Biw*SS!»i*t*^J?w»*)W.t>*o'*i*#!li«^ IJ N A " ^' BAHi 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.* Vowels : ITALIAN. General rule : The vowels are very open, and never to be pronounced as impure vowels or diphthongs ; they are long in accented syllables which they terminate, — short in unaccented syllables, or in accented ones ending with a consonant. a like ah or ah (never a) ; e.g. amare [pron. Sh-mah'-reh]. e " oy in bay (without the vanish f); e in bed ; a in bare (before r). i " ee'\a. beet ; i in bit ; i before a vowel, like ^ (consonant). o " aw, or oh (without the vanish u)\ if in opinion. u " 00 va. boot ; u in bull. Consonants : General rule : Even the hard con- sonants are somewhat softer than in English ; the soft consonants are very delicate. b, d, f, 1, m, n, p, qu, s, t, v, as in English. C like k, before a, o, u, or another consonant except c, as below, c " ch in chair before e or i; cc like 1-ch before e or i. g " ^hard before a, o, u, or another consonant ; except before / (pro- nounce gl like l-y [consonant], e.g. sugli, [pron. sool'-ye]), and n (pronounce gn like n in canon [kan'-yon]). g " 2 in azure (or a very soft /) be- fore e or i. h is mute. j Wksy in you. r, pronounce with a roll (tip of tongue against hard palate). Where a doubled consonant oc- curs, the first syllable is dwelt upon ; e.g. in ecco [pronounce ek' - ko, not ek' - o] . — Accented syllables take a less explosive stress * These " hints " are offered as an aid for tyros, and not in the least as an exhaustive set of rules. than in English, being prolonged and dwelt upon rather than forci- bly marked. SC like sh, before e and i. z " ds (very soft Is). Vowels : GERMAN. The simple vowels as in Italian.! y like German i or ii. Modified vowels : a like a in bare, but broader ; / in bed. o has no English equivalent ; long o can be pronounced by forming the lips to say oh, and then saying a (as in bay) with the lips in the first position ; short 0, by saying / (as in bed) instead of a. [N.B. — Long o is the French eu (in jeuj\. u has no English equivalent ; pro- nounce long u by forming the lips to say oo (as in boot), and then saying ee (beet) with the lips in the first position ; short ii, by saying i (as in bit) instead of ee. [N.B. — Long « is the French «.] Diphthongs : ai and ei like long i in bite. ae like a. au " owm brow. eu and au like oi (more exactly ah'-u, closely drawn together). ^^ Consonants : f, h, k, 1, m, n, p, t, as in English. b and d, beginning a word or syllable, as in English ; ending a word or syllable, like p and t respec tively. c like k before a, o, and «y like is before e, i, and a. g usually hard, but like z in azure in words from the French and Italian in which g is so sounded ; — ang, eng, ing, ong and ung terminate, at the end of a word, with a ^-sound (e.g. Be'-bun^). HINTS ON PRONUNCIATION. j like 1' (consonant). qu " kv. t either with a roll, or a harsh breath- ing. 5 beginning a word or syllable, and before a vowel, like z (soft) ; ending a word or syllable, like sharp J / before t and /, begin- ning a word, usually like sh (e.g. siumm, pron. shttim [« as in bull]) ; otherwise as in Eng- . lish. V like/. W " z* (but softer, between v and w). X " ,5j (also when beginning a word). z " is. Compound consonants : ch is a sibillant without an English equivalent ; when beginning a syllable, or after e, i, a, o, ii, ai, «', ae, eu, and du, it is soft (set the tongue as if to pronounce d, and breathe an h through it ; e.g. Strich, pron. shtrld-h) ; after a, 0, u, and au, it is hard (a guttural h). chs like X. sch ' ' sh. sp and st, see s, above. th like t. Accented syllables have a forcible stress, as in English. In com- pound words there is always a secondary accent("), sometimes a tertiary one("'), depending on the number of separate words enter- ing into the composition of the compound word ; e.g. Zwi'schen- akts"' musik" , Bo' genham" merkla- vier'"- The principal accent is regularly marked (') in this work. FRENCH. Vowels : a as in Italian, but shorter, often ap- proaching English a. a like ah. e " « in but ; ^-final is almost silent in polysyllabic words. 6 ' ' ay in bay. ^ '* i" in there. e " German a, and always long. i or i like ee in beet ; short I as in English. o as in Italian. u like the German u. Diphthongs : ai like ai in bait ; but before /-final, or //, is pronounced as a diphthong (ah^ee, drawn closely together). ai and ei like L eu, eii and oeu like German o. oi like oh^h' (drawn closely together). ou and oii like oo in boot. eau like o long, without the vanish u. Modified by a following n, m, nd, nt or mi at the end of a syllable, the vowels and diphthongs are nasal (exception, — verbal ending of 3rd pers. plural). Consonants as in English, with the following exceptions : C like s in song before e, /, ^, /, and i. ch " sh. g " 2 in azure before e, /, ,*, i, and i. gn as in Italian. h is often mute ; no extended rule can be given here. j like z in azure. 11 after i is usually seunded like Eng- lish y (consonant), and frequent- ly prolongs the i (ee) ; e.g. travailler [trah-vSh-yay'], tran- quille [trahngkee^y]. n nasal, see above ; otherwise as in English. [The nasal effect is accurately obtained by sounding / n (or 7ji) iogeiher with (instead i of after) the preceding vowel ; but the sound of e is changed to ah, i to a (in bat), and u to (?«.] m, nasal in certain situations, r with a roll. S-final is silent, t-final is silent. er, et, es, est, ez, as final syllables, are pronounced like /. Accentuation. The strong English stress on some one syllable of a polysyllabic word is wanting in French ; the general rule is slightly to accent the last syllable. A DICTIONARY OF MUSICAL TERMS. A— ABBREVIATIONS. A. I. (Ger. A; Fr. and It. la.) The sixth tone in the typical diatonic scale of C-major. The tone o' (see Fitch, absolute) is that sounded by the oboe or other fixed-tone instr. (pfte., organ) to give the pitch for the other instr. s of the orchestra or military band. — 2. In mus. theory, capital A often designates the ,4-major triad, small u the «-minor triad. — 3. In scores, the capitals, or doubled letters (A a — Z z), are often set at the head of main divisions or at any critical point to facilitate repetition at rehearsal. — 4. As an Italian (or French) preposition, a (or i) signifies to, at, for, by, in, etc. — 5. A #, a.\), a t], see Sharp, Flat, Natural. — 6. At the head of Gregorian antiphones, etc., A means that the first mode is to be employed. — 7. In this Dictionary, an -a appended to an Italian word signifies, that in the feminine form a is substituted for the masculine termination 0. Ab (Ger.) Off (organ-music). Ab'acus harmon'icus (Lat.) i. A dia- gram of the notes, with their names. — 2. The structure and disposition of the digitals and pedals of a mus. instr. Abandon (Fr.) Unrestrained abandon- ment to natural emotion ; avec a., same as con abbandono. A. See A. Abb. -Abbassamento Accfli.i Accelerando Acc. I Accom, > Accompaniment Accomp, ) Accres. Accrescendo Adg". or Ad**, Adagio Ad lib. Ad libitum Aevia Alleluia Affett. AfEettuoso Affrett. Affrettando Ag". or Agit". Agitato ATI". Allegro Ajjg^r[ Allegretto IffsvafAirottava Al seg. Al segno Alz. Alzamento And°°. Andahtino And*®. Andante Anim". Animato. Arc. Col I'arco, or Arcato. Ard. Ardito Arp°. Arpeggio A t. I A tem. V A tempo A temp. ) Abbandonatamen'te ) (It.) In an im- Abbando'no, con j passioned style, as if carried away by emotion; — subordi- nation of rhythm and tempo to expres- sion. Abbassamen'to (It., abbr. abb.) " Low- ering " ; indicates in pfte. -playing that one hand is to play below the other ; opp. to alzamen'to...A. di ma'no, sink- ing of the hand in beating time ; A. di vo'ce, diminution (in volume) of the voice. Abbattimen'to (It.) Falling of the hand in beating time ; the down-beat. Abbellimen'to) (It.) Embellishment, Abbellitu'ra i ornament, grace ; from abbelli're, to embellish. Ab'betont (Ger.) With ^»a/ accent. Abbreviation. (Ger. Abbreviaiur' , Ab'- kUrzung; Fr. abriviation; It. abbrevia- tu'ra.) [In this Dictionary, any key- word recurring in the article which it heads will be represented by its initial letter or letters ; for instance, Abbassa- mento above hy A. Also, various other abbreviations are used, such as abbr. for abbreviation, instr. for instrument, mus. for musical, p/ie. for pianoforte, opp. for opposed, etc.] I. The commonest abbreviations of musical technical terms are the following : Aug. By augmentation B. See B. B. C. Basso continuo B. G. Basso generale, or Bassus generalis Bl. Blasinstrumente Br. Bratschen Brill. Brillante C. SeeC. C. a. CoU'arco Cad, Cadenza Cah. Cahier Cal. Calando ABBREVIATIONS. Calm. Calmato Cant. Canto Cantab. Cantabile C. b. Contrabasso C. B. Col basso Cb. Contrabasse C. D. CoUa destra 'Cello, Violoncello Cemb. Cembalo Ch. Choir-organ Chal. Chalumeau C. 1°. Canto primo C. L. Col legno Clar. Clarinet Clar°. Clarino Clar"". Clarinetto Col c. Col canto ^°"'°"- j-Coll'ottava C. ova J Con espr. Con espressione Cont. Contano Cor. Cornet or Corno Co. So. Come sopra C. P. CoUa parte CrS;.} Crescendo C. S. CoUa sinistra C. S., or Co. So. Come sopra C". Concerto C. voc. CoUa voce D. See D. Dal. S. Dal segno D. C. Da capo Dec. Decani Decresc. Decrescendo Delia. Delicatamente Dest. Destra Diap. Diapason(s) Dim. By diminution, or Diminuendo Div. Divisi Dol._ Dolce Dolcis. Dolcissimo Dopp. Fed. Doppio pedale D. S. Dal segno Energ. Energicamente Espr., or Espress. Espressivo Exp., or Expr. Orgue expres- sif {b) F. See F. y, or for. Forte Fag. Fagotto Falset. Falsetto Xfi ^"^ /// Fortissimo Fl. Flauto Flag. Flageolet f! Org. j" ^"" °''S^'^ Forte piano z., or Forz. Forzando ^ G. See G. Ged. Gedampft G. O. I Great organ G. Org. ( Grand-orgue Grand. Grandioso Graz. Grazioso Gt. Great organ Hauptw. Hauptwerk Haut. Hautboy H. C. Haute-contre Hlzbl., or Hzbl. Holzblaser Hptw., or H. W. Hauptwerk Hr,, or Hrn. Horner Intro. Introduction Inv. Inversion K. F. Kleine Flote L. See L. Leg. Legato Legg. Leggero, Leggiero L. H. Left hand, linke Hand Lo. Loco Luo. Luogo Lusing. Lusingando M. See M. Maest". Maestoso Magg, Maggiore Man. Manual Man. 1+2. Couple Ch. to Gt. Mane. Mancando Marc. Marcato M. D. Mano destra, or main droite Men. Meno Mez. Mezzo vif Mezzo forte mfz Mezzo forzando M. G. Main gauche M . M. MaelzePs metronome Mod., or Modt°. Moderato Mor. Morendo inp Mezzo piano MT.S. Manuscript, or Mano sinistra Mus. B., or Mus. Bac. Musicae baccalaureiis Mus. D., or Mus. Doc. Musicas doctor M. V. Mezza voce Ob. Oboe Obbl. Obbligato Oberst, Oberstimme Oberw., or Obw. Oberwerk Oh. Ped. Ohne Pedal O. M. Obermanual Op. Opus Opp. Oppure Org. Organ Ott., Ova., or 8va Ottava O. W. Oberwerk P. Seep. Ped. Pedal Perd. _ Perdendosi _/*/" pill forte Pfte' f ^^^"oforte Piang. Piangendo Pianiss. Pianissimo Pizz. Pizzicato pmo,^ //, pj'p., pppp Pianis- simo Prin. Principal Raddol. Raddolcendo Rail. Rallentando Recit. Recitative r/", ^/zy rznf. Rinforzando R. H. Right hand, or rechte Hand Rip. Ripieno Ritard . Ritardando Rit., Riten. Ritenuto S. See S. Salic. Salicional Scherz. Scherzando Seg. Segue Sem. or Semp. Sempre ■f/*i -fA) ^//, Sforzando Sim. Simile Sin. Sinistra Sinf. Sinfonia S. int. Senza interruzione Smorz. Smorzando Sos., Sost. Sostenuto Sp. Spitze S. P. Senza pedale Spir. Spirituoso S. S., or S. Sord. Senza sordini S. T. Senza tempo Stacc. Staccato. St. D., or St, Diap. Stopped diapason Stent. Stentando Str. Streichinstruraente String. Stringendo Sw. SweU-organ Sym. Symphony T. SeeT, T. C. Tre corde Temp. Tempo Tempo I. Tempo primo Ten. Tenuto Timb. Timbales ^™P-[Timpan T. P. Tempo primo Tr. Trillo, Trumpet Tratt. Trattenuto Trem. Tremolando, Tremulant Tromb. Trombe, Tromboni Tromp. Trompete T. S. Tasto solo U. C. Una corda Unis. Unisono V. See V. Va. Viola Var, Variation Vc, VcUo., VUo. Violoncello Viol., VI., Vno. VioUno Viv. Vivace V. S. Void subito Vv., Vni. Violini Abbreviations by Numerals. 1. or I. Prima volta 2. or II. Seconda volta (T) @ etc. See Harmonium- music Man. I. (2.) Great (Choir-)or- gan .^' 1 \ Q _ | -g , f Duple time] %) 9J y time 4tette. Quartette ^tette. Quintette Also compare ^xuNuinerals. For single figures over groups of notes, compare (2) Couplet, (3) Triplet, (4) Quadruplet, (5) Quintuplet, (6) Sextuplet, (7) Septuplet, (8) Octuplet, (9) Nonuplet, (10) Decuplet, etc. ABBREVIATIONS. 3 2. Abbreviations in manuscript or printed music by means of conventional signs. 64 8 10 (A) Of rests : ^^,j- | ^i | '^^ | gp-\ etc. (compare Jfes^. (B) Of notes: (a) Of single notes. P =^^ (Triplets.) ^^^^=1 1 1-6 , —0—- (= ?= S=^r= 6 ^ 6 =t ~m — » — w — *~ ^ lJLS 1 1 ! r r r i — 1 -i-— Ch— t-i— ■-1 1 1 -4- 1 1 — r^ (b) Of doubled notes (see Tremolo). [Note to (b). When the abbrgviation consists of two consecutive notes, the sum of the notes in the solution is equal to only one of them, unless specially marked.] 4 ABC, MUSIKALISCHES— ABGEBROCHENE KADENZ. (c) Of figures and phrases. (Also compare Arpeggio, Bis, Repeal, Segue, Simile, Ter, Tremolo.) ABC, musika''lisches (Ger., "musi- cal A b c") See Alphabetical notation. ...A-b-c-dieren, to use, in singing exer- cises, the letter-names of the notes. A'bendglocke (Ger.) Evening bell, cur- few. — A'bendlied, evening song. A'benteuerlich (Ger., "Adventurous.") Strange, singular, uncouth ; an epithet sometimes applied to music having no settled or recognized form, especially to that of the neo-German school. Ab'fallen (Ger.) To deteriorate ; said of any part of the compass of an instr. or voice showing a falling-off, in quality or volume of tone, as compared with other parts. Ab'gebrochene Kadenz' (Ger.) See Kadenz. ABGELEITET— ACCENT. Ab'geleitet (Ger.) Derived, derivative. Ab'gesang (Ger.) See Strophe. Ab'gestossen(Ger.) Detached, staccato. Ab'gleiten (Ger. ) To slip or slide any finger, on the keyboard, from a black digital to the next white one. Ab'hub, abub. Hebrew wind-instr. re- sembling the cornet. Ab ini'tio (Lat ) Same as Da capo. Ab'kiirzung (Ger.) Abbreviation. Ab'leiten (Ger.) To derive from. Ab'losen (Ger.) To change fingers qui- etly on a digital of the pfte. or organ. Ab'nehmen, Ab'nehraung(Ger.) Dimi- nuendo. Abr6g6s (Fr.) Trackers. Ab'reichen (Ger.) In violin-playing, to take a tone by extending the little fin- ger (see Extension), or by drawing back the forefinger. Ab'reissung (Ger.) See Abruptio. Abrup'tio (Lat. " a breaking-off.") The sudden stopping of a melody before reaching the actual close, it being con- tinued after a pause. Ab'satz (Ger.) i. A thematically or rhjrthmically well-defined division of a piece or movement. — 2. A melodic phrase. Ab'sch-wellen (Ger.) Decrescendo. Ab'setzen (Ger., "to lift from".) To strike two digitals in succession with the same finger, to lift ; e.g. f- ^ Absolute Music. In contradistinction to " program-music," which is supposed or intended to express (depict, portray) something tangible, absolute music subsists in and for itself, without being 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- 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 from. Ab'stand (Ger.) See Tonabstand. Ab'stimmen (Ger.) i. To tune. — 2. To lower the pitch (of yastx ^.. .Ab'stim- mend, Ab'stimmig, discordant, dissonant. Ab'stossen (Ger.) To play staccato, to detach. . .Ab'stosszeichen, staccato-mark. Abstrak'ten (Ger.) Trackers. Ab'stufung (Ger., "graduation.") The shading of a passage or piece, either emotionally or dynamically. Abun'dans (Lat.) Superfluous. Ab'wechseln (Ger.) To alternate ; mit ab' wechselnden Manua'len, with alter- nating manuals. Ab'weichung (Ger.) A variant ; a differ- ent reading or notation ; specifically, the measure or measures marked secunda volta in a repeat. Ab'ziehen (Ger.) i. See Abgleiten. — 2. To unstring (in the sense of taking off worn-out strings) a violin, harp, etc. Ab'zug (Ger.) i. See Abgleiten. — 2. The lifting of the fingers in playing wind- instr.s, or of the bow from the strings. Acathis'tus (Gk.) In the Gk. Church, a long canon or hymn in praise of the Virgin, sung by all standing. Accarezze'vole ) (It.) Caressful- Accarezzevolmen'te ) ly, caressingly, coaxingly. Acceleran'do (It.) "Accelerating," gradually growing faster. . . Accelera'to, accelerated, livelier. Accent. (Ger. Accent', Beio'nung ; Fr. accent; It. accen'to.) i. The natural stress or emphasis regularly recurring on certain tones in each measure, called the grammatical, metrical, or regular accent ; e.g. that on the first beat in every species of time ^^^m ■wxr-m- 4=1= titzt {primary accent), and on the third beat in triple or compound duple time (sub-accent). — 2. The monotony of the 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, passages, sections, etc.; the rhythmical a. is nearly synonymous with the pathetic or poetic a., as an aid in inter- preting the meaning and making plain the construction of a work. — 3. An ir- ACCENTOR— ACCORD. regular stress laid upon any tone or beat at the composer's pleasure, is the rhetorical or asthetic a. , indicated either by a special sign (sfz, fz, >, A), or 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- lete harpsichbrd-grace resembling the appoggiatura ; or written played : Accen'tor. The leading singer in a choir or vocal performance. Accentuie'ren (Ger.) To accent. . .^^f- centuier'ter Durch'gang, a passing-note or -chord on a strong beat. Accen'tus (Lat.) In the R. C. Church, that part of the service which is chanted or intoned at the altar by the officiating priest and his assistants ; opp. to Con- centus, the part taken by the choir, Accen'tus ecclesias'tici (Lat.) The musical inflections observed in intoning the gospels, epistles, etc., correspond- ing to a certain extent with the punctua- tion. There are 7 accents : (i) accentus immuia'Hlis, the voice neither rising nor falling ; (2) a. me'dius, falling a third ; (3) a. gra'vis, falling a fourth ; (4) a. acu'tus, first falling a third, then rising to the reciting-note ; (5) a. mode- ra'tus, first rising a second, then fall- ing to the reciting-note ; (6) a. inter- rogati'vus, at a question, first falling a second, then rising to the reciting-note ; (7) a. fina'lis, falling at the end of a sentence by a fourth, by a diatonic pas- sage through the intervening tones. Accessis'ten (Ger.) Unpaid choir- singers, supernumeraries. Accessory note. In a, trill, the higher auxiliary. Acciacca'to,-a (It.) Vehemently. Acciaccatur' (Ger.) In organ-playing, the doubling by the left hand of the \ chord on the dominant,, its resolution to the dominant chord being effected by the right hand alone. Acciaccatu'ra (It.) i. (Ger. Zusam'- menschlag ; Fr. pinci /touff/.) A grace on keyboard instr.s, the semitone below a melody-note or chord-note being struck with the latter, but instantly released : written : played ; 2. Same as short appoggiatura.— 3 (in Ger. usage). Same as Acciaccatur, Accident (Fr.) Accidental. Accidental. (Ger. ztc' fdlliges Verse'- tzungszeichen ; Fr. accident, or signe accidentel ; It. acciden'te.) A chro- matic sign not found in the signature, set before a note in the midst of a com- position. (See Chromatic Signs.) Accolade (Fr.) Brace. Accompaniment (Ger. Beglei'tung ; Fr. accompagnement ; It. accompagna- inen'io.) The accessory part or parts attending the voices or instr.s bearing the principal part or parts in a musical composition. Its intention may be to enhance the general effect, or to steady the soloists either as regards rhythm or pitch. Either one or more instr.s, or a vocal chorus, may carry outanaff. — An ace. is ad li'bitum when the piece can be performed without it, and obbliga'to when of vital importance to the latter. — Ace. of the scale, the harmonies as- signed to the successive tones of the ascending or descending diatonic scale. — Additional accompaniments, parts added to a composition by some other than its original author. Accompanist. (Ger. Beglei'ter; Fr. accompagnateur m., -trice f. ; It. ac- compagnato're ra., -tri'ce f.) One who executes an accomp. Accompany. (Ger. beglei'ten ; Fr. ac- compagner ; It. accompagna' re.) To perform an accompaniment. Accoppia'to (It., "coupled.") Tied. . . Accoppiamen' to, pedale di, see Pedal, sustaining. Accord (Fr.) I. A chord. — A. h I'ouvert, chord produced by sweeping only open strings. . ..(4. fondamental, or naturel, fundamental chord. ..^. far fait (or triade harmonique), common chord, triad... ^. plaqud, a solid chord (not arpeggio'd). . .^. renvers^, inverted chord. — 2. Tune (i.e. the state of being in tune). . .Etre d'accord, to be in tune. ■ — 3. Accords (pi., poetical). Strains, harmonies. — 4. Accordatura. ACCORDABLE— ACOUSTICS. Accordable (Fr.) Tunable, that may be tuned. Accordamen'to (It.) Accordance ; con- sonance. Accord'ance. An English equivalent for Accordatura ; used in Grove, vol. IV, p. 1871}, 1.9-10, and foot-note. Accordan'do (It.) Accordant, in tune, tuned together ; applied also to comic scenes in which the tuning of an instr. or instr.s is imitated by the orchestra. Accordant (Fr.) Consonant. Accorda're (It.) To tune, tune to- gether. Accordato'io (It.) Tuning-key, tunings hammer. Accordatu'ra (It.; see Accordance^ The series of tones according to which a stringed instr. is tuned ; thus^-of'-o'- e^ is the a. of the violin. Accorder (Fr.) To txixie.. . . S'' accorder , to tune together, get the pitch (as an orchestra). Accordeur (Fr.) i. Tuner. — 2. The monochord. — 3. A small instr. contain- ing 12 steel tuning-forks set on a sound- board and yielding the 12 tones of the equally tempered scale. Accor'dioii. (Ger. Accor'deon, Akkor'- dion, Zieh' harmonika; Fr. accordion; It. accor'deon.') A free-reed instr. in- vented by Damian, of Vienna, in 1829. The elongated body serves as a bellows, which can be drawn out or pushed to- gether at will ; the bellows is closed at either end by a keyboard, that for the right hand having a diatonic (or incom- plete chromatic) scale, while that for the left has 2 or more keys for harmonic bass tones. There are two sets of reeds, one sounding when the bellows is opening, by suction, the other when it is closing. (Compare Concertina^ Accor'do (It.) I. A chord. ..^i. con'- sono (dis'sono), a consonant (dissonant) chord. — 2. An instr. formerly used in Italy, resembling the bass viol, having from 12 to 15 strings, and played with a bow in such a way that several strings were caused to vibrate at once ; em- ployed where powerful harmonies were required. (Also called the modern lyre, and Barbary lyre.) Accordoir (Fr.) Tuning-hammer, tun- ing-key ; (org.) tuning-cone or -horn. Accoupler (Fr.) To couple. . . Tirant h a., coMpler.. .Accouplez, "couple," (i.e. " draw coupler "). Accrescen'do (It.) Same as Crescendo. Accrescimen'to (It.) Augmentation (of a fugal theme)... Pun' to d'accr,,Aoi of prolongation (J.). Accresciu'to (It.) Augmented. Aceta'bulum. Latin name for an an- cient Gk. instr., of percussion. The acetabula were earthen or metallic ves- sels struck with sticks, like a carillon, or clashed together, like cymbals. Acht(Ger.) Eight. . .Achl'fiissig, 8-foot . . .Acht'stimmig, in or for 8 parts, 8-part. Ach'tel, Ach'telnote (Ger.) An eighth- note. . .Ach'telpause, eighth-rest. Ac'ocotl. A wind- instr. of the Mexican aborigines, consisting of a thin tube 8 or 10 feet long made of the dried stalk of the plant acocotl, and played by in- haling the air through it. (Also called Clarin.) Acoustic color. The timbre (character or quality) of a mus. tone. Acoustics. (Ger. Aku'stik ; Fr. acous- tique ; It. acu'siica.) The science of the properties and relations of sounds. §1. Musical acoustics, the science of mus. tones, distinguishes between tones and noises. A tone of sustained and equal pitch is generated by regular and constant vibrations of the air, these being generated by similar vibrations in the tone-producing body ; whereas a noise is caused by irregular and fluctu- ating vibrations. Briefly, ' ' the sen- sation caused by a tone is produced by rapid periodic movements ; that caused by a noise, by imperiodic movements " (Helmholtz). But a sonorous or tone- producing body vibrates not only as a whole, but in its various fractional parts as well. Take a pfte. -string, for in- stance ; when struck by the hammer it vibrates, not simply as a whole in its entire length, but each half, each \, J, J etc. , of the string vibrates by itself, as it were (comp. Node), and produces a tone of a pitch corresponding to its- own length ; the C-string thus produces, be- sides the fundamental tone or generator, C, its octave c (^ of string), its twelfth^ \), fifteenth c^ (i), seventeenth e^ (^), nineteenth ^' (^), etc. The points of rest in the string (or other tone-producing body) where such vibrating portions ACOUSTICS. 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, being considered parts of the composite tone (clang) named after the generator. The series of partial tones may be given in notes as follows, numbered consecutively from C upward ■ -IH ( 7 " 9 major triad). (Notes marked * are only approximately correct.) 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 bowed instr.s they yield an additional 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 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 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. • — (c) In the series of partials given in §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 -ap (minor triad ; c = phonic root [see PAoneJ), ACT— ^OLIAN ATTACHMENT. the numerals also represent the relative length of the strings necessary to yield the several tones ; while in the series of higher partials (overtones) the string- lengths are represented by the simple fractions formed by the numerals. — (d) From the relative number and import- ance (intensity) of the first 6 partials in either series, it follows, that the only consonant chords are the major and minor triads, and that the only conso- nant intervals are such as are derived from these chords or their inversions ; the addition of any further tone, either found in or foreign to the series of par- tials, produces a dissonance. Act. (Ger. Akt, Auf'zug ; Fr. acte ; It. at' to.') One of the principal divi- sions of a dramatical performance. Acte de cadence (Fr.) A progression in one of the parts, particularly the bass, which forces the others to join either in forming a cadence, or in avoid- ing one apparently imminent. Actin'ophone. An apparatus for the production of sound by actinic rays. Action. (Ger. Mecha'nik ; Fr. mdca- nique ; It. mecca'nica.) In keyboard instr.s, the mechanism directly actuated by the player's finger, or set in motion by the organ-pedals. — In the harp, the action (pedals) does not directly produce the sound, but effects a change of key by shortening the strings, whereby chro- matic alterations of a semitone or a whole tone result. (See Pianoforte, Organ.) Act-tune. Music performed between the acts of a drama ; an entr'acte. Acu'ta (Lat., "sharp, shrill.") In the organ, a mixture-stop having 3 to 5 ranks of from if to I foot, usually in- cluding a Third ; its compass is higher than that of the ordinary Mixture. Acu'tse cla'ves (Lat. ; also acuta loca, acutcs voces.) Literally, acute keys (pitch, voices) ; the tones from a to g^ inclusive ; so termed by Guido d'Arezzo. Acute. (Ger. scharf, hoch ; Fr. aigu ; It. acu'to.) High in pitch, sharp, shrill ; said of tones ; opp. to grave. Acuttz'za. (It.) Acuteness ; sharpness (of pitch). Acu'tus (Lat.) See Accentus eccl, 4. Adag^iet'to (It.) i. A movement slightly faster than adagio. — 2. A short Adagio. Ada'gio (It., " slow, leisurely.") A slow movement (comp. Tempo-marks). . .A. assa'i, A. mol'to, very slow...^. non tan' to, non molto, not too slow . . . Adagio adagio, very slow. . . Superlative at/ajaV- sifno. Adaptation. Same as Arrangement. Ada'sio (It.) Same as Adagio. Added sixth. See Sixth. Addita'to (It.) Provided with a finger, ing, fingered. Addition. Obsolete term for the dot Additional accompaniments. See Ac- companiment... Ad- ^ ditional keys, those above f^ $ Addolora'to (It.) Plaintive ; in a style expressive of grief. Adi'aphon. See Ga'belklavier. Adi'aphonon. A keyboard instr. in- vented by Schuster of Vienna in 1820. Adira'to (It.) Angry, wrathful. Ad'junct. Closely related, as one key or scale to another. . .A. note, an auxiliary note, unaccented, and unessential to the harmony. Ad'juvant. The cantor's assistant, as- sistant teacher. A'dler (Ger.) An obsolete organ-stop. Ad li'bitum (Lat., "at pleasure," "at will.") A direction signifying (i) that the performer is free in choice of expression or tempo ; (2) that any vocal or instru- mental part so marked is not absolutely essential to a complete performance of a piece . . . Caden'za ad lib. thus means, that a given cadenza may be performed or not, or another substituted, at the executant's discretion. Ad lon'gam (Lat., " with the long.") A term applied to certain ancient church- music written entirely in equal notes, generally the longest in use. Adornamen'to (It.) A grace. Adquis'ta or adsum'ta (vox) (Lat., "the added tone.") The lowest tone of the scale, the Proslambanom' enos. .^'erophon. See Harmonium. ./^olharmon'ica. See Seraphine. JE.o\\a.n. attachment. An attachment to a pfte. for directing a current of air against the strings, reinforcing their vi- bration and thus prolonging and sus- taining the tones . . . ./Soli an harp or lyre. (Ger. A'olsharfe, Wind'-, Wet'- MOLINA— AGGIUST AT AMENTE. ter- or Gei' sterharfe ; Fr. harpe Mi- cnne , harpe d' £ole ; It. ar'pad'E'olo.) A stringed instr. sounded by the wind. It consists of a narrow, oblong wooden resonance-box, across the low bridges at either end of which are stretched gut strings in any desired number and of different thickness and tension, but all producing the same fundamental tone. When adjusted in an appropriate aper- ture, like a window through which the air passes freely, the latter causes the strings to vibrate and to produce, if the tension be properly adjusted (rather slack than otherwise), full chords com- posed of the harmonics of the funda- mental tone common to all the strings ; and rising, according to the force of the wind, from pure, dreamy, deliciously vague harmonies to a plaintive wail or a thrilling forte. . .ySolian mode, see Greek music. .. ./Eolian piano, see Aolsklamcr. iEolina. I. A small instr. consisting of a graduated series of free reeds set in a metal plate and blown by the mouth ; invented by the Messrs. Wheatstone in 1829. As the first practical attempt to use free reeds in this way, it may be re- garded as the precursor of the accordion and melodion. The Germans, how- ever, claim the invention for Eschen- bach, of Hamburg, about 1800. — 2. An organ -stop constructed on the same principle as the above, without (or with very short) pipe-bodies, and of very soft tone. .£olo'dicon. A keyboard instr. em- bodying the principle of the Molina, and the direct precursor of the harmo- nium. (Also ySolodion, Klavdoli'ne, etc.). . .A further modification was the j^oloitielo' dicon, invented by Prof. Hoffmann of Warsaw about 1825, in which short brass tubes were added to the reeds. .£olopan'talon. An .(Eolomelodicon combined with a pfte., constructed about 1830 by Dlugosz of Warsaw. Aequal' (Ger.) Formerly, an independ- ent 8-foot organ-stop (Aequal' stimme) ; still used as prefix to names of organ- stops, indicating that they belong to the standard 8-foot registers; as AequaV- prinzipal, etc. .ffiquiso'nus (Lat. ; Ger. aquison'.) Uni- son (of either primes or octaves). £quiva'gans (Lat.) Denotes simultan- eous syncopation, or "deviation from the natural order " of the measure, in all the parts. AEVIA. A frequent abbr. of Alleluia in MS. music of the middle ages. Affa'bile (It.) Sweetly and gracefully, gently. AfTana'to (It.) Uneasily, distressfully. Aifanosamen'te (It.) Anxiously, rest- lessly. . .Affano'so, anxious, restless. Affet'to (It.) Emotion, passion, tender- ness . . . Con a., or affettuosamen'te, affet- tuo'so, with emotion or feeling, very expressively. (Compare Innig.) Affezio'ne, con (It.) In a style express- ive of tender emotion. Affilar' (or iilarO il tuo'no (It.) In the Italian school of singing, to produce a long-sustained and uniform tone ; near- ly the same as metier la voce, tnessa di voce, except that with these a crescendo or decrescendo is usually to be combined. Affinity (Fr.) Affinity, relationship. Afflit'to (It.) Melancholy, sad...AJti- zio'ne, con, sorrowfully, mournfully. Affrettan'do (It.) Hurrying (stringendo) Affreiio'so, hurried (piii mosso). After-beat. (From Ger. Nach'schlag; Fr. note de covipl^ment, terminaison.) An ending added to a trill, comprising 2 notes, the lower auxiliary and the main note ; compare Trill. After-note. i. Occasional for unac- cented appoggiatura. — 2. The unac- cented note of a pair. After-striking. (Ger. Nach'schlagen.) The reverse of anticipation by the bass ; e.g. (Compare Anticipation.) Agen'de (Ger., from Lat. agen'da.) Bre- viary, more especially of the Ger. Re- formed Church, containing in regular order the formularies, prayers, respons- es, collects, etc., employed in religious exercises. Age'vole (It.) Easy, l\gh.t.. .Agevoles'. za, con, easily, lightly. Aggiustatamen'te (It.) Strictly in time AGGRAVER LA FUGUE— ALLEGRETTO. Aggraver la fugue (Fr.) To aug- ment the theme of a fugue. Agiatamen'te (It.) Easily, indolently. Agilitil' (It.) ) Agility, sprightliness, vi- Agilit^ (Fr.) ) vacity ; con a., in a light and lively style. Agilmen'te (It.) Nimbly, lightly, vi- vaciously. Agitamen'to (It.) Agitation.. .^^jVo- lamen'te, con agitazio'ne, excitedly, agi- tatedly. . .Agita'io, agitated ; a. conpas- sio'ne, passionately agitated.. ./i^Va- zio'ne, agitation. Ag'nus De'i (Lat., "Lamb of God.") Closing movement of the raus. Mass. Ago'ge (Gk.) The order, virith refer- ence to pitch, in which the tones of a melody succeed each other. . ,A. rhyth'- mica, their succession with reference to accent and rhythm ; tempo. Ago'gik (Ger.) Theory of the tempo rubato. . .Ago'gisch, relating to such de- viations from the tempo. . . Ago'gischer Accent' (Riemann), a sign(A)over a note indicating the slight prolongation of its value required, in certain rhythms, to mark the culminating point of the measure-motive. Agraffe'. Inthepfte., a small metallic support of the string, between bridge and pin, serving to check vibration in that part. Agr^mens (Fr., pi.) Harpsichord- 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 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- al air, a melody become thoroughly popular through long usage and pecu- liar fitness, recognized as a national emblem, and performed at public festi- vals, etc. Air (Fr.) Air, melody, tune ; also song, as Airs h boire, drinking-songs. . .Also, instrumental melody, as air de violon, de flute ; air de ballet, de danse, etc. . . Also, aria ; air ditachd, any single aria taken from an opera. A1s(Ger.) K'i,.—A"isis,h.y.. Ajout€,-e (Fr.) Added. (See Ligne, Six- te.)...Ajoutez, "add" (organ-mus.) ( abbr. ajout. Ajuster (Fr.) See Accorder. Akkord' (Ger.) i. K chord.. .A kkord'. passage, arpeggio.. .Akkord' zither, the autoharp. — 2. A set of several instr.s of one family, but different in size, as made from the 15th to the i8th century (comp. Engl, chest or consort of viols). (Also Siimm'werk^ Akkor'dieren (Ger.) i. To tune an instr.,with reference to the harmony of its principal chords. — 2. To get the pitch (said of the orchestra). Akroama'tisch (Ger.) Pleasing to the ear ; said of music depending more up- on outward effect than on depth. Akt (Ger.) Act. Aku'stik (Ger.) Acoustics ; aku'stisch, acoustic. Al (It.) To the, up to the, at the, in the, etc. Alargando (It.) Properly allargando. Alber'tischer Bass (Ger.) Albert! bass. (See Bass.) \ Alcu'no (It.) Some, certain. Alexandre organ. See American or- gan. Al'iquot (Lat.) Forming an exact mea- sure of something ; a factor, or even AWisot.. .A'liquotfliigel (Ger.) A 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 struck by the hammers, and are called 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- quottone. Air, al'la (It.) To the, at the, in the ; in the style of. Allabre've (Ger.) 'Sie.e. Alia breve, -wAet Breve. . .AUabre'vetakt, alia breve time. Allargan'do (It.) Same as Largando. Allegramen'te (It.) Nimbly, lightly, vivaciously. AUegretti'no (It.) A short Allegretto ; also, a movement slower than alle- gretto. AUegret'to (It., abbr. o//''^) Dimin. ALLEGREZZA— ALPHABETICAL NOTATION. of allegro ; moderately fast, lively ; faster than andante, slower than allegro. Allegrez'za (It.) Liveliness, vivacity. Allegfris'simo (It ) Superl. of allegro ; extremely rapid, as quick as possible ; =.presio assai. Alle'gro (It., abbr. all'.) Lively, brisk, rapid. Used substantively to designate any rapid movement slower than pre- sto. ..^. assa^iy a. di mol'to, very fast (usually faster than the foregoing move- ment). . .A. di bravu'ra, a technically difficult piece or passage to be executed swiftly and boldly. . .A. giu'sto, amove- ment the rapidity of which is conformed to the subject. ..A. risolu'lo, rapidly and energetically ; etc. , etc. Allein' (Ger.) Alone. Allelu'ja (Hebr.) Lit. "Praise ye the Lord," an exclamation closing various Psalms, or introduced in their midst. Taken, by the early Christian Church, from the ancient Hebrew ritual, it de- veloped into the long jubilations (see Jubilatid) of the early middle ages (on the vowels AEVIA), to the melodies of which were set, after the adoption of the cantus planus, special words. (Also, Halle lu'jah.) Allemande (Fr.; It. alleman'da) i. A Ger. dance in 3-4 time, like the Ldndler. — 2. A lively Ger. dance in 2-4 time. — 3. A movement in the Suite, either the first or immediately following the prelude, in 4-4 time and moderate tempo {andaniind), commenc- ing with a short note in the aufiakt. — 4. A figure in dancing. Allentamen'to (It.) Same as Rallen- tando. (Also allentan' do, allenta'io.) Al'le Sai'ten (Ger.) Same as Tutte corde. AU'gemeiner Bass (Ger:) Thorough.. bass. (Now General'bass.) Allmah'lich (Ger.) Gradually, by de- grees. (Also allindh' lig, allmd'lig.) Allonger I'archet (Fr.) To prolong (the stroke of) the bow. AUo'ra (It.) Then. Alraain', Almand', Almayne'. Same as Allemande, Arpenhorn, Alp'horn (Ger.) The alp-horn, an instr. made of strips or 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 j wood. The scale of the tube is nar- row, and the tones produced are its natural harmonics. The alpine herds- men use this horn to play the Ram, des vaches and other simple melodies. Alphabetical notation. Any method of writing music which uses the letters of the alphabet. — The earliest knowa method was the ancient Greek, which employed two parallel series of letters, one for vocal and the other for instru- mental music, the letters being various- ly inverted, accented, or mutilated to indicate the several octaves and chro- matic tones. This method was retained, at least by theorists, down to the lotli century (see Neumes), when the begin- nings of a new method appeared, em- ploying the first 7 letters of the Latin alphabet A B C D E F G for the major diatonic scale now represented hy C D E F G A B, and repeating the same series for the higher octaves. These Latin letters were at first used for instrumental notation (psaltery or rotta, later the organ). Their significa. tion was soon altered, however, to con- form to that of the earlier Greek sys- tem (minor), the series then agreeing with our present one ; the Greek r {Gamma, G) was added as the lowest tone, and the octaves above f were written ABCDEFG abcdefg aabbccdd leffgg etc. (or a I, c d ^''^•^ ' ''^°"S'* sometimes, instead of small letters, the capitals ran on {HIKLMNOP), in which latter system A was equivalent to our modern C, as at first. Arbitrary innovations led to great confusion in the alphabetical notation, which was in reality rendered superfluous, as a me- thod of writing music, by Guido d'Arez- zo's invention or systematization (about 1026) of line-notation (see Nolaliori). When letters were used, without staff- lines, instead of neumes, they were often written above the words in this wise : E EE / /DD C / Qui E E D / F / / ri 1 toL Us pec - ca ta I.e., m notes : fafr-rff^^ ^gj Qui tol r lis pec - ca t» ALT— AMBROSIAN CHANT. 13 ascending or descending as the voice was to rise or fall. — Our present theo- retical division of the octave is first 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). Alt (Ger.) Alto (voice or part). . . In compound words, the alto instr. of any family, as Alt'geige, Alt' horn, Alf- klarinette, A If oboe, Alfviole, etc. — (Engl.) Hence, the same employment in English usage [alt-clarinet, alt- horn] . . . Notes ' ' in alt " are those of the next octave {g' — ■/') above f^ ; notes in the octave above : this are said to be " in altis- P Altera're (It.) To alter, change. Altera'tio (Lat.) See Notation, §3. Alteration. I. Same as Alteratio. — 2. Chromatic alteration of the pitch of a note. Altera'to (It.), Alt6r6 (Fr.) Chromatic- ally altered. Alterez'za (It.) Pride, loftiness. — Con a., in a lofty and dignified style. Alternamen'te (It.) Alternatively. . . Alternan'do, alternating. Alternati'vo (It.) See Trio 2. Alt-horn. (Fr. saxhorn alto; Ger. Alt'- iarn.) One of the Saxhorns. Altieramen'te (It.) In a lofty and ma- jestic style. Alti natura'li (Lat.) Natural (male) altos, or counter-tenors. (See Alto.) Altis'simo (It.) Highest. (See Alt.) Alti'sta (It.) An alto or contralto singer. Alt'klausel (Ger.) The leading of the alto part in a perfect close. Alto. I. (Fr. haute-contre ; Ger. Alt, Alfstimme; It. al'to.) The deeper of the two main divisions of women's or boys' voices, the contralto ; (in Germany a distinction is sometimes made be- tween Alt and Kon'traalt, the latter term being reserved for the lower alto voice). Ordinary compass from g to c' which, in voices of unusual P P^ =gi:4 range, down may be extended 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. Al'to,-a (It.) High. ..Otta'va alia, an octave higher. . .Alta vio'la, tenorviolin. . .Alto bas'so, an obsolete variety of dulcimer, consisting of a square wooden box set on legs and strung with gut. It was generally employed to accompany simple melodies played by the performer on a flageolet held in his right hand, the left striking the strings. Alto-clef. See Clef. Alt''posaune (Ger.) Alto trombone. Artro,-a (It.) Other... A Itra vol'ta, " encore !" Alt'schlussel (Ger.) Alto-clef. Alfviole (Ger.) Viola. Alzamen'to (It.) A raising or lifting (opp. to Abbassamento). Abbrev. Alz. Ama'llile (It.) Sweet, tender. Amare'vole (It.) Bitterly, mournfully. (Sometimes written mistakenly lor Ama- re'vole, lovingly.). . .Amarez'za, bitter- ness, sadness ; con a. , grievingly. Amateur (Fr.) A " lover " of art, who, while possessing an understanding for and a certain knowledge of it, does not pursue it as a profession. Am'bitus (Lat.) Compass. Ambrosian chant. The style of church- music introduced by St. Ambrose (d. 397) from the Eastern Church, and established by him in the cathedral at Milan, towards the end of the 4th cen- tury. It was based on the 4 authentic modes d e f g a b c^ d^ e f g a b c^ d'^ e^ fgabc^ «"<•'/' gabc'^ d^e'' P g" and was thus essentially diatonic, al- though embellished with occasional chromatic graces ; it was probably rhythmical, in contrast to the later de- 14 AMBROSIAN HYMN— ANESIS. velopment of Plain Chant. Nothing positive is known about these melodies, except that St. Ambrose introduced the antiphonal songs and hallelujahs of the Eastern Church, and himself composed numerous hymns. (Comp. Gregorian Chant.) Ambrosian hymn (hym'nus Amhrosia'- nus). The " Te deum laudamus,"of which St. Ambrose is the reputed author. Ame (Fr.) Soundpost. American organ. See Reed-organ. Amo're (It.) Love. . . Con a.., with de- votion, fondly, devotedly ; tenderly. . . Amore'vole^ amorevolmen' ie ^ lovingly, fondly, etc. . .Amorosamen'ie, amorous- ly, \o^'vag\y,ionA\y. . .Amoro'so, amor- ous, loving. -A'morschall, A'morsklang (Ger.) A French horn with valves, invented by ICalbel, of St. Petersburg (1760) ; its tone was lacking in purity, and the valve-mechanism did not quite do away "with "stopping." - Am'phibrach. A metrical foot of 3 syllables (-^ — >--) ; opp. to amfhim'acer. Also amphibra'chys. ■ Am'^phichord. See Lira barberina. . Amphim'acer. A metrical foot of 3 syllables ( — —' — ); opp. to am'phibrach. [Also amphimacrus7\ .Ampho'ter (Ger.) Amphoteric ; said of S. series of tones "common to two" -registers of the same voice. Amplitude of vibration. See Vibration. Amts'pfeiffer (Ger.) See Stadtpfeiffer. Amusement (Fr.) See Divertissement. An (Ger.) On ; add (i.e. draw). Anacru'sis (Gk. ; Ger. A nakru'sis \^A uf- taki\ ; Fr. anacrouse.) An up-beat beginning a verse, containing I or 2 mnaccented syllables ; hence transferred to musical rhythms, for which, in Eng- lish usage, the term auftakt is often met with. A.nalytical programs are an English invention ; analyses of the mus. form of compositions on the concert-pro- gram, with quotations from the music, date from 1845 (Ella, matine'es of Mus. Union). The most ambitious attempts of this kind are probably H. v. Wolzo- gen's " FHhrer" (Guides) "through" Wagner's mus. dramas. An'apest. A metrical foot of 3 syllables, the first 2 short, the last long (w w -^); the reverse of the Dactyl. Anche (Fr.) Reed (of any instr.). . .^. libre, free reed . . .Jeu d 'anche, reed- stop. An'che (It.) Also, too, likewise ; even. An'cia(It.) Reed. Anco'ra (It.) Again, also, yet, still, even. . .Ancor" piit mos'so, still faster. An'dacht (Ger.) Devotion. . .An'ddchtig, or mit Andacht, devotionally (It. de- vo'to, con devozio'ne). Andamen'to (It.) I. Movement, rate of speed. — 2. A passage, especially an episode iu a fugue. — 3. Specifically, an extended fugal theme, usually consist- ing of two distinct and contrasting members. (See Soggetto.) Andan'te (It., lit. "going, moving.") A tempo-mark indicating, in modern usage, a moderately slow movement, between Adagio and Allegretto ; often modified by qualifying words, as A. maesto'so, A. sostenu'to, a stately and tranquil movement ; A. con moto, A. un poco allegretto, a comparatively ani- mated movement ; A . canta'bile, a smoothly flowing and melodious move- ment ; etc. — In earlier usage often em- ployed in its more literal sense, as A. allegro, "moving rapidly;" me' no andante ("less moving "), slower. Andantemen'te (It.) Flowingly, unin- terruptedly. Andanti'no (It.) Dimin. of Andante ; strictly, slower than andante, but often used in the reverse sense. Anda're (It.) To move on ... ^. dirit'to, go straight on ; a. in tempo, keep to the tempo. An'derungsabsatz (Ger.) Ilalf-cadence, ending on the dominant triad. Anem'ochord. (Fr. an^mocorde.) A keyboard wind-instr. with strings, in- vented by J. J. Schnell, of Paris, in 1789, as an attempt to imitate the tone of the ^olian harp by means of small bellows forcing a current of air against the strings : a pneumatic harpsichord. — The piano iolienne of Henri Herz (1851) was a similar instr. — (Also Anim'ocorde.) Ane'sis (Gk.) The passage from a high tone to one lower in pitch; also, the tun- ing of strings to a lower pitch. — Opp. Xaepit'asis. [Stainer and Barrett.] ANFANG— ANTHEM. 15 An'fang (Ger.) Beginning. — Vom A., same as Da capo. An'geben (Ger.) To sound, to strike. . . Den Ton a., to give the pitch (as for an orchestra). Angelic hymn. The hymn sung by the angels upon the announcement of Christ's birth ; sung in both the East- ern and Western Churches, extended in the latter to the " Gloria in excelsis ; " also in the Anglican and Episcopal Churches, as a song of thanksgiving after communion. Ange'lica (Lat., "angelic") SssVox a. Angelique'. (Fr. angdlique.) A key- board instr. having 1 7 strings tuned in chromatic order ; inv. early in the 1 7th century. — Also, a kind of guitar. Angelophone. An earlier name for the harinonium or parlor-organ. An'gemessen (Ger.) Suitable, appro- priate. Anglaise (Fr.) The English country- dance {contrcdanse). of lively character, sometimes in 2-4, at others in 3-4 or 3-8 time. It closely resembles the Ecossaise, and most probably took its origin from the older form of the French Rigaudon. [Grove.] Angosciosamen'te ) (It.) Expressive of Angoscio'so j anguish, agony. Angst'lich (Ger.) Fearfully (It. timida- men'le, wrongly tramidainente). An'hang (Ger.) Appendix ; coda, co- detta. A'nima (It.) i. Spirit; con u., with spirit, animation. — 2. Soundpost. Animan'do (It.) With growing anima- tion ; livelier. . ..^«2/«o'/(;, in an ani- mated, spirited style. Animocor'de (It.) See Anemochord. Animo'so (It.) Animated, spirited. . . Anivwsis' simo, animosissimamen' ie , with the utmost animation, spirit, bold- ness. An'niut(h) (Ger.) Grace, sweetness, charm, sua.V\\.y.. ,An'niut{K)ig, grace- fully, etc. Anom^aly. The slight deviation from the exact pitch caused by tempering intervals on fixed-tone instr.s ; — hence, an anomalous chord is one containing an interval rendered, by tempering, ex- tremely sharp or flat. Anonner (Fr.) To perform in a hesitat- ing, stumbling manner ; to read music haltingly. An'satz (Ger.) i. Lip, embouchure (in playing wind-instr.s). — 2. The method of attacking a vocal phrase. An'schlag (Ger.) i. Touch (on a key- board instr.) — 2. A kind of double ap- poggiatura : written : played : An'schiwellen (Ger.) To increase in loudness, swell. Ansiosamen'te (It?) In a style expres- sive of anxiety or hesitation. An'sprache (Ger.) The "speaking"" of an organ-pipe, wind-instr., string, etc. . .An'sprecheti, to speak. An'stiramen (Ger.) To intone, strike up. Answer. (Lat. co'mes ; Ger. Gefahr'ie,. Ant'mort ; Fr. r^ponse, rc'plique ; It.. ripo'sta, conseguen' te .") In a fugue,, the taking-up of the subject, proposed by the first part, by the second part, at a different pitch. (See Antecedent^ Antece'dent. (Ger. Fuh'rer; Fr. ihime / It. aniecedcn'te, propo'sta, gui'da.) The theme or subject of a fugue or canon, as proposed by the first part. — Also, any theme or motive proposed for imitation, or imitated later. Antelu'dium (Lat.) Prelude, introduc- tion. Anthem. A piece of sacred music usual- ly founded on biblical words, with or without instrumental accomp., and of various forms : — (i) Anthems for double choir, the choirs frequently answering each other. . .(2) Full anthetns , consist- ing wholly of chorus, accompanied or not ... (3) Full anthems with verses, certain parts of which are sung by solo voices, although beginning and close are cho- ruses (7'««;), and the chorus predomi- nates throughout ... (4) Verse anthems, in which the verses (soli, duets, trios, quartets) predominate over the cho- ruses. . .(5) Solo anthems, in which a solo part predominates, though the chorus always concludes them . . . (6) Instrumental anthems, those accom- panied by instr.s other than the organ ; — formerly so called, — The anthem, an integral part of the Anglican church- service, is essentially an English pro- x6 ANT HOLOGIUM— APOLLO. duct, a motet developed on the lines of vocal variety and instrumental accomp., approximating to the Ger. Kantate. Antholo'gium (Lat.) The book or col- lection of the hymns, etc. , of the East- ern Church. 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 harmony before the rest, which part or parts would, if all the parts pro- gressed simultaneously, enter later : $ ESiE5 -^S^^^- E^ T ^ ^ W M— ^"-^^ Anti'co (It.) Antique, ancient. . .AITan- tico, in the ancient style. Antienne (Fr.) Antiphon. An'tiphon, or An'tiphone. (Gk. anti'- phona^ antVphonon ; Ger. Antiphonie' ; Fr. antienne ; It. anti'fona.) Origin- ally, a responsive system of singing by two choirs (or a divided choir), one of the earliest features in the Catholic ser- vice of song ; hence applied to respon- sive or alternate singing, chanting, or intonation in general, as practised in the Greek, Roman, Anglican, and Lutheran churches . . . Also, ' ' a short sentence, generally from Holy Scrip- ture, sung before and after the Psalms for the day, or the Canticles, selected for its appropriateness to the church season in which it is sung " [Stainer AND Barrett]. Antiph'onal. i. A book or collection of antiphons or anthems. — 2. (adj.) In the style of an antiphon, responsive, alternating. Antiph'onary. (Lat. antiphona'rimn ; Ger. Antiphonar' ; Fr. antiphonaire ; It. antifona'rio.) Properly, a collec- tion of antiphons, but extended to in- clude the responsories, etc., sung at ecclesiastical celebrations. — The origi- nal collections embraced all the anti- phonal songs both in the mass and the offices of the Latin Church ; but now, by long-established custom, a separate book called the Gradual contains the liturgical antiphons (those proper to the mass) ; whereas the responsories of the office, formerly relegated to the Re- 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 .^ Antiph'onel. The planchette-mechan- ism devised by Alexandre Debain, of Paris, when attached to a pfte., organ, or harmonium ; hence Aptiphonel-har- monium, Orgue-antiphonel, etc. Anti'phonon (Gk.) Antiphon, anthem. 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- phony (see Homophonic i), An'tispast. A metrical foot of four syllables, the first and last being short and the two in the middle long (- ^). Antis'trophe. See Strophe. Ant'wort (Ger.) Answer. An'wachsend (Ger.) Same as crescendo, Aoli'ne, etc. (Ger.) See Molina. A'olsharfe (Ger.) .^olian harp. A'olsklavier (Ger.) "^olian pfte. ;" a keyboard instr. invented about 1825 by Schortmann of Buttelstedt, resembling the Physharmonica, but having, as tone-producing bodies, wooden wands instead of steel bars. Aper'to (It., "open.") " Take the loud pedal" (in pfte. -music). — Clear, dis- tinct; broad, ample; Allegro aperto, an allegro with broad, clear phrasing. Aper'tus (Lat.) Open ; said of organ- pipes. Ap'felre^al (Ger.) An obsolete reed- stop in 'the organ, the narrow pipes of which were furnished at the top with hollow perforated globes or buttons (hence also called Knopf regal). Aplomb (Fr.) Coolness, self-possession, steadiness. Apoggiatura, Apogiatura. Occasion- al spellings of Appoggiatura (Fr. ap- pogiature), Apollo. (Fr. Apollon.) A large lute APOLLO-LYRA— APPOGGIATURA. 17 (or theorbo) having 20 single strings, invented in 1678 by Prompt of Paris. Apollo-Lyra, See Psalmmelodicon. J^pollonicon. An instr. finished in 1 817 by Flight and Robson of London. It was a combined organ and orchestrion, containing about 1900 pipes in 45 stops, with 5 manuals played on by different performers, and kettledrums operated by a special mechanism, so 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 with an organ flue-work containing pipes of 2, 4, and 8-foot pitch, together with an automatic player the size of a boy ; inv. by J. H. VoUer of Angers- bach early in the 19th century. Apos'trophe ('). Often employed as a breathing-mark. Apo'tome (Gk.) In the Pythagorean system, the chromatic semitone — 2048: 2187 ; the AVwOTfl, or diatonic semitone, therefore being 243:256 (|4| X |4|f = 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 interval than the diatonic ; whereas our diatonic semitone is wider than the chromatic. Appassiona'to,-a (It.) Impassioned, with passion. . . Appassionamen' to, pas- sion, ardor, deep emotion. . .Appassio- natainen'te, passionately, ardently. Appel (Fr.), Appeir (Ger.) Assembly ; signal to troops to fall in. Appena'to (It.) Distressed ; in a style expressive of distress or suffering. Applica'tio (It.) Fingering. Applikatur' (Ger.) Fingering (usually Fing'ersaiz). Appoggian'do (It., "leaning on, sup- ported.") Said of a tone (note) gliding over to the next without a break, as in appoggiaturas and the portamento. (Also Appoggia'io.) -Appoggiatu'ra (It.; Frj appogiature; Ger. Vor'schlagyNach'schlag.') i. The ■accented appoggiatura (Ger. Vorsc/ilag) is a grace-note preceding its main note (melody-note), and taking the accent and part of the time-value of the latter, (a) The long appoggiatura, now obso- lete, often occurs in earlier music ; it was, in point of fact, a suspension written as a small note in order to evade, as it were, the rule against the entrance of unprepared dissonances. The dura- tion of the small note properly corre- sponds to its time-value if written as a large note ; c. g. written : though cases may occur in which the appoggiatura takes more than its ap- parent value ; written : 1^^^^ performed : or (acc.to Turk): (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 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 : written : Adagio. Andante, Allegro. Presto, performed : (c) The double appoggiatura contains 2 or more small grace-notes (commonly written as i6th-notes) before a principal note ; it is performed rapidly, its dura- tion subtracted from the time-value of the principal note, with the accent on the first small note (compare Anschlag, Slide), — 2. The unaccented appoggia- tura (Ger. Nachschlag) is a rapid single or double grace-note /b//oOT«'«^ a princi- pal note, from the time- value of which I8 APPREST ARE— ARIOSO. its duration must be subtracted, and with which it is connected by a slur : written : Appresta're (It.) To set up and finish an instr. Appretie'ren (Ger.) Same as Appre- stare.. .Appreiur' , the proper adjust- ment of tiie parts of an instr. Aquivo'ken (Ger., pi.) Meistersinger melodies bearing like names. Afabesque. (Ger. Arabes'ke.) i. An occasional title for pfte. -pieces re- sembling a rondo in form. — 2. Arabes- ken (Ger. pi.) Ornamental passages accompanying or varying a theme. Arbi'trio (It.) Free will, absolute power; a suo a. , at pleasure (equiv. to a placer e). Arca'to (It.) Bowed, played with the bow. Archeggia're (It.) To play with the bow. Archet (Fr.) Bow. Ar'chi-[ar'ke](Lat.), and Ar'ci-[ar'-tche] (It.) (Engl. Arch-, Ger. Erz-) A prefix signifying "chief, preeminent," formerly applied to names of instr.s in the sense of "largest "(of the family in question), and to official titles in the sense of "head." — E. g., Archchanler (Fr. archichantre), precentor; Arch- lute (It. arciliu'io, Fr. archiluth, Ger. Erz'laute), a variety of the bass lute ; Arcicem balo (It.; Fr. archicembalo, Ger. Archicym'bat), a keyboard stringed instr. inv. by Niccold Vincentino (i6th century), with 6 keyboards, and keys and strings for all the tones of the three ancient Greek modes (diatonic, chro- matic, and enharmonic); Arcivio'la di lira (It.), same as Lirone. Ar'chi (It., pi. of Arco.) Bows; gli archi, "the bows," i. e. bow-instr.s in the orchestra ; Engl, equivalent, "the strings." Ar'co (It ) Bow ; a pun'ta d'arco, or colla punta dell' arco, with the point of the bow ; coll' arco, with the bow, i. e. resume the bow after a pizzicato pas- sage. . .Arco in gi-k, down-bow ; a. in su, up-bow. Arden'te (It.) Ardent, fiery, passionate. Arditez'za, con (It.) Boldly, spirited- ly. . .Ardi'io, bold, spirited. 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- rise of homophonic music in the opera and oratorio, the aria developed, from, a mere plain-song melody with basso' coniinuo, into the aria gran'de (the grand or da-capo aria in 3 divisions preceded by an instrumental ritornello containing the principal melody ; divi- sion I being an elaborate development of a theme with frequent repetitions of the words ; II, a more tranquil and richly harmonized section ; followed by III, the repetition da capo of I, with still more florid ornamentation); the aria di bravu'ra, (similar to the fore- going, but overloaded with difficult passages and coloraturas for showing off the singer's skill); the aria da chie'- sa (church-aria, differing from the sa- cred song chiefly in its greater breadth, and in being accompanied by full or- chestra); and the aria da cancer" tec (concert-aria, differing from the others, which are portions of operas, oratorios etc. , in being an independent composi- tion intended for the concert-hall). — The modern aria is freer in form than, the aria grande of the l8th century, the ritornello often being omitted, greater variety given to the da capo, and the thematic construction made to follow the sense of the words, so that it sometimes assumes the form of a rondo, or consists of 2 slow divisions separated by an allegro movement. . .Aria par- Ian' te (also ario'so), a vocal style com- bining the melody of an aria with the distinct enunciation of a recitative, the vowels being " thrown forward." — Smaller arias, nearly in song-form and with slighter accompaniments, are called ariettas or cavatinas. Ariet'ta (It.) A small aria. (See Aria.y Ariette (Fr.) Same as aria grande, the original signification being completely reversed. Ario'so (It.) In vocal music, a style in- termediate between aria and recitative (see Aria parlante); also, a short melo- ARMER LA CLEF— ASPIRATION. 19 dious strain interrupting or terminating a recitative. —Also signifies an effective dramatic style suitable for the aria 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. Armonie (Fr.) Probably same as Vielle. Armoniosamen'te (It.) Harmoniously ; armonio'so, harmonious. Armure (Fr.) i. Mechanism, action. — 2. Key-signature. Ar'pa (It.) \\3.T^...A. dop'pia, see Spitzharfe. Arpanet'ta, Arpanel'Ia (It.) A small harp. (See Spitzharfe^ Arpbge (Fr.) Arpeggio. . .Arpigement, playing arpeggio, breaking a chord. . . Arpiger, to arpeggio. Arpeggian'do (It.) Playing arpeggio, in harp-style, or in broken chords ; from arpeggia're, to play on the harp. . . Arpeggia'to, (a) arpeggiated, arpeg- gio'd ; (b) as a noun, same as Arpeggio. Arpeggiatu'ra (It.) A series of arpeg- gios. Arpeg'gio (It., pi. arpeg'gi, Engl. pi. arpeggios!) [Lit. ' ' harping. "] Playing the tones of a chord in rapid and even succession ; playing broken chords. Hence, a chord so played, or broken ; a broken or spread chord, or chord- passage. The modern sign for the a. 4*=- calls for : the follow- - ing execu- tion : _ i. c. the first arpeggio-note falls on the accent ; this is the rule for the accent, tho' there are occasional exceptions. .(i-),J fe-) J N.B. — Pfte.-ar- " ' ' peggios are writ- ten in 2 ways : (l) indicates that the arpeggio is simultaneous in both hands ; (2), that all the notes are to be played in succession from lowest to highest. — In earlier music (Bach, Handel) the same sign calls for a more or less free spread- ing of the chords, generally according to a preceding pattern-chord in which the a. is written out in full. Obsolete or unusual signs are as follows : a, b. f. d. e. f. ^ a, b, c, d are equivalent to the modern sign ; e, f, g call for a reversed (de- scending) arpeggio ; h means either an ascending arpeggio, or a combined a. and acciaccatura ; i and k signify a spreading in eighth-notes ; the appog- giaturas at / and m delay the perform- ance of the notes to which they are attached by the time required for play- ing a long or short appogg. respectively. Arpeggio'ne. An instr. like a small 'cello, with fretted fingerboard and 6 ^ ^S ; inv. stnngs s?: _ r^ '^ ^ g 3 3 byG. tuned Stauffer, of Vienna. Arpicor'do (It.) Harpsichord. Arpo'ne (It.) An instr. played like the harp, but having the strings adjusted horizontally instead of vertically; inv. by Barbieri of Palermo, towards the end of the 1 8th century. Arrangement. (Ger. and Fr. ditto ; It. riduzio'ne). The adaptation of a com., position for performance on an instr., or by any vocal or instrumental com- bination, for which it was not originally intended ; hence, the composition as so adapted or arranged. Arranger (Fr.), Arrangie'ren (Ger.) To arrange. (See Arrangement.) Ar'sis (Gk.) Up-beat. Art (Ger.) Sort, kind ; manner, style. Articola're (It. ; Fr. articukr ; Ger. artikulie'ren.) To articulate, utter dis- tinctly. . .Articola'to, articulated.. .Ar- iicolazio'ne, articulation. Ar'tig(lich) (Ger.) Neatly, prettily, gracefully. As (Ger.) k\>.—As'as, or As'es, AJj^. Aspira're (It.) To aspirate. Also, in singing, to quaver a vowel by audibly interpolating successive h's. Also, to take breath. Aspiration (Fr.) An obsolete grace (comp, Grace), ASPREZZA— AUTHENTIC. Asprez'za (It.) Harshness, roughness; bitterness. Assa'i (It.) Very ; used to intensify a tempo-mark, as allegro assai^ very rapid ; it has less intensifying force than molto. Assembly. A signal by drum or bugle for soldiers to rally and fall in. Assez (Fr.) Enough ; rather. Assolu'to (It.) Absolute, positive ■,primo uomo assoluio, a male singer for lead- ing roles. As'sonance. (Ger. Assonanz'; Fr. as- sonance; It. assonan'za.) Agreement or resemblance in sound. A'them (Ger.) BreaXh.. .A'themlos, breathless(ly). Attac'ca (It.) Attack or begin what fol- lows without pausing, or with a very short pause ; a. su'bito (or attaca'te subito), attack immediately. Attacca're (It.), Attaquer (Fr.) To attack, or begin, at once. Attac'co (It.), Attaque (Fr.) A mo- tive in fugal imitation ; formerly, a very short fugue-theme. Attache du cordier (Fr.) Loop. Attack. The act or style of beginning a phrase, passage, or piece ; said both of vocalists or instrumentalists, either in solo or ensemble. Attendant keys of a given key are its relative major or minor, together with the keys of the dominant and subdomi- nant and their relative major or minor keys. (Comp. Phone, §4.) At'to (It.) Act of a drama Atto're, (Attri'ce) (It.) Actor (act- ress). Au (Fr.) To the, in the, etc. Aubade (Fr.) i. Morning-music, gen- erally addressed to some particular per- son ; opp. to Serenade; — specifically, a morning-concert by a military band.— 2. Occasional title for short instrumental pieces in lyric style. — 3. A calli- thumpian concert (ironical). Audace (Fr.) Audacious, bold. Auf'fassung (Ger ) Reading or con- ception (of a work). Auf'fiihrung (Ger.) Performance. Auf'geregt (Ger.) Agitated(ly), excit- ed(ly). Aufgeweckt (Ger.) Lively, animat- ed(ly), brisk(ly). Auf'halten (Ger.) To suspend. . .^«/'- haliung, suspension (usually Voj'hali). Auflosen (Ger.) To resolve.. .y!«/'- losung, resolution ; also, the breaking of a chord ; also, the solution of an enigmatical canon.. .AuflosungszeU chen, the natural (Q). Auf'satz (Ger.) Tube (of a reed-pipe in the organ). Auf'schlag (Ger.) Up-beat. . .^«/'- schlagende Zung'e, beating reed. Auf'schnitt (Ger.) Mouth (of an organ- pipe). Auf'strich (Ger.) Up-bow. Auf'takt (Ger.) Up-beat, anacrusis ; a fractional measure beginning a move- ment, piece, or theme (in this sense often used by English writers without capital {aufiakt^. Auf'tritt (Ger.) Scene. Auf'zug (Ger., lit. "raising [of the cur- tain]".) An act of a drama. Augmentation. (Ger. Vergro'sserung, VerlSng'erung.) I. Doubling or in- creasing the time-value of the notes of a theme or motive in imitative counter- point. — 2. See Notation, §3. — Aug- mented intervals, see Interval, Augmenter (Fr.) To increase (in loud- ness) ; en augmentant=:crescendo, Aule'tes (Gk.) Flute-player.. .^«/i;j, flute. Aumentan'do (It.) Crescendo... Au. menta'to, augmented. Aus'arbeitung (Ger.) Working-out, development. Aus'druck (Ger.) Expression. . ./4«/- drucksvoll, expressively. Aus'fiihrung (Ger.) Execution, perform- ance ; exposition. Aus'halten (Ger.) To sustain; sustain ! . .Aus'haliung, sustaining... ^kj'/;o/. tungszeichen, see Fermate, Aus'losung (Ger.) Hopper, grasshopper, escapement. Au'ssere Stim'men (Ger.) Outer parts. Au'sserst (Ger.) Extreme(ly). Aus'stattung (Ger.) Mounting (of an opera, etc.) Aus'weichung (Ger.) Modulation, transition. Authentic. (Ger. authen'tisch ; Fr. authentique ; It. auten'tico.) Within the compass of an octave above the keynote. . .Ati. cadence, mode, see Ca- AUTO-HARP— BAGPIPE. dence, Mode.. .An. melody, one whose range extends through or nearly through the octave-scale above its tonic or final ; opp. to plagal. . .Au. part of the scale, that lying between a given keynote and its higher dominant, the part between the keynote and lower dominant being called plagal. Auto-harp. (Ger. A kkord' zither.) A zither without fingerboard or accom- paniment-strings, all the strings being plucked or swept by the plectrum and stopped by a scries of from 4 to 8 com- pound dampers (called "manuals" or "pedals "), each of which when pressed down damps all the strings except those forming one particular chord ; the plec- trum, rasping across all the strings, sounds this cord as an arpeggio ; the melody is brought out by special stress on the highest (or any other) tone of the chord. Au'tophon, A form of barrel-organ, the tunes played being determined by perforations in a sheet of mill-board [heavy pasteboard] cut to correspond with the desired notes. (Knight.) Auxiliary note. (Ger. Hilfs'note.) A note not essential to the harmony or melody ; particularly, a grace-note or added note a second above or below a given melody-note. . .Auxiliary scales, those of attendant keys. A've Mari'a (Lat.) "Hail, Mary!"; the salutation of the angel Gabriel at the annunciation ; followed by the words of Elizabeth to Mary (Luke I, 42), it has been a favorite subject of sacred composition since the 7th cen- tury ; concluded by a hymn of praise or prayer to the Virgin. A've ma'ris stel'la (Lat., "hail, star of ocean ! ") Hymn of the Roman Catholic Church. Avec (Fr.) With. Avicj'niura (Lat.) An organ-stop imi- tating the warbling of birds. Avoided cadence. See Cadence. Azio'ne sa'cra (It., "sacred drama" ; equiv. to the Spanish "auto sacra- mentale ".) An oratorio or passion. B. B. (Ger. /// Fr. and It. si.) The 7th tone and degree in the typical diatonic scale of C-major. . .B cancella'tum, the sharp (Jt), formed originally by crossing or cancelling the sign \) for B rotun'- dum. . .B quadra' turn, BQ. . ./? is also an abbr. for Bass or Basso (c. B. =col Basso; B. C.=basso continuo). Baboracka, Baborak. Bohemian danc- es with changing rhythms. Bac'chius {Bacchy). A metrical foot containing i short and 2 long syllables, with the ictus on the first long one (---)■ Baccioco'lo (It.) A Tuscan instr. of the guitar family. Bachelor of Music. (Lat. baccalau'reus mu'sicce.) The lower of the 2 musical degrees. Doctor of Music being the higher. Back. (Ger. Boden; Fr. dos; It. schiena.) The lower side of the body of a violin, etc. ; opp. to Belly. Back-block. Same as Wrest-block. Backfall, i. An obsolete melodic or- nament in lute or harpischord-music ; \_ . written ^zi^ or z^i= ; played ^ » (Also comp. Grace.) — 2. A lever in the organ-action, working be- tween a sticker and a pull-down. Backturn. See Turn. Badinag^e (Fr.) Good-humored raillery, banter. Bagana. The Abyssinian lyre, having 10 strings tuned to 5 tones and their octaves. Bagatelle (Fr.) A trifle. Bagpipe(s). (Ger. Du' delsack, Sack'- pfeife; Yt.cornemuse; It. cornamu'sa.) A very ancient wind-instr. of Eastern origin, known to the Greeks and Ro- mans, in great vogue throughout Europe during the middle ages, and still popu- lar in many countries, especially Great Britain. It consists of a leathern bag, filled with wind either from the mouth or from a small bellows worked by the player's arm, and of pipes inserted in and receiving wind from the bag. The commonest form has 4 pipes ; 3 drones (single-reed pipes tuned to a funda- mental tone, its fifth and its octave, and sounding on continuously), and i mel- ody-pipe, the chanter (a sort of shawm or double-reed pipe with from 6 to 8 finger-holes ; compass approximately : # ^^ iSac =fs= E)- BAGUETTE— BANDOLA. Praktorius enumerates several sizes used in the 17th century ; the "Grosser Bock" (drone in contra- Cor great C), " Schaperpfeif" (drones in S^ and /'), " Humnielchen" (drones f^-c^), and " Dudey" {e^\)-b'^\)-e'''<)). Baguette (Fr.) Drumstick ; fiddlestick. Baisser (Fr.) To lower (as a tone by a b). Bajadere. See Bayadere. Balala'i'ka (also Balale'ika, Balaleigd). A rude stringed instr. of the guitar family, having 2, 3, or 4 strings tuned in minor. It is of Russo-Tartar origin, and now most often met with among the Gypsies. Balancement (Fr.) See Belung. Balance-rail. A strip of wood running transversely beneath the middle of the piano-keys, which are balanced upon it. . . Balance swell-pedal, see Pedal. Balg (Ger.) BeWo-ws. . .Bal'gentreter (" bellows- treader "), calcant, a man employed to tread or stand on the old- fashioned German organ-bellows to fill them with wind . . . Balg'klavis, see Clavis. . . Balg'werk, bellows. Bal'ken (Ger.) i. Bass-bar.— 2. The thick line connecting the stems of grouped hooked notes, substituted for the hooks. Ballabi'le (It.) A composition intended for a dance-accomp. ; any piece of dance- music. Ballad. (Ger. and Fr. Balla'de ; It. balla'ta.) Originally, a song intended for a dance-accomp. ; hence, the air of such a song. In modern usage, it is a simple narrative poem, a mixture of the epic and lyric, generally meant to be sung. — .\s a purely musical term, it was originally applied to a short, simple vocal melody, set to one or more stan- zas, and with a slight instrumental accomp. — In an extended application, it includes instrumental melodies of a similar character ; also compositions for single instr.s, for orchestra, etc., sup- posed to embody the idea of a narrative. Balla'denmassig (Ger.) In ballad-style. Ballad-opera. An opera chiefly com- posed of ballads and folk-songs (e. g. Gay's "Beggar's Opera"). Balla'ta (It.) A ballad...^ ballata, in ballad-style. Balleri'na (It.) A female ballet-dancer. Bal'let. (Ger. Balletf j Fr. ballet; It. bal'lo, ballet' to.) I, A spectacular dance, often one introduced in an opera or other stage-piece. — 2. An independent pantomimic representation, accompan- ied by music and dances setting forth the thread of the story. — 3. A compo- sition of a light character, but somewhat in the madrigal style, frequently with a "fa la" burden which could be both sung and danced to ; these pieces were commonly called " Fa las " [Grove]. — 4. The corps of ballet-dancers {corps de ballet). Ballet'to (It.) I. Ballet.— 2. Title em- ployed by Bach for an Allegretto in common time. Bal'lo (It.) A dance ; a ballet. . .Balli ingle' si, English dances ; balli ungare'si, Hungarian dances. . . Z)a ballo, in dance- style, light and spirited. Ballon'chio (It.) See Pa.':py. (Origin- ally, a round dance of the Italian, peasantry.) Ballonza're (It.) To dance wildly and recklessly, regardless of rule. Band. I. An orchestra. — 2 (most com- monly). A company of musicians play- ing martial music (brass-band, military band). — 3. A company of musicians, or section of the orchestra, playing instr.s belonging to the same family or class (brass-band, string-band, wood-band, wind-band) . . . The 24 fiddlers of Charles II. were called "the king's private band." Band (Ger.) A volume. Ban'da (It.) The brass wind-instr.s, and the instr.s of percussion, in the Italian opera-orchestra. — Also, an or- chestra appearing on the stage. Bandalore, Bandelore. See Bandore. Ban'de (Ger. ; usually Musik'- or Mtisi- kan'tenbande.) A company of strolling musicians. — (Fr.) In earlier usage, the 24 violins at the royal court (" la grande bande "). Band-master, The conductor of a mili- tary band . . . Bandsman, a member of such a band. Bando'la (Span. ; aSsoBandolon, Bandora, Bandura.) Instr.s of the lute family, with a greater or smaller number of steel or gut strings, and played with a plectrum ; like the Pandora, Pandura, Pandurina, Mandora, Mandola, Man- doer, Mandura. Mandii7rhen, all es- sentially identical with the Mattdolin BANDONION— BARRA. 23 still in vogue (see Mandolin and Lute). [RiEMANN.] (Also comp. Cither.) Bando'nion. A kind of Concertina with square ends (keyboards), inv. by C. F. Uhlig of Chemnitz, about 1830, and since then much improved and enlarged. It takes its name from Heinrich Band of Crefeld, a dealer in the instr. — Comp. art. Harmonicum. Bandore. See Bandola and Cither. Bandur''ria (Span.) A variety of guitar having wire strings instead of gut. Banger. The banjo. (' ' The Neg^oe- Banger " [Adair].) Bania, Banja (African.) Parent instr. of the Banjo. (?) Banjo. A variety of guitar ; its body is formed by a circular hoop, over the upper side of which is stretched parch- ment or skin ; it has a long neck with or without frets, and from 5 to 9 strings, the melody-string, which is the shortest and played with the thumb of the right hand, lying outside of and next to the lowest bass string. The other strings are plucked or struck with the right hand, and all are stopped with the left. It is variously tuned, the 5-stringed banjo often as follows : fe 3^ Ban'kelsanger (Gar. ; ' ' bench-singers, " from their mounting on benches, the better to gain a hearing.) Strolling singers of a low class, who frequent fairs and other places of public resort, and recount, partly singing and partly speaking, romantic tales taken from history or adventure, stirring events of the day, etc., usually explanatory of a picture which they display. Bar. (Ger. Takfstrich; Fr. barre ; It. li'nea, bar'ra, sbar'ra.) I. A vertical line dividing measures on the staff, and indicating that the strong beat falls on the note immediately following. — 2. Hence, the popular name for ' 'measure". . . . Bar-line, a barbarism evoked by the familiar use of bar for measure. Bar (Ger.) Compare Strophe 3. Bar'baro (It.) Equiv. to Feroce. Bar'biton, Bar'bitos. An ancient Greek variety of the lyre. barcarole'. (Ger. ditto ; Fr. barcarolle ; It. barcaro'la, barcaruo'la, "boatman's song.") I. A gondoliera (song of the Venetian gondoliers). — 2. A vocal or instrumental solo, or concerted piece, in imitation of the Venetian boat-songs, and in 6-8 time (though Chopin's for pfte. is in 12-8 time). Bard. A poet and singer among the ancient Celtic nations ; one who com- posed and sang, generally to the harp, verses celebrating heroic achievements. . .In earlier Scotch usage, a vagabond minstrel. Bardiet', Bardit' (Ger.) [A word coined by Klopstock, who derived it from the ' ' barditus' ' (for bariius, a battle-song) of Tacitus, whence the erroneous as- sumption that the ancient Germans had bards.] A bardic song. Bardo'ne. i (It.) A barytone 2. — 2 (Ger.) Occasional spelling for Bourdon (organ-stop); also Barduen. Bare fifth. See Naked. Ba'rem (Ger.) Obs. name for the very soft-toned organ-stop Still' gedackt or Musicir' gedackt. Bargaret, Barginet. Same as Bergeret. Baribas'so (It.) A low barytone voice, a bass-barytone. Bariolage (Fr.) A medley. — A caden. za, or series of cadenzas, whose appear- ance forms a design upon the music- paper, a "waistcoat pattern," as it is called by performers. [Stainer and Barrett.] Bariteno're (It.) A low tenor voice, a tenor-barytone (second tenor) Ba'riton (Ger.), Bariton (Fr.), Bari'- tono (It.) Barytone. [An attempt has been made to confine the spelling bari- tone to instruments, and barytone to the voice ; the idea is not yet generally accepted.] Baroc'co {\.t.;Qe.x.barocl/ ;Yr. baroque^ Eccentric, odd, strange, whimsical. Barox'yton (Gk., "the deep and high- toned.") A brass wind-in- .«; str. of broad scale, inv. . /p in 1853 by Cerveny of KSniggratz; compass from contra-ZltOfl' : %va Bar'pfeife (Ger., also Bdr'pipe, Barfyp; Dutch Baar'pyp.) A reed-stop in old organs, with pipes nearly closed by caps of a peculiar shape, and emitting a humming, "growling" tone. Barquarde (Fr.) Obs. for Barcarolle. Bar'ra (It.) A bar (not measure). w 4 24 BARRE— BASSE. Barre (Fr.) A bar (not measxxre); also iarre de mesure. — Certain abbrevia- tions are also termed barres. — Also, the low bridge of some stringed instr.s. . . B. d'harmonie, bass-bar. . .B. de repeti- tion, a dotted double-bar, indicating a repeat. Barr6 (Fr.) In lute- or guitar-playing, the stopping of several or all the strings by laying the left-hand forefinger across them, the next fret then acting as a ca- potasto or temporary nut to raise their pitch . . . Grand barr/, a stop of more than 3 strings . . . C-harri, see Tra?ichc'. Barrel-organ. (Ger. Drehorgel, Leier- kastenj Fr. orgue h cylindre {not/}, orgue de Barbaric J It. organei' to.) An instr. (often portable) consisting of a case containing pipes, a bellows, and a 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, and wind is thus admitted to the pipes. It generally plays a melody with an harmonic accomp. Larger forms (see Orchestrion) axe. used in dance-halls, restaurants, or even in churches. — In another variety, hammers striking wire strings (as in the pfte.) are similarly actuated by the revolving cylinder {fi- ano-organ, handle-piano). Bart (Ger.) Ear (of organ-pipe). Also Fliigel. Barytone, l. {Ger. B a' ry ton, Ba'riton ; Fr. baryton; It. bari'tono.) The male voice intermediate betweei; bass and tenor, and in quality partaking more or less of the characteristics of both ; thus the Germans distinguish betweena^ojj'- hariton and a Tenor' bariton, and the French had (in earlier usage) basse-tail- le, seconde taille, and t^nor 0- conchrdant. — ■ Its mean i^-_ i/^= compass is from C to /' : ^"-^—J/- m -Hence, a singer having a barytone voice. — 2. A bow-instr. (it. vio'ta di barda'ne or bordone) resembling the viola da gamba, in great favor during the 1 8th century, but now obsolete ; it had 6 or '/ gut strings, stopped by the left hand, above the fingerboard, and a widely varying number of brass or steel strings (from g to 24) below it, which acted as sympathetic strings, though sometimes plucked with the left thumb. The upper strings were tuned B E A d f b e^. It dates from the 17th century. — 3. The euphonium. — 4. Prefixed to instr.-names, barytone denotes the pitch of an instr. intermediate between bass and tenor (or alto); e. g. barytone clarinet. . . Barytone-clef, the (obsolete) F-Aei on the 3rd line. Ba'rytonhorn (Ger.) The euphonium.. . Ba'rytonschlussel, barytone-clef. . . Ba'- rytonstimme, barytone voice or part. Bas-dessus (Fr.) Mezzo-soprano. Base. Old spelling of Bass. Bas'kische Trom'mel (Ger.) Tambour, ine. Bass. (Ger. Bass ; Fr. basse ; It. bas'. so.) I. The lowest tone in a chord, or lowest part in a composition. — 2. The lowest male voice ; ordinary compass from Fio c' (or . Besai'ten (Ger.) To string, put strings on. Bestiramt' (Ger ) With decision, energy. Beto'nen (Ger.) To accent, emphasize. ..Betonf, accented. ..Beio'nung, accent, stress, emphasis. Bet'tlerleier (Ger.) Hurdy-gurdy. . . Bet'tkroper, Beggar's Opera. Bewe'gen (Ger.) To move, stir, agitate. . . Bewegi, moved ; con mo to . . . Bewe'- gung^ movement, agitation (comp. Mo- tion)...Bewe'gungsart, see Movement i, 2. 3- Bezif'fern (Ger.) To figure (as a bass). ...Bezif'fert, figured. . .Bezif'ferung, figuring. Bezug' (Ger.) All the strings of, or a set of strings for, any stringed instr. Bian'ca (It., "white.") A half-note... Voce bianca, see Voce. Bibi (Fr.) A pianette. Bibrev'is (Lat.) See Pyrrhic. Bi'chord. i. Having 2 strings. — 2. The technical term for an instr. haying a pair of strings, tuned in unison, for each tone (as the mandolin, lute, and certain pftes). Bici'nium (Lat.) A 2-part composition, especially a vocal one. Bi'fara (also bif'fara, bi'fra, piffara, piffero). An organ-stop, the pipes of which are either double-mouthed or paired ; the two members of each pair being tuned at slightly different pitches, the interference of the sound-waves produces a gentle tremolo. (Also Ce- lestina, Unda maris, etc.) Bifari'a. Title of a Presto in 3-mea- sure rhythm, in an Invention or Suite ascribed to J. S. Bach. Biju'ga(Lat.) The " 2-necked " cither. Bimol'le (It.) Same as Beviolle. Bi'na, See Vina. Bi'nary. Dual ; tv/o-'pa.Tt. ..Binary form, a form of movement founded on 2 prin- cipal themes (comp. Sonata), or divided into 2 distinct or contrasted sections. . . Binary measure, that of common time, the first of every 2 members taking the accent ; i. e. the regular and equal alter- nation of the down-beat and up-beat. Bind. I. Properly, a tie (a curved line connecting 2 notes of like pitch, or ^ enharmonically changed ; written by Sterndale Ben- nett in bracket-form : ^ and by to distinguish it Morley in —^ \ =' ~ from the Slur),. 1597 thus : ' ^^^^ — 2. The brace binding together the several staves of a score. Bin'debogen (Ger.) A slur, or a tie. Bin'den (Ger.) To bind, tie ; to con- nect, play or sing smoothly and con- nectedly (legato). . . Gebun'den, bound, tied ; legato. . . Gebun'dener Stil, strict style of composition, in which disso- nances are prepared (tied over). . .Also see Gebunden. Bin'dung (Ger.) A ligature, bind, tie, or slur ; hence, a suspension or synco- pation ; also, the \e%a.to. . .Bin' dungs- zeicketi, a sign used to express any of the above. Biqua'dro (It.) Same as Bequadro. Birn, Bir'ne (Ger.) Socket. Bis (Lat. , "twice".) i. Signifies that a measure, passage, or section is to be re- peated ; often written over or under a. slur embracing the music to be repeated. — 2. Used by the French as an excla- mation of applause (" again !"), like the French word " encore " in English usage. (See Bissare.) — 3. The second part, or a continuation, of a scene on the stage ; e. g., l&'"; 16"" and i6i"""' then mean the third and fourth parts, respectively, of such a scene. Bis'chero (It.) Peg (tuning-peg) of a violin, lute, etc. Biscro'ma (It.), Biscrome (Fr.) A l6th-note. Bisdiapa'son. The interval of a fif- teenth, or double-octave. Biso'gna (It.) " Is necessary,'' "must"; as si bisogna da capo al segno, must be repeated from the beginning to the sign. Bisqua'dro (It.) Same as Bequadro. Bissa're (It.), Bisser (Fr.) To encore. Bissex (Lat., " twice six'' ; Ger. Zwolf- saiter.) A kind of guitar having 12 strings, of which the 6 highest ones could be stopped on a fretted finger- board ; compass 3^ octaves ; invented 1770. Bis unca (Lat., "twice hooked.") A sixteenth-note. Bit. A short additional piece of tube used to lengthen a crook in the cornet k BIZZARRAMENTE— BOMBARD. 29. pistons, etc., for slightly modifying the pitch. Bizzarramen'te (It.) Bizarrely, whim- sically, fantastically.. ..5j>za?-r8 'a, a freak, whim, fancy, extravagance... Bizzar'rOf-a, bizarre, fantastic, etc. Blanche (Fr., "white".) A half-note. Bla'ser (Ger., "blower.") A player on any wind-instr. Blas'instrument (or Bla' seinstrumeni) (Ger.) Wind-instrument. ..Bla'sebalg, bellows. Blatt (Ger.) Reed (of a wind-instr. ; also Rokr'blait).. .Dop'pelblatt, double reed. Blech'instrument (Ger.) Brass instru- ment, metal wind-instr. Blind (Ger.) " Blind". . .Blinde Pfeife, dummy pipe (px%axi)... Blinder Doppel- triller, a simulated [^ rj or imperfect double ^5r=q=£ ^'•'^• trill ; e. g. zj»t=«^ Bloch'flbte, Block'flote (Ger.) i. A small kind oi flAte h bee, in vogue in the l6th century. — 2. An organ-stop having pyramid-shaped flue-pipes of 2, 4, 8, or 16-foot pitch, and sometimes stopped. Block. In violins, etc., the blocks are small pieces of wood within the body, glued vertically to the ribs between belly and back to strengthen the instr. Blower. (Ger. Bal'gentreter, Kalkani' ; Fr. souffleur ; It. tiraman'tici.) A person working the bellows of an organ. B molle. See B. Boat-song. i. A song intended to be sung in a boat, especially in time with the oars. — 2 A vocal or instrumental composition imitative of I. {Barcarole, Gondoliera. ) Bob. A term in change-ringing applied to the various sets of changes which may be rung on 6 bells (bob minor), 8 bells (bob major), 10 bells (bob royal), or 12 bells (bob maximus). Bobisa'tion. A collective term for the various methods proposed, during the i6th and 17th centuries, for naming the tones of the scale by syllables. (See Solmisation.) Bocal (Fr.) Mouthpiece of the horn, trombone, serpent, etc. — Also, the crook of the bassoon. Boc'ca (It.) Mouth.. . Con boccachiu'sa, with closed mouth (comp. Brumm- siimmen). . ■ Bocca riden'ie, ' ' smiling mouth," the position necessary for the production of beautiful tones. Bocchi'no (It.) Mouthpiece of a wind- instr. Bocedisa'tion. See Solmisation, Bock (Ger. ; aSsopol'nischer Bock, Gross- Bock^ The bagpipe. Bocks'triller (Ger., "goat's-trill"; Fr. chevrotenient ; It. tril'lo capri'no.') A trill like a goat's bleat ; the repeated interruption of one tone instead of the alternation of two. Bo'den (Ger.) Back (of violin, etc.) Body. I. (Ger. Cor' pus, Sc hall' hasten; Fr. coffre, corps ; It. cor'po.) The re- sonance-box of a stringed inistr. — 2. That part of a wind-instr. remaining; after removing the mouthpiece, crooks, and bell. — 3. The tube of an organ- pipe above its mouth. — 4. A tone is said to have "body" when it is full and sonorous ; the resonance of a tone is also called the body. Boehm Flute. See Flute. Bo'gen (Ger.) i. A bow.— 2. A slur or tie {Hal'tebogen, Lega' tobogen, Bin'- debogen) . . .Bo'genfliigel, piano-violin {Bo'genhammerklavier,Bo'genklavier), .. .Bo'genfiihrung, see Bowing I... Bo'genstrich, stroke of the bow. Bois (Fr.) Wood. . .Z« ^OTJ (pi.), wood- wind. Boite (Fr.) Box ; swell-box (botte d' ex- pression). . . Ouvrez la botte, or botte ou- verte, open swell ; fermez la botte, close swell. Bole'ro (Span.) i. A Spanish national dance in 3-4 time and lively tempo (al- legretto), in which the dancer accom- panies his steps with castanets ; also called Cachucha . The c a stanet-rh ythm runs as follows : alternating with the melo- dy-rhythm : — 2. A composition in the style of a bolero. Bom^bard. (Ger. Bom' hart, Bom'mert, Pom'mer; Fr. bombarde; It. bombar'do.) A wind-instr. of the oboe family, with a wooden tube and double reed ; proper- ly, the bass instr. of the shawms, though sometimes made as a smaller instr. The unwieldy length of the larger sizes led to the invention of the bas- r-pB=i r=^^ d —^— ^d-1-dd-d-d- 30 BOMBARDE— BOYAU. soon, which is a bombard with the tube doubled upon itself, and thus shortened by half. The bonibardo'ne or contra- bonibai'd (Ger. JSass'bomhari) was the deepest, followed by the bass bombard {Bomhart), the tenor or basset-bombard (Bassett'bomhart), and the alto or bom- bar'do pic'colo. Bombarde (Fr.) i. Bombard. — 2. Po- saune 2. Bombar'don. i. A large instr. of the trumpet family, used as a bass in mili- tary music, and belonging, in its mod- ern forms, to the saxhorn group ; the visual sizes are in B\), F, C, and contra- B!\) ; but the bombardon proper, old model, is in F, having 3 valves and a com- pass from contra-^^ to d^ : It is non-transposing. — 2. i^ Zva The bass of the saxhorns. — 3. A deep-toned reed- stop in the organ. Bom'bo (It.) A figure in repeated notes. fiom'byx (Gk.) An ancient Greek wind- instr., presumably with a reed. Bon (Fr.) GooA...Bon temps de la mesure, strong beat. Bonang. A Javanese instr. consisting of gongs mounted on a frame. Bones. A set of 4 pieces of bone, wood, or ivory, held pairwise between the fingers, and used to mark time as a rat- tling accompaniment to a dance, song, or instrumental performance. Book. I. (Ger. Heft ; Fr. cahier; It. li'bro) A part of a series of songs, ex- ercises, etc., under a separate paper cover. — 2. The words (libretto) of an opera, oratorio, etc. Boot. The foot of a reed-pipe (organ). Bordun' (Ger.) Bourdon. (The 2 free strings on either side of the fingerboard of the hurdy-gurdy, that kept up a con- tinual humming, were called Bordune; bordunus occurs as the name of the bass strings stretched beside the finger- board of the ancient viella.) Bouche (Fr.) Mouth; a bonche fermee, with closed mouth (comp. Brumm- stimmen). Bouch6(e) (Fr.) Muted (of wind-instr.s) ; stopped (of organ-pipes). Bouffe (Fr.) Same as Buffo.. .Opira bouffe, comic opera. Bourdon. (Fr.) i. A drone bass. — 2. An organ-stop of 16 or 32-foot pitch. having stopped wooden pipes, some- times with metallic tops ; tone usually hollow or " fluty," i.e. deficient in har- monics. The French also have open' bourdons of 8 and 4-foot pitch {bour- dons de huii, de qtiatre ouverts). — 3. In French usage, the lowest string of the 'cello and double-bass ; — also, a great bell, as the bourdon of Notre-. Dame. . .Faux-bourdon, see Faburden. Bourr€e (Fr.) i. A dance of either. French or Spanish origin, from Au- vergne or Biscaya, in rapid tempo, con- sisting of 2 parts of 8 measures each and in 4-4 or 2-4 time. — 2. A move- ment in the earlier Suites, in alia breve time. Boutade (Fr.) i. A short ballet per- formed, as it were, impromptu. — 2. An instrumental impromptu or fantasia. — 3. An old French spectacular dance. Bo'W. (Ger, Bo' gen; Fr, archet; It. ar'co.) An implement originally curved out- ward, though now slightly inward, consisting of an elastic wooden rod (the stick), and of from 175 to 250 horse- hairs [Grove] (the hair) attached to the bent point or head, and drawn into proper tension by the sliding ttut, which is actuated by the screw. (Schuster & Otto, Markneukirchen, have recently [1893] manufactured bows with Jitie gut threads in lieu of hairs.) After rubbing the hair with rosin, the bow is drawn across the strings (of the violin, bow-zither, etc.), setting them in vibra- tion ; the vibration is communicated to the resonance-box, which latter reinfor- ces the weak tone of the strings . . .Bow- arm ox -hand, the right arm or hand.. . Bow-guitar (It. chitar'ra coll' arco), a species of violin with a guitar-shaped body. . .Bow-clavier, Bow-harpsichord, see Piano-violin. . .Bow-instrument, one played with the aid of a bow, as the violin or bow-zither. . . Bow-zither, see Zither. Bow {verb.) I. To execute with a bow. ■ — 2. To mark (a passage or piece) with signs indicating the bowing. Bowing. I. (Ger. Bo'genfiihrung.) The art of handling the bow ; the style or method of a player, — "his bowing as shown in his management of the bow." — 2. (Ger. St?-ich'art.) The method of, and signs for, executing any given passage; "the bowing of the passage." Boyau (Fr.) Gut ; hence, gut string. BOZZETTO— BRIO. 31 Bo3zetto (It.) Sketch. B quadra'tum, B qua'drura. See^. Braban^onne. The Belgian national hymn. Brac'cio (It.) The arm. . . Viola da braccio, see Viola. Brace. I. (Ger. Klam'mer ; Fr. ac- colade ; It. grap'pa.) A bracket con- necting the heads of 2 or more staves. • — 2. One of the leathern slides on the cords of a side-drum. Branle, Bransle (Fr.) A brangle or brawl ; an old French dance in 4-4 time, in which several persons joined hands and took the lead in turn. Branle was the generic name of all dances in which, like the Colilloii or Grossvater, one or two dancers led the rest, who imitated all the evolutions of their leaders. (Also Brantle.) Brass-band. See Band 2 ; distinguished from full military band by omission of reed-instr.s . . . Brass-wind, collective term for the players on metal wind- instr.s in an orchestra. Bra'tsche (Ger.) The tenor violin (comp. Viola). Bra'vo (It., masc. adj., pi. bravi ; fem. brava, pi. I>rave.) Used as an inter- jection, signifying " well done !" and the like ; superlative bravissimo,-a, etc. Bravour' (Ger.) See , Bravura . . . Bra- vour'arie, aria di bravura. . . Bravour" - stack, a. vocal or instrumental piece of a brilliant and florid character. Bravoure (Fr.) See Bravura. . . Valse de bravoure, an instrumental waltz of a brilliant, showy character. Bravu'ra (It.) Boldness, spirit, dash, brilliancy. . . A 'ria di bravura, a vocal solo consisting of difficult runs and pas- sages, designed to show off the singer's voice or skill... Con bravura, with boldness, etc. BraTvl. See Branle. Break. i. The point at which one register of a voice or instr. passes over into another ; in the voice, the junction of the head- and chest-registers ; in the clarinet, between the notes : . . . Breaking of voice, see 3t 1 1- Mutation. — 2. A false or imperfect tone produced by incorrect lipping of a horn or trum- pet ; or by some difficulty with the reed of the clarinet (the "goose"); or, in singing, by some defect in the vocal organs. — 3. In an organ-stop, when playing up the scale, the sudden return (caused by an incomplete number of pipes) to the lower octave ; also, in com- pound stops, any point in their scale where the relative pitch of the pipes is changed. Breakdown. A negro dance (U. S.) of a noisy, lively character. Breathing-mark. A sign set above a vocal part to show that the singer may (or must) take breath at that place ; written variously (', *, \/, ^ ). Breit (Ger.) Broad, stately, slow. Brett'geige (Ger. ; also Sack'geige, Spitz'- violgeige, Stock'geige, Ta' sche7igeige.') A kit. Breve, i. (Lat. and Ger. Brev'is ; Fr. breve ; It. bre've.) A note equivalent to 2 whole notes or semibreves ; the long- est employed in modern : music. It is written thus : '■ N l i=^ l — 2. In medieval music, a note having -J- or \ the time-value of the longa (conip. Mensurable music).. .Alia breve (It.), (fl) originally, a time of 4 minims (= I breve) to the measure ; time-signature Cp, later CD ^ *'^ '^ ^'' °^ S""^ alia breve time, (b) Now, 4-4 time with 2 beats instead of 4 to the measure, and in quicker tempo ; time-signature ; also called alia cappella; — opp. to Tempo ordinario i. Brev'is (Lat.) A breve. Bridge. (Ger. Steg ; Fr. chevalet ; It. ponticel'lo.) I. In bow-instr.s, a thin, arching piece of wood set upright on the belly to raise and stretch the strings above the resonance-box, and to com- municate to it their vibrations, which the bridge also cuts off from the rear ends of the strings. — 2. In the pfte. and other stringed instr.s, a strip or rail of wood or metal over which the strings are stretched. Brief. Obsolete for Breve. Brillant,-e (Fr.), Brillan'te (It.) Bril- liant, showy, sparkling. Bril'lenbasse(Ger.) "Spectacle-basses," familiar term for the abbreviated nota- tion of alternating ,^^ __p^ r»i,_ eighth-notes or i6th- ^' ^j 1 ^-j— notes, e. g. ^ ^s*— Brin'disi (It.) Drinking-song, some- times in style oijodler. Bri'o (It.) Vivacity, spirit, fire...C?» 32 BRISE— BURLESQUE. brio, or brio' so, with fire and vivacity, spiritedly. Bris6,-e (Fr.) Broken (as chords).;. Cadence bris^e, a grace consisting of a short trill beginning on the higher aux- iliary note : Broderies (Fr., pi.) Ornaments, embel- lishments. Broken cadence. See Cadence. . . Brok- en chords, chords the tones of which are sounded in succession instead of together (see A rpeggio). ..Broken music, music for the harp, guitar, and other instr.s on which the chords are generally arpeggio'd or broken.. .Broken octaves, series of octaves in which the higher tones alternate with the lower, thus : w d3=n # ~B rotun'dum. See B. Brumm'eisen (Ger/) Ajew's-harp (usu- ally Maul' trommel). 3rum'nier (Ger.) Drone. Brumm'stimmen (Ger.) "Humming voices " ; production of tone without words, through the nose, with closed mouth {a boc'ca ckiu'sa) ; a not infre- quent effect in male quartets, especially as an accomp. to a solo part. Brumra'ton (Ger.) Drone. Bruscamen'te (It.) "Brusquely" or forcibly accented. Brust (Ger.) Breast; chest.. .B rust' - stimme, chest-voice . . . Brust' ton, chest- tone . . . Brust'werk, (usually) the pipes of the swell-organ or choir-organ as set up together in the middle of the instr. Bu'ca (It.) Sound-hole of lute, mando- lin, etc. Bucci'na (Lat.) Either a curved trumpet, originally the horn of an ox ; or a straight trumpet {tuba), the prototype of the trombone or posaune. 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. Buffa're (It.) To play the wag or buf- foon, to jest, trifle. Buffet (Fr.) Organ-case, or case of any partial organ . . . Buffet d'orgues, a small organ complete, its case and all within. Buf'fo,-a (It.) Comic, humorous ; hence Buffo, Buffo-singer, the comic actor in an opera ; a comic singer. . . A ria buffa, comic air or aria. . . Opera buffa, comic opera. . . Buff one, comic opera-singer. Bu£fone'sco,-a (It.) Droll, ludicrous.. . Buffonescamen' te , droUy, etc. Bugle, Bugle-horn. (Ger.) Bu'gelhom, Flil'gelhorn; Fr. bugle; It. trom'ba.) I. A wind-instr. of brass or copper, with cupped mouthpiece, used for in- fantry calls and signals, having 7 har- monic tones : W %^ =1= =t =t=t and made in various pitches {Bq, C, E[)). — 2. The key-bugle (Kent bugle. Regent's bugle) (Ger. Bilgelhorn mii Klapfen; Fr. bugle h. cU?) ; it has 6 keys and jg: ; inv. by Halli- a compass -^ r~ / ^^Y '"^ 1815. — of over 2 gj= ^/ — 3. Valve-bugle octaves : *- * ' (see Saxhorn). Biih'nenweihfestspiel (Ger.) "Stage- consecrating festival play ; " the epithet bestowed by Wagner on Parsifal, his last musical drama. Bund (Ger.) A space between frets, on a fretted fingerboard. [Bund is used as effectively synonymous with, fret ; e. g., Bund I. means isi fret, the string being stopped on the fret by pressure in the space just behind it.].. .Bundfrei (" unfretted," i. e. not spaced off by 2 or more frets or tangents), a term desig- nating a clavichord in which each key had its own string ; opp. to gebunden. Buonaccor'do (It.) A small spinet with narrow keys, for children. Buo'no,-a [bo'-noj (It.) Good. . .Buona nota, an accented note (one on a strong beat); buon gusto, good tasX&...Buo- namen'te, well, accurately. Burden, i. A refrain or chorus recur- 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- lesque style. Burlesque. (It, burls' sea.) A dramatic BURLETTA— CADENCE. 33 extravaganza, or farcical travesty of some serious drama or subject, with more or less music. Burlet'ta (It.) A comical operetta or musical farce. £usain {Busaun, Suzain). A reed-stop in the organ, generally of 1 6-foot tone, and on the pedal. Button. I. A small round disk of leath- er screwed on the tapped wire of a tracker to keep it in place. — 2. A key of the accordion, etc. — 3. The round knob at the base of the violin, etc. Bux'eatib'ia, Bux'us(Lat.) An ancient jox-wood flute with 3 finger-holes, re- sembling the Phrygian flute. c. C I. (Ger. C; Fr. ut ; It. do.) The first tone, 1st degree, or key-note of the typical diatonic scale of C-major. (Com- pare Alphabetical notation, and Sol- misaiion.) . ■ • , Q on the pfte.- Middle-C, the [^ keyboard; Ten- note c' y 3 "^^ "'' ^ is small c. — 2. Abbr. for Capo (D. C.=da capo); Cantus, Canto (c. f. = cantus firmus or canto fermo); Col (c. B.=col basso, c. 8va= coU'ottava); C.-B. {Ch.) = con- trabbasso. Cabalet'ta (It.) A song in rondo-form, with variations, often having a triplet accomp. imitating the hoofbeats of a cantering horse. Cabinet d'orgue (Fr.) Organ-case. iCabinet organ. See Reed-organ. Cabinet pianoforte. An old style of upright pf te. ; a grand pf te. set on end. Cabis'cola (Lat.) Precentor of a choir. •Cac'cia (It.) The chase ; a hunt. . .Alia c, in the hunting style (i. e. accompan- ied by horns). Cach£e (Fr.) Hidden, concealed, cov- ered ; said of fifths and octaves. Cachu'cha (Sp.) A dance similar to the Bolero. Cacoph'ony. (Fr. cacophonie; It. caco- foni'a.) Discord ; harsh or discordant music. Cadence. (Ger. Kadenz' ; Fr. cadence; It. caden'za.) i. See Cadenza. — 2. The measure or pulsation of a rhythmical movement. — 3. (s) In general, the closing strains of a melody or harmon- ic movement, {b) Specifically, an har- monic formula (i. e. succession of chords) leading to a momentary or complete musical repose ; the close or ending of a phrase, section, or movement. . .Amen c, popular term for plagal c, to which the word amen is often sung. . .Authen- tic c, see Pej-fectc. .Avoided, Broken, Deceptive, or False c, see Interrupted c. . Complete c, a perfect c. . .Half -ca- dence (half-close), or Imperfect c, the chord of the tonic followed by that of the &omvcv?ia.\... .Interrupted c, an unexpected progression avoiding some regular cadence. .. /?-r^^«/rtr c, an in- terrupted c... Medial c, in ancient church-music, one in which the mediant was peculiarly prominent.. .Mixed c, that formed by the succession of the subdominant, dominant, and tonic chords, it thus being a "mixture" of the authentic and plagal cadences. . . Perfect c, the dominant triad or chord of the 7th followed by the tonic chord ; the authentic cadence of the ecclesias- tical modes. . .Plagal c, that formed by the chord of the subdominant followed by the tonic chord ; opp. to authentic c. . . Surprise c, an interrupted c. . .Radical c, a close, either partial or complete, formed with two fundamental chords. . . Whole c, a perfect c. — A few examples are given below : Authentic. Plagal. Interrupted. Mixed. ■Cadence (Fr.) i. A cadence 2 and 3. — 2. A trill (as c. brillante, c.perUe). — C. brisie, see Brisie. . . C. Mtee, avoided cadence. . . C. imparfaite (or sur la domi- tiante), half-cadence. . . C. interrompue, interrupted cadence. . . C. irriguliire, half-cadence. . . C. parfaite (or sur la tonique), perfect ca.Atnce.. .C. plagale, plagal cadence. . . C. pleine, (a) a trill preceded by the higher auxiliary as 3 34 CADENT— CANON. long appoggiatura ; (d) the progression from a dissonant chord to a consonant one. . . C. rompue^ brolcen cadence. Cadent, An obsolete grace (see Grace), Cadenz (Ger.) See Kadcnz. Caden'za. i. A brilliant passage in a vocal solo, usually at its conclusion, having the effect of an extemporiza- tion, but commonly prepared before- hand. As an interpolation on the singer's part, such c. s are no longer in vogue. — 2. An elaborate and florid pas- sage or fantasia introduced in, and in- terrupting, the closing cadence of the first or last movement of a concerto ; the orchestral accomp. generally pauses after a hold on the | chord of the tonic, leaving the field clear for the perform- ance, by the solo instr., of the cadenza. This is either a more or less original effort of the soloist, or a supplementary passage written out by the composer himself or some other musician. Such cadenzas are for the most part built up of themes or reminiscences from the work to which they are appended, and are always calculated to display the soloist's proficiency in the most brilliant light. Caden'za (It.) A cadence.. . C.fin'ta or d'ingan'no, a deceptive cadence. . . C. fioritu'ra, an ornamented cadence. Caesura. See Cesura. Caisse (Fr.) A drum. . . C. plate, the shallower side-drum. . . C. roulante, drum with wooden cylinder, that of the ordinary caisse being of copper. . . Grosse c, bass drum (also Gros-tambour). Calamel'lus. See Calamus. Ca'lamus (Lat.) A reed-flute or reed- pipe (chaluraeau ; shawm).. . C.fastora'- lis, or tibia' lis, a very ancient wood- wind instr., a reed with 3 or 4 finger- holes. Calan'do (It.) Decreasing. An expres- sion-mark denoting a decrease in loud- ness, usually coupled with a slackening of the tempo. Calandro'ne (It.) A small variety of chalumeau or clarinet, a favorite among the Italian peasantry. Calascio'ne (It.) A variety of lute or guitar with fretted fingerboard, and 2 gut strings, tuned a fifth apart and twanged with a plectrum ; found in lower Italy. Cala'ta (It.) A lively Italian dance in 2-4 time. Calcan'do (It.) Hastening the tempo. Calichon (Fr.) Calascione. Calisonci'no (It.) Calascione. Call. A signal given by the fife, bugle or drum, calling soldiers to some spe- cial duty. Calli'ope (also Kalli'ope). A steam- organ ; a species of pipe-organ having a harsh tone produced by steam under pressure instead of wind. Callithum'pian concert. (Ger. Katz'- enmusik ; Fr. charivari; It. chias'so, scampana' ia.) A boisterous serenade given to some person who has become an object of popular hostility or ridi- cule ; characterized by the blowing of horns, beating on tin pans, derisive cries, groans, hoots, cat-calls, etc. Cal'ma (It.) Calm, tranquillity.. . Ca/- man'do, calm, growing quieter. . . Cal- ma'to, calmed, tranquilized. Calo're (It.) Warmth, passion ; con c, with warmth, etc. . . Caloro'so, warmly, passionately. Cambia're (It.) To alter, change... Nota cambia'ia, changing-note. Ca'mera (It.) Chamber, room. . .Mu'sica- die, chamber-music ... i'owaifa di 1.., chamber-sonata.. .Alia c, in the style of chamber-music. Camminan'do (It.) "Walking," mov- ing, flowing. (See Andante.) Canipa'na(It.) A bell ; in eccles. usage, a church-bell.. .Campanel'lo,-a, a small bell. . . Campanelli'no, a very small bell. . . Campani'sta, a bell-ringer. Campanet'ta (It.) See Glockenspiel. Campanology. Theory of the con- struction and use of bells. Canarder (Fr.) To produce a " couac " on the clarinet or oboe. CaMaxie {Canaries, Canary ; It. Cana'rio). A lively dance of French or English origin, the melody being in 6-8 or 4-4 time and having 2 phrases. Cancel. See Natural 1. Cancrizans (Lat.) Retrogressive. (It. cancrizzamen' te , cancrizzan'te.) Can'na (It.) A reed or pipe. . . Cann'e d'a'nima, flue-pipes ; canne a lin'gua, reed-pipes. Canon. (Ger. Ka'non ; Fr. canon; It. ca'none.) I. The strictest form of CANONE— CANTICLE. \ 35 mus. imitation, in which two or more parts take up in succession exactly the same subject. — The part taking the lead is called the antecedent, and the following part the consequent. Canons are now usually written out in full, but during the high tide of medieval counter- point it was customary to write only the antecedent, and to mark the successive entrances of the other parts by signs or merely by mysterious superscriptions (enig?na tical canons) ; the superscription was then called the canon (i. e. rule, di- rection), while the composition was called the fu'ga or conseguen' za. — Ac- cording to the interval from the ante- cedent at which the consequent enters, the canon is called a C. in unison (the consequent taking the very same notes as the antecedent, but of course enter- ing later) ; C. at the octave (the conse- quent entering an octave above or be- low) ; C. at the fifth, fourth, etc. The c. could also be varied, like the fugue, by the diminution or augmentation of the theme, by inversion or retrogression, etc. (Comp. Fugue.) When the parts entered at the time-interval of a minim one after the other, the canon was called a fuga adminimam. — 2. Ancient Greek name for the Monochord. Ca'none (It.) A canon. . . C. aper'to, an " open" canon, i. e. one written out in full. . . C. cancrizzan' te , canon by retro- gression. . . C. chiu'so, a. *' close " canon, in which only the leading partis written out in full ; an enigmatical canon. . . C. enigma'tico, enigmatical canon (see Canon). . . C. infini'to or ferpe'tuo, an infinite canon; one which, without a specially added close, can be sung on for ever. . . C. sciol'to, a. canon in free imitation. Canonical hours. The 7 canonical hours of the R. C. Church are the established times for daily prayer; called matins (incl. nociums and lauds) , prime, terce, sext, nones, vespers, and complin. Those from prime to nones are named after the hours of the day, prime (the first hour) being at or about 6 A. M., terce (the third) at 9, sext (the sixth) at noon, and nones (the ninth) at 3 P.M. Cano'nici. See Harmonici. Canonic imitation, strict imitation of one part by another (see Canon). Canta'bile (It.) In a singing or vocal style. Where a passage is so marked, the leading melody should stand out well from the accomp., and the general effect should be free and flowing. Cantamen'to (It.) Same as Cantilena, Canto. Cantan'do (It.) See Cantabile. Cantan'te (It.) A singer ; also, singing, gay. Canta're (It.) To sing.. . C. a a'ria, to sing with more or less improvisation. . . C. a orec'chio, to sing by ear. . . C. di manie'ra or maniera'ta, to sing in & florid or ornamental style. Canta'ta (It.) Originally, a vocal piece, as opp. to an instrumental one, or sonata. But cantata has come, like sonata, to mean a definite form of com- position, with the difference, that all earlier forms once called cantate must still be taken into account in defining the word cantata, whereas no one would now think of calling a short and simple prelude a sonata. — In modern usage, a cantata is a more or less ex- tended vocal work with instrumental accomp., consisting of chorus and solos, recitative, duets, etc.; distinguished from the oratorio and opera by the ex- clusion of scenic effects and the epic and dramatic element ; though the lat- ter can, of course, not be entirely ex- cluded, as even the purest lyrical emotion may often be intensified to dramatic pathos. — In the sacred cantata this form of composition finds its finest and most unequivocal expression. Cantatil'la, Cantati'na (It.) A short cantata. (Fr. cantatille.) Cantato're (It.) A male singer ; Canta- tri'ce, a female singer. Cantato'rium (Lat.) A music-book, book of song ; a service-book of the R. C. Church containing the music of the Antiphonary and Gradual. Canterellan'do (It.) Singing softly; trilling, warbling ; from canterella're, to hum, etc. Can'ticle (Lat. can'ticum ; Ger. Lob'ge- sang ; Fr. cantique ; It. can'tico.) I. One of the non-metrical hymns of praise and jubilation in the Bible. — 2. A sacred chant based on or similar to I. — The Evangelical canticles (.Cantica majora) of both the Catholic and An- glican church are taken from the Gos- pels, and embrace the Magnificat (" Magnificat anima mea"), the Bene- dictus (" Benedictus dominus deus Is- 36 CANTICO— CAPRICCIETTO. rael "), and the Nunc dimittis (" Nunc dimittis servum tuum"). — The 7 CanHca minora are taken from various parts of the Old Testament. Can'tico (It.) See Canticutn, Can'ticum (Lat.) i. In the ancient Roman drama, any passage sung by the actors. — 2. A canticle. — Can'tica gra'duum, the Gradual. . . Canticum Can- tico'rum, Solomon's Song. Cantile'na (It., "'a little song"; Ger. Caniilene ; Fr. cantil^ne.) I. In me- dieval music, a solfeggio ; also, a can- tus firmus as used in church-music. — 2. Formerly, the higher or solo part of a madrigal ; also, a small cantata or short vocal solo. — In modern usage, a ballad or light popular song ; also, in instrumental music, a flowing melodious phrase of a vocal character ; often used to define a smooth and voice-like ren- dering of slow melodic passages. Cantilenac'cia (It.) A vile song. Cantilena're (It.) To sing in a low voice. Cantilla'tio (Lat.) See Intonation I. Canti'no (It.) Same as Chanterelle, Can'tio (Lat.) A song, an air. Cantique (Fr.) A canticle ; also, a choral, or hymn-tune. Can'to (^It.) I. The soprano ; the high- est vocal or instrumental part. . . Col c. same as colla parte. — 2. See Cantino. — 3. A melody, song, chant. — C. a cap- fella, same as Cappella, u...C. Ambro- sia' no, Ambrosian chant. . . C. armo'nico, a part-song. . . C. croma'tico, a melody in chromatic style. . . C. fer'mo, see Cantus firmus. . . C. figura'to, figurate melody. . . C. Greg-oria'no, Gregorian chant. . . C. pla'no, plain chant. . . C. pri'mo, first soprano. . . C. recitati'vo, recitative or declamatory singing. . . C. ripie'no, see Ripieno. . . C. secon'do, sec- ond soprano. Can'tor i. (Lat.) A singer, a precentor. . . C. chora'lis, chorus-master. — 2. (Ger.) See Kantor (on p. 238). Canto're (It.) A singer ; a chorister. Canto'ris (Lat., " of the cantor.") Term designating the side of a cathedral choir on which the precentor (cantor) sits, i. e., on the left or north side of a person facing the altar ; opp. to the deca'ni ("of the dean") side. Can'tus (Lat.) A song, a melody. . . C. corona'ius, see C. fractus. . . C. du'rus. see Dur. . . C. ecclesiasticus, (a) church- music in general ; {l>) plain song ; (c) the musical rendering of a liturgy, opp. to merely reading it...C. figura'lis, mensurable music. . . C. figura'tus, a melody with a florid or figurate contra- puntal accomp. . . C. fir'mus, a fixed or given melody ; (a) plain song ; (i) in modern counterpoint, a given melody, usually in imitation of a, to which other parts are to be set according to rule. . . C. frac'tus, a broken melody; a term applied to a tune which proceeded either by perfect or imperfect conso- nances. When accomp. by a faux bour- don, it was called Cantus corona'tus. [Stainer and Barrett.].. .C Grego- ria'nus, Gregorian chant. . . C. mensura- bilis, see Notation, §3 . . . C mol'lis, see Moll. . . C. natura'lis, see Mutation. . . C, pla'nus, plain song. Canun'. See Kanun. Canzo'ne (It., also Canzo'na.) Origi- nally, a folk-song (Fr. chanson) ; later, a secular part-song in popular style, hence the Canzo'ni Napolita'ni, Sici- lia'ni, etc. ; many such songs closely re- semble the madrigal. The name was sometimes applied to instrumental pieces in madrigal style. — Canzonac'cia, a vulgar song. . . Canzonci'na, Canzonet- ta, a little song, a canzonet. . . Canzonie'- re, a collection of lyric poems or songs. Canzonet(te). A little air or song ; a short part-song ; a madrigal. Capel'le (Ger.) See /C Ca'po (It.) The head, beginning:. .Z>a capo, from the beginning. . . Capolavoro, master- work. . . Capo-orchestra, conduc- tor. Capodastre (Fr.) See Capotasto. Capota'sto (It.; also capo di tasto, " head of the fingerboard.") I. The nut of stringed instr.s having a fingerboard. — 2. A piece of wood or ivory which can be fastened across a fretted fingerboard, like that of the guitar, to raise the pitch of all the strings at once. — Sometimes written, in Engl, usage. Capo d'astro. Cappel'la (It., "chapel.") i. A choir. — 2. An orchestra. (Incorrectly yirA- itncapella.).. .A cappella, vocal chorus without instrumental accomp.. .Alia c, (a) same as a cappella; {b) see Alia- breve... Da c, in church-style, i. e. iis a solemn and devotional manner. Capricciet'to (It.) A little capriccio. CAPRICCIO— CAVATINA. 37 Capric'cio (It.) Title frequently given to instrumental pieces of free, uncon- ventional form, and distinguished by originality in harmony and rhythm. (Compare ScAerzo.). . .A capriccio, at pleasure, ad libitum. . . Capricciosamen'ie^ capriciously, fantastically... 6a/nV«'o'jtf, capricious, fantastic ; a capriccio. Caprice (Fr.) Capriccio. Carat'tere (It.) Character, dignity ; style, quality. Caressant (Fr.) ^ Carezzan'do (It.) [Caressingly, sooth- Carezze'vole (It.) ) '"^ ^' Carica'to (It.) Overloaded as to graces, chromatics, peculiarities of instrumen- tation, or other means of mus. expres- sion. Carillon (Fr.) i. A set of bells differing from those of a chime in being fixed, and in their greater number ; played either by hand (on a keyboard) or machinery (on the principle of the cylinder in the barrel-organ). — 2. A bell-piano, with pfte. -keyboard, and bells instead of strings. — 3. A melody to be played on I. — 4. An instrumental piece imitating the peculiar character of carillon-music. — 5. The "clashing" (ringing all at once) of several large bells. — 6. See Glockenspiel. — 7. A mix- ture-stop yielding the 3rd, 5th, and 8th partials of the fundamental represented by the digital pressed (c' — g^-e>-(*). Carillonneur (Fr.) A performer on the carillon. Carita' (It.) Lit. "charity." Same as Affetto. Carmagnole (Fr.) A dance and song in great vogue during the Reign of Terror ; it dates from the taking (1792) of Carmagnola, a tovi^n in Piedmont, though the connection between the town and the air is not clearly established. Carol. I. A circle-dance (obs.) — 2. A joyous song or ballad, particularly one celebrating Christmas. Caro''la (It.) A circle-dance similar to the carmagnole. Carr£e (Fr.) A breve. Cartelle (Fr.) A large leaf (for writing) of prepared ass's-skin, on which the lines of the staff are traced to jot down notes while composing, the notes being afterwards erased with a sponge. All cartelles come from Rome or Naples. {Rousseau.]. Ca'rynx (Gk.) An ancient Greek trumpet. Cas'sa (It.) A bass drum. (Also cassa gran'de.). . .C. armonica, body (of violin, etc.) Cassation' (Ger.) See X. Castanets. (It. castagnefle; Fr. casta- gnettes; Ger. Kastagnetten; from Span. castaiietas^) A pair of small concave pieces of hard wood or ivory, each hav- ing a projection on one side, by means of which they are fastened together with a cord long enough also to pass over the performer's thumb, or thumb and forefinger. Generally used (espe- cially in Spain) by dancers as a dance- accomp. They yield no mus. tone, but merely a hollow click or rattle. Castra'to (It.) A eunuch (adult male singer with soprano or alto voice). Catalectic. Lacking part of the last foot ; e. g. the second of the following lines is catalectic : Lives of great men all remind us We can make our lives sublime. (J.-,!-... 1-.^ |_^ II _.^ |_^ |_.^|_,) Catch. Originally, an unaccomp. round for 3 or more voices, written as a con- tinuous melody, and not in score ; the ' ' catch " was for each succeeding singer to take up or catch his part at the right time. Later, a new element was intro- duced, and words were selected in such sequence that it was possible, either by mispronunciation or by interweaving the words and phrases apportioned to the different voices, to produce the most ludicrous and comical effects. Cate'na di tril'li (It.) A chain of trills. Catg^ut. Popular term for Gut strings{f\pj ^ Catlings. Lute-strings of the smallest size. Catti'vo (It., " bad.") Caitivo tempo., the weak beat. Cau'da (Lat., "tail.") The stem of a note. Cavallet'to (It, "little horse.") i. A bridge (usually ponticello). — 2. The break in the voice. Cavalquet (Fr.) A piece played by a cavalry trumpeter-corps when approach- ing or maijching through a town. Cava'ta (It.) 1. Production of tone. — 2. Cavatina. Ca7ati''na (It.) i. A short song of any description. — 2. A vocal air, shorter and simpler than the aria, and in one division, without Da capo. — 3. Title 38 e BARRE— CHAMBER-MUSIC. given by Beethoven to the and move- ment of his Br) Quartet. C barr6 (Fr.) The "barred C " ($), indicating alia breve time. C-def. See Clef. Cebell. A theme for variation on the lute or violin, in 4-4 time and 4-measure phrases, characterized by the alternation of very high and low notes in the suc- cessive strains. (Obs.) C6ciliuin (Fr.) A free-reed keyboard instr. inv. by Quantin de Crousard, ex- hibited at Paris in 1867. It has the shape and nearly the size of the 'cello, and is held in the same way. The keys 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. C6dez (Fr.) Go slower ; rallentate. C61amustel (Fr.) A kind of reed-organ having fundamental stops similar to those of the harmonium, and various additional effects, such as bells, Barp, echo, thunder, dove- and cuckoo-notes, etc. Ce'lere (It.) Rapid, z-^Xit.. .Celerith', celerity, rapidity ; con celerita, with celerity, etc. Celeste (Fr., " celestial, divine ".) y^a c, pedale c, organ-stops producing a sweet, veiled tone ; Pedale c. is also a pedal-mechanism on the pfte. for ob- taining a sweet, veiled tone.. . Voix c, the organ-stop vox angelica. 'CellOj-i. Abbr. of Violoncello ^-i. Cetnbal d'amour (Fr.) A species of clavichord, twice as long as the ordi- nary instr.s, the strings of which were struck in the middle by the tangents, the vibration of both sections of the string thus yielding a double volume of tone ; inv. by G. Silbermann, 1st half of 1 8th century. Cembalist. (It. cembali' sta^ A player on the cembalo (either harpsichord or pfte.) Cem'balo (It.) i. Originally, a dul- cimer ; a general name for various instr.s having several wire strings struck by hammers. — 2. A harpsichord. — 3. A pianoforte. . . A cembalo, for harpsichord . (or pfte.). . . Tutio il cembalo, see Tutte corde. . . Cembalo onnicor'do, a keyboard stringed mstr. inv. by Nigetti about 1650 ; also called Proteus. Cembanel'la, Cennamel'Ia (It.) A pipe or flute. Cen'to (It.), Centon (Fr.) 1. The anti- phonary of Pope Gregory the Great. — 2. (Also cento'ne, "a patchwork".) A medley of extracts from the works of one composer, worked up into an opera or similar corn-position. (Pasticcio.) Hence the verb centoniza're (Fr. centoniser), meaning " to put together." Cercar' la no'ta (It.) To seek the note ; i. e. to sing in the same breath the tone belonging to the next syllable like a light grace-note, before its proper time of entrance, in portamento style ; e.g. written : sung : p^ If Cervalet', Cervelat'. Species of clari- net with bassoon-like tone (obs.) Ces (Ger.) Co...Ces'es, C\)\). Cesu'ra, Caesu'ra. A term in prosody sometimes used in music to designate the dividing line between two melodic and rhythmic phrases within a period ; called masculine or feminine according as it occurs after a strong or a -wecUi beat. Ce'tera or Ce'tra (It.) A cither. . . C. tede'sca," German cither," aio-stringed instr. of the lute class. Chaconne', Chacone'. (It. ciacco'na ; Span, chaco'na; Fr. chaconne^ I. Originally, a Spanish or Moorish (pos- sibly Italian) dance or sarabande. — 2. An instrumental composition consisting of a series of variations, above a ground bass not over 8 measures in length, in 3-4 time and slow tempo. (See Passa- caglia.) Chair-organ, Variant of Choir-organ, Chalameau. Variant of Chalumeau. Chalil, Ancient Hebrew instr., either a flute (flageolet) or reed-pipe. Chalumeau (Fr. ; Engl, chalameau ; Ger. Chaliimau, Chalamaus ; It. scia- lumb, salmb.') i. See Shawm, Clari- net. — 2. The "chalumeau" register is the lowest register of the clarinet and basset-horn ; as a direction in clarinet-playing, chalumeau signifies "play an octave lower." — 3. (In French usage.) The chanter of the bag- pipe ; also, occasional for Pan's-pipe. Chamber-music. Vocal or instrumental CHAMBER-ORGAN— CHARACTER. 39 music suitable for performance in a room or small hall ; opp. to concert- music, church-music, operatic music, etc. ; ordinarily applied to quartets and similar concerted pieces for solo instr.s. Chamber-organ. A cabinet organ. Change, i. In harmony, see Modula- tion. — 2. In the voice, see Mutation. — 3. Any melodic phrase or figure executed on a chime of bells. Changer de jeu (Fr.) To change the stops of an organ, etc. Change-ringing. The art and practice of ringing a peal of bells in varying and systematic order. Changing-chord. A chord containing a number of tones (" changing-notes ") dissonant to the bass, and entering on the strong beat. . . Changing-note. (Ger. Wech'selnote, Diirch' gangston, durch'- gehende Note ; Fr. note d'appogiature j It. nota cambia'ta.) A dissonant note (tone) entering on the strong beat and generally progressing by a step to a consonance within the same chord ; sometimes by a skip to a chord-note or note belonging to another chord. — A passing-note differs from a clianging- note by entering on a weak beat. Chanson (Fr.) A song; originally, a ballad-like song ; now rather a vocal so\o {Lied) with pfte.-accomp. . . C^a«- sotmette, a short chanson. {Canzonet.) Chansonnier (Fr.) i. A composer of songs. — 2. A book or collection of songs. Chant. I. A Gregorian melody repeated with the several verses of a prose text, a number of syllables being in- toned on each reciting-note ; its 5 divisions are : (l) the intonation ; (2) the first dominant, or reciting-note ; (3) the mediation ; (4) the second domi- nant or reciting-note ; (5) the cadence. — 2. A melody similar in style to the above, and non-rhythmical ; a tone ; called cantus firinus in contrapuntal composition. — 3. The so-called An- glican chant, that employed in chanting the canticles and Psalms ; it consists of 7 measures, harmonized, the time-value of the single note constituting the first and fourth measures being expanded or contracted to fit the words, whereas the others are sung in strict time. It has 2 divisions of 3 and 4 measures respect- ively, each commencing on a reciting- note and ending with a cadence ; the first cadence is called the mediation, and the arrangement of the words to the music is Q.i&e:d. pointing. Any short piece of like character is also called a chant. . . Double chant, one twice as long as the usual chant, having 14 measures, 4 reciting-notes, and 4 cadences.. . Change- able chant, one that can be sung either in major or rtanax . . . Free chant, om having but 2 chords to each half-verse, for the declamatory singing of the can- ticles, etc. Chant (Fr.) Song ; singing ; melody, tune ; voice (i. e. vocal part in contra- distinction to the accomp.). . . Ch. com- pose, plain song. . . Ch. d'^glise (or gr^gorien), Gregorian chant.. .Ch. en ison, or ch. ^gal, a chant sung on only 2 tones, thus having but one interval. . . Ch. figure, figurate counterpoint. . . Ch. royal, mode {ton) in which the prayer for the sovereign is chanted. . . Ch. sur le livre, an extemporized counterpoint sung by one body of singers to the plain-song melody (a cantus firmus) sung by the others. Chanter. The melody-pipe of the bag- pipe. Chanter (Fr.) To sing...C/i. A. livre ouvert, to sing at sight. Chanterelle (Fr.) The highest string of an instr. belonging to the violin or lute family, especially the E-string of the violin ; the soprano string. Chanteur (Fr.) A male singer. . . Chan- teuse, a female singer. Chantonner (Fr.) Same as Canterellare. Chantre (Fr.) Leader of a choir. . . Grand <-/4., precentor, c&rAax.. .Second ch., choir-singer, chorister, choir-boy. Chapeau (Fr.) A tie ^~ (usually liai- son). . . Ch. chinois, a crescent. Chapel. A company of musicians at- tached to the establishment of any dis- tinguished personage. (See Kapelle.) Character, individual, of the several keys. — Theoretically, each major or minor key is precisely like every other major or minor key, the intervals in all being precisely similar. Practically, there subsist recognized differences, due (l) to the system of equal tempera- ment as applied to instruments with keyboard or frets, and (2) to a more or less perceptible tendency towards ' ' forc- ing up " the sharp keys (thus lending them a brighter and i-nlenser character), and towards "letting down " or relax- 40 CHARACTERISTIC PIECE— CHIESA. ing the flat keys (rendering them darker or, as it were, lending them a minor character). Theoreticians seem dis- posed to deny in toto the possibility of characteristic differences ; while many highly cultivated practical musicians (not to speak of aesthetic enthusiasts of all stripes) are equally positive that such differences exist. Characteristic piece. A character- piece ; one depicting a definite mood, im,pression, scene, or event. . . Character- istic tone, (i) the leading-tone ; (2) that tone in any key which specially distin- guishes it from nearly related keys, as Fil, in the key of G, distinguishing it from C-major. Characters. See Signs. Charak'terstimme (Ger.) Solo-stop (or- gan). . . Charak' terstiick, a characteristic piece. Charivari (Fr.) A callithumpian con- cert. Chasse, a la (Fr.) Alia caccia. Chef d'attaque (Fr.) The leader of an orchestra, or of any division of a chorus. . . Chef d'orchestre, conductor of an orchestra . . .Ch.du chant, see Repetitor. Chelys (Gk., "tortoise.") i. The lyre of Mercury, fabled to have been a tor- toise-shell with strings stretched over its hollow. — 2. Name for both the bass viol and division viol in the l6th and 17th centuries. Cheng. The Chinese mouth-organ, the wind-chest of which is formed by a gourd into which the air is blown through a curving tube, and bears on its upper side from 12 to 24 free-reed pipes. Its introduction into Europe led to the invention of the accordion and harmonium. Chest of viols. A set of viols, i. e. 2 trebles, 2 tenors, and 2 basses, which formed the nucleus of the 17th century orchestra. (Also Consort of viols.) Chest-register. The lower register of the male or female voice, the tones of which produce sympathetic vibration in the chest. . . Chest-tone, chest-voice, a vocal tone possessing the quality of the chest-register ; opp. to Head-register, head-tone, Chevalet (Fr.) Bridge. Cheville (Fr.) Veg...Cheviller, peg- box. Chevrotement (Fr.) See Bockstriller. . . Chevroter, to execute a chevrotement, Chiari'na (It.) A clarion. Chia'ro,-a (It.) Clear, pure. . . Chiara- men'te, clearly, limpidly, distinctly. . . Chiarez'za, clearness, etc, Chia've (It.) i. A clef. — 2. Key of aa instr. — 3. Tuning-key. Chiavet'te, or Chiavi trasporta'ti (It., " transposed clefs.") A system of transposing clefs, freely used in the i6th century. As it was then a rule, but seldom infringed, that no vocal part should overstep the limits of the 5-line staff, and the modern system of chro- matic transposition being undeveloped, composers often employed, in the nota- tion of the various parts, clefs differing from those customarily used for the several voices, these unusual clefs indi- cating to the practised singers a. trans- position of their respective parts to a higher or lower pitch : I. High chiavette. Discant. Alto. Tenor. Bass. f n^fe^^ 2. Ordinary clefs. :Jttf:= rf= ;tet: ;«= Pi i 3. Low chiavette. 3. '^^^^^^m The high chiavette had the effect of transposing the parts (and consequently the entire composition) into a key a major or minor third higher, i. c. their effect was equivalent to writing jy?;!/^ or ^ sharps in a signature headed by the ordinary clef ; the low chiavette had a precisely opposite effect, as if ^ sharps or 4 flats had been written after the ordinary clef. — Though not recog- nized as such, this system was tanta- mount to a pretty free use of the trans- posing scales. Chl'ca. An old Spanish dance, modifi- cations of which are the Fandango, Chaconne, Cachucha, Bolero, and pos- sibly the English Jig. Chie'sa (It.) Church. . . Cancer' to da ch., a sacred concert. . . Sonata da ch., a sacred sonata. . . Da chiesa, for the church, in church-style. CHIFFRE— CHORD. Chiifre (Fr.) A figure, as in thorough- bass. Chifonie (Fr.) Old name of the hurdy- gurdy. Chikara. A Hindu violin having 4 or 5 horsehair strings. Chime, i. A set of from 5 to 12 bells tuned to the tones of the scale, and em- ployed in playing the chimes by swing- ing either the bells themselves, or clap- pers hung within them. — 2. A set of bells and strikers (hammers) in a mus- ical box, organ, etc. (See Carillon.) Chiming-machine. A revolving drum with pins so set as to pull the ropes of a chime of bells and ring the chime mechanically. Chirogym'nast. An apparatus for exercising the hands of players on the pfte. or organ, consisting of a set of rings attached by springs to a cross-bar. Chi'roplast. (Ger. Hand'leiter, i. e. hand-guide.) An apparatus inv. by Logier about 1814, consisting of 2 smooth wooden rails attached in front of and parallel with the pfte.-keyboard, and a pair of open gloves, the whole serving to hold both hands in the proper position for playing, by hindering the wrist from sinking and obliging the fingers to strike vertically. Simplified later by Kalkbrenner. — Termed by Liszt "ass's guide " {guide-dne) for the French "hand-guide" (guide-main). Chitar'ra (It.) A guitar.— The Italian guitar, like the English cither, was strung with wire instead of gut strings. . . Ch. coltarco, a bow-guitar. . . Chitar- ri'na, a small Neapolitan guitar. . . Chi- tarro'ne, ' ' great guitar ; " a kind of theorbo differing from the arciliuto in having a longer neck, a wider space be- tween the 2 sets of pegs, and a smaller body. It had 20 wire strings, 12 being over the fingerboard. (See Lute.) Chiu'sOj-a (It.) Closed ; hidden. . . Ca'- none chiuso, see Canone. . . Con boc(a chiusa, with closed mouth (comp. Brummstimmen). Choeur (Fr. \ch like ^.]) Choir, chorus. . . A grand chaur, for full chorus. Choice-note. An alternative note written above or below another in a vocal part, which the singer may take in preference if he choose. Choir. (Ger. Chor; Fr. chceur; It. co'ro.) I. A company of singers, especially in a church ; hence, the part of the church which they occupy.— 2. A choral soci- ety.— 3. (In the Anglican Church.) A body of officials whose function is the performance of the daily choral service, sitting divided on the decajii and can- toris sides of the chancel. — 4. A sub- division of a chorus, e. g. the 1st and 2nd choirs (coro prima e secondo) in 8- part music. — 5. Same as Band 3. Choir-organ. (See Organ.) . . . Choir- pitch, (see Chorion). Chor (Ger.) i. Chorus ; choir. — 2. On the pfte., a unison (the 2 or 3 strings belonging to one tone). — 3. On tlie organ, those pipes belonging to a mix- ture which are sounded by one key. — 4. A combination of instr.s of the same family, but different pitch, e. g. Trom- petenchor. Chora'gus, Chore'gus (Gk.) The lead- er or superintendent of the ancient dramatic chorus. Hence, in Oxford (England), the title of a functionary who has charge of the mus. services in church. Cho'ral (adj.) Relating or pertaining to a chorus or vocal concerted music. . . Choral notes, see Jfote. . . Choral service, a church-service consisting chiefly of music by the choir. Cho'ral (noun.) i. (Ger. Choral'; Fr. cantique, plain-chant; It. can'tico, can- zo'ne sa'cra.) A hymn-tune of > the early German Protestant Church ; also, a hymn-tune similar in style to the above. (Sometimes spelled Chorale.) —2. (In the R. C. Church.) Any part of the service sung by the choir. Chora'leon. See ySolomelodicon. Chora'liter (Lat.) ) In the style of a Choral'massig(Ger.) f choral. Choral'note (Ger.) A choral note. Chor'buch (Ger.) See Part-book 2. Chord. I. (Ger. Akkord'; Fr. accord; It. accor'do) In a general sense, the har- mony of 2 or more tones of different pitch produced simultaneously. — As a technical term, a combination of from 3 to 5 different tones, formed by erect- ing, upon a fundamental tone or root, an ascending series of diatonic thirds. A 3-tone chord is called a triad, a 4- tone chord a chord of the yth, and a 5-tone chord a chord of the gth. The terra chord is oftfen applied specifically, to the triads, as major chord, minor 42 CHORD. chord, fundamental chord, etc. — A View of the fundamental diatonic chords fol- lows, with the ordinary figuring in thorough-bass and theory : Triads in Major. •I- ^^^^^ I 11 III IV V VI vii" Triads in Minor. c: \ 11° III' IV V VI vii» Chords of the Seventh in Major. 7 7. '', 'i 7 7 " i^^^^fi C: I, II, III, IV, V, vi, VII? Chords of the Seventh in Minor. c: I, II? IIi; IV, Chords of the Ninth : in major ■. 9 7 5 3 VI, VII? P m minor : 9 7 etc. When the root of a chord is the lowest tone, the chord is said to be in the fundamental position; when some other tone is the lowest, the chord is inverted. Each triad has 2 inversions, and each chord of the 7th has 3. The inversions are limited neither to the given number of tones, nor to any particular order of the intervals above the bass ; e. g. a chord of the sixth may be written i ^ ^E -J- -J- -y- 6 6 6 6 6 6 6 etc. ^^ C: I I III II that is, it remains a chord of the sixth so long as the third of the triad remains the lowest tone, above which the (octave of the) root forms the interval of a sixth. The Arabic numerals over the bass form what is called thorough- bass figuring ; each figure marks the interval of some tone above the bass (or lowest tone), the order of the figures 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) ; 3 or I or 6, («) for the simple triad, {l>) 3 alone over the first bass note signifies that the soprano takes the third of the root ; S or 4 calls for the chord of the 8 third and fourth (and sixth) ; 5 , for the fifth in the soprano ; | , for the simple triad ; 6, for the chord of the sixth ; |, for the chord of the fourth and sixth ; f , or I , f or that of the fifth and sixth ; 7(5), for the chord of the seventh ; 8, for the octave in the soprano, b, for the simple triad ; 9, (7 or |, according as the fifth or seventh is dropped), for the chord of the ninth. ^^ V }§ were for- merly used to show that the tenth and octave, eleventh and ninth, etc. of the bass note were to be taken instead of the third and prime, fourth and second, etc. Where there is a choice, the simpler figuring is preferable, unless some interval is chromatically altered. A Jt, [j, P, X , or b|7 alone over a bass note signifies that the third in. the chord is correspondingly altered chromatic- ally. A crossed figure {d, ^, ^, etc.) indicates that the interval is sharped. A dash (-) after a figure prolongs the tone into the next chord. — The Roman numerals under the bass form no part of the thorough-bass figuring ; 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 a small letter for minor. A large numeral indicates a triad with major third ; a small numeral, a triad with minor third ; with an accent (III'), the augmented fifth ; with a cipher (vii°), the diminished fifth ; with a 7 (V,), the chord of the seventh. [This is the system generally accepted ; its prime defect (clumsiness in following chro- CHORDA— CHROMATIC. 43 1^ matic alterations, and consequent in- ability to cope with the exigencies of free tonality) is felt by all theorists ; /a- dassohn solves the problem empirically by stretching his highly elas- tic theory of altered chords to the utmost ; — ^e. g. he writes *J C : IV {=y"tt-a|7-f as the major triad on the 4th degree of C-major !) — Riemann, on the other hand, has devised an entirely new system, explained under art. Phone.'] (Alsocomp. Thorough-bass.) Altered chord, a chord chromatically changed, but not effecting a modula- tion ; the commonest altered chords are the triads on the ist, 2nd, 4th and 5th degrees in major and on the 4th and 6th degrees in minor (with al- tered fifth) ; on the 2nd degree in major and 6th in minor (with altered root) ; the chords of the 7th on the same degrees, excepting the 6th in minor (with altered fifth), and on the 7th de- gree in major and 2nd in minor (with altered root). . .Anomalous ch., see Ano- maly.. .Augmented ch., one having ma- jor third and augm. fifth. . .Broken ch., an arpeggio. . . Chromatic ch. , one chro- matically altered. . . Common ch., a. triad peculiar to any given scale. . . Deriva- tive ch. , one derived by inversion from another. . .Diatonic ch., a common c^orA.. .Diminished ch., one having both 5th and 7th Avmvaished. .. Domi- nant ch., (ff)the dom. triad, {b) thedom. ch. of the 7th. . . Doubtful or Equivocal eh. , a dissonant chord of uncertain reso- lution, like that of the dimin. 7th, which belongs to various keys, and may resolve to any one of them. . .Funda- mental chord, (a) one in the funda- mental position,' i. e. with the root low- est ; {b'} the tonic triad ; (c) one of the 3 principal triads of a key (tonic, domi- nant, and subdominant) ; (d) a. common chord.. .Imperfect or incomplete ch., a. chord, one of whose tones is omitted. . .Inverted ch., see Inversion.. .Lead- ing ch., the dominant ch. of the 7'^. . .Major, minor ch., see Major, Minor. . .Related or relative ch., see Relation. . . Seventh-chord, ch. of the 7th. . . Solid ch., one whose tones are produced simultaneously ; opp. to broken. . . Tran- sient ch., one used in modulating from one key to another, and foreign to both. — 2. A string. Chor'da (Lat.) i. A string. — 2. Atone or chord. . . Ch. charactervstica, a chord of the 7th containing a leading-note. . . Chordce essentia' les , the key-note with its third and fifth, the tonic triad. Chordaulo'dion, or Chordomelo'dion. A kind of automatic barrel-organ hav- ing pipes and strings combined ; inv. by Kaufmann of Dresden, in 1812. Chordom'eter. A string-gauge. Cho'ree, Chore'us. A metrical foot identical with the trochee. Cho'riamb, Choriam'bus. A metrical foot having 2 short syllables between 2 long ones, the ictus being on either of the latter (—^—^ — , or — — ■^—^), Chor'ister. i. A singer in a choir. — 2. A precentor. Chor'ton (Ger.) "Choir-pitch," i. c. the pitch at which church-choirs formerly sang in Germany, as set by tne organs. (See Pitch, absolute^ Cho'rus. (Ger. Chor; Fr. chcettr; It. co'ro.) I. A company of singers. — 2. In an opera, oratorio, etc., the mairi body of singers, as distinguished from the soloists and orchestra.-i-3. A refrain. — 4. A composition, or any part of one, oftenest in 4 parts, intended to be sung in chorus ; a double chorus has 8 parts. — 5. The compound stops of an organ. — 6 (obs.) The bagpipe ; the drone of the bagpipe, or the free sympathetic strings of the crowd. Chorus-master. The leading singer in a chorus. Chri'ste ele'ison (Gk.) Part of the Kyrie in the Mass (see Mass). Chro'ma (Gk., "color".) i. In Greek music, a chromatic modification of the tetrachord. — 2. A sign altering the pitch of a note by a semitone (Jt or \)) ; also, a chromatic semitone. — 3. An eighth-note or quaver ( j ) ; ch. simplex, (a) an eighth-note, (^) a ft or b ; ch. duplex, (a) a l6th-note ( J<), (b) a x or \)\). — 4. A semitone. Chromat'ic. (Ger. chroma'tisch, Fr. chromatique; It. crovia'tico.) Relating to tones foreign to a given key or chord ; opp. to diatonic. . . Chr. alteration, rais- ing or lowering the pitch of a note by means of a chromatic sign ; of a chord, or melody, the introduction into it of one or more tones foreign to the ruling diatonic key, but not effecting a modu- lation (then sometimes called a chro- matic chord or melody). . . Chr. harmony, a succession of chromatically altered chords. . . Chr, instrument, one produc- 44 CHROMATIC— CLAIRON. ing the tones of the chr. scale. . . Chr. in- terval, an interval chromatically aug- mented or diminished. . . Chr. scale, see Scale. . . Chr. semitone, an interval formed by altering a note of the natural scale by a sharp or fiat, or by further altering such a sharped or flatted inter- val by a X or \}\). (See Semitone.). . . Chromatic signs, the characters used in mus. notation for raising or lowering the pitch of {a) natural notes, {b) notes already raised or lowered (comp. Table, art. Interval). Those now in use are the Sharp ((), Flat (p). Natural (Q), Double-sharp ( x ), Double-flat ([jjj) ; the Great Flat (j?) is obsolete ; the combined sign tW (or tl[j) signifies that a note previously sharped (or flatted) is first restored to its natural pitch on the staff and then sharped (or flatted) ; the Double-natural {^^^ '\% superfluous and incorrect. — The chromatic signs at the head of the staff are called the key-sig- nature (see Key i) ; such as occur irregularly in the course of a composi- tion are called accidentals. An acci- dental, as a general rule, affects its note only during the measure in which it is written, unless the note be tied into the next measure or measures: ■^ =«-= higher or lower octaves of the note are not affected, and must therefore like- wise take an accidental. Chromatic (noun.) A chromatically al- tered note. Chronom'eter. Occasional for Met'ro- nome. Chronomfetre (Fr.) A species of mono- chord, made to sound by means of a keyboard like that of the pfte., to teach the tuning of the latter ; inv. in 1827 by Raller, pfte. -maker in Paris. Chrot'ta. See Crowd. Church-modes. See Mode. Chute (Fr.) A grace-note or appoggia- tura either above or below the melody- note ; written : played : — Also, a slide descending by a third : Ciacco'na (It.) Chaconne. Cico'gna (It., lit. " stork.") The mouth- piece of a wind-instr. Cicu'ta (Lat.) A sort of flute, or Pan's- pipe. Cifra'to (It.) Figured. Cim'bal. See Cymbal. Cim'balo (It.) i. A cymbal. — 2. A harpsichord. — 3. A tamDonrine. Cim'balon. Same as Zimbalon. Cira'bel (Ger.) See Cymbal 2. . . Cim'bel- stern, see Zimbelstern. Cinel'li (It., pi.) Cymbals. Cink (Ger.), Cinq (Fr.) See Zink 2. Cin'que (It.) A fifth part in concerted music. . . A cinque, for or in 5 parts. Cinque-pace. An old (presumably French) dance, with a 5-step movement. Cipher. A tone is said to " cipher" on the organ when, owing to some de- rangement in the action, it persists in sounding. Circle-(orcircular)canon. See Canon. . . Circle of fifths, see Temperament. Cir'colo mez'zo (It.) A turn. (Now Gruppetto.) Cir'culus (Lat., "circle".) A time-sig- nature in medieval music. (See Nota- tion, §3.) Cis (Ger.) C^—Cis'is, Cx. Cistel'la (Lat., " little box. ") A dulci- mer. Cistole, Cistre, Citole. See Zither. Cistrum. See Sistrum. Ci'thara (Lat. ; It. ci'tara.) An ancient instr. of the lyre family, from which many medieval and several modern instr.s (guitar, zither) derive their names and, in part at least, their con- struction. See Cither. . . C. biju'ga, a two-necked cither. Cith'er (also cithern, cittern ; Fr. cistre, sistre; It. ce'tera, ce'tra). An instr. strung with wire and played with a plectrum ; a variety of lute or guitar, in vogue during the i5th and 17th cen- turies. (See Zither.) Citole. A small dulcimer. Civetteri'a (It.) Coquetry. . . Con c, in a coquettish, trifling style. Clairon (Fr.) i. A clarion (either the instr. or the organ-stop) . . .CI. chro- matique, a species of valve-trumpet made in 6 different pitches, (as a con- CLANG— CLASSIC. 4i trabass, bass, barytone, tenor, alto and soprano.) — 2. Clarinetto register of the clarmet. — 3. Bugler (for infantry). Clang. See Klang. Clang-color, Clang-tint. Timbre, "tone-color;" the quality of a tone, dependent on the number and intensity of its harmonics. Claquebois (Fr.) Xylophone. Clarabella. An organ-stop having open wooden pipes of 8-foot pitch and soft, mellow tone. Claribel-flute. A 4-foot Clarabella. Clarichord. An instr. of the late middle ages, apparently a variety of harp, though thought by some to have been identical with the clavichord. Clarin (Fr ) See Clarion. Clarinet'. I. (Ger. Klarinet' te ; Fr. clarinette; It. clarinet' to ^ The parent instr. of the clarinet family was the chalumeau, a primitive wind-instr. hav- ing a cylindrical tube with 9 finger- holes, and a beating reed ; its entire scale was composed of the prime tones pro- duced by successively opening the holes — The modern clarinet differs, from the chalumeau chiefly in its abili- ty to reproduce the prime tones of its scale (or rather their third partials) a twelfth higher; this result is due to the addition of a small hole, covered by an extra key, at the nodal point dividing the air-column into 3 equal portions, — an improvement attributed to Joh. Chr. Denner of Nuremberg about 1 700. The higher scale or register thus obtained was termed, by reason of its bright and piercing quality, clarinetto (whence the name of the modern instr.); the origin- al lower scale retained the name of the old chalumeau. — The soprano clarinet in Cis the typical instr. of the family ; compass 3 octaves and a sixth (with chromatic intermediate tones): It has a cylindrical wooden tube pierced by 18 holes, 13 of which are closed by keys, yielding a chromatic series of 19 prime tones {e to b^\)); it is composed of 5 pieces or joints, namely, the mouthpiece with the reed, the socket (Ger. Birne), the "right-hand" and "left-hand" joints of the tube proper, and the bell; its higher registers are simply the third, and fifth or ninth, partials of the prime tones (from b^ t] to /^ and/^S to c\) The quality of the tone differs greatly in the four registers, the "chalumeau" and "clarinetto" being comparable to the female con- tralto and soprano respectively, while the medium is weak and veiled, and the highest shrill and piercing. Several sizes are made : (i) The large soprano cl. in C, Bj), and A, and (2) the small soprano clarinets in D, E, j'^and A\), these last being mostly used in military music, in which their position is similar to that held by the violins in the or- chestra. There are also alto (or bary- tone) clarinets in J^ and ^, and bass clarinets in C, ^, or A (octave below the soprano instr.s of the symphony- orchestra). The cl. is a transposing instr. , and its music is written in the C- clef. The fingering is very complicated and the reed difficult to "manage, a slight error of judgment sufficing to pro- duce the fatal " couac." — 2, See Clar- ionet 2. Clarinet-stop. See Krumm' horn. Clarinet'to (It.) See Clarinet. Clari'no (It.) 1. Clarion i and 2. — 2. A name loosely applied to the trumpet and bugle. — 3. Used for tromba, in some old scores. Clarion, i. A small, shrill-toned trum- pet. — 2. In the organ, a 4-foot reed- stop of a shrill, piercing tone. Clarionet, i. A clarinet. — 2. In the organ, an 8-foot reed-stop of soft tone. . . Clarionet-Jlute, a. flue-stop with per- forated cover. Classic. In a restricted sense, a com- position is called classic when it be- longs to an acknowledged style in art, and is by an acknowledged master of 46 CLAUSULA— CODA. that style. — In a broader sense, any composition may be termed classic ■which, in its kind, might be taken as a model for imitation, and in which the form is in perfect harmony with the spirit or subject-matter. — Classic is also often used as a distinctive epithet for the works of the earlier masters, including Beethoven, and their imita- tors, in contrast to those of the roman- tic school ; classic forms being the aria, rondo, sonata, symphony, etc. Clau'sula (Lat.) A cadence. Clavecin (Fr.) A harpsichord. . . CI. acoustique, a French invention of the l8th century, imitating several stringed and wind-instruments. Claviatur' (Ger.) Keyboard (Klaviatur). Clavicera'balo (It.) Harpsichord. Clavichord. (Ger. ICla' vie fiord, Klavier' ; Fr. clavicorde; It. clavicor'do.) One -of the precursors of the pfte. (see Pi- ^anoforte), differing in action from the latter in having, instead of hammers, upright metal wedges called tangents ■ on the rear end of the digitals; on de- pressing a digital the tangent struck "the wire and remained pressed against it till the finger was lifted, causing only one section of the string to vibrate. (Compare Gebunden.) Clavicithe'rium(-cythe'rium.) An ob- solete instr., supposed to have been a kind of harpsichord, but with the strings stretched in a vertical frame in- stead of horizontally. Clavicor (Fr.) A]dnA oi cor a pistons. Clavicylin'der (Ger.) A keyboard instr. inv. by Chladni about 1800, containing a glass cylinder caused to revolve by a treadle, and steel wands or bars instead of strings, which were pressed against the revolving cylinder on touching the digitals, and thus made to sound ; com- pass ^% octaves. Clavier' [-veer']. (Ger. Klavier'.) i. A keyboard {JClaviatur). — 2. (Ger.) Gen- eric name for all keyboard instr.s except organs ; especially (formerly) for the clavichord, and (at present) for the pianoforte. See Klavier. Clavier (Fr.) I. A keyboard. . ./'(?«/- der son cl. , to know one's keyboard. . . CI. de r^cii, Ricit exfiressif, swell-man- ual (organ). — 2. The range or scale of notes comprised on the grand staff without leger-lines. Claviglissan''do. A keyboard instr. consisting of a combination of mechan- isms for producing various harmonium effects, and also the portamento of the violin ; inv. by Le Jeune. Cla'vis (Lat.) i. A key (digital), clef, or note. — 2. Bellows-handle. C16, Clef (Fr.) i. Clef ; armer la clef, to furnish the clef with the key- signatures. — 2. Key (of a wind-instr.) Clef. (Ger. Schliis'sel: 7t.cU, clef; It. chia've.) A character set at the head of the staff to fix the pitch or position of one note, and thus of the rest. The 3 now in use are the j'^-clef, C-clef, and G-clef / the F-c\ei and C-clef are also called the Bass-c\ei and Trel>le-c\ei re- spectively, because they fix the position of the bass and treble notes. The C- clef is variously called the Tenor-, Alto-, and Soprano-c\&i, according as it is set on Lhe 4th, 3d, or 1st line of the staff ; wherever placed, it marks the position of Middle-C(Tenor-C.) A view of the 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- clef), the C-clef on the 2nd {Mezzo- Soprano-clei), the C-clef on the 1st line (French violin-dei), or on the 3rd line, are no longer used (the C-clef on the 2nd line occa- - ft is sometimes sionally). The m m — used in vocal double G-clef : lif^ music as a ten- or-clef, signifying that the part lies an octave lower than written. — Our modern forms of the clefs are corruptions of the letters/", t, and^, formerly plainly written. Cliquette (Fr.) The bones. Close (noun; Ger. Schluss). See Ca- dence 3. Close harmony or position. See Har, mony. . . Close play, a style of lute- playing in which the fingers were nept on the strings as much as possible. Co'da (It., " tail.") Specifically, a pas- CCELESTINA— COMPLIN. 47 sage finishing a movement, and begin- ning where the repetition of the first subject ends. Originally, it was a few chords (or a short passage) intended as a winding-up ; it became of growing importance in the canon, sonata, rondo, etc., and is frequently developed into an almost independent concluding division. — Also, the stem or tail of a note icauda). . . Codetta, a short coda. (See J^ugue.) Ccelestina (or -o). A name bestowed in the l8th century on several modifica- tions of keyboard stringed instr.s, in which alterations of the tone could be produced by mechanisms under the player's control. Coffre (Fr.) Case (of a pfte.) ; body (of a vioUn). Co'gli stromenti (It.) With the instru- ments. Coi, col, coll', col'la, col'le, col'lo (It.) With the. Colascio'ne (It.) See Calascione. Collet de violon (Fr.) Neck of a vioHn. Collinet (Fr.) A flageolet ; named after a celebrated player. Col'ophony. (Ger. Kohphon' ; Fr. colophane ; It. colofo'nia ; from Lat. coiopho' nium.) Resin or rosin. Color. I. Timbre (tone-color). — 2. The characteristic rhythms, harmonies, and melodies of a composition. — 3. (Lat.) See Notation, §3. Colora'to (It.) Florid, figurate. Coloratu'ra (It.) Colorature, i. e. vocal runs, passages, trills, etc., enhancing the brilliancy of a composition and dis- playing the vocalist's skill. — Also ap- plied to similar instrumental music. Coloris (Fr.; Ger. C{K)olonf [Far'ien- gebung\). The tonal "color-scheme," vocal or instrumental, of a composition, movement, or scene ; i. e. the modifica- tions in vocal or instrumental timbre, or in the instrumentation, employed for obtaining special effects. Col'po (It, " blow".) Di colpo, at a blow, suddenly, at ofice. Combination pedal. See Pedal. . . Com- bination tones (combinational tones), see Acoustics. Combined mode. See Dur Moll- Tonart. Co'me (It.) As, Vike. . .C. prima, as at first, as before. . . C. sopra, as above.. . C. sta, as it stands, as written. Co'mes (Lat.) Answer (in a fugue) ; consequent (in a canon). Comma, l. A comma (,) is often used as a breathing-mark. — 2. (a) Didymic or syntonic c. : The difference between the greater and lesser whole tone, or 8o;8i ; (b) Pythagorean c, or c. maxi- ma : The difference between the octave of a given tone and a tone 6 whole tones higher than the given tone, or 524288:531441. Com'modo (It. ; also co'modo.) Easy, leisurely, at a convenient pace ; as al- legro commodo.. . Commodamen' te , easily, quietly, leisurely. . . Commodefto, rather easy or leisurely. Common chord. A major or minor triad. . . Common hallelujah metre, or Common long metre, a 6-line stanza formed of a common-metre stanza with half a long-metre stanza added ; thus,, 8 6 8 6 8 8... Common measure, see C time. . . Common metre, a form of iambic: stanza, of 4 lines containing alternately 8 and 6syllables ; thus, 8 6 8 6... Double common metre, a stanza formed of 2 common-metre stanzas. . . Common par- ticular metre, a 6-line stanza, the. 3rd and 6th lines having 6 syllables, and the others 8 each ; thus, 8 8 6 8 8 6... Common time, a measure containing 2 (or 4) half-notes or 4 quarter-notes, with 2 or 4 beats respectively ; duple or quadruple time. (Ordinarily, com- mon time is understood to mean 4 quarter-notes [and as many beats] to a measure.) Compass. (Ger. Um'fang ; Fr. diapa- son ; It. estensio'ne) The range of a voice or instr., i. e. the scale of all the tones it can produce, from the lowest to the highest. Corapiace'vole (It.) Pleasing, delightful. Com'plement. An interval which, added to any given interval not wider than an octave, completes the octave ; thus a fourth is the c. of a fifth, a minor sixth of a major third, etc. Also com- plementary interval. Comple'tory. (Lat. completo'rium.) i. An anthem supplementary to an anti- phon in the lauds and vespers of the Ambrosian rite. — 2. See Complin. Com'plin(e). The last of the 7 canon- ical hours. 48 COMPONIST A— CONJUNCT. Componi'sta (It.) Composer. Composition pedal. In the organ, a pedal which draws out or pushes in several stops at once. (Comp. combina- tion pedal.) Composizio'ne (It.) Composition... C. di tavoli'no, table-music. Compound interval. See Interval. . . C. measure^ rhythm^ time, see Time. . . C. stop, an organ-stop having more than one rank of pipes. Con (It.) With. Concave pedals. See Radiating. Concen'to (It.) i. Concord, harmony. — 2. The simultaneous sounding of all the tones of a chord ; opp. to arpeggio. Concen'tus (Lat.) i. Concord, har- mony. — 2. Part-music. — 3. See Ac- centus. Con'cert. i. A set of instr.s of the same family but different in size (see Chest, Consort) 2. A concerto. — 3. (Ger. Kon- zert" ; Fr. concert; It. concer'to.) A public mus. performance. . . Dutch con- cert, the singing of an entire company in which each person sings whatever he pleases ; or the persons present sing in alternation any verse that comes into their heads, the refrain by the whole company being a regular repetition of some popular verse.. . Concert spirituel (Fr.), sacred concert. Concertan'te (It.) Concordant, har- monious. — Hence: l. A concert-piece. — 2. A composition for two or more solo voices or instr.s with accomp. by organ or orchestra, in which each solo part is in turn brought into prominence. — 3. A composition for 2 or more solo instr.s without orchestra. . . Concer- tante parts, parts for solo instr.s in orchestral music. . . Concertante style, a style of composition admitting of a brilliant display of skill on the soloist's part. . . Conceria'to, concerted. Concerted music. Music written in parts for several instr.s or voices, as trios, quartets, etc. Concert-grand. See Pianoforte. Concerti'na. The improved accordion inv. by Wheatstone in 1829. The key- boards are hexagonal ; the compass of the treble c. is 4 octaves : includingall chromatic tones ; it is Bva t= double-ac- tion instr., producing the same tone on drawing out and on pushing in the bellows. Tenor, bass, and double-bass concertinas are also made. A great variety of music can be played, and the literature is quite extensive ; the instr. is likewise capable of great expression, and the tone is sus- ceptible of considerable modification. Concerti'no (It.) i. A small concert. — 2. Equiv. to concertan'te, i. e. lead- ing, principal ; as violino concertino, principal violin ; — here opp. to ripie'no. Concerti'sta (It.) Concert-player, solo performer, virtuoso. Concert-master. See Konzert' meister. Concer'to. (Ger. Konzert'.) An ex- tended composition for a solo instr., commonly with orchestral accomp., in sonata-form modified to suit the char- acter of the solo instr. (e. g. the cadenza); pfte. -concertos in which the pfte.-part is comparatively inconspicuous are jocu- larly called "symphonies with pfte.- accomp." — The earlier concertos were in concertante style, 2 or more instr.s or voices bearing leading parts ; Viadana's concer'ti ecclesia' stici, or da chie'sa, were simply motets with organ-accomp. ; Torelli was the first (1686) to write concerti da ca'mera (for 2 violins and double-bass). Concert-pitch. See Pitch. Concert'stiick (Ger.) A concert-piece ; a concerto. Concita'to (It.) Moved, excited, agi- tated. Concord. I. Harmony ; opp. to dis- cord. — 2. See Consonance. Concor'dant. i. Consonant — 2. (Fr.) A barytone voice. Conductor. (Ger. KapeW meister, Diri- gent' ; Fr. chef d'orchestre ; It. capo d' orchestra, mae'siro di cappel'la.) The director of an orchestra or chorus. Conduc'tus (Lat.) A form of polypho- nous composition (12th century) in which the tenor to the contrapuntal variations was not borrowed from plain song (as in the or'ganum and discan'tus), but, like the counterpoint, was original with the composer. . . C. du'plex, 3-part counterpoint ; C. sim'ple.x, 2-part coun- terpoint. Conduit (Fr.) i. Conductus. — 2. A wind-trunk (organ). Cone-gamba. Bell-gamba. Conjunct'. (Fr. conjoint ; It. congiun'- to.) A degree of the scale immediately CONSECUTIVE INTERVALS— CONTRE-. 49 succeeding another is called a conjunct degree ; opp. to disjunct. Consecutive intervals. Intervals of the same kind following each other in immediate succession ; " consecutives " are progressions of parallel fifths or octaves, forbidden in strict harmony. See Parallel. 'Conseguen'te (It.) Consequent. . . Con- seguen'za^ a canon. Consequent, (It. conseguen'te?) See Canon. •Conser'vatory. (Ger. JConservato'rium; Fr. conservatoire; It. conservato'rio.) A public institution for providing prac- tical and theoretical instruction in music. Consolan'te (It.) Consoling, soothing. 'Con'sonance. (Ger. Konsonanz' ; Fr. consonance ; It. consonan'ssa^ A com- bination of 2 or more tones, harmonious and pleasing in itself, and requiring no further progression to make it satis- factory ; opp. to dissonance. (Comp. Acoustics, §3.). . .Imperfect consonances, the major and minor thirds and sixths. . . Perfect consonances, the octave, fifth, and fourth. 'Consonant chord. One containing no dissonant interval. . . C. interval, a con- sonance. Con'sort. i. See Chest (of viols). — 2. A band, or company of musicians. Con'tano (It., "they count.") Direc- tion in scores, that parts so marked are to pause. Continua'to (It.) Continued (see Basso continuo) ; held, sustained. Continued bass. See Bass. Conti'nuo. A Basso continuo. Contra (Lat., It.) Compounded with names of instr.s, it signifies an octave below ; e. g. contr abbas' so , a double- bass. . . Contra-octave, see Pitch. Contrabass. (It. contrabbas' so.) 1. A double-bass. — 2. The lowest bass instr. in a family of instr.s. . . Contra- bassist, a player on the double-bass. 'Contraddan'za (It.) Contra-dance or country-dance. ■Contraffagot'to (It.) i. A double-bas- soon. — 2. A reed-stop in the organ imitative of i. Contral'to (It.) The lowest female .(.i«)_ voice, havingacom- pass from about fV to e^, the extremes' being e — g^ : (Also Alto.) — Male voices were exclu- sively employed in the old church- music, the tenor being called altus; hence the terra ^Uontr'alto", i.e. op- posed to or contrasted with the altus. Contrappunti'sta (It.) A contrapuntist. Contrappun'to (It ) Counterpoint. . . C. alia men' te, see Chant sur le livre. . . C. alia zop'pa, "limping", i. e. syncopa- ted, counterpoint. . . C. dop'pio, double or invertible counterpoint. . . C. synco- pa'to, syncopated counterpoint. . . C. so'pra i^sot'to) il sogget'to, counterpoint above (below) the theme. Contrapunc'tus (Lat.) Counterpoint. . . C. ad viden'dum, counterpoint written out ; opp. to contrappun'to alia men' te, improvised counterpoint. . . C. aqua' lis, equal counterpoint. . . C. diminu'tus or Jlor'idus, florid or figurate counter- point. . . C, incequa'lis, unequal coun- terpoint. Contrapun'tal, Pertaining to the art or practice of counterpoint. Contrapun'tist. One versed in the practice and theory of counterpoint. Contr'ar'co (It.) " Against the bow," i. e. bowing contrary to rule. Contrary motion. See Motion. Contrasogget'to (It.) /^ountersubject. Contra-tenor. Countertenor. Contrattem'po (It.) i. A tone enter- ing on a weak beat and ending on a strong beat ; a syncopation. — 2. A sustained melody, as contrasted with its figurate accomp. Contravioli'no, -violo'ne (It.) A double. bass. Centre- (Fr.) Contra-, counter-. .. Co«- tre-basse, double-bass. . . Coniredanse, a French dance deriving its name from the position of the dancers opposite to or facing each other. Originally there were but 2 dancers ; there are now 8, and the dance is known in English as the Quadrille. — Also, dance-music for a quadrille. . . Contre-ifclisses, linings. . . Contre-partie, a mus. part opp. to or contrasted with another, as bass and soprano ; said especially of either of the parts in a duet.. . Conirepoint, coun- terpoint ; contrepointisie, contrapuntist. 50 CONVERSIO— CORNO. . . Contre-sujet, countersubject. . . Con- ire-temps, see Contratiempo. Conver'sio (Lat.) Inversion. Coper'to (It.) " Covered," muffled ; as iim'pani coper' ti^ muffled kettledrums. Co'pula (Lat.) I. (also Fr.) A coupler (organ). — 2. A name for certain flue- stops ; (a) the 8-foot open diapason ; (b) the 8-foot Hohl'flote or Kop'pel- flote. Cor (Fr.) A horn. . . Cor-alt, cor-basse, see Corno alio (basso). . . C. anglais, see Oboe...C, de basset, basset-horn. .. C. de chasse, a hunting-horn ; in particu- lar, the large horn, whose tube is bent to form a circle of about ly turns. . . C. de signal, a signal-horn or bugle. . . C. de vaches, a cow-horn, used by herds- men. . . C. omniionique, a chromatic valve-horn inv. by Sax. Cora'le (It.) A choral. Coran'to (It.) i. A courante. — 2. A country-dance. Cor'da (It.) A string. .. Sopra una c.. direction to play a passage on one string. . . Una Corda, direction to use the soft pedal of the pf te. . . Due corde, (a) release soft pedal ; or, when the soft pedal shifts the keyboard, "play with the pedal pressed halfway down" [Riemann] ; (K) in violin-playing, a direction to double a note by playing it simultaneously on 2 strings. . . Tutie (le) corde (all the strings), release the soft pedal. Cordatu'ra (It.) Same as Accordaiu'ra. Corde (Fr.) A string. . .C. b. jour, or a vide, an open string. . . C. fausse, a string out of tune. . . C, sourde, a mute string. . . Sur une corde, Sopra una corda. Cordier (Fr.) Tailpiece. Cordom^tre (Fr.) String-gauge. Corife'o (It.) See Corypheus. Cori'sta. (It.) i. Chorister, either male or female. — 2. Tuning-fork ; pitch-pipe. Cormorne (Fr.) See Cromorne. Cornamu'sa (It.), Cornemuse (Fr.) A bagpipe in which the wind is supplied by the lungs (see Musette). Cor'net. [See Cornet h. pistons, in fol- lowing art.] \. (Gee. Zin'ke.) An ob- solete wind-instr. much used during the 15th and l6th centuries, with a narrow cupped mouthpiece of ivory or wood, and a wooden tube furnished with fingerholes. — There were two classes, the straight cornet (in 3 varieties, cor- netto dirit'to, c. mute, compass a — a^ ;. and cornetti'no, compass d^ — g'^), and the bent cornet (cornetto cur'vo, com- pass a — fl* ; and c. tor' to [or corno, cor- not{\, compass d — d''-). The cornon (cornetto basso) was the prototype of the Serpent. — 2. A reed-stop in the organ, imitating the blaring tone of C. i (see 4), and of varying dimensions : 8-foot, pitch, (or 2' or 4 ), also called Cornet- tino ; 16-foot pitch (Grand cornet)... Bass cornet, a large deep-toned brass- instr. (obs.) — 3. (Kornetf.) A com- pound organ-stop of from 3 to 5 ranks- and 8-foot or 4-foot pitch, differing from the Mixture in producing the Third among the harmonics. . . Echo cornet, a. soft-toned cornet-stop enclosed in a. wooden box. . . Mounted'cornet, a cornet- stop mounted on a separate soundboard to render its tone more prominent. — 4. A reed-stop of 2 or 4-foot pitch, on the pedal. Cornet a bouquin (Fr.) See Cornet i. ..Cornet a pistons (Fr. ; Ger. Ventil'- kornett), a brass instr. of the trumpet family, having a conical tube and cupped mouthpiece ; improved from, the old post-horn by the additioa of 3 valves ; tone apt to be loud, and " brassy "; medium compass 2 octaves and 3 tones. It is a transposing instr. noted in the G-clef : ^ actual pitch: ?l^ S5C this being for the cornet in J^, th& one most in use. In rapidity and lightness of execution, the cornet almost vies with the flute and clarinet ; a certain- lack of refinement in its tone alone pre- vents its entrance into the symphony- orchestra. . . Cornet d'icho or de rdcit, cornet-stop. Cornet-stop. See Cornets, 3, 4. Cornet'to (It., dimin. cornetti'no^ i. A. small horn. — 2. A cornet i. Cor'no (It.) A horn. . . C. alto, high horrt in B; C. basso, low horn in B [Stainer AND Barrett]. — C. alto (basso) also- signify, respectively, one of the twO' horn-players, in the orchestral group of four, who take the highest (lowest)' horn-parts. . . C. di bassetto, basset-horn. . .C. da caccia, hunting-horn. . . C. in^ gle'se, English horn. CORNON— COUNTERPOINT. 51 Cornon (Fr.) i. A cornet. — 2. A brass wind-instr. of broad scale, inv. in 1844. Corno'pean, i. Cornet k pistons. — 2. An organ-stop on the swell-manual. Co'ro(It.) Chorus ; choir.. .C.favori'to, a selected chorus, as opp. to the full chorus. . . C. spezza'to, a divided chorus (sung by several choirs in different parts of the church) . . .A cori batten' d, for divided chorus, one half imitating, in parallel or reverse progression, what the other half sings. Coro'na (It.) A hold (o). Cor'onach (Gaelic.) A funeral lament ; a dirge. Corps (Fr.) Body (of a tone). ..C.d' har- monies a fundamental chord. . .C. de musique, a wind-band. . .C.de rec/iange, a crook. . .C. de voix, the range and volume of a voice, taken collectively. Correcto'rium (Lat.) Tuning-cone. Corren'te (It.) Courante. Coryphs'us (Lat.) (Engl, coryphe'us ; Ger. Koryphd'e ; Fr. coryphee; It. co- rife'o.) In the ancient Greek drama, the leader of the chorus ; hence, in modern usage, the leader of an opera- chorus or other company of singers. Cotil'lion. (Fr. cotillon.) A French dance, the same as the german, to quadrille-music. Cottage organ. The ordinary portable parlor organ (reed-organ). . . Cottage piano. I. A small style of upright pfte. — 2. A small grand pfte. in upright form, inv. by Wilhelm Kress of Vienna in 1891. Couac (Fr.) The "goose." Couched harp. A spinet. Coul6 (Fr.) I. Legato. — 2. {^AXso Vask.) A harpsichord-grace ; written : played : Coulisse (Fr.) Slide (of trombone or trumpet). Count. An accent, beat, or pulse of a measure. . . Counting, the marking of the successive beats of the measure by counting aloud. Counter. Any vocal part set to con- trast with the principal part or melody ; specifically, the counter-tenor (high tenor, or alto), sometimes sung in the higher octave as a high soprano. . . Bass counter, a second bass part, either vocal or instrumental. . . Counter-exposi- tion, re-entrance of the subject or sub- ' jects of a fugue, either directly follow- ing the exposition, or after the first epi- sodes . . . Counter-subject, a f ugal theme following the subject in the same part, as a contrapuntal accomp. to the an- swer ; often used independently as an episodal theme.. . Counter-tenor, a high tenor or alto voice ; hence, the part sung by such a voice, or the ^. singer. It is the highest adult male voice; compass; being nearly the same as that of the contralto . . . Counter - tenor clef, the C-clef on the 3rd line ; used for the counter-tenor or alto voice, the viola, etc. Counterpoint. (Ger. Kon'trapunkt ; Fr. contrepoint ; It. contrappun'to.') [From the Latin " punctus contra punc- tum " (point against point), i. e. note against note.] i. In a wider sense, the art of polyphonic composition ; opp. to homophoHy. The canon and fugue are the most highly developed contra- puntal forms. — 2. In a restricted sense, the art of adding one or more melodies to a given melody (canlus Jirmus) according to certain rules ; hence, one of, or all, the parts so added. — The Theory of Counterpoint generally rec- ognizes 5 species, which, in practical instruction, are variously combined : (i) Note against note, whole notes in the counterpoint against whole notes in the c. f. {cantus Jirmus); (2) 2 against I, half-notes in the counterpoint against whole notes in the c. f. ; (3) 4 against 1, quarter-notes in the counterpoint against whole notes in c. f.; (4) with syncopation, syncopated half-notes in counterpoint against whole notes in the 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. . . Quadruple c. , that written in 4 mutually exchangeable or invertible parts. . . Sin- gle c. , that in which the parts are not in- tended to be mutually invertible. . . Strict c. , that in which the entrance of (most) unprepared dissonances is for- bidden. [The correctness of this defi- nition largely depends upon what is meant by " preparation". The disso- nant intervals included in the chord of 52 COUNTRY-DANCE— CROOK. the dimin. 7th — dimin. 7th and 5th, augm. 2nd and 4th — and also the dom- , inant 7th, are now allowed to enter freely even in "strict" counterpoint; and preparation is often effected by a tone in a different part and octave from the one in which the following disso- nance enters.]. . . Triple c, counterpoint in 3 mutually invertible parts. . . Tioo- part. Three-part, Four-part counter- point, that in which 2, 3, or 4 parts are employed. Country-dance. A dance in which the partners form two opposing lines, which advance and retreat, the couples also dancing down the lines and re- turning to their places. The time varies, some tunes being in 2-4, others in 3-4 time ; the essential thing is, for the strains to be in phrases of 4 or 8 measures, to accompany the several evolutions. Coup d'archet (Fr.) A stroke of the , bow. . . Coup de (la) glotte, see Kehl- schlag. . . Coup de langue, a thrust or stroke of the tongue, tonguing ; double Toup de langue, double-tonguing. Couper le sujet (Fr.) To cut or cur- tail the subject. Coupler. (Ger. Koppel; Fr. copula; It. unione.) See Organ. Couplet. 1, Two successive lines form- ing a pair, generally rhymed. — 2. In triple times, 2 equal notes occupying the time of 3 such notes in the regular rhythm ; thus : =P=ff: Cou'rant \_ICoo'-'\. (Tr. couranie; It. corren'te.) An old French dance in 3-2 time ; hence, the instrumental piece called couranie, forming a part of the .Suite, in which it follows the Alle- mande. Though the time-signature calls for 3-2 time, measures in 6-4 time often occur, especially at the close ; the tempo is moderately rapid, and dotted rhythms abound. — The Italian corrente is quite different from the above, its chief feature being swift passages of equal notes, whence the name corrente ("running"). The tempo is rapid; time 3-8 or 3-4. Couronne (Fr.) A hold (o.). Course. A group or set of strings tuned in unison. Covered, See Octave. ...Covered strings, strings of silk, wire, or gut, covered by a machine with spiral turns of fine sil- ver or copper wire, the process being termed " string-spinning." Crackle. In lute-playing, to play the chords brokenly [en batterie) instead of simultaneously. Cracqvienne (Fr.) A Polish dance for a large company ; hence, the music or an imitation of the music employed, which is in duple time with frequent syncopations (rhythm Also Krakowiak, cracoviak. Cre'do. The third main division of the Mass. Crem'balum (Lat.) Jew's-harp. Cremo'na, i. A name ordinarily ap- plied to any old Italian violin made by the Amatis, Stradivarius, or Guarneri- us, at Cremona. — 2. See Krummhorn. Crescen'do (It.) Swelling, increasing in loudness . . .Cr. -pedal, see Pedal. Crescen'dozug (Ger.) i. Crescendo- pedal. — 2. A kind of organ-swell with shutters, a contrivance inv. by Abbe Vogler. Crescent ; also Chinese crescent, or pavilion. (Ger. Halb'mond; Fr. chapeau chinois; It. cappel'lo ckine'se.) An instr. of Turkish origin used in military music, consisting of several crescent-shaped brass plates hung around a staff and surmounted by a cap or pavilion ; around the plates little bells are hung, which are jingled in time with the music. ' Cre'ticus (Lat.) A metrical foot con- sisting of a short syllable between 2 long ones ( — «.^ — ). Cri'brum (Lat.) Soundboard (organ). Croche (Fr.) An eighth-note. . . Crockes lie'es, ei ghth-n otes having the hooks joined ifS~^. Crochet (Fr.) The stroke of abbrevia- tion across the / ^\ stems of notes \^ j Croche'ta(Lat.) A crotchet, or quartesr- note (J). Croisement (Fr.) Crossing (of parts). Cro'ma (It.) An eighth-note. Croma'tico (It.) Chromatic. Cromor'na. {Vr.cromome.) SeeKrumm- horn. Crook, I. (Ger. Bo'gen, Stiinm'bogen; CROQUE-NOTE— SZARDAS. 53 Fr. corps de rechange, ton; It. pezzo di reserva.) A supplementary tube, which can be rapidly fitted to the main tube (or body) of a horn or trumpet, for the purpose of lowering the pitch. Each crook is named after the fundamental tone to which it lowers the pitch of the tube ; e. g. the Zf-crook of an instr. in £^. — 2. The S-shaped tube forming the mouthpiece of a bassoon, and con- taining the reed. — 3. In the old harp- action, a crotchet engaging a string and raising its pitch by a semitone. Croque-note (Fr.) A player of facile execution, but little taste and judgment. Cross-relation. See False relation. Cro'talum (Lat.) A kind of clapper used by the ancient Greeks to mark the time of a dance. Crotchet, i. A quarter-note ; cr. -rest, a quarter-rest. — 2. See Crook 3. Crowd ; also Croud, Crouth. (Welsh 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 guide in timing its re-entrance. Cuivre (Fr. , "copper.") Brass; les cuivres (pi.), the brass-wind. .. .ftj/V^ cuivrer, to obtain a metallic, ringing tone by half-stopping the bell of the French horn with the right hand. Cum sancto spi'ritu (Lat.) Part of the Gloria. Cu'po (It.) Dark, deep, obscure ; re- served. Curran'to, See Courant. Cushion-dance. A Scotch and English round dance, in triple time, and per- formed in single file ; each dancer in turn drops a cushion before one of. the opposite sex, at a regularly recurring strain of the music, whereupon the two kneel and kiss each other, after which the dance proceeds as before. Cus'tos (Lat.) A direct. Cuvette (Fr.) Pedestal (of a harp). Cyclical forms. (Ger. cyclische For- men.) Forms of composition embrac- ing a cycle or series of movements, such as the old suite or partita, or the sonata, symphony, and concerto. 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.) A pair of 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 (Lat.) i. Cymbal.— 2. A 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. V Czakan (Bohemian.) A flute of cane or bamboo. V Czardas (Hung.; pron. tchar" dash.') A national Hungarian dance, distin- 54 CZIMBAL— DECISO. guished by its passionate character and changing tempo. Czimbal (Hung.) A dulcimer. Czimken (Pol.) A dance similar to the country-dance. [Stainer and Bar- rett.] D. D. I. (Ger. D ; Fr. ri ; It. re) The 2nd tone and degree in the typical dia- tonic scale of C-major. (Comp. Alpha- betical notation, and Solmisation.) — 2. Abbr. of Da (D. C.=da capo), and Dal (D. S.=dal segno). Da (It) By, for, irom,oi...Da ca'po, (a) from the beginning ; {fi) as an ex- clamation, " encore ! ".. .D. C. alfi'ne, (repeat) from the beginning to the end (i. e. to the word Fine, or to a hold T^). . .D,C. al se'gno, (repeat) from the be- ginning to the sign (S-, ^, O). ..D.C. al segtio, poi {se'gue) la coda, (repeat) from the beginning to the sign, then (follows) the coda.. .D. C. dal segno, re- peat from the sign. . .D.C. sen'za re'- plica (or scnza 7'ipetizio'ne'), play through from the beginning without noticing the repeats. . . Da eseguir'si, to be executed. ..Da tirar'si ("for drawing out"), means "with slide"; as tromba da tirarsi, slide-trumpet. D'accord (Fr.) In tune. Dach (Ger., "roof.") The belly of a violin (usually Decke). . . Dach'schweller, see Crescendozug 2. Dac'tyl(e). (Lat. dac'tylus, a finger.) A metrical foot of 3 syllables arranged like the finger-joints, one long and two short, with the ictus on the first (^-^). Dactyl'ion. An apparatus inv. by Henri Herz in 1835, consisting of 10 rings hanging over the keyboard and at- tached to steel springs ; used by pianists for finger-gymnastics. Daddy-mammy, A familiar name for the roll on the side-drum. Da'gli, dai, dal, dall', dal'la, dal'le, dal'lo (It.) To the, by the, for the, from the, etc. Dal se'gno (It.) See Segno. Damenisa'tion. (See Solmisation.) 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- ply repeated over and over in the above order, whatever may be the notes sung. Damper, i. (Ger. Ddm'pfer ; Fr. itouf- foir ; It. sordi'no) A mechanical de- vice for checking the vibration of a pfte.-string (see Pianoforte). . . Damper- pedal, the right or loud pedal of the pfte. — 2. The m,ute of a brass instr., e. g. a horn. Dam'pfer (Ger.) A damper or mute. . . Ddm'pfung ("damping"), the damp- ing-mechanism of the pfte. Dance. (Ger. Tanz ; Fr. danse ; It. dan'za.) A succession of rhythmical steps, skips, or leaps, accompanied by varying movements of the body, and generally timed by music (in primitive: nations, simply by beating on a drum or the like). Darm'saite (Ger.) Gut string. Dash. I. A staccato-mark (J or p). — 2. In thorough-bass, a stroke through a. figure, indicating the raising of the in- terval by a semitone (^ 4^ etc.) — 3. Same as tould 2. , Dasian'-Notie'rung (Ger.) Hucbald's system of noting a scale of 18 tones by twisting and turning the letter F into- 14 different positions and shapes, with . 4 additional signs. Dau'men (Ger.) Thumb.. .Dau'menauf- satz, thumb-positions (in 'cellb-playing). Dead-march. A funeral march. De'bile, De'bole (It.) Feeble, weak. Dfibut (Fr.) A first appearance. . .Debu- tant{e), a male (female) performer or singer appearing for the first time. Dec'achord. (Fr. difcacorde.) i. A 10- stringed instr., an ancient species of harp or lyre. — 2. An obsolete French instr. of the guitar kind, having lo- strings. Dec'ad(e). See Duodene. Deca'ni. Comp. Cantoris. De'cem (Ger.) See Decima 2. D6chant (Fr.) Discant. D6cid^ (Fr.) See Deciso. De'cima (Lat. and It.) i. The interval. of a tenth. — 2. An organ-stop pitched a tenth higher than the 8-foot stops ; also called Tenth, or Double tierce. 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.) ; belly or soundboard (of the pfte.) Oeclaman'do (It.) "Declaiming"; in declamatory style. Declamation. In vocal music, the cor- rect enunciation of the words, especially in recitative and dramatic music. (Comp. Deklaination.) D£compos6 (Fr.) Unconnected. D^compter (Fr.) To sing with a porta- mento. D6couplez (Fr.) In organ-music, "un- couple," "coupler off." Decrescen'do (It ) Growing softer ; diminishing in force. Sign Oec'uplet. A group of lo equal notes executed in the time proper to 8 notes of like value, or to 4 notes of the next highest value ; marked by a slur over or under which a figure 10 is set. (Also Decimole, Dezimole.) Deduc'tio (Lat.) i. The ascending series of syllables or tones in the hexa- chords of Guido d'Arezzo. — 2. Ace. to later theoreticians, the resolution of a dissonance to a consonance. Defective. Same as Diminished. Deficien'do (It.) Dying away. De'gli (It.) Of the ; than the. Degree. (Ger. Siu'fe, Ton'stufe; Fr. degr^ ; It. gra'do.) I. One of the 8 consecutive tones in a major or minor diatonic scale. Degrees are counted from below upward, the key-note being the first degree. — 2. A line or space of the staff. — 3. A step. (The prevailing confusion of the terms degree and step might be obviated by applying degree only to the tones, and step only to pro- gression between conjunct tones, of the scale ; the expressions whole step, half- step, andstep and a half, are quite super- fluous.) . . . Scale-degree, a degree of a scale.. . Staff-degree, a degree on the staff. Deh'nen (Ger.) To expand, extend ; to prolong Deh'nung, expansion, ex- tension, prolongation ; Deh'nungs- strich, in vocal music, a line of contin- uation after a syllable, indicating that it is to be sung to all notes over the line ; dots are sometimes used instead . . . Gedehnt' , extended, prolonged ; hence, slow, stately. Dei (It.) Of the ; than the. Deklamation' (Ger.) Musico-poetical scansion.^" In vocal composition, the transformation of the poetic rhythm (metre) into a musical one ; a song is badly deklamiert' when an unaccented syllable receives a strong musical accent or a long note ; or when an accented syllable, or a word rendered prominent by the sense, receives a sub- ordinate position in the melody on a weak beat or in short notes." [Riemann.] Del, dell', del'la, del'le, del'lo (It.) Of the ; than the. Ddlassement (Fr.) A piece or perform- ance of a light and trifling character. Deliberamen'te (It.) Deliberately. . . Delibera'to, deliberate. Delicatamen'te, con delicatez'^za (It.) Delicately . . . Delica'to, delicate ; in a delicate, refined style. D€li6 (Fr.) Non legato ; leggero, Deli'rio (It.) Frenzy ; con d. , with fren- zied passion. Delivery. Style (method and manner of singing) ; restrictedly, the enunciation of a singer. D£manch€, D^manchemerit (Fr.) "Off the neck " ; the thumb-positions in 'cello-playing. . . Dimancher, to quit the neck of the 'cello. Demande (Fr.) " Question," i. e. the subject of a fugue. (Usually sujet) Demi (Fr., "half".) Demi-bdton, 2- measure t:^^^.. . .Demi-cadence, \i3Xi-c&- dence. . .Demi-croche, a l6th-note... A demi-jeu (a direction found mostly in reed-organ or harmonium-music), with half the power of theinstr. , viezzo forte. . .Demi-mesure, half-measure. . .Demi- pause, half-rest. .Demi-quart de soupir, a 32nd-rest . . . Devii-soupir , an eigh- teenth rest. . . Demi-temps, a half-beat . . . Detni-ion, a semitone. Demiquaver. A i6th-note . . . Demise- miquaver, a 32nd-note . . . Demitone, rare for Semitone. Demoiselle (Fr.) Tracker. Dependent chord, harmony, triad. One which is dissonant, requiring reso- lution to a consonant one ; opp. to In- dependent. Depress. To lower (as by a |j or \)\))... De- pression, chromatic lowering of a tone. Derivative, i. Same as derivative chord, i. e. the inversion of a fundamental chord. — 2. The root of a chord. D6riv6(e) (Fr., "derived, derivative".) Accord dMvi, inverted chord (also simply d/riv^, an inversion) . . . Mesure 56 DES— DIAPASON. d/riv^e, any measure indicated by 2 figures (2-4, 3-8, etc.) as being derived from, i. e. a fractional part of, a whiole note. Des (Ger.) Dfc) . . .De/es, Xi\)\f. Des'cant. See Discani. Descend. To pass from a higher to a lower pitch. . .Descent, descending pro- gression. Deside'rio (It.) Desire, longing. . .Con d., in a style expressive of longing, yearning. D^sinvolture, avec (Fr.) See Disin- volto. Dessin (Fr.) The design, plan, or struc- ture of a composition. Dessus (Fr.) I. Soprano or treble, i. e. the highest vocd part. — 2. Earlier name for the violin (dessus de viole). De'sto (It.) Sprightly. De'stra (It.) Right ... jT/n'wo destra, right hand (also destra mano, colla de- stra) ; a direction in pfte.-plajdng, sig- nifying that the passage is to be played with the right hand. (Abbr. m. d. , or d. m.) D£tach£ (Fr.) In violin-playing, de- tached, i. e. playing successive notes with alternate down-bow and up-bow, but not staccato . . . Grand detachi, a whole (stroke of the) bow to each note. Deterinina'to(It.) Determined, resolute. Detonation' (Ger.), D^tonnation (Fr.) False intonation, singing out of tune. . . Detonieren {detonner), to sing false ; especially, to flat (gradually lower the pitch) in a cappella singing. Det'to (It.) Aforesaid ; the same. Deutsch (Ger.) German . . . Deu'tsche Flote, the orchestral flute . . . Deu'tscher Bass, an obsolete kind of double-bass, ' having from 5 to 6 gut strings. . .Deu- tsche Tahulalur' , see Tablature . . . Deutsche Tdn'ze, German dances, i. c. the old-fashioned slow waltzes. Deux (Fr.) Two . . .A deux mains, for 2 \a'a&s. . .Deux-quatre, 2-4 (see Me- sure). . .Deux-temps, or Valse h deux temps, a quick waltz, with 6 steps to every 2 of the ordinary waltz {trois temps). Deuxi&me position (Fr.) Half-shift. Development. (Ger. Durch' fuhrung.) The working-out or evolution of a theme by presenting it in varied melo- dic, harmonic, or rhythmic treatment ; ordinarily applied to formal composi- tions like the fugue or sonata. (See Form.) Devo'to (It.) In a devotional style {con devosio'ne). Dex'tra (Lat.) Right . . . Manus d. , right hand. . .Manu d., with the right hand. De'zem (Ger.) See Decima. De'zime (Ger.) The interval of a tenth. Di (It.) Of, from, to, etc. Diag^ram'ma (Gk.) A diagram, i. The Greek written scale of 1 5 notes, divided into the various tetrachords. — 2. In old music, the staff and the scale writ- ten on it ; also, a score or partition. Dia'logo (It.), Dialogue (Fr.) A duet for 2 solo voices or divided chorus ; or a similar instrumental piece. Diapa'son(Gk.) An octave (in ancient Greek and in medieval music). . ./^/«- pason diapenie, or diapason con dia- pente, an octave plus a fifth, a twelfth. . . Diap.' diatessaron (diap. con diates- saron), an octave plus a major fourth , a major eleventh . . . Diap. ditone, an oc- tave plus a major third, a major tenth. . .Diap. semi-ditone, an octave plus a minor third, a minor tenth. Diapa'son (Engl.) i. An octave. — 2. Either of the 2 principal foundation- stops of the organ, the open diapason and the stopped diapason, both com- monly of 8-foot pitch; if there are 2 op. diap.s on a manual, one is sometimes of 16' pitch ; pedal-diapasons are generally 16' stops. — The open d. has metal pipes open at the top, and usually of large scale, though the scale differs when 2 or more diapasons are on one manual ; the tone is bright, full, and sonorous. . . The stopped d. has wooden pipes of large scale, closed at the top by wooden plugs, and yielding a powerful fluty, and somewhat hollow, tone. — 3. Com- pass of a voice or instr. ; chiefly poetical. Diapason (Fr.) i . Compass of a voice or instr. — 2. A rule or scale, ace. to which makers of various instr.s regu- late the size of the latter, and that of their parts. — 3. An organ-stop (dia- pason). — 4. A tuning-fork or pitch-pipe. — 5. Absolute 'pAtia. ... Diapason nor- mal, the standard pitch or scale adopted in 1859 by the French Academy , in which 0} has 870 single or 435 double vibrations per second of time (so-called " inter- national pitch "). DIAPENTE— DIMINISHED. 57 Diapen'te (Gk. and Lat.) The interval of a fifth. . . D. cum ditono, a major 7th. . . D. cum semidiiono, minor 7th . . .D. cum. semiionio, minor 6th . . .D. cum tono, a major 6th. Diapenter (Fr.), Diapentisa're (It.) To progress by skips of a fifth. Diaph'ony. (Gk. diafhoni'a) i. A dis- sonance. — 2. See Organum. Diaschis'ma (Gk.) The difference be- tween the second tierce below the 4th quint in the descending circle of fifths, and the 3rd octave below the given tone (c:d\)\) ::2025 : 2048). Diaste'tna (Gk.) An interval. Diates'saron (Gk.) The interval of a fourth. Diaton'ic. I. See Greek music, §2. — 2. (In modern usage.) By, through, with, within, or embracing the tones of the standard major or minor scale... Diatonic instr., one yielding only the tones of that scale of which its funda- mental tone is the key-note. . .Diatonic interval, one formed by 2 tones of the same standard scale. . .Diatonic har- mony or melody, that employing the tones of but one scale. . .Diatonic mod- ulation, .see Modulation. . .Diatonic progression, stepwise progression within one scale. . .Diatonic scale, see Scale. Diau'los (Gk.) A double aulas, the tubes meeting in an acute angle, and connected by and blown through a com- mon mouthpiece. Diazeuc'tic (Gk.) Disjoined (see Greek music, §1). . .Diazeu'xis, the separation of 2 neighboring tetrachords by the in- terval of a tone ; also, the tone itself. Di'brach, Di'brachys. A metrical foot consisting of 2 short syllables (^ ^) ; a pyrrhic. Di'chord. i. An ancient species of harp or lute having 2 strings. — 2. Any instr. having 2 strings to each note. Dicho'ree, Dichore'us. A double cho- ree or trochee ; a metrical foot consist- ing of 2 long and 2 short syllables in al- ternation ( — w — w). Dict^e musicale (Fr., "musical dicta- tion".) A modern method of training the faculty of musical apprehension, in which the teacher plays or sings short phrases which the pupils take down on paper. Diecet'to (It.) A piece for 10 instr.s. Diesa're (It.) To sharp.. .ZJzWj, a. sharp. Di6ser (Fr.) To sharp.. .Diese, a sharp. Dies irae (Lat., "day of wrath".) The sequence of the Missa pro defunctis ; it now forms the 2nd division of the Requiem. Di'esis (Gk.) i. The Pythagorean semitone (later Limma), which is the difference between a fourth and 2 greater whole tones, =256:243. — 2. In modern theory, the difference between an octave and 3 major thirds, the mod- ern enharmonic diesis (128:125). Diezeug'menon (Gk.) Disjoined (see Greek music, §1). Difference-tone. See Acoustics. Differen'tia (Lat.) The differen'tia tono'rum in the medieval Gregorian chants were the different forms of the cadences or tropes to the Seculo'rum- a'men, according to the tone to which transition was to be effected. (Also distincHo.) Diffi'cile (It.), Diffici'le (Fr.) Difficult. Dig'ital. A key on the keyboard of the pfte., organ, etc.; opp. to pedal (Jin- ger-V^y opp. io foot-Vsj). Digito'rium. A small portable appara- tus for exercising the fingers, resem- bling a diminutive piano in shape, and having 5 keys set on strong springs ; sometimes called Dumb piano. Di gra'do (It.) (Progp-ession) by de- grees, step-wise. Diiamb', DiiamHius. A double iam- bus ; a metrical foot consisting of 2 short and 2 long syllables in alternation Dilettact'. (It. dilettan'te) An amateur. Diligen'za (It.) Diligence, care. Dilu'dium (Lat.) An interlude, espe- cially that between the separate lines of chorals. Diluen'do (It.) Decreasing in loudness, dying away. Dim'eter. i. Consisting of 2 measures ; divisible into 2 feet. — 2. A verse or period consisting of two feet. Diminished, (Ger. verklei'nert; Fr. di- minu^ie); It. diminu'to.) Dim. inter- val, a perfect or minor interval con- tracted by a chromatic semitone. . .Dim. chord, a chord, the highest and lowest tones of which form a dimin. interval. . .Dim. subject or theme, one repeated 58 DIMINUENDO— DISSONANCE. or imitated in diminution. . . Dim. triad, a root with minor third and dimin. fifth. Diminuen'do (It ) Diminishing in loud- ness . . . Dim. pedal, see Pedal. Diminuer (Fr.) To diminish (in loud- ness)... ^« diminuant beaucoup,-=.dx- minuendo molto. Diminution. (Ger. Verklei'nerung ; Fr. diminution ; li. diminuzio'ne^ I. The repetition or imitation of a theme in notes of smaller time-value (J^, ^, or yl that of the original). — 2. See Nota- tion, §2. Dioxia (Gk.) Less common term for Diapente. Dip. The vertical fall of a digital or pedal when depressed to the full extent ; also key-fall. Dipho'nium (Lat.) A composition for 2 voices. Diphtho'nia. A vocal anomaly produced by inflammatory nodules seated on the vocal cords, which on closure of the latter divide the glottis into an anterior and a posterior half, so that 2 tones are sounded on singing, instead of one. Diplas'ic. Two-fold.../), footor rhythm, that in which the thesis has twice the length of the arsis. Dip'ody. A group of 2 similar metrical feet, or double foot, especially when constituting a single measure. Direct, i. (Ger. and Lat. Cus'tos ; Fr. guidon ; It. gui'da, mo'sira.) The sign Av or r/ set at the end of a staff to show the position of the first note on the next staff. (N. B. The Germans often use it as a mere mark of continu- ation equivalent to "etc.", without reference to the pitch of any note.) — 2. See Motion and Turn. Directeur (Fr.) Conductor, director. Dirgfe. A funeral hymn, or similar music. Dirigent' (Ger.) Conductor, director. Diriger (Fr.), Dirigie'ren (Ger.) To direct, conduct. Dirit'to,-a (It.) Direct, straight. . .^//o dirifta, in direct motion. Dis (Ger.) DjJ. . . Disis, D x . Dis'cant, i. (Lat. discan'ius ; Ger. Diskanf ; Fr. de'chant.) The first at- tempts at polyphony with contrary mo- tion in the parts, beginning in the I2th century ; opp. to the organum, in which parallel motion was the rule. ■ — 2. (Fr. dessus.) Treble or soprano voice ; the highest part in part-music. Discord, l. A dissonance. — 2. Caco- phony. Discre'to (It.) Discreet ; comparatively Wia&Vi&dL...Discrezio' ne, discretion; con discrezione, with discretion or due re- serve ; with judicious subordination to a leading part or parts. Disdiapa'son (Gk., Lat.) In medieval music, the interval of a double octave, Dis'dis (Ger.) D x (usually Disis). Disinvol'to (It.) Free, easy, graceful. . . Con disinvoltu'ra, with ease, grace ; Dis'is (Ger.) D x . [flowingly. Disjunct'. (Fr. disjoint,-e.) See Motion, Tetrachord (disjoined'). Diskanf (Ger.) i. Discant, treble. — Diskant'geige, the violin (the treble instr. of its class) . . . Diskantist' , treble singer . . . Diskant' register , Diskanf.- stimme, in the organ, a half -stop (also Hal'bestim7)ie) . . . Diskanf schliissel, so- prano-clef. Dispar'te, in (It.) Aside. Dispera'to (It.) Desperate, hopeless. . . Disperazio'ne, con, in a style expres- sive of desperation or despair. Dispersed. See Harmony. Dispon'dee, Disponde'us. A double spondee ; a compound metrical foot containing 2 spondees. Disposition' (Ger.) The D. of an organ is properly the preliminary estimate of its cost, fixing the varieties of stops, number of manuals, etc.; but also signifies a concise description of the working parts of a finished organ, especially an enumeration of the stops, couplers, combination-stops, etc. Disposition (Fr.) Gift, talent, genius. Dis'sonance. (Ger. Dissonanz'j Fr. dissonance; It. dissonan' za.) i. In theory, the simultaneous sounding of tones so remotely related that their combination produces beats. — 2. In practice, a combination of 2 or more tones requiring resolution ; opp. to Consonance . . . Dissonant, consisting of tones forming a dissonance 2 ; opp. to consonant. . .Dissonant interval, 2 tones forming a dissonance. The dissonant intervals are the seconds and their in. versions, the sevenths, also all dimin- ished and augmented intervals.. .ZJj>. DISSONARE— DOH. 59 sonant chord, a chord containing one or more diss, intervals. Dissona're (It.) To be dissonant, to form a dissonance. Distance. Interval. [Seldom used.] Distan'za (It.) An interval ; distance... In dislanza, at a distance, marking music to be performed as if far away. Dis'tich. A group of 2 lines or verses ; usually called couplet in modern rhym- ing versification. Distinc'tio (Lat.) i. In Gregorian music, the pauses or breaks dividing vocal melodies into convenient phrases. — 2. See Differentia. Distin'to (It.) Distinct, .clear. . .Z);- stintamen'te, distinctly. Distona're (It.) To sing or play out of tune ; also stonarc. Dit'al. A key which, on pressure with the finger or thumb, raises the pitch of a guitar-string or lute-string by a semi- tone ; opp. to pedal. , . Dital harp, a chromatic lute shaped like a guitar, having from I2 to i8 strings, each con- trolled by a dital to raise its pitch by a semitone; inv. by Light in I7g8, and later improved by him. (Comp. Klavier- Harfe.) Diteggiatu'ra (It.) Fingering. Dith'yramb, Dithyram'bus. A form of Greek lyric composition, originally a hymn in praise of Dionysus ; later greatly modified. Its leading char- acteristics were a lofty enthusiasm, frequently degenerating into bacchantic wildness (whence the adj. dithyram'bic), and the irregular form of its strophes, no two of which were identical. Di'to (It.) Finger. Ditone. (Lat. di' tonus; Fr. diton.) A Pythagorean major third of 2 greater whole tones (Si : 64) ; wider by a comma than a true major third (5 : 4). Ditro'chee, Ditrochae'us. A compound metrical foot consisting of 2 trochees ( -^ ^ — -'); also Dichoree. Ditty. A short, simple song. Divertiraen'to (It.) 1 j. a short poem Divertissement (Fr.) J set to music, and interspersed with songs and dances, for some special occasion. — 2. Light and easy pieces of instrumental music, such as variations, potpourris, etc. — 3. An instrumental composition in 6 or 7 movements, similar to a serenade or cassation. — 4. An entr'acte in an opera, or between compositions of consider- able length, in the form of a short ballet or other entertainment. — 5. Epi- sode in a fugue ; development of a principal theme. Divide. To play divisions. Divi'si (It.) Divided. A direction in scores signifying that 2 parts appearing oh one and the same staff are not to be played as double-stops, but by the division into two bodies of the instr.s playing from that staff. The return to the unison is marked by the direction a due, (or by unis., or a 2). Division, A " dividing-up " of a mel- odic series of tones, vocal or instru- mental, into a rapid coloratura pas- sage ; if for voice, the passage was to be sung in one breath. (Obsolete.). . ^ To run a division, to execute such a passage . . . Division-viol, the Viola da gamba. Division-mark. A slur connecting a group of notes, and provided with a figure indicating their number, show- ing that their rhythm differs from the ruling rhythm of the piece ; as for a quintuplet, triplet, etc. Divo'to, Divotamen'te. See Devoto. Dixibme (Fr.) The interval of a tenth. Do. The Italian name for C; supposed to have been introduced by Bononcini in 1673. It is now also generally adopted in France instead of the Aretinian Ut. Do. In solmisation, the usual syllable- name for the 1st degree of the scale. — • In the 7?.jr«/-/5(; method of instruction, Do'\s the name for all notes bearing the letter-name C, whether key-notes or not. — In the movable-Do method. Do is always the key-note, whatever key is sung in or modulation reached. — In the Tonic Sol-fa system, spelled Doh. Doch'mius. A metrical foot consisting of 5 syllables (— ^ — — ). Doctor of Music. See Bachelor. Dodecachor'don (Gk.) i. See Bissex. — 2. A treatise by Glareanus (1547) on the theory of the 12 keys or modes. Dode'cupla di cro'me (It.) 12-8 time; di semicrome, \i-\ii time, Dodec'uplet. A group of 1 2 equal notes to be performed in the time of 8 in the regular rhythm. Doh. See Do. 6o DOI— DOT. Do'i (It.) Same as Due. Doig^ (Fr.) Finger. . .ZIot^//, fingered. . .Doigi/, or dottier, fingering ; doig- Us fourckus, cross-fingerings. Dol'can. See Dukia'na. Dol'ce (It.) I. Sweet, soft, suave ; dol- cemen'ie, sweetly, softly. — 2. A sweet- toned organ-stop. Dolcez'za (It.) Sweetness, softness ; con d., softly, gently. Dolcian' (Ger.), Dolcia'na, Dolcia'no (It.) I. A species of bassoon in vogue during the l6th and 17th centuries.— 2. In the organ, a reed-stop of 8 or 16- foot pitch ; a fagotto. Dolcia'to (It.) See Raddolciato. Dolcis'simo (It.) Very sweetly, softly. . . Also, a very soft-toned 8-foot flute- stop in the organ. Dolen'do, Dolen'te (It.) Doleful, plaint- ive, sad . . . Dolentemen' te , dolefully, etc. Dolo're (It.) Pain, grief ; con dolore, in a style expressive of pain or grief ; pathetically (also dolorosamen'ie, dolo- ro'so). Dolz'flote (Ger.; Fr. fate douce; It. Jla'uto dol'ce^ i. An obsolete*trans- verse flute, having a half-plug within the embouchure. — 2. In the organ, an open flute-stop of rather narrow scale and 8-foot pitch. 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 dominant triad ; {i) the dom. chord of the 7th. . .Z>. section, of a movement, a section written in the key of the domi- nant, lying between and contrasting with two others in the key of the tonic. . . D. triad, that having the dominant as root. — 2. The reciting-tone in the Gre- gorian modes. Dona nobis pacem. See Mass. Doodlesack. See Ger. Dudelsack. Do'po (It.) After. Dop'pel- (Ger.) Double. . .DoJ>'pel-B, Dop'pelbe, the double-flat. . .Dop'pel- blalt, double reed. . .Dop'pelchor, double chorus . . . Dop'pelfagott, double-baSsoon. ..Dop'pelftote (Dtiijlote), (It. Jla'uto dop'pio), an organ-register of 8- foot stopped pipes, each pipe having 2 mouths, 2 windways, etc., one on either side (behind and in front) like the Bi- fara, but at exactly the same height, so- that the tone does not beat, but is merely remiorc&d. . .Dop'peljlugel, see Vis-a-vis . ..Dop' pelf uge , a double fugue or canon. . . Dop' pelgeige , viola d'amore. . . Dop'pelgriff, double-stop (on the vio- lin), paired notes (on keyboard-instr.s ; e. g. thirds, sixths, and octaves)... Dop'peloktave, double octave . . . Dop'- pelpunit, do\ih\s dot d^. .) . . . Dop'pel- quintpommer, a large variety of bom- bard . . . Dop' pelschlag, a turn . . . Dop'- pekunge, double-tonguing. Dop'pio (It.) Double. . .D. movimen'to, twice as fast.../), vo'te, d. valo're, twice as slow (absolute time-value of notes is doubled) . . ./J./^rfa'/if (in organ- playing), the pedal-part in octaves... Doppio signifies, with names of instr.s, larger in size and consequently deeper in tone. Do'rian or Dor'ic mode. See Mode. Dot. (Ger. Punkt ; Yr. point ; It. pun' - to.) I. A dot set after a note prolongs- its time-value by half (sf- = J w) ; a second dot or third dot prolongs the time-value of the dot immediately pre- ceding it by half (^l.. . =^ cl J ^ J*).- (The dot after a.note upon a line is pre- ferably written above the line when the next note is higher, below the line when it is lower : The dot of prolongation was formerly often set in the next measure, quite away from the note ; e. g. X X which we now write — 2, A dot set over or under a note in- dicates that it is to be executed staccato: (J P ; a slur connecting several such, dots calls for the mezzo-staccato. (Some- times, especially in earlier authors, the staccato-dot calls rather for a sforzando than a staccato ) — 3. In old music, sev- eral dots set above a note indicate that it is to be subdivided into so many short notes ( p ~ rrrn ; now used over a treraolo-sijn in violin-music to mark DOUBLE— DRAMMA. 6r the exact subdivision of the large note (^^_ p ). — 4. Two or four dots set in the spaces of the staff, before or after a double-bar, form a Repeat. Double. I. A variation. — 2. A repetition of words in a song. — 3. In organ-play- ing, a 16-foot stop (as accompanying or doubling the 8-foot stops in the lower octave). — 4. In the opera, etc., a sub- stitute singer. — 5. (Also Grandsire.) In change-ringing, changes on 5 bells. — 6. As an adjective with names of mus. instr.s, double ' signifies "producing a tone an octave lower " ; e. g. double- bassoon, double-bourdon, etc. — 7. The verb double signifies, to add (to any tone or tones of a melody or harmony) the higher or lower octave. Double (Fr.) I (pi. dotibles). See Variation. — 2. The alternativo in a minuet, when merely a variation of the principal theme and retaining the harmonic basis of the latter. — 3. As an adjective, double ; as double-barre, double-bar ; d. coup de langue, double- tonguing ; dottble-croche, a l6th-note ; etc. . .Double - corde, . double-stop. . . Double-main, an octave-coupler (organ). . . Double-octave, double octave . . Dou- ble-touche, a mechanism in the keyboard of harmoniums, etc., for adjusting the key-fall at 2 different levels, with corre- sponding differences in the degree of loudness of tone ■^xaisxc&A. . .Double- triple, 3-2 time. Doubl6 (Fr.) A turn. Double-bar. (Ger. Dop'peltaktstrich, Schluss'striclie; Fr. double-barre; It, dop'pio bar'ra.) i. The two thick vertical strokes drawn across the staff to mark the end of a division, (repeat), movement, or entire piece. — 2. Two thin vertical lines (bars) dividing one y^i (2) section of a move- ~|i_ 1 1 |. p ment from the next — H— — ^ h I r~ section: Double-bass. (Ger. Kon'trabass; Fr. contre-basse; violonar; It. contrabbas' - so.) The largest and deepest-toned instr. of the violin family (with the ex- ception of the rare contrabbasso doppio and the Octobass), with either 3 strings (Gi-D-A being the Italian, A^-D-G the English accordatura), or 4 strings (tuned Ei-Ai-D-G). Compass: w but writ- ten ; {the German tuning) . Double-stop. (Ger. Dop'pelgriff; Fr. double-corde; It. dop'pia ferma'ia.') In violin-playing, to stop 2 strings to- gether, thus obtaining 2-part harmony. Double-tongue. (Ger. Dop'pehunge; Fr. double coup de langue.) In play- ing the flute, and certain brass instr.s, applying the tongue in rapid alterna- tion to the upper front teeth and the hard palate, to obtain a clear-cut and brilliant staccato. (Also Double-tong- uing.) Double-trouble. A step peculiar to the "breakdown." Doublette (Fr.) A 2-foot organ-stop, octave of the principal. Doublophone. A combined Euphoni- um and Valve-trombone, with one com- mon mouthpiece ; a valve operated by the left thumb throws the current of air from the mouthpiece into the tube of either instr. at will. Inv. by Fon- taine Besson of Paris in 1891. Doublure (Fr.) See Double 4 (Engl.) Doucement. (Fr.) Gently, softly. . . Deux, douce, soft, gentle, sweet. Douzi&me (Fr.) The inter\'al of a twelfth. DoTwn-beat. i. The downward stroke of the hand in beating time, which marks the primary or first accent in each measure. — 2. Hence, the accent itself (thesis, strong beat), Down-bovf. (Ger. Herunterstrich; Fr. tlrez; It. arco in giii.) In violin-play- ing, the downward stroke of the bow from nut to point ; on the 'cello and double-bass, the stroke from nut to point ; usual sign (-1 . Doxology (Gk.) A psalm or hymn of praise to God ; especially the Greater Z>. (Gloria in excelsis Deo), and the Lesser /'.(Gloria Patri, etc.) Drag. I. A rallentando.- — 2. A &&- sceading portamento in lute-playing. Draht'saite (Ger.) Wire string. Dramatic music, i. Same as Program- music. — 2. Music accompanying and illustrating an actual drama on the stage. Dram'ma (It.) Drama. — D. li'rico, a. lyric drarDn. . .D. musica'le, a music- 62 DRANGEND— DULCIMER. drama, opera... Z). per mu'sica, a musical drama, o^ex&. . .Dratnmatica- men'te, dramatically. . .Drainma'tico, dramatic. Drang'end (Ger.) Pressing, hastening, hurrying. Dra^7-stop. In the organ, one of the projecting knobs within easy reach of 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, (a) for 3 choirs ; (l>) trichord (said of a pfte.). . .Drei'gestrichen, 3-lined, thrice- accented. . .Z'm'i/aH^, a triad... Drei'stimmig, three-part, in 3 parts, for 3 voices. Drit'ta (It.) See Diritta. Driving-note. Syncopated note. (Ob- solete.) Droit(e) (Fr.) Right ... AfazM droite, right hand (abbr. m. d.) Drone. (Ger. Stim'mer, Bordun' ; Fr. bourdon; It. bordo'ne.) In the bag- pipe, one of the continuously sounding pipes of constant pitch. (Also see Drone-bass.). . .Drone-bass, a bass on the tonic, or tonic and dominant, which is persistent throughout a movement or piece, as in the Musette 2. . .Drone- pipe, same as Drone. Driick'balg (Ger.) Concussion-bellows. Druck'er (Ger.) A specially brilliant (sometimes a forced) effect ; einen Drucker auf'setzen, to bring out such an effect. Drii'cker (Ger.) See Siecher. Druck'vsrerk (Ger.) An organ-action operating by the pressure of stickers on the remoter parts of the mechanism. (See Zug'cuerk.) Drum. An instr. of percussion, consist- ing of a hollow body of wood or metal, over one or both ends of which a mem- brane (the head) is stretched tightly by means of a hoop, to which is attached an endless cord tightened by leathern braces, or by a system of rods and screws. The two chief classes of drums are the rhythmical (those employed to vary and emphasize the rhythm), and the musical (those capable of produc- ing a mus. tone distinct in pitch). The commonest forms of the first class in modern use are : (i) The side-drum (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 representative of the second class is the Kettledrum (which see). Duc'tus (Lat.) A series of tones in stepwise progression ; as d. rec'tus, ascending ; d. rever'tens, descending ; d. circumcur'rens, first ascending and then descending. Du'delsack (Ger ) Bagpipe. Du'e (It.) Two...^ due, signifies (l) for two ; as a due voci, for 2 parts or voices ; (2) both together (see Divisi). ..Due corde, "two strings"; see Cor da .. .Due volte, twice . . . / due pe- dale, both (pfte.-) pedals at once. Duet'. (Ger. Duett'; Fr. duo; It. duef- to.) I. A composition for 2 voices or instr.s. — 2. A composition for 2 per- formers on one instr., as the pfte. — 3. A composition for the organ, in 2 parts, each to be played on a separate manual. Duetti'no (It., dimin. of duetto.) A short and simple duet. Dulcian' (Ger.) See Dolcian. Dulcian'a. i. An organ-stop having metal pipes of narrow scale and yield- ing a somewhat sharp, thin tone. — 2. A reed-stop of delicate tone. — 3. A small bassoon. Dul'cimer. (Ger. Hack'breit; Fr. iyin- panon ; It. cem'balo.) A very ancient stringed instr., greatly varying in con- struction and form ; typical character- istic, the wire strings stretched over a soundboard or resonance-box and struck DUMB PIANO— DURUS. 63 $ with mallets or hammers. In the modern forms the string-tension is regulated by wrest-pins, and the mallet-heads have one soft and one hard face, which pro- duce different effects ^ Iff:) of tone. Compass 2 -& fi^—E- to 3 octaves, g to g^: The dulcimer was the precursor, and is often called" the proto- type, of the pianoforte. See Panialon. Dumb piano. An instr. like a small piano in form, having a keyboard of narrow compass, but neither hammers nor strings ; intended for silent finger- practice, i. e. merely for increasing the mechanical dexterity of the fingers (Comp. Digitorium, and Virgil Prac- tice-Clavier) . . .Dumb spinet, ss&Mani- chord. Dummy pipes. Pipes which do not speak, displayed in the front of an organ. Dump. An obsolete dance in slow tempo and common time. Du'o (It. and" Fr.) A duet. (In English usage, duo is sometimes distinguished from duet by applying the former term to a 2-part composition for 2 voices or instr.s of different kinds, and the latter to such a composition for 2 voices or instr.s of the same kind.) Duode'cima (It.) i. The interval of a twelfth. — 2. A Twelfth (organ-stop).' Duodecimo'le (Ger.) Dodecuplet. Du'odene. A 12-tone group composed of 4 trines, applied to the solution and correction of problems in temperament and harmony. A duode'nal is the sym- bol of the root-tone of a duodene. The term (as also Trine, Decad, Heptad, Heptadecad, etc.) is the invention of A. J. Ellis, a full explanation of whose system of acoustics will be found in his original Appendices to the Second Eng- lish Edition of Helmholtz's work ' ' On the Sensations of Tone," (1885, trans- lated by Ellis himself,!. Duodra'ma. (It. duodram'ma) A kind of melodrama, or spoken dialogue accom- panied by the orchestra. Duo'i (It.) Same as Due. Duo'le (Ger.) Couplet 2. Duo'lo (It.) Grief, sadness, melancholy. Du'pla {proportid). ~ See Notation, §3. Duple. Double... Zi. rhythm, rhythm of 2 beats to a measure. Dur (Ger.) Major. Dur,-e (Fr.) Harsh, unpleasing in tone. Duramen'te (It.) Sternly, harshly. Durch'fiihrung fGer.) In a general sense, the mus. construction or working-out of a movement ; specifically, the develop- ment of a theme, as in the fugue or sonata. (See Development, Form.) Durch'gang (Ger. ; Lat. tran' situs.) The " passage " or progression of one prin- cipal tone to another through a tone or tones foreign to the harmony or key . . . Durch' gangston, passing-tone, chang- ing-tone ; re'gelmdssiger D.ton, one falling on a weak beat ; un'regelmds- siger Durchgangston, one falling on a strong beat, also called a schwe'rer Durchgang, "heavy passing - tone," though properly an anticipation or free suspension. Durch'gehend (Ger.) i. Passing, as Durch' gehender Akkord', passing- chord. — 2. Transitional, as durchge- hende Aus' weichungen, the transitional or continuous modulations necessary in passing to a key harmonically remote. — 3. Complete ; as du7'ch' gehende Stim'men, complete (organ-) stops. Durch'komponieren (Ger.) In song- writing, to set each strophe to differ- ent music, thus following the changing; mood more closely than in the ballad or folk-song, where melody and harmony are generally the same for each verse . . . Durchkomponiert, ' ' through-com- posed," progressively composed. Durch'schlagende Zung'e (Ger.) Free reed. Durch'stechen (Ger.) Running (of wind in an organ). Also said of a pipe which, when facing another, causes the latter to speak by the wind issuing from its mouth. — Durch' stecher, tones pro- duced by the above defects. Dur^e (Fr.) Duration, time-value (of a note). Durez'za (It.) Sternness, harshness. Dur Moll'-Tonart (Ger., "major-minor mode".) The "combined" mode de- rived theoretically from the resolution of the dominant chord in minor to the tonic in major (mode with major third and minor sixth); expressed by the Hauptraann formula D/F-at)-C-e-G-b-D/F. Du'ro,-a (It.) Stern, harsh. Du'rus,-a,-um (Lat, "hard";) Equi- 64 DttSTER— EIN. valent to major in the phrases cantus durus, hexachor'duni durum; i. e. a chant (vocal music) and hexachord with major third ; opp. to Mollis. — B durum, B natural. Dii'ster (Ger.) Gloomy, mournful. Dutch concert. See Concert. Dux (Lat., "leader, guide".) Subject or theme of a fugue. Dynam'ics. The theory of mus. dyna- mics is the scientific explanation of the varying and contrasting degrees of in- tensity or loudness in mus. tones. E. E. (Ger. E; Fr. and It. ?»z'.) The 3d tone or degree in the typical diatonic scale of C-major. (Compare Alphabet- ical Notation, and Solmisation.) E (It.) And ; (before a vowel, ed). Bar. I. (Ger. Ohr, Gehor' ; Fr. oreille; It. orec'chio.'} A mus. ear is one im- pressionable to mus. tones, thus afford- ing to its possessor, after more or less ■practice, the capability of accurately ireproducing them, and of appreciating ;and correctly analyzing compositions performed by others. — 2. One of the 2 projecting plates of metal on either side of the mouth of an organ-pipe. Ebollimen'to, Ebollizio'ne (It.) Ebul- lition ; a sudden and passionate ex- pression of feeling. Ecart (Fr.) A wide stretch on the pfte. Ec'bole (Gk.) The raising or sharping of a tone ; opp. to Ec'lysis. Ecceden'te (It.) Augmented (of inter- vals). Ecclesiastical modes. See Modes. Ec'co (It.) Echo. Echappement (Fr.) The hopper or es- capement in a double-action pfte. ^chelette (Fr.) Xylophone. ^chelle (Fr.) Scale. Echo. I. A subdued repetition of a strain or phrase. — 2. An echo-stop. — 3. A haxpsichoid-stop. . .£c/io-orffan, a separate set of pipes, either enclosed in a box within the organ, or placed at a distance from the latter, to produce the effect of an echo ; it has separate stops, and often a special ma.nua\. . .EcAo- stop, one producing an echo-like effect, either by itself or in an echo-organ. Eclisses (Fr.) Ribs (of a violin). . . Contre-Misses, linings. Eclogue. See £glogue. Ec'lysis (Gk.) The flatting or depression of a tone ; opp. to Ec'bole. E'co (It.) Echo. Ecossaise (Fr.) Originally, a Scotch round dance in 3-2 or 3-4 time ; now, a lively contredanse in 2-4 time. (Com- pare Schottische.) Ecu (Fr.) Shield (on face of lute, man- dolin, etc.) Ed (It.) And. E'del (Ger.) Noble ; refined, chaste. Effekt' (Ger.) 'ERect. . .Effekt'piano, the effect of the forte-piano (fp). Effet (Fr.), Effet'to (It.) Effect, im- pression. Effort (Fr.) In singing, a rough and guttural attack. Egalit^ (Fr.) Evenness, smoothness. Eglogue (Fr.) A pastoral, or idyl, though in somewhat more animated style than the latter. Egua'le (It.) Equal; even, smooth... Egualmen'ie, evenly, smoothly. Eidomu'sikon. See Melograph. Ei'gentlich (Ger.) Proper, actual, true, real . . . Ei'gentliche Euge, a strict fugue. . .Ei'gentliche Kadenz', perfect ca- dence. . .Ei'gentlicher Drei'klang, com- mon chord. Ei'genton (Ger.) Natural tone (of a wind-instr.) ; tone proper to, or pro- duced by, a sonorous body or hollow space. Eighteenth. An interval of 2 octaves and a fourth. Eighth. I. An octave. — 2. An eighth- note . . . Eighth-note, a note representing one-eighth of the time-value of a whole note ; a quaver (' j')- • .Eighth-rest, a rest equal in time-value to an eighth- note. Ei'len (Ger.) To hasten, accelerate, go faster . . . Ei'lend, hastening ; acceleran- do, stringendo . . . Ei'lig, hasty, in a hur- ried style; rapid, swift. Ein, Eins (Ger.) One . . . Ein'chorig, (a) having one string to each note ; (i) for single (or undivided) chorus (choir). . . Ein'fach, simple, plain. . .Ein' gang, in- troduction. . .Ein'gestrichen, one-lined. . .Ein'greifen, (a) to touch or sound (strings) ; (J>) in pfte. -playing, to inter- EIS— EMPATER. 65 lace the fingers. . .Ein'klang, unison. . . Ein'lage, a short piece introduced \ein.'- gelegt) between 2 compositions or in the 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 •or fall in ; ein' seizmder Hornisi', a horn-player who sets the mouthpiece rather within than against his lips ; a lipping sometimes necessitated by thick lips. . .Ein'singen, (a) to sing to sleep ; (*) to practise singing until confidence is attained. . .Ein'spielen, (a) to play on a new instr. till it works smoothly ; (p) to practise a part or piece until confidence is attained. . .Ein'stimmen, to tune (in concert with other instr.s). . .Ein'stim- mig, for one part or voice. . .Ein'lriti, entrance ; beginning. "E'is (Ger.) Eft. . . E'isis, E x . Ei'senvioline (Ger.) See Nagelgeige. Eklo'g(u)e. Ger. spelling of Aglogue. Ela. Name of the highest note in the Aretinian scale ■f Electric Organ. See Organ. . .Electric Pianoforte (Ger. elektropho' nisches Kla- vier"), inv. in l8gi by Dr. Eisenmann of Berlin. Over each unison of strings an electro-magnet is fixed ; on closing the circuit (by depressing a digital) each magnet attracts its strings, and (the magnetic action being duly controlled and limited by a set of microphones) ■causes their continuous vibration. — Tone (of the improved instr.) full, sweet, capable of the most various dynamic Elevation. + written played : El£vation (Fr.) i. Up-beat or weak beat (also lev^") ; opp. to Frapp/. — 2. Same as Elevatio 2 and 3. Eleva'to (It.) Elevated, lofty, sublime. . .Elevazio'ne, see Elevation. Embellir (Fr.) To embellish, orna- ment. Embellishment. See Grace. shading ; timbre like that of the string- orchestra ; the ordinary hammer-action may be employed alone, or in combina- 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. El^gamment (Fr.) Elegantly. Elegan'te (It) Elegant, graceful... Elegantemen'te, elegantly, etc. Elegie'zither (Ger.) See Zither. El'egy. (Fr. /l/gie ; It. elegi'a.) A composition of a mournful cast, either vocal or instrumental ; a dirge . . . Ele'- giac, a pentameter, i. e. a verse com- posed of 2 dactylic penthemims or written in elegiac metre. . . Elegiac verse, that in which elegiac poems or verses are written, consisting of elegiac dis- tiches ; an elegiac distich being one in which the first line is a dactylic hexa- meter, and the second a pentameter, thus : Element (Fr.) The entire range of tones embraced in the mus. scale... £Ument metrique, a measure-note. Eleva'tio (Lat.) i. Up-beat ; unac- cented count. — 2. The rising of a mel- ody over the ambitus of the mode. — 3. A mus. composition accompanying the elevation of the Host. Elevation. See Elevatio. . .Also, the name of 2 obsolete graces, the elevation and shaked elevation : Shaked Elevation. 4- Embouchure (Fr.) i. The mouthpiece of a wind-instr., or the oval orifice of a flute. — 2. See Lip. Empater les sons (Fr.) To produce a very smooth and suave legato. . .Exe- cution (voix) empdt/e, an instrumental (vocal) style lacking in neatness and distinctness. 66 EMPFINDUNG— ENTREE. Empfin'dung(Ger.) Feeling, emotion.. . Empfin' dungsvoll, full of feeling ; feel- ingly, with emotion. Empha'se (Gar. and Fr.) Emphasis, stress. Emport^,-e (Fr.) Carried away by feel- ing or passion. Empresse,-e (Fr.) Urgent, eager ; in haste. Enarmo'nico (It.) Enharmonic. En badinant (Fr.) See Scherzando. Enclavure du manche (Fr.) Space cut in belly (of violin) for insertion of neck. Encore (Fr.) "Again!" (in English 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- peated. End-man. In the "negro minstrels", a man who sits at the end of the semi- circle formed by the company on com- mencing the performance. There are 2 or 4 such end-men, who provide a good part of the fun apart from the 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 (Ger.) En- ergetic, vigorous ; indicates that the passage so marked is to be vigorously accented and distinctly phrased. Enfant de choeur (Fr.) A choir-boy. Enfa'si, con (It.) With emphasis, em- phatically. . .Enfa'tico, emphatic. Eng (Ger.) Narrow, c\os& . . . Eng' e Harmonie' (Lage), close harmony. Eng'elstimrae (Ger.) Vox angelica. Eng'fuhrung (Ger.) The stretto in a fugue. Eng'lisch (Ger.) English ... j£«^/tj(r/4 Horn, cor zvi^^X?,. , .Eng'liscke Me- cha'nik, English action (pfte.). . .Eng"- lischer Tans, anglaise . . Englisch Vio- let' , (a) an obsolete bow-instr. re- sembling the viola d'amore, with 14 sympathetic strings stretched below the fingerboard ; (!>) a former tuning of the violin («'-«-^'-a'). Enharmon''ic. (Ger. enharmo'nisch ; Fr. enharmonique ; It. enarmo'nico^ In Greek music, the enh. genus was distinguished by a tetrachord, the first 2 steps in which were (approximately) quai'ter-tones, and the third step a major third. — In modern music, enhar- monic tones are tones derived from dif- ferent degrees, but practically identical in pitch, as 4f ^'^'I d\) on the pfte. or organ. . .Enharmonic change, a change effected in the harmonic relations of a tone or chord by treating it as identical in pitch with another tone or chord of dif- ferent notation ; thus: where the enharm. change of Br) to aj brings about a different resolution of the diminished seventh-chord by chang- ing its tonality: (l) a?-minor. (2) i^-minor. . .Enharmonic chords, chords (like I and 2 above) alike in pitch but unlike in notation and derivation. . .Enharm. di'esis, see Diesis. . .Enharm. interval, one derived from an enharm. change . . . Enharm. modulation, an enharm. change of chords, as above. . .Eiiharm. organ, pianoforte , scale, one in which 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 I etc. Ensemble (Fr.) Concert, in the sense of " agreement of 2 or more in a de- sign or plan". — i. The unity of a composition ; the harmonious agree- ment of parts which forms a well-bal- anced whole. — 2. The harmonious co- operation of the various factors in a performance ; of the actors, singers, musicians, or instruments, taken in groups or together . . . Morceaux d' en- semble, concerted music. En serrant (Fr.) Stringendo. Entr'acte (Fr., " interval between acts".) A light instrumental composition or short ballet, intended or adapted for performance between acts. Entra'ta (It.) See Entree, and Intrada. Entree (Fr.) i. See Intrada; also, specifically, the orchestral prelude to a ballet, following the overture. — 2. En- trance (of a part or actor). — 3. A division of a ballet corresponding to a " scene" in a dramatic performance ; also, the dance-music accompanying it. — 4. An old dance resembling the Polonaise in character, usually in 4-4 time ; often ENTRY— ESPRESSIONE. 67 occurs as first movement in the Sere- nata. Entry. An act of an opera, burletta, etc. (Obsolete.) Entschlos'sen (Ger.) Resolute(ly), de- termined, in a determined manner. Entwurf (Ger.) Sketch, plan, design. Eo'lian. See ^olian. Ep'icede. (Lat. epice' dium ; Fr. 1^2- Me ; It. epice' dio^ A funeral song, dirge. Eptg^o'nion (Gk.) The ancient Greek lyre with 40 strings, named after its re- puted inventor Epigonos. £pinette (Fr.) Spinet. Epini'cion (Gk.) i. A triumphal song in celebration of a victory. — 2. In the Greek Church, the triumphal hymn, the Sanctus. Epio'dion (Gk.) A funeral song. Episode. (Ger. Zwisch'ensatz; Fr. epi- sode; It. diver timen' to.) An intermedi- ate or incidental section ; a digression from and interpolation between the repetitions or developments of the prin- cipal theme or themes of a composition ; specifically, in the fugue, a passage of the above character ordinarily formed of motives taken from the subject or coun- tersubject. Epistle side (of the altar). That on the priest's left, when he is facing the con- gregation ; the south side ; opp. to the gospel or north side. Epis'trophe (Gk.) In a cyclic composi- tion, a refrain. Epit'asis (Gk.) The raising of the voice, or the strings of an instr., from a lower to a higher pitch. (See Anesis.) Epithala'mium (Lat.), Epithala'mion (Gk.) A nuptial song or poem. Epito'nion (Gk.) A tuning-wrench ; a pitch-pipe. Ep'itrite. Same as Hippius. Ep'ode (Gk., "after-song".) I. A re- frain. — 2. The concluding stanza of an ode, following the strophe and anti- strophe. Eptacorde (Fr.), Eptacor'do (It.) i. Heptachord. — 2. A scale of 7 notes. — 3. The interval of a seventh. Equa'bile (It.) Equable, even, uniform, simiXai. . .Eqtiabilmen'te, equably, etc. Equal counterpoint, temperament. See the nouns . . . Equal voices, voices of the same class, i. e. either woinen's (or ^oys') voices (contralto and soprano), or men's voices (tenor, bass) ; opp. to "unequal voices," a term equivalent to mixed chorus. E'quisonance. In medieval music, the unison (of primes or octaves). Equisonnance (Fr.) The unison (of octaves, double octaves, etc.) Equi'sono (It.) In unison or octaves. Equiv'ocal or doubtful chord. See Chord. Ergrif'fen (Ger.) Affected, stirred, rao\- ei...Ergrif'fenheit, emotion, agita- tion. Erha'ben (Ger.) Lofty, exalted, sub- lime. . .Erha'benheit, sublimity, etc. Erhoh'ung (Ger.) Raising (the pitch of) ; sharping. . .Erhoh'ungszeichen, sign of raising, as the fl, or a t] after a \). Ermat'tet (Ger.) Exhausted, wearied. Ernie'drigung (Ger.) Lowering (the pitch of) ; flatting. . .Ernie' drigungs- zeichen, sign of lowering, as the \), or the tj after a f,. Ernst (Ger.) Earnest, serious, grave. ' (Also adverb^ Ero'ico,-a (It.) Heroic ; strong and dignified. Erot'ic. (It. ero'iico.) i. Amatory. — 2. An amatory poem, a love-song. Er'ster,-e,-es (Ger.) First. . .Et'ste Stim'me, the highest part or voice. Erwei'tern (Ger.) To extend, expand. Erwei' terte Harmonic' , seeLage, lueite. . .Erwei'lerter Satz, a movement in which there is a full exposition of the subject by development, repetition, etc. . .Erwei'ierung (of a fugal theme), the widening of any of its intervals. Erzah'ler (Ger.) The Evangelist or Narrator in a Passion-play. Erz'laute (Ger.) Archlute. Es(Ger.) Eb....£/«, Ebb- Esacor'do (It.) i. Hexachord. — 2. The interval of a sixth. Esat'to (It.) Exact, true. Esecuzio'ne (It.) Execution. Eserci'zio (It.) Exercise ; practice. Espace (Fr.) Space (in staff). Espiran'do (It.) Expiring, dying away. Espressio'ne, con (It.) With expres- sion, exy/ressivAy. . .Espressi'vo, ex- pressive. 68 ESSENTIAL HARMONY— EXTEMPORIZE. Essential harmony. See Harmony.. . E.SS. notes, chord-notes., .^j-/. yth, (a) the leading-note ; {b) the dominant chord of the 7th. Estensio''ne (It.) Compass. . .Ssteso,-a (pi. estesi,-e), extended. Estinguen'do (It.) Extinguishing, dy- ing away. Estin'to (It.) Barely audible ; the ex- treme of pianissimo. Estravagan'za (It.) Extravaganza. Etalon (Fr.) Scale 3. Etendue (Fr.) Compass. Etoff6(e) (Fr.) Having " body". . . Voix ^toff/e, a full, sonorous voice. Etouff6,-e (Fr.) Stifled, damped, muf- fled . . . ^touffoir, damper (pf te.) Ettacor'do (It.) See Eptacordo. Etude (Fr.) A study ; especially, one affording practice in some particular technical, difficulty. . .&tude de concert, an etude designed for public perform- ance ; a species of characteristic piece. Et'Twas (Ger.) Rather, somewhat. Euharmon'ic. Producing harmonies perfectly pure ; opp. to tempered. . . Enharmonic organ, one having a suf- ficient number of keys to produce all the fundamental and the chief deriva- tive tones. EUOU AE. See E VO VAE. Eupho'ne. i. (Also Euphon.) See Euphonium. — 2. In the organ, a 16- foot free-reed stop, with a soft sweet tone like that of the clarinet. Eupho'nia (It.) Euphony. Eupho'niad. A kind of orchestrion. Eupho'nium. i. An instr. inv. by Chladni in 1790, consisting of gradu- ated glass tubes set in vibration with the moistened fingers, and connected with steel rods. (Also Euphon^ — 2. The bass Saxhorn. Euter'pe. One of the nine Muses, the inventress, of the double flute, and pa- troness of flute-players and of primitive and simple melody. Evacua'tio (Lat.) In mensurable nota- tion, writing only the outlines of solid notes, thus reducing their value by one- half. Evakuant' (Ger.) The exhaust-valve or exhaust-pallet in the organ ; (Engl, also evacuant), __ Evening-song, Even-song. In the Anglican Church, a form of worship appointed to be said or sung at eve- ning ; known as Vespers in the R. C. Church. Ever'sio, Evolu'tio (Lat.) The inver- sion of the parts in double counter- point. Evira'to (It.) See Castrato. Evolution (Fr.) See Renversement, EVOVAE. The vowels of S^c«lOT«m am^n, the last two words in the Gloria Patri. — In Gregorian music, the trope closing the Lesser Doxology ; in a wider sense, any trope. Exercise. (Ger. O'bung, O'iungs^tiick; Fr. exercice; It. eserci'zio.) A short technical study, often consisting of but one repeated measure, for training the fingers (or vocal organs) to overcome some special difficulty ; also, a short study in composition, consisting of an outline (e. g. a figured bass, or a cantus firmus) to be filled out harmonically or contrapuntally by the student. Exhaust-pallet or -valve. A valve opened by a draw-stop, to let off the wind in the bellows after playing ; an evacuant. Exposition, i. (Ger. er'sie Durch' filh- rung.) %e.& Fugue. — 2. (Ger. ,[-/;o«'].) Development. Expression (Fr.) i. Expression. — 2. The vibrato effect on bow-instr.s. Expression. (Ger. Aus'druck; Fr. ex- pression; It. espressio'ne^ The clear and effective presentation of the emo- tional and intellectual content of a work ; its proper reading and interpre- tation, rendering and execution ... .fix- pression-mark, a written direction (either a sign, word, or phrase) for the performance of a piece. . .Expression- stop, in the harmonium, a stop which closes the escape-valve of the bellows, so that the wind-pressure, and conse- quently the intensity of the tone, is partly under the control of the pedals. Expressive organ. (Ger. Expressit/- orgel; Fr. orgue expressif.) The har- monium. Extem'pore. Without previous prepar- ation ; on the spur of the moment ; off- hand. Extem'porize. (Ger. extemporie'ren.) To improvise . . . Extemporizing-ma- chine, an apparatus for mechanically EXTENDED COMPASS— FAGOTTO. 69 recording improvisations on the pfte. or organ by means of a mechanism placed in communication with the key- board. See Melograph. Extended compass, harmony, inter- val. See the nouns. Extension (Fr.) i. On the pfte., a stretch ; on the violin, the extension of the little finger or forefinger of the left hand. — 2. Same as i^tendtce. Extension-pedal. See Pedal. Extraneous chromatic signs. Those not proper to the key. . .Extraneous modulation, one to a remote key. Extravagan'za. A composition of an extravagant, virhimsical, or fantastic character ; a burlesque. Extreme, i. Of intervals, augmented. The chord of the extreme sixth has a major third and sharp sixth, and oc- curs on the 6th degree in minor in 3 principal forms : 3. or with progression to major (^jj). — The first form is called the Italian sixth; the second, the French sixth; and the third, the German sixth. — 2 (pi.) In part-music, the outer parts. — 3. Extreme key, a remote key. F. (Ger. F; Fr. and It. /a.) The fourth tone and degree in the typical diatonic scale of C-raajor. (Comp. Alphabeti- cal notation, Solmisation.) — f-=:forte; /for fff (seldom ffff^ , fortissimo. Fa. I. The fourth of the Aretinian syllables. — 2. Name of the tone F in Italy, France, etc. . .Fa feint (Fr.), fa f.c'tum (Lat.), former term for any flatted note...Aa mi, in solmisation, the descending step of a semitone; originally that from F to E, thereafter from £\) to A, £^ to D, etc. Fabliau (Fr.) A versified tale or ro- mance of the trouvires, in vogue chief- ly during the 1 2th and 13th centuries. . .Fablier (Proven9al), a Trouvhre. Fa'burden. (Fr. faux bourdon; It. fal'so bordo'ne.) i. In medieval music, the primitive harmonization of a. t. f. by adding the third and the sixth above, and progressing in parallel motion throughout, only the first and last chords having key-note, fifth, and oc- tave.— 2. Later, the setting of a simple (note against note) counterpoint to the c. /., strict parallel motion being given up to some extent ; dissonances were avoided, various embellishments added, and the whole counterpoint frequently improvised. — 3. A drone-bass, a bur- den. — 4. The intonation of the Psalms. Face (Fr.) Thepositionof a chord, either as a fundamental chord or inversion ; e. g. a triad has 3 faces. -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. Fach'erfdrmiges Pedal' (Ger.) A "fan-shaped" or radiating pedal-key- board. Faci'le (Fr.), Fa'cile (It.) Facile, easy, &Ment . . . Facilement (It. facilmen'te), easily, fluently. . . Facility (it. facilita'), ease, easiness, facility, fluency ; facili- te{e) also signifies made easy, as an easy arrangement of a difficult piece or passage. Fack'eltanz (Ger.," torch-dance".) A torch-light procession arranged at some German courts at the marriage of a member of the reigning family ; the music is a polonaise in march-time, for military band, and in minuet-form. Facture (Fr. ; Ger. Faktur'; It. fattu'- ra.) I. The plan, build, structure, construction of a composition. — 2. (Fr. and It.) Scale (of organ-pipes). -fa'dig (Ger.) Equivalent to threads (of violin-strings), as ^fadig, having 4 threads. Fad'ing. An Irish dance ; also, the burden of a song. Fagott' (Ger.) Bassoon . . . Fagott'zug (or simply Fagott), a reed-stop in the organ. Fagot'to (It.) Bassoon. . .Fagotti' no, a 70 FAH— FAUSSE. in Tonic Sol-fa. Weak . . . Temps faible. " small bassoon '' pitched a fifth higher than the ordinary one (Ger. Quinf- fagoit. Tenor' fagolf) . . . Fagotti' sta, a bassoonist, bassoon-player. . . Fagotto' ne, double-bassoon. Fah. For /a Faible (Fr.) weak beat. Faktur' (Ger.) See Facture. Fa-la. See Ballet 3. . .Also, in Italy, a kind of arietta ending with a burden of fa-la. Fall. I. Same as Fly. — 2. A cadence or close. — 3. A lowering of the voice. Fall (Ger.) See Ton' fall. Falling rhythm. A descending rhythm. Fal'sa (Lat. and It.; Ger.falsch.) False, wrong. . .Mu'sica falsa, see Ficta. . . Quin'ta falsa (Ger. fal'sche Quin'te), diminished fifth. False. (Ger. falsch ; Fr. faux, fausse ; It. falso,-a^ Wrong; not true to pitch, out of tune . . . False cadence, chord, fifth, harmony, see the nouns. . . False relation, also inharmonic rel., cross-rel., an harmonic discrepancy arising from the chromatic contradiction of a tone in one part by another part. In equal counterpoint it is apt to occur at a modulation, and consists in sound- ing, either simultaneously or success- ively, a tone and its chromatically al- tered octave. The former case is generally confined to passing-notes in figuration, and then has no ill effect ; the latter case occurs when a chromatic- ally changed tone, which might have been reached in one part by the step of a chromatic semitone, enters in another octave in another- part ; the effect is harshest in passing from a major chord to a paral- J j lei minor :^- ^!St^ ° - chord, or m ' '' ' vice versa: v Falset'to (It. ; Ger. Falsett' ; Fr. voix defausset, fausset.) The highest of the 3 vocal registers (chest-voice, head-voice, falsetto), so named from its forced or unnatural character ; often reckoned to the head-register. . .Falset'tist, a falset- to singer. Fal'so,-a (It.) False. . .Falso dordone, {a) see Faburden ; (b) the reciting-note. Fancy. A short piece of an impromptu character ; a fantasy. Fandango. (Span.) A lively Spanish ^^ =J=^^ T dance in triple time, for 2 dancers of different sex, who accompany it with castanets, or sometimes (in the case of the man) with a tambourine The dance alternates with vocal couplets, both dance and song having a guitar- accomp.; the following is the Castanet- rhythm: / J??] | .^^ / Fanfa'ra (It), Fanfare (Fr.) i. A brass-band. — 2. A fanfare. Fan'fare. A ilourish of trumpets or trumpet-call, either in the orchestra, on a hunt, or at warlike gatherings. Fantasi'a (It.; Ger. Fantasie' , Phan- tasie's Fr. fantaisie.) I. An impro- visation or impromptu. — 2. In the 1 7th and 1 8th centuries, an instrumental composition in free imitation, as con- trasting with one in strict imitation. — 3. Later, a composition free in form and more or less fantastic in character. — 4. A term loosely applied to pot- pourris and paraphrases ... /'V(?^ fan- tasia, that part of the first movement of a symphony or sonata which follows the double-bar (repeat of first part) and precedes the reintroduction of the prin- cipal theme ; it consists chiefly of a free development of motives taken from the first part. Fantasie'ren (Ger.) SeePhantasieren. . .Fantasie' stack, see P hantasiestiick. Fanta'stico (It.), Fantastique (Fr.), Fantas'tisch (Ger.) Fantastic, giving free rein to the fancy. Fan'tasy. See Fantasia. Farando'la, Farando'le. A circle- dance of southern France and the ad- joining Italian provinces, in 6-8 time and very rapid tempo. Farce, i. (It. far'sa.) A one-act opera or operetta of ultra-comical or burlesque character. — 2. (It. farsia.) A canticle in the vernacular intermingled witli Latin, formerly sung at the principal festivals of the R. C. Church, and later finding ludicrous imitation in the farsa or farce. Fa'scia (It.) i. A tie.— 2 (si\., fascie). Ribs. Fastosamen'te (It.) Pompously, in a stately style. . .Fasto'so, pompous, stately. Fatigue-call. A signal to soldiers, call- ing them to fatigue-duty. Fattu'ra (It.) See Facture. Fausse (Fr., masc. /a«;r.) False... i''. FAUSSET— FIFTH. 71 quints, dimin. fifth. . .TT, relation, false relation . Fausset (Fr.) See Falsetto. Faux (Fr.) False . . . Faux-bourdon, see Faburden. F-clef. (Ger. F-schliissel ; Fr. clef de fa ; It. chiave di basso.) See Clef. Fe'derklavier (Ger.) Spinet. Feeder. In the organ, see Organ, (i) Wind-supply. Fei'erlich (Ger.) Festive ; solemn, grave, serious. (Also adverb.) Fei'len (Ger.) To file, polish, refine, put the finishing touches to. Fein (Ger.) Fine, delicate, refined. Feint,-e (Fr.) See Ficta. Feld'fl6te,-pfeife (Ger.) 1. SteBauem- Jlote. — 2. A fife. — 3. See Schweizer- flote 2. Feld'stiick (Ger.) A cavalry-call or signal. Female or feminine rhyme. A rhyme ending with an unaccented syllable, as fate'ful — ungrate'ful. Fermamen'te (It.) Firmly, with de- cision. Ferma're il tuono. See Messa di voce. Ferma'ta (It.), Ferma'te (Ger.) i. A pause, stop, or interruption, as that be- fore the cadenza of a concerto. — 2. A hold (^). — 3. A stop (on the violin). Fermez'za, con (It.) In a firm, de- cided, energetic style {deciso). Fer'mo (It.) Firm, decided ; fixed, un- changed (as canto fermo). Fer'ne (Ger.) Distance. . . Wie aus der Feme, as if from a distance. Fern'flote (Ger.) A covered 8' organ- stop of very soft tone. Fern'werk (Ger.) Echo-organ. Fero'ce (It.) Wild, fierce, vehement... Ferocita' , wildness, vehemence ... Ctf« ferocita, wildly, vehemently. Fer'tig (Ger.) Ready; done, finished ; prompt, skilful, &e,yAerov&. . .Fer" tigkeit, readiness, skill, dexterity ; technical finish. Ferven'te (It.) Fervent, ardent, pas- sionate. Fes (Ger.) Y\) . . .Fes'es, P^f- Fest (Ger.) I. A festival . . . MusiUfest, mus. festival. — 2. P'irm, steady. (Also adv^ wind. . Fa fie'. Festivamen'te (It.) In a gay, festive manner. . .Festivita' , festivity, mirth : con f, in a gay and festive style . . . Fes- ti'vo (Ger. fest'licK), festive, festal (also festo'so). Feu'er (Ger.) Fire, ardor, passion . . . Feu'erig, fiery ; with fire, ardently, pas- sionately. F-holes. (Ger. F' -locker ; Fr. les F.) The 2 /-shaped soundholes cut in the belly of the violin, etc. Fiac'co (It.) Languishing. Fia'sco (It.) Failure. Fia'to (It.) Breath, breeze, Strumen'to daf, wind-instr. Fic'ta,-um (Lat., "feigned".) turn, see Fa. . .Mu'sica ficta, see Mu- sica, in Appendix. Fiddle. (Ger. Fi'del, Fie'del.) See Vio- lin. . .Fiddle-bow, fiddlestick, see Bow. Fi'des (Lat.) I. The string of a mus. instr. — 2. A lute, lyre, cithara. Fi'dicen (Lat. ; f em. fidicina.) A player on a stringed instr. Fidic'ula (Lat.) Dimin. of Fides. Fidu'cia (It.) Confidence, boldness. Fie'del (Ger.) Tidd\e. . .Stroh'fiedel, xylophone. Fier, Fi^re (Fr.) Proud, haughty. Fie'ro,-a (It.) Wild, fierce ; bold, vig- orous. . .Fieramen'te, wildly, boldly. . . Fierez'za, fierceness, boldness, vigor. Fife. (Ger. Quer'pfeife ; Fr. fifre; It. piffero.) I. An octave cross-flute with 6 holes and without keys (thus differ- y ^ ing from the Piccolo) ; ^ | ^=: compass about > tJ used chiefly as a march-accomp. with the drum. — 2. An organ-stop of 2-foot pitch ; a piccolo-stop. Fifteenth, i. (Ger. Quint' dezime ; Fr. quinziime ; It. quindice'sima.) A double octave. — 2. An organ-stop of 2- foot pitch. Fifth. (Ger. Quin'te ; Fr. quinte ; It. quin'ta.) An interval of 5 diatonic de- grees (see Interval) ; also, the 5th de- gree in the diatonic scale, the dominant. ..The typical or standard interval of this name is the perfect (or major) fifth, equal to the interval between the key- note and the fifth tone of the diatonic scale ; e. g. e,zia m^ (c-g), the vibrational ratio being ir:^::2:3. . .Diminished {Jmperfect, defective, 72 FIFTHY— FINGER-CYMBALS. minor, or false) fifth, an interval nar- rower by a semitone than a perfect fifth. . .Augmented {pluperfect, superfluous, or extreme) fifth, one wider by a chro- matic semitone than a perfect fifth . . . Consecutive (ox parallel) fifths, see Con- secutive. . . Covered {concealedor hidden) fifths, see Octave. . . Circle of fifths, see Temperament. Fifthy. Having the second harmonic (fifth above the octave of the generator) specially prominent. Figur' (Ger.) See Figure 2. Figu'ra mu'ta (Lat. and It.) A rest. Figu'ra obli'qua (Lat.) The "oblique figure " of Plain chant and mensurable music was a simple ligature formed by uniting 2 notes ; (a) in Plain chant, it was written in 2 ways : I. 2. ^ sung ^E {b) in mensurable notation thus : ^^»)s°^m^s sung: igt EH i Ssz. :et ; i n all cases the ends of the figure marked the seats of the 2 notes. In the midst of a ligature it possessed no special significance ; but at the termination it denoted the imper- fection of the final note. Flg'ural. See Figurate. . .Figural'ge- jo»j'(Ger.), cantus figuralis. ..Figural'- musik, unequal or figurate counterpoint. Figurate. (Ger. figuriert' ; Fr. figuri; It. figura'to.) Having, or consisting of, figurations. (Also Figurative.) Figuration, i. In counterpoint, the introduction of comparatively rapid fig- ures or phrases, containing passing and changing-notes, into the counterpoint. — 2. The variation of a theme by accom- panying it with florid runs and pas- sages, or by substituting for its own melody-notes more or less florid varia- tions. — 3. The writing-out of a figured bass. Figure. I. (Ger. Figur" ; Fr. figure; It. figura.) A distinct group of notes, a motive. — 2. (Ger. Ziffer; Fr. chiffre; It. ci'fra.) A numeral, as used in thorough-bass. Figured. I. (Ger. bezif'fert; Fr. chif- fri(e); It. cifra'to.) Provided with fig- ures, as a bass (see Thorough-bass). — 2. Figurate. Fil (Fr.) Thread (of a violin-string). Filar' il tuo'no, la voce (It.) In the Italian method of singing, to produce an even, sustained tone, without cre- scendo or diminuendo. (Also affilar^ il tuono; Fr. filer un son, la voix.) Fil'pen (Ger.) See Fistulieren. Fi'lum (Lat.) Stem (of a note). Fin (Fr.) End, close. Final. In Gregorian music, that tone (in any mode) on which the melody must end (equiv. to Icey-note or tonic) r in the authentic modes it was the low- est tone ; in the plagal modes, the 4tb tone from below. Irregular final tones were called confinals ... Final close, closing cadence. Fina'le (It.) i. A final.— 2. The con- cluding movement of a sonata, sym- phony, etc. , or the closing number of an act in an opera. An operatic finale is generally an ensemble for soloists and chorus, and intended to have a highly dramatic or otherwise striking effect. Fina'lis (Lat.) See Accentus. Fi'ne (It.) End, close ; indicates either the end of a repeated section (after the da capo or dal segno), or the end of a piece in several divisions. Fing'er (Ger.) Finger. . . Finder bildner, ("finger-developer"), see Dactylion. An apparatus of this name was also in- vented by Seeber, and consists of a separate attachment for each finger, whereby the bad habit of bending the last joint inwards is corrected . . . Fing'- erfertigkeit, "finger-dexterity", agility and readiness of the fingers . . . Fing'er- leiier, see Chiroplast. . .Fing' ersatz, Fing'ersetzung, fingering ; eng'er F,, close fingering; gedehn'ter F., spread fingering, stretches. . .Fing'erwechscl, change of fingers. Fingerboard, i. (Ger. Griff' bretj; Fr. louche, manche: It. tastie'ra.) In the violin, guitar, etc., the thin, narrow strip of wood glued upon the neck, above which the strings are stretched, and on which they are stopped with the fingers of the left hand. — 2. See Key- board. Finger-cymbals. Very small cymbals, held in pairs on the thumb and fore- finger of both hands . . . Finger-hole (Ger. Ton'loch), in the flute, clarinet, etc., a hole in the tube, to be closed by FINGERING— FLAUTANDO. 73 a finger or by a lever operated by a finger, thus changing the pitch. Fingering. (Ger. Fing'ersaiz, Appli- katur' ; Fr. doigier; It. diieggiatu'ra.) I . The method of applying the fingers to the keys, holes, strings, etc., of mus. instr.s. — 2. The marks guiding the performer in placing his fingers. . . Eng- lish (or American?) Jingering (for the pfte.), that in which notes taken by the thumb are marked x (or + ) with i 2 3 4 for the fingers ; German (or conti- nental) fingering, that in which the thumb is marked I, and the fingers 2 3 4 5. (An earlier German system re- sembled the English, merely using a o instead of the x for the thumb.) Fini're il tuono. See Messa di voce. Fini'to (It.) Finished. Fi'no (It.) Till, up to, as far as. Fin'to,-a (It.) Feigned. . .Ca(/«»'z3^K- ta, deceptive cadence . . . Fa finto, see Fa feint, Fiochet'to (It.) Somewhat hoarse ; faint, veiled . . . Fiochez' za, hoarseness . . .Fio'co,-a, hoarse, faint, veiled. Fioreggia're (It.) To figurate. Fioret'to (It.) Any melodic embellish- ment. Fiori'to (It.) Florid, embellished... Fioritu'ra, an embellishment, an orna- mental turn, flourish, or phrase intro- duced into a melody (commonly used in pi. , fioriture). First. I. Of voices or instr.s of the same class, the highest; e. g. first so- prano, first violin. — 2. In the staff, the lowest; as first line, first space. — 3. T\^& first string of an instr. is the high- est. — 4. As the name of an interval, the prime or unison. Fis(Ger.) Y%...Fis'is,Y y. . Fis'telstimrae (Ger.) Falsetto. (Also Fistei:) Fis'tula (Lat.) Pipe. Fistulie'ren (Ger.) i. To sing falsetto. — 2. Of an organ-pipe, to overblow in such wise as to sound (unintentionally) some harmonic tone instead of the fundamental. Fixed Do. The fixed-Do system of solmisation is that in which the tone C, and all its chromatic derivatives (Cft, Cx, and C\}, C\)\)) are called Do, D and its derivatives Re, etc., in whatever key or harmony they may appear ; the syllables are then termed fixed syllables. . .Fixed-lone instr.. (or instr. of fixed intonation), one (like the pfte. or or- gan) the pitch of whose tones cannot be modified at the player's pleasure like, for example, the tones of the violin. Flag. I. A hook ( f> >). — 2. Abbr. for flageolet {-tones). Flageolet. I. (Ger. Flageolet t'; Fr. flageolet; It. flagiolefta) A modern- ized fliite a bee, a small wind-instr. of the whistle family. There are 2 species still in use, the English and the French ; the latter is the more complicated, hav- ing 4 holes above and 2 below, various auxiliary keys, g It and a compass of 2 octaves and 3 semi tones,^' to ^-'p 8«« - 's not \,m used m the : orchestra. . . ■.D u b I e flageolet, an instr. inv. by Bainbridge about 1800, consisting of 2 flageolets of difl'erent size placed side by side and having a common mouthpiece ; simple duets could be played on it, but it is no longer in use. . .Flageolet-tones, see Harmonic 2. — 2. A small flute-stop in the organ, of I or 2-foot pitch. Flageolett' (Ger.) i. Flageolet. — 2. General term for the harmonics {Flageo- let' tiine) produced on the violin, etc. Flaschinet' (Ger.) Obs. spelling of Flageolett. Flat. (Ger. Be ; Fr. bimol ; It. bemol'le.) The character \) , which lowers the pitch of a note before which it is set by a serai- tone, and, when set in the signature, has a like effect on notes occurring on its line or space (and every octave of such line or space) unless cancelled. — Some earlier composers used the \) in- stead of a p whenever a note was to be lowered by a semitone. — The double flat \)'r) lowers a note by 2 chromatic semitones; for it \^q great flat I? was sometimes written.. . Flat flfth, a dimin- ished fifth. . .Flat tuning, a method of tuning the lute (also called French flat tuning, by reason of the comparative lowness of the earlier French pitch). Flatter la corde (Fr.) "To caress the string," i. e. to play (on bow-instr.s) with graceful and tender expression. Flautan'do, Flauta'to (It.) A direc- tion in music for the violin, etc., to play near the fingerboard, and thus to pro- 74 FLAUTO— FOLK-SONG. duce a somewhat flute-like tone. . .Also, occasional iox fiageolct. Fla'uto (It.) Flute... j^/. a becco, flute i bee. . .Fl. pic' Colo, see Piccolo. . .Fl. iraver" so, cross or transverse flute... Flauto also frequently occurs as a name for organ-stops, e.g. flauto ama'bile, flauto dol'ce, etc. . .Flauti'no, a small flute. . .Flauti'sta, a flute-player, flutist. . . Flauto' ne, a large or bass flute. Fle'bile (It.) Tearful ; plaintive, mourn- ful. Flessi'bile (It.) Flexible. Flick'oper (Ger.) See Pasticcio. Fling. A spirited Scotch dance, resem- bling the Reel, and in quadruple time. F'-locher (Ger.) /-holes. Florid, Embellished with figures, runs, passages, etc. Flo'te (Ger.) Flute. . .Flo'tenbass, bass flute . . . Flo'tenstimme, a flute-stop (or- gan) . . . Flo'tenwerk, a small organ hav- ing only flue-pipes (opp. to Schnarr- ■werk, Zungemoerk, liohrwerk, and Regal). Fliich'tig (Ger.) Lightly, nimbly, airily; fugitively, hastily, superficially. (Also adj.) Flue-pipe. (Ger. Labial' pfeife ; Fr. tuyau h bouche : It. can'na d'a'nima.) See Pipe, also for Flue-stop, Flue-work. Flii'gel (Ger., "wing".) I. Formerly, a wing-shaped clavier (clavichord); now, a grand pfte . . . Flu'gelharfe, see Spitzharfe . . .FlU'gelhorn, bugle, key- bugle. — 2. See Bart, Flute. (Ger. Flo'te; Fr. fliite ; It. fla'uto!) I. The orchestral flute (also called German flute, cross-flute, and D- flute, from its origin, the position in which it is held, and its — former — low- est tone respectively), in its present form as improved by Boehm, has a wooden tube of cylindrical bore, pro- vided with 14 ventages closed by keys, and caused to sound by a current of air projected from the player's mouth against the feather-edge of an oval orifice near the upper end of the tube ; the air-column within the tube is set in vibration in the same way as that within a flue-pipe in the or- gan. Compass from t^ c' to c* (rare ex- ®: tremes b and (■■'jf): '^ ('*) the first octave is obtained by moderate wind-pressure, the second and third by augmenting and forcing it, thus causing the tone to change (by overblowing) to the higher octave. It is a non-trans- posing instr., and its music is therefore written at the pitch at which it is to be played. Together with the octave-flute or piccolo it forms an incomplete family, made in 6 sizes: ( in C (in C Flute -< in Z'|> Piccolo -< in ZJ^ {'\-a.Ey ( in .£[> the typical member of which is the C- flute. Its powerful and mellow tone (more reedy than that of the old flute), and extraordinary flexibility and agility, render it the leader of the wood-wind. ■ — 'Y\vt piccolos \n D^ and E^ are chiefly used in military music. — In the 15th and i6th centuries complete families of flutes were constructed, embracing bass, alto, and treble instr.s. — 2. Direct Flute, the flageolet and fliite h bee, having a mouthpiece at the end. Fliite (Fr.) Flute. ..Fl.a bee, a direct flute. . .Fl. allemande, a German flute. . . Fl. a pavilion, an 8-foot organ-stop. . . Fl. d' amour, (ffl) a flute in B]} ; (i) a soft-toned organ-stop ... 7^/. d'Angle- terre, flageolet. . . Fl. douce, flauto dolce. ..Fl. du Poitou, bagpipe (cornemuse). . . Fl. harmonique, fl. octaviante, see Harmonic stops. ..Fl. traversihre, trans- verse flute. Flute-'work. In the organ, the flute- work includes all flue-stops not belong- to ^& principal-work and gedact-work, as well as various modifications of these two groups. Fly. The hinged board or flap used as a cover for the keyboard of the pfte. and organ. Fo'co (It.) See Fuoco. Fogliet'to (It.) In orchestral music, the part for the leader ; it contains cues for, or the obbligato passages of, the other instr.s, and can therefore be used by the conductor in lieu of a score. Foire des enfants (Fr.) See Toy sym- phony. Fois (Fr.) Time ; premiere fois, first time ; seconde fois, second time. Foli'a (Span. ; It. folli'a ; usually in the plural, as ¥t. "folies dFspagiie".) A Spanish dance for one person, in slow tempo and 3-4 time. Folk-song. (Ger. Volkslied) A song of the people, tinged by the musical FONDAMENTAL— FORM. 75 peculiarities of the nation, and generally of a simple, unaffected character, and in ballad-form. — Also, a. song imitative of the above. Fondamental,-e (Fr.), Fondamenta'le (It.) Fundamental. ..Sonfondamenial, generator. . .^3 jj^ fondamentale , see Basse. Fondamen'to (It.) Fundament, funda- mental part. Fends d'orgue (Fr.) The foundation- stops of the organ. Foot. I. (Ger. Fuss; Fr. pied; It. pie'de^ In prosody, a group of syl- lables, one of which is rendered special- ly prominent by an ictus (accent) ; it corresponds to the measure in music. — 2. (Ger. Siiefel.) That part of an or- gan-pipe below the mouth. — 3. (Obs.) A drone-bass; a refrain or burden. — 4. The unit of measure in designating the pitch of organ-stops, and (by extension) that of other instr.s, and of the several oc- taves of the mus. scale ; thus an 8- foot (8') stop is one whose longest : and is about 8 feet : in length, i. e. a stop whose pipes pipe pro- duces the tone C : w produce tones corresponding in pitch to the keys depressed ; a 4-foot (4') stop is an octave-stop ; a 16-foot (16') stop yields tones an octave below those w -indicated by the keys touched. The 8-foot octave embraces the 7 tones from C '^S- upwards (comp. Pitch, §1) ; the flute is an 8-foot instr. (because the pitch of its tones is the same as that indi- cated by the notes), while the piccolo is a 4-foot (or octave-) instr. —The derivation of the term is as follows: The velocity of sound-waves is estimated at 1056 feet per second; by dividing this velocity by the vibration-number of the given tone, we obtain the length of one sound-wave of that tone ; for in- stance, the tone Cj having 33 vibrations per second, 1056-^33=32 feet, the length of one sound-wave, and likewise the length of an open flue-pipe capable of producing the tone Ci (CCC) Foot-key. Pedal-key (of an organ). Foreign chords or tones are such as do not belong to a given key. Forla'na (It.), Forlane (Fr.) A lively Italian dance in 6-8 or 6-4 time. Form. Form in music is that element, or combination of elements, which, by securing 3.proper balance between con- trasting parts, produces finish i effect, or Unity. What are called the musical forms depend, in varying degree, for their distinctive features, (i) on rhyth- mical and metrical grouping; (2) on the- matic construction ; (3) on melodic and harmonic contrast ; "(4) on contrasting tempi ; and (5) on contrasting moods. Points I and 2 cover the ground of (I) mechanical symmetry; the contrasts of melody, harmony, tempo, and mood postulate a more highly developed sense for (II) cEsihetic symmetry, I. (i.) The element of metrical grouping is eminently characteristic of ordinary dance-airs and simple songs ; the following example exhibits its sim- plest form : Period. Period. Analysis of this Sentence (compound period, here a. period of 16 measures), which contains a musical thought com- plete in itself, shows it to be composed of 2 simple 8-measure Periods, each period being formed by 2 Phrases, each of which embraces 2 Sections formed, in turn, of 2 Measures each. [The term motive for measure is to be rejected as misleading and unnecessarily confusing, except in the qualified shape of measure- motive^ The punctuation of such a 76 FORM. musical sentence presents a striking analogy to that of the grammatical sentence from which its terminology is in part borrowed : Phrase I = subject and predicate [comma}. Phrase 2=limiting clause [semicolon]. Phrase 3, further modification [comma]. Phrase 4, second limiting clause and conclusion of sen- tence [ie/'iod]. The exact symmetrical balance here observable, of 2 + 2,4+4, and 8+8, though of very common oc- currence, is not the general rule, and would engender wearisome monotony (especially in extended compositions) if regularly adhered to ; the variety of changes caused by triple time, com- pound measures, the opposition of un- equal phrases, the expansion or con- traction of periods, etc., etc., is prac- tically limitless. But in all the musical forms in which metrical symmetry is observed, the simple period is, in one shape or anothej, the form-element or germ-cell, so to speak, on which their construction is founded. I. (2.) A theme or melody simply repeated, (formula A + A, or [: A :[), presents no distinctive departure from the simplest form ; repeated in alterna- tion with another |: A+B :| it ex- 1. Exposition ; ist Episode: II. First Development : " " 2d Episode; " " III. Second Development : " " Stretto : Theme brougiit out on the - Coda. hibits the peculiar feature of the song laith refrain ; once repeated, after any digression (interlude, or second theme), it produces the so-called Song-form {Lied form, A+B+A), or that of the Minuet loith Alternative. With 2 dis- tinct themes alternating as follows : (I: A+ B:| -t-B [A] + A + B [in the original key of A] ), it has the Sonata-form, or First-movement Form; while the Rondo-form has the following alternations : ( A+ B + B [A] +A + B [B2 in same key as A ; development- section in the middle]) ; or : (A+ B + A [in same key as B] + B [same key as A] + A). It must be added, how- ever, that the Song-form, Sonata-form, and Rondo-form, as carried out in practice, present frequent deviations from the above formulas. — A theme re- peated or imitated while still progress- ing, produces the form of the Canon, Catch or Round ; one or more themes repeated in conjunction or alternation with an accompanying or contrasting counterpoint, according to a more or less regular formula, the Fugue. The following is a fairly exhaustive formula for the construction of a simple 2-part fugue : Theme on ist deg. (tonic) Answer on 5th (dominant) *' " 6th " (in augment.) " " 3d (in diminut. ). " " 5th " " " ist. " '* 2d " (inverted) " " 7th (inverted) " " ist " " " 5th. 4th " (with modulation to the subdominant.) II. (l.) The element of harmonic con- trast is derived in part from contrasting themes, in part from the deliberate choice of keys directly or remotely re- lated to that of the leading theme ; in part, also, from the harmonies accom- panying or varying the theme orthemes. Dependence on the harmonic variation of repetitions of a single theme, to- gether with the light and shade of vary- ing tempi, is an important principle of the ThcTne with Variations. II. (2.) In cyclic compositions (the Cyclical Forms), contrasting tempi (S= slow, F =^ fast) in the successive movements are a prominent feature. The old Suite originally had the for- mula (S + F + S + F) ; later a fifth movement, either slow or fast, was in- serted after (seldom before) the 2nd slow one. The Sonata and Symphony are essentially alike in plan ; either (F + S + F), or more commonly (F + S + F + F), or (S + F + S + F), or (F + F + S +F) ; or, in 5 movements, (F + S + F + S + F) ; etc. ; a. slow closing movement rarely occurs. II. (3.) The foregoing formal schemes- are a product of the slow evolution of centuries. First, the primitive dance- song develops into lyric and epic song — love-ditties, ballads, — and into instru- mental dance-tunes differently named according to their character or origin ; while a parallel progress is seen in the rise of church-music from the severe Gregorian Chant to the stupendous contrapuntal works of the late middle ages and the chaste style of Palestrina. Instrumental art-music now borrows ana develops its forms from the vocal style ; the forms of imitative music (can- on and fugue) gradually near perfection, finally attained by J. S. Bach ; through the adoption by artists of the rhythmic melody and monodic style of the hitherto- despised natural music (folk-music), and the recognition of its harmonic FORMARE IL TUONO— FREE CHANT. 77 basis, the two currents of art-music and folk-music are slowly merged in one broad stream ; the popular dance-tunes are transformed into art-forms, and combined in the Suite ; the rondo- form and the first-movement (sonata-) form are evolved step by step, and their combination produces the Sonata and Symphony; which latter, discarding the scheme of 4 formal movements, and aspiring to the uninterrupted flow and sweep of an epico-lyrical drama without words, becomes the Symphonic Poem. [Compare also Passion, Oratorio, Op- era, Overture^ Forma're il tuono. See Messa di voce. Fort (Ger.) OS ; as Flote fort (organ- mus.) Fort (Fr.) I. Forte.— 2. Skilful, emi- nent. . . Temps fort, strong beat. . .Four- niture 3 tuyaux forte, a mixture stop of 3 ranks. Fortbien. A keyboard stringed instr. inv. by Friederici in 1758, having a softer tone and lighter touch than the fortepiano then in vogue. For'te (It.) I (adjective). Loud, strong (abbr. /) ; piii forte (pf), louder ; po- co forte (also pf), rather loud; forte piano {fp), accent strongly, diminish- ing instantly to piano; fortemen'te, loudly, forcibly; forte possi' bile, ss loud as possible. — 2 (noun), (a) A passage to be executed loudly or forcibly ; (b) in the harmonium, a slide within the chest containing one or more sets of reeds, opened by a stop or knee-lever to produce a forte effect ; sometimes di- vided, one section affecting the treble side and the other the bass side. Fortepia'no (It.) Same as Pianoforte. Fortis'sirao (It., superl. oi forte.) Very loud, or extremely loud or forcible ; (abbr. ff, or fff for the extreme ;) also forte possi' bile \ffff)- Fort'riicken (Ger., noun.) The ad- vance of the hand on a keyboard or fin- gerboard, as caused by the repetition of a figure with the same fingering but at a different pitch. Fort'schreiten (Ger.) To progress . . . Forf schreitung, progression ; Fori'- schreitung einer Dissonanz' , resolution. For'za (It.) Force, vigor ; con f, for- cibly, etc. Forzan'do (It., "forcing, straining".) With force, energy ; indicates that a note or chord is to be strongly accent- ed ; abbr. fz. . . Also Forza'to, Sfor- zan'do [sfz.) Forzar' la vo'ce (It.) To force the voice. Foundation-stops. See Stop. Fourchette tonique (Fr.) Tuning-fork. Fourniture (Fr.) A mixture-stop. Four-part. (Ger. vier'siimmig; Fr. h quatre voix; It. a quaftro vo'ci.) See Fart I. Fourth. (Ger. Quar'te; Fr. quartc; It. quar'ta.) I. The 4th degree in the dia- tonic scale ; the subdominant. — 2. An interval embracing 4 degrees (see In- terval). The typical or standard fourth is the perfect (or major) fourth, equil to the interval between the key-note and the 4th tone of its vibrational the diatonic ^ % - ratio being scale, as c-f: c :f: ; 3 : 4. . . Diminished (imperfect, defective, mi- nor, or false) fourth, an interval nar- rower by a chromatic semitone than a perfect lo\a\h. . .Augmented (pluper- fect, superfluous, ox extreme) fourth, one wider by a chromatic semitone than a perfect fourth. Fran^aise (Fr.) A dance in triple time, resembling the country-dance. Francamen'te (It.) Freely, with free- dom (of delivery), boldly; frankly, in- genuously. Fratichez'za (It.), Franchise (Fr.) Freedom, confidence, boldness ... Cc« fr., see Francamente. Franz'ton (Ger.) "French pitch"; a pitch lower than the ordinary Kam- merton. Frappfi (Fr., "beaten".) The down- beat ; opp. to Lev/. Fra'se (It.) Phrase ; frase lars;a= largamente. . .Fraseggia're, to phrase. Fred'do,-a (It.) Cold. . .Freddamen'te, coldly. Fredon (Fr.) An obsolete term for a roulade, trill, or tremolo ; also, a sign calling for a florid extension of a single written note . . . Fredonnement , trilling, warbling ; humming . . . Fredonner, to trill, warble ; to hum, sing to oneself. Free chant. A form of recitative music for the Psalms and Canticles, in which a phrase, consisting of 2 chords only, is applied to each hemistich of the words. [Stainer and Barrett.] . . Free fugue, see Fugue. . .Free part, an independent part added to a canon or fugue to com- plete or enrich the harmony . . . Free 78 FREGIATURA— FUGARA. reed, see Reed. . . Free style (of compo- sition), that in which the rules of strict counterpoint are relaxed. Fregiatu'ra (It.) A grace, an ornament. Frei (Ger.) Yre.&. . .Fi-ei'heil, a. license or liberty. French Horn, Sixth, Violin-clef. See the nouns. Fret. (Ger. [equiv.] Bund; Fr. louche ; It. ta'sto.) One of the narrow ridges of wood, metal, or ivory crossing the fin- gerboard of the mandolin, guitar, zither, etc., against which the strings are pressed by the fingers to shorten their vibrating length and thus raise the tone. Fretel, Fretfele (Fr.) A sylvan pipe ; the Pan's-pipe with 7 reeds. Some- times called sifflet des chaudronniers. (Also freteiel, freteau, freiiau, frestel.) Fret'ta, con (It.) With haste, celerity; hurriedly. Fricass6e (Fr.) i. A sort of popular dance interspersed with pantomime, in -vogue in the i8th century in the t/iM- Ires des boulevards at Paris.- — 2. A kind , -of part-song of the 1 6th century, each -part having different words. Fries (Ger.) Purfling. Frisch (Ger.) Brisk, lively, vigorous (also advirb). Froh'lich (Ger.) Glad, joyous, gay, (also adverb). Front'pfeife (Ger.) See Prosfeki. Frosch (Ger.) Nut (of a bow). Frot'tola (It., "comic ditty".) A pop- ular ballad or song intermediate between the villanella and the madrigal ; in great vogue during the l6th century. F'-Schlussel (Ger.) F-clef. Fu'ga (Lat. and It.) A fugue. . .F. ad octa'vam \quin'tan{\ (Lat.), fugue at the octave [fifth] . . .F. aqua' lis mo'tus (Lat.), fugue in similar motion, the answer ascending and descending like the subject . . .F. al contra' rio [rever'so, rove'scio'] (It.), see F. contraria. . .F. authen'tica (Lat.), fugue with a subject ascending above the key-note . . .F. ca- no'nica [lata' lis} (Lat.), a canon... i^. compel sita (Lat.), a fugue whose subject progresses by conjunct degrees . . .F. contra'ria (Lat.), a fugue having the answer in contrary motion to the sub- ject. . .F. del tuo'no (It.), tonal fugue. ..F. dop'pia (It.), double fugue.../". homofk(/na (Lat), fugue with answer at the unison..../^, impro'pria (Lat.), see F. h-regula'ris . . .F. inaqua'lis (Lat.V see F. contraria. . .F. incovipo'- sita (Lat.), a fugue whose subject pro- gresses h)y disjunct degrees ... i^. in consegnen'za (It.), a canon. . .F.in con- tra'ria tem'pore('L,3.t.), seeF.,per ar'sin et the' sin. . . Fuga in no' mine, a " fugue in name," i. e. a nominal or free fugue. ..F. inver'sa (Lat.), a fugue worked throughout in double reversible coun- terpoint, so that the inversions of the parts may appear in contrary motion. . .F. irregula'ris (Lat.), a fugue irregu- lar in form. . .F. li'bera (Lat. and It.), a fugue with free episodes . . .F. liga'ta (Lat. and It.), a fugue without free episodes, strictly developed from its subject and countersubject. . .F.mix'ta (Lat.), a fugue varied in development by employing different contrapuntal de- vices (augmentation, diminution, inver- sion, etc.). . .F. obbliga'ia (It.), see F. ligaia...F. partia'lis (Lat), a fugue proper, in contradistinction to a canon. . .F. per augmeniatio' 7iem \diminutio'- «««](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 begins on the strong beat, and the answer on the weak beat, thus shifting the accents throughout . . .F. per imi- tatio'nem hiterrtip'taiti (Lat.), a fugue in which the answer is interrupted by breaks or rests . . .F. per mo^tum con- ira'ritim (Lat.), see F. contraria. . .F. perio'dica (Lat.), see F. partialis ... F. perp/tua (Lat.), a canon. . .F. plaga'lis (Lat.), a fugue with subject descending below the key-note . . .F.pro'pria{l^a.t.), see F. regularis. . .F. rea'le{Jt.), a real fugue . . .F. rec'ta (Lat.), see F. cequalis motus. . .F. redi'ia or reddita (It.), a fugue at the middle or end of which all or some of the parts progress in canon... j^. regula'ris (Lat.), a fugue in regular form. . .F. retrogra' da (Lat.), a fugue having the answer in retrograde progression ; or F. retrogra' da per mo'- tum contra'rium, when the answer is in retrograde progression and contrary motion. . .F. ricerca'ta (It.), a fugue in whose working-out the rarer and more elaborate contrapuntal devices are " sought out" for display ; a long and elaborate master-fugue . . .F. sciol'ta (It.), or solu'ta (Lat.), see F. li'bera. . . F. tota'lis (Lat.), a canon. Fuga'ra. (Ger. Foga'ra, Voga'ra.) An FUGATO— FULL ANTHEM. 79 organ-stop having metal flue-pipes gen- erally of small scale and 8 or 4-foot pitch; tone of a sharp, "stringy" quality. Fuga'to (It., " in fugue-style".) A pas- sage or movement consisting of fugal imitations, but not worked out as a regular fugue. Fu'ge (Ger.) Fugue. Fuggi're la caden'za (It.) To avoid the cadence (by interrupting it). Fughet'ta (It., dimin. of Fuga.) A short fugue, usually only a fugue-exposition. 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, (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 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 following as the answer, and at a differ- ent interval (usually a fifth higher or a fourth lower than the original one), being then accompanied by a contrast- ing counterpoint, the countersubject, in the first part ; if there are 3 parts, the 3rd resumes the subject at the octave of its original pitch, followed (if there are 4 parts) by the answer in the 4th. This first enunciation of the subject by all the parts in turn, with contrapuntal accomp. in the rest, is called the Expo- sition; this is commonly succeeded by an Episode, which is generally construct- ed (for the preservation of unity of effect) of motives from the subject and countersubject, with modulation into re- lated keys ', then comes the First De- velopment, or Kepercusdon, in which 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 stretto is frequently above an organ- point; or the organ-point is used to support the freer contrapuntal combina- tions of the coda, a general finale or winding-up ; or stretto and coda are 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 of the former) ; and (2) the Tonal Fugue, in which the subject is modified in the answer in order to return to the original key ; e. g. Subject. Answer (Tonal). Further varieties are the Double Fugue (with 2 subjects, the exposition of the 1st being followed by that of the 2nd, and finally by the combination of both); — the Triple Fugue (with 3 subjects) ; etc. ; a fugue with 2 or more subjects is sometimes called a Manifold Fugue. — A fugue in which the countersubject is retained and developed together with the subject throughout, is also called a double fugue. The most elaborate fugal form is the Ftiga ricercata (comp. Fuga). — Fugues may be written for voices or instr.s, or for solo instr.s (pfte., organ). (Compare Form I, 2.) Fugued, Fuguing. See Fuga'to. Writ- ten in either strict or free fugal style. FUh'rer (Ger.) "Leader, dux", subject (of a fugue.) . . Fuh'rung, leading. Full anthem. See A nthem . . . Full band, a military band, or an orchestra, having all the customary instr.s. . .Full cadence, close, see the nouns . . . Full choir (di- 8o FtJLLPFEIFE— GALANT. rection in organ-playing;), draw all stops of the choir-organ . . . Full chord, one represented by all its tones ; also (in concerted music), one in which all the parts unite. . .^«//^rffli (in organ-play- ing), draw all stops of great organ. . . Full orchestra, see Full band... Full organ, with all stops and couplers Aravin ... Full score, see Score ... Fttll stop (in lute-playing), a full chord fol- lowed by a pause ; also, a chord in which all available fingers are occupied in stopping the strings . . . Full swell (organ), draw all stops of swell-organ. .. Full to fifteenth (in organ-playing), draw all stops but mixtures and reeds. Fiill'pfeife (Ger.) A dummy pipe... Full'quinte, a very sharp-toned organ- stop of 5|-foot pitch, to be drawn only with a strong combination of founda- tion-stops. . .Ftill'stelle, a passage put in to " fill out " ; padding. . .Fiill'stimme, (a) a part reinforcing a principal part at 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 in occasionally to complete the harmony or mark the rhythm. Fundamental, i. The root of a chord. — 2. A generator (in this sense also fundamental bass, note, and tone') . . . Fund, chord, triad, see Chord, T7iad. ..Fund, position, any arrangement of the tones of a chord in which the root remains the lowest. Fundamental'bass (Ger.) Fundamen- tal bass. . .FundamentaVton, root ; key- note, tonic {Gmnd'ton, To'nikd). Funfebre (Fr.), Fune'bre, Funera'le (It.) Funereal, mournful. Funf'fach (Ger.) See -fach. . .Funf- siimmig, 5-part ; for 5 parts or voices. . .Funf'stufige Ton'leiter, pentatonic scale. Fuo'co [fo'-co] (It.) Fire, spirit ; con f., ox fuoco'so, with fire, fiery, spirited. Fu'ria (It.) Fury, passion ; con /., wildly, passionately. Furiant, Furie. A rapid Bohemian dance with alternating rhythms and changing accentuation. Furibon'do (It,) Furious, passionate. Furio'so,-a (It.) Furious, passionate ; furiosamen' te , passionately; furiosis'- simo, with extreme passion. Furla'na (It.) See Forlana. Furniture-stop. A mixture-stop. Furo're (It.) A rage, mania, passionate fondness (for anything) . . . Also, fury, passion, vehemence ; con f., passion- ately. Fu'sa (Lat.) An eighth-note or quaver. (Fr. fuse.) Fus6e (Fr.) An ornament consisting of a rapid ascending or descending dia- tonic series of notes ; a slide. Fusel (Ger.) Same as Fusa. Fusel'la (Lat.) 32nd-note. . . Fusel' lala, 64th-note. Fuss (Ger.) Foot ; -filssig, the adjective- ending corresponding to -foot, as 8'fiis- sig{acht' filssig), 8-foot.. . Fuss' klavier , pedals (of an organ). . .Fuss' ton, equiv- alent to " -foot pitch", e. g. an organ- pipe of 4-foot pitch is said to be of 4- Fusston. Fiit'terung (Ger.) Linings (of a violin). G. The fifth tone and degree in the typical diatonic scale of C-major. . .G, abbr. iox gaucheijn.g.^rcvam. gauche) ; G. 0. (or simply G), grand-orgue. Ga'belklavier (Ger.) A keyboard instr. inv. in 1882 by Fischer and Fritzsch of Leipzig, in which steel tuning-forks are substituted for strings. The some- what dull timbre, due to the lack of harmonics, has iDeen brightened by adding, for each key, a second fork tuned an octave higher than the first... Ga'belton, "fork-tone," i. e. the tone a* pitched for tuning. . .Ga'belgriffe (pi.), cross-fingerings. — See Stimmgabel. Gagliar'da (It.), Gagliar'de (Ger.) A galliard. Gai (Fr.) Gay, lively, brisk. . .Gaienient, gaily, briskly. Gaillarde (Fr.) A galliard. Gajamen'te (It.) Gaily, lively. . . Ga'jo,-a, gay. Ga'la (It.) In the phrase di gala, gaily, merrily. Galarament (Fr.), Galantemen'te (It.) Gallantly, gracefully, prettily. Galant' (Ger.) Free ; e. g. galan'te Fu'ge, free fugue ; galan'ier Stil, ga- lan'te Schreib'art, free style, the homo- phonous style of composition for the clavichord or harpsichord, in vogue in GALANT— GEFAHRTE. 8i the l8th century ; opp. to gebun' dener SHI, strict style, in which a certain number of contrapuntal parts was ad- hered to throughout. Galant,-e (Fr.), Galan'te (It.) Gallant, graceful, pretty. Gal'liard. (Ger. Gagliar'de; Fr. gail- larde; It. gagliar'da.) An old French dance for 2 dancers (also called Roma- ne'sca), of a gay and spirited character, though not rapid, and in 3-4 time ; like the Pavan, it had 3 reprises of 4, 8, or 12 measures. It was the precursor of the Minuet. Gal'op. (Fr. ga/op, galopade; Ger. Galopp' .) A very lively and spirited round dance in 2-4 time ; supposed to have been derived from the old German Hop'ser or Rutsch'er (names descrip- tive of' the step). Introduced into France early in the 19th century. Galoub6, Galoubet (Fr.) A kind of small fife, the shrillest of all wind-in- str.s, with 3 holes and a compass of 1 7 notes ; found only in Provence. Gam'ba, i. See Viola da gamba. — 2. An organ-stop similar in tone to the viola da gamba. Gam'be (Ger.) Viola da gamba. . . Gam'- benstimme, a gamba-stop . . . Gam'ben- werk, piano-violin. Gam'bist. A player on the viola da gamba. Gam'ma. The Greek G (P). In medie- val music from the loth century on- ward, the lowest tone of the mus. sys- tem then obtaining was called P; the letter was ■ together with the F- also used :^^^ clef. Hence, its use as a clef ~^ to name the entire scale (see Gamme and Gamut) . . . Gam- ma ut, ^^izp= in the old system of : solmisation. name of G\- Gamme (Fr.) A scale (see Gamma)... G. diatonique (chromatique), diatonic (chromatic) scale. Gam'ut (from^ffl?«?Ka «/). i. ^ee Gam- ma. — 2. A scale. — 3. The staff. — 4. In old English church-music, the key of G. Gang (Ger.) Passage. (Plural Gange) Ganz (Ger.) i. Whole. .. Cirw'zir Note (gan'ze Takfnote), whole note (s>) . . ■ Ganz'instrument, a metal wind-instr. , the lowest natural tone of whose tube can be made to speak ; opp. to Halb'in- strument. . . Gana'schluss, whole cs.- Ae:nc&. . .Ganz' ton, or gan'zer Ton, whole tone. — 2. Very. Gar'bo (It.) Grace, elegance. Gas'senhauer (Ger.) In the i6th cen- tury, a designation for popular songs or folk-songs (Gas'senhawerlin); the word now signifies a trite and threadbare tune, and at the same time something vulgar and unworthy of art. [Riemann]. Gathering-note. In chanting, an irreg- ular / to the system d^d'^ (Lydian) 2b " " " G—g^ (Hypophrygian) 3b " " " c—c'^ (Phrygian) 4b " " " F—P (Hypodorian) 5 b ■' " " ^b-'^'b (Dorian) 6 b " '; '; ^-.^b (Mixolydian, or Hyperdorian) On the other hand, all the sharp scales (of later origin) show new names ; the octave yjt — fi, belongs withljt to the system e — e^ (Hyperiastian) (high Mixolydian) " 2S" " " .5— 3i(Iastian) (high Dorian) " 3« " " " i^«-/>K!(Hypoiastian) (high Hypodorian) •' 4tt " " " 4-^^Jt(^olian) (high Phrygian) " 5# " " " C7#— ^^#(Hyp03eolian) (high Hypophrygian) " 6j): " " " .-) this is the fundamental diatonic scale ; the intermediate chromatic tones are ob- tained by the use of 7 pedals adjusted in the pedestal, each pedal acting on all the strings of the same letter-name in such a way that, when pressed to its ^rst posi- tion, the pitch of every string affected is raised a semitone, and, when the pedal is pressed down to its second position, a semitone higher. Thus, by depressing all 7 pedals once, the scale would be raised from C\) to C; by depressing them twice, to Cfl (Z>p); by suitable combinations, any desired key may be obtained. The depressed pedals are held in position by notches. As on the Janko keyboard, the fingering of the scale is the same for every key. Natur- al harmonics are obtainable ; the first harmonic (the octave of the tone of the open string) is that almost exclusively employed. Music for the harp is written on 2 staves as for the pfte. — In the old single-action harp each pedal can change the pitch of iva its note by only one semi- ^ . ^ tone ; scale, Eq ; com- pass, 5 octaves and a sixth, from Fi to d*' A Double Harp has 2 rows of strings tuned dissimilarly ; a Triple Harp has 3 such rows . . . .Molian h. , see .Molian. . . Couched h., the spinet . . . Dital harp, see Dital. . . Double-actionpedal-harp , see Harp . . . Welsh ^. , a kind of triple harp. Harpeg'gio, Harpeggie'ren. See Ar- peggio, Arpeggiate. Harpicor'do, Same as Arpicordo, Harp-lute. See Dital harp. Harpo-lyre (Fr.) A kind of improved guitar, with 21 strings and 3 necks ; inv. 1829 by Salomon of Besan9on. Harp-pedal. See Pedal. Harp'sichord. (Ger. Kiel'flugel; Fr. clavecin; It. arpicor'do, clavicem'balo.) A keyboard stringed instr. in which the strings were twanged by quills or bits of hard leather (see Pianoforte). — Vis- a-vis harpsichord, one with a keyboard at either end or side, for 2 performers. Harp-vray tuning. Favorite early Eng- lish tunings {scordature) of the viola da gamba ; termed harp-way tunings be- cause admitting of a ready execution of arpeggios : Sharp: |' S^" f;— Flat: "^^ HART— HEROIC. 95 other variants are found in German works. Hart (Ger.) Hard ; major (usually dur) ; abrupt, unprepared (of a progression or modulation) . . . Hart vermin' derter Drei' klang, triad with major third and diminished fifth, as B-d '$,-/. Haupt (Ger., "head".) Chief, princi- pal . . . Haupt' accent, primary accent. . . Haupfakkord, fundamental triad. . . Haupfgesang, leading melody (Haupl' melodic'). . .Haupt' kadenz, full cadence. . .Haupt' manual, great-organ manual (abbr. Man. /.). . .Haupfnote, (a) principal note ; (b) chord-note ; (f) accented note; (d) melody-note... Haupt' prinzipal, 8-foot diapason (on manual), l6-foot (on pedal). . .Haupf- probe, see Generalprobe. . .Haupt'satz, principal ihema. . .Haupt'schluss, full cadence. . . Haupt' septime, dominant 7th. . .Haupt' stimme, principal part. . . ' Haupfthema, first or principal theme. . .Haupt' ton, (a) root (of a chord ; in recent theory, the Jifth of the minor triad) ; (b) key-note ; (r) see Haupt- note. . .Haupt' tonart, the principal or ruling key in a composition. . . Haupt' - ■werk (abbr. H. W.), great organ. Hausse (Fr.) Nut (of a bow). . .Hausser, to raise (the pitch). Haut,-e (Fr.) High, 3.CMtt...Haute- contre, high tenor. . .Haut-dessus, high soprano. . .Haule-taille, high tenor. Hautbois (Fr.) Oboe . . .H. d' amour, see Oboe. Hautboist' (Ger.) A player in a military band. Haut'boy. Oboe. Head. i. Point (of bow). — 2. In the violin, lute, etc., the part above the neck, comprising peg-box" and scroll. — 3. In the drum, the membrane stretched over one or both ends. — 4. In a note, the oval (formerly square or diamond- shaped) part which determines its place on the staff. . .Head-tones, Head-voice, the vocal tones of the head-register ; opp. to chest-tones, etc. Heel. (Ger. Stdckcken [des Halses] ; Fr. talon [de la manche]. ) In the violin , etc., the wooden elbow or brace by which the neck is firmly fastened to the body. Heer'pauke (Ger.) An old and very large form of kettledrum. Hertig (Ger.) Vehement, impetuous, passionate (also adverb) . . . Hef'tigkeit, vehemence, passion. Heira'Iich (Ger.) Secret, mysterious ; furtive, stealthy, clandestine. (Also adverb.) Hei'ter (Ger.) Serene, cheerful, glad. (Also adverb.\ Hel'dentenor (Ger.) See Tenor i. Hericon. (Ger. Helikon.) i. An an- cient instr. for illustrating the theory of the mus. intervals, consisting of 9 strings stretched across a square reso- nance-box. — 2. A brass wind-instr. of recent invention, used chiefly in mili- tary music as a bass ; its tube is bent to form a circle, and it is carried over the shoulder. It is constructed in various pitches (F, £^, C, -5b), and of broad scale, so that its lowest natural tone speaks (2 octaves • below the notes \ on the bass-staff Helper. An octave-pipe set beside and sounding with another of 8-foot pitch, for the sake of brilliancy. Hemidemisemiqua'ver. A 64th-note. . .H.-rest, a 64th-rest. Hemidiapen'te. In Gk. music, a dimin. ished fifth, Hemidi'tone. In Gk. music, a. minoir third. Hemio'la, Hemio'lia (Gk.) i. In ancient music, quintuple rhythm (5-4, 5-8 time). — 2. The interval of a fifth (2 : 3). — 3. A triplet (3 ; 2). — 4. In mensurable no- tation, see Notation, §3, Color. Hem'iphrase. A half-phrase. Hem'itone. In Greek music, the 'nter- val of a half-tone (256 : 243), the mod- ern (diatonic) semitone being 16 . 15. Hep'tachord. In Greek music, a dia- tonic series of 7 tones, with one semi- tone-step between the 3rd and 4th. — 2. The interval of a major 7th. — 3. A 7-stringed instr. — 4. The 7-tone scale. Hep'tad, Heptadec'ad. See Duodene. Herab'strich (Ger.) Down-bow. Herauf'strich (Ger.) See Hinaufstrich. Heroic. (Ger. hero'isck; Fr. hiroique; It. ero'ico,-a.) Grand, imposing, noble, bold, daring (in conception, or con- struction). . .The " Heroic Symphony" (Sinfoni'a ero'ica) by Beethoven is the Third, Op. 55 in Eq... Heroic verse, (a) in classical poetry, the hexameter ; (^)in Engl., Ger., It. poetry, the iambic 96 HERSTRICH— HOOK. of 10 syllables ; (c) in Fr. poetry, the Alexahdrine. Her'strich (Ger., "hither-stroke".) Down-bow (on the 'cello and doable- bass). Herun'terstrich (Ger.) Down-bow (on the violin, etc.) Her'zig (Ger., "hearty," "heartily".) Same as Innig, but perhaps implies greater naiveid. Hes (Ger., " ^.") Unusual for (Ger.) B L=(Eng:.) Bb]. . .Hes'es, Bbb- Heu'len (Ger.) Ciphering. Hex'achord. i. In Greek music, (a) a diatonic series of 6 tones ; (p) the inter- val of a major sixth. — 2. See Solmi- sation. Hexam'eter. The usual hexameter-line has 6 feet, the first 4 being dactyls or spondees, the 5th a dactyl or spondee, and the 6th a spondee or trochee, thus : Hidden. See Octave. Hift'horn (Ger.) A kind of wooden hunting-horn producing 2 or 3 tones ; there were 3 varieties, the Zin'ke (high), Halt' riidetihorn (medium), and Ril' den- horn (low pitch). Hilfs- (Ger.) K-ajSaaxy . . .Hilfs'linie, leger-line . . . Hilfs' note, auxiliary note. . .Hilfs' stimme, mutation-stop. — (Of- ten Hiilfs-.) Hinauf'strich (Ger.) Up-bow (on the violin, etc.) Hin'strich(Ger., "thither-stroke".) Up- bow (on the 'cello, and double-bass). Hin'tersatz (Ger.) In old German or- gans, a mixture-stop placed behind the diapason, which it reinforced. Hip'pius. I. A metrical foot of 4 syl- lables, 3 long and i short ; called 1st, 2nd, 3rd or 4th hippius according as the short syllable occupies the 1st, 2nd, 3rd or 4th place. — 2. Same as Molossus. His (Ger.) Bfl . . . His' is, B x . Histor'icus (Lat.) Narrator (oratorio). Hobo'e (Ger.) See Oboe. Hoch (Ger.) High, acute. . .Hoch'amt, high yiass.. .Hoch'zeitsmarsch, wed- ding-march. Hock'et, An early form of contrapuntal vocal composition in 2 or 3 parts, char- acterized by the frequent and sudden interruption, in rapid alternation, of the vocal parts, producing a spasmodic, "hiccupy" effect; chiefly in vogue during the 12th and 13th centuries. (Also spelled hoquet, hocquet, hoquetus, ochetus, etc.) Hoh'e (Ger.) High pitch, acuteness ; high register (e. g. " Obo'enhohe" ^lA^h.- est notes of tlie oboe). Hohl'fiote (Ger. ; Fr. Jliite creuse; the smaller sizes are also called Hohlpfei- fen.) In the organ, an open fiue-stop of broad scale, usually with eared pipes, having a dark, mellow timbre, some- what hollow (whence the name), gener- ally of 8 or 4-foot pitch, seldom of 16' or 2'. As a mutation-stop in the fifth it is called the Hohl'quinte. Hold. {Ger. ferma'ie; ¥r. point d'arr^t, couronne; It. ferma'ta, coro'na.) The sign "^ over, or w under, a note or rest, indicating the indefinite prolonga- tion of its time-value, at the performer's discretion, in accordance with the rhythm of the composition ... In orches- tral scores often called (Ger.) General'- pause^ i^V^ pa' usa genera' le. — (In Eng- land, usually called a Pause.) — Placed over a bar or double-bar, the hold in- dicates a slight pause or breathing-spell before attacking what follows ; opp. in this sense to Attacca. Holdings-note. A note sustained in one part while the others are in motion. [Stainer and Barrett.] HolzTjlaser (Ger., sing, and pi.) Play- er(s) on wood wind-instr.s. (Abbr. Hzbl.). . .Holz'blasinstrumente, wood wind-instr.s; technically, the "wood- wind ". Hol'zernes Gelach'ter ) (Ger.) Xylo- Holz^harmonika j phone. Homophone (Fr.) The enharmonic of a given tone, as d oi ex , d\f oi e^, etc. Homophonic,-ous. (Lit, alike in sound or pitch.) I. In earlier music, unison- ous, in unison ; opp. to antiphonic. — 2. In modern music, a style in which one melody or part, supported to a greater or less extent by chords or chordal combinations, (i. e. an accompanied melody), predominates, is called homo- phonic ; opp. to polyphonic . . . Homo- phony, homophonic music; opp. to an- tiphony and polyphony, (See Monody^ Hook. (Ger. Fah'ne, Fahn'chen; Fr. crochet ; It. co'da uncina'ta.) A stroke attached to the stems of eighth-notes, i6th-notes, etc. (J^ 5 ). Also Flag, Pennant. HOQUETUS— HORNSORDIN. 97 Hoquetus. Hocket. Ho'rse cano'nics (Lat.) The canonical hours. Horn. (Ger. Horn ; Fr. cor; It. cor'no.) One of a group of brass wind-instr.s distinguished by the following charac- teristics : Cupped mouthpiece of coni- cal shape ; conical tube, narrow and long, variously bent upon itself (the smallest horn generally used, in high B|j, has a tube nearly 9 feet long ; that an octave lower in pitch, nearly 18 feet); wide and flaring bell ; the tone is rich and mellow, sonorous and penetrating ; the compass lies between the 2nd and i6th tones of the hdrmonic scale. The older naturaloT French Horn, yielding only the natural tones supplemented by "stopped tones", has a fairly com- plete chromatic scale of 2 octaves and a fifth, from the 3rd partial (lowered by stopping) up to the i6th partial ; there are 16 crooks in all, giving a total possible compass of 3J^ octaves : but only 8 or 10 are in general use in the symphony-orchestra ; the following tones at either end of this scale are difficult : e= "^ g WW^ w^ i ^ y-ty- =t: Actual pitch : «; Horn in Bjj Notation : Eb Thus the highest " safe " tones on the horns in common use would be (accord- ing to Gevaert): F G Ab A Bb (C) Partial tone 16 16 15 14 The stopped tones have a peculiarly sombre quality, and are often utilized for special effects ; they can be pro- duced on the valve-horn in exactly the Bb C D Eb E 1= 13 13 12 10 10 10 10 same manner as on the natural horn (also comp. Trumpet). This modern Valve-horn is usually constructed in the following sizes [Riemann]: F G Ab A Bb C \if : j Q g ={=)= low the given pitch-note being in each case the 2nd partial tone (octave of the gen- erator), and repre- | W: the horn be- sented in each ing a trans- case by the note: -s>- posing in- str. ; when the C-clef is employed, the notes are written an octave higher than when rioted in the i^-clef, consequently Horn-band. A band of trumpeters... Russian horn-band, a band of perform- ers on hunting-horns, each of which produces but one tone, the number of players and instr.s being equal to that of the scale-tones required by any given piece ; e. g. 37 for the chromatic scale of 3 octaves. Homer (Ger.) Plural of Horn, equiv. to corni. (Abbr. Hr^ high Horning. A mock serenade with tinhorns and other discordant instr.s, performed either in humorous congratulation, as of a newly married couple, or as a mani- festation of public disapproval, as of some obnoxious person. (Local U. S.) [Century Dict.] — A callithumpian concert. Horn'musik (Ger.) ^a Harmoniemusik. Hornpipe. 1. An obsolete English mus. instr. — 2. An old English dance in lively tempo, the earlier ones in 3-2 time with frequent syncopations, and the later in 4-4 time ; very popular during the i8th century. Horn'quinten (Ger., "horn-fifths".) The covered fifths produced by the natural tones of a pair of 1: horns: '■ Horn'sordin (Ger.) Mute for a horn, 98 HOSANNA— IDYL. Hosan''na; Hosian'na (Hebr.) Lit. " save, I pray"; an interjection used as a prayer for deliverance or as an accla- mation. — In the Mass, a part of the Sanctus. Hue'huetl (Aztec.) (Also huehuitl, vevtl^ tlapankuehuetl.) Drum of the abori- gines in Mexico and Central America, consisting of a section of a log hollowed out, carved on the outside, from 3 to 4 feet in height, as thick as a man's body, and set upon a tripod. The upper end was furnished with a head of leather or parchment which could be tightened or relaxed, thus raising or lowering the tone. It was struck with the fingers, and considerable skill was required to play it. From the indistinct accounts of the old Spanish writers it appears to have yielded, in conjunction with the Teponaztli, a rude harmonic bass accom- paniment. Huit-pieds (Fr.) Same as Halbe Orgel. Hulfs- (Ger.) Se^e. Hilfs-. Hum'mel, Hiim'melchen (Ger.) i. A drone. — 2. An obsolete organ-stop, by drawing which 2 reed-pipes were caused to sound continuously until it was pushed in. — 3. The Balalaika, which has a sympathetic string. — 4. The ' ' drones ' ' of the hurdy-gurdy. Humoresque. (Ger. ffumores'ke.) A composition of humorous or fantastic style. See Caprice. Hurdy-gurdy. (Ger. Dreh'kier, Bau'- 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 strings, only 2 of which are melody- strings, the others being merely drones tuned a fifth apart. The melody-strings (compass [ ^ / ^^ are stopped by about 2 & ' J ZZ ) means of keys octaves : *^ -*- controlled by the left hand ; the right hand turns a crank at the tail-end of the instr., which causes a rosined wheel impinging on all the strings to revolve, thus pro- ducing the harsh and strident tone. This wheel and the key-mechanism are contained in an oblong box correspond- ing to the neck of the lute, etc., but set directly on the belly, only the peg-box and head projecting beyond. The melody-strings pass through this box, and are attached to a tailpiece ; the drones lie outside. The music pro- duced is of the rudest description. The hurdy-gurdy was in great vogue from the loth to the 12th century. Hur'tig (Ger. ) Quick, brisk, swift;^r«^. Hydrau'licon, An hydraulic organ. Hydraulic organ. (Ger. Was' ser orgel,- Gk. hydrau' los ; Lat. or'ganum hydrau'- lietim.) A small kind of organ, inv. by Ktesibios of Alexandria (180 B. C), in which the wind-pressure was regulated by water. Hymn. (Ger. and Fr. Hymnej It. in'no.) A religious or sacred song ; usually, a metrical poem to be sung by a congre- gation... In foreign usage, a national song of lofty character, such as the Marseillaise. Hy'per (Gk.) Over, above ; often occurs in compounds, as hyperdiapa' son, the octave above ; hyperdiapen te, the fifth above, etc. . .In the Greek transposing scales (see Greek music) hyper signified a fourth higher. (Lat. equivalent j«/^?-.) Hypercatalectic. In dipodic versifica- tion, a line having a redundant half- foot (either thesis or arsis) is thus termed ; hypercatalexis being such state of redundancy. Hy'po (Gk.) Under, below ; frequent in compounds, as hypodiapa' son, the octave below, hypodiapen'te, the fifth below, hypodit'onos, the third below . . . In the Greek transposing scales (see Greek music) and the church-modes (see Mode), hypo signified a fourth below ; in the ancient Greek modes, a fifth below. (Lat. equivalent sub.) I. I (It., masc. pi.) The. lam'bus. A metrical foot of 2 syllables, one short and one long, with the ictus on the long (^ — ^). las^tian. Same as Ionian. Ic'tus. Accent or stress, either rhythmi- cal or metrical. Idea. A musical idea is a figure, motive, phrase or strain, with or without har- monic concomitants ; also, a fully de- veloped theme or subject. Id6e fixe (Fr.) Berlioz's term for an oft-recurring and characteristic idea or theme ; a sort of leading-motive. rdyl. (Ger. and Fr. Idyl'le; It. idil'lio.) A composition of a pastoral or tenderly romantic character. IL— INBETONT. 99 II (It. , masc. sing.) The. Imboccatu'ra (It.) i. Mouthpiece (of a wind-instr.) — 2. Lip 2. Imbro'glio (It.) " Embroilment, con- fusion". Apassage in which the rhythm of the different parts is sharply con- trasted and perplexing in effect. Imitan'do (It.) Imitating. Imitation. (Lat. imita'tio; Fr. imitation; It. imitazio'ne; Ger. Nach'ahmung.) The repetition of a motive, phrase or theme proposed by one part (the ante- cedent) in another part (the consequent), with or without modification . . . /. at the fifth, octave, etc., that in which the consequent follows the antecedent at the interval of a fifth, octave, etc . . .I.by augmentation, that in which the time- value of each note of the antecedent is increased according to a certain ratio in the consequent (J = cl, or J = J. etc). ../. by diminution, that in which the time-value of each note in the ante- cedent is decreased according to a cer- tain ratio in the consequent (;_j = J etc.) . . . /. by inversion, that in which each ascending interval of the ante- cedent is answered by a like descend- ing interval in the consequent, and descending intervals by ascending ones. . . Canonic i. , strict imitation (see Ca- nony...Free i., that in which certain modifications of the antecedent are per- mitted in the consequent (e. g. augmen- tation, diminution, reversed imitation, as explained above ; or when certain intervals are answered by others, the time-value of certain notes altered, etc.); opposed to Strict imitation, in which the consequent answers the antecedent note for note and interval for interval. ..Retrograde i., that in which the theme is repeated backwards {recte e retro); see Cancrizans. Im'mer (Ger.) Always ; continuously ; immer starker werdend, continually growing louder ; immer langsamer , slower and slower ; immer langsavi, slowly throughout. Iniinuta''bilis (Lat.) One of the accentus eccl. Iinpazien'te (It.) Impatient, restless, vehement . . . Iiiipazientemen'te, impa- tiently, etc. Imperfect cadence, consonance, in- terval, measure. See the nouns . . . Imp. time, see Notation, §3. Imperfection, i. See Notation, §3. — 2. In a ligature, the presence of a breve as final note, indicated by using the figura obliqua ( BH ). Imperio'so,-a (It.) Imperious, haughty, lofty. Im'peto (It) Impetuosity. .. G?» i., or impetuosamen' te, impetuously . . . Impe- tuosita' , impetuosity . . . Impetuo'so, -a, impetuous. Implied discord. An interval which, though not itself dissonant, is contained within a dissonant chord ; e. g. a ma- jor third in |^:^a= ...Implied in- the chord : 1^ '^ terval (in tho- rough-bass), an interval not indicated by a figure, but understood, 2 e. g. the sixth and fourth \ ^S^~^— in a chord of the second : I : Imponen'te (It.) Imposing, impressive. Impresa'rio (It.) The agent or mana- ger of a traveling opera or concert-com- pany. — Occasionally, an instructor of singers in opera or concert. Impromp'tu. i. An improvisation'. — 2. A composition of loose and extem- poraneous form and slight develop- ment ; a fantasia. Imprope'ria (Lat., "reproaches".) In the Roman ritual, a series of antiphons and responses forming part of the solemn service substituted, on the morning of Good Friday, for the usual daily Mass. Impropri'etas (Lat.) A term applied to a ligature when its first note is not a breve, but a long ; indicated, when the second note ascends, by a descending tail to the right or left of the first ; when the second note descends, by the absence of the tail. 0pp. to Proprietas. Improvisation. Extemporaneous music- al performance. Improviser (Fr.) To improvise. . ./w- provisateur {-trice), a male (female) im- proviser. Improvisier'maschine (Ger.) A melo- graph. Improwisa're (It.) To improvise... Improvvisamen'te, extemporaneously . . .Improvvisa'ta, an improvisation, im- promptu . . . Improvvisato're {-tri'ce), a male (female) improviser. . .AUimprov- vi'sta, extempore. In'betont (Ger.) With mediate accent. (See Abbetont.) loo INCALZANDO— INTERLUDE. Incalzan'do (It.) "Pursuing hotly." See Stringendo. Incarna'tus. Part of the Credo. See Mass. Inch of Wind. See Weight. Inchoa'tio (Lat.) The introductory tones or intonation of a plain-song chant. Incomplete stop. A partial stop (or- gan). Incrociamen'to (It.) Crossing. Indeci'so (It.) Undecided. independent chord, harmony, triad. One which is consonant (i. e. contains no dissonance), and is therefore not obliged to change to another by pro- gression or resolution ; opp. to Depend- ent. Index. Same as Direct. Indifferen'te (It.) -Indifferent, careless. . . Indifferentemen'ie, or con indiffe- ren'za, indifferently, etc. Inferna'le (It.) Infernal, hellish. Infinite canon. (It. ca'none injini'to.') See Canone. Inflati'lia (Lat.) Inflatile or wind-in- struments. Jnfrabass' (Ger.) Subbass. Ingan'no (It.) Deceit. . . Caden'za d'in- ganno, deceptive cadence. Jngres'sa. Name of the Introit in the Ambrosian rite. lu'halt (Ger.) Contents ; idea, concep- tion ; subject-matter. Inharmonic relation. See False rela- tion. Inner parts. Parts lying between the highest and lowest . . . Inner fedal, a pedal-point in such part or parts. In'nig (Ger.) Heartfelt, sincere ; fer- vent, intense ; with deep, true feeling ; equivalent to It. affettuo'so, con affetf- to; in'timo, intimis' simo . . . Mit in'- nigem Aus'druck, with heartfelt ex- pression . . . In'nigkeit, deep emotion or feeling, fervency, intensity. . .In'nig- lich, same as Innig. In'no (It.) Hymn. Innocen'te (It.) Natural, unaffected. . . Innocentemen'te, naturally, artlessly. . . Innocen'za, naturalness, artlessness, etc. In no'mine (Lat., "in the name".) i. A kind of motet or antiphon. — 2. See Fuga in nomine. Inquie'to (It.) Unrestful, restless. Insensi'bile (It.) Imperceptible. . ./»- sensibilmen'ie, insensibly. Insisten'do (It.) Insistently, urgently, with strong stress. (Also con insisten- ea.) In'standig (Ger.) Urgent, pressing. (Also adverb.) Instan'te (It.) Urgent, pressing. . ./»- stantemen'te, urgently, etc. Instrument. (Ger. and Yx. Instrument' ; It. instrumen'to, istrumen'to, stromen'- to, stramen'to.) A list of the principal modern instruments is given opposite, according to Gevaert's classification ; the asterisk (*) indicates that the instr. is little used in the orchestra ; the brack, ets ([ ]), that it is obsolete, ornearlyso. Instrument (Fr.) /. d- archet, bow-in. strument . . .1. A. cordes, stringed instru- ment . . . /. h percussion, percussive in- strument . . . /. h vent, wind-instrument. Instrumentation. (Ger. Instrumentie' - rung; Fr. instrumentation; It. istru- mentazio'ne.) The theory and practice of composing, arranging, or adapting music for a body of instruments of dif- ferent kinds, especially for orchestra. (See Orchestra, Orchestration^ — In- strumeniierung (Ger.) is a term also oc- casionally applied to pfte. -music to de- note dynamic shading and variety of touch ; sometimes with reference to all, at others to single, parts. Intavola're (It.) i. To write out or copy in tablature or score. — 2. To set to music. ..Intavolatu'ra, (a) tablature ; (/}) notation ; (c) figured bass. In'teger va'Ior nota'rum (Lat.) "In- tegral value of the notes", i. e. their absolute duration at an average tempo, a question of high importance before the invention of tempo-marks and the metronome. Michael Praetorius says (1620), tbsit abont&o tempora (=breves, the tempus, or unit of measure, then being the breve ^ ) should fill 7^ minutes, thus : 80 1^ =74 minutes loj 1=^ =1 min. = ioJ- M.M.; hence =2iJ- M.M.; ^ =42f M.M.; and 1 =85} M.M. (J=85J M.M.) [RiEMANN.] Intenziona'to (It.) With stress, em- phasis. Interlude. I. An intermezzo. — 2. An INTERMEDE— INTERROGATIVUS. lOI CLASSIFIED LIST OF MUSICAL INSTRUMENTS. Stringed Instruments. jx. with 4 strings \ ^Sl"„-,XboubIe.bas, I 2. with more than j *Viola d'amore 'a) by a bow 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 B.Strings.plucked] ^' ^^ thehngers ^ ^ 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 hole mouth- j a) lateral lb) whistle-like B. With reed , With mouth- piece a) cylindrical tube -f- beating reed b) conical tube -\- beating reed c) conical tube -^ double reed 'a) natural b) chromatic D. Polyphonic A. With a me brane B. Autophonic t a) without keyboard \ b) with keyboard Flutes, Piccolos. Fife [Flfites a bee] , *Flageolet j [Chalumeau], clarinets, *alt-cla- ( rinet (basset-horn), bass-cl. Saxophones, *octavin ' Oboe,*hautbois d'amour, alt-oboe or cor anglais *Sarrusophones Bassoon, quint-bassoon, double-bas- soon Horn, natural Trumpet, natural *Post-horn (,*Bugle, military Trombones, slide-trumpet [Cornetto, Serpent] a. with holes (keys) -< *Key-bu^le, or key-trumpet *Ophicleide ' Valve-horn Valve -trumpet Valve -trombone, (*alto, tenor, *bass) Cornet a pistons Valve-bugles or saxhorns ; Tubas or , saxhorns , with slide 3. with valves (pis- tons) I I. with tubes ( 2, without tubes Organ Harmonium, *Vocalion III. Instruments of Percussion. J a) with tones of determinate pitch ( b) with tones of indeterm. pitch \ a) with tones of determinate pitch 1 b) with tones of indeterm. pitch Kettledrums Bass drum, side-drum, etc. Bells, carillons. Glockenspiel j Triangle, cymbals, tam-tam, cas- } 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 orig-- inally short mus. entr'actes in the Italian tragedies, of a very simple description, 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 latter. — 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 a symphony or other extended work ; sometimes to entire long movements, or even to independent compositions. . , 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. Interrogati'vus. One of the accentuseccL I02 INTERROTTO— INTERVAL. Interrot'to (It.) Interrupted. . ./»fe?-- ruzio'ne, interruption. Interval. (Lat. interval' lum ; Gar. /«- tervall' ; Fr. intervalle ; It. interval' lo.) The difference in pitch between 2 tones. — For naming the various intervals there are 2 systems in vogue ; both are founded upon and derived from the names of the intervals formed, in the diatonic major scale, between the key- note and the successive ascending de- grees ; in both the 1st degree is called a Prime (or First), the 2nd a Second, the 3rd a Third (or Tierce), 4th a Fourth (or Quart), 5th a Fifth (or Quint), 6th a 52>^/4 (or Sext), 7th a Seventh {or Sept), and the 8th an Octave (or Eighth). In the typical scale of C- major the standard intervals are as follows, counting upward from the key- note, C : I {TABLE I.) J= o ^ H Ph (x, -5 QJ nl -^^ J ^ (l) The older system, that in general use, will be explained first ; premising, that intervals are always considered as measured upwards from the lower tone to the higher, unless expressly accom- panied with the epithet below or lower. Table III includes the standard inter- vals and their direct derivatives between ^and (ci) I Table III shows {A) that each major ox perfect interval, when widened by a semitone, becomes augmented ; that 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 : 12345678 87654321 a Perfect interval becomes perfect a Major '* " minor a Minor " " major an Augmented " " diminished a Diminished " " augmented ; (C) the regular order of the standard intervals according to their pitch (com- pare Vibration), both in Just Intona- tion and Equal Temperament, inter- vals bracketted together being Enhar- monic ; {D) the division of the Octave in Equal Temperament. (2) In the newer system, all the standard intervals are called niajor; any major interval widened by a semi- tone becomes augmented, if narrowed by a semitone, it is minor ; and any minor interval narrowed by a semitone becomes diminished ; {TABLE II) Inter- Ma- Aug- j^j;^„^_ Diminished. vals. jor. mented. Second...C— D C— DJ C— D|> C— DS)S or CJf— D|> Third... — E — Ei — Et> — E3S —En Fourth.. — F — Ffi — Fh — Fpb — F^ Fifth.... — G — G| — G^ —G'm — G|> Sixth.... —A —Alt — A^ — A^S — A|> Seventh. — B — Btt — B^ —m\> — Bb Octave.. — C — Cjf — C^ — Q> — C|> The latter system is simpler and more consistent than the old, and might be advantageously substituted for it if all leading musicians in England and America would agree to adopt it ; other- wise, its occasional use can serve only to increase the confusion unhappily pre- vailing in English musical terminology. In this Dictionary the older system is adhered to throughout. An interval is : — Augmented, when wider by a chroma- tic semitone than major or perfect . . . Chromatic, when occurring between a key-tone and a tone foreign to the key. . . Compound, when wider than an oc- tave ; thus a Ninth is an Octave plus a Second, a Tenth is an Octave plus a Third, ^tc. . .Consonant, when not re- quiring resolution (comp. Consonance), . . Diatonic, when occurring between 2 tones belonging to the same key (ex- ceptions, the augm. 2nd and 5th of the harmonic minor scale) . . . Dimin- ished, when a chromatic semitone nar- rower than minor or perfect . . . Disso- nant, when requiring resolution (comp. Dissonance) . . . Enharmonic, when both its tones, though having different letter- names, are represented by one and the same tone on an instr. of fixed intona- tion. . .Extreme, see Augmented. . . Flat, see Diminished. . .Harmonic, when both tones are sounded together. . . Imperfect, see Diminished. . . Inverted, when the higher tone is lowered, or the lower tone raised, by an octave (see Table I). . .Major ; according to Table I, the major intervals of the major scale are the Second, Third, Sixth, and Seventh ; ace. to Table II, all its inter- vals are raal^ox. . .Melodic, when the 2 tones are sounded in succession . . . INTERVAL. 103 B. Inverted Inter- vals. Perfect Octave' (1:2; Dimin. Octave (25 : 48) Major Seventh (8 : 15) Minor Seventh (9 : 1,6) Dimin. Seventh (75 : 128) Major Sixth (3:5) Minor Sixth (5:8) Augm. Fifth (16 : 25) T)imin. Sixth (675 : 1024) Perfect Fifth (2:3) Dimin. Fifth (25 : 36) Augm. Fourth (18 : 25) Perfect Fourth (3:4) Dimin. Fourth (25 : 32) Major Third (4:5) Minor Third (5:6) Dimin. Third (225 : 256) Major Second (8:9) Minor Second (15 : i6j Augm. Prime (128 : 135) Perfect Prime (1:1) _ J* T\f w -« T-V\ i i t 1:1 I.. f- n ( TABLE III.) A. Standard Intervals. Perfect Prime Augm. Prime (Chromatic Second)* Minor Second (Step of Lead- ing-tone) Major Second^ Augm. Second Minor Third Major Third Dimin. Fourth Augm. Third Perfect Fourth Augm. Fourth Dimin. Fifth Perfect Fifth Augm. Fifth - 4 Minor Sixth ■ Major Sixth *j- - ■ Augm. Sixth ■ Minor Seventh Major Seventh -Dimin. Octave "Perfect Octave Vibrational Ratio in Just In- tonation. I : 1 128 : 135 15 ; 16 8:9 64: 75 5:6 4: 5 25 : 32 512: 675 3 : 4 18: 25 25 : 36 2: 3 16 : 25 5:8 3: 5 128 : 225 9 : 16 8:15 25: 48 I : 2 Tempered Intonation -I : I A 1-^ D. Division of Octave in Equal Tem- perament. 0.00000 0.08333 0.16666 0.25 0.33333 0.41666 0.58333 0.66666 0.75 0.83333 0.91666 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- rower than major or perfect . . . Perfect: the Prime, Fourth, Fifth, and Octave. . .Redundant, see Augmented. . . Sharp, see Augmented ... Simple, when not wider than the Octave . . . Superfluous, see Augmented. In'timo, Intimis'simo (It.) Compare Innig. Intona're (It.) To intone. Intonation, i. The production of tone, either instrumental or vocal, especially the latter ; when applied to the pitch of the tone produced, it is said to be cor- rect, pure, just, true, etc., in opposition 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. In'tonator. See Monochord 1. Intonatu'ra, Intonazio'ne (It.) Intona- tion ; pitch. Intonie'ren (Ger.) To intone ; also, to voice (as organ-pipes) ; voicing. Intra'da. (It. intra' ta, entra'ta ; Ger. Intra'de ; Fr. entree.) 1. An instru- mental prelude or overture, especially the pompous introduction to the earlier dramas and operas ; hence applied to opening movements of various descrip- tions. — 2. See Entree. Intre'pido,-a (It.) Bold. . ./nirepida- men'te, boldly. . .Intrepidez'za, boldness. Introduction. A phrase or division pre- Hminary to and preparatory of a com- position or movement ; may vary in length from a short strain up to an ex- tended and independent movement. (It. introduzio'ne.) Intro'it. (Lat. intro'itus, ' ' entrance " ; It. intro'ito.) An antiphon sung while the priest is approaching the altar to celebrate the Mass ; formerly an entire psalm, but abbreviated later. — In the modern Anglican Church, an anthem or psalm. Invention. A short piece in free con- trapuntal style, developing one motive in an impromptu fashion. (Comp. Bach's 30 Inventions.) Inversion, r. (Ger. Um'kehrung ; Fr. renver sement ; It. river samen' to, rivoV- to.) The transposition of the notes form- ing an interval or a fundamental chord : — (A) A simple interval is inverted by setting its lower note an octave higher. or its higher note an octave lower (see Interval); compound intervals must first be reduced to simple ones, and then in- verted : — {B) A chord is inverted when its lowest note is not the root ; thus anj triad has 2 inversions, e. g. : a be P tst inv. zndznv. a is the fundamental position ; b, ist in- version, or chord of the sixth ; c, 2nd' inversion, or chord of the fourth and sixth ; — a chord of the seventh has 3, inversions, e. g. : abed istznv. 2nd inv. -^rdinv. a, fund, position ; b, ist inversion, or chord of the fifth and sixth ; c, 2nd in- version, or chord of the third and fourth; d, jrdinversion, or chord of thesecond. — 2. In double counterpoint, the trans- 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", "in the tenth ", etc. — 3. The repetition of a theme in contrary motion, ascend- ing intervals being answered by de- scending ones, and vice versa ; alsa called imitation in contrary motion, or imitation by inversion. — 4. An organ- point is termed inverted when in some- other part than the lowest. Invi'tatory. (Lat. invitato'rium.) In the R. C. Church, the variable antiphon to the Venite, at matins ; — in the Greek Church, the triple. "O come, let us worship ", preceding the psalm at each of the canonical hours ; — in the Angli- can Church, the versicle " Praise ye the Lord " with the response " the Lord's, name be praised", at matins. Ionian. See Mode. I'ra (It.) Wrath, passion ; con ira, wrathfuUy, passionately. . .Ira' to, wrath- ful, passionate. Irlandais,-e (Fr.) Hibernian, Irish. Iro'nico,-a(It.) Ironical. . . Ironicam-en' ~ te, ironically. Irregular cadence. See Cadence. Irresolu'to (It.) Irresolute, undecided, hesitating. Isorrhyth'mic. (Ger. isorrhyth'misch.y ISTESSO TEMPO— JUBELHORN. 105 In prosody, an isorr. foot is one divisi- ble into 2 parts containing an equal number of rhjfthmic units, i. e. one having thesis and arsis of equal length ; as the dactyl ( — l^- ^--), anapest (>-' ^1 — ), and spondee ( — ; — ). Istes'so tempo,!' (It.) "The same tempo " (or time) ; signifies (i) that the tempo of either the measure or measure- note remains as before, after a change of time-signature ; or (2) that a move- ment previously interrupted is to be re- sumed. (Also Lo slesso temfio.) Istrumen'to (It.) Instrument. . ./r« d'ange, vox angelica. . .Jeu de JlAtes, flute-stop. . .Jeu de mu- tation, (a) mutation-stop ; (i) mixture- stop. . .Jeu de timbres. Glockenspiel. . . Jeu de violes, consort of viols . . .Jeu de voix humaine, vox humana . '. . Grand jeu, pleinjeu, full organ ; full power.. . .Demi-jeu, half power. Je'w's-harp. (Ger. Maultrommel; Fr. trompe, guimbarde ; It. trom'ba.) A small instr. with a rigid iron frame, within which is adjusted a thin, vibra- tile metallic tongue ; the frame is held 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. Jig. (Fr. and Ger. Gigue; It. gi'ga.') A species of country-dance, though with all conceivable modifications of step and gesture, usually in triple or com- pound time, and in rapid tempo. — In the Suite, the Gigue is generally the last movement. . Jingles. The disks of metal attached at intervals to the hoop of the tambourine. Jocula'tor (Lat.) %e& Jongleur. Jo'deln {verb), Jo'dler {noun) (Ger.) A favorite style of singing among the in- habitants of the Alps, characterized by a frequent and unprepared alternation of falsetto tones with those of the chest- register. A Jodler is a song or refrain sung as above. Jongleur (Fr.) A wandering minstrel in medieval France, and also in England under the Norman kings ; later, a jug- gler or mountebank. Jo'ta (Span.) A national dance of north- ern Spain, danced by couples, in triple time and rapid movement, somewhat resembling a waltz, though with innu- merable extempore and fantastic varia- tions of step, and accompanied by the castanets and mandolin, with vocal in- terludes. Jouer (Fr.) To play (any instrument) ; used with de, du, de V . Jour (Fr., " day.") A corde h jour is an open string. Ju'ba. A dance of the negroes in the Southern States, forming an essential feature of the breakdown. Ju'bal. (Ger.) An organ-stop of either 2 or 4-foot pitch. Ju'belhorn (Ger.) See Klappenhorn. Io6 JUBILATE— KERAULOPHON. Jubila'te. In the Anglican liturgy, the looth psalm, following the second les- son in the morning service ; named from the first word of the psalm in the Vulgate. Jubila'tio (Lat.) In the R. C. musical service, the melodic cadence or coda on the last syllable of "alleluia"; also Judllus. Ju'bilus (Lat.) I. Same as Jubilatio. — 2. An extended melodic phrase or orna- ment sung to one vowel. Ju'la (Ger.) An obsolete 5^-foot organ- stop. Jump, I. See Dump. — 2. A leap. Jung'fernregal or Jung' fernstimme (Ger.) Vox angelica. (Lat. also vox virginea.) Jupiter Symphony. Mozart's 49th (and last) symphony, in C-major. Juste (Fr.) Just, true, accurate (said of intonation) . . .Justesse, purity (of tone) ; correctness, accuracy (of ear or voice). K. Kadenz' (Ger.) Cadence ; close ; ca- denza. . . Ab' gebrochene K., interrupted cadence . . .A uf gehaltene K. , the f er- mata (usually on the \ chord) before a cadenza . . . Plagal'kadenz, plagal za.- Atnce . . . Trug" kadenz , deceptive ca- dence. . . Un'vollkommene {voU'kom- mene) K., imperfect (perfect) cadence. — Also frequently Schluss (close), which see. Kalama'ika. A Hungarian national dance in 2-4 time and rapid tempo, of an animated and passionate character. Kalkant' (Ger.) A " bellows-treader" of the older German organs . . . Kalkan'- Unglocke, bell-signal for the blower. Kam'mer (Ger., imitating It. camera^ A private room or small hall . . . Kam'- merkantate, chamber-cantata. . .Kani'- merkomponist, court-composer (for a prince's private band) . . . Kam'merkon- zert, (a) chamber-concert, (^) chamber- concerlo . . . Kam'mermusik, chamber- music. . . Kani' mermusiker, court-musi- cian. . . Kam' mersdnger , court-singer. . . Kam'merstil, the style of chamber- music. . . Kani'merton, normal or stan- dard orchestral pitch (now a' =435); see Chorion . . . Kam'mervirtuos, court- virtuoso. Ka'non (Ger.) Canon. Kanta'te (Ger.) Cantata. Kanun'. A sort of Turkish dulcimer or zither with gut strings, played with plectra adjusted like thimbles on the finger-tips. Kanzel'le (Ger.) Groove (in windchest.) Kanzo'ne (Ger.) Canzone. Kapel'le (Ger.) i. Especially in the i8th century, a company of musicians, either instrumentalists or vocalists, or both, maintained as part of the establishment of a court or nobleman, or of some church dignitary. — 2. In modern usage, an orchestra . . . Kapell'knabe, choir- boy. . .Kapell'meister, (a) conductor of an orchestra ; (b) Choir-masler. (Some- times literally translated chapel-master^ . . KapeW meistermusik, ' ' band-master music", i. e. music filled with reminis- cences from works familiar to the con- ductor-composer, and hence the reverse of original. Kapodas'ter (Ger.) Capotasto. Kassation' (Ger.) Cassazione. Kastagnet'ten (Ger., pi.) Castanets. Katalek'tisch (Ger.) Catalectic. Ka'tzenrausik (Ger., "cat-music".) A callithumpian concert, mock serenade. Kavati'ne (Ger.) Cavatina. Kazoo'. A musical (?) toy, consisting of a pasteboard tube furnished with a gut string, which vibrates when the per- former sings into the tube. Keck (Ger.) Bold, confident ; pert. (Also adverb.). . .Keck'heit, boldness, confidence. Keli'le (Ger.) ThtoaV. . .Kehl'fertig. keii, vocal skill . . . Kehl'kopf, larynx . . .K'ehl'schlag {¥r. coup de glotte), sud- den, firm attack of a vocal tone, the vo- cal cords closing and adjusting them- selves simultaneously with the emission of air. Kehrab', Kehraus' (Ger.) Familiar term for the concluding dance at a party or ball. Ken'ner (Ger.) A connoisseur, expert. Kent bugle. (Ger. Kenthom.) Key- bugle. Kerau'lophon. In the organ, an 8-foot partial flue-stop, having metal pipes of small scale, each surmounted by an adjustable ring, and with a hole bored near the top ; the tone is soft and KEREN— KEYBOARD. 107 reedy. Inv. by Gray and Davidson of England. Keren. A Hebrew trumpet. Kes'sel (Ger.) Cup (in mouthpiece of brass vasix.s). . ./Ces'selpauke, kettle- drum (usually simply Pauke). Ket'tentriller (Ger.) Chain of trills. Kettledrum. (Ger. Pau'ke; Fr. tim- bale; It. tim'pano.) The only orches- tral drum tuned to accord with other instruments. It consists of a hollow brass or copper hemisphere (the kettle) resting on a tripod, with a head of vel- lum stretched by means of an iron ring a.nd tightened by a set of screws or a system of cords and braces. It is gener- ally played in pairs, the larger drum yielding any tone from P to c, and the ■smaller ,-^. 1— r — 1 — =r-i accord from in g as ffjy to/: ' '^^ ' ' ' the head is relaxed or tightened. The timpani -were formerly noted as transposing in- ■str.s (i. e. in C with the added direction ' ' Timpani in £[7, in i^b , " etc.), but now the notes desired are generally written. As used at first, they took only the tonic and dominant of the movement, chiefly as a rhythmical reinforcement ; now they take very various intervals, and are employed to obtain musical and dramatic effects. They are struck with 2 sticks having elastic handles and soft knobs of felt, sponge, and the like. Key (l). (Ger. Ton'art; Fr. mode, ton; It. mo'do, to'no.) The series of tones forming any given major or minor scale, considered with special reference to their harmonic relations, particularly the relation of the other tones to the tonic, or key-note; the terra "scale" indicates simply their melodic succes- sion. (Comp. Tonality.) Each key is named after its key-note, as C-major, a-minor. See General View, page 108. The following keys : |-g»7%t— ( C-sharpmaj.r=Z>-flat maj.] M)*Y^ j ^-sharp min.[=.5-flat min.] - p , I) Jj J. ( C-flat maj.r==.5-major] tS l " ^'\>' ^_ ( D-fiat major Des dur I B-fiat minor B moll P ' J A-flat major As dur ■ ) F-minor F moll \^ J E-flat major Es dur V j C-minor C moll P '. ( B-flat major B dur : j G-minor G moll ' ( F-major ( D-minor Fdur DmoU Sol bemol majeur Sol bemolle maggiore Mi bemol mineur Mi bemolle minore Re bemol majeur Re bemolle maggiore Si bemol mineur Si bemolle minore La b^mol majeur La bemolle maggiore Fa mineur Fa minore Mi bemol majeur Mi bemolle maggiore Ut mineur Do minore Si bemol majeur Si bemolle maggiore Sol mineur Sol minore Fa majeur Re mineur Fa maggiore Re minore Flat keys* keys \s C D E [white] F% G{f A^ I [black] c [white], etc. ; in the upper! upper row of keys (in pair) lower " " " " " C Consequently, a chromatic scale is played by the simple alternation be- tween the successive keys of any 2 ad- joining rows ; the fingering of all the major scales is uniform, and all minor scales are also fingered alike. The width of an octave on the ordinary key- board is just that of a tenth on this ; so that large hands can stretch a thirteenth, or even a fourteenth if^-b^i). Key-bugle. See Bugle. row : Cfl D^ [black] FGAB [white] df, [black], etc.: Ctf DJf F G A B ci; D E F# G3 Ait .. Key-chord. The tonic triad. Keyed violin. A piano-violin. Key-fall. See Dip. Key-harp. (Fr. clavi-harpe) An instr. resembling a pfte. in form, and with a similar keyboard, but having a set of tuning-forks in lieu of strings. Inv. in i8rg by Dietz and Second. (Comp. KlaviaiU7'~Harfe^ Key-note. The tonic. KEYSHIP— KLAVIER. 109 Keyship. Tonality. Key-signature. See Signature. Key-stop. A key (digital) attached to the fingerboard of a violin so as to re- place the fingers in stopping the strings; the instr. is then called a key-stop (or keyed-stop) violin. (Comp. Klavier- Violoncello^ Key-tone. Same as key-note. Key-trumpet. A trumpet provided writh keys. Kicks (Ger.) The " goose ". Kin. An ancient Chinese instr. , consist- ing of a soundboard with 2 bridges, over which silk strings varying in num- ber from 5 to 25 are stretched ; they are plucked with the fingers. Kin'derscenen (Ger.) Scenes of Child- hood (Schumann) . . . Kiri'derstiicke^ pieces for children. Kind'lich (Ger.) Childlike ; with fresh, naive effect. King. An ancient Chinese instr., con- sisting of agraduated series of 16 sonor- ous stones (or plates of metal), sus- pended by cords and struck with a mallet. Kir'chenmusik (Ger.) Church-music. . .Kir'chenton (pl.-ione), a church- mode ... j?'zV') to open and shut the swell- box ; if) to draw all the stops. Kneif'instrument (Ger.) An instr. hav- ing strings plucked by the fingers or a plectrum. Knie'geige (Ger.) Viola da gamba Knie' guitar re ^ guitare d'amour. , . . Knie'zug^ knee-stop. Knopf'regal (Ger.) See Apfelregal. Kno'te (Ger.) Node. . .Kno'tenpunkt, nodal point. KoUektiv'zug (Ger.) Composition- pedal. ."Kol'lern (Ger.) See Sgallinacciare. !Kolophon'. See Colophony. .'Kombinations'pedal (Ger.) Combina- tion-pedal.. .Kombinations' ton^ combi- nation-tone. ■ Koraponie'ren (Ger.) To compose... Koniponiert' ^ composed.. .Ko7nponist' ^ composer. ;JCon'trabass (Ger.) Double-bass... A'om'- trafagott, double-bassoon. . .Kon'lra- ^ .ekiave, contra-octave . . . Kon' trapunkl, ■counterpoint... Ko7t'trasuliJel;t, counter- rsubject. TConzert' (Ger.) Concert ; concerto. (Also Concert.) . . . Konzert'meister^ leader, first violin . . . Konzerl' oper, a light opera for concert performance -without stage-accessories . . . Konzert'- siiick, (ff) a short concerto in one move- ment and free form ; {b) any short solo piece for public performance. Kopf'stirame (Ger.) Head-voice. Kop'pel (Ger.) Coupler. . .Koppel ab, coupler oS.. . .JC. an, draw coupler. Kornett' (Ger.) Comet. Kosa'kisch (Ger.) A national dance of the Cossacks, the melody of which con- sists of 2 8-measure repeats in 2-4 time. Ko'to. The Japanese zither-harp, with 13 silk strings stretched over an arching oblong soundboard, each having a sep- arate movable bridge, by adjusting which the string can be tuned. Com- pass about i octaves. The player uses both hands ; the chromatic tones are produced by pressing the strings behind the bridges. Kraft (Ger.) Force, vigor, energy. . . Krdf'tig, forceful, vigorous. (Also adverb.) Kra'gen (Ger.) Peg-box (of a lute). KrakoTviak. See Cracovienne. Krau'sel (Ger.) Mordent. Krebs'gangig (Ger.) Cancrizans, xAro- ^xsAe. . .Krebs'kanon, canon cancri- zans. Krei'schend (Ger.) Harsh, strident ; screeching, screaming. Kreuz (Ger., "across".) A sharp (Jt). . .Kreuz' saiiig, overstrung. . .Kreuz'- tonart, a sharp key. Krie'gerisch (Ger.) Martial, warlike. Kriegs'lied (Ger.) War-song. Kro'rae (Ger.) Chroma. Krumra'bogen (Ger.) Crook. . .Krumm'- horn, {Kromphorn, Krumhorn, hence Fr. cromorne and It. cormorne ; It. also cornamu'to tor'to, or, for short, stor'io.) I. An obsolete wood-wind instr. of the Bombard class, blown by means of a double reed within a cupped mouth- piece, and differing from the bombards by the semi-circular turn of the lower part of the tube and by its remarkably narrow compass (a ninth). In the l6th century it was made in 3 or 4 different sizes, ti'eble, alto, (tenor), and bass, and had 6 ventages on the straight part of the tube. The tone had a melancholy timbre, which was imitated — 2. in the organ-stop of the same name (also cormorne, crevtona, phocinx), formerly in vogue for small-sized organs and for the echo-work of larger ones (of 8 and 4-foot pitch, on the pedal also of 16- foot pitch as A'rumm' hornbass) ; a reed-stop, the tubes of which were fre- quently half-covered, or conical below and cylindrical above. [Riemann.] Krus'tische Instruraen'te (Ger.) See Schlag'instrumente. Kuh'horn (Ger.) The alp-horn ... jr«,5'- reigen, Kuh'reihen, Ranz des vaches. Kunst (Ger.) Art; science ... jTmkj^'- fugue, fuga ricercafa...j?«'Kj/'/«r, artist. . .Kunsf lied, an art-son%, opp. to folk- song ( Volkslied) . . . Kitnsi'pfeifer, see Stadtpfeifer. Kurz (Ger.) Short ; crisp(ly). . .Kur'zer Mor'dent, short mordent. . .Kur'zeOk- KYRIE— LAUTE. ta've, short octave . . . Kurz und be- stimmi', short and decided. . .Kur'zer Vor'schlag, short appoggiatura. Ky'rie (Gk.," Lord".) The first word, and hence the opening division, in the Mass. L. L. Abbr. for left (or Ger. links) in the direction /. It. (left hand). La. I. The 6th Aretinian syllable. — 2. (Fr., It., etc.) The note A.—^. The (Fr., fern. sing.)...Za b/mol, etc., see Key I, Table. Labecedisa'tion. See Bebisation. Labial'pfeife (Ger.) A labial (lipped) pipe ; a flue-pipe . . . Labial' stimme, a flue-stop. Labisa'tion. Same as Bebisation. La'bium (Lat.) Lip (of an organ-pipe). (Plural, in Ger. use, La'bien.) Lacrimo'sa (Lat.) First word in the 8th strophe of the Requiem ; hence, name of a movement or division of the grand musical requiem, usually of a tender and plaintive character. La'ge (Ger.) Position (of a chord); position, shift (in violin-playing). . .La'- genwechsel, change of position, shifting. . .Enge (weite) Lage, close (open) har- mony. Lagriman'do (It.) Complaininglv, •pXaXa- tiveXy .. .Lagrimo' so, "tearful", plain- tive, in the style of a lament. Lah. For La, in the Tonic Sol-fa system. Laraenta'bile (lamentan'do, lamen- te'vole, lamento'so) (It.) In a sad, melancholy, or plaintive style. Land'ler (Ger.) A slow waltz of South Germany and Austria (whence the Fr. name Tyrolienne), in 3-4 or 3-8 time, and the rhythm J J /--^IJ J :-^ Lang'sam (Ger.) Slow, slowly... Zaw?-'- samer, slower. Language, In a flue-pipe of an organ, an inner partition between foot and body ; see Pipe 1, a. Languen'do, Languen'te (It.) Lan- guishing, plaintive. Languette (Fr.) i. The tongue of a harp- sichord-jack, on which the quill was fixed. — 2. Tongue of a reed in the harmonium or reed-organ. — 3. Pallet (in the organ). — 4. Key (on wind- instr.s). Languid. Same as Language. Languidamen'te (It.) Languishingly, \3.n^\iiA\y . . . Lan' guido , languid, lan- guishing. Lantum. A large kind of hurdy-gurdy, having a rotatory bellows which supplies wind to metallic reeds, and played by pressing buttons adjusted in front. Lapid'eon. An instr. consisting of a series of flint-stones graduated to the tones of the scale, hung in a frame, and played with hammers ; inv. by Baudry. Largamen'te (It.) Largely, broadly ; irt a manner characterized by breadth of style without change of time. [Grove.] Largan'do (It.) "Growing broader", i. e. slower and more marked ; generally a crescendo is implied. Large. Sefe Notation, §3. Large, Largement (Fr.) Largamente (Ger. breit); sostenuto (Ger. getragen).. Larghet'to (It.) Dimin. of Largo; calls for a somewhat quicker movement, nearly equivalent to Andantino. Lar'go (It. ; superl. larghis'simo^ Large, broad ; the slowest tempo-mark, calling for a slow and stately movement with ample breadth of style. . .L. assa'i, with due breadth and slowness . . .L.di molto, or jnolto largo, an intensification of Largo. . .Poeo largo, "with some breadth"; can occur even during an Allegro. Larigot (Fr.) Originally, a kind of shepherd's pipe, or flageolet ; hence, an organ-stop of ij^ foot pitch, one of the shrillest registers. Lau'da (Lat.) A laud (hymn or song of praise). . .Lau'des, lauds ; together with matins, the first of the 7 canonical hours, taking its name from the 148th, 149th, and 150th Psalms then sung. Lauf (Ger.) i. See Ldufer. — 2. Peg- box (usually Wir'belkasteri). Lau'fer (Ger.) A run. Lau'nig (Ger.) i. With light, gay humor. — 2. With facile, characteristic expres- sion. Laut (Ger.) i. Loud. — 2. A sound. Lau'te (Ger.) A lute . . . Lau'tengeige, a viol. . . Lau teninslrumente , see Kneif- instrumente . . . Lautenist' , lute-player. . . . Lau' tenmacher , see Luthier. 112 L AVOLT A— LE ITMOT I V. Lavol'ta (It.) An old Italian dance in triple time, resembling the waltz. Lay. A melody or tune. Le (Fr. and It.) The. Lead. i. The giving-out or proposition of a theme by one part. — 2. A cue (comp. Presa). Leader, i. Conductor, director. — 2. In the orchestra, the first violin ; in a band, the first cornet ; in a mixed chorus, the first soprano. — (In small orchestras the leader [ist violin] is still, as was the rule in earlier times, also the conductor.) Leading, i [noun). In a composition, the melodic progression of any part or parts. — 2 (adjective). Principal, chief; , guiding, directing. . . Leading-chord, the dominant chord, as leading into that of the tonic . . . Leading melody, principal 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 which the hand is lifted clear of the keyboard. — 2. See Skip. z-Qbett'dig, Leb'haft (Ger.) Lively, animated. (Also adverb^ . . . LeV haftig- keit, animation ; Mit L. unddurchaus' mit Emffindung und Ausdruck, with animation, and with feeling and ex- pression throughout. T-^dger-line. See Leger-line. Legan'do. (It.) See Legato. Lega'to (It. ; superl. legatis'simo.) "Bound"; a direction to perform the passage so marked in a smooth and connected manner, with no break be- tween the tones ; also indicated by the legato-mark, a curving line drawn over or under notes to be so executed . . . Lega'tobogen (Ger.), legato-mark, slur. Legatu'ra (It.) A tie ; a syncopation. . . L. di voce, see Ligature 2. Le'gend. (Ger. Legen'de ; Fr. l^gende.) A composition based on a poem of lyrico-epic character, the poem serving either as text or program . . . Legen' den- ton, im (Ger.), in the style of a romance or legend. LSger, 16gfere (Fr.) Light, nimble... Ligirement, lightly, nimbly. Leg'er-line. (Ger. Hilfs' linie ; Fr. ligne ajoutie; It. ri'go aggiun'to or Jinto.) One of the short auxiliary lines used for writing notes which lie above or below the staff. Leger-lines are counted away from the staff, either up or down . . . Leger-space, a space bounded on either side or both sides by a leger-line. Leggerez'za (It.) Lightness, swiftness. . .Leggermen'ie, lightly, swiftly. . .Leg- ge'ro, same as Leggiero. Leggiadraraen'te. (It.) Neatly, ele- gantly, gracefully. . .i^jjj'aVyo, neat, graceful, elegant ; in a brisk and cheer- ful style. Leggieramen'te, Leggiermen'te (It.) Lightly, swiftly. . .Leggie're, light, etc. . "Leggierez'za, lightness, swiftness... 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 little rhythmical emphasis. It differs froni Legato 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 violin-playing, a direction to let the stick of the bow fall on the strings. Leicht(Ger.) i. Light, brisk. — 2. Easy, facile. . .Leicht bewegt, (a) leggiero con moto ; (b) with slight agitation. Lei'denschaft (Ger.) Passion, fervency, vehemence . . . Mit Z. , or lei' denschaft- lich, passionately, vehemently. Lei'er(Ger.) 'L.yx^; L.kasten, hand-organ. Lei'se (Ger.) Low, soft, piano. Lei'ter (Ger. , ' ' ladder ".) Scale ( Ton'- leiier). . .Lei'tereigen, proper or belong-, ing tothescale. . .Lei'terfremd, foreign to the scale. Leit'motiv [-teef] (Ger.) Leading-mo- tive ; a term brought into special prom- inence by Wagner's musical dramas, and applied to any striking mus. motive (theme, phrase) characteristic of or accompanying one of the persons of the drama or some particular idea, emotion, or situation in the latter ; the motive recurring reminiscently at suitable stages of the action . . . Also used of similar motives in recent operas, oratorios, and program-music. LEITTON— LIP. "3 Leit'ton (Ger.) Leading-tone. Lenez'za, con (It.) In a gentle, quiet manner. Le'no (It.) Faint, feeble. Lent,-e(rr.) Slow. . .Lentement, slowly. . .Lenteur, slowness. Len'to (It.) Slow ; a tempo-mark inter- mediate between Andante and Largo (comp. art. Tempo-marks). Also used as a qualifying term, as Adagio non lento. ..Leritamen'te, slowly.. .Lenian'- do, growing slower, retarding ; a direc- tion to perform a passage with increas- ing slowness {ritardando, ralleniando). . .Lentez'za, con, slowly, deliberately. Lesser. Minor; as the lesser third... Lesser apj>oggiatura,sh.OTta.-p^oggia.tara. . . Lesser whole tone, see Intervals, Table III, foot-note. Lesson. (Fr. le^on^j In the 17th and l8th centuries, the name of the several pieces for the harpsichord, etc., which, when combined, formed a Suite. Le'sto (It.) Lively, brisk. Letter-name. A letter used to desig- nate a tone, note, key, or staff-degree. See Alphabetical notation. Lev6 (Fr.) Up-beat. Leyer (Ger.) Earlier spelling of Leier. Liaison (Fr.) I. A tie. — 2 (liaison d' harmonic). A syncopation. — 3. See Ligature 2. Libel'lion. An automatic music-box, distinguished by the feature that the notes are represented by perforations in sheets of tough cardboard, which (as they pass through the box) can be made continuous, so that compositions of any desired length may be performed. Liberamen'te (It.), Librement (Fr.) Freely. Librettist. A writer of libretti ... Zj- brefto (It., pl.-«. ; Fr. ditto, or lim-et ; Ger. Text). A "booklet" ; specifically, one containing the words of an opera, oratorio, etc. ; also such words or text, whether in book-form or not ; a book. License. (Ger. Frei'heit ; Fr. licence ; It. licen'za.) An intentional deviation from established custom or rule . . . Con alcu'no licenza (It.), with a certain freedom. Lice'o (It.) Academy (of music). Lich'anos (Gk.) See Lyre i.- Li6 (Fr.) Tied ; legato. Lieb'lich (Ger.) Lovely, sweet, charm ■ ing ; often with names of organ-stops. Lied (Ger.) Song. ^A preeminently Ger- man song-form is that of the durch'- komponiertes Lied, which differs from the ballad {Stro'phenlied)va not repeat- ing the same melody for each stanza, but following closely the sense of the words by changing melody, harmony, and rhythm . . . Kunst' lied, Volks' lied. Yolks' t(h)umliches Lied, see those words . . . Lie' dercyclus , a cycle (set) of songs . . . Lie'derkranz, (a) a. choral so- ciety ; (b), also Lie'derkreis, a set or series of songs ... Lie' der spiel, see Vau- deville. . . Lie' dertafel, a singing-society of men, of a social character. . .ZiVi/'- form, see Form. Liga'to (It.) Legato. Lig'ature. {Ger. Ligaiur'; Yr. ligature; It. ligatu'ra.) I . In mensurable music, a connected group of notes to be sung to one syllable. Ligatures were de- rived from the compound neumes ; their simplest form is the Figura obliqua (q. V.) (Comp, Proprietas, Improprietas, Perfection, Imperfection^ — 2. In mod- ern music, a group or series of notes to be executed , in one breath, to one syl- lable, or as a legato phrase. — 3. A tie ; hence, a syncopation. Ligne (Fr.) A line. . .Ligneajoutie {pos~ tiche, or suppUmentaire), a leger-line. Li'mite (It.) Limit. Lim'ma. See Apotome. Li''nea (It.) A line. Lin'gua (It.) Reed (of organ-pipe). Lingual'pfeife (Ger.) Reed-pipe (usu- ally Zung' enpfeife). Li'nie (Ger.) A Vme. ..Li'niensystem, the staff. Linings. (Ger. Fiifterung; Fr. conire- Pelisses.) In the violin, etc., the strips of pine-wood glued inside the body to the ribs, to stiffen the fixed structure. Lin'ke Hand (Ger.) Left hand. Lip. I. (Ger. Lip'pe or [Lat.] La'bium, pi. La'bien; Fr. biseau [upper lip].) The lips of a flue-pipe are the fiat surfaces above and below the mouth, called the upper and lower lip. See Pipe I, a. — 2. (Ger. An'satz ; Fr. em- bouchure ; It. imboccatu'ra.) The art or faculty of so adjusting the lips to the mouthpiece of a wind-instr. as to pro- duce artistic effects of tone ; aXso lipping. 114 LIPPENPFEIFE— LUR. Lip'penpfeife (Ger.) Flue-pipe (usually Labialpfeife). Li'ra (It.) 'Ljrs (see Lyre). — While the ancient lyre was a harp-like instr., the lira of the l6th-i8th century was a species of viol, a bow-instr. with a varying number of strings, and made in 3 principal sizes... Z. barberi'na, a small lyre inv. by Doni of Florence in the 17th century... Z. da brae' do., "arm-lyre", a bow-instr. first mentioned in the gth century, and appearing in the 15th as an instr. resembling the viol in form of head and in stringing, though in other points (and finally in the adoption of 4 strings) like the vio- lin (see art. Violin, foot-note).. .Z. da gam'ba, knee-lyre. . .Z. ted/ sea, hurdy- gurdy. Li'rico,-a (It.) Lyric, lyrical. Liro'ne (It.) The great bass lyre (also Accof'do, Arehivio' la di lira), with as many as 24 strings. Li'scio (It.) Smooth, flowing. L'istes'so. See Istesso. Litany, (Gk. litanei'a; Lat. and It. li- tani'a; Fr. (pi ) litanies; Ger. Lilanei') A song of supplication ; "a solemn form of prayer, sung, by priests and choir, in alternate invocations and re- sponses, and found in most Office- books, both of the Eastern and West- ern Church" [Grove]. Litanies were originally employed in processional supplications for averting pestilence and other dangers, and later adopted by the Church as portions of the reg- ular service at certain seasons. Lit'terae significati'vae (Lat.) Single letters, or abbreviations, of doubt- ful significance, employed in medie- val neumatic notation. (Ger. Roma'- nusbuchstaben.) Liu'to (It.) A lute. Livre (Fr.) Book . . .A livre ouvert, at sight. Livret (Fr.) Libretto. Lo (It.) The. Lob'gesang (Ger.) Song or hymn of praise. Loch in der Stimme (Ger.) " Hole in the voice"; said of that part of a register in which certain tones cannot be made to " speak" on account of a morbid state of the vocal organ. Lo'co (It.) Place ; signifies, following 8va, "perform the notes as written''. Also al loco. Lo'crian. (Ger. lo'krisch.) See Mode. Long. (Lat. longa.) See Notation, §3; also for Long-rest. Lonta'no (It.) Distant. . .Da I., or in Ion- tanan'za, from a distance, far away. Loop. I. The vibrating portion of a body bounded by 2 nodes. See Node. — 2. The cord fastening tailpiece to- button (violin, etc.) Lo'sung, fort'schreitende (Ger.) Reso- lution (usually Auf'losung). Loud pedal. Damper-pedal. Loure (Fr.) i. An ancient Fr. bagpipe inflated by the mouth ; hence — 2. A dance named from the instr. , on which it was formerly played, in 6-4 or 3-4 time and slow tempo, the down-beat strongly marked. Lour6 (Fr.) Slurred, legato, non staccato, Lovy. I. (Ger. lei'se; Fr. douce; It. pia'no.) Soft, not loud. — 2. (Ger. tie/; Fr. bas,-se; It. basso,-a.) Grave in pitch, not acute. Lugu'bre (Fr. and It.) Mournful. Lullaby. Cradle-song, berceuse. Lun'ga (It.) Long. Written over or under a hold, it signifies that the latter is to be considerably prolonged . . . Lun- ga pa'usa, a long pause or rest. — Lun~ ghe (pi. of l-unga), drawn out, pro- longed ; "note" (notes) being implied. Luo'go (It.) Same as Loco. Lur (Danish, from Old Norse ludr, a hollowed piece of wood.) I. A unique pre-historic wind-instr. of bronze (alloy of copper 88.90^, tin 10.61^, nickel and iron 0.49^), numerous well-pre- served specimens of which have been found, but only in Denmark, southern Sweden, and Mecklinburg. The long^ slender, exactly conical tube, varying in length from 5 ft. to 7 ft. 95^ in., forms a sweeping, graceful curve (for- ward from the player's lips, upward and backward over his left shoulder, and forward again over his head), and terminates with a broad circular flat plate (about 10 in. in diam.) in lieu of a flaring bell. This plate is ornamented with bosses in front, and on the rear with several small bronze tassels, de- pending loosely. The Lur has a cupped mouthpiece, shallower and more nearly 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 (It.) Coax- ing, caressing ; also lusinghe'vole. . . Lusinghevobnen' te, coaxingly, etc. . . Lusinghie're, or -o, coaxing, flattering, seductive. Lus'ttg (Ger.) Merry, gay (also adverb). Lute. (Ger. Lau'te; Fr. luth; It. liu'to^ A stringed instr., now obsolete, of very ancient origin ; it was brought to Eu- rope by the Moors, who called it Al'ud or A I Oud. . .The body has no ribs, 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, 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- tury, the place in the orchestra now oc- cupied by the bass violins. Music for the lute was written in tablature, there being 3 systems (French, Italian, and German)... A lute-player is variously called a lutenist, lutanisl, lutinist, and luiist. Luth (Fr.) Lute. . .Lutherie, the trade of, and also the instr. s made by, a luthier. . .Luthier, formerly, a lute- maker ; now, a maker of any instr. of the lute or violin class. Lutto'so (It.) Mournful, plaintive... Luttuosamen' te , mournfully, etc. Lyd'ian. (Ger. l/disch.) See Mode. Lyre. I. (Gk. and Lat. ly'ra; It. li'ra; Fr. lyre; Ger. Lei'er.) A stringed instr. of the ancient Greeks, of Egyptian or 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 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 (whence were derived the names of most of the tones in the Greek modes) on the 8-stringed lyre were as follows : Hyj/ate, "uppermost" (as the lyre was held); the longest and deepest-toned. Parhyp'ate, "next to hypate ". Z2c/i'a«tfj,_" forefinger-string". Me'se, " middle string". Parame'se, " next to Mese ''. Tri'te, " third string " (from the lower side). Peirane'te, " next to the last ". ^^/e, "last," or " lowermost '' (the high- est in pitch). 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- 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 opera. . .Lyric opera, one in which the expression of subjective feeling, and the lyric form of poetry, predominate . . . Lytic stage, the operatic stage. M. M. Abbr. of It. mano, and Fr. main, (hand) ; in organ-music, of manual (usually Afaw.), and Lat. manna' liter ; and of metronome (usually M. M.) and mezzo. . .PI represents the note me (mi) in Tonic Sol-fa notation. Ma (It.) But ; as in the phrase vivace, ma non trofpo, lively, but not too much so. Machete. A small Portuguese guitar (oc- tave-guitar), having 4 strings tuned : i I J r- or sometimes d'^ instead of e'^. Ii6 MACHINE-HEAD— MANDOLIN. Machine-head. (Ger. Mechn'nik^ A rack-and-pinion adjustment substituted for the ordinary tuning-pegs of the double-bass, the guitar, and of the mel- ody-strings of the zither. Ma'dre, al'la (It.) " To the Mother " ; a superscription of hymns to the Virgin. Mad'rigal. (Ger. and Fr. Madrigal' ; It. madriga'le, madria'le^ mandria'le.) Originally, a short lyrical poem of an amorous, pastoral, or descriptive char- acter. — Hence, a poem of this kind set to music, which is polyphonic, with in- cessant contrapuntal variations, and based (in the stricter- style) on a cantus firmus ; it is without instrumental ac- companiment, and differs from the Motet in being of a secular cast. This style of composition appears to have had its rise in the Low Countries to- wards the middle of the 15th century, spreading thence to other European States, and cultivated with peculiar suc- cess in Italy and England well into the l8th century ; in England the Madrigal Society still flourishes. Madrigals are written in from 3 to 8 or more parts, and are best sung by a chorus, which feature forms one of the chief distinc- tions between the M. and the Glee (for solo voices). Maesto'so (It.) Majestic, dignified. .. Maesla' {con), Maesta' de (con), Maeste' - vole, Maestevohnen' te , Maestosamen'ie, with majesty or dignity, majestically. Maestra'le (It.) Occasional term for the stretto of a fugue, when in canon- form. Maestri'a (It.) Mastership, skill, virtu- osity. Mae'stro (It.) A master. . .M. al cem'- halo, term formerly applied to the con- ductor of an orchestra, who sat at the harpsichord instead of wielding the baton. . .M. dei fut'ii, " master of the boys", i. e., the choir-master of St. Peter's at Rome. . .M. del co'ro, choir- master ... Af. (A' canto, singing-master. . . M. di cappel'la, (a) choir-master ; {b) conductor ; (c) Kapell'meister (conduc- tor of chorus and orchestra). Mag'adis (Gk.) An ancient Greek instr. with 20 strings tuned in octaves two by two ; hence the term mag'adize, to sing in octaves, as boys and men. Ma'gas (Gk.) Bridge (of a cithara or lyre) ; fret (of a lute). Magazin'balg (Ger.) Reservoir-bellows (organ). Maggiola'ta (It.) A May-song. Maggio're (It.) Major. Mag'got. A"fancie", or piece of an impromptu and whimsical character. Magni'ficat. Name of, and first word in, the " Magnificat animamea dominum " (my soul doth magnify the Lord), the . hymn or song of the Virgin Mary (Luke I, 46-55), sung in the daily service of the Church. Main(Fr.) Hand. . .M. droite {gauche), right (left) hand. . .M. hannonique, harmonic hand. Maitre (Fr.) Master. . .j^f. de chapelle. Kapellmeister, conductor. . .M. de mu- sique, {a) conductor ; {6} music-master, teacher. Maitrise (Fr.) In France, prior to 1789, a music-school attached to a cathedral, for the education of young musicians, who were called en/ants de choeur. Some few were reestablished, and still exist. Majesta'tisch (Ger.) Majestical(ly). Major. (Ger. dur; Fr. majeur; It. mag- gio're^ Lit. ' ' greater", and thus opp. to pernor, " lesser." {fZovx^. Phone, Inter- val^ . . . Major cadence, one closing on a major triad . . . M. chord or triad, one having a major third and perfect fifth. . . .M. interval, key, mode, scale, tonal- ity, see the nouns . . . M. whole tone, the greater whole tone 8:9 (as c-d)\ opp. to the lesser (or minor) whole tone 9:10 (as d-e). Malinconi'a (It.) Melancholy. . .C(?« m-., with melancholy expression, deject- edly (also malinconicamen' te) . . . Malin- co'nico {-nio'so, -no'so), melancholy, dejected. — Also Melanconi'a, etc. Mancan'do (It.) Decreasing in loud- ness, dying away, decrescendo; usually, a combination of decrescendo and ral- lentando is intended (v. Tempo-marks), Manche (Fr.) Neck. Mando'la (It.) A large variety of Man- dolin. Man'dolin(e). (It. mandoli'no.) An instr. of the lute family, the body shaped like that of a lute, though smaller, having wire strings tuned pairwise, played with a plectrum, and stopped on a fretted fingerboard. There are 2 chief varie- ties, (l) the Neapolitan {mandolino napolita' no) , which has 4 pairs of strings XxvatA g—d^—a^-e'' like those of the violin; MANDOLINATA— MASCHINEN. 117 and (2) the Milanese {mand. lombar'do), which has 5 or 6 pairs, tuned g-c^-a^-d^-e^ (or g-b-e^-ay-d^-e''). Com- pass about 3 octaves : Mandolina'ta (It.) Played (on pfte.) with a quasi mandolin-effect. Mando'ra, Mandore. Same as Mandola. Ma'nico (It.) Neck (of a lute, violin, etc.) Man'ichord. (Lat. manichor' dium.) A term variously applied to different forms of obsolete keyboard stringed instr. s. Manier' (Ger.) An agriment (harpsi- chord- or clavichord-grace). Manie'ra (It.) Style, manner, method. ..Con dolce m., in a suave, delicate style. Manifold fugue. See Fugue. Man'nerchor (Ger.) A male chorus ; also, a composition for such a chorus. ..Mdn'nergesangverein, men's choral society.. .Mdnnerstimmen, men's voices. Ma'no (It.) Hand. . -M. d/stra {sini'- strd), right (left) hand. Man'ual. i. A digital. — 2. (Ger. Ma- nuaV ; Fr. clavier; It. nmnua'le.) An organ-keyboard ; opp. to pedal. (Com- pare Organ.). . .Manual-key, a digital. . . Manual' koppel (Ger.), a coupler con- necting 2 manuals. Manu'brium (Lat.) Knob of a draw- stop ; Ger. pi. Manu'brien, whence Manu'brienkoppel, draw-stop coupler. Marcan'do (It., "marking".) j with dis- Marca'to (It., "marked".) Jtinctness and emphasis . . . Marcatis'simo, with very marked emphasis. March. (Ger. Marsch ; Fr. marc he ; It. mar'cia.) A composition of strongly marked rhythm, suitable for timing the steps of a body of persons proceeding at a walking pace, and thus bearing a processional character akin to that of the Polonaise, Entree, etc. The march- form of the earlier operas and clavier- pieces also resembles that of the old dances, consisting of 2 reprises of 8, (12), or 16 measures. The modern march-form is further developed ; it is in 4-4 time, with reprises of 4, 8, or 16 measures, and is followed by a Trio (usually in the dominant or subdom- inant key and of a more melodious ■character), after which the march is repeated, often with amplifications. — The ordinary Parade March (Ger. Para'demarsch; Fr. Pas ordinaire) has about 75 steps to the minute; the Quick- step (Ger. Geschwind'marsch; Fr. Pas redoubU), about 108; while for a Charge (Ger. Sturm' marsch; Fr. Pas de charge) some 1 20 steps per minute are reckoned. . . . Besides these military marches of a bright and martial character. Funeral or Dead Marches are composed, slower in movement and more solemn in effect, and sometimes symphonically developed. Marcfie (Fr.) i. A march. — 2. Pro- gression . . . Marcher, to progress. Mar'cia (It.) A march ; alia m., in march-style. Mark. (Often equiv. to sign.) Cadence- mark, the vertical line separating the words of a chant, dividing those sung to the reciting-note from those in the cadence . . . Harmonic mark, see Har- monic 2, b ... Metronomic mark, see Metronome . . .Mark of expression, see Fxpression-mark . . . Tempo-mark, see that word. Markiert'(Ger.), Marqu6(Fr.) Marked, accented ; marcato. Marseillaise. The French revolution- ary hymn, the poem of which was written and set to music during the night of April 24, 1792, by Rouget de Lisle, Captain of Engineers, at Strass- burg ; first named by its author "Chant de guerre de I'armee du Rhin"; but, soon after its introduction in Paris by the soldiers of Marseilles, it became universally known as "La M.", or " Hymne des Marseillais". Marteau (Fr.) i. Hammer (of pfte.- action). — 2. Tuning-hammer. Martel6(Fr.), Martella'to (It.) " Ham- mered"; a direction in music for bow- instr.s, indicating that the notes so marked are to be played with a sharp and decided stroke (usual sign F) ; — in piano-music, that the keys are to be struck with a heavy, inelastic plunge of the finger, or (in octave-playing) with the arm-staccato . . . Martellato notes are generally mezzo staccato, and often take the sign > or sfz. Martellement (Fr.) i. In harp-pla)ring, calls for the crush-note (acciaccatu' ra) or redoubled stroke. — 2. Comp. Graces, Marzia'le (It.) Martial, warlike. Maschera'ta (It.) Masquerade. Maschi'nen (Ger., pi.) See Pistons. . . Maschi'nenpauken,. kettledrums pro- Ii8 MASK— MEDIUS. vided with a mechanism for the rapid adjustment of the pitch. Mask, Masque. (Ger. Mas'kenspiel; Fr. masque.^ The mus. dramas called masques, so popular during the i6th and 17th centuries, were spectacular plays on an imposing scale and with most elaborate appointments, the sub- ject being generally of an allegorical or mythological nature, and the music both vocal and instrumental. — The masque was the precursor of the opera, but was distinguished from it by the lack of monody. Mass. (Lat. mis'sa; It. mes'sa; Fr. and Ger. Mes'se.) "Mass" is derived from missa, in the phrase " Ite, missa est [ecclesia]" (Depart, the congrega- tion is dismissed), addressed, in the R. C. Church, to persons in the congre- gation not permitted to take part in the communion service, the Mass itself taking place during the consecration of the elements. — The divisions of the musical mass are (i) the Kyrie ; (2) the Gloria (incl. the Gratias agimus. Qui tollis, Quoniam, Cum Sancto Spiri- tu); (3) the Credo (incl. the Et incar- natus, Crucifixus, Et resurrexit); (4) the Sanctus and Benedictus (with the Hosanna); (5) the Agnus Dei (incl. the Dona nobis). It has passed through very various phases, from the simple unison fchant of Plain Song to the most elaborate productions of late medieval counterpoint, with a transition there- after to the severity of the Palestrina epoch, to the vocal masses in 8, 16, or even 32 parts, and finally to the grand mass with full chorus and orchestra (missa solem'nis) . . . High mass, one celebrated on church festivals, accom- panied with music and incense. . .Low mass, one without music . . . Missa brei/- is, short mass of Protestant churches, incl. only the, Kyrie and Gloria. Ma'ssig (Ger.) Moderate(ly). Mas'sima (It.) i. The maxim. — 2. A whole note. — 3 {adj.) Augmented (of intervals). Master-chord. The dominant chord . . . Master-fugue, f uga ricercata. . . Master- note, leading-note. . .Master-singei; see Meistersinger, Masure, Masurek, Masurka. See Mazurka. Matelotte (Fr.) An old sailors' dance resembling the hornpipe, in duple time. Mat'ins. The music sung at morning prayer, the first of the canonical hours. MauKtrommel (Ger.) Jew's-harp... Maul' Irommelklavier , the melodicon. Max'im. (Lat. max'ima^ See Notation^ §3. Mazur'ka. A Polish national dance in triple time and moderate tempo, with a variable accent on the third beat. Me. For mi (Tonic Sol-fa). Mean. Former name for an inner part (as the tenor or alto), or an inner string (of a VioVj ... Mean-clef , the C-clef , as used for noting the inner parts. Mean-tone system. See Temperament, Measurable music. See Mensurable. Measure, i. (Ger. Taktj Fr. mesure; It. misu'ra.) A metrical unit, simple or compound, of fixed length (time-value) and regular accentuation, forming the smallest metrical subdivision of a piece or movement ; visibly presented by the group of notes or rests contained be- tween two bars, and familiarly called a "bar". (Comp. Time^ — 2. Occa- sional for tempo. — 3. A dance having a stately and measured movement. — Measure-note, a note indicated by the time-signature as an even divisor of a measure ; | thus indicates that each measure has 3 quarter-notes, and a measure-note is then a quarter-note . . . Measure-rest, see Rest. M^canisme (Fr.) Technic or technique; mechanical skill. (It. meccanismo.) Mecha'nik (Ger.) i. A mechanism or mechanical apparatus, such as {a) the pfte. -action; [b) the machine-head of a guitar, zither, etc. — 2. In pfte.-playing, {a) technique; (/') specifically, the mere mechanical action of the fingers and hand, as the lift and down-stroke of finger or wrist, the passing-under of the thumb, etc. ; often carelessly trans- lated by mechanism. Mechanism. See Mechanik 2. Mede'simo (It.) The same. Me'dial. Proper to the Mediant. Me'diant. i. (Ger. and It. Median'te; Fr. m/diante.) The third degree of a scale. — 2. In medieval music, one of the 3 pivotal tones of a mode, situated as nearly as possible midway between the Final and Dominant, and ranking next in importance to the latter. Me'dius. See Accentus eccl. MEHR— MELOPIANO. 119 Mehr (Ger.) Vi.oxe....Mehr'charig, for several (4-part) choruses. . .Mehr'fach, manifold ; mehr'faches Intervall', com- pound interval ; mehr' fac her Ka'non, a canon having more than 2 themes ; mehr'facher Kon' trapunkt , counter- point written in more than 2 invertible parts; mehr'fache Stim'me (organ), a compound stop. . .Mehr'stimmig, in several parts ; polyphonic. . . Mehr'stim- migkeit durch Bre'chung, apparent polyphony obtained (especially on the pfte.) by employing broken chords. Mei'ster (Ger.) Master. . .Mei'sterfuge, fuga ricerca'ta. . .Mei'ster singer (or -stinger'), in Germany, the successors of the Min'nesanger (Troubadours), but, unlike the latter, chiefly artisans, who formed guilds in various cities for the cultivation and propagation of their art, the stringent rules for which were con- tained in the Tabulatur' . Their poems were founded for the greater part on biblical subjects; the musical treatment was apt to be dry and prosaical. — They originated about the 14th century in Mainz, reached their zenith in the 15th and l6th centuries (notably under Hans Sachs of Nuremberg), and thereafter decayed gradually, the last society be- coming extinct in 1839 (Ulm). Melancoli'a (It.), M61ancholie (Fr.) See Malincolia. Melange (Fr.) A medley, pot-pourri. Melis'ma (Gk.) 1. A melodic ornament, faoritura, grace ; colorature. — 2. A Ca- 'denza I. . .Melismat'ic, ornamented, embellished ; said of vocal or instru- mental music abounding in ornaments ; also, specifically, melismatic song, that in which more than one tone is sung to a syllable ; opp. to syllabic song. Melo'deon. The original American organs were called melodeons or melo- diums. See Reed-organ. Melo'dia. (Organ.) A varietyof stopped diapason nearly resembling the Clara- bella. Melod'ic. Pertaining to the progression of single tones; hence, vocal, as a. melod- ic interval. X/Ielo'dica. A small variety of pipe- organ inv. in 1770 by Joh. Andr. Stein of Augsburg, having a tone like the fiUte d bee, and a compass of but 3^ octaves. It was used ordinarily to play the melody to a harpsichord- or pfte.- accompaniment ; hence the name. An excellent crescendo and decrescendo were obtainable by varying the finger- pressure on the keys. Melo'dico (It.) Equiv. to Cantando. Melo'dicon. A keyboard instr. inv. by Peter Rieffelsen of Copenhagen, in 1800, in which the tones were produced by tuning-forks. Melo'dik (Ger.) Science or theory of melody. Melo'diograph. See Melograph. Melo'dion. A keyboard instr. inv. by J. C. Dietz, of Emmerich, in which the tones were produced by vertical steel bars chromatically graduated ; these bars being pressed by the digitals against a rotating cylinder. Forte was obtained by a quicker, piano by a slow- er, rotation. Compass, 53^-6 octaves. Melo'dium. i. Melodeon. — 2. (Ger.) Alexandre organ. Merodrama. i. Originally, a musical drama. — 2. In modern usage, (a) stage- declamation with a mus. accomp. ; (h) a form of the drama in which the music plays a very subordinate part, and the plot is more or less romantic and sen- sational. Mel'ody. (Ger. Melodic'; Fr. mdodie; It. melodi'a.) I. The rational progres- sion of single tones ; contrasted with Harmony, the rational combination of several tones. — 2. The leading part in a movement, usually the soprano. — 3. An air or tune. Mel'ograph. Name of various mechan- ical devices for recording the music played on a pfte. One of the latest and most successful is the electric m. or Phonautograph (inv. by Fenby, in Eng- land), in which the pressure on the digitals closes an electric circuit, effect- ing a record on paper as in the Morse system of telegraphy. A cardboard stencil forming an exact copy of the record can be made to reproduce the music when placed in the Meloirope, a mechanical attachment to a pfte. by means of which the digitals are depress- ed as if by the player's fingers. Mel'ophone. A variety of Concertina. Melopian'o. A pfte. inv. by Caldera of Turin, in 1870, in which the tone is sustained by rapidly repeated blows of small hammers attached to a bar pass- ing over and at right angles to the strings, the bar being kept in vibration MELOPLASTE— METER. by means of a treadle worker! by the player. Crescendo and decrescendo effects are producible at will, and the tone is of delightful quality. Mel'oplaste. A simplified method for learning the rudiments of music, inv. by Pierre Galin about 1818. Instead of teaching the notes, clefs, etc., at first, he took merely the 5 lines of the staff, singing familiar airs to the syllables do, re, mi, etc., at the same time showing with a pointer the position on the staff of the notes sung. For teaching rhyth- mical relations he used a double metro- nome marking both measures and beats. Me'los (Gk.) "Song". The name be- stowed by Wagner on the style of reci- tative exemplified in his later mus. dramas. (See Recitative^ Mel'otrope. See art. Melograph. Meme (Fr.) The same... J la mhne, tempo primo. Men. Abbr. of Meno. M^nestrel (Fr.) Minstrel (q. v.) M6n6trier,-trifere (Fr.) Originally, a player on any instrument, especially for dancing ; now, a vagabond fiddler at fairs and in low places of entertain- ment, or a village musician. Me'no (It., abbr. men^ Less ; not so. — When Meno occurs alone as a tempo- mark, mosso is implied. . .Meno mosso, "less moved," i.e., slower. Mensur' (Ger.) I. Mensu'ra, i. c. the 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.) Mensurar^esang, -musik (Ger.) Men- surable music. Men'te (It.) Mind, memory ; alia m., improvised, extempore. Menuet (Fr.), Menuett' (Ger.) Minuet, Me'rula (Lat., "blackbird, ousel".) Same as Vo'gelgesang. Mescolan'za (It.) A medley. Mes'otonic. Mean-tone. Mes'sa (It.), Mes'se (Ger. and Fr.) Mass. Mes'sa di vo'ce (It.) The attack of a sustained vocal tone pianissimo, with a swell to fortissimo, and slow decrease to pianissimo again ; ■ thus : The attack and increase was formerly called forma' re il iuono; the sustaining of the ff tone, ferma're il tuono; and the decrease and close, fmi're il tuono. Messan'za (It.) A quodhbet. Me'sto (It.) Pensive, melancholy. . . Mestamen'te, plaintively, grievingly. (Also con mesii'zid). Mesure (Fr.) Measure ; a measure ; a la m., in time (i.e. a tempo, a battu'ta). . .Mesur/, measured. — (See Time) Metal'lo (It, " metal ".) A ringing, ' ' metallic " quality of voice. Metal'Iophone. i. A pfte. in which graduated steel bars take the place of strings. — 2. An instr. like the xylo- phone, but with bars of metal instead of wood. Meter, Metre, i. Metre in music is the sj'mmetrical grouping of musical rhythms ; a disposition of musical mem- bers akin to the arrangement of the poetic strophe. It differs from Form in having to do merely with the rhyth- mical groupings within compositions ; from Rhythm, in treating of the sym- metrical arrangement of the smaller tone-groups, the articulation of which produces the rhythm or time. These definitions are, however, not universally binding, metre and rhythm being used sometimes as interchangeable terms, and sometimes with significations ex- actly the reverse of those just given. 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- yond the period of 16 measures the metrical divisions seldom go, 1. e. they are not followed by the ear as metrical, but as thematic divisions (see Form). — 2. The metre of English hymns is classified, according to the feet used, as iambic, trochaic, or dactylic ; in the syllabic schemes below, the figures in-, dicate the number of syllables in each line. Variants are not infrequent in modern hymnology. A. Ia.int?ic metres : Common metre (C. M.), 8 6 8 6: Long metre (L. M.), 8 3 8 8 J Short metre (S. M.). 6 6 8 6 ; these have regularly 4 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 6 ; Long particular metre (L. P. M.), or Long metre 6 lines, 8 8 8 8 8 8; and Short particular metre (S. P. M.), 6 6 8 6 6 8. Besides the above, there are Sevens and Sixes 7676; Tens 10 10 10 10 ; Hallelujah metre 6 6 6 6 8 8 (or 6 6664444); etc. B. Trochaic metres : Sixes6666; Sixesand Fives, 6565; Sevens 7777; Eights and Sevens 878^; etc. C. Dactylic metres: Elevens 11 11 11 11 ; Elevens and Tens 11 10 11 10; etc. These are most of the metres in general use (comp. Comnton), — 3. In ancient prosody, the science of Metrics treated of the quantity (length) of the syllables ; whereas in modern English poetry all accented 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 pericopes (or lines, or periods) to poems. . . Syllables are either short (■— ), long ( — ), or common (;=) ; the long being equivalent to 2 short, and the common either long or short according to posi- tion. A Foot is a combination of 2 or more syllables. M6thode (Fr.), Me'todo (It.) Method. Metro'metro (It.), Metromfetre (Fr.) A metronome. Met'ronome. (Fr. mitronome ; Ger. Metronom' ; It. metro^nomo.) A double pendulum, weighted below, actuated by clockwork, and provided with a gradu- ated scale on which a slider can be moved up and down, the slider deter- mining by its height how many beats the pendulum shall make per minute ; often with a bell-attachment (Bell- metronome). With the slider set at 60 the pendulum makes one beat per sec- ond . . . Metronome-mark (metronom' ic mark), a mark set at the head of a com- position for exactly indicating its tempo ; e. g. , M. M. J = 60 means, that the time-value of one quarter-note is equal to one pendulum-beat with the slider set at 60 ; M. M. standing for " Mael- zel's Metronome" after its reputed in- ventor, Maelzel of Vienna (i 816). — The M. is much used by beginners and students, for learning to play strictly in time, and for timing their practice. Me'tro (It.), Me'trum (Lat.) Metre. Met'te (Ger.) Matins (in the R. C. Church). Mettez (Fr.) Draw, add (organ-mus.) Mez'zOi-a (It.) Half...^ meszaa'ria, ste Ariaparlaitte . . Mezzo for' te (mf), hal{-\o\id ... Mezzo lega'to, in pfte.- technic, a variety of touch resembling leggie'ro in being a down-stroke with- out pressure, but differing from it in requiring that greater attention be paid to a forcible stroke than to a rapid, springy return of the 'nr\.%&x. . .Mezza ma'nica, half-shift. . .Mezza orche'stra, with half the %\.xxa^-ha.T\di...Mezzo pia'no (mp), half-soft, less loud than mezzo forte .. .Mezzo sopra'no, the female voice intermediate between soprano and 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 of, the voice ; nearly equivalent to mez- zo forte, in singing or playing. Mi. I. The third of the Aretinian syl- lables. — 2. Name of the note E in France, Italy, etc... Mi contra fa est diabolus in musica, "mi against fa [i. e. the tritone] is the devil in music", a theorem of medieval musicians express- ive of their abhorrence of the melodic step, and even of the harmonic relation, of the tritone (the 7«2=.5|3 of the "hard" hexachord and the fa=F of the " natural " hexachord). Middle-C. The one-lined / on the first leger-line below the • treble staff or above the bass staff : . . .Middle part or voice, same as inner part. Militairement (Fr.),Militarmen'te (It.) In military style. Also (It.) Alia mili- tare. Militar'musik (Ger.) i. Military music. — 2. A military band. Military music. The military band differs from the orchestra in being a wind-band (composed solely of wind- instruments), and in admitting the cornet, bugle, saxophones, and other instr.s whose timbre is considered not to blend well with those of the sym- phony-orchestra. Another peculiar feature is the large reinforcement of the clarinets, which take the place and parts of the violins and violas in the orchestra. Military bands may contain 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 " 3 drums I bass *' I pair cymbals 2 bassoons In France, in accordance with the official order promulgated Nov. 17, 1892, the regular infantry bands com- prise the following instruments : 2 flutes 3 trombones 2 small clarinets 2 alto saxhorns S large " 3 alto saxotrombas 2 oboes 5 bass saxhorns I sopr. saxophone i contrabass saxh. I alto "' I " tuba I baryt. " i shallow drum 1 tenor '' i bass drum 2 cornets i pair cymbals 2 trumpets or 40 in all (14 wood-wind, 23 brass, 3 percussives). — The principal innova- tions on the former standard (estab- lished by imperial decree of March 26, i860) are (i) disuse of wooden flutes, for which metal flutes are substituted ; {2) suppression of 4 saxophones, and substitution of 4 more clarinets ; (3) suppression of 2 barytone saxhorns, for which 2 bass saxhorns are substituted. Mimodrama. (Fr. mimodrame.) A pan- tomimic dramatic performance, often accomp. by music. Minacce'vole (It.) In a menacing or threatening manner. (Also minaccevol- men'te, minaccian' do ^ minaccio' so , min- acciosamen'te.) Mineur (Fr.) Minor. Min'im. (Lat. mi'nima; It. mi'nima or bian'ca ; Fr. minime or blanche ; Ger. hal'be No'te.) i. A half-note. — 2. See Notation, §3.. .Minim-rest, a half-rest. ]VIin'nesinger,-sanger (Ger., sing, and pi.) One of the German troubadours, or lyric poets and singers of the 12th and 13th centuries, who were exclusively of noble lineage ; distinguished from their Southern contemporaries by their chaster conception of love {^Min'ne, Frau' endienst). They accompanied their songs (^Min'negesang, written chiefly in the Swabian dialect) on the viol or arpanetta, and their rivalry cul- minated in grand poetical contests, such as the one immortalized by Wagner in " Tannhauser." Their art originated in Austria, spreading thence to the Rhine, Thuringia, and Sakony ; in the hands of their successors, the Mei'ster- singer, it degenerated past recognition. Mi'nor, (Ger. Jilein, moll ; Fr. mineur ; It. mino're.) Lesser ; smaller (comp, Interval, Major, Phone'). . .Minor lone, the lesser whole tone io:g. Minstrel. The minstrels of the middle ages were professional musicians who sang or declaimed poems, often of their own composition, to a simple instru- mental accomp. They were followers' of the nobility in court and camp. The French m^nestrels of the 8th century and later were the musical attendants of the trouveres and troubadours, having to execute practically the musical concep- tions of their noble masters. Thus they occupied from the outset a subordinate position ; their art slowly degenerated in England, whither they were trans- planted at the Norman Conquest, until they were classed by statute (1597) with "rogues, vagabonds, and sturdy beg- gars"; in France their guilds were maintained down to the Revolution. In England they coalesced with the Anglo- Saxon "gleemen". Their favorite instr. was the rebec. . . Negro Minstrels, singers and actors portraying (originally) scenes from Southern plantation-life. The chief performers of the troupe are the middle-man or interlocutor and the two end-men (so called from their re- spective positions in the semi-circle of performers on the stage); the former leads the talk and gives the cues, while the latter preside over the tambourine and "bones", and crack the jokes. Minuet'. (It. minuet' to; Fr. menuet; Ger. Menueti'.) One of the earlier French dance-forms, supposed to have orig- inated in Poitou ; it dates as an art- product from about Lully's period (end of 17th century), and, as such, prop- erly consists of 2 minuets, or a double minuet with contrasted sections of 16 measures each, the second forming the Trio, after which the first is repeated. It is in triple time, and has a slow, stately movement, eschewing all orna- mentation. It frequently occurs in the Suite, Sonata, and Symphony ; Beetho- ven was the first to introduce in its MIRACLE— MODE. 123 stead, in the 2 latter, the livelier and freer Scherzo ; in the Suite it figures, by way of contrast, between the Sara- bandeand Gigue. Miracle, Miracle-play. See Mystery. Miscel'la (Lat.) A mixture-stop. Mise de voix (Fr.) Messa di voce. Misere're (Lat.) The first word of the Psalm LI (in the Vulgate, L), which begins: "Miserere mei, Domine" (Pity me, O Lord) ; hence, the name of this Psalm, or of a musical setting of it, sung in the Catholic Churches as part of the burial service, at the Communion of the Sick, and the like. During Holy Week it is performed with pecu- liar solemnity in the Sistine Chapel at Rome. Mis'sa (Lat.) The Mass. . .M. irei/is, short mass . . .M. canta'ia, chanted mass. . . M.firo defunc' tis,sssJiequiem. . . M. solem'nis, or solen'nis, high mass. Mis'sal. (Lat. missa'k.) The R. C. Mass-book, containing the liturgical forms necessary for the celebration of mass the year round. Miss'klang (Ger.) Discord, cacophony. Misterio'so (It.) Mysterious . . . Miste- riosamen'te, mysteriously. Mistichan'za (It.) A quodlibet. JVIisu'ra (It.) A measure. . .Misura'to, measured, in exact time. Mit (Ger.) With. Ullit'klang (Ger.) Resonance. . .j?/iV- klingende Tone, overtones. Mit'telkadenz (Ger.) Semi-cadence. . . Mif telstimme , an inner part or voice. IVIixed cadence. See Cadence. . .Mixed AUTHENTIC MODES. Mode I (Do'rian). w. n*— I— -H* — g- -I L Mode III (Phryg'ian). !PE -It :P: canon, one in which the successive parts enter at different intervals. . .Mixed chorus, quartet, voices, vocal music combining male and female voices. Mixolyd'ian. See Mode. Mixture. (Ger. Mixtur' ;. Fr. fourni- ture; It. ripie'no, accor'do.) A com- pound auxiliary flue-stop with from 3 to 6 ranks of pipes sounding as many har- monics of any tone represented by a given digital. These harmonics are generally octaves and fifths of the fun- damental tone ; sometimes a third, or even a seventh, is added ; they are higher in comparative pitch for low tonesi than for high ones, (see Break 3) ; e. g. for the tone C the 3-rank mixture would usually contain c^-g^-c^ ; and for c', ^'- ^-c^ {notc^-g^-c'). In some old German organs mixtures are found having from 8 up to 24 (!) ranks, there being, of course, several pipes to each harmonic. — Mixtures are used to reinforce and "brighten" the upper partials of the heavier foundation-stops. Mo'bile (It.) With a facile movement, readily responsive to emotion or impulse. Mode, I. For Greek modes, see Greek music. — 2. (Lat. mo'dus.) The medie- val church-modes were octave-scales, like the Greek modes, and also boirowed their names (see below) from the latter ; but they, and the fundamental diatonic scale A-a, were conceived as ascending scales, a distinct departure from ancient theory. They v,rere called church-rao&&s because each chant in the Gregorian antiphony was kept strictly within the compass of some one of these octave- scales, without chromatic change save that from £/^ to £, or vice-versa. PLAGAL MODES. Mode II (Hypodo'rian). I I -\ L ^ Mode IV (Hypophryg'ian). -w * r = Mode V (Lyd'ian). m m -r -1 — I- ^^^ Mode VI (Hypolyd'ian). I I W Mode VII (Mixolyd'ian). f - r f '^ Mode VIII (Hypomixolyd'ian). - ^ — r I =1= W =1= 124 MODE HELLENIQUE— MODERATO. AUTHENTIC MODES Mode IX (^o'lian). PLAGAL MODES. Mode X (Hyposeo'lian). Mode XI (Lo'crian). Mode XII (Hypolo'crian). Mode XIII [or XI] (lo'nian). §^^^^ Mode XIV [or XII] (Hypoio'nian). $ * In the authentic modes the Final (what we should call the key-note) is the lowest tone ; in the plagal modes, a fourth above the lowest ; it is marked by a whole note in the Table. Each plagal is derived from a parallel authen- tic ; St. Ambrose is supposed to have established the first 4 authentic modes-, to which St. Gregory added the corre- sponding plagals ; these 8 were exclu- sively employed in serious composition down to the l6th century, despite the lack of any scale similar to the (C-) Greek Names. Hypophrygian Hypolydian Dorian Phrygian Lydian Mixolydian Octave-scales. major and (^-) minor scales of modern music ; then, however, the last 4 modes- were added. The Locrian (B-i) and Hypolocrian (F-f) were rejected as useless, neither fulfilling the law that- each authentic mode should be divisible into a perfect fifth plus a perfect fourth, and each plagal mode into a fourth plus a fifth. — Both the names, and the pre- fix hypo-, axe used in a sense different from that of the original Greek modes, the medieval theorists having misinter- preted the Greek nomenclature. Final Medieval Names. g a b c' d' e' f g' Mixolydian (Mode VII, 4th authentic) f g a b c* d^ e^ fl Lydian (Mode V, 3rd authentic) e f g a b c* d* el Phrygian (Mode III, 2nd authentic) 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)}! cdef gab c^ Hypolydian (Mode VI, 3rd plagal) B c d e f g Hypodorian (or ^olian) A B c d e f g I II r_ The gradual development of monodic, harmonic, and chromatic music, the evolution of the leading-note, the ac- ceptance of the third as a consonance, and the recognition of the predominance of the tonic triad, with the modern system of transposing tempered scales in the major and minor modes thence resulting, led to the gradual disuse of the church-modes. Mode helltoique (Fr.; also troisihne Hypophrygian (Mode IV, 2nd plagal) I Hypodorian (Mode II, ist plagal) mode). The inverted major scale, be- ' ginning on the 3rd degree : e' — d' — c'^-^b — a — g — f-.^e. so termed byBlainville (1711-69), this- being the ancient Dorian mode (see Greek music). Modera'to (It. ; superl. moderatis' simo.) I (noun). Moderate ; i. e. at a moderate.- rate of speed, or tempo. — 2 {adverS), (Also moderatamen' te). Moderately ;. as allegro moderato, moderately fast. MODERNO— MORDENT, 125: Moder'no,-a (It.) Modern ; alia moder- na, in modern style. Modification, Same as Temperament, Mo'do (It.) Mode ; style. Mod'ulate, (Ger. modulie'ren; Fr. rno- duler; It. modula're.) To pass from one key or mode into another ; to effect a change of tonality . , .Modulation. (Ger. and Fr. Modulation' ; Fr. also transi- tion; It. modulazio'ne.) Passage from one key to another ; change of tonality. — A modulation may be either_^«a/or transient ; it is final when the new tonic is permanently adhered to, or still another follows ; transient (transitory, passing), when the original tonic is speedily reaffirmed by a cadence . . . Chromatic modulation, one effected by the use of chromatic intervals ; diatonic m., one effected by the aid of diatonic intervals ; enharmonic m., one effected through employing enharmonic changes to alter the significance of tones or intervals. Mod'ulator. See Tonic Sol-fa. Mo'dus (Lat.) Mode. Moll (Ger.) M.mor. . .Moll' akkord, mi- nor chord . . . Moll'dreiklang, minor triad . . . Moll'tonart, minor key . . . Moll'tonleiter, minor scale ; etc., etc, Mol'le (Lat., " soft".) A term probably first used in the loth century to desig- nate the B rotun' dum {B molle,^=\)), in opposition to the B quadra' turn {B du'- ruin, Q, the modern Bt!). Later it was applied tothehexachord/— a', in which B^ was substituted for lifl ; and, finally, to the minor key and triad (with flat third). Mollemen'te (It.) Softly, gently. Mol'lis (Lat.) See Molle. Moloss(e), (Lat. molossus.) A metrical foot of 3 long syllables ( ). Mol'to,-a (It.) Much, very ; as molto adagio, very slowly ; molto allegro, very fast. . .Di molto, exceedingly, extremely. Momen'tulum (Lat.) A i6th-rest. Momen'tum (Lat.) An 8th-rest. Mon'ochord. (Fr. monocorde ; It. mono- cor'do.) 1. A very ancient instr. for the precise mathematical determination of the intervals, consisting of a single string stretched over a soundboard and provided with a bridge sliding op a graduated scale, by means of which any desired division of the string could be isolated, and intervals of true pitch obtained. — An instr. of the same name, but furnished with several strings for the purpose of obtaining harmonic effects, was the precursor of the clavi- chord. — 2. The tromba marina. — 3. A clavichord. — 4. (Ger., recent.) A kind of bow-zither, having one string stretched over a fretted fingerboard attached lengthwise to the top of an oblong re- sonance-box. Mon'ody, (Ger. and Fr. Monodie'j It. monodi'a.) A style of composition {monod'ic or monophon'ic) in which one part, the melody, predominates over the rest, they serving as a support or ac- comp. to it. It took its rise in Italy about i5oo, in the form of a vocal solo with instrumental accomp., the latter being at first a mere figured bass exe- cuted on the harpsichord, theorbo, etc. Its novelty lay, not in its newness, but in its employment and recognition by artists. It developed into the opera,, cantata, and oratorio on the one hand, and, on the other, into all those forms, of instrumental music in which the ele- ment of accompanied melody is found,, as the suite, cymphony, etc. (Also Hoinophony , Monophony.) Monoph'onous, Capable of producing but one tone at a time ; opp. to poly- pAonous . . . Monoph'ony, see Monody. Mon'otone. I. A single unaccompanied and unvaried tone. — 2. Recitation (in- toning, chanting) in such a tone. Monter (Fr.) i. To ascend; montant,3.S' cending. — 2. To raise the pitch of. — 3, To put strings on an instr.; also, to put an instr. together, to set it up. Montre (Fr.) In the organ, the dia- pason ; so called because ' ' shown" or set up in the organ-front, away from the soundboard. Moralities. (Ger. Moralitd'ten; Fr. moralith^ A later form of the miracle- plays or mysteries. Morceau (Fr.) A piece, composition ; viorceau de genre, characteristic piece. Mordant (Fr.) Comp. Graces. Mordent, (Ger. Mor'dent, Bei'sser; Fr. pince; It. morden'te.) A grace con- sisting of the single rapid . /^ alternation of a principal note with an auxiliary a ^h-^ minor second below, thus: *J 126 MORENDO— MOVEMENT. played : (/e«/hasadoubleortriple alternation, e.g. ±^l^ _a 6. played P I^PE — In the Inverted Mordent, the prin cipal note alternates with the higher auxiliary; its sign lacks the cross-stroke, written : I =StI=iii played : (nwderato^ > (presto.) > 3 Moren'do (It.) Dying away, growing fainter and fainter (v. Tempo-marks). Mormoran'do (It.) Murmuring, mur- murous, in a very gentle, subdued tone. Also mormore'vole, mormoro'so. Morris-dance. (Also morrice-dance, Moresque, Morisco, etc.) A sort of costume-dance, apparently of Moorish origin, in 4-4 time and of a boisterous character ; now obsolete. — Also, a kind of country-dance still performed in Yorkshire, England. Mos'so (It., "moved".) Equivalent to "rapid" in the phrases meno mosso, less rapid, //;»! mosso, more rapid, and poco mosso, somewhat rapid (e. g. Allegretto poco mosso, a rather lively allegretto, nearly allegro). Mo'stra (It.) A direct. Motet'. (Ger. Motet'te; Fr. motet; It. jnottet'to.) A sacred vocal composition in contrapuntal style, without instru- mental accomp. In former times the a cappella style was not always strictly adhered to. The motet resembles the anthem in having a biblical prose text, but differs from it in being polyphonic ; compositions in anthem-style are, how- ever, sometimes called motets. — The Latin mote'tus is a term of various and sometimes obscure signification. Motif (Fr.) A motive. Motion. I. The progression or lead- ing of a single part or melody ; it is conjunct when progressing by steps, disjunct when progressing by skips. — 2. The progression of one part con- sidered in relation to that of another ; contrary or opposite motion is that in which one part ascends while the other descends ; parallel* motion, that in which both parts ascend or descend by the same interval ; oblique motion, that in which one part is held while the other ascends or descends ; similar* motion, that in which both parts ascend or descend together by dissimilar inter- vals ; mixed motion, that in which 2 or more of the above varieties occur at once between several parts. * N.B. — The above fine_ distinction between J>aratti'l a.nd, similar motion is very often not observed, the term parallel motion being used indiscriminately for both. Mo'tive [sometimes pron. vio-teev'\ (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. A theme or sub- ject (see Leading-motive). — 3. Some- times used for Measure, as the rudi- mentary element of the Period. — Mea- sure-motive, one whose accent coincides with the measure-accent. Mo'to (It.) I. yiotion. ..M. co7ttra'rio, contrary motion . . . M. mi's to, mixed motion. . .M. obbli'quo, oblique mo- tion. . . M. peTpe" tuo , perpetual motion. . . M. ret' to, similar motion. — 2. Move- ment, tempo. . . Con moto, with an ani- mated and energetic movement. . .Moto preceden'te, at the former tempo. Motteggian'do (It.) Bantering, face- tious. Mottet'to (It.) Motet. Mo'tus (Lat.) Motion. . .M. contra' rius, contrary motion. . .M.obli'quus,ciDX\a;a& motion . . . M. rec'tus, similar motion. Mouth. The opening on the front side of an organ-pipe. . .Mouth-harmonica, a set of graduated metal reeds mounted in a narrow frame, blown by the mouth, and producing different tones on expiration and inspiration . . .Mouth- organ, see Yz.VL'?,-'pvi>&%. . .MotUhpiece (Ger. Mund'siuck; Fr. evibouchure; It. imboccatu'ra), that part of a wind- instr. which a player places upon or be- tween his lips. Mouvement (Fr.) Mouvement, tempo. . . Mouvement^. A piece is said to be hien mouvement^ when its rhythmical structure is elegant and symmetrical. Movement, i. (Ger. Bewe'gung; Fr. mouvement; It. movimen'to, mo'to, tem'- po.) Tempo, rate of speed. — 2. (Ger. MUANCES— MUTHIG. Satz; Yx. phrase; It. tempo.) A prin- cipal and usually separate division or section of a composition, containing themes and a development peculiar to itself. Muances (Fr.) See Mutaiioti 2. Mund (Ger.) Moxxih. . .Mund'harmo- nika, mouth-harmonica.. .Mund' loch, mouth (of an organ-pipe; usually Auf- schnitt) . . . Mund' stuck., mouthpiece. Mune'ira (Span.) A Galician dance of moderate tempo and in 2-4 time, virith an auftakt of a quarter-note, and the strong beat marked by the castanet- rhythm. Mun'ter (Ger.) Lively, animated, gay. (Also adverb^ Murky, A murky-lmss is one progress- ing in broken octaves ; a harpsichord- piece with such a bass was called a viu7-ky. Muse. The mouthpiece or wind-pipe of the bagpipe. Musette (Fr.) i. A small and primitive kind of oboe. — 2. A variety of bag- pipe in which the wind is supplied by a bellows.^3. A short piece of music imitating in style that played on this kind of bagpipe, i. e. of a soft and gen- tle character and with a drone-bass ; hence, the dance-tunes of the same style and name. — 4. A reed-stop in the organ. Mu'sica (Lat. and It.) Music. ..M. da ca'mera, chamber-music . . . M. da chie'- sa, church-music . . . M. da tea'tro, the- atre (theatrical) music. . .M. di gat'ti, charivari (see ICatzenmusik). Musical box, Music-box. The so- called Swiss music-box consists of a metallic cylinder or barrel studded with small pins or pegs, and caused to re- volve by clockwork. In revolving, the pins catch and twang a comb-like row of steel teeth arranged in a graduated scale, each tooth producing a tone of very accurate pitch. In the larger instr.s the barrel may be shifted so as to play several tunes, or is made exchangeable for others. — For the newer music-boxes, compare Syniphonion, Libellion. Musician. (Ger. Mu'siker; Fr. musi- cien; It fnu'sico., musici'sta.) One who practises music in any of its branches as a profession. Music-pen. i. A soft-nibbed, broad- pointed pen for writing notes, etc. — 2. A 5-pointed pen for drawing the 5 lines of the staff on paper. Music-recorder. See Melograph, Pho- nograph, Phonautograph. Music-wire. Steel wire for the strings of mus. instr.s. Musik' [-zeek'] (Ger.) Music. . .Musik'- bande, see Bande. . .Musik' diktat, see Dict^e 7nusicale. . .Musik' direktor. a conductor. . .Musik' /est, mus. festival. . .Musik' met stcr, conductor of a mili- tary band. Musika'lien (Ger.) Music (i. e. musical compositions). [A trade term.] Masikant'(Ger.) A vagabond or bung- ling musician. Mu'siker, Mu'sikus (Ger.) A musician. Musiquette (Fr.) Little piece of music ; or (collectively) light music. Mu'ta (It.) ' ' Change ! " A direction in orchestral scores indicating a change of crook or instr., or in the tuning of an instr. , necessitated by a change of key. Mutation, i. (Ger. Mutie'rung; Fr. mue; It. mutazio'ne.) The change of the male voice at puberty. — 2. (Ger. Mutation' ; Fr. pi. mutations, muances; It. mutazio'ne^ In medieval solmisa- tion, the change or passage from one hexachord to another, with the conse- quent change of syllable (comp. Solmi- satioti). — 3. In violin-playing, "shift- ing." Mutation-stop. In the organ, any stop, except a mixture, whose pipes produce tones neither in unison norin octaves with the foundation- (8-foot) stops; i. e., all tierce and quint-stops, and their octaves. Mute. I. (Ger. Dam'pfer; Fr. sour- dine; It. sordi'no.) The mute for the violin, etc., is a piece of brass or other heavy material, having cleft projections which permit of its firm adjustment on the bridge without touching the strings ; its weight deadens the resonance of the sound-box. (Recently made in the form of a spring clip.) The direction for putting on the mutes is "con sor- dini"; for taking them off, ''senza sordini". — 2. A pear-shaped, leather- covered pad introduced into the bell of the horn or trumpet to modify the tone. Other forms of this mute are (for the horn) a pasteboard cone with a hole at the apex, and (for the trumpet) a cylin- drical tube of wood pierced with holes. Mu't(h)ig (Ger.) Spirited, bold. (Also adverb.^ 128 MUTIERUNG— NATURAL. Mutie'rung (Ger.) Mutation I. Mysteries. (Ger. Myste'rien; Fr. mys- tires.) Medieval scenic representations of biblical events, arranged originally by the monks, and generally accom- panied by vocal, often by instrumental, music. The Passion-plays (still sur- viving at Oberammergau in Bavaria) are as old as the 7th or 8th century ; the Moralities, a peculiar form of the Mysteries, in which abstract concep- tions were personified, originated about the 13th century. The Mysteries were the precursors of the Oratorio. N. Nacaire (Fr.) A former kind of kettle- drum. Nac'cara, Nac'chera (It.) i. SeeiVa- caire. — 2. (Also Gnac'care; pi.) Cas- tanets. -Nach (Ger.) After; according to... Nach' ahmtmg, imitation. . .Nach Beli^- ■ben, ad libitum. . .Nach'druck, empha- ;sis ; nach'drucklich(or mil Nachdruck), with emphasis, emphatically — Nach'- -lassend, slackening (in tempo) . . .Nach'- Jassig, careless, negligent (also adverb). .. .Nach'ruf, a farewell, leave-taking. -. . Nach'satz, a second (or final) phrase or theme, contrasting with Vor'dersatz. Nack'schlag, (a) the unaccented appog- giatura ; (b) " after-beat " of a trill (also Nach' schleife) . . . Nach' spiel, a post- lude . . . Nach' tans, see Saltarelh 2 . . . Nach und nach' , step by step, gradu- ally. Nacht (Ger.) T^\%\A. . .Nachfhorn, Nachf schall, a flue-stop in the organ, having covered pipes of 2, 4, or 8-foot pitch, and resembling in tone the QuintatOn or the Hohl'Jlote. . .Nachf - hornbass, the same stop on the pedal. . .Nacht' stuck, a nocturne. Naenia. See Nenia. Na'gelgeige,-harmonika (Ger.) Nail- fiddle. Naif, Naive (Fr.), Naiv' (Ger.) Naive ; unaffected, ingenuous, artless. . .Naive- inent, naxveXy. . .Naivete, artlessness, simplicity, etc. Nailfiddle. (Ger. Na'gelgeige.) An instr. consisting of a soundboard in which are inserted from 16 to 20 steel or brass pins of graduated length, sounded by means of a bow well smeared with rosin ; the tone is like that of the har- monica. Inv. by Johann Wilde of St. Petersburg, toward the middle of the l8th century. Naked fifth (fourth). A fifth (fourth) without an added third. (Also bare.) Narran'te (It.) In narrative-style ; calls for a very distinct declamatory enun- ciation of the words sung. Narrator. The personage who, in the earlier passion-plays and oratorios, sings the narrative portions of the text. Nasard (Fr. ; Span, nasar'do; Ger. 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 pedal (io§-ft.) or manual (Ss-ft.) ; the Petit nasard (Larigoi), is a double- octave quint-stop (i^-ft.) (Also na- sarde, nassart, nasillard, nazad.) Nason fiute. An organ-stop having stopped pipes of mild, suave tone. Natur'- (Ger.) J^aiMxaX. . .Naiur'horn, a Wald'hom(mthontva.\yes). . . Natur' - skala, natural scale . . . Natur' tone (or natiir'liche Tone), natural harmonic tones, as of the horn, etc. . .Natur'- trompete, a trumpet without valves. Natural. I. (Ger. Auf'losungszeichen; Fr. l^carre; It. bequa'dro^ The sign Q (see Chromatic Signs), — 2. A white digital on the keyboard . . . Natural har- monics, those produced on an open string ; opp. to artificial, which are produced on a stopped string. . .Natu- ral hexachord, that beginning on C . . Natural horn, the French horn without valves. . .Natural interval, one found between any 2 tones of a diatonic major scale. . .Natural key, see Nat. scale . . . Natural pitch, that of any wind-instr. when not overblown ... A^aifa?-fl;/ scale, C-major, having neither sharps nor flats. . . Natural tone, a tone producible, on a wind-instr. with cupped mouthpiece, by simply modifying the adjustment of the lips and the force of the air-current, without using mechanical devices for changing the length of the tube (such as keys, valves, or the slide). Such natural tones always belong to the series of higher partials (comp. Acoustics). These are the only tones which an instr. having a tube of invariable length (like the natural [French] horn) can yield ; they are produced by the division of the vibrating air-column defined by their tube into aliquot (equal) parts of NATURALE— NINTH. 129 constantly decreasing length. A tube of wide bore in proportion to its length will yield most readily the low and me- dium tones of the series, including the fundamental ; a tube comparatively nar- row, the medium and higher tones, omitting the fundamental. Any metal instr. yielding the fundamental tone (e. g. the Tuba) is called a complete instr. (Ger. Ganz' instrument) ; one incapable of yielding it (e. g. the Trumpet), an incomplete instr. (Ger. Halb'instru- ment). With a minimum air-pressure, and the lips most relaxed, the funda- mental tone of the tube is sounded. Katura'le (It.) Natural, unaffected... Naturalmen'te, naturally, etc. If atura'lis (Lat.) Natural . . . Can'tus naturalisy and hexachor' dumnatura' le , music, and the hexachord, embracing the tones c d e f g a. Naturalist' (Ger.) A natural or self- taught singer ; one not trained accord- ing to any vocal ' ' method " or " school ". . .Naturalis' tischy amateurish. Naturel,-le (Fr.) Natural. .Neapolitan sixth. A chord of the sixth on the sub- _. dominant in ^gi=P' minor, with minor sixth: Ne'ben- (Ger.) By-, accessory.. .Ne'ben- dominante, dominant of the dominant, e. g. D in the key of C. . . Ne'bendrei- klang, secondary triad . . . Ne'benge- danke, accessory theme or idea . . . Ne"- benklang, accessory tone (either es- sential, as harmonics, or unessential). . . N/bennote^ auxiliary note . . . Ne'ben- septimenakkorde^ secondary chords of the 7th (all except the dominant) . . . N/benstimme, accompanying or ripieno part . . . N/benwerk (on 2-manual or- gan), choir-organ. Neck. (Ger. Hah; Fr. manche; It. ma'nico.) The elongated projection from the body of an instr. of the viol or lute family, bearing the fingerboard on its upper side, and ending with the head or scroll. Negligen'te (It.) Negligent, careless. . .Negligentemen'te, negligently. Ue'gli, nei, nel, nell', nel'Ia, nel'le, nel'lo (It.) In the. -Ne'nia. A funeral song or lament ; a dirge. 'Neo-German school. The disciples of :S=ft Schumann and Liszt ; the romantic school of composition, and the "pro- grammists ". Ne'te. See Lyre. Nettamen'te (It.) Neatly, cleanly ; clearly, distinctly. . .JVet'to, neat, clean, clear. Neu'deutsche Schu'le. See Neo-Ger- vian. Neu'ma, Neume. 1. In Gregorian mu- sic, a melisma. — 2. In medieval mus. notation, one of the characters used to represent tones, inilections, and graces. They were of different and fluctuating form and signification, at first with a curious outward resemblance to modern short-hand, later changing to coarse and heavy strokes and flourishes. The earlier neumes (8th to 13th century) can hardly be successfully" deciphered, ■even with the aid of the letters {litieree significativa) sometimes added, or of the lines (inception of staff-notation) employed, from the loth century on- ward, to fix the pitch ; for they were less an attempt at exact notation in the modern sense, than an aid to memory, a system of mnemonic signs. They are important as being the first attempt to exhibit the relative pitch of notes by their relative height on the page ; they gradually passed over into the notm quadrates and ligatures of Plain Song. Neuvifeme (Fr.) The interval of a ninth. Nicht (Ger.) Not. Ni'colo (It.) A large kind of bombardon (17th century) ; precursor of the bas- soon. Nie'der- (Ger.) t)own.. . .Nie'derschlag, down-beat. . .Nie'derstrich, down-bow. . . Nie'dertakt, down-beat. Nineteenth, i. The interval of z octaves and a fifth. — 2. See Laiigot (organ- stop). Ninth. (Ger. No'ne; Fr. neuvihne; It. no'na.) An interval wider by a semi- tone or a whole tone than a perfect octave ; a compound second; but dis- tinguished in theory from the second by the fact that it enters into the formation of a chord in the series of ascending HKixAs. . .Chord of the ninth, a chord practically recognized under 2 principal forms : (l) the major, and(2) the minor chord of the ninth, each a chord of the dominant seventh with added ninth : NOBILE— NOTATION. (l.) (2.) The former, I , I based on par- "|3iP^i5E tials 2-3-(4)-5- t»=l — ^g:|= (6)-7-g,is acou- stically the more euphonic, |5= though the lat- _ _ ter has been of- ^ : V / : V tener used in practical music. Their inversions are figured according to the ordinary rule. (Comp. Chord.) No'bile (It.) Noble ; refined, chaste. . . Nobilmen'te, nobly . . . Con nobilitA.', with nobility, grandeur. Noch (Ger.) Still, yet. Nocturne (Fr. ; Ger. Noktur'ne, Nachf- stuck; It. notiur'no.) A word intro- duced by Field as a title for piano-pieces of a dreamily romantic or sentimental character, but lacking a distinctive form. Noc'turns. Services of the Church held during the night, each portion of the Psalm set aside for this purpose being termed a Nocturn. Nodal figures. The figures correspond- ing to the nodal lines of a vibrating plate of wood, glass, etc.; rendered visible by strewing fine dry sand on the plate, this sand being tossed by the vibrating portions of the plate to the nodal lines, which are points of perfect or comparative rest ; the symmetrical figures thus formed are also called Chladni's figures, having been discov- ered by him ... iV. point, see Node. Node. (Ger. Kno'tenpunkt; Fr. nceud; , It. «oVo.) A point or line in a vibrating body (such as a string, soundboard, trumpet, bell), which remains at rest during the vibrations of the other parts of the body. 0pp. to Loop I. No'dus (Lat., "knot".) An enigmatical canon. Noel (Fr.) A sort of carol sung in the South of France, chiefly on the day be- fore Christmas, or Christmas eve. Noeud (Fr.) i. A turn (usually groupe). — 2. A node. Noire (Fr.) A quarter-note. Nome, Nemos (Gk.) A canon (rule) for raus. composition ; hence, a song composed according to the rule. Non (It.) Not. No'na (It.), No'ne (Ger.) The interval of a ninth. Nones. The fifth of the canonical hours. Nonet'. (Ger. Nonetf ; It. nonet' to^ A composition for 9 voices or instr.s. Non'nengeige (Ger.) Nun's-fiddle, tromba marina. Nono'le (Ger.) Nonuplet. Non'uplet. A group of 9 notes of equal time-value, executed in the time proper to 6 or 8 of the same kind belonging to the regular rhythm. Normal'ton (Ger.) Standard pitch... Normal' tonarten (pi.), normal keys. . . Normal' tonleitern, normal scales. No'ta (Lat. and It.) A note.. .N. buo'na, an accented note.. .N. cambia'ta (cam- bita), (a) a changing-note ; (i5) an irreg- ular resolution of a dissonance by a skip. . .N. caratteri'stica, leading-note. . . N. catti'va, an unaccented note . . . Nota contra notam (Lat.), note against note, equal counterpoint.. .N. d'abbelli- men' to, a grace-note . . .N. dapassa'gio, a passing-note. . .N. falsa, a changing- note. . .N. principa'le, a principal (essential) note. . . N. quadra' ta (guadri- quar'ta), a Gregorian or plain-song note. . .N. roma'na, a neume. . .N, sen- si'bile, the leading-note. Notation. Musical notation is the art of representing musical tones by means of written characters. Letters, numerals, and signs of different kinds, have been used. The signs now almost univer- sally employed are called notes, and are written on a staff of 5 lines ; hence, this system of writing music is termed Staff- notation. (Comp. also Alphabetical notation, Neumes, Numerals.) §1. The lines and spaces of the staff indicate the pitch of the notes. The lines which Hucbald first used (about A.D. 900), served the same end by representing strings ; in the spaces be- tween, the syllables of the words sung were written, the relative pitch of the suc- cessive tones being (sometimes) marked by the letters t {=tonus, whole tone), and s (=semitonium, semitone). — This system was also used later for noting the primitive part-music called or'ganum or discant; increasing the number of lines as far up or down as necessary, and setting the syllables for the several parts vertically one above the other. — An ex- ample of one-part notation ace. to Hucbald now follows : NOTATION. 131 ta li/\ lus\ Ec\ Isra \ / in quo \ 0/ no\ s ce\ / he do/ on\ vere / est Solution in choral notes : -. 1 w— * -■ ■ 1 ■ — 5_ -■ — ■ — ■- • — ii — •»- - 1 ' Ec - ce ve - re Is - ra - he - 11 Nearly contemporaneously with Huc- bald's invention, an innovation appeared in neumatic notation ; a red horizontal line was drawn across the page, and all neumes written on this line gs were of the same pitch, this pitch being fixed by a letter f: set before the line. A second line, but yellow, was soon added for c^ above the _/"-line (or below, for plagal melodies) ; the two greatly facilitated the reading of written music. An- other improvement, in a different dir- ection, is shown by an orderly system of lines marked in regular succession by Greek letters set before them, the tones being represented by points or dots on the lines. To Guido d'Arezzo is generally ascribed the systematization and introduction (about 1026) of the 4-Une staff, in which both lines and spaces were at length utilized ; he re- tained the red and yellow lines, added a third (black) line between them for a, and a fourth (black) line either above or below these three, according to the range of the melody written, for e^ or d; he did not use notes, but either letters or neumes. §2. A staff being thus established, and affording a firm basis for exactly fixing the pitch of written music, the neumes hitherto in ordinary use gradu- ally lost their hieroglyphical appearance and became transformed into the Choral Notes of Plain Chant, the regular square form of which (■) gave rise to the name nota quadrata or guadriquarta, other shapes occurring only occasionally in certain figures ^ ^^ or ^ ^ . The 4-line staff is still retained in Plain Chant ; other staves, having from 6 to 15 or more lines, were arbitrarily em- ta, in quo do - lus non est, ployed down to the 15th century, when the 5-line staff for all vocal music ex- cept Plain Chant, and the 6-line staff for organ-music, were universally adopted ; the present 5-line staff superseded the latter after the invention of music-print- ing. — All this time the form of the clefs was likewise changing, the original / and c becoming : (/) w etc. ; the g also assumed a great variety of fantastic shapes before the modern forms were finally settled. §3. Mensurable notation, differ- ing from that of Plain Chant by express- ing a determinate (relative) time-value of the tones in its notes, which were invented for the exact indication of rhythmic relations, appeared near the beginning of the 12th century. The notes in use for some 200 years, aiid imitated from Plain Chant, were the Large (^|) or duplex longa or maxima; the Long (^) or longa; the Breve (h) ; and the Semibreve (^ or Y) ; to which were then added the Minim (1) and Semiminim (1). Early in the 15th century the first five were supplanted by the open notes (large Pn , long f^ > breve td , semibreve O or A, minim I \ I— ' ' O'' the smaller notes which had been gradu- ally added being written in 2 forms : Semiminima [^ Croma or Fusa 'a [J] ]/ori Semicroma or Semifusa [J(] ^ o Below are the corresponding rests : or ^. Perfect Imperf. Perf. Imperf, Breve- Semibr.- Minim-rest Semiminim- Croma- Semicr,- Large- Large- Long- Long- rest rest (Suspirium) rest rest rest rest. rest rest. rest. (Pausa) (Semipau.) (Semisuspirium). 1132 NOTATION. — The single notes were often joined in groups (comp. art. Ligature). — The angular notes of measured music were not finally supplanted by modern round notes, in music-printing, till about 1 700, though in MS. music they had been freely employed since the l6th century. For determining the relative time- value of the notes, various and often conflicting rules were made for the Modus (mode), Tempus (time-value of the breve), Prola'tio (prolation). Color, Position, etc.; a. brief explanation of 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 the subdi- vision of the Large into Longs, and of the Long into Breves : in the Modus major perfectus, I (S^ = 3 t^ " " imperfec.,1 p^ =2 t^ ' ' minor perfectus, id =: 3 ^ " " imperfec, I t^ ^= 2 |5I| Tempus (time) governed the subdi- vision of the Breve into Semibreves ; in Tempus perfectum (sign the circle O), I H = 3 O Tempus imperfec. (sign the semic. 0,1 1=1-20 Prolatio (prolation) governed the subdivision of the Semibreue ; in Prolatio major i O — 3 C) °'' t>y the in- version of the fraction (J, J, etc.) These fractions, however, were properly termed signs of Proportion. Proportion. The theory of Pro- 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 alto might be in tempus imperfectum diminuium (t , while the tenor had di- minutio in tripla Q 3 ; further, changes might be made in any or all parts in the course of the piece, and were indi- cated by fractions (the signs of propor- tion; compare Augmentation, above). Alteration (alter atio) was the doub- ling of the time-value of the second of 2 equal notes, and occurred either when the next largest kind of note was per- fect, and the 2 (smaller) notes stood between two such large ones, or when the 2 notes were separated from a following note of equal or smaller value by a punctum divisionis ; e. g. ^^00 td in tempus perfectum (O) would be expressed thus in modern notation ( c • \ a a \ a • )■ The Punc'tum or Punc'tus (point, dot) had various uses ; (a) Punctum augmentatio'nis, equivalent to our dot of prolongation ; {b) Punctum altera- tio'nis, which, placed before the first of 2 short notes lying between 2 long ones, doubled the value of the second short note and restored the perfection of the 2 long ones ; {c) Punctum per- fectio'nis, used in prolation, and also 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 above remarks will serve, however, to give a correct general idea of the in- tricacies of Mensurable Notation. (Also see Figura obliqua.) Note. (Ger. and Fr. No'te; It. no'ia.) One of the signs used to express the re- lative time-value of mus. tones. (Comp. Notation.) The notes employed in modern notation are the following : or 11^1 English. Breve, or Double note Semibreve, or Whole note Minim, or Half-note j Crotchet, or j Quarter- note j Quaver, or j Eighth-note j Semiquaver, or ( Sixteenth-note 1 Demisemiquaver, or ( Thirty-second-note ( Hemidemisemiquaver, \ or Sixty-fourth-note. jr H M Black note, one having a solid head (J); ■opp. to white note (J). Also, a black digital or key. . . Changing note, see Ckanging-note . , .Character-notes , notes varying in shape from those in common use, employed to present characteristic •qualities of the tones other than their German. Brevis ( Ganznote, or *} ganze Taktnote j Halbnote, or ] halbe Note j VierteU or j Viertelnote j Achtel, or ( Achtelnote J Sechzehntel, or "I Sechzehntelnote J Zweiunddreissig- I stel(note) J Vierundsechzig- "1 stel(note) French. BrSve, or Carrie J Semi-brive, or { Ronde Blanche Noire Croche Double-croche Triple-croche Q uadruple-croche Italian. Breve Semibreve J Minima, or ( Bianca Kera Croma Semicroma Semibiscroma Quattricroma time-values.. . Choral-note ^s%q Notation, §§i and 2. . .Crowned note, one with a hold (2) over it. . .Double note, a breve (= ic^). , .Driving-note^ a syncopated note. . .Essential note, a chord-note, or melody-note. . . Grace-note, see Grace. . .Harmonic k£?^^, achord-note. . .Hold- 134 NOTE— OBBLIQUO. ing-noie, a tone sustained in one part while the other parts move . . . Leading note. Master-note y see Leading-note . . . Open note, a white note . . . Passing note, see Passing-note.,. .Reciting-note, see Reciting. . . White note, see Black note. Note (Fr.) A note . . .N. accident^, an accidental . . .N. d'agr^ment, or de goUt, grace-note . . .N. sensible, leading-note. . .Notes surabondantes(^\.), groups like triplets, quintuplets, etc., etc. — The French names for the 7 notes of the scale are (i) ut, r/, mi, fa, sol, la, si; and (2) tonique, sus-tonique, m^diante, sous-dominante, dcminante, sus-domi- nante, sensible. Noten (Ger. pi.) i. Notes. — 2. Music (i. e. compositions, pieces). No'tenfresser (Ger.) Same as Croque- note. No'tograph. See Melograph. Nottur'no (It.) Nocturne ; dimin. Not- turni'no. Nourri (Fr., "nourished".) Un son nourri, a full or well-sustained tone. Novellette. A name probably first be- stowed by Schumann (Op. 21) on a style of instrumental composition free in form, bold in harmonic structure, romantic in character, and specially characterized by a variety of contrasting themes and by considerable length. (Sometimes Novel- ette.) Novemo'le (Ger.) Anonuplet. NoTvel. (^T. Noel.) A Christmas carol, especially one in polyphonic style. Nuance (Fr.) A shading or inflection in vocal delivery or instrumental rendering, affecting either timbre, tempo, or dyna- mic effect, to a greater or less degree. Null. A naught or cipher. (See 0.) — In thorough-bass, a cipher calls for tasto solo. Number, i. Aprincipal division or move- ment of an extended composition, like an opera or oratorio ; or any smaller and more or less complete portion of a large work, as a song, aria, interlude, etc. ; or, finally, any single piece on a program. — 2. Equivalent to Opus-num- ber. Numerals. For the employment of Arabic numerals, comp. Abbreviations 2, Fingering, Harmonium-music, Or- gan, Phone §6, Pitch §2, Tablature, Thorough-bass. — As abbreviations, 2- time, j-time, axe. equivalent to duple time, triple time ; 4tte, Jtte, to quartet, quintet. . .(It.) 3", 4», 5', (>'■, 7*, con- tractions of Terza, Quarta, Quinta, Sesta, and Settima respectively; 8 or 8"'^, " air ottava " ; /j""', "allaquindecima." . . (Fr.) 2p, 4p, 8p, l6p, equiv.to 2-foot, 4-foot, etc. . . Roman numerals are used, in mus. theory, to mark fundamental chords, thus showing at a glance from what triad any given inversion is de- rived (comp. Chord, and Phone, §§5, 6). Nu'merus (Lat.) i. Number.— 2. Rhythm. Nunc dimit'tis. The first 2 words in the Canticle of Simeon (Luke II, 29-32) " Nuncdimittisservum tuum, Domine, in pace" (Now, O Lord, lettest thou thy servant depart in peace) ; a text frequently used by composers, and forming portions of special services in the Catholic and Anglican Churches. Nun's-fiddle. Tromba marina. Nuo'vo,-a (It. [no'vo].) New. . .Dinuo- vo, anew, again. Nut. 1. (Ger. Saftel; Fr. sillet ; It. capota'sto.) The ridge over which the strings pass at the end of the finger- board next the head of a violin, lute, etc. — 2. (Ger. Frosch; Fr. talon.) The movable projection at the lower end of the violin-bow, to which the hair is at- tached, and by which it is tightened or slackened. — 3. The lower nut on the* violin, etc., is the ridge between the tailpiece and tailpin (or button). o. O. A circle (Q) was the medieval sign for tempus perfectum (see Notation, §3) ; enclosing figure ( (i) ) , see Harmoni- um-music. . .A small circle signifies, in modern notation, (a) an open string ; (b) the harmonic mark ; (c) the dimin- ished fifth ; (d) in thorough-bass, ta- sto solo; (e) in old German clavier-mu- sic, marks notes to be played with the thumb. O (It.) Or. (Also od.) Obbliga'to (It.) Required, indispensa- ble. An obbl. part is a concerted (and therefore essential) instrumental part ; the term is specially applied to an in- strumental part accompanying and vy- ing with a vocal solo, very numerous examples of which may be found in the music of the l8th century. Obbli'quo (It.) Oblique. OBER— OCTAVIN. 135 O'ber (Ger.) Over, above, higher. . . 0'- berdominan' te , the dominant (opp. to Unf terdominante , the subdominant). . . (yberlabium, upper lip (organ-pipe). . . O'hermanual, upper manual . . . O'ber- stimine, highest part. . . O'hertaste, black key. . . O'ber tone ^ overtones, harmonics; ph and J). Ochet'to (It.), Oche'tus (Lat.) See Hocket. Octachord, i. An 8-stringed instr, — 2. A series of 8 consecutive diatonic tones. Octave. I. (Ger. Okta've; Fr. octave; It. otta'va.) I. A series of eight con- secutive diatonic tones. — 2. The inter- val (1:2) between the ist and 8th tones of such a series. (Comp. Interval.) — 3. The 8th tone of such a series, consid- ered in its relation to the 1st ; or vice versa. The 8th is called the higher oc- tave of the 1st, the 1st the lower octave of the 8th. — 4. One of a number of arbitrary divisions of the entire range of tones employed in practice, made for the sake of convenience in referring to and establishing the absolute pitch of each tone. (Comp. Pitch.) — 5. In the organ, a stop whose pipes sound tones an octave higher than those represented by the digitals touched ; like the Prin- cipal. . .At the octave, see Otiava, all', . . Broken octaves, see Broken . . . Con- cealed, covered, or hidden octaves, paral- lel octaves suggested by the progression of 2 parts in similar motion to the in- terval of an octave . . . Rule of the octave, a system of harmonizing the diatonic scale taken as a bass ; much employed in tuition before the laws governing harmonic progression had been formu- lated. . . Short (jiTtez/f, in organ-building, the lowest octave of the keyboard, when abbreviated by the omission of all digitals but those needed for the bass of the simpler harmonies, the digi- tals remaining being set side by side as if forming the regular series ; this was done to save expense and space. . . Oc- tave-coupler, see Coupler .. .Octave- flute, (a) the piccolo ; (*) an organ- stop of 4-foot pitch. . . Octave-scale, see Mode. . .Octave-stop, same as Octave 5. Octavia'na. See Ottavino. (Also oc- tavin, octavina, octavino.) Octavin' [-veen]. i. See Ottavino. — 2. A wind instr. inv. in 1803 by Oscar 136 OCTAVO— OPERA. Adler of Markneukirchen, Saxony. It has a single reed, and a wooden tube of conical bore ; the keys are so arr. that the fingering is similar to that of the clarinet, oboe, ett. The tone is quite powerful ; the timbre between • oboe and horn. Made in 2 sizes, B^ and C ; compass 3 octaves, f' — c*. Octavo attachment. See Octave-pedal, under Pedal. Octet', (Ger. Okietf; Fr. ocieiie; It. oltefto.) A composition for 8 voices or instr.s. Octo-basse (Fr.) The octo-bass, an immense 3-stringed double-bass 4 me- tres in height, provided with a mechan- ism of digitals and pedals for stopping the strings ; it is a third lower in pitch than the ordinary double-bass {Ci-Gi-C), and its tone is smooth and powerful. Inv. by J. B. Vuillaume in 1851. Octochord. See Octachord. Octo'le (Ger.) Octuplet. Oc'tuor. Same as Octet. Oc'tuplet. A group of 8 equal notes having the same time-value as 6 notes of the same kind in the regular rhythm. Ode. A lyric poem intended for singing, and expressive of lofty and fervent emotion ; it has no set characteristic me- trical form.' — Also, the musical setting of such a poem. Ode'on. (Gk. odei'on ; Lat. od/um.) A public building in which musical con- tests were held. O'der (Ger.) Or, or else. Ode-symphonie (Fr.) A choral sym- phony, symphony with chorus. CEuvre (Fr.) Work, composition. Off. In organ-music, a direction to push in a stop or coupler; as Sw. to Gi. off.. . Off the pitch, false in pitch or intonation. Of'fen (Ger.) I. Open (of organ-pipes). — 2. Parallel (fifths, octaves). Offenbar (Ger.) Open, manifest. . . Of- fenbare Okia'ven, Quin'ten, open or 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 usually supplemented by a motet on the same or differenc verses ; such offerto- ries are also composed with instrumental accomp. Ofide'ide (It.) Ophicleide. Oh'ne (Ger.) Without. Oh'renquinten (Ger., "ear-fifths".) Covered fifths, the ill effect of which the ear detects (or is supposed to de- tect) ; sometimes used to designate mere theoretical finicalities. Okta've (Ger.) Octane... .Oktavie'ren, to produce, when overblown, the higher octave of the lowest natural tone of the tube (wind-instr.s). . .0/§^(TZ''^/zfK, Ok- tav'ffoie, piccolo. . . Okta' vengattungen, octave - scales . . , Okta' ve^iverdop' pelun- gen, Oktav' folgen,-paralle' len, parallel or consecutive octaves . . . Oktai/- Wald- horn, a new species of Waldhorn, inv. by Eichborn and Heidrich of Breslau, of particularly full tone in the high and low parts of its range. Oktavin'. See Octavhi 2. O'lio. A medley, or mus. miscellany. Olivettes (Fr.) Dances after the olive- harvest. Om'bra (It.) A shade, shading, nuance. Om'nes, Om'nia (Lat.) All. See Tutti. Om'nitonic. (Fr. omnitonique.) Having or producing all tones ; chromatic ; as coromnitonique,ch.roma.t\c{yaiye-)horn. Once-accented. See Fitch. Ondeggiamen'to (It.) Undulation... Ondeggian'te, undulating, wavy. Ondulation (Fr.) Undulation. . . OnduU, undulated, wavy. One-lined. See Pitch. Ongare'se (It.) Hungarian. Onzi^me (Fr.) The interval of an elev- enth. Open diapason, harmony, note, order, pedal, pipe, etc. ; see the nouns. Op'era. (It. O'pera \_se'ria, buf'fa, etc.], dram'ma per mu'sica; Fr. op&a; Ger. (/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 OPERETTA— OPHICLEIDE, 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) 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 *' father of the art of instrumentation ". His orchestra for the opera "Orfeo" (1608) is given below : 2 Gravicembani, 2 Contrabass! di Viola, 10 Viole da Braccio, i Arpa doppia, 2 Violini pic- 1: -11- c _ i-'u:. ; _ r\ r j: coU alia francese, 2 Chitarroni, 2_ Organi di 'eeno, 3 Bassi dagamba, 4 Trotnboni, 1 Regale, I Cornetti, i Flautina alia 22da, i Clarino, con 3 Trombe sorde. With Alessandro Scarlatti (1659- 1725) begins the era of modern Italian opera ; the sensuous charm of melody asserts itself more and more strongly ; the singer becomes master of the situ- ation, and operas are written to his order. This tendency, early transplant- ed with Italian opera to France and Germany, was combatted by leading 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 it follow throughout the course and sense of the action. — The grand or heroic opera, with its full choruses and finales, its arias and recitatives, and all varieties of ensemble (duets, trios, quartets, etc.) is a growth due to the grafting of Italian opera upon the French musical stock, and is the style especially affected by modern French composers ; the formal plan of Italian opera was likewise adopted by the great German composers, but with an infusion of artistic potency and sincerity which raise their productions far above the earlier level (Mozart, Beethoven), and a tinge of German romanticism which lends them a truly national color (Weber, Marschner). In comic opera the Ital- ians were also pioneers (Pergolesi, Cimarosa) ; then follow the French (Gretry), and lastly the Germans (Mo- zart), all in the i8th century. Recent Italian operas show a distinct reaction against the old type, and bear witness to the strong influence of Germany (par- ticularly of Wagner). France continues in the footsteps of her national compos- ers (Gretry, Mehul, Boieldieu, Adam, Herold, Halevy, Auber, Meyerbeer, 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 drama must never be checked or veiled by purely musical episodes, however charming in themselves ; the music must illustrate the (emotional) course and ef ■ fects of the action, and nothing else. Hence the discontinuance of cut-and- dried movements and leveling of tradi- tional forms, the rarity of full cadences and harmonic sequences, the richly modulated fiow of inspired melos, the absence of "vain repetitions" of words and phrases, the uninterrupted dramatic interpretation by the orchestra of scenes and moods. — Both the grand opera and the Wagnerian drama find zealous ad- vocates and imitp.tors ; these, together with operettes of most various com- 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 that. in % Ci aUU L s¥ playing the plain-song melodies . the clenched fists, or even the elbows, were them,. " has been steady, and chiefly due to Ger- man, English, and French organ-build- ers. — The pipe-organ (see also Reed- orgari) is a keyboard wind-instr. con- sisting of few or many sets of pipes controlled by one or more keyboards. It has 3 distinct mechanisms : (i) The wind-supply, incl. bellows, windtrunk, windchest, etc.; (2) the pipes, called collectively the /z)*f-7wr>j' (3) the key- boards, pedals, and stops, called collect- ively the action, and under the player's direct control. — (i) The wind (com- pressed air) is obtained from a weighted storage-bellows filled by feeders; from the storage-bellows the wind is driven, by pressure of the weights on the stor- age-bellows, through a hollow wooden canal, the windtrunk, into the wind- chest, a wooden wiina-reservoir beneath the soundboard on which the pipes are set; the wind passes up through the soundboard by way of grooves separated by bars, and leading dUectly to the pipes ; the grooves are closed below by pallets (air-tight valves) opened by de- 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 holes to admit the feet of the pipes and 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 long, narrow strip of wood with holes 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 upon the sliders by means of a system of levers; combination-pedals (see Pe- dal) are compound draw-stops ... (*) The keyboard-action acts upon the pal- lets closing the grooves; when a key is depressed, its rear end rises, forcingup 140 ORGANETTO— ORGANUM. an upright wooden wand called a sticker, ■which raises the front end of a horizon- tal lever called a backfall, whose rear end in turn goes down, and pulls with it a tracker, a thin, vertical strip of wood bearing on its upper end Ihe-pull- down ox pallet-wire, a wire attached to 3. pallet (valve) closing the lower side of a groove; this pull-down thus pulls down the pallet and admits the compressed 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; squares and roller-boards are also often interposed between the stickers and trackers ; more recent inventions are thepneumatic and the electric actions, in which the depression of a key simply forms a connection setting the com- pressed air or electric current at work. . .(c) Couplers are mechanical stops acting to connect 2 manuals, or pedal with manual, so that when one is played on, the other is combined with it. A 4-manual organ often has as many as 8, namely, 4 manual-couplers (Ch. to Gt., ,Sw. to Gt., Solo to Gt., Sw. to Ch.), and t^ pedal-couplers (Gt. to Ped., Ch. toPed.,Sw. toPed.,SolotoPed.) The organ-keyboards are usually called man- uals; there may be from r to 5 (see list below) with or without pedal-keyboard. Usual compass of manuals, 4 octaves and a fifth, with 56 keys (sometimes 5 full octaves), from C to ^' : -p- Compass of /^ pedal, up to , 15' T U ^ octaves i E i,/Vy :i^3 and a f ou rth , * withsokeys: "* This notation, however, expresses only a part of the full compass, S^ the lowest pedal-pipes I | ) , yielding Cj (2 octaves below ^ and the highest manual-pipes (piccolo 1- foot) producing^ (3 octaves higher than |fe the total compass of the ■p .__ organ thus being g octaves m^ # p E); and a fifth (Cs to^«).- The belonging to each separate sound- _ stops manual are set on board or set of soundboards, and con- stitute a partial organ. — The names of the manuals follow : ENGLISH. Gt. org. manual Choir manual Swell manual Solo manual Echo manual GERMAN. Haupt'werk (Man. I.) Un'terwerk (Man. II.) FRENCH. Grand-orgue (i^ clavier) Positif (2* clavier) ITALIAN. Principale. Organo di coro. Schwell'werk (Man. III.) Clav. de recit (3" clavier) Organo d'espressione. So'loklavier (Man. IV.) Clav. des bombardes ' * - - " E'choklavier (Man. V.) des (4* clav.) Organo d'assolo. Clav, d'echo (5" clavier) Organo d'eco. Organet'to (It.) A bird-organ ; a bar- 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 Vogler. Organ-point. (Ger. Or'gelpunkt ; Fr. 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. Or'ganum (Lat.) I. An instrument ; 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 be established, however, that they were 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- nia). The examples are quoted from Ambros, and are of the time of Hue- bald (A.D. 840-930): (2) 1- =S=^Sb Til pa tris sem pi - 0"'gel (Ger.) OTgan.. . .Or'gelgehiiuse, organ-case. . . Or'gelmetall, organ-metal. . . Or' gelpunkt, organ-point . . . Or' gel- register, organ-stop . . Or'gelwolf, ci- phering (also Heu'len). Orgue (Fr.) Organ ... 0. de Barbarie, or i cylindre, barrel-organ ... 0. expres- sif, (a), an harmonium ; (/<) swell-or- gan . . .0. h percussion, a form of reed- organ constructed by de Provins and Alexandre, Paris. Orguiaette. A mechanical wind-instr. having I or more sets of reeds, and an exhaust-bellows ; by turning a crank the bellows is operated , and a perforated strip of paper attached to 2 rollers is made to pass over the reeds, the perfo- rations admitting wind to the reeds and thus producing music. Ornament, (It. ornamen'to; Fr. prne- ment; Ger. Verzie'rung.) A grace, em- bellishment . . . Ornamental note, an ac- cessory note. Ornatamen'te, Orna'to (It.) Embel- lished, ornamented. Orpha'rion. See Orpheo'reon. Orph^on. i. In France, a singing-society composed of men . . . Orphioniste, a mem- ber of such a society. — 2. A piano- violin. Orpheo'reon, or -ron. A variety of cith- er, having a flat back, and ribs with more than one incurvation on either side. Or'pheusharmonika (Ger.) Same as Panharmonikon. Oscillation. (Ger. Oszillation' .) Vi- bration, or beating. Osservan'za, con (It.) With care, and attention (to the signs) . . . Osserva'to, carefully observed ; sti'le osservato, strict style. Ossi'a (It.) Or; or else; indicates an alternative or facilitated reading (or fingering) of a passage. (Also oppure, owero.) Ostina'to (It.) Obstir\a.ls...Basso o., a. ground bass ; hence the use of oslinato substantively, as a technical term for the iijcessant repetition of a theme with a varying contrapuntal accomp. Otez {Stez) (Fr.) Off (in organ-mus.) Otta'va(It.) Octave. . .All'ottnva (usu- ally abbr. to Sva or 8 or c, of the C under-phone: • ■ I in just the same sense as the same num- bers in the higher series are constituents of the J 2 its dissonances also C over- phone : have a parallel ex- planation. 148 PHONE. § 3. Phonic representation {Klang'veriretung) is the peculiar sig- 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 F over- 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 {read up). Minor chords (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 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, jSp-major, .F-minor, C-minor, ^-minor, 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 PHONIKON— PHYSHARMONICA. i-^-J knows neither diatonic nor foreign chords, but only a tonic phone and ref- erable (related) phones. In the above example, the C-major triad is through- out the tonic phone, to which the others are referable ; the A\t-Taa]OT chord is its under-tierce phone, the ZJ-minor chord is its second over-quint phone, and the G-major chord its over-quint phone. The iirst progression (C-major to ^o-major) reaches over to the under- tone side ; the second (A\)-raa]oT to (7-major) springs across to the overtone side ; the other two lead back to the tonic phone. If we term a progpression between 2 similar phones a stride {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 roots is a quint-relation. It is of wide- ly different significance for the tonality, whether a stride from the tonic goes to overtone side or to the undertone side ; starting from a major chord the latter, and from a minor chord the former, signifies a contradiction of, or opposi- tion to, the phonic principle ; strides or changes to contraphones (i.e. phones belonging to the opposite side) will be indicated by the prefix contra. Thus (l) the progression fromC-majorto (7-major, or /i-minor to Z>-minor (= E under- phone to A under-phone) is a simple quint-stride ; (2) C-major to F-major, or .^ -minor to ^-minor {E under-phone to B under-phone) is a contraquint-stride ; c-°g, or °e-a (see § 6), is a simple quint-\ change ; c-'f, or "e-b, is a contraquint- change. In all species of phonic pro- gression the simple changes are, like that above, easily intelligible ; whereas the contra-changes are much more diffi- cult to understand. — The tierce-pro- gressions are, for example, the simple tierce-stride c-e, or 'e^c ; contratierce- stride, c-dj), or "■?-Ytt I simple tierce- change, c-°e, or °e-c ; contratierce- change, c-°a^. Any direct progression to a remoter phone makes the want of an (omitted) connecting link sensibly felt ; it will be easy to modulate to such an intermediate phone, i.e. to transfer to it the significance of a tonic phone. §6. Phonic figuring {Klang'- schlUssel) [according to Riemann]. (i) No scale-degrees are marked or taken note of ; small letters are used to mark the root-tones of the phones, with an ° prefixed for an under-pHone ; thus c = C-major triad, ''c = F-rcaaor triad. — (2), To these letters are affixed numerals, marking intervals added to the phones ; not, however, counting from the bass note, but from the phonic root ; Arabic numerals [read up !] for over-phones (major triads), Roman numerals [read down !j for under-phones (minor triads). Thus I (I) = phonic root ; 2 (II) = ma- jor second ; 3 (III) = major tierce ; 4 (IV) =: perfect quart ; 5 (V) = per- fect quint ; 6 (VI) = major sext ; 7 (VII) = major sept. — (3) The sign < after a numeral denotes the raising of the interval by -a. semitone ; > denotes its lowering by a semitone. Examples : fvii bb' g'* or dvi fjvii> I ^ dvK e" i< 5< 5> g' bb" Pho'nikon. A metal wind-instr. with a globe-shaped bell ; inv. by B. F. Czer- veny of Koniggratz in 1848. Phonom'eter. (Fr. phonomitre.) An instr. for recording the number of vi- brations made by a sonorous body in a given length of time. Phor'rainx (Gk.) An ancient stringed instr. resembling the cithara or the lyra. Phrase, i. See Form. — 2. Any short figure or passage complete in itself and unbroken in continuity. . . Phrase-mark, in mus. notation, a curved line con- necting the notes of a phrase 2. Phrasing. (Ger. Phrasie'rung, from /A?-a«>V?«, to phrase.) I. The bring- ing-out into proper relief of the phrases (whether motives, figures, subjects, or passages), both as regards their individ- ual melodic and rhythmic characteri- zation and their relative importance. — 2. The signs of notation devised to further the above end. Phryg^ian. See Mode. Physharmon'ica. i. A small reed- organ inv. in 1818 by Anton Hackel of Vienna, and designed for attachment beneath a piano-keyboard to sustain the tones of melodies. It was the pre- cursor of the harmonium. — 2. (Ger.) A free-reed stop on the organ. 150 PIACERE— PIANOFORTE. Piace're, a (It.) "At pleasure"; a direction equivalent to ad libitum, sig- nifying that the expression of the pas- sage so marked is left to the performer's discretion. — Also marks the introduc- tion of a cadenza. (Sometimes apiaci- men'to.) Piace'vole (It.) Pleasant, agreeable ; calls for a smooth, suave rendering, free from forcible or passionate accents. . .Piacevolmen'ie, smoothly, suavely. Piacimen'to (It.) Equiv. to Piacere. Pianette. A low form of upright piano. Piang-en'do (It., "weeping, tearful.") Wailing, plaintive. (Also piange'vole, piangevohnen'te.) Piani'no (It., dimin. oi piano.) An up- right pianoforte. Piani'sta (It.) i. A pianist.— 2. A 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), 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 mechanical practice. (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' [in Ger. Pianofor'te usually means ' ' square piano "] ; Yr. piano [more rarely piana- fortdoxfort^-piano, very seldom /or^/] ; It. pia'no, piano f or' te.) A keyboard stringed instr. of percussion, the tones being produced by hammers striking 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- tal strings and built in several sizes, as- Concert Grand, Parlor Grand, Boudoir; — Square (oblong ; Ger. Pianofo'rte, or ta'felformiges Klavier'; Fr. piano- carrd; It. pianofor'te a iavoli'no) with horizontal strings ; — and Upright (buf- fet-shaped ; Ger. and It. Piatii'no; Fr. piano droit) with vertical or slanting- strings. (i) The Frame is now generally of iron cast in one piece (Broadwood's. pftes. form the most notable exception to this rule), and braced with cross-bars 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- 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). The idea of the key-mechanism was. derived indirectly, through the mono- PIANOGRAPH— PIPE. 151 chord, spinet, harpsichord, and clavi- chord, from that of the organ ; the idea of a hammer-action (which constitutes the essential difference between the Pianoforte and its precursors) was, per- haps, derived from the dulcimer in its perfected form the Pantalon. The hammer-action was first practically de- veloped by Bartolommeo Cristofori of Padua in 17H, whose action is the same, in essentials, as that now manu- factured by Broadwood (English action). Pian'ograph. A form of music-recorder. Piano-harp. See Klaviaturharfe. Piano-organ. Same as Handle-piano. Piano-violin. (Ger. Bo'genflugel, Gei'- 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 wire strings against small rosined wheels made to revolve by a treadle ; the tone was similar to that of a bow- instr. — The Gambentverk was made by Risch of Ilmenau (about 1750), and improved by the substitution of gut strings for wires. — Hohlfeld's Bogen- Jliigel (1754) had gut strings, beneath which was a bow furnished with horse- hair ; on pressing the keys, the strings were drawn by little hooks against the bow, whose slow or rapid movement was controlled by a pedal-stop. — C. A. von Meyer, of Knownow, provided a separate horsehair bow for each string (1,794). — The clavecin harmonique of Hubner (Moscow, about 1800) accu- rately reproduced the sound of a string- quartet. — Pouleau's orcheslrine was a further improvement of the clavecin harmonique. — H. C. Baudin of Paris invented an instr. called the piano- quatuor, patented in England in 1865 under the name of piano-violin. It has for each tone one wire string, at or near a nodal point of which is attached a piece of stiff catgut projecting about an inch. Above these gut ties, a rosin- ed roller is caused to revolve rapidly by a treadle ; on touching the keys, these ties are carried up against the roller, the tones thus produced having the timbre of tones from gut strings. The instr. is capable of rapid execution and articulation. Piat'ti (It., pi.) Cymbals. Pi'broch. A set of variations for the bagpipe on a theme called the urlar, generally 3 or 4 in number, and increas- ing in difficulty and speed up to the closing quick movement (the crean- hiidh). This is the highest and most difficult form of bagpipe-music. Piccanteri'a, con (It.) With piquant, sprightly expression. Picchetta'to, Picchietta'to (It.) De- tached. See Piqu(?. Picco pipe. A small pipe with a flageo- let-mouthpiece, and 3 ventages, 2 above and I below ; named after the Italian peasant Picco, whose extraordinary 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, equiv. to (i) Flauto piccolo, and (2) Piano piccolo, a small style of upright pfte. Pick (verb). To pluck or twang (as the strings of a guitar, mandolin, etc.) ; {noun), a plectrum. Piece. I. A composition. — 2. An in- strument, taken as a member of an orchestra or band (usually in pi.) Pifece (Fr.) A piece (ordinarily of in- strumental music) . . . Suite de pihes, a set of pieces. Pie'no (It.) I. Full. — 2. :Mixture-stop. Pieto'so (It., "pitiful, moving".) Calls for a sympathetic and expressive deliv- ery ; nearly same as espressivo. Piffera'ro (It.) A player on the piffero. Pif'fero (It., dimin. pifferi'no) I. A fife ; also, the name of a primitive kind of oboe or shawm. — 2. An organ-stop (see Bifara). Pikie'ren (Ger.) Same as piquer. See PiquS. Pinc6(Fr., "pinched".) i. Plucked or twanged, as the strings of the harp, zither, etc. — 2. Pizzicato (in violin- playing). — 3 (noun). A mordent ; sign 'or ■^.. .Pinc^etoujffi, acciaccatura ; pincirenversi, inverted mordent. Pipe. I. A primitive wind-instr., a rude flageolet or oboe. — 2. An organ-pipe. (Ger. O1' gelpfeife ; Fr. tuyau d'orgue; 152 PIPE-METAL— PITCH. 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 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 either 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, forming below a channel called the throat, and above (between language and lower lip) a narrow passage called the ■windway; the wind passing out of the latter impinges on the sharp edge of the leaf (bevelled portion of the upper lip), settingthe air-column within the body in vibration and thus producing a tone. The body of an open metal pipe is pro- vided at the top with flaps called tuners, that of a wooden pipe with small mov- able wooden boards, by adjusting which the pipes can be tuned — ("voiced"). — Flue-pipes are open or covered (stop- ped, plugged) ; an open pipe produces a tone proportioned in pitch to the length of the body, hence the terms 8-foot tone, l6-foot tone, etc. (Compare Harmonic stop.) A stopped pipe yields atone an octave lower than an open pipe of like length. — {d) Reed-pipes are those in which the tone is produced by a reed ; the tone may be modified in quality, but not in pitch, by the shape and size of the body or tube. A reed-pipe has a boot (corresponding to the foot of a flue-pipe), within which is the block, a circular plate of metal with 2 apertures, one holding the tuning-wire and the other the reed. A reed consists of 2 parts, a metal tube (called the shallot) of conical form, widest below, with a 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 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 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- tion of tin increases. Pure tin, lead, or zinc, or all 3 in varying proportions, have also been used. Pipe-organ. See Organ. Pique (Fr.) Peg or standard of a 'cello. Piqu£ (Fr.) In violin-playing, the mezzo- staccato called for by a slur with stac- cato dots, notes so marked to be played in one bow (picchietta'to) . . . Piquer, to execute picchiettato. Pirolino (It.) Button (on violin, etc.) Piston. See Valve. Piston-Solo (Ger.) Solo for the cornet h pistons. Pitch. (Ger. Ton'hShe; Fr. hauteur du ton; It. diapason^ The position of a tone in the musical scale. — Pitch is rel- ative, or absolute. The relative pitch of a tone is its position (higher or lower) as compared with some other tone. (See Interval^ Its absolute pilch is its fixed position in the entire range of musical tones. § I. For ordinary purposes the mus. scale is divided, to indicate absolute pitch, into a fixed series of octaves, which are named and lettered, in Eng- lish usage, as follows : NAMES OP THE OCTAVES IN ABSOLUTE PITCH. Double contra-octave (32- foot octave, organ) Contra-octave (i6-foot Oct.) Ca D, Ej Fj Gj Aj B^ C, D, E, F, G, A, Bi C D E F G A B First octave (Great octave) (S-foot oct.) PITCH. 153 Second octave (Small octave) (4-foot Oct.) Third octave (One-lined oct.) (2-foot oct.) ai bi Fourth octave (2-lined oct.) (.i-foot oct.) d" IP ^ ^-^ ^^=\t ===r^=S=— ^^= 1 •^-^^-^ i ^-^-7—==^ — Note. — The double contra-octave is often written CCC, DDD, etc., and the contra-octave CC, DD, etc.; also, instead of small figures, accents or lines are employed to mark the letters, as C// D// or C D for Cg Dg etc.; — d d', or c d, for c^ d* etc.; — z" d", or c d, for c^ d'' etc.;— hence the terms ff«^-//«ffrf octave, two-iined octave, and once~accenied octave, iwice-accented octSiVG^ etc. § 2. For scientific purposes, and to ascertain the relative pitch of the tones of the scale, the above system is modi- fied, C being retained as the starting- point or standard tone, while the dis- tinction between lower and higher octaves is disregarded, and lines (in this case not marking different octaves) are drawn above or below the letters to distinguish between Quint-tones (i. e. tones whose relative pitch is determined by reaching them through ascending or descending, from the standard tone C, by skips of successive perfect fifths), and Tierce-tones(}. e. tones determined by reaching them through skips of major thirds). For instance, the tone e may be reached either as the fourth quint above C (C-G-D-A-E), or by ascending Table (after Riemann). one tierce to e; in the former case E, as the third of C, is a quint-lone, whereas , in the latter case it is a tierce-tone, the difference in pitch being noted by aline under the tierce-tone E, signifying that it is lower than the quint-tone E by a syntonic comma (80 : 81). This syn- tonic comma represents the ratio be- tween the Pythagorean tierce of C (=E, the fourth quint), and the major tierce of C (=E) of just intonation (E : E : : 80 : 81); for every tierce-skip taken up- ward, a line is added below the letter, and for every tierce-skip downward, a line is added above the letter ; showing by how many commas the tierce-tone obtained is lower or higher than the corresponding quint-tone. !l s > 4th tierce above gx dx ax ex bx fx# 3d tierce above. 4 =# b# fx ex g" dx ad tierce above. b f# cit g# dt( a* et b# 1st tierce above. c g d a e b ^ 4 g# a|> e!> bb f C g d a e f^ * gb db ab (9 va f ist ti :rce below dW> abb ebb hub fb c|> gb 2d tie rce below. ^kh fbb ebb gbb dbb abb 3dti( Tce below. cr^ cro. cfD- n'S %■% %t %%. II. 154 PITCH-PIPE— PLAISANTERIE, In this Table each skip horizontally is a quint-skip, and each skip vertically is a tierce-skip ; the major triads are c grouped thus, -r -r and the minor c g triads thus -r- eb In just intonation the major scale would be represented thus : CD E F G A Be and its parallel minor scale thus : CDEbFGAtjBc g 3. The absolute pitch of a tone is determined by the number of vibrations it makes per second, and is stated as a vibration-number . The standard French pitch, universally adopted in 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 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 scientists and musicians ; the German congress at Stuttgart adopted the pitch a' = 440 ; but the French pitch mentioned above is, in point of fact, the only real stand- ard, and, since its formal adoption by the Vienna Congress in Nov., 1887, is frequently termed the international j)itch. It is called lowpitch, as opposed to the high pitch {concert-pitch) in vogue till lately in concerts and operatic per- formances. The so-C3i\tdphilosophical standard of pitch is obtained by taking, for Middle- C, the nearest power of 2, giving 256 vibrations for ^', and nearly 427 for a' ; it has frequently served as a basis in theoretical calculations. Pitch-pipe. A small metal or wooden reed-pipe producing, when blown, one or more tones of fixed pitch, according to which an instr. may be tuned, or the correct pitch ascertained for the per- formance of a piece of music. Pin (It.) More. — When/'zii! stands alone as a tempo-mark, mosso is imt>lied. Pi'va (It.) I. A bagpipe. — 2. A piece imitative of bagpipe-music. Pizzjca'to (It, "pinched".) Plucked with the finger ; a direction, in music for bow-instr.s, to play the notes so marked by plucking the strings. The succeeding direction coll 'area (with the bow) indicates the resumption of the bow for playing. (Abbr. pizz.) Placidamen'te (It.) Tranquilly, smooth- ly ; ixorapla'cido, placid, tranquil. Pla'cito (It.) Pleasure. . .A be'ne placito, at (the performer's) pleasure ; means that the tempo may be altered, graces or cadenzas added, or that certain specified instr.s may be used or not, as fancy may dictate. Plagal cadence, mode, see Cadence, 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. Handed down at the beginning by oral tradition, it was first regulated by St. Ambrose (see Anibrosian chant), and later revised by St. Gregory (Gregorian chant). The comparatively modern name cantics planus distinguished this style from that of the strictly rhythmical cantus mensura' bilis , which originated early in the 12th century, after which period plain chant began to be sung in notes of equal length ; in its earlier form, however, the tone-values of plain chant were determined by rules very similar to those for poetical metre. Just as a poem consists of lines, the lines of feet, and the feet of 2 or more syllables, a melody was divided into so- called distinctions consisting of a more or less extended group of neumcs (notes), a distinction being in turn dividedintosingleneumes (single notes), each neume, finally, representing one or more to}ies. Thus a meftrical line corresponded to a musical distinction, a metrical foot to a musical neume, and a syllable to a lone. (Comp. Notation, §3-) Plainte (Fr.) A lament. Plaisanterie (Fr.) A divertissementioS. harpsichord or clavichord. PLANCHETTE— POLYPHONY. 155 Planchette. i. A board studded with pins or pegs, an essential part of the mechanism of t\\e piano m/canique. — 2, See Pianisia 2. Plantation, In the organ, the' dispo- sition or arrangement on the soundboard of the pipes composing a stop. Plaqu4 (Fr.) Struck at once ; as un accord plaqu^, a "solid " chord ; opp. to arp^gi, arpeggio'd, broken. Plec'trnm (Lat; GV. plectron) A small piece of ivory, tortoise-shell, or metal, held between the forefinger and thumb, or fitting to the latter by a ring, and used in playing certain instr.s to pluck or twang the strings (mandolin, zither ; the zither-plectrum is called the "ring"). Plein-jeu(Fr.) i. A stop or combination of stops bringing out the full power of the organ, harmonium, etc. — 2. Same as Fourniture, Pli'ca (Lat.) One of the neumes, Plus (Fr.) More. Pneu'ma (Gk. "breath".) The long coloratura or vocalise on the last syllable of the Alleluia (early Christian Church), so called because taxing the singers' lungs ; a jubilation. Pneumatic action. See Organ . . . Pneu- matic organ, the ordinary pipe-organ, as contradistinguished from the early hydraulic organ. Pochette (Fr.) A kit. Po'co (It.; superl. pochis'simo; dimin. pochetti'no, pochefio; abbr. po' .") A \\Vi\e.. . .Poco a poco, little by little, gradually. . ..?(7iro allegro, rather fast; poco largo, rather slow. Poggia'to (It.) Leaned or dwelt upon. Po'i (It.) Then, thereafter. Point. I. See Notation, § 3. — 2. A dot. — 3. A staccato-mark. — 4. The attack by, or entrance of, an instrumental or vocal part bringing in a prominent motive or theme. — 5. Head (of a bow). Point (Fr.) A dot (^point d' augmentation). . .Point d'arrSt, de repos, a hold (o). . . Point final, final pause . . . Point cforgue, (a) a hold ; {b) an organ-point ; (c) a solo cadenza or flourish . . . Points dHachds, staccato-dots. . .Point sur tHe, dot above (or below) the head of a note. Pointe (Fr.) I. Point or head (of a bow). — 2. Toe (in organ-playing ; abbr. p; — tp = talon pointe; Engl, h i =^ heel toe, — but compare Signs\o Vj). Points (Fr.) Dotted. Pointer (Fr.) i. To dot.— 2. To ex- ecute staccato. Poitrine (Fr.) Chest; voix de p., ch&st- voice. Polac'ca (It.) Polonaise. . .^//a /, in the style of a polonaise. Polichinelle (Fr.) A grotesque clog- dance ; also, the tune to which it is performed. Polka. (Bohemian pulka.) A lively round dance in 2-4 time, originating about 1830 as a peasant-dance in Bo- hemia. . .Polka-mazurka, a form of mazurka accommodated to the steps of the polka. Polonaise (Fr. ; Ger. Polonci'se; It. po- lac'ca.) A dance of Polish origin, in 3- 4 time and moderate tempo, formerly in animated processional form, but in the modern bail-room merely a slow open- ing promenade, supplanting the old Entr/e. The rhythm is characterized by the commencement on the strong beat with a sharp accent • £j"f T T T and by the close on the last beat lifl-r 'A- Polska. A Swedish dance in triple time, somewhat like the Scotch reel, and generally in minor. Polychord. ("Having many chords [strings]".) An instr. in the shape of a bass viol, with movable fingerboard and 10 gut strings ; played either with a bow or by plucking with the fingers. Inv. by Fr. Hillmer of Berlin, first half of 19th century. It never became pop- ular. Polymor'phous. Having, or capable of assumi|pg, many forms.../*, counter- point, a style of contrapuntal compo- sition admitting of a manifold variation of the theme (as in the fugue by inver- sion, augmentation, diminution, etc.) Polyphon'ic. i. Consisting of 2 or more independently treated parts ; — contrapuntal ; — concerted ; opp. to ho- mophonic and harmonic. — 2. Capable of producing 2 or more tones simulta- neously, as the pianoforte, harp, or or- gan ; opp. to monophonous, and equiv- alent topolyphonous. Pol'yphony. In mus. composition, the combination in harmonious progression of 2 or more independent parts (as opp. 156 POMMER— PRECENTOR. to Homophony) ; the independent treat- ment of the parts (as opp. to Harmony) ; — counterpoint in the widest sense ; — concerted music. (Also pron. polyph'- ony.) Pora'raer (Ger.) See Bombard. Pompe (Fr.) A tuning-slide (in the trom- bone, horn, and various other instr.s). Pompo'so (It.) Pompous, majestic, A\g- xad&A. . .Pomposameii'te, in a broad and dignified style. Ponctuatiofl (Fr.) Phrasing. . .Ponctuer, to phrase. Pondero'so (It.) Ponderous, heavy, very strongly marked. Ponticel'lo (It.) i. The bridge of bow- instr.s. . . Sul p., near the bridge ; a di- rection to play near the bridge, the tones resulting having a more or less strident and metallic sound ; abbr. j. pont. ; opp. to sul tasio. — 2. The break in the voice. Pont-neuf (Fr.) Generic title forpopular street-songs in Paris. Portamen'to (It.; equiv. to par tar' la voce, to carry the voice ; see Port de votjc.) A smooth gliding from one tone to another ; an effect attained in great perfection on bow-instr.s, the melody-strings of the zither, and with the human voice. It differs from the /e- gatonol only in its more deliberate execu- tion, but also in the actual (though very rapid and slurring) sounding or passing- through the intermediate tones, with- out a noticeable break, - J^ or a pause on any tone. ' ' It may be written thus : Portan'do (It., "carrying".) Usually in the phrase p. la voce, carr3ang the voice, i. c. portamento. Portata (It.) Staff. * Portatif (Fr.), Portativ' (Ger.) Porta- tive organ, i. e. a small organ conven- ient of transportation ; opp. to positif. Port de voix (Fr.) i. Portamento. — 2. See Accent, Chute. Port6e(Fr.) The staff. Porter la voix (Fr.) See Portamento. Portunal flute. An open wooden flue- stop in the organ, with pipes wider at top than at the mouth. Portu'nen (Ger.) Bourdon (org.) Posa'to (It.) Sedate, dignified. Posau'ne (Ger.) i. Trombone. — 2. A reed-stop in the organ, having metal pipes of broad scale and 8-foot pitch (manuals) or 16-foot pitch (pedal) ; the 32-foot stop is called the contra-posaune. Poschet'te. Ger. form of Pochette. Pos6ment (Fr.) Posato. Poser la voix (Fr.) To attack a vocal tone with clearness and precision. Positif (Fr.), Positiv' (Ger.) A "posi- tive " or stationary organ ; opp. to por- tatif. — Also, the French term for choir- organ ; and (in German) a small partial organ in front of the main instr. was. often called Rilckpositiv, because usual- ly behind the organist. Position. I. (Ger. La'ge; Fr. position; It. posizio'ne.) The place of the left hand on the fingerboard of the violin, etc. In the ist pos., the forefinger stops, the tone or semitone above the open string ; by shifting up (see Shift) so> that the 1st finger takes the place pre- viously occupied by the 2nd, the 2nd pos. is reached ; and so on for each succeeding position. There are II positions in all, but only 7 are commonly employed. — The half-position is the same as the ist pos., except that in it the 2nd, 3rd, and 4th fingers occupy the places taken, in the Ist pos., by the 1st, 2nd, and 3rd fingers. — 2. The arrangement of notes in a chord with reference to the lowest part ; in the ist, or fundamental, position the lowest part takes the root ; in the 2nd position it takes the third, etc. — 3. Close and, open position, see Harmony. Possiljile (It.) Possible ; pianissimo- possibile, as soft as possible ; il piu presto possibile, as rapid as possible. Post-horn. The straight horn used by postmen. See Appendix. Post'lude. (Lat. postlu'dium; Ger.. Nachspiel; Fr. cldture.) A concluding- voluntary on the organ, closing a. church-service. Pot-pourri (Fr.) A musical medley, alf kinds of tunes or parts of tunes being, juxtaposed in an arbitrary manner, often, with very flimsy connecting-links. Poule (Fr.) The 3rd movement or fig- ure in the quadrille. Pouss£ (Fr., " pushed ".) Up-bow. Prach'tig (Ger., "splendid".) Grand, majestic, dignified. (Also adverb.) Prsecen'tor (Lat.) Precentor. PRALLTRILLER— PRIMZITHER. 157 Prall'triller (Ger.) An inverted mor- dent. (Also Pral'ler,) Praludie'ren (Ger.) To prelude. Prazis' (Ger.) Precise, exact. Pream'bulum (Lat.) A prelude, intro- duction. Precen'tor. In the Anglican Church, a director and manager of the choir and of the musical services in general, rank- ing after the Dean, and sitting on the side of the choir opposite to the latter, whence the terms cantoris (i. e. the pre- centor's) and decani (the Dean's) side. Precipitan'do, Precipitatamen'te (It.) Precipitately ; calls for a rapid and bold execution of the figure or passage so marked ; precipita' to (also prccipito'so), (^T. pr^cipiU), precipitate. Precisio'ne, con (It.) With precision. . .Preci'so, precise, exact. Preghie'ra (It.) A prayer ; a modern title for certain melodious salon-pieces of a more or less devotional character. Prel'ude. (Lat. prcBlu'dium; It. prelu'- dio; Fr. prelude; Ger. Vor'spiel.) A piece of music introductory or prepara- tory to another and more extended movement or composition, or to a dra- matic performance, church-service, etc. The prelude has no distinctive form or independent character, being adapted to what is to follow it. (Comp. Over- ture.) — The short piano-pieces by Cho- pin, entitled "Preludes", are anoma- lous, not having been intended for in- troductory pieces. — An organ-prelude to the church-service is commonly called a voluntary. Premier (Fr., fem. premiere.') First. . . Premier dessus, first soprano . . . Pre- mihre fois, first time. . .A premiere vue, at first s\%ht ... Premier e (noun), the first production of a dramatic work. Preparation. (Ger. Vor'bereitung; Fr. priparation; It. preparazio' ne .) The /. of a dissonance consists in the pres- ence, in the preceding chord and same part, of the tone forming the dissonance. (Comp. Percussion, Counterpoint, and Substitution.) Prepare, i. See Preparation. — 2. To introduce by a grace-note or figure ; e. g. a prepared trill is one prefaced by a turn or other grace. Pre'sa (It.) A sign marking the succes- sive entrance of the parts of a canon, having various forms ('S' iS= -)- sjj etc.) Pressan'te (It.) Accelerando, strin- gendo. Pressez (Fr.) Accelerando, stringendo ; pressez un peu, poco stringendo. Pressure-note. A note marked thus P, indicating a sudden pressure or cre- scendo following the attack. Prestant (Fr.) An open flue-stop in Fr. and Ger. organs, generally of 4-foot pitch ; equiv. to Engl. Principal. Prestez'za, con (It.) With rapidity (of movement or execution). Prestissimamen'te, Prestis'simo (It.) Very rapidly, as fast as possible. Pres'to (It.) I. Fast, rapid; indicates a degree of speed above allegro and \>e~ \ovi prestissimo . . .P. assa'i, very rapid. — 2. A rapid movement, most frequently concluding a composition. Prick. In earlier terminology, the dot or mark forming the head of a note ;, to prick meaning, to write music. Hence, prick-song, (a) written music,, opp. to extemporized ; (b) the counter- point to a cantus Jiriiius, the point against points Primary accent. The down-beat or thesis ; the accent beginning the mea- sure, directly following the bar. . .Pri- mary triad, one of the 3 fundamental triads of a key (those on the 1st, 5th, and 4th degrees). Prime, i. The first note of a scale. — 2. See Interval ... Prime tone, same as generator. — 3. The 2nd of the canon- ical hours. Prim'geiger (Ger.) Leader (ist violin). Pri'mo,-a (It.) First.. .Prima buff a, the leading female singer in comic opera ..Prima don'na (" first lady "), the leafling soprano singer in the opera. . . Prima vi'sta, at first sight . . . Prima vol'la, the first time vabbr. Ima volta, or simply I, or i.); indicates that the measure or measures under its bracket are to be played the first time, before the repeat ; whereas, on repeating, those marked secun'da volta (abbr. I Ida volta. or simply II, or 2.) are to be performed instead. — Tempo prima, at the first or former rate of speed . . . Primo uo'mo, the first male soprano (castra'to), or first tenor. (Obsolete in both senses.) Pri'mo (It., noun.) A first or leading part, as in a duet. Prira'zither (Ger.) Treble zither. 158 PRINCIPAL— PSAUME. Principal, i. In the organ, a flue-stop of open metal pipes, of 4-foot pitch on the manual, and 8-foot pitch on the pedal. (In Ger., Frinzipal' is the open dia- pason.) — 2. Theme of a fugue (obso- lete). Principal chords. The basic chords of a key, i. e. the triads on the tonic, dominant, and subdominant, with the dom. chord of the 7th. (Also called fundamental^ primary^ etc.) Principa'le (It.) i. Diapason (organ- stop). — 2. Principal, chief ; also, prin- cipal or leading part. — 3. Sometimes found, in old scores, for trovtba (trum- pet). Princ"pal-work. See Stop (nouii) 2. Princi'pio (It.) Beginning, first time. [In Beethoven, Op. 27, No. 2, ist movem.: "piu marcato del principio," ■more marked than the first time.] Prise du sujet (Fr.) Entrance of the subject. Pro'be (Ger.) Rehearsal. . . General' probe , full rehearsal. Proceed. (Fr. proc^der.) To progress. Pro'gram. (Ger. Programvi' ; Yr. pro- gramme; It. program'ma.) A list of compositions to be performed at a con- cert... Program-micsic{0&:.Programm'- musik), a term of modern invention, applied to a class of instrumental com- positions intended to represent distinct phases of emotion, or actual scenes or events ; sometimes made synonymous with " descriptive music ". The "pro- gram " of such a composition may be merely its title ; or occasional interpo- lated remarks ; or a concise summary of its poetic subject-matter, appended as a description for the better compre- hension of the music. Progress'. (Ger. forfschreiten; t"r. procMer^ marcher.') To advance or move on ; in melody, from one tone to another; in harmony, from one chord to a.'oa'Aie.x. . .Progression (Ger. Fort'- schreitung ; Fr. progres^ marche; It. progressio'ne), the advance from one tone to another, or from one chord to another ; the former is melodic, the latter harmonic, progression. Progressive stop. A compound organ- stop in which the number of ranks in- creases as the pitch rises. Prolation. {Lsit.prola'tio.) See IVota- iion, §3. Prolongement (Fr.) i. A mechanical attachment in tlie reed-organ for hold- ing down single keys after the fingers are raised. — 2. Sustaining-pedal. Promptement (Fr.), Prontamen'te (It.) Promptly, swiftly. Pron'to,-a (It.) Prompt, speedy. Pronunzia'to (It.) Pronounced, marked; benpr., well, clearly enunciated. Proportion. (Lat. propor'tio.) See Notation § 3, and Nachtanz. Propo'sta (It.) Theme of a fugue. Propri'etas (Lat.) A term applied to a ligature when the first note was a breve. It was indicated, when the 2nd note was the lower, by a descending tail on the left (seldom on the right) of the first note ; when the 2nd was the higher, by the absence of the tail. Oppo'sitii proprictas occurred when the first 2 notes of the ligature were semibreves, — indicated by an ascending tail to the left of the first note. . . Si'ne proprietas, same as Impropri'etas. Prose. (Lat. pro'sa.) See Sequence. Proslambanom'enos (Gk.) See Greek music, p. 8g. Prosody. (Lat. and It. prosodi'a; Fr. and Ger. Prosodie'.) Metrics, or the science of metre ; specifically, the science of the quantity of syllables, and of accentuation, as affecting versifica- tion. Prospekt' (Ger.) The front of an organ. . .Prospcki'pfeifen, front or display- pipes ; also Frontpfeifen. Pro'va (It.) Rehearsal. Psalm-melodicon. A wood-wind instr. with 8 finger-holes and 25 keys, having a compass of 4 octaves, and so con- structed that from 4 to 6 tones could be produced at once. Inv. by Weinrich of Heiligenstadt in 1828 ; improved by Leo Schmidt in 1832, by whom it was called the Apollo-Lyra. Psal'tery. i^At. psalte'rium; It. salte'- rio; Yx, psalt^rion; G&r. PsaTier.) An instr. of very ancient origin, and in use down to the 17th century, known to the Hebrews as the kinnor, to the Germans as the Rotta; a kind of harp- zither, with a varying number of strings plucked by the fingers or with a plec- trum. The strings were stretched over a soundboard, as in the dulcimer, Psaume (Fr.) A psalm. PSAUTIER— QUATUOR. 159 Psautier (Fr.) Psalter. Pul'satile instruments. Instr.s of per- cussion (Lat. pulsatilia). Pulse. A beat or accent. Punc'tus, or Punc'tura (Lat.) i. A dot. — 2, A note. ..Functus contra functum^ counterpoint. Punkt (Ger.) A dot. . .Punktiertf, dot- ted. Pun'ta (It.) Point (of tiie bow). Pun'to (It.) Jio\....Piinta'to, dotted; staccato'd, Pupitre (Fr.) Music-desk. Purf'ling. The ornamental border on the bellies and backs of violins, etc. Put'ti (It., pi.) Boys, choir-boys. Pyramidon. An organ-stop having short covered pyramidal pipes more than 4 times as wide at top as at mouth, and of 16' or 32' tone. Pyr'rhic, Pyrrhich'ius. A metrical foot consisting of 2 short syllables (--)• Pyth'ian metre, verse. The dactylic (or spondaic) hexameter ( 1^ — |__|__1__1 ). Quadrat' (Ger.) A natural (tl).— (Engl.) In medieval music, a breve (Lat. quadra' turn). Quadrici'nium (Lat.) A composition in 4 parts. Quadrille. (It. qttadri'glia.) A square dance consisting of 5 (or 6) figures named le Fanialon, V Etd, la Poule, la Pastourelle, {la Trenise), and la Finale. The time alternates between 3-8 (6-8) and 2-4. Quadruple counterpoint. See Counter- point. . . Q. croche (Fr.), a 64th-note. . . Q. rhythm or time, that characterized by 4 beats to the measure. Quad'ruplet. A group of 4 equal notes to be executed in the time of 3 or 6 of the same kind in the re- -— -— ™ gular rhythm; written • •4* •' Quality of tone. (Ger. Ton'farbe; Fr. timbre; It. timbro.) That characteris- tic peculiarity of any vocal or instru- mental tone which distinguishes it from the tone of any other class of voices or instr.s. Quantity. In metrics, prosodic length, i. c. the time-value of a syllable. — In English versification this is apt to be disregarded, accented and unaccented syllables taking the place of long and short ones. Quart. The interval of a fourth. Quart (Fr.) Quarter... 2. de soupir, a. l6th-rest. Quar'ta (Lat. and It.) The interval of a fourth. . . Q. modi (toni), the subdom- inant. Quar'te (Ger. and Fr.) The interval of a fourth... C. du ton (Fr.) the sub- dominant. Quar'tenfolgen (-parallelen) (Ger.) Consecutive or parallel fourths. Quarter-note. (Ger. Vier'telnote, Vier'- lel; Fr. noire; It. ne'ra.) A crotchet (^). (Sometimes abbrev. to Quarter.) — Quarter-rest, a rest equivalent in time-value to a quarter-note (J?. ^J or V). (Also called quarter-note rest, and crotchet-rest^ Quartet'. (Ger. Quartett' ; Fr. quatuor; It. quartet" to.) I. A concerted instru- mental composition for 4 performers, in symphonic form. — 2. A comp. or move- ment, either vocal or instrumental, in 4 parts. Quart'fagott (Ger.) See Bassoon... Quarfflote, see Flo te. . . Quart'geige, see Violin . . . Quartsext' akkord, chord of the fourth and sixth (| chord). Quarto d'aspetto (It.) A i6th-rest. Quarto'le (Ger.) A quadruplet. Qua'si (Lat. and It.) As if, as it were ; like ; nearly, approaching. E. g.. An- dante quasi allegretto, andante approach- ing allegretto. Qua'ter. See Bis 3. Quatorzifeme (Fr.) The interval of a fourteenth. Quatre (Fr.) Four 4 quatre mains, for 4 hands. Quat'rible. In medieval music, a coun- terpoint progressing in parallel fourths to the canius firmus; a quinible pro- gressed in parallel fifths. Quatrici'niura (Lat.) A composition in 4 parts. Quattricro'raa (It.) A 64th-note. Quat'tro (It.) Four.. .A quattro mani, for 4 hands. Quatuor (Fr.) A quartet, vocal or instru- mental. i6o QUAVER— QUODLIBET. Quaver. An eighth-note. Quer'flote (Ger.) Orchestral flute... Quer' pfeife , a. iiie. . .Quef'stand, false or inharmonic relation. .Quer'strich, the thick stroke substituted for the hooks of hooked notes when grouped. Queue (Fr., " tail ".) i. Stem of a note. — 2. Tailpiece . . . Piano a queue ^ see Piano (Fr.) Quickstep. See March. Quie'to (It.) Calm, quiet ; opp. -to agi- ta'to. Quinde'ciraa (It.) A fifteenth (either the interval or the organ-stop). . .Alia q. (abbr. 75'»"»), two octaves higher (or lower). Quinde'zime (Ger.) The interval of a fifteenth. Quin'ible. See Quairible. Quin'quegrade. Same as Pentatonic. Quint. I. The interval of a fifth.— 2. A S-j-^oot organ-stop, sounding a fifth liigher than the normal 8-foot pitch. — ;3. The ^-string of the violin. — 4. See Violin. . . Quini-stride, the (a) harmonic ■or {b) melodic progression of a fifth : {a) (i) Quin'ta (Lat. and It.) The interval of a fifth. . . Q. de'cima, the int. of a fifteenth. ..Quinta fal'sa ("false fifth"), the prohibited melodic interval between mi in the hexachordum durum and fa in the hex. naturale : the modern dimin- ished fifth. . . Q. mo'di {io'ni)., the dom- inant (comp. Quintus). . .Alia quinta, at or in the fifth. Quint'absatz (Ger.) A half-close, in the midst of a piece, on the dominant ; same as Halbkadenz. Quintaton' (Ger.) In the organ, a cov- ered flue-stop of 8, 16, or 32-foot pitch. Quinte (Fr.) See i and 2 below. . . Quintes cackles, covered fifths. Quin'te (Ger.) I. The interval of a fifth. — 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. Quinter (Fr.) To quinible. Quin'terne. See Lute. A species of lute or guitar extremely popular in Italy some 200 years ago, with a body resem- bling a violin and from 3 to 5 pairs of gut strings, to which were sometimes added 2 wire-covered single strings ; plucked with the fingers. (It. quinter'na or citer'na.) Quint'fagott (Ger.) See Bassoon... Quint' fuge, a fugue at the fifth. Quintie'ren (Ger.) To overblow by a twelfth, like the clarinet and other instr.s with single reed. Quintoier (Fr.) i. To quinible (also quintoyer). — 2. See Quintieren. Quinto'le (Ger.) Quintuplet. Quinton (Fr.) i. The 5-stringed treble viol, or (ace. to Rousseau) the tenor viol. — 2. See Saxhorn. Quint'stimme (Ger.) A quint (organ- stop) . . . Quint' tone, quint-tones (see Pitch, § 2). Quintuor (Fr.) A quintet. Quintuple rhythm, time. That char- acterized by 5 beats to the measure. 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 Quintus (Lat.) "The fifth" part, in compositions of the 1 6th century writ- ten in 5 or more parts ; it might be set for any one of the usual 4 classes of voices, and even wander from one to the other, whence the name quintus vagans, "wandering fifth "...Also Quinta (vox). Quintvio'le (Ger.) i. See Quinton i. — 2. In the organ, a mutation-stop (see Gambenstimrne). Quinzifeme (Fr.) The interval of a fifth. Quire. Obsolete for Choir. . . Quirister, ditto for Chorister. Quod'libet (Lat., "what you please"; also Quoflibet, ' ' as many as you please'*; It. messan'za, misiichan'za, 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 even now. R— RECHANGE. I5l R. Abbr. for right (Ger. rec/ite); r. k.= right hand (rechte Hand) ; for ripieno; Jk stands in Catholic church-music for Responsorium ; RG, iaxResp. Graduate; R, in Fr. organ-music, stands for clavier de rkit (swell-manual). Rab'bia, con (It.) With passion, frenzy; furiously. Rackett' (Ger.; also Ranket.) i. An obs. wood-wind instr. of the bombard class, with the tube bent many times' and, in consequence, a very weak tone; improved byChr. Denner, who reduced the number of bends and made it more like the bassoon, whence the later name Rackett {Fagoif, Stock' fagott). — 2. An organ-stop with a tone re- sembling the above. Racier (Fr.) To scrape, saw; racleur, a bungling fiddler. Raddolcen'do, Raddolcen'te (It.) Growing calmer and gentler. . .Raddol- cia'to, gentler, calmer. Raddoppiamen''to (It.) i. Doubling chord-notes. — 2. Manifolding copies of parts. — Raddoppia' to , doubled. Ra'^del (Ger.) See Rundgesang. Radiating pedals. A pedal-keyboard in which the pedals are set in fan-shaped arrangement, spreading out to the rear from in front, and concave (i. e. some- what higher at the sides). Radical bass, A fundamental bass . . . Radical cadence, see Cadence. Rad'leier (Ger.) Hurdy-gurdy. Ra''dlmaschine (Ger.) Piston-mechan- ism. Rallentamen'to (It.) A slackening in tempo . . . Rallentan'do, gradually slack- ening the tempo, growing slower and slower ; equiv. to ritardando. (Abbr. rail.) — Also rallenta' to . . .Rallenta're, to grow slower ; senza rallentare, with- out slackening the pace. Rang (Fr.) Rank. Rank. A row of organ-pipes. A mix- ture-stop is said to have 2, 3, or more ranks according to the number of pipes sounded by each digital. Rant. An old dance ; a name given to the tunes of various country-dances, and also to reels (e. g. the Cameronian Rant). Ranz des vaches (Fr.; Ger. Kuh'- reigen, ICuh'reihen.) One of the airs, or variations on an original air, sung, or played on the Alpine horn, in the Swiss Alps as a call to the cattle. It is characterized by oft-repeated figures, rising and falling broken chords, and (when sung) by the frequent employ- ment of the Jodler. Rapidamen'te (It.) Rapidly. . ..ffa/«- dita', con, with rapidity . . . Ra'pido, rapid. Rapsodie (Fr.) i. Rhapsody (see Rhapsodic). — 2. A composition of bizarre and desultory form, lacking unity and consistency. Rasch (Ger.) Fast, rapid, swift. . . Noch rascher, still faster . . .So rasch wie mo'glich, as fast as possible. Rasga'do (Span., "a rasping"). In guitar-playing, the sweeping the strings with the thumb ; hence, the arpeggio effect so obtained. Ras'tral, Ras'trum. (Ger. Rastral'.) 1. Music-pen 2. — 2. A 5-pointed claw or graver used by music-engravers for scoring the lines of the staff in the zinc plates. Rat'selkanon (Ger.) Enigmatical canon. Rattenen'do, rattenu'to (It.) See Ritenuto. Rauh (Ger.) i. Harsh(ly), rough(ly).— 2. Hoarse(ly). Rau'scher (Ger.) A rapidly repeated note, as on the pianoforte. Rausch'quinte (Ger.) In the organ, a mixture-stop of 2 ranks, combining pipes of 5j and 4-foot pitch, or of 2f and 2-foot pitch, without a break. (Also Rausch'Jldte, -pfeife, -quarte, -werk.) Rawivan'do il tempo (It.) Accelerat- ing the tempo. Ray. For Re, in the Tonic Sol-fa sys- tem. Re. Second of the Aretinian syllables, and name of the note I) in Italy, etc. — In French, Rd. Re'bec(k). The primitive violin of me- dieval Europe, known in Italy as the ribe'ba or rib/ca, and in Spain as the rabe, rabel. The body was shaped like a half-pear ; it had 3 gut strings, which yielded a powerful, strident tone. Rechange (Fr. , ' ' exchange"). The corps or tons de rechange are the crooks of the horn, etc. l62 RECHT— REED-ORGAN. Recht (Ger.) Right ; rechte Hand, right hand. R^cit (Fr.) I. A vocal or instrumental solo part. — 2. The leading part in a piece of concerted music. — Clavier de rjcit, swell-manual. Recital. In the usual acceptation of the term, a concert at which either («) all the pieces are executed by one perform- er [as a. pfle .-recital^, or (b) all pieces performed are by one composer. Recitan'do (It.) In declamatory style. R£citant,-e (Fr.) One who sings or plays a solo. Recit'ative. (It. recitati'vo ; Fr. rhi- tatif ; Ger. Recitatii/) A style of de- clamatory singing, dating from 1600 (the earliest operas), and springing from the efforts to emancipate dramatic song from the contrapuntal forms then in vogue. The first recitatives had a very simple accompaniment, a mere fig- ured bass {reciiativo sei/co) ; this broad- ened into the reciiativo acconipagna'to (or obbli^a'to, stromenta'to ; Fr. equiv. obligi, accompagni), in which the instru- mental parts were invested with more life, variety, and musical importance. — Unless marked reciiativo a tempo, the recitative may be performed ad libitum. The connecting-link between the rec. of the opera and oratorio and the A'ria is found in the Ario'so. — Wagner's rec. differs from the earlier forms in the per- fectly natural musical inflection of the vocal part (the ancient cadences, etc., being abolished), and the richly instru- mented and marvelously pregnant ac- companiment (comp. Melos). Reciter (Fr.) To sing or play a rMt. Reciting-note. That tone, in any Gre- gorian mode, on which the greater por- tion of every verse in a psalm or can- ticle is continuously recited ; i. e. the dominant of the mode. Recorder. An obsolete species of flageo- let, having 7 finger-holes on the upper side and one below, with an extra hole near the mouthpiece covered with a thin membrane (goldbeaters'-skin), and pro- bably influencing the qual- ity of the tone. Compass about 2 octaves, from /' Recte et retro (Lat, "forwards and backwards"). Direction for performing a canon cancrizans. Rectus (Lat.) See Motus. f z|=up- *=:=ward. Reddi'ta, Redi'ta (It.) A repeat. Redoubled interval. A compound in- terval. Red'owa. A dance derived from Bohemia, and, like the Mazurka, though less strongly accented, in 3-4 time and lively tempo. In Bohemia there are 2 varieties, the Rejdovak in 3-4 or 3-8- time, and the Rejdovacka in 2-4 time. R6duire (Fr.), Reduzie'ren (Ger.) To reduce the volume of a composition by rearranging it for a smaller number of instr.s, while preserving its form as far as possible. Redundant. Same as Auginented (of chords and intervals). Reed. (Ger. Roht'blatt, Zung'e ; Fr. anche ; It. an'cia, lin'gua.) A thin strip of cane, wood, or metal, so ad- justed before an aperture as nearly to close it, f.xed at one end, and set by an air-current in vibration, which it com- municates either to an enclosed column of air (organ-pipe, oboe, etc.), or direct- ly to the free atmosphere, thus produc- ing a musical tone. There are 2 classes of reeds, (l) Free Reeds, which vibrate within the aperture without striking the edges ; and (2) Beating (or striking, or percussion) Reeds, which strike on the edges ; in either class, the elasticity of the reed causes its return-stroke after it is borne down by the air-current. — • Double Reed, two beating reeds which strike against each other (oboe, bas- soon). (Also comp. Pipe 2, b. Reed- organ, Regal.) Reed-instrument. One whose tone is produced by the vibration of a reed in the mouthpiece ; the orchestral instr.s of the oboe and clarinet groups. Reed-organ. The precursor of the reed- organs now in use was the Regal, which contained beating reeds similar to those in the reed-pipes of church-organs. The present reed-organs have free reeds ; there are 2 principal classes : (l) The JIarmonium , the bellows of which forces compressed wind outwards through the reeds ; and (2) the American organ, in which an exhaust or suction-bellows draws the air in through them. Until the invention of the Vocation, a variety of reed-organ having compression-bellows like those of the harmonium, the tone of 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. There may be one or many sets of reeds or vibrators, each controlled by a stop and slider-mechanism. The timbre of the various orchestral instr.s is now very successfully imitated. — Common mechanical devices are the percussion- stop, expression-stop (harmonium), knee- swell (Amer. org.), tremulant, double- touche, and prolongement. — The first reed-organ was invented by Grenie in 1810, and named by him orgue expressif on account of the crescendo and decre- scendo obtainable on it ; other inventors constructed the ceoline, aolodikon, phys- harmonica, etc. ; the Harmonium, the first instr. of the class having several stops, was patented in Paris by A. De- bain in 1843. Reed-pipe, Reed-stop. See Pipe 2, b. Reed-Tvork. See Stop (noun) 2. Reel. A lively dance, probably of Celtic origin, still in vogue in Scotland and Ireland, and usually in 4-4 (sometimes in 6—4) 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), a 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 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- organ. — 2. (Ger.) An obsolete suffix distinguishing reed-stops; e.g. Hat'- fenregal, Gei' genregal. — 3. An old species of xylophone. Re'gel (Ger.) A rule. Re'gens cho'ri (Lat.) Choir-master. Regier'-werk (Ger.) In the organ, the mechanism of the keys and draw-stops, taken collectively. Reg'ister. i. {Ger. Regis' ter.) A set of pipes or reeds controlled by one draw- 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 i and 3. — Regis' terknopf, stop-knob . . . Regis' ter- stange, stop-lever. . . Regis' terzug, draw- stop mechanism . . . Stum' me Register (pi.), mechanical stops ; tonende Regis- ter (pi.), speaking stops. Registre (Fr.) i. A stop-knob. — 2. Register 3. Registration, i. The art of effectively employing and combining the various stops of the organ. — 2. The combina- tion or combinations of stops employed for any given composition. Registrie'ren (Ger.) To registrate or register (see Registration). — Registrie'- rung, registration. Rfegle (Fr.) Rule. Rein (Ger.) Perfect (of intervals) ; just, true, correct (of pitch or intonation). Rein'greifen (Ger.) Accurate stopping (violin) ; accurate playing (in general). Rei'tertrompete (Ger.) Clarion, clarina, 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- lationship is that promulgated by the neo-harmonists (comp. Rhone, §4). — Also Relationship, Tone-relationship (Ger. Ton' verwandsc haft). Relative key. (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 to that minor key, the tonic of which lies a minor third below its own. (N. B. Relative is sometimes used for re- lated, in qualifying keys and chords.) Religiosamen'te, Religio'so (It.) In a style expressive of religious or devo- tional feeling. Relish. One of the " shaked graces " of the old harpsichord-music ; in 2 forms, namely, the Single Relish : played ; fffi^tSlr ^ ^ 1 64 REMOTE KEY— RESPONSORY. Remote. key. An unrelated key. (See Relation.) Remo'tus (Lat.) Remote, far apart ; as harmonia remota, open harmony. Remplissage (Fr., "filling"). The parties de r. are the inner parts. — The word r. is also used as a term of re- proach for superfluous or cumbrous parts in the works of novices — "pad- ding " ; also, for non-concerted parts. Rendering. Artistic' interpretation or reproduction. (Preferable to the term " rendition ".) Rentr^e (Fr.) Reentrance of a part or theme after a rest or pause. Renverser (Fr.) To invert ; renversi; inverted ; renversemeni, inversion. Renvoi (Fr.) The sign (e. g. -J^.) direct- ing the performer to return to and re- peat from a similar sign. Repeat. (Ger. Wiederho' lungszeichen; Fr. b&ton de reprise; It. re'plica.) The sign the first signifying that the division be- tween the dotted double-bars is to be repeated ; the second and third, that the preceding and also the following division is to be repeated ; the dots always being on the same side of the bar as the division to be repeated. — Comp. Da Capo, and Dal Segno. Repeating action. See Repetition 2. Repercussion. (Lat. repercus'sio.) i. The repetition of a tone or chord. — 2. The regular reentrance, in a fugue, of the subject and answer after the epi- sodes immediately following the expo- sition. — 3. In Gregorian music, the dominant of the mode, as being the tone most reiterated. Repetie'ren (Ger.) i. To break (see Break 3) . . . Rine repetie'rende Stim'me, a mixture-stop with a break. — 2. To re- peat. Repetition, i. The very rapid reiter- ation of a tone or chord, producing almost the effect of a sustained sound. — 2. Repeating action, one in which the rebound of the hammer admits of the instant restriking of the key and repetition of the tone (pfte.) Repetition (Fr.) Repetition ; rehearsal. Repetition' (Ger.) Repetition i and 2 ;. also, a Break 3 . . . Repetitions' mechanik, repeating action (pfte.) Repeti'tor (Ger.) The trainer or con- ductor of an opera-chorus. (Fr. chef du chant. ) Repetizio'ne (It.) Repetition. Re'plica (It.) A repea.t. . .Replica' to, (a) repeated ; (i) doubled. Rep'licate. A tone one or more octaves above or below a given tone. Replik' (Ger.) A complementary inter- val. R^plique (Fr.) i. A replicate (unused). — 2. Answer (usually reponse). — 3. A complementary interval . — 4. A cue. Reply. Answer. R^pons (Fr.) A response. R6ponse (Fr.) An answer. Report. Same as Ans7ver. Repos (Fr.) The end of a phrase, marked by a full cadence. Reprise (Fr.) i. A repeat. — 2. The re- vival of a work. — 3. Break 3. — 4. The repetition of the first theme, in a short movement, after an episode. — 5. Same as Rentrie. Re'quiem. The first word in the Mass for the Dead, which begins with the antiphon Requiem ^ternam dona eis, domine; hence, the title of the musical setting of that Mass. Its divisions are as follows : (i) Requiem, Kyrie ; (2) Dies ir£e, Requiem ; (3) Domine Jesu Christe ; (4) Sanctus, Benedictus ; (5) Agnus Dei, Lux seterna. Resin. See Rosin. Resolution. (Ger. Auflosung; Fr. rholution; It. risoluzio'ne.) The pro- gression of a dissonance, whether a simple interval or a chord, to a conso- nance. Resoluzio'ne, con (It.) See Risoluto. Res'onance-box. A hollow resonant body, like that of a violin or zither. Resbnanz'boden (Ger.) Soundboard or belly. ..Resonanz' hasten, resonance-box. . .Resonanz'saite, sympathetic string. Respi'ro (It.) A i6th-rest. Respond. See Responsory 3. Response. (Lat. respon'sum.) i. The musical reply, by the choir or congre- gation, to what is said or sung by the priest or officiant, either in the Anglican or R. C. Church. — 2. See Responsory. — 3. Same as Answer. Respon'sory. (Lat. responso'rium.) i. That psalm, or part of one, sung be- RESSORT— RHYTHM. 165 tween the missal lessons. — 2. The Grad- ual. — 3. A Respond ; i. c. a part of a psalm (formerly an entire psalm) sung between the lessons at the canonical hours. Ressort (Fr.) Bass-bar. Rests: Time-value: Rest. (Ger. Pau'sc; I'r. silence; It. pa'usa.') (l) A pause or interval of silence between two tones ; hence (2) a sign indicating such a pause. — The rests equivalent in time-value to the several notes are as follows : 6. -P-or-^^ or— t- ^^ ENGLISH. GERMAN. FRENCH. 1. Whole rest, Taktpause. [Pause. Pause. 2. Half-rest. Halbe {or Zweitel-) Demi-pause. 3. Quarter-rest. Viertelpause. Soupir. 4. Eighth-rest. Achtelpause. Demi-soupir. 5. i6tn-rest. Sechzehntelpause. Quart de soupir. 6. 32nd-rest. Zweiunddreissigstelp. Demi-quart de s. 7. 64th-rest. Vierundsechzigstelp. Seizieme de s. ITALIAN. Pausa della semibreve. minima. semiminima {or Quarto), croma {fir Mezzo-quarto), semicroma {or Respiro). biscroma. semibiscroma. . . . Breve- '. rest, a rest : ~ equal in time-value E to I breve ( ^ ), or 2 semibreves or whole notes (f^~^- . .Large-rest^ Long-rest ^ see Notation^ §3, p. I'ii. . .Measure-rest, a. pause throughout a measure. The whole rest is often used as a measure-rest, regard- less of the measure-value expressed in the time-signature ; the 2-measure rest is then writ- m - the 3-measure ten thus : ' rest thus: M _ : the 4-measure - etc. ' rest thus: ' ' But, for rests longer than one measure, any one of the following conventional signs is usually employed, with a numeral above to show the number of measures rested: etc. Restric'tio (Lat.) Stretto (of a fugue). Resultant tones. See Acoustics, §3. Retard. To suspend. . .Retarded pro- gression, same as Jietardation 2. Retardation. A holding-back, decreas- ing in speed. — 2. A suspension resolving upward ; opp. to Anticipation. Retraite (Fr.) The tattoo. Retrograde. (Lat. retrogra' dus ; It. retrogra' do). See Imitation, Ret'to (It.) Direct, straight. See Moto. (I) El Vito: Reveille (Engl, and Ger.; from Fr. ri- veil.) A military signal for rising. Reverie. An instrumental comp. of a dreamy cast, without characteristic form. Reversion, See Imitation, retrograde. . . Reverse motion, same as Contrary motion. Rhapsodie (Fr.) In ancient Greece, rhapsodies were fragments from the great epics, sung by the rhapsodes to the cithara. In modern music, the rhapsodie is generally an instrumental fantasia on folk-songs or motives taken from primitive national music ; an ex- ception is Brahms' Op. 53. (Also Rhap- sody^ Rhythm. (Ger. Rhyth'mus; Fr. rythme; It. rit'mo.) I. The measured move- ment of similar tone-groups ; i. c. , the effect produced by the systematic group- ing of tones with reference to regularity both in their accentuation and in their succession as equal or unequal in time- value. — A Rhythm is, therefore, a tone- group serving as a pattern for succeed- ing groups identical with it as regards the accentuation and duration of the tones. The rhythm, being thus a thing apart from tonal melody or harmony, is reducible to a formula of notes with- out pitch, merely representing an orderly series of pulsations ; take, for instance, the castanet-rhythm of 3" Spanish na- tional dances : 166 RIBS— RIPRESA. (2) Fandango; (3) Bolero:; r ~r r -Hr — r z ! r:^3j::^.jLj- > ■ L_J L-J I' \ The vertical bars divide the measures; the slurs connect notes forming one rhythmic group or rhythm . The differ- ence between a measure and a rhythm is apparent ; the former is the sum of the time-values of notes (or rests) be- tween 2 bars, whatever be their arrange- ment ; the latter may be contained (l) within a measure, but at (2) embraces 2 measures, and at (3) begins before the bar. — Time, on the other hand, is the division of each measure into equal fractional parts of a whole note, corre- sponding (at least in the simple times) to the same number of regular beats to a measure ; with which regular beats the pulsations of the rhjrthm are by no means required to coincide. — It must be added, however, that the above defi- nitions are not universally accepted, and that great confusion prevails in this department of English mus. termi- nology, as in others ; they are given simply as valid for this Dictionary. — 2. Rhythm, in a wide sense, is the accent- uation marking and defining broader ■ mus. divisions in the flow and sweep of a composition by special emphasis at the entrance or culminating points of mo- tives, them.es, phrases, passages, sections, etc. (Comp. Accent 2.) Ribs. (Ger. Zar'gen ; Fr. pelisses ; It. fa'scie.') The curved sides of the violin i and similar instr.s, connecting belly and back. Ribattu'ta (It.) A device for begin- ning a trill. (Comp. Trill.) Ribe'ba, Ribe'ca (It.) Rebec. Ricerca're, Ricerca'ta (It.) i. Original- ly vocal, and later also instrumental, compositions of the 16th and 17th cen- turies, in fugal form more or less high- ly developed, usually built up as a sort of fantasia on original motives. — 2. See I^ugue. Riddle-canon. See Canon, enigmatical. Ridot'to (It.) I. Reduced (see .ff /?). — 2. A reduction. Rigadoon'. (Fr. rigaudon.) An ani- mated, often grotesque dance of French T' > ' |_J I I k k origin, generally in 4-4 time (sometimes 2-2, rarely 6-4) with an auftakt of a quarter-note ; it consists of 3 or 4 reprises, the third falling in as if by chance at a lower pitch and frequently without a regular close, to enhance the contrast with the succeeding division. Ri'gO (It.) The staff. (Also banda, portata, sistema, tirata, or verto.) Rigo're (It.) Rigor, strictness ... Co» r., al r. di tempo, in strict time. (Also rigoro'so^ Rilascian'do, Rilascian'te (It.) Ral- lentando. Rimetten'do (It., abbr. rimelt.) Hold- ing back, retarding (the tempo). Rinforza're (It.) To reinforce (by ad- ditional stress); to emphasize Rin- forzamento, reinforcement ; rinfor- zan'do or rinforza'to, with special emphasis ; indicates a sudden increase in loudness, either for a tone or chord, or throughout a phrase or short passage (abbr. rinf., rfz., rf.)j rinfor'zo, re- inforcement ; per rinforzo, by way of reinforcement. Ripercussio'ne (It.) Repercussion. Ripetizio'ne (It.) Repetition. Ripie'nist. (It. ripieni'sta.) A musician playing a ripieno part. Ripieno (It. ; lit. " full, filling up ; sup- plementary.") I. A ripieno part in in- strumental music is one reinforcing the leading orchestral parts by doubling them or by filling in the harmony, and is thus opposed to solo, concertante, and obbligato ; such parts are termed ripie'ni (noun). — 2. In scores, ripienois a direction calling for the entrance of the full string-band (or, in military music, the clarinets, oboes, etc.), being equiva- lent to Tutti. (Also V. Appendix.) Ripien'stimraen (Ger.) Ripieni. Ripiglia're (It.) To resume; ripi- glian'do, resuming. Ripren'dere (It.) To resume ; ripren- den'do, resuming. Ripre'sa (It.) A reprise or repeat ; also, the sign .jy. RISE— ROMANCE. 167 Rise. Same as Plain-beat. Risenti'to (It.) Energetic, vigorous ; expressive. Risoluzio'ne (It.) I. Energy, decision. — 2. A resolution. . . Risolu'lo, energetic, decided, strongly maxV^A. . .Risoluta- men'te, with energy, decision. Risonan'za, Risuonan'za (It.) Reso- nance. Rispo'sta (It.) Answer (in a fugue) ; con- sequent (in a canon). Riss in der Stimme (Ger., "crack in the voice".) A break (when the pas- sage from one register to another cannot be smoothly effected). Ristret'to (It.) A stretto. Risveglia'to (It.) Lively, animated. Ritardan'do (It.) Growing slower and slower (abbr. ritard., rit.) — Also riiar- da'to, . .Ritat'do, retardation. Ritenen'do, Ritenen'te (It.) Same as Rallentando. Ritenu'to (It.) Properly, held back, in slower tempo ; but often used incor- rectly for rallentando. — Abbr. riten., rit. (See Tempo-marks.) Rit'mo (It.) Rhythm... i?. (^8 due (tre) battu'te [= 2-measure (3-measure) rhythm], a phrase indicating that not one measure, but 2 (3) measures, are to be considered as forming a great mea- sure or metrical unit. [An identifica- tion of rhythm with metre; comp. Rhythm 2.] Ritornel'lo (It.) i. In accompanied vocal works, such as songs, arias, ora- torios, or operas, an instrumental pre- lude, interlude, or postlude (refrain) ; or, a lutti in a concert-piece. — Also ritornelle (Fr. ritournelle). — 2. A re- peat. — 3. The burden of a song. River'so (It.) i. Reversed. — 2. Retro- grade. (Comp. Rovescio.) Rivolgimen'to (It.) Transposition of the parts in invertible counterpoint. RivoKtO (It.) Inversion Rivolta'to, inverted. Robu'sto (It.) Firm and bold... i?oi5«- siamen'te, firmly and boldly. Rock-harmonicon. An instr. consist- ing of a series of rock-crystals, gradu- ated to the tones of the scale, and play- ed with hammers. Roger de Coverly. See Sir Roger. Rohr, Rohr'blatt (Ger.) i. Reed ; the latter is applied specifically to the reeds of the oboe and bassoon (dop'peltes Rohrblatt), and of the clarinet {ein'- faches Rohrblatt). Zung'e is the usual term for Reed. . .Rohr'flote {Vr.Jltite A chemin/e ; Engl, reed-flute), a half- covered flue-stop in the organ, with a hole or chimney in the cover, and of 8, 16, or 4-foot pitch ; the tone is brighter than when the pipes are wholly cover- ed ; the lower half of the rank, how- ever, is wholly covered. Of 2 or i-foot pitch, it is usually called Rohr'schelle. The Dop'pelrohrflote is one with double mouth, the Rohr'quinte a reed-flute of 2%-lo6t pitch. The English clarionet- flute resembles the Rohrquinte . . . Rohr- werk, reed-work. — 2. Tube (of awind- instr.) [only Rohr]. Roll. I. (Ger. Wir'bel s¥r.roulement ; It. rollo.) A tremolo or trill on the drum, produced (a) on the kettledrum by rapid alternate single strokes ; (b) on the side-drum, by striking alternately 2 strokes with the left hand and 2 with the right. tr or -~~- at 0. or J^ The sign 5~ . .Longroll, the prolonged and reiterated drum-signal to troops, either for the attack, or the rally. — 2. In organ-play- ing, a rapid arpeggio. — 3. On the tam- bourine, the rapid and reiterated hither- and thither-stroke with the knuckles. Rol'le (Ger.) A succession of rapid un- dulatory (ascending and descending) runs or passages consisting of repeti- tions of the same figure. Rol'lo (It.) Roll I. Roller. I. The cylinder or barrel of a music-box, or of a carillon. — 2. A roller-board ; a wooden bar resting on gudgeons and provided with 2 arms, one pulled by a tracker from a key, which makes the other draw a tracker opening a valve (organ) . . . Roller-board action, the mechanism belonging to the roller-boards of an organ. Romance. (It. roman'za; Ger. Ro- man'ze.) Originally, aballad, orpopu- lar tale in verse, in the Romance dia- lect ; the name, being later transferred to stories of love and knightly adven- ture, which were often set to music, has been employed in modern times as the title of epico-lyrical songs, and, by further transference, of short instru- I68 ROMANESCA— ROUNDEL. mental pieces of a sentimental or ro- mantic cast, and without definite form (see Ballade). — The French romance is a simple love-ditty expressive of tender melancholy ; Romances sans Paroles are "Songs without Words." Romane'sca (It.) The Italian form of the Galliard, -so called because coming from Rome. Romantic. The opposite of classic (which denotes an accepted and com- prehended type, in which form and spirit blend to form an harmonious whole). Romantic was an epithet orig- inally derived from Romance poems of the early middle ages, and applied to very various products of a lively, gloomy, or heated imagination down to the German, revival of Romantic litera- ture during the i8th century. All late romantic poems having something of exalted mysticism, visionary enthusi- asm, or strong subjective and senti- mental emotion of an uncommon type, the term romantic was naturally trans- ferred to composers and their works that depart from the beaten track, and aim at expressing emotion in a style and with means differing from those employed by their predecessors. Thus, old forms are broadened, new forms and types created, and also many ec- centric and ill-conceived productions brought to light. Hence it comes, too, that the Romanticists of to-day are the Classicists of to-morrow ; that Haydn and Mozart, — Beethoven, ■ — Weber, Chopin, and Schumann, — Berlioz, Liszt, and Wagner, — are all in turn decried, listened to, tolerated, admired, worshipped, — and imitated. And the imitators of original genius are simply post-classicists, who, in full accord with the form and mode of expression em- ployed by their models, seek to elabo- rate and finish both in a manner suited to their own needs. It might be said, that any great original composer re- mains a romanticist until he is thorough- ly understood. Berlioz, Liszt, Wagner and their following are generally class- ed as the neo-romantic school. Roma'nusbuchstaben (Ger.) The lit- terce significativce. Ronde (Fr.) A whole note. Ron'do. (It. rondb' [dimin. rondinel'lo, rondinet'io^ rondi'no, rondolet'io^ ; Fr. rondeau.) A form of instrumental com- position, the characteristic feature of which, a return of the leading theme, is derivable from the construction of the old French poetical form of the ron- deau. While in the earlier rondos the digressions from the ist theme were of an irregular and desultory character, the episodes of the modern form assume the shape of well-defined contrasting themes, somewhat in the following order: I-II (dominant)-I-III-I-II (tonic)-Co- da. (See Form.) Root. The lowest note of a chord in the here g^ is the- root of the triad g'-O^-d-K fundamental position; e.g. Rosa'lia (It.) A melodic form consist- ing of the repetition of a phrase or figure several times, each time trans- posed one degree higher, or simply (as; more loosely interpreted) on various de- grees. (Ger. Rosa' He ; also Schu'ster- Jleck, and Vet'ter Mi'chel.) Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa.y The ornamental pattern bordering the sound-hole in the belly of the guitar, mandolin, etc. ; often used not merely- as an ornament, but as a trade-mark. Rosin. (Ger. Kolophon' ; Fr. colophane ; It. colofo'nia.) The residue of turpen- tine, after distillation to obtain the oil of turpentine. That used for violin- bows is the refined article. Ro'ta. I. A round, rondeau, or piece of similar construction. — 2. (Also Rote, Rotta, Rotte.) See Crowd. Roton'do (It.) Round, full (of a tone). Roulade (Fr.) A grace consisting of a; run or arpeggio from one principal tone to another ; a vocal or instrumental flourish. Roulement (Fr.) Roll. Round. I. A species of vocal rhythmical canon at the unison, differing from the. regular canon in having no coda, thus being infinite ; a favorite style of com- position in England, from early times (the celebrated round ' ' Sumer is i-cura- en in" is supposed to date from the middle of the 13th century) down to the present day. It differs from the catch, (with which it was formerly identical) in eschewing the comical effects of the. latter. — -The round proper sometimes has an harmonic support or accom- paniment called the pes. — 2. A circle- dance, or round dance. Roundel. A dance in which the partici- pants form a circle or ring. ROUNDELAY— SAITE. 169 Roundelay. A lay or song containingf some continued reiteration or refrain. — Also, a roundel. Rovesciamen'to (It.) i. Reversion, contrary motion ; retrograde motion. — 2. Inversion, Rove'scio (It., " reverse, wrong side".) A I r. sigjnifies : (o) Imitation by con- trary motion ; {b) a movement so con- structed that it may be performed back- wards (cancrizans). Ruba'to (It., "robbed".) Used in the phrase tempo rubato as a direction, in passages calling for the display of in- tense or passionate feeling, that the performer should modify the strict rhythmical flow of the movement by dwelling on, and thus (often almost in- sensibly) prolonging, prominent mel- ody-notes or chords, this in turn re- quiring an equivalent acceleration of less prominent tones, which are thus robbed of a slight portion of their time- value. Rub^be (Fr ) Rebec. Ruck'fall (Ger.) A backfall. Rijck'gang (Ger.) Return (i. e. a tran- sition from one theme to the repetition of a preceding theme). Riick^positiv (Ger.) See Positiv. Riick'ung (Ger., "a shifting".) i. Syn- copation. — 2. Enharmonic change (en- harmonische Riickung). Riick'weiser (Ger.) The sign Sy. Ruh'ezeichen (Ger.) See Pause (Ger.) Ruh'ig (Ger.) Quiet, calm, tranquil, (Also adverb.") RUh'rung (Ger.) Emotion. Rule of the octave. See Octave. Rullan'te (It,) Rolling ; tambu'ro rul- lante, a side-drum. Run. I {noun). A rapid scale-passage ; in vocal music, usually applied to such a passage sung to one syllable. — 2 {verb). The wind in the windchest (or- gan) is said to run wJien it leaks into a groove ; this running causes a more or less distinct sounding of the pipes on that groove, and is a serious defect. Rund'gesang (Ger.) A solo song, with refrain for chorus, Russ'pfeife (Ger. ; Dutch Ruispife.) See Rauschquinte, Ru'stico (It.) Rustic, pastoral. Rutsch'er (Ger.) Old Ger. name for the Galop, Ru'vido (It.) 'R.ou%h....Ruvidamen'te, roughly, coarsely, Rythme, Rythm6, etc. (Fr.) A fre- quent spelling of rhythme (rhythm), etc. — Bien rythm^ (It. ben ritmato), well- balanced, elegant, and effective inr rhythmical (metrical) construction, s. S. Abbr, of Segno, in the phrases at Segno, dal Segno ; Senza, in the phrases senza Pedale, senza Sordini j of Sini- stra; Solo; Sordini ; and of Subito, in the phrase volti subito. Sabot (Fr.) i. In the double-action harp, one of the movable disks, each provided with 2 projecting studs, which make a partial revolution on depressing a pedal, the studs engaging and thus shortening the string. — 2, An inferior fiddle, Saccade (Fr.) In violin-playing, a firm stroke of the bow by which 2 or more strings are so pressed down as to sound together. Sackbut. I. Earlier form of the trom- bone. — 2. In the Bible (author, vers.), the translation of sabbeka, which is supposed to have been a harp-like instr. (Also Sacbut.) Sack'pfeife (Ger.) Bagpipe, Sacque-boute (Fr.) See Saquebute. Sacred music. (Ger, Kir'chenmusik; Fr, musique d'/glise; It, mu'sica reli- gio'sa.) Church-music, or music for devotional purposes ; opp, to secular music. Sa'crist. A person retained in a cathe- dral, whose office it is to copy out the music for the use of the choir, and take care of the books, [Busby.] Sagbut. Same as Sackbut. Sai'te (Ger.) A string. , . Sai' tenchor , a unison of strings (group of 2 or 3 tuned in unison). . . Sai'tenfessel, usually Sai'- ienhalter, tailpiece. , , Sai' ienharmonika, a keyboard stringed instr. inv. by J. H. Stein in 1788, with diminuendo attach- ment . . . Sai'teninstrumente, stringed instr.s. . . Sai'tenorgel{'^siT'mg-orga.i\ "), a keyboard stringed instr. inv, by Carl Giimbel of Kroffdorf, near Giessen, Prussia, in i8go. The sustained tone (or^an-tone) is obtained by adding to ijo SALICET— SARRUSOPHONt. each unison a fourth string, which is set in continuous vibration by the rapid blows of an harmonium-reed furnished with a leathern head ; the action of these reeds (whose vibration-numbers coincide with those of the correspond- ing unisons struck by the ordinary ham- mers) is controlled by wind, supplied by bellows filled by a pair of treadles worked by the player. — By means of various stops and combinations, the S. can be played (i) as a pfte.; (2) as an organ ; (3) with pfte.-tone and organ- tone combined ; (4) the bass side as an organ, and the treble side as a pfte., or vice versa ; (5) with crescendo 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, and (on the pedal) 16-foot pitch, with a mellow, reedy tone like the Dulciana. (Also Salcional.) Salmi (Fr.) Quodlibet. Sal'mo (It.) Psalm. Salon'fliigel (Ger.) Parlor grand (pfte.) . . Salon' stuck^ a piece of sali>n-(-pax- lor-) music. Saltarel'la, Saltarel'lo (It.) i. A jack. — 2. In many dance-tunes of the i6th 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 step was marked in the rhythm: etc. — 3. A Roman (or Venetian [?]) dance in 3-4 or 6-8 time. — 4. In sal- tarello, a term formerly applied to a canto fermo acconipanied by a counter- point in sextuplets. Salta'^to (It.l In violin-technic, a variety of the "springing bow ". Salteret'to(It.) The rhythmical figure Salte'rio, Salte'ro (It.) i. Psaltery. — 2. Dulcimer {salterio tede'sco). ' Sal'to (It.) A skip, leap...Z'/ sallo, (progressing) by skips or leaps. Salva're (It.) To resolve {salvai-' iimi dlssonan' za). Salvation (Fr.) Resolution (of a dis- sonance). Sal've Regi'na (Lat., " Hail ! Queen [of heaven]".) One of the antiphons to the "Blessed Virgin Mary", sung, in the R.C. service, after lauds or complin from Trinity Sunday to Advent. Sambu'ca. One of the most ambiguous instrument-names of the middle ages, usually employed in the sense of the Greek aafi^vKq (Lat. sambuca) for a kind of small psaltery (^Spitz'harfe), but also occurring (as if derived from the Lat. sambu'cus, alder) for a species of pipe ; and finally, as a corruption of 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. Sampo'nia. See Sambuca, and Zam- pogna. (Also cf. Appendix.) Sampo'gna (It.) 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. Sanglot (Fr., "sob".) An obsolete agre'ment, consisting of an accent or chute sung to an interjection : # =6= [RiEMANN.] Sans (Fr.) Without. Saquebute (Fr.) Sackbut. Sar'aband. (Ger. and Fr. Saraban'de; It. saraban'da.) A stately dance of Spanish or Oriental origin, for a single dancer, though later changed (in Eng- land) to a sort of country-dance. The instrumental saraband has, as a rule, 2 8-measure reprises, in slow tempo and triple time, generally beginning on the down-beat, with a stress on or prolonga- tion of the second beat (* r 5 !r f)' and often highly embellished. Its place in the Suite, as the slowest move- ment, is before the Gigue. Sarrusophone. A brass wind-instr., inv. (1863) by and named after the band-master Sarrus of Paris, with a double 7-eed like the oboe and bassoon ; liiirein differing from the single-reed SATTEL— SBALZO. 171 Saxophone, from which its key-mechan- ism is in great part borrowed. Like the saxophone, it is made in 6 principal sizes, with the addition of a rare sopranino in ^l;? and a contrabass in £\). Its tone partakes in quality of that of the nearly-related o6oi dacaccia, double-bassoon, and bombai 1. — Little used outside of France. Sat'tel (Ger.) '^xA. . .Saitel ma'chen, in 'cello-playingf, firm pressure of the thumb on a string, in the higher posi- tions, for obtaining harmonics, the thumb acting as a temporary nut. . . Sai'tellage, half-position (in violin play- ing)- Satz (Ger.) I. A theme or subject. — 2. A phrase, i. e. half a period of 8 measures, the 1st half being the Vor'dersatz, the 2nd the Nach'satz (sometimes trans- lated "fore-phrase" and "after- phrase "). — 3. A chief division of a movement. — 4. A Movement 2. — 5. The science of harmony and counter- point ; art or style of composition ; e. g. rei'ner Satz, strict style (of writ- ing). — 6. A passage or separate portion of a composition. Saut (Fr.) Skip. . . Sauter, to overblow. . . Sautereau, a jack. Sauver (Fr.) To resolve (a dissonance). Saxhorn, A brass wind-instr. inv. in 1842 by Adolphe Sax, a Belgian. It is essentially an improved key-bugle or ophicleide, having from 3 to 5 valves instead of keys. Saxhorns are con- structed in 7 different sizes, forming a complete series alike in timbre and method of playing, and named accord- ing to their fundamental tone or their relative pitch and compass. They are not fitted for the use of crooks. Though extensively employed in military music, only two, the Euphonium and Contra- bass-tuba, have achieved a place in the orchestra. — The nomenclature of the saxhorn family being sadly confused, a list with the various appellations is an- nexed : ji. Sopranino saxh, (petit saxh., petit bugle & pistons. Piccolo in Es, ■^. Soprano saxh, (contralto saxh., bugle- t^nor, Fliigelhorn in B). 3. Alto saxh (Althorn in Es), 4. Tenor saxh. (baryton en si |>, Tenorhorn in B, Bassfliigelhorn). 5. Bass saxh. (tuba-basse en si\y, Basstiiba, Euphonium, Earyton, Tenorbass in B). 6. Low bass saxh. (bombardon en fin\y), 7. Contrabass saxh. (bombardon en j/5> grave, Kontrabasstuba). Saxhorns I to 4 are classed as bugles a pistons; while 5 to 7 are classed as tubas or boiiiiardons. — Their extreme compass is : . in.£l>. i^B-y. For the orchestra there are also made a bass in C, a contrabass in Ci , and a low bass in F^ ; and all members of the family are also constructed a semitone lower in pitch than shown above. Saxophone, An instr. of a type inv. about 1840 by Adolphe Sax of Dinant- sur-Meuse, Belgium. It is a wind-in- str. of metal, having a conical tube with recurved bell, and clarinet-mouth- piece with single reed, the key-mechan- ism and fingering also being similar to those of the clarinet. It is an " omni- tonic" (chromatic) instr., with a mel- low and penetrating tone of veiled quality partaking of that of the clari- net, cor anglais, and violoncello, but very sonorous, and of remarkable homogeneity in all registers and sizes ; 6 principal sizes are made, at intervals of a fourth and fifth apart, each size in turn comprising 2 individuals a whole tone apart ; 1. Sopranino saxophone in J^ (and -£!>). 2. Soprano " *' C( " Bo), 3. Contralto " " i^( " £|>). 4. Tenor " "CI ■' B)). 5. Baryton " " j^( " Er,). 6. Bass " " C( " si). The notation for this transposing instr. is alike for a s the i z e s ; ^ le com- vP V t pass is: bands. with interme- diate chromat- ic tones. : Chiefly used in mi litary Saxotrom'ba. A valve instr. of the trumpet family, inv. by Ad. Sax, inter- mediate in quality of tone and scale of tube between the Horn and Saxhorn ; constructed, like the latter, in 7 sizes. Sbal'zo (It.) A skip or leap. . . 5/'(7/jri'. to, dashingly, impetuously. SBARRA— SCHERZO. Sbar'ra (It.) Ear ; sh. dop'pia^ double- bar. Scagnel'lo (It.) Bridge. Scale. I. (Gar. Ton'leiter ; Fr. ichelle^ gamme; It. sca'la.") For the ancient scales compare Mode, Greek music. Octave-scale. — A modern scale is sim- ply the series of tones, taken in direct succession, which form (a) any major or minor key (diatonic scale), or {i) the chromatic scale of successive semitonic steps . (Comp. Key.) . . Pentaton'ic scale, a " 5-tone" scale found in primitive melodies of certain peoples (Scotch, Chinese), in which the step of a semi- tone is avoided by omitting the 4th and 7th degrees in major and the 2nd and 6th in minor. It can be played on the piano by touching 5 successive black keys, beginning on F'j, for major, and on E<} for minor. The ancient Greek chromatic scale also had five tones. — 2. The series of tones producible on various wind-instr.s is also called a scale, whether the series is diatonic or not ; the term is also used for the com- pass or range of a voice or instr. — Har- monic scale, the series of higher partial tones (see Acoustics). — 3. (Ger. Men- sur' ; Fr. e'lalon.) In the tubes of wind-instr s, especially organ-pipes, the ratio between the width of bore and the length ; this varies in organ-pipes from about I : 10 to 1 : 24, a h-oad scale yielding a mellow, sonorous tone, and a narrow scale yielding a sharp and thrilling, or a thin, stringy tone. Scannet'to, Scannel'lo (It.) Same as Scagnello. Sceman'do (It.) See Diminuendo. Sce'na (It.) i. In the opera, a scene (Fr. scene, Ger. Auftritt), i. e. a divi- sion marked by the entrance or exit of one or more performers.- — 2. An ac- companied solo of a dramatic charac- ter, consisting of arioso and recitative passages, and frequently terminating with an aria, then being termed scena ed a'ria. — 3. A stage. Scena'rio (It.) i. The plot of a dramat- ic work. — 2. A skeleton libretto of such a work, sketching the course of the plot, and giving entrances and exits of leading personages, serving as a ' guide to stage-managers, actors, etc. — 3. A play-bill. — -4 (pi.) Scena' rii, scenes, side-scenes, decorations. Scena'riura. An opera-libretto contain- ing the full dialogue, and directions for the actors, etc. Scene. I. A division of a dramatic per- formance marked by a change of sce- nery. — 2 (the preferable usage). Same as Scena i. Schablo'ne (Ger.) A stencil, pattern ; hence, Schablo'nenmusik, schablo'nen- hafte Musik' , uninspired composition written to fit a cut-and-dried form, or in mere imitation of any style; "stereo- typed" music. Scha'ferlied (Ger.) Shepherd's song, pastoral dXXXy.. .Schdferpfeife, shep- herd's pipe, shavim. , .Schd'ferianz, shepherd's dance. Schalk'haft (Ger.) Roguish, sportive, wanton. (Also adverb^ Schall (Ger.) Sound, resonance, resound- ing, ringing. . . Schall' bechcr. Bell 2. . . Schall' becken, cymbals. . .Schall' loch, (a) y-hole; {b) sonnd-hole. . .Schall' - slab, triangle . . . Schall' stiick, -trichter. Bell 2. Schalmei', Schalmey' (Ger.) Shawm; chalumeau. Schanzu'ne (Ger.) Corruption of Chan- son. Scharf (Ger.) Sharp. See Acuta, Schau'rig (Ger.) In a style expressive of (or calculated to inspire) mortal dread ; wierdly. Schel'lenbaum (Ger.) Crescent. Scherzan'do (It.) In a playful, sport- ive, toying manner. Also scherzan'te, scherze'vole, scherzo'so. Scherz'haft (Ger.) Sportive ; jocose, burlesque. (Also adverb.) Scher'zo (It., dimin. scherzi'no^ A joke, jest. — I. An instrumental solo piece of a light, piquant, humorous character: hence applied to very various composi- tions in which an animated movement and sharp and sudden contrasts are leading features. — 2. A movement in a sonata, concerted composition , or sym- phony, usually in triple, sometimes in duple, time, introduced chiefly by way of contrast with slower movements, consequently of a bright, vivacious, often humorous character, with strong- ly marked rhythm, and sharp and un- expected contrasts in rhythm and har- mony, requiring delicate phrasing and shading. Its forerunner in the sym- phony was the Minuet of Haydn ; Beethoven named this movement, which SCHIETTO— OCHWER. 17? had entirely lost its original slow and stately character. Scherzo, nothing of the Minuet being left but the (much extended) form. The Beethoven Scher- zo is usually the 3rd movement; but under different conditions the scherzo may with equal propriety take the second place. Schiet'to, Schiettamen'te (It.) Plain, simple, unembellished (also adverb). Schis'ma (Gk.) The difference between the third tierce of the 8th quint (see Temperament) and the octave of the given tone (bi}, : c = 32805:32768); one- eleventh of a syntonic comma. Schlag (Ger.) A beat, pulse ; blow, stroke . . . Schlag' feder, a plectrum . . . Schlag instrument, instr. of percussion. . .Schlag'manieren (pi.), the various strokes in drum-playing . . . Schlag" - zither, the ordinary zither played with plectrum and fingers; opp. to Streich'- zither (bow-zither). Schla'gel (Ger.) Drumstick ; mallet, small hammer. Schlecht (Ger., "bad"). Weak; as schlech'ter Takt'ieil, weak beat. Schleif'bogen(Ger.) Slur. . . Schlei'fen, to slur. . . Schlei'fer, {a) a slide ; (i) a slow German waltz, Landler. . . Schleif- zeichen, slur. Schlep'pen (Ger.) To drag, retard . . . Schlep'pend, dragging. Schluss (Ger.) Conclusion, end; close, cadence . . . Schluss' fall, a cadence . . . Schlus/ kadenz, final or closing c&- Asxict. . .Schluss'note, final note... Schluss'satz, concluding movement. Finale . . . Schluss' striche, double-bar. . . Schlus^zeichen, (a) the double-bar ; (^) the hold ^. Schliis'se! (Ger., "key"). A clef.. SchlUs'selfiedel, nail-fiddle. . . SchlUs'sel-G, the note on the treble-clef line Schmei'chelnd (Ger.) Flattering ; in a coaxing, caressful style. Schmerz (Ger.) Pain ; grief, sorrow. . . Schmerz' haft, schmerz'lich, painful, sorrowful, plaintive. (Also adverb.) Schna'bel (Ger., "beak" ; Fr. bee). A mouthpiece like that of the clarinet or flageolet. . .Schnabeljldte, flute i bee. Schnarr'werk (Ger.) The reed-work of an organ, or a single reed-stop. — Also, a Regal. ddle. P I te ^' ^— g- hne: *j Schneck'e (Ger., "snail"). Scroll. Schnell (Ger.) Fast, quick, rapid. (Also adverb.). . . Schnel'ler, (a) faster; as nach und nach schneller, gradually faster ; — {b) an inverted mordent. Schot'tische. (Ger. Schot'tisch,"9,co\.ch, Scottish"). A round dance in 2-4 time, a variety of the Polka ; the Ecos- saise is a country-dance. Schrag (Ger.) Oblique. Schreib'art (Ge--.) Style. Schrei'end (Ger.) Strident ; screaming, screeching, squeaking. Schrei'erpfeife (Ger.) See Schryari 2. Schryari. i. An obs. wind-instr. de- scribed by PrEetorius in the " Syntag- ma". — 2. The sharpest mixture-stop, usually in 3 ranks and tuned in octaves, beginning 3 octaves above the key struck. Schub (Ger.) Slide (of bow). Schuh (Ger.) Bridge (of a. tromba ma- rina). . . Schuh' platiltanz, a kind of clog- dance in the Austrian and Bavarian Alps. Schul'tergeige (Ger.) Viola da spalla; opp. to Kniegeige. Schu'sterfleck (Ger.) Rosalia. Schwach (Ger.) i. Weak, as schwach'er Taktteil, weak beat. — 2. Soft, faint, low; schwach'er, fainter, softer. Schwar'njer (Ger.) A Rauscher. Schwe'bung (Ger.) i. In mus. acous- tics, a Beat 4. — 2. Same as Tremulant. Schwe'gel (Ger.) i. Any wind-instr. — 2. A pipe, especially a flue-pipe in the organ, the Schwe'gelpfeife being an open stop of 8 or 4-foot pitch, the pipes slightly tapering at the top. Schwei'gezeichen (Ger.) A rest. Schweins'kopf (Ger., " pig's-head "). Obsolete term for FlUgel. Schwei'zerflote (Ger.) i. Fife. — 2. In the organ, an 8-foot metal flue-stop of penetrating tone ; the same of 4-foot pitch is called Schwei' zerpfeife ; of 16- foot pitch, on the pedal, Schwei'zer- Jlotenbass . . . Schwei zerpfeiff, earliest name of the German flute. Schwel'len (Ger.) See Anschwellen. Schwel'ler (Ger.) Swell (of the organ). Schwell'ton (Ger.) Messa di voce. Schwell'werk (Ger.) Swell-organ. Schwer (Ger.) I. Heavy, ponderous 174 SCHWIEGEL— SECULAR MUSIC. (see Pesante). — 2. Difficult. . . Schwer'- miitig, melancholy, sad. Schwie'gel (Ger.) See Schwegel. Schwin'dend (Ger.) Dying away, morendo. Schwing'ung (Ger.) Vibration. Schwung'voU (Ger.) With sweep and passion. Scialumo' (It.) Chalumeau. Scintillan'te (It. and Fr.) Brilliant, sparkling. Scioltamen'te (It.) Freely, fluently, rivaHoXy . ..Scioltez'za, freedom, fluency- . .Sciol'to,-a, free, fluent, agile ; /«^rt: sciolta, free fugue, opp. to fuga obbli- ga'ta. Seorda'to (It.) i. Discordant, out, of tune. — 2. Tuned in a manner deviat- ing from the ordinary one. . . Scordatu'- ra, an alteration of the ordinary accor- datura of a stringed instr. for the at- tainment of special effects ; c. g. Paga- nini's tun- j9 »j - — r^^ iu which the i n g of ^ ^j — °'^~ »l C-string was the violin: tJ -*■ 1>-S- raised a min- or and a major third respectively ; such an alteration is sometimes called solo pitch. -'Score. (Ger. Partiiur' ; "^x. partition; It. partitu'ra^ partizio'ne^ A system- atic arrangement of the vocal or instru- mental parts of a composition one above the other, tones sounded together being in the same vertical line, to facilitate reading , . . Close or compressed score ^ :see Short score. . .Full or orchestral .score., one in which each vocal and in- tstrumental part has a separate staff as- signed to it (see Orchestra) . . . Piano- forte-score, one having the vocal parts written out in full, generally on separ- ate staves, the pfte.-accomp. being ar- ranged or compressed (from the full in- strumental score) on 2 staves below the rest . . . Organ-score, arr. like pfte. -score, except that a third staff for pedal-bass is often added below the others. . . Short score, (a) any abridged arrange- ment or skeleton transcript ; {b) 4-part vocal score on 2 staves . . . Supplement- ary score, see Partitino . . . Vocal score, (a) score of an a cappella composition ; \b) same a.s pfte. -score. Scoring. Same as Instrum.entation, or Orchestration. Scorren'do (It.) Flowing, gliding. (Also scorre'vole.) Scotch snap or catch. The rhythmic mo- p- frequently recurring in many tive JTm- ' Scotch airs (the reverse of the com- Jl)- mon motive Scozze'se (It.) Scotch ; alia o., in the Scotch style. Scroll. (Ger. Schnecke; Fr. volute; It. ■valuta.) The terminal curve of the head in the violin, etc. Sde'gno (It.) Scorn, disdain ; wrath, indignation. . . Sdegnosamen' te , scorn- fully, etc. . .Sdegno'so, scornful, etc. Sdrucciolan'do (It.) Sliding. . .5rf«<(r- ciola're, to slide, by pressing down the pfte.-keys in a rapid sweep with the finger-nails. Se (It.) \i...Se biso'gna, if necessary ; se pia'ce, if you please. (Comp. Si.) Sea-trumpet. Tromba marina. Sec (Fr.), Sec'co (It.) Dry; simple, unembellished (see Recitative). Sechs (Ger.) Si.K. . .Sechsach'teltakt, 6-8 \S.ra.& . . . Sechs' er , sechs' taktiger Satz, a passage, period, or theme comprising 6 measures . . . Sechsvier' teltakt, 6-4 time. Sech'(s)zehn (Ger.) Sixteen ... i'fcA'- zehntel {note), i6th-note. . . Sech'zehn- telpause, i6th-rest. Second. 1 {noun). (Ger. Sektm'de; Fr. seconde; It. secon'da.) The inter- val between 2 conjunct degrees (see Interval). — 2. The alto part or voice. — 3. {adj.) (Ger. zweit-er,-e,-es; Fr. second,-e; It. secondo,-a.) (a) Perform- ing a part lower in pitch than first ; as second bass, second violins; {b) lower in pitch, as second string; {c) higher, as second line of staff. Secondaire (Fr.) A temps secondaire is a weak beat. Secondary chords. Subordinate chords. Seconde dessus (Fr.) Second soprano. Secon'do,-a (It.) Second {adj); as seconda don'na, the female singer tak- ing the leading parts after the prima donna; violi'ni secondi, second violins. . .{Noun^ Secondo, a second part or performer in a duet. Section. In the wider sense, a short division (l or more periods) of a com- position, having distinct rhythmic and harmonic boundaries ; specifically, half a phrase (see P'orm). Secular music. Music other than that SECUNDE— SEPTET. 175 intended for worship and devotional purposes. Secun'de (Ger.) See Sekunde. Sede'cima (Lat. and It.) l. The inter- val of a sixteenth. — 2. Obs. name of the fifteenth (organ-stop). See'le(Ger., "soul"). Soundpost. Se'gno (It.) A sign. . .Al segno, to the sign ; Dal segno, from the sign, — di- rections to the performer to turn back and repeat from the place marked by the sign (,^, :^;, .$•, g, etc.) to the word Fine, or /t» In place of the to a double- ~[j=. words, the sign bar with hold: — "^ alone is some- times set. I Se'gue (It.) Follows; as segue I' aria, the aria follows. . . Seguen'do, seguen'te, following. — Also, same as Simile. Seguen'za (It.) Sequence. Seguidil'la (.Span.) A Spanish dance in triple time, some varieties having a slow and stately movement, while others are lively ; usually in minor, accompanied by guitar and voice, iind at times by the castanets. Sehn'suchl (Ger.) Longing, yearning. . . Sehn'siichtig, in a style expressive of intense yearning. Sehr (Ger.) Very. Se'i (It.) Six. Sei'tenbewegung (Ger.) Oblique mo- tion , . . SeVtensatz, a second or second- ary theme, as in the sonata and rondo. Sekun'de (Ger.) A second. Semibiscro'ma (It.) A 32nd-note. Sem'ibreve. (Lat. semilirei/is.) A whole note. Semicro'ma (It.) A i6th-note. Sem'icrome. A semicroma ; but former- ly sometimes used for quaver. Semicrotch'et. A quaver. Sem'idemisemiqua'ver. A 64th-note. Semidiapa'son. Diminished octave . . . Semidiapen'ie, diminished fifth . . . Se- tnidiates' saron, diminished fourth. 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- pente, minor 7th. Semifu'sa (Lat.) Semiquaver. Setni-grand. A small grand piano. Semiminim. (Lat. and It. seinimi'nima) A crotchet, or quaver. Semipau'sa (Lat.) A semibreve-rest. Semiqua'ver. A i6th-note. Semisuspi''riuin (Lat.) A crotchet-rest. Semitone. (Ger. Halb'ton; Fr. demi- ton; It. semituo'no.) The narrowest interval employed in modern music. (See Interval.) Semi-tonique (Fr.) Same as chromatique. Semito'nium (Lat.) A semitone ... 5. Jictuiii, a chromatic semitone. .. 51 modi, the leading-note . . .S. natura'le, a diatonic semitone. Sera'plice (It.) Simple, plain, unaffected. . . Semplicemen' te, simply, etc . . . Sem- plicita' , con, in C (Abbreviation.) •S- :^: Presa. ••%• -g.' ^ § Segno. • • • .'. Double relish. :ii: :i # X or 5^T Double-sharp. Repeat. Ill: + c \or/ \(u) Repeats (2 and 4 times). Repetition of words. Thumb (pfte.-music). Double-sharp. Breathing-mark. Back- fall, CouU, Pincdf Tremblement. Double Backfall. Tenuto. Pesante. Mezzo legato. Bind. Slur. Tie. Accent. CouU. Port de voix. Pined. Pasto solo. Double Appoggiatura. Suspensiojt. Cadent. Plain beat. Accent. Nachschlag. Por- tamento. Schleifer. Chute. Port de voix. Backfall {Double Back- fall). Springer. Acciaccatura. Arpeggio, SIGNS. J 79 / (//) t I > >or < A V > w A A V w wv n u □ Single {Double) Relish. (Abbreviations.) Crescendo. Decrescendo. Staccatissimo. Martellato. Forte piano (fp). Rinforzando. Sforzato. Up-bow. Breathing-mark. Martellement. Port de voix. Aspiration. Down-bow (violoncello- music). Heel and toe (organ-mu- sic; better as given be- low). Martellement double and triple. Nachschlag. Down-bow. Pesante. Arpeggio. Acciaccatura, — In modern pfte.-mu- sic, signifies that 2 notes so connected are to be played (a) with the same hand, {b) with one finger. — In vocal music, signifies voci divise: /"\ Bind. Organ-music, pedal; notes so connected are to be played with alternate toe and heel of same foot. Bind. Brace. Trill. AU'ottava. (A mark of continuation.) Balancement. Tremble- ment. Tr emblement. Arpeggio. from one staff to another, shows (a) in pfte.-mu- sic that notes so con- vr, /.^ or V '^ nected are to be played with the same hand ; {b) that a part is trans- ferred from one staff to another. Direct. Inverted Mordent. Ca- dence. Mordent. aw' ,/wv etc. Trill. * # ^ + o o O O A V) Examples: O A o Turn {Back-turn). Take damper-pedal (ob- solete). Release damper-pedal. Sign of the dimin. triad (e. g. VII°). Harmonic mark. Open string. Tasto solo (Thorough-b.). Triple time (see Nota- tion, §3). Thumb-positions (violon- cello-playing). Heel and toe (organ-mu- sic). Over notes for right foot, under notes for left foot. Change toes on organ- pedal. Slide same toe to next note. A O A ^i^ E^r^^r^ r^ ^^^^ A O A-V i^^^ 1,2, 3,4, etc. (See Numerals.) 0, @, etc. (See Harmonium-music.) /, 4, ^, etc. (See Chord, Thorough- bass.) I II, III' (See Chord.) 2' 4' 8' 16' (See Foot.) a' b" c'" a' b= c' a b c A, B, C,J r Gamma. is m 'si li ji) (See Tambourine.) < ^ l ' ' M. M. J ; -etc. (See Pitch, §1.) 60 (See Metronome.) i8o SIGNALHORN— SISTRUM. Ch. In organ-music, hands on chord ". 6w. signifies " change In pfte.-music, signifies " hold chord 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 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 impli'cita, indicia'lia, intrin'seca, see Notation, §3, Modus. Siguidil'la (Span.) ' See Seguidilla. Sil'bendehnung (Ger.) Slurring a sylla- ble, i. e. singing it to more than one tone. Silence (Fr.), Silen'zio (It.) A rest. (Comp. Pause, Soupir.) Sillet (Fr.) Nut ; specifically, petit sil- let, nut at upper end of neck ; grand sillet, nut at tailpiece. Similar motion. See Motion. Si'mile (It., " similarly, in like manner.") A direction to perform the following passage or passages in the same style as a preceding similar passage ; used to save the trouble of repeating phrase-marks and other signs . . . The simile-mark is ^, {see Abbreviation). \ Simile, he- '' ing an adverb, is indeclinable. and has no plural form simili; the Lat. term is similiter,] Simple. (Of tones and intervals.) Not compound. — (Of counterpoint, imita- tion, rhythm etc.) Not compound or complex, undeveloped, not varied. Sin' (It.) Abbr. of Sino. Sinfoni'a (It.) i. A symphony. — 2. An overture (to the earlier Italian operas). Sinfonie' (Ger.) Symphony (usually 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, cantabile. Sing^'etanz (Ger.) Dance accomp. with song. Sing'fuge (Gfer.) Vocal fugue. Singhiozzan'do(It.) Sobbingly, catch, ing the breath. Sing'raanieren (Ger., pi.) Vocal graces. 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 term is also used for any light opera or operetta with spoken interludes ; like- wise, by extension, for more preten- tious operas and mus. dramas. Sing'stimme (Ger.) The singing-voice, the voice. Sini'stra (It.) Left ; mano s., left hand; colla s., with the left hand. Sink-a-pace. See Cinque-pace. Si'no (It.) To, up to, as far as, till ; sina (or sin ) al fine, to the end. Si'ren. (Ger. Sire'ne; Fr. sir^ne.) An acoustical apparatus for determining the vibration-number of a given tone. Sir Roger de Coverley. An ancient English dance-tune in 9-4 time, still in vogue as a country-dance. Siste'ma (It.) Staff. Sis'trum (Lat.) An ancient mus. instr. of Egypt and the East ; a sort of rattle. SITOLE— SNARE-DRUM. consisting of loose metal rods set in an oval frame, and shaken by a handle. Sitole. See Ciiole. Sitz (Ger.) Seat ; situation, place. Sixi^me, Sixte (Fr.) Sixth ; sixte ajout^e, added sixth. Sixteenth-note. (Ger. Sech'zehntel \_-note\; Fr. douhle-croche; \\..seniicro'- ma.) A semiquaver ( ft ). Sometimes abbr. to Sixteenth . . . i6th-rest, a semi- quaver-rest (^). Comp. Note, Rest. Sixth. (Ger. Sex'te; Fr. sixte; It. se'sta.) See Interval. . . Chord of the sixth, first inversion of a triad . . . Chord 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- treme, Sixtine (Fr.) Sextuplet. Sixty-fourth-note. (Ger. Vierund- sech'zigstel [-note]; Fr. quadruple croche; It. quattricro'ma.) A hemi- demisemiquaver (B); sometimes abbr. to Sixty-fourth . . . b^th-rest, ( 3 Y Skip. (Ger. Sprung; Fr. saut; It. sal'- written: to^ Melodic progression by an inter- val wider than a second ; disjunct (or discrete) progression. Skiz'ze (Ger.) Sketch ; a short charac- teristic piece, or bit of salon-music, without fixed form. Slan'cio, con (It.) With vehemence, impetuously. (Sometimes written islan- cio, for the sake of euphony.) Slargan'do, Slargan'dosi (It.) Grow- ing slower ; comp. Largando. Slentan'do (It.) See Slargando. Slide. I. A movable U-shaped tube in the trombone (sometimes in the trumpet and French horn), which is pushed in 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 the wind-current ; and also because per- fect purity of pitch is obtainable [comp., however, art. Trumpet, last sentence]; but it is technically more difficult of manipulation. — 2. In the organ, a slider. — 3. A grace (Ger. Schlei'fer; Fr. couU), either (a) a diatonic series of 2 or more tones rapidly ascending or descending, the notation of which varies greatly : played: or (S) a portamento. Slide-horn. See Slide-trumpet. Slider. See Organ, (i). Slide-trombone,-trumpet. One played by the use of a slide instead of keys or valves. Sliding relish. An old harpsichord- grace written : played : i^^^ ^ESrffE Slissa'to (It.) Slurred. Slur. I. (Ger. Lega'tobogen; Fr. liaison; It. legatu'ra.) A sweeping curve drawn over or under 2 or more notes, signify- ing that they are to be executed legato. — 2. In vocal music, the slur unites 2 or more notes to be sung to the same syllable and in one breath ; the notes so sung are also called a slur . . . Slurred melody, one in which 2 or more tones are sung to one syllable ; opp. to sylla- bic melody. Small octave. ?,es Pitch. . .Small or. chesira, see Orchestra. Smanian'te, Smanio'so (It.) In an impetuous, passionate style. Sminuen'do, Srainui'to (It.) Dimin- ishing and decreasing (in speed and force). Smoren'do (It.)' Dying away. Sraorfio'so (It.) With affected expression. Smorzan'do (It.) "Fading away"; equiv. to Morendo. Snap. See Scotch snap. Snare-drum. See Side-drum, under Drum. l82 SOAVE— SOLMISATION. Soa've (It.) Suave, sweet, soft. . . Soave- men'te, suavely, etc. Socket. In a clarinet, the short, rounded joint connecting the mouthpiece with the "top-joint". Sogget'to (It.) Subject, theme.— This term is properly applied to a homogene- ous theme of moderate length, a longer one being called an andamenio, and a short, motive-like theme an attacco (though this last term is practically ob- solete). Sognan'do (It.) Dreaming, in a dreamy manner. Soh. For jo/, in the Tonic Sol-fa sys- tem. Sol. 1. The fifth of the Aretinian sylla- bles. — 2. Nameof the note Gin France, Italy, etc. Solem'nis (Lat.) Solemn. Solen'ne (It.) Solemn ; splendid, pom- pous . . . Solennemen'te, solemnly, etc . . . Solennita' , solemnity, pomp. Solfa' (It.) I. Scale, gamut. — 2. Music in general ; lai'tere la solfa, to beat time. — 3. A conductor's baton. Sol-fa (Engl.) I {vert). To sing sol- feggi; specifically, to sing to the sol- misation-syllables. — 2 (noun). Solmisa- tion, and the syllables employed in it ; a solfeggio on those syllables. — Tonic Sol-fa, see Tonic. Solfeggia're (It.) To sol-fa. Solfeg^'gio (It., pi. solfeg'gi; Fr. solfige.) A vocal exercise, either on one vowel, or the syllables of solmisation, or to words. Solid chord. One the tones of which are performed simultaneously ; opp. tO' broken. ("Flat chord" is preferable.) So'lito (It.) Accustomed, habitual... Al solito, as usual, in the customary- manner. Solmisation. A method of teaching the scales and intervals by syllables, the in- vention of which is ascribed to Guido- d'Arezzo (b. ggo ?). It is based, in opposition to the Greek theory of tetra- chords, on the hexachord or 6-tone: scale : the first six tones of the natural major scale, c d e f g a, were named- ut, re, mi, fa, sol, la, (the initial syl- lables of the successive phrases of a hymn to St. John beginning Ut queanf laxis, these syllables happening to fall , on these 6 tones), forming the naturaT hexachord, (hexachor' dum natura'lc) with the semitonic step at mi-fa; the S5'llables were further applied to 2 other hexachords, the hard hexachord- {hex. du'runi) g a b c d e (so called be- cause constructed with the hard B = B'^ or B durum), and the soft hexa- chord {hex. mol'le) f g a b\) c d (with/ the soft B = 'Sq ox B molle); in each, the step mi-fa was in the same relative- position. The entire mus. scale, ex- tended beyond that of Greek theory by adding I tone below (Gamma V ■=■ G), and 4 above, embraced 7 hexachords, the higher ones being mere reduplica- tions of the original 3. In the follow- ing View, the solmisation-names of the; notes will be found by reading up from (and including) the letter-name ; thus- low G was called Gamma-ui, its octave G sol re ut, and its double-octave like- wise G sol re ut; B, however, was. called only B fa or B mi, according as- it occurred in the soft or hard hexa- 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 II. Hex. naturale ut I re I. Hex. durum _u^ Modern letter-name G Medieval fa fa When a njelody overstepped the com- pass of one hexachord, a transition, termed a mutation, was made from one set of syllables to another ; the change of syllables was preferably effected be- tween the natural and soft, or natural- SOLO— SONG. 183 and hard, hexachords (a direct transi- tion from hard to soft, or vice versa, being less smooth because of the clash- ing significance of jSjj and ■B'Q), and usually after fa (soi = re) in ascending and after mi (re ■— la) in descending. These mutations exhibit a dawning of the modern idea of modulation, the final victory of which, in establishing the major and minor modes and freely transposable scales, disposed of the system of hexachords. — During the supremacy of the medieval modes, this system sufficed for the composer's needs ; but after the recognition of the leading-note, and the general adoption of a corresponding 7th syllable si early in the 17th century, the modern 7-tone scale, or heptachord, gradually super- seded the hexachord in theory and practice. Many proposed changes in the syllable-names met with merely local and transient favor; among them, those of Waelrant of Antwerp in 1550 (bo, ce, di, ga, lo, ma, ni), called Bo- cedisation or Bobisation), Pedro d'U- renna in 1620 (ni for si), Hitzler of Stuttgart in 1628 (la, be, ce, de, me, fe, ge, called Bebisation), Graun in 1750 (da, me, ni, po, tu, la, be, called Damenisation). In Italy, and afterwards in all Europe excepting France, the syllable do (presumably first used in 1673, by Bononcini) has ousted the original ut (comp. Do). In both France and Italy the syllables have, in everyday usage, quite sup- planted the letter-names of the notes, which are employed in Germany, Hol- land, England, and the United States. So'lo (It., "alone".) Properly, a piece or passage for a single voice or instr. ; by extension, any non-concerted piece or passage in which a single voice or instr. predominates. As an orchestral direction, Solo (or simply I) marks a passage where one instr. (ist violin, 1st flute, etc.) takes a leading part. — In a 2-hand arr. of a pfte. -concerto. Solo marks the entrances of the solo pfte. — Violino solo signifies, according to circumstances, either "violin alone", or " 1st violin " (accompanied). — Solo organ, see Organ, . .Solo pitch, a scor- datura temporarily employed by a solo player for obtaining unusual effects. . . Solo quartet, (a) a quartet consisting of 4 singers (4 "solo voices"); (b) a com- position or passage in 4 parts for 4 singers ; {c) a non-concerted composi- tion for 4 instr.s, one of which has a leading part. . . Solo stop, see Stop. So'losanger (Ger.) A solo singer.. S2/«^«. ro'ne, the big drum, bass drum (also Cassa grande). Tamis (Fr.) Pipe-rack (organ). Tam-tam. i. A gon|;. — 2. A Hindu drum of elongated form. (Also Tom- torn.) Tan'delnd (Ger.) In - toying, banter, ing style. TANGENT— TEMPERAMENT. 195 Tangent. (Ger. Tangen'te.) In the clavichord, a brass wedge fixed in the jack on the rear end of a key ; on de- pressing the key, the tangent struck and rubbed across the string, and remained bearing on it until the finger was lifted, thus both producing the tone and fixing its pitch . . . Tangen' tenflugel (Ger.), a clavichord shaped like a grand piano. Tanti'no (It.) A little ; very little. Tan'to. (It.) As much, so much ; too (much) ; allegro non tanto, not too fast (here equiv. to troppo); a tanto possi'- bile, as much as possible. Tanz (Ger.) A dance . . . Tanz' lieder , dance-songs ; Tanz'stucke^ dance-tunes (instrumental); the former were the original form of dance-music {Tanz'- musik), the latter being at first mere im- itations of them. (Comp. Form II, 3.) Tarantel'la (It.), Tarentelle (Fr.) A dance of southern Italy, in 6-8 time, the rate of speed gradually increasing, and the mode alternating irregularly between major and minor. — In modem music, an instrumental piece in 3-8 or 6-8 time, very rapid tempo {presto), and bold and brilliant style. Tardamen'te (It.) Slowly, lingeringly. . . Tardan'do, Tarda' to, see Ritardan- do. .. Tar" do, slow, lingering. Tartini's tone. A differential tone (comp. Acoustics). Tasch'engeige (Ger.) A kit. Tasseau(Fr.; Ger. //erz.) The "mould" on which ribs and blocks of a violin are set up. Tastatur' (Ger.), Tastatu'ra (It.) Keyboard, fingerboard. Tas'te (Ger.) Key (digital or pedal). . . Tas'tenstabchen, fret. (The usual term. Bund, means literally the space between two frets.) Tastie'ra (It.) Keyboard; fingerboard. . . Sulla t. , near the fingerboard (di- rection in violin-playing). Ta'sto (It.) I. Key (digital).— 2. Fret. — 3. Touch.— 4. Fingerboard ; sul tasto, same as sulla tastiera... Tasto solo (abbr. t. j.), " one key alone" ; a direction in thorough-bass, signifying that the bass part is to be played, either as written or in octaves, without chords (sign 0, or ■-'). Tattoo'. Military drum-signal or bugle- call for retiring at night. Te. For si, in the Tonic Sol-fa system. T6 (Fr.) Cfl (for utdiese). Tech'nic, Technique'. (Ger. Teck'nik.) All that relates to the purely mechani- cal part of vocal or instrumental per- formance. — In some German works treating on pfte.-technique, a distinc- tion is made between Mecha'nik (the merely mechanical drill of fingers and wrist, apart from its application in play- ing), and Technik (the acquired skill and dexterity in actual performance). Tech'nicon. A finger-gymnasium, or apparatus for training and strengthen- ing the hands and fingers of players on keyboard instr.s ; inv. in 1889 by J. Brotherhood of Montreal, Canada. Techniphone. Earlier name of the (im- proved) Virgil Practice-Clavier (q. v.) Tede'sco,-a (It.) German. . .^//rt te- desca, in the German style ; ' ' the terra ' tedesca ', says Billow, has reference to waltz-rhythm, and invites changes of time ". [Quoted from Grove.] . . .Lira tedesca, hurdy-gurdy. Te deum. See Ambrosian Hymn. Teil (Ger.) A part. . . Teil'tone, partial tones. Telephone-harp. An instr. so connect- ed with a telephone as to render music performed at a distance audible to an audience. Telltale. See Appendix. Te'nia (It.) Theme. Temperament. (Ger. Temperaiur' ; Fr. temperament ; It. temperamen'lo.) A compromise between the acoustic purity of theoretically exact intervals, and the harmonic discrepancies arising from their practical employment. — E. g. , taking the tone C as a starting-point, and ascending by quint-strides through a series of 12 perfect fifths (C. ...5#), we reach a tone (.fffl) which, on instr.s of fixed intonation (like the pfte.), is identical in pitch with the sixth octave of C'( the voice full and powerful throughout, with a barytone timbre ; the range of the latter is ST;—-/ . ^1-^- \ ^ e about from ss r^g) =p ^'T' — Xo-n- d to c^ (^'fl) " ' XT e s t tones usually rather weak, the high tones brilliant , and the timbre generally bright and pleasing. The Italian terms near- ly corresponding to the above are (i) teno're robu'sto, tenore di for'za, and (2) tenore di gra'zia, t. leggie'ro; but they are very variously and arbitrarily employed. — 2. The part taken by a tenor voice ; hence, by transference, a prefix to names of instr.s taking parts of similar compass, as tenor trombone; specifically, the tenor violin (viola). — 3. Tenor (from Lat. tenere, to hold), originally "a holding, holding fast", was applied to the melody (as the un- changing part) of the Gregorian chants sung by men, and hence to the high male voice. — 4. In medieval music, tenor also signified (3) a hold ; (b) ambitus (of a mode) ; (c) the initial tone of the EVOVAE.— Tenor-C, small c. . . Tenor-clef, see Clef. . . Tenor vio- lin, the viola. Teno're (It.) Tenor \...T. buffo, a tenor who sings comic roles. . . T. con- tralti'no, a light tenor voice resembling the contralto in timbre. . . T. di for'za, di gra'zia, leggie'ro, robu'sto, see Tenor I. — T. di mezzo carat' tere, a tenor voice of barytone timbre (see ffelden- tenor, under Tenor l). Tenori'no (It.) A falsetto tenor voice or singer ; specifically, a castrato. Tenorist' (Ger.; Fr. te'noriste; It. tenori'sta.) Tenor-singer. igS TENOROON— TETRAPHONY. Tenoroon'. The oioe da caccia. Tenor'schliissel, -zeichen (Ger.) Ten- or-clef. Tenth. (Ger. De'zime; Fr. dixUme; It. de'cima.) i. An interval of an octave plus 2 degrees. — 2. Same as Decima 2. Tenu, -e (Fr.) Held, sustained. Tenue (Fr.) A sustained tone, or organ- point. Tenu'to (It, " held ".) A direction sig- nifying (a) generally, that a tone so marked is to be sustained for its full time-value ; and {]>) occasionally, legato. ..Forte tenuto (ften.), forte through- out. . . Temito-mark, a short stroke over a note, with signification as at (a). — Tenule \le note implied], [the notes] sustained or held. Tepidamen'te (It.) In an even, unim- passioned style. Teponaz'tli (Aztec.) A species of drum still used by the aborigines of Central America and Mexico. It consists of a section of a log (left round in the ruder specimens, but carefully squared in the more artistic ones) in a horizontal posi- tion, from 2 to 5 feet long, hollowed out on the under side so as to leave the ends 3 or 4 inches thick and the top part (belly) a few lines through ; in the belly 2 parallel incisions are made lengthwise, and connected by a shorter one crosswise, the 3 assuming the shape of the letter ^ . The 2 tongues left between, when struck by the sticks, yield 2 different tones, at an interval — in various instr.s — of a third, fourth, fifth, sixth, or octave apart. It serves to mark the rhythm, and as an imper- fect bass, in the aboriginal music. It is played with 2 sticks, the heads of which are covered with wool or an elastic gum. Ter (Lat.) Thrice ; indicates that a pas- sage, or (in songs) a verse or part of one, is to be repeated twice. (Also comp. , Bis.).. . Ter unca, the 3-hooked semi- fusa. Terce. i. See Tierce 4. — 2. The 3rd of the canonical hours. Tercet (Fr.) A triplet ; — in poetry, a group of 3 rhyming lines. Ter'nary. (Fr. iemaire; It. terna'rio') Composed of, or progressing by, threes. . . Ternary form. Rondo-form. . . Ter- nary measure, simple triple time. Terpo'dion. A six-octave keyboard instr., similar to Chladni's clavicylinder, with wood substituted for glass as the tone-producing medium ; inv. by J. D. Buschmann of Berlin in 1816. Ter'tia (Lat.) A third or tierce. . . Ter- tia modi, 3rd degree of a scale. Tertian'. (Ger. Tertian zwei'fach.) An organ-stop consisting of a tierce and larigot combined. Terz (Ger.), Ter'za (It.) The interval of a third.. . . Terza ma' no (It., " third hand "), an octave-coupler. . . Terzade'- cima (It.), Terzde'zime (Ger.), the in- terval of a thirteenth . . . Terzdezimo'le (Ger.), a tredecuplet. . . Terzett' (Ger.), Terzel'to (It.), properly, a vocal (sel- dom an instrumental) trio ; now gener- ally called Trio. . . Terz'flote (Ger.), a small transverse flute pitched a third above the ordinary ?i\A& . . . Terzi' na (It.), a \x'vp\&1 . . . Terzo suo'no (It.), a differential tone . . . Terzquartsext'ak- kord (Ger.), chord of the third, fourth, and sixth 4 . . . Terzquintsext' akkord (Ger.), chord of the (third), fifth and sixth ,5^. . . Terz' tone {Ga., pi.), tierce- tones. Tessitu'ra (It., "web, framework"). The region covered by the main body of the tones of a given part, infrequent high or low tones not included. The nearest English equivalent is to say that the part " lies " high or low. Te'sto (It.) I. See Soggetto. — 2. Same as Libretto. Tete (Fr.) Head (of a note); scroll. Tet'rachord. i. A 4-stringed instr. — 2. The interval of a perfect fourth. — 3. The scale-series of 4 tones contained in a perfect fourth (comp. Greek music"). . . Tetrachor'dal, relating to or consist- ing of tetrachords . . . Tetrachordal sys- tem, the original form of the Tonic Sol- fa system. Tetrachor'don (Gk.) 1. A tetrachord. — 2. A variety of the piano-violin. Tet'rad. A name suggested, but not to any extent adopted, for chord of the seventh; — analogous to Triad. Tetradiapa'son. The interval of 4 octaves. (Also quadruple diapason, octave, or eighth^ Tet'raphone. See Tetratone. Tetrapho'nia. See Organum. Tet'raphony. (Medieval.) Diaphony for 4 parts. TETRATONE— TIME. 199 Tet'ratone. An interval embracing 3 whole tones ; an augm. fourth. Text. The words of vocal music. Theil (Cler.) See Teil. Thematic composition. A style based on the contrapuntal treatment or de- velopment of one or more themes. Theme. (Ger. 'The'tna, Fr. Mme; It. te'ma.) Same as Subject. — Specifically, a theme is an extended and rounded-off subject with accompaniment, in period- form, proposed as a groundwork for elaborate variations (tenia con varia- zio*ni). Theor'bo. (Ger. Theor'be; Fr. theorbe, It. tior'ia. tuor'ba.) One of the various double-necked bass lutes so popular in the 17th century, the bass strings (ac- companiment-strings, diapasons) of which were not stopped on the finger- board, but were stretched beside it to a separate peg-box, which latter, in the theorbo, lay next to the other, though somewhat higher up in the head. In its day it was an important member of the orchestra. (Comp. Lute.) The'sis (Gk.) The down-beat, strong beat. Third. (Ger. Terz; Fr. tierce; It. ter'za.) See Interval. — The third in a diatonic scale is also called the mediant. Thirteenth. An interval embracing an octave and a sixth ; a compound sixth. Thirty-second-note. (Comp. Note^ A note having half the time-value of a i6th-note; a demisemiquaver . . . j^w^f- rest, a rest (5) corresponding in value to the above. Thorough-bass. (Ger. General' ba^s; Fr. basse chiffrde; It. basso conti'nuo.) A species of mus. shorthand in which chords are indicated by figures written over a running bass (briefly explained under Chord). It originated in Italy (basso continuo, or, for short, coniinuo) toward the close of the 1 6th century, and for 200 years was the common method of notation for accompaniments by the organ or cembalo. It is now principally employed in mus. theory, in teaching the science of chords. Three-lined octave. See Pitch, abso- lute. Three-quarter fiddle. See Violino piccolo, under Violino. Three-time, 3-time. Triple time. Thren'ody. A song of lamentation ; a dirge. Thrice-accented octave. See Pitch, absolute. Thumb-position. One of the high po- sitions in 'cello playing, in which the thumb quits the neck of the instr. Thumb-string. Melody-string of the banjo. Tib'ia (Lat.) The direct flute ; >also, the name of various organ-stops . . .T. titri- cula'ris, the bagpipe . . . Tibi'cen (pi. iibi'cines), a flute-player. Tie. (Ger. Bin'debogen; Fr. liaison; It. fa'scia.) A curved line joining 2 notes of like pitch which are to be sounded as one note equal to their united time-value . . . Tied notes, (a) notes joined by a tie ; (b) notes (like eighth - notes, i6th- notes, etc.) the hooks of which are run togeth er in on e or more thick strokes, e. g. J J J ^. Tief(Ger.) Deep, low, grave. Tier. Same as Panh (organ). Tierce, i. Same as Third. — 2. The fourth harmonic of a given tone. — 3. In the organ, a mutation-stop pitched a.\ octaves above the diapason ; now used, if at all, as a component of a mixture- stop. — 4. One of the canonical hours . . . Tierce-tones, see Pitch, §2. Tierce (Fr.) Tierce i and \. ..T. de Picardie, a major third in the closing chord of a minor movement .. .T. cou- lee (slurred third), a grace written^ (^« montant),. or~^(e» descendant); see Slide. Tige (Fr.) Stick (of bow) ; also baguette. Timbalarion (Fr ) A set of 8 drums of different sizes, each furnished with a. pedal, on which diatonic and chromatic scales, and some chords, can be played. Also Tambour chromatique. Timbale (Fr.), Timbal'lo (It.) Kettle- drum. Timbre (Fr.; It. tim'bro.) 1. Quality of tone. — 2. A fixed bell without a clap- per, struck from outside by a hammer. . .Jeux de timbres. Glockenspiel (b). — 3. Snare (of a drum). Timbrel. A tambourine. Time. i. Same as Tempo. — 2. (Ger. Takt, Takt'art: Fr. mesure; It. 200 TIME. 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 are appended for the purpose of comparison. — There are 2 classes of time, Duple and Triple. In Duple time the number of beats to the measure is divisible by 2 ; in Triple 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 ; it contains the times ordi- narily employed, to which should be added simple octuple time |, and com- pound octuple time (le). both with eight beats to the measure : (From Troutbeck & Dale's Music Primer.) t- § a- s 6 _ Duple. Triple. Qiiadruple. - U J : J J 1 J J J U J J i .^ .^ ;* e-u J J J c°^:J J J J t^ ;^ j^ ^ * J 1 4 iff . a . ^ J. J. \ J.J.J. I J. J. J. .^a .^. .f^. J^. 4 J . J . J . J . a J. J. J. J. la J^. .^ .^ J^. A proposition made in the above work, to indicate the compound times by the same signatures as those of the simple times, merely adding a dot to the denominator to show the tripartite division : ■0 1. J. J. J. i. j^. ;*. j^. ^ 1 J J J :. J. J. J. J. t- .^ ;•. J. ;i Triple Time. TIME. Duple (or Common) I'ime. Compound. Simple. Ccimpound. Simple. •[^o< > 30 cc ,p.w 1 raw -w o ■-I o 2 B 9 !" ¥ S lyi Ln Ul OJ u OJ LO U) LO 0O4^-O-.f.|0KII0l0 0OW».-t>.+.^KlKl » 1 » P ? ? Nine-four Nine-eight Nine-sixteen Three-one Three- two Three-four Three-eighf Six-two Six-four Six- eight Six-sixteen Twelve-four Twelve-eight Twelve-sixteen Twenty-four-sixteen '1 wu-tuo (alia breve) Two-four Two-eight Four-two Four-four (common) Four-eight Four-si xteen Eight-eight i p: C: B B 1 ^ Neunvierteltakt Neunachteltakt Neunsechzehnteltakt E. 2. 1 1 II III III N f 1 E. 1 1 S 2. > a' 1 5. < 3 i 1 5 •jjsoduioQ O lO o s i. oo W i £"■" '^^ g 5"^ K "^ o'-? ■§" S « S-.5 -g 3 O pi •ioi|dmsc; •UBd iduiax 202 TIMIDAMENTE— TON. is deserving of notice as an ingenious way of marking the number and posi- tion of the beats ; the measure-note being found in each case by multiplying the denominator by 2. Still another, and highly ingenious, system, by Mr. Frederick Niecks, is given below ; for the terms duple and triple he substitutes binary and ternary, referring, not to the number of beats, but to the grouping of the measure- notes in twos and threes. Simple Times. Simple Binary Time fill " Ternary " | | | A Compound Times. Duple Binary Time \ % % " Ternary " % \ % A Triple " '■ J i A Quadruple " " Y V IS Finally, a system has been suggested in which the word rhythm is substi- tuted for time; duple and triple retained for the simple forms of the measure ; while the complex forms are called quadruple rhythm, sextuple rhythm, octuple rhythm, etc. — However, the de- sideratum of any new system, i. e. the plain expression of the number of beats to the measure as well as of the number of notes of a given kind, is not yet attained ; and well-meant half-re- forms serve only to make confusion worse confounded . . . 3-time, j-time, ab- breviations of duple and triple time respectively. Timidamen'te (It.) See Angstlich. Timidez'za, con (It.) In a style ex- pressive of timidity or hesitation. Timoro'so (It.) Timorous, fearful... Timor osamen' te , timorously, etc. Tim'pano (It., pi. tim'pani.) Kettle- drum . . . Timpani coper' ti, muffled drums. Tintinna'bulum (Lat.), TintinnaTjolo (It.) A small bell. — Also, an ancient rattle, formed of little bells or small disks of metal. Tintinnamen'to, Tintinni'o (It.) A tinkling or jingling. Tin'to, con (It.) With shading ; espres- sivo. Tior'ba (It.) Theorbo. Tirade (Fr.) An extended slide ; a rapid run connecting two melody-notes. Tirant (Fr.) i. Stop-knob. .. r. d ar- coupler, coupler. — 2. Button. — 3. Cord of a drum. Tirar'si, da (It., "to be drawn out".) Equiv. to the prefix "slide-" in the phrase tromba da tirarsi (slide-trumpet) and the like. Tirasse (Fr.) In small organs, a pedal- keyboard having no pipes of its own, acting only on the lower keys of the manual ; also, a pedal-coupler. Tira'ta (It.) See Tirade. Tira'to (It.) Down-bow (arco in giic), Ti'ra tut'to (It.) A combination-pedal or draw-stop bringing on the full power of an organ. (Fr. grand jeu.) Tir6 (Fr., " drawn.") Down-bow. Also tirez, ' ' draw. " Tisch'harfe (Ger., "table-harp".) A variety of autoharp. Tocca'ta (It., from tocca're, to touch.) An early species of composition for keyboard instr.s, originating in Italy toward the close of the l6th century. In style it is free and bold, approach- ing the (old) fantasia ; it has no dis- tinctive form, but consists of runs and passages alternating with fugued or contrapuntal work, built up in the more elaborate specimens on a figure or theme, generally in equal notes, with a flowing style and lively, rapid move- ment. — Toccati'na, Toccatel la, diminu- tives of Toccata. Tocca'to (It.) In trumpet-music, a fourth (bass) trumpet-part added as a substitute for the kettledrums. To'(d)tenmarsch (Ger.) Dead-march, Ton (Ger.) A tone ; pitch ; key, mode, octave-scale. . .i?i?M Ton angeben, to give the pitch ; den Ton halten, to keep the pitch . . . Ton'abstand, interval . . . Ton' art. Key i ; l^on' artenverwand- schaft, key-relationship . . . Ton'bestim- mung, the (mathematical) determination of tones . . . Ton'bildung, {a) production of tone ; {b) vocal culture. . . Ton'dichter, composer ; Ton'dichtung, composition. ..Ton' fall, see Ton'schluss. . .Ton'- farbe, "tone-color", timbre, quality. . . Ton'folge, series or succession of of tones. . . Ton'fuhrung, melodic lead- TON— TONIC. 203 ing or progression . . . Ton' fuss, (a) a rhythm ; {b) a measure . . . Ton'gebung, production of tone ; intonation . . . Ton'- geschlecht, mode; " the distinguishing of a chord or key (tonality) as major or minor' ' [Riemann] . . . Ton'hohe, pitch. . . Ton'kunde, science of music. . . Ton'- kunst, art of music, musical art ; music. . . Ton' kUnstler , musician . . . Ton'lage, pitch ; register. . . Ton'leiier, a scale ; fiinfstufige Tonleiter, pentatonic scale. . . Ton' loch, a ventage . . . Ton'malerei, " tone-painting ", imitative music, pro- gram-music . . . Ton'messer, monochord ; sonometer ; siren . . . Ton'messung, see Ton' bestimmung . . . Ton' rein (of violin- strings), true to pitch, true fifths... Ton'satz, composing ; composition . . . Ton'sckluss, cadence. . . Ton'setzer, com- poser . . . Ton'seizkunsi, art of composi- tion . . . Ton' spr ache , the language of tones (i. e. music) ... 7'(7»'j&V/J, piece of music, composition . . . Ton'stufe, degree (of a scale). . . Ton' system, sys- tem or theory of musical tones .. . Ton'- umfang, compass . . . Ton' unterschied, interval. .. Ton' verwandschaft, relation or affinity of tones . . . Ton'verziehung, tempo rubato . . . Ton'werkzeug, a mu- sical instr., either natural (voice) or arti- ficial . . . Ton'zeichen, a note or other sign representing a tone. Ton (Fr.) i. Tone ; pitch ; donner le ion, to give the pitch. — 2. Mode. — 3. Scale, key. — 4. A crook {ton de re- change). — 5. (Formerly) a tuning-fork. . . Ton bouchi, stopped tone (horn) . . . Ton d'/glise, church-mode . . . Ton de rechangi, crook . . . Ton entier, whole tone. . . Ton feint, see Fictum. . . Ton inajeur {mineur), a major (minor) key. . . Ton ouvert, open or natural tone (on a wind-instr.) . . . Ton relatif, related key. . . Ton g^n^rateur , one of the 7 natural tones. Tonal. Pertaining to tones, or to a tone, mode, or key . . . Tonal fugue, see Fugue ... 7o?2a/ imitation, imitation not overstepping the limits of the key of a composition ; non-modulating imi- tation. Tonal'ity. (Ger. Tonalitat'; Fr. tonal- it/. ) The term Tonality, as contrasted with JCey, is distinguished by its broader significance and wider scope. Key de- notes simply the mode (of a piece) and the pitch of that mode ; strictly, it re- fers solely to the harmonies constructed from the tones of its own diatonic scale. On quitting these harmonies, even by touching an "altered chord", it tres- passes on the domain of tonality ; for — here is the dividing line^^^jf embraces the diatonic harmonies referable to one tonic chord as the point whence they depart and whither they return, whereas tonality, taking this same tonic chord as a starting-point, includes any and every harmony related to it, so long as no actual change of tonic is brought about by a modulation. Tonality might therefore be briefly defined as the chords grouped around and attracted by one central tonic chord, and thus appears as founded upon the relations of chords independent (in a measure) of key. (Comp. Phone, § 4.) Tone. (Ger. Ton; Fr. son, ton; It. tuo'no, suo'no^ See Acoustics . . . Tone- color, quality of tone. Tongue. i {noun). Same as Reed; but, in the so-called reed of an organ- pipe, the tongue is the vibratile slip of metal producing the tone. — 2 {verb). To employ the tongue in producing, modifying, or interrupting the tone of certain ^ind-msXr.s. .. Tonguing, the production of effects of tone, on wind- instr.s, by the aid of the tongue. Single- tonguing, the effect obtained by the re- peated tongue-thrust to the nearly in- audible consonant t or d; Double-tongu- ing, that obtained by the repetition of t k; Triple-tonguing, hy t h t; etc. With reed-instr.s, single-tonguing only is applicable. Ton'ic. (Ger. To'nika; Fr. tonique; It. to'nica.) i. The key-note of a scale. — 2. In the nei* system of harmony, the tonic chord (in C-major the major triad on C; in C-minor the minor triad on C) is designated as the tonic. (Comp. Phone^. . Tonic chord, one having the key-note as root . . . Tonic pedal, organ- point on the key-note. . . Tonic section, a section or sentence in the key in which a composition began, with a cadence to the tonic of that key. . . Tonic Sol-fa, a method of teaching vocal music, inv. by Miss Sarah Ann Glover of Norwich, England, about 1812, and perfected by the Rev. John Curwen, who became acquainted with the method in 1841. — Its formal basis is the "movable-Do" system ; the 7 usual solmisation-syllables are employ- ed, but Englished as follows 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- part would be equiva- \ ^J ^ I » ' lent, in C-major, to tJ ' For teaching the tones and modulation, these tone-names are arranged in a musical chart called a Modulator : 4= dl fl t — ml ~ 1 1 ^ rl — s s — DOHi — f TE — • m f ta le m . 1 — LAH a se — r r — SOH bafe — d t| d — FAH ti — ME ma re -Il I| •^ RAY de — S| S| — DOH -f| t| — m. f| mi - 1| - >■( ri — S| -d| U dl - f| — ta — m. — u This arrangement shows the exact position of each tone in its relation to the key-tone ; in fact, the fundamental principle of the method is key-relation- ship, and that the character of every tone is decided by the relation which it holds to its tonic, the name Tonic Sol- fa signifying " solfaing according to the tonic principle". The system of tonic sol-fa insists upon the mental effect of each tone in relation to the tonic, i. e. the pupils are taught to recognize the tones of the scale by observing the mental impressions peculiar to each. — The parallel columns of the Modulator show the relation of key to key, and may be extended through all the sharp and flat keys, the former lying to the right, the latter to the left of the central column. Sharped tones take the sharp vowel e, flat tones the broad vowel a (ah). In modulating, so-called bridge-tones are added in the notation in the form of small letters in- dicating the relation of the modulating tone to the key just left, the large letter showing the relation of the tone to the new tonic ; thus 'd means; that soh of the old key is doh of the new, as in modulating from C-major to 6^-major. For a mere chromatic passing-note, however, or a transient modulation the chromatic syllables are employed In the printed notation, equal spaces rep- resent equal times, and fractions of time are shown by fractions of space ; the beats ("pulses") are represented by regular intervals of space. A thick bar marks the primary accent (strong pulse) ; the weak pulse is preceded by a colon ; a shorter bar marks the sec- ondary accent ; a dot midway in a pulse- space marks a half-pulse ; and quarter- pulses are marked by commas. The continuation of a tone is indicated by a dash, while a rest (silence) is left simply as a blank space. — In lieu of protracted explanations, the hymn ' America" is here appended in the Tonic Sol-fa notation : GOD SAVE THE QUEEN. (America.) Key A Arr .by Harry Benson s. d : d : r tl :- .d : r m : m f m :-.r : d ' c. S| : God s, : save our gra :- .fe, cious ; s, Queen, d : Long d live d our d no ;-.t, : d ble Queen, T. m : d . f r :- X : r S 1 1 s : - .f : m B. d, : (My m, : coun f, try. s, 'tis of : t| thee. d : Sweet I, land fl of S| 11 :-.se| : 1, ber - ty. , TONISCH— TRACT. 205 r . d : ti d : — : — s S 5 s -.f m 1, : s, : S| Si : — ; d d d d -•ti d 3od save the Queen. Senl her vic- to ri ous, f : m : r m ; — : — m m : m m -.. d f, ; s, : =^i d, : . - d| mi : S| d -.d : d 0£ thee I sing. Land where my fa thers died, , f : f : f f : — .m : r m f.m 111 m :- .f : s t| : r : ti t| : -.d : t. =^1 : S; ■ bj^ d.l, J_s,.f, : m. Hap py and glo ri ous, Long to reign ver l.S, r : s S s : - .S : s d : M ; r.m d : - .r ; m s, : t, Land of r the S| : pil -.S| grims' : S| pride, d From ev' - ry s,f, moun :m|.r| - tain : d, - side . rallentando l.s.f: m . r d — : — 1 d : d : t| d — : — God save the Queen I f.l : s f m — : — f, : s, Si d| — : — Let free - dom ring !) Despite strenuous opposition, the Tonic Sol-fa method continues to spread ; and it deserves to, having triumphantly proved its thorough excellence both in principle and practice. To'nisch (Ger.) Tonic, i. c. pertaining to the tonic. To'no (It.) Tone ; key. To'nos (Gk.), To'nus (Lat.) i. Atone (whole tone, major second). — 2. A mode. Toquet (Fr.) Toccato. Tostamen'te (It.) Rapidly and boldly. To'sto (It.) The phrase fiu iosto is used by Beethoven in the sense of "rather", "quasi"; as Allegro molto, piii tosto presto, "very fast, nearly presto." Touch. (Ger. An'schlag; Fr. toucher; It. ta'sto.) The method and manner of applying the fingers to the digitals of keyboard instr.s. > Touche (Fr.) i. A key (digital). — 2 A fret. — 3. A fingerboard, either with or without frets. Toucher (Fr.) I {verb). To play, as toucher le piano. {Jouer is the univer- sally applicable and more modern term.) — 2 (noun). Touch, manner of ma- nipulation. Touchette(Fr.) Fret. Toujours (Fr.) Same as Setnpre. Tourment6,-e (Fr.) Overdone ; as by an overplus of eccentricity, ornamenta- 'tion, unusual or disconnected harmo- nies, oddities of instrumentation, and the like. Tourniquet (Fr.) Plug or cap. Toy Symphony. (Ger. Kin' dersinfonie ; Fr. Foire des En f ants.) The original toy symphony was written by Haydn in 1788, with parts for 6 toy instr.s (a cuckoo-pipe, playing c and g, a quail- call in/, a trumpet and drum in G, a whistle, and a triangle), with 2 violins and a double-bass. Key, C-major.— It has been variously imitated. Trackers. (Ger. Abstrak'ten; Fr. abrigh.) See Organ. Tract. (Lat. tractus.) An anthem on verses usually taken from the Psalms, substituted, from Septuagesima to 206 TRADOTTO— TREIZIEME. Easter eve, for the Gradual , or for the Alleluia following the Gradual, in the R. C. and some other services. Tradot'to (It.) Arranged ; transposed. Tra'gen der Stimme (Ger.) Port de voix. Trains (Fr.) Slurred. . . Trainee, same as Schleifer (6). Trait (Fr.) i. Tract. — 2. Passage ; vocal or instrumental run...7'. de chant, melodic phrase . . . T, d' harmonie, a chord-passage. — 3. An old form of the trill-sign (•wv) ; aXsoplique. Traktur' (Ger.) In the organ, the in- terior key-action, especially the trackers. Tranch€,-e (Fr.) Cut, crossed... C- trancM (obsolete ; now C-barri), the sign(J;. Tranquillamen'te (It.) Tranquilly, in a quiet style; also con tranquillita' . . . Tranquil' lo, tranquil ; often (with Beethoven) equiv. to moderato. Transcription. i. The arrangement or adaptation of a composition for some voice or instr. other than that for which it was originally intended. — 2. (Fr.) Transcription uniforme, the uniform notation of transposing instr.s, peculiar to the French military bands, attained by noting them all in the C-clef, i. e. an octave higher than the ordinary method. Transient, Passing, not principal ; in- termediate ; as a transient modulation. — Transient chord, in modulation, an intermediate chord foreign both to the key left and that reached. . . Transient ■modulation, a temporary modulation soon followed by a return to the key left. Transition. (Lat. transi'tio; Fr. tran- sition.') I. Modulation ; specifically, a transient one. — 2. In Tonic Sol-fa, a modulation without change of mode. Tran'situs (Lat.) " A passing-through". — Tr. regula'ris, progression by pass- ing-notes ; ir. irregula'ris, progression by changing-notes. Transpose. (Ger. transponi^ren; Fr. iransposerj It. variat' il iuo'no.) To perform or write out a composition in a different key. . . Transposed mode, one of the medieval modes transposed (by a Bt) in the signature) a fourth above or fifth below its regular pitch. An added JSq raised the new pitch by a fourth, i. e. lowered the original pitck by a tone. Transposing Instruments, i. Those the natural scale of which is always written in C-major, regardless of the actual pitch. — 2. Instruments (chiefly with keyboards, as the pfte., harpsi- chord, etc.) having some device by which the action or strings can be shifted so that higher or lower tones are produced than when they are in the normal position . . . Transposing scales, see Greek music. Transpositeur (Fr.) i. A transposer. — 2. A mechanism attached to the valve- horn as a substitute for the numerous crooks generally used ; inv. by Gau- trot. — 3. The transposing keyboard of \!as piano transpositeur, inv. by Auguste Wolff of Paris in 1873. Transposition. Se&Transpose. . . Trans- positions' skalen (Ger.), transposing scales. Transverse flute. See Flute. Trascinan'do (It.) Same as Strasci- nando. Trasporta'to (It.) Transposed. . .Chia'- vi trasporiati, see Chiavette. Trattenu'to (It.) Held back, retarding the tempo. (Abbr. iratt.) Trau'ermarsch (Ger.) Funeral march. Trau'rig (Ger.) Sad, melancholy. Travailler (Fr.) "To work". An in- strumental part is said to travailler when it leads while the others act as an accompaniment or iilling . . . Musique travaill^e, music abounding in passages and bristling with difficulties. Travel. To carry ; said of sound. Travers'flote (Ger.) i. Flauto traver- so. — 2. A 4' organ-stop resembling the orchestral flute in timbre. Traversifere (Fr.), Traver'so (It.) Transverse. — Traversa (for flauto tra- versd) occurs in scores. Tre (It.) Three. . .A tre, for 3 voices or instr.s; a tre voci, for 3 parts... Tre corde, see Una corda. Treb'le. See Soprano. . . Treble-clef, G- olef. Trede'zirae (Ger.) A thirteenth. Trei'bend (Ger.) Urging, hastening; accelerando, stringendo. Treizifeme (Fr.) A thirteenth. TREMANDO— TRILL. 207 Treman'do, Tremolan'do (It.) With a tremolo-effect. Tremblant (Fr.) Tremulant. Tremblement (Fr.) Trill; tremolo... Trembler, to execute a trill or tremolo. Tre'molo (It., "a quivering, flutter- ing ;" comp. Vibrato.') i. In singing, a tremulous fluctuation of tone, effective in highly dramatic situations, though frequently a mere mannerism or vocal defect. — 2. On stringed instr.s, an effect I. Written : played : produced by the extremely „ — . rapid alternation of down- ^^ bow and up-bow, marked 9^ — 3. On the pfte., the rapid alternation of the tones of a chord, e. g. written : played: =8=j: 8^^=tll=t l. (2 examples from Gade, Op. 51): 2. Written : played : (This last is simply a trill without after- beat.) [N. B. The pfte. -tremolo is not al- ways written as an exact abbrevia- d^ tion (comp. Abbreviation 2); e.g., a) ^ sign if y JPJiJ^j SrjiJ;^^ instead CI^E!tS9~niS33 in case the ^- of J'd'm^d^ tempo is slow enough to admit of the former reading.] — 4. A fluttering effect pro- duced by the tremolo-stop or tremu- lant. — 5. A tremulant. Tremolo'so (It.) With "a tremulous, fluttering effect. Tremulant. A mechanical device in the organ for producing a tremolo. It con- sists of a valve or arm of thin metal which, when set in action by a draw- stop, partially checks the inflow of wind, by which latter it is forced to os- cillate rapidly, the consequent alternate checking and admission of the wind to the pipes causing a tremulous tone. — Organ-pipes producing a similar tone without the tremulant are those of the Piffaro, Unda maris, etc. TremuHe'ren (Ger.) To execute a trill or tremolo; also sometimes used (as a noun) for vibrato. Trenchmore. An old English country- dance, in lively tempo and triple or compound duple time. Trenise (Fr.) A figure in the quad- rille. Trepo'dion. See Terpodion. Trfes (Fr.) Very ; moUo. Triad. (Ger. Drei'klang; Fr. and It. tria'de.) A ' ' three-tone " chord com- posed of a given tone (root) with its third and fifth in ascending diatonic order . . . Harmonic triad, a major triad. Triangle. (Ger. Triang'el; Fr. triangle; It. trian'golo.) An orchestral instr. of percussion, consisting of a steel rod bent into triangular shape, one corner being left slightly open ; it is struck with a metal wand. The rhythm alone be- ing noted, the triangle-part is usually written on a single line, headed by the time-s\gna.t\xxe only. Tri'as (Lat.) A triad. Tri'brach. A metrical foot of 3 short syllables, having the ictus on either the first or second, thus: ( -C^ — or -.^ -^ -J). Tri'chord. A 3-stringed instr.— Tri- chord pfte., one having 3 strings (uni- sons) to each tone throughout the greater part of its compass. Trich'ter (Ger.) Tube (of a reed-pipe); bell (of a horn or trumpet). Often Sc hall' trickier. Trici'nium (Lat.) An a cappella compo- sition for 3 voices. Tridiapa'son. A triple octave. Trill. (Ger. Tril'ler ; Fr. trille ; It. tril'lo.) (Also Shake.) [Sign ft or '■'lobs, t., +, or( /VW /^vv. *%** etc.] A grace occupying the en. 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 brief as to reduce it to a mere turn, or an inverted mordent. — In modern mu- sic, the trill generally begins on the principal note (a), and ends with an after-beat (d), which should be written out ; if to be begun on the auxiliary, an appoggiatura should be set before the principal note (.:). fa) tr (h)tr (<^l tr 2 -Jt^ A dotted quarter-note would call for one more group of 4 i6th-notes ; a J, for 2 such additional groups ; etc. These are the typical forms of the long trill ; they differ in different kinds of time ; e. g. or when preceded by an ascending appoggiatura : the tempo also exercises a controlling influence, the -^8^— <( ^~J3~ , following trill: -^ —^ formed ; Andante. - passmg over -^ — ' into (Presto). The last is one form of the sAart trill, which might, in turn, be- come a long trill in presto, when the time-value of the principal note per- mits of such extension, e.g. No. 6, written thus : would be executed The after-beat may be modified chro- matically, as at No. 3, or thus : TRILL. 209 m t^= (ailugio) =fg#f-- ?EEF ^- faH". inoderaio) (presto) or ^e^=Se It is often in place when not written out (comp. Ex. b under chain of trills) ; its introduction is then either a matter of taste, or depends on what follows, ^ it being usually required where the trill is followed by an accented note ; though the next three examples require no after-beat : k =i=^ ^^^ip^^ "m ->S> M)^^MM»- Successive trills, even though alike in 1 reason of the notes immediately pre- notation, may diffei in execution by I ceding them : w :^^= H — "E^- iW: =?^=t^- ^^^-^rr -ta^ — H^H^B^iia i^ ■ ^ ^^ 1 — I — I- 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 TRILLERKETTE— TRIPLE-CROCHE. though in case any step is merely a chromatic alteration of a principal note, the after-beat is best omitted : m m St St the following requires short trills like inverted mordents : (all«.) — The only rule now universally appli- cable to the execution of the trill is one equally applicable to all other graces ; namely, that it must exactly fill out the time allotted to it, neither accelerating nor retarding the rhythm. — A peculiar 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 forms : (« — In the 17th and l8th centuries, and early in the 19th, a common practice was to begin the trill on the auxiliary, and endontheprincipal note.— For varieties of the trill indicated by the signs l/vw ,-vw AAv' /vw, etc., compare Graces, Mordent, Signs. . .Double axvA Triple Trills, in alternate thirds, sixths, etc., for both hands, frequently occur in modern pfte. -music. Tril'lerkette (Ger.) Chain of trills. Tril'lo (It.) Trill. (N. B. The irillo de- scribed in Caccini's Singing Method (1601) " consists of the rapid repetition of a single note... He also mentions another grace which he calls the Gruppo, which closely resembles the modern shake : ^ ^^^^^^^xm:!^ ^ Grove.) . . triller. . Trillo capri'no, see Bocks- Tritte. A 3-tone group, or triad, com- posed of any given tone (the rooi) with its major thirds above and below (as A^-C-E). Corapare Duodene. Trink'Hed (Ger.) Drinking-song. Tri'o (It.) I. A composition for 3 voices or parts, (a) The Instrumental Trio, usually in sonata-form, is most commonly either a Pianoforte Trio (pfte., violin, 'cello), or a String Trio (violin, viola, 'cello ; or 2 violins and 'cello). Compositions for 3 concerted instruments, accompanied by a fourth playing a basso continue, were formerly also styled trios . . . An Organ Trio is a 3-part organ-piece for 2 manuals and pedal, the registration of the manuals being strongly contrasted. — {b) The Vocal Trio is usually in song-form or aria-form. — 2. In minuets, marches, scherzi, etc., the trio or alternativo is a division set between the first theme and its repetition, and contrasting with it by a more tranquil movement and canta- bile style ; called "trio" because writ- ten in 3 parts, in contrast to the ordi- nary 2-part style of the principal subject. Trio'le (Ger.), Triolet (Fr.) Triplet. Triomphale (Fr.), Trionfa'le (It.) Triumphal. Triomphant (Fr.), Trionfan'te (It.) Triumphant. Trip'elfuge(Ger.) Triple fugue. . . Trip'- elkonzert, triple concerto (for 3 solo instr.s with orchestral accomp.) . . . Trip'- eltakt, triple time. . .Trip' elzunge, tri- ple- tonguing. Tripho'nia. See Organum. Tri'pla (It.) i. A triplet.— 2. Triple time . . . Tripla di mi'nima, 3-2 time. Triple counterpoint, fugue, time. See the nouns. Triple-croche (Fr.) A 32nd-note. TRIPLET— TROMMEL. P rrip'let. (Ger. Trio'le; Fr. triolet; It. tri'pla.) A group of 3 equal notes to be performed in the time of 2 of like value in the regular rhythm ; written S '^ ■ rrr°'rrr Trip'lum (Lat.) In medieval music, a third part added to the original Altus and Bassus of the organum, and gener- ally the highest of the 3 ; hence, Engl. treble. Tri'pola (It.) Same as tripla. Trisemito'nium (Lat.) Minor third. Tristez'za (It.) Sadness, melancholy ; from tri'sto,-a, sad, afflicted. Tri'te (Gk.) The third tone from above in the conjoined, disjoined, and extreme tetrachords. See Greek music. Tri'tone. (Lat. and Ger. Tri'tonus; Fr. triton; It. tri'tono.) The interval of 3 whole tones, or an augment- ed fourth ; as Tritt (Ger.) Treadle or pedal. . . Tritt'- harfe, pedal-harp. Tri'tus (Lat.) The third authentic church-mode i^Lydian). Tro'chee. (Lat. trochee'us^ A metri- cal foot of 2 syllables, long and short, with the ictus on the first ( -^ ^). Trois (Fr.) Three . . . Mesure h trois- deux, 3-2 time ; h trois-huit, 3-8 time ; & trois-quatre^ 3-4 time. Troll. A round or catch. Trom'ba (It.) A trumpet . . . TV. croma'- tica, chromatic trumpet, valve-trumpet. . . Tromba mari'na {Sea-trumpet, Marine trumpet. Nun s-fiddle; Ger. Non'nen^eige, Trum'scheit), a very ancient single-stringed bow-instr., hav- ing for a body a long thin wooden shell made of several staves, a fiat belly, short neck, and I thick gut string gen- erally tuned to C (sometimes one or more additional strings as drones). One foot of the bridge rests loosely on the belly, the harsh vibration thus induced rendering the tones very powerful, so that the instr. was formerly used in the English navy for signalling. The nat- ural harmonics have a far more pleasing quality of tone, which accounts for the comparative popularity of the instr., in Germany, from the 14th to the i6th century, in German churches and con- vents (whence the name ' ' Nonnengeige" , nun's-fiddle). It occasionally had an additional octave-string, and some speci- mens were provided with sympathetic strings within the body... TV. sorda, muted trumpet. . . TV. spezza'ia, earlier name for the tromba bassa (bass trum- pet). Trombet'ta(It.) i. {hlsotrombettato're, trombettie're, tromhetti'no.) A trum- peter. — 2. A small trumpet (dimin. trombetti'na). Trombone'. I. (It. and Fr. trombo'ne; Ger. Fosau'ne) An orchestral wind- instr. of metal, belonging to the trumpet family, with the distinctive feature of the slide-mechanism (see Slide), in which shape it dates probably from the 15th century. It is constructed in 4 sizes (alto, tenor, bass, and the more recently added contrabass); the tenor trombone is the one in most general use. Gevaert suggests that the tromba da tirarsi of Bach's scores was possibly a soprano tr., the place of which was usu- ally supplied by the cornetto. — It is a non-transposing instr., and is written in the C-clef (alto or tenor) for the alto and tenor instr.s, and in the i'-clef for the bass and contrabass. In playing, there are 7 positions, obtained on suc- cessive descending semitonic degrees by gradually drawing out the slide, the istpos. being when the slide is pushed completely in, i. e. when the tube is shortest ; in each position the tones which can be regularly made to speak are the partials 2 to 8. Utilizing all 7 positions, the tenor trombone in B^ has a chromatic t^. this is compass of - 2 1 octaves, ! ixOTaE\.ob^\) ^ M- the reg- ular or- chestral compass, above which are the 4 difficult tones b'^, c^, c%. and d^\ while below, separated by a tritone from the rest of the scale, are the so-called pedal-tones The orchestral compass of the alto trombone is A—e^\ that of the bass trombone £1 — /'. — The valve- trombone possesses greater agility than the slide-trombone, but is apt to be inferior to it in purity of tone. (Comp. art. Trumpet, last sentence.) — 2. In the organ, a powerful reed-stop (same as Posaune). Trom'mel (Ger.) A drum . . . Trom'mel- bass, the rapid reiteration of a bass tone TROMPE— TRUMPET. (a terra of disparagement) . . . Trom'mel- kloppel or -stocke, drumsticks . . . Gro'sse Tr., bass AxMxa. . .Milildr' trommel, military drum, side-drum ... j^oZ/Vtoot- m-el, tenor Axvaa.. . . Wi7'beltrom-m,el, side-drum. Trompe (Fr.) A hunting-horn ; former- ly, a trumpet. . . Tr. de Biarii, or tr. h laquais, jew's-harp. Trompe'te (Ger.) Trumpet. . . Trompe' - iengeige, tromba marina . . . Trompe' - tenregister,-werk,~zug, trumpet-stop. . . Trompe'ier, trumpeter. Trorapette (Fr.) i. Trumpet. ..Tr.b. coulisse, slide-trumpet . . . Tr. harmo- nieuse, trombone . . . Tr. d' harmonic, or- chestral trumpet . . . Tr. marine, tromba marina. — 2. Trumpeter ; bugler (for cavalry). Trope. (Lat. tro'pus, pi. tro'pi; Ger. pi. Tro'pen.) One of the numerous formu- las, in the Gregorian chant, for the close of the lesser doxology following the in- troit. Originally, there was but one for each mode ; the different formulas are now termed differ entice. Trop'po (It.) Too, too much ma non troppo, rapid, but not over- rapid. Troubadour (Fr. ; Span, trovador's It. irovato're; comp. Trouvire.) One of a class of poet-musicians originating in Provence, and flourishing in southern France, northern Spain, and Italy from the nth century till toward the close of the 13th. The chief theme of their 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. Troupe (Fr.) A band or company of musicians. Trouvfere, Trouveur (Fr.) One of a class of medieval bards in northern France, especially Picardy, contempo- rary with the troubadours and often confounded with them, though their poems were chiefly of an epic character and in strong contrast to the elegant lyric verse of the latter. We owe to the trouvires, besides their grand epics axi.6.^^ fabliaux, chansons de geste, etc., the origination of the prose tales of chivalry (the famous Round Table cycle). Trub(e) (Ger.) Gloomy, dismal ; sad, melancholy. Trug'fortschreitung (Ger.) Progres- sion of a dissonant chord to a dissonance instead of its resolution to a conso- nance. . . Trug'schluss, deceptive ca- dence. Trump. I (obs.) Trumpet. — 2. Jew's- harp. Trumpet, i. (Ger. Trompe'te; Fr. trom- pette; It. trom'ba.) An orchestral metal wind-instr. having a tube of somewhat narrow scale, and a cupped mouthpiece ; the convolutions of the tube are straight- er than in the horn, and the bell is much smaller ; length of tube, for the typical pitch in D, is about 7 ft. 3^ in. By the aid of crooks the pitch of the prime tone in the natural trumpet may be modified to any degree of the 12- tone chromatic scale {A , B[> , B, C, D\) , D, Eq, E, F, EJi, G, A\) ; and also to high A and B^"). The natural trumpet has the following scale ^ ^^r^-^— m which, by combining the tones obtained by using the various crooks, gives the following complete compass : little used Good in all nuances ^ -m- ^ ib^ ^-0 L only in forte The tone is brilliant, penetrating, and . of great carrjring power ; the stopped tones, however, are so disagreeable as to be practically useless. The trumpet is a transposing instr., and its music is written in the G-clef. — The chromatic or valve-trumpet is provided with 3 valves (comp. Valve). [N. B. With regard to the assumed inferiority in tone of the valve-trumpet and valve- horn, as compared with the natural instr.s, no less an authority than Ge- vaert writes : ' ' The chromatic horns and trumpets, when well constructed, TRUMSCHEIT— TURN. 213 possess all the qualities of timbre proper to the natural instr.s, in addition to their own resources".] — 2. In the organ, an 8-foot reed-stop of powerful tone. Trum'scheit (Ger.) Tromba marina. Tu'ba. I. The straight trumpet of the Romans. — 2. A name applied to the 3 lowest members of the saxhorn family. — The original tubas inv. by Wieprecht of Berlin in 1835, are of broad scale and have 4 valves, giving a complete chromatic scale of about 4 octaves. The bass tuba in B\), and contrabass tuba mBi\), are the ordinary orchestral sizes in Germany ; these, and also some others, are in general use in military bands . . . Tuba curva, a species of nat- ural trumpet of very limited compass, taught in the Paris conservatory at close of i8th century. — 3. In the organ, a reed-stop (tuba mira'bilis) on a heavy pressure of wind, of very powerful and thrilling tone. Tu'bicen (Lat.) A blower of the trump- et or tuba. Tucket. A flourish of trumpets. Tumultuo'so (It.) Vehement, impetu- ous ; agitated. Tun. Drum of the aborigines of Yuca- tan. Tune. An air, melody ; a term chiefly applied to short pieces or familiar melo- dies of simple metrical construction. Tuner, i. (Ger. Stini'mer; Fr. accor- deur; It. accordato're^ One who tunes instr.s as a profession, — 2. Same as Tuning-cone. — 3. The adjustable flap or incision at the top of an organ-pipe, by setting which the pitch is regulated. Tuning, i. The act or process of bringing an instr. into tune. — 2, The accordance or accordatura of a stringed instr . . . Tuning-cone, a hollow cone of metal, used in tuning metal flue-pipes in the organ. Their tops are ' ' coned out " by inserting the point of the cone, this increasing the flare and raising the pitch; and "coned in" by pushing the inverted cone down over their tops, decreasing the flare and lowering the pitch. . . Tuning-crook, a crook. . . Tun- ing-fork, a 2-pronged instr. of metal, yielding one fixed tone (usually a' ; Tonic Sol-fa, e'- manchi; iibergreifendes System, in Hauptmann's theory of harmony, a key- system (i. c. a chain of 3 fundamental triads) formed by adding to the given key-system a new link or triad on the dominant or subdominant side ; e. g. adding to d/ F-a-C-e-G-b-D/f the triad D-fifj-A, and thus forming the new key-system a/ C-?-ff-^-/?-/S-^A..t/'fe?-- leitung, transitional passage. . . U'ber- massig, augmented (of intervals) . . . U ' berschlagen (a) to cross hands (on a keyboard instr.); (b) to overblow (of organ-pipes and_ wind-instr.s); (c) see Umschlagen. . .U'bersetzen, to pass over (as a finger over the thumb on the keyboard, or one foot over the other on the ■^eAs\s). . .U'bersteigen, to rise above ; said of a vocal part which tem- porarily ascends above one naturally higher. U'bung (Ger.) Exercise ; practice. Ugua'le (It.) Equal, like, even. . . Ugua- liict', equality, conformity . . . Ugual- men'te, equally, alike, evenly. Uffla'no,-a (It.) Human . . . Voce umana, (a) vox humana ; (1^) cor anglais. Um'fang (Ger.) Compass. Um'kehrung (Ger.) Inversion. Umo're (It.) Humor. Um'schlagen (Ger.) i. Of the voice, to break ; umschlagende Stimme, voice alternating between chest-tones and falsetto. — 2. Of wind-instr.s, to over- blow ; also compare Goose. Um'stimmung (Ger.) i. A change of pitch or key in wind-instr. s or the ket- tledrums, called for in scores by the word Muia. — 2. A scordatura of stringed instr, s. Un, une (Fr.) A, or an. . . Un feu plus lent, a little slower. Un, u'no, u'na (It.) A, or an. . . Una corda, with the soft pedal (pfte.) ; Tre corde then signifies that the soft pedal is to be released. Unaccented octave. The small octave (see Pitch, § i). Unacknowledged note. An unessen- tial or passing-note. Un'ca (Lat.) Hooked ; hence, an eighth- note ( J^); bis unca (twice hooked), a sixteenth-note( te) . Uncoupled. (Ger. Koppel ab.) In or- gan-music, a direction to push in a coupler previously drawn. (Usually "off" ; as Ct. to Fed. off.) Un'da ma'ris (Lat. , "wave of the sea".) In the organ, an 8-foot flue-stop pitched a trifle lower than the surrounding foundation-stops, the interference of its tone with theirs producing beats and a wavy, undulatory effect of tone. Unde'cima (Lat. and It.) The interval of an eleventh. Undec'uplet. A group of 11 equal notes to be performed in the time of 8 (or 6) of like value in the regular rhythm. Under-chord. See Phone, §1 . .. Under- song, burden, xtirain ... Undertones (from Ger. Un'iertone), the lower par- tials. (See Acoustics.) Unde'zime (Ger.) The interval of an eleventh. Undezimo'le (Ger.) An undecuplet. Undulazio'ne (It.) On bow-instr.s, the vibrato effect. Un'eigentliche Fu'ge (Ger.) Fuga irregularis. Un'endlich (Ger.) Infinite. Unequal temperament. See Tempera- ment. . . Unequal voices, v(dces different in compass and quality ; mixed voices. Unessential note. One forming no essential part of the harmony or melody, as passing-notes, changing-notes, many graces, etc. Ung'arisch (Ger.) Hungarian. Un'gebunden (Ger.) See Gebunden. Un'geduldig (Ger.) Impatient. Un'gerader Takt (Ger.) Triple time. UNGESTRICHENE OKTAVE— VALVE. 217 Un'gestrichene Okta've (Ger.) Un- accented octave (the " non-lined," or small, octave). Un'gestiim (Ger.) Impetuous(ly). Un'gleich (Ger.) Unequal. . . Un'gleich- schwebende Temperattir' , unequal tem- perament. Un'harmonisch (Ger.) Inharmonic. Unichord. (Lat. tmichor'dum.) I. Mono- chord. — 2. Tromba marina. Unio'ne (It.) Coupler. Unison. (Lat. uniso'nus; Ger. Unison' ; Fr. unisson; It. uni'sono.) Properly, a tone of the same pitch as a given tone ; by extension, a higher or lower octave of a given tone ; as all'unisono (It.), h I'unisson (Fr.), in unison, at the unison, progressing in unison (in this latter sense often found in scores, as where a double-bass part is written out and the 'cello has merely the direc- tion col basso all'unisono [c. B. all'uni- son6\, i. e., the same part an octave higher). — Also, in the pianoforte, a group of 2 or 3 strings struck by one hammer and yielding one tone ; one such string is called a unison-string. — Finally, sometimes equiv. to Prime. Unitamen'te (It.) Unitedly, together with. . . Uni'to,-a, united, joined. U'no (It.) See Un. Un'rein (Ger.) Impure, false, out of tune. Un'ruhig(Ger.) Restless(ly), unquiet(ly). Un'schuldig (Ger.) Innocent(ly). Un'ter (Ger.) Under, below, sub-... Un'terbass, subbass. . . Unterbroch'en, interrupted. . . Un'terdominante, sub- dominant. . . Un'ter leitton, dominant seventh... Un'termediante, submediant. . . Un'tersatz, subbass. . . Un' tersetzen, to pass under (see Uberseizen) . . . Un'- ter stimme, lowest part; bass part... Un'tertaste, a key (digital) belonging to the lower or white row ; a white key. . . Un'ter tone (pi.), Un'tertonreihe, the series of lower harmonics of a given tone ; the undertones; opp. to Ober- tone. Un'voUkoramen (Ger.) Imperfect. Uo'mo (It.) Man. (See Prima.) Up-beat. (Ger. Auftakt; Fr. lev/; It. leva'ta^ I. The raising of the hand in beating time ; opp. to down-beat. — 2. An unaccented part of a measure. Up-bovr. (Ger. Hinauf'strich; Fr. foussi; It. arco in j«.) In playing bow- instr.s, the stroke of the bow in the direction from point to nut ; sign V or A , which is called the up-bow mark. Upright piano. See Pianoforte. Ut. I. The first of the Aretinian syllables (see Solmisation). — 2. Name in France of the note C . . In the French system of marking the absolute pitch, the sev- eral octaves are marked as follows : French system begins on Knglish system Octave— — * ut a octave_ ut 1 octavci C octavcj Utn octaveg uts octave4 UtA octaves uU Thus Middle- C is marked c^ in the English system, and uh in the French, Ut (Lat.) As, just as, like ; ut supra^ as above. V. V. An abbrev. for Vide (v. s. = vide sequens), Violino, Volti (V. S. = volti subito). Voce (m. v. = mezza voce.)— V«, orV"".".", Violoncello, -Y^f, Viola; V or ■f, Versicle ; Vv., violini. Va (It.) Go. on, continue. . . Va cre- scendo, go on increasing (the power). Vacillan'do (It.) Vacillating ; noting a passage to be performed in a wavering, hesitating style. Va'gans (Lat.) See Quintus. Va'gO (It.) Vague, dreamy. Valeur (Fr.), Va'lor (Lat.), Valo're (It.) Value, i. c. time-value. (Ger. Werih.) Valse (Fr.) Waltz ; valse chant/e, waltz- song ; valse de salon, a salon-piece in waltz-time for pfte. Value. (See Valeur.) The value (or, better, the ^2/«^-value) of a note or rest, is its length or duration as compared (a) with other notes in the same move- ment, or {b) with the standard whole note a or any fractional note. Valve. I. (Ger. Ventil' ; Yr. piston; It. val'vola, pisto'ne.) In certain brass wind-instr.s, a device for diverting the air-current from the main tube to an additional side-tube, thus lengthening the air-column and lowering the pitch of the instrument's entire scale. By the aid of valves, natural instr.s are Hi VARIAMENTE— VENTIL. 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. — (a) The Piston-valve is a cylindrical plunger working in an air-tight cylinder, terminating in a short rod surmounted by a button, and pierced crosswise by 2 round holes ; the enclosing cylinder is similarly pierced, on either side, one 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. — The Rotary Valve is " a four-way stop-cock turning in a cylindrical case in the plane of the instrument, 2 of its . 4 ways forming part of the main chan- nel, the other 2, on its rotating through a quadrant of the circle, admitting the air to the side-tube ". Its manipulation is lighter than that of the piston, but it is more liable to derangement. — 2. In the organ, the principal valves are the suction-valves or suckers admitting wind to the bellows and preventing its escape ; the waste-pallet, relieving the bellows of an over-supply of wind ; and the key-valves or pallets. Variamen'te (It.) Variously, different- ly- Varian'te (It. and Fr.) A variant ; an- other (optional) reading. See Ossia. (/'ariation. (Ger. and Fr. Variation' ; It. variazio'ne.) One of a set or series of transformations of a theme by means of harmonic, rhythmic, and melodic changes and embellishments. In the Doubles, or earlier form, the variations left the melody, key, and rhythm of the theme intact, merely embellishing it with new and growingly elaborate fig- uration ; whereas the modern lema con variazioni (beginning with Haydn and 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, Varsovienne (Fr. ; It. Varsovia'na.) A dance in moderate tempo and 3-4 time, with auftaktoi a quarter-note, the down- beat of every second measure being strongly marked ; presumably invented in France about 1853, as a variant of 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. Veeraen'te (It.) Vehement, passionate. . . Veemen'za, con, with vehemence, passion. Veil. In singing, an obscuration of tone, either natural or superinduced by out- ward causes, detracting from clear and bell-like vocalization. A veiled voice is called in It. vo'ce vela'ta, in Fr. voix sombrh or voilee. Vela'to (It.) Veiled (see Veil). Velluta'to (It.) Velvety. Velo'ce (It.) Rapid, swift ; usually ap- plied to a passage to be performed more swiftly than those before and after, thus being the opposite of riienuto . . . Veloce- men'te, rapidly . . . Velocissimamen' te , velocis'simo, with extreme swiftness, presto. . . Velocita' , velocity. Ventage. (Ger. Ton'loch.) In wind- instr.s having finger-holes or keys, any hole to be stopped by a finger or key. Ven'til. I. Valve. — 2. In the organ, a cut-off or shutter within the wind- trunk, for shutting the wind off from, or admitting it to, certain stops or partial organs ; often controlled by a draw- stop or pedal . . . Ventil' horn (Ger.), valve-horn ; Ventil' komett, cornet k pistons. VENUSTO— VIBRATOR. 219 Venu'sto (It.) Graceful, elegant. Vepres (Fr.) Vespers. Veran'derungen (Ger.) Variations. • Verbin'dung (Ger.) Binding, tying, connection ; combination . . . Verbin'- dangszeichen, tie. Verdeckt' (Ger.) Covered, concealed. Verdop'pelt (Ger.) Doubled . . . Verdop'- pelung, doubling. Vereng'ung (Ger.) i. See VerkUr'- zung. — 2. Harmonic compression of a theme by substituting in the imitation a narrower interval for a wider one. Vergniigt' (Ger.) Cheerful, cheery. Vergro'sserung (Ger.) Augmentation (of a theme). Verhal'len (Ger.) To die away. . . Ver- hal'lend, dying away. Verkeh'rung (Ger.) Inversion (of the intervals of a theme) ; i. e. imitation by inversion, or by contrary motion. Verklei'nerung (Ger.) Diminution. Verkur'zung (Ger.) Diminution i, Verlang'erungszeichen (Ger.) Dot of prolongation. Verlo'schend (Ger.) Dying away. Vermin'dert (Ger.) Diminished (of in- tervals). Vermit'telungssatz (Ger.) Episode. VerriUon (Fr.) An Harmonica 2. Verschie'bung (Ger.) Shifting pedal, soft pedal; mit Versch., unacorda; ohne Versch., tre corde. Verschwin'dend (Ger.) Vanishing ; dy- ing away. Verse. A portion of a service or anthem sung by solo voices ; opp. to chorus. . . Verse-anthem, see Anthem. . . Verse- service, a choral service for solo voices. V'jrset . (It. versefioj Fr. verset) i. Same as Versick. — 2. A short prelude or interlude for the organ. Verset'zen (Ger.) To transpose. . . Ver- set'zung, transposition ; Verset' ztmgs- zeichen, a chromatic sign. Verside. In liturgies, a short verse gen- erally forming, together with its re- sponse, but one sentence ; e. g. Vers. O Lord, save Thy people, Res^. And bless Thine inheritance. Ver'so (It.) I. A verse or stanza. — 2. An air or tune. Verstimmt' (Ger.) Out of tune ; out of humor, depressed. Ver'te (Lat.) Turn over. (See Voiti.) Vertical. Lying in one plane (said of pfte.-strings) ; opp. to overstrung. Verve (Fr.) Spirit, animation, vigor, energy. Verwandt' (Ger.) Related ; verwan'dte Tonarten, related Vsys. .. Verwandt' - schaft, relation(ship). Verwech'selung, die enharmo' nische (Ger.) The enharmonic change. Verwei'lend (Ger.) Delaying ; riienuto. Verziert' (Ger.) Ornamented . . . Ver- zie'rung, ornament, grace. Verzo'gerung (Ger.) Retardation. Verzwei'flungSToU (Ger.) Despair- ing(ly); with desperation. Vespers. (It. ve'sfero; Fr. vipres; Ger. Vesper^ " Eveh-song." The 6th of the canonical hours. Vezzo'so (It.) Graceful; elegant... Vezzosamen' te , gracefully, etc. Vibran'te (It.) With a vibrating, agi- tated effect of tone. Vibration. (It. vibrazio'ne,- Fr. vibra- tion ; Ger. Schwing'ang.) The rapid oscillation of any tone-producing body, as a string, an air-column, the vocal cords, etc.. .Amplitude of vibration, the widest departure of a tone-producing body, towards either side, from a point of rest. . .Amplitude of a single vibra- tion, properly, the departure of the tone- producing body from the middle point towards one side only ; but frequently made to comprehend the entire width 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. . . Vibration-number , a figure represent- ing the number of vibrations (usually estimated by double vibrations) made by a tone. Vibra'to (It.) 1. On bow-instr.s, the wavering effect of tone obtained by the rapid oscillation of a finger on the string which it is stopping. — 2. In sing- ing, a tremulous effect, differing from the tremolo in not fluctuating from the pitch, partaking of the nature of a thrill, or series of very rapid partial in- terruptions of the tone. [Not to be confounded with Tremolo in either sense.] The ill-managed vibrato de- generates to a trillo eaprino {^. v.) Vibrator. A free reed. VICENDA— VIOLA. Vicen'da (It.) Change . . . Vicende'vole, changeably, vacillating-Iy. Vi'de (Lat.), Vi'di (It.) See...Vi-de, in scores, a sign that a "cut" has been made, directing the performers to skip from Vi- over to de. Vide (Fr., "empty".) Open (said of strings) . . . Corde a vide, open string ; opp. to corde h jouer, a string to be stopped. Viel (Ger.) Much, gx^aX. . .Mit vie'lem Nach'druck, with strong emphasis . . . Viel'chorig, for several choirs or (di- vided) (itioxxises. . .Viel' facher Kon'- trapunki, polymorphoiis counterpoint. . . Viel' siininiig, polyphonic. Vifele (Fr.) A modernized spelling of vielle. Vielle (Fr.) Hurdy-gurdy. (Also viel' la.) Vier (Ger.) Four... Vierach'teliakt, 4-8 time. . . Viet'doppelier Kon'trapunkt., quadruple counterpoint . . . Vier' fach., see/acA . . . Vier'/iissig, 4-foot. . . Vier'- gesirichen, see Gestrichen 2... Vier" - handig, for 4 hands . . . Vier' klang, chord of the "jih. . .Vier'tel {-note), quarter-note . . . Vier' ielpause , quarter- rest . . . Viervier'teltakt, 4-4 time . . . Vierzwei' ieltakt, 4-2 time. Vif, OT., Vive, /^«. (Fr.) Brisk, lively. Vigorosamen'te (It.) With vigor, ener- gy. . . Vigoro'so, vigorous, energetic. Vihue'la. Primitive form of the Spanish guitar. Villanci'co (Span.) A sacred vocal com- position resembling the English anthem, sung in Spain at the principal festivals of the Church. Villanel'la (It.) An Italian folk-song of the 16th century, differing from the Viola nlta. Viola tenore. artistic madrigal by simple harmoniza- tion and the more rustic, humorous, and sometimes loose character of the poem. Villarec'cio (It.) Rustic, rural. Vi'na. An ancient stringed instr. of the Hindus. The body is a section of bamboo, over which are stretched lengthwise 4 strings, tuned in the order dominant, leading-tone, tonic^ subdominant ; the 1 8 movable frets can be adjusted to coincide with any one of the Hindu scales. There are also 3 sympathetic strings. Two gourds, fixed at either end of the bamboo, act as resonance-boxes. Vina'ta(It.; dimin. vinet'ta.) A vintage song, or drinking-song. Vi'ol. (It. vio'la ; Ger. and Fr. Vio'le.) Name of a very ancient type of bow- instr., now obsolete ; the prototype of the violin tribe (but comp. Lira), from which it differed by having a fretted fingerboard, avariable number of strings (from 5 to 8 or- more, though the usual number for all sizes was six), and in the shape of the body. Both belly (usually) and back (always) were flat, the ribs high; the bouts nearly semi- circular, the sound-holes like lialf-cir- cles, and the upper half of the body narrow and pointed. The bridge being but slightly arched, and having to sup- port so many strings, those in the mid- dle could scarcely be touched separately with- the bow; this circumstance, how- ever, together with the number and peculiar tuning of the strings, greatly facilitated chord-playing, in which the violin is comparatively at a disadvan- tage. The tuning was as follows : Viola bassa. 1^ i^E^e :4= ^ )=,■=!= 3^ SE 1=«= wi^ w=l Wa ba (Treble viol.) (Alto or Tenor viol.) (Bass viol.) (Contrabass viul.) i.e. in fourths with one third midway. — The viols formerly held, in conjunction with the lutes, the position in the or- chestra now occupied by the violin, etc. , and were not fairly ousted by the latter till the beginning of the 18th century. The Bass Viol{i.e.in viol-shape, but with fewer strings) is, indeed, still found in England, though superseded elsewhere by the double-bass of violin- type. The violin first supplanted the treble viol ; gradually the larger violin- types were invented, with the above- mentioned result. During the transi- tion, the frets were gradually discarded. Vio'la (It.) I. The tenor violin. — 2. A viol ... V. alta, (a) treble viol ; hence {i) tenor violin (obsolete name) . . . V. iastai 'da, an enlarged viola da gam'ba, originally with 6 or 7 stopped strings, to which were added later an equal number of sympathetic strings stretched VIOLE— VIOLONCELLO. 221 beneath bridge and fingerboard . . . V. da brac'cio, " arm-viol" (hence Ger. Bra'tsche), a viol held on the arm while playing ; opp. Xo v. da gamba . . . V. da gamba, " leg-viol," a large viol held, like the 'cello, between the knees ; the bass instr. of the viol family. . . V. d'amo're(¥r. viole d amour) , atenorviol similar to the v. bastarda in stringing and construction, but of course smaller. ..V. da spalla, "shoulder-viol," a somewhat enlarged v. da braccio. . . V. di bardo'ne, see Barytone 2. . . V. pom- posa {violoncel'lo pic'colo), a large kind of violin inv. by J. S. Bach, midway in size between a tenor violin and 'cello, with 5 strings tuned C-G-d-a-e^ . . . Con- trabbas'so di vio'ia, see Viol. Vio'le (Ger.) Viol. Viole (Fr.) Formerly, a viol ; now, a viola... Viole d amour., see Viola da- more. , Violentaraen'te (It.) Violently, impet- uously. . . Violen'to, violent. Violet. The viola d'amore. (Sometimes English Violet.) Violette (Fr.) Small viola. Violet'ta (It.) Small viol. . . Violetta tnarina, a bow-instr. inv. by Pietro Castrucci, soli for which were written by Handel in Orlando and Sosarme. Violin'. (Ger. Violi'ne; Fr. violon; It. violi'no.) A 4-stringed bow-instr. of comparatively modern type (an im- proved viol*), and the leading orchestral instr.; constructed in 4 principal sizes (the so-called string-quartet of the or- chestra), with the following accordature: Violoncello. Double-bass. (written:) A description of the treble violin, the typical instr. of the family, will suffice for all its members. — The resonance- box, or body, is formed by a vaulted belly (bearing the bridge) and back, joined by narrow sides called ribs; the waist is the narrow middle portion be- tween the incurving bouts, at the corners of which, and also at other points with- in the body, are glued triangular pieces of wood called blocks, to strengthen the frame. Also inside, just beneath the treble foot of the bridge, is set a round wooden prop, the soundpost, placed there to resist the tension of the strings and to communicate their vibration di- rectly to the back ; the bass-bar further strengthens the belly. The curved apertures cut in either side of the belly are the f -holes, or sound-holes. At the bass of the body is the button, to which the wooden tailpiece is attached by a loop of gut ; from the tailpiece the strings are stretched across the bridge and over the fingerboard (which lies partly upon the neck and partly over the belly) to the nut, and thence each to a separate peg in the peg-box or head, which ends in the scroll. — The word violin is from the It. violino, a diminu- tive of viola, meaning literally ' ' small viol ". Violin-music is written in the G-clef {violin-clef). The strings are numbered 1234 from highest to low- est, because the highest string is that next the bow-hand. (Compare also Bom, Bowing, Position, Shift.)... Violin-clef, the G-clef . . . Violin-diapa- son, a diapason-stop of narrow scale and stringy tone. Violi'na. A metal flue-stop in the organ, generally of 4-foot pitch, of small scale and stringy timbre. Violinette. i. A kit. — 2. Same as violino piccolo. Violi'no (It.) Violin... K. di fer'ro, nail-fiddle. . . V.pic'colo, a violin smaller and tuned a fourth higher than the ordinary violin . . .V. pompo'so, a violin with an „ '-f^ ■ ■ V. primo (se- additional A . I :)■ condo). first (sec- string {c^ ^^ ond) violin. Violin'schliissel (Ger.) G-z\ei. Violiste (Fr.; formerly violier.) Viola- player. Violon (Fr.) i. Violin. — 2. The violin- diapason (organ-stop). Violonar (Fr.) Recent name for the double-bass. Violonaro (Fr.) Same as Octo-basse. Violoncel'lo (It.; Ger. VioloncelV ; Fr. violoncelle.) A 4stringed bow-instr. of *A. Hadjecki, in his essay on " The Italian Lira da braccio," contends very plausibly that the violin was derived, not from the viol, but from the lira da braccio. 222 VIOLONE— VOCALIZZARE. violin-type (see Violin), dating in its present form from the latter half of the i6th century. The word is a diminu- tive of violone, the It. augmentative of viola, thus meaning literally a "little big viol ". The 'cello, as it is familiarly called, required more than a century to become popular, taking at first very subordinate parts, whence its desig- nation, in many scores of the 17th century, as Basso or £ass. It slowly conquered the esteem of artists, and supplanted the viola da gamha, hke which it is held, for playing, between the knees, while firmly supported on the floor by its pointed /^^ or standard. Violoncello-music is written in 3 clefs A Y "JLjT 9 ^""^ convenience of no- ^^: S=z A= tation, and now invari- "iJ ably according to the actual pitch ; but the classic masters, who also frequently used the G-cIef in chamber -compositions, wrote the notes in this clef an octave higher than they actually sounded. . . Violoncello pic^ - colo, see Viola pomposa, Violo'ne (It., "great viol".) i. See Viol. — 2. In the organ, a stop on the pedal, of 16-foot pitch and violoncello- like timbre. Violoniste (Fr.) Violinist. Vir'ga. Same as Virgula. Virgil Practice-Clavier. A toneless keyboard instr. for mechanical ptte.- practice, in v. by A. K. Virgil, of New York, in 18S3 (see Techniphone), It differs essentially from the old dumb piano in 2 features : (i) The depres- sion, and also the release, of a digital produces a mild click like that of a tele- graph-key ; this furnishes a means for accurately timing the practice, for acquiring promptness of down-stroke and up-stroke, and for determining the different styles of touch (e. g. for the strict legato the click on depressing one digital exactly coincides with the release-click of the one preceding) ; (2) it affords, by a simple mechanical ad- justment, 6 gradations in the weight of the touch, from 2 to 20 ounces — i. e. from the very lightest pfte. -touch up to 5 times that of the average pfte. -action, or more than the heaviest organ-touch. Vir'ginal. A small kind of harpsichord : often written in the plural form as " a pair of virginals", signifying merely a single instr. (Comp. Pianoforte.) Vir'gula. One of the Neumes. Virtues' (Ger. ; fem. Vi riuo' sin.) I. A virtuoso. (Fr. virtuose.) — 2. Virtuose ; i. e., possessing or exhibiting the quali- ties of a finished artist ; also virtue' - senhaft. . . Virtuositrif, virtuosity. Virtuo'so,-a (It.; pi. virtuosi,-e.) A finished instrumentalist or vocalist. Vis-a-vis (Fr.) A harpsichord or pfte. having 2 opposed keyboards, for 2 players. Vi'sta (It.) Sight ; a (prima) vista, at (first) sight. Vi'stamente (It.) Briskly, animatedly. . . Vi'sio, lively animated. Vite(Fr.) Quick(ly). Viva'ce (It.) A tempo-mark which, used alone, calls for a movement equalling or exceeding allegro in rapidity ; when used as a qualifying term, it denotes a spirited, bright, even-toned style... Vivacemen' te , con vivacez'za, viva- men'te, con vivacith' , are terms nearly synonymous with vivace. . . Vivacis'- simo, with extreme vivacity, presto. . . Vivacet'to, less lively th^n vivace, about allegretto. Vive. See Vif. Viven'te (It.) Lively, brisk, animated. Vi'vido, vi'vo (It.) Lively, spirited. ( Vivace^ Vocal. Pertaining to the voice ; specifi- cally, proper for the singing-voice... Vocal cords, the 2 opposed muscles or ligaments set within the larynx, whose vibration, caused by the expul- sion of air from the lungs, produces vocal tones. . . Vocal glottis (Lat. rima vocalis), the aperture between the v. cords when they are approximated for the production of tones. . . Vocal music, music written for or executed by the voice, as a solo or with accompaniment . . . Vocal registers, see Voice. . . Vocal score, see Score. Voca'lion. See Reed-organ. Vocalisation (Fr.) The art of singing prolonged and sustained tones on vowels only . . . Vocaliser, to sing ac- cording to the rules of vocal art, using only the vowels a and e. . . Vocalises, vocal exercises or etudes, generally sung to the vowels, but also, in advanced etudes, to words. Vocalizza're, Vocaliz'zi (It.) Same as Vocaliser, Vocalises. VOCE— VOLUNTARY. 223 Vo'ce (It., pi. voci.) Voice ; part. . .V. ange lica, vox angelica. . . V, bian'ca ("white voice"), term applied to the voices of women and children, and to the tones of certain instr.s of similar quality... K, di ca'mera, a voice of comparatively slight volume . . . V. di go' la, throaty or guttural voice. .. V. di ^et'to, chest-voice... K. di ripie^no, a ripieno part (see Ripieno) ...V. di ie'sta, head-voice. . . V. grani ta, a powerful, round voice. . . V. pasto'sa, a full, soft, flexible voice . . . V, principa'le, leading part... V.spicca'ta, a voice characterized by clear enunciation . . .A due {tre) voci, for 2 (3) parts, voices ; in 2 (3) parts. . . CoUa voce, see Col canto. . .Messa di voce, see Messa... Mezza voce, sottovoce, see Mezza, Sotto. Vo'ces (Lat.) Plural of Vox. Vo'gelfl6te,-pfeife (Ger.) A bird-call, like that played on by Papageno in The Magic Flute. . . Vo'gelgesang, a merula, or set of small pipes standing in water, the passage of the wind through the latter producing si "war- bling" tone. (Also Vogelsang^ Voice, (Lat. vox; It. vo'ce; Fr. voix; Ger. Stim'me, specifically Sing'stimme.) For the several classes of the human voice comp. Soprano, Mezzo-soprano, Contralto, Tenor, Barytone, Bass. — The word voice is often made synony- mous with " part", in imitation of for- eign usage ; the practice cannot be recommended. . .Vocal registers. There is hardly any subject on which opinions are more irreconcilably op- posed, than this ; but if we accept E. Behnke's definition (in his treatise : " Mechanism of the Human Voice") of the term register — "a series of tones which are produced by the same mech- anism" — we arrive at his conclusion ; namely, that there are 3 principal vocal registers in the female voice, and 2 in the male, the chief " break" occurring in both at -ft — ^^ — — (This is the the tone ^ J °'^"^ ~" transition from y or/"'Jf tJ ^~ " chest" - voice to falsetto in tenor voices.) The second principal break in the female voice occurs an octave higher at In bass' and bary- i>^ In tone voices, the chief ^•~r=5?~1 — ~ . ten- break occurs at ors, also, there is a break at this point. (Gjmp. the above-mentioned treatise.) Voice-part. i. A vocal part [Grove, II, p. 526*, 1.17 ; and IV, p. 491}, 1.15 ; E. Prout, " Harmony", p. 58, 1.7.] — 2. A part. [An awkward and equivocal neologism.] Voicing. Tuning, or regulating the pitch and tone of, an organ-pipe. Voil6e (Fr.) Veiled. Voix (Fr.) Voice ; part . . .V. angdique, vox angelica. . . V. celeste, an organ- stop with 2 ranks, of the unda maris type. . . V. depoitrine, chest-voice. .. V. de tHe, head-voice. . . y. humaine, vox humana. . .A deux (trois) voix, tor 2 (3) voices ; in 2 (3) parts. Vokal' (Ger.) \oc3.\. . . Vokal'musik, vocal music, with or without accomp. . . Vokal' stil, a cappella style ; vocal style. Volan'te (It., "flying".) Light, swift. Vola'ta (It.; Ger. Vola'te; Fr. Volatine.) A short vocal run, or trill ; a run, or division ; a light and rapid series of notes. . .JDimin. volati'na. Volks'lied (Ger.) Folk-song. . . Yolks' - t{h)umlich (Ger.), in a style character- istic of or imitating that of the (Ger- man) folk-song, or popular music in general ; opp. to Kunstlied. A volks'- thiimliches Lied is a product of art in the style of the folk-song. .. Volks'ton, im, in the style — having the general character — of a folk-song. (It. i/i mo'dopopola're.) . . . Volks'ieieise, same as Volkslied. Voll (Ger.) Full. .. Vol'les Orche/ter, full orchestra ; vol'les Werk, full or- gan ; init vol'lein Cho're, with full chorus... Vollgriffig {"With full hands"), in full chords or harmonies . . . Voll'kom- men, perfect(ly). . . Voll' stimmig, (a) in full harmonies ; (b) for many parts, poly- phonous. [ Voll frequently occurs as a suffix with the sense of the Engl, -ful ; e- g-> gedan'kenvoll, thoughtful(ly), stim' mungsvoll, full of (characteristic) expression ; etc.] Vol'ta (It.) A turn or time. . .Prima volta (or /ma volta, /ma, /a., /.), first time; secunda volta [or //da volta, etc.), second time ; una volta, once ; due volte, twice. Volteggian'do (It.) Crossing hands (on a keyboard); from volteggia're. Vol'ti (It.) "Turn a^exX' . . .Volti su'bito [V. S.], "turn over instantly". Volubilmen'te (It.) Fluently. Vol'untary. An organ-solo before, dur ing, or after divine service; also oc: 224 VOLUTA— WARBLER. casionally applied to an anthem or other choral piece opening the service. Volu'ta (It.), Volute (Fr.) Scroll. Vom (Ger.) From the. . . Vom An' fang, ^da capo; vmn Blat'te ("from the page"), at sight. Voraus'nahme (Ger.) Anticipation. VorTjereitung (Ger.) Preparation. Vor'dersatz (Ger.) First subject or theme ; fore-phrase [Prout]. Vor'geiger (Ger.) Leader, ist violin. Vor'halt (Ger.) Suspension . . . Vor'halts- losung, resolution of a suspension. Vor'her (Ger.) Before, previous(ly). Vor'ig (Ger.) Preceding, previous ; as vor'iges Zeifmass, =tempo primo. Vor'sanger (Ger.) Precentor. Vor'schlag (Ger.) Collective name for the various forms of the accented ap- poggiatura ; opp. to Nach'schlag, or unaccented appoggiatura . . . Lang'er (Jiur'zer) Vor'schlag, long (short) ap- poggiatura. Vor'setzzeichen (Ger.) Chromatic sign. Vor'spiel (Ger.) Prelude, introduction ; overture. Vor'trag (Ger.) Rendering, interpreta- tion, performance, style, delivery, exe- cution . . . Vor" tragsbezeichnung, Vor'- tragszeichen, expression-mark ; tempo- mark. Vor'zeichnung (Ger.) Signature. Vox (Lat., pi. vo'ces; see below). Voice. . . Vox ange'lica (angelic voice), a 4- foot organ-stop corresponding to the 8- foot vox huma'na . . . Vox antece' dens (con'sequens), the antecedent (conse- quent). . . Vox huma'na (human voice), an 8-foot reed-stop in the organ, the tone of which has a [fancied] resem- blance to the human voice ; a solo stop, usually drawn with the tremulant. — Also occurs, especially in Italy, as a flue-stop, and occasionally in 2 ranks, one of reed-pipes, the other of flue- pipes ... Ki^j; virginea, same as Vox angelica. . . Vo'ces cequa'les, equal voices. . . Vo'ces Areti'niE, the Aretinian syl- lables. . . Vo'ces bel'giciB, the Belgian solmisation-syllables bo ce di ga lo ma ni bo. Vue (Fr.) Sight ; a premihre vue , prima vista. Vulga'ris (Lat.) In the organ, a flute- stop, tibia being implied. Vuo'to,-a (It.) Open ; as corda vuota, open string. w. W (as a double V, in Fr. usage). Marks violin-parts copied from a score. Waits. [Also Waytes, Wayghtes, etc.] Originally, a class of street-watchmen in England, who gave notice of their approach by sounding horns or other instr.s. The name then appears to have been transferred to town-musicians, and still later to various irregular bands of indifferent music-makers, in which latter application it is not yet obsolete. — Whether the instr. chiefly affected by these musicians (a species of shawm or oboe) derived its name from them, or vice versa, is a moot point. Wald'flote (Ger., "forest flute" ; Lat. tib'ia silves'tris.) In the organ, an open metal flute-stop of broad scale and usually of 2 or 4-foot pitch, having a suave, full, resonant tone. Wald'horn (Ger.) The French horn without valves. {Also Jagd' horn, Na- lur'horn.) Waltz. (Ger. Wal'zer; Fr. valse; It. valzer.) A round dance in 3-4 time, and in tempo varying from slow to moderately fast, — from the primitive Ldndler and ordinary German waltz up to the sprightlier trois-temps (ordinary waltz) and deux-temps (rapid waltz). The steps of these waltzes vary thus : Slow German I. r. r. 1. rr c? r rz' Ordinary Waltz ) , (trois temps, W' Wiener Walzer) ) " Quick waltz \ ; [ (deux-temps, >■ ^ P T Zweitritt) ) *' ' The origin of the waltz is variously ascribed to Bohemia, Germany {Ldnd- ler), and France {volte). . . Waltz is also the title of numerous effective instru- mental pieces in triple time, but not meant for dance-music . . . Waltz-song, a song in waltz-rhythm. Wal'ze (Ger., "roller "). An undulating figure (see Rolle). Wan'kend (Ger.) Wavering, hesitating. Warbler. On the bagpipe, a term ap- plied to various forms of melodic em- bellishment (graces). WARME— WIRBEL. 225 War'me (Ger.) Warmth ; mit gn'sser IVarme, with great warmth. Was'serorgel (Ger.) Hydraulic organ. Waste-pallet. See Valve. Water-organ. Hydraulic organ. ■Wayghtes. See Waits. Weak accent, beat, pulse. See Accent. Wech'selgesang (Ger.) Antiphonal (responsive) singing or song . . . Wech'- selnoie, changing-note. 'Weh'mut(h) (Ger.) Sadness, melan- choly. . . lVeh'inut{h)iff, sad, mournful, melancholy. (Also adverb.) "Weich (Ger.) i. Soft, tender ; mellow, suave (also adverb). — 2. Minor. Weight of wind. The tension of the compressed air supplied by the organ- bellows to any stop or group of stops ; the mean pressure raises a column of water in a U-tube to the height of about 3 inches, hence the technical ex- pression "an inch "or "two inches" of wind ; a stop is said to be " voiced on a 3, 6, or lo-inch pressure," etc. "Wei'nend (Ger.) Weeping. Wei'sse Note (Ger.) A "white," or open, note. Weit (Ger.) Broad ; open (of harmonies). ■Wel'le (Ger.) Roller (organ) ... «^^//- atur', system of rollers. . . IVel'lenbrett, roller-board. "Well-tempered. In equal, and conse- quently satisfactory, temperament ; as J. S. Bach's Well-tempered Clavichord (Ger. Wohl' temperirtes Clavier'). 'We'nig (Ger.) Little ; ein klein wenig lang'samer, a very little slower. 'Werk (Ger.) In the organ, (a) the set of stops controlled by one keyboard ; (iJ) a stop or register. Wert(h) (Ger.) Value, time-value. We'sentlich (Ger.) Essential. .. ff/- sentliche Dissonanz' , a dissonant chord- tone, in contradistinction to a disso- nance produced by a passing or chang- ing-note. Wet'terharfe (Ger.) .^olian harp. Whistle. The smallest and most prim- itive type of instr. with a flageolet or flue-pipe mouthpiece. Comp. Picco- pipe. AVhite keys. The continuous lower row of digitals on a keyboard ; formerly they were black, the now black keys then generally being white . .• . While note, one having an open (not solid) head („ J). Whole-note. See Note. . . Whole shift, see Shift. . . Whole step, (a) a step of a whole tone ; {b) a whole tone . . . Whole tone (Ger. Cans' ton ; Fr. ton plein ; It. tono intero), see Interval. Wie (Ger.) As. . . Wie o'ben, as above ; ■wie vor'her, as before, as at first ; wie aus der Fer'ne, as from a distance. Wie'der (Ger.) Again . . . Wie'dergabe, performance, production, rendering, in- terpretation, reading. . . Wiederher'stel- lungszeichen, see Auf'losungszeichen. . . Wiederho'lung, repetition ; W.s- zeichen, repeat. Wiegenlied (Ger.) Cradle-song, lulla- by ; berceuse. Wind-band. i. A company of per- ^formers on wind-instr.s. — 2. The wind- instr.s in the orchestra ; also, the per- formers on, or parts written for, the same. . . Windchest, see Organ . . . Wind- ■ gauge, an apparatus for measuring the wind-pressure in the windchest of an organ. It consists of a twice-bent glass tube, having water in the U-shaped end, the other end being fixed in a socket ; on setting the socket in a hole in the soundboard, and letting the wind on, the water rises in the outer arm of the U-shaped tube, indicating the wind- pressure by the height in inches to which it is forced. (Comp. Weight.) . . . Wind-instruments (Ger. Blas'in- strumente ; Fr. instruments h vent ; It. stromen'ti da fia'to), instruments, the tones of which are produced by wind (i. e. compressed air), the vibrations excited in the latter being transmitted to an air-column enclosed in a tube (e.g. an organ-pipe, or any orchestral instru- ment blown by the mouth), or directly to the open air (e. g. free reeds without tubes). The vibrations of the wind are excited (a) by its impinging on a sharp edge (flageolet, flute, organ-pipe), (b) by the interposition of a vibratile reed (cla- rinet, oboe, reed-pipe), or (c) by the vibration of the player's lips (horn, trumpet, trombone). (Comp. art. In- struments.). . . Windtrunk, see Organ. Windharfe (Ger.).^olian harp. . . Wind'- kasten, windchest. .. Wind' lade, sound- board (organ) . . . Wind' wage, wind- gauge. Wir'bel (Ger.) 1. Peg; Wir'belkasten, 226 WOHLTEMPERIRT— ZARZUELA. peg-box. — 2. Roll (on a drum). — 3. Same as Schlagel, the more usual term. Wohl'temperirt (Ger.) See Well-tem- pered. Wolf. I. A discord induced in certain keys, on keyboard instr.s (especially the organ), by inequality of tempera- ment, such as was inherent in the so- 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 particular tone or tones, and is pre- sumably due to some defect in the build or adjustment of the instrument. Wolf (Ger.) Wolf; specifically, the 12th 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 them. ^ Working-out. Same as Development. Wrest. A tuning-hammer. Wrestblock, Wrestplank. See Piano- forte. Wuch'tig (Ger.) Weighty, weightily, ponderous(ly), with strong emphasis, risoluto. f 'Wiir'de (Ger.) Dignity ; mit W., or wur'- devoll, dignified. Wii'thend (Ger.) Furious, frantic ?/«- X. Xanor'phica, (Ger. Xanor'phika.) A variety of the piano-violin, and the most complicated of all, there being a separate bow for each string ; inv. by K. L. Rollig of Vienna in 1797. Xylharmon'ica. (Ger. Xylharmo'nikon). A keyboard instr. inv. by Utho of San- gerhausen in 1 810, and resembling Chladni's Euphonium, but with wooden wands instead of glass rods ; an im- proved Xylosistron. Xyl'ophone, (Lat. lig'neum psalte'ri- um; Ger. Stroh'fiedel, Hoh'harmo- nika, Holz'- und Stroh' instrument, hol'zernes Geldch'ter; Fr. clajuebois, ichelette , patouille , xylors^anon; It. gige- li'ra, sticca'do) A very ancient and widely disseminated instr. (Europe, Africa, America) , consisting of a diaton- ically graduated series of flat wooden bars adjusted horizontally upon 2 cords (which are sometimes made of twisted straw), and played on with 2 mallets ; a wooden dulcimer, capable of pleasing effects in the hands of a skilful player. Usual compass 2 octaves, or a little more. Xylosis'tron. The parent instrument of the xylharmonikon ; inv. by Utho in. 1807. Yang Kin (Chinese.) A Chinese instr. resembling the dulcimer, with brass- strings. Yodel, Yodler. English spellings of jodeln, jodler. Za. Former syllable-name for B\}, in solmisation. Zahlen (Ger.) To count; zahle, count... Zahlzeit, a count. Za.le'0. Seejaleo. Zampo'gna (It.) 1. Bagpipe. — 2. Shawm. Zapatea'do (Span.) A Spanish dance, in which the dancers mark the rhythm by stamping. Zap'fenstreich (Ger.) The tattoo. — The gro'sser Zapfenstreich is an impo.sing mus. finale of a military review, com- mencing with a grand crescendo roll on the drums of the combined regimental bands. — The Z. was originally a blow (Stretch) struck on the bung {Zapfen) of the cask of beer or wine, signifying that drinking in camp must cease for the night ; hence, a musical signal to drive the bung into the bung-hole, to attain that end. Zaraban'da (Span.) Saraband. Zar'gen (Ger., pi.) Ribs. Zart (Ger.) Tender, soft, delicate ; slen- der. . .Mitzar'ten Stim'men, with soft- toned stops. . .Zartfflote, in the organ, a 4-foot flute-stop of very delicate in- tonation, the pipes having, instead of the block, a windway reaching up from the foot, and directed against the upper lip. Zart'lich (Ger.) Tender(ly), caressing(ly). Zarzue'la (Span.) A two-act drama with incidental music, resembling a vaude- ville ; so called because first performed in the royal castle of Zarzuela, in the. 17th century. 2EFFIR0S0— ZOPPO. 227 Zeffiro'so (It.) Zephyr-like. Zei'chen (Ger.) A sign. Zeit (Ger.) Time. Also, same as Takt- teil. . . Zeit'jnass, tempo ; im ersten (or vor'igen) Zeitmass, = tempo primo... Zeifmesser, metronome. . .Zeit'wert{h), time- value. Zelosamen'te (It.) Zealously, enthu- siastically. . .Zelo'so, zealous, enthusias- tic, ardent ; marking passages to be performed with energy and fire. Also con ze'lo. Zerstreut' (Ger.) Dispersed, open. Zieh'harmonika (Ger.) Accordion. Ziem'lich (Ger.) Somewhat, rather. Zier'lich (Ger.) Neat, delicate ; grace- ful, elegant. (Also adverb^ Zif'fer(Ger.) Y\^wxe...Bezif' fert, figured; Bezif'ferung, figuring. Zigeu'nerartig (Ger.) Gypsy-like... Zigeu'nermusik, Gypsy music. Zim'balon. An improved dulcimer much employed in Hungarian music, provided with dampers, >* P r o - and having a 1 •.. Or \ longa- chromatic scale S^ l/TO) ~ " tio" of of 4 octaves : -^ \) a tone is obtained by its rapid reiteration, marked p. Zim'belstern (Ger.) A sort of toy-stop in some old organs, consisting of a star hung with little bells, placed con- spicuously in front of the organ, and caused to sound by a current of air controlled by a draw-stop. ^ ^^ ^^^^ a^^^g Zingare'sca (It.) A Gypsysong or dance; specifically, a song sung by maskers during the Carnival. Zingare'sco,-a (It.) Pertaining to Gyp- sies, Gypsy-like ... ZzKfrtr^'j^, alia, in Gypsy siy\e. . .Zi'ngaro,-a, a Gypsy; alia zi'ngara, in Gypsy style. Zin'ke (Ger.; It. cornet' to). (Also Zink, Zinken.) See Cornetto. Zir'kel (Ger.) Circ\&. ..Zir'ke I kanon, infinite canon. Zi'ther (Ger., pron. tsifter; Engl. pro. nun. zith'er.) [The Ger. Zither is a very diflferent instr. from the old Engl, cither or cittern; to prevent confusion, it would be well to adopt the Ger. spelling for the modern instr.] — l.i^Schlag zither , i.e. plucked zither^ The zither, as developed from the primitive peasant- instr. of the German Alps, has 32 or more strings stretched over a shallow wooden resonance-box, which is pro- vided with a soundhole, and bears a bridge near the right end and a fretted fingerboard on the side next the player. Above the fingerboard are 5 melody- strings .stopped by the left hand, tuned ' I I <^y p -|— the 2. A's be- i ~J^-^SS-| — y.i ; ing steel, the D • brass, the G steel silver-covered, and the C brass copper-covered. These 5 are plucked with a metal or tortoise-shell ring worn on the right thumb and having a pro- jecting spur. The accompaniment- strings, tuned in fourths as follows : ^i==t ^=f=^T^^^, =1= «• are plucked by the fore-, middle, and ring-fingers of the right hand, the lit- tle finger resting behind the bridge to steady the hand. They are of gut, or covered silk, variously colored to guide the player's eye and fingers. The 3 ordinary sizes of zither are the Treble Zither i^Prim' zither), Concert-Zither, and Elegie^ -Zither (also called Alt- or Liederzither, and tuned a fourth be- low the Prim- and Concertzither). — 2. {Streich'zither, i. c. Bow-zither.) The earlier bow-zithers were heart- shaped ; of the newer ones, the Viola- Zither has the form of a viola, while the Philomhle has a more pointed body and shallower bouts ; they are varieties of the viol, with short neck, fretted fingerboard, and 4 strings in violin-tuning, the E and A of steel, the D of brass, and the G of silk silver- covered ; but the bow-zither is held quite differently from the viol, its head being furnished with a little foot which rests on the edge of the table before the player, who holds the body in his lap. Zit'ternd (Ger.) Trembling, tremulous. Zo'gernd (Ger.) Hesitating, lingering, retarding. Zolfa'(It.) Sol-fa. Zop'po,-a (It.) "Halting, limping''. — Alia zoppa, syncopated ; as the rhythm I J J J I J J J i ^1^0 applied to Magyar music with the rhythm : 228 ZOULOU— ZWdLF. tJ'.J^iJ'.\J'.J^i\j'.J^J^J'.\J^J' J^J Zoulou (Fr., "Zulu".) A style of pia- nette. Zu'falHg (Ger.) Accidental(ly) . . . Zm'- fdlliges Versef zungszeichen, accidental. Zuf'folo (It.) A small flageolet, such as is employed in training singing-birds. (Also Zu'folo.) Zug (Ger.) I. Same as Regis' terzug. — 2.' A pedal (pfte.)— 3. A slide (of a trom- bone, etc.). . . Zu^trompete, slide-trump- et .. . Zug'werk, tracker-action (in the organ). Zu'kunftsmusik (Ger.) Music of the future ; a term first used (according to R. Wagner) about 1850, by Dr. L. Fr. Chr. Bischoff, in a satire on Wagner's essay upon " The Art-work of the Future" [Das Kunstwerk der Zu- kunft]. The word has been adopted, by enthusiastic disciples of the neo- German cult, as an epithet of distinc- tion, with the meaning " music with a future " — a definition whose correctness can hardly be successfully disputed. Zu'nehmend (Ger.) Increasing, cre- scendo, Zung'e (Ger., "tongue"). Reed... Zung' enpfeife , reed-pipe . . . Zung'en- siimme, reed-stop. . . Zung'enwerk, ' ' the reeds," reed-stops of the organ, con- sidered collectively. . . Auf schlagende Zunge, beating reed ; durch' schlagende Zunge, free reed. . .Dop'pehunge, etc., see Tonguing. Zuriick'halten (Ger.) To retard. . .Zti- riick'haltend, ritardando . . . Zuruck^- kaltung, retardation . . . Zurilcl^schlag, same as Ribattu'ta. Zusam'men (Ger.) Together, simultane- ous(ly); bei'de Cho're zusammen, both choruses (choirs) together. . .Z«ja»«'- menklang, a sounding together, simul- taneous sounding of 2 or more tones ; a "solid" chord. . .Zusam'inengesetzt, combined, compound ; zusam'menge- setzte Takt'art, compound time... Zusam' menschlag, acciaccatura . . . Zu- sam'menspiel, playing together ; en- semble-playing. . .Zusam'menstreichen, to slur (either by means of the sign called a slur, or by joining the hooks of hooked notes); Zusam' menstreichung, slurring. Zwei (Ger.) T^o. . .Zwei'chorig, for 2 choruses (or divided chorus) . . . Zwei'- fach, (a) double, as counterpoint ; (1)) in 2 ranks, as organ-stops ; (c) com- pound, as vaXexya^s,. . .Zwei'fussig, 2-foot. . . Zwei'gesang, a duet. . . Zwei'- gestrichen, see Gestri'chen ■ . . Zwei'- halbe Takt, 2-2 tirae. . .Zwei'handig, for 2 hands . . . Zwei'stimmig, for 2 voices ; in or for 2 parts . . . Zwei'tel {-note), a haii-note. . .Zwei'tritt, see Waltz. . . Zweiunddrei' ssigstel {-note), a 32nd-note . . . Zweivier' teltakt, 2-4 time. . . Zwei' zdhliger Takt, duple time . . . Zweizwei' teltakt, 2-2 time. Zwerch'fiote, Zwerch'pfeiff (Ger.) The cross-flute, or German flute. Zwisch'en (Ger.) Between, intermedi- ate . . . Zwisch' enakt, an entr'acte ; Zwisch'enaktsmusik, act-tune(s) . . . Zwisch' enharmonic , see Zwisch' ensatz, . . Zwisch' enraum, space. . .Zwisch' en- satz, episode . . . Zwisch' enspiel, inter- lude, intermezzo. Zwit'scherharfe (Ger.) See Spit/harfe. Zwblf (Ger.) Tyielvn. . .ZwSlfach' tel- takt, 12-8 tivas. . .Zwolf'saiter, see Bissex. APPENDIX OF ADDITIONS AND CORRECTIONS APPENDIX. (An asterisk * refers to an earlier article in body of Dictionary.) A. Abbandonan'dosi (It.) Yielding wholly to emotion ; with a burst of passion. Abbandona're (It.) To leave, to quit ; sen'za abbandona're la cor'da, without quitting the string. •Abbreviations. Add to former list : c.f. Canto fermo ; cantus iirmus. Div. Divisi, divise. incalz. Incalzando. Mov'°, Movimento. ovv. Ovvero. po' poco. A'bendunterhaltung (Ger.) Pupils' con- cert (in a music-school ; given for en- semble-practice or quasi public per- formance). (Also Ubungsabend.) Ab'langen [eines Tones] (Ger.) Taking [a tone] by extension (in violin-tech- nic). Ab'schleifer (Ger.) Staccato-dash (M). Accenta'te (It. ; plural form of accenta'ta, "le note" being implied.) i. Ac- cented, marked. — 2 (imperative, pi.). Accent ! Emphasize ! Accentua're (It.) To accent . . . Acceniu- an'dOy accenting. . .Accentua'io,-a, ac- cented. Accessit (Fr.) Honorable mention. Accord'zither (Ger.) See Zitherharfe. .^o'lian. A reed-organ of the American type, the air being drawn through the reeds. It has a keyboard, and may be played like an ordinary organ ; but its distinguishing feature is a mechanical arrangement for executing music with- out using the keyboard. Motive-power and wind are supplied by two pedals (treadles) worked by the feet ; the time- value of the notes is controlled by per- forations in a gradually unrolling sheet of paper, the music-roll ; the tempo is regulated by a stop called the Motor j and the expression is regulated (a) by the pedal-movement, {Ji) by two knee- swells, and (<:) by the registration. In the largest instr.s there are ten speaking stops, and a. Tremolo. The yEolian is remarkable, not merely for extreme technical precision, but for the great variety and artistic finish of musical ef- fects, both tempo and expression being wholly at the player's command. — The "yS(;/;a» " and the keyboard (which has 4 independent stops) may also be played together, the keyboard being used to play an accompaniment to the /Eolian. The instr., which is the product of long evolution, became known under its pres- ent name about the year 1883, in New York. Its repertory includes all classes of music, and at present (1900) com- prises about 20,000 numbers. It has a scale of 58 semitones (the keyboard has 6 octaves) ; and all its music-rolls also fit the Pianola (g.v.). Affretta're (It.) To hasten, to accelerate. . . Senza affrettare, without hastening. A fior' di lab'bra (It.; Fr. au bout des Ikvres ; Ger. gehaucht.) Very lightly and softly sung or spoken. Aggiun'to,-a (It.) Added, interpolated. . . .Arie aggiunte (pi.), airs interpolated in an opera, etc., to which they did not originally belong. Air coup6 (Fr.) An air of set form. Album-leaf. (Ger. Albumblatt; Fr. Feuil- let d' album; It. Pagina d' alburn^ Title of a short and (usually) simple vocal or instr. 1 piece. Alexandrine verse. "An iambic hex- apody, or series of six iambic feet. — ■ French Alexandrines are written in couplets, alternately acalectic with mas- culine rimes and hypercatalectic with feminine rimes . . . The cesura occurs at the end of the third foot. The second line of the following extract is an ex- ample : * A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along.' — (Pope.)" [The Century Dict.] Allarga'te (It. ; imperative.) Slower and broader. Amu'sia. Loss of the musical faculty. [British Medical Journal, Dec. 22, 1894.] 232 ANCORA PIANO— BASSHORN. Anco'ra pia'no (It.) Still [sing or play] softly; &r^vi, to sempre piano, Andati'do (It.) Same as Andante. An'denken (Ger.) Recollection, souvenir. *A'ninia (It.) 3. Core (of a covered string). A par'te (It.) Aside ; e.g., sottovoce a parte. *Aper'to,-a (It.) Open (of organ-pipes). Appe'na (It.) Hardly, very little ; ap- pena animando, a very little faster ; ap- pena meno, a trifle slower, Appoggiamen'to (It.) Ciiin-rest. Appuyer (Fr.) To sustain. A quat'tro par'ti (sole) (It.) For four (solo) parts. Arched viall. [Bovy-viol ?] Pepys' Diary (Oct. 5, 1664) describes this instr. as "being tuned with lute strings and played on with keys like an organ ; a piece of parchment is always kept mov- ing, and the strings, which by the keys are always pressed down upon it, are grated in imitation of a bow, by the parchment ; and so it is intended to re- semble several vialls played on with one bow, but so basely and so harshly that it will never do. But after 3 hours' stay it could not be fixed in tune, and so they were fain to go to some other musique of instruments." Arcichitar'ra (It.) A modern Chitar- rone. Ardo're, con (It.) With ardor, warmth. *A'ria (It.) Aria d'entra'ta, the first air allotted to a leading singer (in opera) on entering the stage. . .Aria di sorti'- ta, an air, at the conclusion of which the singer makes his exit. [The Sor- iita is, however, also the name for the first number sung by any of the leading characters in an opera].. .Arieaggiun'- te, see Aggiunto. . .Aria also signifies wind (in the organ, etc.). *Ariet'ta alia venezia'na (It.) Little air in "Venetian" style; i.e., a bar- carola. Arietti'na (It.) A brief or trifling ari- etta. Arraag'gio (di corde) (It.) Set of strings. (Also Montatura.) Ascenden'te (It.) Ascending. Aspirant' (Ger.) A young musician in an orchestra, on half -pay, "aspiring" to full membership. A'spro,-a (It.) Harsh, rough. Assie'me (It.) Same as Ensemble. . , Pezzo d'assieme, a concerted piece. Astuc'cio (It.) Music-roll, music-case. Auda'cia, con (It.) With boldness. Auf'hebungszeichen (Ger.) The " can- cel" or natural (Ij). Auf'legestiramen (Ger.) The separate parts of an orch.l composition, to be " laid on " the music-desks. Auf'loser (Ger.) The "cancel" ornatu- ral (tl). Auf'schwingend (Ger.) Soaring(ly), im- petuous(ly) ; con inipeto. Auf'schwung (Ger.) Lofty flight, soar- ing impetuosity ; mit A., in a lofty, im- petuous, impassioned style. Aus'gefiihrter Choral' (Ger.) A " worked out " choral ; a choral with free counter- point ; or, with contrapuntal working- out ; or, contrapuntally worked out (de- veloped). Aus'stattungsstiick (Ger.) Spectacle, spectacular play or opera. Autoar'pa Wagner (It. ; " Wagner Au- toharp.") An improved autoharp {Ak- kordzithei') inv. i8g6 by E. Glasel of Markneukirchen, the mechanism of which permits playing in any of the ordinary keys. Autre (Fr.) Other; another, different. Avec arae (Fr.) Same as con aninia. Avec le chant (Fr.) 'r,SLra& bs col canto. A volont6 (Fr.) 'a&va^ as, a piacere. B. Babillage (Fr.) Babbling, chatter. Badinerie (Fr.) Same as Badinage. Bagatel'la (It.) Bagatelle. Baglio'ra (It.) Flash of light ; title for a swift, light and piquant composition. Bala-aceVla. (It.; Fr. ialancelle.) Apiece of music imitating the easy rocking of a sailboat. Baldamen'te (It.) Boldly. *Ballabi'le (It.) 2. Ballet-music. Ballatel'la (It.) A short ballad. Bassanel'lo (It.) i. An obsolete wood- wind instr. allied to the bassoon, with double-reed in a conical mouthpiece carried by an S-shaped crook. — 2. A 4-foot or 8-foot reed-stop in old organs. *Bass'horn (Ger.) A wood-wind instr. BASSIST-CAPOPHONE. 233 inv. byFrichat in 1804, and already ob- solete, allied to the Serpent, but with a brass bell, and a cupped mouthpiece on an S-crook. Compass 4 octaves (C to c'). Bassist' (Ger.) Bass singer. *Bas'so (It.) 3. An 8-foot pedal-stop on the organ. Basso'ne (a lingua) (It.) A 16-foot reed-stop on the swell-organ. *Bassoon (compass). The ^i below ^ijj is occasionally used (Raff). Bavardage (Fr.) Chatter, tittle-tattle. Bel canto (It.) The art of beautiful song, as exemplified by the finest Italian singers of the i8th and 19th centuries, and their pupils or imitators. The term is used especially in contradistinction to the ' ' declamatory " style of dramatic vocalism brought into such prominence by Wagner. Bien chants (Fr.) Same as mo/io can- tabile. Biril'lo (It.) Peg. Block (verb). A hammer in the piano- forte-action ' ' blocks " when it remains against the string after impact, instead of recoiling, thus "blocking" (deaden- ' ing) the tone. Blue'te (Fr.; "spark,"' "flying spark- let.") I. A light, playful comedietta. — 2. Hence, a light, sparkling piano- piece of no fixed form. Botto'ne (da cordie'ra) (It.) Button (on the violin). Bouts [pi.]. The incurvations on either side of instr.s of the violin-type, form- ing the "waist." *Bridge. A violin-bridge with 4 feet has been inv. (1894) by Edwin Bonn, of Brading, Isle of Wight ; one foot under each string. Bris6, le (Fr.) In violin-technic, short, detached strokes of the bow. Budel'lo (It.) Gut. (Also mimtgia.) Bu'co (It.; pi. bu'chi.) Finger-hole (of a mus. instr.). Biih'ne (Ger.) Sidige. ..Buh'nenmusil^', {a) dramatic music ; {b) music played on the stage. Bun'te Rei'he (Ger.) The phrase means, literally, the alternation, in a company seated at table, "of a lady with a gen- tleman ; hence, as a mus. title, a series of contrasted characteristic pieces. c. C. In recent Italian music " i C." and " 3 C." are abbreviations of " una cor- da " and " tre corde " respectively. Cade're (It.) To fall. — Cadenza (ca- dence) means literally a "falling back " to the tonic from the dominant ; Beet- hoven uses the word jocularly, in the phrase "Cadenza ma senza cadere" . (heading his Cadenza No. I to the 1st movem. of the G-major Pfte.-Concerto), which may be translated : " Fall back, but don't fall down.' ' Cahier (Fr.) Book. Camor'ra (It.) Paid claqueurs in Italian theatres. Campagnuo'lo,-a (It.) Pastoral, idyl- lic ; rustic. Campes'tre (It.) Pastoral, rural, idyllic ; as danza cavipesire, Cano'nico,-a (It.) In canon-form. Canticchian'do (It.; Fr. en fredonnant^ Trilling, warbling ; humming. *Canti'no (It.) ^-string. (In mercan- tile Italian the strings of the violin are named cantino^ seconda^ terza and quarta^ *Canto, written in a score over the blank part for any instr. , means that the latter is to play in unison with the vocal (or melody-bearing) part. — Written over an instr.l part, it signifies that at that point the vocal melody reenters after a ritournelle or interlude. Capo-bao'da (militare) (It.) Band- master. Capoco'mico,-a (It.) See Striese. *Capo d'astro. [An English corruption of capotasto.\ In the pianoforte, the "capo d'astro bar" is a transverse metallic bar placed above the strings near the wrestplank. Its name is derived from the fact that it bears down on the strings of the three highest octaves (more or less), and is supposed to add to the brilliancy and carrying- power of their tone. It is, however, not removable, like a real capotasto, but fixed. Capo-mu''sica (It.) Conductor ; band- master. Capo-orches'tra (It.) Conductor of an orchestra. Capophone. A set of musical glasses inv. by M. F. Coelho, on which he produced remarkable effects. 234 CARATTERISTICO— CORTO. Caratteris'tico,-a (It.) Characteristic. ...Pezzo caratteristico, characteristic piece. Cas'sa (It.) Body (of violin, etc.). *Catch. (It. cac'ce^ from cac'cia, a chase.) The term occurs as early as the 14th century, in a composition by Fr. Lapdino. [Cf. Ambros, " Ge- schichte der Musik," vol. iii, p. 470.] Causerie (Fr.) Chat, conversation. Cavi'glia (It.) Peg. Cello'ne. A bow-instr. intended to replace the 'cello (in conjunction with the Violotta [q. w.]) in the string-quar- tet. In dimensions it resembles the 'cello, but the accordatura is a fourth lower, namely, Gi-D-A-e. Tone like that of the 'cello (though stronger), being far more prompt in speaking, flexible and mellow than that of the double-bass. Cer'to,-a (It.) Certain ; con una certa espressione farlante [Beethoven], with a certain declamatory expression. Ce'tra ad accor'di (It.) Autoharp. Champetre (Fr.) Same as Campestre. Charme, avec (Fr.) With charm, grace- fully (It. vezzosamente). Chin-rest. "An oval plate of ebony, slightly hollowed on its upper surface to receive the curve of the jaw, fastened to the edge of the violin to the left of the tailpiece, and extending over, but not touching, the belly." [Krehbiel.] Chitarra'ta (It.) Piano-piece imitative of the guitar. Chord of Nature. The series of har- monics sounding with a generator. (See Acoustics^ Chord-bar. One of the bars crossing the strings of the autoharp ; being pressed down, it allows only the strings of one special chord to vibrate. (Ger. Pedal.) Clavi-harpe (Fr.) A harp played by a pianoforte-keyboard ; inv. by Dietz of Brussels in 1887, and used with good effect in the orch. of the Monnaie Theatre there in 1888. *Clef. The follow- ing is a form of Jenori Imi tenor-clef now (1896) used in Italy. [From the Milan " Gazzetta Musicale ", Dec. Tenon 2& 17, 1896.] Colori'to (It.) Same as Colorit. *Col'po (It.) Stroke ; e. g., colfo di campanel'lo, stroke of a bell. *Co'me pri'ma (It.) Standing alone, as a tempo-mark, it means that the pre- vious tempo is to be resumed (after a digression) ; also written tornando come prima .. .Ritenuto come prima, held back (retarded) as before. Co'me re'tro (It.) As before. Composed-through. A frequent trans- lation of the German term durchkomfo- niert (see Durchkomponiereri), the cor- rect English equivalent for which is "progressively composed," as con- trasted with " strophic composition" (see Song 2). Comprinia'rio,-a (It.) In theatrical par- lance, a part (role) of importance, though not one of the leading parts {.prime assolute). Concentran'do (It.) ' ' Concentrating " ; an expression-mark in vocal music, calling for a dark, veiled, intense effect of tone. *Concerti'sta (It.) 2. Concert-giver. Confet'ti (It.) Sugarplums. Confinal. Compare Final. Conical mouthpiece. See Cupped. *Contrab(b)as'so (It.) Sub-bass (organ- stop). Corde fil6e (Fr.) Covered string. Cordie'ra (It.) Tailpiece. Cordo'metro (It.) String-gauge. Cordonophon. A keyboard-instr. imitat- ing the tones of bells ; inv. Paris, 1890. The tone is produced by hammers strik- ing on a graduated 2-octave series of hollow bronze cylinders. Cori'sta (It.) Chorus-singer. . . C. capo- Jila, a chorus-leader ; especially one to whom a minor solo part is entrusted (see Pertichino). Cornement (Fr.) Running (of wind in an organ). *Cornet a pistons. Even in the sym- phony-orchestra the cornet is not infre- quently used ; but its employment as a substitute for the valve-trumpet is to be condemned, these instr.s being too dis- similar in tone. Cornet'ta (It.) Cornet a pistons. . . Cor- netti'na, a small cornet. Cor'to,-a (It.) Short. "Za cadenza sia COULE— ESCLAMATO. 235 carta " [Beethoven], the cadenza should be short. *Coul6 (Fr.) 3. A slur. Counting. When a part "rests" for several measures, precision of reen- trance is facilitated by counting s (e.g., ■ thus : 123, 223, 323, 423, 523. Coupure (Fr.) A " cut " . Cravat'tentenor" (Ger.) A tenor who sings as if his necktie were too tight. Cupped mouthpiece. The shallower form of mouthpiece for brass wind- instr.s (Ger. kes'selformiges Mund'- stiick), in contradistinction to ' ' conical mouthpiece," the deeper form (Ger. trick' terformiges Mund'siiick). Decimaquin''ta (It.) i. Interval of a fifteenth. — 2. The Fifteenth (organ- stop). Declama'to,-a (It.) Declaimed ; in de- clamatory style. Deliran'te (It.) Raving ; frenziedly. *Denii-jeu (Fr.) In violin-technic, the persistent employment of short strokes of the bow. Dichiarazio'ne (It.) Declaration (title of a composition). Discenden'te (It.) Descending. Discretez'za, con (It.) With discretion ; discreetly, cautiously. Dispa'ri (It.) Unequal (voices) ; triple (times). Divagazio'ne (It.) A ramble, excursion ; rambling, strolling. Divette (Fr. ; diminutive of diva) Lead- ing lady in operetta. Divi'se. This (the fern, pi.) form is properly applied to instr.s of the femi- nine gender (in Italian), such as tromba ; also to vocal parts {voci divise) ; it may likewise be expressed by numerals, e. g. ^etc. Dodinette, Dodino, Dodo (Fr.) Lul- laby. Do'rico (It.) Doric, Dorian. Dugazon (Fr. ; Ger. erste Liebhaberin.) French designation for the leading so- prano in comedy-opera, operetta, etc. ; named after Louise-Rosalie Dugazon, a celebrated singer (1753-1821). Dum'ka (Polish.) A sort of romance, vocal or instr.l, of a melancholy cast ; a lament or elegy. *Du'o. A composition in 2 ^&x\.% for one instrument ; c. g., a violin-duo, in contradistinction to a violin-duet for two violins. Duologie' (Ger.) Duology (a series of two stage-plays, operas, or oratorios). E. Echancrures (Fr. pi.) Bouts. Eck'satz (Ger.) "Corner movement"; i. e., the opening or closing movement in a cyclical composition. £clat (Fr.) Same as Brio. Eguaglian'za (It.) Smoothness, even- ness ; con molta eguaglianza, very smoothly, evenly. *Ein'lage (Ger.) Extra number ; inci- dental number. (See Arie aggiunte.) £lan (Fr.) Impetuosity, vehemence . . . Avec /Ian, same as Con slancio. £largissez (Fr.) Same as Allargate. Enchainez (Fr.) "Go on directly"; same as Attaccate. En ^largissant (Fr.) Same as allar. gando, or pih largamente (Ger. breiter werdend). En enlevant (Fr.) Raising, lifting; detaching (notes). Enigmatical Canon. See Canon. Enim'ma (It.; pi. enimme.) Enigma; hence, enigmatical canon., En mesure (Fr.) "In measure," i. e., a tempo, or a battuta. Enr^gisseur Rivoire. A phonauto- graph for attachment to a pianoforte ; inv. by Rivoire in 1895. Ensem'blestiick (Ger.) A concerted piece {Vr.pikce [or morceau\ d^ ensemble"). Entusias'mo, con (It.) With enthusi- asm. Erin'nerungsmotiv" (Ger.) A mus. motive attached to and recalling a past scene, emotion, personage, etc. ; in so far, a leitmotiv. Eroico'mico,-a (It.) Mock-heroic. Erzah'lung (Ger.) Story, tale, narra- tion. Esclama'to,-a (It.) Exclaimed ; decla- mato con forza. 236 ESEMPIO— FORTSCHREITUNG. Esem'pio (It.) Example. Espansio'ne, con (It.) With exalted or intense feeling. Espansi'vo (It.) Same as con espan- sione. *Espressio'ne (It.) Expression-stop. Esquisse (Fr.) Sketch. Estre'mo,-a- (It) Extreme. . .Estrema- men'ie, extremely. Etichet'ta (It.) Maker's "label" on a violin. Etoffer (Fr. ) To stuff, fill out ; to " pad." Exaltation, avec (Fr.) Same as coji esaltazione. Exhibition. A scholarship at an Eng- lish university or music-school, inde- pendent of the foundation ; as the Potter Exhibition at the Royal Acad, of Music, London. *Expression-niarks. The mark p sf over an arpeggio signifies " he^n piano with a swift crescendo, the highest note Sf." Fah'ne (Ger.) A "'flag'* or hook ( h). Fallboard. Same as Fly. *Fantasi'a, con (It.) With fancy ; spiritedly, vividly. Fantasi'na (It.) Short fantasia. Fantasticheri'a (It.) A light, fantastic composition. Fascia're (It.) To cover, to wind (strings) . . . Corde fascia' te, covered strings. Faerie (Fr.) Fairy-opera, fairy-play. Fervo're, con (It.) With fervor, warmth. Feuille (Fr.) A leaf ; feuilles volantes, fljfing leaves. Feuillet (Fr.) A leaf, leaflet. . .Feuillet d'album, album-leaf. Fia'ba (It.) Fable, fairy-tale. *Fia'to (It.) Wind ; slrumen'to a fiato (or da fiato"), wind-instr. Fi'la (It. ; pi. file.) Rank (of organ- pipes) ; e.g., " Pieno, j> file X V, XIX, XXII" signifies "Mixture, 3 ranks (Fifteenth, Nineteenth, and triple octave)". *Filer un son (Fr.) Also means to sus- tain a tone with- a gradual crescendo and decrescendo. Fi'lo di voce (It.) The very softest and lightest vocal tone. Fingered octaves. In pfte.-technic, octaves played with the 1-5 and 1-4 fingers alternately. *Fingering. Alternative fingerings may be written thus : i. ^ T 3" 2 4 :1= or thus : E3ES^E3^^^^^^ 2 4 3 1 2 4 2 3 5 4 3 2 A change of fingers, temporarily de- layed, may be indicated thus : .5 4 I w=^- TT7 A trill on the pfte. is sometimes fingered thus : \, or f , or -I, etc. Firing. The ringing of all the bells belonging to a chime at once, in contra- distinction to chiming. Fisarmo'nica (It.) Physharmonica. Fixing the voice. Conscious artistic control, in singing, of the act of expira- tion. Flessibilita' (It.) Flexibility. Flies'send (Ger.) Flowing(ly), smooth- (ly) ; scorrendo. Flute-stop. Any flue-stop on the organ (except stops of diapason-tone) made of metal or wood, closed or open, and of any pitch from if-foot (Terzflbte) to 16-foot (Flautone), may be called a " flute '' of some kind, either on account of its tone, or after the builder's taste or fancy. Descriptions of the ordinary styles will be found under their respect- ive names. (Also see Flute-work, under Stop 2.) Fliitet (Fr.) Same as Galoubet. Fo'glio (It.; pi. foglt) A leaf.../-. d'album, album-leaf ... /"a'^/^ volan'ti, flying leaves. Folatrerie (Fr.) Whim, caprice, bizarre fancy. For'te genera'le (It.) The full-organ combination - stop. . .Forte I'appoggia- tura, accent the appoggiatura strongly. *Fort'schreitung einer Dissonanz' (Ger.) Is not necessarily the resolution FORTTfiNOR— HOCHFORMAT. 237 of the dissonance, as one dissonance may progress to another; Auflosung is the exact German equivalent of "resolution." Fortt6nor (Fr.) Dramatic tenor. Fouett6(Fr. ; "whipped.") See Whip- ping boiv. Frammen'to (It.) Fragment. Fra se (It.) Aside. Frau'enchor (Ger.) i. A female chorus. — 2. A composition for such a chorus. . .Frau' enstimmen, women's voices. Freddez'za, con (It.) With coldness ; coolly, indifferently. Freraen'te (It.) Furiously. Frettolo'so (It.) Hurried. . .Frettolosa- men'te, hurriedly. Fri'gio (It.) Phrygian. Frog. The German word Frosch means both "frog" (the animal) and "nut" (of a violin-bow) ; translators of Ger- man mus. works into English, often mistakenly use the word "frog" in- stead of the proper technical term " nut." Fuo'ri di sfe (It.) Absently ; dream- ingly, as if dreaming. Furberi'a del can'to (It.) The vocal effect of the bocca chiusa (humming). Fur sich (Ger.) Aside. Garba'to (It.) With simple grace, ele- gance. Gefeil'ter Strich (Ger.) Detached bow- ing (violin-technic). Gehaucht' (Ger.) Very softly and lightly sung or played. Gemen'do (It.) Moaning. Gemes'sen (Ger.) Measured(ly), moder- ate(ly) ; misurato, Gepei'tschte Strich'art (Ger.) Whip- ping bow. Geris'sen (Ger.l Thrown off (in pfte.- technic) By a rapid, deft lift of the wrist ; as em gerissener A kkord. Gesang'reich (Ger.) Very singingly ; cantando, cantabile. Gezo'gen (Per.) "Drawn out"; larga- mente^ sostenuio. Gio'co, con (It.) Playfully. Giovialita', con (It.) With joviality, jovially. Gix'er (Ger.) Same as Kicks. Glottis. See Vocal glottis. Gosier (Fr.) 'WvtosX.. ..Isthme du g., isthmus of the throat. *Graces. In "La Poule " (a piece for harpsichord, by Rameau), the following grace occurs : F7* Written ■■\^^^^^m Played : In the ' ' Rappel des oiseaux : Played: The former is dAlembert's Chute et Fine/, or J. S. Bach's Accent und Mor- dant (Bach gives a different sign) ; the latter is Fr. Couperin's Fine/ simple, but with a different sign. Gradatamen'te (It.) By degrees, grad- ually. Grandement (Fr.) With grandeur ; with breadth, dignity and force. (It. con grandezza.) Grand'or'gano (It.) Great organ. Gravita', con (It.) With gravity, dig- nity ; ponderously. *Gruppet'to ascenden'te (It.) Back turn . ..G. diseenden'te, ordinary turn. H. Habane'ra (Sp.) A species of contra- dance comprising two 8-measure peri- ods in 6-8 time. It is a typical Cuban dance ; hence called the " contradanza criolla " (Creole contradance). Hack'e (Ger.) Heel. (Abbreviated, in organ-technic, H.) Harmony, false, i. The inharmonic relation. — 2. Discord produced by im- perfect preparation or resolution. — 3. Discord produced by wrong notes or chords. Havanaise (Fr.) A Habanera. Hin'tpr der Sze'ne (or Sce'ne) (Ger.) Behind the scenes. Hoch^format (Ger.) The ordinary shape of music-paper, higher than it is broad. (See Querformat.) 238 HOLDING— LONTANISSIMO. Holding. The burden of a song. (Ob- solete.) Huitifeme de soupir (Fr.) A 32nd-rest. I. II pill (It.) The most. Im (Ger. ; contraction of z'« A-m.) In the. . . . Im Tempo, in the (regular) tempo ; a tempo. Inci'so,-a (It.) Incisive, sharp ; sharply emphasized ; inci'se [/