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 CORNELL
UNIVERSITY
LIBRARY

MUSIC
 Cornell University Library
ML 108.B16 1904
A dictionary of musical terms xontalnln

3 1924 017 810 106

 Cornell University
Library

The original of this book is in

the Cornell University Library.

There are no known copyright restrictions in

the United States on the use of the text.

http://www.archive.org/details/cu31 92401 781 01 06

 S^'u\^ "K. S'iJtMn<

EIGHTH EDITION
Thoroughly Revised^ and Augmented by an Appendix
0/700 Additional Words and Phrases.

DICTIONARY
OF

MUSICAL TERMS
Containing upwards of 9,000 English, French, German, Italian,

Lojtin 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

t/ln English- Italian Vocabulary for Composers.

COMPILED AND EDITED

BY

DR. TH. BAKER

NEW YORK: G. SCHIRMER

1904
Copyright, 1895, by G. Schirmer.

12665

lim PRIHTINQ HOUSE, NEW t

 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 proper balance by giving any term, appearing in either

German, French, or Italian, in each of those 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-

ment, containing an "English-Italian Vocabulary for Composers", to which Dr.

Mason also contributed vp'-ied 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.
open, and never to be pronounced SC like sh, before e and i.
as impure vowels or diphthongs z " ds (very soft Is).
;

they are long in accented syllables

which they terminate, short in GERMAN.
unaccented syllables, or in accented
Vowels
ones ending with a consonant. The simple vowels as in Italian.!
a like ah or ah (never a) e.g. amare y like German i or ii.
;

[pron. Sh-mah'-reh]. Modified vowels :

e " oy in bay (without the vanish f);
e in bed a in bare (before r). a like a in bare, but broader / in bed. ;
;

" ee'\a. beet i in bit i before a o has no English equivalent long o ;

i ; ;

can be pronounced by forming

vowel, like ^ (consonant).
the lips to say oh, and then
o " aw, or oh (without the vanish
saying a (as in bay) with the
u)\ if in opinion.
lips in the first position short
u " 00 va. boot ; u in bull.
;

0, by saying / (as in bed) instead

Consonants : of a.
[N.B. Long o is the
General rule : Even the hard con- French eu (in jeuj\.
sonants are somewhat softer than u has no English equivalent pro- ;

in English the soft consonants

;
nounce long u by forming the
are very delicate. lips to say oo (as in boot), and
b, d, f, 1, m, n, p, qu, s, t, v, as in then saying ee (beet) with the
English. lips in the first position ; short
C like k, before a, o, u, or another ii, by saying i (as in bit) instead
consonant except c, as below, of ee. [N.B. Long is the
c " ch in chair before e or i; cc French .]
like 1-ch before e or i. Diphthongs :

g " ^hard before a, o, u, or another ai and ei like long i in bite.

consonant ; except before / (pro-
ae like a.
nounce gl like l-y [consonant],
au " owm brow.
e.g. sugli, [pron. sool'-ye]), and
eu and au like oi (more exactly ah'-u,
n (pronounce gn like n in canon ^^
closely drawn together).
[kan'-yon]).
g " 2 in azure (or a very soft /) be- Consonants :

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 Wksy in you. as in English ending a word
;

r, pronounce with a roll (tip of tongue or syllable, like p and t respec

against hard palate). tively.
Where a doubled consonant oc- c like k before a, o, and y like is
curs, the first syllable is dwelt before e, i, and a.
upon e.g. in ecco [pronounce g usually hard, but like z in azure in

;

ek' - ko, not ek' - o] . Accented words from the French and
syllables take a less explosive stress Italian in which g is so sounded

ang, eng, ing, ong and ung
;

* These " hints " are offered as an aid for terminate, at the end of a word,
tyros, and not in the least as an exhaustive set of
rules. with a ^-sound (e.g. Be'-bun^).
 HINTS ON PRONUNCIATION.
j like 1' (consonant). i or i like ee in beet ; short I as in
qu " kv. English.
t either with a roll, or a harsh breath- o as in Italian.
ing. u like the German u.
5 beginning a word or syllable, and
Diphthongs :
before a vowel, like z (soft)
ai like ai in bait but before /-final, or
ending a word or syllable, like ;

sharp J / before t and /, begin- //, is pronounced as a diphthong

ning a word, usually like sh (ah^ee, drawn closely together).
(e.g. siumm, pron. shttim [ as ai and ei like L
in bull]) otherwise as in Eng-
;
eu, eii and oeu like German o.

. lish. oi like oh^h' (drawn

closely together).

V like/. ou and oii like oo in boot.

W " z* (but softer, between v and w). eau like o long, without the vanish u.
Modified by a following n, m, nd, nt or
X " ,5j (also when beginning a word).
z " is.
mi at the end of a syllable, the
vowels and diphthongs are nasal
Compound consonants : (exception, verbal ending of
ch is a without an English
sibillant 3rd pers. plural).
equivalent when beginning a
;
Consonants as in English, with the
syllable, or after e, i, a, o, ii, ai,
following exceptions
', ae,eu, and du, it is soft (set
C like s in song before e, /, ^, /, and i.
the tongue as if to pronounce d,
ch " sh.
and breathe an h through it ; e.g.
Strich, pron. shtrld-h) after
g " 2 in azure before e, /, ,*, i, and i.
;
gn as in Italian.
a, 0, u, and au, it is hard (a
h isoften mute ; no extended rule can
guttural h).
be given here.
chs like X.
j like z in azure.
sch sh.
'
'
11 after i usually seunded like Eng-
is
sp and st, see s, above.
(consonant), and frequent-
th like t.
lish y
ly prolongs the i (ee) e.g. ;
Accented syllables have a forcible travailler [trah-vSh-yay'], tran-
stress, as in English. In com-
quille [trahngkee^y].
pound words there is always a
n nasal, see above otherwise as in
;

secondary accent("), sometimes a

English. [The nasal effect is
tertiary one("'), depending on the
accurately obtained by sounding /
number of separate words enter-
n (or 7ji) iogeiher with (instead i

ing into the composition of the

of after) the preceding vowel
compound word e.g. Zwi'schen- ;
but the sound of e is changed
;

akts"' musik" Bo'genham" merkla- ,

to ah, i to a (in bat), and u
vier'"- The principal accent is to (?.]
regularly marked (') in this work.
m, nasal in certain situations,
FRENCH. r with a roll.
S-final is silent,
Vowels :
t-final is silent.
a as in Italian, but shorter, often ap-
er, et, es, est, ez, as final syllables,
proaching English a.
are pronounced like /.
a like ah.
e " in but ; ^-final is almost silent Accentuation. The strong English
in polysyllabic words. stress on some one syllable of a
6
'
' ay in bay. polysyllabic word is wanting in
^ '* i" in there. French the general rule is slightly
;

e " German a, and always long. to accent the last syllable.

 ) :
;

A
DICTIONARY
OF

MUSICAL TERMS.
AABBREVIATIONS.
Abbandonatamen'te In an im-
) (It.)
Abbando'no, con passioned style,
A. I. (Ger. A;
Fr. and It. la.) The
sixth tone in the typical diatonic scale
as if carried away by emotion;
j

subordi-
nation of rhythm and tempo to expres-
of C-major. The tone o' (see Fitch, sion.
absolute) is that sounded by the oboe or
other fixed-tone instr. (pfte., organ) to Abbassamen'to (It., abbr. abb.) " Low-

give the pitch for the other instr. s of ering "indicates in pfte. -playing that
;

the orchestra or military band. 2. In one hand is to play below the other
opp. to alzamen'to...A. di ma'no, sink-
mus. theory, capital A
often designates
the ,4-major triad, small u the -minor ing of the hand in beating time ; A. di
vo'ce, diminution (in volume) of the
triad.
3. In scores, the capitals, or
voice.
doubled letters (A a Z z), are often set
at the head of main divisions or at any Abbattimen'to (It.) Falling of the
critical point to facilitate repetition at hand in beating time ; the down-beat.
rehearsal.
4. As an Italian (or
preposition, a (or i) signifies to, at,
French)
for,
Abbellimen'to) (It.) Embellishment,
Abbellitu'ra i ornament, grace
by, in, etc.
Flat, Natural.
5. A
#, a.\), a t], see Sharp,
6. At the head of
from abbelli're, to embellish.
Gregorian antiphones, etc., A means Ab'betont (Ger.) With ^a/ accent.
that the first mode is to be employed.
Abbreviation. (Ger. Abbreviaiur' Ab'- ,

7. In this Dictionary, an -a appended

kUrzung; Fr. abriviation; It. abbrevia-
to an Italian word signifies, that in the
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- mento above hy A. Also, various other

gram of the notes, with their names. abbreviations are used, such as abbr.
2. The structure and disposition of the for abbreviation, instr. for instrument,
digitals and pedals of a mus. instr. mus. for musical, p/ie. for pianoforte,
opp. for opposed, etc.]
Abandon Unrestrained abandon-
(Fr.)
ment to natural emotion avec a., same I. The
;
commonest abbreviations of
as con abbandono. musical technical terms are the following
A. See A. Aug. By augmentation
Ajjg^r[ Allegretto
Abb. -Abbassamento
B. See B.
Accelerando IffsvafAirottava B. C. Basso continuo
Accfli.i
Acc. Al seg. Al segno B. G. Basso generale, or Bassus
I
Accompaniment Alz. Alzamento generalis
Accom, >
And. Andahtino Bl. Blasinstrumente
Accomp,
Accres. Accrescendo And*. Andante Br. Bratschen
Adagio Anim". Animato. Brill. Brillante
Adg". or Ad**,
Ad lib. Ad libitum Arc. Col I'arco, or Arcato.
Aevia Alleluia Ard. Ardito C. SeeC.
Affett. AfEettuoso Arp. Arpeggio C. a. CoU'arco
Affrett. Affrettando A t.
Cad, Cadenza
Ag". or Agit". Agitato A tem. I
V A tempo Cah. Cahier
ATI". Allegro A temp. )
Cal. Calando
 ABBREVIATIONS.
Calm. Calmato Hptw., or H. W. Hauptwerk S. See S.
Cant. Canto Hr,, or Hrn. Horner Salic. Salicional
Cantab. Cantabile Scherz. Scherzando
C. b. Contrabasso Intro. Introduction Seg. Segue
C. B. Col basso Inv. Inversion Sem. or Semp. Sempre
Cb. Contrabasse f/*i -fA) ^//, Sforzando
C. D. CoUa destra Sim. Simile
'Cello, Violoncello K. F. Kleine Flote Sin. Sinistra
Cemb. Cembalo Sinf. Sinfonia
Ch. Choir-organ L. See L. S. int. Senza interruzione
Chal. Chalumeau Leg. Legato Smorz. Smorzando
C. 1. Canto primo Legg. Leggero, Leggiero Sos., Sost. Sostenuto
C. L. Col legno L. H. Left hand, linke Hand Sp. Spitze
Clar. Clarinet Lo. Loco S. P. Senza pedale
Clar. Clarino Luo. Luogo Spir. Spirituoso
Clar"". Clarinetto Lusing. Lusingando S. S., or S. Sord. Senza sordini
Col c. Col canto S. T. Senza tempo
^"'"- M. See M. Stacc. Staccato.
j-Coll'ottava
C. ova J Maest". Maestoso St. D., or St, Diap. Stopped
Con espr. Con espressione Magg, Maggiore diapason
Cont. Contano Man. Manual Stent. Stentando
Cor. Cornet or Corno Man. 1+2. Couple Ch. to Gt. Str. Streichinstruraente
Co. So. Come sopra Mane. Mancando String. Stringendo
C. P. CoUa parte Marc. Marcato Sw. SweU-organ
M. D. Mano destra, or main Sym. Symphony
CrS;.} Crescendo droite
C. S. CoUa sinistra Men. Meno
C. or Co. So. Come sopra
S.,
T. SeeT,
Mez. Mezzo T. C. Tre corde
C". Concerto vif Mezzo forte
C. voc. CoUa voce
Temp. Tempo
mfz Mezzo forzando Tempo I. Tempo primo
M. G. Main gauche Ten. Tenuto
D. See D. M M. MaelzePs metronome
.
Timb. Timbales
Dal. S. Dal segno Mod., or Modt. Moderato
Mor. Morendo ^P-[Timpan
D. C. Da capo
Dec. Decani inp Mezzo piano T. P. Tempo primo
Decresc. Decrescendo MT.S. Manuscript, or Mano Tr. Trillo, Trumpet
sinistra
Delia. Delicatamente Tratt. Trattenuto
Dest. Destra Mus. B., or Mus. Bac. Musicae Trem. Tremolando, Tremulant
Diap. Diapason(s) baccalaureiis Tromb. Trombe, Tromboni
Dim. By diminution, or Mus. D., or Mus. Doc. Musicas Tromp. Trompete
Diminuendo doctor T. S. Tasto solo
Div. Divisi M. V. Mezza voce
Dol._ Dolce U. C. Una corda
Dolcis. Dolcissimo Ob. Oboe Unis. Unisono
Dopp. Fed. Doppio pedale Obbl. Obbligato
D. S. Dal segno Oberst, Oberstimme
Oberw., or Obw. Oberwerk V. See V.
Oh. Ped. Ohne Pedal Va. Viola
Energ. Energicamente Var, Variation
Espr., or Espress. Espressivo O. M. Obermanual
Op. Opus Vc, VcUo., VUo. Violoncello
Exp., or Expr. Orgue expres- Viol., VI., Vno. VioUno
sif {b)
Opp. Oppure
Org. Organ Viv. Vivace
Ott., Ova., or 8va Ottava V. S. Void subito
O. W. Oberwerk Vv., Vni. Violini
F. See F.
y, or for. Forte
Fag. Fagotto
Falset. Falsetto P. Seep. Abbreviations by
Ped. Pedal
Xfi ^"^ /// Fortissimo Perd. Perdendosi
Numerals.
Fl. Flauto _

Flageolet _/*/" pill forte or I. Prima volta

Flag. 1.

^^^"oforte 2. or II. Seconda volta

^""
f! Org. j"

Forte piano
''S^'^ Pfte'
Piang.
f
Piangendo
(T) @
music
etc. See Harmonium-

^ z., or Forz. Forzando Pianiss. Pianissimo

Pizz. Pizzicato
Man.
gan
I. (2.) Great (Choir-)or-
pmo,^ //, pj'p., pppp Pianis-
G. See G. simo
.^'
1 \ Q _ |
-g ,
f Duple
Ged. Gedampft Prin. Principal
G. O. Great organ
I

G. Org. Grand-orgue time] %) 9J y time

(
Raddol. Raddolcendo 4tette. Quartette
Grand. Grandioso
Rail. Rallentando ^tette. Quintette
Graz. Grazioso
Recit. Recitative Also compare ^xuNuinerals.
Gt. Great organ
r/",^/zy rznf. Rinforzando For single figures over groups
R. H. Right hand, or rechte of notes, compare (2) Couplet,
Hauptw. Hauptwerk Hand (3) Triplet, (4) Quadruplet,
Haut. Hautboy Rip. Ripieno (5) Quintuplet, (6) Sextuplet,
H. C. Haute-contre Ritard Ritardando
.
(7) Septuplet, (8) Octuplet, (9)
Hlzbl., or Hzbl. Holzblaser Rit., Riten. Ritenuto Nonuplet, (10) Decuplet, etc.
 ABBREVIATIONS. 3

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

(A) Of rests
64 8 10

: ^^,j- ^i |
| '^^ | gp-\ etc. (compare Jfes^.

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

=^^
P

(Triplets.)

^^^^=1
4 ABC, MUSIKALISCHESABGEBROCHENE KADENZ.
(c) Of figures and phrases.

(Also compare Arpeggio, Bis, Repeal, Segue, Simile, Ter, Tremolo.)

ABC, musika''lisches (Ger., "musi- settled or recognized form, especially

cal A b c") See Alphabetical notation. to that of the neo-German school.
...A-b-c-dieren, to use, in singing exer-
Ab'fallen (Ger.) To deteriorate said ;
cises, the letter-names of the notes.
of any part of the compass of an instr.
A'bendglocke (Ger.) Evening bell, cur- or voice showing a falling-off, in quality
few. A'bendlied, evening song. or volume of tone, as compared with
A'benteuerlich (Ger., "Adventurous.") other parts.
Strange, singular, uncouth an epithet Ab'gebrochene Kadenz' (Ger.) See
;

sometimes applied to music having no Kadenz.

 ABGELEITETACCENT.
Ab'geleitet (Ger.) Derived, derivative. Ab'stossen (Ger.) To play staccato, to
Ab'gesang (Ger.) See Strophe. detach. . .Ab'stosszeichen, staccato-mark.

Ab'gestossen(Ger.) Detached, staccato. Abstrak'ten (Ger.) Trackers.

Ab'gleiten (Ger. ) To slip or slide any Ab'stufung (Ger., "graduation.") The
finger, on the keyboard, from a black shading of a passage or piece, either
digital to the next white one. emotionally or dynamically.
Ab'hub, abub. Hebrew wind-instr. re- Abun'dans (Lat.) Superfluous.
sembling the cornet. Ab'wechseln (Ger.) To alternate ; mit
Ab ini'tio (Lat ) Same as Da capo. ab' wechselnden Manua'len, with alter-
nating manuals.
Ab'kiirzung (Ger.) Abbreviation.
Ab'leiten (Ger.) To derive from. Ab'weichung (Ger.) A
variant a differ- ;

ent reading or notation specifically,

;

Ab'losen (Ger.) To change fingers

qui- the measure or measures marked secunda
etly on a digital of the pfte. or organ. volta in a repeat.
Ab'nehmen, Ab'nehraung(Ger.) Dimi- Ab'ziehen
nuendo.
i. See Abgleiten.
(Ger.) 2.
To unstring the sense of taking off
(in
Abr6g6s (Fr.) Trackers. worn-out strings) a violin, harp, etc.
Ab'reichen (Ger.) In violin-playing, to Ab'zug (Ger.) i. See Abgleiten. 2. The
take a tone by extending the little fin- lifting of the fingers in playing wind-
ger (see Extension), or by drawing back instr.s, or of the bow from the strings.
the forefinger. Acathis'tus (Gk.) In the Gk. Church, a
Ab'reissung (Ger.) See Abruptio. long canon or hymn in praise of the
Abrup'tio (Lat. " a breaking-off.") The Virgin, sung by all standing.
sudden stopping of a melody before Accarezze'vole (It.) Caressful- )

reaching the actual close, it being con- Accarezzevolmen'te ) ly, caressingly,

tinued after a pause. coaxingly.
Ab'satz (Ger.) i. A
thematically or Acceleran'do (It.) "Accelerating,"
rhjrthmically well-defined division of a gradually growing faster. Accelera'to,

. .

piece or movement. 2. melodic A accelerated, livelier.

phrase. Accent. (Ger. Accent', Beio'nung ; Fr.
Ab'sch-wellen (Ger.) Decrescendo. accent; It. accen'to.) i. The natural
stress or emphasis regularly recurring
Ab'setzen (Ger., "to lift from".) To
strike two digitals in succession with the
on certain tones in each measure, called
the grammatical, metrical, or regular
same finger, to lift ; e.g.
f-
^ accent e.g. that on the first beat in
;

every species of time

Absolute Music. In contradistinction

to " program-music," which is supposed
or intended to express (depict, portray)
^^^m 4=1= titzt
wxr-m-

something tangible, absolute music {primary accent), and on the third beat
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-
terposition of or definite interpretation
by the intellect, infecting and influenc-
ing the soul iivectXy.. .Absolute Pitch,
see Pitch.
Ab'stammen (Ger.) To be derived
Ab'stand (Ger.) See Tonabstand.
Ab'stimmen (Ger.) i. To tune.
lower the pitch (of yastx ^.. .Ab'stim-
mend, Ab'stimmig, discordant, dissonant.
regular accent is varied by the rhyth-
mical accent, which brings out more
prominently the broader musical divi-
sions of a composition by special em-
phasis at the entrance or culminating
points of motives, themes, phrases,
from.
passages, sections, etc.; the rhythmical
a. is nearly synonymous with the
2. To pathetic or poetic a., as an aid in inter-
preting the meaning and making plain
the construction of a work. 3. An ir-
 ACCENTORACCORD.
regular stress laid upon any tone or a melody-note or chord-note being
beat at the composer's pleasure, is the struck with the latter, but instantly
rhetorical or asthetic a. indicated either
, released
by a special sign (sfz, fz, >, A), or written played ;

by an interruption of the natural

rhythmical flow (syncopation), whereby
the natural a. is thrown back to an
otherwise less accented or non-accented
beat. 4. See Accentus.e,. An obso- 2. Same as short appoggiatura. 3 (in
lete harpsichbrd-grace resembling the
Ger. usage). Same as Acciaccatur,
appoggiatura ;

or Accident (Fr.) Accidental.

written
Accidental. (Ger. ztc'fdlliges Verse'-
tzungszeichen ; Fr. accident, or signe
accidentel ; It. acciden'te.) chro- A
matic sign not found in the signature,
played :
set before a note in the midst of a com-
position. (See Chromatic Signs.)
Accen'tor. The leading singer in a choir Accolade (Fr.) Brace.
or vocal performance. Accompaniment (Ger. Beglei'tung ; Fr.
Accentuie'ren (Ger.) To accent. . .^^f- accompagnement ; It. accompagna-
centuier'ter Durch'gang, a passing-note inen'io.) 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,
composition. Its intention may be to
that part of the service which is chanted
enhance the general effect, or to steady
or intoned at the altar by the officiating
the soloists either as regards rhythm or
priest and his assistants opp. to Con-
;
pitch. Either one or more instr.s, or a
centus, the part taken by the choir,
The
vocal chorus, may carry outanaff. An
Accen'tus ecclesias'tici (Lat.) ace. is ad li'bitum when the piece can
musical inflections observed in intoning be performed without it, and obbliga'to
the gospels, epistles, etc., correspond- when of vital importance to the latter.
ing to a certain extent with the punctua- Ace. of the scale, the harmonies as-
tion. There are 7 accents (i) accentus :
signed to the successive tones of the
immuia'Hlis, the voice neither rising ascending or descending diatonic scale.
nor falling ; (2) a. me'dius, falling a Additional accompaniments, parts
third ; (3) a. gra'vis, falling a fourth ; added to a composition by some other
(4) a. acu'tus, first falling a third, then than its original author.
rising to the reciting-note (5) a. mode-
ra'tus, first rising a second, then fall-
;
Accompanist. (Ger. Beglei'ter; Fr.
accompagnateur m., -trice f. It. ac- ;
ing to the reciting-note (6) a. inter- ;
compagnato're ra., -tri'ce f.) One who
rogati'vus, at a question, first falling a
executes an accomp.
second, then rising to the reciting-note ;

(7) a. fina'lis, falling at the end of a

Accompany. (Ger. beglei'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 (It., "coupled.") Tied. .

singers, supernumeraries. Accoppiamen' to, pedale di, see Pedal,

sustaining.
Accessory note. In a, trill, the higher
auxiliary. Accord (Fr.) I. chord. AA. h I'ouvert,
chord produced by sweeping only open
Acciacca'to,-a (It.) Vehemently.
strings. ..(4. fondamental, or naturel,
.

Acciaccatur' (Ger.) In organ-playing, fundamental chord. ..^. farfait (or

the doubling by the left hand of the \ triade harmonique), common chord,
chord on the dominant,, its resolution triad... ^. plaqud, a solid chord (not
to the dominant chord being effected arpeggio'd). .^. renvers^,
. inverted
by the right hand alone. chord. 2. Tune (i.e. the state of being
Acciaccatu'ra (It.) i. (Ger. Zusam'- in tune). .Etre d'accord, to be in tune.
.

menschlag ; Fr. pinci /touff/.) A grace 3. Accords (pi., poetical). Strains,

on keyboard instr.s, the semitone below harmonies.
4. Accordatura.
 ,

ACCORDABLEACOUSTICS.
Accordable (Fr.) Tunable, that may be a., coMpler.. .Accouplez, "couple,"
tuned. (i.e. " draw coupler ").

Accordamen'to (It.) Accrescen'do (It.) Same as Crescendo.

Accordance ; con-
sonance. Accrescimen'to (It.) Augmentation (of
Accord'ance. An English equivalent a fugal theme)... Pun' to d'accr,,Aoi
for Accordatura ; used in Grove, vol. of prolongation (J.).
IV, p. 1871}, 1.9-10, and foot-note. Accresciu'to (It.) Augmented.
Accordan'do (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. . .Achl'fiissig, 8-foot
gether. . . .Acht'stimmig, in or for 8 parts,
Accordato'io (It.) Tuning-key, tunings 8-part.
hammer.
Ach'tel, Ach'telnote (Ger.) An eighth-
Accordatu'ra (It.; see Accordance^ note. . .Ach'telpause, eighth-rest.
The series of tones according to which
a stringed instr. is tuned ; thus^-of'-o'- Ac'ocotl. A
wind- instr. of the Mexican
e^ is the a. of the violin. aborigines, consisting of a thin tube 8
or 10 feet long made of the dried stalk
Accorder (Fr.) To txixie.. . . S'' accorder
of the plant acocotl, and played by in-
to tune together, get the pitch (as an
haling the air through it. (Also called
orchestra).
Clarin.)
Accordeur (Fr.) i. Tuner. 2. The Acoustic
color. The timbre (character
monochord.
ing 12 steel
A small
3.
set on a sound-
tuning-forks
instr. contain-
or quality) of a mus. tone.

board and yielding the 12 tones of the Acoustics. (Ger. Aku'stik ; Fr. acous-
equally tempered scale. tique ; It. acu'siica.) The science of
the properties and relations of sounds.
Accor'dioii. (Ger. Accor'deon, Akkor'-
1. Musical acoustics, the science
dion, Zieh' harmonika; Fr. accordion;
of mus. tones, distinguishes between
It. accor'deon.') A free-reed instr. in-
tones and noises. A
tone of sustained
vented by Damian, of Vienna, in 1829.
and equal pitch is generated by regular
The elongated body serves as a bellows, and constant vibrations of the air, these
which can be drawn out or pushed to-
being generated by similar vibrations
gether at will the bellows is closed at
in the tone-producing body
;
whereas a ;

either end by a keyboard, that for the

noise is caused by irregular and fluctu-
right hand having a diatonic (or incom- '
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
(Helmholtz). But a sonorous or tone-
is opening, by suction, the other when
producing body vibrates not only as a
it is closing. (Compare Concertina^ whole, but in its various fractional parts
Accor'do (It.) I. A chord. ..^i. con'- as well. Take a pfte. -string, for in-
sono (dis'sono), a consonant (dissonant) stance when struck by the hammer it
;

chord.
2. An instr. formerly used in vibrates, not simply as a whole in its
Italy, resembling the bass viol, having entire length, but each half, each \, J, J
from 12 to 15 strings, and played with etc. , of the string vibrates by itself, as
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
ployed where powerful harmonies were length the C-string thus produces, be-
;

required. (Also called the modern lyre, sides the fundamental tone or generator,
and Barbary lyre.) C, its octave c (^ of string), its twelfth^
\), fifteenth c^ (i), seventeenth e^ (^),
Accordoir (Fr.) Tuning-hammer, tun- nineteenth ^' (^), etc. The points of rest
ing-key (org.) tuning-cone or -horn.
;
in the string (or other tone-producing
Accoupler (Fr.) To couple. . . Tirant h body) where such vibrating portions

meet, are called nodes, or nodal points ;
the tones produced by the vibrating di-
visions are called harmonics, or over-
tones ; and the entire series, including
the generator, are C2.\\si partial tones,
-IH ( major triad).
(Notes marked
The intensity of the harmonics ordin-
arily decreases rapidly as their pitch
becomes higher.
2. The harmonics are important in
many ways. {a) Their presence in
varying degrees of intensity produces
the timbre peculiar to the several instr.s;
thus the tone of the stopped diapason
(organ), in which they are weak, is soft
and "hollow"; the tone of an old
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 felt,
is ringing, "metallic," and brilliant.
(Compare Scale.). {b) On
instr.s they yield anadditional and
highly characteristic register (see Har-
monic 2). (c) 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.,
etc. (d) Musical theory owes highly
important discoveries to the investiga-
tion of the harmonics, of which discov-
eries practical music in turn reaps the
benefit (improved construction of many
instr.s). ((Tomp. Scale.)
3. By sounding two tones together,
various phenomena are produced, {a) 2
tones of nearly the same pitch produce
beats. E. g. if the one makes 442 vibra-
tions per second and the other 440, the
-ap (minor triad
ACOUSTICS.
being considered parts of the composite
tone (clang) named
after the generator.
The of partial tones may be
series
given in notes as follows, numbered
consecutively from C upward
7 " 9
* are only approximately correct.)
difference, 2, represents the number of
beats per second, a beat being the pul-
sation or throb caused by the coinci-
dence of, and consequent momentary
increase of the intensity in, the sound-
waves of the two tones this coinci- ;
dence recurring regularly at every 221st
vibration of the first tone and 220th
vibration of the second. (b) As soon
as the number of beats per second
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,
sujnmational, or resultant tone; in fact,
the various combinations of interfering
bowed vibrations produce, in their different
combiriation, 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 :
etc.
In the series of partials given in
(c)
1, those belonging to the major scale
of the generator C axe written as half-
notes the consonance of the major
;
triad is derivable from and based upon
the principal partial tones. In like
manner, the consonance of the minor
triad is derived from a reverse series of
lower partials, the existence of which
is proved by the phenomena of sympa-
thetic vibration and of the resultant
tones. In this series of lower partials
(undertones),
* * *
13 14 15
; c = phonic root [see PAoneJ),
 ;
;

ACT^OLIAN ATTACHMENT.
the numerals also represent the relative movement (comp. Tempo-marks). .A. .

length of the strings necessary to yield A. mol'to, very slow...^. non

assa'i,
the several tones while in the series of
; tan' to, non molto, not too slow Adagio . . .

higher partials (overtones) the string- adagio, very slow. Superlative at/ajaV-
. .

lengths are represented by the simple sifno.

fractions formed by the numerals. (d) Adaptation. Same as Arrangement.
From the relative number and import- Ada'sio (It.) Same as Adagio.
ance (intensity) of the first 6 partials in
either series, it follows, that the only
Added sixth. See Sixth.
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. See Ac-
found in or foreign to the series of par-
tials, produces a dissonance.
companiment... Ad- ^
ditional keys, those
Act.
It.
(Ger.
at' to.')
Akt, Auf'zug ; Fr. acte
One
of the principal divi-
sions of a dramatical performance.
above

Addolora'to
f^
(It.)
$
Plaintive ; in a style
expressive of grief.
Acte de cadence (Fr.) progression A
in one of the parts, particularly the Adi'aphon. See Ga'belklavier.
bass, which forces the others to join Adi'aphonon. A keyboard instr. 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 or
production of sound by actinic rays. scale to another. .A. note, an auxiliary .

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

nique ; It. mecca'nica.) In keyboard the harmony.
instr.s, themechanism 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.
action (pedals) does not directly produce
the sound, but effects a change of key
Ad li'bitum (Lat., "at pleasure," "at
by shortening the strings, whereby chro- will.") A direction signifying (i) that the
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,
Organ.) mental part so marked is not absolutely
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

Acu'ta (Lat., "sharp, shrill.") In the or not, or another substituted, at the
organ, a mixture-stop having 3 to 5 executant's discretion.
ranks of from if to I foot, usually in- Ad " with the long.")
cluding a Third its compass is higher
lon'gam (Lat., A
;
term applied to certain ancient church-
than that of the ordinary Mixture. music written entirely in equal notes,
Acu'tse cla'ves (Lat. acuta loca,
; also generally the longest in use.
acutcs voces.) acute keys
Literally, Adornamen'to (It.) A grace.
(pitch, voices) ; the tones from a to g^
inclusive so termed by Guido d'Arezzo.
Adquis'ta or adsum'ta (vox) (Lat.,
;
"the added tone.") The lowest tone
Acute. (Ger. scharf, hoch ; Fr. aigu of the scale, the Proslambanom'enos.
It. acu'to.) High in pitch, sharp, shrill
said of tones ; opp. to grave.
.^'erophon. See Harmonium.
./^olharmon'ica. See Seraphine.
Acuttz'za. (It.) Acuteness ; sharpness
(of pitch). JE.o\\a.n. attachment. An attachment
to a pfte. for directing a current of air
Acu'tus (Lat.) See Accentus eccl, 4.
against the strings, reinforcing their vi-
Adag^iet'to (It.) i. A movement slightly bration and thus prolonging and sus-
faster than adagio.
2. A short Adagio. taining the tones . . ./Soli an harp or .

Ada'gio (It., " slow, leisurely.") A slow lyre. (Ger. A'olsharfe, Wind'-, Wet'-
 MOLINAAGGIUST AT AMENTE.
ter- or Gei' sterharfe ; Fr. harpe Mi- eous syncopation, or "deviation from
cnne harpe d' ole ;
, ar'pad'E'olo.)
It. 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 Alleluia
resonance-box, across the low bridges in MS. music of the middle ages.
at either end of which are stretched gut
Affa'bile (It.) Sweetly and gracefully,
strings in any desired number and of
gently.
different thickness and tension, but all
producing the same fundamental tone. AfTana'to (It.) Uneasily, distressfully.
When adjusted in an appropriate aper- Aifanosamen'te (It.) Anxiously, rest-
ture, like a window through which the lessly. . .Affano'so, anxious, restless.
air passes freely, the latter causes the
Affet'to (It.) Emotion, passion, tender-
strings to vibrate and
to produce, if the
ness . Con a., or affettuosamen'te, affet-
.

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 Affezio'ne, con (It.) In a style express-
;

and ive of tender emotion.

according to the force of the
rising,
wind, from pure, dreamy, deliciously Affilar' (or iilarO il tuo'no (It.) In the
vague harmonies to a plaintive wail or Italian school of singing, to produce a
a thrilling forte. .ySolian mode, see
. long-sustained and uniform tone near- ;

Greek music. .. ./Eolian piano, see ly the same as metier la voce, tnessa di
Aolsklamcr. voce, except that with these a crescendo
or decrescendo is usually to be combined.
iEolina. I. A small instr. consisting of a
graduated series of free reeds set in a Affinity (Fr.) Affinity, relationship.
metal plate and blown by the mouth Afflit'to (It.) Melancholy, sad...AJti-
;

invented by the Messrs. Wheatstone in zio'ne, con, sorrowfully, mournfully.

1829. As the first practical attempt to Affrettan'do (It.) Hurrying (stringendo)
use free reeds in this way, it may be re- Affreiio'so, hurried (piii mosso).
garded as the precursor of the accordion
After-beat. (From Ger. Nach'schlag;
and melodion. The Germans, how-
Fr. note de covipl^ment, 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 and 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 unac-
soft tone. cented appoggiatura. 2. The unac-
cented note of a pair.
.olo'dicon. A keyboard instr. em-
bodying the principle of the Molina, After-striking. (Ger. Nach'schlagen.)
and the direct precursor of the harmo- The reverse of anticipation by the
bass ; e.g.
nium. (Also ySolodion, Klavdoli'ne,
etc.). . .A was the
further modification
invented by Prof.
j^oloitielo' dicon,
Hoffmann of Warsaw about 1825, in
which short brass tubes were added to
the reeds.

.olopan'talon. An .(Eolomelodicon
combined with a pfte., constructed (Compare Anticipation.)
about 1830 by Dlugosz of Warsaw.
Aequal' (Ger.) Formerly, an independ-
Agen'de from Lat. agen'da.) Bre-
(Ger.,
viary, more
especially of the Ger. Re-
ent 8-foot organ-stop (Aequal' stimme)
formed Church, containing in regular
still used as prefix to names of organ-
order the formularies, prayers, respons-
stops, indicating that they belong to
es, collects, etc., employed in religious
the standard 8-foot registers; as AequaV-
exercises.
prinzipal, etc.
.ffiquiso'nus (Lat. ; Ger. aquison'.) Uni- Age'vole (It.) Easy, l\gh.t.. .Agevoles'.
son (of either primes or octaves). za, con, easily, lightly.

quiva'gans (Lat.) Denotes simultan- Aggiustatamen'te (It.) Strictly in time

 . ;;

AGGRAVER LA FUGUEALLEGRETTO.
Aggraver la fugue (Fr.) To aug- Ajout,-e (Fr.) Added. (See Ligne, Six-
ment the theme of a fugue. te.)...Ajoutez, "add" (organ-mus.) (
Agiatamen'te (It.) Easily, indolently. abbr. ajout.
Agilitil' (It.) Agility, sprightliness, vi-
) Ajuster (Fr.) See Accorder.
Agilit^ (Fr.) ) vacity con a., in a
light and lively style.
;

Akkord' i. K
chord.. .A kkord'.
(Ger.)
passage, arpeggio.. .Akkord' zither, the
Agilmen'te
vaciously.
(It.) Nimbly, lightly, vi- autoharp. 2. A
set of several instr.s
of one family, but different in size,
Agitamen'to Agitation.. .^^jVo-
(It.) as made from the 15th to the i8th
lamen'te, con agitazio'ne, excitedly, agi- century (comp. Engl, chest or consort
tatedly. . .Agita'io, agitated a. conpas- ; of viols). (Also Siimm'werk^
sio'ne, passionately agitated.. ./i^Va- To tune an
Akkor'dieren (Ger.) i.
zio'ne, agitation. instr.,with reference to the harmony of
Ag'nus De'i (Lat., "Lamb of God.") its principal chords. 2. To get the
Closing movement of the raus. Mass. pitch (said of the orchestra).
Ago'ge (Gk.) The order, virith refer- Akroama'tisch (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. rhyth'- . on outward effect than on depth.
mica, their succession with reference to Akt (Ger.) Act.
accent and rhythm tempo. ;
Aku'stik (Ger.) Acoustics ; aku'stisch,
Ago'gik (Ger.) Theory of the tempo acoustic.
rubato. .Ago'gisch, relating to such de-
.

viations from the tempo. Ago'gischer . .

Al (It.) To the, up to the, at the, in
the, etc.
Accent' (Riemann), a sign(A)over a
note indicating the slight prolongation Alargando Properly allargando.
(It.)

of its value required, in certain rhythms, Alber'tischer Bass

(Ger.) Albert!
to mark the culminating point of the bass. (See Bass.) \
measure-motive. Alcu'no (It.) Some, certain.
Agraffe'. Inthepfte., a small metallic Alexandre organ. See American or-
support of the string, between bridge gan.
and pin, serving to check vibration in
Al'iquot (Lat.) Forming an exact mea-
that part.
sure of something a factor, or even
;

Agr^mens (Fr., pi.) Harpsichord- AWisot.. .A'liquotfliigel (Ger.) A

graces.
Aigu, aigue (Fr.) Acute ; also used
substantively, e. g. passer de I' aigu au
grave.
Air. (Ger. Melodie', Wei'se, Sing'weise ;
Fr. air, melodie; It. a'ria.) I. A struck by the hammers, and are called
rhythmical melodious series of single
tones in a metrical (symmetrical) group-
ing easily recognizable by the ear a
tune or melody. 2. The highest part
in a narmonized composition. .Nation- quottone.
grand piano, invented by Julius Bluth-
ner of Leipzig, the tone of which is
reinforced and enriched by an addition-
al sympathetic string stretched over,
and tuned in the higher octave to, each
unison. These added strings are not
A' liquotsaiten... A' liquottheorie, theory
of overtones produced by the vibration
;
of strings or of wind-instr.s. Such
overtones or harmonics are called A'li-
.

al air, a melody become thoroughly Air, 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
Alia breve, -wAet
emblem, and performed at public festi- Allabre've (Ger.) 'Sie.e.
vals, etc. Breve. . .AUabre'vetakt, alia breve time.

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

Allargan'do (It.) Same as Largando.
as Airs h boire, drinking-songs. . .Also, Allegramen'te (It.) Nimbly, lightly,
instrumental melody, as air de violon, vivaciously.
de flute ; air de ballet, de danse, etc. .
AUegretti'no (It.) A short Allegretto
Also, aria ; air ditachd, any single aria also, a movement slower than alle-
taken from an opera. gretto.

A1s(Ger.) K'i,.A"isis,h.y.. AUegret'to (It., abbr. o//''^) Dimin.

 ALLEGREZZAALPHABETICAL 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
Allegrez'za (It.) Liveliness, vivacity. natural harmonics. The alpine herds-
Allegfris'simo (It ) Superl. of allegro
men use this horn to play the Ram, des
;
vaches and other simple melodies.
extremely rapid, as quick as possible ;

=.presio assai. Alphabetical notation. Any method

of writing music which uses the letters
Alle'gro abbr. all'.) Lively, brisk,
rapid.
(It.,
Used substantively to designate
of the alphabet. The earliest knowa
any rapid movement slower than pre-
method was the ancient Greek, which
employed two parallel series of letters,
sto. ..^. assa^iy a. di mol'to, very fast
one for vocal and the other for instru-
(usually faster than the foregoing move-
mental music, the letters being various-
ment). .A. di bravu'ra, a technically
.

ly inverted, accented, or mutilated to

difficult piece or passage to be executed
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 conformed
to the subject. ..A. risolu'lo, rapidly and
at least by down to the lotli
theorists,
century (see Neumes), when the begin-
energetically etc. etc.
; ,

nings of a new method appeared, em-

Allein' (Ger.) Alone. ploying the first 7 letters of the Latin
Allelu'ja (Hebr.) Lit. "Praise ye the alphabet A BC DEF
G for the
Lord," an exclamation closing various major diatonic scale now represented
Psalms, or introduced in their midst. hy C DE F 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
Jubilatid) of the early middle ages (on rotta, later the organ). Their significa.
the vowels AEVIA), to the melodies of tion was soon altered, however, to con-
which were set, after the adoption of form to that of the earlier Greek sys-
the cantus planus, special words. (Also, tem (minor), the series then agreeing
Halle lu'jah.) with our present one the Greek ; r
Allemande (Fr.; It. alleman'da) i. {Gamma, G) was added as the lowest
A Ger. dance in 3-4 time, like the tone, and the octaves above were f
Ldndler. 2. A
lively Ger. dance in written ABCDEFG abcdefg aabbccdd
2-4 time.
3. A
movement in the leffgg etc. (or
a I, c d ''^"S'*^''^^
Suite, either the first or immediately '

following the prelude, in 4-4 time and sometimes, instead of small letters, the
moderate tempo {andaniind), commenc- capitals ran on {HIKLMNOP), in
ing with a short note in the aufiakt. 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'io.)
reality rendered superfluous, as a me-
Al'le Sai'ten (Ger.) Same as Tutte 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 Nolaliori).
bass. (Now General'bass.) When letters were used, without staff-
Allmah'lich (Ger.) Gradually, by de- lines, instead of neumes, they were
grees. (Also allindh' lig, allmd'lig.) often written above the words in this
Allonger I'archet (Fr.) To prolong wise
(the stroke of) the bow. E EE E E
AUo'ra (It.) Then. / /DD C D / F
Alraain', Almand', Almayne'.
as Allemande,
Arpenhorn, Alp'horn (Ger.) The
Same
/
Qui
/
toL
/
Us pec
ri - ca
1

ta

alp-horn, an instr. made of strips or I.e., m 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 mouthpiece of hard
fafr-rff^^^gj
Qui
r
j
tol lis pec - ca t
 .

ALTAMBROSIAN CHANT. 13

ascending or descending as the voice
was to rise or fall. Our present theo-
retical of the octave is first
division
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. Tablature). Letters are no
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 of
the movable solmisation-syllables. In
modern theory, letters are variously em-
ployed (comp. Pitchy absolute). Al'to,-a (It.) High. ..Otta'va alia, an
Alt (Ger.) Alto (voice or part). In
term being reserved for the lower alto
voice). Ordinary compass from g to c'
which, in voices of unusual
; P =gi:4 P^
range, may be extended
down to d and up to
f^, or even higher. z. A high head-
voice in men (It. al'ti natura'li) for-
merly cultivated for the performance
of church-music (in England for secu-
lar music as well, e. g. glees), but now
generally superseded by the female alto
or high tenor.
3. (Ger. Bra'tsche, A W-
viole; Fr. alto, quinte, basse de violon;
It. al'to, vio'la.) The tenor violin, or
viola.
octave higher. .Alta vio'la, tenorviolin.
. .
.

compound words, the alto instr. of any .Alto bas'so, an obsolete variety of .

family, as Alt'geige, Alt' horn, Alf- dulcimer, consisting of a square wooden

klarinette, A Ifoboe, Alfviole, 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 {g' /') above f^ left striking the strings.

notes in the octave above Alto-clef.

; See Clef.
: this are said to be " in altis- Alt''posaune (Ger.) Alto trombone.

P
Altera're (It.) To alter, change.
Artro,-a (It.)
" encore !"
Other... A Itra vol'ta,

Altera'tio (Lat.) See Notation, 3. Alt'schlussel (Ger.) Alto-clef.

Alteration. I. Same as Alteratio. 2. Alfviole (Ger.) Viola.
Chromatic alteration of the pitch of a Alzamen'to (It.) A raising or lifting
note. (opp. to Abbassamento). Abbrev. Alz.
Altera'to (It.), Alt6r6 (Fr.) Chromatic- Ama'llile (It.) Sweet, tender.
ally altered.
Amare'vole (It.) Bitterly, mournfully.
Alterez'za (It.) Pride, loftiness. Con (Sometimes written mistakenly lor Ama-
a., in a lofty and dignified style. re'vole, lovingly.). .Amarez'za, bitter-
.

Alternamen'te (It.) Alternatively. .

ness, sadness ; con a. ,
grievingly.
Alternan'do, alternating. " lover " of art, who, Amateur (Fr.) A
Alternati'vo (It.) See Trio 2. while possessing an understanding for
Alt-horn. (Fr. saxhorn alto; Ger. Alt'- and a certain knowledge of it, does not
iarn.) One of the Saxhorns. pursue it as a profession.
Altieramen'te (It.) In a lofty and ma- Am'bitus (Lat.) Compass.
jestic style. Ambrosian chant. The style of church-
Alti natura'li (Lat.) Natural (male) music introduced by St. Ambrose (d.
altos, or counter-tenors. (See Alto.) 397) from the Eastern Church, and
established by him in the cathedral at
Altis'simo (It.) Highest. (See Alt.)
Milan, towards the end of the 4th cen-
Alti'sta (It.) An alto or contralto tury. It was based on the 4 authentic
singer. modes
Alt'klausel (Ger.) The leading of the d e fg a b c^ d^

alto part in a perfect close. e fg a b c^ d'^ e^

"<'/'
Alto. I.haute-contre ; Ger. Alt,
(Fr.
fgabc^
Alfstimme; It. al'to.) The deeper of
gabc'^ d^e'' P g"

the two main divisions of women's or and was thus essentially diatonic, al-
boys' voices, the contralto (in Germany ;
though embellished with occasional
a distinction is sometimes made be- chromatic graces it was probably ;

tween Alt and Kon'traalt, the latter rhythmical, in contrast to the later de-
 14 AMBROSIAN HYMNANESIS.
velopment of Plain Chant. Nothing the first 2 short, the last long (w w -^);
positive is known about these melodies, the reverse of the Dactyl.
except that St. Ambrose introduced the Anche (Fr.) Reed (of any instr.). .^. .

antiphonal songs and hallelujahs of the libre, free reed . . .Jeu d 'anche, reed-
Eastern Church, and himself composed stop.
numerous hymns. (Comp. Gregorian
An'che (It.) Also, too, likewise ; even.
Chant.)
Reed. An'cia(It.)
Ambrosian hymn (hym'nus Amhrosia'-
nus). The " Te deum laudamus,"of Anco'ra (It.) Again, also, yet, still,
which St. Ambrose is the reputed even. .Ancor" piit mos'so, still faster. .

author. An'dacht (Ger.) Devotion. .An'ddchtig, .

Ame (Fr.) Soundpost. or mit Andacht, devotionally (It. de-

vo'to, con devozio'ne).
American organ. See Reed-organ.
Andamen'to (It.) I. Movement, rate of
Amo're (It.) Love. Con a.., with . . de-
speed. A
passage, especially an
2.
votion, fondly, devotedly tenderly.
Amore'vole^ amorevolmen' ie
;

^ lovingly,
.
episode iu a fugue.
3. Specifically, an
extended fugal theme, usually consist-
fondly, etc. .Amorosamen'ie, amorous-
.
ing of two distinct and contrasting
ly, \o^'vag\y,ionA\y. . .Amoro'so, amor-
members. (See Soggetto.)
ous, loving.
-A'morschall, A'morsklang (Ger.) A Andan'te (It., lit. "going, moving.")
French horn with valves, invented by A tempo-mark indicating, in modern
ICalbel, of St. Petersburg (1760) its usage, a moderately slow movement,
;

tone was lacking in purity, and the between Adagio and Allegretto often ;

valve-mechanism did not quite do away modified by qualifying words, as A.

"with "stopping." maesto'so, A. sostenu'to, a stately and
tranquil movement A. con moto, A.
- Am'phibrach. A
metrical foot of 3
un poco allegretto, a comparatively ani-
;

syllables (-^
opp. to amfhim'acer.
>--) ;
mated movement A canta'bile, a
; .

Also amphibra'chys.
smoothly flowing and melodious 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'phibrach. allegro, "moving rapidly;" me' no
[Also amphimacrus7\ andante ("less moving "), slower.
.Ampho'ter (Ger.) Amphoteric ; said of Andantemen'te (It.) Flowingly, unin-
S. series of tones "common to two" terruptedly.
-registers of the same voice.
Andanti'no (It.) Dimin. of Andante
Amplitude of vibration. See Vibration. strictly, slower than andante, but often
Amts'pfeiffer (Ger.) See Stadtpfeiffer. used in the reverse sense.
Amusement (Fr.) See Divertissement. Anda're (It.) To move on ... ^. dirit'to,
An (Ger.) On add (i.e. draw).
; go straight on a. in tempo, keep to the ;

Anacru'sis (Gk. ; A nakru'sis \^A uf-

Ger. tempo.
taki\ ; Fr. anacrouse.) An up-beat An'derungsabsatz (Ger.) Ilalf-cadence,
beginning a verse, containing I or 2 ending on the dominant triad.
mnaccented syllables hence transferred
to musical rhythms, for which, in Eng-
;
Anem'ochord. (Fr. an^mocorde.) A
keyboard wind-instr. with strings, in-
lish usage, the term auftakt is often
vented by J. J. Schnell, of Paris, in
met with.
1789, as an attempt to imitate the tone
A.nalytical programs
are an English of the ^olian harp by means of small
invention ; analyses of the mus. form bellows forcing a current of air against
of compositions on the concert-pro- the strings a pneumatic harpsichord.
:

gram, with quotations from the music, The piano iolienne of Henri Herz
date from 1845 (Ella, matine'es of Mus.
Union). The most ambitious attempts
(1851) was a similar instr.
Anim'ocorde.)
(Also
of this kind are probably H. v. Wolzo- Ane'sis (Gk.) The passage from a high
gen's " FHhrer" (Guides) "through" tone to one lower in pitch; also, the tun-
Wagner's mus. dramas. ing of strings to a lower pitch. Opp.
An'apest. A metrical foot of 3 syllables, Xaepit'asis. [Stainer and Barrett.]
 "
.,. : :

ANFANGANTHEM. 15

An'fang (Ger.) Beginning. Vom A., ing, stumbling manner ; to read music
same as Da capo. haltingly.

An'geben (Ger.) To sound, to strike. An'satz (Ger.) i. Lip, embouchure (in

Den Ton a., to give the pitch (as for an playing wind-instr.s).
.

2. The method
orchestra). of attacking a vocal phrase.

Angelic hymn. The hymn sung by An'schlag (Ger.) i. Touch (on a key-
the
angels upon the announcement of
board instr.) 2. A kind of double ap-
poggiatura
Christ's birth ; sung in both the East-
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'schiwellen (Ger.) To increase in
Ange'lica (Lat., "angelic") SssVox a. loudness, swell.
Angelique'. (Fr. angdlique.) A key- Ansiosamen'te (It?) In a style expres-
board instr. having 1 7 strings tuned in sive of anxiety or hesitation.
chromatic order inv. early in the 1 7th
;
An'sprache The "speaking""
century.
Also, a kind of guitar.
(Ger.)
of an organ-pipe, wind-instr., string,
Angelophone. An earlier name for the etc. . .An'sprecheti, to speak.
harinonium or parlor-organ.
An'stiramen (Ger.) To intone, strike
An'gemessen (Ger.) Suitable, appro- up.
priate.
Answer. (Lat. co'mes ; Ger. Gefahr'ie,.
Anglaise (Fr.) The English country- Ant'mort ; Fr. r^ponse, rc'plique ; It..
dance {contrcdanse). of lively character, ripo'sta, conseguen' te In a fugue,, .")

sometimes in 2-4, at others in 3-4 or the taking-up of the subject, proposed

3-8 time. It closely resembles the 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
Antece'dent. (Ger. Fuh'rer; Fr. ihime /
French Rigaudon. [Grove.]
It. propo'sta, gui'da.)
aniecedcn'te,
Angosciosamen'te ) (It.)Expressive of The theme or subject of a fugue or
Angoscio'so j anguish, agony. canon, as proposed by the first part.
Angst'lich (Ger.) Fearfully (It. timida- Also, any theme or motive proposed for
men'le, wrongly tramidainente). imitation, or imitated later.
An'hang (Ger.) Appendix coda, co- Antelu'dium ;
(Lat.) Prelude, introduc-
detta. tion.

A'nima (It.) i. Spirit; con u., with Anthem. A piece of sacred

music usual-
spirit, animation. 2. Soundpost. ly founded on words, with or
biblical
without instrumental accomp., and of
Animan'do (It.) With growing anima-
tion ; livelier. . ..^2/o'/(;, in an ani- various forms :

(i) Anthems for double
choir, the choirs frequently answering
mated, spirited style.
each other. .(2) Full anthetns consist-
. ,

Animocor'de (It.) See Anemochord. ing wholly of chorus, accompanied or not

Animo'so (It.) Animated, spirited. . ... (3) Full anthems with verses, certain
Anivwsis'simo, animosissimamen' ie parts of which are sung by solo voices,
with the utmost animation, spirit, bold- although beginning and close are cho-
ness. ruses (7';), and the chorus predomi-
An'niut(h) (Ger.) Grace, sweetness, nates throughout ... (4) Verse anthems,
charm, sua.V\\.y.. ,An'niut{K)ig, grace- in which the verses (soli, duets, trios,
fully, etc. quartets) predominate over the cho-
ruses. .(5) Solo anthems, in which a
.

Anom^aly. The slight deviation from solo part predominates, though the
the exact pitch caused by tempering chorus always concludes them (6) . . .

intervals on fixed-tone instr.s hence, ; Instrumental anthems, those accom-

an anomalous chord is one containing panied by instr.s other than the organ ;

an interval rendered, by tempering, ex-

tremely sharp or flat.
formerly so called,
The anthem, an
integral part of the Anglican church-
Anonner (Fr.) To perform in a hesitat- service, is essentially an English pro-
x6 ANT HOLOGIUMAPOLLO.
duct, a motet developed on the lines of phonal songs both in the mass and the
vocal variety and instrumental accomp., offices of the Latin Church but now, ;

approximating to the Ger. Kantate. by long-established custom, a separate

Antholo'gium (Lat.) The book or col- book called the Gradual contains the
lection of the hymns, etc. , of the East- liturgical antiphons (those proper to the
ern Church. mass) whereas the responsories of the
;

office, formerly relegated to the Re-

Antibac'chius {Antibacchy). A metrical
foot of 3. syllables, 2 long and I short,
with the ictus on the first i~- ^.
Anticipation. (Ger. Antizipation' Vor-
aus^nahme j Fr. anticipation ; It.
anticipazio'ne.) The advancing of one
or more of the parts constituting a Antiph'onel.
harmony before the rest, which part
or parts would, if all the parts pro-
gressed simultaneously, enter later
sponsorial, now form the Antiphonary,
together with the antiphons proper (i.e.
the antiphons associated with ths
,
psalms of the office). (Also Antiph'-
onal^ Antiph' oner .^
The planchette-mechan-
ism devised by Alexandre Debain, of
when attached to a pfte., organ,
Paris,
orharmonium hence Aptiphonel-har-
;

ESiE5 E^ monium, Orgue-antiphonel, etc.

Anti'phonon (Gk.) Antiphon, anthem.
$ -^S^^^-
T
^ ^
Antiph'ony. Responsive singing by
two choirs (or divided choir) of alternate
verses of a psalra or anthem opp. to
responsorial singings and also to hovio-
;

M phony (see Homophonic i),

Anti'co
W(It.)
^"-^^

Antique, ancient. . .AITan-

An'tispast.
syllables, the first
and the two in the
(- ^).
A metrical
and
foot
last being short
middle long
of four

tico, in the ancient style. Antis'trophe. See Strophe.

Antienne (Fr.) Antiphon. Ant'wort (Ger.) Answer.
An'tiphon, or An'tiphone. (Gk. anti'- An'wachsend (Ger.) Same as crescendo,
phona^ antVphonon ; Ger. Antiphonie'
Aoli'ne, etc. (Ger.) See Molina.
Fr. antienne ; It. anti'fona.) Origin-
ally, a responsive system of singing by A'olsharfe (Ger.) .^olian harp.
two choirs (or a divided choir), one of A'olsklavier (Ger.) "^olian pfte. ;" a
the 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
. . '
Aper'to (It., "open.") " Take the loud
sentence, generally from Holy Scrip-
ture, sung before and after the Psalms
pedal" (in pfte. -music). Clear, dis-
tinct; broad, ample; Allegro aperto,
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'tus (Lat.) Open ; said of organ-
pipes.
AND Barrett].
Antiph'onal. i. A
book or collection
Ap'felre^al (Ger.) An obsolete reed-
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 Knopf regal).
Antiph'onary. (Lat. antiphona'rimn
Ger. Antiphonar' ; 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 Appoggiatura (Fr. ap-
ecclesiasticalcelebrations. The origi- pogiature),
nal collections embraced all the anti- Apollo. (Fr. Apollon.) A large lute
 :: ;:

APOLLO-LYRAAPPOGGIATURA. 17

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

was, in point of fact, a suspension

J^pollonicon. An instr. finished in 1 817
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,
containing about 1900 pipes in 45
of unprepared dissonances. The dura-
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 c. 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.
A.polloiiion. An instr. consisting of a
pfte. vrith 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
parent value
with an automatic player the size of a
boy inv. by J. H. VoUer of Angers-
; written
bach early in the 19th century.
Apos'trophe ('). Often employed as a
breathing-mark.
Apo'tome (Gk.) In the Pythagorean
1^^^^ performed or (acc.to Turk):

system, the chromatic semitone 2048:

2187 the AVwOTfl, or diatonic semitone,
;

therefore being 243:256 (|4| |4|f X

= =f the greater whole tone). This
chromatic semitone (obtained by sub-
tracting 2 whole tones 8:9 from a per-
fect fourth 3:4) was therefore a wider
(b) The short appoggiatura is properly
written as a small eighth-note or i6th-
note with a slanting stroke through the
hook the general rule for its execution
;

interval than the diatonic whereas our
diatonic semitone is wider than the
chromatic.
Appassiona'to,-a (It.) Impassioned,
with passion. Appassionamen' to, pas-
. .
; is, to perform it very swiftly, giving it
the accent of its principal note, and a
portion of the latter's- time-value differ-
ing according to the speed of the move-
ment somewhat as follows :

sion, ardor, deep emotion. .Appassio- .

written :

natainen'te, passionately, ardently. Adagio. Andante, Allegro. Presto,

Appel (Fr.), Appeir (Ger.) Assembly ;

signal to troops to fall in.

Appena'to (It.) Distressed in a style ;

performed :
expressive of distress or suffering.
Applica'tio (It.) Fingering.
Applikatur' (Ger.) Fingering (usually
Fing'ersaiz).
(c) The double appoggiatura contains 2
Appoggian'do (It., "leaning 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'io.)
the principal note, with the accent on
-Appoggiatu'ra (It.; Frj appogiature; the first small note (compare Anschlag,
Ger. Vor'schlagyNach'schlag.') i. The Slide), 2.
The unaccented appoggia-
accented appoggiatura (Ger. Vorsc/ilag) tura (Ger. Nachschlag) is a rapid single
is a grace-note preceding its main note or double grace-note /b//oOT'^ a princi-
(melody-note), and taking the accent pal note, from the time- value of which
I8 APPREST AREARIOSO.
its duration must be subtracted, and Arditez'za, con (It.) Boldly, spirited-
with which it is connected by a slur : ly. . .Ardi'io, bold, spirited.
written : Aretin'ian syllables. (Ger. areti'nisch&
Sil'ben.) The syllables ut, 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-
Appresta're (It.) To set up and finish
rise of homophonic music in the opera
an instr.
and oratorio, the aria developed, from,
Appretie'ren (Ger.) Same as Appre- a mere plain-song melody with basso'
stare.. .Appreiur' the proper adjust- ,
coniinuo, into the aria gran'de (the
ment of tiie parts of an instr. grand or da-capo aria in 3 divisions
Aquivo'ken (Ger., pi.) Meistersinger preceded by an instrumental ritornello
melodies bearing like names. containing the principal melody ; divi-
Afabesque. (Ger. Arabes'ke.) i. An sion I being an elaborate development
occasional title for pfte. -pieces re- of a theme with frequent repetitions of
sembling a rondo in form.
2. Arabes- the words ; II, a more tranquil and
richly harmonized section followed by
ken (Ger. pi.) Ornamental passages ;

accompanying or varying a theme. III, the repetition da capo of I, with

still more florid ornamentation); the
Arbi'trio (It.) Free will, absolute power;
aria di bravu'ra, (similar to the fore-
a suo a. , at pleasure (equiv. to a placer e).
going, but overloaded with difficult
Arca'to (It.) Bowed, played with the bow. passages and coloraturas for showing
Archeggia're (It.) To play with the bow. off the singer's skill); the aria da chie'-

Archet (Fr.) Bow. sa (church-aria, differing from the sa-

cred song chiefly in its greater breadth,
Ar'chi-[ar'ke](Lat.), and Ar'ci-[ar'-tche]
and in being accompanied by full or-
(It.) (Engl. Arch-, Ger. Erz-) A chestra); and the aria da cancer" tec
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
sense of "head." E. g., Archchanler tion
The
intended for the concert-hall).
modern aria is freer in form than,
(Fr. archichantre), precentor; Arch-
the aria grande of the l8th century,
lute (It. arciliu'io, Fr. archiluth, Ger.
the ritornello often being omitted,
Erz'laute), a variety of the bass lute ;
greater variety given to the da capo,
Arcicem balo (It.; Fr. archicembalo,
and the thematic construction made to
Ger. Archicym'bat), a keyboard stringed
follow the sense of the words, so that 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 allegro movement. .Aria par- .

ancient Greek modes (diatonic, chro-

Ian' te (also ario'so), a vocal style com-
matic, and enharmonic); Arcivio'la di
bining the melody of an aria with the
lira (It.), same as Lirone.
distinct enunciation of a recitative, the
Ar'chi (It., pi. of Arco.) Bows; gli vowels being " thrown forward."
archi, "the bows," i. e. bow-instr.s in Smaller arias, nearly in song-form
the orchestra ; Engl, equivalent, "the and with slighter accompaniments, are
strings." called ariettas or cavatinas.

Ar'co (It ) a pun'ta d'arco, or Ariet'ta (It.) A small aria. (See Aria.y
Bow ;

colla punta dell' arco, with the point of Ariette (Fr.) Same as aria grande, the
the bow coll' arco, with the bow, i. e.
;
original signification being completely
resume the bow after a pizzicato pas- reversed.
sage. .Arco in gi-k, down-bow
. a. in Ario'so (It.) In vocal music, a style in-
;

su, up-bow. termediate between aria and recitative

Arden'te (It.) Ardent, fiery, passionate. (see Aria parlante); also, a short melo-
 .;:;

ARMER LA CLEFASPIRATION. 19

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, b. f. d. e. f. ^

grande. In instrumental music, same
as cantabile,
Armer la clef (Fr.) See Clef.
Arm'geige (Ger.) Viola da braccio.
Armoni'a (It.) Harmony. . . Armenia
milita're, military band.
Armo'nica (It.)' i. Harmonic. 2. Har-
monica. a, b,c, d are equivalent to the modern
Armonie (Fr.) Probably same as Vielle. sign e, f, g call for a reversed (de-
;

Armoniosamen'te (It.) Harmoniously scending) arpeggio ; h means either an

armonio'so, 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.) \\3.T^...A. dop'pia, see ance of the notes to which they are
Spitzharfe. attached by the time required for play-
Arpanet'ta, Arpanel'Ia (It.) A small ing a long or short appogg. respectively.
harp. (See Spitzharfe^ Arpeggio'ne. An instr. like a small
Arpbge Arpeggio. .Arpigement,
(Fr.) . 'cello, with fretted fingerboard and 6
playing arpeggio, breaking a chord. . ^
'^
^S ; inv.
stnngs s?: _ r^
Arpiger, to arpeggio. ^ g3 3
tuned byG.
Arpeggian'do (It.) Playing arpeggio,
in harp-style, or in broken chords Stauffer, of Vienna.
from arpeggia're, to play on the harp. . Arpicor'do (It.) Harpsichord.
Arpeggia'to, (a) arpeggiated, arpeg- An
instr. played like the
Arpo'ne (It.)
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
Arpeg'gio (It., pi. arpeg'gi, Engl. pi.
of the 1 8th century.
arpeggios!) [Lit. ' harping. "] Playing'
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
;

4*=- calls for adapted or arranged.

: the follow- Arranger (Fr.), Arrangie'ren (Ger.) To
- ing execu- arrange. (See Arrangement.)
tion :
_ Ar'sis (Gk.) Up-beat.
i. c. the arpeggio-note falls on the
first
Art (Ger.) Sort, kind manner, style.
accent this is the rule for the accent,
;
;

tho' there are occasional exceptions. Articola're (It. ; Fr. articukr ; Ger.
.(i-),J fe-) J N.B. Pfte.-ar- artikulie'ren.) To articulate, utter dis-
" ' '
peggios are writ- tinctly. . .Articola'to, articulated.. .Ar-
ten in 2 ways iicolazio'ne, articulation.
(l) indicates that Neatly, prettily, Ar'tig(lich) (Ger.)
arpeggio is the
gracefully.
simultaneous in
As (Ger.) k\>.As'as, or As'es, AJj^.
both hands (2),
Aspira're (It.) To aspirate. Also, in
;

that all the notes are to be played in

succession from lowest to highest. In
interpolating successive h's.

singing, to quaver a vowel by audibly
Also, to
earlier music (Bach, Handel) the same
sign calls for a more or less free spread- take breath.
ing of the chords, generally according Aspiration (Fr.) An obsolete grace
to a preceding pattern-chord in which (comp, Grace),
 ASPREZZAAUTHENTIC.
Asprez'za (It.) Harshness, roughness; Auf'halten (Ger.) To suspend. .^/'- .

bitterness. haliung, suspension (usually Voj'hali).

Assa'i (It.) Very used to intensify a Auflosen (Ger.) To resolve.. .y!/'-
;

tempo-mark, as allegro assai^ very losung, resolution also, the breaking ;

rapid it has less intensifying force

; of a chord also, the solution of an ;

than molto. enigmatical canon.. .AuflosungszeU

Assembly. A signal by drum or bugle chen, the natural (Q).
for soldiers to rally and fall in. Auf'satz (Ger.) Tube (of a reed-pipe in
Assez (Fr.) Enough ; rather. the organ).
Assolu'to Absolute, positive ,primo
(It.) Auf'schlag (Ger.) Up-beat. .^/'- .

uomo assoluio, a male singer for lead- schlagende Zung'e, beating reed.
ing roles. Auf'schnitt (Ger.) Mouth (of an organ-
As'sonance. (Ger. Assonanz'; Fr. as- pipe).
sonance; It. assonan'za.) Agreement Auf'strich (Ger.) Up-bow.
or resemblance in sound.
Auf'takt (Ger.) Up-beat, anacrusis a ;

A'them (Ger.) BreaXh.. .A'themlos, fractional measure beginning a move-

breathless(ly). ment, piece, or theme (in this sense
Attac'ca (It.) Attack or begin what fol- often used by English writers without
lows without pausing, or with a very capital {aufiakt^.
short pause a. su'bito (or attaca'te Auf'tritt (Ger.)
;
Scene.
subito), attack immediately.
Auf'zug (Ger., lit. "raising [of the cur-
Attacca're (It.), 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- VerlSng'erung.) 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 (Fr.) Loop. point. 2.
See Notation, 3. Aug-
Attack. The act or style of beginning mented intervals, see Interval,
a phrase, passage, or piece ; said both Augmenter (Fr.) To increase (in loud-
of vocalists or instrumentalists, either ness) ; en augmentant=:crescendo,
in solo or ensemble. Aule'tes (Gk.) Flute-player.. .^/i;j,
Attendant keys of a given key are its flute.
relative major or minor, together with Aumentan'do (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. . ./4/-
Atto're, (Attri'ce) (It.) Actor (act- drucksvoll, expressively.
ress). Aus'fiihrung (Ger.) Execution, perform-
Au (Fr.) To the, in the, etc. ance ; exposition.
Aubade Morning-music, gen- Aus'halten (Ger.) To sustain; sustain !
(Fr.) i.
erally addressed to some particular per- .Aus'haliung, sustaining... ^kj'/;o/.
.

son opp. to Serenade; specifically, a

;
tungszeichen, see Fermate,
morning-concert by a military band. 2. Aus'losung (Ger.) Hopper, grasshopper,
Occasional title for short instrumental escapement.
pieces in
thumpian concert
lyric style.
(ironical).
3. A calli-
Au'ssere Stim'men (Ger.) Outer parts.
Au'sserst (Ger.) Extreme(ly).
Audace (Fr.) Audacious, bold.
Aus'stattung (Ger.) Mounting (of an
Auf'fassung (Ger ) Reading or con- opera, etc.)
ception (of a work).
Aus'weichung (Ger.) Modulation,
Auf'fiihrung (Ger.) Performance. transition.
Auf'geregt (Ger.) Agitated(ly), excit- Authentic. (Ger. authen'tisch ; Fr.
ed(ly). authentique ; It. auten'tico.) Within
Aufgeweckt (Ger.) Lively, animat- the compass of an octave above the
ed(ly), brisk(ly). keynote. .Ati. cadence, mode, see Ca-
.
 ;

AUTO-HARPBAGPIPE.
dence, Mode.. .An. melody, one whose or cancelling the sign \) for B rotun'-
range extends through or nearly through dum. .B quadra' turn, BQ.
. . ./? is also
the octave-scale above its tonic or final an abbr. for Bass or Basso (c. B. =col
opp. to plagal. .Au. part of the scale,
. Basso; B. C.=basso continuo).
that lying between a given keynote and Baboracka, Baborak. Bohemian danc-
its higher dominant, the part between
es with changing rhythms.
the keynote and lower dominant being
called plagal.
Bac'chius {Bacchy). A metrical foot
containing i short and 2 long syllables,
Auto-harp. (Ger. kkord'zither.) A A with the ictus on the first long one
zither without fingerboard or accom-
paniment-strings, all the strings being
(---)
plucked or swept by the plectrum and
Baccioco'lo (It.) A Tuscan instr. of
the guitar family.
stopped by a scries of from 4 to 8 com-
pound dampers (called "manuals" or Bachelor of Music. (Lat. baccalau'reus
"pedals "), each of which when pressed mu'sicce.) The lower of the 2 musical
down damps all the strings except those degrees. Doctor of Music being the
forming one particular chord the 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 melodic or-
obsolete
Au'tophon, A
form of barrel-organ, nament in lute or harpischord-music ;
the tunes played being determined by
\_ .
perforations in a sheet of mill-board written ^zi^ or z^i= ;
played ^
[heavy pasteboard] cut to correspond
with the desired notes. (Knight.) (Also comp. Grace.) 2. A
Auxiliary note. (Ger. Hilfs'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
given melody-note. . .Auxiliary scales, Badinag^e (Fr.) Good-humored raillery,
banter.
those of attendant keys.
A've Mari'a (Lat.) "Hail, Mary!"; Bagana. The Abyssinian lyre, having
10 strings tuned to 5 tones and their
the salutation of the angel Gabriel at
octaves.
the annunciation ; followed by the
words of Elizabeth to Mary (Luke I, Bagatelle (Fr.) A trifle.

42), it has been a favorite subject of

Bagpipe(s). (Ger. Du' delsack, Sack'-
sacred composition since the 7th cen-
pfeife; Yt.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 stel'la (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. filledwith wind either from the mouth
Avicj'niura (Lat.) An organ-stop imi- or from a small bellows 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
"sacred drama"
commonest form has 4 pipes ; 3 drones
Azio'ne sa'cra (It., ;

(single-reed pipes tuned to a funda-

equiv. to the Spanish "auto sacra-
mental tone, its fifth and its octave, and
mentale ".) An oratorio or passion.
sounding on continuously), and i mel-
ody-pipe, the chanter (a sort of shawm
B. or double-reed pipe with from 6 to 8
B. (Ger. /// Fr. and It. si.) The 7th finger-holes compass approximately
; :

tone and degree in the typical diatonic

scale of C-major. .B cancella'tum, the ^^ iSac
=fs=

# E)-
.

sharp (Jt), formed originally by crossing

 BAGUETTE BANDOLA.
Praktorius enumerates several sizes bal'lo, ballet' to.) I, spectacular dance, A
used in the 17th century the "Grosser ; often one introduced in an opera or
Bock" (drone in contra- Cor great C),
" Schaperpfeif" (drones in S^ and /'),
other stage-piece. 2. An independent
pantomimic representation, accompan-
" Humnielchen" (drones f^-c^), and ied by music and dances setting forth
" Dudey" {e^\)-b'^\)-e'''<)). the thread of the story. 3. compo- A
Baguette (Fr.) Drumstick fiddlestick. sition of a light character, but somewhat
;

in the madrigal style, frequently with a

Baisser (Fr.) To lower (as a tone by a b).
"fa la" burden which could be both
Bajadere. See Bayadere. sung and danced to these pieces were
Balala'i'ka (also Balale'ika, Balaleigd). 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 (It.) I. Ballet. 2. Title em-
and now most often met with among ployed by Bach for an Allegretto in
the Gypsies. common time.
Balancement (Fr.) See Belung. Bal'lo A dance a ballet. .Balli
(It.) ; .

Balance-rail. A strip of wood running English dances balli ungare'si,

ingle' si, ;

transversely beneath the middle of the Hungarian dances. Z)a ballo, in dance- . .

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

it.
. Balance swell-pedal, see Pedal.
.
Ballon'chio (It.) See Pa.':py. (Origin-
Balg (Ger.) BeWo-ws. .Bal'gentreter . ally, a round dance of the Italian,
(" bellows- 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.
them with wind
Clavis.
Balg'klavis, see
Balg'werk, bellows.
. . .
Band. I. An orchestra. 2 (most com-
. .
monly). A
company of musicians play-
Bal'ken (Ger.) i. Bass-bar. 2. The ing martial music (brass-band, military
thick line connecting
grouped hooked notes, substituted for
the stems of band). 3. A
company of musicians, or
section of the orchestra, playing instr.s
the hooks. belonging to the same family or class
Ballabi'le (It.) A composition intended (brass-band, string-band, wood-band,
for a dance-accomp. any piece of dance-
;
wind-band) The 24 fiddlers
. .of .

music. Charles were called "the king's

II.
private band."
Ballad. (Ger. and Fr. Balla'de ; It.
balla'ta.) Originally, a song intended Band (Ger.) A volume.
for a dance-accomp. hence, the air of ; Ban'da (It.) brass wind-instr.s, The
such a song. In modern usage, it is a and the of percussion, in the
instr.s
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.
sung.
.\s a purely musical term, it
Bandalore, Bandelore. See Bandore.
was originally applied to a short, simple
vocal melody, set to one or more stan- Ban'de (Ger. usually Musik'- or Mtisi-
;

zas, and with a slight instrumental kan'tenbande.) company of strolling A

accomp. In an extended application, it musicians. (Fr.) In earlier usage, the
24 violins at the royal court (" la grande
includes instrumental melodies of a
similar character also compositions for
;
bande ").

single instr.s, for orchestra, etc., sup- Band-master, The conductor of a mili-
posed to embody the idea of a narrative. tary band Bandsman, a member of
. . .

Balla'denmassig (Ger.) In ballad-style. such a band.

Ballad-opera. An opera chiefly com- Bando'la (Span. aSsoBandolon, Bandora, ;

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
steel or gut strings, and played with a
Balla'ta (It.) A ballad...^ ballata, in
plectrum like the Pandora, Pandura,
;
ballad-style.
Pandurina, Mandora, Mandola, Man-
Balleri'na (It.) A female ballet-dancer. doer, Mandura. Mandii7rhen, all es-
Bal'let. (Ger. Balletf j Fr. ballet; It. sentially identical with the Mattdolin
 " : 2

BANDONION BARRA. 23

stillin vogue (see Mandolin and Lute). Venetian gondoliers). 2. A vocal or

[RiEMANN.] (Also comp. Cither.) instrumental solo, or concerted piece, in
Bando'nion. A kind of Concertina with imitation of the Venetian boat-songs,
square ends (keyboards), inv. by C. F. and in 6-8 time (though Chopin's for
Uhlig of Chemnitz, about 1830, and pfte. is in 12-8 time).
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 Crefeld, a dealer in the instr. Comp.

posed and sang, generally to the harp,
art. Harmonicum. verses celebrating heroic achievements.
Bandore. See Bandola and Cither. .In earlier Scotch usage, a vagabond .

minstrel.
Bandur''ria (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 Neg^oe- '
barditus' (for bariius, 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.
;
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,

the melody-string, which is the shortest Ba'rem (Ger.) Obs.
name for the very
soft-toned organ-stop Still'gedackt or
and played with the thumb of the right
hand, lying outside of and next to the Musicir' gedackt.

lowest bass string. The other strings Bargaret, Barginet. Same as Bergeret.
are 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,
banjo often as follows
the 5-stringed Bariolage (Fr.) A
medley. A caden.
:
za, or series of cadenzas, whose appear-
ance forms a design upon the music-

Ban'kelsanger
fe 3^
(Gar. ;
'
' bench-singers,
paper, a "waistcoat pattern," as it is
called by performers.
Barrett.]
[Stainer and

from their mounting on benches, the Bariteno're (It.) A

low tenor voice, a
better to gain a hearing.) Strolling tenor-barytone (second tenor)
singers of a low frequent
class, who
Ba'riton (Ger.), Bariton (Fr.), Bari'-
fairs and other places of public resort,
tono (It.)Barytone. [An attempt has
and recount, partly singing and partly
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; Fr. barre ; It. Baroc'co {\.t.;Qe.x.barocl/ ;Yr. baroque^
li'nea, bar'ra, sbar'ra.) I. vertical A Eccentric, odd, strange, whimsical.
line dividing measures on the staff, and Barox'yton (Gk., "the deep and high-
indicating that the strong beat falls on toned.") A
brass wind-in- .;
the note immediately following. 2.
Hence, the popular name for ' 'measure".
. . . Bar-line, a barbarism evoked by the
str. of broad scale, inv.
in 1853 by Cerveny of
KSniggratz; compass from
/p .

w4
familiar use of bar for measure. contra-ZltOfl' %va
Bar (Ger.) Compare Strophe 3. Bar'pfeife (Ger., also Bdr'pipe, Barfyp;
Bar'baro (It.) Equiv. to Feroce. Dutch Baar'pyp.) A reed-stop in old
Bar'biton, Bar'bitos. An ancient organs, with pipes nearly closed by
Greek variety of the lyre. caps of a peculiar shape, and emitting
a humming, "growling" tone.
barcarole'. (Ger. ditto ; Fr. barcarolle ;
It. barcaro'la, barcaruo'la, "boatman's Barquarde (Fr.) Obs. for Barcarolle.
song.") I. A gondoliera (song of the Bar'ra (It.) A bar (not measure).
24 BARRE BASSE.
Barre (Fr.) A
bar (not measxxre); also 3. The euphonium. 4. Prefixed to
iarre de mesure. 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); e. g. barytone
B. d'harmonie, bass-bar. .B. de repeti- . clarinet. Barytone-clef, the (obsolete)
. .

tion, a dotted double-bar, indicating a F-Aei on the 3rd line.

repeat. Ba'rytonhorn (Ger.) The euphonium..
Barr6 (Fr.) In lute- or guitar-playing, Ba'rytonschlussel, 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-
potasto or temporary nut to raise their
Base. Old spelling of Bass.
pitch. Grand barr/, a stop of more
. .
Bas'kische Trom'mel (Ger.) Tambour,
than 3 strings C-harri, see Tra?ichc'.
. . .
ine.

Barrel-organ. (Ger. Drehorgel, Leier- Bass. (Ger. Bass ;

Fr. basse ; It. bas'.
kastenj Fr. orgue h cylindre {not/}, so.) I. The
lowest tone in a chord, or
orgue de Barbaric J It. organei' to.) An lowest part in a composition. 2. The
instr. (often portable) consisting of a lowest male voice ordinary compass ;

case containing pipes, a bellows, and a from Fio c' (or </):
cylinder (the barrel) turned by a crank
and studded with pins or pegs when
the cylinder revolves, the pins open
valves communicating with the bellows,
which is worked by the same motion,
;

^m
3. A
(^-)
=1=
extreme
compass
from C

prefix indicating the lowest in

to ^1
Wi
-
m
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-
bass (double-bass). {b) In earlier
harmonic accomp. Larger forms (see . .

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

restaurants, or even in churches. In between the 'cello and double-bass,
to 6 strings. As a
another variety, hammers striking wire having from 5 . . (c)

strings (as in the pfte.) are similarly suffix to the name of an

organ-pipe, bass
actuated by the revolving cylinder {fi- denotes that it belongs on the pedal
ano-organ, handle-piano). e. g. Gcmshornbass. Albertibass, a
bass in brok-i p j m f-
Bart (Ger.)
Fliigel.
Ear (of organ-pipe). Also gy
en chords like |^" ~i~r;;^*
iss^" ^''"^
J
Pj -
,

the following:^
Barytone, {Ger. l. B
a' ry ton, Ba'riton ; . Continued or figurefl bass, bass
. .

Fr. baryton; It. bari'tono.) The male notes provided with figures indicat-
voice intermediate betweei; bass and ing the chords to be performed above
tenor, and in quality partaking more or the notes {Basso continuo)
. . .Funda~
less of the characteristics of both ; thus mentalbass, see Fundamental. Ground . .

the Germans distinguish betweena^ojj'- bass, a continually repeated bass phrase

hariton and a Tenor' bariton, and the of 4 or 8 measures {basso ostinato)..
French had (in earlier usage) basse-tail- . .Murky bass, see Murky. Supposed
le, seconde taille, and t^nor 0- bass, a bass tone other than the root of

conchrdant. Its mean i^-_ i/^=
compass is from C to /' : ^"-^J/- m a chord... Thorough-bass,-s,ee that word.

-Hence, a singer having a barytone Bass-bar. {Ger.Bal' ken; Fr. barre d'har.
voice.
2. A
bow-instr. (it. vio'ta di
monie, ressort.) In violins and the like,
a long narrow strip of wood glued to the
barda'ne or bordone) resembling the
inner surface of the belly parallel with
viola da gamba, in great favor during
the 1 8th century, but now obsolete it
and just beneath the G-string. put in to
;
strengthen the belly and equalize the
had 6 or '/ gut strings, stopped by the
left hand, above the fingerboard, and a
vibration. [The violin-maker Held, of
Beuel, Germany, gives the bass-bar a
widely varying number of brass or steel
slight diagonal inclination, in accord-
strings (from g to 24) below it, which
ance with a suggestion by Ole Bull.] -
acted as sympathetic strings, though
sometimes plucked with the left thumb. Bass-clef, i^-clef on the 4th line. (See
The upper strings were tuned A Clef) BE
d b e^. It dates from the 17th century. Basse (Fr.) Bass. (Also applied to the
f
 : ...
. .:

BASSET-HORN BATON. 25

thick lower strings of an instr., as Ics 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...^, chiffrde, fig- ti'nuo (or continua'to), a continuous

ured bass. B. continue, basso con-
. . bass provided with figures indicating
tinuo. B. contrainie, basso ostinato.
. . . the chords to be played above it also, ;

B.-contre, a deep bass voice. .B. de . thoroagh-hass. .B. fgura' to, (a) basso
.

cornet, old terra for the serpent, as the continuo {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. .. .5. de JlAte ga'to, an indispensable bass part or

traversiire, b. d'hautbois, same as pre- accomp, B. ostina'to, ground bass.
. . .

ceding. B.. harmonic, the

. d
ophi- B. profon' do, a deep, heavy bass.. .B.
cleide.. .B. de viole, see Barytone 2.. ripie'no, see Ripieno.
B. de violon, b. double, double-bass. .
B. figur/e, figurate bass. B. fonda- . .
Basson (Fr.) Bassoon ... .5. quinte, a
tenor bassoon a fifth higher in pitch
mentale, (a) root of a cord, (b) a gener-
than the ordinary one ; compass
ator (see Fundamental bass). B. guer-
riere, a species of bass clarinet. Basse-
orgue, an jnstr. inv. by Sautermuiter of
. .

. .

m.
-
_
^f
3
which
written
is ^
b^

w-
:
Lyons, in i8i2...5. r/citante, see B.
B
chantante... as se-taille, barytone voice.
Bas'set-horn. (Ger. Bassetfhorn ; Fr. Bassoon', Fagott'; Fr. basson;
(Ger.
cor de basset ; It. cor'no di bassefio.) It. fagot' to.) A
wood-wind instr. of the
An alto or tenor clarinet in F, no oboe family, serving as bass for the
wood-wind. The tube is doubled upon
longer in use
compass from
F to c^
-
^.^ It has a
;

a wooden tube bent at the mouthpiece

and bell. Timbre mellow, though of a
1^^^
sombre quality, like the bass clarinet,
^ single
reed, and
itself, forming 2 parallel air-chambers
the long, curving mouth-piece is of
metal, with a double reed ; compass
from B\\) to c'', on
newer instr.s to e^^ ,
|
;

especially in the lower register.

and extended by vir-
. tuosi to e' or eveny*:
Bassett' (Ger., also Basse t" I, Bass' I.) The unwieldy length of the parent-
I. Old term for the 'cello. 2. As a instr., the bombardo, led in 1539 to the
prefix to the names of other instr.s,
idea of bending the tube back upon
same as Tenor. 3. A 4-foot flute- itself, and from the faggot-like appear-
stop on the organ-pedal.
ance of the new instr. its Italian name
Basset'to (It.) i. A small bass viol 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
part. 3. Tenor violin (rarely). 4. player's control.
An 8 or 16-foot reed-stop in the organ.
Bass'pommer (Ger.) See Bomhart.
Bass'ilote (Ger. "bass flute.") See
Flotenbass.)
Bass'posaune (Ger.) A bass trombone.
(See Trombone^
Bass'geige (Ger.) Familiar term for the Bass'schliissel (Ger.) Bass-clef.
'cello; gro'sse Bassgeige, the double-bass.
Bass'stimme (Ger.) Bass voice.
Bass'horn (Ger.) See Appendix. Bass'tuba (Ger.) See Tuba.
Bass'klausel (Ger.) The cadence-like Bass viol. See Viol.
leading of the bass at a close, from Ba'thyphon (Gk.; "the deep-toned.")
dominant to tonic. A wood-wind instr. inv. in 1829 by
Bass'lade (Ger.) See Windlade.
Bas'so (It.) I. Bass, either as the
fundamental harmonic part,
voice, or a bass singer. 2.
bass
bass
instr., more especially the double-bass.


a
A
Wieprecht (or Skorra ?) of
Berlin, having a clarinet
mouthpiece, and a compass
from contra-/? to small b^ iva.
ba

used for a short time in military bands.

:
g
m
B. buffo, see Buffo. B. cantan'te, . . Ba'ton. I. {r. biton de mesure ; Ger.
(a) a vocal bass (b) comp. Basse chan-
;
Taktstock, Taktstab, Taktierstock, etc.}
26 BATON BEC.
It. baccket'la\di diretto're].) The staff Bau (Ger.) Structure, construction.
or wand with which the conductor of a Bau'erlein (Ger.) Bauemflote.
musical performance beats the time. "rustic
Bau'ernflote.-pfeife (Ger.;
2. A rest of 2 measures.
flute " Lat. ti'bia rures'tris^
;
pedal- A
Baton (Fr.) A
thick vertical stroke register not uncommon in old organs,
traversing or more spaces of the staff,
I 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 (Span.) i. An organ-stop
of measures :

replaced
...m like the open diapason. 2. A small
3
modern us -ff-
bassoon.
age by signs
like :
// - Bayadere',
dancing-girl.
Bayadeer'. East-Indian

(see Measure-rest, Mnder Jiest). .B&ton .

Ba'yla, Ba'yie (Span.) A dance bayle ;

de mesure, a Baton 1. .B. de reprise, a .

has the more comprehensive significa-
repeat. tion.
Battante (Fr.) Beating. bb (Ger.) Double-flat (see Doppel-b).
Batteraent (Fr.) grace,
i. An obsolete B cancella'tum, B du'rum. See B.
consisting of a short trill preceding the
principal tone and beginning on the
Bear'beiten (Ger.) To revise, work
over, adapt, arrange, rearrange, touch
auxiliary a semitone below it. It had no
up . Bear'beitung, an adaptation or re-
. .
sign, being always written out in small
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
-2. A Beat 4. entire compass by.
Bat'tere (It.) Down-beat. Beat. I. (Ger.; Takfschlag, Takfteil;

Batterie (Fr.) i. A general term for brok- Fr. battement de inesure, temps ; It. bat-
en-chord figures on strinee
stringed instr.s; e.g. tu'ta.) The motion of the hand or foot

ip^s^^i^
distinguished from the arpeggio (ace.
in marking time (the equal divisions of
the measure).
sure so marked.
2. A
division of a mea-

3. In a trill, a pulsation
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 guitar. 3. the principal note ;
A roll on a side-drum. 4. The percus- written : played
sion-group in the orchestra. = or (^ 6 ,i5s.,

Battery. An effect in harpsichord-music;

written : =;| played
Beating. Same as Beat 4.
Battiraen'to (It.) Battement. Bebisa'tion, Compare Solmisation,
Battu'ta(It.) I. A beat. 2. A measure Be'bung
tre'molo^
halancement ; It.
(Ger.;
A
Fr.
rapid pulsation or
i.
or bar (battuta taken in the narrower
sense of "down-beat"; se& Rit'mo di tremulous effect, either vocal or instru-

due batlute). 3. In medieval counter- mental, given to a sustained tone for
the sake of expression.
2. Specifically,
point, the forbidden progression from
a tenth on the up-beat to an octave on the an effect obtained on the clavichord by
down-beat, between 2 outer parts e. g. holding down a key after striking it,

m
;

A battuta, "in time," and balancing the finger upon it in

; is a direction for the such a way as to produce a prolonged,
parts accompanying a tremulous tone. (On modern piano-
vocal melody to keep fortes having the Erard action, a sus-
tained tone can be produced in a some-
m strict time

a.
: (opp. to
cotta parte), conveying
;

hint to the singer Bee

what
(Fr.,
similar manner.)
"beak.") A mouthpiece (of a
that his delivery should not be too free. flageolet, clarinet).
 .;;

BECARRE BERGKREYEN. 27

B^carre (Fr.) The natural (Q). Bell-harp. An old variety of harp with
Bec'co (It.) Same as Bec.Becco po- 8 or more steel strings and enclosed in
lac'co, a large species of bagpipe. a wooden box, which the player swung
to and fro like a bell while twanging the
Bech'er (Ger., " beaker, cup.") i. The
strings with the thumbs of both hands
bell (of various wind-instr.s also
SchaW trichter). 2. The tube (of
;

a reed-
inserted through holes in the cover.

pipe in the organ; also Aufsatz, BeIlicosamen''te (It.) In a bellicose,

SchaW becher). martial, warlike styXe.. .BelHcoso, mar-
Beck'en (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 (Fr.) Old name for drum . . . Be- to strike with every second, third,
don de Bisraye, a tambourine. fourth, or sixth beat of the pendulum.

Bee moll. (Obs., from Lat. Bmolle, soft Bello'nion. An instr. consisting of 24
B.) Be mol, Bemol. trumpets and 2 drums played by a me-
Beffroi (Fr.) Gong (tam-tam) ... Also, chanism inv. in i8i2 at Dresden.
;

an alarm-bell, a tocsin.
Bell open diapason. Same as Bell-dia-
Befil'zen (Ger.) To (put felt on
felt pason.
pfte.-hammers). . .Befil'zung, felting. Bellows. {Ger. Balg; Fr. souffle t ; It.
Begei'sterung (Ger.) Enthusiasm, spirit. soffiet'to.) The mechanical contrivance
Beglei'ten (Ger.) To accompany. .
for gathering and propelling the wind
BegleW stimmen, Beglei'lung, 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.
Bei'tone (Ger.) Harmonic overtones or Belly. (Ger. Deck'e ; Fr. table ; It.
I.

undertones. . . Also, auxiliary tones. ta'vola, pan'cia.) The face (upper side)
of the resonance-box of the violin etc.
Bekie'len (Ger.) To furnish with quills, 2. (Ger. Hesonanz'boden ; Fr. rhon-
as the jacks of a harpsichord.
nance, table d^ harmonic ; It. ta'vola
Beklemmf (Ger., properly beklom' men^ amio'nica^ Soundboard of the pfte.
Anxious, oppressed [Beethoven].
Bemol. B-flat.
Bele'bend (Ger.) Ravvivando.
B6mol (Fr.), Bemol'le (It.) The flat
Bele'dern (Ger.) To cover with leather. ([)).. .Bifmoliser {bemollizza' re) , to flat
. Bele'Serung, 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 rythmd;
;

Belegt' (Ger.) Hoarse, not clear ; veiled ben tenuto, well sustained or held.
(of the voice).
Benedic'tus. See Mass.
Bell. I. (Ger. Glock'e ; Fr. cloche ; It. Bequa'dro (It.) The natural
campa'na.) A
hollow metallic instr. of
Berceuse (Fr.) A
cradle-song, lullaby ;
(Jj).

percussion, set in vibration by a swing-

hence, a piece of instrumental music
ing clapper hung within, or by hammers
actuated from without. 2. (Ger., imitating the effect of a lullaby.

SchaW trichter; Fr. pavilion; It. pavi- Ber'gamask. (Fr. bergamasque; It.

glio'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 Italy. (Also ber-
Bell-diapason. An organ-stop, usually gomask, burgomask.)
of 8-foot pitch, with open bell-mouthed
pipes.
Bergeret'. A pastoral or rustic song or
dance. (Also bargaret, bargeret.)
Bellez'za (It.) Beauty, grace.
Bergk'reyen, Berg'reihen (Ger.)
Bell-gamba. An
having organ-stop "Dance-tunes from the mountains;"
conical pipes surmounted by a bell the title of various collections of dance-
also called cone-gamba. music.
 BES BIT.
Bes (Ger.)
called bl>.
Besai'ten
on.
(Ger.)
B double-flat

To string,
;
generally

put strings
enharmonically changed
written by Sterndale Ben-
nett in bracket-form
and by
Morley in \ ='
^
to distinguish it
^
~ from the Slur),.
:
;

^
Bestiramt' (Ger ) With decision, energy.
1597 thus ^^^^ : 2. The brace
'
Beto'nen (Ger.) To accent, emphasize. binding together the several staves of a
..Betonf, accented. ..Beio'nung, accent, score.
stress, emphasis.
Bin'debogen (Ger.) A slur, or a tie.
Bet'tlerleier (Ger.) Hurdy-gurdy.
Bin'den (Ger.) To
.
bind, tie ; to con-
Bet'tkroper, Beggar's Opera.
nect, play or sing smoothly and con-
Bewe'gen To move, stir, agitate.
(Ger.) nectedly (legato). Gebun'den, bound, . .

.Bewegi, moved
. con mo to Bewe'-; . . .
tied legato.
; Gebun'dener Stil, strict
. .

gung^ movement, agitation (comp. Mo- style of composition, in which disso-

tion)...Bewe'gungsart, see Movement i, nances are prepared (tied over). .Also .

2. 3- see Gebunden.
Bezif'fern (Ger.) To figure (as a bass). Bin'dung (Ger.) A
ligature, bind, tie,
...Bezif'fert, figured. .Bezif'ferung, .
or slur hence, a suspension or synco-
;

figuring. pation also, the \e%a.to. .Bin'dungs-

; .

Bezug' (Ger.) All the strings of, or a zeicketi, a sign used to express any of
set of strings for, any stringed instr. the above.
Bian'ca (It., "white.") A half-note... Biqua'dro (It.) Same as Bequadro.
Voce bianca, see Voce. Birn, Bir'ne (Ger.) Socket.
Bibi (Fr.) A pianette. Bis (Lat. "twice".)
, i. Signifies that a
Bibrev'is (Lat.) See Pyrrhic. measure, passage, or section is to be re-
Bi'chord. i. Having 2 strings. 2. The peated often written over or under a.
;

slur embracing the music to be repeated.

technical term for an instr. haying a
pair of strings, tuned in unison, for
2. Used by the French as an excla-

each tone (as the mandolin, lute, and mation of applause (" again !"), like
certain pftes). the French word " encore " in English

Bici'nium (Lat.) A
2-part composition,
usage. (See Bissare.) 3. The second
part, or a continuation, of a scene on
especially a vocal one.
the stage e. g., l&'"; 16"" and i6i"""'
;

Bi'fara (also bif'fara, bi'fra, piffara, then mean the third and fourth parts,
piffero). An organ-stop, the pipes of respectively, of such a scene.
which are either double-mouthed or
paired the two members of each pair
;
Bis'chero (It.) Peg (tuning-peg) of a
violin, lute, etc.
being tuned at slightly different pitches,
the interference of the sound-waves Biscro'ma (It.), Biscrome (Fr.) A
produces a gentle tremolo. (Also Ce- l6th-note.
lestina, Unda maris, etc.) Bisdiapa'son. The interval of a fif-
Bifari'a. Title of a Presto in 3-mea- teenth, or double-octave.
sure rhythm, in an Invention or Suite Biso'gna (It.) " Is necessary,'' "must";
ascribed to J. S. Bach. as si bisogna da capo al segno, must be
Biju'ga(Lat.) The " 2-necked " cither. repeated from the beginning to the sign.
Bimol'le (It.) Same as Beviolle. Bisqua'dro (It.) Same as Bequadro.
Bi'na, See Vina. Bissa're (It.), Bisser (Fr.) To encore.
Bi'nary. Dual tv/o-'pa.Tt. ..Binary form,
; Bissex " twice six'' Ger. Zwolf-
(Lat., ;

a form of movement founded on 2 prin- saiter.) A

kind of guitar having 12
cipal themes (comp. Sonata), or divided strings, of which the 6 highest ones
into 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-
;
Bis unca (Lat., "twice hooked.") A
nation of the down-beat and up-beat. sixteenth-note.
Bind. I. Properly, a tie (a curved line Bit. A short additional piece of tube
connecting 2 notes of like pitch, or used to lengthen a crook in the cornet k
 ; :

BIZZARRAMENTE BOMBARD. 29.

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.. ..5j>za?-r8 'a, a instr.
freak, whim, fancy, extravagance... Bocedisa'tion. See Solmisation,
Bizzar'rOf-a, bizarre, fantastic, etc.
Bock (Ger. aSsopol'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 wind-instr. chevrotenient ; It. tril'lo capri'no.') A
Blas'instrument (or Bla' seinstrumeni) 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 (of a wind-instr. also ; Bo'den (Ger.) Back (of violin, etc.)
Rokr'blait).. .Dop'pelblatt, double reed. Body. I.(Ger. Cor'pus, Sc hall' hasten;
Blech'instrument (Ger.) Brass instru- Fr. coffre, corps ; It. cor'po.) The re-
ment, metal wind-instr. sonance-box of a stringed inistr. 2.
Blind (Ger.) " Blind". .Blinde Pfeife, .
That part of a wind-instr. remaining;
after removing the mouthpiece, crooks,
dummy pipe (px%axi)... Blinder Doppel-
triller, a simulated [^ rj
and bell. 3. The tube of an organ-
or imperfect double ^5r=q= ^''^
pipe above its mouth. 4. A tone is
said have "body" when it is full
to
trill ; e. g. zjt=^ and sonorous the resonance of a tone
;

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

small kind oi flAte h bee, in vogue in
the l6th century. 2.
An organ-stop Boehm Flute. See Flute.
having pyramid-shaped flue-pipes of 2, Bo'gen (Ger.) i. A bow. 2. A slur
4, 8, or 16-foot pitch, and sometimes
or tie {Hal'tebogen, Lega' tobogen, Bin'-
stopped. debogen) .Bo'genfliigel,
. . piano-violin
{Bo'genhammerklavier,Bo'genklavier),
Block. In violins, etc., the blocks are
.. .Bo'genfiihrung, see Bowing I...
small pieces of wood within the body,
Bo'genstrich, stroke of the bow.
glued vertically to the ribs between
belly and back to strengthen the instr. Bois (Fr.) Wood. .Z . ^OTJ (pi.), wood-
wind.
Blower. (Ger. Bal'gentreter, Kalkani'
Fr. souffleur ; It. tiraman'tici.) A Boite (Fr.) Box ; swell-box (botte d' ex-
person working the bellows of an organ. pression). Ouvrez la botte, or botte ou-
. .

verte, open swell fermez la botte, close

B molle. See B.
swell.
;

Boat-song. i. A
song intended to be
Bole'ro (Span.) i. A Spanish national
sung in a boat, especially in time with
dance in 3-4 time and lively tempo (al-
the oars. 2 A
vocal or instrumental
legretto), in which the dancer accom-
composition imitative of I. {Barcarole,
panies his steps with castanets ; also
Gondoliera. )
called Cachucha . The c a stanet-rh ythm
Bob. A
term in change-ringing applied
to the various sets of changes which runs as
follows
may be rung on 6 bells (bob minor), 8
bells(bob major), 10 bells (bob royal), alternating
or 12 bells (bob maximus). with the melo-
Bobisa'tion. A collective term for the dy-rhythm :

various methods proposed, during the 2. Acomposition in the style of a

i6th and 17th centuries, for naming the bolero.
tones of the scale by syllables. (See
Bom^bard. (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, the bass instr. of the shawms, though

Boc'ca (It.) Mouth.. Con boccachiu'sa,

. sometimes made as a smaller instr.
with closed mouth (comp. Brumm- The unwieldy length of the larger
siimmen). Bocca riden'ie,
. smiling ' ' sizes led to the invention of the bas-
30 BOMBARDE BOYAU.
soon, which a bombard with the tube
is having stopped wooden pipes, some-
doubled upon and thus shortened
itself, times with metallic tops tone usually ;

by half. The bonibardo'ne or contra- hollow or " fluty," i.e. deficient in har-
bonibai'd (Ger. JSass'bomhari) was the monics. The French also have open'
deepest, followed by the bass bombard bourdons of 8 and 4-foot pitch {bour-
{Bomhart), the tenor or basset-bombard dons de huii, de qtiatre ouverts). 3.
(Bassett'bomhart), and the alto or bom- In French usage, the lowest string of
bar'do pic'colo. the 'cello and double-bass also, a ;
Bombarde (Fr.) i. Bombard. 2. Po- great bell, as the bourdon of Notre-.
Dame. .Faux-bourdon, see Faburden.
.
saune 2.

Bombar'don. A
large instr. of the
i.
Bourre (Fr.) i. A dance of either.
trumpet family, used as a bass in mili- French or Spanish origin, from Au-
vergne or Biscaya, in rapid tempo, con-
tary music, and belonging, in its mod-
sisting of 2 parts of 8 measures each
ern forms, to the saxhorn group the
visual sizes are in B\), F, C, and contra-
;
and in 4-4 or 2-4 time. 2. A move-
ment in the earlier Suites, in alia breve
B!\) ; but the bombardon
proper, old model, is in F,
having 3 valves and a com-
pass from contra-^^ to d^ Zva :
i^ time.
Boutade (Fr.) i.
formed, as it were, impromptu. 2.
An instrumental impromptu or fantasia.
A short ballet per-

It is non-transposing. 2. The bass of An old French spectacular dance.
the saxhorns. 3.
deep-toned reed- A 3.

Bo'W. (Ger, Bo'gen; Fr, archet; It. ar'co.)

stop in the organ.
Bom'bo (It.) A figure in repeated notes. An implement originally curved out-
ward, though now slightly inward,
fiom'byx An ancient Greek wind-
(Gk.) consisting of an elastic wooden rod
instr., presumably with a reed. (the stick), and of from 175 to 250 horse-
Bon (Fr.) GooA...Bon temps de la hairs [Grove] (the hair) attached to the
mesure, strong beat. bent point or head, and drawn into
Bonang. A
Javanese instr. consisting proper tension by the sliding ttut, which
of gongs mounted on a frame. is actuated by the screw. (Schuster &
Otto, Markneukirchen, have recently
Bones. A
set of 4 pieces of bone, wood,
or ivory, held pairwise between the
[1893] manufactured bows with Jitie
fingers, and used to mark time as a rat-
gut threads in lieu of hairs.) After
rubbing the hair with rosin, the bow is
tling accompaniment to a dance, song,
drawn across the strings (of the violin,
or instrumental performance.
bow-zither, etc.), setting them in vibra-
Book. I. (Ger. Heft ; Fr. cahier; It. tion ; the vibration is communicated to
li'bro) A part of a series of songs, ex- the resonance-box, which latter reinfor-
ercises, etc., under a separate paper ces the weak tone of the strings .Bow-
cover. 2. The words (libretto) of an arm ox -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
Bordun' (Ger.) Bourdon. (The 2 free body. .Bow-clavier, Bow-harpsichord,
.

strings on either side of the fingerboard see Piano-violin. .Bow-instrument, .

of the hurdy-gurdy, that kept up a con- one played with the aid of a bow, as
tinualhumming, were called Bordune; the violin or bow-zither. Bow-zither, . .

bordunus occurs as the name of the see Zither.

bass strings stretched beside the finger- Bow {verb.) I. To execute
with a bow.
board of the ancient viella.) 2. To markpassage or piece)
(a
Bouche (Fr.) Mouth; a bonche fermee, with signs indicating the bowing.
with closed mouth (comp. Brumm- Bowing. I. (Ger. Bo'genfiihrung.)
stimmen). The art of handling the bow the style
Bouch6(e) (Fr.) Muted (of wind-instr.s) ;
or method of a player, "his bowing ;

stopped (of organ-pipes). as shown in his management of the

Same
bow." 2. (Ger. St?-ich'art.) The
Bouffe (Fr.) as Buffo.. .Opira method of, and signs for, executing any
bouffe, 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 (Fr.) Gut ; hence, gut string.
 : -

BOZZETTO BRIO. 31

Bo3zetto (It.) Sketch. organs.

3. In an organ-stop, when
B quadra'tum, B qua'drura. See^. playing up the scale, the sudden return
(caused by an incomplete number of
Braban^onne. The Belgian national
also, in com-
pipes) to the lower octave ;

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. grap'pa.) bracket con- A Breakdown. A negro dance (U. S.) of
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 (', *, \/, ^ ).
time, in which several persons joined Breit (Ger.) Broad, stately, slow.
hands and took the lead in turn. Branle Brett'geige (Ger. also Sack'geige, Spitz'- ;

was the generic name of all dances in violgeige, Stock'geige, Ta' sche7igeige.')
which, like the Colilloii or Grossvater, A kit.
one or two dancers led the rest, who
Breve, i. (Lat. and Ger. Brev'is ; Fr.
imitated all the evolutions of their
leaders. (Also Brantle.)
breve ; It. bre've.) A
note equivalent
to 2 whole notes or semibreves the long- ;

Brass-band. See Band 2 distinguished est employed in modern

from full military band by omission of
;

music. It is written thus :

:

' N l i=^ l

reed-instr.s Brass-wind, collective

. . . 2. In medieval music, a note having -J-
term for the players on metal wind- or \ the time-value of the longa (conip.
instr.s in an orchestra. Mensurable music).. .Alia breve (It.),
Bra'tsche (Ger.) The tenor violin (comp. (fl) originally, a time of 4 minims (= I

Viola). breve) to the measure time-signature ;

Bra'vo
brava,
(It.,
pi. I>rave.)
masc. adj.,
Used
pi. bravi ; fem.
as an inter-
Cp, later CD ^ *'^ '^ ^'' ^ S""^
alia breve time, (b) Now, 4-4 time
jection, signifying " well done !" 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 cappella;

; opp. to
vour'arie, aria di bravura. Bravour" . . Tempo ordinario i.
stack, a. vocal or instrumental piece of Brev'is (Lat.) A breve.
a brilliant and florid character.
Bridge. (Ger. Steg ; Fr. chevalet ; It.
Bravoure (Fr.) See Bravura. Valse de . .
ponticel'lo.) I. 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
Bravu'ra (It.)spirit, dash, Boldness, above the resonance-box, and to com-
brilliancy. . . A 'ria
di bravura, a vocal municate to it their vibrations, which
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
BraTvl. See Branle. are stretched.

Break. point at which one

i. The Brief. Obsolete for Breve.
register of a voice or instr. passes Brillant,-e (Fr.), Brillan'te (It.) Bril-
over into another in the voice, the ; liant, showy, sparkling.
junction of the head- and
chest-registers ; in the
1 1-
3t Bril'lenbasse(Ger.) "Spectacle-basses,"
familiar term for the abbreviated nota-
clarinet, between the notes
,^^ __p^
tion of alternating ri,_
Breaking of voice, see Mutation. eighth-notes or i6th- ^' ^j 1 ^-j

. . .

2. A
false or imperfect tone produced notes, e. g.
^ ^s*
by incorrect lipping of a horn or trum- Drinking-song, some-
Brin'disi (It.)
pet or by some difficulty with the reed
;
times in style oijodler.
of the clarinet (the "goose"); or, in
singing, by some defect in the vocal Bri'o (It.) Vivacity, spirit, fire...C?
32 BRISE BURLESQUE.
brio, or brio' so, with fire and vivacity, Buffet (Fr.) Organ-case, or case of any
spiritedly. partial organ Buffet d'orgues, a small
. . .

Bris6,-e (Fr.) organ complete, its case and all within.

Broken (as chords).;.
Cadence bris^e, a grace consisting of a Buf'fo,-a (It.) Comic, humorous hence ;

short trill beginning on the higher aux- Buffo, Buffo-singer, the comic actor in
iliary note an opera a comic singer. A ria buffa,
; . .

comic air or aria. Opera buffa, comic . .

opera. Buffone, comic opera-singer.

. .

Bufone'sco,-a (It.) Droll, ludicrous..

Broderies Buffonescamen' te droUy, etc. ,
(Fr., pi.) Ornaments, embel-
lishments. Bugle, Bugle-horn. (Ger.) Bu'gelhom,
Flil'gelhorn; Fr. bugle; It. trom'ba.)
Broken cadence. See Cadence. Brok-
en chords, chords the tones of which
. .
I. A
wind-instr. of brass or copper,
with cupped mouthpiece, used for in-
are sounded in succession instead of
fantry calls and signals, having 7 har-
together (see A rpeggio). ..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
W %^ =1=
=t =t=t

tones alternate with the lower, thus and made in various pitches {Bq, C,
:

E[)). 2. The key-bugle (Kent bugle.

~B rotun'dum.
w d3=n
See B.
# Regent's bugle) (Ger. Bilgelhorn mii
Klapfen; Fr. bugle h. cU?) ; it has 6
keys and
a compass -^r~
jg: inv. by Halli- ;

/ ^^Y Valve-bugle
1815. '"^

Brumm'eisen (Ger/) Ajew's-harp (usu- of over 2 gj=^/ 3.

ally Maul' trommel). octaves : *- * '

(see Saxhorn).

3rum'nier (Ger.) Drone. Biih'nenweihfestspiel (Ger.) "Stage-

Brumm'stimmen (Ger.) "Humming consecrating festival play ; " the epithet
voices " production of tone without bestowed by Wagner on Parsifal, his
;

words, through the nose, with closed last musical drama.

mouth {a boc'ca ckiu'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, fret ; e.
Brumra'ton (Ger.) Drone. g., Bund I. means isi fret, the string
being stopped on the fret by pressure
Bruscamen'te (It.) "Brusquely" or
in the space just behind it.].. .Bundfrei
forcibly accented.
(" unfretted," i. e. not spaced off by 2
Brust (Ger.) Breast; chest.. .B rust' or more frets or tangents), a term desig-
stimme, chest-voice Brust' ton, chest-. . .
nating a clavichord in which each key
tone Brust'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.) A small spinet with
narrow keys, for children.
Bu'ca (It.) Sound-hole of lute, mando-
lin, etc.
Buo'no,-a [bo'-noj (It.) Good. .Buona .

nota, an accented note (one on a strong

Bucci'na (Lat.) Either a curved trumpet, beat); buon gusto, good tasX&...Buo-
originally the horn of an ox ; or a namen'te, well, accurately.
straight trumpet {tuba), the prototype
of the trombone or posaune.
Burden, i. A
refrain or chorus recur-

Bucco'lico,-a (It.), Bucolique (Fr.)

Bucolic, pastoral, rustic.
Biich'se (Ger.) Boot (of a small reed-
pipe in the organ) also Hose.
Buch'stabentonschrift (Ger.) Alpha-
betical notation.
ring after each stanza of a song. 2.
The drone of the bagpipe. 3. The
bass part.
Bur'la (It.) A
joke, \est.. .Burlan'do,
;
joking, jesting, roraping.. .Burle'sca,
a hwclesqae.. .Burle'sco,-a, burlesque,
farcical, comic. Burlescamen' te in bur-
. ,

Buffa're (It.) To play the wag or buf- lesque style.

foon, to jest, trifle. Burlesque. (It, burls' sea.) A dramatic
 .
.

BURLETTA CADENCE. 33

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

some serious drama or subject, with ered ; said of fifths and octaves.
more or less music.
Cachu'cha (Sp.) A dance similar to the
Burlet'ta (It.) A comical operetta or Bolero.
musical farce.
Cacoph'ony. (Fr. cacophonie; It. caco-
usain {Busaun, Suzain). reed-stop A foni'a.) Discord ; harsh or discordant
in the organ, generally of 1 6-foot tone, music.
and on the pedal.
Cadence. (Ger. Kadenz' ; 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. (s) In general, the
of the accordion, etc. 3. The round
knob at the base of the violin, etc.
closing strains of a melody or harmon-
ic movement, {b) Specifically, an har-
Bux'eatib'ia, Bux'us(Lat.) An ancient monic formula (i. e. succession of chords)
jox-wood flute with 3 finger-holes, re- leading to a momentary or complete
sembling the Phrygian flute. musical repose the close or ending of
;

a phrase, section, or movement. .Amen .

c, popular term for plagal c, to which

c. the word amen is often sung. .Authen- .

C I.(Ger. C; Fr. ut ; It. do.) The

first tone, 1st degree, or key-note of the
tic c, see Pej-fectc. .Avoided, Broken,
Deceptive, or False c, see Interrupted
typical diatonic scale of C-major. (Com- c. Complete c, a perfect c. .Half-ca-
. .

pare Alphabetical notation, and Sol- dence (half-close), or Imperfect c, the

misaiion.) ,
Q . on the pfte.- chord of the tonic followed by that
Middle-C, the Ten- of the &omvcv?ia.\... .Interrupted c, an
[^ "^^ keyboard;
note c' y 3
"'' ^ is small c. unexpected progression avoiding some
2. Abbr. for Capo (D. C.=da capo); regular cadence. .. /?-r^^/rtr c, 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= coU'ottava); C.-B. {Ch.) = con- was peculiarly prominent.. .Mixed c,
trabbasso. that formed by the succession of the
subdominant, dominant, and tonic
Cabalet'ta (It.) A song in rondo-form, chords, it thus being a "mixture" of
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-
iCabinet organ. See Reed-organ. tical modes. .Plagal c, that formed by
.

Cabinet pianoforte. An old style of the chord of the subdominant followed

upright pf te. ; a grand pf te. set on end. by the tonic chord opp. to authentic c. . ;

Surprise c, an interrupted c. .Radical .

Cabis'cola (Lat.) Precentor of a choir.
c, a close, either partial or complete,
Cac'cia (It.) The chase ; a hunt. .Alia.
formed with two fundamental chords. .

c, in the hunting style (i. e. accompan- Whole c, a perfect c. A few examples

ied by horns). are given below :

Authentic. Plagal. Interrupted. Mixed.

Cadence (Fr.) i. A
cadence 2 and 3. interrupted cadence. C. irriguliire,
2. A trill (as c. brillante, c.perUe). C. half-cadence. C. parfaite (or sur la
. .
. .

brisie, see Brisie. . . C. Mtee, avoided tonique), perfect ca.Atnce.. .C. plagale,
cadence. . C. imparfaite (or sur la domi-
. plagal cadence. . C. pleine, (a) a trill
.

tiante), half-cadence. . . C. interrompue, preceded by the higher auxiliary as 3

34 CADENT CANON.
long appoggiatura (d) the progression ;
Cala'ta (It.) A lively Italian dance in
from a dissonant chord to a consonant 2-4 time.
one. C. rompue^ brolcen cadence.
. .
Calcan'do (It.) Hastening the tempo.
Cadent, An obsolete grace (see Grace), Calichon (Fr.) Calascione.
Cadenz (Ger.) See Kadcnz. Calisonci'no (It.) Calascione.
Caden'za. i. A passage in a Call. A signal given by the fife, bugle
brilliant
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-
hand. As an interpolation on the
Calli'ope (also Kalli'ope). A steam-
organ a species of pipe-organ having ;
singer's part, such c. s are no longer in
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. Katz'-
first or last movement of a concerto
enmusik ; Fr. charivari; It. chias'so,
;

the orchestral accomp. generally pauses scampana' ia.) A boisterous serenade

after a hold on the | chord of the tonic, given to some person who has become
leaving the field clear for the perform- an object of popular hostility or ridi-
ance, by the solo instr., of the cadenza. cule characterized by the blowing of ;

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 Cal'ma Calm, tranquillity.. Ca/-

(It.) .

himself or some other musician. Such man'do, calm, growing quieter. Cal- . .

cadenzas are for the most part built up ma'to, calmed, tranquilized.
of themes or reminiscences from the
Calo're (It.) Warmth, passion con c, ;
work to which they are appended, and Caloro'so, warmly,
with warmth, etc. . .

are always calculated to display the

passionately.
soloist's proficiency in the most brilliant
light. Cambia're (It.) To alter, change...
Nota cambia'ia, changing-note.
Caden'za (It.) A cadence.. . C.fin'ta or
Ca'mera (It.) Chamber, room. .Mu'sica- .

d'ingan'no,a deceptive cadence. C. . .

die, chamber-music ...
di 1.., i'owaifa
fioritu'ra, an ornamented cadence.
chamber-sonata.. .Alia c, in the style of
Caesura. See Cesura. chamber-music.
Caisse (Fr.) A drum. C. plate, the . .
Camminan'do (It.) "Walking," mov-
shallower side-drum. C. roulante,
. .
ing, flowing. (See Andante.)
drum with wooden cylinder, that of the Canipa'na(It.) bell A
in eccles. usage, ;
ordinary caisse being of copper. . Grosse .

a church-bell.. .Campanel'lo,-a, a small

c, bass drum (also Gros-tambour).
bell. . Campanelli'no, a very small
. bell.
Calamel'lus. See Calamus. . . Campani'sta, a bell-ringer.

Ca'lamus (Lat.) A
reed-flute or reed- Campanet'ta (It.) See Glockenspiel.
pipe (chaluraeau shawm).. C.fastora'-
; . Campanology. Theory of the con-
lis, or tibia' lis, a very ancient wood- struction and use of bells.
wind instr., a reed with 3 or 4 finger- Canarder (Fr.) To produce a " couac "
holes. on the clarinet or oboe.
Calan'do (It.) Decreasing. An expres- CaMaxie {Canaries, Canary ; It. Cana'rio).
sion-mark denoting a decrease in loud- A lively dance 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.
Calandro'ne (It.) A small variety of Cancel. See Natural 1.
chalumeau or clarinet, a favorite among Cancrizans (Lat.) Retrogressive. (It.
the Italian peasantry. cancrizzamen' te cancrizzan'te.) ,

Calascio'ne (It.) A
variety of lute or Can'na (It.) A
reed or pipe. . Cann'e .

guitar with fretted fingerboard, and 2 d'a'nima, flue-pipes canne a lin'gua, ;

gut strings, tuned a fifth apart and reed-pipes.

twanged with a plectrum ; found in Canon. (Ger. Ka'non ; Fr. canon; It.
lower Italy. ca'none.) I. The strictest form of
 , .

CANONE CANTICLE. \
35

mus. imitation, in which two or more the leading melody should stand out
parts take up
in succession exactly the well from the accomp., 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 Cantabile.
during the high tide of medieval counter-
point it was customary to write only the
Cantan'te (It.) A singer ; also, singing,
gay.
antecedent, and to mark the successive
entrances of the other parts by signs or Canta're (It.) To sing.. . C. a a'ria, to
merely by mysterious superscriptions sing with more or less improvisation. .

(enig?na tical canons) ; the superscription C. a orec'chio, to sing by ear. . . C. di

was then called the canon (i. e. rule, di- manie'ra or maniera'ta, to sing in &
rection), while the composition was or ornamental style.
florid
called the fu'ga or conseguen' za. Ac- Canta'ta (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
ing later) C. at the octave (the conse-
; still be taken into account in 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 inversion 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 afuga adminimam. 2. Ancient clusion of scenic effects and the epic
Greek name for the Monochord. and dramatic element though the lat- ;

ter can, of course, not be entirely ex-

Ca'none (It.) A canon. C. aper'to, an . .

" 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
.

gression.
.

C. chiu'so, a.
.
*'
.
,

close " canon,

dramatic pathos. In the sacred cantata
this form of composition finds its finest
in which only the leading partis written
out in full ; an enigmatical canon. C. . .
and most unequivocal expression.
enigma'tico, enigmatical canon (see Cantatil'la, Cantati'na (It.) A short
Canon). C. infini'to or ferpe'tuo, an
. . cantata. (Fr. cantatille.)
infinite canon; one which, without a Cantato're (It.) A male singer ; Canta-
specially added close, can be sung on tri'ce, a female singer.
for ever. C. sciol'to, a. canon in free
. .
Cantato'rium (Lat.) A music-book,
imitation.
book of song a service-book of the R.
;

Canonical hours. The 7 canonical 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. nociums and lauds) trilling, warbling from canterella're, to
;

prime, terce, sext, nones, vespers, and hum, etc.

complin. Those from prime to nones
Can'ticle (Lat. can'ticum ; Ger. Lob'ge-
are named after the hours of the day,
sang ; Fr. cantique ; It. can'tico.) I.
prime (the first hour) being at or about
One of non-metrical hymns of
the
6 A. M., terce (the third) at 9, sext (the
sixth) at noon, and nones (the ninth) at
praise andjubilation in the Bible. 2.
3 P.M.
A sacred chant based on or similar to

Cano'nici. See Harmonici.

Canonic imitation,
one part by another (see Canon).
Canta'bile (It.) In a singing or vocal
style. Where a passage is so marked,
I. The Evangelical canticles (.Cantica
majora) of both the Catholic and An-
strict imitation of glican church are taken from the Gos-
pels, and embrace the Magnificat
(" Magnificat anima mea"), the Bene-
dictus (" Benedictus dominus deus Is-
36 CANTICOCAPRICCIETTO.
rael "),and the Nunc dimittis (" Nunc see Dur. . . C. ecclesiasticus, (a) church-
dimittisservum tuum"). The 7 CanHca music in general plain song (c) ;
{l>) ;

minora are taken from various parts of the musical rendering of a liturgy, opp.
the Old Testament. to merely reading it...C. figura'lis,
mensurable music. . C. figura'tus, a .

Can'tico (It.) See Canticutn,

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

Roman drama, any passage sung by given melody ; (a) plain song (i) in ;

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. .

C. frac'tus,a broken melody; a term

Cantile'na (It., "'a little song"; Ger.
applied to a tune which proceeded
Caniilene ; Fr. cantil^ne.) 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
[Stainer and Barrett.].. .C Grego-
a madrigal also, a small cantata or
;
ria'nus, Gregorian chant. C. mensura-
short vocal solo. In modern usage, bilis, see Notation, 3 mol'lis, see . . .
.

C
.

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'. See Kanun.
dering of slow melodic passages.
Canzo'ne (It., also Canzo'na.) Origi-
Cantilenac'cia (It.) A vile song. nally, a folk-song (Fr. chanson) later, ;

Cantilena'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, Sici-
lia'ni, etc. many such songs closely re-
;

Canti'no (It.) Same as Chanterelle,

semble the madrigal. The name was
Can'tio (Lat.) A song, an air. sometimes applied to instrumental
Cantique (Fr.) A canticle ; also, a pieces in madrigal style. Canzonac'cia,
choral, or hymn-tune. a vulgar song. Canzonci'na, Canzonet-
. .

ta, a little song, a canzonet. Canzonie'-

Can'to (^It.) I. The soprano
the high- ;
. .

re, a collection of lyric poems or songs.

est vocal or instrumental part. Col c.
same as colla parte. 2. See Cantino.
. .

Canzonet(te). A little air or song a

3. A melody, song, chant. C. a cap- short part-song ; a madrigal.
;

fella, same as Cappella, u...C. Ambro-

Capel'le (Ger.) See /C
sia' no, Ambrosian chant. C. armo'nico, . .

a part-song. . C. croma'tico, a melody

.
Ca'po (It.) The
head, beginning:. .Z>a
in chromatic style. . C. fer'mo, see .
capo, from the beginning. Capolavoro, . .

Cantus firmus. . . C. figura'to, figurate master- work. Capo-orchestra, conduc-

. .

melody. . . C. Greg-oria'no, Gregorian tor.

chant. .pla'no, plain

. C. chant. . C. . Capodastre (Fr.) See Capotasto.
pri'mo, first soprano. C. recitati'vo, . .
Capota'sto (It.; also capo di tasto,
recitative or declamatory singing. C. . . " head of the fingerboard.") I. The nut
ripie'no, see Ripieno. C. secon'do, sec- . .
of stringed instr.s having a fingerboard.
ond soprano. 2. A
piece of wood or ivory which can
Can'tor i. (Lat.) A
singer, a precentor. be fastened across a fretted fingerboard,
. . C. chora'lis, chorus-master. 2. (Ger.) like that of the guitar, to raise the pitch
See Kantor (on p. 238). of all the strings at once. Sometimes
Canto're (It.) A singer a chorister. ;
written, in Engl, usage. Capo d'astro.

Canto'ris (Lat., " of the cantor.") Term Cappel'la (It., "chapel.") i. A choir.
designating the side of a cathedral choir 2. An
orchestra. (Incorrectly yirA-
on which the precentor (cantor) sits, i. itncapella.).. .A cappella, vocal chorus
e., on the left or north side of a person without instrumental accomp.. .Alia c,
facing the altar ; opp. to the deca'ni (a) same as a cappella; {b) see Alia-
("of the dean") side. breve... Da c, in church-style, i. e. iis
Can'tus (Lat.) A
song, a melody. . C. .
a solemn and devotional manner.
corona'ius, see C. fractus. . C. du'rus. . Capricciet'to (It.) A little capriccio.


CAPRICCIO CAVATINA. 37

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 gran'de.). . .C. armonica, body (of
originality in harmony and rhythm. violin, etc.)
(Compare ScAerzo.). .A . capriccio, at
pleasure, ad libitum. Capricciosamen'ie^
Cassation' (Ger.) See X.
. .

capriciously, fantastically... 6a/nV'o'jtf, Castanets. (It. castagnefle; Fr. casta-

capricious, fantastic ; a capriccio. gnettes; Ger. Kastagnetten; from Span.
Caprice (Fr.) Capriccio.
castaiietas^) A
pair of small concave
pieces of hard wood or ivory, each hav-
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
[Caressingly, sooth- over the performer's thumb, or thumb
Carezzan'do (It.)
'"^ ^' and forefinger. Generally used (espe-
Carezze'vole (It.) )
cially in Spain) by dancers as a dance-
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-
sion.
Castra'to (It.) A
eunuch (adult male
singer with soprano or alto voice).
Carillon (Fr.) i. A set of bells differing
from those of a chime in being fixed, Catalectic. Lacking part of the last
and in their greater number played foot e. g. the second of the following ;
;

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

machinery (on the principle of the Lives of great men all remind us
cylinder in the barrel-organ). 2. A We can make our lives sublime.
bell-piano, with pfte. -keyboard, and (J.-,!-... 1-.^ |_^ II
_.^ |_^ |_.^|_,)
bells instead of strings. 3. melody A Catch. Originally, an unaccomp. round
to be played on
I. 4.
piece imitating the peculiar character
An instrumental for 3 or more voices, written as a con-
tinuous melody, and not in score ; the
of carillon-music.
5. The "clashing"
(ringing all at once) of several large
'
catch " was for each succeeding singer
'

to take up or catch his part at the right

bells. 6. See Glockenspiel. 7. A mix- time. Later, a new element was intro-
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
by the digital pressed (c' g^-e>-(*). 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.
Affetto. Cate'na di tril'li (It.) A chain of trills.
Carmagnole A
dance and song Catg^ut. Popular term for Gut strings{f\pj
(Fr.)
^
in great vogue during the Reign of
Catlings. Lute-strings of the smallest size.
Terror it dates from the taking (1792)
;
" bad.") Caitivo tempo.,
of Carmagnola, a tovi^n in Piedmont, Catti'vo (It.,
though the connection between the town the weak beat.
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 (It, "little horse.") i. 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
Carre (Fr.) A breve. cavalry trumpeter-corps when approach-
ing or maijching through a town.
Cartelle (Fr.) A large leaf (for writing)
Cava'ta (It.) 1. Production of tone.
of prepared ass's-skin, on which the
lines of the staff are traced to jot down 2. Cavatina.
notes while composing, the notes being Ca7ati''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 Da capo. 3. Title
38 e BARRE CHAMBER-MUSIC.
given by Beethoven to the and move- Cembanel'la, Cennamel'Ia (It.) A
ment of his Br) Quartet. pipe or flute.

C barr6 (Fr.) The "barred C "

($), Cen'to (It.), Centon (Fr.) 1. The anti-
indicating alia breve time. phonary of Pope Gregory the Great. 2.
(Also cento'ne, "a patchwork".) A
C-def. See Clef. medley of extracts from the works of one
Cebell. Atheme for variation on the composer, worked up into an opera or
lute or violin, in 4-4 time and 4-measure similar corn-position. (Pasticcio.) Hence
phrases, characterized by the alternation the verb centoniza're (Fr. centoniser),
of very high and low notes in the suc- meaning " to put together."
cessive strains. (Obs.) (It.) To seek the note ;
Cercar' la no'ta
C6ciliuin (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.
;
p^
Cervalet', Cervelat'. Species of
If
clari-
C6dez (Fr.) Go slower ; rallentate.
net with bassoon-like tone (obs.)
C61amustel (Fr.) A kind of reed-organ
having fundamental stops similar to Ces (Ger.) Co...Ces'es, C\)\).

those of the harmonium, and various Cesu'ra, Caesu'ra. A term in prosody

additional effects, such as bells, Barp, sometimes used in music to designate
echo, thunder, dove- and cuckoo-notes, the dividing line between two melodic
etc. and rhythmic phrases within a period ;

Ce'lere (It.) Rapid, z-^Xit.. .Celerith',

called masculine or feminine according
celerity, rapidity con celerita, with as it occurs after a strong or a -wecUi
;

celerity, etc.
beat.

Celeste (Fr., "

divine ".) y^a
celestial,
Ce'tera or Ce'tra (It.) A cither. . . C.
tede'sca," German cither," aio-stringed
c, pedale c, organ-stops producing a
instr. of the lute class.
sweet, veiled tone Pedale c. is also a ;

pedal-mechanism on the pfte. for ob- Chaconne', Chacone'. (It. ciacco'na ;

taining a sweet, veiled tone.. Voix c, . Span, chaco'na; Fr. chaconne^ I.

the organ-stop vox angelica. Originally, a Spanish or Moorish (pos-

'CellOj-i. Abbr. of Violoncello ^-i.

sibly Italian) dance or sarabande. 2.
An instrumental composition consisting
Cetnbal d'amour species of (Fr.) A of a series of variations, above a ground
clavichord, twice as long as the ordi- bass not over 8 measures in length, in
nary instr.s, the strings of which were 3-4 time and slow tempo. (See Passa-
struck in the middle by the tangents, caglia.)
the vibration of both sections of the
string thus yielding a double volume
Chair-organ, Variant of Choir-organ,
of tone ; inv. by G. Silbermann, 1st Chalameau. Variant of Chalumeau.
half of 1 8th century. Chalil, Ancient Hebrew instr., either a
Cembalist. (It. cembali' sta^ A player flute (flageolet) or reed-pipe.
on the cembalo (either harpsichord or Chalumeau (Fr. Engl, chalameau ;

pfte.) Ger. Chaliimau, Chalamaus ; It. scia-

Cem'balo Originally, a dul-
(It.) lumb, salmb.') i.Clari- See Shawm,
cimer ; a general
i.
name for various net. 2. The "chalumeau"
register
instr.s having several wire strings struck is the lowest register of the clarinet

by hammers. 2.
harpsichord. A
3. A and basset-horn as a direction in;

pianoforte. A
cembalo, for harpsichord
. .
clarinet-playing, chalumeau signifies
. (or pfte.). Tutio il cembalo, see Tutte
. .
"play an octave lower." 3. (In
French usage.) The chanter of the bag-

corde. . . Cembalo onnicor'do, a keyboard
stringed mstr. inv. by Nigetti about pipe ; also, occasional for Pan's-pipe.
1650 ; also called Proteus. Chamber-music. Vocal or instrumental
 A; ...

CHAMBER-ORGAN CHARACTER. 39

music suitable for performance in a cadence is called the mediation, and the
room or small hall opp. to concert-; arrangement of the words to the music
music, church-music, operatic music, is Q.i&e:d. pointing. Any short piece of
etc.; ordinarily applied to quartets and like character is also called a chant. .

similar concerted pieces for solo instr.s. Double chant, one twice as long as the
Chamber-organ. A cabinet organ. usual chant, having 14 measures, 4
reciting-notes, and 4 cadences.. Change- .

Change, i. In harmony, see Modula-

tion. 2. In the voice, see Mutation.
able chant, one that can be sung either
in major or rtanax Free chant, om
3. Any melodic phrase or figure having but 2 chords to each half-verse,
. . .

executed on a chime of bells.

for the declamatory singing of the can-
Changer de jeu (Fr.) To change the ticles, etc.
stops of an organ, etc. Chant (Fr.) Song ; singing ; melody,
Change-ringing. The artand practice tune voice (i. e. vocal part in contra-
;

of ringing a peal of bells in varying and distinction to the accomp.). Ch. com- . .

systematic order. pose, plain song. Ch. d'^glise

. (or .

Changing-chord. A chord containing gr^gorien), Gregorian chant.. .Ch. en

ison, or ch. ^gal, a chant sung on only
a number of tones (" changing-notes ")
dissonant to the bass, and entering on 2 tones, thus having but one interval. .

Changing-note. (Ger. Ch. figure, figurate counterpoint. Ch. . .

the strong beat. . .

Wech'selnote, Diirch'gangston, durch'- royal, mode {ton) in which the prayer

for the sovereign is chanted. Ch. sur
gehende Note ; Fr. note d'appogiature j . .

It. nota cambia'ta.) dissonant note A le livre,an extemporized counterpoint

(tone) entering on the strong beat and
sung by one body of singers to the
plain-song melody (a cantus firmus)
generally progressing by a step to a
sung by the others.
consonance within the same chord
sometimes by a skip to a chord-note or Chanter. The melody-pipe of the bag-
note belonging to another chord. pipe.
passing-note differs from a clianging- Chanter (Fr.) To sing...C/i. A. livre
note by entering on a weak beat. ouvert, to sing at sight.

Chanson (Fr.) A song; originally, a Chanterelle (Fr.) The highest string

ballad-like song now
rather a vocal
;
of an instr. belonging to the violin or
so\o {Lied) with pfte.-accomp. C^a- . . lute family, especially the E-string of
sotmette, a short chanson. {Canzonet.) the violin the soprano string.
;

Chansonnier (Fr.) i. A composer of Chanteur A male singer.

(Fr.) . . Chan-
songs. 2. A book or collection of teuse, a female singer.
songs. Chantonner (Fr.) Same as Canterellare.
Chant. I. A
Gregorian melody repeated Chantre (Fr.) Leader of a choir. .

with the several verses of a prose Grand <-/4., precentor, c&rAax.. .Second
text, a number of syllables being in- ch., choir-singer, chorister, choir-boy.
toned on each reciting-note its 5 ;
Chapeau (Fr.) Atie ^~ (usually liai-
divisions are (l) the intonation
: (2) ;
son). Ch. chinois, a crescent.
. .

the first dominant, or reciting-note (3)

the mediation (4) the second domi-
;

Chapel. A company of musicians at-

tached to the establishment of any dis-
;

nant or reciting-note (5) the cadence.

2. A melody similar in style to the
;
tinguished personage. (See Kapelle.)
Character, individual, of the several
above, and non-rhythmical a tone
Theoretically,
; ;

called cantus firinus in contrapuntal keys. each major or

composition. 3.
The so-called An-
glican chant, that employed in chanting
minor key is precisely like every other
major or minor key, the intervals in all
it consists of being precisely similar. Practically,
the canticles and Psalms ;

there subsist recognized differences,

7 measures, harmonized, the time-value
of the single note constituting the first due (l) to the system of equal tempera-
and fourth measures being expanded or ment as applied to instruments with
contracted to fit the words, whereas the keyboard or frets, and (2) to a more or
'

others are sung in strict time. It has 2 less perceptible tendency towards forc- '

divisions of 3 and 4 measures respect- ing up " the sharp keys (thus lending
ively, each commencing on a reciting- them a brighter and i-nlenser character),
note and ending with a cadence the first ;
and towards "letting down " or relax-
40 CHARACTERISTIC PIECE CHIESA.
ing the keys (rendering them darker
flat Chevrotement (Fr.) See Bockstriller. . .
or, were, lending them a minor
as it Chevroter, to execute a chevrotement,
character). Theoreticians seem dis- Chiari'na (It.) A clarion.
posed to deny in toto the possibility of
Chia'ro,-a (It.) Clear, pure. Chiara- . .
characteristic differences while many ;
men'te, clearly, limpidly, distinctly. .
highly cultivated practical musicians
Chiarez'za, clearness, etc,
(not to speak of aesthetic enthusiasts of
all stripes) are equally positive that Chia've (It.) i. A clef. 2. Key of aa
such differences exist. instr. 3. Tuning-key.
Chiavet'te, or Chiavi trasporta'ti
Characteristic piece. A character-
(It., " transposed clefs.") system of A
piece one depicting a
; definite mood,
transposing clefs, freely used in the
im,pression, scene, or event. Character- . .
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
guishes it from nearly related keys, as
staff, and the modern system of chro-
Fil, in the key of G, 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'terstimme (Ger.) Solo-stop (or- from those customarily used for the
gan). . . Charak' terstiick, a characteristic several voices, these unusual clefs indi-
piece. cating to the practised singers a. trans-
Charivari (Fr.) A callithumpian con- position of their respective parts to a
cert. higher or lower pitch :

Chasse, a la (Fr.) Alia caccia. I. High chiavette.

Chef d'attaque (Fr.) The leader of an Discant. Alto. Tenor. Bass.
orchestra, or ofany division of a chorus.
. Chef d'orchestre, conductor of an
.

orchestra .Ch.du chant, see Repetitor.

. . f n^fe^^
Chelys (Gk., "tortoise.") i. The lyre 2. Ordinary clefs.

of Mercury, fabled to have been a tor- ;tet:

toise-shell with strings stretched over
:Jttf:=
rf=
;= Pi i
its hollow. 2.
Name for both the
bass viol and division viol in the l6th 3. Low chiavette.
and 17th
Cheng.
centuries.

The Chinese mouth-organ, the

wind-chest of which is formed by a
3. '^^^^^^m
The high chiavette had the effect of
gourd into which the air is blown
through a curving tube, and bears on transposing the parts (and consequently
its upper 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. c. their
led to the invention of the accordion effect was equivalent to writing jy?;!/^
and harmonium. or ^ sharps in a signature headed by
the ordinary clef the low chiavette had
A
;

Chest of viols. set of viols, i. e. 2 a precisely opposite effect, as if ^

trebles, 2 tenors, and 2 basses, which sharps or 4 flats had been written after
formed the nucleus of the 17th century
orchestra. (Also Consort of viols.)

the ordinary clef. Though not recog-
nized as such, this system was tanta-
Chest-register. The lower register of mount to a pretty free use of the trans-
the male or female voice, the tones of posing scales.
which produce sympathetic vibration in Chl'ca. An old Spanish dance, modifi-
the chest. Chest-tone, chest-voice, 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.
;

head-tone,
Chie'sa (It.) Church. . . Cancer' to da ch.,
Chevalet (Fr.) Bridge. a sacred concert. . . Sonata da ch., a
Cheville (Fr.) Veg...Cheviller, peg- sacred sonata. Da chiesa,. . for the
box. church, in church-style.
 .

CHIFFRE CHORD.
Chiifre (Fr.) A figure, as in thorough- a church hence, the part of the church
;

bass. which they occupy. 2. A choral soci-

Chifonie (Fr.) Old name of the hurdy- ety. 3. (In the Anglican Church.) A
gurdy. body of officials whose function is the
performance of the daily choral service,
Chikara. A Hindu violin having 4 or 5
sitting divided on the decajii and can-
horsehair strings.
Chime, i. A set of from 5 to 12 bells
toris sides ofthe chancel. 4. sub-
division of a chorus, e. g. the 1st and
A
tuned to the tones of the scale, and em- 2nd choirs (coro prima e secondo) in 8-
ployed in playing the chimes by swing-
ing either the bells themselves, or clap-
part music.
5. Same as Band 3.

pers hung within them. 2. A set of Choir-organ.

pitch, (see Chorion).
(See Organ.) . . . Choir-
bells and strikers (hammers) in a mus-
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 tlie
a chime of bells and ring the chime organ, those pipes belonging to a mix-
mechanically. ture which are sounded by one key.
A combination of instr.s of the same
4.
Chirogym'nast. An apparatus for
family, but different pitch, e. g. Trom-
exercising the hands of players on the
petenchor.
pfte. or organ, consisting of a set of
rings attached by springs to a cross-bar. Chora'gus, Chore'gus (Gk.) The lead-
Chi'roplast. (Ger. Hand'leiter, i. e.
er or superintendent of the ancient
hand-guide.) An
apparatus inv. by dramatic chorus. Hence, in Oxford
Logier about consisting of 2 (England), the title of a functionary
1814,
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
serving to hold both hands in the proper a chorus or vocal concerted music. .

position for playing, by hindering the Choral notes, see Jfote. Choral service, . .

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

fingers to strike vertically. Simplified music by the choir.
later
by Kalkbrenner. Termed by Cho'ral (noun.) i. (Ger. Choral'; Fr.
Liszt "ass's guide " {guide-dne) for the cantique, plain-chant; It. can'tico, can-
French "hand-guide" (guide-main). zo'ne sa'cra.) A
hymn-tune of the >

early German Protestant Church also,

Chitar'ra (It.) A
guitar. The Italian
a hymn-tune similar in style to the
;

guitar, like the English cither, was

above. (Sometimes spelled Chorale.)
strung with wire instead of gut strings.
Chitar-
2. (In the R. C. Church.) Any part
. Ch. coltarco, a bow-guitar.
. . .

of the service sung by the choir.

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

tarro'ne, great guitar " a kind of

'
' ;
Chora'leon. See ySolomelodicon.
theorbo differing from the arciliuto in Chora'liter (Lat.) ) In the style of a

having a longer neck, a wider space be- Choral'massig(Ger.) f choral.

tween the 2 sets of pegs, and a smaller
body. It had 20 wire strings, 12 being
Choral'note (Ger.) A choral note.

over the fingerboard. (See Lute.) Chor'buch (Ger.) See Part-book 2.

Chiu'sOj-a (It.) Closed hidden. Ca'- ; . .
Chord. I. (Ger. Akkord'; Fr. accord; It.

none chiuso, see Canone. Con boc(a . .

accor'do) In a general sense, the har-
chiusa, with closed mouth (comp. mony of 2 or more tones of different
Brummstimmen). pitch produced simultaneously. As a
technical term, a combination of from
Choeur (Fr. \ch like ^.]) Choir, chorus.
3 to 5 different tones, formed by erect-
. A grand chaur,
. for full chorus.
ing, upon a fundamental tone or root,
Choice-note. An alternative note written an ascending series of diatonic thirds.
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 yth, and a
if he choose. 5-tone chord a chord of the gth. The
Choir. (Ger. Chor; Fr. chceur; It. co'ro.) terra chord is oftfen applied specifically,
I. A company of singers, especially in to the triads, as major chord, minor
42 CHORD.
chord, fundamental chord, etc. View A sixth. The Arabic numerals over
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.

^^^^^ I 11

Triads in Minor.
III
I-

IV V VI vii"
depending, not upon the order of the
notes, but upon the width of the inter-
vals, the widest interval always being
written at the top. The simple figures
invariably call for the diatonic intervals
as established by the key-signature. O
calls for tasto solo (see Tasto) 2 or | ;

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

chord of the second, fourth and sixth) ;

c: \ 11 III' IV V VI vii 3 or I or 6, () for the simple triad, {l>)

3 alone over the first bass note signifies

Chords of the Seventh in Major.
that the soprano takes the third of the
7 7. '',
'i 7 7 " root S or 4 calls for the chord of the

i^^^^fi
;
8
third and fourth (and5 for the sixth) ; ,

fifth in the soprano | for the simple ;

,

C: I, II, III, IV, V, vi, VII? triad ; 6, for the chord of the sixth |, ;

for the chord of the fourth and sixth ;

Chords of the Seventh in Minor. and

f , or I , f or that of the fifth sixth ;

7(5), for the chord of the seventh ; 8,

for the octave in the soprano, b, for the

c: VI, VII? simple triad 9, (7 or |, according as

I, II? IIi; IV, ;

the or seventh is dropped), for the

fifth
Chords of the Ninth :

in major . m minor
chord of the ninth. ^^ } were for- V
merly used to show that the tenth and
9 9
7
octave, eleventh and ninth, etc. of the
7
5 bass note were to be taken instead of
3 the third and prime, fourth and second,
etc. Where there is a choice, the
P
When the root of a chord is the lowest
etc. simpler figuring is preferable, unless
some interval is chromatically altered.
A Jt, [j, P,
X or b|7 alone over a bass ,

tone, the chord is said to be in the note signifies that the third in. the chord
fundamental position; when some other is correspondingly altered chromatic-
tone is the lowest, the chord is inverted. ally. A
crossed figure {d, ^, ^, etc.)
Each triad has 2 inversions, and each indicates that the interval is sharped.
chord of the 7th has 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 under the bass form no part

i
^^
6 6 6
^
the intervals above the bass e. g. a
chord of the sixth may be written

6
-J-
6
;

^E
-J-
6
-y-
6 etc.
of the thorough-bass figuring

a small letter for minor.

numeral indicates a triad with major
third
they in-
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
large

a small numeral, a triad with

;
;

C: I I III II minor third with an accent (III'), the

;

augmented fifth with a cipher (vii), ;

that is, it remains a chord of the sixth the diminished fifth ; with a 7 (V,), the
so long as the third of the triad remains chord of the seventh. [This is the
the lowest tone, above which 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- Chordce essentia' les 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 ;
/a- Chordaulo'dion, or Chordomelo'dion.
dassohn solves the problem empirically A kind of automatic barrel-organ hav-
by stretching his highly elas- ing pipes and strings combined inv.
tic theory of altered chords to
the utmost ^e. g. he writes *J C
;
IV
1^ :
by Kaufmann of Dresden, in 1812.
Chordom'eter. A string-gauge.
;

{=y"tt-a|7-f as the major triad on the

4th degree of C-major !) Riemann, on
Cho'ree, Chore'us. A metrical foot
identical with the trochee.
the other hand, has devised an entirely
new system, explained under art. Cho'riamb, Choriam'bus. metrical A
Phone.'] (Alsocomp. Thorough-bass.) foot having 2 short syllables between 2
Altered chord, a chord chromatically long ones, the ictus being on either of
changed, but not effecting a modula- the latter (^^
, or ^^),
tion ; the commonest altered chords Chor'ister. i. A singer in a choir. 2.
are the triads on the ist, 2nd, 4th and A precentor.
5th degrees in major and on the 4th Chor'ton (Ger.) "Choir-pitch," i. c. the
and 6th degrees in minor (with al- pitch at which church-choirs formerly
tered fifth) on the 2nd degree in;
sang in Germany, as set by tne organs.
major and 6th in minor (with altered (See Pitch, absolute^
root) ; the chords of the 7th on the same
Cho'rus. (Ger. Chor; Fr.
chcettr; It.
degrees, excepting the 6th in minor
(with altered fifth), and on the 7th de-
co'ro.) I. A company of
singers. 2.
In an opera, oratorio, etc., the mairi
gree in major and 2nd in minor (with
body of singers, as distinguished from
altered root). .Anomalous ch., see Ano-
maly.. .Augmented ch., one having ma-
.

the soloists and orchestra.-i-3. A refrain.

jor third and augm. fifth. .Broken ch., .

4. A composition, or any part
of one,
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., a. triad . .

;

5. The compound stops of an organ.

peculiar to any given scale. Deriva-
tive ch. one derived by inversion from
,
. .
6 (obs.) The bagpipe the drone of ;

the bagpipe, or the free sympathetic

another. .Diatonic ch., a common
.
strings of the crowd.
c^orA.. .Diminished ch., one having
both 5th and 7th Avmvaished. .. Domi- Chorus-master. The leading singer in
nant ch., (ff)the dom. triad, {b) thedom. a chorus.
ch. of the 7th. . . Doubtful or Equivocal Chri'ste ele'ison (Gk.) Part of the
eh. a dissonant chord of uncertain reso-
, Kyrie in the Mass (see Mass).
lution, like that of the dimin. 7th, Chro'ma (Gk., "color".) i. In Greek
which belongs to various keys, and may music, a chromatic modification of the
resolve to any one of them. .Funda- .
tetrachord. 2.
sign altering theA
mental chord, (a) one in the funda- pitch of a note by a semitone (Jt or \)) ;

mental position,' i. e. with the root low-

est ; {b'} the tonic triad (c) one of the
also, a chromatic semitone. 3. An
;
eighth-note or quaver ( j ) ; ch. simplex,
3 principal triads of a key (tonic, domi- (a) an eighth-note, (^) a ft or b ch.
nant, and subdominant) (d) a. common
;

;
duplex, (a) a l6th-note ( J<), (b) a x or
chord.. .Imperfect or incomplete ch., a.
chord, one of whose tones is omitted. \)\).
4. A semitone.
.Inverted ch., see Inversion.. .Lead-
. Chromat'ic. (Ger. chroma'tisch, Fr.
ing ch., the dominant ch. of the 7'^. chromatique; Relating
It. crovia'tico.)
. .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

one used in modulating from
sient ch., 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-
Chor'da (Lat.) i. A string. 2. Atone matic chord or melody). Chr. harmony, . .

or chord. . Ch. charactervstica, a chord

. a succession of chromatically altered
of the 7th containing a leading-note. . chords. Chr, instrument, one produc-
. .
44 CHROMATIC CLAIRON.
ing the tones of the chr. scale. Chr. in- . . Ciacco'na (It.) Chaconne.
terval, an interval chromatically aug- Cico'gna (It., lit. " stork.") The mouth-
mented or diminished. Chr. scale, see . .
piece of a wind-instr.
Scale. Chr. semitone, an interval
. .

formed by altering a note of the natural

Cicu'ta (Lat.) A sort of flute, or Pan's-
pipe.
scale by a sharp or fiat, or by further
altering such a sharped or flatted inter- Cifra'to (It.) Figured.
val by a X or \}\). (See Semitone.). . Cim'bal. See Cymbal.
Chromatic signs, the characters used in Cim'balo (It.) i. A cymbal. 2. A
mus. notation for raising or lowering the
pitch of {a) natural notes, {b) notes
harpsichord. 3. A tamDonrine.

already raised or lowered (comp. Table,

Cim'balon. Same as Zimbalon.

art. Interval). Those now in use are Cira'bel (Ger.) See Cymbal 2. . . Cim'bel-
the Sharp ((), Flat (p). Natural (Q), stern, see Zimbelstern.
Double-sharp ( x ), Double-flat ([jjj) ;
Cinel'li (It., pi.) Cymbals.
the Great Flat (j?) is obsolete ; the Cink (Ger.), Cinq (Fr.) See Zink 2.

combined sign tW (or tl[j) signifies that Cin'que (It.) A part in concerted
fifth
a note previously sharped (or flatted) is music. . . A cinque, for or in 5 parts.
first restored to natural pitch on the
its Cinque-pace. An old (presumably
staff and then sharped (or flatted) the ; French) dance, with a 5-step movement.
Double-natural {^^^ '\% 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- rangement in the action, it persists in
nature (see Key i) such as occur ;
sounding.
irregularly in the course of a composi-
Circle-(orcircular)canon. See Canon.
tion are called accidentals. An acci- . .

dental, as a general rule, affects its

Circle of fifths, see Temperament.
note only during the measure in which Cir'colo mez'zo (It.) A turn. (Now
it is written, unless the note be tied into Gruppetto.)
the next measure or measures: Cir'culus (Lat., "circle".) A time-sig-

^ =-=
nature in medieval music.
tion, 3.)
(See Nota-

Cis (Ger.) C^Cis'is, Cx.

higher or lower octaves of the note are
not affected, and must therefore like-
Cistel'la (Lat., " little box. ") A dulci-
mer.
wise take an accidental.
Cistole, Cistre, Citole. See Zither.
Chromatic (noun.) A chromatically al-
tered note. Cistrum. See Sistrum.
Chronom'eter. Occasional for Met'ro- Ci'thara (Lat. It. ci'tara.) ; An ancient
nome. instr. of the lyre family, from which
many medieval and several modern
Chronomfetre (Fr.) A
species of mono-
instr.s (guitar, zither) derive their
chord, to sound by means of a
made names and, in part at least, their con-
keyboard like that of the pfte., to teach
struction. See Cither. . . C. biju'ga, a
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). instr. An
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 i5th and 17th cen-
note ; turies. (See Zither.)
written :
Citole. A small dulcimer.
Civetteri'a (It.) Coquetry. . . Con c, in
played :
a coquettish, trifling style.
Clairon (Fr.) i. A
clarion (either the
Also, a slide instr.or the organ-stop) .CI. chro- . .

descending by a matique, a species of valve-trumpet

third : made in 6 different pitches, (as a con-


CLANG CLASSIC. 4i

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

Clang. See Klang.

Clang-color, Clang-tint. Timbre,
"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-stop 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 Clarabella.
the air-column into 3 equal portions,
Clarichord. An instr. of the late middle an improvement attributed to Joh. Chr.
ages, apparently variety of harp,
a 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
piercing quality, clarinetto (whence the
Clarin (Fr ) See Clarion.
name of the modern instr.); the origin-
Clarinet'. (Ger. Klarinet' te ; Fr.
I. al lower scale retained the name of the
clarinette; clarinet' to ^ The parent
It. 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 18 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-
,

prime tones {e to b^\)); it is composed clef. The fingering is very complicated

of 5 pieces or 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 Krumm' horn.
simply the third, and fifth or ninth, Clarinet'to (It.) See Clarinet.
partials of the prime tones (from b^ t] to
/^ and/^S to c\) The quality of the Clari'no (It.) 1. Clarion i and 2. 2.
tone differs greatly in the four registers,
A name loosely applied to the trumpet
the "chalumeau" and "clarinetto" and bugle. 3. Used for tromba, in
being comparable to the female con- some old scores.
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 :large soprano
(i)
cl. in C, Bj), and A, and (2) the small
The Clarionet, i. A clarinet. 2. In the
organ, an 8-foot reed-stop of soft tone.
soprano clarinets in D, E, j'^and A\), . Clarionet-Jlute, 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 J^ and and bass ^, longs to an acknowledged style in art,
clarinets in C, or ^,
(octave below A and is by an acknowledged master of
46 CLAUSULA CODA.
that style.
In a broader sense, any of strings, which were pressed against
composition 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 ^%octaves.

form is in perfect harmony with the
Clavier' [-veer']. (Ger. Klavier'.) i. A
spirit or subject-matter.
also often used as a
Classic
distinctive
is
epithet
keyboard {JClaviatur). 2. (Ger.) Gen-
eric name for all keyboard instr.s 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-
pianoforte. See Klavier.
tic school classic forms
; being the
aria, rondo, sonata, symphony, etc. Clavier (Fr.) I. keyboard. ./'(?/- A .

Clau'sula (Lat.) A
cadence. der son cl. , to know one's keyboard. .
CI. de r^cii, Ricit exfiressif, swell-man-
Clavecin (Fr.) A harpsichord. CI.. .
ual (organ).
2. The range or scale of
acoustique, 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 (Klaviatur).
Claviglissan''do. A keyboard instr.
consisting of a combination of mechan-
Clavicera'balo (It.) Harpsichord. isms for producing various harmonium
Clavichord. (Ger. ICla' vie fiord, Klavier' effects, and also theportamento of the
Fr. clavicorde; It. clavicor'do.) One violin ; inv. by Le Jeune.
-of the precursors of the pfte. (see Pi- Cla'vis (Lat.) i. A key (digital), clef, or
^anoforte), differing in action from the note. 2. Bellows-handle.
latter in having, instead of hammers,
C16, Clef (Fr.) i. Clef ; armer la
upright metal wedges called tangents
clef, to furnish the clef with the key-
on the rear end of the digitals; on de-
pressing a digital the tangent struck
signatures. 2.
Key (of a wind-instr.)
"the wire and remained pressed against Clef. (Ger. Schliis'sel: 7t.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 j'^-clef, C-clef, and
Clavicithe'rium(-cythe'rium.) An ob-
G-clef / the F-c\ei and C-clef are also
solete instr., supposed to have been a
called the Bass-c\ei and Trel>le-c\ei re-
kind of harpsichord, but with the
spectively, because they fix the position
strings stretched in a vertical frame in-
of the bass and treble notes. The C-
stead of horizontally.
clef is variously called the Tenor-, Alto-,
Clavicor (Fr.) A]dnA oi cor a pistons. and Soprano-c\&i, according as it is set
Clavicylin'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(Tenor-C.) view of the A
treadle, and steel wands or bars instead clefs used at present is appended.

Bass-clefs. C-clefs. Treble-clef. Tenor-clef (recent).

m^^^^^
The F-c\el on the 3rd line {Barytone- the letters/", t, and^, formerly plainly
clef), the C-clef on the 2nd {Mezzo- written.
Soprano-clei), the C-clef on the 1st line Cliquette (Fr.) The bones.
(French violin-dei), or on the 3rd line, Close (noun; Ger. Schluss). See Ca-
are no longer used (the C-clef on the dence 3.
2nd line occa- -ft sometimes
mm
is
sionally). The used in vocal Close harmony or position. See Har,
double G-clef : lif^ music as a ten- mony. Close play, a style of lute-
. .

playing in which the fingers were nept

or-clef, signifying that the part lies an
octave lower than written. Our modern on the strings as much as possible.
forms of the clefs are corruptions of Co'da (It., " tail.") 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. sta, 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) ;

consequent (in a canon).

as a winding-up it became of growing
;

importance in the canon, sonata, rondo, Comma, l. 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
icauda). Codetta, a short coda.
. . (See 8o;8i (b) Pythagorean c, or c. maxi-
;

J^ugue.) ma : The difference between the octave

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-
524288:531441.
tions of keyboard stringed instr.s, in
which alterations of the tone could be Com'modo (It. ; also co'modo.) Easy,
produced by mechanisms under the leisurely, at a convenient pace ; as al-
player's control. legro commodo.. . Commodamen' te , easily,

Coffre (Fr.) Case (of a pfte.) body (of ;

quietly, leisurely. . . Commodefto, rather
a vioUn). easy or leisurely.

Co'gli stromenti (It.) With the instru- Common chord. A major or minor
ments. triad. Common hallelujah metre, or
. .

Common long metre, a 6-line stanza

Coi, col, coll', col'la, col'le, col'lo (It.)
formed of a common-metre stanza with
With the.
half a long-metre stanza added thus,, ;

Colascio'ne (It.) See Calascione. 8 6 8 6 8 8... Common measure, see C

Collet de violon (Fr.) Neck of a vioHn. time. Common metre, a form of iambic:
. .

Collinet (Fr.) A flageolet named after ;

stanza, of 4 lines containing alternately
a celebrated player. 8 and 6syllables ; thus, 8 6 8 6... Double

Kohphon' ; Fr. common metre, a stanza formed of 2

Col'ophony. (Ger.
common-metre stanzas. Common par- . .

colophane ; colofo'nia ; from Lat.

It.
ticular metre, a 6-line stanza, the. 3rd
coiopho' nium.) Resin or rosin.
and 6th lines having 6 syllables, and
Color. I. Timbre The
(tone-color). 2.
the others 8 each thus, 8 8 6 8 8 6... ;

characteristic rhythms, harmonies, and Common time, a measure containing 2

melodies of a composition. (Lat.) 3.
(or 4) half-notes or 4 quarter-notes,
See Notation, 3. with 2 or 4 beats respectively ; duple
Colora'to (It.) Florid, figurate. or quadruple time. (Ordinarily, com-
Coloratu'ra (It.) Colorature, i. e. vocal mon time is understood to mean 4
quarter-notes [and as many beats] to a
runs, passages, trills, etc., enhancing
the brilliancy of a composition and dis- measure.)
playing the vocalist's skill. Also ap- Compass. (Ger. Um'fang ; Fr. diapa-
plied to similar instrumental music. son ; estensio'ne) The range of a
It.
voice or instr., i. e. the scale of all the
Coloris (Fr.; Ger. C{K)olonf [Far'ien-
tones it can produce, from the lowest
gebung\). The tonal "color-scheme,"
to the highest.
vocal or instrumental, of a composition,
movement, or scene i. e. the modifica-
;
Corapiace'vole (It.) Pleasing, delightful.

tions in vocal or instrumental timbre, Com'plement. An interval which, added

or in the instrumentation, employed for to any given interval not wider than
obtaining special effects. an octave, completes the octave thus ;

" blow".) a fourth is the c. of a fifth, a minor

Col'po (It, Di colpo, at a
sixth of a major third, etc. Also com-
blow, suddenly, at ofice.
plementary interval.
Combination pedal. See Pedal. Com- . .
Comple'tory. (Lat. completo'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. Com'plin(e). The last of the 7 canon-
Co'me (It.) As, Vike. . .C. prima, as at ical hours.
48 COMPONIST A CONJUNCT.
Componi'sta (It.) Composer. out and on pushing in the bellows.
Composition pedal. In the organ, a Tenor, bass, and double-bass concertinas
pedal which draws out or pushes in are also made. A
great variety of music
several stops at once. (Comp. combina- can be played, and the literature is quite
tion 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.
Compound Concerti'no (It.) i. A small concert.

C.
interval. See Interval.
measure^ rhythm^ time, see Time.
.

.
2. Equiv. to concertan'te, i. e. lead-

ing, principal ; as violino

concertino,
C. stop, an organ-stop having more than
one rank of pipes.
principal violin ; here opp. to ripie'no.
Concerti'sta Concert-player, solo
(It.)
Con (It.) With.
performer, virtuoso.
Concave pedals. See Radiating.
Concert-master. See Konzert' meister.
Concen'to (It.) i. Concord, harmony.
Konzert'.) An ex-
2. The simultaneous sounding of all
Concer'to. (Ger.
tended composition for a solo instr.,
the tones of a chord opp. to arpeggio.
;
commonly with orchestral accomp., in
Concen'tus (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. A concerto. 3. (Ger. Kon-
accomp." The earlier concertos were
zert"; Fr. concert; It. concer'to.) A 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 chie'sa,

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 spirituel
Concert'stiick (Ger.) A concert-piece ;
.

(Fr.), sacred concert.

a concerto.
Concertan'te (It.) Concordant, har-
Concita'to (It.) Moved, excited, agi-
monious. Hence: l.
concert-piece. A
2. A
composition for two or more
tated.
Concord. I. Harmony opp. to dis-

;

solo voices or instr.s with accomp. by

cord. 2. See Consonance.
organ or orchestra, in which each solo
part is in turn brought into prominence. Concor'dant. i. Consonant 2. (Fr.)
3. A
composition for 2 or more barytone voice. A
solo instr.s without orchestra. Concer- Conductor. (Ger. KapeW meister, Diri-
. .

tante parts, parts for solo instr.s in gent' ; Fr. chef d'orchestre ; It. capo
orchestral music. Concertante style, a
. .
d' orchestra, mae'siro 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 polypho-
part. . . Conceria'to, concerted. nous composition (12th 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
trios, quartets, etc. in the or'ganum and discan'tus), but,
like the counterpoint, was original
Concert-grand. See Pianoforte.
with the composer. C. du'plex, 3-part
. .

Concerti'na. The improved accordion counterpoint C. sim'ple.x, 2-part coun-

;

inv. by Wheatstone in 1829. The key- terpoint.

boards are hexagonal the compass of
the treble c.
;

Bva double-ac-
Conduit (Fr.) i. Conductus. 2. A
is 4 octaves
wind-trunk (organ).
tion instr.,
t=
includingall producing Cone-gamba. Bell-gamba.
chromatic the same tone Conjunct'. (Fr. conjoint ; It. congiun'-
tones ; it is on drawing to.) A degree of the scale immediately
 . .

CONSECUTIVE INTERVALS CONTRE-. 49

succeeding another is called a conjunct voice, havingacom- .(.i)_

degree opp. to disjunct.
; pass from about fV
to e^, the extremes'
Consecutive intervals. Intervals of

the same kind following each other
being e g^ :

immediate succession ;
" consecutives
in
"
(Also Alto.) Male voices were exclu-
sively employed in the old church-
are progressions of parallel fifths or
music, the tenor being called altus;
octaves, forbidden in strict harmony.
hence the terra ^Uontr'alto", i.e. op-
See Parallel.
posed to or contrasted with the altus.
'Conseguen'te (It.) Consequent. . . Con-
seguen'za^ a canon.
Contrappunti'sta (It.) A contrapuntist.
Consequent, (It. conseguen'te?) See Contrappun'to (It ) Counterpoint. . . C.
alia men' te, see Chant sur le livre. . C. .
Canon.
alia zop'pa, "limping", i. e. syncopa-
Conser'vatory. (Ger. JConservato'rium; ted, counterpoint. C. dop'pio, double . .

Fr. conservatoire; conservato'rio.)

It. or invertible counterpoint. C. synco- . .

A public institution for providing prac- pa'to, syncopated counterpoint. . . C.

tical and theoretical instruction in so'pra i^sot'to) il sogget'to, counterpoint
music. above (below) the theme.
Consolan'te (It.) Consoling, soothing. Contrapunc'tus (Lat.) Counterpoint. .

C. ad viden'dum, counterpoint written

'Con'sonance. (Ger. Konsonanz' ; Fr.
out opp. to contrappun'to alia men' te,
consonance ; It. consonan'ssa^ com- A ;

improvised counterpoint. C. aqua' lis, . .

bination of 2 or more tones, harmonious
equal counterpoint. C. diminu'tus or . .

and pleasing in itself, and requiring

Jlor'idus, florid or figurate counter-
no further progression to make it satis-
point. C, incequa'lis, unequal coun-
opp. to dissonance. (Comp.
. .
factory ;
terpoint.
Acoustics, 3.). .Imperfect consonances,
.

the major and minor thirds and sixths. Contrapun'tal, Pertaining to the art
. . Perfect consonances, the octave, or practice of counterpoint.
fifth, and fourth.
Contrapun'tist. One versed in the
'Consonant chord. One containing no practice and theory of counterpoint.
dissonant interval. . . C. interval, a con- Contr'ar'co (It.) " Against the bow,"
sonance. i. e. bowing contrary to rule.

Con'sort. i. See Chest (of viols). 2. Contrary motion. See Motion.

A band, company of musicians.
or Contrasogget'to (It.) /^ountersubject.
Con'tano "they count.") Direc- Contra-tenor. Countertenor.
(It.,
tion in scores, that parts so marked are Contrattem'po (It.) i. A tone enter-
to pause. ing on a weak beat and ending on a
Continua'to (It.) Continued (see Basso strong beat a syncopation. 2. A ;
continuo) ; held, sustained. sustained melody, as contrasted with its

Continued bass. See Bass. accomp.

figurate

Conti'nuo. A Basso continuo. Contravioli'no, -violo'ne (It.) A double.

Compounded with bass.
Contra (Lat., It.)
names of instr.s, it signifies an octave Centre- Contra-, counter-. .. Co-
(Fr.)
below e. g. contrabbas' so a double- , tre-basse, double-bass. Coniredanse, a . .
;

bass. . . Contra-octave, see Pitch. French dance deriving its name from
A the position of the dancers opposite to
Contrabass. (It. contrabbas' so.) 1.

The lowest bass or facing each other. Originally there
double-bass. 2.
Contra- were but 2 dancers there are now 8, ;
instr. in a family of instr.s. . .

bassist, a player on the double-bass.

and the dance is known in English as
Contra-dance or
the Quadrille. Also, dance-music for
'Contraddan'za (It.)
a quadrille. . . Contre-ifclisses, linings. .

country-dance. Contre-partie, a mus. part opp. to or

Contraffagot'to (It.) i. A
double-bas- contrasted with another, as bass and
soon.
2. A reed-stop in the organ soprano ; said especially of either of
imitative of i. the parts in a duet.. . Conirepoint, coun-
Contral'to (It.) The lowest female terpoint contrepointisie, contrapuntist.
;
50 CONVERSIO CORNO.
.. Contre-sujet, countersubject. . . Con- and a wooden tube furnished with
ire-temps, see Contratiempo. fingerholes.
There were two classes,
Conver'sio (Lat.) Inversion. the straight cornet (in 3 varieties, cor-
Coper'to (It.) " Covered," muffled netto dirit'to, c. mute, compass a a^
iim'pani coper' ti^
as
muffled kettledrums.
;
and cornetti'no, compass d^ g'^), and
;.

the bent cornet (cornetto cur'vo, com-

Co'pula (Lat.) I. (also Fr.) A coupler
pass a fl* and c. tor' to [or corno, cor-


;

(organ). 2. A name for certain flue- not{\, compass d d''-). The cornon
stops (a) the 8-foot open diapason ; (cornetto basso) was the prototype of the

;

(b) the 8-foot Hohl'flote or Kop'pel- Serpent. 2. A

reed-stop in the organ,
flote. imitating the blaring tone of C. i (see 4),
Cor (Fr.) A
horn. . Cor-alt, cor-basse, .
and of varying dimensions 8-foot, :

see Corno alio (basso). . C. anglais, see .

pitch, (or 2' or 4 ), also called Cornet-
Oboe...C, de basset, basset-horn. .. C. tino ; 16-foot pitch (Grand cornet)...
de chasse, a hunting-horn in particu- Bass a large deep-toned brass-
cornet,

;

lar, the large horn, whose tube is bent instr. 3. (Kornetf.) A com-
(obs.)
to form a circle of about ly 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.
. omniionique,
. a chromatic among the harmonics. Echo cornet, a. . .

valve-horn inv. by Sax. soft-toned cornet-stop enclosed in a.

Cora'le (It.) A choral.
wooden box. . Mounted'cornet, a cornet-
.

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 a pistons (Fr. Ger. Ventil'- ;

the soft pedal of the pf te. Due corde, . .

kornett), 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 additioa
[Riemann] (K) in violin-playing, a
; of 3 valves ; tone apt to be loud,
direction to double a note by playing it and " brassy "; medium
simultaneously on 2 strings. Tutie . .
compass 2 octaves and 3
(le) corde (all the strings), release the
tones. It is a transposing
soft pedal. instr. noted in the G-clef : S5C
Cordatu'ra (It.) Same as Accordaiu'ra. being for the
Corde
vide,
(Fr.)
an open
string out of tune.
A string.
string.
. .
. .C.
.
jour, or a
fausse, a
. C.
C, sourde, a mute
b. actual
pitch:
?l^ this
cornet in J^, th&
one most in use.
In rapidity and
string. . . Sur une corde, Sopra una lightness of execution, the cornet almost
corda. vies with the flute and clarinet ; a certain-
Cordier (Fr.) Tailpiece. lack of refinement in its tone alone pre-
vents its entrance into the symphony-
Cordom^tre (Fr.) String-gauge.
orchestra. . . Cornet d'icho or de rdcit,
Corife'o (It.) See Corypheus. cornet-stop.
Cori'sta. (It.) i. Chorister, either Cornet-stop. See Cornets, 3, 4.
male or female. 2. Tuning-fork
Cornet'to (It., dimin. cornetti'no^ i. A.
pitch-pipe.
Cormorne (Fr.) See Cromorne.
small horn. 2. A cornet i.

Cor'no (It.) A horn. . . C. alto, high horrt

Cornamu'sa (It.), Cornemuse (Fr.) A inB; C. basso, low horn in B [Stainer
bagpipe in which the wind is supplied AND Barrett]. C. alto
(basso) also-
by the lungs (see Musette). signify, respectively, one of the twO'
Cor'net. [See Cornet
h. pistons, in fol- horn-players, in the orchestral group of
lowing (Gee. Zin'ke.)
art.] An ob-
\. four, who take the highest (lowest)'
solete wind-instr. much used during the horn-parts. C. di bassetto, basset-horn.
. .

15th and l6th centuries, with a narrow . .C. da caccia, hunting-horn. . C. in^ .

cupped mouthpiece of ivory or wood, gle'se, English horn.

 ; : ;
; ;.
.

CORNONCOUNTERPOINT. 51

Cornon (Fr.) i. cornet. A

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

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

'

An organ-stop on the swell-manual. tion, re-entrance of the subject or sub-

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 f ugal 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' d,
. .

swer ; often used independently as an

for divided chorus, one half imitating, in
episodal theme.. Counter-tenor, a high.
parallel or reverse progression, what
tenor or alto voice ; hence, the part sung
the other half sings.
Coro'na (It.) A hold (o).
Cor'onach (Gaelic.) A funeral lament
a dirge.
by such a voice, or the
singer. It is the highest
adult male voice; compass;
being nearly the same as that of the
^.
Corps (Fr.) Body (of a tone). ..C.d' har- contralto Counter - tenor clef, the
. . .

C-clef on the 3rd line used for the

monies a fundamental chord. . .C. de ;

musique, a wind-band. .C.de rec/iange, counter-tenor or alto voice, the viola, etc.
.

a crook. .C. de voix, the range and

. Counterpoint. (Ger. Kon'trapunkt
volume of a voice, taken collectively. Fr. contrepoint ; It. contrappun'to.')
Correcto'rium (Lat.) Tuning-cone. [From the Latin " punctus contra punc-
tum " (point against point), i. e. note
Corren'te (It.) Courante. against note.] i. In a wider sense,
Coryphs'us (Lat.) (Engl, coryphe'us the art of polyphonic composition ; opp.
Ger. Koryphd'e ; Fr. coryphee; It. co- to homophoHy. The canon and fugue
rife'o.) In the ancient Greek drama, are the most highly developed contra-
the leader of the chorus hence, in ; puntal forms.
2. In a restricted sense,
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 (canlus Jirmus)
Cotil'lion. (Fr. cotillon.) French A according to certain rules ; hence, one
dance, the same as the german, to of, or all, the parts so added. The
quadrille-music. Theory of Counterpoint generally rec-
ognizes 5 species, which, in practical
Cottage organ. The 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. Asmall grand pfte. in upright
counterpoint against whole notes in the
c. f. {cantus Jirmus); (2) 2 against I,
form, inv. by Wilhelm Kress of Vienna
half-notes in the counterpoint against
in 1891.
whole notes in the c. f. ; (3) 4 against
Couac (Fr.) The "goose." 1, quarter-notes in the counterpoint
Couched harp. A spinet. against whole notes in c. f.; (4) with
Coul6 (Fr.) I. Legato. 2. {^AXso Vask.) syncopation, syncopated half-notes in
counterpoint against whole notes in the
A harpsichord-grace
written : played c.
f.; (5) florid, figurate, or figured,
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 gle 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 of
,

counting aloud. (most) unprepared dissonances is for-

Counter. Any vocal part set to con- 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
 52 COUNTRY-DANCE CROOK.
the dimin. 7th dimin. 7th and 5th, a machine with spiral turns of fine sil-
augm. 2nd and 4th and also the dom- ver or copper wire, the process being
, inant 7th, allowed to enter
are now termed " string-spinning."
freely even in "strict" counterpoint;
Crackle. In 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-
nance enters.]. Triple c, counterpoint . .
Cracqvienne (Fr.) A Polish dance for
in 3 mutually invertible parts. Tioo- . .
a large company hence, the music or ;

part. Three-part, Four-part counter- an imitation of the music employed,

point, that in which 2, 3, or 4 parts are which is in duple time with frequent
employed. syncopations (rhythm

Country-dance. A dance in which the

partners form two opposing lines,
which advance and retreat, the couples Also Krakowiak, cracoviak.
also dancing down the lines and re- Cre'do. The third main division of the
turning to their places. The time Mass.
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
ordinarily ap- name
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. us, at Cremona. 2. See Krummhorn.
Coup d'archet (Fr.) A stroke of the Crescen'do (It.) Swelling, increasing
,
bow. Coup de (la) glotte, see Kehl-
. .
in loudness .Cr. -pedal, see Pedal. . .

schlag. Coup de langue, a thrust or

. .

stroke of the tongue, tonguing double

Crescen'dozug (Ger.) i. Crescendo-
Toup de langue, double-tonguing.
pedal. 2. A kind of organ-swell with
;

shutters, a contrivance inv. by Abbe
Couper le sujet (Fr.) To cut or cur- Vogler.
tail the subject.
Crescent also Chinese crescent, or
;
Coupler. (Ger. Koppel; Fr. copula; It.
pavilion. (Ger. Halb'mond; Fr.
unione.) See Organ. chapeau chinois; It. cappel'lo ckine'se.)
Couplet. 1, 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
rhythm ;
or pavilion around the plates little
;

=P=ff: bells are hung, which are jingled in

thus :
'

time with the music.

Cou'rant \_ICoo'-'\. (Tr. couranie; It.
Cre'ticus (Lat.) A
foot con-metrical
corren'te.) old French dance in An sisting of a short syllable between 2
3-2 time ;
piece called
hence, the instrumental
couranie, forming a part of
long ones ( .^ ).

the .Suite, in which it follows the Alle-

Cri'brum (Lat.) Soundboard (organ).
mande. Though the time-signature Croche (Fr.) An eighth-note. Crockes. .

calls for 3-2 time, measures in 6-4 time lie'es, ei ghth-n otes having the hooks
often occur, especially at the close the ;
joined ifS~^.
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 \^ j
chief feature being swift passages of
Croche'ta(Lat.) A crotchet, or quartesr-
equal notes, whence the name corrente
note
("running"). The tempo is rapid; (J).
time 3-8 or 3-4. Croisement (Fr.) Crossing (of parts).
Couronne (Fr.) A hold (o.). Cro'ma (It.) An eighth-note.

Course. A group or set of strings tuned Croma'tico (It.) Chromatic.

in unison. Cromor'na. {Vr.cromome.) SeeKrumm-
Covered, See Octave. ...Covered strings, horn.
strings of silk, wire, or gut, covered by Crook, I. (Ger. Bo'gen, Stiinm'bogen;


CROQUE-NOTESZARDAS. 53

Fr. corps de rechange, ton; It. pezzo di 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 Zf-crook of an instr. in Curran'to, See Courant.
^.
;

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-
taining the reed.
3. In the old harp-
action, a crotchet engaging a string
formed in single file each dancer in
;

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. cyclische 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 also Croud, Crouth. (Welsh sonata, symphony, and concerto.
;

crwth; Lat. chrot'ta.) An ancient
bow-instr., apparently of Welsh or
Irish origin, and regarded as the oldest
European instr. of the class still found
early in the igth century among the
peasantry of Wales. Ireland and Brit-
any. Its body was square, and termin-
ated, instead of by a neck, by 2 parallel
arms connected at the end by a cross-
bar, the centre of which supported the
end of the narrow fingerboard it had
originally 3, in modern times 6, strings,
4 lying over the unf retted fingerboard
and 2 beside it. The strings passed
over a bridge, which rested on the
belly between 2 sound-holes the ac-
cordatura [Grove] was as follows
beside over fingerboard,
fingerb.
Crucifixus (Lat.) Part of the Credo.
Crush-note. An acciaccatura.
Cr-wth. See Crowd.
C-Schliissel (Ger.) C-clef.
Cue. A phrase, from a vocal or instru-
mental part, occurring near the end of a
long pause in another part, and inserted
in small notes in the latter to serve as a V
guide in timing its re-entrance.
(Fr. "copper.") Brass; les
Cuivre ,
cuivres (pi.), the brass-wind. .. .ftj/V^ Czardas (Hung.; pron. tchar" dash.') A
cuivrer, to obtain a metallic, ringing
Cylin'der (Ger.) Valve (in horns, etc.;
usually Ventil).
Cymbale (Fr.) i. Cymbal. 2. A steel
;
rod bent to a triangle, and bearing a
number of rings, which are struck by
a steel wand, the cymbale itself being
dangled on a cord.
Cymbals, i. (Ger. Becl/en; Fr. cyin-
bales ; Xt. piat'ti, cinel'li.) pair of A
;
concave plates of brass or bronze, varying
in size from finger-cymbals something
over an inch in diameter to the large
orchestral cymbals, which have broad,
flat rims, and holes toward the middle
;
for the insertion of the straps by which
:
,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 often
attached on top of the bass drum, so
that one player can manipulate both
drum and cymbals. 2. In the organ,
a mixture-stop of very high pitch.
3. See Cymbale 2.
Cym'balum A (Lat.) i. Cymbal. 2.
small drum of the medieval monks ;
several such drums were tuned to form
a scale of an octave, and played like a
Glockenspiel.
Cym'bel. See Cymbal.
Czakan (Bohemian.) A flute of cane or
bamboo.
V
national Hungarian dance, distin-
54 CZIMBAL DECISO.
guished by its passionate character and ply repeated over and over in the above
changing tempo. order, whatever may be the notes sung.
Czimbal (Hung.) A dulcimer. Damper, (Ger. Ddm'pfer ; Fr. itouf-
i.

Czimken (Pol.) A dance similar to the foir ; sordi'no) A mechanical de-

It.

country-dance. [Stainer and Bar- vice for checking the vibration of a

rett.] pfte.-string (see Pianoforte). Damper- . .

pedal, the right or loud pedal of the

D. pfte. 2. The m,ute of a brass instr.,
e. g. a horn.

D. I. (Ger. D
; Fr. ri ; 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 Dal dan'za.) A succession of rhythmical
(D. S.=dal segno). steps, skips, or leaps, accompanied by
Da (It) By, for, irom,oi...Da ca'po, varying movements of the body, and
(a) from the beginning generally timed by music (in primitive:
{fi) as an ex-
;

clamation, " encore ".. .D. C. alfi'ne, nations, simply by beating on a drum
!

(repeat) from the beginning to the end

or the like).
(i. e. to the word Fine, or to a hold T^). Darm'saite (Ger.) Gut string.
. .D,C. al se'gno, (repeat) from the be-
ginning to the sign (S-, ^, O). ..D.C.
Dash. I. A
staccato-mark (J or p). 2.
In thorough-bass, a stroke through a.
al segtio, poi {se'gue) la coda, (repeat)
figure, indicating the raising of the in-
from the beginning to the sign, then
(follows) the coda.. .D. C. dal segno, re-
terval by a semitone (^ 4^ etc.)
as tould 2.
3. Same
peat from the sign. . .D.C. sen'za re'- ,

plica (or scnza 7'ipetizio'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 tirar'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 'cellb-playing).

Dach (Ger., "roof.") The belly of a Dead-march. A funeral march.

violin (usually Decke). . . Dach'schweller, De'bile, De'bole (It.) Feeble, weak.
see Crescendozug 2. Dfibut (Fr.) A first appearance. .Debu- .

Dac'tyl(e). (Lat. dac'tylus, 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 Dec'achord. (Fr. difcacorde.) i. A 10-
short, with the ictus on the first stringed instr., an ancient species of
(^-^).
harp or lyre. 2. An obsolete French
Dactyl'ion. An
apparatus inv. by Henri instr. of the guitar kind, having lo-
Herz in 1835, consisting of 10 rings strings.
hanging over the keyboard and at- Dec'ad(e). See Duodene.
tached to steel springs used by pianists
;
Deca'ni. Comp. Cantoris.
for finger-gymnastics.
De'cem (Ger.) See Decima 2.
Daddy-mammy, A familiar name for
the roll on the side-drum. D6chant (Fr.) Discant.

Da'gli, dai, dal, dall', dal'la, dal'le, D6cid^ (Fr.) See Deciso.
dal'lo (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.
Damenisa'tion. (See
Graun's system of sol-faing with the
syllables da, me, ni, po, tu, la, be,
which are not (like do, re, mi, etc.) at-
tached to special scale-degrees, but sim-
a tenth higher than the 8-foot stops ;
also called Tenth, or Double tierce.
Solmisation.)
De'cime. See Dezime.
Decimo'le (Ger.) See Decuplet.
Deci'so (It.) Decided, energetic, witb
decision.
 . ;; ..

DECKE Dl^RIVE. 55

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

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

Oeclaman'do (It.) "Declaiming"; in syllable receives a strong musical
declamatory style. accent or a long note or when an ;

accented syllable, or a word rendered

Declamation. In vocal music, the cor-
prominent by the sense, receives a sub-
rect enunciation of the words, especially
ordinate position in the melody on a
in recitative and dramatic music. (Comp.
weak beat or in short notes." [Riemann.]
Deklaination.)
Dcompos6 (Fr.) Unconnected. Del, dell', del'la, del'le, del'lo (It.) Of
the than the.
D^compter (Fr.) To sing with a porta-
;

mento. Ddlassement (Fr.) A piece or perform-

D6couplez In organ-music, "un-
(Fr.)
ance of a light and trifling character.

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

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

diminishing in force. Sign Delicatamen'te, con delicatez'^za (It.)
Oec'uplet. A group of lo 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 Dli6 (Fr.) Non legato ; leggero,
highest value marked by a slur over
;
Deli'rio (It.) Frenzy con d. , with fren-
;

or under which a figure 10 is set. (Also zied passion.

Decimole, 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. Ace. to 2.
Dmanch, D^manchemerit (Fr.) "Off
later theoreticians, the resolution of a
the neck " ; the thumb-positions in
dissonance to a consonance.
'cello-playing. . . Dimancher, to quit the
Defective. Same as Diminished. neck of the 'cello.
Deficien'do (It.) Dying away. " Question,"
Demande (Fr.) i. e. the
De'gli (It.) Of the than the. ; subject of a fugue. (Usually sujet)
Degree. (Ger. Siu'fe, Ton'stufe; Fr. Demi "half".) Demi-bdton, 2-
(Fr.,
degr^ ; gra'do.) I. One of the 8
It. measure .Demi-cadence, \i3Xi-c&-
t:^^^.. .

consecutive tones in a major or minor dence. .Demi-croche, a l6th-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 theinstr. , viezzo forte.
the staff.
3. A
step. (The prevailing ..Demi-mesure, half-measure. .Demi- .

confusion of the terms degree and step pause, half-rest. .Demi-quart de soupir,
might be obviated by applying degree a 32nd-rest Devii-soupir an eigh-
. . . ,

only to the tones, and step only to pro- teenth rest. Demi-temps, a half-beat
. . . .

gression between conjunct tones, of the Detni-ion, a semitone.

scale ; the expressions whole step, half-
Demiquaver. A i6th-note . . Demise-
.

step, andstep and a half, are quite super-

miquaver, a 32nd-note . . . Demitone,
fluous.) . . Scale-degree, a degree of a
.
rare for Semitone.
scale.. . Staff-degree, a degree on the staff.
Demoiselle (Fr.) Tracker.
Deh'nen (Ger.) To expand, extend ; to
prolong Deh'nung, expansion, Dependent chord, harmony, triad.
ex-
tension, prolongation ; Deh'nungs- One which is dissonant, requiring reso-
lution to a consonant one ; opp. to In-
strich, in vocal music, a line of contin-
dependent.
uation after a syllable, indicating that it
is to be sung to all notes over the line ;
Depress. To lower (as by a |j or \)\))... De-
dots are sometimes used instead . . pression, chromatic lowering of a tone.
Gedehnt' , extended, prolonged hence, ; Derivative, i. Same as derivative chord,
slow, stately. i. the inversion of a fundamental
e.
Dei (It.) Of the than ; the. chord.
2. The root of a chord.

Deklamation' (Ger.) Musico-poetical D6riv6(e) (Fr., "derived, derivative".)

scansion.^" In vocal composition, the Accord dMvi, inverted chord (also
transformation of the poetic rhythm simply d/riv^, an inversion) Mesure . . .
 56 DES DIAPASON.
d/riv^e, any measure indicated by 2 ordinarily applied to formal composi-
figures (2-4, 3-8, etc.) as being derived tions like the fugue or sonata. (See
from, i. e. a fractional part of, a whiole Form.)
note. Devo'to (It.) In a devotional style {con
Des (Ger.) Dfc) . . .De/es, Xi\)\f. devosio'ne).
Des'cant. See Discani. Dex'tra (Lat.) Right . . . Manus d. , right
Descend. To pass from a higher to a hand. . .Manu d., with the right hand.
lower pitch. . .Descent, descending pro- De'zem (Ger.) See Decima.
gression. De'zime (Ger.) The interval of a tenth.
Deside'rio (It.) Desire, longing. .Con Di (It.) Of, from, to, etc.
.

d., in a style expressive of longing,

yearning.
Diag^ram'ma (Gk.) A diagram, i. The
Greek written scale of 1 5 notes, divided
D^sinvolture, avec
volto.
(Fr.) See Disin- into the various tetrachords. 2. In
old music, the staff and the scale writ-
Dessin (Fr.) The design, plan, or struc- ten on it ; also, a score or partition.
ture of a composition. Dia'logo (It.), Dialogue (Fr.) A
duet
Dessus (Fr.) I. Soprano or treble, i. e. for 2 solo voices or divided chorus ; or
the highest vocd part. 2. Earlier a similar instrumental piece.
name for the violin (dessus de viole). Diapa'son(Gk.) An octave (in ancient
De'sto (It.) Sprightly. Greek and in medieval music). ./^/- .

De'stra (It.) Right ... jT/n'wo destra, pason diapenie, or diapason con dia-
right hand (also destra mano, colla de- pente, an octave plus a fifth, a twelfth.
stra) ; a direction in pfte.-plajdng, sig- . Diap.' diatessaron (diap. con diates-
.

nifying that the passage is to be played saron), an octave plus a major fourth a ,

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

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

d. m.) tave plus a major third, a major tenth.

..Diap. semi-ditone, an octave plus a
Dtach (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.
but not staccato Grand detachi, a . . .
Either of the 2 principal foundation-
whole (stroke of the) bow to each note. stops of the organ, the open diapason
and the stopped diapason, both com-
Deterinina'to(It.) Determined, resolute.
monly of 8-foot pitch; if there are 2 op.
Detonation' (Ger.), D^tonnation (Fr.) diap.s on a manual, one is sometimes of
False intonation, singing out of tune. . 16' pitch pedal-diapasons are generally
Detonieren {detonner), to sing false
especially, to flat (gradually lower the
; 16' stops.
;

The open d. has metal pipes
open at the top, and usually of large
pitch) in a cappella singing. scale, though the scale differs when 2
Det'to (It.) Aforesaid ; the same. or more diapasons are on one manual
the tone is bright, full, and sonorous.
Deutsch (Ger.) German . . Deu'tsche .

. . The stopped d. has wooden pipes of

Flote, the orchestral flute Deu'tscher . . .

large scale, closed at the top by wooden

Bass, an obsolete kind of double-bass,
plugs, and yielding a powerful fluty,
having from 5 to 6 gut strings. .Deu-

'
.

tsche Tahulalur' , see Tablature

and somewhat hollow, tone. 3. Com-
. . .
pass of a voice or instr. chiefly poetical.
Deutsche Tdn'ze, German dances, i. c.
;

the old-fashioned slow waltzes. Diapason (Fr.) i . Compass of a voice

Deux (Fr.) Two . . .A deux mains, for
or instr. 2. A rule or scale, ace. to
which makers of various instr.s regu-
2 \a'a&s. .Deux-quatre, 2-4 (see Me-
.

late the size of the latter, and that of

sure). .Deux-temps, or Valse h deux
.

temps, a quick waltz, with 6 steps to

their An organ-stop
parts. 3. (dia-

every 2 of the ordinary waltz {trois

pason). A tuning-fork or pitch-pipe.
Absolute
5.
4.
Diapason nor- 'pAtia. ...
temps).
mal, the standard pitch or
Deuxi&me position (Fr.) Half-shift. scale adopted in 1859 by the
Development. (Ger. Durch'fuhrung.) French Academy , in which 0}
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 national pitch ").
 .

DIAPENTE DIMINISHED. 57

Diapen'te (Gk. and Lat.) The interval Diesa're (It.) To sharp.. .ZJzWj, a.
of a fifth. D. cum ditono, a major 7th.
. . sharp.
. D. cum semidiiono, minor 7th .D. Di6ser (Fr.) To sharp.. .Diese, a sharp.
. .

cum. semiionio, minor 6th .D. cum . .

tono, a major 6th. Dies irae (Lat., "day of wrath".) The

sequence of the Missa pro defunctis ;
Diapenter (Fr.), Diapentisa're (It.) it now forms the 2nd division of the
To progress by skips of a fifth. Requiem.
Diaph'ony. (Gk. diafhoni'a) i. A dis- Di'esis (Gk.) i. The Pythagorean
sonance.
2. See Organum. semitone (later Limma), which is the
difference between a fourth and 2
Diaschis'ma (Gk.) The difference be-
tween the second tierce below the 4th
greater whole tones, =256:243. 2. In
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\)\) ::2025 : 2048).
Diezeug'menon (Gk.) Disjoined (see
Diaste'tna (Gk.) An interval. Greek music, 1).
Diates'saron (Gk.) The interval of a Difference-tone. See Acoustics.
fourth. Differen'tia (Lat.) The differen'tia
Diaton'ic. See Greek music, 2.
I. tono'rum in the medieval Gregorian
2. (In modern usage.) By, through, chants were the different forms of the
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- distincHo.)
mental tone is the key-note. .Diatonic Diffi'cile (It.), Diffici'le (Fr.) Difficult.
.

interval, one formed by 2 tones of the

Dig'ital. A key on the keyboard of the
same standard scale. .Diatonic har- .
pfte., organ, etc.; opp. to pedal (Jin-
mony or melody, that employing the
ger-V^y opp. io foot-Vsj).
tones of but one scale. .Diatonic mod- .

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

.

progression, stepwise progression within tus for exercising the fingers, resem-
one scale. .Diatonic scale, see Scale.
.
bling a diminutive piano in shape, and
5 keys set on strong springs
Diau'los (Gk.) A double aulas, the having
sometimes called Dumb piano.
;

tubes meeting in an acute angle, and

connected by and blown through a com- Di gra'do (It.) (Progp-ession) by de-
mon mouthpiece. grees, step-wise.

Diazeuc'tic (Gk.) Disjoined (see Greek Diiamb', DiiamHius. A double iam-

music, 1). .Diazeu'xis, the separation
.
bus a metrical foot consisting of 2
;

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

terval of a tone also, the tone itself.
;

Di'brach, Di'brachys. A metrical foot Dilettact'. (It. dilettan'te) An amateur.

consisting of 2 short syllables (^ ^) a Diligen'za (It.) Diligence, care.
;

pyrrhic. Dilu'dium (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-

ternation (
w w).
divisible into 2 feet. 2. A verse or
period consisting of two feet.
Dict^e musicale (Fr., "musical dicta- Diminished, (Ger. verklei'nert; Fr. di-
tion".) A modern method of training minu^ie); It. diminu'to.) Dim. inter-
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
paper. tones of which form a dimin. interval.
Diecet'to (It.) A piece for 10 instr.s. .Dim. subject or theme, one repeated
.
58 DIMINUENDO DISSONANCE.
or imitated in diminution. . . Dim. triad, which parallel motion was the rule.
a root with minor third and dimin. fifth. (Fr. dessus.)
2. Treble or soprano
voice the highest part in part-music.
;

Diminuen'do (It ) Diminishing in loud-

ness Dim. pedal, see Pedal.
. . .
Discord, l. A dissonance. 2. Caco-
phony.
Diminuer (Fr.) To diminish (in loud- Discre'to (It.) Discreet comparatively
ness)... ^ diminuant beaucoup,-=.dx-
;

Wia&Vi&dL...Discrezio' ne, discretion; con

minuendo molto. discrezione, with discretion or due re-
Diminution. (Ger. Verklei'nerung ; Fr. serve ; with judicious subordination to
diminution ; li. 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 (J^, ^, or music, the interval of a double octave,
yl that of the original). 2. See Nota- Dis'dis (Ger.) Dx (usually Disis).
tion, 2.
Disinvol'to (It.) Free, easy, graceful.
Dioxia (Gk.) Less common term for . Con disinvoltu'ra, with ease, grace
.
;
Diapente.
Dis'is (Ger.) Dx .
[flowingly.
Dip. The vertical fall of a digital or pedal
Disjunct'. (Fr. disjoint,-e.) See Motion,
when depressed to the full extent also ;
Tetrachord (disjoined').
key-fall.
Diskanf (Ger.) i. Discant, treble.
Dipho'nium (Lat.) A composition for
Diskant'geige, the violin (the treble
2 voices.
instr. of its class) Diskantist' treble . . . ,

Diphtho'nia. A vocal anomaly produced singer Diskant' register

. . . Diskanf.- ,

by inflammatory nodules seated on the stimme, in the organ, a half -stop (also
vocal cords, which on closure of the Hal'bestim7)ie) Diskanf schliissel, so- . . .

latter divide the glottis into an anterior prano-clef.

and a posterior half, so that 2 tones are Dispar'te, in (It.) Aside.
sounded on singing, instead of one.
Dispera'to (It.) Desperate, hopeless. .
Diplas'ic. Two-fold.../), footor rhythm,
Disperazio'ne, con, in a style expres-
that in which the thesis has twice the
of desperation or despair. sive
length of the arsis.
Dispersed. See Harmony.
Dip'ody. A
group of 2 similar metrical
feet, or double foot, especially when Dispon'dee, Disponde'us. A double
constituting a single measure. spondee ; a compound metrical foot
containing 2 spondees.
Direct, i. (Ger. and Lat. Cus'tos ;
Fr. guidon ; It. gui'da, mo'sira.) The
Disposition' (Ger.) The D. of an organ
sign Av or r/ set at the end of a staff to
is properly the preliminary estimate of
its cost, fixing the varieties of stops,
show the position of the first note on
the next staff. (N. B. The Germans number of manuals, etc.; but also
signifies a concise description of the
often use it as a mere mark of continu-
ation equivalent to "etc.", without working parts of a finished organ,
especially an enumeration of the stops,
reference to the pitch of any note.) 2.
couplers, combination-stops, etc.
See Motion and Turn.
Directeur (Fr.) Conductor, director. Disposition (Fr.) Gift, talent, genius.
Dirgfe. A funeral hymn, or similar Dis'sonance. (Ger. Dissonanz'j Fr.
music. dissonance; It. dissonan' za.) i. In
Dirigent' (Ger.) Conductor, director. theory, the simultaneous sounding of
Diriger (Fr.), Dirigie'ren (Ger.) To tones so remotely related that their
direct, conduct. combination produces beats. 2. In
practice, a combination of 2 or more
Dirit'to,-a (It.) Direct, straight. . .^//o
tones requiring resolution opp. to ;
dirifta, in direct motion.
Consonance Dissonant, consisting of
. . .

Dis (Ger.) DjJ. . Disis, Dx .

tones forming a dissonance 2 opp. to ;

Dis'cant, i. (Lat. discan'ius ; Ger. consonant. .Dissonant interval, 2 tones

.

Diskanf; Fr. de'chant.) 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 organum, in ished and augmented intervals.. .ZJj>.


DISSONARE DOH. 59

sonant chord, a chord containing one

more diss, intervals.
cassation.
4. An entr'acte in an opera,
or 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...
Divide. ;
To play divisions.
In dislanza, at a distance, marking
music to be performed as if far away. Divi'si Divided.
(It.) direction in A
scores signifying that 2 parts appearing
Dis'tich. A group of 2 lines or verses ;
oh one and the same staff are not to be
usually called couplet in modern rhym-
played as double-stops, but by the
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 unis., or a 2).
See Differentia.
Division, A
" dividing-up " of a mel-
Distin'to (It.) Distinct, .clear. . .Z);- 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 stonarc. be sung in one breath. (Obsolete.). . ^

Dit'al. A
key which, on pressure with To run a division, to execute such a
the finger or thumb, raises the pitch of passage . . . Division-viol, the Viola da
a guitar-string or lute-string by a semi- gamba.
tone opp. to pedal. , . Dital harp, a
;
Division-mark. A slur connecting a
chromatic lute shaped like a guitar, group of notes, and provided with a
having from I2 to i8 strings, each con- figure indicating their number, show-
trolled by a dital to raise its pitch by a ing that their rhythm differs from the
semitone; inv. by Light in I7g8, and ruling rhythm of the piece ; as for a
later improved by him. (Comp. Klavier- quintuplet, triplet, etc.
Harfe.) Divo'to, Divotamen'te. See Devoto.
Diteggiatu'ra (It.) Fingering. Dixibme (Fr.) The interval of a tenth.
Dith'yramb, Dithyram'bus. A form Do. The Italian name for C; supposed
of Greek lyric composition, originally to have been introduced by Bononcini
a hymn in praise of Dionysus ; later 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 1st degree of the scale.
and the irregular form of its strophes, In the 7?.jr/-/5(; method of instruction,
no two of which were identical. Do'\s the name for all notes bearing the
letter-name C, whether key-notes or
Di'to Finger.
(It.)

Ditone. (Lat. di' tonus; Fr. diton.) A

not.
In the movable-Do method. Do
is always the key-note, whatever key is
Pythagorean major third of 2 greater
whole tones (Si 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). :

Doch'mius. A
metrical foot consisting
Ditro'chee, Ditrochae'us. A compound of 5 syllables ( ^ ).
metrical foot consisting of 2 trochees
( -^ ^ -'); also Dichoree.
Doctor of Music. See Bachelor.
A Dodecachor'don i. See Bissex.
(Gk.)
Ditty. short, simple song.
2. A treatise by
Glareanus (1547) on
Divertiraen'to (It.) short poem
1 j. a the theory of the 12 keys or modes.
Divertissement (Fr.)to music,
J
set
Dode'cupla di cro'me (It.) 12-8 time;
and interspersed with songs and dances, di semicrome, \i-\ii time,
for some special occasion. 2. Light and Dodec'uplet. A group of 1 2 equal notes
easy pieces of instrumental music, such
to be performed in the time of 8 in the
as variations, potpourris, etc. 3. An regular rhythm.
instrumental composition in 6 or 7
movements, similar to a serenade or Doh. See Do.
6o DOI DOT.
Do'i (It.) Same as Due. fara, but at exactly the same height, so-
that the tone does not beat, but is
Doig^ Finger. .ZIot^//, fingered.
(Fr.) .
merely remiorc&d. .Dop'peljlugel, see .

..Doigi/, or dottier, fingering doig- ;

Vis-a-vis ..Dop'pelfuge a double fugue
. ,
Us fourckus, cross-fingerings.
or canon. Dop'pelgeige viola d'amore.
. . ,

Dol'can. See Dukia'na. . Dop'pelgriff, double-stop (on the vio-

.

lin), paired notes (on keyboard-instr.s ;

Dol'ce (It.) I. Sweet, soft, suave dol-
and octaves)...
cemen'ie, sweetly, softly. 2. sweet- A
;
e. g.
Dop'peloktave,
thirds,
octave Dop'-
sixths,
double . . .

toned organ-stop.
pelpunit, do\ih\s dot d^. .) Dop'pel- . . .

Dolcez'za (It.) Sweetness, softness quintpommer, a large variety of bom-

con d., softly, gently. bard Dop'pelschlag, a turn
. . . Dop'- . . .

Dolcian' (Ger.), Dolcia'na, Dolcia'no pekunge, double-tonguing.

(It.) I. A species of bassoon in vogue Dop'pio (It.) Double. .D. movimen'to, .

during the l6th and 17th centuries. 2. twice as fast.../), vo'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) ./J./^rfa'/if (in organ- . .

Dolcia'to (It.) See Raddolciato. 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.
Dolen'do, Dolen'te (It.) Doleful, plaint-
ive, sad . . . Dolentemen' te dolefully, , etc.
Dot. (Ger. Punkt ; Yr. point ; It. pun'
Dolo're (It.) Pain, grief con dolore, in
to.) I. A dot set after a note prolongs-
;

a style expressive of pain or grief its time-value by half (sf- =J w) ; a

pathetically (also dolorosamen'ie, dolo-
ro'so).
second dot or third dot prolongs the
time-value of the dot immediately pre-
Dolz'flote (Ger.; Fr. fate douce; It.
Jla'uto dol'ce^ i. An obsolete*trans- ceding it by half (^l.. . =^ cl J ^ J*).-
verse flute, having a half-plug within (The dot after a.note upon a line is pre-
the embouchure. 2. In the organ, an 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 :
Dora'chor (Ger.) Cathedral-choir.
Dom'inant. i. (Ger., Fr., and It.
Dominan'te.) The fifth tone in the
major or minor scale .D. chord, (a) . .
The dot of prolongation was formerly
the dominant triad {i) the dom. chord
often set in the next measure, quite
;

of the 7th. .Z>. 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.
. 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 connecting several such,
Dop'pel- (Ger.) Double. . .DoJ>'pel-B,
(J P ;

dots calls for the mezzo-staccato. (Some-

Dop'pelbe, the double-flat. .Dop'pel- .
times, especially in earlier authors, the
blalt, double reed. .Dop'pelchor, double .
staccato-dot calls rather for a sforzando
chorus Dop'pelfagott, double-baSsoon.
. . .

..Dop'pelftote (Dtiijlote), (It. Jla'uto

than a staccato ) 3. In old music, sev-
eral dots set above a note indicate that
dop'pio), an organ-register of 8- foot
it is to be subdivided into so many short
stopped pipes, each pipe having 2
mouths, 2 windways, etc., one on either notes ( p ~ rrrn ;
now used over a
side (behind and in front) like the Bi- treraolo-sijn in violin-music to mark
 ^ -
. ..

DOUBLE DRAMMA. 6r

the exact subdivision of the large note

w but
writ-
(^^_ p ).
4. Two ten ;

or four dots {the German tuning)

set in the spaces of the staff, before or
after a double-bar, form a Repeat.
Double-stop. (Ger. Dop'pelgriff; Fr.
double-corde; It. dop'pia ferma'ia.') In
Double. I. A variation. 2. A repetition violin-playing, to stop 2 strings to-
of words in a song.
3. In organ-play-
ing, a 16-foot stop (as accompanying or
gether, thus obtaining 2-part harmony.

doubling the 8-foot stops in the lower Double-tongue. (Ger. Dop'pehunge;

double coup de langue.) In play-
octave).
4. In the opera, etc., a sub-
Fr.
ing the flute, and certain brass instr.s,
stitute singer.
5. (Also Grandsire.) In
change-ringing, changes on 5 bells. applying the tongue in rapid alterna-
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 Double-tong-

tone an octave lower " e. g. double- ;
uing.)
bassoon, double-bourdon,
verb double signifies, to add (to any
etc. 7. The
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. dotibles). See
Variation.
2. The alternativo in a Doublophone. A combined Euphoni-
minuet, when merely a variation of um and Valve-trombone, with one com-
the principal theme and retaining the mon mouthpiece a valve operated by
;

harmonic basis of the latter.

adjective, double as ;
As an
3.
double-barre,
the left
air
thumb throws
from the mouthpiece into the tube
the current of

double-bar d. coup de langue, double-

;
of either instr. at will. Inv. by Fon-
tonguing dottble-croche, a l6th-note
;
taine Besson of Paris in 1891.
;

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 Dou-

. . .
Deux, douce, soft, gentle, sweet.
ble-touche, a mechanism in the keyboard
of harmoniums, etc., for adjusting the
Douzi&me (Fr.) The inter\'al of a
twelfth.
key-fall at 2 different levels, with corre-
sponding differences in the degree of DoTwn-beat. i. The downward stroke
loudness of tone ^xaisxc&A. . .Double- of the hand in beating time, which
triple, 3-2 time. marks the primary or first accent in

Doubl6 (Fr.) A turn.

each measure. 2.
Hence, the accent
itself (thesis, strong beat),
Double-bar. (Ger. Dop'peltaktstrich, Down-bovf. (Ger. Herunterstrich; Fr.
Schluss'striclie; Fr. double-barre; It, tlrez; It. arco in giii.) 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 (-1
; .

thin vertical lines Doxology (Gk.) A psalm or hymn of

(bars) dividing one y^i (2)
praise to God ; especially the Greater
section of a move- ~|i_
ment from the next H
1

h
r~
1
|.
p Z>. (Gloria in excelsis Deo), and the
I
Lesser /'.(Gloria Patri, etc.)
section:
Drag. I. A rallentando.- 2. A &&-
Double-bass. (Ger. Kon'trabass; Fr. sceading portamento in lute-playing.
contre-basse; violonar; It. contrabbas'
Draht'saite (Ger.) Wire string.
so.) The largest and deepest-toned
instr. of the violin family (with the ex- Dramatic music, i. Same as Program-
ception of the rare contrabbasso doppio

music. 2. Music accompanying and
and the Octobass), with either 3 strings illustrating an actual drama on the
(Gi-D-A being the Italian, A^-D-G the stage.
English accordatura), or 4 strings Dram'ma (It.) Drama. D. li'rico, a.

(tuned Ei-Ai-D-G). Compass: lyric drarDn. . .D. musica'le, a music-

62 DRANGEND DULCIMER.
drama, opera... Z). per mu'sica, a endless cord tightened by leathern
musical drama, o^ex&. .Dratnmatica- . braces, or by a system of rods and
men'te, dramatically. .Drainma'tico,
. screws. The two chief classes of drums
dramatic. are the rhythmical (those employed to
vary and emphasize the rhythm), and
Drang'end (Ger.) Pressing, hastening,
the musical (those capable of produc-
hurrying.
ing a mus. tone distinct in pitch). The
Dra^7-stop. In the organ, one of the commonest forms of the first class in
projecting knobs within easy reach of modern use are (i) The side-drum:

the organist, which, when drawn out,
shift the corresponding slides so as to
admit wind to the grooves communicat-
ing with a set of pipes or a combination
of stops, or else effect a coupling.
Draw-stop action, the entire mechan-
ism controlled and set in operation by
the draw-stops.
Dreh'er (Ger.) An obsolete variety of
waltz resembling the Ldndler, of Bo-
hemian or Austrian origin, in 3-8 or
3-4 time.
Dreh'orgel (Ger.) A barrel-organ.
Drei (Ger.) 'Y)\xt.e....Drei'chdrig,
choirs ; (l>) trichord (said of a
for 3
pfte.). .Drei'gestrichen, 3-lined, thrice-
.
(Ger. Trommel; Br. tambour; It. tavi-
bura); it has a cylindrical body of
wood or metal, and 2 heads, is slung
across the left thigh, and only the up-
per head is beaten with the 2 drumsticks
when gut strings (snares) are stretched
across the lower head, the instr. is
called a snare-drum. (2) The bass
drum (Ger. grosse Trommel; Fr. grosse
caisse; It. gran cassa, gran tambura),
similar in form to I, but much larger,
and beaten on one or both heads with
a stick having a soft round knob at the
end. (3) See Tambourine .. .Tht so\s
(a) representative of the second class is the
Kettledrum (which see).

accented. .Z'm'i/aH^,
. a triad...
Duc'tus (Lat.) A seriesof tones in
stepwise progression as d. rec'tus,
Drei'stimmig, three-part, in 3 parts, ;

ascending ; d. rever'tens, descending ;

for 3 voices.
d. circumcur'rens, first ascending and
Drit'ta (It.) See Diritta. then descending.
Driving-note. Syncopated note. (Ob- Du'delsack (Ger ) Bagpipe.
solete.)
Du'e (It.) Two...^ due, signifies (l)
Droit(e) (Fr.) Right ... AfazM droite,
for two as a due voci, for 2 parts or
;

right hand (abbr. m. d.) voices (2) both together (see Divisi).
;

Drone. (Ger. Stim'mer, Bordun' ; Fr. ..Due corde, "two strings"; see
bourdon; It. bordo'ne.) In the bag- Cor da .. .Due volte, twice . / due pe- . .

pipe, one of the continuously sounding dale, both (pfte.-) pedals at once.
pipes of constant pitch. (Also see Duet'. (Ger. Duett'; Fr. duo; It. duef-
Drone-bass.). .Drone-bass, a bass on
.
to.) I. A composition for 2 voices or
the tonic, or tonic and dominant, which instr.s.
2. A composition for 2 per-
is persistent throughout a movement
or piece, as in the Musette 2. .Drone-
formers on one instr., as the pfte. 3.
.
A composition for the organ, in 2
pipe, same as Drone. parts, each to be played on a separate
Driick'balg (Ger.) Concussion-bellows. manual.
Druck'er (Ger.) A Duetti'no (It., dimin. of duetto.)
specially brilliant A
(sometimes aforced) effect short and simple duet.
einen ;

Drucker auf'setzen, to bring out such

Dulcian' (Ger.) See Dolcian.
an effect.
Dulcian'a. i. An organ-stop having
Drii'cker (Ger.) See Siecher. metal pipes of narrow scale and yield-
Druck'vsrerk (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. A small
the remoter parts of the mechanism. bassoon.
(See Zug'cuerk.) Dul'cimer. (Ger. Hack'breit; Fr. iyin-
Drum. An instr. of percussion, consist- panon ; It. cem'balo.) very ancient A
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 istic, the wire strings stretched over a
means of a hoop, 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 Dur,-e (Fr.) Harsh, unpleasing in tone.
wrest-pins, and the mallet-heads have
one soft and one hard face, which pro- Duramen'te (It.) Sternly, harshly.
duce different effects ^ Iff:) Durch'fiihrung fGer.) In a general sense,
of tone. Compass
2 -& fi^E- the mus. construction or working-out of
a movement ; specifically, the develop-
to 3 octaves, g^:
The dulcimer was the
g to
$
precursor, and is often called" the proto-
ment of a theme, as in the fugue or
sonata. (See Development, Form.)

type, of the pianoforte. See Panialon. Durch'gang (Ger. ; Lat. tran' situs.) The
" 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'gelmdssiger D.ton, one
;

practice, i. e. merely for increasing the falling on a weak beat un'regelmds- ;

mechanical dexterity of the fingers siger Durchgangston, one falling on a

(Comp. Digitorium, and Virgil Prac- strong beat, also called a schwe'rer
tice-Clavier) . . .Dumb spinet, ss&Mani- Durchgang, "heavy passing - tone,"
chord. though properly an anticipation or free
Dummy pipes. Pipes which do not suspension.
speak, displayed in the front of an Durch'gehend Passing, as
(Ger.) i.
organ. Durch'gehender Akkord',
passing-
Dump. An obsolete dance in slow tempo chord.
2. Transitional, as durchge-
and common time. hende Aus' weichungen, the transitional
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
from duet by applying the former term
3. Complete ; as du7'ch'gehende
Stim'men, complete (organ-) stops.
to a 2-part composition for 2 voices or
instr.s of different kinds, and the latter Durch'komponieren (Ger.) In song-
writing, to set each strophe to differ-
to such a composition for 2 voices or
instr.s of the same kind.)
ent music, thus following the changing;
mood more closely than in the ballad or
Duode'cima (It.) i. The interval of a folk-song, where melody and harmony
twelfth. 2. A Twelfth (organ-stop).'
are generally the same for each verse
Duodecimo'le (Ger.) Dodecuplet. Durchkomponiert, through-com-
. .
'
'

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

4 trines, applied to the solution and Durch'schlagende Zung'e (Ger.) Free
correction of problems in temperament reed.
and harmony. A
duode'nal is the sym-
Durch'stechen (Ger.) Running (of
bol of the root-tone of a duodene. The
wind in an organ). Also said of a pipe
term (as also Trine, Decad, Heptad, which, when facing another, causes the
Heptadecad, etc.) is the invention of A.
latter to speak by the wind issuing from
J. Ellis, a full explanation of whose itsmouth. Durch' stecher, tones pro-
system of acoustics will be found in his duced by the above defects.
original Appendices to the Second Eng-
lish Edition of Helmholtz's work ' On
' Dur^e (Fr.) Duration, time-value (of a
note).
the Sensations of Tone," (1885, trans-
lated by Ellis himself,!. Durez'za (It.) Sternness, harshness.
Duodra'ma. (It. duodram'ma) A kind of Dur Moll'-Tonart (Ger., "major-minor
melodrama, or spoken dialogue accom- mode".) The "combined" mode
de-
panied by the orchestra. rived theoretically from the resolution
of the dominant chord in minor to the
Duo'i (It.) Same as Due.
tonic in major (mode with major third
Duo'le (Ger.) Couplet 2. and minor sixth); expressed by the
Duo'lo (It.) Grief, sadness, melancholy. Hauptraann formula
Du'pla {proportid).
~
See Notation, 3. D/F-at)-C-e-G-b-D/F.
Duple. Double... Zi. rhythm, rhythm Du'ro,-a (It.) Stern, harsh.
of 2 beats to a measure. Du'rus,-a,-um (Lat, "hard";) Equi-
64 DttSTER EIN.
valent to major in the phrases cantus Eclisses (Fr.) Ribs (of a violin). .

durus, hexachor'duni durum; i. e. a Contre-Misses, linings.

chant (vocal music) and hexachord with Eclogue. See glogue.
major third opp. to Mollis.
; durum, B Ec'lysis (Gk.) The flatting or depression
B natural. of a tone ; opp. to Ec'bole.
Dii'ster (Ger.) Gloomy, mournful.
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
or theme of a fugue. lively contredanse in 2-4 time. (Com-
Dynam'ics. The
theory of mus. dyna- pare Schottische.)
mics is the scientific explanation of the Ecu (Fr.) Shield (on face of lute, man-
varying and contrasting degrees of in- dolin, etc.)
tensity or loudness in mus. tones. Ed (It.) And.
E'del (Ger.) Noble ; refined, chaste.

E. Effekt' (Ger.) 'ERect. .Effekt'piano, .

the effect of the forte-piano (fp).

E. (Ger. E; Fr. and It. ?z'.) The 3d Effet (Fr.), Effet'to (It.) Effect, im-
tone or degree in the typical diatonic pression.
scale of C-major. (Compare Alphabet-
Effort (Fr.) In singing, a rough and
ical Notation, and Solmisation.)
guttural attack.
E (It.) And ;
(before a vowel, ed).
Egalit^ (Fr.) Evenness, smoothness.
Bar. (Ger. Ohr, Gehor' ; Fr. oreille;
I.
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
practice, the capability of accurately
Egua'le (It.) Equal; even, smooth...
ireproducing them, and of appreciating
Egualmen'ie, evenly, smoothly.
;and correctly analyzing compositions Eidomu'sikon. See Melograph.
performed by others. 2. One of the Ei'gentlich (Ger.) Proper, actual, true,
2 projecting plates of metal on either real Ei'gentliche Euge, a strict fugue.
. . .

side of the mouth of an organ-pipe. ..Ei'gentliche Kadenz', perfect ca-

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 (Ger.) Natural tone (of a
Ecart (Fr.) A wide stretch on the pfte. wind-instr.) tone proper to, or pro- ;

Ec'bole (Gk.) The

raising or sharping
duced by, a sonorous body or hollow
space.
of a tone ; opp. to Ec'lysis.
Ecceden'te (It.) Augmented (of inter-
Eighteenth. An interval of 2 octaves
vals).
and a fourth.
Ecclesiastical modes. See Modes. Eighth. I. An octave. 2. An eighth-
note Eighth-note, a note representing
. . .

Ec'co (It.) Echo. one-eighth of the time-value of a whole

Echappement (Fr.) The hopper or es- note a quaver (' j')- .Eighth-rest, a
;

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

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

strain or phrase. 2.
An echo-stop. do, stringendo Ei'lig, hasty, in a hur-
ried style; rapid, swift.
. . .

3. A haxpsichoid-stop. .c/io-orffan, .

a separate set of pipes, either enclosed Ein, Eins (Ger.) One Ein'chorig, (a) . . .

in a box within the organ, or placed at a having one string to each note (i) 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 ma.nua\. .EcAo- . troduction. .Ein'gestrichen, one-lined. .

stop, one producing an echo-like effect, . .Ein'greifen, (a) to touch or sound

either by itself or in an echo-organ. (strings) ; (J>) in pfte. -playing, to inter-
 : . :

EISEMPATER. 65

lace the fingers. .Ein'klang, unison.

. . shading timbre like that of the string-
;

Ein'lage, a short piece introduced \ein.'- orchestra the ordinary hammer-action

;

gelegt) between 2 compositions or in the may be employed alone, or in combina-

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

or fall in ; ein' seizmder Hornisi', a Elegan'te (It) Elegant, graceful...

horn-player who sets the mouthpiece Elegantemen'te, elegantly, etc.
rather within than against his lips a ;
Elegie'zither (Ger.) See Zither.
lipping sometimes necessitated by thick
lips. .Ein'singen, (a) to sing to sleep
.
El'egy. (Fr. /l/gie ; It. elegi'a.)
;
A
(*) to practise singing until confidence composition of a mournful cast, either
is attained. . .Ein'spielen, (a) to play on vocal or instrumental a dirge Ele'- ; . . .

a new instr. till it works smoothly ; (p) to
practise a part or piece until confidence
is attained. .Ein'stimmen, to tune (in
.
giac, a pentameter, i. e. a verse com-
posed of 2 dactylic penthemims or
written in elegiac metre. Elegiac verse, . .

concert with other instr.s). . .Ein'stim- that in which elegiac poems or verses
mig, for one part or voice. . .Ein'lriti, are written, consisting of elegiac dis-
entrance ; beginning. tiches an elegiac distich being one in
;

which the first line is a dactylic hexa-

"E'is (Ger.) Eft. . . E'isis, Ex .
meter, and the second a pentameter,
Ei'senvioline (Ger.) See Nagelgeige. thus
Eklo'g(u)e. Ger. spelling of Aglogue.
Ela. Name of the highest
note in the Aretinian scale
Electric Organ. .Electric Element (Fr.)
Pianoforte (Ger. elektropho' nisches Kla-
See Organ.
f
The entire range of
.

tones embraced in the mus. scale...

vier"), inv. in l8gi by Dr. Eisenmann Ument metrique, a measure-note.
of Berlin. Over each unison of strings
Eleva'tio (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

magnet attracts its strings, and (the
ody over the ambitus of the mode. 3.
A mus. composition accompanying 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,
capable of the most various dynamic
Elevation.
written
name of 2 obsolete graces, the elevation
and shaked elevation :
Shaked Elevation.
+ 4-

played

Elvation (Fr.) i. Up-beat or weak Embouchure (Fr.) i. The mouthpiece

beat (also lev^") opp. to Frapp/. 2.
;
of a wind-instr., or the oval orifice of
Same as Elevatio 2 and 3.
a flute. 2. See Lip.
Eleva'to (It.) Elevated, lofty, sublime.
Empater les sons (Fr.) To produce a
. .Elevazio'ne, see Elevation.
very smooth and suave legato. .Exe- .

Embellir (Fr.) To embellish, orna- cution (voix) empdt/e, an instrumental

ment. (vocal) style lacking in neatness and
Embellishment. See Grace. distinctness.
66 EMPFINDUNG ENTREE.
Empfin'dung(Ger.) Feeling, emotion.. quai'ter-tones, and the third step a
Empfin' dungsvoll, full of feeling feel- ;
major third. In modern music, enhar-
ingly, with emotion. monic tones are tones derived from dif-
Empha'se (Gar. and Fr.) Emphasis, ferent degrees, but practically identical
stress. in pitch, as 4f ^'^'I d\) on the pfte. or
organ. .Enharmonic change, a change
.

Emport^,-e (Fr.) Carried 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
haste. tone or chord of dif-
Enarmo'nico (It.) Enharmonic. ferent notation ; thus:
En badinant (Fr.) See Scherzando. where the enharm. change of Br) to aj
brings about a different resolution of
Enclavure du manche (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 (l) a?-minor. (2) i^-minor.
usage the French use the word ''"bis"
;

when recalling an actor or performer).

Also used for recall (itoun and verb),
and for the piece or performance re-
..Enharmonic chords, chords (like I
peated.
and 2 above) alike in pitch but unlike
End-man. In the "negro minstrels", in notation and derivation. .Enharm. .

a man who sits at the end of the semi- di'esis, see Diesis. . .Enharm. interval,
circleformed 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. .Eiiharm. .

good part of the fun apart from the organ, pianoforte scale, one in which
,

songs, and likewise perform on the
"bones " and the tambourine.
Energi'a (It.), Energie(Fr.) Energy.
Energicajnen^ te (It.), or con energia,
with energy and decision, energetically.
Ener'gico (It), Ener'gisch
the identity of the enharmonic tones is
denied, and an attempt made to realize
.
practically the minute differences in
pitch between such tones, e. g. by add-
ing an extra digital for d\) as distinct
from 4t etc.
(Ger.) En- I

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
composition the harmonious agree-
Enfant de choeur (Fr.) A choir-boy.
;

ment of parts which forms a well-bal-

Enfa'si, 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, c\os& Eng' . . . performance of the actors, singers,
;

Harmonie' (Lage), close harmony. musicians, or instruments, taken in

Eng'elstimrae (Ger.) Vox angelica. groups or together Morceaux d' en- . . .

semble, concerted music.

Eng'fuhrung (Ger.) The stretto in a
fugue. En serrant (Fr.) Stringendo.
"
Eng'lisch (Ger.) English ... j^/tj(r/4 Entr'acte (Fr., interval between acts".)
Horn, cor zvi^^X?,. .Eng'liscke Me- ,
A light instrumental composition or
cha'nik, English action (pfte.). .Eng"- .
short ballet, intended or adapted for
lischer Tans, anglaise Englisch Vio-
. .
performance between acts.

let',
(a) an obsolete bow-instr. re- Entra'ta (It.) See Entree, and Intrada.
sembling the viola d'amore, with 14 Entree (Fr.) i. See Intrada; also,
sympathetic strings stretched below specifically, the orchestral prelude to a
the fingerboard (!>) a former tuning
; ballet, following the overture. 2. En-
of the violin ('--^'-a').
enharmo'nisch
trance (of a part or actor). 3. division
of a ballet corresponding to a " scene"
A
Enharmon''ic. (Ger.
Fr. enharmonique ; It. enarmo'nico^ in a dramatic performance also, the ;

In Greek music, the enh. genus was dance-music accompanying it. 4. An

distinguished by a tetrachord, the first old dance resembling the Polonaise in
2 steps in which were (approximately) character, usually in 4-4 time often ;
 ;

ENTRY ESPRESSIONE. 67

occurs as first movement in the Sere- (or ^oys') voices (contralto and soprano),
nata. or men's voices (tenor, bass) opp. to ;

Entry. An act of an opera, burletta, etc.

"unequal voices," a term equivalent to
(Obsolete.)
mixed chorus.
Entschlos'sen (Ger.) Resolute(ly), de-
E'quisonance. In medieval music, the
termined, in a determined manner.
unison (of primes or octaves).

Entwurf (Ger.) Sketch, plan, design.

Equisonnance (Fr.) The unison (of
octaves, double octaves, etc.)
Eo'lian. See ^olian.
Equi'sono (It.) In unison or octaves.
Ep'icede. (Lat. epice' dium ; Fr. 1^2-
Me ; It. epice' dio^ A funeral song,
Equiv'ocal or doubtful chord. See
Chord.
dirge.
Ergrif'fen (Ger.) Affected, stirred, rao\-
Eptg^o'nion (Gk.) The ancient Greek
ei...Ergrif'fenheit, emotion, agita-
lyre with 40 strings, named after its re-
tion.
puted inventor Epigonos.
pinette (Fr.) Spinet.
Erha'ben (Ger.) Lofty, exalted, sub-
lime. . .Erha'benheit, sublimity, etc.
Epini'cion (Gk.) i. A triumphal song
in celebration of a victory. 2. In the
Erhoh'ung (Ger.) Raising (the pitch of)
sharping. .Erhoh'ungszeichen, sign of
Greek Church, the triumphal hymn, the .

raising, as the or a t] after a \).

Sanctus. fl,

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

Episode. (Ger. Zwisch'ensatz; Fr. epi- Ernie'drigung (Ger.) Lowering (the
sode; It. diver timen' to.) An intermedi- pitch of) flatting. .Ernie' drigungs-
; .

ate or incidental section a digression zeichen, sign of lowering, as the \), or

;

from and interpolation between the the tj after a f,.

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 (It.) Heroic ; strong and
the above character ordinarily formed of dignified.
motives taken from the subject or coun-
tersubject.
Erot'ic. (It. ero'iico.) i. Amatory. 2.

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

gregation the south side opp. to the

; ;
Stim'me, the highest part or voice.
gospel or north side. Erwei'tern (Ger.) To extend, expand.
Epis'trophe (Gk.) In a cyclic composi- Erwei' terte Harmonic' seeLage, lueite. ,

tion, a refrain. .Erwei'lerter Satz, a movement in

.

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'ierung (of a fugal theme), the
Epithala'mion widening of any of its intervals.
Epithala'mium (Lat.),
(Gk.) A nuptial song or poem. Erzah'ler (Ger.) The Evangelist or
Epito'nion (Gk.) A tuning-wrench ; a Narrator in a Passion-play.
pitch-pipe. Erz'laute (Ger.) Archlute.
Ep'itrite. Same as Hippius. Es(Ger.) Eb..../, Ebb-
"after-song".) I. A re-
Ep'ode
frain.
(Gk.,
2. The concluding
stanza of an
Esacor'do (It.) i. Hexachord. 2. The
interval of a sixth.
ode, following the strophe and anti-
strophe. Esat'to (It.) Exact, true.
Eptacorde (Fr.), Eptacor'do (It.) i. Esecuzio'ne (It.) Execution.
Heptachord. 2. A scale of 7 notes.
Eserci'zio (It.) Exercise ;
practice.
3. The interval of a seventh.
Espace (Fr.) Space (in staff).
Equa'bile (It.) Equable, even, uniform,
simiXai. .
Espiran'do (It.) Expiring, dying away.
.Eqtiabilmen'te, equably, etc.
Equal counterpoint, temperament. Espressio'ne, con (It.) With expres-
See the nouns Equal voices, voices
.
sion,
. .
exy/ressivAy. .Espressi'vo, ex- .

of the same class, i. e. either woinen's pressive.

68 ESSENTIAL HARMONY EXTEMPORIZE.
Essential harmony. See Harmony.. Evening-song, Even-song. In the
E.SS. notes, chord-notes., .^j-/. yth, (a) Anglican Church, a form of worship
the leading-note ;
{b) the dominant appointed to be said or sung at eve-
chord of the 7th. ning known as Vespers in the R. C.
;

Estensio''ne (It.) Compass. . .Ssteso,-a Church.

(pi. estesi,-e), extended. Ever'sio, Evolu'tio (Lat.) The inver-
Estinguen'do (It.) Extinguishing, dy- sion of the parts in double counter-
ing away. point.

Estin'to (It.) Barely audible
treme of pianissimo.
Estravagan'za (It.) Extravaganza.
Etalon (Fr.) Scale 3.
Etendue (Fr.)
; the ex- Evira'to (It.) See Castrato.
Evolution (Fr.) See Renversement,
EVOVAE. The vowels of S^clOTm
am^n, the last two words in the Gloria
Compass.
Patri.
In Gregorian music, the trope
closing the Lesser Doxology in a wider ;

Etoff6(e) (Fr.) Having " body". . . Voix sense, any trope.

^toff/e, a full, sonorous voice. Exercise. (Ger. O'bung, O'iungs^tiick;
Etouff6,-e (Fr.) damped, muf-
Stifled, Fr. exercice; It. eserci'zio.) short A
fled . . . ^touffoir, damper (pf te.) technical study, often consisting of but
Ettacor'do (It.) See Eptacordo. one repeated measure, for training the
fingers (or vocal organs) to overcome
Etude (Fr.) A study ; especially, one some special difficulty also, a short ;

affording practice in particular some 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- firmus) to be filled out harmonically or
ance ; a species of characteristic piece. contrapuntally by the student.
Et'Twas (Ger.) Rather, somewhat. Exhaust-pallet or -valve. A valve
Euharmon'ic. Producing harmonies opened by a draw-stop, to let off the
perfectly pure ; opp. to tempered. .
wind in the bellows after playing an ;

Enharmonic organ, one having a suf- evacuant.

ficient number of keys to produce all Exposition, i. (Ger. er'sie Durch'filh-
the fundamental and the chief deriva- rung.) Fugue.%e.&
2. (Ger. ,[-/;o'].)
tive tones. Development.
EUOU AE. See E VO VAE. 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. Aus'druck; Fr. ex-
foot free-reed stop, with a soft sweet pression; espressio'ne^
It. The clear
tone like that of the clarinet. and effective presentation of the emo-
Eupho'nia (It.) Euphony. tional and intellectual content of a
work its proper reading and interpre-
Eupho'niad. A kind of orchestrion.
;

tation, rendering and execution ... .fix-

Eupho'nium. i. An instr. inv. by pression-mark, a written direction
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^ 2. 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
partly under the control of the pedals.
inventress, of the double flute, and pa-
troness of flute-players and of primitive Expressive organ. (Ger. Expressit/-
and simple melody. orgel; Fr. orgue expressif.) The har-
Evacua'tio In mensurable nota-
(Lat.)
monium.
tion, writing only the outlines of solid Extem'pore. Without previous prepar-
notes, thus reducing their value by one- ation ; on the spur of the moment off- ;

half. hand.
Evakuant' (Ger.) The exhaust-valve Extem'porize. (Ger. extemporie'ren.)
or exhaust-pallet in the organ (Engl, ;
To improvise Extemporizing-ma-
. . .

also evacuant), __ chine, an apparatus for mechanically

 2 :.

EXTENDED COMPASS FAGOTTO. 69

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. Extravagan'za. A composition of an
Extended compass, harmony, inter- extravagant, virhimsical, or fantastic
val. See the nouns. character a burlesque.;

Extension (Fr.) i. On the pfte., a Extreme, i. Of intervals, augmented.

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 i^tendtce. curs on the 6th degree in minor in 3
Extension-pedal. See Pedal. principal forms
3.

or with progression to major (^jj). improvised. 3.

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

ranks, drei'fach='Vh 3 ranks, etc.

F. (Ger. F; /a.) The fourth
Fr. and It.
tone and degree in the typical diatonic Fach'erfdrmiges Pedal' (Ger.) A
scale of C-raajor. (Comp. Alphabeti- "fan-shaped" or radiating pedal-key-
cal notation, Solmisation.) f-=:forte; board.
/for fff (seldom ffff^ , fortissimo. Faci'le (Fr.), Fa'cile (It.) Facile, easy,
&Ment . . . Facilement (It. facilmen'te),
Fa. I. The fourth of the Aretinian
syllables. 2. Name of the tone in F easily, fluently. Facility (it. facilita'),
.

ease, easiness, facility, fluency facili- ;

Italy, France, etc. .Fa feint (Fr.), fa
te{e) also signifies made easy, as an easy
.

f.c'tum (Lat.), former term for any arrangement of a difficult piece or

flatted note...Aa mi, in solmisation,
passage.
the descending step of a semitone;
originally that from F to E, thereafter Fack'eltanz (Ger.," torch-dance".) A
D, torch-light procession arranged at some
from \) to A, ^ to etc.
German courts at the marriage of a
Fabliau (Fr.) A
versified tale or ro- member of the reigning family the ;

mance of the trouvires, in vogue chief- music a polonaise in march-time, for

is
ly during the 1 2th and 13th centuries. military band, and in minuet-form.
.Fablier (Proven9al), a Trouvhre.
.
Facture Ger. Faktur'; It. fattu'-
(Fr. ;

Fa'burden. (Fr. faux bourdon; It. ra.) I. The

plan, build, structure,
fal'so bordo'ne.) i. In medieval music, construction of a composition. 2. (Fr.
the primitive harmonization of a. t. f. 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- Fad'ing. An Irish dance also, the ;

tave. 2. Later, the setting of a simple burden of a song.

(note against note) counterpoint to the
Fagott' (Ger.) Bassoon Fagott'zug
c. /., strict parallel motion being given
. . .

(or simply Fagott), a reed-stop in the

up to some extent dissonances were ;

organ.
avoided, various embellishments added,
and the whole counterpoint frequently Fagot'to (It.) Bassoon. .Fagotti' no, a .
70 FAH FAUSSE.
" small bassoon '' pitched a fifth higher dance in triple time, for 2 dancers of
than the ordinary one (Ger. Quinf- different sex, who accompany it with
fagoit. Tenor'fagolf) 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,
Fah. For /a in Tonic Sol-fa. both dance and song having a guitar-
accomp.; the following is the Castanet-
Faible (Fr.) Weak Temps . . . faible.
weak beat. rhythm: / J??] .^^ / |

Faktur' (Ger.) See Facture.

Fanfa'ra Fanfare
(It), A (Fr.) i.
Fa-la. See Ballet 3. .Also, in Italy, a.
brass-band. A fanfare.
2.
kind of arietta ending with a burden of
fa-la.
Fan'fare. A
ilourish of trumpets or

Fall. I. Same as Fly. 2. A cadence

trumpet-call, either in the orchestra,
on a hunt, or at warlike gatherings.
or close. 3. A lowering of the voice. Fantasi'a (It.; Ger. Fantasie' , Phan-
Fall (Ger.) See Ton'fall. tasie's Fr. fantaisie.) I. An impro-
Falling rhythm. A descending rhythm. visation or impromptu. 2.
In the 1 7th
Fal'sa (Lat. and It.; Ger.falsch.) False, and 1 8th centuries, an instrumental
wrong. .Mu'sica falsa, see Ficta.
. .
composition in free imitation, as con-
Quin'ta falsa (Ger. fal'sche Quin'te), trasting with one in strict imitation.
diminished fifth. 3. Later, a composition free in form
and more or less fantastic in character.
False. (Ger. falsch ; Fr.
falso,-a^
It. Wrong;
not true to
faux, fausse ;
4. Aterm loosely applied to pot-
pourris and paraphrases ... /'V(?^ fan-
pitch, out of tune
False cadence,
. . .

tasia, that part of the first movement of

chord, fifth, harmony, see the nouns. .

False relation, also inharmonic rel.,

a symphony or sonata which follows the
cross-rel., an harmonic discrepancy double-bar (repeat of first part) and
precedes the reintroduction of the prin-
arising from the chromatic contradiction
cipal theme it consists chiefly of a free
of a tone in one part by another part. ;

In equal counterpoint it is apt to occur development of motives taken from the

first part.
at a modulation, and consists in sound-
ing, either simultaneously or success-
Fantasie'ren (Ger.) SeePhantasieren.
ively, a tone and its chromatically al-
. .Fantasie' stack, see P hantasiestiick.
tered octave. The former case is Fanta'stico (It.), Fantastique (Fr.),
generally confined to passing-notes in Fantas'tisch (Ger.) Fantastic, giving
figuration, and then has no ill effect free rein to the fancy.
the latter case occurs when a chromatic-Fan'tasy. See Fantasia.
ally changed tone, which might have Farando'la, Farando'le. A circle-
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 Farce, i. (It. far'sa.) A one-act opera
J
^^
to a paral-
lei minor :^- ^!St^ j =J=^^ -
or operetta of ultra-comical or burlesque
character. (It. farsia.) canticle A
chord, or m ' '' '
2.
in the vernacular intermingled witli
vice versa: v T Latin, formerly sung at the principal
Falset'to (It. Ger. Falsett' ; Fr. voix
; festivals of the R. C. Church, and later
defausset, fausset.) The highest of the 3 finding ludicrous imitation in the farsa
vocal registers (chest-voice, head-voice, or farce.
falsetto), so named from its forced or Fa'scia (It.) i. A tie. 2 (si\., fascie).
unnatural character ; often reckoned to Ribs.
the head-register. . .Falset'tist, a falset- Fastosamen'te (It.) Pompously, in
to singer. a stately style. . .Fasto'so, pompous,
Fal'so,-a (It.) False. .Falso dordone, . stately.
{a) see Faburden ; (b) the reciting-note. Fatigue-call. A signal to soldiers, call-
Fancy. A short piece of an impromptu ing them to fatigue-duty.
character ; a fantasy. Fattu'ra (It.) See Facture.
Fandango. (Span.) A lively Spanish Fausse (Fr., masc. /a;r.) False... i''.
 . . ..

FAUSSET FIFTH. 71

quints, dimin. fifth. . .TT, relation, false Festivamen'te (It.) In a gay, festive
relation manner. . .Festivita' , festivity, mirth :

Fausset (Fr.) See Falsetto. con f, in a gay and festive style . . Fes-
.

ti'vo (Ger. fest'licK), festive, festal (also

Faux (Fr.) False . . . Faux-bourdon, see
festo'so).
Faburden.
Feu'er (Ger.) Fire, ardor, passion . .

F-clef. (Ger. F-schliissel ; Fr. clef de Feu'erig, fiery ; with fire, ardently, pas-
fa ; It. chiave di basso.) See Clef. sionately.
Fe'derklavier (Ger.) Spinet. F-holes. (Ger. F'-locker ; Fr. les F.)
Feeder. In the organ, see Organ, (i) The 2 /-shaped soundholes cut in the
Wind-supply. belly of the violin, etc.

Fei'erlich (Ger.) Festive ; solemn, Fiac'co (It.) Languishing.

grave, serious. (Also adverb.) Fia'sco (It.) Failure.
Fei'len (Ger.) To file, polish, refine, Fia'to (It.) Breath, breeze, wind.
put the finishing touches to. Strumen'to daf, wind-instr.
Fein (Ger.) Fine, delicate, refined. Fic'ta,-um (Lat., "feigned".) Fa fie'.
turn, see Fa. .Mu'sica ficta, see Mu-
.
Feint,-e (Fr.) See Ficta.
sica, in Appendix.
Feld'fl6te,-pfeife (Ger.) 1. SteBauem-
Jlote. 2. A fife. 3. See Schweizer-
Fiddle. (Ger. Fi'del, Fie'del.) See Vio-
lin. . .Fiddle-bow, fiddlestick, see Bow.
flote 2.
Fi'des (Lat.) I. The
string of a mus.
Feld'stiick (Ger.) A cavalry-call or
instr. 2. A lute, lyre, cithara.
signal.
Female or feminine rhyme. A rhyme
Fi'dicen (Lat. ; f em. fidicina.) A player
on a stringed instr.
ending with an unaccented syllable, as
fate'ful ungrate'ful. Fidic'ula (Lat.) Dimin. of Fides.
Fermamen'te (It.) Firmly, with de- Fidu'cia (It.) Confidence, boldness.
cision. Fie'del (Ger.) Tidd\e. .Stroh'fiedel, .

Ferma're xylophone.
il tuono. See Messa di voce.
Fier, Fi^re (Fr.) Proud, haughty.
Ferma'ta (It.), Ferma'te (Ger.) i. A
pause, stop, or interruption, as that be- Fie'ro,-a (It.) Wild, fierce ; bold, vig-
fore the cadenza of a concerto. 2. A orous. .Fieramen'te, wildly, boldly.
. .

hold (^). 3. A
stop (on the violin). Fierez'za, fierceness, boldness, vigor.

Fermez'za, con (It.) In a firm, de- Fife. (Ger. Quer'pfeife ; Fr. fifre; It.
cided, energetic style {deciso). piffero.) I. An octave e,zia
cross-flute with 6 holes and
Fer'mo (It.) Firm, decided ; fixed, un-
changed (as canto fermo).
without keys (thus differ- y ^
Fer'ne (Ger.) Distance. Wie aus der . .
ing from the Piccolo)
compass about
^=:
>
; ^
tJ
|

Feme, as if from a distance. used chiefly as a march-accomp. with

Fern'flote (Ger.) A covered 8' organ- the drum.
2. An organ-stop of 2-foot
stop of very soft tone. pitch a piccolo-stop.
;

Fern'werk (Ger.) Echo-organ. Fifteenth, i. (Ger. Quint' dezime ; Fr.

Fero'ce (It.) Wild, fierce, vehement... quinziime ; It. quindice'sima.) A
Ferocita' , wildness, vehemence ... Ctf
double octave. 2. An organ-stop of 2-
ferocita, wildly, vehemently. foot pitch.

Fer'tig (Ger.) Ready; done, finished Fifth. (Ger. Quin'te ; Fr. quinte ; It.
;

prompt, skilful, &e,yAerov&. .Fer" tigkeit,

.
quin'ta.) An interval of 5 diatonic de-
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 (It.) Fervent, ardent, pas-
this name is the perfect (or major) fifth,
sionate.
equal to the interval between the key-
Fes
Fest
(Ger.)
(Ger.)
Y\)

I.
.

A
. .Fes'es,
festival .
P^f-
. . MusiUfest,
note and the fifth tone of
the diatonic scale e. g. ;
m^
mus. festival. 2. P'irm, steady. (Also (c-g), the vibrational ratio being ir:^::2:3.
adv^ . .Diminished {Jmperfect, defective,
72 FIFTHY FINGER-CYMBALS.
minor, or false) fifth, an interval nar- Filar' il tuo'no, 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 affilar^
matic semitone than a perfect fifth . . il tuono; Fr. filer un son, la voix.)
Consecutive (ox parallel) fifths, see Con-
Fil'pen (Ger.) See Fistulieren.
secutive. . . Covered {concealedor hidden)
fifths, see Octave. 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
specially prominent. (in any mode) on which the melody
must end (equiv. to Icey-note or tonic) r
Figur' (Ger.) See Figure 2.
in the authentic modes it was the low-
Figu'ra mu'ta (Lat. and It.) A rest. est tone in the plagal modes, the 4tb
;

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 was a simple ligature formed by closing cadence.
uniting 2 notes ; (a) in Plain chant, it

was written in 2 ways :

Fina'le (It.) i. A
final. 2. The con-
cluding movement
of a sonata, sym-
I. 2.
phony, etc. or the closing number of
^
,

sung ^E 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
^^)s^m^s i n all
highly dramatic or otherwise striking
effect.
sung:
igt EH i Ssz. :et
cases the
;

Fina'lis (Lat.) See Accentus.

ends of the figure marked the seats of
Fi'ne (It.) End,
close indicates either
the 2 notes. In the midst of a ligature ;

the end of a repeated section (after the

it possessed no special significance ; but
da capo or dal segno), or the end of a
at the termination it denoted the imper-
piece in several divisions.
fection of the final note.
Flg'ural. See Figurate. .Figural'ge- .
Fing'er (Ger.) Finger. . Finderbildner,
joj'(Ger.), cantus figuralis. ..Figural'- ("finger-developer"), see Dactylion.
musik, unequal or figurate counterpoint. An apparatus of this name was also in-
vented by Seeber, and consists of a
Figurate. (Ger. figuriert' ; Fr. figuri;
separate attachment for each finger,
It. figura'to.) Having, or consisting
whereby the bad habit of bending the
of, figurations. (Also Figurative.)
last joint inwards is corrected Fing'- . . .

Figuration, i. In counterpoint, the erfertigkeit, "finger-dexterity", agility

introduction of comparatively rapid fig- and readiness of the fingers Fing'er- . . .

ures or phrases, containing passing and leiier, see Chiroplast. .Fing' ersatz, .

changing-notes, into the counterpoint. Fing'ersetzung, fingering eng'er F,,

2. The variation of a theme by accom-
close fingering; gedehn'ter F., spread
;

panying it with florid runs and pas- fingering, stretches. .Fing'erwechscl,.

sages, or by substituting for its own change of fingers.

melody-notes more or less florid varia-
Fingerboard, i. (Ger. Griff' bretj; Fr.
tions.
3. The writing-out of a figured
louche, manche: In the
It. tastie'ra.)
bass.
violin, guitar, the thin, narrow
etc.,
Figure. I. (Ger. Figur" ; Fr. figure; strip of wood glued upon the neck,
It. figura.) A
distinct group of notes, above which the strings are stretched,

a motive. 2. (Ger. Ziffer; Fr. chiffre; and on which they are stopped with the
It. ci'fra.)
thorough-bass.
A
numeral, as used in fingers of the left hand. 2. See Key-
board.
Figured. I. (Ger. bezif'fert; Fr. chif- Finger-cymbals. Very small cymbals,
fri(e); It. cifra'to.) Provided with fig- held in pairs on the thumb and fore-
ures, as a bass (see Thorough-bass). finger of both hands Finger-hole . . .

2. Figurate. (Ger. Ton'loch), in the flute, clarinet,

Fil (Fr.) Thread (of a violin-string). etc., a hole in the tube, to be closed by
 . .; .

FINGERING FLAUTANDO. 73

a finger or by a lever operated by a syllables are thentermed fixed syllables.

finger, thus changing the pitch. . .Fixed-lone instr.. (or instr. of fixed
intonation), one (like the pfte. or or-
Fingering. (Ger. Fing'ersaiz, Appli-
gan) the pitch of whose tones cannot
katur' ; Fr. doigier; It. diieggiatu'ra.)
be modified at the player's pleasure
I . The method of applying the fingers
like, for example, the tones of the
to the keys, holes, strings, etc., of mus.
instr.s. 2.
The marks guiding the
violin.
Flag. A hook >). Abbr. for
performer in placing his fingers. Eng- . .
I. (
f> 2.

lish (or American?) Jingering (for the flageolet {-tones).

pfte.), that in which notes taken by the Flageolet. I. (Ger. Flageolet t'; Fr.
thumb are marked x (or ) with i 2 + flageolet; It. flagiolefta) modern- A
3 4 for the fingers ; German (or conti- ized fliite a bee, a small wind-instr. of
nental) fingering, that in which the the whistle family. There are 2 species
thumb is marked I, and the fingers 2 3 still in use, the English and the French ;

4 5. (An earlier German system re- the latter is the more complicated, hav-
sembled the English, merely using a o ing 4 holes above and 2 below, various
instead of the x for the thumb.) auxiliary keys, g
8 It 's not -
Fini're il tuono. See Messa di voce. and a compass \,m used the m
of 2 octaves orchestra. : .

Fini'to (It.) Finished. and 3 semi .D u b I e

Fi'no (It.) Till, up to, as far as. tones,^' to ^-'p flageolet, an
Fin'to,-a Feigned.
(It.) . .Ca(/'z3^K- instr. inv. by Bainbridge about 1800,
ta, deceptive cadence . . . Fa finto, see consisting of 2 flageolets of difl'erent
Fa feint, size placed side by side and having a

Fiochet'to (It.) Somewhat hoarse

common mouthpiece simple duets ;

could be played on it, but it is no longer

faint, veiled . Fiochez' za, hoarseness
. .

in use. .Flageolet-tones, see Harmonic

.

. .Fio'co,-a, hoarse, faint, veiled.

Fioreggia're (It.) To figurate.
2. 2. Asmall flute-stop in the organ,
of I or 2-foot pitch.
Fioret'to (It.) Any melodic embellish- Flageolett' (Ger.) i. Flageolet. 2.
ment. General term for the harmonics {Flageo-
Fiori'to (It.) Florid, embellished... let' tiine) produced on the violin, etc.
Fioritu'ra, an embellishment, an orna-
Flaschinet' (Ger.) Obs. spelling of
mental turn, flourish, or phrase intro-
Flageolett.
duced into a melody (commonly used
in pi. fioriture).
,
Flat. (Ger. Be ; Fr. bimol ; It. bemol'le.)
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 serai-

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
its line or space (and every octave of
T\^& first string of an instr. is the high-
est.
4. As the name of an interval, such line or space) unless cancelled.
Some earlier composers used the \) in-
the prime or unison.
stead of a p whenever a note was to be
Fis(Ger.) Y%...Fis'is,Y y.
(Also
lowered by a semitone. The double
Fis'telstimrae (Ger.) Falsetto. flat \)'r) lowers a note by 2 chromatic
Fistei:)
semitones; for it \^q great flat I? was
Fis'tula (Lat.) Pipe.
sometimes written.. Flat flfth, a dimin-
.

Fistulie'ren (Ger.) i. To sing falsetto.

ished fifth. .Flat tuning, a method of
2. Of an
organ-pipe, to overblow in
.

tuning the lute (also called French flat

such wise as to sound (unintentionally) tuning, by reason of the comparative
some harmonic tone instead of the lowness of the earlier French pitch).
fundamental.
Flatter la corde (Fr.) caress the "To
Fixed Do. The fixed-Do system of
string," i. e. to play (on bow-instr.s)
solmisation is that in which the tone C,
with graceful and tender expression.
and all its chromatic derivatives (Cft,
Cx, and C\)\)) are called Do,
C\}, Flautan'do, Flauta'to (It.) A direc- D
and its derivatives Re, etc., in whatever tion in music for the violin, etc., to play
key or harmony they may appear the near the fingerboard, and thus to pro-
;
74 FLAUTO FOLK-SONG.
duce a somewhat flute-like tone. . .Also, wind-pressure, the second and third by
occasional iox fiageolct. augmenting and forcing it, thus causing
Fla'uto (It.) Flute... j^/. a becco, flute the tone to change (by overblowing) to
i bee. . .Fl. pic' Colo, see Piccolo. . .Fl. the higher octave. It is a non-trans-

iraver" so, cross or transverse flute... posing instr., and its music is therefore
Flauto also frequently occurs as a name written at the pitch at which it is to be
for organ-stops, e.g. flauto ama'bile, played. Together with the octave-flute
flauto dol'ce, etc. .Flauti'no, a small .
or piccolo it forms an incomplete family,
flute. .Flauti'sta, a flute-player, flutist.
.
made in 6 sizes:
. Flauto' ne, a large or bass flute.
.
( in C (in C
Flute -<in Z'|> Piccolo -< in ZJ^
Fle'bile (It.) Tearful ;
plaintive, mourn- {'\-a.Ey ( in .[>
ful. the typical member of which is the C-
Flessi'bile (It.) Flexible. flute. powerful and mellow tone
Its
Flick'oper (Ger.) See Pasticcio. (more reedy than that of the old flute),
and extraordinary flexibility and agility,
Fling. A
spirited Scotch dance, resem-
render the leader of the wood-wind.
it
bling the Reel, and in quadruple time.
'Y\vt piccolos \n D^ and E^ are chiefly
F'-locher (Ger.) /-holes. used in military music. In the 15th and
Florid, Embellished with figures, runs, i6th centuries complete families of flutes
passages, etc. were constructed, embracing bass, alto,
Flo'te (Ger.) Flute. .Flo'tenbass, bass .
and treble instr.s. 2. Direct Flute,
flute Flo'tenstimme, a flute-stop (or-
. . .
the flageolet and fliite h bee, having a
gan) Flo'tenwerk, a small organ hav-
. . .
mouthpiece at the end.
ing only flue-pipes (opp. to Schnarr- Fliite (Fr.) Flute. ..Fl.a bee, a direct
werk, Zungemoerk, liohrwerk, and flute. . .Fl. allemande, a German flute.
Regal). . . Fl. a pavilion, an 8-foot organ-stop.
Fliich'tig (Ger.) Lightly, nimbly, airily; . . Fl. d' amour, (ffl) a flute in B]} (i) a ;

fugitively, hastily, superficially. (Also soft-toned organ-stop ... 7^/. d'Angle-

adj.) terre, flageolet. . . Fl. douce, flauto dolce.
..Fl. du Poitou, bagpipe (cornemuse).
Flue-pipe. (Ger. Labial'pfeife ; Fr.
. Fl.
. harmonique, fl. octaviante, see
tuyau h bouche : It. can'na d'a'nima.)
Harmonic stops. ..Fl. traversihre, trans-
See Pipe, also for Flue-stop, Flue-work.
verse flute.
Flii'gel (Ger., "wing".) I. Formerly,
Flute-'work. In the organ, the flute-
a wing-shaped clavier (clavichord);
work all flue-stops not belong-
includes
now, a grand pfte Flu'gelharfe, see
to ^& principal-work and gedact-work,
. . .

Spitzharfe . . .FlU'gelhorn, bugle, key-

bugle. 2. See Bart,
as well as various modifications of these
two groups.
Flute. (Ger. Flo'te; Fr. fliite ; It. Fly. The hinged board or flap used as
fla'uto!) I. The orchestral flute (also a cover for the keyboard of the pfte.
called German flute, cross-flute, and D- and organ.
flute, from its origin, the position in
Fo'co
which it is held, and its former low- Fogliet'to
(It.) See Fuoco.
In orchestral music, the
(It.)
est tone respectively), in its present
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
instr.s, and can therefore be used by the
vided with 14 ventages closed by keys,
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 phony.
orifice near the upper end of the Fois (Fr.) Time premiere fois, first ;

tube the air-column within the tube

; time ; seconde fois, second time.
is in vibration in the same way
set
Foli'a (Span. It. folli'a ; usually in the
;
as that within a
flue-pipe in the or-
plural, as t. "folies dFspagiie".) A
Spanish dance for one person, in slow
gan. Compass from t^ tempo and 3-4 time.
c' to c* (rare ex- :
tremes b and ('jf): '^ ('*) Folk-song. (Ger. Volkslied) song A
the first octave is obtained by moderate of the people, tinged by the musical
 : :

FONDAMENTAL FORM. 75

and generally
peculiarities of the nation, cated by the notes), while the piccolo
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
Fondamental,-e (Fr.), Fondamenta'le
velocity by the vibration-number of the
(It.)Fundamental. ..Sonfondamenial,
generator. .^3 jj^ fondamentale see given tone, we obtain the length of
. ,

Basse. one sound-wave of that tone for in-

;

stance, the tone Cj 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 open flue-pipe capable
Fends d'orgue (Fr.) The foundation-
of producing the tone Ci (CCC)
stops of the organ.
Foot-key. Pedal-key (of an organ).
Foot. I. (Ger. Fuss;
Fr. 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
corresponds to the measure in music. Italian dance in 6-8 or 6-4 time.
2. (Ger. Siiefel.) 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
unit of measure in designating the pitch
securing 3.proper balance between con-
trasting parts, produces finish i 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, in varying degree, for
taves of the mus. scale thus an 8- ; their distinctive features, (i) on rhyth-
foot (8') stop is one whose longest mical and metrical grouping; (2) on the-
pipe pro-
duces the
tone C
w : and is about 8 feet

: in length, i. e. a
stop whose pipes
matic construction (3) on melodic and
;

harmonic contrast "(4) on contrasting

;

tempi and (5) on contrasting moods.

;

produce tones corresponding in pitch to Points I and 2 cover the ground of (I)
the keys depressed a 4-foot (4') stop is
; mechanical symmetry; the contrasts of
an octave-stop a 16-foot (16') stop
; melody, harmony, tempo, and mood
yields tones an octave below those postulate a more highly developed sense
-indicated by the
touched. The 8-foot octave
embraces the 7 tones from C
keys

'^S-
w for (II) cEsihetic symmetry,
I. (i.) The element of metrical
grouping is eminently characteristic of
upwards (comp. Pitch, 1) 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.

Period.

Analysis of this Sentence (compound of which embraces 2 Sections formed, in

period, here a. period of 16 measures), turn, of 2 Measures each. [The term
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-
period being formed by 2 Phrases, each motive^ The punctuation of such a
76 FORM.
musical sentence presents a striking hibits the peculiar feature of the song
analogy to that of the grammatical laith refrain ; 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 [comma}. Phrase 2=limiting {Liedform, A+B+A),
or that of the
clause [semicolon]. Phrase 3, further Minuet loith Alternative. With 2 dis-
modification [comma]. Phrase 4, second tinct themes alternating as follows
limiting clause and conclusion of sen- (I: A+ B:| -t-B [A] + A + B [in
tence [ie/'iod]. The exact symmetrical the original key of A] ), it has the
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] B + +A +
would engender wearisome monotony [B2 in same key as development- A ;

(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 anothej, the form-element or Catch or Round ; one or more themes
germ-cell, so to speak, on which their repeated in conjunction or alternation
construction is founded. with an accompanying or contrasting
I. (2.) A
theme or melody simply 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 repeated in alterna-
; for the construction of a simple 2-part
tion with another |: :| it A+B
ex- fugue :

1. Exposition ; Theme on ist deg. (tonic) Answer on 5th (dominant)

ist Episode: *' " 6th " (in augment.) " " 3d (in diminut. ).

II. First Development " " 5th " " " ist.
2d Episode; " "
'* 2d " (inverted)
" " 7th (inverted)
III. Second Development " " ist " " " 5th.
Stretto : Theme brougiit out on the 4th " (with modulation to the subdominant.)
- Coda.
II. (l.) The element of harmonic con- + S +F) ; or, in 5 movements, (F +S
trast is derived in part from 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, the primitive dance-
panying or varying the theme orthemes. song develops into lyric and epic song
Dependence on the harmonic variation love-ditties, ballads,
and into instru-
of repetitions of a single theme, to- mental dance-tunes differently named
gether with 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 ThcTne 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- ana 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 through ;

one. The Sonata and Symphony are 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),
+
F), 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. fz.

; . . 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-)
form are evolved step by step, and their Fourniture (Fr.) A mixture-stop.
combination produces the Sonata and Four-part. (Ger. vier'siimmig; Fr. h
Symphony; which latter, discarding the quatre voix; It. a quaftro vo'ci.) See
scheme of 4 formal movements, and Fart I.

aspiring to the uninterrupted flow and Fourth. (Ger. Quar'te; Fr. quartc; It.
sweep of an epico-lyrical drama without quar'ta.) I. The 4th degree in the dia-
words, becomes the Symphonic Poem. tonic scale the subdominant.
; 2. An
[Compare also Passion, Oratorio, Op- interval embracing 4 degrees (see In-
era, Overture^ terval). The typical or standard fourth
Forma're il tuono. See Messa di voce. is the perfect (or major) fourth, equil
Fort (Ger.) OS as Flote fort to the interval between the key-note and
; (organ-
the 4th tone of its vibrational
mus.)
Fort (Fr.) I. Forte. 2. Skilful, emi-
the diatonic
scale, as c-f:
- ratio

c :f: 3 4.
^
being %
.
; :
nent. Temps fort, strong beat. .Four-
. . .
Diminished (imperfect, defective, mi-
niture 3 tuyaux forte, a mixture stop of
nor, or false) fourth, an interval nar-
3 ranks. rower by a chromatic semitone than a
Fortbien. A keyboard stringed instr. perfect lo\a\h. . .Augmented (pluper-
inv. by Friederici in 1758, having a
fect, superfluous, ox extreme)fourth, one
softer tone and lighter touch than the wider by a chromatic semitone than a
fortepiano then in vogue. perfect fourth.
For'te (It.) I (adjective). Loud, strong Fran^aise (Fr.) A dance in triple time,
(abbr. /) piii forte (pf), louder ; po-
;
resembling the country-dance.
co forte (also pf), rather loud; forte
piano {fp), accent strongly, diminish- Francamen'te (It.) Freely, with free-

ing instantly to piano; fortemen'te,

dom (of delivery), boldly; frankly, in-
genuously.
loudly, forcibly; forte possi' bile, ss loud
as possible.
2 (noun), (a) passage A Fratichez'za (It.), Franchise (Fr.)
to be executed loudly or forcibly (b) ;
Freedom, confidence, boldness ... Cc
in the harmonium, a slide within the fr., see Francamente.
chest containing one or more sets of Franz'ton (Ger.) "French pitch"; a
reeds, opened by a stop or knee-lever to pitch lower than the ordinary Kam-
produce a forte effect ; sometimes di- merton.
vided, one section affecting the treble
Frappfi (Fr., "beaten".) The down-
side and the other the bass side.
beat opp. to Lev/. ;

Fortepia'no (It.) Same as Pianoforte. Fra'se (It.) Phrase frase lars;a= ;

Fortis'sirao (It., superl. oi forte.) Very largamente. .Fraseggia're, to phrase. .

loud, or extremely loud or forcible Fred'do,-a (It.) Cold. . .Freddamen'te,

(abbr. ff, or fff 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
Forf schreitung, progression ; Fori'-
for the Psalms and Canticles, in which
schreitung einer Dissonanz' resolution. ,
a phrase, consisting of 2 chords only, is
For'za (It.) Force, vigor ; con f, for- applied to each hemistich of the words.
cibly, etc. [Stainer and 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 . . .
78 FREGIATURA FUGARA.
reed, see Reed. . Free style (of compo-
. at the unison..../^, impro'pria (Lat.),
sition), that in which the rules of strict see F. h-regula'ris . .F. inaqua'lis .

counterpoint are relaxed. (Lat.V see F. contraria. .F. incovipo'- .

Fregiatu'ra (It.) A grace, an ornament. sita (Lat.), a fugue whose subject pro-
gresses h)y disjunct degrees ... i^. in
Frei (Ger.) Yre.&. . .Fi-ei'heil, a. license
consegnen'za (It.), a canon. .F.in con- .

or liberty.
tra'ria tem'pore('L,3.t.), seeF.,per 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; Fr. louche ; ..F. inver'sa (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, parts may appear in contrary motion.
etc., against which the strings are . .F. irregula'ris (Lat.), a fugue irregu-
pressed by the fingers to shorten their lar in form. . .F. li'bera (Lat. and It.),
vibrating length and thus raise the tone. a fugue with free episodes .F. liga'ta . .

Fretel, Fretfele (Fr.) sylvan pipe A (Lat. and It.), a fugue without free
;

the Pan's-pipe with 7 reeds. Some- episodes, strictly developed from its
times called sifflet des chaudronniers. subject and countersubject. .F.mix'ta .

(Also freteiel, freteau, freiiau, frestel.) (Lat.), a fugue varied in development

by employing different contrapuntal de-
Fret'ta, con (It.) With haste, celerity;
vices (augmentation, diminution, inver-
hurriedly. sion, etc.). .F. obbliga'ia (It.), see F.
.

Fricass6e (Fr.) of popular

i.
dance interspersed with pantomime, in
-vogue in the i8th century in the t/iM-
Ires des boulevards at Paris.- 2. kind
, -of part-song of the 1 6th century, each
-part having different words.
A sort ligaia...F. partia'lis (Lat), a fugue
proper, in contradistinction to a canon.
. .F. per augmeniatio' 7iem \diminutio'-
A ](Lat.), a fugue in which the answer
is in augmentation [diminution] either
throughout, or as a rule. F. per the' sin . .

et ar'sin (Lat.), a fugue whose subject

Fries (Ger.) Purfling.
begins on the strong beat, and the
Frisch (Ger.) Brisk, lively, vigorous answer on the weak beat, thus shifting
(also advirb). the accents throughout .F. per imi- . .

Froh'lich (Ger.) Glad, joyous, gay, tatio'nem hiterrtip'taiti (Lat.), a fugue

(also adverb). in which the answer is interrupted by
Front'pfeife (Ger.) See Prosfeki. breaks or rests .F. per mo^tum con-
. .

ira'ritim (Lat.), see F. contraria. .F. .

Frosch (Ger.) Nut (of a bow). perio'dica (Lat.), see F. partialis ... F.
Frot'tola (It., "comic ditty".) A pop- perp/tua (Lat.), a canon. .F. plaga'lis .

ular ballad or song intermediate between (Lat.), a fugue with subject descending
the villanella and the madrigal ; in below the key-note . . .F.pro'pria{l^a.t.),
great vogue during the l6th century. see F. regularis. .F. rea'le{Jt.), a real .

F'-Schlussel (Ger.) F-clef. fugue . .F. rec'ta (Lat.), see F. cequalis

.

fugue. .F. ad A motus. .F. redi'ia or reddita (It.), a

Fu'ga (Lat. and It.) .
.

octa'vam \quin'tan{\ (Lat.), fugue at fugue at the middle or end of which

all or some of the parts progress in
the octave [fifth] .F. aqua' lis mo'tus
. .

(Lat.), fugue in similar motion, the

canon... j^. regula'ris (Lat.), a fugue
in regular form. .F. retrogra' da (Lat.),
answer ascending and descending like
.

the subject .F. al contra' rio [rever'so,

. .
a fugue having the answer in retrograde
rove'scio'] (It.), see F. contraria. .F. .
progression or F. retrogra' da per mo'-
;

authen'tica (Lat.), fugue with a subject

tum contra'rium, when the answer is in
retrograde progression and contrary
ascending above the key-note .F. ca- . .

motion. .F. ricerca'ta (It.), a fugue in

no'nica [lata' lis} (Lat.), a canon... i^.
.

compel sita (Lat.), a fugue whose subject whose working-out the rarer and more
elaborate contrapuntal devices are
progresses by conjunct degrees .F. . .
" sought out" for display ; a long and
contra'ria (Lat.), a fugue having the
elaborate master-fugue . .F. sciol'ta
answer in contrary motion to the sub- .

(It.), or solu'ta (Lat.), see F. li'bera. .

ject. .F. del tuo'no (It.), tonal fugue.
.

F. tota'lis (Lat.), a canon.

..F. dop'pia (It.), double fugue.../".
homofk(/na (Lat), fugue with answer Fuga'ra. (Ger. Foga'ra, Voga'ra.) An
 FUGATO FULL ANTHEM. 79

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
;

pitch; tone of a sharp, "stringy" 3rd resumes the subject at the octave of
quality. its original pitch, followed (if there are

Fuga'to (It., " in fugue-style".) A pas- 4 parts) by the answer in the 4th. This
first enunciation of the subject by all
sage or movement consisting of fugal
imitations, but not worked out as a the parts in turn, with contrapuntal
regular fugue. accomp. in the rest, is called the Expo-
sition; this is commonly succeeded by
Fu'ge (Ger.) Fugue. an Episode, which is generally construct-
Fuggi're la caden'za (It.) To avoid ed (for the preservation of unity of
the cadence (by interrupting it). effect) of motives from the subject and
countersubject, with modulation into re-
Fughet'ta (It., dimin. of Fuga.) short A lated keys then comes the First De-
',

fugue, usually only a fugue-exposition. velopment, or Kepercusdon, in which

Fugue. (Ger. Fu'^ej Fr. fugue; It.
fu'ga^ The most highly developed
form of contrapuntal imitation, based
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 spetial prominence. The
virord 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 (l) Subject, (2)A)is7uer, (3) Counter-
subject and answer are taken up by the
several parts in a different order, fol-
lowed by a second and variously modi-
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 F'inal Develops-
ment, in which the subject and answer
overlap each other in consequence of
following in closer succession the ;

subject, (4) Stretto; to these are common-
lyadded (5) Episode, (6) Organ-point,
(7) G3afaythe(8) CoofeWa is merely a fortu-
itous appendage to the actual subject,
bridging over the interval sometimes
stretto frequently above an organ-
is
point; or the organ-point is used to
support the freer contrapuntal combina-
tions of the coda, a general finale or
winding-up or stretto and coda are
;

left between the true end of the latter
and the entrance of the Answer. The
subject is usually short and suggestive ;
after its proposition by the part taking
the lead, it is taken up by the part next
identical etc., etc.
;
The modern fugue
has 2 principal varieties : (i) The Real
Fugue, in which the original form of
the subject is preserved in the answer
(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. ;

Answer (Tonal).
Subject.

Further varieties are the Double Fugue

Fuga). Fugues may be written for
(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.

FUh'rer
(Ger.) "Leader, dux", subject
Fuh'rung, leading.
(of a fugue.)
A fugue in which the countersubject is
. .

retained and developed together with Full anthem. See A nthem Full band, . . .

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 Ftiga ricercata (comp. close, see the nouns Full choir (di- . . .
8o FtJLLPFEIFE GALANT.
rection in organ-playing;), draw all stops Furla'na (It.) See Forlana.
of the choir-organ Full chord, one . . .
Furniture-stop. A mixture-stop.
represented by all its tones also (in
concerted music), one in which all the
;
Furo're (It.) A
rage, mania, passionate
fondness (for anything) Also, fury, . . .
parts unite. .^//^rffli (in organ-play-
.

passion, vehemence con f., passion- ;

ing), draw all stops of great organ. .
ately.
Full orchestra, see Full band... Full
organ, with all stops and couplers Fu'sa (Lat.) An eighth-note or quaver.
Aravin ... Full score, see Score ... Fttll (Fr. fuse.)
stop (in lute-playing), a full chord fol- Fus6e (Fr.) An ornament consisting of
lowed by a pause also, a chord in ; a rapid ascending or descending dia-
which all available fingers are occupied tonic series of notes a slide. ;

in stopping the strings . Full swell . .

Fusel (Ger.) Same as Fusa.
(organ), draw all stops of swell-organ.
Fusel'la (Lat.) 32nd-note. . Fusel' lala,
.. Full to fifteenth (in organ-playing),
64th-note.
draw all stops but mixtures and reeds.
Fuss (Ger.) Foot -filssig, the adjective-
;

Fiill'pfeife (Ger.) dummy pipe... A ending corresponding to -foot, as 8'fiis-

Full'quinte, a very sharp-toned organ- sig{acht'filssig), 8-foot.. Fuss' klavier .

stop of 5|-foot pitch, to be drawn only pedals (of an organ). . .Fuss' ton, equiv-
with a strong combination of founda- alent to " -foot pitch", e. g. an organ-
tion-stops. .Ftill'stelle, a passage put
.
pipe of 4-foot pitch is said to be of 4-
in to " fill out " padding. .Fiill'stimme,
;
.
Fusston.
(a) a part reinforcing a principal part at
Fiit'terung (Ger.) Linings (of a violin).
the octave or unison ; (b) a mutation-
stop a third or a fifth above the normal
pitch ; (f) fl., in polyphonic composi-
tion, accessory parts not treated melodi-
cally like the principal parts, but brought G. The fifth tone and degree in the
in occasionally to complete the harmony typical diatonic scale of C-major. .G, .

or mark the rhythm. abbr. iox gaucheijn.g.^rcvam. gauche) ;

G. 0. (or simply G), grand-orgue.
Fundamental, i. The root of a chord.
Ga'belklavier (Ger.) A keyboard instr.
2. A generator (in this sense also
inv. in 1882 by Fischer and Fritzsch of
fundamental bass, note, and tone') . .
Leipzig, in which steel tuning-forks are
Fund, chord, triad, see Chord, T7iad.
substituted for strings. The some-
..Fund, position, any arrangement of
what dull timbre, due to the lack of
the tones of a chord in which the root
harmonics, has iDeen brightened by
remains the lowest.
adding, for each key, a second fork
Fundamental'bass (Ger.) Fundamen- tuned an octave higher than the first...
tal bass. .FundamentaVton, root
. ; key- Ga'belton, "fork-tone," i. e. the tone a*
note, tonic {Gmnd'ton, To'nikd). pitched for tuning. .Ga'belgriffe (pi.),
.

Funfebre (Fr.), Fune'bre, Funera'le cross-fingerings.

See Stimmgabel.
(It.) Funereal, mournful. Gagliar'da (It.), Gagliar'de (Ger.) A
Funf'fach (Ger.) See -fach. . .Funf- galliard.
siimmig, 5-part ; for 5 parts or voices. Gai (Fr.) Gay, lively, brisk. . .Gaienient,
. .Funf'stufige Ton'leiter, pentatonic gaily, briskly.
scale. Gaillarde (Fr.) A galliard.
Fuo'co [fo'-co] (It.) Fire, spirit ; con Gajamen'te (It.) Gaily, lively. . . Ga'jo,-a,
f., ox fuoco'so, with fire, fiery, spirited. gay.
Fu'ria (It.) Fury, passion ; con /., Ga'la (It.) In the phrase di gala, gaily,
wildly, passionately. merrily.
Furiant, Furie. A rapid Bohemian Galarament (Fr.), Galantemen'te (It.)
dance with alternating rhythms and Gallantly, gracefully, prettily.
changing accentuation.
Galant' (Ger.) Free
e. g. galan'te ;

Furibon'do (It,) Furious, passionate. Fu'ge, free fugue galan'ier Stil, ga-
;

Furio'so,-a (It.) Furious, passionate ;

lan'te Schreib'art, free style, the homo-
furiosamen' te passionately; furiosis'-
,
phonous style of composition for the
simo, with extreme passion. clavichord or harpsichord, in vogue in
 7
,

GALANT GEFAHRTE. 8i

the l8th century ; opp. to gebun' dener Ae:nc&. .Ganz' ton, or

. gan'zer Ton,
SHI, strict style, in which a certain 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, tury, a designation for popular songs or
graceful, pretty.
folk-songs (Gas'senhawerlin); the word
Gal'liard. (Ger. Gagliar'de; Fr. gail- 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].
ne'sca), of a gay and spirited character, Gathering-note. In chanting, an irreg-
though not rapid, and in 3-4 time ; like ular /<?rOTflte on the last syllable of the
the Pavan, it had 3 reprises of 4, 8, or recitation, to enable the 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. ga/op, galopade; Ger. Gauche (Fr.) Left ; main g. (abbr. m.
Galopp' .) A
very lively and spirited g.), left hand.
round dance in 2-4 time supposed to ;
Gaudio'so (It.) Joyous, jubilant.
have been derived from the old German
Hop'ser or Rutsch'er (names descrip-
Gau'menton (Ger.) A guttural tone.

tive of' the step). Introduced into Gavot'. (Fr. gavotte; It. gavot'ta.) An
France early in the 19th century. old French dance-form in strongly
Galoub6, Galoubet (Fr.) kind of A marked duple time {(^ alia breve), be-
small the shrillest of all wind-in-
fife,
ginning with an aufiakt, of a lively
str.s, with 3 holes and a compass of 1 though dignified character, and resem-
notes found only in Provence.
bling the Minuet. (See Suite.) The
;
Gavot has latterly been revived as an
Gam'ba, See Viola da gamba. 2.
i. instrumental piece.
An organ-stop similar in tone to the
viola da gamba. Gaz'el. A
piece with a short and oft-re-
curring theme or refrain.
Gam'be da gamba.
(Ger.) Viola Gam'- . .

benstimme, a gamba-stop Gam'ben- G-clef. G'-Schlussel; Fr. clefde

(Ger.
. . .

werk, piano-violin. sol; It. chiave di soprano.) The sign

Gam'bist. A player on the viola da
^
ffl'
determining the position of the
note g^ on the staff. (See Clef^
gamba.
Gam'ma. The Greek G (P). In medie- Gebla'se (Ger.) Bellows (of an organ ;

val music from the loth century on- usually Balg).

ward, the lowest tone of the mus. sys- Gebroch'en (Ger.) Broken.
tem then obtaining was called P; the
letter was together with the F-
Gebun'den (Ger.) Tied. 2. Legato,
i.
tied as gebun'dene Dissonanz', pre-
also used
~^
:^^^
clef. Hence, its use
;

pared dissonance gebun'denes Spiel,

to name the entire
;
as a clef
legato playing ; gebun' dener Stil, strict
Gamme and Gamut) Gam-
scale (see
ma ut, ^^izp=
. . .
style.
3. Having 2 or more digitals to

in the old system of one string (said of clavichords) opp.

name : solmisation. to un'gebunden or bund'frei (i. e.
;

of G\-
"fretted" or "fret-free" [Grove]).
Gamme (Fr.) A
scale (see Gamma)... (Comp. Bund/rei.)
G. diatonique (chromatique), diatonic
Gedackt' (Ger.) Stopped (of organ-
(chromatic) scale.
pipes); opp. to offen. (Also gedact,
Gam'ut ^ee Gam-
(from^ffl??Ka /). i. gedakt^

ma. 2. A scale. 3. The staff. 4. In Gedampft' (Ger.) Damped ; muffled,
old English church-music, the key of G.
muted.
Gang (Ger.) (Plural Gange)
Passage.
Gedeckt' (Ger., "covered".) See Gc
Ganz (Ger.) Whole. .. Cirw'zir Note
i. dackt.
(gan'ze Takfnote), whole note (s>) Gedehnt' . .
(Ger.) See Dehnen.
Ganz'instrument, a metal wind-instr.
Gedicht' (Ger.) Poem.
the lowest natural tone of whose tube
can be made to speak opp. to Halb'in- ;
Gefahr'te (Ger.) Answer (in fugal com-
strument. . Gana'schluss, whole
. cs.-
position).
82 GEFALLENGESCHLEIFT.
Gefal'len (Ger.) Pleasure ; nach G., a Ge'nera, Plural of Genus.
piacere.
Generarbass (Ger.) Thorough-bass ;

Gefal'lig (Ger.) Pleasing, attractive, General' bassschrift, thorough-bass no-

graceful. tation General'pause, a pause for all
. . .

instr.s or parts in the midst of a com-

Gefuhr (Ger.) Feeling, emotion ... ATzV position, particularly when so intro-
G., with feeling, expression (also ge- duced as to produce a striking effect.
fiihlvoll). A hold n-. over the rest for such a
Ge'gen Against, contrary to...
(Ger.) pause renders its duration indetermin-
Ge'genbewegung, contrary motion . ate i. e. robs it of rhythmic value, as
;
.

Ge'genfuge, a fugue in which the an- if the beats or counts were suspended

swer is an inversion of the subject... for the time being General'probe, full . . .

Ge'genharmonie, counter-subject (in a rehearsal.

ivi^e). . .Ge'gensatz, (a) contrast; {b) Generator. (Fr. [son'\ g^nifrateur.) i.
contrasting movement or effect . Ge'- . . A root, or fundamental tone. 2. A
genstimme, contrapuntal part counter- ; tone which produces a series of har-
subject. monics.
Gegit'tertes B (Ger.) B cancellatum. Ge'nere (It.) A mode or key a genus. ;

Gehal'ten (Ger.) Held, sustained. Genero'so,-a (It.) Generous, free, ample.

Geh'end (Ger.) Andante. Genial' (Ger.) Relating to or exhibiting
genius talented, gifted, ingenious,
Gei'ge (Ger.) Violin Gei'genclavicym- . . .
;

clever ; spirited.
bel^ Gei'genklavier, bow-piano . Gei'- . .

genharz, rosin Gei'geninstrumeni, . . .

G6nie (Fr.), Genie' (Ger.) Genius.
bow-instr. Gei'genprincipal,
. .violin-. Genouilli^re (Fr.) Knee-lever formerly ;

diapason(organ-stop) Gei'genwerk, . . . used in German grand pftes. as a sub-

piano-violin Geigenzettel, the maker's
. . . before
stitute for the earlier draw-stops,
"label" or " inscription" on a violin. the general introduction of pedals.
Geist (Ger.) Spirit,soul ; mind, intel- Genre (Fr.) Genus, as g. diatonique,
lect ;
genius ; essence. chromatique, enharmonique. A 1 s o
Gei'sterharfe (Ger.) ^olian harp. style.
Geist'lich (Ger.) Sacred opp. to welt'- ;
Gentil,-le (Fr.), Genti'le (It.) Grace-
lichy secular.
ful, delicate, pretty. Gentilment, {gen-
Gelas'sen (Ger.) Calm, composed, tilmen'te), gracefully, etc.. .Gentilez'za,
placid ; easy. (Also adverb.) con (It.), with dignity, refinement, grace-
Gelau'fig (Ger.) Fluent, voluble ; easy, Ge'nus (Lat.) i. In ancient music, a
familiar Geldu'figkeit, fluency, celer-
. . .
system of arranging the notes of a tetra-
ity, velocity ease, familiarity. ;
chord for diatonic, chrom... enharm.
;

Gemach'lich (Ger.) Comfortable, easy, genus, see Greek Music, ^2. 2. A

commodious, convenient slow, gentle. ; mode or octave-scale.
(Also adverb^ Recht gemachlich, com-
modetto.
Gera'de Bewe'gung (Ger.) Similar
or parallel motion . Gera'de Takt'art . .

Gema'ssigt (Ger.) Moderate. (See (gerader Takl) duple or quadruple time,

,

Mdssig^
German flute, the cross-flute . . . German-
Gemisch'te Stim'men (Ger.) i. Mixed sixth, see Extreme.
voices. 2. In the organ, the mixtures,
Ges (Ger.) Gfc) Ges'es, <3^\,.
or mixture-stops. . . .

Gems'horn (Ger., "chamois-horn.") In Gesang' (Ger.) a song, Singing, song ;

the organ, a metal flue-stop having ta- vocal composition; melody, air...d?-
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
pedal, with mellow, horn-Hke timbre. art . Gesang'{s)mdssig,
. . melodious ,

. .Gems' hornguinte, a 5^-foot stop of adapted for singing, for the voice . .

the above type. Gesang'verein, singing society, choral

society.
GemUt'(h) (Ger.) Soul, heart, spirit ;

mind disposition, temperament, na- Geschlecht'

;
(Ger.) Genus ; mode.
ture. Geschleift' (Ger.) Slurred ; legato.
 -
. .

GESCHMACK GOATHORN. 83

Geschmack' (Ger.) Taste. . . Geschmack'- Giuocan'te (It.) Playful, bantering.

voll, tasteful(ly). . . Giuoche'vole, playfully, etc.
Geschwanzt' (Ger., "tailed".) Having Giu'sto,-a (It.) Suitable, appropriate,
a hook or hooks ( f* |5). strict (as tempo giusio), exact, precise,
Geschwind' (Ger.) Swift, rapid, quick. correct. . .Allegro giusto {all. mod*,"),
(Also adverb.) moderately fast Giustamen'te, cor-
. . .

rectly, exactly. Giustez'za, con, with

Ges'es (Ger.) See Ges.
. .

precision.
Gesicht' (Ger.) Front (of organ). . . Ge-
sichts'p/eifen, front pipes.
Glas'harmonika (Ger.) See Harmoni-
ca I.
Gespon'nen (Ger. " spun".) Gesponnene
Saite, covered " string.
' Glee. A secular composition for 3 or
' Gesponnener . .

Ton, "son file" (see/^i/ar), an even,

more unaccompanied solo voices, of
later origin and less contrapuntal inge-
sustained tone (voice or violin).
nuity than the Madrigal, and peculiar
Gestei'gert (Ger.) Crescendo; rinforzato. to England. It is of modern character,
Gestrich'en (Ger.) i. Having hooks. both with regard to tonality and to its
2. In compound words, equivalent to employment of harmonic masses and
-lined, -accented, as ein'gestrichene Ok- the perfect cadence. The name glee is
ta've, one-lined (once-accented) octave. not properly descriptive of its nature,
Crossed,
3. . -t) orji<^4. Cut as serious glees are written as well as
with a stroke or ffi : (as a scene in meny ones.
line across, as Z) -<s- an opera). Gleich (Ger.) Equal . . . Glei'cher Kon'-
Get(h)eilt' (Ger.) Divided, separated . .
trapunkt, equal counterpoint. Glei'che . .

Geteil'te Violi'nen, violini divisi Ge- . . .

Stimmen, equal voices. Gleich' schvie- . .

teil'teStim'men, partial stops (organ). bende Temper atur' equal temperament. ,

Getra'gen (Ger.) Sostenuto. See Tragen. Gli (It.) The (masc. pi.)

Geworfener Strich (Ger.) "Thrown Glicibarifo'na (It.) A wind-instr. inv.

stroke"; in violin-technic, a form of in Italy about 1827 by Catterini a ;

the saltato. small 4-octave expressive organ.

Ghaz'al, Ghaz'el (Ar.) See Gazel. Glide. The smooth connection of 2 tones
by slurring.
Ghiribiz'zo (It.) Whim, fancy, caprice.
. . Ghiribizzo'so, whimsical, etc. Glissan'do (It.; a\so glissa'to, glissican'-
Gi'ga (It.) See Gigue.
do, glissica' to.) I. On bowed instr.s,
(a) calls fora flowing, unaccented execu-
Gigeli'ra Xylophone.
(It.) tion of a passage ; (b) same as Por-
Gigue (Fr.) I. Early name for the old tamento. 2. On the pfte., a rapid
form of viol, which nearly resembled that scale-effect obtained by sliding the
of a ham {gigue); hence German Geige. thumb, or thumb and one finger, over
2. Ordinary title in the Suite for the Jig. the white keys, producing either the
Gioche'vole (It.) Playfully, merrily. simple scale, or thirds, sixths, etc.
(easier and more effective on the Janko
Giocon'do,-a (It.) Jocund, gay, playful.
keyboard).
Giocondamen' te, joyously, merrily.
. .

Gioco'sOj-a (It.) Playful, sportive, ban-

Gliss6 (Fr.) I. Glissando 2. 2. A di-
rection indicating that a passage is to
tering; humorous. Giocosamen'te, play- . .
be executed smoothly and flowingly.
fully, etc.
Glock'e (Ger. dimin. Glock'chcn.) Bell.
;

Gio'jja (It.) Joy, delight, pleasure...

. Glockenisf same as Carillonjteur,
. , .
Giojan'te, joyfully, mirthfully Gio-
Glock'enspiel, {a) a carillon (b) an ;
jo'so,-a, joyful, mirthful Giojosamen' . . .
instr. consisting of bells or (more re-
te, joyfully, etc.
cently) of steel bars, tuned diatonically
Giovia'le (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 by the manual.
Gis (Ger.) Gfl. . . Gis'is, Gx . .

Glo'ria. See Doxology, Mass.

Giubili'o (It. also giu'bilo, giubilazio'-
,

ne.) Joy, rejoicing, jubilation ... Gzw-

Gnac'care (It.) Same as Castagnette.
bilo'so,-a, jubilant. I
Goathorn, See Gemshorn.
 GONDELLIED GRACE.
Gon'dellied (Ger.) Gondoliera. ret'to^ A vocal or instrumental orna-
Gondolie'ra (It.) See Barcarole. ment or embellishment not essential to
the melody or harmony of a composi-
Gong;. (Tam-tam in Fr. and Ger. use.)
tion. (The long'appoggiaturais an ex-
An instr. of percussion in the form of ception it was formerly written as a
;
a large round slightly concave plate or
basin of metal (alloy of 4 parts copper to
small note
grace-note because care-
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.). .Gra- .

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.) harsh break in A size.
the tone of the clarinet, oboe, or bas- The graces for harpsichord, clavichord,
pianoforte and voice, enumerated below in
soon, caused by a defective reed or im- alphabetical order, are given according to the
proper manipulation.
following authorities: J. H. d'Anglebert, 1680
(d'A.); J.S. Bach, 1720 (B.); C. PI. E. Bach,
Gorgheggia're (It.) To execute florid 1^87 (Em. B.); Dr. John Blow, 1700 (Bl.); Dr.
vocal music ; also see Fredonner . . 1 homas Busby, 1786 (Bu.); Francois Couperin,
Gorgheggiamen' to , art of singing florid 1713 (C); J. W. Callcott, 1817 (Ca.); Ettenne
Loulie, 1696 (L.); N. de S. Lambert, 1607 (La.);
passages, etc . . . Gorgheg'gio, a florid F. W. Marpurg, 1762 (M.); P. J. Milchmeyer,
passage. 1797 (Mi.); J. S. Petri, 1782 (P.); Fr. Pollini,
1711 (Po.); J. P. Rameau, 1737 (R.); Christ-
Gospel side. See Epistle side. opher Simpson, 1659 (S.); G. F. Wolf, 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
ment, agr^meni; It. abbellimen'to, fio- list of signs tor ready reference.

) or (^^ (B.)

Back Turn. Balancement

^^^=t<:f.^ Beat.
^^^
 GRACE. 8S

Shaked Beat. Bebung. Beisser. Brechung.

(v, (d'A.) (d'A.) (B.)

Doppelt-Cadence. Doppelt-Cadence

W| (B.) W (B.)
and Mordant.

Chute et Pince. Chute.

(d'A.) (d'A.)

l^-^^gfe

Tierce coulee. Coule.

(Em. B.)

Doppel- Geschnellter Doppelschlag. Prallender

schlag. Doppelschl.

^ (d'A.) ^ (d'A .)

Umgekehrter Doppelvorschlag. Double.

Doppelschlag.

,
(d'A.) ^ (S.) +_ (S.) ^
Double. Elevation. Shaked
D. sur une tierce. Elevation.
!86 GRACE.

Gruppetto. Liaison.

(Lo.)

1=y-
Martellement M. double. M. triple, Mordant.
simple.
(M.) (M.)

Mordents. Nachschlag.

(Wa.) (Wa.) f^ (P.)

-| *-
Springender Nachschlag. Nachschlag Nachschlag.
(modern).

^. (C.)_

Pince double. Pince diese, Pinces bemolises.

(C-) -/,,

Pince continu.

(R.) (R.)

]
I L-ri- i
' I
1
1
I !
~ i
:

i

Pince, Pince et Port de voix. Pince lie.

(Lo.) (Lo.)

Port de V. simple. Port de voix double.

Port de voix. Pralltriller. Single Relish.

 GRACIEUX GRAZIA, 87

or //

Double Relish, Schleifer, [Coule.] [Slide.]

(S.) =, (Bu.)

Slide. Springer. Passing Shake.

(d'A.) (d'A.) (M.)

I^^i^ Son
H-
Suspen-
. i l- ll| l-F=fii-

Trem- Tremblem. appuye.

F
Tremblement.
coupe. sion. blement.

Tremblem. continu. Turn. Doppeltriiler mit Nachschlag.

S (Bl.) (P.) Av' (Bl.)

tf isJHLL

Mit Vor- und Nachschlag. Trill without Trill with

after-beat. appogg".
Gracieux, Gracieuse (Fr.) Graceful. (a) full organ ;
(i) an harmonium-stop
Gra'cile (It.) Graceful and delicate which brings into action the full power
;

thin, slender {^vc/ce gracile). of the instr. . . A grand orchestre, for

full orchestra. . . Grand-orgue, (a) full
Grad (Ger.) Degree.
organ organ;
; (6) great (c) pipe-organ.
Gradation, An ascending or descend-
Grandeur (Fr.) Width (of intervals),
ing series of diatonic chords.
Grandez'za (It.) Grandeur, majesty,
Grade'vole (It.) Pleasing, agreeable
dignity,
Gradevolmen'te, pleasingly.
(It.) Grand, pompous, ma-Grandio'so
Gra'do Degree, step.
(It.) Gr. ascen-
jestic,
. .

den'te, ascending step... Cr. descenden'te,

Grandisonan'te (It.) Loud or long,
descending step. .Digrado, by a step,
.
sounding, re-echoing ; sonorous.
stepwise opp. to di salto, by a skip.
;

Granulato (It., "granulated.") Non

Gradual, (J^at.gradua'le.) i. An anti-
legato,
phon following the epistle so called ;

because sung on the step (gradus) of the Grap'pa (It.) Brace.

ambo or pulpit. z.
cantatoriuvi A Grasseyement (Fr.) guttural and A
(book of chants) containing the grad- vicious pronunciation of the r and / in
uals, introits, and other antiphons of singing. .Grassejyer, to pronounce as
.

the R. C. Mass. above.

Graduellement (Fr.) Gradually. Gratio'so (It.) Same as Grazioso.

Grammatical accent. See Accent. Gra've and It.) i. Grave or low in

(Fr.
pitch.^2. Heavy, slow, ponderous in
Gran cas'sa (It.) See
gu'sto, epithet applied to an eccentric or
Cassa. . . Gran movement (see Tempo-marks). 3.
Grave or serious in expression,
highly effective composition.
Gravement (Fr.), 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 barri, see Barri. (Also Gravecembalo.)
. .

Grav'is (Lat.) Heavy, ponderous see

Grand (Fr.) Large, great. . . Gr. harri, ;

Accentus eccl.
see Barri. . . Gr. bourdon, double-bour-
don. . . Gr. chceur, full-organ Gr.jeu, Gra'zia (It.) Grace, elegance; con gr,.
88 GRAZI5SGREEK MUSIC.
gracefully, etc. . . Grazio'so,-a, graceful, the reverse of our modern ascending
elegant . . . Graziosamen' ie ,
gracefully. major scale, being conceived as a de-
Grazios' (Ger.) Graceful(ly). scending minor scale. Harmony in the
Great octave. See Pitch, absolute...
modern sense was unknown the aim ;

Great organ, see Organ. of Greek theory in treating of harmonic

intervals was, therefore, to establish the
Greater. Major.
melodic succession of the tones, and
Grec Greek ... A chorus h la grec
(Fr.) the Greeks conceived the scale as con-
is one introduced at an act-close, in stituted of a series of tetrachords (4-ione
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 (l) the Dorian, (2) the
be given below. Phrygian, and (3) the Lydian, to each
1. The Modes, or Octave-scales. of which were later added 2 attendant
The typical Greek scale was precisely modes, making 9 in all
2. Phrygian. 3. Lydian.
T'
e^-d "^-c^^b-a-g-f^
4. Hypodorian or ^olian. 5. Hypophrygian or Ionian. 6. Hypolydian.
-t
agf^edc^BA -P^e'^-d^-c'^^b-a-g /'. ^~d^-c^^b-a-g-f
7, Hyperdorian or Mixolydian. 8. Hyperphrygian or Locrian. 9. Hyperlydian.
\'
bagf^edc^B fli-^i-/'.^^i- d^-c^^b-a g^-P^e^-d ^-c^^b-a-g
(The signs and "^ indicate the step of a whole tone and semitone respectively.)
The prefix kypo " a fifth be- signifies ant modes is composed of 2 similar con-
low " hyper,
;
'
above". (Compare
' a fifth joined tetrachords, united by one com-
Mode.) The character and name of mon tone, and preceded or followed by
each mode depended (a) upon the form the diazeuxis. The character of the te-
of the tetrachord, and (i) upon the trachord depends on the position of the
position of the diazeuctic tone. While semitone ; e. g. in the Dorian tetra-
each of the 3 primitive modes is com- chord, found in the Dorian and attend-
posed of 2 tetrachords of like name and ant modes, the semitone occurs between
form, which are disjoined (se,^axa!i&&) by the third and fourth tones. This Do-
the diazeuctic tone (marked f ; from dia- rian mode is an exact inversion of the
zeuxis,3i separation), each of its 2 attend- modern major mode
Major Mode. Dorian Mode.

2, The Perfect System is based on I

the Dorian tetrachord it comprises the ; I

fc S s

1-1 5 "^ "

 ' .,
GREEK MUSIC.
This system is formed by adding, at
either extreme of the Dorian scale, a
conjoined tetrachord, and completing
the 2-octave system by the addition of
A (hence called Proilambanomenos
"the acquired tone") in the lower
octave, thus forming a complete a-
minor descending scale. The 2 central
tetrachords were therefore disjoined
but, for modulations to the lower quint
Full Names of all Degrees in the Perfect System.
Nete hyperboleon
Paranete hyperb.
Trite hyperboleon
Nete diezeugmenon
(highest of the disjoined)
Paranete diezeugmenon
(next-highest of the disjoined)
Trite diezeugmenon
(third of the disjoined)
Paramese
(the [tone] next the middle)
Mese
(middle tone)
Lichanos meson
Parhypate '
Hypate
Lichanos hypaton
Parhypate " C (next-lowest
Hypate
Proslambanomenos
The theorists attributed special impor-
tance to the middle tone Mese, as the
tonic of the perfect system. This sys-
tem also forms the foundation of me-
dieval mus. theory even the compass
; tonic second degree, was expressed
given above was not overstepped till the
introduction of the V
(gamma). Gre-
gorian music keeps virithin these limits,
and the notation in Latin letters retains
this same diatonic scale even to the
chromatic alteration of Paramese to
Trite synemmenon. This perfect sys-
tem {systema ieleion) was also styled the
systema metabolon, the "mutable (i. e.
modulatory) system," with reference to
the modulation to the subdominant
made possible by employing the con-
joined tetrachord ; without this tetra-
chord it was called the systema ameta-
holon (immutable). [This diatonic diviK-
sion of the tetrachord into 2 whole tones
and a semitone (as a gf-^e), of which
the Dorian tetrachord is the normal
type, was the distinctive feature of the
diatonic genus igenus^mtlodic arrange-
ment of the tones within the tetrachord);
the* earlier enharmonic genus was
formed by omitting the paranete or the
lichanos (as a f^ e), and the later
;
(which to the Greeks was the most
natural transition, just as that to the
key of the higher quint is to us), they
used the semitone above the highest
tone of the middle tetrachord, and con-
sequently distinguished a special '
con- '
joined tetrachord " (tetrachordon synem-
menon) d^-c^-H^-^a, in opposition to the
;
"disjoined tetrachord" {ietr. diezeug-
menon) d^c^^b-a.
a (highest of the high)
:
g'
_ (next-highest of the high)
f (third of the high)
d' d' Nete synemmenon
(highest of the conjoined)
Paranete synemmenon
(next highest of the conjoined)
_
b bb Trite synemmenon
(third of the conjoined)
Mese
(forefinger-tone of the middle)
F (next-lowest of the middle)
e (lowest of the middle)
d (forefinger-tone of the low)
of the low)
B (lowest of the low)
A (acquired tone) [in no tetrachord]
enharmonic genus by dividing the
trite or the parhypate into 2 tones
(as a 4t /'-''); while the chro-
matic genus, also omitting the dia-
by sharping either trite or parhypate
(as a^fji-^f^e); etc.]
3. Transposing Scales. While
the perfect system remained the standard
in theory, the progress of Grecian musical
art widened its application in practice
until all flat and sharp semitones were
employed, and its range likewise ex-
tended. The chromatic alterations were
expressed in the Greek alphabetical
notation by different letters and differ-
ent positions of the same letter, which
were equivalent in effect to our fland \).
E. g., on substituting in the octave-scale
d^ d the conjoined for the disjoined
tetrachord (i. e. 6^ for b), this octave-
scale is no longer the I'hrygian, but
becomes the Hypodorian, for the dis-
tinction between the modes depends on
the position of the semitonic step
moreover, as the Hypodorian octave-
scale is to be considered as that extend-
ing from the Dorian mese to proslam-
banomenos, this octave-scale </ d
go GREGORIAN CHANTGROUP.
with S\) belongs to a transposed Dorian
The system (/Jf c/'#, with 6 sharps, is
mode, having not A, but d, for pros- enharmonically identical with t\) ^*b
lambanomenos Greek music was not
. with 6 flats both are named Hyper-
;

tied, like the Gregorian, to the diatonic dorian here closes the circle of fifths.
;

scaled a' without chromatics, but em- The names of the sharp scales re-
ployed transpositions of the perfect emerge as those of church-modes (the
2-octave system parallel to our 12 or number of which was increased to 12
more sharp and flat keys finally, these ; in the i6th century) namely, the ;

transpositions numbered 15 in all, those Ionian (= lastian), and Hypoionian,

first in vogue bearing the same names ^olian, and Hypoaeolian.
as the first 7 octave-scales. In the Gregorian chant. The forms of mus.
Greek method of alphabetical notation, worship as revised and established by
the natural scale (without chromatics)
Pope Gregory I. (the Great, d. 604) for
was the Hypolydian the R. C. Church, and known collect-
'
. ,
t ively under the name of Plain Chant.
There was probably no essential differ-
consequently, the 2-octave system ^ a' ence between the Gregorian and Am-
without chromatics is called the Hypo- brosian styles St. Gregory's chief
;

lydian (being the natural scale among work was the careful revision of the
the transposing scales, as is C-major ritual music employed at his time, the
among the sharp and flat keys), and the 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-scale norm for all Western Churches. He was
f^
/. For instance, also presumably the arranger, if not the
,
,
t , , originator, of the 4 Plagal modes par-
allel to the 4 Authentic modes of St.
being a Lydian octave, the 2-octave Ambrose. (See Mode.)
system (or transposing scale) ? rf^ Grei'fen (Ger.) To stop (on the violin);
with one flat is called the Lydian trans- to take or play (on other instr.s); to
posing scale. It follows, that the octave finger to stretch (ir kann eine De'-
;

/' belongs / zime greifen, he can stretch a tenth).

without # or (j to the system A rt' Griff (Ger.) Stop (on
violin); touch,
(Hypolydian) stroke, stretch {weiter Griff); finger-
with I t> to the system d^d'^ ing... Griff' brett, fingerboard . Griff' . .

(Lydian) saite, a string stopped by the fingers ;

2b " " " Gg^ a melody-string.
(Hypophrygian)
Grob (Ger., "coarse.") Used as a suf-
3b " " " cc'^
fix, it
'
means of broad scale" (said of
'
(Phrygian)
organ-pipes, as Grobgedackt).
4b " " " FP Groove. (Ger. Kanzel'le^ One of the
(Hypodorian)
' " " separate divisions of the windchest of
5 b ^b-'^'b
(Dorian) an organ, serving to conduct the wind
6 b " '; to the pipes.
'; ^-.^b
(Mixolydian, or Hyperdorian) Groppet'to (It.) See Gruppetio.
On the other hand, all the sharp scales Grop'po (It.) See Gruppo.
(of later origin) show new names the
; Gross (Ger.) Great, large, grand ma- ;

octave yjt fi, belongs

withljt to the system e e^ (Hyperiastian) jor {ss gro'sse Terz, major Third)...
Gro'sse Okta've, great octave.
(high Mixolydian)
" 2S" " " .53i(Iastian) Grosse-caisse (Fr.) See Caisse.
(high Dorian) Gros'so (It.) Large, great full, heavy. ;
" 3 " " " i^-/>K!(Hypoiastian)
(high Hypodorian)
Gros-tambour (Fr.) Bass drum.
'
4tt
" " " 4-^^Jt(^olian) Grotte'sco (It.) Grotesque, comic, hu-
(high Phrygian) morous.
" 5# " " " C7#^^#(Hyp03eolian)
(high Hypophrygian)
Ground bass. See Bass.
" 6j):
" " " </#-^#(Hyperdorian) Group. A
short series of rapid notes ;
I.
(high Lydian) specifically, such a series sung to one
 .., .

GROUPE HACKBRETT. 91

syllable ; a division or run. 2. A sec- Guimbard. (Fr. guinibarde.) 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
g^roup of notes with their hooks slurred (" Spanish") guitar has six strings, the
together a turn. 2. ; unison 2. A 3 highest of gut, the 3 lowest of silk
Grund (Ger.) Ground, foundation, funda- covered with fine silver wire, tuned E-
ment .Grund' akkord, a chord in the
. .
A-d-g-b-e^: ^ -f:.
fundamental position . Grund' bass =t:
=s=(p)=ff; :(fB)=
. .

E 3=
fundamental \i?is&. .Grund' lage^ fun- . :(S):
=1=
=1=
damental position (of a chord) . .

ipx E-B-e-g^-b-e^); but guitar-music is

Grund' stimme, (a) see Grundbass; (b)
written an octave higher, in the G-clef.
a bass part ; (c) foundation-stop (organ).
The pitch of all 6 strings can be raised
. . 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 n^
3 octaves gS -gi) harmonics^
1

Gruppet'to Formerly, a trill or

(It.)
and a fourth:^ ^^^3^ an octave
relish ; in modem 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 b, and
Grup'po (It.) Group
a turn. ; also, the ring-finger high e), 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'-Schlussel (Ger.) G-clef.
arpeggio-effect called the rasgado.
The body of the guitar has a broad
Guara'cha (Span.) lively Spanish A waist, no corners, and a fiat 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 Arpeggione.
Gue. An instr. of the violin kind, hav-
ing only 2 strings (of horsehair), and Guiterne (Fr.) Former name for the
guitar.
played like a 'cello formerly used in ;

Shetland. [Century Dict.] Gu'sto (It.) Taste. .Di buong., in good

.

taste, tasteful. Gusto'so, with taste.

. . .
Guerrie'ro (It.) Martial, warlil-.e.
Gran gusto, see Gran.
Gui'da Subject (of a fugue);
(It.) I.
antecedent (in a canon or other imita-
Gut. Gut strings (in the singular Ger.

tion).
2. direct. A
3. See Presa. 4. Darm'saite; Fr. corde h or de or en
boyau; It. minu'gia), popularly known
In solfeggio, a tone or tones through
as catgut, are ordinarily manufactured
which the voice glides from one inter-
val-tone to the other.
from the entrails of sheep, those of
young lambs yielding the evenest and
Guide. I. Guida i and 2. 2. (Fr.) '
finest strings because they do not have
Guida I and 4 Guide-main,
. hand-
. '
The best are the genuine
to be split.
.

guide," chiroplast. Roman strings.

Guidon (Fr.) A direct.
Gut (Ger.) GooA. . .Gu'ter Takfteil,
Guido'nian hand. The Guidonian Hand strong beat.
was a diagram, for memorizing the sol-
misation-syllables of the 20-tone dia- H.
tonic scale (r to ee), in the shape of an
outstretched left hand with the sylla- H (Ger.) The note .S. .In scores, H'\% .

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,
for Hand {r. h., I. h.)
bles were called the Aretinian or Gui-
donian syllables. (See Solmisation.) Hack'brett (Ger.) Dulcimer.
92 HALB HARMONIC.
Halb (Ger.) Half also, " smaller "... ; ers more recent ones show an im-
;

Hal' be Applikatur' half-shift. .Halh'- , . provement in this regard.

bass, a double-bass of smaller size than Hand-note. Stopped tone (on the horn).
usual Halb' cello, a small 'cello ..
. . .

Halb'gedeckte Stim'me, see Stimine 3.

Hand-org^an. A portable barrel-organ..

. .Halb' instrument, see Ganzinstru- Hard. (Of tones, touch, execution.)

ment. .Halb'kadenz, half-cadence.
. .
Coarse, rough, harsh cold, unsympa- ;

Halb'mond, crescent . Hal' be Note, . .

thetic, lacking expression or feeling.
half-note Hal' be Or'gel, an organ
. . . Hardiment (Fr.) Boldly, vigorously,,
lacking, even on the pedal, a stop lower dashingly. Also, Avec hardiesse.
than 8-foot pitch. Hal' be Pau'se, half- . .
Har'fe (Ger.) Harp. .Har'fenbass, Al- .

rest .Halb'prinzipal, an organ-stop of

. .
bertinian bass Harfenetif see Sfitz- . . . ,

4-foot pitch idSsassiS). .Halb'schluss, .

harfe Har"feninstrumente stringed
. . . ,

half-close Hal' be Siim'me, a half-

. . .
instr.s whose strings are plucked either
stop or partial stop.. .Hal' be Taklfnote, with the fingers or a plectrum Har'- . . .

hall-note. .Halb' ton, hal'ber Ton,

.
fenlaute, dital harp.
semitone Halb'violine, three-quarter
. . .

violin (for children) Halb'violon . . .

Harmoni'a (Gk. and Lat.) Harmony.
[Paul], see Halbbass, Deutscher Bass. Harmon'ic. i {adjective^ (Ger. har-
. . Halb'werk, 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. %ee. Allelujah. to melodic. .H. curve, the curved fig-

.

Hals (Ger.) i. Neck (of the violin, etc.) ure described by a vibrating string. .

-
2. Throat (of a singer). 3. Stem (of H. figuration, broken chords H..- . . .

a note). flute, see H. stop .H. hand, see Gui- . .

donian Hand. H. mark, in music for

Halt (Ger.) A hold (/^) ; usually Fer-
the violin, etc., a sign (") over a note,
. .

ma'te.
calling for an harmonic tone .H. note, . .

Hammer, (Ger. Ham'mer; Fr. mar- i. see H. tone .H. reed, see H. stop
. . . .

teau; It. martel'lo.) That part of the H. s&q Harmonic 2. .H, stop, an
scale, .

pfte. -action which strikes the strings
and evokes the tone. 2. mallet,
used in playing the dulcimer. . .Ham'-
merclavier -klavier (Ger.), early name
for the pianoforte (opp. to Peder-
organ-stop having pipes double the-
A ordinary length, and pierced midway,
so that a 1 6-foot pipe yields an 8-foot
, tone. Various solo stops are thus con-
structed An harmonic flute is a flute-
:

klavier). stop, an harmonic reed a reed-stop,

Hanac'ca. Moravian dance in 3-4 A made on this principle. . .H. tone, also
time, resembling the Polonaise in the flageolet-tone, see Harmonic 2 {b)....
shifting of the accent, but in more H, triad, a major triad.
rapid tempo. (Ger. Hana'kisch.) Alia Harmonic. 2 {noun), {a) (Ger. O'ber-
h. , in the style of this dance. ton; son harmonique; It. suono
Fr.
Hand, harmonic. See Guidonian Hand. armonico) One of the series of tones
sounding with, but higher 'in pitch
Hand'bassl (Ger.) An obsolete bow- and less intense than, its generator
instr. intermediate in size between the
viola and 'cello
,

employed as a bass- ;
(see Acoustics). (b) (Ger. Flageolet'-
ton, Harmo'nikaton; Yx.son harmoni-
instr. Hand' bildner Hand' letter, a
chiroplast
. .

Hand'stucke, short and . . .

,

que; It. suono armonico?) tone A

obtained, on any stringed instr. which
easy exercises or practice-pieces . .

is stopped (violin, guitar, zither, etc.),

Hand' trommel, tambourine.
and also on
the harp, by lightly
Hand-harmonica. Accocdion. 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 off by
forcing the hammer to recoil instantly. the finger, and each producing one and
The older instr.s have few or no damp- the same tone the harmonic. Thus,
 ; -

HARMONICA HARMONY. 93

by lightly touching the (7-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 ^, i. e., ; ^
by touching it one-
third of the distance from nut to bridge,
it isdivided into 3 vibrating sections,
each producing the fifth above the
octave of g, i. e., d"^ ; etc. Such har-
monics, obtained from open strings,
Harmonicorde (Fr.) Harmonichord.
Harmo'nicum. An improved form of
Bandonion, inv. by Brendel and Klos-
ser of Mittweida (Saxony) in 1893. It
is, essentially, an accordion-bqciy 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 or bandonion ; the wind-supply is con-
touching this shortened section, they are trolled by treadles.
called artificial. The following table Harmonie' (Ger.) i. Harmony chord.
shows the harmonics obtained on a
Music for the wind-instr.s (brass
2.
;

string By lightly touching

: and wood); also Harmonic' musik. 3.
the octave, we get the octave The wind-instr.s (brass and wood) col-
;
" fifth, " " " twelfth; lectively. Harmonic'eigen, harmonic,
" fourth, " " " fifteenth chordal (tones) proper to a harmony ;
;
" third (maj.) " " its own 15th; opp. to harmonic'fremd. Harmonic' . .

" third(min.) " " " " 17th. Ichre, theory of harmony Harmonic' . . .

The harmonics are distinguished by trompctc, an instr. between a horn and

their soft, sweet, ethereal character, trumpet, which permitted of the suc-
fluty " quality of their tone
'
and the ' cessful use of muted tones inv. early ;

(hence the epithets y&ztofe, fiageolet). in the 19th century [Riemann].

They are called for by the sign (the HarmonleuXj-ieuse (Fr.) Harmonious.

"harmonic mark") over the notes to
Harmo'nika (Ger.) Accordion ; con-
be touched {not stopped).
Harmon'ica. (Comp. Ger. Harmo'nika)
certina see also ;
Hols' harmonika,
Mund^harmonika, Zich' harmonika.
1. The instr. developed by Benjamin
Franklin from the musical glasses, and
Harmo'niker (Ger., pi.) Harmonici.
named by him Armon'ica. It consisted Harmon'iphon. i. A keyboard wind-
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
upon a spindle, which was made to re- Klavicroboe. 2. The harmoni-cor, inv. ;

volve by a treadle the ends of the

;
by Jaulin of Paris, similar to the above,
spindle were supported by the end- but with clarinet-tubes the wind is ;

pieces of a trough containing water to supplied through a mouthpiece.

moisten the revolving glasses, whose Harmo'nisch (Ger.) Harmonic.
edges were touched by the fingers in
playing. Melodies could be performed,
Harmo'nium. Comp. Rccd-organ. In
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 full, and signify:
2. See Mouth-harmonica. Stops on bass Stops on Treble
Harmonicel'lo. 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 l8th century. (2) Bourdon Clarinet
Clarion Oboe Piccolo
Harmonichord. See Piano-molin.
Bassoon
Harmo'nici. Aristoxenos and his fol- Harmonom'eter. An appliance for
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),
Har'mony. (Ger. and Fr. Harmonic^;
who derived their rules from the math-
It. armoni'a.) In general, a combina-
ematical determination of the intervals.
tion of tones or chords producing mu-
Harmon'icon. i. A mouth-harmonica. sic.
Specifically, a chord, either con-
a. An orchestrion. 3. A keyed har- sonant or dissonant, though usually
94 HARP HARP-WAY TUNING.
applied to the former kind, especially this is the fundamental diatonic scale ;
to the triad.
Applied to an entire com- the intermediate chromatic tones are ob-
position, the chordal (harmonic) struc- tained by the use of 7 pedals adjusted in
ture, in contradistinction to the melody the pedestal, each pedal acting on all the
and rhythm hence, 2-part, ^-part har-
; strings of the same letter-name in such
?nony, according to the number of a way that, when pressed to its ^rst posi-
parts ^rsseni. .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 all 7 pedals once, the scale would be
within the compass of an octave opp. ; raised from C\) to C; by depressing
to open h. Compound h., that in which
. . them twice, to Cfl (Z>p); by suitable
2 or more of the tones essential to a combinations, any desired key may be
chord are doubled ; opp. to simple h. obtained. The depressed pedals are
. Dispersed, extended h. see Open h. , . held in position by notches. As on the
Essential h., (a) the fundamental triads Janko keyboard, the fingering of the
of a key ; (d) the harmonic skeleton of a scale is the same for every key. Natur-
composition, left after pruning off all al harmonics are obtainable ; the first
figuration and or^iaments. .Figured h., . 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 plain h. . the old single-action harp each pedal
Open h. (in 4-part writing), that in can change the pitch of iva
which the 3 highest parts spread be-
yond the compass of an octave . Pure . .
its note by only one semi-
tone scale, Eq
; com- ;
.
^ ^
A., music performed with pure intona- pass, 5 octaves and a
tion (motet, string-quartet ;) opp. to sixth, from Fi to d*'
tempered h... Spread h., 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 .Molian h. see .Molian.
. . . ,

lution of dissonances. Tempered h.,

. . . Couched h., the spinet
. Dital harp, . . .

music performed with tempered intona- see Dital. Double-actionpedal-harp see

. . ,

tion (pfte., organ); see Temperament. Harp Welsh ^. a kind of triple harp.
. . . ,

Harp. (Ger. Har'fe; Fr. harpe; It. Harpeg'gio, Harpeggie'ren. See Ar-
ar'pa.) A
stringed instr. of ancient peggio, Arpeggiate.
origin and wide dissemination, played Harpicor'do, Same as Arpicordo,
by plucking the strings with the fingers
and thumbs of both hands. The mod- Harp-lute. See Dital harp.
Harpo-lyre (Fr.) A kind of improved
^ern orchestral harp (Erard's double-
action harp) has a nearly 3-cornered guitar, with 21 strings and 3 necks ;
wooden frame, the apex or foot of inv. 1829 by Salomon of Besan9on.
which is formed by an upright pillar Harp-pedal. See Pedal.
meeting the hollow back (the upper side Harp'sichord. (Ger. Kiel'flugel; Fr.
of which bears the soundboard) in the clavecin; It. arpicor'do, clavicem'balo.)
pedestal; the upper, divergent ends of A keyboard stringed instr. in which the
pillar and back are united by the curv- 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 performers.
in the latter, are 46 (or 47) in number,
^nd variously colored to render them Harp-vray tuning. Favorite early Eng-
lishtunings {scordature) of the viola da
readily distinguish-
able ; the 8 lowest >.-)
gamba termed harp-way tunings be-
;

cause admitting of a ready execution of

strings are covered
arpeggios
PE
with fine wire. Com-

WI
:

e:
pass, six and one-
lalf octaves, from
"^^
Sharp: S^"
|'
f; Flat:
r,bto/<'b(or^^):
 . . -
.,; ;;

HART HEROIC. 95

other variants are found in German passionate (also adverb) . . . Hef'tigkeit,

works. vehemence, passion.
Hart (Ger.) Hard major (usually dur) ; ;
Heira'Iich (Ger.) Secret, mysterious
abrupt, unprepared (of a progression furtive, stealthy, clandestine. (Also
or modulation) Hart vermin' derter
. . . adverb.)
Drei' klang, triad with major third and Hei'ter (Ger.) Serene, cheerful, glad.
diminished fifth, as B-d '$,-/. (Also adverb.\
Haupt "head".) Chief, princi- Hel'dentenor (Ger.) See Tenor i.
(Ger.,
pal . Haupt' accent, primary accent.
. .
Hericon. (Ger. Helikon.) i. An an-
.Haupfakkord, fundamental triad.
.
cient instr. for illustrating the theory of
. Haupfgesang,
. leading melody
the mus. intervals, consisting of 9
(Haupl' melodic'). .Haupt' kadenz, full .
strings stretched across a square reso-
cadence. .Haupt' manual, great-organ
.

manual (abbr. Man. /.). .Haupfnote,

nance-box. 2. A brass wind-instr. of
.

recent invention, used chiefly in mili-
(a) principal note chord-note (f) (b)
; ;
tary music as a bass its tube is bent to
;
accented note; (d) melody-note...
form a circle, and it is carried over the
Haupt'prinzipal, 8-foot diapason (on
shoulder. It is constructed in various
manual), l6-foot (on pedal). .Haupf- .
pitches (F, ^, C, -5b), and of broad
probe, see Generalprobe. .Haupt'satz, .
scale, so that its lowest natural tone
principal ihema. .Haupt'schluss, full .
speaks (2 octaves

cadence. Haupt' septime,

. dominant
below the notes \

7th. .Haupt'stimme, principal part.

. .
on the bass-staff
'

Haupfthema, first or principal theme.

. .Haupt' ton, (a) root (of a chord in ;
Helper. An octave-pipe set beside and
recent theory, the Jifth of the minor sounding with another of 8-foot pitch,
triad) ; (b) key-note ; (r) see Haupt- for the sake of brilliancy.
note. .Haupt' tonart, the principal or
. Hemidemisemiqua'ver. A 64th-note.
ruling key in a composition. . Haupt' . .H.-rest, a 64th-rest.
werk (abbr. H. W.), great organ. Hemidiapen'te. In Gk. music, a dimin.
Hausse Nut
(of a bow).
(Fr.) . .Hausser, ished fifth,

to raise (the pitch). Hemidi'tone. In Gk. music, a. minoir

Haut,-e (Fr.) High, 3.CMtt...Haute- third.
contre, high tenor. . .Haut-dessus, high Hemio'la, Hemio'lia (Gk.) i. In ancient
soprano. . .Haule-taille, high tenor. music, quintuple rhythm (5-4, 5-8 time).
Hautbois (Fr.) Oboe . . .H. d' amour, 2. The interval of a fifth (2 : 3). 3.

see Oboe. A triplet (3 ;

In mensurable no-
2). 4.
tation, see Notation, 3, Color.
Hautboist' (Ger.) A player in a military
band. Hem'iphrase. A half-phrase.
Haut'boy. Oboe. Hem'itone. In Greek music, the 'nter-
val of a half-tone (256 243), the mod-
Head. i. Point (of bow). In the 2.
ern (diatonic) semitone being 16 15.
:

violin, lute, etc., the part above the

Hep'tachord. In Greek music, a dia-
neck, comprising peg-box" and scroll.
tonic series of 7 tones, with one semi-
3. In the drum, the membrane stretched
tone-step between the 3rd and 4th.
over one or both ends. 4. In a note, 2. The interval of a major 7th. 3. A
the oval (formerly square or diamond-
shaped) part which determines its place 7-stringed instr. 4. The 7-tone scale.

on the staff. .Head-tones, Head-voice,

. Hep'tad, Heptadec'ad. See Duodene.
the vocal tones of the head-register Herab'strich (Ger.) Down-bow.
opp. to chest-tones, etc.
Herauf'strich (Ger.) See Hinaufstrich.
Heel. (Ger. Stdckcken [des Halses] ;
Heroic. (Ger. hero'isck; Fr. hiroique;
Fr. talon [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 Eq... Heroic verse,
large form of kettledrum. (a) in classical poetry, the hexameter
Hertig (Ger.) Vehement, impetuous, (^)in Engl., Ger., It. poetry, the iambic
96 HERSTRICH HOOK.
of 10 syllables ;
(c) in Fr. poetry, the "hiccupy" effect; chiefly in vogue
Alexahdrine. during the 12th and 13th centuries.
Her'strich (Ger., "hither-stroke".) (Also spelled hoquet, hocquet, hoquetus,
Down-bow (on the 'cello and doable- ochetus, etc.)
bass). Hoh'e (Ger.) High pitch, acuteness ;

Herun'terstrich (Ger.) Down-bow (on high register (e. g. " Obo'enhohe" ^lA^h.-
the violin, etc.) est notes of tlie oboe).
Her'zig (Ger., "hearty," "heartily".) Hohl'fiote (Ger. Fr. Jliite creuse; the
;

Same as Innig, but perhaps implies smaller sizes are also called Hohlpfei-
greater naiveid. fen.) In the organ, an open fiue-stop
" of broad scale, usually with eared pipes,
Hes (Ger., ^.") Unusual for (Ger.)
having a dark, mellow timbre, some-
B L=(Eng:.) Bb]. . .Hes'es, Bbb-
what hollow (whence the name), gener-
Heu'len (Ger.) Ciphering. ally of 8 or 4-foot pitch, seldom of 16'
Hex'achord. i. In Greek music, (a) a or 2'. As a mutation-stop in the fifth
diatonic series of 6 tones (p) the inter- it is called the Hohl'quinte.

;

val of a major sixth. 2. See Solmi- Hold. {Ger. ferma'ie; r. point d'arr^t,
sation.
couronne; It. ferma'ta, coro'na.) The
Hexam'eter. The usual
hexameter-line sign "^over, or w
under, a note or
has 6 feet, the first 4 being dactyls or 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
rhythm of the composition ... In orches-
tral scores often called (Ger.) General'-
Hidden. See Octave.
A kind of wooden
pause^ i^V^ pa' usa genera' le. (In Eng-
Hift'horn (Ger.)
hunting-horn producing 2 or 3 tones
land, usually called a Pause.) Placed
; over a bar or double-bar, the hold in-
there were 3 varieties, the Zin'ke (high), dicates a slight pause or breathing-spell
Halt' riidetihorn (medium), and Ril' den- before attacking what follows ; opp. in
horn (low pitch). this sense to Attacca.
Hilfs- K-ajSaaxy
(Ger.) .Hilfs'linie, . .
Holdings-note. A note sustained in one
leger-line Hilfs' note, auxiliary note.
. . .
part while the others are in motion.
.Hilfs' stimme, mutation-stop.
.

ten Hiilfs-.)
(Of-
[Stainer and Barrett.]
HolzTjlaser (Ger., sing, and pi.) Play-
Hinauf'strich (Ger.) Up-bow (on the er(s) on wood wind-instr.s. (Abbr.
violin, etc.) Hzbl.). .Holz'blasinstrumente,
. wood
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- Hol'zernes Gelach'ter ) (Ger.) Xylo-

gans, a mixture-stop placed behind the Holz^harmonika j
phone.
diapason, which it reinforced. Homophone (Fr.) The enharmonic of
Hip'pius. A
metrical foot of 4 syl-
I. a given tone, as d oi ex , d\f oi e^, etc.
lables, 3 long and i short ; called 1st, 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 1st, 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.) His' is, Bx melody or part, supported to a greater
Bfl . . .

or less extent by chords or chordal

Histor'icus (Lat.) Narrator (oratorio). combinations, (i. e. an accompanied
Hobo'e (Ger.) See Oboe. melody), predominates, is called homo-
Hoch (Ger.) High, acute. . .Hoch'amt, phonic opp. to polyphonic
; Homo- . . .

high yiass.. .Hoch'zeitsmarsch, wed- phony, homophonic music; opp. to an-

ding-march. tiphony and polyphony, (See Monody^
Hock'et, An early form of contrapuntal Hook. (Ger. Fah'ne, Fahn'chen; Fr.
vocal composition in 2 or 3 parts, char- crochet ; It. co'da uncina'ta.) stroke A
acterized by the frequent and sudden attached to the stems of eighth-notes,
interruption, in rapid alternation, of the i6th-notes, etc.
(J^ 5 ). Also Flag,
vocal parts, producing a spasmodic, Pennant.
 : : : :

HOQUETUSHORNSORDIN. 97

Hoquetus. Hocket. "stopped tones", has a fairly com-

Ho'rse cano'nics (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 ; there
Horn. (Ger. Horn ; Fr. cor; It. cor'no.)
One of a group of brass wind-instr.s
distinguished by the following charac-
are 16 crooks in all,
giving a total possible e=
"^
teristics : Cupped mouthpiece of
coni-
compass of 3J^ octaves
but only 8 or 10 are in general use in
cal conical tube, narrow and
shape ;
the symphony-orchestra the following
long, variously bent upon itself (the ;

smallest horn generally used, in high tones at either end of this scale are
difficult
B|j, has a tube nearly 9 feet long that ;

WW^ w^ i ^
an octave lower in pitch, nearly 18 feet);
wide and flaring bell ; the tone is rich g y-ty-
=t:
and mellow, sonorous and penetrating ;

the compass lies between the 2nd and

i6th tones of the hdrmonic scale. The Thus the highest " safe " tones on the
older naturaloT French Horn, yielding horns in common use would be (accord-
only the natural tones supplemented by ing to Gevaert):

Actual pitch
;
Horn in Bjj Eb F G Ab A Bb (C)

Notation

Partial tone 16 16 15 14 13 13 12 10 10 10 10
The tones have a peculiarly
stopped 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
1= ={=)=
\if:j Qg

high
low
the given pitch-note being in each case Horning. A mock serenade with tinhorns
the 2nd partial tone (octave of the gen- and other discordant instr.s, performed
erator), and repre- W: |
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: -s>- posing in- festation of public disapproval, as of
str. when the C-clef is employed, the some obnoxious person. (Local U. S.)

;

notes are written an octave higher than [Century Dict.] A callithumpian

when rioted in the i^-clef, consequently concert.

Horn'musik (Ger.) ^a Harmoniemusik.

Hornpipe. 1. An
English obsolete
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- very popular
the later in 4-4 time ;

ers on hunting-horns, each of which

during the i8th 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
piece ; e. g. 37 for the chromatic scale tones of
of 3 octaves. a pair of 1:

Homer (Ger.) Plural of Horn, equiv. to horns: '

corni. (Abbr. Hr^ Horn'sordin (Ger.) Mute for a horn,

98 HOSANNA IDYL.
Hosan''na; Hosian'na (Hebr.) Lit. The hurdy-gurdy was in great vogue
" 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;^r^.
mation.
In the Mass, a part of the
Hydrau'licon, An hydraulic organ.
Sanctus.
Hydraulic organ. (Ger. Was' serorgel,-
Hue'huetl (Aztec.) (Also huehuitl, vevtl^ Gk. hydrau' los ; Lat. or'ganum hydrau'-
tlapankuehuetl.) Drum of the abori- lietim.) A
small kind of organ, inv. by
gines in Mexico and Central America, Ktesibios of Alexandria (180 B. C), in
consisting of a section of a log hollowed 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. Hymnej It. in'no.)
and set upon a tripod. The upper end
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... In foreign usage, a national
relaxed, thus raising or lowering the
song of lofty character, such as the
tone. It was struck with the fingers,
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 hyperdiapa' son, 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
.

paniment. scales (see Greek music) hyper signified

a fourth higher. (Lat. equivalent j/^?-.)
Huit-pieds (Fr.) Same as Halbe Orgel.
Hypercatalectic. In dipodic versifica-
Hulfs- (Ger.) Se^e. Hilfs-.
tion, a line having a redundant half-
Hum'mel, Hiim'melchen (Ger.) i. A foot (either thesis or arsis) is thus
drone. 2. An
obsolete organ-stop, by termed hypercatalexis being such state
;

drawing which 2 reed-pipes were caused of redundancy.

to sound continuously until it was
Hy'po (Gk.) Under, below frequent

pushed in. 3. The Balalaika, which
in compounds, as hypodiapa' son, the
;

has a sympathetic string. 4.

' '
of the hurdy-gurdy.
The octave below, hypodiapen'te, the fifth
drones
' '
below, hypodit'onos, the third below . .

Humoresque. ffumores'ke.)
(Ger. 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
;
Hurdy-gurdy. (Ger. Dreh'kier, Bau'-
fifth below. (Lat. equivalent sub.)
ernleier; Fr. vielle ; It. li'ra tede'sca.)
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
I (It., masc. pi.) The.
tuned a fifth apart. The melody-strings
lam'bus. A metrical foot of 2 syllables,
(compass
^ J ^^
are stopped by
about 2
[
& /
ZZ ) means of keys
'
one short and one long, with the ictus
on the long (^ ^).
octaves :
*^ -*- controlled by
the left hand ; the right hand turns las^tian. Same as Ionian.
a crank at the tail-end of the instr., Ic'tus. Accent or stress, either rhythmi-
which causes a rosined wheel impinging cal or metrical.
on all the strings to revolve, thus pro- Idea. A musical idea is a figure, motive,
ducing the harsh and strident tone. phrase or strain, with or without har-
This wheel and the key-mechanism are monic concomitants also, a fully de- ;
contained in an oblong box correspond-
veloped theme or subject.
ing to the neck of the lute, etc., but set
directly on the belly, only the peg-box
Id6e fixe (Fr.) Berlioz's term for an
and head projecting beyond. The oft-recurring and characteristic idea or
melody-strings pass through this box, theme ; a sort of leading-motive.
and are attached to a tailpiece ; the rdyl. (Ger. and Fr. Idyl'le; It. idil'lio.)
drones lie outside. The music pro- A composition of a pastoral or tenderly
duced is of the rudest description. romantic character.
 ;
.
, ;
.

IL INBETONT. 99

II (It. , masc. sing.) The. Imperfection, i. See Notation, 3.

2. In a ligature, the presence of a breve
Imboccatu'ra (It.) i. Mouthpiece (of
a wind-instr.) Lip 2. 2.
as final note, indicated by using the

Imbro'glio " Embroilment, con-

(It.) figura obliqua ( BH ).

fusion". Apassage 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. .. G? i., or
Imitan'do (It.) Imitating. impetuosamen' te, impetuously Impe- . . .

Imitation. (Lat. imita'tio; Fr. imitation; tuosita' impetuosity

, . . . Impetuo'so, -a,
It. imitazio'ne; Ger. Nach'ahmung.) impetuous.
The repetition of a motive, phrase or 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 |^:^a= ...Implied in-
the fifth, octave, etc., that in which the the chord 1^ '^
terval (in tho-
:

consequent follows the antecedent at rough-bass), an interval not indicated

the interval of a fifth, octave, etc .I.by . .
by a figure, but understood, 2
augmentation, that in which the time- e. g. sixth and fourth
the ^S^~^
\

value of each note of the antecedent is in a chord of the second : I :

increased according to a certain ratio in

Imponen'te (It.) Imposing, impressive.
the consequent (J = cl, or J = J. etc).
Impresa'rio (It.) The agent or mana-
../. by diminution, that in which the
ger of a traveling opera or concert-com-
time-value of each note in the ante-
cedent is decreased according to a cer-

pany. Occasionally, an instructor of
singers in opera or concert.
tain ratio in the consequent (;_j = J
etc.) . /. by inversion, that in which
Impromp'tu. i. An improvisation'.
. .

each ascending interval of the ante-

2. A composition of loose and extem-
poraneous form and slight develop-
cedent is answered by a like descend-
ment a fantasia.
ing interval in the consequent, and ;

descending intervals by ascending ones. Imprope'ria (Lat., "reproaches".) In

. . Canonic i. strict imitation (see Ca-
, the Roman ritual, a series of antiphons
nony...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, but 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. 0pp. to Proprietas.
theme is repeated backwards {recte e
Improvisation. Extemporaneous music-
retro); see Cancrizans.
al performance.
Im'mer (Ger.) Always continuously To improvise. ./w-
;
Improviser (Fr.) .

immer starker werdend, continually provisateur {-trice), a male (female) im-

growing louder immer langsamer ;
proviser.
slower and slower ; immer langsavi,
slowly throughout.
Improvisier'maschine (Ger.) A melo-
graph.
Iniinuta''bilis (Lat.) One of the accentus Improwisa're (It.) To improvise...
eccl. Improvvisamen'te, extemporaneously
Iinpazien'te (It.) Impatient, restless, . .Improvvisa'ta, an improvisation, im-
vehement . . . Iiiipazientemen'te, impa- promptu Improvvisato're {-tri'ce), a
. . .

tiently, etc. male (female) improviser. .AUimprov- .

vi'sta, extempore.
Imperfect cadence, consonance, in-
terval, measure. See the nouns In'betont (Ger.) . . With mediate accent.
Imp. time, see Notation, 3. (See Abbetont.)
loo INCALZANDO INTERLUDE.
Incalzan'do (It.) "Pursuing hotly." Insensi'bile (It.) Imperceptible. . ./-
See Stringendo. sensibilmen'ie, insensibly.
Incarna'tus. Part of the Credo. See Insisten'do (It.) Insistently, urgently,
Mass. with strong stress. (Also con insisten-
Inch of Wind. See Weight. ea.)

Inchoa'tio (Lat.) The introductory tones In'standig (Ger.) Urgent, pressing.

or intonation of a plain-song chant. (Also adverb.)

Incomplete stop. A partial stop (or- Instan'te (It.) Urgent, pressing. . ./-
gan). stantemen'te, urgently, etc.

Incrociamen'to (It.) Crossing. Instrument. (Ger. and Yx. Instrument'

It. instrumen'to, istrumen'to, stromen'-
Indeci'so (It.) Undecided.
to, stramen'to.) list of the principalA
independent chord, harmony, triad. modern 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, ornearlyso.
ent.
Index. Instrument (Fr.) /. d- archet, bow-in.
Same as Direct.
strument . . .1. A. cordes, stringed instru-
Indifferen'te (It.) -Indifferent, careless. ment . . . /. h percussion, percussive in-
. . Indifferentemen'ie, or con indiffe- strument . . ./. h vent, wind-instrument.
ren'za, indifferently, etc.
Inferna'le
Instrumentation. (Ger. Instrumentie'
(It.) Infernal, hellish.
rung; Fr. instrumentation; It. istru-
Infinite canon. (It. ca'none injini'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.
Jnfrabass' (Ger.) Subbass. (See Orchestration^ In-
Orchestra,
strumeniierung (Ger.) is a term also oc-
Ingan'no Deceit. . Caden'za d'in-
(It.) .
casionally applied to pfte. -music to de-
ganno, deceptive cadence.
note dynamic shading and variety of
Jngres'sa. Name of the Introit in the touch sometimes with reference to all,
;

Ambrosian rite. at others to single, parts.

lu'halt (Ger.) Contents idea, concep-
Intavola're (It.) i. To write out or
;

tion ; subject-matter.
Inharmonic relation. See False rela-
copy in tablature or score. 2. To set
to music. ..Intavolatu'ra, (a) tablature ;
tion. notation (c) figured bass.
(/}) ;

Inner parts. Parts lying between the In'teger va'Ior nota'rum (Lat.) "In-
highest and lowest Inner fedal, 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. affettuo'so, con affetf- metronome. Michael Praetorius says
to; in'timo, intimis' simo . Mit in'- . . (1620), tbsit abont&o tempora (=breves,
nigem Aus'druck, with heartfelt ex- the tempus, or unit of measure, then
pression
feeling,
In'nigkeit, deep emotion or
. . .

fervency, intensity. . .In'nig-

being the breve
minutes, thus
) should fill 7^ ^
lich, same as Innig.
80 1^ =74 minutes
In'no (It.) Hymn. loj 1=^ =1 min. ioJ- M.M.; hence =
Innocen'te (It.) Natural, unaffected.
Innocentemen'te, naturally, artlessly.
.

.
=2iJ- M.M.; ^ =42f M.M.; and
Innocen'za, naturalness, artlessness, etc. 1 =85} M.M. (J=85J M.M.)
In no'mine (Lat., "in the name".) i. [RiEMANN.]
A kind of motet or antiphon. 2. See Intenziona'to (It.) With stress, em-
Fuga in nomine. phasis.
Inquie'to (It.) Unrestful, restless. Interlude. I. An intermezzo. 2. An
 ; ,;

INTERMEDE INTERROGATIVUS. lOI

CLASSIFIED LIST OF MUSICAL INSTRUMENTS.

Stringed Instruments.

jx. with 4 strings

\ ^Sl"-,XboubIe.bas,
'a) by a bow 2. with more than *Viola d'amore
j
I
A. Strings, rubbed- 4 strings (
[Viols, various]

.b) by a wheel turned by a crank Hurdy-gurdy Piano-violin .^

o\ T. *u- o.. 3 ! without fingerb. Harp

(
thehngers
B.Strings.plucked] ^' ^^ ^ ^ with fingerboard *Guitar, *MandoUn, *Zither, [Lute]
b) by a keyboard-mechanism
'
[Harpsichord]
C.Strings, percuss- j a) directly by the player _
*Zimbalon (or Tympanon), xylophone
ed \ b) by a keyboard-mechanism Pianoforte

II. Wind-instruments.
.With mouth- j a) lateral Flutes, Piccolos. Fife
hole lb) whistle-like [Flfites a bee] , *Flageolet

a) cylindrical tube beating reed j [Chalumeau], clarinets, *alt-cla-

-f- rinet (basset-horn), bass-cl.
(

b) conical tube -\- beating reed Saxophones, *octavin

B. With reed '
Oboe,*hautbois d'amour, alt-oboe or
cor anglais
c) conical tube -^ double reed *Sarrusophones
Bassoon, quint-bassoon, double-bas-
soon
Horn, natural
Trumpet, natural
'a) natural
*Post-horn
(,*Bugle, military
, With mouth- Trombones, slide-trumpet
, with slide
piece
[Cornetto, Serpent]
a. with holes (keys) -< *Key-bu^le, or key-trumpet
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 t a) without keyboard
I I. with tubes Organ
\ b) with keyboard Harmonium, *Vocalion
( 2, without tubes

III. Instruments of Percussion.

A. With a me J
a) with tones of determinate pitch Kettledrums
brane ( b) with tones of indeterm. pitch Bass drum, side-drum, etc.
\ a) with tones of determinate pitch Bells, carillons. Glockenspiel
B. Autophonic j Triangle, cymbals, tam-tam, cas-
1 b) with tones of indeterm. pitch
} tanets, etc.

instrumental strain or passage connect-
ing the lines or stanzas of a hymn, etc.
3. An instrumental piece played
between certain portions of the church
service (Lat. inter lu'dium).
Intermfede (Fr.) i. Interlude i. 2. An
operetta in one act.
Interme'dio (It., dimin. intermediefto.)
Interlude 2.
Intermez'zo (It.) Intermezzi were
inally short mus. entr'actes in the Italian
tragedies, of a very simple description,
Having reached this stage, they merely
had to be detached from the larger work
to form a self-existent operetta or opera,
buffa. Instrumental music sometimes
takes the place of the old intermezzi in
modern dramas (e. g. that to the " ]Vrid-
summer-night's Dream," by Mendels-
sohn)... The term intermezzo is also
technically applied to many short move-
ments connecting the main divisions of
orig--
a symphony or other extended work
sometimes to entire long movements,
or even to independent compositions. .

and quite independent of each other
towards the end of the i6th century
they assumed larger proportions finally
they were treated as separate parts of
a whole mus. drama, of a less serious
cast than the principal work which they
were intended to embellish, their acts
alternating with those of the
Intermez'zi in the Suite are such dances
(movements) as do not form one of its
;
regular constituent parts, but are occa-
sionally introduced for variety's sake,
and usually between Sarabande and
Gigue.
latter. Interrogati'vus. One of the accentuseccL
I02 INTERROTTO INTERVAL.
Interrot'to (It.) Interrupted. . ./fe?-- monic {D) the division of the Octave
;

ruzio'ne, interruption. in Equal Temperament.

Interval. (Lat. interval' lum ; Gar. /- (2) In the newer system, all the
tervall' ; Fr. intervalle ; It. interval' lo.) standard intervals are called niajor;
The difference in pitch between 2 tones. any major interval widened by a semi-
For naming the various intervals tone becomes augmented, if narrowed
by a semitone, it is minor ; and any
there are 2 systems in vogue ; both are
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
;
Inter- Ma- Aug- j^j;^^_ Diminished.
vals. jor. mented.
a Prime (or First), the 2nd a Second, Second...C D CDJ CD|> CDS)S or CJfD|>
the 3rd a Third
(or Tierce), 4th a Third... E Ei Et> E3S
En
Fourth Quart), 5th a Fifth (or Fourth.. F
(or Ffi Fh Fpb F^

Quint), 6th a 52>^/4 (or Sext), 7th a Fifth.... G G| G^ G'm G|>
Sixth.... A Alt A^ A^S A|>
Seventh {or Sept), and the 8th an Octave Seventh. B Btt B^ m\>
Bb
(or Eighth). In the typical scale of C- Octave.. C Cjf C^ Q>
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 I.) America would agree to adopt it other- ;

wise, its occasional use can serve only

-5

^
QJ nl
to increase the confusion unhappily pre-
J= o ^
H Ph (x, vailing in English musical terminology.
In this Dictionary the older system is

I -^^ J
(l) The older system, that in general
adhered to throughout. An interval is

Augmented, when wider by a chroma-
tic semitone than major or perfect . .
:

use, will be explained first premising, Chromatic, when occurring between a

;

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, ^tc. .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-

^and ceptions, the augm. 2nd and 5th of
(ci) I

the harmonic minor scale) Dimin- . . .

Table III shows {A) that each major ished, when a chromatic semitone nar-
ox perfect interval, when widened by a rower than minor or perfect Disso- . . .

semitone, becomes augmented ; that nant, when requiring resolution (comp.

each major interval, narrowed by a
semitone, becomes minor; and that
each minor or perfect \atarva\, narrowed
by a semitone, becomes diminished
(fi) that by inverting the intervals
Dissonance) . . . Enharmonic, when both
itstones, though having different letter-
names, are represented by one and the
same tone on an instr. of fixed intona-
:
tion. . .Extreme, see Augmented. . .

12345678
87654321
Flat, see Diminished. . .Harmonic,
when both tones are sounded together. .

a Perfect becomes
interval perfect
a Major
'* " minor Imperfect, see Diminished. Inverted, . .

a Minor
" " major when the higher tone is lowered, or the
an Augmented " " diminished lower tone raised, by an octave (see
a Diminished " " augmented Table .Major ; according to Table
I). .

(C) 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 in Just Intona- Seventh ace. to Table II, all its inter-
;

tion and Equal Temperament, inter- vals are raal^ox. .Melodic, when the 2 .

vals bracketted together being Enhar- tones are sounded in succession . .

 A

INTERVAL. 103

( TABLE III.) D.
B.
Inverted Inter-
vals.
w A.
Standard
Intervals.
Vibrational Ratio in

Just In-
tonation.
Octave in
Tempered Equal Tem-
Intonation perament.
Division of

Perfect Octave' i Perfect Prime I : 1 0.00000

(1:2;
_ J*
i
Dimin. Octave Augm. Prime 128 : 135
(25 : 48) (Chromatic
Second)*
-I : I 0.08333
Major Seventh
(8 : 15)
t Minor Second
(Step of Lead-
15 ; 16

Minor Seventh 1:1 ing-tone)

(9 : 1,6)
Major Second^ 8:9 0.16666

Dimin. Seventh T\f I..

128)
Augm. Second 64: 75
(75 :

0.25
Major Sixth
Minor Third 5:6
(3:5)
Minor Sixth
(5:8)
f- Major Third 4: 5

0.33333
Augm. Fifth
Dimin. Fourth 25 : 32
(16 : 25)

T)imin. Sixth Augm. Third 512: 675

(675 1024)
:

0.41666
Perfect Fifth Perfect Fourth 3 : 4
(2:3)
Dimin. Fifth - Augm. Fourth 18: 25
(25 : 36)

Augm. Fourth
Dimin. Fifth 25 : 36
(18 : 25)

Perfect Fourth
Perfect Fifth 2: 3 0.58333
(3:4)
Dimin. Fourth T-V\
(25 : 32) Augm. Fifth 16 : 25

1-^ 0.66666
Major Third
(4:5)
-
4 Minor Sixth 5:8

Minor Third
Major Sixth 3: 5 0.75
(5:6)
Dimin. Third
(225 : 256) n *j- - Augm. Sixth 128 : 225

0.83333
Major Second
Minor Seventh 9 : 16
(8:9)
Minor Second Major Seventh 8:15
(15 : i6j

Augm. Prime 0.91666

-Dimin. Octave 25: 48
(128 : 135)

Perfect Prime
(1:1) "Perfect Octave I : 2 1. 00000

* The greater chromatic Second the lesser (e. g. d-d^ ; is 24 : 25.

f The greater whole tone the lesser (e. g. d-e) is 9 10.

;
104 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 then 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 anj ;

wider than the Octave

see Augmented.
In'timo, Intimis'simo
Superfluous, . . .

(It.) Compare
triad has 2 inversions, e. g.
a be
Innig.
Intona're (It.) To intone. P
tst inv. zndznv.

Intonation, i. The production

of tone, a the fundamental position b, 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

a chord of the seventh has 3,

abed
the tone produced, it is said to be cor- sixth ;

rect, pure, just, true, etc., in opposition inversions, e. 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. istznv. 2nd inv. -^rdinv.

a, fund, position b, ist inversion, or
;
In'tonator. See Monochord 1. chord of the fifth and sixth c, 2nd in- ;

Intonatu'ra, Intonazio'ne (It.) Intona-
tion ; pitch.
Intonie'ren (Ger.)
voice (as organ-pipes)
Intra'da. (It. intra' ta, entra'ta ; Ger.
Intra'de ; Fr. entree.) 1. An instru-
mental prelude or overture, especially
version, or chord of the third and fourth;
d, jrdinversion, or chord of thesecond.
To intone ; also, to 2. In double counterpoint, the trans-
; voicing. position of 2 parts, the higher being set
below the lower, or vice versa; this trans-
position may be by an octave or some-
other interval, and is technically termed
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
opening movements of various descrip- of a theme in contrary motion, ascend-
tions. 2. See Entree. ing intervals being answered by de-
scending ones, and vice versa alsa ;

Intre'pido,-a (It.) Bold.

./nirepida- .
called imitation in contrary motion, or
men'te, boldly. . .Intrepidez'za, boldness. imitation by inversion. 4. An organ-
Introduction. A phrase or division pre- point is termed inverted when in some-
Hminary to and preparatory of a com- other part than the lowest.
position or movement may vary in ;
Invi'tatory. (Lat. invitato'rium.) In
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. come, let us "O
Intro'it. (Lat. entrance "
intro'itus, ' 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 formerly an entire; Lord " with the response " the Lord's,
psalm, but abbreviated later. In the name be praised", at matins.
modern Anglican Church, an anthem or Ionian. See Mode.
psalm.
I'ra Wrath, passion
(It.) con ira, ;

Invention. A
short piece in free con- wrathfuUy, passionately. .Ira' to, wrath- .

trapuntal style, developing one motive ful, passionate.

in an impromptu fashion. (Comp.
Irlandais,-e (Fr.) Hibernian, Irish.
Bach's 30 Inventions.)
Iro'nico,-a(It.) Ironical. . Ironicam-en'
Inversion, r. (Ger. Um'kehrung ; Fr.
te, ironically.
renversement; It. river samen' to, rivoV-
to.) The transposition of the notes form-
Irregular cadence. See Cadence.
ing an interval or a fundamental chord Irresolu'to (It.) Irresolute, undecided,
(A) A simple interval is inverted by
:

hesitating.
setting its lower note an octave higher. Isorrhyth'mic. (Ger. isorrhyth'misch.y
 . . . ;

ISTESSO TEMPOJUBELHORN. 105

In prosody, an isorr. foot is one divisi- . .Jeu de JlAtes, flute-stop. . .Jeu de mu-

ble into 2 parts containing an equal tation, (a) mutation-stop (i) mixture- ;

number of rhjfthmic units, i. e. one stop. .Jeu de timbres. Glockenspiel.

. .

having thesis and arsis of equal length ; Jeu de violes, consort of viols .Jeu de . .

as the dactyl ( l^- ^--), anapest (>-' ^1 voix humaine, vox humana Grand '.
.

and spondee (
), ). ; jeu, pleinjeu, full organ full power..
.Demi-jeu, half power.
;

Istes'so tempo,!' (It.) "The same .

tempo " (or time) signifies (i) that the Je'w's-harp.

;
(Ger. Maultrommel; Fr.
tempo of either the measure or measure- trompe, guimbarde ; It. trom'ba.) A
note remains as before, after a change small instr. with a rigid iron frame,
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 slesso temfio.)
Istrumen'to (It.) Instrument. ./r<r-
menti a piz'zico (Ger. Kneifinstru-
mente), stringed instr.s plucked with
fingers or plectrum . Istrumentazio'-
between the teeth, and the metallic
tongue, being plucked with the finger,
.
produces tones reinforced in loudness
and determined in pitch by the cavity
. .
(air-space) of the mouth. Formerly also
Jevi s-trump trump, tromp.
,

ne, instrumentation.
Italian sixth-. See Extreme. Jig. (Fr. and Ger. Gigue; It. gi'ga.') A
species of country-dance, though with
Italian, -ne (Fr.) Italian ; a I'italienne, all conceivable modifications of step
in the Italian style. and gesture, usually in triple or com-
rte, mis'sa est. See Mass. pound time, and in rapid tempo. In
the Suite, the Gigue is generally the
last movement. .

I. In the harpsichord and clavi-

Jingles. The
disks of metal attached at
Jack.
intervals to the hoop of the tambourine.
chord, an upright slip of wood on the
rear end of the key-lever, carrying, (in Jocula'tor (Lat.) %e& Jongleur.
the former) a bit of crow-quill set at a Jo'deln Jo'dler {noun) (Ger.)
{verb), A
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. In the pfte., the escapement-
a frequent and unprepared alternation
lever, usually called Xkiz hopper ox grass- of falsetto tones with those of the chest-
hopper. register. A
Jodler is a song or refrain
Jagd'horn (Ger.) Hunting-horn.. .yoifv/'- sung as above.
stilck, 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- ;

gler or mountebank.
Jale'o (Span.) A Spanish national dance
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
Jalousie'schv7eller(Ger.) The "Vene- time and rapid movement, somewhat
tian-blind " swell. See Swell. resembling a waltz, though with innu-
merable extempore and fantastic varia-
Jan'izary music. (Ger. Janitscha'ren-
tions of step, and accompanied by the
musik, music for triangle, cymbals, and
castanets and mandolin, with vocal in-
bass drum.) According to Grove, the
terludes.
contained I large and
'
Janizary band '

3 small oboes, and I piccolo flute, all of

Jouer (Fr.) To play (any instrument)
very shrill character i large and 2 ;
used with de, du, de V
small kettledrums, one big and 3 small Jour (Fr., " day.") A corde h jour is an
long drums, 3 cymbals, and 2 triangles". open string.
Janko keyboard. See Keyboard. Ju'ba. A
dance of the negroes in the
Southern States, forming an essential
Jen (Fr.) i. Style of playing. 2 {'^X.jeux).
feature of the breakdown.
A stop of an organ, harmonium, harp-
sichord, etc . .Jeu h. douche, flue-stop.
.
Ju'bal. (Ger.) An organ-stop of either
see Cdleste. .Jeu d'anche, 2 or 4-foot pitch.
. .Jeu celeste, .

reed-stop. . .y> d'ange, vox angelica. Ju'belhorn (Ger.) See Klappenhorn.

Io6 JUBILATE KERAULOPHON.
Jubila'te. In the Anglican liturgy, the Ka'non (Ger.) Canon.
looth psalm, following the second les- Kanta'te (Ger.) Cantata.
son in the morning service named ;

from the first word of the psalm in the Kanun'. Aof Turkish dulcimer
sort

Vulgate. or zither with gut strings, played with

plectra adjusted like thimbles on the
Jubila'tio (Lat.) In the R. C. musical finger-tips.
service, the melodic cadence or coda on
the last syllable of "alleluia"; also
Kanzel'le (Ger.) Groove (in windchest.)
Judllus. Kanzo'ne (Ger.) Canzone.
Ju'bilus (Lat.) I. Same as Jubilatio. 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 establishment
Ju'la (Ger.) An obsolete 5^-foot organ-
of a court or nobleman, or of some
stop.

Jump, I. See Dump. 2. A leap.

church dignitary. 2. In modern usage,
an orchestra Kapell'knabe,
. . choir-
.

Jung'fernregal or Jung'fernstimme boy. .Kapell'meister, (a) conductor of

.

(Ger.) Vox angelica. (Lat. also vox an orchestra (b) Choir-masler. (Some-
;

virginea.) times literally translated chapel-master^

Jupiter Symphony. Mozart's 49th (and
. KapeWmeistermusik,
. band-master '
'

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 (Ger.) Capotasto.
Kassation' (Ger.) Cassazione.
K. Kastagnet'ten (Ger., pi.) Castanets.
Katalek'tisch (Ger.) Catalectic.
Kadenz' (Ger.) Cadence ; close ; ca-
denza. Ab'gebrochene K., interrupted
. .
Ka'tzenrausik (Ger., "cat-music".) A
cadence .A ufgehaltene K. the f er-
. . ,
callithumpian concert, mock serenade.
mata (usually on the \ chord) before Kavati'ne (Ger.) Cavatina.
a cadenza Plagal'kadenz, plagal za.- . . .
Kazoo'. A musical (?) toy, consisting of
Atnce Trug" kadenz
. . .deceptive ca- ,
a pasteboard tube furnished with a gut
dence. Un'vollkommene
. . {voU'kom- string, which vibrates when the per-
mene) K., imperfect (perfect) cadence. former sings into the tube.
Also frequently Schluss (close),
Keck (Ger.) Bold, confident pert. ;
which see.
(Also adverb.). .Keck'heit, boldness,
.

Kalama'ika. Hungarian national A confidence.

dance in 2-4 time and rapid tempo, of Keli'le (Ger.) ThtoaV. .Kehl'fertig.
.

an animated and passionate character. keii, vocal skill . Kehl'kopf, larynx

. .

Kalkant' " bellows-treader"

(Ger.) A . .K'ehl'schlag {r. coup de glotte), sud-
of the older German organs Kalkan'- . . . den, firm attack of a vocal tone, the vo-
Unglocke, bell-signal for the blower. cal cords closing and adjusting them-
selves simultaneously with the emission
Kam'mer (Ger., imitating It. camera^
A private room or small hall . . . Kam'- of air.

merkantate, chamber-cantata. .Kani'- . Kehrab', Kehraus' (Ger.) Familiar

merkomponist, court-composer (for a term for the concluding dance at a
prince's private band) . . . Kam'merkon- party or ball.
zert, (a) chamber- Ken'ner (Ger.) A connoisseur, expert.
chamber-concert, (^)
concerlo Kam'mermusik, chamber-
. . .

music. Kani' mermusiker, court-musi- Kent bugle. (Ger. Kenthom.) Key-

. .

Kam' mersdnger court-singer. bugle.

cian. . . ,

. Kam'merstil, the style of chamber-

. Kerau'lophon. In the organ, an 8-foot
music. Kani'merton, normal or stan-
. . partial flue-stop, having metal pipes
dard orchestral pitch (now a' =435); of small scale, each surmounted by an
see Chorion Kam'mervirtuos, court- . . . adjustable ring, and with a hole bored
virtuoso. near the top ; the tone is soft and
 : .

KEREN KEYBOARD. 107

reedy. Inv. by Gray and Davidson of key, a remote key Major key, one
. . .

England. having a major third and major sixth.

Minor key, one having a minor third
Keren. A Hebrew trumpet.
. .

and ^v/JCa. .Natural key, one with

.

Kes'sel (Ger.) Cup (in mouthpiece of neither sharps nor flats in the signature.
brass vasix.s). ./Ces'selpauke,
. kettle- . Parallel key, (a) a minor 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. tive key, see Relative . Remote key, an .

Kettledrum. (Ger. Pau'ke; Fr. tim- indirectly related key (comp. Phone, 4).
bale; tim'pano.) The only orches-
It.
tral drum tuned
to accord with other
Key (2). (Ger. Tas'tej Fr. louche; It.

It consists of a hollow
ta'sto.) I. A
digital or finger-lever in
instruments.
brass or copper hemisphere (the kettle)
a organ, etc.
pfte., 2. A
pedal orfoot-
key in the organ and pedal-piano.
resting on a tripod, with a head of vel-
lum stretched by means of an iron ring Key (3). (Ger. Klap'pe ; Fr. cU, clef;
a.nd tightened by a set of screws or a It. chia'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 the P thus shortening or lengthening the vi-
smaller ,-^. 1r 1

=r-i accord brating air-column and consequently

from '
in g as raising or lowering the pitch of the tone
to/: ' '^^ '
the head
ffjy '
produced. The key here replaces the
is relaxed or tightened. The timpani finger-tip ; it is attached to a lever
-were formerly noted as transposing in- worked by the finger or thumb, and
str.s (i. e. in with the added direction C differs in principle from the valve in
Timpani in [7, in i^b " etc.), but now
' ,

'
lying flat outside the tube.
the notes desired are generally written.
As used at first, they took only the tonic Key (4). A tuning-key.
and dominant of the movement, chiefly
Key (5). A clef. (Obsolete.)
as a rhythmical reinforcement ; now
they take very various intervals, and Key-action. In the pfte. or organ, the
are employed to obtain musical and 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. Klaviatur' ; Fr. cla-
Key (l). (Ger. Ton'art; Fr. mode, ton; vier ; It. tastatu'ra, tastie'ra^ 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 years. Its
the relation of the other tones to the only successful rival at present is the
tonic, or key-note; the terra "scale" Janko keyboard, inv. by Paul von
indicates simply their melodic succes- Janko of Totis, Hungary, which
in 1882,
sion. (Comp. Tonality.) Each key is presents to the eye the appearance of
named after its key-note, as C-major, six different rows of keys arranged step-
a-minor. See General View, page 108. wise, one above the other. But the
The following keys corresponding keys in the ist, 3rd, and
5th rows are all fixed on one key-lever ;
|-g7%t ( C-sharpmaj.r=Z>-flat maj.]
thus, if C be struck in the ist (lowest)
M)*Y^ j ^-sharp min.[=.5-flat min.]
row, the corresponding keys in the 3rd
- I) J. ( C-flat maj.r==.5-major]
and 5th rows are depressed ; further,
p ,

Jj
^'\>' the 2nd, 4th, and 6th rows are similarly
tS l" <n- \ A-&at min.[=C-sharp min.]
connected so that any given tone can
;

are comparatively used, being en- little be struck in three different places, ad-
harmonically equivalent to the simpler mitting of the choice of the key most
keys added in brsu:)iets. . Attendant convenient to the position of the hand
keys, see Attendant. . Chromatic key, . _ at any given instant. The 6 rows are
one having sharps or flats in the signa- therefore arranged in 3 pairs in the ;

ture ; opp. to natural key. . .Extreme lower row of any pair the succession of
lo8 KEY-BUGLE KEY-NOTE.
GENERAL VIEW OF THE KEYS.

m
Key-signa- English. German. French. Italian.
ture.

C-major Cdur Ut majeur Do maggiore } Natural

A-miuor A moil La mineur La mi no re f keys.

Gdur
=) G-major Sol majeur Sol maggiore

m
E-minor EmoU MI mineur Mi minore

D -major Ddur R^ majeur Re maggiore

B-miuor Hmoll SI mineiiF SI minore

j
A-major A diir La majeur La maggiore
) F-sharp minor Fis moll Fa diese mineur Fa diesis minore
Sharp-
keys*
S
E-major Edur Mi majeur Mi maggiore
( C-sharp miner Cis moU Ut dIese mineur L)o diesis minore

^^ '$=
j B-major H dur Si majeur Si maggiore
I
G-sharp minor Gis moll Sol dIese mineur Sol diesis minore

zM^^S^ j F-sharp major Fis dur Fa diese majeur Fa diesis maggiore

bl*! ffm ( D-sharp minor DIs moll Re diese mineur Re diesis minore

CfetMn J
G-flat major Ges dur Sol bemol majeur Sol bemolle maggiore
qE^^_ -j E-flat minor Es moll Mi bemol mineur Mi bemolle minore

t^ J>^_ ( D-fiat major Des dur Re bemol majeur Re bemolle maggiore

I B-fiat minor B moll Si bemol mineur Si bemolle minore

'

A-flatmajor As dur La b^mol majeur La bemolle maggiore

P \^
J
) F-minor

J E-flat major
F moll

Es dur
Fa mineur Fa minore

Mi bemol majeur Mi bemolle maggiore

Flat
keys*

V j C-minor C moll Ut mineur Do minore

'.

( B-flat major B dur Si bemol majeur Si bemolle maggiore

G
P :

'
j

(
G-minor

F-major Fdur
moll Sol mineur

Fa majeur
Sol minore

Fa maggiore
( D-minor DmoU Re mineur Re minore

keys \s C DE [white] F% G{f A^ I row : Cfl D^

[black] FGAB [white]
[black] c [white], etc. ; in the upper! df, [black], etc.:

upper row of keys (in pair) Ctf DJf F G A B ci;

lower " " " " " C D E F# G3 Ait ..
Consequently, a chromatic scale is Key-chord. The tonic triad.
played by the simple alternation be- Keyed violin. A piano-violin.
tween the successive keys of any 2 ad-
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 key- similar keyboard, but 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, i8rg by Dietz and Second. (Comp.
or even a fourteenth if^-b^i). KlaviaiU7'~Harfe^
Key-bugle. See Bugle. Key-note. The tonic.
 .

KEYSHIP KLAVIER. 109

Keyship. Tonality. 3. . .Klang'verwandschaft, chord-re-

Key-signature. See Signature. lationship.

Key-stop. A key (digital) attached to Klap'pe(Ger.) Key 3. . .Klap'penhorn,

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-stop) violin. (Comp. Klavier-
Bass' klausel, the dominant-tonic skip-
Violoncello^
of the bass at the close.
Key-tone. Same as key-note. Klavaoli'ne (Ger.) See jEolodicon.
Key-trumpet. A trumpet provided writh Klavi- (Ger.) See Clavi-.
keys.
Klaviatur' (Ger.) Keyboard ... j^/uW-
Kicks (Ger.) The " goose ".
atur-Harfe (or Klavier-Har/e), a
Kin. An ancient Chinese instr. consist- piano-harp, i. e. a harp with piano-key-,

ing of a soundboard with 2 bridges, board, inv. 1893 by Ignaz Lutz of

over which silk strings varying in num- Vienna the strings are plucked or ;

ber from 5 to 25 are stretched they are twanged by plectra (in lieu of hammers)
;

plucked with the fingers. actuated by the digitals the effect ;

Kin'derscenen (Ger.) Scenes of Child- closely resembles that of the double-

(Schumann) action harp, the tone being even fuller.
hood Kiri'derstiicke^ . . .

pieces for children. . .Klaviatur-Zither , piano-zither, i. e.

a small pfte. in grand shape, the single
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.
agraduated series of 16 sonor- Klavier' (Ger.) 1. A keyboard. 2. A
sisting of
ous stones (or plates of metal), sus-

keyboard stringed instr. specifically, in ;

pended by cords and struck with a the 1 8th century, a clavichord now, a ;

mallet. pfte. of any kind. . .Klavier'aus^ug,

Kir'chenmusik (Ger.) Church-music. pfte. -arrangement. .Klavier Harmo- . -

. .Kir'chenton (pl.-ione), a church- nium, a combined pfte. and harmonium ;

mode ... j?'zV'<r,4i?j-^;7, (a) the style of that inv. 1893 by Franz Woroniecki of
harmonic progression peculiar to the Przemysl, Galicia, is shaped like a
medieval church-modes ;
(i) the style small grand piano, the harmonium-
of sacred music. mechanism being attached below and
Kis'^sar. The 5-stringed Abyssinian lyre. behind the body and controlled by from
5 to 10 d.X3.^-%Xo'f%. .Klavier'hoboe, .
Kit. (Ger. Ta' schengeige ; Fr. pochette; harmoniphon. .Klavier'mdi sig, suitable
.

It. sordi'no) small old-fashionedThe for the pfte., in pfte. -style. .Klavier"- .

violin used by dancing-masters, with

satz, (music in) pfte.-style, pfte.-music,
the accordatura c^-g^-d^, and about 16
pfte.-writing. .Klavier' spiel, pfte.-play-
inches in length over all. ing. .Klavier- Violoncello, the inven-
.

Ki'thara (Gk.) A harp-like of the instr. 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. com- A A knee, a keyboard is attached in such a
posite musical tone (a fundamental tone manner, above the strings, that by ma-
with harmonics) rendered Dy Tyn-
its ;
nipulating it the player's left hand can
dall "clang". 3. See Phone, i...
Klang'boden, soundboard (usually Re-
effect all stops and double-stops.
the bow, all
With
the effects on the 'cello as
sonan/boden. Klmig'farbe, " clang-
. . ordinarily played are obtainable while ;

tint", "tone-color",
quality of tone. purity of intonation is attained with
. .Klang"folge, a pro^jression of chords, mathematical accuracy by the aid of the
viewed from the standpoint of their tangents actuated by the keys ; even the
tonality. Klans^figiiren,
. Chladni's vibrato effect can be brought out.
figures, see Nodal lines. . .Klang'ge- Klavier- Viola, a viola to which a key-
scklecht, aioAe. .Klang'schlilssel, see mechanism similar to the foregoinff is
Phone, 6 Klang'stufe, degree in-
. . . ;
applied when played, \t is set on alow
;

terval..Klang'vertretung, see Phone,

. table or stand.
 KLEIN KURZ.
Klein (Ger.) Small; mvnot. . .Klein' both hands the chromatic tones are
;

gedackt, flute (organ-stop). produced by pressing the strings behind

Kling'ende Stim'men (Ger.) Speaking
the bridges.
or sounding stops (of an organ) ; opp. to Kraft (Ger.) Force, vigor, energy. .

stum' me Regis' ter. Krdf'tig, forceful, vigorous. (Also

adverb.)
Knee-stop. A knee-lever under the
manual of the reed-organ there are 3 Kra'gen (Ger.) Peg-box (of a lute).
;

kinds, used (a) to control the supply of KrakoTviak. See Cracovienne.

wind ij>) to open and shut the swell- Krau'sel (Ger.) Mordent.
;

box if) to draw all the stops.

;
Krebs'gangig (Ger.) Cancrizans, xAro-
Kneif'instrument An instr. hav- (Ger.) ^xsAe. . .Krebs'kanon, canon cancri-
ing strings plucked by the fingers or a zans.
plectrum.
Krei'schend (Ger.) Harsh, strident
Knie'geige (Ger.) Viola da gamba screeching, screaming.
Knie'guitar re guitare ^
d'amour. , . .
Kreuz (Ger., "across".) A sharp (Jt).
Knie'zug^ knee-stop. .Kreuz' saiiig, overstrung. ..Kreuz'-
.

Knopf'regal (Ger.) See Apfelregal. tonart, a sharp key.

Kno'te (Ger.) Node. . .Kno'tenpunkt, Krie'gerisch (Ger.) Martial, warlike.
nodal point. Kriegs'lied (Ger.) War-song.
KoUektiv'zug (Ger.) Composition- Kro'rae (Ger.) Chroma.
pedal.
Krumra'bogen (Ger.) Crook. .Krumm'-
.

."Kol'lern (Ger.) See Sgallinacciare. horn, {Kromphorn, Krumhorn, hence

!Kolophon'. See Colophony. Fr. cromorne and It. cormorne ; It.
.'Kombinations'pedal (Ger.) Combina- also cornamu'to tor'to, or, for short,
tion-pedal.. .Kombinations' ton^ combi- stor'io.) I. An obsolete wood-wind instr.
nation-tone. of the Bombard class, blown by means of
a double reed within a cupped mouth-
Koraponie'ren (Ger.) To compose... piece, and differing from the bombards
Koniponiert' composed.. .Ko7nponist'
^
by the semi-circular turn of the lower
composer.
part of the tube and by its remarkably
;JCon'trabass (Ger.) Double-bass... A'om'- narrow compass (a ninth). In the l6th
trafagott, double-bassoon. .Kon'lra- .
century it was made in 3 or 4 different
^
.ekiave, contra-octave Kon' trapunkl, . . .
sizes, ti'eble, alto, (tenor), and bass, and
counterpoint... Ko7t'trasuliJel;t, counter- had 6 ventages on the straight part of
rsubject. the tube. The tone had a melancholy
TConzert' (Ger.) Concert ; concerto. timbre, which was imitated 2. in the
(Also Concert.) . . Konzert'meister^ . organ-stop of the same name (also
leader, first violin . . Konzerl' oper, a . cormorne, crevtona, phocinx), formerly
light opera for concert performance in vogue for small-sized organs and for
-without stage-accessories . Konzert'- . . the echo-work of larger ones (of 8 and
siiick, (ff) 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 A'rumm' hornbass) ; a
piece for public performance. reed-stop, the tubes of which were fre-
Kopf'stirame (Ger.) Head-voice. quently half-covered, or conical below
and cylindrical above. [Riemann.]
Kop'pel (Ger.) Coupler. .Koppel ab, .

coupler oS.. .JC. an, draw coupler.

.
Krus'tische Instruraen'te (Ger.) See
Schlag'instrumente.
Kornett' (Ger.) Comet.
Kuh'horn (Ger.) The alp-horn ... jr,5'-
Kosa'kisch (Ger.) A national dance of
reigen, Kuh'reihen, Ranz des vaches.
the melody of which con-
the Cossacks,
sists of 2 8-measure repeats in 2-4 time. Kunst (Ger.) Art; science ... jTmkj^'-
Ko'to. The Japanese zither-harp, with fugue, fuga ricercafa...j?'Kj/'/r, artist.
.Kunsf lied, an art-son%, opp. to folk-
13 silk strings stretched over an arching
.

song ( Volkslied) Kitnsi'pfeifer, see

oblong soundboard, each having a sep-
. . .

Stadtpfeifer.
arate movable bridge, by adjusting
which the string can be tuned. Com- Kurz (Ger.) Short crisp(ly). .Kur'zer
; .

pass about i octaves. The player uses Mor'dent, short mordent. .Kur'zeOk- .
 .

KYRIE LAUTE.
ta've, short octave Kurz und be-
stimmi', short and decided. .Kur'zer
. . . (in the organ). 4. Key (on wind-
. instr.s).
Vor'schlag, short appoggiatura.
Languid. Same as Language.
Ky'rie (Gk.," Lord".) The first word, Languidamen'te (It.) Languishingly,
and hence the opening division, in the \3.n^\iiA\y Lan'guido languid, lan- . . . ,

Mass. 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 /. It. (left hand). pressing buttons adjusted in front.

La. I. The 6th Aretinian syllable. 2. Lapid'eon. An instr. consisting of a

(Fr., It., etc.) The note A.^. The series of flint-stones graduated to the
(Fr., fern. sing.)...Za b/mol, etc., see tones of the scale, hung in a frame, and
Key I, Table. played with hammers inv. by Baudry. ;

Labecedisa'tion. See Bebisation. Largamen'te Largely, broadly ; irt (It.)

Labial'pfeife (Ger.) A labial (lipped) a manner characterized by breadth of

pipe a flue-pipe . . . Labial' stimme, a style without change of time. [Grove.]
;

flue-stop. Largan'do (It.) "Growing broader",

Labisa'tion. Same as Bebisation. i. slower and more marked
e. ;
generally
a crescendo is implied.
La'bium (Lat.) Lip (of an organ-pipe).
(Plural, in Ger. use, La'bien.) Large. Sefe Notation, 3.
Lacrimo'sa (Lat.) First word in the Large, Largement (Fr.) Largamente
8th strophe of the Requiem hence, ;
(Ger. breit); sostenuto (Ger. getragen)..
name of a movement or division of the Larghet'to (It.) Dimin. of Largo; calls
grand musical requiem, usually of a for a somewhat quicker movement,
tender and plaintive character. 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, calling
;

genwechsel, change of position, shifting. for a slow and stately movement with
.Enge (weite) Lage, close (open) har-
.
ample breadth of style. .L. assa'i, with .

mony. due breadth and slowness .L.di molto, . .

Lagriman'do (It.) Complaininglv, pXaXa- or jnolto largo, an intensification of

tiveXy .. .Lagrimo' so, "tearful", plain- Largo. .Poeo largo, "with some
.

tive, in the style of a lament. breadth"; can occur even during an

Allegro.
Lah. For La, in the Tonic Sol-fa system.
Laraenta'bile (lamentan'do, lamen- Larigot (Fr.) Originally, a kind of

te'vole, lamento'so) (It.) In a sad, shepherd's pipe, or flageolet hence, an ;

melancholy, or plaintive style. organ-stop of ij^ foot pitch, one of

the shrillest registers.
Land'ler (Ger.) A slow waltz of South
Germany and Austria (whence the Fr. Lau'da (Lat.) A laud (hymn or song of
praise). .Lau'des, lauds together with
name Tyrolienne), in 3-4 or 3-8 time, . ;

matins, the first of the 7 canonical

and the rhythm
hours, taking its name from the 148th,
J J /--^IJ J :-^ 149th, and 150th Psalms then sung.

Lang'sam (Ger.) Slow, slowly... Zaw?-'-

Lauf (Ger.) i. See Ldufer. 2. Peg-
samer, slower. box (usually Wir'belkasteri).
Language, In a flue-pipe of an organ, Lau'fer (Ger.) A run.
an inner partition between foot and Lau'nig (Ger.) i. With light, gay humor.
body see Pipe 1, a.
;
2. With facile, characteristic expres-
Languen'do, Languen'te (It.) Lan- sion.
guishing, plaintive. Laut (Ger.) i. Loud. 2. A sound.
Languette (Fr.) i. The tongue of a harp- Lau'te (Ger.) A lute . . . Lau'tengeige, a
sichord-jack, on which the quill was viol. . . Lau
teninslrumente see Kneif- ,

fixed.2.
Tongue of a reed in the instrumente Lautenist' lute-player. . . . ,

harmonium or reed-organ. 3. Pallet . Lau' tenmacher see Luthier.

. ,
112 L AVOLT ALE ITMOT I V.
Lavol'ta (It.) An old Italian dance in LSger, 16gfere (Fr.) Light, nimble...
triple time, resembling the waltz. Ligirement, lightly, nimbly.
Lay. A melody or tune. Leg'er-line. (Ger. Hilfs' linie ; Fr. ligne
Le (Fr. and It.) The. ajoutie; It. ri'go aggiun'to or Jinto.)

Lead. i. The
giving-out or proposition One of the short auxiliary lines used for
of a theme by one part. 2. cue A writing notes which lie above or below
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
chorus, the first soprano. (In small
orchestras the leader [ist violin] is still,
.
(It.) Lightness, swiftness.
.Leggermen'ie, lightly, swiftly. .Leg- .

as was the rule in earlier times, also ge'ro, same as Leggiero.

the conductor.) Leggiadraraen'te. (It.) Neatly, ele-

Leading, [noun). In a composition,

i gantly, gracefully. .i^jjj'aVyo, neat, .

the melodic progression of any part or graceful, elegant in a brisk and cheer- ;

parts. 2 (adjective). Principal, chief; ful style.

,
guiding, directing. Leading-chord, the
dominant chord, as leading into that of
the tonic Leading melody, principal
. . . . "Leggierez'za, lightness, swiftness...
melody or theme . Leading-motive, see
Leitmotiv ... Leading-note f -tone (Ger.
,eifton; Fr. note sensible; It. no'ta
sensi'bile), the yth degree of the major
and harmonic minor scales so called
because of its tendency, in certain
melodic and chordal progressions, to
the tonic.
Leaning-note. Appoggiatura.
Leap. I. In piano-playing, a spring
from one note or chord to another, in
. . Leggieramen'te, Leggiermen'te (It.)
Lightly, swiftly. . .Leggie're, light, etc.
. . Leggi/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-
sages with rhythmical emphasis. little
It differs froniLegato in calling for a
mere down-stroke of the fingers without
pressure, and with a quick, springy re-
coil. .L. con moto, lightly and swiftly.
.
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.

z-Qbett'dig, Leb'haft (Ger.) Lively, Leicht(Ger.) i. Light, brisk. 2. Easy,

animated. (Also adverb^ LeV haftig- . . . facile. . .Leicht bewegt, (a) leggiero con
keit, animation Mit L. unddurchaus'
; moto (b) with slight agitation.
;

mit Emffindung und Ausdruck, with Lei'denschaft (Ger.) Passion, fervency,

animation, and with feeling and ex- vehemence Mit Z. or lei' denschaft-
. . . ,

pression throughout. lich, passionately, vehemently.

T-^dger-line. See Leger-line. Lei'er(Ger.) 'L.yx^; L.kasten, hand-organ.
Legan'do. (It.) See Legato. Lei'se (Ger.) Low, soft, piano.
Lega'to (It. ; superl. legatis'simo.) Lei'ter (Ger. ,
'
' ladder ".) Scale ( Ton'-
"Bound"; a direction to perform the leiier). . .Lei'tereigen, proper or belong-,
passage so marked in a smooth and ing tothescale. . .Lei'terfremd, foreign
connected manner, with no break be- to the scale.
tween the tones also indicated by the ;
Leit'motiv [-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 . .
inence by Wagner's musical dramas,
Lega'tobogen (Ger.), legato-mark, slur.
and applied to any striking mus. motive
Legatu'ra (It.) A tie ; a syncopation. .
(theme, phrase) characteristic of or
L. di voce, see Ligature 2. accompanying one of the persons of the
Le'gend. (Ger. Legen'de ; Fr. l^gende.) drama or some particular idea, emotion,
A composition based on a poem of or situation in the latter ; the motive
lyrico-epic character, the poem serving 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.
 ;

LEITTON LIP. "3

Leit'ton (Ger.) Leading-tone. Lieb'lich (Ger.) Lovely, sweet, charm

Lenez'za, con (It.) In a gentle, quiet ing often with names of organ-stops.
;

manner. Lied (Ger.) Song. ^A preeminently Ger-

Le'no (It.) Faint, feeble. man song-form that of the durch'- is
komponiertes Lied, which differs from
Lent,-e(rr.) Slow. . .Lentement, slowly.
the ballad {Stro'phenlied)va 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-marks). Also used and rhythm Kunst' lied, Volks' lied. . . .

as a qualifying term, as Adagio non Yolks' t(h)umliches Lied, see those

lento. ..Leritamen'te, slowly.. .Lenian'- words . Lie' dercyclus 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 ; (b), also Lie'derkreis, a set or
ing slowness {ritardando, ralleniando). series of songs ... Lie'der spiel, see Vau-
. .Lentez'za, con, slowly, deliberately. deville. . . Lie' dertafel, a singing-society

Lesser. Minor; as the lesser third... of men, of a social character. . .ZiVi/'-

Lesser apj>oggiatura,sh.OTta.-p^oggia.tara. form, see Form.
. Lesser whole tone, see Intervals,
. Liga'to (It.) Legato.
Table III, foot-note. Lig'ature. {Ger. Ligaiur'; Yr. ligature;
Lesson. (Fr. le^on^j In the 17th and It. ligatu'ra.) I In mensurable music, .

l8th 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 obliqua

(q. V.) (Comp, Proprietas, Improprietas,
Letter-name. A letter used to desig-
Perfection, Imperfection^ 2. In mod-
nate a tone, note, key, or staff-degree. ern music, a group or series of notes to
See Alphabetical notation. be executed in one breath, to one syl-
,

Lev6 (Fr.) Up-beat. lable, or as a legato phrase.

hence, a syncopation.
3. A tie ;

Leyer (Ger.) Earlier spelling of Leier.

Liaison (Fr.) I. A tie. 2 (liaison Ligne (Fr.) A line. .Ligneajoutie {pos~ .

d' harmonic). A syncopation. 3. See tiche, or suppUmentaire), a leger-line.

Ligature 2. Li'mite (It.) Limit.
Libel'lion. 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).
they pass 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.
Liberamen'te (It.), Librement (Fr.)
Li'nie (Ger.) A Vme. ..Li'niensystem,
the staff.
Freely.
Linings. (Ger. Fiifterung; Fr. conire-
Librettist. A
writer of libretti ... Zj-
Pelisses.) In the violin, etc., the strips
brefto (It., pl.-. Fr. ditto, or lim-et
;
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,
oratorio, etc. also such words or text,
;
Lin'ke Hand (Ger.) Left hand.
whether in book-form or not a book. ; Lip. (Ger. Lip'pe or [Lat.] La'bium,
I.

License. (Ger. Frei'heit ; Fr. licence ; pi. La'bien; Fr. biseau [upper lip].)

It. An intentional deviation

licen'za.) The lips of a flue-pipe are the fiat
from established custom or rule Con . . .
surfaces above and below the mouth,
alcu'no licenza (It.), with a certain called the upper and lower lip. See
freedom.
Pipe I, a. 2. (Ger. An'satz ; Fr. em-
bouchure ; It. imboccatu'ra.) 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-
Li6 (Fr.) Tied legato. ; duce artistic effects of tone aXso lipping. ;
114 LIPPENPFEIFE LUR.
Lip'penpfeife (Ger.) Flue-pipe (usually 8va, "perform the notes as written''.
Labialpfeife). Also al loco.

Li'ra (It.)'Ljrs (see Lyre). While the Lo'crian. (Ger. lo'krisch.) See Mode.
ancient lyre was a harp-like instr., the Long. (Lat. longa.) See Notation, 3;
lira of the l6th-i8th century was a also for Long-rest.
species of viol, a bow-instr. with a Lonta'no (It.) Distant. .Da I., or in Ion-
.

varying number of strings, and made in tanan'za, from a distance, far away.
3 principal sizes... Z. barberi'na, a
Loop. I. The vibrating portion of a
small lyre inv. by Doni of Florence in
body bounded by 2 nodes. See Node.
the 17th century... Z. da brae'do.,
"arm-lyre", a bow-instr. first mentioned
2. The cord fastening tailpiece to-

button (violin, etc.)

in the gth century, and appearing in
the 15th as an instr. resembling the Lo'sung, fort'schreitende (Ger.) Reso-
viol in form of head and in stringing, lution (usually Auf'losung).
though in other points (and finally in Loud pedal. Damper-pedal.
the adoption of 4 strings) like the vio- Loure (Fr.) An ancient Fr. bagpipe
i.
lin (see art. Violin, foot-note).. .Z. da
gam'ba, knee-lyre. .Z. ted/sea, hurdy-
inflatedby the mouth hence 2. A ;
.
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
strongly marked.
Liro'ne (It.) The
great bass lyre (also
Accof'do, Arehivio' la di lira), with as Lour6 (Fr.) Slurred, legato, non staccato,
many as 24 strings. Lovy. I. (Ger. Fr. douce; It.
lei'se;

Li'scio (It.) Smooth, flowing. pia'no.) Soft, not loud. 2. (Ger. tie/;
Fr. bas,-se; It. basso,-a.) Grave in
L'istes'so. See Istesso.
pitch, not acute.
Litany, (Gk. litanei'a; Lat. and It. li- Lugu'bre (Fr. and It.) Mournful.
tani'a; Fr. (pi ) litanies; Ger. Lilanei')
A song of supplication "a solemn Lullaby. Cradle-song, berceuse.
;

form of prayer, sung, by priests and Lun'ga (It.) Long. Written over or
choir, in alternate invocations and re- under a hold, it signifies that the latter
sponses, and found in most Office- is to be considerably prolonged Lun- . . .

books, both of the Eastern and West- ga pa'usa, a long pause or rest. Lun~
ern Church" [Grove]. Litanies were ghe (pi. of l-unga), drawn out, pro-
originally employed in processional longed "note" (notes) being implied.
;

supplications for averting pestilence

and other dangers, and later adopted
Luo'go (It.) Same as Loco.
by the Church as portions of the reg- Lur (Danish, from Old Norse ludr, a
ular service at certain seasons. hollowed piece of wood.) unique I. A
Lit'terae significati'vae (Lat.) Single pre-historic wind-instr. of bronze (alloy
letters, or abbreviations, of doubt- of copper 88.90^, tin 10.61^, 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
Sweden, and Mecklinburg. The long^
Liu'to (It.) A lute. slender, exactly conical tube, varying
Livre (Fr.) Book . . .A livre ouvert, at in length from 5 ft. to 7 ft. 95^ in.,
sight. 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,
and forward again over his head), and
Lob'gesang (Ger.) Song or hymn of
terminates with a broad circular flat
praise.
plate (about 10 in. in diam.) in lieu of
Loch in der Stimme (Ger.) " Hole
a flaring bell. This plate is ornamented
in the voice"; said of that part of a with bosses in front, and on the rear
register in which certain tones cannot with several small bronze tassels, de-
be made to " speak" on account of a pending loosely. The Lur has a cupped
morbid state of the vocal organ. mouthpiece, shallower and more nearly
Lo'co (It.) Place ; signifies, following V-shaped than that of the trombone.
 .
. .

LUSINGANDO MACHETE. "5

The tone is powerful and mellow. 2.
The modern Lur^ of Norway and Swe-
den, is usually made of birch bark, and
is allied to the Swiss alp-horn.
Lusingan'do, Lusingan''te
ing, caressing also lusinghe'vole.
; .
Lusinghevobnen' te, coaxingly, etc.
10 in number, were stretched from this
cross-bar to or over a bridge set upon
the soundboard, and were plucked with
a plectrum. The names of the strings
(It.) Coax- (whence were derived the names of most
of the tones in the Greek modes) on the
.
8-stringed lyre were as follows :

Lusinghie're, or -o, coaxing, flattering, Hyj/ate, "uppermost" (as the lyre was
seductive. held); the longest and deepest-toned.
Parhyp'ate, "next to hypate ".
Lus'ttg (Ger.) Merry, gay (also adverb). Z2c/i'atfj,_" forefinger-string".
Me'se, " middle string".
Lute. (Ger. Lau'te; Fr. luth; It. liu'to^ Parame'se, " next to Mese ''.
Tri'te, " third string " (from the lower
A stringed instr., now obsolete, of very
side).
ancient origin it was brought to Eu-
; Peirane'te, " next to the last ".
rope by the Moors, who called it Al'ud ^^/e, "last," or " lowermost '' (the high-
or A I Oud. .The body has no ribs,
.
est in pitch).

the back being, like that of the mando-
lin, in the vaulted shape of half a pear.
The strings, attached to a bridge fixed
on the face of the instr. and passing
over or beside the fretted fingerboard,
The Kithara may be considered as a
large form of the lyre, the Chelys as a
treble lyre.
The lyre differed from the
,
harp in having fewer strings, and from
the guitar, lute, etc. in having no fin-
,

were plucked by the fingers, and varied
in number from 6 up to 13, the highest
or melody-string [treble, canto) being
single, and the others in pairs of uni-
sons. Bass strings off the fingerboard,
each yielding but one tone, were gener-
ally attached to a second neck they
were in later times covered with silver
wire, the other strings being of gut.
These bass strings were introduced in
the l6th century, and led to divers modi-
fications in the build of the instr. the
various forms of large doubled-necked
lutes then evolved [theorbo, archiliuto,
chitarrone) being general favorites, and
holding, from the 15th to the 17th cen-
gerboard ; its compass and accordatura
varied greatly. It was chiefly used to
accompany songs and recitations. 2.
An instr. used in military bands, con-
sisting of loosely suspended steel bars
tuned to the tones of the scale and
;
struck with a hammer. 3. See Rebec.
Lyric, lyrical. Pertaining to or proper
for the lyre, or for accompaniment on
(by) the lyre; hence, adapted for singing
or for expression in song. The term is
; applied to music and songs (or poems)
expressing subjective emotion or special
moods, in contradistinction to epic (nar-
rative), and dramatic (scenic, accom-
panied by action). .Lyric drama, the
.

tury, the place in the orchestra now oc- opera. .Lyric opera, one in which the
.

cupied by the bass violins. Music for expression of subjective feeling, and the
the lute was written in tablature, there lyric form of poetry, predominate . .

being 3 systems (French, Italian, and Lytic stage, the operatic stage.
German)... A lute-player is variously

called a lutenist, lutanisl, lutinist, and

luiist. M.
Luth (Fr.) .Lutherie, the trade
Lute. .
M. Abbr. of It. mano, and Fr. main,
of, and also the instr. s made by, a (hand) ; in organ-music, of manual
luthier. .Luthier, formerly, a
. lute- and Lat. manna' liter ;
(usually Afaw.),
maker ; now, a maker of any instr. of and of metronome (usually M. M.) and
the lute or violin class. mezzo. . .PI represents the note me (mi)
Lutto'so (It.) Mournful, plaintive... inTonic Sol-fa notation.
Luttuosamen' te mournfully, etc.
,
Ma (It.) But as in the phrase vivace,
;

Lyd'ian. (Ger. l/disch.) See Mode. ma non trofpo, lively, but not too much
so.
Lyre. I. (Gk. and Lat. ly'ra; It. li'ra; Fr.
lyre; Ger. Lei'er.) stringed instr. of A 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
which rose 2 curving arras joined above
by a cross-bar ; the strings, from 3 to or sometimes
i I

d'^
J
instead of
r-

e'^.
Ii6 MACHINE-HEADMANDOLIN.
Machine-head. (Ger. Mechn'nik^ A Magazin'balg (Ger.) Reservoir-bellows
rack-and-pinion adjustment substituted (organ).
for 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.
" To the Mother " Mag'got. A"fancie", or piece
of an
Ma'dre, al'la (It.)
impromptu and whimsical character.
;

a superscription of hymns to the Virgin.

Magni'ficat. Name of, and first word in,
Mad'rigal. (Ger. and Fr. Madrigal' "
the " Magnificat animamea dominum
It. madriga'le, madria'le^ mandria'le.)
(my soul doth magnify the Lord), the
Originally, a short lyrical poem of an
hymn or song of the Virgin Mary (Luke
.

amorous, pastoral, or descriptive char-

acter. Hence, a poem of I, 46-55), sung in the daily service of
this kind set
the Church.
to music,which is polyphonic, with in-
cessant contrapuntal variations, and Main(Fr.) Hand. .M. droite {gauche),
.

based (in the stricter- style) on a cantus right (left) hand. .M. hannonique, .

firmus ; it is without instrumental ac- harmonic hand.

companiment, and differs from the Maitre (Fr.) Master. .j^f. de chapelle. .

Motet in being of a secular cast. This Kapellmeister, conductor. .M. de mu- .

style of composition appears to have sique, {a) conductor {6} music-master, ;

had its rise in the Low Countries to- teacher.

wards the middle of the 15th century, Maitrise (Fr.) In France, prior to 1789,
spreading thence to other European a music-school attached to a cathedral,
States, and cultivated with peculiar suc- for the education of young musicians,
cess in Italy and England well into the who were called en/ants de choeur. Some
l8th century in England the Madrigal
; few were reestablished, and still exist.
Society still flourishes. Madrigals are
Majesta'tisch (Ger.) Majestical(ly).
written in from 3 to 8 or more parts,
and are best sung by a chorus, which Major. (Ger. dur; Fr. majeur; It. mag-
'

feature forms one of the chief distinc- gio're^ Lit. greater", and thus opp. to
'

tions between the M. and the Glee (for pernor, " lesser." {fZovx^. Phone, Inter-
solo voices). val^ Major cadence, one closing on a
. . .

major triad M. chord or triad, one

. . .

Maesto'so Majestic, dignified. ..

(It.) having a major third and perfect fifth.
Maesla' {con), Maesta' de (con), Maeste' .M. interval, key, mode, scale, tonal-
. .

vole, Maestevohnen' te Maestosamen'ie, ,

ity, see the nouns M. whole tone, the . . .

with majesty or dignity, majestically. greater whole tone 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. Malinconi'a (It.) Melancholy. .C(? .

m-.,with melancholy expression, deject-

Maestri'a (It.) Mastership, skill, virtu-
edly (also malinconicamen' te) Malin- . . .

osity.
co'nico {-nio'so, -no'so), melancholy,
Mae'stro (It.) A master. .M. al cem'- .
dejected.
Also Melanconi'a, etc.
halo,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. dei fut'ii, " master of the
. lentando is intended (v. Tempo-marks),
boys", i. e., the choir-master of St. Manche (Fr.) Neck.
Peter's at Rome. .M.
del co'ro, choir-
.

master ... Af. singing-master.

(A' canto,
Mando'la (It.) A large variety of Man-
dolin.
. M. di cappel'la, (a) choir-master {b)
.
;

conductor (c) Kapell'meister (conduc-

;
Man'dolin(e). (It. mandoli'no.) An instr.
of the lute family, the body shaped like
tor of chorus and orchestra).
that of a lute, though smaller, having
Mag'adis (Gk.) An ancient Greek instr. wire strings tuned pairwise, played with
with 20 strings tuned in octaves two by a plectrum, and stopped on a fretted
two hence the term mag'adize, to sing
;
fingerboard. There are 2 chief varie-
in octaves, as boys and men. ties, (l) the Neapolitan {mandolino
Ma'gas (Gk.) Bridge (of a cithara or napolita' no) which has 4 pairs of strings
,

lyre) ; fret (of a lute). XxvatA gd^a^-e'' like those of the violin;
 : ; ; .

MANDOLINATAMASCHINEN. 117

and (2) the Milanese {mand. lombar'do), Para'demarsch; Fr. Pas ordinaire) has
which has 5 or 6 pairs, about 75 steps to the minute; the Quick-
tuned g-c^-a^-d^-e^ (or step (Ger. Geschwind'marsch; Fr. Pas
g-b-e^-ay-d^-e''). Com- redoubU), about 108; while for a Charge
pass about 3 octaves (Ger. Sturm' marsch; Fr. Pas de charge)

Mandolina'ta some 1 20 steps per minute are reckoned.

Played (on pfte.)
(It.)
. Besides these military marches of a
. .
with a quasi mandolin-effect.
bright and martial character. Funeral
Mando'ra, Mandore. Same as Mandola. or Dead Marches are composed, slower
Ma'nico (It.) Neck (of a lute, violin, etc.) in movement and more solemn in effect,
and sometimes symphonically developed.
Man'ichord. (Lat. manichor' dium.) A
term variously applied to different forms Marcfie (Fr.) i. A march. 2. Pro-
of obsolete keyboard stringed instr. s. gression Marcher, to progress. . . .

Manier' (Ger.) An agriment (harpsi- Mar'cia (It.) A march ; alia m., in

march-style.
chord- or clavichord-grace).
Manie'ra (It.) Style, manner, method.
Mark. (Often equiv. to sign.) Cadence-
mark, the vertical line separating the
..Con dolce m., in a suave, delicate
words of a chant, dividing those sung
style.
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 . .

..Mdn'nergesangverein, men's choral Fxpression-mark Tempo-mark, see . . .

society.. .Mdnnerstimmen, men's voices. that word.

Ma'no (It.) Hand. -M. d/stra {sini'- . Markiert'(Ger.), Marqu6(Fr.) Marked,

strd), right (left) hand. accented marcato. ;

Man'ual. i. A digital. 2. (Ger. Ma- Marseillaise. The French revolution-
nuaV ; Fr. clavier; It. nmnua'le.) An ary hymn, the poem of which was
organ-keyboard opp. to pedal. ; (Com- written and set to music during the
pare Organ.). .Manual-key, a
. digital. night of April 24, 1792, by Rouget de
.Manual' koppel (Ger.), a coupler con-
. Lisle, Captain of Engineers, at Strass-
necting 2 manuals. burg first named by its author "Chant
;

Manu'brium (Lat.) Knob of a draw- de guerre de I'armee du Rhin"; but,

Ger. pi. Manu'brien, whence
soon after its introduction in Paris by
stop ;
the soldiers of Marseilles, it became
Manu'brienkoppel, draw-stop coupler.
universally known as "La M.", or
Marcan'do (It., "marking".)
j with dis- " Hymne des Marseillais".
Marca'to (It., "marked".) Jtinctness Marteau (Fr.) i. Hammer (of pfte.-
and emphasis Marcatis'simo,
very marked emphasis.
. . . with
action).
Tuning-hammer. 2.

Martel6(Fr.), Martella'to (It.) " Ham-

March. (Ger. Marsch ; Fr. marc he ;
mered"; a direction in music for bow-
It. mar'cia.) A composition of strongly instr.s, indicating that the notes so
marked rhythm, suitable for timing the 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 F) in
processional character akin to that of piano-music, that the keys are to be
the Polonaise, Entree, etc. The march- struck with a heavy, inelastic plunge 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 Martellato notes . . .

dances, consisting of 2 reprises of 8, are generally mezzo staccato, and often

(12), or 16 measures. The modern take the sign > or sfz.
march-form is further developed it is ; Martellement (Fr.) i. In harp-pla)ring,
in 4-4 time, with reprises of 4, 8, or 16 calls for thecrush-note (acciaccatu' ra)
measures, and followed by a Trio
is
dominant or subdom-
or redoubled stroke. 2. Comp. Graces,
(usually in the
Marzia'le (It.) Martial, warlike.
inant key and of a more melodious
character), after which the march is
Maschera'ta (It.) Masquerade.
repeated, often with amplifications. Maschi'nen (Ger., pi.) See Pistons. .

The ordinary Parade March (Ger. Maschi'nenpauken,. kettledrums pro-

Ii8 MASKMEDIUS.
vided with a mechanism for the rapid Mat'ins. The music sung at morning
adjustment of the pitch. prayer, the first of the canonical hours.

Mask, Masque. (Ger. Mas'kenspiel; MauKtrommel (Ger.) Jew's-harp...

Fr. masque.^ The mus. dramas called Maul' Irommelklavier the melodicon. ,

masques, so popular during the i6th Max'im. (Lat. max'ima^ See Notation^
and 17th centuries, were spectacular 3.
plays on an imposing scale and with
most elaborate appointments, the sub-
Mazur'ka. A
Polish national dance in
tripletime and moderate tempo, with a
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 inner part
but was distinguished from it by the (as the tenor or alto), or an inner string
lack of monody. (of a VioVj ... Mean-clef the C-clef as , ,

Mass. (Lat. mis'sa; It. mes'sa; Fr. used for noting the inner parts.
and Ger. Mes'se.) "Mass" is derived Mean-tone system. See Temperament,
from missa, in the phrase " Ite, missa Measurable music. See Mensurable.
est [ecclesia]" (Depart, the congrega-
Measure, i. (Ger. Taktj Fr. mesure;
tion is dismissed), addressed, in the
R. C. Church, to persons in the congre-
It. misu'ra.) A metrical unit, simple or
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
;

group of notes or rests contained be-

musical mass are (i) the Kyrie (2) ;
tween two bars, and familiarly called
the Gloria (incl. the
Quoniam, Cum Sancto Spiri-
Gratias agimus.
a "bar". (Comp. 2. Occa- Time^
Qui tollis,
tu); (3) the Credo (incl. the Et incar-
sional for tempo. 3.
dance having a A
stately and measured movement.
natus, Crucifixus, Et resurrexit); (4)
Measure-note, a note indicated by the
the Sanctus and Benedictus (with the
time-signature as an even divisor of
Hosanna); (5) the Agnus Dei (incl. the
a measure | thus indicates that each
Dona nobis). It has passed through ;

measure has 3 quarter-notes, and a

very various phases, from the simple
measure-note is then a quarter-note . .
unison fchant of Plain Song to the most
Measure-rest, see Rest.
elaborate productions of late medieval
counterpoint, with a transition there- M^canisme (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.) mechanism or
i. A
even 32 parts, and finally to the grand mechanical apparatus, such as {a) the
mass with full chorus and orchestra pfte. -action; [b) the machine-head of a
(missa solem'nis) High mass, one
. . . guitar, zither, etc.
2. In pfte.-playing,
celebrated on church festivals, accom- {a) technique; (/') specifically, the mere
panied with music and incense. .Low . mechanical action of the fingers and
mass, one without music Missa brei/- . . . hand, as the lift and down-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.) Moderate(ly). lated by mechanism.

Mas'sima (It.) i.
The maxim. 2. A Mechanism. See Mechanik 2.

whole note.
intervals).
3 {adj.) Augmented (of Mede'simo (It.) The same.
Me'dial. Proper to the Mediant.
Master-chord. The dominant chord . .
Me'diant. i. (Ger. and It. Median'te;
Master-fugue, f uga ricercata. . . Master- Fr. m/diante.) The third degree of a
note, leading-note.
Meistersinger,
. .Master-singei; see scale.
2. In medieval music, one of
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
Matelotte (Fr.) An old sailors' dance next in importance to the latter.
resembling the hornpipe, in duple time. Me'dius. See Accentus eccl.
 MEHR MELOPIANO. 119

Mehr (Ger.) Vi.oxe....Mehr'charig, for excellent crescendo and decrescendo

several (4-part) choruses. .Mehr'fach, . were obtainable by varying the finger-
manifold mehr'faches Intervall', com-
; pressure on the keys.
pound interval ; mehr'fac her Ka'non, Melo'dico (It.) Equiv. to Cantando.
a canon having more than 2 themes
mehr'facher Kon' trapunkt counter- ,
;
Melo'dicon. A keyboard instr. inv. by
Peter Rieffelsen of Copenhagen, in
point written in more than 2 invertible
1800, in which the tones were produced
parts; mehr'fache Stim'me (organ), a
compound stop. .Mehr'stimmig, in .
by tuning-forks.
several parts polyphonic.;
Mehr'stim- . .
Melo'dik (Ger.) Science or theory of
migkeit durch Bre'chung, apparent melody.
polyphony obtained (especially on the Melo'diograph. See Melograph.
pfte.) by employing broken chords.
Melo'dion. A keyboard instr. inv. by
Mei'ster (Ger.) Master.
.Mei'sterfuge, .
J. C. Dietz, of Emmerich, in which the
fuga ricerca'ta. .Mei'ster singer (or
. tones were produced by vertical steel
-stinger'), in Germany, the successors of bars chromatically graduated these ;

the 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, 53^-6 octaves.
the stringent rules for which were con-
tained in the Tabulatur' Their poems
Melo'dium. i. Melodeon. 2. (Ger.)
.
Alexandre organ.
were founded for the greater part on
Merodrama. i. Originally, a musical
biblical subjects; the musical treatment
was apt to be dry and prosaical. They
drama. 2. In modern usage, (a) stage-
declamation with a mus. accomp. (h) a ;
originated about the 14th century in
form of the drama in which the music
Mainz, reached their zenith in the 15th
plays a very subordinate part, and the
and l6th centuries (notably under Hans
plot is more or less romantic and sen-
Sachs of Nuremberg), and thereafter
sational.
decayed gradually, the last society be-
coming extinct in 1839 (Ulm). Mel'ody. (Ger. Melodic'; Fr. mdodie;
It.melodi'a.) I. The rational progres-
Melancoli'a (It.), M61ancholie (Fr.)
See Malincolia. sion of single tones contrasted with
;

Harmony, the rational combination of

Melange (Fr.) A medley, pot-pourri. several tones.
2. The leading part in
Melis'ma 1. A melodic ornament,
(Gk.)
2. A Ca-
a movement, usually the soprano. 3.
faoritura, grace colorature. ; An air or tune.
'denza I. .Melismat'ic, ornamented,
.

embellished said of
; vocal or instru- Mel'ograph. Name of various mechan-
mental music abounding in ornaments ical devices for recording the music
;

also, specifically, melismatic song, that

played on a pfte. One of the latest and
in which more than one tone is sung to most successful is the electric m. or
a syllable opp. to syllabic song.
;
Phonautograph (inv. by Fenby, in Eng-
land), in which the pressure on the
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 Reed-organ. system of telegraphy. A
cardboard
Melo'dia. (Organ.) A varietyof 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 Meloirope, a
Melod'ic. Pertaining to the progression mechanical attachment to a pfte. by
of single tones; hence, vocal, as a. melod- which the digitals are depress- means of
ic interval. by the player's fingers. ed as if

X/Ielo'dica. A small 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 tone is
fiUte d bee, 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
 MELOPLASTE METER.
by means of a treadle worker! by the The attack and increase was formerly
player. Crescendo and decrescendo effects called forma' re il iuono; the sustaining
are producible at will, and the tone is of of the ff tone, ferma're il tuono; and
delightful quality. the decrease and close, fmi're il tuono.
Mel'oplaste. A
simplified method for Messan'za (It.) A quodhbet.
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 mesii'zid).
he took merely the 5 lines of the staff,
singing familiar airs to the syllables do, Mesure (Fr.) Measure a measure a; ;

re, mi, etc., at the same time showing la m., in time (i.e. a tempo, a battu'ta).
with a pointer the position on the staff .

.Mesur/, measured. (See Time)
of the notes sung. For teaching rhyth- Metal'lo (It, " metal ".) A ringing,
metallic " quality of voice.
'

mical relations he used a double metro- '

nome marking both measures and beats. Metal'Iophone. i. A pfte. in which

Me'los (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.
Mel'otrope. See art. Melograph. Meter, Metre, i. Metre in music is
Meme (Fr.) The same... J la mhne, the sj'mmetrical grouping of musical
tempo primo. rhythms a disposition of musical mem-
;

bers akin to the arrangement of the

Men. Abbr. of Meno.
poetic strophe. It differs from Form
M^nestrel (Fr.) Minstrel (q. v.) in having to do merely with the rhyth-
M6n6trier,-trifere (Fr.) Originally, a mical groupings within 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 abbr. men^ Less not so.
(It.,
definitions are, however, not universally
;

When Meno occurs alone as a tempo-
mark, mosso is implied. .Meno mosso,.
"less moved," i.e., slower.
Mensur' (Ger.) I. Mensu'ra,
time of a movement (mensurable music).
2. Scale (of organ-pipes). 3. In
other instr.s., the various measurements
requisite for their true intonation (as
length of tube, distance between finger-
holas, thickness of strings, etc.)
binding, metre and rhythm being used
sometimes as interchangeable terms,
and sometimes with significations ex-
actly the reverse of those just given.
i. c. the
In metre the smallest metrical element
(unit of measure) is the Measure ; the
combination of 2 measures (either simple
or compound) produces the Section ; of
2 sections, the Phrase ; of 2 phrases,
the Period (of 8 measures), which may
be extended to 12 or l6 measures be- ;

Mensurar^esang, -musik (Ger.) Men- yond the period of 16 measures the

surable music. metrical divisions seldom go, 1. e. they
Men'te Mind, memory alia m., are not followed by the ear as metrical,
(It.)
improvised, extempore.
;

but as thematic divisions (see Form).

Menuet (Fr.), Menuett' (Ger.) Minuet, 2. The metre of English hymns is
classified, according to the feet used, as
Me'rula (Lat., "blackbird, ousel".)
iambic, trochaic, or dactylic ; in the
Same as Vo'gelgesang. syllabic schemes below, the figures in-,
Mescolan'za (It.) A medley. dicate the number of syllables in each
Mes'otonic. Mean-tone. line. Variants are not infrequent in
Mes'sa (It.), Mes'se (Ger. and Fr.) modern hymnology.
Mass. A. Ia.int?ic metres : Common metre (C. M.),
8 6 8 6: Long metre (L. M.), 8 3 8 8 J Short
Mes'sa di vo'ce (It.) The attack of a metre (S. M.). 6 6 8 6 these have regularly 4
;

sustained vocal tone pianissimo, with a
swell to fortissimo, and slow decrease
to pianissimo again ; thus
lines to each stanza; when doubled to 8 lines
they are called Common metre double (C. M.
D.), Long metre double (L. M. D.), and Short
:
metre double (S. M. D.). They may also have
6 lines in each stanza, and are then named
 :

METHODE MILITARY MUSIC.

Common particular metre (C. P. M), 8 8 6 8 8 Mez'zOi-a Half...^ meszaa'ria,
(It.)
6 Long particular metre (L. P. M.), or Long
;

metre 6 lines, 8 8 8 8 8 8; and Short particular ste Ariaparlaitte Mezzo for' te (mf), . .

metre (S. P. M.), 6 6 8 6 6 8. Besides the hal{-\o\id ... Mezzo lega'to, in pfte.-
above, there are Sevens and Sixes 7676; Tens technic, a variety of touch resembling
10 10 10 10 Hallelujah metre 6 6 6 6 8 8 (or 6
;
leggie'ro in being a down-stroke with-
6664444); etc.
B. Trochaic metres : Sixes6666; Sixesand out pressure, but differing from it in
Fives, 6565; Sevens 7777; Eights and requiring that greater attention be paid
Sevens 878^; etc.
to a forcible stroke than to a rapid,
C. Dactylic metres: Elevens 11 11 11 11 ;
Elevens and Tens 11 10 11 10; etc. springy return of the 'nr\.%&x. .Mezza .

These are most of the metres in general use ma'nica, half-shift. .Mezza orche'stra, .

(comp. Comnton), with half the %\.xxa^-ha.T\di...Mezzo pia'no

3. In ancient prosody, the science
of Metrics treated of the quantity
(length) of the syllables whereas in ;
modern English poetry
syllables are treated as long, the un-
accented as short. The metrical unit is
a mora (time) or syllable; syllables com-
bine to form feet; feet to cola^ verses
(i. e. lines), or periods ; periods to
strophes ; strophes to pericopes ; and
(mp), half-soft, less loud than mezzo
forte .. .Mezzo sopra'no, the female
voice intermediate between soprano and
all accented alto, partaking of the timbre of both,
and usually of small compass (a f^, or
a g"^), but very full-toned in the
medium register. . .Mezzo teno're, same
as Barytone; only the mezzo tenore is
in quality rather a low tenor than a high
bass . . Mezza vo'ce, with half the power
.

pericopes (or lines, or periods) to poems. of, the voice ; nearly equivalent to mez-

. Syllables are either short ( ), long

.
zo forte, in singing or playing.
( ), or common (;=) ; the long being
Mi. The
third of the Aretinian syl-
I.
equivalent to 2 short, and the common
either long or short according to posi-
lables. Name
of the note
2. in E
France, Italy, etc... contra fa est Mi
tion. A
Foot is a combination of 2 or diabolus in musica, "mi against fa [i. e.
more syllables.
the tritone] is the devil in music", a
M6thode (Fr.), Me'todo (It.) Method. theorem of medieval musicians express-
ive of their abhorrence of the melodic
Metro'metro (It.), Metromfetre (Fr.)
step, and even of the harmonic relation,
A metronome. of the tritone (the 72=.5|3 of the
Met'ronome. (Fr. mitronome ; Ger. "hard" hexachord and the of fa=F
Metronom' ; metro^nomo.) A double It. the " natural " hexachord).
pendulum, weighted below, actuated by Middle-C. The one-lined / on the first
clockwork, and provided with a gradu- leger-line below the

ated scale on which a slider can be treble staff or above

moved up and down, the slider deter- the bass staff
mining by its height how many beats . . .Middle part or voice, same as inner
the pendulum shall make per minute ;
part.
often with a bell-attachment (Bell-
metronome). With the slider set at 60 Militairement (Fr.),Militarmen'te (It.)

the pendulum makes one beat per sec- In military style. Also (It.) Alia mili-
ond Metronome-mark (metronom' ic
. . .
tare.
mark), a mark set at the head of a com- Militar'musik (Ger.) i. Military music.
position for exactly indicating its tempo ; 2. A military band.
e. g. , M. M. J = 60 means, that the
time-value of one quarter-note is equal Military music. The military band
differs from the orchestra in being a
to one pendulum-beat with the slider
set at 60 M. M. standing for " Mael- wind-band (composed solely of wind-
;

instruments), and in admitting the

zel's Metronome" after its reputed in-
ventor, Maelzel of Vienna (i 816). The cornet, bugle, saxophones, and other
instr.s whose timbre is considered not
M. is much used by beginners and
students, for learning to play strictly in to blend well with those of the sym-
time, and for timing their practice.
phony-orchestra. Another peculiar
feature is the large reinforcement of the
Me'tro (It.), Me'trum (Lat.) Metre.
clarinets, which take the place and
Met'te (Ger.) Matins (in the R. C. parts of the violins and violas in the
Church). orchestra. Military bands may contain
Mettez (Fr.) Draw, add (organ-mus.) anywhere from 40 to 90 performers ;
 MIMODRAMA MINUET,
that of the 22nd Regt., New York, has
66, namely:
2 piccolos I contrafEagotto
2 flutes I E[> cornetto
2 oboes 2 ist B[> cornets
I A!> piccolo clarinet 2 2nd '
"
3 E^ clarinets 2 trumpets
8 ist B|> clarinets 2 fliigelhorns
"
4 2nd 4 French horns
'*

"
4 3rd " *'
2 E|> alto horns
I alto 2 B^ tenor horns
I bass " 2 euphoniums
I sopr. saxophone 3 trombones
I alto 5 bombardons
I tenor "
 r

MIRACLEMODE. 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 Mode.
Miscel'la (Lat.) A mixture-stop. Mixture. (Ger. Mixtur' ;. fourni-
Fr.
Mise de voix (Fr.) Messa di voce.
ture; It. ripie'no, accor'do.)com- A
pound auxiliary flue-stop with from 3 to
Misere're (Lat.) The first word of the 6 ranks of pipes sounding as many har-
Psalm LI (in the Vulgate, L), which monics of any tone represented by a
begins: "Miserere mei, Domine" given digital. These harmonics are
(Pity O
Lord) hence, the name of
me, ;
generally octaves and fifths of the fun-
this Psalm, or of a musical setting of it, damental tone ; sometimes a third, or
sung in the Catholic Churches as part even a seventh, is added they are higher
;

of the burial service, at the Communion in comparative pitch for low tonesi than
of the Sick, and the like. During for high ones, (see Break 3) e. g. for
;

Holy Week it is performed with pecu- the tone C the 3-rank mixture would
liar solemnity in the Sistine Chapel at usually contain c^-g^-c^ ; and for c', ^'-
Rome. ^-c^ {notc^-g^-c'). In some old German
Mis'sa (Lat.) The Mass. .M. . irei/is, organs mixtures are found having from
short mass . . .M. canta'ia, chanted 8 up to 24 (!) ranks, there being, of
mass. . M.firo defunc' tis,sssJiequiem.
. course, several pipes to each harmonic.
. . M. solem'nis, or solen'nis, high mass. Mixtures are used to reinforce and
Mis'sal. "brighten" the upper partials of the
(Lat. missa'k.) The R. C.
Mass-book, containing the liturgical heavier foundation-stops.
forms necessary for the celebration of Mo'bile (It.) With a facile movement,
mass the year round. readily responsive to emotion or impulse.
Miss'klang (Ger.) Discord, cacophony. Mode, I. For Greek modes, see Greek
Misterio'so (It.) Mysterious Miste-
music. 2. (Lat. mo'dus.) The medie-
. . .

val church-modes were octave-scales,
riosamen'te, mysteriously.
like the Greek modes, and also boirowed
Mistichan'za (It.) A quodlibet. their names (see below) from the latter ;

JVIisu'ra (It.) A measure. .Misura'to, but they, and the fundamental diatonic
.

measured, in exact time. scale A-a, were conceived as ascending

Mit (Ger.) With. scales, a distinct departure from ancient
theory. They v,rere called church-rao&&s
Ullit'klang (Ger.) Resonance. . .j?/iV-
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-
. . Mif telstimme , an inner part or voice.
scales, without chromatic change save
IVIixed cadence. See Cadence. . .Mixed that from /^ to , or vice-versa.

AUTHENTIC MODES. PLAGAL MODES.

Mode I (Do'rian). Mode II (Hypodo'rian).

w. n*I -H*
-I
g-L
Mode III (Phryg'ian).
-It :P:
Mode IV (Hypophryg'ian).
!PE I
I
-\ L ^ -w * r=
Mode V (Lyd'ian).

^^^
Mode VI (Hypolyd'ian).

m I
I
-1
m -r
I-

Mode VII (Mixolyd'ian).

Mode VIII (Hypomixolyd'ian).
'^

W -^ f r f
W
-
=1=
=1=
I
124 MODE HELLENIQUE MODERATO.
AUTHENTIC MODES PLAGAL MODES.
Mode IX (^o'lian).
Mode X (Hyposeo'lian).

Mode XII (Hypolo'crian).

Mode XI (Lo'crian).

Mode XIII [or XI] (lo'nian). Mode XIV [or XII] (Hypoio'nian).

^^^^ $ *
In the authentic modes the Final major and (^-) minor scales of modern
(what we should call the key-note) is the music then, however, the last 4 modes-
;

lowest tone ;in the plagal modes, a were added. The Locrian (B-i) and
fourth above the lowest it is marked ; Hypolocrian (F-f) were rejected as
by a whole note in the Table. Each useless, neither fulfilling the law that-
plagal is derived from a parallel authen- each authentic mode should be divisible
tic ;St. Ambrose is supposed to have into a perfect fifth plus a perfect fourth,
established the first 4 authentic modes-, and each plagal mode into a fourth plus
to which St. Gregory added the corre-
a fifth. Both the names, and the pre-
sponding plagals these 8 were exclu-
; fix hypo-, axe used in a sense different
sively employed in serious composition from that of the original Greek modes,
down to the l6th century, despite the the medieval theorists having misinter-
lack of any scale similar to the (C-) preted the Greek nomenclature.

Greek Names. Octave-scales. Final Medieval Names.

Hypophrygian g a b c' d' e' f g' Mixolydian (Mode VII, 4th authentic)

Hypolydian f g a b c* d^ e^ fl Lydian (Mode V, 3rd authentic)

Dorian e f g a b c* d* el Phrygian (Mode III, 2nd authentic)

Phrygian d e f g a b c^ d^ Dorian (Mode I, ist authentic)

d c f g a b c* d^l [Hypomixolydian (Mode VIII, 4th plagal)}!

Lydian cdef gab c^ Hypolydian (Mode VI, 3rd plagal)

Mixolydian B c d e f g Hypophrygian (Mode IV, 2nd plagal)

Hypodorian (or ^olian) A B c d e f g I Hypodorian (Mode II, ist plagal)

I II r_
mode). The inverted major scale, be-
'
The gradual development of monodic,
harmonic, and chromatic music, the ginning on the 3rd degree :

evolution of the leading-note, the ac- e'

d' c'^-^b
a g f-.^e.
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
of the tonic triad, with the modern
Greek music).
system of transposing tempered scales
in the major and minor modes thence Modera'to (It. superl. moderatis' simo.)
;

resulting, led to the gradual disuse of I (noun). Moderate i. e. at a moderate.-

;

the church-modes. rate of speed, or tempo. 2 {adverS),

(Also moderatamen' te). Moderately ;.
Mode helltoique (Fr.; also troisihne as allegro moderato, moderately fast.
 .. ;

MODERNOMORDENT, 125:

Moder'no,-a (It.) Modern alia moder- ; be isolated, and intervals of true pitch
na, in modern style. obtained.
An instr. of the same name,
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. modulie'ren; Fr. rno- chord. 2. The tromba marina. 3. A
duler;
key or
modula're.) To pass from one
It.
mode into another to effect a
clavichord.
4. (Ger., recent.) kind of
bow-zither, having one string stretched
A
;

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. modulazio'ne.) Passage from sonance-box.
one key to another change of tonality.
Mon'ody, (Ger. and Fr. Monodie'j It.
A modulation may be
;

either_^a/or
transient ; it is final when the new
monodi'a.) style A
of composition
{monod'ic or monophon'ic) in which one
tonic is permanently adhered to, or still
part, the melody, predominates over the
another follows transient (transitory,
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 i5oo, 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

in its employment and recognition by
to alter the significance of tones or
artists. It developed into the opera,,
intervals.
cantata, and oratorio on the one hand,
Mod'ulator. See Tonic Sol-fa. and, on the other, into all those forms,
Mo'dus (Lat.) Mode. of instrumental music in which the ele-
ment of accompanied melody is found,,
Moll (Ger.) M.mor.
. .Moll' akkord, mi-
as the suite, cymphony, etc. (Also
nor chord Moll'dreiklang,
. . . minor Hoinophony Monophony.) ,

triad . . . Moll'tonart, minor key . .

Moll'tonleiter, minor scale ; etc., etc, Monoph'onous, Capable of producing

Mol'le (Lat., " soft".)
term probably A but one tone at a time opp. to poly- ;

first used in the loth century to desig-

pAonous . . . Monoph'ony, see Monody.
nate the B
rotun' dum {B molle,^=\)), in Mon'otone. I. single unaccompaniedA
opposition to the B quadra' turn {B du'- and unvaried tone. 2. Recitation (in-
ruin, Q, the modern Bt!). Later it was toning, chanting) in such a tone.
applied tothehexachord/ a', in which
B^ was substituted for lifl and, finally,
Monter (Fr.) To ascend; montant,3.S'
i.

to the minor key and triad (with flat

;

cending. 2. To raise the pitch of. 3,

third).
To put strings on an instr.; also, to
put an instr. together, to set it up.
Mollemen'te (It.) Softly, gently.
See Molle.
Montre (Fr.) In the organ, the dia-
Mol'lis (Lat.) '
pason so called because shown" or '

Moloss(e), (Lat. molossus.) A metrical set up

;

in the organ-front, away from

foot of 3 long syllables ( ).
the soundboard.
Mol'to,-a (It.) molto Much, very ; as
Moralities. (Ger. Moralitd'ten; Fr.
adagio, very slowly molto allegro, very
fast. .Di molto, exceedingly, extremely.
.
;

moralith^ A later form of the miracle-

plays or mysteries.
Momen'tulum (Lat.) A i6th-rest.
Momen'tum (Lat.) An 8th-rest.
Morceau (Fr.) A piece, composition
viorceau de genre, characteristic piece.
Mon'ochord. (Fr. monocorde ; It. mono-
A
very ancient instr. for
Mordant (Fr.) Comp. Graces.
cor'do.) 1.
the precise mathematical determination Mordent, (Ger. Mor'dent, Bei'sser;
of the intervals, consisting of a single Fr. pince; It. morden'te.) grace con- A
string stretched over a soundboard and sisting of the single rapid /^ .

provided with a bridge sliding op a alternation of a principal

graduated scale, by means of which note with an auxiliary a ^h-^
any desired division of the string could minor second below, thus: *J
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

(/e/hasadoubleortriple alternation, e.g.
the same interval oblique motion, that

P
;

^l^ _a 6.
in which one part is held while the

In the Inverted
played
I^PE
Mordent, the prin
other ascends or descends ; similar*
motion, that in which both parts ascend
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
J>aratti'l a.nd, similar motion is very often not

played
I =StI=iii observed, the term parallel motion being used
indiscriminately for both.

(nwderato^ (presto.) Mo'tive [sometimes pron. vio-teev'\

> > 3
(Ger. Moti-i/; Fr. motif; It. moti'vo.)
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 (see Leading-motive). 3. Some-
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 (It.) I. yiotion. ..M. co7ttra'rio,
Moresque, Morisco, etc.) sort of A contrary motion . M. mi's to, mixed . .

costume-dance, apparently of Moorish motion. .M. obbli'quo, oblique mo-

.

origin, in 4-4 time and of a boisterous tion. . M. peTpe" tuo , perpetual motion.
character now obsolete.
;
Also, a kind .
.

M. ret' to, similar motion. 2. Move-

.
of country-dance still performed in ment, tempo. Con moto, with an ani-
. .

Yorkshire, England. mated and energetic movement. . .Moto

Mos'so (It., "moved".) Equivalent to preceden'te, at the former tempo.
"rapid" in the phrases meno mosso, less Motteggian'do (It.) Bantering, face-
rapid, //;! mosso, more rapid, and poco 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' rius, .

contrary motion. .M.obli'quus,ciDX\a;a&

Mo'stra (It.) A direct. motion M. rec'tus, similar motion.
. . .
.

Motet'. Motet'te; Fr. motet; It.

(Ger. Mouth. The opening on
the front side
jnottet'to.) A
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 by the
cappella style was not always strictly
mouth, and producing different tones
adhered to. The motet resembles the on expiration and inspiration .Mouth- . .

anthem in having a biblical prose text, organ, see Yz.VL'?,-'pvi>&%. .MotUhpiece .

but differs from it in being polyphonic ;

(Ger. Mund'siuck; Fr. evibouchure;
compositions in anthem-style are, how- It. imboccatu'ra), that part of a wind-
ever, sometimes called motets. The instr. which a player places upon or be-
Latin mote'tus is a term of various and tween his lips.
sometimes obscure signification.
Motif (Fr.) A motive.
Mouvement (Fr.) Mouvement, tempo.
.Mouvement^. A piece is said to be
.

Motion. I. The progression or lead- hien mouvement^ when its rhythmical

ing of a single part or melody it is ;
structure is elegant and symmetrical.
conjunct when progressing by steps,
disjunct when progressing by skips. Movement, i. (Ger. Bewe'gung; Fr.
2. The progression of one part con- mouvement; It. movimen'to, mo'to, tem'-
sidered in relation to that of another ;
po.) Tempo, rate of speed. 2. (Ger.
 ;

MUANCES MUTHIG.
Satz; Yx. phrase; It. tempo.) A prin- 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, Pho-
themes and a development peculiar to nograph, Phonautograph.
itself.
Music-wire. Steel wire for the strings
Muances (Fr.) See Mutaiioti 2. of mus. instr.s.
Mund (Ger.) Moxxih. . .Mund'harmo- Musik' [-zeek'] (Ger.) Music. . .Musik'-
nika, mouth-harmonica.. .Mund' loch, bande, see Bande. .Musik' diktat, see .

mouth (of an organ-pipe; usually Auf-Dict^e 7nusicale. .Musik' direktor. a .

schnitt) . Mund' stuck., mouthpiece.

. . conductor. .Musik'/est, mus. festival. .

Mune'ira (Span.) A
Galician dance of .Musik' met stcr, conductor of a mili- .

moderate tempo and in 2-4 time, virith tary band.

an auftakt of a quarter-note, and the Musika'lien (Ger.) Music (i. e. musical
strong beat marked by the castanet- compositions). [A trade term.]
rhythm. Masikant'(Ger.) vagabond or bung- A
Mun'ter (Ger.) Lively, animated, gay. ling musician.
(Also adverb^ Mu'siker, Mu'sikus (Ger.) A musician.
Murky, A
murky-lmss 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 Mu'ta (It.) Change " A direction in '
' !

viu7-ky. 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.^3. A short piece of music 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 satioti). 3. In violin-playing, "shift-
the organ. ing."
Mu'sica (Lat. and It.) Music. ..M. da Mutation-stop. In the organ, any stop,
ca'mera, chamber-music M. da chie'- . . .
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 gat'ti, .
the foundation- (8-foot) stops; i. e., all
charivari (see ICatzenmusik). tierce and quint-stops, and their octaves.

Musical box, Music-box. The so- Mute. (Ger. Dam'pfer; Fr. sour-
I.

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
volve by clockwork. In revolving, the which permit of its firm adjustment on
pins catch and twang a comb-like row the bridge without touching the strings ;
of steel teeth arranged in a graduated its weight deadens the resonance of the

scale, each tooth producing a tone of sound-box. (Recently made in the

very accurate pitch. In the larger instr.s form of a spring clip.) The direction
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 Syniphonion, Libellion. covered pad 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
cien; It fnu'sico., musici'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(h)ig (Ger.) Spirited, bold. (Also

pointed pen for writing notes, etc. 2. adverb.^
128 MUTIERUNG NATURAL.
Mutie'rung (Ger.) Mutation I. rosin the tone is like that of the har-
;

Mysteries. (Ger. Myste'rien; Fr. mys- monica. Inv. by Johann Wilde of St.
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 (It.) In narrative-style calls ;

viving at Oberammergau in Bavaria) for a very distinct declamatory enun-

are as old as the 7th or 8th century the ;
ciation of the words sung.
Moralities, a peculiar form of the
Mysteries, in which abstract concep-
Narrator. The personage who, in the
earlier passion-plays and oratorios,
tions were personified, originated about
sings the narrative portions of the text.
the 13th century. The Mysteries were
the precursors of the Oratorio. Nasard Span, nasar'do; Ger.
(Fr. ;

Nasai'.) In the organ, the mutation-

stop commonly known as the Twelfth
(2|-foot pitch). The Gros-nasard
{Gross'nasat), is a quint-stop either on
N.
pedal (io-ft.) or manual (Ss-ft.) the ;

Nacaire (Fr.) A former kind of kettle- Petit nasard (Larigoi), is a double-

drum. octave quint-stop (i^-ft.) (Also na-
SeeiVa- sarde, nassart, nasillard, nazad.)
Nac'cara, Nac'chera (It.) i.
caire. 2. (Also Gnac'care; pi.) Cas-
Nason fiute. An organ-stop having
stopped pipes of mild, suave tone.
tanets.
-Nach (Ger.) After; according to... Natur'- (Ger.) J^aiMxaX. .Naiur'horn, .

Nach' ahmtmg, imitation. .Nach Beli^- .

a Wald'hom(mthontva.\yes). Natur' . .

ben, ad libitum. .Nach'druck, empha- .

skala, natural scale Natur' tone (or
. . .

;sis nach'drucklich(or mil Nachdruck), natiir'liche Tone), natural harmonic

;

with emphasis, emphatically Nach'- tones, as of the horn, etc. .Natur'- .

-lassend, slackening (in tempo) .Nach'- . .

trompete, a trumpet without valves.
Jassig, careless, negligent (also adverb). Natural. I. (Ger. Auf'losungszeichen;
.. .Nach'ruf, a farewell, leave-taking. Fr. l^carre; It. bequa'dro^ The sign Q
-. Nach'satz, a second (or final) phrase
. (see Chromatic Signs), 2. white A
or theme, contrasting with Vor'dersatz. digital Natural har-
on the keyboard . . .

Nack'schlag, (a) the unaccented appog- monics, those produced on an open

giatura ; (b) " after-beat " of a trill (also string opp. to artificial, which are
;

Nach' schleife) Nach' spiel, a post-

. . . produced on a stopped string. .Natu- .

lude Nach' tans, see Saltarelh 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.) T^\%\A. . .Nachfhorn, between any 2 tones of a diatonic major

Nachfschall, a flue-stop in the organ, scale. .Natural key, see Nat. scale
. . .

having covered pipes of 2, 4, or 8-foot Natural pitch, that of any wind-instr.

pitch, and resembling in tone the when not overblown ... A^aifa?-fl;/ scale,
QuintatOn or the Hohl'Jlote. . .Nachf 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
simply modifying the adjustment of the
Naenia. See Nenia.
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
inent, naxveXy. . .Naivete, artlessness, of higher partials (comp. Acoustics).
simplicity, etc. These are the only tones which an instr.
Nailfiddle. (Ger. Na'gelgeige.) An instr. having 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 length. 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,
clearly, distinctly. . .JVet'to, neat, clean,
omitting the fundamental. Any metal
clear.
instr. yielding the fundamental tone (e.
g. the Tuba) is called a complete instr.
Neu'deutsche Schu'le. See Neo-Ger-
(Ger. Ganz' instrument) ; one incapable vian.
of yielding it (e. g. the Trumpet), an Neu'ma, Neume. 1. In Gregorian mu-
incomplete instr. (Ger. Halb'instru- sic,
a melisma. 2. In medieval mus.
ment). With a minimum air-pressure, notation, one of the characters used to
and the lips most relaxed, the funda- represent tones, inilections, and graces.
mental tone of the tube is sounded. They were of different and fluctuating
form and signification, at first with a
Katura'le (It.) Natural, unaffected...
curious outward resemblance to modern
Naturalmen'te, naturally, etc.
short-hand, later changing to coarse
If atura'lis Natural
(Lat.) Can'tus . . .
and heavy strokes and flourishes. The
naturalisy and hexachor' dumnatura' le earlier neumes (8th to 13th century)
music, and the hexachord, embracing the can hardly be successfully" deciphered,
tones c d e g a. f even with the aid of the letters {litieree
Naturalist' (Ger.) A natural or self- significativa) sometimes added, or of
taught singer one not trained accord-
;
the lines (inception of staff-notation)
ing to any vocal method " or " school ".
'
'
employed, from the loth century on-
. .Naturalis' tischy amateurish. ward, to fix the pitch for they were ;

less an attempt at exact notation in the

Naturel,-le (Fr.) Natural.
modern sense, than an aid to memory,
.Neapolitan sixth. A chord of the sixth a system of mnemonic signs. They are
on the sub- _. important as being the first attempt to
:S=ft
dominant in ^gi=P' exhibit the relative pitch of notes by
minor, with their relative height on the page ; they
minor sixth: gradually passed over into the notm
Ne'ben- By-, accessory.. .Ne'ben-
(Ger.) quadrates and ligatures of Plain Song.
dominante, dominant of the dominant,
Neuvifeme (Fr.) The interval of a ninth.
e. g. D
in the key of C. . Ne'bendrei- .

klang, secondary triad . Ne'benge- . . Nicht (Ger.) Not.

danke, accessory theme or idea . . Ne"-
benklang, accessory tone (either es-
.
Ni'colo (It.) A large kind of bombardon
(17th century) ;
precursor of the bas-
sential, as harmonics, or unessential).
soon.
. . N/bennote^ auxiliary note . Ne'ben- . .

septimenakkorde^ secondary chords of Nie'der- (Ger.) t)own.. .Nie'derschlag, .

the 7th (all except the dominant) . . down-beat. .Nie'derstrich, down-bow.

.

N/benstimme, accompanying or ripieno . . Nie'dertakt, down-beat.

part . N/benwerk (on 2-manual or-
. .

Nineteenth, i. The interval of z octaves

gan), choir-organ.
Neck. (Ger. Hah; Fr. manche; It.

and a fifth. 2. See Laiigot (organ-
stop).
ma'nico.) The elongated projection
from the body of an instr. of the viol or Ninth. No'ne; Fr. neuvihne; It.
(Ger.
lute family, bearing the fingerboard on no'na.) An interval wider
by a semi-
its upper side, and ending with the head tone or a whole tone than a perfect
or scroll. octave a compound second; but dis-
;

Negligen'te Negligent, careless.

(It.) tinguished in theory from the second by
. .Negligentemen'te, negligently. the fact that it enters into the formation

of a chord in the series of ascending

Ue'gli, nei, nel, nell', nel'Ia, nel'le,
.Chord
HKixAs. . of the ninth, a chord
nel'lo (It.) In the.
practically recognized under 2 principal
-Ne'nia. A funeral song or lament ; a forms (l) the major, and(2) the minor
:

dirge. chord of the ninth, each a chord of the

'Neo-German school. The disciples of dominant seventh with added ninth
 NOBILE NOTATION.
(l.) (2.) The former, No'na (It.), No'ne (Ger.) The interval
I
, I
based on par- of a ninth.
"|3iP^i5E tials2-3-(4)-5-
Nones. The fifth of the canonical hours.
t=l
^g:|= (6)-7-g,is acou-
stically the more Nonet'. (Ger. Nonetf ; It. nonet' to^ A
euphonic, composition for 9 voices or instr.s.
though the lat- |5= Non'nengeige (Ger.) Nun's-fiddle,
_ ter has been of-
_ tromba marina.
^ V: / V tener used in
:
Nono'le (Ger.) Nonuplet.
practical music. Their inversions are
figured according to the ordinary rule.
Non'uplet. A group
of 9 notes of equal
time-value, executed in the time proper
(Comp. Chord.)
to 6 or 8 of the same kind belonging to
No'bile (It.) Noble ; refined, chaste. . the regular rhythm.
Nobilmen'te, nobly . Con nobilitA.',
. .
Normal'ton (Ger.) Standard pitch...
with nobility, grandeur. Normal' tonarten (pi.), normal keys. .

Noch (Ger.) Still, yet.

Normal' tonleitern, normal scales.
No'ta (Lat. and It.) A note.. .N. buo'na,
Nocturne (Fr. Ger. Noktur'ne, Nachf-
;
an accented note.. .N. cambia'ta (cam-
stuck; It. notiur'no.) A word intro-
bita), (a) a changing-note (i5) an irreg- ;
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
. N. catti'va, an unaccented note
. . .

form.
Nota contra notam (Lat.), note against
Noc'turns. Services of the Church held note, equal counterpoint.. .N. d'abbelli-
during the night, each portion of the men' to, a grace-note .N. dapassa'gio,
. .

Psalm set aside for this purpose being a passing-note. .N. falsa, a changing-
.

termed a Nocturn. note. .N. principa'le, a principal

.

(essential) note. N. quadra' ta (guadri-

. .

Nodal figures. The figures correspond-

quar'ta), a Gregorian or plain-song
ing to the nodal lines of a vibrating
note. .N. 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
plate, this sand being tossed by the Notation. Musical notation is the art of
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-
Chladni's figures, having been discov- sally employed are called notes, and are

ered by him ... iV. point, see Node. written on a staff of 5 lines hence, this ;

system of writing music is termed Staff-

Node. (Ger. Kno'tenpunkt; Fr. nceud;
notation. (Comp. also Alphabetical
, It. oVo.) A point or line in a vibrating notation, Neumes, Numerals.)
body (such as a string, soundboard,
1. 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. 0pp. to Loop I.
A.D. 900), served the same end by
No'dus (Lat., "knot".) An enigmatical representing strings ; in the spaces be-
canon. tween, the syllables of the words sung
A sort of carol sung in the were written, the relative pitch of the suc-
Noel (Fr.)
cessive tones being (sometimes) marked
South of France, chiefly on the day be-
fore Christmas, or Christmas eve.
by the letters t {=tonus, whole tone),
and s (=semitonium, semitone). This
Noeud (Fr.) i. A turn (usually groupe). system was also used later for noting the
2. A node. primitive part-music called or'ganum or
discant; increasing the number of lines
Noire (Fr.) A quarter-note.
as far up or down as necessary, and
Nome, Nemos (Gk.) A canon (rule) setting the syllables for the several parts
for raus. composition hence, a song ; vertically one above the other. An ex-
composed according to the rule. ample of one-part notation ace. to
Non (It.) Not. Hucbald now follows :
NOTATION. 131
1132 NOTATION.
The single notes were often joined in I Modus maj. imperf.
Ligature). The
groups (comp. art. J Modus min. perf.
iflp i Tempus imperfec.
angular notes of measured music were ( Prolatio major
not finally supplanted by modern round '
Modus maj. perf.
notes, in music-printing, till about 1 700, Modus min, imperf.
B"ffl=e= Tempus perfectum
though in MS. music they had been Prolatio minor
freely employed since the l6th century. Modus maj. imperf.
Modus min. imperf.
For determining the relative time-
value of the notes, various and often
SEE Tempus imperfectum
Prolatio minor
conflicting rules were made for the N.B. The time-signatures were often written
Modus (mode), Tempus (time-value of smaller, between the second and third, or third
the breve), Prola'tio (prolation). Color, and fourth, lines, etc. The mode-signatures
were also drawn from the fourth line down to
Position, etc.; a. brief explanation of the lowest as a rule, they w^re omitted alto-
;

the 16th-century rules follows, premis-
ing, that the terms perfect and imper-
fect refer to the measure or time, triple
time being regarded (out of reverence
for the "Blessed Trinity") as perfect,
while duple time was held to be imper-
fect.
Modus (mode) governed
vision of the Large into Longs,
the Long into Breves in the
Modus major perfectus, I (S^
" "
'
gether, leaving the reader to ascertain the
mode from conventional peculiarities in the
notation called sig'na impli*cita or intrin'-
sera (implied signs), in contradistinction to the
signa indicia'lia (indicatory signs) ; as, in the
greater fnode perfect, a group of 3 black larges
(see Color, below), or, in the lesser mode per-
fect, a group of 2 black longs, or z breve-rests
at the beginning of a modal unit.
the subdi- Position (i. e. the order in which
and of the notes stood) was very important.
:
A long followed by a long, or a breve
=3 t^
by a breve, was always perfect (tripar-
imperfec.,1 p^ =2 t^
tite) by position; whereas a long pre-
ceded or followed by a breve, or a

"
' minor perfectus,
" imperfec,
id
I t^
=: 3
^= 2
^
|5I|
breve preceded or followed by a semi-
breve, was always imperfect (bipartite)
Tempus (time) governed the subdi- 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

Tempus imperfec. (sign the semic.

O), I
H= 3 O minim and lesser notes were always
perfect.

0,1 1=1-20 Color was the general designation

for notes differing in color from those
Prolatio governed the (prolation)
ordinarily used ; the red note (no' tula
subdivision of the Semibreue in ;
ru'bra) of the 14th century generally
Prolatio major i O 3 <S 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 ordinary black
The usual mode-signatures were ver- note (of the 14th century); finally, the
tical strokes (long-rests) at the head of
black note (notula nigra) of the l6th
the staff e.g., with the signs for tem-
;
and 17th centuries, when the white
pus and prolatio : notes were universally adopted, in its
Modus ma], perf.
fa Ill 7iS
.}
Modus min. perf. turn indicated imperfection ; thus, from
the 15th century onward, groups of 2
Tempus perfectum
!

Prolatio major or more black notes had the proportio

hemiolia to the surrounding white notes,
* The system previously in vogue referred to i. e. their time-value stood to that of
the relative time-value of the notes in general
thus, according to de Vitry (13th century) :
the latter in the ratio of 2 to 3, hence
their name Hemiola or Hemiolia (q. v.)
I. prolatio : = 3 < and 1^ = 3^ Augmentation and Diminution.
11. l = 3*. = " I

I
Terms used loosely to express any in-
crease or decrease in the time-value of
the notes ; but signifying, specifically,
III. " ! = =, " i* = 34 (augmentatio) a retarding of the tempo,
IV, |=2*, " 14 = ^4 generally doubling the integer valor;
 .

NOTE. 133

and {diminutio) an acceleration of the equal notes, and occurred either when
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
the tempus-signature ((]) Q
($). or the 2 notes were separated from a
following note of equal or smaller
by inverting the semicircle (j ) J also value by a punctum divisionis ; e. g.
by adding to the ^^2/f-signature, in
the midst of a composition, numerals ^^00 td in tempus perfectum (O)
or fractions (3, 2, f , }, f ,); 2 or f then
would be expressed thus in modern
signified that 2 iactus (semibreves ^) notation ( c
\
a a a \
)
were equal to i of the preceding tem- The Punc'tum or Punc'tus (point,
po ; etc., etc. :Aagmentatio'vias gen- dot) had various uses (a) Punctum ;

erally employed to reverse a preceding augmentatio'nis, equivalent to our dot

diminutio; the sign for which was sim- of prolongation {b) Punctum altera-;

ply annulled by the usual sign for the tio'nis, which, placed before the first
integer valor (0> C) '' t>y the in- of 2 short notes lying between 2 long
version of the fraction (J, 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

j>ortio, from the 15th 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
to restore the perfection of a note made
imperfect by position ; and (af) Punc-
tum 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 followed or employed the ;

alto might be in tempus imperfectum above remarks will serve, however, to

diminuium (t , while the tenor had di- give a correct general idea of the in-
tricacies of Mensurable Notation. (Also
minutio in tripla Q 3 further, changes
;

see Figura obliqua.)

might be made in any or all parts in
the course of the piece, and were indi- Note. (Ger. and Fr. No'te; It. no'ia.)
cated by fractions (the signs ofpropor- One of the signs used to express the re-
tion; compare Augmentation, above). lative time-value of mus. tones. (Comp.
Alteration (alteratio) was the doub- Notation.) The notes employed in
ling of the time-value of the second of 2 modern notation are the following :

English. German. French. Italian.

Breve, or Brevis BrSve, or Carrie Breve
or 11^1 Double note
Semibreve, or ( Ganznote, or J Semi-brive, or
Semibreve
Whole note *} ganze Taktnote { Ronde
Minim, or j Halbnote, or Blanche J Minima, or
Half-note ] halbe Note ( Bianca
j Crotchet, or j VierteU or Noire Kera
jr j
Quarter-note j
Viertelnote
j Quaver, or j Achtel, or Croche Croma
j Eighth-note ( Achtelnote
Sechzehntel, or Double-croche Semicroma

H j Semiquaver, or

(
( Sixteenth-note

Demisemiquaver, or
Thirty-second-note
J
"I
Sechzehntelnote
J Zweiunddreissig-
I
stel(note)
Triple-croche Semibiscroma

M ( Hemidemisemiquaver,
\ or Sixty-fourth-note.

Black note, one having a solid head (J);

J
"1
Vierundsechzig-
stel(note)
Q uadruple-croche

time-values..
Quattricroma

Choral-note ^s%q Notation,

i and 2. .Crowned note, one with a
opp. to white note (J). Also, a black
.

digital or key. Changing note, see

. .
hold (2) over it. .Double note, a breve.

Ckanging-note .Character-notes notes

. , , (= ic^). .Driving-note^ a syncopated
,

varying in shape from those in common note. .Essential note, a chord-note, or

.

use, employed to present characteristic melody-note. Grace-note, see Grace.

. .

qualities of the tones other than their . .Harmonic k?^^, achord-note. .Hold- .
134 NOTE OBBLIQUO.
ing-noie, a tone sustained in one part time, triple time 4tte, Jtte, to quartet,
;

while the other parts move Leading
note. Master-note see Leading-note
Open note, a white note
see Passing-note.,. .Reciting-note, see
Reciting. White note, see Black note.
. .
. . . quintet. . .(It.) 3", 4, 5', (>', 7*, con-
y . . tractions of Terza, Quarta, Quinta,
. . . Passing note, Sesta, and Settima respectively; 8 or 8"'^,
" air ottava " ; /j""', "allaquindecima."
. . 2p, 4p, 8p, l6p, equiv.to 2-foot,
(Fr.)

Note (Fr.) A note .N. accident^, an

. .
4-foot, etc. Roman numerals are used,
.

in mus. theory, to mark fundamental

accidental . . .N. d'agr^ment, or de goUt,
grace-note .N. sensible, leading-note.
. .
chords, thus showing at a glance from
. .Notes surabondantes(^\.), groups like
what triad any given inversion is de-
triplets, quintuplets, etc., etc. The rived (comp. Chord, and Phone, 5, 6).

French names for the 7 notes of the Nu'merus (Lat.) i. Number. 2.

scale are (i) ut, r/, mi, fa, sol, la, si; Rhythm.
and (2) tonique, sus-tonique, m^diante, Nunc dimit'tis. The first 2 words in
sous-dominante, dcminante, sus-domi- the Canticle of Simeon (Luke II, 29-32)
nante, sensible. " Nuncdimittisservum tuum, Domine,
Noten (Ger. pi.) i. Notes. 2. Music in pace" (Now, O Lord, lettest
(i. e. compositions, pieces). thou thy servant depart in peace) a ;

Same text frequently used by composers, and

No'tenfresser (Ger.) as Croque-
note.
forming portions of special services in
the Catholic and Anglican Churches.
No'tograph. See Melograph.
Nun's-fiddle. Tromba marina.
Nottur'no (It.) Nocturne dimin. Not- ;

turni'no.
Nuo'vo,-a (It. [no'vo].) New. .Dinuo- .

vo, anew, again.

Nourri (Fr., "nourished".) Un son
nourri, a full or well-sustained tone. Nut. 1. (Ger. Saftel; Fr. sillet ; It.
capota'sto.) The ridge over which the
Novellette. A name probably first be- 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,
bold in harmonic structure, romantic in
etc.
2. (Ger. Frosch; Fr. talon.) The
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 Novel-
ette.)
slackened.
3. The lower nut on the*
violin, etc., is the ridge between the
Novemo'le (Ger.) Anonuplet. tailpiece and tailpin (or button).
NoTvel. (^T. Noel.) Christmas carol, A
especially one in polyphonic style.
o.
Nuance (Fr.) A
shading or inflection in
vocal delivery or instrumental rendering, O. A circle (Q) was the medieval sign
affecting either timbre, tempo, or dyna- for tempus perfectum (see Notation,
mic effect, to a greater or less degree. 3) enclosing figure ( (i) ) see Harmoni-
; ,

Null. A
naught or cipher. (See 0.) um-music. . .A small circle signifies, in
modern notation, (a) an open string
In thorough-bass, a cipher calls for ;

tasto solo.
(b) the harmonic mark (c) the dimin-;

ished fifth (d) in thorough-bass, ta-

;
Number, i. Aprincipal 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
large work, as a song, aria, interlude,
O (It.) Or. (Also od.)
etc. ; or, finally, any single piece on a Obbliga'to Required, indispensa-
(It.)

program. 2. Equivalent to Opus-num- ble. An obbl. part is a concerted (and
ber. therefore essential) instrumental part
employment of the term is specially applied to an in-
Numerals. For the
strumental part accompanying and vy-
Arabic numerals, comp. Abbreviations
ing with a vocal solo, very numerous
2, Fingering, Harmonium-music, Or-
examples of which may be found in the
gan, Phone 6, Pitch 2, Tablature,
Thorough-bass. As abbreviations, 2- music of the l8th century.
time, j-time, axe. equivalent to duple Obbli'quo (It.) Oblique.
 .

OBER OCTAVIN. 135

O'ber (Ger.) Over, above, higher. . .

0'- pipe. It has an elongated bird-shaped
berdominan' te the dominant (opp. to
, terra-cotta body 5 or more inches long,
Unf terdominante the subdominant). , . provided with a varying number of fin-
(yberlabium, upper lip (organ-pipe). . ger-holes, and with a mouthpiece like a
O'hermanual, upper manual O'ber- . . . whistle projecfing from the side. The
stimine, highest part. O'hertaste, black . . tone is mellow and fluty. The better
key. O'ber tone overtones, harmonics;
. . ^ kinds are provided with a tuning-slide.
ph</nischer Oberton, the 15th partial. Occhia'li (It.) Same as Brillenbasse.
O'berwerk (in Germany), chair-organ
.
Also, recent name for the white notes
(when organ has 2 manuals); s7vell-or- {=> and J).
gan (when organ has 3) jo/o-manual ;

(when organ has. 4 manuals). (Abbr. Ochet'to (It.), Oche'tus (Lat.) See
\ Obw., or O. W.) Hocket.
Obligat',-o (Ger.), Oblig6 (Fr.) Ob- Octachord, i. An 8-stringed instr, 2.
bligato. A series of 8 consecutive diatonic tones.
Oblique motion. See Motion. . . Oblique Octave. (Ger. Okta've; Fr. octave;
I.

pfte. , an upright pf te. with strings run- It. otta'va.) I. A

series of eight con-
ning diagonally instead of vertically. secutive diatonic tones. 2. The inter-
Obli'quus (Lat.) OhXw;a.e. . Figura val (1:2) between the ist and 8th tones
obliqua^ see Figura.. .Motus obliquus.^
. .

of such a series. (Comp. Interval.) 3.

oblique motion. The 8th tone of such a series, consid-
ered in its relation to the 1st or vice ;
Cboe. (Ger. Obo'e; Fr. hautbois; It.
versa. The 8th is called the higher oc-
oboy.) I. An orchestral instr. with
tave of the 1st, the 1st the lower octave
conical wooden tube, having from 9 to
14 keys, and a double reed held by the
of the 8th.
4. One of a number of
arbitrary divisions of the entire range
player directly between his lips, he thus
of tones employed in practice, made for
completely controlling the expression.
J Compass iva though either ex-
the sake of convenience in referring to
and establishing the absolute pitch of
"f^- treme is difficalt
2 octaves
plus a flj / ^"d hazardous, each tone. (Comp. Pitch.) 5. In the
|
organ, a stop whose pipes sound tones
seventh : jTbjr The scale above
n is formed by octaves of the
an octave higher than those represented
by the digitals touched ; like the Prin-
(^~*^ fundamental tones, as in the
:

cipal. .At the octave, see Otiava, all',

.

77 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 by the progression
mild, and equally suited for scenes of
of 2 parts in similar motion to the in-
pastoral gaiety or of lonely melancholy. Rule of the octave,
terval of an octave .
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 oboi pic'cola) 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 (jiTtez/f, in organ-building,
.

written in the G-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 {r. hautbois d'amour)\s
bass of the simpler harmonies, the digi-
at present played only in the historical remaining being set side by side as
tals
~* concerts of the Brussels Conservatory :
ifforming the regular series ; this was
its pitch is a mmor third below tne
done to save expense and space. Oc- . .

treble oboe, and it differs from the ob- tave-coupler, see Coupler .. .Octave-
solete obo^ bas'sa (Fr. grand hautbois)
flute, (a) the piccolo ; (*) an organ-
in having a spherical bell with a narrow stop of 4-foot pitch. Octave-scale, see . .

aperture, whereby the tone is sensibly Mode. .Octave-stop, same as Octave 5.

subdued. The parent instr. of the
.

(Also oc-
oboe was the shawm. (See Appendix.) Octavia'na. See Ottavino.
tavin, octavina, octavino.)
Oboi'sta (It.) Oboist.
Ocari'na, A small wind-instr., an im- Octavin' [-veen]. i. See Ottavino. 2.
L. provement of the toy 2-tone cuckoo- A wind instr. inv. in 1803 by Oscar
136 OCTAVO OPERA.
Adler of Markneukirchen, Saxony. It usually supplemented by a motet on the
has a single reed, and a wooden tube same or differenc 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, ett. The tone is Ofide'ide (It.) Ophicleide.
quite powerful ; the timbre between
oboe and horn. Made in 2 sizes, B^ Oh'ne (Ger.) Without.
and C ; compass 3 octaves, f' c*. Oh'renquinten "ear-fifths".)
(Ger.,
Octavo attachment. See Octave-pedal, Covered fifths, of which
the ill effect
under Pedal. the ear detects (or is supposed to de-
tect) sometimes used to designate
;
Octet', (Ger. Okietf; Fr. ocieiie; It.
mere theoretical finicalities.
oltefto.) A composition for 8 voices
or instr.s.
Okta've (Ger.) Octane... .Oktavie'ren,
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 (wind-instr.s). . .0/^(TZ''^/zfK, Ok-
tres in height,provided with a mechan- Okta' vengattungen,
tav'ffoie, piccolo. . .

ism of and pedals for stopping

digitals
octave - scales . . , Okta' ve^iverdop'pelun-
the strings it is a third lower in pitch
;
gen, Oktav'folgen,-paralle' len, parallel
than the ordinary double-bass {Ci-Gi-C), or consecutive octaves . Oktai/- 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,
Octochord. See Octachord. of particularly full tone in the high and
Octo'le (Ger.) Octuplet. low parts of its range.
Oc'tuor. Same as Octet. Oktavin'. See Octavhi 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, Om'bra (It.) A shade, shading, nuance.
and expressive of lofty and fervent Om'nes, Om'nia (Lat.) All. See Tutti.
emotion it has no set characteristic me-
;
Om'nitonic. (Fr. omnitonique.) Having
trical form.'
Also, the musical setting
or producing all tones chromatic as ;
of such a poem. ;

coromnitonique,ch.roma.t\c{yaiye-)horn.
Ode'on. (Gk. odei'on ; Lat. od/um.) A Once-accented. See Fitch.
public building in which musical con-
tests were held. Ondeggiamen'to (It.) Undulation...
Ondeggian'te, undulating, wavy.
O'der (Ger.) Or, or else.
Ondulation (Fr.) Undulation. OnduU,
Ode-symphonie (Fr.) A choral sym-
undulated, wavy.
. .

phony, symphony with chorus.

CEuvre (Fr.) Work, composition. One-lined. See Pitch.

Off. In organ-music, a direction to push in Ongare'se (It.) Hungarian.

a stop or coupler; as Sw. to Gi. off.. . Off Onzi^me (Fr.) The interval of an elev-
the pitch, false in pitch or intonation. enth.
Of'fen (Ger.) I. Open (of organ-pipes). Open diapason, harmony, note, order,
2. Parallel (fifths, octaves). pedal, pipe, etc. ; see the nouns.
Offenbar (Ger.) Open, manifest. Of- Op'era. (It. O'pera \_se'ria, buf'fa, etc.],
. .

fenbare Okia'ven, Quin'ten, open or dram'ma per mu'sica; Fr. op&a; Ger.
parallel octaves, fifths.
Offertory. (Lat. and Ger. Offerto'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-
tion are collected. The daily offertory
of the Gregorian antiphonary is now
(/per, Musik' drama.') Modern opera,
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 i6th century in the striving of Ital-
ian (Florentine) composers and sesthe-
ticians to emancipate vocal music from
the fetters of contrapuntal form. Their
efforts led to the adoption of Monody
 OPERETTAOPHICLEIDE, 137

{q. V.) as an art-style, and its application
to dramatic purposes. The first opera
given was probably " Daf ne " (music
by Peri and Caccini book by Rinuccini)
, Herold, Halevy, Auber, Meyerbeer,
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 rappresentativo of
the earliest operas was improved upon
by Monteverde (1568-1643), who em-
ployed vocal and orchestral resources
with a freedom undreamed of up to his
time, justly earning him the title of
ticularly of Wagner). France continues
in the footsteps of her nationalcompos-
ers (Gretry, Mehul, Boieldieu, Adam,
Gounod). Tothe 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 coopera-
tion of the dramatic, poetic, scenic, and
musical elements thus, the action of the
;

*'
father of the art of instrumentation ". drama must never be checked or veiled
His orchestra for the opera "Orfeo" by purely musical episodes, however
(1608) is given below : charming in themselves the music must
;

illustrate the (emotional) course and ef

2 Gravicembani, 2 Contrabass! di Viola, 10
Viole da Braccio, i Arpa doppia, 2 Violini pic- fects of the action, and nothing else.
1: -11- c _ i-'u:. _ r\ r j:
alia francese, 2 Chitarroni, 2_ Organi di
;
coU Hence the discontinuance of cut-and-
'eeno, 3 Bassi dagamba, 4 Trotnboni, 1 Regale,
dried movements and leveling of tradi-
I Cornetti, i Flautina alia 22da, i Clarino, con

3Trombe sorde. tional forms, the rarity of full cadences

With Alessandro Scarlatti (1659- and harmonic sequences, the richly
modulated fiow of inspired melos, the
1725) begins the era of modern Italian
opera the sensuous charm of melody
;
absence of "vain repetitions" of words
asserts itselfmore and more strongly and phrases, the uninterrupted dramatic
;
interpretation by the orchestra of scenes
the singer becomes master of the situ-
ation, and operas are written to his

and moods. Both the grand opera and
the Wagnerian drama find zealous ad-
order. This tendency, early transplant-
ed with Italian opera to France and vocates and imitp.tors these, together
;

Germany, was combatted by leading with operettes of most various com-

composers of those countries ; LuUy
(1633 -1687) and Cluck (1714-1787)
were reformers of the musical drama in
ridding vocal dramatic music of super-
fluous melismas and coloraturas, making
plexion, are the typical forms of musico-
dramatic composition at present. The
comic opera varies the form of grand
opera by the interpolation of spoken
dialogue. . Op&a bouffe [formerly foz</-
.

foii\ (Fr.), light comic o^exa. ... Opera

it follow throughout the course and

sense of the action. The grand or biiffa (It.), Italian opera of a light and

humorous cast, comic opera in which
heroic opera, with its full choruses and
the dialogue is carried on in recitativo
finales, its ariasand recitatives, and all
secco, instead of being spoken Opifra . . .
varieties of ensemble (duets, trios,
comique (Fr.), comedy-opera ... 0/cr<i
quartets, etc.) is a growth due to the
seria (It.), serious (grand, heroic, tragic)
grafting of Italian opera upon the
opera opp. to opera buffa.
French musical stock, and is the style ;

especially affected by modern French Operet'ta (It.; Ger. and Fr. Operet'te.)
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 comic 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. OJicle'ide.) The bass
zart), all in the 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 (l) as bass ophicleide in C,
;
138 OPPOSITE MOTION ORCHESTRATE.
B\), and A\), compass 3 octaves and tre.) I. A
place reserved (a) in the
a s e m
i-

tone. chro-
matically
^ =1=
(2) as a/t-
ophicleide
in F
and
ancient Greek theatre, for the chorus,
between audience and stage
ancient Rome, for seats for distin-
{b) in ;

ascend- C E^, com- guished personages, in the same place ;

B|j
(c) in the modern theatre, for the band

^
ing from: pass
same, m^ upward , (3)
b u t contrabass
only in
cleide and F of the lowest seats in the auditorium,
from; E^, compass only
1% octaves, pitched an octave lower
than the alt-ophicleide. Only the bass
ophicleide was for a time in compara-
tively general use. (Riemann.) Now
superseded in the orchestra by the bass
tuba in E\).
Opposite motion. Contrary motion.
Oppu're(It.) Or, or else; abbr.^//. See
Ossia.
O'pus (Lat.) A
work abbr. Op. or op.
; Instruments) are classified in 4 main
Orato'rio. (Fr. and It. ditto Lat. and
;
Ger. Orato'rium.) An extended com-
position of dramatic type, for vocal soli
and chorus with orchestral accomp.,
usually having a text based on Script-
ure. It is distinguished from Opera
mainly by the absence of scenic decora-
tion and of stage-play by the perform-
ers, the action being contained zot//zW/i?
in the words. The oratorio takes its
name from the oratory in which the
monk Neri (d. 1595) held discourses,
illustrated by sacred songs, on biblical
history ; similar productions of a mys-
tical character, and a growing prepon-
derance of the musical element, led up
to the first known oratorio employing
'
the recitative (E. del Cavaliere's Ani-
ma e Corpo", 1600), which is also a
distinctive feature of the opera. At
this period oratorios were given with
scenery and dramatic action (azio'ne
sacra); the adoption by Carissimi (d.
1674) of the epical part of the Narrator,
Tendered both superfluous. The modern
oratorio, with full orchestra, recitatives,
lyrical soli, and the grand choruses (in
their solemn and majestic breadth the
fundamental characteristic of oratorio-
style), is a product of the early 1 8th
century (Haydn, Handel). (Comp. j^j-
teries. Passion, Opera.)
Rubinstein's
the
as of instrumentalists, placed in front of
ophi- the stage, and either just below the level
or (as in the Wagner theatre at Bayreuth)
sunk still lower, and provided with a
half-roof concealing the musicians from
the audience. Hence 2. () com- A
pany of musicians performing on the
instr.s commonly used in the theatre or
concert-hall in opera, in oratorio, etc.,
or in symphony-concerts ; (1^) the instr.s
so played on, taken collectively ; as
IVagner's orchestra, a symphony-orches-
tra.
The orchestral instr.s (compare
groups (i) : The strings or string-
band (violin, viola, violoncello, double-
bass); (2) the wood-wind (flute, piccolo,
English horn, oboe, bassoon, double-
bassoon, clarinet, basset-horn); (3) the
brass-wind (French horn, trumpet,
trombone, saxhorns, bass tuba, corneit,
[ophicleide]); (4) the percussives (kettle-
drums, bass drum, snare-drum, cymbals,
triangle, bells, gong, and likewise the
harp and pfte., though the latter is not
generally reckoned as an orchestral
instr.) The /uU orchestra, in which all
the above groups are represented, may
be either a grand orchestra {symphony-
orchestra) or small orchestra; the for-
mer should contain 3 flutes, 2 oboes, 2
' clarinets, 2 bassoons, 2 trumpets, 4
horns, 3 trombones, and a pair of ket-
tledrums, to balance which there should
be, in the "string-quartet", about J^_
1st violins, 14 2nd violins, g violas, g-
violoncelli, and 6 do uble-basses (orches
tra of the Gew andhaus, Leipzig); this
basic grand'oriHfiStl'i m&y be enlarged
ad libitum (as for the modern opera) by
doubling the principal instr.s or by add-
ing others. On the other hand, by leav-
ing out the trombones, 2 of the horns,
and even the kettledrums and clarinets,
we get the small orchestra. Groups 2
and 3 constitute what is called the
' '

"geistliche Opern " (sacred operas. ' wind-band '

Paradise Lost, Tower of Babel, Moses,

Christus) are also called oratorios, al-
Orches'tral flute. An organ-stop closely
imitating the flute in timbre.
though adapted for stage-performance,
for which reason they are playfully Or'chestrate. (Ger. orchestrie'renj Fr.
termed " Operatorios." orchestrer; orchestrare.)
It. To write
Or'chestra. (Ger. Orches'ier; Fr. orches- or arrange music for orchestra Or- . . .
 .

r* et
~3 i^.O- 1
'^tOvl^
I J Q- (u m k
%
Ci
L
aUU Ir

of writing music
s/Ai'iion, the art playing the plain-song melodies the .

for gjrtormance by^n orchestra the ; clenched fists, or even the "elbows, were
science-'of combining^ them,.
manner, the instr.s constituting the has been steady, and chiefly due to Ger-
orchestra. [The best treatises on the man, English, and French organ-build-
instr.s and on orchestration are by Ge- ers. The pipe-organ (see also Reed-
vaert, Berlioz, and Riemann.] orgari) is a keyboard wind-instr. con-
sisting of few or many sets of pipes
Srchestre. (Fr.) Orchestra . . .A grand
controlled by one or more keyboards.
orchestre, for full orchestra.
It has 3 distinct mechanisms (i) The
:

Drchestri'na di ca'mera. One of va- wind-supply, incl. bellows, windtrunk,

rious small keyboard free-reed instr.s, windchest, etc.; (2) the pipes, called
each constructed with the compass and collectively the /z)*f-7wr>j' (3) the key-
_ timbre of some orchestral instrument boards, pedals, and stops, called collect-
which it was intended to replace, such ively the action, and under the player's
Tas the clarinet, oboe, or bassoon inv. ; direct control. (i) The wind (com-
by W. E. Evans, about i860. pressed air) is obtained from a weighted
Jrchestri'no. A
kind of piano-violin storage-bellows filled by feeders; from
, imitating in tone the violin, viola d'a- the storage-bellows the wind is driven,
more, and 'cello ; inv. by Pouleau of by pressure of the weights on the stor-
Paris in 1808.
age-bellows, through a hollow wooden
i
canal, the windtrunk, into the wind-
8rches'trion. The modern 0. is a large chest, a wooden wiina-reservoir beneath
stationary barrel-organ (q. v.), generally
the soundboard on which the pipes are
with a self-acting mechanism, and imi-
set; the wind passes up through the
I

tating, by means of a variety of stops,

soundboard by way of grooves separated
s'arious orchestral instr.s. The orch.
by bars, and leading dUectly to the
.of Abb6 Vogler (inv. towards the end
" simplified" pipes the grooves are closed below by
;

/ of the i8th century) was a pallets (air-tight valves) opened by de-

_organ, in which the complicated key-
action and registers were abolished, the
_ pipes standing directly behind the keys
B-overning them, while the mixtures and
I^umerous other adjuncts were done
^away with it also had a Venetian
;
yswell, and for the 16-foot stops he sub-
j stituted a combination of an 8-foot stop
land a fifth (sK-f'-) ^ ''^^^ ^''" ^
utility.
J holes to admit the feet of the pipes and
ordina'rio. (It.) Common, ordinary.
? Tempo 0. , common (4-4) time.
br'gan. (Lat. or'ganum; Ger. Or'gel;
Fr. orgue; It. opgano.)
most powej'ful
Cinstr.s, and of great antiquity, trust-
j worthy accounts reaching back to the 2nd
Icentury B. C. Up to the loth century
)a. D. the organ appears to have been
I. a very primitive instr. with a diatonic
"^mpass of 2 octaves at most; the pipes
vere all flue-pipes, constructed in much
jthe same manner as at present; reed-
npes were not introduced until the 15 th
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 noses of the pipes are inserted,
and the pipe-rack, a board pierced with
.
to support the latter. Each set of pipes
(a stop or register") is ranged in one or
more rows above a slider, which is a
The largest long, narrow strip of wood with holes
among musical corresponding in size and relative posi-
tion to those in the feet of the pipes,
and pushed back and forth by a draw-
stop; when the latter is on (out, or
drawn) the slider-holes come exactly
, under the pipe-feet, so that wind can
pass from the grooves into the pipes;
when the draw-stop is off (i. e. in) the
slider-holes are but of position, and the
pipes cannot speak.
(3) The action
(a) The draw-stop action is that acting
.

century. But as early as q8o we hear

of an organ at Winchester, England, upon the sliders by means of a system
'which had 400 pipes and 2 manuals, of levers; combination-pedals (see Pe-
[each with a compass of 20 keys, and dal) are compound draw-stops ... (*)
'with 10 pipes to each key. The keys The keyboard-action acts upon the pal-
tof the early organs were so biad, and lets closing the grooves; when a key is
whole action so clum<3> that. in depressed, its rear end rises, forcingup
s
140 ORGANETTO ORGANUM.
an upright wooden wand called a sticker, ,Sw. to Gt., Solo to Gt., Sw. to Ch.),
which raises the front end of a horizon- and t^ pedal-couplers (Gt. to Ped., Ch.
tallever called a backfall, whose rear toPed.,Sw. toPed.,SolotoPed.) The
end in turn goes down, and pulls with organ-keyboards are usually called man-
it a tracker, a thin, vertical strip of uals; there may be from r to 5 (see list
wood bearing on its upper end Ihe-pull- below) with or without pedal-keyboard.
down ox pallet-wire, a wire attached to Usual compass of manuals, 4 octaves
3. 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 C to ^'
the pallet and admits the compressed -p- Compass of
air to the groove from the windchest; if
a draw-stop is on, so that the wind can
enter a pipe, the pipe will speak which
corresponds to the key depressed. This
is a common variety of key-action;
E*
15' TU
i,/Vy :i^3
^
/^

withsokeys:
pedal, up
octaves
and a f ou rth
"*
This notation, however, expresses only
to ,

m^
i

#
squares and roller-boards are also often a part of the full compass, S^
interposed between the stickers and the lowest pedal-pipes )
I

trackers more recent inventions are

; yielding Cj (2 octaves below ^ |

thepneumatic and the electric actions, in and the highest manual-pipes (piccolo 1-
which the depression of a key simply foot) producing^ (3 octaves higher than
forms a connection setting the com- |fe the total compass of the
pressed air or electric current at work. p .__ organ thus being g octaves
. .(c) Couplers are mechanical stops and a fifth (Cs to^).- The
E);
acting to connect 2 manuals, or pedal
with manual, so that when one is
p
_ stops belonging to
manual are set on
each
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. FRENCH. ITALIAN.

Gt. org. 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'werk (Man. III.) Clav. de recit (3" clavier) Organo d'espressione.
Solo manual So'loklavier (Man. IV.) Clav. des bombardesdes (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- Or'ganum (Lat.) I. An instrument

rel-organ.
Organier (Fr.) Organ-builder.
Organi'sta (It.) Organist.
Organis'trum (Lat.) Hurdy-gurdy.
Or'gano (It.) Organ (7. w.) 0. pie'no,
full organ . . .0. porta' bile, a portable
organ.
Organochor'dium. A combined pfte.
and pipe-organ (Fr. piano organist); the
idea originated with Abb6
Organ-point. (Ger. Or'gelpunkt ;
point d'orgue ; \t. pun' to d or'gano.) A
tone sustained in one part to harmonies
executed by the others. It is ordinarily
a bass note (usually the tonic or dom-
inant, or even both combined), and is
also called a pedal-point, or pedal; but
a tone so sustained in a higher part is
more properly termed a holding-note, or
simply a sustained tone, and the organ-
point is then sometimes termed inverted.
Pastoral organ-point, tonic and dom-
inant sustained together in the bass.
later,
an organ. 2. The earliest at-
tempts at harmonic or polyphonic
music, in which the parts progressed in
parallel fifths and fourths. The excru-
ciating effect of this diaphony on the
. . .
modern ear has led
investigators to
make the most of any historical evi-
dence going to show that these pro-
gressions were not simultaneous, but of
an antiphonal character ; it appears to
Vogler. be established, however, that they were
Fr. really the connecting link between the
earlier chanting in octaves, and the later
contrapuntal forms slowly developed
out of the oblique and contrary motion
in certain forms of Xhsorgantim, due to
the occasional introduction of harmonic
seconds and thirds. Though the oiga-
nuni was, properly, the part added /^(^/cot
the catttus firinus, the term is generally
applied to all the first rude attempts at
harmonic composition, whether in 2
parts (diaphotiid), 3 parts (triphonia, the
added third part being called triplum.


ORGEL OVERSPUN. 141

whence our treble), or 4 parts {.tclrapho- Ambros, and are of the time of Hue-
nia). The examples are quoted from bald (A.D. 840-930):

(2) 1- =S=^Sb
Til pa tris sem pi -

0"'gel OTgan.. .Or'gelgehiiuse,

(Ger.) . ground bass ; hence the use of oslinato
organ-case. Or'gelmetall, organ-metal.
. . substantively, as a technical term for
. .Or'gelpunkt, organ-point Or'gel- . . . the iijcessant repetition of a theme with
register, organ-stop Or'gelwolf, ci- . . a varying contrapuntal accomp.
phering (also Heu'len).
Otez {Stez) (Fr.) Off (in organ-mus.)
Orgue (Fr.) Organ ... 0. de Barbarie,
or i cylindre, barrel-organ ... 0. expres- Otta'va(It.) Octave. .All'ottnva (usu- .

an harmonium (/<) swell-or-

(a), ally abbr. to Sva or 8 or <y''"), "at
sif,
gan . h percussion, a form of reed-
. .0.
;

the octave", an octave higher. Also

organ constructed by de Provins and signifies, in scores, that one instr. is to

Alexandre, Paris. accompany another in the higheroctave.

.Coll'ottava, "with the octave," i. c.
Orguiaette. A mechanical wind-instr.
.

in octaves ... 0. rt//<j, the higher oc-

having or more sets of reeds, and an
I
tave... O. bassa(Sva bassa), the lower
exhaust-bellows ; by turning a crank
octave, an octave below. 0. riiiui, an . .

the bellows is operated and a perforated ,

Italian strophe of 8 lines, each in the

strip of paper attached to 2 rollers is
heroic metre of 11 syllables, the first 6
made to pass over the reeds, the perfo-
rhyming alternately and the last 2 form-
rations admitting wind to the reeds and
ing a couplet.
thus producing music.
Ornament, (It. ornamen'to; Fr. prne- Ottavi'na (It.) i. An octave-spinet.
ment; Ger. Verzie'rung.) A grace, em- 2. A harpsichord-stop controlling a set

bellishment Ornamental note, an ac-

. . .
of strings tuned an octave higher than
cessory note. the rest.

Ornatamen'te, Orna'to (It.) Embel- Ottavi'no (It.) The piccolo {Jla'uto

lished, ornamented. piccolo).

Orpha'rion. See Orpheo'reon. Ottemo'le. An octuplet.

Orph^on. i. In France, a singing-society Ottet'to (It.) An octet.
composed of men . . . Orphioniste, a mem- Otto'ne (It.) Brass.
ber of such a society. 2. A piano-
Ou (Fr.) Or. (See Ossia:)
violin.
Ouie (Fr.) Sound-hole.
Orpheo'reon, or -ron. A variety of cith-
Ouvert,-e (Fr.) 0^e.r\... Accord h Vou-
er,having a flat back, and ribs with more
vert, a chord produced^ on open strings
than one incurvation on either side. .A livre ouvcrt, at
of stringed instr.s . .

Or'pheusharmonika (Ger.) Same as sight.

Panharmonikon. Ouvertii're
Ouverture (Fr.), (Cier.)
Oscillation. (Ger. Oszillation' .) Vi- Overture.
bration, or beating.
Overblow'. 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, . . .
way as to cause any of the harmonics to
carefully observed ; sti'le 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, 1.
owero.)
Ostina'to (It.) Obstir\a.ls...Basso o., a. Overspun'. (Ger. Uberspon'nen.) Used
142 OVERSTRING PANTALEON.
for covered (strings), the correct tech- Padova'na (It.) Same as Pavane. (Also
nical term. Padovane, Paduana, Paduane, etc.)
Overstring'. To arrange the strings of Pae'an (Gk.) A hymn to Apollo a ;

a pfte. in 2 sets, so that one set lies 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-
pfte. (Ger. kreuz'saitig), in contradis-
lables, I long and 3 short. It has 4
tinction to vertical.
forms according to the place occupied
O'vertone. See Harmonic 2. by the long syllable namely, first ;

O'verture, (Ger. Ouverfil're; Fr. oitver- ptTon ( ~-"~'^-'^, second {^ ^-' ~-'),
ture; \t.overtn'ra,sinfoni'a.) Amus. third (^ ' ~-^), and fourth pi^on
prelude or introduction. The first Ital- (^ww_).
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 Ger. Dop'pel-
Scarlatti the overture or sinfonia as- griffe; i. e. 2 parallel series of notes
sumed a purely instrumental character, played with one hand, as thirds, si.xths,
and was written in three divisions (I and octaves.
allegro, II slow, III vivace, presto);
Palala'ika. See Balalaika.
hence ths overturein sonata-form, with
2 or 3 contrasting themes following a Pal'co (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 cappclla style (It.
"tended development-section, but differ- alia Palestrind).
ing from the true sonata-form in lack-
Palettes (Fr., pi.) The white keys of
ing the characteristic reprise before the
the keyboard ; opp. to felntes, the black
development. This overture in sonata-
keys.
form is the parent both of the modern
Symphony and of the Concert-overture Palimbac'chius. See Aniibacchius and
'(a term derived from the custom of per- Bacchius.
forming real opera-overtures as separate Pan'dean Pipes.
(Also Pan's-pipes,
concert-pieces), in which latter the Syrinx.) A
simple wind-instr., known
above form is usually adhered to. Op- in slightly vaiying 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
preludes {symphonic poems) treating and instr. usually had 7 tubes.
blending themes occurring in the mu- Pando'ra, Pandu'ra, etc. See Bandola.
sical drama in the form of an independ-
Pan'flote (Ger.) Pandean pipes. (Also
ent composition, with the intention of
Pansflote.)
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. (See Ossia) Panmelo'dion. A keyboard instr., the

tone of which was produced by the
friction of wheels on metal bars ; inv
by Fr. Leppich, in 1810.
Panorgue (Fr.) A miniature reed-organ
P. Abbr. of Pedal
(P. or Fed.) ; piano attached beneath and played by the
(p) ; pp, or ppp, pianissimo; P. 7., pi- keyboard of a pfte.; the combined instr.
anoforte; pf, {a) piii forte (louder), {b) is named a panorgice-piano. Inv. by
foco forte (rather loud) ; fp, fortepiano J. Jaulin of Paris.
(i. e. loud, instantly diminishing to Pantal'eon, Pan'talon, An improved
soft) ; mp, mezzo-piano (half-soft) ; of dulcimer, inv. in 1690 by, and named
Points (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 in
Padiglio'ne (It.) Bell (of horn, etc.) shape; had 2 soundboards, as of 2
 PANTALON PART-SONG. 143

instr.s standing close together was ;

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-
ment in the old quadrille.
Pan'talonzug (Ger.) " Pantalon-stop'';
a harpsichord-stop which neutralized
the action of the damping mechanism,
and thus produced the confused effect
peculiar to the Pantalon.
Par'allel. See Interval, Key, Motion.
. .Parallel'beioegung (Ger.), parallel
(and also similar) motion .Paralle' len
. .

(Ger., pi.), (a) sliders (in the organ);

(i)consecu lives... /"orn/Z^/'fewizr^ (Ger.),
a relative (major or minor) key.
Par'aphrase. A transcription or re-
arrangement, of a vocal or instrumental
composition, for some other instr. or
instr.s, with more or less extended and
brilliant variations.
Parfait (Fr.) Perfect (of intervals) ; com-
plete (of cadences); true, pure (of inton-
ation) ; strong, accented (of beats).
Parhyp'ate. See Lyre i.

Soprano

Alto
144 PART-WRITINGPASTORAL.
structure. . . The part-song being essen- pany, and passing by steps from one
tially amelody 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 unhke 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 (can'ius passio'nis). In a quasi-
able limits. [Grove.] dramatic form the passion is of later
Part-Twriting. 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
ing passion-week, to Gregorian melo-
dance in a ballet Pas de deux, a . . .

dies. It is certain, that from early

dance performed by 2 dancers. .Pas .

in the 13th century (i) the words spoken

redouhUy quickstep Pas seul, a solo . . .

Aaxice. .{Adverb.)
. Not; as fas trap by Christ, (2) the connecting narrative,
lent, 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'gflia, or -glio (It.; Fr. fasse- ating Christ, the Evangelist, the Dis-
caille; Ger. Gas' senhauer.) An old ciples, etc.) The evolution of the Pas-
Italian dance in triple time and stately sion as an art-form is, after the i6th
movement, 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
subjective emotion, expressed in hymns
Passag^e. i. A portion or section of
a piece, usually short. 2. A rapid of praise and choral songs, devotional
arias and choruses. The crowning work
repeated figure, either ascending or
of this kind is Bach's " Mattha'uspas-
descending. A jco/c-passage is usually
sion " (Passion according to St. Mat-
called a run. .Notes de passage (Fr.),
grace-notes.
.
thew). The full dramatic form of the
Passion, with stage-setting and dramatic
Passag'gio (It.) Passage i. 2. A mod- action, still survives in the CJerman
ulation. 3. A flourish or bravura em- Passion-plays at Oberammergau.
bellishment, either vocal or instru-
Passionatamen'te Passionately,
(It.)
mental.
in an impassioned .Passiona'to,-
style . .

Passamez'zo An
old Italian dance
(It.) a, passionate, impassioned. ..Passio'ne,
in duple time, and similar to the Pavane passion, fervent emotion; con p., same
except in having a more rapid move- as appassionato.
ment.
Passionng (Fr.) Passionato.
Passant (Fr.) Slide (of bow).
Pastic'cio (It.), Pastiche (Fr.) Amus.'
Passecaille (Fr.) Passacaglia. medley or olio consisting of extracts
Passepied (Fr.) A paspy,
an old French (songs, arias, recitatives) from different
dance in 3-8 or 6-8 time, generally works, pieced together and provided
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. pastora'le.) i.
or toying; like the minuet in movement, A scenic cantata representing pastoral
but quicker. or idyllic life ; a pastoral opera. 2. An
Passing-notes,-tones. Notes or tones instrumental composition imitating in
foreign to the chords which they accom- style and instrumentation rural and
 . .-

PASTORITAPEDAL. 145

idyllicscenes. Pastoral organ-point, being Aepressed. .Pedal-coupler, see .

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

pedal-keyboard in playing Pedal-pi- . . .
in the quadrille.
ano, a pfte. provided with a pedalier. .

Pateticamen'te (It.), Path^tiquement Pedal-pipe, -soundboard, -stop, one be-

(Fr.) Pathetically... Pa^Z/iV,? (It.), longing to the pedal-organ Pedal- . . .

pathe'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 It is single-acting when it only draws
2. 2. A
special key on the clarinet.
out new stops in addition to those al-
Pau'ke(Ger.) Kettledrum. .Maschinen- .
ready drawn, or pushes in some of the
pauke, see Maschinen. latter ; a.nd 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-
viously drawn. Comb.-pedals are of 3
(Fr.) A whole rest, semibreve-rest.
kinds: (l) The forte pedal, drawing
Pav'an,-e. A stately dance of Italian all the stops of its keyboaiid (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) \^s piano pedal, pushing in all but a
va'nd) referring to a peasant-dance of
few of the softest stops . Composition- . .

the province of Padua. J

pedal, a combination-pedal Coupler- . . .

Paventa'to (It.) Afraid, fearful. pedal, see Pedal-coupler . Crescendo- . .

Pavilion (Fr.) Bell (of a wind-instr). pedal, a pedal mechanism drawing all
. .P. chinois, a crescent. . .FlAte <J 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
players. are raised from the ?Xxvn%% ... Dimin-
uendo-pedal, the reverse of crescendo-
Peal. I . See Change 3.-2. A chime of
pedal, retiring successively the stops
bells ; a carillon.
drawn by the latter Extension-pedal, . . .

Pearly. (Ger. per' lend; Fr. perU.) In see Loud pedal .Harp-pedal, same as . .

piano-technic, a style of touch produc- soft pedal. Loud or open pedal, the
ing a clear, round, and smooth effect of damper-pedal on the ^lK&. .Octave- .

tone, especially in scale-passages ("like pedal (A. B. Chase Co.'s, for pfte.),
a string of pearls "). acts, when depressed, in such a way
Pedal. (Ger. Pedal'; Fr. pe'dale; It. that when a key is struck, the higher oc-
peda'le^ I. A foot-key opp. to digi- tave of the tone is also sounded. (Usu-

;

tal (see Organ and Pedal-piano^. 2. A ally Octavo attachment.). .Prolopga- .

foot-lever ; as the swell-pedal of the tion-pedal, see Sustaining-pedal .Re- . .

organ, the loud and soft ptdals of the versible pedal, a pedal-coupler Sfor- . . .

pfte., or the pedals of the harp. 3. A zanda-pedal, a pedal in the organ which
treadle, as those used for blowing the brings out the full power of the instr.
reed-organ, etc. 4. A stop-knob or
lever controlled by the foot, as a com-
for the production of a sudden and for-
cible accent Soft pedal, the left pedal
. . .

bination-pedal in the organ. 5. Con- of the pfte Sustaining-pedal, a piano-

traction of Pedal-point. Pedal-action,
. . .

pedal acting to hold up any dampers al-

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 Swsll-pedal, a foot- . . .

which can be so adjusted (often by a lever in the organ, by depressing which

stop-knob) as to prevent them from the shutters of the swell-box can be
146 PEDALE PEU A PEU.
opened ; they close when the pedal Percussion, i. The striking or sound-
is released. Balance swell-pedal, the ing of a dissonance, contradistinguished
modern form of organ swell-pedal ;
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, sl 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,
P^dale (Fr.) i. A pedal-key, the pedal-
rendering its vibration prompter and
keyboard being clavier des pMales. 2. stronger.
Pedal (of the pfte.) petite pddale, soft
;
Percussive. An instr. of percussion.
pedal,
point.
"una corda". 3. A pedal-
Perden'do, Perden'dosi (It.) Dying
away morendo or diminuendo, to-
;

Peda'le dop'pio (It.) Same as Doppio gether (in modern music) with a slight
fedale. rallentando.
Pedal'fiiigel (Ger.) A
grand piano pro- Perdu'na. Bourdon (organ-stop).
vided with a pedalier.
Perfect. (Ger. rein; Fr. parfait; It..
Ped'alier. (Fr. p'^dalier.) set of A perfet'to.) See Interval.
pedals, either (i) so adjusted as to play
the low octaves of the pfte. after the
Perfection, i. See Notation, 3. 2.
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
placed underneath the pfte. and played
when a higher penultimate note was-
not joined with the final as a figura
with, but not affecting the action of, the
latter. (Sometimes Pedalion^ obliqua ( |& ), or when, after a lower
Pedalie'ra (It.) A pedal-keyboard. penultimate note, the final took a de-
Pedal'klaviatur (Ger.) A pedal-key- scending tail to the right (since the 15th
century from the 1 2th to the 1 4th
;
board ; either a pedalier, or for the
this tail signified a plica, and to secure
organ.
the perfection of the final note it was.
Peg. I. (Ger. Wir'bel; Fr. cheville; 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 (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.
Pennant. Same as Hook. Perl6 (Fr.), Per'lend (Ger.) Pearly.
Pensieroso (It.) Pensive, contempla- Perpe'tuo (It.) Perpetual ; infinite.
tive, thoughtful.
Pes (Lat., "foot".) An harmonic ac-
Pentachord, A
5-stringed instr.
i. 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, Pesan'te (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 5th feet :
Petite (Fr.) %m3&.. .Petite flUte, the .

piccolo Petite mesure a deux temps,

. . .

2-4 time Petites notes, grace-notes.

Pentatone. An interval embracing 5
. . . .

PetitepMale, soft pedal.

whole tones ; an augmented sixth . . .

Pentaton'ic, having, or consisting of, 5 Pet'to (It.) The chest. .Di petto, from
.

tones ; pentatonic scale, see Scale. the chest, i. e. in a natural voice, not
falsetto. Voce di petto, chest-voice.
Per (It.) For, by, from, in, through. .
. .

Per For'gano, for the organ Per . . . il Peu a peu (Fr.) Little by little, grad-
Jlauto solo, for solo flute. ually. Un peu,
. . a little.
 . .

PEZZO PHONE. 147

Pez'zo (It.) I. A -piece. . .Pezzi concer- partials of the root are reinforced by
tan'ti, concerted pieces. 2. A number actual tones. E.g.,
(of an opera, etc.)
"F [

Pfei'fe (Ger.) A
pipe specifically, an
;

organ-pipe. Tlie teclinical name of tlie

l-foot stops is -pfeife, as Bau' ernpfeife.
Phantasie' (Ger.) Fancy, imagination.
. Phantasi/ stilcky a fantasia in mod-
. ;

ern music, a siiort piece of a romantic

and intensely subjective cast, without
distinctive formal structure. Phan- .

tasie' ren^ to improvise ... /"AaMtonVr'-

maschine, any kind of melograph.
Philom&le. See Bow-zither, under
Zither.

Phonau'tograph. An electric music-

recorder for keyboard instr.s, inv. by
Fenby, in which a stud attached under
each key makes an electric connection
when the key is depressed, and thus
marks, on paper, lines corresponding in
length to the duration of the notes . .

Another, inv. by the Abbe Moigno, re-

cords the tones (sounded or sung) by
the aid of a pencil fitted to a sort of
drum, the membrane of which vibrates
to the tones.

Phone. 1. It forms no part of a com-

piler's work to introduce new words on
his personal responsibility but the ;

terms "tone", "clang", and "sound"

being already appropriated, a distinctive
and exact equivalent had to be em-
ployed in rendering the German
" Klang" as used in modern musical
theory. The Greek word ^uniri, in the
English form phone, appeared to be
a fairly acceptable neologism. Kphone,
then, will be understood as signifying
not only a tone with its overtones and
undertones (Tyndall's "clang"), but
specifically the major triad (generator
and higher partials [2] 3 [4] and 5) or
over-phone, and the minor triad (gener-
ator and lower partials [2] 3 [4] and 5)
or under-phone. [N.B. Over-phone
and under-phone are also called over-
chord and under-chord respectively.
In the subjoined statement of the
modern theory of chords, Riemann is
followed.]
2. There can be no doubt, that the
consonance of the major triad (major
consonance) is referable to the series of
higher partials (see Acoustics), i. e. that
a major triad, however the tones maybe
set or inverted, is to be conceived as a
consonance in which certain higher
148
3. Phonic representation
{Klang'veriretung) the peculiar sig-
is
nificance attaching to any tone or inter-
val, according as it is conceived as be-
longing to a particular phone. For
instance, the tone C has a very different
meaning, in the logic of progression,
when conceived as tierce in the A'p-
major chord, from that as tierce in the
v4-minor chord ; in the former case, it
is most closely related to /)[> and theZllj"
major chord ; in the latter, to B, and
the chords of .-major and .ff-minor.
Every tone may form an integral part
of 6 different phones ; for instance, the
tone C in the C over-phone (C-major
chord) as major root, in the over- F jSp-major, .F-minor, C-minor, ^-minor,
phone as major quint (over-quint), in
the A-) over-phone as major tierce
(over-tierce), in the C under-phone {F-
minor chord) as minor root, in the G
under-phone (C-minor chord) as minor
quint (under-quint), and finally in the
under-phone (^ -minor chord) as mi-
nor tierce (under-tierce)
Major chords Minor chords
{read up). (read down).
I ^
Whenever the tone C enters into any
other chord as a dissonant tone, or is
substituted for some chord-tone as a
suspended or altered tone, it is never-
theless always to be conceived as be-
longing to one of the above 6 phones,
i. e. to the one most nearly related in
any given case.
4. The relation
of tones is a
modern conception, based on the affini-
ty of tones belonging to the same
phone. Tones belonging to the same
phone are directly related ; to , for in-
stance, are directly related^,/', e, dr), u,
and e'^ for c g belongs to the chord of
; :
C-major or C-minor, c : e to the chord
of C-major or A-rainot, c a\) to the
chord of ^l^-major or i^-minor, c a to
:
:
the chord of .^-major or A-mmor, and
c : ^
to the chord of A\)-ma]or or C-
minor. Directly related toass, are con-
sonant ; all other, or indirectly related,
tones are dissonant. The mutual rela-
lation of the former is more easily un-
derstood than that of the latter. Di-
rectly related phones are (i) those simi-
lar ones (both either major or minor) in
which the phonic root of the one is di-
rectly related to the phonic root of the
PHONE.
other [phonic root ^ generator, i. c. the
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 {jninor phones') of its
phonic root, quint, and tierce ; for the
minor chord, the over-phones {major
phones) of its phonic root, quint, and
tierce ; to which must be added the
under-phones of the respective leading-
tones. Thus, the following chords are
directly related to the C-major chord:
C-major, /^-major, E-ra&]ox, .<4|7-major,
and i?-minor ; whereas, to the .^ -minor
chord, are directly related the chords
of :
Z)-minor, .-minor, i^-minor, CJf-
minor, C-minor, i^j(-minor, jff-major,
^-major, C-major, and .A"-major. The
relation of the tones depending on that
of the the tonics (tonic phones), it fol-
lows, that any key is directly related to
C-major (or y4-minor), whose tonic is
one of the phones (chords) given above
as directly related to the chord of C-major
(or A-vaSrvor).
% 5. Phonic progressiox {IClang'-
folge) is the progression between two
chords with reference to their sigjnifi-
cance as phones. The ordinary method
of marking the phones (major and mi-
nor triads) b) the Roman numerals I,
II, III, IV, etc. (comp. C/iord) is
inadequate from the standpoint of free
tonality; e.g. this passage:
G: V
is hardly intelligible with such a figur-
ing ; although it in no way signifies a
modulation into another key, one must
perforce consider the ^|7-chord as in
_/"-minor, and the Zl-chord as in C-ma-
jor. For such progressions, a figuring
with reference to a scale is simply im-
possible ; they are referable to free to-
nality, an idea but recently recognized,
whose scope extends far beyond the
bounds of diatonic harmony. Tonality
 PHONIKONPHYSHARMONICA. i-^-J

knows neither diatonic nor foreign C-major triad, ''c F-rcaaor triad.= (2),
chords, but only a tonic phone and ref- To these letters are affixed numerals,
erable (related) phones. In the above marking intervals added to the phones ;

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\t-Taa]OT chord is
; numerals [read up !] for over-phones
its under-tierce phone, the ZJ-minor (major triads), Roman numerals [read
chord is its second over-quint phone, down for under-phones (minor triads).
!j

and the G-major chord its over-quint Thus =

phonic root 2 (II)
I (I) ma- ;
=
phone. The iirst progression (C-major jor second 3 (III) ; major tierce = ;

to ^o-major) reaches over to the under- 4 (IV) =: perfect quart 5 (V) per- ;
=
tone side ; the second (A\)-raa]oT to fect quint 6 (VI) ; major sext 7 = ;

(7-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 progpression the interval by semitone > denotes
-a. ;

between 2 phones a stride

similar its lowering by a semitone. Examples :

{Schritt), and one between 2 dissimilar

phones a chans;e ( Wechsel), we can dis-
tinguish 4 species of phonic progression
in which the mutual relation of the fvii bb' g'*
roots is a quint-relation. It is of wide- or dvi fjvii>
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,
;
I dvK ^ e" 5< 5> bb"
and from a minor chord the former, i< g'
signifies a contradiction of, or opposi-
tion to, the phonic principle strides or
Pho'nikon. 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 (l) veny of Koniggratz in 1848.

the progression fromC-majorto (7-major, Phonom'eter. (Fr. phonomitre.) An
or /i-minor to Z>-minor (= under- E instr. forrecording the number of vi-
phone to A under-phone) is a simple brations made by a sonorous body in a
quint-stride (2) C-major to F-major, or
;
given length of time.
.^ -minor to ^-minor {E under-phone to Phor'rainx (Gk.) 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-\
change c-'f, or "e-b, is a contraquint-
Phrase, See Form. 2. Any short
i.
;
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
/A?-a>V?, to phrase.) I. The bring-
gressions are, for example, the simple
ing-out into proper relief of the phrases
tierce-stride c-e, or 'e^c contratierce-
;

(whether motives, figures, subjects, or

stride, c-dj), or "?-Ytt simple tierce-
I
passages), both as regards their individ-
change, c-e, or e-c contratierce-
;

ual melodic and rhythmic characteri-

change, c-a^. Any direct progression
to a remoter phone makes the want of
zation and their relative importance. 2.
The signs of notation devised to further
an (omitted) connecting link sensibly
the above end.
felt; it will be easy to modulate to such

an intermediate phone, i.e. to transfer Phryg^ian. See Mode.

to it the significance of a tonic phone. Physharmon'ica. i. A small reed-
6. Phonic figuring {Klang'- organ inv. in 1818 by Anton Hackel of
schlUssel) [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
; the 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
Piace're, a (It.)
direction equivalent to ad libitum, sig-
nifying that the expression of the pas-
sage so marked is left to the performer's
discretion. Also
tion of a cadenza.
men'to.)
Piace'vole
(It.) Pleasant, agreeable
calls a smooth, suave rendering,
for
free from forcible or passionate accents.
. .Piacevolmen'ie, smoothly, suavely.
Piacimen'to (It.)
Pianette. A low form of upright piano.
Piang-en'do (It.,
Wailing, plaintive.
piangevohnen'te.)
Piani'no (It., dimin. oi piano.)
right pianoforte.
Piani'sta (It.) i. A pianist. 2.
mechanical pianoforte.
Pia'no (It.) Soft, softly {s\gap).. .Pi-
ano pedal, the soft or left pedal of the
^it&. .Pianis'simo (superl. ol piano),
. to this rule), and braced with cross-bars
very soft (sign pp or ppp).
Piano, (Abbr. of Pianoforte) .
Bou-
doir p., a short style of grand pfte.
Cabinet p., an old form of upright pfte.
. Cottage p., see Cottage. .Dumb p., a
. .
pfte.-keyboard without action or strings,
used for silent
(See Virgil Practice-Clavier.). .Elec-
tric p., one whose strings are set in vi-
bration by electro-magnets instead of
hammers. .C?-t//., see Pianoforte.
.
. .Pedal-piano, see Pedal. .Piccolo p.,
. .
a small upright piano introduced by
Wornum of London in iSzg. .Semi-
grand p., same as Boudoir. . .Square,
Upright p., see Pianoforte.
Piano (Fr.) A
pianoforte. ..P.h archet,
piano-violin. .P. a claviers renversh,
.
a grand pfte. having 2 keyboards, one
above the other, the ascending scale of
the upper one running from right to
left. .P. h queue, grand pfte.; h queue
.
ecourt^e, boudoir grand pfte ..P. a
secretaire, cabinet pfte .P. carr^,
square pfte ... /'. droit (oblique, ct pi-
lastres, vertical), upright pftes../".
Mien, see Anemochord. .P. harmoni-
corde, a combined pfte. and harmonium,
inv. by Debain. .P. tn^canique, a me-
chanical piano .P. muet, dumb pfte.
. .
P. organist, a pfte. with physharmonica-
attachment,
Pian'oforte. (Ger. Klavier'
Pianofor'te usually means
PIACERE PIANOFORTE.
"At pleasure"; a piano "] Yr. piano [more rarely piana-
;
fortdoxfort^-piano, very seldom /or^/] ;
f
It. pia'no, piano or' te.) A keyboard
stringed instr. of percussion, the tones
marks the introduc- being produced by hammers striking
(Sometimes apiaci- the strings.
The principal parts are (i)
the Frame, (2) the Soundboard, (3) the
Strings, (4) the Action, and (5) the
;
Pedals.
According to the shape of the
case, pftes. are classed as Grand (harp-
shaped ; Ger. Flii'gel; Fr. piano h
queue; It. pia'no a co'da), with horizon-
Equiv. to Piacere. tal strings and built in several sizes, as-
Concert Grand, Parlor Grand, Boudoir;
"weeping, tearful.")
Square (oblong Ger. Pianofo'rte,
;
(Also piange'vole, or ta'felformiges Klavier'; Fr. piano-
carrd; It. pianofor'te a iavoli'no) with
An up-
horizontal strings ;
and Upright (buf-
fet-shaped ; Ger. and It. Piatii'no; Fr.
piano droit) with vertical or slanting-
A strings.
(i) The Frame is now generally of
iron in one piece (Broadwood's.
cast
pftes. form the most notable exception
and trusses to resist the string-tension
which varies from about 12 up to nearly
. .
20 tons. (2) Below the frame is the.
.
Soundboard, near the front end of which
is a bridge of hard wood over which the
strings are stretched.
(3) The Strings-
axe attached at one end by hitchpins to-
mechanical practice.
the stringplate, and at the other to-
.
wrestpins Ituning-pins) set in the wrest-
plank; they are of steel wire, the bass-
strings of a steel core covered (coiled)
with copper wire ; 8 or 10 of the lowest,
bass tones have one string, about l>^
.
octaves above have 2 strings, and the-
remaining 5 octaves 3 strings, to each
tone ; such pairs or triplets of strings-
to one tone are called unisons. (4)
The Action consists essentially of the
key (digital, finger-lever) the hopper;
on the rear end of the key, raising the
hammer when the key is depressed, and
allowing the instant escape of the lat-
ter after propelling the hammer, which,
.
can therefore immediately rebound into-
. .
position after striking the string the ;
hammer, hinged at the butt, with a slim
round shank, upon which is fixed the
.
head (the hammer proper) made of felt
and sometimes covered with leather.
.
(5) The Pedals are 2 (sometimes 3) in
.
number; (a)Damper-pedal, {b) Piana
pedal, ic) Sustaining-pedal (comp. art.
Pedal).
[in Ger. The idea of the key-mechanism was.
'
' square derived indirectly, through the mono-
 ; ;

PIANOGRAPH PIPE. 151

chord, spinet, harpsichord, and clavi- Piat'ti (It., pi.) Cymbals.

chord, from that of the organ the idea
;
Pi'broch. 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 hiidh). This is the highest and most
hammer-action was first practically de- difficult form of bagpipe-music.
veloped by Bartolommeo Cristofori of
Piccanteri'a, con (It.) With piquant,
Padua in 17H, whose
action is the
sprightly expression.
same, in essentials, as that now manu-
factured by Broadwood (English action). Picchetta'to, Picchietta'to (It.) De-
tached. See Piqu(?.
Pian'ograph. A form of music-recorder.
Picco pipe. A small pipe with a flageo-
Piano-harp. See Klaviaturharfe.
let-mouthpiece, and 3 ventages, 2 above
Piano-organ. Same as Handle-piano. and I below named after the Italian
;

Piano-violin. (Ger. Bo'genflugel, Gei'- peasant Picco, whose extraordinary

genwerk; Fr. piano h archet, piano-
quaiuor.) The English name covers
the results of a long series of experi-
ments, and of improvements of the
hurdy-gurdy, the prototype of the class.
In the Gcigenwerk inv. by Heiden of
Nuremberg (about 1600) the keys, when
touched, pressed their corresponding
virtuosity on his instr. introduced it to
the general public (London. 1856), and
who obtained from it a compass of 3
octaves.
Pic'colo. {It.flafutopic'colo; Yy. petite
JlAte; Ger. Oktav'Jlote, Pick'eljlij:e.)
The octave-flute. See Flute,
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 Gambentverk was made by
Pick To pluck or twang (as the
(verb).
Risch of Ilmenau (about 1750), and
strings of a guitar, mandolin, etc.)
improved by the substitution of gut
strings for wires.
Hohlfeld's Bogen-
{noun), a plectrum.

Jliigel (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 Pifece (Fr.) A piece (ordinarily of in-
bow, whose slow or rapid movement strumental music) Suite de pihes,
. . .

was controlled by a pedal-stop. C. A. a set of pieces.

von Meyer, of Knownow, provided a Pie'no (It.) I. Full. 2. :Mixture-stop.
separate horsehair bow for each string

(1,794).

The clavecin harmonique of Pieto'so (It., "pitiful,
moving".) Calls
for a sympathetic and expressive deliv-
Hubner (Moscow, about 1800) accu-
ery nearly same as espressivo.
rately reproduced the sound of a string-
;

quartet.
Pouleau's orcheslrine was a Piffera'ro (It.) A player on the piffero.
further improvement of the clavecin Pif'fero (It., dimin. pifferi'no) I. A

harmonique. H. C. Baudin of Paris fife also, the name of a primitive kind

;

invented an instr. called the piano- of oboe or shawm. 2. An organ-stop

quatuor, patented in England in 1865 (see Bifara).
under the name of piano-violin. It has Pikie'ren (Ger.) Same as piquer. See
for each tone one wire string, at or PiquS.
near a nodal point of which is attached
Pinc6(Fr., "pinched".) i. Plucked or
a piece of stiff catgut projecting about
twanged, as the strings of the harp,
an inch. Above these gut ties, a rosin-
ed roller is caused to revolve rapidly by zither, etc. 2.
Pizzicato (in violin-

a treadle ; on touching the keys, these

playing). .Pinc^etoujffi,
3 (noun). A mordent sign ;

ties are carried up against the roller,

'or ^.. acciaccatura ;

pincirenversi, inverted mordent.

the tones thus produced having the
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. organ-pipe.
2. An
articulation. (Ger. O1'gelpfeife ; Fr. tuyau d'orgue;
152 PIPE-METALPITCH.
It. can'na d'or'gano.) (a) Flue-pipes
are those in which the to.ne is produced
by the vibration of a column of air
within a tube or " body ", the vibration
being set up by an air-current forced
lengthwise opening along one side cov-
ered by the tongue (the vibrating reed
proper), an elastic strip of metal made
fast at the top, but free below to vi-
brate across its upper portion passes
;

througli a narrow aperture and imping-
ing on a sharp edge. A
flue-pipe may
be of metal or wood the part resting
;
on the pipe-rack is the foot, which is di-
vided from the iody by an aperture in
front called ths moutA, having an upper
and a lower lip, and ears on
side ; within the mouth a projecting
shelf or ledge called the i/oc^ (when
thick) or language (when thin) deflects
the wind rushing through the foot,
the bent end of the tuning-wire, which
can be raised or lowered so as to allow
a longer or shorter part of the tongue
to vibrate, and thus alter the pitch.
The tube is fixed above the block, and
may be of metal or wood, and in very
either various forms.
Pipe-metal. The metal of which the
metallic flue-pipes in the organ are
made generally an alloy of tin and
;

lead, the tone improving as the propor-

forming below a channel called the Pure tin, lead,
tion of tin increases.
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.
leaf (bevelled portion of the upper lip),
Pique (Fr.) Peg or standard of a 'cello.
settingthe air-column within the body in
vibration and thus producing a tone. Piqu (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 tuners, cato dots, notes so marked to be played
that of a wooden pipe with small mov- in one bow (picchietta'to) Piquer, to . . .

able wooden boards, by adjusting which execute picchiettato.

the pipes can be tuned ("voiced").
Flue-pipes are open or covered Pirolino (It.) Button (on violin, etc.)
(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,
h pistons.
l6-foot tone, etc. (Compare Harmonic
stop.) A stopped pipe yields atone an Pitch. (Ger. Ton'hShe; Fr. hauteur du
octave lower than an open pipe of like ton; diapason^ The position of a
It.
length. {d) 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 pilch 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, I. For ordinary purposes the mus.
one holding the tuning-wire and the scale 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 OP THE OCTAVES IN ABSOLUTE PITCH.

Double contra-octave (32- Contra-octave (i6-foot First octave
foot octave, organ) Oct.) (Great octave)
(S-foot oct.)

Ca D, Ej Fj Gj Aj B^ C, D, E, F, G, A, Bi C D E F G A B
 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.)

ai bi d"

IP ^ ^-^ ^^=\t ===r^=S=^^= 1

154 PITCH-PIPEPLAISANTERIE,

In this Table each skip horizontally is Pi'va (It.) I. A bagpipe. 2. A piece

a quint-skip, and each skip vertically is imitative of bagpipe-music.
a tierce-skip the major triads are Pizzjca'to (It, "pinched".)
;
Plucked
c with the finger a direction, in music ;
grouped thus, -r -r and the minor
for bow-instr.s, to play the notes so
c g marked by plucking the strings. The
triads thus -r- succeeding direction coll 'area (with the
eb
bow) indicates the resumption of the
In just intonation the major scale would bow for playing. (Abbr. pizz.)
be represented thus :
Placidamen'te Tranquilly, smooth-
CD E F G A Be ly ;
(It.)
ixorapla'cido, placid, tranquil.
and its parallel minor scale thus
Pla'cito (It.) Pleasure. . .A be'ne placito,
CDEbFGAtjBc at (the performer's) pleasure means ;

that the tempo may be altered, graces

g The absolute pitch of a tone is
3.
or cadenzas added, or that certain
determined by the number of vibrations specified instr.s may be used or not, as
it makes per second, and is stated fancy may dictate.
as a vibration-number The standard .

French pitch, universally adopted in Plagal cadence, mode, see Cadence,

France in 1859, gives the tone a' 435
(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-
veniences resulting led to the establish-
ment, early in the 17th century, of a
mean pitch (a} averaging about 420 vi-
brations), which held its own for some
200 years this has been called the
; Handed down at the beginning by oral
classical pitch, it having obtained
throughout the era of classical compo-
sition. Afterthis, the growing tendency
to force the pitch upwards led to nu-
merous deliberations by
musicians ; the German
congress at
Stuttgart adopted the pitch a' 440
Modc.Plagal melody, one whose range
extends about a fourth below and a
fifth above its tonic or final. -Plagalh
opp. to A uthentic in all senses.
Plain, chant, Plain song. (Lat. can'-
tus pla'nus, cantus chora lis^ The
unisonous vocal music of the Christian
Church, probably dating from the fijst
centuries of the Christian era, the style
being still obligatory in the R. C. ritual.
tradition, it was first regulated by St.
Ambrose (see Anibrosian chant), and
later revised by St. Gregory (Gregorian
chant). The comparatively modern
scientists and name cantics planus distinguished this
style from that of the strictly rhythmical
= cantus mensura' bilis which originated
,

but the French pitch mentioned above early in the 12th century, after which
is, in point of fact, the only real stand- period plain chant began to be sung in
ard, and, since its formal adoption by notes of equal length in its earlier
;

the Vienna Congress in Nov., 1887, is form, however, the tone-values of plain
frequently termed the international chant were determined by rules very
j)itch. It is called lowpitch, as opposed similar to those for poetical metre.
to the high pitch {concert-pitch) in vogue Just as a poem consists of lines, the
till lately in concerts and operatic per- lines of feet, and the feet of 2 or more
formances. The so-C3i\tdphilosophical syllables, a melody was divided into so-
standard of pitch is obtained by taking, called distinctions consisting of a more
for Middle- C, the nearest power of 2, or less extended group of neumcs
giving 256 vibrations for ^', and nearly (notes), a distinction being in turn
427 for a' it has frequently served as
;
dividedintosingleneumes (single notes),
a basis in theoretical calculations. each neume, finally, representing one
Pitch-pipe. A
small metal or wooden or more to}ies. Thus a meftrical line
reed-pipe producing, when blown, one corresponded to a musical distinction,
or more tones of fixed pitch, according a metrical foot to a musical neume, and
to which an instr. may be tuned, or the a syllable to a lone. (Comp. Notation,
correct pitch ascertained for the per- 3-)
formance of a piece of music. Plainte (Fr.) A lament.
Pin
More. When/'zii! stands alone
(It.) Plaisanterie (Fr.) A divertissementioS.
as a tempo-mark, mosso is imt>lied. harpsichord or clavichord.
 ;

PLANCHETTE POLYPHONY. 155

Planchette. i. board studded withA Points (Fr.) Dotted.

pins or pegs, an essential part of the
Pointer (Fr.) i. To dot. 2. To ex-
mechanism of t\\e piano m/canique. 2, ecute staccato.
See Pianisia 2.
Poitrine (Fr.) Chest; voix de p., ch&st-
Plantation, In the organ, the' dispo- voice.
sition or arrangement on the soundboard
of the pipes composing a stop.
Polac'ca (It.) Polonaise. . .^//a /, in
the style of a polonaise.
Plaqu4 Struck at once
(Fr.) as un
accord plaqu^, a "solid " chord opp.
;

;
Polichinelle (Fr.) A grotesque clog-
dance also, the tune to which it is
;
to arp^gi, arpeggio'd, broken.
performed.
Plec'trnm (Lat; GV. plectron) small A Polka. (Bohemian pulka.) A lively
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 Ger. Polonci'se; It. po-
(Fr.
Plein-jeu(Fr.) i. A stop or combination ;

of stops bringing out the full power of

lac'ca.) A dance of
Polish origin, in 3-
the organ, harmonium, etc. 2. Same 4 time and moderate tempo, formerly in
animated processional form, but in the
as Fourniture,
modern bail-room merely a slow open-
Pli'ca (Lat.) One of the neumes, ing promenade, supplanting the old
Plus (Fr.) More. Entr/e. 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 j"f T T T
of the Alleluia (early Christian Church),
so called because taxing the singers' and by the close on the last beat
lungs ; a jubilation.
Pneumatic action. See Organ . . . Pneu- lifl-r 'A-
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 (It.; superl. pochis'simo; dimin.
[strings]".) An the shape of
instr. in

pochetti'no, pochefio; abbr. po' .")
\\Vi\e.. .Poco a poco, little by little,
.
A a bass viol, with movable fingerboard
and 10 gut strings played either with
;

gradually. . ..?(7iro allegro, rather fast;

a bow or by plucking with the fingers.
Inv. by Fr. Hillmer of Berlin, first half
poco largo, rather slow.
of 19th century. It never became pop-
Poggia'to (It.) Leaned or dwelt upon. ular.
Po'i (It.) Then, thereafter.
Polymor'phous. Having, or capable of
Point. I. See Notation, 3. 2. A dot. assumi|pg, many forms.../*, counter-
3. A
staccato-mark. 4. The attack point, a style of contrapuntal compo-
by, or entrance of, an instrumental or sition admitting of a manifold variation
vocal part bringing in a prominent of the theme (as in the fugue by inver-
motive or theme.
5. Head (of a bow). sion, augmentation, diminution, etc.)

Point (Fr.) A dot (^point d' augmentation). Polyphon'ic. i. Consisting of 2 or

. .Point d'arrSt, de repos, a hold (o). more independently treated parts ;

Point final, final pause Point . contrapuntal ;

concerted opp. to ho-
and harmonic.
. . . . ;

cforgue, (a) a hold {b) an organ-point ;

mophonic Capable 2.
(c) a solo cadenza or flourish Points . . . of producing 2 or more tones simulta-
dHachds, staccato-dots. .Point sur tHe, . neously, as the pianoforte, harp, or or-
dot above (or below) the head of a note. gan ; opp. to monophonous, and equiv-
alent topolyphonous.
Pointe (Fr.) I. Point or head (of a bow).
Toe organ-playing abbr. p;
2. (in Pol'yphony. In mus. composition, the
tp = talon pointe; Engl, h heel ;

i =^ combination in harmonious progression

toe, but compare Signs\o Vj). of 2 or more independent parts (as opp.
156 POMMER PRECENTOR.
to Homophony) 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 16-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'raer (Ger.) See Bombard.
Pos6ment (Fr.) Posato.
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, A\g-
xad&A. . .Pomposameii'te, in a broad Positif (Fr.), Positiv' (Ger.) A "posi-
and dignified style. tive " or stationary organ opp. to por-
;

Ponctuatiofl (Fr.) Phrasing. .Ponctuer, .

tatif. Also, the French term for choir-
to phrase. organ ; and (in German) a small partial
organ in front of the main instr. was.
Pondero'so Ponderous,
(It.) heavy, often called Rilckpositiv, because usual-
very strongly marked.
ly behind the organist.
Ponticel'lo (It.) i. The bridge of bow- Position. I. (Ger. La'ge; Fr. position;
instr.s. . . Sul p., near the bridge ; a di- It. posizio'ne.) The place of the left
rection to play near the bridge, the
hand on the fingerboard of the violin,
tones resulting having a more or less In the ist pos., the forefinger stops,
etc.
strident and metallic sound ; abbr. j.
the tone or semitone above the open
pont. ; opp. to sul tasio. 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 forpopular viously occupied by the 2nd, the 2nd
street-songs in Paris. pos. is reached and so on for each
;

Portamen'to equiv. to par tar' la

(It.;
succeeding position. There are II
positions in all, but only 7 are commonly
voce, to carry the voice see Port de
votjc.) A
smooth gliding from one
;

employed. The half-position is the
tone to another an effect attained in;
same as the ist pos., except that in it
great perfection on bow-instr.s, the the 2nd, 3rd, and 4th fingers occupy
melody-strings of the zither, and with the places taken, in the Ist pos., by the
the human voice. It differs from the /e- 1st, 2nd, and 3rd fingers. 2. The
gatonol only in its more deliberate execu- arrangement of notes in a chord with
tion, but also in the actual (though very reference to the lowest part in the ist, ;

rapid and slurring) sounding or passing- or fundamental, position the lowest

through the intermediate tones, with- part takes the root in the 2nd position
;

out a noticeable break, -

J^ '
it takes the third, etc.
open position, see Harmony.
3.
Close and,
or a pause on any tone. '

It may be written thus :

Possiljile (It.) Possible ;
pianissimo-
possibile, as soft as possible ; il piu
Portan'do (It., "carrying".) Usually
presto possibile, as rapid as possible.
in the phrase p. la voce, carr3ang the
voice, i. c. portamento. Post-horn. The straight horn used by
* postmen. See Appendix.
Portata (It.) Staff.
Portatif (Fr.), Portativ' (Ger.) Porta- Post'lude. (Lat. postlu'dium; Ger..
tive organ, i. e. a small organ conven-
Nachspiel; Fr. cldture.) A concluding-
ient of transportation opp. to positif. voluntary on the organ, closing a.
;

church-service.
Port de voix (Fr.) i. Portamento. 2.
Pot-pourri (Fr.) A
musical medley, alf
See Accent, Chute.
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. Pouss (Fr., " pushed ".) Up-bow.
Portu'nen (Ger.) Bourdon (org.) Prach'tig (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

Prall'triller (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.

Pream'bulum (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,

Prestez'za, con (It.) With rapidity (of
whence the terms cantoris (i. e. the pre-
movement or execution).
centor's) and decani (the Dean's) side.
Prestissimamen'te, Prestis'simo (It.)
Precipitan'do, Precipitatamen'te (It.)
Very rapidly, as fast as possible.
Precipitately calls for a rapid and bold
;

execution of the figure or passage so Pres'to (It.) I. Fast, rapid; indicates

marked precipita' to (also prccipito'so), a degree of speed above allegro and \>e~
;

(^T. pr^cipiU), precipitate. .P. assa'i, very rapid.

\ovi prestissimo .

.

Precisio'ne, con (It.) With precision.

2. A rapid movement,
most frequently
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
for certain melodious salon-pieces
;,
title
to prick meaning, to write music.
of a more or less devotional character.
Hence, prick-song, (a) written music,,
Prel'ude. (Lat. prcBlu'dium; It. prelu'- opp. to extemporized (b) the counter-
dio; Fr. prelude; Ger. Vor'spiel.) A point to a cantus Jiriiius, the point
;

piece of music introductory or prepara- against points

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-
ture.)
The short piano-pieces by Cho- and 4th degrees).
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 2nd of the canon-

to the church-service is commonly called ical hours.

a voluntary. Prim'geiger (Ger.) Leader (ist violin).
Premier (Fr., fem. premiere.') First. .

Pri'mo,-a (It.) First.. .Prima buffa,

Premier dessus, first soprano . . Pre-
.
the leading female singer in comic
mihre fois, first time. .A premiere vue,
.
opera ..Prima don'na (" first lady "),
at first s\%ht ... Premier e (noun), the
the leafling soprano singer in the opera.
first production of a dramatic work. . . Prima vi'sta, at first sight . . . Prima
Preparation. (Ger. Vor'bereitung; Fr. vol'la, the first time vabbr. Ima volta,
priparation; It. preparazio' ne .) The or simply I, or i.); indicates that the
/. 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
forming the dissonance.
part, of the tone the repeat whereas, on repeating, those
;

(Comp. Percussion, Counterpoint, and marked secun'da volta (abbr. IIda volta.
Substitution.) or simply II, or 2.) are to be performed
Prepare, i. See Preparation. 2. To instead.
Tempo prima, at the first or
introduce by a grace-note or figure e. ;
former rate of speed Primo uo'mo, . . .

the first male soprano (castra'to), or

g. a prepared trill is one prefaced by a
turn or other grace. first tenor. (Obsolete in both senses.)

Pre'sa (It.) A
sign marking the succes-
Pri'mo (It., noun.) A first or leading
part, as in a duet.
sive entrance of the parts of a canon,
having various forms ('S' iS= -)- sjj etc.) Prira'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 tlie reed-organ for hold-
manual, and 8-foot pitch on the pedal. ing down single keys after the fingers
(In Ger., Frinzipal' is the open dia- are raised. 2. Sustaining-pedal.
pason.) 2. Theme of a fugue (obso- Promptement (Fr.), Prontamen'te
lete).
(It.) Promptly, swiftly.
Principal chords. The basic chords of
Pron'to,-a (It.) Prompt, speedy.
a key, i. e. the triads on the tonic,
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. propor'tio.) See
Principa'le (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. 3. Sometimes
found, in old scores, for trovtba (trum-
Propri'etas (Lat.) A
term applied to a
ligature when the first note was a breve.
pet).
It was indicated, when the 2nd note
Princ"pal-work. See Stop (nouii) 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, ist first note when the 2nd was the higher,
;

movem.: "piu marcato del principio,"
more marked than the first time.]
Prise du sujet
subject.
by the absence of the tail. Oppo'sitii
proprictas occurred when the first 2
(Fr.) Entrance of the notes of the ligature were semibreves,
indicated by an ascending tail to the
left of the first note. Si'ne proprietas,
. .

Pro'be (Ger.) Rehearsal. . . General'probe

same as Impropri'etas.
full rehearsal.
Prose. (Lat. pro'sa.) See Sequence.
Proceed. (Fr. proc^der.) To progress.
Proslambanom'enos (Gk.) See Greek
Pro'gram. (Ger. Programvi'; Yr. pro-
music, p. 8g.
gramme; program'ma.)
It. list of A
compositions to be performed at a con- Prosody. (Lat. and It. prosodi'a; Fr.
cert... Program-micsic{0&:.Programm'- and Ger. Prosodie'.) Metrics, or the
musik), a term of modern invention, science of metre specifically, the
;

applied to a class of instrumental com- science of the quantity of syllables, and

positions intended to represent distinct of accentuation, as affecting versifica-
phases of emotion, or actual scenes or tion.
events ;sometimes made synonymous Prospekt' (Ger.) The front of an organ.
with " descriptive music ". The "pro- . .Prospcki'pfeifen, front or display-
"
gram of such a composition may be pipes also Frontpfeifen.
;

merely its title or occasional interpo-

;
Pro'va (It.) Rehearsal.
lated remarks or a concise summary
Psalm-melodicon. A wood-wind
;

instr.
of its poetic subject-matter, appended
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; t"r. produced at once. Inv. by Weinrich of
procMer^ 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 a.'oa'Aie.x. .Progression (Ger. Fort'-
.

Psal'tery. i^At. psalte'rium; It. salte'-

schreitung ; Fr. progres^ marche; It.
rio; Yx, psalt^rion; G&r. PsaTier.) An
progressio'ne), the advance from one
instr. of very ancient origin, and in
tone to another, or from one chord to
use down to the 17th century, known to
another the former is melodic, the
;
the Hebrews as the kinnor, to the
latter harmonic, progression.
Germans as the Rotta; a kind of harp-
Progressive stop. A compound organ- zither, with a varying number of strings
stop 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
Prolation. {Lsit.prola'tio.) See IVota- a soundboard, as in the dulcimer,
iion, 3. Psaume (Fr.) A psalm.
 .

PSAUTIER QUATUOR. 159

Psautier (Fr.) Psalter. i. c. the time-value of a syllable. In

Pul'satile instruments. Instr.s of per- English versification this is apt to be
cussion (Lat. pulsatilia). disregarded, accented and unaccented
syllables taking the place of long and
Pulse. A beat or accent.
short ones.
Punc'tus, or Punc'tura (Lat.) i. A dot.
2, A note. ..Functus contra functum^
Quart.
Quart (Fr.)
The interval of a fourth.
Quarter... 2. de soupir, a.
counterpoint.
l6th-rest.
Punkt (Ger.) A dot. . .Punktiertf, dot-
ted.
Quar'ta (Lat. and It.) The interval of
a fourth. . . Q.modi (toni), the subdom-
Pun'ta (It.) Point (of tiie bow).
inant.
Pun'to (It.) Jio\....Piinta'to, dotted;
Quar'te (Ger. and Fr.) The interval of
staccato'd,
a fourth... C. du ton (Fr.) 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 (It., pi.) Boys, choir-boys. Quarter-note. (Ger. Vier'telnote, Vier'-
Pyramidon. An
organ-stop having lel; Fr. noire; It. ne'ra.) A crotchet
short covered pyramidal pipes more (^). (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 (J?. or
^J

Pyr'rhic, Pyrrhich'ius. A metrical V). (Also called quarter-note rest, and

foot consisting of 2 short syllables crotchet-rest^
(--) Quartet'. (Ger. Quartett' ; Fr. quatuor;
Pyth'ian metre, verse. The dactylic It.quartet" to.) I. concerted instru- A
(or spondaic) hexameter ( 1^ mental composition for 4 performers, in
|__|__1__1 ).
symphonic form. 2.
comp. or move- A
ment, either vocal or instrumental, in 4
parts.
Quart'fagott (Ger.) See Bassoon...
Quarfflote, see Flo te. Quart'geige, see . .

Quadrat' (Ger.) A
natural (tl). (Engl.) Violin Quartsext' akkord, chord of
. . .

In medieval music, a breve (Lat. the fourth and sixth (| chord).

quadra' turn).
Quarto d'aspetto (It.) A i6th-rest.
Quadrici'nium (Lat.) A composition in A quadruplet.
Quarto'le (Ger.)
4 parts.
square Qua'si (Lat. and
It.) As as it were
Quadrille. (It. qttadri'glia.) A
if, ;

like ; nearly, approaching.E. g.. An-

dance consisting of 5 (or 6) figures
dante quasi allegretto, andante approach-
named le Fanialon, V Etd, la Poule, la
ing allegretto.
Pastourelle, {la Trenise), and la Finale.
The time alternates between 3-8 (6-8) Qua'ter. See Bis 3.

and 2-4. Quatorzifeme (Fr.) The interval of a

Quadruple counterpoint. See Counter- fourteenth.
point. . Q. croche (Fr.), a 64th-note.
.
.
Quatre (Fr.) Four 4 quatre mains,
Q. rhythm or time, that characterized for 4 hands.
by 4 beats to the measure. Quat'rible. In medieval music, a coun-
Quad'ruplet. A group of 4 equal notes terpoint progressing in parallel 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- -- gressed in parallel fifths.
gular rhythm; written 4* ' A composition in
Quatrici'niura (Lat.)
Quality of tone. (Ger. Ton'farbe; Fr.
4 parts.
timbre; It. timbro.) That characteris- A 64th-note.
Quattricro'raa (It.)
tic peculiarity of any vocal or instru-
mental tone which distinguishes it from Quat'tro (It.) Four.. .A quattro mani,
the tone of any other class of voices or for 4 hands.
instr.s. Quatuor (Fr.) A quartet, vocal or instru-
Quantity. In metrics, prosodic length, mental.
i6o QUAVERQUODLIBET.
Quaver. An eighth-note. Quinter (Fr.) To quinible.
Quer'flote (Ger.) Orchestral flute... Quin'terne. See Lute. A species of
Quer'pfeife a. iiie. .Quef'stand, false
, . lute or guitar extremely popular in Italy
or inharmonic relation. .Quer'strich, some 200 years ago, with a body resem-
the thick stroke substituted for the bling a violin and from 3 to 5 pairs of
hooks of hooked notes when grouped. gut strings, to which were sometimes
Queue (Fr., " tail ".) i. Stem of a note.
added 2 wire-covered single strings ;

2. Tailpiece . . . Piano a queue see ^

plucked with the fingers. (It. quinter'na
or citer'na.)
Piano (Fr.)
Quickstep. Quint'fagott (Ger.) See Bassoon...
See March.
Quint'fuge, a fugue at the fifth.
Quie'to (It.) Calm, quiet ; opp. -to agi-
ta'to.
Quintie'ren (Ger.) To overblow by a
twelfth, like the clarinet and other instr.s
Quinde'ciraa (It.) A fifteenth (either with single reed.
the interval or the organ-stop). .Alia .

q. (abbr. 75'"), two octaves higher (or

Quintoier (Fr.) i. To quinible (also
lower).
quintoyer). 2. See Quintieren.

Quinde'zime (Ger.) The interval of a Quinto'le (Ger.) Quintuplet.

fifteenth. Quinton (Fr.) i. The 5-stringed treble
Quin'ible. viol, or (ace. to Rousseau) the tenor
See Quairible.
Quin'quegrade. Same as Pentatonic.
viol. 2. See Saxhorn.

Quint'stimme (Ger.) A
quint (organ-
Quint. I. The interval of a fifth. 2. stop) Quint' tone,
. . . quint-tones (see
A S-j-^oot organ-stop, sounding a fifth Pitch, 2).
liigher than the normal 8-foot pitch.
Quintuor (Fr.) A quintet.
;3. The ^-string of the violin. 4. See Quintuple rhythm, time. That char-
Violin. . . Quini-stride, the (a) harmonic
or {b) melodic progression of a fifth acterized by 5 beats to the measure.
{a) (i) Quin'tuplet. A group of 5 equal notes
to be executed in the ti me of 4 of the
same kind in the regu- J'^^2~ir^
lar rhythm ; written :
5
Quin'ta (Lat. and It.) The interval of a Quintus (Lat.) "The
fifth" part, in
fifth. . . Q. de'cima, the int. of a fifteenth. compositions of the 1 6th century writ-
..Quinta fal'sa ("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
in the hexachordum durum and fa in voices, and even wander from one to
the hex. naturale : the modern dimin- the other, whence the name quintus
ished fifth. Q. mo'di {io'ni)., the dom-
. .
vagans, "wandering fifth "...Also
inant (comp. Quintus). . .Alia quinta, Quinta (vox).
at or in the fifth.
Quintvio'le (Ger.) i. See Quinton i.
Quint'absatz (Ger.) A half-close, in 2. In the organ, a mutation-stop (see
the midst of a piece, on the dominant Gambenstimrne).
same as Halbkadenz.
Quinzifeme (Fr.) The interval of a fifth.
Quintaton' (Ger.) In the organ, a cov-
Quire. Obsolete for Choir. . . Quirister,
ered flue-stop of 8, 16, or 32-foot pitch.
ditto for Chorister.
Quinte (Fr.) See i and 2 below. .
Quod'libet (Lat., "what you please";
Quintes cackles, covered fifths.
as many as you
'
also Quoflibet, '

Quin'te (Ger.) I. The interval of a fifth. please'*; It. messan'za, misiichan'za,

2. See Quint 2. 3. The .S-string of
the violin (Fr. chanterelle'). Quin ten-
folgen, -parallen, consecutive fifths.
Quintenrein, an epithet applied to
strings of bow-instr.s, signifying that
they produce ' true fifths " to the neigh-
'
boring strings throughout their length.
. Quin' tenzirkel, circle of fifths.
. even now.
a mixture.) A
humorous combination
. . of various airs, performed either si-
. multaneously or one after the other; the
latter mode differing from the pot-pourri
in lacking the connecting interludes
a favorite device in the i6th and r7th
centuries, and occasionally employed
 . .

R RECHANGE. I5l

reigen, ICuh'reihen.) One of the airs,

or variations on an original air, sung,
R. Abbr. for right (Ger. rec/ite); r. k.= or played on the Alpine horn, in the
right hand (rechte Hand) ; for ripieno; Swiss Alps as a call to the cattle. It
Jk stands in Catholic church-music for is characterized by oft-repeated figures,
Responsorium ; RG, iaxResp. Graduate; rising and falling broken chords, and
R, in Fr. organ-music, stands for (when sung) by the frequent employ-
clavier de rkit (swell-manual). ment of the Jodler.
Rab'bia, con (It.) With passion, frenzy; Rapidamen'te (It.) Rapidly. ..ffa/- .

furiously. dita', con, with rapidity Ra'pido,

. . .

Rackett' also Ranket.)

(Ger.; i. An rapid.
obs. instr. of the bombard
wood-wind Rapsodie (Fr.) i. Rhapsody (see
class, with the tube bent many times' Rhapsodic). 2. A
composition of
and, in consequence, a very weak tone; bizarre and desultory form, lacking
improved byChr. Denner, who reduced unity and consistency.
thenumber of bends and made it more
like the bassoon, whence the later
Rasch (Ger.) Fast, rapid, swift. .

name Rackett {Fagoif, Noch rascher, still faster .So rasch . .

Stock'fagott).
2. An organ-stop with a tone re-
wie mo'glich, as fast as possible.
sembling the above. Rasga'do (Span., "a rasping"). In
guitar-playing, the sweeping the strings
Racier (Fr.) To scrape, saw; racleur,
with the thumb ; hence, the arpeggio
a bungling fiddler.
effect so obtained.
Raddolcen'do, Raddolcen'te (It.)
Ras'tral, Ras'trum. (Ger. Rastral'.)
Growing calmer and gentler. .Raddol-
cia'to, gentler, calmer.
.

1.
Music-pen 2. 2. A 5-pointed claw
or graver used by music-engravers for
Raddoppiamen''to (It.) i. Doubling scoring the lines of the staff in the
chord-notes.
Manifolding copies of
2. 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 Rauh (Ger.) i. Harsh(ly), rough(ly).
arrangement, spreading out to the rear 2. Hoarse(ly).
from in front, and concave (i. e. some-
what higher at the sides). Rau'scher (Ger.) A rapidly repeated
on the pianoforte. note, as
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 5j and 4-foot pitch, or of 2f
Ra''dlmaschine (Ger.) Piston-mechan- and 2-foot pitch, without a break.
ism. (Also Rausch'Jldte, -pfeife, -quarte,
Rallentamen'to slackening in
(It.) A -werk.)
tempo Rallentan'do, gradually slack-
. . . Rawivan'do il tempo (It.) Accelerat-
ening the tempo, growing slower and ing the tempo.
slower ; equiv. to ritardando. (Abbr. Ray. For Re, in the Tonic Sol-fa sys-
rail.) Also
rallenta' to .Rallenta're, . .
tem.
to grow slower
; senza rallentare, with-
Re. Second of the Aretinian syllables,
out slackening the pace.
and name of the note I) in Italy, etc.
Rang (Fr.) Rank. In French, Rd.
Rank. A row
of organ-pipes. mix- A Re'bec(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 ribe'ba or rib/ca, 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
;

the tunes of various country-dances, yielded a powerful, strident tone.

and also to reels (e. g. the Cameronian Rechange (Fr. , '
exchange"). The corps
'

Rant). or tons de rechange are the crooks of

Ranz des vaches (Fr.; Ger. Kuh'- the horn, etc.
l62 RECHT REED-ORGAN.
Recht (Ger.) Right ; rechte Hand, right Reddi'ta, Redi'ta (It.) A repeat.
hand. Redoubled interval. A compound in-

R^cit (Fr.) A
vocal or instrumental
I. terval.
solo part.
2. The leading part in a Red'owa. A derived from
dance
piece of concerted music. Clavier de Bohemia, and, Mazurka, though
like the
rjcit, 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 () 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 a. pfle .-recital^, or (b) all pieces R6duire (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
instr.s, while preserving its form as far
Rcitant,-e (Fr.) One who sings or
as possible.
plays a solo.
Redundant. Same as Auginented (of
Recit'ative. recitati'vo ; Fr. rhi-
(It. chords and intervals).
tatif ; Ger. Recitatii/) style of de- A Reed. (Ger. Roht'blatt, Zung'e ; Fr.
clamatory singing, dating from 1600
(the earliest operas), and springing
anche ; It. an'cia, lin'gua.) thin A
strip of cane, wood, or metal, so ad-
from the efforts to emancipate dramatic
justed before an aperture as nearly to
song from the contrapuntal forms then
close it, f.xed 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-
municates either to an enclosed column
ured bass {reciiativo sei/co) this broad- ;
of air (organ-pipe, oboe, etc.), or direct-
ened into the reciiativo acconipagna'to
ly to the free atmosphere, thus produc-
(or obbli^a'to, stromenta'to ; Fr. equiv.
ing a musical tone. There are 2 classes
obligi, accompagni), 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.
edges ; and (2) Beating (or striking,
Unless marked reciiativo a tempo, the
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
Wagner's rec. it is borne down by the air-current.

is found in the Ario'so.
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
soon). (Also comp. Pipe 2, b. Reed-
vocal part (the ancient cadences, etc.,
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
Reciter (Fr.) To sing or play a rMt. 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
present reed-organs have free reeds
Recorder. An obsolete species of flageo-
there are 2 principal classes (l) The
;

:
let,having 7 finger-holes on the upper
JIarmonium the bellows of which forces
,

side and one below, with an extra hole

compressed wind outwards through the
near the mouthpiece covered with a thin
reeds and (2) the American organ, in
;
membrane (goldbeaters'-skin), and pro-
which an exhaust or suction-bellows
bably influencing the qual-
Compass
z|=up- draws the air in through them. Until the
ity of the tone.
about 2 octaves, from /' f *=:=ward.

Recte et retro (Lat,
backwards").
a canon cancrizans.
Rectus (Lat.) See Motus.
"forwards and
invention of the Vocation, a variety of
reed-organ having compression-bellows
like those of the harmonium, the tone of
Direction for performing the second class was generally superior
to that of the first.
The wind-supply is
ordinarily obtained by the aid of a pair of
 ;

REED-PIPE RELISH. 163

treadles operated by the performer. stange, stop-lever. Regis' 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 tonende Regis- ;

and slider-mechanism. The timbre of ter (pi.), speaking stops.

the various orchestral instr.s is now
very successfully imitated. Common Registre (Fr.) i. A stop-knob. 2.
Register 3.
mechanical devices are the percussion-
stop, expression-stop (harmonium), knee-
Registration, i. The art of effectively
swell (Amer. org.), tremulant, double-
employing and combining the various
touche, and prolongement. The first stops of the organ. 2. The combina-
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 ceoline, aolodikon, phys- rung, registration.
harmonica, etc. the Harmonium, the Rfegle (Fr.) Rule.
;

first instr. of the class having several

Rein (Ger.) Perfect (of intervals) just, ;
stops, was patented in Paris by A. De- 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-Tvork. See Stop (noun) 2. Rei'tertrompete (Ger.) Clarion, clarina,

Reel. A lively dance, probably of Celtic
origin, still in vogue in Scotland and
Ireland, and usually in 4-4 (sometimes
in 64) time.with reprises of 8 measures;
danced by 2 couples-
Refrain'. A burden.
Re'gal. (Ger. Regal'^ i. An obsolete
kind of portable organ with one or two
sets of reed-pipes (beating reeds),
keyboard for the right hand, and a bel-
lows worked by the left. According to
the number of pipes sounded by each
digital, it was called a single or double
Relative key.
regal. The old English name was
regall, or a pair of regalls. (See Har-
monium^ A Bibelregal (Ger.) was one
folding up like a large bible a bible-
clarino. (Medieval trumpet, with
straight tube about 30 inches long.)
Rela'tio non harmo'nica (Lat.) In-
harmonic relation.
Relation. (Ger. Verwand'schaft; Fr.
relation; It. relazio'ne.) The degree
of affinity between keys, chords, and
tones. The simplest explanation of re-
a lationship is that promulgated by the
neo-harmonists (comp. Rhone, 4).
Also Relationship, Tone-relationship
(Ger. Ton' verwandsc haft).
(Ger. Parallel' tonart;
Fr. mode relatif; It. tono relati'vo.) A
minor key is relative to that major key,
the tonic of which lies a minor third
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-
Regier'-werk (Ger.) In the organ, the tional feeling.
mechanism of the keys and draw-stops, Relish. One of the " shaked graces " of
taken collectively. the old harpsichord-music in 2 forms, ;

Reg'ister. i.{Ger. Regis' ter.) set of A namely, the Single Relish :

pipes or reeds controlled by one draw- played

stop ; in this sense synonymous with
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.
Regis'ter (Ger.) Register
Regis' terknopf, stop-knob .
i
. .
and
Regis' ter-
3.
fffi^tSlr ^^
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. chef du
Remo'tus (Lat.) Remote, far apart ; as chant. )
harmonia remota, open harmony. Repetizio'ne (It.) Repetition.
Remplissage (Fr., "filling"). The Re'plica (It.) A repea.t. .Replica' to, .

parties de are the inner parts.

r. The (a) repeated ;
(i) doubled.
word r. is also used as a term of re- Rep'licate. A tone one or more octaves
proach for superfluous or cumbrous
parts in the works of novices "pad- above or below a given tone.

ding " also, for non-concerted parts.

;
Replik' (Ger.) A complementary inter-
val.
Rendering. Artistic' interpretation or R^plique (Fr.) i. A
replicate (unused).
reproduction.
" rendition ".)
(Preferable to the term 2. Answer (usually reponse). 3. A
Rentr^e
complementary interval 4. cue. .
A
(Fr.) Reentrance of a part or Reply. Answer.
theme after a rest or pause.
R^pons (Fr.) A response.
Renverser (Fr.) To invert renversi; ;

inverted renversemeni, inversion.

R6ponse (Fr.) An answer.
;

Report. Same as Ans7ver.

Renvoi (Fr.) The sign (e. g. -J^.) direct-

ing the performer to return to and re-

Repos (Fr.) The end of a phrase,
marked by a full cadence.
peat from a similar sign.
Repeat. (Ger. Wiederho' lungszeichen;
Reprise (Fr.) i. repeat. A
2. The re-
Fr. b&ton de reprise; It. re'plica.) The
vival of a work.
3. Break 3. 4. The
repetition of the first theme, in a short

sign movement, after an episode. 5. Same
as Rentrie.

the signifying that the division be-
first
tween the dotted double-bars is to be Re'quiem. The first word in the Mass
repeated the second and third, that
;
for the Dead, which begins with the
the preceding and also the following antiphon Requiem ^ternam dona eis,
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 ire, Requiem (3) Domine Jesu ;

Repeating action. See Repetition

Christe (4) Sanctus, Benedictus
; (5) ;
2.
Agnus Dei, Lux seterna.
Repercussion. (Lat. repercus'sio.) i.
The repetition of a tone or chord. 2. Resin. See Rosin.
Resolution.
The regular reentrance, in a fugue, of (Ger. Auflosung; Fr.
the subject and answer after the epi- rholution; It. risoluzio'ne.) The pro-
sodes immediately following the expo- gression of a dissonance, whether a
sition.
3. In Gregorian music, the
dominant of the mode, as being the
simple interval or a chord, to a conso-
nance.
tone most reiterated. Resoluzio'ne, con (It.) See Risoluto.
Repetie'ren (Ger.) i. To break (see Res'onance-box. A hollow resonant
Break 3) Rine repetie'rende Stim'me,
. . . body, like that of a violin or zither.
a mixture-stop with a break. 2. To re-
Resbnanz'boden Soundboard or
(Ger.)
peat.
belly. ..Resonanz' hasten, 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.
2. Repeating action, one in which Respond. See Responsory 3.
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
Repetition (Fr.) Repetition ; rehearsal. or R. C. Church. 2.
See Responsory.
Repetition' (Ger.) Repetition i and 2 ;. 3. Same as Answer.
also, a Break 3 . . . Repetitions' mechanik, Respon'sory. (Lat. responso'rium.) i.
repeating action (pfte.) That psalm, or part of one, sung be-
 :: : :

RESSORT RHYTHM. 165

The Grad-
tween the missal lessons. 2. Rest. Pau'sc; I'r. silence; It.
(Ger.

ual. A Respond3. a part of a
psalm (formerly an entire psalm) sung
; i. c. pa'usa.') A pause or interval of
(l)
silence between two tones hence (2) ;

between the lessons

hours.
at the canonical a sign indicating such a pause. The
rests equivalent in time-value to the
Ressort (Fr.) Bass-bar. several notes are as follows

6.

Time-value:
Rests:
-P-or-^^ ort-
^^
ENGLISH. GERMAN. FRENCH. ITALIAN.
1. 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 {fir Mezzo-quarto),
5. i6tn-rest. Sechzehntelpause. Quart de soupir. semicroma {or Respiro).
6. 32nd-rest. Zweiunddreissigstelp. Demi-quart de s. biscroma.
7. 64th-rest. Vierundsechzigstelp. Seizieme de s. semibiscroma.

. . .
~ equal in time-value
Breve- '.
Reveille (Engl, and Ger.; from Fr. ri-
rest, a rest E to I breve (
2 semibreves or whole notes (f^~^-
), or ^ veil.) A military signal
Reverie. An instrumental comp. of a
for rising.

.Large-rest^ Long-rest see Notation^

. ^ dreamy cast, without characteristic form.
3, p. I'ii. .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
the time-signature the 2-measure rest ;
Rhapsodie (Fr.) In ancient Greece,
rhapsodies were fragments from the
is then writ- m - the 3-measure
rest thus: great epics, sung by the rhapsodes to
ten thus '

the cithara. In modern music, the

M _ : the 4-measure -
'
etc.
rhapsodie is generally an instrumental
rest thus: '
But, '

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 ;

ception is Brahms' Op. 53. (Also Rhap-

is usually employed, with a numeral above
number of measures rested:
sody^
to show the
Rhythm. (Ger. Rhyth'mus; Fr. rythme;
It. rit'mo.) I. The measured move-
etc.
ment of similar tone-groups i. c. 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. ARhythm is, therefore, a tone-
gression, same as Jietardation 2. group serving as a pattern for succeed-
ing groups identical with it as regards
Retardation. holding-back, decreas- A 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
Retrograde. (Lat. retrogra' dus ; It.
series of pulsations ; take, for instance,
retrogra'do). See Imitation, the castanet-rhythm of 3" Spanish na-
Ret'to (It.) Direct, straight. See Moto. tional dances

(I) El
Vito:
 166 RIBS RIPRESA.

(2) Fandango;
r ~r r-Hr r z !

(3) Bolero:;
r:^3j::^.jLj-
> L_J L-J I' > '
|_J I I
k k T'
\ The vertical bars divide the measures; origin, generally in 4-4 time (sometimes
the slurs connect notes forming one 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 arrange- with the succeeding division.
ment ; the latter may be contained (l) Ri'gO (It.) The staff. (Also banda,
within a measure, but at (2) embraces portata, sistema, tirata, or verto.)
2 measures, and at (3) begins before the
Rigo're Rigor, strictness ... Co
bar.
Time, on the other hand, is the
r.,
(It.)
di tempo, in strict time. (Also
al r.
division of each measure into equal
rigoro'so^
fractional parts of a whole note, corre-
sponding (at least in the simple times) Rilascian'do, Rilascian'te (It.) Ral-
to the same number of regular beats to lentando.
a measure ; with which regular beats Rimetten'do (It., abbr. rimelt.) Hold-
the pulsations of the rhjrthm are by no ing back, retarding (the tempo).
means required to coincide. It must Rinforza're (It.) To reinforce (by ad-
be added, however, that the above defi- ditional stress); to emphasize Rin-
nitions are not universally accepted, forzamento, reinforcement rinfor- ;

and that great confusion prevails in this zan'do or rinforza'to, 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.)j rinfor'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 of mo-
Ripercussio'ne (It.) Repercussion.
tives, them.es, phrases, passages, sections, Ripetizio'ne (It.) Repetition.
etc. (Comp. Accent 2.) Ripie'nist. (It. ripieni'sta.) A musician
Ribs. (Ger. Zar'gen ; Fr. pelisses ; It. playing a ripieno part.
fa'scie.') The curved sides of the violin Ripieno (It. ; lit. " full, filling up ; sup-

i
and similar instr.s, connecting belly plementary.") I. A
ripieno part in in-
and back. strumental music is one reinforcing the
leading orchestral parts by doubling
Ribattu'ta (It.) A device for begin- 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. obbligato ; such parts are termed
Ricerca're, Ricerca'ta Original-
(It.) i. ripie'ni (noun).
2. In scores, ripienois
ly vocal, and later also instrumental, a direction calling for the entrance of the
compositions of the 16th and 17th cen- full string-band (or, in military music,
turies, in fugal form more or less high- 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'stimraen (Ger.) Ripieni.
I^ugue.
Ripiglia're (It.) To resume; ripi-
Riddle-canon. See Canon, enigmatical. glian'do, resuming.
Ridot'to (It.) I. Reduced (see .ff /</>?). 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 .jy.
 ; ;

RISE ROMANCE. 167

Rise. Same as Plain-beat. latter is applied specifically to the reeds

of the oboe and bassoon (dop'peltes
Risenti'to (It.) Energetic, vigorous ;
Rohrblatt), and of the clarinet {ein'-
expressive.
faches Rohrblatt). Zung'e is the usual
Risoluzio'ne Energy, decision.
(It.) I. term for Reed. .Rohr'flote {Vr.Jltite A
2. A resolution.
Risolu'lo, energetic,
. .
.

chemin/e ; Engl, reed-flute), a half-

decided, strongly maxV^A. . .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

pitch, it is usually called Rohr'schelle.
Riss in der Stimme (Ger., "crack in
The Dop'pelrohrflote is one with double
the voice".) A
break (when the pas- mouth, the Rohr'quinte a reed-flute of
sage from one register to another cannot 2%-lo6t pitch. The English clarionet-
be smoothly effected).
flute resembles the Rohrquinte . Rohr- . .

Ristret'to (It.) A stretto. werk, reed-work.

2. Tube (of awind-

Risveglia'to (It.) Lively, animated. instr.) [only Rohr].

Ritardan'do (It.) Growing slower and Roll. I. (Ger. Wir'bel sr.roulement

slower (abbr. ritard., rit.) Also riiar- It. A tremolo or trill on the
rollo.)
da'to, . .Ritat'do, retardation. drum, produced (a) on the kettledrum
Ritenen'do, Ritenen'te (It.) Same as by rapid alternate single strokes (b) on ;

Rallentando. the side-drum, by striking alternately 2

strokes with the left hand and 2 with
Ritenu'to (It.) Properly, held back, in the right. tr or -~~- at 0. or J^
slower tempo but often used incor-
The sign 5~

;

rectly for rallentando. Abbr. riten.,

rit. (See Tempo-marks.)
Rit'mo (It.) Rhythm... i?. (^8 due (tre) ..Longroll, the prolonged and reiterated
battu'te [=
2-measure (3-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
be considered as forming a great mea-
ing, a rapid arpeggio.
3. On the tam-
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 Rol'le (Ger.) A succession of rapid un-
2.]
dulatory (ascending and descending)
Ritornel'lo (It.) i. In accompanied 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) Rol'lo (It.) Roll I.
or, a lutti in a concert-piece. Also
Roller. I. The cylinder or barrel of a
ritornelle (Fr. ritournelle). 2. A re-
music-box, or of a carillon. 2. A
peat.
3. The burden of a song.
roller-board a wooden bar resting on
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 . . .

action, the mechanism belonging to the

RivoKtO (It.) Inversion Rivolta'to,
roller-boards of an organ.
inverted.
Robu'sto (It.) Firm and bold... i?oi5- Romance. (It. roman'za; Ger. Ro-
man'ze.) Originally, aballad, orpopu-
siamen'te, firmly and boldly.
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 modern times as
Roger de Coverly. See Sir Roger. the title of epico-lyrical songs, and, by
Rohr, Rohr'blatt (Ger.) i. Reed ; the further transference, of short instru-
I68 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
(see Ballade).
The French romance is old French poetical form of the ron-
a simple love-ditty expressive of tender deau. While in the earlier rondos the
melancholy Romances sans Paroles
; digressions from the ist theme were of
are "Songs without Words." an irregular and desultory character, the
Romane'sca (It.) The Italian form of episodes of the modern form assume
the Galliard, -so called because coming the shape of well-defined contrasting
from Rome. themes, somewhat in the following order:
I-II (dominant)-I-III-I-II (tonic)-Co-
Romantic. The opposite of classic
da. (See Form.)
(which denotes an accepted and com-
prehended type, in which form and Root. The lowest note of a chord in the
here g^ is the-
spirit blend to form an harmonious fundamental
root of the triad
whole). Romantic was an epithet orig- position; e.g.
g'-O^-d-K
inally derived from Romance poems of
the early middle ages, and applied to Rosa'lia (It.) A melodic form consist-
very various products of a lively, ing of the repetition of a phrase or
gloomy, or heated imagination down to figure several times, each time trans-
the German, revival of Romantic litera- posed one degree higher, or simply (as;
ture during the i8th century. All late more loosely interpreted) on various de-
romantic poems having something of grees. (Ger. Rosa' He ; also Schu'ster-
exalted mysticism, visionary enthusi- Jleck, and Vet'ter Mi'chel.)
asm, or strong subjective and senti- Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa.y
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,
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 expressing emotion in a style Rosin. (Ger. Kolophon' ; Fr. colophane
;
and with means differing from those It. colofo'nia.) The residue of turpen-
employed by their predecessors. Thus, tine, after distillation to obtain 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
Ro'ta. I. A round, rondeau, or piece of
brought to light. Hence it comes, too,
that the Romanticists of to-day are the
similar construction. 2. (Also Rote,
Rotta, Rotte.) See Crowd.
Classicists of to-morrow that Haydn
and Mozart, Beethoven, Weber,
;

Roton'do (It.) Round, full (of a tone).

Chopin, and Schumann, Berlioz, Roulade (Fr.) A grace
consisting of a;
Liszt, and Wagner, are turn
all in run or arpeggio from one principal tone
decried, admired,
listened to, tolerated, to another ; a vocal or instrumental
worshipped, and And the
imitated. flourish.
imitators of original genius are simply Roulement (Fr.) Roll.
post-classicists, who, in full accord with
the form and mode of expression em-
Round. I. A species of vocal rhythmical
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 infinite ; a favorite style of com-
to their own needs. It might be said,
position in England, from early times
that any great original composer re- '

mains a romanticist until he is thorough-

(the celebrated round Sumer is i-cura-
'

en in" is supposed to date from the

ly understood. Berlioz, Liszt, Wagner
middle of the 13th century) down to the
and their following are generally class-
present day. It differs from the catch,
ed as the neo-romantic school.
(with which it was formerly identical)
Roma'nusbuchstaben (Ger.) The lit-
in eschewing the comical effects of the.
terce significativce. -The
round proper sometimes
latter.
Ronde (Fr.) A whole note. has an
harmonic support or accom-
Ron'do. (It. rondb' [dimin. rondinel'lo, paniment called the pes. 2. A circle-
rondinet'io^ rondi'no, rondolet'io^ 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.
 2 ,

ROUNDELAY SAITE. 169

Roundelay. A lay or song containingf Rutsch'er (Ger.) Old Ger. name for
some continued reiteration or refrain. the Galop,
Also, a roundel. Ru'vido (It.) 'R.ou%h....Ruvidamen'te,
Rovesciamen'to (It.) i. Reversion, roughly, coarsely,
contrary motion ; retrograde motion. Rythme, Rythm6, etc. (Fr.) A fre-
2. Inversion, quent spelling of rhythme (rhythm), etc.
Rove'scio (It., " reverse, wrong side".) Bien rythm^ (It. ben ritmato), well-
AI r. sigjnifies : (o) Imitation by con- balanced, elegant, and effective inr
trary motion ; {b) a movement so con- rhythmical (metrical) construction,
structed that it may be performed back-
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 ; Senza, in the phrases
tense or passionate feeling, that the senza Pedale, senza Sordini j of Sini-
performer should modify the strict stra; Solo; Sordini ; and of Subito, in
rhythmical flow of the movement by the phrase volti subito.
dwelling on, and thus (often almost in- Sabot (Fr.) i. In the double-action
sensibly) prolonging, prominent mel- harp, one of the movable disks, each
ody-notes or chords, this in turn re- provided with 2 projecting studs, which
quiring an equivalent acceleration of make a partial revolution on depressing
less prominent tones, which are thus
a pedal, the studs engaging and thus
robbed of a slight portion of their time-
value.
shortening the string. 2, An inferior
fiddle,
Rub^be (Fr ) Rebec. Saccade (Fr.) In violin-playing, a firm
Ruck'fall (Ger.) A backfall. stroke of the bow by which 2 or more
strings are so pressed down as to sound
Rijck'gang (Ger.) Return (i. e. a tran-
together.
sition from one theme to the repetition
of a preceding theme). Sackbut. I. Earlier form of the trom-

Riick^positiv (Ger.) See Positiv.

bone.
2. In the Bible (author, vers.),
the translation of sabbeka, which is
Riick'ung (Ger., "a shifting".) i. Syn- supposed to have been a harp-like instr.
copation. 2. Enharmonic change (en- (Also Sacbut.)
harmonische Riickung). Sack'pfeife (Ger.) Bagpipe,
Riick'weiser (Ger.) The sign Sy. Sacque-boute (Fr.) See Saquebute.
Ruh'ezeichen (Ger.) See Pause (Ger.) Sacred music. (Ger, Kir'chenmusik;
Ruh'ig (Ger.) Quiet, calm, tranquil, Fr, musique d'/glise; It, mu'sica reli-
(Also adverb.") gio'sa.) Church-music, or music for
devotional purposes ; opp, to secular
RUh'rung (Ger.) Emotion. music.
Rule of the octave. See Octave. Sa'crist. A person
retained in a cathe-
Rullan'te Rolling
(It,) ; tambu'ro rul- dral, whose copy out the
office it is to
lante, a side-drum. music for the use of the choir, and take
care of the books, [Busby.]
Run. I {noun). A rapid scale-passage ;

in vocal music, usually applied to such Sagbut. Same as Sackbut.

a passage sung to one syllable. Sai'te (Ger.) A string. Sai' tenchor a . ,

{verb). The wind in the windchest (or- unison of strings (group of 2 or 3 tuned
gan) is said to run wJien it leaks into a in unison). Sai'tenfessel, usually Sai'-
. .

groove ; this running causes a more or ienhalter, tailpiece. Sai' ienharmonika,

, ,

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.) A solo song, with ment . . . Sai'teninstrumente, stringed
instr.s. Sai'tenorgel{'^siT'mg-orga.i\ "),
. .
refrain for chorus,
a keyboard stringed instr. inv, by Carl
Russ'pfeife (Ger. ; Dutch Ruispife.)
Giimbel of Kroffdorf, near Giessen,
See Rauschquinte, Prussia, in i8go. The sustained tone
Ru'stico (It.) Rustic, pastoral. (or^an-tone) is obtained by adding to
ijo SALICET SARRUSOPHONt.
each unison a fourth string, which is Salvation (Fr.) Resolution (of a dis-
set in continuous vibration by the rapid sonance).
blows of an harmonium-reed furnished
Sal've Regi'na (Lat., " Hail Queen [of !
with a leathern head the action of;
heaven]".) One of the antiphons to
these reeds (whose vibration-numbers
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,
usually employed in the sense of the
various stops and combinations, the S.
can be played (i) as a pfte.; (2) as an Greek aafi^vKq (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 (5) with crescendo
;
of pipe and finally, as a corruption of
;

and decrescendo effects, and all imagin-
able gradations of tone-power. The
combined timbre partakes of the quali-
ties of the string-band, organ, and pfte.
Built in 2 styles, upright and grand.
Sal'icet, Sali'cional. An organ-stop
having open flue-pipes of metal, gener-
ally of 8-foot pitch, sometimes of 4, 2, Sampo'nia.
and (on the pedal) 16-foot pitch, with a
mellow, reedy tone like the Dulciana. Sampo'gna (It.)
(Also Salcional.)
Salmi (Fr.) Quodlibet.
Sal'mo (It.) Psalm.
Salon'fliigel (Ger.) Parlor grand (pfte.)
Salon' stuck^ a piece of sali>n-(-pax-
. .
symphonia (samponia, zampognd) for
the bagpipe and hurdy-gurdy (sambuca
rota'ia), and, instead of sacqueb'oute
for instr.s of the trombone class. Sain-
but, Sambiui, are German forms of
sambuca in the sense of a psaltery.
[RiEMANN.] Also Sambuke.
See Sambuca, and Zam-
pogna. (Also cf. Appendix.)
A rustic reed, or
flageolet.
Sanctus (Lat.) A division of the Mass.
Sanft (Ger.) Soft, \o^ ...Sanft'gedackt,
a flue-stop in the organ, having stopped
pipes of soft intonation.

lor-) music. Sanglot (Fr., "sob".) An obsolete

agre'ment, consisting of an accent or
Saltarel'la, Saltarel'lo (It.) i. jack. A
2. In many dance-tunes of the i6th
chute sung to an interjection :

century, the second part (Ger. Hop'pel-

tanz, Nach'lanz; Lat. propor'tio; Fr.
tourdion), which was in triple time, the
first being in duple time ; the skipping
#
Sans (Fr.) Without.
=6=
[RiEMANN.]
step was marked in the rhythm:
Saquebute (Fr.) Sackbut.
Sar'aband. (Ger. and Fr. Saraban'de;
It. saraban'da.) A
stately dance of
etc. 3. A
Roman (or Venetian [?]) Spanish or Oriental origin, for a single
dance in 3-4 or 6-8 time. 4. In sal-
tarello, a term formerly applied to a
dancer, though later changed (in Eng-
land) to a sort of country-dance. The
canto fermo acconipanied by a counter- instrumental saraband has, as a rule, 2
point in sextuplets. 8-measure reprises, in slow tempo and
Salta'^to (It.l In violin-technic, a variety triple time, generally beginning on the
of the "springing bow ". down-beat, with a stress on or prolonga-
Salteret'to(It.) The rhythmical tion of the second beat (*
figure r 5 !r 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 tede'sco).

Sarrusophone. A brass wind-instr.,
Sal'to (It.) A skip, leap...Z'/ sallo, inv. (1863) by and named after the
(progressing) by skips or leaps. band-master Sarrus of Paris, with a
Salva're (It.) To resolve {salvai-' iimi double 7-eed like the oboe and bassoon
dlssonan' za). liiirein 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 ^l;? and a contrabass in instead of keys. Saxhorns are con-
\). Its tone partakes in quality of structed in 7 different sizes, forming a
that of the nearly-related o6oi dacaccia, complete series alike in timbre and
double-bassoon, and bombai 1. Little method of playing, and named accord-
used outside of France. ing to their fundamental tone or their
Sat'tel (Ger.) .Saitel ma'chen,
'^xA. .
relative pitch and compass. They are
in 'cello-playingf, firm pressure of the not fitted for the use of crooks. Though
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
Sai'tellage, half-position (in violin play-
.

orchestra.
The nomenclature of the
ing)- saxhorn family being sadly confused, a
Satz (Ger.) I. A
theme or subject. 2. A list with the various appellations is an-
nexed :
phrase, i. e. half a period of 8 measures,
the 1st half being the Vor'dersatz, the ji. Sopranino saxh, (petit saxh., petit bugle &
pistons. Piccolo in Es,
2nd the Nach'satz (sometimes trans- ^. Soprano saxh, (contralto saxh., bugle-
lated "fore-phrase" and "after- t^nor, Fliigelhorn in B).
AA Movement
phrase ").
movement.
3. chief division of a 3. Alto saxh (Althorn in Es),
4.
The science of harmony and counter-
2. 5.
4. Tenor saxh. (baryton en si |>, Tenorhorn
in B, Bassfliigelhorn).
5. Bass saxh. (tuba-basse en si\y, Basstiiba,
point ; art or style of composition Euphonium, Earyton, Tenorbass in B).
e. g. rei'ner Satz, strict style (of writ-
6. Low bass saxh. (bombardon en fin\y),
ing). 6. A
passage or separate portion
7. Contrabass saxh. (bombardon en j/5>
grave, Kontrabasstuba).
of a composition.
Saxhorns I to 4 are classed as bugles a
Saut (Fr.) Skip. Sauter, to overblow.
. .
pistons; while 5 to 7 are classed as
. . Sautereau, a jack. tubas or boiiiiardons. Their extreme
Sauver (Fr.) To resolve (a dissonance). compass is

. in.l>. i^B-y.

For the orchestra there are also made a in turn comprising 2 individuals a
bass in C, a contrabass in Ci and a , whole tone apart
low bass in F^ ; and all members of the 1. Sopranino saxophone in J^ (and -!>).
Soprano " *'
C( " Bo),
family are also constructed a semitone 2.
3. Contralto " " i^( " |>).
lower in pitch than shown above. Tenor " ' B)). "CI
4.
Baryton " " j^( " Er,).
Saxophone, An instr. of a type inv. 5.
6. Bass " " C( " si).
about 1840 by Adolphe Sax of Dinant-
The notation for this transposing instr.
sur-Meuse, Belgium. It is a wind-in-
is alike with interme-
str. of metal, having a conical tube
with recurved bell, and clarinet-mouth-
piece with single reed, the key-mechan-
for a
s i z e s
le com- vP
the
;

V
^ tones.
: Chiefly
t
diate chromat-

used
ic
ism and fingering also being similar to
pass is: in mi litary
those of the clarinet. It is an " omni-
bands.
tonic" (chromatic) instr., with a mel-
low and penetrating tone of veiled Saxotrom'ba. A valve instr. of the
quality partaking of that of the clari- trumpet family, inv. by Ad. Sax, inter-
net, cor anglais, and violoncello, but mediate in quality of tone and scale of
very sonorous, and of remarkable tube between the Horn and Saxhorn ;

homogeneity in all registers and sizes constructed, like the latter, in 7 sizes.
;

6 principal sizes are made, at intervals Sbal'zo (It.) A

skip or leap. . . 5/'(7/jri'.

of a fourth and fifth apart, each size to, dashingly, impetuously.

 SBARRA SCHERZO.
Sbar'ra (It.) Ear ;
sh. dop'pia^ double- ing the full dialogue, and directions for
bar. the actors, etc.
Scagnel'lo (It.) Bridge. Scene. I. A division of a dramatic per-
Scale. I. (Gar. Ton'leiter ; Fr. ichelle^ formance marked by a change of sce-
gamme; It. sca'la.") For the ancient nery. 2 (the preferable usage). Same
scales compare Mode, Greek music. as Scena i.
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 hafte Musik' uninspired composition
,

or minor key (diatonic scale), or {i) 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 dXXXy.. .Schdferpfeife, shep-
Chinese), in which the step of a semi- herd's pipe, shavim. .Schd'ferianz, ,

tone is avoided by omitting the 4th and shepherd's dance.

7th degrees in major and the 2nd and
Schalk'haft (Ger.) Roguish, sportive,
6th in minor. It can be played on the
wanton. (Also adverb^
piano by touching 5 successive black
keys, beginning on F'j, for major, and Schall (Ger.) Sound, resonance, resound-
on E<} for minor. The ancient Greek ing, ringing. Schall' bechcr. Bell 2.
. . .

chromatic scale also had five tones. Schall' becken, cymbals. .Schall' loch, .

2. The series of tones producible on (a) y-hole; {b) sonnd-hole. . .Schall'

slab, triangle . Schall' stiick, -trichter.
various wind-instr.s is also called a . .

scale, whether the series is diatonic or Bell 2.

not the term is also used for the com-
; Schalmei', Schalmey' (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. e'lalon.) In the tubes of
Scharf (Ger.) Sharp. See Acuta,
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 I 10 to 1 24, a h-oad
: :
dread ; wierdly.
scale yielding a mellow, sonorous tone, Schel'lenbaum (Ger.) Crescent.
and a narrow scale yielding a sharp Scherzan'do (It.) In a playful, sport-
and thrilling, or a thin, stringy tone. ive, toying manner. Also scherzan'te,
Scannet'to, Scannel'lo (It.) Same as scherze'vole, scherzo'so.
Scagnello. Scherz'haft (Ger.) Sportive jocose,
;

Sceman'do (It.) See Diminuendo. burlesque. (Also adverb.)

Sce'na (It.) i. In the opera, a scene Scher'zo (It., dimin. scherzi'no^ A joke,
(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- which an animated movement
tions in
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-

,

ed a'ria. 3. A stage. phony, usually in triple, sometimes in

duple, time, introduced chiefly by way
Scena'rio (It.) The
plot of a dramat-
i.
work.
of contrast with slower movements,
ic 2. A
skeleton libretto of
consequently of a bright, vivacious,
such a work, sketching the course of
often humorous character, with strong-
the plot, and giving entrances and exits
ly marked rhythm, and sharp and un-
of leading personages, serving as a
expected contrasts in rhythm and har-
'
guide to stage-managers, actors, etc.
3. A
play-bill.
-4 (pi.) Scena' rii, scenes,
mony, requiring delicate phrasing and
shading. Its forerunner in the sym-
side-scenes, decorations.
phony was the Minuet of Haydn
Scena'riura. An opera-libretto contain- Beethoven named thismovement, which
 -
..

SCHIETTO OCHWER. 17?

had 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'ler, (a) faster;
extended) form. The Beethoven Scher- as nach und nach schneller, gradually
zo is usually the 3rd movement; but faster {b) an inverted mordent.
;

under different conditions the scherzo

Schot'tische. (Ger. Schot'tisch,"9,co\.ch,
may with equal propriety take the second
place.
Scottish"). A round dance in 2-4
time, a variety of the Polka the Ecos- ;

Schiet'to, Schiettamen'te (It.) Plain, saise is a country-dance.

simple, unembellished (also adverb).
Schrag (Ger.) Oblique.
Schis'ma difference between
(Gk.) The
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 (bi}, c 32805:32768); one- : = screeching, squeaking.
eleventh of a syntonic comma. Schrei'erpfeife (Ger.) See Schryari 2.

Schlag (Ger.) beat, pulse blow, A ; Schryari. i. An

obs. wind-instr. de-
stroke . . . Schlag'feder, a plectrum . . scribed by PrEetorius in the " Syntag-
Schlag instrument, instr. of percussion. ma".
2. The sharpest mixture-stop,

. .Schlag'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 fingers; opp. to Streich'- Schub (Ger.) Slide (of bow).
zither (bow-zither).
Schuh Bridge (of a. tromba ma-
(Ger.)
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 Takt'ieil, weak beat. Schul'tergeige (Ger.) Viola da spalla;
Schleif'bogen(Ger.) Slur. . . Schlei'fen, opp. to Kniegeige.
to slur. . . Schlei'fer, {a) a slide (i) a
; Schu'sterfleck (Ger.) Rosalia.
slow German waltz, Landler. . . Schleif- Schwach (Ger.) i. Weak, as schwach'er
zeichen, slur. Taktteil, weak beat. 2. Soft, faint, low;
Schlep'pen (Ger.) To drag, retard . . schwach'er, fainter, softer.
Schlep'pend, dragging. Schwar'njer (Ger.) A Rauscher.
Schluss Conclusion, end; close,
(Ger.) Schwe'bung (Ger.) i. In mus. acous-
cadence Schluss'fall, a cadence
. . . . .
tics, a Beat 4. 2. Same as Tremulant.
Schlus/ kadenz, final or closing c&- Schwe'gel (Ger.) i. Any wind-instr.
Asxict. .Schluss'note,
. final note... 2. A pipe, especially a flue-pipe in the
Schluss'satz, concluding movement. organ, Schwe'gelpfeife being an
the
Finale Schluss' striche, double-bar.
. .
. .
open stop of 8 or 4-foot pitch, the
Schlus^zeichen, (a) the double-bar (^) ;
pipes slightly tapering at the top.
the hold ^.
Schwei'gezeichen (Ger.) A rest.
Schliis'se! (Ger., "key"). A clef..
Schweins'kopf (Ger., " pig's-head ").
ddle.
SchlUs'selfiedel, nail-fiddle. P
^g-
I

Obsolete term for FlUgel.

. SchlUs'sel-G, the notete ^'
.

on the treble-clef hne:

line *j
Schwei'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 Schwei' zerpfeife ; of 16-
Schmerz (Ger.) Pain grief, sorrow. ; foot pitch, on the pedal, Schwei'zer-
. . Schmerz' haft, schmerz'lich, painful, Jlotenbass Schwei zerpfeiff,
. . . earliest
sorrowful, plaintive. (Also adverb.) name of the German flute.
Schna'bel (Ger., "beak" ; Fr. bee).
Schwel'len (Ger.) See Anschwellen. A
mouthpiece like that of the clarinet or
Schwel'ler (Ger.) Swell (of the organ).
flageolet. . .Schnabeljldte, flute i bee.
Schwell'ton (Ger.) Messa di voce.
Schnarr'werk (Ger.) The reed-work of
an organ, or a single reed-stop.
Also, Schwell'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
miitig, melancholy, sad. mo- p- frequently recurring in many
tive JTm- '
Scotch airs (the reverse of
Schwie'gel (Ger.) See Schwegel.
the com-
Schwin'dend (Ger.) Dying away,
morendo.
mon motive Jl)-
Scozze'se (It.) Scotch alia o., in the
Schwing'ung (Ger.) Vibration. ;

Scotch style.
Schwung'voU (Ger.) With sweep and
passion. Scroll. (Ger. Schnecke; Fr. volute; It.
Scialumo' (It.) Chalumeau. valuta.) 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 (It.) Freely, fluently, indignation. Sdegnosamen' te scorn-

. . ,

rivaHoXy . ..Scioltez'za, freedom, fluency- fully, etc. . .Sdegno'so, scornful, etc.

. .Sciol'to,-a, free, fluent, agile ;

/^rt: Sdrucciolan'do (It.) Sliding. . .5rf<(r-
sciolta, free fugue, 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.) i. Discordant,
out, of finger-nails.
tune. 2. Tuned in deviat- a manner Se (It.) \i...Se biso'gna, if necessary ;

ing from the ordinary one. Scordatu'- . .

se pia'ce, 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 c. g. Paga- ; Sec (Fr.), Sec'co (It.) Dry; simple,
nini's tun- j9 - r^^ iu
which the
j unembellished (see Recitative).
'^~
i n g of l C-string was Sechs (Ger.) Si.K. .Sechsach'teltakt, 6-8
^^j .

the violin: tJ -* 1>-S- raised a min- \S.ra.& Sechs' er sechs' taktiger Satz, a . . . ,

or and a major third respectively such passage, period, or theme comprising 6 ;

an alteration is sometimes called solo measures Sechsvier' teltakt, 6-4 time. . . .

pitch.
Sech'(s)zehn (Ger.) Sixteen ... i'fcA'-
-'Score. (Ger. Partiiur' ; "^x. partition; zehntel {note), i6th-note. . . Sech'zehn-
It. partitu'ra^ partizio'ne^ system- A telpause, i6th-rest.
atic arrangement of the vocal or instru-
Second. {noun).1 (Ger. Sektm'de;
mental parts of a composition one above Fr. seconde; It. secon'da.) The inter-
the other, 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
,

:see Short score. .Full or orchestral

.
3. {adj.) (Ger. zweit-er,-e,-es; Fr.
second,-e; It. secondo,-a.) (a) Perform-
.score., one in which each vocal and in-
ing a part lower in pitch than first ; as
tstrumental part has a separate staff as-
second bass, second violins; {b) lower in
signed to it (see Orchestra) 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

ranged or compressed (from the full in- a weak beat.

strumental score) on 2 staves below the Secondary chords. Subordinate chords.
. Organ-score, arr. like pfte. -score,
rest . .
Seconde dessus (Fr.) Second soprano.
except that a third staff for pedal-bass
Secon'do,-a (It.) Second {adj); as
is often added below the others. .

seconda don'na, the female singer tak-

Short score, (a) any abridged arrange-
ing the leading parts after the prima
ment or skeleton transcript ; {b) 4-part donna; violi'ni secondi, second violins.
vocal score on 2 staves . Supplement- . .
. .{Noun^ Secondo, a second part or
ary score, see Partitino Vocal score, . . .
performer in a duet.
(a) score of an a cappella composition ;

\b) same a.s pfte. -score. Section. In the wider sense, a short
division (l or more periods) of a com-
Scoring. Same as Instrum.entation, or position, having distinct rhythmic and
Orchestration. harmonic boundaries ; specifically, half
Scorren'do (It.) Flowing, gliding. (Also a phrase (see P'orm).
scorre'vole.) Secular music. Music other than that
 . ;

SECUNDE SEPTET. 175

intended for worship and devotional Semiminim. (Lat. and It. seinimi'nima)
purposes. A crotchet, or quaver.
Secun'de (Ger.) See Sekunde. Semipau'sa (Lat.) A semibreve-rest.
Sede'cima (Lat. and It.) l. The inter- Semiqua'ver. A i6th-note.
val of a sixteenth. 2. Obs. name of
Semisuspi''riuin (Lat.) A crotchet-rest.
the fifteenth (organ-stop).
Semitone. (Ger. Halb'ton; Fr. demi-
See'le(Ger., "soul"). Soundpost. ton; semituo'no.)
It. The narrowest
Se'gno (It.) sign. .Al segno, to the A .
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
the sign (,^, :^;, .$, g, etc.) to the
Semito'nium (Lat.) A semitone ... 5.
Jictuiii, a chromatic semitone. .. 51
word Fine, or /t In place of the modi, the leading-note . . .S. natura'le,
to a double- ~[j=. words, the sign a diatonic semitone.
bar with hold: "^ alone is some-
Sera'plice (It.) Simple, plain, unaffected.
times set. I

. Semplicemen' te, simply, etc

. Sem- . . .

Se'gue (It.) Follows; as segue I' aria, plicita' , con, in <t 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.
Seguidil'la (.Span.) A Spanish dance in Sensi'bile (It., " sensitive").A'i'^fi; sen-
triple time, some varieties having a slow sibile, leading-note.
and stately movement, while others are
Sensibilita', con (It.) See Espressivo.
lively ; usually in minor, accompanied
by guitar and voice, iind at times by the Sensible (Fr.) The leading-note ; also
castanets. note sensible. (In English the leading-
note is sometimes called " sensible
Sehn'suchl (Ger.) Longing, yearning.
note".)
. Sehn'siichtig, in a style expressive of
.

intense yearning. Sentence. See Period, Form.

Sehr (Ger.) Very. Sentimen'to, con (It.) With feeling,
expressively.
Se'i (It.) Six.
Sei'tenbewegung (Ger.) Oblique mo-
Senti'to (It., "felt"). With feeling,
expression, special stress.
tion SeVtensatz, a second or second-
, . .

ary theme, as in the sonata and rondo. Sen'za (It.) Without. (Abbr. S.)... S.
passio'ne, with avoidance of all marked
Sekun'de (Ger.) A second.
accents and passionate expression . . .S.
Semibiscro'ma (It.) A 32nd-note. piat'ti, "drum alone" (where one per-
Sem'ibreve. (Lat. semilirei/is.) A whole former plays the cymbals and bass
note. drum) ..S.. sordi'ni, see Sordino . ..S..
Semicro'ma (It.) A i6th-note. iem'po, not in strict tempo, ad libitum..
S. di slentare, without retarding.
Sem'icrome. A semicroma but former- ;
. .

\_Senza is often followed by a bare in-,

lysometimes used for quaver.
finitive, which is then to be translated
Semicrotch'et. A quaver. as a participial substantive ; e. g. senza.
Sem'idemisemiqua'ver. A 64th-note. rallenlare, without retarding.]
Semidiapa'son. Diminished octave Separation. . . i. An obs. term for a
Semidiapen'ie, diminished fifth . . . Se- passing-note between 2 tones forming a
tnidiates' saron, diminished fourth. tierce.
2. In the organ, a mechanical

Semidi'tas (Lat.) The diminution caused
by a vertical stroke through the time-
signature.
Semi-di'tone. (Lat. semidi' tonus.) The
minor third Semiditonus cum dia-.
device for preventing the great-organ
action from sounding its stops ; used
when the action is pneumatic and
coupled to other manuals of heavier
touch.
. .

pente, minor 7th. Sept-chord, Chord of the 7th.

Semifu'sa (Lat.) Semiquaver. Septde'zime (Ger.) A seventeenth.

Setni-grand. A small grand piano. Septet'. (Ger. Septetf ; Fr. septuor; It.
t76 SEPTI^ME SESQUIALTERA.
setiimi'no) A
concerted composition and in chamber-music style. The earlier
for 7 voices or instr.s. serenatas were invariably concerted
Septifeme (Fr.), Sep'time (Ger.) The pieces they were also called Cassations
;

interval of a 7th .. Sep' timenakkord

.
and Divertimenti.
(Ger.), chord of the 7th. Sere'no (It.) Serene, calm, tranquil.
Septimo'le, Septo'le (Ger.) Septuple!. Serinette (Fr.) A bird-organ (small
barrel-organ used in training song-
Septuor (Fr.) Septet.
birds).
Sep'tuplet. A group of 7 equal notes
to be performed in the time of 4 or 6 Se'rio,-a (It) Serious. .0^-3 j,?rw, .

of the same kind in the regular grand or tragic opera; opp. to Opera
rhythm; o m m ''m buffa. Tenore serio, dramatic tenor.
.

written: L^J LLi Serio'so (It.) In a serious, grave, im-

Se'quence. (Lat. sequen'tia; It. seguen'- pressive style.
za; Ger. Seqiienz' .) I. The repetition, Serpent. (It. serpen' te) A nearly obs.
oftener than twice in succession, of a wood-wind instr., still used in some
melodicmotive, the repetitions ascending French churches, but seldom met with
or descending byuniform intervals. The in the orchestra inv. by Canon Guil-
;

harmonic sequence is merely the group- laume of Auxerre in 1590. It belonjjs

ing of chords necessitated by the reiter- to the Zinke {Cornetto) family the ;

ation of the melodic figure. diatonic
or tonal sequence employs only tones
proper to the key ; a chromatic or modu-
latory sequence is one in which acciden-
tals are used more or less freely ; a se-
quence progressing by a whole tone or
semitone is called a Rosalia. (Also
Progression^ 2. In the R. C. Church,
a kind of hymn ; such were founded on
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 tlie name.
originated in the gth century, and mul-
tiplied to such an extent that Pius V. in
1568 e.xpunged all but 5 (Victimoe
paschali ; Veni Sancte Spiritus Lauda
Sion ; Stabat Mater ; Dies irce). (Also
Prose [Lat./ri7j-a].)
A modern forms have a recurvate bell,
and a cupped mouthpiece set in a br.;s3
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 Sva.
providedwith 6 finger- ^^ hm~
holes and a varying =1=
S
number of addition-
al keys. Compass
the serpent being a transposing instr.,
in 5p, the notes are written a degree
higher. The tone is variously described
They 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
the ophicleide, but retains the wooden
tube.
'I'he Contra-serpent produces 16-

Seraphi'na, Ser'aphine. A precursor foot E^.

Some old organs have reed-
of the harmonium, inv. by John Green stops named serpent.
in 1S33 owing to its harsh tone, it
; Service. In the Anglican Liturgy, a
was speedily superseded by the latter. complete series of mus. settings of the
Serenade'. (Ger. Stdnd'chen; Fr. j/r/- canticles, etc., the free composition of
nade; It. Serena' ta.) 1. An "evening which is sanctioned by usage. Ver-
song ;" specifically, such a song sung 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 Veilite exultemus, Te
was evolved the Deum, Benedicite, Benedictus (domi-
nus), Jubilate, Kyrie, Credo (Nicene
Serena'ta (Fr. and
It. ditto Ger. Sere-
Creed), Sanctus, Agnus Dei, Benedic-
;

tta'de.') I. A
species of dramatic can-
tus (qui venit), Gloria, Magnificat,
tata greatly in 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,

by organ or orchestra.
consisting of 5, 6, or more movements
for very various combinations of instr.s. Sesquial'tera (Lat., "one-half more".)
 .

SESQUINONA SHARP. 177

I. A perfect fifth, its ratio to the prime Sex'te (Ger.) A sixth.

being 1:1^ 2: 3. =
2. In mensurable
Sextet'. (It. sestet" to: Fr. sexiuor; Ger.
music, the proportion marked by the Sextett'.) concerted composition for A
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. 3.
mixture-stop in A
Sex'tole, Sex'tolet. A sextuplet.
the organ the name is properly appli-
;

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 the time of 4 of the
of the latter, but is ordinarily used to same kind in the regular rhythm. In
designate a compound stop producing the true sextuplet the 1st, 3rd, and 5th
the 3rd, 4th, and 5th partial tones, or notes are accented the false sextuplet ;

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 Sexta).
its ratio being 9 : 10. Sfoga'to (It., "exhaled"). In vocal
Sesquiocta'va. The greater whole tone, music, a direction to render the passage
its ratio being 8 : 9.
so marked in a light and airy manner.
. Soprano sfogato, a high soprano ;
.

Sesquiquar'ta. The major third, its

compass from c' to c^ (f^ )
ratio being 4:5.
Sforzan'do (It., "forcing, pressing").
Sesquiquiti'ta. The minor third, its
ratio being 5 6. :
A direction commonly applied to a
single tone or chord, indicating that it
Sesquiter'tia. The perfect fourth, its is to be performed with special stress,
ratio being 3 : 4. or marked and sudden em-
Ses'quitone. A minor third, i. e. ij phasis. Abbr. jr/i., s/.; sign
(Also S/orza'to.)
^r
tone.
Sestet'. (It. sestet' io.) A sextet. Sfuggi'ta (It.) Avoided, eluded ; as
Sesti'na (It.) A sextuplet. cadenza sfuggita.
Se'sto,-a (It.) Sixth... 5/a {noun), Sgallinaccia're (It.) To sing with a
interval of a sixth. harsh, uneven, quavering voice. (From
gallinac'cio, a turkey-cock.)
Ses'tole, Ses'tolet. A sextuplet.
Settimi'no (It.) A septet. Shade. "Shading of pipes", the plac-
ing of anything so near the top of an
Set'timo,-a (It.) Seventh. ..Set' tima
organ-pipe as to affect the vibrating
(noun), interval of a 7th. column of air which it contains.
Setz'art (Ger.) Style of composition. [Stainer and Barrett.] .

Setz'kunst, art of composition. . .Setz'-

Shake. Same as Trill. . . Shaked graces
stuck, crook.
(obs.), the shaked Beat, Backfall, Ca-
Seul,-e (Fr.) Alone, solo. 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. dihe;
Seventh. (Ger. Sep' time; Fr. septilme; It. die'sis.) The sign #, which, set
It.set'tima.) 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. . .Double-sharp, the sign x (formerly
Severamen'te (It.) Strictly, with rigid also #, ^, etc.), raising the pitch of
observance of tempo and expression- itsnote by 2 chromatic semitones (= i
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 pitch. 2. (Of in-
3. A compound organ-stop of 2 ranks tervals.) Major or augmented. 3. (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. . .(jV<7a.) The in- 5. (Of digitals; pi.) The black keys;
terval of a sixth ; also, a sixth part (see also any white key a semitone above
Quintus). another.
178 SHAWM SIGNS.
Shawm. (Ger. Schalmei') An obs. Sight-reader. A musician capable of
double-reed wind-instr., the precursor correctly performing a piece of music
of the oboe, the prime difference be- at sight.
tween them being that the reed of the
Signs. (Compare Abbreviation, Nota-
shawm was set in a cupped or globular
tion, Segno.) [Italicized terms indicate
mouthpiece, whereas the oboe-reed is
held directly betwixt the lips. The that the signs are
Dot.
no longer
Staccato.
in use.]
Sforzato.
chanter of the bagpipe is probably the
sole surviving form of the ancient
Forte tenuto.
shawm. (Also Skalm) [N. B. The ."TTT". Bebung. Mezzo staccato..
Fr. chalumeau had a single reed.] ^'-
(See Dot 3.)
Shift. A change in the position of the
left hand, in playing the violin, etc.,
(under notes to be sung to
from the position, in which the
first .... .^ ... . "^ syllable in Tonic
;

forefinger stops its string a semitone or Sol-fa, a line under the

tone higher than the pitch of the open letters).

string, according to the scale the 2nd ;

<^ Hold.
position is called the half-shift, the (Notation, 3.)
(
3rd the whole shift, and the 4th the
double shift. When out of the 1st po- >C (Abbreviation.)
sition the player is said to be " on the
S- :^: Presa.
shift", and shifting up or down, as the
case may be. (See Position^
% -g.'
^ Segno.
Shutter. In the organ, one of the blinds .'. Double relish.
forming the front of the swell-box.
5^T Double-sharp.
Si. I. (It.) One, it often written in ;

directions, as si leva il sordino, take off

Repeat.
the mute si le'vano i sordini, take off
;

the mutes si pia'ce, si libet (Lat.), at

; :ii: :i Ill: Repeats (2 and 4 times).
pleasure si repli'ca, repeat (= Da
;

Capo); si segue, proceed si tace, be

# Repetition of words.
silent ; turn over. [Beethoven
si volta,
;

X or + Thumb (pfte.-music).
writes {Erf Quartet, op. 74): " Si ha Double-sharp.
s'iramaginar'la battuta di |", meaning: Breathing-mark. Back-
" Imagine the time to be |."] 2. The fall, CouU, Pincdf
7th of the solmisation-syllables hence, ;
Tremblement.
name of the note in France and B Double Backfall.
Italy. . Si contra fa, see Mi. (Com-
.
Tenuto. Pesante.
pare Key, and Solmisation.)
Mezzo legato.
Sicilia'na (It.), Sicilienne (Fr.) Dance
of the Sicilian peasants a kind of pas- ;
Bind. Slur. Tie.
torale in moderately slow tempo and c Accent. CouU. Port de
6-8 or 12-8 time, frequently in minor, voix.
and common (especially in the i8th Pined.
century) as an andante movement in Pasto solo.
sonatas or vocal music. (Not Sicilia- Double Appoggiatura.
no). .Alia siciliana, in the style of the
.
Suspensiojt.
above.
Cadent.
Side-drum. See Drum.
Plain beat.
Sieb (Ger.) Soundboard of the organ
\or/ Accent. Nachschlag. Por-
(Lat. cribrum).
tamento. Schleifer.
SifHet (Fr.) Whistle ...S.de Pan, Pan- Chute.
dean pipes. . .Sifiet-diapason, pitch- Port de voix.
pipe.
\(u) Backfall {Double Back-
Sif'flot (Ger.) In the organ, an open fall).
metal flue-stop of broad scale and i or Springer.
2-foot pitch.
Also Suf'flot, Sub'fldt,
Weit'pfeife. Acciaccatura. Arpeggio,
 ;

SIGNS. J
79

/ (//) Single {Double) Relish. nected are to be played

with the same hand
(Abbreviations.)
{b) that a part is trans-
Crescendo. ferred from one staff to
Decrescendo. another.
t I Staccatissimo. Martellato. vr, /.^ or V Direct.

> Forte piano (fp). Inverted Mordent. Ca-

dence.
>or < Rinforzando.
'^ Mordent.
A V > Sforzato.
w Up-bow. Breathing-mark.
Martellement. Port de
aw' ,/wv etc. Trill.

Turn {Back-turn).
voix. Aspiration.
* Take damper-pedal (ob-
A Down-bow (violoncello- solete).
music).
Heel and toe (organ-mu-
# ^ + Release damper-pedal.
Sign of the dimin. triad
A V
sic; better as given be- (e. g. VII).
low). o Harmonic mark. Open
Martellement double and string.
w wv triple. o Tasto solo (Thorough-b.).
Nachschlag. O Triple time (see Nota-

n u Down-bow. tion, 3).

Thumb-positions (violon-
Pesante. cello-playing).
Arpeggio. Acciaccatura, O A Heel and toe (organ-mu-
In modern pfte.-mu- V) sic). Over notes for
sic, signifies that 2 right foot, under notes
notes so connected are for left foot.
to be played (a) with Change toes on organ-
the same hand, {b) with pedal.

one finger. In vocal Slide same toe to next
music, signifies voci
note.
divise:
Examples:
O A o A O A

^i^E^r^^r^ r^^^^^
A O
Bind.
Organ-music, pedal; notes A-V
i^^^
so connected are to be
played with alternate 1,2, 3,4, etc. (See Numerals.)
toe and heel of same 0, @, etc. (See Harmonium-music.)
foot. Thorough-
/, 4, ^, etc. (See Chord,
Bind. bass.)
Brace. I II, III' (See Chord.)
AU'ottava. (A 2' 4' 8' 16' (See Foot.)
Trill.
mark of continuation.) a' b" c'"
Balancement. Tremble- a' b= c'
ment. -etc. (See Pitch, 1.)
Tremblement. a b c
A, B, C,J
Arpeggio. r Gamma.

/"\ from one staff to another,

shows (a) in pfte.-mu-
is
<
m
^ l
'si
'
li ji)
'
(See Tambourine.)

sic that notes so con- M. M. ;

60 (See Metronome.)
J
i8o SIGNALHORN SISTRUM.
and has no plural form simili; the Lat.
term is similiter,]

Simple. (Of tones and intervals.) Not

compound. (Of counterpoint, imita-
Not compound or
tion, rhythm etc.)
complex, undeveloped, not varied.
Sin' (It.) Abbr. of Sino.
Sinfoni'a (It.) i. A symphony. 2. An
overture (to the earlier Italian operas).
Ch. 6w.
In organ-music, signifies " change Sinfonie' (Ger.) Symphony (usually
hands on chord ". Symphonie').
Sing'akademie (Ger.) A choral sing-
ing-society.
Sing'bar (Ger.) Singable ; cantabile . .

Sehr singbar vor'zutragen, perform in

a very singing style.

Sing'end (Ger.) Singing, melodious,

In pfte.-music, signifies
with pedal ".
Sig^al'horn (Gar.) A bugle.
Signature. The signs set at the head of
the staff at the beginning of a piece or Sing'raanieren (Ger., pi.) Vocal graces.
movement, indicating the key and
measure in which it is written. The
chromatic sign or signs are termed the
key-signature ; the figures or signs in-
dicating the measure, the time-signa-
ture^ or rhythmical signature.
Signatu'ren (Ger., pi.) The figures and
signs employed in thorough-bass nota-
tion.
Signe (Fr.) Sign.
Sig'num (Lat.) Sign.. .Signa
indicia'lia, intrin'seca,
3, Modus.
Siguidil'la (Span.) '
cantabile.
Sing^'etanz (Ger.) Dance accomp. with
" hold chord song.
Sing'fuge (Gfer.) Vocal fugue.
Singhiozzan'do(It.) Sobbingly, catch,
ing the breath.
Sing'schule (Ger.) Singing-school.
Sing^spiel (Ger.) The German national
form of the opera, established during
the and half of the i8th century by J.
A. Hiller, whose guiding rule was to
give simple, folk-songlike melodies to
singers representing plain characters,
whereas to " gentlefolk" he gave arias
the instrumental accomp. is also kept
subordinate to the vocal parts. The
impli'cita, term is also used for any light opera or
see Notation, operetta with spoken interludes ; like-
wise, by extension, for more preten-
See Seguidilla. tious operas and mus. dramas.

Sil'bendehnung (Ger.) Slurring a sylla- Sing'stimme (Ger.) The singing-voice,

ble, i. e. singing it to more than one the voice.
tone. Sini'stra (It.) Left mano s.,; left hand;
Silence (Fr.), Silen'zio (It.) A rest. colla 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 ; sina
let, nut at upper end of neck ;
grand (or sin ) al fine, to the end.
sillet, nut at tailpiece.
Si'ren. (Ger. Sire'ne; Fr. sir^ne.) An
Similar motion. See Motion. acoustical apparatus for determining the
Si'mile (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'ma (It.) Staff.

^, {see Abbreviation). \ Simile, he- Sis'trum (Lat.) An ancient mus. instr.

'' ing an adverb, is indeclinable. of Egypt and the East a sort of rattle. ;
 :

SITOLE SNARE-DRUM.
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 Ciiole. discrete) progression.

Sitz (Ger.) Seat ; situation, place. Skiz'ze (Ger.) Sketch ; a short charac-
teristicpiece, or bit of salon-music,
Sixi^me, Sixte (Fr.) Sixth ; sixte
without fixed form.
ajout^e, added sixth.
Slan'cio, con (It.) With vehemence,
Sixteenth-note. (Ger. Sech'zehntel
impetuously. (Sometimes written islan-
\_-note\; Fr. douhle-croche; \\..seniicro'-
cio, for the sake of euphony.)
ma.) A semiquaver ( ft ). Sometimes
Slargan'do, Slargan'dosi (It.) Grow-
abbr. to Sixteenth i6th-rest, a semi-
. . .
ing slower comp. Largando.
;

quaver-rest (^). Comp. Note, Rest.

Slentan'do (It.) See Slargando.
Sixth. Sex'te; Fr. sixte; It.
(Ger.
See Interval.
Slide. I. movable U-shaped tube in A
se'sta.) Chord of the . .
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 la
sixte ajout^e), the sub-
dominant triad writh ffi^^^z:
sixth added, c. g.
Chord of the extreme sixth, see Ex-
and out to alter the pitch of the tones
^^
while playing. It is a more perfect
device than the valve, because it changes
^
only the length of the vibrating air-
:

. . .
column, not the direction and form of
treme,
the wind-current and also because per- ;

Sixtine (Fr.) Sextuplet. fect purity of pitch is obtainable [comp.,

Sixty-fourth-note. (Ger. Vierund- however, art. Trumpet, last sentence];
sech'zigstel [-note]; Fr. quadruple but it is technically more difficult of
croche; It. quattricro'ma.) hemi- manipulation. 2.A In the organ, a
demisemiquaver (B); sometimes abbr.
slider. 3. grace (Ger. Schlei'fer; A
Fr. couU), either (a) a diatonic series
to Sixty-fourth . . . b^th-rest, ( 3 Y
of 2 or more tones rapidly ascending or
descending, the notation of which varies
Skip. (Ger. Sprung; Fr. saut; It. sal'- greatly :

written:

played:
i^^^
or (S) 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 Organ, (i). bic melody.

Slide-trombone,-trumpet. One played
Small octave. ?,es Pitch. .Small or. .

by the use of a slide instead of keys or Orchestra. chesira, see

valves.
Smanian'te, Smanio'so (It.) In an
Sliding relish. An old harpsichord-
impetuous, passionate style.
grace written : played
Sminuen'do, Srainui'to (It.) Dimin-
^ESrffE ishing and decreasing (in speed and
force).
Slissa'to (It.) Slurred. Smoren'do (It.)' Dying away.
Slur. I. (Ger. Lega'tobogen; Fr. liaison; Sraorfio'so (It.) With affected expression.
It. legatu'ra.) A sweeping curve drawn Smorzan'do (It.) "Fading away";
over or under 2 or more notes, signify- equiv. to Morendo.
ing that they are to be executed legato.
2. In vocal music, the slur unites 2 Snap. See Scotch snap.
or more notes to be sung to the same Snare-drum. See Side-drum, under
syllable and in one breath the notes ; Drum.
l82 SOAVE SOLMISATION.
Soa've (It.) Suave, sweet, soft. . . Soave- are performed simultaneously opp. tO' ;

men'te, suavely, etc. broken. ("Flat chord" is preferable.)

Socket. In a clarinet, the short, rounded So'lito (It.) Accustomed, habitual...
joint connecting the mouthpiece with Al 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. ggo ?). It is based, in
one being called an andamenio, 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).
major scale, c d e fg a, were named-
Sognan'do (It.) Dreaming, in a dreamy ut, re, mi, fa, sol, la, (the initial syl-
manner. lables of the successive phrases of a
Soh. For jo/, in the Tonic Sol-fa sys- hymn to St. John beginning Ut queanf
tem. laxis, these syllables happening to fall
on these 6 tones), forming the naturaT
Sol. 1. The fifth of the Aretinian sylla-
,

hexachord, (hexachor' dum natura'lc)

bles. 2. Nameof the note Gin France,
with the semitonic step at mi-fa; the
Italy, etc.
S5'llables were further applied to 2
Solem'nis (Lat.) Solemn. other hexachords, the hard hexachord-
{hex. du'runi) g a b c d e (so called be-
Solen'ne splendid, pom-
pous
(It.)
; Solemn
Solennemen'te, solemnly, etc
cause constructed with the hard B=
. . .

Solennita' solemnity, pomp.

,
. .

B'^ or B
durum), and the soft hexa-
chord {hex. mol'le) g a b\) c d (with/
f
Solfa' (It.) I. Scale, gamut. 2. Music the soft B=
'Sq ox B
molle); in each,
in general ; lai'tere la solfa, to beat the step mi-fa was in the same relative-
time. 3. A conductor's baton. position. The entire mus. scale, ex-
tended beyond that of Greek theory by
Sol-fa (Engl.) I {vert). To sing sol-
=
adding I tone below (Gamma V G),
feggi; specifically, to sing to the sol-
misation-syllables. 2 (noun). Solmisa- and 4 above, embraced 7 hexachords,
the higher ones being mere reduplica-
tion, and the syllables employed in it
a solfeggio on those syllables. Tonic ;
tions of the original 3. In the follow-
ing View, the solmisation-names of the;
Sol-fa, see Tonic.
notes will be found by reading up from
Solfeggia're (It.) To sol-fa. (and including) the letter-name ; thus-
low G was called Gamma-ui, its octave
Solfeg^'gio (It., pi. solfeg'gi; Fr. solfige.)
A vocal exercise, either on one vowel,
G sol re ut, and its double-octave like-
wise G sol re ut; B, however, was.
or the syllables of solmisation, or to
words.
called only fa or B B
mi, according as-
it occurred in the soft or hard hexa-
Solid chord. One the tones of which chord.

VlE-W OF THE GUIDONIAN HEXACHORDS.

VII. Hex. durum (with B mi)
VI. Hex. molle (with B fa) ut
V. Hex. naturale ut
IV. Hex. durum (with B mi) ut
III. Hex. molle (with B fa) ut fa
II. Hex. naturale ut re I

I. Hex. durum _u^ fa

Modern letter-name G
Medieval

When a njelody 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 instr.s, 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'losanger (Ger.) A solo singer..
ing significance of jSjj and B'Q), and S</ lospieler a solo player So'lostim-
, .

=
. .

usually after fa (soi re) in ascending me, a solo part or voice.

and after mi (re
la) in descending.
Sombrer (Fr.) In vocal music, to give
These mutations exhibit a dawning of
to the tones, for dramatic effect, a
the modern idea of modulation, the
sombre, veiled, yet intense expression.
final victory of which, in establishing
the major and minor modes and freely Som'tna (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; also 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 17th 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 Sona'bile (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- instr.) . . . Sonare alia men'te, to impro-
cedisation or Bobisation), Pedro d'U- vise.
renna in 1620 (ni for si), Hitzler of
Sona'ta (It.; Fr. and Ger. Sona'te.) The
Stuttgart in 1628 (la, be, ce, de, me,
original Italian word, suona'ta, meant
fe, ge, called Bebisation), Graun in
any instrumental "sound-piece" in
1750 (da, me, ni, po, tu, la, be,
contradistinction to a canta'ta (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
ousted the original ut (comp. Do). In
sacred use respectively. The modern
Sonata (comp. Form) is an instrument-
both France and Italy the syllables
al composition in 3 or 4 extended move-
have, in everyday usage, quite sup-
ments contrasted in theme, tempo, and
planted the letter-names of the notes,
raood. . .Sonata-form, see Form...
which are employed in Germany, Hol-
Double sonata, a duo for 2 solo instr.s,
land, England, and the United States.
in sonata-form.
So'lo (It., "alone".) Properly, a piece
Sonatil'la (It.) A short, easy sonata.
or passage for a single voice or instr.
by extension, any non-concerted piece Sonati'na (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 arr. 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 Sonabile.
circumstances, either "violin alone", Song. I. (Ger. Gesang; Fr. chant; It.
or " 1st violin " (accompanied). Solo can'to) Vocal musical expression or
organ, see Organ, .Solo pitch, a scor-
. utterance.
2. (Ger. Lied; it. chanson;

datura temporarily employed by a solo It. canzo'ne.) A short lyrical or narra-

player for obtaining unusual effects. . tive poem with a musical setting char-
Solo quartet, (a) a quartet consisting of acterized by a structure in simple
4 singers (4 "solo voices"); (b) a com- periods. Songs may be divided, ac-
position or passage in 4 parts for 4 cording as they are classed as spon-
singers ; {c) a non-concerted composi- taneous popular productions or the re-
1 84 SONNANTE SOSPIRANDO.
suit of artistic inspiration, in 2 broad treble, has a normal compass from r' to a'
groaps, /olk-son^sSLnd art-songs, though T^. all tones of which, ex-
'

the former were doubtless originally I / cept t.'-e extremes, are

'

conceived by specially gifted singers of

earlier times, and the latter are fre-
$
_ J!
chest-register
common to both the
and head-register ; solo
quently written with studied simplicity voices often reach above c^, and pheno-
{volks' thiimlicK). Further, art-songs menal ones up to g'^ or even c^. 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
at most in the final one), or composed- [alti natura'li, tenori'nt], and castra'-
through (see Durch' komponieren). ti). Soprano dramma'tico, a female
The so-called song-form. (Ger. Lied'- soprano of dramatic power Soprano . . .

form), either vocal or instrumental, has leggi/ro, a light sopra.DO ... 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
Sonnante (Fr.) Same
as Stahlspiel, or of soprano quality. Soprano sfoga'to, . .

Lyre 2. -The steel bars are sometimes see Sfogato ... Soprano-clef Ihe C-clef ,

replaced by fixed bells. on the first \me.. .Soprano string, the

chanterelle.
Sonner le tambour (Fr., " to beat the
drum " also rouler.) Said of the G- Sordamen'te (It.) With a veiled, muf-
;

string on a 'cello when a jarring sound fled tone.

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
(peal or chime of bells). 2. A military pipes which could be opened and closed
at will.
call or signal.
Sordi'no (It., p\. sordini; Ger. pi. Sordi'-
So^no (It.) Sound tone. ;
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 le'vano i sordini,

take off the
a sounding-board provided with bridges mutes.
2. Damper(of thepfte.); senza
over which 2 strings may be stretched. sordini, with damper-pedal so used by ;

Sonoramen'te (It ) Sonorously, reso- Beethoven, who employed con sordini

nantly, resoundingly. to express the release (raising) of the

Sono'ro With a sonorous, ringing

(It.)
damper-pedal, instead of ^. 3. kit. A
tone Sonoramen'te, sonorously, res-
. . .
Sor'do,-a (It.) Muted ; as clarinetto
onantly, resoundingly. Sonorita' , con, .
sordo, tromba sorda.
sonorously, ringingly. . .5ooV, sono- Sordo'no (It.; Sordun'; Fr. sor-
Ger.
rous, resonant (pi. le note implied). ; done.) I. An
wood-wind instr. re-
obs.
Sonor'ophone. A variety of bombardon. sembling the bombard, with a double
reed and 1 2 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 16-foot pitch and muffled tone.
corda, .Co' me sopra, as
on one string.
above. .Nella parte di sopra, in the
.
.

Sordun' (Ger.) See Sordono. Also, a

higher (or highest) part. mute for the trumpet, in the shape of a
perforated disk of wood.
Sopran' (Ger.) Soprnno Sopran' . . .

schliissel, treble-clef . . . Sopran' stimme, Sorg'faltig (Ger.) Careful, cautious.

soprano voice or part. (Also adverb^
Sopra'na corda (It.) The chanterelle. Sorti'ta (It.) i. A closing voluntary.
(St. and B.) 2. The first number sung by any of
Soprani'sta (It.) A soprano singer the leading characters in an opera.
a male soprano {castra'to).
specifically, SospiranMo (It., "sighing, sobbing".)
Sopra'no (It.; Ger. Sopran' ;7r. dessus) A vocal effect produced by interposing
The highest class or division of the a rest between two tones in such a way
human voice. The female soprano, or as to interrupt a word of 2 or more


SOSPIREVOLE 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.) Sighing belly against the strong string-tension,
deeply plaintive, mournful. but also to transmit the vibration of the
;
strings from belly to back, thus render-
Sostenen'do, Sostenen'te (It.) See ing the whole body of the instr. reso-
Sosienu'io.
nant.
Sostenu'to abbr. sost.; superl. so-
(It.,
Soupape (Fr.) Valve.
stemiHs' simo.) "Sustained, prolonged";
sometimes implying a tenuto, at others Soupir (Fr.) A quarter-rest ... Z^ct?;/-
soupir, an eighth-rest . Huitihme de
a uniform rate of decreased speed e. g. ;
. .

andante sostenuto. .PiU sosienuto^ .

soupir (or demi-quart
de soupir},
equiv^. to meno mosso. Standing alone, 'i2nd-icest.
xsst.
. .Quart de
soupir, a i6th-
Seizieme de soupir, a 64th-rest.
as a tempo-mark, it is nearly equiv. to . .

andante. (Fr.) Same as Sordellina. Sourdeline

Sostinente pianoforte. A pfte. in which 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. as pddale celeste (of the pfte.) 4. For-
Sot'to (It.) Below, under. . . Sottovoce,
merly, a spinet (or lute) of veiled, muf-
fled tone.
in an undertone, aside . . . Sottodomi-
nan'te, subdominant. Sous (Fr.) \iTiAt'c,ht\ovf...Sous-chan-
tre,subcantor Sous-dominanie, sub-
Soubasse (Fr.) Subbass. . . .

dominant Sous-mMiante, . submedi-

. .

Soubrette In comedy and comic

(Fr.) axit. . .Sous-tonique, subtonic, leading-
opera, a maid-servant or lady's-maid, note.
of an intriguing and coquettish charac-
ter ; applied, by extension, to various
Space. Ztvisch'enraum; Fr. es-
(Ger.
light roles of this or a similar type.
pace; In the staff, the in-
It. spa'zio.)
terval between 2 lines or leger-lines.
SoufHet (Fr.) The bellows (of an organ, (See Xeger-space.)
harmonium, eic). .Soiiffler, to blow. .

bellows with all ad- Spal'la (It.) Shoulder. . . Vio'la da spal-

. . Sotifflerie, the
5o^^m)-, (a) organ-blower; la, see Viola.
juncts. ..
{b) prompter (fern, souffleuse). Spa'nischer Rei'ter (Ger.) See Durch-
s tec her. Spanisches Kreuz, sign ( x )
Sound. See Acoustics. . .

of the double-sharp.
Soundboard, i. (Ger. Resonant boden;
Fr. tabk d' harmonic; It. ta'vola armo'- Spar'ta, Sparti'ta, Sparti'to (It.),

nica.) The thin plate of wood placed Spar'te (Ger.) A partitura.

below or behind the strings of various Sparti're (It.) To write out in score.
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 beify.
2. (Ger. Pfeifenstock; Fr. pied du
Spass'haft (Ger.) Scherzando.

tamis cT orgue; It. casso'ne.) In the Spa'tiura (Lat.), Spa'zio (It.) A space.
organ, the cover of the windchest, in Sperr'ventil (Ger.) See Ventil 3.
which the feet of the pipes are inserted. Spezza'to (It.) Divided.
Sound-body, Sound-box. as Same Spiana'to,-a (It, "leveled".) Smooth,
Resonance-box . Sound-bow,' Has thick
. .
even, tranquil ; nearly equiv. to senza
rim of a bell, against which the clapper passions.
&\x\kes, .-.. Sound-hole a hole cut in the
Spicca'to (It., " separated".) See Spring-
,

belly of a stringed instr. to enhance the

ing bow.
resonance Soundpost. (Ger. See'le,
Stimm' stock; Fr. dme; It. a'nima.) In Spiel (Ger.) Playing ; style (of playing).

the violin, etc., the small cylindrical . Spiel' art, (a) style or method of play-
.

wooden prop set inside the body, be- ing ; {b) touch (of a keyboard instr.).
tween belly and back, just behind (near- . . Spiel' b<],r, handy to play (on vio-
i86 SPINA STANZA.
Hn); playable (as a passage or piece). Squillan'te (It., from squil'la, a little

. Spie'len, to play
. Spie'ler, player. ;
. bell.) Ringing, tinkling.
Spiel' leute, (a) wandering fiddlers, etc., Sta'bat Ma'ter. See Sequence.
of the middle ages {b) the drummers ;
Sta'bile (It.) Steady, firm.
and fifers of a military band opp. to ;

Hautbois'ten. Spiel' manieren, instru-

. .
Stacca're (It.) To make staccato.
mental graces. Spiel' oper, light opera,
. . Stacca'to (It.; superl. staccaiis'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
Spi'na (Lat.) Quill (of a spinet).
or sung are more or less abruptly dis-
connected. The ordinary staccato is
Spin'et. spinefta; Fr. ipinette;
(It. marked by round dots over or under
Ger. Spinett'.) An obs. keyboard instr. the notes a sharper staccato, by wedge-
;

like a harpischord, but smaller. Also shaped dashes (the marteU 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 (Ger.) i. Point (of the bow). nisten (Ger. pi.) Salaried town-musi-
Sp.
,

Often abbr. 2. Toe (in organ- cians, belonging to a privileged guild

playing). which originated in the 15th (?) century,
Spitz'flote (Ger.) In the organ, an open and under obligations to furnish music
flue-stop of organ-metal, tin, or wood, for civic ceremonies their leader had
;

of 8, 4, 2, and i-foot pitch tone some- ;

the title of Sladt'musikus. {Also Amts'-
what thin, but pure and reedy. The pfeifer, Kunst'pfeifer.")
pipes are conical, whence the naipe. Staff, Stave. (Ger. Li'niensystem, Sys-
(Also Spill'flote, Spin'deljldte; Lat. tem' ; Vr.port^e; It. ri'go.) The 5 (in
ti'bia cus'pida.) Gregorian music 4) parallel horizontal
Spitz'harfe (Ger.; It. arpanefta^ A lines used in musical notation Grand . . .

small triangular harp (psaltery^ to be or Great staff, one of 11 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 op-p.to Alpha- ;

treble strings on the other. Also called betical notation (q. v.). Compare iVtf^o-
Harfeneii' , Flii'gelharfe, Zwit' scher- tion.
harfe. [Riemann.] Stagio'ne (It.) Season.
Spitz'quint (Ger.) The quint of the Stahl'harmonika (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 ( ). Nobe in 1 796 Slahl' spiel, see Lyre 2.

. . .

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- key, in its fundamental position also ;

lowed to drop on the string, its elasti-
city then causing it to rebound and quit
the string between each two tones.
There are 2 varieties (l) the Spicca'to,
sometimes denotes any fundamental or
inverted chord belonging to the given
key, i. e. any chord not altered or sus-
:
pended. . Stamm'ton, natural tone.
. .

indicated by dots over the notes, and Stamm' tonleiter the typical diatonic
,

played near the middle of the bow with scale of C-major.

a loose wrist, for rapid passages in
equal notes
(2) the Salta'to, with a
:
Stampi'ta (It.) A song with instrumen-
tal accomp.
longer fall and higher rebound, gener-
ally employed when several equal notes Stand'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 more 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, colla parte. 3. Organ-
similar groups, a poem, or a part of one. stop (generally in compounds). 4.
Stimm'ansatz, the attack

Staple. In the oboe, etc., the metallic Soundpost . . .

tube which carries the double-reed, and of a vocal tone Stimm' bander, vocal . . .

conveys the vibr. of the latter to the cords. Stinim'bildung, training or de-
. .

velopment of the voice Stimm'briich,

body of the instr. . . .

breaking of the voice, mutation...

Stark (Ger.) Loud, forcible, vigorous ; Stimm buck, part-book Stim'men, to . .

J'.trte. (Also adverli.) .Stdr'kei\ louder,

.
tune to voice (an organ) Stim'mer, . . .
;

stronger; fih forte. (a) tuner (b) drone (of bagpipe) . .

;

Stave. See Staff. Stimm'fote, pitch-pipe. Stimm fiih- . .

rer, leader in a 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 - -holz- . . . Stimm' holz,
by pressing the root of the tongue too chen, soundpost. Stimm' horn, XVinva%- . .

far back into the pharynx. cone Stimm' keil, tuning - wedge
. . . . .

Stech'er (Ger.) A sticker. Stimm' krilcke, tuning-wire Stimm'- . . .

mittel, vocal powers, capacity. Stimm' .

Steg (Ger.) Bridge.
.

pfeife, pitch-pipe Stimm'ritze, glot- . . .

Stem. (Ger. Hals; Fr. queue; It. gam'- tis .. Stimm'stock, soundpost (violin)
.

bo) The vertical line attached to a wrest-plank (pfte.). , .Stimm' urnfang,

note-head
(J ^, etc.) Also Tail. compass of the voice . . . Stim'mung,
Stentan'do (It.) Dragging and heavy, {a) tuning ; accordatura ;
(b) pitch ;

ritenu'to e pesan'te. Also Stenta'to. Stimmung halten,\.o keep in tune; (f) a

mood, frame of mind Stim'mungsbild,
Step. (Ger. Schritt.) melodic pro- A a "mood-picture", short characteristic
;

gression of a second (either major,

Stimm' werkzeuge, vocal organs.

minor, or aiigm.) Also, often used as
piece. . .

Stinguen'do (It.) Dying away.

synonymous with degree and, further, ;

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 (Ger.) Bundle of 30 strings.
chromatic second Diatonic step, a
. . .

Stock'chen des Hal'ses (Ger.) "Heel"

progression between conjunct degrees
of violin, etc.
of the diatonic scale.
Stock'fagott (Ger.) Same as Rackeit.
Ster'bend (Ger., "dying"). Morendo.
Stock'flote, same as Czakan. . .

Ste'so (It.) Extended, prolonged steso ;

Stol'len (Ger.) See Strophe.
moto, a slow movement.
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. {Gsx Regis' terzug; Fr. .

of the hands and fingers of players on registre; Tha{ part of

It. regi'stro.')

keyboard instr.s.
the organ-mechanism controlling the
admission of wind to the grooves be-
Sticca'do, Sticca'to (It.) Xylophone.
neath the pipes. 2. (Ger. Regis'ter;
Sticker. See Organ. Fr. jeu dorgue(s); It. regi'stro^ set A
Stie'fel (Ger.) Boot (of a reed-pipe). or row of organ-pipes of like character,
Stem neck arranged in graduated succession.
Stiel (Ger.) ; (of violin.)
These are called speaking or sounding
Stil (Ger.), Sti'le or Sti'lo (It.) Style.
stops; they are classed as Flue-work
Still'gedackt (Ger.) A soft-toned stopped (having flue-pipes), and Reed-work,
organ-register. (having reed-pipes) the flue-work has ;

Sti'lo Style... 5'. osserva'to, strict

(It.) 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 accorap. in organ-tone (b) Gedackt-work, having,
;

chords ; a style originating toward the covered (stopped or plugged) pipes

close of the i6th century. and (c) Flute-work, including all flue-
 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-
stop, one having at least one pipe for
each key of the keyboard to which it
sage in or part of apiece. 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 of its register is controlled by Strascican'do (It.) Dragging, drawl-

ix different stop-knob from the upper, ing. (Also strascinan' do ; strascinando
and generally bears a different name. .
Varco, drawing the bow so as to bind
Flue-stop, one composed of flue-pipes. the tones.)
..Foundation-slop, 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 X-ik^. .Mixture-stop, .
tric, fantastical,
one with 2 or more ranks of pipes, thus
producing more than one tone for each
StraVagan'za (It.) An extravaganza.
key (as the Mixture, Carillon, Cornet, Straw-fiddle. See Strohfiedel.
Cymbal) Mutation-stop, one produc-
. . . Strei'chen (Ger.) (draw the i. To bow
ing tones a major 3rd or perfect 5th bow across).
cut (as a scene in
2. To
(or a higher octave of either) above an opera) Strei'chend (Ger.
. . . lit. ;

the 8' stops (as the Twelfth, Tierce, " 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 . . .

Seed-stop, one composed of reed-pipes. Regis' ter, in the organ, stops with string-
. . Solo-stop, any organ-stop adapted for tone Streich'instrumente, bow-instr.s.
. . .

the production of characteristic melodic . . Slreich' orchester, string-orchestra,

effects, whether on the solo organ or the strings "... Stretch' quartett, -trio,
'
'

not. Sounding or speaking stop, a stop

. string-quartet, -trio. .Streich' zither, .

proper, having pipes and producing bow-zither.

musical tones. 3. On a violin, etc., Streng (Ger.) Strict, severe. (Also
pressure of a finger on a string, to vary
adverb^
its pitch a double-stop is when 2 or
;

more strings are so pressed and sound- Stre'pito (It.) Noise. Strepitosamen'
. .

ed simultaneously on wind-instr.s ; te, strepito'so, in

impetuous style.
a noisy, boisterous,
with finger-holes, the closing of a hole
by the finger or a key, to alter the Stretch. On a keyboard or fingerboard,
pitch
on wind-instr.s of the trumpet
; a wide interval whose tones are to be
family, the partial closing of the bell by taken 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.
Stop {verb). To vary the pitch of instr.s strette; Ger. Eng'filhrung.) " 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 ; opp. to open Stopped pipes, . .
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 ... 5.
maestra'le, one constructed in strict
Stop'fen To stop (bell of horn
(Ger.) canon. .Alia stretia, in, or after the
.

with the hand) Stopf'tone, stopped . . .

manner of, a stretto. .Andante stretto,

.

tones, " hand-notes" (horn). same as andante agitato. 2. A con-

Stop-knob. The projecting handle of a cluding passage taken^ to enhance the
Stop I. effect, in faster tempo.
 .

STRETTE STUFE. i8g.

Strette (Fr.) Stretto 5. magistrak,. . . These are the most usual combinations,
same as Streito maestrale. which may be variously extended to
Strich (Ger.) i. Stroke Strick'art, ;
form string-sextets, septets, etc. 2.

Bowing 2. 2. A line, dash, or stroke. The string-group in the orchestra, when
3. A " cut". considered as composed of (l) ist and
2nd violins, violas,
" noisy," " harsh".) (2) (3) (4) 'cellos,
Striden'te (It. ; In
and double-basses
(5) called string- ;

pfte. -playing,
equiv. to viartellato
quartet when considered as composed
(comp. Beethoven, op. 76, Var. VI). and
of (i) violins, (2) violas, (3) 'cellos,
String. (Ger. Sai'te; Fr. co?-de; It. cor'-
(4) double-basses.
da.) The materials chiefly used for
Stringy. Having the quality of tone
manufacturing musical strings are gut ("string-tone") peculiar to bow-instr.s.
(entrails of lambs and sheep), cast
steel (drawn out for piano-strings, etc.),
Striscian'do (It.) Gliding, smooth,
legato.
silver (mostly for covering or winding
spirally around a core
steel wire or Stro'fa (It.) Strophe.
silk cord
to make the string thicker Stroh'bass (Ger.) The deep, husky
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'fie^
. . . .

Strings, technical term for the string- del, the xylophone.

group in the orchestra. .First string,
Stroke. The sweep (fall and rise) of a
.

the highest of a set . Open string, one

. .

digital or pedal.
not stopped or shortened Silver . . .

string, one covered with silver wire . Strombetta're (It.) To sound a trum- .

Soprano string, the chanterelle. pet. Strombettie're, trumpeter. . .

Stringed instruments. Sai'ten- (Ger. Stromenta'to (It.) Instrumented.

instrumente; Yr. instruments a cordes; Stroraen'to Instrument. .5. da
(It.) .

It. stromen'ti da cor'da.) All musical arco, bow-instr. .S. da corda, stringed.

instr.s whose tones are produced by instrument ... 5. da Jia'to (di ventd),
strings, whether struck, plucked, or wind-instr .S. da ta'sto, keyboard in-
. .

bowed. See Instruments, str... 5. di le'gno, wooden instr. ..5.

Stringen'do (It.) Hastening, accelerat- di metal' lo, 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'trophe being what was sung
String-organ. A
keyboard instr., pro- when turning from left to right, the
vided with a series of free reeds con- ep'ode then following. 2. A recurrent
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
plan equivalent to stanza in modern
are sympathetically affected by the vi- ;

brations of the reeds. The tone is pure

poetry. the
3. The former
latter then being called the
of two such
groups,
and sweet, the instr. combining in a de-
antistrophe (see above) The Strophe,
gree the qualities of the harmonium
. . .

and pfte. Also compare art. Saitenor- Antistrophe, and Epode of the Greek
tragic chorus and Pindar's odes, closely
gel.
correspond to the 2 Stollcn and the
String-quartet. A quartet for 1st and Abgesangoi\h& German Meistersinger;
2nd violin, viola, and 'cello hence, ;
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-
;

group in the orchestra (see String-quin- Stuck (Ger.) A piece ; a number (as

tet).
on a program).
String-quintet, i. A quintet for 2 vio- Study. (Ger. Stu'die [pi. Stu'dien\, or
and 'cello or for 2 vio- EtU'de [pi. Eta' den']; Fr. /tude; It.
lins,* 2 violas, ;

and 2 'celli or for 2 vio- stu'dio.) See Atude.

lins, I viola, ;

lins, viola, 'cello, and double-bass. Stu''fe (Ger.) A degree... Stu'Jenweise

I go STUMM SUITE.
Fort'schreiiung, 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
Stumtn (Ger.) Dumb . . . Stum'mes Kla-
chord.
vie7-\ dumb
piano Stum' me Pfei'fe, . . .

dummy pipe Stum'mes Regis' ter,

. . . Subprincipal. A subbass (pedal-) stop
mechanical stop. of 32-foot pitch, of the open diapason
class.
Stur'misch (Ger., "stormy".) Impetu-
ous, passionate. (Also adverb^ Subsemifu'sa (Lat.) A 32nd-note(medie-
val).
Stur'ze (Ger.) Bell (of wind-instr.s). .

Stur'ze in die Hoh'e^ "turn the bell Subsemitone. The subtonic, or lead-
upwards !" ing-tone (Lat. subsemilo'nium modi).^
Stuttgart pitch. That proposed by Substitution. In contrapuntal progres-
Scheibler at the -ft to make sion, the resolution (or preparation) of
Stuttgart Congress
in 1834, the 3' 'tr
g3~ 400 vi-
b rations
^ a dissonance by substituting, for the
proper tone of resolution (preparation),
per second at a temperature of 6g its higher or lower octave in some other
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 Soave. . .Suavit^', con, quence.
suavely, sweetly. Sufflote (Ger.) See Sifflote.
Sub (Lat.) Under. Suffoca'to (It., " suffocated".) Damped,
Subbass', Subbour'don. An organ- muffled.
stop of 16 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-
Subcantor. 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

Subdiapen'te. In medieval music, the the practice of the town-bands, during

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. the tone below the dominant in a
e.
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 17th century by com-
^\ac\i\y VoltV subito (abbr. V. S.),
. . .
posers as a form of clavier-composition
turn over quickly. .
.Jt 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
sogget'to.) 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, proposia, Kamrnersuiten of the latter mark the
etc.)
Compare Soggetto. culmination of the old suite-form. The
Subme'diant. The third scale-tone below earlier artistic Suites have 4 principal

the tonic ; the 6th degree. movements or divisions The AUe- :

mande, Courante, Saraband, and Gigue;

Suboc'tave. The
octave below a given other forms introduced at will (inter-
tone. Suboctave-coupler, an organ- mezzi) are the Bourree, Branle, Ga-
coupler bringing into action keys an
votte, Minuet, Musette, Passepied,
octave below those struck, either on the Loure, Pavane, etc. such an intermez-
;

same manual or another. zo was usually brought in between the

Subordinate chords. Chords not fun- Saraband and Gigue, rarely before the
 SUIVEZ SWELL. 19:

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 Colla X X

parte. Also, "continue," "go on" (i. 4- J !
J- =d=
e., in like manner); simile.
Sujet (Fr.) Subject.
Sul, sull', sul'la, sul'le (It.) On the,
near the (all contractions of sa, on,
with the definite article)
La, on the ^-string.
Siilla corda
Sulla tastie'ra,
. .
. . .
m-
Double
^
suspension, one in
(triple)
near or by the fingerboard. .^wZ/ffw- . which 2 (3) tones are suspended. The
ticel'lo, near the bridge (see Ponticello). suspended tone itself is also termed a.
Summational tone. See Acoustics, 3, 6. suspension.

Suona're (It.) Same as Sonare. Suon- Suspi'rium . .

(Lat.) A quarter-rest;' in

see Sonata. .Suo' no,

mensurable notation, a minim-rest.
a'ta, . sound,
tone ; suoni armo'nici, harmonics, Suss (Ger.) Sweet(ly).
flageolet-tones. Sustain. To
hold during the full time-
Super (Lat.) Above, over. value (of notes) ; specifically, to per-
form in sostenuto or legato style. . Sus-
Superdominant. The 6th degree
major or minor scale.
of any
tainednote, see Organ-point. Sustain- .

ing-pedal, see Pedal.

Superfluous. (Fr. superjlu.) See Aug-
Sus-tonique (Fr.) Supertonic. (Also
mented,
Sutonique^
Supe'rius (Lat.) Formerly, the highest
Susurran'do, Susurran'te (It.) In a
part.
whispering, murmurous tone.
Superoctave. An
organ-stop pitched
i.
Sveglia'to (It.) Lively, animated,
2 octaves higher than the diapasons
(i. e. of 2-foot pitch). 2. An organ- brisk.
Svel'to (It.) Light, nimble.
coupler bringing into action keys an oc-
tave above those struck, either on the Swell. 1. In the organ, a contrivance
same manual or another. 3. The octave for producing a crescendo and diminu-
endo. By enclosing a partial organ
above a given tone.
(swell-organ) in a box, the front of
Supertonic. The 2nd degree of a dia-
which could be opened or shut at will,
tonic scale.
this end was attained. In the modern
Suppliche'vole, SuppHchevolmen'te (so-called Venetian) swell the front of
(It.) In a style expressive of supplica- the swell-box is composed of movable
tion, entreaty, pleading. parallel shutters (swell-blinds) when ;

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, over... Sur une
released (but comp. Balance swell-
corde, see Sopra una corda.
pedal); when vertical, they are closed
Surabondant (Fr.) See Note (Fr.)
by a spring. Formerly other devices
Suraigu, -e (Fr.) Superacute. were employed, notably the nag' s-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. cre- A
Suspended cadence. See Cadence. scendo ( ~ ), or crescendo and di-

Suspension. (Ger. Vor'halt; P"r. sus- minuendo ( = ) Swell- . . .

pension; It. sospensio' ne .) A disso- keyboard, the manual controlling the

 192 SYLBE SYMPHONY.
swell-organ, generally the one next Sympho'nion. i. A pfte. combined
above the great-organ manual Swell- . . . with an organ flute-stop, inv. in 1839
organ (Ger. [compare Ober'wer}{\ Fr. ; by Fr. Kaufmann of Dresden. 2. A
clavier de re'cit; It. organo d'espres- music-box, consisting essentially of a
sione), see Swell i, and Organ. (In graduated comb-like series of steel
organ-music abbr. Sim., or Swell.) teeth, and a thin flat metallic disk
Syl'be (Ger.) Syllable. caused to rotate by clockwork, and in
which the notes are punched in such a
Syllabic melody. One each tone of manner that short tongues of metal
which is sung to a separa:te syllable
project from the lower side of the disk ;
(Ger. silla' bischer Gesang; Fr. chant
in rotating over the steel teeth, these
syllabique') opp. to Slu?-red melody.
;
tongues engage a series of small wheels
Syllable-name. A
syllable taken as the
furnished with projecting studs, which
name of a note or tone, as Do for C; twang the teeth in the same way as the
opp. to Letter-name.
studs on the cylinder of the ordinary
Sympathetic string. string (e. g. A Swiss music-box. The instr.s are made
the octave-strings stretched over the in all sizes, and as the note-disks are
unisons in Bluthner's "aliquot grands") interchangeable, the repertory is limited
adjusted so as to be affected by the vi- only by their number (now several
brations of other strings or resonant thousand).
bodies, and not by being itself struck,
plucked, or bowed. Syraphoniste (Fr.) i. A composer.2.
Symphone'ta (Lat.) Polyphony, poly- A symphony-writer.
a symphony-orchestra.
3.A member of
phonic writing.
Symphoni'a(Gk. andLat.) i. In Greek
Sym'phony. (Ger. Symphonic', Sin-
music, a consonance. 2. (Medieval.) fonie'j It. sinfoni'a; Fr. symphonie
A name formerly applied to various from the Gk. symphoni'a, "conso-
different instr.s, as the hurdy-gurdy and nance", i. c. consonant interval.) i.
virginal. A symphony.
-3.
A form of instrumental composition de-
-Symphon'ic. (Ger. symfho'nisch; Fr. veloped from the Overture {q. v.), the
symphonique ; It. sinfo'nico.) Relating 3 divisions of which latter were separ-
or pertaining to a symphony. ..y)""- . ated towards the middle of the 18th
phonic poem (Ger. sympho'nische Dich'- century, by composers writing purely
iungj Fr. pohme syjnpho^tique), an or- orchestral pieces, into 3 distinct move-
chestral composition allied, both in ments the 4th (the Minuet) being in-
;

its length and power and variety

in the
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 receiving its inspiration from a
program {the poem; i. e. it is conceived ,
as an 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.
Symphonie (Fr.) i.
Harmony, euphony. 3.
tal accomp. 4. The
the orchestra. 5. Orchestra.
troduced by Haydn, who thus consum-
mated the modern 4-movement form
This form is identical with that of the
Sonata (comp. Foryn). 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
Symphony. 2. usual plan of the symphony is now I
An
instrumen- (Allegro [in first-movement form, often
string-group in with a slow introductory division]) II
{Adagio) ; III {Scherzo) ; IV {Allegro
;

Symphonie-Ode symphonic
(Ger.) A or Presto). Its latest development is
composition combining chorus and or- the Symphonic Poem.
2. Same as
chestra (Fr. ode-symphonie).
A
composer for
Ritornello I. 3.A medieval name for
Sympho'niker (Ger.) several instr.s, as the Hurdy-gurdy,
full (symphony- or opera-) orchestra. Bagpipe, etc.
 ;.
. )

SYNCOPATETABLATURE. 193

Syn'copate, To efface or shift the accent Tabal'lo (It.) See Timpano.

of a tone or chord falling on a naturally Tab'lature. i. (Ger. Tabulaiur'.) The
strong beat, by tjring it over from the rules and regulations for the poetry and
preceding weak beat a tone or chord ;

so robbed of its accent is termed synco-

song of the Meistersinger. 2. (Ger.
Tabulatur' ; Fr. tablature; It. intavola-
iu'm.) An obsolete system of musical
Syncopa'tion. (Ger. Syn'kope; Fr. 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 15th century till early in the
effacing the accent naturally falling on 1 8th.
The organ-tablature (also called
the latter and in most cases shifting it Cerman i.) 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 // (= B), c A
cases as an anticipation, a suspension, (= b), etc.; the melody (highest part)
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 t.) or numerals (earlier Italian
t.) indicating the frets at which the
Synem'menon. See Creek music.
strings were to be stopped, and were
Syn'kope (Ger.) Syncopation ... .S)/;^-
written on the lines or in the spaces of
kopie'ren, to syncopate.
a kind of staff, said lines or spaces
Synonyme (Fr.) Same as Homophone, 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
Syntonolyd'ian. Same as Hypolydian would therefore vary with the size of
(see Mode).
the lute, and was not a staff-notation in

Syringe (Fr.) Syrinx.

the modern sense.
Three leading fea-
tures were common to nearly all systems
Syr'inx. 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) i,he use of bars to divide the
;

2. (Ger.) See Liniensystem. measures (3) a system of signs for

;

Syste'ma (Gk.)
i. In Greek music, marking the time-value of the tones
called for by letters or figures (or of
a comparatively wide interval filled out
e. g. a tetra-
the corresponding rests), these signs
by intermediate tones ;

being written either above or below the

chord. 2. (Lat.) The staff. 3. The
latter, and signifying:
series of tones constituting a hexa-
chord. Note- Rest-
Time-Value,
Signs. Signs.
Syst^me (Fr.) I. The whole range of
musical tones. 2. The compass of any
Brevis ( M )

given instr. 1 1 Semibrevis ( (9 )

Syzygi'a (Lat.) A
chord ; specifically,
a triad... 5. compo'sita, triad with
doubled tone. S. perfec'ta, triad.
. . .
r 1 Minima
(J)
1

S. propin'qua, chord in close harmony.

. . S. remo'ta, chord in open harmony. P _P Semiminima J
(
. . .9. sim'plex, the simple triad without
doubled tones. Fusa
^ J (J*)
T.
= S B Semifusa \Js)
T. An abbr. of Talon, Tasto {f. s.
tasto solo), Tempo {a t .^ a tempo),
Tendre, Tenor, Toe (in organ-music), The hooks of consecutive equ al notes
Tre{T. C. =
tre corde), and Tutti. were often run together thus BSSSS
194 TABLE TANDELND.
or^Z Arbitrary variations from baton. . . Takt'strich, a bar. . . Tak^
these general rules were, however, of beat, count guter Taktteil, strong
teil, ;

frequent occurrence. .\ new develop- beat; schlechter Taktteil, weak beat.

ment of tablature is the Tonic Sol-fa . Takf vorzeichnung,
. Takfzeichen,
system of notation. time-signature Ein Takt wie vorher'
. . .

zwei (" one measure like two before "),

Table (Fr.) Soundboard belly. (Also
same as Doppio 7riovi7nento . Im Takt^
;
. .
table d' harmonic.) , . . Table de dessous,
a tempo.
back.
Talon (Fr., " heel"), i. Nut (of the
Table-music. See Tafelmusik.
bow.) In pedal-playing,
2. heel
Tabor. A
small drum, like a tambour- abbr. t (compare Pointe 2). Talon de
ine jingles ; formerly much
without 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
a flageolet or pipe manipulated by the
Tambour (Fr.) 1. A drum. 2. A
drummer chro-
(also Ger.) Tambour
left . Tabor et, Tabrei, a small tabor.
. .
matique, see Timbalarion . . T. de .

Tab'ulature. See Tablature. basque, tambourine. . T. roulante, the .

Ta'cent (Lat.) "Are silent". See Tacet. long drum.

Ta'cet (Lat.), Ta'ce or Ta'ci (It.) " Is Tambou'ra, Tambu'ra. An Oriental
silent"; signifies that an 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'tus (Lat.) A beat. In medieval A
French peasants' dance, in 2-j.
2.
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 minor when a semi- and pipe).
breve.
Tambourine'. (Ger.
Fr. Tamburin';
Ta'felklavier (Ger.) A square pfte. tambour de basque; tambtiri'no.) It.
Also ta'felformiges Klavier' Ta'fel- . . .
A small drum played by striking it with
musik, "table-music"; {a) music per- the right hand, consisting of a shallow
formed during repasts; {b) music so circular hoop of wood or metil with
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. cMeA jingles from the noise they pro-
Tail. Same as Stem. Tailpiece. (Ger. . .
duce. Used principally in Spam and
Sai'tenhaller; Fr. cordier, queue.) southern France as an accomp. to danc-
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-mu-
attached behind the bridge. sic, notes with wavy stems C < < call
Taille (Fr.) Tenor voice (now used only for the roll; notes with short vertical
for church-music otherwise ttfnor). ;
strokes over them Is?' # # for the
Also, the tenor violin Taille de bas- . . .

son^ same as Obo^ da caccia. jingles.

Takt Abeat. 2. A measure.

(Ger.) i. Tamburel'lo (It.) Tabor.
3. Time.
Takt' accent, measure-
. . Tamburi'no (It.) i. A drummer. 2.
accent, primary accent. Takt'art, . . Tambourine.
time, measure, rhythm Takt' erstick- . . .
Tambu'ro (It.) Side-drum ... 7>2/^.
ung, syncopation. Takt'fach, a space. . .
ro'ne, the big drum, bass drum (also
. Takt' fest, steady in time
. Takf- . . .
Cassa grande).
glied, measure-note Takf halten, to .

keep time keeping time. Tak'tieren,

.

Tamis (Fr.) Pipe-rack (organ).

; . .

to beat time Tak'tierstab, a baton.

. . .
Tam-tam. i. A gon|;. 2. A Hindu
. Takt'mdssig, in time.
. Takfmesser, . .
drum of elongated form. (Also Tom-
metronome. .. Takt' note, whole note. torn.)

. Takfpause, measure-rest. Talcf-

. . . Tan'delnd (Ger.) In - toying, banter,
tchlagen, to beat time Takt' stock, a . . . ing style.
 ,. ; ;

TANGENTTEMPERAMENT. 195

Tangent. (Ger. Tangen'te.) In the Tech'nic, Technique'. (Ger. Teck'nik.)

clavichord, a brass wedge fixed in the All 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 and 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' tenflugel (Ger.), a
. . . wrist, apart from its application in play-
clavichord shaped like a grand piano. ing), and Technik (the acquired skill
Tanti'no (It.) A
very little. little ;
and dexterity in actual performance).
Tan'to. (It.) so much As much,
too ; Tech'nicon. Afinger-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 . . . Tanz' lieder Brotherhood of Montreal, Canada.

dance-songs ; Tanz'stucke^ dance-tunes Techniphone. Earlier name of the (im-
(instrumental); the former were the proved) Virgil Practice-Clavier (q. v.)
original form of dance-music {Tanz'- Tede'sco,-a (It.) German. . .^//rt te-
musik), the latter being at first mere im- desca, in the German style the terra
'
'
;

itations of them. (Comp. Form II, 3.) '

tedesca ', says Billow, has reference to
Tarantel'la (It.), Tarentelle (Fr.) A waltz-rhythm, and invites changes of
dance of southern Italy, in 6-8 time, time ". [Quoted from Grove.] .Lira . .

the rate of speed gradually increasing, tedesca, hurdy-gurdy.

and the mode alternating irregularly Te deum. See Ambrosian Hymn.
between major and minor. In modem
music, an instrumental piece in 3-8 or Teil (Ger.) A
part. Teil'tone, partial . .

6-8 time, very rapid tempo {presto), and tones.

bold and brilliant style. Telephone-harp. An instr. so connect-
Tardamen'te (It.) Slowly, lingeringly. ed with a telephone as to render music
. . Tardan'do, Tarda' to, see Ritardan- performed at a distance audible to an
do. .. Tar" do, slow, lingering. audience.
Tartini's tone. A differential tone Telltale. See Appendix.
(comp. Acoustics). Te'nia (It.) Theme.
Tasch'engeige (Ger.) A kit. Temperament. (Ger. Temperaiur'
Tasseau(Fr.; Ger. //erz.) The "mould" Fr. temperament ; It. temperamen'lo.)
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
Keyboard, fingerboard. from their practical employment. E.
Tas'te (Ger.) Key (digital or pedal). . g. taking the tone C as a starting-point,
,

Tas'tenstabchen, fret. (The usual term. and ascending by quint-strides through

Bund, means literally the space between a series of 12 perfect fifths (C. ...5#),
two frets.) we reach a tone (.fffl) which, on instr.s
of fixed intonation (like the pfte.), is
Tastie'ra (It.) Keyboard; fingerboard.
identical in pitch with the sixth octave
. . Sulla t. , near the fingerboard (di-
of C'(<r*), but which, as an acoustic in-
rection in violin-playing).
terval, is by '*/,3 higher than c^. _
A
Ta'sto (It.) I. Key (digital). 2. similar result is obtained by descending
Fret. 3. Touch. 4. Fingerboard ;
through 12 fifths to iy^\), which proves
sul tasto, same as sulla tastiera... to be lower by '^/vs than the corre-
Tasto solo (abbr. t. j.), " one key alone" sponding lower octave of C. Now, by
a direction in thorough-bass, signifying setting C=1,
iyo\), and equally dis-
that the bass part is to be played, either tributingthe deviation '/,8 among the
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 instr.s such equal distri-
Te. For si, in the Tonic Sol-fa system.
;

bution is called equal temperament.

T6 (Fr.) Cfl (for utdiese).
Another example: The tone A\), as
196 TEMPESTOSAMENTE TEMPO-MARK.
the major, tierce below C, has the ratio discordant effect produced by chords
4:5; the tone GJ, as tierce of the containing any of these anomalous in-
tierce of C, has 25 32 ; that is, Cj, is
; tervals was called the " wolf ".
by ill = t ^ 11 lower than A\).-\i 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-
ent shades of intonation (e. g. by build-
Tempete (Fr., "tempest".) A lively
dance of modern (Parisian) origin, in
ing keyboards with separate keys for
2-4 time, and danced like a quadrille,
^ and d)y, dlj, and ^, etc., etc.), the
with some modifications of the steps.
tones in each octave of our keyboard
instr.s would evidently have to be Tem'po (It.; i. RateGer. Zeit'mass.)
greatly increased in number beyond the of speed. (CompareMovement I.

ordinary chromatic scale of 12 degrees. Tempo-marks.) 2. Time, measure ;

However, a perfect fifth ('/a) differs beat. .A tempo, or tempo prima return
. ,

from a tempered one by only about %%% to the original tempo. Tempo alia . .

[Helmholtz], an interval close to the bre've, see Breve; alia semibre've, 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 d/bole, weak beat.
. . .

few cases be regarded as objectionable. . . Tempo

di Ballo, Bole'ro, Minuet" to,
In the system of equal temperament etc., see Ballo, etc. Tempo di prima . .

the series of fifths, instead of going on fiar'te, in the tempo of the first part . .

indefinitely, returns to the starting- Tempo strong beat

for'te, Tempo . . .

point C, thus forming a circle, as it giu'sto, see Ciusta. Tempo maggio're, . .

were ; this progression from end to same as t. alia breve, Tempo ptino' re, . .

end of the series is called the Circle of T. ordina'rio, (a) 4-4 time of 4 beats
Fifths : to the measure opp. to t. alia breve; ;

(b) same as t. prima . . Tempo perdu' ta,

irregular, unsteady tempo Tempo
. . .

prima, primie'ra, see A tempo, above.

. . Tempo reggia'to, same as Colla parte.
. . Tempo ruba'ta, see Rubato. . . Tempo
tetna'rio, triple time. .Z'istes'so tempo, .

or La stesso tempo, the same tempo

indicates, at a change of rhythm, that
the pace remains the same. (Comp.
Istesso .).
Seitza tempo, same as a
.

piace're.

Tempo-mark. (Ger. Tem'pobezeichnung^

FWi,
Unequal temperament is a system 'in
which the excess in the series of fifths
is not equally apportioned, some inter-
vals being purer, and others less pure,
than in equal temperament. In the
mean-tone system, once extensively emr
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
A word or phrase indicating the pace
or speed of a movement, and thus
establishing the absolute time-value of
the notes.
Generally accepted tempo-
marks were hardly known before the
beginning of the 17th century, and
were used sparingly until the l8th.
There are 3 classes : (i) indicating a
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 ;

too flat, making the 12th in the series the sake of precision, a metronome-
about 2 commas out of tune, this mark is often added to the tempo-mark
;
error being usually laid upon the fifth e. g. "Adagio, M. M. 56," sig- J=
.1 the system also had 4 thirds nifies a tranquil movement in which a
~_^^ which were too sharp by near- quarter-note has the time-value of one
*j ly the same interval. The beat of the metronome set at 56. Fur-
 TEMPORISERTENORIST, 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.
Largaraen'te Group I. . . Teneramen'te, or con tenerez'za,
Larghet'to General tenderly, delicately; nearly equiv. to dol-
Gra've (heavy, dragging) signification
ce, but with somewhat more of passion.
Len'to (slow) of terms is
Adagjis'simo SLOW. Teneur (Fr.) The canto fermo in a
Ada'gio (slow, tranquil) choral or hymn-tune.
Adagiet'to
i.ndantrnOj Ten'or. (Ger. Tenor' ; Fr. tinor or
i. The high nat-
/ Andan-ie (^moving, going along) taille; It. teno're.)
[Modera'to] ural male voice. The Germans dis-
Allegret'to Group II.
Allegramen'te General tinguish 2 classes of tenors, the Hel'-
Allegro (brisk, lively) [con signification dentenor (dramatic tenor), and ly'rischer
nio'to, viva'ce] [agita'to, of terms is Tenor (lyric tenor) ^. ; |

appassiona'to] FAST. the compass of the ^' * -J

Pre'sto (rapid) [con fuo'co,
velo'ce] former is from c to iJ't>
Prestis'simo the voice full and powerful throughout,
with a barytone timbre the range of
CLASS II.
;

(Indicating acceleration.)
the latter is ST;-/
. ^1-^- \ ^ e

about from ss r^g)=p ^'T' Xo-n-
Acceleran'do (gradually accelerating)
accelerating, usually
d to c^ (^'fl) " XT
e s t
'

AffleftTnMolt^"*^ tones usually rather weak, the high tones

with a crescendo.)
fncaSdof brilliantand the timbre generally bright
,

Dop'pio movimen'to (twice as fast)

Pii mos'so (a steady rate of speed, /aster
I
and pleasing. The Italian terms near-
Velo'ce f than preceding movement) ly corresponding to the above are (i)
teno're robu'sto, tenore di for'za, and
CLASS III.
(2) tenore di gra'zia, t. leggie'ro; but
(Indicating a slackening in speed.)
they are very variously and arbitrarily
Rallentan'do
Ritardan'do employed. 2.
The part taken by a
Largan'do tenor voice hence, by transference, a
;
(gradually growing slower)
Tardan'do prefix to names of instr.s taking parts
Slentan'do
Strascinan'do
of similar compass, as tenor trombone;
Rltenu'to
Me'no mos'so
( (a sudden drop
of speed)
to a slower rate specifically, the tenor violin (viola).
Tenor (from Lat. tenere, to hold),
3.
Calan'do
originally "a holding, holding fast",
DeficienMo
Mancan'do was applied to the melody (as the un-
(growing slower and softer)
Moren'do changing part) of the Gregorian chants
Sminuen'do sung by men, and hence to the high
Smorzan'do

Temporiser (Fr.) To play an accomp.

male voice. 4. In medieval music,
tenor also signified (3) a hold (b) ;

colla parte. ambitus (of a mode) (c) the initial ;

Temps (Fr.) 'B&a.t. . .T. faibU {secon- tone of the EVOVAE. Tenor-C, small
daire), weak beat ; t.fori {sensible), c. . . Tenor-clef, see Clef. . . Tenor vio-
strong beat. lin, the viola.
Tempus (Lat., "time".) In medieval Teno're (It.) Tenor \...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

Alteration). The tempus perfectum the contralto in timbre. . T. di for'za, .

di gra'zia, leggie'ro, robu'sto, see Tenor

(sign O)i "'^s '^^
original kind, in
which the breve was equal to 3 semi- I.
T. di mezzo carat' tere, a tenor
breves ; in the tempus imperfectum voice of barytone timbre (see ffelden-
introduced, the breve tenor, under Tenor l).
(sign C ) l^'^""
had the value of 2 semibreves. (Comp. Tenori'no (It.) Afalsetto tenor voice
Notation, %%), .Tempus bina'rium or singer ;
specifically, a castrato.
(iema'rium), duple (triple) time. Tenorist' (Ger.; Fr. te'noriste; It.

Ten'ebrae (Lat. pi. ,

" gloom, darkness ".) tenori'sta.) Tenor-singer.
igS TENOROON TETRAPHONY.
Tenoroon'. The oioe da caccia. Chladni's clavicylinder,
instr., similar to

Tenor'schliissel, -zeichen (Ger.) Ten- with wood substituted for glass as the
or-clef.
tone-producing medium inv. by J. D. ;

Buschmann of Berlin in 1816.

Tenth. (Ger. De'zime; Fr. dixUme; It.
de'cima.) i. An interval of an octave
Ter'tia (Lat.) A
third or tierce. . . Ter-
plus 2 degrees.
2. Same as Decima 2.
tia modi, 3rd degree of a scale.
Tertian'. (Ger. Tertian zwei'fach.)
Tenu, -e (Fr.) Held, sustained.
An organ-stop consisting of a tierce
Tenue (Fr.) A sustained tone, or organ-
and larigot combined.
point.
Terz (Ger.), Ter'za (It.) The interval
Tenu'to (It, " held direction sig-
".) A of a third.. . . Terza ma' no (It., " third
nifying (a) generally, that a tone so Terzade'-
hand "), an octave-coupler. . .

marked is to be sustained for its full cima Terzde'zime (Ger.), the in-
(It.),
time-value and {]>) occasionally, legato. Terzdezimo'le
;
terval of a thirteenth . . .

..Forte tenuto (ften.), forte through- Terzett' (Ger.),

(Ger.), a tredecuplet. . .

out. . . Temito-mark, a short stroke over

Terzel'to (It.), properly, a vocal (sel-
a note, with signification as at (a).
dom an instrumental) trio now gener- ;
Tenule \le note implied], [the notes]
ally called Trio. Terz'flote (Ger.), a . .

sustained or held. small transverse flute pitched a third

Tepidamen'te (It.) In an even, unim- above the ordinary ?i\A& Terzi' na . . .

passioned style. (It.), a \x'vp\&1 Terzo suo'no (It.), a

. . .

Teponaz'tli (Aztec.) A species of drum differential tone Terzquartsext'ak- . . .

still used by the aborigines of Central kord (Ger.), chord of the third, fourth,
America and Mexico. It consists of a and sixth 4 . . . Terzquintsext' akkord
section of a log (left round in the ruder
(Ger.), chord of the (third), fifth and
specimens, but carefully squared in the
more artistic ones) in a horizontal posi- sixth ,5^. . . Terz' tone {Ga., pi.), tierce-

tion, from 2 to 5 feet long, hollowed tones.

out on the under side so as to leave the Tessitu'ra (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 ^
The 2 tongues left
.
Te'sto (It.) I. See Soggetto. 2. Same
between, when struck by the sticks,
as Libretto.
yield 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 Tet'rachord. i. A 4-stringed instr.
to mark the rhythm, and as an imper- 2.The interval of a perfect fourth. 3.
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 . Tetrachor'dal, relating to or consist-
.

elastic gum. ing of tetrachords Tetrachordal sys- . . .

Ter (Lat.) Thrice ; indicates that a pas- tem, the original form of the Tonic Sol-
sage, or (in songs) a verse or part of fa system.
one, is to be repeated twice. (Also comp. Tetrachor'don (Gk.) 1. tetrachord. A
, Bis.).. Ter unca, the 3-hooked semi-
.
A variety of
2. the piano-violin.
fusa. Tet'rad. A name suggested, but not to
Terce. i.Tierce 4.
See 2. The 3rd any extent adopted, for chord of the
seventh; analogous to Triad.
of the canonical hours.
Tercet (Fr.) A triplet ;
in poetry, a Tetradiapa'son.
octaves.
interval of 4
(Also quadruple diapason,
The
group of 3 rhyming lines.
octave, or eighth^
Ter'nary. (Fr. iemaire; It. terna'rio')
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. 199

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,

absolute.
Theil (Cler.) See Teil.
A Thumb-position. One of the high po-
Thematic composition. style based
sitions in 'cello playing, in which the
on the contrapuntal treatment or de-
velopment of one or more themes.
thumb quits the neck of the instr.

Theme. (Ger. 'The'tna, Fr. Mme;

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 organ-stops .T. titri- . .

form, proposed as a groundwork for cula'ris, the bagpipe . Tibi'cen (pi.

. .

elaborate variations (tenia con varia- iibi'cines), a flute-player.

zio*ni). Tie. (Ger. Bin'debogen; Fr. liaison;
Theor'bo. (Ger. Theor'be; Fr. theorbe, It.fa'scia.) A
curved line joining 2
It. tior'ia. 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 17th century, the bass strings (ac- united time-value . . Tied notes, (a)
.

companiment-strings, diapasons) of notes joined by a tie (b) notes (like ;

which were not stopped on the finger- eighth - notes, i6th- notes, etc.) the
board, but were stretched beside it to a hooks of which are run togeth er in on e
separate peg-box, which latter, in the or more thick strokes, e. g. J J J ^.
theorbo, lay next to the other, though
Tief(Ger.) Deep, low, grave.
somewhat higher up in the head. In
its day it was an important member of Tier. Same as Panh (organ).
the orchestra. (Comp. Lute.) Tierce, i. Same as Third. 2. The
The'sis (Gk.) The down-beat, strong fourth harmonic 3. In
of a given tone.
beat. the organ, a mutation-stop pitched a.\
Terz; Fr. tierce; It. octaves above the diapason now used, ;
Third. (Ger.
ter'za.)
See Interval. The third in a if at all, as a component of a mixture-

diatonic scale is also called the mediant.

stop. 4. One of the canonical hours
Pitch, 2.
. . Tierce-tones, see

Thirteenth. An interval embracing an

Tierce i and \. ..T. de
octave and a sixth a compound sixth. Tierce (Fr.)
;

Picardie, a major third in the closing

Thirty-second-note. (Comp. Note^ chord of a minor movement .. .T. cou-
A note having half the time-value of a
i6th-note; a demisemiquaver j^w^f-
. .lee (slurred third), a grace written^ (^
.

rest, a rest (5) corresponding in value

to the above. montant),. or~^(e descendant); see

Thorough-bass. (Ger. General' ba^s; Slide.

Fr. basse chiffrde; It. basso conti'nuo.) bow) also baguette.
Tige (Fr.) Stick (of ;

A species of mus. shorthand in which

chords are indicated by figures written Timbalarion (Fr ) A set of 8 drums of
over a running bass (briefly explained different each furnished with a.
sizes,

under Chord). It originated in Italy pedal, on which diatonic and chromatic

(basso continuo, or, for short, coniinuo) scales, and some chords, can be played.
toward the close of the 1 6th century, Also Tambour chromatique.
and for 200 years was the common Timbale (Fr.), Timbal'lo (It.) Kettle-
method of notation for accompaniments drum.
by the organ or cembalo. It is now (Fr.; It. tim'bro.) 1. Quality of
Timbre
principally employed in mus. theory, in
teaching the science of chords.
tone. 2. A
fixed bell without a clap-
from outside by a hammer.
per, struck
Three-lined octave. See Pitch, abso- .Jeux de timbres. Glockenspiel (b).
.

lute. 3. Snare (of a drum).

Three-quarter fiddle. See Violino Timbrel. A tambourine.

piccolo, under Violino. Time. i. Same as Tempo. 2. (Ger.

Three-time, 3-time. Triple time. Takt, Takt'art: Fr. mesure; It.

200
tem'po^ The division of the measure
into equal fractional parts of a whole
note (o), forming a standard for the
accentuation or regular rhythmic flow
of the movement. The sign for time
is called the time-signature, and is
usually in the form of a fraction set
immediately after the clef at the begin-
ning of the movement, the numerator
indicating the number of notes of a
given kind in each measure, while the
denominator shows the kind of notes
taken as the unit of measure ; e. g. |
(three-four time) means 3 quarter-notes
to a measure,
J J J |; 1 1 (twelve-six-
|
teen time) mea ns 12 si x teenth-not es to a
measure,
| J^STS^ jTtm'St \'
^t<=-
Among the numerous systems of no-
menclature the ordinary English meth-
od is still that most in use, and is em-
ployed throughout this Dictionary
some others appended for the
are
purpose of comparison. There are
2 classes of time, Duple and Triple.
TIME.
In Duple time the number of beats to
the measure by 2 in Triple
is divisible ;
time, by 3. There are also 2 sub-
classes, Compound Duple time, and
Compound 'Triple time. In compound
duple time the number of beats to each
measure is still divisible by 2, but each
beat contains, instead of an ordinary
note divisible by 2, a dotted note (or its
equivalent in other notes or rests) divis-
ible by 3 ; hence the term conipound,
each simple beat being represented by
a dotted or compound note divisible by
3, instead of a simple note divisible by
2. In compound triple time not only
the number of beats in each measure is
divisible by 3, but also each beat, as
above. (See Table on p. 2oi.)
Another English classification is the
following ; contains the times ordi-
it
narily employed, to which should be
added simple octuple time |, and com-
pound octuple time (le). both with eight
beats to the measure :
 TIME.
Triple Time. Duple (or Common) I'ime.

Compound. Simple. Ccimpound. Simple.

[^o<
202 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. .. r. d ar-
Still another, and highly ingenious, coupler, coupler. 2. Button. 3. Cord
system, by Mr. Frederick Niecks, is of a drum.
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
Simple Binary Time fill manual ; also, a pedal-coupler.
" Ternary " A
| | | Tira'ta (It.) See Tirade.
Compound Times. Tira'to (It.) Down-bow (arco in giic),

Duple Binary Time \ % % Ti'ra tut'to combination-pedal

(It.) A
" Ternary " or draw-stop bringing on the full power
% \ % A of an organ. (Fr. grand jeu.)
" '
Triple J i A Tir6 (Fr., " drawn.") Down-bow. Also
Quadruple " " Y V IS '
tirez, ' draw.
Finally, a system has been suggested
which the word rhythm is substi-
Tisch'harfe (Ger., "table-harp".) A
in 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.)

while the complex forms are called

;
An early species of composition for
quadruple rhythm, sextuple rhythm, keyboard instr.s, originating in Italy
octuple rhythm, etc. However, the de- toward the close of the l6th century.
In style it is free and bold, approach-
sideratum of any new system, i. e. the
plain expression of the number of
ing the (old) fantasia it has no dis- ;

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
;

forms serve only to make confusion elaborate specimens on a figure or

worse confounded . 3-time, j-time, ab- theme, generally in equal notes, with a
. .

breviations of duple and triple time

flowing style and lively, rapid move-
respectively.
ment.
Toccati'na, Toccatel la, diminu-
tives of Toccata.
Timidamen'te (It.) See Angstlich.
Tocca'to (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.) Timorous, fearful... To'(d)tenmarsch (Ger.) Dead-march,

Timorosamen' te timorously, , etc. Ton (Ger.) A tone key, mode, ;
pitch ;

Tim'pano tim'pani.) octave-scale. .i?i?M Ton angeben, to .

(It., pi. Kettle-
drum Timpani give the pitch ; den Ton halten, to keep
. . . coper' ti, muffled
the pitch . Ton'abstand, interval .
drums. . .
.

Ton' art. Key i l^on'artenverwand- ;

Tintinna'bulum (Lat.), TintinnaTjolo schaft, key-relationship . Ton'bestim-

. .

(It.) A small bell. Also, an ancient mung, the (mathematical) determination

rattle, formed of little bells or small of tones . Ton'bildung, {a) production
. .

disks of metal. of tone ; {b) vocal culture. . . Ton'dichter,

composer Ton'dichtung, composition.
Tintinnamen'to, Tintinni'o (It.) A ;

..Ton'fall, see Ton'schluss. .Ton'-

tinkling or jingling. .

farbe, "tone-color", timbre, quality.

Tin'to, con (It.) With shading ; espres- . . Ton'folge, series or succession of
sivo. of tones. . . Ton'fuhrung, melodic lead-
 ..; . .

TONTONIC. 203

ing or progression Ton'fuss, (a) a . . . On quitting these harmonies, even by

rhythm {b) a measure Ton'gebung, ;
. . . touching an "altered chord", it tres-
production of tone intonation Ton'- ; . . . passes on the domain of tonality for ;

geschlecht, distinguishing mode; " the here is the dividing line^^^jf embraces
of a chord or key (tonality) as major or the diatonic harmonies referable to one
minor' Ton'hohe, pitch.
' [Riemann] . . . tonic chord as the point whence they
. . Ton'kunde, science of music.
Ton'- . . depart and whither they return, whereas
kunst, art of music, musical art music. ; tonality, taking this same tonic chord
. Ton' kUnstler musician
. Ton'lage, , . . . as a starting-point, includes any and
pitch ; register. Ton'leiier, a scale . .
;
every harmony related to it, so long as
fiinfstufige Tonleiter, pentatonic scale. no actual change of tonic is brought
. Ton' loch, a ventage . Ton'malerei,
. . . about by a modulation. Tonality might
" tone-painting ", imitative music, pro- therefore be briefly defined as the
gram-music Ton'messer, monochord . . . 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'sckluss, cadence. Ton'setzer, com- . .
Tone. (Ger. Ton; Fr. son, ton; It.
poser . . Ton'seizkunsi, art of composi-
.
tuo'no, suo'no^ See Acoustics Tone- . .

tion . Ton'spr ache the language of

. . ,
color, quality of tone.
tones (i. e. music) ... 7'(7'j&V/J, piece
Tongue. i {noun). Same as Reed;
of music, composition . Ton'stufe, . .
but, in the so-called reed of an organ-
degree (of a scale). Ton' system, sys- . .
pipe, the tongue is the vibratile slip of
tem or theory of musical tones .. Ton'-
umfang, compass . Ton' unterschied,
.
metal producing the tone. 2 {verb).
. .
To employ the tongue in producing,
interval. .. Ton' verwandschaft, relation
modifying, or interrupting the tone of
or affinity of tones Ton'verziehung,
. . .
certain ^ind-msXr.s. .. Tonguing, the
tempo rubato . . Ton'werkzeug, a mu-
production of effects of tone, on wind-
.

sical instr., either natural (voice) or arti-

instr.s, by the aid of the tongue. Single-
ficial Ton'zeichen, a note or other
. . .
tonguing, the effect obtained by the re-
sign representing a tone.
peated tongue-thrust to the nearly in-
Ton (Fr.) i. Tone pitch donner le ; audible consonant t or d; Double-tongu-

;

ion, to give the pitch. 2. Mode. ing, that obtained by the repetition of
3. Scale, key. 4. crook {ton de re- A t k; Triple-tonguing, hy t h t; etc.
change). (Formerly)
5. a tuning-fork. With reed-instr.s, single-tonguing only
. Ton bouchi, stopped tone (horn)
. is applicable. . .

Ton d'/glise, church-mode Ton de Ton'ic. (Ger. To'nika; Fr. tonique; It. . . .

rechangi, crook Ton entier, whole to'nica.) i. The key-note of a scale.. . .

tone. Ton feint, see Fictum.

. . Ton 2. In the nei* system of harmony, the . .

inajeur {mineur), a major (minor) key. tonic chord (in C-major the major triad
. Ton ouvert, open or natural tone (on
. on C; in C-minor the minor triad on C)
a wind-instr.) . . . Ton relatif, related is designated as the tonic. (Comp.
key. Ton g^n^rateur
. . , one of the 7 Phone^. Tonic chord, one having the
.

natural tones. key-note as root . Tonic pedal, organ-

. .

point on the key-note. Tonic section,

.
Tonal. Pertaining to tones, or to a tone, .

mode, or key Tonal fugue, see . .

a section or sentence in the key in
.

Fugue ... which a composition began, with a

7o?2a/ imitation, imitation
cadence to the tonic of that key. .
not overstepping the limits of the key
Tonic Sol-fa, a method of teaching
of a composition non-modulating imi- ;
vocal music, inv. by Miss Sarah Ann
tation.
Glover of Norwich, England, about
Tonal'ity. (Ger. Tonalitat'; Fr. tonal-
1812, and perfected by the Rev. John
it/. ) The term
Tonality, as contrasted
Curwen, who became acquainted with
with JCey, is distinguished by its broader
significance and wider scope. Key de-
the method in 1841.
Its formal basis
is the "movable-Do" system the 7 ;
notes simply the mode (of a piece) and
usual solmisation-syllables are employ-
the pitch of that mode strictly, it re- ;

ed, but Englished as follows

fers solely to the harmonies constructed
from the tones of its own diatonic scale. doh ray me fah soh lah te ;
204 TONIC.

each is represented in notation by its

initial letter (d r m etc.), to which a verti-
cal dash is added above or below when a
higher or lower octave is entered thus
s, d d' in a soprano
y% 0-
4=
|
;

part would be equiva- ^J

lent, in C-major, to tJ '
\ ^
I
'

For teaching the tones and modulation,

these tone-names are arranged in a
musical chart called a Modulator

dl
TONISCHTRACT. 205
206 TRADOTTOTREIZIEME.
Easter eve, for the Gradual or for the , JSq raised the new pitch by a fourth,
Alleluia following the Gradual, in the i. e. lowered the original pitck by a tone.

R. C. and some other services.

Transposing Instruments, i. Those
Tradot'to (It.) Arranged ; transposed. the natural scale of which is always
written in C-major, regardless of the
Tra'gen der Stimme
voix.
(Ger.) Port de
actual pitch. 2.
Instruments (chiefly
with keyboards, as the pfte., harpsi-
Trains (Fr.) Slurred. . . Trainee, same chord, etc.) having some device by
as Schleifer (6). 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...7'. de chant,
normal position . . Transposing scales,
.

melodic phrase . T,
. .d' harmonie, a
see Greek music.
chord-passage.
3. An old form of the
trill-sign (wv) ; aXsoplique. Transpositeur (Fr.) i. A transposer.
2. A mechanism attached to the valve-
Traktur' (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- ;

Tranch,-e (Fr.) Cut, crossed... C- trot. The transposing

3.
piano transpositeur,
keyboard of
trancM (obsolete ; now C-barri), the \!as inv.by Auguste
Wolff of Paris in 1873.
sign(J;.
Transposition. Se&Transpose. . . Trans-
Tranquillamen'te (It.) Tranquilly, in positions'skalen (Ger.), transposing
a quiet style; also contranquillita' . .
scales.
Tranquil' lo, tranquil often (with ;

Beethoven) equiv. to moderato. Transverse flute. See Flute.

Transcription. i. The arrangement Trascinan'do (It.) Same as Strasci-
or adaptation of a composition for some nando.
voice or instr. other than that for which Trasporta'to (It.) Transposed. .Chia'- .

it was originally intended. 2. (Fr.) vi trasporiati, see Chiavette.

Transcription uniforme, the uniform Trattenu'to (It.)Held back, retarding
notation of transposing instr.s, peculiar the tempo. (Abbr. iratt.)
to the French military bands, attained
by noting them all in the C-clef, i. e. Trau'ermarsch (Ger.) Funeral march.
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 travailler
termediate as a transient modulation. when it leads while the others act as an
;

Transient chord, in modulation, an accompaniment or iilling . Musique . .

intermediate chord foreign both to the travaill^e, 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'flote (Ger.) i. Flauto traver-
Transition. (Lat. transi'tio; Fr. tran-
so. 2. A
4' organ-stop resembling the
orchestral flute in timbre.
sition.') I. Modulation specifically, ;

a transient one. 2.
In Tonic Sol-fa, Traversifere
Transverse.
(Fr.),
Traversa (for flauto tra-
Traver'so (It.)
a modulation without change of mode.
versd) occurs in scores.
Tran'situs (Lat.) " A
passing-through".
Tr. regula'ris, progression by pass- Tre (It.) Three. .A tre, for 3 voices or
.

ing-notes ; ir. irregula'ris, progression instr.s; a tre voci, for 3 parts... Tre
by changing-notes. corde, see Una corda.
Transpose. (Ger. transponi^ren; Fr. Treb'le. See Soprano. . . Treble-clef, G-
iransposerj It. variat' il iuo'no.) To olef.
perform or write out a composition in a Trede'zirae (Ger.) A thirteenth.
different key. . Transposed mode, one
.

of the medieval modes transposed (by a

Trei'bend (Ger.) Urging, hastening;
accelerando, stringendo.
Bt) in the signature) a fourth above or
fifth below its regular pitch. An added Treizifeme (Fr.) A thirteenth.
 : : : : : .

TREMANDO TRILL. 207

Treman'do, Tremolan'do
a tremolo-effect.
(It.) With produced by the extremely
down-

rapid alternation of ^^
Tremblant (Fr.) Tremulant. bow and up-bow, marked 9^
3. On the pfte., the rapid alternation
Tremblement (Fr.) Trill; tremolo... of the tones of
Trembler, to execute a trill or tremolo. a chord, e. g.
Tre'molo (It., "a quivering, flutter- written
ing ;" comp. Vibrato.') i. In singing,
a tremulous fluctuation of tone, effective
in highly dramatic situations, though
played: =8=j:8^^=tll=tl.
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

(This last is simply a trill without after- Trfes (Fr.) Very moUo. ;

beat.) [N. B. The pfte. -tremolo is not al- Triad. (Ger. Drei'klang; Fr. and It.
ways written as an exact abbrevia- d^ tria'de.) A
three-tone " chord com-
'
'

tion (comp. Abbreviation 2); e.g., a) ^ posed of a given tone (root) with its
third and fifth in ascending diatonic
sign if y JPJiJ^jSrjiJ;^^ order . Harmonic triad, a major triad.
. .

instead
of
^-
CI^E!tS9~niS33
J'd'm^d^
in case the
tempo is
Triangle. (Ger. Triang'el; Fr. triangle;
It. trian'golo.) An orchestral instr.
slow enough to admit of the former of percussion, consisting of a steel rod
reading.] 4. A
duced by the tremolo-stop or tremu-
fluttering effect pro- bent into triangular shape, one corner
being left slightly open ; it is struck with
lant. 5. A tremulant. a metal wand. The rhythm alone be-
Tremolo'so (It.) With "a tremulous, ing noted, the triangle-part is usually
fluttering effect. written on a single line, headed by the
time-s\gna.t\xxe only.
Tremulant. A mechanical device in the
organ for producing a tremolo. It con- Tri'as (Lat.) A triad.
sists of a valve or arm of thin metal Tri'brach. 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: ( -C^ or -.^ -^ -J).
wind, by which latter it is forced to os- Tri'chord. A 3-stringed instr. Tri-
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
without the tremulant are those of the
Trich'ter (Ger.) Tube (of a reed-pipe);
bell (of a horn or trumpet). Often
Piffaro, Unda maris, etc.
Sc hall' trickier.
TremuHe'ren (Ger.) To execute a trill
Trici'nium (Lat.) An a cappella compo-
or tremolo; also sometimes used (as a
sition for 3 voices.
noun) for vibrato.
Trenchmore. An old English country- Tridiapa'son. A triple octave.

dance, in lively tempo and triple or Trill. (Ger. Tril'ler ; Fr. trille ; It.

compound duple time. tril'lo.) (Also Shake.) [Sign ft or

''lobs, +, or( /VW /^vv.
Trenise (Fr.) A figure in the quad-
t.,

rille. *%** etc.] A grace occupying the en.

Trepo'dion. See Terpodion. t:re time-value of the principal note.
208 TRILL.

being the rapid and even alternation of
the latter with a higher auxiliary (the
maj or rain, second above)
. except
when the time for its execution is so
sic, the trill generally begins on the
principal note (a), and ends with an
; after-beat (d), which should be written
out if to be begun on the auxiliary, an
;

brief as to reduce it to a mere turn, or appoggiatura should be set before the

an inverted mordent. In modern mu- principal note (.:).

fa) tr (h)tr (<^l tr

-Jt^
2

A dotted quarter-note would call These are the typical forms of the long
for one more group of 4 i6th-notes a ; trill ; they differ in different kinds of
J, 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 -^8^ ^~J3~<( ,

following trill: ^ -^ formed

Andante.

-^ -
'
passmg
into
over No. 6, written thus :

would be
executed
(Presto). The last is one form of the
sAart trill, which might, in turn, be- The after-beat may be modified chro-
come a long trill in presto, when the matically, as at No. 3, or thus :
 ::

TRILL. 209

(ailugio)
t^= ^-
m =fg#f-- ?EEF
faH". inoderaio) (presto)

or
^e^=Se
It is often in place when not written itbeing usually required where the trill
out (comp. Ex. b under chain of trills) ;
isfollowed 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

k
^ =i=^

^^^ip^^ ->S>
"m
M)^^MM-

Successive trills, even though alike in 1 reason of the notes immediately pre-
notation, may diffei in execution by I ceding them :

"E^-
w:^^= H iW: =?^=t^-

^^^-^rr ^ ^^
I I-

-ta^
1

i^
H^H^B^iia

A trill on several tones in direct sue- I it may be performed with or without an

cession is called a chain of trills ; I after-beat

r-**-n-;

3^g=gzi=^=pifLiigji=i*-^-^-^*-^-*-^-
2IO TRILLERKETTETRIPLE-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

m
m
trills like
St
St

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 of commencing the trill, called
the ribattuia, 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 :

In the 17th and l8th centuries, and Tril'lerkette (Ger.) Chain of trills.
early in the 19th, a common practice was
to begin the trill on the auxiliary,
Tril'lo (It.) Trill. (N. B. The irillo de-
and
endontheprincipal note. For varieties scribed in Caccini's Singing Method
of the trill indicated by the signs (1601) " consists of the rapid repetition
l/vw ,-vw AAv' /vw, compare Graces,
etc., of a single note... He also mentions
Mordent, Signs. . .Double axvA Triple 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.) . .
^ ^^^^^^^xm:!^
Trillo capri'no, see Bocks-
^
division set between the first theme and
triller. its repetition, and contrasting with it by

Tritte. A 3-tone group, or triad, com- a more tranquil movement and canta-
bile style ; called "trio" because writ-
posed of any given tone (the rooi) with
its major thirds above and below (as
ten in 3 parts, in contrast to the ordi-
A^-C-E). Corapare Duodene. nary 2-part style of the principal subject.

Trink'Hed Trio'le (Ger.), Triolet (Fr.) Triplet.

(Ger.) Drinking-song.
Triomphale (Fr.), Trionfa'le (It.)
Tri'o (It.) I. A composition for 3 Triumphal.
voices or parts, (a) The Instrumental
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
'cello). Compositions for 3 concerted instr.s with orchestral accomp.) Trip'- . . .

instruments, accompanied by a fourth eltakt, triple time. .Trip' elzunge, tri- .

playing a basso continue, were formerly ple- tonguing.

also styled trios An Organ Trio is a Tripho'nia. See Organum.
. . .

3-part organ-piece for 2 manuals and

pedal, the registration of the manuals
Tri'pla (It.) i. triplet. 2. Triple A
time Tripla di mi'nima, 3-2 time.
. .
being strongly contrasted. {b) The .

Vocal Trio is usually in song-form or Triple counterpoint, fugue, time. See

aria-form. 2.
In minuets, marches, the nouns.
scherzi, etc., the trio or alternativo is a Triple-croche (Fr.) 32nd-note. A
 ,

TRIPLET TROMMEL.
rrip'let. (Ger. Trio'le; 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,
S '^ muted trumpet. TV. spezza'ia, earlier
. .

rrr'rrr name for the tromba bassa (bass trum-

pet).
Trip'lum (Lat.) In medieval music, a Trombet'ta(It.) i. {hlsotrombettato're,
third part added to the original Altus trombettie're, tromhetti'no.) A trum-
and Bassus of the organum, and gener-
ally the highest of the 3 hence, Engl.
peter. 2. A small trumpet (dimin.
;
trombetti'na).
treble.

Tri'pola Same as tripla.

(It.)
Trombone'. I. (It. and Fr. trombo'ne;
Ger. Fosau'ne) 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. the slide-mechanism (see Slide), in
which shape it dates probably from the
Tri'te (Gk.) The third tone from above
15th 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, tirarsi of Bach's scores was possibly a
or an augment-
ed fourth
Tritt (Ger.)
as ; P
Treadle or pedal. . . Tritt'-
soprano tr., the place of which was usu-
ally supplied by the cornetto. It is a
non-transposing instr., and is written

harfe, pedal-harp. in the C-clef (alto or tenor) for the alto
and tenor instr.s, and in the i'-clef for
Tri'tus (Lat.) The third authentic
the bass and contrabass. In playing,
church-mode i^Lydian).
there are 7 positions, obtained on suc-
Tro'chee. (Lat. trochee'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 ( -^ ^). istpos. being when the slide is pushed
Trois (Fr.) Three . Mesure h trois-
. . completely in, i. e. when the tube is
deux, 3-2 time ; h trois-huit, 3-8 time ;
shortest ;in each position the tones
& trois-quatre^ 3-4 time. which can be regularly made to speak
Utilizing all 7
Troll. A round or catch. are the partials 2 to 8.
positions, the tenor trombone in B^ has
Trom'ba (It.) A trumpet TV. croma'- . . .
a chromatic t^. this is
tica, chromatic trumpet, valve-trumpet. M-
. Tromba
. mari'na {Sea-trumpet,
Marine trumpet. Nun s-fiddle; Ger.
Non'nen^eige, Trum'scheit), a very
ancient single-stringed bow-instr., hav-
compass of -
21 octaves, !
ixOTaE\.ob^\) ^ the reg-
ular or-
chestral
compass, above which are the 4 difficult
tones b'^, c^, c%. and d^\ while below,
ing for a body a long thin wooden shell separated by a tritone from the rest of
made of several staves, a fiat belly, the scale, are the so-called pedal-tones
short neck, and I thick gut string gen- The orchestral
erally tuned to C (sometimes one or compass of the
more additional strings as drones). One alto trombone is
foot of the bridge rests loosely on the Ae^\ that of
belly, the harsh vibration thus induced
rendering the tones very powerful, so
the bass trombone 1 /'. The valve-
trombone possesses greater agility than
that the instr. was formerly used in the
the slide-trombone, but is apt to be
English navy for signalling. The nat- inferior to it in purity of tone. (Comp.
ural harmonics have a far more pleasing
quality of tone, which accounts for the
art. Trumpet, last sentence.) 2. In
the organ, a powerful reed-stop (same
comparative popularity of the instr., as Posaune).
in Germany, from the 14th to the i6th
century, in German churches and con- Trom'mel (Ger.) drum A Trom'mel-
. . .

vents (whence the name ' Nonnengeige" bass, the rapid reiteration of a bass tone
'
 TROMPETRUMPET.
(a terra of disparagement) . . . Trom'mel- Trouvfere, Trouveur (Fr.) One of a
kloppel or -stocke, drumsticks . Gro'sse . . class of medieval bards in northern
Tr., bass AxMxa. .Milildr' trommel, . France, especially Picardy, contempo-
military drum, side-drum ... j^oZ/Vtoot- rary with the troubadours and often
m-el, tenor Axvaa.. Wi7'beltrom-m,el, . . 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-
lyric verse of the latter. We owe to
ly, a trumpet. Tr. de Biarii, or tr. h
the trouvires, besides their grand epics
. .

laquais, jew's-harp.
axi.6.^^ fabliaux, chansons de geste, etc.,
Trompe'te (Ger.) Trumpet. . . Trompe' the origination of the prose tales of
iengeige, tromba marina . . . Trompe' chivalry (the famous Round Table
tenregister,-werk,~zug, trumpet-stop. . cycle).
Trompe'ier, trumpeter.
Gloomy, dismal sad, Trub(e) (Ger.) ;

Trorapette (Fr.) Trumpet. ..Tr.b. melancholy.

i.
coulisse, slide-trumpet Tr. harmo- . .
Trug'fortschreitung (Ger.) Progres-
.

nieuse, trombone . Tr. d' harmonic, or-

.
sion of a dissonant chord to a dissonance
.

chestral trumpet Tr. marine, tromba

. .
instead of its resolution to a conso-
.

marina. 2. Trumpeter bugler (for

nance. Trug'schluss, deceptive ca-
;
. .

cavalry).
dence.
Trope. (Lat. tro'pus, pi. tro'pi; Ger. pi.
Tro'pen.) One of the numerous formu-
Trump. I (obs.) Trumpet. 2. Jew's-
harp.
las, in the Gregorian chant, for the close
of the lesser doxology following the in- Trumpet, i. (Ger. Trompe'te; Fr. trom-

troit. 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 differ entice. narrow scale, and a cupped mouthpiece ;

the convolutions of the tube are straight-

Trop'po (It.) Too, too much 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 D, is about 7 ft. 3^ in.

Troubadour (Fr. Span, trovador's It.
;
By the aid of crooks the pitch of the
irovato're; comp. Trouvire.) 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 B[> B, C, D\) , ,

France, northern Spain, and Italy from D, Eq, E, F, EJi, G, A\) and also to ;

the nth century till toward the close of high Aand B^"). The natural trumpet
the 13th. 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 Mine sir els.
mwhich, by combining the tones obtained
^ ^^r^-^

Troupe (Fr.) A band or company of by using the various crooks, gives the
musicians. following complete compass :

ib^
little used

^-0
Good in all nuances

L
^ -m-

only in forte
^

The tone is brilliant, penetrating, and valves (comp. Valve). [N. B. With
. of great carrjring 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
isa transposing instr., and its music is instr.s, no less an authority than Ge-
written in the G-clef. The chromatic vaert writes The chromatic horns
:
'

'

or valve-trumpet is provided with 3 and trumpets, when well constructed,

 TRUMSCHEITTURN. 213

possess all the qualities of timbre metal, used in tuning metal flue-pipes
proper to the natural instr.s, in addition in the organ. Their tops are coned '
'

to their resources".] own 2. In the out " by inserting the point of the cone,
organ, an 8-foot reed-stop of powerful this increasing the flareand raising the
tone. pitch; and "coned in" by pushing
the inverted cone down over their tops,
Trum'scheit (Ger.) Tromba marina.
decreasing the flare and lowering the
Tu'ba. 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' ;
The original tubas inv. by Wieprecht Tonic Sol-fa, <?^, and employed to give
of Berlin in 1835, are of broad scale the pitch for tuning an instr., begin-
and have 4 valves, giving a complete ning a vocal performance, etc. . Tun- .

chromatic scale of about 4 octaves. ing-hammer, a hand-wrench used in

The bass tuba in B\), and contrabass tuning pf tes Tuning-horn, a tuning-
. . .

tuba mBi\), are the ordinary orchestral cone Tuning-key, a tuning-hammer.

. . .

sizes in Germany these, and also some ; . Tuning-slide, a sliding U-shaped

.

others, are in general use in military section of the tube in certain brass
bands Tuba curva, a species of nat-
. . . instr.s, used to adjust their pitch to
ural trumpet of very limited compass, that of other instr. s. . .Tuning-wire,
taught in the Paris conservatory at close comp. Pipe 2, b.
of i8th century. 3. In the organ, a Tuo'no (It.) A tone a mode.
;
reed-stop (tuba mira'bilis) on a heavy
pressure of wind, of very powerful and Tur'ba (Lat., In "crowd, throng").
thrilling tone. medieval passions, the chorus repre-
senting the Jewish populace, or the
Tu'bicen (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'co,-a (It.) Turkish. .^//a tarca,
.

Tumultuo'so (It.) Vehement, impetu- in Turkish style, with a boisterous

ous agitated. and somewhat monotonous harmonic
;
accomp.
Tun. Drum of the aborigines of Yuca-
tan.
Turkish music. See Janizary music.

Tune. An air, melody a term chiefly Turn. (Ger. Dof'pelschlag; Fr. groufe;
;

It. gruppet'to.) Sign c; obs. co, 2 2

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. Stini'mer; Fr. accor- form (the direct turn), of 4 notes, a
deur; It. accordato're^ One who tunes principal note (twice struck) with its
instr.s as a profession, 2. Same as
higher and lower auxiliary (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, The act or process of
i.
bringing an instr. into tune. 2, The sign alters the higher or lower auxiliary
respectively.
accordance or accordatura of a stringed
instr Tuning-cone, a hollow cone of
. . . I. Turn-sign after the note.

^S ^
presto or [easier]

=^^ 5:
214 TURN.
Except in extremely rapid move- I before the turn, for one-half or ^ of its
ments, the principal note is dwelt on, I time-value

^
ta=
adagio motto
Mr^-z^

prestiss. adagio

^rLW:^^^^^ ^d JJ^ -f-'

^-ri^- d Jd'-^^
and the turn is executed in equal I usually loses a larger proportion of its
notes. But a dotted principal note I value

m adagio
- -ftc
t=^
allegretto

5_
=i=^
^3=f= ?^ ^=P=
g|E
(M9

^ prestissimo
W^^
adagio

and in a slow movement the second

member of the dotted rhythm (e.
in the last example) is frequently rob-
bed of half its value, which is added to
%. the d to be played
^S
the repercussed principal note this ;

a partial
II. Turn-sign over the note. In
form is occasionally called
slow tempi, or where the principal note
turn. Mozart some-
times carelessly requires special stress, the turn may be-
wrote the turn thus : gin on the principal note, as in :
 .

TUSCHTYPOPHONE. 215

ornament was called the shaked

this last 1 Commonly, however, this turn begins
turn (Ger. prallender Doppelschlag). I immediately on the higher auxiliary :

III. The Back Turn (sign the in- I on the lower auxiliary, and the principal
verted or vertical turn-sign co g) begins I note is generally dwelt on after the turn :

P^^
IV. The sign for the Double Turn Twenty-second. A triple octave.
(IS) "^^Ws for a turn in 2 parts at once. Twice-accented (a", b", etc.) See
Tusch (Ger.) 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

Two-lined octave, also a, b, etc.; see
in the orchestra, in token of applause
Pitch, absolute.
or welcome.
Tut'to,-a (It.) All, whole; con tutta Tympan. i. A timbrel or drum. 2.
la for'za, with full power or strength. An obsolete Irish instr., probably a
kind of crowd.
.. Tatti (pi.), 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 (Lat.) An ancient drum,
Tym'panum
trumpet) . .
sometimes having one head like a tam-
.T.ci anche, reed-pipe . .T. .

bourine, sometimes two, closed and

h bouche, flue-pipe . ..T. d'orgue, organ-
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 Muia. 2. A scordatura of
(chromatic) from f' to f inchisive. stringed instr, s.
Tone sweet and sustained, resembling Un, une (Fr.) A, or an. . . Un feu plus
that of the harmonic flute.
lent, little slower. a
Tyrolienne (Fr.) A Tyrolese dance or Un, u'no, u'na (It.) A, or an. Una . .

dance-song, a peculiar feature of the Tre

corda, with the soft pedal (pfte.) ;
latter being the Jodler, especially as a
pedal
refrain.
Hence, a modern round dance
corde then signifies that the
is to be released.
soft

in 3-4 time and easy movement.

Unaccented octave. The small octave
(see Pitch, i).

u. Unacknowledged note. An unessen-

tial or passing-note.
tj'ben (Ger.) To practise.
Un'ca (Lat.) Hooked hence, an eighth-
;
U'ber(Ger.) Over, above. O'berblasen, . .

note J^); bis unca (twice hooked), a

to overblow overblowing. U'ber-
; . . (

^a^, a transition, modulation. ..U'ber- sixteenth-note( te) .

gefuhrte Stimmen, divided stops (or- Uncoupled. (Ger. Koppel ab.) In or-
gan). . . U'bergreifen, {a) to cross the gan-music, a direction to push in a
hands in {b) same as >e'-
pfte. -playing ; coupler previously drawn. (Usually
manchi; iibergreifendes System, in "off" as Ct. to Fed. off.)
;

Hauptmann's theory of harmony, a key- Un'da ma'ris (Lat. , "wave of the sea".)
system (i. c. 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-fifj-A, and thus forming the new
key-system a/ C-?-ff-^-/?-/S-^A..t/'fe?-- Unde'cima (Lat. and It.) The interval

leitung, transitional passage. . . U'ber- of an eleventh.

massig, augmented (of intervals) . . . Undec'uplet. A
group of 11 equal
U ' berschlagen (a) to cross hands (on a notes to be performed in the time 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. .U'bersetzen, to pass .
Under-chord. See Phone, 1 .. Under- .

over (as a finger over the thumb on the song, burden, xtirain ... Undertones
keyboard, or one foot over the other on (from Ger. Un'iertone), the lower par-
the ^eAs\s). .U'bersteigen, to rise.
tials. (See Acoustics.)
above said of a vocal part which tem-
;
Unde'zime (Ger.) The interval of an
porarily ascends above one naturally
eleventh.
higher.
Undezimo'le (Ger.) An undecuplet.
U'bung (Ger.) Exercise practice.
Undulazio'ne (It.) On bow-instr.s, the
;

Ugua'le (It.) Equal, like, even. . . Ugua- vibrato effect.

liict',equality, conformity . . . Ugual-
men'te, equally, alike, evenly. Un'eigentliche Fu'ge (Ger.) Fuga
irregularis.
Uffla'no,-a (It.) Human . . . Voce umana,
(a) vox humana (1^) cor anglais. Un'endlich (Ger.) Infinite.
;

Um'fang (Ger.) Compass. Unequal temperament. See Tempera-

ment. Unequal voices, v(dces different
. .

Um'kehrung (Ger.) Inversion. in compass and quality mixed voices. ;

Umo're (It.) Humor. Unessential note. One forming no

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-
Ung'arisch (Ger.) Hungarian.
blow ; also compare Goose.
Un'gebunden (Ger.) See Gebunden.
Um'stimmung (Ger.) i. change of A
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 OKTAVEVALVE. 217

Un'gestrichene Okta've (Ger.) Un- Un'ruhig(Ger.) Restless(ly), unquiet(ly).

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'en, . .

Un'gleich (Ger.) Unequal. Un'gleich- . .

interrupted. Un'terdominante, sub-
. .

schwebende Temperattir' unequal tem- ,

dominant. . . Un'ter leitton, dominant
perament. seventh... Un'termediante, submediant.
Un'harmonisch (Ger.) Inharmonic. . . Un'tersatz, subbass. Un' tersetzen, . .

Unichord. (Lat. tmichor'dum.) I. Mono- to pass under (see Uberseizen) Un'- . . .

chord. 2. Tromba marina. ter stimme, lowest part; bass 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'ter tone (pi.), Un'tertonreihe, the
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 Ober-
;

tone ; by extension, a higher or lower tone.

octave of a given tone ; as all'unisono
Un'voUkoramen (Ger.) Imperfect.
(It.), h I'unisson (Fr.), in unison, at
the unison, progressing in unison (in Uo'mo (It.) Man. (See Prima.)
this latter sense often found in scores, Up-beat. (Ger. Auftakt; Fr. lev/; 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 all'unisono [c. B. all'uni- An unaccented part of a measure.
son6\, i. e., the same part an octave Up-bovr. (Ger. Hinauf'strich; Fr.
higher).
Also, in the pianoforte, a foussi; arco in j.) In playing bow-
It.
group of 2 or 3 strings struck by one instr.s, the stroke of the bow in the
hammer and yielding one tone ; one V
such string is called a unison-string. direction from point to nut
A , which
sign
is called the up-bow mark.
or ;

Finally, sometimes equiv. to Prime.

Upright piano. See Pianoforte.
Unitamen'te (It.) Unitedly, together
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 . In C
the French system .

Un'rein (Ger.) Impure, false, out of of marking the absolute pitch, the sev-
tune. eral octaves are marked as follows :

Octave
French system octave_ octavci octavcj octaveg octave4 octaves
begins on * ut a ut 1 Utn uts UtA uU
Knglish system C
Thus Middle- C is marked c^ in the Valeur (Fr.), Va'lor (Lat.), Valo're
English system, and uh in the French, (It.) Value, i. c. time-value. (Ger.
Ut (Lat.) As, just as, like ; ut supra^ Werih.)
as above. Valse (Fr.) Waltz valse chant/e, waltz- ;

song valse de salon, a salon-piece in ;

waltz-time for pfte.

V.
Value. (See Valeur.) The value (or,
V. An abbrev. for Vide (v. s. vide = better, the ^2/^-value) 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-
V, orV"".".", Violoncello,-Y^f, Viola; V ment, or {b) with the standard whole
note a
or any fractional note.
or f, Versicle ; Vv., violini.
Va (It.)Go. on, continue. Va cre- . .
Valve. I. (Ger. Ventil' ; Yr. piston; It.

scendo, go on increasing (the power). val'vola, pisto'ne.) In certain brass

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
Va'gO (It.) Vague, dreamy. the aid of valves, natural instr.s are
Hi
altered to chromatic instr.s commanding
a chromatic scale througiiout their com-
pass. (Compare Horn, Trumpet; also
^^y 3-) The valves are operated by
the fingers of the right hand their
usual number is 3, No. i lowering the
pitch by (approximately) i tone, No. 2
by a semitone, and No. 3 by i}4 tones.
Two systems are in ordinary use the
JPiston-valve, and the Rotary Valve.
VARIAMENTEVENTIL.
Mozart, and fully developed by Beet'
hoven) may employ the strongest con-
trasts of rhythm, harmony, and tonality,
the sole limitation being that a memory
;
so to speak of the theme shall in
one way or another be kept alive
throughout.
Varia'to (It.), Vari (Fr.) Varied...
Air varii, thhme vari^, same as tema
;

con variazoni,
(a) The Piston-valve is a cylindrical
Varsovienne (Fr. ; It. Varsovia'na.) A
plunger working in an air-tight cylinder,
dance in moderate tempo and 3-4 time,
terminating in a short rod surmounted
with auftaktoi a quarter-note, the down-
by a button, and pierced crosswise by beat of every second measure being
2 round holes ; the enclosing cylinder
strongly marked presumably invented
is similarly pierced, on either side, one
;

in France about 1853, as a variant of

perforation communicating with the
main tube, the other with the side-tube.
When the piston is not depressed, one
of its holes is opposite to those in the
cylinder which communicate with the
main tube, so that the open (natural)
tone of the tube can be sounded on
depressing the piston with the finger,
communication with the main tube is
cut off, but opened with the side-tube,
so that the lower tone sounds. On re-
leasing the piston, a spiral spring
causes its return to the original position. Veeraen'te (It.) Vehement, passionate.
The Rotary Valve is " a four-way
the Polish polka, mazurka, and redowa.
Vaudeville (Fr.) Originally, a popular
convivial or satirical street-song, or song
sung about town ; by the introduction
of such verses into light plays and
;
operas the way was paved for the mod-
ern vaudeville, a light comedy, often a
parody, in which dialogue and panto-
mime alternate with witty and satirical
couplets generally set to well-known
popular airs.
Veemen'za, con, with vehemence,
. .

stop-cock turning in a cylindrical case passion.

in the plane of the instrument, 2 of its
. 4 ways forming part of the main chan- Veil. In singing, an obscuration of tone,
nel, the other 2, on its rotating through either natural or superinduced by out-
a quadrant of the circle, admitting the ward causes, detracting from clear and
air to the side-tube ". Its manipulation bell-like vocalization. A veiled voice is
called in It. vo'ce vela'ta, in Fr. voix
is lighter than that of the piston, but it
is more liable to derangement. 2. In
sombrh or voilee.
the organ, the principal valves are the Vela'to (It.) Veiled (see Veil).
suction-valves or suckers admitting
wind to the bellows and preventing its Velluta'to (It.) Velvety.
escape the waste-pallet, relieving the Velo'ce (It.) Rapid, swift usually ap-
;
;

bellows of an over-supply of wind and plied to a passage to be performed more

;

the key-valves or pallets. swiftly than those before and after, thus
Variamen'te (It.) Variously, different- being the opposite of riienuto Veloce- . . .

ly- men'te, rapidly Velocissimamen' te

. . .

velocis'simo, with extreme swiftness,

Varian'te (It. and Fr.) A variant ; an-
presto. . . Velocita' , velocity.
other (optional) reading. See Ossia.
Ventage. (Ger. Ton'loch.) In wind-
(/'ariation. and Fr. Variation'
(Ger.
instr.s having finger-holes or keys, any
It. variazio'ne.) One
of a set or series
hole to be stopped by a finger or key.
of transformations of a theme by means
of harmonic, rhythmic, and melodic Ven'til. I. Valve. 2. In the organ,
changes and embellishments. In the a cut-off or shutter within the wind-
Doubles, or earlier form, the variations trunk, for shutting the wind off from, or
left the melody, key, and 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 lema con

; valve-horn Ventil' komett, cornet k ;

variazioni (beginning with Haydn and pistons.

 -
.

VENUSTOVIBRATOR. 219

Venu'sto (It.) Graceful, elegant. Ver'te (Lat.) Turn over. (See Voiti.)
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 Verbin'- . . . energy.
dangszeichen, tie. Verwandt' (Ger.) Related verwan'dte ;

Verdeckt' (Ger.) Covered, concealed. Tonarten, related Vsys. .. Verwandt'

Verdop'pelt (Ger.) Doubled Verdop'- . . .
schaft, relation(ship).
pelung, doubling. Verwech'selung, die enharmo' nische
Vereng'ung See VerkUr'-
(Ger.) (Ger.) The enharmonic change.
i.

zung. 2. Harmonic compression of a Verwei'lend (Ger.) Delaying riienuto. ;

theme by substituting in the imitation a

Verziert' (Ger.) Ornamented Ver- . . .

narrower interval for a wider one.

zie'rung, ornament, grace.
Vergniigt' (Ger.) Cheerful, cheery.
Verzo'gerung (Ger.) Retardation.
Vergro'sserung (Ger.) Augmentation
Verzwei'flungSToU (Ger.) Despair-
(of a theme).
ing(ly); with desperation.
Verhal'len (Ger.) To die away. . . Ver-
Vespers. ve'sfero; Fr. vipres; Ger.
(It.
hal'lend, dying away. " Eveh-song."
Vesper^ The 6th of
Verkeh'rung (Ger.) Inversion (of the the canonical hours.
intervals of a theme) ; i. e. imitation by
Vezzo'so (It.) Graceful; elegant...
inversion, or by contrary motion.
Vezzosamen' te gracefully,
,
etc.
Verklei'nerung (Ger.) Diminution.
Vibran'te (It.) With a vibrating, agi-
Verkur'zung (Ger.) Diminution i, tated effect of tone.
Verlang'erungszeichen (Ger.) Dot of Vibration. (It. vibrazio'ne,- Fr. vibra-
prolongation. tion ; Ger. Schwing'ang.) The rapid
Verlo'schend (Ger.) Dying away. oscillation of any tone-producing body,
Vermin'dert (Ger.) Diminished (of in- as a string, an air-column, the vocal
tervals). cords, etc.. .Amplitude of vibration, the
widest departure of a tone-producing
Vermit'telungssatz (Ger.) Episode.
body, towards either side, from a point
VerriUon (Fr.) An Harmonica 2. of rest. .Amplitude of a single vibra-
.

Verschie'bung (Ger.) Shifting pedal, tion, properly, the departure of the tone-
soft pedal; mit Versch., unacorda; ohne producing body from the middle point
Versch., tre corde. towards one side only but frequently ;

Verschwin'dend (Ger.) Vanishing ; dy- made to comprehend the entire width

ing away.
Verse. A portion of a service or anthem
sung by solo voices opp. to chorus.
of the excursion from side to side...
Double vibration, the excursion of a
tone-producing body (as a string) from
;
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
V'jrset (It. versefioj Fr. verset) i.
estimated by double vibrations) made
Same
.

as Versick. 2.
short prelude A
by a tone.
or interlude for the organ. 1. On bow-instr.s, the
Vibra'to (It.)
Verset'zen (Ger.) To transpose. Ver- wavering effect of tone obtained by the
. .

set'zung, transposition Verset'ztmgs- rapid oscillation of a finger on the

;

zeichen, a chromatic sign. string which it is stopping. 2. In sing-

Verside. In liturgies, a short verse gen- ing, a tremulous effect, differing from
erally forming, together with its re- the tremolo in not fluctuating from the
sponse, but one sentence e. g. ;
pitch, partaking of the nature of a
Vers. O Lord, save Thy people, thrill, or series of very rapid partial in-
Res^. And bless Thine inheritance. terruptions of the tone. [Not to be
Ver'so (It.) I. A verse or stanza. 2. confounded with Tremolo in either
An air or tune. sense.] The ill-managed vibrato de-
generates to a trillo eaprino {^. v.)
Verstimmt' (Ger.) Out of tune ; out of
humor, depressed. Vibrator. A free reed.
 VICENDAVIOLA.
Vicen'da (It.) Change . . . Vicende'vole, madrigal by simple harmoniza-
artistic
changeably, vacillating-Iy. tion and the more rustic, humorous,
Vi'de (Lat.), Vi'di (It.) See...Vi-de, in and sometimes loose character of the
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., "empty".) Open (said of Hindus. The body is a section of
strings) Corde a vide, open string
. . .
bamboo, over which are stretched ;

opp. to corde h jouer, a string to be lengthwise 4 strings, tuned in the

stopped. order dominant, leading-tone, tonic^
Viel (Ger.) Much, gx^aX. .Mit vie'lem subdominant ; the 1 8 movable frets can
.

Nach'druck, with strong emphasis be adjusted to coincide with any one . .

Viel'chorig, for several choirs or (di- of theHindu scales. There are also 3
vided) (itioxxises. .Viel'facher Kon'- . sympathetic strings. Two gourds, fixed
trapunki, polymorphoiis counterpoint. at either end of the bamboo, act as
. Viel' siininiig, polyphonic.
. resonance-boxes.
Vifele (Fr.) A modernized spelling of Vina'ta(It.; dimin. vinet'ta.) A vintage
vielle.
song, or drinking-song.
Vielle (Fr.) Hurdy-gurdy. (Also viel' la.)
Vi'ol. vio'la ; Ger. and Fr. Vio'le.)
(It.
Vier (Ger.) Four... Vierach'teliakt, 4-8 Name of a very ancient type of bow-
time. Viet'doppelier Kon'trapunkt.,
instr., now obsolete the prototype of
. .
;

quadruple counterpoint Vier'fach., . . .

the violin tribe (but comp. Lira), from
see/acA Vier'/iissig, 4-foot.. Vier'-
. . . .
which it differed by having a fretted
gesirichen, see Gestrichen 2... Vier" fingerboard, avariable number of strings
handig, for 4 hands . . Vier' klang, .
(from 5 to 8 or- more, though the usual
chord of the "jih. .Vier'tel {-note), .
number for all sizes was six), and in
quarter-note . Vier' ielpause quarter- .
Both belly
.
,
the shape of the body.
rest Viervier'teltakt,
. . . 4-4 time . .
(usually) and back (always) were flat,
Vierzwei' ieltakt, 4-2 time. the ribs high; the bouts nearly semi-
Vif, OT., Vive, /^. (Fr.) Brisk, lively. circular, the sound-holes like lialf-cir-
Vigorosamen'te vigor, ener-
(It.) With cles, and the upper half of the body

gy. . . Vigoro'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 16th century, differing from the tage. The tuning was as follows

Viola nlta. Viola tenore. Viola bassa.

^
wi^ 1^ SE i^E^e
:4=

w=l 3^ )=,=!= 1==

Wa ba
(Treble viol.) (Alto or Tenor viol.) (Bass viol.) (Contrabass viul.)

i.e. in fourths with one third midway. treble viol gradually the larger violin-
;

The viols formerly 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 fairly ousted by the latter Vio'la (It.) I. The tenor violin. 2. A
till the beginning of the 18th century. viol ... V. alta, (a) treble viol hence ;

The Bass Viol{i.e.in viol-shape, but {i) tenor violin (obsolete name) V. . . .

with fewer strings) is, indeed, still iastai 'da, an enlarged viola da gam'ba,
found in England, though superseded originally with 6 or 7 stopped strings,
elsewhere by the double-bass of violin- to which were added later an equal
type. The violin first supplanted the number of sympathetic strings stretched
 .

VIOLEVIOLONCELLO. 221

beneath bridge and fingerboard V. viola... Viole d amour., see Viola da-
. . .

da brac'cio, " arm-viol" (hence Ger. more. ,

Bra'tsche), a viol held on the arm
Violentaraen'te (It.) Violently, impet-
while playing opp. Xo v. da gamba
; . .

uously. Violen'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're(r. viole d amour) atenorviol

,

Violette (Fr.) Small viola.

similar to the v. bastarda in stringing
and construction, but
of course smaller. Violet'ta (It.) Small viol. . . Violetta
..V. da "shoulder-viol," a
spalla, tnarina, 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 {violoncel'lo pic'colo), a large kind
Violin'. (Ger. Violi'ne; Fr. violon; It.
of violin inv. by J. S. Bach, midway in
size between a tenor violin and 'cello,
violi'no.) A
4-stringed bow-instr. of
comparatively modern type (an im-
with 5 strings tuned C-G-d-a-e^ . . Con- .

proved viol*), and the leading orchestral

trabbas'so di vio'ia, see Viol.
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:

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- Bom, Bowing, Position, Shift.)...
box, or body, is formed by a vaulted Violin-clef, the G-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'na. 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
violino 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.pic'colo, 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
rectly to the back the bass-bar further
;
with an '-f^ V. primo (se-

strengthens the belly. The curved additional A . I :) condo). first (sec-

apertures cut in either side of the belly string {c^ ^^ ond) violin.

f
are the -holes, or sound-holes. At the Violin'schliissel (Ger.) G-z\ei.
bass of the body is the button, to which Violiste (Fr.; formerly violier.) Viola-
the wooden tailpiece is attached by a player.
loop of gut ; from the tailpiece the
strings are stretched across the bridge
Violon (Fr.) i. Violin. 2. The violin-
diapason (organ-stop).
and over the fingerboard (which lies
partly upon the neck and partly over Violonar (Fr.) Recent name for the
the belly) to the nut, and thence each double-bass.
to a separate peg in the peg-box or head, Violonaro (Fr.) Same as Octo-basse.

which ends in the scroll. The word Violoncel'lo (It.; Ger. VioloncelV ; Fr.
violin is from the It. violino, a diminu- violoncelle.) A 4stringed bow-instr. of
'

tive of viola, meaning literally small '

viol ". Violin-music is written in the *A. Hadjecki, in his essay on " The Italian
Lira da braccio," contends very plausibly that
G-clef {violin-clef). The strings are the violin was derived, not from the viol, but
numbered 1234 from highest to low- from the lira da braccio.
222 VIOLONEVOCALIZZARE.
violin-type (see Violin), dating in its Vir'gula. One of the Neumes.
present form from the latter half of the Virtues' (Ger. fem. Vi riuo' sin.) I. A

;

i6th century. The word is a diminu- virtuoso. (Fr. virtuose.) 2. 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 virtue' ;

big viol ". The 'cello, as it is familiarly senhaft. Virtuositrif, virtuosity.

. .

called, required more than a century to

become popular, taking at first very Virtuo'so,-a (It.; pi. virtuosi,-e.) A
subordinate parts, whence its desig- finished instrumentalist or vocalist.
nation, in many scores of the 17th Vis-a-vis (Fr.) A harpsichord or pfte.
century, as Basso or ass. It slowly having 2 opposed keyboards, for 2
conquered the esteem of artists, and players.
supplanted the viola da gamha, hke Vi'sta (It.) Sight a (prima) 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'sio, lively animated.

AY 9 ^""^ convenience of no- Vite(Fr.) Quick(ly).

^^: S=zA=
"JLjT
tation, and now invari-
Viva'ce (It.) A tempo-mark which, used
ably according to the
"iJ alone, calls for a movement equalling
actual pitch but the classic masters,
;
or exceeding allegro in rapidity when ;

who also frequently used the G-cIef 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 pic^

. .
men'te, con vivacith' are terms nearly ,

colo, see Viola pomposa,

synonymous with vivace. Vivacis'- . .

Violo'ne (It., "great viol".) i. See simo, with extreme vivacity, presto. .

Viol. 2. In the organ, a stop on the Vivacet'to, less lively th^n vivace, about
pedal, of 16-foot pitch and violoncello- allegretto.
like timbre. Vive. See Vif.
Violoniste (Fr.) Violinist. Viven'te (It.) Lively, brisk, animated.

Vir'ga. Same as Virgula. Vi'vido, vi'vo (It.) Lively, spirited.

( Vivace^
Virgil Practice-Clavier. A toneless Vocal. Pertaining to the voice specifi- ;
keyboard instr. for mechanical ptte.-
cally, proper for the singing-voice...
practice, in v. by A. K. Virgil, of New
Vocal cords, the 2 opposed muscles
York, in 18S3 (see Techniphone), It or ligaments set within the larynx,
differs essentially from the old dumb
whose vibration, caused by the expul-
piano in 2 features (i) The depres-
sion of air from the lungs, produces
:

sion, and also the release, of a digital

vocal tones. Vocal glottis (Lat. rima . .

produces a mild click like that of a tele- vocalis), the aperture between the v.
graph-key this furnishes a means for
;
cords when they are approximated for
accurately timing the practice, for
the production of tones. Vocal music, . .

acquiring promptness of down-stroke

and up-stroke, and for determining the
different styles of touch (e. g. for the
music written for or executed by the
voice, as a solo or with accompaniment
Vocal registers, see Voice.
. . Vocal
. . .

strict legato the click on depressing

score, see Score.
one digital exactly coincides with the
release-click of the one preceding) (2)
Voca'lion. See Reed-organ.
;

it by a simple mechanical ad- Vocalisation (Fr.) The art of singing

affords,
justment, 6 gradations in the weight of prolonged and sustained tones on
the touch, from 2 to 20 ounces i. e. vowels only Vocaliser, 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, . .

or more 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.

pair of virginals", signifying merely a Vocalizza're, Vocaliz'zi (It.) Same
single instr. (Comp. Pianoforte.) as Vocaliser, Vocalises.
 ~ .: ;
-
.

VOCEVOLUNTARY. 223

Vo'ce (It., pi. voci.) Voice part. .V. Voice-part. i. A vocal part [Grove,
;
.

ange lica, vox angelica. V, bian'ca II, p. 526*, 1.17

. . and IV, p. 491}, ;

("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

Voil6e (Fr.) Veiled.
^et'to, chest-voice... K. di ripie^no, a
ripieno part (see Ripieno) ...V. di ie'sta, Voix (Fr.) Voice part .V. angdique, ;
. .

head-voice. . . V. grani ta, a powerful, vox angelica. V. celeste, an organ- . .

round voice. . . V. pasto'sa, a full, soft, stop with 2 ranks, of the unda maris
flexible voice . V, principa'le, leading
. .
type. V. depoitrine, chest-voice. .. V. . .

part... V.spicca'ta, a voice characterized de tHe, head-voice. y. humaine, vox . .

by clear enunciation . .A due {tre) voci,

.
humana. .A deux (trois) voix, tor 2 .

for 2 (3) parts, voices in 2 (3) parts. ;

(3) voices in 2 (3) parts. .
;

CoUa voce, see Col canto. .Messa di Vokal' (Ger.) . \oc3.\. Vokal'musik, . .

voce, see Messa... Mezza voce, sottovoce, vocal music, with or without accomp. .

see Mezza, Sotto. Vokal' stil, a cappella style vocal style. ;

Vo'ces (Lat.) Plural of Vox. Volan'te (It., "flying".) Light, swift.

Vo'gelfl6te,-pfeife (Ger.) A bird-call, Vola'ta (It.; Ger. Vola'te; Fr. Volatine.)
like that played on by Papageno in A short vocal run, or trill a run, or ;

The Magic Flute. Vo'gelgesang, a . .

division ; a light and rapid series of
merula, or set of small pipes standing notes. .JDimin. volati'na.
.

in water, the passage of the wind Volks'lied (Ger.) Folk-song. Yolks' . .

through the latter producing si "war- t{h)umlich (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'stimme.) general opp. to Kunstlied.
; A volks'-
For the several classes of the human thiimliches Lied is a product of art in the
voice comp. Soprano, Mezzo-soprano, style of the folk-song. .. Volks'ton, im, in
Contralto, Tenor, Barytone, Bass.
the style having the general character
The word voice is often made synony- of a folk-song. (It. i/i mo'dopopola're.)
mous with " part", in imitation of for- . . . Volks'ieieise, same as Volkslied.
eign usage ; the practice cannot be Voll Full. .. Vol'les Orche/ter,
(Ger.)
recommended. .Vocal . registers. full orchestra ; vol'les Werk, full or-
There is hardly any subject on which gan ; init vol'lein Cho're, with full
opinions are more irreconcilably op- chorus... Vollgriffig {"With full hands"),
posed, than this but if we accept E.
; in full chords or harmonies Voll'kom- . . .

Behnke's definition (in his treatise men, perfect(ly). Voll' stimmig, (a) in . .

" Mechanism of the Human Voice") of full harmonies (b) for many parts, poly-
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, -ful

anism" we arrive at his conclusion ;
e- g-> gedan'kenvoll, thoughtful(ly),
namely, that there are 3 principal vocal stim' mungsvoll, full of (characteristic)
registers in the female voice, and 2 in expression etc.] ;

the male, the chief " break" occurring Vol'ta (It.) A turn or time. .Prima
in both at -ft
the tone ^
^^ (This is the
J '^"^~" transition from
volta (or /ma volta, /ma, /a., /.), first
time; secunda volta [or //da volta, etc.),
.

y or/"'Jf tJ
^~
" chest" - voice second time una volta, once due ; ;

to falsetto in tenor voices.) The second volte, twice.

principal break in the Volteggian'do (It.) Crossing hands
female voice occurs (on a keyboard); from volteggia're.
an octave higher at
Vol'ti (It.) "Turn a^exX' .Volti . .

In bass' and bary- In

i>^
tone voices, the chief ^~r=5?~1 ten-

su'bito [V. S.], "turn over instantly".
.

break occurs at ors,

Volubilmen'te (It.) Fluently.
also, there is a break at this point. Vol'untary. An organ-solo before, dur
(Gjmp. the above-mentioned treatise.) ing, or after divine service; also oc:
224 VOLUTAWARBLER.
casionally applied to an anthem or Vuo'to,-a (It.) Open ; as corda vuota,
other choral piece opening the service. open string.
Volu'ta Volute
Vom
(It.),

From the. Vom An'fang,

(Ger.)
(Fr.) Scroll.
w.
W
. .

^da capo; vmn Blat'te ("from the (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.]

VorTjereitung (Ger.) Preparation. Originally, a class of street-watchmen

in England, who gave notice of their
Vor'dersatz (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 (Ger.) Suspension Vor'halts- . . .
and still later to various irregular bands
losung, resolution of a suspension. of indifferent music-makers, in which
latter application it is not yet obsolete.
Vor'her (Ger.) Before, previous(ly).
Vor'ig (Ger.) Preceding, previous as
Whether the instr. chiefly affected by
; these musicians (a species of shawm or
vor'iges Zeifmass, =tempo primo. oboe) derived its name from them, or
Vor'sanger (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
(Jiur'zer) Vor'schlag, long (short) ap- a suave, full, resonant tone.
poggiatura. Wald'horn (Ger.) The French horn
Vor'setzzeichen (Ger.) Chromatic sign. without valves. {Also Jagd' horn, Na-
Vor'spiel (Ger.) Prelude, introduction lur'horn.)
;

overture. Waltz. (Ger. Wal'zer; Fr. valse; It.

Vor'trag Rendering, interpreta-

(Ger.)
valzer.) A round dance in 3-4 time,
tion, performance, style, delivery, exe-
and in tempo varying from slow to
cution . Vor" tragsbezeichnung, Vor'-
. .

moderately fast, from the primitive
tragszeichen, expression-mark tempo- Ldndler and ordinary German waltz up
;
to the sprightlier trois-temps (ordinary
mark.
waltz) and deux-temps (rapid waltz).
Vor'zeichnung (Ger.) Signature. The steps of these waltzes vary thus :

Vox (Lat., see below). Voice.

pi. vo'ces;
I. r. r. 1.
. . Vox ange'lica (angelic voice), a 4- Slow German
foot organ-stop corresponding to the 8- rr
foot vox huma'na . . . Vox antece'dens Ordinary Waltz ) ,

(con'sequens), the antecedent (conse-

quent). . Vox huma'na (human voice),
.
(trois temps,
Wiener Walzer)
W'"
)
c? rz'
an 8-foot reed-stop in the organ, the Quick waltz \ ; [
tone of which has a [fancied] resem-
blance to the human voice a solo stop, ;
(deux-temps, >
Zweitritt)
^
*'
P T
'
r
)
usually drawn with the tremulant.
Also occurs, especially in Italy, as a
The origin of the waltz is variously
ascribed to Bohemia, Germany {Ldnd-
flue-stop, and occasionally in 2 ranks,
ler), and France {volte). Waltz is also . .
one of reed-pipes, the other of flue-
the title of numerous effective instru-
pipes ... Ki^j; virginea, same as Vox
mental pieces in triple time, but not
angelica. . Vo'ces cequa'les, equal voices.
.
meant for dance-music . . Waltz-song, .
. Vo'ces Areti'niE, the Aretinian syl-
.

a song in waltz-rhythm.
lables. . Vo'ces bel'giciB, the Belgian
.

solmisation-syllables bo ce di ga lo ma Wal'ze (Ger., "roller "). An undulating

ni bo. figure (see Rolle).
Vue (Fr.) Sight ; a premihre vue prima ,
Wan'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. bellishment (graces).
 ;

WARMEWIRBEL. 225

War'me (Ger.) Warmth mit gn'sser ; then generally being white While . .
.

IVarme, with great warmth. note, one having an open (not solid)
Was'serorgel (Ger.) Hydraulic organ. head ( J).
Waste-pallet. See Valve. Whole-note. See Note. Whole shift, . .

see Shift. . . Whole step, (a) a step of a

Water-organ. Hydraulic organ. whole tone {b) a whole tone Whole . . .
;

Wayghtes. See Waits. tone (Ger. Cans' ton Fr. ton plein ;

Weak accent, beat, pulse. See Accent. It. tono intero), see Interval.

Wech'selgesang Antiphonal
(Ger.) Wie (Ger.) As. Wie o'ben, as above . .
;

(responsive) singing or song Wech'- . . .

wie vor'her, as before, as at first wie ;

selnoie, changing-note. aus der Fer'ne, as from a distance.

'Weh'mut(h) (Ger.) Sadness, melan- Wie'der (Ger.) Again Wie'dergabe, . . .

choly. . . mournful,
lVeh'inut{h)iff, sad, performance, production, rendering, in-
melancholy. (Also adverb.) terpretation, reading. Wiederher'stel- . .

lungszeichen, see Auf'losungszeichen.

"Weich (Ger.) i. Soft, tender mellow,
suave (also adverb). 2. Minor. ;
. Wiederho'lung,
.

zeichen, repeat.
repetition W.s- ;

Weight of wind. The tension of the

Wiegenlied (Ger.) Cradle-song, lulla-
compressed air supplied by the organ- by berceuse.
;
bellows to any stop or group of stops
the mean pressure raises a column of
;
Wind-band. i. company of per- A
water in a U-tube to the height of ^formers on wind-instr.s. 2. The wind-
instr.s in the orchestra also, the per-
about 3 inches, hence the technical ex- ;

pression "an inch "or "two inches" formers on, or parts written for, the
same. Windchest, see Organ . Wind-
of wind a stop is said to be " voiced
;
. . . .

on a 3, 6, or lo-inch pressure," etc. gauge, an apparatus for measuring the

wind-pressure in the windchest of an
"Wei'nend (Ger.) Weeping. 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
;

in the soundboard, and letting the wind

Wel'le Roller (organ) ... ^^//-
(Ger.)
on, the water rises in the outer arm of
atur', system of rollers. IVel'lenbrett, . .

the U-shaped tube, indicating the wind-

roller-board.
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. Blas'in-
.

J. S. Bach's Well-tempered Clavichord strumente; Fr. instruments h vent ; 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.
;

(iJ) a stop or register. an organ-pipe, or any orchestral instru-

ment blown by the mouth), or directly
Wert(h) (Ger.) Value, time-value.
to the open air (e. g. free reeds without
We'sentlich (Ger.) Essential. .. ff/- tubes). The vibrations of the wind are
sentliche Dissonanz' , a dissonant chord- excited (a) by its impinging on a sharp
tone, in contradistinction to a disso- edge (flageolet, flute, organ-pipe), (b) by
nance produced by a passing or chang- the interposition of a vibratile reed (cla-
ing-note. rinet, oboe, reed-pipe), or (c) by the
Wet'terharfe (Ger.) .^olian harp. vibration of the player's lips (horn,
Whistle. The smallest and most prim- trumpet, trombone). (Comp. art. In-
itive type of instr. with a flageolet or struments.). Windtrunk, see Organ. . .

flue-pipe mouthpiece. Comp. Picco- Windharfe (Ger.).^olian harp. . . Wind'-

pipe. kasten, windchest. .. Wind' lade, sound-
AVhite keys. The continuous lower row board (organ) . . . Wind' wage, wind-
of digitals on a keyboard ; formerly gauge.
they were black, the now black keys Wir'bel (Ger.) 1. Peg; Wir'belkasten,
226 WOHLTEMPERIRT ZARZUELA.
peg-box. 2. Roll (on a drum). 3. straw), and played on with 2 mallets ;
Same as Schlagel, the more usual term. a wooden dulcimer, capable of pleasing
Wohl'temperirt (Ger.) See Well-tem- hands of a skilful player.
effects in the
pered. Usual compass 2 octaves, or a little
more.
Wolf. I. A
discord induced in certain
keys, on keyboard instr.s (especially Xylosis'tron. The parent instrument
the organ), by inequality of tempera- of the xylharmonikon inv. by Utho in.
;

ment, such as was inherent in the so- 1807.

called mean tone " system. (Not sy-
'

'

nonymous with the Ger. Or'gelwolf.)

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. English spellings of
Wolf (Ger.) Wolf; specifically, the 12th jodeln, jodler.
fifth in the circle of fifths, being the
one which causes the main difficulty.

Wood-wind. The orchestral wood-in-

str.s collectively ; or the performers on Za. Former syllable-name for B\}, in
them. solmisation.
^
Working-out. Same as Development. Zahlen (Ger.) To count; zahle, count...
Zahlzeit, a count.
Wrest. A tuning-hammer.
Za.le'0. Seejaleo.
Wrestblock, Wrestplank. See Piano-
forte. Zampo'gna (It.) 1. Bagpipe. 2.
Shawm.
Wuch'tig Weighty, weightily,
(Ger.)
ponderous(ly), with strong emphasis, Zapatea'do (Span.) A Spanish dance,
risoluto. in which the dancers mark the rhythm
f
by stamping.
'Wiir'de (Ger.) Dignity mit W., or wur'-
devoll, dignified.
;

Zap'fenstreich (Ger.) The tattoo. The

gro'sser Zapfenstreich is an impo.sing
Wii'thend (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
(Stretch) struck on the bung {Zapfen)
Xanor'phica, (Ger. Xanor'phika.) 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. Rollig of Vienna in 1797. attain that end.
Xylharmon'ica. (Ger. Xylharmo'nikon). Zaraban'da (Span.) Saraband.
A keyboard instr. inv. by Utho of San-
Zar'gen (Ger., pi.) Ribs.
gerhausen in 1 810, and resembling
Chladni's Euphonium, but with wooden Zart (Ger.) Tender, soft, delicate slen- ;

wands instead of glass rods an im- der. .Mitzar'ten Stim'men, with soft-
;
.

proved Xylosistron. toned stops. .Zartfflote, in the organ, .

a 4-foot flute-stop of very delicate in-

Xyl'ophone, (Lat. lig'neum psalte'ri- instead of
tonation, the pipes having,
um; Ger. Stroh'fiedel, Hoh'harmo-
the block, a windway reaching up from
nika, Holz'- und Stroh' instrument,
the foot, and directed against the upper
hol'zernes Geldch'ter; Fr. clajuebois,
lip.
ichelette , patouille xylors^anon; It. gige-
,

li'ra, sticca'do) A
very ancient and Zart'lich (Ger.) 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 flat 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 17th century.
 , '

2EFFIR0S0 ZOPPO. 227

Zeffiro'so (It.) Zephyr-like. Zingare'sca (It.) A Gypsysong or dance;

Zei'chen (Ger.) A sign. specifically, a song sung by maskers

Zeit (Ger.) Time. Also, same as Takt- during the Carnival.

teil. .Zeit'jnass, tempo
. im ersten (or Zingare'sco,-a (It.) Pertaining to Gyp-
vor'igen) Zeitmass, tempo primo... = ;

sies, Gypsy-like ... ZzKfrtr^'j^, alia, in

Zeifmesser, metronome. .Zeit'wert{h), Gypsy siy\e. .Zi'ngaro,-a, 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, marking passages to be
ardent ;

performed with energy and fire. Also Zir'kel (Ger.) Circ\&. ..Zir'ke Ikanon,
con ze'lo. infinite canon.
Zerstreut' (Ger.) Dispersed, open. Zi'ther (Ger., pron. tsifter; Engl. pro.
Zieh'harmonika (Ger.) Accordion. nun. zith'er.) [The Ger. Zither is a very
diflferent instr. from the old Engl, cither
Ziem'lich (Ger.) Somewhat, rather.
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 the modern instr.] l.i^Schlag zither
Zif'fer(Ger.) Y\^wxe...Bezif'fert, figured; i.e. plucked zither^ The zither, as
Bezif'ferung, figuring. developed from the primitive peasant-
Zigeu'nerartig (Ger.) Gypsy-like... instr. of the German Alps, has 32 or
Zigeu'nermusik, Gypsy music. more strings stretched over a shallow
Zim'balon. An improved dulcimer much wooden resonance-box, which is pro-
vided with a soundhole, and bears a
employed in Hungarian music, provided
bridge near the right end and a fretted
with dampers, >* P r o - fingerboard on the side next the player.
and having a 1 Or longa-
..

chromatic scale S^
~
\

Above the fingerboard are 5 melody-

l/TO) tio" of "

-^ \) strings .stopped by the left hand, tuned

of 4 octaves : a tone
-| the 2. A's be-
is obtained by its rapid reiteration,
~J^-^SS-|p y.i ; ing steel, the
<^y

marked p.
i

I I

D
brass, the G
Zim'belstern (Ger.) A sort of toy-stop steel silver-covered, and the C brass
in some old organs, consisting of a copper-covered. These 5 are plucked
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 :

^ ^^^^^^a^^^g ^i==t ^=f=^T^^^,

=1=

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 i^Prim' zither), Concert-Zither, player, who holds the body in his lap.
and Elegie^ -Zither (also called Alt- or Zit'ternd (Ger.) Trembling, tremulous.
Liederzither, and tuned a fourth be-
low the Prim- and Concertzither). Zo'gernd (Ger.) Hesitating, lingering,
2. {Streich'zither, i. c. Bow-zither.) retarding.
The earlier bow-zithers were heart- Zolfa'(It.) Sol-fa.
shaped of the newer ones, the Viola-
;
Zop'po,-a "Halting, limping''.
(It.)
Zither has the form of a viola,
Alia zoppa, syncopated as the rhythm ;
while the Philomhle has a more pointed
body and shallower bouts ; they are I J J J I J J J i
^1^0 applied to
varieties of the viol, with short neck, Magyar music with the rhythm :
228 ZOULOUZWdLF.

tJ'.J^iJ'.\J'.J^i\j'.J^J^J'.\J^J' J^J
Zoulou (Fr., "Zulu".) A style of pia- choruses (choirs) together. . .Zja'-
nette. menklang, a sounding together, simul-
Zu'falHg (Ger.) Accidental(ly) . . Zm'- .
taneous sounding of 2 or more tones ;

fdlliges Versefzungszeichen, accidental. a "solid" chord. .Zusam'inengesetzt, .

combined, compound zusam'menge- ;

Zuf'folo (It.) A small flageolet, such as

setzte Takt'art, compound time...
is employed in training singing-birds. Zusam' menschlag, acciaccatura . Zu- . .

(Also Zu'folo.)
sam'menspiel, playing together ; en-
Zug (Ger.) I. Same as Regis' terzug. 2.' semble-playing. .Zusam'menstreichen, .

A pedal (pfte.) 3. slide (of a trom- A to slur (either by means of the sign
bone, etc.). Zu^trompete, slide-trump-
. . called a slur, or by joining the hooks of
et .. . Zug'werk, tracker-action (in the hooked notes); Zusam' menstreichung,
organ). slurring.
Zu'kunftsmusik (Ger.) Music of the Zwei (Ger.) T^o. .Zwei'chorig, for 2 .

future a term first used (according to

; choruses (or divided chorus) Zwei'- . . .

R. Wagner) about 1850, by Dr. L. Fr. fach, (a) double, as counterpoint (1)) ;

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 vaXexya^s,. .Zwei'fussig, .

Future" [Das Kunstwerk der Zu- 2-foot. Zwei'gesang, a duet.

. . Zwei'- . .

kunft]. The word has been adopted, gestrichen, see Gestri'chen Zwei'- . .

by enthusiastic disciples of the neo- halbe Takt, 2-2 tirae. .Zwei'handig, .

German an epithet of distinc-

cult, as for 2 hands Zwei'stimmig, for 2 . . .

tion, with the meaning " music with a voices in or for 2 parts Zwei'tel . . .

"
future a definition whose correctness {-note), a haii-note. .Zwei'tritt, see .

can hardly be successfully disputed. Waltz. Zweiunddrei' ssigstel {-note), a

. .

Zu'nehmend (Ger.) Increasing, cre- 32nd-note Zweivier' teltakt, 2-4 time.

. . .

scendo, . Zwei'zdhliger Takt, duple time

. . .

Zweizwei' teltakt, 2-2 time.

Zung'e (Ger., "tongue"). Reed...
Zung' enpfeife reed-pipe Zung'en- Zwerch'fiote,
,
Zwerch'pfeiff (Ger.)
. . .

siimme, reed-stop. Zung'enwerk, the The cross-flute, or German flute.

. .
'
'

reeds," reed-stops of the organ, con- Zwisch'en (Ger.) Between, intermedi-

sidered collectively. Aufschlagende ate Zwisch'enakt, an entr'acte
. . . .
;

Zunge, beating reed durch' schlagende Zwisch'enaktsmusik,

;
act-tune(s) . .

Zunge, free reed. .Dop'pehunge, etc., Zwisch'enharmonic see Zwisch' ensatz,

. ,

see Tonguing. Zwisch' enraum, space. .Zwisch' en- . . .

Zuriick'halten (Ger.) To retard. . .Zti- satz, episode Zwisch' enspiel, . . . inter-

riick'haltend, ritardando Zuruck^- . . .

lude, intermezzo.
kaltung, retardation . . Zurilcl^schlag, . Zwit'scherharfe (Ger.) See Spit/harfe.
same as Ribattu'ta. Zwblf (Ger.) Tyielvn. .ZwSlfach' tel- .

Zusam'men (Ger.) Together, simultane- takt, 12-8 tivas. . .Zwolf'saiter, see

ous(ly); bei'de Cho're zusammen, both Bissex.
 APPENDIX
OF

ADDITIONS AND CORRECTIONS

 : ;

APPENDIX.
(An asterisk * refers to an earlier article in body of Dictionary.)

A. is remarkable, not merely for extreme

technical precision, but for the great
Abbandonan'dosi (It.) Yielding wholly
variety and artistic finish of musical ef-
to emotion ; with a burst of passion.
fects, both tempo and expression being
Abbandona're (It.) To leave, to quit
sen'za abbandona're la cor'da, without
wholly at the player's command. The
"yS(;/;a " 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 iirmus. ;
play an accompaniment to the /Eolian.
Div. Divisi, divise. The instr., which is the product of long
incalz. Incalzando. evolution, became known under its pres-
Mov', Movimento. ent name about the year 1883, in New
ovv. Ovvero. York. Its repertory includes all classes
po' poco. of music, and at present (1900) com-
A'bendunterhaltung (Ger.) prises about 20,000 numbers. It has a
Pupils' con-
cert (in a music-school scale of 58 semitones (the keyboard has
given for en- ;

semble-practice or quasi public per- 6 octaves) ; and all its music-rolls also
fit the Pianola (g.v.).
formance). (Also Ubungsabend.)
Ab'langen [eines Tones] (Ger.) Taking Affretta're (It.) To hasten, to accelerate.
[a tone] by extension (in violin-tech-
. . Senza affrettare, without hastening.
nic). A fior' di lab'bra (It.; Fr. au bout des

Ab'schleifer (Ger.) Staccato-dash (M). Ikvres ; Ger. gehaucht.) Very lightly

and softly sung or spoken.
Accenta'te (It. plural form of accenta'ta,
;

"le note" being implied.) i. Ac-

Aggiun'to,-a (It.) Added, interpolated.
cented, marked. 2 (imperative, pi.).
. .Arie aggiunte (pi.), airs interpolated
.

in an opera, etc., to which they did not

Accent Emphasize
! !

originally belong.
Accentua're (It.) To accent . . . Acceniu-
an'dOy accenting. . .Accentua'io,-a, ac-
Air coup6 (Fr.) An air of set form.
cented. Album-leaf. (Ger. Albumblatt; Fr. Feuil-
let d' album; It. Pagina d' alburn^
Accessit (Fr.) Honorable mention.
Title of a short and (usually) simple
Accord'zither (Ger.) See Zitherharfe. vocal or instr. 1 piece.
.^o'lian. A reed-organ of the American Alexandrine verse. "An iambic hex-
type, the air being drawn through the apody, or series of six iambic feet.
reeds. It has a keyboard, and may be
French Alexandrines are written in
played like an ordinary organ but its ;
couplets, alternately acalectic with mas-
distinguishing feature is a mechanical culine rimes and hypercatalectic with
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-
(treadles)worked by the feet the time- ;
ample :

value of the notes is controlled by per- *

A needless Alexandrine ends the song,
forations in a gradually unrolling sheet That, like a wounded snake, drags its slow
of paper, the music-roll the tempo is ;

length along.' (Pope.)"

regulated by a stop called the Motor j

[The Century Dict.]
and the expression is regulated (a) by Allarga'te (It. ; imperative.) Slower and
the pedal-movement, {Ji) by two knee- broader.
swells, and (<:) by the registration. In Amu'sia. Loss of the musical faculty.
the largest instr.s there are ten speaking [British Medical Journal, Dec. 22,
stops, and a. Tremolo. The yEolian 1894.]
232 ANCORA PIANO BASSHORN.
Anco'ra pia'no (It.) Still [sing or play] A'spro,-a (It.) Harsh, rough.
softly; &r^vi, to sempre piano, Assie'me Same as Ensemble.
(It.) . ,
Andati'do (It.) Same as Andante. Pezzo d'assieme, a concerted piece.
An'denken (Ger.) Recollection, souvenir. Astuc'cio (It.) Music-roll, music-case.
*A'ninia (It.) 3. Core (of a covered Auda'cia, con (It.) With boldness.
string). Auf'hebungszeichen (Ger.) The " can-
A par'te (It.) Aside ; e.g., sottovoce a cel" or natural (Ij).

parte. 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'na (It.) Hardly, very little ap- ;

pena animando, a very little faster ap- Auf'loser (Ger.) The "cancel" ornatu-
;

pena meno, a trifle slower, ral (tl).

Appoggiamen'to (It.) Ciiin-rest. Auf'schwingend (Ger.) Soaring(ly), im-

petuous(ly) ; con inipeto.
Appuyer (Fr.) To sustain.
Auf'schwung (Ger.) Lofty flight, soar-
A quat'tro par'ti (sole) (It.) For four
ing impetuosity mit A., in a lofty, im-
;
(solo) parts.
petuous, impassioned style.
Arched viall. [Bovy-viol ?] Pepys' Diary
Aus'gefiihrter Choral' (Ger.) A " worked
(Oct. 1664) describes this instr. as
5,
out " choral a choral with free counter- ;
"being tuned with lute strings and
point or, with contrapuntal working- ;
played on with keys like an organ a ;
out or, contrapuntally worked out (de- ;
piece of parchment is always kept mov-
veloped).
ing, and the strings, which by the keys
are always pressed down upon it, are Aus'stattungsstiick (Ger.) Spectacle,
grated in imitation of a bow, by the spectacular play or opera.
parchment and so it is intended to re- Autoar'pa Wagner (It. " Wagner Au-
; ;

semble several vialls played on with one toharp.") An improved autoharp {Ak-
bow, but so basely and so harshly that kordzithei') inv. i8g6 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 arae (Fr.) Same as con aninia.
rone.
Avec le chant (Fr.) 'r,SLra& bs col canto.
Ardo're, con (It.) With ardor, warmth.
A volont6 (Fr.) 'a&va^ as, a piacere.
*A'ria (It.) Aria d'entra'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
Babillage (Fr.) Babbling, chatter.
the singer makes his exit. [The Sor-
iita is, however, also the name for the
Badinerie (Fr.) Same as Badinage.
first number sung by any of the leading Bagatel'la (It.) Bagatelle.
characters in an opera].. .Arieaggiun'- Baglio'ra (It.) Flash of light title for ;

te, see Aggiunto. .Aria also signifies

.
a swift, light and piquant composition.
wind (in the organ, etc.).
Bala-aceVla. (It.; Fr. ialancelle.) Apiece
*Ariet'ta alia venezia'na (It.) Little of music imitating the easy rocking of a
air in "Venetian" style; i.e., a bar- sailboat.
carola. Baldamen'te (It.) Boldly.
Arietti'na (It.) A brief or trifling ari- *Ballabi'le (It.) 2. Ballet-music.
etta.
Ballatel'la (It.) A short ballad.
Arraag'gio (di corde) (It.) Set of strings.
(Also Montatura.)
Bassanel'lo (It.) i. An obsolete wood-
wind instr. allied to the bassoon,
with
Ascenden'te (It.) Ascending. double-reed a conical mouthpiece
in
Aspirant' (Ger.) A young musician in carried by an S-shaped crook. 2. A
an orchestra, on half -pay, "aspiring" 4-foot or 8-foot reed-stop in old organs.
to full membership. *Bass'horn (Ger.) A wood-wind instr.
 '

BASSIST-CAPOPHONE. 233

inv. byFrichat in 1804, and already ob- c.

solete, allied to the Serpent, but with
a brass bell, and a cupped mouthpiece C. In recent Italian music " i C." and
" 3 C." are abbreviations of " una cor-
on an S-crook. Compass 4 octaves (C
to c').
da " and " tre corde " respectively.
Bassist' (Ger.) Bass singer. Cade're (It.) To fall. Cadenza (ca-
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 16-foot phrase "Cadenza ma senza cadere"
reed-stop on the swell-organ. . (heading his Cadenza No. I to the 1st
*Bassoon (compass). The ^i below ^ijj movem. of the G-major Pfte.-Concerto),
is occasionally used (Raff). which may be translated " Fall back, :

but don't fall down.'

Bavardage (Fr.) Chatter, tittle-tattle.
Bel canto (It.) The art of beautiful
Cahier (Fr.) Book.
song, as exemplified by the finest Italian Camor'ra (It.) Paid claqueurs in Italian
singers of the i8th and 19th centuries, theatres.
and their pupils or imitators. The term Campagnuo'lo,-a (It.) Pastoral, idyl-
isused especially in contradistinction to lic ; rustic.
the declamatory " style of dramatic
'
'
Campes'tre (It.) Pastoral, rural, idyllic ;
vocalism brought into such prominence as danza cavipesire,
by Wagner.
Cano'nico,-a (It.) In canon-form.
Bien chants (Fr.) Same as mo/io can-
tabile.
Canticchian'do (It.; Fr. en fredonnant^
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
blocks "when
'
forte-action ' it remains named cantino^ seconda^ terza and
against the string after impact, instead quarta^
of recoiling, thus "blocking" (deaden-
*Canto, written in a score over the blank
'
ing) the tone.
part for any instr. means that the latter
,

Blue'te (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 light, sparkling piano- instr.l 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 ritournelle or interlude.
(on the violin). Capo-bao'da (militare) (It.) Band-
Bouts [pi.]. The
incurvations on either master.
side of instr.s of the violin-type, form- Capoco'mico,-a (It.) See Striese.
ing the "waist."
*Capo d'astro. [An English corruption
*Bridge. A violin-bridge with 4 feet has of capotasto.\ 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

Bris6, le (Fr.) In violin-technic, short, derived from the fact that it bears down
detached strokes of the bow. on the strings of the three highest
octaves (more or less), and is supposed
Budel'lo (It.) Gut. (Also mimtgia.)
to add to the brilliancy and carrying-
Bu'co (It.; pi. bu'chi.) Finger-hole (of power of their tone. It is, however,
a mus. instr.). not removable, like a real capotasto, but
fixed.
Biih'ne (Ger.) Sidige. ..Buh'nenmusil^',
{a) dramatic music {b) music played on ;
Capo-mu''sica (It.) Conductor ; band-
the stage. master.

Bun'te Rei'he (Ger.) The phrase means,

Capo-orches'tra (It.) Conductor of an
the alternation, in a company orchestra.
literally,
seated at table, "of a lady with a gen- Capophone. A set of musical glasses
tleman hence, as a mus. title, a series
;
inv. by M. F. Coelho, on which he
of contrasted characteristic pieces. produced remarkable effects.
234 CARATTERISTICO CORTO.
Caratteris'tico,-a (It.) Characteristic. Colori'to (It.) Same as Colorit.
...Pezzo caratteristico, characteristic *Col'po Stroke
(It.) e. g., colfo di;

piece. campanel'lo, stroke of a bell.

Cas'sa (It.) Body (of violin, etc.).
*Co'me pri'ma (It.) Standing alone, as
*Catch. (It. cac'ce^ from cac'cia, a a tempo-mark, it means that the pre-
chase.) The term
occurs as early as vious tempo be resumed (after a
is to
the 14th century, in a composition by digression) also written tornando come
;

Fr. Lapdino. [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-
Cello'ne. A
bow-instr. intended to lation of the German term durchkomfo-
replace the 'cello (in conjunction with niert (see Durchkomponiereri), the cor-
the Violotta [q. w.]) in the string-quar- rect English equivalent for which is
tet. In dimensions it resembles the "progressively composed," as con-
'cello, but the accordatura is a fourth trasted with " strophic composition"
lower, namely, Gi-D-A-e. Tone like (see Song 2).
that of the 'cello (though stronger), Comprinia'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
(It.) con una certa
; Concentran'do (It.)
'
Concentrating "'

espressione farlante [Beethoven], with an expression-mark in vocal music,

a certain declamatory expression. calling for a dark, veiled, intense effect
Ce'tra ad accor'di (It.) Autoharp. of tone.
Champetre (Fr.) Same as Campestre. *Concerti'sta (It.) 2. Concert-giver.
Charme, avec (Fr.) With charm, grace- Confet'ti (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
to receive the curve of the jaw, fastened
*Contrab(b)as'so (It.) Sub-bass (organ-
stop).
to the edge of the violin to the left of
the tailpiece, and extending over, but Corde fil6e (Fr.) Covered string.
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.
;

Acoustics^ The tone is produced by hammers strik-

ing on a graduated 2-octave series of
Chord-bar. One of the bars crossing
hollow bronze cylinders.
the strings of the autoharp being ;

pressed down, it allows only the strings Cori'sta (It.) Chorus-singer. C. capo- . .

of one special chord to vibrate. (Ger. Jila, 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 in
Brussels in 1887, and used with good an organ).
effect in the orch. of the Monnaie
Theatre there in 1888.
*Cornet a 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 of Jenori Imi substitute for the valve-trumpet is to be

tenor-clef now condemned, these instr.s being too dis-
(1896) used in similar in tone.
Italy. [From the
Milan " Gazzetta Cornet'ta (It.) Cornet a pistons. . . Cor-
Musicale ", Dec. Tenon 2& netti'na, a small cornet.

17, 1896.] Cor'to,-a (It.) Short. "Za cadenza sia

 . .;;

COULE ESCLAMATO. 235

carta " [Beethoven], the cadenza should named after Louise-Rosalie Dugazon, a
be short. celebrated singer (1753-1821).
*Coul6 (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.
trance is facilitated by counting *Du'o. A composition in 2 ^&x\.% for one
s instrument ; c. g., a violin-duo, in
(e.g., 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.) tenor who A

sings as if his necktie were too tight. E.
Cupped mouthpiece. The
shallower Echancrures (Fr. pi.) Bouts.
form of mouthpiece for brass wind- Eck'satz (Ger.) "Corner movement";
instr.s (Ger. kes'selformiges Mund'- i. e., the opening or closing movement
'
contradistinction to
stiick), in conical '
in a cyclical composition.
mouthpiece," the deeper form (Ger.
clat(Fr.) Same as Brio.
trick' terformiges Mund'siiick).
Eguaglian'za (It.) Smoothness, even-
ness con molta
; eguaglianza, very
smoothly, evenly.
Decimaquin''ta (It.) Interval of a
i.
fifteenth. 2. The *Ein'lage (Ger.) Extra number inci-
Fifteenth (organ-
dental number. (See Arie aggiunte.)
;

stop).
Declama'to,-a (It.) Declaimed in de- lan (Fr.) Impetuosity, vehemence
;
. .

clamatory style. Avec /Ian, same as Con slancio.

Deliran'te (It.) Raving frenziedly. largissez (Fr.) Same as Allargate.
;

*Denii-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 pih largamente (Ger. breiter
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) ; triple Enim'ma (It.; pi. enimme.) Enigma;
(times).
hence, enigmatical canon.,

Divagazio'ne (It.) A ramble, excursion ;

En mesure (Fr.) "In measure," i. e.,

rambling, strolling. a tempo, or a battuta.

Divette (Fr. diminutive of diva) Lead- Enr^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- Ensem'blestiick (Ger.) A concerted
nine gender (in Italian), such as tromba piece {Vr.pikce [or morceau\ d^ ensemble").
;

also to vocal parts {voci divise) it may Entusias'mo, con (It.) With enthusi-
;

likewise be expressed by numerals, e. g. asm.

^etc.
Erin'nerungsmotiv" (Ger.) A mus.
motive attached to and recalling a past
scene, emotion, personage, etc. ; in so
Dodinette, Dodino, Dodo (Fr.) Lul- far, a leitmotiv.

laby. Eroico'mico,-a (It.) Mock-heroic.

Do'rico (It.) Doric, Dorian. Erzah'lung (Ger.) Story, tale, narra-
Dugazon (Fr. ; Ger. erste Liebhaberin.) tion.
French designation for the leading so- Esclama'to,-a (It.) Exclaimed ; decla-
prano in comedy-opera, operetta, etc. ;
mato con forza.
236 ESEMPIO FORTSCHREITUNG.
Esem'pio (It.) Example. Fingered octaves. In pfte.-technic,
Espansio'ne, con (It.) With exalted or octaves played with the 1-5 and 1-4
intense feeling. fingers alternately.

Espansi'vo (It.) Same as con espan- *Fingering. Alternative fingerings may

sione. be written thus :

^
*Espressio'ne (It.) Expression-stop. i.
T 3"
2 4
Esquisse (Fr.) Sketch. :1=

Estre'mo,-a- (It) Extreme. . .Estrema-

men'ie, extremely.
Etichet'ta
violin.
(It.) Maker's "label" on a or thus E3ES^E3^^^^^^
2 4 3 1 2 4
Etoffer (Fr. ) To stuff, fill out ; to " pad."
2 3 5 4 3 2
Exaltation, avec (Fr.) Same as coji A change of fingers, temporarily de-
esaltazione. layed, may be indicated thus :

Exhibition. A
scholarship at an Eng- .5 4
lish university or music-school, inde-
pendent of the foundation ; as the
Potter Exhibition at the Royal Acad, Iw=^- TT7
of Music, London.
*Expression-niarks. The mark p sf
over an arpeggio signifies " he^n piano
with a swift crescendo, the highest note A trill on the pfte. is sometimes fingered
Sf." thus : \, or f or,
-I,
etc.

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 Fly. 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 Flessibilita' (It.) Flexibility.
composition. Flies'send (Ger.) Flowing(ly), smooth-
Fascia're (It.) To cover, to wind (ly) ; scorrendo.
(strings) . . . Corde fascia' te, covered Flute-stop. Any flue-stop on the organ
strings. (except stops of diapason-tone) made
Faerie (Fr.) Fairy-opera, fairy-play. of metal or wood, closed or open, and
Fervo're, con (It.) With fervor, warmth. of any pitch from if-foot (Terzflbte)
to 16-foot (Flautone), may be called a
Feuille (Fr.) A leaf ;
feuilles volantes, " flute '' of some kind, either on account
fljfing leaves.
of its tone, or after the builder's taste
Feuillet (Fr.) A leaf, leaflet. . .Feuillet or fancy. Descriptions of the ordinary
d'album, album-leaf. styles will be found under their respect-
Fia'ba (It.) Fable, fairy-tale. ive names. (Also see Flute-work, under
Stop 2.)
*Fia'to (It.) Wind slrumen'to a fiato ;

(or da fiato"), wind-instr. Fliitet (Fr.) Same as Galoubet.

Fi'la (It. pi. file.)
;
Rank (of organ- Fo'glio (It.; pi. foglt) A leaf.../-.
pipes) ;e.g.,
" Pieno, j>
file V, X
d'album, album-leaf ... /"a'^/^ volan'ti,
XIX, XXII" signifies "Mixture, 3 flying leaves.
ranks (Fifteenth, Nineteenth, and triple Folatrerie (Fr.) Whim, caprice, bizarre
octave)". fancy.
*Filer un son (Fr.) Also means to sus- For'te genera'le (It.) The full-organ
tain a tone with- a gradual crescendo combination stop. .Forte I'appoggia-
- .

and decrescendo. tura, accent the appoggiatura strongly.

Fi'lo di voce (It.) The very softest and *Fort'schreitung einer Dissonanz'
lightest vocal tone. (Ger.) Is not necessarily the resolution
 ; :

FORTTfiNOR HOCHFORMAT. 237

of the dissonance, as one dissonance Gix'er (Ger.) Same as Kicks.

may progress to another; Auflosung See Vocal glottis. Glottis.
is the exact German equivalent of
Gosier (Fr.) 'WvtosX.. ..Isthme du g.,
"resolution."
isthmus of the throat.
Fortt6nor (Fr.) Dramatic tenor.
*Graces. In "La Poule " (a piece for
Fouett6(Fr. "whipped.") See Whip-
; harpsichord, by Rameau), the following
ping boiv. grace occurs :

Frammen'to
Fra se (It.)
Frau'enchor
(It.)

Aside.
Fragment.

female chorus.
(Ger.) i. A
Written
\^^^^^m F7*

2. A compositionfor such a chorus.

Played
. .Frau' enstimmen, women's voices.
Freddez'za, con (It.) With coldness
'
coolly, indifferently. In the ' Rappel des oiseaux :

Freraen'te (It.) Furiously.

Frettolo'so (It.) Hurried. . .Frettolosa-
men'te, hurriedly.
Fri'gio (It.) Phrygian. Played:
Frog. The German word Frosch means
both "frog" (the animal) and "nut"
The former is dAlembert's Chute et
(of translators of Ger-
a violin-bow) ;
Fine/, 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 Fine/ simple,
stead of the proper technical term
" nut." but with a different sign.
Gradatamen'te (It.) By degrees, grad-
Fuo'ri di sfe (It.) Absently ; dream-
ually.
ingly, as if dreaming.
Grandement (Fr.) With grandeur ; with
Furberi'a del can'to (It.) The vocal
and con
breadth, dignity force. (It.
effect of the bocca chiusa (humming).
grandezza.)
Fur sich (Ger.) Aside.
Grand'or'gano (It.) Great organ.
Gravita', con (It.) With gravity, dig-
nity ponderously.
;

Garba'to (It.) With simple grace, ele- *Gruppet'to ascenden'te (It.) Back
gance. turn ..G. diseenden'te, ordinary turn.
.

Gefeil'ter Strich (Ger.) Detached bow-

ing (violin-technic).
H.
Gehaucht' (Ger.) Very softly and lightly Habane'ra (Sp.) A species of contra-
sung or played. dance comprising two 8-measure peri-
Gemen'do (It.) Moaning. ods in 6-8 time. It is a typical Cuban
dance hence called the " contradanza
;

Gemes'sen (Ger.) Measured(ly), moder- criolla " (Creole contradance).

ate(ly) ; misurato,
Hack'e (Ger.) Heel. (Abbreviated, in
Gepei'tschte Strich'art (Ger.) Whip- organ-technic, H.)
ping bow.
Harmony, false, i. The inharmonic
Geris'sen (Ger.l Thrown off (in pfte.-
technic) By a rapid, deft lift of the
relation. 2. Discord produced by im-
wrist ; as em gerissener kkord. A
perfect preparation or
Discord produced by wrong notes or
resolution. 3.

Gesang'reich (Ger.) Very singingly ; chords.

cantando, cantabile. Havanaise (Fr.) A Habanera.
Gezo'gen (Per.) "Drawn out"; larga- Hin'tpr der Sze'ne (or Sce'ne) (Ger.)
mente^ sostenuio. Behind the scenes.
Gio'co, con (It.) Playfully. Hoch^format (Ger.) The ordinary shape
Giovialita', con (It.) With joviality, of music-paper, higher than it is broad.
jovially. (See Querformat.)
238 HOLDING LONTANISSIMO.
Holding. The burden of a song. (Ob- Klavier'harfe (Ger.) Same as K'/a'"i-
solete.) atur'harfe.
Huitifeme de soupir (Fr.) A 32nd-rest. Kna'benchor (Ger.) Boy-chorus, boy-
choir ; also, a composition for such a
chorus or Q^adir .Kna'bi'nstimmen.
. .

boys' voices.
I.
Kokett' (Ger.) Coquettish(ly).
II pill (It.) The most.
Im (Ger. ; contraction of z' A-m.) In the.
. . . Im Tempo, in the (regular) tempo a ;

tempo.
Lamen'to (It.) Lamentation, dirge, el-
egy.
Inci'so,-a (It.) Incisive, sharp sharply
;

Lara'peniieber (Ger.) Stage-fright.

emphasized inci'se ; [/<? note\ [the notes]
sharply marked. Languo're, con (It.) With languor, lan-
guidly.
Ingenuamen'te (It.) Ingenuously, nat-
urally. Larghez'za, con (It.) Same as Larga-
mente.
Ingranag'gio (It.) Gear, gearing ; ma-
chine-head. Leer (Ger.) i. Empty, hollow (of a tone).
Insceni'rung, Inszenie'rung(Ger.) See
2. Open (of a string).

Mise en seine. Legan'do (It.; "binding.") i. Equiva-

Intar'sio, Intar'zio (It.) Purfling.
lent to Legato.
2. An expression-mark,
in vocal or instr.l music, calling for the
Interligne (Fr.) Space (between lines of smooth execution of two or more con-
staff). secutive tones by a single " stroke of
Intermez'zi sinfo^nici (It.) Incidental the glottis " (vocal), in one bow (violin,
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- ;

pophrygian ipoli'dico, Hypolydian. or pfte.).

;

Lega'te (It.; pi. form of lega'ia, the

Islan'cio (It.) See Slancio.
words "le note" being implied.) Slurred ;
Isthme (Fr.) Isthmus. played (or sung) evenly and smoothly.
Istrumentato're(It.) Instrumenter ; or-
*Legatu'ra (It.) 2. A slur.
chestrater ; composer for orchestra.
Leggen'da (It.) Legend.
Leggeris'sime (It.; pi. of Icggerissima,
"/if note"being implied.) [Play or
sing the notes] very lightly.

Jingling Johnny. Formerly a popular

Leg'gio (It.) Music-stand.
name, in London, for the Turkish cres- Le'gni (It.; pi. oile'gno, wood.) Wood-
cent. wind.
Jonction (Fr.) Blending (of the vocal Lesff(Fr.) The /-holes.
registers) ; also Vunion des registres. Lice'o (It.) Lyceum Conservatory. ;

Juste (Fr.) Perfect (said 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,
Kan'tor (Ger.) Cantor; the director and
trainer of a choir or chorus in a church
vaudeville. 2. A concert-piece for vo-
and pfte. -accompani-
cal soli, chorus,
or school. ment, with dramatic and local color
Ker'nig (Ger.) ^Yith lirmness, decision ;
invented by Schumann in his " Spa-
con fermez'za, deciso. nisches Liederspiel," op. 74.
Kes'selformiges Mund'stiick (Ger.) Liuta'io (It.) Same as I.uthier.
Cupped mouthpiece. Liuti'sta (It.) Lute-player.
Klavier'abend (Ger.) Piano-recital in Lontanis'simo (It.) Very far away
the evening. Also Clavierahend. equivalent \.q piano possibile.
 ;

LUNGA E DIMINUENDO NINNERELLA. 239

Lun'ga e diminuen'do [raorendo] (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 " Kinderszenen," " Kinder-
Macchinet'ta (It.) Machine-head. stucke."

Madrile'Ha (Sp.) A dance of Madrid. Montatu'ra (di corde) (It.) Set of

strings.
*Mandolina'ta (It.) 2. Title for a man-
dolin-piece of a quiet character, Mor'bido (It.) Soft, tender; morbidis-
such
simo, very soft. . Con morbidezza, with
as a serenade or nocturne. .

tenderness, softly.
Mandoloncerio, Mandolo'ne (It.)
Large styles of the mandolin.
" Man- *Morden'te. G. Nava, in his "Ele-
dolina, Mandola, Mandoloncello and ments of Vocalization," calls an un-
Mandolone do not differ one from the accented double -appoggiatura (e.g.,
other in form, but only in size." [Gaz-
ZETTA MUSICALE.]
Manna'liter (Lat.) On the
a mordente.

manual(s)
^^f3=)
alone (organ-music). *Mos'so (It.) Occurring alone as a
tempo-mark, Mosso is equiv. to Con
Marca'te (It. ;
pi. of marca'ia.) A direc- moto, [Verdi: "Aida," pf. -score, p.
tion signifying: "The notes are to be
285.]
marked"; the words " le note" being
implied. Mu'sica fic'ta (Lat.; "feigned music")
Mediaeval name for scales transposed by
Mar'kig(Ger.) " Marrowy " with strong the use of the
;
or [j such.scales being
t] ;
emphasis sturdy, strong, vigorous.
;
considered irregular ("feigned ") in con-
(Also adverb.)
trast with the regular ones.
Mediation. See Chant 3. Musical Dictation. See Dict^e musi-
Melo'logo (It.; pi. melo'loghi) Melo- cale.
drama a spoken dramatic scene accom- Mu'sico (It.) An artificial
;
male soprano ;
panied or illustrated by music. a castrato or evirato.
Mes'sa da re'quiem (It.) Requiem mass. Musique de Sc&ne (Fr.) Incidental
Mes'sa in sce'na (It.) Same as Mise en music.
scene.
Musurgia (Gk.) The art of correctly
*Mesur6 Equivalent to moderato ;
(Fr.) employing the musical consonances and
e.g., Allegro mesuri. 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'giebig
(Ger.)
special committee of the Milan Conser-
Yielding(ly), slower slower, rallen- and
taitdo . Nach'giebiger, more yielding-
. .
vatorio. It has a short keyboard, and
ly, /z'i sostenuto,
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-
ceding (either/' ox p). .Mezzo respiro, .
Naset'to (It.) Point (of bow). Also
half-breath (i.e., a [rapid] partial inspi- punta,
ration). Naufra'gio (It. ; "shipwreck.") Modern
Mez'zo (It. ; noun^
Middle nel mezzo ;
equivalent of Fiasco.
del arco, in the middle of the bow. Negligen'za, con (It.) With negligence,
Milieu (Fr.) Middle. cafelessly.

Minu'gia (It.) Gut. (Also Budello.) Ni'colo. An ancient style of bombard,

the alto of the oboe.
Mise en sc^ne (Fr.; It. missa in scena
Ger. Inszenierung.) Setting of a play Nien'te (It.) Nothing. (The phrase
'

on the stage ; stage-setting, mounting. quasi niente signifies inaudible, as iit '

were," i.-e., barely audible.)

Moderatamen'te (It.) With moderation
(either of tempo or emotion) also con Nin'na-nan'naKj .
;

'
^""""y-
lullaby.
moderazione. Ninnerel'la i
^
240 NOTATION PEL.
^Notation, In the following example
[Rubinstein, op. 3, No. 4] for pfte., the
two notes with convergent stems, ^f ppppp. Young Italy occasionally in-
dulges in five jp's to indicate a barely
and^lj, are to be played simultaneously
audible musical murmur.
12^
3
1 Pa'gina d'album (It.) Album-leaf.
fe =I=^= Parabrac'cio (It.) Arm-rest.
^ESte^T^J-^ Parallel intervals are formed by the
progression of two parts in the same
Notturni'no (It., dimin. of Nolturno.) direction and at exactly the same inter-
A short nocturne. val.
*Numerals. The Roman numerals I., Pa'ri (It.) Equal (of voices voci ;
'
'

II., III., IV., in violin-playing, indicate pari") ; duple (of times ;

" tempi pari").
the string to Ije played on, the E-string *Parlan'te (It. "speaking.") In pfte.-
being I. and 4' {ior prima,
i", 2", 3",
;

technic, this direction calls for a clear,

seconda, terza and quarta corda, re- crisp non legato.
spectively), are also written. single A Parla'to (It.) Spoken.
8 under a bass note signifies that the
note should be doubled in the lower Parolier (Fr.) Same as Liederdichter.
octave. I C. and j' C, in modern Italian Partie (Fr.) Vart. ..Parties separdes,
piano-music, stand for Una corda and separate parts. . .Partition et parties,
T^r^forafe respectively. Also cf. Divise score and parts.
and Fingering, in Appendix. Partitionnette (Fr.) A little (or slight)
Nymphale (Fr.) A French portable score.
organ of the l6th century. Pas'so (It.) I. Step c. g., Valzer a
due passi. 2. Measure
;

; time passo ;

o. ordina'rio, common time ;

passo doppio
*Oboe (compass), i. The usual orches- compound duple time. cotnposto,
tral compass is only to f^... Oboe da Pau'ken (Ger.) To thump thumping, ;

cac'cia the tenoroou oboe (corno

(It.), pounding, banging (rough piano-play-
inglese) Ofo^ lunga, same as oboe
. . . ing)-
d'amore. 2.
In the organ, an 8-foot Pau'ra (It.) Fear, disma.y. . .Pauro' so,
reed-stop, with conical pipes surmounted fearful, timid.
by a bell and cap Orchestral oboe, a . . .

stop accurately imitating the orch.l

Pedal' dop'^elt (Ger.) The pedal-part '
'

in octaves (organ-technic It. pedale

'
;
instr.
doppio) Pedal ein'fach, a direction
. . .

Obo'er (Ger.) Oboist.

following the foregoing, and signifying
Officle'ide (It.) Alternative spelling of that the pedal-part is no longer to be
Oficleide. doubled. . P
edal' koppel, pedal-coupler.
.

*Operette [with /] is the correct spelling Peda'le o'gni battu'ta (It.) "Take
of the French word. pedal with each measure."
Operi'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.
and " close harmony ". Pedali'no (It.) Same as Pedaletto.
Orecchian'te (It.) One judging of Pedal-sign. A sign for the loud pedal,
music by ear " one lacking theoretical
'
' ;
W) W
and practical training in the art.
Orfeo'nico (It.) Pertaining to the
written __|, has been introduced I

by Arthur Foote of Boston a showing ;

Orpheons. the precise point at which the pedal

*Organet'to a manu'brio (It.) Hand- should be depressed, and b where it
organ. (Also 0. di 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 il, "for
Otto'ni (It. ;
pi. of otto'ne, brass.) Brass- the" e. g., pel mandolino, for the
;

wind. mandolin.
 ;;

PENNA PROGRESSIVE COMPOSITION. 241

Pen'na (It.) Pick, plectrum. Plein (Fr.) Full a plein son, with
; full

Pensie'ro (It.) Thought . Pensiero

. .
tone {sonoramente).
del{la) , 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 instr.s). occurs alone as a tempo-mark, mosso is
Per interval'li giu'sti (It.) By exact implied ; i. e.,poco meno mosso, a little
intervals (in a canon i. e. the theme
; ,
less fast [slower]. .Pocapik, standing
.

is repeated interval for interval, strictly). alone, also implies mosso ("a little
iasXex"). .Poco piii lento delta Z"^"
.
Pertichi'no (It.) The singer of an ex-
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.; "Jittle 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?) (It.) Little
Pez'zi stacca'ti (It.) A irs dHachh. polka.
Phras6(rr.; 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, Porte, 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 (b) the pneu-
;

matic action, consisting of 65 felt-

Post-horn. A horn without valves or
keys, capable of producing the natural
covered levers, or automatic fingers,
harmonics of its fundamental tone
which command a compass of five
used on post-coaches.
octaves and four semitones (from A to i

/^), 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 Prestissimamen'te (It.) With extreme
pieces. The apparatus is not attached rapidity (equiv. to Prestissimo).
to the pianoforte, but set in front of it '

in such a position that the 65 automatic Pre'sto 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.") ;

grades of popular, romantic, and classic An 8-foot stop on the swell-organ.

pianoforte - music and arrangements. Prinzipal'stirame (Ger.) Leading part
{Cf. Mohan:) solo part.
Pib-corn (Welsh.) hornpipe. A Profa'no,-a (It.) Secular ; as oratorio
Piffera'ta (It.) Air /or the fife, or in profano, musica profana.
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.
Plain-beat. An obsolete English harp-
may be either expressed or implied. 2.
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-
-t- pjnieren {q. w.).
'
242 PROLONGEMENT ROLATA.
Prolongeraent (Fr.) Sustaining-pedal. Retenu (Fr.) Same as Ritenuto.
Pronunzia'to,-a (It.) Pronounced, em- Retrosce'na (It.) Behind the scenes.
phasized.
Revue (Fr.) A
review in musico-dra-
Protagoni'sta Protagoniste (Fr.)
(It.), matic form, and generally humorous, of
Singer of the leading role in an opera. the striking events in a season or year
*Pro'Ta (It.) Rehearsal. .P. in costu'- .
just closing.
me, dress-rehearsal . . .F. genera' le, full *Ribattu'to,-a (It.) Restruck, repeated ;

rehearsal. note ribattute, repeated notes.

Pult (Ger.) 'Desk...Erstes (/.) Pult, Ric'cio (It.) Scroll.
and Zweites (II.) Pult, in a score, in-
Ricochet (Fr.) In violin-technic, a var-
dicate, respectively. Division i and 3 of
iety of staccato differing from the sau-
a group of orch.l instr.s playing rfm'w'.
tilli (saltato) in not employing the wrist
Pult'virtuos (Ger. Fr. virtuose de pu-
;
(in the saltato, up-stroke, a separate
pttre.) 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 (It.) Same as Adorna-
Weingartner, etal., who either travels
niento.
with his own orchestra, or conducts
different orchestras at various places. Rimembran'za (It. ;
pi. rimembran'ze.)
Recollection, souvenir, memory.
Pun'to corona'to (It.) Hold (r^^).
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.) Kepose. . .Riposa'to, re-
ter la corde, without quitting the string. poseful, lestinl. . .Riposatamen'te, re-
posefully.
R. Ripren'dere (It.) To resume stringendo ;

per riprendere il I" tempo, hastening,

Raccoglimen'to (It.) CoUectedness of in order to regain the former tempo.
mind, composure.
Risolutezza, con (It.) With resolution,
Raccol'ta (It.) Collection.
decision.
Raccon'to (It.) Tale, story.
Rispet'to (It.) Love-ditty.
Rallenta'te (It., imperative.) Go slower.
Rit. given on p. 2 as an abbreviation
is
Recessional. A hymn sung in church of Ritenuto, and is often so used, though
during the departure of the choir and
clergy after a service.
more frequently for Ritardando. In
view of the difference in meaning
Redite (Fr.) Repetition. between Ritenuto and Ritardando, it is
Reduce ridur're.) Same as RMuire.
(It.
advisable always to write Ritenuto out
. .Reduction (Ger. Reduktion'; Fr. re- in full, when that nuance is desired.
duction ; It. riduzio'ne), a reduced com- Ritardan'za (It.) Retardation.
position (see RMuire). Ritardazio'ne (It.) Retardation, drag-
Reif'tanz (Ger.) Same as Schdfflertanz. ging-
Reminiscen'ze (It. pi.) Recollections. Rit'mico (It.) Rhythmical. .i?z7'OTjV(7, .

R6solument (Fr.) Same as Risoluta- written after a recitative, is also equiva-

mente. lent to " a tempo" or misurato.
Restez (Fr. ;
" stay there ! ") In music Rit'ter-Bra'tsche (Ger.) A large style
for bow-instr.s this direction means : of viola, the Viola aha, inv. by
(l) "Play on the same string", or (2) Hermann Ritter of Wurzburg ; a per-
" Remain in the same position (shift)". former on it is sometimes called a
"
*Rests.
several
A pause of
measures is
often written thus : p^ Rola'ta
Ritter-Bratschist'."
Rivi'sta (It.)

(It.) A
Same
roulade.
as Revue.
 ;

ROMANZA SENZA PAROLE-SIGNS. 243

Roman'za sen'za paro'le (It.) Song ure " i.e., not in strict time ; equiva-
;

without words. lent to the tempo-mark n piacere, and

Romanze'ro (It.) A suite or cycle of
opposed to misurato Senza suono, . . .

" without tone " i.e., spoken.

romantic pieces for pfte. ;

Sept'akkord (Ger.) Seventh-chord. (Also

Sep' timenakkord.)
Serenatel'la (It.) Little serenade.
Sag'gio (It.) Examination. . (Concerto Serenita', 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
;

Ubungsabend 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 Severita', con ; Seve'ro (It.) In a se-
in the United States) 2 drones, and 2 vere (stern, austere) manner.
melody-pipes fingered by the right and Sfuma'to (It. ;
note im-
pi. sfuma'te [le

left hands respectively on it was played

; plied].) Very a vanishing
lightly, like
the accompaniment to a shrill reed-pipe smoke-wreatii. Sfumatu'ra, Smoke-
. .
'
'

which the performers called a corna- wreath " (title of a light, airy composi-
niusa. The bag is inflated by the breath tion). .... ....
and squeezed by the right arm. *Signs. ^ 3
Instead of the mis-
Sans (Fr.) Without. leading short slur, with figure, for doub-
Sautill6 (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. b Jj another sign for
*Scale. 4 (of a piano). Compass i.e.,
the range of tones represented by the
;
]r.. the triplet (=:
~^S^/
keyboard. This sign, at the end of a staff,
SchafHertanz (Ger.) Festival procession shows that the measure is unfin-
ished, so that no bar is required.
and dance, probably of great antiquity,
of the Coopers' Guild at Munich held ^(bis) The re-
every ^ years.
;

=1 ^ peat-s 1 gn
Schie'ber (Ger.) Same as Schub.
is some-
times writ-
Schiettez'za, con (It.) Simply neatly, ;
ten at a single bar.
deftly.
Schla'ger (Ger.) "hit";
successful piece or play.
A brilliantly
^^ '

\ 4f ^. The sign ( is used

Schmach'tend (Ger.) Languishing(ly),
like I to connect
longing(ly). '^J
Scintil'la (It. ;
pi. scintil'le) A spark. notes to be played

Scivolan^do
pfte. -technic.
(It.) Same as GHssando, in r by one hand.

11 II This sign
Scoop. Vocal tones are said to be dUhzoT=r-=ii is used (i) :

"scooped" when taken, instead of by As a breath-

firm and just attack, by a rough por- ing-mark (2) to mark a very brief
;

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), f Another sign for the Back Turn.
yieldingly following the principal part
(with the accompaniment).
Sig-
Second dessus (Fr.) Mezzo-soprano.
mezzo staccato
nifies
Semitril'lo (It.) Inverted mordent. e pesante (inarcato)
Sentimenta'le (It.) Feelingly. e.g.:

Sen'za misu'ra (It.) "Without meas-

244 SILENZIO SVIZZERA.
n A In organ-pieces, signs for pedal- Spie'gelkanon (Ger.) A canon to be
ling are sometimes written thus : performed backwards i.e., as it appears ;

For right foot, heel D , toe A when held before a mirror (" Spiegel ").
" left " " U " V Spigliatez'za (It.) Agility, dexterity,
11 [ In piano-playing a note to be briskness ... .^tz^^A'a/^z'z^ (pi.), short,
" taken by the right hand is some- lively pieces or studies requiring dex-
terity.
times marked thus : U ; for the left
Stanchez'za (It.) Weariness ; con st..
hand: [j". wearily, very dragging.
(Also (t/., in Appendix, the articles Notation^
Numerals^ Time and Turn.)
Stan'co,-a (It.) Weary.
*Silen'zio (It.) 2. A pause, silence ; as *Stentan'do (It.) Means literally, "de-
lungo silenzio. laying, retarding, dragging " the tempo.
. . Stenta'to, delayed, retarded, dragged.
.

Simplement (Fr.) Simply, semplice

(rh simplement, semplicissimamente. Stiria'na (It.) See Styrienne.

*Sinfoni'a This term is still used

(It.) Stornel'lo (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 sinfonia del Tannhduser 5-6 7-8.

Sinfoni'sta (It.) A writer of sympho- Strambct'to (It.) Folk-song ; rustic

nies, or for symphony-orchestra. love-ditty. (Also Strambot'tolo^

Sing'amt (Ger.) See Singinesse . . . Sing'- Strappa're (It.; "to pluck off.") In
en, to sing, ytarhX^. . .Sing'gedic/it, a piano-technic, to throw off a note or
poem for mus. setting. . Sing'kunst, art .
chord by a rapid, light turn of the
of singing. Sing'lehrer, singing-teach-
. .
wrist. .Lo strappare, the throwing-off.
.

er. .Sing' letter, gamut, vocal scale.

. .
. Strappato, thrown off (Ger.gerissen).
. .

Sing'mdrchen, vocal ballad ... ^m^'- Strascina're la vo'ce (It.) To sing a

meisler, singing-master. Sing'messe, . portamento with an exaggerated drag-
a - cappella mass Sing'saite, treble
. . .
ging or drawling.
string, chanterelle Sing'stunde, sing-. . .
Strei'cher (Ger.) Player(s) on any bow-
ing-lesson, vocal instruction. .&'k^'- .

instr.s.
ilbung, singing-exercise. . Sing'verein, .

singing-society. Stret'ta (It.) A closing passage (coda)

in swifter tempo than the movement
Singhioz'zo (It.) Sob.
preceding.
Slancian'te, Slancia'to (It.) " Thrown
" Strich'-Staccato (Ger.) A staccato in-
off lightly and deftly, or forcibly and
dicated by wedge-shaped dashes ( ' ' ).
vehemently.
Strict style (of composition). See Coun-
Slarga'to (It.) Slower, piii sostemito.
terpoint, strict.
*Slide. 4. On a violin-bow, that part of
Strie'se (Ger.; It. capoco'mico.) The
the nut which slides along the stick.
leading comic actor or singer in a com-
Solmizza're (It.) Same as Solfeggiare. pany, either gentleman or (It. capoco'-
Sopranist'(in) (Ger.) Soprano singer. micd) 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-
Soutenu (Fr.) Same as Sostenuio. gere, without hastening.
Specification. (Ger. Disposition^ An Strophic composition. See Song 2.
enumeration of the various stops com-
posing any given organ, giving number, Styrienne (Fr. ; It. Stiriana^ An air in

kind, and arrangement. slow movement and 2-4 time, often in

minor, with Jodler after each verse ;
Spianar' la vo'ce (It.) To render the
for vocal or instr. 1 solo.
voice even ; to blend the registers.
Super'bo,-a (It.) .Superb proud, lofty.;

*Spicca'tO (It.) In violin-technic, a va- . . . Superbamen'te, proudly, loftily.

riety of staccato differing from the sal-
Svilup'po (It.) Development.
tato in employing the wrist -stroke
throughout, for each detached note. Sviz'zera, alia (It.) In Swiss style.
 :

TABLE DU FOND UNGEBUNDEN. 245

the third time ; to " encore " for a sec-

ond time.
Table du fond (Fr.) Back (of violin).
Ta'glio(It.) A"cut."
Trito'nikon (Ger.) A modern form of
double-bassoon, made of metal.
Tallo'ne (It.) Nut (of bow). Trom'ba rea'le (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. tromba delle
and so connected with
cally in a groove, Alpi.)
'
' The hollowed trunk or branch
the bellows of an organ that, by rising of a tree, from which the old moun-
and falling, it shows the organist or taineersdraw strange tones." [Rein-
"blower" the amount of wind in the troduced lately into Switzerland by Prof.
bellows. Heim of Zurich.]
Terzetti'no (It.) A short terzet. Tron'co,-a (It.) Cut off short stopped ;

Tetralogie' (Ger.) Tetralogy ; a series abruptly . . . Suoni tronchi, tones cut off
of 4 stage-works or oratorios. suddenly.
Three-Step. (Ger. Dreitritt; It. Valzer *Tuba. The bass tuba in E-i^ is exten-
a tre passi ; Fr. irois-tetfips.) The or- sively employed in the modern orchestra.
dinary (Vienna) waltz. (See Waltz.) *Turn. Example of turn-sign over a
Timballo'ne (It.) A i6-foot pedal-stop dotted note; from Beethoven, op. 14,
in the organ. No. 1, showing the dot as he himself
wrote it
Timbrel (Hebr.) A tambourine or tabor.
*Time. In French notation i^^ilA.
the large 3 is still some- ro=3zii
times employed instead of |. ^
Ti'mido (It) Timid, timorous. . . Timo'. "Written:
re, con, with timidity ; timorously, fear-
fully, anxiously.
Tonan'te (It.) Thundering, thunderous.
Ton'figuren (Ger., pi.) " Tone-figures "
;

i.e., " nodal figures" (q.v.).

Toni'raetro (It.) Tuning-fork (/. a per-

cussione)j pitch-pipe (t. a fiato).
Played:
*Ton'satz (Ger.) 2. Arrangement (e.g.,
of the vocal or instr.l accomp. to an
ancient melody).
Tornan'do (It.) Returning t. al prima Tut'ta for'za (It.) Abbreviation of " con
;

tempo (or /. come prima), returning to iutta la forza," with full force.
(resuming) the original tempo.
Tvyo-step (Ger. Zweitritt ; It. Valzer a
Traduzio'ne (It.) Arrangement. due passi ; Fr. deux-temps.') The rapid
Trascrizio'ne (It.) Transcription. waltz. (See Waltz.)
Traspor'to, con (It.) With transport,
ecstatically.
Treff'iibung (Ger.) A singing exercise
u.
on the "attack," as regards either pitch, tjfbungsabend (Ger.) See Abendunter-
or time of entrance (in duets, canons, haltung, in Appendix.
etc.).
U'bungsstiick (Ger.) See Vortragsstilck,
Treman'te (It.) Trembling; i.e., with in Appendix.
a tremolo effect.
Um'gekehrt (Ger.) Reversed umge- ;

Trial (Fr.) Buffo (or comic) tenor. kehrter Doppelschlag, back turn.
Trich'terformiges Mund'stiick (Ger.) Um'schmeissen (Ger. theatrical slang.)
Conical mouthpiece. To break down in a role, so as to neces-
Trilogie' (Ger.) Trilogy ; a series of sitate a general stoppage and the recom-
3 stage-works or oratorios. mencement of the passage.
Trisser (Fr.) To demand a number for *Un'gebunden (Ger.) Unconstrained ;
246 UNION DES REGISTRES-WHIPPING BOW.
mit ungebundenem Humor, with uncon- Tone full in lowest register, mellow and
strained humor, burlando. tender in the medium, and the .^-string
Union des registres (Fr Blending of well-adapted for sustained melody. Suc-
)
the (vocal) registers. cessful concerts have been given with
the Violotta and Cellone (q.v.) in Dres-
'
Uni'ti (It., pi.) "United"; this direc-
tion in a score, after divisi, signifies
den. Dr. S. claims to have solved the
problem of obtaining the most equable
that the instr. s or voices again perform
and powerful resonance from instr.s of
their part in unison.
the violin-type.
Unvocal. i. Not suitable for singing.
Virtuose de pupitre (Fr.) SeePultvir-
2. Not vibrating with tone unvocal air ;
tuos.
is breath escaping with a more or less
audible sigh or hiss, due to unskilful Vitesse (Fr.) Rapidity, swiftness.
management of the vocal apparatus. Vivement (Fr.) Same as Vivace.
*Vocal cords. "The free median bor-
V. ders of 2 folds of mucous membrane
within the larynx, bounding the ante-
Val'zer(It.) Waltz.
rior two-thirds of the glottis on either
Veris'rao (It.) Naturalism. ..Veris'tisch side. Each is formed by the free me-
(Ger.), pertaining to or affected by dian edge of an elastic (inferior thyro-
naturalism naturalistic.;
arytenoid) ligament running from the
Verstar'ken (Ger.) To reinforce. angle of the thyroid cartilage to the
vocal process of the arytenoid, and cov-
*Vibra'to,-a vibrate [le note im-
(It. pi.
;
ered with thin and closely adherent
plied].) Strongly accented, and dimin-
mucous membrane." [Century Dict.]
ishing in intensity (cJ vocal or instr.l). ;

. Vibrazio'ne di voce, the attack of a

. .
*Vo'geIgesang (Ger.) 2. A stop in an
organ ("bird-stop ").
tone forte or sf, and diminishing while
holding it. Voile du palais (Fr.) Veil of the palate.
Vi'de se'quens (Lat.) " See the follow-
Vor'setzungszeichen (Ger.) Chromatic
ing." sign.
Vielle a roue (Fr.) Hurdy-gurdy. Vor'tragsstiick (Ger.) A piece for per-
Vigo're, con (It.) With vigor. formance before an audience (in con-
A
large viola, inv. by Her- tradistinction to Ubungsstiick, a prac-
Vio'la al'ta.
mann Ritter of Wismar, Germany, and tice-piece) a concert-piece
; a ; show-
piece.
described in his pamphlet, "Die Ge-
schichte der Viola alta und die Grund- Vor'^warts (Ger.) Forward(s) etwas v. ;

satze ihres Baues " (1877). It has a gehend, somewhat iaslet poco piii mosso,,

fuller and freer tone than the ordinary

*Vuo'to,-a (It.) 2. Empty ; scena vuota,
viola, and has been quite extensively
the stage [remains] empty.
introduced into German orchestras.
Vio'la di bordo'ne. The barytone
(instr.). w.
Violina'ta (It.) i. A
piece for violin. Whipping bow. (Fr. fouetid ; Ger. ge-
2. A piece for another instr; imitating ,
feitschte Strichari.) A
form of violin-
the violin-style. technic in which the bow is made to
Violinzo'li (It.) An 8-foot stop on the fall with a certain vehemence on the
swell-organ. strings. Chiefly employed when it is
Violi'sta (It.) Viola-player. desired to mark sharply single tones in
rapid tempo ; e.g..
Violoncelli'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
string-quartet between viola and 'cello. Not infrequent in modern orchestral
It is played like the viola, and has the music but avoided by the classic com-
;

same dimensions but i,ts accordatura

;
posers on account of its rough, harsh
is G-d-a-e^, a fourth lower than the viola. effect.
 ;

ZARAMELLA ZITTERA. 247

trag (Ger.) Q^g 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- Miiller's Accordzither (inv. l8g4?) is

pendix), an example.
Ziem'lich bewegt' und frei im Vor'- Zit'tera (It.) Zither.
 .;
;

SUPPLEMENT.
English-Italian Vocabulary
for

Composers.

ABOVE BELOW.
An octave lower. All'ottava bassa ^Sva
dassa).
Above. Sopra. . .Above the right hand,
Anxious(ly). Ansioso (ansiosamente) ,
sopra la mano destra.
affanoso (affanosamente) timoroso ;

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 Enlivenl\
Artless(ly). Innocente (innocenteraente);
Accented. Marcato; enfatico, conenfasi. semplice (semplicemente) ; naturale
Accompaniments. Accompagnamenti. (naturalmente).
..Accompaniment very soft throughout, As. Come.
sempre pp. gli accompagnamenti. As above. Come sopra.
Affected(ly). Smorfioso ; affettato (con As before. Come avanti ; come prima
affettazione).
As far as. Fino, or fin'; sino, or sin'.
Affectionate(ly). Affettuoso (;ffettuo-
Aside. In disparte.
samente). [See Tender.\
Afraid. Paventato. [See Fearful^
As if. Quasi.

Again. Ancora, ancor.

As usual. Al solito.

Agility. Agiliti ; velocita.

As written. Come
sta ; loco (after
Sva or simply terminate
;

Agitated(ly). Agitato (con agitasione); dotted line with a down-stroke).

tumultuoso (tumultuosamente) ; vi-
brante.
At a distance. In distanza ; in lon-
tananza da lontano.
;

Agreeable. Gradevole piacevole. [See

Pleasing.^
;
At pleasure. A piacere ; ad libitum ; a
bene placito ; senza tempo ; a suo
Air. [See Melody.'] arbitrio.
All together. Tutti. At sight. A prima vista.
Also. Anche. Attack. Attacca, attaccate {pi.) at- ;

Alternatively. Alternamente. tack instantly, attacca(te) subito.

Always. Sempre. .Always swift and At the former tempo. A tempo, or
.

soft, sempre con agevolezza e sotto- Tempo I moto precedente. ;

voce.
And. E, ed (before a vowel). B.
Angry. Adirato angrily, con ; ira. Babbling. Straccicalando.
Animated(ly;. Animate (con anima) Back to the sign. Dal segno (%)
allegro (allegramente) ; vivace (viva- .Back to the beginning, da capo.
.

cemente) ; vivido, vivo (vivamente ) Backwards. Al rovescio.

vivente visto (vistamente) con moto
; ; ;

svegliato risvegliato . . . With groiuing

;
Begin (to). Attaccare. .Begin ! attacca, .

animation, animandosi. attaccate. . . To begin again, ripigliare.

An octave higher. All'ottava Beginning. Principio ; capo.

(,? , or cf , or 8va Below. Sotto below ; the left hand, sotto
alta). la mano sinistra.
250 BITTERLY DIVIDED.
Bitter(ly). Amarevole (con amarezza). Comic(ally). Buffo, -a : buffonesco (buf-
Bizarre(ly). Bizzarro (bizzarramente, fonescamente).
con bizzarreria). Complaining. Lamentando, lamente
Boisterous(ly). Strepitoso (strepitosa- vole ; lagrimando, lagrimoso.
mente, constrepito) brioso (con brio); ; Connectly. Legato.
tempestoso (tempestosamente). Consoling(ly). Consolante.
Bold(ly). Ardito (con arditezza) fiero ;
Continually. Sempre.
(fieramente con bravura f rancamente
; ;
Continue. Va.
con fierezza) intrepido (intrepidamente,
;

con intrepidezza; tostamente). Contra-dance. Contraddanza.

Bound. Legato. Coquettishly. Con civetteria.
Brilliantly. Brillante ; scintillante. Country-dance. Contraddanza.
Brisk(ly). Vivo (vivamente) visto ;
Cradle-song. Ninna-nanna ninnerella. ;

(vistamente) allegro (allegramente); ;

lesto ; vivace.
Broad(ly). Largo
con (largamente, D.
larghezza) very broadijy),
(frase larga) ;
;
Dark. Cupo.
larghissimo(molto largamente) i^ozt/jK^
broader^ largando, allargando... Dashing. Sbalzato; precipitato.
Broader^ piu largamente. Decided(ly). Deciso fermo (con ; fer-

Brusquely. Bruscamente. mezza) energico (con energia).

;

Burlesque(ly). Burlesco (burlescamente). Declamatory. Declamando ; narrante ;

parlando.
But. Ma.
Decreasing {in force). Decrescendo
By. Da ; by leaps or skips, di salto.
diminuendo ; raddolcendo ; diluendo.
;

Decreasing {in speed). Rallentando ;

ritardando ; ritenente ; tardando ;

lentando ; slentando ; strascinando ;

rilasciando ; rilasciante.
Calra(ly). Tranquillo (tranquillamente,
con tranquillita) placido, (placida- ;
Decreasing {in force and speed). Cal-
mente) quieto ;
Growing calmer, . . .
ando ; deficiendo ; mancando ; mo-
calmando calando ;raddolcendo, ;
rendo ; sminuendo ; smorzando.
raddolcente. Deliberate(ly). Deliberate (delibera-
Caprice. Capriccio ; capricious, capric- mente).
cioso, vicendevole capriciously, a ; Delicate(ly). Delicato (delicatamente,
capriccio, vicendevolmente. con delicatezza) tenero (teneramente, ;

Carefully. Con diligenza ; con osser- con tenerezza).

vanza con precisione.
; Desperate(ly). Disperato (con dispera-
Careless(ly). Negligente (negligente- zione).
mente). Detached. Staccato, distaccato pic- ;

Caressing(ly). Carrezzando, carrez- chettato ; very detached, staccatissimo.

zevole (carezzevolmente); accarrezzevole Determined. Determinate ; risoluto.
(accarrezzevolmente).
Devotional(ly). Devoto (devotamente,
Certain (adj ). Alcuno,-a. con devozione) ; religioso (religiosa-
Change 1 Muta. mente).
Chant. [See Melody?[ Dignified. Posato ;
grave.
Charming(ly). Vezzoso (vezzosamente). Discreet(ly). Discreto (con discrezione).
Chaste. Nobile. Disdain. [See Scorn.'\
Clear(ly). Chiaro (chiaramente) ; netto Distant. Lontano
at a distance, ; da
(nettamente). lontano, in lontananza, in distanza.

Lusingando, lusinghevole Distinct(ly).Chiaro (chiaramente) ben

Coaxing(ly). ;

(lusinghevolmente). marcato distinto (distintamente).

;

Freddo (freddamente, con Distressed. Appenato.

Cold(ly)
freddezza). Divided. Uivisi.
 . ; ;;

DOLEFULLY FREELY. 5i

DoIefulCly). Dolendo.dolente (con dolore, Extinct. Estinto.

dolentemente). Extravagant (ly). Stravagante (stra-
Dragging, Stentando ; strascinando ;
vagantemente).
strascicando ; stirato. Extreme. Sommo,-a.
Dra'wling. Strascicando. Extremely. Molto, di molto ; -issimo.
Dreaming. Sognando.
Dreamy. "W ago. ..Dreamily, quasi so- F.
gnando. Fading away. [See Dying away.l
Drinking-song. Brindisi. Faint. Fiacco ; debile ; estinto.
Droll. Buffonesco. Fantastic. Fantastico.
Dry. Secco. Fast. Allegro ; vivace
presto. ; vivo ;

Dwelt upon. Tenuto, sostenuto. . Very fast,

. allegro molto,
allegro
Dying away. Morendo smorzando assai, allegro vivo ; vivacissimo pre- ;
; ;

mancando perdendosi dituendo ;

stissimo . . Rather fast, allegretto, al-
; ;

espirando ; estinguendo, stinguendo. legro moderate . . Not too fast, non .

troppo allegro . . Twice as fast, doppio

.

movimento not so fast, meno mosso.

;

E. Faster. mosso piu allegro ; piu

Piii ;

Easy. Agevole ; commodo disinvolto ; ;

presto veloce
; . Faster and faster,
. .

facile ; mobile. . .Easily, con agevolezza, sempre accelerando ; pressando, pres-

agevolmente agiatamente commoda- sante.
; ;

mente ; facilmente con disinvoltura.

;
Fearful(ly). Paventato timido (timi- ;

Like an echo, quasi ecco. damente) timoroso (timorosamente

Ectio. Ecco . . .
; ;

con timore).
Elegant(ly). Garbato (congarbo). [See
Graceful.^
Feeble. Debile, debole.
Feelingly. \%&e.Expressively.'\
Eraphatic(ally). Enfatico (con enfasi)
marcato sforzato. ;
Fervent(ly). Fervente (con fervore) ;

ardente (con ardore).

End. Fine. . . To the end, sin' (or fin')
al fine. Festive(ly). Festivo (festivamente').
Energetic(ally). Energico (energica- Fierce(ly). Feroce (con ferocitii) ; fiero

mente, con energia) risentito riso- ; ;

(fieramente) ; barbaro.
luto (risolutamente, con risoluzione). Fiery. Fuocoso ; con fuoco ; ardente.
Enlivening (tempo). Ravvivando il Firm(ly). Fermo (fermamente, con fer-
tempo animandosi, animando.
; mezza).
Entlmsiastic(ally). Zeloso (con zelo ; First part. Primo {in a duet) ; first
con entusiasmo). time, prima volta ( |i. I).

Entreating(ly). Supplichevole (sup- Flattering(ly). Lusingando, lusin-

plichevolmente) ghevole (lusinghevolmente).
Equal(ly). Eguale (egualmente) ; equa- Fl0'wing(ly). Scorrendo, scorrevole
bile (equabilmente). disinvolto (con disinvoltura) sciolto ;

Even(ly). Eguale (egualmente) ug^ale ; (scioltamente) andante (andantemente).

;

(ugualmente) tepido (tepidamente) ; ;

Fluently. Volubilmente. \^&& Flowingi\
spianato.
Flying. Volante.
Exact. Esatto. With exactness, con . .
Following. Seguente, seguendo.
esatezza. [See Precise.'\
Fond(ly). Amorevole (amorevolmente,
Expiring. Espirando. [See Dying
con amore) amoroso (amorosamente). ;

away.l
For. Per. .For voices alone, acappella. .

Expressive(ly). Espressivo (con

espressione) sentito, risentito; pietoso; Forcibly.
;
Con forza bruscamente ;

sentimentale (con sentimento con con tutta forza. ;

;

sensibiliti). Forcing. Forzando, sforzando.

Extempore. All'improvvista ; alia Free(ly). Disinvolto (con disinvoltura;
mente . . . Extemporaneously, improv- francamente, con franchezza ; libera-
visamente. mente); generoso sciolto (scioltamente). ;
252 FRENZY- IN MILITARY STYLE.
Frenzy. Delirio ;
fresied{ly), delirante Held down. Tenuto.
(con delirio ; con rabbia). Heroic. Eroico,-a.
From. Da. .From. the beginning. Da Hesitating(ly). Irresoluto ; timido (ti-
c&.-^o ... From
the sign, Dal segno; midamente) ; vacillando.
from the sign to the sign, Dal segno al
High. Alto,-a.. .Highest, il piii alto,
.
segno.
altissimo . . .In the higher octave, ottava
Full. Pieno,-ii. alta (8va ).

Funereal. Funebre. Hoarse(ly). Fioco (con fiochezza).

Furious(ly). _
Furioso (furiosamente Holding back {tempo). Ritenente
con rabbia) ; with extreme fury or rimettendo.
passion, furiosissimamente.
Humorously. Con umore.
Hurried(ly). Affrettoso (con fretta) ;

frettoloso (frettolosamente).
Gay. Gajo ;
giojoso. . . Gaily, gajamente, Hurrying. Affrettando ; stringendo
giojosamente.
Gilding. Glissando portamento, por- ;
I.
tando scorrendo strisciando.
; ;

Gondola-song. Gondoliera. If. Se.

Go on Va.
1 Imitating. Imitando ;
quasi.
Graceful(ly). Grazioso (graziosamente, Impassioned, Appassionato, appassio-
con grazia con garbo) ; disinvolto ; nataraente; 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.
Imperceptible. Insensibile ; impercep-
Gradually. A poco a poco ;
gradata- tibly, insensibilmente.
mente.
Iraperious(ly). Imperioso (imperiosa-
Grand(ly). Grandiose ; nobile (nobil- mente).
mente, con nobilita).
Impetuous(ly). Impetuoso (con impeto,
Grave(ly). Grave (gravemente, con impetuosamente, con impetuosita) ;

gravita). s ba 1z ato tempestoso (tempestosa- ;

Grotesque(ly). Grottesco ; burlesco (bur- mente).

lescamente). Imposing. Imponente.
Growing. \%&& Decreasinga.n& Increas- In a festive manner. Con festivita.
ing.']
In a gentle, quiet manner. Conlenezza.
In a sweet manner. Con dolce maniera.
H. Increasing {in speed). Accelerando ;

Half. Mezzo,-a. Half-loud,Taszzoiortt;

. stringendo ; affrettando ; incalzando ;

half-soft, mezzo piano, mezza voce. tempo; doppio movimento.

ravvivando il

Hammered. Martellato. Increasing (in force). Crescendo ac- ;

Harsh(ly). Aspro (con asprezza); duro crescendo rinforzando.

;

(duramente) stridente. ; Increasing (in force and speed). Strin-

Harshness. Asprezza ; durezza. gendo affrettando incalzando.
; ;

Hastening. Accelerando ; stringendo In declamatory style. Declamando,

;

affrettando ; calcando. recitando ; narrante ;

parlando.

Haughty. Fiero. . .Haughtily, fiera- In devotional style. Devoto, con de-

mente. vozione.

Heartfelt. Intimo, intimissimo affet- Indifferent(ly). Indifferente (indiffe-

;

tuoso, con affetto. rentemente ; con indifferenza) ; tepido

(tepidamente).
Heavy. Ponderoso
pesante grave ; ;
. .

Heavily, pesantemente, gravemente. Infernal. Infernale.

Held back. Ritenuto ; trattenuto In haste. Con fretta.

meno mosso. In military style. Militarmente.
 .;

IN MODERN STYLE MUFFLED. 253

In modern style. Alia moderna. Loud. Forte ; con forza ;

very loud,
In octaves. Doppio pedale {organ- fortissimo ; extremely loud, con tutta
pedal) coU'ottava (coU'8 forza, forte possibile (fff) ; half-loud,
; ).
mezzo forte loud, suddenly decreasing
Insinuating. [See Flattering.^
;

to soft, forte piano (fp).

Intense(ly). Intenao (intensamente, con
intensita).
Louder. Piii forte ; crescendo ;
rinfor-
zando.
In the same manner. Simile.
Love. Amore.
tn the same time. L'istesso tempo
moto precedente.
;
Loving(ly). Amorevole, amoroso (con
amore, amorosamente) amabile. ;

In the style of a, Alia.

Lullaby. Ninnerella, ninna-nanna.
In time. A tempo ; Tempo I ; misurato
(after a recitative).
Lyric. Lirico.

tronical(ly). Ironico (ironicamente). M.

Irresolute(ly). Irjresoluto (con irreso-
Maestoso, maestevole
Majestic(ally).
luzione).
(maestosamente, conmaesti) pomposo ;

(con pompa) fastoso (fastosamente).

;

Manner. Maniera in a quiet manner, ;

con dolce maniera. [See /.]

Jesting(ly). Schprzando ;
giocoso (gio-
cosamente). Marked. Marcato con forza rinfor- ; ;

zato, rinforzando ; enfatico ; sforzato

Jovially. Con glovialita.
sforzando {sfz).
Joyous(ly). Gipjoso (giojosamente)
gaudioso.
;
May song. Maggiolata.
Measured. Misurato.
Jubilant(ly). Giubiloso (con giubilio,
con giubilazioi)e). Medley. Mescolanza olio ; ;
pasticcio.

Melancholy. Malinconico with mel-

Judicious(ly). piscreto (con discrezione). ;

ancholy, malinconicamente, con malin-

conia.
Melody. La melodia. II canto. La
parte. . .Mark (or accent) and " carry"
Lamenting. Lamentando, lamentabile, the melody, Marcato e portando la
laraentoso ;
piangendo. melodia (il canto) ben e precisamente ;

portando la melodia la melodia (il

Languid(ly). Languido (con languore, ;

canto) ben portando ed espressivo.

languidamepte).
Languishin|;(ly). Languendo (langui-
Menacing (ly). Minaccevole (minacce-
damente). volmente).

Left hand. Mano sinistra. Mildly. Dolce (dolcemente, con dol- ;

cezza) piacevole affabile. ; ;

Leisurely. Adagietto moderato. ; .

Rather leisurely, commodetto. Moderate(ly) {speed). Moderato (mode-

ratamente); non troppo allegro.
Less. Meno.
More. Piu more slowly, piii lento, piu ;

Light(lv). Leggero or Leggiero (leg- adagio.

geraniente, con leggerezza agilmente) ; ;

sfogatp svelto.
Most. II piu.
;

Mournful(ly). Mesto (mestamente)

Lingering(ly). Tardo, tardando (tarda- ;

addolorato amarevole (a m a r e v o 1-
;
mente).
mente) flebile
;
funebre lugubre ; ; ;
Little by poco a poco.
little. A (conespressionedipatimento) dolente. ;

Lively. Vivace, vivacemente vivo, viva- ;

Mouth. Bocca with closed mouth, con ;

mente allegro, allegramente

; visto, ;
bocca chiusa.
vistamente con allegrezza svegliato ; ;

lesto desto.
;
Moved. Concitato. [See Agitated^
;

Lofty. Nobile ; fastoso pomposo Movement. Movimento.

;

elevato . . . Loftily, con nobilita ; con Much. Molto.

pompa. Muffled. Coperto suffocato ; ; sordo
Longingly. Con desiderio. (sordaniente) con sordini. ;
254 MURMURING RINGINGLY.
Murmuring. Mormorando susurrando. ; Playful(ly). Giuochevole, giuocante ;

Muted. Con sordino {pi. con sordini). (con giuoco) giocoso (giocosamente)
;

scherzoso, scherzando
Mysterious(ly). Misterioso (misteriosa-
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)
Neat(ly). 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 agllita sciolta- Prayer.' Preghiera. ;

mente allegramente.
; Precipitate(ly). Precipitato, precipi-
Nobly. Nobilmente, con nobilita. toso, precipitando (precipitatamente).
Noisy. [See Boisterous^ Precise(ly). Preciso (con precisione).
Not. Non. .Not so, meno not so fast,
. ; Pressing (tempo). Stringendo, pressante ;

meno mosso, meno allegro ; not too, (expi'-ession) insistendo.

non troppo ; non tanto. Prompt(ly). Pronto (prontamente, con
prontezza).
o. Pronounced. Pronunciato.
Obliged (necessary). Obbligato. Proud(ly). Fiero (fieramente) ; altiero
Obscure. Cupo misterioso. ; (altieramente. con alterezza).
Of. Di. Psalm. Salmo.
On. Su ; sopra (above).
Or. Ossia ; oppure ; ovvero ; o, od
(before a vowel). Quietly. Quieto tranquillo (tranquilla-
;

Other. Altro,-a. mente ; con lenezza). [See Tranquil.

R.
P. Rapid(ly). Rapido (rapidamente, con
Passionate(ly). Passionato (passionata- rapiditi) celere
; veloce (velocemente, ;

mente) appassionato (appassionata-

; con velocita, velocissimamente) mosso ;

mente) (con passione) ardente (con

; ; (in phrases like meno mosso, piii mosso,
ardore) fervente (con fervore) furioso
; ; etc.) ; tosto (tostamente).
(con furore) caloroso (con calore).
;
Rather. Quasi piuttosto poco.
; ;

Pastoral. Pastorale rustico; campestre. ;

Refined. Nobile (nobilmente).
Pathetic(ally). Patetico (p a t e t i c a- Religious(ly). Religioso (religiosa-
mente) doloroso (dolorosamente, con
;
mente) devoto (devotamente).
;

dolore).
Reposeful(ly). Riposato (r i posa t a-
Pensive. Pensiefoso.
mente).
Phrase Fraseggiare.
(to). . . fF^// Resonant(ly). Sonabile sonante (con ;

phrased, ben fraseggiando. sonoramente, con sonorita).

risonanza ;

Piece. Pezzo. Restless. Inquieto.

Piquantly. Con piccanteria. Resume (to). Ripigliare riprendere.
;

Placid(ly). Placido (placidamente). [See

Reverie. Meditazione.
Tranquill\
Rhythmized. Ben ritmato.
Plaintive(ly). Lamentando dolendo, ;

dolente, doloroso (con dolore, dolorosa-

Right hand. Mano destra.
mente); addolorato; flebile; piangendo. Ringing(ly). Sonoro ;
(sonoramente,
[See Mournfuli\ con sonorita).
 . .;;

ROMPINGTHAN. 255

Romping. Burlando. Sorrowful(ly). Afflitto (con afflizione)

mesto (mestamente) ; doloroso (doloro-
Rough(ly). Aspro (con asprezza) ; ru-
samente).
vido (ruvidamente) ;
(bruscamente).
Sparkling. Brillante ; scintillante.
Rustic. Rustico ; campestre pastorale.
;
Spirited(ly). Spiritoso (spiritosamente.
con spirito) brioso (con brio). ; /

Sportive. [See Playful.]

Sprightly. Desto.
Sad(ly). Tristo (tristamente, con tri-
stezza) ; mesto (mestamente, con mesti- Springing. Saltando.
zia) ; languendo, languente ; dolente. Stern(ly). Duro (duramente).
Same (the). Medesimo detto stesso. Sternness. Durezza. ; ;

Scorn. Sdegno scornfuVJy), sdegnoso Stifled. Suffocate con voce suffocata-

; ;

(sdegnosamente).
Still. Ancora still faster, ancor piii ;

Second part. Secondo (in a duet). mosso still slower, ancor piii lento,
;

Second time. Seconda volta. (fi! |.)

ancor piii moderate.
Serious(ly). Serioso (con serieta). Strict(ly). Giusto (giustamente, con
giustezza) ; severe (severamente).
Sighing. Sospirando, sospirevole, so- .

Strictly in time, a (or al) rigore di tempo;

spiroso.
tempo rigoroso ; misurato ; aggiusta-
Similarly. Simile. tamente andare a tempo a battuta,
; ;

Simple. Semplice schietto naturale. ; ; (Ben misurato. Ben ritmato).

. Simply, semplicemente, con sem-
.
Strident. Stridente.
pliciti schiettamente, con schiettezza
; ;

naturalmente.
Style. Stile ; mode . . .In the style of av-
alia ;mode.
in
Singing. Cantando melodico / a ; . . .

Suave(ly). Soave (soavemente, con

singing style, cantabile.
soavita) dolce (dolcemente, con del-
;

Sketch. Bozzetto. cezza, con dolce maniera).

Sliding. Sdrucciolando. Sublime. Elevate nobile. ;

Slow(ly). Adagio lento (lentamente, ;

Suddenly. Subite, subitamente; di colpo,
con lentezza) very slow, lento molto, ;

rather Supplicating(ly). Supplicando, sup-

adagissimo grave largo ;
; ;
plichevole (supplichevolmente).
slow, andante, andantino, adagietto,
moderate. Sustainedly. Sostenuto, sostenendo,
sestenente.
Slower. Meno mosso piu adagio piii ; ;

lento. [See Decreasing7\ Slower and . . .

Sweet(ly). Dolce (dolcemente) ; affabile,
slower, a poco a poco rallentando {or amabile. [See Suave.] . . Very sweetly,
ritardando). dolcissimo.

Slurring. Legato ; portamento, por- Swelling. Crescendo.

tando slissando.
; Swift. [See Rapid.]
Smooth(ly). Legato eguale (egual- ; Sympathetic(ally). Pietoso (con pieta).
mente) piacevole
;
(piacevolmente) ;
slissato soave (soavemente) ;
; stri-
sciando.
Sobbing. Singhiozzando. Tasteful(ly). Gustose (con gusto).
Soft(ly). Piano dolce (dolcemente ; ; Tearful(ly). Lagrimoso, lagrimande
mollemente) . very soft, pianissimo; ; piangendo ; flebile ;
(con piante).
dolcissimo ; estinto.
Tempestuous(ly). Tempestoso (tem-
Softer. Meno forte. [See Decreasing.']
pestesamente).
Soleran(ly). Solenne (solennemente,
Tender(ly). Tenere (teneramente, con
con solennita). tenerezza) dolce (dolcemente,
; con
Somewhat. Poco ;
quasi. dolcezza) affettuose (affettuesamente,
;

Song. [See Melody.] con affeziene) amabile ; amorevole, ;

Sonorous(ly). Sonoro (sonoramente, con amoroso lirico. ;

sonoriti). Than. De.

256 THENWITH EASE.
Then. AUora poi. ; mamente very marked, ben raarcato,
;

Thoughtful. Pensieroso. marcatissimo very soft, pianissimo,

;

Threatening(ly). Minacciando, dolcissimo {vocal) a fior di labbra ;

rainac- ;

cioso, minaccevole (minaccevolmente). very loud, fortissimo.

Timid(ly). Timido (timidamente, con Vibrant, Vibrating. Vibrante.

timidezza). Vigorous(ly). Vigoroso (vigorosamente,
Timorous. con vigore).
Timoroso (timorosamente,
con timore). Violent(ly). Violento, violente (violente-
Tinkling. mente). [See Impetuous.'^
Squillante.
To. A, ad Vivacious. [See Animated^
(pefore a vowel). . . To the
sign, al segno. Voice. Voce, canto, parte ; with the
voice, coUa voce, colla parte, col canto.
Together. Unisono tutti. ;

Too. Anche (also) ; troppo ; not too

fast, non troppo allegro
non troppo lento.
not ; too slow,
w.
Tranquil(ly). Tranquillo (tranquilla- Wailing. Lamentando piangendo. ;

mente, con tranquillita) placido (placi- ; Warlike. Guerriero bellicoso in war-; ;

damente, con placidezza) spianato. ;

like style, bellicoso, bellicosamente.
[See Quietly.^
Warmly. Con calore, caloroso.
Trembling(ly). Tremolo tremolando, ;
Wavering. Tremolando vacillando. ;
tremoloso (tremolosamente).
Triumphant(ly). Trionfante (trionfal-
Weak. Debile, debole.

mente). Well. Bene, ben. Well marked, ben

. .

marcato, or ben pronunciato well

Tune. [See Melody^ ;

rhythmed, ben ritmato well sustained, ;

Turn over quickly. Volti subito. ben tenuto, or ben sostenuto Well . . .

Twice as fast. Doppio raovimento. phrased, ben fraseggiando.

Whim. Ghiribizzo ; capriccio ; fantasia.

u. Whimsical. Ghiribizzoso.
Whispering. Susurrando, susurrante.
Under. Sotto ; under the right hand, Wild(ly). Feroce (ferocemente) ; liero
sotto la mano destra. (fieramente).
Undulating. Ondeggiante ; tremando, With affectation. Smorfioso.
tremoloso.
With affection (pathos). Con affetto.
Uneasy. Affanato, affanoso uneasily,
affanosamente.
;
With anger. Con ira, irato.

Unimpassioned.
With anguish. Angoscioso, angoscio-
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 Untiir[
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
Vague. Vago. lentamente.

Vehement(ly). Veemente (con vee- With desperation. Con disperazione

menza) acciaccato sforzando feroce
; ; ;
With discretion. Con discrezione,
(con ferocita ; con islancio); smaniante. discrete.

Very. Molto assai ben(e)

; Very ; . . .
With distinctness. Distintamente, di-
slow, molto lento very moderate, molto
;
stinto ;con chiarezza marcato, mar- ;

moderate; veiy fast, molto allegro, alle- cando.

gro assai presto, prestissimo, prestissj-
; With ease. Con agevolezza.
 WITH EMOTION ZEPHYR-LIKE. 257

With emotion. Con affetto ; con (usually simply ih, s), or coUa sinistra
affezione. (c. J.)

With energy. Con energia. With the loud pedal. Fed. ; tre corde
With expression. Con espressione, {after una corda) with pedal through-
;

expressivo; sensibile, sentito. out, sempre pedale.

With facility. Con agevolezza. With the octave. C oU o 11ava

'

{coirs
With feeling. Sensibile, sentito.
).

With With the right hand. Colla mano

Con calore.
fervor.
destra (usually simply m. d.), or colla
With firmness. Con fermezza. destra {c. d.)
W^ith frenzy. Con delirio, con rabbia. With the soft pedal. Una corda.
W^ith grace. Con grazia, con eleganza, With the stick. Col legno.
grazioso, elegantemente.
With the voice. Colla voce ; colla
W^ith grandeur. Con grandezza, grandi- parte ; col canto.
ose.
With warmth. Con calorosita ; con
With grief. Con duolo, con dolore. calore.
With growing animation. Animando, With wrath. Con ira ; irato.
animandosi ravvivando.
;

Without. Senza.
With impetuosity. Con impeto.
Without accelerating. Senza ac-
With intensity. Con intensita. celerare.
With lightness. Con leggerezza, feg- Without altering. Senza alterare.
germente con disinvoltura.
;
Without growing slower. Senza fal-
With longing. Con desiderio. len tare.
With mandolin-effect. Mandolinata. Without interruption. Senza inter-
With much passion. Con molto pas- ruzione.
sione. Without repeating. Senza ripetizione.
With nobility. Con nobilita. Without retardmg. Senza ritardare ;

With promptness. Con prontezza. senza di slentare.

With rapidity. Con prestezza. Without stopping. Senza fermarsi.
With resolution. Con risoluzione. Without taking breath. Senza re-
With resonance. Con sonorita. spirare.

With sadness. Con tristezza. Without the mutes, Senza sordini.

With spirit. Con spirito con anima Wrathful(ly). Adirato (con ira).
; ;

con brio.
With STveetness. Con soavita.
With tears. Piangendo lagrimando. ;

With the bow. CoU'arco arcato. ; Zealous(ly). Zeloso (zelosamente, con

With the fingers. Pizzicato {violin). zelo).

With the left hand. CoUa mano sinistra Zephyr-like. Zeffiroso.

 I

;<^'"t. V^\V