for the accent,

Art (Ger.) Sort, kind ; manner, style!
;

tho* there are occasional exceptions Articola're (It.; Fr. articuler; Ger.
f
N.B. Pfte.-ar- 'artikulie ren^ To articulate, utter dis-

peggios are writ- tinctly.*.Articola't0 1 articulated. . .Ar~

ten in 2 ways: ticolazio'ne^ articulatipn.
(i) indicates that
Ar'tig(lich) (Ger.) Neatly, prettily,
the arpeggio is gracefully.
simultaneous in
As (Ger.) Ab.As'as, or As'es, Abb-
both hands; (2),
that all the notes are to be played in Aspirate (It.) To aspirate. Also, in

succession from lowest to highest. In singing, to quaver a vowel by audibly

earlier music (Bach, Handel) the same successive ^'s. Also,, td
interpolating
take Breath.
sign calls for a more or less free spread-
ing of the chords, generally according Aspiration (Fr.) An obsolete grace
to a preceding pattern-chord, in which (comp. Grace).
 ASPREZZA AUTHENTIC.

Asprez'za (It,) Harshness, roughness; Aufhalten (Ger.) To suspend... A uf-

bitterness. haltung) suspension (usually Vot'halfy.
Assa'i (It.) used to intensify a Auf'losen (Ger,) To resolve. H Auf-
Very ;
.

tempo-mark, as assai, very

allegro losung* resolution also, the breaking ;

it has less force of a chord also, the solution of an ;

rapid ; intensifying
than malic* enigmatical canon uflosungszei^ . . . A
chen the natural (p),
Assembly. A signal by drum or bugle t

for soldiers to rally and fall in. Aufsatz (Ger.) Tube (of a reed-pipe in
Assez rather. the organ).
(Fr.) Enough ;
Assoln'to (It.) Absolute, positive \printo Aufschlag (Gen) Up-beat... Auf-
uom& assoluto* a male singer for lead- schlagende Zung'e^ beating reed.
ing roles. Aufschnitt (Gef.) Mouth (of an organ-
as-
As'sonance* (Ger. Assonant \ Fr. pipe).
sonance; It. assonan'za.) Agreement Aufstrich (Ger.) Up-bow.
or resemblance in sound. Auftakt (Ger.) Up-beat, anacrusis a ;

A'them (Ger.} Breath. . .A'themlos, fractional measure beginning a move-

breathlessly). ment, piece, or theme (in this sense
Attac'ca Attack or begin what fol- often used by English writers without
(It.)
lows without pausing, or with a very capital \auftakfy.
short pause; a. subito (or attaca'te Auftritt (Ger.) Scene.
subito), attack immediately. Aufzug (Ger., lit.
"raising [of the cur-
Attacca're (Tt.), Attaquer (Fr.) To tain]'*.) An act of a drama.
attack, or begin, at once.
Augmentation. (Ger. Vergro' sserung,
Attac'co (It.), Attaque (Fr.) A mo- Verlang'erungl) I. Doubling or in-
tive in fugal imitation ; formerly, a very creasing the time-value of the notes of
short fugue-theme. a theme or motive in imitative counter-
Attache du cordier point. 2. See Notation 3. Aug-
(Fr.) Loop. ,

mented intervals, see Interval.

Attack. The act or style of beginning
a phrase, passage, or piece ; said both Augmenter (Fr.) To increase (ia loud-
of vocalists or instrumentalists, either ness) en augmentant=crescendo. J

in solo or ensemble. Aule'tes (Gk.) Flute-player... A ulos,

Attendant keys of a given key are its flute.

relative major or minor, together with AumentatrMo (It.) Crescendo. >.Au~

the keys of the dominant and subdomi- menta'to> augmented.
nant and their relative major or minor Aus'arbeitung (Ger.) Working-out,
keys. (Comp. Phone, 4.) development.
At'to(It) Act of a drama. Aus'druck (Ger.) Expression. . .Au/-
Atto're, (Attri'ce) (It.) Actor (act- drucks-voll^ expressively.
ress). AusTiihrung (Ger.) Execution, perform-
An (Fr.) To the, in the, etc. ance ; exposition.
Anbade (Fr.) i. Morning-music, gen-
Aus'halten (Ger.) To sustain; sustain I

erally addressed to some particular per-

. . A us'haltung^ sustaining. . . A us'haU
son ; opp. to Serenade; specifically, a tungszeichen^ see Fermate*
morning-concert by a military band. 2. Aus^osung
(Ger.) Hopper, grasshopper,
Occasional title for short instrumental
escapement.
pieces in lyric style. 3. calli- A
Au'ssere Stim'men (Ger.) Outer parts.
thumpian concert (ironical).
Audace (Fr.) Audacious, bold. Au^serst (Ger.) Extreme(ly),
Aus'stattung (Ger.) Mounting (of an
Anffassang (Ger.) Reading or con-
opera, etc.)
ception (of a work).
Aus'weichung (Ger.) Modulations
Aufffihrung (Ger.) Performance. transition.
Aufreregt (Ger.) Agitated(ly), excit- Authentic. (Ger. authen'tisch ; Fr.
autheniique ; It. auten'tico.) Within
AurVeweckt (Ger.) Lively, animat- the compass of an octave above the
cofy), briskOy), .keynote... ^4 . cadence; mode> see Co*
 AUTO-HARPBAGPIPE. 21

deuce, Mode...Au. melody, one whose or cancelling the sign \)

for B rotun'-

range extends through

or nearly through dum. .B quadra' turn,
.
BJJ. . .B is also
the octave-scale above its tonic or final ; an abbr. for Bass or Basso (c. B.=col
opp. to flagal.
.Au. fart of the scale,
. Basso ;
B. C.= basso continuo).
that lying between a given keynote and Baboracka, Baborak. Bohemian danc-
itshigher dominant, the part between es with changing rhythms.
the keynote and lower dominant being
Bac'chius (Bacchy). A metrical foot
I short and 2 long syllables",
Auto-harp. (Gen Akkord' zither.} A containing
with the ictus on the first long one
zither without fingerboard or accom-
the strings being
all
(---).
paniment-strings, Baccioco'lo (It.) A Tuscan instr. of
plucked or swept by the plectrum and the guitar family.
of from 4 to 8 com-
stopped by a series
Bachelor of Music. (Lat. baccalau'reus
pound dampers (called "manuals" or
44
of which when pressed mu'sica?) The lower of the 2 musical
pedals "), each
down damps all the strings except those degrees, Doctor of Music being the

forming one particular chord tie plec- ; higher.

trum, rasping across all the strings, Back. (Ger. Boden; Fr. dos; It. schiena^
sounds this cord as an arpeggio the ; The lower side of the body of a violin,
melody is brought out by special stress etc.; opp. to Belly.
on the highest (or any other) tone of the Back-block. Same as Wrest-block.
chord.
Backfall, i. An obsolete melodic or-
Au'tophon.. A
form of barrel-organ, nament in lute or harpischord-music ;

the tunes played being determined by \

in a sheet of mill-board nr
perforations written m m ; played
to correspond
[heavy pasteboard] cut
with the desired notes. (KNIGHT.) double A
(Also comp. Graced] 2.
Auxiliary note. (Ger. Hilf^note.) A lever in the organ-action, working be-
note not essential to the harmony or tween a sticker and a pull-down,
melody particularly, a grace-note or Backturn.
; See Turn.
added note a second above or below a
Good-humored
melody-note... A uxiliary Badinage (Fr.) raillery,
given scales,
banter.
those of attendant keys.
" " Bagana. The Abyssinian lyre, having
A've Mari'a (Lat.) Hail, Mary !
;

the salutation of the angel Gabriel at

10 strings tuned to 5 tones and their
octaves.
the annunciation; followed by the
words of Elizabeth to Mary (Luke I, Bagatelle (Fr.) A trifle.

42), ithas been a favorite subject of Du'delsack, Sack'-

Bagpipe(s). (Ger.
sacred composition since the yth cen-
ffeife; Fr. cornemuse; It. cornamu'sa.)
tury concluded by a hymn of praise
; A very ancient wind-instr. of Eastern
or prayer to the Virgin.
origin, known to the Greeks and Ro-
A've ma'ris stella (Lat., "hail, star mans, in great vogue throughout Europe
of ocean!") Hymn of the Roman during the middle ages, and still popu-
Catholic Church. lar in many countries, especially Great
Britain. It consists of a leathern bag,
Avec (Fr.) With, filled with wind either from the mouth
Avici'nium (Lat.) An organ-stop imi- or from a small bellow? worked by the
tating the warbling of birds. player's arm, and of pipes inserted in
Avoided cadence. See Cadence. and receiving wind from the bag. The
Azio'ne sa'cra "sacred drama" commonest form has 4 pipes ; 3 drones
(It., ;

to the Spanish "auto sacra- (single-reed pipes tuned to a funda-

equiv.
mental tone, its fifth and its octave, and
mentale ",) An oratorio or passion,
sounding on continuously), and I mel-
B. ody-pipe the chanter (a sort of shawm
',

or double-reed pipe with from 6, to 8

B. (Ger. H; Fr. and It. si.) The 7th finger-holes; compass approximately:
tone and degree in the typical diatonic
scale of C-major. . B caneella'tum, the
sharp (J), formed originally by crossing
 BAGUETTE-BANDOLA,

PRAETORIUS enumerates several sizes bal'to, ballet?to.) I. A

spectacular dance,
used in the iyth century ; the "Grosser often one introduced in an opera or
JBock" (drone in contra- or great C), other stage-piece. 2. An
independent
" ]

Schaperpfeif* (drones in tip

and / ) pantomimic representation, accompan-
"H&mmckhen." (drones /W 1

),
and ied by music and dances setting forth
the thread of the story. 3, compo- A
sition of a light character, but somewhat
Baguette (Fr.) Drumstick fiddlestick ;
in the madrigal style, frequently with, a
Baisser (Fr.) To lower (as a tone by a (7),
"fa la" burden which could "be both
See Bayadm.
Bajadere. sung and danced to these
" pieces,
c '
were ; ,

Balalaika (also Bahlelka, Balaleiga). commonly called Fa las [GROVE],

A rude stringed instr. of the guitar 4. The corps of ballet-dancers (corps de
family, having 2, 3, or -4 strings tuned ballet).
in minor. It is of Russo-Tartar origin, Ballet'to 2. Title em-
(It.) I. Ballet.
and now most often met with among
ployed by Bach for an Allegretto in
the Gypsies. common time.
Balancement (Fr.) See Bebung. Bal'lo A dance; 'a
(It.)
Balance-rail. A strip of wood
running ingle'si, English dances balli ungare*si
; t

transversely beneath the middle of the Hungarian dances. Da ballo, in dance-

. .

piano-keys, which are balanced upon style, light and spirited,

it, ^Balance swell-pedal, see Pedal. Ballon'chio (It.) See Paspy. (Origin-
Balg (Ger.) Bellows. . .
Batgentreter ally, a round dance of the Italian
("belbws-treader"), calcant, a man peasantry.)
employed to tread or stand on the old- Ballonza're (It.) To dance wildly and
fashioned German organ-bellows to fill
recklessly, regardless of rule.
t^em with wind. ..Balg*'kla-vis, see
Claris. - - Balg'werk, bellows.
Band. x. An orchestra. 2 (most com-
monly). A
company of musicians play-
Balden (Ger.) i. Bass-bar. 2. The ing martial music (brass-band, military
thick line connecting the stems of band); 3. A
company of musicians, or
grouped hooked notes, substituted for section of the orchestra, playing instr.s
the hooks. belonging to the same family or class
Ballabile (It.) A composition intended (brass-band, string-band, wood-ba'iid,
for a dance-accomp. ; any piece of dance- wind-band). ..The 24 fiddlers of
music. Charles II. were called "the king's
Ballad. and Fr. Ballo/de; It. private band."
(Ger,
b&tta'ta.) Originally, a song intended
Band (Ger.) A volume.
for a dance-accomp.; hence, the air of Ban'da (It.) The brass wind-instr.s,
such a song. In modem usage, it is a and the instr.s of percussion, in the
simple narrative poem, a mixture of the Italian opera-orchestra. Also, an .or-
epic and lyric, generally meant to be chestra appearing on the stage.
song. As a purely musical term, it
was originally applied to a short, simple
Bandalore, Bandelore. See Bandore*
vocal melody, set to one or more stan- Bao'de(Ger.; usually Musitf- or Musi-
zas, and with a slight instrumental kan'tenbande.) A
company of strolling
aecomp. In an extended application, it musicians. (Fr ) In earlier usage, ,the
.

includes instrumental melodies of a 24 violins at the royal court (" lagrande

similar character; also bande").
compositions for
single instr.s, for orchestra, etc., sup- Band-master. The conductor of a milir
posed to embody the idea of a narrative. tary band. ..Bandsman, a member of
/
Ba2a deama$sig(Ger.) In ballad-style. such a band. X >

Ballad-opera, An opera chiefly com- Bandcrta (Span. dstoBandohn, Bahdora,

;

posed of ballads and folk-songs (e. g, Bandura.) Instr.s of the lute family,
Gay's "Beggar's Opera"). with a greater or smaller number of
Balla'ta (It.) A halkd. .A ballata, in steel or gut strings, and
. played with a
ballad-style.
plectrum ; like the Pandora, Pandura^
Bafleri'na (It) A female ballet-dancer, Pandwina, Mcfndora, Mandola, Man-
doer, Mandura, Mandilrchen^ all es-
Ballet. (Ger. */&'/ Fr. laUet; It. sentially identical with the Mandolin
 BANDONION-BARRA.

in vogue (see Mandolin and Lute}

still Venetian gondoliers), 2. vocal or A
instrumental solo, or concerted piece, in
[RlEMANN.] (Also comp. Citker.}
Bafido'nion. A
kind of Concertina with imitation of the Venetian boat-songs,
inv. by C. F. and in 6-8 time (though Chopin's for
square ends (keyboards),
pfte, is in 12-8 time).
Uhlig of Chemnitz, about 1830, and
since then much improved and enlarged. Bard* A
poet and singer among the
It takes its name from Heinrich Band ancient Celtic nations; one who 'com*
of Cref eld, a dealer in the instr. Comp. posed and sang, generally to the harp,
art Harmonicum. verses celebrating heroic achievements.
See Bandola and . . In earlier Scotch usage, a vagabond
Bandore. Cither.
minstrel.
Bandanna (Span.) A
variety of guitar
having wire strings instead of gut. Bardiet', Bardit' (Ger.) [A word coined
by Klopstock, who derived it from the
Banger. The
banjo. (" The Negroe- "barditus" (for baritus, a battle-song)
Banger" [ADAIR].) of Tacitus, whence the erroneous as-
Bania, Banja (African.) Parent instr.
sumption that the 'ancient Germans had
-
of the Banjo. (?)
bards.]. A bardic song.
Banjo. A variety of guitar ; its body is Bardo'ne. i (It,) A barytone 2. 2
formed by a circular hoop, over the (Ger.) Occasional spelling for Bourdon
-upper side of which is stretched parch-, (organ-stop); 'also Barduen.
ment or skin it has a long neck with Bare fifth. See Naked.
;

or without frets, and from 5 to 9 strings,

Obs. name for the very
the melody-string, which is the,shortest Ba'rem. (Ger.)
soft-toned organ-stop Stiffgedackt or
-'
and played with the thumb of the right
' Musicir*gedackt.
hand, lying outside of and next to the
lowest bass string.
'
The other strings Bargaret, Barginet. Same as Bergeret,
ate plucked or struck with the right Baribas'so (It.) A low barytone voice,
hand, and all are stopped with the left. a bass-barytone.
It is variously tuned, the 5-stringed
Bariolage (Fr.) medley.A caden. A
banjo often as follows :
2a, or series of cadenzas, whose appear*
ance forms a design upon the music*
"
paper, a waistcoat pattern," as it is

"
calledby performers. [STAINER AND
Banlcelsanger (Ger. ; bench-singers," BARRETT.]
from their mounting on benches, the Bariteno're A low tenor voice, a
(It.)
better to gain a hearing.) Strolling
tenor-barytone (second tenor)
singers of a low class, who frequent
and other places of public resort,
.fairs
Ba'riton (Ger.), Bariton (Fr.), Ban7-
and recount, partly singing and' partly tono Barytone. [An attempt has
(It.)
been made to confine the spelling bari*
.speaking, romantic tales taken from
tone to instruments, and barytone
to the
.history or adventure, stirring events of
voice ; the idea is not yet generally
the day, etc., usually explanatory of a
accepted.]
picture which they display.
Bar. (Ger. Takfstrich; ?T.barrej It.
Baroc'co (It.; Gen baroctf; Fr.. baroque.)
f
li nea> baSra, sba^ra.) i. vertical A Eccentric, odd, strange, whimsical,
line dividing measures on the staff, and "the deep and high-
Barox'yton (Gk.,
indicating that the strong beat falls on toned. ") A brass wind-in,
the note immediately following. 2.
4
str. of broad scale, inv. j__
Hence, the popular name for 'measure". ia 1853 by Cerveny of gjgj
. . .Bar-line, a barbarism evoked
by the Kbniggratz; compass from
*

familiar use of bar for measure.

contra-^) to a 1 :
Bar (Ger.) Compare Strophe 3.
BaVpfeife (Ger., also BaSffyt, Barpyp;
Bartaro (It.) Equiv. to Fence. Dutch Baar*pyp.) A reed-stop in old
Bartiton, Bartitos. An ancient organs, with pjpes nearly closed by
Greek variety of the lyre. caps of a peculiar shape, and emitting
4I
a humming, growling" tone.
Barcarole'. >(Ger. ditto; Fr. barcarolle ;
It. barcaro'ta, barcaruo'la, "boatman's Barquarde (Fr.) Obs. for Barcarolle*
.Song.") i. A gondoliera (s^ng of the (It.) A bar (not measure).-
 BARRE-BASSE.

Barre (Fr.) A bar (not measure); also 3- The euphonium. 4 Prefixed to

barre de mesurf. Certain abbrevia- instr.-names, barytone denotes the pitch
tions are also termed barres. Also, the of an instr. intermediate between bass
low bridge of some stringed instr's... and tenor (or alto)j e. g. barytone
Also tlie accent mark ( } *.B. har- dzrm.&..*Barytone~clef> the (obsolete)
/"-clef on the 3rd line.
monie, bass-bar.. *B de rtpttition, a
dotted double-bar, indicating a repeat. Ba'rytonhorn (Ger.) The euphonium,. ,

Barre) (Fr.) In lute- or guitar-playing, Bofrytonsckliissel, barytone-clef.. .Ba'~

the stopping of several or all the strings rytonstimme, barytone voice or part.
by laying the left-hand forefinger across Bas-dessus (Fr.) Mezzo-soprano.
them, the next fret then acting as a ca- Base, Old
spelling of Bass.
potasto or temporary nut
to raise their
a stop of more Bas1cischeTrom'mel(Ger.) Tambour,
pitch.. .Grand barre,
inc.
than 3 strings. , C-barr^ see TranchL
.

Bass. (Ger. Bass; Fr. basse; It. bas**

Barrel-organ. (Ger. Drehorgel, Leier-
i. The lowest tone in a chord, or
hasten; Fr. orgue a cylindre (not/), so.)
lowest part in a composition. 2. The
orgue de Barbaric ; It. organetfto.) An
lowest male voice ordinary compass
instr. (often portable) consisting of a ;

case containing pipes, a bellows, and a from F to; 1

(or d l )i
cxtICIM
cylinder (the barrel) turnedby a crank +.
and studded with pins or pegs ; when Cj*3 compass
the cylinder revolves, the pins open
from C
valves communicating with the bellows,
which is worked by the same motion, 3. A
prefix indicating
the lowest in
and wind is thus admitted to the pipes. various families of instr.s, as bass trom-
It generally plays a melody with an bone. 4. (Ger.) (a) Abbr, for Kontra-
harmonic accomp. Larger forms (see bass (double-bass)... (b) In earlier

Orchestrion) are used in dance-halls, usage, a bow-instr. intermediate in size

In
restaurants, or even in churches.
another variety, hammers striking wire
strings (as in the.pfte.) are similarly
actuatedby the revolving cylinder (pi-
ano-organ^ handle-piano)*
between the 'cello and double-bass,
having from 5 to 6 strings...^) As a
suffix to the name of an organ-pipe, lass
denotes that it belongs on the pedal ;
e. g. Gemshornbass. Albertibass, a
bass in brok-iiM. f m f ,

Bart
,

(Ger.) Ear (of organ-pipe). Also en chords likefE 'TTJ

the following:
~f l^ h W
jj 1
\

Barytone. . . Continued or figured bass,

* bass
Fr. baryton; It, bari'tono.) The male notes provided with figures indicat-
voice intermediate between bass and ing the chords to be performed above
tenor, andin quality partaking more or the notes (Basso continue)... Funda-
,
less of the characteristics of both ; thus mentalbass,$tt Fundamental. . Ground
theGermansdistinguish betweena JJtaj/- Bass; a continually repeated bass phrase
bariton and a Tenor*bariton^ ,and the of 4 or 8 measures (basso ostinatd)..*
French had (in earlier usage) basst-iail- Murky bass, see M
urky. . . Supposed
le^ seconds faille, and ttnor bass y a bass tone other than the root of
on4rdant. mean flfr"?/ a chord... Thorough-bass\ see that word.
Its
compass is from G to
l
:
f
-
J/
^
Bass-bar. (GecJBaTkn; Fr. barre d'har*
Hence, a singer having a barytone
voice. 2, A bow-instr. monte, ressort.) In violins and the like,
(It. vio'la di
fardtfm or fordone] resembling the
a long narrow strip of wooc^ glued to the
viola da gamba^ in great favor
inner surface of the belly parallel with
during and just
beneath the G-string, put in to
the i8th century, but now
obsolete ; it
had 6 or 7 gut strengthen the belly and equalize the
stopped by the
strings,
vibration. [The violin-maker Held, of
left hand, above the
fingerboard, and a
Beuel, Germany, gives the bass-bar a
widely varying number of brass or steel
to below which slight diagonal inclination, in accord-
strings (from 9 24) it,
ance with a suggestion by Ole Bull.]
acted as sympathetic strings,
though
sometimes plucked with the left thumb. Bass-clet /'-clef on the 4th line. (Set
The upper strings were tuned A BE
df &. It dates from the 1 7th
century. Basse (Fr.) Bass. (Also applied to tl
 BASSET-HORN-BATON.
f
thick lower strings of an instr., as fa tante (opp.to basso profon do)., .B. con-
basses dun piano).., B. chantante, the certan'te,the principal bass, as an ac-

high "singing'* (i.

e. flexible) bass comp. to soli and recitatives.. .B.con-
voice; a barytone.. .B. chiffrte, fig- ti'nuo (or continue' to), a continuous
ured bass. B. continue, basso con-
. . bass provided with figures indicating
tinuo. B. contrainte, basso ostinato.
. . . . the chords to be played above it also, ;

B. -centre, a deep bass voice. B. de . .

thorough-bass.. .B-figura'to, (a) basso
cornet, old term for the serpent, as the continue; (b) a figurate bass part...
natural bass for the cornet family... B.fondamenta'le, fundamental bass...
B. de cremone (cremorne, cromorne), the B. numera'to, figured bass... B. obbli-
Bassoon, or its precursor. .. J?. deflate ga'to, an indispensable bass part or
iraversiere, b. ahaulbois, same as pre- accomp...^. ostina'to, ground bass...
ceding. . . B. a* harmonic, the ophi- B. profon'do, a deep, heavy bass... 2?.
cleide. .-.-#. de mole, see Barytone 2.. . ripifno, see Ripieno.
B, de violon, b. double, double-bass, . .
Basson (Fr.) Bassoon... B. quinte, a
B. fgurje, figurate bass...^, fonda- tenor bassoon a fifth higher in pitch
mentale, (a) root of a cord, (b) a gener- than the ordinary one
Fundamental compass : ;
ator (see bass). . .B. guer-
'

riere; a species of bass clarinet. * . Basse-

I which is is
orgue, an instr. inv. by Sautermuiter of I
written
Lyons, in 1812... B. rfritante, see B.
chantante...Basse-taille, barytone voice.
Bassoon 7 . (Ger. Fagot?; Fr. basson;
Bas'set-horn. (Ger. Bassetfhorn ; Fr.
cor de basset ; It. cor'no di bassefto.)
It,
fagotto.) A wood-wind instr. of the
An alto or tenor clarinet in F, no oboe family, serving as bass for the
It has a wood-wind. The tube is doubled upon
longer in use ; */
itself, forming 2 parallel air-chambers ;
compass from |g| Trt-r~~ single
the long, curving mouth-piece is of
F to t* : '
"y reed, and
a wooden tube bent at the mouthpiece metal, with a double reed ; compass
from B\\) to c*, on
and bell. Timbre mellow, though of a -& tf)
newer instr.s to IsB'
sombre quality, like the bass clarinet, ty, (jjpT"*"'""
especially in the lower register.
Bassett' (Ger., also Basset I, Bass'l.)
and extended by vir-
tuosito*2 oreven/ 2 :
*

^
t^AT
The unwieldy length of the
parent-
I. Old term for the 'cello. 2. As a the bombardo, led in 1539 to the
instr.,
prefix to the names of other instr.s, idea of bending the tube back upon
same as Tenor. 3. A 4-foot flute- and from the faggot-like appear-
itself,
stop on the organ-pedal. ance of the new instr. its Italian name
Basset'to (It.) I. small bass viol A is derived. The tone is far softer and
with three strings (obs.) 2. When mellower than that of the bombardo,
the bass rests, the lowest harmonic and its expression is entirely under the
Tenor violin
part. 3. (rarely). 4. player's control.
An 8 or i6-foot reed-stop in the organ.
Bass'pommer (Ger.) See Bomhart.
Bass'flote (Ger. "bass flute.") See
Bass'posaune (Ger.) A bass trombone.
Fldtenbass.)
(See Trombone?)
Bass'geige (Ger.) Familiar term for the
Bass'schliissel (Ger.) Bass-clef.
'cello; gro'sseBassgeige, the double-bass.
Bass'stimme (Ger.) Bass voice,
Bass'horn (Ger.) See APPENDIX. Bass'tuba (Ger.) See Tuba.
Bass'klausel The cadence-like
(Ger.) Bass viol. See Viol
leading of the bass at a close, from "the deep-toned.")
Ba'thyphon (Gk.;
dominant to tonic. A wood-wind instr.inv. in 1829 by
Bass'lade (Ger.) See Windlade. Wieprecht (or Skorra?) of ., .. to
'

Bas'so (It.) i. Bass, either as the Berlin, having a clarinet W$ / 'E

fundamental harmonic part, bass a mouthpiece, and a compass^ -J
voice,or a bass singer. 2. bass A from contra-Z) to small b\> toa :

instr., more especially the double-bass.

used for a short time in military bands.
B. buffo, see Buffo... B. cantan'te, Ba'ton. r. (Fr. bd ton de mesure -.&&.
(a) a vocal bass (b) comp. Basse chan-; Taktstock, Taktstab, Taktierstock, etc.;
26 BATON-EEC.
^rjt bacchtfta[& diretto're].) The staff Bau (Ger.) Structure, construction.
vof wand with which the conductor of a
Bau'erlein (Ger.) Bauernjlote.
fliusical performance beats the time. "
2. A rest of 2 measures. Bau'ernflote,-pfeife (Ger.; rustic

Baton A flute"; lsz.t.ti'biarures'tns.) pedal- A

(Fr.) thick vertical stroke
register not uncommon in old organs,
traversing i or more spaces of the
staff,
consisting of stopped pipes of I or
and indicating, according to the number 2-foot pitch.
so traversed, a rest for an equal number
Baxoncil'lo r. An
of measures: . , .
(Span.) organ-stop
replaced in 3 like the open diapason. 2. small A
"
t-y-|-.-_ j |-
|
modern us- bassoon,
g I'l 1= 7
1 I
age by signs . East-Indian
Bayadere', Bayadeer
dancing-girl.
(see jfflwwr/-ra/,under fast)* . .gdton
de mesure, a Baton l . . ... de reprise a Ba'yla, Ba'yle (Span.) dance ; taykA
',
has the more comprehensive significa-
repeat tion.
Battante (Fr.) Beating.
(Ger.) Double-flat (see Doppel-b\bb
Battement (Fr.) i. An obsolete grace, B du'rura. See J? B
cancella'tum, f

consisting of a short trill preceding the

principal tone and beginning on the
Bear^beiten (Ger.) To revise, work
a semitone below it. It had no over, adapt, arrange, rearrange, touch
auxiliary
sign, being always written out in small up. .BeaSbeitung, an adaptation or re- .

vision, a working-over.
*
notes : played :

Bearing-notes, Bearings. The tones

first carefully tuned by the tuner of a

pfte. or organ, serving to regulate its

A 01*4. entire compass by.
Baftere(It) Down-beat. Beat. i. (Ger,; TakfsMag, Takfteil;
Batterie(Fr.) L, A general term for brok- Fr. battement de mesure, temps; It. bat-
en-chord figures on stringed instr.s; e.g. tu'ta?) The motion of the hand or foot
in marking time (the equal divisions of
the measure). 2. A
division of a mea-
sure so marked. 3. In a trill, a pulsation
distinguished from the arpeggio (ace. embracing 2 consecutive tones. 4. In
to ROUSSEAU) by
being played staccato acoustics, see Acoustics, 3. 5. An old *

instead of legato. 2.
Striking instead ,

grace, consisting of a short trill before

of plucking the strings of a the principal note ;
guitar. 3.
, A roll on a side-^drum.
4. Thepercus- written: played:
"skm-group in the orchestra.
Battery. An effect in harpsichord-music:

written: ;

played :

Beating. Same as Beat 4.

Battunen'to (It) Battement. Bebisa'tion. Compare Solmisation.
Battuyta(It) i. A beat. 2. A measure Be^ung (Ger.; Fr. Mancement; It.
or bar (battuta taken in the narrower tre'molo.) A
rapid pulsation or
I.

sense of
" " tremulous effect, either vocal or instru-
down-beat ; see Rtfmo di
due battute\-^ In medieval counter- mental, given to a sustained tone for
:
point, the forbidden progression from the sake of expression. 2.
Specifically,
a tenth on the up-beat to an octave on the an effect obtained on the clavichord by
clown-beat, between 2 outer parts ; e. *e. holding down a key after striking it,
-
* i :- ,
and balancing the finger upon it in
such a way as to produce a prolonged,
tremulous tone. (On modern piano-
fortes having the Erard action, a stts-
tained tone can be produced in a some-
what similar manner.)
Bee (Fr., "beak.") A mouthpiece (of a
^>flageolet> clarinet).
 BECARRE-BERGKREYEN.

Bcarre (Fr.) The natural (fl). Bell-harp. An old variety of harp with

Bec'co Same as Bee. Becco 8 or more steel strings and enclosed in

(It.) . .
po
a wooden box which the player
lac'co, a large species of bagpipe. swung
to and fro like a bell while twanging the
Bech'er (Ger., "beaker, cup.") i. Th<
bell various wind-instr.s ; also strings with the thumbs of both hands
(of
inserted Inrough holes in the cover.
Schairtrichter}.2. The tube (of a reed
pipe in the organ; also Aufsatz Bellicosamen'te (It.) In a bellicose,
Schalfbecker). martial, warlike &y\t...Bellicoso, mar-
BecVen (Ger.) Cymbals. tial, warlike.

Bedeckt' (Ger.) Stopped, as strings Bell-met'ronome. A metronome with a

opp. to leer, open. bell-attachment which can be set so as
Bedon Old name for drum . .Be- to strike with every second, third,
(Fr.) .

don de Bisraye, a tambourine. fourth, or sixth beat of the pendulum.

Bee moll. (Obs., from Lat. molle, B Bello'nion. An instr. consisting of 24.
B.) Bemol, Bemol. trumpets and 2 drums played by a me-
Beffroi (Fr,) chanism inv.in 1812 at Dresden.
Gong (tam-tam)., .Also, ;

an alarm-bell, a tocsin.
Btll open diapason. Same as Bell-dia-
Befil'zen (Ger.) To felt (put felt on pason.
pfte.-hammers) . .
.BefFzung, felting. Bellows. Balg; Fr. soufflet ; It.
(Ger.
Begei'sterung(Ger.) Enthusiasm, spirit. soffit? to?) The mechanical contrivance
Beglei'teii (Ger.) To accompany... for gathering and propelling the wind
Begldt'stimmen, Beglei'tung, accompa- supplying the pipes or reeds of the
niment accompanying parts subordi-
; organ, harmonium, concertina, bagpipe,
nate to a principal melody. and the like. See Organ.
Bei'sser (Ger.) A mordent. Bell-piano. See Glockenspiel (2).

Bei'tb'ne (Ger.) Harmonic overtones or Belly, i. Deck'e; Fr. table; It.

(Ger.
undertones.. .Also, auxiliary tones. ta'vola, pan' da.) The face (upper side)
of the resonance-box of the violin etc.
BekielenXGer.) To furnish with quills,
2. (Ger. Resonant' boden; Fr. rhon~
as the jacks of ? harpsichord.
nance, table d'harmonie ; It, ta'wfa
Beklemmt' (Ger., properly beklom'men.)
anno'nica^ Soundboard of the pfte.
Anxious, oppressed [Beethoven],
Bemol. B-flat
Bele'bend (Ger.) Rawivando.
B&nol (Fr.), Berne-He The flat
Bele'dern (Ger.) To cover with leather.
BJmoliser (bemollizza're), to
(It.)
flat
($)...
. .
.Bele'derung, formerly, the leather,
(set a flat before a note).
now, the felt, used in covering pfte.-
hammers. ..Also, the strips of leather Ben, Be'ne (It,) Well as ben marcato, ;

well marked a bene placito, at pleasure,

covering the treble hammers. ;

ad libitum; ben ritmato, see Bien rythmfi

Belegt' (Ger.) Hoarse, not clear veiled ben tenuto, well sustained or held.
;

(of the voice).

Benedic'tus. See Mass.
Bell i. (Ger. Gbctfe; Fr. cloche; It.
A hollow Bequa'dro (It) The natural
campa'na.) metallic instr. of (|j).

percussion, set in vibrationby a, swing-

Berceuse (Fr.) A cradle-song, lullaby ;

ing clapper hung within, QF by hammers hence, a piece of instrumental music

actuated from without, 2. (Ger., imitating the eifect of a lullaby.
Schall'trichter; Fr. pavilion; It.
pavi- Ber'gamask. (Fr. bergamasquc; It.

g&o'ne.} The flaring end of various bergama'sca.} A

clownish dance in de-
wind-instr.s. risive imitation of the rustics of Ber-

gamasca in Northern (Also ber-

Bell-diapason. An organ-stop, usually Italy,

of 8-foot pitch, with open bell-mouthed gomask, bwgomask.}

pipes. Bergeret'. A pastoral or rustic song or

dance. (Also bargaret, bargeret.)
Bellez'zaXIt.) Beauty, grace.
Bergk'reyen, Berg^reihen (Ger/j
Bell-gamba. An organ-stop having "Dance-tunes from the mountains;"
conical pipes surmounted
by a bell; the title of various collections of dance-
also called cone-^amba. music.
 BES BIT.

Bes <Ger.) B double-flat; generally enharmonically chang

called**. written by Sterndale I
Besai'tea (Ger.) To string, nett in bracket-form :-
put strings ^^^
on. and by to distinguish it
Morley in : from the Slur).
Bestimmt' (Ger.) With decision, energy. :
2. The brace
1597 thus:
Beto'nen (Ger.) To accent, emphasize.
*
binding together the several staves of a
. .Betonf* accented. ..Btrfnung^ accent, score.

Bin'debogen (Ger.) A slur, or a tie.

stress, emphasis:
Bet'tlerleier (Ger.) Hurdy-gurdy... Bin'den (Ger.) ^ To bind, tie to con- ;
Beftkr&per, Beggar's Opera.
nect, play or sing smoothly and 'con-
Bewe'gfen (Ger.) To move, stir, agitate. nectedly (legato). . . Gebun'dtn, bound,
.'.jBrwtgtj moved ; con r?wto. . .Bevw'- tied; \s%pto...Gebun'dener Stil, strict
agitation (comp. Mo-
-

gunr, movement, , style of composition, in which disso-

f
i ti0n)...Bew gungsartJ see Movement I, nances are prepared (tied over). . .Also
see Gebundtn*
Beziffern (Ger.) To
figure (as a bass). A
.
BinMung (Ger.) ligature, bind, tie,
...Bezif'fert, figured ,.. Bezif'ferung, or slur hence, a suspension or synco-
;

figuring. pation ; also, the legato. . . Bin'dungs-

.Bezug' j(Ger.) All the strings of, or a zeichen, a sign used to express any of
,"' set of strings for,
any stringed instr. the above.
-Btan'ca "white.")
(It., A half-note .
BiquaMro (It.) Same, as Bequadro.
*
Voce bianca, see Vote,
Birn, Bir'ne (Ger.) Socket.
Bibi{Fr.) A pianette. Bis (Lat., "twice".) I. Signifies that a
'

Bibrev^s (Lat.) zt Pyrrhic. measure, passage, or section is to be re-

Bi'chord. i. Having 2 strings. 2. The peated ; often written over or undef : a
technical term for an instr. having a slur embracing the music to be repeated.
'
2. Used by the French as an excla-
pair of strings, tuned in unison, for
each tone (as the mandolin, and mation of applause ("again!"), like
lute, " "
certain pftes). the French word encore in English
usage. (See Bissare.) 3. The second
Bici'nipm (Lat.)
A 2-part composition,
part, or a continuation, of a scene on
especially a vocal one. the stage ; e. g., i6 bu i6 ter and i6i uatw
;

Bi'fara (also biffara, bi'fra, ftffara, then mean the third and fourth parts,
An
organ-stop, the pipes of
pifjero)* respectively, of such a scene.
which are either double-mouthed or
Bis'chero Peg (tuning-peg) of a
paired ; the two' members of each pair (It.)
violin, lute, etc.
being tuned at slightly different pitches,
the interference of the sound-waves Biscn/ma (It.), Biscrome (Fr.) A
produces' a gentle tremolo. (Also Ce- i6th-note.
Itstina, Unda marls, etc.)
!

The interval of a
Bisdiapa'son. fif-
Bifari'a. Title of a Presto in 3-mea- teenth, or double-octave.
snre rhythm, in an Invention or Suite
Biso'gtui(It.) "Is necessary," "must";
ascribed to J. S. Bach. as si bisogna da capo al segno, must be
; " "
BSn ga(Lat.) The 2-necked cither. repeated from the beginning to the sign.
Bimolle (It.) Sameas&maft. Bisqua'drd* (It.) Same as Bequadro.
W'na. ,See Vina. Bissa'xe (It.), Bisser (Fr.) To encore.
" "
Bi'nary, Dual; two-part... Binary form, Bisscx (Lat., twice six ; Ger. Zwolf-
a form of movement founded on 2 prin- sathr.) A kind of guitaV having.- 12
cipaJ themes (comp. Sonata), or divided strings, of which .the 6 highest ones
JBto 2 distinct or contrasted sections.. could be stopped on a fretted finger-
.

Binary measure^ that of common time, board ; compass 3^ octaves invented ;

the first of every 2 members taking the 1770.

accent ; i. e. the regular and equal alter- "
nation of the down-beat and up-beat.
Bits unca (Lat, twice hooked.'
1

) A
sixteenth-note.
Bind. i. Properly, a tie (a curved line Bit. A short additional piece of tube
connecting 2 notes of like. pitch, orM used to lengthen a crook in the cornet a
 BIZZARRAMENTE BOMBARD.

pistons^ etc., for slightly modifying the mouth,'* the position necessary for the
pitch. production of beautiful tones.
Bizzarramen'te (It.) Bizarrely, whim- Bocchi'no (It) Mouthpiece of a wind*
sically, fantastically... Bizsarri'a, a instr.
freak, whim, fancy, extravagance... Bocedisa'tion. See Solmisation.
Bizzar'ro^-a^ bizarre, fantastic, etc.
Bock (Ger.; dsbpol'nischer Bock, Gross-
Blanche (Fr., "white".) A half-note. Bock.) The bagpipe.
Bla'ser (Ger., "blower.") A player on Bocks'triller (Ger., "goat's-trill"; Fr.
any wincUinstr. chevrotement ; It. tril'lo cafri'no.) A
Blas'instmment (or Bla'seimtrument) trill like a
goat's bleat ; the repeated
(Ger.) Wind-instrument. .Bla'sebalg, .
"interruption of one tone instead of the
bellows. alternation of two.
Blatt (Ger.) Reed a wind-instr.; also Bo'den (Ger.) Back (of violin,
(of etc.)
Rohr'blatt}.. .Dop'pelblatt, double reed. Body. i.
(Ger. Corpus, Schall'kasten;
Blech'instrument (Ger.) Brass instru- Fr. coffre, corps; It. cor*po.) The re-
ment, metal wind-instr. sonance-box of a stringed instr. 2.
" That part of a wind-instr. remaining
Blind (Ger.) Blind". .Blinde Pfeife,
.

afterremoving the mouthpiece, crooks,

dummy pipe (organ)... Blinder Doppel-
triller, a simulated r^ rl and bell. 3. The tube of an organ-
or imperfect double -Hi- etc. pipe above its mouth. 4. A tone is
said to have "body" when
'

trill ;e.g. -J$=*= and sonorous the resonance of a tone

it is full

Bloch'flote, Block'flote (Ger.) i. A is also called the body.

;

small kind oijldte a bee, in vogue in

the 1 6th century. 2. An organ-stop Boehm Flute. See Flute.

having pyramid-shaped flue-pipes of 2, Bo'gen (Ger.) r. A bow. 2. A slur

4, 8, or i6-foot pitch, and sometimes or tie
(Hal'tebogen, Lega' tobogen, Bin'-
stopped. debogen) . . Bo genfliigel,
.
piano-viojin
Block. In the blocks are
violins, etc.,
(Bo genhammerklavier, Bo'genklamer\
small pieces of wood within the body, ...Bo'genfuhrungt see Bowing I...
glued vertically to the ribs between Bo'genstrich) stroke of the bow.
belly and back to strengthen the instr. Bois (Fr.) Wood. . . Les bois (pi.), wood-
Blower. wind.
(Ger. Bal'gentreter, Kalkant;
Fr. soujfleur ; It.
tiraman'tici.) A Bofte (Fr.) Box ; swell-box (botte tfex.
person working the bellows of an organ. presriori). . . Ouvrez la boitey or botte ou

'
B molle. See B. verti, open swell fermez ;
la botte, close
swell.
Boat-song, i. A song intentfed to be
Bole'ro (Span.) i. A Spanish national
sung in a boat, especially in time with
the oars. 2 A
vocal or instrumental dance in 3-4 time and* lively tempo (al*

composition imitative of I. (Barcarole^ legretto), in which the dancer accom-

Gondoliera.) panies his steps with castanets ; also
called Cachucha. The castanet-rhythm
Bob. A term in
change-ringing applied 1

to the various sets of runs as

changes which
may be rung on 6 bells (bob minor), 8 follows :

(bob major), ro bells (bob royal),

bells
or 12 bells (bob maximus). alternating
withthenielo-l
Bobisa'tion. A collective term for the
dy-rhythm :
various methods proposed, during the 2, A composition in the style of a
i6th and I7th centuries, for
naming the bolero.
. ',tpnes of the scale by syllables. (See
BonVbard. (Ger. Bom'hart, Bom'mert<
Solmisation.)
Pom'mer; Fr. bombarde; It. bombar'do^
Bocal (Fr.) Mouthpiece of the horn,
,

A wind-instr. of the oboe family, with a

trombone, serpent, etc. Also, the crook wooden tube and double reed ; proper-
of the bassoon.
ly f the bass instr. of the shawms, though
Boc'ca Mouth... Conboccachiu'sa,
(It.) sometimes made as a smaller instr.
with closed mouth (comp. BrUmm- The unwieldy length of the larger
stimmen).. .Bocca riden'te, "smiling: sizes led to the invention of the bas*
 BOMBARDE BOYAU.

soon, which is a bombard with the tub having stopped wooden pipes, some*
doubled upon and thusshortene
itself, times with metallic tops ; tone usually
"
by half. The bombardo'ne or contra hollow or fluty'," i. e. deficient in har-
bombard (Ger. Bass'bomkart) was th monics. The French also have open
deepest, followed by the bass bonibar bourdons of 8 and 4-foot pitch (bour-
(Bomhart), the tenor or basset-bombar dons de huit^ de quatre ouverts). 3,
(Bassettfbomharl), and the alto or bom In French usage, the lowest string of
bar'do piccolo. the 'cello and double-bass; also, a

Bombardc i. Bombard. 2. Po great bell, as the bourdon of Notre*

(Fr.)
saune 2.
Dame. . .Faux-bourdon^ see Faburden*
Bombar'don. A Bounce (Fr.) i. A dance of either
I. large instr. of th
French or Spanish origin, from Au-
trumpet family, used as a bass in mill
tary music, and belonging, in its mod vergne or Biscaya, in rapid tempo, con-
ern forms, to the saxhorn group ; th< sisting of 2 parts of 8 measures each
usual sizes are in Ify, F, Cy and contra
and in 4-4 or 2-4 time. 2. A move-
ment in the earlier Suites, in alia brem
^j> ; but the bombardon
time.
proper, old model, is in F, [g:
having 3 valves and a com-
Boutade (Fr.) I. A short ballet per-
formed, as it were, impromptu. 2.
1

pass from contra-/ to d l

:

It is non-transposing. 2. The bass o An instrumental impromptu or fantasia.

the saxhorns. 3. A 3. An old French spectacular dance.
deep-toned reed
stop in the organ. Bow. (Ger. Bo'gen; Fr. archet; It. ar'co^
Borneo (It.) A figure in repeated notes An implement originally curved out-
ward, though now slightly inward,
Bonr'byx (Gk.) An ancient Greek wind.
consisting of an elastic wooden rod
instr., presumably with a reed.
(the sticfy, and of from 175 to 250-horse-
Bon (Fr.) Good...0* temps de la hairs [GROVE] (the hair) attached to the
mesur^ strong beat. bent point or head, and drawn into
Bonacg-. A Javanese instr. consisting proper tension by the sliding nut, which
of gongs mounted on a frame. is actuated
by the sc'rew. (Schuster &
Bones. A set of 4 pieces of bone, wood, Otto, Markneukirchen, have recently
or Ivory, held pairwise between the [1893] manufactured bows with fint
fingers, and used to mark time as a rat- gut threads in lieu of hairs.) After
tling accompaniment to a dance, song, rubbing the hair with rosin, the bow is
or instrumental performance. drawn across the strings (of the violin,
"

bow-zither, etc.), setting them in vibra-

Book. I. (Ger. Fr. cahier; It.
Heft; tion ; the vibration is communicated to
R'br*.) A part of a series of songs, ex- the resonance-box, which latter reinfor-
ercises, etc., under a separate paper
ces the weak torie of the strings. . .Bow-
.cover. 2. The words (libretto) of an arm Gt-hand, the right arm or hand.. .
opera, oratorio, etc.
Bow-guitar (It. chitar'ra coll' arco)^
Boot. The foot of a reed-pipe (organ). a species of violin with a
guitar-shaped
Bordnn' (Ger.) Bourdon. (The 2 free body, . . Bow-clavier ) Bow-harp sichord^
strings on either side of the fingerboard see Piano-violin . . . Bow-instrument^
of the hurdy-gurdy, that one played with the aid of a bow, as
kept up a con-
tinual the violin or bow-zither... Bow-zither
humming, were called Bordune; ^
bordunus occurs as the name of the see Zither.
bass strings stretched beside the Bow
finger- (verb.) i. To execute with a bow.
board of the ancient viella.) 2. To mark (a
passage or. piece)
Boiiche (Fr,) Mouth ; 4 bouche fermte, with signs indicating the
bowing.
witL closed mouth (comp. Brumm-
Bowing, i. (Ger. Bo'genfuhrung^
sfimmen). The artof handling the bow ; the
" style
BoncheXe) (Fr.) Muted (of wind-instr.s) ;
or method of a player, his bowing
stopped (of organ-pipes). as shown in his of the
management
bow." 2. (Ger. Strich'art^ The
Bouffe (Fr.) Same as Buffo... Optra
method and signs for, executing any
of,
loujfe* comic opera.
given passage;' "the bowing of the
Bourdon. (Fr.) i. A drone bass. 2. passage."
An organ-stop of 16 or 32-foot pitch, Boyau Gut
(Fr.) ; hence, gut string.
 BOZZETTO-BRIO.
Bozzetto (It.) Sketch. organs. 3. In an organ-stop, when
B quadra'tum, B qua'drum. playing up the scale, the sudden return
The Belgian national (caused by an incomplete number of
Brabanfonne.
pipes) to the lower octave also, in com-;
hymn.
pound stops, any point in their scale
Brac'cio (It.) The arm... Viola da where the relative pitch of the pipes is
braccio, see Viola.
changed.
Brace. I. (Ger. Klam'mer; Fr. ac-
colade; It; A bracket con-
Breakdown. A negro dance (U. S.) of
graf'pa.) a noisy, lively character.
necting the heads of 2 or more staves.
2. One of the leathern slides on the Breathing-mark. A sign set above a
cords of a side-drum. vocal part to show that the singer may

Branle, Bransle (Fr.) A brangle or (or must) take breath at that place ;
brawl; an old French dance in 4-4 written variously (', *, i/, V, //).
time, in which several persons joined Breit (Ger.) Broad, stately, slow.
hands and took the lead in turn. Branle
(Gen; also Sack'geige, Spitz*-
was the generic name of all dances in Brett'geige
violgeige Stoctfgeige, Tafschengtige.) t

which, like the Cotillon or Grossvater, A. Kit.

one or two dancers led the rest, who
imitated all the evolutions of their
Breve. I. (Lat. and Ger.
Brev'is; Fr.
leaders. breve; It. bre've.) A note equivalent
(Also Brantle.)
to 2 whole notes or semibreves the
Brass-band. See Band 2 ; distinguished long- ;

from full military band by omission of

est employed in modern -
music. It is written thus : -
bj ^ p-
.EsE
^
M .O
reed-instr.s Brass-wind,
. . .collective 2. Iff medieval music, a note
term for the players on metal wind- having |
or J the time-value of the longa (comp.
instr.s in an orchestra.
Mensurable music)... Alia breve (It),
Bra'tsche (Ger.) The tenor violin (comp. (a) originally, a time of 4 minims (= I
Viola). breve) to the measure ; time-signature
Bra'vo (It., masc.bravi; fern.
adj., pi. this is 2-1 or
(jD > later C|0 9 great
brava, pi. brave.) Used as an inter- *
alia breve time, (b) Now, 4-4 time
jection, signifying "well done I" and with 2 beats instead of 4 to the measure,
the like superlative bravissimo^a^ etc.
;
and in quicker tempo time-signature;

Bravour' (Ger.) See Bravura... Bra- ; also called alia cafpellaj opp. to
vour'arie, aria di bravura... Bravour*-
Tempo ordinario I.
st&ck) a vocal or instrumental piece of
a brilliant and florid character. Brev'is(Lat) A breve.
Bravoure (Fr.) See Bravura. Valse de Bridge. (Ger. Steg; Fr. chevalet; It.
. .

ponticeflo.) r. In bow-instr.s, a thin,

bravoure, an instrumental waltz of a
arching piece of wood set upright on the
brilliant, showy character.
belly to raise and stretch the strings
Brayu'ra (It.) Boldness, spirit, dash, above the resonance-box, and to com-
brilliancy... A'ria di bravura, a vocal municate to it their vibrations, whict
solo consisting of difficult runs and pas- the bridge also cuts off from the rear
sages, designed to show off the singer's ends of the strings. 2. In the pfte,
voice or skill.,. Con bravura, with and other stringed instr.s, a strip or rail
boldness, etc.
of wood or metal over which the strings
Brawl. See Branle. are stretched,
Break, i. The point at which one Briei Obsolete for Breve.
register of a voice or instr. passes Brillant,-e (Fr.), Brillan'te Bril-
(It.)
over into another ; in the voice, the
liant, showy, sparkling.
junction of the head- and
in the Brinenbasse(Ger.) "Spectacle-basses,"
chest-registers ;
familiar term for the abbreviated nota-
clarinet, between the notes :
tion of alternating
...Breaking of voice, see Mutation.
2. A false
or imperfect tone produced eighth-notes or i6th-
n6tes, e. g.
by incorrect lipping of a horn or trum-
BrinMisi Drinking-song, some*
pet ; or by some difficulty with the reed (It.)
of the clarinet (the "goose"); or, in times in style otjodler.
Singing, by some defect in the vocal Bifo (It.) Vivacity, spirit, fire...G?/f
 3*~
BRISE BURLESQUE.

brio, or brio'so, with fire and vivacity, Buffet (Fr.) Organ-case, or case of any
a
partial organ. . .Buffet d'orgues, smafi
spiritedly.

Broken (as chords)... organ complete, its case and all within.
Brise>e (Fr.)
Cadence bris/e, a grace consisting of a Buf'fo,-a (It.) Comic, humorous ; hence
short trill beginning on the higher aux- Buffo, Bu/o-singer, the comic actor in*.
an opera ; a comic singer.. .Aria buffa,
iliary note
:
comic air or aria. . . Opera buffa, comic
opera.. .Buffone, comic opera-singer.
Buffone'scora (It.) Droll, ludicrous.. .

Buffonescamen'te, drolly, etc.

Broderies (Fr., pi.) Ornaments, embel-
lishments. Bugle, Bugle-horn. (Ger.) Bu'gelhorn,
Flil'gelhoni; Fr, bugle; It. trom'ba.)
Broken cadence. See Cadence. . Brok- .
I. Awind-instr. of brass or copper,
en chords, chords the tones of which with cupped mouthpiece, used for in-
are sounded in succession instead of
fantry calls and signals, having 7 har:
together (see Arpeggio). . . Broken music,
monic tones :

music for the harp, guitar, and other

instr.s on which the chords are generally

arpeggio'd or broken.. .Broken octaves,

series of octaves in which the higher
tones alternate with the lower, thus : and made in various pitches (2fy y C,
jt>). 2. The key-bugle (Kent bugle,
Regent's bugle) (Ger. Bugelhorn mil

B rotnn'dum.
iiil Klappen; Fr. bugle a eMs) ; it has 6
keys and jfc ;
inv. by Halli-
See B. a compass
[ ^ . / E
day ^ n I ^ I 5-

Brumm/eisett(Ger.) Ajew's-harp (usu-

, of over 2 W,
^ Jf
***
3. Valve-bugle
ally Maut trommel).
octaves: (see Saxhorn*).

Brum'mer (Ger.) Drone. Biih'nenweihfestspiel (Ger.) "Stage-

" "
Brumm'stimmen consecrating festival play the epithet
(Ger.) Humming ;

voices"; production of tone without bestowed by Wagner on Parsifal, his

last musical drama.
words, through the nose, with closed
mouth (a boSca chiu'sa) a not infre- ;
Bund (Ger.) A
space between frets, on
quent effect in male quartets, especially a fretted fingerboard. \Bund is used
as an accomp. to a solo part. as effectively synonymous with/rrfy e.
Brumm'toa (Ger.) Drone. g., Bund i. means ist fret, the string
Bruscanien'te being stopped on the fret by pressure
(It.) "Brusquely" or in the space just behind it],. .Bundfrei
forcibly accented.
(" unfretted," i. e. not spaced off by 2
Brust (Gen) Breast; chest.. Brustf- or more frets or tangents), a term desig-
stimme> chest-voice. .Brusfton> chest-
nating a clavichord in which each key
.

tone. . *Brus?'werk, (usually) the

pipes had its own string opp. to gebunden. ;
of the swell-organ or choir-organ as set
up together in the middle of the instr.
Buonaccor'do (It.) small spinet with A
narrow keys, for children.
Ba'ca (It.) Sound-hole of lute, mando-
Hn, etc, Buo'no,-a[boo-6'no] (It.) Good...Bu^na
nota, an accented note (one on a strong
Bucci'na(Lat) Either a curved trumpet,
beat); buon gusto, good taste... JBuo-
the horn of an ox; or a
origjnally namen'te, well, accurately.
straight trumpet (tuba), the prototype
of the trombone or posaune. Burden, i. A
refrain or chorus recur-
ring after each stanza of a song. 2.
Buccolfova (It), Bucoliqne (Fr.) The jdrone of' the bagpipe.3'. The
Bucdic, pastoral, rustic.

BSch'se Boot (of a small reed-

(Ger.) Bur'la (It) A joke, jest...
ppe in the organ) ;
also Hose.
joking, jesting, romping... Burls'sea,
Bncli'stabentonschrift (Gen) Alpha- a burlesque... Burlefsco,-a, burlesque,
betical notation.
farcical, comic*. -Burlescamen'te, in bur-
Bufe're
- (It.) To play the wag or buf- lesque style.
loon, to jest, trifle.
Burlesque. QLfarlfita.) A dramatic
 BURLETTA-CADENCE.

extravaganza, or farcical travesty of Cache*e (Fr.) Hidden, concealed, cov-

some serious drama or subject, with ered ;
said of fifths and octaves.
more or less music. Cachu'cha A dance similar to the
(Sp.)
Burlet'ta (It.) A comical operetta or Bolero.
musical farce.
Cacoph'ony, (Fr. cacophonie; It. caco.
Busain (Busaun, Buzain). A reed-stop foni'a.) Discord ;
harsh or discordant -

in the organ, generally of i6-foot tone, music.

and on the pedal. Cadence. (Ger. Kadentf; Fr. cadence;
Button, i. A
small round disk of leath- It caden'za.) I, See Cadenza. 2. The
er screwed on the tapped wire of a measure or pulsation of a rhythmical
tracker to keep it in place. 2. key A movement. 3. (a) In general, the
of the accordion, etc. 3. The round closing strains of a melody or harmon-
knob it the base of the violin, etc. ic movement, (b) Specifically, an har-
/
Bux'eatib'ia, Bux us(Lat.) An ancient nlonic formula (i. e. succession of chords)
Dox-wood flute with 3 finger-holes, re- leading t6 a momentary of complete
musical repose ; the close or ending 6f
sembling the Phrygian flute.
a phrase, section, or movement. . .Amen
c., popular term for plagal ,
to which
c. the word amen is often sung. , .Authen-
C. (Ger. C; Fr. ut; It. do.) ,The
I.
tic c., see Perfectt... voided, Broken, A
firsttone, ist degree, or key-note of the Deceptive, or False c., see Interrupted
of C-major. (Com- c... Complete c., a perfect c>. .Haffaa-
typical diatonic scale
dence (half-close), or Imperfect c r \ the
pare Alphabetical notation, and Sol-
on the chord of the tonic followed by that
misation.}.. . .
j)
pfte.-
-- of the dominant.. .Interrupted*., an
keyboard; Ten-
-
Middle- C, the [(fry--
note c l > ^f &- or C is small c. unexpected progression avoiding some
Abbr. for Capo (D. C.=da capo);
2. regular cadence.. .Irregular ., an in-
Cantus, Canto (c. f. cantus firmus or = terrupted c... Medial c., in ancient
canto fermo); Col (c.B.=col basso, c. .
church-music, one in which the mediant
8va =
coll'ottava); C.-B. (Cb.) ;= con-
was peculiarly prominent... Mixed c.,.
trabbasso.
that formed by the succession of the
subdominant, -dominant, and teriic
Cabalet'ta (It.) A song in
rondo-form, tf
mixture" of
chords, it thus being 'a
with variations, often having a triplet
the authentic and plagal cadences...
accomp. imitating the hoofbeats of a
Perfect c., the dominant triad or chord
cantering horse. of the 7th followed by the tonic chord ;
Cabinet d'orgue (Fr.) Organ-case. the, authentic cadence of, the ecclesias-
Cabinet organ. See Reed-organ. tical modes. . .
Plagal c., that formed by
An the chord of the subdominant followed
Cabinet pianoforte. style of old
by the tonic chord ; opp. to authentic c+ .
.

upright pfte.; a grand pfte. set on end.

Surprise c., an interrupted c.. .Radical
Cabis'cola (Lat.) Precentor, of a choir, either partial or complete,/
c., a close,
Cac'cla (It.) The chase ;
a hunt.. .Alia , formed with two fundamental chords: . .

c., in the hunting style (i.

e. accompan- j Whole a perfect
c., c. A few examples
ied are given below :
by horns).

Authentic. Plagal. Interrupted, Mixed.

Cadence (Fr.) I. A cadence 2 and 3, interrupted cadence,., C.

2, A trill c. brillante. c.perlte). C. half-cadence... C. parfaite (or sur la
(as
tonique)^ perfect cadence.
.. C. plagale^
briste, see Brisk,.. C. tvitee, avoided
plagal cadence... C. pkine, (a\ a
trill
cadence. , . C, imparfaite (or sur la domi-
as a
nante], half-cadence. . C, i .
preceded 'by the higher auxiliary ;
 34 CADENT CANON.

long appoggiatura ; (ft)

the progression Cala'ta (It.) A lively Italian dance in
from a dissonant chord to a consonan 2-4 time.
one.. .C. romput, broken cadence. Calcan'do (It.) Hastening the tempo,
Cadent. An obsolete grace (see Grace] Calichon (Fr.) Calascione.
Cadenz (Ger.) See Kadenz* Calisonci'no (It.) Calascione.
Caden'za. I. A brilliant passage in Call. A
signal given by the fife >
bugle
vocal solo, usually at its conclusion or drum, calling soldiers to some spe-
having the effect of an 'extemporiza cial duty.
tion, but commonly prepared before steam- A
Calli'ope (also Kalli'ope).
hand. As an interpolation on the
c. s are no longer in
organ ; a species of pipe-organ having
singer's part, such a harsh tone produced by steam under
vogue. 2. An elaborate and florid pas
pressure instead of wind.
sage or fantasia introduced in, 'and in
terrupting, the closing cadence of the
Callithum'pian concert. (Ger. Jfatz'-
first or last movement of a concerto enmusik; Fr. charivari; It. chias'so^
the orchestral accomp. generally pauses scampana'ta?) boisterous serenade A
after a hold on the \ chord of the tonic given to some person who has become
an object of popular hostility or ridi-
leaving the field clear for the perform-
cule ; characterized by the blowing of
ance, by the solo instr., of the cadenza
This is either a more or less original horns, beating on tin pans, derisive
effort of the soloist, or a supplementary cries, groans, hoots, cat-calls, etc.

passage written out by the composer
himself or some other musician. Such
cadenzas are for the most part built up
of themes or reminiscences from the
work to which they are appended, an<i
Cal'ma (It) Calm, tranquillity... CW.
man''do , calm, growing quieter. . . Csl-
ma'to, calmed, tranquilized.
Calo're (It,) Warmth, passion ; con c.,
with warmth, etc. Caloro'so, warmly, . .

are always calculated to display the

soloist's proficiency in the most brilliant passionately.

light.
Cambia're (It.) To alter, change...
Nota camlia'ta, changing-note.
Caden'za (It) A cadence. . .
C.fin'ta or amera (It.) Chamber, room. Mu'sica .
a deceptive cadence...
d'injran'no^ C.
die., chamber-music... Sonata di c^
fantu'ra, an ornamented cadence. chamber-sonata.. .Alia in the style of
c.,
Caesura. See Cesura* chamber-music.
Caisse (Fr.) A drum,.. flate, the Camminan'do "
(It.) Walking," mov-
shallower side-drum... Croulante,
ing, flowing. (See Andante.)
drum with wooden cylinder, that of the
Campa'na(It) A bell; in eccles. usage,
ordinary caisse being of copper.. . Grosse
c. t bass drum
a church-belL. Campanel'lo,-a, a small
.

(also Gros-tambour).
bell..
.Camfanelli'no^
a very small belL
Calamellus. See Calamus. . .
Campani'sta, a bell-ringer.
Calamus (Lat) A
reed-flute or reed- Campanefta (It.) See Glockenspiel.
pipe (chalumeau ; shawm). . C.pastoraf- .
Campanology. Theory of the con-
Ks, or tibia'Us, a very ancient wood- struction and use of bells.
wind instr., a reed with 3 or 4 finger- "
Canarder (Fr.) To produce a * l
couac
holes.
on the clarinet or oboe.
Calan'do (It.) Decreasing. An expres- , Canary /It Cana'rio).
sion-mark denoting a decrease in loud- A livelydance of French or English
ness, usually coupled with a slackening origin, the melody being in 6-8 or 4-4
of the tempo. time and having 2 phrases.
Caiandro'ne (It.) A small variety of Cancel. See Natural i.
chalumeau or clarinet, a favorite among Cancrizans '

(Lat.) Retrogressive/ (It

the Italian peasantry.
cancrizzamen'U^ cancrizzan'te^
Calascio'ne (It) A
variety of lute or
Can'na (It) or pipe...Gwww
Agreed
guitar with fretted fingerboard, and 2 d'a'niniat flue-pipes ; canne a lin'gua^
gut strings, tuned a fifth apart and reed-pipes.
twanged with a plectrum; found in Canon. (Ger. Xa'non; Fr. canon; It
Jpwer Italy. ca'none.\ i. The strictest form of
 CANONE-CANTICLE.
mus. imitation, in which two or more the leading
melody should stand out
in succession exactly the
parts take up well from the
accorap., and the general
same subject. The part taking the effect should be free and
flowing,
lead is called the antecedent^ and the
Cantamen'to (It.) Same as Cantilena,
following part the consequent.. Canons Canto,
are now usually written out in full, but Cantan'do (It.) See Cantabik.
during the high tide of medieval counter-
Cantan'te A singer
point it was customary to write only the
(It.) ; also, singing-,

antecedent; and to mark the successive ^y.

entrances of the other parts by signs or Canta're (It.) To sing. ..C.a atria, to
merely by mysterious superscriptions sing with more or less improvisation.. .
C. a oreSchiO) to
(enigma tical canons) ; the superscription f
sing by ear. . . C. di
was then called the canon (i. e. rule, di- manie ra or maniera'ta, to
sing in a
florid or ornamental
rection), while the composition was style.
called the fu'ga, or conseguen'za.Az- Cantata (It.) Originally, a vocal piece,
cording to the interval from the ante- as opp. to an instrumental
one, or
cedent at which the consequent enters, sonata. But cantata has come, like
the canon is called a C. in unison (the sonata, to mean a definite form of com-
consequent taking the very same notes position, with the difference, that all
as the antecedent, but of course enter- earlier forms once called cantate must
C. at the octave (the conse- be taken into account in
ing later) ; still
defining
quent entering an octave above or be- the word cantata, whereas no one
low); C. at the fifth, fourth, etc. The would now think of calling a short and
c. could also be varied, like the
fugue, simple prelude a sonata. In modern
by the diminution or augmentation of usage, a cantata is a more or less ex-
the theme, by in version or retrogression, tended vocal work with instrumental
etc. (Comp. Fugue.) When the parts accomp., consisting of chorus and solos,
entered at the time-interval of a minim recitative, duets, etc.; distinguished
one after the other, the canon was from the oratorio and opera by the ex-
called a fuga adminimam. 2. Ancient elusion of scenic effects and the
epic
Greek name for the Monochord. and dramatic element though the lat-
;

Ca'none (It) A canon.. . C. aper'to, an ter can, of course, not be

entirely ex-
14
open" canon, i. e. one written out in cluded, as even the purest lyrical
full. C. cancrizzan'te,
. . canon by retro- emotion may often be intensified to
" " dramatic pathos. In the sacred cantata.
gression.. , C. chiu'so, a close canon,
in which only the leading part is written this form of composition finds its finest
out in full ; an enigmatical canon. . . C. and most unequivocal expression.
enigma'tico, Cantatil'la, Cantati'na (It.) A short
enigmatical canon (see
Canon), . . C. an
infini'to or perpe'tuo,
cantata. (Fr. cantatille.)
infinite canon ; one which, without a
Cantato're (It.) A male singer; Canto,
specially added close, can be sung on tri'ce, a female singer.
for ever. . C* sdolfto^ a canon in free
,

imitation.
Cantato'rium (Lat.) A music-book,
book of song ; a service-book of the R.
Canonical hours. The canonical
7 C. Church containing the music of the
hours of the R. C.- Church are the
Antiphonary and Gradual.
established times for daily prayer;
Canterellan'do (It.) Singing softly;
"called matins (incl. nocturns and lauds) ,

trilling, warbling from canterella're* to

prime, terce, sextt nones, vespers, and ;

Those from prime to nones hum, etc.

complin.
are named after the hours of the day, Canticle (Lat. can'ticum; Ger. Lob'ge-
prime (the first hour) being at or about sang; Fr. cantique ; It. can*tico,) I.
6 A. ML, terce (the third) at 9, sext (the One of the non-metrical hymns of
sixth) at noon, and n'ones (the ninth) at praise and jubilation in the Bible, 2

3P.M. A sacred chant based on or similar to

I. The Evangelical canticles (Cantica
Cano'nici. See ffarmonici.
majora) of both the Catholic and An-
Canonic imitation, strict imitation of
glican church are taken from the Gos-
one part by another (see Canon). and embrace the Magnificat
pels,
Cantat>ile In a singing or vocal
(It.) (" Magnificat anima mea"), the Bene-
style. Where a passage is so marked, ^ dictus *" lenedictus doininus deus Is-
 CANT1 Or-CAPRICCIETTO.
u
reel "), and tihe Nunc dimittis ( Nunc see Dur. C. ecclesiastuus^ (a) church-
. .

dimittisservumtuum"). The 7 Cantica music in general (b) plain song (c) ; ;

minora are taken from various parts of the musical rendering of a liturgy, opp.
the Old Testament, to merely reading 1t...C. fgura'lis,
mensurable music. C. figura'tus, a . .

Cantico (It) See Canticum.

melody with a florid or figurate contra-
Can'ticam (Lat) r. In the ancient puntal accomp. C. fir*mus, a fixed or . .

Roman drama, any passage sung by ;

given melody song (b) in ; (a) plain ;

the actors, 2. A canticle. Can'tica modern counterpoint, a given melody,

gra'duum, the Gradual. . . Canticum Can- usually in imitation of a, to which other
tico'rum, Solomon's Song. parts are to be set according to rule. . .

"a
1
Cfrac'tus, a broken melody; a term
Canttle'aa (It, little
song' ;
Ger.
applied to a tune which proceeded
Cantilene; Fr. cantilene.) I, In me-
either by perfect or imperfect conso-
dieval music, a solfeggio ; also, a can-
nances. When accomp. by a faux bour-
tus firmus as used in church-music,
don, it was
called Cantus corona' tus.
2. Formerly, the higher or solo part of
a madrigal a small cantata or [STAINER AND BARRETT.]... C. Grego-
; also,
ria'nuS) Gregorian chant. C. mensura- . .
short vocal solo. In modern usage,
bilis, see Notation, 3 . . . C. mol'lis, see
a ballad or light popular song ; also, in
Moll . . C. natura'lis, see Mutation. . .
instrumental music, a flowing melodious
C. pla'nus^
plain song.
phrase of a vocal character ; often used
to define a smooth and voice-like ren- Canun 7 ,

dering of slow melodic passages.

Canzone (It., also Canzcfna.) Origi-
Cantiienac'cia (It) A vile song. nally, a folk-song (Fr. chanson] ; later,
Cantitena're(It) To sing in a low voice. a secular part-song in popular style,
Cantilla'tio (Lat) See Intonation i. hence the Canzo'ni Napolita'ni, Sid-

Canti'no Same as Chanterelle. liofni, etc. many such songs closely re-
;
(It.)
semble the. madrigal. The name was
Caa'tio (Lat) A song, an air.
sometimes applied - to instrumental
1

Cantique (Fr.) canticle; A also, a pieces in madrigal style. Camonac'eia,

choral, or hymn-tune, a vulgar song. . Canzond-na, Canzonet- .

Can'to lit.) i. The soprano

the high- ta, a little song, a canzonet. Canzonie*- . .
;

est vocal or instrumental re, a collection of lyric poems or

part.. . Col c. songs.
sameas0IfaJ>arte.-~2. See Cantino. A air or
Canzonet(te). t
little
song; a
3. A' melody, song, chant. C. a cap-
short part-song ;
a madrigal.
fella, same as Cappella, a...C. Ambro-
sia'no, Ambrosian chant. . . Capelle (Ger,) See K.
armo'nico,
a part-song. , .
cromqftico^ a melody
.
Caxpo (It.) The
head; beginning, .Da .

. m chromatic style... C. fer'mo, see capo, from the beginning.. Capolavoro, .

Cantus firmus... C. figura'to, figurate

master-work. Capo-orchestra^ conduc-
. .

melody. , . C. Gregoria'no t tor.

Gregorian
chant... C. pkfno, chant..
plain Capodastre (Fr.) See Capotasto.
pri'mo, first
soprano... recitati'w,
Capota'sto (It.; also capo di lash,
recitative or
declamatory singing. . . C. "
head of the fingerboard.") I. The nut
riptfno, see Ripieno. 'C. secon'do, sec- of stringed instr.s
ond soprano. having a fingerboard.
2. A
piece of wood or ivory which can
Can'tor I. (Lat.) A singer, a precentor. be fastened across a fretted
. C. choraflis,
fingerboard,
.
chorus-master. 2. like that of the
(Ger.) guitar, to raise the pitch
See Kanior (on p. 238). of all the strings at once. Sometimes
Ganto're (It) A singer ; a chorister. written, in Engl. usage, astro.
" Capo
of the cantor.") Term "
Caatp'ris (Lat, Cappel'la (It, chapel") i. A choir.
otesignating the side of a cathedral choir An orchestra.
oa
-which the precentor (Incorrectly
(cantor) sits, i, ten #<?/&.)... X
cappella, vocal chorus
e., on the left or north side of a without instrumental
person accomp.. .Alia c.,
feeing the altar ; to the decaf ni opp. (a) same as a cappella; (b) see AB&
("of the dean") side. breve... Da c., in
church-style, i. e. ia
Canons (Lat) A song, a melody, . . C.
a solemn and devotional manner.
c*rona'tu$> see frartus...C. dzS Capricciet'to (It.) A little capriccio.
 CAPRICCIO CAVATINA.

Capric'cio (It.) Title frequently given Ca'rynx (Gk.) An ancient Greek trumpet
to instrumental pieces of free, uncon- Cas'sa (It.) A bass drum, (Also cassa
ventional form, and distinguished by armonica^ body (of
gran'de.)...C. ,

originality in harmony and rhythm, violin, etc.)

(Compare Scherzo.)... A
capricdo, at
Cassation' SeeJT.
(Ger.)
pleasure, ad libitum. .. Capricciosamen'te,
Castanets. (It. castagnefte; Fr. casta-
capriciously, fantastically.. , Capriccio'so, '

capricious, fantastic ; a capriccio. gnettes; Ger. Kastagnetten; from Span,

eostanetas^ A
pair of small concave
Caprice (Fr.) Capriccio.
pieces of hard wood or ivory, each havT
Carat'tere (It.) Character, dignity; ing a projection on one side, by means
style, quality. of which they are fastened 'together
Caressant (Fr.) \ with a cord long enough also to pass
sooth- over the performer's thumb, or thumb
Carezzan'do(It) Care^ngly,
* y* and Generally used (espe-
forefinger.
Carezze'vole (It.) )
cially inSpain) by dancers as a dan,ce-
Carica'to (It.) Overloaded as to graces,
accomp. They yield no mus. tone,
chromatics, peculiarities of instrumen- but merely a hollow click or rattle.
tation, or other means of mus, expres-
Castra'to (It.) A
eunuch (adult male
sion.
Carillon (Fr.) i. A set of bells differing singer with soprano or alto voice).
from those of a chime in being fixed, Catalectic. Lacking part of the last
foot e. g. the second of the
and in their greater number ; played following
;

either by hand (on a keyboard) or lines is catalectic :

Lives of great men all remind us

machinery (on the principle of the
in the
cylinder 2. A
barrel-organ).
We can make our lives sublime.
'

'

bell-piano, with pfte. -keyboard, and (_w|_w|-^l-w|j_w|~^I-w]-.A)

bells instead of strings. 3. melody A Catch. Originally, an unaccomp. round
to be played on I. 4. An instrumental for 3 or more voices, written as a con-
piece imitating the peculiar character tinuous melody, and not in score the ;

of carillon-music. The "clashing" ' ' "

5. catch was for each succeeding singer
(ringing al! atonce) of several large to take up or catch his part at the right
bells. 6. See Glockenspiel. 7. A mix- time. new element was intro--
Later, a
ture-stop yielding the 3rd, 5th, and 8th duced, and words were selected in such
partials of the fundamental represented sequence that it was possible, either by
1
by the digital pressed fc g*-e*-c*). mispronunciation or by interweaving
Carillonneur (Fr.) A performer on the the words and phrases apportioned to
carillon. the different voices, to produce the
Carita' (It.) Lit. "charity."' Same as most ludicrous and comical effects.
Afetto. Catena di tril'li (It) A chain of trills. .

Carmagnole (Fr.) A
dance and song
Catgut, Popular term forGutsfringsfa.v.)
in great vogue during the Reign of
Terror ; it dates from the taking (1792) Catlings. Lute-strings of the smallest size,
of Carmagnola, a town in Piedmont, Catti'vo (It, "bad.") Cattivo tempo,
the weak beat,
though the connection between the town "
-
and the air is not clearly established. Cau'da (Lat, tail.") The stem of a
Carol I. A circle-dance (obs.) 2. A note.
"
joyous song or ballad, particularly one Cavallet'to little horse.")
(It.,
1. A..

celebrating Christmas. bridge (usually ponticello}. 2. The

Caro'la (It.) A circle-dance similar to break in the voice.
the carmagnole. Cavalquet (Fr.) A piece played by a
Carrie (Fr.) A breve. cavalry trumpeter-corps when approach-
ing or marching through a town.
Cartelle (Fr.) A large leaf (for writing)
of prepared ass's-skin, on which the Cava'ta (It.) I. Production of tone.
lines of the staff are traced to jot down 2. Cavatina 3, Stroke (of a bow).
notes while composing, the notes being Cavati'na (It.) i. A short song of any
afterwards erased with a sponge. All description. 2. A vocal air, shorter
cartelles come from Rome or Naples. and simpler than the aria, and in one
.

[ROUSSEAU.] division, without La capo.-~$. Title

 C BARR&-CHAMBER-MUSIC.

given by Beethoven to the 2nd move- Cembanel'la, Cennamel'la (It) A

ment of his By Quartet. pipe or flute.

C barre* (Fr.) The "barred 0" jj) f

Cen'to (It.), Centon (Fr.) i. The anti-

indicating alia breve time. phonary of Pope Gregory the Great. 2.

(Also cento'ne, "a patchwork".) A
C-de See Or/ medley of extracts from the works of one
CebelL A theme for variation on the composer, worked up into an opera or
lute or violin, in 4-4 time and 4-measure similar composition. (Pasticcio.) Hence
the verb centoniza're (Fr,
phrases, characterized by the alternation *'
centoniser},
of very high and low notes in the suc- meaning to put together."
cessive- strains. (Obs.) Cereal (It.) To seek the note ;
la no'ta
C6diium (Fr.) A free-reed keyboard i. to sing in the same breath the tone
e.
instr. inv. by Quantin de Crousard, ex- belonging to the next syllable like a
hibited at Paris in 1867. It has the light grace-note, before its proper time
shape and nearly the size of the 'cello, of entrance, in portamento
style ; e. g,
and is held in the same way. The keys written : sung :
are pressed By the left hand, while the
right operates the bellows by means of
a handle like a bow. Compass about 5
octaves ;
tone sweet and sonorous.
Ce*dez (Fr.) Go slower ; rallentate. Cervalet', Cenrelat'. Species of clari.
net with bassoon-like tone
Cclamustel (Fr.) A kind of reed-organ (obs.)
Ces (Ger.) Cb-.-Cr/w, Cbb-
having fundamental stops similar to
those of the harmonium, and various Cesu'ra, Ca&su'ra. A term in prosody
additional effects, such as bells,
harp, sometimes used in music to designate
echo, thunder, dove- and cuckoo-notes, the dividing line between two melodic
etc. tnd rhythmic phrases within a period ;
Celere called masculine or
(It) Rapid, swift... CihriW, feminine according
as it occurs after a
celerity, rapidity; con celerita, with strong or a weak
beat.
celerity, etc.
Celeste " Ce'tera or Ce'tra A cither... C.
(Fr., celestial, divine".)/** (It.)
1

&, /&& organ-stops producing a

c.j tedefscaS German cither,"
instr. of the lute class.
a 10-stringed
sweet, veiled tone ; Piddle c. is also a
pedal-mechanism on the pfte. for ob- Chaconne', Chacone'. (It.ciacco'na ;
taining a sweet, veiled tone.. ,
Voixc., Span, chaco'na; Fr. chaconne.) i.
the organ-stop vox
angelica* Originally, a Spanish or Moorish (pos-
*Cello,-i Abbr. of tfWfoi/&,-i sibly Italian) dance or sarabande. 2.

Cembal d'amour An instrumental composition

(Fr.) species of A of a series of variations, above
consisting
clavichord, twice as long as the ordi- aground
bass not over 8 measures in
nary mstr.s, the^ strings of which were length, in '

struck in the middle 3-4 time and slow (See Pass*.

tempo.
by the tangents,
the vibration of both sections of the caglia.)

string thus yielding a double volume Chair-organ. Variant of

Choir-organ.
of tone ; inv.
by G. Silbermann, 1st Chalameau. Variant of Ckalumeau.
half of i8th
ceatury. Chalil. Ancient Hebrew instr., either I
Cembalist. (It cmta&sfo.) A flute (flageolet) or
player reed-pipe.
on the cembalo (either
harpsichord or Chalumeau (Fr.;
Engl. chalameau;
pfte.) Ger. Chalumau, Ckalamaus
; It scia.
CenVbalo (It) i. a dul- lumb, salmfo i. 'See Shawm, Clari-
Originally,
cimer; a general, name for various net.- 2. The "chalumeau"
instr.s register
having several wire strings struck is the lowest
register of the clarinet
by hammers. 2. A harpsichord. 3. A
and^ basset-horn ; as a direction in
pianoforte.. .A cembalo, for harpsichord chalumeau
clarinet-playing, signifies
(or pfte.).. . T-utto il an
cembalo, see Tutte play octave
lower/ '3. (In
cordf^ , Cembalo French usage.) The chanter of the
onnicor'do, a keyboard
bag-
stringed mstr. inv, by Nigetti about pipe ; also, occasional for
Pan's-pipe.
1650; also called Proteus,
Chamber-music. Vopal or instrumental
 CHAMBER-ORGAN-CHARACTER.
t
and has no plural form simili; the Lat
term is similiter.]

Simple. (Of tones and intervals.) Not

compound. (Of counterpoint, imita-
tion, rhythm etc.)
s Not compound or
complex, undeveloped, not varied.
Sin* (It) Abbr.of5fow.
Sinfoni'a (It.) i. A symphony. 2. An
overture (to the earlier Italian operas).
/
In organ-music,
" Sinfonie (Ger,) Symphony (usually
signifies change
hands on chord ". Symptoms').
Sing'akademie (Ger.) A choral sing-
ing-society.

Sing'bar (Ger.) Singable ;

cantabile . . .

Sehr singbar vo^zutragen, perform in

a very singing style.
Sing^end (Ger.) Singing, melodious
cantabile.

Sing'etanz (Ger.) Dance accomp. with

" hold song.
In pfte.-music, signifies chord
with pedal". Sing'fuge (Ger.) Vocal fugue.

SignaThorn (Ger.) A bugle. Singhiozzau'do (It.) Sobbingly, catch-

The ing the breath,
Signature. signs set at the head of
the staff at the beginning of' a piece or Sing'manieren (Ger,, pl.) Vocal graces.
movement, indicating the key and
Sing'schule (Ger.) Singing-school,
measure in which it is written. The
chromatic sign or signs are termed the Sing'spiel (Ger.)
The German national
form of the opera, established during
key-signature; the figures or signs in-
the 2nd half of the i8th century by J.
dicating the measure, the time~signa-
or A. Killer, whose guiding rule was ta
ture^ rhythmical signature.
give simple, folksonglike melodies to
Signatu'ren (Ger., pi.) The figures and plain characters,
singers representing
u
signs employed in thorough-bass nota- whereas to gentlefolk" he gave arias;
tion.
the instrumental accomp. is also kept*
Signe(Fr.). Sign. subordinate to the vocal parts. The
term is also used for any light opera ot
Sig'aum (Lat) Sign. . ,
Signa impli'cita,
indicicflia, intrin'seca^ see Notation^ operetta with spoken interludes ; like-
3, Modus. wise, by extension, for more preten-
See Seguidilla. tious operas and mus. dramas.
Sigttidilla (Span.)
The singing-voice,
Slurring a sylla- Sing'stimme (Ger.)
the voice.
ble, L e. singing it to more than one
tone, Sifli'stra (It.) Left mam j., left hand; ;

Silence (Fr.), Silea'zio rest.

(It.) A
cotta s., with the left hand.

(Comp. Pause, Soupir.) Sink-a-pace. See Cinque-pace.

Sillet (Fr.) Nut; specifically, petit sil- Si'no (It.) To, up to, as far
as, till ; sino
9
nut at upper end of neck ; grand
let, (or sin ) aljine, to the end.
dllet^ nut at tailpiece.
Si'ren. (Ger. Sire*ne; Fr. tirene.) An
Similar motion, acoustical apparatus for determining the
Si'miie (It/' similarly, in like manner.") vibration-number of a given tone.
A direction to perform the following
Sir Roger de Coverley. An ancient
passage or passages in the same style as English dance-tune in 9-4 time, still in
a preceding similar passage ; used to save
vogue as a country-dance.
the trouble of repeating phrase-marks
and other signs., . The simile-mark is Siste'maflt.) Staff.
j
.
(see Abbreviation), [Simile, be- Sis'trum (Lat.) An ancient mus. instr
'
ing an adverb, is indeclinable, of Egypt and the East : a sort of rattle
 CHARACTERISTIC PIECE-CHIESA.

ing the fiat keys (rendering them darker Chevrotement (Fr.) See Boekstrilkr. . .

or, as it were,, lendingthem a minor Chevroteri to execute a che-urotement.

character). Theoreticians seem dis- Chiari'na
(It.)
A clarion.
posed to deny in toto the possibility oi 6?Vmz-
Chia'roya (It.) Clear, pure.
while many
. .

characteristic differences ;
menfte, clearly, limpidly, distinctly...
highly cultivated practical musicians
Chiaresfza, clearness, etc.
(not to speak of aesthetic enthusiasts of
all stripes) are equally positive that
Chia've (It.) I. A clef. 2.
Key of an
instr. 3. Tuning-key.
such differences exist.
Chiavet'te, or Chiavi trasporta'ti
Characteristic; piece. A character-
A
(It, "transposed clefs.") system of
piece one depicting a definite mood,
;
transposing clefs, freely used in the
scene, or event T Character-
'
.
impression, i6th century. As it was then a rule,
istic tone, (i) the leading-tone (2) that
;
but seldom infringed, that no vocal part
tone in any key which specially distin-
should overstep the limits of the 5-line
gu:shes it from nearly related keys, as
staff, and the modern system of chro-
y$ in the key of , distinguishing it matic transposition being undeveloped,
from C-major.
composers often employed, in the nota-
Characters* See Signs. tion of the various parts, clefs differing
Charak'terstinime (Ger,) Solo-stop (or- from those customarily used for the
<gan),. Characterstiick a characteristic >
several voices, these unusual clefs indi-

piece, cating to the practised singers a trans-

Charivari (Fr.) A position of their respective parts to a
callithumpian con-
cert. higher or lower pitch :

Chasse, a la (Fr,) Alia cacda. I.

High chiavette.
Chef d'attaque (Fr.) The leader of an Discant. Alto, Tenor,
orchestra, or of any division of a chorus.
. .
Chef tForchestre^ conductor of an
orchestra. . . Ch. du chant, see Rtfetitor.

The lyre 2. Ordinary clefs.

Chelys (Gk., "tortoise.") I.
of Mercury, fabled to have been a tor-
toise-shell with strings stretched over
its hollow. 2. Name for both the
Ijass viol and division viol in the 1 6th Low chiavette.
3.
and I yth centuries.

Cheng. The Chinese mouth-organ, the

'wind-chest of which is formed
by a
gourd into which the air is blown The high chiavette had the effect of
through a curving tube, and bears on transposing the parts (and consequently
'

its tipper side from 12 to

24 free-reed the entire composition) into a key a
pipes. Its introduction into
Europe major or minor third higher, i. e. their
led to effect was equivalent to
the invention of the accordion writing 3 flats
and harmonium. or 4 sharps in a signature headed
by
'the ordinary clef ; the low chiavette had
Chest 6f viols. A set of
viols, i. e. 2 a precisely opposite effect, as if j
''
trebles, 2 tenors, and 2 basses, which
sharps or 4 flats had been written after
formed the nucleus of the i;th
century the ordinary clef.
Though not recog-
orchestra. (Also Consort of viols.) nized as such, this system was tanta-
Chest-register. The lower register of ^ :
mount to a pretty free use of the trans-
Jhe male or female voice, the tones of
, posing scales.
wjMch produce sympathetic vibration in Circa, An old Spanish dance, modifi-
.

fte daGpL..Ctet-tou, 'chest-wue, a cations of which are the

Fandango,
vocal tone possessing the
quality of the Chaconne, Cachucha, Bolero, and pos-
chest-register; opp. to
Head-register, sibly the English Jig.
juad-tont.
Chie/sa (It.) Church. Concerto da ch.,
. .
Cbevalet (Fr.) Bridge. a sacred concert. ., Sonata da ch., a
Cheville (Fr.) 'Peg... QumUtr, peg- sacred sonata... to chiesa, for the
box.
church, in church-style.
 CHIFFRE-CHORD,

Chiffre (Fr.) A figure, as in thorough- a church ; hence, the part of the church
which they occupy. 2. A choral sod*
Chifonie (Fr.) Old name of 'the hurdy- t
y- 3- (In the Anglican Church.) A
body of whose function is the
officials
gurdy.
Chikar a. A Hindu violin having 4 or 5
sitting divided on the decani and can-
horsehair strings. toris sides of the chancel, 4, sub- A
Chime. I. A set of from 5 to 12 bells division of a chorus, e. g. the ist and
tuned to the tones of the scale, and em- 2nd^ choirs (coro primo e secondo} in 8-
the chimes by swing-
ployed in playing part music. 5. Same as Band$.
or clap-
ing either the bells themselves,
pers hung
within them. 2. set of A Choir-organ. (Se"e Organ.} . . . Choir-

bells and strikers (hammers) in a mus- fitch, (see Chorton}.

ical box, organ, etc. (See Carillon?) Chor (Ger.) i. Chorus; choir. 2. On
Chiming-machine. A
revolving drum the pfte., a unison (the 2 or 3 strings
with pins so set as to pull the ropes of belonging to one tone), 3. On the
a chime of bells and ring the chime organ, those pipes belonging to a mix-
ture which are sounded by one key. 4.
mechanically.
An apparatus for A combination of instr.s of the same
Chirogym'nast. Trom-
family, but different pitch, e. g*
exercising the hands of players on the '

of a *set of petenchor.
pfte. or organ, consisting
rings attached by springs to a cross-bar. Chora'gus, Chore'gus (Gk.) The lead-
Hand*leitir, i. e.
er or superintendent of the ancient
Chi'roplast. (Ger.
An inv,
dramatic chorus. Hence, in Oxford
.

hand-guide.) apparatus by
(England), the title of a functionary
Logier
about 1814, consisting of 2
smooth wooden rails attached in front
who has charge of the' mus. services in
church.
of and parallel with the pfte. -keyboard,
and a pair of open gloves, the whole Cho'ral (adj} Relating or pertaining to
a chorus or vocal concerted music.'..
serving to hold both hands in the proper
the Choral notes, see Note. .'.Chora I service
position for playing, by hindering
^

wrist from sinking and obliging the a church-service consisting chiefly of

'
music by the choir.
^
fingers to strike vertically. Simplified
later Kalkbrenner. Termed by Cho'ral (noun} Chora?; Fr.
"by
I. (Ger.
"
Liszt ass's guide (guide-fine) for the cantique, plain-chant; It. can'tico, can-
French "hand-guide" (guide-main). zo'ne sa'cra} A
hymn-tune of the
German Protestant Church; also,
Chitar'ra (It.) A guitar. The Italian early
a hymn-tune similar in 'style to the
guitar, the English cither, was
like
above. (Sometimes spelled Chorale^
strung with wire instead
of gut strings,
2. (In the K,. C. Church.) Any part
. . Ch. coWarco^ a bow-guitar. . Chitar- .

of the service sung by the choir.

ri'na, a small Neapolitan guitar. .'Chi- .

tarro'ne, "great guitar;

*
a kind of Choraleon. See Molomekdicon.
) In the
theorbo differing from the arciliuto in Chora'liter (Lat.) style of a
having a longer neck, a wider space be- ChoraTmassig (Ger.) ) choral.
tween the 2 sets of pegs, and a smaller
ChoraTnote (Ger.) A choral note.
body. It had 20 wire strings/
12 being
over the fingerboard. (See Lute.} Chor1>uch (Ger.) See Part-book 2.
Chord. l.(Ger. Akkord'; Fr. owrrf/lt
Chiu'so,-a (It.) Closed ; hidden. . . /-
accor'do} In a^g^neral sense, the har-
'

none chiuso, see Canone. Con focca . .

with closed mouth mony of 2 or more tones of different

chiusa, (comp.
pitch produced simultaneously. As a
Brummstimmen}.
technical term, a combination of from
Choeur (Fr. \ch like .]) Choir, chorus.
3 to 5 different tones, formed by erect-
. .A
grand chvur^ for full chorus, ing, upon a fundamental tone^
or root,
Choice-note. An alternative note written an ascending series of diatonifc tirJ-ds.
above or below another in a vocal part, A 3-tone chord is called a triad, a 4-
which the singer may take in preference tone chord a chord of the jth, and a
if he choose.
5-lone chord a chord of the^th.
The
Fr. It. term chord is often applied specifically
Chqir. (Ger. Chor,- thceur; co'ro}
I* A companydf in to the triads, as majo* ;Hordt minor
singers, especially
 CHORD.

chord\ fundamental'chord ,etc. A View The Arabic numerals over

r
sixth.
of the fundamental diatonic chords fol- the bass form what is called thorough-
lows, with the ordinary figuring in bass figuring ; each figure marks the
thorough-bass and theory : interval of some tone above the bass (or
lowest tone), the order of the figures
Triads in Major.
depending, not upon the order of the
notes, butupon the width of the inter-
vals, the widest interval, always being
written at the top. The simple figures
C\ I ii HI IV V vi vii
invariably call for the diatonic intervals
Triads in Minor. as established by the key-signature. O
sfl
calls for tasto solo (see Tasto) ; 2 or f

or 4, for the chord of the second (in full,

chord of the second, fourth and sixth) ;
3 or or I, (a) for the simple triad, (b)

3 alone over the first bass note signifies

that the soprano takes the third of the
root ; I or calls for the chord of the
|
third and fourth (and sixth) ; 5, for the
fifthin the soprano ; J, for the simple
C: I7 ii, m r IV7 V7 VI T vn? triad ; 6, for the chord of the sixth ; f ,

for the chord of the fourth and sixth ;

Chords of the Seventh in Minor.
\ ,
or for that of the fifth and sixth ;
|,

7 (|), for the chord of the seventh ; 8,

for the octave in the soprano, i for the ,

c: IT II?
f
III 7 IV 7 V7 VI 7 vii? simple triad ; 9, (? or a, according as
Chords of the Ninth the fifth or seventh is dropped), for the
:
*
chord of the ninth. 8 } J were for- V
merly used to show that the tenth and
octave, eleventh and ninth, etc. of the
bass note were to be taken instead of
the third and prime," fourth and second,
etc. Where there is a choice, the
etc.
simpler figuring is preferable, unless
some interval is chromatically altered.
When the root of a chord is the lowest A M* *
ft> b or bb ah** over a bass
,

tone, the chord is said to be in the note signifies that the third'in the 'chord
fundamentalposition; when some other is
correspondingly altered chromatic-
tone is the lowest, the chord A
Each triad has 2
inversions,
is inverted.
and each
ally. crossed figure (^ etc.) &#
indicates that. the interval is
chord of the 7th has sharped.
3. The inversions A dash (-) after a figure
prolongs the
are limited neither to the
given number tone into the next chord. The Roman
of tones, nor to
any particular order of ,

numerals tinder the bass form no part

the intervals above the bass e.
g. a ; of the thorough-bass
figuring ; they in-
chord of the sixth may be written
dicate on what degree of the scale the
given chord (i. e. the root of the chord)
has its seat, the key or scale itself
being
marked by a capital letter for
major and
a small letter for minor.
large A
numeral indicates a triad with
major
third ; a small
numeral, a triad with

C:_:I IT 1 I I
minor third with an accent (III 7 the
;

augmented fifth ; with a cipher (vn),

),

that remains a chord of fae sixth

is, it
the diminished fifth ; with a
so long as the third of the triad 7 (V 7 ), the
remains chord of the seventh.
the lowest tone Y above which the [This is the
(octave system generally accepted ; its prime
of the) root forms the interval of
a defect (clumsiness in
following chro-
 CHORDA-CHROMATIC* 43

matic alterations, and consequent in- Chords essentiofles, the key-note with
ability to cope with the exigencies
of free its third and fifth, the tonic triad.
tonality) is felt by all theorists; Ja- Chordaulo'dion, or Chordomelo'dion.
dassohn solves the problem empirically A kind of automatic barrel-organ hav-
his highly elas-
by stretching r-f J ing pipes and strings combined inv. ;

tic theory of altered chords to Ife^i

1 ^ by Kaufmann of Dresden, in 1812.
the utmost ; e. g. he writes C: IV v Chordom'eter. A string-gauge.
as the major triad on the
(=f$-dp-c Cho'ree, Chore'us. A metrical foot
4th degree of C-major \)Riemann, on identical with the trochee.
the other hand, has devised an entirely
new system, explained under art. Cho'riamb,
Choriara'bus. metrical A
foot having 2 short syllables between 2
Phone.] (Alsocomp. Thorough-bass.)
Altered chord, a chord chromatically long ones, the ictus being on either of
but not a modula- the latter (-* ~>-> or ^-**). ,
^
changed, effecting
tion the commonest altered chords Chorister, i. A singer in a choir. 2.
;

are the triads on the 1st, 2nd, 4th and precentor. A

5th degrees in major and on the 4th Chor'ton (Ger.)
"
Choir-pitch," i. e. the
.

and 6th degrees in minor (with al- at which church-choirs formerly

tered fifth); on the 2nd degree in
major and 6th in minor (with altered
root) ; the chords of the 7th on the same
Cho'rus.
the 6th in minor
degrees, excepting
(with altered fifth), and on the 7th de-
gree in major and 2nd in minor (with
altered root). .Anomalous ch., see Ano-
one
.
pitch
sang in Germany, as set by the organs.
(See Pitch> absolute?)
(Ger. Chor; Fr. chceur; It.
i. A company of singers.
2.
co'ro.)
In an opera, oratorio, etc., the main
body of singers, as distinguished from

ma-
the soloists and orchestra. 3. refrain. A
maly.. .Augmented ch., having
4. A composition, or any part of one,
jor third and augm. fifth. .Broken ch., .

oftenest in 4 parts, intended to be sung

an arpeggio. . Chromatic ch. one chro-
. ,
in chorus a double chorus has 8 parts.
matically altered. Common ch.,& triad. .
;

5. The compound stops of an organ.

peculiar to any given scale.. .Deriva- 6 (obs.) The bagpipe ; the drone of
tive ch. one derived by inversion from
,
the bagpipe, or the free sympathetic
another. . .Diatonic a common ch.,
strings of the crowd.
chord. .Diminished ch., one having
.

both 5th and 7th diminished. Domi- Chorus-master. The leading singer in
. .
,

nant ch., (rt)the dom. triad, (b) thedom. a chorus.

ch. of the >]tii... Doubtful ex Equivocal Chri'ste ele'ison (Gk.) Part of the
ch.i a dissonant chord of uncertain reso- Kyrie in the Mass (see Mass).
lution, like that of the dimin. 7th, Chro'ma I. In Greek
(Gk., "color".)
which belongs to various keys, and may
music, a chromatic modification of the
resolve to any one of them.. .Funda- A
tetrachord 2. sign altering the
mental chord, (a) one in the funda-
pitch of a note by a semitone (jf or |>) ;
mental position, i. e. with the root low-
also, a chromatic semitone. =-3. An
est the tonic triad ; (c) one of the
(b}
eighth-note or quaver (J^); ch. simplex*
;

3 principal triads of a key (tonic, domi-

(a) an eighth-note, (b) a # or b
ch.
nant, and subdominant) ,(d) a common
I

duplex, (a) a i6th-note ( J\), (b)

a x or
chord.. .Imperfect or incomplete ch., a
chord, one of whose tones Is omitted, bb-~~4 A
semitone.
r
.Inverted ch., see Inversion.. .Lead- (Ger. chrwia ti$ch> Fr.
Chromat'jc.
ing ch., the dominant ch. of the 7th. chromatique; It.
croma'tico.) Relating
.
.Major, minor ch., see Major, Minor. to tones foreign to a given key or chord ;
. .Related or relative ch., see Relation.
opp. to diatonic. . Chr. alteration, rais-
.

Seventh-chord, ch. of the 7th.. . Solid

. .
ing or lowering the pitch of a note by
ch., one whose tones are produced means of a chromatic sign ; of a chord^
simultaneously ; opp. to broken. . Tran- . or melody, the introduction into it of
sient ch., one used in modulating from one or more tones foreign to the ruling
one key to another, and foreign to both. diatonic key, but not effecting a modu-
2. A string. lation (then sometimes called a chro-
ChorMa (LatJ- i. string. 2. tone A A matic chord or melody). . Chr. harmony. .

or chord. . . Ch. character?stica, a chord a succession of chromatically altered

of the 7th containing a leading-note.. chords. Chr, instrument, one produc-
. ,
'44
CHROMATIC-CLAIRON.

scale. . Chr. in- Ciacco'na (It.) Chaconne.

ing the tones of the chr.
.

"
tirval, an interval chromatically aug- Cico'gna (It., stork.") The mouth-
lit.

mented or diminished, . Chr. scale, see .

piece of a wind-instr.
Scale. ..Chr. semitone, an interval
A
sort of flute, or Pan's-
Cicu'ta (Lat.)
formed by altering a note of the natural
pipe.
scale by a sharp or flat, or by further
such a sharped or flatted inter- Cifra'to (It.) Figured.
altering
val by a x or bb- ( See Semitone.}.
Cim'bal. See Cymbal.
Chromatic signs, the characters used in CinVbalo (It.) i. A cymbal. 2. A
mus. notation for raising or lowering the harpsichord. 3. A tambourine.

"pitchof (a) natural notes, (b) notes Ciml>alon. Same as Zimbalon.

already raised or lowered (comp. Table, Cim'bel-
Cim'bel (Ger.) See Cymbal 2. . .

art Those now in use are

Interval}.
Flat Natural stern, see Zimbelstern.
the Sharp (#), (b), (fl),
-

Double-sharp (x), Double-flat (bb) J Cinel'le(It., pi.) Cymbals.

the Great Flat (j?) is obsolete; the Cink (Ger.), Cinq (Fr.) See Zink 2.
'

combined sign tftf (or Bb) signifies that Cheque (It.) A fifth part in concerted
.A cinque\
music. for or in 5 parts.
a note previously sharped (or flatted) is .

first restored to its natural pitch on the Cinque-pace. An old (presumably

staff and then sharped (or flatted) ;
the
French) dance, with a 5-step movement.
"
Double-natural (t]t!) is superfluous and
Cipher. A tone is said to cipher" on
incorrect. The chromatic signs at the the organ when, owing to some de-
head of the staff are called the key-sig- in the action, it persists in
rangement
nature (see Key i) such as occur;
sounding.
irregularly in the course
of a composi-
tion are called accidentals. An acci- Circle-(orcircular)canon. See Canon. . .

as a general rule, affects its

Circle offifths, see Temperament.
dental,
note only during the measure in which Cir'colo mez'zo (It.) A turn, (Now
it is written, unless the note be tied into Grupfetto.)
"
the next measure or measures: Cir'culus (Lat., circle".) A time-sig
g. ..
!
nature in medieval music. (See Nota.
tion, 3.)
Cis (Ger.) C#. Cis'is, Cx.
higher or lower octaves of the note are Cistella A dulci,
(Lat., "little box.")
not affected, and must therefore like-
mer.
'wise take an accidental.
Cistole, Cistre, Citole. See Zither.
Chromatic (noun.) A chromatically al-
tered note. Cistrum. See Sutrum.

Ghronom'eter, Occasional for Metro- Ci'thara (Lat. ; It. ei'tara.) An ancient

nome? !
instr. of the lyre family, from which

Chrcnometre A species of mono- many medieval and several modern

(Fr.) instr.s (guitar, derive their
zither)
chord, made to sound by means of a
names and, in part at least, their con-
keyboard like that of the pfte. to teach ,
struction. See Cither. C. biju'ga, a
f .

, the.tuning of the latter; inv, in 1827 two-necked cither.

by Raller, pfte. -maker in Paris.
Cith'er (also cithern^ cittern; Fr. cistre,
Chrot'ta, See Crowd.
sistre; It. ce'tera, ce'tra). An instr.
^Church-modes. See Mode.
strung with wire and played with a
Chute (Fr.) A
grace-note or appoggia- plectrum a variety of lute or guitar,
;

tura either above or below the melody- in vogue during the i6th and zyth cen*
"

note ; (es
,turies. Zither.)
Citole. A small dulcimer.
Civetteri'a (It.) Coquetry. . . Con c t
,
in
played: a coquettish, trifling style.
Clairon (Fr.) i. A
clarion (either the
^Also, a slide instr.or the organ-stop) . . Cl. chro- .

descending by a matique, a species of valve-trumpet

third: made in 6 different pitches, (as a con-
 CLANG CLASSIC. 45

trabass, bass, barytone, tenor, alto, and holes, and a beating reed; its entire
soprano.) 2. Clarinetto register of the scale
clarinet. 3. Bugler (for infantry).

Clang. See Klang. I

*
I

J J atafc
j *
Clang-color, Timbre,
Clang-tint.
i:

^ "5 7 8 9

44
tone-color ;" the quality of a tone, was composed of the prime tones pro-
dependent on the number and intensity duced by successively opening the
of its harmonics. holes. The modern clarinet differs
from the chalumeau chiefly in its abili-
Claquebois (Fr.) Xylophone. .
ty to reproduce the prime tones of its
Clarabella. An organ-stoj) having open scale (or rather their third partials) a
wooden pipes of 8-foot pitch and soft, twelfth higher; this result is due to the
mellow tone. addition of a small hole, covered by an
extra key, at the nodal point dividing
Claribel-flute. A 4-foot Clarabetta,
the air-column into 3 equal portions,
Clarichord. An instr. of the late middle an improvement attributed to Joh. Chr.
ages, apparently a variety of harp, Denner of Nuremberg about 1 700. The
though thought by some to have been higher scale or register thus obtained
identical with the clavichord. was termed, by reason of its bright and
Clarin See Clarion. piercing qualify, darinetto (whence the
(Fr.) name of the modern instr.); the origin-
.Clarinet', i. (Ger. Klarinette; Fr. al lower scale retained the name of the

clarinette; It. clarinet'to.) The parent old chalumeau. The soprano clarinet
instr. of the clarinet family was the in Cis the typical instr. of the family;
chalumeau, a primitive wind-instr. hav- compass 3 octaves and a sixth (with
ing a cylindrical tube with 9 finger- chromatic intermediate tones):

It has a cylindrical wooden tube pierced the soprano instr.s of the symphony-
by 1 8 holes, 13 of which are closed by orchestra). The cL is a transposing
keys, yielding a chromatic series of 19 instr., and its music is written in the C-
clef. The fingering is very complicated
prime tones \e to b^)\ it is composed

of 5 pieces of joints, namely, the and the reed difficult to manage, a

mouthpiece with the reed, the socket slight error of judgment sufficing to pro-
*'
(Ger. Birne)^ the "right-hand" and duce the fatal couac." 2. See Clar-
"left-hand" joints of the tube proper, ionet 2.
and the bell; its higher registers are
Clarinet-stop. See Krwnm'horn.
simply the third, and fifth or ninth, Clarinetto See Clarinet.
b l (It.)
partials of the prime tones (from |J
to
3
The 'quality of the Clari'no i. Clarion r and 2. 2.
/ , and/^Jto <*.)
(It)
A
name loosely applied to the trumpet
tone differs greatly in the four registers,
" and bugle. 3< Used for tromba^ in -

the chalumeau" and "clarinetto"

the female con-
to
some old scores.
being comparable
tralto and soprano respectively, while Clarion, i. A small, shrill-toned trum-
the medium is weak and veiled, and the pet. 2. In the organ, a 4-foot reed-

highest shrill and 'piercing. Several stop of a shrill, piercing tone.

sizes are made (i) The large soprano
:
Clarionet. I. clarinet. 2. A
In the
cL in C, J&Q, and A, and (2) the small
clarinets in and organ, an 8-foot reed-stop of soft tone.
F
soprano D, E> A]), . .
Clarionet-flute, a flue-stop with per-
these last being mostly used in military
forated cover.
music, in which their position is similar
to that held by the violins in the or- Classic. In a restricted sense, a com-
chestra. There are also alto (or bary- position is called classic when it be-
tone) clarinets in F
and Ify, and bass longs to an acknowledged style in art,
clarinets in C, Jfy t or A
(octave below and is by an acknowledged master of
 CLAUSULA-CODA.

that style. In a broader sense, any of strings, which were pressed against
ompositioa may be termed, classic the revolving cylinder on touching the
which, in its kind, might be taken as a digitals, and thus made to sound com- ;

model for imitation, and in which the pass 4j octaves,

form Id in perfect harmony with the 7
Clavier [veer'}. (Ger. Wavier*.) i. A
spirit or Classic is
subject-matjer.
also often used as a distinctive epithet keyboard (Klaviatur).~2. (Ger.) Gen-
eric name for all keyboard instns except
for the works of the earlier masters,
organs ; especially (formerly) for the
including Beethoven, and their imita-
clavichord, and (at present) for the
tors, in contrast to those of the roman- See Klavier.
pianoforte.
tic school ; classic forms being the
aria, rondo, sonata, symphony, etc. Clavier (Fr.) I. A
keyboard. .Post/- .

Clau'sula (Lat.) A cadence. der son cL, to know one's keyboard...

CL de r/di, Re*dt expressif^ swell-man-
Clavecin (Fr.) A harpsichord..CL t

ual (organ). 2. The range or scale of

atoustique, a French invention of the
notes comprised on the grand staff
l8th century, imitating several stringed
without leger-lines.
and wind-instruments.
< /
Claviatur (Ger.) Keyboard (JClawatur). Claviglissan'do.
A keyboard instr.
of a combination of mechan-
consisting
Clavicembalo (It.) Harpsichord. isms for producing various harmonium
Clavichord. (Gtt.Kla'vichord,IClavier'; effects, and also the portamento of the
Fr. clavicorde; It. clavicor'do.) One violin ; inv. by Le Jeune.
of the precursors of the pfte. (see Pi- Cla'vis A
(Lat,) I. key (digital), clef, or
anoforte\ differing in action from the note. 2, Bellows-handle.
latter in having, instead of hammers,
Clef (Fr.) I. Clef ; armer la
upright metal wedges called tangents
on the rear end of the digitals; on de- clef, to furnish the clef with the key-

pressing a digital the tangent struck signatures. 2. Key (of a wind-instr.)

the wire and remained pressed against Clef. (Ger. Schl&s'sel: Fr. cU, clef; It
it till the finger was lifted,
causing only chia've?) A
character set at the head
one section of the string to vibrate. of the staff to fix the pitch or position
(Compare Gebunden.) of one note, and thus of the rest. The
3 now in use are the /'-clef, C-clef , and
Clavicithe'rium^cythVrium.) An ob-
solete instr., supposed to have been a -clef; theJF-clefand -clef are also

kind of harpsichord, but with the called the Aw-clef and Treble-dti re-

strings stretched in a vertical frame in- spectively, because they fix the position
stead of horizontally. of the bass and treble notes. The C-
clef is
variously called the Tenor-, Alto-,
Clavicor (Fr,) A kind of cor a pistons. and Soprano-dei) according as it is set
Ckvicylin'der(Ger.) A keyboard instr. on Lhe 4th, 3d, or 1st line of the staff ;
inv. by Chladni about 1800,
containing a wherever placed, it marks the
position
glass cylinder caused to revolve by a of Middle-C* A view of the
(Tenor-C)
treadle, and steel wands or bars instead clefs used at present is appended.
Bass-clefs. C-clefs. Treble-clef. Tenor-clef (recent).

The on the 3rd line (Barytone*

.F-clef the letters/, c> and^, formerly plainly
clef), the C-clef on the 2nd written.
(Mezzo-
Soprano<\&i), the -clef on the ist line
Cliquette (Fr.) The bones.
(French wV&Vf-clef), or on the 3rd line,
are no longer used (the C-clef on the Close (noun; Ger. Schluss). See Gz-
snd line occa- -ft 3. dence
sometimes
fl is

sionally). The mfo: used in vocal Close harmony or position. See Har*
double 'G-clef : \} \j music as a ten- monytt Close play, a style of lute-
.

or-clef, signifying that the part lies an playing in which the fingers were Kept
octave lower than written, Our modern on the strings as much as
possible.
forms of the clefs are Co'da "
corruptions of (It., tall.") Specifically, a pas-
 CCELESTINA-COMPLIN. 47

sage finishing a movement, and begin- first, as before. . . C.

sopra, as above.. .

ning where the repetition of the first C, sto, as it stands, as written.

subject ends. Originally, it was a few
chords (or a short passage) intended
Co'mes (Lat.) Answer (in a fugue);
as a winding-tip ; it became of growing consequent (in a canon).

importance in the canon, sonata, rondo, Comma. I. A

comma (,) is often used
etc., and is frequently developed into an as a breathing-mark. 2. (a) Didymic
almost independent concluding division. or syntonic c. : The difference between
Also, the stem or tail of a note the greater and lesser whole tone, or
(cauda).. .Codetta, a short coda. (See 8 0:8 1
Pythagorean c., or c. maxi-
; (b)
Fugue.) ma : The between the octave
difference
of a given tone and a tone 6 whole
Ccelestina (or -o). A name bestowed
tones higher than the given tone, or
in the l8th century on several modifica-
tions of keyboard stringed instr.s, in 524288:531441.
which alterations of the tone could be Com'modo (It. ; also co'modo.) Easy,
produced by mechanisms under the leisurely, ata convenient pace as al- ;

player's control* legro commodo., Commodamen'te, easily,

.

Coffre (Fr.) Case (of a pfte.) ; body (of quietly, leisurely.., Commode? to, rather
a violin). easy or leisurely.

Co'gli stromenti (It.) With the instru- Common chord. A major or minor
ments. Common hallelujah metre, or
triad...
Common long metre, a 6-line stanza
Coi, col, coll', colla, col'le, col'lo (It.)
formed of a common-metre stanza with
With the.
halfa long-metre stanza added ; thus,
Colascio'ne (It.) See Calascione. 868688... Common measure, see
Collet de violon (Fr.) Neck of a violin. time. . . Common metre, a form of iambic
Collinet (Fr.) A flageolet named after ;
stanza, of 4 lines containing alternately
a celebrated player. 8 and 6 syllables ; thus, 8686.. .Double
common metre, a stanza formed of 2
Corophony. Kolophon' ; Fr.
(Ger.
common-metre stanzas. . . Common par-
colophane ; eolofJnia; from Lat.
It.
ticular metre, a 6-line stanza, the 3rd
colopho'nium.) Resin or rosin.
and 6th lines having 6 syllables, and
Color, i. Timbre (tone-color). 2. The the others 8 each ; thus, 886866...
characteristic rhythms, harmonies, and
Common time, a measure containing 2
melodies of a composition. 3. (Lat.)
(or 4) half-notes or 4 quarter-notes,
See Notation, 3. with 2 or 4 beats respectively duple ;

Colorado (It.) Florid, figurate. or quadruple time- (Ordinarily > com-

Coloratura (It.) Colorature, i. e. vocal mon time is understood to mean 4
'

runs, passages, trills, etc., enhancing quarter-notes [and as many beats] to a

the brilliancy of a composition and dis- measure.)
playing the vocalist's skill. Also ap- Compass. (Ger. Urn'fang; Fr. diapa-
plied to similar instrumental music. son; It, estensio'ne) The range of a
voice or instr., i. e. the scale of all the
Coloris (Fr.; Ger. C(K)olorif [Far'ben-
"
The tonal color-scheme, 11 tones it can produce, from the lowest
gebung. to the highest.
vocal or instrumental, of a composition,
movement, or scene ; i. e. the modifica- Compiace'vole (It.) Pleasing, delightful.
tions in vocal or instrumental timbre, Complement. An interval which, added
or in the instrumentation, employed for to any given not wider than
interval
obtaining special effects. an octave, completes the octave thus ;

a fourth is the c. of a fifth, a minor

Col'po (It, "blow".) Di colpo, at a
sixth of a major third, etc. Also com-
blow, suddenly, at once.
plementary interval.
Combination pedal. See Pedal . . Com-
Comple'tory, (Lat. complete*'rium.) I.
bination tones (combinational tones), An anthem supplementary to an anti-
see Acoustics.
phon in the lauds and vespers of the
Combined mode. See Dur Moll- Ambrosian rite, 2. See Complin.
Tonart. The last of the 7 canon*
Com'plin(e),
Co'me (It.) As, like. , . C. prima, as at ical hours.
 COMPONISTA-CONJUNCT.

Componi'sta Composer.
(It.)
out and on pushing in the bellows.
In the organ, Tenor, bass, and double-bass concertinas
Composition pedal. A
are also made. great variety of music
pedal which draws out or pushes i
can be played, and the literature is quite
several stops at once. (Comp. combina
tim pedal.) extensive; the instr. is, likewise capable
of great expression, and the tone is sus-
Composizio'ne (It.) Composition..
ceptible of considerable modification.
C di tavoli'no, table-music. A
Concertino (It.) i. small concert.
Compound interval. See Interval, .
2. Equiv. to concertan'te, i. e. lead-
Cl measure, rhythm, time^ see Time..
ing, principal ; as violino concertino,
stop, an organ-stop having more than here opp. to rifie'no.
principal violin ;
one rank of pipes,
Concerti'sta (It.) Concert-player, solo
Con (It.) With.
performer, virtuoso.
Concave pedals. See Radiating.
Concert-master. See Konzert'meister.
Concen'to Concord, harmony
(It.) i.
Komert ^) An ex- f
Concerto. (Ger.
2. The simultaneous sounding of a]
tended composition for a solo instr. ,
the tones of a chord ; opp. to arpeggio,
commonly with orchestral accomp., in
Concensus (Lat.) i. Concord, har sonata-form modified to suit the char- ,

mony, 2, Part-music. 3. See Ac acter of the solo instr. (e. g. the cadenza);
centus.
pfte. -concertos in which the pfte.-part
Con'cert. i, A set of instr.s of the same is comparatively inconspicuous are jocu-
"
family but different in size (see Chest larly called symphonies with pfte.-
Consort]. .2. concerto. A
3. (Ger. Kon accomp," The earlier concertos were
zerf; Fr. concert; It conce/to^ in concertante style, 2 or more instr.s or
public mus. performance... Dutch con voices bearing leading parts ; Viadana's
cert, the singing of an entire company concer'ti ecclesia'stici, or da chiefsa,
in which each person
sings whatever he were simply motets with organ-accomp:;
pleases ; or the persons present sing in Torelli was the first (1686) to write
alternation any verse that comes into concerti da ca'mera (for 2 violins and
their heads, the refrain by the whole double-bass).
company being a regular repetition of Concert-pitch, See Pitch.
some popular verse.. Concert sfirituel .
Concert/stiick (Ger.) A concert-piece ;
(Fr.), sacred concert.
a concerto.
Concertan'te (!t.) Concordant, har- Concitaxto
monious. Hence: r.
Moved, excited, agi-
A concert-piece.
(It.)
tated.
2. A
composition for two or more
solo voices or instr.s with
Concord, i.
Harmony; opp. to dis-
accpmp. by cord, 2. See Consonance.
organ or orchestra, in which each solo
part is in rum brought into prominence. Concordant, i. Consonant. -2, (Fr.)
3- A
composition for 2 or more
A barytone voice.
solo instr.s without orchestra.. . Cancer- Conductor. (Ger. Kapellmeister, Diri-
f
tante parts, parts for solo instr.s in
gent ; Fr, chef d'orchestrej It. capo
orchestral music... Cancertante
style , a
d1

orchestra, mae'stro di cappel'la.) The

style of composition admitting of a director of an orchestra or chorus.
brilliant
display of skill on the soloist's Conduc'tus (Lat.)' A form of polyphp-
part. . .
Concerta'to, concerted. nous composition (i2th
century) in which
Concerted music. Music written in the tenor to the
contrapuntal variations
parts, for several instr,s or
voices, as was not borrowed from plain
song (as
in the
trios, quartets, etc. (

o/ganum and dzscan'tus), but,

like the counterpoint, was
Concert-grand. $*& Pianoforte. original
with the composer.. .
Concertina* The improved accordion du'phx, 3-part
inv. by Wheatstone in counterpoint ; C. sim'plex, 2~part coun-
1829. The key-
boards are hexagonal ; the terpoint.
compass of
the treble c. %va a double-ac- Conduit (Fr.) r. Conductus. 2, 4
is4 octaves: wind-trunk (organ).
/
tion instr.,
producing ione-gamba. Bell-gumba.
includingallrf-
chromatic [fo J/T" _ thesametone Conunct7 .
(Fr. conjoint; It. congiun*.
Jones ;
it is 5 g? on. drawing A degree of the s^ale immediately
 CONSECUTIVE INTERVALS CONl R^-,

succeeding another is called a conjunct voice, having a com-

degree ; opp. to disjunct. pass from about
2
/
to f , the extremes
Consecutive intervals. Intervals of
the same kind following each other in being ejf :

" " (Also Alto.) Male voices were exclu

immediate succession ; consecutives
are progressions of parallel fifths or sively employed in the old church*
music, the tenor being called altus;
octaves, forbidden in strict harmony.
hence the term "contr'alto", i.e. op-
See Parallel
posed to or contrasted with the altus.
Conseguen'te (It.) Consequent. . . Con-
Contrappunti'sta A contrapuntist.
seguen'za, a canon,
(It.)

See Contrappun'to (It.) Counterpoint. . , C.

Consequent. (It. conseguen'te!)
alia men'te, see Chant surle livre. * . .
Canon.
alia top*pa, "limping", i. e. syncopa-
Conservatory. (Ger. Konservato'rium; ted, counterpoint. C. dop'pio^ double
. .

Fr. conservatoire; It. conservato'rio!) or invertible counterpoint. . , C. synco-

A public institution for providing prac- pa'to, syncopated counterpoint, . . C.
tical and theoretical instruction in
so'pra (softo) il soggefto, counterpoint
music, above (below) the theme. .

Consolah'te (It.) Consoling, soothing. Contrapunc'tus (Lat.) Counterpoint. . .

f
C. ad mden dum^ counterpoint written
Consonance. (Ger/ Konsonanz'; Fr.
out ; opp. to conirappun'toallamen'tei
consonance; It. consonantal] com- A
improvised counterpoint. C. gqua'lis, .
bination of 2 or more tones, harmonious
.

and pleasing in itself, and requiring equal counterpoint. . C. diminu'tus or

.

florid or figurate counter-

no further progression to make it satis- florjidus,
point. . C. in&qua'liS) unequal coun-
.

'
factory opp. to dissonance. (Comp.
;

terpoint.
Acoustics, 3.). .
.Imperfect consonances,
the majorand minor thirds and sixths.
Contrapuntal. Pertaining to the art
..Perfect consonances, the octave, or practice of counterpoint.
fifth, and fourth.
Contrapuntist. One versed jn the
Consonant chord. One containing no practice and theory of counterpoint,
interval, a con-
1'
dissonant interval.. . C.
Contr'arto (It) "Against the bow,
sonance.
up-bow for down -bow, or nice versa.
Con'sort. I. See Chest (of viols). 2. Contrary motion. See Motion.. , .

A band, or company of musicians.

Contrasogget/to (It.) Countersubject
Con'tano "they count.") Direc- Contra-tenor. Countertenor.
(It.,
tion in scores, that parts so marked are
to pause.
Contrattem'po (It.) i. A tone enters
ing on a weak beat and ending on a
Continual (It.) Continued (see Basso a 2. -A strong beat; syncopation.
-continue} ; held, sustained. sustained melody, as contrasted with Its
-
Continued bass. See Boss. figurate accomp.

Cqnti'nuo. A BZSSQ continue. Contravioli'no, -violo'ne (It.) A doable^

Contra (^At. % It.) Compounded with bas,s.
'
,
,

s
"
names of instr.s, it signifies an octave Contre-(Fr.) Contra-, counter-?., '.Coo*
below ; e. g. contrabbas'so, a double- ire-bam, double-bass. . Contrfdqnse, j .

bass. . * Contra-octav69 see Pitch. French dance deriving its name^from

Contrabass, (It. contrabbas'so} i. the position of the dancers opposite to A
double-bass.- -^, The lowest bass
1 or facing each other. Originally 'there
'

instr. in a family of instr.s. Contra- were but 2 dancers there are ilow 8','
. . ;

and the dance is known in English as

bassist, a player on the double-bass.-
the @wfldh7&. Also, dance-music for
Qontraddan'za (It.) Contra-dance or
'
a quadrille. . Contre-tdisses, linings . , .

country-dance.
Contre-partie> a mus. part opp. to- ,p|
Contraffagot'to (It.) I. A double-bas- contrasted with another, as bags,.snd
spon. 2. A reed-stop in the organ soprano; said especially of .either. of
^ imitative of i. the parts in a duet.*
Contral'to (It) The .lowest female t$rpoint ;
.
 CONVERSIQ-CORNO.
'

. . Con- and a wooden tube furnished with

..Conire-sujet, countersubject.
There were two classes,
tre-tentpSy see Contratiemfo. fingerholes.
the straight cornet (in 3 varieties, cor-
Conver'sio (Lat) Inversion. *

" netto dirt?to, c. muto, compass a cP ;

Covered/' muffled as
Coper'to (It.) 2&&cornetti'no, compass d
l
g*), and
;

muffled kettledrums.
tom'pani coper's,, the bent cornet (cornetto cu/vo, com-

Co'pula {Lat.) I. (also Fr.) A coupler pass a a? ; and c. tor'to [or corno, cor
(organ). 2. A name for certain flue- non], compass dd*). The cornon
stops ; (a) the 8-foot open diapason ; (cornetto basso) was the prototype of the
(t) the 8-foot Hohfjiote or Kop'pel- Serpent* 2. A
reed-stop in the organ,
fiote. imitating the blaring tone of I (see 4),

Cor A and of dimensions: 8-foot

(Fr.) horn,..(V-d#, cor-basse, varying^
see Corno alto (basso). . . C. anglais, see pitch, (or 2' or 4'), also called Cornet*
tino\ l6-foot pitch (Grand cornet)...
Oboe. . . de basset, basset-horn.. . C.
de chasse, a hunting-horn ; in particu- Bass cornet, a large deep-toned brass
lar, the large horn, whose tube is bent
instr. (obs.) 3. (Kornett*.} A com-
to form a circle of about i-J turns. . . C. pound organ-stop of from 3 to 5 ranks
de signal^ a signal-horn or bugle... C and 8-foot or 4-foot pitch, differing
de vaches, a cow-horn, used by herds- from the Mixture in producing the Third
men. . . C. omnitonique, a chromatic among the harmonics. * .Echo cornet, a
valve-horn inv. by Sax. soft-toned cornet-stop enclosed in s
wooden box,. .Mounted cornet, a cornet
Corale(It) A choral.
stop mounted on a separate soundboard
Coran'to (It.) i. A courante. 2. A to render its tone more prominent. 4
country-dance. A reed-stop of 2 or 4-foot pitch, on the
Cor'da (It.) A string. .. Sopra una c., pedal.
direction play a passage on one
to Cornet a bouquin (Fr,) See Cornet i,
string. . . Una Corda, direction to use ..Cornet & pistons (Fr.; Ger. Ventil'*
the soft pedal of the pfte. . .Due corde,
kornctt), a brass instr. of the trumpet
(a) -release soft pedal ; or, when the
family, having a conical tube and
soft pedal shifts the keyboard, "play
cupped mouthpiece ; improved from
with the pedal pressed halfway down" the old post-horn by the addition
[RIEMANN] violin-playing, a
; (&) in of 3 valves; tone apt to be loud
a note by playing it
direction to double and "brassy" medium * /*
;

simultaneously on 2 strings. . Tutte .

compass 2 octaves and 3 \Jf.
corde the strings), release the /' zir
(le) (all tones. It is a transposing
soft Uy- __[/
pedal instr. noted in the -clef ; g5
Cordatu'ra (It.) Same as Accordatu'ra. this being for the
Corde (Fr.) A string. . . a jour, or a actual comet in the
^j?,
fzifc, an open
string. .. fausse, a pitch: one most in use.
string out of tune. . . C. sourde, a mute In rapidity and
string.. *Sur une- corde* Sopra una lightness of execution, the cornet almost
corda. vies with the flute and clarinet ; a certain
lack of refinement in its tone alone pre-
Cordicr(Fr.) Tailpiece.
vents its entrance into the symphony-
Cordomfetre (Fr.) String-gauge.
orchestra. .. Cornet d'/cho or de r/citt
Corife'o(It) See Corypheus.
cornet-stop,
Ceri'sta. (It.) I. Chorister, either
male or female.
Cornet-stop. See Cornet 2, 3, 4.
2. Tuning-fork; Cornet'to
pitch-pipe.
(It, dimin. cornetti'no^ i. A
small horn. 2. A cornet I.
Cormorae (Fr.) Ss&Cromorne.
Cor'no (It) A horn. alto, high horn . .

Cornamn'sa(It), Cornemuse (Fr.) A in Bj basso, low horn in J3 [STAINER

bagpipe in which the wind is.
supplied AND BARKETT]. alto (basso) also
by the lungs (see Musette).
signify, respectively, one of the two
Cor'net. [See Comet a pistons, in fol-
horn-players, in the orchestral group of
lowing art.] I. (Ger. Zin'ke*} ob- An four, who take the highest (lowest)
solete wind-instr. much used
during the horn-parts. , . di bassetto, basset-horn.
I5th and 16th centuries, with a narrow . . da caccia, hunting-horn. . . in*
cupped mouthpiece pf ivory or wopcl, gtfse, English horn.
 CORNON COUNTERPOINT.

Cornon (Fr.) i. comet. 2. A

brass A higher octave as a high soprano. . Bass .

wind-instr. of broad scale, inv. in 1844. counter, a second bass part, either
/ vocal or instrumental. . . Counter-exposi-
Corno pean. i. Cornet a pistons. 2.

An tion, re-entrance of the subject or sub-

organ-stop on the swell-manual.
jects of a fugue, either directly follow-
Co'ro (It.) Chorus choir.. C.favori'to, .

ing the exposition, or after the first epi-

; \

a selected chorus, as opp. to the full sodes. . Counter -subject, a fugal theme
.

chorus. . . C. spezza'to, a divided chorus

following the subject in the same part,
(sung by several choirs in different as a contrapuntal accomp. to the an-
parts of the church). . .A cori batten'ti^ swer ; often used independently as an
for divided chorus, one half imitating, in
t

what episodal theme. . Counter-tenor; a high

.

parallel or reverse progression, tenor or alto voice ; hence, the part sung
the other half sings.
by such a voice, or the
Corona (It.) A hold (O). singer. It is the highest
[

Cor'onach (Gaelic.) A funeral lament ;

adult male voice; compass: I
a dirge. being nearly the same as that of the
contralto. ..Counter* tenor clef, the
Corps (Fr.) Body (of a tone). ..C.f kar~ C-cIef on the 3rd line ; used for the
monie, a fundamental chord*.. C. de
counter- tenor or alto voice, the viola, etc.
musique, a wind-band.. C. de rechange, .

a crook. . C. de uoix, the range and Counterpoint.

. (Ger. Kon'trapunkt;
volume of a voice, taken collectively. Fr. contrepoint; It. contrappun' to.)
"
[From the Latin punctus contra punc-
Correcto'riiim (Lat.) "Tuning-cone. tum (point against point), i. e. note
Corren'te (It) Courante. i. In a wider sense,
against note.]
Coryphaeus (Lat.) (Engl. coryphe*us ; the art of polyphonic composition; opp.
Ger. Korypha'e; Fr. coryphee; It. co- to homophony. The canon and fugue
rif^o.} In the ancient Greek drama, are the most highly developed contra-
the leader of the chorus ; hence, in 2. In a restricted sense,
puntal forms.
modern usage, the leader of an opera- the art of adding one or more melodies
chorus or other company of singers. to a given melody (cantus firmus}

Cotillion. (Fr. cotillon.} A French according to certain rules ; hence, one

the same as the german, to of, or ail, the parts so added. The
dance,
quadrille-music. Theory of Counterpoint generally rec-
The ognizes 5 species, which, in practical
Cottage organ. ordinary portable
instruction, are variously combined : (i)
parlor organ (reed-organ). . . Cottage Note against note, whole notes in the
piano, i. A small style of upright pfte.
2. A
small grand pfte. in upright cpunterpoint against whole notes in the
c.f. (cantus firm%is)\ (2) 2 against I,
form, inv. by Wilhelm Kress of Vienna half-notes in the counterpoint against
in 1891.
whole notes in the c, /./ (3) 4 against
Couac(Fr.) The "goose." I, quarter-notes in the counterpoint
Couched harp. A spinet. against whole notes in c. /./ (4) with
in
Coul(Fr.) I. Legato. 2. (Also Dash.} syncopation, syncopated half-notes
A harpsichord-grace ;
counterpoint against whole notes in the
* // (5) florid, figurate,
or figured,
written :
played :

the counterpoint written in irregular

rhythms... Double c., that in which 2
parts are so written as to be capable of
mutual inversion by an interval (octave,
tenth, etc.) determined beforehand...
Coulisse (Fr.) Slide (of trombone or
Quadruple c., that written in 4 mutually
trumpet).
exchangeable or invertible parts. . . Sin*
Count. An accent, beat, or pulse of a gk c,, that in which the parts are not in-
measure... Counting, the marking of tended to be mutually invertible...
the successive beats of the measure by Strict c,, that in which the entrance oi
counting aloud. (most) unprepared dissonances is for-
Counter. vocal part set to con-
Any bidden. [The correctness of this defi-
trast with the principal part or melody ; nition largely depends
"
upon what is

specifically, the counter-tenor (high meant by preparation". The disso-

tenor, or alto), sometimes sung in the nant intervals included in the chord of
 COUNTRY-DANCECROOK:,

the dimin, 7th dimin. 7th and 5th, a machine with spiral turns of fine sil-
and also the dom- ver or copper wire, the process being
augm. 2nd and 4th "
inant 7th, are now allowed to enter termed string-spinning."
even in "strict" counterpoint; Crackle. In
freely lute-playing, to play the
and preparation is often effected by a chords brokenly (en batterie) instead of
tone in a different part and octave from
simultaneously,
the one in which the following disso-
Cracovienne (Fr.) Polish dance for A
nance enters.]. TripUc.,.counterpoint
.

a large company hence, the music or

in 3 mutually invertible parts. . . Two-
;

counter- an imitation of the music employed,

pari* Thm-part, Four-pan which is in duple time with frequent
or 4 parts are
point, that in which 2, 3,
syncopations (rhythm
employed.
9 J j*^
Country-dance, A dance in which the
form two opposing lines,
partners Also JCrakowiak, craeomak.
which advance and retreat, the couples
also dancing down the lines and re- Cre'do. The third main division of the
to their The time Mass.
turning places.
varies, some tunes being
in 2-4, others Crem'balum (Lat.) Jew's-harp,
in 3-4 time-; the essential thing is, for Cremo'na. I. A name ordinarily ap-
the strains to be in phrases of 4 or 8
plied to any old Italian violin made by
measures, to accompany the several the Amatis, Stradivarius, or Guarneri-
evolutions. . Cremona. 2. See Krwnmhom.
us, at
Coup d'arcnet (Fr.) A stroke of the Crescen'do
(It.) Swelling, increasing
bow. . Coup de (la} glotte, see Kehl-
.
in loudness. , Cr. -pedal, see Pedal. .

scklag. .
Coup
. de ktngue, a thrust or
r. Crescendo-
stroke of the tongue, tonguing ; double Crescen'dozug (Ger.)
pedal. 2. A kind of organ-swell with
coup de langue, double-tonguing. a contrivance
shutters, inv. by Abbe
Couper le sujet (Fr,) To cut or cur- Vogler.
tail the subject
Crescent ;
also Chinese crescent, or
Coupler* (Ger. Kopptl; Fr. copula; It.
pavilion. (Ger. HaWmond; Fr.
unione.) See Organ.
chapeau chinois; It. cappel'lo 'chine*se.)
Couplet. I. Two successive lines form- An instr, of Turkish origin used in
ing a pair, generally rhymed. 2. In military music, consisting of several
triple times, 2 equal notes occupying crescent-shaped brass plates hung
the time of 3 such notes in the regular around a staff and surmounted by a cap
or pavilion; around the plates little
rhythm ;

thus: bells are hung, which are jingled in

Coc'rant
f time with the music.
[Koo'-]. (Fr. courantt; It.
Cre'ticus (Lat.) A metrical foot con-
ccrrttfte.) An
old French dance in
sisting of a short syllable between 2
v

5-2 time; hence, the instrumental ^^

long ones ( ).
piece called courwte, forming a part of
the Suite, ia which it follows the Alk- Cri'brum (Lat,). Soundboard (organ).
mandt. Though the
time-signature
Croche (Fr,) An
eighth-note. . . Crocfas
calls for 3-2 time, measures in 6-4 time lUes, eighth-notes having the hooks
often occur, especially at the close ; the joined (J73).
tempo is moderately rapid, and dotted Crochet (Fr.) The stroke of abbrevia-
rhythms abound. The Italian corrente
tion across the
is quite different from the above,
its stems of notes \
f ^\
)'
chief feature being swift
'passages of A crotchet, or quarter-
Croche'ta(Lat.)
equal notes, whence the name torrents note
1 ,

("running* ). The (j). .

-,;,
is
tempo rapid;
time 3-8 or 3-4. Croisement (Fr.) Crossing (of parts).
Conronne (Fr.) A hole ^). Cro'ma (It.) An eighth-note.
Course, A group or set of strings tuned Croma'tico (It.) Chromatic.
in unison. Cromor'na. (Ff.cromorne.)
Covered. See Octave. ...Covered'strings\ korn t

strings of silk, wire, or gut, covered by Crook, .1. {Gsr.

 CROQUE-NOTE-CZARDAS.
Fr, corps de rechange^ ton; It. tone by half-stopping the bell of the
reserva.) A
supplementary tube, which French horn with the right hand.
can be rapidly fitted to the main tube Cum sancto spi'ritu (Lat.) Part of the
(or body) of a horn or trumpet, for the Gloria.
purpose of lowering the pitch. Each
crook is named after the fundamental Cu'po (It.) Dark, deep, obscure;
re-
served.
tone to which it lowers the pitch of the
tube ; e. g. the -crook of an instr. in Curran'to. See Courant.
jj>. 2. The S-shaped tube forming Cushion-dance. A Scotch and English
the mouthpiece of a bassoon, and con- round dance, in triple time, and per-
1

taining the reed. 3. In the old harp- formed in single file; each dancer in
action, a crotchet engaging a string turn drops a cushion before one of the
and raising its pitch by a semitone. opposite sex, at a regularly recurring
strain of the music, whereupon the two
Croque-note (Fr.) A player of facile kneel and kiss each other, after which
execution, but little taste and judgment.
the dance proceeds as before.
Cross-relation. See False relation,
Cus'tos (Lat.) A direct
Cro'talum (Lat.) A kind of clapper
Cuvette (Fr.) Pedestal (of a harp).
used by the ancient Greeks to mark the
time of a dance. Cyclical forms. (Ger. cyclischt For-
men.} Forms of composition embrac-
Crotchet, i. A quarter-note ; cr. -rest,
ing a cycle or series of movements,
a quarter-rest, 2. See Crook 3. such as the old suite or partita, or the
Crowd sonata, symphony, and concerto.
;
also Croud, Crouth. (Welsh
crwth; Lat, chrofta.) An ancient Cylinder (Ger.) Valve (in horns, etc.;
bow-instr., apparently of Welsh or usually Veniil).
Irish origin, and regarded as the oldest
Cymbale (Fr.) i. Cymbal. 2. A steel
European instr. of the class ; still found
rod bent to a triangle, and bearing a
early in
the igth century among the number of rings, which are struck by
'
peasantry of Wales, Ireland and Brit- a steel wand, the cymbale itself being
Its body was square, and termin-
any. dangled on a cord.
ated, instead of by a neck, by 2 parallel
arms connected at the end by a cross- Cymbals, i. (Ger. BecKen; Fr. cyin-
bar, the centre of which supported the
hales ; It. piafti, dnel'li.) A
pair of
end of the narrow fingerboard ; it had concave plates of brass or bronze, varying
in sizefrom finger-cymbals something
originally 3, in modern times 6, strings,
over an inch in diameter to the large
4 lying over the unfretted fingerboard
and 2 beside it. The strings passed orchestral cymbals, which have broad,
over a bridge, whica rested on the flat rims, and holes toward the middle

for the insertion of the straps by which

.belly between 2 sound-holes; the ac-
cordatura [GROVE] was as follows : they are held ; used in orchestral music
to mark time strongly, or to produce
peculiar often weird and thrilling
effects. One
of the cymbals is oftea
attached on top of the bass drum, so
de over fingerboard, that one player can manipulate both
fingerb. drum and cymbals. 2, In the organ,
Crucifixus (Lat.) Part of the Credo. a mixture-stop of very high pitch.
See Cymbale 2.
Crush-note. An acciaccatura. 3.

Crwth. See Crowd. Cymljalum (Lat.), i.

CymbaL 2. A.
'

small drum of the medieval monks;

C-Schliissel (Ger.) C-clef.
several such drums were tuned to form
Cue* A
phrase, from a vocal or instru- a scale of an octave, and played like a
mental part, occurring near the end of a
Glockenspiel.
long pause in another part, and inserted
See Cymbal
in small notes in the latter to serve as a Cym'bel.
guide in timing its re-entrance. Czakan (Bohemian.) A flute of cane or
" bamboo.
Cuivre (Fr., copper/') Brass; Its v
cuivres (pi), the brass-wind. .Fairs Czardas (Hung.; pron. tchar'dask.)
. A
cuivrer, to obtain a metallic, ringing
'
national Hungarian dance, distin*,
54 CZIMBAL-DECISO.

guished by its passionate character am ply repeated over and over in the above
changing tempo. order, whatever may be the notes sung.

Czimbal (Hung.) A dulcimer. Damper. I. (Ger.Fr. tiouf-

Ddm'pfer;
Czimken A dance similar to the foir ; It. sordi'no.) de- A mechanical
(Pol.)
vice for checking the vibration of a
country-dance. [STAINER. AND BAR
pfte.-string(see^'0w0/i7r&). . .Damper-
KETT.J
pedal, the right or loud pedal of the
D. pfte. 2. The mute of a brass instr.,
e. g. a horn.
D. i. (Ger. D; Fr. re*; It re.) The Dam'pfer (Ger.)
A damper or mute. . .
2nd tone and degree in the typical dia- Ddm'pfung ("damping"), the damp,
tonic scale of C-major.
(Comp.^ Alpha- ing-mechanism of the pfte.
betical notation, and Solmisation^ 2. Dance. (Ger. Tanz; Fr. danse; It.
Abbr. of Da (D. C.=da capo), and Da dan'za.) A succession of rhythmical
(D.S,=dal segno). steps, skips, or leaps, accompanied by
Da (It.) By, for, from, ol...Da ca/fo varying movements of the body, and
1

as an ex- generally timed by music (in primitive,

(a) from the beginning (ff) ;
*'
encore ".. .D. C. nations, simply by beating on a drum
clamation, !
alfi'ne,
or the like).
(repeat) from the beginning to the enc
(i, e. to the word Fine or to a hold T*).
,
Darm'saite (Ger.) Gut string.
..D.C. alse'gno, (repeat) from the be- A
Dash. i. staccato-mark (J or f). 2,
ginning to the sign (ft $, T). ..D.C. In thorough-bass, a stroke'through a
al segno, poi (se gue) la coda, (repeat]
figure, indicating the raising of the in-
from the beginning to the sign, then
terval by a semitone (jl tL etc.) 3. Same
(follows) the coda.. .D. C. dal'segno\ re- ' f
as Coult 2.
peat from the sign.. .D.C. sen'za re*-
fKca(oi senza ripetizio'ne), play through Dasian'-Notie'rung (Ger.) Hucbald's
from the beginning without noticing the system of noting a scale of 18 tones by
repeats. ..Da eseguir'si^ to be executed. twisting and turning the letter F into
..Da iira/si ("for drawing out"), 14 different positions and shapes, with
means "with slide"; as tromba da 4 additional signs.

tirarsi^ slide-trumpet. Dau'men (Ger.) Thumb.. .Dau'menauf-

D'accord (Fr.) In tune. satz, thumb-positions (in 'cello-playing).

Dach The belly of a Dead-march. A funeral march.

(Ger., "roof.")
violin(usually Decke).. .Dach'schweller, Decile, Deljole (It.) Feeble, weak.
see Crescendozug 2.
D6but (Fr.) A first appearance. . . DS&u-
Dac/tyl(e). (Lat. daStylw, a finger.) tant(e)> a male (female) performer or
A metrical foot of 3 syllables
arranged singer appearing for the first time.
like the
finger-joints, one long and two Decachord. 10 A
(Fr.d&acorde.) 1.
short, with the ictus on the first an ancient species of
stringed instr.,
(-*w~). harp or lyre. 2. An obsolete French
Dactyl'ion, An apparatus inv. by Henri instr. of the guitar kind, 1 *
iQ^r JQ
Herz in 1835,
consisting of 10 rings strings.
hanging over the keyboard and at- Oec'adfc). See Duodene.
tached to steel springs ; used
by pianists Deca'ni.
for finger-gymnastics. Comp. Cantoris.
De'cem See Dedma
Daddy-mammy. A familiar name for
(Ger. ) 2
the roll on the side-drum. Wchant (Fr.) Discant.

DaVH, dai, dal, dall', dalla, dal'le, D6cid(Fr.) See Deciso.

daTlo (It) To the, by the, for the, De'cima (Lat and It.) i. The interval
from the, etc. of a tenth. 2. An
organ-stop pitched
Dal se'gno (It.) See Segno. a tenth higher than the 8-fco
stops;
also called Tenth, or Double % *.
Damenisa'tion. (See Sotmisation.)
Graun's system of De'cime. See Deztme.
sol-faing with the
syjables da, me, ni, fo, tu, la, be, Decimo'le (Ger.) See Dccuph t
winch are not (like do, re,
mi, etc,) at- Deci'so (It.) Decided, enera* * with
fc?>ed to special scale-degrees, but sim- decision.
 DECKE-DRIV 55

Deck'e (Ger.) Belly (of the violin, etc.) (metre) into a musical one a song is ;

belly or soundboard (of the pfte.) badly deklamiertf when an unaccented

' l

Declaman'do receives a strong musical

(It.) Declaiming "; in syllable
accent or a long note ; or when an
declamatory style,
accented syllable, or a word rendered
Declamation. In vocal music, the cor
rect enunciation of the words, especially prominent by the sense, receives a sub-
ordinate position in the melody on a
in recitative and dramatic music. (Comp.
weak beat or in short notes." [RIEMANN.]
Deklamation.)
Decompose" (Fr.) Unconnected, Del, dell', del'la, del'le, dello at.) Of
To the than the.
sing with a porta-
;
De*corapter (Fr.)
mento. D&assement (Fr.) A piece or perform-
Dekouplez In organ-music, " un-
(Fr.)
ance of a light and trifling character.

couple," "coupler off. Deliberatamen'te (It.) Deliberately...

Decrescen'do (It) Growing softer; Delibera'to, deliberate.

diminishing in force. Sign m=a- Delicatamen'te, con delicatez'za (It)

Dec'uplet. A
group of 10 equal notes Delicately. ..Delica'to, delicate; in a
executed in the time proper to 8 notes delicate, refined style.
of like value, or to 4 notes of the next Delie" (Fr.) Non legato; leggero*
highest value ; marked by a slur over Deli'rio (It) con d. with fren-
or under which a figure 10 is set. (Also
Frenzy ; ,

zied passion.
De.cimole, Dezimole.)
Delivery, Style (method and manner of
Deduc'tio (Lat.) i. The ascending
singing); restrictedly, the enunciation
series of syllables or tones in the hexa- of a singer.
chords of Guido d'Arezzo. 2. Ace. to
later theoreticians, the resolution of a De'manche',
Demanchement (Fr.) "Off
the neck"; the thumb-positions in
dissonance to a consonance.
'cello-playing.. .D/manchcr, to quit the
Defective. Same as Diminished.
neck of the 'cello.
Defiden'do (It.) Dying away. Demande (Fr.) "Question," L e. the
De'gli Of the; than the.
(It.) subject of a fugue. (Usually sujet.)
Degree.f
(Ger. Stuffe, Ton'stufe; Fr. Demi (Fr., "half".) DemMton, 2-
degre ; It. gra'do.) i. One of the 8 measure rest... Demi-cadence, half-ca-
consecutive tones in a major or minor dence... Demi-croche, a i6th-note...
diatonic scale. Degrees are counted A demi-jeu (a direction found mostly in
from below upward, the key-note being
reed-organ or harmonium-music), with
the first degree. 2. A
line or space of half the power of the instr. mezzo
forte.
the staff. 3. A
step. (The prevailing .
.Demi-mesure, half-measure. .Demi-
,

confusion of the terms degree and step

pause, half-rest. .Demi-quartdesoupir,
might be obviated by applying degree a 32nd rest,. Demi-soupir, an eighth-
only to the tones, and step only to pro- rest,. Demi-temps, a half-beat... Demi-
gression between conjunct tones, of the ton, a semitone.
scale ; the expressions whole step, half-
Demiquaver. A i6th-note.. .Demise-
step, and step and a half, are quite super-
a of a m'iquaver^ a 32nd-note. ..Demitone*
fluous.). ..Scale-degree, degree rare for Semitone.
scale.. Staff-degree, a degree on the staff.
.

Demoiselle (Fr.) Tracker.

Deh'nen (Ger.) To
expand, extend ; to
triad.
prolong, .
expansion, ex- Dependent chord, harmony,
.Deh'nung,
One -which is dissonant, requiring reso-
tension, prolongation Deh'nungs-
;
lution to a consonant one ; opp. to In-
strich, in vocal music, a line of contin-
uation after a syllable, indicating that it dependent.
is to be
sung to all notes over the line ; Depress. To lower (as by ajj or [?|j)...Zfc-
dots are sometimes used instead pression, chromatic lowering of a tone.
. . .

Gedehnf, extended, prolonged ; hence, Derivative. I. Same as derivative chord,

slow, stately. i/ e. the inversion of a fundamental
Dei (It.) Of the ;
than the. chord. 2. The root of a chord,

Deklamation' Musico-poetical DenveXe) "derived,

" (Ger.) (Fr., derivative".)
scansion. In vocal composition, the , Accord derive*, chord (also
inverted
transformation of the poetic rhythm simply dirvvl> an inversion).. .Mesure
 DES DIAPASON.
2 ordinarily applied to formal composi*
e> any measure indicated by
tions like the fugue or sonata.. (See
figures (2-4, 3-8.
etc;) as being derived
a fractional part of, a whole Form*)
from, L e,
Devo xto (It.) In a devotional style (con
,

, . Jfc/tf, devozio'nt).
Des(Ger,) Dfc
Dex'tra (Lat.) Right . . . Manus d. % right
Des'cant. See Discant.
hand. . .Manu d< t with the right hand.
Descend. To pass from
a higher to a
lower pitch. . .Descent, descending pro-
De'zem (Ger.) See Dedma.
De^ime (Ger,) The interval of a tenth.
gression.
Deside'rio (It.) Desire, longing. . .Con Di (It.) Of, from, to, etc.
</., in
a style expressive of longing >
Diagram'ma (Gk.) diagram, i. The A
yearning. Greek written scale of 15 notes, divided
See Disin- into the various tetrachords. In
De*sinvoltnre, avec (Fr.) 2.

volto. old music, the staff and the scale writ-

ten on it ; also, a score or partition.
design, plan, or
Dessin The struc-
(Fr.)
ture of a composition. Dia'logo (It.), Dialogue (Fr.)
duet A
for 2 solo voices or divided chorus ; or
Dessus (Fr.) I. Soprano or treble, i. e.
a similar instrumental piece*
highest vocal part.
the 2.
^Earlier
name Diapa'sort (Gk.) An octave (in ancient
for the violin (dessus de vide}.
Greek and in medieval music). .Dia- .

De'sto(iy Sprightly.
con dia-
Met no fason diafentf, or diapason
De'stra (It)* Right... .destra,
an octave plus a fifth, a twelfth.
colla de- fente,
right hand (also
dtstra mano>
iDiap. diatessaron (diap.
con diates- .

stra) ; a direction in pfte.-playing, sig-

^

saron)t an octave plus a major fourth, a

major eleventh Diap. ditone, an oc- . . .

with the right hand. (Abbr. m. d., or

tave plus a major third, a major tenth.
.Diap. semi-ditone^ an octave plus a .

D&acHe" (Fr.) In violin-playing, de- minor third, a minor tenth.

tached, i. e. playing successive notes
with alternate down-bow and up-bow, Diapa'son (EngL) I.
^An octave,--2.
Either of the 2 principal foundation-
but not staccato... Grand detackf, a
*

whole (stroke of the) bow to each note. stops of the organ, the open diapason
and the stopped diapason, both com-
Detennina'to(It) Determined, resolute.
7
monly of 8-foot pitch; if there are 2 op.
Detonation (Ger.), D&onnation (Fr.) diap.s on a manual, one is sometimes of
False intonation, singing out of tune. . . 1 6' pitch pedal-diapasons are generally
;

Detonieren (dttonner), to sing false ; 1 6' stops. The open d. has metal pipes
lower the
especially, to flat (gradually open at the top, and usually of large
pitch) in a cappella, singing. scale, though the scale differs when 2

Dtet'to (It) Aforesaid the same. or more diapasons are on one manual ;
;
the tone is bright, full, and sonorous.
Detttsch (Ger.) German . . . Deu'tsche
..The stopped d. has wooden pipes of
Fl$te^ the orchestral flute. . .Deuftscher
large scale, closed at the top by wooden
Bass, an obsolete kind of double-bass, and yielding a powerful fluty,
plugs,
saving from 5 to 6 gut strings. .Deu- .
and somewhat hollow, tone. 3. Com-
tscke Tabulatur', see Tablaiure*.*
Deutsche Ttin'ze^ German dances, i. e. pass of a voice of instr. ; chiefly poetical.
the old-fashioned slow waltzes, Diapason (Fr.) 1. Compass of a voice
Deux Two... .4 deux mains, for
or .instr, 2. A rule or scale, ace. to
(Fr.)
which makers of various instr.s regu-
'2 1naabds.. jDeux*2uafre, 2-4 (see Me-
t

late the size of the latter, and that of

-
3urt)*..Dtux-UmpSt or Valse a deux their An
*
a quick waltz, with 6 steps to parts. 3. organ-stop (dia-
temp$>
pason). 4. A tuning-fork or pitch-pipe.
every 2 of the ordinary waltz (trois
5. Absolute pitch... Diapason nor-
mal, the standard pitch ori
Deuxieme position (Fr.) Half-shift. scale adopted in 1859 by the
|

Development. (Ger. DurcKfUhrung,} French Academy, in which a 1

-
The working-out or evolution of a has 870 single or 435 double vibrations
theme by presenting it in varied melo- per second of time (so-called "inter-
dic, harmonic, or rhythmic treatment j national pitch ").
 DIAPENTE DIMINISHED 57

Diapen'te (Gk. and Lat.) The interval Diesa're (It.) To sharp... Die'sis, a
of a fifth. .D. cum
. ditono, a major 7th. sharp.
. .D. cum semiditono, minor 7th. ,D. Die*ser
(Fr.) To sharp. . . Diese, a sharp.
.

cum semitonio, minor 6th... D. cum ' '

a 6th.
Dies ira (Lat. day of wrath ".) The ,

tono, major Missa pro defunciis ;

sequence of the
Diapenter (Fr.), Diapentisa're (It.) it now forms the 2nd division of the
To progress by skips of a fifth.
Requiem.
i. A dis- Di'esis (Gk.) I. The Pythagorean
Diaph'ony. (Gk. diaphoni'a.)
sonance. 2. See Organum. semitone (later Limma), which is the
difference between a fourth and 2
Diaschis'ma (Gk.) The difference be- In
greater whole tones, =256:243. 2.
tween the second below the 4th
tierce . modern theory, the difference between
quint in the descending" circle of fifths, an octave and 3 major thirds, the mod-
and the 3rd octave below the given tone ern enharmonic diesis (128:125),
(c:d\)\> 1:2025: 2048).
Diezeug'meflon (Gk.) Disjoined (see
Diaste'ma (Gk.) An interval. Greek music, i).

Diates'saron (Gk.) The interval of a Difference-tone* See Acoustics.

fourth. Differentia The differen'tia
(Lat.)
Diatonic, i. See Greek music, 2. tono'rum in the medieval Gregorian
2. (In modern usage.) By, through, chants were the different forms of the
f
with, within, or embracing the tones of cadences or tropes to the Seculo rum
the standard major or minor scale a'men, according to the tone to which
. . .

Diatonic instr., one yielding only the transition was to be effected. (Also
tones of that scale of which its funda- disiinctio^)
mental tone is the key-note. .Diatonic Diffi'cile
(It.), Difficile (Fr.) Difficult
.

interval, one formed by 2 tones of the

.

same standard scale.. .Diatonic har- Digital.

A key on the keyboard of the
pfte., organ,. etc.; opp. to pedal (fin*
monyor melody',' that employing the
tones of but one scale. . .Diatonic mod- ger-\Aj opp. to foo /-key).

ulation^ see Modulation. ..Diatonic Digito'rium, A small portable appara-

tus for exercising the fingers, resem-
progression, stepwise progression within
one scale., Diatonic scale see Scale.
, bling a diminutive piano in shape, and
^

having 5 keys set on strong springs ;

Diau'los (Gk.) A double aulos, the
sometimes called Dumb piano.
tubes meeting in an acute angle, and
connected by and blown through a com- Di gra'do (It.) (Progression) by de-
mon mouthpiece. grees, step-wise.

Diazeuc'tic (Gk.) Disjoined (see Greek Diiamb',

Diiam bus. double iam-
/
A
bus a metrical foot consisting of 2
music, i). . .Diazeu'xis, the separation ;

of 2 neighboring tetrachords by the in- short and 2 long syllables in alternation

terval of a tone ; alsp, the tone itself,

A
metrical foot
An amateur. .

Di^brach, Di'brachys.
consisting of 2 short syllables (^ ~) ; a Diligen'za (It) Diligence, care.
pyrrhic. Dilli'diura (Lat.) An interlude, espe-
Di'chord. I. An ancient species of cially that between the separate lines
of
harp or lute having 2 strings. 2. Any chorals.
instr. having 2 strings to each note, Diluen'do (It.) Decreasing in loudness,
Dicho'ree, Dichore'us. A double cho- dying away.
ree or trochee ; a metrical foot consist- Dim/eter. i.
Consisting of 2 measures ;
ing of 2 long and 2 short syllables in al- divisible into 2 feet. 2. A verse or
ternation ( ^ ~).
period consisting of two feet
Dicte"e musicale (Fr:, "musical dicta- Diminished.
(Ger. verkld'nert; Fr. di-
tion".) A
modern method of training f
It, diminu to.) Dim. inter-
minu/(e) ;

the faculty of musical apprehension, in

val, a perfect or minor interval con-
which the teacher plays or sings short tracted by a chromatic semitone. .Dim. ,

phrases which the pupils take down on chord, a chord, the highest and lowest
4

paper. tones of which form a dimin. interval.

Diecet'to (It.) A piece for 10 instr.s. ..Dim. subject or tJieme-, one repeated
 DIMINUENDO-DISSONANCE.

or imitated in diminution. .Dim. triad, . which parallel motion was the rule.
a root with minor third and dimin. fifth. 2. (Fr. dessus.) Treble or soprano
voice; the highest part in part-music.
Diminuendo (It) Diminishing in loud-
ness, . .Dim. pedal, see Pedal Discord, r. A dissonance. 2. Caco-
phony.
Diminner (Fr.) To diminish (in loud- Discrete
(It.) Discreet ;
ness}...^ diminuant beaucoup, ?=.&.- comparatively
subdued... Discrezio'ne, discretion; con
minuendo molto.
discrezione, with discretion or due re-
Diminution. (Ger. Verklei'nerung ; Fr. serve ; with judicious subordination to
diminution; It. diminuzio'ne.) I. The a leading part or parts.
repetition or imitation of a theme in Disdiapa'son (Gk., Lat.) In medieval
notes of smaller time-value (}, ^, or
music, the interval of a double octave.
% that of the original). 2. See Nota-
Dis'dis (Ger.) Dx (usually Disis).
tion, 2.
Disinvol'to Free, easy, graceful.
(It.)
Dioxia (Gk.) Less common term for . Con
.
disinvoUu'ra, with ease, grace ;
Dis'is (Ger.) x. D [flowingly!
Dip. The vertical fall of a digital or pedal
when depressed to the full extent
Disjunct'. (Fr. disjoint,-*^ See Motion,
: also
Tetrachord (disjoined).
key-fall
Diskant x i. Discant, treble.
Dipho'nium (Lat) A composition for
(Ger.)

2 voices. Diskant'geige, the violin (the treble

Diphtho'nia. A vocal anomaly produced
67 inflammatory nodules seated on the
vocal cords, which on closure of the
latter divide the
glottis into an anterior
and a posterior half, so that 2 tones are
sounded on singing, instead of one.
instr. of its class). .
.Diskantisf, treble
singer, . . Diskanf register, Diskanf,
stimmt, in the organ, a half-stop (also
HaVbestimme). , .Diskanfschlussel, so-
prano-clef.
Disparate, in (It.) Aside.

Diplas'ic. Two-fold... A
foottx rhythm,
Dispera'to (It.) Desperate, hopeless. . .
Disperazio'ne, con, in a style expres-
that in which the thesis has twice the
sive of desperation or
length of the arsis, despair.
A Dispersed. See Harmony.
Dip'ody. group of 2 similar metrical r
feet, ^or
^
double foot, especially when DisponMee, Disponde us. A double
constituting a single measure. spondee; a compound metrical foot
Direct. I. (Ger. and Lat. Cus'tos ;
containing 2 spondees.
7
Fr. guidon ; It. gui'da,
mo'stra) The Disposition (Ger.) The D. of an organ
sign /w or </ set at the end of a staff to is
properly the preliminary estimate of
show the position of the first note on itscost, fixing the varieties of
stops,
the text (N. B. The Germans number of manuals, etc.; but also
^staff.
often use it as a mere mark of continu- signifies a concise description of the
ation equivalent to
"etc.", without working parts of a finished organ,
reference to the pitch of
any note.) 2 especially an enumeration of the stops,
See Motion and Turn. couplers, combination-stops, etc.
Directeur (Fr.) Conductor, director Disposition (Fr,) Gift, talent, genius.
Dirge. A funeral hymn, or similar
music.
Dissonance. (Ger.
Dissonant*; Fr.
dissonance; It. dissonan'za.) i. In
Diriment' (Ger.) Conductor, director. the
theory, simultaneous sounding of
Dinger (Fr.), Dirigie'ren (Ger.) .To tones so Temotely related that their
direct, conduct. combination produces beats. 2. In
Dirit'to ra (It.) .Alia a combination of 2 or more
practice,
Direct, straight, ,

(hrtffa, in direct motion. tones requiring resolution; opp. to

Consonance.. .Dissonant,
Dis(Ger,) T>$...Disis, Dx. consisting of
tones forming a dissonance 2
Dis'cant i. (Lat. discan'tus ; Ger.
; opp. to
consonant. . .Dissonant
Diskanfj Fr. dechant.) interval, 2 tones
The first at-
forming a dissonance. The dissonant
tempts at polyphony with contrary mo- intervals are the seconds and their in*
tion in the
parts; beginning in the I2th
versions, the sevenths, also all dimin-
century; opp. to the in organum. ished and augmented intervals.. .
 DISSONARE DOH.

sonant chord, a chord containing one cassation, 4. An entr'acte in an opera,

or more diss. intervals. or between compositions of consider-
Dissona're (It.) To be dissonant, to able length, in the form of a short
form a dissonance. ballet or other entertainment. 5. Epi-
sode in a fugue ; development of a
Distance. Interval. [Seldom used.]
principal theme.
Distan'za (It) An interval distance.,.
In disianza, a distance, marking
Divide.
;
To play divisions.
at
music to be performed as if far away. Divi'si (It.) Divided. A
direction in
scores signifying that 2 parts appearing
Dis'tich. A group of 2 lines or verses ;
on one and the same staff are not to be
usually called couplet in modern rhym- as double-stops, but by the
played
ing versification. division into two bodies of the instr.s
Distinc'tio (Lat.) I. In Gregorian music,
playing from that staff. The return to
the pauses or breaks dividing vocal the unison is marked by the direction
melodies into convenient phrases. 2. a due, (or by #.,or a 2).
See Differentia. " "
Division. A dividing-up of a mel-
Distin'to (It.) Distinct, clear. ..Di- odic series of tones, vocal or instru-
stintamen'te, distinctly. mental, into a rapid coloratura pas-
Distona're (It.) To sing or play out of sage ; if
for voice, the passage was to
tune ; also sionarc. be sung in one breath. (Obsolete.) * . .

7!? run a division, to execute such a

Dit'al. A
key which, on pressure with
the finger or thumb, raises the pitch of
a guitar-string or lute-string by a semi-
tone; opp. to pedal. ..Dital harp, a
chromatic lute shaped like a guitar,
having from 12 to 18 strings, each con-
trolled by a dital to raise its pitch by a
semitone; inv, by Light in 1798, and
later improved by him. (Comp. Klavier-
Harfe.)
Diteggiatu'ra (It.) Fingering.
Dith'yranib, Dithyrara'bus.
of Greek lyric composition, originally
a hymn in praise of Dionysus later
passage... Division-viol, the Viola da
gamba.
Division-mark. A slur connecting a
group of notes, and provided with a
figure indicating their number, show-
ing that their rhythm differs from the
ruling rhythm of. the piece ; as for a
quintuplet, triplet, etc.
Divo'to, Divotamen'te. See Devoto.
Dixieme (Fr.) The interval of a tenth.
A form Do. The Italian name for C; supposed
to have been introduced by BononcinJ
;
in" 1673. It is now also generally

greatly modified. Its leading char- adopted in -France instead of the

acteristics were a lofty enthusiasm, Aretinian Ut.
frequently degenerating into bacchantic Do. In solmisation, the usual syllable-
wildness (whence the adj. dithyram'bic\ name for the ist degree of the scale.
and the irregular form of its strophes, In the^r/-/?<7inetho/i of instruction,
no two of which were identical. Do is the name for all notes bearing the
letter-name C, whether key-notes or
Di'to(It) Finger./
not. In the movable-Do method, Do
Ditone, (Lat. di'tonns; Fr. diton.) A is always the key-note, whatever key is
Pythagorean major third of 2 greater
whole tones (81 : 64) ; wider by a sung in or modulation reached. In the
Tonic Sol-fa system, spelled Doh.
comma than a true major third (5 ' 4).
A compound' Doch'mius. A metrical foot consisting
Ditro'chee, Ditrocha'us. of 5 syllables (*-
~* ^ ).
metrical foot consisting of 2 trochees
(
-^^ -
^) ; also Dichoree.
Doctor of Music. See Bachelor.

Ditty. A short, simple song.

Dodecachor'don (Gk.) i. See Bisstx.
2. A treatise
Divertimen'to by Glareanus (1547) on
(It.) j x- A slaort poem the theory of the 12 keys or modes.
Divertissement (Fr.) J set to music,
di cro'rne (It) 12-8 time
and interspersed with songs and dances, Dode'cupla
;

di semitrome, 12-16 time,

for some special occasion. 2.
Light and
easy pieces of instrumental music, such
Dodec'uplet, A group of 1 2 equal notes
to be performed in, the time of 8 in the
as variations, potpourris, etc. 3. An
instrumental composition in 6 or 7 regular rhythm.
movements, similar to a serenade or Doh. See Do
6o DOI-DOT.

Do'i(It.) Same as Due. fora but at exactly the same height, so

t

that the tone does not beat, but is

Doigt (Fr.) Finger... Doigt/^ fingered
merely reinforced . . .
Dop'pelflilgel) see
.*Doigte\ or doigter, fingering; doig
Vis-h-ms..*Dop'pelfuge, a double fugue
Us fourchits ^ cross-fingerings.
or canon. .Dop'pelgeige, viola d'amore.
.

Doi'can. See Dukia'na. -.

.Dop'pdgriff, double-stop (on the vio-
lin), paired notes (on keyboard-instr.s ;
Dorce (It.) i. Sweet, soft, suave ; dol e. and octaves)...
g. thirds, sixths,
cemen'it, sweetly, softly. 2. A
sweet
toned organ-stop, Dop'peloktaw, double octave. .Dop'- .

pelpunki, double dot (&>)... Dop'pel

*

Dolcez'za (It.) Sweetness, softness quintpommer, a large variety of \x>m-

con \svx&. .Dop'pelschlafr a
t
</., softly, gently. turn....A^'-
Dolcian' (Ger.), Dolcla'na, Dolcia'no pehunge, double-tongning. .

(It.) I. A species of bassoon in vogue D op'pio (It.) Double D. movimenfto, . . .

during the i6th and lyth centimes. 2, twice as fast...Z>.

no'te^
d. valo're,
In the organ, a reed-stop of 8 or 16- twice as slow (absolute time-value of
foot pitch a fagotto. ; notes is doubled). .D.peda'le (in organ- .

Dolcia'to (It.) See Raddoldato. playing), the pedal-part in octaves...

Doppio signifies, with names of instr.s,
Dolcis'simo (It.) Very sweetly, softly.
larger in size and consequently deeper
..Also, a very soft-toned 8-foot flute-
in tone.
stop in the organ.
Do'rian or Dor'ic mode. See Mode.
Dplen'do, Deleave (It.) Doleful, plaint-
Dot. (Ger. Punkt; ^. point;
ive, sad. .
.Dolentemen'te, dolefully, etc.
It. fun'-
Dolo're (It.) Pain, grief ; con dolore, in io.) i. A dot set after a note prolongs
a style expressive of pain or grief; its time-value by half (d* = d J) ;
a
pathetically (also dolorosamen'te, dolo-
second dot or third dot prolongs the
ro'so).
time-value of the dot immediately pre-
Dolz'fiote (Ger.; Fr. flute douce; It.

fla'uto dol'ce.) i. An obsolete trans- ceding it

by half (J.. . ^J J J"A
verse flute, having a
half-plug within
the embouchure. 2. In the organ, an (The dot after ^.noteupon
line is pre- a
ferably written above the line when the
open flute-stop of rather narrow scale next note is higher, below the line when
and 8-foot pitch.
it is lower ;
Dom'chor (Ger.) Cathedral-choir.
Dominant, i. (Ger., Fr., and It.

Dominan'te.) The fifth ^>ne in the

major or minor scale.. *D. chord, (a)
The dot of
prolongation was formerly
^

the dominant triad ; (b) the dom. chord often set in the next
measure, quite
of the 7th. ,>. section^ of a movement,
. away from the note ; e. g.
a section written in the key of the domi- -
x X
nant, lying between and contrasting
with two others in the key of the tonic. |S
..D. triad) that having the dominant as which we now write :
root. 2. The
reciting-tone in the Gre-
gorian modes.
Dona nobis pacem. See Mass.
Doodlesack. See Ger. Dudelsack. 2. A dot set over or under a note in-
dicates that it is to be executed staccato:
Do'po(It.) After.
a slur
Dop'pel- (Ger.) Double,.. Dop'pd-B, (J p ;
connecting several such
the double-flat. dots calls for the mezzo-staccato.
Dop'ptlbe, ..Dop'pel- (Some-
blatt, double reed. . -Dop'pelchor, double times, especially in earlier authors, the
chorus staccato-dot calls rather for a
Dop'pelfagott, double-bassoon.
. . .
. sforzando
' than a stacfato ) 3. In old musio, sev-
(Dmfidte
(Dmfidte\ (It.fla'uto eral dots set above a note indicate that
doppia\ an organ-register of 8- foot
it is to be subdivided into so
stopped pipes, each pipe having 2
= many short
mouths, 2 windways, etc, one on either
side (behind and
,

in front) like the .#/-

notes ( f Hyp ; now used over a
tremolo-sign in violin-music to mark
 DOUBLE DrfAMMA. 61

the exact subdivision of the large note

). 4. Two
or four dots (the German tuning).
set in the spaces of the staff, before or
after a double-bar, form a Repeat. Double-stop. Dop'pelgriff; Fr.
(Ger.
double-corde; It. dop'pia ferma'ta.) In
Double, i. A variation. 2. A repetition
violin-playing, to stop 2 strings to-
of words in a song. 3. In organ-play-
gether, thus obtaining 2-part harmony.
ing, a 1 6-foot stop (as accompanying or
Double-tongue. (Ger. Dop'pekunge;
doubling the 8-foot stops in the lower Fr. double coup de langue.) In play-
octave). 4. a sub-
In the opera, etc.,
ing the flute, and certain brass instr.s,
stitute singer. 5. (Also Grandsire) In
applying the tongue in rapid alterna-
change-ringing, changes on 5 bells. 6. tion to the upper front teeth and the
As an adjective with names of mus.
hard palate, to obtain a clear-cut and
instr.s, double signifies "producing a
" brilliant staccato. (Also
tone an octave lower ; e. g. doitbk- '

bassoon^ double-botirdon, etc. 7. The

verb double signifies, to add (to any Double-trouble. A step peculiar to the
tone or tones of a melody or harmony) "breakdown."
the higher or lower octave. Doublette (Fr.) A 2-foot organ-stop,
octave of the principal.
Double (Fr.) i
(pi. doubles). See
Variation. The
altemativo
2. in a Doublophone. A combined Euphoni-
minuet, when merely a variation of
um and Valve-trombone, with one com- '

the principal thems and retaining the mon mouthpiece a valve operated by
;

harmonic basis of the latter. 3. As an the left thumb throws the current of
double ; as double-ban*<?, air from the mouthpiece into the tube
adjective,
of either instr. at will. Inv. by Fon-
double-bar ; coup de langue, double-
d.
taine Besson of Paris in 1891.
tonguing ; double-croche^ a l6th-note ;
etc ... Double - corde^ double-stop Doublure (Fr.) See Double 4 (Engl.)
. . .

Double-main, an octave-coupler (organ). Doucement. (Fr.) Gently, softly. . .

..Double-octave, double octave.. Don- Deux, douce soft, gentle, sweet. >

ble-touche, a mechanism in the keyboard

Douzieme (Fr.) The interval of a
of harmoniums, etc., for adjusting the
twelfth.
key-fall at 2 different levels, with corre-
Down-beat. \. The downward stroke
sponding differences in the degree of
loudness of tone produced... Double- of the hand in beating time, which
marks the primary or first accent in
triple, 3-2 time.
each measure. 2. Plence, the accent
Double* (Fr.) A turn. itself (thesis, strong beat).
Double-bar. (Ger. Dop'peltaktstrich, Down-bow. (Ger. Herunterstrich; Fr.
Schluss'striche; Fr. doubh-barre; It. tirez; It. arco in giu.) In violin-play-
dop'pio bar'ra.) I. The two thick ing, the downward stroke of the bow
vertical strokes drawn across the staff from nut to point ; on the 'cello and
to mark the end of a division, (repeat), double-bass, the stroke from nut to
movement, or entire piece. 2. Two point ; usual sign p|.
thin vertical lines
Doxology A psalm or hymn of"
(bars) dividing one w (
2) (Gk.)
praise to God ; especially the Greater
section of a move--
u__ D. (Gloria in excelsis Deo), and the
ment from the next =flg Lesser D. (Gloria Patri, etc.)
section:
Drag. I. A rallentando. 2. A de-
Double-bass. (Ger. Kon'trabass; Fr. scending portamento in lute-playing.
contre-basse; violonar; It. contrabbas''-
Draht'saite (Ger.) Wire string.
so.) The largest and deepest-toned
instr. ofthe violin family (with the ex- Dramatic music, i. Same as Program-
music. 2. Music accompanying and
ception of the rare contrabbasso doppio
illustrating an actual drama
on the
and the Octobass), with either 3 strings
(Gi'D-A being the Italian,^] -D- 6- the stage,

English accordatura), or 4 strings Dram'ma (It.) Drama. D. li'rico^ a

(tuned Ei-Ai-D-G). Compass: lyric drama. . .D. musica'le^ a music-
62 DRANGEND DULCIMER.
cord leathern
mu'sica, a endless tightened by
drama > opera... D. per a of rods and
byor system
musical drama, opera.. .Drammatica- braces,
. .Drammaftico, screws. The two chief classes of drums
mtnftt, -dramatically.
are the rhythmical (those employed to
dramatic.
the rhythm), and
vary and emphasize
Drang'end (Ger.J Pressing, hastening, the muncal (those capable of produc-
distinct in pitch). The
hurrying. ing a mus. tone
of the commonest forms of the first class in
Draw-stop. In the organ, One
within easy reach of modern use' are (i) The side-drum
:

projecting knobs Fr. tambour; It, tarn*

the organist, which, when drawn out, (Ger. Trommel;
it has a cylindrical body
of
shift the corresponding slides so as to buro)\
admit wind to the grooves communicat- wood or metal, and 2 heads, is slung
or a combination across the left thigh, and only the up-
ing with a set of pipes
of or else effect a coupling.- per head is beaten with the 2 drumsticks;
stops,
when gut are stretched
Draw-stop the entire mechan-
action, strings (snares)
across the lower head, the instr. is
ism controlled and set in operation by
called a snare-drum. (2) The bass
the draw-stops.
drum (Ger.grosse Trommel; Jr. gross*
Dreh'er (Ger.) An obsolete variety of
caisse; It. gran cassa, gran tamburo),
waltz resembling the Landler, of Bo-
similar in form to I, but much larger,
hemian or Austrian origin, in 3-8 or
and beaten on one or both heads with
3-4 time. a stick having a soft round knob at the
Dreh'orgel (Ger.) A barrel-organ. end. (3) See Tambourine, .The sole .

Drei (Ger.) Three... Dreifchorig, (a) representative

of the second class is the
for 3 choirs ; (b) trichord (said of a Kettledrum (which see).
thrice-
pfte.), ..Drti'gcstrichen, 3-Iined, Duc'tus (Lat.) A series of tones in
accented. .
.Drti'klang, a triad. . .

progression as d. rec'tu$
three-r>art, in 3 parts, stepwise ; l

for 3 voices.
ascending d. rever'tens^ descending ;
;

d. tircumcur'rtns^ first ascending and

Drit'ta (It.) See Uiritto. then descending.
Driving-note, Syncopated note. (Ob- Du'delsack (Ger.) Bagpipe.
solete.)
Du'e (It.) Two...X^w, signifies (i)
Drpit(e) <Fr.) Right... Main droite, for two ;
as a due voci, for 2 parts or
hand ;//.
right (abbr. d.) voices ; (2) both together (see Divisi).
Drone. (Ger. Stim'mert Bordwi'; Fr. ..Due corde, "two strings"; se
bourdon; It. fordo* ml) In the bag- Cor da.,. Dm volte, twice, . ./ due jpt-

pipe, one of the continuously sounding dali, both pedals at once.

(pfte.-)
pipes- of constant pitch. (Also see Duet'. (Ger. Duetf; Fr. dm; It. duef-
Drone-bass.)... Drone-bass^ a bass on to.) I. A composition for 2 voices or
the tonic, or tonic and dominant, which instns. 2. A
composition for 2 per-
is persistent throughout a movement formers on one instr,, as the pfte, 3.
or piece, as in the Musette 2. .Drone* A composition for the organ, in 2
,

fipe, same
as Drone. on a separate
parts, each to be played
Drfick'balg (Ger.) Concussion-bellows. manual.
Druck'er (Ger.) A specially brilliant Duettftio (It., dimiri. of duetto.) A
(sometimes a forced) effect; einen short and simple duet.
Drucker aufsetsen^ to bring out such Dulcian' (Ger,) See Dolcum.
an effect.
Dulcian^a. I. An organ-stop having
Drfi'cker (Ger.) See Steelier. metal pipes of narrow scale and yield-
Druck'werk (Ger.) An organ-action ing a somewhat sharp, thin tone. 2. A
operating by the pressure of stickers on reed-stop of delicate tone. 3. small A
the remoter parts of the mechanism, bassoon.
(See Zugwerk.) Dulcimer. (Ger. ffatWrett; Fr. (rw-
Drum. An of percussion, consist-
instr.
paiwn ; It. cem'balo.) A very ancient
ing of a hollow body of wood or metal, stringed instr., greatly varying in con-
over one or both ends of which a mem- struction and form ; typical character-
brane (the head) is stretched tightly by the wire strings stretched over a
istic,
means of a kwp< to which is attached an soundboard or resonance-box and struck
 DUMB PIANO-DURUS. 63

with mallets or hammers. In the modern Dur (Ger.) Major.

forms the string-tension is regulated by Our,-e (Fr.) Harsh, unpleasing in tone.
and the mallet-heads have
wrest-pins, Duramen'te (It.) Sternly, harshly.
one soft and one hard face, which pro-
duce different effects - (& Durch'fiihrung (Ger.) In a general sense,
fl LJE. the mus. construction or working-out of
of tone. Compass 2 a movement specifically, the develop-
;

to 3 octaves, g to g*: ment of a theme, as in the fugue or

The dulcimer was the
sonata. (See Development, Form.)
and is often called the proto-
precursor, tran'situs.) The
of the pianoforte. See Pantalon.
Durch'gang(Ger.;Lat.
11
type,
passage or progression of
one prin-
Dumb piano. An instr. like a small cipal tone to another through a tone or
piano in form, having
a keyboard of tones foreign to the harmony or key. . .

narrow compass, but neither hammers Durch'gangston, passing-tone, chang-

nor strings intended for silent finger-
; ing-tone; re*gelmassiger D.ton, one

e. merely for increasing the falling on a weak

beat wtregelmas-
practice, i. ;

mechanical dexterity of the fingers siger Durchgangston,

one falling on a
Prac- called a
(Comp. Digitorium, and Virgil strong beat, also
schwe'rtr^
tice-Clavier) . . .Dumb spinet, see Hani- Durchgang, "heavy passing tone,"
-

or free
chord* though properly an anticipation
Dummy pipes. Pipes which do not suspension.
in the front of an i. Passing, as
speak, displayed Durch'gehend (Ger.)
Durch'gehender Akkerd', passing-
organ.
chord. 2. Transitional, as durchge-
Dump. An obsolete dance in slow tempo
hende Au/weichungen, the transitional
and common time.
or continuous modulations necessary in
Du'o (It.
and Fr.) A duet. (In English
passing to a key harmonically
remote.
usage, duo is sometimes distinguished 3. Complete; as durch'gehettfe
from duet by applying the former term Stim'men, complete (organ-) stops.
to a 2-part composition for 2 voices or
Durable omponieren (Ger.} In song-
instr.s of different kinds, and the latter to differ-
writing, to set each strophe
to such a composition for 2 voices or
ent music, thus following the changing'
instr.s of the same kind.)
mood more than in the ballad or
closely
The interval of a
Duode'cima (It.) i.
folk-song, where melody and harmony
'twelfth. 2. A Twelfth (organ-stop). are generally the same for each verse.
"
Duodecimo'le (Ger.) Dodecuplet, .Durchkompoftitrt, through-corn-
.

Du'odene. A 12-tone group composed of posed," progressively composed.

Free
4 trines, applied to the solution and Dttrch'schlagende Zung'e (Ger.)
correction of problems in temperament reed.
and harmony. A
duodefnal is the sym- Durch'stecnen (Ger.) Running (of
bol of the root-tone of a duodene. The wind in an organ). Also said of a pip
term (as also Trine, Decad, Heptad, which, when facing another, causes
thb
Heptadecad, etc.) is the invention of
A. latter to speak' by the wind issuing from
of whose
J. Ellis, a full explanation its mouth. Dunk'stickcr, tones pro-
system of acoustics will be found in his duced by the above defects.
original Appendices to the Second Eng-
" a
lish Edition of Helmholtz's work On Duree (Fr.) Duration, Jime-value (of
note).
the Sensations of Tone," (1885, trans-
lated Ellis himself). Durez'za (It.) Sternness, harshness.
by "
Duodra'ma, duodram'ma) A kind of Dur MoH'-Tonart (Ger., major-minor
(It.
mode".) The "combined" mode de-
melodrama, or spoken dialogue accom-
rived theoretically from the resolution
panied by the orchestra. '

df the dominant chord in minor to the

Duo'i (It.) Same as Due. tonic in major (mode with major third
Duole (Ger.) Couplet 2. and minor sixth); 'expressed by the
Duo'lo (It.) Grief, sadness, melancholy. Hauptmann formula
Du'pla (proportio). See Notation, 3-
Stern, harsh.
Double... D. rhythm, rhythm Du'rOj-a (It.) 1
f
Duple. "hard* Equl.
of 2 beats to a measure. Du'rusra.-uxn (Lat., .)
64 POSTER EIN.

valent to major in the phrases cantus Eclisses (Fr,) Ribs (of a violin)..
a Contre-tclisscs, linings.
{turns, hexachor'dttiti durum; i.e.^
chant (vocal music) and hexachord with Eclogue. See glogue.
major third ; opp. to Mottis.B durum, Ec'lysis (Gk.) The flatting or depression
B natural, of a tone ; opp. to EC' bolt.
Gloomy, mournful.
Dii'ster (Ger.) E'co (It.) Echo.
Dutch concert. See Concert. Ecossaise (Fr.) Originally, a Scotch
*'
Dux (Lat., leader, guide".) Subject round dance in 3-2 or 3-4 time now, a ;

in 2-4 time. (Com-

or theme of a fugue. lively contredanse
The pare Schottische.)
Dynamics, theory of mus. dyna-
mics is the scientific explanation of the Ecu (Fr.) Shield (on face of lute, man-
of in-
varying and contrasting degrees dolin, etc.)

tensity or loudness in mus.

tones. Ed (It) And.
E'del (Ger.) Noble ; refined, chaste.
Effekt' (Ger.) Effect. ..Effekt'piano,
E.
the effect of the forte-piano (/.
E. (Ger. Ej Fr. and It. mi.) The 3d Effet (Fr.), Effet'to (It.) Effect, im-
tone or degree in the typical diatonic pression.
scale of C-major. (Compare Alphabet- In singing, a rough and
Effort (Fr.)
ical Notation, and So Imitation.)
guttural attack.
E (It) And ; (before a vowel, ed\
Egalite* (Fr.) Evenness,
smoothness.
Ear. I. (Ger. Ohr, Gehor*; Fr. ordttej
Eglogue (Fr.) A pastoral, or idyl,
It orec'chio!) A mus. ear is one im-
though in somewhat more animated
pressionable to mus. tones, thus afford- style than the latter,
ing to its possessor, after more or less
Egua'le (It.) Equal ; even, smooth. . .

practice, the capability of accurately

Egualmen'tet evenly, smoothly.
reproducing them, and of appreciating
and correctly analyzing compositions Eidomu^ikon. See Melograph.
performed by others. 2. One of the Ei'gentlich (Ger.) Proper, actual, true,
2 projecting plates of metal on either real . a strict fugue.
. .
Ei'geniliche Fuge,
side of the mouth of an organ-pipe. . Kaden&\ perfect ca-
.Ei'gentliche
Ebollimen'to, Ebollizio'ne (It) Ebul- dence. .Ei'gentlicher Drei'klang,
. com-
lition; a sudden and passionate ex- mon chord.
pression of feeling. Ei'genton Natural tone (of a
(Ger.)
itcart (Fr,) A
wide stretch on the pfte.' wind-instr.) tone proper to, or pro-
;

Ec1>ole (Gk.) The duced by, a sonorous body or hollow

raising or sharping
of a tone ; opp. to EC*lysis. space.

Ecceden'te Eighteenth. An interval of 2 octaves

(It,) Augmented (of inter-
and a fourth.
vals).
Ecclesiastical modes. See Modes- Eighth, i. An octave. 2. An eighth-
Ec/co (It) Echo.
note, Eighth-note a note representing
. . ',

one-eighth of the time-value of a whole

chappement (Fr.) The hopper or es- note ; a quaver (5 j ) .Eighth-rest^ a .

capement in a double-action pfte. rest equal in time-value to an eighth-

fechelette (Fr.) Xylophone. note.
chelle (Fr.) Scale. Ei'len (Ger.) To hasten, accelerate, go
Echo. I. A subdued repetition of a faster. .
.Ei'lend> hastening ; acceleran-

strain or phrase, 2. An do, stringendo. .

.Ei'lig, hasty, in a hur-
echo-stop.
3. A harpsichord-stop Echo-organ
. . .
,
ried style; rapid, swift.
a separate set of pipes, either enclosed Ein, Eins (Ger.) One Ein'Mrig, (a) . . .

in a box within the organ, or placed at a having one string to each note ; for
(^)
distance from the latter, to
produce the single (or undivided) chorus (choir) , . .

effect of an echo ; it has separate

stops, Ein'fach, simple, plain . .Ein'gang, in- .

and often a special manual.., Echo- troduction, . .EingestricJien, one-lined.

stop^ one producing an echo-like effect, .
.Ein'grtifen, (a) to touch or sound'
either by itself or in an echo-organ. (strings) ; (t>) in pfte. -playing, to inter-
 EIS EMPTER.
lace the fingers. .Ein'klang, unison. . , .
shading timbre like that of the string-
;

Ein'lage, a short piece introduced (V- orchestra the ordinary hammer-action

;

gelegi] between 2 compositions or in the may be employed alone, or in combina-

midst of a long one, .Ein'kitung, in-
f
. tion with the above. A
peculiar (sus-
troduction Ein'mal,
. once . Ein -
. . . .
taining) pedal-mechanism permits a
sailer monochord. .Ein'satz, entrance
i .
given tone, a full chord, or any har-
(of a vocal or instrumental part) ; attack. mony, to sound on as long as desired,
Ein fsatzstiick, a crook (usually Bogeti). even after lifting the fingers. Numer-
Ein'satzzeichen, in a canon, the presa. ous combined effects of tone are pos-
. .Ein'schnitt, a
pause at the end of a sible.
melodic phrase or section Ein'setzen, . . .

to enter (as a part) to attack to strike

Elegamment (Fr.) Elegantly.
; ;

or fall
in; Hornist', a Elegan'te (It.)
eiri'setzender Elegant, graceful...
horn-player
who sets the mouthpiece Elega.ntemen'te) elegantly, etc.
rather within than against his lips ; a
(Ger.) See Zither.
lipping sometimes necessitated thick Elegie'zither by
El'egy. (Fr. Mgie; It. ekgi'a.)
A
lips. .Ein'ringen, (a) to sing to sleep
.
;

composition of a mournful cast, either

to until confidence
(b) practise singing
is attained to on vocal or instrumental ; a dirge. .-//- .

Ein'spielen, (a)
. . .
play
a new instr. till it works smoothly ; (t>) to giac, a pentameter, i.e.
a verse com-
or
practise a part or piece until confidence posed of 2 dactylic penthemims
is attained Ein stimmen, to tune (in
. . .
written in elegiac metre. .Elegiac verse, .

concert with other instr.s). .Ein'stim- that in which elegiac poems or verses
'.

for one or voice. . .Ein'iritt,

are written, consisting of elegiac dis-
mig, part
tiches ; an elegiac distich being one in
entrance ; beginning.
hexa- which the first line is a dactylic
Els (Ger.) EJ...'mV, Ex. meter, and the second a pentameter,
Ei'senvioline (Ger.) See Nagdgelge. thus:

Eklo'g(u)e, Ger. spelling of tiglogue.

Ela. Name of the highest
note in the Aretinian scale :
Electric Organ. See Organ. . . Electric Element (Fr.) The entire range of
f
Piatioforte (Ger. elektropho nisches Kla- tones embraced in the mus. scale...
vier*), inv. in 1891 by Dr. Eisenmann ,Ument m^trig^ue^ a measure-note.
of Berlin. Over each unison of strings
Eleva^io (Lat.) i. Up-beat unac- ;
an electro-magnet is fixed ; on closing
cented count. 2. The rising of a mel-
the circuit (by depressing a digital) each
attracts and ody over the ambitus of the mode. 3,
magnet its strings, (the A mus. composition accpmpanying the
magnetic action being duly controlled elevation of the Host.
and limited by a set of microphones)
causes their continuous vibration. Elevation. See Elevatio. . .Also, the
Tone (of the improved instr.) full, sweet, name of 2 obsolete graces, the elevation
capable of the most various dynamic and skaked elevation :
Elevation. Shaked Elevation.

written :
&
played :

Iil6vation (Fr.) I.
Up-beat or weak Embouchure (Fr.) i. The mouthpiece
beat (also lev/) ; opp. to Frappe*. 2. of a wind-instr., or the oval orifice of
Same as Ehvatio 2 and 3. a flute. 2. See Lip.
Eleva'to Elevated, lofty, sublime.
(It.)
Empater les sons (Fr.) To produce a
.
.Elevazio'ne^ see Elevation, -
very smooth and suave legato. . .Ex/-
Embellir (Fr.) To embellish, orna- cution (yoix) empdtfe, an instrumental
ment.
(vocal) style lacking in neatness and
Embellishment. See Grace. j distinctness.
 66 EMPFINDUNG ENTREE.

Empfin'dunglCer.) Feeling, emotion.. ,

quarter-tones, and the third step a
Eaipjin'dungwoll, full of feeling ; feel- major third. In modern music, enhar-
ingly, with emotion. monic tones are tones derived from dif-
and Fr.) ferent degrees, but practically identical
Empha'se, (Ger. Emphasis,
stress.
in pitch, as c$ and d\) on the pfte. or

Carried organ. .Enharmonic change, a change

.

Emporte>e (Fr.) away by feel- effected in the harmonic relations of a

ing or passion, tone or chord by treating it as identical
"
Empresse>e (Fr.) Urgent, eager ;
in in pitch with another i

haste. tone or chord of dif- [

Enarmo'nico (It.) Enharmonic. ferent notation ;

thus: v
En badlnant See Schersando. where the enharm, change of /^ to aft
(Fr.)
Enclavure du manche brings about a different resolution of
(Fr.) Space cut the diminished seventh-chord by chang-
in belly (of violin) for insertion of neck.
ing its tonality:
Encore (Fr.) "Again!" (in English ^-minor.
(i) (2) taninor.
usage; the French use the word "for"
when recalling an actor or performer).
Also used for recall (noun and verb),
and for the piece or performance re-
. . Enharmonic chords, chords (like -i
peated. and 2 above) alike .in pitch but unlike
" 1
End-man. In the negro minstrels ', in notation and derivation Enharm. . . .

a man who sits at the end of the semi- see Diesis .Enharm.
di'esis, .
interval,
circle formed by the
company on com- one derived from an enharm. change. . .

mencing the performance. There are Enharm. modulation, an enharm.

2 or 4 such end-men, who provide a
change of chords, as above, . .Enharm.
good part of the fun apart from the organ, pianoforte, scale, one in which
songs, and likewise perform on the the identity of the enharmonic tones is
11 "
bones and the tambourine.
denied, and an attempt made to realize
Energi'a (It.), Energie(Fn) Energy. . . practically the minute differences in
Energicamen' te (It), or con energia, between such tones, e. g. by add-
"pitch
with energy and decision,
energetically. ing an extra digital for d\) as distinct
from <$ etc.
Ener'gico (It.), Ener'gisch (Ger.) En- ;

ergetic, vigorous; indicates that the Ensemble Concert, in the sense

(Fr.)
"
passage so marked is to be vigorously of agreement of 2 or more in a de-
accented and distinctly phrased. sign or plan". i. The unity of a
Enfent de chceur A choir-boy. composition ; the harmonious agree-
(Fr.)
ment of parts which forms a well-bal-
En'fasi, con (It.) With emphasis, em-
anced whole. 2. The harmonious co-
.
phatically. .Enfa'tico, emphatic.
operation -of the various factors in a
Eng (Ger.) Narrow, close.,.* performance'; of the actors, singers,
Harmonic* (Lags], close harmony. musicians, or instruments, taken in
Eng'elstimme (Ger.) Vox angelica. groups or together. . .Morceaux d' en~
The stretto in stmble, concerted music.
Eng'fuhrung (Ger.) a
fugue. En serrant (Fr.) Stringendo.
r'
Eng'Hsch (Ger.)
English. . .Englisch Entr'acte (Fr., interval between acts".)
Horn, cor anglais... Eng'lische Me- A instrumental composition or
light
cha'nik, English action (pfte.). . .Eng*- short ballet, intended or
adapted for
Uscher Tanz, anglaise. , . performance between
Englisck Vio- acts.
let, (a) an obsolete bow-instr. re- Entrayta (It.) See Entrti, and Intrada.
sembling the viola d'amore, with 14
Entr6e (Fr.) i. See Intrada; also,
sympathetic strings stretched below
the fingerboard ; specifically, the orchestral prelude to -a
(b) a former tuning
of the violin (f^a-^a ). 1 ballet, following the overture. 2. En-

Enharmonic,
trance (of a part or
actor). 3. division A
(Ger. enkarmo'nisch; of a ballet '* "
'
corresponding to a stene
Fr. enharmoniqut ; It.
tnarmo'nico.) in a dramatic
In Greek music, the tnh. performance ; also, the
genus was dance-music
accompanying it. 4. An
distinguished by a tetrachord, the first old dance
2 steps in which were resembling the Polonaise in
(approximately) character, usually in 4*4 time; often
 ENTRY ESPRESS10NE.
occurs as first movement in the Sere- (or boys') voices (contralto and soprano),
or men's voices (tenor, bass) ;
nata. opp. to
-

"
Entry. Anact of an opera, burletta, etc. unequal voices," a term equivalent to
mixed chorus.
(Obsolete.)
Entschlos'sen E'quisonance. In medieval music, the
(Ger.) Resolute(ly), de-
unison (of primes or octaves).
termined, in a determined manner. ^
Entwurf (Ger.) Sketch, plan t design. Equisonnance (Fr.) The unison (of
octaves, double octaves, etc.)
Eo'lian. See Molian.
Equi'sono (It.) In unison or octaves.
Ep-icede. (Lat. epicJdium; Fr. epi-
It. A funeral song, Equivocal or doubtful chord. See
cede; epice'dio.)
Chord.
dirge.

Epigo'nion (Gk.) The ancient Greek Ergrif'fen (Ger.) Affected, stirred, mov-
lyre with 40 strings, named after its re- e&...Ergrif'fenheit, emotion, agita-
tion.
puted inventor Epigonos.
Erha'ben (Ger.) Lofty, exalted, sub-
lipinette (Fr.) Spinet.
lime. .
.Erhafbenheit^ sublimity, etc.
Epini'cion (Gk.) i.
triumphal songA
in celebration of a victory. 2. In the Erhoh'ung (Ger.) Raising (the pitch of);
Greek Church, the triumphal hymn, the sharping. , .Erhdk'ungszeichen, sign of
Sanctus. raising, as the J, or a |J after a [7.

Epio'dion (Gk.) A funeral song. Ermat'tet (Ger.) Exhausted, wearied.

Episode. (Ger. Zwisch'ensatz; Fr. Epi- Ernie'drigung Lowering (the
(Ger,)
4

sode; Ittdivertimenfto.} An intermedi- pitch of) ; flatting. . . Ernie 'drigungs-

ate or incidental section ; a digression zeichen, sign of lowering, as the fr, or
from and interpolation between the the fl after a J.

repetitions or developments of the prin- Ernst (Ger.) Earnest, serious, grave.

cipal theme or themes of a composition ; (Also adverb.}
specifically, in the fugue, a passage of Ero'ico,-a and
(It.) Heroic; strong
the above character ordinarily formed of
dignified.
motives taken from the subject or coun-
s
Erotic, (ItM&V0.) i. Amatory. 2.
.

tersubject.
An amatory poem, a love-song.
That on the
Epistle side (of the altar).
f
priest's left, when he is facing the con- Er'st err e,-es (Ger.) First ...Et ste

gregation ; the south side ; opp, to the Stim'me^ the highest part or voice.
gospel or north side. Erwertern (Ger.) To extend, expand.
Epis'trophe (Gk.) In a cyclic composi- Erwei'terte Harmonie', see Lags, write*
tion, a refrain. ..Erwei'terter Satz a movement in y

Epit'asis (Gk.) The raising of the voice, which there is a full exposition of the
or the strings of an instr., from a lower subject by development, repetition, etc.
to a higher pitch. (See Anesis.) .
.Erwei'terung (of a fugal theme), the
Epithala'mium (Lat.), Epithala'mion widening of any of its intervals,
A nuptial song or poem.
(Gk.) ErzaMer (Ger.) The Evangelist or
Epito'nion (Gk.) A tuning-wrench ;
a Narrator in a Ptoion-play.
pitch-pipe. Erz'laute (Ger.) Archlute.
'

Ep'itrite. Same as ffippius.

Es (Ger.) Efr. . ./&, [>[?.
.
Ep'ode (Gk M "after-song".) i. A re- EsacorMo i. Hexachord. 2. The
2. The concluding stanza of an (It.)
frain.
interval of a sixth.
ode, following the strophe and anti-
Esat'to (It.) Exact, true,
strophe.
Eptacorde (Fr.), EptacorMo (It.) I. Esecuzlo'ne (It.) Execution.
Heptachord.- 2. A scale of 7 notes.
Eserc^zio Exercise
(It.) ; practice.
3. The interval of a seventh.
Espace (Fr.) Space (in staff).
Equa'bile (It.) Equable, even, uniform,
similar. .Equabilmmte, equably, etc. EspiranMo
. (It.) Expiring, dying away.

Equal counterpoint, temperament. Espressio'ne, con (It.) "With expres-

See the nouns. .Equal voices, voices
. sion, expressively. ..Espressi'vo, ex-
of the same class, i. e. either women's pressive.
 68 ESSENTIAL HARMONY-EXTEMPORIZE.

Essential harmony. See Harmony.. Evening-song, Even-song. In the

Ess. notes, chord-notes. ..Ess. 'jth, (CL Anglican Church, a form of worship
the leading-note; (b) the dominan appointed to be said or sung at eve-
chord of the 7th: ning,;known as Vespers in the R. C.
Church.
Estensio'ne (It.) Compass . . . Esteso,-
(pi. estesi^e), extended. Ever'sio, Evolu'tio (Lat.) The inver-
sion of the parts in double counter*
Estinguen'do (It.) Extinguishing, dy
point.
ing away.
Estin'to (It) Barely audible the ex Evira'to (It) See Castrate.
;

treme of pianissimo. Evolution (Fr.) See Rendersement.

Estravagan'za (It) Extravaganza, EVOVAE. The vowels
of Seculortttn
litalon (Fr.) Scale 0m*n, the last two words
in the Gloria
3.
Patri. In Gregorian music, the
Istendue trope
(Fr.) Compass.
" closing the Lesser Doxology; in a wider
toffe"(e) (Fr.) Having body". . . Vmx sense, any trope.
a full, sonorous voice.
Jtojf/e, Exercise. (Ger. G'bung, tt'bungsstuek;
touff,-e (Fr.) Stifled, damped, muf Fr. exerdce; It. eserci'zio.) A short
fled. .touffoir, damper technical study, often
consisting of but
.
(pfte.)

EttacorMo See Eptacordo. one repeated measure, for training the

(It)
fingers (or vocal organs) to overcome
Iitude A
study; especially, one some
^Fr.) ^
also, a short
special difficulty
;
affording practice in some particular
study in composition, consisting of an
technical difficulty. . .tude de concert,
outline (e. g. a figured bass, or a cantus
an etude designed for public perform-
ance ; a species of characteristic piece. firmus} to be filled out harmonically or
contrapuntally by the student.
EtVas (Ger.) Rather, somewhat. A valve
Exhaust-pallet or -valve.
Enharmonic, Producing harmonies opened by a draw-stop, to let off the
to wind in the bellows after
perfectly pure; opp. tempered... playing ; an
Euharmonic organ, one having a suf- evacuant.
ficient number of keys to
produce all Exposition, i. (Ger. er'ste
the fundamental and the chief deriva- Durch'fuh-
rung.) See Fugue. 2. (Ger., [-tion'].)
tive tones.
Development.
EUOUAE. Expression (Fr.) i. Expression. 2.
Eupho'ne. i. (Also Euphon) See The vibrato effect on bow-instr.s.
Euphonium. -2. In the organ, a 16-
Expression. (Ger. Awfdruck; Fr. ex.
foot free-reed stop, with a soft sweet
fression; It. The clear
sfressio'ne.)
tone like that of the clarinet. and effective presentation of the emo-
Eupho'nia (It) Euphony. tional and intellectual content of a
work proper reading and interpre-
Eupho'niad. A kind of orchestrion. ; its

tation, rendering and execution. .Ex- .

Eupho'nium. r. An instr. inv. by a written direction

pression-mark,
Chladni in 1790, consisting of
gradu- (either a sign, word, or phrase) for the
ated glass tubes set in vibration with
performance of a piece. .Expression- .

the moistened
fingers, and connected stop, in the harmonium, a stop which
with steel rods.
(Also Euphon.)z. closes the
escape-valve of the bellows,
The bass Saxhorn, so that the
wind-pressure, and conse-
Euter'pe. One of the nine Muses, the quently the intensity of the tone, is
inventress of the double flute, and
pa- partly under the control of the pedals.
troness of
flute-players and of primitive Expressive organ.
and simple melody. (Ger. Expressii/-
orgel; Fr. orgue exprcssif.) The har-
Evacua'tio (Lat.) In mensurable nota- monium.
tion, writing only the outlines of solid
xtem'pore. Without previous prepar-
notes, thus reducing their value one- ation ; on the
by spur of the moment off- ;
half.
hand.
Evakuant' (Ger.) The exhaust-valve
1

or exhaust-pallet in the xtem'porize. (Ger. extemporie'ren.)

organ ; (Engl. ' To improvise. . . Extemporizing-ma*
also evacuant). \

Mne t an apparatus for

mechanically
 EXTENDED COMPASS-FAGOTTO.

recording improvisations on the pfte. Extraneous chromatic signs. Those

or organ by means of a mechanism not proper to the key. .Extraneous .

placed in communication with

the key- modulation, one to a remote key.
board. See Melograph. A
Extravagan'za. composition of an
Extended compass, harmony) inter- extravagant, whimsical, or fantastic
val. See the nouns. character; a burlesque.
Extension (Fr.) i. On the pfte., a Extreme, Of intervals, augmented.
i.
stretch on the violin, the extension of
; The chord of the extreme sixth has a
the little finger or forefinger of the left
major third and sharp sixth, and oc-
hand. 2. Same as tendue. curs on the 6th degree in minor in 3
Extension-pedal. See Pedal principal forms :
'
i. 2. 3-

i TBjg

A A ~
or with progression to major (-fib). improvised. 3. A
drone-bass, a bur*
The first form is called the Italian den. 4. The intonation of the Psalms,
sixth; the second, the French^ sixth; Face (Fr.) The position of a chord, either
and the third, the German sixth. 2 as a fundamental chord or inversion ;
In part-music, the outer parts.
(pi.) e. g. a triad has 3 faces.
3. Extreme kty, a" remote key. u
-fach (Ger., -fold ".) When compounded
with a numeral, equivalent to ranks, i.e.
F. in a mixture-stop zwei'fack=wth 2
;

ranks, drei'fach^vntii 3 ranks, etc.

F. (Gen F; Fr. and It.
fa.) The fourth
tone and degree in the typical diatonic Fach'erformiges Pedal' (Ger.) A
scale of C-major. (Gorap. Alphabeti- "fan-shaped" or radiating pedal-key-
cal notation, Solmisation.) f-=.forte; board.
y
ff or fff (seldom ffff) , fortissimo. Faci le (Fr.), FVcile (It.) Facile, easy,
fluent... Fadlement facilmen'te\
(It.
Fa, I. The fourth of the Aretinian
syllables. 2. Name of the tone in- F easily, fluently. .
Fadlittfyt.fanlita'\
ease, easiness, facility, fluency ; facili*
Italy,France, etc. . .Fa feint (Fr.), fa
il(e} also signifies made easy, as
an easy
ficftum (Lat.), former term for any
arrangement of a difficult piece or
flatted note... /fa mi>m solmisation,
the descending step of a semitone; passage.

originally that from Fto E, thereafter Fack'eltanz (Ger., "torch-dance".) A

from j#b to -<4 ^b to A etc - torch-light procession arranged at some
German courts at the marriage of a
Fabliau (Fr.) A versified tale or ro- member of the reigning family; the
mance of the trouveres, in vogue chief- music a polonaise in march-time, for
is

ly during the 1 2th and I3th centuries. military band, and in minuet-form.
..Fablier (Provenjal), a Trouvere.
Facture (Fr.; Gtx.Faktur'; It/atiS-i
Fa'burden. (Fr. faux bourdon; It. ra.) I. The plan, build, structure,
f
In medieval music, construction of a composition. 2.
fal so lordo'ne^) I. (Fr.
the primitive harmonization of a <:./. and It.) Scale (of organ-pipes),
by adding the third and the sixth above, -fa/dig (Ger.) Equivalent to threads (of
and progressing in parallel motion violin-strings), as ^fadig, having 4
throughout, only the first and last threads.
chords having key-note, fifth, and oc-
tave. 2. Later, the setting of a simple
Fading. An Irish dance; also, the
burden of a song.
(note against note) counterpoint to the
Fagott' (Ger.) Bassoon... Fagotfzug
c. /., strict parallel motion being given

to some extent dissonances were (or simply Fagott) , a reed-stop in the

up ;

avoided, various embellishments added, organ.

and the whole counterpoint frequently Fagot'to (It.) Bassoon. .Fagotti'no > a
.
 FAH FAUSSE.
"
"small bassoon pitched a fifth highe dance in dancers of
triple time, for 2
than the ordinary one (Ger* Quint different sex, who accompany
it with

fagott, Tenor'fagott)*.* Fagotti'sta, a castanets, or sometimes '(in the case

,
bassoonist, bassoon-player. . Fagotto' ne . of the man) with a tambourine. The
double-bassoon. dance alternates with vocal couplets,
Fak For fa, in Tonic Sol-fa.
both dance and song having a guitar-

Faible (Fr.) Weak. accomp.; the following is the castanet-

-
. .
JVw/r faibh
.
weak beat rhythm :
J* J|33J J353J I J*
Faktur' See Facture.
(Ger.) Fanfa'ra (It), Fanfare (Fr.) i. A
Fa-la. See Ballet 3. . .Also, in Italy, a brass-band. 2. ,
A fanfare,
kind of arietta ending with a burden of
fa-la.
Fan'fare. A flourish of trumpets or
trumpet-call, either in the orchestra,
Fall i. Same as Fly. A cadence -2.
on a hunt, or at warlike gatherings.
, or close. 3. A lowering of the voice.* Phan-
Fantasi'a (It.; Ger. Fantasie',
Fall (Ger.) See Ton'fall An
tasie'; Fr. fantaisie.) I. impro-
Falling .rhythm. A descending rhythm. visation or impromptu. 2. In the i yth

Fal'sa (Lat. and It; Gtt.falscL) False, and 1 8th centuries, an instrumental
wrong. .Mufsica, falsa, see Pitta. .
. . composition in free imitation, as con-
trasting with one in strict imitation.
Quiiftd falsa (Ger. faFschc Quin'te),
diminished fifth. 3. Later, a composition free 'in form
and more or less fantastic in character.
False. (Ger. falsch ; Fr, faux, fausse;
4. Aterm loosely applied to pot-
It. falso,-a.) Wrong; not true to
out of tune. ..False cadence\ pourris and paraphrases. ..Free fa n-
pitch,
tasia, that part of the first movement of
chord, fifth, harmony> see the nouns.. .
a symphony or sonata which follows the
False relation, also inharmonic rel.,
an double-bar (repeat of first part) and
cross-rel., harmonic discrepancy
precedes the reintroduction of the prin-
arising from the chromatic contradiction
of a tone in one part by another part. cipal theme ; it consists chiefly of a free
In equal counterpoint it is apt to occur development of motives taken from the
first
at a modulation, and consists in sound- part,
either simultaneously or success- Fantasie'rea (Ger.) StePhantasieren.
' ing,
a tone and its
. .Fantasie'stuck, see Phantasiestuck.
ively, chromatically al-
tered octave. The former .case is Fanta'stico (It), Fantastique (Fr.),
generally confined to passing-notes in Fantas^isch (Ger.) Fantastic, giving
figuration, and then has no ill effect ;
free rein to the
fancy.
the latter case- occurs ? an'tasy. when a chromatic-
See Fantasia.
ally changed tone, which might have A circle,
Farando'la, Farando'le.
been reached in one part by the step of
dance of southern France and the ad-
a chromatic semitone, enters in another
joining Italian provinces, in 6-8 time
octave in another part ; the effect is
and very rapid tempo.
harshest in passing from a major chord 7 arce.
toaparal- J
i. (It
far'sa.) one-act opera A
1*1 J
& /)
-tf
i ,

J \
or operetta of ultra-comical or
burlesque
lei
,

mmor|^zrz,,'>s | J_Jg_j A
chord, or 1(0) L >' I
M**==\
character. 2.
in the vernacular
(Itfarsia.) canticle

vice versa: v 1
'
|
P intermingled witli
Latin, formerly sung at the principal
Falsetto (It ; Ger. Fahttt; Fr. mix festivals of rteR. C. Church, and later
'

defavsset,fausset) The highest of the 3 finding ludicrous imitation in the farsa

vocal registers (chest-voice, or farce.
head-voice,
so named from its forced or
falsetto),
unnatural character ; often reckoned to
Fa'scia(It) i. A tie. 2 (pL,fasde).
Ribs.
the head-register. . . a falset- Fastosamen'te
Falset'tist,
to singer. (It.) Pompously, in
a stately style... Fas to'so, pompous,
Fal'so,-a (It.) False... Fabo oordone,
see Faburden;
(of) (6) the reciting-note. 'atigue-call. A
signal to soldiers, call-
Fancy, A short piece of an
impromptu ing them to, fatigue-duty.
character ;
a fantasy. ^attuVa See Factor*.
(It.)
Fandango. (Spaa.) A lively Spanish Fausse (Fr. f masc. False... J?
faux.)
 FAUSSET-FIFTH.

dhnin. fifth* . . F. relation, false Festivamen'te (It) In a gay, festive

quinte, r
relation. manner Festivita
. .
festivity, mirth y
:

See Falsetto. conf., in a gay and festive style. ,/Vj- .

Fausset (Fr.)
ti'vo (Ger./w/'AVA), festive,- festal (also
Faux (Fr.) False. . .Faux-bourdon^ see
festo'so).
Faburden.
Feu'er (Ger.) Fire, ardor, passion...
F-clef. F-schlUml / Fr. clef de
(Ger. .
with
Feu'erig, fiery ; fire, ardently, pas-
fa; It. chime di basso.) See Clef. sionately.
Fe'derklavier (Ger.) Spinet. F-holes. (Ger. F'-tocher; Fr. les JF.)
Feeder. In the organ, see Organ^ (i)
The 2 /-shaped soundholes cut in the
Wind-supply. belly of the violin, etc.

Fei'erlich Festive; solemn,

Fiasco (It.) Languishing.
(Ger.)
Failure,
grave, serious. (Also adverb) Fia'sco(It)
Fei'len (Gen) To file, polish, refine, Fia'to (It.) Breath, breeze, wind...
Strumen'to daf^ wind-instr.
put the finishing touches
to.
**

Fein Fine, delicate, refined. Fic'tarum (Lat., feigned ".) Fa //-

(Ger.)
turn-) see Fa. . .Mufsicafata^ see J^fu-
Feint,-e (Fr.) See Ficta.
sica, in APPENDIX*
Feld'flote,-pfeife (Ger.) i. SttBawrn- See Vio-
Fiddle. (Ger. Fi'del, Fiifcl)
j^# _2.
t A fife. 3. See Schweizer-
..Fiddle-bow\ fiddlestick^ see Bow.
tin*
fidte & Fi'des (Lat.) I. The string of a mus.
Feld'stiick (Ger.) A cavalry-call or
instr. 2. A lute, lyre, cithara,
signal.
Fi'dicen (Lat; Itm.fidieina^ A player
Female or feminine rhyme. A rhyme on a stringed instr.
'
:

ending with an unaccented syllable, as Fidic'ula (Lat.) Dimin. of Fides.

fate'ful ungrateful.
Fidu'cia (It.) Confidence, boldness.
Fermamen'te (It.) Firmly, with de-
cision. Fie'del (Ger.) Fiddle... Stroh'fadel,

Ferma're il tuono. See Messa di wee, xylophone.

Ferraa'ta Ferma'te
i. A Fier, Fiere (Fr.) Proud, haughty.
(It.), (Ger.)
Wild, fierce
pause, stop, or interruption, as that be- Fie'ro,-a (It.) ; bold, vig-
fore the cadenza of a concerto. 2. A orous. <, Fieramen'te, wildly, boldly. . .

hold (>r\). 3. A stop (on the violin). Fieretfza, fierceness, boldness, vigor.

Ferraez'za, con (It.) In a firm, de- Fife. (Ger. Quer'ffeife; Fr. Jtfrtj It.
cided, energetic style (deciso). tiffi") I- An octave 8w
cross-flute with 6 holes anq JL
Fer'mo (It.) Firm, decided ; fixed, un-
without keys (thus differ- i

changed (as canto fermo).

ing from the Piccolo) ; 1

Ferine- (Ger.) Distance. Wie aus der . .

compass about >
Feme, as if from a distance. used chiefly as a march-accomp. with
Fern'flote (Gen) A covered 8' organ- the drum. 2. An organ-stop of 2-foot
stop of very soft tone. pitch; a piccolo-stop.
Fern'werk Echo-organ*
(Ger.) Fifteenth, i. (Ger. Quint'dezime; JY.

Fero'ce (It.) fierce, vehement.. .

Wild, quinzilme y It quindicSsirrw^ ,A
double octave. 2. An organ-stop .of 2-
Ferodta') wildness. vehemence. . Con .

foot pitch.
ferocita^ wildly, vehemently.
Fifth. (Ger. Quin'tt;"$r. qwnte;\\..
Fer'tig (Ger.) Ready; done, finished ;

quin'ta) An interval of 5 diatonic de^

prompt, skilful, dexterous... Fer'tigkeit,
readiness, skill, dexterity; technical grees (see Interval) ; also, the 5th de-
finish. gree in the diatonic scale, the dominant.
. .The
typical or standard interval ,of
Ferven'te (tt.) Fervent, ardent, pas- thisname is the perfect (or major) fifth,
sionate.
equal to the interval between 'the key-
Fes (Ger.) ty . .
.Fes'es, fy\>. note and the fifth tone of
Fest(Ger.) i. A festival.,. Musitffest, the diatonic scale e. g. ;

mus. festival* 2. Firm, steady. (Also (^), the vibrational ratio being :
. .IHminisked (imperfect, defective >
 FIFTHY FINGER-CYMBALS.

minor, or false) fifth, an interval nar- Filar' il tuo'ao, la voce (It.) In the
rower by a semitone than a perfect fifth. Italian method of singing, to produce
..Augmented (pluperfect, superfluous, an even, sustained tone, without cre-
or extreme) fifth, one wider by a chro- scendo or diminuendo. (Also aj/fHar*
matic semitone than a perfect. fifth. . . iltuono; Fr. filer un son, la voix.)
Cometutive(vt parallel) fifths, see Con- See Fistulieren.
secutive. . Covered (concealed or hidden)
.
Fil'pen (Ger,)

fifths,
see 0rto<r. . . Circle of fifths, Fi'lum (Lat.) Stem (of a note).
see Temperament.
Fin (Fr.) End, close.
Fifthy. Having the second harmonic
(fifth above the octave
of the generator) Final. In Gregorian music, that tone
(in any mode) on .which the melody
specially prominent.
/ must end (equiv. to key-note or tonic);
Figur (Gen) See Figure 2.
in the authentic modes it was the low-
Figu'ra mu'ta (Lat. and It.) A rest. est tone in the modes, the ; plagal 4th
Figu'ra obli'qua (Lat.) The "oblique tone from below. Irregular final tones
figure" of Plain chant and mensurable were called confinals. . .Final close,
music wlis a simple ligature formed by closing cadence.
uniting 2 notes ; (a) in Plain chant, it A final
was written in 2
Fina'le (It.) i. 2. The con-
ways :
movement of a
I. 2. cluding sym- sonata,
or the closing number of
phony^ etc.,
sung ; an act in an opera. An operatic finale
is generally an ensemble for soloists
(b) in mensurable notation thus :

and chorus, and intended to have a

highly dramatic or otherwise striking
effect.

Fina'lis (Lat.) See Accentus.

ends of the figure marked the seats of
the 2 notes. In the midst of a ligature
Fi'ne (It.) End, close ; indicates either
the end of a repeated section (after the
it possessed no special but
significance ;
at the termination it denoted the imper-
da capo or dal segno), or the end of a
of the piece in several divisions.
fection final note.
Fig'ural. See Figurate...Figural'ge- Fing'er (Ger.) Finger, . .Fing^erbildner,
ttgr(Ger.), cantus figuralis. ..FiguraP- (" finger-developer"), see Dactylion.
musik, unequal or figurate counterpoint. An apparatus of this name was also in-
1
vented by Seeber, and consists of a
Figurate. (Ger. figurier?; Fr. figure;
It figura'to) Having, or consisting separate attachment for each finger,
of, figurations, (Also Figurative) whereby the bad habit of bending the
last joint inwards is corrected. .
In counterpoint, the
i. " .Ping'-
Figuration,
erfertigkeit, finger-dexterity", agility
introduction of comparatively rapid
fig- and readiness of the fingers. . .Finder-
tires or phrases, containing
passing and letter, see
into the CMroplast. .
.Ping*ersatz,
changing-notes, counterpoint,
2. The variation of a theme Fing'ersetzung, fingering; eng'er P.,
by accom- close fingering ; gedehnter P., spread
panying it with florid runs and pas- stretches.
sages, or
fingering, . .
Pinker wechsel,
substituting for its own
by
change of fingers.
melody-notes more or less florid varia-
tions. 3. The writing-out of a figured Fingerboard, i. (Ger. Griff'brett; Fr.
bass, touche, manche: It. tastiera.) In the
violin, guitar, etc., the thin, narrow
Figure, i. {Ger. Figures Jr. figure;
It figura.) A distinct group of notes, strip of wood glued upon the neck,
above which the strings are stretched,
a motive. 2, (Ger. Zi/er; Fr. chifre; and on which they are stopped with the
It. d'fra.) A numeral, as used in
fingers of the left hand. 2. See Key-
thorough-bass.
board.
Figured, i,
bedffert; Fr. Mf- Finger-cymbals.
(Ger.
Very small cymbals,
frt\e); It. dfra'to.) Provided with fig- held in pairs on the thumb and fore-
ures, as a bass (see Thorough-bass).
2.
finger of both \axite.., Finger-hole
Figurate.
(Ger. Ton'loch), in the flute, clarinet,
Fil (Fr.) Thread (of a etc., a hole in the tube, to be closed
violin-string). by
 FINGERING-FLAUTANDO. 73

a finger or by a lever operated

by a syllables are then termed fixed syllable*.
finger, thus changing the pitch. .Fixed-tone instr., (or instr.
.
of fixed
Fingering. (Ger. Fingersatz, Appli- intonation), one (like the pfte, or or-
katur*; Fr. doigter; It. ditteggiatu'ra^ gan) the pitch of whose tones cannot
i. The method of be modified at the
applying the fingers player's pleasure
to the keys, holes, strings, etc., of mus. like,for
example, the tones of the
instr.s. 2. The marks guiding the violin,

performer in placing his fingers. . .

Eng- Flag, r, A hook (Nt,). -2. Abbr. for
lish (or American .?)
fingering (for the flageolet (-tones).
pfte,), that in which notes taken the by
thumb are marked x (or +) with I 2 Flageolet, i. (Ger. Flageoletf ; Fr.

3 4 for the fingers German (or conti-

;
flageolet; It.
flagiolet'ta) modern- A
nental) fingering, that in which the ized^^ a bee, a small wind-instr. of
the whistle family. There are 2
thumb is marked fingers 2 3
r, and the species
in use, the
4 5. (An earlier German system re-
still
English and the French ;
the latter is the more complicated, hav-
sembled the English, merely
using a o
instead of the x for tie thumb.) ing 4 holes above and 2 below, various

Finite il tuono. See Mcssa di voce.

auxiliary keys,
and a compass
It is not fl ^
^ j^.
used in the
'Fini'to(It.) Finished. of 2 1/1 orchestra...
octavespAn *
Fi'no as far
and 3 semi-lfrl) DauAIjf
(It.) Till, up to, as.
to: tJ
flageoletj$\
Fin'to,-a (It.) Feigned. Caden'za fin- . .
instr. inv. by Bainbridge about 1800
ta, deceptive cadence., .Fa fin to, see
consisting of 2 flageolets of different
Fa feint. size placed side by side and
having a
Fiochet'to (It.) Somewhat hoarse; common mouthpiece; simple duets
faint, veiled.., Fiochesfza, hoarseness. could be played on it, but it is no longer
.
.Fio'co,-a, hoarse, faint, veiled. in use. . Flageolet-tones , see Harmonic
.

Fioreggia're (It.) To figurate.

2. 2. A
small flute-stop in the organ,
Fioret'to (It.) Any melodic embellish- of i or 2-foot pitch.
ment. Flageolet^ i.
(Ger.) Flageolet 2.
embellished... General term for the hamonics"(^z?w-
Fiori'tp (It,) Florid,
Fiorittfra, an embellishment, an orna- leftone) produced on the violin, etc.
mental turn, flourish, or phrase intro- Flaschinet' (Ger.) Obs. spelling of
duced into a melody (commonly used Flageoktt.
in pL, fioriture).
Flat, (Ger. Be; Fr. b/mol; It. A) Jw/7
First, i. Of
voices or instr.s of the The character (?, which lowers the pitch <

same class, the highest; e. g. first so* of a note before which it is set by a semi-
prano, first violin,-2. In the staff, the tone, and, when set in the signature,
lowest ; as first line, first space. 3, has a like effect on notes occurring on
The first string of an instr. is the high- -its line or space (and every octave of
est. 4. As the name of an interval, such line or space) unless cancelled.
the prime or unison. Some earlier composers used the [7 in-
Fis(Ger,) Eft... #'/*>, Fx. stead of a R whenever a note was to be
Fis'telstimme Falsetto.
lowered by ,a semitone. The double
(Ger.) (Also
FisteL) fiat fy lowers a note by 2 chromatic
Fis'tula (Lat.) Pipe. semitones ; for it the great flat 7 was

Fistulie'ren (Ger.) i. To sometimes written. Flatfifth, a dimin-

. .
sing falsetto.
Of an ished fifth.,. Flat tuning, a method of
2.
organ-pipe, to overblow in
such wise as to sound (unintentionally) tuning the lute (also called French flat
some harmonic tone instead of the tuning, by reason of the comparative
fundamental. lowness of the earlier French pitch).
* l

Fixed The fixed-Do system of Flatter la corde (Fr. ) To

caress the
Dp. i. e. to play (on bow-instr,s)
solraisation is that in which the tone C, string,"
and all its chromatic derivatives (CJ, with graceful and tender expression.

expand fy\>) are called Do,

C\>, D Flautan^o, FUuta'to (It.) In violin
and its derivatives Re, etc. , in whatever music, to play over the fingerboard
key or harmony they may appear ; the near middle of string and thus pro-
74 FLAUTO-FOLK-SONG.

duce a somewhat flute-like tone. . . Also wind-pressure, the second an3 third by
occasional lot flageolet. augmenting and forcing it, thus causing
1
the tone to change (by to
Fla'uto (It.) Flute.../ /, a becco, fluti overblowing)
1
the higher octave. It is anon-trans-
a bee.../ /, pic? cob, see Piccolo... Fl
trover*so, cross or transverse flute. . . posing instr., and its musiq is therefore
? a name
also frequently occurs as
written at the pitch at which it is to be
for organ-stops, e. g. flauto ama'bik played. Together with the octave-flute
a smal or piccolo it forms an incomplete family,
flauto dol'ce, ete...Flauti'no,
flute.. .Flauti'sta, a flute-player, flutist
made in 6 sizes :

. .Flanto'ne, a large or bass flute. (inC (inC

Flute {
in
Z>j?
Piccolo < in Db
Fle'bile (It.) Tearful ; plaintive, mourn- [
in b \
in \?

ful.
the typical member of which is -the C-
Flessi'bile (It) Flexible. fiute. Its powerful and mellow tone
Flick/oper (Ger.) See Pasticcio. (more reedy than that of the old flute) v
A spirited Scotch and extraordinary and agility, flexibility
Fling, dance, resem-
render it the leader of the wood-wind.
bling the Reel, and in quadruple time.
The piccolos in D\) and Jfy are chiefly
FMocher (Ger.) /-holes. used in military music. In the I5th and
Florid. Embellished with figures, runs, 1 6th centuries complete families of flutes

passages, etc. were constructed, embracing bass, alto,

Flo'te (Ger,) Flute. .Flo'tenlass, bass
. and treble instr.s, 2. Direct Flute ,

flute. * * Flo tenstimme, a fltite-stop (or- the flageolet and^& & bee, having a
gan).. .Flo'tenwerki a small organ hav- mouthpiece at the end*
ing only flue-pipes (opp. to Schnarr- Flute (Fr.) Flute.../ /, h lee, a direct
1

Zungmwerk> Rohriverk, and flute... FL allemande, a German flute,

../?/. & pavilion^ an 8-foot
organ-stop.
Fffich'tig (Ger.) Lightly, nimbly, airily ; . .FL d* amour, (a) a flute in j?b; (6) a
1

fugitively, hastily, superficially. (Also soft-toned organ-stop.../ /, d Angle-

.FL douce, flautodolce.
terre, flageolet.
.FL du Poitou, bagpipe (cornemuse).
.

Flue-pipe. (Ger. LaMafpfrife-j Fr.

.-FL harmonique, fl. octaviante, -see
.
tuyau k louche ; It. tan'na cTa'mma.)
also Stop 2. Harmonic stop. .FL traversiere^ trans-
.
StePipe;
verse flute.
Flu'gel (Ger,, "wing".) i. Formerly,
a wing-shaped clavier (clavichord); Flute-work. In the organ, the flute-
work includes all flue-stops not belong-
now, 'a grand $te...Fl'gelkarfe, see
Spitzharfe...Flu'gelh0rn, bugle, key- ing to the principal-work and gedact-
bugle.~2. BtQjBart. work, as well as various modifications
of these two groups.
Flute. (Ger. Plo'te; Fr. flute ; It.
fla'vio^ i,/ The orchestral flute (also Fly. The hinged board or flap used as
called German flute, and D-
a cover for the keyboard of the pfte.
cross-flute,
from its origin, the position in and organ.
flute,
which it is held, and its former low- Fo'co (It.) See Fuoco.
est tone respectively), in its In orchestral music, the
present Foglie^to (It.)
form as improved by'Boehm, has a
part for the leader ;
it contains cues for,
wooden tube of cylindrical bore, pro- or the obbligato
passages of, the other
vided with 14 ventages closed
by keys, instr.s, and can therefore be used by the
and caused to sound by a current of air conductor in lieu of a score.
projected from the player's mouth Foire des
enfants (Fr.) See Toy Sym-
against the feather-edge of an oval
orifice near, the
phony.
upper end of the
tube the air-column Within the tube ois (Fr.) Time premise fois, ; first
;

Is set in *vibration in the same time seconde fois, second time.

;

way
'that within a *oIi'a{Span.; It.folli'a; usually in the
Sva "
ein theor- plural, as Fr. folks d'spagne'\} A
rom
from Spanish dance for one person, in slow
(rare __
Si=
ex-ESE tempo and 3-4 time.
- >-,
ftVftT
trames^and^)':
the first octave
Folk-song. (Ger. Volktfacl) A song
is obtained by moderate of the
people, tinged by the musical
 FONDAMENTAL-FORM. 75

of the nation, and generally cated by the

notes), while the piccolo
peculiarities
of a simple, unaffected character, and is a 4-foot (or
octave) instr. The
in ballad-form. Also, a song imitative derivation of the term is as follows : The

of the above, velocity of sound-waves is estimated

at 1056 feet per second by dividing this
Fondamcntal,-e (Fr.), Fondamenta'le
;

Son fondamental, velocity by the vibration-number of the

Fundamental. . .
(It.)
see
given tone, we obtain the length of
generator.
Basse fondamentale,
.one sound-wave of that tone; for in-
Basse.
stance, the tone 6~i having 33 vibrations
Fondamen'to (It.) Fundament, funda- per second, 1056 -* 33 =
32 feet, the
mental part. length of one sound-wave, and likewise
the length of an
Fonds d'orgue The foundation- open flue-pipe capable
(Fr,) of producing the tone Ci
(CCC).
stops of the organ.
Foot-key. Pedal-key (of an organ).
Foot. I. (Ger. Fttss ; Vr.pied; It.
Foreign chords or tones are such as
pie'de.)
In prosody, a group of syl- do not belong to a given key.
lables, one of which is rendered special-
ly prominent by
an ictus (accent) ; it Forla'na (It,), Forlane (Fr.)" A lively
Italian dance in 6-8 or 6-4 time.
corresponds to the measure in music.
2.(Ger. Stiefel.) That part of
an or- Form. Form in music is that element,
gan-pipe below the mouth. 3. (Obs.) A or combination, of elements, which, by

drone-bass; a refrain or burden. 4, The securing a proper balance between con-

unit of measure in designating the pitch trasting parts, produces finish of effect,
of organ-stops, and (by extension) that or Unity. What are called the musical
,

of other instr. s, and of the several oc- forms depend, fa varying degree, for
taves of the musical scale f
thus an 8-
\
on rhyth-
their 'distinctive features, (i)

foot is one whose longest mical and metrical grouping ; (2) on the-
(8') stop
and is about 8 feet matic construction (3) on melodic and
pipe pro- p^ :
:
;

ducestheF^ in length, i.e. a harmonic contrast; (4) on contrasting

tone C: ^ stop whose pipes
in pitch to
tempi ; and (5) on contrasting moods.
Points I and 2 cover the ground of (I)
produce tones corresponding
the keys depressed a 4-foot (4') stop is
;
mechanical symmetry ; the contrasts of
7
an octave-stop a i6-foot (to" ) stop
;
melody, harmony, tempo, and mood
yields tones an octave
below those postulate a more highly developed sense
the for (II) cesthetic symmetry.
indicated by keysrfi
touched. The 8 -foot octave l-
w ,

I. The element of metrical

(i.)

embraces the 7 tones from C & grouping eminently characteristic of

is

upwards (comp. Pitch, i); 'the flute ordinary dance-airs and simple songs ;

is an 8-foot instr. (because the pitch the following example exhibits its sim-
of its tones is the -same as that indi- plest form ;

Period.

I
Phrase /.J |
Pbrase

|
section

Period.

of which embraces 2 Sections format in

Analysis of this Sentence (compound "

of 16 measures), Measures each* [The term

-turn, of 2
period, here a period
which contains a musical thought com- motive for measure is to be rejected as

plete in itself, shows it to

be composed misleading and unnecessarily confusing,
of 2 simple 8*measure Periods^ each except in the qualified shape of measure-
2 each The funcfyatiw of such ft
period being formed by JPtirvses ,
 FORM.

musical sentence presents a striking hibits the peculiar feature of the song

analogy to that of the grammatical with refrain j once repeated, after any
sentence from which its terminology is in digression (interlude, or second theme),
part borrowed Phrase I
:
subject and it
produces the "so-called Song-form
predicate [commaV^ Phrase 2 limiting = (Liedform, A+B+A), or that of the
clause \semuolon\ Phrase 3, further
y
Minuet with Alternativo. With 2 dis-
modification \CQmmd\, Phrase 4, second tinct themes alternating as follows:
limiting clause and conclusion of sen- (|:
A+B [A]
:| + B B [i n +A+
tence [ptriod~\ The exact symmetrical the key of A]), it has the
original
balance here observable, of 2+2, 4+4, Sonata-form, or First-movement Form;
and 8 + 8, though of very common oc- while the Rondo-form has the following
currence, is not the general rule, and alternations :
( A+B+B
[A] A B + +
would engender wearisome monotony [62 in same key as A
development- ;

(especially in extended compositions) if section in the middle]); or (A + B A : +

regularly adhered to; the variety of [in same key as B] B [same key +
changes caused by triple time, com- as A] + A). It must be added, how-
pound measures, the opposition of un- ever, that the Song-form, Sonata-form,
equal phrases, the expansion or con- and Rondo-form, as carried out in
traction of periods, etc., etc., is
prac- practice, present frequent deviations
tically limitless. But in all the musical from the above formulas. A theme re-
forms in which metrical symmetry is peated or imitated while still progress-
observed, the simple period is, in one ing, produces the form of the Canon ,

shape or another, the form-element or Catch^ or Round ; one or more themes

so to speak, on which their repeated in conjunction or alternation
germ-cell^ *
construction is founded. with an accompanying or contrasting
I* (2.) A theme or melody-dimply counterpoint, according to a more or
repeated, (formula A + A, or |:
A :|), less regular formula, the Fugue. The
presents no distinctive departure from following is a fairly exhaustive formula
the simplest form ; for the construction of a simple 2 part
repeated in alterna-
tion 'with another
|:A+B:| it ex- fugue:
I. Exposition: Theme on ist dileg. (tonic) Answer on 5th (dominant)
zst Episode : 6th
" " " d
(in augment.) 3 (in diminut.)
II. First Development: ist
ad .Episode : ad
" "
A -

(inverted) th (inverted)
u " 7
. .
III. Second
:ond Development " "
Development:: ist
sth
Scretco
Stretto;; Theme brought out on the 4th
"
(with modulation to the subdominant)
-Coda.
II, (i.) The element of harmonic con- + S + F) or, in 5 movements, (F -f S
;
trast is derived in from part
contrasting '+ F + S + F) etc. a slow closing
; ;

themes, in part from the deliberate movement rarely occurs.

choice of keys
directly or remotely re- II. (3.) The
foregoing formal schemes
lated to that of the
leading theme in ; are a product of the slow evolution of
part, also,from the harmonies accom- centuries. First, dance-
th^ primitive
panying or varying the theme or themes. song develops into lync and epic song
Dependence on the harmonic variation love-ditties, ballads, and into instru-
of repetitions of a mental dance-tunes differently
single theme, to- named
gether wjth the light and shade of vary- according to their character or origin ;
ing tempi, is an important principle of while a parallel progress is seen in the
the Theme with Variations. rise of church-music from the severe
II, (2.) In cyclic
compositions (the Gregorian Chant to the stupendous
Cyclical Forms), contrasting tempi (S = contrapuntal works of the late middle
slow, F =fast) in the successive
ages and the chaste style of Palestrina.
movements are a prominent feature. Instrumental art-music now borrows
The old Suite originally had the for- and develops its forms from the vocal
mula (S + + +
F S F) ; later a fifth style the forms of imitative music (can-
;

movement, either slow or fast, was in- on and fugue) gradually near
perfection,
serted after (seldom
before) the 2nd slow finally attained by J. S. Bach
one. The Sonata and through ;

are
Symphony the adoption
by artists of the rhythmic
essentially alike in plan ; either +
(F melody and monodic style of the hitherto
S+ F), or more commonly (F + S +F despised natural music (folk-music),
), or (S + F + S + F) or (F +F and the recognition of its harmonic
 FORMARE IL TUONO-FREE CHANT. 77

basis, the two currents

of art-music and ed abbr. fa... Also
; Forza'to, Sfor-
folk-music are slowly merged in one zan'do (sfz).
broad stream the popular dance-tunes
; Forzar' la vo'ce (It.) To force the voice.
are transformed into art-forms, and Foundation-stops. See Stop.
combined in the Suite; the rondo- Fourchette tonique (Fr.) Tuning-fork.
form and the first-movement (sonata-) Fourniture (Fr.) A mixture-stop.
form are evolved step*by step, and their 1

combination produces the Sonata and Four-part. (Ger. vier 'stimmig ; Fr. a
quatre wix ; It. a quat'tro vo'd.) Set
Symphony; which latter, discarding the
for, or performed by, 4 parts in har-
scheme of 4 formal movements, and
flow and mony.
aspiring to the uninterrupted
Fourth. (Ger. Quar'te; Hr.quarte; It.
sweep of an epico-lyrical drama without
words, becomes the Symphonic Poem. quanta) i The fourth degree in the dia- .

also Passion, Oratorio, Op* tonic scale the subdominant. 2. An

[Compare ;

era,Overture^ interval embracing 4 degrees (see In-

Forma're il tuono. See Messa di voce. terval). The typical or standard fourth
is the per-feet (or major) fourth, equal
Fort (Ger.) Off; as Plots fort (organ-
to the interval between the key-note and
music).
the 4th tone of . its vibrational
Fort (Fr.) I. Skilful, emi-
Forte. 2.
the diatonic re? g ratio being
nent. .
Temps fort, strong beat., .Four- scale, as -f :
t==== :f 1:3:4.. .

niturt. 3 tuyaux forte, a mixture-stop of Diminished (imperfect, defective, mi-

3 ranks. nor, or fake) fourth, an interval nar-
Fortbien. A keyboard stringed instr. rower by a chromatic semitone -than a
inv. by Friederici in 1758, having a fourth.
.Augmented (pluper- ,
perfect
softer tone and lighter touch than the ,
feet, superfluous, one
or extreme)fourth,
fortepiano then in vogue. wider by a chromatic semitone than a
For'te I (adjective). Loud, strong fourth.
(It.) perfect
(abbr. /) ; pik forte (pf), louder po- ;
Franchise (Fr.) A dance in triple time,
co forte (also pf), rather loud ; forte resembling the country-dance.
piano (fp), accent strongly, diminish- Francamen'te (It.) Freely, with free-
ing instantly to piano ; fortemtn'te,
f dom (of delivery), boldly ; frankly, in-
loudly, forcibly \ forte possi bile, as loud
A genuously.
as possible. 2 (noun), (a) passage Franchez'za (It.), Franchise (Fr.)
to be executed loudly or forcibly ; (b)
Freedom, confidence, boldness. Con . .

in the harmonium, a slide within the

chest containing one or more sets of fr., see Francamente.
"
Franz'ton (Ger.) French pitch "; it is
reeds, opened by a stop or knee-lever to
lower than the mAwsxy^Kammerton.
produce a forte effect sometimes di- ;
t(
vided, one section affecting the treble Frapp6 (Fr., beaten",) The down-
1
side and the other the bass side. beat opp. to Leve ;
.

Fortepia'no (It.) Same

as Pianoforte. Fra'se (It.) ; frase larga Phrase
Fortissimo (It., superl. of forte.) Very largamente...Fraseggia're, to phrase.
loud, or extremely loud or forcible Fred'do ra (It.) ColA...Frea'damen'te,
(abbr.//; or ff/for the extreme) ; also coldly.
forte possi'bile (ffff). Fredon (Fr.) An obsolete term for a
Fort'riicken (Ger., noun.) The ad- roulade, trill, or tremolo also, a sign ;

vance of the hand on a keyboard or fin- calling for a florid extension of

a single
gerboard, as caused by the repetition of written note. .Fredonnement, trilling, .

a figure with the same fingering but at warbling humming. .Fredonner, to ;

.

a different pitch. trill, warble to hum, sing to oneself. ;

Fort'schreiten (Ger.) To progress... Free chant. A form of recitative music

Forfschreitung, progression Forf- for the Psalms and Canticles, in which
;

sehreitung einer Dissonanz', resolution. a phrase, consisting of 2 chords only, is

For'za (It.) Force, vigor ; con /,, for-
applied to each hemistich of the
words.
cibly, etc. [STAINEKAND BARRETT.]. .Free fugue,
Forzan'do (It, "forcing, straining".) see Fugue. .Free part, an independent
.

With force, energy indicates that a part added to a canon

or fugue to com-
;

note or chord is to be strongly accent- plete or enrich the .harmony, . .Free

 FREGIATURA-FUGARA.
1

at the unison.../
impro'pria (Lat.),
reed, see Reed., .Free style (of compo-
,

which the rules of strict see F, irregula'ris* .F. inaqua'lis .

sition), that in
counterpoint are relaxed. (Lat.), see F. contraria. .F. incompo'- .

slta (Lat.), a fugue whose subject pro-

Fregiatu'ra (It.) A grace, an ornament.
gresses by disjunct degrees. ../I in
Frei (Ger.) Free... /><'*, a license
conseguen za (It.), a canon. F. in con- . .

or liberty. tra'rio temfpore(L&\.!), se&F.jfer ar*sin

French Horn, Sixth, Violin-clef. See et the'sin, . .Fuga in no' mine a "fugue ,

the nouns. in name," i. e. a nominal or free fugue.

Fret. (Ger. [equiv.] Bund; Jr.touche; . .F. inveSsa (Lat.), a fugue worked
It. ta'sto.) One of
the narrow ridges of throughout in double reversible coun-
wood, metal, or ivory crossing the fin- terpoint, so that the inversions of the

gerboard of the mandolin, guitar, zither,
etc.,' against which the strings are
pressed by the fingers to shorten their
parts may appear in contrary motion.
. ./.
irregula'ris (Lat,), a fugue irregu-
lar in form. .F. li'bera (Lat and It),
.

a fugue with free episodes. . .F. liga'ta

vibrating length and thus raise the tone.
A (Lat. and It.), a fugue without free
Fretel, Fretele (Fr.) sylvan pipe ;

the Pan's-pipe with 7 reeds. Some- episodes, strictly developed from its

times called sifflet des chaudronniers. subject andcountersubject. .F. mix'ta .

(Lat.), a fugue varied in development

(Also fretetel, freteau, fretiau, fresteL) different contrapuntal de-
by employing
Fret'ta, con (It) With haste, celerity ; vices (augmentation, diminution, inver-
hurriedly. sion, etc.). .F. obbliga'ta (It), see F.
.

Fricassee (Fr.) i. A
sort of popular Hgata...F. partia'lis (Lat), a fugue
dance interspersed with pantomime, in proper, in contradistinction to a canon,
f
vogue in the i8th century in the tkM- .
.F.per augmentatio'nem \diminutio -
tres des boulevards at Paris. 2. A kind nem\ (Lat.), a fugue in which the answer
of part-song of the i6th century, each is in augmentation
[diminution] either
part having different words. throughout, or as a rule. . F. per the'sin, .

Fries (Ger.) Purfling. etar'sin (Lat.), a fugue whose subject

Fnscfa (Gen) Brisk, begins on the strong beat, and the

lively, vigorous answer on the weak beat, thus shifting
the accents throughout.../'.^?' zW-
Froh'lich (Ger.) Glad, joyous, gay tatio'nem interrup'tam (Lat.), a fugue
(also adverb). in which the answer is
interrupted by
Front'pfeife (Ger.) See Prospekt. breaks or rests. . '/. per mo'tum con~
Nut a bow). 'tra'rium (Lat), see F, contraria*..F.
Frosch(Ger.) (of
Frot'tola (It, " comic ditty ".) A pop- ^perio'dica (Lat.), see F.partialis. . .F.
ular ballad or song intermediate between perpt'tua (Lat.), a canon. .F.plaga'Iis .

the vUlanella and the madrigal; in (Lat.), a fugue with subject descending
below the key-note.. .F.pro'pria (Lat.),
great vogue during the i6th century.
see F. regularis. ../. rea'le (It.), a real
F'-Schlussel (Ger.) F-clef.
fugue. .!/. re<fta (Lat), see F. csquafis
Fu'ga and It)
(Lat. A fugue.. ./". ad motu$..,F. redi'ta or redditaQt.), a
eetafvam [guin^am] fugue at the middle or end of which
(Lat.), fugue at
the octave [fifth].. ./. aqua'lis mo'tiis
allor some of the parts progress in .

(Lat.),fugue in similar motion, the canon.../, regula'ris (Lat), a fugue

f
answer ascending and descending like in regular form.. ./.
retrogra da (Lat.),
the subject. . ./. alcontrafrio ever' a fugue having the answer in
[r so, retrograde
rovefsdo\ (It), see /. contraria, F. . .
progression or/, retrogra'dapermo'-
;

authen'tica (Lat), turn 'cmtra'rium, when the answer is in

fugue with a subject
ascending above the key-note.. ./. ca- retrograde progression and contrary
ntfnica. \iotaflis]
(Lat), a canon.../. motion . /. ricerca'ta (It.), a fugue in
. .

composite (Lat.), a fugue whose subject whose working-out the rarer and more
progresses by conjunct degrees.../. elaborate contrapuntal devices are
contra'ria (Lat.), a
" "
fugue having, the sought out for display; a long and
answer in
contrary motion to the sub- elaborate master-fugue . F. sdalfta . .

ject.../, del Wiw(It.) f tonal fugue. (It), or solu'ta (Lat.), see F. li'bera. . .

..F. dop'pia (It.V double /! totaflis a canon.

fugue..,/. (Lat.),
x
bmopho'w (Lat.), fugue with answer Fuga ra. (Ger. JFqafra, An
Voga'ra^
 FUGATO-FULL ANTHEM.

organ -stop having metal flue-pipes gen- ing counterpoint, the countersubject, in
erally of
small scale and 8 or 4-foot the first
part ; if there are 3 parts, the
u
of a sharp,
pitch; tone stringy" 3rd resumes the subject at the octave of
quality,
its
original pitch, followed (if there are
4 parts) by the answer in the 4th, This
Fuga'to(It., "in fugue style
1

'.) A pas- first enunciation of the

movement subject by all
sage or consisting of fugal the parts in turn, with
imitations, but not worked out as a contrapuntal
accomp. in the rest, is called the Expo-
regular fugue. sition ; this is
commonly succeeded by
Fu'ge (Ger.) Fugue. an Episode, which is generally construct-
To ed (for the preservation of unity of
Fuggi're la cadenza (It.) avoid
the cadence (by interrupting it).
effect) of motives from the subject and
countersubject, with modulation into re-
Fughet'ta (It., dimin, of Fuga.) A short lated keys ; then comes the First De-
fugue, usually only,* fugue-exposition, velopment, or Repercussion, in which
Fugue. (Ger. Fu'ge; Fn fugue; & subject and answer are taken up by the
fu'ga.} The most highly developed several parts in a different order, fol-
1

form of contrapuntal imitation, based lowed by a second and variously modi-

on the principle of the equality of- the
parts, a theme proposed by
one part
being taken up successively by all par-
ticipating parts, thus bringing each in
turn into special prominence. The
word fugue is presumably derived from
the Latin fuga> a flight, which aptly
characterizes the chasing and changing
of the subject through the several parts.
The elements essential to every fugue
are 00 Subject, (2) Answer, (3) Counter-
subject (4) Stretto; to these are common-
,
ly added (5) Episod^ (6) Organ-pint,
itous appendage to the actual subject,
fied episode. Further developments
and episodes follow at the composer's
pleasure, varied by the contrapuntal de-
vices enumerated above, and generally
in freer form, the subject and answer
appearing in new keys and at a differ-
ent interval. The fugue may be con-
cluded by a Stretto or Final Develop-
ment, in which the subject and answer
overlap each other in consequence of
following in closer succession ; the
stretto is frequently above an organ-
point; or the organ-point is used to
support the freer contrapuntal combina-
tions of the coda, a general finale or

bridging over the interval sometimes winding-up or stretto and coda are
;
~

left between the true end of the latter identical; etc., etc. The modern fugue
and the entrance of the Answer. Ths has 2 principal varieties (i) The Real :

subject is usually short and suggestive ; Fugue, in which the original form of
after its proposition by the part taking the subject is in the answer
preserved
the lead, it is taken up by the part next (i. e. the latter is an exact transposition

following as the answer, and at a differ- of the former) and (2) the Tonal
;

ent interval (usually a fifth higher or a Fugue, in which the subject is modified
fourth lower than the original one), in the answer in order to return to the

being then accompanied by a contrast- original key ; e.

g.

Answar (Tonal).
Subject. Not;

Further varieties are the Double Fugue Fuga). Fugues may be written for
t

(with 2 subjects,' the exposition of the voices or instr.s, or for solo instr.s
1st being followed by that of the* 2nd, (pfte., organ). (Compare Form I, 2.)
and finally by the combination of both) ;
Fugued, Fuguing. See Fuga'to. Writ-
the Triple Fugue (with 3 subjects) ;
ten in either strict or free fugal style.
etc.; a fugue with 2 or more subjects is "
sometimes called a Manifold Fugue. Fiih'rer (Ger.) Leader, dux", subject
A fugue in which the countersubject is (of a fugue.), .Fiih'rung, leading.
retained and developed together with Full anthem. See Anthem. Fullband, . ,

the subject throughout, is also called a a military band, or an orchestra, having

double fugue. The most elaborate all the customary instr.s. .Full cadence^ ,

fugal form is the Fuga ricercata (comp. close, -see the nouns,. .Full Choir (di-
 So FtfLLPFEIFE-GALANT,

rection in organ-playing), draw all stop Furla'na (It.) See Forlana.

of the choir-organ . . . Full chord, on A mixture-stop.
Furniture-stop.
represented by all its tones ; also (in Furo're A rage, mania, passionate
(It.)
concerted music), one in 'which all th
fondness (for anything).. .Also, fury,
parts unite. . . Full Great(in organ-play
passion,vehemence ; con /., passion-
ing), draw all stops of great organ..
Full orchestra, see Full band..,Ful ately.

organ, with all stops and couplers Fu'sa(Lat.), Fuse(Fr.y

An eighth note,
drawn... Full score, see Score... Ful or quaver.

stop (in lute-playing), a full chord fol- Fuse (Fr.) An ornament consisting of
lowed by a pause also, a chord in
; a rapid ascending or descending dia-
which all available fingers are occupiec tonic series of notes ; a slide.
in stopping the strings... Full Swell
Fusel (Ger.) Same &s-Fusa.
(organ), draw all stops of swell-organ,
. .Full to fifteenth (in
Fusel'la (Lat.) 32nd-note.^. .Fuse^lala,
organ-playing),
draw 64th-note.
all
stops but mixtures and reeds.
Fuss (Ger.) Foot \-fusstg, the adjective-
Fiill'pfeife (Ger.) A dummy pipe...
ending corresponding to -foot, as<P/#,r-
F&Hfquinte, a very sharp-toned organ-
.

sig (achffussig), 8-foot. .Fuss'klavier,

.

stop of 5}-foot pitch, to be drawn only

with a strong combination of founda- pedals (of an organ). . . Fuss' ton, equiv-
alent to "-foot pitch", e. g. an organ-
tion-stops. .. Futfstelk, a passage put
" pipe of 4-foot pitch is said to be of 4-
in to fill
out"; padding. ..FM'stimme,
Fusston.
(a) a part reinforcing a principal part at
the octave or unison ; (b) a mutation- Fut'terung (Ger.) Linings (of a violin),
stop a third or a fifth above the normal
pitch (c) //., in polyphonic composi-
; G.
tion, accessory parts not treated melodi-
G. The fifth tone and degree in the
cally like the principal
parts, but brought
in occasionally to typical diatonic scale of C-major. . G. .

complete the harmony =

mark the rhythm.
or
abbr. i<xgauche(m.g. main gauche) ;
G. 0. (or simply G),
grand-orgue.
Fundamental, i. The root of a chord.
Galjelklavier (Ger.) A keyboard instr.
2. A generator (in this sense also inv. in 1882 by Fischer and Fritzsch of
fundamental bass, note and tone)...
Fund, chord, Leipzig, in which steel tuning-forks are
triad, see Chord, Triad.
..Fund, position, any arrangement of
substituted for strings. The some-
what dull timbre, due to the lack of
the toaes of a chord in which the root
remains the lowest harmonics, has been brightened by
adding, for each key, a second fork
Fundamental1)ass (Ger,) Fundamen- tuned an octave higher than the first.. .
*'
tal bass.. .Fundamental'ton, root 1
; key- Ga'belton, fork-tone," i.e. the tone a
note, tonic (Grund'ton, To'nika). pitched for tuning. . Ga'belgriffe (pi.),
.

Fnnfebre (Fr.), Fu'nebre, Funera'le cross-fingerings. -See Stimmgabel.

(It.) Funereal, mournful. GagliarMa (It.), .Gagliar/de (Ger.) A
Fiinf'fech (Ger.) See -faeh...F*nf- galliard.
stimmig, 5-part ; for 5 parts or voices. Gai (Fr.) Gay, lively, brisk, * .
Gaiement,
..Funf'stufigc Ton'leiter, pentatonic wgaiment, gaily, briskly.
scale.
Gaillarde (Fr.) Agalliard.
Fuo'co [foo-6'-co] (It.) Fire, spirit; con
Gajamen'te (It) Gaily, lively.. .
Ga'Jo,-a,
f., orfuoto'so, with fire, fiery, spirited.
Fu'ria (It.) Fury, passion; con /.,
' Ga'la (It.) In the phrase di gala,
wildly, passionately.
gaily t
merrily.
Furiant, Furie. A rapid Bohemian Galamment
dance with (Fr.), Galantemen'te (It.)
alternating rhythms and
Gallantly, gracefully, prettily.
changing accentuation.
Galant' (Ger.) Free; e. g. galan'te
Furibon'do (It.) Furious, frenzied.
Fu'ge, free fugue; galan'ter Stilt ga-
Furio'sOj-a (It.) Furious, passionate lan'te Schreib'art, free
;
style, the homo-
furiosamen'te, passionately ; furiosis'- phonous style of composition for the
o, with extreme passion. clavichord or harpsichord, in
vogue in
 GALANT-GEFAHRTE. 81

f
the 1 8th century ;
ppp.
to gebun'dcner dence. . . Ganz ton, or gan'zer Ton,
Stil, strict which a certain
style, in
whole tone. 2. Very.
number of contrapuntal parts was ad- Gar'bo (It.) Grace, elegance.
hered to throughout.
Gas'senhauer (Ger.) In the i6th cen-
Galant,-e (Fr.), Galan'te (It.) Gallant, a designation for popular songs or
tury,
graceful, pretty. foik-songs
(Gasfsenhawerliri) ; the word
Gal'liard. (Ger. Gagliar^de; Fr. gait- now signifies a trite and threadbare
larde; It. gagliar'da.) An old French tune, and at the same time something
dance for 2 dancers (also called Roma- vulgar and unworthy of art. [RIEMANN. J
ne*$ca\ of a gay and spirited character, Gathering-note. In chanting, an irreg-
though not rapid, and in 3-4 time like ;
ular fermata on the last syllable of the
the Pavan, it had 3 reprises of 4, 8, or to enable the
recitation, body of the
12 measures. It was the precursor of
singers to catch up and begin the ca-
the Minuet. dence together.
Gal'op. (Fr. galop, gabpade ; Gr. Gauche (Fr.) Left; maing. (abbr. m.
Galopp') A
very lively and spirited g), left hand.
round dance in 2-4 time ; supposed to
have been derived from the old German Gaudio'so (It.) Joyous, jubilant."
Hop'ser or Rutschfer (names descrip- Gau'menton (Ger.) A guttural tone.
tive of the step). Introduced into Gavot'. (fv. gavotte; iLgavofta) An
France early in the igth century. old French dance-form in strongly
Galoub6, Galoubet (Fr.) A land of marked duple time ((J} alia breve), be-
small fife, the shrillest of all wind-in-
ginning with an auftakt, of a lively
str.s, with 3 holes and a compass of 17
though dignified character, and resem-
notes ; found only in Provence.
bling the Minuet. (See Suite.) The
GanVba. i. See Viola da gamba. 2. Gavot has latterly been revived as an
An organ-stop similar in tone to the instrumental piece.
viola da gamba. Gaz'el. A
piece with a short and oft-rt-
Gam'be (Ger.) Viola da
gamba. Gam'* curring theme or refrain. . .

benstimme, a gamba-stop. Gam'ben- G-clef. (Ger. G'-Schliissel; Fr. clef de

. .

werk, piano-violin. sol; It. chiave di soprano.) The sign

Gamiest. A player on the viola da determining the position of the
gamba. note /on
the staff. (See Clef)

Gam'ma. The Greek

val music from the loth century on-
G (r). In medie- f a'se (Ger.) Bellows (of an organ ;

usually Balg)*
ward, the lowest tone of the mus. sys-
Gebroch'en (Ger.) Broken.
tem then obtaining was called F ; the
letter was together with the F-
,
Gebun'den (Ger.) i. Tied. 2. Legato,
^ n1<f H"<an/A its
ite IICA
<

as gebun'dene Dissonant\ pre-

also used clef. Hence, use tied;
[^ r
as a clef to name the entire pared dissonance; gebun'denes Spiel,
scale (see Gamme and Gamut). . . Gam- legato playing ; gebun'dener Stil, strict
ma ut, - style. 3, Having 2 or more digitals to
n the old system of
n am e j.^.
i
one string (said of clavichords) opp.
1^, J
" solmisation.
;

01<r
u- .*
to un'gebunden or bund'frei (i. e.
"fretted" or "fret-free" [GROVE]).
Gamme (Fr.) A
scale (see Gamma) .. .
G. diatonique (ckromatique\ diatonic (Comp, Bundfrei.)
(chromatic) scale.
Gedackt/ (Ger.) Stopped (of organ-

Gam'ut See Gam- pipes) ; opp. to offen. (Also gedact,

(from gamma ut). I.
ma. 2. A scale. 3. The staff. 4. In gedakt)
old English church-music, the key of G. GedampfV (Ger.) .
Damped; muffled;
muted.
Gang (Ger.) Passage. (Plural G&nge.)
Gedeckt
7
See Gc-
(Ger., "covered".)
Ganz (Ger.) Whole. .. Gan'zc Note
I.
dackt.
(gan'ze Takfnote), whole note
(^)... See Dehnen.
Gan*'instrument, a metal wind-instr., Gedehnt' 7
(Ger.)

the lowest natural tone of whose tube Gedicht (Ger.) Poem.

can be made to speak opp. to Halb' in- Gefahr'te (Ger.) Answer (in fugal com-
;

strument. Ganz'sMuss
, . whole ca- position).
 GEFALLEN-GESCHLEIFT.

Gefallen (Ger.) Pleasure ;

nach G., a Ge'nera. Plural of Genus.
'

piacere. GeneraHtess (Ger.) Thorough-bass;

Gefel'lig (Ger.) Pleasing, attractive, GeneraVbassschrift, thorough-bass no-
tation. . General'
graceful. pause, a pause for all
.

instr.sor parts in the midst of a com-

Gefiihl' (Ger.) Feeling, emotion... Mit
G. t with feeling, expression (also ge- position, particularly when so intro-
duced as to produce a effect.
f&hlvoll\ 'striking
A hold ^
over the rest for such a
Ge'gen Against, contrary to...
(Ger.)
pause renders its duration indetermin-
Gfgenbewegung, contrary motion. . .
ate i. e. robs it of
Ge'genfuge, a fugue in which the an-
;
rhythmic value, as
if the beats or counts were
swer is an inversion of the subject. . . suspended
f for the time
Ge genharmonie J counter-subject a being. . General'probe, full
.

(in
rehearsal.
iugit)...Ge'gensatz, (a) contrast; (b)
contrasting movement or effect. . . Ge'- Generator. (Fr. [son] gMrateur.} j.
genstimme^ contrapuntal part ; counter- A fundamental torie. 2. A
root, or
subject. tone which produces a series of har-

Gegit'tertes B (Ger.) cancellatum. B monics.

Gehal'ten (Ger.) Held, sustained. Ge'nere (It.) A mode or key ;

a genus.
Geh'end (Ger.) Andante. Genero'sora (It.) Generous, free, ample.
Gei'ge (Ger.)
Geniar (Ger.) Relating to or
^K>\m...Gei'genclamcym exhibiting
beliGei'genklawer y bow-piano. .. Get genius; talented, gifted, ingenious,
genharz, rosin . Gei' clever spirited.
.
geninstrumen
. ;

.
bpw-instr.
.
Gei'genprindpal, violi G6nie (Fr.), Genie' (Ger.) Genius.
diapason (organ-stop). . Gei'genwer .

Genouilliere (Fr.) Knee-lever

piano-violin.. .Geigenzettel, the maker formerly ;
14
label "or used in German grand pftes. as a sub-
on a violin
"inscription"
stitute for the earlier
Geist (Ger.) draw-stops, before
Spirit, soul ; mind, inte the general introduction of
lect essence.
pedals.
genius ;
;

Genre (Fr.) Genus, as g. diatonique,

Gei'sterharfe (Ger.) ^Eolian harp.
chromatique, enharmonique.k 1 s o ,
Geistlich Sacred
(Ger.) ; opp. to welt style.
Uck, secular.
Gentil rle (Fr.) Genttte (It.) Grace-
Gelas'sen (Ger.) Calm, composed ful, delicate, yc&ty.Gentilment (gen-
placid ; easy. (Also adverb^ tilmen'te), gracefully, etc. . .
Gentilez'w,
Gelau'fig (Ger.) con (It.), with
Fluent, voluble ; easy dignity, refinement, grace.
familiar..
.Gelau'figkeit, fluency, celer Ge xnus (Lat) I. In ancient music, a
ity, velocity; ease, familiarity. system of arranging the notes of a tetra-
Gemach'Hdi(Ger,) chord for diatonic, enharm.
Comfortable, easy ;
chrom.,
commodious, convenient ; slow, gentle genus, see Greek Music, 2,~2. A
mode or octave-scale.
modetto. Gera'de
Bewe'gung (Ger.) Similar
Gema'ssigt Moderate. or parallel motion. .. Gera'de
(Ger.) (See Takfart
M&ssig. (gerader Takt\ duple or quadruple time.
Gemisch'te Stim'men
(Ger.) i. Mixed German flute, the cross-flute. . . German
voices. 2. In the organ, the mixtures sixth, see Extreme.
or
mixture-stops, Ges(Ger.) -

Gems'hom " /
(Ger., chamois-horn/') In Gesang Singing, song ; a song,
(Ger.)
the organ, a metal vocd composition
flue-stop having ta- melody, air...<?-
;

pering pipes of 8, 4, or 2-foot pitch on sang'buch, a song-book, hymn-book. . .

the manuals and of i6-foot
pitch on the Gesangs kunst, the art of singing, vocal
pedaF, with mellow, horn-like timbre art. ..
Gesang'(s)massig, melodious ;
..Gems hornquinU, a
5}ffoot stop of adapted for singing, for the voice. . .
the above
type. Gesang'vtrein> singing society, choral
Gemiit'(h) (Ger.) Soul, heart, society.
spirit;
mind; disposition, temperament, na- eschlecht' (Ger.) Genus ; mode.
eschleift'(Ger.) Slurred; legato.
 GESCHMACK-GOATHORN.

Geschmack' (Gen) Taste., . Geschmack'- Giuocan'te (It.) Playful, bantering.

voll, tasteful(ly). .
.
GiuoMvolt) playfully, etc.
Geschwaazt' (Ger,, "tailed".) Having Giu'sto,-a (It.) Appropriate, strict,
a hook or hooks ( h t). moderate (as tempo giusto), exact, pre-
cise, correct. ..Allegro giusto (all*
Geschwind' (Ger.) Swift, rapid, quick.
(Also adverb.) modify^ moderately fast . .
Giustamen'te,
correctly, exactly. . , Givstexfsta 9 c0tt,mth
Ges'es (Ger.) See Ges.
precision.
Gesicht' (Ger.) Front (of organ). . . Ge-
Glas'Tiarmonika (Ger.) Harmonica i.
sichts'pftifen, front pipes.
Glee. A secular composition for 3 or
Gespon'nen (Ger. "spun".) Gesponnene more
"covered "string. Gesponnener unaccompanied solo voices, of
Saite, , .
and less contrapuntal inge-
later origin
Ton, "son file" (see Filar), an even,
nuity than the Madrigal, and peculiar
sustained tone (voice or violin).
to England. It is of modern character,
Gestei'gert (Ger.) Intensified; rinforzato. both with regard to tonality and to its
Gestrich'en (Ger.) i.
Having hooks. employment of harmonic masses and
2. In compound words, equivalent to the perfect cadence. The name glee is

-lined) -accented, as eiri'gestrichene Ok- not properly descriptive of nature, its

ta've, one-lined (once-accented) octave. as serious glees are written as we A as

3. Crossed ,
or jf #- 4. Cut merry ones.
p-0
with a stroke or[_ (m ~(as a scene in f
Equal. .. GM'cfor Kon
Gleich -
(Ger.)
line across, as \j an opera).
trafunkt, equal counterpoint. . - Gld'cht
Get(h)eilt' (Ger.) Divided, separated.. .
Stimmen, equal voices. . . Gidch'sckwe-
Geteil'te Violi'nen^ violini divisi. Ge- . . bende Temperatur', equal temperament.
tetfteStim'men, partial stops (organ). Gli (It.) The (masc. pi.).
Getra'gen(Ger.) Sostenuto. See Tragen. Glicibarifo'na (It.) A wind-instr. inv.
"
Geworfener Strich (Ger.) Thrown in Italy about 1827 by Catterini a ;
"
stroke ; in violin-technics, a form of small 4-octav expressive organ.
the saltato* Glide. The smooth connection of 2 tones
Ghaz'al, Ghaz'el (Arabic.) See Gaul by slurring.
Ghiribiz'zo (It.) Whim, 'fancy, caprice. Glissan'do (also glissa'to, glissican'do^
* forms imitated
. .
Ghiribizzo'so, whimsical, etc. glissica'to ; spurious It.

See Gfgw. from the Fr. glister.) I. bowed On

Gi'ga (It.)
instr.s, (a) calls for a flowing, unac-
Gigeli'ra (It.) Xylophone.
cented, execution of a passage (b) ;

Gigue (Fr.j Early name for the old

r. same as Portamento. 2. On the pfte.,
form of viol,
which nearlyresembled that a rapid scale-effect obtained by sliding
of a ham (gigue) hence German Geige.
; the thtmb, or thumb and one finger,
2. Ordinary title in the Suite for the Jig, over the white keys, producing either
Gioche'vole (It.) Playfully, merrily. the simple scale, or thirds, sixths, etc,

Giocon'do,-a (It,) Jocund, gay, playful. (easier and more effective on the Jank6
. . Giocondamen'te^ joyously, merrily. keyboard).

Gioco'so,-a (It.) Playful, sportive, ban- liss^'(Fr.)

r. Glissando 2. 2. A di-
rection* indicating that a passage is to
tering; humorous. Giocosawn'te, play- , :

be executed smoothly and flowingly.

fully, etc.
7

Gio'ja (It.) Joy, delight, pleasure...

Glock e(Ger.; dimin. Gloctfchen) Bell.
:.Glockenislf, same as Carillonneur. . k
Giojan'te> joyfully, mirthfully...6*0-
Gfatfenspiel, a carillon an
jo'so^a, joyful, mirthful. . .-Giojosamen'- (a) ; (b)

te, joyfully, etc.

iastr.
consisting of bells or (more re-
Giavia'le cently) of steel bars, tuned diatonically
(It.) Jovial, cheerful. and struck with a small hammer ;
oc-
Giraffe. An old-style upright grand pfte.
casionally used in the orchestra (c) an ;

Gi'ro (It.) A turn. organ-stop which causes a set of small

bells to be sounded
Gis (Ger,) Gft . . (S/fr, Gx . by the manual.
GmbtH'o also Glt/ria. See Doxology, Mass.
'(It., gMUlo. giubilaaw'-
reJQicing, jubilation.
'Gnac'care (It.) Same as Castagnette.
, jubilant. Goathorn. See Gemshom.
84 GONDELLIED GRACE.

Gon'dellied (Ger.) Gondoliera. re? to.) A vocal or instrumental orna-

ment or embellishment not essential to
Gondol^ra (It) See Barcarole. the melody or harmony of a composi-
Gong. (Tam-tam in Fr. and Ger. use.) tion. (The long appoggiatura'is an ex-
An instr. of percussion in the form of
ception it was formerly written as a
;

a large round concave plate or

slightly small note grace-note because care-
basin of metal (alloy of 4 parts copper to ful composers could thus nominally
I part tin), with a raised rim. It is struck evade the rule prohibiting the entrance
with a stick having a padded leather of unprepared dissonances. )... Grace-
head, and is used in the orchestra to in- note, a note of embellishment, usually
tensify melodramatic effects. distinguished by its smaller comparative
Goose. (Fr. couac^ A
harsh break in size.

the tone of the clarinet, oboe, or bas- The graces for^ harpsichord, clavichord^
pianoforte and voice, enumerated t below in
soon, caused by a defective reed or im- alphabetical order, are given according to the
proper manipulation. owmgai
following J. H. d'Anglebert, 1689
authorities : v .

(d'A.) ; J. S. Bach, 1720 (B.) ; C. Pli. E. Bach,

Gorgheggia're (It) To execute florid 1787 (Em. B.) ;
Dr. John Blow, 1700 (Bl.) Dr.'
Dr. j

vocal music; also see Fredonner... Ihomas Busby, 1786 (Bu.); Francois Co up erin,
17*3 (C.)l ] W. Callcott, i8i7(Ca.)j Etienne
GorghtggiamenftO) art of singing florid Loulitf, 1696 (L.) ; N.
de S. Lambert, 1607 (La.);
passages, ttz.*.Gorgheg'gio t a florid F. W. Marpurg, 1762 (M,) ; PJ.
Mikhmeyer,
passage. 1797 (Mi.); J. S. Petri, 1782 (P.); Fr.Pomni,

See Epistle
1711 (Po, st>. Rameau, i Christ-
Gospel side. side. opher Simpson, 1659(8.); G. olf, 1783-89
(W.) ; and J. G. Walther, 1732 (Wa.).
Gout (Fr.) Taste. In every case, the special article in the
body
of the book should also be consulted, the pri-
Grace. (Ger. Verzie'rung; Fr. orne- mary intention of this article being to give a
t) agrtment; It. adbellimen'to, fa- list of signs for ready reference.

Acciaccatura. Anschlag. Appoggiatura.

(Bl.) (C.) (C.)

.

Double Backfall. Shaked B

+ (Bu.)

Beat.
 GRACE.

(5.)

MI ir I
Shaked Beat. Bebung. Beisser. Brechung.

(d'A.) ^ (B.)

Cadence.

(N (B.)

Doppelt-Cadence. Doppelt-Cadence
and Mordant.
(B.)

Cadent. Shaked Cadent.

(d'A.)
(d'A.) (d'A.) (d'A.)

Chute. Chute et Pince. Chute.

(d'A.) (d'A.)
_^ (d'A.)

Doppel- Geschnellter Doppelschlag. Prs

schlag. Doppelschlag.
;

^ (d A.) ^ (d'A.)

Double*.
Umgekehrter Doppelvorschlag.
Doppelschlag.

Shaked
D. sur une tierce. Elevation.
 GRACE.

(Po.)

Hement M. double, M, triple. Mordant

simple.
(M.) (M.) (M.)
AV A^r __
A

Springender Nachschlag, Nachschlag Nachschlag.

(modern).

Pince* double.

(W*

Pince continu.

(R.) (R.)

Pince et Port de voix.

(La) (La)

H
double. 6touff^

)or
Plain-beat

or (Q A
Port de voix.

(C.)

Port de v. simple. Port de voix double.

PraUtiiUer. Single Relish-

 GRAC1EUX-GRAZIA.

f Double Relish.
fcp=
'I II jvyII
Schleifer.
^ill
[Code.] [Slide.]

(S.) ^ ^ (Bu.)

Springer. Passing

(M.)

Suspen- Trem- Tremblem. appuye. Tremblement.

coupe. sion. blement.

fiv~(C.) (P.)

Tremblem. continu. Turn. Doppeltriller mit Nachschlag.

(1 g (BL) tf (BL)_
=?

Mit Vor- und Nachschlag. Trill without Trill with

after-beat. appogg*.

Gracieux, Gracieuse (Fr.) Graceful. (a) full organ ; (b] an harmonium-stop

Gra'cile Graceful and delicate; which brings into action the full power
(It.)
of the instr.../i grand orchesty for
thin, slender (w'eegracile),
full orchestra. .. Grand-argue^ (a) fuH
Grad (Ger.) Degree.
organ ; (b) great organ; (c) pipe-organ,
Gradation. An 1

ascending or descend- Grandeur

(Fr.) Width (of intervals).
ing series of diatonic chords. "
Grandez^a (It.) Grandeur, majesty,
Grade'vole (It.) Pleasing, agreeable. . .

dignity.
Gradevolmen'te, pleasingly.
Grandio'so (It) Grand, pompous, ma*
Gra'do (It.) Degree, step Gr. ascen* . . .
jestic.
den'te, ascending step... Gr. descended te,
Grandisonan'te (It.) Loud or long.
descending step. .Digrado, by a step,
.

sounding, re-echoing ; sonorous.

stepwise ; opp. to di wlto^ by a skip. li

An Granulate (It, granulated.") Non

Gradual. (Lat. gradua'le.) I. anti-
legato.
phon following the epistle ; so called
because sung on the step (gradus) of the Grap'pa(It) Brace.
ambo or pulpit. 2. A c&ntatorium Grasscyemcnt (Fr.) A
guttural and
(book of chants) containing the grad- vicious pronunciation of the r and / in
uals, introits, and other antiphons of singing. . . Gra$seyer r to pronounce as
the R. C. Mass. above.
Graduellement (Fr.) Gradually.
Gratio'so (It.) Same as Grazioso.

Grammatical accent. See Accent, GraVe (Fr. and Grave or low In

It.) r.

Gran cas'sa See Cassa..*Gran pitch. Heavy, slow, ponderous in

2.
(It.) movement (see Tempo-marks). -3.
gufsto, epithet applied to an eccentric or Grave or serious in expression.
highly effective composition,
Gravement (Fr.) r Gravemen'te (It.)
Grand. Technical term for Grand Piano-
Slowly, heavily, ponderously; seriously.
forte (see Pianoforte) Grand action,
. . .

an action -such as is used in grand pftes. Gravicem'balo (It.) A harpsichord.

.. Grand barr^ see Barre. (Also Gramcembalo^

Grand Gratis (Lat.) Heavy, ponderous ; see

(Fr.) Large, great. . . Gr. barr^
see BarrJ. . . Gr. bourdon^ double-bour-
Accentus eccL
don. . . Gr. chesW) full-organ. . . Gratia (It.) Grace, elegance ;
 GRAZIOS GREEK MUSIC.

gracefully, etc. . . Graxio'so,-a, graceful, the reverse of our modern

ascending
elegant . , . Graziosamen'te* gracefully. major scale, being conceived as a de-
Grazios' (Ger.) Graceful(ly). scending minor scab. Harmony in the
See Pitch, absolute.
modern sense was unknown; the aim
Great octave. . .

of Greek theory in treating of harmonic

Great organ, see Organ*
intervals was, therefore, to establish the
Greater. Major.
melodic succession of the tones, and
Grec (Fr.) Greek. . .A chorus a la grcc
the Greeks conceived the scale as con-
is one introduced an act-close, in
at stituted of a series of
imitation of the ancient Greek tragedy.
groups with the compass of a perfect
Greek music. Without attempting to fourth).
explain the theoretical and mathemat- The primitive Greek modes were sim-
ical subtleties of the system, a brief ple octave-scales ; the three most ancient
statement of some leading features will forms were (i) the Dorian, (2) the
be given below. Phrygian, and (3) the Lydian, to each
i. The Modes, or Octave-scales. of which were later added 2 attendant
The typical Greek scale was precisely modes, making 9 in all ;

i. Dorian. 2. Phrgian.

4. Hypodorian or jEolian. 5. Hypophrygian or Ionian. 6. Hypolydian.

^
*-g
7. Hyperdorian or Mixoly dian. 8. Hyperphrygian or Locrian. 9. Hyperlydian.
*
t/

(The signs and ^ indicate the step of a whole tone and semitone respectively.)
The prefix hypo signifies " a fifth be-
low "ifyper," a fifth above". (Compare
Mode.) The character and name of
each mode depended (a) upon the form
of the tetrachord, and (b) upon the
position of the diaztuctic tone. While
each of the 3 primitive modes is com-
posed of 2 tetrachords of like name and
form, which are disjoined (separated) by^
the diazeuctic tone (marked f from dia-
xeuxis,* separation), each of its 2 attend-
ant modes is composed of 2 similar con-
joined tetrachords, united by one com-
mon tone, and preceded or followed by
the diazeuxis. The character of the te-
trachord depends on the position of the
semitone ; e. g. in' the Dorian tetra-
chord, found in the Dorian and attend-
ant modes, the semitone occurs between
the third and fourth tones. This Do-
J rianmode is an exact inversion of the
modern major mode :

2, The Perfect
System is based on \ following two octaves, in which the Do-
the Dorian tetrachord ; it rian mode occupies the central
comprises the \
portion;

a g f*~* e d c *-* B

Dorian Mode,
 GREEK: MUSIC. .

This system is formed by adding, at (which to the Greeks was the most
either extreme of the Dorian scale, a natural transition, just as that to the

conjoined tetrachord,
and completing key of the higher quint is to us), they
the 2-octave system by the addition of used the semitone above the highest
A called Proslambanomenos, tone of the middle tetrachord, and con-
(hence '*
"the acquired tone") in the lower sequently distinguished a special"
con-
octave, thus forming a complete a- joined tetrachord (tttrachordon synem-
menon) d -c -fy*~>a, in opposition to the
l l
minor descending scale. The 2 central
**
tetrachords were therefore disjoined ; disjoined tetrachord" (tetr. diezcug-
but, for modulations to the lower quint menon)
Full Names of all Degrees in the Perfect System.
Nete hyperboleon a1 (highest of the high)
1
Paranete hyperb. f (next-highest of th<
1
Trite hyperboleon I
(third of the high)
Nete diezeugmenon
(highest of the disjoined)
Paranete diezeugmenon d1 'd
1
Nete synemmenon
(next-highest of the disjoined) (highest of the conjoined)
1 1
Trite diezeugmenon c c Paranete synemmenon
(third of the disjoined) (next highest of the conjoined)
Paramese Trite 3
synemmenon
(the [tone] next the middle) (third of the conjoined) si
8
Mese Mese
(middle tone)
Lichanos meson or (forefinger-tone of the middle)
" F (next-lowest of the middle)
Parhypate
Hypate
- C (lowest of the middle)
Lichanos hypaton d (forefinger-tone of the low)
" C (next-lowest of the low)
Parhypate
Hypate B (lowest of the low)
Proslambanomenos A (acquired tone) [in no tetrachord]
The theorists attributed special impor- enharmonic genus by dividing the
tance to the middle tone Jlfese, as the trite or the parhypate -into 2 tones -

tonic of the perfect system. This sys- (as a e$f^e}\ while the chro-
,

tem also forms the foundation of me- matic genus, also omitting the dia-
dieval mus. theory even the compass
;
tonic second degree,, was expressed
either trite or parhypate
given above was not overstepped till the by sharping
introduction of the F
(gamma). Gre- (as a ^ffy^f^e); etc.]
within these limits, Transposing Scales. While
gorian music keeps 3.
and the notation in Latin letters retains the perfect system remained the standard
this same diatonic scale even to the in theory, the progress of Grecian musical
chromatic alteration of Paramese to art widened its application in practice
Trite synemmenon. This perfect sys- until all flatand sharp semitones were
ex-
tem (system* teleion) was also styled the employed, and its range likewise
tended. The chromatic alterations were
system* metabolon, the "mutable (i. e.
modulatory) system," with reference to expressed in the Greek alphabetical
the modulation to the subdominant notation by different letters and differ-
ent positions of the same letter, which
1

made possible by employing the con-

were equivalent in effect to our ft and [7.
joined tetrachord ; without this
tetra-
chord it was called the system* ameta- E. g., on substituting in the octave-scale
bolon (immutable). [This diatonic divi- d 1
d the conjoined for the disjoined
sion of the tetrachord into 2 whole tones tetrachord (i.e. fy for b), this octave-
.
and a semitone (as <g^-/^),
of which scale is no longer the Phrygian, but
the Dorian tetrachord is the normal becomes the Hypodorian, for the dis-
feature of the tinction between the modes depends on
type, was the distinctive
diatonic genus (gtnus= melodic arrange- the position of the semitonic stepv
ment of the tones within the tetrachord) ; moreover, as the Hypodorian octave-
the earlier enharmonic genus was scale is to be considered as that extend,
ing from the Dorian mese
to proslam-
formed by omitting the faranete or the 1
d
/<*>*) **& &* &*?
lichanos (as * banomenost this, octave-scale rf
 GREGORIAN CHANT GROUP.

with tip belongs to a transposed Doria The system d$d*$, with 6 sharps, is
mode, having not A, but d, far pros
lambanomenos. Greek music was no
enharmonically identical with
with 6 flats both are named Hyper-
^ ^
;

tied, likethe Gregorian, to the diatoni dorian here closes the circle of fifths.
;

scaled a 1 without chromatics, but em The names of the sharp scales re-
ployed transpositions of the perfec emerge as those of church-modes (the
2-octave system parallel to our 12 o number of which was increased to 12
'

more sharp and flat keys ; finally, thes in the i6th century) ; namely, the
transpositions numbered 15 in all, thos Ionian (= lastian), and Hypoionian,
first in vogue
bearing the same name ^Eolian, and Hyposeolian.
as the first 7 octave-scales. In th
Gregorian chant. The forms of mus.
Greek method of alphabetical notation
worship as revised and established by
the natural scale (without chromatics
was the Hypolydian : Pope Gregory I, (the Great, d. 604) for
the R. C. Church, and known collect-
ively under the name of Plain Chant
fi~*d l

fi~ba>g There was probably no essential differ-

consequently, the 2-octave system^ ence between the Gregorian and Am-
without chromatics is called the
Hypo brosian styles; St. Gregory's chief
lydian (being the natural scale amonj work was the careful revision of the
the transposing scales, as is ritual music employed at his time, the
-majo
among the sharp and flat keys), and th rejection of redundances and abuses,
transposing scales are named according and the final establishment of the ma-
to the mode represented
by the various terial thus sifted and arranged as the
chromatic alterations of the octave-seal norm for all Western Churches. He was
/ 1
-f. For instance, also presumably the arranger, if not the
4 Plagal modes par-
originator, of the
/ ^^1 1
</i fi
fy^a g f the 4 Authentic modes of -St.
allel to
being a Lydian octave, the 2-octave Ambrose. (See Mode.)
system (or transposing scale) d~~d* Grei'fen To stop (on the violin);
with one flat is called the (Ger.)
Lydian trans- to take or play (on other instr.s); to
posing scale. It follows, that the octave
finger ; to stretch (er kann eine De'-
/ /belongs
zimegfdfen, he can stretch a tenth).
r

without # or j> to the

system -a
1
A
Griff (Ger.) Stop (on violin); touch,
-

j (Hypolydian) stroke, stretch (welter Griff )\ finger,

with i (> to the system d d*
ing ... Griff'brett, fingerboard . . Griff*~ .

" " (Lydian)' saite^ a string stopped by the fingers ;

a melody-string.
(Hyoophrygian) Grob "
(Ger., coarse.") Used as a suf-
fix, it means "of broad scale" (said of
" ** ian)
4b organ-pipes, as Grobgedackt).
Groore. (Ger. tfanzefle.) One of the
" M
5b separate divisions of the windchest of
an organ, serving to conduct the wind
to the pipes.
(Mixolydian, or Hyperdorian) Groppet'to (It) See Gruppetto.
On the other hand,^ all the
sharp scales See Gruppo.
Grop'po (It)
(of later origin) show new names
<x**ve >-
/>#-/# belongs
; the Gross (Ger.) Great, large, grand r,ma.
mthi J to the system
(H ef tian)
jor (as^n/jw Ters, major Third)...
Gro'sse Okta'w,
great octave.
Grosse-caisse (Fr.) See Caisse.
jros'so (It) Large, great ; full,
heavy.
jrros-tambour (Fr.) Bass drum.
Grotte'sco (It.) Grotesque, comic, .hu-
morous.
fround bass. See JBa$$.
Group, i. A short series*of, rapid notes j
Lydiaji) specifically, such a series, ,;,sung ,to t one
 GROUPE HACKBRETT.

syllable ; a division or run. 2. A sec- Guirabard. (Fr. guimbarde.) A Jew's-

tion of the orchestra, or of an orches- harp.
tral score, embracing instr.s of one
Guitar'. (Span. guitar*ra; Ger. Gui-
class, e. g. the strings.
tar' re; Fr. guitare; It. chitar'ra?) An
Groupe (Fr.) I. Group ; specifically, a instr, of the lute family. The modern
u
group of notes with their hooks slurred ( Spanish") guitar has six strings, the
together ; a turn. 2. A unison 2. 3 highest of gut, the 3 lowest of silk
Grund (Gen) Ground, foundation, funda- covered with fine silver wire, tuned E-
ment. Grund'akkord, a chord in the
. .
A-d-g-M: m f:
fundamental position. . Grunt? bass .

fundamental *b2&$...Grund'lage, fun-

>
fa)-r-(frH -i

damental position, (of a chord). . .

!
(or E-3-e-g$-b-e ) ; but guitar-music is
Grund'stimme, (a) see Grundbass; (b) written an octave higher, in the ^-clef .
a bass part (c) foundation-stop (organ).
;
The 6 strings can be raised
pitch of all
..Grund' ton, (a) root; (b) key-note.
a semitone by using the capotasto.
. .
Grund'tonart, ruling or principal key
in a composition. Compass ... (with the
^^ h a nnonics,
j^pf"
3 octaves
\& y :{ju
Gruppet'to Formerly, a
(It.) trill or and a fourth: 3' an octave
relist in modern music, a turn. Also,
;
more). The long fingerboard is fur-
a collective term applied loosely to vari- nished with frets on which the strings
ous "groups" of grace-notes, such as: are stopped with the left hand, while the
right plucks the strings with the finger-
tips (the thumb taking the 3 lowest, the
etc. forefinger g, the middle finger , and
Grup'po (It.) Group; also, a turn. the ring-finger high i), or strikes them
Formerly, a grace similar to the trill. with the back of the fingers ; the
(See Trillo.) thumb also sweeps the strings with the
G'-Schliissel (Ger,) <Mef. arpeggio-effect called the rasgado.
The body of the guitar has A broad
Guara'cha (Span.) lively Spanish A waist, no comers, and a flat face and
dance, one part of which is in 3-4 or back. It is used as a solo instr., and
3-8 time and the other in 2-4 time ;
in accompanying songs.
usually accompanied on the guitar by
the dancer himself. Guitare d'amour (Fr.), Guitar-violon^
cello. See Arfeggione.
Gue. An of the violin kind, hav-
instr.
2 and Guiterne (Fr.) Former name for the
ing only strings .(of horsehair),
played like a 'cello ; formerly used in
guitar.
Shetland. [CENTURY DICT,] Gu'sto(It) Taste... Dibuong., in good,
taste, tasteful. Gusto'so, with taste. . . . .
Guerrie'ro (It.) Martial, warlike.
Gran gusto see Gran. ',

Gui'da (It.) i. Subject (of a fugue);

Gut. Gut strings (in the singular Ger.
antecedent (in a canon or other imita-
2. A direct 3. See Presa. 4.
Darm'saite; Fr. corde a or de or en ,

tion).
In solfeggio, a tone 6r tones through boyau; It minu'gia), popularly kaown
as catgut, are ordinarily manufactured
which the voice glides^ from one inter-
1 from the entrails of sheep, those 6f
tai-tone teethe other,
young lambs yielding the even^st'and
Guide* i. Gulda i and 2, 2.
" (Fr.) finest strings because they do not bare
"Guida I and 4. . Guide-main, hand-
.
to be split. The best are' the genuine
guide/' chiroplast. Roman strings.
Guidon (Fr.) A direct Gut (Ger,) Good... Gutter' Takfteil,
Guido'nian hand. The Guidonian Hand strong beat
was a diagram, for memorizing the spl-
misation-syllables of the 2o-tone dia- H.
tonic scale (r to ee\ in the shape of an
outstretched left hand with the sylla-
H (Ger.) The note 3. . .In scores, H fo

bles written in regular order on the suc-

an abbr. for Horn; in organ-music, for
cessive finger-tips and joints. The sylla- ' Heel; in music for keyboard instr.s,
tee Hand (r.h.,Lh.)
bles were called the Aretinian or Gui-
donian syllables. (See Solmisation?) HackVett (Ger.) Dulcimer.
 HALB-HARMONIC.
'
ers; more recent ones show an im-
'

Halb (Ger.) also, Half

smaller "... ;
f
HarbeApplikatur', half-shift. . .Halb
-
provement in this regard.
bass,a double-bass of smaller size than Hand-note.
f Stopped tone (on the horn),
. .Hdb
usual. cello, a small 'cello...
Hand-organ. A portable barrel-organ.
Haltfgedeckte Stim'me, see Stimmt 3
..Halb'instrument, see Ganzinstru- Hard. (Of touch, execution.)
tones,
ment. . . Halb'kadenz, half-cadence . . . Coarse, rough, harsh ; cold, unsympa-
crescent... Halfbe NJ. thetic, lacking expression or feeling.
Hali/mand,
half-note. ..Halfbe organ Hardiment (Fr.)
Or'gel, an
Boldly, vigorously,
lacking, even on the pedal, a stop lower dashingly. Also, AVM hardiesse.
than 8-foot pitch. Hafbe Pau'se, half- Harte
. .
Al-
.
(Ger.) Harp . Ho^fmlass, .

rest. .
.Halb'prinzipal, an organ-stop oJ bertinian bass. , .Harfenetr, see Spitz-
4-foot pitch (disused)... Halb'schluss, harfe. .Hw'feninstrumente, stringed
.

half-close... Hal'be Stim'me, a half- instr.swhose strings are plucked either

. Ha? be
stop or partial stop. , Takfnote, with the fingers or a plectrum. .Har*- .

half-note . . .Halb' ton, halfber Ton,

f fenlaute, dital harp.
semitone. . .Halb moline, three-quarter
Harmoni'a (Gk. and Lat) Harmony.
violin children)... Halb'violon
(for
[PAUL], see Halbbass, Deutscher Bass. Harmonic. I (Ger. har-
(adjective?)
..HaWwerk, see Halbe Orgel mo'nisch; Fr, harmonique; It. armo'-
nico.) Pertaining to chords (either
Half-cadence, -note, -rest, -shift, consonant or dissonant), and' to the
-step, -stop, -tone, see the nouns.
theory and practice of harmony opp. ;

Hallelujah. $&t Alleluia* to melodic.. .H, curve the curved

fig- ,

Hals Neck ure described by a vibrating string.

(Ger.) i. (of the violin, etc.) . .

2. Throat (of a singer). 3. Stem (of H. figuration, broken chords... #.

a note). fate, see ff. stop. . .#. hand, see Gui-
donian Hand. .H* mark, in music for
Halt (Ger.) A hold (*) ; usually Fer- the violin,
.

a sign () over a note,

etc.,
ma'te.
calling for an harmonic tone. .ff. note, .

Hammer. 1. (Ger. ffam'mer; Fr. mar- see H. tone. . .H. reed, see ff. .
stop. .

teau; marteFb.) That part of the

It. ff. scale, sss Harmonic 2. . .ff. stop, an
pfte.-action which strikes the strings organ-stop double the
having pipes
and evokes the tone. 2. A mallet,
ordinary length, and pierced midway,
used in playing the dulcimer. . .Ham'- so that a i6-foot pipe yields an 8-foot
merclavier, -khvier (Ger.), early name tone. Various solo stops are thus con-
for 'the Feder-
pianoforte (opp, to structed An harmonic flute is a flute-
:

kfawer). stop,an harmonic reed a reed-stop,

Hanac'ca* A Moravian dance in 3-4 made on this principle. .ff. tone, also .

time, resembling the Polonaise in the flageolet-tone, see Harmonic a ()...

shifting of the accent, but in more ff. triad^ a major triad.

rapid tempo. (ter.Hana'kisch.)~-Alla Harmonic. 2 (noun), (a) (Ger. C/ber-

A., in the style of this dance. Fr. son
ton; It. suono
harmonique;
Hand, harmonic. See Guidonian Hand. armonico) One of the series of tones
Hand1>assl (Gen) An obsolete bow- sounding with, but higher in pitch
intermediate in size between the
and less intense than, its
instr., generator
viola and (see Acoustics). (Ger. Flageolet-
employed as a bass-
'cello ; (b)
ton, Harmo'nikaton; Jr. son harmoni-
\x&\.i...Hand'bildner, Hand'leiter, a
chiroplast . . Hand'stticke, short and
.
que;^
It suono
armonico^ tone A
easy exercises 'or practice-pieces... obtained, on any stringed instr, which
is
Hand'trommel, tambourine. stopped (violin, guitar, zither, etc.),
'
and also on the harp, by
Hand-liarmonica. Accordion. lightly
touching with the finger-tip a nodal
Handle-piano, A mechanical pfte. on point of a string; the string, when set
the principle of the
barrel-organ ; the in vibration, can then not vibrate as a
studs on the barrel catch levers con-
whole, but only in independent sections,
nected with the hammers,
causing the each section
corresponding in length
latter to strike the
strings, a spring to the division of the
string cut of by
forcing the hammer to recoil instantly. the finger, and each
The older instr.s have few or no producing one and
damp- the same tone the harmonic.
Thus.
 HARMONICA HARMONY. 93

by lightly touching the (^-string of a monica combined with a flue-stop or

violin at its midpoint, it is divided into stops ; inv. by W.C.MttUer.
2 vibrating sections, each producing the Harmoni-cor (Fr.) See Harmoniphon 2*
octave of g, i. e., gl ; by touching it one-
third of the distance from nut to bridge,
Harmonicorde (Fr.) Harmonichord,
it is divided into 3
vibrating sections,
Harmo'nicum. An improved form of
each producing the fifth above the Bandonion, inv. by Brendel and KlOs-
octave of i. e., d* Such har- ser of Mittweida (Saxony) in 1893. It
*, ; etc.

monics, obtained from open strings, is, essentially, an accordion-body fixed

are called natural; when the string is in an harmonium-case ; the keyboard is

previously shortened by stopping, and

made like either that of the harmonium
the harmonics then obtained by lightly of bandonion ; the wind-supply is con-
trolled by treadles.
touching this shortened section, they are
called artificial. The following table Harmonic' (Ger.) I. Harmony ; chord.
shows the harmonics* obtained on a 2. Music for the wind-instr,s (brass
string : By lightly touching and wood); also Harm^nie'musik. 3.
the octave, we get the octave The wind-instr.s (brafes and wood) col-
" " " " ;

14
fifth,
" " " twelfth; lectively.Harmoaie'eigtni harmonic ,

fourth, fifteenth; chordal ; (tones) proper to a harmony ;

14
third (maj.)
"
" 4< itsownisth;
" opp, to harmonic*fremd. . .Harmonic*-
*. thirpXmin.) '/
17th. hhre> theory of harmony. . . Harmonic*-
The harmonics are distinguished by trompete, an instr. between a horn and
their soft, sweet, ethereal character, trumpet, which permitted of the sue-
and the "fluty" quality of their tone cessful use of muted tones ; inv. early
(hence the epithets flautato^ flageolet). in the igth century [RIEMANN].
They are called for by the sign (the
" karmonic Harmonieu3C,-ieuse (Fr.) Harmonious.
mark") over the notes to Harmo'nika
Accordion ; con-
be touched (not stopped). (Ger,)
Hohfharmonika*
certina ; see also
Harmonica. (Comp.Ger.ffarmo'ni&a.) Zieh' harmonika.
Mundfharmonika^
1. The instr. developed by Benjamin
Franklin from the musical
Harmo'niker (Ger., Harmonici.
glasses, and
pi.)

named by him A rmon'ica. It consisted Harmon'iphon. i.. A keyboard wznd-

of a graduated series of glass bells or instr. inv. by Panis of Paris in 1837,
basins forming a diatonic scale (lowest having a set of reed-pipes in imitation
tone to the left), and fastened in a row of oboe-tubes ; hence the Ger. name
Klavieroboe. 2. The harmoni-cor^ inv.
apon a spindle, which was made to re-
rolve by a treadle ; the ends of the by Jaulm of Paris, similar to the above,
but with clarinet-tubes; the wind is
spindle were supported by the end-
pieces of a trough containing water to supplied through a mouthpiece.
moisten the revolving glasses, whose Harmx/nisch (Ger.) Harmonic.
edges were touched by the fingers in Hanno'niura. -In
Melodies could be performed,
Comp. Reed-organ.
playing. harmonium-music, numerals enclosed
and accompanied harmonically by chords in circles are used in lieu of the stop-
as wide as the fingers could stretch. names in and
full, signify:
2. See Mouth-harmonica.
Stops on bass Stops on Treble
Harmonicerio. A
bow-instr. resembling side (sign below side (sign above or
the 'cello, with 5 gut and 10 wire strings ; bass
""" staff.)
below treble staff.)
inv. by Joh. Karl Bischoff of Nurem- Cor anglais Flute
berg in the 2nd half of the 1 8th century. C) Bourdon Clarinet
i

Clarion Piccolo
Harmonichord. See Piano-violin.
Bassoon Oboe
Harmo'nici. Aristoxenos and his fol- An for
Harmonpm'eter. appliance
lowers, who deduced the rules of har- measuring the harmonic relations of
mony from musical practice ; opp. to tones (intervals). See Monochord,
Canonici (Pythagoras and his disciples),
who derived their rules from the math- Har'mony. (Ger. and Fr. HarmoniJ;
ematical determination of the intervals.
It. armoni'a) In general, a combina-
tion of tones or chords producing mu-
Harmon'icon. I. A mouth-harmonica. sic. Specifically, a chord, either con-
3. An orchestrion. 3. A keyed har- sonant or dissonant, though usually
 HARP-HARP-WAY TUNING.
former kind, especially this is the fundamental diatonic scale ;
applied to the
to the triad. Applied to an entire com- the intermediate chromatic tones are ob-
struc- tained by the use of 7 pedals adjusted in
position, the chordal (harmonic)
ture, in contradistinction to the melody
the pedestal, each pedal acting on all the
and rhythm ; hence, 2-part^ 3-fart
har- strings of the same letter-name in such
mony^ according to the number 01 away that, when pressed to its first posi-
parts present... Chromatic h.,
that in tion, the pitch of every string affected is
which many chromatic tones and mod- raised a semitone, and, when the pedal
ulations are introduced; opp. to dia- is pressed down to its second position, a

tonic h. . . Close h. (in 4-part writing), semitone higher. Thus, by depressing

that in which the 3 highest parts lie
within the compass of an octave opp.
to open ft... Compound h., that in which
2 or more of the tones essential to a
chord are doubled ; opp. to simple h.
.Dispersed, extended h^ see Open h..
Essential h,, (a) the fundamental triads
of a key ; (b) the harmonic skeleton of a
composition, left after pruning off all
all 7 pedals once, the scale would be
;
raised from C\) to C; by depressing
them twice, to C$(2fy)'t by suitable
combinations, any desired key may be
obtained. The depressed pedals are
held in position by notches. As on the
Janko keyboard, the fingering of the
scale is the same for every key. Natur-
al harmonics are obtainable ; the first

figuration and ornaments, . .Figured h. t harmonic (the octave of the tone of the
that in which the simple chords are va- open string) is that almost exclusively
ried or broken up by foreign and pass- employed. Music for the harp is
ing tones, anticipations, suspensions, written on 2 staves as for the pfte. In
and other devices ; opp. to flam h... the old single-action harp each pedal
Open h. .(in 4-part writing), that in can change the pitch of BV&
which the 3 highest parts spread be- its note by only one semi-

yond the compass of an octave. .Pure . tone ; scale, Ey ; com- ^g .

h.i music performed with pure intona- pass, 5 octaves and a' J^
tion (motet, string-quartet;) opp, to sixth, from F\ to d*: %va
tempered h... Spread L, open.h... A Double Harp has 2 rows of strings
Strict h., composition according to . tuned dissimilarly ; a Triple Harp has
strict rules for the
preparation and reso- 3 such rows. .Jfcolian h., see Molian.
.

lution of dissonances. . Tempered h., . . Couched h., the

.
spinet. . .Dital harp^
music performed with tempered intona-
SsDital...Double-actionpedal-harp, see
tion (pfte., organ); see Temperament.
Harp . . . Welsh h. , a kind of triple harp.
Hart). (Ger. Har'fe; Fr, harfe; It. Harpeg'gio, Harpeggie'ren. See Ar-
orfa.) A stringed instr. of ancient peggio, Arpeggiate.
origin and wide dissemination, played
Harpicor'do. Same as Arficordo.
by plucking the strings with the fingers
and thumbs of both hands. The mod- Harp-lute. See Dital harp,
ern orchestral harp (Erard's double- Harpo-lyre (Fr,) A kind of improved
action harp) has a nearly 3-cornered guitar, with 21 strings and, 3 necks j
wooden frame t the apex or foot of inv. 1829 by Salomon of Besancon.
which is formed by an upright
pillar Harp-pedal. See Pedal.
meeting the hollow back(ft& upperside
of which bears the soundboard) in the
Harpsichord. (Ger. Kiel'jlugel; Fr.
clavecin; It. arpicor'do, clavicemfbak^
pedestal; the upper, divergent ends of A keyboard stringed instr. in which the
and back are united by the curv-
pillar
strings were twanged by quills or bits
ing neck. The gut strings, stretched of hard leather (see Pianoforte}. Vis*
vertically between soundboard and a-vis harpsichord, one with a
keyboard
neck, and tuned by wrestpins inserted at either end or side, for 2
in the latter, are 46 (or performers.
47) in number,
and variously colored to render them Harp-way tuning. Favorite early Eng-
readily distinguish-
lish tunings
(scordature)of the viola da
able ; the 8 lowest gamba; termed harp-way tunings be-
cause admitting of a ready execution of
strings are covered
with fine wire. Com- arpeggios :
pass, six and one-
lalf octaves, from
Sharp: Flat:
 HART-HEROIC.

other variants are found in German passionate (also adverb}. .

.Heftigkeit,
works. vehemence, passion.
Hart (Ger.) Hard ; major (usually dur) ; Heim'lich (Ger,) Secret, mysterious;
abrupt, unprepared (of a progression furtive, .stealthy, clandestine. (Also
or modulation).. .Hart vermin' derter adverb}
Drd'klang) triad with major third and Hei'ter (Ger.) Serene, cheerful, glad.
diminished fifth, as B-d$-f.
(Also adverb}
Haupt (Ger., "head".) Chief, princi- Hel'dentenor (Ger.) See Tenor i.
pal.. .Haupt?accent, primary accent Hel'icon. (Ger. Helikon} i. An an-
. .
Haupt'akkord, fundamental triad. cient instr. for
illustrating the theory of
..Hauffgesang, leading melody the mus. intervals, consisting of 9
(Haupt' melodie).. .Hauptfkadenz, full
cadence. . .Haupt'manual, great-organ strings stretched across a square reso-

manual (abbr. Man. /.) . .Hauplfnote, .

nance-box. -2. A
brass wind-instr. of
recent invention, used chiefly in mili-
(a) principal note ; (b) chord-note ; (c)
accented note; (d) melody-note... tary music as a bass ; its tube is bent to
form a circle, and it is carried over the
Haupfprinzipal, 8-foot diapason (on shoulder. It is constructed in various
manual), i6-foot (on pedal). Haupt'~ . .

pitches (F, jfy, C, Ify), and of broad

-probe, see Generalprobe*..Hauplfsatz,
scale, so that its lowest natural tone
principal theme. . .Hauptschluss, full
speaks (2 octaves
cadence. . .
Haupt'septime, dominant
below the notes
7th. .
.Hauplfstimme, principal part. . .
on the bass-staff
Haupt'thema, first or principal theme.

..Haupt'ton, (a) root (of a chord'; in
recent theory, the fifth of the minor
triad) ; (b) key-note ; (c) see Haupt-
note... Haupt' tonart, the principal or
ruling key in a composition. . .Haupf-
werk (abbr. H. ^.), great organ.
Hausse (Fr.) Nat '(of a
Helper. An octave-pipe set beside and
sounding with another of 8-foot pitch,
for the sake of brilliancy.
Hemidemisemiqua'ver. A 64th-note.
.
.H.-rest, a 64th-rest.
Hemidiapen'te, In Gk. music, a dimin-
bow). .Hausser,
. ished fifth.

to rais'e (the pitch). Hemidi'tone. In Gk, music, a minor

acute... Haute- third.
Haut,-e (Fr.) High,
eontre, high tenor. .Haut-dessus^ high .
Hemio'la,Hemio'lia(Gk.) I. In ancient
soprano. . .Haute-taille, high tenor. music, quintuple rhythm (5-4, 5-8 time). '

Hautbois 2. The interval of a fifth (2 : 3). 3-

(Fr.) .Oboe,..^. amour,
see Oboe. A triplet (3:2). 4. In mensurable no-
tation, see Notation, 3, Color.
Hautboist' (Ger.) A player in a military
band. Hem'iphrase. A half-phrase.
Oboe. Hem'itone. In Greek music, the inter-
Hautboy.
val of a half-tone (256 243), the mod- :

Head. I. Point (of bow). 2. In the

era (diatonic) semitone being 16: 15.
violin, lute, etc., the part above the
neck, comprising peg-box and scroll.
In Greek music, a dia-
Heptachord,
tonic series of 7 tones, .with one semi-
3. In the drum, the membrane stretched
over one or both ends. -4. In a note, tone-step between the 3rd and 4th.
the oval (formerly square or diamond- 2. The interval of a major 7th. 3. A
7-stringed instn 4. The 7-tone scate
shaped) part which determines its place
on the staff. .-.Head-tones, Head-voice, Hep'tad, Heptacterad. See -Duodcne
.the vocal tones of the head-register; Herab'strich (Ger,) Down-bow.
opp. to chest-tones, etc. Herauf'strich (Ger.) See Hinaufstrich.
Heel. (Ger. Stockchen [des Halses] ;
Heroic. (Ger. hero'isck; Fr, hfroique;
Fr</0/<w[de la manche].) In the violin, It. ero'ico,-a} Grand, imposing, noble,
etc., the wooden elbow or brace by
bold, daring (in conception, or con-
which the neck is firmly fastened to the "
struction). . .The Heroic Symphony"
body.
(Sinfoni'a ero'ica) by Beethoven is the
Heer'pauke (Ger.) An old and very Third, Op. 55 in Efy... Heroic verse,
large form of kettledrum. (a\ in classical poetry, the hexameter ;
Heftig (Ger.) Vehement, impetuous, (rfin Engl, Ger., It poetry, the iambic
 HERSTRICH-HOOK.
of 10 syllables ; (c) in Fr. poetry, th "hiccupy" effect; chiefly in vogue
Alexandrine. during the I2th and I3th centuries.
" "
Her'strich (Ger., hither-stroke ,
(Also spelled hoquet, hocquet^ hoquetus,
Down-bow (on the 'cello and double ochetus, etc.)
bass). Hoh'e (Ger.) Highu pitch, acuteness;
Herun'terstrich (Ger.) Down-bow (o- high register (e. g. 0V*>*<7/$<?", high-
the violin, etc*) est notes of the oboe).

Her'zig (GerM "hearty," "heartily". Hohl'fiote (Ger. Fr. fldte creuse; the
;

Same as Innig^ but perhaps implie

smaller sizes are also called ffohlpfei-
greater nawetf. fen.) In the organ, an open flue-stop
Hes " of broad scale, usually with eared pipes,
(Ger., Ify.") Unusual for (Ger.
having a dark, mellow timbre, some-
what hollow (whence the name), gener-
Heulen (Ger.} Ciphering.
ally of 8 or 4-foot pitch, seldom of 16'
Hex'achord, r. In Greek music, (a) a or 2'. As a mutation-stop in the fifth
diatonic series of 6 tones ; (b) the inter it is called the Hohl'quinte.
val of a major sixth. 2. See Solmi j
Hold. (Ger. Per-ma 'te; Hr.$oint(Tarrtt,
sation.
couronne; It.ferma'ta, coro'na.) The
Hexameter, The usual hexameter-line sign
fa over, or <&
under, a note or
has 6 feet, the first 4 being dactyls 01 rest, indicating the indefinite prolonga-
spondees, the 5th a dactyl or. spondee tion of its time-value, at the performer's
and the 6th a spondee or trochee, thus discretion, in accordance with the
. . In orches-
i i | i j
""
rhythm of the composition.
tralscores often called (Ger.) General'-
Hidden. See Octave.
pause, (It.)fa'usa genera'le.-(lT\ Eng-
Hift'hprn (Gen)
A
kind of wooden
land, usually called a Pause.) Placed
hunting-horn producing 2 or 3 tones over a bar or double-bar, the hold in-
there were 3 varieties, the Zin'ke
(high), dicates a
slight pause or breathing-spell
Halb'rftdenhorn (medium), and Rii''den*
before attacking what follows ;
horn (low pitch). opp. in
this sense to Attacca.
Hilfs- (Gen) Auxiliary . . Hilfilir^ ,
Holding-note. A
note sustained in one
leger-line. .Hilftnote, auxiliary note.
.
part while the others are in motion.
.
.Hilfs'stimme, mutation-stop.--(0f-
ten Halfs-.) [STAINER AND BARRETT.]
Holz'blaser (Ger., sing, and pi.) Play-
Hinaufstrict (Ger.) Up-bow (on the er(s) on wood wind-instr.s. (Abbn
violin, etc.)
Hzbl. ) . . Holz'llasinstrumente^
.
wood
11
Hin'strich(Ger., "thither-stroke .) Up- wind-instr.s; technically, the "wood-
bow (on the 'cello, and double-bass). wind".
Hin'tersatz (Ger.) In old German or- rloKzernes Gelach'ter )
(Ger. ) Xylo-
gans, a mixture-stop placed behind the lolz^armonika J phone.
diapason, which it reinforced. The enharmonic of
lompphone (Fr.)
Hip'pius. i. A metrical foot of 4
syl-
a given tone, as d of c x , d\) of f#, etc.
lables, 3 long and^ i short ; called
ist, Homophonic,-ous. (Lit. , alike in sound
2nd, 3rd or 4th hippius according as or pitch.) i. In earlier music, unison-
the short syllable
occupies the rst, 2nd, ous, in unison ; opp. to antiphonic. 2.
3rd or 4th place, 2. Same as Molossus In modern music, a style in which one
His (Ger.) B# .^,'zV, Bx.
. .
melody or part; supported to a greater
Histor'icus (Lat.) Narrator or less extent by chords or chorda!
(oratorio).
combinations, (i. e, an accompanied
Hobo'etGer.) See Oboe.
melody) predominates, is called homo-
,
Hoch (Ger.) High, acute. . .Hoch'amt, phonic; opp. to polyphonic. .Homo- .

high Mass . . .
ffoch'xeitsmarsch, wed- phony, homophonic music; opp. to an-
ding-march. tiphony and polyphony. (See Monody.)
Hocfet. An early form of contrapuntal Hook. (Ger, Fatfne, Fahn'chen; Fr.
vocal composition in 2 or
acterized by the
3 parts, char- crochet; It. co'da uncina'ta.) stroke A
frequent and sudden attached to the stems of eighth-notes, '

interruption, in rapid alternation, of the i6th-notes, etc.

(J* g ). Also Flag,
vocal parts,
producing a spasmodic}, Pennant,
 HOQUETUS-HORNSORDIN. 97

Hoquetus. Rocket. "stopped tones", has a fairly com*

Ho'rae cano'nicae (Lat.) The canonical plete chromatic scale of 2 octaves and a
hours. fifth, from the 3rd partial (lowered by

stopping) up to the i6th partial jfl there

(Ger. Horn ; Fr. cor; It. cor*no?)
Horn. n
are 16 crooks in all,
One of a group of brass wind-instr.s |2gp:~~
~~
giving a total possible
'

distinguished by the following charac-

compass of 3 %, octaves: bm
teristics Cupped mouthpiece of coni-
:
but only 8 or 10 are in general use in
cal shape ; conical tube, narrow and
the symphony-orchestra ; the following
long, variously bent upon itself (the tones at either end of this scale are
smallest horn generally used, in high
Bb, has a tube nearly 9 feet long that
an octave lower in pitch, nearly 18 feet);
wide and flaring bell ; the tone is rich
and mellow, sonorous and penetrating
the compass lies between the 2nd and
;

;
difficult

VsT^
:

^
" "
1 6th tones of the harmonic scale. The Thus the highest safetones on the
older natural or French Horn> yielding horns in common use would be (accord-
only the natural tones supplemented by ing to GEVAERT):

:
Actual p tch:

Horn in Bb CD E F G Ab A Bb (C)
L -SL jfi.

Notation :

Partial tonei6 16 15 14 13 13 12 10 10 10 10
The stopped tones have a peculiarly same manner as on the natural horn
sombre quality, and are often utilized (also comp. Trumpet). This modern
for special effects ; they can be pro- Valve-horn is usually constructed in
duced on the valve-horn in exactly the the following sizes [RIEMANN]:

Bb C D Eb E F G Ab A Bb C

high
low
the given pitch-note being in each case Horning
1

. A mock serenade with tin horns

the 2nd partial tone (octave of the gen- and other discordant instr.s, performed
erator), and repre- ft): the horn be- either in humorous congratulation, as of
sented in each ^' ing a trans-
. a newly married couple, or as a mani-
case by the note: -&-
posing in- festation of public disapproval, as of
str.; when the 6 -clef is employed,
?
the some obnoxious person. (Local U. S.)
notes are written an octave higher than [CENTURY DICT.] A callithumpian
'
when noted in the -F-clef, consequently concert.

Horn'musik (Ger.) See ffarmonumusik*

Hornpipe, r. An obsolete English

mus. instr. 2. An old English dance
in lively tempo, the earlier ones in 3-2
Horn-band. A band of trumpeters...
time with frequent syncopations, and
Russian horn-band, a band of perform-
the later* in 4-4 time very popular ;
ers on hunting-horns, each of which
during the l8th century,
produces but one tone, the number of
players and instr.s being equal to that
Horn/quinten(Ger., "horn-fifths".) The
of the scale-tones required by any given covered fifths produced by the natural
chromatic scale tones of
piece ; e. g. 37 for the
*
[

of 3 octaves.
apairof|||3|
horns; 'y
Homer (Ger.) Plural of Horn, equiv. to
cornL (Abbr. Hr.) Horn'sordin (Ger,) Mute for a horn.
Hosan'aaj Hosian'na (Hebr.) Lit The hurdy-gurdy was in great vogue
44
save, I pray"; an interjection used as from the loth to the 12th century.
a prayer for deliverance or as an accla Hur/tig(Ger.) Quick, brisk, swift ;/rfr.
mation. In the Mass, a part of th<
Hydrau'licon. An hydraulic organ.
Sanctus.
Hydraulic organ. (Ger. Was'serorgel;
Huelmetl (Aztec.) (Also hnehuitl, wvtl Gk. hydrau'los; Lat. or'ganum hydravf-
tfopanhuchuttl.) Drum
of the abori
licum.) A
small kind of organ, inv. by
gines in Mexigo and Central America Ktesibios of Alexandria (180 B. C.), in
consisting of a section of a log hollowec which -the wind-pressure was regulated
out, carved on the outside, from 3 to 4 by water.
feet in height, as thick as a man's body
Hymn. (Ger. and Fr. Hymne; It. in'no!)
and set upon a tripod. The upper en<
was furnished with a head of leather or
A religious or sacred song ; usually, a
metrical poem to be sung by a congre-
parchment which could be tightened or
gation...^ foreign usage, a national
relaxed, thus raising or lowering the
tone. It was struck with the fingers song of lofty character, such as the
Marseillaise.
and considerable skill was required to

play it. From the indistinct accounts Hy'per (Gk) Over, above ; often occurs
of the old Spanish writers it appears to in compounds, as hyperdictpa'$on^ the
have yielded, in conjunction with the octave above ; hyperdiapen'te, the fifth

Teponaztli, a rude harmonic bass accom- above, etc. .In the Greek transposing
.

scales (see Greek music) hyper signified

paniment.
a fourth higher. (Lat. equivalent super!)
Huit-pieds (Fr.) Same as Halbe Orgel.
Hiilfs- Hypercatalectic. In dipodic versifica-
(Gen) See ffilfi-'.
tion, a line having a redundant half-
Hmn'mel, Hiim'melchen (Ger.) i. A foot (either thesis or arsis) is thus
drone. 2. An obsolete organ-stop, by termed ; 'hypercatalsxis being such state
drawing which 2 reed-pipes were caused of redundancy.
to sound continuously until it was
pushed in. 3. The Balalaika, which H/po (Gk.) Under, below; frequent
in compounds, as hypodiapa'son, the
has a sympathetic string. 4. The
" " octave below, hypodiapen'te, the fifth
drones of the hurdy-gurdy.
below, hypodiifonos, the third below. . .
Humoresque. (Ger. ffumores'ke.) A In the Greek transposing scales (see
composition of humorous or fantastic Greek music} and the church-modes
style. See Caprice. (see Mode), hypo signified a fourth
below in the ancient Greek modes, a
;
irdy. (Ger. Dreh'leierj Barf-
fifth below. (Lat. equivalent sub.)
trnleier; Fr.
melle^
It.
tede'sca.)
K rra
A stringed instr. with a body shaped like
that of a lute or guitar, and from 4 to 6
I.
strings, only 2 of which are melody-
strings, the others being merely drones
tuned a
t
(It., masc. pi.) The.
fifth^part
'~
lamljus. A metrical foqt of 2
L

(compass _ are stopped by syllables,

about 2 one short and one long, with the ictus
z)medns of keys
octaves: _ _
controlled ^ on the long (^ -*).
by
the left hand ; the
right hand turns .as'tian. Same as Ionian..
a crank at the tail-end of the
instr., [c'tus. Accent or
which causes a rosined wheel stress, either rhythmi-
impinging cal or metrical.
on all the strings to revolve, thus
pro- !dea. A musical idea is a figure, motive,
ducing the harsh and strident tone.
This wheel and the key-mechanism are phrase or ^strain, with or without har-"
monic concomitants also, a
contained in an oblong box fully de-
;
correspond-
ing to the neck of the lute, etc., but set veloped theme or subject.
directly on the belly, only the peg-box de*e fixe
^Fr.) Berlioz's term for an
and head The oft-recurring and characteristic idea or
projecting beyond.
melody-strings pass through this box theme a sort of leading-motive.
;

and are attached to a the

^ tailpiece; Myl. (Ger. and Fr. Idyl'Ie; It. M?Bo.)
drones lie outside. The music A composition of a pastoral or tenderly
pro-
duced is of the rudest
description; romantic character.
 IL INBETONT.

II (It., masc. sing.) The. Imperfection, i. See Notation, 5,

Imboccatu'ra (It.) i. Mouthpiece (of
2. In a ligature, the
presence of a breve
as final note, indicated by using the
a wind-instr.) 2. Lip 2.
u
Imbro'glio (It.) Embroilment, con-
fusion" . A passage in which the rhythm Imperio'so,-a (It) Imperious, haughty,
of the different parts is sharply con-
lofty.
trasted and perplexing in effect.
Im'peto (It) Impetuosity... Con *., or
Imitan'do (It.) Imitating. impetuosamen'te, impetuously. .Impe- .

Imitation. (Lat. imita'tio; Fr. imitation; tuositbf, impetuosity,. .Jmpetuo'so, -a,

It. imitazio'ne; Ger.
Nach'ahmung.} impetuous.
The a motive, phrase or
repetition of Implied discord. An interval which,
theme proposed by one part (the ante-
though not itself dissonant, is contained
,

cedent) in another part (the consequent) within a dissonant chord ; e, g. a ma-

,

"
with or without modification.../, at
jor third in |<gfl: fljg .
.Implied in-
the fifth, octave, etc., that in which the the chord: h* Urval tho-
(in
consequent follows the antecedent at rough-bass), an interval not indicated
the'interval of a fifth,
octave, etc ... by L by a figure, but understood,
augmentation, that in which the time- e. g. the sixth and fourth^
value of each note of the antecedent 'is in a chord of the second : I
increased according to a certain ratio in
the consequent (J = J, or
Imponen'te (It,) Imposing, impressive.
J. etc). J=
, .,/. by diminution, that in which the Irapresa'rio (It.) The agent or mana-
time-value of each note in the ante- ger of a traveling opera or concert-com-
cedent is decreased according to a cer- pany. Occasionally, an' instructor of
the consequent (J=J singers in opera or concert.
'tain ratio in
which Impromptu. I. An improvisation.
etc.).../, by inversion, that in
each ascending interval of the ante- 2. A composition of loose and extem-
cedent is answered by a like descend- poraneous form and slight develop-
ment ; a fantasia.
ing interval in the consequent, and
descending intervals by ascending ones. Imprope'ria (Lat, "reproaches".) In
..Canonic i., strict imitation (see C0- the Roman ritual, a series of antiphons
non)...Free i., that in which certain and responses forming part of the
modifications of the antecedent are per- solemn service substituted, on the
mitted in the consequent (e. g. augmen- morning of Good Friday, for the usual
tation, diminution, reversed imitation, daily Mass.
as explained above ; or when certain
Impropri'etas (Lat) A term applied
intervals are answered by others, the to a ligature when its first note is not a
time-value of certain notes altered, etc. ) ;
breve, ]j>ut a long ; indicated, when the
opposed to Strict imitation, in which second note ascends, by a descending
the consequent answers the antecedent tail to the right or left of the first;
note for note and interval for interval. when the second note descends, by the
..Retrograde i., that in which the absence of the tail. Opp. to Proprietay.
theme is repeated backwards (recte e
Improvisation. Extemporaneous music-
retro)', see Cancrizans.
al performance.
Irn'mer (Ger.) Always; continuously;
To improvise... Im*
immer starker werdend, continually Improyiser (Fr.)
immer provisateur (-trice], a male (female) im-
growing louder; langsamer, *
slower and slower; immer langsam, proviser.

slowly throughout. Improvisier'maschine (Ger.) melo. A

graph.
Immuta'bilis (Lat,) One of the accentus
Improwisa're (It.) To improvise <..
eccl.
Improvvisamen'te, extemporaneously.
[mpazien'te (It.) Impatient, restless, .
.Improvmsa'ta, an improvisation, im-
vehement . Impazientemen'te, impa-
promptu. .Improvvisato're (-tri'ce), a
. .
.

tiently, etc. male (female) improviser. . .Allimprov-

vi'sta, extempore.
Imperfect cadence, consonance, in-
terval, measure. Seethe nouns... Inlsetont (Ger.)
With mediate accent
Imp. time, see Notation, 3. (See Abbetont.)
 100 INCALZANDO-INTERLUDE.

Incalzan'do (It.) "Pursuing hotly." Insensible (It.) Imperceptible... /#

See Stringendo. sensibilmen'te, insensibly.

Incarna'tus. Part of the Credo. See Insistent (It.) Insistently, urgently,

Mass. with strong stress. (Also con insisten-
Inch of Wind. See Weight. ta.)

Inchoa'tio (Lat.) The introductory tones In'standig (Ger.) Urgent, pressing.

or intonation of a plain-song chant. (Also adverb.)
Instance Urgent, pressing. ../-
Incomplete stop. A partial stop (or-
(It.)

siantemen'te, urgently, etc.

gan).
Instrument. (Ger. and r. Instrument /
Incrociamen'to (It) Crossing.
It. instrumen^'to, istrumen'to, stromen'-
Indeci'so (It) Undecided.
to,strumen'to?) A
list of the principal

Independent chord, harmony, triad. modem instruments is given opposite,

One which is consonant (i. e, contains according to Gevaert's classification ;
no dissonance), and is therefore not the asterisk (*) indicates that the instr. is
obliged to change to another by pro- little used in the orchestra ;
the brack,
gression or resolution ; opp. to Depend- ets ([ ]), that it is obsolete, or nearly so
ent,
Instrument (Fr.) /. ^ archet, bow-in,
Index, Same as Direct.
strument. . ./. cordes, stringed instru-
Indifference (It.) Indifferent, careless. ment, . ./. k fercussion^ percussive in-
. Jndifferenttmen'te, or con indiffe- strument. . ./. ^ vent, wind-instrument.
ren'xa, indifferently, etc.
Instrumentation. (Ger. Imtrumentie'-
Infernale (It.) Infernal, hellish.
rung; Fr. instrumentation; It. istru-
Infinite canon, (It. ca'none infini'to.) mentazio'ne.) The theory and practice
See Canone. of composing, arranging, or adapting
Inflati'lia (Lat.) Inflatile or wind-in- music for a body of instruments of dif-
struments. ferent kinds, especially for orchestra,

Infrabass' (Ger.) Subbass, (See Orchestra, Orchestration.} /-

strumentierung (Ger.) is a term also oc-
Ingan'no (It.) Deceit . . . Caden'za d?in- casionally applied to pfte. -music to de-
ganno, deceptive cadence. note dynamic shading and variety of
Ingres'sa, Name of the Introit in the touch ; sometimes with reference to all,
Ambrosian rite'. at others to single, parts.
/
In halt (Ger.) Contents idea, concep-
;
Intavola're (It.) i. To write out or
tion; subject-matter. To
copy in tablature or score. 2. set
Inharmonic relation* See False rela- to music. .Jntavolatu'ra, (a) tablature ;
tion*
t (b) notation ; (c) figured bass.
Inner parts. Parts lying between the " In-
Integer va'lor nota'nun (Lat.)
highest and lowest... Inner pedal, a tegral value of the notes ", i. e. their
pedal-point in such part or parts. absolute duration at an average tempo,
In'nig (Ger.) Heartfelt, sincere; fer- a question of high importance before
vent, intense ; with deep, true feeling ; the invention of tempo-marks and the
equivalent to It. a/ettuo'so, con affet*- metronome. Michael Prsetorius saya
to; in'timo, intimis'simo>..Mit in'- (1620), that about 80 tempera (=breves,
nigem Auidruck, with heartfelt ex- -the tempus, or unit of measure, then
pression.. .In'nigkeit, deep emotion or being the breve fsj ) should fill 7 %
feeling, fervency, intensity. .
.In'nig- minutes, thus :

lich, same as Innig. 80 minutes

7-}
[s^
Ifl'no(It)
Innocen'te (It)
Hymn. lof ^ =i min.=io} M.M.; hence
Natural, unaffected . . .
O =2ii M.M.; =42f M.M.; and
Inn&eentemen'te, naturally, artlessly. . .
Innocen'za, naturalness, artlessness, etc. M,M.)
In no'mine (Lat, u in the name".) i. [RlEMANN."
A kind of motet or antiphon, 2. See Intenziona'to (It) With stress, em-
Fuga in nomine.
phasis.
t
Inquie'to (It.) Unrestful, restless, ., Interlude, I. An intermezzo. 2, Aa
 INTERMfeDE INTERROGATIVUS. 101

CLASSIFIED LIST OF MUSICAL INSTRUMENTS.

I. Stringed Instruments.

with 4 strings
j vJcYonWlo^bouble-bass
2. with more than j *Viola d'amore
4 strings j [Viols, various]
Ji.bywithout
a crank Hurdy-gurdy^ Piano-violin
t \ v" v j i. fingerb. Harp
a) by the fingers 1 2. with fingerboard *Guitar, *Mandolin, *Zithers [Lute]
B.Strings,plucked \
by a keyboard-mechanism
1
b) [Harpsichord]
C.Strings, percuss- j a) directly by the player *ZJmbalon (or Tympanon), xylophone
ed tb) by a keyboard-mechanism Pianoforte

II. Wind-instruments.
A. With mouth- j a) lateral Flutes, Piccolos, Fife
hole ,b) whistle-like a bee] . *Flageplet
alumeau], clarinets, *alt-da-
'a) cylindrical tube -j- beating reed ict (basset-horn), bass-cl.

B. With reed b) conical tube + beating reed as hones, *octavin

Oboe^hautbois d'amour, alt-oboe or
cor anglais
c) conical tube -f double reed *Sarrusophones
Bassoon, quint-bassoon, double-baa-
soon
Horn, natural
Trumpet, natural
a) natural
'

*Post-horn
*Bugle, military
C. With mouth-
i.' with slide
r '

iones, slide-trumpet
piece [Cornetto, Serpent]
*Key-bugle, or key-trumpet
-
2. with holes (keys)
b) chromatic .
*Ophicleide
'Valve-horn
Valve -trumpet
3. with valves (pis- ,
Valve-trombone, (*alto, tenor, *bass)
tons) Cornet a pistons
Valve-bugles or saxhorns ; Tubas or
saxhorns

D.PolyPhonic
with keyboard
} ^ ^itho^tubes HOTwnium, *VocaHon
III. Instruments of Percussion.
A. With a mem- J a) with tones of determinate pitch Kettledrums
-
brane 1 b) witn
b; with of" indeterm.
tones 01 inaecerm. pitch
piccn Bass
ju>i* ui um, atuc-ui
drum, um, ci-u.
side-drum, etc^
[ " " " " '

la*
a) with tones of determinate pitch Bells, canllons^GIockenspiel
j
B. Autophonic (
Tnangle, cymbals, tam-tam,
j
b) with tones of indeterm. pitch tancts, etc.

instrumental strain or passage connect- Having reached this stage, they merely
ing the lines or stanzas of a hymn, etc. had to be detached from the larger work
3. An instrumental piece played to form a self-existent operetta or opera
between certain portions of the church Instrumental music sometimes
fajfo.
service (Lat. interlu'dium). takes the place of the old intermezzi in
4<

Intermfede (Fr.) i. Interlude I. 2. An modern dramas (e. g. that to the Mid-

operetta in one act
summer-night's Dream," by Mendels-
Interme'dio (It, dimin. intermediato.} sohn) . . . The term intermezzo is also
technically applied to many short
move-
Interlude 2.
ments connecting the main divisions of
Intermezzo (It.) Intermezzi were orig- '
a symphony or other extended work;
inally short mus. entr'actes in
the Italian
sometimes to entire long movements,
tragedies, of a very simple description, or even to independent compositions.. .
and quite independent of each other ; Intermezzi in the Suite are such dances
towards the end of the i6th century
(movements) as do not form one of its
they assumed larger proportions ; finally but are occa-
regular constituent parts,
they were treated as separate parts of sionally introduced for variety's sake,
a whole mus. drama, of a less serious
and usually between Sarabande an4
cast than the principal work which they
Gigue,
were intended to embellish, their acts
alternating with those of the latter. Interrogati'vus. One of faeaccmtufeccl
102 INTERROTTO-INTERVAL.

Interrot'to (It) Interrupted. . . monic ; (D) the division of the Octave

ruzio^n^ interruption. in Equal Temperament.
In the newer system, all the
Interval. (Lat interval'lumj Ger. In (2)
standard intervals are called major;
Urvalt^i. intervalle ; It. inttrval'lo.
The difference in pitch between 2 tones any major interval widened, by a semi-
tone becomes augmented, if narrowed
For naming the various interval
there are 2 systems invogue both ar ;
by a semitone, it is minor ; and any
founded upon and derived from the minor interval narrowed by a semitone
names of the intervals formed, in the becomes diminished;
diatonic major scale, between the key
note and the successive ascending de
(TABLE II)
grees ; in both the 1st degree is called
a Prime (or First), the 2nd a Second Second...'
the 3rd a Third
Tune), 4th * Third..
(or -E -E
Fourth (or Quart), 5th a Fifth (01 Fourth.
Fifth... -G -G
Quint), 6th a Sixth (or Sext), yth a Sixth... A Aj
1
Seventh (or -S^i ), and the 8th" an fotez/ Seventh -B -B;
(or Eighth). In the typical scale of C- Octave. -C -C
major the standard intervals are as The latter system is simpler and more
follows, counting upward from the key- consistent than the old, and might be
note, C: advantageously substituted for it if all
leading musicians in England and
(TABLE /.) America would agree to adopt it ;
other-
S.
wise, its occasional use can serve only
>
! $ S -s to increase the confusion
2 I * 4 unhappily pre-
i

II vailing in English musical terminology.

-JJ
(i) The
^
older system, that in general
In this Dictionary the older system is
adhered to throughout. An interval is :
Augmented, when wider by achroma-
tic semitone than
major or perfect. .
Chromatic, when occurring between a
.

use, will be explained first ; premising,

that intervals are always considered as key-tone and a tone foreign to the key.
measured upwards from the lower tone ..Compound, when wider than an oc-
to the higher, unless expressly accom- tave ; thus a Ninth is an Octave
plus a
panied with the epithet below or lower. Second, a Tenth is an Octave plus a
Table III includes the standard inter- Third, etc. Consonant, when not re-
, .

vals and their direct derivatives between quiring resolution (comp. Consonance).
.
.Diatonic, when occurring between 2
tones belonging to the same key (ex-
ceptions, the augm. 2nd and 5th of
the harmonic minor scale). ..Dimin-
Table III shows (A) that each major
ished, when a chromatic semitone nar-
or perfect interval, when widened
by a rower than minor or perfect. , .Disso-
becomes augmented; that
semitone,^
each major interval, narrowed nant, when requiring resolution (comp.
by a Dissonance) , . Enharmonic, when both
.

semitone, becomes minor; and that its

each minor or perfect interval, narrowed tones, though having different letter-
names, are represented one and the by
by a semitone, becomes diminished; same tone on an instr. of fixed intona-
(B) that by inverting the intervals : tion. .Extreme, see Augmented. . .
.

i a 3 4 5 6 7 8 Flat, see
Diminished* . .ffarmonic,
^
a _Perfect
, 87/54321
interval becomes perfect
when both tones are sounded together. . .
41
a Major ** minnv
minor Imperfect, see Diminished. . .Inverted,
a Minor when the higher tone is
an Augmented " major lowered, or the
u diminished lower tone raised, by an octave
a Diminished augmented (see
;
Table I). .
.Major; according to Table
{) the regular order of the standard
I, the major intervals of the major
intervals
according to their pitch (com- scale are the Second,
Third, Sixth, and
pare Vibration), both Just Intona- m Seventh ; ace. to Table II, all its inter-
tion and Equal Temperament, inter- vals are major. .
vals bracketted
when the 2
^Melodic,
together being Enhar- tones are sounded in succession...
 INTERVAL. 103

* The
greater chromatic Second ;
the lesser (e. g. <W#) is 24 : 25.
f The greater whole tone ;
the lesser (e. g. d-e) is 9 10.
 INTIMO-ISORRHYTHMIC.

Minor, when a chromatic semitone nar- or its higher note an octave lower (see
rower than major or perfect. .Perfect: .
Interval); compound intervals must first
the Prime, Fourth, Fifth, and Octave. be reduced to simple ones, and tl\en in-
..Redundant, see Augmented. Sharp, . . verted (B) ; A
chord is inverted when
see Augmented.' 'Simple, when not its lowest note is not the root ; thus. any
wider than the Qcteve... Superfluous,
see Augmented.

In'timo, Intimis'simo (It.) Compare

triad has 2 inversions,- e.g.:
a be'
Innig.
Intona're (It.) To intone. ift inv. i

Intonation, i. The production of tone, a the fundamental position; I, ist in-

is

either instrumental or vocal, especially version, or chord of the sixth ; c, 2nd

the latter ; when applied to the pitch of inversion, or chord >of the fourth and
the tone produced, it is said to be cor- sixth a chord of the seventh has 3

abed
;

e.
rect, pure, just, true, etc., in opposition inversions, g. :

to incorrect, impure, false. 2. The

method of chanting employed in Plain
Song-, 3. The opening notes leading
up to the reciting-tone of a chant
Fixed intonation, see Fixed*
p
a, fund, position ;
istinv. zndinv. $rdinv:

b, ist inversion, or
In'tonator. See Monochord i.
chord of the fifth and sixth ; c, 2nd in-
Intonatu'ra, Intonazio'ne (It.) intona- version, or chord of the third and fourth ;

tion; pitch. d, srdinversion, or chord of the second.

Intoaie'ren (Ger.) To intone ; also, to
2. In double counterpoint, the trans-

voice (as organ-pipes) ; voicing. position of 2 parts, the higher being set
below the lower, or vice versa this trans-
Intra'da. (It. intra'ta, entra'ta; Ger. ;

Infra*de ; Fr. entr/e.) r. An instru- position may be by tfn octave or some

other interval, and is technically termed
mental prelude or overture, especially * * *
inversion in the octave ", 'in the fifth",
the pompous introduction to the earlier * *

dramas and operas ; hence applied to in the tenth ", etc. 3. The repetition
of a theme in contrary motion, ascend-
opening movements of various descrip-
tions. 2. See Entr/e. ing intervals being answered by de-
scending ones, and vice versa; also
Intre'pido,-a (It.) Bold . . .
Intrepida- called imitation in contrary 'motion, or
mertte, boldly. Jntrepidez'za, boldness. imitation by inversion. 4. An organ-
.

Introduction. A phrase or division pre- point is termed inverted when in some

liminary to and preparatory of a com- other part than the lowest.
position or movement; may vary in Invi'tatory. In
(Lat. inwtato'rium?)
length from a short strain up to an ex- the R. C, Church, the variable antiphon
tended and
independent movement. "
to the Venite, at matins in the Greek ;
"
(It introduzio'ne^ Church, the' triple O come, let us
Introlt. (Lat intro'itus, "entrance"; worship ", preceding the psalm at each
It. intro'ito.} An antiphon .sung while of the canonical hours ;in the Angli-
the priest is
'
"
approaching the altar to can Church, the versicle Praise ye the
celebrate the Mass
"
Lord with the response
" the
formerly an entire; Lord's
psalm, but abbreviated later. In the name be praised ", at matins.
.modern Anglican Church, an anthem or
Ionian. See Mode.
'psalm.
Tra Wrath, passion ; con ira,
(It.)
Invention. A short piece in free con-
wrathfully, passionately. .Jra'to, wrath-
trapuntal style, developing one motive
ful, passionate.
in an impromptu fashion. (Comp:
Bach's 30 Inventions.) Irlandais,-e (Fr.) Hibernian, Irish.
Ironical. . Jronicamen'-
Inversion, i. Iro'njco,-a(It)
Um'kehrung ; Fr.
(Ger.
te, ironically.
rmversement; riversamen'to, rivol'-
It,

fa) The transposition of the notes form- Irregular cadence. See Cadence.
ing an interval or a fundamental chord ; Irresolir'to (It.) Irresolute, undecided,
(A) A simple interval is inverted by hesitating. .

its lower note an octave higher,

setting Isorrhyti/mic, (Ger. is
 ISTESSO TEMPO-JUBExHORN. 105

In, prosody, an isorr.footis one divisi- flutes, flute-stop, .Jeu .

ble into 2 parts containing an equal tation t (a) mutation-stop (b) mixture-
;

number of rhythmic units, i. e. one stop. . Jeu dt timbres, Glockenspiel: . .

having thesis and arsis of equal

length ; Jeu. de violes, consort of viols. .
.Jeu'di
voix humaine^ vox humana. ..Grand
as the dactyl ( !>-"
^), anapest (^ ^1
and spondee jeu, pleinjeu, full organ ;
full power;
,
), ( | ),

Istes'so tempo, 1*
4<
The same
.
.Demi-jeU) half power.
(It.)
Jew's-harp. (Ger. Maultrommel; Fr.,
tempo" (or time) ; signifies (i) that the
tempo of either the measure or measure- trompc^ guimbarfc;
It. trom'ba.) A
note remains as before, after a change small instr. a rigid iron frame,
with
of time-signature or (2) that a move- within which is adjusted a thin, vibra-
;

ment previously interrupted is to be re- tile metallic tongue the frame is held
;

sumed. (Also Lo stesso tempo?) between the teeth, and the metallic

Istrumen'to (It.) Instrument. ..Istru- tongue, being plucked with the finger,
menti a pufzico (Ger. Kneifinstru- produces tones reinforced in loudness
and determined in pitch by the cavity
mente), stringed instr.s plucked with
f
- (air-space) of the mouth. Formerly also'
fingers or ^\^ir^m...Istrumentazio
jezv's-trumf, trump, tromp.
ne, instrumentation.
Italian sixth. See Extreme. Jig, (Fr, and Ger. Gigue; It.^V-) A
species of country-dance, though with
Italien,-ne (Fr.) Italian ;
h Titalienne, all conceivable modifications of step
in the Italian style. and gesture, usually in triple or com-
I'te, mis'sa est. See Mass. pound time, and in rapid tempo. In
the Suite, the Gigue is generally the
last movement.
.
J.
Jingles. The disks of metal attached at
Jack, i. In the harpsichord and clavi- intervals to the hoop of the tambourine,
chord, an upright slip of wood on the
J

rear end of the key-lever, carrying (in Jocula'tor (Lat.) See Jongleur.
the former) a bit of crow-quill set at a A
JoMeln (vat), Jo'dler (noun) (Ger.) _
right angle so as to pluck or twang the favorite style of singing among the in-
string, or (in the latter) a metallic tan- habitants of the Alps, characterized,by
gent 2. Inthepfte., the escapement- a frequent arid unprepared alternation
lever, usually called the hopper or grass- of fal$etto tones with those of the chest-
hopper, register. A
Jodler is a song or refrain
Jagd'horn (Ger.) Hunting-horn,. .Jvgd'- sung as above.
stuck, hunting-piece,
Jongleur (Fr.) !A wandering minstrel in.
Ja'gerchor (Ger.) Hunters' chorus; medieval France, and also in England
' '

hunting-chorus. under the Norman kings ; later, a jug-

Jale'o (Span.) A Spanish national dance gler or mountebank.
7
for one performer, in 3-8 time and Jo ta (Span.) A national dance of north-
moderate tempo. ern Spain, danced by couples, in triple
time and rapid movement, somewhat
Jalousie'schweller
" (Ger,)
tian-blmd swell. S< resembling a waltz, though with inn^u-
extempore and fantastic varia^
JaM'Mry nrarfft^ -.,,, step, and accompa&ueo! iry iffe
musik, music for triangle, cymbals, aad
ana-ciajido-lin, with vocal In-"
';bass drum,) -Ac^ding tp GROVE, the
'

v ' " '

" tertades.
Jalnizary tand contained I large and
3small oboes, and i piccolo flute, all of Jouer (Fr.) play (any instrument) ; To
used with de, du, de F.
very sTirill character; I large and 2 "
small kettledrums, one big and 3 small Jour (Fr., day.") corde hjour is an A
long drums, 3 cymbals, and 2 triangles". open string. ,

j'anko keyboard. See Keyboard. Adance of the ,negroes in the

Southern States, forming an essential
i. Style of playing, 2 (^l.jeux).
Jeu (Fr.) feature of the breakdown.
A stop of an organ, harmonium, harp-
.An organ-stop of either
sichord, etc. . .Jeu a louche, flue-stop, Jumbal, (Ger.)
see Ce'leste. 2 or 4-foot pitch.
.
.Jeu c/leste>
.
.Jeu d'anche,
vox angelica. Ju'belhorn (Ger.} See Klappenhor*^
reed-stop. . .Jeu d"anget
106 JUBILATE KERAULOPHON.
the Ka'non Canon.
Jabila'te. In the Anglican liturgy, (Ger.)
icoth psalm, following the second les- Kanta'te (Ger.) Cantata.
son in the morning service; flamed
from the first word of the psalm in the
Kanun'. A
of Turkish dulcimer
sort
or zither with gut strings, played with
Vulgate.
plectra adjusted like thimbles on the
In the R. C. musical
Jubila'tio (Lat.) finger-tips.
service, the melodic cadence or coda on
" Kanzel'le (Ger.) Groove (in windchest.)
the last syllable of alleluia"; also
Jubilus.
Kanzo'ne (Ger.) Canzone.

Julnlus (Lat.) i. Same zs Jubitatio. Kapel'le (Ger.) I. Especially in the i8th

2. An extended melodic phrase or orna- century, a company of musicians, either
ment sung to one vowel. instrumentalists or vocalists, or both,
maintained as part of the establishmemt
Ju'la (Ger.) An obsolete si-foot organ-
of a court or nobleman, or of some
stop. church dignitary. 2. In modern usage,
Jump. I. See Dump. 2. A leap. an orchestra. .Kapell'knabe^ choir- .

Jung'feniregal or Jung'fernstimme boy'. Kapellmeister, (a) conductor of

. .

Vox (Lat. also vox an orchestra (b) Choir-mdster. (Some-

;
(Ger.) angelica.
times literally translated chapel-master.)
virginea) ' '
.
Kapellfmeistermusiki
. band-master
Jupiter Symphony. Mozart's 4Qth (and music", i. e. music filled with reminis-
last) symphony, in C-major.
cences from works familiar to the con-
Juste (Fr.) Just, true, accurate (said of ductor-composer, and hence the reverse
intonation). .
.Justesse, purity (of tone) ; of original.
correctness, accuracy (of ear or voice).
Kapodas'ter (Gen) Capotasto.
7
Kassation (Ger.) Cassazione.
K. x
Kastagnet ten (Ger., pi.) Castanets.
Katalek xtisch (Ger.) Catalectic.
Kadenz' Cadence; close; ca-
Ka'tzenmusik (Ger., " cat-music".) A
(Ger.)
denza. .Ab'gebrochene K.> interrupted
.

the fer- K^ callithumpian concert, mock serenade.

&dttLte.,.Auf'gehaltene
mata (usually on the J chord) before Kavati'ne (Ger.) Cavatina.
a cadenza... Plagal'kadenz, plagal ca- Kazoo 7 A
musical (?) toy, consisting of
.

dence. . . Trug'kadenz, deceptive ca- a pasteboard tube furnished with a gut

dence. . Un'vollkommene
string, which vibrates when the per-
.
(voll'kom-
mene) K"., imperfect (perfect) cadence. former sings into the tube.
Also frequently Schluss (close),
which see.
Keck (Ger,) Bold, confident; pert.
(Also adverb.). .JCeck'Jieit^ boldness, .

Kalama'ika, A
Hungarian national confidence.
dance in 2-4 time and rapid tempo, of
Kelrte (Ger.) Throat... Kttffertig.
an animated and passionate character.
keit, vocal &Wi...Jeh?kopf
larynx.
" t

Kalkant' (Ger,) A bellows-treader" ..Kehl'scklag($T. coup de glotte), sud-

of the older German organs. Kalkan'- . .
den, firm attack of a vocal tone, the vo-
tenglocke^ bell-signal for the blower. cal cords closing and
adjusting them-
Kam'mer selves simultaneously with the emission
(Ger., imitating It.
camera,^
A private room or ..^fl/- small hall. of air.
merkantate, chamber^cantata .Kam'- KehraV, . . Kehraus' (Ger.) Familiar
merkomponist, court-composer (for a term for the concluding dance at a
prince's private band). . .Kam'merkon- party or ball.
ztrt, (a) chamber-concert, (b) chamber-
concerto . . Kam'merm usib
Ken'ner (Ger.) A connoisseur, expert
.
chamber- t

music^. .ICant'mermusiker, court-musi- Kent bugle. (Ger. Ktnthorn^ Key-

cian . . . Kam'mersanger,
court-singer . bugle.
Kam'mtrstil^ the style of chamber- Kerau/lophon, In the organ, an 8-foot
music. . . Karn'merton^ normal or stan-
partial having metal pipes
flue-stop,
dard orchestral pitch (now ^=435); of small scale, each surmounted by an
see Chorton. , court-
.Kam'mcrvirtvoS) adjustable ring, and with a hole bored
virtuoso, near the top the tone is soft and;
 KEREN KEYBOARD. 103

Inv. by Gray and Davidson o

reedy. key, a remote key. ..Major key, one
England. having a major third and major sixth.
A Hebrew .Minor key, one having a minor third
.
Keren. trumpet.
and sixth ... Natural key, one with
Kes'sel (Ger.) Cup (in mouthpiece < neither sharps nor flats in the
signature.
brass kettli ..Parallel key, (a) a minor
mstr.s). ..Kes'selpauke, key with
drum (usually simply Pauke). the same key-note as the
given major
key, or vice versa ; (b) same as Rela-
Ket'tentriller (Ger.) Chain of trills.
Hue key, see Relative. .Remote key, an
.

Kettledrum. (Ger. Pau'ke; Fr. tim indirectly related key (comp. Phone, 4).
bale; It.
tim'fano.) only
orches The
tral drum tuned to accord with othe Key (2). (Ger. Tas'te; Fr. touch* j It
instruments. It consists of a hollow ta'sto.) I. A digital or finger-lever in
brass or copper hemisphere (the kettle
a pfte., organ, etc. 2. A pedal orfoot-

resting on a tripod, with a head of ve!

key in the
organ and pedal-piano.
lum stretched by means of an iron ring
and tightened by a set of screws or Key (3). (Ger. Klap'fe; Fr. c&, clef;
It.
ckia've.) In various wind-instr.s, a
system of cords and braces. It is gener _ mechanical contrivance for opening or
ally played in pairs, the larger drum
closing a hole in the side of the tube,
yielding any tone from to c, and th F thus shortening or lengthening the vi-
smaller,^ >-,., , accord and consequently
brating air-column
in g a
raising or lowering the pitch of the tone
,

the heai
produced. The key here replaces the
is relaxed or tightened. The timpan it is
finger-tip; attached to a lever
were formerly noted as transposing in
worked by the finger or thumb, and
str.s (i. e. in 6", with the added direction
" differs in principle from the valve in
Timpaniin Ify, inZ>fr," etc.), butnow flat outside the tube.
lying
the notes desired are generally written
As used at first, they took only the toni< Key (4). A tuning-key.
and dominant of the movement, chiefl]
as a rhythmical reinforcement; now
Key (5). A clef. (Obsolete.)
they take very various intervals, anc Key-action. In the pfte. or organ, the
are employed to obtain musical anc entire mechanism connected with and
dramatic effects. They are struck with set in action by the keys,
including the
2 sticks having elastic handles and soft latter themselves.
knobs of felt, sponge, and the like.
Keyboard. (Ger. JKlaviatur*; Fr. cla-
Key (Ger. Ton'art; Fr. mode, ton;
(l). vier; It. tastatu'ra, tastiira.) The
It. mo' do, to'no.) The series of tones keys or digitals of the pfte., organ, etc.,
forming any given major or minor taken collectively. The modern stand-
scale, considered with special reference ard keyboard is the product of an evo-
to their harmonic relations, particularly lution extending over 1,000 Its
years.
the relation of the other tones to the
only successful rival at present is the
tonic, or key-note; the term "scale" Jank6 keyboard, inv. by Paul yon
indicates simply their melodic succes-
Jankoof Totis, Hungary, in 1882, which
sion. (Comp. Tonality^ Each key is
presents to the eye the appearance of
named after its key-note, as (7-major, rows of keys arranged step-
six different
tf-minor. See General View, page 108. wise, one above the other. But the
The following keys :
corresponding keys in the 1st, 3rd, and
E A* : (
c7-sharpmaj.[=:Z>-flat maj.l
5th rows are all fixed on one key-lever ;
A -sharp min.[=j5-flat min.J thus, if C be struck in the 1st (lowest)
: \
row, the corresponding keys 'in the 3rd
C-flat -and 5th rows are depressed ; further,
( maj.r=^-major]
the 2nd, 4th, and 6th rows are
\ .4 -flat inin.t=<-sharp min. J similarly
connected so that any given tone can
;

are comparatively used, being en-

little
harmonically equivalent to the simpler
keys added in brackets. . .Attendant
keys, see Attendant... Chromatic key,
one having sharps or flats in the signa-
ture; opp. tp natural key. ., Extreme
be struck in three different places, ad-
mitting of the choice of the key most
convenient to the position of the hand
at any given instant. The 6 rows are
therefore arranged in 3 pairs; in the
t
Jpwer row of any pair the succession of
 KEV-BUGLE-KEY-NOTE.

jA-major A dur La majeur La maggiore

j F-sharp minor Fis moll Fa diese mineur Fa diesis minore
Sharp
keys.
j E-major E dur Mi majeur Mi maggiore
i C-sharp miner Cis moll Ut diese mineur Do diesis minore

j B-major H
dur Si majeur ^ Si
^

"j G-sharp minor Gis moll Sol diese mineur Sol diesis minore

j F-sharp major Fis dur Fa diese majeur Fa diesis maggiore

{ D- sharp minor Dis moll Re diese mineur Re diesis minore

j G-flat major Ges dui* Sol bemol majeur Sol bemolle maggiore
| E-flat minor Es moll Mi bemol mineur Mi bemolle minore

J D-flat major Bes dur Re" bemol znajeur Re bemolle maggiore

I B-fiat minor B moll Si bemol mineur Si bemolle minore

j A-flat major As dur La be_mol majeur La bemolle maggiore

j F-minor F moll Fa mineur Fa minore
Flat
keys,
( E-flat
major Es dur Mi bemol majeur Mi bemolle maggiore
{ C-minor C moll Ut mineur Do minore

j B-flat major B dur Si bemol majeur Si bemolle maggiore

1 G-minor G moll Sol mineur Sol minore

JF-major .Fdur.' Fa majeur Famaggiilore

(D-minor Dmoll Re mineur Re minon
ire

keys is C DE [white] F$ G$ A$\ row: C$1ZtflUack] FG A$ [white]

[black] c [white], etc.; in the upper! 1
<% Mack], etc.:

upper row
'*
of keys
" "
(in pair)
" CJ DJ F G A B cij
.

lower lt
( D E FjfGjf Afl c.

Consequently, a chromatic scale is

-
Key-chord. The tonic triad.
played by the simple alternation be- A piano-violin.
tween the successive keys of any 2 ad- Keyed violin.
joining rows ; the fingering of all the Key-fall See Dip.
major scales is uniform, and all minor Key-harp. (Fr. clavi-harpe^ An instr.
scales are also fingered alike. The resembling a pfte, in form, and with a
width of an octave on the ordinary similar keyboard, but
key- having a set of
board is just that of a tenth on this ; so
tuning-forks in lieu of strings. Inv, in
that large hands can stretch a thirteenth,
or even a fourteenth
" """ 4 1819 l?y Dietz and Second. (Comp,
Klaviatur-Harfe)
ey-bogfe. Key-note, The tonic.
 KEYSHIP KLAVIER. log

Keyship. Tonality. I
3. .
.JClan^verivandschaft^ chord-re-
-

Key-signature. See Signature. lationship.

Key-stop; A
key (digital) attached to Klap'pe (Ger.) Key 3 ... JCla/fetthdrn,
the fingerboard of a violin so as to re- key-bugle.

place the fingers in stopping the strings ; Klarinet'te (Ger.) Clarinet.

the instr. is then called a key-stop (or
Klau'sel (Ger.) Clausula, cadence.,.
keyed-stof) violin, (Comp, Klavier-
Bass' klausel, the dominant-tonic skip
Violoncetlo^ of the bass at the close.
Key-tone. Same as key-note.
Klavaoli'ne (Ger.) See &olodicon*
Key-trumpet. A trumpet provided with Klavi- (Ger.) See Clam-.
keys.
Klaviatur' (Ger.) Keyboard... Kkn*.
Kicks (Gen) The " goose". '

atur-Harfe (or Klamer-Ha>rfe), a

Kin. An ancientChinese instr., consist-
ing of a soundboard with 2 bridges,
'over which silk strings varying in num-
ber from 5 to 25 are stretched they are
plucked with the fingers.
piano-harp, i. e. a harp with piano-key-
board, inv. 1893 by Ignaz Lutz of
Vienna; the strings are plucked or
;
twanged by plectra (in lieu of hammers)
actuated by the digitals the effect ;

Kin'derscenen Scenes of Child-

(Ger,) closely resembles that of the double-
action harp, the tone being even fuller.
hood (Schumann) . . Kin'derstile ke,
.

..Klawatur-Zither, piano-zither, 'i. e.

pieces for children.
a small grand shape, the single
pfte. in
Kind'lich (Ger.) Childlike with fresh,
strings of which are twanged by playing
;

naive effect.
on the keyboard ; inv. 1893 by Ignaz
King. An ancient Chinese instr., con- Lutz of Vienna.
2. A
6
sisting of a graduated series of 1 sonor- Klavier' (Ger.) I.
ous stones (or plates of metal), sus-
^A keyboard.
keyboard stringed instr.; specifically, in
pended by cords and struck with a the j8th century, a clavichord ; now, a
mallet.
pfte. of any Y\rA.*.Klamer'auszv.gy
Kir'ch enmusik (Ger,) Church-music. (a) pfte. -arrangement ; (b) vocal score .. ;

..Kv^chenton (pi-tone), a chtirch- Klamer-Harmoniuni, a combined pfte,

the style of andharmon.jinv. 1893 byF.Worouecki
raode...-/TzVf/^wj^7, (a)
harmonic progression peculiar to the of Przemysl, Galicia, is shaped like a
medieval church-modes; (l>) the style small grand piano, the harmonium-
of sacred music. mechanism being attached below and
Kis'sart The 5-stringed Abyssinian lyre. behind the body and controlled by from
.
5 to 10 draw-stops. ^Klame^holoe^
Kit. (Ger. Tafschengeige ; Fr. pochette ;
The small old-fashioned hannoniphon. ^KlameSmfa sigt suitable
It. sordi'no) for the pfte., in pfte. -style. .Klawer'- .

violin used by dancing-masters, with

satz, (music in) pfte,-style, pfte.-music,
the accordatura ^-g-W*, and about 16
pfte. -writing* \Klamersfiel, pfte.-playr
inches ia length over all.
ing. .Klavier- Violoncello the inven-
.
)

Ki'thara (Gk.) A harp-like instr. of the tion, in" 1893, of Prof, de Vlaminck of
ancient Greeks ; \ancestor (in name) of Brussels. To a 'cello, fixed on a hor-
the guitar, cithern, zither^ etc. izontal frame about the height of the

Klang (Ger.) I. sound. 2. A A com- knee, a keyboard is attached in such a

posite musical tone (a fundamental tone manner, above the strings, that by ma-
with its harmonics) ;
rendered by Tyn- nipulating it the player's left hand caii
dall "clang". 3. See Phone, i... effect all stops and double-stops. With
t
Khng boden^ soundboard (usually Re- the bow, all the effects on the 'cello as
/ " while
sonanssfboden. . fClang farbe > .
clang- ordinarily played are obtainable ;

tint","tone-color", quality of tone. purity of intonation is attained with

.
.Klan^folge^ a progression of chords, mathematical accuracy by the aid of the
viewed from- the standpoint of their tangents actuated by the keys ; even the
. .
Klangfiguren^ Chladni's vibrato effect can be brought out.
tonality,
see Nodal lines... Klang'ge'- Klavier- Viola, a viola to which a key-
figures ^

schltcht, mode. .Klang'schliissel, see

. mechanism similar to the foregoing is
,
Phone, 6. .
.Klangstufe, degree ; in- applied ; when played, it is set on alow
Klang'wrtret'ungi see Phone t table or stand.
-
terval, .
 KLEIN-KURZ.

Klein (Ger.) Small; minor. . *Kldn' both hands ; the chromatic tones are
gedaekt^ flute (organ-stop). produced by pressing the strings behind
the bridges.
KHng'ende Stim'raen (Ger.) Speaking
or sounding stops (of an organ) ; opp, to Kraft (Ger.) Force, vigor, energy..
stum'me Register* Kraf'tig, forceful, vigorous. (Also

Knee-stop. A knee-lever under the

adverb.}
manual of the reed -organ there are : Kra'gen (Ger.)
; Peg-box (of a lute).
kinds, used (a) to control the supply o] Krakowiak. See Cracovienne.
wind ; (b) to open and shut the swell- Krau'sel (Ger.) Mordent
box; (c) to draw all the~stops.
Krebs'ggngig (Gen) Cancrizans, retro-
Kneif'instrument (Ger.) An instr. hav- f
canon
grade. *.JCreb$ kanon> cancri-
ing strings plucked by the fingers or a zans.
plectrum. KreKschend (Ger.) Harsh, strident j

Knie'geige (Ger.) Viola da gamba. . .

screeching, screaming.
Knie'guitarre, guitare d'amour. * . "a
.
Kreuz (Ger., cross".) A sharp
KniSzug^ knee-stop, . .Kre
.Kreutfsaitig) overstrung. .

Knopfregal (Ger.) See Apfelregal tonart) a sharp key.

Kno'te (Ger.) Node, Krie'gerisch (Ger.) Martial, warlike.
nodal point.
Kriegs^ied (Ger.) War-song.
Kollektiv'zug (Ger.) Composition- Chroma*
(Ger.)
pedal
'Kol'lern (Ger.) Kruram/bogen (Ger.) Crook. . JCrumm'-
See Sgallinacciare.
Jiorn t (fCromfhorn, JCrumhorn, hence
Kolophon'. See Colophony. Fr. cromorne and It. cormomc ; It.

Combina- also cornamu'to tor'to^ or, for short,

Kombinations'pedal (Ger.)
stoiSto} i. An obsolete wood-wind instr.
4

tion-pedal. . .-^Combinations 'ton, combi-

n'ation-tone. of the Bombard class, blown means of by
^
a double reed within a cupped mouth-
Komponie'ren (Ger.) To compose...
piece, and differing from the bombards
JComponiert\ composed.. .Kompomst' ^
composer* by the semi-circular turn of the lower
part of the tube and by its remarkably
Kon'trabass(Ger.) Double-bass... Kon'- narrow compass (a ninth). In the i6th
trafagott^ double-bassoon... Kon'tra-
century it was made in 3 or 4 different
okiave, contra-octave. . .Kon'lrapunkt,
and bass, and
sizes, treble, alto, (tenor),
counterpoint. ..Kon'irasubjekt, counter- had 6 ventages on the straight part of
subject. the tube. The tone had a melancholy
Konzert' (Ger.) Concert; concerto. timbre, which was imitated 2. in the
(Also Concert} . . .
JConserfmeister, organ-stop of the same name (also
Konurtfoper, a
leader, first violin...
cormorne^ cremona, phodnx)> formerly
li^ht opera for concert performance in vogue for small-sized
organs and for
without stage-accessories. .Konzerlf- the echo-work of larger ones
(of 8 and
.

stuck, (a) a short concerto in one move- 4-foot pitch, on the pedal also of 16-
ment and free form ; (b) any short solo foot pitch as
Krumm'hornbass}\ a
piece for public performance. reed-stop, the tubes of which were fre-
Kopf'stimme (Ger.) Head-voice. quently half-covered, or conical below
and cylindrical above.
Kop'pel (Ger.) Coupler... Koppd ab, [RIEMANN.]
coupler off. . .K. an, draw coupler. Krus'tische Instrument See
(Ger.)
Kornett' (Ger.) Cornet. Scklagfinstrumente.
Kosalcisch (Ger.) A
national dance of Kuh^orn (Ger.) The alp-horn... Kuh^
the Cossacks, the
melody of which con- rdgen, Kuh'rdhen^ Ranz des vaches.
sists of 2 8-measure
repeats in 2-4 time.Kunst (Ger.) Art; science... Jfunstf.
/
Ko'to. The Japanese fugue, fuga ricercata...iTtfj/ ^, artist,
2ither-harp, with
13 silk strings stretched over an arching Kunsfiled, an a r/-song, opp. to folk-
. .

ctolong soundboard, each having a sep- song (Volkslied)...Kunstpfdfer, see

arate movable
bridge, by adjusting Stadtpfeifer.
which the string can be tuned. Com-
Kurz(Ger.) Short; cnsp(ly)..,JTur'zer
pass about * octaves. The player uses "-'-'-t; short mordent. ..KuSxeOk-
 KYRiE LAUTE.

ta've, short octave.., Kurz und be.

(in the organ).
stimmt', short and decided... Kur'zer
4. Key (on wind-
mstr.s).
Vor'schlag, short appoggiatura.
Languid. Same as Language.
Ky'rie(Gk.,"Lord''.) The first word,
and hence the Languidamen'te (It) Languishingly,
opening division, in the
languidly... Lan'guido, languid, Ian*
guishing.

L. Lantum. A large kind of hurdy-gurdy,

having a rotatory bellows which supplies
L. Abbr. for left (or Ger. links) in the wind to metallic
reeds, and played by
direction /. L (left hand). pressing buttons adjusted in front.
La. r. The 6th Aretinian syllable. 2 An
Lapid'eon. instr.
consisting of a
(Fr., It., etc.) The note ^.-3. The series of flint-stones graduated to the
(Fr., fern. sing.)...Z<z befool, etc., see tones of the scale, in a frame, and
hung
Key i, Table. played with hammers inv.
; by Baudry.
Labecedisa'tion. See BMsation.
Largamen'te Largely, broadly; in
(It.)
Labial'pfeife (Ger.) A labial (lipped) a manner characterized
by breadth of
pipe; a flue-pipe,., Labial'stimmt^ a style without change of time.
[GROVE.]
flue-stop. 11
Largan'do (It.) "Growing broader ,
Labisa'tion. Same as Bebisation. i. e. slower and more
marked ;
generally
La'bium (Lat) Lip (of an organ-pipe), a crescendo is implied.
(Plural, in Ger. use, La'Men.) Large. See Notation, 3.
Lacrimo'sa (Lat.) First word in the Large, Largement
8th
(Fr.) Largamente
strophe of the Requiem ; hence, (Ger. lrdt}\ sostenuto (Ger.
name getragen).
of a movement or division of the
Larghet'to (It.) Dimin. of Largo; calls
grand musical requiem, usually of a for a somewhat
tender and plaintive character. quicker movement,
nearly equivalent to Andantino.
La'ge (Ger.) Position (of a chord);
Lar'go (It.; superl.
larghis'simo.) Large,
position, shift (in violin-playing). . .La'-
broad the slowest tempo-mark,
;
genwecksel, change of position, shifting. calling
for a slow and
stately movement with
.
.Enge (weite) Lage, close (open) har-
ample breadth of style. .Z. assa'i, with .

mony. due breadth and slowness. .Z. .

/ dimolto,
Lagriman do(It.) Complainingly, pladn- or molto largo, an intensification of
tively^.Z^m^X "tearful", plain- Largo. .Poco largo, "with some
.

tive, in the style of a lament.

breadth"; can occur even during an
Lah. For La, in the Tonic Sol-fa
system. Allegro.
Lamentable (Janientan'do, lamen- Larigot (Fr.) Originally, a land of
te'vole, lamento'so) (It.) In a sad, '
shepherd's pipe, or flageolet ; hence, an
melancholy, or plaintive style. organ-stop of i^ foot pitch, one of
Land'ler (Ger.) A slow waltz of South the shrillest registers,

Germany and Austria (whence the Fr. Lau'da (Lat.) A laud (hymn or song of
name Tyrolunne), in 3-4 or 3-8 time, praise). .Lau'des, lauds'; together with .

and the rhythm matins, the first of the 7 canonical

hours, taking its name from the I48th,
J J j J..J. I49th, and isoth Psalms then sung.
.r.,.E|j
See Z^/^js.
slowly...Z^'- Lauf(Ger.)
i.
Lang'sam (Ger.) Slow, Peg-
samer, slower. box (usually WiSoelkasten).
Language. In a flue-pipe of an
organ, Lau^er (Ger.) -A run,
an inner partition between foot and
Lau'nig (Ger.) i. With light, gay humor.
body ;
see Pipe i, a. 2. With facile, characteristic
expres-
Languen'do, Lariguen'te (It.) Lan- sion.

guishing, plaintive. Laut (Ger.) r. Loud. 2. A sound.

Languette (Fr.)
sichord-jack,
i. The tongue of a harp- Lau'te
on which the quill was viol.
(Ger.) A lute..^**
7
^^, a
Lau'teninstrumente, see Kneif*
.

fixed. 2.
Tongue of a reed in the imtrumente... Lanterns?, lute-player.
harmonium or reed-organ. Pallet
3. ...Lau'tenmacher, see Luthier.
CI2 LAVOLTA LEITMOTIV.

LavoTta (It.) An
old Italian dance in Leger, le"gere (Fr.) Light, nimble...
the waltz. Le'gerement, lightly, nimbly,
>
triple time, resembling
/
Lay. A
melody or tune. Leg er-line. (Ger; Hilfs'linie; Fr. ligne
ajoutte; It. ri'go aggiun'to
or finto.)
Le (Fr. and It.) The.
One of the short auxiliary lines used for
Lead. I. The giving-out or proposition
A cue writing notes which lie above or below
of a theme by one part.
2.
the staff. Leger-lines are counted away
(comp. Presa). from the staff, either up_or down...
Leader, i. Conductor, director. 2.
Leger-space, a space bounded on either
In the orchestra, the first violin ; in a side or both sides by a leger-line.
band, the first cornet ; in a mixed
Leggerez'za (It.) Lightness, swiftness.
chorus, the first soprano. (In small
orchestras the leader [ist violin] is still,
.
.Leggermen'te, lightiy, swiftly. . .Leg-
as was the rule in earlier times, also giro, same as Leggiero.
the conductor,) Leggiadramen'te. (It.) Neatly, ele-
InIa gantly, gracefully.. .Leggia'dro, neat,
Leading. (noun). composition,
the melodic progression of any part or graceful, elegant ; in a brisk and cheer-
ful style.
parts. 2 (adjective). Principal, chief;
guiding, directing. .Leading-chord, the Leggieramen'te, Leggiermen'te (It.)
.

dominant chord, as leading into that of Lightly, swiftly, .Leggie're, light, etc. .

the tomz... Leading melody, principal .

melody or theme. .Leading-motive, see
.
Leitmotiv. ..Leading-note, -tone (Ger.
Letfton; Fr. note sensible; It. no'ta
semi'biti), the 7th degree of the major
and harmonic minor scales; so called
JLeggierez'za, lightness, swiftness. . .
Legg&ro, a direction indicating, in
piano-technic, that the passage is to be
performed with as great lightness as is
consistent with the degree of loudness
required ; generally in swift piano pas-

because of its tendency, in certain sages with little rhythmical emphasis.

melodic and chordal progressions, to It differs from Legato in calling for a
the tonic. mere down-stroke of the fingers without
Leaning-note. Appoggiatura. pressure, and with a quick, springy re-
coil. .L. con moto, lightly and swiftly.
Leap. i. In piano-playing, a spring .

"

from one note or chord to another, in Le'gno, col (It.) "With the stick" ; in
which the hand is lifted clear of the violin-playing, a direction to let the
keyboard. 2. See Skip. stick of 'the bow fall on the strings.

Leben'dig, -
Leb'haft (Ger.) Lively, Leicht(Ger.) i. Light, brisk.--2. Easy,
animated. (Also adverb.). . .Leb'kaftig- facile. . .Leicht bewegt, (a) leggiero con
keit, animation ; Mit L.
und durchau/ moto ; (b) with slight agitation.
mit Empfndung vnd Ausdruck, with
Lei'denschaft (Gen) Passion, fervency,
animation, and with feeling and ex- vehemence. Mit t or lei' denschaft- . .

pression throughout, lick, passionately,vehemently.

Ledger-line. See Leger-Une. Lei'er (Ger.) Lyre; L.&asten, hind-organ.
Legan'do. See Legato.
(It.) Lei'se (Ger.) Low, soft, piano.
Lega'to (It. superl. legatis'simo) Lei'ter
;
(Ger., ladder ".) Scale ( Ton'-
* *

'"Bound"; a direction to perform the letter). .Lei'tereigen, proper or belong- .

and
,

passage so marked in
a smooth
ing to the scale. .Lefterfremd, foreign .

connected manner, with no break be- to the scale.

tween the tones ; also indicated by the
"
Leitmotiv [-teef"] (Ger.) Leading-mo-
legato-mark, a curving line drawn
over
tive a term brought into special prom-
or under notes to be so executed... ;

slur.
inence by Wagner's musical dramas,
Lega'fabogen (Ger,), legato-mark, and applied to any striking mus. motive
Legatu'ra (It.) A tie a syncopation.. .
(theme, phrase) characteristic of or
;

'L & voct, see Ligature 2.

accompanying one of the persons of the
Fr. Ugende?) drama or some particular idea, emotion,
Le'gend. (Ger. Legen'de ;

A composition based on a poem ^

of or situation in the latter ;
the motive
the poem serving
lyrico-epic character, recurring reminiscently at suitable stages
either as text or program, . Legen'den- .
of the action... Also used of similar
ton, im (Ger.), in the style of a romance motives in recent operas, oratorios, and
or legend program-music.
 tEITTON-LIE. 1*3

Leit'ton (Ger.) Leading-tone. Lieb'lich (Ger.) Lovely, sweet, charm-

ing often with names of organ-stops.
Lenez'za, con In a gentle, quiet ;
(It.)
manner. Lied Song.AA preeminently Ger-
(Ger.)

Le'no
man song-form is that of the durchf-
(It) Faiat, feeble.
komponiertes Lied, which differs from
Lent,-e (Fr.) Slow. .Lentement, slowly. .
the ballad (Stro'phenlied) in not repeat-
. .Lenteur, slowness.
ing- the same melody for each stanza,
Len'to (It.) Slow ; a tempo-mark inter- but following closely the sense of the
mediate between 'Andante and Largo words by changing melody, harmony,
(comp. art Tempo-mavlt). Also used and rhythm... Kims?lied, Yolks'lied,
as a qualifying term, as Adagio non Yolks' t(K)iimliches Lied, see those
lento. .Lentamen'te, slowly. .Lentan'-
. . words.. .LiefdercycluS) a cycle (set) of
do, growing slower, retarding ; a direc- songs. ,Lie*derkranz, (a) a choral so-
tion to perform a passage with increas- ciety; (), also Lie'derkreis, a set or
ing slowness (ritardando, rallentando)* series of songs.. . Lie*der
spiel, see
Vau-
. .Lentes^za^ con, slowly, deliberately. deville.. .Li?dertafel, a singing-society

Lesser. of men, of a social character... Lied-

Minor; as the lesser third...
Lesser appoggiatura, shortappoggiatura. form, see Form.
..Lesser whole tone, see Intervals, Liga'to (It.) Legato.
Table III, foot-note. Fr. ligature;
*

Ligature. (Gtr.Ligatur' ;

Lesson. (Fr. fyon.) In the ryth and It. legatu'ra) i. In mensurable music,

1 8th centuries, the name of the several a connected group of notes to be sung
pieces for the harpsichord, etc., which, 'to one syllable. Ligatures were de-
when combined, formed a Suite, rived from the compound neumes ;
their
Le'sto (It.) Lively, brisk. simplest form is the Figura olliqua
Letter-name. A letter used to desig- (q. v.) (Comp. Proprietas, Improprietas,

nate a tone, note, key, or staff-degree. Perfection, Imperfection^) 2. In mod-

ern music, a group or series of notes to
See Alphabetical notation.
be executed in one breath, to one syl-
Lev (Fr.) i. Up-beat. 3. Auftakt,
lable, or as a legato phrase. 3, tie ; A
Ley'er (Ger.) Earlier spelling of Leier. hence, a syncopation.
Liaison (Fr.) I. A tie. 2 (liaison
Ligne (Fr.) A line. .
.Ligneajoute'e (fos-
d'harmonie). A syncopation, 3. See
tiche, or suppMmentaire), a leger-line.
Ligature 2.
Li'mite (It) Limit.
Liberiion. An
automatic music-box,
Lim/ma. See Apotome.
distinguished by the feature that the
notes are represented by perforations in Li'nea (It) A line.
sheets of tough cardboard, which (as Lin'gua. (It) Reed (of organ-pipe).
ik&yfass through the box) can be made
/
Lingual pfeife (Ger.) Reed-pipe (usu-
continuous, so that compositions of any ally Zung'enpfeife).
desired length may be performed.
Lfnie (Ger.) A line. .
.Li'niensystem^
Liberamen'te (I*.), Librement (Fr.) the staff.
Freely.
Linings. (Ger. Fattening; Fr. contre-
Librettist, A
writer of libretti,.. Li-
Misses.) In the violin, etc., the strips
brefto (It., pi.-/. ; Fr. ditto, or livret; of pine-wood glued inside the body to
Ger. Text). A "booklet" specifically, ;
the ribs, to stiffen the fixed structure.
one containing the words of an opera,
Lin-Ice Hand (Oer.) Left hand.
oratorio, etc. also such words or text,
;

whether in book-form or not a book. Lip. I. (Ger. Lip'pe or [Lat] La'bium,

;

License. (Ger. Frei'heit; Fr. licence ; pL La'bien; Fr. biseau [upper lip].)
It. An intentional deviation
The lips of a flue-pipe are the flat
Kcen'za.)
Con surfaces above and below the mouth,
from established custom or rule. . .

called the upper and lower lip. See

alcu'no licenza (It.), with a certain
2, a. 2. (Ger. Arfsatz; Fr. em-
freedom. Pipe
bouchure; It. imboccatufra.) The art
^
Lice'o (It.) Academy (of music). or faculty of so adjusting the lips to the
Lich'anos (Gk.) See Lyre i.
mouthpiece of a wind-instr. as to pro-
Tied duce artistic effects of tone ; also lipping
Lie-(Fr.) ; legato.
 114 LIPPENPFEIFE-LUR.

Lip'penpfeife (Ger.) Flue-pipe (usually 8va, "perform the notes as written'

Also al loco.
Labialpfeifj).
While the Lo'crian. (Ger. lo'krisch^ See Mode.
Li'ra (It.) Lyre (see Z^).
ancient- lyre was a harp-like instr., the Long. (Lat. hnga^ See Notation, 3 ;

lira of the i6th-i8th century was a also for Long-rest.

with a
species of viol, a bow-instr. Lonta'no (It.) Distant.. .Da /.. or in
number of and made in
varying strings, lontanan'm, from a distance, far away.
3 principal sizes... L. barberi'na, a A
small lyre inv. by Doni of Florence in Loop. I* vibrating portion of a
the iyth century. da brae*do
* .Z.
-
body, bounded by 2 nodes. See Node.
,

** 2. The cord fastening tailpiece to

arm-lyre", a bow-instr. first mentioned button (violin, etc.)
in the gth century, and appearing in
the i $th as an instr. resembling the Lo'sung, fort'schreitende (Ger.) Reso-
viol in form of head and in stringing, lution (usually Aufldsung).

though in other points (and finally in Loud pedal. Damper-pedal.

the adoption of 4 strings) like the vio-
Loure (Fr.) I. An ancient Fr. bagpipe
lin (see art. Violin, foot-note),. .L. da
inflated by the mouth hence 2. -A
;

gam'ba^ knee-lyre.. .L. tede'sca^ hurdy- dance named from the instr., on which
gurdy. it was
formerly played, in 6-4 or 3-4
Li'rico,-a (It.) Lyric, lyrical, time and slow tempo, the down-beat
Liro'ne (It.) The
great bass lyre (also strongly marked.
Accor*do, Archivi&la di lira)) with as Lour6 non staccato.
(Fr.) Slurred, legato,
many as 24 strings.
Low. I. lei'se Fr. douce;
(Ger. ; It.
Li'scio Smooth, flowing.
(It.)
pia'no.) Soft, not loud. 2. (Ger. tief;
L'istes'so. See Istesso. Fr. bas,-se ; It. basso, -a!) Grave in
Litany. (Gk. lifanei'a; Lat. and It. /z- pitch, not acute.
tani'a; Fr. (pi.) litanies; Ger. Litanei'.) Lugu'bre (Fr. and It.) Mournful.
A song of supplication; "a solemn
Lullaby. Cradle-song, berceuse,
form of prayer, sung, by priests and
choir, in alternate invocations and re- Lun'ga (It.) Long. Written over or
under a hold, it signifies that the latter
sponses, and found in most Office-
is to be
books, both of the Eastern and West- considerably prolonged. .Lun- .

ern Church" [GK.OVE]. Litanies were gapa'usa, a long pause or rest. Lun-
originally employed in processional ghe (pi. of lunga), drawn out, pro-
supplications for averting pestilence longed "note" (notes) being implied.
;

and other dangers, and later adopted Luo'go (It.) Same as Loco.
by the Church as portions of the reg- Lur
ular service at certain seasons.
(Danish, from Old Norse ludr, a
hollowed piece of wood.) I. unique A
Lit'tera significati'vae (Lat,) Single pre-historic wind-instr. of bronze (alloy
letters, or abbreviations, of doubt- of copper 88.90$, tin io.6i#, nickel
ful significance, employed in medie- and iron 0.49$), numerous well-pre-
val neumatic notation.
(Ger. Roma'- served specimens of which have been
nusbuchstaben.) found, but only in Denmark, southern
Liu'to (It.) A lute. Sweden, and Mecklenburg. The long,
Livre Book..^ livre ouvert, at slender, exactly conical tube, varying
(Fr.)
in length from 5 ft. to 7 ft.
sight. in., 9^
forms a sweeping, graceful curve (for-
Livret (Fr.) Libretto.
ward from the player's lips, upward
Lo(It) The. and backward over his left shoulder,
Lob'gesang or and forward again over his head), and
(Ger.) Song hymn of
praise. terminates with a broad circular flat
Loch in der Stinime (Ger.) plate (about 10 in. in diam.) in lieu of
"
"Hole a flaring bell. This
in the voice said of that part of a
;
plate is ornamented
with bosses in front, and on the rear
register in which certain tones cannot
be made to " with several small bronze
tassels, de-
speak" on account of a
morbid state of the vocal pending loosely. The Lur has a cupped
organ.
mouthpiece, shallower and more nearly
Lo'co (It) Place; signifies, following V-shaped than that of the trombone.
 LUSINGANDO-MACHtTE.
The tone is powerful and mellow. 2. 10 in number, were stretched from this
The modern Lur of Norway and Swe-
, cross-bar to or over a bridge set upon
den, is
usually made of birch bark, and the soundboard, and were plucked with
is allied to the Swiss alp-horn. a plectrum. The names of the strings
Lusingan'do, Lusingan'te (It.) Coax- (whence were derived the names of most
also lusinghSvoh. of the tones in the Greek modes) on the
ing, caressing ; , .

Lusinghevolmen'te, coaxingly, etc, . . 8-stringed lyre were as follows :

Lusinghiire, or -0, coaxing, flattering, HyftaU, "uppermost" (as ths lyre was
*
seductive. held) the longest and deepest-toned*
Parktfatc." "next to hypate".
Lus'tig (Ger.) Merry, gay (also adverb}. Liwatws. forefinger-string ".
Lute. (Ger.Lau'te; Fr,/fdA/It.AVto.) Mtfse^ middle
" string".
ParamSsf, next toTtf ese ".
A stringed instr,, now obsolete, of very Trite, "third string" (from the lower
it was
ancient origin ; brought to Eu- side).
"
Paraae'tei next to the last ".
rope by the Moors, who called \\Al ud
}

1'
JV/fr, "last, or "lowermost" (the high-
or At 0^.:.The body has no ribs, est in pitch).
the back being, like that of the mando-
The Kithara may be considered as &
lin, in the vaulted shape of half a pear.
large form of the lyre, the Chelys as a
The strings, attached to a bridge fixed treble lyre. The lyre differed from the
on the face of the instr., and passing
harp in having fewer strings, and from
over or beside the fretted fingerboard, the guitar, lute, etc., in having no fin-
were plucked by the fingers, and varied
gerboard ; its compass and accordatura
in number from 6 up to 13, the highest
varied greatly. It was chiefly used to
or melody-string (treble, canto) being
accompany songs and recitations. 2.
single, and the others in pairs of uni- An used in military bands, con-
instr.
sons. Bass strings off the fingerboard,
sisting of loosely suspended steel bars
each yielding but one tone, were gener-
tuned to the tones of the scale and
ally attached to a second neck ; they struck with a hammer. 3. See Re bee.
were in later times covered with silver
Lyric, lyrical. Pertaining to or proper
wire, the other strings being of gut.
These bass strings were introduced in
for the lyre, or for accompaniment on
the i6th century, and led to divers modi- (by) the lyre ; hence, adapted for singing
or for expression in song. The term is
fications in the build of the instr. the ;

various forms of large double-necked
lutes then evolved (theorbo, archiliuto,
chitarrone) being general favorites, and
holding, from the isth to the I7th cen-
tury, the place in the orchestra now oc-
applied to music and songs (or poems)
expressing subjective emotion or special
moods, in contradistinction to epic (nar-
and dramatic (scenic, accom-
rative),
panied by action)... Lyric drama, the
opera. .Lyric ofera^ one in which the
.

cupied by the bass violins. Music for

the lute was written in tablature, there expression of subjective feeling, and the
lyric form of poetry, predominate. . .

being 3 systems (French, Italian, and

Lyric stage, the operatic stage.
German).,. A lute-player is variously
called a lutenist, lutanist, Minis t, and
lutist*
M.
Luth (Fr.) Lute. . .Luthtrie, the trade
M. Abbr. of It mano> and Fr. mam,
of, and also the instr.s made by, a
(hand); in organ-music, of manual
luthier* . .Luthier, formerly, a lute-
(usually Man.), and Lat. manua' liter j
maker ; now, a maker of any instr, of
jand of metronome (usually M. M.) and
the lute or violin class.
mezzo. . .n represents the note me (mi)
Luttuo'so (It) Mournful, plaintive... in Tonic Sol-fa notation.
Luttuosamenfte, mournfully, etc.
Ma (It.) But ; as in the phrase vivace,
Lyd'ian. (Ger, l/disch.} SeeJEfmfr. ma non trofpo, lively, but not too much
I. (Gk. and Lat l/ra; It. li'ra; Fr. so.
Lyre.
lyre; Ger. Lei'er,} A
stringed instr. of Machete. A small Portuguese guitar (oc-
the ancient Greeks, of Egyptian or tave-guitar), having 4 strings tuned :

Asiatic origin. The frame consisted of

a soundboard or resonance-box, from
9
which rose 2 curving arms joined above I

by a cross-bar the strings, from 3 to

;
or sometimes d* instead of A
 n6 MACHINE-HEAD-BffANDOLIN.

Machine-head. (Ger. Mtcha'nik^ A Magazin'balg (Ger.) Reservoir-bellows

'
substituted (organ).
rack-and-pinion adjustment
far 'the ordinary tuning-pegs of the Maggiola'ta (It.) A May Song.
double-bass, the guitar, and of the mel-
Maggio're (It.) Major.
ody-strings of the zither.
A "fancie", or piece of an
" Maggot.
Ma'dre, alia To the
impromptu and whimsical character.
(It.) Mother;' ;

a superscription of hymns to the Virgin.

Magnificat. Name of and first word in, ,

" "
Mad'rigal, (Ger, and Fr. Madrigal'; the Magnificat anima mea dominum
It. madrigqfk, madriafle, mandria'le.) (my soul doth magnify the Lord), the
a short poem of an or song of the Virgin Mary (Luke
Originally, lyrical hymn
amorous, pastoral, or descriptive char- I, 46-55), sung in the daily service of
acter. Hence, a poem of this kind set th Church.
to music, which is polyphonic, with in-
Main (Fr.) Hand . . . M. droite (gauche),
cessant contrapuntal variations, and
harmonique, right (left) hand...^f.
"based (in the stricter style) on a caritus
harmonic hand,
frmusj-'it is without instrumental ac- Maitre
(Fr.) Master.. JIT. de chafette,
companiment, and differs from the
Motet in being of a secular cast. This Kapellmeister, conductor. ..M.de mit~
sique, (a) conductor ; () music-master,
style of composition appears to have
teacher.
,
had its rise in the Low Countries to-
wards the middle of the I5th century, Maitrise (Fr.) In France, prior to 1789,
a music-school attached to a cathedral,
-
spreading thence to other European
and cultivated with suc- for the education of young musicians,
States, peculiar
cess in and well into the who were called enfants de chaur. Some
Italy England
few were reestablished, and still eadst.
i8th century ;
in England the Madrigal
x
Society still flourishes. Madrigals are Majesta tisch (Ger.) Majestically).
written in from 3 to 8 or more parts, Fr. majeur ; l\*mag-
Major. (Gvc.dur; "
and are best sung by a chorus, which
' gio're.) Lit. greater", and thus opp, to
**
feature forms one of the chief distinc- minor lesser." (Comp. Phone Inter-
, ^

, tions between the M. and the Glee (for val?) .Major cadence, one closing on a
. ,

solo voices).
major triad. .M. chord or triad^ one
.

Maesto'so (It,) Majestic, dignified... having a major third and,f^e^ffif4.

^.Maesth! (cori),M&esta' de (con), Maeste*-
f
. . M. interval, key*$ m$]dfct scatt, tomb-
ity, see the n<?*ms. . . M. whole tone, the
vole, Maestevolmen'te, Maestosamen'te,
with majesty or dignity, majestically, greater whole tonfi 8:9 (as c~d)\ opp.
to the lesser (or minor) whole tone 9:10
Maestra'le (It.) Occasional term for
'

the stretto of a fugue, when in canon- (as d-e).

form. MalinconTa (It.) Melancholy. .. Con

Maestri'a (IO virtu-
m., with melancholy expression, deject-
Mastership, skill,
edly (also malinconicamen'te) Malin- . . .

osity.
co'nico {-nio'sO) -no* so), melancholy,
Mae'stro (It.) A master. . .M. alcem'- dejected. Also Melanconi'a, etc.
fo/<?;term formerly applied to the con- Mancan /do (It.) Decreasing in loud-
ductor of an orchestra, who sat at the
ness, dying away, decrescendo; usually,
harpsichord instead of wielding the a combination of decrescendo and ral-
"
baton. . .M. dd$u1?ti, master of the leniando is intended (v. Tempo-mark).
1

boys *, i. e., the choir-master of St.

Peter's at Rome. .M. Manche(Fr.) Neck.
.
delco'ro, choir-
J " Mando'la (It.) A large variety of Man-
master. M. di canto, singing-master.
. .

dolin.
. . M.
di capptfla, (a) choir-master ; ()
Man'dolinfe). (It mandoli'no.) Aninstr.
-conductor; (f) Kapellmeister (conduc-
tor of chofus and orchestra). of the lute family, the body shaped like
that of a lute, though smaller, having
i(Gk.) An ancient Greek instr. wire strings tuned pairwise, played with
-with ao strings tuned in, octaves two
by a plectrum, and stopped on a fretted
two* ; hence the term mag'adize, to
'

sing There are 2 chief varie-

in parallel octaves, as boys and men. fingerboard.
* ties, (i) the Neapolitan (mandolino
Ha'gas (Gk.) Bridge (of a cithara or napQlita'no), which has 4 pairs of strings
tyre) ; fret (of a lute).
1
tuned^ -^ -^ like those of the violin ;
1
 MAN&OLINATA-MASCHINEN.

and (2) the Milanese (mand. lumbar*do), Para'dtmarsch ; Fr. Pas ordinaire) has
which has 5 or 6 pairs, ? about 75 steps to the minute ; the Quick-
tuned g-^-cfi-d*-? (orr ., n step (Ger. Geschwind'marsch; Fr, Pas
g-b-e -a -d*-e*). Com- .'fly
l l
redoubti), about 108 ; while fora Charge
-
.'

pass aout
about 3 octaves :^J' (Gen Sturm'marsch ; Fr. as charge) P &
some 1 20 steps per minuteare reckoned.
Mandolina'ta (It.) A
piece for mando- ..Besides these military marches of a
lin, or played with mandolin-effect.
bright and martial character, Funeral
Mando'ra,Mando're, SzmeasMand'ota. or Dead Marches are composed, slower
Ma'nico (It.) Neck (of a lute, violin, etc.) in movement and more solemn in effect,

Man'ichord. (Lat. manichof'dium) A andsometimessymphonicallydeveloped.

term variously applied to different forms Marche (Fr.) I, A march. 2. Pro-
of obsolete keyboard stringed Jnstr.s. gression .Marcher, to progress*. . .

Mauler' (Ger.) An agrdment (harpsi- Mar^cia (It.) A march alia m. in ; t

chord- or clavichord-grace). march-style.

Mame'ra Style, manner, method. Mark. (Often equiv.
(It.)
to sign.) Cadence-
..Con doke *., in a suave, delicate mark, the vertical line separating the
style.
words of a chant, dividing those sung
to the reciting-note from those in the
Manifold fugue. See Fugue.
cadence... Harmonic mark, see Har-
Man'nerchor (Ger.) A male chorus monic 2, b., .Metronomic mark^ see
;

also, a composition for such a chorus.

Metronome. .Mark of expression^ see .

..M&n'nergesangverein, men's choral Tempo-mark, see . .

Expression-mark.
society... Mtinnerstimmen, men's voices. that word.
Ma'no (It.) Hand . . . M. de'stra (sini'- Markiert' (Ger.), MarquS (Fr.) Marked,
stra), right (left) hand. accented; marcato.
Man'ual, i, A digital. 2. Ma-
(Ger. Marseillaise. The French revolution-
nualf; Fr. clavier; It. manua'le) An ary hymn, thepoem of which was
organ-keyboard; opp.to/^/. (Com- written and set to music during the
pare Organ.). . .Manual-key, a digital. night of April 24, 1792, by Rouget de
, .Manual' koppel(Gtr.), a coupler con-
v
Lisle, Captain of Engineers, at Strass-
* '
necting 2 manuals, burg first named by its author " Chant
;

Manu'briuni (Lat.) Knob of a draw- de guerre de Tarmee du Rhin but, ;

stop; Ger. Manu'brien, whence

pi. soon after its introduction in Paris by
Manu'brienkoppel, draw-stop coupler. the soldiers of Marseilles, it became

Marcan'do (It, "marking".) universally known as "La M." f or

)
with dis-
" "HymnedesMarseillais''.
Marca'to (It., marked ".) \ tinctness
and emphasis... Marcatis'simo, with Marteau (Fr.) i. Hammer (of pfte.-
Tuning-hammer. 2.
very marked emphasis. action).

March. (Ger. Marsch; Fr. marche ; Martel6(Fr.), Martella'to (It)" Ham-

It mar*da) A composition of strongly mered"; a direction in music forbow-
marked rhythm, suitable for timing the instr.s, indicating that the notes so
marked are to be played with a sharp
steps of a body of persons proceeding
at a walking pace, and thus bearing a and decided stroke (usual sign ; in
j^)
processional character akin to that of piano-music, that the keys are to be
the Polonaise, Entre'e, etc. The march- struck with a heavy* inelastic pkmge^of
form of the earlier operas and clavier- the finger, or (in octave-playing) with
pieces also resembles that of the old the arm-staccato.,, Martellata notes
dances, consisting of 2 reprises of 8, are generally mtzso staccato, .anjl often
(12),or 16 measures. The modern take the sign or jr/*. >
march-form is further developed ; it is In harp-playing,
Martellement (Fr.) i.
in 4-4 time, with reprises of 4, 8, or 16
calls for the crush-note (acciaccatu*ra)
measures, and is followed by a Trio or redoubled stroke. 2. Comp. Graces.
(usually in the dominant or subdom-
Mar^ia'le (It.) Martial, warlike.
inant key and of a more melodious
Maschera7ta Masquerade.
character), after which the march is
(It.)

repeated, often with amplifications. Maschi'nen (Ger., pL) See Pistons. . .

The ordinary Parade March (Ger. Maschi'ntnpaukcn> kettledrums pro-

 MASK-MEDIUS.

vided with a mechanism for the rapid Matins. The music sung at morning
adjustment of the pitch. prayer, the first of the canonifal hours.

Mask, Masque. (Ger. Mas'kenspiel;

Maul'tronmiel (Ger.) Jew's-harp.,,
Fr. masque,) The mus. dramas called Maul'trommelklamer, the melodicon.
masques, so -popular during the i6th Mas/im. (Lat. maxima,) See Notation,
and I7th centuries, were spectacular 3, Large.
plays on an imposing scale and with MazurTca. A Polish national dance in
most elaborate appointments, the sub- and moderate tempo, with a
triple tune
ject being generally of an allegorical variable accent on the third beat.
or mythological nature, and the music
both vocal and instrumental The Me. For mi (Tonic Sol-fa).
masque was the precursor of the opera, Mean. Former name for an in'ner part
but was distinguished from it by the (as the tenor or alto), or an inner string
lack of monody. (of a viol).,. Mean clef, the <7-clef, as
used for noting parts. the inner
Mass. (Lat. mt'/sa; It. mesfsa; Fr.
" Mass " Mean^tone
and Gen Mes'se.) is derived system. See Temperament.
**
from missa, in the phrase Ite, missa Measurable music. Mensurable music.
"
est [ecclesia] (Depart, the congrega- Measure. I. (Ger. Takt; Fr. mesure;
tion in the
is dismissed), addressed, It. misu'ra.) A metrical unit, simple or
R. C. Church, to persons in the congre-
compound, of fixed length (time-value)
gation not permitted to take part in the and regular accentuation, forming the
communion service, the Mass itself
smallest metrical subdivision of a piece
taking place during the consecration of or movement visibly presented by the
;
the elements. The divisions of the
musical mass are (i) the Kyrie group of notes or rests contained be-
(2) ;
tween two bars, and familiarly called
the Gloria (incl. the Gratias agimus,
a "bar", (Comp. Time.) 2. Occa-
Qui tollis, Quoniam, Cum Sancto Spirk sional for tempo. 3. A dance having a
tii) (3) the Credo (incl. the Et incar-
stately and measured movement.
;
-

natus, Crucifixus, Et resurrexit); (4)

the Sanctus and Benedictus (with the
Hosanna) ; (5) the Agnus Dei (incl. the
Dona nobis).
IJ-JJJS passed through
very various -$o^esXpo1n the simple
unison chant of Plain Song to the most
elaborate productions of late medieval
Measure-note, a note indicated by the
time-signature as an 'even divisor of
a measure ; J thus indicates that each
measure has 3 quarter-notes, and a
measure-note is then a quarter-note. . .
Measure-rest, see Rest.

counterpoint, with a transition there-

M6canisme (Fr.) Technic or technique ;

after to the severity of the Palestrina mechanical skill. (It. meccanismo.)

epoch, to the vocal masses in 8, 16, or Mecha'nik (Ger.) i. A mechanism or
even 32 parts, and finally to the grand mechanical apparatus, such as (a) the
mass with full chorus and orchestra pfte.-action ; (6) the machine-head of a
(missa soletn'nis)...High mass, one guitar, zither, etc. 2. In
pfte.-playing,
celebrated on church festivals, accom- (a) technique ; (d) specifically, the mere
panied with music and incense... Low mechanical action of the fingers and
.
mass, one without music. .Missa breif-
.
hand, as the lift and dawn-stroke of
is, short mass of Protestant churches, finger or wrist, the passing-under of
incl. only the Kyrie and Gloria, the thumb, etc. ; often carelessly trans-
Ma'ssig (Ger.) lated by mechanism.
Moderate(ly).
Mas'sima (It.) i. The maxim. 2. A Mechanism. See Mechanik 2 b.
whole note. 3 (adj.) Augmented (of Mede'simo (It. ) The same.
intervals). Me'dial. Proper to the Mediant.
Master-chord. The dominant chord . . .
Me'diant. i. (Ger. and
Median' te; It.
Master-fugue, fugaricercata. . Master-.
Fr. mtdiante.) The a
third degree of
note, leading-note... Mastersinger, see
scale. -2. In medieval music, one of
Meistersinger. the 3 pivotal tones of a mode, situated
Masure, Masurek, Masurka. See as nearly as possible
midway between
Mazurka. the Final and
Dominant, and ranking
(Fr.) An old sailors' dance
Matelotte next in importance to the latter.
resembling the hornpipe, in duple time. Me'dius, See Accentus ecclesiastic**
 MEHR-MELOPIANO. 119

Mehr (Ger.) T&m...Mehr'chdrig, for excellent crescendo and decrescendo

several (4-part) choruses. , ,Mehr^fach, were obtainable by varying the finger-
manifold mehr*faches Interval?, com-
;
pressure on the keys.
pound interval mehr'facker Ka'non, Melo'dico (It.) Equiv. to Cantando.
;

a canon having more than 2 themes ;

Melo'dicon. A keyboard instr. inv. by
mehr'facher Kon'trapunkt, counter-
Peter Rieffelsen of Copenhagen, in
point written in more than 2 invertible
Stim'me a 1800, in which the tones were produced
parts ; mehr'fache (organ),
compound
f
in by tuning-forks.
s>\.o$...Mehr $timmig,
several parts ; .Mehrstim- Melo'dik (Ger.) Science or theory of
polyphonic..
migkeit durck Brc'chung, apparent melody.
polyphony obtained (especially on the Melo'diograph. See Melograph.
pfte.; by employing broken chords. Melo'dion. A keyboard instr. inv. by
Jflei'ster (Ger.) Master... Mei'sterfuge, J. C. Dietz, of Emmerich, in which the
fuga ricerca,'ta,...Mei'sterstnger (or tones were produced by vertical steel
-sanger), in Germany, the successors of bars chromatically graduated these ;

tne Min'nesanger (Troubadours), but, bars being pressed by the digitals

unlike the latter, chiefly artisans, who against a rotating cylinder. Forte was
formed guilds in various cities for the obtained by a quicker, piano by a slow-
cultivation and propagation of their art, er, rotation. Compass, 5^-6 octaves.
the stringent rules for which were con- Melo/diiun. i. Melodeon. 2. (Ger.)
tained in the Tabulator'. Their poems Alexandre organ.
were founded for the 'greater part on
biblical subjects ; the musical treatment
Melodrama, i.
Originally, a musical
drama. 2. In modern usage, (a) stage-
was apt to be dry and prosaical. They
declamation with a mus. accomp. ; (b) a
originated about the 1 4th century in
form of the drama in which the music
Mainz, reached their zenith in the 1 5th
and 1 6th centuries (notably under Hans plays a very subordinate part, and the
Sachs of Nuremberg), and thereafter plot is more or less romantic and sen-
sational.
decayed gradually, the last society be-
coming extinct in 1839 (Ulm). Mel'ody. (Ger. Melodic*; Fr. melodies
It.melodi'a.) I. The rational progres-
Melancoli'a (It), Melancholic (Fr.) sion of single tones ; contrasted with
See Matinconia*
Harmony, the rational combination of
Melange (Fr.) A medley, pot-pourri. several tones. 2. The leading part in
Melis'ma (Gk.) I. A
melodic ornament, a movement, usually the soprano. 3.
fioritura,grace colorature.
;
2. Ca- A An air or tune.
denza i...Melismat'ic, ornamented, Name of various mechan-
Mel'ograph.
embellished ; said of vocal or instru- ical devices for recording /the music
mental music abounding in ornaments
played on a pfte. One of the latest and
;

also, specifically, melisntatic song, that most successful is the electric m. or

in which more than one tone is sung to Phonautograph (inv. by Fenby in Eng-
,

a syllable ; opp. to syllabic song. in which the pressure on the

land), ,

Melo'deon. The original American digitals closes an electric circuit, effect-

organs were called melodeons or melo- ing a record on paper as in the Morse
diums. (See jfteed-organ.) system of telegraphy. A cardboard
Melo'dia, (Organ.) A variety of stopped stencil forming an exact copy of the

diapason nearly resembling the Clara- % record can be made to reproduce the

bella. music when placed in the Melatrope, a

mechanical attachment to a pfte. by
Melodic. Pertaining to the progression
means of which the digitals are depress-
of single tones ; hence, vocal, as a melod-*
ed as if by the player's fingers.
ic interval.

Melo'dica. A sinall variety of pipe- Mel'ophone. A variety of Concertina.

organ inv. in 1770 by Joh. Andr. Stein Melopian'o. A pfte. inv. by Caldera
of Augsburg, having a tone like the of Turin, in 1870, in which the tonp is
fldte a dec, and a compass of but 3^ sustained by rapidly repeated blows of
octaves. It was used ordinarily to play small hammers attached to a bar pass-
the melody to a harpsichord- or pfte.- ing, over and at right angles, to the
accompaniment ; hence the name. An strings, the bar being kept in vibration
 120 MELOPLASTE-METER.

by means of a treadle worked by the The attack and increase was formerly
player. Crescendo and dfcrescendo effects called forma're il tuono ; the sustaining
are producible at will, and the tone is 02 of the ff tone, ferma're il tuono ; and
delightful quality. the decrease and close, fini're il tuono.

MeToplaste. A
simplified method for Messan'za (It) A quodlibet
learning the rudiments of music, inv Me'sto (It) Pensive, melancholy*..
by Pierre Galin about 1818. Instead of Mestamen'te, plaintively, grievingly.
teaching the notes, clefs, etc., at first, (Also con mesti'zia.)
he took merely the 5 lines of the staff,
Mesure (Fr.) Measure ; a measure ; a
singing familiar airs to the syllables do, la m., in time (i. e. a
re, mi, etc., at the same tune showing tempo, a battu'ta).
with a pointer the position on the staf
.
.Mesure*, measured. (See Time,)
of the notes sung. For teaching rhyth- Metallo (It,
"
"metal".) A ringing,
mical relations he used a double metro- "metallic quality of voice.
nome marking both measures and beats, A in which
Metal'lophone. pfte.
Me1os(Gk.) "Song". The name be- graduated steel bars take
the place of
stowed by Wagner on the style of reci- strings. 2. An instr. like the xylo-
tative exemplified in his later mus phone, but with bars of metal instead
dramas. (See Recitative.) of wood.

MeTotrope, See art.

Melograph. Meter, Metre, i. Metre in music is

Meme (Fr.) The same.. .A la mime, the symmetrical

grouping of musical
1'istesso tempo. rhythms ; a disposition of musical mem-
bers akin to the
Men, Abbr. of Meno. arrangement of the
poetic strophe. It differs from Form
M6nestrel Minstrel
(Fr.) (q. v.) in having to do merely with- the rhyth-
MfciStrier^triere (Fr.) mical groupings within
Originally, compositions ;
player on any instrument, especially for from Rhythm, in treating of the
sym-
dancing; now, a vagabond fiddler at metrical arrangement of the smaller
fairs and in low places of entertain- tone-groups, the articulation of which
ment, or a village musician. produces the rhythm or time. These
Me'no (It, abbr. mm.) Less, not so. definitions are, however, not
universally*
When Meno occurs alone as a tempo- binding, metre and rhythm being used
mark, mosso sometimes as interchangeable
" implied* . .Meno mosso,
is terms,
less moved,'* i. e., slower. and sometimes with significations ex-
Mcnsur7 (Ger,) i. Mensu'ra, i. e. the actly the reverse of those just given.
time of a movement (mensurable In metre the smallest metrical 'element
.
music) .

2. In (unit of measure) is the Measure; the

^Scale (of organ-pipes). 3,
other instr.s, the various measurements combination of 2 measures (either
simple
or compound) produces the
requisite for their true intonation (as Section; of
2 sections, the Phrase of 2 phrases,
length' of tube, distance between finger- ;
;
the Period (of 8
holes, thickness of strings, etc) measures), which may
be extended to 12 or 1 6 measures be-
Mcnsural'gesangj-musik (Ger.) Men- ;

surable music. yond the period of 16 measures the

(See Notation, 3.) metrical divisions seldom
Ifen'te (It) go, i. e. they
Mind, memory; alia m., are not followed the ear as
by metrical,
improvised, extempore. but as thematic divisions
(see Form).
Meoiet(Fr.), Menuett' (Ger.) Minuet 2. The metre of English
hymns is
Me'rula (Lat, ."blackbird, ousel
v classified, according to the feet used, as
.)
Same as Vo'gelgesang. iambic, trochaic, or dactylic; in the
Mescolan'za (It) A medley. syllabic schemes below, the figures in-
dicate the number of
Mes'otonic. Mean-tone. syllables in each
line. Variants are not
Mes'sa Mes'se and Fn) infrequent in
-(It), (Ger. modem hymnology.
Mass.
A. fettto metres: Common metre
(C. M.).
Mes'sa M
di vo'ce (It.) The attack of a
nfctained vocal Itt&yianissimo, with a
8
V^
metre tffPiyS ? (L,- -> 8 8 8 *; Sho
1

(S. M.), 6686; these have

regularly 4
lines to each
swell to fortissimo, and slow decrease stanza; when doubled to 8 lines
to pianissimo thus
they are called Common metre double (C M
again ; : D.), Long metre double (L. M. D.) f and Short
metre double (S, M. D.).
They miv also fcavt
6 lines in each stanza, and,
are, then named
 122 MIMODRAMA MINUET.

that of the 22nd Regt., New York, has

viol orarpamtta, and their rivalry cul-
minated in grand poetical contests, such
66, namely:
as the one immortalized by Wagner in
a piccolos i contraffagotto

2 flutes i E(> cornetto "Tannhauser." Their art originated

2 oboes 2 ist Bh- cornets in Austria, spreading thence to the
t ' " .

i clarinet 2 and
Aj> piccolo
2
Rhine, Thuringia, and Saxony ; in the
.
3 ]$. clarinets trumpets
8 jst Bb- clarinets 2 flugeihoras hands of their successors, the Mei'ster-
"
4 and " 4 French horns singer, it
degenerated past recognition,
u 2 EK alto horns
4 3rd " x
i alto
u '
a Bfr tenor horns Mi nor. (Ger. klein, moll; Fr. mineurj
i bass 2 euphoniums It. mino're.) Lesser ; smaller (comp.
i sopr. saxophone 3 trombones
-
ilto bombardons Interval, Major\ Phone). . .Minor tone^
S
tenor
u drums the lesser whole tone 10:9,
i 3
"
1 bass i pair cymbals
2 bassoons Minstrel The minstrels of the middle
In France, in accordance with the ages were professional musicians who ,

sang or declaimed poems, often of their

1

official order promulgated Nov. 17,

1892, the regular infantry bands com-
own composition, to a simple instru-
prise the following instruments :
mental accomp. They were followers
of the nobility in court and camp. The
a fiutes m 3 trombones
2 small clarinets 2 alto saxhorns French mtnestr&ls of the 8th century and
"
8 large 3 alto saxotrombas laterwere the musical attendants of the
2 oboes 5 bass saxhorns
trowulres and troubadours, having to
i sopr. saxophone i contrabass saxh.
ll " execute practically the musical concep-
i alto i tuba
u j shallow drum
i baryt,
" tions of their noble masters. Thus they
1 tenor z bass drum
2 comets i pair cymbals occupied from the outset a subordinate
2 trumpets position ; their art slowly degenerated
or 40 in all (14 wood-wind, 23 brass, 3
in England, whither they were trans-

percussives). The principal innova- planted at the Norman Conquest, until

tions on the former standard (estab- they were classed by statute (1597) with
u
lished by imperial decree of March 26, rogues, vagabonds, and sturdy beg-
1860) are (i) disuse of wooden flutes, gars"; in France their guilds were
forwhich metal flutes are substituted maintained down to the Revolution. In
;

(2) suppression of 4 saxophones, and England they coalesced with the Anglo*
Saxon "gleemen". Their favorite
substitution of 4 more clarinets; (3)
instr. was the rebec.
suppression of 2 barytone saxhorns, for Negro Minstrels\
. .

which 2 bass saxhorns are substituted. singers and actors portraying (originally)
scenes from Southern plantation-life.
Mimodranuu (Fr. mimodramt^ A pan- The chief performers of the troupe are
tomimic dramatic performance, often the middle-man or interlocutor and the
accomp. by music. two end-men (so called from their re-
Minacce'vole (It) In a menacing or spective positions in the semi-circle of
threatening manner. (Also minacce-uol- performers on the stage); the former
men'te minacdan'do^ minacdo'so, min-
}
leads the talk and gives the cues, while
acciosamen'te.) the latter preside over the tambourine
"
Mineur Minor. and bones", and crack the jokes.
(Fr.)
Min'im* Minuet'. (It. minuet*to; Fr. menuet; Ger.
(Lat mi'nima; It, mi'nima or
-

bian'ca; Fr. minime <x blanche; Ger. Menuetf^ One of the earlier French
hafbeWte.) i. half-note. 2. See A dance-forms* supposed to have orig-
inated in Poitou ; it dates as an art-
Notation, 3.. .Minim-rest, a half-rest.
product from about Lully's period (end
_ i,-aauger (Ger,, sing, and of 17th century), and, as such^
prop-
pi.) One of the German troubadours, erly consists of 2 minuets, or a double
or lyric poets and
singers of the I2th minuet with contrasted sections of 16
and i sth centuries, who were measures each, the second forming the
exclusively
of noble lineage;
distinguished from Trio, after which the first 'is
repeated.
theirSouthern contemporaries by their It is in. and has a
triple time, slow,,
chaster conception of -love
(Min'ne, stately movement, eschewing prn4- a.11
-

Fratftndienst\ They accompanied mentation. It frequently occurs jn tfie

their songs
(Min'negesang, written .

'
Suite, Sonata, and Symphony Bee%h ;
in ffc Swabta"flalect) on 'the ven was the first' to introduce hv'itfi
Chiefly
 MIRACLE-MODE. 123

stead, in the 2 latter, the livelier and canon, one in which the successive parts
freer Scherzo ; in the Suite it figures, enter at different intervals. ..Mixed
by way of contrast, between the Sara- chorus, quartet, voices, vocal music
bandeand Gigue. combining male and female voices.

Miracle, Miracle-play. See Mystery. Mixolyd'ian. See Modi.

Misceria (Lat.) A mixture-stop. Mixture. Mixtur*; Fr. fourni-
(Ger.

Mise de voix (Fr.) Messa di voce. ture; It. A com-

Misere're (Lat.) The first word of the
Psalm LI (in the Vulgate, L), which
"
begins: Miserere mei, Domine
(Pity me, O Lord) ; hence, the name of
this Psalm, or of a musical setting of it,
sung in the Catholic Churches as part
of the burial service, at the Communion
of the Sick, and the like. During
Holy Week it is performed with pecu-
liar solemnity in the Sistine
ripie'no, accoSdo.)
pound auxiliary flue-stop with from 3 to
6 ranks of pipes sounding as many har-
monics of any tone represented by a
These harmonics are
given digital.
generally octaves and fifths of the fun-
damental tone; sometimes a third, or
even a seventh, is added; they are higher
in comparative pitch for low tones than
for high ones, (see Break 3) ; e. g. for
the tone C the 3-rank mixture would
Chapel at l l
usually contain c -g -c* ; and for c , c*-
l

Rome. 8 4
^Wfrot^-f -^ ). In some old German

Mis'sa (Lat.) The Mass. . . M. brei/is, organs mixtures are found having from
short rnass...^/. canta'ta, chanted 8 up to 24(1) ranks, there being, of
mass. ,M.pro defunStis, see Requiem.
. course, several pipes to each harmonic.
..M. sohmfntSy wsolen'nis, high mass. Mixtures are used to reinforce and

Mis'sai. (Lat. missa'le.) The R. C. "brighten" the upper partials of the

heavier foundation-stops.
Mass-book, containing the liturgical
forms necessary for the celebration of Mobile (It) With a facile movement,
mass the year round. readily responsive to emotion or impulse.

Miss'klang (Ger.) Discord, cacophony. Mode. i. For Greek nwdes, see Greek
music. 2. (Lat. mo'dus.) The medie-
Misterio'so (It.) Mysterious... Miste- val church-modes were octave-scales,
riosamen'te, mysteriously.
like theGreek modes, and also borrowed
Mistichan'za"(It.) A quodlibet theirnames (see below) from the latter;
Misu'ra (It) A
measure. .Misura'to,
<
. but they, and the fundamental diatonic
measured, in exact time. scale A-a, were conceived as ascending

With. scales,*a distinct departure from ancient

Mit(Ger.)
Resonance *..Mif- theory. They were called ^wr^-modes
MitTdang (Ger.) because each chant in the Gregorian
klingende Tone, overtones.
antiphony was kept strictly within the
Mit'telkadenz (Ger.) Semi-cadence.
compass of some one of these octave-
.Miftelstimme, an inner part ot voice. scales, without chromatic change save
Mixed cadence. See Cadence. .Mixed. that from fly to &* or vice-versa.

AUTHENTIC MODES. PLAGAL MODES.

Mode

^
I (Do'rian). Mode II (Hypodo'rian).

r r i
'
^
Modelll (Phrygian).

Mode VII (Mixolyd'ian). Mode VIII (Hypomixolyd'ian).

,
" r r r =
124 MODE HELL^NIQUE MODERATO.
AUTHENTIC MODES, PLAGAL MODES.
Mode X (Hyposeolian).
Mode IX

Mode XII (Hypolo'crian).

^
Mode XI (Lo'crian).

?^& EE==!
Mode XIII [or XI}(Io'nian).

S
Mode XIV [or XII] (Hypoio'nian).

In the authentic modes the Final
(what we should call the key-note) is the
lowest tone ; in the plagal modes, a
fourth above the lowest ; it is marked
by a whole note in the Table. Each
plagal is derived from a parallel authen-
tic; St. Ambrose is supposed to have
established the first 4 authentic modes,
to which St Gregory added
sponding plagals ; these 8 were exclu-
S
major and (A-) minor scales of modern
music ; then, however, the last 4 modes
were added. The Locrian (B-b) and
Hypolocrian (F-f) were rejected as
useless, neither fulfilling the law that
each authentic mode should be divisible
into a perfect fifth plus a perfect fourth,
and each plagal mode into a fourth plus
the corre- a fifth. Both the names, and the pre-
fix hypo-, are used in a sense different

sively employed in serious composition from that of the original Greek modes
down to the i6th century, despite the the medieval theorists having misinter-
kck of any scale similar to the (C-) preted the Greek nomenclature.

Greek Names. Octave-scales. Final Medieval Names.

t M
' '
,

g a b c 1 d 1 e 1 f1 g
1
Hypophrygian
n Mixolydian (Mode VII, 4th authentic)
I* ii

Hypdydian f g a b c1 d1 e1 fl Lydian (Mode V, 3rd authentic)

Dorian e f g a b c1 d 1 e 1 Phrygian (Mode III, and authentic)

Phrygian d e f j? a b c 1 'd 1 Dorian (Mode I, ist authentic)

"d e f g a b c* dn [Hypomixolydian (Mode VIII, 4th plagal)]

c d e f g a b c
1
Hypolydian (Mode VI, 3 rd plagal)

Mixolydian B c d e f g a b Hypophrygian (Mode IV, a nd plagal)

(

Hypodorian (or -ffiolian) ABcdefga Hypodorian (Mode II, ist plagal)

The gradual development of monodic, mode). The inverted major scale, be-
harmonic, and chromatic music, the ginning on the 3rd degree :

wtaion of the leading-note, the ac- e1 d 1 cM) a g fe,

ceptance of the third as a consonance,
so termed byBlainville (1711-69), this
and the recognition of the" predominance
.being the ancient Dorian mode (see
1
'

of the tonic triad, with the modem

Greek music},
system of transposing, tempered scales
in the major and minor modes thence Moderate (It.; superl, moderatis'simo.)

resulting, led to the gradual disuse of

I (noun). Moderate ; Le, at a moderate
the church-modes* rate of speed, or tempo. 2 (adverb).
(Also modtratamen'te). Moderately j
Mode hellenique (Fr.; also troistimt as allegro moderate^
moderately fast.
 MODERNO MORDENT. 1*5

Moder'ao,-a (It) Modern ; alia moder- be isolated, and intervals of true pitch
na, in modern style. obtained. Anof the same name,
instr.

Modification. Same as Temperament. but furnished with several strings for

the purpose of obtaining harmonic
Mo'do (It.) Mode style. effects, was the precursor of the clavi-
;

Mod'ulate. (Ger. moduliiren; Fr. mo- chord. 2. Thetromba marina. 3. A

duler; modula're.) To pass from one
It. clavichord 4. (Ger., recent) A kind of
key or mode into another to effect a
bow-zither, having one string stretched
;

change of tonality. . Modulation. (Ger. over a fretted fingerboard attached

.

and Fr. Modulation'; Fr. also transi- lengthwise to the top of an oblong re-
tion; It. modulaziqfne) Passage from sonance-box.
one key to another change of tonality.
;

A modulation may be either final or Mon'ody. (Ger. and Fr. Monod^; It. A
monodi'a) style of composition
transient ; it is final when the new
(monod'ic or monophon'ic) in which one
tonic is permanently adhered to, or still

another follows ; transient (transitory, part, the melody, predominates over the
rest, they serving as a support or ac-
passing) , when the original tonic is
comp. to it. It took its rise in Italy
speedily reaffirmed by a cadence... about 1600, in the form of a vocal solo
Chromatic modulation, one effected by
with instrumental accomp., the latter
the use of chromatic intervals ; diatonic
being at first a mere figured bass exe-
m., one effected by the aid of diatonic cuted on the harpsichord, theorbo, etc.
intervals ;
enharmonic m,, one effected
Its novelty lay, not in its newness, but
through employing enharmonic changes
to alter the significance of tones or
in its employment and recognition by
intervals.
artists. developed info the opera,
It

cantata, and
oratorio on the one hand,
Mod'ulator. See Tonic Sol-fa. and, on the other, into all those forms
of instrumental music in .which the ele-
Mo'dus(Lat) Mode.
ment of accompanied melody is found,
Moll (Ger.) Minor. .Moll'akkord, mi- .
as the suite, symphony, etc. (Also
nor <hoi:d....Mollfdreiklang, minor
triad. . .Moll'tonart, minor Homophony^ Monophony.)
key. . .
Moll'tonleiter, minor scale etc. , etc. ; Monoph'onous. Capable of producing
"
MoI'le (Lat., soft".) A term probably but one tone at a time opp. to poly- ;

first used in the loth century to desig- fhonous. .MonQph'cny, see Monody. .

nate the B rotun'dum (B molle,=^\ in Mon'otone. i. A

single unaccompanied
opposition to the B quadra' turn (B du
f
-
and unvaried tone. 2. Recitation (in-
rum, fl, the modern Bt|). Later it was toning, chanting) in such a tone.
applied tothehexachord/ d, in which
Monter (Fr.) r. To ascend; montant, as-
b\) was substituted
for q and, finally, ;

to the minor key and triad (with flat cending. 2. To raise the pitch of. 3.
To put strings on an instr.; also, to
third).
put an instr. together, to set it up.
Mollemen'te (It.) Softly, gently.
Montre (Fr.) In the organ, the. dia-
Mol1is(Lat> Seelfe/&, so called because
"
shown" or
A metrical pason ;

Moloss(e). (Lat. molossus.) set up in the organ-front, away from

foot of 3 long syllables ( ). the soundboard.
Mol'to,-a (It) Much, very ;
as motto
Moralities. (Ger. Moralitaftm; Fr.
adagio, very slowly ; molto allegro, ^try
fast. . .Di molto, exceedingly, extremely. moralit^ A later form of the miracle-
plays or mysteries.
-

Momen'tulum (Lat.) A i6th-rest

Momentum (Lat.) An 8th-rest. (Fr.) Morceau
piece, composition J A
morceau de genre, characteristic piece.
Mon'ochord. (Fr. monocorde; It. mono-
A Mordant (Fr.) Comp. Graces.
cor*do.) I. ,
very ancient instr, for
the precise mathematical determination Mordent. (Ger. Mor*dent, Bei'sser;
of the intervals, consisting of a single Fr. fine/; It. mordtn'ie.)
-
grace con- A
string stretched over a soundboard and sisting of the single rapid
with a on a alternation of a principal r
provided bridge sliding
note with an auxiliary
graduated scale, by means of which a|g
any desired division of the string could minor seqond below, thus:
126 MORENDO-MOVEMENT.
contrary or opposite motion is that in
played : which one part ascends while the other
descends ; parallel* motion, that in
which both parts ascend or descend by
<#/has a double or triple alternation, e.g.
the same interval oblique motion that ; ,
, 6.
in which one part is held while the -

played: other ascends or descends similar* ;

motion, that in which both parts ascend

In the Inverted Mordent, the prin- or descend together by dissimilar inter-
cipal note alternates with the higher vals ;
mixed motion , that in which 2 or
auxiliary; its sign lacks the cross-stroke, more of the above varieties occur at
written : once Between several parts.
* N.B. The above fine distinction between
$arallelm& similar motion is very often not
observed, the term parallel motion being used
indiscriminately for both.
played :
Mo'tive [sometimes pron.
(moderate)
(Ger. Motii/; Fr. It. moti'vo.) motif;
I. A short phrase or figure (rhythmic,
melodic, or harmonic) used in develop-
ment or imitation. 2. theme or sub- A
Moren'do (It) Dying away, growing ject Leading-motive). 3. Some-
(see
fainter and fainter (v. Tempo-marks). times used for Measure, as the rudi-
Mormoran'do (It.) Murmuring, mur- mentary element of the Period. Mea-
murous, in a very gentle, subdued tone. sure-motive, one whose accent coincides
Also mormore'vole, mormoro'so. with the measure-accent.
Morris-dance. (Also morrice-dance, Mo'to I, Motion. .M,
(It.) .
contra'rio,
Moresque^ Morisco, etc.) sort of A contrary motion.. mi'sto, mixed .^
costume-dance, apparently of Moorish motion. .M. obbli'quo, oblique mo-
.

origin, in 4-4 time and of a boisterous tion. . iM.perpStuo^ perpetual motion.

character ; now obsolete. Also, a kind .M. motion.
. ret' to, similar 2. Move-
of country-dance still performed in Con moto, with an ani-
ment, tempo. . .

Yorkshire, England. mated and energetic movement. . . Moto

Mos'sp (It., "moved".) Equivalent to precedence, at the former tempo.
"rapid" in the phrases meno^ mosso, less Motteggian'do (It,) Bantering, face-
rapid,pik mosso, more rapid, and/0rt? tious.
mosso, somewhat rapid (e. g. Allegretto
Mottet'to (It.) Motet.
poco mosso, a rather lively allegretto,
nearly allegro).
Mo'tus (Lat.) Motion. , .M. contra'rim,
contrary motion.
Mo'stra(It) A direct. .M.obli'quus, oblique
.

motion. . .M. recftus, similar motion.

Motet/. (Gen Mottfte; Fr. motet; It.
A Mouth. The opening on the front side
mottet'to) sacred vocal composition
of an organ-pipe... Mouth-harmonica,
in contrapuntal style, without instru-
a set of graduated metal reeds mounted
mental accomp. In former times the a
in a narrow frame, blown
cappella style was not always strictly
by the
adhered to. The motet resembles the mouth, and producing different tones
on expiration and inspiration. .Mouth- .
anthem in having a biblical prose text,
but differs from it in being polyphonic organ, see Pan's-pipes. . .Mouthpiece
;

(Ger. Mund'stiick; Fr. embouchure;

compositions in anthem-style are, how-
ever, sometimes called motets, The
It.
imboccatu'ra), that part of a wind-
Latin motStw is a term of various and
instr. which a player places upon or be-
sometimes obscure signification. tween his lips.

Motif (Fr.) A motive. Mouvement (Fr.) Movement, tempo.

Motion, i. The
. .MouvementL A piece is said to' be
progression or lead- Hen mouvementt when its rhythmical
ing of a. single part or melody ; it is 1

structure is elegant and symmetrical .

conjunct when progressing by steps,

disjunct when progressing by skips. Movement, i. (Ger. BewJgung; Fr.
2. The progression of one part con- f
mouvement; It moviwen'to, mo'io, tem -
in relation to that of another :, 4o.} Tempo, rate of speed. 2. (Ger.
 MUANCES MUTHIG.

Satz; Fr. fartie; It. tempo.)

prin A A 5-pointed pen for drawing the 5 lines
cipal- and "usually separate division or of the staff on paper.
section of a composition, containing Music-recorder. See Melograph, Ph*
themes and a development peculiar to
nograph^ Phonautograph. '

itself.
Music-wire. Steel wire for the strings
Muances (Fr.) See Mutation 2. of mus. instr.s.
Mund (Gen) Mouth. ..Mund'harnio- Musik' [-zeek'] (Ger.) Music. .Miui#- .

nika mouth-harmonica . Mund' loch,

, bande, see
. ande. tt Musik'diktat, see
.

mouth (of an organ-pipe; usually Auf* Dict/e m usicak Musitfdirektor, a . . .

schnitt).. .Mund'sttick) mouthpiece. conductor. .Musik'fest, mus. festival. .

Mune'ira A Galician dance of

(Span.)
Musik' meister, conductor of a mili- . .

moderate tempo and in 2-4 time, with tary band.

an auftakt of a quarter-note, and the Miisika'lien (Ger.) Music (i. e. musical
strong beat marked by the castanet- compositions). [A trade term.]
rhythm. Mnsikant' (Ger.) A vagabond or bung-
Mun'ter (Ger.) Lively, animated, gay. ling musician.
(Also adverb?) Mu'siker, Mu'sikus (Ger.) A musician.
Murky. A murky-bass is
one progress- Musiquette(Fr-) Little piece of music;
^

ing in broken octaves a harpsichord- or (collectively) light music.

;

piece with such a bass was called a A direction in

Mu'ta(It) "Change!"
murky. orchestral scores indicating a change of
Muse. The mouthpiece or wind-pipe of crook or instr., or in the tuning of an
the bagpipe. instr., necessitated by a change of key.
Musette (Fr.) I. A small and primitive Mutation, i. (Ger. Mutie'rung; Fr.
kind of oboe. 2. A variety of bag- mue; It mutazio'ne^ The change of
pipe in which the wind is
supplied by a the male voice at puberty. 2. (Ger.
bellows. A
short piece of music
3. Mutation*'; Fr. pi. mutations, muances;
imitating in style that played on this It. mutazio'ne.) In medieval solmisa-
kind of bagpipe, i. e. of a soft and gen- tion, the change or passage from one
tle character and with a drone-bass ;
hexachord to another, -with the conse-
hence, the dance-tunes of the same quent change of syllable (comp. Solmi-
style and name. 4 A reed-stop in satiori). 3. In violin-playing, "shift-
the organ. ing."
Mu'sica (Lat. and
Music. .M. da
It.) . Mutation-stop. In the organ, any stop,
ca'mera, chamber-music. ..M.da ckie'- except a mixture, whose pipes produce
sa, church-music. .M. da tea'tro, the-
.
tones neither in unison norin octaves with
'

atre (theatrical) music... M. di gatfti, the foundation- (8-foot) stops; i. e., all
charivari (see KatzenmusiK). tierce and quint-stops, and their octaves.
Musical box, Music-box. The so- Mnte. I.
Ddm'pfer; Fr. sour-
(Ger.
called Swiss music-box consists of a dine; It. sordi'no.) The mute for the
metallic cylinder or barrel studded with violin, etc., is a piece of brass or other
small pins or pegs, and caused to re- heavy material, having cleft projections
which permit of its firm adjustment on
volve by clockwork. In revolving, the
the bridge without touching the strings ;
pins catch and twang a comb-like rpw
of steel teeth arranged in a graduated its weightdeadens the resonance of the
scale, each tooth producing a tone of
sound-box. (Recently made ia the
form of a spring clip.) The direction
very accurate pitch. In the larger instr.s
the barrel may be shifted so as to play for putting on the mutes is "con sor-
several tunes, or is made exchangeable dini"; for taking them off, "senza
for others. For the newer music-boxes, sordini". 2. A
pear-shaped, leather-
compare Symphonion, Libellion, co.veredpad introduced into the bell of
the horn or trumpet to modify the tone.
Musician. (Ger. Mu'siker; Fr. musi- Other forms of this mute are (for the
den; It mufsico, musid'sta!) One horn) a pasteboard cone with a hole at
who practises music in any of its the apex, and (for the trumpet) a cylin-
branches as a profession. drical tube of wood pierced with holes.

Music-pen, i. A
soft-nibbed, broad- Mu't(hjig (Ger.) Spirited, bold. (Also
pointed pen for writing notes, etc. 2. adverb^
128 MUTIERUNG-NATURAL.
Mtttie'rung (Ger.) Mutation I. rosin ;
the tone is like that of the har-
monica. Inv. by Johann Wilde of St,
Mysteries. (Ger. Myste'rien; Fr. mys-
tires.) Medieval scenic representations Petersburg, toward the middle of the
of biblical events, arranged originally l8th century,

by the monks, and generally accom- Naked fifth (fourth). A fifth (fourth)

panied by vocal, often by instrumental, without an added third. (Also bare.)

music. The Passion-plays (still sur- Narran'te In narrative-style ; calls
(It.)
viving at Oberammergau in Bavaria) for a very distinct declamatory enun-
are as old as the yth or 8th century the ;
ciation of the words sung.
Moralities, a peculiar form of the The personage who, in the
Narrator.
Mysteries, in which abstract concep-
tions were personified, originated about
earlier passion-plays and oratorios,

The Mysteries were sings the narrative portions of the text.

the 13th century.
the precursors of the Oratorio*
Nasard Span, nasai/do; Ger.
(Fr.;
Nasat**) In the organ, the mutation-
stop commonly known as the Twelfth
(2$-foot pitch). The Gros-nasard
N. (Gros/nasat), is a quint-stop either on
pedal (iof-ft.) or manual (si-ft.) ; the
Nacaire A former kind of kettle- Petit nasard (Larigot) is a double-}
(Ft.)
drum. octave quint-stop (H-ft.) (Also na-

See^Mz- sarde, nassart> nasillard^ nazad.)

Nac'cara, Nac'chera (It) i.
An organ-stop having
Cas-
Nason flute.
eaire. 2. (Also Gnatfcare; pl.)
tanets. stopped pipes of mild, suave tone,
7
Nach Natur - (Ger.) Natural. .NatuS/iorn, .

(Ger.) After; according to...

a ^^^r(without valves).. .Natur'-
Nach'ahmung, imitation. .Nach Belief .

skala^ natural svt...Natwr'tQne

ben, ad libitum, ..Nach'druck, empha- (or
natur'luhe Tone), natural harmonic
sis; nack'drucklich (or mitNachdruck),

with emphasis, emphatically... Nactf- tones, as of the horn, etc. ..Natur'-

lassend, slackening (in tempo) . . .Nach'- tromfete^ a trumpet without valves.

Idssig, careless, negligent (also adverb). Natural. I. (Ger.,

Auflosungszeichen;
..Nachfruf) a farewell, leave-taking. Fr. be'carre; It. bequa'dro?) The sign ft
. .Nactfsatx,
after-phrase, second phrase (see Chromatic Signs). 2. white A
or theme, contrasting with Vor'dersatz. on the keyboard. . . Natural har~
digital
Nactfschlag, (a) the unaccented
" appog- monies, those produced on an open
giatura () "after-beat of a trill (also which are
;
string; opp, to artificial,
Nach*schleife)... Nach'spiel, a post-
produced on a stopped string. . .Natu-
lude. . .Nach'tanz, see Saltarello 2. . .
'ral hexachord, that
beginning on C. . .

Nach und nach', step by step, gradu- Natural horn, the French horn without
ally. valves... Natural interval^ one found
Nacht (Ger.) Night. .
.Nachfhorn, between any 2 tones of a diatonic major
Nach?schall, a flue-stop in the organ, scale. .Natural key, see Nat. scale. . .
,

having covered pipes of 2, 4, or 8-foot Natural fitch^ that of any wind-instr.

pitch, and resembling in tone the when not overblown. .Natural scale,
.

QuintatBtt or the HoMfioU. . .NacJiif- C-major, having neither sharps nor flats,
hornbass, the same stop on the pedal. ..Natural tone> a tone producible, on a
. .Nacht'stuck, a nocturne, wind-instr. with cupped mouthpiece, by
Nania, simply modifying the adjustment of the
-

lips and the force of the air-current,

Na'gelgeige,-harmonika (Ger.) Nail-
without using mechanical devices for
fiddle.
changing the length of the tube (such
Naif, Naive (Fr.), NaiV '(Ger.) Naive ; as keys, valves, or the slide). Such
unaffected, ingenuous, artless. . .Naive* natural tones always belong to the series
ment, naively. .
.Naivety artlessness, of higher partials (comp. Acoustics).
simplicity, etc, These are the only tones which aninstr.
Nailfiddle. (Ger. Na'gelgeige) 'Aninstr. haying a tube of invariable length (like
consisting of a soundboard in which are the natural [French]
horn) can yield ;
inserted from 16 to 20 steel or brass
they are produced by the division of
pins of graduated length, sounded by ,
the vibrating air-column defined by
means of a bow well smeared with their tube into
aliquot (equal) parts of
 NATURALE-NINTH. 129

constantly decreasing lengtL tube A Schumann and Liszt; the romantic

of wide bore in proportion to its length school of composition^ and the "pro-
will yield most readily the low and me- grammists '*.
dium tones of the series, including the Ne'te. See Lyre.
fundamental ; a tube comparatively nar- Nettamen'te (It,) Neatly, cleanly;
row, the medium and
higher tones, . .Net? to, neat, clean,
clearly, distinctly.
omitting the fundamental. Any metal clear.
instr. yielding the fundamental tone (e.
Neu'deutsche Schule. See Nco-Gtr-
g. the Tuba) a complete instr.
is called
man.
(Ger. Gand'instrument) ; one incapable
of yielding it (e. g. the Trumpet), an Meu'ma, Neume. In Gregorian mu-
I.

incomplete instr. (Ger. Halb'instru* sic, a melisma. In medieval mus.

2.

rnent). With a minimum air-pressure, notation, one of the characters used to

and the lips most relaxed, the funda- represent tones, inflections, and graces.
mental tone of the tube is sounded. '
They were of different and fluctuating
form and signification, at first with a
Natura'le (It) Natural, unaffected...
curious outward resemblance to modern
Naturatmenfte, naturally, etc.
short-hand, later changing to coarse
Natura'lis (Lat) Natural . . . Can'tus and heavy strokes and flourishes. The
naturali$> and hexachoSdum natura'le, earlier neumes (8th to 1 3th century)
music, and the hexachord, embracing the can hardly be successfully deciphered,
tones cdefga. even with the aid of the letters (littsrcs
or of
Naturalist' (Ger.) A natural or self- signijicativa) sometimes added,
the lines (inception of staff-notation)
taught singer one not trained accord-
;
"
employed, from the loth century on-
* ' * *

ing to any vocal method "or

school
.. Natural^ tisch, amateurish* ward, to fix the pitch ; for they were
less an attempt at exact notation in the
Natural.
Naturel,-le (Fr.) modem sense, than an aid to memory,
Neapolitan sixth. A chord of the sixth a system of mnemonic signs. They are
to
on the sub- important as being the first attempt
-
dommant m exhibit the relative pitch of notes by
minor, with their relative height on the page ; they
minor sixth: over into the note
gradually passed
Ne'ben- quadrate and ligatures of Plain Song.
(Ger.) By-, accessory.. .

dominants, dominant of the dominant, Neuvieme The interval of a ninth,

e. g, D
in the key of C. .Nt'bendrei- .
(Fr.)

Nicht(Ger.) Not.
klang, secondary triad, . .Nibtnge-
danke, accessory theme or idea. . . Ni'colo A large tind of bombardon
(It.)
benklang, accessory tone (either^
es-
(iyth century) ; precursor of the, bas-
sential, as harmonics, or unessential). soon.
, .Nebennote, auxiliary note. . .Nefben-

septimenakkorde, secondary chords of NieMer- (Ger.) T)<yim...NiS<lersckIag%

the 7th (all except the dominant) . . . down-beat. . .Nifderstrich^ down-bow*
NJbenstimmet accompanying or ripieno ..NiSdertakt, down-beat.
part. ..Ne'benwerk (on 2-manual or-
Nineteenth, i* The interval of 2 octaves
gan), choir-organ. and a fifth. 2. See Langot (organ-
Neck. (Ger. ffabf Fr. manche; It.
stop).
ma'nico.) The elongated projection
from the body of an instr. of the viol or Ninth. (Ger. No'ne; Fr. neuv&me; It
lute family, bearing the fingerboard on */**.) An interval wider by a semi-
its side, and'ending with the head
upper tone or a whole tone than a perfect
or scroll. octave a compound second; but dis-
;

Negligent, careless, tinguished in theory from the second by

Negligen'te (It.)
the fact that it enters into the formation
.
.Negligtntemen'te, negligently,
of a chord in the series of ascending
Ne'gli, nei, nel, nell', nel'la, neHe, thirds. . Chord of the ninth, a chord
.

nello (It.) In the. under 2 principal

practically recognized
Ne'nia. A funeral song 'or lament; a forms : (i) the major, and (2) the minor
dirge.
- chord of the ninth, each a chord of the
Neo-Germaa school. The disciples of dominant seventh with added ninth;
13 MOBILE-NOTATION.

The former, No'na (It), No'ne (Ger.) The interval

based on par- of a ninth.
fc: tials 2-3-(4)-5- Nones. The fifth of the canonical hours.
(6)-7-9,is acou-
stically the more
Nonet'. (Ger. Nonetf; It. nonet to.) A
g^ euphonic, composition for 9 voices or instr.s.
zs\sz though the lat- Non'nengeige (Ger.) Nun's-fiddle,
_ terhas been of-
__ tromba marina.
F : V V / tener used in
:
Nono'le (Ger.) Nonuplet.
music. Their inversions are
ed according to the ordinary rule, Non'uplet. A group of 9 notes of equal
time-value, executed in the time proper
E'ical
ip. Chord),
to 6 or 8 of the same kind belonging to
Notrile (It.) Noble ; refined, chaste, , . the regular rhythm.
Nobilmen'te, nobly. . Xon nobilitf^ Normal'ton (Ger.) Standard piteh... %

with nobility, grandeur. Normal' tonarten (pi.), normal keys. . .

Noch Normal'tonleitern^ normal scales.

(Ger.) Still, yet.

Nocturne Ger. Noktur'ne, NaeW-

No'ta (Lat. and It.) A
note.. .N. buo'na,
(Fr. ;
an. accented note,. .N. camUa'ta (cam-
stuck; It. nottur'no!) word intro- A an irreg-
bita), (a) a changing-note (ft) ;
duced by Field as a title for piano-pieces
ular resolution of a dissonance by a
of a dreamily romantic or sentimental
skip. . . N. caratteri'stica, leading-note.
character, but lacking a distinctive
. .JV. catti'ua, an unaccented note. . .

form.
Nota contra notam (Lat.), note against
Noc'turns. Services of the Church held note, equal counterpoint. . . ^V. d*abbelli-

during the night, each portion of the

meri'to a grace-note
',
N. dapassa'gio^ . . .

Psalm set aside for this purpose being a passing-note. .N. falsa, a changing-
.

termed a Ifocturn. note. .-.A^ principals, a principal

The (essential) note. .^V. quadra' to, (quadri

.

Nodal figures. figures correspond-

quar'ta), a Gregorian or plain-song
ing to the nodal lines of a vibrating note. .M roma'na, a neume. . N. sen-
. .

plate of wood, glass, etc.; rendered si'bile, the leading-note,

visible by strewing fine dry sand on the
sand being tossed by the
this Notation. Musical notation is the art of
plate,
vibrating portions of the plate to the representing musical tones by means of
nodal lines, which are points of perfect written characters. Letters, numerals,
or comparative rest; the symmetrical and signs of different kinds, have been
figures thus formed are also called
used. The signs now almost univer-
. ChladwLS figures having been discov-
}
sallyemployed are called notes, and are
ered by him. . N. point, see Node.
.
written on a staff of 5 lines hence, this ;
-

Node. system of writing music is termed Staff-

{Ger. JCno'tenpunkt; Fr. nceud;
notation (Comp. also Alphabetical'nota-
It no'do) A
point or line in a vibrating
tion, Neumes, Numerals Tonic Sol-fa*} ^
body (such as a string, soundboard,
i. The lines and spaces* of the staff
trumpet, bell), ,which remains at rest indicate the pitch of the notes. The
during the vibrations of the other parts
lines which Hucbald first used (about
of the body. Opp. to Loop I.
A.D. 900), served the same end by
No'dirs (Lat, "knot"".) An enigmatical representing strings ; in the spaces be-
canon.
tween, the syllables of the words sung
Noel A sort of carol sung in the were written, the relative pitch of the suc-
(Fr.)
South of France, chiefly on the day be- cessive tones being (sometimes) marked

fore Christmas, or Christmas eve* by the letters t (=.tonus, whole tone),

and s (=semitonium y semitone). This
Nceud (Fr.) i. A turn (usually groups). system was ulso used later for noting the
2. A node. primitive part-music called origanum or
Noire A quarter-note. discant; increasing the number of lines
(Fr.)
as far up or down as necessary, and
Nome, Nomos (Gk.) canon (rule) A setting the syllables for the several parts
for mus. composition; hence, a song one above the other.^An ex-
vertically
,,
composed according to the rule. ample of one-part notation ace. to
Non (It.) Not. Hucbald now follows :
 NOTATION. I3J

Solution in choral notes ;

EC - ce* Ve - re Is - ra - he - li -
ta, in quo do - lus non est.

Nearly contemporaneously with Huc- ployed down to the i$th

century, when
baTd's invention, an innovation appeared the 5-line staff for all vocal music ex-
in neumatic notation ; a red horizontal
cept Plain Chant, and the 6-line staff hi
linewas drawn across the page, and all organ-music, were universally adopted ;
neumes written on this line
J
1

___ the present 5-line staff superseded the

were of the same pitch, this latter after the invention of
|SS music-print-
pitch being fixed by a letter /: ing. All this time the form of the clefs
set before the line. A
second line, was likewise
changing, the original /
but yellow, was soon" added' for c l and c becoming :

above the /-line (or delow, for plagal

melodies) the" two greatly facilitated
(/) . w
the
;

of written music. An-

33
Dreading-
othe* improvement, in a different dir- the g also assumed a great variety
etc.;
ection, is shown by an orderly system of fantastic shapes before the modem
of lines marked in regular succession forms were finally settled.
by Greek letters set before them, the 3. Mensurable notation, differ-
tones being represented by points or
"

dots on the lines. To Guido d'Arezzo ing from that of Plain Chant by express-
is generally ascribed the systematization
ing a determinate (relative) time-value
of the tones in its notes, which were
and introduction (about 1026) of the
invented for the exact indication of
4-line staff> in which both lines and
rhythmic relations, appeared near the
spaces were at length utilized; he re-
tained the red and yellow lines, added a beginning of the I2th century. The
notes" in use for some 200 years, and
third (black) line between them for a, imitated from Plain Chant, were the
and a fourth (black) line either above or
below these three, according to the Large (*^) or duplex longa or maxima;
l
range of the melody written, for e or d; the Long or knga; the Breve (p),
He did not use notes, but either letters (^
and the Semibreve (+ or jr) to which ;
or neumes.
A were then added the Minim ( 1) and
2. being thus established,
staff
and 'affording a firm basis for exactly Semiminim (1). Early in the I5th'
fixing the pitch of written music, the were supplanted
century the first five
neumes hitherto in ordinary use gradu- 1

by the open notes (large long >

ally lost their hieroglyphical appearance r^ ,
fj

and became transformed into the Choral breve [^ , semibreve O or A, minim \\

Notes of Plain Chant, the regular square

the smaller notes which had been gradu-
form of which (p)* gave rise to the
'-

name nota quadrata or quadriquarta^ ally added being written in 2 fonns ;

other shapes occurring only occasionally Semiminima

[J]
A or ^.
in certain figures ^ ^"^ or
^* ^ * Croma or Fusa [j] B or A.
The 4-line staff is still retained in Plain
Semicromaor Semifusa [J5]
Chant ;
other staves, having from 6 to ^ or
15 or more, lines, were arbitrarily em- Below are the corresponding rests :

Perfect Imperf. Perf. Imperf. Breve- Semibr.- Minim-rest Semiminim- Croma- Semicr.-
Large- Large- Long- Long- rest rest (Suspirium) rest rest rest
rest. rest rest, rest. (Pausa) (Semipau.) (Semisuspirium).

fe|
132
NOTATION.

in Modus maj. imperf.

f
The single notes were often joined Modus min. perf.
Ligature)*-- The
)
art,
groups (comp. "i Tempus
im^rfec.
music were
angular notes of measured (
Prolatio major
not finally supplanted by modern round
(Modus maj. perf.
about 1700, J Modus mm. imperf.
notes, in music-printing, till
j Tempus perfectum
had been
though in MS. music they (' Prolatio minor
the i6th century. Modus maj. imperf.
freely employed since Modus min. imperf.
For determining the relative time- Tempus imperfectum
value of the notes, various and often Prolatio minor
conflicting rules were
made for the N.B. The time-signatures were 1
often written
Modus (mode), Tempus (time-value df smaller, between the second and third, or third
and fourth, lines, etc* The mode-signatures
the breve), Prolaftio (prolation}, Color,
were also drawn from the fourth line down to
Position, etc.; a brief explanation of the lowest ; as a rule, they were omitted alto-
the 16th-century rules follows, premis- gether, leaving the reader to ascertain the
and imper- mode from conventional peculiarities in the
ing, that the terms perfect notation called sig'na. impli'cfta or intrin'-
fect refer to the
measure or time, trifle ser.a (implied signs), in contradistinction to the
time being regarded (out of reverence signet indicia'Ha (indicatory signs) ; as, in the
for the "Blessed Trinity") as perfect, greater mode perfect^ a group of 3 black larges
(see Color, below), or, in the lesser tnodf per"
while duple time was held to be imper-
feet) a group of a black longs, or 3 breve-rests
fect , at the beginning of a modal unit.
MODUS (mode) governed the subdi- POSITION (i. e. the order in which
vision of the Large into Longs, and of the notes stood) was very important
the Long into Breves : in the A long followed by a long, or a breve
Modus major perfectus, I jlS
=3 1^ by a breve, was always perfect (tripar-
u " =2 tite)by position; whereas a long pre-
Imperfec., 1
1
1
ceded or followed by a breve, or a
" minor perfectus, z U =3 breve preceded or followed by a semi-
" -" = a fS|
imperfec., I tj breve, was always imperfect (bipartite)
TEMPUS governed the subdi-
(time) by position. After the minim was in-
vision of the Breve into Semibreves ; in vented, the semibreve also became
Tempus perfectum (sign the circle similarly influenced by its position ; the
minim and lesser notes were always
Tempus imperfec. (sign the semic. perfect.
COLOR was the general designation
for notes differing in. color from those
PROLATIO (prolation) governed the
subdivision of the Semibreve ; in ordinarily used ; the red note (no'iula
rufbra) of the I4th century generally
Prolatio major 1^ = 3^ marked a change from perfect to im-
"
minor i ^ = 2 A perfect time, or vice versa ; the white
note (notula alba) was at first used like
the former marked by a dot in the time-
the red, but soon obtained the fixed
signature (or
(;, the latter simply and definite signification of imperfec-
by the absence of a dot,* tion in opposition to the
The usual mode-signatures were ver- ordinary black
note (of the I4th century); finally, the
tical strokes (long-rests) at the head of
black note (notula nigra) of the i6th
the staff ; e. g. with the signs for tern-
? and 1 7th centuries, when the white
pus and prolatio :
notes were universally adopted, in its
(
Modus maj. perf.
~\
turn indicated imperfection ; thus, from
J Modus min. perf.
H-ffl-- ^ J Tempus perfectum
the 1 5th century onward, groups of 2
I Prolatio major or more black notes had &&proportio
hemiolia to the surrounding white notes,
* The
system previously in vogue referred to i. e. tljeir time-value stood to that of
the relative time-value' of the notes in general ;
the latter in the ratio of 2 to 3, hence
thus, according to de Vitry (isth century) :
name Hemiola or Hemiolia (t{.v.)
their
'

L prolatio :| 3 + AUGMENTATION AND DIMINUTION,

*
Terms used loosely to express any in-
II.
crease or decrease in the time-value of
m. the notes ; but signifying, specifically,
(augmentatio) a retarding of the tempo,
generally doubling the integer valor;
 NOTE.

and (diminutio) an acceleration of the equal notes, and occurred either when
1

tempo, generally reducing the integer the next largest kind of note was per-
valor by one-half. The diminutio was fect, and the 2 (smaller) notes stood
first expressed by a vertical line through between two such large ones, or when
or the 2 notes were separated from a
thetempus-signature ( (J ft) (f),
following note of equal or smaller
by inverting the semicircle (j )f also value by a punctum divisionis; e.g.
by adding to the te#z/#,r-signature, in
the midst of a composition, numerals HOO |=4
in tempus perfectum (Q)
would be expressed thus in modern
or fractions (3, 2, f, f, f,) 2 or Jthen
signified that 2 /<zr/^ (semibreves ^)
notation ( e \
d & o \
*
)
were equal toi Oof the preceding tem- The PunStum or Punc'tus (point,
po ; Augmentatio was gen-
etc., etc. dot) had various uses ; (a) Punctum
erallyemployed to reverse a preceding augmentation nis equivalent to our dot ,

diminutio; the sign for which was sim- of prolongation ; (o) Punctum altera*
ply annulled by the usual sign for the tio'nis, which, placed before the first
integer valor (Q ) or by the in- of 2 short notes lying between 2 long
version of the fraction ( J, \ etc.) These
, ones, doubled the value of the second
fractions, however, were properly short note and restored the perfection
termed signs of Proportion. of the 2 long ones (c) Punctum per- ;
'

PROPORTION. The theory of Pro- fectio'nis, used in prolation, and also

portio, from the 1 5th century onward,
treats of the different time-signatures
and tempo-marks applied to several
parts progressing simultaneously ; for
instance, in a 4-part composition the
integer valor might be marked for the
discant in tempus perfectum Q, and for
the bass in tempus imperfectum ([, the
alto might be in tempus imperfectum
diminutum , while the tenor
(J
had di-
minutio intrtpla further, changes
(J 3 ;
Figurtt obliqued)
might be made in any or all parts in
the course of the piece, and were indi- Note.
cated by fractions (the signs ofpropor-
tion; compare Augmentation, above).
ALTERATION (alteratio) was the doub-
ling of the time-value of the
second of 2
to restore the perfection of a note made
imperfect by position ; and (d) Punc-
tual divisio'nis or imperfectio'nis,
written between 2 short notes lying be-
tween 2 long ones, indicated the imper-
fection of both the latter.
None of these rules or signs were in-
variably the
followed or employed;
above remarks will serve, however, to
give a correct general idea of the in-
tricacies of Mensurable Notation. (Also
see
(Ger. and Fr. No'te; It no'ta.)
One of the signs used to express the re-
lative time-value of mus. tones. (Comp.
Notation?) The notes employed in.
modern notation are the following :

Black one having a solid head(J); time-values.. . Choral-note',see Notation^

note,
a black i and 2. . . Crowned nott^ one with a
opp. to white note ( J). Also,
see hold (g) over it. . .Double note, a breve
digital or key. . Changing note,
.

Changing-note\ ..Character-notes, notes (= 2^).. Driving-note, a syncopated

t

common note. . , Essential note\ a chord-note, or

varying in shape from those
in

use, employed to present characteristic melody-note . Grace-note, see Grace.

. .

. . .Hold*
qualities of the
tones other than their
 NOTE-OBBLIQUO.

"ing-note,a tone sustained in one part time, triple timeflte, $tte, to quartet,
;

while the other parts move*. .Leading quintet... (It) 3% 4*, 5', 6% 7*, con-
note, Master-note, see Leading-note. . . tractions of Terza, Quarta, Quinta,

Open nqic, a white note . . . Passing note, Sesta, and Settima respectively; <?or <$**,
see Passing-note * . .Redting-note, see "all'ottava"; 75, "allaquindecima,"
Rtdting* . . White note, see Black note. .
,(Fr.) 2p,4p, 8p, i6p,equiv. to 2-foot,
Note A
.N, acddentfe, an
note. 4-foot, etc. . .Roman numerals are used,
(Fr.) .

accidental. . tN.d'agrtment, or degout,

in mus. theory, to mark fundamental
chords, thus showing at a glance from
grace-note ..jV. sensible, leading-note.
. .Notes
what triad any given inversion is de-
surabondantes(y\.\ groups like
rived (comp. Chord, and Phone,
quintuplets, etc., etc.^The
5, 6).
triplets,
French names for the 7 notes of the Nu'menis (Lat.) i. Number. 2.
scale are (i) ut, rSr mi^fa, sol, la, si; Rhythm.
and (2) tonique, sus-tonique, me'diante, Nunc dimit'tis. The' first "2 words in
sous-dominante, dominants, sus-domi- the Canticle of Simeon (Luke II, 29-32)
11
nante, sensible. Nuncdimittisservum- tuum, Domine,
Noten (Gen pi.) r. Notes. 2. Music in pace" (Now, O
Lord, lettest
(i. e. compositions, pieces). thou thy servant depart in peace) ; a
text frequently used by composers, and
No'tenfresser^Ger.) Same as Crcque-
note* forming portions of special services in
the Catholic and Anglican Churches.
No'tograplL See Melografk.
Nun's-fiddle. Trpmba marina*
Nottur'ao (It) Nocturne dimin. Not- ;

turni'no, Nuo'vo,-a (It.

[nop-6'vo].)
New...z'
nuovo, anew, again.
Nourri (Fr., "nourished".) Un. son
Nut. I. (Ger. Satftel; Fr.
silht; It.
nourri, a full or well-sustained tone. -
The
ridge over which the
Novellette. A
name probably first be- capota'sto.)
strings pass at the end of the finger-
stowed by Schumann (Op. 21) on a style
board next the head of a violin, lute,
of Instrumental composition free in form ,
etc. 2. (&ti.,Frosch; Fr. talon.) The
bold in harmonic structure, romantic in
movable projection at the lower end of
character, and specially characterized by the violin-bow, to which the hair is at-
a variety of contrasting themes and by
tached, and by which it is tightened or
considerable length. (Sometimes^w/- slackened. 3. The lower nut on the
ttie.)
violin, etc., is the ridge between the
Novemo'le (Ger.) A nomiplet. tailpiece and tailpin (or button).
Nowel. (Fr.W<?#.) A Christmas carol,
especially one in polyphonic style.
o.
Nuance (Fr.) A shading or inflection in
vocal delivery orinstrumental rendering, 0. A circle (Q) was the medieval sign
affecting either timbre, tempo, or dyna- for temfus ferfectum (see Notation,
mic effect, to a greater or less degree. 3); enclosing figure ((i)), see Harmoni-
Null. A um-music... A small circle signifies, in
naught or cipher. (See 0.)
In thorough-bass, a cipher calls for modern an open string ;
notation, (a)
iasto solo. (b) the harmonic mark ; (c) the dimin-
ished fifth ; (d) in thorough-bass, to-
Number, i. A
principal division or move- sto solo; (e) in old German clavier-mu-
ment of an .extended composition, like
sic, marks notes to be played with the
an opera or oratorio or any smaller ;
thumb.
and more or less complete portion 'of a
Or. (Also od.)
large work, as a song, aria, interlude, (It.)

etc.; or, finally, any single piece on a Obbliga'to (It.) Required, indispensa-
program. 2. Equivalent to Opus-num- ble. An obbl. part is a concerted (and
ber, therefore essential) instrumental part;

specially applied to an in-

Numerals. For the employment of the terrnis

Arabic numerals, comp. Abbreviations strumental part accompanying and vy-

2, Fingering, Harmonium-music, Or- ing with a vocal solo, very numerous

gan, Phone 6, Pitch 2, Tablature, examples of which may be found in the
As abbreviations, 2- music of the i8th century.
Thoroughbass.
time, 3~timet are equivalent to duple !

Obbli'quo (It.) Oblique.

 OBER-OCTAVIN,

OTjer (Ckr.) Over, above, higher... 0'- pipe. It has an elongated bird-shaped
berdominance, the dominant (opp. to terra-cotta body 5 or more inches long,
Unf terdominante, the subdominant) . . .
provided with a varying number of fin-
tfberlabium, upper lip (organ-pipe) . . .
ger-holes, and with a mouthpiece like a
Q'bermanual, upper manual . O'ber- . . whistle projecting from the side. The
stimme, highest part. O'bertaste, black
. . tone is mellow and fluty. The better
key. ,
O'bertdne, overtones, harmonics;
, kinds are provided with a tuning-slide.
pMnischer Oberton, the 1 5th partial.. Occhia'li (It.) Same as Brillenbasse.~
.O'berwerk Germany), ^0z>-organ
(in Also, recent name for the white notes
(when organ has 2 manuals); swell-vc- (o and J,
ean (when organ has 3) ; .M/0-manual
Ochet'to Oche'tus See
(when organ has 4 manuals). (Abbr. (It.), (Lat.)
Hocket,
Obw,, or 0. W,)
Oblig6 (Fr.) Ob- Octachord, i. An 8-stringed instr. 2.
Obljgat',-o (Ger.),
bligato.
A series of 8 consecutive diatonic tones.

Oblique motion. See Motion. .

Oblique. Octave, I. (Ger. Okta've; Fr. octave;
pfte.,
an upright pfte. with strings run- It. otta'va.) i, Aseries of eight con-
secutive diatonic tones. 2. The inter-
ning diagonally instead of vertically.
val (1:2) between the ist and 8th tones
Obli'quus (Lat.) Oblique . Figura . .

of such a series. (Comp. Interval?)

obliqua, see Figura. . Motus obliquus, .
3.
The 8th tone of such a series, consid-
oblique motion.
ered in its relation to the ist ; or vice
OT>oe, (Ger. Obo'e; Fr. hautbois; It.
versa. The 8th is called the higher oc-
oboe'.) i. An orchestral instr. with
tave of the ist, the ist the loweroctave
conical wooden tube, having from 9 to
of the 8th. 4. One of a number of
14 keys, and a double reed held by the
arbitrary divisions of the entire range
player directly between his lips, he thus of tones employed in practice, made for
completely controlling the expression. the sake of convenience in referring to
Compass Sva. though either ex- and establishing the absolute pitch of
2 octaves - treme * s difficult
T'~~~ each tone. (Comp. Pitch.) 5. In the
plus a (j\j - "\J_ =. and hazardous, organ, a stop whose pipes sound tones
seventh if tnr
: The scale above
an octave higher than those represented
r is formed by octaves of the
fundamental tones, as in the
":
by the digitals touched j like the Prin- 1

cipal. ..At the octave^ see Ottawa-,

" all .
flute, the fingering of which is
. .Broken octaves, see Broken.. . Con- .

also similar to that of the oboe. The tone

cealed, covered, or hidden octaves, paral-
is very reedy and penetrating, though lel octaves suggested^ the progression
mild, and equally suited for scenes of
of 2 parts in similar motion to the in?
pastoral gaiety or of lonely melancholy. terval of an octave Rule 'of the oc'tave,
. , .
* The oboe
family is incomplete, only a system of harmonizing the diatonic
2 instr.s, the ordinary treble oboe (for-
scale taken as a bass ; much employed
merly obob pitfcoto) and the alt-oboe in tuition before the laws governing
(cor'no ingle'se) being now used, the harmonic progression had been formu-
former as a non-transposing instr. lated. . . Short octave, in organ-building,
written in the -clef the latter as a ,
the lowest octave of the keyboard,
transposing instr. The bass for the when abbreviated by the omission of
oboe is furnished by the bassoon. The all digitals but those needed for the
oboe d'amo're (Fr. hautbois a" amour) is
bass of the simpler harmonies, the digi-
at present played only in the historical
tals remaining being set side by side as
concerts of the Brussels Conservatory ;
if forming the regular series ; this -was
its pitch is a minor third below the and space. *-. Oc-
done to save expense
treble oboe, and it differs from the ob-
tave-coupler, see Coupler. . . Octave-
solete oboe bas'so (Fr. grand hautbois) the piccolo ; (o) an organ-
flute, (a)
in having a spherical bell with a narrow Octave- scale, see
stop of 4-foot pitch.
. ,

aperture, whereby the tone is sensibly Mode. . Octave-stop, same as Octave 5.

.

subdued. The parent instr. of the

-
oboe was the shawm* (See APPENDIX.) Octavia'na, See Ottavino. (Also oc~
tavin, octavina, octavino?)
Oboi'sta (It.) Oboist.

Ocari'na. A small wind-instn, an im- Octavin' [-veen]. i. See Ottavino.z.

'

provement of the toy 2-tone cuckoo- A wind-instn inv. in 1803 by Oscar

435 OCTAVO OPERA.

Adler of Markneukirchen, Saxony. It usually supplemented by a motet on the

has a single reed, and a wooden tube same or different verses such offerto- ;

of conical bore; the keys are so arr. ries are also composed with instrumental
that the fingering is similar to that of accomp.
the clarinet, oboe, etc. The tone is Oficle'ide (It.) Ophicleide.
quite powerful ;
the timbre between
oboe and horn. Made in 2 sizes, Ify
Oh/ne(Ger.) Without.
cl c\
"
and ; compass 3 octaves, Oh'renquinten (Ger., ear-fifths ".)

Octavo attachment. See Octave-pedal, Covered fifths, the ill effect of which
under Pedal. the ear detects (or is supposed to de-
tect) ;
sometimes used to designate
Octet^ (Ger. Oktetfj Fr. octette; It. mere theoretical finicalities.
ottetto) A composition for 8 voices
Okta've (Ger.) Octave. .. Oktaviiren,
orinstr.s.
to produce, when overblown, the higher
Octo-basse (Fr.) The octo-bass, an octave of the lowest natural tone of the
immense 3-stringed double-bass 4 me- tube (w\K&-m*ti.*)...Okta'i/chen, Ok-
tres in height, provided with a median- ..
tat/flote, piccolo. Oktafvengattungen,
ism of digitals and pedals for stopping octave - scales . .
.
Okta'venverdof'pelun-
the strings ; it is a third lower in pitch f
gen, OktaT/folgen,-paralle len, parallel
than the ordinary double-bass (Ci-d-C), or consecutive octaves . . Oktatf- Wald- .

and its tone is smooth and powerful.

horn, a new species of Waldhorn, inv.
Inv. by J. B, Vuillaume in 1851.
by Eichborn and Heidrich of Breslau,
Octochorl See Octachord. of particularly full tone in the high and

Octole (Ger.) Octuplet. low parts of its range.

Oc'tuof. Same as Octet. Oktavin'. See Octavin 2.

Oc'tuplet. A
group of 8 equal notes
O'lio. A medley, or mus. miscellany.

having the same time-value as 6 notes Olivettes (Fr.) Dances after the olive-
of the same kind in the regular rhythm. harvest.

Ode. A lyric
poem intended for singing,
Om1>ra (It.) A shade, shading, nuance.
and expressive of lofty and fervent
Om'nes, Om'nia (Lat.) All. See TuttL
emotion; it has no set characteristic me-
Om'nitonic. (Sr.omnitonique^ Having
tricalform. Also, the musical setting
or producing all tones, chromatic; as
of such a poem. -

Ode'on. (Gk. *&i'w/Lat

f
ode um.) A Once-accented. See Pitch.
public building in which musical con-
tests were held. Ondeggiamen^o (It) Undulation...
O'der Ondeggian'te, undulating, wavy.
(Ger.) Or, or else.
Ondulation (Fr.) Undulation
Ode-symphonie (Fr.) A choral sym-
. . . Ondutt,
undulated, wavy.
phony, symphony with chorus.
One-lined. See Pitch.
(Euvre(Fr.) Work, composition,
Off. In organ-music, a direction to
push in Ongare'se (It.) Hungarian.
a stoporcoupler; as -Sift, to Gt, off^ Off Onzieme . The- interval of an eler-
(Fr.)
tkc pitch, false in pitch or intonation. enth.
Offen (Ger.) I. Open (of organ-pipes). Open diapason, harmony, note, order,
'

2. Parallel (fifths, octaves). see the nouns.

Offenbar (Ger.) Open, manifest... Of- Op'era. (It. ffjfera \sSria, luffa, etc.],
fenbare Okta'ven, Quin'ten, open or
parallel octaves, fifths.
Offertory. (lit. and Ger. 0/erto'rium;
Fr. offertoire; It. offerto'rio) In the
R. C. Mass, the verses or anthem fol-
lowing the Credo and sung by the choir
while the priest is placing the unconse-
crated elements on the altar,
during
which the offerings of the congrega-
The daily offertory
tion are collected.
of the Gregorian antiphonary is now
fedal,fife, etc.;
dram'ma fer mu'sica; Fr. Optra; Ger.
Modern opera,
O'per, Mitsikf drafiia?)
a form of dramatic representation in
which vocal and instrumental music
forms an essential and predominant ele-
ment, took its rise towards the close of
the 1 6th,
century in the striving of Ital-
ian (Florentine) composers' and aesthe-
ticians to emancipate vocal music from
the fetters of contrapuntal form. Their
efforts led to the
adoption of Monody
 OPERETTA-OPHICLEIDE. 13?

(q. v.) as an art-style, and its application
to dramatic purposes. The first
opera
given was probably "Dafne" (music
by Peri and Caccini, book by Rinuccini)
in 1594, which was lauded to the skies
as a successful return to the musical
declamation of the ancient Greek trag-
edy. The dry stilo rappresentati-vo of
the earliest operas was improved upon
by Monteverde (1568-1643), who em-
ployed vocal and orchestral resources
with a freedom undreamed of up
time, justly earning him the title of
'*
father of the art of instrumentation".
His orchestra for the opera "Orfeo"
(1608) is given below :
ticularly of Wagner). France continues
in the footsteps of her national
compos-
ers (Gretry, Mehul, Boieldieu, Adam,
Herold, Halevy, Auber, Meyerbeer,
Gounod). To the purification, or rather
annihilation, of the quasi-dramatic form
of the grand opera, Richard
Wagner
(1813-1883) devoted all the powers of
his marvelous genius. The guiding
"
principle in his Musikdramen" (musi-
cal dramas) is the harmonious
coSpera-
to his tion of the dramatic, poetic, scenic, and
musical elements ; thus, the action of the
drama must never be checked or veiled
by purely musical episodes, however
charming in themselves the music must ;

2 Gravicembani, 2 Contrabass! di Viola, TO illustrate the (emotional) course and ef -

Viole da Braccio, x Arpa doppia, A Violin! pic- fects of the action, and nothing else.
coli alia francese, 2 Chitarroni, 2 Organi di Hence the discontinuance of cut-and-
legno, 3 BassidaRamba, 4 Tromboni, i Regale,
a Cornetti, x Flautina alia aada, x Clarino, con driedmovements and leveling of tradi-
3 Trombe sorde. tional forms, the rarity of full cadences
With Alessandro Scarlatti and harmonic sequences, the richly
(1659-
modulated flow of inspired melos, the
1725) begins the era of modern Italian "
absence of vain repetitions" of words
opera ; the sensuous charm of melody
asserts itself more and more strongly and phrases, the uninterrupted dramatic
;

the singer becomes master of the situ- interpretation by the orchestra of scenes
and moods. Both the grand opera and
ation, and operas are written to his
order. This tendency, early transplant- the Wagnerian drama find zealous ad-
ed with Italian opera to France and vocates and imitators ; these, together
with operettes of most various com-
Germany, was combatted by leading
composers of those countries; Lully plexion, are the typical forms of musico-
dramatic composition at present. The
(1633-1687) and Gluck (1714-1787)
were reformers of the musical drama in comedy-opera, varies the form of grand
ridding vocal diamatic music of super- opera by the interpolation of spoken
fluous melismasand coloraturas, making dialogue . . .
Opfra-boujfe [formerly &?#/"-
it follow throughout the course and fon\ (Fr.), light comic opera. .. Opera
sense of the action. The grand or bttjfa (It.), Italian opera
of a light and
Aeroie opera, with its full choruses and humorous cast, comic opera in which
and recitatives, and all the dialogue is carried on in recitative
finales, its arias
varieties of ensemble (duets, trios, secco, instead of being spoken. , .
Optra
. .
quartets, etc.) is a growth due to the comique (Fr.), comedy-opera . Opera
of Italian opera upon the scri<t(lt*)t serious (grand, heroic, tragic)
grafting
French musical stock, and is the style opera ; opp. to opera bufa.
especially affected by modern French Ger. and Fr. Operefte.)
Operet'ta (It.;
composers ; the formal plan of Italian A "little opera", with reference either
opera was likewise adopted by the great to duration or style of composition.
German composers, but with an infusion The text is in a comic, mock-pathetic,
of artistic potency and sincerity which
parodistic, or anything but serious vein;
raise their productions far above the
the music light and lively, in many
earlier level (Mozart, Beethoven), and cases interrupted by dialogue. The
a tinge of German romanticism which
English Ballad-operas and the German
lends them a truly national color (Weber,
Singspiele are varieties of the operetta.
Marschner). In comedy-opera the Ital-
Modern masters of this style are Offen- -

ians were also pioneers (Pergolesi, bach, Lecocq, Strauss, Sullivan, etc.
Cimarosa) ;
then follow the French
(Gretry), and lastly the Germans (Mo- Oph'icleide. (It Ojick'ide^ The bass
zart), all inthe i8th century. Recent instr.of the key-bugle family (brass in-
Italian operas show a distinct reaction struments with keys), now little used; it
against the old type, and bear witness was made in various sizes and of differ-
to the strong influence of Germany (par- ent pitch ; (i) as bass ophicleide in C %
138 OPPOSITE MOTION ORCHESTRATE.

and A\), compass 3 octaves and ire.) l. A

place -ressryed (a) in the
fy,

a semi- rg_. (
2 ) as ^~ ancient -Greek theatre,, for the chorus,

,tone,chro- p B: j |~ ophicleide
between audience ^and stage ; () Jn

matically
ascend-
3 ^C ^
-F and
com-
ancient Rome, for seats for distin-
guished personages,
in the same
place ;
"fj |b ^ the (c) in the modern theatre,
for the band
ing from: pass
as of instrumentalists, placed in front. of
same,
u tE
but
gp upward
cmtraha,
, (3)
the stagehand either just below the level
|^ ^p^ contrabass _
,

j
|

ckide in and of the lowest seats in the auditorium,

only
from: compass only or (as in the Wagner theatre at Bayreuth)
7,
. .

lower sunk still lower, and provided with a

octaves, pitched an octave
-

2#
than the alt-ophicleide. Only the bass Jialf-roof concealing the musicians from

ophicleide was for

a time in compara- the audience. Hence 2.- (a)' com- A
tively general use. (RlEMANN.) NOW pany of musicians performing on the
superseded in the orchestra by
the bass instr.s commonly used in the theatre 'or

tuba in E$* concert-hall in opera, in oratorio; etc.,

or in symphony-concerts ; (If) the instr.s
Opposite motion. Contrary motion.
/
so played on, taken collectively'; as
Oppu re(It.) Or, or else; abbr.0//. See
Wagner's orchestra^ a symphony-orches-
Ossia. tra. The orchestral instr.s
t
(compare
O'pus (Lat.) A work; abbr. Of. or op. Instruments) are classified in_4 main
Qrato'rio* (Fr. and It, ditto Lat. and ; groups: (i) The strings or string-
Ger. Orato'rium.) An extended com- hand (violin, violaj violoncello, doub,le-
for vocal soli bass); (2).thew^i/-7wW(flute, piccolo,
,
position of dramatic type,
and chorus with orchestral accomp., English horn,, oboe, bassoon, double-'
usually having a text based
on Script- bassoon, clarinet, basset-horti) ; (3) -the
ure. It is distinguished from Opera brass-wind (French horn, trumpet,
mainly by the absence of scenic decora- trombbrie, saxhorns, "bass tuba, cornet,
tion and of stage-play by the perform- [ophicleide] J; (4) the fencusswes (kettle-
ers, the action being contained j'w/AVto drums, bass drum, snare- drum, cymbals,
in the words. The oratorio takes its triangle, bells, gong, and likewise the
name from the oratory in which the harp and though the latter is not
pfte.,
H

monk Neri (d. 1595) held discourses, generally reckoned as an orchestral

illustrated sacred songs, on biblical instr.) The full orc/iestra in which all
t
by
history ; similar productions of a mys-
the above groups are' represented, may
tical character, and a growing prepon- be sifaeno, grand orchestra (symphony-
derance of the musical element, led up orchestra) or small orchestra; the for-
to the first known oratorio
employing mer should contain 2 flutes, 2 oboes, 2
u
the rtdtatwe (E. del Cavaliere's Ani- clarinets, 2 bassoons," 2
trumpets, 4
ma e. Corpo *, 1600), which is also a
7
horns, 3 trombones, and ,a pair of ket-
distinctive feature of the operav At tledrums., 'tp balance which there should
*'
this period oratorios were given with be, in the string-quartet", about 14
scenery and dramatic action (azio'ne 1st violitis,14 2nd violins, 9 violas, 9
sacra)\ the adoption by Carissimi (d. t
violoncelli,and 6 double-basses (orches-
l674)of theepical part of the Narrator, tra of the Gewandhaus, Leipzig); this
rendered both superfluous. The modern basic grand orchestra may be enlarged
oratorio, with full orchestra, recitatives, .
ad libitum (as for the modern opera) by
lyrical soli, and the grand choruses (in 'doubling the principal in'stnsor ty 'add-
-

their solemn and majestic breadth the jng others. On the other hand, by Je^v-
fundamental characteristic of oratorio- ing out the trombones, 2 of the horns,
style), is a product of the early i8th and even the kettledrums and clarinets,
century (Haydn, Handel). (Coiop.Mys- we get the small orchestra. Groups 2
Urifs^ Passion, Opera.} Rubinstein's and 3 constitute what is called the
"
"geistlkhe Opera (sacred operas, "wind-band".
P#radis;e Lost% Tower of Babel, Moses,
Orchestral flute. An organ-stop dosely
Ghristus) are also called oratorios-, al- "

though- adapted for stage-performance, imitating the flute in timbre.

for which reason they are playfully Or/chestrate.
** (Ger. Qnfcstritfrenj Fr.
termed Operatorios." -To
.

Wthestrer; It, or^hes^rare.) ,

Orchestra. (Ger, Qrcfas'ters Fr. orches- or Arrange

 ORCHESTRE ORGAN.
ikestra'tion, theart of writing music
for performance by an orchestra the
science of combining, in an effective
manner, the instr.s constituting
orchestra. [The best treatises on the
instr.s and on orchestration are by Ge-
vaert, Berlioz, and Riemann.]
Orchestra, Orchestra.
(Fr.) .
orchtstre^ for full orchestra.
Orchestri'na di ca'mera. One
rious small keyboard free-reed instr.s,
each constructed with the compass and
timbre of some orchestral instrument
which it was intended to replace, such
as the clarinet, oboe, or bassoon inv.
by W, E. Evans, about 1860.
Orchestri'no. A kind of piano-violin
imitating in tone the violin, viola d'a-
more, and 'cello ; inv. by Pouleau of
Paris- in 1808.
Orchestrion* The modern o.
stationary barrel-organ (q. #.), generally
with a self-acting mechanism, and imi-
tating, by means of a "variety of stops,
various orchestral instr.s. The
of Abb6 Vogler towards the end
(inv.
of the iSth century) was a
" "
simplified
in which the
organ, complicated key-
and
action registers were abolished, the
pipes standing directly behind the keys
governing them, while the mixtures and
numerous other adjuncts were done
away with; it also had a Venetian
swell, and for the i6-foot stops he sub-
stituted a combination of an 8-foot stop
and a fifth (sj^-ft) an idea still of
utility.
Ordina'rio. (It.) Common, ordinary.
Tempo o., common (4-4) time.
Or'gatu (Lat. origanum; Ger. Or*gel;
Ft. argue; It. oPgano.) The largest
and most powerful among musical
and of great antiquity, trust-
instr.s t
. Worthy accounts reaching back to the 2nd
<#ntury B. C. Up to the loth century
A. D. the organ appears to have been
a very primitive instr., with a diatonic
compass of 2 octaves at mosf; ; the pipes
were all flue-pipes, constructed in much
the same manner as at present; reed-
pipes were not introduced until the i$th
century. But as early as 980 we hear
of an organ at Winchester, England, t upon the
which had 400 pipes and 2 manuals,
each with a compass of 20 keys, and
with 10 pipes to each key. The keys
,ofthe early organs were so broad, and
the whole action so clumsy, that in
playing the plain-song melodies the
; clenched fists, or even the elbows, were
used to depress them. Improvement
the has been steady, and chiefly due to Ger-
man, English, and French organ-build-
ers. The pipe-organ (see also Reed-
organ) is a keyboard wind-instr. con-
. J grand sisting of few or many sets of pipes
controlled by one or more keyboards.
It has 3 distinct mechanisms (i) The :
of va- wind-supply, incl, bellows, windtrunk,
windchest, etc.; the pipes, called
(2)
collectively ti&pfye-iwrk; (3) the key-
boards, pedals* and stops, called collect-
ively the action, and under the player's
; direct control. (i) The -wind (com-
pressed obtained from a weighted
air) is
storage-bellows filledby feeders; from
the storage-bellows the wind is -driven,
by pressure of the weights on the stor-
age-bellows, through a hollow wooden
canal, the zvindtrunk, into the wind-
is a large
chest, a wooden wind-reservoir beneath
the soundboard on which the pipes ,are
set; the wind passes up through the
soundboard by way of grooves separated
orch.
by bars, and leading directly to the
pipes; the grooves are closed below by
opened by de-
pallets (air-tight valves)
pressing the keys, and above by sliders
opened by pulling out the draw-stops*
(2) The pipes are divided into 2
principal groups, flue-pipes and reed-
pipes (which see; also comp. Stop).
They are held in position over the
soundboard by the upper-board, into
,
which the of the pipes are inserted;
JWJM
and the pipe-rack, a board pierced with
holes to admit the feet of the pipes an4
. ,
to support the latter. Each set of pipes
(a stop or register) is ranged in one or
more rows above a slifar, which is a
long, narrow strip of wood with holes
corresponding in size and relative posi-
tion to those iff the feet of the pipes^
and pushed back and forth by a draw-
sfyp; when the latter is on (out, or
drawn) the- slider-holes come exactly
1
under the pipe-feet, so that wind can
pass from the grooves into the pipes;
when the draw-stop is 0jf(i.e. in) the
slider-holes are out of position,and the
cannot speak. (3) The action :
pipes
(a] The draw-stop action that acting
is
sliders by means of a system
or levers; combination-pedals (see Pe-
dal) are compound draw-stops. ..(3)
The keyboard-action acts upon the pal-
lets closing the grooves; when, a key is
depressed, rear end rises, forcingup
its
140 ORGANETTO ORGANUM.
an upright wooden wand called a sticker\
which raises the front end of a horizon-
tal lever called a backfall^ whose rear
end in turn goes down, and pulls with
it a tracker ',
a thin, vertical strip of
wood bearing on its upper end the/#//-
Sw. to Gt., Solo to Gt., Sw. to Ch.),
and 4 pedal-couplers (Gt. to Fed., Ch.
to Fed., Sw. to Fed., Solo to Fed.) The
organ-keyboards are usua *ly called man-
uals; there may be from I to 5 (see list
below) with or without fredal-keyboard.
t

down or pallet-wire, a wire attached to Usual compass of manuals, 4 octaves

a pallet (valve) closing the lower side of and a fifth, with 56 keys (sometimes 5
a groove; this pull-down thus pulls down full octaves), from Cto r*:
the pallet and admits the compressed Compass of
air to the groove from the windchest; if to
_pedal, up
a draw-stop is on, so that the wind can -2 octaves
enter a pipe, the pipe will speak which ^andafourth,
corresponds to the key depressed. This withsokeys:
is a common variety of key-action; This notation, however, expresses only
squares and roller-boards are also often a part of the full compass, I

interposed between the stickers and the lowest pedal-pipes

trackers; more recent inventions are yielding Ct (2 octaves below
ti&pneuniatic and the electric actions in ,
and the highest manual-pipes (piccolo i-
6
which the depression of a key simply foot) producing^ (3 octaves higher than
forms a connection setting the com- if the total compass of the
pressed air or electric current at work. ,v
organ thus being 9 octaves
..(*) Couplers are mechanical stops
^ and a fifth (C 9 to g* ). The
acting to connect 2 manuals, or pedal stops belonging to each
with manual, so that when one is manual are set on a separate sound-
played on, the other is combined with it. board or set of soundboards, and con-
A 4-manual organ often has as many as stitute a partial organ. The names
8, namely, 4 manual-couplers (Ch. to Gt. ,
of the manuals follow :

ENGLISH. GERMAN. TRENCH. ITALIAN.

r
Gt. prg. manual Haupt'werk (Man. I.) Grand-orgue (i clavier) Principale.
Choir manual Un'terwerk (Man. II.) Positif (2* clavier) Organo di coro.
^
Swell manual Schwell'wrk(Man. III.) Clav. de recit (3* clavier) Organo d'cspressione.
Solo manual So'loklaver(Man.IV.) Clav. des bombardes (4" clav.) Organo d'assolo.
Echo manual E'choklavier (Man. V.) Clav. d'echo (5* clavier) Organo d'eco,

Organet'to (It.) A bird-organ ;

a bar- Origanum (Lat) I. An instrument;
rel-organ. later,an organ. 2. The earliest at-
Ofganier (Fr.) Organ-builder. tempts at harmonic or polyphonic
music, in which the parts progressed in
Orgaoi'sta (It) Organist.
parallel fifths and fourths. The excru-
Orgatus'trum (Lat) Hurdy-gurdy.
ciating effect of this diaphony on the
Or'gano (It) Organ (q. /.)... 0, piSno, modern ear has led investigators to
full organ... O.porla'bite, a portable make the most of any historical evi-
organ. dence going to show that these pro-
OrganochorMinm. A combined pfte. gressions were not simultaneous, but of
and pipe-organ (Fr. piano organis4)\ the an antiphonal character it appears to
;
idea originated with Abb6 Vogler. be established, however, that they were
Organ-point. (Ger. QSgelpunkt; Fr. really the connecting link between the
point cTorguc ; I^pun'to d'or'gano!) A earlier chanting in octaves, and the later
tone sustained in one part to harmonies contrapuntal forms slowly developed
executed by the others. It is ordinarily out of the oblique and contrary motion
a bass note (usually the tonic or dom- in certain forms of fasorganum> due to
inant, or even both combined), and is the occasional introduction of harmonic
also called a pedal-point, or pedal; but seconds and thirds. Though the orga-
a tone so sustained in a higher part is num. was, properly, the part added below
more properly termed a holding-note, or the eantus firmitS) the term is generally
simply a sustained tone^ and the organ- applied to all the first rude attempts at
point is then sometimes termed inverted. harmonic composition, whether in 2
Pastoral'organ-point tonic and dom-
',
parts (diaphonid), 3 parts (triphonia^ the
inant sustained together in the bass. added third part being called triplwn,
 ORGEL-OVERSPUN. 141

Tu pa - tris sem *
pi
- ter - nus H - us.

Tu pa - tris sem -
pi ter - fi
-
H
(Ger.) Organ. . .
OSgelgehause, ground bass hence the use of ostinato^
;

Or"'gelmetall, organ-metal.
organ-case. substantively, as a technical term for
. .

. .
organ-point Or*gel- . . .
the incessant repetition of a theme with
Ofgelpunkt,
register, organ-stop .
Or'gel'wolf, ci-. .
a varying contrapuntal accomp.
phering (also Heu'leri).
Otez (6tez) (Fr.) Off (in organ-mus.)
Orgue (Fr.) Organ... 0. de Barbarie,
otacylindre, barrel-organ. Otta'va (It.) Octave. .All'ottava (usu-
, . 0. expres- .

"
sif, (a), an harmonium; () swell-or- ally abbr. to 8va or 8 or #-""*), at

gan. 0. & fercussion, a form of reed-

. ,
the octave", an octave higher. Also
organ constructed by de Provins and
,
signifies, in scores, that one instr. is to
Al^xandre, Paris. accompany anotheru
in the higher octave.
with the octave/' i. e.
Orguinette. A mechanical wind-instr.
..Coirottava^
in octaves . 0*.
alia, the higher oc-
.

having I or more sets of reeds and an }

tave... 0. bassa($va basso), the lower
exhaust-bellows ; by turning a crank
the bellows is operated, and a perforated octave, an octave below. 0. rima, an . .

Italian strophe of 8 lines, each in the

strip of paper attached to 2 rollers is
made to pass over the reeds, the perfo- heroic metre of n
syllables, the first 6

rations admitting the reeds and rhyming alternately and the last 2 form-
wind^'to
thus producing music. ing a couplet.

Ornament. (It. ornamen'to; Fr. orne- Ottavi'na (It) i. An octave-spinet.

ment; Ger. Verziefrung?) A grace, em- 2. Aharpsichord-stop controlling a set
bellishment, Ornamental note* an ac-
. .
of strings tuned an octave higher than
the rest.
cessory note.
Ornatamen'te, Orna'to (It) Embel- Ottavi'no (It) The piccolo (Jta'uto
lished, ornamented. piccolo).

Orpha'rion. See Orphto'reon. Ottemo'le. An octuplet.

Orph6on. In France, a singing-society Ottet'to (It.) An octet.

I.

composed of men Orphtoniste, a mem- Otto'ne (It.) Brass.

. . .

ber of such a society. 2. A piano-

Ou(Fr.) Or. (SeeOr.Vz.)
violin.
Oule (Fr.) Sound-hole.
Qrpheo'reon, or -ron. A variety of cith-
er, having a flat back, and ribs with more
Ouvert,-e (Fr.) Open... Accord & ?ou-
than one incurvation on either side. vert, a chord producetfon open strings
of stringed instr.s. .A Kvre ouvert^ at .

Or'pheusharmonika (Ger.) Same as

sight.
Panharmonikon*
Ouverture (Fr.), Ouvertifre (Ger.)
Oscillation. (Ger. Oscillation'^ Vi-
Overture.
bration, or beating.
Overblow7 . 'With wind-instr.s, to force
Osservan'za, con (It.) With care, and the wind through the tube in such a
attention (to the signs)... Osserva'to^
sti'le
way as to cause any of the harmonics to
carefully observed; osservato^ sound. Metal instr.s (horn, trumpet)
strict style,
are in most cases overblown ; wooden
Ossi'a (It.) Or; or else; indicates an instr.s (flute, clarinet) are overblown in
alternative or facilitated reading (or the higher octaves.
fingering) of a passage. (Also oppure^
O'ver-chord. See Phone, i.
wvero!)
Ostina'to (It) Obstinate. . -JBasso o., a OYer*pun'. (Ger, ubtrspm'nen.) Used
142 OVERSTRING-PANTALEON.

the correct tech- Padova'na (It.) Same

as Pavane, (Also
for covend (strings),
nical term. Padovane, Puduana^ Paduane^ etc*)

Overstring'. To
arrange the strings of Pae'an (Gk.) hymn* to Apollo ; aA
a pfte. in 2 so that one set lies
sets, hymn of invocation or thanksgiving to
over and diagonally crossing the other ; Apollo or other help-giving god.
a pfte. so strung is called an overstrung Pae'on
(Gk,) A
metrical foot of 4 syl-
in contradis- It has 4
pfte. (Ger. krcusfsaitig), lables, i long and 3 short.
tinction to vertical* forms according to the place occupied
Overtone. See Acoustics. by the long syllable; namely, first
OVertnre. (Ger. Oiwertii're; Fr. ouver-
It. ovcriu'ra , sinfoni'a?) A
mus. third '
*-'), and fourth paon
turt;
preludeor introduction. The first Ital-
ian opera-overtures were simple vocal Paired notes. A proposed equivalent, in
(sung) prologues, or instrumental pre- pfte.-technic, for the term double-stops
ludes in vocal (madrigal-) style ; with on the violin, and for the G.er. Dop'pel-
Scarlatti the overture or sinfonia as- griffe; i.e. 2parallel series of notes
sumed a purely instrumental character, played with one hand, as thirds, sixths,
and was written in three divisions (I and octaves.
allegro, II slow, III vivace, presto) ;
Palalalka.
See Balalaika.
hence the overture in with
sonata-form^
2 or 3 contrasting themes following a PaTco (It.) A
stage ; a box (theatre).
short and slow introductory passage, Palestri /nastil (Ger., "Palestrina-
and repeated after a more or less ex- style ".) Equiv. to a cappella style (It.
tended development-section, but differ- alia Palestrina).
ing from the true sonata-form in lack- Palettes The white keys of
(Fr., pi.)
ing the characteristic reprise before the the keyboard ; opp. to feintes t the black
development. This overture in sonata-
-

keys.
form is the parent both of the modern
Palimbac'chius. See Antibacchius and
Symphony and of the Concert-overture Bacchius.
(a term derived from the custom of per-
forming real opera-overtures as separate PanMeaa Pipes, (Also Pan's-pipe$ r

concert-pieces), in which latter the' Syrinx!} A simple wind-instr., known

above form is usually adhered to. Op- in slightly varying forms from earliest
'

era-overtures not in this form are either antiquity it consists of a set of gradu-
;

potpourris of leading mus. numbers ated reeds or tubes arranged in a row

taken from the body of the work, or and blown by the mouth. -The Grecian
instr. usually had 7 tubes.
x
blending themes occurring in the mu- Pando ra, Pandora, etc. See Bandofa.
sical drama in the form of an independ-
Pan'flote (Ger.) Pandean pipes. (Also
ent composition, with the intention of
Pansfiote^
preparing the hearers for the coming
action ; such preludes have neither a Panharmon'icon. A variety of self-
regular key-plan, nor any conventional acting orchestrion, inv. by J. N. Malzel
formal method of construction. of Vienna in 1800.

Ov'vero (It) Or. Panmelo'dion. A keyboard instr., the

(See Ossia.)
tone of which was produced by the
friction of wheels on metal bars inv. ;

P. by Fr, Leppich, in 1810.

Panorgue (Fr.) A
miniature reed-organ
P. Abbr. of Pedal or Fed.) * piano
(P. attached beneath and played by the
(P) \ fpy or //A pianissimo; P. F., pi- keyboard of a pfte. ; the combined instr.
anoforte;pf, (a) flu forte (louder), (b) is named a panorgue-piano* Inv. by
forte (rather loud) ; fp fortepiano J. Jaulin of Paris.
to e. loud,
instantly diminishing to
PantaTeon, Pan'talon. An improved
soft); mf, mezzo-piano (half-soft); of
dulcimer, inv. in 1690 by, and named
/W&(Fr., =
toe); and, in Fr. organ-
after, Pantaleon Hebenstreit; a precursor
music, P stands for Positif (choir-
of the pfte. It was 4 times as large as
organ). the ordinary dulcimer, and oblong ia
Fadfcrlio'ne (It) Bell (of horn, tfc.) shape; had 2 soundboards, as of_S
 PANTALON PART-SONG.

instr.s standing close together ; was Parlan'do, Parlance (It.) Speaking";

strung on one side with steel and brass
wires, and on the other with gut the
2 ^wooden mallets in the player's hands
were sometimes used with the softer
face, sometimes with the harder.
Pantalon (Fr.) The first figure or move-
'
a style of singing resembling recitative
; in clear enunciation, the vowel-sounds
being markedly "thrown forward/'
Part, (Ger. Part, Stim'me; Tr.partie,
voix; It. par'te, vo'ce.) In concerted
music, the series of tones written

ment in the old quadrille. for and executed by a voice or instr.,

" either as a solo or together with other
Pan'talonzug (Ger.) Pantalbn-stop";
a harpsichord-stop which neutralized voices or instr.s of the same kind ; a
the action of the damping mechanism, melody so performed.
and thus produced the confused effect Part-book. I. (Ger. Stimm'buch.') A
peculiar to the Pantalon. written or printed part for a single
Parallel. See Interval, Key, Motion. performer, like those in vogue during
the 1 5th and i6th centuries. 2. (Ger.
.
.ParalkFbeivegung (Ger.), parallel
(and also similar) motion. . . Parallel'len Chor'buch.) A
book of that period,
(Ger., pi.), (a) sliders (in the organ); containing 4 vocal parts (sometimes
with added instrumental accomp.), not,
(b) consecatives...Paralkl'tonart (Gen),
a as at present, in score, but each on a
relative (major or minor) key.
A or re- separate staff side by side with the
Paraphrase, transcription others (can'tus latera'lis), and on oppo-
arrangement, of a vocal or instrumental site pages ; the fragments of the several
composition, for some other instr. or
parts so corresponding, of course, that
instr.s, with more or less extended and
the leaf could be turned for all at the
brilliant variations.
same time. Some were so printed, that
Parfait(Fr.) Perfect (of intervals) ; com- singers on opposite sides of the table
inton- could read from the same open book.
plete (of cadences); true, pure (of
ation); strong, accented (of beats)* The diagrams give a notion of this
Parhyp'ate.. See Lyre I. peculiar arrangement :

Parte (It.) Part...C0//0 parie, a

i. titu'ra (Lat. and It.) A partition,
direction to to follow
accompanists score. .Partitura cancettafta, a system
.

yieldingly and discreetly the solo part of staves scored (hence Engl Score) by
or voice. 2. A
movement. the vertical lines of the bars drawn from
Partial stop. See Stop. .Partial tone,
. top to bottom.,
see Acoustics. . .Partial
turn, see Part-music. Concerted or harmonized
Turn I. music; a term, properly applied to vocal
music of this description, (See Part-
Participating-tone. See Accessory. *

Particular metre. See Metre. son^

Part-singing;. The
singing of part-
Partimen'to (It.) A figured bass*.,
music; as generally understood,, with-
Partimenti (pl.)r exercises, generally
out instrumental accomp.
written on a figured bass, for training
students to read and accompany from Part-song. A composition for at least
such a bass. 3 voices in harmony, without accomp*

See [and for equal or mixed voices]. The

Parti'ta (It), Partie' (Ger,) I.
first requisite of the music is well-defined
Suite. 2. A
set of variations.
rhythm, and the second unyielding
Partiti'no (It.) A supplementary score, homophony.. .Tunefulness in the upper
appended to the body of the score when part or melocjy is desirable, and
the
there are too many parts for all to be attention should not be withdrawn by
written on one page. elaborate devices of an imitative or con-
Partition (Fr.), Partitur' (Ger.), Par- trapuntal nature in the harmonic sub-
144 PART-WRITING-PASTORAL.

. .The
structure. part-song being essen- pany, and passing by steps from one
tiallya melody with choral harmony, chord to another. They differ from
the upper part is in one sense the most suspensions in not being prepared, and
important. .The words may be either
, in entering (usually) on an unaccented
amatory, heroic, patriotic, didactic, or beat.
even quasi-sacred in character... The
Passion, Passion-music. A musical
part-song. ..is one of three forms of setting of a text descriptive of Christ's
secular unaccompanied choral music,
sufferings and death (passion). Its be-
the others being the madrigal, and the
ginnings are traceable back to the 4th
glee... Like the madrigal and unlike
century; the oldest music extant is a
the glee, the number of voices to each
solemn plain-song melody of uncertain
part may be multiplied within reason- date In a (can'ius passio'nis). quasi-
able limits. [GROVE,] dramatic form the passion is of later
Part-writing. The art and practice of origin and possibly directly derived
;

counterpoint. from the ancient custom of chanting

the scriptural text of the passion, dur-
Pas (Fr., noun.} A step ; also, a solo
dance in a ballet... de deux, a /W ing passion-week, to Gregorian melo-
dies. It is certain, that from
^ dance performed by 2 dancers... Pas early
in the I3th century (i) tHe words spoken
redoublf^ quickstep... Pas seul^ a solo
dance. ,
.(Adverb.) -Not; as pas trop by Christ, (2) the connecting narrative,
ltnty not too slow. and (3) the exclamations of the apostles,
the populace, the high priest, etc., were
Paspy. See Passepied. recited by 3 different singers (imperson-
Passaca'glia, or -elio (It,; Fr. fassa- ating Christ^ the Evangelist, the Dis-
r The evolution of the Pas-
caille; Ger. Gas senhauer.) An old dples, etc.)
Italian dance in triple time and stately sion as an art-form is, after the 1 6th
rnovemen^ written on a ground bass of century, nearly parallel with that of the
'
4 measures, whose theme sometimes Oratorio (which see) ; from its resem-
appears in a higher part. It was always blance to the
* '
latter it is sometimes styled
in minor, and is hardly distinguishable, passion-oratorio ". It differs from it
as an instrumental piece, from the however, by a distinct infusion of an
Ciaccona. element of pious contemplation, and
Passacaille (Fr.) Passacaglia. subjective emotion, expressed *'ii hymns
of praise and choral songs, devotional
Passage, I. A portion or section of ariasand choruses. The crowning work
a piece, usually short. 2. A rapid of this kind is Bach's
"
Mattha'uspas-
repeated figure, either ascending or "
A sion (Passion according to St. Mat-
descending. ^a/^-passage is usually
called a run. . Notes dt passage (Fr.), thew). The full dramatic form of the
.

Passion, with stage-setting and dramatic

grace-notes.
action, still survives in the German
Passag'gio (It) Passage I. 2. mod- A Passion-plays at Oberammergau.
ulation. 3. A
flourish or bravura em-
Passionatamen'te (It.) Passionately,
bellishment, either vocal or instru-
in an impassioned style. . .Passiona'to?
mental.
a passionate, impassioned. .Passio'ne^
}
.

Passamez'zo (It.) An old Italian dance

passion, fervent emotion; con f.^ same
in duple time, and similar to the Pavane as appassionato.
except in having a more rapid move- PassionnS (Fr.) Passionato.
ment.
Pastic'cio (It), Pastiche (Fr.) Amus.
Passant (Fr.) Slide (of bow)/
medley or olio consisting of extracts
Passepied (Fr.) Apaspy, an old French (songs, arias, recitatives) from different
dance in 3-8 or 6-8 time, works, pieced together and provided
generally
beginning with an eighth-note on the with new words so as to form a " new "
weak beat, and having 3 or 4
reprises composition, as an opera (Ger. Flick-
in an even number of measures, the
oper), etc.
third reprise
being short, and sportive Pastoral.
(It. and Fr. pattorefk) i.
or toying; like the minuet in movement,
but quicker.
A scenic cantata representing pastoral
or idyllic life ; a pastoral
opera. 2. An
Passing-noteSj-tones. Notes or tones instrumental composition
imitating in
foreign to the chords which they accora- 1
'style and instrumentation rural and
 PASTORITA PEDAL. 145

idyllic scenes. Pastoral organ-point,

being depressed. .Ptdal-eoupkr, set .

see Organ-point*
Coupler... Pedal-keyboard, the organ-
Pastori'ta. See Nachthorn. pedals (see Organ)... Pedal-note, see
Pedal-tone. ..Pedal-organ, the set of
Pastourelle (Fr.) i. A bucolic song, as
sung by the troubadours. 2. A figure stops (partial organ) controlled by the
in the quadrille. pedal-keyboard in playing. ..Pedal-pi-
ano, a pfte. provided with a pedalier. . .
Pateticamen'te (It.), Pathe*tiquement Pedal-pipe -soundboard, -stop, one be-
',

(Fr.) Pathetically... /W/zV<? (It.),

longing to the pedal-organ... ./Wd/,
patk/tique (Fr.), pathetic. point, see Organ-point. . .Pedal-tone, a
Patimen'to (It.) Suffering, grief con ;
sustained or continuously repeated tone.
espressio'ne di p., with mournful or . .
Combination-pedal, a metal foot-lever
plaintive expression. placed above the pedal-keyboard of an
Patouille (Fr.) Same as Claquebois. organ, and giving the player control
over a certain combination of stops.
Patte (Fr., "paw".) i. A music-pen when
2. 2. A special key on the clarinet.
It is single-acting
only draws it
out new stops in addition
those al- to-
Paulce (Ger.) Kettledrum. .Maschinen- .
ready drawn, or pushes in some of the
pauke, seeMasMnen. latter and double-acting, when it -al-
;

Pa'usa (It.) A rest a pause.

; ways produces the same combination,
Pause, i. A rest.-^2. A hold (^) 3.
whatever stops were or were not pre-
A whole rest, semibreve-rest,
(Fr.) viously drawn. Comb.-pedals are of 3
kinds: (i) The
Pav'anj-e. A stately dance of Italian
forte pedal, drawing
all the stops of its keyboard (2) the ;
or Spanish origin, in slow tempo and
mezzo pedal, drawing the chief 8-foot
alla-breve time. [Probably of Italian and 4-foot stops of its keyboard and ;

origin, the It. pava'na (abbr. of pado-

(3) the piano pedal, pushing in all but a
va'na) referring to a peasant-dance of few of the softest stops. * Composition* ,

the province of Padua.]

pedal, a combination-pedal ... Coupler-
Paventa'to (It.) Afraid, fearful pedal, see Pedal-coupler.. .Crescendo-
Pavilion Bell (of a wind-instr).
(Fr.) pedal, a pedal mechanism drawing all
. .P. chinois, a crescent. .Flute & p,, . the stops successively up to "full or-
an organ-stop, the pipes of which have gan''. (Also, occasional for swell-
* *
a flaring top ... Pavilion en fair, turn pedal.) . .
.Damper-pedal, the right pfte.*
"
the bell upwards ; a direction to horn- pedal, on depressing which the dampers
> are raised from the strings. ..Dimin-
players,
Peal. i. See Chang* 2. A chime of uendo-pedal, the reverse of crescendo-
3.
bells ;
a carillon. pedal, retiring successively the stops
1
drawn by the latter. .Extension-pedal, .

Pearly. (Ger. per' lend; Fr. perle ^ In see Loud pedal. . Harp-pedal, same as
.

piano-technic, a style of touch produc-
ing a clear, round, and smooth effect of
tone, especially in scale-passages ("like
a string of pearls "),
Pedal. (Ger. Pedal'; Fr. ptdak; It
peda'le.) I. A
foot-key; opp. to digi-
tal (see Organ and Pedal-piano). 2.
foot-lever ; as the swell-pedal of the
organ, the loud and soft pedals of the
pfte., or the pedals of the harp. 3.
treadle, as those used for blowing the
reed-organ, etc. 4. stop-knob or
lever controlled by the foot, as a cora-
soft pedal . . . Loud or open pedal, the
damper-pedal on the ^.^..Octave-
pedal (A. B. Chase Co.'s, for pfte.),
acts, when depressed, in such a way
that when a key is struck, the higher oc-
tave of the tone is also sounded. (Usu-
A ally Octavo attachment^... Prolonga-
tion-pedal, see Sustaining-pedal..
.Re-
versible pedal, a pedal-coupler. . . Sfor-
A zando-pedal, a pedal in the organ
which
brings out the full power of the instr.
A for the production of a sudden and for-
cible accent. . Soft pedal, the left pedal
.

of the pfte. . . Sustaining-pedal, a piano-

'

bination-pedal in the organ. 5. Con-

al-
traction of Pedal-point. Pedal-action, pedal acfmg to hold up any dampers
the entire mechanism directly connected ready raised by the damper-pedal, by
with a pedal or set of pedals. . .-Pedal- this means prolonging the tone of all
check, a bar under the organ-pedals strings affected... Swell-pedal,
a foot-
which can be so adjusted (often by a lever in the organ r by depressing which
stop-knob) as to prevent them from the shutters of the swell-box can be
146 PDALE PEU A PEU.

-
opened ; they close Percussion, i. The striking or sound-
when the pedal
is released. ing of a dissonance, contradistinguished
Balance swell-pedal, the
modem form of organ, swell-pedal a from its preparation and resolution. 2.
:

lever in the shape of an iron plate made The act of percussing, or striking one
to fit the shoe-sole, and placed above body against another. The instruments
the centre of the pedal board. Depres- of percussion are the various drums,
sion of the toe-end of the plate opens the tambourine, cymbals, bells, triangle,
the swell-shutters; depression of the etc., and the dulcimer and pianoforte.
heel-end closes them. Called balance ..Percussion-stop^ a reed-organ stop
s.-p.because it remains at rest (bal- used to strike the reed a smart blow
anced) wherever the foot leaves it. simultaneously with sounding it, thus
Pdak(Fr.) "i. A pedal-key, the pedal- rendering -its vibration prompter and
keyboard being clavier des ptdales. 2. stronger.
Pedal (of the pfte.) ; petite ptdale, soft Percussive. An instr. of percussion.
pedal, "una corda". 3, pedal- A Perden'do, Perden'dosi (It.) Dying
point. morendo or diminuendo, to-
away j

Peda'le dop'pio (It.) Same as Doppio gether (in modern music) with a slight
pedale. rallentando.

Pedal'fltigel (Ger.) grand piano pro-A Perdu'na. Bourdon (organ-stop).

vided with a pedalier.
Perfect. (Ger. rein; Fr. parfait; It.
Pexi'alier. (Fr. f/dalier.) set of A perfet'to?) See Interval.
pedals, either (i) so adjusted as to play
Perfection, i. See Notation, 3. 2.
the low octaves of the pfte. after the
In ligatures, the presence of a longa as
manner of organ-pedals, or (2) provided
final note (ul'tima), which occurred
with separate strings and action, to be
when a higher penultimate note was
placed underneath the pfte. and played not joined with the final as a figura
with, but not affecting the action of, the
latter.
(Sometimes Pedalion^ obliqua ( K
), or when, after a lower

Pedalie'ra (It) A pedal-keyboard. penultimate note, the final took a de-

Pedallclaviatur (Ger.) A pedal-key- scending tail to the right (since the I5th
board ; either a pedalier, or for the century j from the I2th to the 'i 4th
this tail signified a plica, and to secure
organ.
the perfection of the final note it was
Peg. i. (Ger. WiSbel; Fr. chemlle; It. written vertically over the penultimate).
bi'schero.) In the violin, etc., one of
(See Figura, obliqua, ex. in black notes ;
the movable wooden pins set in the
also Notation, 3.)
head, and used to tighten or slacken the
tension of the strings... Peg-box, the PSrigourdine u
(Fr.) An old Flemish
hollow part of a violin-head in which dance in 6-8 time.
the pegs are inserted. 2. tuning-pin. A Period. See Form.
Pejonant, Same as Hook. Perle* (Fr.), Per'iend (Ger.) Pearly.
Pensieroso (It.) Pensive, contempla- Perpe'tuo (It.) Perpetual ; infinite.
tive, thoughtful Pes An harmonic ac-
(Lat., "foot".)
Pentachord, i. A 5-stringed instr. 2.
comp. or ground bass to a round, the
A diatonic series of 5 tones. round itself being called rota.
Pentam'eter. A form of dactylic verse, Pesarrte (It.) Heavy,
ponderous \ calls
differing from the hexameter by the for a firm and vigorous execution of the
ellipsis of the second half of the 3rd
passages so marked.
and 6th feet :
Petite (Fr.) Small . . . Petite flute, the
piccolo. .Petite mesure a deux temps\
.

Pentatone. An interval 2-4 time. . .Petites notes, grace-notes. . .

embracing 5
whole tones an augmented sixth .
PetitepMate, soft pedal.
; , .
7
Pentaton'ic, having, or consisting of, 5 Pet to (It.) The chest. .Di petto, from
.

tones ; pentatonic scale, see Scale. the chest h i. e. in a natural voice, not
Per (It.) For, by, from, in, through. . .
falsetto. . . Voce di petto, chest-voice.
Per ?or*gano, for the organ. .Per il Peu
. a'
peu (Fr.) Little by little, grad-
Jlauto s0& for solo
t flute. a little,
 PEZZO^PHONE. 147

Pez'zo (It.) r. A piece. . .Pezzt concer- partials of the 'root are reinforced by
tan'ti, concerted -pieces. 2. A number actual tones. E. g. ,
(of an opera, etc.)

Pfei'fe (Ger.) A pipe ; specifically, an

organ-pipe. The technical name of the
i-foot stops is -pfeife, as Bau'ernpfeife.

Phantasie' Fancy, imagination.

(Ger.)
. .Phantasie'stuck-, a fantasia in mod- ;

era music, a short piece of a romantic

and intensely subjective cast, without
distinctive formal structure. .. Phan- Moreover, the generator accompanying
.Phantasier*- each phone represented above, is always
tasie' ren, 'to
improvise. .

present as a resultant tone. But the

maschine, any kind of melograph.
series of partials not only completes
Philomele. See Bow-zither^ under itself downwards to the generator by
Zither. means of the resultant tones, but con-
tinues itself upwards by the aid of the
Phonau'tograph. An electric music-
recorder for keyboard instr.s, inv. by upper partials of the primary overtones.
Those overtones, above the 8th, which
Fenby, in which a stud attached under are represented by composite numbers
each key makes an electric connection
(9=3 x 3, 15=3 x 5, etc.), are conceived
when the key is depressed, and thus
as overtones of overtones (secondary
marks, on paper, lines corresponding in
overtones); i. e. as integral constituents
length to the duration of f the notes. . .

of the primaries (the Qth overtone as

Another, inv. by the Abbe Moigno, re-
the 3rd of the 3rd primary, the isth as
cords the tones (sounded or sung) by
the 5th of the 3rd primary, etc,), and,
the aid of a pencil fitted to a sort of
sounded as notes of an actual chord,
drum, the membrane of which vibrates as dissonances that primary
to the tones. appear \

overtone, whose overtones they are, has

Phone. i. It forms no part of a com- the character of a generator', 2 over-
piler's work to introduce new words on phones thus being simultaneously rep-
his personal responsibility ; but the resented. Only the ratio of the octave
terms "tone", "clang", and "sound" (2:1) is never dissonant. Striking out
being already appropriated, a distinctive from the series of overtones the doub-
and exact equivalent had to be em- lings in the octave, there remain,
to

ployed in rendering the German represent the major consonance

of the
"
Klang" as used in modern musical over-phone, only (i) the generator, (2)
theory. The Greek word favq, in the the twelfth, and (3) the fifteenth', hence,
English form phone, appeared to be the primitive form of the major triad is
a fairly acceptable neologism. k.phone, not, properly but in
then, will be understood as signifying speaking, the EE __J open-
not only a tone with its overtones and triad in close Ivy har .

^ jppj
undertones (Tyndali's "clang"), but harmony: mony:
specifically themajor triad (generator The consonance of the minor triad is,
and higher and 5) or
partials [2] 3 [4] not derivable from the series of higher t

over-phone and the minor triad (gener- but referable to a series

r

is <
, partials, o|
ator and lower partials [2] 3 [4] and 5) lower partials (undertones) diametricalfly v,

or under-phone. [N.B. Over-phone opposed to the former (comp.* ACOW&

and under-phone are also called over- tics\ The lower partials 1^.2, a, 4, 5? '

chord and under-chord respectively. 6, 8, 10, 12, 16, etc., in fact all tones (

In the subjoined statement of the of the lower series corresponding fcy>

modern theory of chords, RIEMANN is lower octaves of the 1st, 3rd, and
followed,] lower partials, are constft
2. There can be no doubt, that the ents of the minor triad below |

consonance of the major triad (major c, of the C

under-phone:
in just the same sense as the sameiii|B-
consonance) is referable to the series of
bers in the series are constittie$ta
higher partials (see Acoustics), i. e.that higher
a major triad, however the tones maybe f ti16 ft5 dissonances -$0
n-
j
ix-
set or inverted, is to be conceived as a eover-lat^jg^; hare a parallel
consonance in which certain higher
1

phone i"J
r~ planatioiu
148 PHONE.

3. PHONIC RSPRESENTATIO other [phonic root = generator, i. e. the

(JClang'vertretung) is the peculiar sig
nificance attaching to any tone or inter
val, according as it is conceived as be
longing to a particular phone. Fo
instance, the tone C has a very differen
meaning, in the logic of progression
when conceived as tierce in the A\)
major chord, from that as
fundamental tone in a major triad, or
the quint in a minor triad] ; (2) those
dissimilar ones (one major and the
other minor) of which the one is the
under-phone of some chord-tone of the
other; namely, for the major chord,
the under-phones (minor phones) of its
tierce in th phonic root, quint, and tierce for the ;

-4-minor chord ;
in the former case, i minor chord, the over-phones (major
ismost closely related to ty and thej? phones) of its phonic root, quint, and
major chord ; in the latter, to anc , tierce; to which must be added the
the chords of -E-major and .E-minor under-phones of the respective leading*
Every tone may form an integral par tones. Thus, the following chords are
of 6 different phones ; for instance, th directly related to the C-major chord:
tone C
in the C over-phone (C-majo (7-major, /'-major, .E-major, \) -major,
A
chord) as major root, in the F over .Ep-major, /'-minor, C-minor, Jtf-minor,
phone as major quint (over-quint), in and .E-minor ; whereas, to the ^-minor
the Aj over-phone as major tierce chord, are 'directly related the chords
(over-tierce), in the C under-phone (F of :
jZXminpr, .E-minor, /'-minor, C#-
minor chord) as minor root, in the G minor, C-minor, /$-minor, .E-major,
as minoi ,4 -major, C-major, and /'-major. The
under-phone (6-minor chord)
quint (under-quint), and finally in th< relation of the tones depending on that
E under-phone (A -minor chord) as mi- of the the tonics (tonic phones), it fol-
nor tierce (under-tierce) :
lows, ^that any key is directly related to
Major chords Minor chords C-major (or ^-minor), whose tonic is
(read up). (read down). one of the phones (chords) given above
as directly related to the chord of
C-major
(or ./4
-minor).
5. PHONIC PROGRESSION (Klang-
folge) is the progression between two
Whenever the tone C enters into any chords with reference to their signifi-
other chord as a dissonant tone, or is cance as phones. 'The ordinary method
substituted for some chord-tone as a of marking the phones (major and mi-
suspended or altered tone, it is never- nor triads) b> the Roman numerals I,
theless always to be conceived as be-
II, III, IV, etc. (comp. Chord) is
longing to one of the above 6 phones, inadequate from the standpoint of free
i. e, to the one most
nearly related in tonality; e.g. this'passage:
any given case.

4. THE RELATION OF TONES IS a

modem conception, based on the affini-
ty of tones belonging to the same etc.

phone. Tones belonging to the same

phone are directly related ; to c , for in-
stance, are directly related^,/, e, d$, a,
and
fy ;
for c : g
belongs to the chord of C:I V 7

C-major or C-minor, c : e to the chord /:V III

of C-major or ^-minor, c :
d$ to the
chord of j4[>-major or /"-minor, c : a to
the chord of /'-major
or.^-minor, and is
hardly intelligible with such a figur-
c : dp to the chord of
Afy -major or C- ing ; although it in no way signifies a
minor. Directly related tones are con- modulation into another key, one must
sonant; all other, or indirectly related, perforce consider the /4|7-chord as in
tones are dissonant* The mutual rela-
/-minor, and the .ZXchord as in -ma-
lation of the former is more
easily un- jor. For such progressions, a figuring
derstood than that of the Utter, Di- with reference to a scale is
simply im-
rectly related phones are (i) those simi- possible ; they are referable to free to-
lar ones (both either
major or minor) in nality, an idea but recently recognized,
which the phonic root of the one is di- whose scope extends fat beyond the
rectly related to the phonic root of the bounds of diatonic harmony.
Tonality
 PHONIKON-PHYSHARMONICA. 149

knows neither diatonic nor foreign C-major triad, c =

/'-minor triad. (2)
chords, but only a tonic phone and ref- To these letters are affixed numerals,
erable (related) phones. In the above intervals added to the phones
marking ;

example, the'C-major triad is through- not, however, counting from the bass
out the tonic phone, to which the others note, but from the phonic root ; Arabic
are referable the A\> -major chord is
; numerals [read up !] for over-phones
its under-tierce phone, the j0-minor
(major triads), Roman numerals [read
chord is its second over-quint phone, down !] forunder-phones (minor triads).
and the -major chord its over-quint Thus i (I) =phonic root 2 (II) ;ma- =
phone. The first progression (C-major jor second ; 3 (III) =
major tierce
to A$ -major) reaches over to the under- 4 (IV) = perfect quart ; 5 (V) per-
=
;

tone side; the second (^b-major to fect quint ; 6 (VI) =

major sext ; 7
Cr-major) springs across to the overtone (VII) = major sept. (3) The sign <
side the other two lead back to the after a numeral denotes the
;
raising of
tonic phone. If we term a progression the interval by a semitone ; > denotes
between 2 similar phones a stride its lowering by a semitone.
Examples :

(Schritf), and one between 2 dissimilar

phones a change ( WechseT], we can dis-
tinguish 4 species of phonic progression
in which the mutual relation of the
roots is a quint-relation. It is of wide-

ly different significance^ for the tonality

whether a stride from the tonic goes to
overtone side or to the undertone side ;
starting from a major chord the latter,
and from a minor chord the former\
signifies a contradiction of, or opposi-
tion to, the phonic principle ; strides or
Pho'nikoa. A
metal wind-instr. with a
changes to contraphones (i.e. phones
belonging to the opposite side) will be globe-shaped bell ; inv. by B. F. Czer-
indicated by the prefix contra. Thus (r) veny of K6niggratz in 1848,
the progression fromC-majorto G'-major, Phonometer. (Fr. phonomltre^ An
or A -minor to />-minor (= under- E instr. forrecording the number of vi-
phpne
A
under-phone) is a simple
to brations made by a sonorous body in *a
quint-stride (2) C-major to F-major, or
; given length of time.
A -minor to -minor (E under-phone to Phor'xnhix
(GkJ An ancient stringed
B under-phone) is a contraquint-stride ; instr. resembling the cithara or the
lyra.
c-*g, or e-a (see 6), is a simple quint- Phrase, i. See Form. 2. Any short
change j -/, or *e-b, is a contraquint-
figure or passage complete in itself and
change. In all species of phonic pro- unbroken in continuity. .Phrase-mark, .

gression the simple changes are, like

in mus. notation, a curved line con-
that above, easily intelligible whereas
necting the notes of a phrase 2.
;

the contra-changes are much more diffi-

cult to understand. The tierce-pro- Phrasing, (Ger. Phrasie'rung, from
. to phrase.) i. The bring*
gressions are, for example, the simple p^hrasie'ren,
tierce-stride c~e, or W;
contratierce-
V
ing-out into proper relief of the phrases
(whether motives, figures, subjects, or
stride, c-d$ y or #; simple tierce-
passages), both as regards their individ-
change, c-e, or t~c', contratierce-
ual melodic and rhythmic characteri-
change, c-*(fy> Any direct progression
zation and their relative importance. 2.
to a remoter phone makes the want of
an (omitted) The signs of notation devised to further
connecting link sensibly
the above end.
felt ;
be easy to modulate to such
it will
an intermediate phone, i. e. to transfer See Mode.
to it the significance of a tonic phone.
Physharmon'ica, i. small reed- A
6. PHONIC FIGURING (K'lan^- organ inv. in 1818 by Anton Hackel of
schliissel) [according to RIEMANN]. (i) Vienna, and designed for attachment
No scale-degrees are marked or taken beneath a piano-keyboard to sustain
'
note of ; small letters are used to mark che tones of melodies. It was the pre-
the root-tones of the phones, with an cursor of the harmonium. 2. (Ger.) A
prefixed for an under-phone ;
thus c = free-reed stop on the organ.
150 PIACERE PIANOFORTE.

Piace're, a (It) "At pleasure";^ piano "] Tr.piano [more rarely piano*
;

direction equivalent to ad libitum, sig- for tier forti-piano, very seldom/^//] ;

nifying that the expression of the pas-
It. pia'no, pianoforte.) A keyboard
so marked is left to the performer's stringed instr, of percussion,
the tones
sage
discretion. Also marks the introduc- being produced by hammers striking
tion of a cadenza. (Sometimes apiaci- the strings. The principal parts are (i)
the Frame, (2) the Soundboard, (3) the

Piace'vole Strings, (4) the Action, and (5) the

(It.) Pleasant, agreeable;
calls for a smooth, suave rendering,
Pedals. According to the shape of the
case, pftes. are classed as GRAND (harp-
free from forcible or passionate accents.
shaped ;
Ger. Flu'gel; Fr. piano a
..Piaeevolmen'te, smoothly, suavely.
queue ; It. pia'no a co'da), with horizon-
Piadmen'to (It.) Equiv. to Piacere. tal strings and built in several sizes, as
Pianette. A low form of upright piano. Concert Grand, Parlor Grand, Boudoir;
SQUARE (oblong; Ger. Pianofo'rte,
Piangen'do (It., "weeping, tearful.")
or ta'felformiges Wavier*; Fr. piano
Wailing, plaintive. (Also piange'vole, f
carre'; It. pianoforte a tavoli no) with
horizontal strings ;
and UPRIGHT (buf-
Piani'no (It., dimin. oi piano.) An up- Ger. and
It. Piani'no; Fr.
fet-shaped ;

light pianoforte. piano droit) with vertical or slanting

Piani'sta (It.) i. A pianist. 2. A strings.
mechanical pianoforte. (i)^The Frame is now' generally of
)
i- iron cast in one piece (Broadwdod's
Pia'ho(It.) t Soft,
softly-(sign^)y."../
ano pedal, the softer lef!rp"e(lal of the pftes. form the most notable exception
to this rule), and braced with cross-bars
rfte.+ .Pianis'simo
(superl. of piano),
and trusses to resist the string-tension
very soft (sign // or ppp\
which varies from about 12. up to nearly
Pia^o. (Abbr. of Pianoforte), .Bou- 20 tons. (2) Below the frame is the
doir p., a short style of grand pfte. . .

Soundboard\ near the front end of which

Cabinet p., an old form of upright pfte.
is a bridge oi hard wood over which the
. .
Cottage p,, see Cottage. . .Dumb p., a
without action or strings, strings are stretched. (3) The Strings
j>fte.-keyboard
are attached at one end by hitchpins to
lised for silent mechanical practice.
the stringplate, and at the other to
(See Virgil Practice- Clavier.).. .Elec-
wrestpins \tuning-pins) set in the wrest-
tric
p. , one whose strings are set in vi-
bration by electro-magnets instead of plank; they are of steel wire, the bass
hammers. Grand p., see Pianoforte.
. .
strings of a steel core covered (coiled)
with copper wire ; 8 or of the lowest
. .
.Pedal-piano, see./W0/. . .Piccolo p., ip
bass tones have one string, about ij
a small upright piano introduced by
octaves above have 2 strings, and the
Wornum of London in i%2q*.*Semi-
,
grand p., same as Boudoir,.. Square, remaining 5 octaves 3 strings, to each
tone ; such pairs of triplets of strings
Upright p., see Pianoforte*
to one tone are called unisons. (4)
Piano (Fr.) A
pianoforte. . ,P. h archet, The Action consists essentially of the
piano-violin .. .P. & darners rewvers/s,
1

key (digital, finger-lever) ; the hopper

a* grand pfte* having 2 keyboards, one
on the rear end of the key, raising the
above the other, the ascending scale of
hammer when the key is depressed, and
the upper one running from right to
allowing the instant escape of the lat-
left. ..P. a queue, grand pfte.; & queue ter after propelling the hammer, which
4court/e^ boudoir grand pfte... P. & can therefore immediately rebound into
secretaire, cabinet pfte... P. carre*,
position after striking the string ; the
square pfte I. .A a pi-
droit (oblique,
hammer, hinged at the butt, with a slim
lastres, upright pfte... P.
vertical), round shank, upon which is fixed the
lolien, see Anemockord. . .P. harmoni- head (the hammer proper) made of felt
corde, a combined pfte. and harmonium,
arid sometimes covered with leather.
ittv. by Debain. .P. mhanique, a me-
.
The Pedals are 2 (sometimes 3) in
(5)
chanical piano . . P. muet, dumb pfte.
. . .
number: (a)Damper-pedal, (b) Piano
P. organise*, a pfte. with pnyshannonica-
attachment. pedal, (c) Sustaining~pedal (comp. art
Pedal). .

Pianoforte. (Gen Wavier* [in Ger. Th idea of the key-mechanism was

Pianoforte usually means "square derived indirectly,
through the mono
 PIANOGRAPH PIPE.

chord, spinet, harpsichord, and clavi- Piat'ti (It, pi.) Cymbals.

chord, from that of the organ ; the idea Pibroch. A set of variations for the
of a hammer-action (which constitutes
bagpipe on a theme called the urlar,
the essential -difference between the
generally 3 'or 4 in number, and increas-
Pianoforte and its precursors) was, per-
ing in difficulty and speed up to the
haps, derived from the dulcimer in its closing quick movement (the crean-
perfected form the Pantalon. The This is the highest and most
luidh).
hammer-action was first practically de- difficult form of bagpipe-music.
veloped by Bartolommeo Cristofori of
Padua in 1711, whose action is the Piccanteri'a, eon (It.) With piquant,
sprightly expression.
same, in essentials, as that now manu-
factured by Broadwood (English action). Picchetta'to, Picchietta'to (It.) De-
tached. See Piqul.
Pian'ograph. A form of music-recorder.
Picco pipe. A
small pipe with a flageo-
Piano-harp. See Klaviaturharft.
let-mouthpiece, and 3 ventages, 2 above
Piano-organ. Same as Handle-piano. and I below ; named after the Italian
f whose
- Picco,
Piano-violin. (Ger. Bo'genflilgel, Gei peasant extraordinary
on his instr. introduced it to
gewwerk; Fr. piano a archet, piano- virtuosity
The English name covers the general public (London, 1856), and
quatuorl)
the results of a long series of experi- who obtained from- it a compass of 3
octaves.
ments, and of improvements of the
hurdy-gurdy, the prototype of the class. Pic'colo. (It. flafuto piccolo; Fr. petit*
In the Geigenwerk inv. by Heiden of Jlute; Ger. Oktai/Jldte, Pick'elflote.}
Nuremberg (about 1600) the keys, when The octave-flute. See Flute.
touched, pressed their corresponding Pic'colo (It.) Small . . . Used as a noun,
wire strings against small rosined
equiv. to (i) Flauto piccolo^ and (2)
wheels made to" revolve by a treadle ; Piano piccolo a small style of upright
',

the tone was similar to that of a bow-

pfte.
instr. The Gambeniverk was made by
Pick (verb). To pluck or twang (as the
Risch of Ilmenau (about 1750), and
strings of a guitar, mandolin, etc.) ;

improved by the substitution of gut

(noun), a plectrum.
strings for wires. Hohlfeld's Bogen-
Jlilgel (1754)
had gut strings, beneath Piece, i. A
composition, 2. An in-

which was a bow furnished with horse- strument, taken as a member of an

hair ; on pressing the keys, the strings orchestra or band (usually in pi.)
were drawn by little hooks against the Piece (Fr.) A piece (ordinarily of in-
bow, whose slow or rapid movement strumental music)... Suite de pieces,
was controlled by a pedal-stop. C. A. a set of pieces.
von Meyer, of Knownow, provided a i. Full. 2. Mixture-stop.
Pie'no(It)
separate horsehair bow for each string
The Pieto'so(It, "pitiful, moving".) Calls
(1794), clavecin harmonique of
for a sympathetic and expressive deliv-
Htibner (Moscow, about 1800) accu-
the sound of a string-
ery; nearly same as espressivo*
rately reproduced
quartet. Pouleau's orchestrine was & Piffera'ro (It.) A player on the piffero.
further improvement of the clavecin Pif'fero (It., dimin. piferi'no) i. A
harmonique. H. C. Baudin of Paris fife ; also, the name of a primitive kind
invented an instr. called the piano- of pboe or shawm. 2. An organ-stop
quatuor\ patented in England in 1865 (see Bifara).
under the name of pia no-violin. It has
Fikie'ren,(Ger.) Same as /^aw-. See
for each tone one wire string, at or
near a nodal point of which is attached Piyul.
i. Plucked 01
a piece of stiff catgut projecting about PinceXFr., "pinched".)
an inch. Above these gut ties, a rosin- twanged, as the strings of the harp,
zither, etc. 2. Pizzicato (in violin*
ed roller is caused to revolve rapidly by
a treadle ; on touching the keys, these playing). 3 (noun). A mordent sign ;

ties are carried up against the roller,

'or dp.*.Pince'etoufft, acciaccatura ;
inverted mordent
the tones thus produced having the pinclrenverst,
timbre of tones from gut strings. The Pipe. I* A
primitive wind-instr.,
a rude
instr. is capable of rapid execution and flageolet or oboe,-r2.
An organ-pipe.
articulation. (Ger. OSgelpfeife; Fr, tuyau d\orgut\
 PIPE-METAL-PITCH.

It. can'na dWgano.) (a) FLUE-PIPES lengthwise opening along one side cov-
are those in which the tone is produced ered by the tongue (the vibrating reed
of metal made
by the vibrationt4 of
a column of air proper), an elastic strip
fast at the top, but free below to vi-
within a tube or body ", the vibration
set up by an air-current forced brate >cross its upper portion passes
being ;

the bent end of the tuning-wire, which

through a narrow aperture and imping-
ing: on a sharp edge.
A
flue-pipe may can be raised or lowered so as to allow
be of metal or wood the part resting
;
a longer or shorter part of the tongue
on the pipe-rack is the./W, which is di- to vibrate, and thus alter the pitch.
vided from the body by an aperture in The tube is fixed above the block, and
front called fasmouth, having an upper may be of metal or wood, and in very
and a lower lip, and ears on either various forms.
side within the mouth a projecting
; The metal of which, the
Pipe-metal.
shelf or ledge called the block (when
metallic flue-pipes in the organ are
thick) or language (when thin) deflects made ; generally an alloy of tin and
the wind rushing through the foot,
lead, the tone improving as the propor-
forming below a channel called the
tion of tin increases. Pure tin, lead,
throat, and above (between language or zinc, or all 3 in varying proportions,
and lower lip) a narrow passage called the have also been used.
windway; the wind passing out of the
latter impinges on the sharp edge of the Pipe-organ. See Organ,
aaf (bevelled portion of the upper lij)),
in Pique (Fr.) Peg or standard of a 'cello.
settingtheair-column within the body
vibration and thus producing a tone. Pique* (Fr.) In violin-playing, the mezzo-
The body of an open metal pipe is pro- staccato called for by a slur with stac-
vided at the top with flaps called timers, cato dots, notes so marked to be played
f
that of a wooden pipe with small mov- in one \><w(picchietta to) .Piquer, to t .

able wooden boards, by adjusting which execute picchiettato*

the pipes can be tuned ("voiced").
Pirolino (It.) Button (on violin, etc.)
Flue-pipes are open or covered (stop-
ped, plugged) an open pipe produces
;
a Piston. See Valve.
tone proportioned in pitch to the length
Piston-Solo (Ger.) Solo for the cornet
of the body, hence the terms 8-foot tone,
a pistons.
i6-foot tone, etc. (Compare Harmonic
stop.) A stopped pipe
yields a tone an Pitch. (Ger. Ton'kohe; Fr. hauteur du
octave lower than an open pipe of like ton; It. diapason) The position of a
length. () REED-PIPES are those in tone in the* musical scale. Pitch is rel-
which the tone is produced by a reed ; ative, or absolute. The relative pitch
the tone may be modified in quality, of a tone is its position (higher or lower)
but not in pitch, by the shape and size as compared with some other tone*. (See
of the body or tube. A reed-pipe has Interval) Its absolute pitch is its fixed
a boot (corresponding to the foot of a position in the entire range of musical
flue-pipe), within which is the block, a tones.
circular plate of metal with 2 apertures, For ordinary purposes the mus.
one holding the tuning-wire and the Ji.
e is divided, to indicate absolute
other the reed. A
reed consists of 2 pitch, into a fixed series of octaves,
parts, a metal tube (called the shallot) which are named and lettered, in Eng-
of conical form, widest below, with a lish usage, as follows :

NAMES OF THE OCTAVES IN ABSOLUTE PITCH.

^ & & & &** & &

-. " -. -.
^-er**-
** ap ,a>
:
I

^ iy ** **
:
i

& :'*, rst

 PITCH. 153

Second octave Third octave Fourth octave

{Small octave) (One-lined oct.) (2-lined oct.)
(4-foot oct.) (2- foot oct.) (i-foot oct.)

cj di ei
JL|.

NOTE. The double contra-octave is often written CCC^ DDD, etc., and the contra-octave
CC> DD, etc. ; also, instead of small figures, accents or lines are employed to mark the letters, as

C,, D,, or CD for C3 D a etc.; c' d', or c d, for c l d* etc.;-c" d", or c d, for c a d a etc.^-hcrice

the terms one-lined octave, two-lined octave, and once-accented octave, twice-accented octave, etc.

2. For scientific purposes, and to -

one tierce to e; in the former case E,
ascertain the relative pitch of the tones as the third of C, is a quint-tone > whereas
of the scale, the above system is modi- in the latter case it is a tierce-tone, the
fied, C being retained as the starting- difference in pitch being noted by a line
point or standard tone, while the dis- under the tierce-tone E, signifying that
tinction between lower and higher
it is lower than the quint-tone E by a
octaves is disregarded, and lines (in
syntonic comma (80 81). This syn-
:

this case not marking different octaves)

tonic comma represents the ratio be-
are drawn above or below the letters to
tween the Pythagorean tierce of C (=E,
distinguish between Quint-tones (i. e.
the fourth quint), and the major tierce
tones whose relative pitch is determined
of C (=E) of just intonation (E; E
by reaching them through ascending or
: :

descending, from the standard tone C t

80 :
81); for every tierce-skip taken up-
by skips of successive perfect fifths), ward, a line is added below the letter,
and Tierce-tone$$* e. tones determined and for every tierce-skip downward, a
by^ reaching
them through skips of major line is added above the letter showing ;

thirds). For instance, the tone e may by how many commas the tierce-tone
be reached either as the fourth quint obtained is lower or higher than the
above C (C-G-D-A-E), or by ascending corresponding quint-tone.

Table (after RIEMANN). Is

cro

tf f3
 PITCH-PIPE-PLAISANTBR1E.

In this Table each skip horizontally is Pi'va (It.) i. A bagpipe. 2. A piece

quint-skip, and
a each skip vertically is imitative of bagpipe-music.
a tierce-skip ; the major triads are Pizzica'to (It, "pinched".) Plucked
c
with the finger a direction, in music
grouped thus, -r and the minor ;

jr for bow-instr.s, to play the notes so

c g marked by plucking the strings. The
triads thus -T-
I7
succeeding direction coll 'arco (with the
bow) indicates the resumption of the
In just intonation the major scale would bow for playing. (Abbr. fizz.)
be represented thus :
CDEF GABc Pladdamen'te fit.) Tranquilly, smooth-
ly; IxQx&flafddo, placid, tranquil.
and its parallel minor scale thus
Pla'cito(It) Pleasure... A be*ne flacito,
:

CDEbFGAJjBc at (the performer's) pleasure ; means

that the tempo may be altered, graces
3. The absolute pitch of a tone is or cadenzas added, or that certain
determined by the number of vibrations
it makes
specified instr.s may be used or not, as
per second, and is stated
as a Mration-numbtr. The standard
fancy may dictate.

French universally adopted in Plagal cadence, mode, see Cadence,

pitch^
France m the tone a 1 435
1859, gives
(double) vibrations per second, hav-
ing 522. Formerly there was no recog-
nized standard, the pitch varying in
different instr.s (organs) and localities
,
by as much as a fourth. The incon-
Teniences resulting led to the establish-
ment, early in the I7th century, of a
mean pitch 1
(a averaging about 420 vi-
brations), which held its own for some
200 years; this has been called the
classical fitch, it having obtained
throughout the era of classical compo-
sition. After this, the growing tendency
to force the pitch upwards led to nu-
merous deliberations by scientists and
musicians; the German congress
Stuttgart adopted the pitch a 440 ;
1
but the French pitch mentioned above
is, in point of fact, the only real stand-
ard, and, since its formal adoption
the Vienna Congress in Nov., 1887, is
frequently termed the international
fitch. It is called lowfitch, as opposed
to the high fitch (concert-pitch) in vogue
lately in concerts and operatic per-
till
formances. Theso-called/f'&^&Ya/
standard offitch is obtained by taking,
for Middle- C, the nearest power of 2,
giving 256 vibrations for c\ and nearly
427 for a ; it has frequently served as
1
a basis in theoretical calculations.
Pitch-pipe. A small metal or
reed-pipe producing, when blown, one
or more tones of fixed pitch, according
to which an
instr. may be tuned,
correct pitch ascertained for the
per-
Plainte(Fr.) A lament.
formance of a piece of music.
Fifc (It) More. When Pit stands alone Plaisanterie
AS a tempo-mark, mosso is
implied* harpsichord or clavichord
Mode...Plagal melody, one whose range
extends about a fourth below and a
fifth above its tonic or final. is
Plagal
opp. to Authentic in all senses.
Plain chant, Plain song. (Lat. can'-
tus flafnus,
cantus^ choraflis)
The
unisonous vocal music of the Christian
Church, probably dating from the first
centuries of the Christian era, the style
being still obligatory in the R. C. ritual.
Handed down at the beginning by oral
tradition, it was first regulated by St.
Ambrose (see Ambrosmn chanf), and
later revised by St. Gregory (Gregorian
chant), The comparatively modern
name cantus flanus distinguished this
at style from that of the strictly rhythmical
= cantus mensura'bilisi which originated
early in, the I2th century, after which
period plain chant, began to be sung in
by notes of equal length; in its earlier
form, however, the tone-values of plain
chant were determined by rules very
similar to those for poetical metre.
Just as a poem consists of lines, the
lines of feet, and the feet of 2 or more
syllables, a melody was divided into so-
called distinctions
consisting of a more
or less extended group of neumes
(notes), a distinction being in turn
divided into single neumes (single notes),
each neume," finally, representing one
wooden or more tones. Thus a metrical line
corresponded to a musical distinction,
a metrical foot to a musical neume, and
a syllable to a tone. (Comp. Notation^
or the
30
(Fr.) A divertissement for
 PLANCHETTE-POLYPHONY. 155

Planchettc. i. A
board studded with Points (Fr.) Dotted.
pins or pegs, an essential part of the Pointer (Fr.) i. To dot. 2. To ex-
mechanism of the piano m&anique. 2. ecute staccato.
See Pianista 2.
Poitrine (Fr.) Chest; voix de p., chest-
Plantation. In the organ, the dispo- voice.
sition or arrangement on the soundboard
Polac'ca (It.) Polonaise... Alia p, in
of the pipes composing a stop.
the style of a polonaise.
Plaque* (Fr.) Struck at once; as un
accord plaqud, a
*
solid
" 4
chord ; opp.
Polichinelle (Fr.) A grotesque clo|-
dance; also, the tune to which it is
to arptgt, arpeggio'd, broken.
performed.
'Plec'trum (Lat.; Gk. ptecfron.) small A Polka. A lively
(Bohemian pulka.)
piece of ivory, tortoise-shell, or metal,
round dance in 2-4 time, originating
held between the forefinger and thumb,
about 1830 as a peasant-dance in Bo-
or fitting to the latter by a ring, and
hemia.. .Polka-mazurka, a form of
used in playing certain instr.s to pluck
mazurka accommodated to the steps of
or twang the strings (mandolin, zither ;
* the polka.
the zither-plectrum is called the 'ring").
Polonaise (Fr.; Gen Polonafse; It. po-
Plcin-jeu (Fr.) i. A
stop or combination A dance of Polish origin, in 3-
latfca^
of stops bringing out the full power of
4 time and moderate tempo, formerly in
the organ, harmonium, etc. 2. Same
animated processional form, but in the
as Pourniture.
modern ball-room merely a slow open-
Pli'ca (Lat.) One of the neumes.
ing promenade, supplanting the old
Plus(Fr.) More. Entree. The rhythm is characterized
Pneu'ma (Gk. "breath".) The long by the commencement on the strong beat
coloratura or vocalise on the last syllable with a sharp accent
of the Alleluia (early Christian Church),
STrTpH
so called because taxing the singers' and by the close on the last beat

lungs; a jubilation.
Pneumatic action. See Organ . Pneu- . .
tsrf H-
matic. organ, the ordinary pipe-organ, Polska. A Swedish dance in triple time,
as contradistinguished from the early somewhat like the Scotch reel, and
hydraulic organ. generally in minor.
Pochette (Fr.) A kit Polychord. ("Having many chords
Po'co [strings]".) An instr. in the shape of
superl. pochis'simo; dimin.
(It.;
A a bass viol, with movable fingerboard
pocJutti'no, packer to; abbr. po\) and 10 gut strings ; played either with
little. ..Poco a poco, little by little,
a bow or by plucking with the fingers.
gradually, . . Poco allegro\ rather fast ;
Inv. by Fr. Hillmer of Berlin, first half
poco largo, rather slow. of 'igth century. It never became pop-
Poggia'to (It.) Leaned or dwelt upon. ular.
'

Po'i Then, thereafter.

(It.)
Polymorphous. Having, or capable of
Point. I. See Notation, 3. 2, A dot, assuming, many forms ...P. counter-
3. A staccato-mark. 4. The attack point, a style of contrapuntal c&npo-
by, or entrance of, an instrumental or sition admitting of a manifold variation
vocar part bringing in a prominent of the theme (as in the fugue by inver-
motive or theme, 5. Head (of a bow). -

siori, augmentation, diminution, etc.)

Point (Fr.) A dot (point d* augmentation). Polyphon'k. i. Consisting of 2 or

'

. .Point tfarrtt, de repos, a hold (o). more independently treated parts ;

.. Point 'final, final pause... Point contrapuntal ;
concerted ; opp. to fo-
Morgue\ (a) a hold ; (b) an organ-point ; mophonic and frarmonic. 2. Capable
(c) a solo cadenza or
flourish. . .Points of producing 2 or more tones simulta-
dtiack/Si staccato-dots. .Pointsur ttte^ .
neously, as the pianoforte, harp, or or*
dot above (or below) the head of a note. gan ; opp. to monofhonous, and equiv-
alent \Qpolyphonou$.
Pointe(Fr.) I. Point or head (of a bow).
2. Toe (in organ playing ; abbr. // Polyphony. In mus. composition, the
tp = talon point*; Engl. h t =
heel combination in harmonious progression
toe, but compare Signs'[0 vj). of 2 or more independent parts (as opp.
 POMMER PRECENTOR.
to ffomophony) ;
the independent treat- reed-stop in the organ, having metal
ment of the parts (as opp. to Harmony) ; pipes of broad scale and 8-foot pitch
counterpoint in the widest sense ; (manuals) or i6-foot pitch (pedal) ; the
concerted music. (Also pron. polyph- 32-foot stop is called the contra-posaune.
ony.) Poschet'te. Ger, form of Pochette.
Pora'mer (Ger.) See Bombard.
Posement (Fr.) Potato.
Pompe (Fr.) A tuning-slide (in the trom-
bone, horn, and various other instr.s).
Poser la voix (Fr.) To attack a vocal
tone with clearness and precision.
Pompo'so (It.) Pompous, majestic, &\g-
r&fa&...Pomposamen'te, in a broad Positif
" (Fr.),
Positiv' (Ger.) A * '

posi-
and dignified style. tive or stationary organ opp. to for-
;

Ponctuation(Fr.) Phrasing. . .Ponctuer, tatif. Also, the French term for choir-
to phrase. organ ; and (in German) a small partial
Pondero'so organ in front of the main instr. was
(It,) Ponderous, heavy, often called Ruckpositiv^ because usual-
very strongly marked.
ly behind \hs organist.
Ponticel'lo i. The bridge of bow-
(It.) Position, i. (Ger. La'ge; Fr. position;
instr.s. near the bridge ; a di-
,,Sulp t,
The place of the left
It. posiziofne.)
rection to play near the bridge, the
Tiand on the fingerboard of the violin,
tones resulting having a more or less
etc.' In the istpos., the forefinger
stops
strident and metallic sound; abbr. j,
the tone or semitone above the open
mt.\ opp. tosultasto. 2. The break
string; by shifting up (see Shift) so
in the voice.
that the 1st finger takes the place pre-
Pont-neuf (Fr.) Generic title for popular viously occupied by the 2nd, the 2nd
street-songs in Paris. pos. is reached; and so on for each
Portamento (It; equiv. to portal la succeeding position. There are n
positions in all, but only 7 are commonly
voce, to carry the voice ; see Port de
A
smooth gliding from one employed. The
half-position is the
VMJC.)
same as the 1st pos., except that in it
tone to another ; an effect attained in
the 2nd, 3rd, and 4th fingers occupy
great perfection on bow-instr.s, the
the places taken, in the i*t pos., the
melody-strings of the zither, and with by
the human voice. It differs from the le- ist, 2nd, and 3rd fingers. 2. The
arrangement of notes in a chord with
gato not only in its more deliberate execu-
reference to the lowest part in the ist,
tion, but also in the actual (though very
;

or fundamental, position the lowest

rapid and slurring) sounding, or passing-
through the intermediate tones, with- part takes the root ; in the 2nd position
out a noticeable break, it takes the third, etc. 3. Close and
or a pause on any tone, a open position, see Harmony.
It may be written thus :
Possible (It.)Possible; pianissimo
Portan'do fossibile, as soft as possible ; il piu
(It, "carrying".) Usually
in the phrase p. la voct t presto possibih , as rapid as possible.
carrying the
voice, i. e. portamento. Post-horn. The straight horn used by
postmen. See APPENDIX.
Porfeta (It.) Staff.
Post'lude. (Lat posMdium; Ger.
Portatif(Fr.); Portativ' (Ger.) Porta-
tive organ, i. e. a small Nachspiel; Fr, cldture.) A
concluding
organ conven-
.ient of transportation ; opp. to voluntary on the organ, closing a
positif.
church-service.
Port de voix (Fr.) i. Portamento. 2.
See Accent, Chute. Pot-pourri (Fr.) A
musical medley, all
kinds of tunes or parts of tunes being
Port6e(Fr.) The staff,
juxtaposed in an arbitrary manner, often
Porter la voix (Fr.) See Portamento. with very flimsy connecting-links.
Portunal flute. An open wooden flue- Poule (Fr.) The 3rd movement or fig-
stop in the organ, with pipes wider at ure in the quadrille.
top than at the mouth. Pouss6 "
(Fr., pushed ".) Up-bow.
Portu'nen (Ger.) Bourdon (org.)
Prach'ti
"
(Ger., splendid".) Grand,
Posa'to (It.) Sedate, dignified.
majestic, dignified. (Also adverb^
Posau'ne (Ger.) i. Trombone. 2. -
A Prsecen'tor (Lat.) Precentor.
 PRALLTRILLER PRIMZITHER. 157

Prairtriller (Ger.) An inverted mor- Pressan'te (It.) Accelerando, strin-

dent. (Also Pral'ler,) gendo.
Praludie'ren (Ger.) To prelude. Pressez (Fr.) Accelerando, stringendo ;

Prazis' (Ger.) Precise, exact. pressez un peu, poco stringendo.

Preamljulum (Lat.) A prelude, intro-
Pressure-note. A note marked thus
duction,
P, indicating a sudden pressure or cre-
Precen'tor. In the Anglican Church, scendo following the attack.
a director and manager of the choir and Prestant
(Fr.) An open flue-stop in Fr.
of the musical services in general, rank- and Ger. organs, generally of 4-foot
ing after the Dean, and sitting on the pitch ; equiv. to Engl. Principal.
side of the choir opposite to the latter,
con (It.) With rapidity (of
whence the terms cantoris (i. e. the pre- Prestez'za,
movement or execution).
centor's) and decani (the Dean's) side.
Prestissimamen'te, Prestissimo (It.)
Precipitan'do, Precipitatamen'te (It.)
calls for a and bold Very rapidly, as fast as possible.
Precipitately ; rapid
execution of the figure or passage so Pres'to (It.) i. Fast, rapid indicates ;

marked precipita'to (also predpito'$o\ a degree of speed above allegro and be-
;
low prestissimo. .P. assa'i, very rapid.
.
(Fr.pre'cipite'), precipitate.
2. A rapid movement, most frequently
Precisio'ne, con (It.) With precision.
concluding a composition.
. .Preci'so, precise, exact.
Prick. In earlier terminology, the dot
Preghie'ra (It.) A prayer; a modern or mark forming the head of a note
titlefor certain melodious salon-pieces ;

to prick meaning, to write music.

of a more or less devotional character.
Hence, prick-son^ (a) written music,
Prelude. (Lat. pralu'dium; It.prelu'~ opp. to extemporized (b) the counter-
dio; Fr, prelude; Ger. Vor'spiel) A point to a cantus firmits^ the point
;

piece of music introductory or prepara- against point,

tory to another and more extended
movement or composition, or to a dra- Primary accent. The down-beat or
thesis the accent beginning the mea-
matic performance, church-service, etc. ;

sure, directly following the bar Pri- . .

The prelude has no distinctive form or .

independent character, being adapted

mary triad, one of the 3 fundamental
triads of a key (those on the 1st, 5th,
to what is to follow it. (Comp. Over-
The short piano-pieces by Cho-
and 4th degrees).
ture.)
'*
pin, entitled Preludes", are anoma- Prime. I. The first note of a scale. 2.

lous, not having been intended for in- See Interval. . .Prime tone, same as
troductory pieces. An organ-prelude generator. 3. The 2n$ of the canon-
to the church-service is commonly called ical hours.
a voluntary. Leader (ist
Prim'geiger (Ger.) violin).
Premier (Fr., premiere.) First. .
fern, .

Pri'mo,-a (It.) First... Prima buffa,

Premier dessus, first soprano... Pre~ the leading female singer in comic
mitre /ois, first time. .A premiere vue>
.

opera ..Prima don'qa ("first lady"),

at first sight. ..Premiere (noun), the
the leading soprano singer in the opera.
first production of a dramatic work.
. .Prima vi'sta, at first
sight. . .Prima
Preparation. (Get*. VoSbereitung;?*. vol'ta^ the first time \.abbr. Ima volta^
preparation; It. preparazio'ne) The or simply I, or i.) ;
indicates that the
p. of a dissonance consists in the pres- measure or measures under its bracket
ence, in the preceding chord and same are to be played the first time, before
part, of t*he tone forming the dissonance. the repeat ; whereas, on repeating, those
(Comp. Percttssion, Counterpoint, and marked secun'da volta (abbr. Ilda volta.
Substitution.) or simply II, or 2.) are to be performed

Prepare, i. See Preparation. 2. To instead. Tempo primo at the first or t

introduce by a grace-note or figure ; e. former rate of speed. .Primo uo'mo, .

is one prefaced by a
the first male soprano (castra'to\ or
g. a prepared trill
turn or other grace. first tenor. (Obsolete in both senses.)

Pre'sa A sign marking the succes- Pri'mo (It., noun) A first or leading
.
(It.)
sive entrance of the parts of a canon, part, as in a duet.

having various forms ('S* -f etc, ) $ % Prim'zither (Ger.) Treble zither.

158 PRINCIPAL-PSAUME.

Principal, I. In the organ, a flue-stop of Prolongement (Fr.) i. A~ mechanical

open metal pipes, of 4-foot pitch on the attachment in the reed-organ for hold-
manual, and 8-foot pitch on the pedal. ing down single keys after the fingers
(In Ger., Principal' is the open dia- are raised, 2. Sustaining-pedal.
pason*) 2, Theme of a fugue (obso-
Prontamen'te
Promptement (Fr.),
lete).
(It.) Promptly, swiftly.
Principal chords. The basic chords of
a key, i. e,on the tonic, Pron'to,-a (It.) Prompt, speedy.
the triads
dominant, and subdominant, with the
Pronunzia'to (It.) Pronounced, marked;
dom. chord of the 7th. (Also called benpr*, well, clearly enunciated,
'

fundamental, primary, 'etc.) Proportion. (Lat. proper*tio.) See

Principale (It.) I. Diapason (organ- Notation 3, and Nachtanz.
stop). 2. Principal, chief; also, prin- Propo'sta (It.) Theme of a fugue.
cipal or leading part, Sometimes
3.
for tromoa (trum- Propri'etas (Lat.)
A term applied to a
found, in old scores,
ligature when the first note was a breve.
pet).
It was indicated, when the 2nd note
Principal-work. See Stop (noun) 2. was the lower, by a descending tail on
Princi'pio (It.) Beginning, first time. the left (seldom on the right) of the
[In Beethoven, Op. 27, No. 2, 1st first note when the 2nd was the higher,
;

movem.: "pi&marcatodel principio," by the absence of the tail. Oppo'sita

more marled than the first time.] proprietas occurred when the first 2
Prise du sujet Entrance of the notes of the ligature were semibreves,
(Fr.)
indicated by an ascending tail to the
subject.
left of the first note. . Si'neproprietas,
.

Pro1>e (Ger.) Rehearsal. . ,

General'probe, same as Impropnfetas.
full rehearsal,
Prose. (Lat. pro'sa.) See Sequence.
Proceed. (Fr./ra4&r.) To progress.
Proslambanom'enos (Gk.) See Greek
Pro'grain. (Ger. Program^; Fr. pro-
musici p. 89.
gramme; It. program'ma<} list of A
compositions to be performed at a con- Prosody. (Lat. and It. prosodi'a; Fr.

cert. .Program-music^et. Programing and Ger. Prosodie'^ Metrics, or" the

science of metre the
musik), a term of modern invention, ; specifically,
science of the quantity of syllables, and
applied to a class of instrumental com-
of accentuation, as affecting versifica-
positions intended to represent distinct
tion.
phases of emotion, or actual scenes or
events sometimes made synonymous Prospekt 7 (Ger.) The front of an organ.
;
* * * '
with descriptive music ". The pro- .Prospekfpfeifen, front or -display-
.

gram 7 of such a composition may be pipes ; also Fronipfeifen.

merely its title ; or occasional interpo- Rehearsal.
lated remarks ; or a concise summary
of its poetic subject-matter, appended
Psalm-melodicon. A wood-wind instr.
with 8 finger-holes and 25 keys, having
as a description for the better compre-
a compass of 4 octaves, 'and so con-
hension of the music.
structed that from 4 to 6 tones could be
Progress'. (Ger. forfschreiten; Fr. produced at once. Inv. by Weinrich of
proclder^ marcher.) To advance or Heiligenstadt in 1828 ; improved by
move on ; in melody, from one tone to Leo Schmidt in 1832, by whom it was
another; in harmony, from one chord called the Apollo-Lyra.
to another. .Progression (Get.. .For tf-
.

PsaTteiy. (Lat fsalte'rium; It. salti

sckreitung; Fr. progrh, marcke; It. r

rio;Yr.psalte rion; G&.JPsaTter.) An

progresswne), the advance from one instr. of very ancient origin, and in
tone to another, or from one chord to
use down to the I7th century, known to
another; the former is melodic, the
the Hebrews as the kinnor> to the
latter harmonic, progression.
Germans as the Roita; a kind of harp-
Progressive stop. A compound organ- zither, with a varying number of strings
^op in which the number of ranks in- plucked by the fingers or with a plec-
creases as the pitch rises. trum. The strings were stretched over
Prilation. See Nota- a soundboard, as in the dulcimer.
(lAt.prola'tio.)
tion* 3- Psaume (Fr.) ,A psalm.
 PSAUTIER-QUATUOR.
Psautier (Fr.) Psalter. 1. e. the time-value of a syllable. In
Pul'satile instruments. Instns of per- English versification this is apt to be
eussion (Lat. fulsatiHa}. disregarded, accented and unaccented
Pulse. A beat or accent. syllables taking the place of long and
short ones.
Punc'tus, or Punc'tum (Lat.) i. A dot.
2. k.r&te...Punctus contrafunction, Quart. The interval of a fourth.

counterpoint, Quart (Fr.) Quarter. . .

Q. de soupir, a
Punkt (Gen) A dot. .
.Punktierf, dot-
i6th-rest.

ted. Quar'ta (Lat and It.) The interval of

a fourth. Q. modi (toni), the subdom-
. .
Pun'ta (It.) Point (of the bow).
inant.
Pun'to (It.) Dot.../WaX dotted;
and Fr.) The interval of
staccato'd. Quarte (Ger.
a fourth... Q. du ton (F&) the sub-
Pupitre (Fr,) Music-desk. dominant.
Purf ling. The ornamental border on
Quar'tenfolgen (-parallelen) (Ger.)
the bellies and backs of violins, etc. Consecutive or parallel fourths.
Put'ti Boys, choir-boys.
f /
(It., pi.)
Quarter-note. (Ger. Vier telnote,Vir -
Pyranridon. An
organ-stop having telf Fr. noire; It. nt'ra.) A crotchet
short covered pyramidal pipes more ( J).(Sometimes abbrev, to Quarter.)
than 4 times as wide at top as at mouth, Quarter-rest, a rest equivalent in
and of 16' or 32' tone. time-value to a quarter-note ( X, ) or

Pyr'rhic, Pyrrhich'ius. A metrical ?). (Also called quarter-note rest, and

foot consisting of 2 short syllables crotchet-rest^
(-). Quartet'. (Ger. Quartet?; Fr. quatuor;
Pyth'ian metre, verse. The It quartette.) I. A
concerted instru-
(or spondaic) hexameter (
-- --
dactylic
1
- mental composition for 4 performers, in
symphonic form. 2. A comp. or move-
ment, either vocal or instrumental, in 4
parts. 3. The 4 performers themselves.
Q. Quart'fagott (Ger.) See Bassoon...
Quarfjlote^ see Plate. . Quartgeige, see
Quadrat (Ger.) A natural (B)>-(EngL) Violin... Quartsexlfakttjrd^ chord of
In medieval music, a breve (Lat. the fourth and sixth (| chord).
quadra' turn). A i6th-rest.
A composition in Quarto (Taspetto (It.) ,

Quadrici'nium (Lat,)
A
4 parts. Quarto'le (Ger.)quadruplet
As if, as it were ;
and
Quadrille, (It. quadri'glia.) A square
Qua'si (Lat. It.)
like ; nearly, approaching. E. g., An-
dance consisting of 5 (or 6) figures
dante quasi allegretto, andante approach-
named h Pantalon, /'.//, la Pauls, la
Pastourelle, (la Trenise), and la Finale. ing allegretto.
The time alternates between 3-8 (6-8) Qua'ter, See Bis 3.
and 2-4. Quatorzieme (Fr.) The interval of a
fourteenth.
Quadruple counterpoint. See Counter-
feint. .
^Q. croche (Fr.), a 64th-note. . . Quatre (Fr.) Four. .A quatre mains,
.

Qf rhythm or time, that characterized for 4 hands.

by 4 beats to the measure. In medieval music, a coun-
Quat'rible.
Quadruplet. A group of 4 equal notes terpoint progressing in paraUel fourths
to be executed in the time of 3 or 6 of to the canius firmus; a quinible pro-
the same kind in the re-
j j j j gressed in parallel fifths.
written* 4 **
gular rhythm; A composition in
Quatrici'niuni (Lat.)
Quality of tone. (Ger. Ton'farbe; Fr. 4 parts.
timbre; It. timbro) 'That characteris- A
Quattricro'ma (It.) 64th-note.
tic peculiarity of any vocal or instru-
mental tone which distinguishes from Quaftro (It) Four.
it . . A quaitro mani,
the tone of any other class of voices or for 4 hands.
instr.s.
Quatuor (Fr.) A quartet, vocal or instru-
In metrics, prosodic length, mental.
Quantity. ,
i6o
QUAVER-QUODL1BET.
Quaver. An eighth-note. Quiirterne. See Lute. A species ot
Quer'flofce Orchestral flute... lute or guitar extremely
popular in Italy
(Ger.)
Quer'pfrife, a fife. . Quet' stand, false
.
some 200 years ago, with a body resem-
or inharmonic relation.. .Quer'strich, bling a violin and from 3 to 5 pairs of
the thick stroke substituted for the gut strings, to which were sometimes
hooks of hooked notes when grouped, added 2 wire-covered single strings.
7
"
Queue (Fr., tail ".) i. Stem of a note, Quintet (Ger. Quintet? ;^.quintuor; .

2.
Tailpiece. .Piano a queue, see
.
It. quintet to.) i. A concerted instr'l
Piano (Fr.) comp. for 5 performers, in symphonic
form. 2. A
comp,, movement, or num-
Quickstep. See March, vocal or instr'l, in 5 .parts.
ber,
Quie'to (It.) Calm, quiet ; opp. to agi-
ta'to. Quintie'ren (Ger.) To overblow Dy a
twelfth, like the clarinet and other instr.s
Quinde'cima (It.) A fifteenth (either with single reed.
the interval or the organ-stop)., *A lla
q. (abbr, ij**), two octaves higher (or Quintoier (Fr.) j. To quinible (also
lower). quintoyer). 2. See Quintieren*

Quinde'zime (Ger.) The interval of Quinto'le (Ger.) Quintuplet.

fifteenth. The
Quinton (Fr.) i. 5-stringed treble
See Quatrible. viol, or (ace. to ROUSSEAU) the tenor
Quin'ible,
viol. 2. See Saxhorn,
Quin^quegrade. Same as Pentatonie
Quint'stimme (Ger.) A quint (organ-
Quint., i. The interval of a fifth. 2
stop)... Quint* tone,
A 5y-foot organ-stop, sounding a fifth
Pitch,
quint-tones (see
2).
higher than the normal 8-foot pitch.
3. The ^-string of the violin. 4. See Quintuor (Fr.)
A quintet.
Violin. . .
Quint-stride, the (a) harmonic Quintuple rhythm, time. That char-
or (b) melodic progression of a fifth : acterized by 5 beats to the measure.

. fr) W Quintuplet. A group of 5 equal notes

tobe executed in the time of 4 of the
same kind in the regu-
Cil lar rhythm; written:
j Jj -
j j
5
Quitt'ta (Lat. and It) The interval of a "The fifth" part, in
fifth. . .<X dScima, theint of a fifteenth.
Quintus (Lat.)
compositions of the i6th century writ-
..Quint* falsa (" false fifth"), the ten in 5 or more parts ; it
might be set
prohibited
melodic interval between mi for any one of the usual 4 classes of
m the hexachordum durum and
fa in
voices, and even wander from one to
the hex. naturak / the modern dimin-
the other, whence the name
quintus
ished fifth. Q. mo'di (to'ni), the dom-
. . * *

inant (comp. Quintu$)...Alla quinta,

varans, wandering fifth "... Also
Quinta (vox).
at or m the fifth*
Quintviole (Ger.) i. See Quinton i.
Quittt'absatz (Ger.) A half-close, in 2. In the organ, a mutation-stop (see
the midst of a piece, on the dominant
;
Gambenstimme).
same as Halbkadenz.
Quinzifeme (Fr.) The interval of a fifth.
Qumtaton' (Ger.) In the organ, a cov-
ered flue-stop of 8, 16, or 32-foot Quire. Obsolete for Choir. . Quirister, .

pitch.
ditto for Chorister.
Quinte (Fr.) See i and 2 below...
Quintes cachtes, covered fifths. Quod'libet (Lat, "what you please";
also Quoflibet, "as
many as you
Quitt'te(Ger.) I. The interval of a fifth. please'*; It. messan'm, mistichan'za,
2, See Quint 2. a mixture.) A humorous combination
3. The ^-string of
the violin (Fr. chanterelle} Quin'ten- .of various airs, performed either si-
.

fotgm, -parallen^ consecutive fifths. multaneously or one after the other; the
. .

Qmn'tenreini aa epithet applied to latter mode

strings of bow-instr.s, signifying that
they produce "true fifths" to the neigh-
boring strings throughout their length.
.Quin'tenzirkel circle of fifths.
differing from the pot-pourri
in lacking the
connecting interludes;
a favorite device in the i6th and I7th
centuries, and occasionally employed
even now.
 R-RECHANGE. 161

R. reigen, JCuh'reihen.) One of the airs,

or variations on an original air, sung,
R. Abbr. for right (Ger. rechte)\ r, h, or played on the Alpine horn, in the
right hand (rechte Hand)\ for ripieno; Swiss Alps as a call to the cattle. It
ft stands in. Catholic church-music for is characterized by oft-repeated figures,
Responsorium; RG, forJResp. Graduate; rising and falling broken chords, and
R, Fr. organ-music, stands
in for
(when sung) by the frequent employ-
clavier de rfait (swell-manual). ment of the Jodler*
Rab'bia, con (It.) With passion, frenzy; Rapidamen'te (It.) Rapidly. .
.Rapi-
furiously. dita\ con> with rapidity... Ra'pido,
Rackett' (Ger.; also Ranket.) i. An rapid.
obs. wood-wind instr. of the bombard
Rapsodie (Fr.) i.
Rhapsody (see
class, with the tube bent many times
Rhapsodie). 2. A composition of
and, in a
consequence, very weak tone; bizarre and desultory form, lacking
improved byChr. Denner, who reduced
unity and consistency.
the number of bends and made it more
like -the bassoon, whence the later
Rasch (Ger.) Fast, rapid, swift...
Nock rascher^ still faster. So rasch . .
name Rackett (Fagot? , Stock'fagott).
wie mo'glicht as fast as possible.
2. An organ-stop with a tone re-
sembling the above. Rasga'do (Span!, "a rasping")- In
Racier (Fr.) To guitar-playing, the sweeping the string!
scrape, saw; raeteur,
with the thumb ; hence, the arpeggio
a bungling fiddler. x
effect so obtained.
Raddolcen'do, Raddolcen'te (It)
Ras'tral, Ras'tmm. (Ger. Rastral'.)
Growing calmer and gentler. .Raddol- 1. 2. 2.
.
A 5-pointed claw
calmer. Music-pen
cia'tOi gentler,
or graver used by music-engravers for
Raddoppiamen'to (It.) i. Doubling
scoring the lines of the staff in the
chord-notes. 2. Manifolding copies of zinc plates.
parts. Raddoppia'to, doubled.
Rat'selkanon(Ger.) Enigmatical canon.
Ra'del (Ger.) See Rundgesang.
Rattenen'do, rattenu'to (It.) See
Radiating pedals. A pedal-keyboard Ritenuto.
in which the pedals are set in fan-shaped
Ranh (Ger.) i. Harshfly), rough(ly).
arrangement, spreading out to the rear 2. Hoarse(ly).
from in front, and concave e. some-
what higher at the sides).
(i.
Rau'scher (Ger.) A rapidly repeated
note, as on the pianoforte.
Radical bass. A fundamental bass. . .

Rausch'quinte (Ger.) In the organ, a

Radical cadence^ see Cadence.
mixture-stop of 2 ranks, combining
Rad'leier (Ger.) Hurdy-gurdy.
pipes of 5^ and 4-ioot pitch, or of 2]
Ra'dlmaschine (Ger.) Piston-mechan- and 2-foot pitch, without a break
ism, (Also Rausck'jldtei -ffei/e, -quart*
Rallentamen'to slackening in
(It.) A
/
tempo. ..Ratttntando, gradually slack- Rawivan do (il tempo) (It.) Acceler-
ening the tempo, growing slower and ating the tempo.
slower ; equiv. to ritardando. (Abbr. For Re, in the Tonic Sol-fa sys-
Ray.
rail.) Also rallenta'to. .Rallenta're, .
tem.
'

to grow slower ;
senza ralttntare, with-
Re. Second of the Aretinian syllables,
out slackening the pace.
and name of the note D
in Italy, etc.
Rang (Fr.) Rank. In French, Rt.
Rank. A
row of organ-pipes. mix- A Rel>ec(k). The primitive violin of me-
.
ture-stop is said to have 2, 3, or more dieval Europe, known in Italy as the
ranks according to the number of pipes rilefba or ribfca, and in Spain as the
sounded by each digital. rabe, rabeL The body was shaped like
Rant. An old dance ; a name given to a half-pear ; it had 3 gut strings, which
die tunes of various country-dances, yielded a powerful, strident tone.
and also to reels (e. g. the Cameronian 'f
exchange"). The corps
Rechange (Fr. ,

Rant). or tons de rechange are the crooks of

Ranz des vaches (Fr.; Ger. Ruh'- the horn, etc.
 RECHT-REED-ORGAN.

Recht (Ger.) Right ; rechtt Hand, right Reddi'ta, Redi'ta (It.) A repeat.
hand. Redoubled interval. A compound in-

R6cit (Fr.) I. A vocal pr instrumental terval,

solo part 2. The leading part in a Red'owa. A dance derived from

piece of concerted music. Clavier de Bohemia, and, like the
Mazurka, though
rlcit, swell-manual. less strongly accented, in 3-4 time and

Recital. In the usual acceptation of the lively tempo. In Bohemia there are 2

term, a concert at which either (a) all varieties, the Rejdovak in 3-4 or 3-8
the pieces are executed by one perform- time,and the Rejdovacka in 2-4 time.
er [as zpfte. -recital}, or (b) all pieces ReMiiire (Fr.), Reduzie'ren (Ger.) To
performed are by one composer. reduce the volume of a composition by
Recitan'do (It.) In declamatory style.
rearranging it for a smaller number of
while preserving its form as far
instr.s,
Recitaflt,-e (Fr.) One who sings or as possible.
plays a solo. Same
Redundant. as Augmented (of
Recitati'vetteevO. li.Reeitati'vo; Fr. r&- chords and intervals).
citatif; Ger. Recitatii/. A
style of de- Reed. Fr.
(Ger. Rohfblatt, Zung>e ;
clamatory singing,, dating from 1600 A thin
anche; It. an'tia, lin'gua.)
(the earliest operas), and springing of cane, wood, or metal, so ad-
strip
from the efforts to emancipate dramatic
justed before an aperture as nearly to
song from the contrapuntal forms then close it, fixed at one end, and set by an
in vogue. The first recitatives had a
air-current in vibration, which it com-
very simple accompaniment, a mere fig-
f municates either to an enclosed column
ured bass (redtatiw sec co) ; this broad-
of air (organ-pipe, oboe, etc.), or direct-
ened into the redtatiw accompagna'to
ly to the free atmosphere, ^thus produc-
(or obbligcfto, stromenta'to ; Fr. equiv.
.

ing a musical tone. There are 2 classes

obligt^dctompagnt), in which the instru- of reeds, (l) Free Reeds, which vibrate
mental parts were invested with more
within the aperture without striking the
life, variety, and musical importance.
Unless marked rtcitatiw a tempo, the edges; and (2) Beating (or striking,
or percussion) Reeds, which strike on
recitative may be performed ad libitum.
the edges in either class, the elasticity
;
The connecting-link between the rec.
of the reed causes its return-stroke after
of the opera and oratorio and the A'ria
it isborne down by the air-current
is found iathe^frzVjv. Wagner's rec. Double Reed, two beating reeds which
differs from the earlier forms in the per-
strike against each other (oboe, bas-
fectly natural musical inflection of the Reed-
vocal part (the ancient cadences, etc., soon). (Also comp. Pipe 2,
organ, Regal)
being abolished), and the richly instru-
mented and marvelously pregnant ac- Reed-instrument, One whose tone is
companiment (comp. Melos). produced by the vibration of a reed in
Re*citer (Fr.) To sing or play a r/aV,
the mouthpiece ; the orchestral instr.s
of the oboe and clarinet groups.
Reciting-note. That tone, in any Gre-
gorian mode, on which the greater por- Reed-organ.
The precursor of the reed-
tion of every verse in a psalm or can- organs now in use was the Regal, which
ticle is continuously recited ; i. e. the contained beating reeds similar to those
dominant of the mode. in the reed-pipes of church-organs. -The

Recorder. An obsolete species of flageo- present reed-organs have free reeds ;

there are 2 principal classes : (l) The
let,having 7 finger-holes on the upper
side and one below, with an extra hole Harmonium^ bellows of which forces
near the mouthpiece covered with a thin compressed wind outwards through the
membrane and pro- reeds and (2) the American organ, in
;
(goldbeaters'-skin),
which an -exhaust or suction-bellows
bably influencing the qua!-,
draws the air in through them. Until th*
ity of the tone. Compass
invention of the Vocation, a variety of
about 2 octaves, from ! / :

" reed-organ having compression-bellows

Recte et retro (Lat., forwards and like those of the harmonium, the tone of
backwards"). Direction for performing the second class was generally superior
a canon cancrizans. to that of the first. The wind-supply is
Rsctus (Lat.) ordinarily obtained by the aid of apair of
 REED-PIPE-RELISH. 163

treadles operated by the performer. stange, stop-lever..

Regis'f terzug, draw-
.

There may be one or many sets of reeds stop mechanism... Stum me Register
or vibrators, each controlled by a 'stop (pi.), mechanical stops ;
ionende Regis-
and slider-mechanism. The timbre of ter (pi), speaking stops.
the various orchestral instr.s is now i. A 2.
Registre {Fr.) stop-knob.
very successfully imitated. Common
Register 3.
mechanical devices are the percussion-
Registration, i. The art of -effectively
stop, expression-stop (harmonium), knee-
swell (Amer. org.), tremulant, double- employing and combining the various
2. The combina-
stops of the organ.
touche, and prolongement.T'fat first
tion or combinations of stops employed
reed-organ was invented by Grenie in for -any given composition.
1810, and' named by him orgue expressif
on account of the crescendo and decre- Registrie'ren (Ger,) To registrate or
scendo obtainable on it ; other inventors register (see Registration). Registrie'-
constructed the aoline, ceolodikon, phys- rung, registration.
karmonica, etc.; the Harmonium, the Regie (Fr.) Rule,
first instr. of the class having several Rein Perfect
(Ger.) (of intervals) ; just,
was patented in Paris by A. De-
stops, true, correct (of pitch or intonation).
bain in 1843.
Rein'greifen (Ger.) Accurate stopping
Reed-pipe, Reed-stop. See Pipe 2, b. (violin) ;
accurate playing (in general).
Reed-work. See Stop (noun) 2.
Clarion, clarina,
Rei'tertrompete (Ger.)
Reel. A lively dance, probably of Celtic clarino. (Medieval trumpet, with
origin, still in vogue in Scotland and straight tube about 30 inches long.)
Ireland, and usually in 4-4 (sometimes Rela'tio non harmo'nica (Lat.) In-
in 6-4) time,with reprises of 8 measures; harmonic relation.
danced by 2 couples.
Relation. (Ger. Verwand'schaft; Fr.
Refrain . A burden.
7

relation; It. relassiv'ne.) The degree

Re'gal. (Ger. Regal') i. An obsolete of affinity between keys, chords, and
kind of portable organ with one or two tones. The simplest explanation of re-
sets of reed-pipes (beating reeds), a lationship is that promulgated by
the

'
keyboard for the right hand, and a bel- neo-harmonists (comp. Phone^ 4).
lows worked by the left. According to Also Relationship, Tone-relationship
the number of pipes sounded by each (Ger. Ton'verwandschaft).
digital, it was called a single or
double
Relative key. (Ger. Parallel'tonart;
regal The .old English name was Fr. mode relatif; It. tono rektti'vo.) A
regall, or a pair of regalls. (See Har- minor key is relative to that major key,
monium.} A Bibelregal (Ger.) was one the tonic of which lies a minor third
folding up like -a large bible
a bible-
;
above its own a major key is relative;

organ. 2. (Ger.) An obsolete

suffix
to that minor key, the tonic of which
distinguishing reed-stops; e.g. Hat'- lies a minor third below its own. (N.
fenregal, Gei'genregaL 3. An old B, Relative is sometimes used for re-
species of xylophone. lated, in qualifying keys and chords.)
Re'gel(Ger.) A rule. Religiosamen'te, Religio'so (It.) In
Re'gens cho'ri (Lat.) Choir-master. a style expressive of religious or devo-
tional feeling.
Regier'werk (Ger.) In the organ, the ' ' "
mechanism of the keys and draw-stops, Relish. One of the shaked graces of
taken collectively. the old harpsichord-music ; in 2 forms,

Register. I. (Ger. Regis' ter) set of A namely, the Single Relish :

pipes or reeds controlled by
one draw- played ;

with
stop; in this sense synonymous
stop (organ-stop). 2. A board with
perforations for guiding
and steadying
the trackers of an organ-action. 3. A
portion of the range
and compass of
the voice, and of certain instr.s ; (a)
see Voice; (b) comp. Chalumeau.

Register (Ger.) Register i and 3

Regis'terknopf, stop-knob,
. *
Regis' ter-
 1 64 REMOTE KEY RESPONSORY.
Remote key. An unrelated key. (See Repeti'tor (Ger.) The trainer or con-
Relation?) ductor of an opera-chorus. (Fr.chefdit
Remo'tus (Lat) Remote, far apart ; as chant.)
harmonia remota, open harmony. Repetizio'ne (It.) Repetition.
Remplissage (Fr., "filling"). The Re'plica (It) A repeat... RepUca'to,
parties de r, are the inner parts. The (a) repeated ; (b) doubled*
word r. is also used as a term of re- A
tone one or more octaves
Rep'licate.
proach superfluous or cumbrous
for
' *
above or below a given tone.
parts "in the works of novices pad- A complementary inter-
ding ;
non-concerted parts. Replik' (Ger.)
also, for
val.
Rendering. Artistic interpretation or R6plique (Fr.) i. A replicate (unused).
reproduction. (Preferable to the term 2. Answer A
(usually rfyonse). 3.
"rendition".) complementary interval. 4. cue. A
Rentre*e (Fr.) Reentrance of a part or Answer.
Reply.
theme after a rest or pause.
R6pons (Fr.) A response.
Renverser (Fr.) To invert ; renvers/;
inverted Re*ponse (Fr.) An answer.
; renversement^ inversion.
Report. Same as Answer.
Renvoi(Fr.) The sign (e. g. <*) direct-
Repos (Fr.) The end of a phrase,
ing the performer to return to and re- marked by a full cadence.
peat from a similar sign.
Reprise (Fr.) I. repeat. 2. The re- A
Repeat. (Ger. Wiederho*lungsztichen^ vival of a work. 3. Break 3. 4.
Fr. bdton de reprise; It. re'plica.) The
The
repetition of the first theme, in a short
movement, after an episode. 5. Same
as Rentr/e*
the first signifying that the division be-
tween the dotted double-bars is to be Requiem. The first word in the Mass
for the Dead, which begins with the
repeated; the second and third, that
the preceding and also the following antiphon Requiem aternam dona Vf
division is to be repeated; the dots domine; hence, the title of the musical
always being on the same side of the setting of that Mass. Its divisions are
bar as the division to be repeated. as follows: (i) Requiem, Kyrie; (2)
Comp. Da Capo^ and Dal Segno. Dies irse, Requiem ; (3) Domine Jesu
Christe ; (4) Sanctus, Benedicts (5)
Repeating action. See Repetition 2.
Lux seterna.
;

Agnus Dei,
Repercussion. (Lat. repercus'sio.) i.
The repetition of -a tone or chord. 2- Resin. See Rosin.
The regular reentrance, in a fugue, of Resolution. (Ger. Aufldsvng; Fr.
the subject and answer after the epi- resolution; It.' risoluzio'ne.) The pro-
sodes immediately following the expo- gression of a dissonance, whether a
sition, 3. In Gregorian music, the simple interval or a chord, to a conso-
dominant of the mode, as being the nance.
tone most reiterated.
Resoluzio'ne, con (It) See Risoluto.
.
Repetie'ren (Ger.)break (see
i. To Res'oaance-boac. A hollow resonant
Break 3). . .Einerepetie'rende Stim'me, body, like that of a violin or zither.
a mixture-stop with a break. 2. To re-
Resonanz'boden (Ger.) Soundboard or
peat
belly. ..Resonanthasten, resonance-box.
Repetition, i. The
very rapid reiter- . .Resonanz'
saite^ sympathetic string.
ation of a tone or chord,
producing Respi'ro (It.) A i6th-rest
almost the effect of a sustained sound.
See Responsory 3.
2. Repeating action, one in which Respond.
the rebound of the hammer admits of Response. (Lat respon'sum.) i. The
the instant restriking of the key and musical reply, by the choir or congre-
repetition of the tone (pfte.) gation, to what is said or sung by the
priest or officiant, either in the Anglican
Re"pe"tition (Fr.) Repetition ; rehearsal. or R. C. Church. 2. See
Responsory.
Repetition' (Ger.) Repetition i and 2 ; 3. Same as Answer.

also, a Break$. . Repetitions'mechanik,

*
Respon'sory. (Lat. responso'rium^ i.
repeating action (pfte,) That psalm, or part of one, be- j
sung
 RESSORT RHYTHM. 1*5

tween the missal lessons. 2. The Grad- Rest. Pau'st; Fr. silence; It
(Ger.
ual. 3. A
Respond i. e.* a part of a ;
pa'usa.) A pause or interval of
(i)
psalm (formerly an entire psalm) sung silence between two tones; hence (2)
between the lessons at the canonical a sign, indicating such a pause. The
'

hours. rests equivalent in time-value to the

Ressort (Fr.) Bass-bar. several notes are as follows :

I. 6.
Rests:
^or-SE^'
Time-value

ENGLISH. GERMAN. FRENCH. ITALIAN.

i. Whole rest. Taktpause. [Pause. Pause. Pausa della semibreve.
2. Half-rest. Halbe (or Zweitel-) Demi-pause. minima.
3. Quarter-rest. Viertelpause. Soupir. semiminima (or Quarto).
4. Eighth-rest. Achtelpause. Demi-soupir. croma (or Mezzo-quarto),
5. i6th-rest. Sechzehntelpause. Quart de soupir. semicroma (or Respiro).
6. sand-rest. Zweiunddreissigstelp. Demi-quart de s. biscroma,
7. 64th-rest. Vierundsechzigstelp. Seizieme de s. semibiscroma,

...J3reve-: ^=. equal in time-value Reveille (Engl. and Ger.; from Fr. r/.
=2 to I breve ( ^sj ), or veil.) A mSitary signal for rising.
2 semibreves or whole notes An instrumental comp. of a Reverie.
.
.Large-rest^ Long-rest\ see Notation^
dreamy cast, without characteristic form.
3, p. 131... Measure-rest^ a pause Reversion. See Imitation^ retrograde.
throughout a measure. The whole rest ..Reverse motion^ same as Contrary
is often used as a measure-rest, regard-
motion.
less of the measure-value expressed in
Rhapsodie (Fr.) In ancient Greece,
the time-signature ; the
2-measure rest
is then writ- the 3-measure rhapsodies were fragments from the
ten thus :
*
r e s t t h u s : great epics, sung by the rhapsodes to
- etc.
the cithara. In modern music, the
, the 4-measure
-' rest thus:
B *
But, rhapsodic is generally an instrumental
fantasia on folk-songs or motives taken
for rests longer than one measure, any
from primitive national music ; an ex-
one of the following conventional signs
is usually employed, with a numeral above
ception is Brahms' Op. 53. (Also Rhap*
to show the number of measures rested: sody.)

38 Rhythm.
It.
(Ger. Rhyth'mus; Fr, rythmej
ritfmo) i. The measured move-
ment of similar tone-groups ; i. e M the
effect produced by the systematic group-
Restric'tio (Lat.) Stretto (of a fugue). ing of tones with reference to regularity
both in their accentuation and in their
Resultant tones. See Acoustics, 3.
succession as equal or unequal in time-
Retard. To
suspend... Retarded pro- value.< A Rhythm is, therefore, a tone-

gression, same as Retardation 2. group serving as a pattern for succeed-

A holding-back, decreas- ing groups identical with it- as regards
Retardation.
the accentuation and duration of the
ing in speed. 2. A
suspension resolving tones. The rhythm, being thus a thing
upward ; opp. to Anticipation. apart from tonal melody or harmony,
Retraite (Fr.) The tattoo. is reducible to a formula of notes with-
out pitch, merely representing an orderly
It.
Retrograde. (Lat. retrogra'dus; series of pulsations ; take, for instance*
retrogra'do). See Imitation. the castanet-rhythm of 3 Spanish na-
Ret'to Direct, straight. tional dances ;
(It.)

"
c66 RIBS-RIPRESA.

Fandango: L *** **+*4

g
"0m
i
2)
m \ m

(3)
<| ^ ^
'etc.
Bolero^
5 I|U"
The vertical bars divide the measures; origin, generally in 4-4 time (sometimes
the connect notes forming one
slurs' 2-2, rarely 6-4) with an auftakt of a
rhythmic group or rhythm. The differ- quarter-note it consists of 3 or 4 reprises, ;

ence between a measure and a rhythm- the third falling in as if by chance at a

is
apparent ; the former is the sum of lower pitch' and frequently without a
the time-values of notes (or rests) be- regular close, to enhance the contrast
"

tween 2 bars, whatever be their arVange- with the succeeding division.

ment the latter may be contained (i)
Ri'go (It.) The staff. (Also landa,
;

within a measure, but at (2) embraces

fortata, sistema, tirata, or verto.}
2 measures, and at (3) begins before the
bar. Time on the other hand,
i
is the Rigo're (It) Rigor, strictness. .. Ow
r., air. di tempo, in strict time. (Also
division of each measure into equal
fractional parts of a whole note, corre- rigoro'so}

sponding (at least in the simple times) Rilascian'do, Rilasdan^'te (It.) Ral-
to the same number of regular beats to lentando.
a measure ; with which regular beats "
Rimetten'do (It.) Resuming" the
the pulsations of the rhythm are by no former tempo (after -accel. or roll}.
means required to coincide. It must
RJnfprza're (It) To reinforce (by ad-
be added, however, that the above defi-
ditional stress) ;
to emphasize. , .JRirt*
nitions are not universally accepted,
forzamento, reinforcement ; rinfor-
and that great confusion prevails in this zan'do or rinforzafto, with
special
department of English mus. termi-
emphasis indicates a sudden increase
;

nology, as in others ; they are given in loudness, either for a tone or chord,
simply as valid for this Dictionary. 2. or throughout a phrase or short passage
Rhythm, in a wide sense, is the accent- (abbr. rinf., rfz., rf.}; rinfo^zo, re-
uation marking and defining broader
inforcement ; per rinforzo, by way of
mus. divisions in the flow and sweep of
reinforcement.
a composition by special emphasis at the
entrance or culminating points Ripercussio'ne Repercussion.
of mo- (It.)

fives, themes, phrases, passages, sections, Ripetizio'ne (It) Repetition,

etc. (Comp. Accent 2.)
Ripie^nist. (Itnjtowfrte.) A musician
Ribs. (Ger. Zar'gen; Fr. Misses; It playing a ripieno part.
"
fafscie.) The curved sides of the violin Ripieno (It. ;
lit
up ; sup-
full, filling
and similar instr.s, connecting belly plementary.") i. A ripieno
part in in-
and back. strumental music is one
reinforcing the
Ribattu'ta (It.) A device for begin- leading orchestral parts by doubling
them or by filling in the harmony, and
ning a trill. (Comp. Trill.}
is thus
opposed to solo, concertante, and
Ribe'ba, Ribe'ca (It.) Rebec.
such are termed
obbligato; parts
Ricerca're, Ricerca'ta Original-(It.) i. ripi?ni (noun). 2. In scores, ripieno\&
ly vocal, and later also instrumental, a direction for the entrance of the
calling
compositions of the l6th and xyth cen- full
string-band (or, in military music,
turies, in fugal form more or lesshigh- the clarinets, oboes,
etc.), being equiva-
ly developed, usually built up as a sort lent to Tutti. (Also v.
APPENDIX.)
of fantasia on original motives. 2. See
Ripien'stimmen (Ger.) Ripieni.
Fugue.
Ripiglia're (It.) To resume; ripi-
Riddle-canon. See Canon, enigmatical.
glian'do, resuming.
Ridot'to (It) i. Reduced (see Rlduire\ Ripren'dere (It) To resume; ripren*
: 2. A reduction. den*do,
resuming.
Rigadoon'. (Fr. rigaudon.} An ani- Ripre'sa(It) A reprise or repeat; also,
mated, often grotesque dance of French the sign
j

Sp.
 RISE-ROMANCE. 167

Rise. Same as Plain-beat. latter is applied

specifically to the reeds
Risenti'to of the oboe and bassoon (dop'pdtes
(It.) Energetic, vigorous; f
expressive. Rohrblatf), and of the clarinet (ein -

Risoluzio'ne
f aches Rohrblati). Zung'e is the usual
(It.) r. Energy, decision. term for Reed. . .Rohr'fiote (Fr.Jldte h
2. A resolution.. .Risolu'to^ energetic,
chemine't; Engl. reed~jlute\ a half-
decided, strongly marked... Risoluta- covered flue-stop in the organ, with a
men'te, with energy, decision.
hole or chimney in the cover, and of 8,
Risonan'za, Risuonan'za (It.) Reso- 16, or 4-foot pitch ; the tone is brighter
nance. than when the pipes are wholly cover-
Rispo'sta (It.) Answer (in a fugue) ; con- ed; the lower half of the rank, how-
sequent (in a canon). ever, is wholly covered. Of 2 or i-foot

Riss in der Stimme pitch, it is usually called Rohr*schelle.

(Ger., "crack in The Dop'pelrohrfldte is one with double
the voice".) A break (when the pas-
mouth, the Roh/quinte a reed-flute of
sage from one register to another cannot
be smoothly effected). 2%-foot pitch. The English clarionet-

Ristret'to (It.) stretto. A werki reed-work. 2. Tube (of a wind-

Risveglia'to (It) Lively, animated. instr.) [only Rohr\
Ritardan'do (It.) Growing slower and Roll. I. (Ger. Wir'beljTi.roukment;
slower (abbr. ritard., rit.) Also ritar- It rollo.) A tremolo or trill on the
f
da to. . .Ritat'do, retardation, drum, produced (a) on the kettledrum
Ritenen'do, Ritenen'te Same as by rapid alternate single strokes ; (b) on
(It.)
Rallentando* the side-drum by striking alternately 2
,

strokes with the left hand and 2 with

Ritenu'to (It.)Properly, held back, in
slower tempo but often used incor-
the right. fr or~^ or
"
^ or
Jj
rectly for
;

rallentando. Abbr. riten^

Thesi s n
m nntaJ^."g '

I
I
^* I
I
^ I
I
^ ^*1
Jf ^^
rit. (See Tempo-marks^ tion is: p
Rit'mo Rhythm. R. di due (tre)
. .
(It.) . .
Long roll, the prolonged and reiterated
battrfte [= 2-measure (s-measure)
drum-signal to troops, either for the
rhythm], a phrase indicating that not attack, or the rally. 2. In .organ-play-
one measure, but 2 (3) measures, are to a rapid arpeggio. 3. On the tam-
ing,
be considered as forming a great mea- bourine, the rapid and reiterated hither-
sure or metrical unit. [An identifica- and thither-stroke with the knuckles.
tion of rhythm with metre; comp.
Rhythm 2.J
Rorie (Ger.) A
succession of rapid un-

Ritornel'lo (It) i. In accompanied dulatory (ascending and descending)

runs or passages consisting of repeti-
vocal works, such as songs, arias, ora-
tions of the same figure.
torios, or operas,an instrumental pre-
lude, interlude, or postlude (refrain) ; RoHo (It.) Roll i.

or, a tutti in a concert-piece. Also

Roller. I. The cylinder or barrel of a
ritornette (Fr. ritournelle). 2. re- A or of a carillon. A
music-box, 2.
peat. 3. The burden of a song.
roller-board ; a wooden bar. resting oa
River'so (It) I. Reversed. 2. Retro-
gudgeons and provided with 2 arms,.
grade. (Comp. Rovescio^ one pulled by a tracker from a key,
Rivolgimen'to (It.) Transposition of which makes the other draw a tracker
the parts in invertible counterpoint opening a valve (organ). .Roller-board ,

Inversion. . .Rivolia'to^ action, the mechanism belonging to the

Rjvorto (It)
roller-boards of an organ.
inverted,
Robu'sto Firm and bold... Robu- Romance. (It romanfza; Ger. Ro*
(It)
stamen'te^ firmly and boldly. man'ze.) Originally, a ballad, or popu-
lar tale in verse, in the Romance dia-
Rock-harmonicon, An instr. consist-
lect ; the name, being later transferred
ing of a series of rock-crystals, gradu- to stories of love and knightly adven-
ated to the tones of the scale, and play-
ture, which were often set to music,
ed with hammers.
has been employed in modem times as
Roger de Coverly. See Sir Roger. the title of epico-lyrical songs, and, by
Rohr, Rohr'blatt (Ger.) i. Reed ; the i
further transference, of short instru.
168 ROMANESCA-ROUNDEL.

mental pieces of a sentimental or ro- which, a return of the leading theme, is

mantic cast, and without definite form derivable from the construction of the
French romance is old French poetical form of the ron-
(see Bdladfy~-Tbz
a simple love-ditty expressive of tender
deau: While in the earlier rondos the
Romances sans Paroles digressions from the ist theme were of
melancholy;
" an irregular and desultory character, the
Songs without Words/'
are
episodes of the modern
form assume
Romane'sca (It.) The Italian form of
the shape of well-defined contrasting
the Galliard, so called betause coming
from Rome. themes, somewhat in the following order:
I-II (dominantH-ni-I-II (tonic)-Co-
Romantic. The opposite of classic
da, (SeeF<?r/rc.)
'which denotes an accepted and com-
Root. The lowest note of a chord in the
which form and
prehended type, in i r-ft - here
'

is the
i ^
blend to form an harmonious fundamental " root | the triad
spirit
Romantic was an
hE-g-
whole).
inally derived
epithet orig-
from Romance poems of
position; e.g. ivy 2
^MW .

the early middle ages, and applied to

Rosa'lia (It.) A#ielodic form consist-
various products of a lively, ing of the repetition of a phrase or
very
down to figure several times, each time trans-
gloomy, or heated imagination
the German revival of Romantic litera- posed one degree higher, -pr simply (as
All late more loosely interpreted) on various de-
ture during the i8th century. f
Rosa lie ; also Schu'ster*
romantic poems having something of grees. (Ger.
and VetUr Mi'cheL)
exalted mysticism," visionary enthusi- fleck,

asm, or strong subjective and senti- Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa!)
mental emotion of an uncommon type, The ornamental pattern bordering the
the term romantic was .naturally trans- sound-hole in the belly of 'the guitar,

1
ferred to composers and their 'works mandolin, etc. ; often used not merely
that depart from the beaten track, and as an ornament, but as a trade-mark.
aim at emotion in a style Rosin.
expressing (Ger. K&kphori'; Fr. colophane;
and with means from those
differing It. The residue of turpen-
colofo'nia)
employed by their predecessors. Thus, tine, after distillation toobtain the oil
old forms are broadened, new forms
. of turpentine. That used for violin-
and types created, and also many ec- bows is the refined article.
centric and ill-conceived productions A round,
Ro'ta. i. rondeau, or piece of
brought to light. Hence it comes, too, similar construction. 2. (Also Rote^
that the Romanticists of to-day are the See Crowd.
Rotta, Rotted)
Classicists of to-morrow ; that Haydn
Roton'do (It.) Round, full (of a tone).
and Mozart, Beethoven, Weber,
Chopin, and Schumann, Berlioz, Roulade (Fr.) A grace consisting of a
Liszt, and Wagner, are all in turn run or arpeggio from one principal tone
decried, listened to, tolerated, admired, to another ;
a vocal or instrumental
worshipped, and imitated. And the flourish.
imitators of original genius are simply Roulement (Fr.) Roll.
post-classicists,who, in full accord with Round, I. A species of vocal rhythmical
the form and mode of expression em- canon at the unison, differing from the
ployed by their models, seek to
elabo-
regular canon in having no coda, thus
rate and finish both in a manner suited '

being a favorite style of com-

infinite ;
to their own needs. might be said,
It
from early times
position in England,
that any great original composer re- '*
(the celebrated round Sumer is i-cum-
mains k romanticist until he is thorough-
en'in" is supposed to date from the
ly understood. Berlioz, Liszt, Wagner
middle of the I3th century) down to the
and their following are generally class-
present day. It differs from the catch
ed as the nee-romantic school.
(with which it was formerly identical)
Roma'nusbuchstabefl (Ger.) The lit-
in eschewing the comical effects of, the
tercs significative latter. The round proper sometimes
Ronde (Fr.) A whole note. has an harmonic support or accom-
paniment called the fes.2. A circle-
f
Ron'do. (It. rondb [dimin. rondinefh,
rondinefto, rondi'no, rondoletfto\ ; Fr dance, or round dance.
rondeau.) A
form of instrumental com- Roundel. A
dance in which the partici-
position, the characteristic feature of pants form a circle or ring.
 ROUNDELAY SAITE. 169

Roundelay. A lay or song containing Rutsch'er

1

(Ger,) Old Ger. name for

some continued reiteration or refrain. the Galop.
Also, a roundel.
Ru'vido (It.) Rough... Rumdamen'te^
Rovesciamen'to (It.) i.
Reversion, roughly, coarsely.
contrary motion ; retrograde motion.
2. Inversion.
Rythme(Fn) Rhythm.
" Rythme" In rhythm, measured;
(Fr.)
Rove'scio (It., wrong side".)
reverse, bun r. ben ritmato), with due
(It.
Al r. signifies: (a) Imitation by con- rhythmic emphasis; or (of a composition)
trary motion ; (b) a movement so con-
well-balanced and effective in rhythmical
structed that it maybe performed back-
construction.
wards (cancrizans).
s.
Ruba'to (It., "robbed".) Used in the
phrase tempo rubato as a direction, in S. Abbr. of Segno in the phrases at ^

passages calling for the display of in- Segno dal Segno; Sema, in the phrases ',

tense or passionate feeling, that, the
performer should modify the strict
rhythmical flow of the movement by
dwelling on, and thus (often almost in- Sabot (Fr.)
sensibly) prolonging, prominent mel-
ody-notes or chords, this in turn re-
quiring an equivalent acceleration of
less prominent tones, which are thus
robbed of a slight portion of their time-
value.
senza Pedale, sensa Sordini j of Sini-
stra; Solo; Sordini and of Subito, in
the phrase volti subito,
i. In the double-action
harp, one of the movable disks, each
provided with 2 projecting studs, which
make a partial revolution on depressing
a pedal, the studs engaging and thus
shortening the string. 2. An inferior
fiddle. .

Rubfebe (Fr.) Rebec. Saccade In violin-playing, a firm

(Fr.)
Riick'fall (Ger.) A backfall. stroke of the bow by which 2 or more
strings are so pressed down as to sound
Riick'gang (Ger.) Return (i. e. a tran-
sition from one theme to the together.
repetition
of a preceding theme). Sackbut. i. Earlier form of the trom-

/ bone. 2. In the Bible (author, vers.),

Rlick positiv (Ger.) See Positiu.
,
the translation of sabbeka^ which is
"a
Riick'ung (Ger., shifting'*.) i. Syn- supposed to have been a harp-like instr*
copation. 2. Enharmonic change (cn> (Also Sacbut.)
harmonische Rfickung)*
Sacfpfeife (Ger.) Bagpipe.
Riick'weiser (Ger.) The sign fy.
Sacque-boute (Fr.) See Saquetute.
Ruh'ezeichen. (Ger.) See Pause (Ger.) Sacred music. (Ger. Ki/chcnmusik;
Ruh'ig (Ger.) Quiet, calm, tranquil Fr. musique tfe'gtise; It. mu'sica reli-

(Also adverb.) git'sa.) Church-muste, or music for

devotional purposes; opp. to secular
Riih'rung (Ger.) Emotion.
music*
Rule of the octave. See Octave.
A person retained in a cathe-
Sa'crist.
RuHan'te Rolling
(It.) ;
tamWro rul- dral,whose office it is to copy out the
lante^ a side-drum, music for the use of the choir, and take
care of the books.
Run. i (noun). A
rapjd scale-passage ;
[BusBY.]
in vocal music, usually applied to such Sagbut. Same as Sackbut.
a passage, sung, to one syllable. 2 Sai'te (Ger.) A string. .Sai'tencfor,.* .

(verb). The wind in the windchest (or- unison of strings (group of 2 or 3 tutted
gan) is said to run when it leaks into a in unison). . .
Sai'ienfessel> usually Sai'-
groove ; running causes a more or
this tenhalter, tailpiece. . .
Sai'tenharmonika,
less distinct sounding of the pipes on a keyboard stringed instr. inv. by J. H.
that groove, and is a serious defect. Stein in 1788, with diminuendo attach-

Rund'gesang {Ger.)
1

A solo song, with ment . . . Sai'teninstrumente, stringed

refrain for chorus. instr.s. . .
Sai'tenorgel(" string-organ"),
a keyboard stringed instr. inv. by Carl
Russ'pfeife (Ger. ; Dutch Ruispipe.)
Gttmbel of Kroffdorf, near Giessen,
See Rauschquinte. The sustained tone
Prussia, in 1890.
Ru'stico Rustic, pastoral. is obtained by adding to
(It.) (organ-tone)
170 SALICET-SARRUSOPHONE,
each unison a fourth string, which is Salvation (Fr.) Resolution (of a dis-
set in continuous vibration
by the rapic sonance).
blows of an harmonium-reed furnished
Sal've Regi'na (Lat., " Hail ! Queen [of
with a leathern head; the action oJ
these reeds (whose vibration-numbers heaven] .) One of the antiphons to
tl
the Blessed Virgin Mary", sung, in
coincide with those of the correspond-
the R. C. service, after lauds or complin
ing unisons struck by the ordinary ham- from Trinity Sunday to Advent.
mers) is controlled by wind, supplied
by bellows filled by a pair of treadles Sambu'ca. One of the most ambiguous
worked by the player. By means of instrument-names of the middle ages,
various stops and combinations, the S. usually employed in the sense of the
can be played (i) as a pfte.; (2) as an Greek caftpfarf (Lat. sambuca) for a
organ ; (3) with pfte.-tone and organ- kind of small
psaltery (Spitz'harfe],
tone combined ; (4) the bass side as but also occurring (as if derived from
an organ, and the treble side as a the Lat. sambu'cus, alder) for a species
pfte., or vice versa with crescendo of pipe ; and finally, as a corruption of
; (5)
and decrescendo effects, and all imagin- symphonla (samponia, zampogna) for
able gradations of tone-power. The the bagpipe and hurdy-gurdy (sambuca
combined timbre partakes of the quali- rota' to), and, instead of sacqueboute,
ties of the for instr.s of the trombone class. Sam-
string-band, organ, and pfte.
Built in 2 styles, upright and grand. but, Sambiut, are German forms of
sambuca in the sense of a psaltery.
Sal'icet, Sali'cional. An organ-stop
having open flue-pipes of metal, gener-
[RlEMANN.] Also Sambuke.
ally of 8-foot pitch, sometimes of 4, 2, Sampo'nia. See Sambuca, and Zam-
and (on the pedal) 1 6-foot pitch, with a pogna. (Also </. APPENDIX.)
mellow, reedy tone like the Dulciana.
Sampo'gna (It.) A rustic reed, or
flageolet.
Salmi (Fr.) Quodlibet. Sanctus (Lat.) A division of the Mass.
Sal'mo (It) Psalm. Sanft (Ger.) Soft, low. . . Sanft'gedackt,-
a flue-stop in the organ, having stopped
Salon'fliigel (Ger.) Parlor grand (pfte.)
..Salowstuck^ a piece of salon-fa pipes of soft intonation.
lor-) music. Sanglot (Fr., "sob".) An obsolete

Saltarel'la, Saltarel'lo (It.) i. A agrtment) consisting of an accent or

jack. chute sung to an interjection :
2. In many dance-tunes of the i6th

century, the second part (Ger. Hop'pel-

ians, Nach'tanz; Lat. proper* tio; Fr.
tourdion)^ which was in triple time, the ^
first being in duple time ; the
[RlEMANN.]
skipping Sans(Fr.) Without.
step was marked in the rhythm:
Saquebute (Fr.) Sackbut.

JTHlJLj-. Sar'aband. (Ger. and Fr. Saraban'de;

A
A It. saraban'da?) stately dance ot
etc. 3. Roman
(or Venetian [?])
dance in 3-4 or 6-8 time. 4. In sal-
Spanish or Oriental origin, for a single
dancer, though later changed (in Eng-
tarello^ a term formerly applied to a
land) to a sort of country-dance. The
canto fermo accompanied by a counter- instrumental saraband has, as a rule, 2
point in sextuplets. 8-measure reprises, in slow tempo and
Salta'to (It.) In violin-technic, a variety triple time, generally beginning on the
* l
of the springing bow ". down-beat, with a stress on or prolonga-
*

Salteret'to(It) The rhythmical figure

tion of the second beat
(f f p Jf f),
and often highly embellished. Its
place in the Suite, as the slowest move-
Salte'rio, Salte'ro (It.) i.
Psaltery. ment, is before the Gigue,
2. Dulcimer (salterio tcdisco).
Sal'to A Sarrusophoneo A brass wind-instr.,
(It.) skip, leap...Z>* salto, inv. (1863) by and named after the
(progressing) by skips or leaps. band-master Sarrus of Paris, with a
Salya're (It.) To resolve (salvaS una double reed like the oboe and bassoon;
dissonan'za). herein differing from the single-reed
 SATTEL-SBALZO. 171

Saxophone, from which its key-mechan- Saxhorn, A brass wind-instr. inv. in

ism is in great part borrowed. Like 1842 by Adolphe Sax, a Belgian. It is
the saxophone, It is made in 6
principal essentially an improved key-bugle or
sizes, with the addition of a rare ophicleide, having from 3 to 5 valves
sopranino in E\) and a contrabass in instead of keys. Saxhorns are con-
.Ep. Its tone partakes in quality of structed in 7 different sizes, forming a
that of the nearly-related obol dacacda, complete series alike in timbre and
double-bassoon, and bombari. Little method of playing, and named accord-
used outside of France. ing to their fundamental tone or their
Sat'tel Nut.. .Sattel ma'chen, relative pitch and compass. They are
(Ger.)^
in firm of the not fitted for the use of crooks. Though
'cello-playing, pressure
thumb on a string, in the higher posi- extensively employed in military music,
tions, for obtaining harmonics, the only two, the Euphonium and Contra-
thumb acting as a temporary nut. . . bass-tuba, have achieved a place in the
orchestra. The nomenclature of the
Sat'tellage^ half-position (in violin play-
saxhorn family being sadly confused, a
ing).
list with the various
Satz I. A therneor subject. 2. A appellations is an-
(Ger.)
nexed :
phrase, i. e. half a period of 8 measures,
the 1st half being the Vo/dersatz, the Sopranino saxh.
1.
(petit saxh., petit Bugle &
2nd the Nach'satz (sometimes trans- pistons, Piccolo in Es.
2.
Soprano saxh, (contralto saxh.j "btigle-
lated "fore-phrase" and "after- tfenor, Fliigelhorn in B).
phrase"). 3. A chief division of a 3. Alto saxh. (Althorn in s).
Tenor saxh. (baryton en si j^, Tenorhorn
movement; 4. A Movement 2: 5. 4.
in Bi Bassflugelhorn).
The science of harmony and counter- 5. Bass saxh. (tuba-basse en K, Basstiiba*
point; art or style of composition; Euphonium, Baryton, Tenoroass in J$) t

6. Low bass saxh. (bombardon en #!>).

e. g. rei'ner Satz, strict style (of writ- Contrabass saxh. (bombardon en st$
ing). 6. A passage or separate portion 7.
grave, Kontrabasstuba).
of a composition.
Saxhorns I to 4 are classed as bugles h
Saut Skip. . . Sauter, to overblow.
(Fr.) pistons; while 5 to 7 are classed as
..Sautereau, a jack. tubas or bombardons. Their extreme
Sauver (Fr.) To resolve (a dissonance). compass is :

i. in Jit>. 2. in By. 3. in Ej. 4.. in 2fr. 5, in Jfy. 6. in .|>. 7. In /?;>.

For the orchestra there are also made a in turn comprising 2 individuals a
bass in ,
a contrabass in C\ and a ,
whole tone apart :

low bass in /\ ; and all members of the 1. Sopranino saxophone

*f
in
u
F
Soprano C
family are also constructed a semitone
2.
Contralto
" " F
3.
lower in pitch than shown above. Tenor " " C
4.
" " F
Baryton
Saxophone. An
5.
instr. of a type inv.
6. Bass
" " C
about 1840 by Adolphe Sax of Dinant-
The notation for this transposing instr.
sur-Meuse, Belgium. It is a wind-in- L_ with interme-
is alike
str., of metal, having a conical tube
with recurved bell, and clarinet-mouth-
for all
sizes;
A % diatechromat-
i c ton es.
piece witji single reed, the key-mechan-
Chiefly used
ism and fingering also being similar to ^ ir in military
"
those of the clarinet. It is anomni-
tonic" (chromatic) instr., with a mel-
Cis: is.

low and penetrating tone of veiled Saxotroir/ba. A valve instr. of th

quality partaking of that of the clari- trumpet family, inv. by Ad. Sax, inter*
mediate in quality of tone and scale of
net, cor anglais* and violoncello, but
and of remarkable tube between the Horn and Saxhorn ;
very sonorous,
constructed, like the latter, in 7 sizes.
homogeneity in all registers and sizes ;
6 principal sizes are made, at intervals Sbal'zo (It.) A skip or leap. . . Sfafaf-
of a fourth and fifth apart, each size to- dashingly impetuously.
172 SBARRA SCHERZO.
Sbar'ra (It) Bar ;
sb> dop'fia, double- ing the full dialogue, and directions for
bar. the actors, etc.

ScagneHo (It) Bridge. Scene. I. A division of a dramatic

per-
Scale. I. (Ger. Ton'lcitcr / Fr. khelle,
formance marked by a change of sce-
gamme; It seafla.) For the ancient nery, 2 (the preferable usage). Same
as Scma I.
scales compare Mode, Greek music,
Octave-scale. A modern scale is sim- Schablo'ne (Ger.) A
stencil, pattern ;
ply the series of tones, taken in direct hence, Schablo'nenmusik^ schablo'nen-
succession,which form (a) any major 1
hafte Musik\ uninspired composition
or minor key (diatonic scale) , or (b) the written to fit a cut-and-dried form, or
, chromatic scale of successive semitonic in mere imitation of any style; "stereo-
steps. (Comp. Key). Pentaton'ic scale
.
typed" music. ^

a "5-tone" scale found in primitive Scha'ferlied

(Ger.) Shepherd's song,
melodies of certain peoples (Scotch,
pastoral ditty. ..ScM/erp/eife, shep-
Chinese), in which the step of a semi- herd's pipe, shawm. ..Scha'fertanz^
tone is avoided by omitting the 4th and
shepherd's dance.
7th degrees in major and the 2nd and
(Ger.) Schalk'haft
Roguish, sportive,
6th in minor. It can be played on the
wanton. (Also adverb^
piano by touching 5 successive black
keys, beginning on F$ for major, and
Schall (Ger.) Sound, resonance, resound-
on Ify for minor. The ancient Greek ing, ringing. . Schall'beeher, Bell 2. . . .

chromatic scale also had five tones. Schall' becken, cymbals . Schalf loch, . .

2. The series of tones producible on (a) /-hole; (b) sound-hole...,?^//'-

various wind-instr.s is also called a stao t triangle... Schall'stuck, -trichter,
Bell 2.
scde^ whether the series is diatonic or
not ; the term is also used for the com- Schalmei', Schalme/ (Ger.) Shawm;
pass or range of a voice or instr, Har- chalumeau.
monic scale, the series of higher partial Schanzu'ne
(Ger.) Corruption of Chan-
tones (see Acoustics). 3. (Ger. Men- son,
sur*; Fr. /talon.) In the tubes of
^
Scharf (Ger.) Sharp.
wind-instr.s, especially organ-pipes, the
ratio between the width of bore and Schau'rig (Ger.) In a style expressive
the length; this varies in organ-pipes of (or calculated to inspire) mortal
from about 1 10 to 1 : 24, a broad
: dread; weirdly.
scale yielding a mellow, sonorous tone, Schenenbaum (Ger.) Crescent.
and a narrow scale yielding a sharp Scherzan/do
(It) In a playful, sport-
and thrilling, or a thin, stringy tone. manner. Also ive, toying scherzan'tc,
Scannet'to, Scannel'lo (It) Same as schefze'vole, scherzo'so.
Scagnello. Scherz^aft (Ger.) Sportive; jocose/
Sceman'do (It) See Diminuendo. burlesque. (Also adverb.)
Sce'na (It) i. In the opera, a scene Scherbo (It, dimin. scherzi'no.)
joke, A
(Fr. scene, Ger. Auftritt), i. e. a divi- jest. i. An
instrumental solo piece of
sion marked by the entrance or exit of a light, piquant, humorous character;
one or more performers. -2. An ac- hence applied to very various composi-
companied solo of a dramatic charac- tions in which an animated movement
ter, consisting of arioso and recitative and sharp and sudden contrasts are
passages, and frequently terminating leading features. 2. A movement in a
with an aria, then being termed scena sonata, concerted composition, or sym-
eda'ria.$. A stage. phony, usually in triple, sometimes in
Scena'rio (It.) The duple, time, introduced chiefly by way
i. plot of a dramat-
of contrast with slower movements,
ic work. 2. A skeleton libretto of
suck a work, sketching the course of consequently of a bright, vivacious,
the plot, and giving entrances and exits often humorous character, with strong-
of ly marked rhythm, and sharp and un-
^leading personages, serving as a
guide to stage-managers, actors, etc. expected contrasts in rhythm and har-
3- A
play-bill. 4 (pi.) Scena'rii, scenes, mony, requiring delicate phrasing and
shading. Its forerunner in the synv
side-scenes, decorations.
phony was the Minuet of Haydn;
Scena'rmm. An opera-libretto contain- Beethoven named this movement, which
 SCHIETTO SCHWER.
had " 11
entirely lost its original slow and Schneck'e (Ger., snail )- Scroll
stately character, Scherzo, nothing of Schnell (Ger.) Fast, quick, rapid.
the Minuet being left but the (much
(Also adverb.). . .Schnel'Ur, (<z) faster;
extended) form. The Beethoven Scher- as nock und nach schnelltr, gradually
zo is usually the 3rd movement; but
faster ; (b) an inverted mordent.
under different conditions the scherzo
Schot'tische. (Ger. Schoftisch, "Scotch,
may with equal propriety take the secoad A round dance in 2-4
Scottish").
place.
time, a variety of the Polka ; the cos-
Schiet'to, Schiettamen'te (It.) Plain, saise is a country-dance.
simple, unembellished (also adverb).
Schrag (Ger.) Oblique.
Sdris'ma (Gk.) The difference between
Schreib'art (Ge^.) Style.
the third tierce of the 8th quint (see
Temperament) and the octave of the Schrei'end (Ger.) Strident screaming, ;

given tone (&% : c 32805:32768); one- screeching, squeaking.

eleventh of a syntonic comma. Schrei'erpfeife (Ger.) See Schryari 2.
Schlag (Ger.) A
beat, pulse; blow, Schryari. i. An obs. wind-instr. de-
stroke. . . Schlag'feder, a plectrum... scribed byPrzetorius in the "Syntag-
Schlag' instrument, instr. of percussion. ma". 2. The sharpest mixture-stop,

,.SMag'manieren (pi.), the various usually in 3 ranks and tuned in octaves,

strokes in drum-playing. . . Schlag- beginning 3 octaves above the key
zither> the ordinary zither played with struck.
plectrum and ringers; opp. to Stretch'- Schub (Ger.) Slide (of bow).
zither (bow-zither).
Schuh (Ger.)Bridge (of a tromba ma-
Schla'gel (Ger.) Drumstick; mallet, rina). . Schuh'platiltanz, a kind of clog-
.

small hammer. dance in the Austrian and Bavarian

Schlecht (Ger., "bad"). Weak; as Alps.
schlech'ter Taktfteil, weak beat. Viola da spalla;
Schurtergeige (Ger.)
Schleift>ogen(Ger.) Slur. Schlei'fen, . . opp. to Kniegeige.
to slur. ..Schlti'fer^ (a) a slide ; (b) a Schu'sterfleck (Ger.) Rosalia.
slow German waltz, Landler. , , Schleif- Schwach (Ger.) I. Weak, as schivacftcr
zeichen^ slur. weak beat
Taktteil, 2..Soft, faint, low}
Schlep'pen (Ger.) To drag, retard... schwdch'er^ fainter, softer.
Schlefpend) dragging. Schwar'mer (Ger.) A Rauscher*
Schluss Conclusion, end; close,
(Ger.) Schwe1)ung (Ger.) i. In mus. acous-
cadence, . Schluss'fall, a cadence. .
. .
tics, a Beat 4. 2, Same as Tremulant.
Schluss' kadenz, final or closing ca-
4 Schwe'gel (Ger.) i. Any wind-instr.
dence. . . Schluss 'note final note . -,
. .
A pipe, a flue-pipe in the
2. especially
Schlusisatz^ concluding movement,
organ, the Schiue'getyfeife being an
Finale Schluss'striche, double-bar. .
. . . .

open stop of 8 or 4-foot pitch, the

Schluss'zeichen, (a) the double-bar ; (b)
pipes slightly tapering at the top.
the hold /TN.
Schwei'gezeichen (Ger.) A rest.
Schliis'sel (Ger., "key"). clef*..
Schlus'selfiedel, nail-fiddle.
Schweins'kopf (Ger., "pig's-head").
- l Obsolete term for Flugel.
..&kte/sel-G* the note g
on the -treble-clef line: Schwe^zerflote (Ger.) i. Fife. 2. In
the organ, an 8-foot metal flue-stop of
Schmei'chelnd (Ger.) Flattering ;
in a
penetrating tone ; the same of 4-foot
coaxing, caressful style.
pitch is called Scbwei'zerpfeife; of 16-
Schmerz (Ger.) Pain ; grief, sorrow. foot pitch, on the pedal, Schwei'zer-
. . Schmertf'haft, schmerslkh^ painful,- earliest
flotenbass. . . Schwefzerpfeif,
sorrowful, plaintive. (Also adverb?) name of the German flute.
Sduurtd (Ger., "beak" ; Fr. bee). /K Schwerien (Ger.) See Anschwetten.
mouthpiece like that of the clarinet or
Schwerier (Ger,) Swell (of the organ).
flageolet. Schwbelflote, fltite
. . bee. a.

SchwelTton (Ger.) Messa di voce.

Schnarr'werk (Ger,) The reed-work of
an organ, or a single reed-stop. Also, SchweU'werk (Ger.) Swell-organ.
a Regal Schwer (Ger.) I* Heavy, ponderous
174 SCHWIEGEL-SECULAR MUSIC

(see Pesante).2. Difficult. . . Schwer'- Scotch snap or catch. The rhythmic

miitigi melancholy, sad. mo- frequently recurring in many
p^
See Schwegel. tive Jj' *
Scotch airs (the reverse of
Schwie'gel (Ger.)
the com- r^Sx
Schwin'dend (Ger.) Dying away, mon motive J J'* .
morendo.
Vibration. Scozze'se (It.) Scotch alia s., in the
Schwing'iuig (Ger.) *
;

Scotch style.
Schwung'voll (Ger.) With sweep and
passion. Scroll. (Ger. Schnecke; Fr. volute; It
Scialumo' (It!} Chalumeau. voluta.) The terminal curve of the
head in the violin^ etc.
Scintillan'te (It. and Fr.) Brilliant,
sparkling. Sde'gno (It.) Scorn, disdain; wrath
Scioltamen'te indignation . . .
Sdegnosamen'te, scorn-
(It.) Freely, fluently,
nimbly. . .
Scioltezfza^ freedom, fluency* fully, etc. ,
.Sdegno'so, scornful, etc.
..Sdol'to,-a, free, fluent, agile \fuga Sdrucciolan'do Sdruc-
(It.) Sliding . . .

sciolta, freefugue, opp. to fuga obbli- ciola're, to slide, by pressing down the
ga'ta. pfte.-keys in a rapid sweep with the
Seorda'to'(It) Discordant, out of
I.
finger-nails,
tune. 2, Tuned in a manner deviat- Se If. Se biso'gna, if
(It,) . .
necessary ;

ing from the ordinary one. ..Scordatu'- sepiofce, if

you please: (Comp. Si.)
ra, an alteration of the ordinary accor-
datura of a stringed instr. for the at- Sea-trumpet. Tromba marina.
tainment of special effects ;
e. g. Paga- Sec (Fr.), Sec'co (It.) Dry; simple,
nini's tun- in which the unembellished (see Recitative).
ing of (7-string was Sechs (Ger.) Six. . SechsacKteltakt, 6-8
.

the violin: raised a min- time. ...SwrArV, seeks' laktiger Satz, a

or and a majdr third respectively ; such
passage, period, or theme comprising 6
an alteration is sometimes called solo measures. . .Stchsvier'telta%t> 6-4 time.
fitch. Sixteen . Sech'-
Sech^sjzehn (Ger.) . .

Score. (Ger. Parti tur*; Fr. partition; zehntel (note), l&fa-TLQte,*.Sech'zchn~

It. pcirtitu'ra, partizicfne.) system- A telpause, i6th-rest.
atic arrangement of the vocal or instru-
Second. I (noun). (Ger. Sekun'de;
mental parts of a composition one above
Fr. seconds; It. secon'da) The inter-
the othei, tones sounded together being
val between 2 conjunct degrees (see
in the same vertical line, to facilitate
Interval). 2. The alto part or voice.
reading... Close or compressed score, Fr.
3. (adj.) (Ger. ZTJueit-er,-e,-es;
see Short score. . .Full or orchestral
second,-e; It secondo,-a.) (a) Perform-
score, one in which each vocal and in-
strumental part has a separate staff as- ing a part lower in pitch than first as ;

second bass^ second violins; (5) lower in

signed to it (see Owhestra). ..Piano-
pitch, as second string; (c) higher, as
forte-score, one having the vocal parts second line of staff.
written out in full, generally on separ-
ate staves, the pfte.-accomp. being ar- Secondaire (Fr.) A temps secondaire is
a weak beat.
ranged or compressed (from the full in-
strumental score) on 2 staves Below the Secondary chords* Subordinate chords.
rest, Organ-score, arr. litepftc.-score,
. .
Seconde dessus (Fr.) Second soprano.
except that a third staff for pedal-bass Second (adj); as
is often added below the others,.,
Secon'do^a (It.)
seconda don'na, the female singer tak-
Short score, (a) any abridged arrange-
ment or skeleton transcript ; (b) 4-part ing the leading parts after the prima
donna; violi'm secondi, second violins.
vocal score on 2 staves. Supplement- . .

..(Noun.) Secondo, a second part or

ary score, see Partitino. Focal score, . .

performer in a duet.
(a) score of an a cappella composition ;

same as pfie, -score* Section. In the wider sense, a short

\b)
division (l or more periods) of a com-
Scoring, Same as Instrumentation, or
having distinct rhythmic and
position,
Orchestration. harmonic boundaries specifically, half ;

Scorren'do (It) Flowing, gliding. (Also

a phrase (see Form).
, Secular music. Music other than that
 SECUNDE SEPTET. 175

intended for worship and devotiona Semiminim. and It. sewimi'ni

(Lat.
purposes. A crotchet, or quaver.
Secun'de (Ger.) See Sekunde. Semipau'sa (Lat.) A semibreve-rest.
Sede'cima (Lat and It) i. The inter- Semiqua'ver. A i6th-note,
val of a sixteenth. Obs. name or
Semisuspi'rmm (Lat) A crotchet-rest
2.
the fifteenth (organ-stop).
" Semitone. (Ger. Halb'ton; Fr. demi-
See'le (Ger., soul"). Soundpost. ton; It. semifao'no.') The narrowest
Se^gno (It.) A
sign. . .Al segno, to the interval employed in modern music.
sign ; Dal segno, from the sign, di- (See Interval)
rections to the performer to turn back
Semi-tonique (Fr.) Same as chromatique.
and repeat from the place marked by
Semito'nium (Lat) A semitone....?.
the sign etc.) to the
(jp, $;, $., fictuni^ a chromatic semitone... S.
,

word Fine, or ^ In place of the f

modi, the leading-note... S. natura h %
to a double- zfc. words, the sign a diatonic semitone.
bar with hold: = =
'
^
alone is some- -

Sera'plice (It.) Simple, plain, unaffected.

times set.
.Semplicemen'te, simply, etc...fetf-
Se'gue Follows as segue I'aria,
(It.) ;
plicitb', fon t in a simple, unaffected
the aria follows. .
Seguen'do, seguen'te,
.
style.
following. Also, same as Simile.
Sem'pre (It.) Always, continually;
Seguen'za (It) Sequence. throughout.
SeguidiHa (Span ) Spanish dance in Sensible (It, u sensitive"). Notastn-
triple time, some varieties slow and or la sensibile, leading-notet
sidle,
stately, others lively; usually in minor,
Sensibility, con (It) See Espressivo.
ace. by guitar, and voice, and at times
Sensible (Fr.) The leading-note ; also
by the castenets, note sensible. (In English the leading-
Sehn'sucht (Ger.) Longing, yearning. note is sometimes called "sensible
Sehn'suchtig, in a style expressive of
. .
note".)
intense yearning.
Sentence. See Period, Form.
Sehr (Ger.) Very.
Sentimen'to, con (It) With feeling,
Se'i(It) Six.
expressively.
Sei'tenbewegung (Ger.) Oblique mo- SentTto (It, "felt"). With feeling,
tion, , . a second or second-
Sei'tensatz,
expression, special stress.
ary theme, as in the sonata and rondo,
Sen/za(It.) Without
Sekun'de (Ger.) A second. (Abbr. S.)...S>
fassio'ne, with avoidance of all marked
Semibiscro'ma A 32nd-note.
(It.) accents and passionate expression. . .S.
Sem'ibreve. (L& $emibretfis^ A whole
t
piat'ti, "drum alone" (where one per-
note. former plays the cymbals and bass
Semicadence. A half-cadence. drum) . . S.sordi'ni, see Sordino. . . S.
.

Semicro'ma (It.) A i6th-note. tem'po, not in strict tempo, ad libitum.

..S. di skntare, without retarding.
Sem'icrome. Asemicroma; but former-
lysometimes used for quaver. [Senza is
by a bare in-
often followed
finitive, which
then to be translated
is
Semicrotch'et. A quaver. as a participial substantive ; e. g. senza
Sem'idemisemiqua'ver. A 64th-note. rallentare, without retarding.]
Semidiapa'son. Diminished octave. .
i. An obs. term for a
.
Separation,
Semidiapen'te^ diminished fifth... Se- passing-note between 2 tones forming a
midiates'saron, diminished fourth. tierce. 2. In the organ, a mechanical

Semidi'tas (Lat.) The diminution caused device for preventing the great-organ
action from sounding its stops ; used
by a vertical stroke through the time-
signature.
when the action is pneumatic and
Semi-di'tone. (Lat. semidi'tonus!) The coupled to other manuals of heavier
touch.
minor &{*&.,. Semiditonus cum dia-
pente> ininor 7th. Sept-chord. Chord of the yth.

Semifu'sa (Lat.) Semiquaver. Septde'zime (Ger.) A seventeenth.

Semi-grand. A small grand piano Septet'. (Ger. Septetf; Fr. septuor; It
176 SEPTI^ME SESQUIALTERA.

settimi'no.) A l

concerted composition and in chamber-music style. The earlier

for 7 voices or instr.s. serenatas were invariably concerted

SeptZeme Sep'time (Ger.) The

(Fr,), pieces they were also called Cassations
;

interval of a 7th > and Divertimenti.

Se/timenakkord
. .

(Ger.), chord of the 7th. Sere'no (It.) Serene, calm, tranquil.

Septimo'le, Septo'le (Ger.) Septuplet. Serinette (Fr.) A bird-organ (small
barrel-organ used in training song-
Septuor(Fr.) Septet
Sep'tuplet. A
group of 7 equal notes
birds).

to be performed in the time of 4 or 6 Se'rio,-a (It.) Serious. C^pera seria, . .

of the same kind ia the regular grand or tragic opera opp. to Opera ;

rhythm;
written: Ml*"+*
Trip
buffa. . Tenore serio, dramatic tenor.
Serio'so (It.) In a serious, grave, im*
Sequence. (Lztsequenftia;lt.seguen'- pressive style.
za; Ger. Sequent.) i. The repetition, Serpent. (It, serpen'te) A nearly obs.
oftener than twice in succession, of a wood-wind instr., still used in some
melodic motive, the repetitions ascending French churches, but seldom met with
or descending byxmiform intervals, The in the orchestra inv. by Canon GuiU ;

harmonic sequence is merely the group- laume of Auxerre in 1590. It belongs

ing of chords necessitated by the reiter-
ation of the rridodic figure* diatonic A
or tonal sequence employs only tones
proper to the key ; achromatic or modu-
lator^ sequence is one in which acciden-
used more or less freely ; a se-
tals are
quence progressing by a whole tone or
semitone is called a Rosalia. (Also
to the Zinke (Cornetto) family; the
modern forms have a recurvate bell,
and a cupped mouthpiece set in a brass
crook forming a right angle with the
first bend of the serpentine tube. The
tube is of wood, covered with leather,
about 8 feet long, and 8va.
provided with 6 finger- ... h* '

Progression?) -2. In the R. C. Church, holesand a varying g , / ~ EE;

'

a kind of hynm ; such were founded on number of addition- J/

the melodies of the sequentia (the
jubilations of the Alleluia following the
epistle, words being in time set to the
melodies instead of the original syllables
a^e-u-i-a), whence the name. They
originated in the gth century, and mul-
tiplied to such an extent that Pius V. in
1568 expunged all but 5 (Victimse
paschali ; Veni Sancte Spiritus ; Lauda
Sion; Stabat Mater; Djesine),
Prose [Lat/raw].)
A foot
Seraphi'na, Ser'aphine. precursor
of the harmonium, inv. by John Green stops
in 1833.; owing to its harsh tone, it Service.
was speedily superseded by the
Serenade'. (Ger. Stand'chen; Fr. sfrt-
nade; It serena'fa.) I. An "evening
song ;" specifically, such a song sung
?
**
al keys. Compass:
the serpent being a transposing instr.,
in Jfy, the notes are written a degree
higher. The tone is variously described
by French authorities as "harsh and
savage", and as a "cold, horrid howl-
ing". It is replaced, in the modern
orchestra, by the bass tuba (or ophi-
cleide). -The Serpentcleide resembles
(Also the ophicleide, but retains the wooden
tube. The Contra-serpent produces 16-
JEfa. Some old organs have reed-
named serpent.
In the Anglican Liturgy, a
latter.
complete series of mus. settings of the
canticles, etc., the free composition of
which is sanctioned by usage. Ver-
sicles,responses, chants, and anthems,

by a lover before his lady s window. are excluded. The full list for morning
2. An instrumental composition imi- and evening prayer, and communion,
tating the above in style. From these includes the exultemus, Te
Venite
was evolved the Deum, Benedictus (domi-
Benedicite,

Serena'ta nus), Jubilate, Kyrie, Credo (Nicene

(Fr. and It. ditto; Ger. Sere-
A Creed), Sanctus, Agnus Dei, Benedic-
nafde.) i. species of dramatic can-
tus (qui venit), Gloria, Magnificat,
tata greatly hi vogue during the i8th
Cantate domino, Nunc dimittis, and
century. 2. An
instrumental compo-
Deus misereatur; all composed for
sition, midway between the Suite and
chorus and soli, with or without accomp
.
Symphony, but freer in form than either* or orchestra.
consisting of 5, 6, or more movements
by organ
for very various combinations of instr.s, "
Sfcsquial'tera (Lat., one-half more".)
 SESQUINONA-SHARP. 177

I. A perfect fifth, its" ratio to the prime Sex'te(Ger.) A sixth.

being i :
i^-
= 2 :
3. 2. In mensurable Sextet'. (It. sestetto: Fr. sextuor; Ger.
music, the proportion marked by the A concerted composition for
Sextet?.)
signature |, indicating that the time- 6 voices or instr.s ; or for 6 obbligato
value of 3 minims is then equivalent to voices with instrumental accomp.
that of 2 before. mixture-stop in A
3.
the organ ; the name is properly appli- Sex'tole, Sex'tolet. A sextuplet
cable to a mutation-stop a fifth above the Sex'tuplet. A group of 6 equal notes
.

fundamental tone or some given octave to be performed in die time of 4 of the

of the 'latter, but is ordinarily used to same kind in the regular rhythm. In
the true sextuplet the 1st, 3rd, and 5th
designate a compound stop producing
the 3rd, 4th, and 5th partial tones, or notes are accented ; the false scxtuplet
their octaves ; it has from 2 to 5 ranks. is simply a double triplet

Sesquino'na. The lesser whole tone, Sex'tus (Lat.) A sixth part (see Sexto).
u 1
its ratio being 9 : 10. Sfoga'to (It, exhaled '). In vocal
The greater whole tone, music, a direction to render the passage
Sesquiocta'ya. so marked in a light and airy manner.
its ratio being 8 :
9.
. .
Soprano sfogato, a high soprano ;
Sesquiquar'ta. The major third, its l 3
ratio being 4: 5. compass from c to <? (/ ) .
Sforzan'do (It, "forcing, pressing").
The minor its
Sesquiquin'ta.
ratio 6.
third,
A direction commonly applied to a
being 5 :
single tone or chord, indicating that it

Sesquiter'tia. The perfect fourth, its be performed with special

is to stress,
ratio being 3 : 4* or marked and sudden em- r
>
Ses'quitone. A minor third, i. e. ij phasis. Abbr.j/k, sf.\ sign , A, f
tone. (Also Sforza'io)
Sestet'. (It. sestet* to.) A sextet. Sfuggi'ta (It) Avoided, eluded; as
Sesti'na (It.) A sextuplet cadenza sfuggita*

Se'sto,-a (It.) Sixth... Sesta (noun), Sgallinaccia're (It.) To sing with a

interval of a sixth. harsh, uneven, quavering voice* (From
A sextuplet. galtinac'ciQ, a turkey-cock.)
Ses'tole, Ses'tolet.
Settimi'no A septet. Shade. "Shading of pipes", the plac-
(It.)

Seventh.,, Seftima
ing of anything so near the top of an
Set'timo,-a (It.)
a organ-pipe as to affect the vibrating
(noun), interval of 7th. column of air which it contains.
Setz'art (Ger.) Style of composition . . ,
[STAINER AND BARRETT.]
Setfkunst, art of composition. .. Shaked grace*
Shake. Same as Trill. . .

h^ crook.
(obs.), thesnaked Beat, Backfall, Ca-
solo.
Seul,-e (Fr.) Alone, dent, and Elevation, and the Double
Seventeenth, i. Interval of 2 octaves Relish.
plus a tierce. 2. Same as Tierce (organ-
Shalm. A shawm.
stop).
Sharp (noun). (Ger. Kreuz; Fr. ttiesej
Seventh. (Ger. Sep'time; Fr. seftilme; It. The which, set
die'sis.) sign Jf,
It setftima.) See Interval. . . Seventh- before a note 'or on a degree of the staff,
chord) a chord of the 7th, composed of raises its pitch by a chromatic semitone.
a root with its third, fifth, and seventh.
.*DoubU-sharfrti& sign x (formerly
Severamen'te (It) Strictly, with rigid also
J, ;$ etc.), raising the pitch of
observance of tempo and expression- its note by 2 chromatic semitones (= 1
marks. tone on tempered instr.s}.
Sext. I, The interval of a sixth. 2. Sharp (adj.) I. (Of tones or instr's.)
The office of the fourth canonical hour. Too high or acute in pitcL-^ (Of in-
3. A
compound organ-stop of 2 ranks tervals.). Major or augmented. }* (Of
a twelfth and a seventeenth) a sixth keys.) Having a sharp or sharps in the
apart. signature. 4, (Of organ-stops.; Shrill.

Sex'ta(Lat) Sixth... (Mm*.) Thein, (Of digitals; pL) The^black keys;

5.
terval of a sixth ; aiao> a sixth part (see also any white key a semitone above
another.
Qvintus).
SHAWM-SIGNS.
 SIGNS. 179

played with alternate i>

2 3, 4 etc. (See Numerals.)
toe and heel of same etc.
> i (See Harmonium-music.)
foot.
Bind. /, 4, f etc, (See Chord, Thorough-
bass.)
Brace. I n_7 HI' (See Chord.)
r
Trill. Airottava. (A *'4*'\6 (See Foot.)
mark of continuation.) a' b" c
; "

Balancemmt. Tremble-
ment* _
_
^etc. (See Pitch, i.)
Tremblement. abc
A, B, C, J
Arpeggio. r '

Gamma.
from one staff to another, * m m
shows (a) in pfte.-mu-
p ^ [See Tambourine.)
|jp

sic that notes so con- 1. M.

J
= 60 (See Metronome.)
i8o SIGNALHORN SISTRUM.-

and has no plural form simili; the Lat

term is simi&ter.]

Simple. (Of tones and intervals.) Not

compound. (Of counterpoint, imita-
tion, rhythm etc.)
, Not compound or
complex, undeveloped, not varied.
Sin* (It) Abbr. ot Sino.
Sinfoni'a (It.) i. A symphony. 2. An
overture (to the earlier Italian operas).
Civ Bw.
In organ-music,
" Sinfonie' (Ger,) Symphony (usually
signifies change
hands on chord ". Symptoms').
Sing'akademie (Ger.) A choral sing-
ing-society.

Sing^ar (Ger.) Singable ;

cantabile . . .

Sehr singbar voSssutragen, perform in

a very singing style.

Sing^end (Ger.) Singing, melodious

cantabile.

Sing'etanz (Ger.) Dance accomp. with

" hold song.
In pfte.-music, signifies chord
with pedal". Sing'fuge (Ger.) Vocal fugue.

Signalliorn (Ger.) A bugle. Singhiozzau'do (It.) Sobbingly, catch-

The ing the breath.
Signature. signs set at the head of
the staff at the beginning of" a piece or Sing^manieren (Ger., pi.) Vocal graces.
movement, indicating the key and
Sing'sdmle (Ger.) Singing-school .

measure in which it is written. The

chromatic sign or signs are termed the Sing^spiel (Ger.)
The German national
the or in- form of the opera, established during
key-signaturej figures signs
the 2nd half of the i8th century by J.
dicating the measure, the timt~$igna-
fare or A. Killer, whose guiding rule was ta
t rhythmical signature.
give simple, folksonglike melodies to
Signatu'ren (Ger., pi.) The figures and plain characters,
singers representing
"
signs employed in thorough-bass nota- whereas to gentlefolk" he gave arias;
tion.
the instrumental accomp. is also kept*
Signe(Fr.y Sign. subordinate to the vocal parts. The
term is also used for any light opera or
Sig'num (Lat) Sign. , ,
Signa impli'cita,
indicicflia, intrin'$eca> see Notation, operetta with spoken interludes ; like-
3, Motto. wise, by extension, for more preten-
See Segtdditta. tious operas and mus. dramas.
Signidilla (Span.)
The singing-voice,
SiHtendehnung Slurring a sylla- Sing'stimme (Ger.)
(Ger.)
the voice.
ble, i. e, singing it to more than one
tone. Sini'stra (It.) Left mono s., left hand; ;

Silence (Ft), Silen'zio rest.

(It.) A
cotta j., with the left hand.

(Comp. Pause, Soufir.) Sink-a-pace. See Cinque-pace.

Sillet (Fr.) Nut; 7- sino
specifically, petit Si'no (It.) To, up to, as far as, till ;
nut at upper end of neck ; grand
Ztf, (or sin) alfine, to the end.
//*/, nut at tailpiece.
Si'ren. (Ger. Sire*ne; Fr. rirene.) An
Similar motion. See Motion, acoustical apparatus for determining the
" manner.
11
vibration-number of a given tone.
Si'mile (It, similarly, in like )
A direction to perform the following
Sir Roger de Coverley. An ancient
passage or passages in the same style as English dance-tune in 9-4 time, still in
a preceding similar passage ; used to save
vogue as a country-dance.
the trouble of repeating phrase-marks
and other signs.. . The simile-mark is Siste'ma (It.) Staff.

;
(see Abbreviation), [Simile^ be- Sis'trum (Lat.) An ancient mus. instr
: ing an adverb, is indeclinable, of Egypt and the East : a sort of rattle
 SITOLE SNARE-DRUM. 181

consisting of loose metal rods set in an to?) Melodic progression by an inter-

oval frame, and shaken by a handle. val wider than a second ; disjunct (or
Sitole. See Citole. discrete) progression.
Sitz (Ger.) Seat ; situation, place. Skiz'ze (Ger.) Sketch ;
a short charac-
Sixieme, Sixte (Fr.) Sixth; sixte
teristicpiece, or bit of salon-music,
added sixth.
without fixed form.
ajoutie,
con (It.) With vehemence,
Sixteenth-note. (Ger. Sech'zehntel Slan'cio,
[-note}; Fr. double-croche; Itsemicro'- impetuously. (Sometimes written islan-
do, for the sake of euphony.)
ma.) A
semiquaver (Ji). Sometimes
abbr. to Sixteenth. ..idth-rest, a semi- Slargan'do, Slargan'dosi (It.) Grow-
ing slower comp. Largando.
;
quaver-rest (^). Comp. Note, Rest.
Slentan'do (It.) See Slargando.
Sixth. (Ger. Sex*te; Fr. sixte; It.
See Interval. . . Chord of tfa
Slide. I. movable U-shaped tube in A
sSsta.)
the trombone (sometimes in the trumpet
sixth, first inversion of a triad. . . Chord
and French horn), which is pushed in
of the added sixth (Fr. accord de and out to alter the pitch of the tones
sixte ajoutfe), the sub-
while playing. It is a more perfect
dominant triad with device than the valve, because it changes
sixth added, e. g. : ^
. . . Chord the extreme only the length of the vibrating air-
of sixth, see Ex-
treme. column, not the direction and form of
the wind -current ; and also because per-
Sixtine (Fr.) Sextuplet fect purity of pitch is obtainable [corap.,

Sixty-fpurth-note. (Ger. Vierund- however, art. Trumpet, last sentence] ;

sech'zigstel [-note]; Fr. but it is technically more difficult of
quadruple
croche; It quattricro'ma.) A hemi- manipulation, 2, In the organ, a
slider. 3. A
grace (Ger. Schld'fer;
demisemiquaver sometimes abbr.
(JT); Fr. couU), either (a) a diatonic series
to Sixty-fourth . of 2 or more tones rapidly ascending or
. .
b^h-rest, ( jj).
descending, the notation of which varies
Skip. (Ger. Sprung; Fr. saut; It sal'-
greatly :

written:

played;

or () a portamento. so sung are also called a slur. Slurred . .

Slide-horn. See Slide-trumpet. melody\ one in which 2 or more tones

are sung to one syllable ; opp. to sylla-
Slider. See 0^, (i).
bic melody*
Slide^trombane,-trumpet. One played Small or-
Small octave. See Pitch. . ,

by the use of a slide instead of keys or

valves. chestra, see Orchestra.

-Smanian'te, Smanio'so In an
Sliding relish. An old harpsichord-
(It.)

impetuous, passionate style.

grace written :
pla; /
Sminuen'do, Sminiii to (It) Dimin-
ishing and decreasing (in speed and
force).
x
Slissa to (It.) Slurred. Smoren'do (It) Dying away.
Slur. (Ger. Legaftobogen; Fr. liaison;
i.
Smorfio'so (It) With affected expression.
It legatu'ra?) A
sweeping curve drawn 1

over or under 2 or more notes, signify-

SmorzanMo (It.) "Fading away ';
equiv. to Morendo.
ing that they are to be executed legato.
2.In vocal music, the slur unites 2 Snap. See Scotch map*
or more notes to be sung to the same Snare-drum. See Side-drum, tinder

syllable and in one breath ; the notes Drum*

182 SOAVE-SOLMISATION.

Soa've (It.) Suave, sweet, soft. . . Soave- are performed simultaneously opp. to ;

men'te, suavely, etc. broken. (" Flat chord" is preferable.)

So'lito Accustomed, habitual...
Socket. In a clarinet, the short, rounded (It.)

joint connecting the mouthpiece with

AI solito, as usual, in the customary
the "top-joint". manner.
Solmisation. A method of teaching the
Sogget'to (It) Subject, theme. This scales and intervals by syllables, the in-
term is properly applied to a homogene-
vention of which is ascribed to Guido
ous theme of moderate length, a longer
d'Arezzo (b. 990?). It is based, in
one being called an andamento, and a
opposition to the Greek theory of tetra-
short, motive-like theme an attacco
chords, on the hexachord or 6-tone
(though this last term is practically ob- scale : the first six tones of the natural
solete). d were named
major scale, c e fg a,
Sognan'do (It.) Breaming, in a dreamy ut, re,mi, fa, sol, la, (the initial syl-
manner. lables of the successive phrases of a
Son. For sol, in the Tonic Sol-fa sys- hymn John beginning Ut queant
to St.
tem. laxis, these syllableshappening to fall
on these 6 tones), forming the natural
Sol. i. The fifth of the Aretinian sylla-
hexachord (hexachor*dum natura'le)
bles. 2. Name of the note G in France,
with the semitonic step at mi-fa; the
Italy, etc.
syllables were further applied to 2
Solem'nis (Lat.) Solemn. other hexachords, the hard hexachord
(hex, du'rum) g a b c d e (so called be-
Solen'ne Solemn
(It.) ; splendid, pom- cause constructed with the hard B=
pous. . Solennemen'te,
f
.
solemnly, etc. . .
B
B or durum}, and tne soft hexa-
Solennita , solemnity, pomp.
chord' (hex. moYle) g a b\) c d (with
f
Solia
7
(It.) i. Scale, gamut. 2. Music the soft B= B|? or B molle)\ in each,
in general ; lattere la solfh, to beat the step mi-fa was in the same relative
time. 3. A conductor's baton. position. The entire naus. scale, ex-
tended beyond that of Greek theory by
Sol-fa (Engl.) l (verb). To sing sol- =
adding I tone below (Gamma F G),
feggi; specifically, to sing to the sol- and 4 above, embraced 7 hexachords,
misation-syllables, 2 (noun). Solmisa-
the higher ones being mere reduplica-
tion, and the syllables employed in it ;
tions of the original 3. In the follow-
a solfeggio on those syllables. Tonic
ing View, the solmisation-names of the
Sol-fa, see Tonic*
notes will be found by reading up from
Solfeggia're (It) To soUfa. (and including) the letter-name ; thus
low G was called Gamma-ut^ its octave
Solfeggio (It., pi. solfeggi; Fr. G sol re ut, and its double-octave like-
A vocal exercise, either on one vowel,
G sol re
or the syllables of solmisation, or to
wise ut; B, honever, was
words.
called only mi, ac :ording as
jBfaorU
it occurred in the soft or *ord hexa- i

Solid chord. One the tones of which chord.

VIEW OF THE GUIDONIAN HEXACHORDS.

"When a melody overstepped the com- set of syllables to another; the change
pass of one hexachord, a transition, of syllables was preferably effected be-
termed a mutation, was made from one tween the natural and soft, or natural
 SOLO SONG. 183

and hard, hexachords (a direct transi- tion for 4 instns, one of which has a
tion from hard to soft, or vice versa, leading part. . . Solo
stop, see Stop.
being less smooth because of the clash- So'los&iger (Ger.) A solo singer..
ing significance of fy and Bty, ^d So'lospiekr, a solo player. . . So'lostim*

usually after fa (sol =

re) in ascending me, a solo part or voice.
and after mi (re ~
la) in descending.
These mutations exhibit a dawning of
Sombrer (Fr.) In vocal music, to give
to the tones, for dramatic effect, a
the modern idea of modulation, the
final victory of which, in establishing sombre, veiled, yet intense expression.
the major and minor modes and freely Soni'raa (It.) Utmost, highest, extreme;
transposable scales, disposed of the greatest.
system of hexachords. During the Som'merophone. An instr. of the
supremacy of the medieval modes, this bombardon or saxhorn class, inv. by
system sufficed for the composer's Sommer of Weimar in 1843; a k called
needs ; but after the recognition of the Euphonion, Euphonic Horn.
leading-note, and the general adoption Sommier(Fr.) Windchest.
of a corresponding 7th syllable si early
in the I7th century, the modern 7-tone
Son (Fr.) Sound ; tone. . . Son. harmoni-
que, an harmonic ;
son plein, a round,
scale, or heptachord, gradually super-
full tone.
seded the hexachord in theory and
practice. Many proposed changes in SonaTrile (It) Resonant, sounding,
the syllable-names met with merely Sonan'te (It.) Sounding, resounding;
local and transient favor; among them, sonorous, resonant,
those of Waelrant of Antwerp in 1550
Sona're (It) To sound ; to play (on an
(bo, ce, di, ga, lo, ma, ni), called Bo- t .Sonare alia men'te, to impro-
instr.).
cedisation or Bobisation), Pedro d'U-
vise.
renna in 1620 (ni for si), Hitzler of
Sonata (It.; Fr. and Ger. Sontfte.) The
Stuttgart in 1628 (la, be, ce, de, me,
called' Bebisation), Graun in original Italian word, suona'tct, meant
fe, ge,
1750 (da, me, ni, po, tu, la, be, any instrumental "sound-piece" in
contradistinction to a cantata (vocal
called Damenisation). In Italy, and
afterwards in all Europe excepting composition). The old sonata da
camera and sonata da chiesa were such
France, the syllable do (presumably
instrumental pieces, for secular and
first used in 1673, by Bononcini) has
sacred use respectively. The modern
ousted the original ut (comp. Do). In
Sonata (comp. Form) is an instrument-
both France and Italy the syllables
al composition in 3 or 4 extended move-
in everyday usage, quite sup-
have^ ments contrasted in theme, tempo, and
planted the letter-names of the notes,
which are employed in Germany, Hol-
mood . . Sonata-form , see Form . . .
.

and the United States.

Double sonata, a duo for 2 soloinstr.s,
land, England,
in sonata-form.
So'lo (It., Properly, a piece
"alone ",)
or passage for a single voice or instr.;
Sonatina (It.) A short, easy sonata.

by extension, any non-concerted piece Sonatina (It.), Sonati'ne (Fr, and

or passage in which a single voice or Ger.) A short sonata in 2 or 3 (seldom
instr. predominates. As an orchestral 4) movements, the first having the
direction, Solo (or simply I) marks a characteristic first-movement form,
passage where one instr. (ist violin, 1st though the development-section is
flute, etc.) takes a leading part, In a either very short, or quite omitted
2-hand art. of a pfte. -concerto, Solo Sonato're
(It) A player on any instr.
marks the entrances of the solo pfte.
Violino solo signifies, according to
Sone'vole (It) Same as Sonabilt.
" violin
circumstances, either alone", Song. I. (Ger.Gesang; Fr. chant; It
**
or ist violin" (accompanied). Solo can'to) Vocal musical expression or
organ^ see Organ. . . Solo fitch, a scor- utterance. 2. (Ger. Lied; Fr, chanson;

datura temporarily employed by a solo It.canzo'ne.) A

short lyrical or narra-

player for obtaining unusual effects.
Solo quartet, (a) a quartet consisting of,
u
4 singers (4 solo voices"); (b) a com-
position or passage in 4 parts for 4
singers; (c) a non-concerted composi-
. . tive poem with a musical setting char-
acterized by a structure in simple
periods. Songs .may be divided, ac-
cording as they are classed as spon-
taneous popular productions or the re-
i8 4 SONNANTE-SOSPIRANDO.

suit of artistic inspiration, in 2 broad treble, has a normal from c! to a9

groups, jfe/-j0jT and art-songs ^ though Q jf~ ^ compass
tones of which, ex-
the former were doubtless originally
|fo ]/ Mpt ^ extremes, are
conceived by specially gifted singers of ;f -
common to both the
earlier times, and the latter 'are fre- chest-register and head-register ; solo
quently written with studied simplicity
-
voices often reach above and pheno- ^
\volks th&mlicK). Further, art-songs menal ones up to g* or even r4 . There
are either strophic (i.e. each strophe are also boy-soprani, and male soprani
sung to the same tune, with a deviation (of these latter 2 classes, the falsetti
f
at most
the final one), or composed-
ir>
\alti natura'lii tenorl ni\^ and castraf-

through (see Durch' komponieren), ti). Soprano dramma'tico, a female

The so-called $mg-form (Ger. Lied'- soprano of dramatic power. ..Soprano
form), either vocal or instrumental has leggifro, a light soprano. * Mezzo-
3 sections and 2 themes, the second soprano ^ see Mezzo. . . Soprano natura'-
contrasting theme occupying the 2nd le, natural soprano, a male singer
section. (See Form.) having an unusually developed falsetto
of soprano quality. . . Soprano sfoga'to,
Sonnante (Fr.) Same as Sto&lspkt, or
Lyre 2. The steel bars are sometimes see Sfogafo Soprano-clef, the &-clef
.

'

fixed bells. on the first line, , . Soprano string the

replaced by
" chanterelle.
Sonner le tambour (Fr., to beat the
"
drum ; also router.) Said of the G- Sordamen'te (It) With a veiled, muf-
fled tone.
string on a 'cello when a jarring sound
is given out on playing certain notes. Sordelli'na (It.) An Italian variety- of
the musette (bagpipe), provided with 4
Sonnerie (Fr.) i. Same as Carillon
chime of A military pipes which could be opened and closed
(peal or
1

bells), 2.
at will
call or signal.
Sordino (It., ^sordini; Ger. pi. Sord?-
So'no Sound tone.
(It.) ;
nen.) I. A mute con sordini, with
;

Sonom'eter. An apparatus for acoustic the mutes senza sordini, without ths
;

experiments with strings, consisting of mutes; si tfuano i sordini, take off the
a sounding-board provided with bridges mutes. 2 Damper (of the pfte, ) ; senza
.

over which 2 strings may be stretched. sordini, with damper-pedal so used by ;

Sonoramen'te Beethoven, who employed

con sordini
(It.) Sonorously, reso-
to express the release (raising) of the
nantly, resoundingly.
a sonorous, ringing damper-pedal, instead of 4&.^-3. kit. A
Sono'ro (It.) "With
(It) Muted; as clarinetto
\srnt..* Sonoramen'te, sonorously, res-
tromba sorda*
onantly, resoundingly. ..Sonorita', con^
sonorously, ringingly. ..Sono're, sono- Sordo'no (It; Ger. Sordun'; Fr. sor-
rous, resonant" (pi.; U note implied). done.) I. An obs. wood-wind instr. re-
Sonor'opliane. A variety of bombardon; sembling the bombard, with a double
reed and 12 ventages, constructed like a
So'nus (Lat) Sound tone.
bassoon, and in 5 different sizes.
;
2.
So'pra (It.) On, upon above, over,
; An obs. reed-stop 'in the organ, with a
higher. . .
Sopradominan'te, dominant. perforated foot and a chimney, of 4, 8,
. .
Soprato'nica, supertonic. Sopra, una . .
or i6-foot pitch and muffled tone.
corda ton one string. ..Co'me sopra, as 7
above. ..Nella parte di sopra, in the Sordun (Ger.) See Sordono.>Also, a
mute for the trumpet, in the shape of a
{higher (or highest) part
perforated disk of wood.
Sopran' (Ger,) Soprano . . *
Sopran'-
sthlussel, treble-clef. ..Sopran'stimme, SorgTaltig (Ger.) % Careful, cautious,

soprano voice or part (Also adwrfy

Sopra'na corda (It) The chanterelle. Sorti'ta i. A
(It.) closing voluntary.
(ST. AND B.) number sung by any of 2. The first

Soprani'sta (It.) A soprano singer; the leading characters in an opera.

specifically, a male soprano (castra'to).
"
Sospiran'do (It, sighing, sobbing".)
Sopra'no(It; Ger. Sofrm* /Fr.<feww.) A vocal effect produced by interposing
The highest class or division of the a rest between two tones in such a way
 SOSP1REVOLE SPIEL. 185

syllables, the singer catching his breath ly beneath) the treble foot of the bridge.
as if deeply moved. Its function is not only to brace the

Sospire'vole, Sospiro'so (It.) belly against the strong string-tension,

Sighing
but also to transmit the vibration of the
deeply ; plaintive, mournful.
strings from belly to back, thus render-
Sostenen'do, Sostenen'te (It) See
ing the whole body of the instr, reso-
Sosttnufto. nant
Sostenu'to (It, abbr. sost.; superl. so- Valve.
Soupape (Fr.)
stenuti/simo} "Sustained, prolonged";
sometimes implying a tenuto, at others Soupir (Fr.) A quarter-rest. .Dmi .

a uniform rate of decreased speed ; e. g. soupir, an eighth-rest, . .Huittime de

andante sostenuto. .Pin sostenuto,
. soupir (or dtmi-quart de seupir),
to meno mosso. 32nd-rest.. .Quart de soupir\ a 1 6th-
equiv. Standing alone,
rest. . . Seizieme de soupir a 64th-rest
as a tempo-mark, it is nearly equiv. to ',

andante. Sourdeline (Fr.) Same as Sordellina.

Sostmente pianoforte. Apfte.inwhich Sourdine (Fr.) i. A mute. 2. A stop
"
some device is employed for sustain- in the harmonium, which partially in-

ing" or prolonging the tones, such as tercepts the wind-supply, so that full
the numerous piano-violins, the lyri- chords can be played softly. 3, Same
chord, celestina, claviol, etc. teptdaltc&este (of the pfte.) 4. For*
Sot'to (It.) Below, under. . Sottwoce, . merly, a spinet (or lute) of veiled, muf-
fled tone.
in an undertone, os>ife...Sottodomi-
nan'te, subdominant. ,
Sous (Fr.) Under, below. . . Sous-chan-
tre,stibcan.tOT.*.S0us-d0minanff, sub-
Soubasse (Fr.) Subbass.
submedi-
dominant . . . Sous-mldiante^
Soubrette (Fr.) In comedy and comic an.t...Sous~fomgtie subtonic, leading- t

opera, a maid-servant or lady's-maid, note.

of an intriguing and coquettish charac-
ter ; applied, by extension, to various Space. (Ger. Z-wisch'enraum^l?T. w-
In thepace; the in-
It. spa'sio.) staff,
light roles of this or a similar type. terval between 2 lines or leger-lines.
Soufflet (Fn) The bellows (of an organ,
(See Leger-space.)
harmonium, etc.) . . . to blow.
Souffler^
SpaTla (It) Shoulder. . . Vvfla da spaU
..Souffleric %
the bellows with all ad-
l&i see Viola.
juncts... Soujffleur, (a) organ-blower;
prompter (fern, souffleuse).
(b) Spa'nischer Renter (Gen) See Lurch-
stecher. . . Spanuches Kreuz, sign ( x )
Sound. See Acoustics.
of the double-sharp.
Soundboard. I, (Ger. Resonant boden;
Fr. table d'harmonie; It. ta'vola armo'- Sparta, Sparti'ta, Sparti'to (It),

nica) The thin plate Of wood placed Spar'te (Ger.) Apartitura.

below or behind the strings of various Sparti're (It.)
To write out in scored
instr.s, to reinforce and prolong their The Ger. form spartie'ren signifies, to
tones by reflecting them from its
broader copy out old scores into modern nota-
surface by means of molecular vibration. tion.
The j, of the pfte. is sometimes, that Spassapensie'ro (It) A jew's-harp.
of the violin generally, called the belly.
2. (Ger. Pfeiftnstock; Fr. pied du
Spass'haft (Ger.), Scherzanda
tamis tforgue; It. casso'ne!) In the Spa'tium (Lat), Spa'zio (It)
A space.
in See Ven til 2,
organ, the cover of the windchest, Sperr'ventil (Ger.>
which the feet of the pipes are inserted. Divided.
Spezza'to (It)
Sound-body, Sound-box. Same as Smooth,
Spiana'tOj-a (It, "leveled".)
Resqnance-box. . . Sound-bow, the thick even, tranquil ; nearly eqniv.
to senza
rim of a bell, against which the clapper
passione.
strikes . . . Sound-hole, a hole cut in the "
Spicca'toCtt, separated".) See Spring-
to enhance the
belly of a stringed instr.
ing bow.
resonance... Soundpost. (Ger. SeJle,
Stimm' stock; Fr. mt; It a'nima.) In Spiel (Ger.) Playing ; style (of playing).
Spierart, (a) style or plav- method of
the violin, etc., the small cylindrical
. ,

a keyboard instr.),
wooden prop set insicfe the body, be- ing; (b) touch (of
vio?
tween belly and back, just behind (near- ..SpieHar, handy to play (on
 SPINA-STANZA.

lin); playable (as

a passage or piece) Squillan'te (It, from squtfla, a little

..Spie'kn> to play ; Spieler, player. .

bell.) Ringing, tinkling.
Spiel' leute^ (a) wandering fiddlers, etc. Sta'bat Ma'ter. See Sequence.
of the middle ages ; (b) the drummer
and of a military band ;'opp. to
Stabile (It,) Steady, firm.
fifers
Hautbois'ten. . . Spiel'manieren, instni Stacca're (It.) To make staccato.
mental graces, . Spiel'oer> light opera
. Stacca'to (It.;
l<
superl, staccatis'simo;
comic opera. . Spiel' tenor, light tenor
.
abbr. stacc.) Detached, separated";
as for comic opera or operetta.
noting a style in which the tones played
or sung are more or less abruptly dis-
Spi'na (Lai.) Quill (of a spinet).
connected. The ordinary staccato is
Spin'et. (It. spinefta; Fr. tpinette, marked by round dots over or under
Ger. Spine it'!) An obs. keyboard instr
the notes ; a sharper staccato, by wedge-
like a harpischord, but smaller. Also
shaped dashes (the martelj of violin-
called Virginal (pair of Virginals)
playing); the mezzo-staccato in which ',
and Couched Harp.
the tones are nearly run together, has a
Spi'rito, con (It.) With spirit. Also slur over the staccato-dots. Staccato*
spiritosamen'te, spirito'so, -with anima- mark, a dot or wedge-shaped stroke,
tion and energy.
Stadt'musikanten, -pfeifer, -zinke-
Spit'ze (Gen) i. Point (of the bow) nisten (Ger. pi.) Salaried town-musi-
,

Often abbr. Sp. 2. Toe (in organ-
playing).
Spitz'flote (Ger.) In the organ, an open
flue-stop of organ-metal, tin, or wood
of 8, 4, 2, and i-foot pitch ; tone some-
what thin, but pure and reedy.
pipes are conical, whence the
(Also SpiWJlote^ Spin'delflote;
ti'bia
Spitz'harfe (Ger.; It. arpanefta^ A
cians, belonging to a privileged guild
which originated in the i$th (?) century,
and under obligations to furnish music
for civic ceremonies ; their leader had
the title of Stadifmusikus. (AlsoXiw//-
The pfeiftr, Kunsi'pfeifer.)
name
Staff, Stave. (Ger. Li'niensystem, Sys-
Lat
tem'; r.J>ort&; It. rfy.) The 5 (in
Gregorian music 4) parallel horizontal
linesused in musical notation. . Grand .

small triangular harp (psaltery) to be or Great staff, one of it lines, middle-

set on a table it had an upright sound-
; C occupying the sixth . . .
Staff-notation^
board with strings on .both sides of it, the staff and the system of musical
the bass strings on one side and the signs connected with it ; opp.to^^^-
treble strings on the other. Also called betical notation (q,
v.). Compare Nota-
Harfenetif, Flu'gelharfe, Zwifscher- tion.
-

harje. [RlEMANN.] Stagio'ne (It.) Season.

Spitz'quint (Ger.) The quint of the Stahlliannonika (Ger.) An instr. con-
Spitzflote.
sisting of
small steel bars caused to
Spon'dee. A metrical foot consisting of sound by diminutive bows ; inv. by
2 long syllables ( ). Nobein 1796. .. StahVspiel, see Lyre a.
Spread harmony. See Harmony. Stamentienpfeife (Ger.) See SchwegeL
Springing bow. In violin-playing, a Stamm'akkord
(Ger,) Any chord of a
style of bowing in which the bow is al- in its fundamental position ; also
key,
lowed to drop on the string, its elasti- sometimes denotes any fundamental or
city then causing it to rebound and quit inverted chord belonging to the
the string between each two tones. given
key, i. e. any chord not altered or sus-
There are 2 varieties : (i) the Spicca'to,
natural tone...
indicated by dots over the notes, and
pended...^;^'^,
Stamm'ionhiter, the typical diatonic
played near the middle of the bow with scale of
a loose wrist, -major.
for rapid
passages in
equal notes :
(2) the Salta'to, with a Stampi'ta (It.) A song with instrumen-
and higher rebound, gener-
fall talaccomp.
longer
ally employed when several equal notes ftand'chen (Ger.) A serenade.
are to be taken in one bow.
Stanghet'ta(It) Bar.
Sprung (Ger.) A skip, a leap ; sprung- Stan'za (It.; Fr. stance; Ger. Stan'ze.)
weise, by skips or leaps. A group of mpre than 2 lines, arranged
Square pianoforte. See Pianoforte _
according to a regular- plan as regards
 STAPLE-STOP. 187

either metrical length, or rhyme, or Stim'me (Ger.) i. Voice. 2. Part;

both, and forming, in connection with mitder Stimme collaparte. 3. Organ- %

similar groups, a poem, or a part of 0:13. stop (generally in compounds). 4,

Staple. In the oboe, etc., &ie metallic Soundpost. . . Stimni'ansatz> the attack
tube which carries the double-reed, and of a vocal tone. . . Siimm' bander, vocal

conveys the vibr. of the latter to the cords. Stimm'bildung, training or de-
. .

body of the instr. velopment of the voice. , . Stimm'bruch,

breaking of the voice, mutation...
Stark (Ger.) Loud, forcible, vigorous ;
Stimm'lwch, part-book. . Stim'men, to .

forte. (Also adverb.) . .

Stacker, louder, tune ; to voice (an organ) . . . Sttmfmer9
stronger; piit forte. (a) tuner; (o) drone (of bagpipe)...
Stave. SteStaf. Stimm'Jldte, pitch-pipe . . . Stimmfuh-
rtr, leader ina chorus... Stimm'fiih-
Steam-organ. The Calliope,
rung, leading of the parts... Stimm'-
Stec'ca (It.) A
vicious vocal effect,
gabel, tuning-fork. . . Stimm'hammer,
the choked or interrupted tone caused
tuning - hammer . Stimm'holz, <-holz~. .

by pressing the root of the tongue too chen, soundpost.'. .Stimm'horn, tuning-
far back into the pharynx. cone . . . Stimm'keil, tuning - wedge . .

Stech'er (Ger.) A sticker. Stimm'krucke, tuning-wire. Stimm'- . ,

mittel, vocal powers, capacity. . . Stimm'-

Steg(Ger.) Bridge.
ffdfe^ pitch-pipe. . .Stimm'riize^ glot-
Stem. (Ger. Hah; Fr. queue; It, gam'- tis. Stimm'stock) soundpost (violin) ;
. .

bo) The vertical line attached to a wrest-plank (pfte.) . Stinim' urn

fang, .

note-head (J |*, etc.) Also Tail.

compass of the voice... Stim'mung t

accordatura
Stentan'do (It.) Dragging and heavy, (a) tuning ; pitch ; ; (o)
ritenufto epesan'te. Also Stenta'to. Stimmung halten^Q keep in tune; (c) a
A
melodic pro-
mood, frame of mind Stim'mungsbild, ;

Step. (Ger. Schritt) a "mood-picture", short characteristic

gression of a second (either major,
piece. . . Stimm'werkzeuge, vocal organs.
minor, or augm.) Also, often used as
synonymous- with degree ; and, further, Stinguen'do (It.) Dying away.
as equiv. to whole tone and semitone, Stiracchia'to, Stira'to (It.) Dragging,
in the phrases whole step and half-step. retarding the tempo.
. .Chromatic step, the progression of a Stock Bundle of 30
(Ger.) strings.
chromatic second.,. Diatonic step, a
des Halves (Ger.) "Heel"
progression between conjunct degrees
Stock/chen
of etc. violin,
of the diatonic scale.
" Same as Raekttt.
Ster'bend (Ger., dying"). Morendo, StockTagott (Ger,)
Stoczjlote, same as Czakan.
. .

Ste'so (It.) Extended, prolonged steso

StoHen (Ger.) See Strophe.
;

moto, a slow movement. 7

Stonan te (It.) Dissonant.
Stes'so (It.) The same.
Stone-harmonicon. See Lapideon.
Sthen'ochire. An
apparatus designed
for increasing the strength and dexterity Stop (noun). I. (Ger. Regis'terzug; Fr.
of the hands and fingers of players on registre; It. regi'stro) That part of
the organ-mechanism controlling the
keyboard instr .s.
admission of wind to the 'grooves be-
Sticca'do, Sticca'to (It.) Xylophone. neath the pipes. 2. (Ger. Register;
Sticker. See Organ. Fr. jeu <Forgue(s); It. regi'stro.) A set
Stie'fel (Ger.) Boot (of ajeed-pipe). or row of organ-pipes of like character,
Stiel (Ger.) Stem ; neck (of violin.) arranged in graduated succession.
These are called speaking or sounding
Stil (GerJ, Sti'le or Sti'lo (It.) Style.
stops; they are classed as Flue-work
StilI'gedackt(Ger.)Asoft-toned stopped (having flue-pipes), and Reed-work,
organ-register. (having reed-pipes) ; the flue-work has
Bti'lo (It.) Style... S. osserva'to, strict 3 sub-classes, namely (a) Principal-
style, especially of pure vocal music . . .
work, having cylindrical flue-pipes of
S. rappresentati'vo, dramatic monodic diapason-quality, i. e. the characteristic
song with instrumental accomp. in organ-tone ; (b) Gedacki-work, having
chords ; a style originating toward the covered (stopped or plugged) pipes;
dose of the i6th century. and (c) Flute-work^ including all flue-
I8S STOP STRETTA.

stops having flue-pipes of a scale too Stoss'zeichen (Ger.) Staccato-mark.

broad or too narrow to produce the Straccicalan'do (It.) Babbling, prat-
diapason-tone, together with such stop- tling.
ped pipes as have chimneys, and all 3- Strain. In general, a song, tune, air,
or 4-sided wooden pipes... Complete
melody also, some well-defined pas*
one having at least one pipe for
stop)
;

each key of the keyboard to which it sage in or part of a piece. Technically,

a period, sentence, or short division of
belongs. ..Compound stop, see Mixture- a composition ; a motive or theme.
stop. .Divided stop, one in which the
.

lower half ofits register is controlled by Strascican'do (It.) Dragging, drawl-

a different stop-knob from the upper, ing. (Pds&strascinan'do; strascinando
and generally bears a different name . . Tarco, drawing the bow so as to bind
.

the tones.)
Flue-stop, one composed of flue-pipes.
.
.Foundation-stop^ one of normal 8-foot Strathspey. An animated Scotch dance,
pitch..* Half-stop, incomplete or im- somewhat slower than the reel, and like
perfect stop, one producing (approxi- it in 4-4 time, but
progressing in dot-
mately) half the tones called for by the ted eighth-notes alternating with i6ths,
full scale of its manual. ..Mechanical the latter frequently preceding the for-
stop, one not having a set of pipes, but mer, then producing the peculiar jerky
governing some mechanical device; rhythm of the Scotch snap.
such are the couplers, tremulant, bell-
Stravagan'te (It.) Extravagant, eccen-
signal, and the \iks. ..Mixture-stop, tric, fantastical.
one with 2 or more ranks of pipes, thus
Stravagan'za (It.) An extravaganza.
producing more than one tone for each
key (as the Mixture, Carillon, Cornet, Straw-fiddle. See StrohfiedeL
Cymbal).* .Mutation- stop, one produc- Str.ei'chen (Ger.) i. To bow (draw the
ing tones a major 3rd or perfect 5th bow across). 2. To cut (as a scene in
(or a higher octave of either) above an opera)... .SVra'M^ (Ger.; lit.
the 8' stops (as the Tierce, Twelfth, u
drawing [as a bow]"), the quality of
Quint)... Partial stop, see. Half-stop. tone called in English
stringy (opp.
.Pedal- stop * a stop on the pedal.'.. to reedy, fluty, etc.) . . Streichende .

one composed of reed-pipes.

Reed-stop, Register, in the organ, stops with string-
. .
$olo~stop, any organ-stop adapted for tone Streich'instrumente, bow-instr,s.
. . .

the production of characteristic melodic . . Stretch'orchester,

" string-orchestra,
effects, whether on the solo organ or the strings "... Streich'quartett, -trio,
not . . . Sounding ot speaking stop, a stop -trio , . . Streich'
string-quartet, zither,
proper, having pipes and producing bow-zither.
musical tones. 3. On a violin, etc.,
severe.
Streng (Ger.) Strict, (Also
pressure of a finger on a string, to vary
adverb!)
itspitch; a double-stop is when 2 or
more strings are so pressed and sound- Stre'pito (It.) Noise. . .
Strepitosamen'-
strepito'so, in a noisy, boisterous,
ed simultaneously ; on wind-instr.s te,

with finger-holes, the closing of a hole impetuous style.

by
the finger or a key, to alter the Stretch. On a keyboard or fingerboard,
on wind-instr.s of the trumpet a wide interval whose tones are to, be
pitch ;
the partial closing of the bell by taken
family, simultaneously by the fingers of
inserting the hand, thus raising the pitch one hand.
and modifying the quality of the tone.
Stret'ta, commonly Stret'to (It.; Fr.
4t
Stop (verb). To vary the pitch of instns strette; Ger. Eng*fuhrung.) Nar-
as described under Stop 3 above... row, drawn together". I. division A
Stopped notes, notes obtained by stop- of a fugue (usually a final development,
ping; ppp. to open... Stopped fifes, for the sake of effect) in which subject

organ-pipes closed (plugged or covered) and answer follow each other in such
at the top ; opp. to open. close succession as to overlap...^.
maestra'le, one constructed in strict
Stephen (Ger.) To stop (bell of horn
canon... Alia stretta, in, or after the
witft the hand)...##/&X stopped
*' manner of, a stretto. . .Andante stretto,
tones, hand-notes" (horn).
same as andante agitato* 2. con- A
Stop-knob. The projecting handle of a cluding passage taken, to -enhance the
Stop*. effect, in faster tempo.
 STRETTE-STUFE.
Strette (Fr.) Stretto... magistrals, These are the most usual combinations,
same as Stretto maestrale. which may be variously extended to
Strich (Ger.) I. Stroke;
form string-sextets, septets, etc. 2.
Strich'art,
Bowing 2. 2. A line, dash, or stroke.
The string-group in the orchestra, when
-3. A "cut". considered as composed of (i) 1st and

Striden'te
" " (2) 2nd violins, (3) violas, (4) 'cellos,
noisy,"
(It. ;- harsh".) In
and (5) double-basses ; called string-
pfte.-playing, equiv. to martellato
quartet when considered as composed
(comp. Beethoven, op. 76, Var. VI).
of (i) violins, (2) violas, (3) 'cellos, and
String. (Ger, Sai'te; Fr, corde; It. cor'- (4) double-basses.
da.) The materials chiefly used for
Having the quality of tone
Stringy.
manufacturing musical strings are gut
(** string-tone") peculiar to bow-instr.s.
(entrails of lambs and sheep), cast
steel (drawn out for Striscian'do (It.) Gliding, smooth,
piano-strings, etc.),
silver (mostly for covering or winding legato.
around a cor* steel wire or Stro'fa(It) Strophe.
spirally
silk cord to make the string thicker Stror/bass The deep, husky
(Ger.)
and heavier in proportion to its length, tone of the lower chest-register (male
and consequently deeper-toned), and
voice) produced by forcing the breath
silk (as a core in covered strings, es- between the vocal chords when the
pecially for the guitar and zither). Cop- latter, though brought near together
per and brass are also employed. . . The are in a state of relaxation. . .
Stroh'fa-
Strings, technical term for the string- . del, the xylophone.
group in the orchestra. . .First string,
Stroke. The' sweep and
(fall rise) of a
the highest of a set. .. Open string, one
not stopped or shortened... Silver digital or pedal.
/
string, one covered with silver wire. . . Strombetta re (It.) To sound a trum-
.. Strombettie're,
Soprano string, the chanterelle. pet. trumpeter.

Stringed instruments. (Gen Sai'ten- Stromenta'to (It.) Instrumented.

instrumente; Fr. instruments a cordes; Stromen'to (It.) da
It. str&men'ti da cor^da.) All* musical Instrument...^,
arco, bow-instr. .,S.da corda, stringed
instr.s whose tones are produced by instrument... 5. da fa* to (di vento\
strings, whether struck, plucked, or wind-instr. . .5. da ta'sto, keyboard in-
bowed. See Instruments. str. . . di ligno, wooden instr. . . S.

Stringen'do (It.) Hastening, accelerat- di metaJflo, metal instr.

ing the movement, usually suddenly Stro'phe. (Gk., " a turning round".) i.
and rapidly, with a crescendo. In the Greek drama, the song of the
String-gauge. A gauge for measuring chorus when turning from right to left,
the thickness of strings. the antis'trofke being what was sung
A when turning from left to right, the
String-organ. keyboard instr., pro-
vided with a series of free reeds con- ep'ode then following. 2. recurrent A
nected by rods with ordinary piano- group of lines in a poem, arranged ac-
strings of corresponding pitch, which cording to a fixed metrical system or
tor stanza in modern
are sympathetically affected by the vi- plan ; equivalent
brations of the reeds. The tone is pure poetry. 3. The former of two suchf
and sweet, the instr. combining in a de- groups, the latter then being called the
gree the qualities of the harmonium antistrofhe (see above) . . . The Strophe,
and pfte. Also compare art. Saitener- Antistrophe, and Epode of the Greek
gel. tragic chorus and Pindar's odes, closely
correspond to the 2 StoUen and the
String-quartet. A quartet for jst and
-

2nd violin, viola, and 'cello ; hence, Abgesangoi the German Meistersinger;
the Bar being the group formed by the
the instr.s themselves, or the players
2 Stollen and the Abgesang,
on them ; and, by extension, the string-
Stiick (Ger.) A piece; a number (as
group in the orchestra (see String-quin-
on a program).
tet).

A Study, (Ger. Sttfdie [pi. Stu*dien\, or

String-quintet, i. quintet for 2 vio- f
2 violas, and 'cello ; or for 2 vio- Etu'dc [pi. EtU dtn\; Fr. fade; It.
lins,
$tttude.
lins, I viola, and 2 'celli ; or for 2 vio- stufdio.)

lins, viola, 'cello, and double-bass. Stu^e (Ger.) A degree . . .

190 STUMM SUITE,

Fortfschrdtung, diatonic or conjunct damental or principle ;

the triads on the
("stepwise") progression. 2nd, 3rd, 6th, and 7th degrees, and all
chords of the seventh but the dominant
Stumm (Ger.) Dumb . . . Stum'mes Kla-
chord.
vier*, dumb piano* . .Stum' me Pfei'fe,
'

dummy pipe... Stum*'mes Register, Subprincipal. A

subbass (pedal-) stop
mechanical stop. of 32-foot pitch, of the open diapason
class.
Stiir'misch (Ger., "stormy".) Impetu-
ous, passionate. (Also adverb?) Subsemifu'sa (Lat.) A 32nd-note(medie-
Bell (of wind-instr.s). val).
ijtiir'ize (Gen) . .

Star's^ in die Hoh'e, "turn the bell Subsemitone. The subtonic, or lead-
.
upwards!" ing-tone (Lat. subsemito'nium modi).
Stuttgart pitch. That proposed by Substitution. In contrapuntal progres-
Scheibler at the Q to make sion, the resolution (or preparation) of
Stuttgart Congress jju <a 400 vi- a dissonance by substituting, for the
in 1834, the a 1 tf b rations proper tone of resolution (preparation),
second at a temperature of 69 its higher or lower octave in some other
per
Fahrenheit. (Comp. Pitch, Absolute.) part.

Stutz'fliigel (Ger.) Boudoir grand, Substitution (Fr.) Change of fingers.

"
baby" grand (pfte.) Subtonic. The leading-note.
Su (It) On, upon ; by, near.. .Arco in Succentor (Lat.) A subcantor; also,
su, up-bow. the singer of a lower or bass part.
Suabe flute. A sweet-toned organ-stop. Succession, i. Progression. 2. Se-

Sua've (It) See Soaw. . .

Suavita', con, quence.
suavely, sweetly. Sufnote (Ger.) See SifflSte.
"
Sub (Lat.) Under. Suffoca'to (It., suffocated".) Damped,
muffled.
Subbass', SubbourMon. An organ-
stop of 1 6 or 32-foot pitch, generally Su'gli, Su'i (It.) On the (comp. Sul).
- on the pedal and stopped. Suite (Fr.) A cyclical instrumental com-
Subcaotor. A deputy cantor or precen- position consisting of a set or series
tor, supplying the place of his chief in of pieces in various idealized dance-
the latter's absence. Also Succentor. forms. It .originated, presumably, in
the practice of the town-bands, during
Subdlapen'te. In medieval music, the
fifth below a given tone.
the later middle ages, of stringing to-
gether a succession of dance-tunes, dif-
Subdom'inant. The under-dominant,
fering in character and form but alike
i. e.the tone below the dominant in a
in key. These are the characteristic
diatonic scale ; the 4th degree.
features of the old Suite, which was
Subitamen'te, Su'bito (It.) Suddenly, taken up in the i;th century by com- .

Volti subito (abbr. V. S,),

posers as a form of clavier-composition
quickly. ..
turn over quickly. . .p subito (after/), under the name of Partie or Partita.
an abrupt [change to] piano, without The extension of the primitive forms,
gradation. naturally resulting from instrumental
Subject, (Ger. Subjekt; Fr. sujet; It. treatment at the hands of Italian and
soggefto.) A
melodic phrase or motive German musicians, was cut short by
on which a composition or movement is Couperin (1668-1733), who in many
founded a theme ; opp. to answer.
; respects served Bach as a model; the
(Also antecedent, dux, guida t froposta, Kammersuiten of the latter mark the
Compare Soggetto.
etc.) culmination of the old suite-form. The
earlier artistic Suites have 4 principal
Subme'diant. The third scale-tone below
the tonic the 6th degree. movements or divisions: The Alle*
;
mande, Corn-ante, Saraband, and Gigue;
Suboc'tave. The octave below a given
other forms introduced at will (inter*
tone. Suboctave-coupler, an organ-
mezzt) are the Bourree, Branle, Ga-
coupler bringing into action keys an
votte, Minuet, Musette, Passepied,
octave below those struck, either on the
Loure, Pavane, such an intermez-
etc. ;
same manual or another.
zo was usually brought in between the
Subordinate chords. Chords not fun- Saraband and Gigue, rarely before the
 SUIVEZ-SWELL.
former. The modern orchestral Suite nance caused by suspending (holding
can hardly be called a revival of the old back) a tone or some tones of a chord
form, as the separate movements are while the other tones progress; the
not necessarily or generally in dance- dissonance of a seventh or second,
form, nor do they keep to one key it ; occurring immediately before a chord
more nearly resembles the Divertimen- which would have entered entire were
to, both in character and form. it not for the suspension ; e.
g.
Suivez "
(Fr., follow".) Same as Cotta
farte.Mso, "continue," "go on" (i.
J
-
e., in like manner); simile.

Sujet(Fr.) Subject.
Sul, suir, sul'la, sul'le (It.) On the;,
near the (all contractions of su t on,
with the definite article) Sulla corda
. .

Z0,on the ^-string. .Sulla tattle* ra,

.
.
m
Double (triple) suspension, one in
near or by the fingerboard..,^//^- which 2 (3) tones are suspended. The
ticel'lo, near the bridge (see Ponticello). suspended tone itself is also termed a
Summation*! tone. See Acoustics, 3, b. suspension.

Suona're Same as Sonare. Suon- Suspi'rium (Lat.)

. .
A quarter-rest; in
(It.)
f mensurable notation, a minim-rest.
a'ta, see Sonata... Suo no, sound,
tone; suoni armctnid, harmonics, Suss (Ger.) Sweet(ly).
flageolet-tones. Sustain. To hold during the full time*
over. value (of notes); specifically, to per-
Super (Lat.) Above,
form in sostenuto or legato style. . . Sus-
Superdominant. The 6th degree of any
tained note, see Organ-point. Sustain-
major or minor scale.
ing-pedal, see Pedal.
Superfluous. (Fr. suferflu) See Aug-
mented. Sus-tonique (Fr.) Supertonic. (Also
Sutonique?)
Supe'rius (Lat.) Formerly, the highest Susurran'do, Susurran'te In a
(It.)
part
whispering, murmurous tone.
Superoctave. I. An organ-stop pitched Sveglia'to (It) animated,
Lively,
2 octaves higher than the diapasons
brisk.
(i. e. of 2-foot pitch). T-2. An organ-
Svel'to (It.) Light, nimble.
coupler bringing into action keys an oc-
tave above those struck, either on the Swell. I. In the organ, a contrivance
same manual or another. 3. The octave for producing a crescendo and diminu-
above a given tone. endo. By enclosing a partial organ
The 2nd (swell-organ) in a box, the front of
Supertonic. degree of a dia-
which could be opened or shut at will,
tonic scale.
this end was attained. In the modem
Supplicne'vole, Supplichevolmen'te (so-called Venetian) swell the front of
(It.) In a style expressive of supplica- the swell-box is composed 6f movable
parallel shutters (swell-blinds); when
tion, entreaty, pleading,

Support, An accompaniment, or sub- these shutters are horizontal, they are

ordinate part. usually opened by a lever (swell-pedal)
Supposed bass. See Bass.
worked by the organist's right foot, and
close automatically when the lever is
Sur (Fr.) On, upon, ovtr...Sur une
released (but comp. Balance swetl-
corde, see Sopra una corda*
pedal); when vertical, they are closed
Surabondarit (Fr.) See Note (Fr.)
by a spring. Formerly other devices
Suraigu, -e (Fr.) Superacute. were employed, notably the nags-head
Surdeli'na (It.) See Sourdeline. swell, a single broad shutter in front of
an echo-organ, to be raised or lowered.
Surprise cadence. See Cadence.
On the harpsichord a swell was ob-
Sus-dominante (Fr.) Superdominant. tained by a movable cover. 2. A ere-
Suspended cadence. See Cadence. scendo ( *- 7), or crescendo and di-
-

^Suspension.It,
(Ger. VoShalt; Fr. sus- minuendo { * ri Z= ) . Swell-
- .

fension; sosfensio'ne.) disso- A keyboard, the manual controlling the

 SYLBE-SYMPHONY.
swell-organ, generally the one nex
above the great-organ manual. . Swell-
organ (Ger. [compare Oberwerk] ; -Fr
clavier de rldt; It. organo d^espres-
sione), see Swell I, and Organ. (In
organ-music abbr. Sw<> or Swell.)
Syll* (Ger.) Syllable.
Syllabic melody. One each tone of
"which is sung to a separate syllable
(Ger. sittafbischer Gesang; Fr. chant
syllabique) ; opp. to Slurred melody.
Syllable-name, A syllable taken as the
name of a note or tone, as
opp, to Letter-name.
Sympathetic string. A
string (e, g.
.
the octave-strings stretched over the
unisons in Blttthner's "aliquot grands")
adjusted so as to be affected by the vi-
brations of other strings or resonant
bodies, and not by being itself struck,
plucked, or bowed.
Symphone'ta (Lat.) Polyphony, poly-
phonic writing.
Syraphoni'a (Gk. and Lat) i. In Greek Sym'phony,
music, a consonance. 2, (Medieval.)
A name formerly applied to various fonii;
from the Gk, symphoni'a, "conso.
different instr.s, as the hurdy-gurdy and
virginal 3. A symphony.
Symphonic, (Ger. sympho'nisch; Fr.
symphonique; It. sinfo'nico.) Relating
or pertaining to a symphony. . . Sym-
phonic poem (Ger. sympho'nische Dick'-
tung; Fr. poeme symphonique) an or-
chestral composition allied, both in
its
length and in the power and variety
of its instrumentation, to the sym-
phony; but radically differing from
the latter by discarding the orthodox
form (division into the regular move-
ments), and in being directly based on
and repeiving its inspiration from a
program fat poem; i. e., it is conceived
as aa instrumental poem,
depicting
events, scenes, or moods like a word-
poem). This "fairest flower" of pro-
gram-music can necessarily have no
fixed form, but its continuous flow is
moulded into a sort of unity by the
repetition of the same theme variously
modified and transformed,
Symphonic (Fr.) i.
Symphony.
Harmony, euphony. 3. An instrumen-
tal accornp. 4. The string-group in
the orchestra. Orchestra.
5.
Symphonic-Ode (Ger.) A symphonic
composition combining chorus and or-
chestra (Fr. ode-sympkonie),
Sympho'niker (Ger.) A composer for
full
(symphony- or opera-) orchestra.
Sympho'nion. i. A pfte. combined
. with an organ flute-stop, inv. in 1839
by Fr. Kaufmann of Dresden. 2. A
music-box, consisting essentially of a
graduated comb-like series of steel
teeth, and a thin flat metallic disk
caused to rotate by clockwork, and in
which the notes are punched in such a
manner that short tongues of metal
project from the lower side of the disk ;
in rotating over the steel teeth, these
tongues engage a series of small wheels
furnished with projecting studs, which
Do for C;
twang the teeth in the same way as the
studs on the cylinder of the ordinary
Swiss music-box. The instr.s are made
in all sizes, and as the note-disks are
interchangeable, the repertory is limited
only by their number (now several
thousand).
Symphoniste (Fr.) i. A composer. 2
A symphony-writer. 3. A member of
a symphony-orchestra.
(Ger. Symphonic*, Sin,
It. sinfoni'a; Fr.
symphonie^
i. e, consonant nance", !
A form^of instrumental composition de-
interval.)
veloped" from the Overture (q. /.), the
3 divisions of which latter were separ-
ated towards the middle of the i8tb
century, by composers writing purely
, orchestral pieces, into 3 distinct move-
.
ments the 4th (the Minuet) being in-
;
troduced by Haydn, who thus consum-
mated the modern 4-movement form.
This form is identical with that of the
Sonata (comp. Form}* For the Minuet,
Beethoven substituted the Scherzo,
which since then has been the typical
form of the 3rd movement. Haydn
also transferred the"first-movement"
form of the 'sonata to the symphony,
and utilized the individual timbres of
the various instr.s for contrasts in or-
chestration; the perfection of instru-
mental individualization is the work of
Mozart and Beethoven, and the latter
enlarged the symphony-orchestra to its
modern status (comp. Orchestra). The
2. usual plan of the
symphony is now I
(Allegro [in first-movement form, often
with a slow introductory division]) ; ll
(Adagio)] III (Scherzo) \ IV (Allegro
or Presto). Its latest development is
the Symphonic Poem. 2. Same AS
Ritornello i. 3. A medieval name for
several instr.s, as the Hurdy-gurdy,
Bagpipe, etc.
 SYNCOPATE-TABLATURE. 193

Syn'copate. To efface or shift the accent Taballo(It) See Timpano.

of a tone or chord falling on a naturally
Tab'lature. i. (Ger. Taoutatur'.) The
strong beat, by tying it over from the rules and regulations for the poetry and
preceding weak beat a tone or chord
song of the Meistersinger, a. (Ger.
;

so robbed of its accent is termed synco-

Tabulator* y Fr. tabfature; It. intavola-
pated. tufra.) An obsolete system of musical
Syncopa'tion. (Ger. Syn'kope;l?T. syn- notation employed chiefly for the lute,
cope; It sin'cope.} The tying of a viol, and organ, and most in vogue
weak beat to the following strong beat, from the i$th century till
early in the
effacing the accent naturally falling on l8th.The organ-tablature (also called
the latter and in most cases shifting it German /.) used for keyboard instr.s
to the (naturally unaccented) weak beat. was a system of alphabetical notation
Syncopation may take place in one, based on the division of the mus. scale
several, or all parts ; in the first two into the octaves C H (= \ ck
cases as an anticipation, a suspension, (= the melody (highest part)
3), etc.;
or a resolution of either (as a resolution was often noted on a staff, the accom-
the accent is weakest, or quite elided, panying chords being expressed by ver-
particularly when concluding a phrase) ; tical rows of letters. In the lute-tabla-
in the third case, or in anticipation, the tures (excepting the German) the tones
accent is apt to have a sforzando char- were represented by letters (French or
acter. English or numerals (earlier Italian
t.)

Synem'menon. See Greek music. i.) indicating the frets at which the
strings were to be stopped, and were
Syncope (Ger.) Syncopation ...Syn- written on the lines or in the spaces of
kopie*ren, to syncopate. a kind of said lines or spaces
staff,
Synonyme Same as Homophone^
(Fr.) showing the number of strings on the
which latter term is more correct. instrument. The pitch of the tones
Synton'ic comma. See Comma, represented by the letters or figures
Same as ffypofydian would therefore vary with the size of
Syntonolyd'iaxu
the lute/and was not a staff-notation in
(see Mode}.
the modern sense. Three leading fea.
Syringe (Fr.) Syrinx. tires were common to nearly ali systems
Syrinx. See Pandean pipes. of tablature: (i) The vertical disposi-
System, i. A number of staves braced tion of the characters representing one

together for writing out a full score. . . chord ; (2) the use of bars to divide th
2* (Gen) See Liniensystem. measures ; (3) a system of signs for

Syste'ma i. (Gk.) In Greek music, marking the time-value of the tones

called for by letters or figures (or of
a comparatively wide interval filled out
the corresponding rests), these signs
by intermediate tones; e. g. a tetra-
chord 2. (Lat.) The staff. 3. The being written either above or below the
series of tones constituting a hexa- latter, and signifying:
chord. Note* Rest- *r:* ir*i
Tim-Value.
Systeme (Fr.) i. The whole range of Signs.
musical tones. 2. The compass of any Brevis {

given instr.
Semibrevis
Syzygi'a (Lat.) A chord ; specifically,
a triad. .. compo'dta, triad with
doubled tone. . .* perfe^ta^ triad. . . Mmma(J)
*S,
propin'qua^ chord in close harmony.
... remffta^ chord in open harmony. ( j)
. .5.
$im'plexv the simple trjad without
doubled tones.
F
.11 i
T.
T. An abbr. of Talon, Tasio (t.
s. = ') | Semifnsa(^)
tasto solo), Tempo (a t. =a tempo),
Tendre, Tenor; Toe (in organ-music), The hooks of consecutive
equaHiotej
Tre(T. C* =
tre corde), and Tutti. were often run together thus 05E3
194 TABLE-TANDELND.
or Arbitrary variations from
'-. baton. . .
Takfstrich, a bar. . . Takf
::{..[ {
these general rules were, however, of tett, beat, count ; guter Taktteil^ strong
frequent occurrence. new develop- A beat; scklechter Taktteil^ weak beat.
ment of tablature is the Tonic Sol-fa . .
Takfvorzeichnung, Takfzeichen^
system of notation. time-signature Ein Takt wie worker*
. . .

u
zwei one measure like two before"),
(
Table Soundboard
tabk tfh&r monie^
(Fr.)
. .
; belly. (Also
Table de des$ous>
same as Doppio movimento. Takt, . Jm
a tempo.
back.
Talon (Fr., "heel"), i. Nut (of the
Table-music. See Tafelmudk.
bow.) -2. In pedal-playing, heel;
Tabor. A
small drum, like a tambour- abbr. / (compare Pointe 2). Talon de
ine without jingles; formerly much la manche
(in the violin, etc.), heel (end
used by pipers, who beat the tabor with of neck joining the body).
the right hand as an accompaniment to
Tambour fFr.) i. A drum. 2. A
a flageolet or pipe manipulated by the
drummer (also Ger,) Tambour cHro-
left. .
Taboret, Tabret, a small tabor.
.

matique, see Timbalarion. . . T. de

1
Tab'ulature. See Tablature. 7
basque^ tambourine. . , .
rowlante, the
"
Ta'cent(Lat) Are silent". See Tacet, long drum.
u
Ta'cet (LaO, Ta'ce or Ta'ci (It.) Is Tambou'ra, Tambu'ra. A* Oriental
silent"; signifies thatan instrumental the lute kind, having a round
instr. of
or vocal part so marked is omitted dur- body, fretted fingerboard, and 3 or 4
ing the movement or number in ques- strings.
tion.
Tambourin (Fr.) i, A sort of tabor.
Tac'tiis (Lat) beat. In medieval A 2. A
French peasants dance, in 2-4
1

music its time-value was styled tactus time and lively tempo, often accomp.
major when it marked a breve to a by the tambourin and galoubet (tabor
measure, and tactus semi- 0wwhena and pipe).
breve.
Tambourine'. (Ger. Tamlurin'\ Fr.
Ta'felklavier (Ger.) A square pfte. tambour de basque; It. tamburi'no.)
Also ta'jelformigts Khmer* Taffel- . . .
A small drum played by striking it with
musik, "table-music"; (a) music per- the right hand, consisting of a shallow
formed during repasts; (&) music so circular hoop of wood metal with
or^
printed that several performers, sitting one head of parchment ; in apertures
around a square table, could read their made around the hoop are fastened sev-
several parts from the same book. See eral pairs of loose metallic plates,
'Part-book* called jingles from the noise they pro-
Tail. Same as Stem. . .
Tailpiece. (Ger.
duce. Used principally in Spain and
Sai'tenkalter; Fr. cordier, southern France as an accomp. to danc-
queue.)
In the violin, etc., the piece of wood ing ; occasionally employed in the (op-
(usually ebony) to which the strings are eratic) orchestra. In tambourine-mtu
attached behind the bridge.
sic, notes with wavy stems f f fcali
Taille (Fr.) Tenor voice (now used only for the roll; notes with short vertical
for church-music; otherwise t/nor). strokes over them
Also, the tenor violin. . Taille de bas- . ^ p
for the

son, same as Oboe da cacda. jingles.

Takt (Gen) i. A beat. 2. A measure. TambureHo (It.) Tabor.
3. Time, Takt'accent
measure- Tamburi'no (It.)
. .
, i. A drummer. 2.
accent, primary accent. Taktfart, Tambourine. . .

time, measure, rhythm, . Takt' erstick- .

Tambu'ro (It.) Side-drum... Tambu.
ung, syncopation. , ,
Taktfack, aspace, ro'ne, the big drum, bass drum (also
..Tatffatt steady in time...2W- Cassa grande).
flied, measure-note. Takfkalten, to , ,

Tamis (Fr.)
keep time ; keeping time. . Tatftieren, . Pipe-rack (organ).
to beat time. Tatftierstab, a baton.
. . Tam-tam. I, A gong. 2. A Hindu
. .
Takt'm&ssig, in time. . .
Takfmesscr,
drum of elongated form. (Also Ton*
metronome... Takt note ^ whole note. torn.)
* . Takfpause, measure-rest. . . 7W- Tan'delnd (Ger.) In a toying, banter-
to beat time. . . TaMstock, a ing style.
 TANGENT-TEMPERAMENT. 195

<

Tangent. (Ger. Tangen'te) In the Tech'nic, Technique'. (Ger.7>'ju &)

clavichord, a brass wedge fixed in the Ail that relates to the purely mechani-
jack on the rear end of a key ; on de- cal part of vocal or instrumental per-

pressing the key, the tangent struck apd formance. In some German works
. rubbed across the string, and remained treating on pfte.-technique, a distinc-
bearing on it until the finger was lifted, tion is made between Mecha'nik (the
thus both producing the tone and fixing merely mechanical drill of fingers and
its pitch.Tangen'ten/Mgel (Ger.), a
. . from its application in play-
wrist, apart
clavichord shaped like a grand piano. ing), and Technik (the acquired skill
Tanti'no (It.) A little ; very little. and dexterity in actual performance).
Tati'to. (It.) As much, so much ;
too Tech'nicon. A
finger-gymnasium, or
(much); allegro non tanto> not too fast apparatus for training and strengthen*
(here equiv. to troppo); a tanto possi'- ing the hands and fingers of players on
bile, as much as possible. keyboard instr.s ; inv. in 1889 by J.
Tanz (Ger.) A dance. ,. Tawfliedtr, Brotherhood of Montreal, Canada.
dance-songs Tanz'st&cke, dance-tunes
; Earlier name of the (im-
Techniphone.
(instrumental); the former were the proved) Virgil Practice-Clavier (q, v.)
original form of dance-music (Tanz'- Tede'sco,-a'(It.) German... Alia b-
musik), the latter being at first mere im- "
desca, in the German style ; the term
itations of them. (Comp. Form II, 3.) *
tedesca \ says Bulow, has reference to
Tarantel'la (It), Tarentelle (Fr.) A and invites changes of
waltz-rhythm,
dance of southern Italy, in 6-8 time, time". [Quoted from GROVE .]..Zim
the rate of speed gradually increasing, tedesca^ hurdy-gurdy.
and the mode alternating irregularly Te
deum. See Ambrosian Hymn.
between major and minor. In modern
,
music, an instrumental piece in 3-8 or Teil (Ger.) part. . . TeU'tone, partial A
and tones.
6-8 time, very rapid tempo (presto),
bold and brilliant style. An instr. so connect-
Telephone-harp.
Tardamen'te Slowly, lingeringly.
(It.) ed with a telephone as to render music
to an
. . Tardan'do, Tarda'to, see Riiardan-
performed at a distance audible
<&. . . Tar* do, slow, lingering. audience.
TartinPs tone. A differential tone Telltale. See APPENDIX.
(comp. Acoustics). Te'ma. (It) Theme.
Tasch'engeige (Ger.} kit. A Temperament. Temperater*;
(Ger.
Tasseau(Fr.; Ger. -#*.) The "mould" Fr. temperament; temperamen' 10)
It.
on which ribs and blocks of a violin are A compromise between the acoustic
set up. purity of theoretically
exact intervals,
Tastatur' (Ger.), Tastatu'ra (It) and the harmonic discrepancies arising
from their practical employment. E.
Keyboard, fingerboard.
Tas'te (Ger.) or pedal) . .
Key (digital
.
g. taking the tone C as a starting-point,
,

Teufttnstabchm,i*&. (The usual term, and ascending by quint-strides through

Bund, means literally the space between a series of 12 perfect fifths (C. * .j&Jt),
two frets.) we reach a tone (B$) which, on instr.s
of 'fixed intonation (like the pfte.), is
Tastie'ra (It.) Keyboard; fingerboard. identical in pitch with the sixth octave
..Sulla /., near the fingerboard (di-
of but which, as an acoustic in-
C (^),
rection in violin-playing).
terval, is
74
/7 higher than
by A A
Ta'sto (It), i. Key (digital).
2.
similar result is obtained by descending
Fret. 3, Touch, 4. Fingerboard ;
through 12 fifths to Dfo, which.proves
sul tasto, same as sulla tastiera..*
u
Tastosolo (abbr. /. s), one key alone";
to be lower by ? */ 78 tban
1

corre- ^
sponding lower octave of C, Now, bj
a direction in thorough-bass, signifying
that the bass part is to be played, either
setting =$ = DV\) , and equally dis-
7 am OI1
tributingthe deviation Vrs .
g tllc
as written or in octaves, without chords 12 quint-tones in either series, i. e. by
(sign 0, or ^). tempering each fifth, the deviation
for
Tattoo'. Military drum-signal or bugle- each becomes practically unnoticeable
call for retiring at night on keyboard ;
such equal distri-
instr.s

Te. For si, in the Tonic Sol-fa system. bution is called

equal temperament.
Another example: The tone A^* a*
T*(Fr.) CJf (for
IQ6 TEMPESTOSAMENTE-TEMPO-MARK.
the major tierce below C t
has the ratio discordant effect produced by chords
4:5; the tone 6$, as tierce of the containing any of these anomalous in-
4t
tierce of C, has 25 32 ; ; that is, G$ is tervals was called the wolf ".
1

*>y HI =i -* lowerM than -4?' If

Tempestosamen'te (It.) Impetuously,
;it
be attempted, as formerly, to take
passionately ; tempesto'so, impetuous,
'note of and employ in practice even
impassioned.
only the most noticeable of the differ- u
A
ent shades of intonation (e. g. by build- Tempete (Fr., tempest".) lively
dance of modern (Parisian) origin, in
ing keyboards with separate keys for
2-4 time, and danced like a quadrille,
c$ and dty, d$ and e\), etc., etc.),
the
with some modifications of the steps.
tones in each octave of our keyboard
instr.s would evidently have 'to be Tera'po (It.; Ger. Zetfmass^ i. Rate

greatly increased in number beyond the

of speed, Movement i.
(Compare
-2. Time, measure
ordinary chromatic scale of 12 degrees. Tempo-marks?) ;

8 beat. . .A tempo, or tempo primo, return

However, a perfect fifth ( / 8 ) differs
from a tempered one by only about Jf J to the original tempo. , . Tempo alia

[HELMHOLTZ], an interval close to the brive, see Breve; alia semibrSve, see
extreme limit of perceptible differences T.ordina'rio. . Tempo bina'rio duple .
%

in pitch, and the use of such an inter- time. Tempo com'modo, at a conven-
. .

val instead of a perfect fifth can in very ient pace. . .

Tempo de*bole, weak beat.
few cases be regarded as objectionable. . .
Tempo di
Ballo^ Bolero, Minuefto,
etc., see Ballo, etc. . . Tempo di primo
'
In" the system of equal temperament
the series of fifths, instead of going on par*te, in the tempo of the first part. . .
returns to the starting- Tempo foSte, strong beat. .. Tempo
indefinitely,
point C) thus forming a circle, as it giufsto, see Giusto., . . Tempo maggio're,
,
were; this progression from end to same as /. alia breve. . . Tempo mino'rc,
end of the series is called the Circle of T. ordina'rio, (a) 4-4 time of 4 beats
to the measure ; opp. to /. alia breve;
Fifths:
() same as t. primo. . . Tempo perdrfto^
irregular, unsteady tempo. Tempo . .

frimo, primie'ro^ see A tempo, above.

. .
Tempo reggia'to, same as Co Ha par te.
. .
Tempo ruba'to, see Rubato. Tempo . .

tetnafrio, triple time. . .Histes'so tempo\

or Lo stesso tempo, the same tempo;
indicates, at a change of rhythm, that
the pace remains the same. (Comp.
Istesso .} . . Sema tempo, same as a
piace*re.

Tempo-mark. (Ger. Tem'pobezeichnung)

A word or phrase indicating the pace
or speed of a movement, and thus
establishing the absolute time-value of
Uneqztal temperament is a system in the notes. Generally accepted tempo-
which the excess in the series of fifths marks were hardly known before the
is not equally apportioned, some inter- beginning of the I7th century, and
vals being purer, and others less pure, were used sparingly until the i8th.
than in equal temperament. In the There are 3 classes (i) indicating a :

'mean-tone system, once extensively em-
ployed, the major thirds were tuned
, true, and divided into two equal tones
forming a mean between the greater
and lesser whole tone, hence the term
mean-tone; each fifth was comma
too flat, making the I2th in the
about 2 commas out of
error being usually laid upon the fifth
the system also had 4 thirds
J nifies
steady rate of speed; (2) indicating
acceleration ; (3) indicating a slackening
of the pace. They do not in them-
selves indicate a fixed and positive rate
of speed, but only the general character
% of the movement;
consequently, for
series the sake of precision, a metronome-
tune, this . mark is often added to the tempo-mark ;
e.
g. "Adagio, M. M. J= 56," sig-
a tranquil movement in which a

_j which were too sharp by near- quarter-note has the time-value of one
-*-ly the same interval. The beat of the metronome set at 56. Fur-
 TEMPORISER-TENORIST. 197

"
thermore, various qualifying words are In the R. C. Church, the lamentations
added (comp. the several Key-words).
(matins and lauds) sung especially on
Good Friday in the Sistine Chapel,
CLASS I.
while the candles burning at the altar
(Indicating a steady rate of speed.)
"
are extinguished one by one.
Larghis'simo, molto largo
Lar'go (broad, stately) Te'nero,-a (It.) Soft, tender, delicate.
Largamen'te Group I. . . or con teneretfza,
Teneramen'te,
Larghet'to General
Gra've (heavy, dragging)
m
tenderly, delicately; nearly equiv. to dol-
signification
Len'to (slow) of terms ce, but with somewhat more of passion.
is
Adaeis'simo SLOW. Teneur (Fr.) The canto fermo in a
Ada'gio (slow, tranquil)
choral or hymn-tune.
Adagiet'to
9
Andanti'no Ten'or. (Ger. Tenor ; Fr. t/nor or
Andan'te (moving, going along) taille; It. The high
i. nat-
teno're.)
[Modera'to] ural male voice. The Germans dis-
Allegret'to Group II.
Allegramen'te General tinguish 2 classes of tenors, the Hef-
m
Allegro (brisk, lively) [con signification dentenor (dramatic tenor), and ly'rischer
mo'to, viva'ce] of terms *
[agita'to, is Tenor tenor)
appassiona'to] FAST. (lyric ;
^. j
Pre'ito (rapid) [con fuo'co, the compass of tneSEESE^
velo'ce] former is from c to fffy *,
Prestissimo the voice full and powerful throughout,
CLASS II.
with a barytone timbre ; the range of '

the latter is 9 t h e
1

(Indicating acceleration.)
Acceleran'do (gradually accelerating) about from ^
fr):

P""^Y I
(jfari

n~ low-
d to c* (
2
#) e s t tJ
tSSto&i^^y
Wlth a
accelerating, usually
cr<*cendo.)
tones usually rather weak, the
high tones
Incalzan'do f
brilliant, and the timbre generally bright
Dop'pio movimen'to (twice as fast)
Piumos'soHa steady rate of speed, faster and pleasing. The Italian terms near-
Velo^ce than preceding movement)
J
ly corresponding to the above are (i)
tenure robu*sto, tenore di foSza, and
CLASS III.
(2) tenore di gra'zia, t. leggiJro; but
(Indicating a slackening in speedj
Rallentan'do they are very variously and arbitrarily
Ritardan'do employed. The part taken by a
2.
Largan'do tenor voice hence, by transference, a
;
Tardan'do (gradually growing slower)
Slentan'do prefix to names of instr.s taking parts
Strascinan'do of similar compass, as tenor trombone;
Ritenu'to (a sudden drop to a slower rate specifically, the tenor violin (viola). 3.
Me'no mos'so of speed)
Tenor (from Lat. tenere, to hold),
Calan'do
Deficien'do originally "a
holding, holding fast",
Mancan'do was applied to the melody (as the tin-
Moren'do (growing slower and softer)
Sminuen'do changing part) of the Gregorian chants
Smorzan'do sung by men, and hence to the high
male voice. In medieval music,
4.
Tcmporiser To play an accomp, (a) a hold; (b)
(Fr.) tenor also signified
colla parte. ambitus (of a mode); (c) the initial
Temps (Fr.) Beat. T. foible (secon-
. . tone of the EVOVAE. Tenor-C, small
daire)) weak beat; /. fort (sensible) ^ c.
Tenor-clef^ see Clef.
. . . . Tenor vio-
strong beat* lin, the viola.

Tempus (Lat., "time".) In medieval Teno're (It.) Tenor i. . . T. buffo, a

music, the tempus was simply the time- tenor who
sings comic roles. . . T. con-
value of the breve (except in case* of tralti'no, a light tenor voice resembling
The tempus perfectum the contralto in timbre. . . 71 difor'na^
Alteration).
(sign O )> was Ae original kind, in
di grafzia, leggie*ro, robufsto, see Tenor
T. di mezzo carat'tere^ a tenor
which the breve was equal to 3 semi- i.

breves; in the tempus imperfectum voice of barytone timbre (see Heldtn-

(sign ) later introduced, the breve tenor, under Tenor i).

had the value of 2 semibreves. (Comp. TenorTno (It.) A falsetto tenor voice
Notation, 3.) Tempus bina'rium
. . or singer ; specifically, a castrato.
f
7
rium\ duple (triple) time.
(ierna Tenorist (Ger.; Fr. ttnoristt; It
Ten'ebre (Lat. pi., " gloom, darkness ".) tenori'sta?) Tenor-singer.
 19* TENOROON-TETRAPHONV.
Tenoroon'. The oboe da cacda. instr., similar to Chladni's clavicylinder,
with wood substituted for glass as the
Tenor'schliissel, -zeichen (Ger.) Ten-
or-clef. tone-producing medium inv. by J. D, ;

Buschmann of Berlin in 1816.

Tenth. (Ger. Defzime; Fr. dixttme; It
de'cima.) i. An interval of an octave Te^tia (Lat.) third or tierce . A . . Ter*
tia modi, 3rd degree of 'a scale.
plus 2 degrees. 2. Same as Decima 2.
Tertian'. Tertian zwei'fach.)
Tenu, -e (Fr.) Held, sustained. (Ger.
Tenue A sustained tone, or organ- An organ-stop consisting of a' tierce
(Fr.)
and larigot combined.
point.
" held Terz Ter'za The interval
Tenu'to (It, ".) direction sig- A (Ger.),
of a third. Tersa ma'no (It/" third
. .
(It.)

nifying (a) generally, that a tone so

marked is to be sustained for its full hand"), an octave-coupler. Terzadi* . .

cima (It.), Terzdizime (Ger.), the in-

time-value ; and (o) occasionally, legato.
terval of a thirteenth... Terzdezimo'k
..Forte tenuto (ften.\ forte through-
(Ger.), a tredecuplet. Terzetf (Ger.), . .
out. .
Tenitto-mark, a short stroke over Terzefto (It.),
a property,
a vocal (sel-
note, with signification as at (a).
dom an instrumental) trio ; now gener
Tenute-\le note implied], [the notes]
sustained or held. ally called Trio. . . Terz'ftote (Ger,), a
,

small transverse flute pitched a third

Tepidamen'te (It.) In an even, unim- above the ordinary flute... Ttrzi'na
passjpned style. (It), a triplet. . . Terso suJno (It.), a
'.

Teponaz'tli (Aztec.) of dramA species differential \mt...Terzquartsex?ak-

still used by the
aborigines of Central kord (Ger.), chord of the third, fourth,
'

America and Mexico. It consists of a and sixth

( J
. . .
| Terzquintsexfakkord
section of a log (left round in the ruder
(Ger.), chord of_the (third), fifth and
specimens, but carefully squared in the
isore artistic ones) in a horizontal posi- sixth . . Terz'tone (Ger., pl.) r tierce-
>

(| r
tion, from 2 to 5 feet long, hollowed tones.
-

-out on the under side so as to leave the

Tessitura (It, "web, framework").
ends 3 or 4 inches thick and the top The region covered by the main body
part (belly) a few lines through ; in the
-

of the tones of a given part, infrequent

belly 2 parallel incisions are made
'
;

high or low tones not included. The

lengthwise, and connected by a shorter nearest English equivalent is to say
one crosswise, the 3 assuming the shape that the part
" "
lies high or low.
of the letter IE. The 2 tongues left
Te'sto (It) i. See Soggetto.2. Same
between, when struck the by sticks,
as Libretto.
vield 2 different tones, at an interval
in various instr.s of a third, fourth, Tete (Fr.) Head (of a note); scroll
.fifth, sixth, or octave apart It serves i.
Tet'rachprd, A'4-stringed .instr<
to mark the rhythm, and as an 2.The interval of a perfect fourth. 3.
imper-
fect bass, in the aboriginal music. It The scale-series of 4 tones contained in
is played with 2 sticks, the heads of a perfect fourth (comp. Greek music).
which are covered with wool or an . .
Teirachor'dal, relating to or consist-
clastic gum. ing of tetrachords. Tetrachordal sys* . .

Tcr (Lat) Thrice

indicates that a pas-
;
tern, the original form of the Tonic Sol*
fa system.
sage, or (in songs) a verse or part of
one, is to be repeated twice. (Also comp. TetrachorMon (Gk.) i. A tetrachord.
2?w.). . . Ter unta, the 3-hooked semi- A variety of the piano-violin.
2.

Tet'rad, A name suggested, but not to

fusa.

Terce. i. See Tierce 4. 2. The 3rd any extent adopted, for chord of the
of the canonical hours. seventh; analogous to Triad.
Tercet (Fr.) A triplet; in poetry, a Tetradiapa'son. The interval of 4
group of 3 rhyming lines. octaves. (Also quadruple diapason^
octave^ eighth.) or
Tefnary. (Fr. temaire; It Urntfrio)
Composed of, or progressing by, threes. Tet'raphone. See Tetratone.
Ternary form^ Rondo-form. . . Ter- Tetrapho'nia. See Organum.
..

, nary measure^ simple triple time.

.

Tet'raphony, (Medieval.) Diaphony

Terpo'dion. A six-octave keyboard for 4 parts.
 TETRATONE-TIME.
Tet'ratone. An interval embracing 3 Thren'ody. A song of lamentation ; a
whole tones an augm. fourth.
;
dirge.
Text.' The words of vocal music. Thrice-accented octave. See Pitch*
Theil See Teil absolute.
(Ger.)
Thematic composition. A style based Thumb-position. One of the high po-
on the contrapuntal treatment or de- sitions in 'cello playing, in which the
thumb quits the neck of the instr.
-
velopment of one or more themes.
Theme. (Ger. The'ma; Fr, theme; It. Thumb-string. Melody-string of the
te'ma.) Same as Subject. Specifically, banjo.
*
a theme is an extended and rounded-off Tib'ia (Lat.) The direct flute also, the ;

subject with accompaniment, in period- name of various T. utri- organ-stops. . .

form, proposed as a groundwork for cula'ris, the bagpipe ... Tibi'cen (pi.
elaborate variations (tema con wria- a flute-player.
tibi'cines),
zio'ni). Tie. (Ger. Bin'debogen; Fr. liaison;
Theorbo. (Ger. TheoSbe; Fr. thtorbe, It.
fa'scia) A
.curved line joining 2
It. tioSba, tuor^ba.) One of the various notes of like pitch which are to be
double -necked bass lutes so popular in sounded as one note equal to their
the i yth
century, the bass strings (ac- united time- value... Tied notes, (a)
companiment-strings, diapasons), of notes joined by a tie (), notes (like ;

which were not stopped on the finger-

eighth - notes, 1 6th -notes, etc.) the
board, but were stretched beside it to a hooks of which are run together in one
separate peg-box, which latter, in the or more thick strokes, e.
g. J J J .J*
theorbo, lay next to the other, though
somewhat higher up in the head. In Tief (Ger.) Deep, low, grave.
its day it was an important member of Tier. Same as Rank (organ).
the orchestra. (Comp. Lute.) Tierce. I. Same
as Third. 2. The
Thesis (Gk.) The down-beat, strong fourth harmonic of a given tone. 3. In
beat the organ, a mutation-stop pitched 2j.
Third. octaves above th*e diapason noWused,.
(Ger. Terz; Fr. tierce; It. ;

if at all, as a component of a mixture-

tcSza.) See Interval The third in a
diatonic scale is also called the mediant. stop. 4. One of the canonical hours.;
Tierce-tones, PitcJ^ . . see 2.
Thirteenth. An interval embracing an
i

octave and a sixth a compound sixth. Tierce (Fr.) Tierce i and 4..:7V<#
;

Picardie*,a major third in the closing

Thirty-second-note. (Comp. Not*.) chord of a minor movement. . . t, cou-
A note having half the time-value of a
i6th-note; a demisemiquaver. .
.jsnd- l/e (slurred- third), a grace wri
rest, a rest (5|) corresponding in value
to the above. montant) t p descendant^; see
'

Thorough-bass. (Ger. General'bass; Slide.

;
Fr. basse chiffr/e.; It. basso conti'nuo.)
Stick (of bow) ; also baguette\
A species of rnus, shorthand in which
Tige (Fr.)

chords are indicated by figures written Timbalarion (Fr,) A

set of 8 drums of
over a running bass (briefly explained different sizes, each furnished with a
under Chord). It originated in Italy pedal, on which diatonic and chromatic
(basso continue, or, for short, continue) scales, and some chords, can be played.
, toward the close of the i6th century, Also Tambour chromatique. . .
,

and for 200 years was the common Timbale

(Fn), Timbal'lo (It) Kettle-
,

method of notation for accompaniments drum.

by the organ or cembalo* It is now Timbre
(Fr.; It. tim'bro.) I. Quality of
principally employed in raus. theory, in tone. 2. A fixed bell without a clap-
teaching the. science of chords. from outside by a hammer.
per, struck
Three-lined octave. See Pitt, \, abso- de timbres, Glockenspiel (b).-+
.
.Jeux
lute. Snare a drum).
3. (of

Three-quarter fiddle. See Violino Timbrel. A tambourine.

piccolo, under Viohno. Time. Same as
i. Tempo. 2, (Gen
Ta-kfart; Fr.- mesure;- It^
Three-time, s^tiine. Triple time. Takt,
900 TIME.

tem'po) The division of the measure In Duple time the number of beats \&
into equal fractional parts of a whole the measure is divisible by 2 ; in Triple
note (^), forming a standard for the time, by 3. There are also 2 sub-
accentuation or regular rhythmic flow classes, Compound Duple time, and
of the movement. The sign for time Compound Triple time. In compound
is called the time-signature^ and is duple time the number of beats to each
usually in the form of a fraction set measure is still divisible by 2, but each
immediately after the clef at the begin- beat contains, instead of an ordinary

ning of the movement, the numerator note divisible by 2, a dotted note (or fts
indicating the number of notes of a equivalent in other notes or rests) divis-
given kind in each measure, while the ible by 3 ; hence the term compound^
denominator shows the kind of notes each simple beat being represented by
taken as the unit of measure; e.g. \ a dotted or compound note divisible by
(three-four time) means 3 quarter-notes 3, instead of a simple note divisible by
to a measure,
| J J J j; }| (twelve-six- 2. In compound triple time not only
teen time) means 12 sixteenth-notes to a the number of beats in each measure is

etc - divisible by 3, but also each beat, as

measure, | JfiZfi .53333 I-

Among the numerous systems of no- above. (See Table on p. 201.)

menclature the ordinary English meth- Another English
classification is the
od is still that most in use, and is em- following contains the times ordi-
; it

ployed throughout this Dictionary; narily employed, to which should be

some others appended for
are the added simple octuple time f , and com-
purpose of comparison. There are pound octuple time (f |), both with eight
2 classes of tune, Duple and Trifle. beats to the measure ;

(From Troutbeck & Dale's Music Primer.)

A proposition made in the above simple times, merely adding a dot to

work, to indicate the compound times the denominator to show the
tripartite
by the same signatures as th6se of the division :
 TIME. 901
Triple Time* uuple (or Common) Time.
Compound. Simple. Compound, Simple.

O e-

S3 3 S >4 H H s
Nin
???e 1 1 ?? 2 ^ j
3
1
I | Nine-

^
II
? ? -1:11 f 2. 1 H & v
L ns i S* |. |.
i
1

Three-tw
2. J? rt

flft*^lJ
Three-eig Three-fou
Three-one fr
& <-
? 2 -

w en
If <%% 9 8
g
1

?. siilll If II s S 5:

II rs-ll Us | g ^-
&
S*
n
r
sf r ? s
II
2.
JL

II il lirr
ff
?g .
- !T 17
ff
B-
II I! II I
^ I
B- B-

Mesures i deux ou quatre temps.

S g S 31 Division ternaire. Division binaire.

a a a
90 o a H 3
. sa SP.

cinq rois
cinq trois trois trois

hui qua
r huit quat
deu
un Hill
f

000 00 H B >-

HNlU'lI
5
*
o 9 t>d 3 5 C ^
SL I |l I I .

f fsigm? ?
(or
SHtTT|
O^e^.^Pw X
5
|

otto-cin

quattroci

psodmo^

iredsip iduwj. lied idmax

 402 TIMIDAMENTE TON.

is deserving of notice as an ingenious Tior^ba (It) Theorbo.

way of marking the number and posi-
Tirade (Fr.) An extended slide ; a rapid
tion of the beats; the measure-note
run connecting two melody-notes.
being found in each case by multiplying
the denominator by 2. Tirant (Fr.) i. Stop-knob*.. T. aac-
Still another, and highly ingenious coupler, coupler. 2. Button. 3. Cord
Mr; Frederick Niecks, is of a drum.
system, by
given below for the terms duple and
;

Tirar'si, da (It, "to be drawn out".)

.triple he substitutes binary and ternary, **
Equiv. to the prefix slide-" in the
'referring, not to the number of beats,
phrase tromba da tirarsi (slide-trumpet)
but to the grouping of the measure-
and the like.
notes in twos and threes.
Tirasse (Fr.) In small organs, a pedal-

Simple Times. keyboard having no pipes of its own,

acting only on the lower keys of the
1

Simple Binary Time f manual also, a pedal-coupler.

;

Ternary \ I I A Tirana (It.) See Tirade.

Compound Times. Tira'to (It.) Down-bow {arco in gib).

Duple Binary Time f $ |

Ti'ra tut'to (It.) A combination-pedal
"
Ternary "SIS A or draw-stop bringing on the full |5ower
of ah organ. (Fr. grand jeu.)
Triple
"
I I A Down-bow. Also
3? Tire~(Fn, "drawn.")
Quadruple V V 10
tires,
"
draw."
Finally, a system has
been suggested Tischliarfe
A
(Ger., "table-harp".)
fa which the word rhythm is substi -

variety of autoharp.
tuted for time; duple and triple retained
for the simple forms of the measure
Tocca'ta (It., from tocca're, to touch.y
;'

while the complex forms are called An early species of composition for
quadruple rhythm, sextuple rhythm, keyboard instr.s, originating in Italy
toward the close of the i6th
octuple rhythm^ etc. However, the de- century.
sideratum of any new system, i, e. the In style it is free, and bold,
approach-
ing the (old) fantasia it has no dis-
of the number of ;
plain expression tinctive form, but consists of runs and
beats to the measure as well as of the
number -of notes of a given kind, is not passages alternating with 'fugued 'or
yet attained ; and well-meant half-re- contrapuntal work, built up in the more
elaborate" specimens on a
forms serve only to make confusion figure or
worse confounded. . .s-time, j-time, ab- theme, generally in equal notes, with a
breviations of duple and triple time flowing style and lively, rapid move-
ment. Toccati'nai Toccatel'la, diminu-
respectively.
tives of Toccata.
rimidamea'te (It.) SttAngstlich. Tocca'Jfco (It.) In trumpet-music, a
Timidez'za, con (It.) In a
style ex- fourth (bass)
trumpet-part added as a
pressive of timidity or hesitation. substitute for the' kettledrums,

Timoro'so (It.) Timbro'us, fearful... To'(d)tenmarsdi (Ger.) Dead-march

Timorosammte, timorously, etc. Toil (Ger.) A tone
pitch ; key, mode,
;

Tim'pano (It./ pi. Kettle-

octave-scale. .Den Ton angeben, to
,
-

tfaffam.)
drum... Timpani muffled' >' give the pitch ; den Ton Halten, to keep
coper*ti^
drums. .
-
. tte pitch. .. Ton'atistand, interval...
_
_

Tm'art, Key i-; Ton'artenverwand-

Tintinna'bulum Tintinna'bdlo
(Lat.), schaft, 'key-relationship. . Tok'batim-
.

,(It) A small bellAlso," an ancient :

mung, the (mathematical) determination
. rattle, formed of little bells or small of tones . .

disks of metal. Ton'bildung, (a) production

,
of tone ; (b) vocal culture. , .
Ton'dichter>
Tintinnamett'to, Tintinni'p (It.) A composer ; Ton'dicktung^ composition
Ton'fall, see TatsMus*. . Ton'-
tinkling or jingling*.
..
.
" '

farbe, tone-color , timbre, quality,

Tin'to, COfl-(It) Wiffr shading; espres. series
..Ton'fotge, ,
or succession of
of tones. .'.
TorffAbwtfi melodic lead-
 TON-TONIC^ 205

ing or progression... Ton'fuss, (a) a On quitting these harmonies, even by

rhythm ; () a measure. . Ton'gebung, .
touching an "altered chord", it tres-
production of tone intonation. . Tonf- ; .
passes on the domain of tonality \ for-
"
geschlecht, mode;
the distinguishing here is the dividing line key embraces
of a chord or key (tonality) as the diatonic harmonies referable to one
major or
minor" [RIEMANN] tonic chord as the
point whence they
.
Ton'hdhe, pitch. . .

. .
Ton'kunde, science of music.
. Ton'- .
depart and whither they return, whereas
kunst, art of music, musical art ; musici tonality, taking this same tonic chord
Ton'kUnstler, musician. . Ton'lage, as a starting-point, includes
any and
. .
.

pitch ; register. Ton'leiter, a scale ; . .

every harmony related to it, so long as
fiinfstufige Tonldter, pentatonic scale. no actual chang6 of tonic is brought
Ton'loch, a ventage. . . Ton'mahrei,
. . about by a modulation. Tonality might
"
tone-painting ", imitative music, pro- therefore be briefly defined as the
gram-music. .. Ton'messer, mdnochord; chords grouped around and attracted by
sonometer; siren. . Ton'messung, see , one central tonic chord, and thus
Ton'bestimmung* .. Ton' rein (of violin- appears as founded upon the relations
strings), true to pitch, true fifths. . of chords independent (in a
.
measure)
Ton'satz, composing ; composition. . . of key. (Comp. Phone, 4.)
Ton'schluss, cadence... Ton'setzer, com- Tone. (Ger. Ton; Fr. son, ton; It
poser. . . Ton'setzkunst, art of composi- tuo'no, suo'no) See Acoustics. . . Tone*
tion . . . Ton'sprache, the
language of color, "quality of tone.
tones (i, e, music) . . Ton*stuck, piece .
'

of music, composition... Tongue. I (noun). Same as Reed;

Ton'slufe,
but, in the so-called reed of an organ*
degree (of a scale). Ton'system, sys- . .

. tern or theory of musical tones. . . Tan'- pipe, the tongue is the vibratile slip of
metal producing the tone. 2 (verb).
umfang, compass . . .
Ton'unterschied, To employ the tongue in producing,
interval . . .
Ton'verwandschaft, relation
or affinity of tones. . . modifying, or interrupting the tone oi
Ton'verziehung, certain wind-instr.s.
tempo rubato . . Ton'iverkzeug, a mu- .
. .
Tonguing, the
sical instr., either natural production of effects of tone, on wind-
(voice) or arti-
by the aid of the tongue. $inglc+
instr. s,
ficial. Ton'zeichen, a note or other
. .

tonguing, the effect obtained by the re-

sign representing a tone.
Ton (Fr.) i. Tone ; pitch ; donner le
ton, to give the pitch. 2. Mode.
3. Scale, key. 4. crook (ton de rc-
change).$. (Formerly) a tuning-fork.
1
. .Ton louche stopped tone (horn)*
peated tongue-thrust to the nearly in-
audible consonant i or d; Double-iongu*
ing, that obtained by the repetition of
A t k; Triple-tonguing, by / k t; etc.
With reed-instr.s, single-tonguing only
is applicable,
, . .

Ton d'Sglise, church-mode ... Ton de Ton'ic.

(Gen To'nika; Fr. tonique; It
rechange, crook... Ton entier, whole to'nica.) i. The
key-note of a scale.
tone. Ton feint, see Fictum. Ton
. .
2. In the new of th . .
system harmony,
majeur (mineur), a major (minor) key, tonic chord (in C-major the major triad
. . Ton ou'vert,
open or natural tone (on on C; in C-minor the minor triad, on CJ 1

a wind-instr.)...70w relatif, related is designated as the tonic.

Ton gtntrateur, one of the 7 j(Comp.
key. . .
* Phone^. Tonic *
chord, one having ,,4ht
natural tones.
key-note as root. . Tome pedal, orgaiy
.

Tonal. Pertaining to tones, or to a tone, point on the key-note. . . Tome section^

a section of sentence in the key in
mode, or key...7V/w/ fugue, see
which a composition began, with a
Fugue.. Tonal imitation, imitation
.

not overstepping the limits of the key cadence to the tonic of that Jcey. . .
of a composition ; non-modulating imi- Tonic Sol-fa, a method of' teaching?
tation.
vocal music, inv by Miss Sai^ah Ann
f

Glover of Norwich, .England, !abcit

Tonality. (Ger. Tonalitaf; Fr. tonal-
The term Tonality, as contrasted 1812, and perfected by the RevJ John
it/.)
with Key, is its broader Curwen, who became acquainted with
,

distinguished by
the method in 1841. Its formal basis
and wider scope. Key de-
significance
is the "movable-Do" system ; jthe 7
notes simply the mode (of a piece) and
usual solmisation-syllables are employ-
the pitch of that mode strictly, it re- ;

fers solely to the harmonies constructed ed, but Englished as follows

from the tones of its own diatonic scale. doh ray me fah soh lah tei
 TONIC.

each isrepresented in notation by its tone is decided by the relation which it

(d r
initial letter m
etc.) to which a verti- ,
holds to its tonic, the name Tonic Sol-
cal dash is added above or below when a fa signifying "solfaing according to

higher or lower octave is entered ; thus the tonic principle"-. The system of
d d a soprano upon the mental
1
in ./a tonic sol-fa insists'
s, .
I
T fl

part would be equiva- |(jU ..

I
.
J . !
[]
effect of each tone in relation to the
* tonic, i. e. the pupils are taught to
lent, in oi% to *;
For teaching the tones and modulation, recognize the tones of the scale by
these tone-names are arranged in a observing the mental impressions
musical chart called a Modulator :
peculiar to each. The parallel columns
of the Modulator show the relation of
key to key, and may be extended
through all the sharp and flat keys, the
d 1
fl

t - m* -1
former lying to the right, the latter to
the left of the central column. Sharped
i -=- r -s tones take the sharp vowel e t flat tones
s DOH' f the broad vowel a (ah). In modulating,
TE m so-called bridge-tones are added in the
i ta I* notation in the form of small letters in-

m LAH ~ r dicating the relation of the modulating

se
tone to the key just left, the
large letter
r
la
- SOH d showing the relation of the tone to the
bafc new tonic ; thus *d means, that so A of
*
the old key is doh of the new, as in
d FAH modulating from C-major to {/-major.
t,
ME 1,
For a mere chromatic passing-note,
ma re however, or a transient modulation, the
l( ^ RAY s, chromatic syllables are employed In

s,
- deDOH - f,
the printed notation, equal spaces rep-
resent equal times, and fractions of
t, m, time are shown by fractions of space ;
the beats (" pulses") are represented
nij 1|
-=r
T| by regular intervals of space. A
thick
T{ bar marks the primary accent (strong
S, d!
pulse) ; the weak pulse is preceded by
a colon a shorter bar marks the sec-
;

ta m la
ondary accent a dot midway in a pulse-
;

t
space marks a half-pulse ;
and quarter-
pulses are marked by commas. The
continuation of a tone is indicated by a
This arrangement shows the exact dash, while a rest (silence) is left simply
position of each tone in its relation to as a blank space. In lieu of protracted
ll "
the key-tone ; in fact, the fundamental explanations, the hymn America is

principle of the method is key-relation- here appended in the Tonic Sol-fa

ship, and that the character of every notation :

GOD SAVE THE QUEEN.

(America.)
Key A, Arr. by HARRY BENSON,
m
d : d
Long live

: 1

: 1,

Sweet land
 TONISCH-TRACT. 205

Despite strenuous opposition, the Tonic toucher le

piano. (Jouer is the univer-
Sol-fa method continues to spread and ; sally applicable and more modern term.)
it deserves to, having triumphantly 2 (noun). Touch, manner of ma-
proved its thorough excellence both in nipulation.
principle and practice. Touchette Fret.
(Fr.)
To'nisch (Ger.) Tonic, i. e. pertaining
Toujours (Fr.) Same as Semfre.
to the tonic.
Tourmente>e Overdone ; as- by
(Fr.)
To'no (It.) Tone key. ;
an overplus of eccentricity, ornamenta-
To'nos (Gk,), To'nus (Lat) I. Atone tion, unusual or disconnected harmo-
(whole tone, major second). 2. A nies, oddities of instrumentation, and
mode. the like.

Toquet (Fr.) Toccato.

Tourniquet (Fr.) Plug or cap.
Tostamen'te (It.) Rapidly and boldly.
Toy Symphony. (Ger. Kin'dersinfonit;
To'sto (It.) The phrase fiu tosto is Fr. Poire des Enfants.) The original
used by Beethoven in the sense of
u toy symphony was written by Haydn in
"rather", quasi"; as Allegro molto, 1788, with parts for 6 toy instr.s (a
tosto presto ,
fib "very fast; nearly cuckoo-pipe r playing c and a quail- *,

jresto" call in/, a trumpet and drum in G, a

Touch. (Ger. An'schlag; Fr. toucher; whistle, and a triangle), with 2 violins
It. ta'sto.)The method and manner of and a double-bass. Key, C-major. It
has been variously imitated.
applying the fingers to the digitals of
keyboard instr.s. Trackers. (Ger. Abstratften; Fr.
Touche (Fr.) i. A key (digital). 2. A a&r/g/s.) See Organ.
fret. 3. A fingerboard, either with or Tract. (Lat. tractus.) An anthem on
without frets, verses usually taken from the Psalms,
Toucher <Fr.) i (verfy. To play, as substituted, from Septuagesima to
206 TRADOTTO-TREIZIEME.

Easter eve, for the Gradual, or for the EQ raised the new pitch by a fourth,
Alleluia following the Gradual, in the 1. e. lowered the original pitch by a tone,
R. C. and some other services.
Transposing Instruments, r. Those
Tradot'to (It) Arranged ; transposed. the natural scale of which is always
written in C-major, regardless of the
Tra'gea der Stimme (Ger.) Port de
actual pitch. 2. Instruments (chiefly
voix.
with keyboards, as the pfte., harpsi-
TrainS (Fr.) Slurred. . . Trainee, same chord, etc.) having some device by
as Sckleifer(b). which the action or strings can be
shifted so that higher or lower tones are
Trait (Fr.) i. Tract. 2. Passage vocal
produced than when they are in the
;

or instrumental run... T. de chant, normal position. . . Transposing scales,

melodic phrase... 7 . a" harmonic, a
1

see Greek music.

chord-passage. 3. An old form of the
trill-sign (*w) ; also//^#*. Transpositeur (Fr.) i. A transposes
2. A mechanism attached to the valve-
Trahtuf (Ger.) In the organ, the in- horn as a substitute for the numerous .

terior key-action, especially the-trackers.

crooks generally used inv. by Gau- ;

Tranclie>e Cut, crossed... C- trot. 3. The transposing keyboard of

1
(Fr.)
trancke (obsolete ;
now C-barrt\ the ft&piano transpositeur, inv. by Auguste
Wolff of Paris in 1873.

Transposition, See Transpose. "

. . Trans-
Tranquillamen'te (It.) Tranquilly, in
positions'skalen (Ger.), transposing
a quiet style; also con tranquillita' . . .
scales.
Tranyuicb, tranquil; often (with '

Transverse flute. See Flute.

Beethoven) equiv, to moderate.
Transcription, i. The arrangement TrascinanMo (It.) Same as Strasd.
or adaptation of a composition for some nando*
voice or instr. other than that for which Trasporta'to(It) Transposed... Chief-
it was originally intended. 2. (Fr.) m trasportatit see Chiavette.
Transcription uniforme^ the uniform Trattenu'to (It.) Held back,
retarding
notation of transposing instr.s, peculiar the tempo. (Abbr. trait.}
to the French military bands, attained
Trau'ermarsch (Ger.) Funeral march.
by noting them all in the G-clef , i. e.
an octave higher than the ordinary Trau'rig (Ger.) Sad, melancholy. -

method. "
Travailler (Fr.) To work". An in-^
Transient, Passing, not principal ; in- strumental part is said to fravailler t

termediate ; as a transient modulation. when it leads while the others act as an

in modulation, an
,

-^-Transient chord, accompaniment or filling... Musique

intermediate chord foreign both to the travailMe, music abounding in passages
key left and that reached. . . Transient and bristling with difficulties.
modulation, a temporary modulation Travel. To 'carry said of sound.
;
soon followed by a return to the key
left Travers^ote (Ger.) i. Flauto travel
Transition. Fr. tran-
so. 2. A tf organ-stop resembling the
(Lat. trand'tio;
orchestral flute in timbre.
sition.) Modulation ; specifically,
i.
a transient one.
2. In Tonic Sol-fa, Traversifere (Fr.), Traver/so (It)
a modulation without change of mode. Transverse. Traverse '(tor'jfaufa tra-
Tran'situs (Lat) u A
passing-through".
fwrso) occurs in scores.
. Tr. regula'ris^ progression bypass- Tre (It) Three. , .A
ire, for 3 voices or
ing-notes ; fa irregula'ris, instr.s; a tre wci, for 3 parts-., TV*
progression
by changing-notes. torde, see Una corda.

Transpose* (Ger. tramponie'rm; Fr. Treble. See Soprano. . .

Treble-clef, G-
-.
transposer; It variat* il tuo'no.) To olef.

perform or write out a composition in a Trede'zime (Gen) A thirteenth.

4 different Transposed mode, one
key. . .

. of, the medieval modes transposed (by a

Trei1>end (Ger.) Urging, hastening;
accelerando\ stringendo.
Jfe in the signature) a fourth above or "
"
An (Fr.) A thirteenth.
fifth below its regular added Treizifeme
pitch. i
 TREMANDO-TRILU
Treraan'do, Tremolan'do (It.) With produced by the extremely :

a tremolo-effect. rapid alternation of down-

Tremblant bow and up-bow, marked
(Fr.) Tremulant.
3. On the pfte., the rapid alternation
Tremblement (Fr.) Trill; tremolo... of the tones of
Trembleri to execute a trill or tremolo. a chord, e.
g.
Tre'molo "a
quivering, flutter-
(It., written :
-g-= or
ing ;" comp. Vibrato.) I. In singing,
a tremulous fluctuation of tone, effective ^^5^33?
in highly dramatic situations, though played:
frequently a' mere mannerism or vocal-
defect. 2. On stringed instr.s, an effect (2 examples from Gade, Op. 51):

i. Written: played :

2. Written: played:

J
(This last is simply a trill without after- Tres (Fr.) Very; molto.
[N.B. The pfte.-tremolo is not al- Triad. (Ger. Drei'klang\ Fr. and It
beat.)
" "
ways, written as an exact abbrevia-
^ triafde?)of aA three-tone
^j -
chord com-
tion (comp. Abbreviation 2); e. g,, &
posed given tone (root) with its
may ^BaHESsTSEPSS third and fifth in ascending diatonic
signify JgSajgJgJgpJgJg order. .Harmonic triad^ a major triad
.

instead. 11111111,
^ in case the
Triangle. (Ger. Triangel; Fr. triangle;
s
of J^J J^J*
tempo is It trian'golo.) An orchestral instr.
slow enough to admit of the former of percussion, consisting of a steel rod
reading.] 4. A fluttering effect pro- bent into triangular shape, one corner
duced by the tremolo-stop or tremu-
being left slightly open it is struck with ;

lant. 5. A tremulant a metal wand. The rhythm alone be-

With a tremulous, ing noted, the triangle-part is usually
Treitiolp'so (It.)
fluttering effect. written on a single line, headed by the

Tremulant. A mechanical device in the /zff&-signature only.

organ for producing a tremolo. It con- Tri'as'(Lat)
A triad.
sists of a valve or arm of thin metal
-

Tribrach, A metrical foot of 3 short

which, when set in action by a draw- syllables, having the ictus on either the
stop, partially, checks the inflow
of first or second, thus: (~> ^or^ ~).
wind, by $rhich latter it is forced to os- Tri'chord. A 3-stringed instr. 7H-
cillate rapidly, the consequent alternate
chord pfte., one having 3 strings (uni-
checking and admission of the wind to sons) to each tone throughout the greater
the pipes causing a tremulous tone.
part of its compass.
Organ-pipes producing a similar tone Trich'ter Tube (of a reed-pipe);
without the tremulant are those of the (Ger.)
bell (of a horn or trumpet).
Often
PiffarOt Undo, maris, etc. Schall' trickier.
Tremulie'ren (Ger.) To execute a trill An a cappella compo-
Trici'nium (Lat.)
or tremolo; also sometimes used (as a
sition for 3 voices.
noun) for vibrato.
An old English country- Tridiapa'soa. A triple octave.
Trenchmpre. Trill. Tril'ler; Fr. trite; It
dance, in lively tempo and triple or (Ger.
" r 01
(Also Shake.) [Sign
compound duple time.
Trenise' (Fr.) A ; ObS. /., +,
figure in the quad-
, rille. ~~ c ^., A
grace occupying
the en-

See Ttrfodion. tire time-value of the principal note*

Trepo'dion.
208 TRILL.

being the rapid and even alternation of
the latter with a higher auxiliary (the
maj. or miru second above); except
when the time for its execution is so
brief as to reduce it to a mere turn, or
an inverted mordent. In modern mu-
sic, the trill generally begins on the
principal note (a), and ends with an
after-beat (), which should be written
out ; if to be begun on the
auxiliary, an
appoggiatura should be set before the
*

principal note (c).

a
A ( ) fr ft) tr

tr
rrprfl
A
dotted quarter-note would call These are the typical forms of the long
forone more group of 4 i6th-notes ; a
trill; they differ in different kinds of
I for 2 such additional groups ; etc. time; e.g.

or when preceded by an ascending appoggiatura :

the tempo also exercises a controlling time-value of the principal note per-
mits of such extension, e.g.
influence, the per-
following trill: formed :

-r^ passing over No. 6, written thus :

E' into
,
(All commodo)

would be
executed :

(Presto). The last is one form of the

short tritt) which might, in turn, be- The after-beat may be modified chio?
come a long trill ir frtsto, when the matically, as at No. 3, or thus :
 TRILL. 209

(adagio)

(all , moderate) (presto)

It is often in place when not written it being usually required where the trill
put (comp. Ex. b under chain of trills)\ is followed by an accented note ; though
its introduction is then either a matter the next three examples require no
of taste, or depends on what follows, after-beat :

Successive trills, even though alike in i reason of the notes immediately prt-
notation, may diffe* in execution by I
ceding them:

A trill on several tones in direct sue- 1 it may be performed with or without aa

cession is called a chain
of trills ;\ after-beat:
 TRILLERKETTE TRIPLE-CROCHE.

though in case any step is merely a chromatic alteration of a principal note,

the after-beat is best omitted :

the following requires short trills like cable to the execution of the trill is one
inverted mordents :
equally applicable to all other graces ;
namely, that it must exactly fill out the
time allotted to it, neither accelerating
(all-.)
nor retarding the rhythm. peculiar A
mode commencing the trill, called
of
the ribattuta\ and still sometimes em-
ployed by vocalists, flutists, and violon-
cellists on account of the smoothness
attainable thereby, has the following
The only rule now universally appli- forms :

'

0) ,

5g5S
In the lyth and i8th centuries, and Tril'lerkette (Ger.) Chain of trills.

early in the igth, a common practice was

to begin the trill on the auxiliary and
Trillo (It.) Trill. (N. B. The tritto de-
',

end on the principal note. For varieties scribed in Caccini's Singing Method
of
"

the "
trill indicated by the signs (1601) consists of the rapid repetition
^
A*V, etc.,
compare Graces of a single note. ..He also mentions
Double and Trifle
Mordent^ Signs.,. another grace which he calls the Gruppo,
Trills, in alternate thirds, sixths, etc.,
for both hands, frequently occur in
which closely resembles the modern
modern pfte. -music. shake :

GROVE.)- ' Trilh capri'no, see Bocks- theme and

division set between the first
triller. and contrasting with it by
its repetition,

Trine. A 3-tone group, or triad, com-
posed of any given tone (the rooi) with
its major thirds above and below (as
a more tranquil movement and canta-
bile style ; called "trio" because writ-
ten in 3 parts, in contrast to the ordi-

Afy-C-JS). Compare Duodene.

nary 2-part style of the principal .subject
Trio'le (Ger.), Triolet (Fr.) Triplet
TrinVlied (Ger.) Drinking-song.
A Triomphale (Fr.), Trionfa'le (It)
Tri'p (It.) i, composition for 3
voices or parts, (a) The Instrumental Triumphal.
Trio, usually in sonata-form, is most Triomphant (Fr.), Trionfan'te (It.)

commonly either a Pianoforte Trio Triumphant.

(pfte., violin, 'cello), or a String Trio Trip'elfuge(Ger.) Triple fugue. . .
Trip'-
(violin, viola, or 2 violins and
'cello ; elkonzert, triple concerto (for 3 solo
Compositions for 3 concerted instr.s with orchestral
'cello). accomp.) . . . Trip*-
instruments, accompanied by a fourth eltakt, triple time. . .
Trip'ehunge, tri-

playing a basso continue, were formerly ple-tonguing.

also styled trios. . .An Organ Trio is a See Organum.
Tripho'nia.
3-part organ-piece for 2 manuals and
Tri'pla (It.) i. A. triplet 2. Triple
pedal, the registration of the manuals
The
time. . .
Tripla di mi'nima, 3-2 time.
being strongly contrasted. (b)
Vocal Trio is usually in song-form or Triple counterpoint, fugue, time. See
aria-form. 2. In minuets, marches, the nouns.
gchera, etc,, the trio or alternative) is a Triple-croche
(Fr.) A 32nd-note.
 TRIPLET-TROMMEL.

Trip'let. (Ger. Triple; Fr. triolet; It nun's-fiddle). It occasionally had an

tri'pla.).
A
group of 3 equal notes to additional octave-string, and some speci-
be performed in the time of 2 of like mens were provided with sympathetic
value in the regular rhythm ; written strings within the body. . . TV. sorda,
muted trumpet. Tr. spezza'ta, earlier
. .

name for the tromba bassa (bass trum-

pet).
Trip'lum (Lat.) In medieval music, a
Trombet'ta (It.) i.
(Also trombettattfre^
third part added to the original Altus
and Bass'us of the organum, and gener-
trombettiefre^ trombetti'no.) trum- A
peter. 2. A small /trumpet (dimin,
ally the highest of the 3 ; hence, Engl.
trombetti'na).
treble.

Same as triple Trombone', i. (It and Fr, trombo'ne;

Tri'pola (It.)
Ger. Posaufne) An orchestral wind-
Trisemito'nium (Lat.) Minor third. instr. of metal, belonging to the trumpet
Tristez'za (It.) Sadness, melancholy ; family, with the distinctive feature of
from tri'sto,-a sad, afflicted.
t
the slide-mechanism (see Slide), in
which shape it dates probably from the
Tri'te (Gk.) The third tone from above
1 5th century. It is constructed in 4
in the conjoined, disjoined, and extreme
sizes (alto, tenor, bass, and the more
tetrachords. See Greek music.
recently added contrabass); the tenor
Tri'tone. (Lat. and Ger. Tri'tonus; trombone is the one in most general use.
Fr. triton; It. tri'tono.) The interval Gevaert suggests that the tromba da
of 3 whole tones,
or an _ augment- J A .

gn*
tirarsi of Bach's scores was possibly a
soprano tr., the place of which was usu-
ed fourth ; as \j '

It is a
ally supplied by the cornetto*
Tritt (Ger.) Treadle or pedal. ... Tritt'- non-transposing instr., and is written
in the or tenor) for the alto
-clef (alto
harfe, pedal-harp.
and tenor instr.s, and in the ^-clef for
Tri'tus (Lat.) The third authentic
the bass and contrabass. In playing,
church-mode (Lydian).
there are 7 positions, obtaine on suc-
Tro'chee. (Lat. trocha'us^ A metri- cessive descending semitonic degrees
cal foot of 2 syllables, long and short,
by gradually drawing out the slide, the
with the ictus on the first (-^ ^).
istfos. being when the slide is pushed
Trois Three. .Mesure a trois-
(Fr.) .
completely in, i. e. when the tube is
deux, 3-2 time a trois~huit, 3-8 time
; ;
shortest in each position the tones
;

a trois-quatre^ 3-4 time. which can be regularly made to speak

A round or catch. are the partials 2 to 8. Utilizing all 7
Troll.
positions," the tenor trombone in has
Trom'ba (It.) A trumpet... Tr. croma'- -a chromatic
'

\-
Ity
this is
chromatic trumpet, valve-trumpet.
tica^
Tromba rnari'na compass of ,
y lljKT^
^ e re ~
. . (Sea-trumpet, 2! C5 '
ular or-
Marine trumpet, Nun' s-Jiddle; Ger.
octaves, j Jnf
chestral
Non'nengdge, Trum'$chdt\ a very
compass, above which are the 4 difficult
ancient single-stringed bow-instr., hav-
ing for a body a long thin wooden shell
tones J 1 , A
**fc and #; while below,
separated by a tritone from the rest of
made of several staves, a flat betly, the scale, are the so-called pedal-tone$
short neck, and I thick gut string gen-
The orchestral
gy
erally tuned to C (sometimes
one or
of the
sS?
^
1

|~" compass
i .

strings as drones). One

i

more additional "^

-T rf trombone is
foot of the bridge rests loosely on the
K-JT
** * ** *
^T
that of
belly, the harsh vibration thus induced
rendering the tones very powerful, so
the bass trombone
trombone possesses greater agility than
A/ 1
, The valve-

that the instr. was formerly used in the

the slide-trombone, but is apt to be
English navy for signalling. The nat- it in purity of tone.
inferior to (Comp.
ural harmonics have a far more pleasing
the
art. Trumpet^ last sentence.) 2. In
quality of tone, which accounts for, the organ/ a powerful reed-stop (same
comparative popularity of the instr., as Posaune).
in Germany, from the I4th to the i6th
century,
in German churches and con- Trom'mel (Ger.) drum. . . A
bass, the rapid reiteration of a
' '
basa tone
vents (whence the name Nonnengeige" ,
212 TROMPE TRUMPET.

(a term of disparagement). . . Trom'mel- Trouvere, Trouveur (Fr.) One of a

class of medieval bards in northern
kloppelor -stocks, drumsticks. . Gro'sse .

TV., bass fawo...*Mili tar*trommel^ France, especially Picardy, contcmpo*

military drum, side-drum... Roll'
trom- rary with the troubadours and often
mel, tenor faum.i.Wit'beltronimel, confounded with them, though their
side-drum. poems were chiefly of an epic character
and in strong contrast to the elegant
Trompe (Fr.) A hunting-horn former-
We
owe to
lyric verse of the latter.
;

ly, a trumpet. . . Tr. de Btarn, or tr* a

the trouveres, besides their gra;id epics
laquais, Jew's-harp. and the -fabliaux, chansons dege&te, etc.,
the origination of the prose tales of
Trompe'te (Ger.) Trumpet. . .
Trompe'-
tengeige, tromba marina. . .
Trompe'- chivalry (the famous Round Table
tenregister,-werk,'Zug, trumpet-stop. . . cycle).
Trompiter, trumpeter.
Gloomy, dismal; sad, Triib(e) (Ger.)
Trompette (Fr.) Trumpet... TV. a
i. melancholy.
coulisse, slide-trumpet... TV. harmo-
Trug'fortschreituiig (Ger.) Progres-
nieuse, trombone ... TV. tfharmonie, or- sion of a dissonant chord to a dissonance
chestral trumpet. . TV. marine* tromba
.
of a instead its resolution to conso-
marina. 2. Trumpeter bugler (for
;
nance. . .
TrugschlusSi deceptive ca-
cavalry). dence.

TfOpe. (Lat tro'pus, pi. tro'pi; Ger. pi. I

Trump. (obs.) Trumpet. 2.
Jew's-
-Tro'pen.) One of the numerous formu-
harp.
las, in the Gregorian chant, for the close
of the lesser doxology following the in- Trumpet, i. (Ger. Trompef'te; Fr. trom-

troi't. Originally, there was but one pette; It. trom'ba.) An orchestral metal
for each mode; the different. formulas wind-instr. having a tube of somewhat
are now termed differentia. narrow scale, and a cupped mouthpiece ;

the convolutions of the tube are straight-

Trop'po (It.) Too, too much,; allegro, er than in the horn, and the bell is
ma non troppo, rapid, but not over- much smaller ; length of tube, for the
rapid.
typical pitch in Z>, is about 7 ft.
3^ in.
Troubadour (Fr.; Span, invader*; It. By the aidcrooks the pitch of the
of-

trovato're; comp, Trouvere.) One of prime tone in the natural trumpet may
a class of poet-musicians originating in be modified to any degree of the 12*
Provence, and flourishing in southern tone chromatic scale (A, Jty, B, C, Efy,
France, northern Spain, and Italy from D, fy, E, F, /J{, G, A\> and also to
;

the nth century till toward the close of high A and Jfy). The natural trumpet
the I3th. The chief theme of their has the following scale
lyrical effusions was love (comp. Meis-
tersinger\ Their art, at first cultivated
by princes and knights, gradually de-
cayed, passing into the hands of their
former attendants, the Me'nestrels.
which, by combining the tones obtained
Troupe (Fr.) A band or company of by using- the various crooks, gives the
musicians. following complete compass :

Good in all nuances

The tone is brilliant,

penetrating, and valves (comp. Valve). [N. B. With
of great carrying power; the
stopped regard to the assumed inferiority in
tones, however, are so disagreeable as tone of the valve-trumpet and valve-
to be practically useless. The trumpet horn, as compared with the natural
is a transposing instr., and music is
its instr.s, no an authority than Ge~
less
written in the -clef . The chromatic vaert writes: "The chromatic horns
or valve-trumpet is provided with 3 and trumpets, when well constructed,
 TRUMSCHEIT-TURN.

possess all the qualities of timbre metal, used in tuning metal flue-pipes
u coned
proper to the natural instr.s, in addition in the organ.
"
Their tops are
to their own resources ".] 2. In the out by inserting the point of the cone f
organ, an 8-foot ree^i-stop of powerful this increasing the flare and raising the
"
tone. pitch; and coned in" by
jjushing
the inverted cone down over their tops,
Trum'scheit (Ger.) Tromba marina.
decreasing the flare and lowering the
TVba, i. The straight trumpet of the pitch. . . Tuning-crook, a crook. . Tun- .

Romans. 2. A name applied to the 3 ing-fork* a 2-pronged instr, of metal,

lowest members of the saxhorn family. yielding one fixed tone (usually a ;
1

The original tubas inv. by Wieprecht
of Berlin in 1835, are of broad scale
and have 4 valves, giving a complete
chromatic scale of about 4 octaves.
The bass tuba in -5ft, and contrabass
tuba in^i|7,are the ordinary orchestral
sizes in Germany ; these,
others, are general use in military
in
bands. . . Tuba curva, a species of nat-
ural trumpet of very limited compass,
Tonic Sol-fa, 2 ), and employed to give
the pitch for tuning an instr., begin-
ning a vocal performance, etc. . . Tun-
ing-kabtmer, a hand-wench used in
tuning pftes. . . Tuning-horn, a tuning-
cone. . . Tuning-key, a tuning-hammer.
and also some . .
Tuning-slide, a sliding U-shaped
section of tne tube in certain brass
instr.s, used to adjust their pitch to
that of other instr.s. . Tuning-wire, .

taught in the Paris conservatory at close comp. Pipe 2, b.

of 1 8th century. 3. In the organ, a
Tuo'no (It.) A tone ;
a mode.
reed-stop (tuba mira'bilis) on a heavy "
Tur1>a crowd, throng"). In
pressure of wind, of very powerful and
(Lat.,
medieval passions, the chorus repre-
thrilling tone.
senting the Jewish populace, or the
Tnlncen (Lat) A blower of the trump- heathen, and taking part in the action
et or tuba, of the play.

Tucket. A flourish of trumpets. Tur'ccva Turkish. . .Alia turca,

(It.)
in Turkishwith a boisterous
Tumultuo'so (It.) Vehement, impetu- style,

ous
and somewhat monotonous 'harmonic
; agitated.
accomp.
Tun. Drum of the aborigines of Yuca-
tan;
Turkish music. See Janizary music.

Tune. An Turn. (Ger. Dop'pelschlag; Fr. groups;

melody; a term
.

air, chiefly
It. gruppet'to.) Sign fiv; obs. GO, $ g ,

applied to short pieces or familiar melo-

dies of simple metrical construction. (back turns). A
melodic grace consist-
ing, in what may be termed the typical
Tuner. I. (Ger. Stim'mer; Fr. accor- form (the direct turn), of 4 notes, a
deur; It. accordafo're^ One who tunes principal note (twice struck) with its
instr.s as a profession* 2. Same as
higher and lower auodliary (the maj. or
Tuning-cone. 3. The. adjustable flap min. second above and below, each
or incision at the top of an organ-pipe, struck once). The
sign is set either
by setting which the pitch is regulated.
after, or over, the note modified ; a
chromatic sign over or under the turn-
Tuning, i. The act or process of
sign alters the higher or lower auxiliary
bringing an instr. into tune. 2. The
accordance or accordatura of a stringed respectively.
instr. . Tuning-corn\ a hollow cone of
. I. Turn-sign after the note.
314 TURN*

Except in extremely rapid move- 1 before the turn, for one-half or % of its

zaents, the principal note 5s dwelt on, I time-value :

and the turn is executed in equall usually loses a larger proportion of its
notes. But a dotted principal note! value:

and in. a slow movement the second

member of the dotted rhythm (e. g. the d to be played :

in the last example) is frequency rob-

bed of half its value, which is added to
the repercussed principal note; this II. Turn-sign over the note* In
form is occasionally called a partial
slow tempi, or where the principal note
turn. Mozart some-
requires special stress, the turn may be-
gin on the principal note, as in :
 TUSCH-TYPOPHONE. *

ornament was called the shaked

this last I
Commonly, however, this turn begins
turn (Ger. pralknder Doppelschlag). I
immediately on the higher auxiliary :

III. The Back Turn (sign the in- on the lower auxiliary, and the principal
j
verted or vertical turn-sign GO g) begins 1 note is generally dwelt on after the turn :

I co

IV. The sign for the Double Turn Twenty-second, A triple octave.
v(f) calls for a turn in 2 parts at once.
Twice-accented (a", b", etc.) See
Tusch (Gen) A thrice-repeated flourish Pitch, absolute.
of trumpets accomp. by the roll of the' Two. Two-time, 2-time^ duple time. . ,

drums, or a flourish by the wind-instr.s

in the orchestra, in token of applause Two-lined octave -,
also 5, 7, etc. ;
see
or welcome. Pitch, absolute.

Tut'to,-a (It) All, whole; con tutta Tympan, i. A timbrel or drum. 2.

An obsolete Irish instr., probably a
lafor'za^ with full power or strength. kind of crowd. .
'. Tutti (pL), in scores, indicates the
entrance of the whole body of instru- Tym'pano (It.) See Timpano.
mentalists or vocalists after a solo
Tympanon (Fr., from Gk.) i. Dulci-
(comp. Solo). . . Tutto arco, whole bow. -
mer. 2. Same as tympanum.
Tuyau (Fr.) A
pipe ; a tube (as of the Tym'panum (Lat.) An ancient drum,
trumpet). . . 7! h> anche, reed-pipe. . T. .
sometimes having one head like, a tam-
& louche flue-pipe. . T. cforgue, organ-
-,
.
bourine, sometimes two, closed, and
pipe. rounded below like a kettledrum, and
Twelfth. I. The interval of an octave beaten with a stick or the hand.

plus a fifth ; a compound fifth. 2, A Ty'pophone. A keyboard instr., the

mutation-stop in the organ, pitched a tones of which are produced by steel ^

twelfth higher than the diapasons. wands and a hammer-action similar to

2l6 TYROLIENNE UNGERADER TAKT.
that of the pfte. Compass 4 octaves word Muta. 2. A scordatura of
l
(chromatic) from c to c* inclusive. stringed instr.s,
Tone sweet and sustained, resembling Un feu plus
Un, line (Fr.) A, or an, . ,
that of the harmonic flute.
lent) a little slower,
Tyrolienne (Fr.) Tyroiese dance orA an..,/a
Un, u'no, u'na (It.) A, or
dance-song, a peculiar feature of the
corda, with the soft pedal (pfte.) ; Tre
latter being the Jodler, especially as a
corde then signifies that the soft pedal
refrain. Hence, a modern round dance is to be released.
in 3-4 time and easy movement.
Unaccented octave. The small octave
(see Pitch, i).
u. Unacknowledged note. An unessen-
tial or passing-note.
Ol>en (Ger.) To practise.
Un'ca (Lat.) Hooked hence, an eighth-
(Her (Ger.) Over, above,.. tt'berblasen,
;

note bis unca (twice hooked), a

to overblow ; overblowing. . O'ber- . (J)' 9

gangt a transition, modulation. ..ff'&er- sixteenth-note( fe),'

gefiihrte ^Stimmen, divided stops (or- Uncoupled. (Ger. Koppel ab.) In or-
gan). . .
tjr'bergreifen, (a) to cross the
1 gan-music, a direction to push in a
hands in pfte. -playing ; (&) same as De- .
coupler previously drawn. (Usually
mancA/;' ubergreifendes System^ , in "off" ;
as a to Pel
"
off)
Hauptmann' s theory of harmony, a key- 7
Un da raa'ris (Lat. wave of the sea".), ,

system (i. e. a chain of 3 fundamental In the organ, an 8-foot flue-stop pitched

triads) formed by adding to the given a trifle lower than the surrounding
key-system a new link or triad on the
foundation-stops, the interference of its
dominant or subdominant side e. g. ;
tone with theirs producing beats and a
adding to d/F-a-C-e-G-b-D/f the triad
wavy, undulatory effect of tone.
D-f$-A, and thus forming the new
Unde^ma (Lat. and It.) The interval

G'ber- of an eleventh.
leitung, transitional passage. . .

w&ssig, augmented (of intervals).:, Undec'uplet. group of A

equal n
fc O'berschlagen (a) to cross hands (on a notes to be performed in the tune of 8
keyboard instr.); (b) to overblow (of (or 6) of like value in the regular
organ-pipes and. wind-instr.s); (c) see rhythm.
umschlagen . . ff'bersetzen, to pass
.
Under-chord. See Phone, i . . . Under-
over (as a finger over the thumb on the Undertones
burden, refrain.
song t
. .

keyboard, or one foot over the other on (from Ger. Un'tertone), the lower par-
the pedals) . . ff'bersteigen, to rise
.
tials. (See Acoustics.)
above said of a vocal part which tem-
;
Underline (Ger.) The interval of an
porarily ascends above one naturally
eleventh.
higher.
Undezimo'le (Ger.) An unde.cuplet
tilmng (Ger.) Exercise ; practice.
Undulazio'ne (It.) On bow-instr.s, the
Ugua'le(It.) Equal, like, even. . .
Ugua> vibrato effect.
lita\ equality, conformity. . .
Ugual-
men'te, equally, alike, evenly. Un'eigentliche Fu'ge (Ger.) Fuga
Human. irregularis.
Uma'no,-a (It) . .
Voceumana,
Un'endlich Infinite.
(a) vox humana ; (b) cor anglais. (Ger.)

Um'fang (Ger.) Compass. Unequal temperament. See Tempera-

ment. . .
Unequal voices, voices different
UnVkehrung (Ger,) Inversion. in compass and quality mixed voices. ;

Umo're (It.) Humor. One forming no

Unessential note.
Um'schlagen (Ger.) i. Of the voice, to essential part of the harmony or melody,
break; umschlagende Stimme, voice as passing-notes, changing-notes, many
alternating between chest-tones and graces, etc.
falsetto. 2. Of
wind-instr.s, to over- /
blow ;
also compare Goose. Ung arisch (Ger.) Hungarian.
Un'gebunden See Gebunden.
Um'stimmung (Ger.) change of i. A (Ger.)

pitch or key in wind-instr.s or the ket- Un'geduldig (Ger.) Impatient.

tledrums, called for in scores by the Un'gerader Takt (Ger.) Triple time,
 UNGESTRICHENE OKTAVE-VALVE. 217

Un'gestrichene Okta've (Ger.) Un- Un'ruhig(Ger.) Restless(ly), unquiet(Iy).

accented octave (the "non-lined," or
Un'schuldig (Ger.) Innocent(ly).
small, octave).
Un'ter (Ger.) Under, below, sub-...
Un'gestiim (Ger.) Impetuous(ly).
Un'terbass^ subbass. . .
Unterbroch'm,
Un'gleich (Ger.) Unequal. Un'gleich- . .
interrupted. . . Un'ter dominante, .sub-
schwebende Temperatur', unequal tem- dominant. . . Un'ter leitton, dominant
perament seventh. Un'termediante, submediant
, .

f
Un'harmonisch (Ger.) Inharmonic. . . Un'tersatz, subbass. . . Un tersetzen,
Unichord. I. Mono- to pass under (see Oberseteeri). . Un'- .
(Lat. unickor'dum)
chord. Tromba marina, terstimme, lowest part; bass
2. part.,.
Un'tertaste, a key (digital) belonging
Unio'ne (It.) Coupler. to the lower or white row ; a white key.
Unison, (Lat. uniso'nus; Ger. Unison'; . . Un'tertone Un'ter tonreike, the
(pi.),
Fr. unisson; It. uni'sono.} Properly, series of lower harmonics of a given
a tone of the same pitch as a given tone ;
the undertones; opp. to Qber-
tone ; by extension, a higher or lower tone.
octave of a given tone as alVunhono
Un'vollkommen (Ger.) Imperfect.
;

(It.), & V unisson (Fr.), in unison, at

the unison, progressing in unison (in Uo'mo (It.) Man. (See Primo.)
this latter sense often found in scores, Up-beat. (Ger. Auftaktj Fr, levt: It.
as where a double-bass part is written leva'ta?) I. The raising of the hand in

out and the 'cello has merely the direc- beating time; opp. to down-beat. 2.
tion col basso alVunisono [c. B. alFuni- An unaccented part of a measure. '

sono\, i. e., the same part an octave Up-bow. (Ger. Hinaufstrich; Fr.
higher). Also, in the pianoforte, a jboussJ; It. arco in su.) In playing bow-
of 2 or 3 strings struck by one
group instr.s, the stroke of the bow in the
hammer and yielding one tone; one direction from point to nut ; sign V or
such string is called a unison-string.
A, which is called the up-bow mark.
Finally, sometimes equiv. to Prime. See Pianoforte.
Upright piano.
Unitamen'te (It.) Unitedly, together
f Ut. I. The first of the Aretinian syllables
with. Uni to,-a,
. . united, joined.
(see Solmisation). 2. Name in France
U'no (It.) See Un. of the note C. . .In the French system
Unrein (Ger.) Impure, false; out of of marking the absolute pitch, the sev-
tune. eral octaves are marked as follows :

French system Octavea octave_! octavej octave a octavea octave^ octave^

begins on #/_ 3 # i ^i /a /s /* *rf

English system Ca Ci C e c3 c1

Thus Middle-C is marked cl in the Valeur (Lat.), Valo're

(Fr.), ya^or
English system, and ut* in the French. (It.) Value, i. e. time-value. (Ger.
Ut (Lat.) As, just as, like ; ut supra, WtrtJL)
as above. Valse(Fr.) Waltz; valse chantte, waltz-
song ; valsc de salon, a salon-piece in :

waltz-time for pfte.

v.
Value. (See Valeur.) The value (or,

V, An abbrey.
for Vide (v. s. vide = better, the fcW-valu'e) of a note or rest,

sequens), Violino, Volti (V. S. volti = is itslength or duration as compared

subito), Voce (m. v. mezza voce.) = (a)with other notes in the same move-
u
V, ory ., Violoncello;^, Viola; T ment, or (t>) with the standard whole
note a
or any fractional note.
or "K, Versicle; Vv., molini.
Va (It.) Go on, continue. . . Va cre- Valve., i. (Gen Venti?;^ piston; It.

In certain brass
scendo, go on increasing (the power). val'vola, pisto'ne.)
wind-instr.s, a device for diverting the
Vacillan'do (It.) Vacillating ; noting a
air-current from the main tube
to^an
passage to be performed in a wavering, additional side-tube, thus lengthening
hesitating style. !

the air-column and lowering the pitch

Va'gans (Lat.) See Quintus. of the instrument's entire scale* By
Vaxgo (It.) Vague, dreamy. the aid of valves, natural instrs-are
 Iti VARIAMENTE-VENTIL.

altered to chromatic instr.s commanding Mozart, and fully developed by Beet

a chromatic scale throughout their com- hoven) may employ the strongest con-
trasts of rhythm, harmony, and tonality,
(Compare Horn^ Trumpet; also
>

pass.
Key 3.)The valves are operated by the sole limitation being that a memory
the fingers of the right hand; their so to speak of the theme shall in
usual number is 3, No. I -lowering the one way or another be kept alive
pitch by (approximately) I tone, No. throughout.
by a semitone, and No. 3 by i^ tones. Varia'to (It), Van* (Fr.) Varied...
Two systems are in ordinary use ; the Air van/, Mme van/, same as tema
1

Piston-vaZvt, and the Rotary Valve. con variazoni.

(a) The Piston-valve is a cylindrical
Varsovienne(Fr.; It Varsoviatna.} A
plunger working in an air-tight cylinder, dance in moderate tempo and 3-4 time,
terminating in a short rod surmounted
with auflaktoi a quarter-note, the down-
by a button, and pierced crosswise by beat of every second measure being
2 round holes the enclosing cylinder
;

one strongly marked presumably invented

;
is similarly
pierced, on either side,
in France about 1853, as a variant of
perforation communicating with the
the Polish polka, mazurka, andredowa.
main tube, the other with the side-tube.
When the piston is not depressed, one Vaudeville (Fr.) Originally, a popular
of its holes is opposite to those in the convivial or satirical street-song, or song

cylinder which communicate with the sung about town ; by the introduction
main tube, so that the open (natural) of such verses into light plays and

tone of the tube can be sounded on operas the way was paved for the mod-
;

ern vaudeville, a light comedy, often a

depressing the piston with the finger,
communication with the main tube is parody, in which dialogue ao panto-
cut off, but opened with the side 7tube, mime alternate with witty and satirical
so that the lower tone sounds. On re* couplets generally set to well-known
airs.
leasing the piston, a spiral spring popular
causes its return to the original position. Veemen'te (It) Vehement, passionate.
The
Rotary^
Valve is "a
four-way . .
Veemen'zdi con, with veheraen'ce,
stop-cock turning in a cylindrical case passion,
in the^plane of the instrument, 2 of its
Veil. In singing, an obscuration of tone,
4 ways forming part of the main chan-
on either natural or superinduced by out-
nel, die other 2, its rotating through
a quadrant of the ward causes, detracting from clear and
circle, admitting the
air to the oide-tube ", Its manipulation belWike vocalization. A veiled voice is
is lighter than that of the piston, but it called in It. vo'ce vela'ta, in Fr. voix
is more liable to derangement. 2. In sombrte or votl/e.

the organ, the principal valves are the Vela'to Veiled (see Veil).
(It,)
suction-wives or sitckers admitting
.

wind to the bellows and preventing its Velluta'to (It) Velvety.

,

escape ; the waste-pallet, relieving the Velo'ce

bellows of an over-supply of wind and
(It.) Rapid, swift usually ap- ;

plied to a passage to be performed more

;

the key-valves or pallets.

swiftly than those before and after, thus
Ifariamen'te (It) Variously, different- being the opposite of ritenuto. . Veloce- .

ly- mente, rapidly, , , clodssimamen'te^ V

Variance (It and Fr.) variant ; an- velods'simo, with extreme swiftness,
A
other (optional) reading. See Ossia. presto. . .Vehdtbf, velocity.

Variation* and Fr. Variation'; Ventage. (Ger, Tonfloch.) In wind-

(Ger.
instns having finger-holes or keys,
It, variatio'ne.) One of a set or series any
hole to be stopped by a finger
of transformations of a theme by means or-key.
of harmonic, rhythmic, and melodic Vetrtil. i. Valve. 2. In the
organ,
changes and embellishments. In the a cut-off or shutter within the wind-
Double^ or earlier form, the variations trunk, for shutting the wind off from, or
left the melody, key, aivi rhythm of the
admitting it to, certain stops or partial
theme intact, merely embellishing it organs ; often controlled by a draw-
with new and growingly elaborate fig-
stop or pedal... Ventil'horn (Ger.),
uration; whereas the modern temacon valve-horn; Ventil' kornett, cornet k
variazioni (beginning with Haydu and
pistons.
 VENUSTO-VIBRATOR.

Venu'sto (It) Graceful, elegant. Verte (Lat.) Turn oven (See Volti.)
Vepres(Fr.) Vespers. Vertical. Lying in one plane (said of
Veran'derungen (Ger.) Variations. pfte.-strings) ; opp. to overstrung.

Verbin'dung (Ger.) Binding, tying, Verve (Fr.) Spirit, animation, vigor,

connection ; combination. Verbinf- . .
energy.
tie.
dungszeichen,) Verwandt' (Ger.) Related ;
verwan'dte
Verdeckt' (Ger.) Covered, concealed. Tonarten, related keys. . . Verwandt?-

Verdop'pelt (Ger.) Doubled. . .

Verdof- schaft) relationship).

pelungi doubling. Verwech'selung, die tnharmo'nisthe

i. See VerMr*- (Ger,) The enharmonic change.
Vereng'ung (Ger.)
%ung. 2. Harmonic compression of a Verwei'lend (Ger.) Delaying ;
ritenuto.
theme by substituting in the imitation a
Verziert' (Ger.) Ornamented... Ver-
narrower interval for a wider one.
ziefrungy ornament, grace.
Vergniigt'<Ger.) Cheerful, cheery, Retardation.
Verzo'gemng (Ger.)
Vergro'sserung (Ger.) Augmentation
Verzwei'flungsvoll (Ger.) Despair,
(of a theme).
ing(ly); with desperation.
Verhal'len (Ger.) To die away. . . Ver-
Vespers. (It. vSspero; Fr. vfores; Ger,
hal'lend, dying away. The 6th of
Vesper) "Even-song."
Verkeh'rung (Ger.) Inversion (of the the canonical hours.
intervals ofa theme); i. e. imitation by
Vezzo'so (It) Graceful; elegant...
inversion, or by contrary motion,
Vezzosamen'te, gracefully, etc.
Verklefneriing (Ger.) Diminution, x
Vibran te (It,) With a vibrating, agi-
Verkiir'zung (Ger.) Diminution i.
tated effect of tone.

Verlang'erungszeichen (Ger./ Dot of Vibration. (It vibrazic'nt; Fr. vibra-

prolongation. tion; Ger. Schwing'un'g.) The rapid
VerlS'scliend (Ger.) Dying away. oscillation of any tone-producing J>ody,
as a string, an air-column, the vocal
Verrain'dert (Ger.) Diminished (of in-
cords, tte...Amplitude of vibration, the
tervals).
widest departure of a tone-producing
Vermit'telungssatz-(Ger.) Episode. a point
body, towards either side, from
Verrillon (Fr.) An Harmonica 2. of rest. .Amplitude of a single vibra^
.

tion, properly, the departure

of the tone-
Versdiie'bung (Ger.) Shifting pedal,
soft pedal; mit Versch., unacorda; ohne producing body from the middle point
Versch.j tre corde. towards one side only; but frequently
made to comprehend the entire^width
Verschwia'dend (Ger.) Vanishing ; dy-
of the excursion from side to side.*.
ing away. Double vibration, the excursion of a
Verse. A portion of a service or anthem
tone-producing body (as a string)
from
solo voices to chorus.
sung by ;
opp. one side to the other and back again., .
Verse-anthem, see Anthem. . . Verse-
Vibration-number, a figure represent-
. .

service, a choral service for solo voices.

ing the number of vibrations (usually
Vfurset . (It verseftoj Fr. verset) i. estimated by double vibrations) made
Same as Versicle.Z, short prelude Aby a tone. -:'
'

or interlude for the organ. i. On bow-instns, the

Vibra'to (It)
Verset'zen (Ger.) To transpose. . . V wavering effect of tone obtained by
the

sefzung, transposition; Versefzungs- oscillation of a finger on the

rapid
a chromatic 2. In sing-
zeichen^ sign. string which it is stopping.
from
Versicle. In liturgies, a short verse gen- ing, a tremulous effect, differing
the tremolo in not fluctuating from the
forming, together with its re-
erally
of the nature of a
sponse, but one sentence
e. g. ; pitch, partaking ^

Vers. Lord, save Thy people, thrill, or series of very rapid partial in-
Rtsp. And bless Thine inheritance. terruptions of the tone. [Not to be
A verse or stanza. 2 confounded with Tremolo in either
Ver'so (It.) I.
The ill-managed vibrato de-
,

-
An air or tune. sense.]

Verstimraf Out of tune out of generates to a trill* caprino (q. v<)

(Ger.) ;

humor, depressed, Vibrator. A free reed.

220 VICENDA-VIOLA.

Vicen'da (It) Change. . . VicendJvok, madrigal by simple harmoniza-

artistic

changeably, vadllatingly. tionand the more rustic, humorous,

Vi'de (Lat), Vi'di and sometimes loose character of the
(It) See...Vi-de, in
'4 "
scores, a
sign that a cut has been poem.
made, directing the performers to skip Villarec'cio (It.) Rustic, rural
from Vi- over to de.
Vi'na. An ancient stringed instr, of the
Vide (Fr. t "empty".) Open (said of Hindus. The body is a section of
strings). . Corde a vide, open string
.

bamboo, over which are stretched

;

opp. to eorde a jotter, a string to be lengthwise 4 strings, tuned in the

stopped. order dominant, leading-tone, tonic^
Viel (Ger.) Much, great.,. Mitvitkm subdominant; the 1 8 movable frets can
Nach'druck, with strong emphasis... be adjusted to coincide with any one
Viel'Mrig, for several choirs or (di-
f
- of the Hindu scales. There are also 3
vided) choruses... Vietfacker Kon Two gourds,
-
sympathetic strings. fixed
trapunkt, polymorphous counterpoint. at either end of the bamboo, act, as
.
Vid'stimmig, polyphonic. resonance-boxes.
Vifele (Fr.) A
modernized spelling of Vina'ta A
(It.; dimin. vinet'ta.) vintage
weffe*
song, or drinking-song.
VieUe(Fr.) Hurdy-gurdy. (Also vie? to.)
Vi'ol. (It. ; Ger. and Fr. Mia
Vier (Ger.) Four. . Vieraeh'teltakt, 4-8
.
Name of a very ancient type of bow-
time... Vi&'doppelttr Kon' trapunkt,
instr., now obsolete the prototype of ;

quadruple counterpoint. . Vier*fach, .

see/fa*. .. Vier'fUssig, 4-foot.. Vier*-
giftrichen, see Gfstricken z.^Vier*-
hdndig, for 4 hands . . .
Vier*klmg,
chord of the 7th.. . FzV/,?/ (-note),
the violin tribe (but comp. Zmz), from
.
which it differed by having a fretted
fingerboard, a variable number of strings
(from 5 to 8 or more, though the usual
s

number for all sizes wasand in

six),
. . .
quarter-note Vier'telpause, quzcter- the of the body.Both belly
xesk.,.Viervier
f shape
teltakt, 4-4 time...
(usually) and back (always) were 'flat,
Vierzwei'teltakt, 4-2 time. the ribs high, the bouts nearly semi-
Vif, *., Vive, fern, (Fr.) Brisk, lively. circular, the sound-holes like half-cir-

Vigorosamen'te (It) With vigor, ener- cles, and the upper half of the body

gy. , Vigwo'so, vigorous, energetic.

. narrow and pointed. The bridge being
but slightly arched, and having to sup-
Vihue'la. Primitive form of the Spanish
port so many strings, those in the mid-
guitar.
dle could scarcely be touched separately
Villanci'co (Span.) A sacred vocal com- with the bow this circumstance, how-
;

position resembling the English anthem, ever, together with the number and
sung in Spain at the principal festivals peculiar tuning of the strings, greatly
of the Church.
facilitated chord-playing, in which the
Villanel'la (It.) An Italian folk-song violin is comparatively at a disadvan-
of the 1 6th century, differing from the The tuning was as follows :
tage.

Viola alta. Viola tenore. Viola bassa* Violone.

8fa lassa. . . .

viol) (Alto or Tenor viol) (BassvioL) (Contrabass viol.)

i.e. in fourths with one third treble viol; gradually the larger violin-
midway.^
The violsformerly held, in conjunction types were invented, with the above-
with the lutes, the position in the or- mentioned result. During the transi-
chestra now occupied by the violin,
etc., tion, the frets were gradually discarded.
and were not ousted by the latter Vic/la
fairly r. The tenor violin. 2. "A
(It.)
till the
beginning of the i8th century. viol... V, alta, (a) treble viol hence ;

The Bass Viol(i.& in viol-shape, but (b) tenor violin (obsolete name)... V.,
with fewer strings) is, indeed, still
bastai'da, an enlarged viola da gamffoi
found in England, though superseded
originally with 6 or 7 stopped Strings^
elsewhere by the double-bass of violin- to which were added kter :an- equal
The violin first supplanted the
type-
^number of sympathetic strings stretched
 VIOLE-VIOLONCELLO. 221

beneath bridge and fingerboard. . . V. viola... Viole amour, see Viola da-
**
da brac'cio, arm-viol" (hence Ger. more.
Brcttsehe), a viol held on the arm
while playing ; opp. to v. dagamba. . .
Violentamen'te (It.) Violently, impet-
" uously. . . Violent to , violent
V. da gamba, leg-viol/' a large viol
held, like the 'cello, between the knees ; Violet. The viola d*amore. (Sometimes
the bass instr. of the viol family. V. , .
English Violet.)
d'amo'reffi- violed"amour), a tenor viol
similar to the v. bastarda in stringing
Violette (Fr.) Small viola.

and construction, but of course smaller. Violet'ta Small viol. . . Ffc&ito

" (It.)
..V. da spalla, shoulder-viol," a marina, a bow-instr. inv. by Pietro ,

somewhat enlarged v, da braccio. V. Castrucci, soli for which were written

. .

di bardo'ne, see Barytone 2 ... V.pom- by Handel in Orlando and Sosarme*

posa (violoncello piccolo), a large kind Violin'.
of violin inv. by J. S. Bach, midway in (Ger. Violi'ne; Fr. violon; It
size between a tenor violin and 'cello, violi'm.) A 4-stringed bow-instr. of
with 5 strings tuned C-G-d-a-e1 . Con- comparatively modern type (an im-
. .

trabbas*so di vio'la, see Viol. proved viol*), and the leading orchestral
instr.;constructed in 4 principal sizes
Vio'le (Ger.) Viol.
(the so-called string-quartet of the or-
Viole (Fr.) Formerly, a viol; now, a chestra), with the following accordature:

Violin. Viola. Violoncello. Double-bass. (written:!

A description of the treble violin, the est,because the highest string is that
typical instr. of the family, will suffice next the bow-hand. (Compare also
for all its members. The resonance- Bow, Bowing, Position, Shift.)...
box, or body, is formed by a vaulted Violin-clef, the -clef .
Violin-diapa- . .

belly (bearing the bridge) and back, son, a diapason-stop of narrow scale
joined by narrow sides called ribs; the and stringy tone.
waist is the narrow middle portion be- Violi rna. A metal
flue-stop in the organ,
tween the incurving bouts, at the corners
generally of 4-foot pitch, of small scale
of which, and also at other points with- and stringy timbre.
in the body, are glued triangular pieces
of wood called blocks, to strengthen the
Violinette, i. A kit. 2. Same as
molino piccolo.
frame. Also inside, just beneath the
treble foot of the bridge, is set a round Violi'no (It) Violin. .. K di fer>ro,

wooden prop, the soundpost, placed

nail-fiddle. V.piScolo, a violin smaller
. .

there to resist the tension of the strings

and tuned a fourth higher than the
and to communicate their vibration di- ordinary violin. . . V. pompo'so, a violin
backthe bass-bar further with an A Jt . V. primo (r*- .

rectly to the
strengthens the
;

belly. The curved additional !_-). /

condo), first (sec- I

apertures cut in either side of the belly string (c* *T end) violin.
are the f-holes, or sound-holes. At the Violin'schliissel (Ger.) tfdef.
,

bass of the body is the button, to which Violiste Viola-

(Fr.; formerly violier.)
the wooden tailpiece is attached by a
player.
loop of gut from the tailpiece the
;
Violon (Fr.) I. Violin. 2. The violin-
strings are stretched across the bridge
and over the fingerboard (which lies diapason (organ-stop).
the neck and over Violonar (Fr.) Recent name for the
partly upon partly
the belly) to the nut, and thence each double-bass.
to a separate/^ in the peg-box or head, Violonaro (Fr.) Same as Qcto-basse.
which ends in the scroll. The word Violoncerio
(It; Ger. Violoncett'; Fr.
violin is from the It. violino, a diminu- A
" violoncelle.) 4-stringed bow-instr, of
tive of viola, meaning literally small u
*A. HADJECKI, in his essay on The Italian
viol". Violin-music is written in the Lira da braccio," contends very plausibly that
(Mef (violin-clef). The strings are the violin was derived, not from the mol, but
numbered 1234 from highest to low- from the lira da braccio.
222 VIOLONE-VOCALIZZARE.

vioiia-type (see Violin), dating in its One of the Newnes.

Wgula.
7
present form from the latter half of the Virtues (Ger. ; fern. Virtuo'sin^ I. A
i6th century. The word is a diminu- virtuoso. 2. Virtuose ;
(Fr. virtuose.)
tive of violone, the It. augmentative of
" i. e.,
possessing or exhibiting the quali-
viola, thus meaning literally a little
ties of a finished artist ; also virtuo**
big viol ". The 'cello, as it is familiarly xnhaft. . Virtwsitaf, virtuosity.
,

called, required more than a century to

become popular, taking at first very Virttto'so,-a (It.; pi. virtuosi^ A
finished instrumentalist or vocalist.
subordinate parts, whence its desig-
nation, in scores of the iyth Vis-a-vis (Fr.) A harpsichord or pfte.
many
century, as Basso or Bass. It slowly having 2 opposed keyboards, for 2
conquered the esteem of artists, and players.
supplanted the viola da gamba, like
Vi'sta (It.) Sight ;
a (primd) vista, at
which it is held, for playing, between
(first) sight.
the knees, while firmly supported on
the floor by its pointed/^ or standard.
Vi'stamente (It.) Briskly, animatedly.

Violoncello-music is written in 3 clefs

. .
Vi'sto^ lively, animated.
" ^or convenience of no- Vite(Fr.) Quick(ly).
jh tation, and now invari-
Viva'ce (It.) A tempo-mark which, used
ably according to the alone, calls for a movement equalling
actual pitch ; but the classic masters, or exceeding allegro in rapidity ; when
who also frequently used the -clef
used as a qualifying term, it denotes a
in chamber -compositions, wrote the
spirited, bright, even-toned style...
notes in this clef an octave higher than
Vivacemen'te, con vivacez'za, viva-
-
they actually sounded. . . Violoncello fit? men'te, con vivadtbf, are terms nearly
see Viola fomfosa,
colo,
synonymous with vivace. . Vivaeis'- .

" See simo, with extreme vivacity, presto . . .

Violo'ne (It, great viol".) i.

VioL 2. In the organ, a stop on the Vivacet'to, less lively than vivace, about

pedal, of 1 6-foot pitch and violoncello- allegretto.

like timbre. Vive. See Vif.

Violoniste (Fr.) Violinist, Viven'te (It.) Lively, brisk, animated.

Same as Virgula. Vi'vido, vi'vo (It.) Lively, spirited.

Vir'ga.
(Vivace.)
Virgil Practice-Clavier* A toneless Vocal. Pertaining to the voice specifi- ;

keyboard instr. for mechanical pfte.- cally,proper for the singing-voice. ..

practice, inv. by A 1

. K. Virgil, of New Vocal cords, 2 opposed muscles or liga-

York, in 1883 (see Techniphone). It ments in the larynx, whose vibration, due
differs essentially from the old dumb
tc expulsion of air from the lungs, pro-
piano in 2 features : (i) The depres- duces vocal tones V<v/ glottis
,
(Lat.
sion, and also the release, of a digital
rima wcatis), aperture between the v.
produces a mild click like that of a tele- cords when approximated for the pro-
graph-key this furnishes a means for
;
duction of tones... Vocal music music }

accurately timing the practice, for written for or executed by the voice, as
acquiring promptness of down-stroke a solo or with accompaniment.. Vocal
and up-stroke, and for determining the
registers, see Voice... Vocal score, se-
different styles of touch (e. g. for the
duction of orchestral score with voice-
Ttrict legato the click on depressing
one digital exactly coincides with the part(s) to piano-score with same,
Vocation. See Reed-organ.
release-click of the one preceding) ; (2)
-

it affords, by a simple mechanical ad- Vocalisation (Fr.) The art of singing

justment, 6 gradations in the weight of prolonged and sustained tones on
the touch, from 2 to 20 ounces i, e. vowels only. Vocal\ser^ to sing ac- . .

from the very lightest pfte.-touch up to cording to the rules of vocal art, using
5 times that of the average pfte, -action, only the vowels a and e. . . Vocalises\
<?rmore than the heaviest organ-touch. vocal exercises or etudes, generally sung

Vir'ginaL A small kind of harpsichord :

to the vowels, but also, in advanced
often written in the plural form as "a etudes, to words.

gab of^ virginals *\ signifying merely

a Vocalizza're, Vocaliz'zi (It) Same
,
tingle instr. (Comp. Pianoforte.) as Vocaliser, Vocalises.
 VOCE VOLUNTARY. 933

Vo'ce (It., pL vtid.) Voice ; part. . V. Voice-part, i. vocal part [Grove, A

angelica, vox angelica. V. bian'ca
. .
II, p. 526^, 1.17; and IV, p. 4oA
* c
("white voice"), term applied to the 1.15 ; E. Prout, Harmony", p. 58,
voices of women and children, and to 1-7.] 2. part. [An awkward and A
the tones of certain instr.s of similar equivocal neologism,]
quality. . . K. di ca'mera, a voice of Voicing. Tuning, or
regulating the
comparatively slight volume. V. di
pitch and tone of, an organ-pipe.
. .

go'la^ throaty or guttural voice. .. V. di

pet? to, chest-voice. . . V". di ripie'no, a
Voilee(Fr.) Veiled.
ripienoTpaxt (see JRipieno) ...V. di te'sta,
Voix (Fr.) Voice ; part. . . V. angfiique,
head-voice. . . V. grani'ta, a powerful, vox angelica. V. ce'leste, an organ- . .

round voice. . V, pasto'sa, a full, soft,

. stop with 2 ranks of the ttnda marts
flexible voice. . . V. principally, leading type. . . V. de poitrine, chest-voice. .. V*
a voice characterized de t&te, head-voice. V. humaine, vox . .
part... V.spicca'ta, humana. .A deux
by clear enunciation . . . A due (ire) voei,
.
(trots) voix, for a
for 2 (3) parts, voices ; in 2 (3) parts. . . (3) voices ; in 2 (3) parts.
Colla voce, see Col canto... .Messa di Vokal' (Ger.) Vocal. . Vokatmusik* .

voce, see Messa...Mezza vocet sottovoce,
see Mezza t Sotto.
Vo'ces (Lat) Plural of Vox.
Vo'gelflote,-pfeife (Ger.) A bird-call,
like that played on by Papageno in
The Magic Flute. . . Vo'gelgesang, a
vocal music, with or without accomp. .-.
Vokal'stil, a cappella style ; vocal style.
Volan'te (It., "flying".) Light, swift
Vola'ta (It; Ger. Vola'te\ Fr. Volatim.)
A
short vocal run, or trill ; a run, or
division a light and rapid series of
;

merula, or set of small pipes standing notes. -Dimin. volati'na.

.

in water, the passage of the wind Volks'lied (Ger.) Folk-song. . . VolkJ-

through the latter producing a "war- t(k)umlick (Ger.), in a style character,
bling tone. (Also Vogelsang?) istic of or imitating that of the (Ger-

Voice. (Lat. vox; It. vo'ce; Fr. voix; man) folk-song, or popular music in
Ger. Stim'me, specifically Sing*, general ; opp. to Kunstlied. yolks'- A
For the several classes of the human tkumliches Lied is a product of art in the
voice comp. Soprano, Mezzo-soprano, style of the folk-song... Yolks'ton, im, in
the style having the general character
Contralto, Tenor, Barytone, Bass.
The word voice is often made synony- of a folk-song. (It in mo'dopopola're?)
4t . . * Yolks' weise, same as Volkslied.
mous with part", in imitation of for-
eign usage ; the practice cannot be Voll (Ger.) Full . . arches'ter. . ^/^
recommended. .Vocal .
registers. full orchestra; vol'ks Wcrk> full or-
There is hardly any subject on which gan ; mit vofleni Cko're, with full
4

opinions are more irreconcilably op- chorus.. Vollgriffig ( 'with full hands"),
.

posed, than this but if we accept E.

; in full chords or harmonies. .. VolFkom-
r
Behnke's definition (in his treatise: men, perfect(ly) Voll stimmig, (a) in. . .

" Mechanism of the Human of full harmonies ; () for many parts, poly-
4<
Voice")
the term register a series of tones phonous. [ Voll frequently occurs as a
which are produced by the same mech- suffix with the sense of the Engl. -julj
.

anism" we arrive at his conclusion ,e- ; g., gedan'kenvoll, thoughtfully),

namely, that there are 3 principal vocal stim'mungsvoll, full of (characteristic)
registers in the female voice, and 2 in expression ; etc. J
" break"
the male, the chief occurring Vorta (It) A
turn or time;,.-Pr/w
in both at .
(This is the volta (or Jma volta^ Imet, ./X, /.), first
transition from
1

the tone \ time; secvnda volta (atllda votta, etc.),

" chest" -voice
second time ; una volta, once ; due
to falsetto in tenor voices.) The second volte, twice.
break in the
principal Voltegg^anMo (It.) Crossing hands
female voice occurs
(on a keyboard); from voltcggia're.
an octave higher at "Turn over!"...7*AI
Vol'ti (It.)
In bass and bary- srfbito [V. S.], "turn over instantly".
tone voices, the chief
break occurs at Volubilmen'te (It.) Fluently.
also, there is a break at this point. Voluntary. An organ-solo
before, dor
(Comp. the above-mentioned treatise.) ing, or after divine service; also or
224 VOLUTA-WARBLER.
casionally applied to an anthem or Vuo'to,-a (It.) i. Open, as corda vuota,
other choral piece
opening the service. open string. a. Empty.
Volu'ta Volute Scroll.

Vom
(It.), (Fr.)
From the. Vom An'fang,
w.
(Ger.) . .

J=da capo; vom Blat'te ("from the W (as a double V, in Fr. usage). Marks
page"), at sight violin-parts copied from a score.
Voraus'nahme (Ger.) Anticipation. Waits. [Also Waytes, Wayghtes, etc.]
Originally, a class of street-watchmen
Voi^bereitung (Ger.) Preparation.
in England, who gave notice of their
VorMersatz (Ger.) First subject or
approach by sounding horns or other
theme ; fore-phrase [PROUT]. instr.s. The name then appears to have

Vor'geiger (Ger.) Leader, ist violin. been transferred to town-musicians,

Vor'halt and still later to various irregular bands
(Ger.) Suspension. <.
Vo/halts- of indifferent music-makers, in which
Ipsung, resolution of a suspension.
latter application it is not yet obsolete.
Vor'her (Ger.) Before, previous(ly). Whether the instr. chiefly affected by
Vor'ig Preceding, previous
(Ger.) ;
as these musicians (a species of shawm or
vorlges ZeitmasS) =tempo primo, oboe) derived its name from them, or
*

Vor'saager (Ger.) Precentor. vice versa, is a moot point.

"
Vor'schlag (Ger.) Collective name for Wald'flote (Ger., "forest flute ; Lat
the various forms of the accented ap- tib'ia silves'tris.) In the .organ, an
,

poggiatura; opp. to Nach'schlag, or open metal flute-stop of broad scale

unaccented appoggiatura . Lang'er . . and usually of 2 or 4-foot pitch, having
(ku/zer) Vor*schlagi long (short) ap- a suave, full, resonamVtone.
poggiatura. Wald'horn (Ger.) The French horn
Vor'setzzeichen (Qer.) Chromatic sign. without valves. (Also Jagd*'horn, Na-
Vor'spiel (Ger.) Prelude, introduction ;
tu^/iorn.)
overture. Waltz. (Ger. Wal'zer; Fr. volte; It

Vortrag Rendering, interpreta-

(Ger.) vatzer.) A round dance in 3-4 time,
and in tempo varying from slow to
tion, performance, style, delivery, exe-
cution. . . Vor^tragsbezdchnung, Vor*- moderately fast, from the primitive
Landler and ordinary German waltz up
tragszeichen, expression-mark ; tempo-
to the sprightlier trois-temps
mark. (ordinary
waltz) and deux-temps (rapid waltz).
Vor'zeichnung (Ger.) Signature. The steps of these waltzes vary thus :

Vox (Lat., pi. vo'ces; see below). Voice.

. . Vox
angelica, (angelic voice), a 4- Slow German
foot organ-stop corresponding to the 8-
'

foot vox huma' no,*.. Vox antecedent ~

Ordinary Waltz 1. r. L r. L
'

(con'seqwns), the antecedent (conse-

quent) . . . Vox humofna (human voice),
(trois temps,
Wiener Walzer) \
5 rc'grc*
an 8-foot reed-stop in the the waltz
organ, Quick l L r.
tone of which has a [fancied] resem-
human voice (deux-temps, \
|
\P f P f
blance to the
usually drawn with the tremulant.
;
a solo stop,
Zweitritt) )*
Also occurs, especially in The origia of the waltz is variously
Italy, as a
ascribed to Bohemia, Germany (Land"
flue-stop, and occasionally in 2 ranks,
one of reed-pipes, the other of flue- ler), and France (volte). . . Waltz is also
the title of numerous effective instru-
pipes...Vox mrginea, same as Vox
mental pieces in triple time, but not
angelica, . . Vo'ces ayua'Ies, equal voices.
. . Vo'ces
meant for dance-music... Waltz-song,
Areti'nce, the Aretinian syl-
a song in waltz-rhythm.
lables... Vo'ces befgicce, the Belgian
solmisation-syllables bo ce di ga lo ma Wal'ze (Ger., " roller "). An undulating
ni bo,
figure (see Rolle).
Vue (Fr.) Sight ;
b premierewe, prima Wafl/kend(Ger.) Wavering, hesitating.
vista.
Warbler, On the bagpipe, a term ap-
Vulga'ris (Lat) In the organ, a flute- plied to various forms of melodic em-
stop, tibia being implied. I bellishment (graces).
 WARME WIRBEL. 225

(Ger.) Warmth mit grosser ; then generally being white . . While .

Warmc, with great warmth. note^ one having an open (not solid)
Was'serorgel (Ger.) Hydraulic organ. ^ad (^ J).
Waste-pallet. See Valve. Whole note. See Note. . . Whole shift,
see Shift. . . Wholea step of a
step, (a)
Water-organ. Hydraulic organ. whole tone a whole tone . . . Whole
; (b)
Wayghtes. See Waits, tone (Ger. Ganz'ton ; Fr. ton plein y
Weak accent, beat, pulse. See Accent. It. tonff interc), see Footnote, p. 103.

Wech'selgesang (Ger.) Antiphonal Wie As. . Wie o'ben, as above ;

(Ger.) .

(responsive) singing- or song. . . Wech'- votevoSher^ as before, as at first wie ;

selnote^ changing-note. aus der Fer'ne, as from a distance.

Weh'mut(h) (Ger.) Sadness, melan- Wie'der (Ger.) Again. . Wie'dergabe, .

choly. . .
Weh'milt(Ji)ig^ sad, mournful, performance, production, rendering, in-
melancholy. (Also adverb^) terpretation, reading. Wiederher*'stel- . .
'

Welch (Ger.) i. Soft, tender ; mellow, lungszeichen^ see Auf losungszeichen.

suave (also adverb). 2. Minor.
.
.Wiederho'lung, repetition ; W.s-
zeichen^ repeat.
Weight of wind. The tension of the Wiegenlied
compressed air supplied by the organ- (Ger.) Cradle-song, lulla-
bellows to any stop or group of stops ; by; berceuse.
the mean pressure raises a column of Wind-band. I. A company of per-
water in a U-tube to the height of formers on wind-instr.s. 2. The wind-
about 3 inches, hence the technical ex- instr.s in the orchestra also, the per- ;

formers on, or parts written for, the

pression "an inch" or "two inches'
1

of wind ; a stop is said to be voiced same. . Windchesi, see Organ . . Wind-

* '
. .

on a 3, 6, or lo-inch pressure," etc. gauge, an apparatus for measuring the

Wei'nend (Ger.) Weeping. wind-pressure in the windchest of an
organ. It consists of a twice-bent
glass
Wei'sse Note (Ger.) A "white," or tube, having water in the U-shaped
open, note. end, the other end being fixed in a
Weit (Ger.) Broad open (of harmonies).
;
socket ; on setting the socket in a hole
Welle (Ger.) Roller (organ) ... Well- in the soundboard, and letting the wind

atu^, system of rollers. on, the water rises in the outer arm of
. .
Wel'lenbrett,
roller-board. the U-shaped tube, indicating the wind-
pressure by the height in inches to
Well-tempered. In equal, and conse- which it is forced. (Comp. Weight.)
quently satisfactory, temperament; as . . Wind-instruments
.
(Ger. &lasfin-
J. S. Bach's Well-tempered Clavichord
strumentej Fr. instruments & ventj It.
(Ger. Wohl'temperirtes Clavier*). stromen'ti da fia'to), instruments, the
We'nig (Ger.) Little ; ein. klein wenig tones of which are produced by wind
lang'samer^ a very little slower. (i. e. compressed air), the vibrations
Werk (Ger.) In the organ, (a) the set excited in the latter being transmitted
of stops controlled by one keyboard to an air-column enclosed in a tube (e. g.
;

(b) a stop or register.

Wert(h) (Ger.) Value, time-value.
We'sentlich (Ger.) Essential.
an organ-pipe, or any orchestral instru-
ment blown by the mouth), or directly
to the open air (e. g. free reeds without
We>- tubes). "The vibrations of the wind are
. .

Dissonanz'^ a dissonant chord-

'sentliche
tone, in contradistinction to a disso-
nance produced by a passing or chang-
ing-note.
Wet'terharfe (Ger.) ^Eolian harp.
Whistle. The smallest and most prim-
itive type of instr. with a flageolet or
excited (a) by its impinging on a sharp
edge (flageolet, flute, organ-pipe), (b) by
the interposition of a vibratile reed (cla"
rinet, oboe, reed-pipe), or (c) by the
v vibration of the player's lips (horn,
trumpet, trombone). (Comp. art. In-
struments.). . Windtrunk) see Organ*
.

"

flue-pipe mouthpiece. Comp. Picco- Windharfe (Ger.) ^Eolian harp... Wind'-

pipe. kasten, windchest. .. Wind'lade^ sound*
White keys. The continuous lower row board (organ) . . . Wind*wage\ wind-
of digitals on a keyboard
formerly ;
gauge.
they were black, the now black keys. Wirtel (Ger.) j. Peg; T
 226 WOHLTE41PERIRT-ZARZUELA.

peg-box* 2. Roll (on a drum). 3. straw), and played on with 2 mallets ;

Same as Schl'dgel, the more usual term. a wooden dulcimer? capable of
pleasing
See Wdl-tem- effects in the hands of a skilful
Wohl'temperirt (Ger.) player.
Usual compass 2 octaves, or a little
fered.
more.
Wolf. >
i. A discord induced in certain
on keyboard instr.s (especially Xylosis'tron. The parent instrument
keys,
flie organ), by inequality of tempera- of the xylharmonikon ; inv. by Utho in

ment, such as was inherent in the so- 1807.

called "meantone" system. (Not sy-
nonymous with the Ger, Or'gelwolf.) Y.
2. In bow-instr.s, the wolf is the im-
perfect or jarring vibration of some Yang Kin (Chinese.) A
Chinese instr.
particular tone or tones, and is pre- resembling the dulcimer, with brass
sumably due to some defect in the strings,
build or adjustment of the instrument. Yodel, Yodler. of
English spellings
Wolf (Gen) Wolf; specifically, the I2th ^ jodkr*
fifth in the circle of fifths, being the
one which causes the main difficulty. z.
Wood-wind. The orchestral wood-in-
str.s collectively ;
or the performers on Za. Former syllable-name for J5fy t in
them. solmisation.

Working-out. Same as Development. Zahlen(Ger.) To count; z&hle^ count...

Z&hlzeit, a count.
Wrest. A tuning-hammer.
Zale'o. See/fl/^.
Wrestblock, Wrestplank. See Piano-
forte. Zampo'gna (It.) i.
Bagpipe. 2.
Shawm.
Wuch'tig (Ger.) Weighty, weightily,
ponderous(ly), with strong emphasis, ZapateaMo (Span.) A Spanish dance,
risoluto* in which the dancers mark the rhythm
WttVde (Ger.) mit W., or wilr*- by stamping.
Dignity ;

devoll, dignified. Zap'fenstreich (Ger.) The tattoo. The

Wfi'thend grosser Zapfenstreich is an imposing
(Ger.) Furious, frantic ; /- mus. finale of a military review, com-
mencing with a grand crescendo roll on
the drums of the combined regimental
X. bands. The Z. was originally a blow
(StreicJi) struck on the bung (Zapfen)
Xanor'phica, (Gen X&no/pUka^ A of the cask of beer or wine, signifying
variety of the piano-violin, and the that drinking in camp must cease for
most complicated of all, there being a the night; hence, a musical signal to
separate bow for each string; inv, by drive the bung into the bung-hole, to
K. L. Rflffig of Vienna in 1797. attain that end.
Xylharmon'ica. (Ger. XylharmSnikon). Zaraban'da
(Span.) Saraband.
A
keyboard instn inv. by Utho of San-
Zar'gea (Ger., pi.) Ribs.
gerhausen in 1810, and resembling
Chladni's Euphonium, but with wooden Zart (Gen) Tender, soft, delicate ; slen-
wands instead of glass rods an im- der. . .Mit tar*ten Stim'men, with soft-
;

proved Xylosistron. toned stops. ..Zarffiote y in the organ,

a 4-foot flute-stop of very delicate in-
Xylophone. (Lat li/neum psalie'ri-
tonation, the pipes having, instead of
.
urn; Gen Strok'Jiedel, Hottharmo-
the block, a windway reaching up from
nika, Hold- und Siroh' instrument,
the foot, and directed against the upper
-Ml'terms Gelfah'ter; Fn claquebois,
lip,
Ichelette^patoidUe^ xylorganon; l&^gige-
li'ra,
sticcafdo^
A
very ancient and Zart'Hch (Gen) Tender(ly), caressing(ly).
widely disseminated instr. (Europe, Zarzue'la (Span.) A two-act drama with
Africa, America), consisting of a diaton- incidental music, resembling a vaude-
Ically graduated series of fiat wooden ville ; so called because first
performed
bars adjusted horizontally
upon 2 cords in the royal castle of Zarzuela, in the
(which are sometimes made of twisted 1 7th century.
 ZEFFIROSO-ZOPPCX 227

Zeffiro'so (It.) Zephyr-like. A Gypsy song or dance;

Zingare'sca (It.)
Zei'chen (Ger.) A sign. specifically, a song sung by maskers
Zeit Time. Also, same as Takt-
(Ger.) during the Carnival.
teil. Zeifmass, tempo im ersten (or Zingare'sco,-a (It.)
. .

voSigen) Zeitmass, tempo primo.

= ;
Pertaining to Gyp-
sies, Gypsy-like,. .ZingarSse, alia, in
. .

Zeilfmesser, metronome. ..Zeitfwert(h\ a Gypsy style... Zi'ngaro^a^ Gypsy;

time- value. alia zi'ngara, in
Gypsy style.
Zelosamen'te (It/) Zealously, enthu- Zin'ke (Ger.; It. cornet to). (Also Zink,
siastically. .Zelo so, zealous, enthusias-
.

Zinken.) See Cornetto.

tic, ardent; marking passages to be
performed with energy and fire. Also (Ger.) Circle... Zir*kelkanon,
con ze*lo. infinite canon.

Zerstreut' (Ger.) Dispersed, open. Zither (Ger., pron. tsifter; EngL pro.
Zieh'harmonika (Ger.) Accordion.
nun. xith'er) [The Ger. Zither is a very-
different instr. from the old
Ziem'lich (Ger.) Somewhat, rather. EngL cither
or cittern; to prevent confusion, it
Zier'lich (Ger.) Neat, delicate ; grace- would be well to adopt the Ger. spelling
ful, elegant. (Also adverb.) for themodem instr.] i. (Scklag zither,
Zif'fer(Ger.) Figure...^m/'/^, figured; i.
plucked zitker.) The zither, as
e.

Bezifferung, figuring. developed from the primitive peasant-

instr. of the German
Zigeu'nerartig (Ger.) GJrpsy-like... Alps, has 32 or
more strings stretched over a shallow
Zigeu'nermtisik, Gypsy music.
wooden resonance-box, which is pro-
Zim'balon. An improved dulcimer much
vided with a soundhole, and bears a
employed in Hungarian music, provided
bridge near the right end and a fretted
with dampers,
and having a
>g Pro-- fingerboard on the side next the player.
n a
/^v
chromatic scale S
Jr\ ' '
l?
tion of
Above the fingerboard are 5 melody-
J/tu) by the hand, tuned
of 4 octaves : -+" J a tone strings stopped left
the 2 A** be-
is obtained by its fefr ^=
rapid reiteration,
5E; ing steel, the D
| . (

>
Eff
marked J
*
|

f?. . brass, the G

Zim'belstern (Ger.) A sort of toy-stop steel and the C brass
silver-covered,
in. some old organs, These 5 are plucked
consisting of a copper-covered.
star hung with little bells, placed con- with a metal or tortoise-shell ring worn
spicuously in front of the organ, and on the right thumb and having a pro-
caused to sound by a current of air jecting spur. The accompaniment- .

controlled by a draw-stop. strings, tuned in fourths as follows :

are plucked by the fore-, middle, and fretted fingerboard, and 4 strings in
ring-fingers of the right hand, the lit- violin-tuning, the and E
of steel, A
tle finger resting behind the bridge to the D
of brass, and the of silk silver- G
steady the hand. They are of gut, or covered; but the bow-zither is held
covered silk, variously colored to guide quite differently from the viol, its head
the player's eye and fingers. The 3 being furnished with a little foot which
ordinary sizes of zither are the Treble rests on the edge of the table before the
Zither (Prim'zither}, Concert-Zither, player, who holds the body in his lap.
and ElegiS-Zither (also called -4//-or Zifternd
(Ger.) Trembling, tremulous.
Liederzither, and tuned a fourth be-
low the ?rim- and Concertzither). Zo'gernd (Ger,) Hesitating, lingering,
2. (Streich'zither-i Bow-zither^
i. retarding.
e.

The earlier bow-zithers were heart- Zolfa'at) Sol-fa.

shaped ; of the newer ones, the Viola- " V-
Halting, limping
form of a viola, Zop'pOj-a
(It.)
Zither has the
Alia zoppa, syncopated as the rhythm ;
while the Philomele has a more pointed
body and shallower bouts; they are 4J J JIJ J j; also
applied^
varieties of the viol, with short neck, i
Magyar music with the rhythm :
228 ZOULOU ZWflLF.

etc.

Zoulou (Fr., "Zulu".) A, style of pia- choruses (choirs) 'together. ..

nette. menklang. a sounding together, simul-
taneous sounding of 2 or more tones ;
Zu'fallig (Gen)
a "solid" chord. ..Zttsam'mengesetzt,
falliges Versef&ungszeichen, accidental.
combined, compound; zusam'menge*
Zuf'folo (It.) A small flageolet, such as setzte Taktart, compound time...
is employed in training singing-birds. Zusam'mtnschlag^ acciaccatura . . . Zu.
(Also Zu'folo.)
sam'menspiel, plajring together; en
Zug (Gen) I. Same as Regis'terzug. 2.
semble-playing. . .Zusam'menstreichen,
A pedal (pfte.) 3. A slide (of a trom- to slur (either by means of the sign
bone, etc.). . .Zttjftrompetti slide-trump- called a slur, or by joining the hooks of
et... Z^zew^, tracker-action (in the hooked notes); Zusam'menstreichung^
organ). slurring.
Zulcunftsmusik (Ger.) Music of the Zwei (Ger.) Tm...Zwei'cMrig, for 2
future ;
a term used (according to
first choruses (or divided chorus) ... Zwei'-
R. Wagner) about 1850, by Dr. L. Fr. as counterpoint ; (b)
fach, (a) double,
Chr. Bischoff, in a satire on Wagner's in 2 ranks, as organ-stops ; (c) com*
"
essay upon The Art-work of the pound, as intervals. .Zwei'f&ssig,
Future" [Das Kunstwerk der Zu- 2-foot. . . Zwei'gesang, a duet. . . Zwef*
kunft]. The word has been adopted, gestrichen, see Gestri'chen.. Zwei'~ t

by enthusiastic disciples of the neo- halbe Takt, 2-2 t\m&.. .Zwei'handig,

Gennan cult, as an epithet of distinc- for 2 hands... Zwei'stimmig, for 2
"
tion, with the meaning music with a voices; in or for 2 parts... Zwei'fel
"
future a definition whose correctness (-note), a half-note... Zwei'tritt, see
can hardly be successfully disputed. Waltz. ..Zwei-unddm'ssigstel(-note\ a
Zu'nehmend (Ger.) Increasing, cre- 32nd-npte. .Ztveivier'teltakt, 2-4 time.
.

scendo. ..Zwei'zahliger Takt, duple time...

Zwdzwei'teltakt, 2-2 time.
Zung'e (Ger., "tongue"). Reed...
f
Zung'enpfeife, reed-pipe , * . Zung en- Zwerch'flote, Zwerch'pfeiff (Ger.)
' c
stimme, reed-stop. . Zungmwerk, the
.
The cross-flute, or German flute.
reeds/* reed-stops of the organ, con- Zwisch'en (Ger.) Between, intermedi-
sidered collectively . A ufschlagende
. . ate ... Zwisch'enakt, an entr'acte ;

Zwtge^ beating reed; durch'schlagende Zwisch'enaktsmusik, act-tune(s). . .

Zunge, free reed. . .Dop'pelzunge^ etc., Zwisck'enharmonit, see Zwisch'ensatz.
see Tonguing. ..Zwsch'enraum, space... Zwsch'en-
Zurtick'halteii (Ger.) To retard . . 2u- . satZ) episode... Zivtsch'enspiel^ inter-

rucKhatiendt ritardando . . Zur&ctf- . lude, intermezzo.

haltung, retardation . . .
Zurftctfschlag, Zwit'scherharfe (Ger.) See Spitz*harfe.
same as Ribattufta. Zw51f Twelve... Zwolfah'tel
(Ger.)
Zusam'men (Ger.) Together, simultane- takt, 12-8 tiB&...Zwolf$aiteft see
ous(ly); bei'de Cho're zusammen^ both Bissex.
 APPEND IX
OF
ADDITIONS AND CORRECTIONS
 APPENDIX.
* refers to an earlier article in body of
(An asterisk Dictionary.)

A. is remarkable, not merely for extreme

technical precision, but for the great
Abbandoisan'dosi (It.) Yielding wholly and artistic finish of musical ef-
variety
to emotion } with a burst of passion. both tempo and expression being
fects,
Abbandona're (It.) To leave, to quit ;
wholly at the player's command, The
senfza abbandowtre la co/da % without "jEoKan" and the keyboard (which has
quitting the string. 4 independent stops) may also be played
^Abbreviations. Add to former list : together, the keyboard being used to
c.f. Canto fermo ; cantus firmus. play an accompaniment to the &olian.
Div. The instr., which is the product of long
Divisi, divise.
incalz. Incalzando. evolution, became known under its pres-
Movto . Movimento. ent name about the year 1883, in New

ow. Owero. York. Its repertory includes all classes

of music, and at present (1900) com-
po* poco.
It has a
prises about 20,000 numbers.
A'bendunterhaltuflg (Ger.) Pupils' con- scale of 58 semitones (the keyboard has
cert (in a music-school ; given for en-
6 octaves) ; and all its music-rolls also
or quasi public per-
semble-practice fit the Pianola
(j.0.).
formance). (Also ubungsabend^
Affretta're (It) To hasten, to accelerate.
Ab'langen [eines Tones] (Ger.) Taking , , Sensa affrettare, without hastening.
[a tone] by extension (in violin-tech-

nic).
Ab'schleifer (Ger.)
Accenta'te (It; plural form otacctnta'ta,
"le note" being implied.)
A fior' laVbra (It; Fr. au bout des
di
Ifares; Ger. gekaucht) Very lightly
Staccato-dash (I I).
and softly sung or spoken.
i. Ac-
Aggiim'to,-a (It) Added, interpolated.
. .Arie aggiunte (pi.), airs interpolated
.

cented, marked 2 (imperative, pi.). in did not

an opera, to which they
etc.,
Accent! Emphasize!
originally belong.
Accentuate (It) To accent. .Accentu- Air .

coupg (Fr.) An air of set form.

an'do y accenting.,. Acctntwtto^ ac-
Album-leaf: (^r.Albumblatt;^r.Feui^
cented.
let d' album; It Pagtoa a" album)
Accessit (Fr.) Honorable mention.
Title of a short and (usually) simple
Accord'zither (Ger.) See Ziiherharfe. vocal or Snstr.l piece.
A reed-organ of the American "
jEo'lian. Alexandrine verse. An iambic hex-
the air being drawn through the or series of six iambic feet-
type, apody,
reeds. It has a keyboard, and may be French Alexandrines are written ia
played like
an ordinary organ ; buHts acalectic with mas-
couplets, alternately
is a mechanica culine rimes and hypercatalectic with
distinguishing feature
arrangement for executing music with- feminine rimes. .The cesura occurs at .

out using the keyboard. Motive-power the end of the third foot The second
and wind are supplied by two pedals line of the following extract is an ex-
worked by the feet ; the time-
(treadles) ample :

value of the notes is controlled

per- by
*
A needless Alexandrine ends the son$,
That, like a wounded snake, drags its slow
forations in a gradually unrolling sheet
length along.MPope,)"
of paper, the music-roll ; the tempo is
[THE CENTURY DICT.J
regulated by
a stop called the Motor,
imperative.)
Slower and
and the expression is regulated (a) bj Allarga'te (It. ;

broader.
the pedal-movement, (b) by two knee
and the registration. In Amu'sia. Loss of the musical faculty.
swells, (c) by
Dec. 22,
the largest instr.s there are ten speaking [BRITISH MEDICAL JOURNAL,
stops, and a Tremolo. The JBolian 1894.]
 ANCORA PIANO-BASSHORN.
Anco'ra pia'no (It) Still
[sing or play A'spro,-a (It.) Harsh, rough.
softly; equiv. to sempre piano. Assie'me Same as Ensemble. ,.
(It)
Andan'do (It) Same as Andante. Pezxo (Tassieme, a concerted
piece.
An'denken (Ger.) Recollection, souvenir Astuc'cio (It.) Music-roll, music-case.
*A'nima (It) 3. Core (of a covere Anda'cia, con (It) With boldness.
string).
Aufhebungszeichen (Ger.) The " can.
A par'te (It.) Aside ; e.g., sottwoce eel "or natural
(!]).

/ Auf'legestiramen (Ger.) The separate

*Aper to,-a (It.) Open (of organ-pipes parts of an orch.l composition, to be
" "
laid on the music-desks.
Appe'aa(It) Hardly, very little; ap
fena animando, a very little faster ; ap Aufloser (Ger.) The "cancel" or natu-
pena meno> a trifle slower. ral ft).
/
Appoggiamen'to (It.) Chin-rest Auf schwingend(Ger.)
Soaring(ly), im.
con impeto.
Appuyer(Fr.) To sustain. petuous(ly) ;

A quat'tro parti (sole) (It) For fou Aufschwung (Ger.) Lofty flight, soar-
(solo) parts.
ing impetuosity mit A., in a- lofty, im-
;

petuous, impassioned style.

Arched viali. [Bow-viol?] Pepys' Diary
Choral 7 (Ger.) " worked A
(Oct 5, 1664) describes this instr, as Aus'gefuhrter
"
out choral ; a choral with free counter,
"being tuned with lute strings ane
point ; or, with contrapuntal working-
played on with keys like an organ ; a
out ; or,
piece of parchment is always kept mov- contrapuntally worked out (de-
ing, and the strings, which by the keys veloped).
are always pressed down upon it, are Aus'stattungsstuck (Gen)
Spectacle,
grated in imitation of a bow, by the spectacular play or opera,
parchment ; and so it is intended to re- Autoar'pa ""
semble several vialls played on with one Wagner (It; Wagner Au-
toharp.") An improved autoharp (Ak-
bow, but so basely and so harshly that kordzither] inv. 1896 by E. Glasel of
it will never do. But after 3 hours' stay
. Markneukirchen, the mechanism of
it could not be fixed in
tune, and so which permits playing in
any of the
they were fain to go to some other ordinary keys.
musique of instruments/' Autre (Fr.) Other ; another, different
Arcichitar'ra (It) A modern Chitar*
Avec ame (Fr,) Same as con anima.
rent.
Vvec le chant (Fr.)Same as col canto.
Ardo're,con (It) With ardor, warmth.
A volontg (Fr.) Same as apiacere.
*A'ria (It) Aria d*tntm'ta, the first air
allotted to a leading
singer (in opera)
on entering the stage. .Aria di sorti'..
B.
ta, an air, at the conclusion of which
the singer makes his exit. Jabillage (Fr.) Babbling, chatter.
[The Sor-
tita is, however, also the name for the Sadinerie (Fr.) Same as Badinage.
first number
sung by any the leading of
Bagatetta (It) Bagatelle.
characters in an opera], .
.Arieaggiun - Baglio'ra Flash of light ; title for
(It.)
/*, see Aggiunto. ..Aria also
signifies a swift, light and piquant
wind (in the organ, etc.). composition.
BalanceHa (It.; Fr. balancelle) A piece
*Aiiet'ta alia venezia'na Little of music imitating the
(It.)
air in "Venetian'' easy rocking of a
style; i.e., a bar- sailboat.
carola.
Jaldamen'te (It) Boldly.
Arietti'na (It) A brief
or.trifling ari- Ballabi'le (It) 2.
etta. Ballet-music.
JallateHa (It) A short ballad.
Armag'gio (di corde) (It.) Set of strings.
(Also MonUttura.)
BassaneHo (It.) i. An
obsolete wood-
wind instr. allied tothe bassoon, with
Ascenden'te (It) Ascending. double-reed in a conical
7 mouthpiece
Aspirant (Ger.) A young musician in carried by an S-shaped crook. 2. A
an orchestra, on half-pay,
*'
4-foot or 8-foot reed-stop in old
aspiring" organs.
to full Bass x horn
membership. (Ger.) A wood-wind instr.
 BASSIST-CAPOPHONE. 333

inv. by Frichot in 1804, and already ob- C.

1

solete, allied to the Serpent, but with "

C. In recent Italian music I C." and
a brass bell, and a cupped mouthpiece " tl
3 C." are abbreviations of una cor*
on an S-crook. Compass 4 octaves (C " "
8 da and ire corde" respectively.
to* ).
Cade're (It.) To fall. Cadenza (ca-
Bassist" (Ger.) Bass singer.
dence) means literally a "falling back"
*Bas'so (It.) 3. An 8-foot pedal-stop to the tonic from the dominant Beet- ;

on the organ. hoven uses the word jocularly, in the

"
Basso'ne (a lingua) (It.) A i6-foot phrase Cadenza ma senza tadere"
reed-stop on the swell-organ. (heading his Cadenza No. I to the rst
*Bassoon (compass). The A below B^ \
movem. of the G-major Pfte.-Concerto),
which may be translated: "<FalI back,
is occasionally used (Raff). 1 '
but don't fall down.
tittle-tattle.
Bavardage (Fr.) Chatter,
(Fr.) Cahier Book.
Bel canto (It.) The art of beautiful-
Italian Caraor'ra (It.) Paid claqueurs in Italian
song, as exemplified by the finest
theatres.
singers of the i8th and igth centuries,
and their pupils or imitators. The term Campagnuo'lo,-a (It) Pastoral, idyl*
is used especially in contradistinction to lie; rustic.
the "declamatory" style of dramatic
Campes'tre (It.) Pastoral^rural, idyllic j

vocalism brought into such prominence as danza campestre.

by Wagner.
Cano'nico,-a (It.) In canon-form.
Bien chante" (Fr.) Same as molto can-
Canticchian'do (It.; Fr. en fredonnant^
labile.
Trilling, warbling humming.
;

Biril'lo (It.) Peg. ,

*Canti'no (It.) ^-string. (In mercan-
Block (verb). A hammer in the piano- tile Italian the strings of the violin are
forte-action "blocks" when it remains named cantino^ seconda^ terza and
instead
against the string after impact, quarta) 4

of recoiling, thus "blocking" (deaden-

*Canto, written in a score over the blank
ing) the tone. means that the latter
part for any instr.,
Blueite (Fr.; "spark," "flying spark- is to play in unison with the vocal (or
let.") I. A light, playful comedietta. melody-bearing) part. Written over an
2. Hence, a sparkling
light, piano- instr.I part, it signifies that at that point
piece of no fixed form. the vocal melody -reenters after a
Botto'ne (da cordie'ra) (It.) Button ritournette or interlude.
7
(on the violin). Capo-ban da (militare; (It.) Band-
Bouts [pi.]. The incurvations. on either master.
side of instr.s of the violin-type, form- See Striese.
Capoco'micOj-a (It,)
ing the "waist." d'astro. [An English corruption
*Capo
^Bridge. A violin-bridge with 4 feet
has of capotaslo.] In the pianoforte, the
been inv. (1894) by Edwin Bonn, of "capo d'astro bar" is a transverse
Brading, Isle of Wight ; one foot under metallic bar placed above the strings
each string. near the wrestplank. Its name is

In violin-technic, short, derived from the fact that it bears down

Brise", le (Fr,)
detached strokes of the bow.
on the strings of the three highest
octaves (more or less), and is supposed
Budello (It.) Gut. (Also minugia.) to add to the brilliancy and carrying-
Bu'co (It.; pi. MM.) Finger-hole (of power of their tone. It is, however,
a mus. instr.).
not removable, like^a real capotasto, but
fixed.
Biih'ne (Ger.) S&gt.*.B&krnenmw band-
Conductor
(a) dramatic
music () music played on
;
Capo-mu'sica (It) ;

master.
the stage.
Conductor of an
Bun'te Rei'he (Ger,) The phrase means, Capo-orchestra
(It.)
orchestra.
the alternation, in a company
literally,
seated at table, of a lady with a gen- Capophone.
A set of musical glasses
inv. by M. F. Coelho, on which he
tleman hence, as a mus. title, a series
;

produced remarkable
effects.
of contrasted cnaracteristic pieces.
*34 CARATTERISTICO-CORTO.

Caratteris'tico,-a (It.) Characteristic. Colori'to (It) Same as Colorit.

. .Pezzo caratteristico, characteristic *Col / e.
pO (It) Stroke; g. t colpo di
piece. eampanel'lo^ stroke of a bell.
Cas'sa (It) Body (of violin, etc.). *Co'me pri'ma (It.) Standing alone, as
*Catch. caSce, from cac'da,
(It. a tempo-mark, it means that the pre-
chase.) The term occurs as early as vious tempo is be resumed (after -a
to
the I4th century, in a composition by digression) ; also written tornando come
Fr. Landino. [Cf. AMBROS, "Ge- prima...Ritenuto come prima % held
schichte der Musik," vol. iii, p. 470.] back (retarded) as before.
Causerie (Fr.) Chat, conversation. Co'me re'tro (It.) As before,
Cavi'glia (It.) Peg. Composed-through. A frequent trans-
A intended to lation of the German term durchkompo*
Cello'ne. bow-instr.
niert (see Durchkomponiereri), the cor-
replace the 'cello (in conjunction with
the Violotta [^. z/.]) in the string-quar- rect
4 *
English equivalent for which is
tet In dimensions it resembles the progressively composed," as con-
trasted with "strophic composition"
'cello, but the accordatura is a fourth
lower, namely, Gi~D-A-e. Tone like (see Song 2).
that of the 'cello (though stronger), Comprima'rio,-a (It.) In theatrical par-
being far more prompt in speaking, lance, a part (role) of importance,
flexible and mellow than that of the though not one of the leading parts
double-bass. (prime assolute).
Cer/to,-a Certain con una "
(It.) ;
certa Concentran'do (It) Concentrating ";
esprcssione parlante [Beethoven], with an expression-mark in vocal music,
a certain declamatory expression. calling for a dark, veiled, intense effect
Ce'tra ad acco^di of tone.
(It.) Autoharp.
Champetre (Fr.) Same as Campestre. *Concerti'sta (It) 2. Concert-giver.

Charrae, avec (Fr.) With charm, grace- Confetti (It.) Sugarplums.

fully (It. vezzosamente). Confinal. Compare Final.
"
Chin-rest. An oval plate of ebony, Conical mouthpiece. See Cupped.
slightly hollowed on its upper surface
Sub-bass (organ-
to receive the curve of the jaw, fastened *Contrab(b)as'so (It.)
to the edge of the violin to the left of stop).

the tailpiece, and over, but

Corde fU6e (Fr.) Covered string.
extending
not touching, the belly," [KREHBIEL.] Cordie'ra (It.) Tailpiece.
Chitarra'ta (It) Piano-piece imitative Cordo'metro (It.) String-gauge.
of the guitar.
Chord of Nature. The series of har- Cordonophon. A keyboard-instr. imitat-
monics sounding with a generator. (See ing the tones of bells ; inv. Paris, 1890.
The tone is produced by hammers strik-
Acoustics.)
Chord-bar. One
of the bars crossing ing on a graduated 2-octave series ,of
hollow bronze cylinders.
the strings of
the autoharp ; being
/
pressed down, it allows only the strings Cpri sta (It.) Chorus-singer. . . C. capo-
of one special chord to vibrate. (Ger. fila y a chorus-leader ; especially one to
Pedal) whom a minor solo part is entrusted
Clavi-harpe (Fr.) A
harp played by a (see Pertichino).

pianoforte-keyboard ; inv. by Dietz of Cornement (Fr.) Running (of wind ip

Brussels in 1887, and used with good an organ).
effect in the orch. of the Monnaie
Theatre there in 1888.
*Cornet & pistons. Even in the sym.
phony-orchestra the cornet is not infre-
*Clef. The follow-
quently used ; but its employment as a
ing is a form
substitute for the valve-trumpet is to be
tenor-clef now
used in
condemned, these instr.s being too dis-
,(1896) similar in tone.
Italy. [From the
u Cornet'ta Cornet a pistons. Cor-
Milan Gazzetta^ (It.) . .

Musicale", Dec. Tenon netti'w, a small cornet.

I7 1896.] Short. "Lacadenta sfa
 COUL-ESC L AMATO,
"
corta [Beethoven], the cadenza should named after Louise-Rosalie Dugazon, a
be short. celebrated singer (1753-1821).
*Coule~ (Fr.) 3. A slur. Dum'ka (Polish.) A
sort of romance,

Counting. When a part "rests" for vocal or instr.l, of a melancholy cast ;

several measures, precision of reen- a lament or elegy.

counting *Du'o. A composition in 2 parts for one

trance is facilitated by
instruments e. g., a violin-duo, in
contradistinction to a violin-duet for
two violins.
thus: 123,223,323,423,523.
Duologie' (Ger.) Duology (a series of
Coupure(Fr.) A "cut". two stage-plays, operas, or oratorios).
Cravat'tentenor" (Ger.) A tenor who
sings as if his necktie were too tight E.
Cupped mouthpiece. The shallower lichancmres (Fr. pi) Bouts.
form of mouthpiece for brass wind-
Eck'satz (Ger.) " Corner movement";
instr.s (Ger. kes'selformiges Mund'- i. e., the
in contradistinction to
<c opening or closing movement
stilck), conical
in a cyclical composition.
mouthpiece," the deeper form (Ger.
trick'terformiges ficlat(Fr.) Sameas^rw.
Mund'sWck).
Eguaglian'za (It.) Smoothnoss, even-
D. ness ; con molta eguaglianza^ very
Decimaquin'ta (It.) i. Interval of a smoothly, evenly.
fifteenth. 2. The Fifteenth (organ- *Ein/Iage (Ger.) Extra number; inci-
dental number. (See Arie aggiunte)
stop).

Declama'to,-a (It) Declaimed ; in de- flan (Fr.) Impetuosity, vehemence...

clamatory style.
Avec e'lan^ same as Cm slancio*
Deliran'te Raving ; frenziedly.
(It.) filargissez (Fr.) Same as Allargatc.

*Demi-jeu (Fr.) In violin-technic, the Enchainez (Fr.) "Go on directly "

persistent employment of short strokes
same as Attaccate.
of the bow. En largissant (Fr.) Same as allar-
Dichiarazio'ne (It.) Declaration (title gando, or pik hrgwnente (Ger* breitef
of a composition). werdend).
Discenden'te (It) Descending.
En enlevant (Fr.) Raising, lifting;
detaching (notes).
Discretez'za, con (It) With discretion ;

discreetly, cautiously. Enigmatical Canon. See Canon.

Dispa'ri (It.) Unequal (voices)

Enim'ma (It; pi. enimme.) Enigma;
; triple
(times). hence, enigmatical canon.

Divagazio'ne (It) A ramble, excursion ;

En mesure (Fr.) " In measure," i e.,
a tempo or a battuta.
rambling, strolling. ^

Divette(Fr. ; diminutive of diva) Lead- Enre"gisseur Rivoire. A phonauto-

ing lady in operetta. graph for attachment to a pianoforte;
inv. by Rivoire in 1895.
Divi'se. This (the fern, pi) form is
properly applied to instr.s of the femi- Ensenr'blestiick (Ger.) concerted A
nine gender (in Italian), such as tromba ; piece (Fr./# [or morceau] <Tensemble).
also to vocal parts (voci divise) ; it may Entusias'mo, con (It.) With enthusi-
likewise be expressed by numerals, e. g. asm.

Eritfnenmgsmotiv" (Ger.) mus. A

motive attached to and recalling a past
scene, emotion, personage, etc. ; in so
Dodo Lul- far, a Leitmotiv,
Dodinette, Dodino, (Fr.)
laby. Eroico'micOj-a (It.) Mock-heroic.
Do'rico (It.) Doric, Dorian. Erzah'lung (Ger.) Story, tale, narra-
Ger. erste Liebhaberin) tion.
Dugazon (Fr. ;

French designation for the leading so- Esclama'to,-a (It) Exclaimed;

prano in comedy-opera, operetta, etc, ; matoctmforx*.
 236 ESEMPIO-FORTSCHREITUNG.

Esera'pio (It.) Example. Fingered, octaves. In pfte.-techmc.

octaves played with the 1-5 and 1-4
Espansio'ne, con (It.) With exalted o
intense feeling:.
fingers alternately.

Espansi'vo (It.) Same as cm espan *Fingering. Alternative fingerings may

sione,
be written thus :

/
4 5
*Esprcssio ne (It.) Expression-stop. 182
Esquisse (Fr.) Sketch.

Estre'mOj-a (It,) Extreme. .Estrema-,

mnfte t extremely.
" label " on a
Etichet'ta (It.) Maker's or thus:
violin.
" 243 12 4 321
toffer (Fr.) To stuff, fill out to
; pad/' 2.35432
Exaltation, avec Same as con A
(Fr,)
1
change of fingers, temporarily de-
csaltaziont,
layed, may be indicated thus ;
Exhibition. A scholarship at an Eng- 5 &
lish university or music-school, inde-

pendent of the foundation; as the

Potter Exhibition at the Royal Acad:
of Music, London.

^Expression-marks. The mark p sf

over an arpeggio signifies "begin^z'ajw i

with a swift crescendo, the highest note A trill on the pfte. is sometimes fingered
tf.~ thus :
f or f or
, , |, etc.

F. Firing* The ringing of all the bells

^

" " belonging to a chime at once, in contra-

Fah'ne (Ger.) A flag or hook ( h) distinction to chiming*
Fallboard. Same as Ply.
Fisarmo / nica (It) Physharmonica.
*Fantasi'a, con (It) With fancy;
Fixing the voice. Conscious artistic
spiritedly, vividly. control, in singing, of the act of expira-
Fantasi'na (It.) Short fantasia. tion.

Fantasticheri'a (It.) A light, fantastic

Flessibilit^ (It.) Flexibility.
composition. Flies^end (Ger.) Flowing(ly), smooth-
Fascia're (It) To cover, to wind (ly) ;
scorrendo.
(strings)... Corde fascia'te t covered
Flute-stop. Any flue-stop on the organ
strings. (except stops of diapason-tone) made
Ferie (Fr.) Fairy-opera, fairy-play. of metal or wood, closed or open, and
of any pitch from if-foot (Terzflote)
Fervo're, con (It) With fervor, warmth.
to i6-foot (Flautone), may be called a
Feuille(Fr.) A leaf; ftuilhs votantes, 4t
flute
'*
of some kind, either on account '

flying leaves. of its tone, or after the builder's taste

Feuillet (Fr.)
9
A leaf, leaflet. . .Feuillet or fancy. Descriptions of the ordinary
d alburn^ album-leaf. be found under their respect-
styles will
Fial)a(It) Fable, fairy-tale. ive names. (Also see Flute-work, under
*Fia'to (It) Wind ; strumen'to a fato Stop 2.)

(or dafiato), wind-instr. Flutet (Fr.) Same as Galoubet.

Fila (It } pi. /&.) Rank (of organ- Fo'glio (It; pi. foglt.) A leaf.../. 1

d'album, album-leaf. . .Fcfgft volan'A,

-

e. g.,
pipes) j "/%**, 3 file XV,
XXir "
XIX, signifies Mixture, 3 flying leaves.
ranks (Fifteenth, Nineteenth, and ^olatrerie (Fr.)
triple Whim, caprice, bizarre
octave)". fancy.
*Filer un son (Fr.) Also means to sus- Forte generate (It.) The full-organ
tain a tone with a gradual crescendo combination - stop . .Forte Vappoggia* .

and decrescendo.
tura, accent the appoggiatura strongly.
Fi'lb di voce (It) The very softest and ciner Dissonanz'
l-orfschreitung
lightest vocal tone. (Gen) Is not necessarily the resolution
 FORTTNOR-HOCHFORMAT.
/
of the dissonance, as one dissonance Gix er(Ger.) Same as JSTtV^
may progress to another; Auflosung Glottis. See Vocal glottis.
is the exact German equivalent of Gosier
(Fr.) Throat... hthme du g. %
"resolution."
isthmus of the throat.
ForttSnor (Fr.) Dramatic tenor. " La Poule "
*Graces. In (a piece for
See WKp-
Fouett6(Fr.; "whipped.") harpsichord, by Rameau), the following
ping bow. grace occurs \.

Franimen'to (It.) Fragment

Written:
Frase(It.) Aside.
Frau'enchor (Ger.) i. A female chorus.
2, A composition for
r
such a chorus.
Played:
..Frau enstimmen^ women's voices.
Freddez'za, con (It.) With coldness ;
" '*

coolly, indifferently.
In the Rappel des oiseaux :
Fremen'te (It.) Furiously. Written:
Frettolo'so (It.) Hurried. . .Fretiolosa-

menfte, hurriedly.

Fri'gio(It) Phrygian. Played:

Frog, The German word Frosch means

both "frog" (the animal) and "nut"
The former is d'Alembert's Chute et
(of a violin-bow) translators of Ger-
;
Pine/, or J. S. Bach's Accent und Mor.
man mus. works into English, often dant (Bach gives a different sign); the
mistakenly use the word "frog" in- latter is Fr. Couperin's Pine/ simflt,
stead of the proper technical term
but with a different sign.
"nut."
Gradatamen'te (It) By degrees, grad-
Fuo'ri di se Absently; dream-
(It.)
ually.
ingly, as if
dreaming.
Grandement (Fr.) With grandeur with ;
Furberi'a del can'to (It.) The vocal
breadth, dignity and force. (It con
effect of the facca chiusa (humming).
grandezza.)
Fur sich (Ger.) Aside.
Grand'or'gano (It.) Great organ.
Gravita', con (It.) With gravity, dig-
G* nity; ponderously.
/
*Gruppet to ascenden'te (It) Back
Garba'to (It.) With simple grace, ele-
turn. . , G. discenden'U* ordinary turn.
gance.
Gefeil'ter Strich (Ger.) Detached bow-
H.
ing (violin-technic).
Gehaucht' (Ger.) Very softly and lightly Habane'ra (Sp.) species of contra- A
dance comprising two 8-measure peri-
sung or played.
ods in 6-8 time. It is a typical Cuban
Gemen'do (It.) Moaning. v
dance; hence called the "contradanza
Gemes'sen (Ger.) Masured(ly), moder- "
criolla (Creole contradance).
atefly) ; misurato. '

Hack'e (Ger,) Heel. (Abbreviated, in

Gepei'tschte Stricn'art (Ger.) Whip-
""" organ-technic, H.)
ping bow. I. The inharmonic
false.
Hannony,
Geris'sen (Ger,) Thrown off <in pfte.-
relation. Discord produced by im-
2,
a rapid, deft lift of the
technic) by^ perfect preparation or resolution. 3,
wrist; as ein gerissener Akkord. Discprd produced by wrong notes or
Gesang'reich (Ger.) Very singingly; chords,
cantandO) cantabile. Havanaise (Fr.) A Habanera*
Gezo'gen (Ger.) "Drawn out"; forgo- Ein'ter der Sze'ne (or Sce'ne) (Ger.)
mente, sostenuto. Behind the scenes.
Gio'co, con (It.) Playfully. HodrTormat (Ger.) The ordinary shaps
With of music-paper, higher than it is broad
Giovialita', con (It.) joviality

jovially. (See Querformat.)

238 HOLDING-LONTANISSIMO.

Holding. The burden of a song. (Ob- Klavier/harfe (Ger.) Same as

solete.) atur^karfe,
Httitienie de aoupir (Fr.) A 32nd-rest Kna'benchor (Ger.) Boy-chorus, boy-
choir ; also, a composition for such a
chorus or choir. . .Knafbenstimmen*
1

boys voices.
I. 7
Kokett (Ger.) Coquettish(ly).
Iipi&(It.) The most.
Im (Ger.; contraction of in *&.) In the. L.
. , Jm TfmfO) in the (regular) tempo ; a
Lamen'to
'
(It.) Lamentation, dirge, eU
egy-
Inci'soy* (It) Incisive, sharp ; sharply
Lam'penfieber (Ger.) Stage-fright
emphasized ; ind'se [It note}, [the notes]
sharply marked. Languo're, con (It.) With languor, lan-
guidly.
Ingennamen'te (It) Ingenuously, nat-
Larghez'za, con (It.) Same as Largo.
urally.
mente.
Ingranag'gio (It.) Gear, gearing ;
ma-
chine-head. Leer (Ger.) i. Empty, hollow (of a tone).
2. Open (of a string).
Insceni'ning, Inszenie'nmg(Ger.) See
Mist en scene. Legan'do (It; "binding.") i. Equiva-
lent to Legato. -2. An expression-mark,
Intar'sio,Intar'zio (It.) Purfiing.
in vocal or instr.l music, calling for the
Space (between lines of
'

Interligne (Fr.) smooth execution of two or more con-

"
stag). secutive tones by a single stroke of
sinfo'nici (It) Incidental the glottis" (vocal), in one bow (violin,
Intermezzi
music (interludes) for orchestra. etc.), by a single stroke of the tongue
(wind-instr.s), or legatissimo (on organ
Ipo- (It) Hypo- ; e.g., ipofri'gio, Hy-
or pfte.).
pophrygian ; ipoli'dico^ Hypolydian.
Legate form of hgafta^ the
(It; pi.
Itlan^o (It) See Slando* "
words "If note being implied.) Slurred ;
Isthme (Fr.) Isthmus.
played (or sung) evenly and smoothly.
Iftnrmentato're (It.) Instrumenter ; or- 2. A slur.
^Legatu'ra (It.)
dwstrater ; composer for orchestra.
Leggen'da (It.) Legend.
Leggcris'sime (It; pi. of leggerissima^
"le note" being implied.) [Play or
J. sing the notes] very lightly.
Music-stand.
JlBgling Johnny. Formerly a popular
name, in London, for the Turkish cres- Le'gni (It; pi. oile'gno, wood.) Wood*
cent wind.

Joaction (Fr.) Blending (of the vocal Lesff(Fr,) The /-holes.

registers) ; also funion des registres* Lice'o (It.) Lyceum ; Conservatory.
Jn*te(Fr.) Perfect (saM of intervals). Lie'derabend (Ger.;
"song-evening.")
A song-recital (by one singer).
Lie'derdichter (Ger.) A writer of songs
K. (poems) to be set to music.
Lie'derspiel (Ger.) i. Ballad -opera,
Ktntor(Ger.) Cantor; the director and
trainer of a choir or chorus in a church
vaudeville. 2. A concert-piece for vo-
cal soli, chorus, and pfte.-accompani-
or school.
/ ment, with dramatic and local color}
Ker nig(Ger.) With firmness, decision ; invented by Schumann in his '*Spa
^ dense. nisches Liederspiel," op. 74.

Kes'selBrmiges Mund'stiick (Ger.) Liuta'io (It) Same as Luthier.

Cupped mouthpiece. Liuti'sta (It) Lute-player.
Klatier^abend (Gen) Piano-recital in Lontanis'simo (It.) Very far awayj
the evening. Also davitrabend* equivalent to piano possible.
 LUNGA E DIMINUENDO NINNERELLA,

Lun'ga e diminuendo [morendo] (It.) Mol'to sot'tovoce (It) Very softly in.
Long sustained and diminishing in force. deed.
(Here "nota" is implied.) Mon'do picci'no (It.) " Little Folks,"
"
Little People"; title equiv. to the
M. German 4t
Kinderszenen/' "Kinder-
stucke."
Macchinet'ta (It.) Machine-head.
Madrile'fla (Sp.) A dance of Madrid. Montatu'ra (di corde) (It.) Set of
strings.
*Mandolina'ta (It.) 2. Title for a man-
Mor'bido Soft, tender ; morMdis-
dolin-piece of a quiet character, such
(It.)

as a serenade or nocturne. $imo^ very soft. . Con morbidezsa % with

.

tenderness, softly.
Mandoloncerio, Mandolo'ne (It.)
Large styles of the mandolin." Man- *Morden'te. G. "Ele-
NAVA, in his
ments of Vocalization," an un- calls
dolina, Mandola, Mandoloncello and
accented double -appoggiatura (e. M
Mandolone do not differ one from the
other in form, but only in size." [GAZ- -
\ imordente,
ZETTA MUSICALE.]
Manua'liter (Lat.) On the manual(s)
alone (organ-music).
*Mos /so(It) Occurring alone as a
tempo-mark, Mosso is equiv. to Con
Marca'te (It. ; pi. of marca'ta) direc- A moto. [Verdi: "Ai'da," pf.^score, p.
tion 'signifying :
" The notes are to be
285.]
marked"; the words "If note" being 1
Mu'sica fic'ta (Lat.; "feigned music/ )
implied. Mediaeval name for scales transposed by
" "
with strong
Mar'kig (Ger.) Marrowy ; the use of the or \) such scales being
ft ;

emphasis; sturdy, strong, vigorous. considered irregular (" feigned ") in con-
(Also adverb.) trast with the regular ones.
Mediation. See Chant $. Musical Dictation. See Dictic must-
Melo'logo (It.; pi. mek'loghi?) Melo- cale.
drama ; a spoken dramatic scene accom- Mu'sico
(It.) An artificial male soprano j
panied or illustrated by music. a castrato or evirato.
M es'sa da re'quiem (It.) Requiem mass.
Musique de scene (Fr.) Incidental
Mes'sa in sce'na (It.) Same as Miss en music.
scene. The art of correctly
Musurgia (Gk.)
*Mesur6 (Fr.) Equivalent to moderate; employing the musicaLconsonances and
e.g., A$egro piesure'. dissonances.

Metro'mano-piano (It.) A finger-exer- N.

ciser for pianists, inv. by Luigi Pizza-
miglio in 1897, and commended -by a Nach'gebend, Nach^iebig-CGer.)
committee of the Milan Conser- Yielding(ly), slower and slower, ralfcn-
special
It has a short keyboard, and
tando...Nach'giebiger^ more yielding.
vatprio. ly^fibsostenuto.
various springs and other accessories.
Na'ker. Ancient name of the kettle*
*Mez'zo(It; adjective) Occurring alone, drum.
itrefers to the dynamic sign next pre-
Naset'to (It) Point (of bow). Also
ceding (either/ or jp). . .Mezzo respiro,
half-breath (i.e,, a [rapid] partial inspi-
punta.
" Modern
ration). Naufra'gio (It ; shipwreck.")
Mez'zo (It. ;
Middle ; ml mezzo
nowi) equivalent of Fiasco.
del arco, in the middle o( the bow. Negligen'za, con (It.) With negligence,
Milieu (Fr.) Middle. carelessly.

Gut Ni'colo. An ancient style of bombard,

Minu'gia (It.) (Also Budello.)
the alto of the oboe.
Mise en scene messa in scena;
(Fr.; It.
Nien'te
Ger. Inszenierung) Setting of a play (It)
" (The phrase
Nothing.
as k
on the stage ; stage-setting, mounting. quasi niente signifies inaudible,
were/' i.e., barely audible.)
Moderatamen'te (It) With moderation
(either of
tempo or emotion) ; also cm
moderations
 NOTATION-PEL,

*Notation. In the following example p.

No. 4] for pfte., the
[Rubinstein, op, 3, Young Italy occasionally in-
two notes with convergent stems, jjfo to indicate a barely
dulges in five p's
and^ij, are to be played simultaneously
:
audible musical murmur.
3
1
^
2 1 Pa'gina d'album (It.) Album-leaf.
Parabrac'cio (It) Arm-rest
Parallel intervals are formed by the
progression of
two parts in the same
Nottnmi'no (It., dimin. of Noiturno.) direction and at exactly the same inter-
A short nocturne. val.

^Numerals. The Roman numerals (It.)I., Pa'ri

Equal (of voices; "twi
"
IL, IIL, IV., in violin-playing indicate pari") \ duple (of times ; tempi part").
"
the string to be played on, the E-string *Parlan'te(It ; speaking.") In pfte.,
being L 1\ 2, 3", and 4* (iarfrima, technic, this direction calls for a clear,

seconda, terza and quarto, corda, re- crisp non legato.

spectively), are also
written. single A
Parla'to(It) Spoken.
8 tinder a bass note signifies that the
Parolier (Fr.) Same as Liederdichter.
note should be doubled in the lower
octave./ in modern Italian Partie (Fr.) Part. . .Parties sfyarSes,
C. and^ ,

piano-music, stand for Una corda and separate parts... Partition et parties^
rr* ^^respectively. Alsor/. Divise score and parts.
and Fingering, in Appendix. Partitionnette (Fr.) A little (or slight)

Nymphalc (Fr.) A French portable

score.

of the i6th century. Pas'so (It) I. Step ; e. g., Vaher a

organ
due passi. 2. Measure ; time ; passo
o. ordina'rio, common time passo
; doppio
*0boe The
usual orches-
i. compound duple time.
composto>
(compass),
tral compass is only to /*. . . Oboe da Pau'ken (Ger.) To thump ; thumping,
caifcia (It), the tenoroou oboe (corno pounding, banging (rough piano-play-
lunga, same as
oboe ing).
inglese)...0&v
d'amore. 2. In the organ, an 8-foot Pau'ra (It) Fear, dismay. . .Pauro'sa^
reed-stop, with conical pipes
surmounted fearful, timid.
bell and cap. . , Orchestral oboe, a
by a Pedal' dop'pelt (Ger.) "The pedal-part
the orch.l
stop accurately imitating in octaves (organ-technic ; It. pedale
instn a .direction
doppio). .Pedal ein'fach>
.

O1x>'er (Ger.) Oboist

following the foregoing, and signifying
Officle'ide (It) Alternative spelling of that the pedal-part is no longer to be
doubled. . .Pedafkoppel, pedal-coupler.

*0perettc [witfi /] is the correct spelling Pedale o'gni battu'ta (It) "Take
of the French word. pedal with each measure."
Qperi'sta (It) Opera-composer. Pedalet'to (It.) A
mechanical^ stop
on
Order. The arrangement of chord-tones the organ ; e. g., p. di accoppiamen'to^
above a given bass, "open" and coupler ; p, <di combinAzio'ne^ combina*
" "
"close order" being equiv. to open tion-stop.
u
and close harmony ". Pedali'no (It.) Same as Ptdaletto.
Orecchian'te (It) One judging of Pedal-sign. A sign for the loud pedal,
u "
music by ear ; one lacking theoretical (a) O)
and practical training in the art written has been introduced
p" J,
Orieo'nico to the a showing
(It) Pertaining by Arthur Foote of Boston ;

Qrpheoas. the precise point at which the pedal

*0rganet'to a manu'brio (It.) Hand- should be depressed, and b where it
organ. (Also 0. &
Barbaria) should be raised.
Organ-metal. Same as Pipe-metal. Pei'tschend (Ger.) See Whipping bow.
Or'gano espressi'vo (It) Swell-organ Pel (It.) Contraction of per #, "for
n
Otto*m (It J tfLotottfne> brass*) Brass- the ; e. g., pet mandolino, for the

wind. mandolin.
 PENNA-PROGRESSIVE COMPOSITION. 241

Pen'na (It.) Pick, plectrum. Plein (Fr.) Full ; a pten son, with ftf
Pensie'ro (It) tone (sonoramtntt).
Thought ... Pensiero
del(la)t Souvenir of Recollections Plet'tro (It.) Plectrum, pick.
,

of. Pluperfect. Augmented (of intervals).

Penso/so (It) Pensive, thoughtful
Po'co me'no (It.) When this phrase
Perce (Fr,) Bore (of wood-wind instns). occurs alone as a mosso is tempo-mark,
Per interval'li giu'sti (It) By exact implied ;
i.
t^poco meno mosso, a little
intervals (in a canon ; i. e. , the theme less fast [slower]... Poco
pik, ltstanding
is repeated interval for interval,
strictly). alone, -also implies mosso ( a little
Pertichi'no (It.) The singer of an ex- faster").../^ P& ^nto delta I
volta, somewhat slower than the first
tremely subordinate operatic part; a
time.
part often taken by the chorus-leader.
In German such a singer has been Poemet'to (It; "little poem.") A
jocularly -termed a So' lochor"sanger^ slight musico-dramatic work.
" solo
chorus-singer". (See Corista.) Pointing. See Chant 3.
Petac'cha (It.) Plectrum,
Pol'ca(It) Polka.
Pezzet'to (It) Little piece. Polchet'ta (Polketta?) Littte
(It.)
Pez'zi Stacca'ti (It.) Airs dttachts. polka.
Phras6 (Fr.; noun,) Phrasing. Polifo'nico,-a (It.) Polyphonic.
Piano'la. A mechanical piano-player, Pol'nisch
(Ger.;
"
Polish.") Polacca (as
invented by E. S. Votey of New York, the title of a piece).
in the year 1897. It is furnished with
Polone'se (It.) Polonaise. (Polacca?)
4 stops, Piano, Forte, Tempo and
Accent^ by whose skilful manipulation Pom'pa, con (It) With pomp, pom.
the most artistic effects may be pro- pously, loftily.
duced at will. The motive-power is Porta-mu'sica (It) Music-roll, port-
supplied by two pedals (treadles) worked folio.

by the feet ; these pedals actuate (a) a Porta'te la vo'ce (It) " Carry the
revolving music-roll of perforated paper, voice"; a direction to more than one
whose perforations control the time-
singer to sing portamento.
value of the notes ; and () the pneu-
matic action, consisting of 65 felt- Post-horn. A horn without valves or
covered levers, or automatic fingers, keys, capable of producing the natural
harmonics of its fundamental tone;
"which command a compass of five 1

used on post-coaches.
octaves and four semitones (from A\ to
<*$), and act with all the delicacy and
Premier dessus (Fr.) Soprano.
precision of a trained pianist's digits, Pressan'do (It.) Same as Pressante.
besides being able to play any 4-hand
Pr estissimamen'te> (It.) With extreme
pieces. The apparatus is not attached
to the pianoforte, but set in front of it rapidity (equiv. to Prestissimo).
* *
in such .a position that the 65 automatic Presto parlan'te (It) Speaking rap.
fingers engage the proper keys. The idly (volubly) "; a direction in recita-

repertory, comprising at present (1900) tives, etc.

about 20,000 numbers, embraces all Principali'no (It. ; " small diapason/ )
1

grades of popular, romantic, and classic An 8-foot stop on the swell-organ.

pianoforte - music and arrangements.
PrinzipaKstimme (Gef.) Leading part;
(Cf. Molian^ solo part.
Pib-corn (Welsh,) A hornpipe.
Profa/noj-a (It) Secular; as oratorio
Piffera'ta (It) Air for the fife, or in
profano^ musicaprofana*
imitation (as on the pfte.).
Programmist. i. A musician who writes
Placidez'za, con (It) With placidity ; "
music to fit a program ", which latter
tranquilly, calmly. be either expressed or implied. 2.
Plain-beat. An obsolete English harp* may A theorist or critic who favors compos-
sichord-grace ;
ing according to program.
Written: Played:
Progressive composition of a song is
the. English equivalent for Durchkom*

ponieren (g. vj*

242 PROLONGEMENT-ROLATA.

Proloflgement (Fr.) Sustaining-pedal. Retenu (Fr.) Same as Ritenuto.

Pronunzia'to,-a (It) Pronounced, em- Retrosce'na (It.) Behind the scenes.

phasized. Revue (Fr.) Areview in musico-dra-
Protagoni'sta Protagoniste (Fr.)
(It), matic form, and generally humorous, of
Singer of the leading r&le in an opera. the striking events in a season or year
*Pro'va (It.) Rehearsal. ..P. in costu'- just closing.
me, dress-rehearsal. . , A genertfle, full
*Ribattu'to,-a (It.) Restruck, repeated ;

rehearsal. note ribattute, repeated notes.

Pult (Gen) Desk...r,rter (/.) Pult, Ric'cio(It) Scroll.
and Zwdtes (//.) Pult, in a score, in-
Ricochet (Fr.) In violin-technic, a var-
dicate, respectively, Division i and 2 of the $au-
a group of orch.1 instr.s playing divisi. iety of staccato differing from
tillKsalt&to) in not employing the wrist
Pnlt'virtuos (Ger.; Fr. virtuose de pu-
(in the saltato, up-stroke, a separate
fOrt) A "virtuoso of the desk "(i*e., wrist-movement is made for each de-
conductor's desk); a conductor of tached tone).
celebrity, like Hans Richter, von Billow, Rifiormen'to Same as Adorna-
(It.)
Weingartner, etaL, who either travels mento.
with his own orchestra, or conducts
different orchestras at various places. Rimembran'za (It. ; pi. rimembran'ze^
Pun'to corona'to (It)
Recollection, souvenir, memory.
Hold(/T\).
Ripieni'no (It.) A 4-foot stop on the
swell-organ.
Q- *Ripie'no (It.) A combination-stop in
Qua'dro (It) Picture, tableau. the organ drawing all registers of any

Quer'format (Ger.) Oblong (shape of given manual.

music-paper, broader than long). Ripi'glio (It.) Repetition, reprise.
Quitter (Fr.) To quit, leave ; sans quit- Ripo'so (It) Repose* . .Riposa'to % re-
ter la corde* without quitting the string. poseful, restful. . .Riposatamcn'tet re*
posefully.
R. Ripren'dere (It) To resume ; stringendo
fer riprendere il P
tempo, hastening,
Raccoglimen'to (It) Collectedness of in order to regain the former tempo.
mind,composure.
Risolutezza, con (It.) With resolution,
RaccoTta(It) Collection. decision.
Raccon'to (It) Tale, story.
/ Rispet'to (It) Love-ditty.
Railenta te (It, imperative.) Go slower, 2 as an abbreviation
Rit. is on given p.
Recessional. A hymn sung in church of Ritenuto, and is often so used, though
during the departure of the choir and more frequently for Ritardando. In
clergy after a service. view of the difference in meaning
Rcdite(Fr.) Repetition. between Ritenuto and Ritardando, it is
advisable always to write Ritenuto out
Reduce (It ridur^re.) Same as Rtduire*
in full, when that nuance is desired.
. .Reduction (Ger. Rcduktionf; Fr. r/-

duction; It ridustcfne), a reduced com- Ritardan'za (It) Retardation.

position (see Rlduire}* Ritardazio'ne (It.) Retardation, drag.
Reiftanz (Ger.) Same as Sehafflertanz.
Reminiscence (It pi.) Recollections. Rit'mico (It.) Rhythmical. .Rifmico, .

R6solument (Fr.) Same as Risoluta- written after a recitative, is also equiva-

lent to
"a or misurato.
mente. tempo"
Restez " Rifter-Bra'tsche A
(Fr. ; stay there ! ") In music (Ger.) large style
for bow-instr.s this direction means: of viola, the Viola alia, inv. by
(i) "Play on the same string", or (2) Hermann Ritter of Wttrzburg ; a per-
44
Remain in the same position (shift)". former on it is sometimes called a
"Ritter-BratschistV'
*Rests. A pause of
several measures is Rivi'sta^t) Same as Revue.
often written thus :
Rola'ta(It) A roulade.
 ROMANZA SEN2A PAROLE-SIGNS, 245

"
Roman'za sen'za parole (It.) Song ure ; i.e., not in strict time ; equiva-
without words. lent to the tempo-mark a piacere, and
Romanze'ro (It.) A suite or cycle of opposed
"
to misurato...Senza suono*
"
romantic pieces for pfte. without tone ; i.e., spoken.
Sept'akkord(Ger.) Seventh-chord. (Also
Sep'timmakkord.)
s.
Serenatella (It.)' Little serenade.
Sag'gio (It.) Examination.. (Concerto
1 Sereuita', con (It) With serenity, se.
di saggio, pupils concert given for
.renely, tranquilly.
practice in ensemble, or quasi public,
Serieta', con (It) Seriously.
performance; equivalent to the German
tjbungsabend'or Abendunterhaltung). Settimi'no (It.) A piece for 7 perform-
ers.
*Sampo'gna (It.) A variety of the Italian
bagpipe, having (in a specimen examined Severity con; Seve'ro (It) In ase*
in the United States) 2 drones, and 2 vere (stern, austere) manner.

melody-pipes fingered by the right and Sfuma'to (It; pi. sfuma'te \le note im-
left hands respectively ;
on it was played
plied].) Very lightly, like a vanishing
f ' 4
the accompaniment to a shrill reed-pipe smoke-wreath. Bfumatu ra t Smoke- . .

which the performers called a coma- wreath" (title of a light, airy composi-
musa. The bag is inflated by the breath tion), ,., 4 .,. e

and squeezed by the right arm. % 3 Instead of the mis-

*Signs.
Sans(Fr.) Without. leading short slur, with figure, for doub-
Sautilte (Fr.) Saltato. modern French music
lets, triplets, etc.,
sometimes has a dotted slur (as shown
Sauvement (Fr.) Resolution (of a dis-
above), which is an improvement
sonance).
Saxofo'nia (It.) Saxophone. another sign for
'
\
*Scale. 4 (of a piano).
Compass i.e., ; triplet (=
the range of tones represented by the
keyboard. This sign, at the end of a staff,
Schafflertanz (Ger.) Festival procession shows that the measure is unfin-
and dance, probably of great antiquity, ished, so that no bar is required.
of the Coopers' Guild at Munich held ;
.(bis) The re-

every 7 years.
Schie'ber (Ger.) Same as Schub.
times writ-
Schiette'z'za, con (It) Simply ; neatly, ten at a single bar.
deftly.
i

Schla'ger (Ger.) A "hit"; brilliantly

successful piece or play. The sign (is used

Schmacli'tend (Ger.) Languishing^), like I to connect

longing(ly).
Scintilla (It.; pi. sdnttfle) A spark.
notes to be pkyed

Scivolan'do Same as Glissando^ in by one hand.

(It.)

pfte.-technic. -
This sign
Scoop. Vocal tones are said to be =used; (i)
is
*'
scooped" when taken, instead of by As a breath.
firm and just attack, by a rough por- to mark a very brief
ing-mark; (2)
tamento from a lower tone.
pause, together with the interruption
Secondan'do (It.) Supporting, follow- caused by taking breath.
ing; secondando la voce (or il canto}, * Another sign for the Back Turn.
yieldingly following the principal part
.
(with the accompaniment).
Second dessus (Fr.) Mezzo-soprano. mezzo staccato
nifies
Semitril'Io (It) Inverted mordent. e pesante (marcato) ;
Sentimental (It.) Feelingly. e.g.:
"
Sen'za misu'ra (It.) Without meas-
 SILENZIQ-SyiZZERA.

nA In organ-pieces, signs for pedal- Spie'gelkanon (Ger.) A canon to be

ling are sometimes
written thus : performed backwards i.a, as it appears ;

A when held beforea mirror (" Spiegel ").

For right foot, heel fl , toe
" " "
**
left U V Spigliate^za (It) Agility, dexterity,
In piano-playing a note to be briskness.
yG i taken by the right hand is some-
..Spigftatafsse (pi.), short,
lively pieces or studies requiring dex-
terity.
times marked thus: for the left
jj;
Stanchez'za (It) Weariness; cwi dU
tend:
f. wearily, very dragging.
(Abo $/% in APPENDIX, the articles Notation,
tfttmtrals, Timezzd Turn.')
Stan'co,-a (It.) Weary.
" de-
^Silen^ip (It.) 2. A pause, silence ; as *Stentan'do(It.) Means literally,
"
the tempo.
fango siUn&o. laying, retarding, dragging
*.*SUnta'tOt delayed, retarded, dragged.
Simplement (Fr.) Simply, semplice;
ires drnplemtnt) semplicissTrnamente. Stiria'na (It.) See Styrienne*

*Sinfimi'a (It) This term is still used Stornello (It) A form of song in which
in Italy to designate an opera-overture ; each 8-line stanza rhymes thus : 1-3 2-4
e.g., la sinfoniadel Tannh&uscr. 5-6 7-8.

Siflfoni'sta (It) A
writer of sympho- Strambot'to (It.) Folk-song; rustic

nies, or for symphony-orchestra, love-ditty. (Also Strambot'tolo!)

u to
In
Sing'amt (Gen) See Singmesse .
Sing*- . . Strappa're (It; pluck off.")
f
en, to sing, viaib\t...Sing gedichti a piano-technic, to throw off a note or
poem for nras. setting. . .
Sin/kunst, art chord by a rapid, light turn of the
of singing. - .
wrist. . .Lo straff are the thro wing-off,
i
Singlehrer> singing-teach-
er. ..Sinjf?tittry gamut, vocal scale. . ,
. . .
StrafpatO) thrown off (Ger.gerissfn).

Sinj^mftrcken,
vocal ballad... Sing*- Strascina're la vo'ce (It.) To sing a
master* singing- master. ..Singmesse, portamento with an exaggerated drag-
a-cappella mass...pSz^flzV/, treble ging or drawling.
string, chanterelle. . .
Sing'stund*, sing- Strei'cher (Ger.) Player(s) on any bow-
ing-lesson, vocal instruction... Sing-
instns.
jibungi singing-exercise. . .
Sin^verei^
singing-society.
Strefta (It.) A closing passage (coda)
in swifter tempo than the movement
Singtioz'zo (It) Sob.
preceding.
Slaacian'tejSlancia'toCt) "Thrown Strich'-Staccato A staccato in:
off" lightly and deftly, or forcibly and (Ger.)
dicated by wedge-shaped dashes ( f 1 ).
vehemently.
* Strict style (of composition). See Coun-
Slarga'to (It) Slower, f& sostcnufa
terfioint, strict.
*Slide. 4. On a violui-bow, that part of r
the nut which slides along the stick.
Strie se (Ger.; It. capoco'mico) The
leading comic actor or singer in a com-
Splmizza're (It) Same
as Solfeggiare. pany, either gentleman or (It. capoco'-
Sopranisf(in) (Ger. j Soprano singer. mica) lady.

Sorri'so(It) A smile. Strimpella'ta (It.) Strumming, scrap-

ing.
*Sorti'ta (It) See Aria in APPENDIX.
Strin'gere (It.) To hasten senza strin-
Soatenu (Fr.) Same as Sostenuto.
;

gere, without hastening.

Specification. (Ger. Disposition?} An See Song 2.
*
enumeration of the various stops com- Strophic composition. .

Styrienne (Fr.; It. Stiriana) An air in

posing any given organ, giving number,
kind, and arrangement slow movement and 2-4 time, often in
minor, with Jodhr after each verse,
Splanar' la vo'ce (It) To render the for vocal or instr.l solo.
Tofce even ; to blend the registers.
Super1>o,-a (It.) Superb ; proud, lofty
In violin-technic, a va-
Spiccala (It.) . . .
Superbamm'te^ proudly, loftily,
riety of staccato differing from the ml-
tote in the wrist -stroke Svilup'po (It.) Development,
employing
tferoagiiout, for each detached note. Syiz'zera, alia (It.) 1 n Swiss style-
 TABLE DU FOND-UMGEBUNDEN,
third time to
" encore** for a sec-
tfie ;

ond time.
Table du fond (Fr.) Back (of violin).
Trito'nikon (Ger.) A modern form of
Ta'glio(It) A "cut"
double-bassoon, made of metal.
Tallo'ne (It.) Nut (of bow). Trom'ba reale (It,; "royal trumpet")
Tarantelli'na (It.) Little tarantella. An 8-foot trumpet-stop in the organ.

Telltale. A small weight moving verti- Trompe des Alpes (Fr.; It trombadelle
cally ina groove, and so connected with A Ipi.) " T he hollowed trunk or branch
the bellows of an orgafi that, bv rising of a tree, from which the old moun-
and falling, it shows the organist or taineers draw strange tones." [Rein-
*'
blower" the amount of wind in the troduced lately into Switzerland by Prof.
fellows. Heim of Zurich.]
Terzetti'no (It.) A short tercet. Tron'co,-a (It.) Cut off short ; stopped
a series abruptly. . . Suoni tronchi^ tones cut off
Tetralogie' (Ger.) Tetralogy ;

of 4 stage-works or oratorios. suddenly.

Three-step. Vaher *Tuba. The bass tuba in Eft is exten-

(Ger. Drdtritt; It.
a tre passi; Fr. trois-temps.) The or- sively employed in the modern orchestra,

dinary (Vienna) waltz. (See Waltz.) *Turn. Example of turn-sign over a

dotted note; from Beethoven, op. 14,
Timballo'ne (It.) A i6-foot pedal-stop
in the organ. No. i, showing the dot as he himself
wrote it :
Timbrel (Hebr.) A tambourine or tabor.
*Time. In French notation jy .

the large 3 is still some- S&

times employed instead of J.
Ti'mido
re, con,
(It
) Timid, timorous . Timo'-
with timidity ; timorously, fear-
. . Written:
J
fully, anxiously.
Tonan'te (It.) Thundering, thunderous.
" "
Ton'figuren
" nodal(Ger., pi.
) Tone-figures ;

i.e., figures" (q.v).

Tom'metro (It.) Tuning-fork (/. a per-
cussione)-; pitch-pipe (t. afiato).
Played:
*Ton'satz 2.
Arrangement (e.g.,
(Ger.)
of the vocal or instr.l accomp to an
ancient melody).
Tornan'do u
Returning ; /. alprimo Tut'ta for'za (It.) Abbreviation pf con
(It.)

tempo (or come prima), returning to

t.
tutta faforza" with full force.
(resuming) the original tempo. It Valzer a
Two-step (Ger. Zweitritt;
Traduzio'ne (It.) Arrangement. The
duepassi; Fr. deux-temps) rapid
Trascrizio'ne (It) Transcription. waltz. (See Waltz.)
Traspor'to, con (It.) With transport,
ecstatically.
u.
TrefFiibung (Ger.) A singing exercise
" 11
on the attack, as regards either pitch, Cl>un^sabeiid (Ger.) See
or time of entrance (in duets, canons, halting, in APPENDIX.
etc.).
Treman'te (It) Trembling; i.e., with in APPENDIX.
*
a tremolo effect.
Reversed; umg*
UnVgekehrt (Ger.)
Trial (Fr.) Buffo (or comic),tenor. kehrttr Doppelscklag, back turn.

Trich'terformiges Mund'stiick (Ger.) Um'schmeissen (Ger. theatrical slang.)

Conical mouthpiece. To break down so as to neces-
in a r61e,
sitate a general stoppage and the recom-
TrilogiV (Ger.) Trilogy; a series of
mencement of the passage.
3 stage-works or oratorios.
/
Trisser (Fr.) To demand a number for *Ufc gebundea (Ger.) Unconstrained;
 UNION DES REGISTRSS^WHIPPING BOW.

fftit vngehaukncm Humor, with uncon- Tone full in lowest register, mellow and
hmnor, burlando.
strained tender ia'the medium, and the 2?-string

Uaioa des registres (Fr.) Blending of well-adapted for sustained melody. Suc-
cessful concerts have been given with
the (vocal) registers,
" " the Violotit and 'Cellone (g.v.) in Dres-
Ufli'ti (It., pi) United ; this direc-
den Dr. S, claims to nave obtained
tion in a score, after signifies 4Mn^ the most equable and powerful reson-
that the instr.s or voices again perform the violin-type.
ance from Instr.s of
their pert in unison.
Virtuose de pijpitre (Fr.)
SeeP#/ft*V-
UnvocaL i. Not suitable for singing.
tucs.
2* Not vibrating with tone ; unvocal air
is breath escaping with a more or less
Vitesse (Fr.) Rapidity, swiftness.
'
audible sigh or hiss, due to unskilful Vivement Same as Vivace.
(Fr.)
management of the vocal apparatus, *Vocal cords.
" The
free median bor-
ders of 2 folds of mucous membrane
V. within the larynx, bounding the ante^
rior two-thirds of the glottis on either
Val'zer(It) Waltz.
side. Each is formed by the free me-
Veris'mQ(It) Naturalism. ,. Vtrtfiiscli dian edge of an elastic (inferior thyro-
(Ger.), pertaining to or affected by arytenoid) ligament running from
the
naturalism; naturalistic. angle of the thyroid cartilage to the
Verstarlcen (Ger.) To reinforce. vocal process of the arytenoid, and cov-
ered with thin and closely adherent
(It.; pi vibrate [If
note im-
mucous membrane." [CENTURY DICT,]
].) Strongly accented, and dimin-
g in intensity^ ; vocal or instr.l). 2. stop in an
*Vo'gelgesang (Ger.) A
Vibmsitfne di wce^ the attack of a
. . .
organ (" bird-stop").
tone/or/* or $f, and diminishing while Voile du palais (Fr.) Veil of the palate.
holding it. Vor'setzungszeichen (Ger.) Chromatic
*'
Vi'de se'quens (Lat.) See the follow-
sign.

Vor'tragsstuck (Gen) A piece for per-

ing."
Vielle a rone (Fr.) Hurdy-gurdy. formance before an audience (in con-
With tradistinction to Ubungsstiick* a prac-
Vigo're,con(It) vigor.
tice-piece); a concert-piece;
a show-
Viola al'ta. A large viola, inv. by Her- intended
2. V*&bung, study
mann Ritter of Wismar, Germany, and piece.
for concert performance.
described in his pamphlet, "Die Ge-
schichte der Viola alta und die Grund- VorVarts (Ger.) Forward(s) ; etwas v.
mosso.
satze ihres Baues" (1877). It has a gehend* somewhat faster, pocofib
fuller and freer tone than the ordinary 7
*Vuo to,-a (It.) scena vuota
2. Empty ; %

viola,and has been quite extensively the stage [remains] empty.

introdactd into German orchestras.
Viola di bordo'ne. The barytone
{instr.).
w.
Tiolina'ta (It.) I. A piece for violin. Whipping: bow. (Fr. foiutttj Ger. ge*
2. Apiece for another instr., imitating
fdtschU Strickart.) A
form of violin-
the violin-style. technic in which the bow is made to
VioKnzoli (It.) .An 8-foot stop on the fall with a certain vehemence on the

swell-organ. strings. Chiefly employed when it is

desired to mark sharply single tones in
ViolTsta (It.) Viola-player*
rapid tempo; e.g. ?j
Violottcelli'sta (It) 'Cellist.

VIolot'ta. A bow-instr. of violin-type,

inv. 1895 by Dr. Alfred Stelzner, Dres-
den, and intended to fill the hiatus in the
Not infrequent in modern orchestral
string-quartet between viola and 'cello.
It is played like the viola, and has the music but avoided by the classic com-
;

same dimensions ; but its accordatura posers on account of its rough, harsh
i a fourth tower than the viola. effect*
 ZARAMELLA ZITTERA. 247

Z. trag (Ger.) Quite animated and free

in delivery (style).
Zarameria (It.) Rustic pipe, with
double-reed held between the player's Zi'therharfe (Ger.) A species of auto-
lips, 7 finger-holes, and bell-mouth ; harp in which dampers actuated by
plays melodies to the accompaniment digitals are used to damp the strings.
of the Neapolitan sampogna (q.v.\ AP- Mtiller's Accordzither (inv. 1894?) is
an example*
PENDIX).
Ziem'lich bewegt' und frei im Vor7 - Zit'tera (It.) Zither.
 SUPPLEMENT.
English-Italian Vocabulary
for

Composers.

ABOVE-BELOW.

A. An octave lower, All'ottava bassa (#w

bassa).
Above. Sopra . . . A love tht right hand,
Anxious(ly). Ansioso (ansiosamente) t
sopra la mano destra.
affanoso timoroso
(affanosamente)
;
Accelerated. Accelerate ; accelerating, (timorosamente con timore). ;

accelerando ; stringendo ; pressante. . .

Ardent(ly). Ardente (con ardore) ; fer-

Accelerating the tempo, ravvivando il
vente (con fervore).
tempo. [See Enliven]
Artless(ly). Jnnocente (innocentemente);
Accented, Marcato; enfatico, conenfasi. naturale
semplice (semplicemente) ;
Accompaniments. Accompagnamenti. (naturalraertfe).
.
.Accompaniment wry soft throughout\ As. Come.
sempre pp. gli accompagnamenti. As above. Come sopra.
Affected(ly). Smorfioso ;
affettato (con
As before. Corne avanti come priraa ;

affettazione). 1

As far as. Fino, or fin sino, or sin*. ;

Affectionately). Affettuoso (rffettuo- -

Aside. In disparte.
samente). [See Tender^
As if. Quasi.
Afraid. Paventato. [See Fearful]
As usual. Al solito.
Again, Ancora, ancor.
As written. Come sta; loco (after
Agility. AgiM ; velocitA.
Sm ;
or simply terminate
Agitated(ly). Agitato (con agitazione); dotted line with a down-stroke).
tumultuoso (tumultuosamente) ; vi-
At a distance. In distanza; in lon-
brante. r
'

tananza ;
da lontano.
Agreeable. Gradevole; piacevole. [See
At A piacere ad libitum a
pleasure. ; j
Pleasing.] bene placito; senza tempo; a suo
Air. [SteJfttofy.] arbitrio.
All together. Tutti. At sight, A prima vista.
Also. Anche. Attack. Attacca, attaccate (pl)\ at*

Alternatively. Alternamente. tack instantly\ attacca(te) subito;

Always. Sempre,.. A /ways swift and At the former tempo. A teinpo, or

1
soft, sempre. con agevolezza e soito- Tempo I moto precedente.
;

voce,

And. E, ed (before a vowel). B,

Angry. Adirato con ira. Stracdcalando.
;
angrily, Babbling,
Animated(ly). Animate (con anima) ; Back to, the sign. Dal segno
allegro(allegramente) ; vivace (viva- . .Back to the beginning, da capa
cemente); vivido, vivo (vivamente ) ; Backwards. Al rovescio.
.vivente; visto (vistamente)jconmoto;
/ attacca;
With graving Begin (to). Attaccare, , .

; risvegliato. , * Btfi*
svegliatp attaccate... To begin again, ripigljare.
,
.animation^ animandosi.
An octaye higher. AlTottava Beginning. Principle; capo.

j^r 8 ,
or gva Below. Sotto ; below the left hand% sotto
(8v'a ,

la mano sinistra.
alia).
250 BITTERLY DIVIDED.

Bitter(ly). Amarevole (con amarezza). Comic(ally). Buffo,-a; buffonesco (buf-

x

Bizzarre fonescamente).
Bizarre(ly). (bizzarramente,
con bizzarreria). Complaining. Lamentando, lamente-
vole ; lagrimando, lagrimoso.
Boisterous(ly). Strepitoso (strepitosa-
mente, constrepito) ; brioso (con brio); Connectly. Legato.
tempestoso (tempestosamente). Consoling(ly). Consolante.

Bold(ly). Ardito (con arditezza); fiero Continually. Sempre.

(fieramente ; con bravura ; francamente; Continue. Va.
confierezza); intrepido (intrepidamente, Conrraddanza.
Contra-dance.
conintrepidezza; tostamente).
Bound. Coquettishly. Con civetteria.
Legato.
Country-dance. Contraddanza.
Brilliantly. Brillante ;
scintiilante.

Vivo (vivamente) ; visto Cradle-song. Ninna-nanna ; ninnerella.

Brisk(ly).
(vistamente) ; allegro (allegramente) ;
lesto; vivace.

Broad(ly). Largo (largamente, con D.

larghezza); (frase larga) very broad(ly), Dark.
;
Cupo.
larghissimo (molto largamente) \growing Sbalzato ; precipitato.
broader i largando, allargando... Dashing.
Broader, pih largamente. Decided(ly). Deciso; fermo (con fer-
mezza) ; energico (con energia).
Brasquely. Bruscamente.
Burlesco (burlescamente).
Declamatory. Declamando ; narrante ;
Burlesque(ly).
parlando.
But, Ma. Decrescendo
Decreasing (in force). ;

By. Da ; oy leap or skips, di

salto.
diminuendo ;
raddolcendo ; diluendo.

Decreasing (in speed). Rallentando;

ritardando ;
ritenente ; tardando ;

c. lentando ; slentando ;
strascinando ;
"

rilasciando; rilasciante. ,

Calm(ly). Tranquillo (tranquillamente, and speed). Cal-

con tranquillita) ; placido, (placida- Decreasing (in force
ando ; .deficiendo mancando ; ;
mo-
mente) ; quieto. Growing
. , calmer,
rendo ; sminuendo ; smorzando.
calmando ; calando ; raddolcendo,
raddolcente. Deliberate(ly)* Deliberato (delibera-
mente).
Caprice. Capriccio ; capricious, capric-
vicendevole; capriciously, a Delicate(ly)* Delicato (delicatamente,
cioso,
capriccio, vicendevolmente.
con delicatezza) tenero (teneramente, ;

con tenerezza).
Carefully. Con diligenza; con osser-
vanza ; con precisione. Desperate(ly). Disperato (con dispera-
zione).
Careless(ly). Negligente (negligente-
mente). Detached. Staccato, distaccato ; pic-

Carrezzando, carrez- chettato ; very detached, staccatissimo.

Caressing(ly).
zevole (carezzevolmente) ; accarrezzevole Determined. Determinate ;
risoluto*

(accarrezzevolmente). Devoto (devotamente,

Devotional(ly).
Certain (adj.). Alcuno,-a. con devozione); religioso (religiosa-

Change 1 Muta. ,
mente).
Chant. Dignified. Posato grave.
[$te Melody] ;

Charmingly), Vezzoso (vezzosamente). Discreet(ly). Discrete (con discrezione).

Chaste. Nobile. Disdain. [See Scorn.]

Clear(ly). Chiaro (chiaramente) ; netto Distant. Lontano; at a distance, da

lontano, in lontananza, in distanza,
(nettamente).
Distinct(ly). Chiaro (chiaramente) ; ben
Coaxing(ly). Lusingando, lusinghevole
marcato; distinto (distintamente),
(lusinghevolmente).
Cold(ly). Freddo (freddamente, con Distressed. Appenato,
freddezza). Divided, Divisl
 DOLEFUL -FREELV. 25*

Dolefully). Dolendo,dolente (con dolore, Extinct Estinto.

dolentemente). Extravagant (ly). Straragante (stra-
Dragging. Stentando ;
strascinando ; vagantemente).
strascicando ; stirato. Extreme. Sommo,-a.
Drawling. Strascicando.
Extremely. Molto, di molto ; -issimo.

Dreaming. So&nando.
Dreamy. Vago... Dreamily, quasi so- F.
gnando. Fading away. [See Dying away*]
Drinking-song. Brindisi. Faint. Fiacco; debile; estinto.
Droll. Buffonesco. Fantastic. Fantastico.
Dry. Secco. Fast. Allegro ; vivace ;
vivo ; presto.
Dwelt upon. Temito, sostenuto. , . Very fast, allegro molto, allegro
Morendo smorzando assai, allegro vivo vivacissimo ; pre-
Dying away. ; ;
;

Rather fast, allegretto, al-

mancando diluendo stissimo. .
; perdendosi ; ;

espirando ; estinguendo, stingueado. legro moderate... .#"<?/ too fast, non

troppo allegro. Twice as fast^ doppio
. .

movimento ; not so fast, meno mosso.

E. Faster. Piu mosso ; piu allegro ; pifc
commodo disinvolto presto; veloce...J7 J^r and faster,
Easy, Agevole ; ; ;

facile ;
mobile. . *
Easily, con agevolezza, sempre accelerando; pressando, pres-
sante.
agevolmente agiatamente ; commoda-
;

mente ; facilmente ; con disinvoltura. Fearful(ly). Paventato ; timido (timi-

damente) timoroso (timorosamente
Echo. Like an echo, quasi ecco.
Ecco . . .
; ;

con timore).
Elegant(ly). Garbato (congarbo). [See
Feeble. Debile, debole.
Graceful,}
Feelingly. [See Expressively]
Emphatic(ally). Enfatico (conenfasi);
marcato ; sforzato. Fervent(ly). Fervente (con fenrore) ;

ardente (con ardore).

End. Fine. . . To the end, sin' (or fin*)
al fine. Festively). Festivo (festivamente).

Fierce(ly). Feroce (con ferocita) ; fiero

Energetic(ally). Energico (energica-
mente, con energia) ; risentito ; riso- (fieramente) ; barbaro.
luto (risolutamente, con risoluzione). Fiery. Fuocoso ; con fuoco ; ardente.

Enlivening (tempo). Ravvivando il

Finn(ly), Fermo (fermamente, con fer-

tempo ; animandosi, animando. mezza)*

Entbjisiastic(ally). Zeloso (con zelo; First part. Primo (in a duet} ; Jirsi
con entusiasmo). 'time, prima volta ( |h I).

Entreating(ly). Supplichevole (sup- Lusingando, lusin-

Flatteringf(Iy).
'
plichevolmente). ghevole (lusinghevolmente).
Equal(ly). Eguale (egualmente) ; equa- Flowing(ly). Scorrendo, scorrevple;
bile (equabilmente). disinvolto (con disinvoltura) ; sciolto
Even(ly). Eguale (egualmente) ; uguale (scioltamente) ; andante (andantemente).
(ugualmente) ; tepido (tepidamente) Fluently. Volubilmente. ;
\jtet Flowing]
spianato. Volante.
Flying.
Exact. Esatto...^M exactness, con
Fdllowing. Seguente, seguendo.
esatezza. [See Precise.]
Fond(ly). Amorevole (amorevobnente,
Expiring. Espirando. [See Dying con amore) ; amoroso (amorosamente).
away]
For. Per . . . For voices alone, a cappella.
Expressive(ly). Espressivo (con Con forza;^ broscamente ;
Forcibly.
espressione); sentito, risentito; pietoso;
sentimentale ; (con sentimento con con tutta forza.
;

sensibilita). Forcing. Forzando, sforzando.

Extempore. AlTimprowista ; alia Free(iy). Disinvolto (con disinvoltura;

mente . . .
Extemforantously, improv- francamente, con franchezza; libera*
visamentet mente); generoso; sciolto (scioltamente).
 FRENZY- IN 'MILITARY STYLE.

Frenzy, Delirio ; frenzicd(ly), delirante Held down. Tenuto.

.
(con delirio ; con rabbia). Heroic. Eroico ra.
From. Da. ..From the beginning, Da Hesitating(ly). Irresolute ; timidb- (ti^
capo...r0/tf the sign^ Dal segno; midamente) ; vacillando.
from the sign to the sign, Dal segno al
High. Mto,-&... Highest, ii ipii'alto,
segno, . .In the
altissimo.
........
higher octave > ottava
Full. Pieno,-a. alta (8va ).
Funereal Funebre.
Hoarse(ly). Fioco (con fiochezza).
Furious(ly). Furioso (furiosamente ; back Ritenente;
Holding (temp}.
con rabbia); with extreme fury or ritardando.
passion, furiosissimamente.
Humowusiy. Con umore.
Hurried(ly). Affrettoso (con fretta)?
frettoloso (frettolosamente).

Gay. Gajo ; giojoso. . .

Gaily , gajamente, Hurrying. Affrettando; stringendo
giojosamente.
Gliding. Glissando ; portamento, por-
I,
tando; scorrendo; strisciando.
Gondola-song. Gondoliera. Se.

Go on I Va. Imitating. Imitando ; quasi,

Gracefully). Grazioso (graziosamente, Impassioned. Appassionato, appassio-
con grazia ; con garbo) ; disinvolto natamente; con abbandono, abbando-
,(con disinvoltura) ; galante (galante- natamente caloroso.
;

mente) ; elegante (elegantemente) ; vez- Impatient(ly). Impatiente (impatiente-

zoso (vezzosamente) ; venusto. . . Grace-
mente).
fully and sweetly, affabile, amabile. Insensibile
Imperceptible. ; impercep.
Gradually. A poco a poco ; gradata- tibly, insensibilmente. .

mente.
Imperious(ly). Imperioso (imperiosa-
Grand{ly). Grandiose; nobile (nobil-
mente).
mente, con nobilta).
Impetuously). Impetuoso (con impeto,
Grave(ly). Grave (gravemente, con con impetuosha) ;
impetuosamente,
gravita). sbalzr;ato; tempestoso (tempestosa-
Grotesque(ly). Grottesco ; burlesco (bur- mente).
lescamente). Imposing. Imponente.
Growing. [See Decreasing and Increas- In a festive manner. Con festivita,
ing^ In a gentle, quiet manner. Con lenezza,
In a sweet manner. Con dolce maniera.
H. Accelerando
Increasing (in speed}. ;'

Half. Mezzo,-a. .Half-loud, mezzo forte;

.
stringendo ; affrettando ; incalzando ;
half-soft^ mezzo piano, mezza yoce. ravvivando il tempo ; doppio movimento:
Hammered. Martellato. Increasing (in force). Crescendo ;
ao
:

crescendo rinforzando.
Harsh(ly). Aspro (con asprezza); duro ;

(duramente) ; stridente. Increasing (in force and speed}. Strin-

Harshness. Asprezza ; durezza. gendo; affrettando; incalzando. \ +. a

Accelerando ; stringendo In declamatory $tyle., Declamandlo^

,
Hastening. ; '

affrettando ; calcandc-. ,
recitando; narrante; parlandb, t
V;

Haughty. JI&Q.,, Haughtily^' fiera- In devotional style. Devoto, con He-

mente. vozione.

Heartfelt. Indiffererite
Intimo, intimissimo ; affet- Indifferent(ly). (indiffe.
tuoso, con affetto. rentemente ;
con indifferenza) ; tepido
Ponderoso (tepidamente),
Heavy. pesante ; grave. . ; .

.Heavily, pesantemente, gravemente.

Infernal. Infernale.

Held back. Ritenuto; -trattenuto;

In haste. Con fretta.
.
taeno mossp. , . . , ... j
In military style.
 IN MODERN STYLE-MUFFLED. 253

In modern style. Alia moderna. Loud. con forza; very

Forte;
In octaves. Doppio pedale (organ- fortissimo ; extremely loud, con tutta
pedal) ; coll'ottava (coir$ forza, forte possibile (fff)
) ; half-loud*
mezzo forte loud, suddenly decreasing
Insinuating. [See Flattering] ;

to soft, forte
Intense (intensamente, con piano (fp).
tntense(ly).
Louder. Piii forte crescendo rinfor-
intensita). ; ;

zando.
In the same manner. Simile.
Love. Amore.
In the same time. L'istesso
tempo ;
moto precedents Loving(ly). Amorevole, amoroso (con
In the style of a. Alia. amore, amorosamente) ; amabile.
In time. A tempo; Lullaby. Ninnerella, ninna-nanna.
Tempo 1; misurato
(after a recitative). Lyric. Lirico.

Ironical(ly). Ironico (ironicamente).

M.
Irresolute(Iy). Irresoluto (con irreso-
luzione).
Majestic(ally). Maestoso, maestevole*
(maestosamente, conmaesta) ; pomposo
(con pompa) fastoso (fastosamente).
;

J. Manner. Maniera ;
in a quiet manner^
con dike maniera. [See /.]
Jesting(ly). Scherzando ; giocoso (gio-
cosamente). Marked. Marcato; con forza; rinfor-

Con zato, rinforzando ;

enfatico ; sforzato
Jovially. giovialita.
sforzando (sfz).
Joyous(ly). Giojoso (giojosamente) ;

gaudioso. May song. Maggiolata.

Giubiloso (con giubilio,

Measured, Misurato.
Jubilant(ly).
con giubilazione). Medley. Mescolanza ; olio ; pasticcio*

Judiciously). Discrete (con discrezione). Melancholy. with mel

Malinconico ;

ancholy, malinconicamente, con malin-

conia.

L. Melody, La melodia. II canto. La

parte. .Mark (or accent)
. and " carry"
Lamenting. Lamentando, lamentabile, the melody, Marcancfo e portando la
lamentoso ; piangendo. melodia (il ben e precisaniente
canto) ;

Languid(ly). Languido (con languore, portando la melodia ; la melodia (il

languidamente). canto) ben portando ed espressiva,
Menacing (ly). Minaccevole (miuacce-
Lanuishing(ly). Languendo (langui-
damente). volmente).
Left hand. Mano sinistra. Mildly. Dolce ; (dolcemente, coa dol-
cezza) ; piacevole ;
affabile.
Leisurely. Adagietto moderate. ; . .

Rather leisurely, commodetto. Moderate(ly) (speed). Moderate (mode-

Less. Meno. ratamente); non troppo allegro*
More. Piii ; more sldwly^ piti lente; pi&
Light(ly). Leggero or Leggiero (leg-
geramente, con leggerezza ; agilmente) ;
sfogato ; svelto.
Most. Hpid. ,

Mournful(ly). Mesto (mestameote)

Lingering(ly). Tardo, tardando (tarda- ,

-
mente)* * addolorato; amarevole (a mare vol.
Little by little. A poco a poco. mente) ; flebile ; funebre ; lugubre ;

(conespressione di patimento) ; dolente

Lively.. Vivace, vivacemente ; vivo, viva- Mouth. Bocca with cksed
mente allegro, allegramente ; visto, ; mouth* con
;
bocca chiusa.
vistamente con allegrezza ; svegliato ;
;

lesto ; desto. Moved. Concitato. [See Agitated^

Nobile fastoso : Movement. Movimento.
Lofty. ; pomposo ;

elevato...Z0/#/y, con nobilta; con Much. Molto.

pompa. Muffled. Coperto ; suffocate; sordo
Longingly. Con desiderio. (sordameute); con sordini
 MURMURING-RINGINGLY.

Murmuring, Mormorando; susurrando. Playful(ly). Ginochevole, giuocame :

Muted. Con sordino (pL con sordini). (con giuoco) ; giocoso (giocosamente) ;

Misterioso (misteriosa- scherzoso, scherzando.

Mysterious(ly).
mente); cupo. Pleading(ly). Supplicando, suppliche-
vole (supplichevolmente).
N.
Pleasing(ly). Piacevole (piacevolmente),
Natural(ly). Naturale (naturalmente). compiacevole ; gradevole (gradevol-
[See Simple.] mente).
Nearly. Quasi. Pompous(ly). Pomposo (con pompa) ;

Neatly). Netto (nettamente) fastoso (fastosamente).

; leg-
giadro (leggiadramente). Ponderous. Ponderoso ; pesante.
Negligent(ly). Negligente (negligente- Possible. Possibile as fast as pos- ;

mente, con negligenza). sible, presto possibile ; as loud as pos-

Night-piece. Notturno. sible, forte possibile ;

con tutta forza.

Nimble. Agile ; svelto ; sciolto. Prattling. Straccicalando.

.

Nimbly\ agilmente, con agiliti ; sciolta- Prayer. Preghiera.

mente; allegramente.
Precipitate(ly). Precipitate, precipi-
Nobly. Nobilmente, con nobiltL toso, precipitando (precipitatamente).
Noisy. [See Boisterous] Precisely). Preciso (con precisione).
Not. Non. . .Not so, meno not so fast\
;
Pressing (tempo). Stringendo, pressante ;

meno mosso, meno allegro ; not too, Expression) insistendo.

non troppo ; non tanto.
Prompt(ly). Pronto (prontamente, con
prontezza),
0.' Pronounced. Pronunziato.
Obliged (necessary). Qbbligato. Proud(ly). Fiero (fieramente) ; altiero
Obscure* Cupo; misterioso. (altieramente, con alterezza).
DL Psalm. Salmo.
On. Su ; sopra (above).
Q.
Or. 0, od (before a vowel); or else,
ossia ; oppure ; owero. Quiet (ly). Quieto ; tranquillo (tranquilla-
mente con lenezza). [See Tranquil] ;

Other, AItro,-a.
R.
P.
Rapid(ly)'. Rapido (rapidamente, con
Passionately), Passionato (passionata- rapidita) ; celere ; veloce (velocemente,
mente) ; appassionato (appassionata- con velocita, velodssimamente) ; mosso
mente) ; (con passione) ; ardente (con (in phrases like meno mosso, piti mosso,
ardore) ; fervente (con fervore) \ furioso etc.) ; tosto (tostamente),
[quanto.
(con furore) ; caloroso (con calore). Rather. Quasi'; piuttosto ; poco ; al-
Pastora1 . Pastorale ; rustico ; campestre.
Refined. Nobile (nobilmente).
Pathetic(ally). Patetico (patetica-
.^Hgious(ly), Religiose (religiosa-
mente); doloroso (dolorosamente, con
mente) ; devoto (devotamente).
dolore).
Pensive, Pensieroso, Reposeful(ly). Riposato (ri.posata-
Phrase (to). Fraseggiare . . . W e 11
mente).
Resonant(ly). Sonoro; sonante (con
pbrostdi ben fraseggiando.
risonanza sonoramente, con sonorita).
;
Piece. Pezzo.
Restless. Inquieto.
Pi^uantly. Con piccanteria.
Resume (to). Ripigliare ; riprendere.
Placid(ly). Placido(pkddamente). [See
Reverie. Meditazione.
Tranquil]
Rhythmized. Ben ritmato.
Plaintive(ly). Lamentando; dolendo,
dolente, doloroso (con dolore, dolorosa- Right hand. Mano destra.
mente) j addolorato; flebile; piangendo. Ringing(ly), Sonoro (sonoramente, cou
[See JTMTnful.] sononta). .
 ROMPING-THAN, 255

Romping. Burlando. torrowful(ly), Afflitto (con afflizionej ;

mesto (raestamente) ; doloroso (doloro>
Rough(ly). Aspro (con asprezza) ; ru-
samente).
vido (ruvidamente) ; (bruscamente).
Sparkling. Brillante ; scintiliante.
Rustic, Rustico ; campestre ; pastorale.
Spirited(ly). Spjritoso (spiritosamente.
con spirito) ; brioso (con brio).

s. Sportive. [See Playful}

Uprightly. Desto.
Sad(ly). Tristo (tristamente, con tri-
mesto (mestamente, con mesti- Bringing. Saltando.
stezza) ;

zia) ; languendo, languente ;

dolente.
Stern(ly). Duro (duramente),
Same (the). Medesimo ;
detto ;
stesso. Sternness. Durezza.
Scorn. Sdegno ; scornful(fy\ sdegnoso Stifled. Suffocato ; con vocesuffocata-
(sdegnosamente). Still. Ancora; still
faster* ancor pii
Second part. Secondo (in a duet}. inosso ;
still slower, ancor pft lento,
Second time. Secondavolta. (HT 1.)
ancor pifc
moderate.

Serioso (con serieti). Strict(ly). Giusto (giustamente, con

Serious(ly).
giustezza); severo (severamente)...
Sighing. Sospirando, sospirevole, so-
Strictly in time, a (or al) rigore di tempo;
spiroso. misurato ; aggiusta-
tempo rigoroso ;

Similarly, Simile, tamente ; andare a tempo ; a battuta.

Simple. Semplice ; schietto ; naturale. (Ben misurato. Ben ritmato).
sem-
..Simply, semplicemente, con Strident. Stridente.
schiettamente, con schiettezza ;
pliciti
;
Style. Stilo ; modo.
, Jn the style of a,
naturalmente.
alia ;
in modo.
Cantando ; melodico. . *In a
Singing. Suave(ly). Soave (soavemente, con
singing style cantabile. >,

soavita) dolce (dolcemente, con doi*

;

Sketch. Bozzetto.
cezza, con dolce maniera).
Sliding. Sdrucciolando. Sublime. Elevato ;
nobile.

Slow(ly). Adagio; lento (lentamente, Suddenly. Subito, subitamente; di colpa

con lentezza) ; very slow, lento molto,
rather Supplicating(ly). Supplicando, sup-
adagissimo ; grave ; largo ;
plichevoie (supplichevolmente).
slow, andante, andantmo, adagietto
Sustainedly. Sostenuto, sostenendoj
moderate.
sostenente.
Slower. Meno mosso
pih adagio ; pih ;
Dolce (dolcemente)
lento. [See Decreasing^. . . Slower and Sweet(ly),
; affabile,
amabile. [See Swue^.
slower, a poco a poco rallentando (or
dolcissimo.
ritardando).
Legato; portamento, por- Swelling. Crescendo.
Slurring.
tando slissando.
;
Swift. [SeeJfttf&l

Smooth(ly). Legato; eguale (egual Sympathetic(aUy). Pietoso (con

mente) ; piacevole (piacevolmente) 4

soave stri
slissato; (soavemente) ;

sciando.
Tastefully). Gustoso (con gusto).
Sobbing. Singhiozzando.
Soft(ly). Piano; dolce (dolcemente Tearful(ly). Lagrimoso, lagrimandoj
flebile (con pianto).
mollemente) ; very soft, pianissimo piangendo ; ;

dolcissimo ; estinto.
Tempestuously). Tempestoso (ten-
Softer. Meno forte. [See Decreasing. pestosamente).
Solemn(ly). Solenne (solennemente Tender(ly). Tenero (teneramente, con
con solennita). dolce (dolcemente, con
tenerezza) ;

Poco affettuoso (affettuosamente,

Somewhat. ; quasi dolcezza) ;

con affezione) ; amabile ; amorevole

Song. [See Melody}
con amoroso ; lirico.
Sonorous(ly). Sonoro (sonoramente,
Than* De,
sonorita).
 THEN-WITH EASE.

Then. Allora ; pol mamente ; very marked, ben marcato,

Pensieroso. marcatissimo very soft, pianissimo,
Thoughtful, ;

dolcissimo (vocal) a fior di labbra;

;
Threateningly). Minacciando, minac-
cioso, minaccevole(mmaccevolmente).
very loud, fortissimo.
Vibrante.
Timid(ly). Timido (timidamente, con Vibrant, Vibrating.
timidezza). Vigorous(ly). Vigoroso (vigorosamente,
con vigore).
Timorous. Timoroso (timorosamente,
con timoreX Violently). Violento, violente (violente-
mente). [See Impetuous\\
Tinkling. Squillante.
To. A, ad (before a vowel). To the Vivacious. [See Animated}
sign, al segno.
Voice. Voce', canto, parte; with th
voice, colla voce, collaparte, col canto.
Together. Unisono ; tutti.
Too. Anche {also}; troppo ; not too
fast, non troppo allegro ; not too slow,
non troppo lento.
^Tranctuil(ly). Tranquiilo (tranquilla- Wailing. Lamentando ; piangendo.
.

mente, con tranquillita) ; placido(placi- Warlike. Guerriero ; bellicose ; in war*

'
damente, con placidezza) ; spianato. like style, bellicoso, bellicosamente* r x

. [See Quietly.} Con Warmly.

caloroso. calore,
Tremblingly). Tremolo; tremolando,
tremoloso (tremolosamente). Wavering. Tremolando ;
vacillando.
Weak. >Debile, debole.
Triumphantly). Trionfante (trionfal-
Well. Bene, ben. Well marked, ben
. .
^ raente).
marcato, or ben pronunziato; well
Tune. [See Melody.}
rhythmed, ben ritmato ; well sustained,
Turn over quickly. Volti subito. ben tenuto, or ben sostenuto.,. Welt
Twice as fast. Doppio movimento. phrased, ben fraseggiando.
Whim. Ghiribizzo ; capriccio ; fantasia,

u. Whimsical. Ghiribizzoso.

Whispering. Susurrando, susurrante*

Under. Sotto; under the right hand, Wild(ly). Feroce (ferocemente) ; fierc
sotto la mano.destra,
(fieramente).
Undulating. Ondeggiante; tremando, With affectation. Smorfioso.
tremolosa
With affection (pathos). Con affetto
Uneasy. Affannato, affannoso; uneasily, With Con
anger. ira, irato.
affannosamente.
With anguish. Angoscioso, angoscio-
Unimpassioned. Tepido. samente.
Unrestful, Inquieto. With ardor. Con affetto con ardore, ;
Until. Fino (fin') sino (sin').
;
With boldness. Con fiducia,
Upon, Su ; sopra.
With breadth. Largo, 'largamente.
Up to. [See Until.} With confidence. Con fiducia.
Urgent(ly). Insistendo (con insistenza);
instante (instantemente).
With constantly increasing warmth;
Sempre incalzando.
With decision, Deciso.
V. With deliberation. Con lentezza;
lentamente.
Vague. Vago.
Veemente (con vee-
With desperation. Con disperazione
Vehement(ly).
menza) ; acciaocato ; sforzando feroce ;
With discretion. Con discrezione,
(con ferocita ; con islancio); smaniante. discreto.

Very. Molto ; assai ; Very

ben(e) . . .
With distinctness. Distintamente, di-
slow, molto lento ; very moderate molto ^
stinto ; con chiarezza ; marcato, mar-
molto allegro, alle- cando.
moderatp; very fast,
gro assai ; presto, prestissimo, prestissi- With ease. Con agevolezza*
 WITH EMOTION-ZEPHYR-LIKE. 257

With emotion. Con affetto; con (usually simply m.s^ or colla sinistra
affezione. (r. A)
With energy. Conenergia, With the loud pedal. Ped.; tre corde
With expression, Con espressione,
(afUr una corda) ;
with pedal
through*
out) sempre pedale,
expressivo; sensibile, sentito.
With Con agevokzza, With the octave, Coll'ottava
facility.
(coirs
With feeling, Sensibile, sentito.
),

With the right hand, Colk mano

With fervor, Concalore.
destra
(usually simply
m. d\ or colla
With firmness, Con fermezza, destra (c. <)
With frenzy. Con delirio, con rabbia. With the soft pedal. Una corda.

With grace. Con grazia,

con eleganza, With the stick, Collegno.
grazioso, elegantemente, With COL
the voice. Colla voce;
With grandeur, Congrandezza,grandi- col canto.
parte ;

oso.
With warmth. Con calorositl ; con
With grief, Con duolo, con dolore. calore.

With growing animation, Animando, With wrath, Conira; irato.

animandosi ;
rawivando,
Without, Senza.
With impetuosity* Con impeto. Without accelerating, Senza ac-
With intensity. Con intensitl celerate,

With lightness, Con leggerezza, leg- Without altering, Senza alterare,

gerniente con disinvoltura.

;
Without growing slower. Senza ral-

With longing, Con desiderio, lentare*

With mandolin-effect. Mandolinata. Without interruption, Senza inter-

With much passion, Con molta pas- ruzione, .

sione, Without Senza ripetizione.

repeating.
With nobility. Con nobilti Without retarding, Senza ritardare;

With promptness. Con prontezza. senzadiskntare*

With rapidity. Con prestezza, Without stopping. Senza fennarsi,

With resolution. Con risoluzione. Without taking breath. Senza

With resonance, Con sorioriti spirare.

Without the mutes* Senza sordid.

With sadness. Con tristezza,

Adirato (con ira),

With spirit. Conspirito; conanima; Wrathful(ly).
con brio,

With sweetness, Con soaviti,

With tears. Piangendo ; lagrimando,

With the bow, ColTarco ; arcatq.

Zealoiis(ly). Zeloso (zelosamente, con

'With the fingers.

Pizzicato (violin). zelo).

mano sinistra Zephyr-like, Zeffiroso,

With the left hand. Colla